Corigliano CONJURER

John Corigliano

CONJURER Concerto for Percussionist and String Orchestra (with optional Brass)

Full Score

From the G. Schirmer Rental Library Date of Printing_______

G. Schirmer, Inc. New York, NY

John Corigliano

CONJURER Concerto for Percussionist and Orchestra (with optional Brass)

commissioned by the Pittsburgh Symphony Orchestra, Nashville Symphony, Royal Scottish National Orchestra, Dallas Symphony Orchestra, Calouste Gulbenkian Foundation, Music Department (Lisbon, Portugal), and National Arts Centre Orchestra The World Premiere took place on 21 February, 2008 with Evelyn Glennie, percussion and the Pittsburgh Symphony Orchestra under the direction of Marin Alsop in Pittsburgh, PA

duration circa 35 minutes

G. Schirmer, Inc. New York, NY

Instrumentation 4 Horns in F* 3 Trumpets in C* 3 Trombones* Tuba* Solo Percussion Strings * The brass are only included in the final movement and are optional.

The entire work may be performed with soloist and string orchestra only.

The brass section is not required may be used at the discretion of the conductor.

Program Note Cadenza, Movement I: WOOD Cadenza, Movement II: METAL Cadenza, Movement III: SKIN

When asked to compose a percussion concerto, my only reaction was horror.

All I could see were problems. While I love using a percussion battery in my orchestral writing, the very thing that makes it the perfect accent to other orchestral sonorities makes it unsatisfactory when it takes the spotlight in a concerto.

For starters, a percussionist plays dozens of instruments. Again, this is wonderful if his role is to color an orchestral texture: but if he (or she) is the main focus, it is terrible. The aural identity of the player is lost amid the myriad bangs, crashes, and splashes of the percussion arsenal. Only the visual element of one person playing all these instruments ties them together.

In addition, most of the instruments have no pitch at all (or very little), and don’t sustain a sound (like a violin or trumpet).

As a result, most percussion concerti I have heard sound like orchestral pieces with an extra-large percussion section. The melodic interest always rests with the orchestra, while the percussion plays accompanying figures around it.

Of course, one could limit oneself to writing for keyboard percussion: marimba or vibraphone, for example.

Many concertos have been written like this, and the combination of using an instrument with definite pitches and restricting oneself to one instrument does focus the work on a single soloist.

I thought of all of this as I sat down to discuss my writing a percussion concerto. Obviously I had more than mixed views about this project, but something about the challenge fascinated me, too.

Many of my works begin this way. I pose a problem and write a piece as the solution. In this case, the problem is the following: How do I write a concerto for a solo percussionist playing many different instruments in which the soloist is always clearly the soloist (even with your eyes closed), and how do I write a concerto in which there are real melodies –and those melodies are introduced by the percussionist, not the orchestra?

I WOOD The pitched wood instruments are the xylophone and marimba. To supplement this, I constructed a “keyboard” of unpitched wooden instruments (wood block, claves, log drum, etc.) ranging from high to low and placed it in front of the marimba. The soloist could play pitched notes on the marimba and then strike unpitched notes on the wooden keyboard.

The initial cadenza starts with unpitched notes, but gradually pitched notes enter and various motives are revealed as well as ideas based upon the interval of a fifth. This interval will run through the entire concerto as a unifying force.

After a climactic run, the orchestra enters, developing the 5th interval into a rather puckish theme. Soloist and orchestra develop the material and build to a climactic xylophone solo, and finally return to the opening theme.

II METAL The cadenza is for chimes (tubular bells) accompanied by tam-tams and suspended cymbals. It is loud and clangorous, with the motivic 5ths clashing together. The movement itself, however, is soft and long lined.

The melody that will end the movement is introduced in the low register of the vibraphone, and the movement develops to a dynamic climax where the chimes return, and then subsides to a soft texture in the lower strings as the struck/bowed vibraphone plays its melody.

III SKIN The skin cadenza features a “talking drum” accompanied by a kick drum. The talking drum is played with the hands, and can change pitch as its sides are squeezed. Strings connect the top and bottom skins, and squeezing stretches them tighter – and raises the pitch. It provides a lively conversation with a kick drum: a very dry small bass drum played with a foot pedal and almost exclusively used as part of a jazz drum set.

This cadenza starts slowly, but builds to a loud and rhythmic climax.

The movement then begins with the soloist and orchestra playing a savage rhythmic figure that accelerates to a blinding speed. A central section brings back the 5ths against a pedal timpanum that is played with the hands in a “talking drum” style. The accelerando returns, and leads to a wild and improvised cadenza using all the drums and a virtuoso finish.

Once it was complete, it occurred to me that the piece’s cadenza-into-movement form characterizes the soloist as a kind of sorcerer. The effect in performance is that the soloist doesn’t so much as introduce material as conjure it, as if by magic, from the three disparate choirs: materials which the orchestra then shares and develops; hence, the title CONJURER.

– John Corigliano

Percussion Stations I. Wood (Audience)

Music Stand

Wooden “keyboard” 18

17

16

15 14 13 12 11 10 9

8 7

6

5

4

3

2 1

Trap Table (mallets)

Marimba

Performer

Musi cS

Xylophone

Trap Table (mallets)

tand

The wooden “keyboard” is a series of 18 instruments in graded pitches from high to low (right to left) of the performer’s choosing, which could include the following suggestions: 2 Mounted Claves, 4 Wood Blocks, 5 Temple Blocks, 1 Mounted Castanet, 1 Coconut, 2 Wood Drums, 3 Log Drums.

The pitches should not try to duplicate our tempered scale, but should outline a somewhat regular high-to-low series with non-predictable timbres. It is notated on a grand staff as follows: 1

2

3

4

5

6

7

8

9

High 10 Low

11

12

13

14

15

16

17

18

II. Metal (Audience)

Music Stand

Glockenspiel

Trap Table

Mu

sic

Sta

nd

Vibraphone

Per for me r

nd Mu

sic

Sta

m

Sus. Cymbal

Med. Tamtam

nd

ta

c Sta

eT am

Musi

rg

les

La

Crota

rmer Perfo

Ch im es

Performer

III. Skin (Audience)

Kick Dr.

Timpano Timpano

Mu

nd

Timpano

Music Stand 2 Congas

c Sta

6 Tom-toms

s Bas

nd

Musi

Sta

Trap Table (mallets)

Performer

Trap Table (mallets)

sic

Timpano

Kick Dr. plus Talking Drum

Performer

Music Stand

Notes on hand drumming: Hand drumming is performed on two different instruments: the Talking Drum and the 26� Timpano.

Both drums are accompanied by a Kick Drum. The player is seated. The Talking Drum can be played with it between the legs, leg pressure creating the pitch-bending; or it can be played under one arm. Please use a 9 inch Talking Drum.

Drum head area notation: c = center of the drum e = edge of the drum c → e = move from center to edge

Drum articulations: + = slap . + = closed (muffled) slap o = open m = muffle b = bass tone (struck in center with extra weight)

to Bernard Shockett

CONJURER Cadenza I

I. (Wood)

John Corigliano (2007) (lunga)

Percussion

Percussion

I Violin II

Viola

Violoncello

Contrabass

2

Perc.

Marimba

I Vn. II

Va.

Vc.

Cb. N.B. The final movement contains optional horns, trumpets, and trombones that may be utilized at the discretion of the conductor.

Corrected 3/2011

Copyright Š 2008 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY

2 (2)

sub.

Perc.

(Mar.)

(2)

Perc.

(Mar.)

(2)

Perc.

(Mar.)

(2)

Perc.

(Mar.)

(Mar.)

(2)

Perc.

(Mar.)

3 (2)

Perc.

(Mar.)

*

3

Xylophone

Perc.

Mar.

5

Perc.

Xyl.

Mar.

8

Perc.

Xyl.

breve

Mar.

*Play fast, non-chromatic lines between and including the indicated pitches.

breve

4 9

Perc.

Xyl.

(9)

(Xyl.)

Perc.

(9)

*

Perc.

Mar.

(9)

Perc.

(9)

Perc.

*Ad lib. similar patterns, gradually moving lower in pitch.

Allegro = 120–126 10

5 11

Wood

Perc.

I Vn.

* II

Va. sub.

col legno battuto Vc.

col legno battuto

pizz.

Cb.

15

Perc.

Vn. I div. a2, ord.

tutti, **

secco Vn.II (div.)

div. a2, ord.

tutti, **

secco * Va. (col legno batt.)

Vc.

arco, col legno batt.

0

0

Cb. *Crunch: Lightly mute the indicated strings with hand in first position. Bow with extreme pressure, al tallone, using a short stroke. Do not take the bow off the strings. The result should be a loud, scratchy sound with no discernable pitch. **Play even, nondiatonic sixteenth note figures between and including the indicated pitches. Vary the patterns continuously.

6 19

Perc.

I Vn. II

ord.

Va. tutti, *

arco ord., div. a4 Vc.

gliss. pizz.

Cb.

23

Perc.

div.

I Vn.

ord.

div.

II

Va.

non div., col legno batt.

Vc. pizz.

arco, col legno batt.

Cb.

*Play fast, nondiatonic, tremolo figures between and including the indicated pitches. Vary the patterns continuously.

Gradually move the figures from one set of boxed pitches to the next.

7 27

Perc.

unis.

I

Vn.

unis., crunch

unis., crunch

div.

II

div.

Va. arco ord. non div., col legno, batt.

arco ord.

Vc. crunch

col legno, batt.

crunch

Cb.

31

Perc.

Mar.

I Vn.

div.

II

div.

Va. col legno batt.

Vc.

col legno batt.

Cb.

unis.

8 36

Perc.

(Mar.)

I Vn. II

Va. arco, sul ponticello pizz.

Vc. div. pizz.

Cb. arco

40

Perc.

(Mar.)

jetĂŠ I 3

Vn.

3

unis., crunch II

unis.

Va.

unis., ord.

Vc.

tutti, div., arco Cb.

unis.

9 rall.

44

a tempo unpitched percussion

Perc.

*with mute

(Mar.)

arco **

pizz.

I Vn.

pizz.

arco, crunch

II

pizz.

arco

pizz.

non div., arco, col legno batt.

Va.

Vc.

col legno batt.

Cb.

48

(Unpitched) (Mar.) *with mute

Perc.

jetĂŠ

3

3

Vn. I

Vn. II (div.)

div. a2, ord.

tutti

div. a2, ord.

stacc. tutti

stacc.

crunch **

Va. col legno batt.

Vc.

pizz.

Cb.

col legno batt.

0

*Muting the Marimba may be necessary for a staccato balance with the unpitched wood instruments. A book may be used to mute the Marimba. **Bow behind the bridge on the indicated string(s).

10 52

(unpitched)

Perc.

3

3

3

(Mar.)

3

3

3

jetĂŠ

3 3

3

3

Vn. I

Vn.II (div.)

(div. a2)

tutti

(div. a2)

stacc. tutti

sul ponticello *

div. a2

sul ponticello *

div. a2

stacc. crunch

ord.

Va.

arco Vc.

arco ord.

Cb.

55

(unpitched)

**

Perc.

ord.

I Vn.

unis., ord.

II

Va.

Vc.

Cb.

*Play fast, nondiatonic, tremolo figures between and including the indicated pitches. Vary the patterns continuously. **As before, but gradually move the figures from one set of boxed pitches to the next.

11 60

Perc.

I Vn. II

Va.

Vc.

Cb.

64

Perc.

Xyl.

non div.

I

Vn.

div. a2 II

pizz.

Va.

pizz.

Vc.

div.

Cb.

unis., pizz.

12 66

Perc.

(Xyl.)

(non div.)

I (div. a2) Vn. II

(pizz.)

Va. div. (pizz.)

Vc.

arco

pizz.

Cb. 0

rall. poco a poco

68

Perc.

(Xyl.)

3 3 3

3

3

3

3

3

3

dim. poco a poco

3

3

div. non div.

I Vn.

(div. a2) II non div., arco

dim. poco a poco

Va. dim. poco a poco non div., arco Vc. dim. poco a poco non div., arco Cb. dim. poco a poco

3

3

3

3

3

13 (rall.)

70

Perc.

(Xyl.)

3

molto rall.

3

3

3

3

3

(dim. poco a poco)

(div.) al sord.

I

Vn. (div. a2)

3

3

3

al sord.

3

II

3

3

3

div.

3

3

3

al sord.

Va. 3

3

3

div.

3

3

3

Vc. (dim. poco a poco)

3

Cb. (dim. poco a poco)

73

= 60–63

Perc.

Mar.

(div.) con sord.

I Vn.

(div.) con sord.

II

Va. (div.)

Vc.

Cb.

con sord.

3

14 76

*

(Mar.)

Perc.

rall.

3

*

(div.)

1/2 step

I (div.)

Vn.

1/2 step

II con sord. (div.)

3

1/2 step

Va. 3

(div.)

1/2 step

Vc. 1/2 step Cb.

79

Perc.

sub.

Mar.

via sord.

I Vn. via sord.

II via sord.

Va. via sord.

Vc.

Cb.

*

Denotes free beats (cues). The number within the triangle equals the number of beats (cues). Dotted barlines indicate subdivisions.

15 (79)

80

Perc.

Mar.

unis., col legno, senza sord.

I Vn. unis., col legno, senza sord.

II

unis., col legno, senza sord.

Va.

unis., col legno, senza sord.

Vc.

Cb. (non. cresc.)

81

Perc.

(Mar.)

arco ord.

I

Vn. arco ord.

asynchronous

II

arco ord.

Va. arco ord.

Vc.

asynchronous pizz.

Cb.

asynchronous

asynchronous

16 82

Perc.

(Mar.)

(lunga)

div. a2

(lunga)

div. a2

(lunga) molto

I Vn. II molto la metĂ , sul pont.

(lunga)

Va.

molto la metĂ , sul pont. (lunga) Vc. molto

la metĂ , sul pont.

(lunga)

Cb. molto

83

ad. lib.

Perc.

(div.) unis.

I

Vn.

(div.) unis.

asynchronous

II

tutti, ord.

Va.

tutti, ord.

Vc.

asynchronous tutti, ord.

Cb.

asynchronous

asynchronous

asynchronous

17 84

Perc.

Xyl.

Xyl.

div.

I Vn. II div.

Va. pizz.

Vc.

Cb.

85

Perc.

(Xyl.)

(Xyl.)

(div.)

I Vn.

div.

II (div.)

Va. div., arco Vc.

Cb.

18 86 ad lib. similar patterns moving lower in pitch

Perc.

*

Mar.

(div.)

I (div.)

Vn. II

(div.)

Va. pizz.

(div.)

Vc.

pizz.

Cb.

87

= 60–63 (

accel. e cresc. poco a poco throughout if playing the optional figure)

= circa 30 seconds

ad lib. similar figures

Perc.

I Vn. II

Va. arco ** Vc.

arco Cb.

* The boxed ad lib. figure is optional from bar 88 through bar 91. ** Play legato (continuous, long free bows) chromatic figures between and including the given pitches.

accel.

19 88

ancora cresc.

Perc.

= 120–126 I Vn. II

Va.

Vc. (

sempre)

(

sempre)

Cb.

N.B.: Bar numbers in the string parts skip to 88 here in order to match the soloist and full score.

92

sub.

Perc.

I Vn. II unis., sul ponticello Va.

unis.

Vc.

div.

unis.

Cb.

N.B.: Bar numbers in the string parts skip to 92 here in order to match the soloist and full score.

20 96

sub.

Perc.

unis., sul ponticello I

Vn. unis., sul ponticello II

ord.

Va.

Vc. pizz.

Cb.

100

Perc.

tutti, ord.

I Vn.

tutti, ord.

sub.

II

sub.

Va.

Vc.

arco Cb.

sub.

21 104

Perc.

non div.

I non div.

Vn. II

non div.

Va.

non div.

Vc.

Cb.

107

8va

Perc.

Xyl.

8va 8va

Strings: on the string, then gradually back off * I

Vn.

* II

* Va.

* Vc.

* Cb. *Gradually change from accented to staccato.

22 110

Perc.

I Vn. II

Va.

Vc.

Cb.

114

Perc.

I Vn.

crunch II

Va. col legno batt.

Vc.

col legno batt.

Cb.

23 118

Perc.

Vn. I div. a2, ord.

Vn.II

div. a2, ord.

crunch Va. sub. (col legno batt.)

Vc.

pizz.

col legno batt.

Cb.

0

122

Perc.

Mar.

sul ponticello Vn. I

unis., sul ponticello

Vn.II

unis., sul ponticello

ord.

Va.

arco, sul pont., div. a4 Vc. pizz.

Cb.

tutti

24 126

Perc.

(Mar.)

tutti I Vn.

tutti II

Va.

ord.

Vc.

arco Cb.

129

Perc.

mute

remove mute

(Mar.)

ord.

I Vn.

ord.

II

Va. arco ord. col legno batt.

arco ord. col legno batt.

Vc.

col legno batt.

Cb.

crunch

col legno batt.

crunch

25 133

Mar., without mute

Perc.

div.

I crunch Vn.

ord. (div.)

div.

II crunch

div.

Va. col legno batt.

Vc.

col legno batt.

Cb.

137

3

Perc.

3 3

Mar., with mute

3

la metà (div.)

I

Vn. la metà (div.)

6

6

II

la metà

unis.

Va. la metà

(col legno batt.)

Vc. la metà Cb.

(col legno batt.)

26 140

3

Perc.

(Mar.)

3

2 soli (div.)

I

Vn. 2 soli (div.)

6

II

1 sola Va. 1 solo

(col legno batt.)

Vc. 1 solo (col legno batt.)

Cb.

143

Perc.

Mar.

(2 soli, div.)

I

Vn. (2 soli, div.)

6

II

(1 sola) Va. (1 solo)

(col legno batt.)

Vc. (1 solo) Cb.

(col legno batt.)

27 145

Perc.

(2 soli, div.)

I

Vn. (2 soli, div.)

6

6

II

(1 sola) Va. (1 solo)

(col legno batt.)

(1 solo)

(col legno batt.)

Vc.

Cb.

148

Perc.

* I Vn. II

Va.

Vc.

Cb. *Repeat two bar segment until soloist is in position. Solist may interrupt at any time he is ready to proceed with the next movement.

28

II. (Metal) 149

Cadenza II

Large Tamtam

Chimes

Perc.

Pedal

( = 120–126) 2 soli, div.

I crunch Vn. 2 soli, div.

jetĂŠ

6

II crunch 1 sola Va. 1 solo

col legno batt.

al sord.

col legno batt.

al sord.

Vc. 1 solo Cb.

153

Lg. Tamtam

Perc.

Med. Tamtam

Chimes, with hard hammers

Chimes, with hard hammers

Pedal al sord.

I Vn.

al sord.

II al sord.

Va.

Vc.

Cb.

( = ca. 48)

29 (153) Sus. Cym. (Med. Tam.)

Perc.

(Lg. Tam.) (Chimes) with soft hammer

(Chimes)

with hard hammer

(Pedal)

Pedal

I Vn. II

Va.

Vc.

Cb.

(153)

(Med. Tam.)

Perc.

(Lg. Tam.) (Chimes)

(Chimes)

(Pedal)

I Vn. II

Va.

Vc.

Cb.

with hard hammer

with soft hammer

with hard hammer

30

Metal 154

= 48 Lg. Tam.

Perc.

(Chimes)

(Pedal) tutti div., con sord.

I Vn.

tutti div., con sord.

II tutte, con sord.

Va. tutti pizz., con sord., vibrato

arco

Vc. espr. tutti pizz., con sord.

Cb.

162

Perc.

I Vn. II via sord.

Va.

via sord.

Vc. 3

div.

Cb.

via sord.

31 170

Perc.

(div.)

I (div.)

Vn. II senza sord.

Va. espr.

Vc.

Cb.

178

Perc.

Vibraphone, motor off

(con sord.)

I Vn.

(con sord.)

II 3

Va. div., senza sord. pizz.

arco, (div.)

unis., pizz., senza sord.

la metĂ , arco

Vc.

Cb.

32 accel.

186

Perc.

rall.

a tempo

(Vib.)

(div., con sord.)

I

Vn. (div., con sord.)

II

Va. (div.)

Vc. pizz. (vib.) (la metĂ ) Cb. arco

accel.

194

Perc.

rall.

a tempo

(Vib.)

Pedal (div.)

I

Vn. (div.)

unis.

II

Va.

Vc.

pizz.

Cb.

tutti, unis., arco

33 202

Perc.

(Vib.)

Pedal (div.)

unis., senza sord. sul G

via sord.

I Vn.

div.

via sord.

II

Va. (div.)

Vc.

Cb.

210

Glock.

l.v.

floating

Perc.

Vib.

floating

Pedal sul D

3

I Vn.

unis., senza sord.

II

Va.

unis.

Vc. div.

Cb.

34 216

Perc.

Glock.

(Vib.)

(ten.)

(Pedal)

Pedal div.

I Vn. II

Va. non div.

Vc.

unis.

Cb.

Perc.

Slightly slower

rall.

224

(Vib.)

(ten.)

(Pedal) (div.)

I

Vn.

II

Va. (non div.)

Vc. pizz.

Cb.

35 Tempo I 230

Perc.

(Vib.)

Pedal

I Vn. II

Va. div., sul tasto

pizz.

div., arco, sul tasto

pizz.

unis., arco

Vc.

arco

unis.

Cb.

237 (

Perc.

= ca. 48)

(Vib.) (ten.)

l.v. sempre

liquid

Pedal * unis., sul tasto (ten.)

**

I

asynchronous, liquid

Vn.

* sul tasto (ten.)

II

asynchronous, liquid

Va.

Vc.

Cb. *Each stand begins playing the figure immediately after the previous stand begins. **Each player completes the passage once and holds the high D.

**

36 238

Perc.

(Vib.)

l.v. sempre

Pedal sim.

I

Vn.

asynchronous sim.

II

asynchronous

Va.

Vc.

Cb.

= 96 ( = 48)

(239)

Perc.

accel.

240

(Vib.)

(play together) I Vn. (play together) II

Va.

Vc.

Cb.

37 242

Perc.

(Vib.)

( = 48)

(repeat if needed) I

Vn.

asynchronous (repeat if needed) II

asynchronous Va.

Vc.

Cb.

243

Perc.

= 120

= 60 ( = 120)

(Vib.)

I Vn. non div.

II

Va.

0

Vc.

div. a2 0

Cb.

38 247

3

Glock.

3

3

3

3

3

3

3

3

3

Perc.

div. a4 I Vn.

3

(non div.)

3

II

Va. non div.

Vc. (div. a2) Cb.

251 (Glock.)

3

3

3

3 3

3

3

3

Perc.

(div. a4)

I Vn.

3

II

Va. non div.

Vc.

(div. a2) Cb.

non div.

39 255 accel.

Perc.

unis.

I Vn. II

non div.

Va.

Vc. (div.)

Cb.

258

= 96 ( = 48) Large Tamtam, Chime hammers

Sus. Cym., chime hammers

Medium Tamtam (Chime hammers)

Perc.

lunga

Chimes

3

Pedal div. a2

lunga I

Vn. div. a2 II

(non div.)

Va.

Vc.

div.

Cb.

lunga

40 264

Perc.

lunga

(Chimes) lunga

( = 48)

soft hammer

hard hammer

soft hammer

soft hammer

(Pedal) al sord.lunga

unis., con sord.

al sord.lunga

unis., con sord.

I Vn. II lunga

al sord.

con sord.

Va. sub. lunga Vc. sub. (div.) lunga

unis.

Cb. sub.

271

Perc.

(Chimes) (hard hammer)

(soft hammer)

(Pedal)

I

Vn. div.

II unis.

Va.

Vc.

Cb.

Vib., motor on medium speed, both bowed and struck. soaring

41 accel.

279

Perc.

rit.

a tempo

Vib., struck only

(Vib., bowed and struck) *

Pedal div. a2 (con sord.)

I Vn. div. a2 (con sord.)

II

Va. div.

Vc. pizz.

div.

Cb.

accel.

287

Perc.

rit.

a tempo

(struck only)

(bowed and struck)

Pedal (div.)

via sord.

(div.)

via sord.

I Vn. II

Va. 1 solo (div.)

Vc.

(div.)

pizz.

Cb.

* Quarter notes may be lengthened slightly because of bowing.

42 295

Perc.

(Vib., bowed and struck)

(Pedal)

unis., senza sord.

I Vn. II

Va. (1 solo)

tutti unis.

Vc. (la metĂ )

(pizz.)

arco

Cb.

303

Perc.

div.

I div.

Vn.

unis., senza sord.

II

Va.

Vc. (div.)

Cb.

43 Slightly slower

311 rall.

Vib., motor off, struck

Perc.

I Vn. II

Va. div., sul tasto Vc.

div., arco, sul tasto

unis., pizz.

Cb.

319 L. Tam.

Perc.

Crotale, bowed (ten.)

(Vib.)

Chimes (opt.)

unis. (div.)

I Vn.

unis.

(div.)

II div.

Va. (div.)

Vc.

(div.)

Cb.

III. (Skin)

44

Cadenza III = ca. 60 328

9 inch Talking Drum * c c

B

e

c

B

B

3

B

Kick Drum 3

3

c

3

3

3

e, with fingers

e

c

B

3

3

Perc.

** I Vn. II unis.

**

Va.

unis.

**

Vc.

Cb.

329

= ca. 96–108 c

subito e

= 60

= ca. 96–108

B fast, free

ee

c

3

3

B

B

fast, free

Perc.

I Vn. II

Va.

Vc.

Cb.

*c = center of the drumhead. e = edge of the drumhead. o = open. M = muffle. B = Bass Tone. c e = move from center to edge. + = slap. + = closed (muffled) slap. **Fast and even jeté. Glissando with left hand.

45 = ca. 72

(Tkg. Dr.)

(329) e, with fingers

330 B

B

K. Dr.

3

Perc.

I Vn.

* II

Va.

Vc.

*

unis.

Cb.

(330) e, with fingers

3

3

Perc.

I Vn. II

Va.

Vc.

Cb. *Fast and even jetĂŠ. Glissando with left hand.

3

3

3

3

3

3

3

3

46 = 96–108 331

(Tkg. Dr.) ee

c o

e

c

o

c

o

(K. Dr.)

Perc.

I Vn. II

Va.

Vc.

Cb.

(331) c

Perc.

I Vn. II

Va.

Vc.

Cb.

e e

c

c

e e

c

c O

= 96

rall.

47 = ca. 84 332

(Tkg. Dr.) O

(K. Dr.)

3

3

3

3

3

3

O

3

3

3

non dim.

Perc.

I Vn. II

Va.

Vc.

Cb.

e, with fingers

(332)

3

Perc.

I Vn. II

Va.

Vc.

Cb.

3

3

3

3

3

3

48

= 96–108 ca. 10 seconds

333

(Tkg. Dr.)* e B B

B

c c

c

c e

e e

c

e

e

B

e

c B B B

B B

fast, free (K. Dr.)

Perc.

pizz.

I Vn.

pizz.

II pizz.

Va.

Vc.

Cb.

(333)

O

O

(improvising)

B

6

O

O

e

6

6

Perc.

I Vn. II arco, senza vib.

Va.

Vc.

Cb. *The following passages are suggestions, or a model, for improvisation. This section should build toward the orchestral entrance. Slowly accelerando and crescendo to this entrance. Little by little, superimpose a triplet figure over the sixteenth note patterns until by the last cue, at which point the triplet pattern should dominate the texture completely.

6

c

49 (333)

e

e

c

e

6

5

O

O

e

5

B

6 3

5

3 3

3

Perc.

I Vn. II

Va. cresc.

Vc.

Cb.

(333)

O

c

c

e 3

Perc.

* I Vn.

arco, slow quarter-tone vibrato II

Va.

Vc.

Cb. *Orchestral cues are not intended to synchronize with percussion solo.

e

e

B

e

c

B

50 (333) (Tkg. Dr.)

e

c OO

e

c

O

e c M

B (K. Dr.)

e

e c M

c

B

BB

B

O

e

e

B

3

Perc.

arco, fast vibrato I Vn. II

Va.

Vc.

Cb.

accel.

334

e

e

e

O

e

9:8

M

O 9:8

e

transform to following figure and texture

B 3

Perc.

ord.

I cresc. poco a poco

Vn.

ord.

II cresc. poco a poco ord.

Va. cresc. poco a poco Vc.

Cb.

3

transform to following figure and texture

51

(accel.)

(Tkg. Dr.)

(334)

O

e 6

O6

M

e

3

transform

O e

3

O e

all slaps 3

3

3

3

molto (K. Dr.) 3

3

3

3

3

3

3

3

molto

Perc.

align with soloist I (cresc.)

3

Vn.

3

3

3

molto

align with soloist 3

3

3

3

II (cresc.)

molto align with soloist

Va. 3

(cresc.)

3

3

3

molto

Vc.

Cb.

335

Take tempo from soloist 3 3

Perc.

non div. 3

3

3

3

*

5

3

3

3

3

*

5

I Vn. div.

II

* Va. 3

3

3

5

3

*

div.

Vc. 3

3

3

3

div.

Cb. *Repeat until soloist is in position.

52

Skin 337

= 80 Low Bongo, with hard stick

2 Bongos

6 Tom-toms, with hard sticks

Perc.

sub.

(non div.)

div.

unis.

div.

unis.

I 0

Vn.

sost.

(non div.)

II 0

sost.

div.

unis.

Va. sost.

(div. a2)

div. a2 Vc.

sost. div. a2 0

Cb.

sost.

344

Bongo

(6 T.-t.)

Perc.

pizz. (non div.) arco

non div.

pizz.

I Vn.

div.

pizz. unis., arco

div., pizz.

II

div.

unis.

div.

pizz.

arco

unis.

div., pizz.

Va.

pizz.

arco

unis., pizz.

Vc.

pizz.

Cb.

arco

pizz.

53 350

High Bongo

cresc.

(6 T.-t.)

3

3

3

Perc.

cresc.

arco

3

3

cresc.

sub.

Vn.

unis., arco

3

3

3

3

II

3

3

3

I

3

3

3

cresc.

sub. unis., arco 3

3

3

pizz.

3

arco 3

3

3

3

3

3

3

3

3

Va. sub. unis., arco

cresc. div.

3

3

unis., pizz. arco 3

3

3

Vc. 3

sub.

3

arco (div.)

3

cresc.

3

3

3

3

Cb. 3

sub.

3

3

cresc.

accel. poco a poco (to bar 410)

354 (cresc.)

3

Perc.

3

3

(cresc.)

3

I

3

3 3

(cresc.)

Vn.

3

3

3

II

3

(cresc.)

3

3

3

Va. (cresc.) pizz.

3

Vc. (cresc.)

3

3 3

pizz.

Cb. 3

(cresc.)

3

3

54

358 (accel.)

a2

1 2 Hn. in F

a2 3 4 1 2

Tpt. in C 3

1 2 Tbn. 3 Tba.

(6 T.-t.)

3

3

Perc.

(accel.)

3

3

non div.

I 0

0

Vn. 3

3

non div.

II 0

0

non div.

Va. 3

non div., arco

pizz.

3

arco, div. a2 0

Vc.

arco (div.)

Cb.

pizz.

arco, div. a2 0

0

55

363 (accel.)

a2

1 2 Hn. in F

a2 3 4 1 2

Tpt. in C 3

1 2 Tbn. 3 Tba.

Perc.

(accel.) (non div.)

div.

unis.

div.

unis.

I Vn.

(non div.)

II

div.

Va. (div. a2) Vc.

Cb.

unis.

56

368 (accel.)

a2

1 2 Hn. in F

a2

a2

3 4 1 2

Tpt. in C

3

1 2 Tbn. 3 Tba.

Low Bongo, hard stick

(6 T.-t.)

Perc.

(accel.)

(non div.)

non div.

I Vn. div.

unis.

div.

II div.

unis.

div.

unis.

div.

Va. unis. (div.)

Vc.

(div.)

Cb.

57

374 (accel.)

1 2 Hn. in F 3 4

1 2 Tpt. in C 3 a2 1 2

a2 3

Tbn.

3 3

3

3 3

3

3 3

3 3

3 3

3

3 3

3 3

3 Tba.

3

3

3

3

3

3

(2 Bongos)

(6 T.-t.)

Perc.

cresc.

3

sub.

cresc.

(accel.)

3

3

sub. unis.

Vn.

3

II

cresc.

3

3

3

3

3

3

3

cresc.

sub. unis.

3

3

3

I

3

3

pizz.

3

arco 3

3

3

3

3

3

3

3

3

Va. sub. unis.

cresc. div.

3

3

unis., pizz. arco 3

3

3

Vc. 3

sub.

3

(div.)

3

cresc.

3

3

3

3

Cb. sub.

3

3

3

cresc.

3

58

378 (accel.)

a2

a2

3

1 2

3

Hn. in F

cresc. poco a poco

3

a2

3

3 4

3

cresc. poco a poco a2

3

1 2 Tpt. in C

cresc. poco a poco 3

cresc. poco a poco 1.

1 2

3 3

Tbn.

a2

3 3

cresc. poco a poco

3

cresc. poco a poco

a2

3 Tba.

3

(High Bongo)

(6 T.-t.)

(cresc.)

3

Perc.

3

(cresc.)

(accel.)

3

I

3

3 3

(cresc.)

Vn.

3

3

3

II

3

(cresc.)

3

3

3

Va. (cresc.) pizz.

3

Vc. (cresc.)

3

3 3

pizz.

Cb. 3

(cresc.)

3

3

59

382

(accel.) a2

a2

Hn. in F

3

3

1 2 a2

3

3 4

a2

3

3

a2 1 2 Tpt. in C 3

a2 1 2 Tbn.

a2 3

Tba.

(2 Bongos)

3

3

3

Perc.

(accel.)

3

3

non div.

I Vn. 3

3

non div.

II

non div.

div.

Va. 3

pizz. non div., arco

3

arco, div. a2 0

Vc.

arco (div.)

Cb.

pizz.

arco, div. a2 0

60

387 (accel.)

a2

a2

a2

1 2 Hn. in F

a2 3 4 (a2)

a2

1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

(2 Bongos)

(6 T.-t.)

Perc.

(accel.)

div. a2

(non div.)

I div. a2 Vn.

(non div.)

unis.

div.

II

(div.)

Va. (div. a2) Vc.

(div. a2) Cb.

non div.

div.

61

393

(accel.)

1 2 Hn. in F

a2 3 4 a2 1 2

Tpt. in C

3 3

a2

a2

a2

1 2

3

3 3

cresc. poco a poco

Tbn.

3

3 Tba.

cresc. poco a poco

3

sub.

Perc.

(accel.)

unis.

div.

unis.

div.

3

3

I 3

Vn. unis. (non div.)

div.

non div.

div.

unis.

3

3

3

3

div. 3

3

II

unis. (non div.)

div.

non div.

3

unis.

div.

Va.

unis.

div. a2,

unis.

Vc. 3

Cb.

3

62

397 (accel.)

a2

1 2 Hn. in F

a2

3 4

1 Tpt. 2 in C 3 3

a2 1 2 3

1.

3

3

Tbn. 3

3 3

3

3 3

3

3 3

3

3 3

3

3 3

3 Tba.

3

3

(6 T.-t.)

3

2 Bongos

3

3

cresc. poco a poco

Perc.

3

3

3

(accel.) (div.)

unis., non div.

div.

unis.

I 3

Vn.

div.

3

II

3

3

3

3

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

cresc. poco a poco

3

3

3

3

cresc. poco a poco 3

3

3 3

3

div.

3

3

Va. cresc. poco a poco (div.)

unis.

3

div.

Vc. 3

cresc. poco a poco 3

(div.)

3 3

3

Cb. 3

3

cresc. poco a poco

3

3

3

3

63

401

(accel.) a2

3

1 2

3

3 4

3

Hn. in F

a2

3

3

a2

a2 1 2 Tpt. in C 3 a2 1 2 Tbn.

a2 3

Tba.

(cresc.)

3

Perc.

div. a3 div. a2 3

(accel.)

div.

3

unis.

div. a3

I 3

cresc. poco a poco

3

div. a3

Vn. unis.

div.

div. a3

div. a2 3

3

unis.

II cresc. poco a poco

unis.

div.

3

div. a3

div. a2 3

3

div. a3 3

unis.

Va. cresc. poco a poco unis.

3

3

arco

pizz.

Vc. cresc. poco a poco pizz.

Cb.

cresc. poco a poco

arco

64 405 (accel.)

= 60

a2

1 2

3

3

3

3

3

3

3

3

3

3

Hn. in F 3 4

3 3

1 2 3

Tpt. in C 3

1 2 Tbn.

a2 3

Tba. 2 Bongos breve

(6 T.-t.)

Bass Drum

sub.

Perc.

(accel.) div.

div. a2 3

div. a3

div. a3

3

3

= 60

div. a2

div. a3

breve

al sord.

I 3

cresc.

Vn.

div. a2 3 div.

3

3

div. a3

div. a3

3

3

div. a2

div. a3

al sord.

II 3

cresc.

div. a2 3 div.

3

3

div. a3

div. a3

3

3

div. a2

div. a3

al sord.

Va. cresc.

3

pizz.

3

3

al sord.

Vc. cresc. (div.)

Cb.

cresc.

unis., pizz.

div., arco

65

410 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

3

3

Perc.

start slow and accel.

start slow and accel.

solo, con sord.

Vn. solo

3

div. a2, con sord.

Vn. I

Vn. II div. a2, con sord.

Va.

Vc.

Cb.

66 = ca. 72

416 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

B.D.

Perc.

jeté Vn. solo

(div.)

unis. jeté

Vn. I div. a2, con sord. unis. jeté Vn. II

(div.) jeté

unis.

Va.

div., arco, con sord.

Vc.

(div.)

Cb.

jeté unis.

= ca. 72

67

421 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

Perc.

start slow and accel.

start slow and accel.

Vn. solo

div.

Vn. I div.

Vn. II div.

Va.

Vc. 3

Cb.

3

3

3

68

425 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

Perc.

start slow and accel.

unis.

Vn. solo (div.) unis.

Vn. I (div.) unis.

Vn. II (div.) unis.

Va. div. unis.

Vc. (div.)

3

Cb.

3

unis., jetĂŠ

69

429 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

= 96–108 26 inch Timpano, played with hands (seated) e c c

fast, free

Perc.

tutti, div.

I Vn. II

Va.

Vc. col legno Cb. 0

e

e e

B

B

with fingers

B

70

(429)

430

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

( = 96–108) with hands Timp. e e

c

fast, free Kick Drum

Perc.

unis.

I Vn. II

Va.

Vc. div., arco

Cb.

e

c O

O

71

(430) 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

c

Perc.

I Vn. II

Va.

Vc.

Cb.

c

e

c

e

c

72

431

= 60

*

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

(Timp.,

= 96–108) e

B

cc

Improvise similarly to the final improvisation of Cadenza III. Stretto the material so that the triplet figures appear near the end of this passage.

BB

fast, free (K. Dr.)

Perc.

= 60

div., senza sord.

via sord.

Vn. I

espr. senza sord.

via sord.

Vn. II div.

senza sord.

via sord.

espr. div., senza sord.

via sord.

Va. div., senza sord.

espr.

via sord.

Vc. (div.)

espr.

Cb. espr. *Soloist conitnues at

= 96–108 while orchestra plays at

= 60.

espr.

73

438

= 72

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba. 4 Timpani, with mallets

B.D.

Perc.

= 72 unis.

I 9 9

Vn.

(div. a2) div. a2 II

div. a2 Va.

div. a2 Vc.

unis.

Cb.

74

443 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

4 Timp.

B.D.

Perc.

al sord.

I Vn.

(div. a2)

9

unis.

al sord.

II 9

(div. a2) al sord.

Va.

(div. a2) unis.

Vc.

non div.

Cb.

div.

unis.

75

447

= 60

rall.

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

slow gliss.

3

3

3

3

3

3

Perc.

rall.

= 60

I div., con sord.

Vn. II

Va.

Vc.

Cb.

3

3

3

76

451 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

(4 Timp.)

(Player must be seated to pedal both Timpani.)

3

3

3

rall.

3

3

3

3

3

3

Perc.

div., con sord. via sord.

I Vn.

via sord.

II div., con sord.

Va.

Vc.

Cb.

3

77

accel. poco a poco (to bar 529)

= 80 sub.

454 1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

6 T.-t.

Perc.

sub.

= 80 sub. unis., senza sord., col legno

(non div.)

ord.

(non div.)

ord.

col legno (non div.)

I 0

sub.

Vn.

unis., senza sord., col legno

sub. col legno

II 0

(div.)

via sord.

senza sord., col legno

sub.

sub. col legno

sub.

sub. col legno

ord.

Va.

div. a2, col legno ord.

Vc.

sub. div. a2, col legno

sub. col legno

ord.

Cb. sub. sub.

accel. poco a poco (to bar 529)

78

460 (accel.)

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

2 Bongos

(6 T.-t.)

Perc.

(accel.) ½ col legno ½ arco ord.

div.

tutti ord., unis.

I ½ col legno ½ arco ord. (non div.)

Vn.

tutti ord.

II ½ col legno ½ arco ord. unis.

div.

tutti ord.

Va. (div.) ½ col legno ½ arco ord.

tutti ord. (div.)

(div.) ½ col legno ½ arco ord.

tutti ord. (div.)

Vc.

Cb.

div.

unis.

79

466 (accel.)

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

(2 Bongos)

(6 T.-t.)

3

3

sub.

Perc.

pizz. (non div.) arco

(accel.)

pizz.

arco

3

I sub.

Vn. div.

pizz. unis., arco

div., pizz.

unis., arco 3

II

3 3

sub. unis., arco div.

pizz.

arco

unis.

div., pizz.

3

3

3

pizz.

3

arco

Va. sub. pizz.

arco

unis., pizz. arco 3

div.

3

unis., pizz. arco 3

Vc. 3

sub. pizz.

arco

pizz.

3

arco (div.)

3

Cb. sub.

3

3

80

471 (accel.)

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

(2 Bongos)

(6 T.-t.)

Perc.

cresc.

(cresc.)

3

3

cresc.

(accel.)

3 3

3

I Vn.

3

3

3

3

3

cresc.

3 3

3

II

3

cresc.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Va. cresc.

3

Vc. 3

cresc. (div.) 3

3

3 3

Cb.

cresc.

3

3

3

3

81

475 (accel.)

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

3 3

3

3

Perc.

(accel.)

I

3

II

3

3

3

3

3

3

Vn.

3

3

3

non div.

Va. 3

pizz.

non div., arco

pizz.

Vc.

pizz.

Cb.

arco (div.)

pizz.

3

82

480

(accel.)

a2

a2

1 2 Hn. in F

a2

a2 3 4 1 2

Tpt. in C 3

1 2 Tbn. 3 Tba.

(6 T.-t.)

Perc.

(accel.)

(non div.)

div.

unis.

div.

unis.

I 0

Vn.

(non div.)

II 0

div.

Va. arco, div. a2 Vc.

arco, div. a2 0

Cb.

unis.

83

487

(accel.) a2

1 2 Hn. in F

a2

a2

3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

Low Bongo, with hard stick

Perc.

(accel.)

(non div.)

(non div.)

I Vn.

(non div.)

div.

non div.

div.

II

div.

unis.

div.

unis.

div.

Va. unis. (div.)

Vc.

(div.)

Cb.

84

493

(accel.)

1 2 Hn. in F 3 4

1 2 Tpt. in C 3 a2 1 2

a2 3

Tbn.

3 3

3

3 3

3

3 3

3 3

3 3

3

3 3

3 3

3 Tba.

3

3

3

3

3

3

(2 Bongos)

(6 T.-t.)

Perc.

cresc.

3

sub.

cresc.

(accel.)

3

3

sub.

Vn.

cresc.

unis.

3

II

3

3

3

3

3

3

cresc.

sub. unis. 3

3

3

3

I

3

3

pizz.

3

arco 3

3

3

3

3

3

3

3

3

3

3

Va. sub.

3

div.

3

cresc.

unis., pizz. arco

3

3

Vc. 3

sub.

3

(div.)

3

cresc.

3

3

3

Cb. sub.

3

3

cresc.

3

3

85

497 (accel.)

a2

a2

3

1 2

3

Hn. in F

cresc. poco a poco

3

a2

3

3 4

3

cresc. poco a poco a2

3

1 2 Tpt. in C

cresc. poco a poco a2 3

cresc. poco a poco 1.

1 2

3 3

Tbn.

a2

3 3

cresc. poco a poco

3

cresc. poco a poco

a2

3 Tba.

3

(2 Bongos)

(6 T.-t.)

(cresc.)

3

Perc.

3

(cresc.)

(accel.)

3

I

3

3 3

(cresc.)

Vn.

3

3

3

II

3

(cresc.)

3

3

3

Va. (cresc.) pizz.

3

Vc. (cresc.)

3

3 3

pizz.

Cb. 3

(cresc.)

3

3

86

501

(accel.) a2

a2

Hn. in F

3

3

1 2 a2

3

3 4

a2

3

3

a2 1 2 Tpt. in C 3

a2 1 2 Tbn.

a2 3

Tba.

(2 Bongos)

3

(6 T.-t.)

3

3

Perc.

(accel.)

3

3

non div.

I Vn. 3

3

non div.

II non div.

div.

Va. 3

non div., arco

pizz.

3

arco, div. a2 0

Vc.

arco (div.)

Cb.

pizz.

arco, div. a2 0

87

506

(accel.) a2

a2

a2

1 2 Hn. in F

a2 3 4 a2 1 2

Tpt. in C 3

1 2 Tbn. 3 Tba.

(2 Bongos)

Perc.

(accel.)

div. a2

I div. a2 Vn.

unis.

div.

II

non div.

Va.

Vc.

Cb.

div.

88

512

(accel.) a2

1 2 Hn. in F

a2 3 4 a2 1 2

Tpt. in C 3 3

a2

a2

1 2

3

3 3

cresc. poco a poco Tbn.

3

3 Tba.

cresc. poco a poco 2 Bongos

(6 T.-t.)

3

sub.

Perc.

(accel.)

non div.

(div.)

div.

non div.

div. 3

3

I 3

Vn. unis. (non div.)

div.

non div.

div.

unis.

II

unis. (non div.)

div.

non div.

3

unis.

div.

3

3

3

3

3

3

Va.

non div.

div. a2

non div.

div.

Vc. 3

Cb.

3

89

516

(accel.) a2

1 2 Hn. in F

a2

3 4

1 2 Tpt. in C 3 3

1 2 3

3

3

Tbn. 3

3 3

3

3 3

3

3 3

3

3 3

3

3 3

3 Tba.

3

3

3

3

3

2 Bongos

3

3

cresc. poco a poco

Perc.

3

(accel.) (div.)

non div.

div.

unis.

I 3

Vn.

div.

3

II

3

3

3

3

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

cresc. poco a poco

3

3

3

3

cresc. poco a poco 3

3

3 3

3

div.

3

3

Va. cresc. poco a poco (div.)

unis.

3

div.

Vc. 3

cresc. poco a poco 3

(div.)

3 3

3

Cb. 3

3

cresc. poco a poco

3

3

3

3

90 (accel.)

520

a2

3

1 2

3

3 4

3

Hn. in F

a2

3

3

a2

a2

(a2)

1 2 Tpt. in C 3

1 2 Tbn.

a2 3

Tba.

(2 Bongos)

(cresc.)

(6 T.-t.)

3

Perc.

(accel.) unis.

div. a2 3 div.

3

div. a3

div. a3

unis.

div.

div. a3

I 3

cresc. poco a poco Vn. unis.

div.

div. a3

div. a2 3

3

cresc.

3

div. a3

unis.

div.

div. a3

II cresc. poco a poco

unis.

div.

3

div. a3

div. a2 3

cresc.

3 3

div. a3

unis.

div.

Va. cresc. poco a poco unis.

3

pizz.

cresc.

3

arco

Vc. cresc. poco a poco (div.)

cresc. pizz.

arco

Cb.

cresc. poco a poco

cresc.

div. a3

91

(accel.)

525

a2

3

1 2 Hn. in F

3

3 4

3

3

3

a2

3

3 3

1 2 3

Tpt. in C

3

3

3

3

3 3

1 2 Tbn.

a2 3

Tba.

Bongos

2 Bongos

(6 T.-t.)

Perc.

Timp.

B.D.

free, passionate

(accel.) div. a2 3

3

3

div. a3

div. a2

div. a3

div. a2

div. a3

div. a2

div. a3

non div.

I 3

div. a2 3

Vn.

3

3

3

3

div. a3

div. a2

II 3

div. a2 3

3

3

3

3

div. a3

div. a2

Va. 3

3

3

pizz.

non div., arco

(cresc.) unis., pizz.

div., arco

Vc.

Cb. (cresc.)

92

528

a2

1 2 Hn. in F

a2 3 4

1 2 Tpt. in C 3

1 2 Tbn.

a2 3

Tba.

(Bongos)

(6 T.-t.)

Perc.

(Timp.)

(B.D.)

(div. a2)

unis., pizz.

I Vn. (div. a2)

unis., pizz.

(non div.)

pizz.

II

Va.

div.

non div., pizz.

unis.

div., pizz.

Vc.

Cb.

93

529 Cadenza

= 80

accel. poco a poco (to bar 551)

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

Improvise cadenza on all drums. Keep energy high, and use motives from the written material.

sub.

cresc. poco a poco

sub.

cresc. poco a poco

Perc.

Cadenza I

= 80

arco 0

sost. arco

Vn. II

accel. poco a poco (to bar 551) cresc. poco a poco

0

sost. arco

cresc. poco a poco

sost.

cresc. poco a poco

Va.

div. a2, arco 0

Vc.

sost.

cresc. poco a poco

div. a2, arco 0

Cb.

sost.

cresc. poco a poco

94

534 (accel.)

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

gradually line up with accelerating string pulses

(cresc.)

Perc.

(cresc.)

(accel.) (non div.)

I (cresc.) (non div.)

Vn. II

(cresc.) div.

Va. (cresc.) (div. a2) Vc.

(cresc.) (div. a2) Cb.

(cresc.)

unis.div.

unis. div.

95

540

(in 2)

(accel.) a2

=

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

a2 1 2 Tbn. 3 Tba.

line up with pulses

(cresc.)

Perc.

(cresc.)

(accel.)

(in 2) div.

=

non div.

I (cresc.)

Vn. II

(cresc.) unis.

Va. (cresc.)

Vc. (cresc.)

Cb.

(cresc.)

div.

unis.

div.

unis. div.

96

545

(accel.) *

*

*

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

1 2 Tbn. 3 Tba.

(cresc.)

Perc.

(cresc.)

(accel.) (non div.)

I (cresc.) div. a2

Vn.

div. a2 unis.

unis.

II

(cresc.) non div.

Va. (cresc.) (div.)

Vc.

(cresc.) (div.)

Cb.

(cresc.)

*Ossia

div.

unis. div.

non div.

div.

97

548 (accel.)

1 2 (cresc.)

Hn. in F 3 4

(cresc.)

1 2 Tpt. in C

(cresc.)

3 (cresc.)

1 2 (cresc.)

Tbn. 3 Tba.

(cresc.)

(cresc.)

Perc.

tutta forza

(cresc.)

B.D.

(accel.) (non div.)

I (cresc.) div. a2

Vn.

(cresc.) unis.

II (cresc.) (unis.)

(cresc.) non div.

Va. (cresc.)

(cresc.) unis.

Vc. (cresc.) (cresc.)

Cb. (cresc.) (cresc.)