Thomas Agerfeldt Olesen: Trennungsbriefe (2021) by Edition·S

Thomas Agerfeldt Olesen Trennungsbriefe (2021) for solo female voice, solo trumpet, solo trombone and ensemble Dur. 25

For Rahel-Marie Dorothea Urton, Franziska Urton and Dorothea Kehrwieder Written for the Aarhus Sinfonietta and Jenny Thiele Commissioned by the Århus Sinfonietta 2020

SCORE

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Composed with support from the Danish Arts Foundation, Danish Composers’ Society and Koda’s Cultural Funds Projektet er støttet af Kodas kulturelle midler Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Thomas Agerfeldt Olesen Trennungsbriefe (2021) for solo female voice, solo trumpet, solo trombone and ensemble Dur. 25

PERFORMANCE NOTES

Performance notes:

The sound scope of this piece consists partly of the notes on the chromatic scale, partly of every possible pitch that can

The sound scope of this piece consists partly of the notescontrabassoon on the chromatic scale, partly Performance notes: and trumpet (and the percussion instruments with fixed pitches) operate within a fixed chromatic/quart Performance notes: of every possible pitch that can be produced on the instruments. Only contrabassoon Performance notes: whistles, strings and trombones all feature the possibility of an Performance notes:infinite amount of pitches within their ranges. The sound scope of this piece consists partly of the notes on the chromatic scale, partly Performance notes: Strings: very little ofvibrato, unless espr. is written. and trumpet (and the percussion instruments with fixed pitches) operate within athis fixed The sound scope this pieceofconsists partly of thepartly notes onthe thenotes chromatic scale, partly of every possible pitch thatwith can fixed bethat produced the in contrabassoon and trumpet (and the percussion instruments pitches) operate The sound scope piece consists onofthe chromatic scale, partly of the every possible can beon produce Theofsound scope this piece consists partly of notes on thepitch chromatic scale, partly contrabassoon and scope trumpet (and the percussion instruments with fixed pitches) operate within athe fixed chromatic/quarter-note scale. mo whistles, strings and trombones allthe feature possibility of an infinite ofWind pitches The sound ofand thistrumpet piece consists of the instruments notes on and the chromatic scale, partly of every possible pitch that can be produced contrabassoon (and percussion with fixed pitches) operate within a fixed chromatic/quarter-note sca chromatic/quarter-note scale. Wind mouthpieces, slide whistles, strings and trombones allthepartly contrabassoon trumpet (and percussion instruments with fixedamount pitches) operate whistles,contrabassoon strings and strings trombones all feature the possibility of anvery infinite amount ofunless pitches within their ranges. Strings: little vibrato, espr. is written. and and trumpet (and the instruments with fixed pitches) operate within a fixed chromatic/quarter-note scale. whistles, trombones allpercussion feature the possibility of an infinite amount of pitches within their ranges. whistles, strings and trombones all feature the possibility of an infinite amount of pitches feature the possibility of an infinite amount of pitches withinStrings: theirvery ranges. little strings vibrato, unless espr.unless is written. whistles, and trombones all feature possibility an infinite of pitches within their ranges. Strings: very little vibrato, espr. is the written. Strings: veryoflittle vibrato,amount unless espr. is written.

#œ

Strings: very little vibrato, unless espr. is written.

Staff œ # œ frame: music written in a staff fra somewhere close to the pitches Staff theyfra w œ #œ Staff frame: music written in a staff frame allows the player to somew

& the pitchesœ freely œ # œ Staff frame: music written in a staff frame allows the player to place #œ œ #œ & somewhere close to the pitches they would have been, had they&been written in an ordinary & & staff. Accidentals does not specify any pitch, but specifies the relation&to the previous note. In this example the last note is a semitone higher than the previous note.

staff. Accidentals notframe specify any Staff frame: music writtendoes in a staff allows Staff fra frt somewhere close to the pitches they have been, had thb Ac Staff frame: music written inpitches awould staffnote frame the somewhere close to the they would have In this example the last isallows astaff. semit somew staff. Accidentals does notto specify anyspecify pitch, the In this somewhere close the theybut would have bee staff. Accidentals doespitches not anyspecifies pitch, but staff. Ac Aes In this example theexample last note is a semitone thanbut thespe pre staff. Accidentals does not specify any pitch, In this the last note is ahigher semitone higher In this et In this example the last note is a semitone higher tha conductor gives a sign conduc conductor gives a signgives a sign conductor conduc conductor gives a sign

Conductor gives a sign An instrument name followed by the letters AMP means amplification on. See the instrument list in order to know which instrument is permanently or partly amplified

gopichand AMP

AMP +

With exaggerated level of amplification

Highest possible note, lowest possible note

gopichand AMP gopichand gopichandAMP AMP

—

&—

— &

AMP + + — AMP Highest &— Highest possible note, lowestnote, possible note Highest possible lowest possible note Highest & Highest possible note, lowest possible note Highest possible note, lowest possible -

— -

An instr gopichand AMP instrument name followed bylist the lem An instrument name followed byfollowed the letters means ampl in or An An instrument name byAMP the letters AMP An instr gopichand AMPis list in order to know which instrument permanently or partl list in order to know which instrument An list instrument name followed by the letters AMP mea in order to know which instrument is permanen list in or o list in order to know which instrument is permanently With ex AMP + With exaggerated level of amplification With exaggerated level of amplification With ex AMP level + With exaggerated of amplificatio With exaggerated level of amplification

AMP +

Play section 1

Playenclosed section 1Play section At times, some of the players must play seperate sequences of music, with1 the Play section 1 & \ & no\ coordination material in an appendix. These sequences must be played with absolutely Play&section 1 with the conductor or other players. The conductor gives a sign to stop an\ independant &conductor. sequence. A player may finish a sequence before the sign of the \

Trill with the range of approximately a minor second Trill with the range of approximately a major second Trill with the range of approximately a major or minor third Trill with the amplitude of approximately a perfect fourth

& \Play section 1 & \ Ÿb ~~~~~~~~~~ Ÿb ~~~~~~~~~~ Ÿb ~~~~~~~~~~ Ÿ2~~~~~~~~~~ Ÿ2~~~~~~~~~~ ~~~~~~~~~~ ŸŸb2~~~~~~~~~~ Ÿ3~~~~~~~~~~ Ÿ3~~~~~~~~~~ 3 ~~~~~~~~~~ Ÿ Ÿ2~~~~~~~~~~ 4 Ÿ~~~~~~~~~~ Ÿ4~~~~~~~~~~ Ÿ4~~~~~~~~~~ 3 j J kŸK~~~~~~~~~~ l Lj J k K l L jJkKlL

Ÿ4~~~~~~~~~~

Quartertone accidentals

At time At times, some of thesome players must play seperate sequences o materia At times, of the players must play seperate At times material At in an appendix. These sequences must be played wit with the times, some of the players must play seperate seq material in an appendix. These sequences materia must be with the material conductor or other players. Thesequences conductor gives a sig sequen in an appendix. be pl with the conductor orThese other players. Themust conducto with the Atconductor times, some of the players must pla sequence. Asequence. player may finish a sequence before the sign of t with the or other players. The conductor A player may finish a sequence before sequengt material Thesebefore sequen sequence. A player mayappendix. finish a sequence the bin an Trill wit with the bconductor or other players. Th Trill with theTrill amplitude approximately a minor second with theofamplitude of approximately minor wits sequence. A player may finish aa Trill seque Trill with the amplitude of approximately a minor seco 2 Trill wit 2 approximately a major second Trill with theTrill amplitude with theofamplitude of approximately a Trill major wits Trill with amplitude of approximately a major seco Trillthewith the amplitude of approximate 3 Trill wit 3 approximately a major or minor thir Trill with theTrill amplitude with theofamplitude of approximately a Trill major wito Trill with the amplitude of approximately a major or m Trill with4the amplitude of approximate Trill wit 4 approximately a perfect fourth Trill with theTrill amplitude with theofamplitude of approximately a Trill perfect wit Trill with the amplitude of approximately a perfect fou Quarter Trill with the amplitude of approximate QuartertoneQuartertone accidentalsaccidentals Quarter Quarte Quartertone accidentals

Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ jJkKlL jJkKlL

œ œ œ œ œ œ œ œ œ œ œ œ Play the Play the music within the brackets in tempo, but not coordinated with the others. & œ œ œ œ œ œ œ œœ œ œ œ œœ œ Playœthe music œPlaywithin the brackets in brackets tempo, but not coordina again on œ & œ œ the music within the in tempo, butthe Play œ œ & Coordinate again on sign from the conductor. œ œ Quartertone accidentals œ & sign from conductor the music within brackets in tempo, but not œ j œJ œk K l L again onPlay again onthe sign from the conductor & again o

Trill with the amplitude of approximate

again on sign from the conductor

Play the music within the brackets approximately in tempo. Repeat untill sign from conductor.

œ œ œ œœ œ œ œ & &œ œ œœœœ œœ

& &

œ œ œ

Play the œ œ œ Play œtheœmusic within the brackets approximately in tempo. R conduc Play the music within the brackets approximately Play the œ œPlay the music within the brackets approximately in œ conductor conductor conduct

conductor Play the music within the brackets in t

legato poss. œ œ œlegato œœœœ œœœ œœ œœ œœœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œœœœœœœœposs. œ œœ œ œ œ œ œ œ œ œœ œ œœœ œ œ œ œœœ œœ œœœœœœ œ œ œœ œœœ œ œ œ œ œ œ œ œ Graphic & œ œ œ withnotation œ with Graphic notation notated beats for support œ Graphic notated beats for support Graphic & œ & Play the music within the brackets app notation with notated beats for support œ part is not forœ playing,Graphic & & œ œ œœ œ œ œœœ œ œ œ &œ œplower onlyœorientation œ conductor lower part is not forpart playing, only lower is not for orientation playing, only orientation lower part is not for playing, only orientation p p part is not for playing, only orientation lower p p

again on sign from the conductor

legato poss. legato poss. legato poss.

Graphic notation with notated beats for support

Tasks of the sound technician legato poss. Tasks of the sound technician Tasks of the sound technician Tasks of the sound technician To turn off/on/up/down the amplification of certain parts when asked for. To play the Au Tasks of the sound technician To turn off/on/up/down the amplification of certain parts when askedfor. for.To To playthe theAudio Audio Files, which comes with the the material formaterial this piece they areoff/on/up/down asked play File ofofAudio the Male Voice during bars 315-339. To turn off/on/up/down the amplification of parts when asked To play the Files, which comes fo Tocertain turn the for. amplification certain parts when askedwith for. the To play theThis Au

œœœœœœœ

œœœœœœ œœœœœœ

INSTRUMENTATION Flute (doubling Piccolo, mouthpiece, Slide Whistle) Clarinet in Bb (doubling Eb Clarinet, Mouthpiece, Slide Whistle) Bassoon (doubling Contrabassoon) Trombone (doubling Contrabass Trombone) 2 Percussionists 1. Triangle, Recorder Mouthpiece, Crotales. Rain Stick (shared), Claves, Rattle, Snare Drum, Lions Roar (partly amplified), Slide Whistle 1, Mukosho, Gopichand (amplified), Military Drum, Sound of a barn in the wind (a squeeking door, wood striking wood, metal striking wood or metal in a repetetive way, use your imagination), Sizzle Cymbal, Tam, Tom (low), Large Anvil + Hammer, Orchestral Tubular Bells, Medium Thundersheet, Suspended Cymbal 2. Bass Drum*, Maracas, Basler Drum, Rain Stick (shared), Temple Block, Sizzle Cymbal, Air Horn, Bali Gong (Ab ) Solo Trumpet (written in C – the choice of instrument is however be up to the musician) *The bass drum must be a high quality orchestral bass drum without any side noises. Tone quality low and warm. Solo Trombone Female Voice (amplified) Audio-player 2 Violins Viola, amplified during appendix 1 & 2 (e.g. DPA d:vote CORE 4099V microphone, please no mics on a stand) Violoncello Doublebass Please note that the tuning must correspond to the audio tracks! (Concert pitch of 440 Hz.)

Sound technician (who reads music and can follow a complex score), operating and controlling the amplification levels of all the amplified parts and operating the audio-player. Amplification must be of the highest possible quality. Tasks of the sound technician 1. To turn off/on/up/down the amplification of certain parts when asked for. 2. To play the audio files, which come with the material for this piece, at the excact places they are required. 3. To play the audio file of the male voice during the bars 315–339. This section consists of several tracks in order for the conductor not to have to follow an inaudible tempo. 4. The result should be a perfect coordination of audio files and live music. All tracks are available from the publisher.

T r e n n u n g s b r i e f e

SCORE

for female voice, solo trumpet, solo trombone and ensemble

q = 76

Thomas Agerfeldt Olesen 2021

SENZA MISURA 4-5''

4-5''

Piccolo Mouth Piece

& 38

∑

Clarinet in Eb Mouth Piece

& 38

∑

Contrabassoon

? 38

∑

breathe when necessary or when indicated, without haste

Contrabass Trombone

? 38

∑

Trumpet solo

& 38

∑

Percussion

Trombone solo

38 œj

with resignation

Female voice AMP

œ π

j œ

siehst

Du!

Audio files

Violin 1

& 38

∑

Violin 2

& 38

∑

Viola

B 38

∑

Violoncello

? 38

∑

Doublebass

? 38

∑

every bar 4-5'' untill bar 9 5

C.bass Trne.

Fem. Vo. AMP

∑

rK œ —

CON MISURA

6 9

Picc. M.P.

Clar. in Eb M.P.

Cbn.

C.bass Trne.

q = 76

U ∑

1 8 ∑

œ œ œ œ 3 ˆ1ˆ 6 œ œ œ œ ≈ 16 4 16

U ∑

2 ˙ 4 p

81 ∑

œ 3 1 6 ˆ ˆ 16 4 16 R

U ∑

24 ˙ p

81 ∑

3 ˆ41ˆ16 6 j 16 œ.

81 ∑

U U ∑

(1) Trngl.

81 ∑

U ∑

Perc.

(2) Bd.

Trne. solo

81 ∑

U ∑ U

Fem. Vo. AMP

Vn. 2

Vla.

Vc.

Db.

K˙ p

3 ˆ41ˆ16 6 r 16 œ

˙ p

42 é p

81 œj

AMP+

pixie mute + plunger

\ p

42 œ

siehst

√ ˙

& &

U ∑

81 ∑

U ∑

81 ∑

U ∑

42 ˙ p

81 ∑

42 ˙ p

81 ∑

bœ ‰

j kœ

. œ. œ. œ. œ. œ. œ 3 ˆ41ˆ16 6 ‰ 16 r 4:3œ

42 42

con sord.

≈

r 4:3œ

Œ.

2 6 4ˆ16

Œ.

6 42ˆ16

24 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ˆ41ˆ16 6 œ. ˙ œ 16 J J p

U ∑

81 ∑

Bass dr.

∑ ,

‰

Recorder m.p.

Trngl.

Play appendix 1

Vn. 1

Trennungsbriefe

‰

K œ-

œ- m œ- n œ

6 42ˆ16

Œ.

6 42ˆ16

Œ.

6 42ˆ16

Œ.

6 42ˆ16

please use the pixie + plunger mutes according to the text (you must familiarize yourself with the pronuonciation of the words).

3 ˆ41ˆ16 6 16

6 42ˆ16

∑

3 ˆ41ˆ16 6 16

œ- .

œ.

≈

œ ≈ œ́ œ́ œ́ 3 ˆ41ˆ16 6 16 4:3 f

3 ˆ41ˆ16 6 œj . 16 3 ˆ41ˆ16 6 16

œ́ ®R œ

œ́ œ́ œ́ œ́ œ́ 2 6 œ́ ® 4ˆ16 5:3 p f œ́ œ́ œ́ œ́ œ́ œ́ ® œ́ ≈ 6 ≈ 42ˆ16

œ́

r œ

œ́ œ́ ´ 3 1 6 ˆ ˆ œ́ 16 4 16 œ f 3

œ-

œ́ œ́ œ́ œ́

œ-

r œ

r 4:3œ

œ́ &® œ́

œ́ r 5:3œ

œ ®≈ œ́ ´ œ œ ÿ ÿ 5

‰

œ́ œ́ œ́ 3

œ œ

6 42ˆ16

Trennungsbriefe

Picc. M.P.

Clar. in Eb M.P.

Cbn.

C.bass Trne.

(1) Rec. m.p.

œ J

# œ≈ ≈ J

œ3 3 J 16ˆ4 ≈ Œ

2ˆ 6 ‰ œ & 4 16

œ J

b œ≈ ≈ J

3 ˆ3 ≈ œJ Œ 16 4

œ œ œ œ b œ b œœœ k œ

3 3 16ˆ4 j œ. œ 3 ˆ43 j 16 œ. œ

2 6 & 4ˆ16 ‰

? 2ˆ 6 4 16

≈

? 42ˆ16 6 Ó 6 ‰ & 42ˆ16

‰.

‰

œ J

b œ≈ ≈ J

r œ

œ3 3 16ˆ4 ≈ J Œ

. 4 ‰˙ 4 7 :2 p

3 3 16ˆ4

4 ‰ ˙. 4 7 :2 p

3 3 16ˆ4

4 4

∑

3 3 16ˆ4

r ‰. Œ œ

44 Œ

j œ œ

Crot.

‰j

j 7œ :2œ

44 ‰b ˙ .

œ œ

p pos.

arco

Perc.

6 42ˆ16

(2) Bd.

Trne. solo

Vn. 1

3 ˆ43 16

∑

(√) loco œ́ œ́ œ́ œ́ œ́ œ́ œœ œ́ 2ˆ 6 & 4 16 5

> œ ®¿ . ƒ

>¿ .

6 ≈œ́ œ́ & 42ˆ16

´ ´ ´ ´ ´ ´ œ́ >¿ >¿ > >¿ œ́ œ́ ¿ œ́ 6

Vc.

Db.

œ́ 2 6 & 4ˆ16 R ‰ . ? 42ˆ16 6 ? 42ˆ16 6

˙ ˙

Ÿ~~~~~ œ p

ƒ Ÿ~~~~~~~~ Ÿ~~~~~~~~~ œ œ c.l.batt.

>¿

√ > >¿ > ¿ > >¿ > œ - œ- ˙. ¿ ¿ ¿ œ > > > ¿ ‰ œ œ - 4 œ3 3 16ˆ4 ¿ ¿ œ 4 J 5 r 4:3œ

c.l.batt.

Vla.

Vn. 2

3 ˆ43 16

damp

Ÿ~~~~~~~~~~~~~ 3 ˆ43 Œœ œ 16 J

44 Ó

∑

3 ˆ43 16

≈

œ œ- œ

j 7œ :˙

j ord.7œ :˙

loco œ- œ

p p f √ loco œœ œ >¿ œ . œ œ œœ œœ œ - ≈ œ́ ≈ œ 3 ˆ43 œ . ® ≈ J ≈® ≈≈ 44 16 - œ p 5 ord. f find the pitch of 1st vn. p √- loco œ́ œ́ œ́ Ÿ~~ œ́ œ́ œ œ́ œ́ œ́ 5 œ́ œ́ œ́ œ́ œ œ≈ œ́ 4 œ́ œ́ œœ́ j r œ 3 3 œ ‰ 4 &≈ œ œ 16ˆ4 œ R œ ≈ B J 5 5 5 ÿ ÿ 5 ÿÿ ÿ find the pitch f of 1st vn.

œ œœœœ œ œœœ œ > > œ œœœœ œ œœœ œ > >

vibrato espr.

3 ˆ43 j 16 œ. ˙

œ œ

‰j œ œ π

3 3 16ˆ4 3 ˆ43 16 3 ˆ43 16 3 ˆ43 16

3 6 3 ˆ43 ‰j 16 œ œ œ œ œ œ# œ œ# œ

8 16

Picc. M.P.

Trennungsbriefe

3 3 & 16ˆ4

2ˆ 6 œJ . 4 16 F

∑ ∑

. 2ˆ 6 œJ 4 16 F

Cbn.

? 3 ˆ3 16 4

∑

2 6 4ˆ16 Ó

C.bass Trne.

? 16 3 ˆ43

∑

3 3 16ˆ4

∑

6 j ≈Œ 42ˆ16 œ. F

Clar. in Eb M.P.

3 3 & 16ˆ4

(1) Geoph.

~~~ 3 3 16ˆ4 œJ .

Perc. (2) Bd.

Trne. solo

Vn. 1

Vn. 2

Vla.

œ ‰. R

? 3 ˆ43 & 16

œ. p

œ-

Db.

Ÿ~~~ Ÿ~~~ Ÿ~~~ œœ œ œ ≈

œ. ‰ 5

√ œ

? 16 3 ˆ43

Œ. ∑

damp!

Œ.

≈Œ

? 16 3 ˆ43 j œ.

œ ˙ ˙

‰

‰.

≈

œ. œ. œ.

œœ P

c.l.batt.

√ œ. J

12 16 12 16 12 16

3 ˆ41ˆ16 6 16

∑

3 1 6 16ˆ4ˆ16

∑

12 16

3 1 6 16ˆ4ˆ16

∑

12 16

Ÿ3~~~~~~~~~~~~~~~~~~~~~~~~~ œ. œ >¿ >¿ >¿ >¿ . >¿ ¿ >¿ >¿ >¿ œ . œ >¿ œ́ œ́ > 24ˆ16 6 ≈¿ 3 ˆ41ˆ16 6 J ≈ . R 16 œ ≈ œ́ r 4:3œ

ord.

r 4:3œ

≈¿

loco

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ˆ1ˆ 6 j 16 4 16 œ . œ n œj . bœ. ¬ œ π

œ œ ¿ 2 6 J 3 ˆ41ˆ16 6 ≈ ‰ ¿ 4ˆ16 ≈ 16 3 3 c.l.batt. f p ƒ Ÿ3~~~~~~~~~~~~~~~~~~~~~~~ . œ. œ œ œ œ œ œ ˙ œ œ́ 3 ˆ3 œ œ œ œ œ œ œ œ 2ˆ 6 J B ≈ œ́ œ́ œ́ 3 ˆ 1 ˆ 6 & 16 4 œ 4 16 16 4 16 œ. 3 3 & 16ˆ4 J

Vc.

2 6 4ˆ16 œJ . F

3 1 6 16ˆ4ˆ16 ‰ .

Œ.

≈Œ

2 6 4ˆ16 Ó

3 1 6 16ˆ4ˆ16 ‰ .

Œ.

≈Œ

œ. œ. œ. œ. œ.

œ. J

œ >¿ >¿ >¿ >¿ > ¿ R≈ loco

r 5:4œ

c.l.batt.

œ. J

ßp

f Ÿ3~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >¿ > > > ¿ 6 j ≈≈ 3 ˆ41ˆ16 6 j ¿ ¿ 42ˆ16 16 œ. œ. œ. œ œ œ œ >œ ord. c.l.batt. p F ƒ Ÿ2~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 j ≈≈ 3 ˆ41ˆ16 6 j Œ 42ˆ16 16 œ. œ. œ. œ œ œ œ >œ F p

œ. J

>¿ >¿ > > ¿¿ r 4:3œ

c.l.batt.

j œ. j œ.

œ œ

12 16

12 16 12 16 12 16

12 16 œ œ P

œ 12 16 P

Trennungsbriefe

Picc. M.P.

Clar. in Eb M.P.

Cbn.

C.bass Trne.

. 12 œR ‰ & 16

œ. ≈. R ‰. F

‰.

œ. œ. œ. œ. 12 ≈ ‰. & 16 r 5:3œ

œ. ≈. R ‰. F

9 1 16ˆ4

‰.

Œ.

9 1 16ˆ4 K œj .

? 12 16 ‰ .

≈.

Kr≈ Œ . œ ƒ ∑

9 ˆ41 ‰ . 16

12 16

(2) Maracas

Vn. 1

œ . J œ . œj .

‰.

œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ ´ œ́ œ́ 12 ‰ & 16 œ 7:6

. 9 ˆ1 J R 16 4

r œ

. J

9 ˆ41 j œ16 ¿ ¿ ¿¿¿ œ œ > > > >> ßp

r 5:4œ

Vla.

Vc.

r œ

Db.

œ œ

>¿ >¿ > > > > ¿ ¿ ¿ ¿ >¿ >¿ 12 9 ˆ41 œ œ- - œ œB 16 ≈ œ œ œ œord.œ 16 - œ- œ 4:3 4:3 ord. p f Ÿ3~~~~~~~~ c.l.batt. r ? 12 9 ˆ41 œj . œ . ≈. r Œ. 16 œ ‰ 16 œ. >¿ . ord. p ƒ 4:3 4:3 4:3 c.l.batt. r‰ ? 12 9 1 ≈. r ‰. œ œ ˆ œ œ œ 16 œ œ œ 16 4 œ œ œ œ ¿> . ord. p ƒ r œ

Kr ®≈ ‰ œ

r œ

3 3 16ˆ4

3 2 16ˆ4

∑

3 3 16ˆ4

3 ˆ42 16

∑

3 ˆ43 16

3 ˆ42 ‰ . 16

œ≈ ‰ R P

Bass dr.

damp

œ́ œ́ œ

Claves

œ æ f

3 ˆ43 16

œ́ œ́ œ́

œœ œ

........................ 3

3 2 16ˆ4 ≈ ≈ œ- œ-

®≈

sim.

œ́ œ́ œ́ œ́ f

œ́

r 4:3œ

j œ. j œ.

œ.

f œ́ œ́ œ́ œ́ œ́ œ œ- œ œ œ 3 ˆ43 16 ricochet

r 4:3œ

3 ˆ42 r ‰ 16 œ œ œ #œ > f 3

œ.

œ. 3 ˆ42 J 16

3 3 16ˆ4

œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ ´ œ́ R œ́ 3 2 3 ˆ43 ˆ 16 4 œ 16 5 5

œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ f

3 ˆ42 ‰ . 16

. J

œ-

r 5:4œ

œ. 3 2 J 16ˆ4 f

∑

Vn. 2

‰

≈. r j œ. œ. œ p Rain Stick ~~~~~~~~~~~~~~~~~~~~~~ 9 ˆ41 ‰ . ≈. œ. œ. œ 16 R J f

Maracas

>> > > > 12 & 16 ¿ ¿ ¿ ¿ ¿ ‰

œ. 3 2 J 16ˆ4 f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 9 ˆ41 œ . œ. œ ≈ Œ 16 J J π

Perc.

12 16 Œ .

. J

? 12 r ‰ 16 œ

(1) Geoph.

Trne. solo

9 1 16ˆ4

œ.

œ œÿ œÿ œÿ œÿ ÿ

3 ˆ43 16

œ œ œ œÿ œÿ ÿ ÿ ÿ

3 ˆ43 16

10 22

Picc. M.P.

Trennungsbriefe

3 3 & 16ˆ4 ‰ .

Clar. in Eb M.P.

3 3 & 16ˆ4 ‰ .

Cbn.

? 3 ˆ3 ‰ . 16 4

C.bass Trne.

Œ Œ

Kœ > p

? 16 3 ˆ43

(1) Claves

Trne. solo

‰

r≈ ‰ œ

Vn. 2

Vla.

Vc.

4 4

44 Œ

3 ˆ43 ‰ . 16

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 Œ ˙. F π

œ́ œ́ œ́ œ II œ œ œ œ œ́ œ œ œ œ

3 3 & 16ˆ4

r 4:3œ

3 ˆ43 œ- . & 16

œI

? 16 3 ˆ43 ≈ œ́ œ́ œ́ œ́ Œ ƒ œ́ ? 16 3 ˆ43 ≈ œ́ œ́ œ́ Œ ƒ

r 5:3œ

˙. f

—. 3 3 16ˆ4 ‰ R Œ

∑

3 3 16ˆ4

∑

4 4

3 ˆ43 16

∑

3 ˆ43 ‰ . 16

Rattle

∑

>Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ˆ43 ˙. 16

R ‰

3 ˆ43 ¿¿ ‰ ¿ 16 ¿ ¿ ¿¿ ¿ ¿ > >> > >¿ >¿ > > > > > 5

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ ƒ œ œ œ œ œ. œ œ. œ 44 3 ˆ43 ‰ - œ- . œ œ . 16 œ c.l.batt.

44 Œ

˙. F ˙. F

sim.

3 ˆ43 16 3 ˆ43 16

4 4

œ‰ J

4 4

‰ œ œ J f

llllll l l l l l l l

œ‰ J

œ ‰ J l

44 44

∑

œ́ œ́ œ́ œ́ œ œ œ œ œ œ́ œ́ 5 >¿ >¿ œ œ œ 4 œ > > 3 ˆ3 ≈ J ≈ ≈ œ́ œ́ ≈ ¿ ¿ ¿ ¿ ¿ ≈ 16 4 4 ¿ > > >> 5 6 5 ord. c.l.batt. 5 3 p f ƒ

Ÿ3~~~~~~~~~~~~~~~~~~~ œ ˙ 5 3 ˆ43 œ J B 16 ßp

4 4

œ æ

r 5:3œ

Db.

∑

Vn. 1

œ J

4 œ 4

3 ˆ43 œ . 16 æJ

Perc.

(2) Bd.

œ J p

Ÿ3~~~~ 3 ~~~~~~~~~~~ Ÿ œ œ œ. ≈ J 44 œœ

œ. J

Ÿj ~~~~~ 44 ≈œ ¿¿¿ ≈ >> > ord. p pƒ Ÿ~~~~~~~~ Ÿ~~ œ œ́ œ́ œ́ œ́ œ œ . œ œ œ œ́ œ́ J 44 œ́ œ́ r 4:3œ

∑ ∑

44 44

Trennungsbriefe

Picc. M.P.

4 &4

Clar. in Eb M.P.

4 &4

Cbn.

?4 Ó 4

‰.

C.bass Trne.

? 44 Ó

‰.

3 3 16ˆ4 ‰

œ R

œ R≈‰

3 2 3 16ˆ4ˆ16 ‰ .

∑

3 3 16ˆ4 ‰

œ R

œ R≈‰

3 2 3 16ˆ4ˆ16 ‰ .

r Œ œF

(1) Snare Dr.

∑

44 Ó

Trne. solo

Vn. 1

Vn. 2

? 4 &4

‰.

~~~ ˙

≈

˙ œ & 44 3

Vla.

Vc.

Db.

≈

œ́ f

œ́ œ́

œ́

œ́ œ́ œ́ œ́ œ́

œ́

‰

9 1 16ˆ4

‰.

œ. 9 ˆ1 ≈ R ≈ 16 4 p

∑

3 2 3 16ˆ4ˆ16

∑

9 1 16ˆ4

3 ˆ43 ≈ 16

∑

3 ˆ42ˆ16 3 16

∑

9 ˆ41 16

3 ˆ43 16

œ-

3 3 16ˆ4

3 ˆ42ˆ16 3 ‰. 16

œ-

3 ˆ42ˆ16 3 ‰. 16

‰ ≈

œ-

¿. > 3 ˆ2ˆ 3 16 4 16

¿. > 5 c.l.batt. p p p p p ƒ œ- œœ́ œ́ œ 3 ˆ43 ≈ œ́ 16 3 ˆ42ˆ16 3 16 œ œ œœ œ œ œ œ≈

œ ƒp

r œ

Basler dr.

∑

3 ˆ3 œ- . 16 4 J

≈

Snare dr.

∑

Ÿ~~~~~~~ 3 ˆ43 œ œ. ≈ 16 R J Fp

Perc.

(2) Bd.

r j œ œ. Fp

r œ

œ ≈ ‰ R

‰.

9 ˆ41 16

œ ≈ ‰ R

‰.

9 ˆ41 16

œ>¿ > œ œ ¿ ¿ > œœ 9 ˆ1 ¿ ≈œœ ≈ ¿ 16 4 ¿ >> 6 5 > ord. p jœ œ œ́ œ́ œ́ œ œ́ œ́ 9 ˆ41 œ́ œ́ œ́ ≈ œ́ 16 œ́ œœ r 4:3œ

r 4:3œ

6 5 ƒ p f p p p p p sim. ~~~ œ œ œ́ œ́ œ́ œ́ œ́ œ́ >¿ œœjœ œ œ́ œ́ œ́ œ́ œ́ œ́ >¿ œ́ œ > > > > 3 ˆ43 œ 3 ˆ42ˆ16 3 ¿ R R B œ́ œ́ . B 44 ≈ œ ‰ ≈ ¿ ‰ 16 16 & ¿ œ¿ œ5 4:3 4:3 ord. 4:3 f 5 5 :7 3 p f f c.l.batt. p p p p sim. 5 ƒ Ÿ3~~~~~~~~~ ¿ ¿ 5 ‰. ‰. ? 44 Ó 3 3 3 2 3 . ‰. ≈ ˆ ‰ Œ ˆ ˆ ≈ r j 16 4 16 4 16 j œ œ œ > >¿ > >¿ ¿ œ œ. œ œ > c.l.batt. Í ƒ 2 Ÿ~~~~~~~~~ >¿ > > 5 ? 44 Ó 3 3 3 2 3 ‰. ≈ 16ˆ4 ‰ . Œ ˆ4ˆ16 ≈ ¿ ¿ ¿ ¿ ‰. ‰. r j 16 j œ œ œ œ œ >> œ œ. 5 Í c.l.batt. ƒ 6

r œ

j r œ œ

r œ

9 ˆ41 16 9 ˆ41 16 9 ˆ41 16

12 28

Picc. M.P.

Clar. in Eb M.P.

C.bass Trne.

Trennungsbriefe

œ. ≈ œ. ≈ œ.

. ®œ. œ. œ. œ 9 ˆ1 ≈ R ≈ ® ≈ ®RÔ ‰ & 16 4 p

12 16

∑

6 1 3 16ˆ4ˆ16

∑

12 16

∑

6 1 3 16ˆ4ˆ16 Œ .

œ. J F

2 6 4ˆ16

∑

12 16

∑

6 1 3 16ˆ4ˆ16 Œ .

‰

~~~~~~ ≈ . œ . œ ®≈ ‰ R RÔ f

6 r 42ˆ16 œ

12 16

∑

6 ˆ41ˆ16 3 16

∑

. œ. œ. œ. œ. œ ≈ œ. ≈ R

. 9 ˆ 1 ≈ œ. ≈ œ ‰ & 16 4 r 4:3œ

? 9 ˆ1 16 4

2 6 4ˆ16

p pos.

Lions Roar AMP

9 ˆ41 Œ . 16

(1) Lions Roar Perc.

9 ˆ41 16

(2) Bd.

Trne. solo

Vn. 1

∑

? 9 ˆ41 ¿r ‰ & 16 ¿ > ƒ

> ¿ ¿

c.l.batt.

Vn. 2

Vla.

r 4:3œ

9 1 & 16ˆ4 ® œ œ ®‰ œ ÿ ÿ ÿ œ́ œ́ œ́ 9 1 B 16ˆ4 œ́ ‰ r 4:3œ

Vc.

Db.

? 16 9 ˆ41 Œ . ? 16 9 ˆ41 Œ .

12 16

6 ˆ41ˆ16 3 Œ. 16

∑

Ÿ~~~~~~~~~~~~~~~~~ 2ˆ16 6 œ œ. 4 J Fp

Bass dr.

Ÿ3~~~ Ÿ3~~~~~~~~~~~~~~~~ Ÿ3~~~~ √ loco œ. œ œ. œ œ. œ . œ œ œ œ œ œ - œ́ œ́ > > ¿ œ > ¿ > ≈ J ® œ >¿ ¿ ¿ ¿ ¿ œ 12 6 1 3 ¿ ¿ ≈ ˆ ˆ ≈ œ́ ¿ 16 16 4 16 œ- . œ4:3 4:3 ord. œ- . 4:3 vibrato eccessivo 3 p ord. f 4:3 f >¿ >¿ >¿ >¿ >¿ >¿ >>>> >¿ > 4:3 ¿ ¿ ¿ ¿ >¿ >¿ ¿ >¿ > >¿ œ œ 12 6 1 3 ¿ ≈ œ́ œ́ œ́ ≈ ≈ . œj œ . ≈ ¿ œ. ≈ r œ. 16 16ˆ4ˆ16 œ- . R œ œ œ- . ¿ >¿ > 5 4:3 4:3 4:3 3 ord. c.l.batt. > ord. p ƒ c.l.batt. F ƒ œ́ œ́ œ́ ‰ œ œ ´ ´ ´ ´ ¿´ ´ ´ ¿´ ¿´ ´ ´ ´ œ́ œ œ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ œ́ 12 6 ˆ41ˆ16 3 ‰ ¿ ≈ œ- 16 R ‰ ¿ 16 œ 5:3 4:3 5 : 4:3 4:3 4:3 4:3 5:3 c.l.batt. 6 p F SENZA MISURA ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ¿´ ´ ´´ ´ ´ ´ ´ ´ ´ ´ ´ ¿ 12 ≈ . r Kr®≈ ‰ ‰. ≈¿ ≈ 16 œ. œ 4:3 4:3 4:3 4:3 4:3 4:3 r œ

r œ

Sul pont.

≈.

r Kr®≈ ‰ œ. œ

Sul pont.

r œ

6 42ˆ16

r œ œ

r œ

6 42ˆ16 2 6 4ˆ16 6 42ˆ16

r œ

c.l.batt.

. 12 16 ≈ . r œ . œ- œ- . œ . œ- . œ . œ- . F

6 ˆ41ˆ16 3 . 16 œ œ œ- ‰ -

œ p

j œ.

6 42ˆ16

Trennungsbriefe

Clar. in Eb M.P.

Cbn.

C.bass Trne.

Trne. solo

Vn. 1

6 ˙ & 42ˆ16 ? 2ˆ 6 ≈ 4 16 j bœ . ? 42ˆ16 6

Vla.

Vc.

Db.

œ ≈ 3 ˆ3 J 16 4

∑

3 ˆ43 16

Œ.

3 3 16ˆ4

∑

4 4

∑

3 3 16ˆ4

r‰ ‰. œ

3 ˆ43 16

∑

3 ˆ43 16

? Ÿ~~~ Ÿ~~ œ́ œ́ œ́ > 2 6 œ́ œ́ œ . œ & 4ˆ16 œ́ ≈ 5

Vn. 2

œ. J

j œœ.

3 ˆ43 r ≈ . 16 œ.

œÏ

œ œ œj ‰ ‰ œ 44 3 œ3

- œœ œ

-œ œ œ- œœ-

3 ˆ43 16

4:3 ´ ´ ´ ´ ´ ´ ´ ´ ´ œ́ 3 ´´´´´´´´´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´´´´´´´ 2 6 œ́ œ́ 3 3 4 œ́ ˆ ‰ œ ≈ ˆ ≈ œ́ ‰ ¿ & 4 16 œœ 16 4 4 6 6 6 6 ÿ ÿ ÿ 5:3 5:3 ÿ ÿ ÿ ÿ 4:3 6 4:3 6 3

6 B 42ˆ16 ? ? 42ˆ16 6

´ ´´´´´´´´´¿ 5

´ ´ ¿´ ´ ´ ´ ´ ´ ¿ r 4:3œ

r 4:3œ

‰.

r œ

´ ´ ´ ´ ´ ´ ´ ¿ ´ ´ ´ ´ ´ ´´ ´ 3 3 ‰ ¿ Œ 16ˆ4 r 4:3œ

r 4:3œ

´ ¿´ ´ ´ ´ ´ ´ r 4:3œ

j œ.

‰.

r 4:3œ

c.l.batt.

¿´ ´ ´ ´ ´ ´

SENZA MISURA

r 4:3œ

´ ¿´ ´´´´´´´´´´´´´´´ ¿ R‰

3 ˆ43 ‰ . 16

r 4:3œ

œ- j ‰ J œ-

r 4:3œ

´ ´ ´ ´ ´ ¿´ r 4:3œ

´ ´ ´ ´ ¿´

44 ‰

r 4:3œ

r œ

´´´ ´ ¿´ ´ ´ ´ ´ ´ ´

‰.

r 4:3œ

‰.

SENZA MISURA r 4:3œ

r œ

r 4:3œ

¿ ÿ ÿ ÿ ÿ ÿ ÿ ÿÿÿÿÿÿÿÿÿÿÿÿÿ

c.l.batt.

14 34

Picc. M.P.

Trennungsbriefe

3 ˆ43 ‰ . & 16

Clar. in Eb M.P.

3 3 & 16ˆ4 ‰ .

C.bass Trne.

? 16 3 ˆ43 ‰ .

(1) Slide Wh.

3 ˆ43 ‰ . & 16

Trne. solo

Vn. 1

breathe when necessary

p pos.

œ- 3 3 œ. œ & 16ˆ4 œ- . œ -œ ‰ Œ

Vla.

Vc.

& B

´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ¿´ . ‰ r 4:3œ

4:3x

. J

. 6 1 3 ˆ ˆ J 16 4 16

. J

12 16

2 6 4ˆ16

. J

6 ˆ 1 ˆ 3 J. 16 4 16

. J

12 16

j œ.

r‰ œ

6 ˆ41ˆ16 3 16

˙ F 24ˆ16 6 J.

Vn. 2

. J

œ. J

‰.

≈Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2ˆ16 6 ˙ ‰ œ œ œ. Œ. 4 J J Í π

3 ˆ43 ‰ . 16

4:3x

6 42ˆ16

j œ ˙

Slide wh.

Perc.

(2) Bd.

π breathe when necessary

‰ Œ

´ ´ ¿´

r 4:3œ

≈ Œ

r 4:3œ

≈Œ

‰ œR 12 16

∑

12 16

6 ˆ41ˆ16 3 16

r œ

r 4:3œ

¿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ

r 4:3œ

´ ¿ ‰. ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ R4:3 r 4:3œ

r 4:3œ

´ ´ ´ ´ ´ ´ ´ ¿´

´´ ´ ´ ¿ ≈

r 4:3œ

continue gliss. from the previous pitch

r 4:3œ

r œ

r 4:3œ

? continue gliss. from the previous pitch

Db.

12 16

œ- - œSENZA MISURA 4:3 4:3 4:3 -œ œ œ 4:3 ´ ´ ´ ´ ¿‰ ¿ ≈ œ≈‰ ¿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ 4:3 ÿ ÿÿ ÿ ÿ ÿ ÿ ÿ f c.l.batt. F continue gliss. from the previous pitch continue gliss. from the previous pitch ´ ´ ´ ´ ´ ´ ´ ¿´ ´ ´ ´ ´ ´ ´ ´´ ¿ ´´ ´ ´ ´ ´ ´ ´ ´ ¿ ¿ R‰ ‰ r 4:3œ

r 4:3œ

. 6 1 3 ˆ ˆ 16 4 16

∑

4:3x

¿ ‰.

r 4:3œ

¿ ¿ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ

r 4:3œ

´´ ´ ´´ ´

r 4:3œ

‰ ‰ ¿ ÿ ÿ ÿÿÿÿÿÿ

r 4:3œ

´ ´ ´ ´ ¿´ ≈Œ r 4:3œ

continue gliss. from the previous pitch

¿´ ´ ´ ´ ´ ´ r 4:3œ

r 4:3œ

Trennungsbriefe

Picc. M.P.

Clar. in Eb

M.P.

12 J. & 16

. J

. 12 J & 16

. J

SENZA MISURA

Cbn.

? 12 16

∑

j œ F

C.bass Trne.

? 12 16

∑

j œ F

(1) Slide Wh.

. J R‰

12 & 16 .

Perc.

12 16

(2) Bd.

Trne. solo

∑

If you haven't finished appendix 1,you must stop playing at the sign from the conductor at the end of this bar

12 Œ . 16

Fem. Vo. AMP

‰.

œ J F

f ≈j œ œ

So siehst

∑

A. files

Vn. 1

Vn. 2

Vla.

Vc.

Db.

r 4:3œ

ÿÿÿÿ

´ ´ ´ ´ ´ ¿´ ‰ r 4:3œ

U w

r 4:3œ

U w

4:3x

‰ ≈

U w

du! Male Voice Wir haben aufgehört, Briefe auf Papier zu Schreiben, alle Menschen. Deine Mama und ich auch, mehr oder weniger. Du wirst einige Papierbriefe finden,

Trennungsbriefe

A. files

aber die ganze Geschichte, wie sie sich durch unsere Trennung entfaltete, und die Gedanken, die sie begleitet haben, sind nur in unseren E-mails zu finden. Da gibt es auch Korrespondenz aus der Zeit, als wir noch zusammen

Vn. 1

Vn. 2

(

B( w )

Vla.

?( w )

Vc.

?( w )

Db.

gliss.

A. files

waren, und ich möchte, dass du alle unseren Gedanken erfehren kannst. Leider habe ich Mama auch viel gesimst, und wir haben natürlich auch Telefongespräche geführt, die hier fehlen. Es gibt hier mehrere E-mails von mir als von

Vn. 1

Vn. 2

Vla.

Vc.

Db.

(

(no bow change)

Í w

B( w )

(no bow change)

?( w ) ?

(no bow change)

w Í bw Í

(no bow change)

gliss.

Trennungsbriefe

A. files

Mama, aber das heißt nicht, daß Mama mit mir ungerne im Kontakt war. Sie hat lieber telefoniert, und ihr Tag ist voller gewesen als mein. Am liebsten habe ich über E-mail kommuniziert, weil meine Hand durch die MS

Vn. 1

Vn. 2

w w

Vla.

Vc.

Db.

ª CON MISURA

Picc. M.P.

Clar. in Eb

M.P.

Vn. 2

Vla.

Vc.

Db.

4 Œ 4

œ. 4 ≈ R ‰ 4

A. files

Vn. 1

q = 76

schwach geworden ist und meine Handschrift mühsam.

w m & w Í bw & w Í B

w w

mw ?m w Í

? œ J

4 4

® Œ

œ . gliss.

® ‰. œ. R Œ

œ. R ‰

œ. R ≈

‰

œ. R ≈

bw w

π dolce

w 4 w 4

w w

ww Í

bw π dolce

4 w 4

ww π dolce

4 ww 4

bw nw Í

b ww

π dolce

4 4

≈ ‰.

. œ. ‰ œ 3

≈Œ

œ. R Œ

Ich hoffe, du wirst mehr verstehen als früher. Sei denn, du hast den Drang zu verstehen nicht. Ich mache diese

m ww Í

b ww

œ gliss. ≈ . RÔ J ‰

∑

Trennungsbriefe

18 50

Picc. M.P.

Clar. in Eb

& Œ

œ J

& Œ

M.P.

A. files

gliss.

Vn. 2

Vla.

Vc.

‰.

Vn. 2

Vla.

Vc.

Db.

œ œ. œ. ‰ ‰ R ≈R ≈‰ ‰ J œ. ‰ J ‰ Œ

œ. ≈R ‰ Œ

R ‰. ‰

‰.

gliss.

œ. R ≈ Œ

œ R ≈ ‰

≈

. ‰ œJ œ. ≈ œ.

œ œ .gliss. J ≈ ≈ œ. ≈

Ó œ

w & w

w w

& w

B ww

? ww

& R ≈ ‰

‰

œ J

gliss.

∑

& Ó

A. files

Vn. 1

.œ gliss. R J ≈ Œ

Clar. in Eb M.P.

gliss.

‰

œ 3

Sammlung nur damit du die Möglichkeit hast zu lesen.

Vn. 1

Picc. M.P.

‰ Œ

œ J

≈

Œ Ó

≈

œ. J Ó œ.

Œ . ≈≈œ

‰ Œ

œ 3

J ‰ ≈ œ. ≈ œ.

gliss.

‰ Œ

Einiges mußt du dir selber vorstellen, weil da manchmal eine E-Mail fehlt.

w & w

w w

& w

bw w

B ww

m ww

? ww

∑

œ J

gliss.

. œ. ≈ œ. ® œ œ ‰ ® ≈ . J

. .œ œ. œ

œ.

Trennungsbriefe

SENZA MISURA

∑

Sl. Wh. II

take Slide Whistle

∑

1 4

Fem. Vo. AMP

∑

D r e i ß i g s t e r D e z e m b e r 2 0 11

∑

Sl. Wh. I

A. files

Ich habe alles wichtige ausgedruckt und keine Zensur betrieben

Vn. 2

∑

1 4

w & w

œ‰ R

r œ‰

∑

œ‰ R

∑

1 4

∑

? w

Vc.

Db.

Papa

w B w

Vla.

‰

Vn. 1

In inniger Liebe

∑

1 4

take Slide Whistle

œ R‰ ∑

Tempo I q = 76

Sl. Wh. I

& 41

∑

3 ‰ 43ˆ16

j œ π

Sl. Wh. II

& 41

∑

3 ‰ 43ˆ16

j œ π

j œ.

6 ˆ41 41ˆ16

j œ.

6 ˆ41 41ˆ16

pixie mute + plunger please use the pixie + plunger mutes according to the text (you must familiarize yourself with the pronuonciation of the words).

3 ≈ ‰ & 41 ≈ œ b œ 43ˆ16 bœ Kœ > 3

Trp. solo

Mein

lieb - ter,

œ 34ˆ16 3 œ ÿ œ œ ÿ œ ÿ ÿ ÿp f

Vn. 2

& 41 & 41

∑ ∑

con sord.

3 ‰ 43ˆ16

con sord.

œ J f

≈ œ kœ Kœ J œ n >œ K œ n œ 5 dies

>œ . œ.

Vn. 1

≈ ≈ œ-

ist nur zum zweck - e

œ́ œ́ œ́ œ́ œ́ f

œ- . 5

des

6 ˆ41 œ 41ˆ16 > f >œ

Aus

r œ

≈

> 14ˆ16 6 ˆ41 œ

œ.

œ́ 1 6 1 ´ œ́ 4ˆ16ˆ4 œ́ œ ƒpp p 4:3 œJ

œ.

œ Kœ

‰

œ k œ m œ l œ m >œ n œ œ ≈

von

≈

> ≈ œ ƒp

dei - nem Com - pu - ter

œ́ œ́ œ́ œ́ œ́ 3

>œ > >œ œ

druck - ens

œ́ œ́ ´ œ 3

œ-

œp

aus.

r 4:3œ

œ œ œ œ œ ÿ ÿ ÿ ÿ Í 4

œp

42 42

Trennungsbriefe

Sl. Wh. I

& 42 Œ

Sl. Wh. II

& 42 Œ

Trp. solo

& 42 ‰

Vn. 1

& 42

Vn. 2

B 42

C.bass Trne.

˙ œ bœ Kœ

Nicht

& 42

˙.

43 Œ

œ Kœ bœ

ne - ach - ten

‰

kœ bœ

al - so....

Ich

um - ar

∑

nœ

42 ‰

≈

Dich,

Dei - ne So - phi c.l.batt.

gliss.

SENZA MISURA c.l.batt.

ª 68

Cbn.

C.bass Trne.

(1) Mukosho

? 44

‰

? 44 ‰

j Kœ F

œ.

& 44 ‰

œ J f

Perc.

j Kœ p

straight mute

Mukosho

44 É f

Bass dr.

(2) Bd.

Fem. Vo. AMP

& 44 Œ 44

A. files

Vn. 1

Vn. 2

Vla.

Jœ

gliss.

‰

œ J

bœ

gliss.

Ó ∑

–

ich kann dir leider nichts ähnliches zuschicken.

Aber ich

∑

A m s e l b e n Ta g

& &

gliss.

∑

Male Voice

gliss.

? 44 K œj > f ? 44 Kw

gliss.

œ́ œ́ œ́ 4 B 4 ≈ œ́ œ́ ‰ con sord.

Db.

gliss.

Meine Geliebte

Vc.

œ p

´ œ́ œ́ œ́ œ́ œ œ́

con sord.

42 Œ

∑

SENZA MISURA

œ p

42 Œ

‰

œ lœ œ bœ Kœ 3

>œ œ́ œ́ œ́ œ́ œ́ œ́ 42 ‰ ®

œ r ≈ ‰ 3 ≈ œ œ œ œ ≈ œ j 4 œ œ R ÿ œÿ ÿ œÿ œ ÿ œ ÿ œÿ ÿ > œ ÿ > ÿ Ï Ï >œ œ́ >œ œ œ œ œ ´ œ́ œ́ 3 œ́ ≈ œ rK ® ‰ œ́ r ≈ ≈ 4 œ œ ÿ ÿ >œ œ œ ÿ Í ÿ ƒ F ƒ 7 Í 7

Kœ

œ́ œ́ œ́ ´ œ́ ≈ ‰ œ 3

gliss.

‰

œ́ œ́

≈

œ́

≈

œ́

≈

œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ ≈ œ́ ≈ œ́ œ́ ≈ ≈ œ́ 6 6 6 π

œ́ œ́

œ́ ≈ ≈ œ́ œ́ 6

œ́ œ́ ® ® œ́ ≈ œ́ œ́

œ́ ® ÔR ≈

œ́ œ́ œ́ œ́ 6

‰

œ́ œ́ œ́

gliss.

œ́ œ́ œ́ œ́ ´ œ́ œ́ œ œ́ 6

Trennungsbriefe

(1) Mukosho

& Ó

∑

Perc.

∑

(2) Bd.

Fem. Vo. AMP

Vn. 1

take your time schicke Liebe und Küsse an dich und ....................sie!

‰

Liebe und Küsse(!)

Dein

CON MISURA

œ́ œ́ 6 5 7 œ́arcoœ́ œ́ œ́ œ́ œ́ œ. œ œ́ œ́ œ́ œ́ œ́ œ́ œ́ . œ œ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œœœœR ≈ ≈ œœ‰ œ́ œ́ œ́ œ œ œ œ œ́ œ́ œ́ ≈ œ́ œ́ œ́ œ́ œ́ œ́ œ & œ gliss. œ ÿ ÿ ÿ ÿ œ ÿ œÿ œÿ ÿ ÿ 7 œ œÿ ÿ ÿ ÿ ÿ ÿ 6 5 ÿ 7 π ÿ 6 5 ÿ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ œ. œ. œ œ œ œ > œ >œ œ >œ b œ m >œ n œ r œ́ œ́ œ́ B ® RÔ ≈ ≈ œ́ œ œ́ ≈ ≈ œ́ Œ mœ œ œ bœ ÿ > 5 6 6 5 q

Vn. 2

Vla.

Vc.

Db.

œ́

SENZA MISURA c.l.batt.

‰

gliss.

ª 73

Sl. Wh. I

Sl. Wh. II

(1) Mukosho

& Ó ∑

& & Œ

- - - œ Ó

gliss.

‰ œ Ó J

Perc.

∑

(2) Bd.

Fem. Vo. AMP

‰ œ- - p

& Ó

Vn. 2

Vla.

œ J

∑

Vc.

Db.

Doch, ich habe etwas ähnliches:

œ́ œ́ ‰ Œ

œ gliss.

˙ ˙

Í ˙ ˙

˙ ˙

arco

Œ ‰

œ.

‰

Œ ≈

j ‰ Œ œ

π œ.

‰

œ J

j r œ œ œ œ œ œ Danish with German Accent

‰

œ.

j 5œ :3œ

œ.

3 . ‰ œJ ‰ œ. ‰ œ Œ . 3

Gopichand AMP

œ ≈ ‰ R

‰

nul,

‰

seks,

‰

j 5œ :3œ

œ. J

j ‰ œ œ ≈ œ

en,

w w

˙ ˙

w w

˙ ˙

œ œ J

‰

∑

w w

˙ ˙

œ œ J

‰

∑

˙ ˙

œ œ J

œ.

‰ œ ‰ œ

w w

∑

œ œ J

œ.

‰

œ.

‰

"Din or - dre num - mer to, arco

gliss.

In tempo

> b œ m >œ m œ Í œ m˙ B m ˙ CON MISURA Í ?

œ- - gliss. - p

CON MISURA

Vn. 1

‰

∑

‰

∑

ot - te

œ.

22 77

Sl. Wh. I

œ.

5e:3q

&‰

(1) Gopichand Perc.

œ J

(2) Bd.

j œ ≈œ ‰

&œ

Fem. Vo. AMP

ot - te,

œ.

5e:3q

& &‰

œ. J 3

‰

œ. j 5œ :3œ

j 5œ :3œ

œ. . J ‰ œJ ‰ Œ 3

∑

‰ œ œ œJ ‰

≈

œ.

œ. œ.

j 5œ :3œ

. ‰ œ 3

vi har nu afsendt din ordre, og beløbet er derfor blevet hævet fra dit betalingskort.

er på vej.

œ. J

‰

œ.

œ. J

‰ ‰

œ.

‰

∑

take Picc. Mouthpiece

œ. take Clar. Mouthpiece J ‰ Œ Ó

Ÿ~~~ œ J p

∑ ∑

Fem. Vo. AMP

j &œ œ œ œ œ œ œ œ œ œ œ œ œ In tempo

din ord - re - kvi - te - ring

œ. ‰ Œ J damp f Ó

> œ≈‰ Œ R ƒ

Bass dr.

Trp. solo

‰

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 6 5 21 16ˆ16ˆ16ˆ4ˆ8

∑

7 6 5 21 16ˆ16ˆ16ˆ4ˆ8

œ œ œ œ

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 6 5 21 16ˆ16ˆ16ˆ4ˆ8

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

(pixie + plunger)

m œ œ j‰ œ Sehr al - bern! p F

Œ ∑

her:

∑

senza sord.

∑

senza sord.

Vn. 2

∑

Vla.

∑

senza sord.

∑

senza sord.

∑

Db.

œ.

∑

(2) Bd.

Vc.

œ.

œ. œ. ‰ œ. 3 . ‰ J ‰ ‰ œJ ‰ œj Œ . 3 3 3

œ. ‰ J ‰ œ. ‰ œ Œ . 3

Perc.

Vn. 1

œ.

∑

ko - pi

œ.

œ. ‰ J Œ

∑

&Ó

ud - skriv en

‰

Mil. Dr.

(1) Mil Dr.

œ.

‰

œ.

∑

‰

. ‰ œ

œ.

Sl. Wh. II

œ.

œ. 3 œ. ‰ œ. j J ‰ ‰ ‰ & œ. Œ 3 3

Sl. Wh. II

Sl. Wh. I

œ. J

j 5œ :3œ

œ.

Trennungsbriefe

J˙ > p

j‰ Œ œ

bœ œ J ‰ Œ ‰ J Œ f pizz.

bœ ‰ Œ ‰ œ Œ J J f pizz.

œ œ J ‰ Œ ‰ J Œ f pizz.

œ ‰ Œ ‰ œ Œ J J f pizz.

∑

Trennungsbriefe

Cbn.

? 16 7 ˆ16 6 ˆ16 5 ˆ42ˆ81 ? 7 ˆ 6 ˆ 5 ˆ2ˆ 1 16 16 16 4 8

C.bass Trne.

(1) Lions Roar Perc. (2) Bd.

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 16

∑

ª 89

Clar. in Eb M.P.

Cbn.

C.bass Trne.

∑

7 ˆ16 6 ˆ16 5 ˆ42ˆ81 K œ K œ & 16

Trp. solo

Picc. M.P.

∑

Auch

& Œ & Œ

œ J

? j kœ

‰

? j œ

ich

œ lœ

lie - be Dich

Trp. solo

zu - rück

auf den klein - en

‰.

Fin - ger.

r œ lœ œ kœ ‰ Œ œ kœ bœ

Und dann auf dei - ne

Lip - pen.

∑

42ˆ38

∑

& œ.

Hier,

∑

42ˆ38

‰

44 œ p 44 Ó

∑

j‰ Œ œ

Œ l

∑

gliss.

j‰ Œ kœ

∑

‰

küs - se Dich

Kœ œ nœ nœ bœ Kœ

42ˆ38

(2) Bd.

und

(1) Lions Roar Perc.

kœ

f œ J f

Jœ œ Kœ bœ œ

44 j ‰ Œ œ f 4 4 j ‰ Œ œ f 44

mei - ne

∑

42ˆ38

∑

42ˆ38

Ó kœ bœ Kœ

42ˆ38

beit

œ Kœ

von

heu

Kœ

te,

≈

∑

42ˆ38 œ

schon

Kœ

mal

bœ

zur

kœ

Durch

œ ≈ nœ. kœ œ nœ

sicht,

falls

du nicht

schon

œ mœ

Play appendix 2

Trne. solo

pixie mute + plunger please use the pixie + plunger mutes according to the text (you must familiarize yourself with the pronuonciation of the words).

œœœœœœ

lower part is not for playing, only orientation

œœœœœœ

œ œ œ œ œ

legato poss.

œœœœœœœœ

Vn. 1

& œ p

legato poss.

Vn. 2

& œ

p B m˙. p espr. (background)

lower part is not for playing, only orientation

Vla.

Vc.

Db.

42ˆ38

& ˙. p espr. (background) 5 ? œ œœœœ‰ p

œœœœœ‰ 5

44 œ œ œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ

42ˆ38 œ

42ˆ38 ˙

mœ

42ˆ38 ˙

‰ œ œ œ œ

42ˆ38 œ œ œ œ ‰

œ.

m˙

j 3˙ :7œ

≈ œœœ 3

‰

Œ.

24 91

Picc. M.P.

Clar. in Eb M.P.

Trennungsbriefe

4 &4 Œ 4 &4 Œ

Cbn.

?4 4

C.bass Trne.

?4 4

œ J

Perc.

(2) Bd.

Trp. solo

Fem. Vo. AMP

∑

œ œ J Œ

∑

‰

j œ

‰

j œ

‰

~~~~~~~~~~~~~~~ 4 œ Œ 4 F

j œ

~~~~~~~~~~~~~ œ Ó

∑

Ÿ~~~~~~~~~~~ damp œ Ó

∑

Ÿ~~~~~~~~~~~~ damp 4 œ Œ 4 F 4 & 4 kœ œ œ Bet - te

Trne. solo

j nœ

Lions Roar

(1) Lions Roar

œ œ J Œ

Ó ≈

weilst...

Jœ

Kœ nœ kœ œ kœ bœ 3

Ich brauch

œ Jœ Kœ Kœ 3

das auf dei - nem P

bœ

‰

‰ . œr œ

we - gen der Fo - tos.

mœ

r ‰. ‰ mœ Kœ Kœ K œ œ nœ Kœ 3

Ich freu - e

mich auf Dich,

möch - te mich

?4 4 4 & 4 ‰.

r œ ‰Ó œ œ

∑

Er - wach - en

œœ œ œ œ œœ

Vn. 1

4 &4 œ

œœœœœœ

Vn. 2

4 &4 œ

Vla.

B 44 ˙

Vc.

Db.

œœœœ œ œ œ

œ œœ

œœ œ ˙

m˙

œœœœ œ œœ

œœœ œœ œ

œœœœ œ œœ

œ œ

m˙

4 ˙ &4 5 ?4 4 œ œ ‰ œœ œ

œœœœœœ

m˙

‰

œœ œ œœ

œœœ œ œ 5

‰

œœœ œ œ

‰

œœœœœ œ œ œ

m˙

m˙.

œ ˙

m˙.

œ œ œœœœœ

m˙

n˙

œ œœ œ

‰

Trennungsbriefe

Picc. M.P.

Clar. in Eb M.P.

Cbn.

C.bass Trne.

Trp. solo

& Œ

‰

& Œ

‰

Fem. Vo. AMP

Vn. 1

Vn. 2

∑

œ R ≈ Ó

∑

‰

∑

? j œ

‰

∑

& œ

bœ Kœ œ kœ

‰

j œ œj

‰

zu dir

le - gen.

kœ

Weißt

schon,

‰

≈

r œ œ

das

Kœ

ter

mœ

ser

Kœ

& Œ

sie

œœœœœ

œœœœœœ

& œ

B ˙

Vc.

& m˙ ?

œ ˙

m˙

œ œœœœ 5

‰

∑

schläft

œ œœ œœ

& œ

® œœœ œ

œœœœœœ œ

œ J

œœœœœ

œ.

j mœ

nœ.

j mœ

œ.

œ J

œ œ œ ®‰

œ J œ œ

œœœœœ

‰

œœœ 3

ten

Vla.

Db.

r œ

œ R ≈ Ó

? j œ

gern'

Trne. solo

r œ

≈

26 96

Picc. M.P.

Clar. in Eb M.P.

Cbn.

C.bass Trne.

Trennungsbriefe

∑

& &

∑

& j Œ bœ œ

Trp. solo

Vn. 1

Vn. 2

Vla.

Vc.

Db.

œ œ J

j kœ

‰

j œ

‰

‰ œ Kœ

mit Dir.

Trne. solo

œ œ J

Gu - te

Nacht,

Kœ nœ

Lieb - ster!

œ œ

∑

j mœ œ

œ œ

‰ Œ

∑

‰ Œ

∑

bœ

∑

Dein

? œœœœœœœ

œœœ œœœœœ

& B œ

& œ

∑

œ mœ

œ 6

œœœœœœ

‰

œ œ œœœ œ

œœ œœ

m˙

n˙

mœ

œ œ œœ

œ mœ mœ nœ 3

‰

mœ œ œ

∑

Trennungsbriefe

100

Trne. solo

Verzweiflung Meno mosso

q = 62

same sound as in the beginning

Fem. Vo. AMP

Mmm

—

monster-like, as if frightening a child

‡

j œ

œ bœ

œ.

erh!

stern

war

ein

Tag

vol - ler

Ver - zweif

œ -

lung.

Excactly the same tone quality as the amplified voice

∑

A. files

Lieb

j œ œ

ste

∑

Vla.

∑

Db.

p ∑

∑

Trne. solo

Fem. Vo. AMP

Vn. 1

Vn. 2

Vla.

Vc.

Db.