Simon Løffler: (.....) (2008)

Simon Løffler (.....) (2008) for violin, bass clarinet, double bass, and any deep pitched percussion instrument Dur. 6′30″

Commissioned by ensemble Contemporánea

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Simon Løffler (.....) (2008) for violin, bass clarinet, double bass, and any deep pitched percussion instrument Dur. 6′30″

Performance notes

Performance notes Performance notes PERFORMANCE NOTES

Strings Strings

Strings

Strings

œ

The 4th string of is to be down 5th: œœ5th: The string of the is tocontrabass be tuned down 5th:tuned The 4th string of the the contrabass isbe toatuned be tuned down II. aaa5th: The4th 4th string ofcontrabass the double bass is to down I.

III. IV.

œ

I.I. II. II. III. III. IV. IV.

œœ œœ œœ

The score is The transposed accordingly, soaccordingly, the contrabassso part notated as itpart is played, and everything score is transposed the notated as played, and everything score transposed accordingly, so theiscontrabass contrabass part isnotated notated asasitit itis isis played, andand everything The scoreThe is transposed accordingly, contrabass part isis played, the musician plays on theis4th string aso fiththe lower. the musician plays onwill thesound 4th string will sound a fith lower.

musician plays on the sound fith lower. everythingthethe musician plays on4th thestring 4th will string willasound a fifth lower.

!

! ¥¥ ! #¥ The natural harmonics written for the contrabass, such# #as: ## # ¥¥ is to be be played as such even though no natural harmonic J The naural harmonics written for the contrabass, such as: & JJ istopresent at the notated pitch.

They arethealways played as: The harmonics written for is be be played as such even though no natural & The naural naural harmonics written for harmonic the contrabass, contrabass, such such as: & is present at is the pitch.

They are always played overpressure and with different forms of be played as even no natural harmonic with overpressure with different forms of is to tonotated be be beand played as such such even though thoughwith noglissandi natural harmonic glissandi which are explained below. is present at the notated pitch.

They are always played which areisexplained present at below. the notated pitch. They are always played with with overpressure overpressure and and with with different different forms forms of of glissandi glissandi which which are are explained explained below. below.

œ J œ J

œœ J

¥¥ J

œ J

œœ J

¥ J

œœ J

œ J

œœ J ¥J

j œ

j œ

œœ J

j œ œ

¥¥ J

¥¥ overpressure. œœœ overpressure. ¥ Extremely Extremely quick quick and and short short glissando glissando upwards upwards in in combination combination with with JœJ JJ overpressure. overpressure. œœ JJ

JJ

Extremely Extremely quick quick and and short short glissando glissando downwards downwards in in combination combination with with overpressure. overpressure.

Extremely quick glissando up-down-up, in with combination with Extremely quick andand shortshort glissando up-down-up, in combination overpressure. # ¥ overpressure. # #¥

œœœ # ¥ JJ JœJ

œœ JJ

Extremely Extremely quick quick and and short short glissando glissando up-down-up, up-down-up, in in combination combination with with overpressure. overpressure.

Extremely quick and short glissando down-up-down, in combination with

¥¥œœœ œ j JJJ# # ¥¥

œœj JJ¥¥ œjj œ œœ JJ

Overpressure.

Overpressure. Halfways Halfways between between noise noise and and pitch. pitch.

Extremely quick andand shortshort glissando downwards in combination Extremely quick glissando downwards in with combination with ¥ overpressure. ¥ overpressure. œœ ¥

œ

# # ¥¥ J

Overpressure. Halfways between noise and pitch.and pitch.

Overpressure.

Halfway between noise

Extremely quick andand shortshort glissando upwards in combination with Extremely quick glissando upwards in combination with

# J¥¥œJ # œœ J J

œ J

œ J

œœ JJ

j œœj

Extremely quick and short glissando down-up-down, in combination overpressure. with # ¥ overpressure.

## # ¥¥ JJ

Extremely Extremely quick quick and and short short glissando glissando down-up-down, down-up-down, in in combination combination with with

overpressure.

Extremely quick glissando downwards. overpressure.

Extremely quick glissando downwards.

¥¥ œœœ ¥ # ¥jj j J # # ¥¥ Extremely quick glissando downwards.

Extremely quickdownwards glissando œœj J # ¥ quick JœJ Extremely Extremely glissando, downwards and up.downwards. quick glissando, and up. œ œ

¥¥ ¥ JJ

j ¥¥j ¥¥

Extremely Extremely quick quick glissando, glissando, downwards downwards and and up. up.

Mœ J Mœ J M œ J L KJlkj

L KJlkj L KJlkj

Mordent trill. ALWAYS downwards, ALWAYS chromatic, and ALWAYS as fast as possible regardless of the notated duration.

Mordent trill.trill.

ALWAYS downwards, ALWAYS chromatic, and ALWAYS as fast as fast as Mordent ALWAYS downwards, ALWAYS chromatic, and ALWAYS Contrabass: When itofoccurs on theduration.

4th string of the contrabass, possible regardless the notated possible regardless of the notated duration.than a minor second and need not be fixed, the interval will necesarrilly be smaller Mordent trill.

ALWAYS downwards, ALWAYS chromatic, and ALWAYS as fast as the actualregardless size depending thethe natural rangeofofthe thecontrabass, musicians fingers.

Contrabass: When itofoccurs on 4th string possible the of notated duration.

Contrabass: When it occurs on the 4th string of the contrabass, theneed interval the interval will necesarrilly be smaller than a minor second and not will be fixed, Violin: When employed in the higest register of the violin, the interval need not be the actual size depending of the natural range of the musicians fingers.

Contrabass: When it occurs on the 4th string of the contrabass, necesarrilly be smaller than a minor second and need not be fixed, the actual exactly a minor second.

Lessbe than a major second is however prefered. thedepending interval will necesarrilly smaller than a minor second and need not be fixed, size of the natural range of the musicians fingers.

Violin: When register the interval the actual sizeemployed dependinginofthe thehigest natural rangeof ofthe theviolin, musicians fingers. need not be exactly a minor second. Less than a major second is however prefered.

Quartertones Violin: When employed in the higest register of the violin, the interval needneed not not be Violin: When employed in the higest register of the violin, the interval exactly beQuartertones exactlyaaminor minor second. second.Less Less than than aa major major second secondisis however however prefered.

Microtones. Smaller than a quartertone but of undefinable size.

Quartertones Quartertones Microtones. Smaller than a quartertone but of undefinable size.

Microtones.

Smaller than a quartertone butbut of of undefinable size.

Microtones.

Smaller than a quartertone undefinable size.

Bass Clarinet

#! n! b! "!

J J J J #! n! b! "!

J J J J #! n! b! "!

J J J J !

J !

MJœ!

J MœJ Jœ M J

Bass Clarinet Bass Clarinet bass clarinet is notated in Bb in the score.

In the treble it sounds a ninth below TheThe bass clarinet is notated in Bb in the score.

In the treble clefclef it sounds a ninth the notated pitch, in the bass clef a major second.

Clarinet below the notated pitch, inBass the bass clef a major second.

The bass clarinet is notated in Bb in the score. In the treble clef it sounds a ninth below the notated pitch, in the bass clef a major second.

Teeth reed.

Placeisthe teeth lightly onthe thescore. reed, instead of theclef theitlower lip aasninth below Theon bass clarinet inlightly Bb in In instead the treble sounds Teeth on reed.

Placenotated the teeth on the reed, of the the lower lip as in the notated pitch, in the bass clef a major second. in normal high-pitched sound.

Changes of pitch cancan be normal playing. playing.The Theresult resultisisa athin a thin high-pitched sound.

Changes of pitch beTeeth madeon bysliding sliding theteeth teeth overlightly thereeds reeds surface, orby byaltering altering the pressure madeby the over the reed.

Place the teeth on surface, the reed,orinstead of thethe thepressure lower liponasit.in The accidentals designate up and down movement but the exact intervals onnormal it. The accidentals movement but Changes the exactofintervals playing. Thedesignate result is aupa and thin down high-pitched sound. pitch can be are notonspecified. madeby sliding the teeth over the reeds surface, or by altering the pressure onasit.in Teeth reed.

Place the teeth lightly on the reed, instead of the the lower lip are not specified.

The accidentals down movement sound. but the Changes exact intervals normal playing. designate The resultup is and a a thin high-pitched of pitch can be are not specified. madeby sliding the teeth over the reeds surface, or by altering the pressure on it.

Teeth on reed with a short downwards glissando quick possible.

Teeth reed with a short downwards glissando as as quick as as possible.

Theon accidentals designate up and down movement but the exact intervals are not specified.

Teeth on reed with a short downwards glissando as quick as possible.

Teeth on reed with a short downwardsALWAYS glissandochromatic, as quick asand possible.

Mordent ALWAYS downwards, ALWAYS as fast as Mordent trill.trill.

ALWAYS downwards, ALWAYS chromatic, and ALWAYS as fast as possible regardless of the notated duration. possible regardless of the notated duration.

Mordent trill. ALWAYS downwards, ALWAYS chromatic, and ALWAYS as fast as possible regardless of the notated duration.

Percussion Mordent trill. ALWAYS downwards, ALWAYS chromatic, and ALWAYS as fast as possible regardless of thecan notated duration.

The percussion instrument be any object with a low-pitched timbre.

Percussion For the first performance, a standard packing case of cardboard was used.

Percussion The percussion instrument can be any object with a low-pitched timbre.

A microphone was placed inside.

Percussion For the first performance, standard case aoflow-pitched cardboard was used. A microphone The percussion instrumentacan be anypacking object with timbre. was placed inside.

A gran cassa has also worked well.

For first performance, standard case of cardboard was used. A microphone Thethe percussion instrumenta can be anypacking object with a low-pitched timbre.

A grand casa has also worked well. was placed inside.

For the first performance, a standard packing case of cardboard was used. A microphone A grand casainside. has also worked well. was placed

A grand casa has also worked well.

(.....)

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B. Cl. (Bb)

j nœ p

(q )

& œ (q' ) (# ‰ J ‰‰ J 3 p & œœ œ J œj ‰ Œ ‰ J p

Vln.

Cb.

Perc.

(q )

j # œœ

(q )

5 4

p

(q )

$

‹# ‰ & J ‰ Œ

#‹ # ‰ J ‰ Œ

3

&--> # œ # œ

& ‰

p

J

'

(q )

3

j # œœ

Ï

‰

œœ J p

? j ‰ Œ k œœ

j k œœ ‰

ã

$

'

(q )

Œ

˙

j œ

p

Ï

' J

(e ) j # œœ

‰

Ï

‰

# œœ

Œ

Ï

J

(e )

œ

$

Ï

7

œ p

j k œœ ‰ Ï

' J

(e ) j n œœ

(q )

7 8

?

3

7 8 7 8 7 8

Ï

‰

˙˙

p

'

## J ‰ ‰ Œ

3

(e )

p

j j‰

(q )

?

loco

œ

p

j ' #œ p

&

œœ ‰ J p Î

3

&

j œœ

# ‰ J ‰ Œ

j # œœ

7 4 ã 8 ‰ œœœ!œœœ!‰œœœ!‰œœœ! 4 p F 3

Ï "

## ! J!Œ

$

$

$

3

Ï

b# n#

Œ

5 4

4 4

$

j bœ

œ œ œ nœ ‰ ‰ J œj ‰ J ‰ Ï Ï &¥ ¥¥ j ¥ j · (e ) · # ¥ 5 j j‰ ‰ J # ¥ Œ J ! Œ !

4 #œ & Ï Ï

Œ

M 4 ‰ œj 4 F &---œœ > (w ) J 4 4

o

'

(q )

& œ.

5 #œ.

4 p

q = 130

Œ

74

B. Cl. (Bb)

Œ

$

7 &8 Ó

3

Perc.

œ

Ï

(e )

M j ‰œ

7 &8

(q )

Ï

j j‰ ‰ œ œ J o Ï

(q )

j #œ

M j nœ

j œ

(q )

(q )

3

'

j # œœ

(q )

Ï

‰ j b b œœ

Œ

Ï & ¥ ¥ J jŒ &

Ï

j # œœ

Ï

Œ

$

‰ Œ

#œ

‰

'

(q )

j k œœ ‰

Œ

j bœ

Ï

œœ J p

Ï

$

b #3 n #

Ï "

j #¥ # ¥

‰

Œ nœ J Ï

j œ

‰

# # ¥¥ ‰ ‰ J 3

Ï

# !J! Ï

& Œ

77

B. Cl. (Bb)

Vln.

Cb.

(") œ œ J j ‰ œ œœ # # œœ œœ & œ Ï (&) ¥¥ ¥¥ # # ¥¥ j J ‰ ‰ J # # ¥¥ ‰ ‰ J & ‰‰ 3

Perc.

# !J!

3

3

? 4 .. Ó 4

Œ

4 & 4 ..k ˙ . b˙. Ï

4 & 4 ..k ˙ . b˙. Ï 4 ã 4 .. Ó

4 &4

83

B. Cl. (Bb)

Vln.

¥¥ ‰‰J

(&)

& 44

q = 130

Œ

$

(w )

&

Ï

Cb.

& 44

$

Perc.

ã 44

$

?

?

œ œ œ œ j #¥ # ¥

3

¥¥ ‰‰J

j a· a ·

3

2 4

..

M 5 ‰ #œ 8 p 5 8

$

5 8

$ 3

.. k b ww Ï

3

˙

j bœ

p

Ï "

Ó j k œœ ‰ Ï

Œ

&

‰

œœ J Ï

&

(q )

p

Œ

¥¥ j ¥ ¥ J ! ! Œ Ï

$

3

2 4 Œ

M ‰ œj f & œœ ‰ J

2 4

$

&

4 4 4 4

o

4 4

j bœ

‰ #œ # œ J

¥¥ ! J

bœ J

(q )

p

3

j œ

Ï

‰

Œ

‰ œ œ J ¥¥ J

j ¥ ¥

! Π$

8

4 4 4 4

3

Ï

‰

4 4

2 4 4 ‰ œœœ! ‰ œ œœ! 4 f F

$ nœ J

M ‰ œj F

3

M 2 ‰ j 4 bœ F

$

.. k b ww Ï

M nœ

5 4 8 ‰ œœœ!œœœ!‰œœœ! 4 p F

$

œ œ œ ! ..

F

‰

j # œœ

! Œ

¥¥ 2 J 4 ‰ ‰

j #¥ a ¥

3

Œ

loco

Perc.

œ 2 œ # # œœ 4

Œ

loco

Cb.

œ œ œ œ

M ‰ b œj F

D

Vln.

2 ! #J 4

$

ã

80

B. Cl. (Bb)

j #¥ a ¥

# !J !

q = 60

œ J

(q )

p

‰ j ¥ ¥

‰

Œ Œ

?

(&)

' J

(e )

86

B. Cl. (Bb)

Vln.

Cb.

Perc.

&

& ˙ ˙ & p

j bœ

Ï

? ‰

‰

nœ J p

‰

'

j # œœ

Ï j #œ p

Vln.

Cb.

Perc.

$

4 # ## n# b# (# &4 Î (") 3 3 œ œ 4 ‰ œ œj ‰ ‰ œJ &4 œ Î & ¥¥ 4 ! J !! &4 Œ Î 4 ã 4

?3 Ó 4

B. Cl. (Bb)

3 & 4k ˙ b˙ Î loco

Vln.

3 & 4k ˙ b˙ Î loco

Cb.

Perc.

3 ã 4 Ó

# œœ J p

(e )

ã

91

‰ j

(q )

j œ

Ï

Ï

‰

p

3 4 ‰ 3 4 'j

2 b# ## 4

j #œ

Ï

?

3

¥¥ # # ¥¥ # # ¥¥ # # ¥¥ J !! J ! 2 ! J !! J 4 2 4

$

2 4k ˙ b˙ Î

$

j #¥ # ¥

Ï j #œ p

‰

"

œ œ J

j œ œ

4 4

j

j œ &

4 4

(q )

(q )

Ï

$

q = 60

M 5 ‰ #œ 8 F

M nœ

M ‰ œj f

4 4 3 4

$

3 4

! 85

$

3 4

5 3 8 ‰ œœœ!œœœ!‰œœœ! 4 f F 3

M 3 ‰ 8 bœ f

M œ

3 8

$

3 8

$

4 Ó 4

3

Œ

4 4 k ˙. b˙. Î

4 4k ˙. b˙. Î

3 ‰ œ œœ ! œ œ œ ! 4 Ó 8 4 f 9

j # œœ

4 4

‰

5 8

$

3

# J

‰

(q )

‰

Œ

3

Ï

b œœ J p

3 4

3

‰ œ œ œ ! 42 f 3

j œ

(e )

œ p

2 4k ˙ b˙ Î

Œ

bœ.

œ œ œ œ ‰ œ ‰ œ 2 ‰ ‰ œ 4

3

2 4

Œ

j n b œœ

Ï

$ M ‰ b œj f

3 4

Π(q )

b# n# ##

88

B. Cl. (Bb)

j bœ

(q )

3

Œ

3

M ‰ œj p

5 8

Œ

5 8

Œ

5 8

‰ œ œ œ ! 85 p 3

M ?5 8 bœ

M ‰œ

95

B. Cl. (Bb)

Vln.

Cb.

5 &8 Œ

Œ

5 &8

B. Cl. (Bb)

Vln.

Cb.

Perc.

Vln.

Perc.

o

(&) b˙.

99 & p (&)

3

b œœ & ‰ J (q ) ? '

Ï p

j # n œœ

Ï

(q )

'

"

Œ

˙ Ïp

&

Ï (") œ J & & ‰

# J p

j œ

‰

¥¥ J

œ œ j ¥ ¥

‰.

b# J p

‰ œ

# œ œ J

‰

j œ

¥¥ R

R

j ¥ ¥

! ‰

o

Œ

Ï œ œ J

j œ œ

p

‰

3

# # ¥¥

‰

œ œ

j œ

Ï

# œ

j œ

œ œ ‰ œœ

œ ‰ œœ œ

œ œ

3

3

¥¥

¥¥ J

‰

Ï

œ œ J

‰

&

Œ

#

p

j b œœ

#œ p

&

¥¥ j ¥ ¥ J ! ! Ï

$

$ 10

#. ! J p

Œ

(#

¥¥

Œ

$

K˙ Ï p

‰

$

$

j

#œ ‰ œ ¥¥

Ï

j œ

Œ

Ï j #œ

Kœ

# J

Ï

(q )

œ J

# J

# # ¥¥ ‰ J

(q )

œ J j‰ Œ œ

$

j bœ

p

# ! J ! Œ

j nœ

'

(q )

˙˙ ..

# !J !Œ

˙ Ï p

j #œ

$

#

# !J !Œ Ï

#˙ Ï p

Œ ˙.

?

œ J j‰ Œ œ Ï

j nœ

ã

ã

(q )

(q )

Œ

j # œœ

Ï

3

j œ

œ (q' ) ‰ J p

&

(w )

$

$

$

(w )

5 4 ã 8 œœœ!‰œœœ!‰ œœœ! 4 f

(&)

Cb.

4 4

$

$

102

B. Cl. (Bb)

4 4

4 4

3

Perc.

M ‰ j #œ f & œ œ J

q = 130

&

Œ

?

œ ‰ œ œœ 3

¥¥ J

j #¥ # ¥

‰

5 8 5 8 5 8 5 8

M ? 5 ‰ #œ 8 P

104

B. Cl. (Bb)

q = 60

M nœ

Vln.

5 &8

$

Cb.

5 &8

$

M ?5 ‰ 8 bœ P

3

5 &8

$

Cb.

5 &8

$

4 4

f

M œ

5 8

$

5 8

$

3

$

3

3

4 4k w bw Î

3

‰ œœœ! ‰ œœœ! Ó

3

3

$

$

Cb.

&

$

$

ã ‰ œœœ! ‰ œœœ! Œ F

5 8

$

ww

&

Perc.

5 8

ww

Vln.

3

2 4k ˙ b˙ Î

5 8

$

$

3

2 4k ˙ b˙ Î

$

$

B. Cl. (Bb)

5 8

$

E

?

111

2 4

3

4 4k w bw Î

3

M ‰ b œj f

5 2 8 ‰œœœ!œœœ!‰ œœœ! 4 P f

5 4 ã 8 ‰ œœœ!œœœ!‰ œœœ! 4 Œ ‰ œ œ œ ! ‰ œ œ œ ! Œ f P f 3

Perc.

$

2 4k ˙ b˙ Î

M ‰ b œj

Vln.

M 5 ‰œ 8 P

2 4k ˙ b˙ Î

3

M œ

108

B. Cl. (Bb)

2 4

5 2 ã 8 ‰ œœœ!œœœ!‰œœœ! 4 P f 3

Perc.

M ‰ œj f

! œœœ‰ 3

3

! œœœ‰ ! œœœ‰ ! œœœ‰ ‰ œœœ! ƒ P 3

11

3

3

3

?

$

113

B. Cl. (Bb)

Vln.

Cb.

$

&

ã ‰ œœœ! ! œœœ‰ ! œœœ‰ ‰ œœœ! ƒ M r &Kœ ! ƒ M œ &k R ! ƒ

115

B. Cl. (Bb)

Vln.

Cb.

Perc.

M R ƒ

&J œ !

Vln.

Cb.

Perc.

3

3

3

M bœ ! ‰ R ƒ ‰

Œ

Ó

Œ

Ó

Œ

Ó

! œœœ‰ ! œœœŒ ƒ 3

‰ œœœ!

3

‰Œ

Ó

$

‰Œ

Ó

$

‰Œ

Ó

$

3

ã !œœœ‰!œœœ‰‰œœœ!!œœœ‰ !œœœ !œœœ‰œœœ!!œœœ!œœœ‰œœœ!

P ƒ f F ƒ 3

M r œ K & ! ƒ

117

B. Cl. (Bb)

M kœ ! ‰ R ƒ

$

&

3

Perc.

&

M r Kœ ! ‰ ƒ

3

M r Lœ ! ƒ

‰Œ

M œ &k R ! ƒ

M &J œR ! ƒ

3

‰

M kœ !

R ƒ M r œ ! ƒ

‰Œ ‰Œ

3

3

Œ

3

3

3

M r Lœ ! ‰ ƒ

Ó

‰

Œ

Ó

‰

Œ

Ó

3

3

3

3

3

12

3

3

3

Œ

M lœ ! ‰ R ƒ M r œ !‰ ƒ

ã !œœœ‰!œœœ‰! œœœ!œœœ‰œœœ! !œœœ!œœœ‰!œœœ‰ F ƒ F 3

3

Œ Œ

œœœ!!œœœ‰ 3

3

M r & Kœ ! ‰ Ï M r œ & !‰ Ï M r &l œ ‰ Ï

119

B. Cl. (Bb)

Vln.

Cb.

Perc.

ã ‰

M r! œ Î M r Kœ ! Î M r kœ ! Î

Œ Œ !Œ

‰

Œ

$

‰

Œ

$

‰

Œ

$

œœœ!!œœœ‰! œœœ!œœœ‰œœœ! !œœœ!œœœ‰œœœ!!œœœ‰!œœœ!œœœ ƒ F ƒ F 3

3

121

3

3

3

3

3

3

3

3

B. Cl. (Bb)

&

$

$

$

Vln.

&

$

$

$

Cb.

&

$

$

$

F

Vln.

Cb.

Perc.

3

q = 55 Intense!

? ‰ Mr #œ p " ----M> œ &‰ R p

124

B. Cl. (Bb)

?

?

ã ‰œœœ!!œœœ‰!œ œœ !œœœ!œœœ‰ ‰ œ œ œ ! Œ ‰ œ œ œ ! ‰ œ œ œ ! ! œ œ œ ‰ Œ ! œ œ œ ‰ ! œ œ œ ‰ f P F 3

Perc.

3

! ‰

3

M r #œ

Mœ ! ‰ R

IV. ? ‰ Mr œ p

ã ‰

3

! ‰

œœœ! ‰ p 3

M r œ

3

M r Lœ

! Œ

‰

! Œ

Mœ ‰ R

! Œ

‰

œœœ! Œ 3

3

3

! !

M r Kœ

M r nœ P Mœ ‰ R P ‰

‰ œœœ!

‰

13

M r #œ P

3

M r Kœ p Mœ ! ‰ R p

‰

!

3

3

! ‰

! ‰

M r nœ p

3

! Œ

3

‰ Mr nœ

!

! Œ

Mœ ‰ R

!

! Œ

‰

M r œ

!

œœœ! ‰ œœœ! Œ p P 3

3

‰ œœœ!

3

? ‰ Mr œ P " --> M œ ‰ R & P

B. Cl. (Bb)

Vln.

Cb.

Perc.

! ‰ ! Œ

Mœ ‰ R

!‰

! Œ

‰

œ œœ! ‰ œ œ œ! Œ p P

‰

? ‰ Mr kœ P ã ‰

?Œ

128

B. Cl. (Bb)

" -->

Vln.

Cb.

Perc.

&Œ ?Œ ã Œ

?Œ

130

B. Cl. (Bb)

M M r! ‰ r nœ Lœ

! ‰ Mr œ p Mœ !‰ R p

126

M r #œ p

3

M ‰ # œr P Mœ ‰ R P M ‰ # œr P ‰

3

M ‰ œr

! Œ ! Œ

œœœ! Œ P

‰

! ‰

Vln.

Cb.

M r #œ

‰

! ‰

!

‰

œœœ!

‰

œœœ! ‰

M M M r r r ‰ œ ! ‰ œ ! ‰ œ ! ‰

&Œ

Mœ Mœ Mœ ‰ R ! ‰ R ! ‰ R ! ‰

?Œ

M M M r r r ‰ œ ! ‰ #œ ! ‰ aœ ! ‰

poco a poco cresc

Perc.

㠌

‰

œœœ ! ‰

œœœ ! ‰

poco a poco cresc

3

! Œ

! ‰

! Œ

3

M r œ

! ‰

Mœ R

! ‰

Mr œ

3

M r œ p

! Œ

‰

! Œ

‰

! Œ

‰

œœœ! Œ

‰

3

M M M r r r #œ ! ‰ aœ ! ‰ aœ ! ‰ Mœ R ! ‰

M r #œ ! ‰

poco a poco cresc 3

3

M r œ

3

M r œ

! ‰

‰

poco a poco cresc

" -->

M r lœ P

Mœ ! ‰ R

! ‰ Mr Kœ p Mœ b ! ‰ R p

! Œ

œœœ ! ‰ œœœ! ‰ œœœ! ‰ œœœ! Œ p P 3

!

sempre IV.

3

! ‰ Mr nœ

Mœ R

Mr ‰ œ

! Œ

M r #œ

!

Mœ ‰ R

M r Kœ P Mœ ! ‰ R P ! ‰

œœœ ! ‰

œœœ! ‰

3

3

14

3

M r œ p Mœ R p

! !

Mr œ p

!

œœœ! p 3

Mœ !

R

Mœ R ! ‰

Mœ R ! ‰

Mœ ! ‰ R

Mœ ! ‰ R

#Mœ !

R

œœœ! ‰

œœœ! ‰

œœœ!

3

3

Mœ R !

3

? ‰ Mœ R

! ‰ #Mœ R

132

B. Cl. (Bb)

" -->M

Vln.

Cb.

Mœ !‰ R

œ &‰ R

Cb.

Perc.

Mœ !‰ R

M ! ‰ œR

?

" -->

& ?

3

q = 47

134

Vln.

! ‰ #Mœ R

Mœ ! ‰ R

M ! ‰ # œR

Mœ

!.

Ø

Mœ

!.

Mœ

3

3

! ‰ Mœ R

Mœ !‰ R

M ! ‰ # œR 3

f

#Mœ !‰ R

f

M ! ‰ œR

M ! ‰ # œR 3

3

$

$

f

! ! !

$

$

$

$

cantabile

ã

Mœ M M M M Mœ Mœ Mœ Mœ Mœ Mœ œ œ œ M Mœ œ œ !. !. !. !. !. ® R . . . . . Ô ‰ ! ! ! ! ! !. ® ‰ ‰ &

" --> 138

&

Mœ

!.

3

M Mœ Mœ Mœ Mœ M Mœ Mœ Mœ Mœ Mœ Mœ Mœ œ !. !. !. !. œ . !. !. ® R . . . . Ô ! ! ‰ ! ! ! !. ®

136

Vln.

! ‰ Mœ R

Mœ !‰ R

M ! ‰ # œR

" -->

Vln.

! ‰ Mœ R

ã ‰ œœœ!‰ œœœ!‰ œœœ!‰ œœœ! ‰ œœœ!‰ œœœ!‰ œœœ!‰ œœœ! f G

B. Cl. (Bb)

! ‰ Mœ R

Mœ !‰ R

M ! ‰ œR

? ‰ Mœ R 3

Perc.

! ‰ Mœ R

Mœ

Mœ RÔ ! .

Mœ Mœ Mœ Mœ Mœ M M M Mœ Mœ œ !. œ Mœ Mœ . œ . ! ! !. !. !. ! . ‰ RÔ ! . ‰ RÔ ! . !. ® ® ‰ !.

15

" --> 140

Vln.

&

Mœ

!.

Mœ

!.

Mœ

!.

Mœ

!.

Mœ

!.

Mœ

!.

Mœ

!.

Mœ

!.

" -->

Mœ & RÔ ! . ‰

142

Vln.

o

Œ

Ó

16

Mœ

Mœ M Mœ Mœ Mœ Mœ Mœ œ !. !. !. !. !. !. !. !.