Christian Winther Christensen: Four Hyper-Realistic Songs (2014–15)

Christian Winther Christensen

Four Hyper-Realistic Songs

(2014–15)

for alto flute, bass clarinet, cello, harp & piano Dur. 12′

SCORE

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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

= Make the accent with as much sound as possible.

Used when you play with particuæar techniques

Christian Winther Christensen ALTO = Make theFLUTE accent with as much in Gsound as possible.

Used when you play with particuæar techniques Four Hyper-Realistic Songs (2014–15) "f " = as loud as possible. Is used with techniques where = Make the accent with as much sound as possible. not very much sound is generated. for alto flute, bass clarinet, cello, harp & piano Used when you play with particuæar techniques

ALTO FLUTE in G

f" =

as loud as possible.

Is used with techniques = Make the accent with as much sound where as possible. not veryALTO much is generated.

G Used sound whenFLUTE you play within particuæar techniques Air. Use the notated fingering in order to obtain the right frequency. inside Cover the entire mouthpiece with the lips.

– possible.

Is used with "f " = as loud as distance = Make the very accent with as techniques much sound where as possible.

The lower lip are close to the mouthpiece. notthe very much sound is generated.

Usedfingering whenFLUTE you play withto particuæar Air. Use notated in order obtain thetechniques right frequency.

ALTO in G inside Cover the entire mouthpiece with the lips.

– distance = Make with as sound where as possible. lip the areaccent very close tomuch the mouthpiece. loudlower as possible.

Is used with techniques "f " = asThe Used when you play with particuæar techniques notthe very much sound is generated.

Air. Use notated inwith order theasright frequency.

ALTO FLUTE inobtain G = Makefingering the accent as to much sound possible. inside Cover the entire with the lips.

A glissando with air.

As inmouthpiece the example use the fingering – – Used when youprevious play with particuæar techniques distance The lower lip are very close to the mouthpiece. to obtain the right frequency.

– "f " = as loud as possible. Is used with techniques where ALTO FLUTE inobtain G the right frequency. notthe very muchfingering sound is generated.

Air. Use notated order toexample Ainside glissando with air. As in the in previous use the fingering – Cover the entire mouthpiece with the lips.

– to obtain the right frequency. "f " = as loud as possible. Is used with techniques where – distance The lower lip are very close to the mouthpiece.

FLUTE not veryALTO much sound is generated.in G + Air. Use the with notated order toexample obtain the frequency.

A glissando air. fingering As in the in previous useright the fingering – inside loud as possible.

Is used with techniques where "Tongue-ram " = asCover the entire mouthpiece with the lips. f (pizz.)

– todistance obtain the right frequency.

–– notThe very much is generated. lower lipsound are FLUTE very close to the ALTO in mouthpiece.

G .+ Air. Use the notated fingering in order to obtain the right frequency. inside Cover theair. entire mouthpiece with the lips.use the fingering – – Tongue-ram (pizz.)

A glissando with As in the previous example " " = as loud as possible. Is used with techniques where f distance – The lower lip are very close to the mouthpiece. to obtain the right frequency.

– .

ALTO FLUTE inobtain G the right frequency. notthe very much sound is generated.

Air. Use notated fingering in order to + PERFORMANCE inside CoverALTO the entire mouthpiece with the +– – NOTES "fTongue-ram in Glips.use = as The loudwith as possible.

Is used withtotechniques where " glissando (pizz.)

A air.

As inFLUTE the previous example the fingering distance lower lip are very close the mouthpiece.

Tongue pizzicato.

– not very much sound is generated. to obtain the right frequency.

– œ. in G ALTO FLUTE as loud as possible.

Is used with to techniques Air. the notated fingering in order obtain thewhere right frequency. "f " =Use notCover very much sound is generated. theair. entire mouthpiece with the lips.use the fingering –+ – Ainside glissando with As in the previous example Tongue pizzicato. distance Tongue-ram (pizz.)

The lip are closesound to theismouthpiece. “ f ” = as–loud as possible. Is used with techniques where not very very much generated. to obtain the lower right frequency.

–œ.

Air. Use the notated fingering in order to obtain the right frequency. inside Cover theair. entire mouthpiece with the lips.

A glissando with As in thetoprevious example use the fingering –++ – Air. Use the notated fingering in order obtain the right frequency.

Air. Use the notated fingering in order to obtain the right frequency. distance The lower lip are very close to the mouthpiece. to obtainpizzicato. the (pizz.) right frequency.

– Tongue Tongue-ram inside thethe entire mouthpiece with the lips. inside A weakCover flutter-tongue simultaneously with a lips.

–. – – œ– Cover entire mouthpiece with the . . –. –.+–. – – distance The downwards glissando.

Articulate strongly. distance lower lip are close close tothis the to mouthpiece.

The lower lip very are very the mouthpiece. .

A glissando with air. As in the previous example use the fingering +.. – Tongue-ram to obtainpizzicato. the (pizz.) right frequency.

A weak flutter-tongue simultaneously with a –. ––– – Tongue – . . . œ–+.. – – – downwards glissando.

Articulate this strongly. ...

A glissando with air.with As inair. theAs previous the fingering to obtain the A glissando in the example previoususe example use the fingering – ~~~~~ Tongue-ram (pizz.) + right to frequency. obtain the right frequency.

– A weak flutter-tongue simultaneously a –. – – œ–.. (u ) – Tongue pizzicato.

A glissando with air. As in the previouswith example use the fingering – Bisbigliando . . . –œ+. – – – downwards Articulate this strongly. to obtain theglissando. right frequency.

Dur. 12′

– ~~~~~ +œ... . (u ) –. – – +œ–. . . –. +–. – – – ... ~~~~~ +–œ . (u) .

–. – – œj . . –.+––. – – – ‹. . . . ~~~~~ –. – – œœ .j(u ) . . –. –. – – – +‹. . .

–. – – œ~~~~~ +œ . . . –. –. –j– –(u ) .. ‹ ~~~~~ œ‹ . j ‹ –. – – œ . (u ) . . – –. –j– – .. ‹ .~~~~~ ‹œ . (.u) ‹j –. – – . . –. –. – – – . j. . ‹–. –. –.–~~~~~ .̃ . œ–. –‹..–. (–u ) ‹j . j .̃ ‹ ~~~~~ œ‹. (u) ‹j j ~~~~~ œ . (u ) .̃ ‹ .̃ ‹ j j .̃ ‹ ‹ .̃ ‹.̃ j j .̃ ‹ ‹. ‹

"

Tongue-ram (pizz.)

Tongue-ram Tongue(pizz.) pizzicato.

A weak flutter-tongue simultaneously with a Bisbigliando downwards glissando. Articulate this strongly.

Tongue-ram (pizz.)

Tongue pizzicato.

Tongue pizzicato.

A weak flutter-tongue simultaneously with a Bisbigliando Tongue-ram (pizz.)

Noise from the notated Articulate key. downwards glissando. this strongly.

Tongue pizzicato.

A weak flutter-tongue simultaneously with a downwards A weak flutter-tongue simultaneously with a glissando.

Noise from the notatedArticulate key.

Bisbigliando downwards glissando. this strongly.

Articulate this strongly.

Tongue A weak pizzicato. flutter-tongue simultaneously with a downwards glissando. this strongly.

Noise from the notatedArticulate key.

Tongue pizzicato.

Bisbigliando Bisbigliando Make a glissando only with key-noise.

A weak flutter-tongue simultaneously with a Bisbigliando downwards glissando. this strongly.

Make afrom glissando onlyArticulate with the notated key. key-noise.

NoiseNoise from the notated key.

A weak flutter-tongue simultaneously with a Bisbigliando downwards glissando. Articulate this strongly.

A weakafrom flutter-tongue simultaneously glissando only with Noise the with notated key. key-noise.with a MakeMake a glissando only key-noise. downwards strongly.

Strike with aglissando. right handArticulate fingernailthis on the body of the flute.

Bisbigliando Noise from the notated key. glissando only Strike ahand right handwith fingernail onofthe StrikeMake with aawith right fingernail on key-noise. the body thebody flute.of the flute.

Bisbigliando Noise from the notated key.

Make aprevious glissando only with key-noise.

Bisbigliando Strike a rightexamplebut hand fingernail ondiffent the body of the flute.

LikeLike the previous example but with two different sounds. thewith with to sounds.

FindFind a loud and aand deepa sound. a loud deep sound.

Noise from the notated key.

Make a glissando only with key-noise.

Like thewith previous with on to diffent sounds.

Strike a rightexamplebut hand fingernail the body of the flute.

Find a loud and a deep sound.

Noise from the notated key.

Make a glissando only with key-noise.

. . –. –. – – –. – – œ. . –. . . –. –. – – – ...

–. – – . . –. ––. – – – ... ~~~~~ BASS CLARINET in Bb

Tongue pizzicato. downwards glissando. Articulate this strongly.

f

simultaneously a = as flutter-tongue loud as possible.

Is used with with techniques " A"weak

ALTO FLUTE in G where downwards glissando.

Articulate this strongly. not very much sound is generated.

A weak simultaneously with a Air. Useflutter-tongue the notated fingering in order to obtain the right frequency. as possible.

Is used withstrongly. techniques where "f " = as loud downwards glissando.

Articulate this not very much sound is generated. œ . (u) Air. Use the notated fingering in order to obtain the right frequency. ~~~~~ Bisbigliando inside A weak Cover flutter-tongue simultaneously withthe a lips. the entire mouthpiece with –. – – –œ . (u ) “ f ” = as loud as possible.

Used with techniques where not very muchthis sound is generated.

– . . . –. – – – distance The glissando. downwards Articulate strongly.

Bisbigliandolower lip are very close to the mouthpiece. ... ~~~~~ Air. Use the notated fingering in order to obtain the right frequency. œ– . (u) inside Air. Use the notated in order to obtainwith the right frequency.

Coverfingering the entire mouthpiece the lips.

A glissando with air.

As in the previous example use the fingering Bisbigliando – distance The lower lip are very close to the mouthpiece. to obtain the right frequency.

– ~~~~~ œj. (u)– – ‹j ‹ – – j ‡‹ +. ‹ –j j ‹ .+‹ ‹ j j ‹ – ‹ .‹ j + ‹ .̃ ‹ œ j + .̃ ‹ ‹ œ .̃ .̃

–. – – .̃ . .̃. –. –. – – – ...

–. –.̃– . .̃. –. –. – – – ...

j ‹

.̃

~~~~~ œ . (u).̃

Noise from the notated key.

Noise from the notated key.

‹ .̃

j ‹

Make a glissando only with key-noise.

j ‹

Make a glissando only with key-noise.

Strike with a right hand fingernail on the body of the flute.

.̃

.̃

Tongue pizzicato.

Strike a right hand fingernail on the body of the flute.

Make with a glissando only with key-noise. right hand fingernail onofthe StrikeStrike with awith right ahand fingernail on the body thebody flute.of the flute.

Tongue pizzicato.

Make awith glissando key-noise.

Strike a right only handwith fingernail on the body of the flute.

Bisbigliando Like the previous examplebut with to diffent sounds.

Find a loud and a deep sound.

Bisbigliando Like the previous examplebut with to diffent sounds.

Find a loud and a deep sound.

.̃

‹

.̃

Tongue-ram (pizz.)

Make glissando only with Noiseafrom the notated key.key-noise.

Make a glissando only with key-noise.

Tongue-ram (pizz.)

Noise afrom the notated with key. glissando MakeMake a glissando only withonly key-noise.key-noise.

Noise from the notated key.

Like the previous examplebut with to diffent sounds.

Find a loud and a deep simultaneously sound.

A weak flutter-tongue with a downwards glissando. Articulate strongly.

Like thewith previous withthis to diffent sounds.

Strike a rightexamplebut hand fingernail on the body of the flute.

Find a loud and a deep sound.

.̃

j ‹ j ‹

Noise from the notated key.

A glissando with air. As in the previous example use the fingering to obtain thethe right frequency.

Slap-tongue.

Noise from notated key.

Slap-tongue.

A weak flutter-tongue with asounds.

LikeLike the previous example butsimultaneously with two diffent sounds. the previous examplebut with to diffent downwards glissando.

Articulate this strongly. with a right hand fingernail on the body of the flute.

FindFind aStrike loud and aand deep a loud a sound. deep sound.

~~~~~ .̃ œ . (u ) .̃ .̃

A glissando with air.

Asnotated inair. theAs previous the fingering to obtain the A glissando with in the example previoususe example use the fingering Noise from the key.

Bisbigliando obtain the right frequency. right to frequency.

Strike with a right hand fingernail on the body of the flute.

.̃

.̃

Like the previous examplebut with to diffent sounds.

Find a loud and a deep sound.

Like the previous examplebut with to diffent sounds.

Find a loud and a deep sound.

!· ·jj# f the strings lightlyCELLO Damp with the left a microwhere CELLO !· ··j R# very much sound generated. as loud as possible.

Isisused withhand techniques " f" = not Damp the strings lightly with the left left hand micro Damp the strings lightly with the hand aa micro !· · #R second before stopping the bow.

CELLO Damp the strings lightly with left hand a micro very much sound is the generated. secondnot before stopping the bow. jR second before stopping the bow. ! · ·p#o " loud as possible.

Isbow. used withhand techniques second before stopping the "f " = as Damp the strings lightlyCELLO with the left a microwhere !· ·pjR#oo " loud as possible.

Is used with techniques ""second "" = as not very much sound is generated. f before stopping the bow.

Damp the strings lightly with the with left hand a microwhere loud as possible.

Is used techniques where "f " = as " pR not very much sound is generated.

CELLO second before stopping the bow. = as loud as possible.

Is used with techniques where not very much sound is generated. " " o f " !·> ˘·pj # Damp the strings lightly with the left hand a micro not very much sound is generated. !·!‹> ··˘j‹jjp#Ro Hammer on. 1) Hold fingers on the fingerboard after the action. " as loud asstopping possible.

Isbow. used with techniques where " = techniques fsecond the strings lightly with the left hand micro before Hammer on.

1) Hold fingers on the fingerboard after the action. action. ·!>‹ loud·˘j‹as #R possible. Used"Damp Hammer on.

1) Hold fingers on the fingerboard after the “ f ” = as with where notthe very much sound isaagenerated.

Damp the strings lightly with the left hand micro 2) Move fingers from the fingerboard during the action. ‹ ‹ not very much sound is generated.

Hammer on.

1) Hold fingers on the fingerboard after the action. second before stopping the bow.

R 2) Move fingers from the fingerboard during the action. ·> ·˘p#o 2) Move fingers from thethe fingerboard duringa micro the action.

Damp the strings lightly the left hand second before stopping bow. " 2) Move fingers from thewith fingerboard during theafter action. ‹ ‹ Hammer on.

1) Hold fingers on the fingerboard the action.

R o j p " second before stopping the bow. !·>‹ · p˘‹#o " 2) Move fingers from the fingerboard during the action.

Damp the on. strings lightly with on thethe leftfingerboard hand a micro Hammer 1) Hold fingers after the action.

Damp strings lightly with the hand a micro second " second before stopping theleft bow. � > ˙˘p.R. o 2)the Move fingers from the fingerboard during the before action.stopping the bow.

Strike the side of the instrument . � ˙ Hammer 1)of Hold fingers on the fingerboard after the action.

Strike the theon. side of the instrument Strike side the instrument " �>>‹‹ ˙˘p˘‹‹. o (possibly close to the fingers chin rest since there is athe good resonance there).

Hammer on.

1) Hold on the after the 2) Move fingers from the fingerboard during action.

Strike the side of the instrument (possibly close to the thefingers chin rest since there is aa good good resonance there).

Hammer on.

1) Hold on the fingerboard fingerboard after the action. action.there). (possibly close to chin rest since there is resonance � >‹ ˙˘‹..

The notation indicates which fingering should be used.

2) Move from the fingerboard during action. (possibly close to theon chin rest since there isthe athe good resonance Strike the side1) of the instrument � � ‹ ˙˙‹..

Hammer on.

1)fingers Hold fingers the fingerboard after action.

The notation indicates which fingering should be used.

Hammer on.

Hold fingers on the fingerboard after the action.there).

2) Move fingers from the fingerboard during the action.

The notation indicates which fingering should be used.

The notation indicates which should beaction. used. (possibly close tofrom chin restfingering since the there is athe good resonance there). �>� ˙˙˘.

Strike thefingers side of the instrument 2) Move the fingerboard during 2) Move fingers from the fingerboard during action. ‹� ˙‹ .

Hammer on.

1) Hold fingers on the fingerboard after the action.there).

The notation indicates which fingering should be used. (possibly close to the chin rest since there is a good resonance � ˙.

2) Move fingers the fingerboard during the Strike sideindicates offrom the instrument The notation which should beaction. used.

Make athe glissando with the left fingering hand (without bow). ��� ˙–˙˙–..

Make a glissando with the left hand (without bow).

Strike the side of the instrument Make a glissando with the left hand (without bow). (possibly close to the chin rest since there is a good resonance there). . ���– ˙R˙–˙...

Refrain from a hard attack on the first note.

Strike the side of the instrument Make a glissando with the left hand (without bow).

Strike the side of the instrument (possibly close to the chin rest since there is a good Refrain from a hard attack on the first note.

R (possibly close to the chin rest since there is a good resonance there).

Refrain from a hard attack on the first note. �� – ˙˙R .

The notation indicates which fingering should be used.

Make the sounds with the fingernails.

Strike the side of the instrument (possibly close to the chin rest since there is a good resonance there).

Refrain from a hard attack on the first note.

Make athe glissando withthe the leftfingering hand (without bow). resonance there).

The notation indicates which fingering should be used. sounds with the fingernails.

The notation indicates which should Make the sounds fingernails. (possibly close towith theattack chin restfingering since there is a be good resonance there).

The notation indicates which should be used. used. ��–– ˙R–˙–..

Make the sounds with the fingernails.

Refrain from a hard on the first note.

Make a glissando with the left hand (without bow).

Strike the sideindicates of the instrument � col legno ˙R. The notation which fingering should be used.

Make thefrom sounds with the fingernails.

Refrain a to hard on the first note.is a good resonance there). (possibly close theattack chin rest since there ..legno � – col ˙. col legno œ Make a glissando with the left hand (without the string sounds with the fingernails. colœlegno – The notation indicates which fingering shouldbow). be used.

Strike the with the back-side ofbow). the Make a glissando with the left hand (without .

R Make a glissando with the left hand (without bow).

Strike the string with the back-side of the Refrain from a hard attack on the first note.

Strike the string with the back-side of the œ – col legno bow or in the cases where a pencil is used, Make athe glissando with the left hand (without bow).

– R– Refrain from afrom hard attack on theback-side first note.

Strike string with the of the Refrain aacases hard attack the first note. bow orathe in theof cases where aleft pencil is used, Make sounds with the fingernails. bow or in the where aon pencil is used, R– –– colœ. legno with the side the pencil.

The pitch is very important.

Make glissando with the hand (without bow).

Refrain from hard attack on the first note. bow inside the cases where aThe pencil isofis used, Strike the string with the back-side Make the or sounds with the fingernails. with the side of pencil.

The pitch isthe very important. important.

Make the sounds with the fingernails. .R with the of the pencil. pitch very œ Refrain from a hard attack on the first note.

Make the sounds with the fingernails.

– – with the side of the pencil. pitch is very important. bow or in the cases where aThe pencil isof used, Strike the string with the the Make athe glissando with theback-side left hand (without bow).

Make sounds with the fingernails. col legno with the side of the pencil.

The pitch is very important.

R . bow or in the cases where a pencil is used, Refrain from a hard attack on the first note. +œ.œlegno – col col legno col Strike theside string with the +œœ. legno with the ofthe the pencil.

The pitchofisthe very important.

Make the sounds with the back-side fingernails.

Left pizzicato.

Strike thehand string with back-side of the +œ. legno col Strike the string with the back-side of the Left hand pizzicato. bow or in the cases where a pencil is used, Left hand pizzicato.

Strike the string witha the back-side of the bowbow or in hand the cases where pencil is used, Left pizzicato. +œœ or in the cases where aaThe pencil is with the side of the pencil. pitch isthe very important.

Strike the string with the back-side ofused, bow or in the cases where pencil is used, col legno Left hand pizzicato. withwith the side of theof pencil.

The pitch is very important. the side the pencil.

The pitch is very +œ. bow or theof cases where aThe pencil is is used, with theinside the pencil. pitch very important. important.

Left hand pizzicato.

Strike the string with the back-side of the with the side of the pencil. The pitch is very important. + bow or in the cases where a pencil is used, +œ+œ– Left the hand pizzicato. side of the pencil. The pitch is very important.

Bow on the bridge.

Left with hand pizzicato.

Bowhand on the the bridge. œ+–– Bow on bridge.

Left pizzicato.

Left hand Bow on thepizzicato. bridge. œ– Left hand pizzicato.

Bow on the bridge. +œ– Bow on the bridge.

BowLeft on the bridge. hand pizzicato. col legno col legno col .legno col –legno Bow onsoft theon bridge. .– Knock the bridge with the back of the bow.

Bow on the bridge.

Knock soft on the bridge bridge with with the the back back of of the the bow. bow. col––.legno Knock soft on the Bow on the bridge.

Knock soft on the bridge with the back of the bow. . col– Bow on the on bridge.

–legno Knock the bridge back of the bow.

Knock soft onsoft the bridge with thewith backthe of the bow. .– – Knock on the bridge with the back of the bow.

Bow on soft the bridge. col legno col legno . col legno legno j 1) Bow from sul ponticello to sul tasto. Ó col Knock soft on bridge with thetasto. back of the bow. .Ó–.legnoÓ ÓÓÓjj 1) Bow 1) Bowsul from sulthe ponticello to sul tasto.

1) Bow from sul ponticello to sul 2) Bow from sul tasto ponticello. from ponticello to to sulsul tasto.

– col Ó –JÓÓ j 1) Bow from sul ponticello to sul tasto.

Knock soft on the bridge with the back 2) Bow from sul tasto to sul ponticello.

2) Bow from sul tasto to sul ponticello.

Knock soft on the bridge with the back of of the the bow.

The stroke be exactly perpendicular (notbow. skew). Ó –JÓ.J Ó Ój 2) Bow from sul should tasto to sul ponticello.

2) Bow from sul tasto to sul ponticello.

1) ponticello to sul tasto.

The stroke should be exactly perpendicular (not skew). Ó The stroke should be exactly perpendicular (not skew). col legno Knock soft on the bridge with the back of the bow. Ó Ó .JÓ The stroke should be exactly perpendicular (not skew).

The stroke should be exactly perpendicular (not skew).

2) Bow from sul tasto to sul ponticello. j 1) Bow from sul ponticello to sul tasto. Ó –JÓ Ó Ó The stroke should be exactly perpendicular (not skew).

Knock soft onsul thetasto bridge withponticello. the back of the bow.

2) Bow from to sul Ó J j 1) Bow from sul ponticello sul tasto.

The stroke should be exactlytoperpendicular (not skew). Ó � � �Ó � � .� Ójjj 1) Bow from sul ponticello to sul tasto.

2) Bow from sul tasto to sul ponticello.

Contact the composer 1) Bow from sul ponticello to sul tasto. ÓÓ „� . � ÓJ� � � .Ó� ÓÓÓ 2) Bow from sul to ponticello.

The stroke should be exactly perpendicular (not skew). j „�„ . .� J�ÓÓ � � Ó � 1) ponticello sul tasto.

2) Bow from sul tasto tasto to sul sulto ponticello.

The stroke should be exactly perpendicular (not Ó „� . � J�JÓ � � .Ó� Ó 2) Bow from sul tasto to sul ponticello.

The stroke should be exactly perpendicular (not skew). skew). .Ó j 1) Bow from sul ponticello to sul tasto. „. J The stroke should be exactly perpendicular (not skew). Ó �„ � Ó� � � .� Ó 2) Bow from sul tasto to sul ponticello. . J rÓr Lets take it over skype :-) The stroke should be exactly perpendicular (not skew).

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·· ‡.

Don't press the keys down. Use your fingernails. "f " = as loud as possible. Is used with techniques where not very much sound is generated.

This key is pre-muted with tape.

– KEYBOARD · Silent note. Press thedown. key down sounds. ··‡ Don't press the keys Use without your fingernails.

PIANO .

– This key is pre-muted withmuch tape.sound is generated. “ f ” = as loud with techniques where very ·· as ‡possible. Is used Silent note. Press thenot key down without sounds. · KEYBOARD Don't press the keys down.

Use your fingernails. ‡. R Make a glissando above the white keys.

Keyboard Don't press the keys down. ‡· – Use your Silent note.fingernails. the key down without sounds.

This key isPress pre-muted ·· ‡ This key is pre-muted with tape. with tape.

R Make a glissando above theUse white keys.

Don't press the keys down. your fingernails. ‡ Don't press the keys down. ‡ ·.

Use yourthe fingernails.

Silent Press thewithout key down without sounds. ·· ‡ Silent note.

Pressnote. key down sounds.

Don't the keysabove down.the Use yourkeys. fingernails.

Makepress a glissando white ‡. ‡R Don'tthe press theexample keys down.

Like prior but not with specific intervals. ‡‡ R Use your fingernails.

It's free to make the movements all places on the keyboard. ·· ‡ Silent note.down.

Press the keyfingernails. down without sounds.

Don’t press thepress keys Use your Don't the keys down.

Use your fingernails. ‡.· R‡ Make a glissando abovebut thenot white Like the prior example withkeys. specific intervals. ‡‡ R Don't press the keys down.

It's free to make the movements all places on the keyboard. ‡ yourabove fingernails.

Make a Use glissando whitedown. keys. Use your fingernails.

Don'ta press thethekeys ‡. R ‡ Make glissando above the white keys.

INSIDE PIANO Don’t press thethe keys down.

Like prior example but not with specific intervals.

R Don't press the keys down. ‡‡ Use yourIt's fingernails. free to make the movements all places on the keyboard.

Use your fingernails. ‡ Make a glissando above the keys.

INSIDE PIANO Play as the aMute guitar on thewhite tapeyour (onfingernails. the the string).

–!!‡ !!R !! !!

Inside piano: the string with you finger.

Don't press keys down.

Use Don't press the keys down. ‡ .

Like the prior example but not with specific intervals.

Use the pads of your fingertip. ‡ R Likeyour the prior example but not with specific intervals. fingernails. ‡ ‡ It’s freeUse to make the movements all places on the places keyboard.

It's free to make the movements all on the keyboard.

R Make a glissando above the white keys.

INSIDE PIANO – ‡ Inside Mute the but string finger.

Like thepiano: priorthe example notwith withyou specific intervals.

Don't press keys down.

R ‡ ‡ It's free to make the movements all places on the keyboard.

Use your fingernails.

Inside Piano t == ‡ Inside piano: Mutewith the string with you finger. ! !–! q !‡R R!–j Inside piano: Mute the string finger.

Like theas example butthe notwhite with specific Make a prior glissando above Play a guitar on your the tape (onkeys. the theintervals. string).

INSIDE PIANO Pizzicato. ‡! ! ! !

It's free to make the movements all places on the keyboard.

Don't press the keys down.

Use the pads fingertip.

Scratch on of theyour string. ‡– Use your fingernails.

J ‡ INSIDE PIANO Like the priorMute example but not with specific intervals. ! ‡–!! ! R! Pizzicato.

Inside piano: thethe string with you finger.

Pizzicato.It's Play astoa make guitarthe on tape (on the theon string). free movements all places the keyboard. ! ! ! ! t == –

q!

‡

j‡ –R

— t –!– ! ! !

J! ! ! ! == q ! j!!— ! –j! j !– � ! – !‰ ! � * J°!

t — == q t !– ==

j –

j q– — –j j � J ‰! j � – –. * Pedal ° J — j j � ‰ � ° —! * j – j . j � ‰— � j* j°thejPiano Prepare � ‰– � ° . —* Œ œ jœ $ – . j –

Use the pads of your fingertip.

INSIDE PIANO Inside piano: Mute the string with you finger.

Pizzicato.

Likefinger the prior example but notstring. with specific intervals.

Soft beat on the notated Soft finger beat notated string.

It's freeontothe make movements all places on the keyboard.

Scratch on thethe string.

INSIDE PIANO Playpiano: as a guitar onstring the tape the string).

Inside Mute the with(on youthe finger.

Use the pads ofthe your fingertip.

Soft finger beat on notated string.

Pizzicato.

PEDAL

Play as a guitar on the tape (on the the string).

Use thepiano: padsMute of your fingertip.

Inside the string with you finger.

Justontothe clarify the of theUse sustain pedal Play as a Scratch guitar tape the use the string). the pads of your fingertip. on the (on string.

INSIDE PIANO Pizzicato.

Soft finger beat on the notated string.

PEDAL

Scratch on the string.

Pizzicato.

Inside piano: Mute the string with you finger.

Scratch on the Soft finger beat on string. the notated string.

PEDAL

Just to clarify the use of the sustain pedal Scratch on pedal the string.

Use the as a drum. Don't press the pedal down.

Pizzicato.

Soft Percussive finger beat on the effect.notated string.

Just to the use pedal of the Just to clarify theclarify use of the sustain

sustain pedal PEDAL Soft finger beat on the notated string.

Pizzicato.

PEDAL UsePREPARE thea drum. pedal as athe drum.

Don't press the pedal down.

Use the pedal as press the pedal down.

Soft finger beatDon’t on notated string.

THE PIANO Percussive effect.

Percussive effect.

"

Just to clarify the use of the sustain pedal

Just tothe clarify of the sustain pedal pedalthe as ause drum.

Don't press the pedal down. œUse Soft# finger beat on the notated string.

Percussive œ effect.

Œ

Mute with tape.

Mute with tape.

PREPARE THE PIANO "

œ

Use the pedal as a drum. Don't press the pedal down.

Percussive effect.

Use press the pedal down.

PREPARE THEDon't PIANO #the pedal as a drum.

I

The score is transposed

Alto Flute in G

Bass Clarinet in B b

Cello

Harp

Piano

e = 144

& 38 3 &8

B.Cl. [B b]

Vcl.

? 38

!

j j – – – 3 3 ÷ 8 – # –J # – # 16 " 3 ÷ 38 – # –j # – # 16 – – – J J 3 3 8 !

16

!

! ÷ 38 3 ‡$ # ‰ 8 ° "

!

÷ 38

!

+ > 7 # # ‹ & 16 –. ‹ > 7 # >‹ # & 16 ‡ % >‹ . sul A · O sul C q ? 16 7 # ‰ b· O q

Hp.

Pno.

7 ÷ 16

!

7 16

!

7 ÷ 16

!

7 ÷ 16

!

7 ÷ 16 7 16

! !

6 A.Fl. [G]

+ + 3 3 16 – # # 8 b – # ‰ . . % 3 3 16 # ‹ 8 > % >‹ b œ #· O sul D sul A · O 3 q # # 38 q # ‰ 16 %

!

—

*

# ‰

+ 5 16 – # .

5 16 # ‹ > % sul D 5 b ·q O # 16

+ 3 #‹ 8 b– # ‰ > >‹ . # 38 bœ ‡. ‹ > sul G 3 #‰ 8 ·O # ‰

5 16

!

j j ‡ ‡ ‡ 38 5 # # # 16 ‡ ‡ ‡ J "f " j ‡ 38 ‡ # 5 # ‡ # 16 ‡ ‡ ‡ J J

!

‰

inside

! !

3 16 3 16 3 16

‰

!

—

*

#

3 8

o

38

! !

3 !

8 3 – # ‰ 8 . "

3 4

‰

43

3 8

! !

!

A q = 136 + 9 16 œ.$ # # ‰ .

ord.

Œ

9 16

sul D sul G

ã

Œ

Œ

‡ 43 ‡ # ‡ # Œ J

Œ

&

Œ

?

3 4 ‡

j ‡

# ‡ #Œ

j ‡

3 4 –.$ # ‰ p

‡ J

3

!

–

# # ‰.

9 16 „ %

9 16 9 16

–. % –.

7 16

‰

j 3 – – # – –# – – # 7 8 16 J J j j 3 – – # – – # – –# 7 8 16 J 3 7 8 !

16

38

!

7 16

38 !

3 ‡$ # ‰ 8 ° ‰. ‰.

6 16

7 16 7 16

‰

distance

– – –. –. –. –. . . %

6 16 – – – –. –. –. . . . % 6 16

9 .

16 ‹ # # ‰ . " 9 !

16

7 16

‰ o

q

5 !

16 5 16 –. # ‰ .

!

3 – # ‰ ‰ 3 – # ‰ 8 .

4 .

38

‰

!

# # 38 – .

43 – # ‰ Œ Ø 3 3 ‹ !

8 4 > b¬. ‹ Ø > col legno ˘ # # 38 # œ # ‰ ‰ 43 ! " 3 8

‰

7 16

‰

„

# # ‰.

‰.

6 16

# # ‰.

‰.

# # ‰.

‰.

.

6 – 16 # # ‰ .

6 16

6 16

! !

!

.̃ .– # # .̃ 9 .̃ & 16 # # ‰ . .̃ p . # # .̃ .̃ .̃ 9 # # ‰ .

– & 16 .̃ p

11 A.Fl. [G]

B.Cl. [B b]

9 . . Ó. Ó. # # 16 Ó Ó

Vcl.

Hp.

Pno.

ã

!

÷

&

?

–.

B.Cl. [B b]

Vcl.

Hp.

Pno.

9 16

!

9 # # –. # # 16

.̃

6 16

–.

!

!

6 16

# # ‰.

‰.

# # ‰.

‰.

7 . . Ó. Ó. # # 16 Ó Ó

# # ‰.

6 16

!

–.

„

.̃ .̃ .

7 # ‰ ‰.

– # # – .̃ – 16 – –. . . . .̃ p .̃ .̃ 7 .

– # # .̃ 16 # ‰ ‰ .

–. –. –. –. .̃ p

!

!

!

6 –. # # ‰ .

16 6 16

–.

!

.̃ 3 #‰ 8 –. # ‰ .̃ – – – .

– .̃ . .. p p % .̃ .̃ 2 .̃ .

3 .̃ 4 # ‰ – – – 8 –. # ‰ .̃ & n– # ‰ –. . . . .̃ p p % ## 2 3 . . . . . #? . . Ó. Ó. Ó. # ‰ 4 8Ó Ó Ó Ó Ó „ „ Ó Ó . & n– # ‰

17 A.Fl. [G]

9 16

‰.

„

9 16

!

6 16 – – . . % 6 16 –. –. %

‰.

ã

! !

÷

&

?

–.

! #‰

.̃ 2 .̃ 4

42 2 4 2 4

–. # # 42

–.

–.

!

38

. #‰ – #‰

3 8

!

#‰ Œ

!

3 8

38

&

!

–.

! #‰

÷

–. #

4

44 44

.̃ .̃

!

7 16

7 # # –. # # 16

# ‰ Œ # ‰ Œ

4 # ‰ Œ 4 ‹ "f " >

„

„ ..

7 16 7 16

– b– –. –. –. –. –. . . % –. b –.

– – – – –. . . . . %

!

–.

–.

!

!

! ‰.

##‰ ‰

!

B Ó Ó Ó

j $ ‡ ‡ ‡$ ‰ ‰ ‰ ‰ $ ‡ ‡ ‡$ J J j j $ ‡ ‡ ? ‡ # ÷‰ ‰ ‰ ‰ $ ‡ ‡ $ ‡ J "f " % # ‰ —j ‡$# ‰ Ó *° j ‡

–. # ‰

##‰ ‰

– –$ J‰ Œ 44 Œ j –$ – ‰ "f " –$j 4 – $ –J ‰ Œ –‰ Œ 4

4 4 ‡ "f " 44 –. "f " 44 ‡$ °

‰.

#‰

q = 142

.̃ .̃ 6 ## 16 .̃ .̃ p .̃ .̃ 6 ## 16 .̃ .̃ p 6 16 ‰ .

Ó. Ó. Ó.

6 16

!

6 16 – $ –j # ‰ . j

‡ 6 16 ‡j $ # ‰ .

6 16 6 16

b –. % —

*

# # b –. # # # #

.̃ 3 ## ‰ ‰ 8 ‹ ‹ .̃ ‹. ‹. ‹. ‹ ‹. p .̃ 9 3 . . # # ‰ ‰ # # ‰ ‰ .̃ & ‹ ‹ ‹ 16 ‹ 8 ‹ ‹ ‹ ‹ . ‹. ‹. ‹. ‹. ‹. ‹. . p arco arco "f " col legno sul ponticello sul ponticello 9 œ œ bœ œ œ bœ 7 38 ‰ Ó. Ó. Ó. . . # # ‰ ‰ ? b œ œ œ b œ b œ . # # ‰ . ? 16 # 16 b œ œ œ œ œ b œ$ Ó Ó Ó b œ $ Ø " 9 7 3 ! ! ! ! ! & 16 16 8 9 ‹ ‹ ‹ 16 # # ‰. & ‹. ‹. ‹. ‹. "f "

A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

Pno.

÷

?

b –.

!

9 16

!

b –. # # ‰ .

9 16 % 9 !

16

&

# # ‰.

2 &4 ‹ ‹ #‰ ‹ ‹. ‹. "f " . & 42 ‹ ‹ ‹ # ‰ "f " ‹ . ‹. .

28 A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

Pno.

!

7 16

+ 4 4 bœ$ # ‰ Œ ".

44 ‡. $ # ‰ Œ "

inside

÷ 42

4 4 – $ ‰Œ

!

j –

!

b –. # ‰ 2 # ‰ & 4 b– . ?2 !

4

÷

7 16

‰.

#‰Œ 42 Ó. # ‰ ?b œ b œ œ œ 44 bœ$

2 &4

7 .̃ .̃ .̃ # ‰ ‹ 16 .̃ p "f " .̃ .̃ 7 #‰ .̃ 16 .̃ p "f " ‹.

‰.

22

7 16

!

b –.

!

## ‰

‰

# # b –. # ‰

b –.

b –.

!

Ó

!

Ó

85

!

Ó

85 Œ

–$ j –‰Œ

‰ Œ

44 Œ –$ b –. j $ ‡ ‡ 44 # ‰÷ ‰ $ ‰ ‡ ‡ "f " J j 4 ‡ $ ‰ ‡ ‰ ‡$ ‰ 4 $ ‡ ‡ J ‡ J "f " % 44 ‡$ # ‰ —j‡$# ‰ Ó "f " ° *°

–$ ‰

+ 2 2 b– .

22

sul C

‰

‰–

‡$ ‰ ‡ J j ‡

‰ ‡$

–$

‰ – J

j –?

–$

‰‰

j 58 ‡ ‰ ‡ $ ‰ ‡ ‡$ ‡$ J j 5 ‡$ ‰ ‡ ‰ ‡$ 8 ‡ ‡$ J

85

5

!

– J

j ‡

‡ J

38 38

+ Œ Ó –.

q = 150

5 8 –$ ‰ ‰ 85 Œ

‰

!

j –

j –

3 8

b –. # # ‰

##‰ ‰

5 8

j –

!

w Ø

b –. b –.

.̃ .̃

# ‰

2 4

# ‰

2 4

col legno

2 Ó. Ó. Ó. Ó. 4 " 2 !

4 !

2 4

# ‰

‰

. # b– # ‰

42 42

3 3 8 .

4 – % 38 # ‰ ‰ 43 œ œ.

( sul C )

# ‰ ‰ 43

3 8

!

3 4

22 ‡ $ ‰ Œ Ó ‡ J

38

!

43

22

38 –$ # ‰ ‰ 43 . p

22 2 2

‰Œ Ó

œ. p

!

22 – $ j ‰ Œ – Ó

j

‡ 2 2 ‡$ ‰Œ Ó

—

*

#

38

38

3 8

!

!

43

3 4

3 & 4 –$ # ‰

Œ

33 A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

Pno.

& 43

Œ

& 43 – $ ‰ j –

j –

Vcl.

– $‰

$ ÷ 43 ‡ ‰ ‡ J "f " j ÷ 43 ‡ ‰ ‡ $

‰ ‡ $ ‡ $‰ Œ

Hp.

Pno.

38 . . . . . # ÓÓÓÓÓ

÷ 38

‡ $

‡ J

3 4 ?

.̃ .̃

& ?

7 16

%

!

# ‰ ‰.

–.

# ‰ Œ

Œ

42

!

!

!

# # Œ

7 # ‰ ‰.

16 –.

Œ

j

! !

–.

# ‰ Œ

!

–.

!

# ‰

!

2 4

–.

2 4

!

–.

3 –. 8 3 –. 8 3 8 38 3 8

#‰

3 8

. #‰ 68 – – – – –. –. –. . . . p % .

6 8 – – – –. –. –. – # ‰ . .. p %

.̃ 5 .̃ 8

–. # # 42

#‰

!

38

#‰

—

*

q = 170

38 .̃ .̃ p 3 .̃ .̃ 8 p

Œ j –

–$ ‰ Œ

3 – $– ‰ Œ 4 ÷

"

7 16

43 ‹ $ # ‰ Œ "f " > 3 4Œ

!

‰

„..

7 16

Œ

43

!

& 38 –. # ‰ ‰ ? 3 ‰ ‰ –. # 8

‡ J j ‡

7 16

‰

‡ $‰

j ‡

.̃ 3 & 8 –. # ‰ .̃ p 3 # ‰ .̃ .̃ & 8 –. p

3 &8

– $ Œ

j –

38

B.Cl. [B b]

7 16

Œ

3 4 ‡ $# ‰ "f " °

A.Fl. [G]

sul D sul G

!

.̃ .̃ .

2 #‰ b – n – # ‰ – .̃ – 4 – –. –. –. . . . .

–. –. –. .̃ p % % .̃ .̃ 2 #‰ # ‰ .̃ – 4 – – –. –. –. .̃ p –. –. –. –. –. . . . % % . . Ó. Ó. Ó. # # 42 # ‰ ‰. #‰ „ „ „ Ó Ó

distance

7 # ‰ ‰.

16 ‡. "

!

?3 4

÷ 43 Œ

+ 7 # ‰ ‰.

16 œ. "

q = 160

–$ – ‰ J

j j $ ‡ ‡ ‡ 34 ‰ ‰ ‰ ‡ ‡$ ‡ $ J "f " j 3 # ‰ ÷ ‡ ‰ ‡$ ‰ ?

4– ‡ ‡$ J . "f " 3 4 ‡$ # ‰ Œ Œ °

.̃ .̃

#‰ #‰

43 ‹ "f " .

3 4 ‹ "f "

C ‹ ‹ #‰ Œ ‹. ‹. ‹ ‹ ‹. ‹. .

#‰ Œ

#œ 38 b œ.$# . . . . 43 . #‰? œ# œ # œ # œ$ # ‰ Ó ÓÓ Ó Ó p Ø " –. –.

3 3 ! Œ ÷ 8 4 Œ "f " 3 !

3 Œ 8 4 Œ –. –. .

38 ‡ $ ‰ ‰ & 43 b – # ‰ b – # ‰ Œ ‡ .

J % .

3 # b– # ‰ 3 !

8 b– 4 . % 3 —# ‰ 8 * col legno

6

arco sul ponticello

q = 180

68 Π.

.̃ 5 .̃ 8

col legno

. . Ó. Ó. Ó. # 85 ÓÓ % 6 –. $‰ ‰ Œ .

5 8 8 6 – $‰ ‰ Œ .

5 8 .

8 –. .

68 #‰ – # – # ‰ ‰ 85 .

–. # 5 6 Œ. ‰ ‰ 8 8

.̃ .̃ .̃ .̃ .̃ .

4 3 4 # ‰ –. –. 8 – # ‰ .̃ .̃ 8 # .̃ .̃ 8 # ‰ ‹ ‹ ‹ ‹ – – – .

– .̃ .̃ . . .. p "f " . % .̃ .̃ 3 .̃ .̃ 4 .̃ .

5 4 &8 # ‰ –. –. 8 – # ‰ .̃ .̃ 8 # .̃ .̃ 8 # ‰ ‹ ‹ – – – .

– .̃ .̃ . .. p "f " ‹ % . ‹.

5 &8

43 A.Fl. [G]

B.Cl. [B b]

5 8

Vcl.

Hp.

Pno.

„

„

÷ 85 ÷ 85 5 &8 ? 85

! b –.

B.Cl. [B b]

Vcl.

Hp.

Pno.

48

! #

b –.

. & 48 – # ‰

b –.

‰.

–. # ‰

4 . &8 –#‰

4 8

p p

.̃ .̃ 6 .̃ .̃ 16 .̃ .̃ 6 .̃ .̃ 16

÷ 48 & 48 ?4 8

!

.̃ .̃ „ .

# #

n –.

! #

n –.

3 8

# n –. # ‰ ‰

n –.

3 8

!

b –.

4 œ œ #œ œ œ # ‰ 8 R Ø 48

!

4 8

!

4 # ‰ 8 –.

#‰ ‰

. # 38 – # – # ‰ .

48

bisbigliando D Ÿ~~~~~~ ord. + œ O œ$ 4 Œ . # # # ‰ # ‰ #‰ 4 – – – –. . . . œ. $ Ø % " # – – # # ‰ . 44 # ‡$ # ‰ #‰ # ‰ – . . ‡.$ –. . . " œ œ$ " % Ø col legno arco .$ sul C & œ ! ? 44 · · $ # ‰ # ‰ „ # # · ·j J p p fo –$ # # ‰ . 44 !

6 16 – .

P !

6 ! & 16 –. . . b – n– b –. n –.

6 # ‰. # # n –. #‰ 16 ! b –. b –. n –. 6 b –. # ‰ ‰ # 16 n –. # # # b –. # # ‰ . &

3 . . . #‰?

8 Ó ÓÓ " 38 !

!

48 b –. # ‰

‰

4 . . . . . #‰ 6 8 ÓÓÓÓÓ 16 ÷ 48

4 8

# b –. # ‰ ‰

48 A.Fl. [G]

4 . . . . . #‰ 8 Ó ÓÓ ÓÓ

#‰ ‰

arco sul ponticello

(__ )

4 –$#‰ Œ 4 44

Ó

!

4 4

44 p‡$ # ‰ Œ °

7

!

Ó

÷

48 – 85 ‹ # ‰ – – –. –. –. . . . . % 5 8 85 5 8

–. !

5 4 8 ‹ # ‰ – – – –. –. –. 8 . . .. %

#‰

5 8

col legno „

%

b ––.

#‰ ‰

„

!

48

! #

b –.

85 – # ‰ .

+ 3 4 œ$ # ‰ Œ Œ ". !

43 3 4 $ #‰ Œ Œ fo –$ 3 Œ 4 – ‰Œ J "f " j 3 4 – –$j ‰ Œ – $– ‰ ˘ ‡‡‡‡‡ $ #‰ Œ Œ 43 "f " 3 4 ‡‡‡‡‡$ # ‰ Œ Œ fl 43 — # ‰ *

4 8

4 8

# b –. # ‰ ‰

4 8

6 16 ‰ . – – – ... % 6 ‰.

16 –. –. –. %

5 16

‰.

b –.

‰

distance

6 16

„ .

%

„

48

5 16

5 ### 16

6 16 – .

P 6 !

16 –.

–.

6 # ‰.

16 .

– % .

6 # # #– 16 # –.

5 16 5 16 5 16 5 16

.̃ .̃ .̃ .̃ .̃ 6 6 6 . .̃ 6 3 # – # # – .̃ .̃ .̃ .̃ –. . 16 4 ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ .̃ % >" >‹ > >‹ > >‹ > >‹ > >‹ > >‹ > >‹ > >‹ > >‹ "f f .̃ .̃ 2 5 6 .

3 # ! # ‰ Œ Œ .̃ & 16 –.

8 # –. –. 16 – # # ‰ .

4 .̃ % p " ‡. ' 5 . . . # # 2 6 3 # 16 . Ó. Ó. Ó. # # !

16 Ó Ó Ó 8 „ 4 Œ „ Ó p f –$ 5 28 6 # ‰. ! ! ! ! & 16 16 43 5 & 16 –. # p

54 A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

Pno.

5 ÷ 16 5 & 16

B.Cl. [B b]

Vcl.

Hp.

Pno.

.̃

!

–.

–.

28

28

!

6 16

!

!

43

!

–. # # 28

!

6 16

!

!

3 4

!

#‰

6 16

!

!

43

!

? 16 5 – # # .

–.

–. 28

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226 A.Fl. [G]

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3 – # ‰ –J ‰ – # ‰ 8 j – –# p 4 ‹ ~#‹j ‰ ÷ ‰ – # ‰ – ‰ –. 3 4 8 J – – J "f " j ‡

2 4

!

5 16

!

j –

–? . 4 3 –& 4 ‡ ‰ Œ 16 p "f " ‡j 3 ? 4 16 " b –# " 4 ‡ ‰ Œ b–

2 4

!

2 –. –. –. –. –. –. –. –. –. –. –. –. –. ? 5 # ‹ 4 16 ‹ ‹ #‹ f F

!

4 Π4

! !

2 .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ 4

3 ‹.

4 "‰ 8 4 ‹# p 44 3 4 "‰ ! & 8 # "‰‰ 4 ‡. p ‡.# j j – – – œ- -% - &-  ˘ – –– 4 – – ‰ œ œ œ œ- ‹ 3 ! 4 – – ‰ 4 – #– 8 4 – #– – p – "f " "f "

2 –. –. –. –. –. –. –. –. –. –. –. –. –. ? 3 ‹ 4 16 b ‹ ‹ f F

2 &4

5 16

&

–. "

24 2 4 24

Œ

Ó

2 8

Œ

Ó

28

œ- œ-% œ- &-œ - ˘ 2 œ ‹ 8 p 

–#

– J

‰ –# ‰

j –

‰ 28

– –# p j J 4 ‹ ~~ #‹j ‰ ÷ ‰ – – ‰ – – ‰ –. 2 4 8 J "f " j

44 ‡ 4 4 ‡

‡

j ‡

‰ Œ

Ó

‰ Œ

Ó

28 2 8

& 28

!

÷

2 &8

!

÷

?2 8

!

& 28

!

235 A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

Pno.

÷ 28 2 &8 ?2 8

42 .̃ .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ F 2 .̃ .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ 4 F 2 –. –. –. –. –. –. –. – –. –. –. –.

4 F 42

!

2 4

!

2 4 2 4

!

B.Cl. [B b]

–. –. –. –. –. –. –. – –. –. –. –.

Vcl.

Hp.

Pno.

& ÷

&

?

! ! ! !

–. –. –. –. –. – –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. – –. –. –. –. !

!

!

!

!

!

!

!

!

!

!

!

!

!

!

3 ÷ .̃ .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ & 16 ÷ .̃ .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ &

.̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃

!

240 A.Fl. [G]

.̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃

œ̆

œ̆ ˘ 5 œ 4

f 3 " #œ 16 f #œ 3 16 3 16 3 16

! ! !

45

!

j – – – –

 – œ – ? 5 4 –# ‰ – p "f "

˘ ‡‡‡‡‡ ‡‡˘‡‡ ‡˘‡ ‡ ‡‡‡ 3 16 "f " 3 16 ‡‡ ‡‡‡‡ ‡‡‡‡‡ ‡‡‡ ‡ fl fl fl

5 4 Œ

ã

œ-% œ- &-œ œj –

–#

–# ‰ p j 5 4 ‹ ~~# ‹ ‰ ÷ ‰ – – ‰ J "f " 45 ‡ 5 4 ‡

5 "‰ 8 ‹. ‹# p "‰ 85 ‡# " ‰ ‰ . p ‡. #

!

j ‡ j ‡

– J

 -œ% œ-

‰ –# ‰ –

j –

‰

j –

j –

Ó

Œ

‰ Œ

Ó

Œ

2 4

÷

24

!

2 4

‰ 85

!

2 4

85

!

–# .

– 5 – ‰ 8 j –

‰ Œ

24

5 ‹ 8 fl

÷

5 8

!

!

2 4 24 2 4

K

÷ 42 .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ F ÷ 42 .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃

244 A.Fl. [G]

B.Cl. [B b]

F 2 –. –. –. –. –. – –. –. –. –.

4 F

Vcl.

Hp.

Pno.

2 &4 ÷ 42

B.Cl. [B b]

Vcl.

Hp.

Pno.

&

3 16

!

3 16

!

3 16

!

2 &4

!

?2 4

!

3 ÷ 16

2 8– p 2 8 – p

!

˘‡ ‡˘‡‡ ‡‡˘‡‡‡ 3 ‡‡‡‡ ‡‡ 16 "f " 3 16 ‡‡‡‡‡ ‡‡‡‡ ‡‡ fl fl‡ ‡‡‡ fl

÷ ÷

2 .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ 4 F 24 .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃

?3 16

!

2 4

!

2 4

!

2 4

!

!

distance

&

2 8

!

3 –# " " 28 –# " ‰ 16 . .

P

pedal

3 16

!

5 16

!

1 .̃ .̃ .̃ .̃ .̃ 3 4 16

5 16

!

3 41 .̃ .̃ .̃ .̃ .̃ 16

F ‹ 2 –. –. –. –. –. – –. –. –. –. ? 5 ‹ 4 16 ‹ ‹ fl fl ‹ fl fl f fl 2 5 ! !

4 16

3 2 16 – " " ÷ 4 .̃ .̃ .̃ .̃ .̃ .̃ F 3 3 2 ÷ 16 ! & 16 " " ÷ 4 .̃ .̃ .̃ .̃ .̃ .̃ – F sul D  sul G     œ œ œ œ œ 3 ?

2 3 2 –. –. –. –. –. –. ! "" 16 8 œ œ œ œ 16 œ 4 F P .– –.

3 2 3 2 ! " ‰ & 16 " " 8 16 ! 4 p 3 3 2 ÷ 16 ! ? 28 16 " " 4 –. –.

–. ' inside piano 3 ( ( ( 2 ( " ‰ 3 ( ( ( 2 ( " ‰ & 16 ( ( ( 8 ( # 16 ( ( ( 4 ( #

249 A.Fl. [G]

!

&

œ̆ ˘ 3 œ̆ 16 œ f 3 " œ 16 f œ

2 4

3 –# " " 24 – # " 16 . .

25

5 16

!

.

– 5 – "?

16 "& – –. p 5 " – "– " 16 – – â

.̃ ˜ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃

3 16 3 16

! !

1 –. –. –. –. –. 3 4 16 F 1 3 !

4 16 1 4

!

3 16

1 4

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3 16

1 4

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3 16

2 4 .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ 2 4 .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃

–. – –. –. –. –. ? 3 b ‹ 2 –. –. –. –. –. –. –. –. –. –. –. –.

16 b ‹ 4 b ‹ fl fl f fl F Œ

! Π!

3 16 3 16

! !

. b – 3 ?

16 b –. p # 3 "b – " 16 b – â

keyboard

3 16 3 16 ?

2 4

!

2 4

!

&

!

&

2 4

2 4

3 16 3 16 3 16

!

3 16 3 16

3 ÷ 16 3 ÷ 16

255 A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

Pno.

B.Cl. [B b]

Vcl.

Hp.

Pno.

6 16 ‰ .

!

2 .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ 4

6 16 ‰ .

&

b ˘œ

b ˘œ ˘ bœ

f &" œ f

œ

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16 ‹ 4 16 b ‹ 3 & 16

3 & 16

2 4

!

? 16 3

– p

42

!

–

6 16

!

– 42

?.

!

˘‡ ‡ ‡ b –. ‡‡

6 b – "& 16 b– "f " 6 ?

16 " b – " ‡‡ ‡‡‡ b– fl

! !

˘ n ˘œ nœ

‰. ‰.

b œ. . . bœ œ ‰. p

arco

˘ ‡‡‡‡‡

˘ ‡‡‡‡‡

‡‡‡‡ ‡ fl

‡‡‡‡‡ fl

‰.

3 16

!

&

4 4

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3 16

!

&

4 4

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3 16

4 &4

!

!

!

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3 16

‡‡ Œ ‡‡ ‡‡‡‡"f " ? 44 Œ 3 Œ ‡‡ ‡‡4 &4

Œ ‡‡‡ Œ ‡‡‡ ‡‡-

Π3

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3 16

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Œ

3

‡‡ ‡‡-

3

Œ

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Π3

‡‡ ‡‡-

–. p

3 16 3 16

3 –# " 16 .

P

pedal

26

sul D sul G 

?

" !

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4 4

!

3 16 – " " 3 16

–

" "

÷

2 4

÷

2 4

 2œ œ œ œ 8œ œ œ œ

3 œ 16 œ " "

2 4

2 8

3 16

2 4

P

2 8– '.

2 8

!

44

!

distance

! "

2 8– p 2 8 – p

44

!

‡‡‡‡‡ ‡‡‡ ‡ 42 fl fl‡‡ ‡‡‡‡ fl

‰.

4 4

!

˘ ˘‡ ‡˘‡‡ ‡‡‡‡‡ ‡‡‡‡ ‡‡ 42

!

3

2 –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. 4 4 4 F col legno

# #######®" " 2 4 "f " !

42

!

3

2 .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ 4 4 4

÷

F " # œ ÷ 42 .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ 44 #œ F

4 4

?4 4

n ˘œ

j ‡

!

6 16

!

3 2 & 16 " # –# " 4 #– 260

A.Fl. [G]

!

2 .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃ 4

ord.

28





!

–.



3 16 – " " .

3 ( ( ( 16 ( ( (

!

inside piano

!

3 16

28 – # " ‰ .

!

!

3 –# " " 16 .

2 4 2 4 24 24

L ÷ 42 .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃

265 A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

Pno.

F ÷ 42 .̃ .̃ .̃ .̃ .̃ .̃ ˜ .̃ .̃ .̃ .̃

F 2 –. –. –. –. –. –. –. – –. –. –. –. ?

4 F –.

2 Œ &4 " ‰ ?2 4

!

& 42

!

?2 4

42 –.# "

!

3 16 3 16 3 16 3 16

q = 66

2 .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ 4 4 4

! ‹ f

& 38 ‹ . )

A.Fl. [G]

B.Cl. [B b]

Vcl.

Hp.

!

3 8

2 4

!

!

!

!

3 8

2 4

!

3 16

!

3 16

4 4

!

‡‡ Œ ‡‡ ‡‡- ‡‡"f " 4 Œ 3 Œ 4 ‡‡ ‡‡44

keyboard

!

2 4

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4 4

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42

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3 16

!

Pno.

3 & 8 –. –. –. p ? 38 !

4 "‰Œ Ó 4– .

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3 &8

4 4

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27

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‡‡ ‡‡-

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3

38

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38

Œ ‡‡‡ Œ ‡‡‡ Œ ‡‡‡ Œ ‡‡‡ Œ 38 ‡‡- ‡- ‡3

w

Ø

sul G

3

w

Ø w

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w

ord.

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4– Ó 4 "‰Œ

‡‡ Œ ‡‡ ‡‡‡‡"f " 4Œ Œ 4 ‡‡ ‡‡-

!

2 –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. 4 4 4 F

sul G

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3 8

b‹

4 "‰Œ Ó 4 –

3 8 –. )

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42 .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ .̃ 44

44 " ‰ Œ Ó ‹

3 & 8 –. ) sul D

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270

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8

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3 8

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2 Ó 2 # œ.

3 œ.

2 &‰ Œ & 16 .œ 2 œ% # Ø col legno œ.. % ? 16 3 22 " &‰ Œ Ó #

277 A.Fl. [G]

B.Cl. [B b]

Vc.

q = 56

IV inside

"

t == q

Hp.

move the tape from the C & D string j

3 ÷ 16 —. #J

—

2 2

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move the tape from the C & D string –j

3 2 ÷ 16 " 2 –. #J 3 2 16 ‡ % & & 2 — % & ‰ ° * $ 2 &2 ¬

Ó

¬

2 &2 Ó

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283 A.Fl. [G]

B.Cl. [B b]

Vc.

Hp.

2 &2

?2 2 !'. % 2 &2

pizz.

Pno.

?2 2

$

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9 8 9 8

28

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3 16 3 16

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2 2

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22

b -· ·œ - 2 3 · 2 16 $ ! œ.

3 J 2 16 2 $ 3 2 " 16 2 arco

3 16

inside piano

3 16

3 2 16 –. % & & 2 p Œ.

3 16

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÷

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5 4

3 % – 16

9 Ó 8

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45

5 4

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move the tape from the C & D string j

3 16 # 3 16

–

7 8

7 8

3 16 &

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J ‡ % & & 78 — % & ‰ Œ Œ . ° * $

3 16

?

3 16

&

3 16

?

3 16 3 16

3 & 16

"

289 A.Fl. [G]

B.Cl. [B b]

Vc.

Hp.

Pno.

3 & 16

"

b -· ·œ?3 · 16 $ ! œ.

3 J & 16 $ arco

?3 16

"

3 & 16

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"

3 2 æ. $ 3 2

3 16 "

3 &‰ Œ 2 ·% 3 2

Ó

A.Fl. [G]

&Ó

b¬

B.Cl. [B b]

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Ó

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t ==

3 " 2 !'. % pizz.

3 &‰ Œ Ó 2 $ 32 "

3 – % & & 32 ‡ % & ‰ —% & ‰ Ó 16 . p ° *

295

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29

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2 &‰ Œ 2 $ 22 "

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3 – % & & 22 ‡ % & ‰ —% & ‰ Ó 16 . p ° *

4 ‡ ((((((((((((‡j 4 "f " 4 j 4 ‡ ‡ (((((((((((( 44 f ‡ % & ‰ Œ Ó °

keyboard

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b -· ·œ3 · 16 $ ! œ.

3 J 16 $

M q = 220 w 4 ‹ 4 (((((((((((( ‹j "f " w 4 Ó 4 ‹ j (((((((((((( ‹ " " f sul D sul G  >‹ ˙. sul C 4 # ‹ ˙. " 4 ‹ ˙. ƒ 4 " " 4 "

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move the tape from the C & D string j

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3 œ. 2 &‰ Œ Ó 16 œ. 2 œ. % Ø col legno œ. % 3 2 &‰ Œ Ó 16 " 2 #

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3 8 3 8

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38 #˘‹ ˘ 42 # · œ · œ 44 ‹ p f œœ # 3 2 œ Œ 4 " 8 4 4 $ 38 " & 42 Œ # œœ 44 3 —% & ‰ 8 # 3 8

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2 4

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4 4

38 —% & ‰ ‰ 42 *

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3 8

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4 &4 ‹ w

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302 A.Fl. [G]

B.Cl. [B b]

Vc.

Hp.

4 &4 ‹ w

((((((((

>‹ ? 4 #‹ 4 ‹ ƒ 4 &4 & 44

˙. ˙. ˙.

j ‹ j ‹

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6 # (· . · . ·j 8 p f äœ œ %% & ‰ Œ Ó 68 œœœœ %‰ ‰ œœœœœœ% ‰ ‰ â # . %% & ‰ Œ Ó 68 . 

4 ‡((((((((‡j 6 &4 8 4 &4

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2 &4

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308 A.Fl. [G]

B.Cl. [B b]

Vc.

Hp.

Pno.

2 &4

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Pno.

( W ).

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