020211
EDITION WILHELM HANSEN WH 31279
Per Nørgård
BACH TO THE FUTURE FOR
TWO PERCUSSION SOLOISTS AND
TEN INSTRUMENTS 2010
Score
I
Commissioned by and dedicated to Safri Duo
Per Nørgård
BACH TO THE FUTURE 1996-97
Concerto in three movements based on Preludes by J.S.Bach for
Percussion Duo and Orchestra
Reduced Version 2010 by Steve Ferre, approved by the composer for Percussion Duo (unchanged) and Ten Instruments WW5 + STR5
Full Score
Duration: ca. 20 min.
II
Ensemble 1 Flute dbl. Picc. and Alto Flute in G 1 Oboe dbl. Cor Anglais in FY 1 Clarinet in B dbl. Bass Cl. in B 1 Bassoon 1 Horn in F
Percussion Duo Soli see next page for details
1 Violin 1 1 Violin 2 1 Viola 1 Violoncello 1 Doublebass
The score is written in C
III Percussion Solo 1 Vibraphone
Marimba
Steel Drum
Vibr.
Mar.
St. Dr.
6 Drums: Metal Wind Chimes
3 Cymbals
M.W.Ch.
Cymb.
2 Rototoms
2 Deep Drums
2 Octabands
4 Tomtoms (nature-skin)
Log Drum
Tomt.
Log Dr.
Percussion Solo 2 Vibraphone
Marimba
Tubular Bells
Crotales
Glockenspiel 15
Vibr.
Mar.
Tub. B. (Chimes)
4 Octabands
4 Tomtoms
Military Drum
Octa.
Tomt.
Mil. Dr.
Crot.
Glsp.
Note on rehearsing solo parts It is recommended for the percussionists to prepare for the realisation of the 2. mvt. by studying and, possibly, performing my piece for percussion duo, REPERCUSSION (the 2. mvt. of ECHO ZONE, three movements for percussion duo). It is also recommended to start the part of a concert in which BACH TO THE FUTURE is programmed with a performance of ECHO ZONE, since the logistics of positioning and removing the large percussion set-up requires a considerable break (i.e. an intermission, really). The percussion set-ups for ECHO ZONE and for BACH TO THE FUTURE are (almost) identical. Per Nørgård
For further information, see the final pages of this score where you will find a facsimile of the original introductory pages, as well as samples from REPERCUSSION.
BACH TO THE FUTURE has been recorded on CD by Safri Duo (Uffe Savery and Morten Friis) and the Danish National Radio Symphony Orchestra conducted by Thomas Dausgaard on the label CHANDOS (Chan 9645)
IV
Per Nørgård BACH TO THE FUTURE Concerto in three movements based on Preludes by J.S. Bach for percussion duo and orchestra/ensemble Preface / Programme Note For many years I have been specially fascinated by three of the preludes from Book 1 of Bach’s WELLTEMPERED CLAVIER and I wanted this “concerto version” for percussion duo and orchestra to highlight some of the structural aspects of these pieces. It is my belief that there is a characteristic of music history that allows certain germs of an earlier period to unfold into new, but not heterogenous, dimensions of a later (perhaps even by several hundred years) phase of the tradition. This concerto is the result of several years of collaboration with the two percussionists Uffe Savery and Morten Friis, together the Safri Duo, in original compositions and also in arrangements of the three Bach Preludes, preparing for the enormous stylistic challenges of this work. The concerto was commissioned by and is dedicated to the Safri Duo. Movement I, C major Prelude The “archetypal” sequence of broken chords within C major has established itself almost as a cultural code, giving the composer of today the opportunity to tell his tale-in-tones by stressing and “colouring” the notes in the original piece without changing the pitch or (relative) durations. It is a “palimsest” containing both the old and the new musical tales simultaneously. Later in the movement the single line is multiplied by the till then discreet, but permanently pervading proportion running through the piece, which is very close to the Golden Section (3:5:8, that is, 8 notes before repetition, 5 notes before starting anew from the deepest note, and 3 notes as the rest, unchanged). The three tonal levels as well as the three relative speeds are treated according to these proportions for certain passages, but even in these the main focal point is directed at the freely invented (by me) melody incarnating itself solely through the unpermutated sequels of the original prelude. Movement II, F sharp major Prelude One single feature of this prelude pervades the second movement which lasts around five minutes. A rhythmic pattern (6:4:3:2:3:4:6, an “hourglass”-shaped timeshape) inspired me and new and old elaborations of this palindrome permeate the movement. Movement III, D minor Prelude Without the existence of the D minor Prelude I doubt that I would have dared to write this concerto. This Prelude has an inexhaustible, rare quality and peculiarity which has stimulated my feeling of wonder and “modernity” (or perhaps “eternity”). In one special respect I know of no equal: there is a perpetual ambiguity of “melodic footholds” in the rhythmic ostinato of a broken desending triad which continuously lends one of its three possible positions in time to simple, melodic forms that vaguely capture, more or less irresistably, the listener’s attention. By this threefold “Hommage á J.S. Bach” I wish to join the ranks of composers who have already presented offerings to their great predecessor, himself being the unsurpassable offerer. Per Nørgård
V
For further information about the composer, visit the website of Edition Wilhelm Hansen:
www.ewh.dk where you will find: list of works programme notes recording information relevant electronic updates performance calendar links news and much more ...
VI
Per Nørgård BACH TO THE FUTURE for Percussion Duo Soli and Orchestra / Ensemble
I. C major Prelude page 1 II. F sharp major Prelude page 52 III. D minor Prelude page 78
BACH TO THE FUTURE for percussion duo and ensemble Poco Allegro e comodo (
= c. 120)
Per Nørgård, 1997
I
Flauto (in Sol)
Oboe grazioso, con umòre
Clarinetto (B )
Fagotto
con sord. Corno (F)
Vibr. Percussione 1 Solo
Mar. Percussione II Solo
Poco Allegro e comodo (
= c. 120)
Violino 1
Violino 2
Viola
pizz. Violoncello
Contrabbasso 8
Copyright © 2011 by Edition Wilhelm Hansen, Copenhagen
2
5
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar.
Perc. II Vibr.
Vl. 1
pizz.
(pizz.)
Vl. 2
Va.
(pizz.)
arco
Vc.
arco Cb. 8
3
9
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar.
Mar. Perc. II
pizz. Vl. 1
pizz. Vl. 2
pizz. Va.
pizz. Vc.
Cb. 8
4
13
Fl. (in Sol)
Ob.
Cl.
Fg.
senza sord. Cor. poss.
Vibr. Perc. I
Mar. Perc. II
arco Vl. 1
(pizz.) Vl. 2
(pizz.) Va.
(pizz.) Vc.
Cb. 8 8ba
arco
5
17
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
(solo)
Vibr. Perc. I
grazioso
Mar.
Perc. II
Vl. 1
pizz. Vl. 2
pizz.
arco Va.
(pizz.) Vc.
Cb. 8
6
22
Fl. (in Sol)
Ob.
Cl.
Fg.
con sord. Cor.
Vibr.
Perc. I Mar.
Vibr.
Perc. II Mar.
Vl. 1
Vl. 2
(pizz.)
Va.
(pizz.)
Vc.
Cb. 8
arco
7
27
Fl. (in Sol)
Ob.
Cl.
poco
Fg.
Cor.
Vibr.
Perc. I Mar.
Vibr.
Perc. II Mar.
Vl. 1 sub.
arco Vl. 2 sub.
Va.
arco (pizz.) Vc.
Cb.
8 8
8
32
Fl. (in Sol)
Ob.
Cl.
Fg.
stopped Cor.
Vibr.
Perc. I Mar.
Vibr.
Perc. II Mar.
pizz. Vl. 1
arco Vl. 2
pizz.
arco
pizz.
arco
arco
Va.
Vc.
pizz. Cb.
8
8
quasi
9
37
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor
poco
Vibr.
secco
Perc. I Mar.
Mar.
Perc. II
(arco) Vl. 1
pizz.
arco
Vl. 2
(arco) Va.
pizz. Vc.
arco Cb.
8
arco
10
43
Fl. (in Sol)
Ob.
Cl.
Fg.
open Cor.
Vibr.
Perc. I
Mar.
Perc. II
Vl. 1
Vl. 2
Va.
arco Vc.
(arco) Cb.
8
8
11
48
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar.
Vibr.
Perc. II
Mar.
pizz.
arco
Vl. 1
Vl. 2
pizz. Va.
Vc.
8
pizz. Cb.
8
8
12
53
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Vibr.
Perc. II
Vl. 1
Vl. 2
arco Va.
Vc.
arco Cb.
pizz.
arco
8 8
13
57
Fl. (in Sol) quasi niente
Ob.
Cl.
Fg.
Cor.
con brio
Vibr.
secco Perc. I Mar.
con brio
Vibr.
Perc. II
Mar.
0
Vl. 1
Vl. 2
0
Va.
pizz.
Vc.
Cb. 8
14
63
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar.
Vibr.
Perc. II
Mar.
Vl. 1
Vl. 1
Va.
arco Vc.
Cb. 8
15
68
Fl. (in Sol) muta in C. i. Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I Mar.
Vibr.
Perc. II Mar.
Vl. 1
pizz. 0
Vl. 2
Va.
Vc.
Cb. 8
0
0
16
Mar. 73
Perc. I
Vibr. Perc. II
pizz. Vl. 1
Vl. 2
pizz. Va.
(arco) Vc.
Cb. 8
77
Fl. (in Sol) Vibr.
Mar. Perc. I
Vibr.
Perc. II
Mar.
Vl. 1
arco Vl. 2 (stop)
pizz. Va.
Vc.
Cb.
8
8
17
82
Fl. (in Sol)
C. i.
poco
Cl.
Fg.
(stopped) Cor.
trem.
Vibr.
sub.
Perc. I Mar.
Vibr.
Perc. II
trem.
Mar.
sub.
arco Vl. 1
pizz. Vl. 2
Va.
Vc.
pizz. Cb.
8
8
18
88
Fl. (in Sol)
C. i.
Cl.
Fg.
(sim.)
(sim.)
Cor.
Vibr.
Perc. I Mar.
Perc. II
Mar.
Vl. 1
(pizz.) Vl. 2
Va.
Vc.
(pizz.) Cb.
8
arco
19
94
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar.
sempre
Vibr.
Mar.
Perc. II
sempre
pizz. Vl. 1
pizz. Vl. 2
Va.
pizz. Vc.
Cb.
8
arco
arco
arco
20
98
Mar.
Perc. I
sub.
Vibr.
Mar.
sub.
Perc. II
sub.
Vl. 1
Vl. 2
pizz. Va.
pizz. Vc.
Cb.
8
103
Perc. I
8
Vibr.
Mar.
cresc.
Vibr.
Perc. II Mar.
cresc.
21
108
Fl. (in Sol)
C. i.
Cl.
Fg.
Cor.
Vibr.
sub.
Perc. I
(cresc.) Mar.
Vibr.
Perc. II Mar.
sub.
(cresc.)
Vl. 1
Vl. 2
cresc.
Va.
cresc.
Vc.
cresc.
pizz. Cb.
8
22
114
Fl. (in Sol)
C. i.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar.
sempre cresc. (Ă bar no. 134)
Vibr.
Perc. II
Mar.
Vl. 1
Vl. 2
Va.
Vc.
arco Cb.
8
pizz.
23
119
Fl. (in Sol)
C. i.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar.
Vibr.
Perc. II Mar.
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
24
126
Fl. (in Sol)
C. i.
Cl.
Fg.
Cor.
Vibr.
Mar. Perc. I
Vibr.
Perc. II
Mar.
Vl. 1
Vl. 2
Va.
pizz. Vc.
(pizz.) Cb.
8
25 *)
(
= 80
Meno mosso ( = 100
= 120)
= 200)
132
Fl. (in Sol)
C. i.
Cl.
Fg.
Cor.
Vibr.
7:5
7:5
Perc. I Mar.
7:5
Vibr.
7:5
Perc. II
Meno mosso ( = 100 *)
(
= 80
= 200)
= 120)
Vl. 1
Vl. 2
arco Va.
pizz.
6:5
6:5
6:5
Vc.
Cb.
8 8
*) Conditional: If during varying acoustical conditions the 1. tempo differs from the indicated one, the new tempo should relate to this as exemplified.
6:5
26
138
Fl. (in Sol)
C. i.
Cl.
Fg.
Cor.
7:5
Vibr.
7:5
7:5
Perc. I
Vibr. 7:5
7:5
7:5
Perc. II
Vl. 1
Vl. 2
Va.
6:5
Vc.
Cb. 8
6:5
6:5
6:5
6:5 6:5
27
7
7
7 7
7
(
= 280)
Pi첫 mosso ( 144
Meno mosso
= 200)
( =
Vibr.
= 200) 7:5
Perc. I
5:7
Mar.
5:7
Perc. II
5
5
5 5
Pi첫
Pi첫
148 Vibr.
Perc. I
Vibr.
trem.
Mar.
Perc. II
(sim.) 151
Vibr.
Perc. I
meno Mar. Perc. II
meno
+ 154
Vibr.
Perc. I
Mar. Perc. II
+
28
+
trem. 157
trem.
Vibr.
Mar.
Perc. I
Vibr.
Mar. Perc. II
+ 161
Crot.
15
Vibr.
Perc. I
Vibr.
Perc. II
Mar.
gli
ss.
+ 167
Perc. I
Crot.
Vibr.
Vibr.
Perc. II
+ pizz. Vl. 1 (pizz.) Vc.
29
() 170
Mar.
Perc. I
cresc.
Vibr.
Perc. II
Mar.
trem.
cresc.
() Vl. 1
Vc.
(Ancora meno:) Moderato ( = 80) (
173
= 80)
muta in Flauto piccolo
Fl. (in Sol)
C. i. 5
5
5
5
5
Cl.
5
prĂŠciso Fg. stopped (
)
Cor.
irreg. Vibr. Perc. I
irreg. Mar. Perc. II
(Ancora meno:) Moderato ( = 80)
( )
( 5
= 80)
arco
Vl. 1
Vl. 2
Va.
(
arco
6
)
Vc.
Cb.
5
5
8
8
30
175
Picc.
5
5 5
C. i.
5
prĂŠciso
5
5
Cl. sim.
Fg.
Cor.
Vibr. Perc. I
Mar. Perc. II
( ) Vl. 1
Vl. 2
Va.
() Vc.
overtone gliss. (non sincrono) Cb.
8
8 8
31
177
Picc.
5
5
C. i. 5
5
5
Cl.
Fg.
Cor.
Vibr.
7
7
Perc. I
ad lib.
3
3
Mar.
3
3
3
5:4
Perc. II 5:4
5:4
( ) Vl. 1
0
Vl. 2
Va.
Vc.
Cb.
8
5:4
32
179 8
muta Flauto in Sol
Picc.
5
5
C. i. 5
5
Cl.
Fg.
Cor.
Vibr. 7
7
Perc. I
ad lib.
3
3
3
3
3 5:4
Mar. Perc. II
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
5:4
33
181
Fl. in Sol
5
C. i. 5
5
Cl.
Fg.
Cor.
6
Vibr.
6
6
Perc. I 6
6
6
6
6
6
6
6
6
Mar. Perc. II
pizz. Vl. 1 5 5
5
5
Vl. 2
pizz. 5
5
Va. 5
() Vc.
Cb.
8
5 5
34
184
Fl. (in Sol)
5
C. i.
Cl.
5
Fg. 5
stopped ( ) Cor.
Vibr.
3
3
3
*)
Perc. I 3
*)
Mar. Perc. II
(pizz.)
arco
Vl. 1 5
0
3
0
Vl. 2 3
3
3
3
3
3
3
3
3
3
3
Va. 3
3
3 3
Vc.
Cb.
8
8
*) Broken beams indicate a rapid, but rather irregular, repetion of the figure: (a cadence-like "presto").
3
3
*)
35
Pi첫 mosso = 280
= 140
187
muta in Picc.
Fl. (in Sol)
5
muta in Oboe
5
C. i.
Cl.
Fg.
(
(stopped)
)
Cor.
6
= Vibr.
3
Perc. I 6
9:8
Mar.
9
Perc. II
*)
Pi첫 mosso = 280
Vl. 1
3
3
Vl. 2
3
3
3
Va.
3 3
3
3
3
Vc.
Cb.
8
*) For the conductor: it may be helpful to compare Moderato (bar 173)
= 40 with
( = 40)
= 140
36
meno
*)
(accel.)
pi첫 mosso
(accel.)
(meno)
190
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar. trem.
trem.
Vibr.
(trem.)
Perc. II
meno
*)
(accel.)
pi첫 mosso
(accel.)
(meno)
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
*) For the conductor: the accelerando is only indicated in the parts, substituting the "illegible meters" for the soloists (
= accel.)
trem.
37
Moderato ( = 80)
Allegro ( = 120)
195
Picc.
solo Ob.
Cl.
Fg.
con sord.
5
5
Cor.
*) Vibr.
Perc. I
Mar.
Vibr. Perc. II
Allegro ( = 120) Moderato ( = 80) Vl. 1 5
Vl. 2 3
3
3
Va. 3
Vc.
Cb.
8
*) For the conductor: observe the reduced speed of the rhythmic patterns, bars 198 - 200!
3
38
Moderato ( = 80) 199
Picc. 5
5
Ob. 5
Cl.
3
3
Fg.
senza sord. 3
3
3
3
Cor.
Vibr. Perc. I
Perc. II
Moderato ( = 80)
8 0
0
Vl. 1
Vl. 2
Va.
Vc.
5
Cb.
8 8
3
39
Pi첫 vivo ( = 200
= 100)
202
Picc.
Ob.
Cl.
Fg.
Cor.
Steel Drums
Perc. I
Mar.
Vibr. trem.
trem.
Tub. B.
Perc. II
*)
Pi첫 vivo ( = 200
= 100)
8
7
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8 8
*) equal to "meno mosso"
= 100 in bar 145.
40 *)
Moderato ( = 80)
Pi첫 vivo ( = 200
= 100)
206
Picc.
Ob.
5
Cl.
Fg. 7
Cor. 3
Steel Dr. 9
trem.
Perc. I Mar.
6
Vibr. Tub. B.
5
trem.
5
Perc. II
Mar.
*)
Moderato ( = 80)
Pi첫 vivo ( = 200
= 100) 7
pizz. Vl. 1 7
senza vibr. Vl. 2
pizz.
senza vibr.
arco
Va.
3
Vc.
3
Cb.
8
8 8
*) equal to "meno mosso".
3
3
41
Pi첫 mosso ( = 280) 209
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. 5 5 5 5
Perc. I
Tub. B.
Perc. II
Mar.
Pi첫 mosso ( = 280) Vl. 1
ord. Vl. 2
ord. Va.
Vc.
Cb.
8
42
Meno mosso ( = 200
Pi첫 mosso ( = 280
= 100)
= 140)
213
Picc.
Ob.
Cl.
7
Fg.
Cor.
Vibr. 7
7
7
7
7
Perc. I
trem. Mar.
5
5
5
5
5
5
15
Crot.
Vibr. 7
7
Perc. II 7
7
7
Mar.
5 5
Meno mosso ( = 200 Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
= 100)
Pi첫 mosso ( = 280
= 140)
43
Meno mosso al fine ( = 100) 217 8
3
Picc. 3
3
Ob. 3
3
5
5
5
Cl. 5
5
5
Fg.
5
Cor. 5
Vibr.
5
5
Perc. I
9
9
*) Perc. I/II
Mar. Perc. II
Meno mosso al fine ( = 100) Vl. 1 3
3
Vl. 2 3
pizz. pizz.
arco
Va.
Vc.
pizz. Cb.
8
*) Ossia part may be recommended only if one or the other player, or even both in unison, is able to realise the enormous rhythmic complexity (e. g. dotted notes) with precision.
44
219 8
Picc. 3
3
Ob. 3
3
3
5
5
Cl. 5
5
5
Fg.
5 5
5
Cor.
Vibr. Perc. I 3
5
3
9
9
Perc. I/II
Mar. Perc. II
Vl. 1 3
pizz.
(arco) Vl. 2
arco Va.
pizz. Vc.
(pizz.) Cb.
8
arco 8
45
221 8
muta in Flauto in Sol
Picc. 3
3
3
Ob. 5
3
Cl.
5
Fg. 5
5
5
5
Cor. 5
5
Vibr.
5
Perc. I
9
9
Perc. I/II
Mar.
Vibr.
5
5
Perc. II
Vl. 1
arco
pizz.
pizz.
Vl. 2
pizz.
arco
Va.
pizz.
arco Vc.
8
Cb.
8
pizz.
46
223
3
3
Fl. (in Sol)
3
5
Ob. 5
5
3
Cl.
Fg.
5
5
5
5
Cor.
Vibr.
5
5
5
Perc. I
9
9
Perc. I/II
Mar. Perc. II
pizz. Vl. 1
pizz. arco Vl. 2
pizz.
arco
Va.
arco
pizz.
pizz.
Vc.
pizz. Cb.
8
arco
8
pizz.
47
225
Fl. (in Sol)
3
Ob. 3
3
3
Cl.
Fg.
5
5
5
5
5
Cor.
Vibr.
7
Perc. I 7 9
9
Perc. I/II
Mar. 9:8
Perc. II
Vl. 1
Vl. 2
arco Va.
cresc. arco
Vc.
cresc. 8
Cb.
8
cresc.
5
48
3
227
3
Fl. (in Sol) 3
più
muta in C. i.
3
Ob.
5
5
3
5
3 5
Cl.
più
3
Fg. 3
3
più
5
5
5
Cor.
Perc. I
9 3
3
Perc. I/II poss.
Perc. II
arco Vl. 1
più arco Vl. 2
trem.
arco
Va.
più trem. Vc.
più trem. Cb.
8
più
49
229
3
3
Fl. (in Sol)
5
3
3
3
3
3
3
C. i.
pi첫
muta in Cl. bso.
3
3
Cl.
3
3
3
3
5
5
Fg. 3
3
3
5
Cor. 5
3
pi첫
Perc. I
Perc. II
Vl. 1
Va.
Vl. 2
Vc.
Cb.
8
8
50
232
muta in Fl. gr. 5
Fl. (in Sol)
3
3
3 3
C. i.
3
Cl. bso. 3
3
3
5
5
Fg. 5
5
5
5
Cor. 5
5
5
5
Perc. I
Perc. II
Vl. 1
Vl. 2
Va.
Vc.
dim.
Cb.
8
8
dim.
51
Quasi senza misura 235
Fl. (in Sol)
C. i.
3
Cl. bso.
3
Fg.
Cor.
dolcissimo Vibr.
*)
3
poco rubato
Perc. I
*) Mar.
3
poco rubato
Perc. II
*)
Quasi senza misura Solo senza vibr. Vl. 1
Vl. 2
Va.
dim.
Solo Vc. (dim.) Solo Cb.
8
(dim.) *) Percussion I and II damp pitches audibly and in strict synchronisation!
52
( = 144,
= 72) (
II
= 96)
**) Steel Drums
Percussione I
4 Toms.
Vibr.*)
dim.
sub.
Percussione II
6
Steel Dr.
4 Toms.
Perc. I
poco
Crot.
15
Perc. II
Vibr.
14
Steel Dr.
4 Toms. Perc. I
15
Crot.
Perc. II
Vibr.
poco dim.
21
Steel Dr.
Perc. I
Vibr. Perc. II sub.
dim. molto
*) In this movement the accentuation (>) should serve only as a clear, but not contrasting, dynamic, meant to suggest the changing meters. **) or Gong board. See note.
53
26
Steel Dr.
cresc.
Perc. I
4 Toms.
Crot.
15
Vibr. Perc. II
sub.
dim. 4 Toms.
(if poss.)
pizz. (stopped sempre) Vc.
Cb.
8
31
Fl.
Ob.
Cl.
Fg.
Cor. Steel Dr.
Perc. I
4 Toms.
15
Crot.
Vibr. Perc. II 4 Toms.
Vc.
pizz. ord. Cb.
8
54
30
Fl.
Ob.
Cl.
Fg.
Cor.
Steel Dr.
Perc. I
dim.
Vibr.
dim.
Perc. II
Vl. 1
Vl. 2
Va.
pizz. Vc.
Cb.
8
55
43
Fl.
Ob.
Cl.
Fg.
Cor.
4 Toms. Perc. I
Cymbal (stopped)
Perc. II
4 Toms.
Vl. 1
Vl. 2
Va.
arco Vc.
Cb.
8
8
56
47
Fl.
Ob.
Cl.
Fg.
Cor.
2 Octabands preparatory beats
*)
2 Octabands preparatory beats
*)
Perc. I
Perc. II
Vl. 1
Vl. 2
pizz. Va.
pizz.
arco
Vc.
arco
Cb.
8 8
*) preparatory mutual beat pattern for juxtaposed mutebeats. (See Preface to REPERCUSSION at the back)
57
51
Fl.
Ob.
Cl.
Fg.
Cor.
2 Octabands Perc. I
2 Octabands Perc. II
arco Va.
Vc.
Cb. 8
54
2 Octabands
Perc. I
2 Octabands Perc. II
58
57
Fl.
Ob.
Cl.
Fg.
Cor.
2 Octabands Perc. I
2 Octabands Perc. II
Vl. 1
Vl. 2
pizz.
arco
Va.
tutti pizz.
solo Vc.
pizz. Cb.
8
8
arco
59
60
Fl.
Ob.
Cl.
Fg.
Cor.
2 Octabands Perc. I
2 Octabands Perc. II
Vl. 1 poss.
Vl. 2 poss.
pizz.
arco distinto sul pont.
Va.
(pizz.)
Bartòk pizz.
Vc.
Cb.
8
8
60
63
muta in Picc.
Fl.
Ob.
Cl.
Fg.
Cor.
2 Octabands
Perc. I Vibr.
2 Octabands
Perc. II
Mar.
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
61
66
Perc. I
2 Octabands
Vibr.
2 Octabands
Mar. Perc. II
Vl. 1
69
Perc. I
2 Octabands
Vibr.
2 Octabands
Mar.
Perc. II
72
2 Octabands
Perc. I Vibr.
2 Octabands
Mar.
Perc. II
75
Perc. I
2 Octabands
Vibr.
2 Octabands
Perc. II
Mar.
62
78
2 Octabands
Perc. I Vibr.
2 Octabands
Perc. II
Mar.
81
Picc.
Ob
Cl.
Fg.
con sord.
gliss.
Cor. 2 Octabands Perc. I
2 Octabands
Mar. Perc. II
pizz.
Vl. 1
pizz. Vl. 2
pizz. arco
gliss.
Va.
Vc.
Cb.
gliss.
63
liss.
84
quasi g
muta in Fl. (in Sol)
Picc.
quasi gliss. Ob.
s.
i glis
quas
Cl.
Fg.
Cor.
2 Octabands Perc. I
2 Octabands Perc. II
Va.
pizz.
Bartòk pizz.
sul pont. Vc.
gliss
.
Bartòk pizz. Cb.
gliss
87
.
Quasi pastoraliter
2 Octabands
Vibr.
Perc. I
(poco)
(poco)
sim.
2 Octabands
Perc. II
Mar.
sim.
64
92
Ob.
Fg. espr. Vibr.
Perc. I
Mar.
Mar.
Perc. II
Tub. B.
arco Vl. 1
pizz. Va.
98
Fl. (in sol)
Ob.
Fg.
Steel Dr. Perc. I poss. Vibr.
Perc. II
Vl. 1
Va.
Mar.
65
103
muta in Piccolo
Fl. (in sol)
Cl.
Fg.
Mar. Perc. I
Tamb. mil. Perc. II
Va.
107
Picc. 8
Ob.
Cl.
Fg.
Cor.
Perc. I
Tamb. mil.
Perc. II
Va.
66
111
Picc.
Ob.
Cl.
Fg.
Cor.
distinto
Vibr..
Perc. I
4 Toms.
Tamb. mil. Perc. II
Vl. 1
Vl. 2
pizz. Va. sub.
(tutti) Vc.
Cb.
8
pizz.
67
116 8
Picc.
Ob.
Cl.
Fg.
Cor.
Perc. I
4 Toms.
3
Mar.
Perc. II
arco Vl. 1
arco Vl. 2
arco Va.
arco Vc.
Cb.
8
3
3
3
68
121 8
Picc.
Ob.
Cl.
Fg.
Cor.
Steel Dr.
Perc. I
4 Toms.
Mar.
Perc. II
Octobands + Toms.
Vl. 1
Vl. 2
Va.
pizz. Vc.
Cb.
8
arco
69
126 8
Picc.
Ob.
Cl.
Fg.
Cor.
Steel Dr.
Vibr.
Perc. I 4 Toms.
Mar.
Oct. + Toms.
Perc. II
Vl. 1
Vl. 2
arco Va.
pizz. Vc.
Cb.
8
70
130 8
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar.
sub.
Perc. II
Toms.
Vl. 1 distinto
Vl. 2 distinto
Va.
(pizz.) Vc.
Cb.
8
arco
71
134 8
Picc.
Ob.
Cl.
Fg.
a l’aria Cor.
Mar. Perc. I
Vibr.
Perc. II
Toms.
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
72
139 8
Picc.
Ob.
Cl.
Fg.
ord. Cor.
Mar.
Crot.
Vibr.
15
Perc. I Steel Dr.
Vibr.
Mar.
Perc. II Toms.
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
73
143 8
Picc.
Ob.
Cl.
Fg.
Cor. cant.
15
Perc. I
Crot.
Steel Dr.
Toms. Perc. II
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
8
74
148 8
Picc.
Ob.
Cl.
Fg.
Cor.
3 Cymb. stopped
open
sim.
Perc. I
2 Log Dr. Toms. Perc. II
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
8 8
75
152 8
Picc.
Ob.
Cl.
Fg.
Cor.
Crot.
15
Vibr. Perc. I
Mar.
trem. Vibr.
Perc. II
Toms.
Mar.
Vl. 1
Vl. 2
Va.
pizz. Vc.
pizz. Cb.
8
arco
76
156 8
Picc.
Ob.
Cl.
Fg.
Cor.
15
Crot.
Vibr. Perc. I
Mar.
Mar.
trillo
Perc. II
pizz. Vl. 1
pizz. Vl. 2
pizz. Va.
pizz. Vc.
Cb.
8
77
Molto sost. 161
muta in Fl. gr.
8
Picc.
Ob.
Cl.
Fg.
Cor
15
Crot.
Perc. I
Mar.
(trillo)
Perc. II
Molto sost. Vl. 1
arco
Vl. 2
arco Va.
arco (pizz.) Vc.
Cb.
8
arco
78
III Adagio ( = c. 88, = c. 44) Vibr.
arco
Mar.
trem. rapido
Percussion I
Percussion II
Adagio ( = c.88, = c.44) fing.
fing.
fingerschlag pizz. Contrabbasso
fing. pizz.
fing.
pizz.
pizz.
pizz.
8
pi첫
Vibr. ord.
6
Perc. I
Mar. Perc. II
fing. sim. pizz. Cb.
pizz.
pizz.
8
Pi첫 mosso ( = c. 102) 10
Vibr.
Perc. I sub.
Vibr.
Perc. II
Mar.
sub.
pizz. Cb.
8 8
79
14
Vibr.
Perc. I cant.
Vibr.
Perc. II
pizz. Vl. 1
pizz. Vl. 2 espr. Va. (fing.)
(fing.)
pizz.
pizz.
Vc.
pizz. Cb.
8
8
20
Fg. Vibr.
Perc. I Vibr.
Perc. II
Mar. trem.
Vl. 1
Vl. 2
Va. 0
arco
0
0
0
0
0
0
Vc.
cresc. arco Cb.
8
8
cresc.
80
(L’istesso tempo) 24
Cl.
Fg. Vibr.
arco Perc. I
Vibr.
sub., stacc. Perc. II Mar.
(L’istesso tempo)
Va. sub.
Vc. fing.
pizz. Cb.
fing.
pizz.
pizz.
pizz.
8
29
Vibr.
Perc. I
Perc. II
Mar.
pizz.
pizz.
Va.
pizz.
pizz.
Vc.
pizz. Cb.
8
3
Pi첫 mosso ( = 120,
81
= 80)
34
Fl.
Ob.
Cl.
Fg. cant.
Vibr.
trem.
Perc. I
Vibr.
Perc. II Mar.
Pi첫 mosso ( = 120,
= 80)
Vl. 1
Vl. 2
pizz. Va.
pizz. Vc.
Cb.
8
82
39
Fl.
Ob.
Cl.
Fg.
Cor.
Vibr.
Perc. I
Mar.
Perc. II
Mar.
pizz. Vl. 1
arco
pizz.
arco
Vl. 2
pizz. Va.
Vc. l. v.
Cb.
8
arco
83
44
Fl.
sim. Ob.
Cl.
Fg.
Cor.
Perc. I
Perc. II
Vl. 1
pizz.
(pizz.)
Vl. 2
Va. sim.
arco Vc.
Cb.
8
84
Pi첫 mosso ( = 144, = 72) 51
Fl.
Ob.
Cl.
Fg.
cant. Cor.
Vibr.
cant.
Perc. I
Vibr.
Perc. II
Pi첫 mosso ( = 144, = 72) Vl. 1
Vl. 2
pizz. Va.
pizz.
fing.
pizz.
Vc.
pizz. Cb.
8
fing.
pizz.
85
Pi첫 mosso ( = 177,
= c. 118)
55
Fl.
Ob. sub.
Cl.
Fg.
Cor.
Perc. I
6 Drums
6 Drums Perc. II
Pi첫 mosso ( = 177,
= c. 118)
Vl. 1
(pizz.) Vl. 2
(pizz.) Va.
pizz.
pizz.
pizz.
pizz.
Vc.
Cb.
8
86
59
Fl.
Ob.
Cl.
Fg.
Cor.
Perc. I 6 Drums
6 Drums Perc. II
Vl. 1
Vl. 2
pizz.
arco Va.
arco Vc.
arco Cb.
8 8
arco
87
63
Fl.
Ob.
Cl.
Fg.
Cor
4 Toms. (natural skins)
Perc. I
6 Drums
6 Drums Perc. II
Vl. 1
Vl. 2
Va.
pizz. Vc.
sul pont. Cb.
8
8
88
66
Fl.
Ob.
Cl.
Fg.
Cor.
4 Toms.
Perc. I 6 Drums
6 Drums Perc. II
Vl. 1
Vl. 2
Va.
(pizz.) Vc.
Cb.
8
8
89
69
Fl.
Ob.
Cl.
Fg.
Cor.
4 Toms.
Perc. I
6 Drums
6 Drums Perc. II
Vl. 1
Vl. 2
Va.
arco Vc.
Cb.
8
8
90
72
muta in Fl. in Sol
Fl.
Ob.
Cl.
Fg.
Cor.
Perc. I
6 Drums
6 Drums Perc. II
Vl. 1
pizz. Vl. 2
pizz. Va.
Vc.
ord. Cb.
8 8
arco
91
75
Fl. (in Sol) stacc.
Ob.
Cl. stacc.
Fg. stacc.
Cor. (sim.)
4 Toms.
Perc. I
6 Drums
6 Drums Perc. II
Vl. 1
(pizz.) Vl. 2
Va.
pizz. Vc.
sul pont. Cb.
8
8
92
78
muta in Picc.
Fl. (in Sol)
Ob.
Cl.
Fg.
Cor.
4 Toms.
Perc. I
6 Drums
6 Drums Perc. II
Vl. 1
Vl. 2
pizz. Va.
(pizz.)
arco
Vc.
pizz. Cb.
8
93
81
Fl.
Ob.
Cl.
Fg.
Cor.
4 Toms.
Perc. I
6 Drums
6 Drums Perc. II
Vl. 1
Vl. 2
Va.
Vc.
arco
Cb.
8
94
Subito meno mosso, espressivo molto
84
Picc.
Ob.
Cl.
Fg.
Cor.
4 Toms.
Perc. I
6 Drums
6 Drums Perc. II
Subito meno mosso, espressivo molto
Vl. 1
Vl. 2
Va.
Vc.
fing. Cb.
8
pizz.
fing.
pizz.
fing.
pizz.
fing.
pizz.
fing.
pizz.
a tempo sub. 89
95
Meno mosso
8
Picc.
Ob.
Cl.
Fg. cant.
Cor.
6 Drums Perc. I sub.
6 Drums Perc. II
a tempo sub.
Meno mosso
Vl. 1
Vl. 2
Va.
arco Vc.
fing.
arco Cb.
8
8
96
a tempo 96
8
Picc.
Ob.
Cl.
Fg.
Cor.
15
Crot.
Perc. I Vibr.
Mar.
Vibr.
Mar.
(sim.)
Perc. II 6 Drums
a tempo Vl. 1
Vl. 2
fing. Va.
fing. Vc.
Cb.
8
97
103 8
Picc.
Ob. stacc. Cl. Mar. Perc. I
Vibr. Perc. II
con sord. cant. Va.
poco pizz.
fing.
pizz.
pizz.
Vc.
108
stacc.
8
Picc. muta in Cor. ing. Ob. muta in Cl. basso Cl.
Vibr.
Perc. I
Mar.
Vibr.
Perc. II
Mar.
Va. fing.
pizz. Vc.
pizz.
pizz.
98
114
Vibr.
Perc. I
Mar. Perc. II
pizz. Va.
pizz.
fing.
pizz.
fing.
Vc.
pizz. Cb.
119
Corno inglesi
C. i.
Clarinetto basso Cl. bso.
Vibr. Perc. I
Mar. Perc. II
Sola arco con sord., sul pont. Va.
pizz. Vc.
Cb. 8
99
130
muta in Cl. in Si
Cl. bso. Vibr. Perc. I
meno
Mar.
Perc. II
arco ord.
sul pont.
ord.
Va.
meno arco
fing.
pizz.
fing.
Vc.
sul pont.
arco Cb.
ord.
sul pont.
8
136
C. i. con sord. Cor.
Vibr. Perc. I
Mar.
Perc. II
Sola, sul pont. (sul pont.) Va.
pizz. Vc.
Cb.
8
fing.
pizz.
100
142
Fl.
C. i. legg.
Cl.
Fg.
Cor.
Vibr.
Perc. I Mar.
Tub. B.
Mar. Perc. II
pizz. Vl. 1
pizz. Vl. 2
Va.
(pizz.) Vc.
ord. Cb.
8
101
154
Fl.
muta in Ob. C. i.
Cl.
Fg.
senza sord. Cor.
Vibr.
Perc. I
Mar.
Tub. B.
Mar.
Perc. II
Vl. 1
Vl. 2
ord. Va.
arco Vc.
Cb.
8
102
165
Picc.
Ob.
4
Cl. 4
Fg.
Cor.
Mar.
Perc. I
Vibr.
Mar.
Perc. II
4
Vl. 1 4
Vl. 2
Va.
Vc.
Cb.
8
8
8
103
171
4
Picc.
Ob.
Cl. 4
Fg.
Cor.
Steel Dr.
Perc. I
Vibr.
Tub. B.
stopped
stopped
Perc. II
sim. Mar.
arco Vl. 1
4 4
arco Vl. 2
con sord. sul pont.
senza sord.
pizz.
arco
Va.
solo
arco
0
pizz. Vc.
Cb.
8
8 8
104
177
Crot.
15
Perc. I
Vibr.
Glsp.
15
Perc. II
Mar.
Va.
pizz. Vc.
Cb. 8
(highest poss.) 185
Crot.
Metal Wind Chimes
15
Met. W. Ch.
(less high)
gliss.
Vibr.
Steel Dr.
Perc. I Mar.
Glsp.
15
Vibr.
Perc. II Mar.
sul A Va.
arco pizz. Vc. (l. h. pizz.) Cb. 8
Tub. B.
105
192
Steel Dr.
Perc. I
Mar.
Vibr.
Perc. II
Mar.
Va.
fing.
pizz.
fing.
arco
Vc.
Cb.
8
199
Perc. I
Vibr.
Mar.
Tub. B.
Perc. II
Mar.
Va.
pizz. Vc.
Cb.
8
106
206 8
Picc.
Ob.
Cl.
Fg.
open Cor.
Vibr.
Perc. I
Mar.
Tub. B.
Perc. II
Mar. trem.
glis
Vl. 1
Vl. 2
Va. sim.
arco Vc. (port.)
pizz.
arco Cb.
8
8
(sim.)
s.
107
211 8
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar.
Perc. II
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
108
219 8
Picc.
Ob.
Cl.
Fg.
Cor
Vibr. Perc. I
Mar.
trem.
Perc. II
Vl. 1
Vl. 2
Va.
Vc.
pizz. Cb.
8
8
8
109
Meno mosso, affettuoso 226 8
Picc.
Ob.
Cl.
flz. Fg.
Cor.
Vibr. Perc. I
Mar. trem. Perc. II sim.
Meno mosso, affettuoso
Vl. 1
Vl. 2
Va.
Vc. sub.
arco Cb.
8
110
235 8
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar. Perc. II
Vl. 1
Vl. 2
pizz.
arco
Va.
pizz. Vc.
pizz. Cb.
8
8
arco
pizz.
8 8
111
240 8
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar. Perc. II
Vl. 1
Vl. 2
pizz. Va.
arco Vc.
arco Cb.
pizz. 8
8
arco 8
112
246
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar. Perc. II
Vl. 1
Vl. 2
Va.
Vc.
Cb.
8
113
251 8
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar. Perc. II
Vl. 1
Vl. 2
arco Va.
pizz. Vc.
Cb.
8
8
114
256
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
Mar.. Perc. II
pizz. Vl. 1
pizz. Vl. 2
pizz.
arco
pizz.
Va.
arco pizz.
pizz.
Vc.
pizz. Cb.
8
arco 8
arco
115
accel.
pi첫 mosso
263 8
Picc.
Ob.
Cl.
prepare for deep A Fg.
Cor.
Vibr. Perc. I
pi첫
Mar. Perc. II
pi첫
accel.
pi첫 mosso
Vl. 1
arco Vl. 2
pizz. Va.
arco Vc.
Cb.
8
116
269 8
Picc.
Ob.
Cl.
Fg.
Cor.
Vibr. Perc. I
pi첫
Mar.
Vibr.
Perc. II
pi첫
Vl. 1
Vl. 2
pizz. Va.
Vc.
Cb.
8
117
flz.
274 8
Picc.
flz. Ob.
Cl.
Fg.
Cor. stacc.
Vibr. Perc. I
Mar. Perc. II
Vl. 1
Vl. 2
(pizz.) Va.
pizz. Vc.
gliss.
Cb.
8 8
118
(
= )
(l’istesso tempo) 279
muta in Fl. gr.
8
Picc.
Ob.
3
Cl.
Fg. 4:3
4:3
Cor.
15
Crot.
Perc. I Vibr.
Mar.
3
3
Mar.
Perc. II
3
3
(
= )
(l’istesso tempo) 4:3
Vl. 1
Vl. 2
arco
(pizz.) Va.
détaché
arco
(pizz.) Vc.
détaché trem. sul pont.
pizz. Cb.
8
8
arco 8
119
283
Fl.
Fl.
muta in Corno inglesi C. i.
Cl.
flz. Fg. poss.
Cor. 3
5:3
dim.
6 Drums
Perc. I
dim.
8 Toms Perc. II
dim.
Vl.1 détaché
Vl. 2 détaché
Va.
Vc.
(sul pont) Cb.
8
8
120
rallentando tutti dim. molto
286
Fl.
C. i.
Cl.
Fg. dim. espr.
Cor. 5:3
5:3
(dim.)
6 Drums Perc. I
8 Toms Perc. II
rallentando tutti dim. molto
Vl. 1
dim.
Vl. 2
dim.
Va.
dim.
Vc.
dim.
Cb.
8 8
dim.
(rall.)
121
a quasi tempo I
(dim. molto) 289
Fl.
C. i.
Cl.
Fg.
con sord. Cor.
6 Drums Vibr. Perc. I sotto voce
8 Toms
Vibr.
Perc. II
Mar.
Mar.
sotto voce
(rall.)
a quasi tempo I
(dim. molto)
Vl. 1
Vl. 2
sul pont. Va.
sul pont. Vc.
Cb. 8
122
293
Fl.
C. i.
Cl.
Vibr.
Crot.
Mar.
15
Perc. I Vibr. Mar. Perc. II
Vl. 1
sul pont. Vl. 2
sul pont. Va.
sul pont. Vc. (dim a niente) sul pont.
(ord.)
Cb. 8
297
Mar.
(accel. poss.)
Perc. I (rep. ad lib.)
ord. (rall. poss.)
Vibr. Perc. II
(rep. ad lib.)
Vc. (dim a niente) Cb.
8
(dim a niente)
WH 31279 ISBN 978-87-598-2194-7