John Corigliano
CONJURER Concerto for Percussionist and String Orchestra (with optional Brass)
Full Score
From the G. Schirmer Rental Library Date of Printing_______
G. Schirmer, Inc. New York, NY
John Corigliano
CONJURER Concerto for Percussionist and Orchestra (with optional Brass)
commissioned by the Pittsburgh Symphony Orchestra, Nashville Symphony, Royal Scottish National Orchestra, Dallas Symphony Orchestra, Calouste Gulbenkian Foundation, Music Department (Lisbon, Portugal), and National Arts Centre Orchestra The World Premiere took place on 21 February, 2008 with Evelyn Glennie, percussion and the Pittsburgh Symphony Orchestra under the direction of Marin Alsop in Pittsburgh, PA
duration circa 35 minutes
G. Schirmer, Inc. New York, NY
Instrumentation 4 Horns in F* 3 Trumpets in C* 3 Trombones* Tuba* Solo Percussion Strings * The brass are only included in the final movement and are optional. The entire work may be performed with soloist and string orchestra only. The brass section is not required may be used at the discretion of the conductor.
Program Note Cadenza, Movement I: WOOD Cadenza, Movement II: METAL Cadenza, Movement III: SKIN
When asked to compose a percussion concerto, my only reaction was horror. All I could see were problems. While I love using a percussion battery in my orchestral writing, the very thing that makes it the perfect accent to other orchestral sonorities makes it unsatisfactory when it takes the spotlight in a concerto. For starters, a percussionist plays dozens of instruments. Again, this is wonderful if his role is to color an orchestral texture: but if he (or she) is the main focus, it is terrible. The aural identity of the player is lost amid the myriad bangs, crashes, and splashes of the percussion arsenal. Only the visual element of one person playing all these instruments ties them together. In addition, most of the instruments have no pitch at all (or very little), and don’t sustain a sound (like a violin or trumpet). As a result, most percussion concerti I have heard sound like orchestral pieces with an extra-large percussion section. The melodic interest always rests with the orchestra, while the percussion plays accompanying figures around it. Of course, one could limit oneself to writing for keyboard percussion: marimba or vibraphone, for example. Many concertos have been written like this, and the combination of using an instrument with definite pitches and restricting oneself to one instrument does focus the work on a single soloist. I thought of all of this as I sat down to discuss my writing a percussion concerto. Obviously I had more than mixed views about this project, but something about the challenge fascinated me, too.
Many of my works begin this way. I pose a problem and write a piece as the solution. In this case, the problem is the following: How do I write a concerto for a solo percussionist playing many different instruments in which the soloist is always clearly the soloist (even with your eyes closed), and how do I write a concerto in which there are real melodies –and those melodies are introduced by the percussionist, not the orchestra? I WOOD The pitched wood instruments are the xylophone and marimba. To supplement this, I constructed a “keyboard” of unpitched wooden instruments (wood block, claves, log drum, etc.) ranging from high to low and placed it in front of the marimba. The soloist could play pitched notes on the marimba and then strike unpitched notes on the wooden keyboard. The initial cadenza starts with unpitched notes, but gradually pitched notes enter and various motives are revealed as well as ideas based upon the interval of a fifth. This interval will run through the entire concerto as a unifying force. After a climactic run, the orchestra enters, developing the 5th interval into a rather puckish theme. Soloist and orchestra develop the material and build to a climactic xylophone solo, and finally return to the opening theme. II METAL The cadenza is for chimes (tubular bells) accompanied by tam-tams and suspended cymbals. It is loud and clangorous, with the motivic 5ths clashing together. The movement itself, however, is soft and long lined. The melody that will end the movement is introduced in the low register of the vibraphone, and the movement develops to a dynamic climax where the chimes return, and then subsides to a soft texture in the lower strings as the struck/bowed vibraphone plays its melody.
III SKIN The skin cadenza features a “talking drum” accompanied by a kick drum. The talking drum is played with the hands, and can change pitch as its sides are squeezed. Strings connect the top and bottom skins, and squeezing stretches them tighter – and raises the pitch. It provides a lively conversation with a kick drum: a very dry small bass drum played with a foot pedal and almost exclusively used as part of a jazz drum set. This cadenza starts slowly, but builds to a loud and rhythmic climax. The movement then begins with the soloist and orchestra playing a savage rhythmic figure that accelerates to a blinding speed. A central section brings back the 5ths against a pedal timpanum that is played with the hands in a “talking drum” style. The accelerando returns, and leads to a wild and improvised cadenza using all the drums and a virtuoso finish. Once it was complete, it occurred to me that the piece’s cadenza-into-movement form characterizes the soloist as a kind of sorcerer. The effect in performance is that the soloist doesn’t so much as introduce material as conjure it, as if by magic, from the three disparate choirs: materials which the orchestra then shares and develops; hence, the title CONJURER.
– John Corigliano
Percussion Stations I. Wood (Audience)
Music Stand
Wooden “keyboard” 18
17
16
15 14 13 12 11 10 9
8 7
6
5
4
3
2 1
Trap Table (mallets)
Marimba
Performer
Musi cS
Xylophone
Trap Table (mallets)
tand
The wooden “keyboard” is a series of 18 instruments in graded pitches from high to low (right to left) of the performer’s choosing, which could include the following suggestions: 2 Mounted Claves, 4 Wood Blocks, 5 Temple Blocks, 1 Mounted Castanet, 1 Coconut, 2 Wood Drums, 3 Log Drums. The pitches should not try to duplicate our tempered scale, but should outline a somewhat regular high-to-low series with non-predictable timbres. It is notated on a grand staff as follows: 1
2
3
4
5
6
7
8
9
High 10 Low
11
12
13
14
15
16
17
18
II. Metal (Audience)
Music Stand
Glockenspiel
Trap Table
Mu
sic
Sta
nd
Vibraphone
Per for me r
nd Mu
sic
Sta
m
Sus. Cymbal
Med. Tamtam
nd
ta
c Sta
eT am
Musi
rg
les
La
Crota
rmer Perfo
Ch im es
Performer
III. Skin (Audience)
Kick Dr.
Timpano Timpano
Mu
nd
Timpano
Music Stand 2 Congas
c Sta
6 Tom-toms
s Bas
nd
Musi
Sta
Trap Table (mallets)
Performer
Trap Table (mallets)
sic
Timpano
Kick Dr. plus Talking Drum
Performer
Music Stand
Notes on hand drumming: Hand drumming is performed on two different instruments: the Talking Drum and the 26� Timpano. Both drums are accompanied by a Kick Drum. The player is seated. The Talking Drum can be played with it between the legs, leg pressure creating the pitch-bending; or it can be played under one arm. Please use a 9 inch Talking Drum. Drum head area notation: c = center of the drum e = edge of the drum c → e = move from center to edge
Drum articulations: + = slap . + = closed (muffled) slap o = open m = muffle b = bass tone (struck in center with extra weight)
to Bernard Shockett
CONJURER Cadenza I
I. (Wood)
John Corigliano (2007) (lunga)
Percussion
Percussion
I Violin II
Viola
Violoncello
Contrabass
2
Perc.
Marimba
I Vn. II
Va.
Vc.
Cb. N.B. The final movement contains optional horns, trumpets, and trombones that may be utilized at the discretion of the conductor.
Corrected 3/2011
Copyright Š 2008 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY
2 (2)
sub.
Perc.
(Mar.)
(2)
Perc.
(Mar.)
(2)
Perc.
(Mar.)
(2)
Perc.
(Mar.)
(Mar.)
(2)
Perc.
(Mar.)
3 (2)
Perc.
(Mar.)
*
3
Xylophone
Perc.
Mar.
5
Perc.
Xyl.
Mar.
8
Perc.
Xyl.
breve
Mar.
*Play fast, non-chromatic lines between and including the indicated pitches.
breve
4 9
Perc.
Xyl.
(9)
(Xyl.)
Perc.
(9)
*
Perc.
Mar.
(9)
Perc.
(9)
Perc.
*Ad lib. similar patterns, gradually moving lower in pitch.
Allegro = 120–126 10
5 11
Wood
Perc.
I Vn.
* II
Va. sub.
col legno battuto Vc.
col legno battuto
pizz.
Cb.
15
Perc.
Vn. I div. a2, ord.
tutti, **
secco Vn.II (div.)
div. a2, ord.
tutti, **
secco * Va. (col legno batt.) Vc.
arco, col legno batt. 0
0
Cb. *Crunch: Lightly mute the indicated strings with hand in first position. Bow with extreme pressure, al tallone, using a short stroke. Do not take the bow off the strings. The result should be a loud, scratchy sound with no discernable pitch. **Play even, nondiatonic sixteenth note figures between and including the indicated pitches. Vary the patterns continuously.
6 19
Perc.
I Vn. II
ord. Va. tutti, *
arco ord., div. a4 Vc.
gliss. pizz.
Cb.
23
Perc.
div. I Vn.
ord.
div.
II
Va.
non div., col legno batt. Vc. pizz.
arco, col legno batt.
Cb.
*Play fast, nondiatonic, tremolo figures between and including the indicated pitches. Vary the patterns continuously. Gradually move the figures from one set of boxed pitches to the next.
7 27
Perc.
unis. I
Vn.
unis., crunch
unis., crunch
div.
II
div. Va. arco ord. non div., col legno, batt.
arco ord. Vc. crunch
col legno, batt.
crunch
Cb.
31
Perc.
Mar.
I Vn.
div. II
div. Va. col legno batt. Vc.
col legno batt. Cb.
unis.
8 36
Perc.
(Mar.)
I Vn. II
Va. arco, sul ponticello pizz. Vc. div. pizz. Cb. arco
40
Perc.
(Mar.)
jetĂŠ I 3
Vn.
3
unis., crunch II
unis. Va.
unis., ord. Vc.
tutti, div., arco Cb.
unis.
9 rall.
44
a tempo unpitched percussion
Perc.
*with mute
(Mar.)
arco **
pizz. I Vn.
pizz.
arco, crunch
II
pizz.
arco
pizz.
non div., arco, col legno batt.
Va.
Vc.
col legno batt. Cb.
48
(Unpitched) (Mar.) *with mute
Perc.
jetĂŠ
3
3
Vn. I
Vn. II (div.)
div. a2, ord.
tutti
div. a2, ord.
stacc. tutti
stacc.
crunch **
Va. col legno batt. Vc.
pizz. Cb.
col legno batt. 0
*Muting the Marimba may be necessary for a staccato balance with the unpitched wood instruments. A book may be used to mute the Marimba. **Bow behind the bridge on the indicated string(s).
10 52
(unpitched)
Perc.
3
3
3
(Mar.)
3
3
3
jetĂŠ
3 3
3
3
Vn. I
Vn.II (div.)
(div. a2)
tutti
(div. a2)
stacc. tutti
sul ponticello *
div. a2
sul ponticello *
div. a2
stacc. crunch
ord.
Va.
arco Vc.
arco ord. Cb.
55
(unpitched)
**
Perc.
ord. I Vn.
unis., ord. II
Va.
Vc.
Cb.
*Play fast, nondiatonic, tremolo figures between and including the indicated pitches. Vary the patterns continuously. **As before, but gradually move the figures from one set of boxed pitches to the next.
11 60
Perc.
I Vn. II
Va.
Vc.
Cb.
64
Perc.
Xyl.
non div.
I
Vn.
div. a2 II
pizz. Va.
pizz. Vc.
div. Cb.
unis., pizz.
12 66
Perc.
(Xyl.)
(non div.)
I (div. a2) Vn. II
(pizz.) Va. div. (pizz.) Vc.
arco
pizz.
Cb. 0
rall. poco a poco
68
Perc.
(Xyl.)
3 3 3
3
3
3
3
3
3
dim. poco a poco
3
3
div. non div.
I Vn.
(div. a2) II non div., arco
dim. poco a poco
Va. dim. poco a poco non div., arco Vc. dim. poco a poco non div., arco Cb. dim. poco a poco
3
3
3
3
3
13 (rall.)
70
Perc.
(Xyl.)
3
molto rall.
3
3
3
3
3
(dim. poco a poco)
(div.) al sord. I
Vn. (div. a2)
3
3
3
al sord.
3
II
3
3
3
div.
3
3
3
al sord.
Va. 3
3
3
div.
3
3
3
Vc. (dim. poco a poco)
3
Cb. (dim. poco a poco)
73
= 60–63
Perc.
Mar.
(div.) con sord. I Vn.
(div.) con sord. II
Va. (div.) Vc.
Cb.
con sord.
3
14 76
*
(Mar.)
Perc.
rall. 3
*
(div.)
1/2 step
I (div.)
Vn.
1/2 step
II con sord. (div.)
3
1/2 step
Va. 3
(div.)
1/2 step
Vc. 1/2 step Cb.
79
Perc.
sub.
Mar.
via sord. I Vn. via sord. II via sord. Va. via sord. Vc.
Cb.
*
Denotes free beats (cues). The number within the triangle equals the number of beats (cues). Dotted barlines indicate subdivisions.
15 (79)
80
Perc.
Mar.
unis., col legno, senza sord. I Vn. unis., col legno, senza sord. II
unis., col legno, senza sord. Va.
unis., col legno, senza sord. Vc.
Cb. (non. cresc.)
81
Perc.
(Mar.)
arco ord. I
Vn. arco ord.
asynchronous
II
arco ord. Va. arco ord. Vc.
asynchronous pizz. Cb.
asynchronous
asynchronous
16 82
Perc.
(Mar.)
(lunga)
div. a2
(lunga)
div. a2
(lunga) molto
I Vn. II molto la metĂ , sul pont.
(lunga)
Va.
molto la metĂ , sul pont. (lunga) Vc. molto
la metĂ , sul pont.
(lunga)
Cb. molto
83
ad. lib.
Perc.
(div.) unis. I
Vn.
(div.) unis.
asynchronous
II
tutti, ord. Va.
tutti, ord. Vc.
asynchronous tutti, ord. Cb.
asynchronous
asynchronous
asynchronous
17 84
Perc.
Xyl.
Xyl.
div.
I Vn. II div.
Va. pizz. Vc.
Cb.
85
Perc.
(Xyl.)
(Xyl.)
(div.)
I Vn.
div. II (div.)
Va. div., arco Vc.
Cb.
18 86 ad lib. similar patterns moving lower in pitch
Perc.
*
Mar.
(div.)
I (div.)
Vn. II
(div.) Va. pizz.
(div.) Vc.
pizz. Cb.
87
= 60–63 (
accel. e cresc. poco a poco throughout if playing the optional figure)
= circa 30 seconds
ad lib. similar figures
Perc.
I Vn. II
Va. arco ** Vc.
arco Cb.
* The boxed ad lib. figure is optional from bar 88 through bar 91. ** Play legato (continuous, long free bows) chromatic figures between and including the given pitches.
accel.
19 88
ancora cresc.
Perc.
= 120–126 I Vn. II
Va.
Vc. (
sempre)
(
sempre)
Cb.
N.B.: Bar numbers in the string parts skip to 88 here in order to match the soloist and full score.
92
sub.
Perc.
I Vn. II unis., sul ponticello Va.
unis. Vc.
div.
unis.
Cb.
N.B.: Bar numbers in the string parts skip to 92 here in order to match the soloist and full score.
20 96
sub.
Perc.
unis., sul ponticello I
Vn. unis., sul ponticello II
ord. Va.
Vc. pizz. Cb.
100
Perc.
tutti, ord. I Vn.
tutti, ord.
sub. II
sub. Va.
Vc.
arco Cb.
sub.
21 104
Perc.
non div.
I non div.
Vn. II
non div. Va.
non div. Vc.
Cb.
107
8va
Perc.
Xyl.
8va 8va
Strings: on the string, then gradually back off * I
Vn.
* II
* Va.
* Vc.
* Cb. *Gradually change from accented to staccato.
22 110
Perc.
I Vn. II
Va.
Vc.
Cb.
114
Perc.
I Vn.
crunch II
Va. col legno batt. Vc.
col legno batt. Cb.
23 118
Perc.
Vn. I div. a2, ord.
Vn.II
div. a2, ord.
crunch Va. sub. (col legno batt.) Vc.
pizz.
col legno batt.
Cb.
0
122
Perc.
Mar.
sul ponticello Vn. I
unis., sul ponticello
Vn.II
unis., sul ponticello
ord. Va.
arco, sul pont., div. a4 Vc. pizz. Cb.
tutti
24 126
Perc.
(Mar.)
tutti I Vn.
tutti II
Va.
ord. Vc.
arco Cb.
129
Perc.
mute
remove mute
(Mar.)
ord. I Vn.
ord. II
Va. arco ord. col legno batt.
arco ord. col legno batt.
Vc.
col legno batt. Cb.
crunch
col legno batt.
crunch
25 133
Mar., without mute
Perc.
div.
I crunch Vn.
ord. (div.)
div. II crunch
div. Va. col legno batt. Vc.
col legno batt. Cb.
137
3
Perc.
3 3
Mar., with mute
3
la metà (div.)
I
Vn. la metà (div.)
6
6
II
la metà
unis.
Va. la metà
(col legno batt.)
Vc. la metà Cb.
(col legno batt.)
26 140
3
Perc.
(Mar.)
3
2 soli (div.)
I
Vn. 2 soli (div.)
6
II
1 sola Va. 1 solo
(col legno batt.)
Vc. 1 solo (col legno batt.) Cb.
143
Perc.
Mar.
(2 soli, div.)
I
Vn. (2 soli, div.)
6
II
(1 sola) Va. (1 solo)
(col legno batt.)
Vc. (1 solo) Cb.
(col legno batt.)
27 145
Perc.
(2 soli, div.)
I
Vn. (2 soli, div.)
6
6
II
(1 sola) Va. (1 solo)
(col legno batt.)
(1 solo)
(col legno batt.)
Vc.
Cb.
148
Perc.
* I Vn. II
Va.
Vc.
Cb. *Repeat two bar segment until soloist is in position. Solist may interrupt at any time he is ready to proceed with the next movement.
28
II. (Metal) 149
Cadenza II
Large Tamtam
Chimes
Perc.
Pedal
( = 120–126) 2 soli, div. I crunch Vn. 2 soli, div.
jetĂŠ
6
II crunch 1 sola Va. 1 solo
col legno batt.
al sord.
col legno batt.
al sord.
Vc. 1 solo Cb.
153
Lg. Tamtam
Perc.
Med. Tamtam
Chimes, with hard hammers
Chimes, with hard hammers
Pedal al sord. I Vn.
al sord. II al sord.
Va.
Vc.
Cb.
( = ca. 48)
29 (153) Sus. Cym. (Med. Tam.)
Perc.
(Lg. Tam.) (Chimes) with soft hammer
(Chimes)
with hard hammer
(Pedal)
Pedal
I Vn. II
Va.
Vc.
Cb.
(153)
(Med. Tam.)
Perc.
(Lg. Tam.) (Chimes)
(Chimes)
(Pedal)
I Vn. II
Va.
Vc.
Cb.
with hard hammer
with soft hammer
with hard hammer
30
Metal 154
= 48 Lg. Tam.
Perc.
(Chimes)
(Pedal) tutti div., con sord.
I Vn.
tutti div., con sord. II tutte, con sord.
Va. tutti pizz., con sord., vibrato
arco
Vc. espr. tutti pizz., con sord. Cb.
162
Perc.
I Vn. II via sord. Va.
via sord. Vc. 3
div. Cb.
via sord.
31 170
Perc.
(div.)
I (div.) Vn. II senza sord. Va. espr. Vc.
Cb.
178
Perc.
Vibraphone, motor off
(con sord.)
I Vn.
(con sord.) II 3
Va. div., senza sord. pizz.
arco, (div.)
unis., pizz., senza sord.
la metĂ , arco
Vc.
Cb.
32 accel.
186
Perc.
rall.
a tempo
(Vib.)
(div., con sord.) I
Vn. (div., con sord.) II
Va. (div.) Vc. pizz. (vib.) (la metĂ ) Cb. arco
accel.
194
Perc.
rall.
a tempo
(Vib.)
Pedal (div.) I
Vn. (div.)
unis.
II
Va.
Vc.
pizz. Cb.
tutti, unis., arco
33 202
Perc.
(Vib.)
Pedal (div.)
unis., senza sord. sul G
via sord. I Vn.
div.
via sord.
II
Va. (div.) Vc.
Cb.
210
Glock.
l.v.
floating
Perc.
Vib.
floating
Pedal sul D
3
I Vn.
unis., senza sord. II
Va.
unis. Vc. div. Cb.
34 216
Perc.
Glock.
(Vib.)
(ten.)
(Pedal)
Pedal div.
I Vn. II
Va. non div. Vc.
unis. Cb.
Perc.
Slightly slower
rall.
224
(Vib.)
(ten.)
(Pedal) (div.) I
Vn.
II
Va. (non div.) Vc. pizz. Cb.
35 Tempo I 230
Perc.
(Vib.)
Pedal
I Vn. II
Va. div., sul tasto
pizz.
div., arco, sul tasto
pizz.
unis., arco
Vc.
arco
unis.
Cb.
237 (
Perc.
= ca. 48)
(Vib.) (ten.)
l.v. sempre
liquid
Pedal * unis., sul tasto (ten.)
**
I
asynchronous, liquid
Vn.
* sul tasto (ten.)
II
asynchronous, liquid
Va.
Vc.
Cb. *Each stand begins playing the figure immediately after the previous stand begins. **Each player completes the passage once and holds the high D.
**
36 238
Perc.
(Vib.)
l.v. sempre
Pedal sim. I
Vn.
asynchronous sim. II
asynchronous
Va.
Vc.
Cb.
= 96 ( = 48)
(239)
Perc.
accel.
240
(Vib.)
(play together) I Vn. (play together) II
Va.
Vc.
Cb.
37 242
Perc.
(Vib.)
( = 48)
(repeat if needed) I
Vn.
asynchronous (repeat if needed) II
asynchronous Va.
Vc.
Cb.
243
Perc.
= 120
= 60 ( = 120)
(Vib.)
I Vn. non div. II
Va.
0
Vc.
div. a2 0
Cb.
38 247
3
Glock.
3
3
3
3
3
3
3
3
3
Perc.
div. a4 I Vn.
3
(non div.)
3
II
Va. non div. Vc. (div. a2) Cb.
251 (Glock.)
3
3
3
3 3
3
3
3
Perc.
(div. a4)
I Vn.
3
II
Va. non div. Vc.
(div. a2) Cb.
non div.
39 255 accel.
Perc.
unis. I Vn. II
non div. Va.
Vc. (div.) Cb.
258
= 96 ( = 48) Large Tamtam, Chime hammers
Sus. Cym., chime hammers
Medium Tamtam (Chime hammers)
Perc.
lunga
Chimes
3
Pedal div. a2
lunga I
Vn. div. a2 II
(non div.) Va.
Vc.
div. Cb.
lunga
40 264
Perc.
lunga
(Chimes) lunga
( = 48)
soft hammer
hard hammer
soft hammer
soft hammer
(Pedal) al sord.lunga
unis., con sord.
al sord.lunga
unis., con sord.
I Vn. II lunga
al sord.
con sord.
Va. sub. lunga Vc. sub. (div.) lunga
unis.
Cb. sub.
271
Perc.
(Chimes) (hard hammer)
(soft hammer)
(Pedal)
I
Vn. div. II unis. Va.
Vc.
Cb.
Vib., motor on medium speed, both bowed and struck. soaring
41 accel.
279
Perc.
rit.
a tempo
Vib., struck only
(Vib., bowed and struck) *
Pedal div. a2 (con sord.) I Vn. div. a2 (con sord.) II
Va. div. Vc. pizz.
div. Cb.
accel.
287
Perc.
rit.
a tempo
(struck only)
(bowed and struck)
Pedal (div.)
via sord.
(div.)
via sord.
I Vn. II
Va. 1 solo (div.) Vc.
(div.)
pizz.
Cb.
* Quarter notes may be lengthened slightly because of bowing.
42 295
Perc.
(Vib., bowed and struck)
(Pedal)
unis., senza sord. I Vn. II
Va. (1 solo)
tutti unis.
Vc. (la metĂ )
(pizz.)
arco
Cb.
303
Perc.
div.
I div. Vn.
unis., senza sord. II
Va.
Vc. (div.) Cb.
43 Slightly slower
311 rall.
Vib., motor off, struck
Perc.
I Vn. II
Va. div., sul tasto Vc.
div., arco, sul tasto
unis., pizz. Cb.
319 L. Tam.
Perc.
Crotale, bowed (ten.)
(Vib.)
Chimes (opt.)
unis. (div.) I Vn.
unis.
(div.) II div.
Va. (div.) Vc.
(div.) Cb.
III. (Skin)
44
Cadenza III = ca. 60 328
9 inch Talking Drum * c c
B
e
c
B
B
3
B
Kick Drum 3
3
c
3
3
3
e, with fingers
e
c
B
3
3
Perc.
** I Vn. II unis.
**
Va.
unis.
**
Vc.
Cb.
329
= ca. 96–108 c
subito e
= 60
= ca. 96–108
B fast, free
ee
c
3
3
B
B
fast, free
Perc.
I Vn. II
Va.
Vc.
Cb.
*c = center of the drumhead. e = edge of the drumhead. o = open. M = muffle. B = Bass Tone. c e = move from center to edge. + = slap. + = closed (muffled) slap. **Fast and even jeté. Glissando with left hand.
45 = ca. 72
(Tkg. Dr.)
(329) e, with fingers
330 B
B
K. Dr.
3
Perc.
I Vn.
* II
Va.
Vc.
*
unis. Cb.
(330) e, with fingers
3
3
Perc.
I Vn. II
Va.
Vc.
Cb. *Fast and even jetĂŠ. Glissando with left hand.
3
3
3
3
3
3
3
3
46 = 96–108 331
(Tkg. Dr.) ee
c o
e
c
o
c
o
(K. Dr.)
Perc.
I Vn. II
Va.
Vc.
Cb.
(331) c
Perc.
I Vn. II
Va.
Vc.
Cb.
e e
c
c
e e
c
c O
= 96
rall.
47 = ca. 84 332
(Tkg. Dr.) O
(K. Dr.)
3
3
3
3
3
3
O
3
3
3
non dim.
Perc.
I Vn. II
Va.
Vc.
Cb.
e, with fingers
(332)
3
Perc.
I Vn. II
Va.
Vc.
Cb.
3
3
3
3
3
3
48
= 96–108 ca. 10 seconds
333
(Tkg. Dr.)* e B B
B
c c
c
c e
e e
c
e
e
B
e
c B B B
B B
fast, free (K. Dr.)
Perc.
pizz. I Vn.
pizz. II pizz.
Va.
Vc.
Cb.
(333)
O
O
(improvising)
B
6
O
O
e
6
6
Perc.
I Vn. II arco, senza vib. Va.
Vc.
Cb. *The following passages are suggestions, or a model, for improvisation. This section should build toward the orchestral entrance. Slowly accelerando and crescendo to this entrance. Little by little, superimpose a triplet figure over the sixteenth note patterns until by the last cue, at which point the triplet pattern should dominate the texture completely.
6
c
49 (333)
e
e
c
e
6
5
O
O
e
5
B
6 3
5
3 3
3
Perc.
I Vn. II
Va. cresc. Vc.
Cb.
(333)
O
c
c
e 3
Perc.
* I Vn.
arco, slow quarter-tone vibrato II
Va.
Vc.
Cb. *Orchestral cues are not intended to synchronize with percussion solo.
e
e
B
e
c
B
50 (333) (Tkg. Dr.)
e
c OO
e
c
O
e c M
B (K. Dr.)
e
e c M
c
B
BB
B
O
e
e
B
3
Perc.
arco, fast vibrato I Vn. II
Va.
Vc.
Cb.
accel. 334
e
e
e
O
e
9:8
M
O 9:8
e
transform to following figure and texture
B 3
Perc.
ord. I cresc. poco a poco
Vn.
ord. II cresc. poco a poco ord.
Va. cresc. poco a poco Vc.
Cb.
3
transform to following figure and texture
51
(accel.) (Tkg. Dr.)
(334)
O
e 6
O6
M
e
3
transform
O e
3
O e
all slaps 3
3
3
3
molto (K. Dr.) 3
3
3
3
3
3
3
3
molto
Perc.
align with soloist I (cresc.)
3
Vn.
3
3
3
molto
align with soloist 3
3
3
3
II (cresc.)
molto align with soloist
Va. 3
(cresc.)
3
3
3
molto
Vc.
Cb.
335
Take tempo from soloist 3 3
Perc.
non div. 3
3
3
3
*
5
3
3
3
3
*
5
I Vn. div. II
* Va. 3
3
3
5
3
*
div.
Vc. 3
3
3
3
div. Cb. *Repeat until soloist is in position.
52
Skin 337
= 80 Low Bongo, with hard stick
2 Bongos
6 Tom-toms, with hard sticks
Perc.
sub.
(non div.)
div.
unis.
div.
unis.
I 0
Vn.
sost.
(non div.)
II 0
sost.
div.
unis.
Va. sost.
(div. a2)
div. a2 Vc.
sost. div. a2 0
Cb.
sost.
344
Bongo
(6 T.-t.)
Perc.
pizz. (non div.) arco
non div.
pizz.
I Vn.
div.
pizz. unis., arco
div., pizz.
II
div.
unis.
div.
pizz.
arco
unis.
div., pizz.
Va.
pizz.
arco
unis., pizz.
Vc.
pizz. Cb.
arco
pizz.
53 350
High Bongo
cresc.
(6 T.-t.)
3
3
3
Perc.
cresc.
arco
3
3
cresc.
sub.
Vn.
unis., arco
3
3
3
3
II
3
3
3
I
3
3
3
cresc.
sub. unis., arco 3
3
3
pizz.
3
arco 3
3
3
3
3
3
3
3
3
Va. sub. unis., arco
cresc. div. 3
3
unis., pizz. arco 3
3
3
Vc. 3
sub.
3
arco (div.)
3
cresc. 3
3
3
3
Cb. 3
sub.
3
3
cresc.
accel. poco a poco (to bar 410)
354 (cresc.)
3
Perc.
3
3
(cresc.)
3
I
3
3 3
(cresc.)
Vn.
3
3
3
II
3
(cresc.) 3
3
3
Va. (cresc.) pizz.
3
Vc. (cresc.) 3
3 3
pizz. Cb. 3
(cresc.)
3
3
54
358 (accel.)
a2
1 2 Hn. in F
a2 3 4 1 2
Tpt. in C 3
1 2 Tbn. 3 Tba.
(6 T.-t.)
3
3
Perc.
(accel.) 3
3
non div.
I 0
0
Vn. 3
3
non div.
II 0
0
non div. Va. 3
non div., arco
pizz.
3
arco, div. a2 0
Vc.
arco (div.) Cb.
pizz.
arco, div. a2 0
0
55
363 (accel.)
a2
1 2 Hn. in F
a2 3 4 1 2
Tpt. in C 3
1 2 Tbn. 3 Tba.
Perc.
(accel.) (non div.)
div.
unis.
div.
unis.
I Vn.
(non div.) II
div. Va. (div. a2) Vc.
Cb.
unis.
56
368 (accel.)
a2
1 2 Hn. in F
a2
a2
3 4 1 2
Tpt. in C
3
1 2 Tbn. 3 Tba.
Low Bongo, hard stick
(6 T.-t.)
Perc.
(accel.)
(non div.)
non div.
I Vn. div.
unis.
div.
II div.
unis.
div.
unis.
div.
Va. unis. (div.) Vc.
(div.) Cb.
57
374 (accel.) 1 2 Hn. in F 3 4
1 2 Tpt. in C 3 a2 1 2
a2 3
Tbn.
3 3
3
3 3
3
3 3
3 3
3 3
3
3 3
3 3
3 Tba.
3
3
3
3
3
3
(2 Bongos)
(6 T.-t.)
Perc.
cresc. 3
sub.
cresc.
(accel.) 3
3
sub. unis.
Vn.
3
II
cresc. 3
3
3
3
3
3
3
cresc.
sub. unis.
3
3
3
I
3
3
pizz.
3
arco 3
3
3
3
3
3
3
3
3
Va. sub. unis.
cresc. div.
3
3
unis., pizz. arco 3
3
3
Vc. 3
sub.
3
(div.)
3
cresc. 3
3
3
3
Cb. sub.
3
3
3
cresc.
3
58
378 (accel.)
a2
a2
3
1 2
3
Hn. in F
cresc. poco a poco
3
a2
3
3 4
3
cresc. poco a poco a2
3
1 2 Tpt. in C
cresc. poco a poco 3
cresc. poco a poco 1. 1 2
3 3
Tbn.
a2
3 3
cresc. poco a poco
3
cresc. poco a poco
a2
3 Tba.
3
(High Bongo)
(6 T.-t.)
(cresc.)
3
Perc.
3
(cresc.)
(accel.) 3
I
3
3 3
(cresc.)
Vn.
3
3
3
II
3
(cresc.) 3
3
3
Va. (cresc.) pizz.
3
Vc. (cresc.) 3
3 3
pizz.
Cb. 3
(cresc.)
3
3
59
382
(accel.) a2
a2
Hn. in F
3
3
1 2 a2
3
3 4
a2
3
3
a2 1 2 Tpt. in C 3
a2 1 2 Tbn.
a2 3
Tba.
(2 Bongos)
3
3
3
Perc.
(accel.) 3
3
non div.
I Vn. 3
3
non div.
II
non div.
div.
Va. 3
pizz. non div., arco
3
arco, div. a2 0
Vc.
arco (div.) Cb.
pizz.
arco, div. a2 0
60
387 (accel.)
a2
a2
a2
1 2 Hn. in F
a2 3 4 (a2)
a2
1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
(2 Bongos)
(6 T.-t.)
Perc.
(accel.)
div. a2
(non div.) I div. a2 Vn.
(non div.)
unis.
div.
II
(div.) Va. (div. a2) Vc.
(div. a2) Cb.
non div.
div.
61
393
(accel.)
1 2 Hn. in F
a2 3 4 a2 1 2
Tpt. in C
3 3
a2
a2
a2
1 2
3
3 3
cresc. poco a poco
Tbn.
3
3 Tba.
cresc. poco a poco
3
sub.
Perc.
(accel.)
unis.
div.
unis.
div. 3
3
I 3
Vn. unis. (non div.)
div.
non div.
div.
unis. 3
3
3
3
div. 3
3
II
unis. (non div.)
div.
non div.
3
unis.
div.
Va.
unis.
div. a2,
unis.
Vc. 3
Cb.
3
62
397 (accel.)
a2
1 2 Hn. in F
a2
3 4
1 Tpt. 2 in C 3 3
a2 1 2 3
1. 3
3
Tbn. 3
3 3
3
3 3
3
3 3
3
3 3
3
3 3
3 Tba.
3
3
(6 T.-t.)
3
2 Bongos
3
3
cresc. poco a poco
Perc.
3
3
3
(accel.) (div.)
unis., non div.
div.
unis.
I 3
Vn.
div. 3
II
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
cresc. poco a poco
3
3
3
3
cresc. poco a poco 3
3
3 3
3
div. 3
3
Va. cresc. poco a poco (div.)
unis. 3
div.
Vc. 3
cresc. poco a poco 3
(div.)
3 3
3
Cb. 3
3
cresc. poco a poco
3
3
3
3
63
401
(accel.) a2
3
1 2
3
3 4
3
Hn. in F
a2
3
3
a2
a2 1 2 Tpt. in C 3 a2 1 2 Tbn.
a2 3
Tba.
(cresc.)
3
Perc.
div. a3 div. a2 3
(accel.)
div.
3
unis.
div. a3
I 3
cresc. poco a poco
3
div. a3
Vn. unis.
div.
div. a3
div. a2 3
3
unis.
II cresc. poco a poco
unis.
div.
3
div. a3
div. a2 3
3
div. a3 3
unis.
Va. cresc. poco a poco unis.
3
3
arco
pizz.
Vc. cresc. poco a poco pizz. Cb.
cresc. poco a poco
arco
64 405 (accel.)
= 60
a2
1 2
3
3
3
3
3
3
3
3
3
3
Hn. in F 3 4
3 3
1 2 3
Tpt. in C 3
1 2 Tbn.
a2 3
Tba. 2 Bongos breve
(6 T.-t.)
Bass Drum
sub.
Perc.
(accel.) div.
div. a2 3
div. a3
div. a3
3
3
= 60
div. a2
div. a3
breve
al sord.
I 3
cresc. Vn.
div. a2 3 div.
3
3
div. a3
div. a3
3
3
div. a2
div. a3
al sord.
II 3
cresc.
div. a2 3 div.
3
3
div. a3
div. a3
3
3
div. a2
div. a3
al sord.
Va. cresc.
3
pizz.
3
3
al sord.
Vc. cresc. (div.) Cb.
cresc.
unis., pizz.
div., arco
65
410 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
3
3
Perc.
start slow and accel.
start slow and accel.
solo, con sord. Vn. solo
3
div. a2, con sord. Vn. I
Vn. II div. a2, con sord. Va.
Vc.
Cb.
66 = ca. 72
416 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
B.D.
Perc.
jeté Vn. solo
(div.)
unis. jeté
Vn. I div. a2, con sord. unis. jeté Vn. II
(div.) jeté
unis.
Va.
div., arco, con sord. Vc.
(div.) Cb.
jeté unis.
= ca. 72
67
421 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
Perc.
start slow and accel.
start slow and accel.
Vn. solo
div. Vn. I div. Vn. II div. Va.
Vc. 3
Cb.
3
3
3
68
425 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
Perc.
start slow and accel.
unis.
Vn. solo (div.) unis. Vn. I (div.) unis. Vn. II (div.) unis. Va. div. unis. Vc. (div.) 3
Cb.
3
unis., jetĂŠ
69
429 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
= 96–108 26 inch Timpano, played with hands (seated) e c c
fast, free
Perc.
tutti, div. I Vn. II
Va.
Vc. col legno Cb. 0
e
e e
B
B
with fingers
B
70
(429)
430
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
( = 96–108) with hands Timp. e e
c
fast, free Kick Drum
Perc.
unis. I Vn. II
Va.
Vc. div., arco
Cb.
e
c O
O
71
(430) 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
c
Perc.
I Vn. II
Va.
Vc.
Cb.
c
e
c
e
c
72
431
= 60
*
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
(Timp.,
= 96–108) e
B
cc
Improvise similarly to the final improvisation of Cadenza III. Stretto the material so that the triplet figures appear near the end of this passage.
BB
fast, free (K. Dr.)
Perc.
= 60
div., senza sord.
via sord. Vn. I
espr. senza sord.
via sord.
Vn. II div.
senza sord.
via sord.
espr. div., senza sord.
via sord. Va. div., senza sord.
espr.
via sord. Vc. (div.)
espr.
Cb. espr. *Soloist conitnues at
= 96–108 while orchestra plays at
= 60.
espr.
73
438
= 72
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba. 4 Timpani, with mallets
B.D.
Perc.
= 72 unis. I 9 9
Vn.
(div. a2) div. a2 II
div. a2 Va.
div. a2 Vc.
unis. Cb.
74
443 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
4 Timp.
B.D.
Perc.
al sord. I Vn.
(div. a2)
9
unis.
al sord.
II 9
(div. a2) al sord. Va.
(div. a2) unis. Vc.
non div. Cb.
div.
unis.
75
447
= 60
rall.
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
slow gliss.
3
3
3
3
3
3
Perc.
rall.
= 60
I div., con sord. Vn. II
Va.
Vc.
Cb.
3
3
3
76
451 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
(4 Timp.) (Player must be seated to pedal both Timpani.)
3
3
3
rall. 3
3
3
3
3
3
Perc.
div., con sord. via sord. I Vn.
via sord. II div., con sord.
Va.
Vc.
Cb.
3
77
accel. poco a poco (to bar 529)
= 80 sub.
454 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
6 T.-t.
Perc.
sub.
= 80 sub. unis., senza sord., col legno
(non div.)
ord.
(non div.)
ord.
col legno (non div.)
I 0
sub.
Vn.
unis., senza sord., col legno
sub. col legno
II 0
(div.)
via sord.
senza sord., col legno
sub.
sub. col legno
sub.
sub. col legno
ord.
Va.
div. a2, col legno ord. Vc.
sub. div. a2, col legno
sub. col legno
ord.
Cb. sub. sub.
accel. poco a poco (to bar 529)
78
460 (accel.) 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
2 Bongos
(6 T.-t.)
Perc.
(accel.) ½ col legno ½ arco ord.
div.
tutti ord., unis.
I ½ col legno ½ arco ord. (non div.)
Vn.
tutti ord.
II ½ col legno ½ arco ord. unis.
div.
tutti ord.
Va. (div.) ½ col legno ½ arco ord.
tutti ord. (div.)
(div.) ½ col legno ½ arco ord.
tutti ord. (div.)
Vc.
Cb.
div.
unis.
79
466 (accel.) 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
(2 Bongos)
(6 T.-t.) 3
3
sub.
Perc.
pizz. (non div.) arco
(accel.)
pizz.
arco
3
I sub.
Vn. div.
pizz. unis., arco
div., pizz.
unis., arco 3
II
3 3
sub. unis., arco div.
pizz.
arco
unis.
div., pizz.
3
3
3
pizz.
3
arco
Va. sub. pizz.
arco
unis., pizz. arco 3
div. 3
unis., pizz. arco 3
Vc. 3
sub. pizz.
arco
pizz.
3
arco (div.) 3
Cb. sub.
3
3
80
471 (accel.) 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
(2 Bongos)
(6 T.-t.)
Perc.
cresc.
(cresc.)
3
3
cresc.
(accel.) 3 3
3
I Vn.
3
3
3
3
3
cresc. 3 3
3
II
3
cresc. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Va. cresc. 3
Vc. 3
cresc. (div.) 3
3
3 3
Cb.
cresc.
3
3
3
3
81
475 (accel.) 1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
3 3
3
3
Perc.
(accel.) I
3
II
3
3
3
3
3
3
Vn.
3
3
3
non div.
Va. 3
pizz.
non div., arco
pizz.
Vc.
pizz. Cb.
arco (div.)
pizz.
3
82
480
(accel.)
a2
a2
1 2 Hn. in F
a2
a2 3 4 1 2
Tpt. in C 3
1 2 Tbn. 3 Tba.
(6 T.-t.)
Perc.
(accel.)
(non div.)
div.
unis.
div.
unis.
I 0
Vn.
(non div.) II 0
div. Va. arco, div. a2 Vc.
arco, div. a2 0
Cb.
unis.
83
487
(accel.) a2
1 2 Hn. in F
a2
a2
3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
Low Bongo, with hard stick
Perc.
(accel.)
(non div.)
(non div.)
I Vn.
(non div.)
div.
non div.
div.
II
div.
unis.
div.
unis.
div.
Va. unis. (div.) Vc.
(div.) Cb.
84
493
(accel.)
1 2 Hn. in F 3 4
1 2 Tpt. in C 3 a2 1 2
a2 3
Tbn.
3 3
3
3 3
3
3 3
3 3
3 3
3
3 3
3 3
3 Tba.
3
3
3
3
3
3
(2 Bongos)
(6 T.-t.)
Perc.
cresc. 3
sub.
cresc.
(accel.) 3
3
sub.
Vn.
cresc.
unis. 3
II
3
3
3
3
3
3
cresc.
sub. unis. 3
3
3
3
I
3
3
pizz.
3
arco 3
3
3
3
3
3
3
3
3
3
3
Va. sub. 3
div. 3
cresc.
unis., pizz. arco
3
3
Vc. 3
sub.
3
(div.)
3
cresc. 3
3
3
Cb. sub.
3
3
cresc.
3
3
85
497 (accel.)
a2
a2
3
1 2
3
Hn. in F
cresc. poco a poco
3
a2
3
3 4
3
cresc. poco a poco a2
3
1 2 Tpt. in C
cresc. poco a poco a2 3
cresc. poco a poco 1. 1 2
3 3
Tbn.
a2
3 3
cresc. poco a poco
3
cresc. poco a poco
a2
3 Tba.
3
(2 Bongos)
(6 T.-t.)
(cresc.)
3
Perc.
3
(cresc.)
(accel.) 3
I
3
3 3
(cresc.)
Vn.
3
3
3
II
3
(cresc.) 3
3
3
Va. (cresc.) pizz.
3
Vc. (cresc.) 3
3 3
pizz.
Cb. 3
(cresc.)
3
3
86
501
(accel.) a2
a2
Hn. in F
3
3
1 2 a2
3
3 4
a2
3
3
a2 1 2 Tpt. in C 3
a2 1 2 Tbn.
a2 3
Tba.
(2 Bongos)
3
(6 T.-t.)
3
3
Perc.
(accel.) 3
3
non div.
I Vn. 3
3
non div.
II non div.
div.
Va. 3
non div., arco
pizz.
3
arco, div. a2 0
Vc.
arco (div.) Cb.
pizz.
arco, div. a2 0
87
506
(accel.) a2
a2
a2
1 2 Hn. in F
a2 3 4 a2 1 2
Tpt. in C 3
1 2 Tbn. 3 Tba.
(2 Bongos)
Perc.
(accel.)
div. a2
I div. a2 Vn.
unis.
div.
II
non div. Va.
Vc.
Cb.
div.
88
512
(accel.) a2
1 2 Hn. in F
a2 3 4 a2 1 2
Tpt. in C 3 3
a2
a2
1 2
3
3 3
cresc. poco a poco Tbn.
3
3 Tba.
cresc. poco a poco 2 Bongos
(6 T.-t.) 3
sub.
Perc.
(accel.)
non div.
(div.)
div.
non div.
div. 3
3
I 3
Vn. unis. (non div.)
div.
non div.
div.
unis.
II
unis. (non div.)
div.
non div.
3
unis.
div.
3
3
3
3
3
3
Va.
non div.
div. a2
non div.
div.
Vc. 3
Cb.
3
89
516
(accel.) a2
1 2 Hn. in F
a2
3 4
1 2 Tpt. in C 3 3
1 2 3
3
3
Tbn. 3
3 3
3
3 3
3
3 3
3
3 3
3
3 3
3 Tba.
3
3
3
3
3
2 Bongos
3
3
cresc. poco a poco
Perc.
3
(accel.) (div.)
non div.
div.
unis.
I 3
Vn.
div. 3
II
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
cresc. poco a poco
3
3
3
3
cresc. poco a poco 3
3
3 3
3
div. 3
3
Va. cresc. poco a poco (div.)
unis. 3
div.
Vc. 3
cresc. poco a poco 3
(div.)
3 3
3
Cb. 3
3
cresc. poco a poco
3
3
3
3
90 (accel.) 520
a2
3
1 2
3
3 4
3
Hn. in F
a2
3
3
a2
a2
(a2)
1 2 Tpt. in C 3
1 2 Tbn.
a2 3
Tba.
(2 Bongos)
(cresc.) (6 T.-t.)
3
Perc.
(accel.) unis.
div. a2 3 div.
3
div. a3
div. a3
unis.
div.
div. a3
I 3
cresc. poco a poco Vn. unis.
div.
div. a3
div. a2 3
3
cresc.
3
div. a3
unis.
div.
div. a3
II cresc. poco a poco
unis.
div.
3
div. a3
div. a2 3
cresc.
3 3
div. a3
unis.
div.
Va. cresc. poco a poco unis.
3
pizz.
cresc.
3
arco
Vc. cresc. poco a poco (div.)
cresc. pizz.
arco
Cb.
cresc. poco a poco
cresc.
div. a3
91
(accel.) 525
a2
3
1 2 Hn. in F
3
3 4
3
3
3
a2
3
3 3
1 2 3
Tpt. in C
3
3
3
3
3 3
1 2 Tbn.
a2 3
Tba.
Bongos
2 Bongos
(6 T.-t.)
Perc.
Timp.
B.D.
free, passionate
(accel.) div. a2 3
3
3
div. a3
div. a2
div. a3
div. a2
div. a3
div. a2
div. a3
non div.
I 3
div. a2 3
Vn.
3
3
3
3
div. a3
div. a2
II 3
div. a2 3
3
3
3
3
div. a3
div. a2
Va. 3
3
3
pizz.
non div., arco
(cresc.) unis., pizz.
div., arco
Vc.
Cb. (cresc.)
92
528
a2
1 2 Hn. in F
a2 3 4
1 2 Tpt. in C 3
1 2 Tbn.
a2 3
Tba.
(Bongos)
(6 T.-t.)
Perc.
(Timp.)
(B.D.)
(div. a2)
unis., pizz.
I Vn. (div. a2)
unis., pizz.
(non div.)
pizz.
II
Va.
div.
non div., pizz.
unis.
div., pizz.
Vc.
Cb.
93
529 Cadenza
= 80
accel. poco a poco (to bar 551)
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
Improvise cadenza on all drums. Keep energy high, and use motives from the written material.
sub.
cresc. poco a poco
sub.
cresc. poco a poco
Perc.
Cadenza I
= 80
arco 0
sost. arco
Vn. II
accel. poco a poco (to bar 551) cresc. poco a poco
0
sost. arco
cresc. poco a poco
sost.
cresc. poco a poco
Va.
div. a2, arco 0
Vc.
sost.
cresc. poco a poco
div. a2, arco 0
Cb.
sost.
cresc. poco a poco
94
534 (accel.) 1 2 Hn. in F 3 4
1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
gradually line up with accelerating string pulses
(cresc.)
Perc.
(cresc.)
(accel.) (non div.) I (cresc.) (non div.)
Vn. II
(cresc.) div. Va. (cresc.) (div. a2) Vc.
(cresc.) (div. a2) Cb.
(cresc.)
unis.div.
unis. div.
95
540
(in 2)
(accel.) a2
=
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
a2 1 2 Tbn. 3 Tba.
line up with pulses
(cresc.)
Perc.
(cresc.)
(accel.)
(in 2) div.
=
non div.
I (cresc.)
Vn. II
(cresc.) unis. Va. (cresc.)
Vc. (cresc.)
Cb.
(cresc.)
div.
unis.
div.
unis. div.
96
545
(accel.) *
*
*
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
1 2 Tbn. 3 Tba.
(cresc.)
Perc.
(cresc.)
(accel.) (non div.) I (cresc.) div. a2
Vn.
div. a2 unis.
unis.
II
(cresc.) non div. Va. (cresc.) (div.) Vc.
(cresc.) (div.) Cb.
(cresc.)
*Ossia
div.
unis. div.
non div.
div.
97
548 (accel.) 1 2 (cresc.)
Hn. in F 3 4
(cresc.)
1 2 Tpt. in C
(cresc.) 3 (cresc.) 1 2 (cresc.)
Tbn. 3 Tba.
(cresc.)
(cresc.)
Perc.
tutta forza
(cresc.) B.D.
(accel.) (non div.) I (cresc.) div. a2
Vn.
(cresc.) unis.
II (cresc.) (unis.)
(cresc.) non div. Va. (cresc.)
(cresc.) unis.
Vc. (cresc.) (cresc.) Cb. (cresc.) (cresc.)