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secret forest for ensemble (2008 revised 20/Aug/2009)

Dai Fujikura


Co-Commissioned by Kioi Hall and Izumi Hall. Première: November 5th 2008 Kioi Hall, Tokyo "secret forest" for ensemble (world premiere) performed by Art Respirant conducted by Ken Takaseki February 5th 2009 Izumi Hall, Osaka "secret forest" for ensemble performed by Izumi Sinfonietta conducted by Tatsuya Shimono

Instruments (layout): O N S T A G E

I N A U D I T O R I U M

4 Violins 2 Violas 2 Cellos 1 Double Bass

For ALL Strings: Use plastic (not metal) practice-mutes. The sound of the muted strings must “match” when played together. All Strings need hard plectrums. For cello and double bass: Credit cardlike plastic card will also work well.

1 Flute (doubling rainstick) 1 Oboe (doubling rainstick) 1 Clarinet (B-flat) (doubling rainstick) 1 Bassoon 2 Horns (F) (both doubling rainstick) 1 Trumpet (B-flat) (doubling rainstick) also needs Harmon, Practice, Straight mutes 1 Trombone (doubling rainstick) also needs Velvet and Practice mutes

• The score is in C This work needs 7 Rainsticks; ideally each rainstick should be different in size (but all relatively LARGE size) and sonority. The piece is designed to be performed/conducted without monitors for non-stage musicians.

Cue for the musicians in the auditorium: This piece is designed so that the conductor can turn to the auditorium to direct the off stage players.


Multiphonics: Bassoon

Clarinet (written pitch)

Oboe


Flutes

Seating plan:

As a general rule the musicians in the auditorium play using quieter dynamics than the on stage strings.




= conductor cues for musicians in auditorium "Accidentals (including grace notes) only affect the pitch to which they directly refer, not other octaves, for the duration of the bar in which the accidental is written. All grace notes must be played before the beat." All strings, please observe the bowings exactly. Do NOT subdivide the marked bowings unless stated otherwise. slur = to be played in 1 bow, the dim. must be exaggerated each time.

to Shoji Sato

secret forest for ensemble (2008, rev. 24/Nov./2009)

These are the total number of the conductor's beats in each bar.





1

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8" - 12"

7" - 10"

Bar 1: All strings, change bows as many times as you need.

Dai Fujikura

3

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p

 mf

p

          

p

f

p

  

p

  

      ff

p

mf f molto espressivo

     

ff

p

> poco a poco mechanical >

    

mf f

p ff

1

    

      

molto espressivo

  

  

                 molto espressivo

f

  

f

p

p

f

p

 

pf

molto espressivo

p



p

p f

f

 

molto espressivo             mf ff



p

p

mf f

p ff

f



   

      



   



f

f

p

    f

f





f





  

p

f

 

> poco a poco mechanical >

     

p

p

f

p

f

mf f

ff

p

p

  

  

  

> poco a poco mechanical >      

normal bowing

  



         f

f



p

         

p

p

> poco a poco mecanical > normal bowing

  

p

p f

 



> poco a poco mechanical >

Vla. 1

  

 

> poco a poco mechanical >

f

mf f

p ff

f

p

f

p

f p

f

Vln. 4

        

3

2

             

molto espressivo

f



1

molto espressivo                    

p

p

3

2





f



1

molto espressivo

  

   

 

3

2



    



> poco a poco mechanical >

    

1

p

f

 

Vln. 3

 

  

f

Vln. 2



1

> poco a poco mecanical >

51

     

3

2

p


2

6

Vln. 1

&

2



   57     

p



     f

p

f



    

Vla. 1

p

f

p f

f

p f

            p f pf

 p

         

p

p



Vc. 2









pf

f

3

1

p

p f

f

                     p

p f

pf

p

pf

f

 

p

f

pf

f

p

f

pf

f



p

f

p

p f

f

pf

pf

f

 



  





 p f

  p

  

 

p

p f

p

p

p

p

f

f

f

pf

f

pf

         

p

f

p

  p

f

p

  p

f

p

p

p

  

  pf f

p

  p

       p

f

  p

f

f

p

p

f

  p

f p

   

p

f

      p

p

f



f

p

f

 

f

f

p

f

 

f

p

p

f

   p

p

f

     

p f

pf

  

f

p

f

  

   



        

         

   pf

p

p f

f

p

p f

f

p

           

           f

pf

f

pf

p f

pf

    

       p f

          

 

pf

f

             p f p f



        

p

pf

p

f

p

pf

3



    p

f

p

pf

f

p

f

pf

p f

   

p

f

f

     

f

p f

 

  

p

p

p f

          



 

p f

  

p

f

2

pf

f

  

     

     

  

f

1

    

    p

              p f

 

p f

pf

p f

f

pf

pf

f

p

p f

pf

f

3

            p f f

p

                  

p

f p

f

2

     

     

  

               p p f p pf f

p f

              p

f

   

p

f

1

3

               

p f

                      p f p f p f

2



                  

f

Db.

    

   p





2

 



p





1

                       p f p f p f pf p f

p

f

 

p f





  







pf

f



p

      





pf

p f

f

 



3

2

p f

p f

pf

p f

f

 



           

    f

f

Vc. 1

p

   



Vla. 2

    

f



pf

p f

f

     

pf

p f

f

p

f

      

Vln. 4

p

f

1

         

         p  p f



Vln. 3

p

f

3

2

           

   

p

f

1

        p f

f

Vln. 2

q = 96

3

1



p

f



p



64 Vln. 1

 

1

2

3

   





p

f



Vln. 2

 





 

 p

f

  

Vln. 4

Vla. 1





Vc. 1

Db.



p

  



p

f

f



 f

  

 f

 

p

p

 p

p

f



p

f



p

   f 

p

 

 p

f

  f  



 p

 p

 p

p

f



p

   f   



p

f



 p

f



f



  



   





p

f

  f 

 p

f

3





p

f

 



f

 

 



p

f

p

  

   f





f





f

p



p

p



f

Vc. 2

f

   



f



f

   f

Vla. 2

  

2



f

 

 p

 p

f

p

f







f

  p

f

Vln. 3



1

p

p

 p

 p

 



f

p



 f

  

 p



 

 

p

f

  

p

f



  f



  f







f

f

p

p



 



f

p

   f



   f    f

p

 p

p



 

 p

 p

f



  f



  



f

  

f

p



p



    

 

f

 p

f

 



p

 p

p

      

p

f

p

 p



f



f

p

  p



f



f

f

 



 p

p

 p





     p f

 p

f

f

   

  f

  

f

p

f

   

 p

p

  f

f

  f

 

 p



  

RICL 118

1

 p

 



f

p

f

 f

 

 

 

 f



 p

 

f

p







f

p

f



 

p

f

  f



p

f

p

p

  f





 p

f





 p

 p

p

 

p

 



f

p



f



f



f

 



p

1







f

 p

 p



3



f

 p

 

2



f

 

f



   f

3



f

 p

2

  

 p

f

1

 





f

p

 



f

p





f

p





f

p

 p

 

 p

f

 f

  



 p

f

   f

   f

p



  f

3





p

f



p

f



p

   f



  p

  f

p

p

p



p

f





p

f





p

p

 p

f

  

f

  

f



p



p



p





p

 





  







f

f

  p

f

 p



f



2



 

f



p




6"  - 10" 1

8" - 12"  1

molto S.P. (not scratchy)

All strings, change bows as many time as you need.

    69

Vln. 1





ffff



Vln. 2















  

 





 













ffff

Vc. 2

 





















molto S.P. (not scratchy)



molto S.P. (not scratchy)

 pp

molto S.P. (not scratchy)

  

pp

((ffff)

 

 

molto S.P. (not scratchy)

(multiphonics)

 Fl. 



molto S.P. (not scratchy)

((ffff)

ffff

pp



  



pp



ffff

Db.



((ffff)



molto S.P. (not scratchy)

((ffff)





pp



ffff

Vc. 1



((ffff)



pp





molto S.P. (not scratchy)

molto S.P. (not scratchy)

((ffff)



in tempo q = 60

 

 

(multiphonics) q = 100 (only oboe) espress.



 

molto espress.







 

p





length of the pause should vary everytime

no gap

 mf (don't cresc., nor dim.)

(multiphonics)





 ff

molto espress.

Cl.





mf

p

Ob.



pp



ffff

Vla. 2



((ffff)



7

pp



ffff

Vla. 1







 

pp

((ffff)

ffff

Vln. 4



((ffff)

ffff

Vln. 3





 

in tempo q = 60

 

p











mf





ff

(multiphonics) q = 90 (only bassoon) espress.

Bsn.





  

p

 

 

length of the pause should vary everytime

no gap

 mf (don't cresc., nor dim.) molto espress. same note tremolo

Hn.1

 

    p



same note trill







mf



same note trill



Hn.2



p





norm.

   same note trill





Tpt.

p

bisbigliando: (II, V, II, V, sim) smooth slow

Tbn.



velvet mute









mf

fast



p

slow









ff

bisbigliando: (VI, III, I, III, sim.) fast, smooth, steady speed. molto espress.

 mf

RICL 118



ff

molto espress. same note tremolo



same note trem.



 mf

harmon mute



ff

molto espress. same note tremolo





 

fast



ff



slow


***Please Note: The woodwinds and brass must play these patterns in the specified tempo (and count properly, including the rests), the "fast" figuration is actually VERY Fast, based on (32nds/demi-semi and 64ths/hemi-demi-semi quavers). "mechanical" must be played very quietly and when the "rit." starts, suddenly play espressivo, as if you were soloist in a romantic concerto and playing the cadenza. When the "accel." starts, immediately going back to the original tempo as fast as possible.

36" - 40" 8

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 52

special bar number 

73A

 Fl. 



'airy' 1



pp

2



3



'airy'







mf

 

pp



mechanical

          



   

 

pp

mf



(pp) mf Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 58 espress. same note tremolo, with alternative fingerings 2 mechanical rit............................ 1



Ob.





pp

 



pp pp

mp



  



pp

mp





    aceel.............................              

espress.

     

rit............................

   



pp

     

   

  







 

mechanical

aceel.............................         

pp

pp

pp

mf (pp) Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

   

3

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56

   1



Cl.

pure, clean multiphonics

 

p

p

mp

 

mp

   

p

 

 

 

mp sim.

2 "ugly"

  

  

pp

mf

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 48

   

  

1

Bsn.



pp

p

  

pp

mp p

  

  

double tonging                        2

  

p mp

mf

  

    

  

  

  

  

  

  

  

  

  

  

sub. sfz mp

   

3

rit............................

mechanical



pp



 

 

pp

  

 

   

espress.

aceel.............................

 



   

    

 

(pp) mf Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56

 Hn.1

 

1

same note tremolo    

2



mechanical





      

pp

sub. mf p

   

    

    



                

pp

mp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56

 

1 same note tremolo



Hn.2

 

2

 



sub. mf p

mechanical



pp

                  

 

   



    

3 same note tremolo



pp

mp



pp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56 1

    

(180 degrees)

left



Tpt.



sim., very fast

pp

2

right

    

 mf

(180 degrees)

right

pp

sim., very fast

pp

mp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 52 1

Tbn.





bisbigliando: (VII, V, VII, V, sim.) smooth

 pp

 

p

bisbigliando: (VI, IV, VI, IV, sim.) smooth

3 2

pp



 

 

pp

pp

p

***bisbigliando: ALWAYS slow  fast  slow

RICL 118



pp


special bar number

Vln. 1

 

 

73B

9 bow pressure, molto S.P. on the 3rd beat very scratchy







pp

74

   

75





76

10" - 12"



with Practice mute

pp

ffff

bow pressure, molto S.P. very scratchy



Vln. 2













with Practice mute



with Practice mute



pp

ffff

pp



bow pressure, molto S.P. very scratchy



Vln. 3













pp

ffff

pp



bow pressure, molto S.P. very scratchy



Vln. 4







 pp







with Practice mute





with Practice mute



with Practice mute



with Practice mute

pp

ffff

bow pressure, molto S.P. very scratchy

Vla. 1











 pp

ffff

pp



bow pressure, molto S.P. very scratchy

Vla. 2







 pp







pp

ffff

bow pressure, molto S.P. very scratchy

Vc. 1









pp







pp

ffff

bow pressure, molto S.P. very scratchy

Vc. 2



 pp













with Practice mute

pp

ffff

bow pressure, molto S.P. very scratchy Db.



  

 

pp

  





with Practice mute

pp

ffff

on the 3rd beat



Play ONLY:

2    Fl.  

p

 ! 



Ob.

pp

p

3

rit............................

mechanical

pp

   pp

pp

mp

                  

Cl.

Play ONLY: 1



espress.

        

mechanical

aceel.............................

 1                         Play ONLY:

p

(pp) pp mf Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

mechanical

Bsn.



 





  

 







  



   

Play ONLY: 1

   pp

pp

 Hn.1  





pp

Hn.2

 

same note tremolo

3

 



   

3

left

  

 " 

4 tktktktktk......(very fast)



right

(180 degrees)

   sim., very fast 





pp

left



pp

mp

pp

   

4



Tbn.





 

p

 



Stop

pp

RICL 118

    Stop

" 



tktktktktk......(very fast) (blowing sound)

 "  

" 

" 

" 

4

tktktktktk......(very fast) (blowing sound)

" 

ff

 "  

 

sim.

ff

ff

left

" 



" 

 " 

sim.

 

4 tktktktktk......(very fast) (blowing sound) (180 degrees) right

bisbigliando: (VI, III, I, III, IV, sim.) smooth

(blowing sound)

ff

Stop

p

Tpt.



Stop

pp

p



   

" 

" 

 

" 

ff


(for bassoon)



molto rit. (only for strings)

All strings, please observe the bowings exactly. Do NOT subdivide the marked bowings.

1

10

q = 96 (only for strings) 77 P.O.  

 Vln. 1  "mp" (effect: pp)

 



  "mp" (effect: pp)

P.O.

  



"mp" (effect: pp)



  "fff"

"mp" (effect: pp)

  

P.O.



"mp" (effect: pp)

Vla. 2

P.O.





"mp" (effect: pp)

Vc. 2







 

"mp" (effect: pp)



P.O.





 

"mp" (effect: pp)

"fff" (effect: f)

"p"

    

"p" "fff"

  "p" "fff"

"p"

  

"p""fff"



 

 

  



  



2

3

 

 

 

  

1

2



3























  



 



  







 





 











 



 





 

   

  







  



  



  



  



  



 







 

 



 







 

  

 

 



 







 

  



 



  



  



  



  

  

 





   









 

 



  



 







 











 









 



 



 



sim.

  "p"

 















 



 







 



 



 



 



 



  



  



  











 











 

 

sim.

  

 "p"

sim.



 "p"

  sim.

 

  "p""fff"

  

 "p"

"p""fff"



 



1



sim.

"fff"

 





"p""fff"





3

sim.











      



2



sim.



"p" "fff"



"p"

    "p" "fff" "p"" fff"

"fff"

"fff" (effect: f)

 Db.  

Fl.







       "p" "p"

1

sim.

"fff"

  

"fff" (effect: f)

P.O.

       "p" "p" 



"p"

"p""fff"

"p" "fff"

 

"mp" (effect: pp)

    

"fff"





"p""fff"

"fff" (effect: f)





P.O.



"fff" (effect: f)



Vc. 1

    

"p" "fff"

(effect: f)



Vla. 1









"p" "fff"

"fff" (effect: f)

P.O.



Vln. 4



"fff" (effect: f)

 

Vln. 3

 

3



"fff" (effect: f)

P.O. Vln. 2

2



 

"p" sim.

 

Ob.

 

Cl.



Bsn.

 

Stop

Hn.1

 " 

" 

Hn.2

sim. left Tpt.

Tbn.



 

repeat only 4



ff

repeat only 4





(180 degrees)

 " 

"

" 

 

"

ff

right

" 

 

repeat only 4



repeat only 4



RICL 118


All strings, please observe the bowings exactly. Do NOT subdivide the marked bowings. Strings: "Heavy" bowing with mute

to conductor: take longer pauses especially the on 3rd beat.

molto rit. 1

2

 82 Vln. 1

 



3



 









 

molto accel.

q = 72

3

2 1

  









(change bows to create the written dynamics)



2



sub. "fff"

  



Vln. 2



Vln. 3













 





 







sub. "fff"







 



sub. "fff"

  

  







sub. "fff"



Vln. 4

Vla. 1

Vla. 2

    











  







 



   

 

















(change bows to create the written dynamics)









 

(change bows to create the written dynamics)



Vc. 1

Vc. 2

 

  





 







 

 

  







 

  



sub. "fff"

sub. "fff"



 

  





 

sub. "fff"

sub. "fff"

 

 















sub. "fff"

sub. "fff"













sub. "fff"



3

1

2

&

  dim. always start from "fff" 

       sim.

1

   

   sub.

 sim.

  

    

3



   

dim. always start from "fff"

  sub. 

2

 



 

 



 

   

"fff"

"fff"

norm. molto espress.



      



sub. "fff"





   sub.



 



norm. molto espress.



    



       sub. "fff"

 

sim.



   



      

  

dim. always start from "fff"



     

sim.



  

    





 sim. 



   









  

"fff"

    

norm. molto espress.



     

dim. always start from "fff"

     

 

dim. always start from "fff"







 



   

          

    



sim.

sub. "fff"

sub. "fff"



sim.

sub. "fff"







   sub.

norm. molto espress.



    

     

dim. always start from "fff"

norm. molto espress.





sim.

  

sub. "fff"



      

sub. "fff"

"fff"



dim. always start from "fff"

dim. always start from "fff"

norm. molto espress.

sub. "fff"

 

(change bows to create the written dynamics)



 

sub. "fff"







sub. "fff"

(change bows to create the written dynamics)



3

norm. molto espress.

(change bows to create the written dynamics)



2

sub. "fff"

sub. "fff"

 

sub. "fff" (change bows to create the written dynamics)







2

1

norm. molto espress.

(change bows to create the written dynamics)



11

q = 48

dim. always start from "fff"

Db.



  

  

  

  

 molto rit.  q = 72

Fl.

   









sub. mf

  









sub. mf

  









sub. mf

Bsn.

Hn.1













sub. p

Hn.2

 





 

  

 

sub. p bisbigliando, smooth, V, VII, V, VII sim. slow

 Tbn. 

sub. p











   









 











pp



 

 



pp











 

 pp

ff





pp







  





 

 

 

 

mf

face centre sim., very fast

Tpt.





mf

sub. p

  



same note trem.

sub. mf

  





norm.

ff

molto espress.





ff

molto espress.

Cl.



ff

molto espress.

Ob.









same note trill

molto espress.

molto espress.

 

  mf

fast

 

slow

 

mf

RICL 118

 


2 12

1

88 Vln. 1

 

Vln. 2

Vln. 3

Vln. 4

Vla. 1



   









   

      



1

3

    



Vla. 2

2

  

 





    

 

     



 

 



















 

 



&

 







1

  

2









  





    









  









 



 







    





    

  



  

 

> poco a poco mechanical >





 

> poco a poco mechanical >

1

3



  

> poco a poco mechanical >



  

 

2

  > poco a poco mechanical >



   

3

1





 



    

3





  



 







2

  

 

  



2

3

      

 





 







   



   











     



> poco a poco mechanical >













 





 

 







> poco a poco mechanical >





 









   





  

 



 



   







   





  

   



    

  

  







> poco a poco mechanical >

Vc. 1

Vc. 2

Db.



  



  





    





  

 







 





   









 









> poco a poco mechanical >



 

 





 



> poco a poco mechanical >









    

  



  









> poco a poco mechanical >



RICL 118

   





  





 







    






13

2 1

2

 93 Vln. 1

 

Vln. 2

Vln. 3

Vln. 4

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.



 







 





 

3

   

 

   





 

      







     

 

  





   

  

   







 







   













3

1

2



  

 







     





   













 



  

    



 





 

1





    

  

 





 

2



> mechanical >























   







  





 



 

   







  







   





  





> mechanical >



 



 > mechanical >



  









> mechanical >

 

  

  







 







  





RICL 118

  



   



3





  



 





 

      

> mechanical >



> mechanical >



 

> mechanical >

 

  

2

 

  

1



> mechanical >

 



 



    



1



> mechanical >







2



 





&







 

   

   



  

    



     

 # 





  





  


q = 96

14

2

1

98 Vln. 1

 

2

  

3

1

  



   

2



3

1













       

1

2

      

 







 



     



  







 



     





   











   





   

 





 





















 



 













 



 



 

 



 



    



 





























    







 



Vc. 1

 



Vc. 2

  

Db.



 



Vln. 2



Vln. 3

Vln. 4

Vla. 1

Vla. 2





   

       









           









    

  

   

 







     





          



  

3

3



2

          





  

  

      





   



    







         

RICL 118



 



  



&

1

2

3

1

2

3

  

   

 



   

   

 



  







   







    







   







  

 







  







     

    



 



  







   

     







  







   

     





 

    



 





    



 



     

     

  

  



  

 





 





  

 

 




for strings: follow the leader from here

2

1

Vln. 1

     104      

2

3

  

  





   





 







 

   



   





    



more and more bow pressure and scratchy







 

 





15







 

   





 







   



   







 

  





   





 













  



  







  





 

  





  















"p"

more and more bow pressure and scratchy











  



more and more bow pressure and scratchy

  







  

















Vln. 4

more and more bow pressure and scratchy



Vla. 1



Vla. 2









 























more and more bow pressure and scratchy































 



















more and more bow pressure and scratchy





























Vc. 1



Vc. 2









 





















more and more bow pressure and scratchy































 













"p"













more and more bow pressure and scratchy

































"p"

more and more bow pressure and scratchy





"p"





"p"







"p"

more and more bow pressure and scratchy









Vln. 3

Db.

15" - 17"

"p" more and more bow pressure and scratchy

  







Vln. 2









"p"



 Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 52 no vib., airy, with relaxed embouchure

 Fl. 









q = 52

  



1





 p

pp

Ob.

 

1

 

pp

p

2

 pp

 pp

 

 



 

pp

p

  pp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 52 1



Cl.



  

 



2

 

p

 



mp

p

 



p

pp

p

mp

 



 

p

q = 52

 

 

1 non vib.

Bsn.



  

pp

 

Hn.1

 



Hn.2





Tpt.





Tbn.





practice mute

(velvet mute)

RICL 118


molto rit. (only for strings) 

3

16

1



14" - 17"

3

norm.

112 Vln. 1

2

               

to brass + oboe & bassoon

 

1

2

3

1

    

   

     









"ffff" no dim. norm.



Vln. 2

       



   

norm.



Vln. 3

       

      

           



"ffff" no dim. norm.



Vln. 4

            



"ffff" no dim. norm.



Vla. 1

            

"ffff" no dim. norm.



Vla. 2

           





   





            

       



"ffff" no dim.



3

  > poco a poco espressivo >         

     

 

"ffff" no dim.

   

2

> poco a poco espressivo >

    

> poco a poco espressivo >

 

     

  > poco a poco espressivo >                  

> poco a poco espressivo >

    

> poco a poco espressivo >

          



> poco a poco espressivo >

           

norm.



Vc. 1

"ffff" no dim.

  

> poco a poco espressivo >

                norm.



Vc. 2

"ffff" no dim.

Db.





  Fl. 

 stop ADD : 2 , then you may repeat playing the phrases ( 1 & 2 ) in any order, however you may not repeat each individual cycle 3 times in a row. q = 62 2



Ob.

pp

 



p

stop





Cl.

  

 



stop

ADD : 2 , then you may repeat playing the phrases ( 1 & 2 ) in any order, however you may not repeat each individual cycle 3 times in a row q = 52 2

Bsn.



  



 

 

p

pp

  stop

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 66

 Hn.1

rapid  grace notes  



1



2



  





 

 

 stop

ppp

ppp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 48 1





Hn.2

rapid grace notes

  





2

 







   ppp

ppp



 

 stop

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 52 1 right





Tpt.

left or

(180 degrees)

   

or left

  



 

2

 right   

"mf" (effect: pp) rapid grace notes

right or left   

left or right

(180 degrees)





"mf" (effect: pp)





stop

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 60 1

Tbn.





ppp

 



quick gliss.

2



 ppp





quick gliss.



 



stop

RICL 118


1

2





3

2



1

2

3

1









  

 

 

     



  







 







 





     



Vln. 1

 



   





Vln. 2





    



   

Vln. 3



     

     



  

Vln. 4



     

     

  



   



 

Vla. 1

     



  

   

  

   



 

Vla. 2

      





 

  

 



  

Vc. 1

 





  

  



    

Vc. 2

    





 

   

 





 



 

   

 

Db.







116



  











 

 

 





  

 

 





 



 





     

  

"ffff" no dim.



 

   

2



     





     

      

   

    



 

   

  

  

    



 



   

 



 



   

    

 

 



  











  



1





    







  

   



3

2

    





  



  



     

     



  



      

  



  



   



  







  

Ob.



Cl.



Hn.1



Hn.2



Tpt.





RICL 118





Tbn.



  

 







Fl.

Bsn.

17


q = 120

molto accel. q = 48 (only for strings)

3

18

1

2

3

 



2

2

3

1

2

&

1





2





3

1

2

3



  

3

1

2

&





1

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

120 Vln. 1

 

           

           

           



          

2

 

           

3

1



 



          

2

3





          

 

All strings, change bows as many time as you need. senza sord.









sub. "mp"



  



 "fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard



Vln. 2



          

        

           



          

        





          

          

           

           









sub. "mp"

     "fffff"

senza sord.

 

senza sord.



Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard



Vln. 3



           



        



          

            



        





 

 

sub. "mp"

 



 "fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard



Vln. 4

  







 

  



  



  



  



  



  



  



  



  



  



  



  



  



Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vla. 1

           

           

           



          

           

  



  



  





  



  



  





sub. "mp"



          

          

            

            







  

  "fffff"

senza sord.



senza sord.









sub. "mp"



   



 "fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vla. 2



           



        



          

            



        

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vc. 1

           

        

          



          

        

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vc. 2

Db.



           

           

(only D.B., normal)

 

 

 

 

   

             

 



          

           



          





          

 

 

 

 

   

 

 

 

 









sub. "mp"







sub. "mp"

 

Ob.



Cl.



Hn.1



Hn.2



Tpt.



Tbn.

Bsn.







   

senza sord.



 

 

senza sord.



senza sord. $    

 

sub. "mp"

Fl.

senza sord.

 "fffff"

 

 

 

 "fffff"



 

 

 

"fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

 

 

sub. "mp"



          

          

 

 "fffff"



(velvet mute)

RICL 118


19

130

17" - 19"



Vln. 1

 

Vln. 2



Vln. 3



Vln. 4



Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.



 Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 100

 1

Fl.

 

steady tempo

     

    



   

  

    

   

  

! 2

      

  

!

 

molto accel.

3

   

   

    

f (over all dynamics)

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 96 molto accel. molto rit. 2 steady tempo 1



Ob.

              







                 

!                          

               

f (over all dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 104 rit.

1 accel.



Cl.

rit.

accel.

              

     





  

 

      

2

!            



      $         

 



sub. f

f (over all dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 94 1

Bsn.



steady tempo                     





                               

    

   

2

       !    

f (over all dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 84 1

 Hn.1 

  steady  tempo             

         

  



               

 



 

2

 

 

 

 

mf (maximum dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 80 1

Hn.2



         

 

                 

2





 

                



same note trill





mf (maximum dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 80 First cycle: 1, without mute, after that, each phrases should be played in different mutes, "straight", "harmon", and also "no-mute", you may not play with same mute (or no mute) 2 phrases in a row. left 2 or left (180 degrees) 1 right right or or same note trill left right



Tpt.



         

  

 

  

  

        # 





(180 degrees)







mf (maximum dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 70 1 bisbigliando (VII, IV, II, IV, VII etc.)

Tbn.





mf (maximum dynamics)



2



RICL 118











gliss.


For Brass and woodwind: When the strings enter (not necessarily at this place in the score), suddenly decrease the maximum dynamics to mp then start to diminuendo.



in tempo Conductor's tempi changes are only for strings until bar 165. strings, please observe the bowings exactly. q = 90 All Do NOT subdivide the marked bowings. q = 72 2 molto rit. 20

1

130 Vln. 1

 

&

fff

fff



Vln. 4

fff

Vla. 1

fff

 







 

fff

Vc. 1

Vc. 2





Db.







dim. always start from "fff"

  

fff







  

 



7" - 10" 

   

 







  





 







  







   

 







 





























  

fff

 



dim. always start from "fff"





 

dim. always start from "fff"

  





dim. always start from "fff"

  

 

fff

    fff 





  

dim. always start from "fff"     

fff

fff

 

   

 

2

  

  dim. always start from "fff"     

fff



dim. always start from "fff"   

 

fff



fff

Vla. 2

dim. always start from "fff"    

 



fff

Vln. 3

1

fff





Vln. 2

2

  dim. always start from "fff"     

  

  

 

 











fff

fff

For Brass and woodwind: When the strings enter (not necessarily at this place in the score), suddenly decrease the maximum dynamics to mp then start to diminuendo. (not necessarily here in the woodwinds and brass parts)

 4

molto rit.

Fl.

 





   



 

   

espressivo (but no vib.)

!    



maximum dynamics mp (not necessarily here)

 !     

   

3



Ob.

Cl.

Bsn.







 

!











 

3

!

 



3



 

    

!

   









 

 

    





  





 



  





  

 



4

 





molto rit.



same note trill





maximum dynamics mp (not necessarily here)



3











  

3

maximum dynamics mp (not necessarily here)

  Hn.1  

 



espressivo (but no vib.)

4

maximum dynamics mp (not necessarily here)

   



!

maximum dynamics mp (not necessarily here)

 

 







3

Hn.2





maximum dynamics mp (not necessarily here)

3



gliss. Tbn.



 



 



left or right

(180 degrees)

 

 



(180 degrees)



3 bisbigliando (I, IV, I, IV, I etc.)

  

maximum dynamics mp (not necessarily here)

right or left  





maximum dynamics mp (not necessarily here)

 

right or left Tpt.



 



RICL 118










q = 72 molto rit.

q = 46

3

2

1

134 Vln. 1

 

2

  





  



 

3

1



 

2

  

  

 





3

1

2



 

    



    

 



     

 

 

    



21

&

4" - 6" 

fff sim.





Vln. 2

 

fff



Vln. 3







sim.

    





fff

Vln. 4

 

    





 









fff



Vla. 2

Vc. 1

 

   



  





 



  



  

sim.

 



Vc. 2





   

fff

 



 

 





   







fff



  

  



 

  

 



 

 

  



  

  



 

  



 

sim.

 



 





 

sim.

fff





  



 





 

sim.

   

 



sim.

fff

Vla. 1

   

       

 

   







fff



  















   







   





   





sim.

Db.



 

 

  

  























sim.

Fl.

 



Ob.



 

! 

 

4



Cl.





!   



! 



molto accel.

Bsn.



Hn.1

 

Hn.2





   

  

   



 







 



 

  

 



  

    



 



 



right or left





Tpt.







 







left or right

(180 degrees)













4

bisbigliando (V, IV in F, V, IV in F, etc.) Tbn.



 







 

RICL 118








q = 82

molto accel.

3 22

2

Vln. 1



   

 



sim.





    



fff

Vla. 2

Vc. 1

Vc. 2



Db.







  



 



  





sim.

 fff





 





     

   

 



fff

     



fff







   

 















        



sim.

 



   

    



    

 

      



 

      



 

     

               

 

 

   







   





          

 



 



  





           

            

          

sim.

  



   fff

fff



 

sim.

  



3

      



fff



2

 

sim.

fff



 

 

 

   

sim.

    

sim.

         

1

    

sim.

fff

fff





    



sim.







 



3 2

sim.

fff

fff

      

 





    



1

sim.

sim.

   

sim.



sim.

fff

  



sim.

    



7" - 9" 

fff

fff



     

3

       

sim.

fff

2 2

fff

         









      

sim.

fff

    

1

         



sim.

 



fff



      

fff





 

2

   

     



sim.

fff

 



 

sim.





 



fff

Vla. 1

6" - 8" 

1



  

 

fff

sim.



   

  

fff

Vln. 4

      fff

 

   

2

sim.

fff

Vln. 3

3

1



       fff

Vln. 2

3



  

molto accel.

2

1

138

q = 46

molto rit.

    fff



  



           

fff

Fl.

 



Ob.





Cl.





It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.

It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.

It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.

Bsn.



Hn.1

 

Hn.2

It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.



It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.



It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.



It is OK to omit some pattern(s) which are not suitable for the quieter dynamics. Tpt.



Tbn.





It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.



RICL 118


Meno mosso q = 46 molto accel.

q = 82

3

2 146 Vln. 1

 



Vln. 2



Vln. 3

1

2







   

3" - 4" 

   



      



Vln. 4







Vla. 1

   

     







         



Vla. 2

         

  

2

1

2

3

       (non trem)                 

4" - 5" 

   

(non trem)

   

          



q = 46

        

23

long 





ff

fff

       







ff

f





           

  

      

(non trem)

     

sim.



sim.

             

  



  



  

(non trem)



  

       

 (nontrem)     

       

 (non trem)      

   

 

   

 

 

          

fff

              

        



        





              fff   

 

        

fff





fff

ff





  

f











       f





ff

f

  







fff

ff

sim.



Change bow as many times as you need to create the speciďŹ ed dynamics. Progressively increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand ďŹ ngers properly against the ďŹ ngerboard.

sim.

               fff

fff

   

1

f





2

sim.

fff



1



fff

           

&

      

        





3

q = 72 molto rit.

3

2 2

1

fff

 

q = 92







   









ff

f

fff

sim.

Vc. 1

   

  





 fff

Vc. 2

     





Db.







Fl.

 

 

    fff



 



  



(non trem)

         

 





  



    





fff

ff

f

sim.



 fff

 





  



  



   

 

(non trem)

   

 

    

   











     





fff

ff

f

sim.

   

 

 

 







     

 f

 



ff

fff

sim.

no gap

 max dynamics: pp



Ob.

no gap

 max dynamics: pp

no gap



Cl.

 max dynamics: pp

Bsn.



no gap



Hn.1

 

no gap



Hn.2

max dynamics: pp

max dynamics: pp

no gap

 max dynamics: pp



Tpt.

no gap

 max dynamics: pp

Tbn.



no gap



RICL 118

max dynamics: pp


to conductor:

Molto Rubato 24

All strings must play together (in rhythmic unison). Do NOT subdivide the marked bowings except during the "pauses". The conductor should vary the length of each pause (between 4" and 8"). Also each section should be played in different tempi (though without rit., or accel.), which are decided by the conductor on the spot (q = 46 to 92).





3

1

1

Vln. 1



 





Vln. 2

3

                       sub. fff                     sub.

7" - 9"

155

2

2





ppp

 









Vln. 3





Vln. 4



Vla. 1

fff



Vla. 2

  

sub. fff

Vc. 1

                

             

                    sub.



       



 



ppp







ppp







ppp





  ppp





 

ppp

fff



Vc. 2

                   sub.

 



ppp

fff

Db.



   



               sub.







1

2













sub. fff

   

sub. fff

    

 ppp

fff

 

      

       sub.  fff        sub.  fff           sub.  fff          sub.  fff        sub.  fff         sub.  fff 

                                                               

         sub.  fff

       



fff

          sub. fff           sub. fff         sub.

2

  

ppp

1

1

  







(2)

  

  

 



ppp

 

  

sub. fff

 

 



ppp



sub. fff

 





ppp

sub. fff

 

 

 

ppp









sub. fff

            

ppp

ppp

                    sub.

 ppp



 







               

sub. fff

Repeat ad lib.



ppp

 



 

Repeat ad lib.

 ppp



 

Repeat ad lib.

 ppp

   

Repeat ad lib.

 ppp

 



 

Repeat ad lib.

 ppp

   

Repeat ad lib.

 ppp

fff

fff

Repeat ad lib.

 ppp

sub. fff

                    sub.

 



                                                                   

  

 



3

               



 



sub. fff





2

   

ppp

 

1

1

ppp





3

 

 

Repeat ad lib.

 ppp

 

Repeat ad lib.



 ppp

 Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 66

      

$  

1 low D fingering and trill with G-sharp key

 Fl.  pp

  

2

    

  



 

 

ppp

pp

1





p

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 60

Ob.

 

p

pp

p

pp

 

3

 

2

 

 

ppp

    

    

3

 

 

pp

pp





p

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 56 1



Cl.

Bsn.



 

pp

q = 62

   



  

 

pp

p

 

pp

3

2

  



 

 

p

 

pp



p

stop



p

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 72

 Hn.1 

1

 

 

ppp

 

2

 

  

 

ppp

pp

 

 

3





  pp

ppp

pp

  

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 68

Hn.2

1

   

 

ppp

pp

2

 

 

 

ppp

 

3

 

 



 

ppp

pp

 



pp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 56 1

right or harmon left mute





Tpt.

   

ppp

2 left harmon or right mute

left or right

(180 degrees)



 



   

pp

ppp

right or left

(180 degrees)



  



pp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 46 1

Tbn.



velvet bisbigliando: III, V, VII, V, III etc. mute

 



ppp



pp

2



3

velvet mute bisbigliando: II, VI, II, VI, II etc.

 





ppp

pp



 

 

velvet mute

bisbigliando: (in F) III, V, V, III, etc.

 ppp

RICL 118



pp



 




q = 80

Note for conductor: stop anywhere in the string pattern. It would be better to suddenly cut off in the middle of the phrase, to surprise the audience.

1' 15" - 1' 20"



1"

164 Vln. 1

 



25

 

















Vln. 2

Vln. 3

 

stop

stop

stop



Vln. 4



 stop

Vla. 1

Vla. 2

Vc. 1



 stop



 stop



 stop

Vc. 2



 stop

Db.





 stop

 

 Fl.

 



 QUIETLY change to rainstick



stop

QUIETLY change to rainstick



Ob.



 stop

QUIETLY change to rainstick



Cl.



 stop

SOLO

Bsn.





  p

 Hn.1 

QUIETLY change to rainstick





stop

QUIETLY change to rainstick



Hn.2





stop

QUIETLY change to rainstick



Tpt.





stop QUIETLY change to rainstick Tbn.



 stop

RICL 118



 


26

166

 



Bsn.

The bassoon solo from bar 166 to bar 186 should be played molto espressivo, and tempo rubato. This passage can be played slower than the written tempo if necessary, as long as it makes musical sense.

% &

molto espressivo, rubato bisbigliando

bisbigliando

   

  



   



gliss.





 



 

  

 





 







   '

    



  

 

 



  



 

 

 



173

 



Bsn.

 





 







poco rit. 







 

mosso   PiĂš q = 80 &   



 



    

bisbigliando

    

bisbigliando

 &

 







( 





 





















  



179

 



Bsn.

 

bisbigliando



 



   



   

tktktk...



  

   

    



  

   

  

 







 



( & 









  



 



) &



184 Vln. 1

 

) &

 

 

(q = 80)











(non-div.) plectrum pizz.







  

 



(non-div.) plectrum pizz.

   

    p

ff

(non-div.) plectrum



Vln. 3



Vln. 4

 

 





 

pizz.

p

ff (non-div.) plectrum pizz.

p

ff

Vla. 1

Vla. 2

(non-div.) plectrum pizz.

   

   

  

  

p

ff plectrum (non-div.) pizz.

p

ff

Vc. 1

plectrum pizz.

 

 

plectrum pizz.

 

 

ff

p

p

ff

Vc. 2

Db.

Fl.



 

Ob.

Cl.

) &





 







 



*

   ff

 rainstick   *







rainstick

*















   

 Hn.1 





Hn.2

Tpt.

Tbn.



 

  

















    







  

  

  







  



  rainstick

*



  

  

  



 









     

  







rainstick





*













rainstick

* f

RICL 118







































 ff

rainstick

*









 ff

f



ff

f



ff

f

p

ff

f

Bsn.

 

  

ff

f

 



f

rainstick

plectrum pizz.

 

   p

ff

Vln. 2

 









 ff

 


Strings: strictly together

192 Vln. 1

 

mosso  PiĂš  q = 116 

 



fff









Vln. 2







Vln. 3

 



fff





 

27

 





 

 





   



  







 

  



    



       





  



 

 









 





 

 



  









 

 













  



 







  



    



 



  













 

 



 

















 

  





  



    

  

  





  









          

  



 





  



 









 

  

 

fff



 



Vln. 4

 

fff



Vla. 1

 

Vla. 2



 fff







   







   

fff

 

Vc. 1



    





 











  



  

 









 











$    

  



  





 

      

 





  

fff

 

Vc. 2

 



 

 





 

fff

Db.











   

 







 

 



 

fff

 













 

 







  

 





 



 





 



  



  





  



 



 







  





 

    



 



 



  



 



     

    





 





 

  



 

    

 



  



 



 









  

  





 

 

 

  











   





 













 





Ob.

*

Cl.

*

(q = 92)





   

 pp



 

double tonging





        sempre    sim.                                        mf

*

Hn.2

*

Tpt.

*

Tbn.

*

Hn.1







 

  

Bsn.

 



*

Fl.

 







   

 

 





  



 

RICL 118

 


28

 

Conductor's tempi changes are only for strings until the end.

Meno mosso q = 80

197 Vln. 1

 

 

B

A molto espress

  

port.

  

. port port.

  

port. port.

  

 

 

p

make a difference between "port." and "gliss."

gliss. gliss.

 



   ff

 

 

gliss. gliss.



Vln. 2

port.

  

port. port.

  

  

  

p

make a difference between "port." and "gliss." molto espress

  



Vln. 3

port. port.

  

port. port.

  

  

gliss. gliss.

 



   

  

ff

 

  p

 

  

  

gliss. gliss.

 



   

 

   

  

ff

 

. gliss gliss.



Vln. 4

 

  

   

port. port.

p

  gliss.



gliss.

ff

 

 f

gliss. gliss.

p

molto espress

Vla. 1

port. port.

 

port. port.

 

port.

  

   p

  

gliss. gliss.

 



make a difference between "port." and "gliss."

   

  

gliss.

Vla. 2

port. port.

    

port. port.

  

port. port.

 

 

 

p

gliss. gliss.

    

  

gliss. gliss.

 



ff

 

port.

 

 

port.

 

 

 

p

gliss.

 



  

 

ff

Vc. 2

port.

 

port.

  

port.

 

 

 

p

gliss.

 



  

 

ff

 

gliss.

gliss.

   

gliss. gliss.

   

gliss.

gliss.

   

gliss. gliss.

 

     

  

  

gliss.

 

  

gliss.

 

fff

f

p

gliss. gliss.

  

fff

exaggerate the accents

molto espress

 

gliss.

f

p

make a difference between "port." and "gliss."

 

gliss.

 

fff

f

exaggerate the accents

port.

  

fff

  

molto espress

Vc. 1

gliss.

exaggerate the accents gliss. gliss.

p

make a difference between "port." and "gliss."

gliss. gliss.

fff

f

molto espress

  

gliss.



 

p

ff

gliss.

exaggerate the accents gliss.

gliss.

   

fff

exaggerate the accents port. port.

make a difference between "port." and "gliss."



 

gliss. gliss.

f

p

gliss. gliss.

fff

f

p

     fff

exaggerate the accents gliss. gliss.

molto espress port. port.

 

exaggerate the accents port. port.

make a difference between "port." and "gliss."

 

exaggerate the accents gliss. gliss.

  

gliss. gliss.

 

This pause is only for strings

f

p

molto espress

  

accel.

make a difference between "port." and "gliss."

exaggerate the accents molto espress

Db.



 

port.

 

port.

 

port.

 

 

 

gliss.

 



   

p

ff

make a difference between "port." and "gliss."

 

Fl.

*

   

q = 92 Rainstick 4" - 5"



slow



*



*





 

 

slow

  



  

   

sim.

*





 





 

     p

  

  

mp

sim.

 

 

  

fast



q = 92 Rainstick slow

*



  



 



f

longer pauses on rests







  

fast





  

f double tonging

(q = 80)



gliss.

fff

f

 

  

f

p

Bsn.



p

*

fast

gliss.

q = 92 longer pauses on rests Rainstick

3" - 4" Cl.

 

p

4" - 6" Ob.

longer pauses on rests

 

p

B

A



 

gliss.

  

  

  

  

                                                

sim.                    

   

fast

  

   

   

   

   

   

q = 92 Rainstick longer pauses on rests

Hn.1



4" - 5"

*



  



slow

*







 

 



p

*

f q = 92 longer pauses on rests Rainstick

4" - 6" Hn.2



slow

  

*





 



 

fast



p



 



f

q = 92 Rainstick

3" - 4" Tpt.

*

  



slow

*



longer pauses on rests







  

fast



q = 92 Rainstick lot of rest (longer pauses on rest)

4" - 6"

*

  

  

f

p

Tbn.





slow

*



 



p



 

fast



f

RICL 118



 




206 Vln. 1

 

 

C

    sub. fff

     sub.



Vln. 2

fff

sub. fff

   



Vln. 4

sub. fff

Vla. 1

sub. fff

sub. fff

sub. fff

sub. fff

Db.





  *

  

 

fff



 



 



fff



  fff

 

  

$  

   

$ 





 



  



  

 



 

  

      



  









 

  

 





    



 







fff

 

  

   

 















  





 



         



  











  

fff

 



 

  

  



  



 





  

  

   



  

    



  

 







 















 



     



  



  







  

 







  

  



 











 



 



 

   









  



    

 





  



 





 





 



 











 



fff







  

 













  



  



   

 







   

   





   

        

fff

sub. mf



 

 

 





      

 











  

   







 





  







  

     





fff

sub. mf

 



 

    



  











 









  

  



fff

sub. mf

 

C



 

fff







  

 

fff

 

p

  





  fff





 

sub. mf

 

p









 

     



sub. mf

  

p



fff



 





sub. mf

   fff

  

$  



29

D

sub. mf

   fff



$  





 

sub. mf

 

p



 

 

 



p

 sub. mf



fff



  

 

p

  

sub. fff

Fl.

fff

p

 



  

p



 

Vc. 2

 

  

Vc. 1

fff

   

Vla. 2

 

 

p

   

Meno mosso q = 116  

   



Vln. 3

 

 

D

The fermata on each rest should gradually DECREASE.  

The fermata on each rest should gradually DECREASE.

*

Ob.



The fermata on each rest should gradually DECREASE.

*

Cl.

Bsn.

Hn.1







      

Ignore conductor's beat 3" - 4"



q = 92 ignore conductor's beat, (a little faster than conductor's beat)

 

   p

    

   

   

The fermata on each rest should gradually DECREASE.

*



The fermata on each rest should gradually DECREASE. Hn.2

*



The fermata on each rest should gradually DECREASE.

Tpt.

*



Tbn.

*



The fermata on each rest should gradually DECREASE.

RICL 118


 

30

213 Vln. 1

  

   

 

 

  



  





  

  q = 72 E

Meno mosso

   

  

   

molto espress.

gliss. gliss.





p

f

  

   

molto espress.

  

      

Vln. 2



     

  





 





  

  

gliss. gliss.



p



  

gliss. gliss

  

  

  

gliss. gliss.

  

  

 

g glliisss. s.

 

 

  

  

  

  

  

 

 

 

 

 

 

 

.

f

 

molto espress.

   



 

   

Vln. 3





  







   

  

 

  

p

f molto espress.

 





 

Vln. 4

Vla. 1

      

      



  

  

  

gliss. gliss.

 

p



   

  

f

gliss. gliss.

molto espress.

 

 







    

  

  

  

  

gliss. gliss.





   f

p

molto espress.



Vla. 2











  

   

    

 

 

gliss. gliss.





 

 

  

gliss. gliss.

f

p

molto espress.







Vc. 1

   

 

  

     

 

 

gliss.





p

Vc. 2



  

 



Db.











 

 

 

 



 

gliss.



gliss.

 

gliss.

f



  

  









 

f

molto espress.

 

 

 

gliss.



p

Fl.

  

molto espress.

p

 

   

 

 

 

gliss.

f

 

E

 !!!Heavy rain!!!

No rest, play only "f"+ fast

*  fff

!!!Heavy rain!!! No rest, play only "f"+ fast

*  fff

Ob.

!!!Heavy rain!!! No rest, play only "f"+ fast

*  fff

Cl.

You should be reaching around here when the conductor gives a cue. double tonging

Bsn.



 

  sim.

   

   

       

   

   

   

           

   

   

       

   

   

   

   sempre    sim.                                          

                                                

   

f

!!!Heavy rain!!! Hn.1



No rest, play only "f"+ fast

*  fff

!!!Heavy rain!!! No rest, play only "f"+ fast

Hn.2

*  fff

!!!Heavy rain!!! No rest, play only "f"+ fast

Tpt.

*  fff

!!!Heavy rain!!! No rest, play only "f"+ fast

Tbn.

 *  fff RICL 118


219 Vln. 1

 

 

   

  

  

  

 

. gliss . gliss

  

  

 gglliiss.  

  

 s.   gglliisss.       

ss.

 

 



Vln. 2

fff







Vln. 3

  

. gliss . gliss

  

 

 



  

gliss. gliss.

 s.   gglliisss.      

  

  

 

Vla. 1

 

gliss. gliss.

 ss.   gglliiss.    



 

  

  

 

fff

 

Vc. 1

 

gliss.

  

 gglilissss..  



 

 

gliss. 

 

  

Vc. 2

  

 

gliss.

 

s.   glis  

 

 ss.    gli  



 

gliss.

Fl.



*

Ob.

*

Cl.

Bsn.

Hn.1

Hn.2

Tpt.

Tbn.

*





*

*

*

*

gliss.







  # 

 





 



  





 #   +

 

  

  



 



   







  





  









  









  

 

 











 

sub. fff



 



  

  

 

  





   



p

  









 



 

sub. fff

        

 

 

 

sub. fff

f

No rest, play BOTH "f"+ fast and "p"+ slow



.

gliss

 



sub. fff

fff

 





sub. fff

p

f

 

 

gliss.

 



 



fff

p

 

 





  sub.

  



f

fff

Db.



f

fff

gliss.





sub. fff

p

 

 





 

p

 



fff

  

gliss.





f

gliss. gliss.





  sub.

 

gliss.



f

fff

Vla. 2







31

sub. fff

p

 

fff



 

 

gliss.



f





7" - 9"

 

p

 

fff

Vln. 4



q = 116 

PiĂš mosso

p

f

 ss.   gglliiss.    

  

gliss.



f

fff

gliss. gliss.



 

 

 

 

 

No rest, play BOTH "f"+ fast and "p"+ slow

 

No rest, play BOTH "f"+ fast and "p"+ slow

 



No rest, play BOTH "f"+ fast and "p"+ slow

 

No rest, play BOTH "f"+ fast and "p"+ slow

 

No rest, play BOTH "f"+ fast and "p"+ slow

 

No rest, play BOTH "f"+ fast and "p"+ slow

 

RICL 118


32

 

F 226

Vln. 1

  

   

Vln. 2



  







 



     



Vln. 4

 





Vla. 1



  

Vla. 2

Vc. 1





Vc. 2

Db.





 

  

 

 



  



 



 





  

    



 



















  

   



 







 



 









 

 





 

$ 





  







  



   













  





 









$ 











 

 



 





 





 



$   

  

  

  

  







 





 



  

 



 



 







 

  

 

 





  

  



    









  



 

 



  

 



















  











 



 





 







 







 















 

    

 

 



    







 







    





 



  

 

  

 



  

 

  

  





   





 

    

 















 











  





 





  

 

 







  







    

 



 

 

less & less rain the fermata on each rest should gradually INCREASE.

 







  

    

F

Fl.

 







  

 

    



 

 

  





 

 

  



 

  





  

  

 

 

  



  





  

 



  











 







  



    

 



  











     

  



  

      









Vln. 3



$  

* 

less & less rain the fermata on each rest should gradually INCREASE.

* 

Ob.

less & less rain the fermata on each rest should gradually INCREASE.

* 

Cl.

q = 82

Bsn.



     ppp



   

    

  



  

    

       

   

p

   



  

     

   



   

less & less rain the fermata on each rest should gradually INCREASE. Hn.1



* 

less & less rain the fermata on each rest should gradually INCREASE. Hn.2

* 

less & less rain the fermata on each rest should gradually INCREASE. Tpt.

* 

less & less rain the fermata on each rest should gradually INCREASE. Tbn.

 * 

RICL 118


Meno mosso q = 66

G

231 Vln. 1

 

 

Vla. 1

  

 

po portrt. .

mf

 

  

molto espress port. port.

po portrt. .

mf

 

molto espress port. port.

  

po portrt. .

mf

 

 

molto espress port.

port. port.

  

po portrt. .

mf



 

Vc. 1

  

 

 

po portrt. .

mf

molto espress port. port.

Vla. 2

  

po portrt. .

  

   

   mf

molto espress port. port.



Vln. 4

  



 



Vln. 3

molto espress port. port.

molto espress port. port.



Vln. 2

 

port.

port. port.

port. port.

port. port.

 

port. port.

 

port. port.

 

port.

Vc. 2

 

 

 

port.

 

port. port.

  

port. port.

 

port. port.

mf

port. port.





port. port.

Db.







port. port.

Fl.



*

  

port. port.

  

port. port.

  

port. port.

t.

por

  

port. port.

.

 

port.

 

.

 

 

 

   

port port..

  

port. port.

  

port. port.

  

mf

  

port. port.

rt.

po

  

port.

 

port.

port.

   

port port..

  

   

  

   

  

   

port port..

   

  

   

  

  

 

  

 

  

 

gliss. gliss.

port port..

gliss. gliss.

por

t.

gliss. gliss.

port.

gliss. gliss.

port.

gliss. gliss.

,$  #     

,$  #    

, $  #   



, $ #   



, $ #    

ppp

gliss.

ppp

, $ #    

gliss.

ppp

  #    +

gliss.

fff

mf

ppp

fff



 

ppp

fff



  

, $ #    



ppp

fff

  

ppp

fff

   

, $  #   

ppp

fff

mf

port.

   

gliss. gliss.

fff

mf

port. port.

  

fff

mf

mf

ff

 

port port..

port. port.



 

ff

port

   

  

   

fff

mf

ff

port

port port..

mf

ff

f

 

port. port.

ff

 

port.

  

  ort.  p rt.   o p   mf

ff

molto espress

 

port. port.

ff

 

port.

  

ff

  

33



ff

 

mf molto espress port.

 

(for bassoon) conductor: follow the bassoon

ppp

G

!!!Light rain!!! 



the fermata on each rest should gradually INCREASE.

(duration of rests: 8" - 12")



!!!Light rain!!! the fermata on each rest should gradually INCREASE.

*

Ob.

(duration of rests: 8" - 12")



!!!Light rain!!!

the fermata on each rest should gradually INCREASE.

(duration of rests: 8" - 12")

*

Cl.



Rubato

Bsn.



        

   



  

   

     

   



   

      

molto espressivo q = 66 bisbigliando

      

ppp

Hn.1



mf

the fermata on each rest should gradually INCREASE.

*

 





  

 

 





   

   

   

sub. mf

!!!Light rain!!! (duration of rests: 8" - 12")



the fermata on each rest should gradually INCREASE.

!!!Light rain!!! (duration of rests: 8" - 12")

Hn.2

*



the fermata on each rest should gradually INCREASE.

!!!Light rain!!! (duration of rests: 8" - 12")

Tpt.

*



the fermata on each rest should gradually INCREASE.

!!!Light rain!!! (duration of rests: 8" - 12")

Tbn.

*



RICL 118


 

34

241 Vln. 1

 

 

H (for bassoon) (with plectrum)

 

pp

Vln. 2

 

 

 

  

Vla. 2

pp

    pp

 

 

f

pp

f

 

 

 

f

pp

f

 

 

 

f

pp

f

 

 

 

f

pp

f

pp

f

 

f

 

f

pp

 

pp

  pp

  pp

 

pp

 

(with plectrum)

Vc. 1

(with plectrum)

 

pp

 

 

(with plectrum)

pp

 

 

(with plectrum)

pp

Vla. 1

 

(with plectrum)

pp

Vln. 4

f

(with plectrum)

pp

Vln. 3

 

(for bassoon)

pp

Vc. 2

(with plectrum)

 

pp

Db.

Fl.

 

 

            

ff

pp

ff

            ff

pp

ff

            ff

pp

ff

            ff

pp

ff

            ff

pp

ff

            ff

pp

ff

            ff

pp

ff

            ff

pp

ff

 

pp

  pp

  pp

 

pp

  pp

  pp

  pp

  pp

  

ff

 

    

6" - 8"

 

 

ff

    

 

ff

 

     ff

    

 

ff

 

     ff

    

 

ff

    

 

ff

 

Play ONLY "p"+ slow duration of rest: 9" - 14"

even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

H

the fermata on each rest should gradually INCREASE. 'light drizzling rain'     ppp

Play ONLY "p"+ slow

duration of the rests (in patterns): 15" - 20"

even lighter & lighter rain

duration of rest: 9" - 14"

'light drizzling rain'     ppp

Ob.

the fermata on each rest should gradually INCREASE.

duration of the rests (in patterns): 15" - 20"

even lighter & lighter rain

Play ONLY "p"+ slow duration of rest: 9" - 14"

'light drizzling rain'     ppp

Cl.

the fermata on each rest should gradually INCREASE.

steady tempo

Bsn.

 

 

    



 

        

duration of rest: 9" - 14"

duration of rest: 9" - 14"

duration of rest: 9" - 14"

 sub. p (from 2nd time)

 

stop

duration of the rests (in patterns): 15" - 20"

the fermata on each rest should gradually INCREASE.

even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

the fermata on each rest should gradually INCREASE.

even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

'light drizzling rain'     ppp Play ONLY "p"+ slow duration of rest: 9" - 14"

Tbn.

even lighter & lighter rain

   

'light drizzling rain'     ppp Play ONLY "p"+ slow

Tpt.

sub. mf

 

'light drizzling rain'     ppp

Play ONLY "p"+ slow Hn.2

   

sub. mp

Play ONLY "p"+ slow Hn.1



the fermata on each rest should gradually INCREASE.

even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

'light drizzling rain'      ppp the fermata on each rest should gradually INCREASE.

RICL 118


The conductor should face sideways to direct both the onstage dynamics and the offstage players



251 Vln. 1

 



Vln. 2



Vln. 3



Vln. 4

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.





16" - 18"

32" - 36"

 A 

 A 

sub. fff

fff

 A 

 A 

sub. fff

fff

 A  sub.

 A 

fff

fff

  A

  A

sub. fff

fff

 A  sub.

 A 

fff

fff

  A

  A

sub. fff

fff

 A 

 A 

sub. fff

fff

  A

  A

sub. fff

fff

  A

  A

sub. fff

fff



35

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp



!!!Suddenly Heavy rain!!! Fl.



*

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.



sub. fff

*

the fermata on each rest should gradually INCREASE.

No rest, play only "f"+ fast

stop

fff

ppppp

!!!Suddenly Heavy rain!!! *

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

 sub. fff

Cl.

stop ppppp

fff

!!!Suddenly Heavy rain!!! Ob.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

 sub. fff

stop ppppp

fff 10" - 12"

double tonging

Bsn.



  

sub. mf

  

  

  

  

  

  

  

  

  

  

  

  

  

  

   

ppppp

!!!Suddenly Heavy rain!!! Hn.1



*

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

the fermata on each rest should gradually INCREASE.

No rest, play only "f"+ fast

fff

*

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

fff

*

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

 sub. fff

stop ppppp

fff

RICL 118

stop ppppp

!!!Suddenly Heavy rain!!! Tbn.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

 sub. fff

stop ppppp

!!!Suddenly Heavy rain!!! Tpt.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)



sub. fff

stop ppppp

fff

!!!Suddenly Heavy rain!!! *

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)



sub. fff

Hn.2

stop

Secret Forest for chamber orchestra composed by Dai Fujikura  

secret forest (2008) composed by Dai Fujikura Published by G Ricordi & Co (London) Ltd. performance details for fl. ob. cl. bn./2 hn. 1 trp...

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