Gary Carpenter
Bassoon Concerto for Alan Pendlebury, Vasily Petrenko and the Royal Philharmonic Orchestra commissioned by the Royal Liverpool Philharmonic Society 1)
Milonga
(Allegretto)
2)
In Modo Di Scena Cantanto
(Andante Moderato)
3)
Inventione a Tre Voce
(Allegro)
The solo/orchestra relationship and the character of the solo instrument itself are my initial preoccupations when writing a concertante piece and in this instance the human voice was my route into the solo instrument's unique sound world. The bassoon encompasses basso profundo, baritone, tenor and contralto registers but I found myself thinking in terms of operatic roles; generally baritone ones and specifically Verdi's Falstaff because of the wit and sparkle it so warmly tempers with humanity. Serendipitously, at the same time I came across a reference to Louis Spohr's Eighth Violin Concerto which is subtitled In Modo Di Scena Cantanto. I was originally intending to borrow that as the title of the entire concerto. The second movement was written first but was not established in my own mind as a 'slow movement' per se. The 3rd movement – a three-part invention (but with the odd random resonance to blur the conceptual purity and a more texturally elaborate coda) came next but its exact position in the concerto's scheme was still unclear. The Milonga came about because it seemed a good idea to have a dance form to complement movements that have the voice and the brain (or more appropriately 'technique') as central to their being and as it is a dance rooted in gravity and the floor, it screamed out to be the first part of a corporeal ascent. The milonga itself is a precursor to the tango and although defined as rather melancholy, isn't always so (when Astor Piazzolla writes them for example) and seemed to me to be less freighted with social associations than the tango. The second movement retains the vocal/lyrical perspective that gave rise to the entire piece and the last movement is less cerebral, more visceral than its title might suggest – one of several paradoxes in this piece. All of the concerto's material is derived from the second movement with the notional construct that the first movement is 'sucked in' to it whilst the last is 'pulled out' the other side. To me, the soloist's relationship with its orchestral counterparts is always intriguing. In my Horn Concerto (2002), the four orchestral horns compose a kind of committee who by turns support and undermine the protagonist/soloist. In this piece, the orchestral bassoon takes something of a back seat – although very occasionally surreptitiously echoes some of the soloist's material and even more occasionally adds a little weight to the solo line. One remnant of the original Fa l s t a f fidea – most apparent in the Inventione movement - was that other bass instruments such as the orchestral bassoon, tuba, double basses, bass clarinet and most significantly the contrabassoon would be an analogue of Sir John's drinking companions (or hangers-on) Bardolfo and Pistola.
I'd like to briefly thank Damien & Joanna McInerney of Adelaide, SA who provided great hospitality and who very kindly lent me the music room in which I wrote the first draft of the second movement. © Gary Carpenter 2011
Instrumentation 2 flutes piccolo (+ flute 3) oboe cor anglais clarinet 1 [A] bass clarinet [Bb] (+clarinet 2 [A]) bassoon contra bassoon 4 horns [F] 2 trumpets [Bb] tuba timpani [4-5 drums] 1 percussion : 2 tamtams [med/low], bass drum, triangle, flexatone, glockenspiel, vibraphone [motor always ON], xylophone, 6 tuned gongs:
harp violin 1 violin 2 viola violoncello contrabass
Commissioned by the Royal Liverpool Philharmonic Society for Alan Pendlebury, Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra
Concerto
1 - Milonga
for bassoon and orchestra
Gary Carpenter
Allegretto q = 96 1:2 Flute 3 (piccolo)
Oboe
Cor Anglais
1 (A) Clarinet 2 (bass)
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medium
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Allegretto q = 96 Bassoon SOLO ff
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Violin 1
Violin 2
Viola pizz Violoncello
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© 2018 Cadenza Music Limited
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arco
3
mf
3
To T.-t. [L.M]
div
pizz
Cb
sf
E§Ab
dim.
l.v.
Eb BbDb
To B. Cl.
3
2.
sfp
Vc. Cb.
Vln. 1
Vla.
Vln. 2
T.Gngs
Hp.
Tpt. 1:2
Tba.
Cl.
Bsn.
pp
arco
pizz
arco
pp
pp
pp
pizz
24
101
Fl. Picc
Ob.
C. A.
1:2
ppp
p Bass Clarinet
T.Gngs
Hp.
EbF§GbA§ B§CbD§
ppp
mp
ppp
pp
p
pp
p
ppp
ppp
sffz
sffz
f
f
mf
Flute
p
p
f
mf
mf
mf
mf
ff
sffz
mf
sffz senza sord
sffz
mf ff
f
pizz sffz sffz pizz sffz sffz pizz
ff
sffz
sffz
con sord (if feasible!)
pp
l.v.
sffz
mf
mf
C§ B#
sffz
p.d.l.t.
fff
f
f
f
f
f
arco
f
f
mf arco
mf
arco
mf
p
unis
p
mf
div
p
arco div
sffz
pizz
sffz
sffz
sffz
sffz
sffz
Tam-tams l.v.
sffz
pp
f
sffz
sffz
f
9
fff
pizz
pizz
pp
p
sffz
pizz
mp
gli altri
ppp
Vla.
Cb.
mp
2 soli
Vc.
ppp
2 soli
gli altri
a2
sffz
Bsn. SOLO
Vln.2
sffz
sffz
ppp
2 soli
pp
gli altri
ppp
Vln.1
Hn.
Timp.
1:2
Tba.
mp
Tpt. 1:2
3:4
mp
Cbsn.
Bsn.
sffz
Bs Clt.
Cl.
9
1:2
pizz
unis
sffz
pizz
sffz
sffz
25
1:2 105
mf
Fl. 3
Ob.
C. A.
1
frullato
Bsn.
Cbsn.
1:2 Hn. 3:4
pp
To Picc.
p
p
p
ff
pp
Tba.
Timp.
T.-t. (L.M.)
Hp.
Bsn. SOLO
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
sffz
sffz
sffz
To Cl.
f
sffz
f
sffz
f
sffz
sffz
p
p
p
p
p
mp
senza sord
sffz
f
f
mf
f
mf
mf
sffz
f
sffz
sffz
f
Tpt. 1:2
sffz
sffz Piccolo
p
Cl. Bs Clt.
ètouffé
mp
unis
unis mp
mp
mp
mf
pp
sffz
To Vib.
fff
fff
arco
mf
pp
sffz
pp
sffz
pp
pp
mp
norm
mp
pp
pizz unis
sffz
sffz
arco
p
sffz
arco
p
arco p
26
10
1:2 110
pp
pp
11 q = 77 < h+e = h >
rit.
pp
Fl. Picc.
T.-t. (L.M.)
Hp.
Bsn. SOLO Vln. 1
Vibraphone MOTOR ON (fast)
pp
mp
Vc.
Cb.
Fl.
Vibes
Hp.
Bsn. SOLO
Vln. 1
pp
A tempo
A tempo
3
Vla.
unis
harm gliss.
rit.
A tempo
pp
div a2
4soli
pp
rit.
3
a2 div
pp
pp
A tempo
div a 3
pp
con sord
3
3 soli
3
rit.
[sul II] unis
tutti unis
3
3
con sord
p espressivo é dolce
Vln. 2
pp
rit.
Cb.
div a 3
div a2
Vc.
con sord
tutti div a 3
arco
pp
115
Picc.
pp
1:2
pp
11 q = 77 < h+e = h >
4 soli
Vla.
10
Vln. 2
pp
pp
3
tutti unis
3 soli
rit.
sul tasto div
p
pp
27
1:2 120
Fl.
Picc
A tempo
Hn. 1:2
Ob.
Vibes
Hp.
rit.
mp
2.
3
p
p
To T.Gngs
p
A tempo
Bsn. SOLO
< h = h. > (q = 93)
3
3
3
rit.
3
3
1.
p
Vc.
Cb.
p
pp
125
Picc
Ob.
C. A.
Cl.1
T.Gngs
Bsn. SOLO
Vln. 2
Vla.
pp
pp
mp
mp
harm gliss.
mp
ètouffé
t.tr
mp
pizz
pp pizz
pp
pizz pp
via sord
pp
t.tr
pp
mp
pp
sfz
sfz
sfz
sfz
sfz
mf
sfz
sfz
rall.
mp
pp
pp
norm
12 Tempo 1º (ma un poco meno mosso)
mf
< h = h. > (q = 93)
pizz Vc. Cb.
Tuned Gongs
pp
Vln. 1
pp
Hp.
pp
harm gliss.
p
12 Tempo 1º (ma un poco meno mosso)
1:2 Fl.
div sul tasto Vln. 1 mp sim Vln. 2 4 soli mp tutti Vla. p
rall.
con sord
con sord
arco
pp arco
pp arco
pp [arco]
pp
28
13
1:2 129
Fl. Picc
Ob.
C. A.
Cbsn.
1:2
Hp.
pp
lontano - senza espress.
pp
pp
con sord
pp
con sord
t.tr
sfz
13
Tempo 1º (q = 96)
pp
via sord
via sord
via sord
rfz
rfz
pp
rfz
rfz
mp
mp
pp
via sord
mp
mp
rfz
rfz
rfz To Fl.
Vla.
Cb.
Vln. 2
Vc.
Bsn. SOLO
Vln. 1
Tpt. 1:2
T.Gngs
3:4
Timp.
a2
lontano - senza espress.
Hn.
Tba.
pp
Bsn.
Cl. 2
1.
1
Tempo 1º (q = 96)
rfz
rfz
29
133 come sopra
1 Cl. 2
T.Gngs
Hp.
Bsn. SOLO
2 soli
2 soli
gli altri
2 soli Vla. gli altri
ppp
sempre l.v.
mp
14
p
punta d'arco con sord
p
punta d'arco
p
p
p pizz
137
Cbsn.
Timp.
Hp.
Bsn. SOLO
ppp
T.Gngs
Vln. 1
gli altri
2 soli Vln. 2
gli altri
2 soli
Vla. gli altri
Cb.
etc.
etc.
Meno mosso (q = 72)
pp
Bass Drum
pp
pp
pp
pp pp
pp
pp
pp possibile
To Glock.
pp
Tempo 1º (q = 96)
pp possibile
coperti
Tempo 1º (q = 96)
To B. D.
ppp
lontano senza espress.
ppp
2 soli
etc.
p
rall.
ppp
p
Cl.
Meno mosso (q = 72)
1
2
p
[senza sord]
pizz
[senza sord]
con sord
(pizz)
[senza sord]
mp punta d'arco con sord
p
sempre l.v.
rall.
p
Vln. 2
p
gli altri
Vln. 1
14
(arco)
p
30
2 - In Modo Di Scena Cantanto Oboe
Andante Moderato e = 120
Cor Anglais
Clarinet 1 in A
p
Andante Moderato e = 120
Bassoon SOLO
1:2
6
3
Vln. 1
ppp subito div con sord
Vln. 2
Vla.
Vc.
ppp subito div con sord ppp subito con sord
ppp subito
Ob.
C. A.
Cl. 1
p
Cbsn.
2
Bsn. SOLO
1
ppp
p
pizz p
pp
p
pp
p
p
pp
p
mf
mf
mf
p
mp
mf
p
p
p
p
pp
[pizzicati sempre sim]
mf
mp
p
mf
mf
mf
mp
mp
pp
mp
mp
p
p
pp
p
p
p
pp
Cb.
p dolce
p
p
solo
p
Bsn.
p
Fl. 3
2
11
1:2
p
1
pp subito div con sord
C. A.
Bsn. SOLO
Ob.
Cbsn.
p molto cantabile
Fl.
p
p
mf
mf
mf
mf
mf
mf
31
1:2
16
Fl.
3
1
Glock.
Hp.
Bsn. SOLO
Vln. 1 pp
pp
Vln. 2
pp
Vla.
div pp
Vc.
mp
pp
ppp
ppp
pp
ppp
pp
pp
mp
mp
pp
mp
3
mp
pp
mp
pp
1. p
pp
pp
mp
EbF#G§A§ B§C#Db
p
mp
Cl. 2
3
1
20
3
Bsn. SOLO
Vln. 1
Vln. 2
Vla.
Cl.
Glock.
1
2
Fl. 2
p
p
p
mp Vc.
mp
mf
mf To Picc.
mf
To B. Cl.
pp
mf
mf
mf
mf
sub. pp
sub. pp
sub. pp unis
sub. pp
32
4
1:2 25
1.
pp (sempre)
Fl.
Picc.
pp (sempre)
Ob.
Cl.
Bsn.
Cbsn.
4
Bsn. SOLO mp Vln. 1
Cb.
sub pp
sub pp
Ob.
C. A.
Cl.
Bs Clt.
Bsn.
Glock.
Bsn. SOLO
Vln. 1
solo
Cb.
p
p
2.
p
p
p
senza sord
p
p
p
pp
pp
mp
pp
mp
pp
mp
pp
mp
pp
mp
pp tutti div senza sord
mp
pp div senza sord
mp
p
pp tutti div senza sord
pp div senza sord
pp
p
p
p
f
To Cl.
senza sord
p
mf
p
pp
mf
mf
pp
mf
solo
Vc.
p
Vla.
Vln. 2
(pizz)
1
Picc.
30
Fl.
1:2
p
sub pp
Vc.
sub pp
Vla.
Vln. 2
Bass Clarinet
Bs Clt.
1
C. A.
To Vibes
ppp
33
5
1:2 35
Fl.
pp
To Fl.
Ob.
C. A.
Picc.
1 Cl.
Bsn.
Cbsn.
Hn. 3:4
Tpt. 1:2
Tba.
Timp.
Vibes
Bsn. SOLO
pp
mf
p
mp
mp
5
Cb.
pp
pp
mp
p
pp
mf
pp
pp
pp
arco
mf
mf
pp
mf
E§F#G§A§
B§C#D# mp
mf
Vc.
mp
mf
Vln. 1
Vla.
mf
Vln. 2
mp
senza sord
p
Hp.
mf
senza sord
1:2
pp
pp
Clt 2 (in A)
2
mp
unis
mp
mp
mf
mf
mf
div
mp
mp
mp
34
40
1 Cl. 2
Bsn.
Cbsn.
1:2
45 Ob.
1 Cl. 2
Vln. 1
mf
To B. Cl.
mf
mf
To Glock.
mf
mf
Vla.
mf
Vln. 2
Cb.
unis
mf trem punta d'arco
Vibes
mf
pp
p
mf norm.
mf norm.
mf div norm.
mf
pp
pp
pp
pizz
p
p
p
pp trem punta d'arco
pp trem punta d'arco
pp
unis
f div
div
mf
Cb.
mf
mp
pp
pp
pp
pp
f
mf
Vc.
Vibraphone
pp
mp
mp
Vc.
Bsn. SOLO
mp
mf
Tba.
mp
pp
Vla.
Cbsn.
Vln. 2
Bsn. SOLO Vln. 1
mp
pp
Vibes
3:4
Hn.
Tba.
p
p
p
35
Meno Mosso e = 90
1:2 49
rit.
a2 f
Fl. Picc.
Ob.
Flute 3
mf
mp
mf
1
mp
Cl.
Bsn.
1:2
mf
mp
f
3:4
ff
3
mf
Vln. 2
p
mf
Vla.
Cb.
p
mf
Hn. 3:4
Bsn. SOLO
mp
pp
mp
mp
pp
6 Meno Mosso e = 90
pp
pp
mp
unis
mp unis
pp
pp
mp
mp
pp
mp
mp
mp
pp
pp
mp
mp
pp
pp
mp
pp
mp
pp
pp
div legato
ppp
Vln. 2
Vla.
Vc.
Cb.
mp
mp
pp
legato div
pp
ppp
mp
mp
pp
pp
mp
mp
pp
pp
pp
mf
Vln. 1
mp
p
53
1:2
mf
p
unis
p
p
mf
Vc.
unis
p
p
rit.
p
Bsn. SOLO Vln. 1
f
Hn.
p
f
Bass Clt.
f
p
mp
p
f
mf
Bs Clt.
C. A.
f
6
36
57
1:2
mf
Hn. 3:4
Bsn. SOLO
Vln. 1
pp
mf
mf
mf
a3
f
pp
pp
1:2
Tba.
Timp.
mf
ff
unis
p
mf
f
unis
mf
f
mf
p
p
3
3
p
f arco
7
p
pizz
p
f
mf
3
p
f
f
mf
f
f
mf arco
mf
tutta forza
mf
f
p
pp
sfp
mp
sffz
ff
sfp
ff
sfp
ff
rit.
f div
pp
f
p
f
p
f
a tempo (e = 90)
sul IV
p
pp
f
ff
f
7
ff
p
f
mf
mf
tutta forza
f
f
Cb.
rit.
pp
f
f
1.
rit.
p
a tempo (e = 90)
f
fff
p
f
OSSIA
Vc.
fff
Vla.
rit.
mf
Vln. 2
f
Bsn. SOLO
Vln. 1
mf
mf
3:4
f
Hn.
pp
Bs Clt.
mf
mf
Cl.
Cbsn.
mf
1
f
C. A.
pp
Ob.
mf
60
Fl. 1-3
pp
f
Vla.
Cb.
mf
Vln. 2
Vc.
f
f
p
f
p
f
p
f
p
f
p
f
37
8
65 Ob.
subito più mosso e = 168
fp
C. A.
1 Cl.
fp
fp
Bs Clt.
fp
Bsn.
Hn. 1
Tpt. 1:2
fp
fp
fp
Vln. 2
Vla.
3:4
fp
fp
ff
e = 168
mp
mp
mp
tempo 1º (e = 120)
p con sord
solo
3.
p con sord
p
9 Bsn. pp Vln. 1
(mp) div
mf
mp
mp
p
mp
mp
rall.
9
mp
fp con sord
fp
fp
fp
fp
fp
1:2
fp
fp
fp
fp
fp
fp
fp
70
Hn.
fp
Fl. 1
più mosso 8 subito
Vln. 1
Cl. 1
ff
fp
fp
fp
fp
fp
rall.
fp
Bsn.
Cb.
fp
con sord
fp
Hp.
sfz
mp div
div
mp
mp
tempo 1º (e = 120)
Vln. 2
Vla.
Vc.
Cb.
3 soli
p
p
p con sord senza vib
p (accent in p)
con sord senza vib
p (accent in p)
p
gliss.
38
10
Fl. 1 1:2 75
Hn.
3:4
Glock.
Hp.
Bsn.
Cb.
ppp
Vla.
Vc.
div con sord
ppp
1:2 80
Fl.
3
Ob.
C. A.
1
Vla.
3.
p
p
p
p
gliss.
p
p
p
flautando
p
ppp
p p
p
pp
ppp
p
ppp
ppp
ppp
11 a tempo e = 120
ppp
Vibraphone
p
4 soli
p
p
div a3
unis p
p
p
p
unis div a2
gliss.
p
gliss.
ppp
pp
pp
11 a tempo e = 120
1. senza sord
3. senza sord
ppp
To Vibes
rit.
sim
p
p
p
p
1 & 2 sul IV
rit.
div con sord
p
p
ppp
Vc. Cb.
mp
p
Bsn. Vln. 1 Vln. 2
Hp.
1:2
Glock.
Bs.
3:4
Cl.
Hn.
tutti div (a3) con sord
ppp unis con sord
Vln. 2
p unis con sord
Vln. 1
mp
10
pp
p
p
39
1:2
85
pp
Fl.
3
pp
Ob.
C. A.
1 Cl. Bs.
Bsn.
pp
pp
pp
p
p
Vc.
Cb.
p
p
pp
div a2 senza sord
div senza sord
div
p
p
p
pp
p
Vla.
p
Vln. 1
p
p
p
pp
To Cl. 2 (A)
Vln. 2
ppp
pp
ppp
p
ppp
ppp
tutti div. senza sord
p
Bsn.
Vibes
1:2 3:4
Cl. 1
Hn.
tutti unis. senza sord
89
C. A.
Ob.
p
3
p
pp
Vla.
Fl.
Vln. 2
1:2
p
Vln. 1
Vc.
p
mf
p
5
p
5
p
p
p
5
5
p
5
5
40
12
92 1
mf Clarinet 2 (A)
Cl.
2
Bsn.
mf
rit.
p
p
ff
mf 1:2
Cbsn.
mf
Hn.
mf
Tba. Vibes
Hp.
mf
f
12
Vln. 2
mf Cb. mf
1 98
mp
mp
mp
f
f
f
rit.
Vibes
Hp.
Bsn.
p
p
mp
Vla. Vc.
p
mp
meno mosso (tempo 2º e = 90)
mp
mp
mp
f
f
f
mp
mp solo
mp
f
rit.
pizz
mp
f
mf
mp
ppp
Cl. 2
mp
f
f
f
unis
mp
unis
mp
meno mosso (tempo 2º e = 90) p
mf
mp
p
ff
Vc.
p
mp
mf
Vla.
mp in relivo
mf
p
Bsn.
Vln. 1
f
mp
3:4
mf
To B. Cl.
pp
div punta d'arco arco pp
tutti div punta d'arco
pp
ppp
ppp
ppp
ss. gli
rit.
41
un poco più mosso e = 100
13
102
Ob.
C. A.
Vibes
Hp.
pp
mp
13
pp possibile
div Vln. 1
(non div)
pp
Cb.
pp
pp
pp
Vln. 2
un poco più mosso e = 100
Bsn.
106
Ob.
C. A.
Vibes
Hp.
Bsn.
poco rit.
tempo 2º (e = 90)
mp
mp
14
poco rit.
14
pp
pp
pp
div a 3
pp
pp
div
div
p
l.v.
mp
rapido
To B. D.
p
tempo 2º (e = 90)
div a 3
Vc.
Vln. 1
Vla.
Vln. 2
42
3 - Inventione A Tre Voci Allegro e = 180 EbF§G§Ab BbCbD§
Harp
p.d.l.t. sempre l.v.
f
Allegro e = 180
Bassoon
f div
Violoncello
Contrabass
div
pp
[accent within dynamic]
pp
[accent within dynamic]
stacc sim
mp
mp
pp (come sopra)
7
Cbsn.
Tba. Timp.
B. D.
Hp.
Bsn. Vln. 2
Vla.
Cb.
div
pp
f
f
f
f
pp
pp
pp (come sopra)
Vc.
f
f
1
f
1
ff
unis pizz
f
f
13
Cbsn.
Tba.
Timp.
B. D.
f Cb.
Bsn.
p
f
f
f
f
f
p
43
19
1:2 Fl.
Ob.
B. Cl.
Cbsn.
3
Tba.
Timp.
Vc.
f
pp
f
mp
f
f
ppp
mp
f
f
mp
f
Bsn.
Cb.
pp
B. D.
pp
To Picc.
f
mp
25
1:2 Fl.
3
Ob.
C. A.
1 Cl.
Bsn.
Timp.
Bs Cl.
pp
pp
Vla.
Cb.
f
pizz
pp
pizz
f
2
mf subito
mf subito
p
mf
mf subito
To Xyl.
2
pp
arco
arco
Bsn.
Vc.
B. D.
pp
pizz
mf
44
1:2 31
Piccolo mf
a2
f
Fl. 3
Ob.
C. A.
1
Bs Cl.
Cbsn.
Cl.
Tba. Bsn.
Vc.
Cb.
p
sf unis pizz
p
mf
mf
f
mf
mf
sf
mf
37 1:2
Fl. Picc
Ob.
C. A.
1
Cl.
Cbsn.
Bsn.
Vln. 1
Vln. 2
Cb.
ff
ff
mp
f
3
ff
ff
pp
f
pp
f
pp
ff
3
Bs Cl.
Hp.
f
f
mf
arco
mf
f
unis mf
45
43 Ob.
pp
C. A.
pp
Cl. 1 (A)
Tba. Xyl.
Hp.
f
Vc.
Cb.
sf
sf
f
f
pp
pizz
mf
Bass Cl
Xyl.
mp
mf 1. con sord (CUP)
mf
div a 4
Vln. 1
Vln. 2
Vla.
pizz
[div a4]
pp
mf
frullato
mp
mp
cresc
mp
div a 4
mp
cresc
cresc
mp
sempre ppp
mf
cresc
p
pp
[div a4]
4
pizz
mp
mp
pp
pp
Xylophone
pp
f
arco
f
arco
1
Vc.
mf
Cl.
Bsn.
4
Ob.
Tpt. 1:2
48
Cbsn.
Picc.
Vla.
Vln. 2
pp
Bsn. Vln. 1
sempre ppp
cresc
46
Picc. Ob. 53
1 Cl. Bass Cl
Cbsn.
Tpt. 1:2 Tba.
Timp.
Xyl.
Hp.
C. A.
via sord
div
arco
ppp
f
59
ff
ff
ff
Bsn.
Cbsn.
Tba.
Vla. Cb.
ff
arco
ff
p
p
fff
fff
ff
ff
ff
To Vibes
ff
5
ff
ff
gliss.
ff
gliss.
ff
ff
2. (senza sord)
f
ff
ff
ff
f
f
Vln. 2
B. Cl.
5
Vln. 1
Vla.
f
Cb.
Bsn.
Vc.
p pizz
p
p
mf
47
6
Cbsn. Tpt. 1:2 66
f
Vibes
pp
[trumpet resonance]
6
Cb.
senza sord
Timp. Tba.
72
Fl.
7
a2
f
Picc.
Ob.
C. A.
f
1 (A)
Cl. Bass Cl.
Bsn. Cbsn.
f
1:2
Hn. 3:4
Tpt. 1:2
Tba.
Timp.
Vibes
f
Vla.
Cb.
p
f
a2
a2
f
f
f
f
To Tri.
f
f
f
Vc.
p
p
f
Hp.
f
p
p
p
7
f
1:2
48 78 1:2
Fl. Picc.
Ob.
C. A.
1 (A)
mp
mp
mp
mf
Cl. Bass Cl.
Bsn.
Cbsn.
1:2
Hp.
mp
mp
mp
Triangle
mp
arco
Cb.
mp
mp
mf
mf
f
f
mf
mp
mf
mf
Vc.
Vla.
Vln. 1 Vln. 2
mp
Tpt. 1:2
Vibes
3:4
Timp.
Hn.
Tba.
mp
ff
f
f
f
pizz
1:2 84
Fl.
Picc.
C. A.
1 (A)
ff
ff
Ob.
49
ff
Cbsn.
2
Tba.
Timp.
T.Gngs
Hp.
Bsn.
p
p
ff
mp
ff
mf
ff
ff
ff
ff
ff
mf
ff
mf
ff
f
f
f
ff
ff Tuned Gongs
f
mp
mp
mp
Cb.
p
Vc.
Vla.
f
Vln. 2
Vln. 1
p
p
Tpt
mp p
Hn.
1
1:2 3:4
f
Bsn.
8
ff
Bass Cl.
ff
Cl.
sfz
Cb sffz
ff pizz
sfz pizz
sfz
pizz sfz
To Flx.
p
8
ff
arco - ben marcato
f
mf
ff
mf
arco - ben marcato
ff
mf
arco
ff
mf
ff
ff
ff
50
90
B. Cl.
Bsn.
Cbsn.
1 Tpt
Vln. 2
Cb.
Bsn. Vln. 1
2
Tba.
ff
ff
ff
mf
mf
95
Picc.
B. Cl.
Bsn.
Cbsn.
1 Tpt 2
Tba.
p
p
f
f
f
ff
ff
p
Hp.
Bsn.
Vln. 1 Vln. 2
Cb. p
f
ff
ff
ff
mf
muta sord
muta sord
mf Flexatone (sounding 8ve higher)
ff
T.Gngs
f
ff
ff
ff ff
ff
mf
mf
mf
51
Picc.
100
B. Cl.
Bsn.
Cbsn.
Tba.
Flx.
Hp.
Bsn.
f
mp
f
f
3
mp
f
mp
mp
mp
via sord
3
f 3
f
mp
Vla.
arco
Cb. f
mp
f
p
p
f
f
f
pp
f
via sord
3
f
con sord
mp f con sord
2
Hp.
Tpt.
Flx.
1
Timp.
Bb
Bsn.
Tba.
105
Cbsn.
Picc.
Vln. 2
Cb.
Bsn. Vln. 1
pp
mp
pp
pp
52
9
1:2 111
Fl.
Picc.
B. Cl.
pp
pp
Bsn.
pp
Cbsn.
mp
pp
1
mf
mf
Flx.
Bsn.
pp
pp
9
Vln. 1
Vc.
Cb.
mp
Cl. 1
pp
p
pp
mf
mf
10
pizz
ff
mf pizz
mf col legno battuto
mf col legno battuto
mp
mf
arco
sfz
sfz
sffzp
sfz
f
sfz
f
Vibraphone (solo bassoon resonance)
mp
sfz
sfz
etc sim
sfz
mf
sfz
etc sim
ff
ff
sfz
To Fl.
mp
10
mf
pizz
mf
mp
Vla.
Cb.
Vln. 2
Vc.
Bsn. Vln. 1
Vibes To
Vibes
sfz
sfz
senza sord
p
117
C. A.
Ob.
mf
senza sord
Vla.
Vln. 2
Hp.
Tpt. 2
mp
f
sfz
sfz
sfz
53
1:2 123
Fl.
3
C. A.
1:2 Hn. 3:4
Vln. 1
sim
frullato
frullato
Vla.
Vln. 2
Vc.
Vibes
Bsn.
Ob.
Cl. 1
mf
mf
129
1:2
Fl. 3
C. A. Cl. 1 Ob.
1:2 Hn. 3:4
Vibes
Bsn.
Vln. 1
Vln. 2
Vla.
Vc.
sfz
mf
sfz
sfz
mf
sim
f
f
sfz
sfz
To Picc.
1.
mp
To B. D.
sim
sfzp
arco
arco
pizz
mp
54
1:2 135
a2
mf
Fl. 3
Ob.
Piccolo
f
Cbsn.
Tba.
Timp.
Vibes
Hp.
Bsn.
f
mf
mf
f
f
f
f
f
f
f
p
f
mf
aperto
f
Vln. 2
Vla.
ff
f
f
f
11
ben marcato
f
ben marcato
pizz
pizz
f
f
f
ben marcato
f
Cb.
Vln. 1
Vc.
f
Hn.
Tpt. 1:2
1:2 3:4
Bsn.
Cl. Bass Cl.
1 (A)
C. A.
11
f
arco
f
55
141 1:2
Picc.
Ob.
C. A.
1 (A)
Cl.
Bass Cl.
Bsn.
Cbsn.
1:2
Hn.
Tpt. 1:2
Timp.
Vibes
Hp.
Bsn.
Vln. 1
f
p
aperto
p
Bass Drum
Vc.
Cb.
f
pizz
arco
arco
pizz
pizz
f
Vla.
Vln. 2
3:4
Tba.
Fl.
arco
56
1:2 147
Fl.
Picc.
Ob.
C. A.
1 (A)
Bsn.
Cbsn.
1:2
Hn.
3:4
Tpt. 1:2
Tba.
Timp.
B. D.
Hp.
p
aperto f
p
ff
Vc.
Cb.
Vla.
Vln. 2
Bsn. Vln. 1
Cl. Bass Cl.
ff
57
153 1:2 Fl.
Picc.
Ob.
C. A.
1 (A)
Cbsn.
Bsn.
1:2
aperto
Hn.
Tpt. 1:2
Tba.
Timp.
B. D.
Bsn.
Vln. 1
Vla.
frullato
Vc.
Cb.
3.
s. lis
g
sfzp
To Xyl.
f
frullato
1.
a2 loco
Vln. 2
Hp.
3:4
Cl. Bass Cl.
58
1:2
160
Fl.
Picc.
Ob.
C. A.
1 (A)
1:2 Hn.
1.
f
Bsn.
pizz
Cb.
p
mp
pp
pp
pp
p
mf
p
p
mf
arco
mf
SOLO (1 player) arco
p
arco
p
f
mp
arco
12
ff
ff
ff
ff
pizz
Vc.
ff
p
pizz Vln. 1
Vla.
f
mp
ff
p
ff
ff
mf
Vln. 2
ff
SOLO
Hp.
ff
Tpt. 1:2
Timp.
3:4
Tba.
mf
ff
ff
Bsn.
Cbsn.
12
Cl. Bass Cl.
pizz
pp
pp
59
13
1 (A) 167
p
Cl. Bass Cl.
13
Bsn.
Vln. 1
ppp
pizz p
Vla.
Cb.
Vln. 2
Vc.
pizz
p
tutti p
1:2
2.
171
1.
sfz
Fl.
Picc.
Ob.
C. A.
1 (A)
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
sfz
sfz
p
pizz
p
p
sfz
sfz
p
Cl. Bass Cl.
60
1:2 175
Fl.
Ob.
C. A.
1 (A)
p
sfz
Picc.
a2
sfz
sfz
sfz
sfz
Vln. 1
Vln. 2
Vc.
Cb.
p
p
p
p
sfz
p
Vla.
Cl. Bass Cl.
1 (A)
molto rall.
179
Cl. Bass Cl.
Vln. 1
Cb.
p
molto rall.
ppp
p
ppp
Vla.
Vc.
Vln. 2
pp
p
ppp
pp
ppp
ppp
ppp
61
CODA
a tempo e = 180
1:2 183
Fl. Picc.
Ob.
C. A.
1 (A)
f
Cl.
(pp)
Bsn.
f
f
f
Cbsn.
f
f
Bass Cl.
f
f
3
3
Tpt. 1:2
Tba.
1:2 Hn. 3:4
f
Timp.
f
Xyl.
Hp.
Bsn.
f
fff
a tempo e = 180
Vln. 1
arco f
sfz
Vln. 2
Vla.
Cb.
ff
Vc.
arco
f
sfz
arco
f
sfz
mf
mf
f
f
f
mf
f
f
pizz
pizz
pizz
arco
arco
arco
stacc sim
62
1:2 189
Fl. Picc.
Ob.
C. A.
1 (A) Cl.
Bass Cl.
Cbsn.
Bsn.
1:2
Hn.
Tba.
Timp.
Xyl.
Bsn.
Vln. 1
Vla.
Vc.
Cb.
f
3
sfz
sfz
sfz
sfz
3
sfz
sfz
pizz
pizz
Vln. 2
Hp.
sfz
Tpt. 1:2
3:4
gliss.
gliss.
(pizz) f
ff
gliss.
arco
sfz
arco
sfz
63
195 1:2
Fl.
Picc.
Ob.
C. A.
1 (A)
Cbsn.
Hn. 3:4
Tpt. 1:2
Tba.
Timp.
Xyl.
Hp.
Bsn.
div
Vln. 2
Vc.
Cb.
div
Vla.
pizz
arco
unis
pizz
arco
unis
sfz
sfz
sfz
div
f
Vln. 1
Bsn.
1:2
Bass Cl.
Cl.
a2
div
pizz
pizz
64
201 1:2 Fl.
Picc.
Ob.
C. A.
1 (A) Cl.
Bass Cl.
Bsn.
sffz
sffz
sffz
sffz
sffz
1:2
Hn.
3:4
Timp.
Xyl.
Hp.
Vla.
Cb.
Vln. 2
Vc.
Bsn. Vln. 1
Tpt. 1:2
Tba.
mp
sfz
sfz
sfz
mp
sffz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
mp
cresc
cresc
cresc
cresc
mp
sfz
To Vibes
sfz
sfz
3.
mp
cresc
sfz
sfz Vibraphone
1.
mp
14
sfz
sfz
arco sfz
sfz
sfz
pizz sfz
mp
cresc
mp
div pizz
sffz
sfz
sffz
sffz
sffz
sfz
cresc
cresc
mp
sfz
sfz
sffz
sffz
sfz
sfz
cresc
sffz
sffz
sfz
mp
sffz
sffz
sfz
loco
sffz
Cbsn.
sffz
a2
14
arco p
div
arco
p
65
1:2 207
Fl.
Picc.
Ob.
Bass Cl.
Bsn.
Cbsn.
1:2
f
Tba.
Timp.
Vibes
f
f
mf
Vln. 1
Vla.
Cb.
p
mf
ff
ff
ff
ff
ff
ff
ff
sffz
sffz
sffz
sffz
sffz
arco
mp
sffz
To B. D.
ff
ff
sffz
arco
arco
f
ff
ff
sffz
Vln. 2
Vc.
Bsn.
f
ff
f
Hp.
ff
mf Tpt. 1:2
f
mf
Hn. 3:4
Cl.
mf
mf 1 (A)
a2
mf
C. A.
sffz
Bass Drum
sffz
sffz
f
unis
ff
f
unis
sffzp
ff
ff
ff
fff
f
unis
ff
f
f
div
sffz
sffz
sffz
West Kirby, Adelaide, Orkney - 6th October 2011