Nørgård BACH TO THE FUTURE REDUCES VERSION

020211

EDITION WILHELM HANSEN WH 31279

Per Nørgård

BACH TO THE FUTURE FOR

TWO PERCUSSION SOLOISTS AND

TEN INSTRUMENTS 2010

Score

I

Commissioned by and dedicated to Safri Duo

Per Nørgård

BACH TO THE FUTURE 1996-97

Concerto in three movements based on Preludes by J.S.Bach for

Percussion Duo and Orchestra

Reduced Version 2010

by Steve Ferre, approved by the composer for Percussion Duo (unchanged) and Ten Instruments WW5 + STR5

Full Score

Duration: ca. 20 min.

II

Ensemble 1 Flute dbl. Picc. and Alto Flute in G 1 Oboe dbl. Cor Anglais in FY 1 Clarinet in B dbl. Bass Cl. in B 1 Bassoon 1 Horn in F

Percussion Duo Soli see next page for details

1 Violin 1 1 Violin 2 1 Viola 1 Violoncello 1 Doublebass

The score is written in C

III Percussion Solo 1 Vibraphone

Marimba

Steel Drum

Vibr.

Mar.

St. Dr.

6 Drums: Metal Wind Chimes

3 Cymbals

M.W.Ch.

Cymb.

2 Rototoms

2 Deep Drums

2 Octabands

4 Tomtoms (nature-skin)

Log Drum

Tomt.

Log Dr.

Percussion Solo 2 Vibraphone

Marimba

Tubular Bells

Crotales

Glockenspiel 15

Vibr.

Mar.

Tub. B. (Chimes)

4 Octabands

4 Tomtoms

Military Drum

Octa.

Tomt.

Mil. Dr.

Crot.

Glsp.

Note on rehearsing solo parts It is recommended for the percussionists to prepare for the realisation of the 2. mvt. by studying and, possibly, performing my piece for percussion duo, REPERCUSSION (the 2. mvt. of ECHO ZONE, three movements for percussion duo).

It is also recommended to start the part of a concert in which BACH TO THE FUTURE is programmed with a performance of ECHO ZONE, since the logistics of positioning and removing the large percussion set-up requires a considerable break (i.e. an intermission, really). The percussion set-ups for ECHO ZONE and for BACH TO THE FUTURE are (almost) identical.

Per Nørgård

For further information, see the final pages of this score where you will find a facsimile of the original introductory pages, as well as samples from REPERCUSSION.

BACH TO THE FUTURE has been recorded on CD

by Safri Duo (Uffe Savery and Morten Friis) and the Danish National Radio Symphony Orchestra conducted by Thomas Dausgaard on the label CHANDOS (Chan 9645)

IV

Per Nørgård BACH TO THE FUTURE Concerto in three movements based on Preludes by J.S. Bach for percussion duo and orchestra/ensemble Preface / Programme Note For many years I have been specially fascinated by three of the preludes from Book 1 of Bach’s WELLTEMPERED CLAVIER and I wanted this “concerto version” for percussion duo and orchestra to highlight some of the structural aspects of these pieces. It is my belief that there is a characteristic of music history that allows certain germs of an earlier period to unfold into new, but not heterogenous, dimensions of a later (perhaps even by several hundred years) phase of the tradition.

This concerto is the result of several years of collaboration with the two percussionists Uffe Savery and Morten Friis, together the Safri Duo, in original compositions and also in arrangements of the three Bach Preludes, preparing for the enormous stylistic challenges of this work. The concerto was commissioned by and is dedicated to the Safri Duo. Movement I, C major Prelude The “archetypal” sequence of broken chords within C major has established itself almost as a cultural code, giving the composer of today the opportunity to tell his tale-in-tones by stressing and “colouring” the notes in the original piece without changing the pitch or (relative) durations. It is a “palimsest” containing both the old and the new musical tales simultaneously. Later in the movement the single line is multiplied by the till then discreet, but permanently pervading proportion running through the piece, which is very close to the Golden Section (3:5:8, that is, 8 notes before repetition, 5 notes before starting anew from the deepest note, and 3 notes as the rest, unchanged). The three tonal levels as well as the three relative speeds are treated according to these proportions for certain passages, but even in these the main focal point is directed at the freely invented (by me) melody incarnating itself solely through the unpermutated sequels of the original prelude.

Movement II, F sharp major Prelude One single feature of this prelude pervades the second movement which lasts around five minutes. A rhythmic pattern (6:4:3:2:3:4:6, an “hourglass”-shaped timeshape) inspired me and new and old elaborations of this palindrome permeate the movement.

Movement III, D minor Prelude Without the existence of the D minor Prelude I doubt that I would have dared to write this concerto. This Prelude has an inexhaustible, rare quality and peculiarity which has stimulated my feeling of wonder and “modernity” (or perhaps “eternity”). In one special respect I know of no equal: there is a perpetual ambiguity of “melodic footholds” in the rhythmic ostinato of a broken desending triad which continuously lends one of its three possible positions in time to simple, melodic forms that vaguely capture, more or less irresistably, the listener’s attention.

By this threefold “Hommage á J.S. Bach” I wish to join the ranks of composers who have already presented offerings to their great predecessor, himself being the unsurpassable offerer.

Per Nørgård

V

For further information about the composer, visit the website of Edition Wilhelm Hansen:

www.ewh.dk where you will find: list of works programme notes recording information relevant electronic updates performance calendar links news and much more ...

VI

Per Nørgård BACH TO THE FUTURE for Percussion Duo Soli and Orchestra / Ensemble

I. C major Prelude page 1 II. F sharp major Prelude page 52 III. D minor Prelude page 78

BACH TO THE FUTURE for percussion duo and ensemble Poco Allegro e comodo (

= c. 120)

Per Nørgård, 1997

I

Flauto (in Sol)

Oboe grazioso, con umòre

Clarinetto (B )

Fagotto

con sord.

Corno (F)

Vibr.

Percussione 1 Solo

Mar. Percussione II Solo

Poco Allegro e comodo (

= c. 120)

Violino 1

Violino 2

Viola

pizz.

Violoncello

Contrabbasso 8

Copyright © 2011 by Edition Wilhelm Hansen, Copenhagen

2

5

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

Perc. II Vibr.

Vl. 1

pizz.

(pizz.)

Vl. 2

Va.

(pizz.)

arco

Vc.

arco Cb. 8

3

9

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

Mar. Perc. II

pizz.

Vl. 1

pizz.

Vl. 2

pizz.

Va.

pizz.

Vc.

Cb. 8

4

13

Fl. (in Sol)

Ob.

Cl.

Fg.

senza sord.

Cor. poss.

Vibr.

Perc. I

Mar. Perc. II

arco Vl. 1

(pizz.)

Vl. 2

(pizz.)

Va.

(pizz.)

Vc.

Cb. 8 8ba

arco

5

17

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

(solo)

Vibr.

Perc. I

grazioso

Mar.

Perc. II

Vl. 1

pizz.

Vl. 2

pizz.

arco Va.

(pizz.)

Vc.

Cb. 8

6

22

Fl. (in Sol)

Ob.

Cl.

Fg.

con sord.

Cor.

Vibr.

Perc. I Mar.

Vibr.

Perc. II Mar.

Vl. 1

Vl. 2

(pizz.)

Va.

(pizz.)

Vc.

Cb. 8

arco

7

27

Fl. (in Sol)

Ob.

Cl.

poco

Fg.

Cor.

Vibr.

Perc. I Mar.

Vibr.

Perc. II Mar.

Vl. 1 sub.

arco Vl. 2 sub.

Va.

arco (pizz.)

Vc.

Cb.

8 8

8

32

Fl. (in Sol)

Ob.

Cl.

Fg.

stopped Cor.

Vibr.

Perc. I Mar.

Vibr.

Perc. II Mar.

pizz.

Vl. 1

arco Vl. 2

pizz.

arco

pizz.

arco

arco

Va.

Vc.

pizz.

Cb.

8

8

quasi

9

37

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor

poco

Vibr.

secco

Perc. I Mar.

Mar.

Perc. II

(arco) Vl. 1

pizz.

arco

Vl. 2

(arco) Va.

pizz.

Vc.

arco Cb.

8

arco

10

43

Fl. (in Sol)

Ob.

Cl.

Fg.

open Cor.

Vibr.

Perc. I

Mar.

Perc. II

Vl. 1

Vl. 2

Va.

arco Vc.

(arco) Cb.

8

8

11

48

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

Vibr.

Perc. II

Mar.

pizz.

arco

Vl. 1

Vl. 2

pizz.

Va.

Vc.

8

pizz.

Cb.

8

8

12

53

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Vibr.

Perc. II

Vl. 1

Vl. 2

arco Va.

Vc.

arco Cb.

pizz.

arco

8 8

13

57

Fl. (in Sol) quasi niente

Ob.

Cl.

Fg.

Cor.

con brio

Vibr.

secco Perc. I Mar.

con brio

Vibr.

Perc. II

Mar.

0

Vl. 1

Vl. 2

0

Va.

pizz.

Vc.

Cb. 8

14

63

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

Vibr.

Perc. II

Mar.

Vl. 1

Vl. 1

Va.

arco Vc.

Cb. 8

15

68

Fl. (in Sol) muta in C. i.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I Mar.

Vibr.

Perc. II Mar.

Vl. 1

pizz.

0

Vl. 2

Va.

Vc.

Cb. 8

0

0

16

Mar. 73

Perc. I

Vibr.

Perc. II

pizz.

Vl. 1

Vl. 2

pizz.

Va.

(arco) Vc.

Cb. 8

77

Fl. (in Sol) Vibr.

Mar. Perc. I

Vibr.

Perc. II

Mar.

Vl. 1

arco Vl. 2 (stop)

pizz.

Va.

Vc.

Cb.

8

8

17

82

Fl. (in Sol)

C. i.

poco

Cl.

Fg.

(stopped) Cor.

trem.

Vibr.

sub.

Perc. I Mar.

Vibr.

Perc. II

trem.

Mar.

sub.

arco Vl. 1

pizz.

Vl. 2

Va.

Vc.

pizz.

Cb.

8

8

18

88

Fl. (in Sol)

C. i.

Cl.

Fg.

(sim.)

(sim.)

Cor.

Vibr.

Perc. I Mar.

Perc. II

Mar.

Vl. 1

(pizz.)

Vl. 2

Va.

Vc.

(pizz.)

Cb.

8

arco

19

94

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

sempre

Vibr.

Mar.

Perc. II

sempre

pizz.

Vl. 1

pizz.

Vl. 2

Va.

pizz.

Vc.

Cb.

8

arco

arco

arco

20

98

Mar.

Perc. I

sub.

Vibr.

Mar.

sub.

Perc. II

sub.

Vl. 1

Vl. 2

pizz.

Va.

pizz.

Vc.

Cb.

8

103

Perc. I

8

Vibr.

Mar.

cresc.

Vibr.

Perc. II Mar.

cresc.

21

108

Fl. (in Sol)

C. i.

Cl.

Fg.

Cor.

Vibr.

sub.

Perc. I

(cresc.)

Mar.

Vibr.

Perc. II Mar.

sub.

(cresc.)

Vl. 1

Vl. 2

cresc.

Va.

cresc.

Vc.

cresc.

pizz.

Cb.

8

22

114

Fl. (in Sol)

C. i.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

sempre cresc. (Ă bar no. 134)

Vibr.

Perc. II

Mar.

Vl. 1

Vl. 2

Va.

Vc.

arco Cb.

8

pizz.

23

119

Fl. (in Sol)

C. i.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

Vibr.

Perc. II Mar.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

24

126

Fl. (in Sol)

C. i.

Cl.

Fg.

Cor.

Vibr.

Mar. Perc. I

Vibr.

Perc. II

Mar.

Vl. 1

Vl. 2

Va.

pizz.

Vc.

(pizz.)

Cb.

8

25 *)

(

= 80

Meno mosso ( = 100

= 120)

= 200)

132

Fl. (in Sol)

C. i.

Cl.

Fg.

Cor.

Vibr.

7:5

7:5

Perc. I Mar.

7:5

Vibr.

7:5

Perc. II

Meno mosso ( = 100 *)

(

= 80

= 200)

= 120)

Vl. 1

Vl. 2

arco Va.

pizz.

6:5

6:5

6:5

Vc.

Cb.

8 8

*) Conditional: If during varying acoustical conditions the 1. tempo differs from the indicated one, the new tempo should relate to this as exemplified.

6:5

26

138

Fl. (in Sol)

C. i.

Cl.

Fg.

Cor.

7:5

Vibr.

7:5

7:5

Perc. I

Vibr.

7:5

7:5

7:5

Perc. II

Vl. 1

Vl. 2

Va.

6:5

Vc.

Cb. 8

6:5

6:5

6:5

6:5 6:5

27

7

7

7 7

7

(

= 280)

Pi첫 mosso ( 144

Meno mosso

= 200)

( =

Vibr.

= 200) 7:5

Perc. I

5:7

Mar.

5:7

Perc. II

5

5

5 5

Pi첫

Pi첫

148 Vibr.

Perc. I

Vibr.

trem.

Mar.

Perc. II

(sim.)

151

Vibr.

Perc. I

meno Mar. Perc. II

meno

+ 154

Vibr.

Perc. I

Mar. Perc. II

+

28

+

trem.

157

trem.

Vibr.

Mar.

Perc. I

Vibr.

Mar. Perc. II

+ 161

Crot.

15

Vibr.

Perc. I

Vibr.

Perc. II

Mar.

gli

ss.

+ 167

Perc. I

Crot.

Vibr.

Vibr.

Perc. II

+ pizz.

Vl. 1 (pizz.)

Vc.

29

() 170

Mar.

Perc. I

cresc.

Vibr.

Perc. II

Mar.

trem.

cresc.

() Vl. 1

Vc.

(Ancora meno:) Moderato ( = 80) (

173

= 80)

muta in Flauto piccolo

Fl. (in Sol)

C. i.

5

5

5

5

5

Cl.

5

prĂŠciso Fg. stopped (

)

Cor.

irreg.

Vibr.

Perc. I

irreg.

Mar. Perc. II

(Ancora meno:) Moderato ( = 80)

( )

( 5

= 80)

arco

Vl. 1

Vl. 2

Va.

(

arco

6

)

Vc.

Cb.

5

5

8

8

30

175

Picc.

5

5 5

C. i.

5

prĂŠciso

5

5

Cl. sim.

Fg.

Cor.

Vibr.

Perc. I

Mar. Perc. II

( ) Vl. 1

Vl. 2

Va.

() Vc.

overtone gliss. (non sincrono) Cb.

8

8 8

31

177

Picc.

5

5

C. i.

5

5

5

Cl.

Fg.

Cor.

Vibr.

7

7

Perc. I

ad lib.

3

3

Mar.

3

3

3

5:4

Perc. II 5:4

5:4

( ) Vl. 1

0

Vl. 2

Va.

Vc.

Cb.

8

5:4

32

179 8

muta Flauto in Sol

Picc.

5

5

C. i.

5

5

Cl.

Fg.

Cor.

Vibr.

7

7

Perc. I

ad lib.

3

3

3

3

3 5:4

Mar. Perc. II

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

5:4

33

181

Fl. in Sol

5

C. i.

5

5

Cl.

Fg.

Cor.

6

Vibr.

6

6

Perc. I 6

6

6

6

6

6

6

6

6

Mar. Perc. II

pizz.

Vl. 1 5 5

5

5

Vl. 2

pizz.

5

5

Va. 5

() Vc.

Cb.

8

5 5

34

184

Fl. (in Sol)

5

C. i.

Cl.

5

Fg. 5

stopped ( ) Cor.

Vibr.

3

3

3

*)

Perc. I 3

*)

Mar. Perc. II

(pizz.)

arco

Vl. 1 5

0

3

0

Vl. 2 3

3

3

3

3

3

3

3

3

3

3

Va. 3

3

3 3

Vc.

Cb.

8

8

*) Broken beams indicate a rapid, but rather irregular, repetion of the figure: (a cadence-like "presto").

3

3

*)

35

Pi첫 mosso = 280

= 140

187

muta in Picc.

Fl. (in Sol)

5

muta in Oboe

5

C. i.

Cl.

Fg.

(

(stopped)

)

Cor.

6

= Vibr.

3

Perc. I 6

9:8

Mar.

9

Perc. II

*)

Pi첫 mosso = 280

Vl. 1

3

3

Vl. 2

3

3

3

Va.

3 3

3

3

3

Vc.

Cb.

8

*) For the conductor: it may be helpful to compare Moderato (bar 173)

= 40 with

( = 40)

= 140

36

meno

*)

(accel.)

pi첫 mosso

(accel.)

(meno)

190

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar. trem.

trem.

Vibr.

(trem.)

Perc. II

meno

*)

(accel.)

pi첫 mosso

(accel.)

(meno)

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

*) For the conductor: the accelerando is only indicated in the parts, substituting the "illegible meters" for the soloists (

= accel.)

trem.

37

Moderato ( = 80)

Allegro ( = 120)

195

Picc.

solo Ob.

Cl.

Fg.

con sord.

5

5

Cor.

*) Vibr.

Perc. I

Mar.

Vibr.

Perc. II

Allegro ( = 120) Moderato ( = 80) Vl. 1 5

Vl. 2 3

3

3

Va. 3

Vc.

Cb.

8

*) For the conductor: observe the reduced speed of the rhythmic patterns, bars 198 - 200!

3

38

Moderato ( = 80) 199

Picc.

5

5

Ob. 5

Cl.

3

3

Fg.

senza sord.

3

3

3

3

Cor.

Vibr.

Perc. I

Perc. II

Moderato ( = 80)

8 0

0

Vl. 1

Vl. 2

Va.

Vc.

5

Cb.

8 8

3

39

Pi첫 vivo ( = 200

= 100)

202

Picc.

Ob.

Cl.

Fg.

Cor.

Steel Drums

Perc. I

Mar.

Vibr. trem.

trem.

Tub. B.

Perc. II

*)

Pi첫 vivo ( = 200

= 100)

8

7

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8 8

*) equal to "meno mosso"

= 100 in bar 145.

40 *)

Moderato ( = 80)

Pi첫 vivo ( = 200

= 100)

206

Picc.

Ob.

5

Cl.

Fg. 7

Cor. 3

Steel Dr. 9

trem.

Perc. I Mar.

6

Vibr.

Tub. B.

5

trem.

5

Perc. II

Mar.

*)

Moderato ( = 80)

Pi첫 vivo ( = 200

= 100) 7

pizz.

Vl. 1 7

senza vibr.

Vl. 2

pizz.

senza vibr.

arco

Va.

3

Vc.

3

Cb.

8

8 8

*) equal to "meno mosso".

3

3

41

Pi첫 mosso ( = 280) 209

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

5 5 5 5

Perc. I

Tub. B.

Perc. II

Mar.

Pi첫 mosso ( = 280) Vl. 1

ord.

Vl. 2

ord.

Va.

Vc.

Cb.

8

42

Meno mosso ( = 200

Pi첫 mosso ( = 280

= 100)

= 140)

213

Picc.

Ob.

Cl.

7

Fg.

Cor.

Vibr.

7

7

7

7

7

Perc. I

trem.

Mar.

5

5

5

5

5

5

15

Crot.

Vibr.

7

7

Perc. II 7

7

7

Mar.

5 5

Meno mosso ( = 200 Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

= 100)

Pi첫 mosso ( = 280

= 140)

43

Meno mosso al fine ( = 100) 217 8

3

Picc.

3

3

Ob. 3

3

5

5

5

Cl. 5

5

5

Fg.

5

Cor. 5

Vibr.

5

5

Perc. I

9

9

*) Perc. I/II

Mar. Perc. II

Meno mosso al fine ( = 100) Vl. 1 3

3

Vl. 2 3

pizz. pizz.

arco

Va.

Vc.

pizz.

Cb.

8

*) Ossia part may be recommended only if one or the other player, or even both in unison, is able to realise the enormous rhythmic complexity (e. g. dotted notes) with precision.

44

219 8

Picc.

3

3

Ob. 3

3

3

5

5

Cl. 5

5

5

Fg.

5 5

5

Cor.

Vibr.

Perc. I 3

5

3

9

9

Perc. I/II

Mar. Perc. II

Vl. 1 3

pizz.

(arco) Vl. 2

arco Va.

pizz.

Vc.

(pizz.)

Cb.

8

arco 8

45

221 8

muta in Flauto in Sol

Picc.

3

3

3

Ob. 5

3

Cl.

5

Fg. 5

5

5

5

Cor. 5

5

Vibr.

5

Perc. I

9

9

Perc. I/II

Mar.

Vibr.

5

5

Perc. II

Vl. 1

arco

pizz.

pizz.

Vl. 2

pizz.

arco

Va.

pizz.

arco Vc.

8

Cb.

8

pizz.

46

223

3

3

Fl. (in Sol)

3

5

Ob. 5

5

3

Cl.

Fg.

5

5

5

5

Cor.

Vibr.

5

5

5

Perc. I

9

9

Perc. I/II

Mar. Perc. II

pizz.

Vl. 1

pizz. arco Vl. 2

pizz.

arco

Va.

arco

pizz.

pizz.

Vc.

pizz.

Cb.

8

arco

8

pizz.

47

225

Fl. (in Sol)

3

Ob. 3

3

3

Cl.

Fg.

5

5

5

5

5

Cor.

Vibr.

7

Perc. I 7 9

9

Perc. I/II

Mar. 9:8

Perc. II

Vl. 1

Vl. 2

arco Va.

cresc. arco

Vc.

cresc.

8

Cb.

8

cresc.

5

48

3

227

3

Fl. (in Sol) 3

più

muta in C. i.

3

Ob.

5

5

3

5

3 5

Cl.

più

3

Fg. 3

3

più

5

5

5

Cor.

Perc. I

9 3

3

Perc. I/II poss.

Perc. II

arco Vl. 1

più arco Vl. 2

trem.

arco

Va.

più trem.

Vc.

più trem.

Cb.

8

più

49

229

3

3

Fl. (in Sol)

5

3

3

3

3

3

3

C. i.

pi첫

muta in Cl. bso.

3

3

Cl.

3

3

3

3

5

5

Fg. 3

3

3

5

Cor. 5

3

pi첫

Perc. I

Perc. II

Vl. 1

Va.

Vl. 2

Vc.

Cb.

8

8

50

232

muta in Fl. gr.

5

Fl. (in Sol)

3

3

3 3

C. i.

3

Cl. bso.

3

3

3

5

5

Fg. 5

5

5

5

Cor. 5

5

5

5

Perc. I

Perc. II

Vl. 1

Vl. 2

Va.

Vc.

dim.

Cb.

8

8

dim.

51

Quasi senza misura 235

Fl. (in Sol)

C. i.

3

Cl. bso.

3

Fg.

Cor.

dolcissimo Vibr.

*)

3

poco rubato

Perc. I

*) Mar.

3

poco rubato

Perc. II

*)

Quasi senza misura Solo senza vibr.

Vl. 1

Vl. 2

Va.

dim.

Solo Vc. (dim.)

Solo Cb.

8

(dim.) *) Percussion I and II damp pitches audibly and in strict synchronisation!

52

( = 144,

= 72) (

II

= 96)

**) Steel Drums

Percussione I

4 Toms.

Vibr.*)

dim.

sub.

Percussione II

6

Steel Dr.

4 Toms.

Perc. I

poco

Crot.

15

Perc. II

Vibr.

14

Steel Dr.

4 Toms.

Perc. I

15

Crot.

Perc. II

Vibr.

poco dim.

21

Steel Dr.

Perc. I

Vibr.

Perc. II sub.

dim. molto

*) In this movement the accentuation (>) should serve only as a clear, but not contrasting, dynamic, meant to suggest the changing meters. **) or Gong board. See note.

53

26

Steel Dr.

cresc.

Perc. I

4 Toms.

Crot.

15

Vibr.

Perc. II

sub.

dim.

4 Toms.

(if poss.)

pizz. (stopped sempre) Vc.

Cb.

8

31

Fl.

Ob.

Cl.

Fg.

Cor. Steel Dr.

Perc. I

4 Toms.

15

Crot.

Vibr.

Perc. II 4 Toms.

Vc.

pizz. ord.

Cb.

8

54

30

Fl.

Ob.

Cl.

Fg.

Cor.

Steel Dr.

Perc. I

dim.

Vibr.

dim.

Perc. II

Vl. 1

Vl. 2

Va.

pizz.

Vc.

Cb.

8

55

43

Fl.

Ob.

Cl.

Fg.

Cor.

4 Toms.

Perc. I

Cymbal (stopped)

Perc. II

4 Toms.

Vl. 1

Vl. 2

Va.

arco Vc.

Cb.

8

8

56

47

Fl.

Ob.

Cl.

Fg.

Cor.

2 Octabands preparatory beats

*)

2 Octabands preparatory beats

*)

Perc. I

Perc. II

Vl. 1

Vl. 2

pizz.

Va.

pizz.

arco

Vc.

arco

Cb.

8 8

*) preparatory mutual beat pattern for juxtaposed mutebeats. (See Preface to REPERCUSSION at the back)

57

51

Fl.

Ob.

Cl.

Fg.

Cor.

2 Octabands Perc. I

2 Octabands Perc. II

arco Va.

Vc.

Cb. 8

54

2 Octabands

Perc. I

2 Octabands Perc. II

58

57

Fl.

Ob.

Cl.

Fg.

Cor.

2 Octabands Perc. I

2 Octabands Perc. II

Vl. 1

Vl. 2

pizz.

arco

Va.

tutti pizz.

solo Vc.

pizz.

Cb.

8

8

arco

59

60

Fl.

Ob.

Cl.

Fg.

Cor.

2 Octabands Perc. I

2 Octabands Perc. II

Vl. 1 poss.

Vl. 2 poss.

pizz.

arco distinto sul pont.

Va.

(pizz.)

Bartòk pizz.

Vc.

Cb.

8

8

60

63

muta in Picc.

Fl.

Ob.

Cl.

Fg.

Cor.

2 Octabands

Perc. I Vibr.

2 Octabands

Perc. II

Mar.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

61

66

Perc. I

2 Octabands

Vibr.

2 Octabands

Mar. Perc. II

Vl. 1

69

Perc. I

2 Octabands

Vibr.

2 Octabands

Mar.

Perc. II

72

2 Octabands

Perc. I Vibr.

2 Octabands

Mar.

Perc. II

75

Perc. I

2 Octabands

Vibr.

2 Octabands

Perc. II

Mar.

62

78

2 Octabands

Perc. I Vibr.

2 Octabands

Perc. II

Mar.

81

Picc.

Ob

Cl.

Fg.

con sord.

gliss.

Cor. 2 Octabands Perc. I

2 Octabands

Mar. Perc. II

pizz.

Vl. 1

pizz.

Vl. 2

pizz. arco

gliss.

Va.

Vc.

Cb.

gliss.

63

liss.

84

quasi g

muta in Fl. (in Sol)

Picc.

quasi gliss.

Ob.

s.

i glis

quas

Cl.

Fg.

Cor.

2 Octabands Perc. I

2 Octabands Perc. II

Va.

pizz.

Bartòk pizz.

sul pont.

Vc.

gliss

.

Bartòk pizz.

Cb.

gliss

87

.

Quasi pastoraliter

2 Octabands

Vibr.

Perc. I

(poco)

(poco)

sim.

2 Octabands

Perc. II

Mar.

sim.

64

92

Ob.

Fg. espr.

Vibr.

Perc. I

Mar.

Mar.

Perc. II

Tub. B.

arco Vl. 1

pizz.

Va.

98

Fl. (in sol)

Ob.

Fg.

Steel Dr. Perc. I poss.

Vibr.

Perc. II

Vl. 1

Va.

Mar.

65

103

muta in Piccolo

Fl. (in sol)

Cl.

Fg.

Mar. Perc. I

Tamb. mil.

Perc. II

Va.

107

Picc.

8

Ob.

Cl.

Fg.

Cor.

Perc. I

Tamb. mil.

Perc. II

Va.

66

111

Picc.

Ob.

Cl.

Fg.

Cor.

distinto

Vibr..

Perc. I

4 Toms.

Tamb. mil.

Perc. II

Vl. 1

Vl. 2

pizz.

Va. sub.

(tutti) Vc.

Cb.

8

pizz.

67

116 8

Picc.

Ob.

Cl.

Fg.

Cor.

Perc. I

4 Toms.

3

Mar.

Perc. II

arco Vl. 1

arco Vl. 2

arco Va.

arco Vc.

Cb.

8

3

3

3

68

121 8

Picc.

Ob.

Cl.

Fg.

Cor.

Steel Dr.

Perc. I

4 Toms.

Mar.

Perc. II

Octobands + Toms.

Vl. 1

Vl. 2

Va.

pizz.

Vc.

Cb.

8

arco

69

126 8

Picc.

Ob.

Cl.

Fg.

Cor.

Steel Dr.

Vibr.

Perc. I 4 Toms.

Mar.

Oct. + Toms.

Perc. II

Vl. 1

Vl. 2

arco Va.

pizz.

Vc.

Cb.

8

70

130 8

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

sub.

Perc. II

Toms.

Vl. 1 distinto

Vl. 2 distinto

Va.

(pizz.)

Vc.

Cb.

8

arco

71

134 8

Picc.

Ob.

Cl.

Fg.

a l’aria Cor.

Mar. Perc. I

Vibr.

Perc. II

Toms.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

72

139 8

Picc.

Ob.

Cl.

Fg.

ord.

Cor.

Mar.

Crot.

Vibr.

15

Perc. I Steel Dr.

Vibr.

Mar.

Perc. II Toms.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

73

143 8

Picc.

Ob.

Cl.

Fg.

Cor. cant.

15

Perc. I

Crot.

Steel Dr.

Toms.

Perc. II

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

8

74

148 8

Picc.

Ob.

Cl.

Fg.

Cor.

3 Cymb. stopped

open

sim.

Perc. I

2 Log Dr. Toms.

Perc. II

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

8 8

75

152 8

Picc.

Ob.

Cl.

Fg.

Cor.

Crot.

15

Vibr.

Perc. I

Mar.

trem.

Vibr.

Perc. II

Toms.

Mar.

Vl. 1

Vl. 2

Va.

pizz.

Vc.

pizz.

Cb.

8

arco

76

156 8

Picc.

Ob.

Cl.

Fg.

Cor.

15

Crot.

Vibr.

Perc. I

Mar.

Mar.

trillo

Perc. II

pizz.

Vl. 1

pizz.

Vl. 2

pizz.

Va.

pizz.

Vc.

Cb.

8

77

Molto sost.

161

muta in Fl. gr.

8

Picc.

Ob.

Cl.

Fg.

Cor

15

Crot.

Perc. I

Mar.

(trillo)

Perc. II

Molto sost.

Vl. 1

arco

Vl. 2

arco Va.

arco (pizz.)

Vc.

Cb.

8

arco

78

III Adagio ( = c. 88, = c. 44) Vibr.

arco

Mar.

trem. rapido

Percussion I

Percussion II

Adagio ( = c.88, = c.44) fing.

fing.

fingerschlag pizz.

Contrabbasso

fing. pizz.

fing.

pizz.

pizz.

pizz.

8

pi첫

Vibr. ord.

6

Perc. I

Mar. Perc. II

fing. sim. pizz.

Cb.

pizz.

pizz.

8

Pi첫 mosso ( = c. 102) 10

Vibr.

Perc. I sub.

Vibr.

Perc. II

Mar.

sub.

pizz.

Cb.

8 8

79

14

Vibr.

Perc. I cant.

Vibr.

Perc. II

pizz.

Vl. 1

pizz.

Vl. 2 espr.

Va. (fing.)

(fing.)

pizz.

pizz.

Vc.

pizz.

Cb.

8

8

20

Fg. Vibr.

Perc. I Vibr.

Perc. II

Mar. trem.

Vl. 1

Vl. 2

Va. 0

arco

0

0

0

0

0

0

Vc.

cresc. arco Cb.

8

8

cresc.

80

(L’istesso tempo) 24

Cl.

Fg. Vibr.

arco Perc. I

Vibr.

sub., stacc.

Perc. II Mar.

(L’istesso tempo)

Va. sub.

Vc. fing.

pizz.

Cb.

fing.

pizz.

pizz.

pizz.

8

29

Vibr.

Perc. I

Perc. II

Mar.

pizz.

pizz.

Va.

pizz.

pizz.

Vc.

pizz.

Cb.

8

3

Pi첫 mosso ( = 120,

81

= 80)

34

Fl.

Ob.

Cl.

Fg. cant.

Vibr.

trem.

Perc. I

Vibr.

Perc. II Mar.

Pi첫 mosso ( = 120,

= 80)

Vl. 1

Vl. 2

pizz.

Va.

pizz.

Vc.

Cb.

8

82

39

Fl.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

Perc. II

Mar.

pizz.

Vl. 1

arco

pizz.

arco

Vl. 2

pizz.

Va.

Vc. l. v.

Cb.

8

arco

83

44

Fl.

sim.

Ob.

Cl.

Fg.

Cor.

Perc. I

Perc. II

Vl. 1

pizz.

(pizz.)

Vl. 2

Va. sim.

arco Vc.

Cb.

8

84

Pi첫 mosso ( = 144, = 72) 51

Fl.

Ob.

Cl.

Fg.

cant.

Cor.

Vibr.

cant.

Perc. I

Vibr.

Perc. II

Pi첫 mosso ( = 144, = 72) Vl. 1

Vl. 2

pizz.

Va.

pizz.

fing.

pizz.

Vc.

pizz.

Cb.

8

fing.

pizz.

85

Pi첫 mosso ( = 177,

= c. 118)

55

Fl.

Ob. sub.

Cl.

Fg.

Cor.

Perc. I

6 Drums

6 Drums Perc. II

Pi첫 mosso ( = 177,

= c. 118)

Vl. 1

(pizz.)

Vl. 2

(pizz.)

Va.

pizz.

pizz.

pizz.

pizz.

Vc.

Cb.

8

86

59

Fl.

Ob.

Cl.

Fg.

Cor.

Perc. I 6 Drums

6 Drums Perc. II

Vl. 1

Vl. 2

pizz.

arco Va.

arco Vc.

arco Cb.

8 8

arco

87

63

Fl.

Ob.

Cl.

Fg.

Cor

4 Toms. (natural skins)

Perc. I

6 Drums

6 Drums Perc. II

Vl. 1

Vl. 2

Va.

pizz.

Vc.

sul pont.

Cb.

8

8

88

66

Fl.

Ob.

Cl.

Fg.

Cor.

4 Toms.

Perc. I 6 Drums

6 Drums Perc. II

Vl. 1

Vl. 2

Va.

(pizz.)

Vc.

Cb.

8

8

89

69

Fl.

Ob.

Cl.

Fg.

Cor.

4 Toms.

Perc. I

6 Drums

6 Drums Perc. II

Vl. 1

Vl. 2

Va.

arco Vc.

Cb.

8

8

90

72

muta in Fl. in Sol

Fl.

Ob.

Cl.

Fg.

Cor.

Perc. I

6 Drums

6 Drums Perc. II

Vl. 1

pizz.

Vl. 2

pizz.

Va.

Vc.

ord.

Cb.

8 8

arco

91

75

Fl. (in Sol) stacc.

Ob.

Cl. stacc.

Fg. stacc.

Cor. (sim.)

4 Toms.

Perc. I

6 Drums

6 Drums Perc. II

Vl. 1

(pizz.)

Vl. 2

Va.

pizz.

Vc.

sul pont.

Cb.

8

8

92

78

muta in Picc.

Fl. (in Sol)

Ob.

Cl.

Fg.

Cor.

4 Toms.

Perc. I

6 Drums

6 Drums Perc. II

Vl. 1

Vl. 2

pizz.

Va.

(pizz.)

arco

Vc.

pizz.

Cb.

8

93

81

Fl.

Ob.

Cl.

Fg.

Cor.

4 Toms.

Perc. I

6 Drums

6 Drums Perc. II

Vl. 1

Vl. 2

Va.

Vc.

arco

Cb.

8

94

Subito meno mosso, espressivo molto

84

Picc.

Ob.

Cl.

Fg.

Cor.

4 Toms.

Perc. I

6 Drums

6 Drums Perc. II

Subito meno mosso, espressivo molto

Vl. 1

Vl. 2

Va.

Vc.

fing.

Cb.

8

pizz.

fing.

pizz.

fing.

pizz.

fing.

pizz.

fing.

pizz.

a tempo sub.

89

95

Meno mosso

8

Picc.

Ob.

Cl.

Fg. cant.

Cor.

6 Drums Perc. I sub.

6 Drums Perc. II

a tempo sub.

Meno mosso

Vl. 1

Vl. 2

Va.

arco Vc.

fing.

arco Cb.

8

8

96

a tempo 96

8

Picc.

Ob.

Cl.

Fg.

Cor.

15

Crot.

Perc. I Vibr.

Mar.

Vibr.

Mar.

(sim.)

Perc. II 6 Drums

a tempo Vl. 1

Vl. 2

fing.

Va.

fing.

Vc.

Cb.

8

97

103 8

Picc.

Ob. stacc.

Cl. Mar. Perc. I

Vibr.

Perc. II

con sord. cant.

Va.

poco pizz.

fing.

pizz.

pizz.

Vc.

108

stacc.

8

Picc. muta in Cor. ing.

Ob. muta in Cl. basso Cl.

Vibr.

Perc. I

Mar.

Vibr.

Perc. II

Mar.

Va. fing.

pizz.

Vc.

pizz.

pizz.

98

114

Vibr.

Perc. I

Mar. Perc. II

pizz.

Va.

pizz.

fing.

pizz.

fing.

Vc.

pizz.

Cb.

119

Corno inglesi

C. i.

Clarinetto basso Cl. bso.

Vibr.

Perc. I

Mar. Perc. II

Sola arco con sord., sul pont.

Va.

pizz.

Vc.

Cb. 8

99

130

muta in Cl. in Si

Cl. bso.

Vibr.

Perc. I

meno

Mar.

Perc. II

arco ord.

sul pont.

ord.

Va.

meno arco

fing.

pizz.

fing.

Vc.

sul pont.

arco Cb.

ord.

sul pont.

8

136

C. i. con sord.

Cor.

Vibr.

Perc. I

Mar.

Perc. II

Sola, sul pont. (sul pont.)

Va.

pizz.

Vc.

Cb.

8

fing.

pizz.

100

142

Fl.

C. i. legg.

Cl.

Fg.

Cor.

Vibr.

Perc. I Mar.

Tub. B.

Mar. Perc. II

pizz.

Vl. 1

pizz.

Vl. 2

Va.

(pizz.)

Vc.

ord.

Cb.

8

101

154

Fl.

muta in Ob. C. i.

Cl.

Fg.

senza sord.

Cor.

Vibr.

Perc. I

Mar.

Tub. B.

Mar.

Perc. II

Vl. 1

Vl. 2

ord.

Va.

arco Vc.

Cb.

8

102

165

Picc.

Ob.

4

Cl. 4

Fg.

Cor.

Mar.

Perc. I

Vibr.

Mar.

Perc. II

4

Vl. 1 4

Vl. 2

Va.

Vc.

Cb.

8

8

8

103

171

4

Picc.

Ob.

Cl. 4

Fg.

Cor.

Steel Dr.

Perc. I

Vibr.

Tub. B.

stopped

stopped

Perc. II

sim.

Mar.

arco Vl. 1

4 4

arco Vl. 2

con sord. sul pont.

senza sord.

pizz.

arco

Va.

solo

arco

0

pizz.

Vc.

Cb.

8

8 8

104

177

Crot.

15

Perc. I

Vibr.

Glsp.

15

Perc. II

Mar.

Va.

pizz.

Vc.

Cb. 8

(highest poss.)

185

Crot.

Metal Wind Chimes

15

Met. W. Ch.

(less high)

gliss.

Vibr.

Steel Dr.

Perc. I Mar.

Glsp.

15

Vibr.

Perc. II Mar.

sul A Va.

arco pizz.

Vc. (l. h. pizz.)

Cb. 8

Tub. B.

105

192

Steel Dr.

Perc. I

Mar.

Vibr.

Perc. II

Mar.

Va.

fing.

pizz.

fing.

arco

Vc.

Cb.

8

199

Perc. I

Vibr.

Mar.

Tub. B.

Perc. II

Mar.

Va.

pizz.

Vc.

Cb.

8

106

206 8

Picc.

Ob.

Cl.

Fg.

open Cor.

Vibr.

Perc. I

Mar.

Tub. B.

Perc. II

Mar. trem.

glis

Vl. 1

Vl. 2

Va. sim.

arco Vc. (port.)

pizz.

arco Cb.

8

8

(sim.)

s.

107

211 8

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar.

Perc. II

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

108

219 8

Picc.

Ob.

Cl.

Fg.

Cor

Vibr.

Perc. I

Mar.

trem.

Perc. II

Vl. 1

Vl. 2

Va.

Vc.

pizz.

Cb.

8

8

8

109

Meno mosso, affettuoso 226 8

Picc.

Ob.

Cl.

flz.

Fg.

Cor.

Vibr.

Perc. I

Mar. trem.

Perc. II sim.

Meno mosso, affettuoso

Vl. 1

Vl. 2

Va.

Vc. sub.

arco Cb.

8

110

235 8

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar. Perc. II

Vl. 1

Vl. 2

pizz.

arco

Va.

pizz.

Vc.

pizz.

Cb.

8

8

arco

pizz.

8 8

111

240 8

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar. Perc. II

Vl. 1

Vl. 2

pizz.

Va.

arco Vc.

arco Cb.

pizz.

8

8

arco 8

112

246

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar. Perc. II

Vl. 1

Vl. 2

Va.

Vc.

Cb.

8

113

251 8

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar. Perc. II

Vl. 1

Vl. 2

arco Va.

pizz.

Vc.

Cb.

8

8

114

256

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

Mar..

Perc. II

pizz.

Vl. 1

pizz.

Vl. 2

pizz.

arco

pizz.

Va.

arco pizz.

pizz.

Vc.

pizz.

Cb.

8

arco 8

arco

115

accel.

pi첫 mosso

263 8

Picc.

Ob.

Cl.

prepare for deep A Fg.

Cor.

Vibr.

Perc. I

pi첫

Mar. Perc. II

pi첫

accel.

pi첫 mosso

Vl. 1

arco Vl. 2

pizz.

Va.

arco Vc.

Cb.

8

116

269 8

Picc.

Ob.

Cl.

Fg.

Cor.

Vibr.

Perc. I

pi첫

Mar.

Vibr.

Perc. II

pi첫

Vl. 1

Vl. 2

pizz.

Va.

Vc.

Cb.

8

117

flz.

274 8

Picc.

flz.

Ob.

Cl.

Fg.

Cor. stacc.

Vibr.

Perc. I

Mar. Perc. II

Vl. 1

Vl. 2

(pizz.)

Va.

pizz.

Vc.

gliss.

Cb.

8 8

118

(

= )

(l’istesso tempo) 279

muta in Fl. gr.

8

Picc.

Ob.

3

Cl.

Fg. 4:3

4:3

Cor.

15

Crot.

Perc. I Vibr.

Mar.

3

3

Mar.

Perc. II

3

3

(

= )

(l’istesso tempo) 4:3

Vl. 1

Vl. 2

arco

(pizz.)

Va.

détaché

arco

(pizz.)

Vc.

détaché trem. sul pont.

pizz.

Cb.

8

8

arco 8

119

283

Fl.

Fl.

muta in Corno inglesi C. i.

Cl.

flz.

Fg. poss.

Cor. 3

5:3

dim.

6 Drums

Perc. I

dim.

8 Toms Perc. II

dim.

Vl.1 détaché

Vl. 2 détaché

Va.

Vc.

(sul pont) Cb.

8

8

120

rallentando tutti dim. molto

286

Fl.

C. i.

Cl.

Fg. dim. espr.

Cor. 5:3

5:3

(dim.)

6 Drums Perc. I

8 Toms Perc. II

rallentando tutti dim. molto

Vl. 1

dim.

Vl. 2

dim.

Va.

dim.

Vc.

dim.

Cb.

8 8

dim.

(rall.)

121

a quasi tempo I

(dim. molto) 289

Fl.

C. i.

Cl.

Fg.

con sord.

Cor.

6 Drums Vibr.

Perc. I sotto voce

8 Toms

Vibr.

Perc. II

Mar.

Mar.

sotto voce

(rall.)

a quasi tempo I

(dim. molto)

Vl. 1

Vl. 2

sul pont.

Va.

sul pont.

Vc.

Cb. 8

122

293

Fl.

C. i.

Cl.

Vibr.

Crot.

Mar.

15

Perc. I Vibr.

Mar. Perc. II

Vl. 1

sul pont.

Vl. 2

sul pont.

Va.

sul pont.

Vc. (dim a niente) sul pont.

(ord.)

Cb. 8

297

Mar.

(accel. poss.)

Perc. I (rep. ad lib.)

ord. (rall. poss.)

Vibr.

Perc. II

(rep. ad lib.)

Vc. (dim a niente) Cb.

8

(dim a niente)

WH 31279 ISBN 978-87-598-2194-7