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Maya-Sesha (2007)

Rolf Hind

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It is requested that markings are made in light pencil (HB) only. All markings should be removed from the score before the material is returned.

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Maya-Sesha

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or

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Photocopying, or any other form of duplication, is strictly prohibited.

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For Piano and Orchestra by Rolf Hind

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ht

s

Commissioned by the BBC

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First Performance on 15th March 2008 at City Halls, Glasgow with Rolf Hind (piano) and the BBC Scottish Symphony Orchestra conducted by Martyn Brabbins

Typesetting and Music Preparation by Peter Readman

This material remains the property of G.Ricordi & Co. (London) Ltd. All requests for performance should be directed to the publisher. +44 (0)20 7835 5380 www.ricordi.co.uk


Maya-Sesha (2007) For Piano and Orchestra Instrumentation 2 Oboes (doubling treble recorders)

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2 Clarinets in Bb (1. doubling Eb Clarinet; 2. doubling Bass Clarinet) Bassoon Contrabassoon Soprano Saxophone

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2 Horns in F

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2 Trumpets in Bb Tenor Trombone Tuba

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2 Percussion:

/F

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Player 1: snare drum, metal sheet, ratchet, policeman’s whistle, bicycle bell, dustbin lid, 3 motor horns (high, medium, low), whip, bass drum, clash cymbals, tambourine, paper for tearing, gong (E below middle C, dipped in water).

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Player 2: whirly tube (G above middle C), whistle, high motor horn, metal sheet, anvil, 3 stones (high, medium, low) bass drum, snare drum, 3 rototoms, wind machine, paper for tearing, gong (B below player 1’s E, dipped in water).

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Accordion (free-bass) Celesta Harp

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Violins soli (see layout) Viole ‘Celli(8) Contrabassi

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4 10 8 6

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Piano solo

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6 Voices

Fl.





F-F 

3.





4.



 F-F

 F-G

 

Score in C

nd o

Lo 

           

 





           

           

  

 



           

           

 5.&6. F-Bb  (8ve plus 4th)

ht 

yr ig

Fl.

 Ab-Bb (9th)  

2.Fl.

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by

1.

 of the humming is: The Fl. range

Fl.

R ic or

They are required to whistle and hum, very quietly and subtly. No vocal training is required!

Fl.

di

piano 4 soli violins celli 1-4 bassi  percussion

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These can be any of the orchestra, including the conductor, except:






Stage Layout Piano stage left Strings stage right Accordion beside piano Eb Clarinet and Soprano Saxophone near piano

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Piano Preparation

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The four violins should be spaced apart from each other and behind the other players.

           

or

  Fl. at the near The following notes are damped end with Blu-tac, without distorting the pitch.

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The piano is treated in the following way:

ed

/F

Blu-tac should be ready so that, as indicated in the score at bars 53-69, the remaining notes in the range F2-D4 are also muted. This block of Blu-Tac is then ALL removed in the indicated passage before the 2nd movement. Blu-tac is applied to the far end of the strings of the top two notes, resulting in a whip-like, near pitchless sound. This is left on throughout.   Fl.    A large piece of blu-tac is placed further along  the string of F(below the stave: bass  clef) to distort and  give a gong-like sound. This is removed at the bottom of p. 71.

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 = this symbol indicates a metallic scrape with the fingernail on this string. Use plenty of string!

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Harmonics are notated (in the second movement) with the fundamental on the keyboard and showing the resultant. Page 71 (bars 443-446) are 5th harmonics located just beyond the dampers. Pages 75-77 of score (bars 462-478) are 4th harmonics; Pages 78-80 (bars 479-499) are third harmonics which are easy to locate in front of the dampers. All the harmonics are designed to be reached sitting down. Hand stopping (approximates the muted effect of blu-tac) is indicated by the following notehead:   

/A

            A wire brush is needed: hold the requisite notes silently with the left hand and tremolo over them with the brush to hear the chord. Also (last

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bar of Ist movement) allow the brush to beat on the piano soundboard (snare drum-like.) Observe the duration of the sounded chord! p.158

Accordion techniques 

Lo

di





R ic or

 effect in the final section  of the piece. Fl. (silently!) place 6-8 ping pong balls on the top section of strings to create a subtle and random tinkling 

Bar 5 and c. = Bellows tremolo

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ht

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Bar 364 – make pitchless sound f possible! Bellows slap or “hit”

C op

Fl.





 


MAYA-SESHA for piano and orchestra

Rolf Hind

7  6

Intrada

 

 

 

Clarinet 2 in Bb

Soprano Saxophone

x=x

 

 

 

 

 

 

 

 

 

Bassoon

 

 

 

Contrabassoon

 

 

 

 

 

 

 

 

 

 

 

 

Trumpet in Bb

1 2

Tenor Trombone

mp

on

al ru s

 

  

pe

1 2



(very gentle attacks) 7

or

Horn in F

/F

Clarinet in Eb

ed

1 2

 

 

 

rv

Oboe

ly

 

tempo libero

q = 90 lontano, volante, molto delicato, ma ritmico

 

 

Harp



 

 

Celesta



 

 

 

 7             

e-bow

   

Viole

Violoncelli (div. a 2)

Contrabassi

 

 

 

 

 

Copyright © 2007 G. Ricordi & Co. (London) Limited

   



p

   

re

 

 

 

  

7

7

 

7

(p)

 

7

7

( mp )

 



7

   ped 3

 

 

 

con sord. IV

  

p

7

    



con sord. III

 

s

   

p

 

7

( mp)

mf

ht

rig /A ll

n

 

 



yr ig

C op

 4 Solo Violins 

 

harmonics

ht

 

by

Solo Piano

do

 

7

p quasi improvisando (ma giusto!)

on

 

7

iL

Accordion



whirly tube

rd

2

rim near edge centre

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Percussion (2 players)

snare drum: snares off

R

1

se

Tuba

 

 

 

7  6  x=x


Maya-Sesha

2

q e. = q

  Eb Cl.   

q = 105

5

q = 60

 

 

 

simile

 

(poco)

mp

7 7 6  1                                                                  S.D.             

 

  

III

 

p

  

p

 

 

IV     

re

 

ht

s



ly

 

on

ru s

 

mp

 IV  

Vc. (div. a 2)

pe

  

   

or

Pno

  

e-bow

  

/F

 

(come sopra)

ed

pp

 

 

7

rv

 

Accord.

7

7

se

(Bellows tremolo)

7

al

7

/A ll

rig

 7  6   

do

q = 70

8

on

(mf)

ic o

rd

7 1                      S.D.   

R

7

C op Pno

7

  

 

   

   

   

I

7

 

7

7



 

6

 

by

      

e-bow

7

 

q = 41

                                                   

   

ht

 

7

yr ig

Accord.

  



iL

Eb Cl.

q e. = q

n

x=x

 



7

 

   

   

 

sempre flautando, ma poco cantando

Vc. (div. a 2)



IV

 

III

 RICL 101

 



 


7   6 

Maya-Sesha

x=x



q = 47

  

  1                                S.D.         7

 

2

 

 

ru s

al

ed

  

rv

     

 

 

IV

 

  

se

  

   

IV

re

 

   

7

  

 

/A ll

rig

Vc. (div. a 2)



dim. sempre

s

Pno

  e-bow

7

ht

Accord.

7

7

or

     

7

 

6                  

/F

7

dim.

  



ly

7

on

11

pe

  Eb Cl.      

Whirly Tube

3

on

do

n

14

with fingertips

ppp

 

by

  

yr ig

Whirly Tube

 

ht

2

 

ic o

1   S.D.   

rd

q. = 60 calmo, irreale

   

e-bow

C op Pno

 

 

     

 

  

 

     

   molto ped: blur sounds while maintaining ebow durations (manual stopping of ebow notes if necessary)

A

Vc. (div. a 2)

R

A

iL

x=e

   

 

       

  







 



 

IV

calmo, irreale

  

 

 

pp

 

 

   

pp

RICL 101

 

 



  

 

(sim.)

 





    III

IV

     

   

    


Maya-Sesha

 

pp

Cb. (div. a 2)



  

   



 

(pedal to change dynamic)

 

  

  

 

 

 

  

 



con sord. sounding pitch

 

II

pp

re

IV

III

 Vc. (div. a 2)

ly

 

(l.v.!)

on

 

al

pp



ru s



 

pe

  



or



(accents in p sempre)

  

Vla (div. a 2)





/F

ed

Pno

e-bow

rv

     

19

se

4

 Eb Cl.  

1 

Cb. (div. a 2)

do on iL 



 

 

  

  



 

 

 

 

III



 

 





con sord. sounding pitch



 

II

 

    RICL 101

p

sulla tastiera!

  

 IV

 

  

 

  

 

Vc. (div. a 2)

C op

Vla (div. a 2)

  

yr ig

 

ic o

rd

by

Pno

e-bow

R

ht

S.D.

n

24

/A ll

rig

ht

s

 

 

 

 

  

  

 

mf

    



  

 

 

  

  

   

 

   

 

   


Maya-Sesha

5

B

   Eb Cl.     

poco a poco rit.

28

 



     



p



 

 



poco a poco soloistico

  

pp

sotto voce, tentativo

ru s

  

pe

1      

/F

or

S.D.

al

on

ly

S. Sax.

p

   



p

s

re

p



ed

Accord.

rv

     

ord.

se

     



 poco ped

 

         

      mp

     

ht

poco a poco rit.

  

yr ig

  

by

B

R

ic o

rd

iL

on

 

n

mf e-bow off!

/A ll

 

do

Pno



rig

ht

 

   

C op

Vla (div. a 2)

 

               

   

  

sempre ppp flautando, sul tasto

Vc. (div. a 2)

              

     

sempre ppp flautando, sul tasto

RICL 101

   

     

 

           

III

ord.

pp

     

 


Maya-Sesha

6

rit. sempre

34

mp

 

  

 

  

    

mf

 

     



 

       

     

   





 

  

quasi f



     



  

   

 

 

 

pe

rv

se

 



(mute lower note with right hand)

        

     

do

 

ic o

���  

  

 pp

   

yr ig

             





    

 

 

Vc.

(div. a 2)

        

 

 

pp

by 

ht

  

C op



 

R

rd

(div. a 2)

  

/A ll n

rit. sempre

Vla

mf

iL



re

             

 

e-bow off

s

e-bow

 

ht



e-bow on!

on

Pno

rig

ed

/F

or

Accord.

ru s

al

on

S. Sax.

   

ly

 Eb Cl.   







    II

   

              

   



   III

II



 

 

pizz. molto vib.(wide)

 



senza sord.



poco sfz

 

Cb.

(div. a 2)



 RICL 101



   

 

senza sord.

pizz. molto vib.(wide)

 





poco sfz

 


Maya-Sesha

7

* note to conductor: between bars 41 and 54 the E flat clarinet leads

C sempre

               

sempre molto accel.

Eb Cl.

           

            f e sempre cresc.

quasi cadenza *

 S. Sax.      

  

 

 

  

 

  

 

   

 

  

 



 

 

 

ed

( p)

 







re

 

s

 

e-bow





ht



  

rig



    

n

e-bow on!

/A ll

se

rv

 

do

Pno

C sempre

sempre molto accel.

iL

  

accel.

rd



on

Whirly Tube

or

2

/F

   

pe

ru s

al

p

  

  

     

ly

41

on

q. = 40 accel.



  



ic o

mp

by



mp

 

 

yr ig

ht

    

R

Vla (div. a 2)

   

C op

I

     



 

IV

      



 

 

Cb.

 

 

pp

tutti

  

p

Vc. (div. a 2)

 

 

 



 

sim.

 RICL 101



   


Maya-Sesha

48

  S. Sax.    

 

  

    

  

 

     

 

 

 

 

 



       





con sord.

mp, minaccioso



 



 

mp, minaccioso

 

   

ht

( p)

 

 





do on



iL





R

by 

 

yr ig

Vla (div. a 2)

C op

           

 

    

ic o

rd



apply blu-tac to these pitches too



   ppp

  



ppp

ht

Pno



n

 

/A ll

rig

s

whirly tube

2

Whirly Tube

re

se

rv

Hn 2

pe



or



/F

con sord.

ed

 Hn 1 

ru s

al

poco a poco cresc...

     

       

ly

   Eb Cl.            

on

8

 

   

Vc. (div. a 2)

Cb.

 RICL 101


Maya-Sesha

9

* note to conductor: between bars 55 and 68 the soprano sax leads

molto più moderato e = 100 q. = e

più accel! (ie a steeper curve)

q. = 42

55                                                    Eb Cl.  3

3

3

3

mp

    2

 

 







 

/F

 





simile



ed

   



rv



 

 

 

rig

ht

s

9:6

 

  

Accord.

Vla (div. a 2)

se

Whirly Tube

9:6

ly



3

on

 

3

re

S. Sax.

3

al

quasi cadenza *

3

sempre cresc.

ru s

3

pe

3

or

3

ff delirante, poco libero (not too strict)

/A ll

 sempre molto accel. (q. = 60)

n

6:4

9:6

9:6



 

ic o

 





9:6







poco a poco cresc.

ht

  



yr ig

Hn 1

by

R

S. Sax.

rd

iL

9:6

                                                

do

 

on

    Eb Cl.  58

mf

  

C op Hn 2

Whirly Tube

Accord.

 

 





 





 

mf



 

 

 

 RICL 101



 

 


Maya-Sesha

10

  S. Sax.  

Hn 1





  

 

        

 

(Conductor suggestion: Beat in 1)

repeat 2-3x ad lib. accel e cresc sempre

 



    

  

 

mf (poco a poco cresc.)

  

 







  

 

 

 

 

 

ru s

or

/F

 

f

ed

rv

metal sheet

pe

f



al



  

 

take Ratchet

 





 

rig

ht

s

Accord.



se

Whirly Tube

re

Metal Sheet



f

f

Hn 2

ly

Eb Cl.



  

on

   61

                

  





 



on

iL

 S. Sax.  

 

  

  

 

 

 

ff

R

C op Whirly Tube

Accord.

2    

 

 

by

  

yr ig

Hn 2

  

ht

Hn 1

ic o

rd

65

do

n

/A ll



 

 

 

  

  

 

   

   

 

 

 

 

  

   

 



 

 

RICL 101


Maya-Sesha

11

D e = 120 molto più moderato

                     69                   S. Sax.    7 7 7



 

mf

ly on al ru s 



 

 

 

 





ht

s

rv se

 



rig 

 

iL 

rd





ic o





 

 

 





cresc. possibile

 

by 

senza sord.

 







  

   

 



C op

yr ig

ht

 

      

on



R

 

  

re



mp

Pno

  

   

72

Accord.

 

ratchet

pe



   



or

f

 Hn 1    Hn 2

 



/A ll

                   

/F



   

 



 

Pno

 

repeat 2-3x ad lib. accel e cresc sempre

ed

  

quasi cadenza *

Accord.



   

f

1

Ratchet

   

n

Hn 2

  

do

Hn 1

(Conductor suggestion: Beat in 1)

e sempre accel possibile

w + q. = 110

75

Accord.

        

 

  

   

 

                

        

Pno

ff

 

  

  

  RICL 101





   

 

  

 


12

Maya-Sesha

E molto più moderato e = 110

     78

Hn 2

sempre accel!!

 

 

ff

(tempo di trem.)                                                           play as much of these two bars as poss: stop IMMEDIATELY on whistle

   

   

 

                        



Whistle

fff





ic o

R

 

 

  

    

 

  

  

 

   

 

  

fff



  

                                                                            poco meno f , oscuro                                

by



85

 

Pno

  

         

             

 



 

 

 

 



fff

ht

 Hn 2    

 



C op

Pno

on

ru s

yr ig

Hn 2

iL

81

rd

 Hn 1 

do



n

 

fff

  

/A ll

fff

  

 

on

19:16

 

Pno

ly

ff

1   Whistle   

Accord.

  

se

Hn 2

pe

smanioso, sempre accel. quasi cadenza

re

Hn 1

 

 

or

    79

  

/F

fff

 

 

 

ed

   

rv

  

al

s

 

ht

Pno

46:40

rig

Accord.

                                             RICL 101

                         

    

 

  

  

 

                                            

                                  attacca


Maya-Sesha

13

I Maya q. = 69 molto energico, ruvido, caotico

  Oboe 1  

90

  



Oboe 2

 

   

   



ly

ff ruvido, quasi nagaswaram



al

  

ru s

Bassoon

on

ff ruvido, quasi nagaswaram

      gliss.   



 

gliss.

mf

rv se

/A ll

rig

ht

s

  gliss.  

re

ff

 Tenor Trombone  

gliss.

ed

ff

Horn 2 in F

  



or

   

gliss.

/F

   Horn 1 in F    

pe

ff ruvido, quasi nagaswaram

1   

on

do

n

bicycle bell ratchet dustbin lid

ff sempre

  

2

ic o R by C op

   

Piano

      

  

           

                                  

Viola

  



 



  

 

 

fff

ht

yr ig

  Accordion   

note to conductor: orchestra starts 1st movement any time during this bar (ad lib.)

   

  

ff sempre

rd

iL

whistle car horn (highest) metal sheet

     

    

     

   

        

    

ff RICL 101


Maya-Sesha

 Ob. 1 

 

 

 

 

 

ff con forza

  

3:5

ff con forza

Percussion whistle car horn metal sheet

  

  

 Accord.    

C op Vc. (div. a 2)

  

ff

  

senza vib.

 

ff

  

senza vib.

  Db. (div. a 2)

ff

   

senza vib.

  

 

R

ht

   

senza vib.

 

        

ff

     



               

ff

 

rig 

se

 

3

3

  

re

 

s f

3



  

gliss.

 

f

   

ff

rv

3

 

    

ff





  

         

     

 

  

 

 

��� 

         

pizz.             

 



ff

    

   



  

    

   



  

    

   



  

     

     

 

  

RICL 101

   

gliss.

mf

no dim on long notes!

        

3

   

         

ht

ff

 

3

 

    

no dim on long notes!

 

  

 

no dim on long notes!

ff

 

     3

 

        

no dim on long notes!



f

        

        

by

  

yr ig

Vla.



  

/A ll

  



gliss.

 1   2

 

   

gliss.

n



  

 

do



 

on

iL

bicycle bell ratchet dustbin lid

 

Hn 2

Tbn

rd

Hn 1

ic o

Bsn

 

    3

 

al

   

    

ru s

   

 

on

ff

3:5

S. Sax.

    

 

      

pe

B. Cl.

   

  

or

Eb Cl.

     

   

/F

Ob. 2

ed

93

ly

14

    arco

 





 

 





 

 





 

  





 

 

 


Maya-Sesha

 

99

Ob. 2

 

   

   

Eb Cl.

   



    

  

  

    

   



        

1  

    

 

        Accord.       

       

ht

yr ig

Db. (div. a 2)

3

f

 

  

   



do 

on al

  

      

      

     

p dolce, al fondo

ff



  

    

  

  



    

  

  

     

  

  

  

    

  

    

  

    



  

     



RICL 101

       

      

 



pizz.

  

   

ed

      

on

iL

 

rv

  

 

mf

gliss.

or

    

  

3

/F



    

C op Vc. (div. a 2)

ff



ic o

by

R



Vla. altre

meno f

ff

rd

2

  

n

     

 

meno f

Percussion

 

  

se

 

   gliss. 

     

 

  

  



   

1 sola

s

   

whistle car horn metal sheet



ht

 

   

     

bicycle bell ratchet dustbin lid

 

pe

re

 

 

ff soloistico

   

Hn 2

Tbn

rig

Hn 1

/A ll

Bsn

     ff soloistico

S. Sax.



ru s

B. Cl.

     

ff soloistico

       

ly

 Ob. 1   

15

 

   



           

   

f

   

f

   

 

            

 

            

 

            

 

            


Maya-Sesha

106

 

Ob. 2



         



    

    

Eb Cl.

   

    

   

  

    

  

  

  

      

  

     



 

ly

 Ob. 1   

on

16

fff

      

al

   

ru s

B. Cl.

bicycle bell ratchet dustbin lid

 

   

  

mf

 Db. (div. a 2)





   

 

    

      

    

      

ff

ff

n do

   

ff

 

 

       



  



  

 

     



     



     



     



     



 

     

 

 

or

/F 

ff

rd 

 

      

ic o by

ht

yr ig C op Vc. (div. a 2)





  

on

mf



  

   

ed



       

iL

 

tutte arco

Vla.

  



  

R

Accord.

2

 

Percussion

whistle car horn metal sheet

    



f

 

f

1  



rv



     

se

  

 

re

 

s

    

ht

Hn 2

 

rig

Hn 1

/A ll

Bsn

pe

fff

RICL 101

     

  

 



     



  



     

     



  



      

     

  

 

 


Maya-Sesha

17



Ob. 2



Eb Cl.

          

 

 

   

 

            

fff

  

  5:6

5:6

                                           5:6

5:6

  

 

re s ht

  

  









rd

2

iL





on

Percussion whistle car horn metal sheet



  

se

rv

1   

3 motor horns

high medium low

rig

 



yr ig

ht

by

R

ic o

 Accord. 

     

   

 

  

 

   

 

  

C op

  

Vc. (div. a 2)

Db. (div. a 2)







  RICL 101

 

 

/A ll



 

n

Hn 2

 

do

Hn 1

   

   

   

   

 



   

ed

Bsn



ru s

 

S. Sax.

  

 

5:6

pe

 

5:6

or



5:6

  

        

     

  

/F

B. Cl.

5:6

   

  

ly

on

112

al

 Ob. 1 


Maya-Sesha

18

Bsn

Hn 1









whistle car horn metal sheet

2

se

gliss.

mp

n 

do



re

s



ht



rig

 



     

yr ig C op

 

Vc. (div. a 2)

 

Db. (div. a 2)

F  

 





        RICL 101

   





 



 



 

 

 

3

   

3

   

ht

by

R





mf

ic o

 Accord. 

  



molto f

/A ll

1 





on

Percussion

iL

3 Motor Horns

rd

Tbn

molto f

Hn 2

al

   



 





          



ly

on

5:6

       

 

ru s

S. Sax.

5:6

  

  

  

pe

B. Cl.

  

     

    

or

Eb Cl.

 

/F

Ob. 2

 

ed

116

rv

  Ob. 1  

F

  

 











 

 

   

  3


Maya-Sesha

Hn 1



 

  



 

 





  

 

 



 



  

se re



 

 molto f

 



  



 



ff

Percussion whistle car horn metal sheet

2

 

 

 

 



 

 



ic o

  



3

 

 

fff molto marcato

by

3 3



   

yr ig

ht



R

Accord.

rd

iL

on

ff



rig

/A ll



n

 1  

do

3 Motor Horns

ht

s

Tbn

 

rv



 



 

 





ly

 



 

on

 

    

Hn 2



al

  

ed

Bsn

 

B. Cl.



ru s



pe

 

Ob. 2

 

or

120

/F

 Ob. 1   

19

 

 

 

 



 

 



 

 

 

 

C op

Vc. (div. a 2)

Db. (div. a 2)

 

RICL 101









 





 





 



    

 

 

 

 

    

3

3

    


Maya-Sesha



Ob. 2

Eb Cl.





      



        



     



     





molto f

   

 

             

B. Cl.



 

5:6

  

5:6

 



  



 5:6

5:6

Hn 1









 



ff

Hn 2

 



    5:6

pe

 

 

    

   

or

/F

Bsn

  

 

ed

molto f

   

  



 

 

  

rv

  

   

    

se

 

  mf

  

re

  

s

 

S. Sax.

 

 

               

     

molto f



ly



on

124

al

 Ob. 1 

ru s

20



 

gliss.

1 

/A ll

Accord.

  



yr ig

ht

  

 

3

C op

 

Vc. (div. a 2)

Db. (div. a 2)

 

 

 



 

 



 

 

rd 

   

ic o

3

3

3

R

 

iL

 2

by

whistle car horn metal sheet

on

Percussion

 

n

3 Motor Horns

do

Tbn

rig

ht

f

 

3

     

  

3

 

  3

   

3

3

 3

    

 

 3

 

 





 





 

 RICL 101

   

3

3

       

  



 

3

 

 

      

           

   

         

       


Maya-Sesha

 

ly



 

con sordino (cup)

   

pp silky



  



  



ru s

al

 



 

 

 



 

/F

Tpt 1



on

128

pe

   Hn 2    

Saccade 1

or

G

21

 

  

pp

n

do

  

on

Cel.

     

/A ll

rig

ht

s

re

se

pp silky



ed

con sordino (cup)

rv



 Tpt 2    

 

  

 

 

 

C op

ic o

yr ig

  



5:6

  

pp



molto ped



 

5:6



 

5:6

 

5:6

   

  

5:6



   

sff

 

con sord.

G   

Vln 4 soli

4

sff

  

1

ht

Pno

  

R

  

by

rd

iL

con Ped.

  

 



ppp

 

 

con sord.

    



 

ppp RICL 101





 


Maya-Sesha

22

H   

violente

130

Ob. 1

Ob. 2

 

  



  



                ff

     

    

      

ff

1       ff

2     

   ff

  

    

   

  

ly

on al 

 



 



 

 

pe

     

 



  





 

iL

5:6

H

  

by ht

C op

 

     

ff

 Db.  

/A ll

 

 

 



pizz.



   

    

pizz.

pizz.

ff

    



    



  

   f

ff

   

 

   

ff

        

Vc. (div. a 2)

f



pizz.

yr ig

Vla. (div. a 2)

5:6 5:6     5:6                     5:6

ic o

rd

R

Pno



n

      

do

on

  Accord.   

rig

ht

anvil metal sheet



  

s

Percussion

  

 

 

     





   





      

f pesante

whip bass drum



ru s





  

  

 

or

 



  

  

/F

  

mp dolce

 



ff non legato

ed

Tba

  

    

rv

   Tbn 



      

  

  

se

 

re

 1 Cl. 2  

a 2: bells up!

   

    

    

   

      

    

sounding pitch       

p lontano RICL 101





   



 

    

 

 





     

  

  


Maya-Sesha

 Ob. 1  135

23



       ff

 

 





whip bass drum



 gliss. 

1 

 

    

do

meno f

iL

 Accord.  

ic o

rd

ff

 

ht

C op

yr ig

 

 

  

    

    

     

    



ff

 





mf

 

  



sempre con forza

 

sempre con forza

   

   



ff

Vc. (div. a 2)







   

     

    RICL 101

 

sempre con forza

ff

Db.

 



ff



5:6 5:6                   5:6 

5:6

    





ff

R 

by

      Vla. (div. a 2)

n

    

on

2  



 

rv



se

     



re

Percussion anvil metal sheet

ff

mf

s

  

  

ht

 



rig

 

/A ll

Tba



al

Tbn

  

ru s

mf

  



pe



Hn 2

 



ly



  



on



or

Hn 1



 

/F

1 2

 

ed

Cl.

Ob. 2








Maya-Sesha

whip bass drum





 

Percussion

  

  



  



 

ly

on

al  

 

       

 



 

       

  

       





  



 RICL 101

   

          

sempre con forza

Db.



(div. a 2)

 

      

p dolce lontano

/A ll



by ht

C op Vc.

 

arco

yr ig

 

1 solo

 





  

5:6

R

Vla. (div. a 2)

Solo Vc.



 



 

         5:6

  

     

ic o



n

5:6

5:6

     

do

 

 



            



on

    

  

iL

Accord.

2

rd

anvil metal sheet

mp dolce



 1



 

    

ru s

pe

or

 

molto marcato

 Tbn

Tba

 

/F

 

rv





  

se

1 2



   

  

re

Cl.

               

s

Ob. 2

  

    

ht

Ob. 1

           

rig

  141

ed

24



     

   



    



    



  


Maya-Sesha

Vla. (div. a 2)

    

(upper desk)

 



 



   



 

  

 

   



  



 



 





 

 1

yr ig

whip bass drum

Percussion

 2

C op

anvil metal sheet

do

on



iL rd

  

    f e cresc. 

  



5:6



Vc.

Db.

   

 

f e cresc.







 

  



 



 

 



 



    



 

 

  

5:6

5:6

5:6

                         Accord.                         Vla.   



mf

R

Tba



by

Tbn



ht

1 Cl. 2

 

ic o

Ob. 2

/A ll

153

n

 Ob. 1 

rig

ht



f

 



 







  

 

ly



  

 Db.   



on

  



  

al

 

 

Vc.

 

ru s





  

 

pe

 

 



or

1  

f soave





   

 

/F

 

 

ed

Accord.

 

 

rv

whip bass drum



se

Tba



 

re

 Tbn

  

s

  1 Cl. 2 

(a 2)

148

25

 

  

cresc.

  RICL 101

         

 

 


Maya-Sesha

Ob. 2

1 2



     

   

 

 

    

5:6

 







      

  5:6

   

5:6

 

 





 fff

5:6



 



 

    



5:6



5:6

1. change to E flat Clarinet

 

 

fff

 

pe

 

/F ed 



2   



on    

iL

   

       

 

rig

  

 

 

  

ht

by

yr ig

Vla. (div. a 2)

C op

 



Vc. (div. a 2)

 Db.   

 

 

 

fff



 

 

 

  



  

 

   

     fff

R



 

n

rd

 



ht



rv

ic o

Accord.

 1  

Percussion anvil metal sheet

se

 

re

  

 

s

 

/A ll

whip bass drum

do

Tba

Hn 2

 

fff

or

Hn 1

ru s

al

Cl.



on

  Ob. 1   157

ly

26

 

 RICL 101



 

 



 

 

 

 

 

 

 

 

 

 


Maya-Sesha

I

  

 

p

 







  



 

 

  

on



 



 



 

 

se





     



ht

    

re



s

            p

   

5:6 5:6                                                           pp 5:6

ht

yr ig    

C op 4

 





   

ppp

 

(con sord.)





 

 

ppp

 

  





 RICL 101

 

(con sord.)

ppp



 

  

  



 

ppp





(con sord.)

  



   

Vln 4 soli

3

5:6

ic o by

   

 

(con sord.)

Saccade 2

2

5:6

rd

5:6

on

  

5:6

iL

molto ped

I 1

5:6

do

5:6

R

Pno

n

/A ll

rig

Cel.

rv

ed

/F

or

Tpt 2

 

al

p

 





ru s

Tpt 1

Saccade 2

pe

      161

ly

27

 

 


Maya-Sesha

28

J

  

 

 



  

 



 

 

ff ruvido

 

f meccanico

  

 



 

 

ly

  





  

 

f

   



  



  

 

 

pe

    

do

n

/A ll

rig

ht

s

re

se

rv

ed

/F

or

on

Cbsn

ru s

al

S. Sax.



meccanico smanioso

on

  Eb Cl.   164

Bicycle Bell 2 Motor Horns

1    

 

f



ic o

high medium low

 

 

  



  

f possibile

 

C op

yr ig

ht

by

R

3 Pitched Stones

3 pitched stones

   2

rd

Percussion

iL

bicycle bell 2 motor horns: medium and low

      arco

Vla.

p senza espress.

 





 

 

arco

 Vc.  

 

 RICL 101

 

III

p



 




Maya-Sesha

 Ob. 1  169

29



 









ff molto ruvido

Ob. 2



 





 

     

   

   

on

 



  

al

ru s 

 

pe

      



or

  



/F

 

 

ed

 



 

 

  

 



   

Percussion



 2

  

ht rig 

    

n

 



             

f minaccioso

     

  

 





 

Db.

  

 



  

f

   



III

Vc.

 

C op Vla.

by

ht

 

yr ig

Accord.

R

ic o

3 pitched stones

on

1            

/A ll

do

iL

bicycle bell 2 motor horns

 

rd

Hn 2

s

re

se

    

   

 

rv

            

S. Sax.

Cbsn

Eb Cl.



  

ly

ff molto ruvido

III

   

    

 



   

    





 

 

   

 

p

RICL 101

   






Maya-Sesha

 

 

S. Sax.

 

ff

 

 



 





     



     

���







          

   

   

   

   

      

  

      

rv

se

s

re

 Hn 1 

   



  



p soave e legato

1   

   

   



 



rd

 



 

   

 

   

    

   

ossia

         f

  

  

       

 



   

   

C op Vla.

Vc.

Db.

 





  



ht

 

yr ig

Accord.

by

R

ic o

 2

iL

Percussion

3 Pitched Stones

   

ht

 



rig



/A ll

n

do

bicycle bell 2 motor horns

on

Tbn

    

  

ly





 





on

 

ed

Cbsn

 

al

 

Eb Cl.

 



ru s

       

Ob. 2

pe

176

or

    Ob. 1     

/F

30

 

   

  

p

  

IV

  

   



 RICL 101

   







  



  

IV

 


Maya-Sesha

 



  

 

 

  



  

 

   

 

     

   

   

on      

pe

     

 

 

ly

 



 

ht

               

1   

 

 

 

 

 

        

iL

rd



 

 

 



    

   

      

    

 

  

 

 

 

 

    



  



R

ic o



se

rv

  

 

s

f



re

           

 

2



  

al

   



 

ru s

     

         



Percussion

3 Pitched Stones

 

/A ll

  



rig



 

 

  

n

bicycle bell 2 motor horns

 

 



on

Hn 2

     

     

S. Sax.

Hn 1

 

Eb Cl.

Cbsn







 

do

Ob. 2

 

  

or

 





/F

182

ed

 Ob. 1  

31

ht

by

   

C op

yr ig

Accord.

Vla.



 

 

   



 



   





 mf

Vc.

 







 

mf

Db.

    

 



 RICL 101

 

   

mf

 

 

 


Maya-Sesha

32

K  

  

 

 

 

 

  



   

 

  



   



   

           

  

   

    

    

     

rv

      

al

ru s

     

   

pe

Cbsn

 

or



/F

s

ff

8:7

        

/A ll

ff

     

ht

rig

  

   

    

n

do

1   

      

(2 Motor Horns)

           

ic o

rd

      

     

ff

K



ht

     

C op

yr ig

Vla.

by

R

Accord.

iL

on

bicycle bell 2 motor horns bass drum

ed

   

Hn 2

  ff con forza

S. Sax.

Hn 1

 

 

se

Eb Cl.

 

re

Ob. 2

 

ly

 

188

on

  Ob. 1   

   

 





 

 

 IV  



 



 





 



 

Vc. (div. a 2)

 

Db.

  

 

 



 

 RICL 101



  





 



 

 


Maya-Sesha





193

Ob. 2

 





 

 

 





 

fff

fff

  

 

on

Eb Cl.

 

ly

 Ob. 1 

33

  

  



 

8:7

  

ff con slancio

Hn 2



   

8:7

8:7

 

 

 

 



     

  

 

 

8:7

  

     

8:7

   

   

 

Vla. (div. a 2)

yr ig

 

C op

Vc. (div. a 2)

 

 

 

 

/A ll

rig

ht

  

n



  

iL

 

arco

rd

    

  

on

do

    

ic o

 

R

 

  

(bass drum)

by

Accord.

1  

 





  (poss.)





ht

bicycle bell 2 motor horns bass drum

s

re

ff con slancio

al

 

ru s

pe

 Hn 1

or

/F

  

ed

rv

se

Cbsn

  



mf

 

 

  (poss.)

 

  IV

 

I



III

 

 

(poss.)

 

 







  (poss.)

  Db. (div. a 2)

 

 



 



 



  (poss.)

  

 

 

 

 

 

 

  (poss.)

RICL 101


Maya-Sesha

ly

34

on

L Saccade 3 8:7

  

    



 

 









    

     

e=e

 

 

 

           

 



  

    

ht

s



re

   

    

                                                                                            

/A ll

do

n

   

pp grazioso

  





  

   

p molto legato

 

             

L

  1   

I



 

by

(con sord.)

   

ic o

rd

iL

poco ped. sempre

R

Pno

     

rig

p

   

on

Cel.

               

se

rv

pp

 



ru s



pe

pp

Tpt 2





or

     

/F

Tpt 1

ed

q. = 78

197

al

q. = q.



IV

   



 

  



IV! (slightly flat!)



 

yr ig

ht

ppp

 

e=e



  

   



C op 2



Vln 4 soli

3

4

    

(con sord.)

(con sord.)

 

ppp

 

(con sord.)

IV!

  



IV!

 



ppp



   





 



ppp



 

   

 RICL 101

IV!

 

 



 



 IV!   

 



 


Maya-Sesha

q = 120

   Hn 1   (  )  201

pavillons en l'air

  (  ) 

 

Hn 2

Tbn

 

   



 





 



 

  



 





 



 

ff ruvido

pavillons en l'air

 

35

ff ruvido

  ()   

 

con sord.



Vln 4 soli

al ru s pe

or

  



re s ht

/A ll

do on iL





ht

  3  () 



rd

  2  () 



  

ic o

    1  ()



 

n

  (  )



 

 

R

        

 

  

f ma quasi lontano

   



 



 

f

by

Pno

f

      (  )



clash cymbals

rig

 

bass drum

  B.D.    (  ) 

2

  (  )

 

/F

Percussion



f legato, senza accento

1   Cl. Cym.   (  )

Accord.

 

ed

rv

con sord.

se

   Tba   ()

on

f legato, senza accento

 

ly

M

yr ig



C op

  4  () 

Vla.

  (  )

con sord. 3

            

ff martellato

Vc.

  (  )

  

con sord. pizz.

ff martellato

  Db.   (  )  

 

col legno battuto

f marcato

  RICL 101

 

3

arco          3

3

 


Maya-Sesha







 







 



 

 1

Percussion

iL

   

rd

2  

  

  

 



    

by

    

  





yr ig

ht

Accord.

R

ic o

B.D.



ht



rig

/A ll

n

do

Cl. Cym.

on

Tba

s

re

Tbn



 

al

ru s

 

pe

Hn 2



 

or



/F



ed

rv

205

se

 Hn 1 

on

ly

36

C op



Vla.

    

Vc.

Db.

 

  

   



  

  

3

                    3

      RICL 101

3

3

        

  

    3

3

 

 

 

   3


Maya-Sesha

 Cl. 1   210

37

1.

 

 



 

   

 



 



 

   

 

 



 



 

   



 

ru s

  

/F

ed rv

  

 

re

Tbn

 

se

Hn 2

or

pe

Hn 1

al

on

ly

mf capriccioso

   



ht

s



/A ll

rig

   

 

n

 1 



iL

Percussion



  

 

  

R

ic o

rd

2

B.D.

do

Cl. Cym.

on

Tba

by

  Accord.  





 

 

C op

yr ig

ht



Vla.



                     

Vc.

3

Db.

3

3

3

3

          

   

       

   RICL 101

             

  

 


Maya-Sesha

38

N

 Ob. 1 

215

 

 

 

   

 





   

 1





  

  

se

s 

   



 

  

 

  

  







 

   

 

 

   

  

  

  

 

 

 

                             

quasi



 

N

         

  

ht

rig

   

ic o 

R

by

ht





re 

yr ig

 

/A ll



n

   

do

on

ed



   

  



ff marcato

 

  

   

ly

on

 

al

    

Vc.

Db.

     

         

ru s

 

pe

    

   

C op Vla.



or

2

Accord.

ff marcato

Percussion

B.D.

 

Tbn

Cl. Cym.

 

Hn 2

Tba

  

/F

iL

Hn 1

rd

Bsn



ff marcato

      

Cl. 1

rv

Ob. 2



 

 

        

                 3 3

  

    

 RICL 101

  

3


Maya-Sesha

 

Cl. 1

 

 

  

 

   

 



  

 



 



        

   

 

   

 

   



 

 

 

 

 

  





Percussion

  



by

ht

  

C op Vla.



Vc.

Db.

 

3



 





/F

ed

 

 

 



 

 

     

           RICL 101

 

  

3

 

 

   

          3



rv

se

rig

ht

 

yr ig

 Accord.  

R

2

B.D.

s

 1 



/A ll

 

n



do

 

on

rd

Cl. Cym.

iL

Tbn

re

 

Hn 2

Tba

 

ic o

Hn 1

or

pe

Bsn

  

 

 



ly

Ob. 2

 

 

on

  

al

 

ru s

221   Ob. 1 

39

 



                              3

3

 

 

3

      

3

 

3

3


Maya-Sesha

Ob. 1

 



 









 



 





 

 

      

 

 

 

      

 

 



 



 

 

 







e=e

 

 

 



pe

 

/F

or

 



 

 



 

 

re



se

rv

ed

 

 

 



 





Percussion

   

ic o

by

   

   

 

   

 

  

 

 

 



 

 

C op

yr ig

ht

    Accord.  

R

2

B.D.

on

iL

1 

rd

Cl. Cym.

do

n

Tba



s

Tbn

ht

 

Hn 2

rig

  

/A ll

Hn 1

ru s

al



 

Ob. 2

Bsn



ly

  226

on

40

Vla.

Vc.

    

e=e

 

      

f cresc.

     Db.     arco, ord.

f marcato

      

       RICL 101



quasi



 







 

   

  





 

 


Maya-Sesha

 

 Bsn  

 

 

 

   



 

 

   



 









 





 

mf

   

mf

 

f

 

 

  

 

f

 

 

 

 

 

 

 

 

 



/A ll 



 

  

  



  

  

 

C op

yr ig

ht

      Accord.   

n

mp

iL

2   

ic o

B.D.

 

R

Percussion

 1    

by

Cl. Cym.

do

mp



on



rig

senza sord.

rd

 Tba  

ht

s

mp

senza sord.

re

Tbn

  

se

rv

Hn 2

  

pe

 

or

/F

   

ed

Hn 1

ru s

al

Ob. 2

 

 

ly

232

on

  Ob. 1  

41

Vla.

Vc.

  

     



   

  Db.   

cresc.

 

     





 

 



 

 



 RICL 101



 

 

  

                            

               

f cresc.

  

                            

      

                 


Maya-Sesha

42

O

Saccade 4

pp



Tpt 2



  



   









 

ff poss.

 

ff poss.

Db.

al ru s

pe ht

rig

ht

yr ig C op

 

Vc.

 



on

   

ppp

 





 

    

4



 

  

4

4

n

4

iL

(con sord.)

 

   

by

ppp

 

Vla.

    

/A ll

 

  

rd

(con sord.)

4

    

ppp

 

 

  

 

4



   



  

 4

 





  

do





ic o

  

3

p

(con sord.)

Vln 4 soli



                 p                

2

 



 

1

  

s

   

  

rv

 

      Accord.  

Pno







se

p

 

 

re

  



R

Cel.

 1        





 

pp

Cl. Cym.



ly

 

on

 



q. = 106

or

236

/F

 Tpt 1  

ed

x. = e







  

 



 

  

   

 



 

 



 

 



 

(con sord.)

ppp

ff poss. RICL 101

  

 

      4

4


Maya-Sesha





 

 

 











 

 



ly





 

 

/F ed

4

 4

4

re

se

 







4

5:6

   

   

  

5:6

4

4

  





4

5:6

     

4

5:6

   

     5:6

4

   5:6

      

rd ic o R by

 

 

ht 3



     

yr ig C op Vln 4 soli



 

iL

mp

  1 

 

rv     

s

   

ht



rig



 

 

2

or

n

/A ll

  

Pno

do

on

Cel.

   

pe

ru s

Tpt 2





 

on

239

al

 Tpt 1   

43

 







  



 



RICL 101

 

 

 

 

 


44

Maya-Sesha

P q. = 106

con slancio, agitato

  Ob. 1   241

 

ff

 

Ob. 2

   1

S.D.

Percussion

2   

snare drum:snares on

  

 

 



 

  

ly

on

  

 



  

7:6

 

7:6

ff

    on rim

 

 

 

 

 

n



5:6

R by ht

 

(front) III

 

*

gliss.

mfpp



 

(middle) III

yr ig   

*

gliss.

mfpp

(back) III



 

*

gliss.

Db.

  

 

  

 

 

ff

ff

     

mfpp

Vc.

re

rd

mf

   

C op

5:6

  

Vla. (div. a 3)

s rig

      



do



ic o

Pno

/A ll

 

on



ht

    

iL

Cel.

se

rv

S.D.

snare drum: snares off

 

al

ff con brio

    

ru s

 

pe



or



/F

a 2 sempre

ed

  

 





ff

1 Cl. 2

 



ff

 



  

*strings: begin gliss after notated duration; don't try to coordinate glisses!

IV

  

 



 

pp

   mfpp RICL 101



*

gliss.

   ff

 


Maya-Sesha

   







         

 

  

 

 

 

   

   

     

      

         

   

   

     

     

 

 

 

 

ff

       

ly



       

mf



 

     

 

 

f



Percussion



 

on rim

    

 

on rim

7:6

rd

iL

on

ff

7:6

n

do

   S.D.    2

/A ll



rig

1  S.D.  

ht

s

re

mf

rv

(senza sord.)

se

   Tba  

ed

/F

or

Cbsn

   

   



on

Cl. 1 2



al

Ob. 2

ru s

246

pe

  Ob. 1   

45



 

gliss.

mfpp

 



by

R

ic o

  

ht

yr ig

Vla. (div. a 3)

  

C op Vc.

  

Db.

  

   

gliss.

mfpp

  



gliss.

mfpp

  

  

   

  



 

 

   

 

mfpp

RICL 101



 

gliss.


Maya-Sesha

 



 



Ob. 2

(a 2)

 

Cl. 1 2

 

 

           

S. Sax.

 

 

 

  

          

 

 





 





   

    

 

 

  

   

    





  

    

 

or

ed

/F

      



rv



f









   7:6



    

7:6



  



  

7:6

7:6

R

ic o

rd

iL

on

Percussion 2

 

rig /A ll

 

se



f

1 S.D. 

S.D.



  



       

re

 

 

n

do

Tba

 

ht

 Tbn

s

                   

  

pe

mf grazioso

Cbsn

      

ly

on

250

al

 Ob. 1 

ru s

46

by

yr ig   

gliss.

C op

Vla. (div. a 3)

  

Vc.

Db.

 

gliss.

    

  



       

 







 

sul tasto





mf

     

sul tasto

mf

ht

gliss.







     



pizz.

mf



mf

 RICL 101

 

arco IV



gliss.

mfpp

  

gliss.


Maya-Sesha

    

 

S. Sax.

        

 

    

f

       

    

 



   

           

          

       

            

           

            

        

     

            

   

                

           

         

                

    

   

f





  

 

  

 

  

 

rv 

s



    



    

on



7:6

7:6

 

 

 

 

by

R

ic o

S.D.    

rd

Percussion 2

iL

1 S.D.   

do

n

Tba

  

ht

Tbn

 

 



/A ll

 



se



re

  

rig

Hn 1

ed

/F

or

Cbsn

              

Cl. 1 2

f

ly

 

Ob. 2

f

on

      

al

   

   

ru s

        

pe

 

 Ob. 1    256

47

yr ig

ht

  

 

  

free bowing

gliss.

    

 

    

 

    

 

   

 

mfpp

C op Vla. (div. a 3)

 

 

free bowing

gliss.

mfpp

free bowing

 



gliss.

mfpp

Vc.

Db.

   



 

 



RICL 101

gliss.



f

 

gliss.

 


Maya-Sesha

Bsn

                                              p  

      

   

   

 

  

  

  

  

 

 

     

              

p

   

     

 

         

 

ly

   



  

f

  

 

 

se re



  f

 

 



f

  f

     

 S.D.   

         7:6

 

 

bass drum

bass drum

 

  

 

7:6

7:6            

poco f

C op

yr ig

ht

by

2

R

Percussion

 

ic o

rd

iL

7:6  1       S.D.          

on

do

Tba

   

s



ht

    

rig

/A ll

Tbn

  

n

Hn 1

rv

ed

/F

Cbsn

  

  

  

on

S. Sax.

   

al

      

  

(a 2)

Cl. 1 2

                         

ru s

262

pe

    Ob. 1          

or

48

Vc.

    

Db. (div. a 2)

  

  

gliss.

gliss.

 

pizz.

pizz.

       

 f

 

pizz.

gliss.

  free bowing

arco

   

 RICL 101

f



IV

  

gliss.

 

pizz.

arco free bowing

f

gliss.

    

    

   

pizz.


Maya-Sesha

Cl. 1 2

270      

   

         



      

     

  

     

   

       



      

    

  

fff

Cbsn

49

 

    

         

 

    

pe

   



Tba





ed

 

re s



 f

do

7:6

on

   

ht

yr ig



by

R

ic o

rd

iL

1  B.D.  

n

/A ll

rig

ht

se

rv

Tbn

/F

or

Hn 1

ru s

al

on

ly

fff

    



pizz.

C op

Vc. (div. a 2)



Db. (div. a 2)

    

    

gliss.

ff

pizz.

         

  

arco

ff

 

arco

gliss.

ff

pizz.

 

arco

 RICL 101



  

  

pizz.

gliss.


Maya-Sesha

50

7

 Cl. 1 2 

 

276

  

      

  

 

    



   



   

         

   

       

   

 

   

 

 

  

 

e=e











 







rv se



 

   

re





1 B.D. 

  

ff



7:6

      

  7:6 

  

             7:6

7:6

7:6

rd     



pizz.

C op

yr ig

ht

ff



Vc. (div. a 2)

  

gliss.

arco

ff

  

gliss.

   

 

gliss.

Db. (div. a 2)

  



 

RICL 101

gliss.

 

gliss.

  

gliss.



     

 

      

ic o

    

R



by

Vla.

tutti pizz.

ff

iL

on

2

do

Percussion B.D.

  

7:6

n

  

/A ll

rig

ht

s

Tba

 

   

f

 



or

f



al



f



  

Tbn



ru s

  

  

pe

/F

 

Hn 2

ed

Hn 1

on

ly

Cbsn

(a 2)

    

   

gliss.

gliss.


Maya-Sesha

51

7

e=e

Q

Saccade 5

p dolce





 

 



p dolce



 



2     



mf











pp

se

 

re

rig

/A ll  

  mf

   

  

    

   

yr ig

C op 

Db. (div. a 2)

 

ht

by



  

pp



(con sord.)

4

 



(con sord.)

Vln 4 soli

  

on

e=e

3



iL

7

Q

 

 

mf martellato

 

2

ht 

 

 

R

1

n



do

Pno

  

s

mp

 

rd



ic o

Cel.

   

rv

ed

ff



/F

B.D.

or

pe

Tpt 2



on





 



al

282

ru s

 Tpt 1 

ly

q. = 122 più mosso

 



(con sord.)

 







pp



pp

   



   



RICL 101



  


 



on

 

al





 





rv 

cresc.



 



3

   

do

3

3

  

n

 

 

rig

ht





/A ll

       

3





 

3

  

     3



3

 

 

     3



ic o





   

3

poss.

by ht

3

3



pp



yr ig C op Vln 4 soli

  3

R

  

3

     

iL  

(con sord.)

2



on

 

1

 

se





  

s

 

Pno

  

re

  

rd

Cel.

ed

/F

or

Tpt 2

 

ru s

287

pe

 Tpt 1   

ly

Maya-Sesha

52





 poss.







 poss.

4









 poss.

RICL 101


Maya-Sesha

53

291

  





ff pesante, cantabile

 

Ob. 2

 

  



  





  







  

 







   

   



   

   

ff pesante, cantabile

Bsn



  



 

 



    

  

 

 

  

  



  

 

 

   



 

 

Tbn

iL



  

rd

 

ic o

rig

 

   

  

   

   

 

  

R by ht

1 

yr ig

tambourine

 



   

 

       

                    

f

Percussion

   

C op 3 Rototoms Side Drum

2



 

Pno

 

side drum covered with cloth

 

f

           4

4

4

4

  

4

ff brillante 4

4

            

4

4

     

4

    RICL 101

  

4

4

4

    

     4

4

             4 4

 

f marcato

Tamb.



on

f marcato

Tba

/A ll

f marcato



n

 

do

Hn 2

ht

s

se

 

re

 

Hn 1

rv

ed

/F

ff pesante, cantabile



or



 

 Cbsn  

pe

ru s

ff pesante, cantabile

ly

 Ob. 1  

on

minaccioso

al

R

 4

         4

4


Maya-Sesha

54

  









 

  









 

  



   









 

   



 









 

al

 Ob. 1 

 

Hn 2



  

 

    

    

    

   

do

Db.

       

ic o

by

ht 4

4



            

  

 

ly

on 

 

   

ru s

   





   

  

   

        



(f)

4

 

4

pizz.

    

ff



    

      

 

   

  

        



     



     

sfz

     4

ff

      

 

       

 

pizz.

      4

     

fff

C op Vla.

      

Pno

R

 

 

2

rd

  

yr ig

Accord.

on

Percussion 3 Rototoms Side Drum

    

n

 1

Tamb.



(f)

/A ll

iL

Tba

or

      

rig

Tbn

  

pe 

/F

 

   

ed

  

Hn 1

rv

se

Cbsn

re

Bsn

s

Ob. 2

ht

296

    

 RICL 101

   



  



   


Maya-Sesha

 

  

   

     

 

   

      

 

  

   

     

 

   

      

 

 

   

    

 

   

   Cbsn     

 

 

   

    

 

   

     

   

   

 



  

 

  

al

ru s

pe

 



or

 



    

  

 

 

 

  

   

   

Percussion

yr ig



C op

Vla.

   

     



sfz

 

  

  

  

 

  

       

 

 

  

pizz.

   

f

Db.

  

  

(arco)

f

Vc. (div. a 2)

 

sfz

    

 

     

rd



ic o

R

2

by

Pno



ht

3 Rototoms Side Drum

n

do

 1 Tamb.

/A ll



 

rig

  

on

iL

Tba

ht

s

Tbn

  

 

/F

 

Hn 2

        

ed

  

Hn 1

rv

Bsn

se

Ob. 2

re

302

on

  Ob. 1       

ly

55



   

  

  RICL 101

  

   

   



     

   pizz.           

            

     



 

 


Maya-Sesha

56

 Ob. 1    

  

    



    

  

    



    

308

   

 

     

    

    

    

 

        

    

    

        cresc.

       

    

         

        cresc.

  

 

   



    

         

Tbn

   

 

 1

Tamb.

 

   

  

   

 



yr ig

C op

Pno

Vla.

Vc.

Db.

ic o R

 

       

by

Accord.

       2

ht

3 Rototoms Side Drum

(f)

  

    

se



on

al    



 



 



 



 

 

   

 

   

   

   

     

ru s

re

 

     

 

 

     

 

 

  

      

    

sfz

       

  

rd

Percussion

s

   

ht

     

rig

pe

     

cresc.

or



       

/F

  

ed

 

Hn 2

Tba

 

/A ll

Hn 1

n

Cbsn

  

do

Bsn

ff

on

S. Sax.

ff

rv

ff

Cl.

ly

    

iL

Ob. 2



   

      

ff

     

 

f

       

       

         



     f

      RICL 101

     

       

    

 

sfz

   

  

 

  

       

cresc.



  

  


Maya-Sesha

    

Cl.

    

    

   



   

 

  

 

  

    

 

  

  

 

  

               

  

  

   

   

   

 









 

 





  



 



 



    



 

 

       

ff

 1



 

  

 



to Bass Drum

  



 

 

ff

 

 

 

C op

yr ig

Accord.

ht

R

ic o

rd

2



by

3 Rototoms Side Drum

  

iL

Percussion



/A ll



n

do

Tamb.