Brutalized beauty

Nicolai Worsaae Brutalized Beauty

(2007)

for flute, clarinet, percussion, piano & string trio Dur. 12’

SCORE

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Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Nicolai Worsaae Brutalized Beauty

Strings: The strings Strings: Strings: Strings: Strings: Strings: Strings: Strings: (2007)

for flute, clarinet, percussion, piano & string trio Dur. 12’

PERFORMANCE NOTES

Strings: The strings Strings: Strings: Strings: Strings: Strings: Strings: Strings:

Explanations Explanations Explanations Explanations Explanations Explanations Explanations Explanations

Explanations Explanations Explanations Explanations Explanations Explanations Explanations Explanations

This keykey signature is ais of the instrument withwith the the tailpiece in the top, the bridge in the middle This key signature ispicture picture of the the instrument ininthe bridge in in the middle This signature aa picture instrument with thetailpiece tailpiece thetop, top,the the bridge the This key signature is a picture of the instrument with the tailpiece in the top, the bridge in the middle andmiddle the the fingerboard starting at the topthe ofinstrument the system.

Itthe indicates where bow should bebow placed on This key signature isstarting apicture picture of the instrument with the tailpiece inthe thethe top, theshould bridge inthe the middle and fingerboard at the top of the system.

It indicates where bow be placed on This key signature is a of with the tailpiece in the top, the bridge in middle and the fingerboard starting at the top of system.

It indicates where the should This key signature is aaother picture the instrument with tailpiece in the top, the bridge in the middle and the fingerboard starting at of the top oflike the system.

Itthe indicates where the bow should be placed on the instrument unless information for instance ”pizzicato” or ”finger” is written.

This key signature is a picture of the instrument with the tailpiece in the top, the bridge in the middle This key signature is picture of the instrument with the tailpiece in the top, the bridge in the middle and the fingerboard starting at the top of the system.

It indicates where the bow should be placed on the instrument unless other information for instance ”pizzicato” or the ”finger” is written. and the fingerboard starting atunless the top of like the system.

It indicates where bow should be placed be placed onunless the instrument other information like forwhere instance ”pizzicato” or ”finger” is on and the fingerboard starting at the the system.

It indicates bow should be placed on the instrument other information like for ”pizzicato” or the ”finger” is written. and the fingerboard starting at top the of top oflike theinstance system.

It indicates where the bow should be placed on andwritten. the fingerboard starting at the top of the system.

It indicates where the bow should be placed on the instrument unless other information for instance ”pizzicato” or ”finger” is written. the instrument unless other information like for instance ”pizzicato” or ”finger” is written. the instrument unless other information like for instance ”pizzicato” or ”finger” is written. the instrument unless other information for instance ”pizzicato” or ”finger” is written. the instrument unless other information like like for instance ”pizzicato” or ”finger” is written.

Damp the the strings so no pitch is heard.

Damp strings so clear no clear pitch is heard.

Damp the strings so no clear pitch is heard.

Damp the strings so clear pitch heard.

Damp the strings no clear pitch heard.

Damp the strings so no clear pitch isisisheard.

Damp the strings so no clear pitch is heard.

Damp the strings so no clear pitch is heard.

Damp the strings so no clear pitch is heard.

Bow Bop Bow BowBow prp Bo Bow pp BowBo

Maxim Maximu Ma Maxim Ma Ma Maxim M Ma Maxim

Open strings signsign mostly usedused afterafter the the damping sign.

Open strings mostly damping sign.

Open strings sign mostly used after the damping sign.sign.

Open strings sign mostly used after the damping Open strings sign mostly used after the sign.

Open strings sign mostly used after thedamping damping sign.

Open strings sign mostly used after the sign.

Open strings mostly the damping Open strings signsign mostly usedused afterafter the damping damping sign.sign.

Open Ops Open Opss Open Ope Open Opss Open This keykey signature is ais of the instrument withwith the the tailpiece in the top, the bridge in the middle This key signature ispicture picture of the the instrument ininthe bridge in in the middle This signature aa picture instrument with thetailpiece tailpiece thetop, top,the the bridge the ThisThis keyfingerboard signature is a picture of the instrument with the tailpiece in the top, the bridge in the middle and the starting at the top of the system.

It indicates where the bow should be placed on key signature is a picture of the instrument with the tailpiece in the top, the bridge in the middle and the fingerboard starting atthe thethe topinstrument thetop system. indicates the bow should be placed on This key signature ispicture a picture of with the tailpiece in the top, the bridge in the middle middle and the fingerboard starting atofthe of theIt system.

Itinwhere indicates where theinbow should This key signature is aaother of instrument with the tailpiece the top, the bridge the middle and the fingerboard starting at the top of the system.

It indicates where the bow should be placed on This key signature is a picture of the instrument with the tailpiece in the top, the bridge in the middle the instrument unless information like for instance ”pizzicato” or ”finger” is written.

This key signature is picture of the instrument with the tailpiece in the top, the bridge in the middle andplaced thefingerboard fingerboard starting atunless thetop top oflike the system.

Itindicates indicates where the bowshould should beplaced placed on the instrument unless other information for instance ”pizzicato” or ”finger” is written. and the starting at the of the system.

It where the bow be on be on the instrument other information like for instance ”pizzicato” or ”finger” is and the fingerboard at the the system.

It where bow should be on the instrument unlessstarting other information like for instance ”pizzicato” or the ”finger” is written. and the fingerboard starting at top the of top oflike thefor system.

It indicates where the bow should be placed andwritten. theinstrument fingerboard starting at information the top of the system.

It indicates indicates where the bow should be placed placed on on the instrument unless other information like for instance ”pizzicato” or”finger” ”finger” iswritten. written. the unless other instance ”pizzicato” or is the unless other information like for ”pizzicato” or is the instrument unless information for instance ”pizzicato” or ”finger” is written. the instrument instrument unless otherother information like like for instance instance ”pizzicato” or ”finger” ”finger” is written. written.

Damp the the strings so no pitch is heard.

Damp strings so clear no clear pitch is heard.

Damp the strings so no clear pitch is heard.

Damp strings sono clearpitch pitch heard.

Dampthe thestrings stringsso noclear clear pitch isisheard. heard.

Damp the is Damp the so pitch is Damp the strings soclear no clear is heard.

Damp the strings strings so no no clear pitchpitch is heard. heard.

Open strings signsign mostly usedused after the the damping sign.

Open strings mostly damping sign.

Open strings sign mostly used afterafter the damping sign.

Open strings sign mostly used after the damping sign.

Open strings sign mostly used after the damping sign.

Open strings sign mostly used after the damping damping sign.

Open strings sign mostly used after the sign.

Open strings mostly the Open strings signsign mostly usedused afterafter the damping damping sign.sign.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

BowBow pressure on the indicated note.

Bow pressure on the indicated note. pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on note. pressure on indicated the indicated BowBow pressure on the the indicated note.note.

PlayPlay on the bridge in this casecase with the the woodside of the bow. on the bridge in this woodside of the bow.

Play on the bridge in this case withwith the woodside of the bow.

Playon onthe thebridge bridgein inthis thiscase casewith withthe thewoodside woodsideof ofthe thebow. bow.

Play Play on the bridge in case with the of Play onthe thebridge bridge this case with the woodside woodside of the Play ininthis the ofbow. thebow. bow.

Play on on the bridge in this this casecase withwith the woodside woodside of the the bow.

Maximum bow-pressure withwith the strings damped.

Only aascratchy sound should bebe heard.

Maximum bow-pressure with the strings damped.

Only scratchy sound should Maximum bow-pressure strings damped.

Only a scratchy sound should beheard. heard.

Maximum bow-pressure with the the strings damped.

Only a scratchy sound should be heard.

Maximumbow-pressure bow-pressurewith withthe thestrings stringsdamped. damped.Only Onlyaascratchy scratchysound soundshould shouldbe beheard. heard.

Maximum Maximum bow-pressure with the damped.

Only aa scratchy sound should be Maximum bow-pressure the strings damped. a scratchy sound should be heard.

Maximum bow-pressure withwith the strings strings damped.

OnlyOnly scratchy sound should be heard. heard.

PlayPlay with the the woodside of the bowbow and dragdrag it in the indicated direction forth andand back. woodside of the in the indicated direction forth back.

Play withwith the woodside of the bow andand drag it initthe indicated direction forth and back.

Play with the woodside of the bow and drag it in the indicated direction forth and back.

Play with the woodside of the bow and drag it in the indicated direction forth and back.

Play with the of and drag it direction forth and back. the woodside of bow the bow in indicated the indicated direction back.

PlayPlay withwith the woodside woodside of the the bow and and dragdrag it in in itthe the indicated direction forthforth and and back.

Play with the woodside of the bow and drag it in the indicated direction forth and back.

Open strings andand 3/2 bow-pressure in order to produce a more unstable andand ”screaming” sound.

Open strings bow-pressure in order to produce a more unstable ”screaming” sound.

Open strings and 3/2 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 in to aa more unstable and ”screaming” sound.

Open strings 3/2 bow-pressure in order to produce a more unstable ”screaming” sound.

Open strings and and 3/2 bow-pressure bow-pressure in order order to produce produce more unstable and and ”screaming” sound.

Quarte Qu Quarte Qu Qua Quarte Qu Quarte Quarte

As hig As As hig As As As hig ”Ord.” As Ashigh hig As ”O ”Ord.” ”O ”Or ”Ord.” ”Sul p ”O ”Ord.” ”Su ”Sul”Su p ”Ord.” ”Su ”Sul pp ”Pont” ”S ”Sul”P ”Sul po ”Pont” ”P ”Pont” ”Po ”Pont” ”P ”Pont”

eddle dle eddle on dle on ddle dedle iddle ddle ddle eon on on on don on

PlayPlay withwith the the woodside of the bowbow andand dragdrag it initthe indicated direction forth andand back. woodside of the in the indicated direction forth back.

PlayPlay withwith the the woodside of the bow and drag it in the indicated direction forth and back. woodside of the bow and drag it in the indicated direction forth and back.

Play with the woodside of the bow and drag it in the indicated direction forth and back.

Play with the of and drag it direction forth and back. the woodside of bow the bow in indicated the indicated direction back.

PlayPlay withwith the woodside woodside of the the bow and and dragdrag it in in itthe the indicated direction forthforth and and back.

Play with the woodside of the bow and drag it in the indicated direction forth and back.

Bow pressure on indicated note.

Bow pressure onthe the indicated note.

Bow pressure on indicated note.

Bow pressure onthe the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated note.

Bow pressure on the indicated Bow pressure on the indicated note.

Bow pressure on the indicated note.note.

As high notenote as possible.

As high as possible.

As high note as possible.

Ashigh highnote noteas aspossible. possible.

As As high note as possible.

As high note as possible. ”Ord.” means the normal wayway of playing.

As high note as possible.

As high notemeans as possible. ”Ord.” the normal of playing. ”Ord.” means the normal way of playing. ”Ord.”means meansthe thenormal normalway way ofplaying. playing. ”Ord.” of ”Ord.” means the normal way of playing. ”Ord.” means the normal way of playing. ”Sul pont” means play on the bridge. ”Ord.” means the normal way of playing. ”Sul pont” means play on the bridge. ”Sul”Sul pont” means playplay on the bridge. pont” means onthe the bridge. ”Ord.” means the normal way of playing. ”Sul pont” means play on bridge. ”Pont estremo” means play as close to the bridge as possible. ”Sul pont” means play on the bridge. ”Pont” means play near the bridge. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Pont estremo” means play close to as as possible. ”Sul pont” means play on the bridge. ”Pont” meansmeans play near the bridge. ”Pont estremo” play asas close tothe thebridge bridge possible. ”Pont” means play near the bridge. ”Pont estremo” means play as close to the bridge as possible. ”Pont” means play near the bridge. ”Pont” means play near the bridge. ”Pont” means play near the bridge. ”Pont estremo” means play as close to the bridge as possible. ”Quasi legno tratto” means that the player should play partly withwith the hair side of side the bow. ”Pont estremo” means play as close to the bridge as possible. ”Pont” means play near the bridge. ”Quasi legno tratto” means that the player should play partly the and hairwood and wood of the bow. ”Pont estremo” means play as close to the as possible. ”Pont” means play near the bridge. ”Quasi legno tratto” means that the player should play partly with the hair and wood side of the bow. ”Pont” means play near the bridge. ”Pont estremo” means play as close to the bridge bridge as possible. ”Pont estremo” means play as close to the bridge as possible. ”Pont”Quasi estremo” means play as close to the bridge as possible. ”Pont estremo” means play as close to the bridge as possible. legno tratto” means that the player should play partly with theand hairwood and wood side of the bow. ”Col legno” means with the wood side of bow. ”Quasi legno tratto” means that the player should play partly with hair side the bow. ”Col legno” means with the wood side of the the bow. estremo” means play as close to the bridge as possible. ”Quasi legno tratto” means that the player should play partly with the the hair and wood side of ofside the of bow. ”Pont”Pont estremo” means play as close tothe the bridge as possible. ”Pont estremo” means play as close to the bridge as possible. ”Quasi legno tratto” means that player should play partly with the hair and wood the ”Col legno” means with the wood side of the bow. ”Pont estremo” means play as close to the bridge as possible. ”Quasi legno tratto” means that the player should play partly with the hair and wood side of the bow. bow. ”Quasi legno tratto” means that the player should play partly with the hairwood andof wood side of the bow. ”Quasi legno tratto” means that the player should play partly withhair the hair and side ofbow. the bow. means ”Pont estremo” play as close to the bridge as possible. ”Quasi legno tratto” means that the player should play partly with the and wood side the ”Col legno bat.” means strike the string(s) with the wood side of the bow. ”Col legno” means with the wood side of the bow. ”Pont estremo” means play as close to the bridge as possible. ”Col legno” means with the wood side of the bow. ”Col legno bat.” means strike the string(s) with the wood side of the bow. ”Quasi legno tratto” means that the player should play partly with the hair and wood side of the bow. ”Col legno” means with the wood side of the bow. ”Col legno” means with the wood side of the bow. ”Quasi legno tratto” means that the player should play partly with the hair andwood woodside sideof ofthe thebow. bow. ”Quasi legno tratto” means that the player should play partly with and ”Col legno” means with the wood side of bow. ”Col legno bat.” means strike the string(s) with the wood sidethe ofhair the bow. ”Quasi legno tratto” means that the player should play partly with the hair and wood side of the bow. legno” means with the wood side of the the bow. ”Pont estremo” means play as close tothe the bridge as possible. legno” means with the wood side of the bow. ”Quasi legno tratto” means that player should play partly with the hair and wood side of the bow. ”Col ”Col legno” means with the wood side of the bow. ”Col legno bat.” means strike the string(s) with the wood side of hair the bow. ”Pont estremo” means play as close to the bridge as possible. ”Quasi legno tratto” means that player should play partly with the andbow. wood side of the bow. ”Col legno bat.” means strike the string(s) with the wood side of the ”Col bat.” strike the string(s) with wood ”Col legno” means with thethe wood side of the ”Col legno legno bat.” means means strike the string(s) with the bow. wood side side of of the the bow. bow. ”Collegno” legno” means with thewood wood side of thebow. bow. ”Col legno” means with the wood side of the bow. ”Col legno bat.” means strike the string(s) with the wood side of the Flute: ”Col means with the side of the ”Col legno bat.” means strike the string(s) with the woodwith sidethe of hair the bow. bow. ”Quasi legno tratto” means that player should play partly and wood side of the bow. legno bat.” means strike the string(s) with the wood side of the bow. legno” means with thethe wood side of the bow.

Flute: ”Col ”Col legno bat.” means strike string(s) with the wood sidepartly of thewith bow. ”Quasi legno tratto” means that the player should play the hair and wood side of the bow. ”Col ”Col legno” means with the wood side of the bow. legno bat.” means strike the string(s) with the wood side of the bow.

Flute: ”Col legno bat.” means strike the string(s) with the wood side of the bow. ”Col legno bat.” means strike the string(s) with the wood side of the bow.

Flute: ”Col legno bat.” means strike the string(s) withbow. the wood side of the bow. ”Colflute legno” means with the wood side the Flute: The Flute: ”Col legno bat.” means the of string(s) with the wood side of the bow.

Flute: ”Col legno” means withstrike the wood sidewith of the Flute: ”Col legno bat.” means strike string(s) the bow. wood side of the bow.

Flute: Flute: ”Col legno bat.” means strike the string(s) with the wood side of the bow.

Flute: Flute: Flute: The flute ”Col legno bat.” means strike the string(s) with the wood side of the bow.

Flute:

Flute: Flute: Flute:

Maximum bow-pressure with the strings damped.

Only aaascratchy sound should bebe heard.

Maximum bow-pressure with thethe strings damped.

Only scratchy sound should heard.

Maximum bow-pressure with the strings damped.

Only sound should be heard.

Maximum bow-pressure with strings damped.

Only ascratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only ascratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only ascratchy scratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only a scratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only a scratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only a scratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only a scratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only a scratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only a scratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only aaascratchy sound should be heard.

Maximum bow-pressure with the strings damped.

Only scratchy sound should heard.

Maximum bow-pressure with thestrings strings damped.

Only scratchy sound should beheard. heard.

Maximum bow-pressure with the damped.

Only a ascratchy sound should be Maximum bow-pressure with the damped.

Only sound should bebe Maximum bow-pressure with thestrings strings damped.

Only ascratchy scratchy sound should beheard. heard.

Open strings and 3/2 bow-pressure ininorder totoproduce aamore unstable and ”screaming” sound.

Open strings and 3/23/2 bow-pressure order produce more unstable and ”screaming” sound.

Open strings and bow-pressure in to aamore unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure inorder order toproduce produce more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce a more unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure in order to produce aaamore unstable and ”screaming” sound.

Open strings and 3/2 bow-pressure order produce more unstable and ”screaming” sound.

Open strings and 3/2bow-pressure bow-pressure order produce more unstable and ”screaming” sound.

Open strings 3/2 ininorder totoproduce a amore unstable ”screaming” sound.

Open strings and 3/2 inin toto unstable and ”screaming” sound.

Open strings andand 3/2bow-pressure bow-pressure inorder order toproduce produce amore more unstable andand ”screaming” sound.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher and Quartertone higher and lower.

Quartertone higher and lower.

Quartertone higher andlower. lower.

As note asaspossible.

Ashigh high note possible.

As note as Ashigh high note aspossible. possible.

As high note as possible.

AsAs high note as possible.

As high note as possible.

As high note as possible. high note as possible.

As high note as possible. possible.

As high note as possible.

As high note as As high note as possible. ”Ord.” means the normal way ofofplaying. ”Ord.” means the normal way playing.

As high note as possible.

As high note as possible.

As high note as possible.

As”Ord.” high note as possible. possible. means the normal way of As high note as ”Ord.” means the normal way ofplaying. playing. ”Ord.” means the normal way of playing. ”Ord.” means the normal way of playing. ”Ord.” means the normal way of playing. ”Ord.” means the normal way of playing. ”Ord.” means the normal way of playing. ”Ord.” means the normal way of playing. ”Ord.” means the normal way of playing. means ”Ord.” means the normal way of playing. ”Sul pont” means play on the bridge. ”Ord.” means the normal way of playing. ”Ord.” the normal way of playing. ”Sul pont” means play on the bridge. ”Ord.” means the normal way of playing. ”Ord.” means the normal way ofbridge. playing. ”Sul pont” means play on ”Sul pont” means play onthe the bridge. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Ord.” means the normal way of ”Sul pont” means play onthe the bridge. ”Sul pont” means play on bridge. ”Ord.” means the normal way ofplaying. playing. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Pont” means play near the bridge. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Pont” means play near the bridge. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Sul pont” means play on the bridge. ”Pont” means play near the bridge. ”Sul pont” means play on the ”Pont” means play near thebridge. bridge. ”Pont” means play near the bridge. ”Pont” means play near thethe bridge. ”Pont” means play near the bridge. ”Pont” means play near the bridge. ”Pont” means play near the bridge. ”Pont” means play near bridge. ”Pont” means play near the bridge. ”Pont” means play near the bridge. ”Pont” means play near the bridge. ”Pont” means play near the bridge. ”Pont” means play near thebridge. bridge. ”Pont” means play near the ”Pont” ”Pont”means meansplay playnear nearthe thebridge. bridge.

Flutter tongue effect. Rolling the tongue while playing the indicated note.

Flutter tongue effect. Rolling the tongue while playing the indicated note.

Flutter tongue effect.

Rolling thetongue tongue while playing the note.

Flutter tongue effect.

Rolling playing theindicated indicated note.

Flutter tongue effect.

Rolling the tongue while playing the note.

FlutterFlutter tongue effect.

Rolling the the tongue while while playing the indicated indicated note. note. tongue effect.

Rolling the tongue while playing the indicated Flutter tongue effect.

Rolling the tongue while playing the indicated note.

Flutter tongue effect.

Rolling the tongue while playing the indicated note.

Flutter tongue effect. Rolling the tongue while playing the indicated note.

Flutter tongue effect.

Rolling thetongue tongue while playing the Flutter tongue effect.

Rolling playing theindicated indicated note.

Flutter tongue effect.

Rolling thethe tongue whilewhile playing theindicated indicated note. note.

Flutter tongue effect.

Rolling the tongue while playing the note.

Flutter tongue effect.

Rolling the tongue while playing the indicated note.

Flutter tongue effect. Rolling the tongue while playing the indicated note.

Flutter tongue effect. Rolling the tongue while playing the indicated note.

Flutter tongue effect. Rolling the tongue while playing the indicated note.

Flutter tongue effect. Rolling the tongue while playing the indicated note.

Play a rapid overtone scale from the indicated fundamental. The mouthpiece must be covered Play a rapidby overtone from be thedone indicated fundamental.

Thea mouthpiece be covered completely the lips.scale It should so fast and with such pressure thatmust the result is a short Play a rapid overtone scale from the indicated fundamental.

The mouthpiece must be covered completely by the lips.

It should be done so fast and with such a pressure that the result is back. a short Play a rapid overtone scale from the indicated fundamental.

The mouthpiece must be covered accelerating glissando-like sound from the fundamental to the highest possible partial and Play aPlay rapida overtone scale from the indicated fundamental.

The mouthpiece must be covered rapid overtone scale from the indicated fundamental.

The mouthpiece must be covered completely by the lips.

It should be done so fast and with such a pressure that the result is accelerating glissando-like sound from the fundamental to the highest possible partial and back.

Play aPlay rapid overtone scale from indicated fundamental. mouthpiece must bea short covered rapid overtone scale fromthe theso indicated fundamental.

TheThe mouthpiece must be be covered completely the lips.

It should be fast and with such aa mouthpiece pressure that the result is short aaby rapid overtone scale from the indicated fundamental.

The mouthpiece must completely by theby lips.

Itlips. should be done so fast and with such pressure that the result is aacovered short Play aPlay rapid overtone scale from thedone indicated fundamental.

The must bethe covered completely the It should be done so fast and with such a pressure that result is aa short accelerating glissando-like sound from the fundamental to the highest possible partial and back. completely by the lips.

It should be done so fast and with such a pressure that the result is short completely by the lips.

It should be done so fast and with such a pressure that the result is a short accelerating glissando-like sound from the fundamental to the highest possible partial and back.

Play a rapid overtone scale from the indicated fundamental.

The mouthpiece must be covered the It should be done soand fastwith and with such apossible pressure that result is back. a short accelerating glissando-like sound from the tosuch the highest partial and completely theby lips.

Itlips. should be done sofundamental fast amouthpiece pressure that the result isback. aand short Playaaacompletely rapidby overtone scale from the indicated fundamental.

The mouthpiece must bethe covered Play rapid overtone scale from the indicated fundamental.

The mouthpiece must be covered accelerating glissando-like sound from the fundamental to the highest possible partial Play rapid overtone scale from the indicated fundamental.

The must be covered accelerating glissando-like sound from the fundamental to the highest possible partial and back. accelerating glissando-like from the fundamental the highest possible and back. completely theItItlips.

It sound should be done fast andtosuch with a mouthpiece pressure that the result isbe a short accelerating glissando-like sound from thesoand fundamental the highest possible partial and back.

Play aaPlay rapid overtone scale from the indicated fundamental.

The mouthpiece must covered a by rapid overtone scale from the indicated fundamental.

The must be covered accelerating glissando-like sound from the fundamental thetohighest possible partial and completely theby lips. should be done so fast and with such ato pressure that the result apartial short completely the lips. so fast with aasuch pressure that the result is short completely byovertone the lips.

It should should be done so fast and with such pressure that the result isisaaback. short Play rapidby scale frombe thedone indicated fundamental.

The mouthpiece must bepartial covered accelerating glissando-like sound from the fundamental to the highest possible and back. completely by the lips.

It should be done so fast and with such a pressure that the result is a short completely by thelips. lips. should be done so fastwith and with such a pressure that result is a short acceleratingby glissando-like sound from the fundamental tosuch the highest possible partial and back. accelerating sound from the to the highest possible partial and back. accelerating glissando-like sound from the fundamental to the highest possible partial and back. completely the It It should done sofundamental fast and a mouthpiece pressure thatmust the result isthe a short Play aaccelerating rapid glissando-like overtone scale from be the indicated fundamental.

The bepartial covered glissando-like sound from the fundamental to the highest possible and back. accelerating glissando-like sound from the fundamental to the highest possible partial Play aby rapid scale be from the indicated The mouthpiece mustand be accelerating glissando-like sound from theso fundamental the highest possible partial completely the overtone lips. It should done fast andfundamental. withtosuch a pressure that the result is back. acovered short and back. completely by the lips.sound It should so fast and such a possible pressurepartial that theand result is a short accelerating glissando-like frombe thedone fundamental towith the highest back. accelerating glissando-like sound from the fundamental to the highest possible partial and back.

Blow air through the instrument. Alternatively blow on the mouthpiece in order to achieve a bigger Blow sound.air through the instrument. Alternatively blow on the mouthpiece in order to achieve a bigger Blow air through the instrument.

Alternatively blow on the mouthpiece in to order to achieve a bigger sound.

Blow air the Alternatively blow the mouthpiece in achieve aa bigger Blow Blow air through through the instrument. instrument.

Alternatively blow on on theon mouthpiece in order order to achieve bigger air through the instrument.

Alternatively blow the mouthpiece in order to achieve a sound.

Blow air air through through the the instrument. instrument. Alternatively Alternatively blow blow on on the the mouthpiece mouthpiece in in order to to achieve achieve aa bigger bigger sound. bigger sound.

BlowBlow air through through the instrument.

Alternatively blow blow on theon mouthpiece in order order toinachieve a bigger sound.

Blow air the instrument.

Alternatively the mouthpiece order to achieve a bigger sound.

Blow air through the instrument.

Alternatively blow on the mouthpiece in to order to achieve a bigger sound. sound.

Blow air through the instrument.

Alternatively blow on the mouthpiece in order to achieve a bigger Blow air through the instrument.

Alternatively blow on the mouthpiece in order achieve a bigger Blow sound. air through the instrument. Alternatively blow on the mouthpiece in order to achieve a bigger sound. air through the instrument. Alternatively blow on the mouthpiece in order to achieve a bigger sound.Blow sound. sound.

Blow air through through the Alternatively blow blow on theon mouthpiece in order toinachieve a bigger Blow sound. air theinstrument. instrument.

Alternatively the mouthpiece order to achieve a bigger sound.

Blow air through the instrument.

Alternatively blow on the mouthpiece in order to achieve a bigger sound. sound.Blow air through the instrument. Alternatively blow on the mouthpiece in order to achieve a bigger sound.

Blow air through the instrument while rolling with the tongue (flutter tongue). The result should be Blow air growling. through the instrument while rolling with the tongue (flutter tongue). The result should be dark and Blow air through the instrument while rolling with the tongue (flutter tongue).

The result should be dark and growling.

Blow air the while rolling with tongue (flutter tongue).

The should be Blow Blow air through through the instrument instrument while while rollingrolling with the the tongue (flutter(flutter tongue).

The result result shouldshould be be air through the instrument with the tongue tongue).

The result dark and growling.

Blow air through through the the instrument instrument while while rolling rolling with with the the tongue tongue (flutter (flutter tongue). tongue). The The result should should be dark Blow air dark and growling.

Blowand air growling. through the instrument while rolling with the tongue (flutter tongue).

The resultresult should be be dark and growling. dark and growling.

Blow air growling. through the instrument rolling with the tongue (flutter tongue).

The result should dark and dark growling.

Blowand airthrough through theinstrument instrument whilewhile rolling withthe the tongue (flutter tongue).

Theresult result should be be Blow air the while rolling with tongue (flutter tongue).

The should be Blow air through the instrument while rolling with the tongue (flutter tongue).

The result should be dark and growling.

Blow air through the instrument while rolling with the tongue (flutter tongue).

The result should be darkand and growling. dark Blow air through the instrument while rolling the tongue result dark and growling.

Blow air growling. through the instrument while rolling with with the tongue (flutter (flutter tongue). tongue).

The resultThe should be should be dark growling. and growling. dark and dark Blowand air growling. through the instrument while rolling with the tongue (flutter tongue). The result should be Blow air through instrumentwhile whilerolling rollingwith with the the tongue tongue).

The The resultresult shouldshould be dark and growling.

Blow air through the the instrument tongue(flutter (flutter tongue). be dark and growling. dark and growling.

Tongue --AAp Tongue Tongue -Ap then making then makin Tongue -A then making Tongue -- A percus produced wip Tongue Amaking percus Tongue ---A pp produced then produced wi Tongue Aw Tongue A then making aa-big Tongue A p then making big Tongue A percus then making produced wi thenwill making then makin produced soun Tongue A p then making produced will then making asoun big Tongue A percus Tongue ---A percus produced wi Tongue A percus produced wi produced w then making produced wip Tongue A produced will sou thenmaking making big then aa-big

then making a big Tongue - A percus produced wi then making produced will sou produced will soun produced will then making asoun big Tongue - A percus produced wip Tongue A produced willa-sou then making big then will making produced sou produced wi Blow throug Blow throug throug Blow Blow throug Blow through the Blow Blow through the throug Blow throug Blow throug throug BlowBlow through the Clarinet: Blow throug Clarinet: Blowthrough throughthe the Blow Blow through the Clarinet: Blow throug The clarine Clarinet: Blow Clarinet: through the Clarinet: Clarinet: Clarinet: Blow through the Clarinet: Clarinet: Blow throug The Clarinet:clarine Clarinet:

Clarinet: Clarinet: Clarinet: Clarinet: Clarinet:

Blow throug Blow throug Blow throug Blow through the throug BlowBlow through the Blow throug Blow throug throug BlowBlow through the Blow throug BlowBlow through the Blow through the throug Blow through the Blow throug Blow through the Blow through the Blow Blow throug throug Blow throug Blow throug Blow through the Blow Blow through the throug Blow throug throug BlowBlow through the Blow throug Blow throug Blowthrough throughthe the Blow Blow through the Blow throug Blow through the throug BlowBlow through the Blow throug Murmuring Murmuring Murmuring Murmuring sound Murmuring sound Murmuring Murmuring Murmuring Murmuring sound Murmuring Murmuringsound sound Murmuring Murmuring sound Murmuring Murmuring sound Murmuring Murmuring sound Murmuring

Murmuring

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Tongue --AApercussive effect and and it is created by closing the mouthpiece with the whole and mouth, and Tongue percussive effect it is created by closing the mouthpiece withmouth, the whole Tongue - A percussive effect and itmovement is created by closing the mouthpiece whole and then making a big and very rapid with the tongue, against thewith teeth.the The tonemouth, which is then making abig bigand and very rapid movement with the tongue, against the teeth.

Theis tone which is Tongue A percussive effect and it is created by closing the mouthpiece with the whole mouth, and then making a very rapid movement with the tongue, against the teeth.

The tone which Tongue -- A percussive effect and it is created by closing the mouthpiece with the whole mouth, and produced will sound a major seventh below the fingered one.

Tongue A percussive effect and it is created by closing the mouthpiece with the whole mouth, and produced will sound a major seventh below the fingered one. then making a sound big andarapid very rapid with the tongue, against thewith teeth.

The tonemouth, which is produced will major seventh the fingered one.mouthpiece Tongue A percussive effect and itmovement is below created bytongue, closing the the whole and then making aa-big and very with the against the teeth.

The tone which then making big and very rapid movement with the tongue, against the with teeth.the The tone mouth, which is isand Tongue - A percussive effect and movement itseventh is created by closing the mouthpiece whole produced will sound a major below the fingered one. thenwill making a big and very rapid movement with the tongue, against the teeth. The tone which is produced aa major seventh the one. produced will sound major seventh below the fingered one. then making asound big and very rapid with the tongue, against thewith teeth. The tonemouth, which is Tongue -A percussive effect and itmovement isbelow created byfingered closing the mouthpiece whole and produced will sound a major seventh below the fingered one.mouthpiece the Tongue A percussive effect andbelow it is created bytongue, closing the and produced willa-sound seventh the fingered one. against then making big anda major very rapid movement with the the teeth.with Thethe tonewhole whichmouth, is then making a big and very rapid movement with the tongue, against the teeth.

The tone which is produced will sound a major seventh below the fingered one. produced will sound a major seventh below the fingered one.

Air glissando without pitch.

In pitch. order to tube the andtube thereby naturalatcrescendo.

Air glissando without In open orderenlarge to openthe enlarge and create therebyatcreate natural crescendo.

Air glissando without pitch. In order to open enlarge the tube and thereby create at natural crescendo.

Air glissando without pitch.

In order tube and thereby at natural Air glissando without pitch. to Inopen orderenlarge to openthe enlarge the tube andcreate thereby create atcrescendo. natural crescendo.

Air glissando without pitch. In order to open enlarge the tube and thereby create at natural crescendo.

Air glissando without pitch. In order to open enlarge the tube and thereby create at natural crescendo.

Piano:P

Blow through the instrument while clicking randomly on the keys.

Blow through through the while clicking randomly on theon keys.

Blow theinstrument instrument while clicking randomly the keys.

Blow through the instrument while clicking randomly on the keys.

Blow Blow through through the the instrument instrument while while clicking clicking randomly randomly on on the the keys. keys.

Blow through the instrument while clicking randomly on the keys.

Blow Clarinet: through the instrument while clicking randomly on the keys.

Blow Clarinet: through the instrument while clicking randomly on the keys.

Clarinet: Blowclarinet through the instrument while clicking randomly on the keys.

The Clarinet:

Clarinet: Clarinet: Clarinet: Clarinet: Clarinet:

Blow through the instrument while clicking randomly on the keys.

Blow through the instrument while clicking randomly on the keys.

Blow through the while clicking randomly on theon keys.

Blow through the while randomly on the through theinstrument instrument while clicking randomly the keys.

BlowBlow through the instrument instrument while clicking clicking randomly on the keys. keys.

Blow through the instrument while clicking randomly on the keys.

Blow through the instrument while clicking randomly on the keys.

Blow through the instrument while clicking randomly on the keys.

Blow through the instrument while clicking randomly on the keys.

Blow through the instrument. Possibly let some of the air slip out of the mouth at the same time.

Blow through the instrument. Possibly let some of the air slip out of the mouth at the same time.

Blow through the instrument. Possibly let some of the air slip out of the mouth at the time. same time.

Blow Blow through through the the instrument. instrument. Possibly Possibly let let some some of of the the air air slip slip out out of of the the mouth mouth at at the the same same time.

Blow through the instrument. Possibly let some of the air slip out of the mouth at the same time.

Blow through the instrument. Possibly let some of the air slip out of the mouth at the same time. through the instrument. of out theofairtheslip out at ofthe thesame mouth BlowBlow through the instrument.

Possibly Possibly let some ofletthesome air slip mouth time.at the same time.

Blow through the instrument. Possibly let some of the air slip out of the mouth at the same time.

Murmuring sound. Pitched air sound with flutter tonguing.

Murmuring sound. Pitched air sound with flutter tonguing.

Murmuring sound.

Pitched air soundflutter with flutter tonguing.

Murmuring Murmuring sound. sound. Pitched Pitched air air sound sound with with flutter tonguing. tonguing.

Murmuring sound. Pitched air sound with flutter tonguing.

Murmuring sound. Pitched air sound with flutter tonguing.

Murmuring sound. Pitched air sound with flutter tonguing.

Murmuring sound. Pitched air sound with flutter tonguing.

Murmuring sound. Pitched air sound with flutter tonguing.

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Instrumentation (2007) Brutalized Beauty for flute, clarinet, percussion, piano, string trio & live-electronics Dur. 12’

Flute/alto flute Flute/alto flute Clarinet in B/bass clarinet in B Clarinet in B/bass clarinet in B Percussion Percussion Prepared piano PERFORMANCE NOTES Prepared piano Electronics (tape) Piano:The Piano: Thepiano piano Electronics (tape) The piano is prepared with chains onthe thestrings stringsexept exeptfor forthe thedeepest deepestand andhighest highestoctave. octave.The Thechains chains Violin The piano is prepared with chains on are not supposed to damp the strings completely. are not supposed to damp the strings completely.

Violin Piano:The piano Piano: Viola Thedeep deepDD(D1) (D1)isisprepared preparedwith with cordwrapped wrappedaround aroundthe thestring. string.When Whenpulling pullingthe thecord cordititshould should Piano: The aacord Piano: produceaafuzzy fuzzyor orvery verydull dulltone. tone.

Onthe thesame samestring stringaaplastic plasticcard cardisisused usedto toproduce produceaaguerro guerrolike like produce On Viola sound by scraping the card against the string. sound by scraping the card against the string.

Cello Piano:Piano: Frombar bar56 56the thepianist pianistisissupposed supposed strike withaahard hardbeater beateron oneither eitheron onthe the sideof of the piano Celloistoainside From strike Glissando inside theThe piano.

The glissando certain construction frame and is therefor not the piano stool Glissando inside the piano. glissando is insideto certainawith construction frame and is therefor not side stool or right under the keyboard depending on the specific piano. The tone quality should be dry andnot nottoo toohollow. hollow. and Piano:The piano Piano: or right keyboard depending onany thefor specific piano.

The tone quality should be dry dependent on anythe specific notes but is fully suitable anypiano. grand piano. dependent on anyunder specific notes but is fully suitable for grand

Piano:

GlissandoGlissando inside theinside piano. The glissando is inside aiscertain frame andframe is therefor not Piano: piano.

TheThe glissando inside aconstruction certain construction and is therefor Glissando insidethethe piano. glissando is inside a certain construction frame andnotis therefor not dependentdependent on anythe specific butnotes is fully any grand piano.

Glissando inside piano.

The glissando is suitable inside a for certain construction frame and is therefor not on anynotes specific but is fully suitable for any grand piano. dependentinside on any piano. specific notes but is inside fully suitable for any grand piano. glissando a certain construction frame and is therefor not dependentGlissando on any specific the notes but isThe fully suitableisfor any grand piano. dependent on any specific notes but is fully suitable for any grand piano.

Glissando inside theThe piano.

The glissando construction frame and is therefor Glissando inside the piano. glissando is insideisainside certaina certain construction frame and is therefor not not dependent onthe anypiano. specific notes but is fully suitable anypiano. grand piano. dependent on inside any specific notes but is fully suitable for any for grand Plucked string inside the piano.

Plucked string

GlissandoGlissando inside the piano.the The glissando is inside aiscertain frame andframe is therefor not piano.

TheThe glissando inside aconstruction certain construction and is therefor Glissandoinside inside the piano. glissando is inside a certain construction frame andnotis therefor not dependent on any specific notes but is fully suitable for any grand piano.

Plucked string inside the piano.

Glissando inside theon piano.

The glissando is inside a certain frame and is therefor not dependent any specific notes but is fully suitableconstruction for any grand piano.

Plucked string inside the piano. dependent on any specific notes but is inside fully suitable for any grand piano.

Glissando inside the piano. glissando a certain construction frame and is therefor not dependent on inside any specific notes but isThe fully suitableisfor any grand piano.

Plucked string the piano. dependent on inside any specific notes but is fully suitable for any grand piano.

Plucked string the piano.

Plucked string inside the piano.

stringthe inside the piano.

PluckedPlucked string inside piano.

Plucked string inside theinside piano.the piano.

Plucked string Plucked string inside the piano.

Plucked string inside the piano.

Plucked string inside the piano.

The piano: The piano:

The piano is prepared with chains on the strings exept for the deepest and highest octave. The chains are not supposed to damp the strings completely.

The piano is prepared with chains on the strings exept for the deepest and highest octave. The chains are supposed the with strings completely.

Thenot deep D (D1)tois damp prepared a cord wrapped around the string. When pulling the cord it should produce a fuzzy or very dull tone. On the same string a plastic card is used to produce a guerro like sound by The deep the D (D1) prepared a cord wrapped around the string. When pulling the cord it should produce scraping cardisagainst the with string. a fuzzy or very dull tone. On the same string a plastic card is used to produce a guerro like sound by scraping againstisthe string. to strike with a hard beater on either on the side of the piano stool From barthe 56card the pianist supposed or right under the keyboard depending on the specific piano. The tone quality should be dry From bartoo 56hollow. the pianist is supposed to strike with a hard beater on either on the side of the piano stool and not or right under the keyboard depending on the specific piano. The tone quality should be dry and not too hollow.

The percussion: Thepercussion percussion The The percussion: Instruments:

3metal metalblocks blocksor orpipes pipesinindifferent differentsizes sizes(in (inorder orderto toproduce producedifferent differentpitches). pitches).They Theyshould shouldhave haveaa 3Instruments: very piercing sound. very piercing sound.

3 metal blocks or pipes in different sizes (in order to produce different pitches). They should have a very piercing sound.

3Cymbal metal blocks (large)or pipes in different sizes (in order to produce different pitches). They should have a very piercing sound.

Cymbal (large) Antique cymbals: Cymbal Antique(large) cymbals: Antique cymbals:

Gongs: Gongs Gongs:

Cowbell (large) Cowbell (large) Sandpaper Cowbell (large) Sandpaper Hard beaters, Bow, Triangle stick, Soft beater.

Sandpaper Hard beaters, Bow, Triangle stick, Soft beater.

Hard beaters, bow, triangle stick, soft beater

INSTRUMENTATION Flute / alto flute Clarinet in B / bass clarinet in B Percussion 3 metal blocks or pipes in different sizes (in order to produce different pitches - they should have a very piercing sound), cymbal (large), antique cymbals, gongs, cowbell (large), sandpaper, hard beaters, bow, triangle stick, soft beater.

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‰

‰

≈

‰

&

f

b b œœœœœ > ƒ

‰ ‰

ƒ

KrK

. ÿ ÿ ÿ ÿ ÿ ÿ>

KrK

œ

´ ´ ´ ´ ´ > 5

≈

&

1 8

j bœ > ƒ

‰

espress. pont. estr.

‰

espress. pont. estr.

j

3

´

´ ´ ´

∑

4 8

> b b œœœœœ J Ï >œ # # œœ J Ï

4 8

j

œ

> ƒ

>

œ

rKK

œ

J

4 8

5

j bœ

œ

´

> >z > > > z zzz Ï

5

1 8

> # # œœœœ

‰

6

rK

1 8

2 8

KKr

R

7

Ï

2 8

f

Ped.

œ

5

5

3

j

œ

z ®®z ® z ®z ® z

‰

4 >œ >œ >œ 8 Ï

2 8

F

Pno.

?

j bœ p

5

4 8

∑

simile

∑

2 8

1 8

P

3 8

5

∑

3 8

Œ

4 8

5

5

≈

œ

2 8

5

5

4 8 ?

b˙ p

œ

3 8 Œ

∑

3 2 8 8 ÈŸ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"Shaky tone"

4 8 M bl.

4 8

œ

4 8

19

Fl.

Cl.

&

&

C œ

Tempo I e = 56

œ

≈

‰

Œ

bO

air and key-clicks

Œ

x

–

π

œ>

fl. tongue

e

‰

∑

p

bO

ß

Œ

x

Œ

π

‰

Œ

ß

‰

"murmuring" air with quasi tone

bO j æ P

Œ

æ

Ï

ß

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

æ –- . π

æ π

æ

P

4 8 M bl.

÷

∑

∑

?

∑

∑

Perc.

G&C.

4 8 &

∑

&

∑

Gong

π

bœ

Œ

F

Pno.

lontano

œ

E

bœ

‰

‰

∑

bœ

∑

∑

?

4 8 &

Vla.

&

Vlc.

?

‰

œ

∏

Ped.

Vln.

3

bœ f

œ

P

œ

bœ p

œ

#œ P

f ∑

œ

œ

Œ

jœ F

œ

œ

œ

œ

p II.

bœ p

œ

"metallic sound" pont. estr.

b b Oœ æ ∏

bœ f

œ

#œ F

œ

Oœ

æJ

P

œ

œ

bœ P

œ

œ

p Oœ ..

æ f

jœ œ F

bœ

3

‰

‰

bœ p

œ.

#œ F

p

Oœ ..

P

bœ f

œ

œ

f

æ π

nœ p

Oœ

P

Nicolai Worsaae -Brutalized Beauty - 4

æJ f

œ

Oœ

æ

P

œ

jœ F

bœ P

œ

p

œ

Œ

∏

œ

F

œ

bœ p

&

bœ f

œ

œ

#œ p ∑

œ

D 25

Fl.

Cl.

&

e = 67,2

œ

≈

æ

‰

3 8 ´ ´ ´ œ´ b œ´ n œ b œ n œ

‰

f

∑

&

÷

∑

?

∑

&

f

5

ϫ b ϫ

f

ϫ

3

Vla.

&

5

5

5

3

Vlc.

?

‰

f >œ . œ.

Î

‰

#œ

e œ

3

ÿ

3

Œ

œ

ÿ

KrK

# œœ

> Î

´

≈ ‰

ƒ rKK

´ ´ ´ ´ ´

ƒ

5

œ

> Ï

?

œ

ÿ

b >œ

®

2 8

œ

œ

J Î ´ ´ ´ ´ >

´

Ï

5

3

œ

KrK

≈

J

‰

œ

ÿ

≈

z> >z >z z z z ∑

3

#œ ÿ

œ

∑

Ø

∑

∑

∑

∑

∑

∑

∑

ÿ Ï

KrK

∑

´

´

ƒ

3

∑

´

&

∑

1 8

Gong

´ ´ ´ ´ ´ bœ 5

∑

∑

∑

∑

bœ J π

‰

‰

œ

∑ "middle frame"

rKK

Inside Piano

‰

gliss.

F

π

3 8 ∑

lontanissimo

#œ. Ø

Ï

e

K œ.

#œ.

e

K œ.

bœ.

e

gliss.

K œ.

e

J œ.

gliss.

lontanissimo

# œ eK œ

#œ.

Kœ

#œ.

Ø

∑

Œ

3 8

≈

bœ bœ ® bœ ® ÿ ÿ œ bœ ÿ ÿ ÿ Ï

J rKK bœ

p

‰

e œ

#œ

3 8

1 8 3

® œ œ bœ ÿ ÿ ÿ f

II. & III. pont. estr.

´

1 8

œ.

3

2 8

Œ

II. & III. pont. estr.

>z > > >z > > ®z z ® z ® z

3

e

œ

5

≈ # œ b œ ÿ ÿ f

#œ.

œ

e = 56

Ï

∑

?

e

E

j

∑

5

œ

2 8

3 8 #œ

Ø

5

5

3 8

œ

II. & III. pont. estr.

5

#œ#œ ® ® ® ‰ ÿ ÿ

´ ´ ´ ≈ œ œ b œ b œ´ ≈ œ´ ≈ b œ´ 3

œ

&

>> > > > > > > > > > z z z ®z z z ®z z ®z z ®z

3 8

Ped.

Vln.

‰

œ

Ï

√ ´ ´ ´ œ´ œ´ œ´ ´ ´ ´ ® # œ ® œ # œ ® b œ´ œ œ ® œ œ´ ® œ´ œ´ ® œ´ & Pno.

‰

bœ.

P

Perc.

G&C.

‰

3

lontanissimo

1 8

"Shaky tone"

3 8 M bl.

>œ >œ >œ Ï

5

2 8

#œ

lontanissimo

e

Ø

Nicolai Worsaae -Brutalized Beauty - 5

e

gliss.

e

K œ.

K œ.

gliss.

œ.

#œ.

gliss.

e

K œ.

gliss.

œ.

gliss.

e

J œ.

gliss.

4 8

32

Fl.

Cl.

&

&

Œ

œ.

Ø

Ø e

e

œ bœ

bœ.

œ

œ.

p

e

bœ

œ

p

e

eœ

bœ.

œ

e

‰

bœ

Ø ∑

Ø

∑

‰

œ.

p e

œ

π

e

e œ bœ

bœ

bœ.

œ.

F

e œ

œ

F

e

e œ bœ

bœ.

‰

p

3 8

´ œ´ ® œ´ bœ´ œ´ b œ´ b œ ® n œ´ n œ´

Œ

‰

π

F

ƒ

5

Œ

5

5

# œ œÿ œÿ ÿ ƒ

5

® ®# œ œ n œ b œ ® ÿ ÿ ÿ ÿ

4 8 M bl.

÷

∑

∑

∑

∑

∑

∑

3 8 Œ

Metal-block

z

Perc.

G&C.

?

‰

œ

π

‰

bœ œ

bœ

‰

‰

œ

‰

4

&

∑

?

∑

‰

œ

‰

∑

∑

∑

∑

4 8

5

∑

∑

∑

On keyboard

∑

∑

ƒ

Pno.

∑

∑

∑

∑

∑

&

4 8 Vln.

Vla.

Vlc.

&

&

?

œ.

#œ.

œ.

e

J œ.

œ.

e

K œ.

#œ.

J œ.

œ.

e

e

e

e

J œ.

œ.

K œ.

#œ.

J œ.

œ.

Ø

e

bœ. Ø

e

n œ.

gliss.

e

bœ.

œ.

gliss.

œ.

π œ.

e

bœ. π

œ.

e

bœ.

œ.

gliss.

Ø

e

bœ.

π gliss.

#œ.

π

e

e

gliss.

e

bœ. π

bœ.

gliss.

gliss.

n œ.

Nicolai Worsaae -Brutalized Beauty - 6

œ.

bœ.

P

#œ.

π

b œœ>œœ œœ>œœ œœ>œœ

e

n œ.

P

œ

e

bœ.

bœ

œ.

#œ

e

P

P

5

5

3 8

´ ´ œ´ ´ # œ´ œ ® œ ® œ´ œ

‰

3

bb#œ>œœœ œ>œœœ œ>œœœ ‰ ƒ

z z ®®z ® ®z z

?

≈

3

≈ 3

3

œ #œ nœ ÿ

ÿ

ÿ

bœ ÿ

3 8 e

e

e

œ

f

P

bœ P œ

P

f

f

3 8

39

Fl.

Cl.

&

&

´ ´ ´ ´ ´ b œ´ ® b œ´ œ n œ œ # œ ® n œ´ œ b œ´ b œ´ b œ´ ® ® 5

5

œ bœ bœ œ ® ® nœ nœ #œ œ ® ® œ bœ œ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ

G&C.

5

?

3 8 &

z ® z ®z z ® z z

´

œ

∑

´ ´ ´ œ œ´ ® b œ b œ´ ® œ´ ® b œ´ ® #œ

>z >z >z z z z Ï

5

2 8

∑

Ï

1 8

∑

>œ J

b >œ J

® œ ® bœ œ ® œ #œ œ ® ÿ ÿ ÿ ÿ ÿ ÿ

5

5

3 8

´

´ œ œ´ ® œ # œ´ ®

Molto Sensibile e = 44

Ï

5

2 8

Perc.

1 8

5

5

5

z z z ® z z z ® z z ® z z ®z

÷

´ b œ´ ´ n œ´ œ ® ® œ

5

3 8 M bl.

´ ´ ´ b œ´ œ œ b œ

5

5

5

2 8

G

1 8 ´ ´ œ œ

3

œ

ÿ

œ

ÿ

#œ ÿ

≈

œ

œ

ÿ

ÿ

3 8 Vln.

Vla.

Vlc.

&

&

?

≈

3

3

3

œ

ÿ

œ

#œ ÿ

ÿ

≈

œ

ÿ

bœ ÿ

2 8 œ.

bœ.

#œ.

e

e

e

œ.

e

œ

bœ.

bœ

e

œ.

#œ

œ

e

bœ ÿ

*

π

. . . . . ®œ œ œ œ œ ®®®®

≈ 5

5

5

5

∑

∑

∑

∑

∑

3 8

3

∑

∑

3 8 ∑

3

≈

‰

b œ. ≈

∑

Inside Piano

‰

‰

∑

&

√ œ

p

Pno.

?

‰

. . . . ® bœ œ œ œ

≈

‰

≈

3

3

≈ b œ p

Crotali

œ

œ

∑

≈

≈

‰

œ

œ

≈ b œ

‰

≈

œ

œ

≈

∑

3

≈ ≈ œ

œ

bœ

≈

∑

Ped.

1 8

3 8 ∑

œ

bœ

bœ

‰

Oœ

ord.

æ œO

Ø

æ œO

æJ Ø

π

∑

eb œ

ord.

æ œO

Oœ

æ

Oœ

æ π

æ œO

∏

® O O O O O ‰ œ- œ- œ- œ- œπ ord.

Œ

Oœ

æ ∏

Nicolai Worsaae -Brutalized Beauty - 7

≈

œO-

π Oœ-

π

Oœ-

Oœ-

Oœ-

® ≈ œO- œO- œO- œO- œO-

3

3

œO-

œO-

Oœ-

œO-

‰

œO-

® bO O O b œ- œ- œ-

3

3

≈ ≈ ≈

Oœ-

œO-

Oœ-

œO-

Oœ-

œO-

œO-

Oœ-

H 45

Fl.

Cl.

&

. . . . . . . . . ® bœ œ œ œ œ ® ® ® ®® œ œ œ œ 5

5

5

b œ. p

œ. œ. œ. œ. œ. ® ®®®® ®®®®

∑

&

P

5

5

2 8

Piu mosso e = 66

3 8

∑

p

5

∑

∑

÷

∑

∑

œ-

œ-

œ-

3

œ-

≈ ≈ ≈ œ

3

‰

2 8 M bl.

œ-

œ-

3

‰

œ-

œ-

œ-

3

#œ π

≈

≈

≈

œ-

œ-

œ-

P

3

3

œ

3

≈

œ

f

œ-

‰

œ-

œ-

‰

F

‰

œ-

œ-

3

œ

p

3 8 ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Perc.

≈ œ

≈ œ bœ

3

G&C.

&

≈ ≈ œ

‰

œ

‰

3

‰

3

&

√ œ

≈

œ

œ

bœ

≈

œ

‰

≈

bœ

œ

2 8

÷

3 8 ∑

Pno.

?

∑

∑

Vla.

Vlc.

& b b œO œO ≈ - -

&

?

≈

3

œO-

Oœ-

b b œO- œO- œO- œO- œO- ® π p

®b b œO œO œO œO œO ≈ - - - - p P

3

‰

≈ ≈ ≈ O O œ- œπ

≈

≈

π

Oœ-

3

œO-

Oœ-

œO-

œO-

p Oœ-

Oœ-

‰

3

∑

3

≈ œO- œO- œO- œO- œO-

p Oœ-

p

‰

P

‰

3 8

∑

∑

‰

KrK

gliss.

"deepest frame"

2 8 Vln.

Inside Piano

∑

π

F 5

5

5

b b œ.O œ.O œ.O œ.O œ.O ® ® ® ® œ.O œ.O œ.O œ.O œ.O ® p

5

Oœ-

Oœ-

≈

p

Oœ-

Nicolai Worsaae -Brutalized Beauty - 8

≈

5

b œO œO œO œO œO ® ≈ . . . . .

O ® ≈ .œ

Oœ-

5

5

bb œ.O œ.O ® ® ® ®# œ.O œ.O œ.O œ.O œ.O ® ® ® ® F

O O O O .œ œ. .œ œ.

Oœ-

5

® ® ®b b œO œO œO œO œO ® ® ® ® œO œO œO . . . . . . . .

P

O O O O O ® ≈ .œ œ. .œ œ. .œ

p

5

b b Oœ

P

b œO œO œO œO œO ® ≈ . . . . .

P Oœ-

Oœ-

Oœ-

Oœ-

‰

b b Oœ

F

Oœ-

œ.O œ.O œ.O œ.O

F

Oœ-

Oœ-

51

Fl.

&

œ-

œ-

≈ ≈

3

œ-

f

œ-

œ-

3

œ-

œ-

≈

3

4 -œ œ- œ- œ- œ- œ- œ- œ- 8 3

3

I

e = 44

∑

ƒ

3

œ

œ

≈

Ï

œ

‰

œ

‰

Ï

Œ

÷

Œ

÷

"fog horn sound"

Cl.

M bl.

&

œ.

œ

F

p

÷

‰

&

∑

?

∑

‰

‰

π

4 8

LO

œ ( œ) œ

( œ) œ

p

∑

"Screaming"

∑

simile

O œ œ

J ƒ

π

Large Cymbal

÷

œ ( œ) œ

( œ) œ

∑

Perc.

G&C.

LO

œ ( œ) œ

O ( œ) œ

ƒ

O ..

–

ƒ

simile

≈

‰

p

œ œ œ

¥ œ œ

( )

( )

ƒ

p

∑

∑

simile

‰

∑

O ..

–

( )

ƒ

4 8

∑

œ œ

( )

p

∑

scrape with a stick from the inner to the outer ring of the cymbal. ( )

L¥

∑

?

÷

∑

∑

∑

∑

∑

∑

Pno. Inside Piano

KrK

gliss.

π 5

Vln.

Vla.

Vlc.

5

5

‰

F 5

5

4 8 5

& L K œ.O œ.O œ.O œ.O œ.O ® ® ®nbœ.O œ.O œ.O œ.O œ.O ® ® KJ œ.O œ.O œ.O œ.O œ.O ® œO #O . . . . ÿ ÿ ÿ #ÿ œÿ f ƒ & b œ.O ® ≈ KJ œ.O œ.O œ.O œ.O œ.O ® ® œO . f b O? bœ

≈

.O

œ

f

.O

œ

.O

œ

.O

œ

® œ.O œ.O œ.O œ.O KK œ.O . .

JJœO ÿ ÿ ÿ ÿ

ƒ

. bb Oœ

.O

œ

Oϫ

´

´

´ ƒ

‰

II. & III.

œ

œ

Ï

Œ

´

>œ

´

´

´ 3

II. & III.

# œœ

´

O´ llœ

Ï

Œ

´ ƒ

II. & III. pont. estr.

‰

‰

‰

II. & III. (al pont.)

≈

´

.

.

col legno bat.

π

≈ ≈

´

3

>œ

. œ.

Î

Nicolai Worsaae -Brutalized Beauty - 9

´ ´ ´ ´ > 5

P

rKK

bœ

‰

‰

II. & III.

®®® 5

rKK

´ ´ ´ ´ ´ ƒ

5

œ

> Ï

. . . .

œ

KrK

π

≈

®® 5

Œ

.

≈ ≈ 3

col legno bat.

(al pont.)

Ï

.

3

3

5

KrK

> Î ´

´ ´ ´ ´ ´ bœ ‰

P

. . . .

5

®®

Calme

J

e = 56

..

÷

‰

3 8

air

air

56

Fl.

K –

≈ p

–

π

‰

j

–

≈ p

–

π

M bl.

..

÷

–

Hit with a triangle stick and not on the middle spot of the Gong.

∑

‰ ‰

‰ ‰

π

–.

‰

‰

p

–

π

≈

–

P

2 8

∑

≈ bœ

‰

f

b œ ≈

œ

≈ œ

3

knock on the piano chaise with a club.

? ..

≈ p

e = 67,2

..

∑

&

..

∑

&

3 8

Rep. 3x

∑

∑

..

∑

..

∑

L.V. sempre

.. >‹

Pno.

≈

–

Triangle stick

? ..

Rep. 3x

–

3 8

Gong

÷

–

π

..

÷

Perc.

G&C.

Œ.

–

3 8

air

air

Cl.

air

‰

Play 4x

2 8

Silente

≈ ‰

œ œ ≈ 3

bœ

œ≈

≈ ≈

≈

3

>‹

Œ

≈

œ

≈ œ b œ

‰ ≈

3

3

‰

‰ ≈ b œœ

œ bœ

3 8

3

>‹

Œ

∑

œœ

≈ ‰

‰

bœ

œœ

≈ b œ

‰

3 8

Rep. 3x

>‹

‰

œ

3

2 8

3

‰

∑

≈

œœ

‰

∑

∑

..

∑

..

∑

Ped.

P Vln.

P Vla.

P Vlc.

..

..

..

.

.

π ®

≈

.

.

≈

3

3

. . . . π

≈

5

≈ 3

®®®

. . . .

5

.

.

≈

≈

.

3

®® 5

.

≈

≈

®®

®

. . .

II. & III.

≈

.

≈

.

≈

3

® ®®®

5

5

.

3

3

. . . .

.

3 8

5

. . .

≈

.

.

3

®® ®

≈

3

. . . .

5

≈

®®

®

.

≈

3

. . .

® ®

.

≈

. . .

® ®

.

≈

p

3

5

5

5

.

2 8

. . . .

5

.

≈

P

3

®®

π

. . .

5

p

®®

.

≈

‰ p

6

6

6

. . .

5

P

‰

F pos.

F pos.

6

Nicolai Worsaae -Brutalized Beauty - 10

π

6

6

..

∑

..

∑

..

∑

3

quasi legno tratto

∑

3 8

Rep. 3x

6

F pos.

÷

61

Fl.

Cl.

M bl.

& ..

& ..

∑

..

∑

÷

‰

O –

arco

air fl. tongue

‰

‰

æ

–

‰

æ

p

∏ air with quasi tone "murmuring"

‰

æ

–

∏

O –

arco

‰

∏

∑

‰

∑

∑

∑

∑

∑

∑

∑

∑

p

÷

..

÷

..

∑

∑

∑

∑

? ..

∑

∑

∑

∑

J π

‰

‰

P

‰

‰

J π

F

∑

∑

æ

∑

Large Cymbal

Perc.

G&C.

∑

∑

‰

air with quasi tone "murmuring"

‰

æ ∏ –

∑ –

arco

‰ P

J π

‰

∑

Pno.

P ∑

P

P

‰

‰

P

7

‰

–

∑

p

≤ 

‰

‰

ÙÙÙ

ÙÙ‰

P

P

≈

6

≤

® ® ‰

P

‰

∑

P

P

‰

‰

7

sul pont quasi legno tratto

‰

∏

9

quasi legno tratto

∏

7

arco

6

Vlc.

‰

quasi legno tratto

..

Vla.

‰

scrape with a plastic card on the string.

arco sul pont quasi legno tratto

..

Vln.

Inside Piano

‰

P

‰

‰

ÙÙÙ

ÙÙ‰

P 6

ÙÙÙ P 6

6

arco sul pont quasi legno tratto

..

‰

P

‰ 6

‰

‰

P

‰

≈

P

≈

≤ 

∏

Nicolai Worsaae -Brutalized Beauty - 11

quasi legno tratto

P

‰

‰

‰

P

‰ 6

‰

P

6

L 67

Fl.

Cl.

M bl.

air fl. tongue

‰

&

&

æ ∏

æ

–

p

∑

∏

‰

æ

∑

p

÷

∑

air fl. tongue

‰

∑

–æ

2.x

æ

p

∏

∑

∏

air with quasi tone "murmuring"

‰

æ

‰

æ

–

∏

∑

Muta in Flauto in C

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

..

∑

..

∑

..

∑

..

∑

..

F

∑

Perc.

G&C.

÷

Large Cymbal

‰

–

arco

‰

J π

÷

P

∑

–

arco

‰

o

F

∑

Pno.

?

Inside Piano

∑

‰

‰

P

‰

&

7

-– p

j

–

∑

–-

lœ

e

∏

‰ p

‰

∑

P

o

quasi legno tratto

Ù ÙÙ

o

Ù® ‰

P 7

&

P

œ k œ bœ œ ≈ ‰ æ e p ∏ arco pont. estr.

ÙÙ‰

Vla.

≈

6

Vlc.

œ

pont. estr.

Vln.

P

pull a cord wrapped around the indicated string.

Ped.

P

P

‰

≈

P

≈

‰

® ® ≈

P

9

ÙÙ P

P ÙÙÙ‰

7

®®

∑

9

∑

&

P

‰

≈

6

Nicolai Worsaae -Brutalized Beauty - 12

P

‰

pont. estr.

lœ

∏

scrape with a plastic card on the string.

‰

e

P

œ

p

b– ∏

F

quasi legno tratto

ÙÙÙ P

ÙÙÙ

o

7

quasi legno tratto

≈

..

‰

®®‰

P

o

&

9

ÙÙ‰

#œ

Kœ

arco pont. estr.

?

∏

e

‰

P bœ

arco pont. estr.

kœ

∏ #œ

e

e

Kœ P

‰

&.

7

œ œ

æ

.

‰

P

P

≈

P

quasi legno tratto

≈

P

..

quasi legno tratto

P

..

6

M

4 8

73

Fl.

Cl.

∑

&

&

∑

air with quasi tone "murmuring"

‰

æ

j æ

æ

–

∏

∑

F

‰

œ.

œ

fl. tongue

‰

Œ

∑

∏

e = 74,66

Flauto in C

∑

æ

Disperamente

N

æ Ï j

#œ. p

œ

œ

Ï

4 8 M bl.

÷

∑

∑

∑

∑

G&C.

∑

∑

∑

∑

Gong

?

ƒ

4 8 ÷

∑

∑

∑

∑

∑

∑

∑

∑

Vln.

&

o

pont. estr.

e

lœ ∏

o

®®‰

Vla. 9

Vlc.

œ

P

‰

o

? #œ

∏

e

Kœ

∑

∏

B

arco pont. estr.

‰

‰

lœ ∏

e

œ

lœ ∏

F

e

œ

F

œ

∏

œ

ƒ

b b œœœœ

œœœœ

On keyboard

b b œœœ -

p

e

œ

F

‰-

4 8

arco

p

p

Pno.

?

œ

‰-

?

Œ

3

œ

œ

π

>z >z >z >z ≈ Œ

∑

Perc.

÷

‰

æ

5

∑

œœœœ

∑

ƒ

œœ œ

∑

œœ œ

-

ƒ

Ped.

œ

ord.

œ

e

œ

œ. Ï

e

œ.

p

æ

æ P

Œ

pont. estr. arco pont. estr.

k œ eb œ p F

œ œ ≈

æ

F

∑

‰

≈ k œ æb œ œ e œ ∏ F

e æ æ k œ bœ œ œ œ œ ∏ F

∑

‰

‰

œ

#œ œ œ œ œ œ æ æ e

#œ

∏

e

F

æ

æ œ œ œ œ

∏

œ

e

œ

∏

Nicolai Worsaae -Brutalized Beauty - 13

 . E  .

∏

E

æ k œ bœ œ Ï rK



œ œ-

Ï

e

œ

e K œ œ

p

Œ

œ œ

œ œ-

ƒ e Kœ œ

œ œ-

ƒ

e Kœ œ

e œ œ

bœ æ

ƒ

79

Fl.

‰

Œ

&

œ

œ

p

ƒ

bœ

‰

p

œ

P

M bl.

&

L œ. ( œ). œ.

œ

Ï

œ ( œ) œ

3

? bœ p

F

?

b b œœœœ

‰-

Pno.

?

‰-

œ

Œ

œ

ƒ

œœœœ

P

œœœœ

5 5

b b œœœ P

œœ œ-

œœ œ-

Ped.

Vln.

&

œ

æ

Ï

æ

bœ æ

P

œ

æ

∑

ƒ ƒ

ƒ

bœ æ

P

œ

œ

œ

P

f

Ï

3

P

b b œœœ P œ

æ

æ

bœ æ

ƒ

œ

æ

œœœœ œœ œ-

œ

æ

P

Œ

œœœœ

B

œ œ

e Kœ œ

Œ

‰

œ e Kœ œœ

ƒ

æ

?

œ œ

e Kœ œ

Œ

‰

œ eK œ œœ

ƒ

‰ p

3 8

2 8 ∑

∑

Ï bœ æ

‰

bœ

‰

∏

2 8

∑

∑

÷

∑

∑

&

æ

P

ƒ

‰

Triangle stick

œœ œ-

j œ. æ

≈

2 8

7:8

Ï

œ.

3 8 bœ

œ

Ï

F

Ï

æ

pont. estr.

œ œ

e

œ œ

œ œ-

Ï

e Kœ œ

œ eœ œ œ

‰

‰

pont. estr.

Vlc.

J Ï

œœœœ

œœ œ-

œ œ œ

3 8

pont. estr.

Vla.

œ œ œ

( )

>z >z >z >z ® ® ® Œ Î

œ œ´ œ´ œ´ œ´ œ´

Î

f

f

b b œœœœ

∑

œœ œ

æ

Œ

L œ. ( œ). œ.

∑

∑

œ

Œ

3

3

œœœœ

jnœ æ æ

Œ

œ

‰

"fog horn sound"

>z >z >z >z ≈ ≈ Œ

∑ Gong

P

œ œ œ

J Ï

f

÷

Perc.

G&C.

Œ

‰

≈

Ï

"fog horn sound"

Cl.

œ

3 8

œ e Kœ œœ

ƒ

œ œ

e

œ œ

e

œ œ

œ œ-

f

e Kœ

œ eœ œ œ

e Kœ

œ eœ œ œ

œ

π

pont. estr.

œ œ

e

œ œ

œ œ-

Ï

e Kœ œ

œ eœ œ œ

‰

Nicolai Worsaae -Brutalized Beauty - 14

‰

œ eK œ œœ

ƒ

œ œ

œ œ-

f

œ

π

2 8

2 8

84

Fl.

Cl.

&

&

"Le chanson d'Otto"

O

Tempo I e = 56

..

..

1 8

∑

‰

∑

‰

fl. tongue

∑

o

air fl. tongue "murmuring"

∑

Ͼ.

Ͼ

Ͼ

π

æ

æ

o–



o

fl. tongue

‰

Ͼ

Ͼ

o

∑

o

p

‰

Ͼ

Ͼ

p

o

air fl. tongue "murmuring"

∑

..

‰

æ

æ

o–



o

p

..

2 8 M bl.

1 8

÷

..

?

..

∑

∑

∑

∑

∑

∑

∑

..

∑

Perc.

G&C.

2 8 ..

÷ Pno.

&

..

≈ ≈ b œ ‰ 3

3

≈ b œ

π

≈

≈

≈ b œ

‰

œ

‹>

knock on the piano

‰

∑

Inside Piano

‰ œ

p

Ped.

≈

3

≈ b œ

‰

≈ œ

≈

≈ ≈

‰

∑

‰

#œ

∑

>‹

œ

‰

p

o

2

P8 Vln.

P Vla.

col legno bat.

..

∑

. 

.

sul pont

π

≈

≈

3

. 

. 

3

II. & III.

∑

®®®

‰

5

P Vlc.

. 

≈ ≈

3

.  . 

col legno bat.

..

. 

≈ ≈

.  . 

π

. 

.  .  .  . 

5

≈

≈

. 

®®

®

.  .  .  . 

∑

®®

.  .  . 

. 

&

®®®®‰

5

5

5

. 

3

3

3

≈

.

≈ b œ

>‹

‰

‰

œ

P

œ

‰

3

‰

3

3

>‹

pizz.

‰

≈

3

3

‹>

p

≈

.œ K œ.

‰

3

>‹

F

.

&.

∑ œ

∑

Ø3

1 8

‰

. . ≈ ≈ œ K œ ≈ ≈ 3

3

‰

5

.  .  .  .  π

®®

. 

3

.  .  . 

5

®®®

.  .  .  . 

5

..

.œ K œ. . . ≈ ≈ b œ J œ 3

3

®®®

..

≈ œ ≈ ‰

3

. . ≈ ≈ # œ L œ

arco

5

≈ ≈ b œ

≈

®®

.  .  .  . 

..

® ® ® ®& ..

5

5

5

1 8

II. & III.

..





quasi legno tratto

π













































∑

















π Nicolai Worsaae -Brutalized Beauty - 15

































∑

..

P 1 8

92

Fl.

&

1.x e = 74,66

2.x e = 87

3.x e = 100

..

Con moto

3 8

∑

≈

bO

&

..

∑

..

∑

?

..

∑

1 8 &

.. ..

On keyboard

∑

Vln.

Vla.

&

o

&

3 8 ∑

‰

´ ´ ‹ œœœ # # n œœœ

œ-

≈

bO

..

≈

O

π

≥ 6-

‰

œ

≥6

‰

‰

ƒ ∑

´ ´ # œœ n n b œœœ n # b œœœ

´ œ

‹ œœ

´ # b œœœ

´ ´ # œœ n n b œœœ n # b œœœ

´ ‹ œœ n # b œœœ

´ # # œœ n n b œœœ

œœ

´ ´ ´ ‹ œœœ n # n œœœ ‹ # œœœ

´ ´ ‹ ‹ # œœœ # # n œœœ

´ ´ ´ ‹ œœœ n # n œœœ ‹ # œœœ

´ ‹ œœœ

´ # # œœœ

´ ´ ´ ‹ œœœ n # n œœœ ‹ # œœœ

´ ´ ‹ œœœ # # n œœœ

´ ´ # ‹ # œœœ n # n œœœ

œœœ

´ œ

‰ ∑

´ ‹ # œœ n # b œœœ

´ œ

œ-

ƒ

# œ-

‰

# œj j 4œ :3œ

œ-

‰

´ œ

œ-

‰

‰

œj j 4œ :3œ

œ-

‰

b œ-

‰

´ œ

b œ-

‰

‰

œj j 4œ :3œ

>‹ p

æ

o

–

´ œ

´ œ ´

´ œ

œœ

´

œœœ

´ œ

œœ

´

´

œœœ

œ-

‰

œœœ

b -œ

‰

‰

œj j 4œ :3œ

P

‰

P

‰

∑

..

∑

2 8

´ œ

œœ

..

..

∑

..

∑

2 8 ..

sul pont col legno bat.

. 

π

.

≈

..

∑

ƒ

≈

ƒ

≈

ƒ

Nicolai Worsaae -Brutalized Beauty - 16

≈

-

® ® ® 5

ƒ

≈

? ..

‰

. 

. 

3

3

sul pont col legno bat.

..

≈

.  .  .  .  π

≈ 5

arco II. & III.

>‹

2 8

´ ´ # œœ n n b œœœ # n œœœ ´ œ

Slap tongue (tongue ram)

air fl. tongue "murmuring"

π

arco

ƒ

e = 56

‰

..

≈

œ

ƒ

‰

Tempo I

r r 5œ :6œ

bœ. p

∑

‰

ƒ

∑

≈

O

ƒ *

arco

..

≈

bO

arco

arco

´ ‹ # œœœ

∑

P Vlc.

f

≥6

≈

œ

Cowbell

ƒ

≈

bO

r r 5œ :6œ

œ

3 staccatissimo ´ ´ 8 bœœ´ # œ ‹ œœœ n # b œœœ

1 8 ..

≈

O

"Shaky tone"

∑

Pno.

&

≈

bO

r r 5œ :6œ

ƒ

Perc.

G&C.

r r 5œ :6œ

bœ. p

3 8

÷

≈

O

"Shaky tone"

1 8 M bl.

≈

bO

ƒ Cl.

2 8

Play 3x

Q

Oœ

Ø

. 

R

3 8

98

Fl.

&

≈

>‹ p

≈

>‹

≈

>‹

≈

>‹

‰

≈

Lœ

œ ( œ) œ

"fog horn sound"

Cl.

M bl.

&

æ



∑

o

p

(œ ) œ

f

÷

∑

∑

?

∑

∑

Cowbell

≈

arco

b œœ.

# œ

∑

&

∏

. ‹ # œœœ

Pno.

∑

&

≈

Vln.

≈ 3

.  .  . 

Vla.

π

Vlc.

?

Oœ

. 

≈

π

≈

. 

3

®®®

®®

∏

≈

Oœ

≈

. 

.  .  .  . 

. 

® ® ® ®

o ≈

o ≈

π

≈

&

B

≈

‰

≈

‰

bœ

≈

œ

> Ï

P

≈

Oœ

. œ

b >œ

≈

œ

.

p

≈

>‹

>‹

Œ

>‹

æ

æ

o–



Î

∑

o

p

. 

∑

∑

∑

∑

. 

π

® ® ®

Oœ

∑

. œ

. 

≈

π

. 

p

.

≈

≈

‹ œ

. 

. 

≈

3

® ® ®

5

Oœ

Nicolai Worsaae -Brutalized Beauty - 17

® ®

5

. 

π

.  .  .  .  5

Oœ

n # œœ

. 

3

.  .  .  . 

∑

3 8

≈

. ≈ # # n œœœ

≈

≥ 6J Ï

Œ

b .œ

≈

. ‹ ‹ # œœœ

≈

∏

.  .  . 

5

n n ll Oœ

. ‹ # œœœ

3

≈

# œœ.

≈

∏

‰

3

.  .  .  . 

# œ

‰

œ

≈

b œœ.

staccatissimo

.

œ

∏

≈

∑

.

œ

5

# # Oœ

≈

>‹

air fl. tongue "murmuring"

. œ

∏

3

P

>‹

b >œ J

3 8

Ï

5

kk Oœ

≈

. # # œœœ

3

5

5

Oœ

≈

3

.  .  .  . 

5

.

# œœ

≈

f

≈

ƒ

b .œ

≈

. ‹ œœœ

≈

∏ * . 

‹œ

≈

‰

>‹

∑ œœ.

staccatissimo

≥ 6-

>‹

∑

ƒ

Perc.

G&C.

>‹

S

∑

≈

3 8 ≈

≈

‰

&

3

® ® ® ®

o

arco

‰

5

Oœ ..

b œO

o

π Oœ

arco

B

π

∑

Fl.

4 8

œ.

105

&

∑ "fog horn sound"

Cl.

lœ

œ ( œ) œ

( œ) œ

‰

&

‰

÷

‰

?

∑

∑ œ´

≈

&

Vln.

Vla.

Vlc.

ϫ

≈

f *

œO

&

f

Oœ

B

f

Oœ ..

? p

ϫ

ϫ

ϫ

lœ

≥ 6-

4 8

3 8

p

3 8 ∑

∑

∑

∑

‰

∑

∑

∑

‰

∑

∑

∑

?

arco

‰

∏

‰

∏

rKK

J œœ ..



> Ï Œ

Oœ ..

f

´´ ´ ´ ´´´

3 8

2 8

‰

Œ

∑

œ

‰

Œ

∑

P b b œœ P

KKr

>

œ

≈

‰

J œœ

> Ï

7

rK

II. & III.

J œœ > Ï

R

‰

p

ord.

J >œœ Ï

KrK

´´ ´ ´ ´ 5

>

´ ´ ´´´ ´´>

œ

∑

≈

t

3 8

≈

œ

≈

rK

J œœ .. > Ï

‰

´ ´

´´´´´´

≈

œ´ œ

œ´ œ

œ´ œ

œ´ œ

œ

œ œ

œ œ

œ œ

P bœ ÿ P *

∑

ÿ

ÿ

ÿ

2 8

œ´ œ

ƒ œ œ

ÿ

ƒ

Ped.

2

P8

∑

KrK

>

œ

≈

‰

P

∑

6

´ ´ ´ >

œœ

3

Nicolai Worsaae -Brutalized Beauty - 18

rKK

œ

‰

> J œœ

ord.

Ï

KrK

2 8

‰

7

KrK

´´´´´´> 6

II. & III.

KrK



KKr

f

-6≥

3 8

b œœœ

4 8

J ƒ

Ï

Ped.

4 8

œ. œ. œ.

( )

J f

f

∑

4 8

Î

L œ. ( œ ). œ.

∑

∑

2 8

‰

∏

Œ

4 8

∑

‰

Ͼ

2 8

b >œ

"fog horn sound"

Ï

‰

Ï

fl. tongue

æ bœ ∏

œ ( œ) œ

( œ) œ

arco

3 8 Œ

F

2 8

∑

f

Pno.

&

ϫ

œ

f

Perc.

G&C.

4 8

Î

f

3 8

‰

f ∑

4 8

Cowbell

2 8

bœ

Œ

Ï

f

M bl.

3 8

´ ´ ´ ´ ´ > 5

´ ´ ´ ´ ´ 3

>

œ œ

rKK

œ

2 8

112

Fl.

Cl.

T

e = 56

4 8 ∑

&

o

air fl. tongue "murmuring"

∑

&

fl. tongue

∑

Ͼ.

Ͼ

Ͼ

π

æ

æ

o

–



o

÷

∑

∑

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

∑

t

∑

∑

∑

∑

œ. œ

∏

o

col legno bat.

∑

Vln.

. 

.

sul pont

π

≈

≈

. 

. 

Vla.

®®®

‰

. 

≈

3

col legno bat.

∑

. 

≈

3

3

II. & III.

5

P

≈

.  . 

.  . 

π

. 

≈

3

® ®

≈

≈

® ®

5

®

. 

. 

.  .  .  . 

® ®

.  .  . 

œ. œ

‰

∑

o &

∑

4 8

œ. œ

∏

® ® ® ® ‰

‰

∑

∑

.œ K œ.

arco

Ø

≈

∑

# .œ L œ.

≈

≈

® ® ® 5

.  .  .  .  π

&

.œ K œ.

≈

≈

3

3

3

5

5

5

z.

∑

∑

. 

o

p

4 8

π

3

3

.  .  .  . 

5

.



z.

∑

‰

æ

æ

–

‰

*

o

air fl. tongue "murmuring"

‰

œ. œ

Ͼ

p

∑

Pno.

2 8

z.

π

2 8

Vlc.

o

z.

Ͼ

œ

Metal-block

Perc.

G&C.

æ

Ͼ

∑

2 8 M bl.

fl. tongue

‰

∑

o

p

‰

® ®.

≈

3

.  .  . 

® ® ®

.  .  .  . 

5

5

4 8

5

II. & III. quasi legno tratto



π















































∑









π Nicolai Worsaae -Brutalized Beauty - 19









































&

4 8

119

Fl.

Cl.

e = 100

3 8

&

∑

&

∑

4 8 M bl.

U

œ.

"Shaky tone"

bœ. p

œ

P f

P

÷

∑

∑

?

∑

∑

4 8 &

∑

z.

&

æ ƒ

∑

Muta in Clarinet in B

z.

z.

z.

P

≈ œ π

bœ. p

‰

≈

´ ´ ´ ´ ‹ # œœœ ‹ œœœ # # n œœœ ‹ œœœ´ n # n œœœ´ ‹ # œœœ

œ

P ƒ

F ´ z

´ z

´ z

P

´ z

≈

F

∑

ƒ

∑

P

π

3 staccatissimo ´ ´ ´ 8 bœœ´ # œ ‹ œœœ n # b œœœ # œœœ´ n n b œœœ´ # n œœœ

Pno.

‰ ƒ

"Shaky tone"

Perc.

G&C.

œ.

fl. tongue

æ Î

æ f

∑

3 8

Metal-block

œ

fl. tongue

F z>

≈

‰

∑

œ

≈ π

z>

z>

´ ´ ´ ´ ´ ´ # b œœœ # œœœ n n b œœœ n # b œœœ ‹ œœœ n # b œœœ

´ ´ # # œœœ n n b œœœ

œœœ

´ ´ ´ ´ ‹ ‹ # œœœ # # n œœœ ‹ œœœ´ n # n œœœ´ ‹ # œœœ ‹ œœœ

´ ´ ´ ´ ´ ´ # # œœœ ‹ œœœ n # n œœœ ‹ # œœœ ‹ œœœ # # n œœœ

´ ´ # ‹ # œœœ n # n œœœ

œœœ

´

´

Vln.

Vla.

&

o

&

∑

P Vlc.

ƒ

ƒ

# œ-

‰

arco

∑

z>

´

œœœ

´

œœœ

´

´

œœœ

œœœ

´

´

œœœ

œœœ

∑ ∑

*

œ-

œ-

z>

∑

ƒ

3 8

z>

‰

# œj j 4œ :3œ

œ-

‰

œ-

‰

‰

œ-

‰

œj j 4œ :3œ

b œ-

‰

b œ-

‰

‰

œj j 4œ :3œ

œ-

‰

b -œ

‰

‰

‰

œj j 4œ :3œ

∑

‰

∑

arco

∑

ƒ

≈

ƒ

≈

ƒ

Nicolai Worsaae -Brutalized Beauty - 20

≈

ƒ

z>

z> Î

Ped.

4 8

z>

f ∑

´ ´ ´ ´ ´ ´ ‹ # œœœ n # b œœœ # œœœ n n b œœœ n # b œœœ ‹ œœœ

∑

≈

∑

V œ

125

Fl.

Cl.

& æ Î

‰ ƒ ∑

&

Metal-block

M bl.

z>

÷

z>

z>

z>

‰

‰

air and key-clicks

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

e

–

x

Ø

x

?

&

∑ b œœœ´

‰

Î ´ œ

Pno.

&

Vln.

Vla.

&

&

P Vlc.

# œœ

‰

œœœ

œœœ

´

b œœœ´

œœœ

œœœ

œœœ

œœœ

œœœ

´

b œœœ´

œœœ

œœœ

œœœ

œœœ

œœœ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

´ œ

œœ

∑

‰

´

œœ

œœ

# œœ

´

´

œœ

œœ

´

œœ

´

œœ

œœ

# œœ

´

´

œœ

œœ

´

œœ

´

´

œœ

œœ

# œ-

‰

# œj j 4œ :3œ

œ-

‰

œ-

‰

‰

œj j 4œ :3œ

œ-

‰

≈

∑

≈

b œ-

‰

‰

œj j 4œ :3œ

∑

∑

‰

∑

œ. œ

air

∏

≈

.z

≈

ƒ

≈

ƒ

≈

ƒ

≈

∑

Nicolai Worsaae -Brutalized Beauty - 21

Ø

.z z p

.z z

≈

≈

. z ∏

∑ œ. œ

≈

œ. œ

∑

∑

∑

Play at the side of the bridge to avoid the strings.

-

p

‰

Play at the side of the bridge to avoid the strings.

‰

-

p

‰

Play at the side of the bridge to avoid the strings.

-

x

* ‰

P

e

–

O. Ø

.z

≈

Ø

P

b œ-

‰

Clarinet in B

air and key-clicks

∑

Ped.

‰

ƒ

ƒ

´

Î *

œ-

œ-

œœœ

‰

P

Perc.

G&C.

‰

‰

-

p

‰

p p p

&

131

Fl.

Cl.

M bl.

&

&

÷

‰

x

‰

P j

rK bO

‰

‰

P

. z

Metal-block

≈

bO

‰

‰ ß ∑

‰

‰

?

&

∑

≈

Pno.

&

P Vln.

Vla.

o

&

Ø

≈

≈

‰

≥ -

F

œ. œ

≈

∏

≈

≈

∑

≥ -

‰

≥ -

≈

b b Oœ

pont. estr.

∏

p

≥ -

≈

F

‰

&

O

.z z

Ø

‰

π

P

‰



π









P









π













P









≈

œ. œ

‰ ‰

π

‰

‰

Play at the side of the bridge to avoid the strings.

-

‰

p

arco



π

‰

-

p

>z z

‰

ß ∑

‰ ‰

‰

>z z

>z z

>z z

ƒ

.z

≈

≈

b œœœ´ Î ´ # œœœ

b œœœ´

œœœ

´ # œœœ

œœœ

Î

-

p p p

Nicolai Worsaae -Brutalized Beauty - 22

‰

‰

‰

´

´

œœœ

´

´

œœœ

o

&

o &

o

&

.z

.z

.z

.z

π

∑

Play at the side of the bridge to avoid the strings.

‰

∑

∑

∑

∑

Ø

bO

ß

∑ œ. œ

≈

Oœ

‰

P

‰

œ. œ

‰

‰

Ø

o

P

bO

rK bO

Play at the side of the bridge to avoid the strings.

II. & III. legno tratto

‰

air

ord.

jj Oœ

‰

‰

∑

∑

∑

≈

.z

≈

‰

ß

∑ œ. œ

*

P Vlc.

œ. œ

‰

‰

.z

≈

Perc.

G&C.

bO

∑ ´

œœœ

´

œœœ

´

œœœ

´

œœœ

´

œœœ

∑

´

œœœ

∑

Ped.

Oœ

ord.

Oœ

Oœ

Ø

π

J Ø

ord.

Oœ

Oœ

Oœ

Ø

π

J Ø

b b Oœ

Oœ

Oœ

ord.

Ø

π

J Ø

.z

W 137

Fl.

Cl.

∑

&

&

∑

j

air

O. Ø

.z

rK bO

‰

‰

∑

∑

∑

∑

∑

∑

÷

.z

‰

‰

∑

‰

.z

‰

?

∑

∑

∑

&

‰

∏ . œœ

Pno.

∑

&

Vln.

Vla.

Vlc.

&

&

&

Oœ

J

Oœ

J

Oœ

J

Oœ

π Oœ

π Oœ

π

P Ø

III.

≈

P

Ø

P Ø

≥ -

F

œ.œœ

. œœ

. œœ

œ

≥ -

≈

≥ -







π

œ

‰

≥ -

F



.z

.z



P

≥ -

≈



≈

‰





∑

∑

∑



π

≥ -

‰

≥ -

≈

≥ -

≈









F







.z z

.z z

.z z



.z

.z

O

Ø

P



.z

.z

o





π

‰

Oœ &

‰

O & œ

‰

ord.

o

Ø ord.

arco

&

#œ

œ

#œ

∑

œ

œ

bœ

œ

bœ

œ

.œ œ

∑

Senza Ped.

Oœ

π

Oœ

J Ø

Oœ

Oœ

Oœ

Oœ

Oœ

b b Oœ

Oœ

Oœ

Nicolai Worsaae -Brutalized Beauty - 23

bœ

∑

J Ø

Ø

bœ

∏

π

ord.

∑

∑

Ø

o

z. ∏

∑

∑

≈

F

.z z

p

Ped.

II. & III.legno tratto

‰

œ.œœ

∏ *

≈

II.

‰

#œ

≈

‰

.z

∑

b œ.œœ

≈

.z

∏

Perc.

G&C.

air

‰

P

Metal-block M bl.

∑

π

J Ø

J

J

J

Oœ

π Oœ

Ø

π

Ø

Oœ

?

π

Ø

143

Fl.

Cl.

M bl.

&

Œ

bœ J ∏ bO

‰

π

∑

.z

.z

.z

.œ

œ

œ

œ

.œ

œ

œ

∑

P ≈

P ‰

III.

≥ -

≥ -

≈

ƒ II.

≥ -

‰

‰

ƒ

≈

≥ -

≈

Vlc.

>

œ œ

ƒ

I.

≈ r j 5œ :3œ

-

Ï

∑

´z z

´z z

´ zz

´ zz

≈

-

≈ # œœ

Ï ≥ -

≈

ƒ

≥ -

‰

-

Ï ´ œ

≥ -

≈

ƒ

´ zz

´

´

œœœ

œœœ

. zz

. zz

. zz π

´ œ

´ œ

œœ

‰

≈

‰

œœ

.œ œ

∏

∑

‰

≈

≥ -

≈

‰

ƒ

≈

≥ -

ƒ

.œ œ

≥ -

‰

≈

≥ -

‰

≈

≈

>

œ œ

r r 5œ :6œ

ƒ

≈

>

œ œ

I.

≈ r j 5œ :3œ

-

Ï

-

.œ

o

∑

∑

∑

∑

.œ œ

.œ œ

‰

‰

∑

.œ œ

œ œ

œ

œ

œ

bœ

bœ

œ

œ

œ

&

o

&

‰

#œ

œ

#œ

œ

œ

bœ

bœ

bœ

bœ

bœ œ

bœ

nœ

π

Oœ &

o

o

π

∑

œ

o

‰

∑

.œ

œ

œ œ

#œ

π

*

Ped.

≥ -

∑

œ

‰

o

π

"Screaming"

?

‰

∑

b œœœ´

≈

‰

"Screaming"

?

o

f

.œ

œ

∏

œ œ

#œ

∑ .œ

&

Vla.

.z z

∏

.œ

‰

sensibile

œ

‰

.z

∑ .œ

‰

œ

J π

∏

‰

Pno.

Vln.

œ

sensibile

.z

‰

?

&

œ

P

Perc.

G&C.

œ

J

rK

&

÷

œ

ord.

Ø ord.

Oœ

Oœ

π

Oœ

J Ø

Oœ

Oœ

Oœ

Oœ

Oœ

Ø

π

J Ø

b b Oœ

Oœ

Oœ

ord.

Ø

Nicolai Worsaae -Brutalized Beauty - 24

π

J Ø

J

J

J

Oœ

π Oœ

π Oœ

π

Ø

Ø

Ø

X 149

Fl.

∑

&

∑

∑

sensibile

Cl.

M bl.

&

œ œ

#œ

o

÷

‰

o

π

∑

œ

‰

œ œ

#œ

?

o

∑

∑

bœ

bœ

Pno.

&

Vla.

Vlc.

&

&

&

œ

œ

≈

œ.

π ‰

o

π

∑

Ø

∑

œ

œ

bœ

bœ

bœ

œ

bœ

bœ

nœ

œ

œ

œ

nœ bœ

Large Cymbal

∑

œ

bœ

‰

.œ

.œ

.œ

.œ

.œ

.œ

.œ

.œ

bœ

.œ bœ

b .œ bœ

.œ

.œ

.œ

.œ

.œ

œ

œ

œ

œ

œ

œ

œ

‰

œ

œ

‰

œ

‰

≈

bœ. Ø

o

œ

œ

œ

œ

‰

o

π

∑ scrape with a stick from the inner to the outer ring of the cymbal.

O ..

–

≈

œ œ

#œ

∑ "Screaming"

&

Vln.

bœ. Ø

sensibile

Perc.

G&C.

≈

sensibile

œ

‰

‰

f

∑ scrape with a stick from the inner to the outer ring of the cymbal.

"Screaming"

.

≈

‰

Large Cymbal

‰

O ..

–

≈

f

∑

∑

∑

∑

∑

∑

*

‰

‰

‰

‰

‰

‰

Oœ

Oœ

Oœ

ord.

Oœ

b b Oœ

Oœ

ord.

Ø

Ø ord.

Ø

J

J

J

Oœ

π

Oœ

Ø

Oœ

Oœ

π

Oœ

Ø

Oœ

Oœ

Oœ

Oœ

π

Ø

Oœ

Oœ

Oœ

Oœ

Oœ

Oœ

π

π

π

Ø

Ø

Ø

‰

‰

‰

‰

‰

‰

Nicolai Worsaae -Brutalized Beauty - 25

‰

Oœ

Oœ

‰

pont. estr.

Oœ

‰

Oœ

‰

pont. estr.

∏

‰

k k Oœ

‰

Oœ

∏ pont. estr.

∏

p

p

p

∏

∏

∏

Y 155

Fl.

&

≈

œ.

p

Ø

‰

∑

∑

∑

∑

‰

∑

∑

∑

‰

M bl.

&

œ

‰

œ œ

#œ

o

÷

‰

o

π

∑

∑

∑

∑

∑

?

. √

& Pno.

&

Vln.

Vla.

&

&

œ

π

œ

√

≈ # œ

π

‰

‰

P

Ï

‰

œ

bœ

bœ

nœ

œ

œ

œ

#œ

œ

œ

bœ

bœ

∑

bœ

bœ

∑

bœ œ

bœ

nœ

bœ

nœ

bœ

œ

∑

œ

œ

bœ bœ bœ bœ

œ

bœ bœ nœ

nœ

œ

œ

œ

∑

bœ

.œ

O ..

–

.œ

.œ

.œ

.œ

.œ

.œ

.œ

.œ

.œ

.œ

.œ

.œ

.œ

. b œ b œ b œœ

.œ

b .œ bœ

.œ

.œ

.œ

.œ

.œ

b .œ bœ

.œ

.œ

.œ

.œ

.œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

* Oœ

pont. estr.

∏ pont. estr.

k k Oœ

∏

Oœ

P Oœ

P

‰

∏ ‰

∏

‰

‰

Oœ

pont. estr.

∏ pont. estr.

k k Oœ

∏

Oœ

P Oœ

P

‰

∏

‰

∏

œ

∑

‰

‰

‰

œ

Vlc.

&

‰

pont. estr.

∏

Oœ

P

‰

∏

‰

pont. estr.

Oœ

∏

Oœ

P

‰

∏

Nicolai Worsaae -Brutalized Beauty - 26

∑

‰

II. & III.

Î

pont. estr. II.

k k Oœ

Oœ

∏

p

∑

‰

∑

II. & III.

Oœ

≈

∑

P ∑

.

ƒ

.œ

œ

π

Ï

≈

‰

‰

‰

œ

π

Large Cymbal

∑

P

( )

scrape with a stick "Screaming" from the inner to the outer ring of the cymbal.

≈

≈

œœ

( )

∑

Perc.

G&C.

œ.

OO

sensibile

Cl.

œ.

≈

‰

k k Oœ J ∏

"Screaming"

-

Ï

‰

162

Fl.

&

‰

. ≈ b œ p

œ.

≈

p

Ï

4 8 ‰

∑

Z

e = 90

Rit.

œ-

œ-

Œ

Î

e = 80

Rit.

œ-

Œ

Î

e = 70

Rit.

œ-

Œ

Î

e = 60

Rit.

Œ

Î

"fog horn sound"

Cl.

&

‰

OO

œœ

( )

‰

( )

œ

œ

π

π

Ï

œœ

∑

-œ Ï

4 8 M bl.

÷

∑

Perc.

G&C.

?

‰

∑ O ..

–

simile

≈

.

ƒ

&

∑

‰

&

∑

‰

Pno.

∑ ≈

‰ .œ

.œ

.œ

.œ

.œ

.œ

∏ √ b .œ .œ ≈ b œ œ

.œ

b .œ bœ

.œ

.œ

.œ

.œ

.œ

≈

œ

∏

≥6

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

‰

f

Ï

∑ .œ

œ

-œ Ï

arco

‰

œœ

Œ

( )

Cowbell

‰

√ .œ .œ

œœ

Œ

( )

≥6

-œ Ï

‰

f

Ï

‰

œœ

Œ

( )

≥6

-œ Ï

‰

Ï

Œ

( )

∑

f

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

4 8

œ

Ped.

P ∑

Vln.

Vla.

&

Oœ

J

Oœ

Î kk Oœ

p

∏

4 8 ‰

Oœ

J p

∑

Oœ

J

k k Oœ

Vlc.

∑

Ï

Œ

Î Oœ

∏

k k Oœ

p

"Screaming"

-

-

∏

"Screaming"

‰

∑

-

Ï

Î Oœ

p

Œ

k k Oœ

∏

"Screaming"

Œ

-

Ï

Nicolai Worsaae -Brutalized Beauty - 27

Î

Œ

Î

Œ

rK

p -

Ï

kk œO

∏

"Screaming"

Œ

-

"Screaming"

Œ

-

Ï

Œ

?

Aa 169

Fl.

& ..

b œ- .

e = 100

‰

Î

b œ- .

‰

Î

"fog horn sound"

Cl.

& ..

OO

Œ

œœ

( )

( )

œ

œ

π

3 8

œ- .

æ

‰

Î b b(OO )

Œ

œœ

œ

p

Î

∑ œœ

( )

( )

œ

œ

Î

Πf

Ab

4 8

..

∑

..

∑

3 8 M bl.

÷

..

∑

Scratch with a stick at the inner rings of the cymbal.

Perc.

G&C.

∑

? ..

O- ..

–

‰

Î arco (play on the strings with a bow.)

& ..

Inside Piano

‰

Pno.

& ..

..

Vln.

Vlc.

& ..

o

simile

‰

Î

-

œ

Î "Screaming" pont. estr.

? .. k ˙ k˙ Î

œ

simile

‰

Î

Œ

‰

J Î bœ

J

bœ

3

‰

Î bœ

bœ

œ

- 

‰

∑

..

∑

3 8 Œ

Î bœ

Nicolai Worsaae -Brutalized Beauty - 28

bœ

bœ

Kr

œ

3

- 

kk ˙˙ -

Œ

Î bœ

4 8

..

∑

..

∑

3 8

-

3

3

∑

∑

-

œ

..

Ï

∑

-

‰

∑

arco (play on the strings with a bow.)

‰

Ï

∑

‰

Î

O- ..

–

arco (play on the strings with a bow.)

Ï

∑

pont. estr.

Vla.

O- ..

–

arco (play on the strings with a bow.)

‰

Ï

∑

4 8

rK

œ œ

?

4 8

..

∑

..

∑

..

∑

4 8

174

Fl.

Cl.

&

..

&

..

4 8 M bl.

Perc.

G&C.

?

e = 60

Play 3x

fl. tongue

o

–æ.

‰

–æ.

o

π

œ #œ

Œ

fl. tongue

‰

o

–æ.

–æ.

œ œ

o

o

–æ.

–æ

œ œ

o

o

‰

Ͼ

π

j

œ # œ ..

Œ

π

Œ

o

π

fl. tongue

o

œ œ

p

o

Œ

..

Œ

..

Sandpaper

..

÷

Molto Sensibile

Ac

p

Play 3x

≈ ≈ ‰ 3

3

..

3

≈ ≈ ‰

p

3

3

p

3

∑

≈ ≈ ‰ 3

3

∑

≈ ≈ ‰

p

3

3

3

∑

3

..

∑

4 8 &

Play 3x

..

∑

∑

Pno.

?

P48 Vln.

P Vla.

..

‰

‰

pull a cord wrapped around the indicated string.

‰

j

-– p

j

–

∑ ‰

–-

‰

‰

?

..

∑ simile

‰

j

j

-– p

–

‰

–-

..

Play 3x

..

∑

‰





II. & III. legno tratto























Œ

π ..

∑

‰





II. & III. legno tratto



III.

..

Œ

oœ

o

b OO

oœ π





















 ‰

Œ

..

 ‰

Œ

..

π 



















Œ

π

Vlc.

..





















π Œ

o

œo

o

b OO

œo

π

o

Nicolai Worsaae -Brutalized Beauty - 29

∑

..

March 2010 ©Nicolai Worsaae