Missing Words II

ERIC NATHAN

Missing Words II For Brass Quintet (Two Trumpets, French Horn, Trombone, Bass Trombone)

Copyright 2016 – Eric Nathan. All rights reserved.

P U B L I S H E D B Y N A T H A N A R T S (ASCAP) WWW.ERICNATHANMUSIC.COM | Providence, RI USA | (914) 391-8394 *PLEASE NOTIFY NATHAN ARTS OF ALL PERFORMANCES*

Commissioned by the Aspen Music Festival and School, Robert Spano, Music Director, for the American Brass Quintet Dedicated to the American Brass Quintet

In three movements: I. Leertretung (Void-Stepping) (2 minutes 30 seconds in duration) II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss (AutomobileInterior-Furnishing-New-Aroma-Pleasure) – “New Car Smell” (2 minutes 30 seconds in duration) III. Brillenbrillanz (Spectacles-Luminosity) (5 minutes in duration) Total Duration: 10 minutes

Instrumentation Transposed score Trumpet 1 in C (doubling Piccolo Trumpet in B-flat) Mutes required: Cup mute (for trumpet); Harmon mute (for Piccolo) Trumpet 2 in C Mutes required: Cup mute, Harmon mute Horn in F Trombone Mutes required: Straight mute Bass Trombone

PERFORMANCE NOTE: Movement III: Trumpets: All pitches are notated at sounding pitch, or in the case of pitches that sound out of the removed valve slides, the closest approximate tempered pitch is notated.

Diamond note-head: In order to graphically separate the pitches that sound out the removed valve slides from the normal pitches (that sound out of the instrument’s bell), diamond shaped noteheads are used. Pitches that sound through the removed slide will sound approximately at the pitch notated, though the resulting sound will likely be microtonally off-set from a standard tuning. Do not try to correct the tuning of these pitches. The resulting “out-of-tune” sound is desired.

Because the valve slides are removed, players will need to use the alternate fingerings indicated to produce the correct ordinary notes (that sound out of the trumpet’s bell). Some of these alternate fingerings are by their nature out-of-tune, and thus will make some major triads slightly more difficult to tune. The players should take as much care as they can to lip these notes in tune. In the cases when these “out-of-tune” alternate fingerings are used in triads, the voicing in the major triad is given (i.e. “third of the chord”). Since some of these fingerings are already flat, it will not be as difficult to tune these notes if they are in the third of the chord, as the third of the chord should be slightly lowered.

Trombone and Bass Trombone: The F-attachment tuning slide (Trombone) and D-attachment tuning slide (Bass Trombone) should be removed for the duration of the movement.

V

Valve pitches: The notation “V” is written above pitches to be performed using the F-attachment valve (Trombone) or D-attachment valve (Bass Trombone). The valve should be pressed for the duration indicated. The sound will project behind the performer from the opened tuning slide.

In all “V” passages the sounding pitches are written. Because the specific pitches that sound out the opened F/D-attachment tuning slides differ slightly for each brand of trombone, the trombonist will need to figure out the corresponding slide positions needed to produce these pitches on his or her specific instrument. [Generally, the pitches that sound out the removed tuning slide will either be at the unison or a quarter-tone to a half-step above or below where positioned on the handslide.]

The “V” pitches should be performed so they sound as close as possible to sounding pitch (a slight detuning is acceptable but the pitches should not sound a half-step or more away from where they are written). As much as is possible, the trombone players should try to tune their pitches to each other. The trumpeters will be more out of tune, but to get the proper “out-of-tuneness” as an ensemble it will help to have the two trombonists as in-tune with each other as is possible.

Diamond note-head: In order to graphically separate the “valve” pitches from the normal pitches in the piece, diamond shaped note-heads are used in conjunction with the “V” marking.

PROGRAM NOTE: “Missing Words II” (2016) is the second in an ongoing series of compositions composed in homage to Ben Schott’s book Schottenfreude (Blue Rider Press/Penguin Group), a collection of newly created German words for contemporary life. The German language has the capability to create new words through the combination of shorter words and can express complex concepts in a single word for which there is no direct translation in other languages. Such words include Schadenfreude, Doppelgänger and Wanderlust, and these have been adopted into use in English. With his new book, Ben Schott proposes new words missing from the English language that we can choose to adopt into our own vocabulary.

My piece is a series of short, playful musical responses to the definitions of three of Schott’s new words. The first movement responds to Schott’s word “Leertretung,” which he directly translates as “Void-Stepping” and defines as “stepping down heavily on a stair that isn’t there.” This movement is a brief tone poem that imagines the quintet as animating some kind of human-like mechanical contraption that slowly climbs up a staircase and keeps going past the final step. I treat this final “leetretung” moment in slow-motion, where, as Schott cites, we first experience a feeling of “incredulousness” followed by “resignation.” Our climbing creature then recovers and walks away on level ground.

The second movement is inspired by Schott’s word “Kraftfahrzeugsinnenausstattungsneugeruchsgenuss,” which he translates as “New Car Smell.” In this movement, I imagined sitting in a brand new car and sniffing wafts of its unique scent. The musical scent that I imagine here is hard to pin down exactly and changes slightly on each whiff, with a tinge of something special in it. Here a trio of instruments repeatedly plays the same chord, but each of the notes are traded between the instruments, creating a single harmony that can be experienced slightly differently each time it is played.

The final movement reflects on the word “Brillenbrillanz,” which translates as “Spectacles-Luminosity,” and Schott defines as “the sudden, innervating clarity afforded by new glasses.” I am very nearsighted, and so for me the difference between wearing glasses and not is especially pronounced. The memory of getting my very first pair of glasses inspired this musical response. As a child at the time, I had not realized how out-of-focus the world around me was before I experienced the clarity with my new glasses. To explore this musically, I ask the trumpet and trombone players in the quintet to each remove one of their slides. With these slides removed, by pressing a valve each player can either send the sound forwards out of the instrument’s bell, or backwards out of the opened slide. Two worlds are thus put into conversation – the brilliantly clear and rich sounds projecting towards the audience from the instruments’ bells, and the blurry, “out-of-tune” sounds emanating out through where the slides were removed.

“Missing Words II” was commissioned by the Aspen Music Festival and School, Robert Spano, Music Director, for the American Brass Quintet. The first work in the series, “Missing Words I” (2014), is scored for chamber octet and was composed for the Berlin Philharmonic’s Scharoun Ensemble.

Transposed Score

Commissioned by the Aspen Music Festival and School, Robert Spano, Music Director, for the American Brass Quintet

Missing Words II I. Leertretung (VOID-STEPPING) "Stepping down heavily on a stair that isn't there" (from the book Schottenfreude by Ben Schott) Eric Nathan (b. 1983) In the background – fidgety, fluttering Grace notes come before the beat, which will obscure the triplet feel

Slowly climbing h = c 40

Trumpet 1 in C

4 &4

∑

Trumpet 2 in C

4 &4

∑

Horn in F

4 &4

∑

Trombone

? 44

∑

Bass Trombone

?4 Ó 4

Ó

Œ

Cup mute

N˙ p

Cup mute

N˙ p

œ ƒ

œ π

œ ƒ ≈

˙ p

˙ ƒ

j œ #œ œ œ . π

j œ p

(Open)

˙ p

w Ï

˙. ƒ

œ bœ œ

In the background – fidgety, fluttering Grace notes come before the beat, which will obscure the triplet feel

œ

œœœ

œ. p w p

Copyright 2016 – Eric Nathan. All rights reserved.

œ j œ

œ- .

In the foreground

œ p

˙

œœ

In the foreground

(Open)

3

j # œ-

œ

3

aœ œ œ

˙

# œ- . œ-

Aœ

2

I. Leertretung

4 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

&

œ

&

˙

œ #œ

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

œ #œ

˙ 3

œœ

bœ œ

Aœ

? ?

œ-

3

nœ #œ œ

bœ œ

Aœ

œ

a˙

Nœ #œ

3

nœ #œ

N˙

bœ œ

3

N˙

3

œ

# ˙-

œ

œ bœ œ

œ

a˙

#œ œ œ

& ?

> #˙

bœ œ œ œ 3

A˙

nœ œ œ

3

œœ

œ

œ bœ œ 3

3

bœ œ œ œ

œ

p ˙. più f

3

Œ

œ #œ Nœ œ

with a brassy sound (each time) – to the fore

N œP

Aœ

˙

gliss.

œ

Í

‰

Ó

π

Aœ

A˙

>œ

‰

œ Aœ

3

exaggerated, raucous

j œ F

œ-

œ

>˙ # œ œ #œ #œ f

‰

N˙ j œ

N˙ P

f

bœ p

œ

˙

œ bœ œ

œ

œ.

œ‰ J

A˙ 3

N œF

w

Ó

?

3

N ˙-

œ

& &

˙ œ

& #˙ -

6 Tpt. 1

3

˙

bw p

nœ #œ 3

N˙ 3

œ- .

œ bœ œ

œ bœ œ

Aœ

A˙ œ œ œ- .

3

œ nœ

œ #œ

bœ

œ 3

3

œ nœ

œ œ J

‰

˙j # œ-

p

3

I. Leertretung

œ

8 Tpt. 1

Tpt. 2

& &

bœ œ

A˙

#œ nœ œ

N˙

3

bœ

bœ bœ œ œ

˙

3

Aœ œ 3

Aœ

œ

#œ œ œ 3

N >˙ # œ œ œ # œ œ aœ f exaggerated, raucous b >œ œÍ F 5

Hn. in F

Tbn.

B. Tbn.

&

œ

?

œ

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

& & & ? ?

œ Aœ œ

A˙

bœ œ 3

A˙

#œ nœ œ

3

#œ nœ œ

Nw p

# œ- .

Aœ

Œ

P

P

gliss.

Œ

bœ

bœ œ

Aœ

œœ

œ

œ J

3

œ-

œ j œf

œ

3

˙

p sub.

3

#œ #œ

œ bœ œ

‰

A˙

aœ

œ

Ó

‰

>˙

œ

f

p

N˙ p

˙ più f

œ

2 4

3

œ bœ

œ #œ œ œ

N˙ p sub.

Nœ œ œ

p

N˙ œ

j œ-

b œ- . œ

Nœ

bœ œ

N˙

˙.

10 Tpt. 1

# œF

œ

?

œ

9

2 4

œ œ œ b œ 42 2 4 2 4

Nœ œ œ œ

N˙

3

3

œ aœ œ œ

3

œ

œF

4 4

F

œœ

4 4

œ

F

3

più

Í

Œ

˙

b >˙

f >œ

Nœ

N˙

b œ- .

F

bœ nœ 3

Nœ

#œ nœ œ

gliss.

Œ

p

4 4 œ

4 4 4 4

4

I. Leertretung

12 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

4 &4 Œ

œœœœ

4 &4

Ó

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

#œ œ œ

˙ P 3

œ P

‰

?4 4

&

3

bœ œ œ œ

#œ Nœ œ

bœ œ

& ?

# >œ

3

N˙

œœœ

j # œF

œ bœ œ

Aœ

# œ-

œ œ #œ #œ #œ

#œ #œ

œ nœ

aœ

Œ Aœ œ

3

b œF

f

‰ p

#œ p

˙ ƒ

Aœ

aœ

nœ #œ

N˙ œ-

œ- .

F

3

Nœ #œ œ œ

più

f

>œ

3

p

gliss.

œ

Í

2 4

N˙ bœ œ 3

Aœ

2 4 racous (simile)

œ-

b œ b œ b œ b œ 42

b œ-

2 4

œ p

œ œ J ‰

Œ

˙. p

A˙

œ #œ

œ

# œ >˙

œ-

œ

˙ 3

3

# œ-

‰

3

˙

nœ #œ

N˙

˙. ƒ

œ p

œ bœ œ œ

œ

œ-

p

œ

œ

Aœ

A˙

œ

Œ

?

3

œ

f

&

œ bœ œ

5

j œF

? 44 N >˙

˙ œ

œ #œ

4 &4 Œ

14 Tpt. 1

3

2 4

œ bœ œ

A˙ œ ‰ J

#œ nœ œ 3

nœ #œ 3

N˙

>˙

ƒ b >œ

Í œ

4 4

Nœ

F

4 4 p

4 4

bœ 4 4

gliss.

Œ

4 4

5

I. Leertretung

16 Tpt. 1

Tpt. 2

4 &4

Œ

& 44

œ

Hn. in F

4 &4

Tbn.

? 44

B. Tbn.

?4 4

18 Tpt. 1

Tpt. 2

Hn. in F

& 44 4 &4 4 &4

Tbn.

?4 4

B. Tbn.

? 44

œœœ

bœ œ 3

A˙

œ #œ

F 3

Œ

F

œ #œ

Œ

N œF

>œ .

œ

p sub.

œ Nœ

3

#œ œ œ

j b œF

2 4

œ

˙ ‰

b œ œ œ # œ 42

n œ-

42

œ

Aœ

P

bœ œ 3

œ ‰ J P

A˙ Œ

f

#œ p

bœ œ

3

‰ N œj -

> #œ

nœ #œ

f

œ

n œ˙ ƒ

Aœ bœ bœ bœ œ

œ #œ

N˙ œ

bœ œ 3

3

nœ #œ

Aœ

œ

N˙

bœ œ

N >˙ ƒ b >œ

p gliss.

fÍ p

‰

bœ

j œ p

˙. ƒ

4 4

˙

œœ

44

œ

p gliss.

Í

3

N˙

œœ

3

˙

œœ

œ

44

43

3

nœ #œ

4 4

4 4

˙ p

‰ # œj -

f

N˙

ƒ N >œ

A˙

N >œ

Nœ œ

# >˙

#œ nœ œ

f

œ

3

2 4

˙ ƒ

3

œ

42

# œ-

˙ p

œ bœ œ

˙ œ

p sub.

f

3

Nœ œ

b œ-

œ

œœ

3 4

˙

3

> #œ Nœ #œ #˙ 3

ƒ

N >œ

fÍ p

gliss.

‰

p

3 4

Nœ 3 4 j bœ p

43

6

I. Leertretung

œ

3 &4

20 Tpt. 1

Tpt. 2

3 &4

Hn. in F

3 &4

Tbn.

?3 4

B. Tbn.

?3 4

#œ œ

a˙

œ

#œ œ œ

aœ

4 œJ 4 f

3

#œ œ œ

œ. ‰

b >œ

œœ

œ.

f

# œ >˙ # œ b œ Nœ F

p

ƒ œ>

f

gliss.

fÍ

˙ ƒ

p

‰

23 22 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

&

œ #œ œ #œ œ #œ œ œ #œ F # œ # œ # œJ ‰ Ó & #œ 3 f # >œ ˙ #œ #œ & 3 Í >œ œ œ # œ # œ œ ? œ #œ œ #œ 5

B. Tbn.

?

˙. p

Í

œ œ #œ œ #œ œ œ #œ œ #œ œ #œ 6

7

gliss.

Œ

Œ

4 Π4 4 Π4

> N 4 œ 4 ƒ 4 4

j nœ p

‰

Ó

#œ #œ œ œ # œ # œ # œ œ F 3

3

bœ F 3

œ

œ

bœ

œ #œ sub. F

3

3

œ

Nœ

#œ œ œ #œ

Nw Ï

Ÿ~~~~~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~ 0 3 0 3 0 3 ˙ œ ˙ œ œ ˙ . (œ ) (œ ) ( ) Ó J‰Œ J‰ π π Ÿ~~~~~~~~ Ÿ~~~~~~~~~ Ÿ~~~ 0 3 0 3 0 3 ˙. ˙ œ œ ˙ (œ ) (œ ) (œ ) ˙ Œ J‰ π π π rall.

>˙

Í N >w

œ‰Œ J

π

Í >œ J‰Œ Ó f >œ J‰Œ Ó f ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

7

I. Leertretung

27 Falling through the void a tempo

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ 3 0 3 w (œ ) w œ ‰ Œ w (œ ) Ó & J f p p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 0 3 0 3 w (œ ) œ ‰ Œ Ó w (œ ) w & J f p p f 0

Tpt. 1

Tpt. 2

Hn. in F

∑

& bœ

Open

Tbn.

?

∑

∑

œ

very slow gliss.

π

ethereal

B. Tbn.

?

∑

4 8 4 8 4 8 4 8

very slow gliss.

∑

bœ

∑

4 8

π

ethereal

31 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

In 4 (Horn and Trombones should phrase in 1)

4 œ bœ bœ œ bœ &8 J f F 4 &8 ‰ & 48 ?4 8 ?4 8

‰

f

œ bœ bœ œ bœ Aœ œ Aœ ≈ œ œ f F ∑

bœ

Aœ Aœ œ Aœ

œœ≈

F

‰

bœ œ bœ œ r ≈ œ F f

‰

bœ œ bœ œ f

œ #œ œ bœ ‰ F

≈ Nœ bœ bœ œ bœ œ œ #œ ≈ Aœ Aœ œ Aœ œ œ #œ r ≈ ≈ Nœ bœ bœ œ bœ œ œ bœ f F f f F >˙ ∑ ƒ P

p œ

bœ p

8

I. Leertretung

& œ bœ œ œ #œ œ ≈ œ Aœ œ œ aœ œ bœ bœ r ≈ ‰ œ f F F P

34 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

&

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

F

˙

?

œ #œ ≈ P

‰

bœ œ œ #œ F

#˙ > ƒ

p

œ bœ bœ œ bœ œ P

œ #œ œ bœ bœ ≈ œ F P

œ p

œ

œ bœ œ

P

3

œ œ aœ nœ bœ Aœ ≈ F P Œ

œ

F

becoming more raucous

(take breaths as need to maintain dynamic)

P

becoming more raucous

≈ ‰

3

3

3

3

? œ

f

4 Π4

‰ œ œ #œ œ bœ bœ œ bœ œ f F

& œ #œ œ bœ bœ œ bœ œ f 3 3 3 œ Œ b œ ≈ ‰ œ & œ #œ œ bœ bœ œ bœ œ 3 F f # >˙ œ & œ > ƒ p ƒ

?

‰

≈ ≈ Aœ œ œ #œ ≈ œ bœ bœ œ F P

(take breaths as need to maintain dynamic)

?

37 Tpt. 1

bœ œ Aœ œ

& b œJ F

bœ œ œ #œ œ bœ bœ F P

œ

3

3

œ #œ f

bœ

f

œ #œ œ bœ bœ œ f

44 ‰ œ bœ bœ œ œ œ ƒ 4 4 ˙ p 4 bœ 4 44

‰ 3

œ nœ bœ 3

‰

3

œ œ bœ œ œ f b˙ > f

œ

40 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

41

‰ Ó & bœ œ bœ œ œ ƒ 3

‰ Œ #œ œ bœ bœ œ bœ œ œ F p

3

3

& Œ

œ #œ œ bœ bœ œ bœ œ œ f

&

Œ

3

œ

3

3

b˙ > ƒ

?

Hn. in F

Tbn.

B. Tbn.

w (b œ ) fÍ

˙

˙ ƒ œ ƒ

? œ

œ ƒ

45

a tempo

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ó & ˙ ˙ ˙ p π f

˙.

? j œ #œ. p ?

˙. p

œ

j ‰ œ f j ‰ œ f j ‰ œ f

bw > ƒ

Œ

˙. p

œ p

p w

œ

p

ƒ

œ ƒ

w p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ # w (œ ) œ π ∏

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & # w (œ ) w œ Œ p f π &

Ÿ~~~~~~~~~~~~~~~~~~~~ # w (œ ) p

∑

3

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˙ p

44

Tpt. 2

3

œ bœ

rit.

Tpt. 1

I. Leertretung

Ó

˙ F

˙ p

˙.

Ó

π

˙. ƒ œ

p

œ p

Œ

œ œ p #˙ p ˙. ƒ

#œ #œ œ œ œ #œ œ #œ P

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ‰ # ˙ . (œ ) œ π P w

w > ƒ

w π

w π

w

w > ƒ

w π

w

œ ƒ

9

10

I. Leertretung

48 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

& œJ p

‰

Œ

molto rall.

Ó

?

∑

U

∑

∑

˙.

∑

∏

œ

œ n.

B. Tbn.

?

˙.

œ

œ

U

∑

U

∑

‰

œ # œ # œ # >œ f p

‰

œ œ œ >œ p f

p

Œ

œ

œŒ f

œ

3

6

p

p

‰

3

6

œ F

p

‰

œ- . f

p

Ÿ~~~~~~~~~~~~~ œ (œ ) p π

#œ F>

œ > P

#œ p>

‰

œ > p

π

œ œ œ >œ p π

π

œ Œ π

œ

& Œ

Hn. in F

& ‰

œ # œ # œ # >œ p F

? Œ

œ

œ- .

F

p

Ÿ~~~~~~~~~~~~ Œ # œ (œ ) p π

Tpt. 2

?

œ > f

Ÿ~~~~~~~~~~~~~ Œ œ (œ ) P p

& Œ

B. Tbn.

Πp

Ÿ~~~~~~~~~~~~ Œ # œ (œ ) F p

Tpt. 1

Tbn.

#œ > f

œ- . f

n.

52

Harmon mute (stem removed)

Œ

U

Œ

Ÿ~~~~~~~~ œ (œ ) f p

Ÿ~~~~~~~~ Œ # œ (œ ) f p (Cup mute)

Œ

to Harmon mute (stem removed)

w ˙

U

∑

œ œ nœ #œ œ #œ œ Nœ ≈ Ó œ # œ œ & 6 6 p ∏ &

51 Walking away (on level ground) q = c 144

Πp

3

p

6

‰

π

‰ p

œ œ œ >œ P p

œ Œ P

œ

œ- .

P

p

‰

œ # œ # œ # >œ p π

œ Œ p

œ

3

π

p 6

‰

π

Œ

œ- . p

Œ π

3

p

6

‰

π

œ- . p

3

p

6

‰

π

œ π

54 Tpt. 1

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

& Œ & Œ

Ÿ~~~~~~~~~~~~ Œ # œ (œ ) π

Ÿ~~~~~~~~~~~~~ Œ œ (œ )

#œ π

Œ

œ

Œ

#œ

Œ

œ

‰

œ œ œ œ

‰

œ #œ #œ #œ

‰

œœœœ

& ‰

œ #œ #œ #œ π

? Œ

œ

?

œ- . π

I. Leertretung

3

π

6

‰

œ Œ œ.

3

œ

6

‰

œ Œ œ.

Ÿ~~~~~~~~~~~~~ œ (œ )

Ÿ~~~~~~~~~~~~ Œ # œ (œ )

3

œ

6

‰

œ Œ œ.

n.

n.

3

œ

n.

6

œ

n.

‰ n.

11

Transposed Score

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss (AUTOMOBILE-INTERIOR-FURNISHING-NEW-AROMA-PLEASURE) "New Car Smell" (from the book Schottenfreude by Ben Schott) Eric Nathan (b. 1983)

Trombone cadenza, senza misura (q = c 60)

Starting the ignition q = c 60 Piccolo Trumpet in B-flat

Ÿ~~~~~~

& 44 Ó

œ# œ œ # œ

Œ œ .( œ )

(Open)

p

> œ ‰ Œ J

ç

U

Ó

to harmon mute (stem removed)

First piston is slightly unscrewed – "clicking sound" Finger notes (do not blow air) Fingering: 1 0 1 0 (simile)

Trumpet 2 in C

Horn in F

Trombone

Bass Trombone

& 44

Ÿ~~~~~~~~~~~~~~~~~~

b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(¿) p Slowly, gradually accel.

4 &4 Ó

with intensity ("winding up")

Œ

‰ ≈ œ œ #œ p

œ ‰ ≈ R p

3

Open

? 44 Ó

? 44

¿

Œ

gliss.

j ‰ Œ b¿ f

> #œ ‰ Œ J

ç

U

Re-screw/tighten first piston (ord.)

Ó

U

Ó

Freely, like revving an engine – ad. lib pitches (approx. given, following contour) Do not coordinate rhythmically with Bass Trombone gliss. gliss.

6 gliss.

> >– – >– – >– 3 Nœ –––– J ‰ ≈ j – – . > – >– # – – > > 3 3 ç gliss. gliss. gliss. f ƒ Freely, like revving an engine – ad. lib pitches (approx. given, following contour) Do not coordinate rhythmically with Trombone gliss.

∑

6 3 >– ≈ j – –– b– – . >– – >– – – > > gliss. gliss.

f

gliss.

Copyright 2016 – Eric Nathan. All rights reserved.

gliss.

ƒ

j n– ‰ Œ p

13

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss

U

3 Picc. in B-flat

Tpt. 2

Hn. in F

Tbn.

∑

&

U

∑

&

cue next measure

U

∑

&

– J

?

U

‰

p

Ó

"Idling motor sound" Hold bell over stand, projecting to the audience; play in first position; double-tongue into mouthpiece; allow as little air as possible to blow through trombone; treat the trombone as an amplifier for the tonguing sounds; unmeasured, as fast as possible; vary speed ad lib.; repeat musical material in box until indicated; breathe as needed, though suggested spots are given to help with maintaining texture

B. Tbn.

?

t

k

t

k

t

k

t

k

t

k

k

t

k

t

k

U (Trumpet 2 cues next measure)

b¿ ¿ ∏

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿ (continuously, ad lib.)

14

Picc. in B-flat

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss

4 Very slow, basking in the scent q = 50

∑

&

Cup mute balance equally in chord – each chord has the same pitches but with different voicing

Tpt. 2

j j & #œ . ≈ ‰ œ π P π

fragile, delicate, precious, as if sniffing in; always with your most beautiful sound; with a short, buoyant release on cresc. notes throughout balance equally in chord – each chord has the same pitches but with different voicing

Hn. in F

j œ π

‰

≈ ‰ bœ J P π

œ ‰.

R P

bœ. ? J

œ J

œ R ‰.

P

ord.

π

≈ ‰ P π

fragile, delicate, precious, as if sniffing in; always with your most beautiful sound; with a short, buoyant release on cresc. notes throughout

B. Tbn.

‰

Nœ. & J π

fragile, delicate, precious, as if sniffing in; always with your most beautiful sound; with a short, buoyant release on cresc. notes throughout Straight mute balance equally in chord – each chord has the same pitches but with different voicing

Tbn.

r œ ‰.

P

?

∑

‰

Piccolo Trumpet in B-flat

Œ

‰

with harmon mute (stem removed)

œ œ.

J J π P

≈ Œ π

precious; a "tinge" of something special; as if sniffing in; cresc. enough to get the "buzzy" harmon sound

U

∑

4 4

Œ

2 4

U

∑

4 4

Œ

2 4

U

∑

4 4

2 4

U

4 4

#œ J π

œ

œ

œ

œ ≈ ‰ R π

œ J

œ

œ

œ

œ R ≈ ‰ π

(quick breath)

4 4

2 4

œ

F

∑

Œ

œ F

π

U

r œ ≈ ‰ π

œ

F

2 4

∑

(keep tonguing through fermati)

15

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss

7 Picc. in B-flat

4 &4

∑

4 j & 4 #œ . ≈ Œ π P simile

Tpt. 2

4 œ. &4 J π

simile

Hn. in F

#œ. ?4 J 4 π

simile

Tbn.

B. Tbn.

? 44

ŠΠP

Picc. in B-flat

4 &4

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

4 & 4 #œ π

?4 4

œ F

˙

#œ

œ

˙

œ

˙

F

œ

π

F

œ ˙ J π P

#œ

π

U

∑

4 4

≈ Œ

2 4

U

∑

4 4

œ.

J π

≈ Œ

2 4

U

∑

4 4

≈ Œ

2 4

U

∑

4 4

42

U

44

π

(quick breath)

‰ # œj Œ π P

j #œ π

œ ‰.

R P

œ Œ J π P

œ J π

‰ ‰

œ J

Œ π P

#œ J

π

‰ œj.

P p

≈ # œj.

phrase to next bar

≈ œJ .

phrase to next bar

‰ bœ.

J P p

phrase to next bar

œ.

J

‰ P p

#œ. ≈ J ∑

∑

12

∑

r œ ‰.

P

œ R ‰.

P

≈ 42

j œ. π

œ.

J π

œ.

J

∑

4 &4 œ π

?4 4

œ π π

ŠΠP

10

‰

simile

≈

j œ.

≈ #œ.

J œ. ≈ J

∑

≈ F

#œ p

≈ F

œ

≈ F

˙. f

warm

˙.

p

warm

p

warm

Nœ

f

˙.

f

(quick breath)

16

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss

13 Picc. in B-flat

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

& ‰

œ ˙ J π P

& œ & ?

œ

Tpt. 2

Hn. in F

4 œ &4 p

Tbn.

?4 4

B. Tbn.

?4 4

#œ p

U

4 4

≈ Ó

2 4

U

∑

4 4

≈ Ó

2 4

U

∑

4 4

42

U

44

4 & 4 œJ ‰ Œ f 4 &4 œ p

2 4

4 œ.

4 J π

∑

œ.

J π

17 Picc. in B-flat

U

≈ Ó

π

?

≈ 42

j œ. π

œ.

J

œ

œ.

J π

15

‰ œ- œ J P

˙ F ˙

F ˙

F (quick breath)

∑

∑

U

˙.

j ‰ œ π

U

œ ‰ J π

∑

œ J ‰ π

Œ π

≈ Œ

P

Œ

œ . ≈ 42 Œ J p F

œ

p

2 4

∑

4 4

∑

2 4

∑

4 4

∑

2 4

∑

4 4

∑

42

19

3 4 œJ ‰ Œ π p

Œ

44

4 œj ‰ ‰ œ œ ‰ ‰ œ 4 J π p p p P

∑

3 4

∑

4 Ó 4

U

‰ # œj œ π P

3 4

∑

4 Ó 4

‰ œ œ J π P

U

∑

3 4

U

3 4

∑

∑

4 4

4 Ó 4 4 4

œ œ ‰ J π P

17

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss

& œR ≈ ‰ P

21 Picc. in B-flat

Tpt. 2

Hn. in F

Tbn.

B. Tbn.

j œ ˙ p F

‰

& ˙.

j œ ‰ π œ ‰ J π œ J ‰ π

& ˙. ?

˙.

?

(quick breath)

Œ

œ π

œ.

J π

Œ ∑

Picc. in B-flat

Tpt. 2

& Œ

‰ p

‰ b œJ π

œ ≈ ‰ R p

Œ

∑

∑

∑

∑

∑

repeat material in box until indicated; tap mouthpiece with palm; ad lib. sputtering rhythms; at different tempo from other players

24 Sputtering

bœ & J π

ŠΠp

Œ ‰

q = 104 Open

Ó

remove mute

¿ ¿ ≈ ¿

repeat material in box until indicated; tap mouthpiece with palm; ad lib. sputtering rhythms q = 50

®

¿ ¿

f

¿

®

®

¿ ¿

¿

®

¿

®®

¿ ¿

®

¿

®

f

‰

¿ ¿ ≈ ¿

‰

2 4 2 4

repeat material in box until indicated; tap mouthpiece with palm; at different tempo from other players

Hn. in F

& Œ

q = 96

¿ f

¿

3

2 4

¿

repeat material in box until indicated; tap mouthpiece with palm; ad lib. sputtering rhythms; at different tempo from other players

Tbn.

B. Tbn.

? Œ

?

‰

q = 96

j b¿ f

¿

¿

≈

Quick breath – then start blowing air through horn (no pitch) while still tonguing

π

¿

2 4

42

18

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss

26 (Car turns off) Arrive on cue with full quintet

& 42 ¿j > ƒ

U

‰

Œ

(hit with palm)

Picc. in B-flat

27 Starting the ignition q = c 60

44 Ó

Arrive on cue with full quintet Un-screw first piston slightly

& 42 ¿j > ƒ

(hit with palm)

Tpt. 2

U

‰

Œ

Arrive on cue with full quintet

2 & 4 ¿j > ƒ

U

‰

Œ

(hit with palm)

Hn. in F

Tbn.

?2 4

Arrive on cue with full quintet

‰

(hit with palm)

j b¿ > ƒ

U

Œ

Ÿ~~~~~~~~~~~~~~~~~~

œ# œ œ # œ

œ. ( œ )

Œ

ord.

p

First piston is slightly unscrewed – "clicking sound" Finger notes (do not blow air) Fingering: 1 0 1 0

44

b¿ p

¿

¿

¿

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

(simile)

¿

¿

Slowly, gradually accel.

¿

¿

¿

¿

¿(¿)

¿

with intensity ("winding up")

4 Ó 4

Œ

‰

ord.

œ œ #œ

≈

p

3

œ R p

ord.

4 Ó 4

Œ

‰

≈

Arrive on cue with full quintet

B. Tbn.

? 42

U

(tongue/blow air - no pitch) t

‰

j b¿ > ƒ

44

Œ

∑

28 Trombone cadenza, senza misura (q = c 60) Picc. in B-flat

Tpt. 2

Hn. in F

> œ & J ç

‰

Œ

‰

Œ

> # & œJ

‰

Œ

& j b¿ f ç

Tbn.

B. Tbn.

Ó

U

Ó

U

Ó

Freely, like revving an engine – ad. lib pitches (approx. given, following contour) Do not coordinate rhythmically with Bass Trombone

> b œ ? J ç ? ≈

U

‰

≈

j –.

gliss.

– >

f

– >

3

–

Freely, like revving an engine – ad. lib pitches (approx. given, following contour) Do not coordinate rhythmically with Trombone

j –. f

gliss.

– >

3

–

– >

6

–

–

gliss.

– – >

gliss.

b– >

–

#–

–

gliss.

>– gliss.

ƒ

– >

6

– gliss.

– >

–

–

gliss.

–

> – n–

3

>– 3

gliss.

ƒ

gliss.

¿ p

gliss.

19

II. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss

rall. al fine

29 Picc. in B-flat

&

Tpt. 2

&

Hn. in F

& "Driving away into the distance"

Tbn.

?

gliss.

#– p

–

–

n.

"Driving away into the distance"

B. Tbn.

? – p

b– n.

U

Œ

Transposed Score

III. Brillenbrillanz (SPECTACLES-LUMINOSITY) "The sudden, innervating clarity afforded by new glasses" (from the book Schottenfreude by Ben Schott) Eric Nathan (b. 1983)

Brilliantly q = c 92

Play with 1st valve slide removed until m. 97 (All pitches that sound out the removed slide are notated at the closest sounding tempered pitch.

Do not try to correct the tuning of these pitches unless indicated. All ordinary notes should be in tune. See Performance Note.)

4 w> &4 ƒ

Fingering: 0

Trumpet 1 in C (with 1st valve slide removed)

·.

1

Œ

p sub.

·

˙

1

0

p

f

·

˙

1

p

0

ƒ

3 œ 4 p

‚ ‚ ‚ ‚ 4 4 p

Œ

1

1

1

1

2 3

2 3

2 3

2 3

Play with 2nd valve slide removed until m. 97 (All pitches that sound out the removed slide are notated at the closest sounding tempered pitch.

Do not try to correct the tuning of these pitches unless indicated. All ordinary notes should be in tune. See Performance Note.)

> 4 w &4 ƒ

Fingering: 0

Trumpet 2 in C (with 2nd valve slide removed)

2 3

·.

p sub.

4 w> &4 ƒ

(ord.)

Horn in F

Œ

2 3

0

·

˙

p

∑

f

2 3

·

p

∑

0

˙

ƒ

2 3

2 3

2 3

2 3

2 3

43 ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 44 p p 3 4

∑

2 3

∑

4 4

Play with F-attachment tuning slide removed throughout (All pitches (ord. and V) are notated at sounding pitch try to tune V notes to the notated pitch as much as possible.

The trumpets will almost always be out of tune for sections that involve these pitches, but it will help to achieve the correct "out-of-tuneness" to have the trombone parts as in-tune to each other as possible. See Performance Note.)

Trombone (with F-attachment tuning slide removed)

?4 4

w>

ord.

ƒ

#·.

V

p sub.

Œ

#· p

˙

(ord.)

f

#· V

p

˙

(ord.)

ƒ

œ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 3 J ‰ 4 4 4 p p V

Play with D-attachment tuning slide removed throughout (All pitches (ord. and V) are notated at sounding pitch try to tune V notes to the notated pitch as much as possible.

The trumpets will almost always be out of tune for sections that involve these pitches, but it will help to achieve the correct "out-of-tuneness" to have the trombone parts as in-tune to each other as possible. See Performance Note.)

Bass Trombone (with D-attachment tuning slide removed)

?4 4

w>

ord.

ƒ

·.

V

p sub.

Œ

·

p

˙

(ord.)

f

·

V

p

˙

(ord.)

ƒ

Copyright 2016 – Eric Nathan. All rights reserved.

3 4

œ

p

‰

‚ ‚ ‚ ‚ ‚ ‚

V

p

4 4

21

III. Brillenbrillanz

6

[Tutti: Exaggerate all accents with removed slides]

4 >‚ >‚ . ‚ &4 ƒ

>> ‰ ‚‚ ‚ p ƒ

1 1

Tpt. 1

1 1

2 2 3 3

Tpt. 2

Hn.

>‚

?4 4 ?4 4

fÍ

>‚ >‚ ‚ . # >‚ >‚ . ‚ 2 J ≈ ‰ 4 ƒ p fÍ

# >‚

fÍ

1

‚ · ‚J 2 3

& ‚j b ‚ · p

‚

& ?

·

p

? ‚ p

·. π

4

‚ ‚. · J #·

1 2

U b ‚ 45 · π

∑ #·

#‚ ·.

5 U ·

1

·.

∑

(V)

B. Tbn.

‚

3

(V)

Tbn.

rit.

1

& ‚ p

2 4

‚ # >‚ >‚ ‚ . >‚ >‚ .

J ≈ 2 ‰ 4 ƒ p fÍ

3

Hn.

2 2 2 3 3 3

∑

1 2

Tpt. 2

2 3

4 &4

10

Tpt. 1

2 2 3 3

>> > ‰ ‚ ‚ ‚ . ‚ 42 ‚ ‚>‚ > > p ƒ f

(V)

B. Tbn.

1 1

4 >‚ >‚ . ‚ &4 ƒ

(V)

Tbn.

2 ‚ >‚ >‚ ‚ ‚ ‚ 4 p f Í 3

5 U 4 ∑ 5 4

U ·

π

5 ‚ 4

#U· .

π

1

1

2 3

4 >‚ >‚ .

4 2 2 2 3 3 3

‚‰ ‚ > ƒ ∑

4 4

U 4 Œ 4 Œ U 4 Œ 4 Œ U 4 Œ

p ƒ

4

1 1

p f

1 1 2 2

1 2 2 3

>> b‚ ‚. ‚

> >‚ . ‚

p f

ƒ

>‚ >‚ . ‚

U 4 # >‚ >‚ . ‚ Œ

ƒ

2 1 2 1 3 2 3 2

2 3

‚ ‰ ‰ ‚ b‚ ‚ ‰ b‚ ‚ ‚ > ‚ ‚.

J ‚ ‚ f P F

>‚ >‚ .

ƒ

1

‚ J‚

3

3

∑

f

3

p f

p

5 ‚ >‚ >‚ ‚ 4 p 1 1

2 1 3 2

·

‚ #‚ ‚ ‚ ‚ J

F

3

#‚.

3

#‚ · J

F

‚ >‚ .

>> ≈‚ ‚ ‚

‚ 44

1 2 2 3

> # >‚ ‚ ≈‚ ƒ

4 4

1 1

>> 5 4 ‚ ‚ b‚ ‚ p

> ‚ ‚.

5 4

∑

1

1

ƒ

1

2 1 3 2

4 4

>‚ >‚ . ‚ >‚ >‚ ‚ >‚ # >‚ ‚

>‚ >‚

>‚ # >‚ ‚ > # >‚ . ‚ > >‚ ‚ >‚ >‚ ‚ > ≈#‚ 5 #‚ ‚ ‰ 4 Í p f p f

# >‚ >‚

V

ƒ

1 2

# >‚ > #‚. ·

1 1

1

3

3

∑

V

4

2 2 2 3 3 3

F3

>‚ >‚ . ‚

4

U 4 Œ

p F3

> > ‚ ‚ # >‚ ‚ ‚ ‚ ‚ >‚ . ‚ ‚ ‚

# >‚ > #‚ 4 ‚ ‰ 4 ƒ ƒ 13

2 3

1 1 1

∑

4 4

ƒ

‰ ‚ ‚ ‚J ‚ ‚ ‚ ‚

1 1

p

ƒ

4 ‚ 4 ‚ ‚ >>> ƒ

>‚ >. #‚

>‚ > ‚. ‚ f

‚

1 1

‰

>‚ >‚ ‚ . >‚

p f

p f

5 4

Í

ƒ ƒ

≈ 44 ≈ 44

22

III. Brillenbrillanz 1

1

1 1

1 1 1

4 >‚ >‚ . ‚ ‚ ‚ &4

Tpt. 1

ƒ

2 3

Tpt. 2

Hn.

p

1 2 2 3

4 &4

Hn.

Tbn.

B. Tbn.

2 1 2 3 2 3

f

2 1 2 3 2 3

2 1 3 2

p

f

4 Œ >‚ >‚ . ‰ >‚ >‚ ‚ >‚ >‚ &4 ƒ p f 1 1

1 1

1 1

1 1 2 2

2 2 3 3

4 Œ b >‚ >‚ . ‰‚> >‚ ‚ >‚ >‚ &4 ƒ p f 4 b w> &4 Í

?4 Œ ‰ 4 ?4 Œ ‰ 4

>‚ >‚ ‚

V

ƒ

# >‚ >‚ ‚ V

ƒ

F3

2 2 3 3

3

‚

f 3

>‚ >. ‚

# >‚ > ‰ #‚ ‚ ‚ p f

?4 Π4

1 1

‚ N‚ ‚ ‚ ‚

‚b‚ ‚ ‚ b‚

3

1 1 1 1 2

‚

‚ J ‚ ·.

3 P

2 2 1 3 3 2

2 3

F

>‚ >‚ .

f

>‚ >‚ .

f

‚‚

p

‚

f

· Ó π

b·

Ó

#‚ ‚ J

‚.

p

‚ ‚. #‚.

‚ >‚ ‚ ‚‰ J‚ ‚ ‚ 3 ƒ

‚‰ ‰ ‚ b‚ ‚ ‰ ‚ > ‚ ‚. J

2 2 22 3 3 33

2 3

œ ‰Œ J

Œ

>‚ # >‚ . ‚

>‚ >‚ .

# >‚ # >‚ . ‚

ƒ

1 1

222 333

2 3

‚ ‚ >‚ > >

>‚ > ‚. ‚

> ‰ ≈ œr b ˙ > f Í

Solo – to the fore

‚ >‚ >‚

p f

a >‚ n >‚ ‚ ‰ ƒ ƒ

1 1

# >‚ N >‚ . ·

p f

·

π 1 1

4 4

3 UÓ Œ 4

4 4

3 U˙ ‰ ≈ r 4 4 Nœ 4 p p

Ó

3 UÓ Œ 4

4 4

Ó

3U 4 Ó Œ

4 4

2 2 2 3 3 3

1 2

3

1

2 1 2 3 2 3

1 2

3

·

3

‚

2 3

b‚ ‚ ‚ ‚ ‚ J‚ ‚ 3

œ ≈ b >w œ > f Í

œ

1

3

3

‚ ‚ # ‚ >‚ >‚ . ‚ ‚ ‚ ‚ 3

π

3 UÓ Œ 4

j j ‰ ‚ ‚ ‚J ‚ ‚ ‚ ‚ . ‚ ‚ ‰ Œ Ó

1 1

2 3

·

·

‚

1 1

w

·

‚ ‰ >‚ >‚ ‚ > >‚ >>‚ . ‚ ‚ ƒ fÍ 3 ƒ 11

· π

Ó #˙ π

·

p

2 3

Solo – playfully, as if telling a story

∑

·.

>‚ >‚

· p

1 2

‚ ‚ ‚. j ‚ ‚ · p 3

∑ ‚

f

1 1 2 2

Tpt. 2

F

‚. ‚ ‚ > ‚ b‚ > f F

>‚ >. #‚

?4 Π4

21 Tpt. 1

2 2 3 3

N‚

∑

(V)

B. Tbn.

1 2

4 >‚ # >‚ >‚ ‚ >‚ ‰ &4 f

(V)

Tbn.

f3

3

b‚ ‚ ‚b‚ ‚ ‚

1 1 1 1 1 1 1 2 2

‚ ‚ ‚ ‚

15

‚ N‚ ·.

p

j‰ Œ Ó ‚ p

5 4

b˙

5 4

˙ ‚ J‰ Œ p

5 4

F

espress.

∑

5 4

‚ J ‰Œ Ó p

5 4

23

III. Brillenbrillanz

rit.

5 &4

Tpt. 1

Tpt. 2

Hn.

Tbn.

B. Tbn.

5 &4

∑

?5 4

Hn.

? 45

1 2

1

1

3 ‚ &4 ‚ ‚ ‚ 3

b‚ 2 ‚ b‚ ‚ ‚ 1

3

1 2

f

1 1

‚ ‚ 44 ‰ N ‚

p

2 1 2 2 1 2 2 1 2 2 3 2 3 3 2 3 3 2 3 3

2 3

‰ N‚

pf

2 2 3 3

2 3

p

1 2 2 2 3 3

b‚ b‚ 1 2

1 2

1 1 1

f

2 3

‚

# >‚ >‚ . ‚

3 &4 Œ

> ‰ ‰ b œJ œ 3 f

# >‚ >‚ . ‚ ?3 J ‰ 4 p f

‚

b >œ 4 4 œ 4 4

? 3 ·.

4 p

4 4

‰

‚

# >‚ >‚ .

p

f

#·

1 2 2 2 3 3 3

f

p

2 3

p

1 2

# >‚ >‚ . ‚ f

‚ ‚‚ ‚

2 3

p

V

1 1 1 1 1 1 2

‚ ‰ ‚

>‚ >‚ ‚

2 3

f

1 2

p

‰

j b >œ œ > · p

œ

3

1 2 2 3

2 3

f

‰

3

43

2 3

œ

p

4 ·.

4

1 2 2 3

2 4

· ‚

#‚ p

43

p f 1

2 œ.

4 2 4

‚ # >‚ >‚ ‚

f

‚ ‚ 42 ‚ ‚ . p

3 4

p f

# >‚ >‚ ‚

1 1 1

2 3

‚ 43

1 2 2 3

‚ >‚ >‚ ‚

f

3 ‚ ‚ 2 3 ‚ 3 ‰ b‚ ‚ ‚ b‚ ‚ ‚ ‚ ‚ 4 ‚ b‚ ‚ ‚ b‚ ‰ ‚ ‚ &4 4 ‚ b‚ ‚ ‚ ‚ ‚ 4 ‚ ‚ 3 p p p p p f f f

Solo – to the fore

p

‚

‚ b‚ ‚ ‚ b‚ ‚ ‚ 43 ‚ ‚ 3 p f p

V

44 Ó

∑

b‚ ‚

1 1 1 1 2

∑

4 Ó 4

∑

42

∑

(V)

B. Tbn.

2 4

1 1 1 1

>> ‰ ‚ ‚ ‚.

4 Œ >‚ >‚ . ‚ ‰ >‚ >‚ ‚ 4 f p f

∑

‚ ‚ b‚

1 1 1 1 2

5

∑

44

∑

(V)

Tbn.

4 4

2 2 3 3

24 ‰ N œ œ 44 b w> bœ œ >> Í P

4 bœ œ ˙. bœ 4 - bœ p

∑

p

Tpt. 2

œ≈

U

3

>> 4 Œ #‚ ‚. ‚ 4 f

1 1

3 3

∑

2 4

∑

1 1

2 2

2 4

∑

4 4

œ ≈ > b >˙ .

5 &4 œ

31

Tpt. 1

4 4

∑

26

29 a tempo

accel.

4 4 ·.

1

>‚

Í 1 2

> b‚

Í

3 3 4 ‰ 4 ‰ œ bœ ‰ j bœ b œ f F bœ p p > ·. #‚ 4 4 Í

4 4

·.

# >‚ Í

24

III. Brillenbrillanz

35

Tpt. 1

Tpt. 2

Hn.

&

·

Œ

& · & bœ œ bœ ?

bœ œ œ 3

·

Œ

(V)

B. Tbn.

?

·

Œ

39 q = c 92 Tpt. 1

Tpt. 2

Hn.

2 &4 2 &4

2 &4 Œ

Í 1 2

> b‚

Œ

(V)

Tbn.

>‚ 1

∑ ∑

Í F

‰ # >‚

Tbn.

B. Tbn.

?2 4

∑

·

· bœ ˙

3

>‚

4 Ó 4

4 Ó 4 4 Ó 4

Í

>· 1

Í

>2 b· 1

Í

·

>·

·

# >·

·

V

Í V

Í

· ‰ ‚ J Í 1

2 3

· Œ

Ó ƒ

U

Ó ƒ

U ˙

>˙ .

Í

· ‰N‚ J Í

·

U

·

U

Œ

π

‚ >‚ J‰ Í ‚ # >‚ J‰ Í

· ·

b œ- b œ b œF

Ó ƒ

‚ ‰ J ·. Í> 3 ‚ ‰ >· .

J Í 2

œ b >œ J‰ Í

∑

2 4

U

42

œ- b ˙ U

U-

˙

2 4

p

∑

2 4

U

2 4

∑

1

· ˙

rit.

Ó ƒ

·

U

∑

cantabile

·

Í

4 Ó 4

˙

38 Freely

U

3

·

Í

>w b œ 4 ‰ bœ bœ 4 Nœ Í p ∑

·

j bœ œ bœ bœ p

playfully

?2 4

·

1

w ‚ >· .

J‰ Í ‚ # >· .

J‰ Í

·

45

·

∑ ∑

œ ‰ Œ Œ ‰. r bw J œ p · ·

∑ ∑

25

III. Brillenbrillanz

46

Tpt. 1

&

1

·

0

Hn.

Tbn.

B. Tbn.

& · p & ?

?

3

w

π

·

p

Hn.

Tbn.

B. Tbn.

3

V

·.

b· p

>œ ‚ . ‚ 1

f

‚ >œ ‚ ‚

2 3

0

f

3

& 44 w ?4 4

‚

?4 · 4

>œ ‚V · .

J

U ·.

V ‚ b >œ ‚ ‚ (ord.)

f

0

p

2 3

‚

‚ >œ ‚ · f

3

p

>œ ‚ · .

J

‚ >œ ‚ ‚ V

f

p

f3 ·.

‚ œ ‚ ·

·

F3 p

‚ >œ ‚ · .

·

V

F

V ‚ >œ ‚ · (ord.)

f

p

p

Ó π Ó π

˙ Ó π

(ord.)

V

(ord.)

2 3

w

(ord.)

V

Œ

b œ ‚ U‚ J Œ F3 π

· 0

∑ ∑

b w>

Í

∑

(ord.) V

·

>œ ‚ · J 3 f p

2 3

π

50 a tempo

Œ

Œ ∏

‚

p

Œ

π

rit.

1

w (ord.)

·.

U ˙.

>œ ‚ ‚ J f3 p 0

1

U

w

·

p

·

p

4 ‚ >œ ‚ · &4 3 f p

V

b >œ ‚ .

V

f

4 · &4

>œ ‚ · J f3 p

f3 p

p

(ord.)

0

2 3

(ord.)

(ord.)

f

0

‚

p

f

3

V

2 3

>œ ‚ U· J f3 π 0

p

‚ >œ ‚ ·

‚

V

f

‚ >œ ‚ ‚

w

0

Tpt. 2

0

p

f

52

Tpt. 1

2 3

‚ >œ ‚ ‚

2 3

Tpt. 2

‚ >œ ‚ ·

·.

p

rit.

0 1

(ord.)

‚œ‚ ‚ · V

F3 p

Ó π Ó π

∑

3 ·.

4 p

∑ #˙ N˙

p Í

espress.

∑ ∑

4 4

2 3

3 4 ·. p

4 4

3 ˙.

4

4 4

3 4

∑ ·.

V

3 4

56 a tempo

∑

1

p

1

4 4 4 4

·.

Π42

1 2

b·.

Π42

w

42

p p

π

·.

V

p

·.

V

p

Π42 Π42

26

III. Brillenbrillanz

F

·

p

4 w> 4 f

1

1 2

44 b w> f

0

2 · &4

Tpt. 1

1 2

Tpt. 2

& 42 b ·

Hn.

& 42 ˙

1

˙

58

b˙

∏

non cresc.

Tbn.

B. Tbn.

?2 4 ? 42

˙

·

F

·

4 4

p

˙

·

V

(ord.)

F

w>

44

p

w>

Tpt. 1

Tpt. 2

1 1 1 1 2 2

> ‚ >‚ ‚ ‚J ‰

& Ó

f

& Ó

Œ

N >œ ‰ Œ & J ƒ

3

p

2 2 2 3 3 3

j‰ Œ ‚‚‚ ‚ >f p> 3

Tbn.

B. Tbn.

Œ

? Œ

U

2 1 2 3 2 3

3

·

(ord.)

1 2 1 2 1 2 2 3 2 3 2 3

j >œ ‰bœ ‰ ‰ J ‰ Œ > 3 ç ç >‚ ‚ > >‚ ‚ ‚ ‚ J ‰ 3

3

U

Œ π

U ˙.

p

3

Œ

U

p

V

3

Ó.

U ˙.

p

> ‚ >‚ ‚ j ‚ ‚ ‚ ‚ ‰ > 3 3 F

1 2 1 2 2 3 2 3

π

·

3

U

Œ π

p 1 2

1

1 1 1 2 2

1 1 2

1 1 1 2 2

> ‚ >‚ ‚ j ‚ ‚ ‚ ‚ > 3

1 2

3

1 2 2 3

1 2

2 1 2 1 3 2 3 2

> > > ‰ ‚‚ ‚‚ ‚ ‚‚‚‚ 3

N >œ b >œ ‰ >œ ‰ Œ J ç ç >‚ ‚ >‚ ‚ ‚ >‚ J ‰ J ‰

>V‚ ‚ > > ‚ >‚ >‚ ‚ > >‚ ‚ > >‚ ‚ ‚ >‚ >‚ ‚ ‚ >‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ J ‰ J ‰ J ‰ J ‰ J ‰ J 3 3 3 3 3 3 F f

> ‰ ‚‚‚

3

1 2 2 3

> b‚ ‚ j ‰ ‚ ‚ ‚ b‚ ‚ ‚ >‚ ‚ >‚ ‚ ‚ J > > > F b‚

3

Œ

p

(ord.)

V

1 1 1 1 1 1 1 2 2 2 2

Œ

3 > Ó Œ b œJ ‰ ‰ ‰ œj Œ > ç ç >V‚ ‚ > >‚ ‚ > >‚ ‚ > >‚ ‚ > ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ?

J ‰ J ‰ J ‰ J ‰ 3 3 3 f 3 F

Solo - brazenly, with raucous bravura

Hn.

∑

2 3

œ ‰ Œ J p

F

64 Lively, quick, with energy q = c 144

U

1

˙

˙

f

U

p

F

(ord.)

1 2

b˙.

˙

f

p

b·

F

(ord.)

V

(ord.)

p

Œ π

˙

F

U

0

·

F

44 w> f

∑

U ˙.

1

˙

1

p

˙

·

0

b·

F

rall.

61 a tempo

molto rall.

1

3

3

b >œ

ç

‰ Œ

>‚ ‚ ‚ >‚ J ‰

>‚ ‚ ‚ >‚ J ‰ 3

N >œ

3

3

‰

>‚ ‚ ‚ 3

27

III. Brillenbrillanz

69 68

Tpt. 1

&

>‚

‚ > ‚ >‚ ‚ >‚ ‚ ‚ >‚ ‚ >‚ ‰ Œ ‚ ‚ ‚ ‚ ‚ J

1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2

3

3

3

3

1 1 2

f F3sub.

>‚ ‚ > ‚ >‚ ‚ > ‚ & b‚ ‚ ‚ ‚ ‚ ‚ Œ 2 1 2 1 2 1 2 1 2 1 2 1 3 2 3 2 3 2 3 2 3 2 3 2

Tpt. 2

3

Hn.

3

3

3

f

?

3

1

‚

F3

3

> b‚ ‚ ‚ ‚ ‚ ‰ ‚ >‚ J F>

3

f

# >œ ‰ J Œ ƒ sub.

1

Tpt. 1

2 2 3 3

Hn.

3

Œ

3

(ord.) >‚ >‚ ‚ # ‚ >‚ ? J ‰ >œ ‰ J ‰ J 3 ƒ F

V

B. Tbn.

3

1

3

3

> ‰ œJ Œ ƒ

Ó ∑

>‚ ‚ # ‚ >‚ J ‰ F3 V

>‚ ‚ # ‚ >‚ >‚ ‚ ‚ >‚ >‚ ‚ # ‚ >‚ ‚ ‚ >‚ >‚ ‚ ‚ J ‰ J ‰ J ‰ 3

> ‰ bœ J

Œ

1

0

3

V

ƒ sub. F

3

3

3

3

1

# >œ >œ

1 2

2 0

‚ ‚ ‚ >‚ ‰ ‰ >œJ ‚ ‚ ‚J > F sub. ƒ

> > > b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚

∑

∑

3

0

3

1 2 1 2 1 2 1 2 1 2 1 2 2 3 2 3 2 3 2 3 2 3 2 3

F sub.

3

3

3

3

f

b‚ b‚ > b>‚ ‚ >‚ ‚ ‚ >‚ ‚ ‚ j b ‚ ‚ >‚ ‚ ‚ >‚ ‰ (ord.) ‰ J b œj ‰ bœ > > 3 3 3 3 3 f F ƒ ƒ sub.

>‚ ‚ # ‚ >‚ (ord.) >‚ ‚ ‚ b>‚ > # œ J ‰ J ‰ J ‰ Œ 3 3 ƒ F V

1 1 1 1 1 2 2 2

2 2 2 2 2 2 2 3 3 3 3 3 3 3

∑

3

3

1

piercing, raucous

>‚ ‚ # ‚ >‚ ‚ ‚ >‚ >‚ ‚ ‚ >œ >‚ ‚ # ‚ >‚ ‚ ‚ >‚ ?

J ‰ J ‰ J ‰ 3

3

piercing, raucous

1 1 1 1 1 1 1 2 2 2 2

0

(ord.)

Tbn.

> bœ ‰ Œ J ƒ sub.

1

F3

1 1 1 1 2 2

>‚ >œ > ‚ >‚ ‚ j ‚ > ‚ >‚ ‚ > ‚ ‰ ‰ ‚ ‚ ‚ Ó ‚ ‚ ‚ ‚ ‚ ‚ J ‚ ‰ ‰ J > 3 3 3 3 ƒ sub.

3 3 ƒ sub.

F F 1 1 1 2

∑

&

F3

>‚ # ‚ ‚ >‚ >‚ ‚ ‚ # >‚ >‚ ‚ ‚ >‚ >‚ ‚ ‚ ‚ (ord.) b >œ J ‰ J ‰ J ‰ Œ 3 3 3 f 3 F ƒ sub.

1 1 2

2 2 2 2 3 3 3 3

Œ

∑

>œ ‚ ‚ ‚ ‚ ‚ ‚ ‰ & ‚ ‚ ‚ ‚ ‚ ‚ J Œ > > > > F ƒ sub.

3

Tpt. 2

2 2 2 2 2 2 3 3 3 3 3 3

> ‚ >‚ ‚ > ‚ ‚ ‚ ‚ ‚ ‚ 1 1 1 1 1 2 2 2

V

>‚

2

‚ & J ‰ Œ

Œ

Ó

3

>‚ ‚ ‚ >‚ ‚ ‚ >‚ ‚ ‚ >‚ ‚ ‚ >‚ ‚ # ‚ >‚ >‚ ‚ ‚ >‚ ?

J ‰ J ‰ 3 3 3 3 3 f 3 F 72

œ > ƒ sub.

> ‚ >‚ ‚ ‚J ‰ 1 1 1 1 2 2

piercing, raucous

(V)

B. Tbn.

3

∑

>‚ ‚ ‚ >‚ ‚ ‚ >‚ ‚ ‚ >‚ ‚ ‚ 3

1 1 1 2

2 1 1 2 1 1 3 2 2 3 2 2 3

(V)

Tbn.

1 2

∑

&

>‚ ‚ ‚

1 1

(ord.)

V

(ord.) #‚ >œ >œ A >‚ ‚ # ‚ # >œ ‰ Œ 3 ƒ sub. ƒ F (ord.)

V

aœ œ œ œ œ œ F

3

3

28

>œ >‚ ‰ & ‚ ‚ J Œ ƒ 3 f

> ‚ >‚ >‚ ‚ ‚ ‚ ‚‚ ‚ ‚ œ Œ > 3 3 3 F ƒ 1 0 1 2 1 2 1 2 0 1 1 2 1 1 1 2 3 2 3 2 3 2 3 2 2 >œ A >œ > > >œ > > > > J & b œ ‰ A ‚ ‚ ‚ ‚ ‚ ‚ ‰ œ Œ b ‚ ‚ ‚ ‚J ‰ ‰ 3 ƒ ƒ sub. F 3 f3 f ƒ

76

Tpt. 1

Tpt. 2

Hn.

Tbn.

B. Tbn.

III. Brillenbrillanz 1 1 1 2 2

0

1 1 1 2 2

1 1 1 1 1 1 2 2 2 2

∑

& ? Œ

1 2

0

∑

3 >œ > > bœ ‰ œ œ œ œ œ œ œ œ œ œ œJ ‰ J ‰ Œ

p3

? ‚ ‚ ‚ ‚ ‚ ‚ ‰ >œ œ Œ 3 3 F ƒ sub.

3

Œ

∑

2

2 3 3

0

b œ # >œ # >œ >œ > Í f 3

(ord.)

3

3

> b >œ # >œ # >œ . œ

‰

f

0

1

Ó

3

Œ

œ # œ # >œ >œ > > f Í 3

œ >œ >œ > f 3

3

> b N œ œ >œ > œ > f Í

œ # œ # >œ >œ > > f Í

2 2 3

> œœ œ œ >> > f Í

Ó

3

‰ œj œ œ œ b œ œ œ œ œ œ œ œ b >œ # >œ . > > > ƒ p sub. f Í 3

2 3

3 3

Œ

ƒ

3

∑

Ó

(ord.)

ƒ

78 Driving forward

‰

Í

3

‰

œ >œ # >œ >œ . > Í f 3

# œ # >œ >œ > f 3

j ‰ # œ b œ œœ >> > > f 3

83 Brilliantly clear!

80

Tpt. 1

Tpt. 2

Hn.

Tbn.

B. Tbn.

2 3

& #œ Í & Ó &

b w>

>œ > > > > > # œ œ œ b œ b œ œ 3 Œ œ œœœ 4 # œ b œ œ 3 3 œ 3 p ƒ 3

0

3

2 3

2 2 3 0 0 3 3

3 3 0 1 1 3 3

2 3

3

2 2 3 3

0 0

2

1

2

1

2

1

3

1

>> > > > > œ 43 œ œ œ œ œ œ Œ œ œ œœœ 3 3 p ƒ 3

3

3 ˙ 4

Í

ƒ

Œ

>œ >œ b >œ # >œ > > > > > > œ œ ? œ œ bœ #œ ‰ œ œ œ œ œ #œ 3 Œ 4 J 3 3 3 3 3 ƒ p sub. ? Œ

N >œ 3 3 > > > > > # œ œ 3 # œ bœ œ Œ œœœ œ 4 # œ œ # œ b œ œ 3 3 p sub. ƒ 3

1

5 ·> 4 Í 1 2

5 > 4 b· Í

‚ ‰ J f ‚ ‰ J f

(fully extend 2 3rd slide) 1 3 (3rd of chord)

3 >˙ .

4 ƒ 3 4

>·

p Í

triumphantly 1

b >˙ . ƒ

p Í

5 Œ ‰ b >œ œ b œ 3 >˙ b >œ œ 4 J b œ N >œ >œ > > 4 ƒ Í Í F ·>

5 4 5 4

Í

N ·> V

Í

‚ J ‰ f ‚ J ‰

f

> b·

triumphantly

Solo - to the fore, heroically

V

1 2

3 >˙ .

4 ƒ

(ord.)

>·

V

p Í

triumphantly (ord.)

3 4 b˙. > ƒ

œ

triumphantly

>·

V

pÍ

‚ ‰ J f

2 4

‚ ‰ J f

2 4

bœ bœ 2 b œ >œ >œ > > 4 f ‚ J ‰ f ‚ J ‰ f

2 4 2 4

29

III. Brillenbrillanz

>˙3

Tpt. 1

2 &4

ƒ

3 >· 4 p Í

Tpt. 2

2 # >˙ &4 ƒ

3 >· 4 p Í

85

1

(root)

3 (3rd of chord)

Hn.

2 N >˙ &4 ƒ ? 2 >˙ 4 ƒ

p

(ord.)

Tbn.

p

(ord.)

B. Tbn.

?2 4 ˙ ƒ> 3 >˙ &4 ƒ

90

Tpt. 1

2

Hn.

Tbn.

B. Tbn.

2 3

‚ ‰ J f

3 4 Œ

#œ F

>·

3 4

>˙ 1

ƒ

Í >·

‚ J ‰ f

V

Í 2 3

j ‰ œ ‰ 44 # œ ˙ œ J > p ƒ non cresc. p

(ord.)

92

3 &4 ˙ ƒ> ? 3 >˙ 4 ƒ

œ ‰ 44 œ œ ˙ J > p ƒ p

?3 4 ˙ ƒ>

j ‰ 44 œ œ œ ˙ > p ƒ p

1

‰

ƒ

> ˙

ƒ

>œ ‚ .

‚

Œ

> ‰ bœ ‚ ‚

0

Í

1

# >œ ‰ Œ J f j œ ‰ Œ f j ‰ Œ œ f

1 2

Í

Œ Ó Ó

‰

3 4

p

3 4 # œ N œ b œ # >œ > > >

2 # >œ .

4 ƒ

‰ p

3 4

œ ‰ J p

2 4 œ. ƒ>

‰ p

3 4

1

> ≈ œ ‚ ‚J ‰ Œ Í 0

Œ

Í

1

3 4

œ J ‰ p

> ≈œ ‚ ‚ 0

2 >œ .

4 ƒ

2 # >œ œ b œ >œ > 4 > f ƒ

>˙

‰ p

1 3

3

ƒ

3

2 3

œ ‰ J p

ƒ

j ‰ œ p

˙ >ƒ

3 4 >œ œ œ œ bœ #œ œ œ >œ >œ > 4 œ #œ 3 f> ƒ F

ƒ

j œ ‰ p

˙ >ƒ

j œ ‰ 4 >œ ˙ œ ‰ 4 J p ƒ p non cresc.

>˙

f

(ord.)

0

œ J p

2 # >œ .

4 ƒ

œ J ‰ p

2

> > > > bœ #œ #œ N˙

>˙ N b œ œ >œ > > ƒ

‚ J ‰ f

j œ ‰ p

# >˙

(3rd of chord)

3

V

3 4

˙ > ƒ

3 &4 ˙ ƒ>

0

Tpt. 2

p

‚ ‰ J f

3

1

> ‰ œ ‚ ‚

Œ

+ + + > > ‰ œ œ œ

> ‰. œ ‚ R Í

Œ

Ó

0

2 3

Í

Í

‰ Ó

0

V # >œ ‚ ·

2 3

‰

Í

# >œ ‚ .

V

Í

‚

>œ ‚

(ord.)V

Í

30

III. Brillenbrillanz

>œ ‚ ≈ & Í

‚ J

Tpt. 2

& Œ

> bœ ‚.

Hn.

+ > & œ Í

0

94

Tpt. 1

1

‰

1

+ >. œ

Π1

B. Tbn.

?

‚ ‰ J

Œ

p

# >œ ‚ ‚

‰

‰

∑

>œ ‚ ‚

(ord.) V

Œ

Í

Hn.

Tbn.

B. Tbn.

& Ó

b œ n œ # >œ >œ f> > Í

?

> ‰ bœ bœ nœ #œ f> > > Í

œ # œ >œ b >œ > . > f Í

œ b >œ n >œ # >œ > Í f

p

j ‰ œ b œ n œ œ >œ . > >> Í f 3

> œ ‰ b‚ J f p

> U œ ‰ Ó J f

>œ J Œ f

(ord.)

3

œ >œ b >œ # >œ > Í f

0

1 2

f

p

# >˙ Í

‚.

V

>œ J Œ f 4 4

Œ

‚

V

4 4 œ

>œ J ‰ UÓ f

(wait for trumpets (ord.) to insert slides)

(wait for trumpets to insert slides)

U

Ó

œ >œ œ #œ >> > f Í 3

3

bœ b œ >œ >œ > > f Í

4 >œ œ # œ >œ > 4 > f Í

>œ U J ‰ Ó f

(ord.)

p

3

(wait for trumpets to insert slides)

‚ >œ Œ f

‚

4 œ 4

3 4 œj ‰ b œ # œ b œ œœ > > > > Í> f

p

V

4 Π4

∑

1 Insert 2nd valve slide

œ

œ J Œ f

(ord.)

0 Insert 1st valve slide

1 2

(ord.)

p

>œ ‚ . ‚ ‚.

J ‰ Í p

3 4

1

ord.

(ord.) V

3 œ ‰ 3 N œj ‰ Œ 4 J # œ # >œ # >œ > f

‰

p

Ó

> j ‰ 43 # ˙ . œ f Í

3

3

3

3

˙.

(ord.)

? Œ

>œ œ œ œ >f > > Í

>œ b œ œ œ >f > >

#œ #œ œ œ > >> f > Í

‚ >œ ‰ b ‚ ‚

> œ b œ b œ œ 43 # œJ ‰ Œ f

3

3

3

‚

ord. (finger normally)

Œ

∑

&

‚

# >œ ‚ ‚ ‚ .

J ‰ ‰ Í p

ord. (finger normally)

Tpt. 2

2 3

(ord.)V

Í

> ‰ #œ ‚ ‚ Í

&

>œ Œ J f 0

·

>œ U J ‰ Ó f

1

Ó

∑

(ord.) V

? Œ

p

‚.

‰

0

‚.

2 3

(ord.) V

98 Tpt. 1

‚ J

>œ J Œ f

1

Ó

(V)

Tbn.

1 2

Í

+ œ

1

Í

> . œ ‚

1 2

Í

‚

>œ ‚ .

0

b œ # >œ # >œ >œ Aœ œ œ > Í p f 3

Œ

3

˙>

Í

Œ

Ó

Œ

Œ

3

œ bœ #œ p

31

III. Brillenbrillanz 3 b œ >œ >œ # >œ >œ >œ # >œ œ œ & #œ #œ œ 3 3 3 ƒ

102

Tpt. 1

>œ >œ >œ œ & #œ J œ œ bœ œ œ 3 ƒ 3

Tpt. 2

Hn.

Tbn.

B. Tbn.

&

˙

œ J

p

?

>œ > > > > > # œ œ # œ bœ œ #œ œ œ œ œ œ 3 3 ƒ œ œ bœ bœ bœ J

Nœ & bœ bœ œ Œ

Tpt. 2

j & b œ ‰ b œ œ b œ A œ b œJ

B. Tbn.

& ? ?

ƒ

3

3

3

œ

#˙ > #˙ >

‰

œ bœ bœ bœ

Œ

b˙. > œ

‰

3 4 Œ

3 4 # œ # œ œ œ œJ F f

3 œ # œ œ œ 4 b œJ ƒ

3

3

3

Tpt. 1

Tbn.

‰

>œ b >œ # >œ > œ > > ? œ œ bœ #œ œ #œ œ œ

105

Hn.

‰

3

>œ œ bœ œ #œ #œ J ‰ ƒ F 5

‰

‰

Œ

104 Joyous – feel in 2

4 Ó 4

b œ œ b œ b œ b œJ p

>œ J ‰ ƒ

4 Ó 4

Œ

Œ

4 4 ˙ ˙ > > ƒ singing out, to the fore

43

∑

44 Œ

3 4

∑

4 Π4

Nœ bœ bœ œ Œ

Ó

Œ œ œ bœ bœ œ J p ˙ > ƒ

‰

b˙ >

Œ

> Œ #˙

Œ

Œ

ƒ

#˙ > ƒ

‰

#˙ #œ > > ƒ singing out, to the fore

bœ

˙ > œ > œ >

œ

œ

bœ bœ œ bœ p

#˙ #œ > > ƒ singing out, to the fore

œ Nœ #œ #œ Œ

j N œ # œ # œ #œ œ

‰

œ #œ #œ œ œ J ‰

j ‰ bœ bœ œ bœ 3 4 bœ bœ œ bœ 3 4

b˙ > #˙ > #˙ >

3 4

œ > œ >

3 4 3 4

32

III. Brillenbrillanz

Tpt. 1

3 &4 Œ

Tpt. 2

& 43 Œ

108

Hn.

Tbn.

B. Tbn.

#œ #œ #œ œ #œ J Œ

4 œ #œ #œ #œ #œ 4 J p

3 & 4 ˙. > ?3 4 ?3 4

œ

œ

œ œ œ #œ Œ

j & # œ ‰ # œ œ # œ œ œJ ‰

B. Tbn.

? ?

#œ #œ #œ #œ Œ

#œ œœœœ J

˙

œ F

˙

˙

œ F

˙

œ F

‰

#˙ ƒ

˙ f

˙ ƒ

#˙ f

˙ ƒ

cantabile, but still powerfully

Œ

F

#œ #œ #œ #œ

#œ #œ #œ #œ

cantabile, but still powerfully

F

Œ

Ó

b˙ f

Œ

˙ >

Œ

œ œ # œ # œ # œJ ‰ Œ

‰

F ˙ >

#˙

b˙

#œ #œ #œ #œ #œ J Œ

4 4 œ

#˙ >

Tpt. 2

Tbn.

Œ

4 œ 4

#˙ >

& #œ œ œ #œ Œ

&

‰

j œ ‰

Nœ Nœ #œ #œ

4 4 b˙. >

Tpt. 1

111

Hn.

4 œ # œ # œ # œ # œJ ‰ Œ 4

‰

cantabile, but still powerfully

Œ

j ‰ œ # œ # œ #œ #œ

œ œ œ #œ

#œ œ œ œ #œ J ‰ Œ

Ó

œ œ #œ #œ Œ

Œ

˙. ƒ

Œ

F

N˙.

Œ

Œ Œ

#˙ f ˙ f ˙ f

ƒ

˙. ƒ

F F

Œ

33

III. Brillenbrillanz

Nœ œ bœ œ Œ

3 2 Nœ #œ #œ œ Œ

Tpt. 1

& Ó

Tpt. 2

3 & Œ # œ # œ œ œ N œJ ‰ N œ b œ n œ # œ 2 Œ

114

Hn.

Tbn.

B. Tbn.

& ? ?

118

Tpt. 1

Tpt. 2

Hn.

Tbn.

B. Tbn.

& &

#˙ f

˙

˙ f

Œ

p

˙.

Œ

p

?Œ ?Œ

œ œ. ˙ >> p f œ œ. ˙ >> p f œ œ. ˙ >> p f

bœ bœ

#˙

3 2

b˙

˙.

Ó

˙

p

b˙ p

Œ bœ f f-

‰

Œ

3

œ. p

œ œ- f f

‰ . œ p

Œ œf f

‰

Œ

œ. p

b œ-

˙b ˙-

3

3

3

3

œf f

˙ N œ A >œ A >œ > > Í f

b˙.

3

œœ-

˙-

3

˙-

3

˙-

3

3

œ-

œ-

œ- Œ œ œ- 3

œ- Œ œœ3

œ- Œ

œ3

œ-

œ bœ >> ƒ

3

4 Ó 4

Œ

Œ

4 Ó 4

Œ

Œ

4 Ó 4

Œ

œ b >˙ . > fÍ

> œ œ ˙. >œ > > ƒ fÍ 3

Œ

>œ >œ .

f

>> Œ bœ œ. f

˙

Œ

œ- Œ 3 œ- b >œ >œ > b >˙ . œœ ƒ 3 fÍ

b œ- Œ

˙

4 b >œ >œ . ˙ .

4 f p

3

b˙.

3 Œ œ œ f f

˙

œ bœ Œ

˙.

3 2 ˙

˙

˙ f

&Œ

3 2

116

>œ b >œ >œ 4 >œ >œ . ˙ . b N œ aœ œ 4 >> > 3 f p F 3

Nœ œ. w >> p f œ œ. w >> p f œ œ. w >> p f

122

w

3 4

w

3 4

‰

> œ Nœ #˙ #œ œ > > > F> Í

3 4

5

>œ >œ >œ >˙ .

œ.

‰ Ó

3 4

> >œ > >˙ . œ œ

œ.

‰ Œ

> b >œ 3 4 bœ

ƒ ƒ

3

3

fÍ fÍ

F

34

III. Brillenbrillanz

Tpt. 1

3 &4 ˙

Tpt. 2

& 43 ˙

123

Hn.

Tbn.

B. Tbn.

Hn.

Tbn.

B. Tbn.

Œ

44

?3 Π4

b >œ w > œ > > > b œ 4 bœ bœ 4 3 Í F

> ? 43 >œ N >œ b œ ˙

˙

œ ‰ Œ J π

&˙

œ ‰ Œ J π

˙

œ ‰ Œ J π

&

& ?

∑

> ? œ bœ Í

gliss.

5

129 In 4

Ó

#w > Í Ó

4 w 4

w

42 ˙

44 w

w

2 ˙ 4

4 w 4

w V V b >œ œ. >‚ # ‚ >œ œ. >‚ # ‚ (ord.)

2 4 ∑

44 w

Í

125

2 >˙ œ œ # >œ >œ # >œ > 4 > Í f

bœ œ ˙ œ œ bœ > > > > > Í F

4 w 4

128

Tpt. 2

4 Ó 4

3 ˙. &4

3

Tpt. 1

Œ

5

24 ˙

4 Π4

f ∑

Œ

43 # œj ‰ a œ # œ œ œ œJ œ œ œœœ f

ƒ

5

b >œ œ œ œ > > > ƒ fÍ (ord.)

3 # >œ ‰ J ˙ œ # >œ # >œ > ƒ > ƒ fÍ

‰

3

‰

3 4 œJ

‰ #œ F

3 4 œ

Œ

F

ƒ

4 >œ Œ Ó 4 ƒ

gliss.

Nœ

44 >œ Œ Ó 4 # >œ Œ Ó 4 ƒ

œ

N˙

f

>œ œ n œ # œ œ 44 Œ Ó

∑

gliss.

(ord.) gliss.

b >œ œ. >‚ # ‚ >œ gliss. gliss.

Œ

bœ 43 œ œ œ œ J

3 4

Ó V

44

f

Œ

4 4

œ > ƒ

Œ Ó