Corigliano ONE SWEET MORNING

John Corigliano

ONE SWEET MORNING for Mezzo-Soprano and Orchestra

From the G. Schirmer Rental Library Date of Printing ________________

G. Schirmer, Inc. New York, NY

John Corigliano

ONE SWEET MORNING for Mezzo-Soprano and Orchestra

co-commissioned by the New York Philharmonic, Alan Gilbert, Music Director and the Shanghai Symphony Orchestra, Long Yu, Music Director

for The Serge Koussevitzky Music Foundation in the Library of Congress, and dedicated to the memory of Serge and Natalie Koussevitzky

G. Schirmer, Inc. New York, NY

Instrumentation 3 Flutes (3rd doubling Piccolo) 3 Oboes 3 Clarinets in B= (1st and 2nd doubling Clarinet in A; 3rd doubling Bass Clarinet and Clarinet in E=) rd 3 Bassoons (3 doubling Contrabassoon) 4 Horns in F 3 Trumpets in C* 2 Trombones Bass Trombone Tuba Timpani Percussion (4 players) Piano (doubling Celesta) Harp Solo Mezzo-Soprano Strings

duration circa 28 minutes

*Trumpets are seated separately for movement II, with Trumpet 1 at center (stand position), Trumpet 2 at hard right, and Trumpet 3 at hard left; 2 and 3 go to regular positions at movement III.

Program Note When Alan Gilbert asked me to write a work commemorating the 10th anniversary of “9/11,” I frankly had no idea what to do. I did know what not to do, and that was to write a piece of abstract orchestral music. Alan wanted a large-scale work – approximately a half hour in length. While I could see writing an orchestral meditation, I could not see extending that to a half-hour (Mahler notwithstanding.) And if I wrote a work that had meditative sections, but also dramatic and extroverted sections, then I would fall into a terrible trap. So many in the audience of this piece will have images of the frightful day itself—jet liners crashing into the World Trade Center, people jumping to their deaths from the top of the buildings, and the final collapse of the towers themselves—burned into their retinas. How can one hear music of any dramatic surges without imagining these events accompanying the music—or vice versa? Inevitably, the piece would become a tone poem of that unimaginable day – something I never intended and did not want. Yet how could I instruct the audience to ignore their own memories? Obviously, then, I needed to write a piece with words. I needed other images both to refute and complement the alltoo-vivid ones we’d bring with us into the concert hall. But which images: and how would they pertain to the subject, as well as each other? The answer was as obvious as it was dispiriting. Ten years later, that day is more calmly remembered as just one in a continuum of terrible days. September 11th, 2001 was discrete and specific: but war and its anguishes have been with us forever. I needed a cycle of songs that would embed 9/11 into that larger story. So I chose four poems (one of them part of an epic poem) from different ages and countries. The first poem— Czeslaw Milosz’s “A Song on the End of the World,” written in Warsaw in 1944— sets a tranquil scene: a vista of serenity that still hints at the possibility of chaos to come. The poet’s descriptions of everyday matters turn chilling when he notes, “No one believes it is happening now.” My setting for these words is hushed and motionless, never rising in volume and intensity. Shattering the calm is the second poem: that portion of Homer’s Iliad chronicling a massacre led by the Greek prince Patroclus. Each kill is described in detail; the music, too, strives for the brutal and unsparing. “War South of the Great Wall,” by the 8th century poet Li Po, follows. Its cool, atmospheric language views a bloody battle from a great remove: warriors seem to “swarm like armies of ants.” The narrator’s poise collapses only when she reveals “my husband—my sons—you’ll find them all there, out where war-drums throb and throb.” Her anguish, and the battle that is its cause, surge in an orchestral interlude, climaxing with the orchestra alone meditating on the narrator’s themes. The orchestra, diminishing in intensity, introduces the poem that gives the cycle its name: “One Sweet Morning,” by E. Y. “Yip” Harburg, a name that might surprise audiences who know it principally from his sparkling lyrics for such plays and movies as “The Wizard of Oz” and “Finian’s Rainbow.” But Harburg also wrote a few volumes of light and not-so-light verse, and it was in one of those that I came upon this deep and tender lyric. “One Sweet Morning” ends the cycle with the dream of a world without war – an impossible dream, perhaps, but certainly one worth dreaming. In this short poem, Harburg paints a beautiful scene where “the rose will rise...spring will bloom...peace will come...one sweet morning.” — John Corigliano

Texts A Song on the End of the World

Patroclus

On the day the worlds ends

Patroclus—

A bee circles a clover,

soon as the fighter cut their front battalions off

A fisherman mends a glimmering net.

he swerved back to pin them against the warships,

Happy porpoises jump in the sea,

never letting the Trojans stream back up to Troy

By the rainspout young sparrows are playing

as they struggled madly on—but there mid-field

And the snake is gold-skinned as it should always be.

between the ships, the river and the beetling wall Patroclus kept on sweeping in, hacking them down,

On the day the world ends

Making them pay the price for Argives slaughtered.

Women walk through the fields under their umbrellas,

There, Pronous first to fall—a glint of the spear

A drunkard grows sleepy at the edge of a lawn,

and Patroclus tore his chest left bare by the shield-rim,

Vegetable peddlers shout in the street

loosed his knees and the man went crashing down.

And a yellow-sailed boat comes nearer the island,

And next he went for Thestor the son of Enops

The voice of a violin lasts in the air

cowering, crouched in his fine polished chariot,

And leads into a starry night.

crazed with fear, and the reins flew from his grip— Patroclus rising beside him stabbed his right jawbone,

And those who expected lightning and thunder

ramming the spearhead square between his teeth so hard

Are disappointed.

he hooked him by that spearhead over the chariot-rail,

And those who expected signs and archangels’ trumps

hoisted, dragged the Trojan out as an angler perched

Do not believe it is happening now.

on a jutting rock ledge drags some fish from the sea,

As long as the sun and the moon are above,

some noble catch, with line and glittering bronze hook.

As long as the bumblebee visits a rose,

So with the spear, Patroclus gaffed him off his car,

As long as rosy infants are born

his mouth gaping round the glittering point

No one believes it is happening now.

and flipped him down face first, dead as he fell, his life breath blown away.

Only a white-haired old man, who would be a prophet

And next he caught Erylaus closing, lunging in—

Yet is not a prophet, for he’s much too busy,

he flung a rock and it struck between his eyes

Repeats while he binds his tomatoes:

and the man’s whole skull split in his heavy helmet,

There will be no other end of the world,

down the Trojan slammed on the ground, head-down

There will be no other end of the world.

and courage-shattering Death engulfed his corpse.

– Czeslaw Milosz Warsaw, 1944 (translated by Anthony Milosz)

Then in a blur of kills, Amphoterus, Erymas, Epaltes, Tlepolemus son of Damastor, and Echius and Pyris, Ipheus and Euippus and Polymelus the son of Argeas— he crowded corpse on corpse on the earth that rears us all.

The text to “A Song on the End of the W orld” by Czeslaw Milosz and translated by Anthony Milosz is used by permission of the W ylie Agency.

– Homer The Iliad (translated by Robert Fagles) The text excerpted from THE ILIAD by Homer as translated by Robert Fagles is used by permission of Georges Borchardt, Inc.

War South of the Great Wall

One Sweet Morning

Delirium, battlefields all dark and delirium,

Out of the fallen leaves the autumn world over,

convulsions of men swarm like armies of ants.

Out of the shattered rose that will smile no more, Out of the embers of blossoms and ashes of clover

A red wheel thickened air, the sun hangs

Spring will bloom – one sweet morning.

above bramble and weed blood’s dyed purple, Out of the fallen lads the summer world over, and crows, their beaks clutching warrior guts,

Out of their flags plowed under a distant shore,

struggle at flight, grief-glutted, earthbound.

Out of the dreams in their bones buried under the clover, Peace will come – one sweet morning.

Those on guard atop the Great Wall yesterday became ghosts in its shadow today. And still,

“One sweet morning The rose will rise

flags bright everywhere like scattered stars,

To wake the heart

the slaughter keeps on. War-drums throbbing:

And make it wise!”

my husband—my sons—you’ll find them all

This is the cry of life the winter world over,

there, out where war-drums throb and throb.

“Sing me no sad amen, but a bright encore!” – Li Po

(translated by David Hinton)

For out of the flags and the bones buried under the clover, Spring will bloom Peace will come

The text from “W ar South of the Great W all” by Li Po as translated by David Hinton is used by permission of New Directions Publishing Corporation.

One sweet morning – One sweet morning. – E. Y. “Yip” Harburg The text to “One Sweet Morning” by E. Y. “Yip” Harburg is used by arrangement with Glocca Morra Music Corporation.

for Alan Gilbert and the New York Philharmonic

ONE SWEET MORNING

SCORE IN C

Czeslaw Milosz Hushed, calm q = 52

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I. A Song on the End of the World

John Corigliano

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Copyright © 2011 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. Schrimer Rental Library 2 Old Route 17 Chester, NY 10918 SUPPLIED ON LOAN ONLY

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4 Œ 4 œ œ œ™ œ œ Hap -py por -pois -es

œ #œ œ .

≈#œ b˙

œ Œ nœ œ

b˙

œ bœ œ™ j bœ ˙

3

jump in

the sea.

By the

rain -spout

3 2 ˙

&

4 4

4 ˙ bœ 4

Œ

young spar -rows are play - ing

∑

4 4

∑

∑

∑

∑

∑

∑

4 4

∑

∑

∑

∑

∑

And the

∑

3 2

∑

4 4

∑

3 2

∑

4 4

(1st stand)

4 ~w 4

~w

~w

~w

~w

~w

3 ~™ 2 w™

4 4

(2nd stand)

4 ~w 4

~w

~w

bw~

w~

w~

3 2 w~ ™™

4 4

∑ (1st stand, con sord.)

(2nd stand, con sord.)

? ~™ w™

?

w w

∑

? ~w™™

¢

w w

∑

(le altre)

Cb.

#w bw

rall.

B

?

∑

4 4

∑

B ~™ w™

Vc.

∑

w™ 3 w™ 2

∑

B w~ ™™ Va.

∑

w w

∑

glim - mer -ing net.

&

∑

w w

4 4

5

Vn. II

∑

nw w

∑

& œ #œ œ #œ #œ w

° Vn. I &

∑

(P)

&

Mez.-Sop.

∑

(sim.)

pp

?

Hp.

w w

4 4

(3rd stand, con sord.)

w~ ™™ ∑

4 4

∑

∑

∑

∑

∑

∑

3 2

∑

4 4

4 n ~w 4

~w

~w

##~w

~w

~w

3 ~™ 2 w™

4 4

4 n~ 4nw

w~

w~

nw~

w~

w~

3 2 w~ ™™

4 4

4 4 bbw~

w~

w~

bbw~

w~

w~

3 2 w~ ™™ 3 2

4 4

4 4

∑

∑

∑

∑

∑

∑

∑

4 4

4 q = 52

28

° 4 1 &4 2

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

3

4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

1 2

4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Bs. Cl.

?4 4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

?4 4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

?4 4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

1 2

° 4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

3 4

4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

1

4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

2 3

4 &4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

1 2

?4 4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Bs. Tbn. Tba.

?4 ¢ 4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Timp.

?4 4

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Ó

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Ó

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Ó

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Fl. 3

1 2 Ob.

Bb Cl.

1 2 Bn. 3

¢

F Hn.

C Tpt.

Tbn.

(Vib.)

° 4 U 1 & 4 nw U (Vib.) b w b 4 w 2 &4 Perc.

Hp.

j œ‰Œ œœ J ‰Œ

w w

j œœ ‰ Œ

(Vib.)

4 U 3 &4 w w 4 U ∑ 4 ¢/ 4

Cel.

w w w

∑

w 4 bU &4bw p w ? 4 nU w 4 w

w w

bU w b w 4 &4

w w

{

∑

œœ ‰ Œ J œœ ‰ Œ œ J œœ J ‰Œ

Ó

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Ó

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

Ó

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

w w w

j œœ ‰ Œ œ

Ó

∑

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

œ ˙™

œ bœ œ œ œ œ

∑

∑

∑

∑

∑

∑

5 4

∑

4 4

œ‰Œ Ó J

∑

5 4

∑

4 4

∑

∑

5 4

∑

4 4

w w w

p

{

4 &4

U nw w w pp

˙ ™ nœ 4 bU &4

Mez.-Sop.

snake

° 4 Vn. I &4 Vn. II

Va.

is

gold -skinned

w

as it should al -ways be.

q = 52

-j 

tutti (con sord.)

U ∑

∑

Œ œ #˙

∑

˙

Ó

œ œ #œ b œ b œ

œ

pp

4 &4

U ∑

B 44

U ∑

∑

∑

∑

∑

∑

bœ œ œ bw ∑

tutte (con sord.)

∑

∑

∑

œ ˙™

w

w

w

pp

Vc.

w w w

œœ œ‰Œ J

pp

Cb.

¢

?4 4

U ∑

∑

Ó

∑

œ‰Œ Ó J

tutti, con sord.

3 soli, con sord.

U ? 4 nw w 4 w

∑

∑

∑

∑

#œ #˙ ™

-j œ

bœ

5 œ #œ 4 ˙

Ó

œ #œ nœ bœ ˙™

pp

∑

∑

∑

∑

∑

∑

∑

∑

-

˙™

5 #œj 4 œ #œ b˙ b œ 5 ∑ 4

4 4 4 4 4 4

5 39

q = 66

° 4 1 &4 2

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1 2

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

Bs. Cl.

?4 4

U ∑

5 4

∑

4 Ó 4

˙

˙

∑

∑

∑

pp

4 4

∑

n

3 2

3 2

?4 4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

?4 4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

° 4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

4 4

∑

3 2

3 4

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

2 3

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1 2

?4 4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

Bs. Tbn. Tba.

?4 ¢ 4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

Timp.

?4 4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1

° 4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

4 ¢/ 4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

?4 4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

4 &4

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

U ∑

5 4

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

Fl. 3

1 2 Ob.

Bb Cl.

1 2 Bn. 3

1 2

¢

to Bb Clarinet

Ó n

2.

Ó

F Hn.

C Tpt.

Tbn.

2 Perc. 3

4

Cel.

Hp.

{ {

4 &4

U p 4 5 &4 Ó œ œ 4 ˙

Mez.-Sop.

On the

bœ bœ 44 #˙ ™ œ

day

the world

ends

˙˙ ™™

˙˙

w w

Œ

œ #œ #œ J

œ

j œ #˙

3 2

Ó

b˙

˙

n

pp

œ œ œ œ œ™ n œj ˙

Ó

n

3 3 j 4 2 Œ ‰ bœj œ #œ Œ ‰ œ 4 bœ œ Œ ‰ nœ œ 2

Wo -men walk through the fields un -der their um - brel - las,

A drunk -ard

grows

slee -py

at the

q = 66 div.

° 4 Vn. I &4

U w w

n

pp

5 4

4 4

w w

w w

w w

3 2

˙˙ Ó

Ó

4 4

∑

3 2

Ó

Ó

4 4

∑

3 2

n

div. (con sord.)

4 U & 4 bw w

Vn. II

n

5 4 ˙˙ ™™

Vc.

4 w 4 w

w w

w w

3 2 ˙˙

w w

pp

U B 44 w div. ?4 U 4 nw w

Va.

˙ ˙

5 4 œj ‰ Œ Œ Ó

4 4

5 4 ˙˙ ™™

4 4 w w

˙˙

∑

∑

∑

∑

Cb.

¢

?4 4

5 4

∑

3 ™ 2 bbw w™

4 w 4 w

pp

w w

w w

3 2 ˙˙

w w

4 4

∑

∑

∑

Ó

n div. a3, con sord.

pp

U ∑

n

div.

∑

3 w ™™ 2 w w™ pp

Ó

4 4 4 w 4 w w

3 2 ∑

3 2 3 2

6 47

° 3 Ó 1 &2 2

Ó

Fl.

q = 60

rall.

1.

˙

˙

n

pp

Ó

Ó

n

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1 2

3 &2

∑

∑

4 4

∑

∑

3 2

∑

4 4

∑

3 2

3

1 2 Ob.

1.

Ó

Ó

Bb Cl.

˙

˙

n

pp

n

?3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

?3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

?3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1 2

° 3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 4

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

2 3

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

1 2

?3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

?3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

?3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

° 3 1 &2

∑

∑

4 4

∑

∑

∑

™ 4 œœœ ˙˙˙˙ ™™™ 4

3 2

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 ¢/ 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

?3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 &2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

3 2

3 2

∑

4 Ó 4

3

1 2 Bn. 3

¢

F Hn.

C Tpt.

Tbn.

Bs. Tbn. Tba.

¢

Timp.

Harmonica ˙ œ ˙ Œ ˙˙˙ œœ 23 ˙˙˙

˙˙˙ ™™™ ˙™

œœœ

p langorous, from a distance 2 Perc. 3

4

Cel.

Hp.

{ {

3 & 2 bœ œ œ nw

Mez.-Sop.

edge of a lawn,

3

3

Veg - 'ta -ble ped -dlers

p

3

3 3 #œ 4 b˙ ™ j ‰ # œ #œ œ œ œ œ œ œ nœ J 4

Œ

Œ

Œ ‰ j œ œ œ

shout in the street

And

a

œ œ

œ ˙

yel -low -sailed boat

∑

Vn. I

Vn. II

∑

3 &2

∑

?3 2

Vc.

¢

™™ ?3 w 2 w w™

a3 #div. w w ™™™ #w pp div. a3

B 23 w ™ w™

Va.

Cb.

3 &2

4 4

∑

w™ w w ™™ pp ˙™ ˙™

∑

Œ Ó

∑

w w 4 w 4

w w w

4 w 4 w w

w w w

4 4

∑

4 4 Œ Ó

4 4

∑

˙™ ˙˙ ™™ w w

∑

w bw w

pp unis.

∑

∑

3 2

Œ

∑

3 2

∑

4 4

∑

3 2

Œ

∑

3 2

∑

4 4

∑

3 2

w w

3 w™ 2 w™

4 w 4 w

3 2

w w w

3 w ™™ 2 w w™

4 w 4 w w

3 2

w

3 2 w™

4 4 w

3 2

p

w pp

3 2 Ó

™ 4 ˙ 4

p

div. a2

∑

œœœ

n

non div.

∑

˙

p langorous, from a distance

n

∑

œ

1 solo, con sord.

3

˙˙ ™™ ˙™

pp

∑ ˙˙ ™™ ˙™

∑

3 2

˙ comes

q = 60

rall.

° 3 &2

Ó

˙

p

7 55

° 3 1 &2 2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

3 &2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

3 &2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

3

3 &2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

1 2

3 &2

∑

4 Ó 4

Fl. 3

1 2 Ob.

8

a2 *

˙˙

3 2

4 4

∑

∑

3 2

4 4

∑

∑

pp

Bb Cl.

Bb Clarinet

*

∑

4 Ó 4

?3 2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

?3 2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

1 2

° 3 &2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

3 4

3 &2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

1

3 &2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

2 3

3 &2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

1 2

?3 2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

?3 2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

?3 2

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

œœœ ˙˙˙ œ ˙

4 œœœœ ˙˙˙ 4

3 2

∑

1 2

8

?3 2

3

&

˙˙

pp

Bn. 3

¢

F Hn.

C Tpt.

Tbn.

Bs. Tbn. Tba.

Timp.

¢

° 3 œœœœ ˙˙˙ &2 1

œœœ œ

w w w w

˙˙˙ ™™™ ˙™

˙˙˙

œœœ 4 ˙˙˙ ™™™™ 4 ˙

Œ

Glockenspiel ****

∑

Ó

pp

2

3 &2

∑

4 4

∑

3 2

∑

∑

3 &2

∑

4 4

∑

∑

3 2

3 ¢/ 2

∑

4 4

∑

∑

3 &2

∑

4 4

∑

?3 2

∑

4 4

3 &2

∑

3 &2

∑

#˙ ‰ ˙ ˙ ÆÆ pp

∑

4 4

∑

∑

∑

∑

∑

4 4

∑

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

#œ œ ˙

4 Ó 4

Œ œ # œ #œ œ #œ

Perc. 3

4

Cel.

Hp.

Mez.-Sop.

{ {

3 &2 ˙

4 4 #˙ ™

œ œ ˙

near - er the is

˙™ ° 3 &2

-

œ œ œ œ

Œ

‰ œ ™ 23 ˙

Ó

land,

The

œ ˙ 4 œ 4

w

voice

3 2 Œ

3

œ

3 &2 Vn. II

Va.

3 &2 ™ B 23 w w™

∑

4 Ó 4

Œ

œ œ œ ˙

pp div. a8, con sord.**

∑

of

a

œ

vi - o - lin

lasts in the air

4 Ó 4

4 w 4 w

. ‰ pp

3 ˙ 2

œ ˙

And leads in - to

Ϫ

œ œ œ œ ˙o

Ó

Ó

‰ pp

3

gli altri, with practice *** mute

Vn. I

faster, free

œ #œ œ ™ œj ˙

œ

œ œ œ œ™

3

œ ˙ J

a

˙

˙

star - ry

˙™ via sord.

4 4

Œ

™ 4 ˙ 4

Œ

∑

∑

via sord.

∑

∑

3

. ‰

3 2 .™ ‰ ™

.™™ ‰

4 4 . ‰

w w

3 w™ 2 w™

™ w w™

4 w 4 w

div. a2, pizz. — Ó n˙˙–

via sord.

∑

pp pizz.

#˙–

via sord.

Ó

∑

pp

™™ ?3 w 2 w w™

4 w 4 w w

?3 Cb. ¢ 2 w™

4 4 w

Vc.

w w w

3 w ™™ 2 w w™

w

3 2 w™

w w ™™™ w

4 w 4 w w

w™

4 4 w

*Slow, asynchronous, chromatic "noodling" between and including indicated pitches. **Half-step cluster. ***Each stand begins playing passage slightly after the previous stand. An asynchronous echo-like music will result. ****Vary order of motives and length of rests, sounding sparse and pointillistic. Occasionally combine two of the figures.

˙˙– —

div. a2, pizz.

via sord.

Ó

∑

pp div., pizz.

o ˙˙o – —

pp

via sord.

Ó

∑

8 63

° 1 & 2

q = 52

∑

∑

∑

∑

∑

3 2

∑

4 4

Fl. 3

&

∑

∑

∑

∑

∑

3 2

∑

4 4

1 2

&

∑

∑

∑

∑

∑

3 2

∑

4 4

3

&

∑

∑

∑

∑

∑

3 2

∑

4 4

1 2

&

∑

∑

∑

∑

∑

3 2

∑

4 4

3

&

∑

∑

∑

∑

∑

3 2

∑

4 4

?

∑

∑

∑

∑

∑

3 2

∑

4 4

?

∑

∑

∑

∑

∑

3 2

∑

4 4

° &

∑

** + O + O + Œ bœ bœ œ œ œ

∑

+ O + O Œ bœ œ œ œ œ

Ob.

Bb Cl.

1 2 Bn. 3

1

¢

3

**

&

2 F Hn.

pp O

3

3

3

pp

∑

&

3

3

3

+ + + + + + bOœ bœ Oœ œ Oœ œ bOœ bœ Oœ œ Oœ œ 23 bOœ Œ Œ Ó 3

3

+ O + O + O œ bœ œ œ œ œ

3

+ O + O + O œ bœ œ œ œ œ 3

3

∑

∑

&

4

+ + + bOœ bœ Oœ œ Oœ œ

3

∑

∑

+ 3 œ Œ Œ Ó

Ó

4 4

+ O + O + O + O 3 O 4 2 bœ bœ œ œ œ œ œ œ œ 4

3

∑

∑

4 4

3

3

+ O + O + O œ bœ œ œ œ œ 23

3

∑

∑

3

Ó

∑

3 2

1

&

∑

∑

∑

∑

∑

3 2

2 3

&

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

?

∑

∑

∑

?

∑

∑

∑

pp

3

pp

3

3

3

3

3

+ O + O + O + O + œ bœ œ œ œ œ œ œ œ 44 ∑

4 4

3 2

∑

4 4

∑

3 2

∑

4 4

∑

∑

3 2

∑

4 4

∑

∑

3 2

∑

4 4

C Tpt.

Tbn.

1 2

Bs. Tbn. Tba.

¢

Timp.

° U 1 & G‰

Æ˙Æ ˙

U ˙ G ‰ ˙ b˙

˙

*

∑

&

2

˙ ˙

# ˙–

Crot.

˙–

‰

˙ ‰

#Æ˙ Æ

G‰ b œ. œ. œ.– U ‰Æ G‰

U G‰

Ϊ

3 2

4 4

3 2

4 4

3

pp Perc.

Vib., bowed

b˙˙

& Ó

3

n Ped. sempre 4

{

? Ó

‰

∑ b ˙–

b ˙–

*

{

Πpp

& Ó

Œ

pp

bw w

# ˙–

 ˙—

U G‰ ˙— U G‰

œœ

& ossia

Mez.-Sop.

∑

P sempre

& Ó

∑

∑

3 2

∑

4 4

∑

∑

3 2

∑

4 4

p

b ˙– U n ˙– b ˙– b ˙– n ˙– G ‰ ˙– ÆÆ ÆÆ pp U &‰ G‰ ˙— *

Hp.

w w

∑

¢/ & Ó

Cel.

w w

Œ

Ó

U G‰ b ˙—

Æ˙Æ–

#˙– U G‰

U b ˙— G ‰ b ˙–

 #˙– ˙—

#˙– 

U G‰

˙—

U G‰ U G‰

˙–

˙– ˙–  b ˙—

˙– b ˙—

∑

∑

∑

˙–

˙–U G‰

4 4

U G‰

4 4

3 2

#˙—

b ˙–

3 2

˙– U G‰

3 2

‰

U G‰

3 2

‰

 b ˙—

3 2

U G‰

4 4

U G‰

4 4 4 4

∑

night.

° Vn. I &

tutti, senza sord.

q = 52

∑

∑

∑

œ

˙™

∑

p unis., arco, senza sord.

&

Vn. II

∑

∑

∑

œ

˙™

∑

p

3 2 3 2

œj b œ p

œj b œ

b˙™ Ó

4 4

Ó

4 4

b˙™

p

Va.

B

∑

∑

∑

∑

∑

3 2

∑

4 4

Vc.

?

∑

∑

∑

∑

∑

3 2

∑

4 4

?

∑

∑

∑

∑

∑

3 2

∑

4 4

Cb.

¢

*Vary order of motives and length of rests, sounding sparse and pointillistic. Occasionally combine two of the figures. **+ — O raise less than one half-step. O — + lower less than one half-step.

9 q = 66

69

° 4 1 &4 2

∑

4 &4

∑

3 2

∑

4 4

∑

∑

∑

∑

∑

3 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

4 &4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

3

4 &4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

1 2

4 &4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

3

4 &4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

?4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

?4 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

° 4 &4 1

∑

∑

+ + + + + + + + + 3 bœ bOœ œ Oœ œ Oœ œ Oœ œ bOœ bœ Oœ œ Oœ œ Oœ œ œO 4 ˙ 2 4

œ‰Œ J

∑

∑

∑

3 4

j œ‰Œ

∑

∑

∑

3 4

j œ‰Œ

∑

∑

∑

3 4

j‰ Œ œ

∑

∑

∑

3 4

Fl. 3

1 2 Ob.

Bb Cl.

1 2 Bn. 3

¢

3

pp 3

4 &4

2 F Hn.

∑

∑

+ O + O + O + O + O + O pp+ 4 3 & 4 bœ bœ œ œ œ œ bœ bœ œ œ œ œ 2 bœ Œ Œ Ó 3 + O + O3 + O 3+ O + O3 + O 3 O 4 3 & 4 bœ œ œ œ œ œ bœ œ œ œ œ œ 2 bœ Œ Œ Ó 3

3

4

3

3

4 &4

1

3

3

∑

∑

3

3

+ + + + 3 bOœ œ Oœ œ Oœ œ Oœ œ Oœ 2 3

3

3

+ O + O+ O + O + œ bœ œ œ œ œ œ œ œ 44 ˙ 3

3

3

3

Ó

∑

Ó

∑

3

3 2

∑

∑

+ 4 4 ˙ pp + 4 4 n˙ pp 4 4

with straight mute

∑

bw-

∑

4 &4

∑

∑

3 2

∑

4 4

∑

3 4

bbw w-

w w

3 4

bb w w

w w

mp sub. p

C Tpt. 2 3

w

∑

with straight mute

∑

mp sub. p with straight mute

1 Tbn. 2

Bs. Tbn. Tba.

Timp.

1

2

¢

?4 4

∑

?4 4

∑

∑ ∑

3 2

∑

3 2

∑

∑ ∑

4 4

∑

4 4

∑

∑

3 4

mp sub. p with straight mute

bbw w-

∑

3 4

w w

mp sub. p

?4 4

∑

∑

3 2

∑

4 4

∑

∑

bbw w– —

∑

∑

3 4

pp

° 4 &4

3 2

4 ¿–‰ Œ Ó 4 J

∑

∑

∑

3 4

4 &4

3 2

4 ¿–‰ Œ Ó 4 J

∑

∑

∑

3 4

Perc. 3

4

4 &4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

4 ¢/ 4

∑

∑

3 2

∑

∑

4 4

∑

∑

∑

∑

3 4

∑

∑

∑

3 4

∑

∑

3 4

∑

3 4

∑

3 4

4 &4 Cel.

Hp.

4 ¿–‰ Œ Ó 4 J

4 &4

3 2

4 ¿–‰ Œ Ó 4 J

∑

4 &4

3 2

4 ¿–‰ Œ Ó 4 J

∑

3 2

4 ¿–‰ Œ Ó 4 J

∑

4 4

∑

{

{

4 &4

Mez.-Sop.

to Piano

3 2

4 &4

∑

∑

3 2

∑

∑

?

bw – bbw w– — mp – b w b bw – w b w— — mp

∑

Ó

bœ œ

œ Œ bœ œ œ œ 43

And those

œ b œ œ bœ j

° 4 Vn. I &4 Vn. II

4 &4

Va.

B 44

Vc.

?4 4

bœ

j œ b œ œ

œ #œ ™ œ #œ ™

œ ˙ J œ ˙ J

™ 3 œ b œJ œ Œ Ó 2

∑

™ 3 œ b œJ œ Œ Ó 2

∑

arco, senza sord.

∑

∑

3 œ ˙™ &2

Ó

p unis., arco, senza sord.

∑

∑

3 œ ˙™

Ó

&2

?4 ¢ 4

∑

∑

3 2

∑

unis. j œœ ‰ Œ bœ ˙™

pp

div.

#œj œ

#˙ ™

Ó

p

#œj œ

q = 66

b˙

j‰Œ œ

∑

3 4

b˙

j‰Œ œ

∑

3 4

b˙

j œ ‰Œ

∑

3 4

b˙

j œ ‰Œ

∑

3 4

unis.

4 j‰ Œ 4 ˙ œ bœ ˙™ ˙œ pp b 4 œ nœ bœ bœ b˙ ™ bœ 4 p

#˙ ™

Ó

p

p Cb.

div.

4 ˙˙ 4 -

who ex -pec -ted

4 bœ nœ bœ bœ b˙ ™ bœ 4 p

∑

4 4

div., arco, senza sord.

∑

∑

bbw w p

w w

3 4

10 77

° 3 1 &4 2

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 &4

∑

4 4

∑

3 2 ww ™™

4 4

∑

∑

∑

3 4

∑

4 4

3

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

1 2

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

?3 4

∑

4 4

∑

3 w w ™™ 2

4 4

∑

∑

∑

3 4

∑

4 4

?3 4

∑

4 4

∑

3 2 w™

4 4

∑

∑

∑

3 4

∑

4 4

∑

4 4

∑

∑

∑

4 4

∑

∑

4 bw4

Fl. 3

1 2

pp

Ob.

Bb Cl.

1 2

pp

Bn. 3

¢

pp

+O + O +O +O ‰ bœJ bœ œ 44 bœ bœ œ œ œ œ Œ 23 pp + O + O + O 3. + O + ‰ œj bœ œ 44 bœ œ œ œ œ œ Œ 23

1 2

° 3 Œ &4

3 4

3 &4 Œ

1

3 ˙™ &4

4 w 4

3 2

∑

3 & 4 ˙˙ ™™

4 w 4 w

3 2

∑

˙™ ? 3 ˙™ 4

w 4 w 4

3 2

∑

? 3 ˙˙ ™™ 4

4 w 4 w

3 2

∑

4 bbw 4 wmp sub. p

3 2

∑

4 bbw 4 w– —

F Hn.

1. O

pp

+O +O + O + O +O +O O ‰ bœJ bœ œ œ œ œ œ 43 bœ bœ œ œ œ œ pp + O+ O + O + O + O + O+ ‰ œj bœ œ œ œ œ œ 43 bœ œ œ œ œ œ

4 4 4 4

pp

w

w

3 ˙™ 4

4 4

w w

w w

3 4 ˙˙ ™™

4 4

w w

w w

˙™ 3 ˙™ 4

4 4

w w

w w

3 4 ˙˙ ™™

4 4

mp sub. p

C Tpt. 2 3

Tbn.

1 2

Bs. Tbn. Tba.

Timp.

1

2

¢

?3 4

∑

° 3 &4

4 bw 4 bw mp sub. p b w4bw 4 mp sub. p

4 4

∑

∑

∑

3 4

∑

4 4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 ¢/ 4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 &4

∑

4 4

∑

3 2

∑

∑

∑

3 4

∑

4 4

∑

4 4

∑

3 2

∑

– 4 bbw 4 bw w– — mp – b w – 4 bbbw w 4 w— —

∑

∑

3 4

∑

4 4

pp

Perc. 3

4

Pno.

Hp.

{ {

?3 4

Mez.-Sop.

j 4 bœ œ 4

3 & 4 bœ bœ ™ light -ning

and

p

3 2 ‰ nœj œ œ œ ˙

b˙ ™

thun - der

mp

Œ 44 Ó bœ œ

Are dis -ap -point - ed.

œ Œ bœ œ œ œ bœ ™

And those

who ex -pec -ted signs

bœ œ J

œ œ 3 b˙ ™ 4

4 4

and arch - an - gels’ trumps

° 3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

Vn. II

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

Va.

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

Vc.

3 &4

∑

4 4

∑

3 2

∑

4 4

∑

∑

∑

3 4

∑

4 4

3 2

∑

4 bbw 4 w

Vn. I

(div.) Cb.

? 3 ˙™ ¢ 4 ˙™

4 w 4 w

p

w w

w w

3 4 ˙˙ ™™

4 4

11 q = 52

84

° 4 1 &4 2

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

3

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

1 2

4 & 4 ww

∑

3 2

∑

4 4 ˙

b˙ ™

∑

3

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

1 2

4 &4

∑

∑

∑

3 2 b˙

˙ Ó

4 4

∑

∑

∑

3

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

∑

3 w™ 2 w™ 3 2 w™ w™ 3 Ó 2

Fl.

ww

pp

Ob.

Bb Cl.

a2

#œ

˙™ p

w w

˙˙ œœ ‰ Œ J

?4 w ¢ 4

w

˙ œ ‰Œ J

pp

Bn.

1.

pp

to Contrabassoon

1 2

° 4 &4

∑

∑

∑

?

3 4

4 &4

∑

∑

∑

?

1

4 &4

∑

∑

∑

w w

p

F Hn.

w w p

w w

w w

4 bw 4 bw 1. (with straight mute) mp 4 Ó b˙ 4

w w

w w ˙™

mp

n 2 3

4 &4

∑

∑

∑

1 2

?4 4

∑

∑

?4 4

∑

?4 4

Bs. Tbn. Tba.

mp

∑

∑

n

n

Πmf

n

∑

3 2

∑

4 4

∑

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

° 4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

4 ¢/ 4

∑

∑

∑

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

4 &4

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

∑

∑

∑

∑

3 2

∑

4 4

∑

∑

∑

¢

Timp.

1

bœ

4 w 4bw

C Tpt.

Tbn.

j œ œ™

mp

?4 w w 4

1 2

3

j‰Œ ˙˙ œœ

2 Perc. 3

4

Pno.

Hp.

{ {

?4 4

Bass Drum

æ wæ

3 ææ 2 w™

ppp

4 ææ 4 w

mp slowly gaining in intensity 3 4 p & 4 ‰ œj œ œ nœ œ œ œ œ œ ˙

Mez.-Sop.

˙ Œ

‰

Do not be -lieve it is hap -pen -ing now.

° 4 Vn. I &4

œ

As

long as the sun and the moon are a - bove,

4 &4

∑

∑

∑

˙™

#œ

3 2 b˙

Vc.

Cb.

¢

∑

4 &4

∑

4 &4

∑

?4 4

As

long

˙™

#œ

3 2 b˙

˙ Ó

bœ bœ ™ bœ œ ˙ œ œ œ nœ œ as the bum -ble -bee

vi - sits a rose,

As

∑

∑

∑

∑

B

∑

?

∑

∑

bœ

b˙ ™

∑

˙ Ó

4 4 ˙

j œ nœ ™

bœ

b˙ ™

∑

mp

w

4 4 w

w

w

w w

3 2 w™ w™

4 bw 4bw

w w

w w

3 2 w™

4 bw 4

w

w

p unis.

∑

j œ nœ ™

3 2 w™

p div.

∑

4 4 ˙

mp

p Va.

f

3 j œ ‰ Œ Œ ‰b œ

q = 52

p Vn. II

æ wæ

mf

3 3 Œ ‰ 44 œ 2 œ œ ˙ b œ œ œ œ œ œ œ #œ ™

3

æ wæ

w p

mp

mp

mp

12 92

° b1.˙ 1 & 2

˙

mf

Fl.

∑

1.

3

& b˙

1 2

˙

(q = 52)

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

3

∑

&

3

3

,

#w

˙ œ œ ˙

∑ 3

#w

˙ œ œ ˙

mf

Ob.

∑

&

3

∑

1. 1 2

3

& b˙

˙

∑ 3

#w

˙ œ œ ˙

mf

&

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

?

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

?

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 4

∑

3 2

∑

3 4

∑

3 2

Bb Cl. 3

Bn.

1 2

Cbn.

1 2

¢

°? bw w

w w

w w

mf F Hn.

?

3 4

bw w

w w

mf

1

2 3

w w

&

∑

∑

∑

∑

3 2

U ∑

&

∑

∑

∑

∑

3 2

U ∑

4 4 bœ Œ Ó pp 4 ∑ 4

?

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

?

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

?

∑

∑

∑

∑

3 2

U ∑

4 4 bœ œ œ œ bœ œ

œ

U ∑

4 4

∑

C Tpt.

Tbn.

1 2

Bs. Tbn. Tba.

¢

Timp.

1. (with straight mute)

pp

3 4 bœ œ œ

3 2

∑

3 4

∑

3 2

œ

° 1 &

∑

∑

∑

∑

3 2

2

&

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

3

&

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

4 4

∑

∑

3 4

∑

3 2

Perc.

4

(B.D.) æ / ¢ wæ

Hp.

æ wæ

∑

& Pno.

æ wæ

∑

Piano ww w w w

∑

w ™™™ wU w ™™ 3 ww 2

pp

{

&

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

&

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

∑

∑

∑

∑

3 2

U ∑

4 4

∑

∑

3 4

∑

3 2

4 4

∑

{

?

,

& bœ œ œ œ

Mez.-Sop.

long as

ro - sy

j œ #œ

˙

œ

in -fants

are

3 pp sub. U ‰ œj œ œ œ œ œ 23 œ œ œ w

w born

No one be -lieves it is div. a2

° b˙ Vn. I &

˙

˙ œ œ ˙

mf

3

3

3

3

#w

,

oo w w w

pp sub. div.

& b˙

Vn. II

˙

˙ œ œ ˙

#w

mf

B w

Va.

mf

? bw bw

Vc.

mf

Cb.

¢

?

w

mf

w w

pp

hap -pen -ing now.

3

3

bœ œ œ œ

œ

3 œ 4 bœ Œ œ

On - ly a white -haired old

man,

3 œ 2

who would

U w ™™ w™ 3 w 2

4 4

∑

∑

3 4

∑

3 2

U w™ 3 w™ 2

4 4

∑

∑

3 4

∑

3 2

(q = 52)

pp sub.

w

w

∑

w w

w w

∑

w

w

∑

3 2

U ∑

3 2

U ∑

4 4 bw

w

3 4 ˙™

3 2

4 4bw

w

3 4 ˙™

3 2

4 4bw

w

3 4 ˙™

3 2

pp unis.

pp

3 2

U ∑

pp

13 100

° 3 1 &2 2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

3

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

1 2

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

4 4

∑

∑

∑

3 j‰ 4 œ 3 4

4 4

∑

∑

∑

3 4

Fl. 3

1 2 Ob.

Bb Cl.

Bn.

3

3 &2

∑

4 4

∑

3 2

U ∑

1 2

?3 2

∑

4 4

∑

3 2

U ∑

3 2

U ∑

Cbn.

¢

?3 2

4 4

∑

∑

1.

Œ ˙™

˙™

pp

Ossia Contrabassoon

4 4

∑

Ó

Œ b œ-

b œ-

œ-

œ-

œ-

3 4

pp

1 2

°? 3 2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

3 4

?3 2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

1

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

2 3

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

1 2

?3 2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

Bs. Tbn. Tba.

?3 ¢ 2

∑

4 4

∑

3 2

U ∑

4 4

∑

F Hn.

C Tpt.

Tbn.

Bass Trombone, open

Ó

3 4

Œ b œ- b œ- œ- œ- œpp

?3 2 bœ œ œ

Timp.

1

œ œ

œ

4 4 bœ œ

œ

3 œ 2 bœ

Œ

3 4

3 2

U ∑

4 4

∑

∑

∑

3 4

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

3 ¢/ 2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

3 &2

∑

4 4

∑

3 2

U ∑

4 4

∑

∑

∑

3 4

∑

4 4

∑

3 2

U ∑

4 4

∑

4 4

∑

∑

4 4

∑

∑

{

3 &2

{

?3 2

∑

4 4

∑

3 2

U ∑

∑

4 4

∑

3 2

U ∑

3 4 & 2 œ ™ #œj œ œ Œ ‰ œ #œj 4 œ ‰ j j œ œ œ™

Mez.-Sop.

be

a pro -phet

div. a3 ° 3 3wsoli, ™ & 2 ##w w ™™

Vn. II

3 &2

Va.

B 23

w™

¢

?3 2 w™

Yet is

not

4 4 4 4 w 4 4 w 4 4 w

3 2

a pro - phet,

4 w 4 #w w ∑

?3 2 w™

Vc.

Cb.

∑

∑

3 &2

Vn. I

∑

4 4

3

Hp.

∑

∑

Perc.

Pno.

4 4

° 3 &2

2

4

Ó

U Ó

∑

j œ™ œ œ œ œ # œ ™

pp

U Œ

for he's much too bu - sy,

bœ

4 4

bœ bœ œ œ œ ∑

˙™

œ œ œ œ œ b œ ˙™

3 4

∑

3 4

∑

3 4

ossia

3

bœ

3 4

Œ?

Ó

Re - peats while he binds his to - ma - toes:

3 2 ˙˙ ˙

U j œœ ‰ Œ Ó œ

4 4

∑

∑

∑

3 4

3 2

U ∑

4 4

∑

∑

∑

3 4

3 2 œj ‰ 3 2 œj ‰ 3 2 œj ‰

Œ Œ Œ

Ó

U Ó

4 bœ 4 -

Œ

Ó

Ó

Œ

Ó

U Ó

4 bœ 4 -

Œ

Ó

Ó

Œ

Ó

U Ó

bœ

˙™

bœ

˙™

pp

pp

4 4

∑

Ó

Œ

j ‰ 43 œ 3 j‰ 4 œ

b œ- b œ- œ- œ- œpp

3 4

14 106

° 3 1 &4 2

∑

∑

∑

∑

4 4

∑

∑

U ∑

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

1 2

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

1 2

?3 4

∑

∑

∑

∑

4 4

∑

∑

U ∑

Fl. 3

1 2 Ob.

Bb Cl.

Bn.

Cbn.

¢

?3 4

j œ

‰

Œ

∑

Œ

b œpp

œ-

œ-

j œ

‰

Œ

Œ

4 4

U

Œ b œ-

œ-

œ-

œ

b œ-

œ-

œ-

œ

b œ-

1 2

°? 3 4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3 4

?3 4

∑

∑

∑

∑

4 4

∑

∑

U ∑

1

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

2 3

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

1 2

?3 4

∑

∑

∑

∑

4 4

∑

∑

U ∑

F Hn.

C Tpt.

Tbn.

˙-

(Bs. Tbn.)

Bs. Tbn. Tba.

?3 ¢ 4 j ‰ Œ œ

Œ

∑ b œ-

pp

œ-

Œ

U

4 Œ 4 b œ-

œ-

œ-

œ

b œ-

œ-

œ-

œ b œ-

∑

∑

∑

∑

4 4

∑

∑

U ∑

° 3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3 ¢/ 4

∑

∑

∑

∑

4 4

∑

∑

U ∑

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

2 Perc. 3

4

Pno.

{

?3 4 ˙™

{

?3 4

3 &4

Mez.-Sop.

œœ

˙™

b œ-

œ-

œ-

˙™

œ b œ-

œ-

œ-

œ

b œ-

œ-

œ-

œ b œ-

˙-

∑

∑

∑

∑

4 4

∑

∑

U ∑

∑

∑

∑

∑

4 4

∑

∑

U ∑

œœ œœ œœ œœ b œœ

There will be no oth - er

œœ

Œ

# œœ)

œœ

end

of the world,

(

œœ

˙˙

œœ

œœ œœ œœ œœ b œœ

4 4

There will be no oth - er

˙˙ end

j œ™ ™ œœ œ (

of

)

U

j

œœ

the

œœ™ ™

˙˙

ww

world.

° 3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

Vn. II

3 &4

∑

∑

∑

∑

4 4

∑

∑

U ∑

Va.

B 43

∑

∑

∑

∑

4 4

∑

∑

U ∑

Vc.

?3 4

∑

∑

∑

∑

4 4

∑

∑

U ∑

Vn. I

Cb.

¢

?3 4

˙™

˙™

b œ-

œ-

œ

˙™

4 4

/

U

4 4

3 &4 Hp.

˙-

?3 4

Timp.

1

œ-

j ‰ Œ œ

U œ b œ-

œ-

œ-

œ

b œ-

œ-

œ-

œ b œ-

˙attacca

Homer: The Iliad q = 144

*

° 4 1 &4 2 Fl.

4 &4

3

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó

∑

∑

Ó

∑

∑

Ó

∑

∑

Flute

4 &4

1 2

15

II. Patroclus

Ob.

4 &4

∑ > >3 > ff b œ bœ œ Œ 4 &4 Ó Œ >J œ bœ ‰ 3 > >3 Bass Clarinet #>œ > ?4 Ó Œ ‰ #œ 4

3

Bb Cl.

1 2

Bs. Cl.

3

1 2

?4 4

Cbn.

?4 ¢ 4

Bn.

ff

∑ Contrabassoon

∑

to Eb Clarinet

j nœ ‰ Œ > j œ ‰ Œ b >œ ff j ‰ Œ b >œ ff

1 2

° 4 &4

∑

∑

∑

∑

3 4

4 &4

∑

∑

∑

∑

1

4 &4

∑

∑

∑

∑

C Tpt. 2

4 &4

F Hn.

(Center)

***

open

(Right)

****

4 &4

3

Tbn.

1 2

Bs. Tbn. Tba.

¢

Timp.

∑

∑

∑

∑

> Œ #œ

(U)

>œ >œ >œ >œ >œ >œ >œ >œ >œ

f

(Left)

>œ œ> >œ >œ >œ >œ ‰ >œ open

∑

>œ >œ >œ >œ ** >œ 3 j >œ 3 b>œ >œ >œ >œ

>œ >œ >œ >œ 3

3

œ

f

?4 4

∑

?4 4

∑

?4 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

j ‰ Œ œ b œv ff

Ó

Xylophone

° 4 Ó 1 &4

Perc. 3

4 / 4 4 / 4

∑

4 4 ¢/ 4 Ó

B.D.

Tamtam, scrape with metal rod

j ‰ Œ — >œ

Ó

f

∏∏∏∏

2

3

bœ > bœ œ Œ ff > > ∑

˙

ff

b >œ

4 &4 Ó Pno.

{

?4 Ó 4

b>œ >œ Œ ff 3 >œ b >œ Œ b>œ 3

4 &4 Hp.

Ó

∑

∑

∑

∑

?4 4

∑

∑

∑

∑

4 &4

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

{

Mez.-Sop.

j œ ‰ Œ >

q = 144 >

° 4 Ó Vn. I &4

bœ

b>œ >œ Œ

ff 3 Vn. II

4 &4 Ó

Va.

B 44 Ó

Vc.

?4 4

Cb.

¢

?4 4

>œ 3 J œ #œ ‰ > > 3 ff 3 Œ ‰ #>œ ff # œ > ∑ Œ

∑

j ‰ Œ n >œ ** æ æ #œœ > >>>> ff marcato ** > > > > > bnœœ ææ ff marcato

Ó

*Triangles with numbers indicate free cue beats. The number denotes the number of beats (cues) in the measure. Dotted barlines indicate the beginning of each free cue beat in the measure. **Play as fast as possible between and including the indicated pitches. Do not play scales or patterns and vary the intervals constantly. ***Vary patterns freely (ad lib.). ****See note on instrumentation page regarding placement of performers.

16 (q = 144)

3

° 1 & 2

∑

∑

3

&

∑

1 2

&

3

∑

3 4

∑

∑

∑

3 4

∑

∑

∑

∑

3 4

∑

&

∑

∑

∑

3 4

∑

1 2

&

∑

∑

∑

3 4

∑

Eb Cl.

?

∑

∑

∑

3 4

∑

?

∑

∑

∑

3 4

∑

?

∑

∑

∑

3 4

∑

Fl.

Ob.

Bb Cl.

Bn.

1 2

Cbn.

¢

a2 * 1 2

° &

∑

&

∑

j bœ bœ

j œ

(U)

˙

3 >¿ 4 J

Ó

Œ

Œ

f

F Hn. 3 4

* open

> b>œ ˙ & J

1

>œ >˙ J

∑ >œ >œ >˙

>œ >œ b>œ >œ >œ

3 4

∑

(U)

3

&

C Tpt. 2

& bœ œ œ

3

3 >¿ 4 J

Œ

Œ

Œ

‰

Œ

Œ

‰

Œ

Œ

∑

∑

∑

3 4

∑

?

∑

∑

∑

3 4

∑

?

∑

∑

∑

3 4

∑

° &

∑

∑

∑

3 4

∑

¢

Timp.

1

(U)

‰

?

1 2

Bs. Tbn. Tba.

∑

3 >¿ 4 J 3 >¿ 4 J

‰

f

Tbn.

‰

Med. Tom-tom

/

2

∑

∑

*

j œ œ >>

mp

Perc.

3 3 j j œ> >œ >œ >œ >œ >œ >œ >œ >œ

3 j 4 >¿

‰

Œ

Œ

sfz ( ff )

3

/

∑

∑

∑

3 4

4

¢/

∑

∑

∑

3 4

∑

&

∑

∑

∑

3 4

∑

?

∑

∑

∑

3 4

∑

&

∑

∑

∑

3 4

∑

?

∑

∑

∑

3 4

∑

&

∑

∑

∑

3 4

∑

Pno.

Hp.

{

{

Mez.-Sop.

Vn. I

sul ponticello, asynchronous

(q = 144)

° &

∑

∑

∑

3 4 Œ

&

∑

∑

∑

3 4

Vn. II

∑

q

Œ

≈  œ œ bœ œ #œ nœ ff

∑ sul ponticello, asynchronous

Va.

B

Vc.

?

Cb.

?

∑

∑

 3 4 ≈ œ bœ œ #œ nœ nœ bœ bœ œ nœ #œ ff œ sul ponticello, asynchronous 3 ≈ #œ œ œ bœ œ œ œ #œ #œ œ bœ 4 ÆÆ

∑

ff

¢

&

sul ponticello, asynchronous 3 ≈  4 œ #œ œ nœ nœ œ # œ n œ œ bœ œ # œ #œ ff

*Vary patterns freely (ad lib.).

&

&

17 5

*

° 1 &

∑

∑

∑

˙

˙

Œ

fff

f *

∑

&

Fl. 2

∑

∑

‰

œ œ

˙

˙

f

∑

&

3

∑

fff

*

∑

˙

b˙

#œ fff

f a2, asynchronous 1 2

∑

&

∑

∑

Bb Cl.

1 2

Eb Cl.

∑

&

∑

&

¢

∑

∑

∑

∑

∑

∑

∑

1 2

& h—e

asynchronous

ff asynchronous

fff

ff a2, asynchronous

fff

œœœ œ œ #>œ œ# œ# œ œ œ # œ #œ œ ÆÆ Clarinet in Eb

?

b >œ œ œ b œn œn œ b œ# œn œ n œ œ b œ # œ œ œbœbœ ÆÆ b >œ œ œb œn œn œ b œ# œn œ n œ œ b œ # œ œ œbœbœ ÆÆ

Ob.

3

ff asynchronous

fff

ff

fff

œ >œ œ œ œ # œ œ b œ œ # œ n œ œ# œ# œn œ n œ ÆÆ

° &

∑

∑

1. a2 n œ b œ b œ n œ J ‰ œ œ#œ œ œ œ bœ œ # œ b œ œœ

&

∑

∑

Œ

f

F Hn. 3 4

a2

‰

œ J

#œ

‰

Œ

œ œ ‰

Œ ∑

f

∑

&

1

∑

h œ #œnœ œ œ#œ b œJ^ œ # œ œ b œ n œ œ œ œ

Œ

f

∑

&

C Tpt. 2

∑

Œ

ŠϪ J

Œ

f

∑

&

3

∑

Π1., open

?

1 Tbn. 2

∑

Œ

œ J

B‰

Œ

mf

ŠϪ J

Œ

‰

Œ

Œ

œ^ J

‰

Œ

Œ

#œ^ J

‰

Œ

Œ

f

f

œœ™‰ # œœ œ Œ

œ Œ

∑

mf

?

∑

∑

∑

∑

?

∑

∑

∑

∑

° 1 &

∑

/

∑

Bs. Tbn. Tba.

Timp.

¢

Xyl. ¿ bœ ¿ ¿ ¿ ¿ ¿ 1 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ÆÆ ¿¿

Œ

q

Bell Tree fff 2

Œ

/

œ æ

∑

/

3

Œ

Œ

Œ

∑

n

˙ æ

fff

Perc.

Œ

Sus. Cym.

ΠT. Blks.

n

∑

∑ S.D., rim shot

4

∑

¢/

∑

& Pno.

{

?

Mez.-Sop.

 fff b œ œ b œ œ œ b œ œ b œnœ & ÆÆ

Œ

°

∑

{

fff

Œ

sfz

Œ

Œ

∑

Œ

Œ

∑

Œ

Œ

∑

n

q

q

∑

∑

∑

∑

&

∑

∑

∑

∑

b >œ J

¿ q

& œ œbœ#œ œnœ œbœœ ÆÆ &



œ Cb. ¢& J

∑

∑

‰

Œ

∑

∑

Œ

∑

∑

∑

∑

∑

∑

∑

∑

q

1. J ‰

¿™ n1. J

& Y

Œ

fff

f q.

‰

fff

b >œ J

sul ponticello, asynchronous

Vc.

Πn

?

h

Va.

f

h  œ œ œ œœ œ œ >œ f + œ ‰ Œ J

continue chromatic scale

 b œ œ bœ #œ#œ#œœ#œ# œ ÆÆ

Œ

° Vn. I & bœbœnœnœœ#œ Vn. II

∑

q

Œ

∑

& Hp.

∑ n œ œ œ b œ œb œb œ œn œ continue pattern

˙ æ

Œ

fff

‰

fff

‰

Œ

*Overblow to produce harmonics.

Œ

B

18 9

° 1 & œJ

‰

Œ

Œ

4 4

∑

∑

∑

& œ

œ

Œ

Œ

4 4

∑

∑

∑

Œ

4 4

∑

∑

∑

Œ

4 4

∑

∑

∑

Œ

4 4

∑

∑

∑

4 4

∑

∑

∑

4 4

∑

∑

∑

∑

4 4

∑

∑

∑

∑

4 4

∑

∑

∑

‰

4 4

∑

∑

∑

‰

4 4

∑

∑

∑

Fl. 2

to Piccolo

& nœ ™

3

(a2) 1 2

‰

nœ ™ fff h

& n

Ob.

h

&

3

h

(a2) Bb Cl.

1 2

n

—e

‰

& n

to Bass Clarinet

q.

Bn.

¢

Œ

n

?

1 2

Cbn.

‰

&

Eb Cl.

?

a2 + ° 1 ˙ & 2

O

mf

sfz O

F Hn.

^ œ J

+ ˙ &

^ œ J

a2

3 4

mf

sfz

1

&

∑

4 4

∑

∑

∑

2 3

&

∑

4 4

∑

∑

∑

B

∑

4 Π4

∑

4 Π4

C Tpt.

3

Tbn.

1 2

Bs. Tbn. Tba.

¢

?

? Bs. Tbn.

˙˙ ™™ > sf mf

˙˙ ™™

w w

bb>œœ ‰ >œœ f

3

b >˙ ™

w

nœ ‰ œ f nœ > >œ

˙™

sf mf

hard sticks Timp.

1

∑

4 4

∑

∑

° &

∑

4 4

∑

∑

4 4

∑

∑

∑

∑

∑

(Sus. Cym.)

2

/ ææ˙

3

/

∑

4 Π4

¢/

∑

4 4

Œ

Perc.

Ó

Œ

‰ œ nb>œœ >œ mf

B.D.

— >˙ ™

f 4

3

?

S.D., snares off

∑

∑

Ó

Œ

œœ

>œ > ‰ œ

mp 3

∑

4 4

∑

∑

∑

&

∑

4 4

∑

∑

∑

&

∑

4 4

∑

∑

∑

?

∑

4 4

∑

∑

∑

&

∑

4 Ó 4

& Pno.

Hp.

Mez.-Sop.

{

{

œ

Pa

Vn. I

° & Œ

 œ œ œ #œ œ nœ bœ œ œ

ord.

Œ

ff

 œ œ bœ bœ œ bœ œ œ #œ nœ ff œ J ‰

ord. Vn. II

Va.

& Œ ˙ B

Œ

mf

ff pizz. ord.

Vc.

& Œ

Œ

œ J

‰

¢&

∑

-

j œ ‰

˙™ >

tro

-

clus—

h

4 4

j ‰ bœ

Œ

∑

∑

j ‰ #œ Ó

Œ

∑

∑

h

4 4 pizz.

4 Π4 4 Π4

>fœ — ?

sfz Cb.

> #w

ff

Œ

4 Π4

— >fœ

Ó

arco, col legno

∑

Ó

∑

Ó

b>œ — f

3

b>œ ‰ >œ f

arco, col legno 3

Œ

b>œ ‰ >œ

f arco, non div., col legno

pizz.

?

Œ

Ó

∑

Ó

Œ

3

nœ ‰ œ n >œ >œ f

19 13

° 1 Fl. & 2

∑

∑

∑

∑

∑

Picc.

&

∑

∑

∑

∑

∑

1 2

&

∑

∑

∑

∑

∑

3

&

∑

∑

∑

∑

∑

1 2

&

∑

∑

∑

∑

∑

Bs. Cl.

&

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

° & 1

∑

∑

∑

Ob.

Bb Cl.

Bn.

1 2

Cbn.

¢

Ó

Œ

Œ

3

>œ. J ‰ Ó

j #œ œ

mf 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

&

∑

?

‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ œ‰ œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ > > > p

3 4

&

∑

?

1

&

∑

nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ b >œ >œ >œ >œ >œ >œ >œ >œ b >œ >œ >œ >œ >œ >œ >œ >œ b >œ >œ >œ >œ >œ >œ >œ >œ b >œ >œ >œ >œ >œ >œ >œ >œ p ∑ ∑ ∑ ∑

2 3

&

∑

1 2

? bœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ b >œ >œ >œ >œ >œ >œ >œ >œ

F Hn. 2

C Tpt.

3

Tbn.

Bs. Tbn. Tba.

¢

?

3

3

∑

∑

∑

∑

∑

∑

∑

∑

3

Bs. Tbn. 3 3 3 3 Œ ‰ ‰ ‰ ‰ œ‰ œœ‰ œœ‰ œ œ‰ œ >œ >œ >œ >œ >œ >œ >œ >œ b >œ >œ >œ >œ >œ >œ >œ >œ 3

3

3

3

p sub.

? bœ ‰3 œ œ ‰3 n >œ >œ >œ ° 1 &

Timp.

3

3 3 3 3 3 3 3 j ‰3 ‰ ‰ ‰ ‰ ‰ ‰ n ¿. ¿. ¿. ¿. ¿. ¿. ¿. b œ. ¿. ¿. ¿. ¿. ¿. ¿. n œ. f

3

3

3

Œ

3 3 3 j ‰3 ‰ ‰ b œ. œ. œ. œ. œ. œ. œ. p

3

3 3 3 3 3 œœ œœ ‰ œœ œœ ‰ œœ b œ ‰3 œ œ ‰3 œ œ ‰3 œ œ ‰3 œ b œ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿. ‰ ¿. bœ. ‰ ¿. ¿. ‰ ¿. ¿ ‰ ¿ ¿ ‰ ¿ b œ ‰3 œ œ ‰3 œ œ ‰3 œ œ ‰3 œ . . . . . . . . . . . . > > > > > p.sub. . . . . . . . . . . . . . f

∑

∑

∑

∑

∑ Slapstick

∑

/

2

∑

∑

∑

Œ

>œ

Ó

mf Perc.

∑

∑

∑

∑

∑

>œ >œ >œ >œ >œ >œ œ œ >œ >œ ‰ ‰ ‰ ‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

&

∑

/

3

(S.D.) 4

¢/

3

3

3

& Pno.

Hp.

{ {

3

f Mez.-Sop.

œ soon

œ œ œ œ œ œ

œ œ œ œ b˙

Ó

Œ

Œ

3

j bœ œ

b>œ ‰ œ œ œ œ œ œ J J 3

3

as the fight - er cut their front bat - tal - ions off

he swerved back to pin them a -gainst the

° &

∑

∑

∑

∑

∑

Vn. II

&

∑

∑

∑

∑

∑

Va.

B

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Vn. I

Vc.

3

3

Cb.

3

b>œ ‰ >œ >œ ‰ 3 3 ? b>œ ‰ >œ >œ ‰ 3

3

3

‰ ‰ >œ >œ >œ >œ >œ 3 3 œ> >œ ‰ >œ >œ ‰ >œ 3

3

? nœ œ œ œ œ œ œ œ ¢ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ > >> >> > > >

20 18

° 1 Fl. & 2

∑

∑

2 4

∑

3 4

∑

∑

Picc.

&

∑

∑

2 4

∑

3 4

∑

∑

1 2

&

∑

∑

2 4

∑

3 4

∑

∑

3

&

∑

2 4

∑

3 4

∑

∑

∑

2 4

∑

3 4

∑

∑

2 4

∑

3 4

∑

∑

Ob.

Cl.

∑ > >3 > ff b œ bœ œ Œ & Ó J Œ > œ bœ ‰ 3 > >3 ff Bass Clarinet #>œ > j ?‰ Ó Œ #œ nœ ‰ & > 3

1 2

Bs. Cl.

Bn.

Œ

Ó

ff

?

1 2

to Bb Clarinet

∑

2 4 ˙ ˙ 2 4 ˙

w bw mf

Cbn.

¢

?

∑

bw mf

j œ œ

3 4 ˙ ˙ 3 4 ˙

1

° &

∑

∑

2 4

∑

3 4

F Hn. 2

?

∑

∑

2 4

∑

3 4 Œ

‰

∑ to Bassoon

‰

j œ

∑

∑ 3

Œ

∑ 3 j œ œ ‰ œ

3

3

pp 3

3 3 3 3 j nœ œ ‰ œ nœ ‰ œ œ ‰ œ œ ‰ œ bppœ œ œ bœ œ œ œ œ œ

?

∑

∑

2 4

∑

3 4 Œ

1

&

∑

∑

2 4

∑

3 4

∑

∑

2 3

&

∑

∑

2 4

∑

3 4

∑

∑

1 2

? bbœœ >

Ó

2 4

∑

3 4

∑

∑

Ó

2 4

∑

3 4 Œ

3 4

3

œ ‰ œ œ ‰ œ œ ‰ œ

Œ

C Tpt.

Tbn.

mf

Bs. Tbn. Tba.

¢

a2

œ >œ

? nœ n >œ

mf

? bœ n >œ mf ° 1 & Ó

Timp.

Ó

œ >œ

j ‰ bœ b >œ

Œ

Bs. Tbn.

Œ

(Xyl.)

∑

2 4

∑

3 4 Œ

∑

2 4

∑

3 4

∑

∑

∑

2 4

∑

3 4

∑

∑

2 4

∑

3 4

∑

∑

∑

2 4

∑

3 4

∑

∑

∑

2 4

∑

3 4

∑

∑

2 4

∑

3 4

∑

∑

(B.D.)

j œ>— ‰

∑

/

Tam., scrape with metal rod

¢/

Ó

ff

{

& Ó

Œ

{

?

& œ war

° Vn. I & Ó

?

& Ó

3 3 3 3 j bppœ œ ‰ œ b œ ‰ œ œ ‰ œ œ ‰ œ

ff

j œ ‰ >

Œ

Ó ∑

2 4

∑

3 4

∑

∑

∑

∑

2 4

∑

3 4

∑

∑

2 4 bœ

bœ

Œ

ships,

bœ

œ

nev - er

b >œ

b>œ >œ Œ

j œ œ

j œ

let - ting

the

3

3 3 3 4 œ nœ #œ #œ nœ nœ #œ #œ nœ

Tro - jans

œ bœ œ nœ bœ œ bœ nœ nœ 3

stream

3

3

∑

2 4

∑

3 4

∑

∑

∑

2 4

∑

3 4

∑

∑

3

Πarco ord.

Va.

B Ó

Vc.

?

∑

?

∑

¢

3

∑

3

Cb.

b>œ

Ó

œ

ff Vn. II

b>œ >œ Œ 3 >œ b >œ 3

&

Mez.-Sop.

Œ

ff

& Ó

Hp.

Ó

˙

b >œ Pno.

Œ

∏∏∏∏

4

3 3 3 3 j ‰ ‰ ‰ ‰ bœ œ œ bœ œ œ œ œ œ

3

bœ > bœ œ Œ > > ff ∑

Perc. 3

Œ

3

pp

Ó

œ >œ

/

2

j œ ‰ >

Ó

Œ

>œ J œ > ff ‰

3

#>œ

‰

3

#>œ j ‰ n œ ff # œ > > pizz. »j œ ‰ > pizz. » b>œ ‰ J f

Œ

Ó

2 4

∑

3 4

∑

∑

Œ

Ó

2 4

∑

3 4

∑

∑

Œ

Ó

2 4

∑

3 4

∑

∑

21 23

° 1 Fl. & 2

∑

4 4

∑

∑

∑

Picc.

&

∑

4 4

∑

∑

∑

1 2

&

∑

4 4

∑

∑

∑

3

&

∑

4 4

∑

∑

∑

1 2

&

∑

4 4

∑

∑

∑

3

?

∑

4 4

∑

∑

∑

?

∑

4 4

∑

∑

∑

?

∑

4 4

∑

∑

∑

Ó

∑

∑

Ó

∑

∑

∑

∑

Ob.

Bb Cl.

1 2 Bn. 3

1 2

¢

3 3 °? (2.) ‰3 j ‰3 ‰ Œ 4 ‰ ‰ œ œ œ œ œ œ 4 bœ

F Hn.

3 3 3 3 ? nœ ‰ œ œ ‰ œ œ ‰ œ 4 bœj ‰ ‰ Œ bœ œ œ œ œ œ 4 nœ 4 ∑ & 4

3 4

1

∑ ad lib.

4 4

∑

&

C Tpt. 2

∑

∑

Ó

U 3 j #>˙ Œ œ >

‰

4 4

∑

&

3

∑

Ó

œ

Œ

œ

f 3

Tbn.

?

1 2

3 3 4 Œ bbœœj œœ ‰ œœ œœ ‰ œœ 4

∑

3

3

3

3

œœ ‰ œœ bbœœ ‰ œœ œœ ‰ œœ œœ ‰ œœ

p

Bs. Tbn. Tba.

¢

?

(Bs. Tbn.) 3

?

° 1 & 2

3

4 4

3

‰

3

3

3

3

3

3

3

œ ‰ œ nœ ‰ œ œ ‰ œ œ ‰ œ œ œ nœ œ œ œ œ œ

4 ‰3 bœ œ ‰3 œ œ ‰3 œ bœ ‰ œ œ ‰ œ œ ‰ œ 4 nœ n œ œ œ œ œ

œœ ‰ œœ nbœœ ‰ œœ œœ ‰ œœ œœ ‰ œœ

œœ 3

‰ œœ

3

œ 3

3

‰

œ

3

œœ

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