Adamo FOUR ANGELS

Mark Adamo

FOUR ANGELS Concerto for Harp and Orchestra

From the G. Schirmer Rental Library Date of Printing ______________

G. Schirmer, Inc. New York, NY

Mark Adamo

FOUR ANGELS Concerto for Harp and Orchestra

commissioned by the National Symphony Orchestra of Washington, D.C. Leonard Slatkin, Music Director

G. Schirmer, Inc. New York, NY

Instrumentation 2 Flutes (2 doubling Piccolo) 2 Oboes (2 doubling Cor Anglais) 2 Clarinets in B-flat (2 doubling Bass Clarinet) 2 Bassoons (2 doubling Contrabassoon) 4 Horns in F 2 Trumpets in C 3 Trombones 1 Tuba Timpani Percussion (3 players) Glockenspiel Xylophone Marimba Chime in F Crotales Brake drum Bell tree Small Tamtam 2 Gongs 3 Chinese Opera Gongs 2 Suspended Cymbals Triangle Snare Drum Bass Drum Conga Drum Guiro Sandpaper Blocks 5 Temple Blocks Wood Block Vibraslap Whip Tambourine

Solo Harp Piano (doubling Celesta) Strings estimated duration ca. 25 minutes

MARK ADAMO

Four Angels: Concerto for Harp and Orchestra The passionate and protean angels of art and scripture bear little resemblance to the images of simpering cherubim everywhere prevalent in mass culture. Likewise, the charismatic, potentially dominant harp— inevitably underscoring those images—has been constantly caricatured as just the golden vehicle of glamourous, glissando sentimentality. I wondered: could one make a concerto that uses only the personae—not any explicit narrative—of angels from different cultures to liberate both image and instrument from centuries of cliché? Why not? And what fun: ransacking sacred and secular texts for the most interesting figures I could find! But a concerto is a musical challenge, not a literary pageant: and this one’s main compositional hurdles weren’t the ones you’d expect. Don’t think the harp can’t be heard! It’s no more difficult to balance with full orchestra than is the solo violin. But most composers have conditioned us for centuries to hear the harp only as accompaniment: the orchestra sings the music, and the harp…decorates it. Could one compose a musical dialogue of which the harp’s leadership was not only audible, but unmissable? Could the harp and the orchestra—forcefully, eloquently—reverse roles? Overture: Metatron In the Kabbalah, the angel closest to the throne of God. He stands at the peak of a tree of angels, surrounded by storm, thunder, whirlwinds, and lightning. He has seventy-two wings and countless fiery eyes. His eyelashes are lightning, his bones are made of embers, his sinews and flesh of flame. Beyond Metatron stands only the mystical contemplation of God. Before the orchestra stands the harp alone, its strings swathed in thick and glittering paper. A five-note motto launches spiraling arpeggi in the strings. They’re answered, anticlimactically, by the muted harp, noncommittal as a harpsichord. Woodwinds echo the gesture: the harp remains unmoved. Only a firestorm of pizzicato strings prompts the harp to a full statement—supported only by lowest brass—of an imperious theme which incorporates that five-note motto: a theme that no sooner reaches a peak than it evanesces in a cloudbank of bells. Scherzo: Sraosha In Zoroastrianism, the Angel of Divine Intuition: one of the four attendants of Ashi, who is Truth, Justice, Virtue, Holiness, Cosmic Law, and Order. Brother and playmate to Meher, the Angel of Light and Mercy, and Rashnu, the Angel of the Judgment of Good and Evil. Rustling drums, ringing mallets—quiet percussion declaims and subsides. Strings crunch in and out of exact pitch: and isn’t that the harp, too, in its lowest register, growling out of intonation before twanging into tune? (Unusual pedaling makes it possible.) And that duet-improvisation on the first movement’s imperious theme— are those Peking Opera glissandi all played by Chinese gongs, or has the harp, improbably, learned their inflections too? Aria: Regina Coeli Mary, mother of Jesus; in Roman Catholicism, the Angelic Queen, who, at the hour of her death, was assumed bodily into heaven by the seven orders of angels over whom she now reigns. She intercedes on behalf of human beings at the right hand of God. Strings alone—high, pulseless— meditate on the rising second, the arching triplets, of the first movement’s theme. At length, the harp presents its own, simpler version: less an edict than a prayer of thanksgiving, the harp lifts the melody out of the sterner, denser harmonies of its first incarnation and frames it instead in clean C major. Finale: Mik’hail The archangel Michael, the beautiful warrior prince of the heavenly hosts, crosses Abrahamic boundaries: he is protector of the Roman Catholic Church, patron of the Hebrew nation, and, with the archangel Gabriel, appeared to the prophet Mohammed. His name means “Looks Like God or “Is As God.” He can appear in three of the seven heavens simultaneously. Michael is made of snow. Strings and brass sound an ostinato alarm: now in twelve, now in five, the music cannot settle on one pulse. Enter the harp: its intervals are familiar, but its rhythm is now martially regular, and its phrase-endings vanish under hammer-blows of octaves. A dense polychord halts the music’s flow, then promptly shatters into shards: now harp and orchestra assemble from that polychord a fleet, octave-vaulting melody, its crisp sixteenths fugitive as fireflies. While the orchestra continues in those pointed gestures, the harp fuses its own fragments into climbing scales: pauses for a cadenza-like consideration of the opening harmonies; and at length resumes the main theme—the theme which has united all four movements—and drives it to a climax of rhythm and color.

for Leonard Slatkin and Dotian Levalier, with gratitude

Four Angels SCORE IN C

      f     

for Harp and Orchestra I. Metatron In the Kabbalah, the angel closest to the throne of God. He stands at the peak of a tree of angels, surrounded by storm, thunder, whirlwinds, and lightning. He has seventy-two wings and countless fiery eyes. His eyelashes are lightning, his bones are made of embers, his sinews and flesh of flame. Beyond Metatron stands only the mystical contemplation of God.

Grand and severe q = 76

Fl. 1

Fl. 2/ Picc.

f

    

Ob. 1

f COR. A

   f       

Ob. 2/ Cor A.

Cl. 1

f

    

































CLARINET

Cl. 2 B. Cl.

f

Bsn. 1

 

Bsn. 2/ Cbsn.

 

Hn. 1 & 3



  

Hn. 2 & 4

 

Tpt. 1

   

Tpt. 2

 

Tbn. 1 & 2

Bs. Tbn. Tba

Timpani



 

  



BASSOON





straight mutes



Perc. 2

    



Vn. II



   



     

f

cold, imperious



f cold, imperious

         

f straight mutes



 niente

 

Vc.



 

f











 





pp



   

 

pp

  



  



 





























 





div.





 





gliss.



  p



p



 

pp

   pp  

pp

 

pp

  

pp

Rhapsodic: q = 104 accel.

 

       

         p p 3      n

 



gliss.

 

 solo: liquid, sparkling l.v.

n



      p







solo: liquid, sparkling

 

2. solo: sighing, ethereal

3



 





gliss.

 





sim.

  

 







n

    



via sord.

 

  





GLOCK soft mallets

liquid, sparkling l.v.



7



 

 

 







 



gliss.





     



 







1. solo: sighing, ethereal

  





   





 

 





  

3

1. solo: sighing, ethereal

p







 



pp





 

   









pp







3









3       



pp

  f

 

3





  

liquid, rhapsodic

3

3

pp

  

 

liquid, rhapsodic

pp liquid, rhapsodic

 

3

3







 

f

f

Performance Materials Supplied by the Composer Corrected 3/2011



 

Grand and severe q = 76

f



  

f

ossia: Harp muted with removable thick paper

  



 



f













PIANO

Eb Fb G# Ab D# Cb B§

 

 

BRAKE DRUM

f



  

f

 f     



liquid, rhapsodic

pp







2.



     f     

Va

Cb.

 



straight mutes

   

Kbd.

Vn. I



               f VIBRAPHONE motor off           

Perc. 1

Solo Hp

f

f

XYLO.

Perc. 3





















Mark Adamo

Rhapsodic: q = 104 accel.

         p

TO CELESTA

 



  

 

           

  





n Copyright © 2007 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

liquid, rhapsodic

               

9

9



5

Fl. 1

 9                

Cl. 1



Cl. 2



Bsn. 1

Bsn. 2



   

 

5

 

6

  



   





 

p

5

6



5







6

 

 

3

 

 

mp

6

7

  



pp

 

1. solo gliss.

   

6

pp

7

3. solo: sighing, ethereal gliss.

 

           



mp

 

5



ppp

6

mp





mp

   





ppp

5         

5



 

6



   





7

gliss.

                    mp











     



   

1. solo

Hn. 1 & 3

    pp

   







  

6

mp

pp



pp

mp

pp

Fl. 2

  



6

     

  

ppp

take off mutes



mp

3

Tbn. 1 & 2

Perc. 1



1. solo



 (GLOCK.)   

 

    

Pno.

 

3

gliss.  



pp





mp

          

liquid, sparkling l.v.







5:3

 









5







solo: liquid, sparkling: l. v.



       6      p



















Solo Hp.

Vn. I

Vn. II

Vla.

Vc.

    

 

  

   

  

 

  



let ring

CELESTA (ossia PIANO 8va)

  



7

mp

 

3

gliss.

p

solo liquid, sparkling l.v. 7

CROTALES 15ma

Perc. 3.





solo: liquid, sparkling

Perc. 2

take off mutes





Hn. 2 & 4





     



   

7

Fl. 1

ppp

Fl. 2

ppp

    

Cl. 1

ppp

Cl. 2

Bsn. 1

Hn. 1 & 3



      

 

ppp



3

q = 76 (beat 4)













































 



 









pp

pp

pp













 



pp













1., solo: cool, declamatory (senza sord)

      



mf





Hn. 2 & 4







   

 

pp



Tbn. 1 & 2

B. Tbn. Tba

Timp.



Perc. 3.

  

p















 



take off mutes































 



 











mf







 

pp

pp







  









   mf  

p p



 

Pno.





niente

Perc. 2

poco cresc e dim ad lib, non synch. p





Perc. 1



pp

mf

Tpt. 1

q = 104

accel.



 

p



  

   



 

   



  



n

n

 

(GLOCK.)







(VIB.) liquid, sparkling

   p





 



5



    

p











solo: liquid, sparkling: l. v.

 solo: liquid, sparkling

 









 

 









 













 







 

   

       

p



 















brittle, quasi harpsichord

.

f

   

3

     



     

Vn. II





E# F§ D§ C§ Bb

q = 76

(beat 4) 





 



    

Cb.









mf





 mf

Vc.



mf

    

Vla.







Solo Hp.

Vn. I

ss gli

 

         











 







 



 

   

mf







   

div.

mf

accel.





pp

 

 



3   

pp

3



pp sul tasto liquid, rhapsodic

sole: (through m. 14;) sul tasto sighing, ethereal

p sul tasto liquid, rhapsodic

      3

3

gliss. gliss.   sim. 

p

p



  

 pp

3



 









 3

unis., sul tasto liquid, rhapsodic

 

3

   









3

pp

   





    gliss.    gliss.  

pp

  

sul tasto liquid, rhapsodic



pp

pp

q = 104



3



gliss.













4

liquid, rhapsodic

   13

Fl. 1



9



  



 

9           

Fl. 2

 





  

        6    



9



liquid, rhapsodic

Ob. 1

 





 





  

 

pp

mp

pp

9

pp

mp

pp







9

  

mp

pp

   pp

liquid, rhapsodic 9

Ob. 2/Cor A.

 

pp

 



     

liquid, rhapsodic Cl. 1

  

   9

  

  

 



9

 



 

mp

 



9



pp

 





 

mp

pp





pp

liquid, rhapsodic 9

Cl. 2

          

    

pp

Hn. 1 & 3

Hn. 2 & 4

 



 pp

p p



p

  

sim.

 

(VIB.)

 

 

Pno.

   

 

    

mp



 9



  







5:3

 

Solo Hp.

 

3







 9

Vn. I

           pp

Vn. II

Vla.









Cb.

     mp

  





 

9



  

 



            9

   

pp















  

pp

 



  

mp



 

gliss.

mp 5

Vc.











mp





  

mp

CROTALES 15ma l.v.

Perc. 3.

7



solo: liquid, sparkling: l. v.

Perc. 2



p

(GLOCK.)

Perc. 1



mp

    

9

 

      









 

 7

3

 

 

gliss.

mp















mp









 mp







 



5

mp



 

gliss.

5

5



 



7









5

 











14

Fl. 1

Fl. 2

  



  



pp

pp

q = 76 (beat 4)

 

Ob. 1

 







Ob. 2/Cor A.

 







Cl. 1







   



   



pp

Cl. 2

Hn. 1 & 3

Hn. 2 & 4

Perc. 1



pp

    



 p



p



  



  





 









   

p





   

 

mp

sim.

  5   

(GLOCK.)



mp































p

Perc. 2

Perc. 3.

 

sim.

        7



p



 

     9 

solo

(CEL.)

  Pno.



(VIB.)



 



 

brittle: quasi harpsichord





 

Vn. I





 



6

pp

 TO PIANO















  

 

5







7



   



gliss.

p

5



6

  











 





  3

  

 



pp

  

  



 q = 76  (beat 4)  

       mf

        













       

 







        

 











3

 

3

gliss.

    



Eb Gb Db C#





 6

pp

Cb.

 

s s.

pp

     

 

 



mp

Vc.

  gli

9

pp

Vla.



       

mp

Vn. II

   3

(mp)

Solo Hp.

 



p









mf

mf

mf



6

  18

Fl. 1

Fl. 2

Ob. 1

Ob. 2/Cor A.

Cl. 2

Bsn. 1

Hn. 1 & 3

























  

pp

mp





pp

mp





pp

mp

mp















senza sord.



 

Timp.

mp

  

pp

Tpt. 1

 



    

Perc. 3.

Solo Hp.

Vn. I

mf

 

mf



mf





  

 

    



       f     





















mf



      f

 

   



f

 

 

f

pp

fpp XYLOPHONE hard mallets





solo: pointed, quasi harp



               

MARIMBA hard mallets solo: pointed, quasi harp



     7     



 

SUSP. CYMBAL mf soft mallets

mf

sim.



7

f





f

mf

sim.



 

mf

f



















  

 



 



 





 pp





      

soli: arco; shuddering

 



3

    

sole: shuddering

 

gliss.

mf



   gliss.

mf

3

   



pointed, quasi harp pizz., l.v.

   



3

pizz., l.v.





 3  

f



  pointed, quasi harp f

q = 104

accel.

3

pointed, quasi harp pizz., l.v.

f



pointed, quasi harp pizz., l.v.

3

    f

  

Vc.

  

f

  

Vla.

   

3







 



3

 

gliss.

mf



3

 3

 



f

            



pp



7





7

                  



Vn. II

Cb.

 

mf

   

pp



Perc. 2



f

pp



mf

f

n

Perc. 1

 

mf





 

 

mp

pp



   





 

  





 

mf

mp

pp



accel.





Hn. 2 & 4

B. Tbn. Tba

mp





  

Tbn. 1 & 2

pp

pp



Tpt. 2



pp



Cl. 1

Bsn. 2





q = 104

  

gliss.

  

  



3



mf f (end sole:) pointed, quasi harp pizz., l.v. 3

 

 



     3

   

3



3









  

gliss.

ff 3



  

 

 

 

gliss.







    

 

 3

3

  

   3

  21

Fl. 1



Fl. 2



Ob. 1

7

  f

 

f

 

f

  

Ob. 2/Cor A.

f



Cl. 1



Cl. 2

    

f

f

  

Bsn. 1

f

Bsn. 2

        f

Hn. 2 & 4

Tbn. 1 & 2

B. Tbn. Tba

Timp.



a2

 

3

  



  

mf



mf

mf

3



   p

p

 

Perc. 1



    f

Perc. 3.

 

Vn. I



solo: pointed, quasi harp







 





 3





   





Cb.





3





 ff



 

gliss.



   



3



 



3



ff



ff





  

 





 

3







gliss.



 

 

sole: shuddering

ff Vc.

 







 



 

Vla.

 7  

ff

(end soli:) pointed, quasi harp pizz., l.v.

Vn. II

 

3



 



ff

f

    7      

f



Solo Hp.

 

    7      

f

ff



3

ff

PIANO

Pno.

             

f

     7  



7





sim.

Perc. 2

3

sim.

gliss.

 3

3





 3











 



gliss.

ff











 

 3



8

  22

Fl. 1



Fl. 2

Ob. 2/Cor A.

Cl. 1

Cl. 2

Bsn. 1

Hn. 1 & 3

       

 

Hn. 2 & 4

ff

ff

ff

ff

ff

ff

  

a2

ff



ff

mf

 

Tpt. 1



mf

 

Tpt. 2



  

Tbn. 1 & 2 B. Tbn. Tba

ff

 

               

Ob. 1

Bsn. 2

 



3



3

 ff

 

ff to harmon mute

to harmon mute

ff

mf

   

ff

  

mp

Timp.

ff

mp



Perc. 1

Perc. 2

Perc. 3.

  

  7 

 

  

f

 

  

f

ff

asynchronous within sections, for as many audible attacks as possible

 

 



ff asynchronous within sections, for as many audible attacks as possible 3

   



ff

3



3



    





ff asynchronous3within sections, for as many audible attacks as possible

  

ff

 

 





  

gliss.

    

 





 3

  

    

 

ff

asynchronous within sections, for as many audible attacks as possible

 

 

 

 



gliss.

ff

ff



 



       



  

f

7







          7

f

ff

Cb.



3

 

ff      7     

ff





Vc.

 



 

Vla.

      7





Vn. II



ff

Pno.

Vn. I

 



 

f

 

Solo Hp.





3

3

 

 

 

 



3

 

gliss.

ff

  

     

  3



 









  3







9 a bit slower: with the harp

 



















































 

23

Fl. 1

Fl. 2

Ob. 1

Ob. 2/Cor A.

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1 & 3



 

 





 







 







pp



 











 





















 

   













 















Hn. 2 & 4











A tempo pp

pp

pp

pp

pp



pp

 pp







 

1., solo ruminative



Timp.











put on straight mute













put on straight mute



































 

VIB., hard mallets



Perc. 2

Perc. 3.

   



    f







  

p

  

*ossia: Harpist pulls out paper in one sweeping gesture

 

gliss.

n arco, ord.









arco



 n

Cb.







arco, div.

 

pp





  

 

        

 





 





ppp

3

          

  





n



        





arco

 





  











gliss.



 



3       



a bit slower: with the harp

n

Vc.

3

   

  

gliss.

3

arco, div.

   

  



Vla.

fff



 

gliss.

Vn. II

  

           

 







Vn. I

ff l.v.

gliss.

Solo Hp.

            

exuberant, authoritative





 

 



  

 A tempo

fpp





 





























fpp

ppp

 

 

 

mp

 

pp

 

sul tasto mp

sul tasto

 

mp

fpp



 

sul tasto

mp



fpp

ppp



G§ C§ D§

    

ppp



poco

  

    

p

  

  



   

 

  

  

f

f

 Pno.

  

  





pp



GLOCK. Perc. 1

    





B. Tbn. Tba



pp

         







Tbn. 1 & 2

    



sul tasto

   mp





10

  

rall.





 





 



    

Bsn. 1

Bsn. 2

Hn. 1 & 3



 

Tbn. 1 & 2

B. Tbn. Tba







Perc. 2

mp







 















 

















 



















 



















 



















 











  









  













pp

pp

con sord.

  

  pp

pp mp



BASS DRUM soft mallets



liquid





pp



 

  

BELL TREE l.v.

mp



  

 

sim.



   



 







 







 





 







 

Vc.

Cb.





 

 



   

















 



    

  

Gb

 



     A#  Db      

   A§ B§ C#

  



    3



E§ F# D§

    3

 

 

G§

          

 C§       

  



Vla.





mp

  Calmly q = 52      

an apparition



   



 

Eb F§ Bb

 



















n

pp

an apparition

   

 

more motion

3













pp 3

 





 





  

 







  



mp





  

pp















n

pp



 3     3     

 

pp

 

3

  pizz., l.v.        

pp



 



pp

Vn. II

   



calmly, with authority pp 5

3











  











rall.









 





 

 









Vn. I









Solo Hp.











  

mp







pp

mp





 



  









pp







mp









  



(VIB.)





 



 

 

pp











mp

mp put on straight mute



Perc. 1

 



   

Perc. 3.



   

Hn. 2 & 4

Timp.







pp

mp Cl. 2





pp

mp Cl. 1

 



pp

mp Ob. 2/Cor A.





pp









  

mp

Ob. 1

 







more motion

pp

mp

Fl. 2

Calmly q = 52







Fl. 1





 

30

 

 

mp

pizz., l.v. unis., non div.

    mp

  



 

  











 

    

 



 

  









  

    

 

   40

Fl. 1

11

          q. = q        



         



dry, whispering

q. = 46

e=e



more motion q. = 58







mf

pp

dry, whispering

 

Fl. 2









mf

Ob. 2/Cor A.

Hn. 1 & 3

  



  









1. solo: annunciatory

 



pp

     p

             mf











dry, whispering

  

Tpt. 1









sord, harmon mute



                  

mf

 

Tpt. 2







whispering dry,          mf

  

Tbn. 1 & 2

B. Tbn. Tba

Perc. 2



1. con sord: solo, espr.



pp

   

 

pp

  

   

 

mp

 

mp







 

 

pp

pp





via sord.



pp

sord, harmon mute



via sord.

pp





pp

mp

   pp

mp





pp mp

MARIMBA hard mallets quasi echo

        

 



3

p

Perc. 3.

  









Ab



 

        

Vn. II

  

Vc.

Cb.



 



E§ F# Db Cb B§

  



  

 

 

  

pp

 

 

   

 

 

pp







 



mf

D#

  



more motion q. = 58







  

Vla.

R.H.    





crisper, more forceful

A§

e=e

q. = 46

Vn. I

               





             



   



Solo Hp.

L. H.

 





               

R.H.





pp

q. = q

     

3

     

3

    

3

pp

mp

arco





    



   

   

 



   

   

 





n



 

 

pizz., l.v. mp

 

p

n

     

 

p

n

pp

mp

p

n

pp

mp

 

3

   p

12

Ob. 2/Cor A.

q = 66

Driving forward

  45











q = 72

  



     mf

Cl. 1

Cl. 2

Bsn. 1

















      

















  















mf

mf

  

 



pp

Hn. 1 & 3

























a2

   



mp







    mp

pp mp



 



   

F§ Bb

C§



 



mp

    

3

 

    

3

 

div.

 

   

3

 

   

3

p

n



   

p

n

    

 

p

3

 

p

3

p

n

n

n

     n



 

 

3

   

3

 

3

p

   

 

   

  

  

Ab

3

   



 

p

    

3

  

   



   



 

    

p

n



 

3

    



    

3       

3

n

3

p

n

n

p

n

3   3         

p

p

n



 









 

 

 





3   





3

p

p



3

  p



     

  

ff

mf

 

     q = 72

     



3 p

n



 

 

q = 66

 



n

3    

p

n

p

n

p

n

mf



pp

3 3            

p

n

        

   

 



    

mf

 

pp

 

Eb

  

         

p

3





 







       







 

     



3 3

p

SUS. CYMB. soft mallets

 

    

3

Driving forward

n

Cb.

      



p

 

   

3



 





n

Vc.

  p 





  

   



pp

3 3

3 3

 

  

Vla.



pp mp

n

Solo Hp.

Vn. II

       

 







 

pp mp

3 3







p

D§

Vn. I

pp mp



  

 





3 3

(MAR.)

p

Perc. 3.











 

















Perc. 2









Tbn. 1 & 2

B. Tbn. Tba





Tpt. 2

mf

 

3



a2



   

 





pp

 

Hn. 2 & 4





Bsn. 2

mf

pp

mf



  

pp

mf unis., non div.



  

mf







  

   

mf

arco, unis.

      mf

  53

Fl. 1



Ob. 1



Ob. 2/Cor A.

 



 f



 

Hn. 1 & 3





f



f

   

Hn. 2 & 4

f



f

  



  











 

  

 

Tbn. 1 & 2

B. Tbn. Tba

Timp.



  

  



f





Perc. 1

Perc. 3.

f

 

 

   Solo Hp.

Vn. I

   

ardent



ardent



Vn. II

Vla.



Vc.

Cb.



  f

   



f

f

  f





      1. solo















mf















mf

 







 



 p

















 



 

  









   f  

f

 

f



  





BASS DRUM soft mallets

pp

         

 



        

  



gliss .

       

  



gliss.

      







gliss.



 





glis s.

ff

mp

ff









mp

mp



  

 

unis., non div.

  



f





p

















 









f





















mp

 



 

div.





 



 

f

f













p



f





  

f

mf







f

mf



  



 



p









  



















mf

mp









q = 76

  

f

f

mf

Gb Db



mf



mp

senza sord.

 

f

 

mf

 





senza sord.



 

mp



  

f

mf













 

 



     



f

mf

p Tpt. 2





mp

 

 

mf







 





mp





mf

mp

 

 

 



mf



solo





Tpt. 1



p

f



  

p

 





p

f

Bsn. 2



 

 

Bsn. 1

p

 

ardent

Cl. 2





ardent Cl. 1







Fl. 2

13

q = 76



ff

ff

 mf







f

  

14

Fl. 1

  

Ob. 1

Ob. 2/Cor A.

Hn. 1 & 3

Tbn. 1 & 2

Perc. 1

 

  



 





3





 ff

3



 p



             3

6

p



ff

 3



 



3

ff



6



ff

ff

  6

  

                   6 6

ff

mf

 

mf

pp

mf

 pp

mf

mf

 

 

    

   



   



Fb B§

   

   





ff

 

3



pp

 

Solo Hp.



 

cold, imperious

 







3

p

mf

pp

   



3

6

3

 ff

             



a2

   



ff

pp

 

3

p

pp

 







p

    

 

 





a2

 

3

p



ff

p

6

6

ff

                     



                p

                   

p

ff

3

p

  



p

p



    

                  



  

Hn. 2 & 4

ff

p

 

Cl. 1

Cl. 2



 

Fl. 2

                      

Imperious: q = 80

58

 

  



Imperious: q = 80

 

Vn. II

 

Vla.

 

Vc.

Cb.



 



mf

ff



 



mf

ff

 



mf

ff

 



mf

ff

         

sul pont.

   

sul pont.

  .   

sul pont.

gli ss.

gliss .

gliss



 

sul pont.

s. glis

Vn. I

  

  

sul pont.

pp





gliss.

gliss.

gliss.

gliss.



  





 



mf

ff





 



mf

ff





 



mf

ff





 



mf

ff

 

gliss.

gliss.

gliss.

gliss.

 

   

  60

Fl. 1



Fl. 2



                         

                

                    

ff

p



Ob. 2/Cor A.

Hn. 1 & 3

 

3

 



3



 p



3





       ff

      6

3







3





ff

 

  

6

 



6



mf

pp

mf

3





       3

6





3



 3

    ff

       p

 ff

p

p

  



3

p







6

ff

 

   6

   

 

6

ff



pp

mf



pp

mf

 



solo









 





 mf

        

  

pp

mf

       

 



p

p

pp

 



3

pp

 

Cb.

 

ff

 G§



Vc.





Solo Hp.

Vla.





ff

p



 

Vn. II







Vn. I

 ff

6

p











p



Tpt. 2





p

 

Tpt. 1

Perc. 1







Hn. 2 & 4

Tbn. 1 & 2

 



Cl. 1

Cl. 2



3

ff

p

ff

p

Ob. 1

15

                    

 



   





 



mf

ff

 



mf

ff



 



mf

ff



 



mf

ff

gliss.

gliss.

gliss.

gliss.



   





   

 



mf

ff



 



mf

ff



 



mf

ff

 



mf

ff





gliss.



gliss.



gliss.



gliss.

 

16

                                                

   

62

ff

p

                   

 

p

  

Ob. 1

3





p

 

Ob. 2/Cor A.







ff



3





p

 ff

3

3

p

3

 

3





 



Cl. 2

Hn. 1 & 3

 

  

6

ff

6

              p

6

6

mf



f

f

Perc. 1

Perc. 2

Perc. 3.







Vn. I

Vn. II

Vla.

Vc.

Cb.

     

6

pp



 



 





f

   



   

(mf) )

mf





pp

   

(mf)

mf

   



p

mf

f

   



p

mf

f



 

p

f

  



with warmth

 

 



mf

ff

 



mf

ff

 



mf

ff

 



mf

ff

gliss.

gliss.

gliss.

gliss.

 

    

 

sub. mp





mp

MARIMBA soft mallets



 

l.v.

mp

  



  







 



mf

ff





 











 



sub. mp with warmth







 

   









f

f

pp

n

    

6

 

 

  

   



SMALL TAM TAM, soft mallets



f

ff



E# F§ A§ D§ Bb

   



      

6

f

ff

 

 

3

ff



 

 Solo Hp.

mf







         

 

pp B. Tbn. Tba



3





6

 



 

Tbn. 1 & 2

p





 

Tpt. 2





3

p

mf

pp





 ff

3

   

ff



3

     

      



 

Tpt. 1





p

ff

pp

Hn. 2 & 4



ff

                  p





p

3

Cl. 1

           

f

mf



mf

ff

 



mf

gliss.

gliss.

ff

 

  

3  

 

  

Fl. 2

ff

p

 

3         

  

Fl. 1

gliss.

 

 

   

ord. with warmth



mp ord. with warmth

ff











gliss.

ff





mp ord. with warmth

sub. mp



17

 











 



Fl. 2













 



Ob. 1













 



Ob. 2/Cor A.













 



Cl. 1













 



Cl. 2













 















 



put on straight mutes









put on straight mutes









65

Fl. 1

Bsn. 2

Hn. 1 & 3



 



 







 









 











 

 

Tpt. 1











Tpt. 2















Tbn. 1 & 2

B. Tbn. Tba

  

 



put on straight mutes

  pp

 

Hn. 2 & 4

 

   

1.















 



Perc. 1













 



Perc. 2

 

 



 

 

Vn. I

f

 

Vn. II

f

 

Vla.

f

 

Vc.

Cb.



 

 

ord.

 

ord.

 



 

 

 

 

  

 

  

 

 

 

  

 

mp

A# C#

 

 



 freely

  p

 



 



    

  

3    

 

3



E# G#

 

  

 

  

 

 





 



  p

  

 





 



  p

   pp

 

 





 



 





 







 



mp

mp

mp

  mp

  

mp

p

 

p

 

p

pp

pp

  pp

   pp

  

 

 

 

 



 





F# B§







 

 

  



mf

 

  





relenting

  

pp



 

  

   

p



 

  



 

 

  

 



 

Eb Ab



mp



   

Solo Hp.

   





  



Perc. 3.

  



f

  



Timp.



 

18

Fl. 1

liquid, rhapsodic

    71

q = 60

   



pp

liquid, rhapsodic Fl. 2

 





   

Ob. 1

  

3

  



  3

pp

Ob. 2/Cor A.

 

liquid, rhapsodic

Cl. 1

  

3



  





pp







 







pp

  mp

liquid, rhapsodic

   

mp



mp

pp liquid, rhapsodic





pp



    

3

3

3

6            6  6

   3

pp

mp





p

pp

3

mp





    



 

yearning













pp

liquid, rhapsodic

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1 & 3

Hn. 2 & 4

Tpt. 1

Tpt. 2

 

6

6          mp 6



pp

pp

Perc. 3.







  



















   

1. sighing, ethereal



 gliss. 

p

 



 



2. sighing, ethereal

gliss.

p

Vn. II

Vla.





 





   









       

 

 

 

 

pp

pp

  



  CHIME   

 

  p

  

    

  

   

 

    

pp



 (CELESTA)     



 

gliss.





pp

   





 3

 

 











   

pp





3





  mp



pp

mp



















                               div.

mp



3



pp

         



Eb F§ G§ A§ C§

pp

Vc.

p



q = 60

Vn. I







p

Solo Hp.



 

p

Pno.

 

 

1. sighing, ethereal

Tbn. 1 & 2





yearning







  

pp

 

  

div.

3 





pp





3

mp 3







 

3



  

pp

6                  6

mp

6

pp

                 3 mp pp 6

6



19

  75

Fl. 1

rapidly: elfin

poco a poco rall.

q = 48







    











      



    



ppp

    

rapidly: elfin





Fl. 2







ppp

rapidly: elfin





Cl. 1





3



ppp

rapidly: elfin





Cl. 2







ppp



Bsn. 1

Bsn. 2

Hn. 1 & 3

Hn. 2 & 4

Perc. 1





gnomic 3

  



p

3

3

   

  



3



      

  

4.

gliss. 

 

2.

gliss.  p

p GLOCK soft mallets

 

 

3.

 

p

gliss  . 









































1.

gliss p



.

liquid, sparkling: white-key gliss.

gliss.  p

 

Perc. 3.

Pno.

gliss.  



p

 



  

Solo Hp.





p

  





liquid, sparkling: white-key gliss.

gliss.  

  

 

   







ppp



 3  3 gliss    gliss. 3  . 3 gl3iss. 3   gliss.  3       

pp

 ppp

 







 















ppp

 

 





 







 





 







(pp)

(pp)









(pp)

Cb.





  

unis., non div.

Vc.



q = 48

(pp)

Vla.





poco a poco rall.

Vn. II



3

unis., non div.

Vn. I

 

elfin

p

 

 

TRIANGLE

p



Perc. 2

liquid, sparkling: VIB. soft mallets white-key gliss. gli ss.





MARIMBA soft mallets

velvety: white-key gliss.



pizz., l.v.



p









ppp







ppp





II.

Sraosha

In Zoroastrianism, the Angel of Divine Intuition: one of the four attendants of Ashi, who is Truth, Justice, Virtue, Holiness, Cosmic Law, and Order. Brother and playmate to Meher, the Angel of Light and Mercy, and Rashnu, the Angel of the Judgment of Good and Evil.

20

  











Fl. 2/ Picc.

  











Ob. 1

 











Ob. 2/ Cor A.

 











Cl. 1

  











Cl. 2 B. Cl.

  











Bsn. 1

  











Bsn. 2/ Cbsn.

  





















Fleeting, quicksilver q. = 138

Fl. 1

Hn. 1 & 3

PICCOLO



CONTRABASSOON

  

Hn. 2 & 4

  











Tpt. 1

 











Tpt. 2

 











Tbn. 1 & 2

  











  

























Bs. Tbn. Tba

Timpani



  

  

Perc. 1

  

5 TEMPLE BLOCKS

   

Perc. 2

    f

    

WHIP

Perc. 3

  Kbd.

Solo Hp



GONG



subito pp

   

damp



pp

            

 



f











               

CASTANETS



pp

                   BRAKE DRUM







SNARE DRUM snares off, muffled

                  mp

pp

pp











  











 



















  

  

E§ F# G§ Ab Db C§ B§



Fleeting, quicksilver q. = 138

 

 

 





  





Va

  



Vc.

  













  













Violin I

Violin II

Cb.



pp

 

pp



 

mp

mp



 



pp



pp





     f *    

*div. a6: C, C#, D, E, F, F#: snap pizz.

*

f

21

 









Fl. 2/ Picc.











Ob. 1











Ob. 2











Cl. 1











Cl. 2







































6

Fl. 1

Bsn. 1

Cbsn.

Hn. 1 & 3



  









Tpt. 1











Tpt. 2







































Tbn. 1 & 2

B. Tbn. Tba

Timp.







Perc. 1



s. glis

   

f TAMBOURINE shake



         

 

f

(S. D.)

(mp)

Pno.

Solo Hp.

Vln. I



 

 

Perc. 2

Perc. 3.

g li ss.

XYLOPHONE hard mallets







 

 





     





SANDPAPER BLOCKS



pp

                              



f

subito pp

                 

BASS DRUM hard mallets

mp





f























































     **

 **    

 

 

pp

 

pp



















f

Cb.









     

5 TEMPLE BLOCKS





Vc.







 

Vla.

 



               





Vln. II

   

g li ss.

Hn. 2 & 4

f

**div. a7: F#, G, G#, A, Bb, B, C: snap pizz.

  

VIBRA-SLAP

pp

22

 











Fl. 2/ Picc.













Ob. 1













Ob. 2













Cl. 1











 

Cl. 2



































 











10

Fl. 1

Bsn. 1

Cbsn.

Hn. 1 & 3



 

Hn. 2 & 4











 

Tpt. 1













Tpt. 2















































Tbn. 1 & 2

B. Tbn. Tba

Timp.





HIGH SUS. CYMBAL soft mallets

               (SANDPAPER)

Perc. 1

 

Perc. 2

Perc. 3.

Pno.

Solo Hp.

Vln. I



   

 

Vc.

pp

 SNARE DRUM snares off, muffled

                       

 

TAMBOURINE beat with hard mallets

     

pp

   

        BRAKE DRUM



pp



pp

 

 



f





             f













































mp

mp

 





 





pp

 

  *          f    ** *            f ** *              f   **

 

pp

























  **    













**div. a7: F#, G, G#, A, Bb, B, C: snap pizz. *div. a6: C, C#, D, E, F, F#: snap pizz.

 

 **       f

Cb.

   

choke



   

Vla.

  

CASTANETS

  pp



    

Vln. II



f

23

  



 



 





Ob. 2

 





Cl. 1

 





14

Fl. 1

Fl. 2/ Picc.

Ob. 1

Cl. 2

Bsn. 1

Cbsn.

Hn. 1 & 3



Tpt. 1



     



p

    





 

(PICC.)

            







 

 







 

 







 







 



 



 

 







 

 







 

  





 





 







 

  pp 4

mp

mp



p     p

    

 







 







4

4



  

pp

        pp                                                               pp         

4



pp

pp

             

pp

p

4











pp 4



 

  

Hn. 2 & 4



              

mp

4

pp

4

         mp

 

     f                           f   

               

pp

  

  

     

  



Tpt. 2

 









 







 

Tbn. 1 & 2

 









 







 

 









 







 





 

B. Tbn. Tba

Timp.



        ppp

  



 



BELL TREE hard mallets



  

       



 





 

f

5 TEMPLE BLOCKS

 



XYLOPHONE

 

f





  







 







 









 



 



 

 









 







 

 









 







 



 



 highest  harmonic possible       

 



 highest  harmonic    possible    

  

 



 highest  harmonic    possible    

col legno

 



 arco:highest   harmonic    possible    



 arco:highest  harmonic    possible    

 

   



glis s

p

    



    



unis., col legno battuto

.





sul pont. arco, gglliissss.div.,  .    



sul pont. arco,  div.,     

mf

        

unis., col legno battuto

mf unis., col legno battuto

 

mf unis., col legno battuto

   

 

p



p

 

 

mf

   

unis., col legno battuto





f



 

Cb.

            





Vc.

 



  

Vla.

  

Perc. 2

Vln. II

  



Vln. I

 



 

Solo Hp.

 



Perc. 1

Pno.

 

 

 

Perc. 3.

 

  

mf







col legno

      

col legno

 





f

f

f

f

f

  













Fl. 2/ Picc.

 













Ob. 1

  













Ob. 2

  













Cl. 1

 













Cl. 2

  













Bsn. 1

  













  

























20

Fl. 1

Cbsn.

Hn. 1 & 3



  











Tpt. 1

 













Tpt. 2

  













Tbn. 1 & 2

  













  













          pp

  

Perc. 1



  

Perc. 2

Perc. 3.

  

pp

  

     

 

 

sempre pp



 VIBRA-SLAP

 

 

 

     

           

p

 

p

 

 

 

 mp  

mp

 

mp



     

 



  

   

  

 

  



  

     

 





































  













Vln. II

  













Vla.

  













Vc.

  













  













Cb.



           

TAMBOURINE

  



Vln. I

  



  



Solo Hp.





(XYL.)

 



Pno.



 

gliss .

Timp.



gliss .

B. Tbn. Tba

gliss .



glis s.

  

gliss .

Hn. 2 & 4





glis s.

24



  

   



Fl. 2/ Picc.











Ob. 1











Ob. 2











Cl. 1











Cl. 2

















































Tpt. 1











Tpt. 2































 

(VBSLP.)

Perc. 3.

mf

Pno.

Solo Hp.

Vln. I

   

 



   

   





























 



  

   



  

 

f

  



 

   

f

  f

 



  

   

(p)



 

 

  

  

gli ss.

  

  



 

   

 















   

                                                    unis., non div.

f savage unis., non div.

        p non div., sul pont.           

Vla.

Vc.

Cb.





sul pont.

p sul pont.

       

p

 

poco a poco ord.

   

poco a poco ord.

 

poco a poco ord.

f savage

  f

    f

  f

 

   

 

















                                           







Vln. II

  



 

   



  



   



  



mf

  

  gli ss.

 mf (TAMB.)   

  

 



Perc. 2



gli

Perc. 1

ss.

(XYL.)

 



   

gli ss.

Timp.





B. Tbn. Tba



Tbn. 1 & 2

gli ss.

Hn. 2 & 4



 

glis

Hn. 1 & 3



gli ss.

Cbsn.

glis s.

Bsn. 1

gli ss.



gli ss.



Fl. 1

s.



26

gli ss.

 

gli ss.

25

26

 











Fl. 2/ Picc.













Ob. 1













Ob. 2













Cl. 1













Cl. 2





































30

Cbsn.

Hn. 1 & 3



 

Hn. 2 & 4

a2.

                           f      a2.                     

                                

                            

 

f

Tpt. 1



f

                               

Tbn. 1 & 2

B. Tbn. Tba

Timp.

f

 





 

(mp) s. glis



Perc. 1

(XYL.)

(TAMB.)

Perc. 2



Perc. 3.





(VBSLP.)

Pno.

 

 





























 

















   



 

ss. gli

 

  

s. glis

 

  

 

      f           

    





GLOCK rubber mallets



 

 



 

                                                      



 

pp SANDPAPER BLOCKS pp TRIANGLE

  

pp







    

SNARE DRUM r.s. pp

































Vc.



Cb.



        ff





*pedal crash: see note                 

   

       

      



      

    

    

    

      

     



 

 

 

 

                

 





 





    



    



       











 

Vla.









Vln. II







Vln. I





 Solo Hp.

             





  

 

 





gli ss.

Tpt. 2

           



Bsn. 1



Fl. 1

 



 

  

pp



 

  



 

mp

pp

mp



















* pedal crash: after striking the string, move the pedal halfway between flat and natural positions to produce a metallic buzz.





   pp

  

*         * f      

pp

 











f

*div. a6: C, C#, D, E, F, F#: snap pizz.

27

 











Fl. 2/ Picc.













Ob. 1













Ob. 2













Cl. 1













Cl. 2



























































Tpt. 1













Tpt. 2



























































35

Fl. 1

Bsn. 1

Cbsn.

Hn. 1 & 3



 

Hn. 2 & 4

Tbn. 1 & 2

B. Tbn. Tba

Timp.





Perc. 1

Perc. 2

Perc. 3.

Pno.

















Vla.

Vc.

Cb.





s. glis

    



. gliss

    



s. glis

    

     

 





pp (SANDPAPER BLOCKS)

                 





(TRIANGLE)





s. glis

 

Vln. II



                             

Solo Hp.

 



pp













Vln. I



(GLOCK.)



pp

crash



   









  





     

    pp

    

crash























































  pp

  

mp

mp

28

 











Fl. 2/ Picc.













Ob. 1













Ob. 2













Cl. 1













Cl. 2















































Tpt. 1







Tpt. 2





 

40

Fl. 1

Bsn. 1

Cbsn.

Hn. 1 & 3



 

Hn. 2 & 4

Tbn. 1 & 2

B. Tbn. Tba

Timp.



















































(GLOCK.)

 

Perc. 1



Pno.

Vln. I















Cb.



mp



























 



G§ Bb



  

   

Vc.



pp



 

Vla.

 





Vln. II

 



 Solo Hp.

 

                                        



SMALL GONG soft mallets



(TRIANGLE)

Perc. 3.

pp



(SANDPAPER BLOCKS)

Perc. 2

          pp                                                                                 

             mf            

  

   

   

    

 

f

      

 











  pp



















pp

 





























29

 











Fl. 2/ Picc.













Ob. 1













Ob. 2













Cl. 1













Cl. 2





















































45

Fl. 1

Bsn. 1

Cbsn.

Hn. 1 & 3

Hn. 2 & 4



                       f                                 f

Tpt. 1













Tpt. 2

































   





Perc. 2



             

             













mf

sfz























      gliss.    unis., non div.                       s. glis

                  























f





















Vla.



 







 





                                           

   







  

    



Vln. II



        savage

  .     gliss            



  

                  



ff

               

demonic, driven



  



 







f savage unis., non div.

Cb.

p



   

Vc.

pp



GUIRO



 





Vln. I



   

 



   

Solo Hp.

WHIP

damp



Pno.



 



Perc. 3.

 

mf



(GONG)

Perc. 1

pp



Timp.







B. Tbn. Tba

  



Tbn. 1 & 2

           

     



arco, sul pont. pp





    

arco, sul pont. pp

30

 









 

















 









 



50

Fl. 1

Fl. 2/ Picc.

              









Ob. 2











 







Cl. 1











 







Cl. 2











 











 







           f   



 







 

       







 

     





























Ob. 1

    

 

Bsn. 1

 

mp Cbsn.

Hn. 1 & 3





(CBSN.)

 



mf





Hn. 2 & 4

mf

     



f







mp

pp

f

f

Tpt. 1







Tpt. 2







B. Tbn. Tba

Timp.

f a2



Tbn. 1 & 2



             f             





                mf      





  

 

mp

           

mf



f



f

     Tuba, take mute            f



 











 







 



 









Perc. 1



Perc. 2











 



 













 













  

Perc. 3.

Pno.





   

Solo Hp.

  

Vln. I

 

  



 

 

       

s. glis

 gliss.



gli

ss.

     

 

  



Vln. II







 

Vla.









  

Vc.

Cb.



  

   

   

   

  

Eb D§





 





 

 

         

f

   

f



 

crash

    



** crunch: see note

      





 





pitch:











 





 





  

** crunch: see note

         

 

(ff)

mp



dark, sonorous

          ord.

  



         

ord.

pp



f

 









     

HIGH WOOD BLOCK

** crunch: see note

** crunch: bow ever harder and slowly until, in the given rhythm, an unpitched crunch results.



 

** pitch: after crash, move pedal back to the pitched position.

  56

Fl. 1



Fl. 2/ Picc.



Ob. 1



 (PICC.)



            pp

        

31

 







        TO FLUTE 2      pp





pp

 

         p

mf



p

           p

mf



p

 



 









Ob. 2









 









Cl. 1









 









Cl. 2









 

















