Nyman DROWNING BY NUMBERS FOR CHAMBER ORCHESTRA

OnDemand

Nyman, Michael Drowning by Numbers for Chamber Orchestra

Score for sale (North America): http://www.halleonard.com/product/viewproduct.do?itemid=14023605&lid=43&l Score for sale (UK, Europe and other territories): http://www.musicroom.com/se/ID_No/00019340/details.html?kbid=1296 Information about work and materials for hire: http://www.musicsalesclassical.com/composer/work/11402

Chester Music Limited Part of the Music Sales Group

Michael Nyman

DROWNING BY NUMBERS for Violin, Viola and Chamber Orchestra (1998)

arranged by the composer from his sound-track for the film by Peter Greenaway (1988)

WARNING: the photocopying of any pages of this publication is illegal.

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CH 61649

CHESTER MUSIC (A division of Music Sales Limited) 8/9 Frith Street, London W1D 3JB tel. +44 (0)20 7434 0066 fax +44 (0)20 7287 6329 Exclusive distributor: Music Sales Ltd. Newmarket Road, Bury St. Edmunds, Suffolk IP33 3YB tel. +44 (0)1284 702600 fax +44 (0)1284 702592 www.chester-novello.com e-mail: music@musicsales.co.uk i

ii

DROWNING BY NUMBERS for Chamber Orchestra I composed the sound-track to Peter Greenaway’s film Drowning by Numbers in 1987. The director’s instructions for the music for The Draughtsman’s Contract (1982) had concerned the provision of a (Purcell-based) composition for each of the twelve drawings, and for A Zed and Two Noughts (1985) the provision of a composition for each of the eight stages of Darwinian evolution. The instruction for Drowning by Numbers was even more direct: all my music should be derived from Mozart’s – from the slow movement of the Sinfonia Concertante in E flat K364 which Greenaway used in its untransformed form to ‘celebrate’ the deaths of the three husbands each murdered by his wife.

Peter Greenaway and I had already plundered this music for his 1979 film The Falls where the brief titles music for each of the ninety-two characters was derived from the gorgeous tune in E flat that ends the ‘exposition’ (bars 58 – 62) with a chord progression (an interrupted I–VI–IV–V–I) which marginally links classical music with doowop. For the Drowning

by Numbers sound-track I decided that while I would obviously revisit this favourite theme (which I also pilfered to represent “The Woman Who Had Three of Everything” in my first theatre piece The Masterwork/Award-Winning Fishknife, also in 1979) the whole of this rich and suggestive movement was ripe for recomposing.

Like the majority of my film scores, Drowning by Numbers was written for the Michael Nyman Band, and for the chamber orchestra version I have reworked six movements from the original of which half (nos 1, 3 and 5) feature solo violin and viola, which in the sound-track appear only in Trysting Fields.

1. Trysting Fields

(p.1)

When I started analysing the musical structure of the slow movement I noticed that Mozart consistently used two decorative tricks of which the first – accented appoggiaturas – provides the complete substance of Trysting Fields. Basically, I ‘sampled’ each of these appoggiaturas (for instance, from bars 10, 12, 14, 18, 20, etc.) repeated it three times (to represent the three wives?) and moved on to the next one so that a totally new harmonic/melodic continuity is created which is so familiarly Mozartian but yet which self-evidently is not. A short coda introduces another familiar trick of this score – the use of the E flat , C, A flat, B flat, etc. sequence simultaneously in diminution (melody) and in real time (harmony).

2. Sheep ’n’ Tides

(p.9)

Follows Trysting Fields without a break and grows from The Harmony and The Melody.

From time to time it shifts into an apparent harmonic retrograde (C, E flat, B flat, A flat, etc.).

3. Wedding Tango

(p.25)

Related melodically to Mozart’s opening theme, and harmonically to its first C minor form and its later (bar 62ff) E flat major reading. Middle section: The Melody and The Harmony meet their rock ’n’ roll destiny.

4. Wheelbarrow Walk (p.52)

The Harmony seen from yet another viewpoint, now in C major.

5. Fish Beach

(p.66)

The Bass Line simultaneously as bass line and melody in diminution (taking its cue from the end of Trysting Fields). Also in quasi-retrograde mode.

6. Knowing the Ropes

(p.72)

Like Trysting Fields this movement is built from the other decorative elements with which Mozart (subconsciously?) unifies his slow movement, this time not harmonic/melodic (the appoggiatura) but purely melodic, a little twisting figure which drifts towards the barline (whereas the appoggiatura is always placed on the downbeat). Again I sampled all occurrences of this figure, repeated each three times and arranged them in a cut-up form in the order of their appearance. The second half of the piece develops this same material autonomously so to speak, and ends with a combination of the prevailing figuration laid over The Theme in its most elevated C major manifestation.

Michael Nyman 2001 iii

DROWNING BY NUMBERS pour orchestre de chambre J’ai écrit la musique du film de Peter Greenaway Drowning by Numbers en 1987. Ses instructions pour la musique de The Draughtsman’s Contract [Meurtres dans un jardin anglais] (1982) concernaient les dispositions pour une composition (d’après Purcell) destinée à chacun des douze dessins, et pour A Zed and Two Noughts [Z00] (1985), les mesures pour une composition consacrée à chacun des huit stades de l’évolution selon Darwin. Les consignes relatives à Drowning by Numbers étaient encore plus directes : je devais composer une musique reposant entièrement sur le lent mouvement de la Sinfonia Concertante en mi bémol K 364 de Mozart, utilisé par Greenaway dans sa forme initiale pour ‘célébrer’ la mort des trois maris noyés par leurs femmes.

Peter Greenaway et moi-même avions déjà détourné cette œuvre pour son film The Falls (1979) dans lequel la musique de chacun des 92 personnages provenait de la magnifique mélodie en mi bémol qui clôt ‘l’exposition’ (mesures 58 à 62) par une progression d’accords (I–VI–IV–V–I sans interruption) reliant accessoirement musique classique et doowop (forme de scat du rock and roll des années 1950). Pour la bande sonore de Drowning by Numbers, je décidai que même s’il me fallait remanier ce thème de prédilection (que j’ai également chipé pour représenter «The Woman Who Had Three of Everything» dans ma première pièce destinée au théâtre, The Masterwork/Award-Winning Fishknife, 1979), l’ensemble de ce mouvement riche et suggestif devait être recomposé.

Comme la majeure partie des mes musiques de film, j’ai écrit Drowning by Numbers pour le Michael Nyman Band, et dans la version pour orchestre de chambre j’ai remanié six mouvements de la version initiale, dont trois (No 1, 3 et 5) comprennent un violon seul et un alto qui, dans la bande originale, n’apparaissent que dans Trysting Fields.

1. Trysting Fields

(p.1)

Lorsque je me suis mis à analyser la structure musicale du lent mouvement, j’ai remarqué que Mozart utilisait invariablement deux artifices ornementaux dont le premier – les appoggiatures accentuées – fournit toute la substance de Trysting Fields. A la base, j’ai ‘samplé’ chacune de ces appoggiatures (par exemple, à partir des mesures 10, 12, 14, 18, 20, etc.) en la répétant à trois reprises (symbole des trois épouses ?) et suis passé à la suivante de telle sorte qu’on se trouve en présence d’une continuité harmonique/mélodique totalement nouvelle et si mozartienne bien qu’elle ne le soit évidemment pas. Une courte coda introduit un autre artifice familier de cette partition – l’emploi de la séquence mi bémol, do, la bémol, si bémol, etc., simultanément en diminution (mélodie) et en temps réel (harmonie).

2. Sheep ’n’ Tides

(p.9)

Suit Trysting Fields sans interruption, surgissant de l’Harmonie et de la Mélodie. De temps en temps, il passe en récurrence harmonique apparente (do, mi bémol, si bémol, la bémol, etc.).

3. Wedding Tango

(p.25)

Relié au thème d’ouverture de Mozart du point de vue mélodique, et harmoniquement à sa première forme en do mineur et à son interprétation suivante en mi bémol majeur (mesure 62ff). Partie centrale : la Mélodie et l’Harmonie rencontrent le rock ’n’ roll.

4. Wheelbarrow Walk (p.52)

L’Harmonie à partir d’un autre point de vue, ici en do majeur.

5. Fish Beach

(p.66)

La Ligne de Basse simultanément comme ligne de basse et mélodie en diminution (qui s’aligne sur la fin de Trysting Fields). Egalement en mode quasi rétrograde.

6. Knowing the Ropes

(p.72)

A l’instar de Trysting Fields, ce mouvement est construit à partir des autres éléments ornementaux par lesquels Mozart consolide (de manière subconsciente ?) son lent mouvement, cette fois-ci non de façon harmonique/mélodique (l’appoggiature) mais uniquement mélodique – une petite figure sinueuse flottant vers la barre de mesure (alors que l’appoggiature est toujours placée sur le frappé). Ici encore, j’ai ‘samplé’ toutes les occurrences de cette figure, chacune répétée à trois reprises, puis les ai agencées sous forme découpée dans l’ordre où elles apparaissent. La seconde moitié de la pièce exploite cette même matière de façon autonome et s’achève par une combinaison de la figure dominante placée sur le Thème dans son expression en do majeur la plus haute.

Michael Nyman 2001 iv

DROWNING BY NUMBERS für Kammerorchester Die Filmmusik zu Peter Greenaways Film Drowning by Numbers [Verschwörung der Frauen] komponierte ich 1987.

Der Regisseur hatte von mir für die Filmmusik von The Draughtsman’s Contract [Der Kontrakt des Zeichners] (1982) eine auf Purcell basierende Komposition für jedes der zwölf Bilder verlangt: Bei A Zed and Two Noughts [Ein Z und zwei Nullen] (1985) hatte er um eine Komposition für jede der acht Evolutionsstufen nach Darwin gebeten. Und bei Drowning by Numbers waren seine Vorgaben schließlich sogar noch präziser: Die Musik sollte ausschließlich aus dem Werk Mozarts abgeleitet sein, nämlich aus dem langsamen Satz der Sinfonia Concertante in Es-Dur KV 364. In der Mozart’schen Originalfassung „zelebrierte“ Greenaway mit diesem Satz jeweils den Tod der drei von ihren Ehefrauen ermordeten Männer.

Peter Greenaway und ich hatten schon 1979 musikalische Anleihen bei dieser Komposition Mozarts gemacht, nämlich für seinen Film The Falls. Die kurzen Zwischentitelmusiken für jede der 92 Figuren werden dort aus der wunderbaren Es-Dur-Melodie am Ende der Exposition (Takte 58–62) abgeleitet, wobei die dort zu findende Akkordfolge (eine unterbrochene kadenzielle Wendung I–VI–IV–V–I) die klassische Musik eher beiläufig mit dem doowop verbindet. Für die Filmmusik zu Drowning by Numbers entschied ich mich für eine kompositorische Neufassung dieses ganzen reichhaltigen und beziehungsvollen Satzes. Dabei war ich mir durchaus bewusst, bei diesem Vorgehen erneut ein altes Lieblingsthema zu verwenden (ich hatte mich dieses Themas auch zur musikalischen Charakterisierung der „Woman Who Had Three of Everything“ [Der Frau, die von jedem drei hatte] in meinem ersten Theaterstück The Masterwork/ Award-Winning Fishknife, ebenfalls 1979, bedient).

Wie der größte Teil meiner Filmmusik-Partituren wurde auch Drowning by Numbers für die Michael Nyman Band geschrieben. Für die Fassung für Kammerorchester bearbeitete ich sechs Sätze aus der Originalpartitur, von denen die Hälfte (die Nummern 1, 3 und 5) mit Solo-Violine und Solo-Bratsche besetzt sind (in der Filmmusik gilt dies nur für Trysting Fields).

1. Trysting Fields

(p.1)

Als ich mich mit der musikalischen Struktur des langsamen Mozart-Satzes näher zu beschäftigen begann, merkte ich, dass Mozart durchgehend zwei musikalische Elemente einsetzte, deren erstes – Vorschläge auf den Schlag – die Grundlage für Trysting Fields ist. Ich machte eigentlich nichts weiter, als jeden dieser Vorhalte (beispielsweise aus den Takten 10, 12, 14, 18, 20 etc.) zu „sampeln“ und dreimal zu wiederholen (ein Hinweis auf die drei Frauen?), um dann mit dem nächsten genauso zu verfahren. Auf diese Weise entstand ein völlig neuer harmonischer und melodischer Komplex, der die Musik Mozarts suggeriert, zugleich aber doch ganz offensichtlich kein Mozart ist. Eine kurze Coda führt einen weiteren formalen Aspekt der Vorlage ein, nämlich die Sequenz Es, C, As, B, etc., und zwar zeitgleich in diminuierter Fassung (in der Melodie) wie im Originaltempo (Harmonik).

2. Sheep ’n’ Tides

(p.9)

Das Stück folgt übergangslos auf Trysting Fields und entwickelt sich aus Harmonik und Melodik der Mozart’schen Vorlage. Gelegentlich gibt es eine scheinbar krebsgängige harmonische Bewegung (C-Dur, Es-Dur, B-Dur, As-Dur, etc.).

3. Wedding Tango

(p.25)

Von der Melodik her ist das Stück mit dem Eingangsthema bei Mozart verwandt, harmonisch mit dem ersten Auftreten dieses Themas in c-Moll und der späteren Variante (Takte 62ff.) in Es-Dur. Mittelteil: Melodik und Harmonik der Mozart’schen Vorlage ereilt hier ihr Schicksal als Rock’n’Roll.

4. Wheelbarrow Walk (p.52)

Eine weitere Abwandlung der ursprünglichen Harmonik, hier in C-Dur.

5. Fish Beach

(p.66)

Die Bass-Linie ist zugleich unterste Stimme und Diminution der Melodie (das Motiv wird am Ende von Trysting Fields aufgenommen). Auch in einer quasi-krebsgängigen Bewegung.

6. Knowing the Ropes

(p.72)

Ähnlich wie Trysting Fields beruht auch dieser Satz auf den weiteren formalen Elementen, die Mozart (unbewusst?) zur Vereinheitlichung seines langsamen Satzes einsetzt. In diesem Fall geht es nicht um die Kombination harmonischer und melodischer Elemente (den Vorhalt), sondern um ein ausschließlich melodisches Element, ein kleines Motiv, das jeweils zum Ende des Taktes hinweist (während der Vorhalt immer auf der ersten Zählzeit platziert ist). Auch hier benutzte ich das moderne Verfahren des Sampling, indem ich jedes Erscheinen dieser Figur aufnahm, dreimal wiederholte und die einzelnen Abschnitte in der Reihenfolge ihres Auftretens in einer Art Collage miteinander verband.

Im zweiten Teil des Satzes verselbständigt sich dieses musikalische Material dann im Grunde – der Satz schließt mit der Verbindung der bis hierher vorherrschenden Figuration mit dem Hauptthema in seiner strahlendsten Manifestation in C-Dur.

Michael Nyman 2001

v

This work was commissioned by the London Mozart Players. The first performance was given on 9th December 1998 at the Warwick Arts Centre, by the London Mozart Players, conducted by David Gibson.

Instrumentation Solo Violin Solo Viola 2 Flutes (2nd doubling Piccolo) Oboe Cor Anglais* 2 Clarinets in Bb (both doubling Bass Clarinet in Bb)* 2 Bassoons 2 Horns in F* 2 Trumpets in C Bass Trombone Piano Strings (recommended: 8.6.4.4.2) * Notated in the score at concert pitch

Duration: c. 20 minutes

Score and parts available on hire from the Publishers

A recording by the Michael Nyman Band of music from the sound-track to Peter Greenaway’s film, Drowning by Numbers, is available on Virgin Venture, CDVE 23.

vi

DROWNING BY NUMBERS for chamber orchestra

Michael Nyman (1998)

1. Trysting Fields = c.60 – 72 Flutes

1 2

Oboe

Cor Anglais

Clarinet

Bass Clarinet a2

1 Bassoons 2

Horns

1 2

Trumpets

1 2

Bass Trombone

Piano

= c.60 – 72 Solo

Violins 1

*

non espr.

Gli altri

Violins 2

Solo

Violas

Gli altri

pizz.

Violoncellos

pizz.

Double Basses * Phrase marks only: do not affect indicated bowing. © Copyright 2001 Michael Nyman Limited./ Chester Music Limited. All Rights Reserved. International Copyright Secured.

2 10

B. Clar. a2

Bsns.

1 2

Hns.

1 2

2.

Solo

Vlns. 1 Gli altri

Vlns. 2

Solo

non espr.

Vlas.

Gli altri

arco

Cellos arco

D.B.

19

B. Clar.

Bsns.

1 2

Hns.

1 2

2.

Solo

Vlns. 1

Gli altri

Vlns. 2

Solo

Vlas.

Cellos

D.B.

.

Gli altri

3 25

Clar.

B. Clar.

1.

Bsns.

1 2

Tpts.

1 2

a2

1.

Solo

Vlns. 1

Gli altri

Vlns. 2

Solo

Vlas.

Gli altri

Cellos

D.B.

33

Clar.

B. Clar. a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

2.

1.

Solo

Vlns. 1

Gli altri

Vlns. 2 Solo

Vlas.

Cellos

D.B.

.

Gli altri

4 43

Clar.

B. Clar.

1.

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

a2

2.

2.

2.

Solo

Vlns. 1 Gli altri

Vlns. 2 Solo

Vlas.

Gli altri

Cellos D.B.

52

Clar.

B. Clar. a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

a2

1.

2.

Solo

Vlns. 1

Gli altri

Vlns. 2

Solo

Vlas.

Cellos

D.B.

.

Gli altri

5 61

C.A.

B. Clar. a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

a2

Solo

Gli altri

Vlns. 1

Vlns. 2 Solo

Vlas.

Gli altri

Cellos

D.B.

70

C.A.

B. Clar.

Bsns.

1 2 2.

1 Hns. 2 Tpts.

1 2 Solo

Vlns. 1 Gli altri

Vlns. 2 Solo

Vlas.

Cellos

D.B.

.

Gli altri

6 79

C.A.

Clar.

B. Clar.

Bsns.

1.

1 2

Solo

Vlns. 1

Gli altri

Vlns. 2 Solo

Gli altri non div.

Vlas.

Cellos D.B.

87

Fls.

a2

1 2

C.A.

Clar.

B. Clar.

1.

Bsns.

1 2

Tpts.

1 2

a2

2.

Solo

Vlns. 1

Gli altri

Vlns. 2

Solo

Vlas.

Cellos

D.B.

.

Gli altri

7 95

Clar.

B. Clar. a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

1.

2.

Pno

Solo

Vlns. 1 Gli altri

Vlns. 2 Solo

Gli altri

Vlas.

div.

div.

Cellos

D.B. a2 103

Fls.

1 2

B. Clar. a2

Bsns.

1 2

Pno

Tutti Vlns. 1

Vlns. 2 Tutti (div.)

Vlas.

Cellos

D.B.

.

8 a2 111

Fls.

1 2

B. Clar. a2

Bsns.

1 2 1.

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

a2

(senza rit.)

118

Fls.

1 2

B. Clar. a2

Bsns.

1 2

Tpts.

1 2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

attacca .

9

2. Sheep ’n’ Tides 124

=

= c.60 – 72

Clarinet

a2 1 Bassoons 2

1.

1 2

Horns

Piano

=

= 60 – 72

Violins 1

Violins 2 div.

Violas

(arco)

pizz.

arco

pizz.

arco

pizz.

arco pizz.

arco

pizz.

arco

pizz.

arco

pizz.

Violoncellos

pizz.

Double Basses

131

Clar. a2

1 Bsns.

2

Hns.

2.

1 2

Pno

Vlns. 1

Vlns. 2

Vlas. arco pizz.

Cellos

D.B.

.

arco pizz.

arco pizz.

arco

pizz.

arco pizz.

arco pizz.

arco pizz.

arco

pizz.

arco pizz.

10 140

Clar.

Bsns.

1 2

Hns.

1 2

a2

1.

Pno

Vlns. 1

Vlns. 2

Vlas. arco pizz.

arco pizz.

arco

arco pizz.

arco

pizz.

arco pizz.

arco pizz.

arco pizz.

arco

pizz.

arco pizz.

arco pizz.

arco pizz.

arco

pizz.

arco pizz.

Cellos

D.B.

148

Clar.

Bsns.

1 2

Hns.

1 2

a2

2.

Pno

Vlns. 1

Vlns. 2

Vlas. arco pizz.

Cellos

D.B.

.

pizz.

arco pizz.

11 156

a2

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

Hns.

1 2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas. arco pizz.

Cellos

D.B.

.

arco pizz.

arco

pizz.

arco pizz.

arco pizz.

arco pizz.

arco

pizz.

arco pizz.

12 164

a2

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

sord.

1 Hns.

(open)

2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

arco pizz.

Cellos

D.B.

.

arco pizz.

arco

pizz.

arco

pizz.

arco pizz.

arco pizz.

arco

pizz.

arco

pizz.

13 172

a2

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

1 Hns. 2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

arco pizz.

Cellos

D.B.

.

arco pizz.

arco

pizz.

arco

pizz.

arco pizz.

arco pizz.

arco

pizz.

arco

pizz.

14 a2 180

Fls.

1 2

Ob.

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

Pno

Vlns. 1

Vlns. 2

Vlas.

arco pizz.

Cellos

D.B.

.

arco

pizz.

pizz. arco

arco

pizz.

pizz. arco

pizz.

pizz. arco

arco

arco

pizz.

15 188

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

1.

Pno

Vlns. 1

Vlns. 2

Vlas.

arco pizz.

Cellos

D.B.

.

arco pizz.

pizz. arco

arco

pizz.

arco pizz.

arco

pizz.

arco pizz.

pizz. arco

16 196

a2

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2 (

)

2nd time

1. Play 2nd time only senza sord.

Hns.

1 2

Tpts.

1 2

Pno

Vlns. 1

Vlns. 2

Vlas.

pizz. (sempre)

Cellos

arco

D.B.

.

17 a2 204

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar. ( ) 2nd time a2

Bsns.

1 2 ( )

Hns.

1 2

Tpts.

1 2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

18 a2 212

1 2

Fls.

Ob.

C.A.

Clar.

B. Clar.

a2

1 2

Bsns.

1 Hns. 2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

legato

19 a2 220

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

a2

1 Bsns.

2

Play 2nd time only 1 Hns. 2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

20 a2 228

1 2

Fls.

Ob.

C.A.

Clar.

B. Clar.

a2

1 2

Bsns.

1 Hns. 2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

21 a2 236

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

a2

1 2

Bsns.

1 Hns. 2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

22 a2 244

1 2

Fls.

Ob.

C.A.

Clar.

B. Clar.

a2 1 2

Bsns.

1 Hns. 2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

arco pizz.

Cellos

pizz.

D.B.

.

arco pizz.

arco

pizz.

arco pizz.

arco pizz.

arco

pizz.

arco

pizz.

arco

pizz.

23 252

a2

1 2

Fls.

Ob.

C.A.

Clar.

B. Clar. a2

1 2

Bsns.

1 Hns.

2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

arco pizz.

Cellos

D.B.

.

arco pizz.

arco

pizz.

arco

pizz.

arco pizz.

arco pizz.

arco

pizz.

arco

pizz.

24 260

a2

1 2

Fls.

Ob.

C.A.

to B.Clar.

Clar.

B. Clar. a2

1 2

Bsns.

1 Hns.

2

1 Tpts.

2

Pno

Vlns. 1

Vlns. 2

Vlas.

arco pizz.

Cellos

D.B.

.

arco pizz.

arco

pizz.

arco

pizz.

arco pizz.

arco pizz.

arco

pizz.

arco

pizz.

25

3. Wedding Tango = c.80–92

a2

1 2

Flutes

Oboe

Cor Anglais

a2

Bass Clarinet

1 2

Bassoons

1 2

a2

1 Horns 2

1 Trumpets 2

Bass Trombone

Piano

6

6

6

6

6

6

6

6

6

6

= c.80–92 2 Soli

Violins 1

Gli altri

Violins 2 6

2 Soli

Violas

Gli altri

arco

Violoncellos arco

Double Basses

.

6

26 4

a2

1 2

Fls.

Ob.

C.A. a2

B. Clar.

1 2 a2

1 Bsns.

2

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

6

6

6

6

6

6

6

6

6

6

6

6

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

6

6

Gli altri

6

6

6

6

27 7

a2

1 2

Fls.

Ob.

C.A. a2

B. Clar.

1 2

Bsns.

1 2

a2

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

Gli altri

6

6

28 10

a2

1 2

Fls.

Ob.

C.A. a2

B. Clar.

1 2 a2

Bsns.

1 2

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

6

Vlas.

Cellos

D.B.

.

Gli altri

6

29 13

a2

1 2

Fls.

Ob.

C.A. a2

B. Clar.

1 2

Bsns.

1 2

a2

1 Hns. 2

1 Tpts.

2

B. Tbn.

6

6

Pno

6

6

6

6

6

6

6

6

2 Soli

6

Vlns. 1

6

Gli altri

Vlns. 2 2 Soli

Vlas.

6

6

6

6

Gli altri

Cellos

D.B.

.

( )

6

6

30 16

a2

1 2

Fls.

Ob.

C.A. a2

B. Clar.

1 2 a2

Bsns.

1 2

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

6

6

Gli altri

6

6

31 19

a2

1 2

Fls.

Ob.

C.A. a2

B. Clar.

1 2

Bsns.

1 2

a2

1 Hns. 2

1 Tpts.

2

B. Tbn.

6

6

Pno

6

6

6

6

6

6

6

6

6

6

6

6

2 Soli

6

Vlns. 1

6

Gli altri

Vlns. 2 2 Soli

6

Vlas.

Gli altri

6

Cellos

D.B.

.

( )

32 22

1 2

Fls.

Ob.

C.A. a2

B. Clar.

1 2

Bsns.

1 2

a2

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

6

Vlas.

Cellos

D.B.

.

Gli altri

33 a2 25

1 Fls. 2 molto marcato

Ob. molto marcato

C.A. to Clarinet

1 B. Clar.

2 marcato

a2

Bsns.

1 2 marcato

1 Hns. 2

1 Tpts.

2

B Tbn.

Pno

6

6

6

6

6

6

6

6

6

6

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

6

Gli altri

6

molto marcato

34 29

1 Fls. 2 Ob.

C.A.

B. Clar. a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

1.

Pno

Tutti

Vlas.

Cellos pizz.

D.B.

36

Fls.

1 2

Ob.

C.A.

B. Clar. a2

Bsns.

1 2 1.

Hns. 1

Tpts.

Pno

Vlas.

Cellos

D.B.

.

1 2

35 43

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

1.

B. Tbn.

Pno

Tutti

Vlns. 1

2

2

2

2

2

2

2

2

2

2

2

2

2

2

Vlns. 2

2

2

2

2

2

2

2

2

2

2

Vlas.

2

Cellos 2

D.B.

.

2

2

36 50

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

1.

a2 Soli

B. Tbn.

Pno

Vlns. 1

2

2

2

2

2

2

2

2

2

2

2

Vlns. 2 2

2

Vlas.

2 2

Cellos

D.B.

.

pizz.

2 2

2

2

2 2

2

37 57

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

a2

1 Hns. 2 1.

Tpts.

1 2

B. Tbn.

Pno

Vlns. 1

2

2

molto marc.

Vlns. 2 2

2

molto marc.

2

Vlas.

2

molto marc. arco

Cellos

D.B.

.

( )

38 a2 64

Fls.

1 2

Ob.

2

2

2

2

2

2

2

2

2

2

2

2

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

Hns.

1 2

a2

2.

1.

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

39 a2 71

1 Fls. 2

2

2

2

2

Ob.

2

2

2

2

2

2

2

2

2

2

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

a2

2.

2

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

( )

(

)

2

2

40 a2 77

Fls.

1 2

Ob.

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

C.A.

Clar.

B. Clar.

a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

a2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

( )

(

)

41 83

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

1 Hns. 2

1 Tpts.

2

B. Tbn.

6

Pno

2 Soli

Vlns. 1

6 6

6

6 6

6

6

6

6

6

6

non trem.

Gli altri

8va

Vlns. 2 2 Soli

Vlas.

non trem.

Gli altri

div.

Cellos arco div.

D.B.

.

(

)

42 86

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

1 Hns. 2

1 Tpts.

2

B. Tbn.

6

Pno

6 6

6 6

6 6

2 Soli

Vlns. 1

Gli altri

(8va)

Vlns. 2 2 Soli

Vlas.

Gli altri

Cellos

D.B.

.

(

6

6

6

6

6

)

43 89

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

2 Soli

Vlns. 1

Gli altri

(8va)

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

Gli altri

6

6

6

6

6

6

6

6

6

6

6

6

44 92

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

Hns.

1 2

1 Tpts.

2

B. Tbn.

6

Pno

6

2 Soli

Vlns. 1

Gli altri

(8va)

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

6

Gli altri

6

6

6

6

6

6

6

6

6

45 95

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

Hns.

1 2

1 Tpts.

2

B. Tbn.

6

6

6

6

Pno

6

6

6

2 Soli

Gli altri

(8va)

Vlns. 2 2 Soli

Vlas.

Gli altri

Cellos

D.B.

.

6 6

6

Vlns. 1

6

(

)

6

46 98

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

Hns.

1 2

1 Tpts.

2

B. Tbn.

6

Pno

2 Soli

Vlns. 1

Gli altri

(8va)

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

6 6

Gli altri

6

6

6

6

6

6

6

6

6

47 101

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

Hns.

1 2

1 Tpts.

2

B. Tbn.

6

Pno

6 6

6

6

6

6

6

6

6

6

6

2 Soli

Vlns. 1

Gli altri

(8va)

Vlns. 2 2 Soli

Vlas.

Gli altri

Cellos

D.B.

.

(

)

48 104

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar.

1 2

Bsns.

Hns.

1 2

1 Tpts.

2

B. Tbn.

Pno

2 Soli

Vlns. 1

Gli altri

(8va)

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

Gli altri

6

6

6

6

6

6

6

6

6

6

6

6

49 = 107

1 Fls. 2 cresc.

Ob. cresc.

C.A. cresc.

Clar. cresc.

B. Clar. cresc. a2

1 2

Bsns.

cresc.

Hns.

1 2

1 Tpts.

2

B. Tbn.

6

Pno

2 Soli

Vlns. 1

6 6

Gli altri

(8va)

cresc.

6

=

cresc.

cresc.

Vlns. 2 cresc.

2 Soli (sempre non trem.)

Vlas.

cresc.

Gli altri

cresc.

Cellos cresc.

D.B. cresc. .

50 110

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar. a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

1.

a2

B. Tbn.

Pno

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

Vlas.

Cellos

D.B.

.

Gli altri

51 113

1 Fls. 2

Ob.

C.A.

Clar.

B. Clar. to B Clar. a2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

1.

a2

B. Tbn.

Pno

2 Soli

Vlns. 1

Gli altri

Vlns. 2 2 Soli

Vlas.

Gli altri

Cellos

D.B.

52 = c.90 – 102

molto marcato

Piano

= c.90 – 102 div.

Violins 1 molto marcato div.

Violins 2 molto marcato div.

Violas molto marcato

Violoncellos molto marcato

Double Basses molto marcato

5

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

4. Wheelbarrow Walk

53 a2 10

Clar.

1 2

Bsns.

1 2

Hns.

1 2

a2

a2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

15

C.A.

a2

Clar.

1 2

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

a2

a2

1.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

54 20

Fl. 1

Picc.

Ob.

C.A.

a2

Clars.

1 2

Bsns.

1 2

Hns.

1 2

a2

a2

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

55 25

Fl. 1

Picc.

Ob.

C.A.

a2

Clars.

1 2

Bsns.

1 2

a2

a2

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

arco

D.B.

.

56 30

Fl. 1

Picc.

Ob.

C.A.

a2

1 2

Clars.

a2

Bsns.

1 2

Hns.

1 2

a2

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

57 8

35

Fl. 1 8

Picc.

Ob.

C.A.

a2

1 2

Clars.

a2

1 Bsns.

2

a2

1 2

Hns.

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

58 (8)

40

Fl. 1

(8)

Picc.

Ob.

C.A. a2

Clars.

1 2 a2

1 Bsns.

2

Hns.

1 2

Tpts.

1 2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

59 (8)

45

Fl. 1

(8)

Picc.

Ob.

C.A. a2

Clars.

1 2 a2

1 Bsns.

2

a2

1 Hns. 2

a2

Tpts.

1 2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

60 (8)

50

Fl. 1

(8)

Picc.

Ob.

C.A. a2

Clars.

1 2 a2

1 Bsns.

2

Hns.

1 2

a2

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

61 (8)

55

Fl.

(8)

Picc.

Ob.

C.A.

a2

Clars.

1 2

Bsns.

1 2

a2

a2

Hns.

1 2

a2

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

(

)

62 (8)

60

Fl.

(8)

Picc.

Ob.

C.A. a2

1 2

Clars.

a2

1 2

Bsns.

a2

1 Hns. 2

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

63 (8)

65

Fl.

(8)

Picc.

Ob.

C.A.

a2

1 2

Clars.

a2

1 Bsns.

2

a2

1 2

Hns.

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

64 (8)

69

Fl.

(8)

Picc.

Ob.

C.A. a2

1 2

Clars.

a2

1 Bsns.

2

2.

1.

1 2

Hns.

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

65 (8)

73

Fl. to Flute (8)

Picc.

Ob.

C.A. a2

1 2

Clars.

2. to Bass Clarinet a2

Bsns.

1 2

Hns.

1 2

a2

1 Tpts.

2

B. Tbn.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

(

)

66

5. Fish Beach = c.64 Bass Clarinet

1.

Bassoons

1 2

Horns

1 2

1. Solo

= c.64 Solo

Violins 1

Solo

Violas Gli altri

Violoncellos

pizz.

Double Basses

9

B. Clar.

1.

Bsns.

1 2

Hns.

1 2

2. Solo

Solo

Vlns. 1

Solo

Vlas.

Gli altri

Cellos

D.B.

.

67 17

B. Clar.

Bsns.

1 2

Tpts.

1 2

1.

2. Solo

1. Solo

Solo

Vlns. 1

Gli altri

Solo

Vlas.

Gli altri

Cellos

D.B.

22

B. Clar.

1.

Bsns.

1 2

Tpts.

1 2

2.

Solo

Vlns. 1

Gli altri

Solo

Vlas.

Cellos

D.B.

.

Gli altri

a2

68 27

B. Clar.

1.

Bsns.

1 2

Tpts.

1 2

a2

Solo

Gli altri

Vlns. 1

Solo

Vlas.

Gli altri

Cellos

D.B.

a2

32

1 Fls. 2

Clar.

B. Clar. a2 1.

Bsns.

1 2

Tpts.

1 2

a2

Pno

Solo

Vlns. 1

Gli altri

Vlns. 2 Solo

Vlas.

Gli altri

Cellos arco

D.B.

.

69 a2

38

1 Fls. 2 Clar. a2

Bsns.

1 2

Pno

Solo

Gli altri

Vlns. 1

Vlns. 2 Solo

Vlas.

Gli altri

Cellos

D.B.

44

Fls.

a2

1.

1 2

Clar. a2

Bsns.

1 2

Hns.

1 2

a2

Pno

Solo

Vlns. 1

Gli altri

pi첫 espress.

Vlns. 2 Solo

Vlas.

Gli altri

Cellos pizz.

D.B.

.

70 50

1.

1 Fls. 2 Clar. a2

Hns.

1 2

Solo

Gli altri

Vlns. 1

Vlns. 2 Solo

Gli altri

Vlas.

Cellos D.B.

55

Fls.

a2 1.

1 2

Clar.

B. Clar.

1.

1 Bsns.

2

Hns.

1 2

Tpts.

1 2

a2

1.

Pno

Solo

Vlns. 1

Gli altri

Vlns. 2 Solo

Gli altri

Vlas.

Cellos

D.B.

.

71 a2 60

Fl. 2 to Picc.

1 Fls. 2

Clar.

B. Clar.

1.

Bsns.

1 2

Hns.

1 2

Tpts.

1 2

a2

1.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

72

6. Knowing the Ropes = c.126 Bass Clarinet

Bassoons

1 2

Piano

molto marc. / non legato

= c.126 Violins 1

Violins 2

Violas

Violoncellos arco

Double Basses marcato

7

B. Clar.

Bsns.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

1 2

73 12

B. Clar.

Bsns.

1 2

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

17

B. Clar.

Bsns.

Pno

Vlns. 1

Vlns. 2

Vlas.

Cellos

D.B.

.

1 2

74 22

1 Fls. 2

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D.B.

.

75 27

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D.B.

.

76 32

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Cellos

D.B.

37

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D.B.

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)

77 43

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D.B.

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78 47

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D.B.

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79 51

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D.B.

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80 55

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D.B.

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81 59

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D.B.

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82 63

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D.B.

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83 68

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D.B.

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84 73

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D.B.

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85 78

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D.B.

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86 83

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D.B.

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87 88

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D.B.

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88 93

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D.B.

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89 98

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90 103

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D.B.

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91 108

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D.B.

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92 113

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D.B.

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93 117

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D.B.

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94 122

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95 126

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D.B.

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96 130

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97 135

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D.B.

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98 139

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99 145

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100 152

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101 159

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102 166

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103 173

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104 180

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105 187

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106 194

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107 201

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108 208

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109 215

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D.B.

220

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110 225

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111 230

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112 235

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113 240

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114 246

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115 252

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116 258

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D.B.

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( )