Anna Thorvaldsdottir
METACOSMOS for orchestra (2017)
Chester Music
Instrumentation Piccolo 2 Flutes Alto Flute 2 Oboes Cor Anglais 3 Clarinets in B Bass Clarinet in B R 4 Bassoons Contrabassoon 4 Horns in F 2 Trumpets in C 2 Trombones Tenor tuba (Euphonium) Bass Tuba Percussion (3 players with 2 bows) 1:
Large Tam-tam Large Bass Drum Large Bossed Gong
2:
Large Tam-tam Large Bass Drum
3:
2 Cymbals 2 Tom-toms Large Tam-tam Large Bass Drum Large Bossed Gong
Strings: Suggested division: Violin 1: upper staff desk 1–3, lower staff desk 4–7 Violin 2: upper staff desk 1–3, lower staff desk 4–7 Viola: upper staff desk 1–3, lower staff desk 4–6 Violoncello: upper staff desk 1–3, lower staff desk 4–5 Double Bass: upper staff desk 1–2, lower staff desk 3–4 *Basses should not outnumber Violas or Violoncellos.
Commissioned by the New York Philharmonic Society with the generous support of The Marie-JosĂŠe Kravis Prize for New Music. The first performance was given on 4 April 2018 at the Lincoln Center, New York City by the New York Philharmonic Orchestra, conducted by Esa-Pekka Salonen. Duration: c. 14 minutes The score is in C. Bass Clarinet is written at pitch. Double Basses require lower C extension. Orchestral parts are available on hire from the publisher.
Composer’s Note My music is written as an ecosystem of materials that are carried from one performer – or performers – to the next throughout the process of the work. As you play a phrase, harmony, texture or a lyrical line it is being delivered to you, passed on from another performer – performers – for you to carry on until it is delivered to another. All materials continuously grow in and out of each other, growing and transforming throughout the process. When you see a long sustained pitch, think of it as a fragile flower that you need to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquility with the necessary amount of concentration needed to perform the task. Anna
Notation Atmospheric indications are written for the conductor at selected places in the score. General When pitches are sustained/slurred through an extended period of time, breathe/bow as necessary, not synchronised. Former effect/sound/technique/indication gradually becomes the following one. All glissandos should be played/sung throughout the duration of the note value it is written by. For example, g slow glissando that at the beginning of the note and glissandos throughout the four beats of the note value. Similar with , faster glissando (depending on the destination of the following pitch). +
,
A small notehead above the stave indicates the note’s duration as reference during glissandos or other effects. This is applied for quarter note and a half note with stems only).
Accidentals apply to one measure at a time. When playing on tremolo (or flutter tongue) there should not be an accent on the beats where the pitches change or between measures – the tremolo should be even throughout the passages as they move between pitches and measures. Woodwind/Brass Wind/air sounds, no pitches sounding, the notehead is placed on the middle line of the staff. Written phrases played on air, resulting in slight changes of color to the sound. The airy quality should be prominent rather than the pitches. For oboes and cor anglais, phrases ‘on air’ are written with double tongue effect. Flutter tongue. Strings In lyrical and ‘expressive’ passages apply vibrato. In glissandos and for long sustained notes play senza vibrato. In other passages apply vibrato as desired. When indicated ‘lyrically with expression’ or ‘expressively’ it refers to the phrase until the next silence or until indicated with ‘ord.’. Place left hand (not only one finger) lightly on indicated string, around given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an un-pitched airy sound. The upper notehead indicates the airy technique, the small notehead below indicates the open string on which the technique is to be played. When the note head is indicated with a glissando, move hand up or down the string as indicated (this will produce vari( p ous harmonic colors to the airy sound as hand glissandos over the string(s)), for example: Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitched note would. Three tremolo lines refers to playing quick tremolo notes, rather than rhythmic 32nd notes.
Percussion Allow resonance of instruments to continue and do not stop or dampen unless otherwise indicated. Staff systems Both gongs have a separate designated staff. Percussion I & II: Tam-tam Bass Drum
Percussion III: Cymbal Tam-tam Bass Drum
Cymbal on bass drum – Between mm. 80 and 100 Perc. III places the unmuted cymbal on the skin of bass drum so that the edge of the cymbal rests steadily on the skin with the bell/curve facing up. This results in a muted, metallic sound that is subtly supported by the low resonance of the bass drum. Written on the lowest staff line. Tools
Large soft bass drum mallet (two each) t Medium soft bass drum mallet (two each Perc. I & II) Hard bass drum mallet (two each Perc. I & II) \ Large soft tam-tam mallet (two each) Wire brush (one each) Superball (one each Perc. I & II, two for Perc. III) B Hard yarn (two for Perc. III) : Bow (one each) + Hands Thick-haired wire scrubbing brush (Perc. II from m. 104) – Distorted white noise sound: sustain over skin of bass drum or surface of tam-tam as indicated in one quick stroke. There should not be an attack on the beat but rather the sound should be sustained (by the stroke of the brush against the skin/surface) without an initial attack. Bass Drums – Perc. II & III should place their drums horizontally. Between mm. 94 and 104 Perc. II places a few strips of thick wax paper on the skin of the bass drum for a slightly distorted sound when played. Please explore to find the ideal number of strips to apply to the drum for a subtle effect, while still keeping the attack and resonant qualities of the sound. Techniques When written with regular mallets, this refers to playing quick whirl/rolls rather than rhythmic 32nd notes. Sustained back and forth tremolo strokes on tam-tam for sustained distorted sound. mm. 44–49: Sustain with hands in back and forth strokes on skin of bass drum or tam-tam as indicated by playing simultaneously with both hands in continuous strokes for an airy ‘breathing’ effect. Muted cymbal (prepared with tape or similar on the edges) – from m. 117, indicated to perform on the edge (where the cymbal has been muted). In mm. 98–131 the percussion parts are driven by a very rhythmic texture that is leading in this section. Other parts of the percussion in the piece are often more textural in quality, so carrying and driving this section with a steady rhythmic quality is of importance.
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3
12 Picc.
Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
A
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
Perc. III
p
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
a2
p
p
a2
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a3 p
f
mf
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B§ q Bb h
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A§ h. Ab w
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A
Vln. I
Vln. II
Vla.
Vc.
Db.
4 4 4 4 4 4 4 4 44 44 4 4 4 4 4 4 4 4
p
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17
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Picc. p
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p a2 Fl. 1.2 p
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A. Fl. mp
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Ob. 1.2
C. A.
Cl. 1–3 mp 3
3
B. Cl. mp
a2
p
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a2 p
Cbsn.
stopped
Hn. 1–4
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pp
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mp
pp
pp stopped
mp
pp
pp
mp
pp
Tpt. 1.2 gliss.
Tbn. 1.2 pp
mp
pp
Ten. Tba. pp
mp
Bass Tba.
sustain superball on skin Perc. I p
p sustained circular strokes on surface
mp
p sust. superball on skin
sust. tremolo str. back and forth on skin
Perc. II mp
mp
sustained tremolo strokes back and forth on surface
p sust. tremolo str. back and forth on skin
mp
Perc. III
mp
mf sul pont.
mp
Vln. I
ord. senza s.p.
mp
sul pont.
mp 7 sul pont.
Vln. II
p
ord. senza s.p.
sul pont.
p ord. senza s.p.
p
ord. senza s.p.
mp
p
ord. senza s.p.
sul pont.
Vla.
mp
sul pont.
p
p
ord. senza s.p.
mf
p
p gl.
mp
p ord. senza s.p.
sul pont.
mp
mp
Vc.
sul pont. mp
Db.
3
mp 3
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gliss.
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ord. senza s.p. mf
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B
22 Picc.
Fl. 1.2 mp
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A. Fl. mp mp Ob. 1.2 mp C. A. mp Cl. 1–3 mp B. Cl. p
p
Bsn. 1–4
p Cbsn. p stopped
Hn. 1–4
pp stopped
mp
pp
pp
mp
pp
mp
pp
mp
pp
stopped
pp stopped
pp Tpt. 1.2 Tbn. 1.2
p
mp
Ten. Tba. p
pp Bass Tba.
p
sust. tremolo strokes back and forth on skin Perc. I mp sust. strokes back and forth on surface Perc. II mp
p
mp
sust. superball on skin
Perc. III mp
B gliss.
mp
Vln. I
mp
mp 3
Vln. II
mp
3
mp
mp
mp
p
gliss.
Vla.
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pq gliss.
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Db.
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Vc.
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25 Picc. mp
mp a2
flutter tongue
Fl. 1.2 mp
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mp
flutter tongue
A. Fl.
gliss.
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mp
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mp Ob. 1.2 mp C. A. mp flutter tongue Cl. 1–3
gliss.
mp
mp
p
p
B. Cl.
Bsn. 1–4
Cbsn.
stopped
Hn. 1–4
stopped
mp stopped
pp
mp stopped
pp
mp stopped
pp
mp
pp
mp stopped
mp stopped
mp stopped
mp
a2
Tpt. 1.2 mp
pp
Tbn. 1.2 p
mf
Ten. Tba. mp
p
mf
mp
p
mf
Bass Tba.
sustain
sim.
Perc. I p
mp
p
p
mp
p
mp sustain
Perc. II sustain
mp
p
sustain
mp
Perc. III p
gliss. Vln. I
mp
p
p
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gliss.
gliss.
p
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mf
gliss.
p
gliss.
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p
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Vln. II
mp
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mf
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p gliss.
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Vla.
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mf
Vc.
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Db.
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7
28 Fl. 1.2
gliss.
gliss.
gliss.
mf A. Fl.
gliss.
gliss.
gliss.
a2 double tongue Ob. 1.2 p
double tongue C. A. p Cl. 1–3 p
mf
B. Cl.
Bsn. 1–4
Cbsn.
open
pp
Hn. 1–4
pp
pp
pp
mp open
pp
mp open
pp
mp open
pp
mp
pp
Tpt. 1.2 mp
pp
Tbn. 1.2 p
mf
Ten. Tba. p
mf
p
mf
mp
Bass Tba. p
mf
sustain p
Perc. I
mp
p
mp sustain Perc. II mp
p
mp
mf
p sustain
sustain Perc. III p
p
mp
gliss.
gliss.
mp
gliss.
q gliss.
gliss.
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q
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gliss.
gliss.
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Vla.
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mf
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p
q
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q
q gliss.
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p q
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q gliss.
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p
mf
gliss.
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mf
Vc.
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q
q gliss.
gliss.
p
gliss. mf
gliss.
gliss.
gliss.
mf
Vln. II
gliss.
p q
gliss.
mf
gliss.
gliss.
mf
Vln. I
mp
p
gliss.
gliss.
p
q
gliss.
gliss.
mf
q
gliss. Db.
gliss.
mf
gliss.
gliss.
gliss.
gliss.
gliss.
p
q
q gliss.
gliss.
gliss.
gliss.
mf
p
gliss. gliss.
8
C
Industrial breath
31 Fl. 1.2
gliss. p
A. Fl.
gliss.
Ob. 1.2
C. A.
Cl. 1–3
p B. Cl.
a2
Bsn. 1–4
mp
f
mp
f
mp
f
mp
f
f
mp
f
mp
f
mp
f
Cbsn. mp
Hn. 1–4
f
mp
f
mp
f
mp
f
mp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
mp
pp
mp
pp
mp
pp
mp
a2
mp
mp
Tpt. 1.2 mp
pp
mp a2
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
f
mp
f
mp
f
Tbn. 1.2 p
mf
pp
mp
pp
p
mf
p
Ten. Tba. p
mf
p
p
mf
mf
Bass Tba. mf
p
mf
p
mf
p
mf
sustain mp
Perc. I
mf
p
sustain Perc. II mp
mf
mp
mf
mp
mf
p
sustain
Perc. III
p
mp
mf
p
mp
C
q gliss.
gliss. Vln. I
q
gliss.
gliss.
gliss.
mf
q
q
gliss.
gliss. mp
gliss. Vln. II
mf
q gliss.
q
gliss.
Db.
gliss.
gliss.
gliss.
mf
mp
gliss. mf
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
mp
gliss.
gliss.
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gliss.
gliss.
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gliss.
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p gliss.
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mp
p
gliss.
p
mp
gliss.
mf
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
mf
gliss.
q
q
gliss.
mf
gliss.
gliss.
gliss.
Vc.
gliss.
gliss.
q
q gliss.
gliss.
gliss.
mp
gliss.
p
gliss.
Vla.
gliss.
mp
q
q gliss.
gliss.
gliss.
gliss.
gliss.
mf
gliss.
gliss.
gliss.
gliss. mp
q
mp
mf
mp
f
mp
f
mp
f
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mp
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q gliss.
gliss.
mf
p
mp
f
mp
f
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f
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f
mp
f
9
36 Fl. 1.2 mp
p
mp
A. Fl. mp
p
mp
p
mp
mp
p
mp
p
mp
Ob. 1.2
C. A. mp
p
mp
p
mp
p
mp
Cl. 1–3 mp
p
mp
p
mp
p
mp
p
mp
p
mp
B. Cl.
Bsn. 1–4
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
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pp
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pp
Cbsn.
Hn. 1–4
Tpt. 1.2 mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
mp
pp
mp
pp
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
Tbn. 1.2 mp
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
Vln. I gliss.
gliss. Vln. II
mf
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
p q gliss.
gliss.
gliss.
gliss.
gliss.
Db.
mp
mp
p
mp
p
mp
gliss.
mp
p
mp
p
mp
p
mp
p
mp
p
mp
p
mp
f
q mp
p
mp
mf
p
mf
p
mp
p
mp
p
mp
p
p
mf
p
mf
p
mp
p
mp
p
mp
p
mp
f
mp
f
mp
f
mp
f
mp
mp
f
mp
f
mp
f
mp
f
mp
Vc.
p
gliss.
Vla. gliss.
mp
gliss.
mp
f
mp
f
mp
mp
f
mp
f
mp
f
f
mp
f
mp
f
mf
ff
f
mp
f
mp
f
mp
f
10
D
40
mp
on air, no pitch with determination mf p
p
On air with determination and despair mf
p
mf
p
Fl. 1.2 p
mp
p
mp
p
mp
p
mp
p
mf
on air, no pitch with determination
p
mf
p
mf
A. Fl. p mp
p
mp
p
p
mp
p
mp
p
p
mp
p
mp
p
mp
p
mp
f
mp
mf
mp
p
p
mp
p
mp
p
mp
p
mp
p
mp
f
mp
f
mp
mf
p
mp
f
mp
mf
p
mp
p
mp
p
mp
mp
mf
p
mp
p
mp
p
mp
mp
mf
mp
mf
p
mp
p
mp
p
mp
p
mf
p
mf
p
mf
Ob. 1.2
C. A. on air, no pitch with determination
Cl. 1–3 p
mf
p
p on air, no pitch with determination
mf
mf
p
mf
B. Cl.
Bsn. 1–4
p
mp
p
mp
p
mp
p
mf
p
mf
Cbsn.
on air no pitch p
mf on air no pitch
mf
Hn. 1–4
on air, no pitch with determination
sim.
p
mf
p
mf
p
mf
p
mf
p
mf
p
p
mf
p
mf
p
mf
p
mf
p on air no pitch
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
sim.
p
mf
p
mf on air no pitch p
mf p mf on air, no pitch with determination mf
p
mf
mf
on air, no pitch 1. with determination
Tpt. 1.2 pp
mp
pp
mp
pp
mp
gliss.
gliss.
mf
pp
gliss.
p
gliss.
mf p mf on air, no pitch 1. with determination
p
mf
p
mf
p
mf
mf
p
mf
p
mf
p mf p on air, no pitch with determination
mf
p
mf
p
mf
p
mf
Tbn. 1.2 pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
mf
mp
mf
p
mf
p
mp
p
mp
mf
mp
mf
p
mf
p
mp
mf
p mf p on air, no pitch with determination
Ten. Tba. p
mp
mf
Bass Tba. mf
p
Perc. I strokes back and forth on skin - breathing w. hands on surface Perc. II mf
D
on air, no pitch with determination
gliss.
gliss.
gliss.
gliss. mf
Vln. I
p
mp
p
mp
p
gl.
mp
p
p
mf
p
mf
p
mf
on air, no pitch with determination
gl.
gl.
mf
p
mf
p
mf
p
mf
gliss.
gliss. Vln. II
mp
p
mf
p
mp
mf
mp
p
mp
p
p
mp
p
mp
p
p
mp
mp
p mf p on air, no pitch with determination
p
mp
mp f mp on air, no pitch with determination
p
mp f on air, no pitch with determination
mf
p
mp
f
gliss.
gliss.
p
p
p
mp
f
mp
mf
p
f
mf
p
gl. p
mf
p
mf
p
mf
p
mf
p
mp
p
mp
p
gliss.
gliss. Vla.
p
mf
p
mf
gliss. p
mf
mp
p
mp
p
f
f
mp
mp
mf
mp
p
mf
mp
mp
f
mp
p
mf
p
mp
mp
p
gl.
p
mp
mf p on air, no pitch with determination
p
mp f on air, no pitch with determination
mp
f
mf
f
mf
p
mp
mp
f
mp
p
mp
mp
f
mp
p
mp
f
mp
p
mf
p
f
gl.
p
p
mp
mp
gliss. mf
p
mp
gl.
gliss. mp
mf
p
gl.
mf
p
mp
mf p on air, no pitch with determination
mp
f
mf
f
mp
f
gl.
gliss.
gliss. mf
p
gliss.
gliss.
gliss.
f
p
gliss.
gliss.
gliss.
gliss.
mp
mf
p
gliss.
gliss. f
mp
gliss.
gliss.
Vc.
p
mp
gliss.
mf
p
mf
p
mf
p
mf
mp
f
mf
p
f
on air, no pitch with determination
gliss. Db.
mp
f
mp
gliss. f
mp
f
mp
gliss.
f
p
mf
p
mf
mf
gliss. mp
f
mp
f
mp
f
mp
f
mp
p
mp f on air, no pitch with determination
mf
mf
mf
f
mp
f
mp
f
gliss.
f
p
mf
p
p
mp
f
mf
11 mf
45
p
mf
p
5 8 5 8
Fl. 1.2 p
mf
p
mf
p
mf
p
mf
A. Fl.
C. A. mf
p
mf
p
Cl. 1–3 3.
mf
p
mf
5 8 5 8 5 8 5 8
B. Cl. p
mf
p
mf
Bsn. 1–4
Cbsn.
Hn. 1–4
p
mf
p
mf
p
mf
p on air, no pitch with determination
mf
p
mf on air, no pitch with determination
p
p
p
5 8 5 8 5 8 5 8
mf
mf
p
mf
mf
p
mf
5 8
Tpt. 1.2 mf
p
p
mf mf
p
p
5 8 5 8 5 8
Tbn. 1.2 mf
p
mf
p
Ten. Tba. p
mf
p
mf
Bass Tba. p
mf
p
mf
back and forth strokes on surface - breathing w. hands on surface
5 8 5 8
Perc. I mf
mp
pp
mf
Perc. II mp
pp back and forth strokes on skin - breathing w. hands on surface
Perc. III mf
Vln. I
Vln. II
Vla.
Vc.
Db.
p
mp
pp
mp
f
mp
f
mf
p
mf
p
mf
p
mf
mp
f
mp
f
mf
p
mf
p
mf
p
mf
mf
p
mf
mp
f
mf
mp
f
f
mp
mp
f
p
p
f
mp
f
mp
mf
mf
f
mp
f
mp
f
mp
mp
f
mp
f
mp
f
mp
f
mp
f
f
mp
mf
p
mf
mf
p
p
mf
f
5 8 5 8 5 8 5 8 5 8 85
mf
5 8 5 8 5 8 5 8 5 8
p
p
mf
p
p
p
mf
mf
mp
p
mf
pp
mp
mf
mp
pp mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
f
p
mp
mp
f
f
p
p
f
mf
mp
mp
p
mf
mf
mp
p
mf
p
p
mp
f
mp
f
mp
f
mp
f
f
mf
p
mf
mp
p
mp
mf
p mp
mf
mp
mp
mf
mf
p
mf
p
mp
p
mf
p
mp
mf
p
mf
mp
p p
p
mf
mf
p
p
p
mf
mf
mf
mf
p mf
mp
p
mf
p
p
mf
p
mf
p
p
mf
mp
mf
p
p
mf
mf
mp
p
mp mf
mf
p
mp
p
mp
a2
mf
p
mf
p
p
mf
p
mf
p
mf
p
mf
p
mp
pp
4 4
4 4 4 4 4 4 4 4 4 4
p
p
p
4 4
4 4 44
p
p
mf
mf
4 4 4 4
4 4 4 4 4 4
mf
mf
4 4 4 4
4 4 4 4
mf
mp
p
mp
4 4 4 4 4 4 4 4
4 4 4 4 4 4
mf
p
p
p
mf mf
p
p
mf
p
p
p
p
mp
p
p
p
mf
4 4 4 4 4 4 mf
mf
4 4 4 4
p
p
mf mf
p
p
5 8 5 8 5 8
Ob. 1.2
1.2
mf
p
p
mp
pp
mf
mf
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
f
mf
p
mf
p
mp
f
mp
f
mf
f
f
mp
mp
mp
f
f
mp
f
pp mf
p
p
mf
p
mf
mp
p
mf
p
pp
mp
mf
mf
pp
pp mf
mp
pp
mp
p
p
mp
mp
f
mp
f
mf
mp
mp
p
f
p
mp
pp
mp
mp
mf
mf
mp
mf
mf
f
mp
mp
mp
mf
p
mp
p
f
mp
p
f
mp
f
mp
mp
f
mp
mp
f
mp
mp
f
f
f
mp
f
f
f
mp
mp
mp
f
mp
f
mp
f
mp
mp
mp
f
f
mp
f
12
E 49
Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
mf
mp
mf
mp
mf
mp
mf
mp
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba. mp
Perc. I mp
pp
Perc. II
Perc. III
E mp espress.
Vln. I
on A string gliss. pp
Vln. II
Vla.
Vc.
Db.
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mp
gliss.
13
53
3 4
Picc.
mp lyrically Fl. 1.2
3 4
B. Cl.
3 4
mp lyrically
3
Vln. I gliss.
gliss.
mp espress.
Vln. II
q
gliss.
gliss.
3
on A string gliss.
on D string
gliss.
gliss.
pp
3
mp espress.
Vla.
on D string
gliss.
on G string
gliss.
p on D string
p
Vc.
Db.
Fl. 1.2
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
p
4 4 4 4
3
3 4 3 4 3 4
4 4 4 4 4 4
3 4
4 4
3 4 3 4
4 4 4 4
3 4 3 4 3 4
gliss.
on G string gliss.
p
3 4 57
Picc.
4 4
4 4
4 4
gliss.
p
mp p
4 4
p
mp gliss.
p
gliss.
mp
p
4 4
p mp
p
p
4 4
mp
p
p
mp
p
p
4 4 4 4
p
p
(on E string)
Vln. I
Vln. II
Vla.
Vc.
Db.
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
gliss.
p
(on E string) gliss.
p
on A string gliss.
p
on A string
p
mp
mp
p
p
4 4 4 4 4 4
14
60
a2
Fl. 1.2 p
mp
A. Fl. p
p
a2 Ob. 1.2 p
p
C. A. p
p a3
Cl. 1–3 p
B. Cl. p
p
Bsn. 1–4
p Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
Perc. III
q
on A string gliss.
gliss.
on D string
q
gliss.
p Vln. I h
on A string
gliss.
q
(on D string)
gliss.
gliss.
p on D string
h.
on G string
gliss.
gliss.
gliss.
on D string
Vln. II
gliss.
(on A string)
gliss.
on D string
gliss.
p
on G string
q
gliss.
on G string
gliss.
gliss.
p Vla.
2 4 2 4 2 4 2 4
mp
2 4 2 4 2 4 2 4 2 4
4 4 4 4 4 4 4 4 4 4
2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
2 4 2 4 2 4
4 4 4 4 4 4
2 4
4 4
2 4
4 4
2 4 2 4
4 4 4 4
2 4
4 4
2 4
4 4
(on A string) gliss.
q
on D string gliss.
p
Violoncello solo
2 4 2 4
Vc. p
p
Db.
4 4 4 4 4 4 4 4
2 4 2 4 2 4
mp
5
4 4 4 4 4 4 4 4 4 4
15
64 Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
Perc. III
F Glimpses
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
mp
p
p
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
on air, no pitch
p on air, no pitch
on air, no pitch
p
p on air, no pitch
p on air, no pitch
p on air, no pitch
p on air, no pitch
p on air, no pitch
p
4 4 4 4 4 4 F
4 4 Vln. I
Vln. II
on A string
mp
4 4 4 4 44
(on E string)
mp
Vc.
Db.
4 4 4 4 4 4 4 4 4 4
gliss.
p (on A string)
gliss. p
p
4 4 Vla.
gliss.
mp
p
mf lyrically with expression
p (tutti) mp
p
p
p
mp
16
68 Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl. mp lyrically
Bsn. 1–4
Cbsn. mf
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I mp Perc. II
Perc. III
mp
(on A string)
on G string
gliss.
gliss.
mp
p
Vln. I (on D string)
gliss. p
p
p Vln. II
gliss. p
Vla.
gliss.
mp
p
gliss.
Vc.
gliss.
mf lyrically with expression
p
Db. gliss.
mp
17
72 Picc. p Fl. 1.2 mp
mp
A. Fl. mp 5
Ob. 1.2 mp
5
C. A. mp Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn. mf
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II mp Perc. III mp
divisi gliss. gliss.
mp
p
Vln. I
divisi gliss. gliss. mp
p
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
p divisi
gliss. gliss.
gliss. gliss.
p
Vln. II
gliss. gliss.
mp divisi
mp
mp divisi
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
mp
Vla.
divisi p
mp
gliss.
divisi
gliss. gliss.
gliss.
Db.
mp
p
Vc.
gliss. gliss.
gliss. gliss.
gliss.
gliss.
gl. gl.
gliss. gliss.
gliss.
gliss.
mp
gliss.
gliss.
gliss.
gliss.
18
G q = 90 76
(4+3)
7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4
Fl. 1.2 mp A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4
Hn. 1–4
Tpt. 1.2 on air, no pitch Tbn. 1.2 mp
mf
Ten. Tba.
Bass Tba.
7 4 7 4 7 4 7 4
Perc. I
Perc. II
Perc. III
G q = 90 p
Vln. I
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
Vln. II
gliss. gliss.
Vc.
mp
mp pizz.
mp
Db.
gliss. gliss.
gliss. gliss.
Vla.
p pizz.
f
mp
p
pp
f
mp
p
pp
f
mp
p
pp
on air, no pitch
mp
mf
mf
p
mp
pp
(4+3)
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
mp
mf
7 4 7 4 7 4 7 4 47 7 4 7 4
arco
mp
47
arco
p
p
mf
7 4 7 4
solo gliss. gliss.
gliss. gliss.
7
mf
mp
p
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
mp
gliss. gliss.
gliss. gliss.
gliss. gliss.
q gliss. gliss.
p
pizz.
f pizz.
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss. gliss.
p
mf
mp
arco
p
mp
arco
f
mp
f pizz.
p
f
mp
mf
p
pp
mp
arco
p
pp
pp
19
80 Picc.
Fl. 1.2 on air, with subtle pitch colors 7 A. Fl. mp
Ob. 1.2
7 4 7 4 47
6 4
7 4
6 4 6 4 6 4 6 4 6 4 6 4
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4
Hn. 1–4
Tpt. 1.2 sim. Tbn. 1.2 mp
mf
Ten. Tba.
Bass Tba.
6 4 6 4 6 4
Perc. I
Perc. II
Perc. III
Vln. I
gliss. gliss.
Vln. II
solo
7
mf
Vla.
Vc.
p
Db.
6 4 6 4 46
mf
mf
mf
mp
double tongue on air, with subtle pitch colors 5
mp
mf
on air, no pitch
mp
mf
on air, no pitch
mp
mf
double tongue on air, with subtle pitch colors
mp
5 4
7 4 7 4 7 4 7 4 7 4 7 4
5 4 5 4 5 4 5 4 5 4 5 4
7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4
5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4
7 4 7 4 7 4
mf
p
5 4 5 4 45
mp
sim. mp
mf
f
mf
5 4 5 4 5 4
6 4 6 4
7 4 7 4
5 4 5 4
6 4
7 4
5 4
6 4
7 4
5 4
6 4
7 4
5 4
6 4
7 4
5 4
6 4
7 4
5 4
7 4 7 4 7 4
5 4 5 4 5 4
6 4 6 4 6 4
mp
mp
20
83 (2+3) Picc.
Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
Perc. III
Vln. I
Vln. II
Vla.
Vc.
Db.
5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4
sim.
7
7 4 7 4 7 4 7 4 7 4
6 4 6 4 6 4 6 4 6 4
7
Cl. 1 on air, with subtle pitch colors
7 4 7 4 7 4 7 4 7 4
f
f
on air, no pitch
mp
mf
mp
on air, no pitch
mp
sim.
mf
sim. mp
5 4 5 4 5 4
7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4
5
mp
sim. mp
mf
mf
sim. mp
mf
mp
mf
mp
mf
7 4 7 4 7 4
mf
p
pp
sim.
sim.
7
6
6 4 6 4 6 4 6 4 6 4
4 4 4 4 4 4 4 4 4 4
6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
mp
mp
mf
mp
mf
mf
mp
mf
mp
mf
mp
mf
6 4 6 4 6 4
Violin I solo
7
4 4 4 4 4 4 4 4 4 4
4 4 4 4 4 4
f
5 4 (2+3) 5 4 5 4
7 4 7 4 7 4
5 4 5 4 45
7 4 7 4 47
6 4 6 4 46
5 4
7 4
6 4
4 4
5 4 5 4 5 4 5 4
7 4 7 4 7 4 7 4
6 4 6 4 6 4 6 4
4 4 4 4 4 4 4 4
f
p
f
p
7
mp
7
p
p
f
p
f
p
6 4 6 4 6 4
4 4 4 4 4 4
p
p
f
p
f
p
f
p
f
p
4 4 4 4 44
87 Picc.
Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
Perc. III
21
H Point of no return
4 4 4 4 4 4 4 4 4 4 4 4
on air, with subtle pitch colors (a 2)
pp
4 4 4 4 4 4
7
mp
mp
6
sim.
7
6
6
7
on air, with subtle pitch colors
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
6
mp
7
6
mp
mp
mf
mp
mf
mp
mp
mp
mf
mp
mf
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
place cymbal (the one that is not muted) on the skin of bass drum so that the edge of the cymbal rests steadily on the skin with the bell of the cymbal faced up
H
4 4 Vln. I
Violin I solo
4 4 4 4
Vln. II
4 4 4 4
Vc.
Db.
4 4 4 4 4 4
mp
p
mp tutti
4 4 4 4
7
p
44 Vla.
7
mf
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mp
mf
p
mp
mf
p
mp
mf
p
mp
mf
p
mp
mf
p
mf
p
mf
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
22
91 Fl. 1.2
A. Fl. a2
7
7
6
6
Ob. 1.2
C. A. 6
a3 Cl. 1–3 7
5
B. Cl.
Bsn. 1–4
Cbsn. mf
mp
Hn. 1–4
mf
mf
mp
mf
mf Tpt. 1.2
Tbn. 1.2 mp
mf
mp
mf
Ten. Tba.
Bass Tba.
Perc. I mf
Perc. II mf Perc. III
mp
mf
mp
mf
mp
mf
mp
Vln. I
mp solo
Vln. II
7
tutti
mf
mf
mf
p
mp
mp
mf
p
mp
p
mp
mp
mf
p
mf
p
mp
p
Vla.
mf
Vc.
Db.
p
mp
mf
p
mp
mf
p
mf
mf
p
p
mf
p
f
mf
p
mp
p
mp
p
mf
p
mp
mp
mp
mf
mf
p
mp
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
mf
23
95 Fl. 1.2 7
5
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn. mp
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba. p
mp
rhythmically Perc. I
place strips of thick wax paper on skin of bass drum for distortion effect when played Perc. II
Perc. III
mf
mp
mp
mp
mp
mp
mp
Vln. I
mp
mp
mp
f
p
mp
Vln. II
mf
p
mf
p
divisi mp
7
mf
Vla.
p
mp
f
mp
mf
mf
p
mf
p
mf
mf
p divisi
mf
p
mf
p
mf
p
mf
mp
mp
on G string gliss. mp
p
mf
mp
(on G string) gliss.
mf
Vc.
mp
on G string gliss. p
mf
mp
p
mp
mf
p
mp
mf
p
mp
f (on G string) gliss.
mf
mp
f
on A string gliss.
gliss.
Db.
f
p
f
p
mf
p
mp
mf
mp
f on A string gliss.
f
p
f
p
f
p
f
p
mp
f
f
24
I Rhythmic structures in a chaotic field 100
Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn. p
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
very rhythmic until m. 131 Perc. I f Perc. II very rhythmic until m. 131 play on the surface of cymbal that is placed on the skin of bass drum - for a muted metal sound that is supported by the low resonance of the bass drum - play on the cymbal on skin from the lowest staff line (bass drum line) until indicated to remove cymbal from skin
mp
Perc. III
Tom toms mf
I Vln. I
p
mp
p
p Vln. II
p
p
Vla.
p
Vc.
mp
mp
f
p
mp
mp
Db.
mp
mp
f
p
f
p
f
p
f
p
25
104 Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl. (a 2)
p 5
5
p
Bsn. 1–4
(a 2)
6 5
5
6
p 9
9
Cbsn. p
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I sustained stroke on surface of tam tam from center to edge in a quick motion with scrubbing brush - for distorted sound
sust. w. brush sim. distortion sound
very rhythmic until m. 131 Perc. II f
f
mp
Perc. III
mp
mf
p
mp
mf
mf
mf
mf
mp
Vln. I
mf
p
mp
Vln. II
f
mp
mp
mp
mf
mp
mp
Vla.
p
f
p
mp
f
mp
Vc.
mp
Db.
p
f
mp
f
mp
mp
f
f
p
f
p
f
p
f
p
mp
f
mp
mp
f
mp
f
mp
f
mp
f
26
108
7
Picc. p
5
6
5
Fl. 1.2 p
7
A. Fl. p
9 6
Ob. 1.2 p 5
5
7
5
9
C. A. p
6
Cl. 1–3 p 5
B. Cl.
5
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
3
Perc. I attack on skin, (with wax paper strips on skin) sust. w. brush
sust. w. brush Perc. II mf
f
Perc. III
mp
f
mp
mp mf
mf
mp
Vln. I
mf
pizz.
arco
mf
mp
mp
f
f
pizz.
mf
f
Vln. II
pizz.
p
mf
f gliss.
mp
Vla.
f
mp
mp
f
mp
mf
p
Vc.
mp
mf
mp
mf
mp
p
mp
Db.
f
gliss.
mp
f
mp
f
mp
27
J 111 Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl. p
mf
p
mf
p
Bsn. 1–4
p
mf
mf
p 5
5
p
6
5
5
6
p 9
9
Cbsn. p
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba. p
mf
Bass Tba. p
5
mf
3
3
Perc. I sust. w. brush sim, but on skin of bass drum
attacks
sim. attacks
sust. w. brush
mf
f
sim. attacks
Perc. II mf
f
mp
Perc. III
mp
mp
mf
J
mp
mf
mp
mf
mf
mf
pizz.
on A string
arco gliss.
gliss.
f
pizz. mp
Vln. I
mp
f
f arco
mp
mp
arco
gliss.
Vln. II
gliss.
mf
mp
gliss.
p
mp
arco
pizz.
mf
mf
mp
f
gliss.
mp
mp
arco
mp
mp
f
mp
mf
pizz.
p
arco
gliss.
mp
mp
mf
f
Vla.
p
mp
pizz.
arco mf
f pizz.
arco gliss.
mf
Vc.
f
mf
gliss.
gliss. p
mf
p
mf
p
divisi
mp
gliss.
mp
Db. gliss.
gliss.
p
gliss. mp
gliss.
p
28
116 Picc. 7
p 6
5
Fl. 1.2 p
7
A. Fl. p
p
9
6
Ob. 1.2 p
5
5
5
7 9
C. A. p
6
Cl. 1–3 p 5
B. Cl. p
5
mf
Bsn. 1–4
p
mf
p Cbsn. p
mf
Hn. 1–4
Tpt. 1.2
Tbn. 1.2 p
mf
p
mf
Ten. Tba. p
mf
p
mf
p
mf
Bass Tba. p
mf
Perc. I sust. w. brush
attacks
sust. w. brush
3
sim. attacks with mallets
sust. w. brush
attacks
Perc. II mf
mf
f
on muted cymbal dampen after attack
mf
f
on muted cymbal dampen after attack
on muted cymbal dampen after attack
sustain superball on skin
Perc. III
mp
mp
mp
mf
mf
mp
mf
mp
mp
mf
mf
gliss.
gliss. pp
Vln. I
p
mf
mf
pp
p
pp
mp
f
gliss.
gliss.
gliss.
p
pp
p
gliss.
Vln. II
mf
pp
mf
mp
mf
p
gliss.
p
gliss.
mf
mp
p
mp
mf
p
gliss.
Vla.
mf
p
mf
p
mf
p
mf
mp
p
mf
p
gliss. p
Vc.
mp
mp
f
pizz.
mp
mf
p
mp
p
mp arco
p
mf gliss.
mf
p
mf
gliss.
p
mf
p
mf
p
mp
p
mf
gliss.
Db.
gliss.
p
mf
p
mf
p
mf
p
gliss.
p
mf
p
mf
p
mf
29
K
120 Picc. 5
Fl. 1.2
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
p
6
gliss.
p A. Fl.
gliss.
Ob. 1.2
C. A.
Cl. 1–3
gliss. p
B. Cl. p
Bsn. 1–4
p
mf
p
mf
mf
p
mf Cbsn. p
mf
p
mf
mf
mf
Hn. 1–4
mf
mf
mf
mf
mf
mf
Tpt. 1.2 Tbn. 1.2
Ten. Tba. p
mf
p
mf
p
mf
Bass Tba. p
5
5
p
mf
mf
5
p
sustain superball on skin
5
mf
attacks
Perc. I sustain superball on skin
sust. w. brush
mf
attacks
3
f
sim. attacks
sust. w. brush
3
3
3
Perc. II mf on muted cymbal dampen after attack
f
Perc. III
mp
mp
mf
Vln. I
mf
p
p
mf
f
on muted cymbal dampen after attack
f
on muted cymbal dampen after attack
3
mp
mp
on muted cymbal dampen after attack
3
mp
mf
mf
K
f
mf
mf
f
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
mp
pizz.
f
mp
mf
mp
mf pizz.
mp
f
mp
arco
arco
gliss. p
pizz.
Vln. II
mf
Vla.
pizz.
arco
arco
p
mp
p pizz.
mf
mf arco
mf
p
mf
p pizz.
mf
p
mf
p
mf
mf
p
mf pizz.
mp
arco p
f
mf
mf
arco
q
gliss. p
mf
mf
p
mf
mp
p
mf
mf pizz.
p
pizz.
mf
mf
mf
p
mf
p
p
p
p arco
mf
p
mf
p
mf
p
p
mf
mp
mf
mp
mf
p
mf
mp
mf
mf
p
mf
mp
mf
mp
gliss.
gliss.
p
mf
mp
mf
mf arco
mf
arco
pizz.
Db.
p
gliss.
gliss.
Vc.
p
mf
mf
p
mf
mf
gliss. p
p
mp
mf
mp
mf
30
124 Picc.
gliss.
Fl. 1.2
gliss.
gliss.
gliss.
gliss.
mp
q A. Fl.
gliss.
gliss.
gliss.
gliss.
mp Ob. 1.2
gliss.
gliss.
p C. A.
gliss.
gliss.
gliss.
p Cl. 1–3
gliss.
gliss.
gliss.
B. Cl. p
Bsn. 1–4
p
mf
mf
mf
p
p
mf
p
mf
p
mf
p
p
mf
p
mf
p
mf
Cbsn. p
mf
mf
mf
mf
Hn. 1–4
mf
mf
mf
mf
mf
mf
mf
Tpt. 1.2 mf
mf
mf
Tbn. 1.2 p
mf
p
mf
p
mf
p
mf
Ten. Tba. p
mf
p
mf
Bass Tba. p
mf
p
mf
p
mf
sustain superball on skin Perc. I mp
ff
sust. w. brush
attacks
Perc. II
Perc. III
on muted cymbal dampen after attack
f
mp
mf
mp f
mf
mf
f
f pizz.
Vln. I
Vln. II
mf
mp
mf
mp
mf
mf pizz.
mp
mf
mp
mf
arco
f
mp
mf
arco
f
pizz.
mf
mp
mp
mf
mp
mf
mp
f
mp
mf
mp
mf pizz.
mp
arco
mp
mf pizz.
on muted cymbal dampen after attack
ff
mp
mf
arco
mp
mf
mp
mf
arco
mp
mp
mp pizz.
mf
q
gliss. Vla.
mf
mf
p
mf
mp
mf
mp
mp
mf
mp
mf
mf
mp
mf
mp
mf
mp
mp
mf
mp
mf
mp
mf
mp
mf
mf
mp
mf
mf
f
gliss.
Vc.
pizz.
mp
arco
f
gliss. mp gliss.
mp
pizz.
mp
mf
mp
f
mp
mf
mp
mf
f
arco
gliss.
gliss. Db.
mp
mp
mp
f
mp
f
mp
mf
mp pizz.
f
mf
p
31
127 Fl. 1.2
gliss.
gliss.
A. Fl.
gliss.
gliss.
Ob. 1.2
gliss.
gliss.
gliss.
gliss.
mp C. A.
gliss.
mp Cl. 1–3
gliss.
mp
B. Cl.
Bsn. 1–4
mf
p
mf
mp
f
mp
mf
p
mf
mp
f
mp
p
mf
mp
f
mp
f
p
mf
mp
f
mp
f
Cbsn.
Hn. 1–4
mf
mf
mf Tpt. 1.2 mf Tbn. 1.2 p
p
mf
mf
p
mf
p
mf
Ten. Tba. p
mf
p
mf
p
mf
p
mf
p
mf
p
mf
Bass Tba. p
mf
3
p
mf
5
Perc. I sim. attacks with mallets
sust. w. brush Perc. II f
ff
sustain 2 superballs on skin back and forth as needed
attack on skin
remove cymbal from skin of bass drum Perc. III
f
f
Vln. I
Vln. II
Vla.
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mp
mf
mp
mf arco
mp
mf
mp
mf
mp
mf
mp
mf
mf
mp
mf
mf
mp
mf
pizz.
mp arco
pizz.
mp
on D string
arco
gliss.
f
Vc.
mp
mp
f
mf pizz.
f
mp
mf
mf
arco
gliss.
mp
Db.
mf pizz.
mf
mp
f
mp
f
mp
mp
mf
mp
mp
mf
mp
mf
mf
mp
mf
arco
mp
f
f
arco
mp
mf
mf
mp
f
mp
p pizz.
f
mf
arco mp
32
130 Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
f
mp
f
mp
f
mp
f
mp
mp Cbsn. mp
f
mp
Hn. 1–4
Tpt. 1.2
Tbn. 1.2 mp
f
Ten. Tba. mp
f
mp
f
mp
f
mp
f
Bass Tba.
7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4
a2
mf
mf
mf
mf
f
mp
f
mp
f
f
mp
f
mp
f
mp
ff
f
mp
f
mp
f
mp
ff
f
mp
f
mp
f
Perc. II
Perc. III f
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
f
f
f
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
mp
f
sustain superball on skin - back and forth as needed for sustained sound
7 4 7 4 7 4
Perc. I
Cl. 1 Bb Cl. 2, 3 F
mf
as loud as possible sustain superball on skin - back and forth as needed for sustained sound - with subtle distortion effect f
as loud as possible
ff
7 4 Vln. I
Vln. II
Vla.
mp
f
mp
f
mp
f
mp
f
mf
mp
f
mp
7 4 7 4
mp
f
mp
mp
f
mp
f
mp
f
mp
gliss.
Vc. on D string
mf
gliss.
mf on D string
p
mf
Db. on D string
mf
gliss.
gliss.
7 4 7 4 7 4 7 4 7 4 7 4
4 4 4 4 4 4 4 4
mp
f
mp
f
mp
mp
f
mp
f
f
f
mp
f
7 4 f
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
f
mp
mp
f
f
f
4 4 4 4
f change bow where necessary not synchronized
4 4
f
4 4
mf
4 4
change bow where necessary not synchronized
f
mp
f on G string
gliss.
gliss.
ff on G string
gliss.
4 4
gliss.
ff on A string
gliss.
gliss.
ff gliss.
ff
on A string gliss.
4 4 4 4 4 4
33
L q = 45 Beyond - arriving on the other side
132 Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2 Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
Perc. III
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
f
mp
f
mp a2
f
mp
f
a3
mp
f
mp
f
mp
f
mp
mf
p
mf
p
mf
p
mf
p
f
mp
f
mp
p
f
mp
p
f
f
attack - bass drum and tam tam
f
change bow where necessary not synchronized
L q = 45
4 4 Vln. I
4 4 4 4 Vln. II
4 4 4 4
Vla.
4 4 4 4
Vc.
44 4 4
Db.
4 4
mp
ff change bow where necessary not synchronized
ff
mp
change bow where necessary not synchronized
ff
mp
ff
f
mp
change bow where necessary not synchronized
ff
f
ff change bow where necessary not synchronized
mp
f
mp
mp divisi
ff
f change bow where necessary not synchronized
on C string
mp
divisi
gliss.
ff
f
change bow where necessary not synchronized
mp
divisi
ff
f
mp
change bow where necessary not synchronized
on C string (E) gliss.
ff
f
mp
34
q = 50 M
137
2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Perc. I
2 4
4 4
Perc. II
2 4
4 4
Perc. III
2 4
4 4
Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
q = 50 M
p Vln. I
p
p
p
p
Vln. II
p
p
p
Vla.
p
p Vc.
on G string gliss.
p
p Db.
p
2 4
4 4
2 4
4 4
2 4
4 4
2 4
4 4
2 4
4 4
2 4
4 4
2 4
4 4
42
44
2 4
4 4
2 4
4 4
lyrically with expression
mf
35
144
on air, with subtle pitch colors
sim.
6
7
7
6
Fl. 1.2 on air, with subtle pitch colors
mp
sim.
A. Fl. mp
7
5
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
bow edge of tam tam light bow pressure ethereal airy effect Perc. I p
mp
bow edge of tam tam light bow pressure ethereal airy effect
p
Perc. II p
bow edge of tam tam light bow pressure ethereal airy effect Perc. III p
on A string
mp
p
on D string
gliss.
gliss.
mp Vln. I on A string
on D string
gliss.
on D string gliss.
gliss.
mp
mf lyrically with expression
Vln. II
mf lyrically with expression
Vla.
mf lyrically with expression
p
Vc.
Db.
p
p
p
mf lyrically with expression
mf lyrically with expression
36
149
5
Fl. 1.2
A. Fl. 7
6
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
on air, no pitch mp on air, no pitch
Hn. 1–4
on air, no pitch
mp
mp on air, no pitch mp
on air, no pitch
Tpt. 1.2 mp on air, no pitch Tbn. 1.2 mp
on air, no pitch
Ten. Tba. mp
on air, no pitch
Bass Tba. mp
sim.
attack
Perc. I p
mp
p
mp
Perc. II mp
p
Perc. III
on G string gliss.
mf lyrically with expression
Vln. I
p
p
p
Vln. II
ord. on C string gliss.
Vla.
gliss.
mp
mf lyrically with expression
on C string gliss.
mp
Vc.
p
mp
mp
gliss. mp
Db.
p
mp
mp
p
37
154
7
6
Fl. 1.2
A. Fl. 5
Ob. 1.2
C. A.
Cl. 1–3
B. Cl. mp
Bsn. 1–4
Cbsn.
on air, no pitch mp
Hn. 1–4
on air, no pitch mp
on air, no pitch mp
on air, no pitch mp
Tpt. 1.2 on air, no pitch Tbn. 1.2 mp
on air, no pitch
Ten. Tba. mp Bass Tba.
bow edge light bow pressure Perc. I p
mp
p
Perc. II
attack
sim. Perc. III p
mp
p
mp
(on D string)
gliss. p
pp
p
Vln. I
Vln. II
mp
p
gliss.
p
mp
Vla.
p
mf lyrically with expression
Vc. (on G string)
gliss.
on D string
mp Db.
gliss.
on A string gliss.
38
q = 45
N
158 on air, no pitch Fl. 1.2 mp on air, no pitch A. Fl. mp Ob. 1.2
C. A. on air, no pitch Cl. 1–3 mp on air, no pitch B. Cl. mp
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
bow edge light bow pressure
attack
mp
Perc. I
p
bow edge light bow pressure
mp
p
sim.
Perc. II p
mp
p
p
bow edge light bow pressure
mp
p
sim.
Perc. III p
mp
p
p
mp
p
N
q = 45 mp
Vln. I
p
mp
p
mp
Vln. II
Vla.
mp
p
p
p
p
p
divisi
Vc.
p
(on A string) senza vib.
Db.
p
2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
2 4 2 4 2 4
4 4 4 4 4 4
mp
2 4
4 4
2 4
4 4
2 4
4 4
2 4
4 4
p
2 4
4 4
42
44
2 4
4 4
2 4
4 4
42 2 4 2 4
(on C string) senza vib. p gliss.
44 4 4 4 4
39
163 Fl. 1.2
A. Fl.
Ob. 1.2
C. A.
Cl. 1–3
B. Cl.
Bsn. 1–4
Cbsn.
Hn. 1–4
Tpt. 1.2
Tbn. 1.2
Ten. Tba.
Bass Tba.
Perc. I
Perc. II
Perc. III
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
sim.
p
Violin I solo senza vib.
Vln. I
4 4
senza vib.
on air, no pitch gliss.
4 4
senza vib.
on air, no pitch gliss.
gliss. mp
4 4
Db.
44 4 4
gliss.
p
(on D string) senza vib. gliss.
(on G string) senza vib.
gliss.
p (on C string) senza vib.
4 4
44
gliss.
p
gliss. p (on G string) senza vib.
4 4 Vc.
(on A string) senza vib.
on air, no pitch
44 Vla.
all except solo al niente
p
mp
4 4 Vln. II
p
gliss.
p
pp
mp
gliss.
on air, no pitch gliss.
gliss. p
mp on air, no pitch gliss.
sim.
mp
mp
gliss.
gliss. on air, no pitch gliss.
sim. gliss.
mp
mp
on air, no pitch gliss.
mp