Alberto Posadas - Tenebrae

Alberto Posadas

pour chœur, ensemble instrumental & électronique

commande de Françoise et Jean-Philippe Billarant et de l’IRCAM

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tenebrae

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

durée : 28 minutes

© 2013 Éditions DURAND

Tous droits réservés pour tous pays All rights reserved

édition du 21 mai 2013

DF 16114

Instrumentation Flute (doubling Alto Flute and Bass Flute) Oboe 2 Clarinets in B b (1 doubling Bass Clarinet, 2 doubling Bass Clarinet and Contrabass Clarinet) Trumpet in B b (doubling Piccolo Trumpet) Trombone 2 Percussion Piano

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

2 Sopranos Counter-tenor Tenor Baritone Bass

Violin Viola 2 Cellos Double bass (5-string)

Midi keyboard (for electronics)

The score is transposed

iv

Performance notes

Accidentals apply for the whole bar in which they occur. Precautionary accidentals are included where an inflected note recurs within the bar.

Grace notes:

“

an arrow to the left indicates that grace notes should be played before the main beat. Otherwise, grace notes should be played on the beat. this symbol indicates that the notes should be played as fast as possible, joined to the following note, which may be anticipated

f ”

dynamics in quotes indicate the amount of energy required, not the resulting dynamic (which will always be quieter)

Woodwind

breath without any pitch content. Fingerings are given to colour the breathy tone.

half-breathy sound. Much more breath than usual but the written pitch should remain audible.

g-flz

gr

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

glottal Flatterzunge: further back than for normal throat Flatterzunge. The resulting sound must be rough.

growl. Playing and singing a detuned unison or octave in order to get a rough sound with some distortion between voice and instrument.

Flute: #

mouthpiece completely closed

"

mouthpiece open (normal)

sudden change at the end, from closed to open mouthpiece, from one phoneme to another. At the same time to increase suddenly the airflow with a diffuse stream. Phonemes are indicated according to the International Phonetic Alphabet.

tightly focused airstream at the end, trying to get a sound as high as possible from the indicated fingering in brackets. At the same time, a sudden change at the end from normal open mouthpiece to completely opened mouthpiece and from one phoneme to another.

exhaling (

) and inhaling (

), without pitch, with closed mouthpiece

very breathy harmonic from the indicated fingering in brackets. Thrust the airflow, in a manner similar to the mura-iki technique in shakuhachi.

forceful and explosive thrust of the airstream through the flute, which works as a resonator, pronouncing the syllable ‘hi’. Try to get the highest possible pitch with the voice. A residual sound will appear depending on the fingered note.

bisbigliando, alternating different fingerings according to the change of number.    indicates normal fingering.

bar 304ff : double trill with breathy sound and Flatterzunge, starting from the basic note and then adding harmonics, remaining always on the given breathy fundamental. Brass

breath without any pitch content. Fingerings are given to colour the breathy tone.

half-breathy sound. Much more breath than usual but the written pitch should remain audible.

g-flz

glottal Flatterzunge: further back than for normal throat Flatterzunge. The resulting sound must be rough.

Vocalisation: changing the mouth cavity while playing, according to the phoneme indicated above the stave. Phonemes are indicated according to the International Phonetic Alphabet. Trombone:

glissando around the starting pitch, gradually opening the range to the indicated interval and then reducing it to the original pitch. The glissando should be as fast as possible.

Percussion

superball. Graphics show the movement of the superball when rubbing the surface of the instrument. The speed of the movement should be adapted in order to ‘draw’ the movement once for each note or group of tied notes.

Prepared marimba:

put a piece of paper (80 g weight) on the resonators located under the bars for the first diatonic octave of the instrument:  The paper will produce a vibration when these notes are played.

v

(a)*

put two hard plastic mallets in between the bars

(Perc 1) and

(Perc 2)

These mallets will rebound freely on the indicated bars when the notes are played with other mallets.

from bar 302, put one or two wooden sticks under the bars

(b)

(Perc 1) and

(Perc 2).

The wooden stick(s) rest on the extremity of the bars of the diatonic notes located under the individual notes. The stick(s) will raise the bars of the five indicated chromatic notes, modifying the timbre when they are played.

Prepared tam-tam (Perc 2): Fix some metal clips around the edge of the Tam-tam with adhesive tape. They must be fixed in such a way that a smooth metallic vibration is produced when the Tam-tam is played. Perc 2, bar 20 – rub iron frame (see illustration (c) ).

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Chinese cymbal on timpani (bars 46–47): rest the dome of the Chinese cymbal on the skin of the timp. Each percussionist will use a different sized cymbal, the smallest being 45 cm (18 in) for Perc 1. Tuning for the timpani is indicated in the stave below. Three different kinds of sound are required:

lowest possible sound, as complex as possible, and without perceptible high harmonics. Pressing on the inside of the dome:

medium-range harmonics. It is helpful to put the fingertip on the point indicated:

highest possible harmonic. Tilt the cymbal to let it rest on its edge on the skin of the timp. A fingernail on the edge could be useful.

 

Piano

(d)

Prepare the piano for the beginning of the piece. Interlace an A4 sheet of paper (80 g weight) between the piano strings as follows:

paper above strings:

paper below strings:

The paper will vibrate freely when the pedal is depressed.

superball – glissando rubbing the indicated strings lengthwise

hit the string with the superball

hit the string with the nail, sliding the underside of the last phalanx of the middle finger violently against the thumb, as for a flick

(e)

bar 29ff: place a rubber ruler 6 mm thick on the indicated strings. First place the ruler without any pressure to get an ordinary cluster then press the strings to get a cluster of harmonics, a bell-like sound. Place the ruler near to the dampers, in front of and parallel to them. fast random tremolo between the indicated notes, trying to avoid the perception of patterns.

bar 94

use a felt-covered wooden rod around 30 cm long and 1 cm thick

bar 102

fast tremolo with short runs and quick changes of direction

bar 110

slower tremolo with longer runs and fewer changes of direction

(f)

bar 377ff: as at bar 29, prepare the rubber ruler on the string. Add a little pressure (not too much) and at the same time, slide the ruler along the string. Keep the ruler on the string at the end of the action. The resulting sound must be metallic and not create any reference to the usual sound that comes from the piano when playing directly on the strings (with the hands, for instance). The note in the score indicates the resultant pitch, which will have a microtonal deviation. The pianist must look for the best string to use, as this can be different for each piano. The normal range in which to find the best string is:

* these letters refer to the illustrations on page ix

vi Strings Violoncello 2: scordatura:

Notes to be played on string IV are written according to the fingering, so they will sound a minor 2nd higher than written. Accidentals in parentheses above or below the stave show the actual pitch.

Double bass tuning:

with thimble Put a metal thimble (see (g) ), whose surface is not smooth, on the forefinger; place the finger very close to the string in such a way that when the string vibrates it rebounds with the thimble and produces a metallic vibration.

basic pitch plus harmonics that will change with slight displacements of the bow around molto sul ponticello

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multiphonics: the normal note (G as 6th harmonic for Vlc 1 and G(# ) as 6th harmonic for Vlc 2) indicates the left-hand fingering. The note in brackets (B b as 7th harmonic for Vlc 1 and C(# ) as 8th harmonic for Vlc 2) indicates the point of placement of the bow. These are approximate locations – the player must experiment with speed and pressure of the bow, as density of the strings, weight of the bow or height of the bridge can change the resulting sound. Try to get a multiphonic as rich, complex and stable as possible. It should be possible to achieve a multiphonic up to the 11th harmonic. Each cello should get the same multiphonic. Transitions to and from harmonics should be as natural as possible, without any interruption of the sound.

fl

scratched tone with bow over-pressure. The pitch is no longer perceptible.

scratched tone without pitch, using a vertical bowing motion (always from sul ponticello to sul tasto).

half bow over-pressure

bow directly on the tailpiece

cl crini

half left-hand pressure. Do not produce a harmonic. The resulting sound should remain the pitch of the stopped note, but hardly perceptible and coloured, with as veiled a timbre as possible. The correct pressure will be close to flautando.

col legno with the hair of the bow col legno and crini

l + c

play very close to the bridge, adapting speed and pressure in order to get the highest possible partials

play with an angle between bow and string of between 30° and 45°. The resulting sound must be muffled with a high noise content.

indicates the part of the body of the instrument on which to play with the bow. This is used simultaneously with other actions.

play on the wooden mute with the hair of the bow, obtaining a precise pitch

play tonelessly on the wooden mute as indicated in the graphic

play on the wooden mute as indicated in the graphic, but obtaining a precise pitch

bowing tonelessly on the side of the bridge

tremolo playing, simultaneously with the hairs of the bow on the wooden mute (toneless) and on the indicated strings behind the bridge

(h)

a dry sound, scratched, a mixture of noise and pitch. The bow motion should be slight and abrupt. Stop the resonance, keeping the bow on the string after the attack. Vlc 1 & 2: put a wooden wedge between strings I, II and III as illustrated. The right place for the wedge is where the tuning of the strings changes to

(Vlc 1) and

(Vlc 2).

It is recommended to push down on strings I and III with the fingers at the moment the wedge is inserted, in order to avoid unwanted noises.

(i)

play on the corner of the thick edge of the wedge, creating the lowest possible sound, which will be muffled

(j)

play simultaneously on string II and the edge of the wedge (on its middle point, not the corner). The resulting sound will be complex and rather noisy.

(k)

play on string II right below the wedge. In this case three types of sound are possible:

flaut

very light bow pressure. The resulting sound is very high and crystalline. Stopping anywhere on string II helps avoid the undesirable low pitch. normal bow pressure. The resulting sound is complex, high, semi-distorted tone plus low pitch. distorted tone with over-pressure and slow bowing

n pr dist

sul ponticello is also possible with the wedge inserted

vii

tremolo with the fingers between the bow and the bridge (eg bar 355)

bar 419: col legno with the ebony mute (see illustration (l) ). Put a lot of rosin on the mute and on the wood of the bow. It is recommended to use a second bow for this.

Sb Mb

change gradually the location of the legno on the mute, from left to right and vice versa

dynamics within a rectangle indicate the general dynamic context. Light variations on this dynamic will occur according to the changes of pressure and speed of bowing. Aim to merge with the general dynamic level of the vocal parts.

slow bowing medium-speed bowing

light pressure: sound of rubbing wood

half pressure: sound of rubbing wood with lower tone

over-pressure (as far as possible): scratch tone

Vl and Vla: short and dry down-bow attack with little pressure. Rub the mute even if the resulting sound is percussive. Oblique bowing can help, but each musician must experiment with his/her own bow and mute. The resulting sound must be like sawing dry wood.

(m)

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

bar 430 (Vlc 1), bar 432 Vlc 2: a wooden wedge having been inserted between strings II, III and IV, play simultaneously on the wooden mute and the wooden wedge with the hair of the bow.

bars 440–441 (Vlc 1 & 2): (1) play only on the wedge, aiming to bring out the lowest possible pitch; (2) play simultaneously on the wedge and on string III. The resulting sound will be a low pitch from the wedge plus a distorted sound from string III.

Voices

h

ten

te[n]

h

last consonant will sound at the start of the note and will be sustained throughout its duration

+

closed mouth

o

open mouth

breathy sound: a mixture of air on pitch with clear perception of the airflow

inhaling and singing at the same time. Pitch remains audible.

whispering

tightly constricted vocal folds and very tense diaphragm. The resulting sound must be constrained and can have short interruptions and irregularities

while the phoneme is emitted, forcefully blow air around both sides of the tongue. The airflow will produce a vibrating sound.

forceful and explosive thrust of air on the syllable ‘hi’, resulting in as high an unpitched breath as possible

garg

h

last consonant is sounded at the end of the note

gargling sound but retaining the indicated phoneme and pitch. The sound is similar to the throat Flatterzunge for woodwind instruments.

pitch and phoneme are retained whilst adding a vibrant sound produced by the vibration of the vocal cords, which must be as relaxed as possible. The relaxed vibration must be clearly perceptible.

fast vibrato

sibilant sound with normal lip position

sibilant sound with the lips in a very pronounced smile

sibilant sound with the lips in a ‘pig’s snout’ shape

viii Text The text is in Latin and German. At some moments, phonetic text is used: phonemes are indicated using the International Phonetic Alphabet. /v/ like Verb (German) /Ë/ like Rot (German) /r/

like tierra (Spanish)

/l/ like Lied (German) /m/ like Mann (German) /z/ like Sonne (German) /Ω/ like Journal (German) /©/ → /ß/

fricative velar: close to ich (German) but voiced; similar to vago (Spanish) fricative postalveolar: the tongue is lifted to approach the soft palate. It is positioned further back than for the normal /ß/ but is voiced.

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

ix Illustrations

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

(m)

(l)

(k)

(j)

(i)

(h) (g)

(f)

(e)

(d)

(c) (b) (a)

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

à Françoise & Jean-Philippe Billarant

TENEBRAE Alberto Posadas Transposed score

4 &4

Bass Flute

4 &4

Oboe

Bass Clarinet 1

Bass Clarinet 2

4 &4

I Percussion II

Piano

Soprano 1

Soprano 2

Counter-tenor

Tenor

Baritone

Bass

Violin

Viola

Violoncello 1

Violoncello 2

∑

∑

∑

∑

∑

˙ pp

w ∑ ∑

4 ã 4 Ó 4 &4

‘æ p

g-flz

Tam-tam Tam-tam mallet

4 &4

˙ p

∑

4 &4

‘æ

œ œ œ #œ

? 44 Ó 4 &4 ? 44

© 2013 Éditions DURAND Paris, France

∑

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ord

subtone

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p F S 333333333 æ r ‰. b ˙˙ œœ

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struck

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avec sourd

b ˙˙ pp

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tuning

w

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? 44

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/f/

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D & F 16114

‘æ

ord

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B 44 ? 44

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‘æ P ∑

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$ = 60

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4 V4

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4 &4

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4 &4

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gliss, rubbing the strings

Ped sempre

˙ ∑

∑ p F S 333333 æ t 44 r ‰. b ˙˙ œœ 4 &4

r ‰. œ

subtone

4 ã 4

4 ã 4 Ó

Trombone

Midi

4 &4 Ó

∑

g-flz

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Trumpet in B b

Double bass

$ = 60

˙˙ P ∑

Œ

Œ

o

∑ Tous droits réservés pour tous pays

2

r ‰. ‘@

Œ

& r ‰. œ o

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& r ‰. #œ o

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6 B Fl

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subtone

B Cl 1

subtone

B Cl 2

Db

Midi

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subtone

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(valve trill)

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sourd harmon

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with thimble

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ôter la sourd

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(scrape along string with a coin)

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g-flz

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with thimble

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r ‰. ‘ F

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struck S

Ÿg-flz ~~~~~~~~~~~~~~~~~ ‘æ ‘æ ‘æ F

/s/

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with thimble

˙ o

r

/f/

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Vlc 2

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ord

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Tbne

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subtone

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Vlc I

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Perc II

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sim

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with thimble

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pp

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with thimble

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g-flz

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gr

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double tone mattets (paper resonance)

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Pno

Vlc I

Vlc 2

Db

Midi

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Perc

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Prepared Marimba

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double tone mattets

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hitting strings with the hand struck

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with thimble

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on keyboard

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(metallic resonance)

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F

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bass drum mallets

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with thimble

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Prepared Marimba

I

æ œ

‘æ

 [i]

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

?

Tbne

‘æ

gr

&

Trp in si b

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r

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. ( ‘) ‰ . & R sZ

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Oboe

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F ∑

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æ bœ

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(Marimba)

? Ó

œœæ

(Marimba)

II

Pno

Vlc I

Vlc 2

&

plastic card along strings

333æ S F t r ‰. œœ œœ (° :) ? Œ ?

‰

? ‰

Midi

with thimble

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. . . . .. ..

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r ‰. œ F

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‰

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∑

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˙æ˙ f

∑

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œ

˙æ

Ÿ~~~~~~~~~~~~~~~~~ ˙æ ( œ ) œæ F

˙æ˙ P

˙æ˙ f P

Œ

P

take off mute

# # ˙æ˙ f

r ‰. œ

. . . . .. ..

f

˙æ˙ P

≈

≈

œ ..

. . . . .. ..

f

≈

P

b ˙æ

˙æ˙

˙

ord

ord

˙. [

œ ‰. R f

Œ

œ œ œ bœ #œ #œ æ œ # # œœ

f

œœæ b œœæ # b œœœæ 3

# œ ..

b œœ

ord

Ó

˙ f P

˙ ˙ f

˙˙ fP

˙˙ f

f

P

+ + + +

(slap)

#œ nœ œ #œ f

œ nœ bœ œ + +5 +

#œ nœ #œ

≈

≈

œ æ F

f

‰

˙æ˙ P

˙æ˙ f

˙æ˙ P

œ œ

P

P

bow vibrato ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

æ œ. P

f

∑

P

≈

F

œ œ

with thimble

≈

œ .. P

with thimble

[ œ .. P

≈ œ ..

with thimble

f

œ œ

œ œ

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

Bow ord

˙ ˙ f

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

Bow ord

b˙

˙ f

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

Bow ord

b ˙˙

f

&

∑

∑

∑

∑

?

∑

∑

∑

∑

D & F 16114

≈ ≈

+ + ++

flz (ord)

˙æ˙

P

bow vibrato ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

b˙

. . . . .. ..

œ bœ œ f

≈ ≈

remove paper from low to high strings (keyboard)

œœ

˙ ˙ f

≈

æ ˙ P

bow vibrato ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˙ ˙ f P

˙

P

without mute

Œ

+ +5 +

(slap)

b˙. o

Œ

∑

S S

Œ

o

F



‰

Ó

(

Ó Œ

˙

P

Ͼ. p

Ͼ F

œ

˙ œ. p

œ ..

— _) ‰ . Œ R f sZ /su/

Ó

double articulation as fast as possible

gr

3333æ S f r ‰. œœ œœ

with thimble

[ >œ fp

≈

plastic card

(with thimble)

Db

∑

f

‰

double tone mallets

Perc

‘æ F

double articulation as fast as possible

gr

‰

g-flz

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

?

Tbne

Ó

gr

&

Trp in si b

r

 [i]

5 19

jw

& œJ

B Fl

‰



ff poss

&

B Cl 1

‰.

slap son fendu

r ‰. #œ > f ◊

& bœ æ

Trp in si b

Tbne

I

Ó

o

b˙

Œ

. . . . .. ..

˙

F

œ

o

?

∑

?

∑

Ó

Pno

Vlc I

Vlc 2

Db

Midi

?

∑

&

∑

t

Œ

˙

¬

b˙.

. . . . .. .. b˙. (œ)

Œ

Ó

o

P

˙ o

. . . . .. ..

. . . . .. ..

˙. bœ

Œ

P

(

)

Ÿ~~~~~~~~~~~~~~~~~~ p F

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

b˙. o

Œ

˙ p Ó

˙

l

3F/V

lip multiphonic (split tone) (

b ˙˙ )

p

Œ

Œ

ã

‰

œ

p

‰

Œ

∑

∑

place gently a triangle stick on the indicated strings (

b˙ o

œœ ) F

Œ

(

∑

rub iron frame striated stick

bœ )

œ

? ?

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

˙ ˙ P b˙

˙

[P

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

? b ˙˙

P

with thimble

˙ f

with thimble

˙ f

with thimble

˙

f

OOO

ord

˙ P

msp

Œ

∑

‰

œ

‰ P

Ó

∑

∑

∑

∑

˙ p

ord

[˙

P P

˙ p

OOO

msp

˙ p

ord

˙

˙ F

˙

p

˙ F

OOO

F

OOO

msp

˙ F

pn

[˙

˙

OOO

msp

˙ F

p

msp

˙

pn

pn

˙

p

b ˙˙ K ˙˙ P

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ( bœ ) œ œ æ Œ æ æ p F

Ó

o

Cs

Œ

( )

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

œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b˙ (œ) œ œ æ æ æ Œ p F

irregular trill unsynchronized (double articulation)

˙.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ j ˙æ ¬ œ@ ‰ P F g-flz

Œ

F

Ÿp ~~~~~~~~~~~~~~~~~~~~~~ F

∑

Ó

p

irregular trill unsynchronized (double articulation)

∑

(paper completely removed)

r œ ‰. œ >. °

˙ p

. . . . .. ..

Œ

. . . . .. ..

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˙. o

Œ

F

Œ

. . . . .. ..

P

Œ

. . . . .. ..

Perc

II

Œ

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

&

B Cl 2

œ f

>

Ó

œ

slap son fendu

◊r

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ (bœ ) œ. ¬ ˙ ( bœ ) ˙æ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ (bœ ) ‰ ˙. ¬ ˙ ( bœ )

SSS|sSS

& Ͼ

Oboe

double articulation as fast as possible, irregular trill

˙

OOO

msp

˙

˙

F

(

b œœ )

p

(

œœ œœ

˙ p

#˙ p

Ÿg-flz ~~~~~~~~~~~~~~~

œ

˙l æ P

œ æ

œœ )

˙˙ ) P

Œ

(

3

b ˙˙æ P

˙æ˙

b ˙æ˙

Ó

Œ

P ‰ j r ‰. b œœ œœ

∑ Ó

plastic card

P

with thimble pn

w P with thimble pn

[w

P with thimble pn

w

P

&

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

D & F 16114

œ

6 jw

24

b œœ & K œœ ‰ . R F

Oboe

&

B Cl 2

I

∑

∑

∑

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

muta in Cl. si b

˙ F

#œ )

. . . . .. ..

#˙ F

. . . . .. ..

(

˙ ˙

& b@œ ‰ . R F

Œ

Ó

?

Œ

Ó

Œ

Ó

Perc

II

∑

r ‰. n n œœ f

(Marimba)

r . œ ‰ f

ã

take bucket mute

∑

& t

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Trp in si b

Œ

Ó

œ)

(

&

B Cl 1

Pno

 ≈ œ ≈ Œ J ff poss

&

B Fl

Œ

Ó

metallic resonance produced by the triangle

œ œ

° :)

(

✶ sourdine

& #w p ã

non vibrato (static)

Vl

✶ sourdine

B

(III)

Vla

Vlc I

Vlc 2

Db

Midi

ã ? ? ?

˙o

wo

non vibrato (static)

p

∑

r ‰. œ f

Œ

r ‰. œ f

Œ

metallic resonance

metallic resonance

œ ‰. R f

Œ

metallic resonance

Œ Œ

IV

œo

o

œo

IV

Œ&

[o I II

o

o œœ

o

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

remove triangle

˙

∑

∑

˙ P ∑

˙

˙o

˙o

P ∑

˙.

∑

b œœ ) m

F

[ mœ

œ

( )

F

ww

˙o p sempre

Heifetz mute on IV

(

˙.

#˙ w p sempre Heifetz mute in II Ó ∑

˙o

˙˙

( )

˙˙

P

o

– P o

Ó

“

b ˙˙ )

P

m

(

F

(

œœ )

[ m˙

˙

˙o

P

[

F

P

P

o

œ œ

o

˙ –

˙o

– P

P

˙˙ )

m

(

F

o

o ww

Ó

Œ

Ó

b œœ ) m

(

(

F

#˙

Œ

Ó

o

œ.

œ

o

œ

– J

‰ Œ P

Œ

–

œo

œo

œ J

“

˙o

Œ

P

Œ

Ó

1

˙o

o ww

Œ

œ œ. J

˙o

( )

o ww

“

1

wo

˙o

#˙.

œ

P

OO ..

œœ )

o

œo

p

(

œœ ) œo œo œo . J j[ [ p [œ o

o ˙˙ ..

p

&

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

✶ sordino (tourte) in the usual way plus Heifetz mute in string IV for viola and II for violin

D & F 16114

o

j œF

[( œ )

œ

F oo

œœ

7 30 B Fl

&

∑

∑

∑

∑

Cl 1 in si b

&

∑

∑

∑

∑

Ó

B Cl 2

&

∑

∑

∑

∑

Trp in si b

&

∑

∑

∑

∑

b˙ o

?

∑

∑

∑

∑

Tbne

&

OO

lv sempre

t

Œ

œ œ

° :)

(

Ct

T

Bar

Ó

& V

∑

?

∑

OO

≈ œ œ

∑

OO ..

OO ..

OO ..

Œ

Ó

≈ œ œ

Œ

Œ

œ œ

œ œ

OO

‰ œ œ

∑

∑ ∑

Œ

œ œ

Vl

Vla

∑

p #˙

Te

∑

∑

Vlc I

∑

j & #œ œ. ‰ –.

ã

˙ B

“ F

Vlc 2

Db

Midi

? &

F

Ó

-

˙˙ )

[m (

o

j o œ˙ œ . j œ

œœ .. )

j œF

P[

oo

˙˙

F

o

˙o

œ

Œ

[o

œ J j œ Pp

Œ

œo

[

[

oo

œœ

j

[

˙o

“.

Ó

“

˙˙ .. )

m

(

∑

?

∑

F

œo œo œo J J j pœ p P [ m (œ œ)

F oo

˙˙ .

œ

&

“.

˙o

b ˙˙ .. )

F

Œ

œ

˙o .

m

(

Œ

∑

˙.

œ

∑ ∑

o

j œ

œ

j œF

P [

o

o ww

– F

b ˙˙ .. )

œœ

m

(

F

œo .

p

#œ

Œ

“

( )

[

œœ .. )

œo

F

p

m

(

∑

o

˙o

Œ

“

œo

p

œo

[ m˙ ( ˙)

[

F

o ww

F

-

œ

-

#w

≈ # œ .. p

F

(

(

œœ ) œœ )

-

˙

-

ne

œ

-

-

-

p

-

˙.

-

˙

-

-

ne

œ -

-

brae

-

ne

-

-

-

-

-

-

w -

-

-

-

#˙

∑

∑

#˙.

˙

˙o

b œœ )

(

˙˙ )

(

˙˙ )

m

(

p

P

˙o

[ mœ ( œ)

p

P P

Œ

Granulation to freeze

p

#w

[

# ww pp

j bœ

∑

˙

(non vibrato)

?

∑

D & F 16114

Te

F

∑

∑

b ˙˙ ) m

(

p #w

-

œ p Œ #˙

-

(non vibrato)

˙

˙o

– F

˙

Ó

-

p #w

∑

∑

#œ

“.

œo œo œo J J j œ p pP

m

m

(

˙.

˙

–

œ ( b œœ ..) ? J F

∑

bœ o

p

#w

‰

bucket mute

∑

Œ

Te

?

ã

OO . .

œ œ

∑

∑

w

˙ p

bucket mute

Te

B

Œ

˙ p

w p

˙ p

Ó

#˙ o

#˙ o b˙ o

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Pno

OO ..

∑

Ó

∑

œ

Ó

∑

∑ # fl p

(II)

˙o

p

[

# ww pp

P ∑ ∑

&

fl

fl

8 36

& #˙.

Œ

Cl 1 in si b

&

Œ

B Cl 2

& bœ

Trp in si b

Tbne

S2

Ct

&

bœ.

Bar

b˙

nœ.

œ.

? …J

p

&

∑

Vlc I

j œ œ.

&

,

brae

V ˙

Œ

œ #˙ fac

-

-

œ

…

p

p

Ó

˙

-

-

& Ó

B fl ã

? # fl Ó

-

fl

# fl

…

fl

Œ

∑

fl

fl

Heifetz mute in V

? fl ã

˙ ˙

˙

… œ. J

tae

-

-

-

tae

˙

fl

-

‰ #œ. ne

-

-

-

(

b fl )

-

-

-

bœ

fl

Ó

∑

…

œ

œ

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b fl ( b fl ) fl fl( b fl ) fl …

∑Heifetz mute in II Œ

# wo

-

˙

Ÿ~~~~~~~~~~~~~~~~

fl

œ.

fl

.

œ …

-

Te

-

-

-

-

sunt

sunt

-

-

-

-

-

Œ

sunt

…

ter

… fl . J ‰ –.

#œ. ne

#œ.

œ

Ÿ~~~~~~~~~~~~~ fl . ( fl ) # fl

-

…

œ

fl .

˙

fl

Ó

Œ

˙

Ó

# fl

œ

Œ

Œ

#œ.

.

œ.

œ.

‰ Œ

-

Midi

#˙

Dass

ich

-

-

(

µœ )

Œ

fac

˙ œ

(

b fl )

fl …

.

‰

œ Œ J fl J

fl

fl

fl œ ¬

œ

b fl

fl

(

)

fl

Ÿ~~~~~~~~~~~~~~~~~~ crini fl . ( b fl ) fl # fl J

∑

?

∑

∑

∑

∑

∑

D & F 16114

fl

fl

∑

fl

fl

Ÿ~~~~~~~~~~~~~~ b fl

l+c

∑

fl

œ

œ ˙ J

∑

fl

…

Ó

∑

fl

-

. Ÿ~~~~~~~~~~~~~~~

∑

Œ

?

. ‰ œ

…

&

ã

ord

nœ

ru

œ œ J

‰ l+c

#˙

sunt

“

œ

œ.

brae

l+c Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

crini Ÿ~~~~~~~~~ œ œ fl . ( fl ) J

Ó

-

tae

fl

fl .

œ

Œ

P

œ. "f "

œ. "P "

bowing on the tailpiece

p

œ

˙.

? b w w pp

Œ

± [A]

-

œ #œ. J

# œ ‰ # fl J ‰ –.

Œ

-

ten

fl

.

-

˙

fl .

IV

Db

#œ

l+c

œ n fl . J

ne

…

œ

Œ

#˙.

œ

brae

˙

Schat

Ÿ~~~~~~~~~~~~~~~~~~~~~~ fl ( b fl ) fl fl œ . J Œ – – ‰ Œ J

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ fl( b fl ) … n fl ( fl ) fl

j œ

tae

œ

Œ

…

Œ

-

-

j œ œ.

brae

n fl .

-

˙.

#œ

œ #œ ˙. J J

œ

-

fac

#œ.

-

˙

-

‰

˙.

lieb

-

-

w

.

…

˙

-

p

˙

…

Ge

-

Ó

j œ #œ.

‰ # Jœ ˙ .

? #w

(III)

Vlc 2

…

Ÿ~~~~~~

Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ j j ‰ ‰ œ. nœ œ. (œ) œ ( œ bœ) œæ œ@ p p B b2/F2 Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2 ˙ œ œ œ. L ˙ Œ J p

#˙.

œ

p œ. # ˙~~~~~~~~~~~~~~ ‰

fac

? #w

ã

œ

∑

sans sourdine

Vla

…

bœ.

Te

-

Vl

‰

∑

- brae

B

w

bœ

p

‰

˙.

p

w

‰ #œ.

&

p

bw

œ

∑

T

Œ

#˙

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

S1

b˙.

124/235 ˙ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ. j ‰ Lœ ˙ #œ. œ. œ p p ±[ b b ] ~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~ j j ( k œ) œ œ œ. ˙ ˙æ ( œ b œ ) #œ S A p kw F œ Œ ‰ œ. w p ± [A]

SSS|HSS

B Fl

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #˙ Œ ˙ ( l œ) ˙ œ ± [A]

9 41 B Fl

Oboe

Cl 1 in si b

Trp in si b

S1

S2

#œ.(

±

& œ

w & w

~~~~~~~~~

? b Jœ

Bar

l

Ÿ~~~~~~~~~~~~~~~~~~ œ Ò œæ œæ nœ æ

p

Œ

˙

fac

j nœ œ

-

˙.

V ‰

bœ.

Œ

& #œ.

tae

j œ #˙

-

? #˙.

.~~~~~~~~~

Vlc I

B œJ ã ‰

fl .

œ.

Ó

œ ‰. R

Œ

˙

-

œ.

#œ. tae

Db

Midi

…

sunt

…

œ‰

…

j œ

j œ #œ.

dem tau

˙

Ken

-

œ

-

#œ

su

.pn

-

-

msp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fl b fl n fl . ( ) ? # fl . ( )

œ.

‰

? # fl .

‰

ã

&

?

Œ

j œ

œ # œ~~~~~~~~~~~~~~ . ‰ vibrato

-

-

III

∑

œ.

‰

nœ

œ "P " ∑ ∑

p

er

‰

-

tae sunt

œ.

-

-

j œ œ

3

.

y Œ œ "f "

y

œ J

y

?

∑

‰ # fl .

-

-

-

-

#˙

…

œ

per

.

j œ

Heifetz mute in II msp

j fl y ‰

fl ˙

Œ

.

#œ

u - ni

Œ

fl

j y y

œ3

Œ

fl œ

Œ

j y ‰ b fl .

pn

Ó

˙

. y J

œo

IV

pn

y ‰ J ∑

-

#œ ( kœ ) œ ( Kœ ) œ ( kœ ) œ (

‰

œ.

±[ b n ]

œ

p

nun

schrei

ne

‰

˙

#˙

den

j #œ œ

ge - te

-

-

-

œ

Bist nun er - lo

#˙.

-

ter

‰ # œJ n œJ # œJ

Œ

œ

( )

j j œ œ

˙

lich

œ J

( )

er -

#˙

-

œ

ver -

.

-

-

-

- sam

l+c Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fl . ( # fl ) fl . Œ Ó

fl œ

.

Ó

l

œ

j œ

b fl .

‰

(

b œœ ..) m

fl .

Œ

j y

msp

Ó

Œ

F

‰

p

œ.

# fl p

l+c

fl Œ

œ.

‰

œ

œ y

.

pn

y

Œ

‰

Ó

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ b fl ( b fl ) fl . ( b fl )

∑

∑

∑

∑

∑

∑

D & F 16114

Ÿ~~~~~~~~~~~~~~ œ

˙

…

Kœ )

∑

enlever sourdine

fl J œ J œ J

bn

. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ b fl . ( n fl ) œ ¬ fl ( b fl ) fl fl . ( b fl ) œ. l J

msp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b fl b fl . ( ) fl . ( b fl ) y

fl .

ord

die

len

Ó

pn

j #œ

˙

˙

Ó

œ.

‰

‰

…

ten -

und du

#œ

Bist

sind

strei

œ

±[ b b ] ±

O b bR Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3

˙ ˙

Œ

#œ

#œ.

Œ

±[ b n ]

±[ b b ]

œ

j j ‰ œ #œ #œ

˙

œ # œ .. R

œ œ J

œ.

‰

ne

qua

crini

bowing on the tailpiece

ã

nœ

˙ o

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ. L œ (# œ n œ ) œ œæ. œæ.

fac

mel

œ

r ≈ fl . y

y.

œ

˙

3

-

-

œ

-

Œ

crini

Vlc 2

Ó

w w

msp . Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ fl fl b fl( b fl ) fl . ( b fl ) œ # fl . ( fl ) ? n fl ( ) ‰ #œ.l J y. J

ã

∑

˙

Ÿ~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b fl . ( fl ) fl ( fl ) fl fl . ( fl ) y l+c

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # œ3 # œ3 Lœ Kœ lœkœ #œ œ œ #œ œ œ

Ÿ~~~~~~~~~~~~~~~~~~~ Œ ˙æ Ò

p b3/F3 ŸB ~~~~~~~~~~~~~~~~~~~~~~~~~ œ. l nœ l œ æ æ

p

ner

msp Ÿ~~~~~~~~~~~ fl . ( n fl )

∑

‰

œ

Œ

& b fl ã

b œ3

3

Le

#œ.

mei

j œ œ

‰ #œ.

sunt

mehr

œ

fer

crini

Vla

j œ œ

nœ

sunt

Vl

3

-

nach

sie kaum

-

-

œ

? …J # œ -

B

O R Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Kœ #˙ ( ) ˙ ( kœ ) œ p R S Gs ˜œ Gs Œ µœ. œ œ J p

& œ

&

∑

bn bb

& œj b œ .

Um T

‰

œ

∑

&

fac

Ct

Lœ)

˙ ˙

±[A/B] (alternate)

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tbne

& œ

œ. œ. p

j Lœ

124/235

sSS|HSS

B Cl 2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ.

. 234/235 K ˙ ‰ L œ ˙. J p

10 234/24 ± [A] Ÿ± [A/B] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ µ Ÿ ~~~~~~~~ œ œ œ #œ. lœ kœ œ œ˜ œ µ œ œ # œ # œ Kœ # œ Kœ ? J ( ) (Lœ ) ‰ k œ œ œ J J ( ) Œ æ æ æ @ & nœ œ œ œ æ æ 3 æ P P Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ b ˙˙ Cs j j ˙ ‰ Œ . & ˙ œ # œ œ n ˙ K ˙˙ L L #œ ˙l œ p p S p P Cs bn ± , O b bR Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ ± [1] ~~~~~~~~~~~~~ k ˙˙ .. œ j K œ ( ) ‰ æ . ˙. œ & #œ # œ œ µœ. µœ . ˙ œ #œ. #œ #œ. R nœ J p S P ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ef Cs nœ ( kœ ) #œ. (lœ ) œ. bn œ. Bœ w œ. ± O b b R Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ‰ k œj œ ( bœ ) ( bœ ) & . w œ. nœ. l œ œ. œ. bœ œ P Ÿ~~~~~~~~~~~~~~~~~~~ 23 multiphonic (split tone) III/IV sans sourd 1 æ L ∑ Ó bœ Œ ˙ & #˙ w (# w ) o P 2F/III 3f/III sans sourd b œ . œ ˙ bbbcccdddeeeeeeee ˙˙ eeeeeddddddbbbbb œ ‰ Œ j ? ‰ J . @J ˙ ˙˙ œœ . bœ. œ æ æ ( bœ ) ( ) ( ) P p F F

45 B Fl

L œ. Kœ œ. J p

œ œ

134/25

SSS|sSS

Oboe

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3

SSS|HSS

Cl 1 in si b

sSS|hjl

B Cl 2

Trp in si b

I

ã ?

II

ã ?

Perc

S1

∑

Ct

∑

Bar

-

& œ

& ….

? ‰

.j

Vla

Vlc I

& nœ ã œJ B y ã Ó

? # fl J ã œJ ? b fl

crini

Vlc 2

Db

Midi

ã

œ

~~~~~~

msp

? fl & Ó ?

œ.

voll

bes

#œ

Ge

-

œ. te

-

‰

œ.

n˙

lieb

‰

˙ -

-

Œ

.pn y

.

fl ‰ Œ

.

in

tie

j œ

-

-

nur

#˙

œ. œ.

.

-

in

-

tie - fern

-

-

j # fl ‰

‰ b flJ œ

P- fern j #œ œ P 3

-

j œ œ

war

˙

ter

…

-

…

-

Schat

#œ

˙

glu

-

-

-

œ J

P #˙

dem

fl .

fl J

fl Œ Œ

‰

˙

crini

j œ œ œœ œ œœ Œ F F

Frequency shi Baritone

∑

Œ

‰

j œ ˙

∑

˙ p

um

-

#˙

rram

-

-

msp

. y

Œ

y

‰

œ "P " ∑ ã

œ "f "

fl

fl

fl

‰

œ ?

∑

‰

fl .

P

Œ

IV

y J

œo .

[

œ

œo œ

Ó

(

fl

∑

( b fl )

Œ

‰

-

j œ œ -

mein a

-

-

˙

matt

˙ -

-

-

ner

#œ

nœ

3

œ

strei - ten - dem

ge

-

œ b œ ‰ b œj J J f

œ œ J

quasi déclamato

.fl

œ J

fl

œ

b ˙˙ ) m

(

[ m˙ (˙)

F Ó

lich - ter

und du

œ œ fl . œ œ Œ

bœ )

Ÿl+c~~~~~~~~~~~~~~~~~~~~

∑

D & F 16114

IV

œ

ist

œ. p

œ

. l+c crini Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~

‰

‰

#œ.

dem tau

œ ‰ nœ J

fl

Œ

msp Ÿpn~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .

ord

œ.

…

mei

Dass ich sieKaum mehr ken - ne

˙

bowing on the tailpiece

ru - fer

œ

∑

˙

nœ

œ #œ nœ J # œJ J J # œJ œJ n œJ

crini Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ fl b fl . ( fl ) n fl ( µ fl ) fl ( n fl ) fl

Ó

#œ

mel

l+c

‰

- se

3

Œ.

Ó

‰ # œj ˙

nach

3

pn

P

#œ

œ

-

˙ Œ

œ

Schwach

rei -

P

Ó

˙

ten

-

˙

¬

‰ # œj

Œ

tau

œ p

uy

#˙

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fl . ( b fl ) # fl . ( fl ) y P . œ ‰ Œ Ó

œ.

Œ

ten

œ

die

Ÿ~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~ . fl ( fl ) fl n fl ( fl ) fl fl fl( b fl ) P Ó Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ.~~~~~~~~ fl fl ( n fl ) b ˙ Ò b œ Ò œ b fl P œ Œ ˙ Œ œ

l+c

-

msp

fl Œ

∑

with bow

œ

Um nach

-

Œ

Ó

die qual

P #œ

glu - ten

-

P œ

-

P j j ‰ b Jœ œ . œ œ

-

quasi déclamato

j y ‰ Œ

y

…

f j j j œ œ œ -

-

P

(tunning for timpano)

œ.

œ

Lang

nœ ganz

‰ n œj # ˙ .

Œ

œ.

-

? #œ

∑

ganz

Œ

V Œ

crini

Vl

∑

œ

schen

-

schen

B

œ

œ

Ch Cymbale on Timpani

∑

& #œ

uy˙ p ∑l

with bow

(tunning for timpano)

∑

-

T

Ó

Ch Cymbale on Timpani

- lo

S2

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tbne

(

b fl )

‰

fl . œ.

‰

œ.

crini Ÿl+c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fl fl . ( ) fl .

Œ

(

œœ ) œo . J Œ

‰

fl .

Ÿmsp fl ~~~ ( b fl ) J y

Ó

Œ

crini

Ge -

∑

P œ.

.pn y

Frequency shi Bass

fl ‰ b œj F

œ

11

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

œ. & æ

49 B Fl

b ˙˙ .. & K ˙˙ ..

Oboe

bœ. œ. & œ.

Cl 1 in si b

sSS|hSS

Gs

L # ˙˙ ..

‰ k œj ˙ . P

&

B Cl 2

S

œ @J

Œ

I Perc II

S1

S2

Ct

T

Bar

u ã p˙ . ? ã ? & & &

∑

˙

… -

-

mel

#˙

-

-

˙.

qua

-

to

-

-

˙

bes

-

? b œj œj œj œj Œ - lieb - ter schat - ten

Vl

Vla

Vlc I

Vlc 2

Db

Midi

& ã

fi . ˙.

ã

fi œ

? bœ &

?

)

fi

fi œo

P Œ

ru - fer

. y

fi .

œœ œ œœ ‰ F P

P

∑

P

∑

3

Œ

˙.

œ œ æ

œ

Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ œ. œ. ¬ ‰

dem trau

-

œ.

len

nœ J

y Œ

ge - to

L˙

-

-

-

‰

-

-

-

-

œ

b˙

Bist

nun

J

Lang

mei - ner qua - len pn

yy

.

y

yy

yy

Œ

-

me

˙

#˙.

Bist nun er - lo

.

j yy ‰ ‰ œ J

yy Œ

-

Œ

œ

j 3 œ œ

Hohl

Œ

#œ

Le

…

3

-

-

nœ œ J

er - los

f quasi j déclamato j j œ œ œ Œ

œ nœ

war

die

er

-

rei - se

nœ

-

-

-

-

∑

.œ

˙

J

II

yy

œ

-

‰

Œ

œ

msp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fi ( n fi ) j fi . ( b fi ) fi . J y œ. ‰ Œ Œ

.

msp

pn

œ J y.

y

∑

∑

∑

∑

y

. y

y

Œ

œ

j y yy .. Ó ‰ Œ

Ó ‰ ‰

.

œ

œ J

fi .

uy˙ . p Œ

Œ

˙

#œ

Lang

war

œ

œœ

œ‰

œ

˙

#P ˙

ganz

schen

œ nœ J

die hän

III

in

œ.

l+c

œ œ Œ

Ó

# fifi

pn

yy Ó

yy

‰

Ó

fifi

Ÿ~~~~~~~~~~~~~ Ÿcrini ~~~~~~~~~ fi . ( b fi ) fi

l+c

.

yy yy P

tie - fern

# fi .

l+c

pn

‰

œ

f quasij declamato ‰ b œ œj œj

œ ganz

.

œŒ

sind

Œ

-

#˙

sind

œ

matt

y Ó

Œ

∑

sind

.

P

Ó

bœ.

msp

œ.

˙ p ∑

Œ

Ÿ~~~~~~~~~~~~~~~ fi . ( fi ) # fifi

j œ œ œœ œ F F

‰ #œ.

Frequency shi Baritone

D & F 16114

.

pn

yy .‰ J

j œ

‰ b œj œ . (b œ . ) F

Ó

schen

msp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ fi . ( b fi ) œ œ fi . ( b fi ) fi . ( fi ) y.

œ.

j #œ œœ æ ( ) P

bes

crini Ÿl+c~~~~~~~~~~~~~~~~~~~~~~~~~ . #œ fi fi #œ. ‰ J

.

P

Œ

˙

œ

- der

P

Ó

˙ p

-

L˙ ˙ P

Ÿ~~~~~~~~~~~~~~~~~~~ #˙ (kœ )

± [1]

j œ ˙˙ ( ) F

˙

œ œ œ œ ‰ #œ œ œ J J J J J J J

y Ó

œ Œ

134/34

l

Lœ. œ.

± [5]

b˙

#˙.

Œ

uy˙ . p œ

Œ

‰ kœ J

˙ (#œ ) j #˙ B œ B ˙ . . œ œ ˙ P ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ 0 œ l œ (œ bœ ) œ . œ. œ J æ æ J

Œ

Ó

.

bœ

œ

pn

‰ # fiJ œ

fi fi . J Ó

Œ

y Œ

˙. p

glie -

-

P œ œ J J

.

fi

# ˙˙ ..

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. L œ … bœ l ‰ æ æ P

œ œ æ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œl œ. œ. Œ æ

˙˙

(

Bb4/F4

j j œ b˙.

-

msp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # fi

B # fi ( ˙. ã m ( b˙ ˙) ? F Ó ã ?

-

msp

fi .

b œœ ) J P

IV/V

strei - ten - den

bœ

-

œ.

œ

œ

die

quasi déclamato

B

œ

‰ # œj # ˙ .

-

Ͼ

23

u˙ . p

ru - fend

sind

P

˙ . ± [2]

œœ gr œ # œæ. J

Œ

Œ

‰ # œj œ

tem

? #˙

‰

Œ

˙

j œ #œ.

Œ

V

Ó

œ æ

Œ

P

P bœ

Ó

˙æ. P

œ

nœ æ

j œ. œœ ( ) P

b˙.

K˙ ˙ P

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tbne

œ (œ )

234/235

gr

˙˙ ˙

& b œJ ( œœ .. ) P ? b˙ (b ˙ )

‰ µœ J

124/235

œœ .. œ. æ

III/IV

Trp in si b

˙ ˙ Lœ ˙ ˙ æ P ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ nœ ¬ œ ˙æ p P

Œ

Œ

œ

Œ

I

œ

˙

.

‰ b œj œ F ‰

Frequency shi Bass

∑

#œ.

j œœ œ F

12

B Fl

II

ã Ó ? ˙

& .

Bar

B

œ.

Vla

œ rei

œ.

de

-

V

‰

?

tier

œ

-

Œ

-

f j œ œ

3

œ

-

-

j œ œ

3

Vlc 2

Db

Midi

-

œ

œ œ …. J bernd F bœ.

# fi .

œ.

‰

‰

? ?

Ÿ~~~~~~~~~~~~~~ b œ fi . ( n fi ) b fi J

ã ã

?

Œ

œ ‰. R

?

fi )

˙

Œ

j b œœ b œ

& Œ

(

fi

Œ

fi

Œ

‰ #œ.

Frequency shi Baritone

y Œ

œ

Ÿ~~~~~~~~~~~~~~~~~~

j œ ˙˙ f P ∑

Ò

f

Œ

#œ

matt

-

-

ne

glu

‰ œJ œJ # ˙

… F œ J J

-

-

.

pn

yy Œ

fi œ Œ

F œ

-

-

-

-

.pn

-

mund

b˙

nœ.

voll

nur

… bœ. J -

bœ J

‰

ten

œ J Œ

schrei - ne

den

.

l+c st j yy yy # œœ # ˙˙ &‰ F æ

pn

yy

msp

Ÿ~~~~~~~~~~~~~~~~~~~~~~ # fi ( fi ) ‰ œ. l F ‰ œ. Œ

.

y. Œ

yy

fi

(

b fi )

fi

œ J

die

œ œ J

Um nach

voll

Œ

# fi ( fi ) æ ˙.

œ bœ œ J J J

ge - to - bes

st

fi æ

fi æ

b fi . Œ æ ‰ œ œ. @J æ

fi

uœ p œ

…

bœ

‰ #œ

#˙ der

Le

#˙.

œ J

-

er

œ

,

Ich

w

qual

˙

#˙

dem

tau

n˙

nur

Œ

œ

-

die

-

-

œ œ J 3

f j j j j j bœ œ œ œ œ Œ quasi déclamato 3

Lang war die rei - se

#˙ O # ˙æ ∑ ˙ ( œ) ˙ F Ÿ~~~~~~~~~~~~~~~~~~ st Ÿ~~~~~~~~~~~~~~~~~~~~ crini l+c pn œ O j # œœ œœ .. ( O ) œ œæ. b n ˙˙ ( œ ) @J Ÿ~~~~~~~~~~~~~ ‰ #œ. l æŸ~~~~~~~~~~~~~ pn II

fi

fi

∑

∑

∑

∑

D & F 16114

-

Œ

F

Œ

Dass

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~IIIb l+c œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

fi P

pn

y yy J F Ó

Œ

-

œ

l+c st

enlever sourdine Heifetz

y

b˙

œ‰

˙

ten

-

˙

œ

j ‰ Ó yy

msp

˙

die glie

-

die

œ

∑

#œ J

der

Œ

Le - er sind

y

fifi

F #œ J

˙

fen

strei

….

sind

3

Um nach dem tau - mel

Π# fifi ..

-

-

die glie - der

œ.

F 3 œ œ J

3

F ˙

-

∑

 ‰ uœ . p

Œ

F

Œ

….

-

∑

œ

fie

msp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fi . n fi ( ) # fi ( # fi ) fi .

Œ . crini œ #œ B ã Œ ã

˙. p

se

Œ

‰

F

j œ ‰ P

P ? b œj œj ‰ b œj œj œj œj œj b ˙ . &

œœ .. )

O˙ .. F

œ.

Œ

quasi déclamato

crini

P

(

voice

œ.

msp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vlc I

œœ .. ) ≈ œJ .

œæ (œ )

die schrei

œ #˙. J

in

(

‰ # œj œ

& #˙

glu - ten

Vl

‰ uœ . p

die

-

œœ .. ) P (

u˙ p bœ

˙. L˙. l˙.

˙ ˙ IV/V

œ J

die

T

B˙ ˙ P

nœ. (n œ .) f

& #œ.

-

Ct

Ef Cs

Gs

sSS|hSS

Perc

P

Œ

R

12

Œ

S

1345/34

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

I

ã œ ? Œ

P

L œ. œ ˙ œ ˙ Ó ‰ K œJ œ . æ F F Ÿ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Cs b œœ µ˙ ¬ n˙ l œ Œ œ K œœ æ p F œœ ..±[6]L L œœ .. ±[2] # œœ .. # ±[C ] K L ˙˙ . ‰ r œ. œ. œ. œ. bœ œ k˙ F˙ œ F S Kœ K˙ ˙˙ ± O 15 R L # œœ Gs # œ .. # ˙ .. j ‰ k ‰ # œj j œ œ ˙ kœ. k˙. œ œ. ˙. P F IV/V 2 bisb ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 0 IV/V ˙ #œ ˙ œ ( ˙˙ ) ‰ #œ ( ˙) ( œ) J F F ‰ œJ œ .bbccdddeee b œœ .. eeedddcc œ ‰ b œj ˙ . æ F (b ˙ . ) F uy˙ . u œ Œ ˙ Ó Œ p F F p Ó Œ Ó œ ˙

˙ ˙ æ

w ww

F

‰ #œ

? bœ. ( œ. )

Tbne

S2

‰

& @œJ

Trp in si b

C

sSS|hjl

B Cl 2

˙ ˙

sSS|hSS

Cl 1 in si b

S1

sSS|HSS

& ‰ œ. p lw & w P (Ÿ) ~~~~~~~~~ #œ & #œ ‰ kœ J

Oboe

œ ‰ œJ œ P L˙ J ˙˙ 134/5

sSS|HSS

L˙ & kæ˙

53

œ æ Œ

pn

msp

y

œ. æ y Œ

8K œ

crini

œ œ

b˙ #O ˙ ( œ)

Ÿ~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fi . ( fi )

fi . æ œ. æ

crini

.pn

yy ‰ #œ

‰

b œ n O(

Ó

enlever sourdine Heifetz

‰

Ó

j bœ f

œœ œ œœ Ó ∑

Frequency shi Bass

)

µœ. Bœ œ . J F

13

œ. œ.

˙ ˙ ∑ Ó & Ó æ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~ ˙ ˙ k œœ ˙ ˙ #œ. b ˙˙ .. . œ # œ œ µœ œ ˙ ˙ ˙ ˙ B . ≈ bœ. ˙ ˙ µœ ˙ ˙ ‰ & K ˙˙ .. J æ f P bn f F ± [4] F ± O b b R Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n b Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ± O b bR ±[C # ] ± [1] gr œœ œœ œ nœ # œ3 # 3œ # œ3 K L œœ .. # # Œ J Œ & œ nœ œ œ æ lœ. nœ œ œ œ kœ. 3 f ˙ œ œ f œ. œ. F s µ œ ˙ . . n n b b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ±[ b n ] ± O b bR ± O b bR bœ Ÿ~~~~~~~~~~~~~~~~~ gr #3œ j j . . . ˙ ‰ j ‰ & # œ . b œ # œ j œJ œ # ˙æ. #œ œ œ œ œ œ F P F f F f 123/23 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ œ IV/V œ. Lœ ˙ #œ. Lœ ˙ (# œ n œ ) ˙ œ ‰ #œ. œ œ ˙ ‰ J @J & ( bœ ) ( ˙) æ J F F f ff~~~~~~~~~~~~~~~~~~~~ poss flz Ÿ . œ voice eeeeddc bccdddeee n œ œ œ O O . . . œ œ œ ? b O˙ O˙ œ. ‰ J æ ‰ #œ. ‰ œ . gliss # œ @J æ æ æ æ æ F5/B b5 P F f 123/2A35

57 B Fl

Cl 1 in si b

sSS|HSl

Oboe

µ˙ ˙

Bœ J

(

C

)

( ) ( )

(

)

Sdf|hjl

Bn

B Cl 2

(

Trp in si b

I

Perc

II

S1

S2

Ct

T

Bar

ã

? ã ? &

‰ uœ . p

∑

˙

F ∑

#œ.

œ œ œ. J J

&

˙

V

œ.

- mel

? b˙.

strei

B

F ? ˙

œ

matt

Vl

Vla

Vlc I

Vlc 2

Db

Midi

sind

#˙ & n˙

&

?

?

O

œ œ ˙˙ œ ‰ J

~~~~~~~~~

O.

Ó

? bœ œ &

(

crini pn

? bœ.

-

-

-

œ)

# stœ . œ. æ l+c

( Oœ )

-

-

ne

‰

ne

3

œ

œ

˙

sind

die

hän

-

#œ J

#˙.

-

ten - den

b˙

œ

-

-

œ

œ

Hohl

sind

die

hän

glie

der

O.

œœ ..

Œ

œo .

p

∑ ∑

‰ # œJ

voll

ge

œ

-

œ

œ

(# )

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( )

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de

to

f #œ Œ

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œ bœ æ F œo l+c

pn

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( )

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b œœ J

p

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˙

er

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…

# ˙˙

œœ # O b ˙˙ f F

(

)

‰

#œ J

f ˙

œ

˙˙ ..

‰

Œ ∑

O

b Oœ J F

P Œ

f

œ

œ

˙

Ge - lieb -

-

Œ

f n˙.

…

œ

( )

f bœ bœ œ @ @ @ F 3

ter

der

œ Lang

,

mund

œ

œ

schrei

˙ ˙

O

ne

O

n # ˙˙ (# œ ) #œ

œ f

œ

#œ #O œ( œ) Ÿ~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~ b ˙ (b b Oœ )

O

˙

f

˙ b ˙ (b Oœ)

Oœ

-

Ÿ~~~~~~~~~~~~~~~~~~~~

#O

˙ ˙

Ÿ~~~~~~~~~~~~~~~~~~

œ b œ @œ #@œJ œœ @ @ 3

˙ ˙

3

#œ

-

… œ. J

˙

Ÿ~~~~~~~~~~~~~~~~~~~~~ fF f 8œ ( ) sp O b ˙˙ b œœ fF bœ

u œ

#˙

die

# ˙˙ (# # Oœ) sp

f ˙

f #˙

8# œ

Œ

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fie - bernd der

-

)

qual

bes

œ

3

∑

D & F 16114

fœ

-

œ

F

∑

-

#œ

˙o

die

n˙

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~crini # œœ npnœ b ˙˙ # œœ (# # Oœ) # œœ # ˙˙æ L @J J (

Œ

œ

f ∑

P Ó

œ J

nur

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‰

u˙ .

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fie -

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f

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bœ

Le

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Ó

f

und du

œ

die

j # œœ J

…

nœ

œ

‰

œ ˙ J

3

œ

crini pn

Œ

œ

œ

u˙ P Ó

˙

-

œ.

Ó

j bœ #O ˙ n˙ b ˙ (b Oœ) œ ( œ)˙ b ˙˙ J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~ crini st

‰

∑

y ‰ uœ . P

Œ

f

F ∑

œ

Œ

qual

P

…

mehr Ken

Œ

u ˙ .

Œ

˙

œ œ J

œ

œ

‰

uy œ p

die schrei

sie Kaum

Hohl

F

Œ

œ ˙ J

sind

&

œ.

(

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tbne

)

Œ

Granulation transposition S1 + S2 + Ct

∑

Ó

œ œ

f

gliss

14 ( )

±[C Ÿ ~~~~~~~~~~~~~ 3 œ & J #œ ˙ ( )

Cl 1 in si b

O R

#]

S

˙ ˙ Kw # w

&

B Cl 2

13/3

II

S2

ã Œ ? …

u ˙ .

& Œ

#˙

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f ∑

P

Lang

‰

Bar

Œ

… #œ J J

Te -

B

-

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‰

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rei

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-

-

-

Vl

Vla

&

#O.

#œ.

ff œ J -

-

& # ˙˙

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

ner

qua

mund

…

-

-

œ

-

Vlc I

Vlc 2

Db

Midi

? ˙ ? …

˙ …

#œ

œ

O.

#O.

?

˙

œ ff

œ

msp

-

-

-

len

se

Te

œ

œ.

msp sp

œ J ‰

œ. F

œ F

‰

œ J F

‰

œ ∑

Te

Œ

˙

ff˙

œ

œ

se

matt

sind

Te

fac

-

tae

-

-

œ J

die

#œ #œ

msp sp

œ

#O O #œ.

#œ

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… #œ

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glie

Ó

sp

œ.

ff poss

#O.

˙. #˙. œ œ

œ.

œ.

# O O # œ . œ . b œœ ‰ msp

•

II III

O.

msp sp

#œ

. O. #O

œ œ ‰ # œœ ..

œ œ

œ

msp

…

#˙

sp

˙ œ œ

#˙

#œ. œ.

…

œ œ

sp

•

˙. ff poss

•

#˙. ff poss

•

˙ ff poss

˙

∑

∑

∑

∑

∑

∑

D & F 16114

-

œ

sunt

ff ˙

#˙

‰

ff ˙.

œ

-

•

#œ

-

œ #œ. J

˙

-

œ

Œ

ff œ

œ J

#œ

Œ

˙

œ.

Œ

… … œ.

sp

O.

Œ

Œ

nur

bœ bœ bœ œ œ #œ œ œ ? @ @ @ œ n œ @ @ @ @ @ œ œ f 3 3 3

&

-

œ

der

- brae

O.

#œ

-

œ

˙

#O.

f

ff #˙

voll

#œ.

…

˙

-

#˙

œ

˙ …

œ

- ne -

die rei

œ

die

œ.

œ

k l œœ

Œ Ó ∑ œ Windgong w~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ∑ f scratch tone, rubbing the surface with a P irregulier simile wooden stick. Irregular (changing speed & presure) P f ∑ ∑ ∑

œ

œ J

˙

? œ.

Ó

#˙. F

˙˙ ˙

˙. F u˙ . P

Ó

f

œ #œ ˙. J J

mei

ru - fer

war

˙

œ œ J J

œ J

& ˙ V

œ P

#œ J

mund

T

Œ

war

Schat - ten

Ct

F1/B b 1

Ó

bœ

œ

˙ æ

˙˙ .. ˙.

Œ

l ˙˙ ..

Œ

ff Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ . #œ œ Ò œ. ‰ @J æ æ ff

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ æ œ ¬ œ b ˙O Œ @J æ ff voice

3

ã ˙ ?

w ff poss œœ œ

kl ˙˙ .. ˙. F

˙ .. ˙˙ . ff

˙ ˙˙

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Perc

S1

œ

? # Oœ .. l ‰ #O. Ÿæ ~~~~~~~~~~~~~~~ I

#w F

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~ œ. ( Kœ ) œ #œ J

F4/B b 4

Tbne

Gs

kw

w

œ & J

Trp in si b

Œ

#˙

± 15

sSS|HjL

&

Oboe

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µœ. ˙ ( # œ n œ) ˙ k œ .. ‰ µœ æ ff F l ww ww

Ÿ ~~~~~~~~~~~~~ #œ ˙.

sSS|hSS

61

-

-

-

-

ne -

-

-

w -

-

-

-

-

-

˙. ne

œ.

œ -

-

-

-

œ J

‰

-

-

œ.

brae

Œ

- der

˙.

Te -

-

#˙

˙

die

qual

˙

#˙

˙ ˙

œ œ J

œ

-

-

-

sp

˙ sp

#˙

œ. #œ.

. part of the string j on braided œ ‰ 2 j #˙ œ y y2 ‰ ˙ ff

•œ

. sp

˙ œ. #œ.

-

• œ œ œ

sp

j . œ 2j œ y ∑ ∑

15

µw k w & µw F l ˙˙ .. & #˙. ff

w ww ff l ˙˙ ..

65 Oboe

Cl 1 in si b

k l ˙˙

I Perc II

Ct

T

Bar

ff

˙. ff

Œ

Vla

Db

Midi

#œ F

˙.

œ ff

˙ F

ff

˙˙ ˙ ff ˙˙ ˙ ff

˙

ff

Œ

œ

˙˙ ˙

k l œœ .. ‰ œ. ff F

œ

F

Œ

ff

l œœ

Œ

µ˙. k ˙ .. µ˙ F

38 3 8

˙

˙ ff

3 8

F

ff

˙ F

ff

38 3 8

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 w w w w

Windgong

8 simile ff F ff F ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 w w w 8 ã w simile ff F ff F ã

& &

˙.

#œ

-

-

-

œ J

-

œ. -

Te -

-

-

? ˙

3

-

&

Ó

œ

-

-

-

&

•

œ .. œ

.

-

-

œ.

œ J

-

-

-

-

sp

œ. #œ.

œ J ˙

-

.

j y2

ne

-

˙.

j y2 ‰

sp

tae

sunt

œ J

-

-

œ

-

˙.

-

-

-

-

brae

#˙. ˙.

œ ˙ ˙

œ

œ J

.

#˙. ˙.

y2

sp

sp

sp

œ

sunt

-

œ J

œ.

• ˙

•

#œ œ J

˙

œ. #œ.

œ œ ‰

y2

œ #œ #œ. œ.

38

˙

- tae

sunt

˙

˙

- tae

Ó

38

˙

Œ

38

sunt

˙

˙

tae

#˙

-

œ

œ.

-

38

sunt

tae

˙

œ

# œ ..

#œ.

-

fac -

‰

#˙

Œ

tae

fac -

œ œ

•

-

brae

-

-

‰

˙

˙.

sp

-

œ

#˙

•

-

œ

˙

-

•

sp

•

œ .. œ j œ œ

#˙

-

-

˙

˙

-

#˙

-

˙

Œ

œœ

˙

? #˙

? 2 y

œ œ

#˙

? ˙

-

˙˙

œ

œ.

-

˙

#œ

( )

œ

#˙

#˙.

-

œ

fac

•

•

œ.

‰

œ

brae

? #˙

-

fac

œ J

- ne

˙ -

-

Œ

fac

œ

-

˙

Œ

˙

-

˙

brae

& ˙. V

˙

fac

˙ - ne

#œ.

‰

brae

•

Vlc 2

˙˙ ˙ ww w

Œ

scratch tone, rubbing the surface with a wooden stick. Irregular (changing speed & presure)

( )

Vlc I

Œ

˙. F

Te

Vl

F

œœ œ ff l k œœ œ F

˙.

˙

- ne

B

˙˙ ˙

Œ

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

?

Tbne

S2

˙

&

Trp in si b

#˙. F

˙˙ ˙ ff

& ˙

B Cl 2

S1

Œ

µ˙. k ˙ .. µ˙ F

38

sunt

#œ fac

-

œ

˙

tae

sunt

•

#˙

#˙

˙ œ J

38

œ .. œ

sp

˙˙

sp

˙ ˙

sp

38

•˙

38

•

38

˙

•

#˙

‰

#˙

˙

.

y2.

38 38

&

∑

∑

∑

∑

38

?

∑

∑

∑

∑

38

D & F 16114

16

Oboe

& 38

Trp in si b

I Perc II

Pno

S1

S2

Ct

T

Bar

B

Vlc I

Vlc 2

Db

Midi

∑

‰

& 38

∑

‰

& 38

∑

‰

& 38

∑

‰

?3 8

∑

~~ r ã 38 œ ≈ u r ~~ ã 38 œ ≈ u

‰ ‰

‰

‰ ‰

sffz R_ µœ k œ µœ f l œœ #œ f k l œœ œ f œ f œ

∑

& 38

∑

V 38

∑

?3 8

∑

?3 8

∑

‰

œ. œœ .. F œœ .. œ. F œœ .. œ. F œ. F œ.

p p p p

F

remove Chinese cymbal from timpani

p

∑ ∑

‰

‰ ‰

µFœ

2

Te

ffœ .

F œ

ffœ .

F œ

Te

Te

œ

#œ

J °

2

œ œ

nœ

∑

Granulation end

II III

III IV

∑

I II

∑ ‰

∑

/si/

‰

œ. œœ .. F œœ .. œ. F œœ .. œ. F œ. F œ.

C

Ef

œ

Chromax

f

F

∑

∑

‰

‰

#œ

‰

µffœ .

F nœ

ff œ.

F Bœ

Te

‰

ne

ffœ .

µFœ

ffœ .

µFœ

Te

F œ

Te

‰

ne

‰

ff ˜œ.

‰

2

∑

&

‰

#8K OO

# K OO

8

#œ

œ P2 F nJ OO

#œ

J °

2

œ œ

nœ

#œ

‰

#œ

œ 2 P F # OO œœ P2F

œ

∑

‰

P

&

∑

P # OO

∑

∑

∑ ‰

‰

∑

‰

fœ .

P œ

f B œ.

P œ

brae

P œ

f œ.

‰

µfœ .

P œ

µfœ .

P œ

f œ.

P œ

ne

‰

brae

‰

Te

‰

2

‰

Te

∑

D & F 16114

III IV

KO ? O #œ œ 2 P F Jn OO

I II

bœ P2 F

# OO

‰

#O

O P 8 Jn OO

&

œ

∑

œ

P

j b œœ2œ P #œ

2

J œ °

nœ

#œ

#œ

‰ ‰ ‰ ‰ ‰ ‰

ne

∑

P n J OO

œ. œœ .. P œœ .. œ. P œœ .. œ. P œ. P œ.

∑

r œœ2œ ≈ ‰

2j b œœœ

F nœ

ff #œ.

‰

∑

Gs

∑

ne

∑

∑

& 38 œ

≈ ‰

∑

‰

F ˜œ

ff #œ.

∑

‰

œ

Te

?3 8

‰

.> ≈ ‰ _ sffz R #œ B ‰ b œœ F S Kœ Lœ ‰ Kœ S F # œœ ‰ œ F œ ‰ F bœ ‰ F 

∑

l

F µœ

Te

?3 8

‰

Ÿ~~~~~~~~~~~~~~~~~~~~~ r ≈ ‰ j

F œ

ff œ.

∑

‰

∑

ff œ.

% = 112

‰

sffz R_ µœ k œ µœ f l œœ #œ f k l œœ œ f œ f bœ

∑

remove Chinese cymbal from timpani

Te

& 38

?3 8

∑

f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ?3 r ≈ ‰ 8 œ. l œ F t 3 #œ # œ ‰ ∑ ‰ 8 œœ nœ J ° ff #œ. 3 ∑ &8

?3 8

≈ ‰

.>

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tbne

‰



/si/

.>

sSS|HSl

B Cl 2

∑



/si/

SSS|HSS

Cl 1 in si b

% = 112

sSS|HSl

B Fl

& 38

69

# œœ P2 F ‰ œ

∑

∑

? II III

∑

P # OO P

II III

I II

∑

œ

∑

‰

#K8OO p Jn OO p OO p

œ

2

#K OO RÔ

8

œ bœ P

p Jn OO

œ

2

2

bœ P

p OO

# œœ

P ∑

‰

p

76 B Fl

Trp in si b

& ‰ ? ‰ ?

Pno

S1

S2

Ct

t & &

F Kœ Lœ Kœ F # œœ œ F

(°) f œ.

F ‰

‰

∑

Bar

f B œ.

f µœ.

f µ œ ? .

&

∑

Vla

&

∑

Vlc 2

Db

Midi

& & #œ ?

III IV

∑

&

III IV

∑

II III

∑

∑

‰

KO O

p Jn OO p

2

#œ œ bœ J œ œ

°

œ

‰

F

‰

Bœ P # œœ

œ P

∑

œ. œœ .. p œœ .. œ. p œœ .. œ. p

‰ ‰ S

‰

E

s

‰ ‰

œ. p œ.

œ P œ

‰

∑

R

j œ

P

œ. œ. p œ. œ. p

lœ

œ

#œ

j Lœ œ

P

‰

p œ

F œ. fac

‰

tae

‰

p

P

‰

‰

8

F œ.

œ œ bœ œ œ J 2

#œ œ bœ J œ œ

°

p œ

‰

p nœ

F ˜œ. fac

fac

∑

∑

∑

∑

∑

∑

bow

r œ ≈ ‰ œ

œ P

KO

p

~~~~~~~~~~~~~~~~~~~~~~~~~ r

#œ

œ P

p

œ ≈ ‰ œ

∑

‰

p

O ? #œ p œ

‰

#œ

∑

Jn OO p

~~~~~~~~~~~~~~~~~~~~~~~~~ r

bow

œ ≈ ‰ œ

nœ

œ

2

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

bow

# OO ? b œœ p 2

∑

# OO

b œœ P

KO

∑

O

‰

#œ

D & F 16114

∑

œœ ≈ ‰ R

‰

#œ

∑

‰

&

‰

P œ.

sunt

P. œ

sunt

2

sunt

‰ B

‰

st

# œœ p st b œœ

p

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

bow

O ? #œ œ p Jn OO bow

œ. œ. P

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

‰ ‰

KO

∑

P #œ.

‰

∑

&

pp

P œ.

‰

tae

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

œ pp œ

P #œ.

‰

∑

2

pp

sunt

p œ

F œ.

#œ

sunt

‰

p #œ

F µ œ.

sunt

œ pp

sunt

p nœ

F ˜ œ.

œ pp

P œ.

‰

p œ

F #œ.

P œ

œ pp

∑

2

‰

tae

‰

‰

∑

bow

2

‰

‰

œ. p œ.

œ P œ

sunt

p œ

tae

µFœ .

œ

‰

∑

? #œ

2

‰

p œ

fac

2

‰

p #œ

F ˜œ.

‰

°

p ˜œ

F œ.

‰

#œ œ bœ J œ œ

‰

œ. p

∑

2

‰

p

µœ P

r ≈ ‰ 2 œœœ

2j b œœœ p

p œ

F œ.

tae

‰

‰

2

‰

fac

‰

‰

p

P

F µ œ.

‰

# OO

p #œ

œ

l

P œ

Vl

?

œ

Pœ

f ? œ.

kœ K œœ P K j œœ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ r ≈ ‰ j

P ˜œ

fac

?

2

P œ

fac

fac

Vlc I

‰

P µœ

fac

B

‰

P œ

fac

Ef

‰

‰

f & œ. V

‰

P

fac

T

S

œ. P œ.

œ F bœ

r ≈ ‰ b œœœ

‰

œ J

œœ . .

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tbne

œ. œœ .. P œœ .. œ. P œœ .. œ. P

‰

SSS|HSS

B Cl 2

& ‰

f

∑

oo

#œ # œ ( #O ) P SSS|HjL

& ‰

#œ B b œœ

‰



SSS|HSS

Cl 1 in si b

& ‰

œ J



jw

SdS|HjL

Oboe

& ‰

jw

17

œ .. œ p 2 bow P ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ .. # OO ? b œœ œ œ

&

p

œ

P

2

∑

‰

œ

∑

‰

18 83 B Fl

œ.

∑

‰

∑

‰

∑

‰

∑

‰

∑

‰

∑

‰

o r œ ≈

‰

& œ.

o r œ ≈

P œ.

‰

& #œ.

r ≈ œ

‰

œ. V

≈

‰

&

Oboe

& œ.

Cl 1 in si b

& œ.

B Cl 2

Tbne

S1

S2

Ct

T

Bar

B

Vl

Vla

P P

#œ.

P

& œ. ?

P

œ.

P

& œ.

?

o

o œ R o œ R

#œ.

o œ R

œ. ?

u

u

B b œœ .. ? #œ. œ. pp

P

? œ. œ. pp

non vibrato

Vlc 2

? b œœ .. pp

non vibrato

Db

Midi

su

P P

&

∑

?

∑

‰

P #œ.

‰

su

pp

P

b ‘æ pp

ã

‰

ã

‰

≈

P

g-flz

æ ‘ pp

‰

P

fl .

œ pp

‰

≈

‰

‰

≈

‰

‰

&

‰

2

&

2

Chromax end

-

su

P œ.

-

su

-

-

-

-

-

œY.

-

-

-

œY.

-

# OO J F

?

P

-

-

-

-

-

-

≈

P

g-flz

æ ‘ pp

‘æ pp

g-flz

&

≈

?

≈

j fl . pp fl . J pp

P

-

-

-

-

-

œ. Y

-

-

œ. Y

-

-

-

Ϸ.

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

-

-

-

-

-

-

-

-

-

-

-

-

. ∑œ . ∑œ

-

-

œ J P

j œ P (ord) œ J P

-

-

-

-

-

-

-

œY

-

-

-

-

-

-

-

-

-

-

-

-

-

œ Y

-

-

-

-

-

-

∑

‰

œ .. œ .. œ œ p P bow ~~~~~~~~~~~~~~~~~~~~~~~~ œœ .. b œœ ..

st, l+c

#œ

œ

‰

œ œ

‰

b œœ

st, l+c

‰

P P P

#œ

œ œ œ

‰

b œœ

cl

-

-

j œ -

œ J œ J

œ

-

œ

-

-

un

-

-

-

uh

-

-

-

un

-

-

-

p y J

uh

-

-

-

un

-

-

-

p y J

uh

-

œ -

-

ã ã

P P P

ã

ã ã

toneless on bridge

‰

toneless on bridge

‰

toneless on bridge

‰

toneless on bridge

‰

toneless on bridge

‰



œ



œ



œ



œ



œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

D & F 16114

p j y

-

œ -

g-flz

-

œ -

g-flz

j ‘@ pp

ã

œ

∑

‰

cl

-

∑

∑

cl

-

œ J

j ‘@ pp

ã

œ

j œ

-

j @ ‘ pp

g-flz

œ

j œ

-

j @ ‘ pp

g-flz

œ

(ord)

-

j b ‘@ pp

g-flz

œ

(ord)

œ Y

œ. œ. P

P

œY

j œ P

œ Y

st, l+c

p

-

P

j ‘@ pp

œ

(ord)

œY

∑

bow

#œ. œ. p

Ϸ.

-

∑

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

‰

-

Ϸ.

‘æ pp

g-flz

(ord)

j fl . pp



g-flz

œ

j œ P

j fl . pp

≈

P

œ J P

(ord)

# fl . J pp

. ∑œ

bow

F

-

œ. Y

∑

?

∑

-

-

œY.

∑

KO O J F Jn OO J

œ

-

P #œ.

‰

sp

pp

P. œ

‰

sp

fl .

œ

-

su

2

‰

P œ.

‰

su

b œœ œœ .. R J P f P msp

non vibrato

Vlc I

‰

r j # œœ œœ .. P f P msp

& # œœ ..

fl .

#œ

g-flz

‰

P

≈ Jfl . P pp

‘æ pp

‰

P

fl .

œ pp

‰

P

fl .

œ pp

r

g-flz

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Trp in si b

&

P

fl .

œ pp

p j y p j y

p y J

90 B Fl

& @j ‘

Oboe

& @j b‘

Cl 1 in si b

& @j ‘

œ p

œ P

o

œ p

œ P

o

gr

gr

gr

œ p

œ P

& @j # œ ‘ p

œ P

gr

B Cl 2

Trp in si b

ã

j ‘@

gr

&œ

œ P œ

p gr œ

?

p

? Pno

o

P

∑

t

∑

o

j _

‰ ‰ ‰

‰

‰

‰

‰

‰

ã

r3 Ÿ~~~~ j fl@(#fl nfl ) ≈ 8; P P



r _ F

≈

/i/

∑

# _@ _@ _@ @ @ @ ‰ _ _ _ P g-flz ‰ j @ _ P 6

-[1]

∑

‰

/f/

_ o

‰

r 8∑ fl

o

fl> ( O) R

∑

b fl fl fl b fl b fl @ @ @ @ @

≈

‰

≈

o

∑

∑

∑

∑

ã

r

/si/

/u/ 6

r ≈ ; ∑ b_ _ b_ _ _ 8 8 _ O P 8 "f " F ∑ trm

5

3

+

-[1]

r œ bœ œ bœ œ œ œ œ œ œ œ bn œ œ œ œ œ bœ bœ œ œ œ P ± O b bR p p P P Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p ‰ ‰ j j @j @j fl fl _ _ p P P o g-flz ∑ ‰ & _æ o F 10

slap

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

Tbne

ã

j ‘@

o

r

/f/

19 

10

‰ o

_æ F

/f/

g-flz

_ o

∑

rubbing strings lengthwise in the lower register with a felt covered wood rod. Graph describes the movements of the rod.

∑

p

F r …

j ––– –

p

?

∑ ≈

‰

senza ped

S1

& yj -

S2

& yj -

Ct

& # yj -

T

V yJ -

Bar

? # yJ -

B

? yJ -

Vl

Vla

Vlc I

Vlc 2

Db

Midi

ã œj P ã ã ã ã &

?

j œ P j œ P j œ P j œ P

-

-

-

Ϸ u

-

Ϸ u

-

-

Ϸ u

Ϸ -

Ϸ

-

-

-

Ϸ

-

-

∑œ -

-

-

∑œ

u

-

∑œ u

-

-

∑œ u

-

-

‰

‰ o

‰

‰ o

‰

‰ o

‰

‰ o

‰

∑

-

∑œ

-

‰ o

∑

-

∑œ

-

& III

B

?

?

?

st l+c

œ

st l+c

#œ

st l+c

#œ

œ

st l+c

œ œ

st l+c

b œœ

œ

j œ

-

j œ

-

j œ

-

œ J

-

œ J

-

œ J

-

-

-

-

-

-

-

P

P P P

P

∑

œ.

-

œ.

-

œ.

-

œ.

-

-

-

œ.

-

œ.

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

j y

-

-

uh

j y

uh

-

-

j y

-

-

uh

y J

uh

-

-

y J

uh

-

-

y J

∑

ã

‰

∑

ã

‰

∑

ã

‰

∑

ã

‰

∑

ã

œ

‰

F F F F F

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

p

p

p



œ



œ



œ



œ



œ

F

F F F F

∑

D & F 16114

4

r y

r œ

es

j y.

œ

œ

eh

r y

es

eh

r y

es

p

j y

es

r # Ϸ

es

r Ϸ

5

es

es

j Ϸ .

j y 8

œ œ ∑R R yj es

es

es

eh

eh

eh

r r # Ϸj y y

7

j y

es

es

&

∑

‰

B

∑

‰

?

∑

‰

?

∑

‰

?

∑

j Ϸ

Sussurrato  Granulation Inhaling  Frequency Shier L-Breathy  Filter

∑

œ

r y

eh

es

gibt

‰

‰

œ

∑

es

eh

p

j Ϸ

j y

p

uh

-

‰

‰

F

Breathty  Spectral Delay Constrained  Convolution

‰

œ ∑R

es

20

r

95 B Fl

Cl 1 in si b

& ‰

& @j _

Trp in si b

&

Pno

S1

∑

?

p r …

∑ F p r …

#œ

#œ

t ≈

B

≈

≈

4

j y

V œ #œ

ih

? ≈

r #œ

r y

? œ

r …

‰

‰

r # Ϸ

œ es

7

œ

≈

p F r …

‰

‰

es

r y

4

r œ p

œ

j y

r y

≈

≈

gibt

‰

oh

r #œ es

∑

œ

r …

≈

‰

‰

4

#œ

so

j y

so

oh

r y

eh

eh

r y

8 ∑j œ

#œ nœ

œ #œ

gibt

‰

D & F 16114

ban

œ #œ 7

nœ

-

œ

r ∑ #œ

r y

oh

r #œ

+

≈

ban - ge

-[1]

œ

5

5

œ #œ œ œ nœ œ #œ œ œ #œ P

‰

bucket mute

œ o

pp center

‰

r F

r

≈

edge

≈

∑

p P ~~~~~~~~~~~~~~~~~~~~~~~ …æ

j y

œ

eh

œ

es

r y

‰

‰

#œ

r # Ϸ

4

gibt

so

≈

5

œ

œ bœ

ban

-

#œ

ge

j y

‰

j Ϸ

≈

8

ge

j y

œ ∑J

j y

ban

∑

oh

-

œ

r y

so

oh

œ R

7

bœ R

ban - ge

j y

j y

ge

eh

∑ ‰

r ‰ 8 F

trm

10

-[ b n ]

so

nœ

≈

r œ œ œ œ œ œ bœ bœ œ œ œ P p p P

ge

gibt

so

œ

b œ # œr

œ

es

≈

≈

oh

so

r y

#œ

gibt

5

ih

7

j y

œ

nœ

‰.

∑ ‰

∑

j œ.

gibt

r œ y ∑

≈

P

es

j Ϸ

8

es

nœ

≈

j œ

gibt

‰

;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

p r …

/a/

j bœ

. . . . .. ..

Ϸ

eh

nœ

gibt

j y

j bœ

so

5

nœ

#œ

œ

+

bœ. p

j y

gibt

8

/f/

≈

≈

r _ "f "

; ∑ b_ _ b_ _ _ 8 8 _ _j P "f "

∑

∑

∑j œ

≈

#œ

ih

? œ ∑R

p j …

es

œ

/u/ 6

3

±[ b n ]

5

5

gibt

5

so

Midi

r #œ P

∑

œ

& ‰

&

bn

O b bR

≈

r O 8 F



/si/

Ÿ~~~~~~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~ 5 5 j j j fl fl fl # fl n fl fl fl fl fl b fl . # fl p . . . fl. # fl. # fl. n fl. . . ( ) P

+

±

± [1]

Rubbing timpani with so brush graph describes motion on the membrane. Always dampening resonance with the brush at the end

gibt

gibt

Bar

≈

trm

∑

gibt

r y

& n œr

-[b b]

5

es

T

≈

/i/

r

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ j j ≈ fl. fl. # fl. fl fl fl # fl fl n fl. # fl. n œ # œ œ b œ n œ œ # œ œ œ # œ fl@ fl@ . . . . . p P p P

gibt

Ct

r _ F

j _ /f/

≈

5

?

es

S2

# _@ _@ _@ @ @ @ ‰ ___ P 6

∑

& œ

≈

Ÿj~~~~~~ fl@(#fl nfl ) P



lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

B Cl 2

Perc I

; ∑ r 8 8 fl

b fl & @ fl fl b fl fl ≈ @ @ @ @ P 5

3

r

‰

r y

ge

99

r /si/



& _ _ b _ _ b _ _ b _ _ _ _ # _ n _ _ _ ≈ 8; 8∑ flr _ P P "f "

B Fl

3

& ‰

Cl 1 in si b

6

. . . . .. .. bn

B Cl 2

O b bR Ÿ~~~~~~~~~~~~~~~~~~~~~~~

ã

Tbne

I Perc

II

o

bucket mute /f/

_ P

?

∑

? ‰

bœ p

≈

& # œj

‰

Bar

oh

B

Midi

? ‰

& ? œ

≈

‰

œ. o

#œ

-

r œ

8

œ

bœ

#œ

ban -

-

#œ R

7

ban - ge

r F

r

bœ

r œ

r y

ge

ge

ge

r # Ϸ

≈

so

nœ

ban - ge

zei

∑ ‰

∑

zeit

nœ ∑J

‰

œ

r y

-

-

- ten

œ

∑

≈

≈

7

#œ

ban

-

ge

so

-

œ

#œ bœ

œ nœ

- ge

ge

y

‰.

ge

#œ zei -

∑ ‰

D & F 16114

#œ -

j y

7

eh

r y

- ten

#œ

≈

5

_ _ _ _ _ P. . . . p. o

‰

ã

j _ p /s/

‰

≈

r r … … ≈ F

‰

r …

p~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ P …æ.

‰ ‰

∑œj . 5

j y

so

‰

8

oh

j y

zei

œ #œ œ nœ

ban -

œ # œ # œJ

eh

-

7

ten

ih

ban

∑

-

-

≈ yr yr

œ #œ

ge

zei

∑ ‰

œ

-

zei - ten

r y # œ # œ n œJ

ten

r Ϸ

so

j Ϸ .

∑j #œ .

r # Ϸ

4

ban - ge

∑

j y

/f/

so

r y

8

r j œ bœ p p. . . . .. ..P

∑ œ.

r œ

zei

œ ≈

-

+

∑

F r …

4

œ

ban -

j œ

j y

œ r # œ∑

‰

≈

ih

≈

p j …

#œ

oh

r y

8

j fl

r j # œ # fl P

‰

… P

∑

r y

5

so

r œ

… p

bn

O b bR

+ Ÿ~~~~~~~~ Ÿ~~~~~~~~ ±

± [1]

œ J

gibt

4

/i/

;;;;;;;;;;;;;;;;;;;;;;;;;;;; j

j y

#œ

œ

eh

j y

#œ R

_ P

‰

p P p ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ …æ

‰.

j œ

œ

valve trill

œ.

ten

- ge

r #œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~

j _

center

edge

≈

±[ b n ]

5

5

p

≈

‰

-

≈

nœ

- ten

j _ p /s/

ã

j _

Ÿ~~~~~~~~~~~~~~~~~~~~ j j ≈ œ œ@ n œ # œ œ b œ n œ œ # œ œ # œ fl@ p P P -[ b b ]

pp

‰

œ

ban

œ

nœ

so

r …

r …

≈

4

Ÿ~~~~~~ j

5

∑

‰

5

? œ ∑J

‰

Ÿ~~~~~~~~ r ≈ @j fl (#flnfl ) _ P F 

∑

fl fl fl # fl fl n fl fl fl b fl p. . . . fl. # fl. # fl. n fl. . . ( ) P

P

∑

P

r y

zei -

T

æ _p

r

/f/

‰

5

g-flz

gibt

& # Ϸr

V ≈

?

;;;;;;;;;;;;;;;;;;;;;;;;

∑

t ‰

&

‰

o

?

Ct

P

10

‰

; ∑ r ≈ 8 8 fl 3

lle rtie ts pa cerp me ex mê as ite ven erd e int den pie bid co for oto on Ph cti --- du nd pro ura --re sD dion ran dit Du s E ns de ditio té rié of E op Pr erty op Pr

& œ. p

Trp in si b

S2

-[1]

Kr ® j & # _. _ fl . b _ . . _. _ p . # _. p P ±

5

O R

( )

j bœ .

r

b fl fl fl b fl b fl b fl fl fl b fl fl ≈ @ @ @ @ @ @ @ @ @ @ 5 P 5 j j ‰ œ œ o

‰ # _@ _@ _@ @ @ @ œ _ _ _ œ œ œ œ bœ bœ œ œ œ P F p

j p œ

(t,k clearly audible) t k t k t k t

S1

r œ pp

∑

&

Oboe

Pno

o

fl>

r

/u/

15:12

21

‰

-

22

r

r _ F

B Fl

/f/

≈

/i/

∑

&

Oboe

& ‰

Cl 1 in si b

Perc II

. . . . .. ..

∑

/s/

≈

‰

œ. o

pp

.. ..

. . . . .. ..

∑

~~~~~~~~~~~~~~~~~~~~~~ j

∑

t …@

‰

& ‰

j y

j y

oh

oh

j y

5

eh

œ

? œ R

j y

? œ

ban

± 5

r # _@ _@ @ @ @ @ _ _ n_ #œ _ P F

≈ bn

ban

≈

nœ

-

j y

ge

oh

≈

œ

ban

-

7

j # Ϸ

#œ R

ge

r y

Es

-

r #œ

j Ϸ

r nœ

ge

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