Typographies III: Chamber Concerto for Piano with Ensemble

TYPOGRAPHIES III: CHAMBER CONCERTO FOR PIANO WITH ENSEMBLE

by Daniel Bassin May 6, 2014

A dissertation submitted to the Faculty of the Graduate School of the University at Buffalo, State University of New York in partial fulfillment of the requirements of the degree of Doctor of Philosophy Department of Music

Typographies III Chamber Concerto for Piano with Ensemble Written for Eric Huebner, James Baker, and the Musicians of the Slee Sinfonietta in partial fulfillment of the PhD in Music Composition

University at Buffalo And with heartfelt thanks to David Felder and Jeffrey Stadelman

Daniel Bassin (March 2014)

Instrumentation: 1 Flute (doubling on Piccolo and Alto Flute) 1 Oboe (doubling on English Horn) 1 Clarinet (in Bb and A, and doubling on Bass Clarinet) 1 Horn in F (conventional Mute and “gestopft” Mute required) 1 Trumpet (in Bb and C – St. Mute, Cup Mute, Harmon Mute required) 1 Tenor Trombone (St. Mute, Cup Mute, and Bucket Mute required) 3 Percussionists: LEFT: Vibraphone, 2 Congas, Snare Drum, Gong in A4, Med. Log Drum, Deep Suspended Cymbal, Peking Opera Gong* -instruments shared with CENTER: Xylophone, Crotales (2-octave set, plus one crotale in Eb8*), Bass Drum, Flexatone CENTER: 4 Timpani, Tam-tam, High Log Drum, 3 Roto Toms, Med.-Small Splash Cymbal, Gong in Eb4, Whistle, Slap Stick -instruments shard with RIGHT: Glockenspiel, Chimes, Bass Drum, Flexatone RIGHT: Marimba (5-octave), Bongos, Field Drum, Gong in D5, Low Log Drum, Riveted Ride Cymbal, Small Tam-tam in G* * Peking Opera Gong, Small Tam-tam, and high crotale provided by the composer*

1 Harp (G3 and G4 scordatura up to G#, B3 and B4 scordatura down to Bb) 1 Keyboardist (doubling on Celesta and Harpsichord) 1 Solo Piano (without lid) 2 Violins 1 Viola 1 ‘Cello 1 Double Bass

Explanation of notational conventions NB – This is not a “C” Score, given transpositions apply. - Accidentals: o Accidentals generally accompany every given note. However for ease of reading, occasionally reiterated accidentals have been omitted when occurring within a given beat-group, or during a tie. In addition to the conventional quarter-tones employed, directional arrows are used as a guide when playing harmonics that diverge noticeably from equal temperament, such as the 7th and 11th partials. - Dynamics: o Supplied dynamic markings are ideally absolute and scalable, such that p (for example) on the solo piano equals the same volume of sound in other instruments. However, dynamics given within double quotation-marks occur in exceptional circumstances, such as playing with a practice mute, or in extreme registers, and describe playing intensity, not their resultant volume. o Dal niente and al niente indications are frequently found in this work, and are represented by a circle at the closed end of a crescendo/diminuendo hairpin. The indication quasi niente describes a playing effort where a player initiates the pitch, without trying to “project” the sound into the room. It should be noted that niente used in conjunction with certain percussion techniques describe the physical playing action, and not necessarily the cessation of all sound from the instrument. o The indications tenuto and non-dim. after a given dynamic are not synonymous. Rather, non-dim. compels the player to maintain the given dynamic, while tenuto implies a greater effort to “hold” and sustain the sound, as in a rinforzando, and is therefore to be treated more soloistically. o Indications of sforzato/sforzando are strong, sharp accents of a forte character, unless adjoined by a hyphen, such as sf-mp, which indicates a strong, sharp accent within the mezzo-piano dynamic. Therefore, sfp and sf-p yield quite different results. Accents occurring in dynamics above forte are given sff, etc. - Articulations: o The martellato “carrot” indication ^ is understood to be stronger and harder articulation than sf, though not as sharp. Martellato used in conjunction with a tenuto dash - is the strongest, weightiest articulation given. o A tenuto dash - over a given note is used to add weight, through articulation and subtle dynamic accentuation. It should not affect the given duration, or metric location of the note. o Frequently a tenuto dash will occur with a staccato dot – this articulation conforms to the above, with added weight and a slight separation. - Grace Notes: o Grace notes occurring immediately before barlines are to be performed quickly, and before the beat. Elsewhere they are accompanied by a bracket and arrow, to indicate whether they are played on or before the beat (which is indicated by the arrow). Grace note-sized rests occur occasionally, and always in conjunction with brackets/arrows, indicating that a sound event begins just after the given beat.

Typographies III Chamber Concerto for Piano with Ensemble I. Introduction q=42 ( in 3 Ke )       (in 3 q)   

4

2

Flute

   



3

p

  

Oboe



3

pp

  



p

Horn in F

  3     

Trumpet in Bb

 3

Bucket mute

Tenor Trombone



















  

  Percussion L  









ppp





 Bass Clarinet

To BCl.





ppp

 







Senza sord.

 



p

 



 pp   3



poco

 

Senza sord.







pp

+/- 1/4







6

(mf)









pp





3

ppp





 

5







p

Cup mute

4



3

Clarinet in Bb

3

Daniel Bassin (April, 2014)



pp

3

 3



Gong





















ppp

    pppp  Chimes

Percussion C

Marimba

Percussion R



  





pp



 Harp

Keyboard





p

 







    p mf pp

bisbigliando





Gong

  

    pppp



p-ppp

quasi sforzando

Celesta



    

non-pedale









p

    Solo Piano



ppp







p

pppp

 una corda

  

pp

5:3





  

ppp

3

pp

mp

  

      

p

pp

f

3

9

ff

tre corda

sempre

q=42 ( in 3 Ke )

 

II III

3     Violin 1 

p

Con III sord. IV

Violin 2

 (in 3 q)

Con sord.



3

   p



Con sord. IV,3sul tasto

Viola



Con sord.

Violoncello



 p

3  





p Con sord.

Double Bass

 

3  

p



  



 





 







 



 

 

  





mf



f







   mp

sf



sff

   

  

p

ppp

  

p

 col legno battuto            mfp





6              

sffpp



 





 

pppp



 



 

pppp

 

7

Fl.

 

 





 



sf-mp

Hn.

  

Tbn.

  



 

Perc.C

 

Perc.R



sfzpp flz.

mp

sfzpp

mp



             

 

  

 

 

5



 

  

p



pp

   

  



   



  



Bb Cl.

pp



        

ppp

, 3

ppp

sfzpp

 



         ppp sfpp  

Gong



ppp

pp Riveted Ride Cymbal

  



  

  



   



3

3 ppp

   

+/- 1/4

pp Vibraphone





Slow motor



   mf

 

Log Drum (high)

sf-mp Log Drum (low)



  

Senza motor



ppp

Bass Drum

(Chimes)

  



      

Xylophone



pp

   

mp

  



,

flz.





  



5   

   

Chimes



pp

  

Marimba





   

pp





     



3

ppp



p





  

Gong



p

ppp

   



p

      

Glockenspiel





f

p

pp

 

  Hp.

             

,

ppp

3

 Perc.L 

 

11

sf-p



flz.



 

10

p

3



Bb Tpt.

To Bb Cl.



 

  

  3



mf

B. Cl.

 

9

mf





Ob.

  

8



 

   

mp





 

fz









sempre L.V.    sf-mp

p

 



mp

  Kybd.

Harpsichord



 

    pp

 Pno.





quasi pedale

     







poco forte



    

 

mp

pp







ppp

 

 



Vla.



 



  

 

   



    





I p

Vc.

Db.

  

    

 p

 p



sempre

ad lib.





mp

dynamics ad lib.

(tre corda)

p





 3  

f

p Vln. 2

 

ad lib.



 

       pp

una corda

Vln. 1

  

 Celesta 

 3

        

mfp

f

pp

 

               mf 

 

 

 

      pp

   

mp senza sord.

  

   

senza sord.





 





p, non-dim.

poco vib. on II

pp

    

 

 

 

p, tenuto

senza sord.



 

p

    

senza sord.





12

6 Fl.

 

 

 

   

flz.



sfp

Bb Cl.

Hn.





 

3

 







  ppp

p







   



poco



    



16 Quasi-Cadenza

15





 



3

 

3

Perc.L

 

   





 



 Perc.R  



Perc.C

5



s. 

Slap Stick





3

3

 

   

5





  





 sf







 





 





 









 









 







 



 



5



          5

p

       

 

pp



   

 3



mf









    (Bb)

 3

    





f sff

(mf)

Pno.





  

  ffz

5

 

 





pp

 

 









   

 



Vla.

Vc.



  

molto sul pont.

 

  



sf-p

Db.

 







 



,



molto tasto



 



quasi jeté



5            mf

5

ppp



3

 

   



sff senza sord.

(accel/rall. with cresc./decres.)

ca. 5-7"







    ff 

Quasi-Cadenza 1

sff, tenuto Vln. 2

 

,



(sempre pedale - no "break")

Vln. 1





f

  

f

ff

 



 



Harpsichord

5

 

 

1

 

p

 

mfppp

 



To BCl.



ff, dim.

sf-mf



  

  Kybd.



 

mp

mf

Hp.

Crotale in Eb8

mp

5    

p



3

mf





     mp  



f

ossia 1/2 valve gliss. al niente



 



   glis      

mf, bravura



 







pp

Tbn.

,

ca. 5-7"

f





Bb Tpt.

To Alto Flute

  

 

 

14





Ob.

 

13

     f

 

 





 





 

sff



 3

   sff

 

17

 A. Fl. 

Hn.

Pochissimo più mosso q = 50

 To English Horn

 

 

Bass Clarinet



air only

 





Bb Tpt.

 

air only



"sff"

 





air only

Tbn.



"sff"

 Perc.L 







Perc.C

Perc.R

Hp.









molto tenuto  





 

















ppp



pp

3

 





p



   



   

 



 

       





pppp





 

 mp

Kybd.

 

 

 





da lontano

Gong

Chimes

 

multiphonic





mp



 

Vibraphone

7



 

"sff"

 

19



mp



 

18





Ob.

BCl.

 

   



 

3



pres de la table p

   



 

Harpsichord











mute w/ finger nails

Celesta

 

   

  





3

 

p

mp



   



Pno.

ff

 



Vln. 1

 

 

Pochissimo più mosso q = 50 veloce



3



       p

veloce Vln. 2

Vla.

 



 

3

p

veloce



 

3

p

Vc.



veloce



3



  



  



put-on Practice Mute

Db.

veloce





I 













ppp



ppp

quasi niente poco

       p

   II

 quasi niente

 

 

"sfff"

 3



p

 



3    

poco

      

3

 

II III IV

sf-mp





  pp

  mp pp

 3



     

 





p



 





    pp

 

20

8 A. Fl.

  

EH

BCl.

Hn.

 English Horn           

 

 

    









  

 

 



Harmon Mute w/ Stem

  



ppp

poco motor

  



w/ wooden mallets

 

3

ppp

  

 Hp.

Kybd.



 







 









 





ppp

 



 

 

w/ friction stick







   

p

w/ hard rubber mallet Crotales

 



 



  

ppp

pppp



 

 



mf, pesante

mp









 

pp

 



3



 







  





 

pp

Marimba





5







o



ppp, da lontano

Perc.R

 

Bucket Mute



 Timpani

 3  

mp tenuto



quasi niente

 

23





mf



 Perc.L  Perc.C

 Alto Flute 

22

 



mp poco sf





 

21

  

Bb Tpt.

Tbn.

 



ff





 

    mp

   

f



mf

  



p, dim.

Pno.



Vln. 1

Vln. 2

Vla.

Vc.

Db.

      

 

 



(free-bow, avoid coordinating with viola)













 

 



IV, poco vib

 



IV III senza vib.

    "ffpp"

"mp"

















(free-bow, avoid coordinating with vln2)





   





  





pppp non-dim.



 





pp



 

24

 A. Fl. 

Hn.

 

25



     

 

p

Tbn.











 Perc.L 



 



Perc.C

Perc.R

  Hp.

 





















  







  



mp







 

9

 

3

 

    









mp











   





Deep Sus. Cymbal







pp Gong





p





pp





mp



  p



  12

Marimba







pp



 



3



Tam-tam



    p 









    

 

29

To Oboe

open

  



 



pp

mp

pp



  

 

 

28

ppp







5





 

27

sf-mf





sempre sfz-mp

5

5







mfp

 

mp Bb Tpt.

     



slap tongue

   





mp

mp, dolce





   

 

26



p 5





EH

BCl.

 

pppp







mf

  Kybd.

Celesta



 

 



     





mp

 

5

(ppp)

Pno.

 









p



  

3

 

mp

quasi niente



f

 



3

5  

   

mp

ff

   

5

5

    pp



Vln. 1

Vln. 2

Vla.

Vc.

Db.

   

 

     

 



 



 



 













  









  

 

 

    



 



















 















30

10 A. Fl.

 

Hn.

Perc.L

 

         pp ad lib.

  





Perc.R

 

rfz

5



3

(Bucket Mute)



5

5

flz

 





     fp

  



mf

   3

 

flz.





ff sf-mf

 

3

fp

 

          p

(Harmon Mute with Stem)

o

 5   o  

sf





fp

  

  

mp















sf

Bass Drum

 

3









mp

           sfp mf fp







3

  f





3 3

3

mfp





3

 



mf

fp





 

mp

mp



 









        

f



5

Harpsichord







 

Tam-tam



3







3                 

(Roto Toms)

 Bass Drum

pp

  Kybd.

        sim. tongue ram

"sfff"

mp



  Hp.

33



Roto Toms Perc.C

 

32

+/- 1/4 tone

 







 



 Oboe





  sff

     pp

Bb Tpt.

Tbn.

 

31



Ob.

BCl.

 

  









 

fp

sf

 

3

f, veloce

 Pno.

Vln. 1

Vln. 2

Vla.





 

  

5

mf

 



  



       

5:3



 

 

ff, bravura

 

  sf

   (Bb)

 

   

3

ff

sempre sforzando

       

    

      

[ ]

  



Db.

  

 





  

sul IV

3

mf

 

fff





      mf          

 

 



sff

 

5



sff

Vc.

 

 

   

[ ]

   





sf

    

poco

3

f

sf-mp (7th harm.) gliss. 3



  

"ffp"



  

  

fpppp frog       sff

 

sfff

 

 

 

To Picc.



p



p

BCl.

Hn.



 

p

Harmon w/out stem

Tbn.

 

Perc.L



 



p

 





To Cl. in A

 

 

Bb Tpt.



 









Perc.R



  



Hp.

Db.



 

 

 



 

 

 



 

 

 



 

 

 



  

  

 

mp

 

 

  

  

 

mp bisbigliando

   ppp

 



       





 

 

poco a poco cresc.

 

 

  

  

   

 

 

p

 







"sfff”

 

1 full bow

pppp, non-dim.

 

 

 

   

 

 

  

  

   

 



 

pp

 

 







piano



Remove mute

 





 

mf





Quasi in tempo (q = 50)





   

 



pp

 

 

11

pp

 



“sf-mp”

Vc.

 

forte

II III IV

Vla.

 

 (Harpsichord) 

 

ca. 10"

Vln. 2

 

 

Quasi-Cadenza 2

Vln. 1



 



 Pno.

 

ppp

 

 Kybd.



pp

 



 

ppp

pp

Perc.C

  

35

ca. 10"

 A. Fl.   Ob.

in tempo  Quasi (q = 50) 

Quasi-Cadenza 2

34

  

ppp, dolce

   

 



 





ppp

3



 

 







7:8

f

  

ppp

   





  mp



3





   

12 Picc.



 

poco a poco accel

36

(e = 100)

 

 

 

mp

mf

 

  

37 (e+e+q)



p

fp

Ob.







Cl. in A







 

















Hn.

Bb Tpt.

Tbn.

Perc.L

Perc.C





 

Rimshot







Vib.



senza motor





f Timp.





  

mf





,



3

  

 

sffz





mf, cresc. molto



 Kybd.









5:3



mp

Gong

  

ff



fff

 



f

Crotales   



  

Glock.

    Hp.

 

ff





fp, piano tenuto

 Perc.R  









3

mp

 

 

sff

 

 



     

tremolo w/ plectrum

ff

 

 ff

  



3



fp

fff

  

Celesta





sff

    sf

 



(G)



 Pno.

Vln. 1

Vln. 2

Vla.

fff



   

fff

mf

  

fff possibile

 



(e+e+q)

poco a poco accel



(G)

(e = 100)

 

  

   

   

 



 

 







ff



  3   ff

    ff

cresc. molto



3

sfff



  

   



fff subito

sff

Db.

7:8

 



cresc. molto

Vc.

 

      

jeté 3 . . . . . .

  

 sf-mp

  

 

sfp

f







fp

5 



  

3

port.

   ff

 

   

 

3



 





  











 

Hn.



 



Tbn.





Perc.R

Pno.









fff



 





    



sff

         

3

f (Pedale)

1/2

 Vln. 1  Vln. 2





sfff

 



Vla.

 

sfff

Vc.

Db.

  

   

3

f



   

3



  

  





fp, cresc.



mf Splash Cym.

p







sempre L.V.

     p





  f

             



    

mf, sonore

6



  

     

  5     (loco)

3



 

  

 

 

 

         

  



   f

  

ff, bravura

ffp







  

  



5





ff

II



3

f

 

 



     

 



5

mf



fff

   





   

f, cant.

 

3

cantabile

  

pizz.

sf

mf





     3

ff, bravura

 









   sff

I

3

(15ma)

f

 

Marimba

   

 



sff



 

mp

 

Congas



  

e = 144

  

 

 

  

ff (non-arp.)

pp

    

mfp cresc. C# E§ F§ G§ Ab





Lip trill

ff



sf

 

5

f

 

mfp

 w/ wooden mallet   

f

mfp

 

 

Small Tam-tam in G

(15ma)   (loco)              3 ffff 3          

 

 

sff

5

   5     



cantando

 

 



sf

3

sf

5

f

 





 



 

fp

  

 



 



mf

Bongos



 

   

  

ff

fp





 

 

3

sf

3

Xylophone

3

f, ten.





  

 

sf-mp

 

3

 

3



   



Timp. w/ hard mallets





Lip trill





mp



13

 

(7th)



mp

fff

  Kybd.



   

  



f, bravura

mf 3

f

 

 Hp.

  

Whistle

   

sf

 Perc.L  Perc.C

 

 5



 

sf

Metal St. Mute

 

f, teuto

sf Metal St. Mute

Bb Tpt.



   

  

 

  

mfp

f, tenuto

poco







 

f cantabile



+/- 1/4 tone

39

mp



Cl. in A

fff

  



Ob.







 

5



    38

Picc.

II. Toccata  

e = 144



   fp

 

  



sf

 

 3

  ffp

,

 

 

40

14

  Picc.  Ob.

Cl. in A

Hn.

 



3

sff

Bb Tpt.

  

Perc.C

fp

  

mp



3

mfp

 





ffz



 







   



   

mf



3           

   Xylo.

 

Timp.





 

5



sf

5

    pp



mp

mp

5



3



 



  

Kybd.





3

 

 Pno.





 3





 



   

 

Vla.





 

Vc.

f

  mf

 

Db.

    

3



 

5

 

 

    ff

 

   

IV III

    

pizz. trem



ff



  

Pedal gliss.

  

mf

  





una corda



  







(III)

mfp

 

5



gliss.

 

 

mf, tenuto

 

mfp

  

  f

     

 

 "ff"

5

mp

 

 

  

(7th)









ff



p Field Drum

(loco)

    

3

arco



 

5







      5

   

     fp



 

5:3

 

"ffp"

II IV







To Harpsichord

sff

3



 



  

   

3

sf

Vln. 2

3

p

  

(15ma)

1/2

 







3

Vln. 1

3





   

f

   







mp

 

mfp



fp

5

mp 3

mp 3





p



mp

p

    

sfp

 

       

  

   

mfp



p

,



sf

 

gliss.



2 1-3 2 VT  3          

3



"covered" sound



pp

 

mfp Log Drum

mp



 f



 

sf-mp



3



f

 

  





p

   

3



Peking Opera Gong

 Hp.

3

mp

3

Perc.R

 



3  3        



 

 







"f"



 

3

 

  

p



mf, ten.

pp

  

  Tbn. 

Perc.L

   fp 



pp



mfp

 

   

 





 

   

mfp

 

   

41



    

  sfp

 

(7th)

gliss.



mfp

    42

Picc.





mp



3

 

pp

mp







Ob.





 Rubato   

  

43

 

 

15

mf

 

mfp

Cl. in A

Hn.

  

Bb Tpt.

Tbn.

Perc.L

Perc.C

Perc.R







 





f





 



 

BD



mp



5







mf, tenuto





 



 

mp 3   





 



  f







3

 











3



 



mp

5

3



   

mp, pesante



  

 

  

 



     p, veloce



5

    

 





 

mf





 





 

13:8



(accel/rall. with cresc./decres.)

(C#)

 



tre corda

  Rubato

 



  



p, ten.

sff

  

   gliss.   gliss.

 

 

(F)





poco

 

 

  

 



mf

  

pp

  

p pres de la table



 

 

   

  

f

 

Marimba

p



        









Timp.

3

 

3

(frog)



 









Db.

3

pp

Kybd.

Vc.

Senza Sord.





Roto-tom

forte

Vla.

 



sf-mp

Harpsichord

Vln. 2



sf-mf



  

Vln. 1



  





Pno.



  

mp 5





mf

Hp.





mp pizz.

  p







    44

16 Picc.



Cl. in A

Poco accel. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -



 



 

3

Tbn.









   p



 

pp

mp





3



ppp

      p

pp





  

   



pp

 

 





  Kybd.



3

 Lip trill w/ slow gliss

  



pp

3



p

           f

mf

 

 

p



p

f

5

3     

   

Celesta



sf



pp, dolce





  



Vc.

      6

Db.

 



 pp

 



 



mf

   



3

   

una corda

mp, pesante





   3

   



  

mf

tre corda

3



  

 

p

(chromatic cluster)

una corda

Poco accel. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -





  

5

sf

6

mf, sempre cresc.





Vla.





sf-mp

 

Vln. 2

 



 

 Vln. 1 



 





Pno.



Splash cym.

sf

   



pp

            





5



quasi gliss. sempre L.V.

Hp.

  

fp

p

mp



veloce

p

  

sempre L.V.

sf-mf









mp

3

"mf"

3

 



p



mp, ten.





 



mp

mf

 



Senza sord.

      Perc.L 

Perc.R





mfp

Crotales w/ rubber mallets

Perc.C

 

3

3

  5





Bb Tpt.



f

p

Hn.



   



  

3

fp



Ob.

  

II III

    f

III IV

  

   sf-p

pp

    



 

3

3

 



 



pp pizz.

pp

 

     

(pizz.)



molto tasto 3



    ppp

 Picc. 







Ob.

Cl. in A

Hn.

Tbn.

 5  

   

5











mfp

mp

fp

ppp

 

p

      



w/ bow



7:8

 



 

7:8







sf

mf



f



mp

       



  



(8va)

5

 3

mf

3

f

    mf    

  





           sf-mp

      mf  1/2 

mp



               p

Vln. 2



  

p

Vla.



Vc.

 

molto sul pont.    

p



sf-mp

molto sul pont.



    mfp     mfp

 

Db.



  

ffz



       

mp

 

  

(loco)





ff





mp





  

mf

 

mf

3

    5:3

 sff





mf

 







mp

  

pizz.

    mf

pizz.

    mf

e = 152

 



f



 

 





  



p

  

p





mp

 

f



 



Bongos



      

(8vb)

ffz

 



mp

  

ad lib. intonation

Vln. 1





(accel.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 12



 

mf

    





  

      

,

mp

(f)









mp, giocoso



mp

   sff





sff



  

3



Splash Cym.

3

Riveted Ride Cymbal  

3

3

fp

f Gong

f

Harpsichord

 

sff



3

Gong









17



ff

mf p



  

  

  



        



 

molto

fpp



mfp

fpp



fp

 

 

 

  



 mf       

 

 



sf-p

  

        mp leggiero

   

sf

 

 

 

mp

e = 152

46

Vibraphone



  Pno.

3

,  gliss.       

3

 3       mfp

3



3

 Kybd.

pp

mp

fp

Hp.





  

  5        

  



Log Drum

Perc.R

  



mf

5 

mf







 Perc.L  Perc.C

 

p, cantabile

 

p





     p



pp



Bb Tpt.

 

(accel.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

45

   

f



  



f arco

  fp





gliss.

         

ff

    

over-pressure

"fff"

sul pont. II I

            arco

f

3

5

 

   

 

47

18 Fl.

To Flute





 



Ob.

Cl. in A

48





    



 

    



p

ff

  p

p



       sff mp       

  

  

 

Bb Tpt.

Tbn.



tenuto

mf, cant.

Hn.

 

pp







  

 

 

sff

            

 

 

Flute





mfp         sffmp           mf



p









   





 3 

   







pp

3



mp, non-dim.





fp

  3           mf

 accel. poco a poco 

49

mp, non-dim.

   

Crotales w/ bow

 Perc.L 





 

   



sf

mf

p

Perc.C

Perc.R





6

mp





Gb







F§





f

  

 

w/ hands







 5:3

   

 

mp

pp

 5        

f

mp

sfff

Marimba



          





3

3

f, bravura

  

pres de la table



sempre L.V.

 

  Roto-toms



5             

ff

Hp.





Vibraphone



sf-mf

3

mf pesante

 Kybd.







 Pno.

    



 

   ff



(loco)



Vln. 2

Vla.

Vc.

  

 



mf



  mf

     mp

sf

sf



   

ord.

 

ord.    f

3

mp

 



  

f

 

  pizz.   

               mf sf mp

mf, ten.

Db.

  

             f   3

ffmp

3

3



 6                  

mf, pesante

Vln. 1



quasi pedale

 

         sf      sf

 

   sf

 



arco    

  



"ffp"

 

3

  

p

mf, sonore

 

  

p



mf, sonore

  

"f"

      





sfp

 sf-mf       

mf, tenuto



        3

mp

pp

3

   

mp

 

f

 accel. poco a poco  

5    

 

 

5

    

mf, tenuto

veloce



       ffp

3

mp

   

  

sff

  

5







mp

  



f



 

mp













p

p

 

      





 

(7th)

ss. gli

 

 

fp

5:3

 

 

  

50

Fl.

    

 3   

  

"ff"



Ob.

Cl. in A



  

Con sord.

Hn.

 



 



Tbn.





      



p



 

     



 



3

5

 



3  



    

mp

       sf-mf

  



sff

 

 

sffp

sfp

fp

   





  

mp





3

mp

 

f

fp

  

motor ca. 160bpm

Timp. dead center



w/ bows



   

mp







Ride Cym.





 5  p

mf

3

   

veloce

 



5

p



                mp



 



mp



 



 



 Pno.



    

mp



f

 

ff



 f

Vln. 1

Vln. 2

Vla.

Vc.

Db.

   

 

 

   

mf

 ,   



  ff

   

  

  



 

sf-mp

 

mf

  

 

    

Harpsichord 3 



(ff)





          

   

fff

mp

 

 

f



   

pp







      p

mfp (L.V.)

 (accel.) - - - - - - - - - - - - - - - - - - - - - - - 

molto sul pont. (sul II)

  

5

   

  

ff

f, tenuto

     mf





Field Drum

sf-mp

Kybd.



sf-mf

"sf"





 

 mp, cant.      gliss.              

sfp sfp sfp

mp

 



3



3

sf-p



  

 



mp

mf 5:3



f



fp



Ricochet strokes



 

 

ten.

 

pp



3 

lip bend + pull-slide

p





sf-mp





19

mfp

f

mp

 Hp.





mp

Cup Mute

3     





  

(senza motor)

 Perc.R

 

pp







Senza sord.



 Perc.L  Perc.C







sf-p



 (accel.) - - - - - - - - - - - - - - - - - - - - - - - 

52

mf

3 mp

Cup Mute

Bb Tpt.



fp To EH.

 

                          3  sfmp pp fp f mp, cant.

sf-mf



3

 51  3              

 

mf, pesante



    

 

mf, pesante









 







e = 160

53

20 Fl.

 

   



  

sf-mp

3

 

               

54

6

sf

(q = 80) 5



 

5

ff

ff

      



 

5

sf

 

English Horn

Hn.

p, tenuto

  

ppp

    

  





p



 



   





Tbn.





  

Con. sord







 

fp





Perc.C

Perc.R







 

Hp.



3

sf

Senza sord.





3





3

3

ff

Vla.

 



3







 

f

Db.

p

mp

BD





    

  (f)

     





 

 

  ffp (8vb)



capture *some* of the pitches

 



 

       mp, semplice      

5

5

     

   

  







(loco)



p

  



 

 

  

   ff

 

 

(q = 80) 3  

 



 

mp







 

 

 3

 



f

mp, sempre cresc.

mfpp







6

e = 160





       sf 





     

 

5



Cb

mp, semplice

Vc.



sempre L.V.

mf, pesante Eb

sf-mf

Vln. 2

Timp.





Vln. 1

senza motor





   

Pno.

 



f

  



slow gliss.

 

w/ soft mallets

pp

mp

Kybd.

 

  

3









p, pesante

f

Splash cym.  



mfpp





harmonic gliss.

   mp ff, bravura  3     

  

sf-mp

G#







3



mp

 

  



da lontano





mfp

 Perc.L 



f

sf

Bb Tpt.



gli ss.

Cl. in A

3  



EH.

   3

 

 



mfpp

mp





55

Fl.

 

 



EH.

 





 

 







mp

 



Senza sord.



  

sfp

Tbn.







 





Perc.C

Perc.R

  

 ff

 

3





fff, tenuto e sempre dim.

 



 

 

 

sff



Vc.

Db.

  



3

  mp



sf-mf

   

 

  

sf



      





   

 

3

  

  mf

    mp

3

mp, pesante

(8va)

      

 

    

mf, cant.

3



 

 

 

  sf

 f



ff





ff

ff

Vla.

mp

           

 

Pno.



 

 









Vln. 2

mp

Celesta

 

 

3

 





fp

Vln. 1







fff

3

sfpp

  







   



5

  



mf





 5

 



ppp

p

  Kybd.



5



 

Hp.

 





  

5

p



mp

Perc.L



21





mfp



f

ffp



 



mp

ff

 

 

  

  



ff





 





mp, da lontano

Senza sord.



 

5



sfff

    



mf, tenuto

mfp

      

Bb Tpt.

 

   

(7th)

Hn.

  

f tenuto





 

3

ff

Cl. in A

 

56





   mf, sonore

f, sonore

 mp

 



3

mp, tenuto

  p





 

 



3



ff





  sf

  fp

  

 

mf, non-dim.



 

  

 

  





mf, non-dim.

  

mp

  

  





(8vb)

 



   

4:3



  3



mp

 

57

22 Fl.

     

    

    

 

f, tenuto

Cl. in A

 

         mf

Bb Tpt.

mf

Tbn.

         mf  mf

Perc.R

  

Hp.





 



senza vib.

w/ heavy mallets

Perc.C

 

Splash Cym.

  



 



 

3

  

     



mf

3

3

sf-mp Ride Cym.

 

  

 



mf

mp

  mp  

 







senza motor



free gliss. on harmonics

gliss. 

p, cresc.









 



        

4:3          

  

mf





pppp

 







mp



mp

sf

              sffpp mf sf-mf 

  



fp

 

 





 3         

  





 

 

 

ff

  



   

ff, tenuto

very fast motor

  Kybd.



Tam-tam

    



f

mfp

   mp    

  Perc.L  



quasi niente



 

60

To Alto Fl.



 

mf

         

 

59

6

fp

    

  

    

f, tenuto

Hn.





3

f, tenuto

EH.

      

58

5    



  

 

pp

 

5

3     



 

   

mf

  

 





p

  







mp

mf

2-octave chromatic cluster

 Pno.

 3                

   

(loco)

      

forte cresc.

        

(loco) mf, sonore

          

Col legno sff sf batt.

Vln. 2

Vla.

Db.

 









   

 

 

  

mf

cantando



fp

sf-mp









 



fp

      f

 

mf

 

    

        

f

                 3 mp

cantabile

    

arco

3

3

   

mp

mf

f



 







f tenuto

ff









sff

f

Vc.

 

          sf

  

ff

mf, tenuto

Col legno batt.

Vln. 1

4:3

3

chromatic clusters

          

3

  



  3 

    fp

slow gliss.

 

 

   ff

  mf

 

   

3







 

 

   

 

 A. Fl.  61

 



EH.





Cl. in A





Hn.

62

Alto Flute

 

         mp

 

mf



               mp mfp 3







  



 







Tbn.

Perc.L







 

 

 gliss.

         sf-mp

  

Congas







Perc.R



sf-mf





mf



pp Chimes

        

rfz

f



mp



 



 

p

5:3

  



mfp

















  









3

3

3

    mp,  sempre (8vb)

Vln. 1



Vla.

 



  



 

    

        



 









 





Db.

 

mfpp

  5:3

  



f, staccato

 

(loco)

     

   





                 7:6

mf



    

mp, tenuto

  





 

  

  



mp





mp, espr.

3

 mf

   

(loco)

  

 

 

(arco)





p

 

 

5

mp (8vb)



sf

     



  

gliss.

   3

  

 

pp



mf

mp





    

mf

   

3



mf





pp

mfp

Vc.

,

bisbigliando



8:6





  

 

f

mfp



pp, espr.

Vln. 2

sf

mp, non-dim.

                              mp

 

sfz

mp

Pno.

BD

   

 









 



 

mp



f

mf

Kybd.

4:3

     ffp



mf cresc.

 

 

p

 Hp.

fp

(11th)

6

     



 (9th)             



3

 

pp



sf



 



(7th)

mf

mp





  





(9th)

p



 

mp

  

 

 3     6      fp

Perc.C

ppp

(7th)

mp







To Ob.





 

p, semplice

Bb Tpt.



 



mp, non-dim.

23









 





   

63

24

 A. Fl. 

 

  (q = 80)

64

 





mfp

 

accel.

65





3

 

mf

3



  

Ob.









Cl. in A

















Hn.

 

Bb Tpt.

Tbn.

Perc.L



   

3













  

3

sf-mp

 



sim.

To C Trpt.



sf

 

 

pp





mp

 



 



   





dim. poco a poco



  





Perc.C

Perc.R

Log Drum

5

fp

    



 





p

ppp

 









Vla.

Vc.

   3





p

5

   mp



3

5

   6         

 accel. 

 3

 



 



 

    sf-mf



5





     

5

  

     

5

  

mf



mp

II 

III 



mp, molto cantabile

 

fp



3



pizz.

mp



 

p





mp

   



  

  

    p

 

mp



 



   

 

    

f





 



mfp







  

mp







(q = 80)

 

    sf-mp





Gliss. w/ spoon

chromatic cluster





3







  

L.V.

Harpsichord



   

mf

Db.

  



mp







 Vln. 1 

Vln. 2



 

 Pno.

FD

mp

  Kybd.

  

SD



  Hp.

 



mfp

5

mf



mf

 p

arco

vib.

     più forte .......    jeté    5

3

mp



 

 

66

 A. Fl.  

Cl. in A

Hn.

 

3

mp

3  







 

mp

Tbn.

Perc.L

Perc.C

Perc.R



Db.

pp

mp

 

  

mf





















  





   





 

  

 

      





poco sf

fp Croatles w/ bow 



w/ brass beater



f

 



5

mp

(+Pedal gliss.)          



3

ff

6





 

        

fff

      

5

mp

5

5

 

  con sord.





p

 

 



 

mf, bravura



 





I II III IV III II 6

 



5

  



5

7

 

5   

fp

sf

 

5   

fp

sf

   





 

pp

 

     pizz.

3

sf pizz.

 

ff

arco



mfp

sf

     3





3

fp



   



fff

   

 

 (etc.)   I    I II I

I



fff

mp







 









 





sf

mf



sff

fp



 

sf

      

5



  

quasi pedale

 

     



fff

mp

   



   sempre L.V.





mf

 

mf







mf



   

 3   

Xylo

     



    

fff

 3  mp

sim.

f

Vc.

mp





Vla.

pp



Pno.

Vln. 2







Vln. 1

 



 

Kybd.

mp



mf

Hp.

25



pp

 



  

C Tpt.

 



q. = 80

Oboe





 

68

sff





Ob.

 

67

 



3

  

 

q. = 80 con sord.



   



pp

con sord.



con sord.



sf



   

II

 

mfp

 

26

  69

A. Fl.

 



Ob.

III. Song with No Words q = 40

    ff



 



3



ff

Cl. in A

Hn.



Perc.L

ff

  











mf, tenuto quasi sf

 

ppp, dolce







5

Congas

p



sff Splash Cym.

Perc.C



   

3





ppp



    



Hp.





 









  



  



 





    mf

Gong



3

  pp

BD



 

 

3  



ppp

pp



 







sf-p

Celesta

Harpsichord





  

 



(p)

 



   mp

mp 3



pp

       







Gong



Riveted Ride Cym. w/ Triangle beater

p







ppp

 Kybd.

3



sff



 +/- 1/4 tone      3      mf p



p





 



pp

 





w/ brushes

Sus Cym.





ppp









 



f



mp

Bongos Perc.R

  

  



3

mf Bucket Mute

  



  



5

 

pp

  



pp

   







 





ppp dolce

Trumpet in C (open)



 

 









 

C Tpt.

Tbn.

3



71

fmp



3

70

   

  5

p

    



ppp

 3

   

 

 





pp, semplice



  

 

mp

Pno.





  sempre

Vln. 1

Vln. 2

Vla.

Vc.

 

 

p



 



     

     

          

3

 

quasi niente

ppp



     quasi niente

 

  



 

5



  5



3

 

 "sff"

3

   

p, pesante



3     

p, pesante

  



3



 

mp





3

3

pp, non-dim.



(7th)                

    

mp



p, semplice

    

mp

    

molto flautando



 

  

sul II







mp



tre corda

 



 

  

una corda





 

pp

q = 40

3

Db.

   

5

 

p, poco a poco dim.



      



pp







 

mf 3



 







72

 A. Fl. 

 

 





 mp, pesante

p, dolce

Cl. in A

Hn.

 



3

pp

mf

 



     

mf





    5

pp



3

 p







3 



5

  pp, tenuto

p



p

   





p



5    



5

  



 

   

5





27

   



3   

mp

               Senza sord.       4:3  p mp, dolce F-series

Sus. Cym.





Chimes

  



Timp.



ppp

pp

 

ppp, sempre

5         p

 

 

 

mp

 

     



  pp   



    pp  



Bongos



 

 pp

pp



 

pp

Glock

Celesta

 

  



3

 

pp









pp

mf



mp

  



I

 



 

3

pp

     

ppp





  



Crotales w/ rubber mallets







3

portamento ad lib.

(Bucket Mute)

  Kybd.



da lontano





 Hp.

mp, pesante



High

Perc.R



p, dolce

Crotale   Perc.L 

Perc.C

mp, pesante



 







p, dolce



C Tpt.

Tbn.





Ob.

 

73

accel/cresc. rall./dim. ad lib.









p

 5     5     p





poco



    

      

RH poch. più forte



    

piano sempre

Pno.

Vln. 2

Vla.

Vc.

Db.

 



 

 





 

sf-mf

 

 



 

(loco)

  

mp

p



3

 f

  



    



sul tasto



   

    

 

(15ma) sul I (7th)







3



Vln. 1

 

3

     

 p

 mf

 

mf

   



mf



mfp



ppp

  

una corda









  



   



  





       

(White-note cluster)

  

mp





 

 

mp



mf

  

      mf      



3  

p

 

pp

pp

    mp 3           sf-mf poco

LH pizz. w/ arco 3







  

pp

 

74

28 Picc.

 

 

 

in 6 (e = 80)

  

75

To Picc.







English Horn



Eng. Hn.

Cl. in A

Hn.

To E.H.





  





   

p

  



       mf

pp mp

Tbn.





 

p, cantando



Piccolo

   

5

mp, cantabile

5

    



 

  ppp

 5     sf-p

To BCL

Perc.C

Perc.R



  

(pull slide & lip down)

 

  pp

portamento

p



 



 Ride Cym.





 Hp.

Pno.



 

6

Vln. 2

  

Vla.

 

  

 

 in(e 6= 80) 

Vc.

Db.

 

Marimba w/ Friction Stick











p, tenuto



pp

(p)



        

3

  

 

3

3

accel/cresc. rall./dim. ad lib.



mf



   

 





 

 

mp

sf, subito

 sempre

             

(loco)

 

3

 

  



p, pesante



 

pp

 

arco



pp

 

 

ca. 3”

  

3

 

 

  

 

sf-mp



 

 

 

 



 

5

p

I

3

 

      





 pizz.

        3

3



ad lib.

pp

       mp  

Senza Sord.

pp

 

 

pp







             p Timp. ,               ppp, non-dim. ad lib.  Flexatone              p     ppp     Flexatone

mp



 

ppp

        







 

3

Harpsichord





p, ten.





mp

quasi niente





   



 

air attacks "sf" "sf" "sf" "sf"

  

p, pesante

pp

mp

  





sf-mp

mf

(8vb)



   



 



 

3

 



   

sfppp



 

 

mp

sfppp



 

3



    

 

mp

ppp



pp



pp

(Celesta)



 





(Black note cluster)

 



 





Tre corda

Vln. 1



pp, quasi gliss sempre L.V.

 





p







Splash Cym.

 



  Kybd.





   





sf-pp

 

Vibraphone w/ 2 bows

3

p

 

 



pp

(Open)



   3   



 

ca. 3”





pp

Perc.L

3      p  pp 3 3

  

pp

 3

78

p, dolce

 mp

C Tpt.

3

 

77

sf-p

 





 

    

76

3

mfp

mf



 p

,



    79

Picc.



BCl.

Hn.



Tbn.

 





5





sf-mp

  

Gong

Gong



 

  p



mp

 





5

 



5

  







Gestopft Mute







     



quasi niente

     pp

      





mf, pesante

f

p

mf

 







mf



  p

     p 

   

3









      pp

5

  



mp





 



 





  

  

 





sf-mp

Celesta

High Crotale







pppp



5





muliphonic



 

Cup Mute

Gong      





p



 

 

 

Marimba



Cup Mute



ppp

pp

ppp







Senza sord.

5

5



 

  





Vibraphone senza motor

p

 

Gong



  Kybd.

 

     



mp, tenuto

color fingerings

  











 

29



p





sf-pp

 

3

St. Mute

 Hp.

p



pp

mp, dolce





5

 To Flute        ppp

    Senza sord.  

3

 

81

 



p

Perc.R

  

  

3

 



p

 Perc.L  Perc.C



mp

Bass Clar.

 

pp



5

mfp

 

C Tpt.

 



Con sord.

 

80

        mp



Eng. Hn.

Poco più mosso (q = 54)



pp

p

 

(15ma)

 



sffz



Pno.



 

 

Vln. 1

Vln. 2

Vla.

 

Poco più mosso (q = 54)



  

         









p

   p

Vc.

Db.







 





sff

 

   

     

 

poco flautando

p

  

poco flautando

p





sf-pp

pp

 



 











 



p, non-dim.



 

      

p, non-dim.

p, non-dim.



   

p, non-dim.

 

(A)  sf-mp



       

     

mp, cantando

    

   

4:3







 



(G)

3

sf-mp

(arco)

     ppp

mp, sonore

(Ped. sempre)

 

   

(loco)

  

 



mf

  Senza sord.         

pp





3

  



p, tenuto

        p, tenuto

 

 

          mf 



p, tenuto

    

3



p, tenuto I II

     

 



   

  sf-p



s. glis

 



pp

82

30 Fl.

 

 

83

  

Flute







 

p, semplice

BCl.

Hn.

Perc.L

Perc.C

Perc.R

Hp.













3

  



    

 5

pp















  

BD

 







          

ppp



Log Drum

mp

     pp

 

p





mp, tenuto

     

 





Gong









 







Tam-tam







pp

4:3

legato possibile, L.V. sempre

  



      







 

      Pno.

Vln. 1

Vln. 2

Vla.

Vc.

ff



 



 

 

3

    

ad lib.



 



  











 

 



mp

 

  p 

pesante

   

3

mp, sempre tenuto



 

 

 

mp

  

 

 

5





sfp

Senza sord.





  

  

sf-mp

   3    

3

pp



 

 

    

 

     

pp



accel/cresc. rall./dim. ad lib.



pp

  

(8va)





 













   

dynamics ad lib.



p, cresc.

p



"ff"

Db.



quasi niente

 



   



 

       



ppp

Kybd.



pp

ppp

 



p

p





Vibraphone senza motor

   5    5     5                 





 

BD 5





  



   

mp

3

p







Con sord.



 





mf

 

C Tpt.

Tbn.





Eng. Hn.

 

84



 



5

p

5

ppp (8vb)

  



 





 

 

   

 

 

Senza sord.

 3



  





pp

  



85

Fl.

 

Hn.

5

  

 

      

 

p, non-dim.





p, dolce



5

f

5

 



To Alto Fl.

To Oboe



mp

Open





Cup Mute

  

sf-p Cup Mute

  

sf-p

3

sf-p

 

3



 



Senza sord.

  

Perc.L

Perc.C

 



 



 



 



mf

   

Small Tam-tam in G w/ wooden mallet Perc.R





 

Timp.





      



E§ C§



           6



          

 

 

3





    

Pno.





Vln. 2

Vla.

Vc.

Db.

 

sf















  

 Senza sord.





 



 sf-mf

Vln. 1

 

  

 



 

 

 3





 

 

 

(Sempre L.V.)

 



 



quasi sf

 



  

 



ff

Kybd.





3







   non-sf

sf

Harpsichord



sf p

fz

Hp.

 



31

 



fast motor



   

Vibraphone (senza motor) w/ bow

 

ca. 10-12"







Senza sord.







Quasi-cadenza 3

87



 

 

86



C Tpt.

Tbn.

 



Eng. Hn.

BCl.

 

 





Quasi-cadenza 3 ca. 10-12" "air" sound

 

"air" sound

 

"air" sound

 

"air" sound

 

"air" sound

 

  

 

  

 

  

 

  

 

  

 

sff

sff

sff

sff

sff





88

32 A. Fl.

 

  q= 90   ff, tenuto

BCl.

 



Ob.

IV. Conclusion 



Tbn.



Perc.L

 ff





 



 





f



senza sord















 







 

 

 

mp

f Splash Cym.



  

 Glock.   mp





mp, non-dim.







 













Roto-toms

  







p

sf-mp

5:3

  

Small Tam-tam

 

sf-mp







sf-mf

Bongos w/ fingertips

mp

mf



"sff"





Slap stick

     

w/ fingertips

f

   







  

  





 

  



mp

w/ brass beaters

ff

 







Crotales

f



p

mp, tenuto

 





 

 



 

Flexatone

 

92



sff

 Hp.

Con sord.

 To Bb Tpt.   

Flexatone Perc.R

   

mfp

p



Whistle Perc.C



mp, tenuto





 

 



mp, tenuto



 



 

   

 

C Tpt.







91

ff, tenuto



 

90

mp, tenuto

ff, tenuto

Hn.

 

89

5









(Harpsichord)

 Kybd.







(mf)

  









  Pno.

  (Pedale sempre)

Vln. 1

 





    3

Vla.

    3



   3

sff

Vc.



    3

5



mp tenuto

Db.

   



mp tenuto



mp tenuto



sul pont.





  

  



f

una corda



 

 





III IV

  



 

"Dead" pizz.



p

 





molto flautando





molto flautando





  









   

mp, non-dim.





"Dead" pizz. p





 



              pp              pp

mp, non-dim.

f

gli   ss.    mp

 



f 5

 

mf

f 5

sff

 



(A)



sff





mp

q = 90

sff

Vln. 2



sf-mf

 

 

 



   sf-mp

93

 A. Fl. 

 



  





Ob.



  



Hn.





 



 







Bb Tpt.

Tbn.

Perc.L

Perc.C

Perc.R



To Flute

     

  mp

mf

     

  mp

mf

    

 



mp

mf

7:8     



sf







 







 







 











5

 

p

pp





Vln. 1











 

sf

   

Vln. 2

Vla.







p   

Db.









 





1/2



  



  

mp





    

ord.



mp

ord.



  



   

arco





gliss.





pp pesante sempre cresc.





























arco



            sf-"mf"""sf" 

  

      

 



 

5

 

gliss. w/ spoon

Pedal gliss.

mp

Vc.





sf-mp



   p, sonore





  

Peking Opera Gong

Log Drum

  

 

 

   p  mf

mp

  Pno.

8

3   



33





Congas w/ palms

  Kybd.





 Hp.



   

 

96

mp, non-dim.





 

95



f

sf-mf

BCl.

 

94

mp

pp



3

       mp, cantabile        

   

 (15ma)     



mf

       

   

pp

con Pedale

 

  

(loco)

 







  







   over-pressure     

















sf

       

sf-mf

  p

mp

  

 

97

34 Fl.

 

 

 ad lib. poco a poco rall.

98



 

Cadenza



harmonic fingering

BCl.

Hn.

  





     







Perc.R







 



mfpp





































poco motor 3

 

 















 3

Marimba w/ bow

  





 

ff

mf



Chimes









  Kybd.

 





pp

5



 



Pno.

 

  

sf

ff

    

 

sf-mf



RH sempre chromatic cluster

5      



5



Vln. 2

 



        pp

Vc.

   pp

Db.

 

sf-p

pp

Vla.

  

 ad lib. poco a poco rall.

 

        pp

mf

   

III IV

  ppp 







I II



3

 

mfpp







 

(sempre L.V.)



 (vib.)  





   

5

3 

 







 

(7th)

gliss.

 

mp





 

   

 

sempre pp, free-bow



"air" noise





"air" noise















ppp

sf-p

3

3



 

  pp

ppp

   

3

3

3



  

3





 

  

p

Pedale sempre

 

5

mp

  (15ma)    

Cadenza



5

p

pp

mp

 

 







 

Glock. 3





(15ma sempre)

ppp

 











mf



     5





(Celesta)



Vln. 1





 Hp.



mf

ppp

Perc.C

5

 

101





Vibraphone

Perc.L



 

p, dolce

 

100

mp, tenuto

 



 

  







Bb Tpt.

Tbn.





Ob.

   

 

99

     

102

Fl.

 



   p

Hn.

 

 

103



Ob.

BCl.

 

         

    

 

104





     

mp

   



To A Clar.





Bb Tpt.

Tbn.







 Play:     















    

  





Sing:























  

Vln. 1

 

Vln. 2

Vla.

Vc.

Db.

 





 



  







mp

 

   

3

 

p

 

Harpsichord





 

quasi pedale

(p)





p

   p



 

   





   





  mp



   

5  5

