Thorvaldsdottir DREAMING

Anna Thorvaldsdottir

DREAMING for orchestra (2008)

Chester Music

Instrumentation 2 Flutes Alto Flute 2 Oboes 2 Clarinets in B Bass Clarinet in B R (sounds 8vb in score) 2 Bassoons Contrabassoon 4 Horns in F 2 Trumpets in C 2 Trombones Tuba Timpani Percussion (3 players with 2 bows) 1:

Cymbal Rattling Shells Big Tam-tam Bass Drum

2:

Cymbal 2 Dark Wood Blocks (with a distinctive difference in sound) Big Tam-tam Bass Drum

3:

Cymbal Marimba (at times played simultaneously with other percussionists) Gongs (at times played by other percussionists):

Harp Celesta Strings (Double Basses with C extension)

The performance was given on 14 January 2010 in Reykjavik, Iceland, by the Iceland Symphony Orchestra, conducted by BernharĂ°ur Wilkinson.

Duration: c. 17 minutes The score is in C. Orchestral parts are available on hire from the publisher.

Composer’s Note

listen flow free individually embrace listen

When you see a long sustained pitch, think of it as a fragile flower that you have to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquility with the necessary amount of concentration needed to perform the task.

Anna

Performance Notes In the beginning A quiet sound world emerges from nothing. Everything else emerges from the quiet, together gradually becoming it’s own world. No meter is needed in the beginning and thus no beating of time from the conductor. The sound world of the percussion flows freely in it’s own space and time, with approximate indications as to when to act – by listening and being. The percussionists act as a unity through their individual performances. Their individual presence is not sensed directly, but rather the blanket of sounds that they create together.

Since the percussionists do not follow a strict beat at the start of the piece, but rather an approximate metronome mark, they might not be exactly at the beginning of m. 4, when the conductor starts conducting. In this case, they should individually smoothly adjust to conductor’s beat in m. 4. If anyone has reached the end of m. 3 before the conductor starts conducting at m. 4, the material at the end of m. 3 should be sustained/continued until the conductor starts conducting.

Near the end of the piece Up until here the conductor has supported the orchestra in creating the piece, building a strong foundation in the form of unity. Where the conductor stops beating (that is, conducting in the traditional sense of the word) in m. 104 his/her role is essential. After having brought the individual parts together to build a whole the conductor receives the fruits of the efforts, the beauty of each performer having settled on their own material, now flowing freely in the atmosphere of the piece under the motionless presence of the conductor – who is still conducting simply by being present. The conductor now stands still and witnesses the individual parts standing on their own.

The theatrical gesture of the conductor standing still, facing the orchestra and conducting motionlessly, is essential to the experience as the individual efforts come together in creating the unity of sounds that is the piece.

When the conductor has stopped beating, he/she stands before the orchestra and listens for approximately half a minute, having given the orchestra everything it needs to continue on its own. At this moment there is merely need for support, nurture and calm. The conductor’s power is shown by the presence, still conducting, simply by being there. And in the end the conductor inconspicuously cues each instrumental group to fade out and finish their individual part.

The gesture of not having the conductor conduct in the traditional manner at the beginning and at the end of the piece should not be understood to mean that the conductor is unnecessary to the piece at those points. More importantly, this gesture is a way of showing the power of presence and how previous efforts come together in creating a unity of the absolutely free flowing and calm individual performances without a sense of time in the form of meter.

Circular material/loops at the end of the piece Loops are flowing, airy and low in dynamics. They should enter naturally in each instrument, without specific emphasis. The transition should be smooth and effortless and not mark a ‘beginning’ of something new (the loop). Performers individually enter their loops as written, at which moment they stop following the conductor. Loops merge naturally from what the particular instrument has been playing prior to the loop entrance.

As a loop enters in a given instrument, the performer stops following the conductor and plays by their own metronome mark as indicated (each instrument has a designated metronome mark) – not synchronized between the instruments. For example, as violins IIa start their loop material, each performer is playing at their own speed – floating free in the approximate meter, not synchronized with the other violins IIa. Individual performers within string sections therefore finish their loops at different points when it comes to fade out at the end.

When all instruments of the orchestra have started their loops, the conductor waits as written then starts to indicate instrumental groups to fade out by inconspicuously cueing them in the order below, whereby instrumental group 1 fades out first and group 6 fades out last. At their cues the indicated instrumental groups start to dim al niente, as performers individually fade out very slowly towards the end of their loops.

Where there are written two dynamic marks for certain notes, differentiated by a slash sign (eg. J/ ), they should be played as follows – where x/y stands for different dynamic marks: play dynamic x the first round the loop is played, then randomly alter between dynamic x and y each time the loop is repeated. This should be done on each repeat except when the conductor has given a sign to fade out – then, naturally decrescendo to nothing towards the end.

Performing the loops demands soloistic concentration from each performer in the orchestra, but with the ambition of creating a unity with the other performers.

Instrumental groups in loops, only relevant for the fading out at the end of the piece 1.

2.

3.

4.

5.

6.

oboe I, bassoon II, horn IV, trumpet II, percussion II, celesta flute II, oboe II, clarinet II, bassoon I, horns II and III, trombone II, violin IIb clarinet I, horn I, timpani, violin I b, viola II flute I, contrabassoon, trombone I, violin Ia, viola I alto flute, trumpet 1, tuba, percussion III (marimba and gongs), cello II violin IIa, cello I (except solo cello), double bass II

When instrumental group 1 has come to silence the conductor cues for instrumental group 2 to fade out, and when group 2 has come to silence the conductor cues for instrumental group 3 to fade out, and so on.

Remaining instruments (Bass clarinet, percussion I, harp, double bass I and solo cello): When everyone except the remaining instruments have come to silence the conductor indicates bass clarinet, percussion I and harp to naturally fade out towards silence by finishing their loops, at the same cue the double bass I settle on F played with light bow pressure. Double basses will individually be at different spots in their loops, at the time of conductor’s cue, and should play their loop material towards the next sustained F and sustain it to the end. When the texture from the fade out of bass clarinet, percussion I and harp has become transparent and quiet, the conductor indicates solo cello to start the final solo material. The conductor indicates the fade out of double bass I as written (with regards to the cello). The solo cello finishes the piece.

Solo cello at the end: As the conductor cues the solo cello the soloist continues playing the loop until towards the next silence in the loop and then starts the solo (that has a close resemblance to the loop), irrelevant to position within the loop at the time of the cue.

Notation Abbreviations s.p. s.t. ord. w

sul ponticello sul tasto takes back all special effects/performing techniques applied, including (but not limited to) sul pont., light bow pressure etc. with

General When pitches are sustained/slurred through an extended period of time, breathe/bow as necessary, not synchronised.

All trills are to trill a half step.

Former effect/sound/technique/indication gradually becomes the following one.

All glissandos should be played/sung throughout the duration of the note value it is written by. For example, g slow glissando that at the beginning of the note and glissandos throughout the four beats of the note value. Similar with + , faster glissando (depending on the destination of the following pitch).

,

A small notehead above the stave indicates the note’s duration (applied for quarter or half note with stems only).

Accidentals apply to one measure at a time.

In loops: if a technique mark, text or any type of indication is written in brackets it is up to the individual performers to apply it when desired. For example: are optional crescendo and decrescendo marks. When text is written in brackets outside the loops it serves as a reminder of a continuous technique or effect.

Woodwind/Brass Wind/air sounds, no pitches sounding unless indicated with ‘airy tone’. Other technique indications with this notehead include ‘cover mouthpiece’. If no indication, play ordinary non-pitched wind effects. When written as a non-pitch wind effect the notehead is placed on the middle line of the staff, and can also be fluttertongued with a tremolo.

Play on air (brass: in various positions) without pitches coming through. This should produce slight changes of color to the air sound.

Airy tones, or whistle tones in flutes.

Double tonguing appears both as an effect with normal tones and on air.

Tongue flick on air, no pitch. Written in rhythmic patterns as a controlled flutter. Always merged into from a wind sound e.g.

Flute & clarinet: key clicks. Oboe & bassoon: click on side or key clicks of instrument, whatever sounds best on individual instruments.

Flute: key clicks and tongue ram for percussive effect. The upper notehead indicates the key click, the lower note is the sounding pitch/colour effect.

Flute: key clicks with tongue slap. open

stop

Horns: written on an air sound – start open and slowly vary between stopping with hand and opening.

Percussion Never stop the resonance of instruments, or dampen.

Percussionists I and II should ideally be positioned with a good amount of space between them on stage in order to experience the ‘calling’ bass drum parts in mm. 55-68 spatially.

Staff systems Percussion I: Percussion II: Percussion III: Cymbal material is written on a single line staff. Marimba has a designated two staff system according to tradition. Gongs have a designated 5 line staff.

Notation and graphics -bell -center -edge

when written for cymbal or gongs this refers to the central part of the instrument. when written for cymbal or gongs this refers to half way between the edge and bell; when written for tam-tam this refers to the center of the instrument. edge of the instrument.

When there is no indication as to where the instruments should be played, play in a regular/normal position.

Play with mallet on side of instrument – on timpani refers to bell.

DDDDr

Circular strokes Back and forth (with mallet or hand, as indicated) on the indicated parts of the instrument.

Dynamic indications for playing with bow on cymbal and tam-tam refer to the pressure put into the bowing: refers to light bow pressure where the instrument does not resonate fully and results in a windy sound very low in dynamic. J refers to much bow pressure where the instrument is bowed slowly with much pressure, resulting in a hectic squeaky sound.

Sticks

Drum stick Regular hard mallet @ Soft yarn B Hard yarn Large bass drum mallet : Bow + Hands Superball

Wire brush

When indicated to play with hands or wire brush (for example in circular strokes) it refers to playing simultaneously with both hands or two wire brushes, unless otherwise indicated or simultaneous indication of another mallet.

When indicated to play with a drum stick on gongs, cymbals or tam-tam in slow circular strokes, that is performed with one stick Harp Never stop resonance of instrument, or dampen, unless otherwise indicated.

A note head indicated to show approximate pitch area. Indicated with DDDD – hand(s) in circular strokes over strings.

Slowly drag fingernail up or down (as indicated with the note head) the string.

Strings No vibrato unless otherwise indicated.

From m. 83–93 in cellos, violas and violins II, slurs are to show phrase structure of the theme but do not refer to bow strokes.

When ‘much bow pressure’ is written above a note it should result in a squeaky pressured sound. When written on short note values this sound should have a percussive attack. Indications of much bow pressure should be performed sul pont.When ‘light bow pressure’ is written above a note it results in a light airy sound. This appears both on regularly performed notes and with other effects. When written with regular noteheads the pitch should sound airy and transparent.

Where there are written effects, the string(s) that the particular effect should be played on is indicated with a small regular notehead, below the effect note head (that refers to way of playing). Effect noteheads are written around approximate pitch areas and are not to suggest specific pitches but sounds. col legno Place left hand (not only one finger) lightly on indicated string, around given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an un-pitched airy sound. The lower small note head indicates the open string to be performed on, the upper note head indicates the approximate position of the hand. When the note head is indicated with a glissando, move hand up or down the string as indicated (this will produce various harmonic ( p colors to the airy sound as hand glissandos over the string(s)), for example: Lower notehead indicates the open string that should be played on. Upper notehead indicates place finger very high on the fingerboard, almost at the end, not on a specific pitch.

Glissando between harmonics: the lower notehead indicates the open string and upper diamond noteheads indicate the harmonics.

Solo cello: Bend the harmonic a quartertone flat. This produces a quiet quartertone, mostly airy sound with the color of other harmonics. This also appears on the G harmonic.

Dreaming q approx. 40

q = 50

Beginning not conducted

Flute I, II

Alto Flute

Oboes I, II

Clarinet in Bb I, II

Bass Clarinet in Bb

Bassoon I, II

Contrabassoon

Horns in F I–IV

Trumpet in C I, II

Trombone I, II

Tuba

Timpani

Percussion I

Percussion II

Percussion III

Harp

Celesta

8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4

Violin I b

Violin II a

Violin II b

Viola I

Viola II

Violoncello I

Violoncello II

Double Bass I

Double Bass II

p

3

edge

3

sustain until conductor starts conducting

center pp

slow p

mp

mp Gong

p

q approx. 40

Violin I a

sustain until conductor starts conducting Skin

on iq and K

bell

p

8 4 8 4 8 4 8 4 8 4 8 4

on air

8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4 8 4

Conductor starts conductingq

bell

8 4

Anna Thorvaldsdottir

8 4 8 4 8 4

p

p

mf

p

mp

sustain until conductor starts conducting

mp

p

q

mp

8 4 8 4

7

7

double tongue on air mp

5

mp q mp

double tongue on air q p double tongue on air p

gliss.

skin and bell

gliss.

edge

gliss.

gliss.

on skin

slow p

mp on skin

slow mp

p

p slow strokes on edge

slow strokes around edge

q = 50 8 4 8 4 8 4

8 4 8 4

p

mp double tongue on air

8 4 8 4 8 4 8 4 8 4 8 4

8 4 8 4 8 4 8 4 8 4

p

mp on air

8 4

8 4 8 4 8 4 8 4 8 4

Copyright Š 2017 Chester Music Limited

p

mp on air

8 4 8 4

q

p gliss.

p gliss.

p

gliss. p

gliss.

gliss.

p

gliss.

gliss.

p gliss.

gliss.

p gliss.

gliss.

p

mp gliss.

gliss.

gliss.

p

mp gliss.

p

gliss.

gliss. mp

2 6

2 4

t.r.

q p

Fl. I, II

2 4

mf

q p q A. Fl. mp

mp

p

2 4

p

3 4

mp

3 4 3 4

t.r.

q p

t.r.

mf

t.r.

4 4

p

4 4

p

4 4

mf

mp

p

mf

mf

Ob. I, II

7

5

7

7

2 4

6

mf

6

7

7

3 4

6

2 4

6

2 4

q

Bb Cl. I, II

3 4 p

2 4

q p

2 4

Bass Cl. mp double tongue on air 7

p

mp

Bsn. I, II

2 4

7

double tongue on air mp 7

q

p

mp

mp double tongue on air 7

double tongue on air Cbsn. p

mp q mp

mp

Hns. I-IV

C Tpt. I, II

Tbn. I, II

Tba.

2 4

7

mp

gliss.

gliss.

p on skin

on skin Perc. II

pp

p

p Perc. III

fingernail slowly up and down strings as indicated

Hp.

MMMOMMLM

mf

mf

Vln. I a

4 4

p

p 5

p

mp

mp

2 4

3 4

4 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

2 4

3 4

4 4

2 4

pp

3 4

4 4

pp

3 4

4 4

mp

4 4

5

mp

q mp

5

4 4

mp

4 4

q mp q mp

mp

4 4

p

4 4

p

3 4

2 4 2 4

3 4 3 4

4 4 4 4

2 4

3 4

4 4

2 4

3 4

4 4

edge

pp

mp

bell edge pp

pp

4 4

mp

4 4

mp

3 4

mp

q

4 4

q

2 4

3 4

p

mp

4 4

5

4 4

gliss.

7

4 4

q

gliss.

pp

4 4

gliss.

3 4

pp

4 4

gliss.

mp gliss.

2 4

Vln. II b

3 4

4 4

gliss.

gliss.

mp

2 4

gliss.

Vla. I

mp

2 4

Vla. II mp gliss.

Vc. I

gliss.

mp gliss.

Vc. II

gliss.

gliss.

Db. I

Db. II

gliss.

gliss.

gliss.

3 4 3 4

2 4

3 4

gliss.

4 4

3 4

2 4

2 4

3 4

2 4

3 4

6

p

4 4

q

3 4

2 4

gliss.

Vln. II a

3 4

2 4

2 4

gliss.

Vln. I b

p

3 4

2 4

gliss.

4 4

2 4

2 4

slow Perc. I

3 4

3 4

mp

7

p

2 4

Still skin and bell

gliss.

Timp.

4 4

6

4 4

3 4

7

6

3 4

3 4

q p

2 4

7

3 4

5

4 4

7

pp

4 4

senza vib. pp

4 4

gliss.

senza vib. pp

senza vib. pp

4 4 4 4

gliss.

senza vib.

4 4

gliss.

3 10

on air

mp

pp Fl. I, II

p

5

5

7

3

p

on air tr. b mp 5

pp

p

5

t.r.

on air q

tr. b

t.r.

A. Fl. p

mf

p

mf

double tongue on air p

Ob. I, II

5

mf

p

7

double tongue on air p

p

5

mf

p

mp

Bb Cl. I, II

mp

p

p

Bass Cl. mp

mf

p

p

p

p

Bsn. I, II

7

q

7

pp 7

7

Cbsn. p

pp q

p

soft mute

q

p

p soft mute

q p

Hns. I-IV

pp

p

q

open <> stop

soft mute

p

p

mp

q p mp

soft mute

open <> stop

p

mp

q p

C Tpt. I, II

p h gliss.

gliss.

p

p Tbn. I, II h gliss.

gliss.

p slight pitch trough air

slight pitch trough air

no pitch

Tba. pp only on skin - one

gliss.

Timp.

near edge Perc. I

mp

p center

mp Walk over to percussionist III to play the marimba in bars 17-23 and again in bars 29-32

edge

Perc. II mp

pp

Perc. III

Mar.

mp

gli ss.

gliss

gliss

gliss.

.

mp

p

Hp.

mp

mp

Cel.

mp h

gliss.

Vln. I a

gliss.

gliss.

h.

gliss.

p

pp

q gliss.

Vln. I b

h

gliss.

gliss.

gliss.

gliss.

gliss.

sul D

gliss.

h gliss.

gliss.

p tr. from harmonic

h

gliss.

Vla. I p

p

h

q gliss.

gliss.

Vla. II p

p gliss.

gliss.

gliss.

gliss .

q

Vc. I

Vc. II

h.

gliss.

tr. b

sul a

h

Db. I

Db. II

gliss.

gliss.

gliss.

p

ppp

tr. b

gliss.

ppp

gliss.

pp

sul D p

Vln. II b

h.

h

p

Vln. II a

gliss.

p

h.

gliss.

gliss.

.

4 16

A p

Fl. I, II

7 8

on air

gliss. p

mp

p

7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8

on air

gliss.

p

mp

on air

gliss.

A. Fl. p

p

p

mp

Ob. I, II

gliss. p

Bb Cl. I, II

p

mp

gliss. p

p

mp

Bass Cl. pp

pp

Bsn. I, II

pp Cbsn.

mp open <> stop

mp

p

C Tpt. I, II

p

mp

p

p

mp

Tbn. I, II

p

mp

Tba. mp

7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8

Timp. p

mp

mp

Walk over to percussionist III to play gong in bar 18

Perc. I

Perc. II

Perc. III

7

on air

mp on air

mp

7

p

p

p

p

7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8

open <> stop

Hns. I-IV

4 4

stop - a little pitch through air p stop - a little pitch through air

p stop - a little pitch through air

p stop - a little pitch through air

p

mp

Perc. III

mp

mp

Hp.

gliss

Cel.

A gliss.

Vln. I a p

pp h

gliss.

Vln. I b p

pp

gliss.

Vln. II a h

gliss.

Vln. II b

Vla. I p

Vla. II p

Vc. I p

mf

Vc. II p

mf

Db. I p

Db. II p

7 8 7 8 7 8 7 8

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

p

3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4

7

pp

pp

3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4

open

p open p open

p open

p q.a little pitch through air p

p q.a little pitch through air p

q. a little pitch through air p

p

Gong

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

percussionist I Back to

mf

mf

.

7 8 7 8 7 8 7 8 7 8 7 8

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

p

q. a little pitch through air

percussionist II

Mar.

gliss. p

mf

f

f

4 4 4 4 4 4 4 4 4 4 4 4

pp

pp

gliss.

tr, from harmonic gliss.

4 4

mp

mp

mp

mp

4 4 4 4 4 4

3 4

p near edge p

p

original positon

mp

mp

3 4 3 4 3 4 3 4 3 4 3 4

ppp

ppp

pp

ppp

ppp

pp

sul pont, much bow pressure p sul pont, much bow pressure p

gliss. p gliss on gliss.

ord. p

3 4 3 4 3 4 3 4

gliss.

p

p

p

p

pp

pp

p

p

p

p no pitch

q

q no pitch

q

no pitch - gliss on air gliss.

gliss.

p q no pitch - gliss on air

3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4

bell

4 4

gliss on

gliss.

Walk over to percussionist III to play gong in bar 22

percussionist I

mp

mp

mp

p

mp

mp tr. b p

mp

tr. b mp

p

p

p tr. b

gliss.

pp

p gliss.

pp

p gliss on harmonics on a string sim. gliss on d string

gliss.

gliss.

gliss on harmonics sim. gliss on d string ord. on a string gliss gliss. . p h

gliss. p q p

gliss.

p

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

pp

pp

p

pp

p

pp

mp

pp

mp

pp

mp

pp

pp

p

p

mp

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

pp

p

p

p

p soft mute pp soft mute pp cup gliss.

p

mp

pp

cup gliss.

p

mp

p

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

Back to original positon

4 4 4 4 4 4 4 4 4 4 4 4

gliss on harmonics on e string gliss.

h

ppp gliss.

ppp gliss.

ppp

p

gliss. ppp

p tr. b

s. ppp

tr. b ppp

p

4 4

tr. from harmonic

4 4 4 4 4 4

glis

p

tr. from harmonic while glissing gliss. ppp

ppp tr. b

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

p

5 25 p

pp

Fl. I, II

p

A. Fl.

p

mp

Ob. I, II

5

mp

Bb Cl. I, II

5

mp Bass Cl. mp

p

Bsn. I, II

Cbsn. mp

p

mf

p

mf

Hns. I-IV

p

mf

p

mf

q open

soft mute p

p

C Tpt. I, II

q open

soft mute p

p

Tbn. I, II

open q

cup

p

p cup

pp

p

p

Tba.

Perc. I

Perc. II

Perc. III

g li ss.

gliss.

mp

(pizz.) mp

Cel.

mf

mf

mf

mf

h.

Vln. I a

gliss.

p gliss.

Vln. I b p

pp

Vln. II b pp

Vla. I pp

Vla. II pp

gliss.

Vc. I p gliss.

p

Db. I mp

Db. II mp

7 8 7 8

4 4 4 4

mp

7 8 7 8

4 4 4 4

7 8 7 8 7 8 7 8

4 4 4 4 4 4 4 4

7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

mp

gliss.

4 4 4 4 4 4

7 8 7 8

4 4 4 4

7 8 7 8 7 8 7 8 7 8

pp

pp

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

mp

p

p

p

q on air

bend tone gliss. p

mp on air

p

q

mp 6

mp

p

p

mp

5

q p

mp q mp

p q mp

pp

p double tongue on air p double tongue on air q p

p

open

soft mute p

q

mp open

soft mute p

mp open

soft mute p

pp

mp open

soft mute p

mp

pp

open p

mp open mp

p

cup

q

p

mp

p

cup

q

p

p

mp soft mute p

skin

skin

Back to original positon

percussionist II

Mar. percussionist III

gliss. p

p hands in circular strokes, or up and down on strings

p

mp

mp

gliss.

mp h.

3

gliss.

gliss.

pp

pp

pp

senza vib. p

mp

senza vib. pp

p

mp

tr. from harmonic

gliss.

on air

bend tone gliss.

4 4 4 4 4 4 4 4 4 4 4 4

7 8 7 8 7 8

7 8 7 8 7 8

Vln. II a

Vc. II

4 4 4 4 4 4

7 8 7 8 7 8 7 8 7 8 7 8

Timp.

Hp.

7 8 7 8 7 8

senza vib. pp

p

mp

senza vib. pp

p

mp

sul pont.

sul pont.

ord.

6 33 q

airy tone

q pp

p

mp

Fl. I, II

mp

ff

sub.p

airy tone

q

q

pp q

mp

p

mp

sub.p

airy tone

ff

f

ff

airy tone

q

A. Fl.

5

7

Ob. I, II

ff

mp

pp

p

mp

pp

7

p

pp

Bb Cl. I, II

mp

mp

pp

mp

pp

p

p

sub.p

p

mp

pp

p

p

Bass Cl. p

p

pp

Bsn. I, II

p

pp

p

pp

p

pp

p

p

pp

p

Cbsn. p

q

p

pp

p open

soft mute/stop p

pp

mf

pp

p

pp

mf

pp

mp

mf

p

q open

soft mute/stop p

mf

mf

p

pp

mp

open

soft mute/stop p

mf

p

pp

q

mf

soft mute

q

p

C Tpt. I, II

p

open

soft mute/stop

Hns. I-IV

mp

mf

p

mp

open

soft mute mp

mf

soft mute

open

p

mf

soft mute

q

mp (still cup)

p

Tbn. I, II

gliss.

p

mp

mf

(still cup) p

gliss.

gliss.

p

Tba. p

mf

pp

Timp.

gliss.

Perc. I mp

pp edge

Perc. II p edge Perc. III

Perc.

p

Mar.

Perc. III

mp

Hp.

mp

mp

mp

mp 5

5

Cel.

h Vln. I a

h

h

gliss.

gliss.

pp

mp

tr. b

gliss.

w

gliss.

3

tr. from harm.

h

h.

sim.

sim.

norm.

gliss.

Vln. I b pp

mp

w

w

q

gliss.

Vln. II a

Vln. II b

mf

gliss.

gliss.

tr. b

ord.

sul pont.

tr. b gliss.

gliss.

Vla. I

sul pont. tr.b

gliss.

Vla. II

gliss.

tr. b

ord.

tr. b mp

sul pont.

h

ord. gliss.

Vc. I

mp ord.

sul pont.

gliss.

Vc. II

h

mf div.

gliss. mp

ord.

gliss.

Db. I mp

gliss.

Db. II mp

gliss.

7

B

41 Fl. I, II

(Preferably conducted in 2)

tr. b

flutter

p

mf

fl. p

mf A. Fl. mf

p

Ob. I, II

mf

p

mf

mf

Bb Cl. I, II

mp

mp

mf

mp

mp Bass Cl. mf

mp p

f

Bsn. I, II

f Cbsn.

p

f

5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4

mute f

mp mute

Hns. I-IV

f

p

mp mute

f

p

mp

f

p

p C Tpt. I, II

p open f

Tbn. I, II

cup mute

open

gliss.

p

f open Tba. f

p

p

p

p

p

p

p

p

p

Walk over to percussionist III to play marimba in bar 45 Perc. I mf

5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4

mp open

mp open

mp

mp open p open p open p open p

f

mf

f

Gongs

Perc. III

Mar.

5

f

Perc. III

ff (percussionist III)

mp

ff Hit strings with hands

ord.

ff

Hp.

mf ord.

mf

ff

f

Cel.

5

5

f

B

ff

mf

f

ff

f

sub.mf

5 4 5 4

tr. b

Vln. I a p h gliss.

Vln. I b p

p

5 4 5 4

p

5 4

Vln. II a p tr. from harmonic

Vln. II b

Vla. I

Vla. II

gliss.

p ord. arco

gliss.

Vc. I

p

ff

p

gliss from E - sustian F Vc. II

ord. arco gliss.

p

ff

p ord. arco

Db. I p Db. II

ff

p ord. arco

gliss. p

ff

p

gliss.

5 4 5 4 5 4 5 4 5 4

tr. b p tr. b p

p

p

p

p

p

p

p

p

pp

pp

p

p

p

p soft mute pp soft mute pp soft mute pp

soft mute p

p

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

(Hit on 1st beat and gliss from 2nd beat on resonance) gliss.

mf

Walk over to percussionist III to play gongs in bar 45 Perc. II

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

open

mp

gliss.

Timp.

5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4

percussionist II

Back to original position

mp

percussionist I - mallet on d, e, f mp mp

f

mf

f

f

f

mp

p h

mp

mp

p

mp

p

mp

mp

mp

mp

4 4 4 4

p

mf

mf

mf

f

mf

4 4 4 4 4 4 4 4 4 4

mf

mf

mf

mf

solo j 5

pp

mp

pp

p

4 4 4 4 4 4

mp

mp

gliss.

Back to original position

h

gliss.

mp

p

p q gliss.

w

gliss.

p

p

p

p

p

8 49 Fl. I, II

airy tone, cover mouthpiece

f

mp ord.

mf

on air, cover mouthpiece mp

fl. mf

f airy tone, cover mouthpiece

q

A. Fl. mf

f

mp

mf

Ob. I, II

mf

mp

ff

Bb Cl. I, II

flutter wind p

ff Bass Cl. f

p

mf

Bsn. I, II

2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4

mp

Cbsn. p

3

mp 3

mp

mp 5

p

mp

p

4 4 4 4 4 4

p

pp

2 4 p

pp

p

pp

Hns. I-IV

2 4 2 4 2 4

pp

mp

pp

mp

2 4 2 4 2 4 2 4 2 4

p

C Tpt. I, II

p

Tbn. I, II

p

mp

soft mute p

pp

mp

Tba.

mf

4 4 4 4 4 4

mf

mf

mf

4 4 4 4 4 4 4 4 4 4

open p 3 open p 3

p

gliss.

2 4 2 4

4 4 4 4

pp

mp Perc. I p

mf

edge of skin on the drum - thinnest sounding spot Perc. II mf

2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

Perc. III

ff

Perc. III

ff

Hp.

f

mf

f

mf

mf

mp

ff

Cel.

mf

ff

Vln. I a sub. pp

p

Vln. I b mf

sub. pp

Vln. II a sub. pp Vln. II b mf

sub. pp

mp

sub. pp

mp

sub. pp

Vla. I

Vla. II

Vc. I

Vc. II

Db. I

Db. II

p

mf

3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4

5

mf

mp

gliss.

mp

mp

mp

mp

p

key clicks

f

C 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4

5

mp

3 4 3 4 3 4

p

4 4

Hit and glissando on the resonance Timp.

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

p

p

3 4

mp

mp

mp

mp open mp

mp

3 4 3 4 3 4

6 4 6 4 6 4

3 4 3 4 3 4 3 4 3 4

6 4 6 4 6 4 6 4 6 4

sub.p

mp

gliss.

gliss.

p

3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4

edge mp Gong

mp

mp

mf

f

mf

6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4

mp

2 4 2 4

4 4 4 4

3 4 3 4

6 4 6 4

4 4 4 4 4 4 4 4 4 4 4 4

3 4 3 4 3 4 3 4 3 4 3 4

6 4 6 4 6 4 6 4 6 4 6 4

2 4 2 4 2 4 2 4 2 4 2 4

gliss.

gliss.

p

p

p

mp

gliss.

p

2 4 2 4 2 4

pp

mp

mp

2 4 p

5

p

p

3

2 4 2 4 2 4 2 4 2 4

p

p

mf

p

mf

2 4 2 4

mp

Mystery p

mf p

mf

p

Mystery mf p

f

mf

mf

mp

6 4

gliss.

mp

2 4 2 4 2 4

p

C 6 4

4 4 4 4 p

3 4 3 4

6 4 6 4

2 4 2 4

gliss.

3

6 4

sub.p

open

6 4 6 4 6 4

3

2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4

3

p

p

p

p

p

p

p

2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4

9 56 Fl. I, II

A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Cl.

Bsn. I, II

Cbsn.

Hns. I-IV

C Tpt. I, II

Tbn. I, II

Tba.

2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4

p

mf

p

mf

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

p

p

p

p

p

p

2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

p

p

p

mp

pp

mp

pp

mp

p

mp

mf

mp

mf

mp

mf

mp

mf

pp

pp

mp

mf

mp

mf

mp

mp

mp

mf

mp

mf

mp

4 4 4 4

3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

pp

pp

pp

pp

pp

3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4

pp

mp

3 4 3 4

soft mute pp (still soft mute) pp

mp

Timp.

Perc. I

Perc. II

Perc. III

Hp.

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

Vc. I

Vc. II

Db. I

Db. II

2 4 2 4

f

mf

mp

edge of skin - thinnest sound mf

p

4 4

sub.mp

4 4

2 4 2 4

4 4 4 4

2 4 2 4 2 4 2 4

4 4 4 4 4 4 4 4

mp

gliss.

3 4 edge of skin - thinnest sound

4 4

mp

2 4

4 4 4 4

2 4

gliss.

gliss.

4 4

2 4

4 4

2 4 2 4 2 4 2 4 2 4

4 4 4 4 4 4 4 4 4 4

3

gliss.

center

edge

f

mp

mf

2 4

2 4

3 4 center

edge

f

mp

3 4 3 4

4 4 4 4

3 4 3 4 3 4 3 4

4 4 4 4 4 4 4 4

p

3 4

4 4

mf

p

3 4

4 4

p

3 4

4 4

p

3 4

4 4

3 4 3 4 3 4 3 4 3 4

4 4 4 4 4 4 4 4 4 4

mf

p

p

p

mp

mp

pp

pp

soft mute pp

pp

pp

pp

4 4

mf

mf

pp

4 4

3 4

mf

pp

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

p

5

pp

center

edge

f

mp

4 4 pp

pp

pp

pp

pp

pp

pp

center

edge

center

edge

f

mp

f

mp

10

D

61

5

4 4 4 4 4 4

7

p

Fl. I, II

7

5

p 5

A. Fl. p

4 4 4 4 4 4 4 4 4 4 4 4

mf

Ob. I, II

mf

mf

Bb Cl. I, II

mf

Bass Cl. mf

p Bsn. I, II

4 4 4 4

pp

Cbsn. p

(open)

p (open)

p

Hns. I-IV

(open)

p

(open)

p

C Tpt. I, II

Tbn. I, II

open Tba. mp

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

Timp.

center

edge

f

mp

gradually towards center

4 4

center

Perc. I ff mf center

edge gradually towards center

center

f

mp

f

center

4 4 4 4 4 4 4 4 4 4 4 4

center

Perc. II mf

f

mf

ff

mf

f

mf

Perc. III

Hp.

Cel. mp

D

7

4 4

Vln. I a p

4 4

Vln. I b 5

p

Vln. II a mp

Vln. II b

4 4 4 4 4 4

Vla. I

Vla. II

Vc. I

Vc. II mp

Db. I mp

Db. II mp

4 4 4 4 4 4 4 4 4 4

11 65

4 4

Fl. I, II

A. Fl.

7

Bass Cl.

5

7

4 4

7

7

7

7

7

5

5

7

5

7

p

mp

7

7

p

mp

5

7

5

5

7

7

5

mp

7

7

5 5

p

7

7

5

7

mp

7

5 7

5

p 5

7

5

7

7

4 4 4 4

mp

7

5

7

p

4 4

mp

7

7

5

5

7

7

7

4 4 Bb Cl. I, II

7

5

4 4

4 4 Ob. I, II

5

7

7

5

7 5

7

7

7

mp

7

7

5

7

p

4 4 Bsn. I, II

Cbsn.

Hns. I-IV

C Tpt. I, II

Tbn. I, II

Tba.

Timp.

Perc. I

Perc. II

Perc. III

Perc. III

Hp.

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

Vc. I

Vc. II

Db. I

Db. II

7 7

p

mf

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

p

5

5

7

5

7 7

mp

7

7

mp

7

7

7

5

p

mf

7

5

mp

f

p

f

f

p f open mp

p

f

open f

mp

p

open mf

p

f

open mf

p

f

f

gliss.

f

mf

f

mf

f

f Gong

mf

f

pp

pp

mf

Mar.

f

f gliss.

mp

f

f

f

f

f f

f 7

5

7 7

7

7

7

p

7

7

7

7

5

p

7

5

7

p

5

7

5

7

5

7

5

5

mp

7

p

5

7

7

7

5

mp

7

p

mf

p

7

ff

mf

p

mf

ff

mf

ff

mf

ff

mf

ff

mf

ff

mf

ff

mf

ff

mf

ff

p

5

gliss.

p

7 7

4 4 4 4 4 4 4 4 4 4

7

7

4 4

4 4

5

7

4 4 4 4 4 4

7

5

5

7 7

gliss.

p

12

E

69

h = 30

w.t.

4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2

Fl. I, II

A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Cl. pp

gliss.

gliss.

on air cover mouthpiece

mp w.t.

gliss.

mp

w.t.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

on air cover mouthpiece

mp

q

mp

p

mp

4 2 pp

Bsn. I, II

4 2 pp

4 2

Cbsn. pp

Hns. I-IV

4 2 4 2 4 2 4 2

p

p

ppp

ppp q Tba. p

q p q p q p

4 2 4 2 4 2 4 2 4 2

C Tpt. I, II

Tbn. I, II

p

soft mute ppp soft mute ppp

gliss. p

pp

q gliss.

p

p

pp

pp

ppp slow

on bell

Timp.

Perc. I p

p

pp

p

pp

pp

ppp

Perc. II Gong Perc. III pp

(sempre pp)

Mar. If not enough range, play octive higher

Perc. III

mp

Hp.

4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2

on skin and bell

p

pp

ppp

p

pp

ppp

p

pp

ppp

p

pp

ppp

edge mp

p

hand in circular strokes over strings p finger nail slowly down and up string as indicated mp

4 2 4 2

Cel.

E

4h = 30 2 4 2 4 2

Vln. I a

Vln. I b

con sord.

gliss.

Vln. II a

pp Vln. II b

pp w Vla. I

pp w Vla. II

con sord.

gliss.

pp

gliss.

gliss.

Vc. I p

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

q

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

q Db. I p Db. II mp

gliss.

pp

pp

gliss.

gliss.

gliss.

senza sord pp

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

q

gliss.

gliss.

gliss.

pp

p

4 2 4 2 4 2 4 2 4 2

gliss.

gliss.

pp

Vc. II

pp con sord.

4 2

con sord.

gliss.

senza sord

4 2

con sord.

gliss.

con sord.

gliss.

gliss.

quartertone gliss up and down

ord.

gliss.

gliss.

gliss.

quartertone gliss up and down

gliss.

gliss.

gliss.

gliss.

p

13 78 Fl. I, II

-realization-

airy tone

mp

on air

q

airy tone

q

p

mf

mp

gliss.

on air

mp

on air mp

mf

on air A. Fl. mp double tongue on air

mf

mf

Ob. I, II

pp

7

5

double tongue on air

mf

Bb Cl. I, II

p

7

5

q

q

q

mp

mf ord.

q

q

mf

mp ord.

ord.

airy tone

Bass Cl. mf

mf

pp

pp

mf

Bsn. I, II

pp

mf

pp

Cbsn. mf

pp

p q

p

Hns. I-IV

p

q

q p q p

cover mouthpiece pp

p

C Tpt. I, II

cover mouthpiece pp q

p

gliss. pp

pp

pp

Tbn. I, II gliss.

gliss.

pp

ppp

p q

Tba. p

on bell Timp. p

p Perc. I p

pp

ppp

p

pp

pp

pp on edge

tam tam

Perc. II pp

p

mp

Perc. III

p

mp

pp

Mar.

p

mp

pp

ppp

pp

If not enough range, play G octive above

mf mp

mf

Hp.

mf

Cel.

Vln. I a p

5

5

Vln. I b p

3

5

5

5

senza sord Vln. II a p

ppp

5

5

mp

senza sord Vln. II b ppp

3

p

tr. from harmonic

senza sord

5

5

5

mp vibrato

gliss.

Vla. I

p

mp

tr. from harmonic

senza sord Vla. II

mf vibrato

gliss.

p

mp

mf vibrato

Vc. I p

mf vibrato

Vc. II mp

mf

mf ord.

Db. I

p

mp

mf

p

mf

p

ord.

Db. II

7

14 81

F 6

Fl. I, II

5

7

7

mp

pp

6

on air

on air 7

pp

6

mp

7

on air A. Fl. mp

Ob. I, II

7

5

mp

mp

Bb Cl. I, II

p

pp

p

pp Bass Cl. p

p

Bsn. I, II

p

pp

p

Cbsn. p

q

q

Hns. I-IV q

q

q

C Tpt. I, II

Tbn. I, II

pp

Tba. p

Timp.

Perc. I

Perc. II

Perc. III

soloistic - rhythmic ff

Cel.

ff

F Vln. I a

Vln. I b

Vln. II a

Vln. II b

senza vibrato Vla. I

senza vibrato Vla. II

senza vibrato Vc. I

senza vibrato Vc. II

ord.

quartertone gliss up and down Db. I

quartertone gliss up and down Db. II

7

6

5

15 83

on air

mp

Fl. I, II

5

mp

7

pp

5

7

5

mp

6

7

pp

A. Fl. 7

5

mp

mp

Ob. I, II

mp

Bb Cl. I, II

mp

7

5

5

pp

6

7

Bass Cl. mp

mp

Bsn. I, II

mp

Cbsn. mp

soft mute

mp

ppp

soft mute ppp

mp

Hns. I-IV

soft mute

ppp

mp soft mute

ppp

mp

C Tpt. I, II

cover mouthpiece p

ppp Tbn. I, II

cover mouthpiece ppp

p

Tba. pp

p

Timp.

Perc. I

Perc. II

Perc. III

F

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

thoughts of nature vibrato Vc. I f

Vc. II

Db. I mp ord.

Db. II mp

16 85 Fl. I, II

mp

A. Fl.

Ob. I, II

6

7

7

Bb Cl. I, II

on air

pp

mp

7

5

pp on air

7

5

7

pp

6

mp

5

on air

5

7

Bass Cl. mp

p

Bsn. I, II

mp

p

double tongue on air

p

p

Cbsn. p

Hns. I-IV

C Tpt. I, II

Tbn. I, II

Tba.

Timp.

Perc. I

Perc. II

Perc. III

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

Vc. I

Vc. II mf

Db. I

Db. II

f

5

17 87

rhythmic

mp Fl. I, II

rhythmic

mp rhythmic A. Fl. mp

Ob. I, II

Bb Cl. I, II

7

6

on air

5

5

7

Bass Cl. pp double tongue on air 5

p 7

6

5

p

pp Bsn. I, II

mp 7

7

7

6

5

5

7

double tongue on air 5 Cbsn. pp

p

Hns. I-IV

C Tpt. I, II

Tbn. I, II

5

Tba.

Timp.

Perc. I

Perc. II

Perc. III

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

Vc. I

Vc. II

Db. I p

mp

Db. II p

mp

18 89 Fl. I, II

A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Cl.

mf Bsn. I, II

7

6

5

pp 7

7

6

mf

5

Cbsn. p

pp

open on air

5

7

7

6

5

p open on air

5

7

7

6

p

Hns. I-IV

C Tpt. I, II

Tbn. I, II

5

q

Tba.

Timp.

Perc. I

Perc. II

Perc. III

Cel.

rhythmic 1/2 pizz. and 1/2 arco Vln. I a mp rhythmic 1/2 pizz. and 1/2 col legno Vln. I b mp

Vln. II a mf

Vln. II b mf Vla. I mf rhythmic pizz.

p

mf arco

Vla. II mp

mf

Vc. I mf

Vc. II mf

Db. I

Db. II

19 91 mp Fl. I, II

A. Fl. pp

Ob. I, II

Bb Cl. I, II

Bass Cl.

Bsn. I, II

mp if low D not possible, play D 8va higher - other notes in written range

5

Cbsn. pp

5

7

5

Hns. I-IV

5

open on air

5

7

7

7

6

5

p open on air

5

7

7

6

5

p

C Tpt. I, II

Tbn. I, II

5

Tba.

Timp.

Perc. I

Perc. II

Perc. III

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

Vc. I

Vc. II

Db. I

Db. II

20

G

93

First loop entrance in Trumpet I

Fl. I, II

mp

A. Fl. mp

Ob. I, II

Bb Cl. I, II

pp

pp Bass Cl. pp

pp

Bsn. I, II

pp

Cbsn.

Hns. I-IV 5

7

q approx 60 Ad lib.

alternate wind sounds between covering mouthpiece and ordinary playing wind effects

on air

C Tpt. I, II

p

5

7

7

p

6

q approx 60 Ad lib.

on air p

7

7

5

alternate wind sounds between covering mouthpiece and ordinary playing wind effects

on air

5

p Tbn. I, II

on air

5

7

7

p

Tba.

Timp.

Perc. I

Perc. II

Perc. III

f

Cel.

f

G

arco

Vln. I a p arco Vln. I b p

Vln. II a p Vln. II b p

Vla. I

Vla. II p

Vc. I

Vc. II

Db. I

Db. II

21 95 mp

p

Fl. I, II

mp

p

A. Fl. p

mp Ob. I, II

mp

mp Bb Cl. I, II

mp

Bass Cl.

Bsn. I, II

Cbsn.

soft mute

ppp soft mute

ppp

Hns. I-IV soft mute

ppp soft mute

ppp on air

C Tpt. I, II

p

7

5

6

on air

p 7

6

mp/mf

5

7 5

5

7

q approx 50 Ad lib.

gliss. p

Tbn. I, II

6

5

on air

q approx 50 Ad lib.

5

5

7

gliss.

p

p slight pitch

Tba.

Timp.

Perc. I

Perc. II

Perc. III

Cel.

gliss.

Vln. I a

gliss.

Vln. I b

gliss.

Vln. II a

gliss.

Vln. II b

gliss.

gliss.

Vla. I p gliss.

gliss.

Vla. II

gliss.

Vc. I p

gliss.

Vc. II p light bow pressure Db. I

Db. II

22 97 p Fl. I, II

p

w.t. q approx 50 Ad lib.

gliss.

gliss.

fl. on air

A. Fl. p/pp double tongue on air

mp

mf

Ob. I, II

7

7

double tongue on air mf

5

Bb Cl. I, II

Bass Cl. p

Bsn. I, II

Cbsn.

pp

Hns. I-IV soft mute

5

C Tpt. I, II

7

7

6

7

6

6

gliss.

gliss.

gliss.

Tbn. I, II 5

gliss.

gliss.

q approx 60 Ad lib.

on air

Tba. pp

Timp.

Perc. I q approx. 50 Ad lib.

Perc. II p

Perc. III

Perc. III

Hp.

Cel.

(light bow pressure) much bow pressure

q approx 60 Ad lib.

ord.

gliss.

Vln. I a pp q approx 60 Ad lib.

much bow pressure gliss.

Vln. I b pp

mp

pp

mp

mf/mp

(light bow pressure)

ord. pp/p

pp

mf/mp

q approx 60 Ad lib.

Vln. II a q approx 64 Ad lib.

light bow pressure Vln. II b

gliss. p/pp

q approx 60 Ad lib.

Vla. I

gliss.

pp

p/mp

q approx 60 Ad lib.

Vla. II light bow pressure ord. bow pressure

gliss.

Vc. I mp Vc. II

gliss.

Db. I p light bow pressure Db. II

pp/mp

p/pp

q approx 60 Ad lib.

light bow pressure

23 99

q approx 60 Ad lib.

p Fl. I, II

t.r.

t.r.

pp

q approx 60 Ad lib.

t.r.

f7mp

on air

pp

pp

mp t.r.

t.r.

mp

mf/p

mp

on air

A. Fl. pp double tongue on air 5

Ob. I, II

q approx 50 Ad lib.

7

mf

6

p

double tongue on air

q approx 50 Ad lib.

mp

7

5

7

5

mf

7

pp

7

7

6

6

5

q approx 50 Ad lib.

double tongue on air

pp

mp

Bb Cl. I, II

7

q approx 50 Ad lib.

pp

p q approx 50 Ad lib.

Bass Cl. q approx 56 Ad lib.

p

pp

double tongue on air

pp

7

Bsn. I, II

7

double tongue on air

q approx 50 Ad lib.

p q approx 56 Ad lib.

7

double tongue on air

Cbsn. pp

mp q approx 50 Ad lib.

soft mute

soft mute

pp

pp

q approx 50 Ad lib.

soft mute

Hns. I-IV

pp

q approx 56 Ad lib.

soft mute

pp

pp

on air

5

p

7

p

q approx 50 Ad lib.

soft mute

soft mute

pp

pp

p

C Tpt. I, II 5

5

gliss.

gliss.

Tbn. I, II

slight pitch

5

Tba. pp q approx. 50 Ad lib.

on iq and K

bell

ppp

Skin gliss.

Timp. p

gliss.

3

q approx. 50 Ad lib.

fast

slow

slow

Perc. I pp/mp

mp slow

Perc. II p

pp

q approx. 50 Ad lib.

mp

Gong

Perc. III p

p

q approx. 50 Ad lib.

Perc. III

Mar. or p

q approx 40 Ad lib.

hands in circular strokes over strings or up and down the strings - with an airy sound

p

Hp.

finger nail slowly down and up string as indicated

pp / mp

p / mp

p

Cel.

finger nail slowly down and up string as indicated

mf

f

f

mf

f/mp

f/p

ord. bow pressure gliss.

much bow pressure

light bow pressure

ord. bow pressure

much bow pressure

(light bow pressure)

gliss.

Vln. I a p

p

much bow pressure

gliss.

mp

ord. bow pressure sul pont.

light bow pressure

mf/p

p

pp

mf

pp/p

f

gliss.

gliss.

Vln. I b p

mp/mf much bow pressure

(light bow pressure)

f/mp

p/mp

gliss.

p

much bow pressure

sim.

ord.

mf/f

p

light bow pressure

mp

gliss.

Vln. II a p/pp

mp

mf/mp

f/mp

much bow pressure

mp/mf ord.

light bow pressure

Vln. II b pp much bow pressure

ord.

light bow pressure

pp

f/mp

pp/p

ligth bow pressure

gliss.

Vla. I

pp

ord.

much bow pressure

p/pp

light bow pressure

Vla. II

pp

mf/mp

ord. bow pressure

p/pp

gliss.

mp

p/pp

gliss.

much bow pressure

much bow pressure

light bow pressure

much bow pressure ord. bow pressure

gliss.

much bow pressure

mf/p

ppp

ord.

Vc. I p/mp (sul pont.) q approx 60 Ad lib.

ord. bow pressure sul pont.

much bow pressure / light bow pressure

mp/mf

f mf light bow pressure

p/mp

gliss.

Vc. II

mp/mf

p

f/mp

p/mp

p/mp q approx 40 Ad lib.

light bow pressure - airy tone

Db. I

gliss.

gliss.

gliss.

p

pp q approx 40 Ad lib.

Db. II

gliss.

gliss.

p/pp

24 101 Fl. I, II

Last loop entrance in DB II Conductor gradually stops conducting

on air pp

w.t.

mp

gliss.

gliss.

mp/p t.r.

t.r.

w.t.

( )

pp

A. Fl. p f7mp

5

5

7 5

double tongue on air

Bb Cl. I, II

5

7

Ob. I, II

7

6

7

double tongue on air 5

7

7

6

mp Bass Cl. p/pp

Bsn. I, II

mp/pp

7

7

7

7

ppp

7

Cbsn. ppp

on air

5

7

p

Hns. I-IV

pp

on air

pp on air

5

5

sub. p

7

pp

C Tpt. I, II

Tbn. I, II

(on air)

5

Tba. mf/p

pp skin and bell

gliss.

Timp.

gliss. skin

on skin Perc. I p on skin Perc. II p

p Gong

Perc. III p

Perc. III

Mar.

or up and down the strings - airy sound gliss.

p

Hp. or up and down the strings - airy sound

p

f/mp

Cel.

mf

mf

mf/mp much bow pressure

light bow pressure

gliss.

Vln. I a p/mp

mp/p

gliss.

Vln. I b

mf/p gliss.

Vln. II a p

pp/p

mp

ord./light bow pressure

Vln. II b

p

pp

much bow pressure

ord. bow pressure

light bow pressure

(sul pont.)

Vla. I mp/mf

p/mf

pp

mf/p

much bow pressure

light bow pressure gliss.

Vla. II (much bow pressure)

pp

p/mp

(much bow pressure) / (light bow presure)

ord.

gliss.

Vc. I f

still light bow pressure Vc. II

p ord. bow pressure

mp/mf much bow pressure

light bow pressure

gliss.

mp/mf

p/mp

pp/p

light bow pressure Db. I

gliss.

p/mp Db. II

pp

gliss.

25

Conductor has become motionless w.t.

102 Fl. I, II

w.t.

p

pp

pp

p

t.r.

gliss.

mp/pp

mf7mp

on air mp/mf

pp

gliss.

gliss.

t.r.

mp/pp

pp

mf7mp A. Fl.

Ob. I, II

7 5

7

double tongue on air

Bb Cl. I, II

( )

p

5

7

pp

7 5

p

airy tone

7

( )

5

Bass Cl. p

Bsn. I, II

p

mp

ppp

pp

7

5

Cbsn. pp

pp on air

5

7

p

Hns. I-IV

7

p

pp 5

5

7

p

C Tpt. I, II

Tbn. I, II

(on air)

5

Tba.

Timp.

edge

slow

sustain

edge

center

( )

edge

Perc. I p

mp/p

p

p

Perc. II

Perc. III

Perc. III

gliss.

Hp.

pp / p

mp / pp

Cel.

Vln. I a

Vln. I b much bow pressure

much bow pressure

much bow pressure

ord.

gliss.

gliss.

gliss.

gliss.

Vln. II a mf/p gliss.

mf

sul pont. (light bow pressure)

much bow pressure

mp/f

gliss.

gliss.

pp

p light bow pr.

Vln. II b p/mp

ord.

p/ppp

mf/mp

light bow pressure

mp

p

Vla. I p light bow pressure Vla. II pp

pp/p

much bow pressure

ord.

(much bow pressure) / (light bow pressure)

(much bow pressure)

ord. bow pressure sul C

light bow pressure ord.

ord.

Vc. I ord. bow pressure

mp/mf

mf/f

p

mp

mp

p

p/pp

ppp/p

f

gliss.

Vc. II p

light bow pressure

gliss.

Db. I

gliss.

pp

mp/mf gliss.

Db. II p/mp

gliss.

gliss. p/mp

p/pp

sub.p

gliss

.

26

H

approximately 30 seconds

H

approximately 30 seconds

105 Fl. I, II

A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Cl.

Bsn. I, II

Cbsn.

Hns. I-IV

C Tpt. I, II

Tbn. I, II

Tba.

Timp.

Perc. I

Perc. II

Perc. III

Mar.

Hp.

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

Vc. I

Vc. II

Db. I

Db. II

27 106

Conductor’s cue for group 1 to fade out

Fl. I, II

Conductor’s cue for group 2 to fade out

Conductor’s cue for group 3 to fade out

Flute II

A. Fl.

Oboe I

Ob. I, II

Oboe II

Clarinet in Bb I

Bb Cl. I, II

Clarinet II

Bass Cl.

Bassoon I

Bsn.

Bassoon II

Cbsn.

Horn in F 1

Horn in F II

Hns.

Horn in F III

Horn in F IV

C Tpt.

Trumpet in C II

Tbn. I, II

Trombone II

Tba.

Timpani Timp.

Perc. I

Percussion II Perc. II

Perc. III

Mar.

Hp.

Celesta

Cel.

Vln. I a

Violin I b Vln. I b

Vln. II a

Violin II b Vln. II b

Vla. I

Viola II Vla. II

Vc. I

Vc. II

Db. I

Db. II

28 Conductor’s cue for group 4 to fade out 109 Flute I

Conductor’s cue for group 5 to fade out

Conductor’s cue for group 6 to fade out

Fl. I, II

Alto Flute A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Cl.

Bsn.

Contrabassoon Cbsn.

Hns.

Trumpet in C I

C Tpt.

Trombone I

Tbn. I, II

Tuba in F Tba.

Timp.

Perc. I

Perc. II

Gong Perc. III

Marimba

Mar.

Hp.

Cel.

Violin I a Vln. I a

Vln. I b

Violin II a Vln. II a

Vln. II b

Viola I Vla. I

Vla. II

Violoncello I Vc. I

Violoncello II Vc. II

Db. I

Double Bass II Db. II

All cellos I, except solo cello, fade out

29

Bass clarinet, percussion I, harp, double bass I and solo cello remain

112

approximately 20 seconds

Conductorâ&#x20AC;&#x2122;s cue for bass clarinet, percussion I and harp to fade out

Fl. I, II

A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Clarinet in Bb Bass Cl.

Bsn.

Cbsn.

Hns.

C Tpt.

Tbn. I, II

B. Tba.

Timp.

Percussion 1 Perc. I

Perc. II

Perc. III

Harp

Hp.

Cel.

approximately 20 seconds Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

Solo cello remains Vc. I

Vc. II

Double Bass I Individually sustain the next F in the loop

very light bow pressure, airy tone Db. I pp

Db. II

30 114

Conductorâ&#x20AC;&#x2122;s cue for cello solo

Fl. I, II

A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Cl.

Bsn.

Cbsn.

Hns.

C Tpt.

Tbn. I, II

B. Tba.

Timp.

Perc. I

Perc. II

Perc. III

Hp.

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II much bow pressure

solo light bow pressure Vc. I mp Vc. II

Db. I

Db. II

much bow pressure

no pitch

light bow pressure

light bow pressure gliss.

no pitch gliss.

much bow pressure

much bow pressure

much bow pressure

ord.

ord.

much bow pressure

no pitch

gliss.

gliss.

mp

f

mf

p

mp

mp f

mf

31 Conductorâ&#x20AC;&#x2122;s cue for D.B. I fadeout

118 Fl. I, II

A. Fl.

Ob. I, II

Bb Cl. I, II

Bass Cl.

Bsn.

Cbsn.

Hns.

C Tpt.

Tbn. I, II

B. Tba.

Timp.

Perc. I

Perc. II

Perc. III

Hp.

Cel.

Vln. I a

Vln. I b

Vln. II a

Vln. II b

Vla. I

Vla. II

ord.

much bow pressure

much bow pressure

ord. bow pressure sul C

much bow pressure much bow pressure

ord. gliss.

light bow pressure ord.

(sul C)

gliss.

Vc. I mf

f

p

mf

f

mp

Vc. II

conductor's cue Db. I

Db. II

p

p