Thorvaldsdottir METACOSMOS

Anna Thorvaldsdottir

METACOSMOS for orchestra (2017)

Chester Music

Instrumentation Piccolo 2 Flutes Alto Flute 2 Oboes Cor Anglais 3 Clarinets in B Bass Clarinet in B R 4 Bassoons Contrabassoon 4 Horns in F 2 Trumpets in C 2 Trombones Tenor tuba (Euphonium) Bass Tuba Percussion (3 players with 2 bows) 1:

Large Tam-tam Large Bass Drum Large Bossed Gong

2:

Large Tam-tam Large Bass Drum

3:

2 Cymbals 2 Tom-toms Large Tam-tam Large Bass Drum Large Bossed Gong

Strings: Suggested division: Violin 1: upper staff desk 1–3, lower staff desk 4–7 Violin 2: upper staff desk 1–3, lower staff desk 4–7 Viola: upper staff desk 1–3, lower staff desk 4–6 Violoncello: upper staff desk 1–3, lower staff desk 4–5 Double Bass: upper staff desk 1–2, lower staff desk 3–4 *Basses should not outnumber Violas or Violoncellos.

Commissioned by the New York Philharmonic Society with the generous support of The Marie-JosĂŠe Kravis Prize for New Music. The first performance was given on 4 April 2018 at the Lincoln Center, New York City by the New York Philharmonic Orchestra, conducted by Esa-Pekka Salonen.

Duration: c. 14 minutes The score is in C. Bass Clarinet is written at pitch. Double Basses require lower C extension.

Orchestral parts are available on hire from the publisher.

Composer’s Note My music is written as an ecosystem of materials that are carried from one performer – or performers – to the next throughout the process of the work. As you play a phrase, harmony, texture or a lyrical line it is being delivered to you, passed on from another performer – performers – for you to carry on until it is delivered to another. All materials continuously grow in and out of each other, growing and transforming throughout the process.

When you see a long sustained pitch, think of it as a fragile flower that you need 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

Notation Atmospheric indications are written for the conductor at selected places in the score.

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

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 as reference during glissandos or other effects. This is applied for quarter note and a half note with stems only).

Accidentals apply to one measure at a time.

When playing on tremolo (or flutter tongue) there should not be an accent on the beats where the pitches change or between measures – the tremolo should be even throughout the passages as they move between pitches and measures.

Woodwind/Brass Wind/air sounds, no pitches sounding, the notehead is placed on the middle line of the staff.

Written phrases played on air, resulting in slight changes of color to the sound. The airy quality should be prominent rather than the pitches. For oboes and cor anglais, phrases ‘on air’ are written with double tongue effect.

Flutter tongue.

Strings In lyrical and ‘expressive’ passages apply vibrato. In glissandos and for long sustained notes play senza vibrato. In other passages apply vibrato as desired.

When indicated ‘lyrically with expression’ or ‘expressively’ it refers to the phrase until the next silence or until indicated with ‘ord.’.

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 upper notehead indicates the airy technique, the small notehead below indicates the open string on which the technique is to be played. When the note head is indicated with a glissando, move hand up or down the string as indicated (this will produce vari( p ous harmonic colors to the airy sound as hand glissandos over the string(s)), for example: Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitched note would.

Three tremolo lines refers to playing quick tremolo notes, rather than rhythmic 32nd notes.

Percussion Allow resonance of instruments to continue and do not stop or dampen unless otherwise indicated.

Staff systems Both gongs have a separate designated staff.

Percussion I & II: Tam-tam Bass Drum

Percussion III: Cymbal Tam-tam Bass Drum

Cymbal on bass drum – Between mm. 80 and 100 Perc. III places the unmuted cymbal on the skin of bass drum so that the edge of the cymbal rests steadily on the skin with the bell/curve facing up. This results in a muted, metallic sound that is subtly supported by the low resonance of the bass drum. Written on the lowest staff line.

Tools

Large soft bass drum mallet (two each) t Medium soft bass drum mallet (two each Perc. I & II) Hard bass drum mallet (two each Perc. I & II) \ Large soft tam-tam mallet (two each) Wire brush (one each) Superball (one each Perc. I & II, two for Perc. III) B Hard yarn (two for Perc. III) : Bow (one each) + Hands Thick-haired wire scrubbing brush (Perc. II from m. 104) – Distorted white noise sound: sustain over skin of bass drum or surface of tam-tam as indicated in one quick stroke. There should not be an attack on the beat but rather the sound should be sustained (by the stroke of the brush against the skin/surface) without an initial attack.

Bass Drums – Perc. II & III should place their drums horizontally. Between mm. 94 and 104 Perc. II places a few strips of thick wax paper on the skin of the bass drum for a slightly distorted sound when played. Please explore to find the ideal number of strips to apply to the drum for a subtle effect, while still keeping the attack and resonant qualities of the sound.

Techniques When written with regular mallets, this refers to playing quick whirl/rolls rather than rhythmic 32nd notes.

Sustained back and forth tremolo strokes on tam-tam for sustained distorted sound. mm. 44–49: Sustain with hands in back and forth strokes on skin of bass drum or tam-tam as indicated by playing simultaneously with both hands in continuous strokes for an airy ‘breathing’ effect.

Muted cymbal (prepared with tape or similar on the edges) – from m. 117, indicated to perform on the edge (where the cymbal has been muted).

In mm. 98–131 the percussion parts are driven by a very rhythmic texture that is leading in this section. Other parts of the percussion in the piece are often more textural in quality, so carrying and driving this section with a steady rhythmic quality is of importance.

!

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3

12 Picc.

Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

A

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

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

Perc. III

p

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

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Vln. II

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Db.

4 4 4 4 4 4 4 4 44 44 4 4 4 4 4 4 4 4

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pp stopped

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pp

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pp

Tpt. 1.2 gliss.

Tbn. 1.2 pp

mp

pp

Ten. Tba. pp

mp

Bass Tba.

sustain superball on skin Perc. I p

p sustained circular strokes on surface

mp

p sust. superball on skin

sust. tremolo str. back and forth on skin

Perc. II mp

mp

sustained tremolo strokes back and forth on surface

p sust. tremolo str. back and forth on skin

mp

Perc. III

mp

mf sul pont.

mp

Vln. I

ord. senza s.p.

mp

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mp 7 sul pont.

Vln. II

p

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p ord. senza s.p.

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ord. senza s.p.

mp

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Vla.

mp

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Db.

3

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ord. senza s.p. mf

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5

B

22 Picc.

Fl. 1.2 mp

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mp

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p Cbsn. p stopped

Hn. 1–4

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pp

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pp

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pp

stopped

pp stopped

pp Tpt. 1.2 Tbn. 1.2

p

mp

Ten. Tba. p

pp Bass Tba.

p

sust. tremolo strokes back and forth on skin Perc. I mp sust. strokes back and forth on surface Perc. II mp

p

mp

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Perc. III mp

B gliss.

mp

Vln. I

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Vln. II

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3

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p

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mp

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pq gliss.

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Db.

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3

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Vc.

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6

25 Picc. mp

mp a2

flutter tongue

Fl. 1.2 mp

p

mp

flutter tongue

A. Fl.

gliss.

mp

p

mp

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mp Ob. 1.2 mp C. A. mp flutter tongue Cl. 1–3

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pp

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pp

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mp stopped

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mp

a2

Tpt. 1.2 mp

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Ten. Tba. mp

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Perc. I p

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Perc. II sustain

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Perc. III p

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Vln. I

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p

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mf

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p

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p

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Vln. II

mp

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7

28 Fl. 1.2

gliss.

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mf A. Fl.

gliss.

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a2 double tongue Ob. 1.2 p

double tongue C. A. p Cl. 1–3 p

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B. Cl.

Bsn. 1–4

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open

pp

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Tpt. 1.2 mp

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Ten. Tba. p

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p

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Bass Tba. p

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Perc. I

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mp sustain Perc. II mp

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gliss.

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mp

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q gliss.

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Vla.

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p

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p q

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p

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8

C

Industrial breath

31 Fl. 1.2

gliss. p

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Ob. 1.2

C. A.

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p B. Cl.

a2

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Hn. 1–4

f

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Tpt. 1.2 mp

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Ten. Tba. p

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p

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Perc. I

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sustain Perc. II mp

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Perc. III

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q gliss.

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Vc.

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9

36 Fl. 1.2 mp

p

mp

A. Fl. mp

p

mp

p

mp

mp

p

mp

p

mp

Ob. 1.2

C. A. mp

p

mp

p

mp

p

mp

Cl. 1–3 mp

p

mp

p

mp

p

mp

p

mp

p

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B. Cl.

Bsn. 1–4

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Cbsn.

Hn. 1–4

Tpt. 1.2 mp

pp

mp

pp

mp

pp

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Tbn. 1.2 mp

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

Vln. I gliss.

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Vln. II

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gliss.

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p q gliss.

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Db.

mp

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p

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q mp

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Vc.

p

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mp

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10

D

40

mp

on air, no pitch with determination mf p

p

On air with determination and despair mf

p

mf

p

Fl. 1.2 p

mp

p

mp

p

mp

p

mp

p

mf

on air, no pitch with determination

p

mf

p

mf

A. Fl. p mp

p

mp

p

p

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p

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p

p

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p

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p

mp

f

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p

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Ob. 1.2

C. A. on air, no pitch with determination

Cl. 1–3 p

mf

p

p on air, no pitch with determination

mf

mf

p

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B. Cl.

Bsn. 1–4

p

mp

p

mp

p

mp

p

mf

p

mf

Cbsn.

on air no pitch p

mf on air no pitch

mf

Hn. 1–4

on air, no pitch with determination

sim.

p

mf

p

mf

p

mf

p

mf

p

mf

p

p

mf

p

mf

p

mf

p

mf

p on air no pitch

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

sim.

p

mf

p

mf on air no pitch p

mf p mf on air, no pitch with determination mf

p

mf

mf

on air, no pitch 1. with determination

Tpt. 1.2 pp

mp

pp

mp

pp

mp

gliss.

gliss.

mf

pp

gliss.

p

gliss.

mf p mf on air, no pitch 1. with determination

p

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p

mf

p

mf

mf

p

mf

p

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p mf p on air, no pitch with determination

mf

p

mf

p

mf

p

mf

Tbn. 1.2 pp

mp

pp

mp

pp

mp

pp

mp

pp

mp

mf

mp

mf

p

mf

p

mp

p

mp

mf

mp

mf

p

mf

p

mp

mf

p mf p on air, no pitch with determination

Ten. Tba. p

mp

mf

Bass Tba. mf

p

Perc. I strokes back and forth on skin - breathing w. hands on surface Perc. II mf

D

on air, no pitch with determination

gliss.

gliss.

gliss.

gliss. mf

Vln. I

p

mp

p

mp

p

gl.

mp

p

p

mf

p

mf

p

mf

on air, no pitch with determination

gl.

gl.

mf

p

mf

p

mf

p

mf

gliss.

gliss.

Vln. II

mp

p

mf

p

mp

mf

mp

p

mp

p

p

mp

p

mp

p

p

mp

mp

p mf p on air, no pitch with determination

p

mp

mp f mp on air, no pitch with determination

p

mp f on air, no pitch with determination

mf

p

mp

f

gliss.

gliss.

p

p

p

mp

f

mp

mf

p

f

mf

p

gl. p

mf

p

mf

p

mf

p

mf

p

mp

p

mp

p

gliss.

gliss.

Vla.

p

mf

p

mf

gliss. p

mf

mp

p

mp

p

f

f

mp

mp

mf

mp

p

mf

mp

mp

f

mp

p

mf

p

mp

mp

p

gl.

p

mp

mf p on air, no pitch with determination

p

mp f on air, no pitch with determination

mp

f

mf

f

mf

p

mp

mp

f

mp

p

mp

mp

f

mp

p

mp

f

mp

p

mf

p

f

gl.

p

p

mp

mp

gliss. mf

p

mp

gl.

gliss. mp

mf

p

gl.

mf

p

mp

mf p on air, no pitch with determination

mp

f

mf

f

mp

f

gl.

gliss.

gliss. mf

p

gliss.

gliss.

gliss.

f

p

gliss.

gliss.

gliss.

gliss.

mp

mf

p

gliss.

gliss. f

mp

gliss.

gliss.

Vc.

p

mp

gliss.

mf

p

mf

p

mf

p

mf

mp

f

mf

p

f

on air, no pitch with determination

gliss.

Db.

mp

f

mp

gliss. f

mp

f

mp

gliss.

f

p

mf

p

mf

mf

gliss. mp

f

mp

f

mp

f

mp

f

mp

p

mp f on air, no pitch with determination

mf

mf

mf

f

mp

f

mp

f

gliss.

f

p

mf

p

p

mp

f

mf

11 mf

45

p

mf

p

5 8 5 8

Fl. 1.2 p

mf

p

mf

p

mf

p

mf

A. Fl.

C. A. mf

p

mf

p

Cl. 1–3 3.

mf

p

mf

5 8 5 8 5 8 5 8

B. Cl. p

mf

p

mf

Bsn. 1–4

Cbsn.

Hn. 1–4

p

mf

p

mf

p

mf

p on air, no pitch with determination

mf

p

mf on air, no pitch with determination

p

p

p

5 8 5 8 5 8 5 8

mf

mf

p

mf

mf

p

mf

5 8

Tpt. 1.2 mf

p

p

mf mf

p

p

5 8 5 8 5 8

Tbn. 1.2 mf

p

mf

p

Ten. Tba. p

mf

p

mf

Bass Tba. p

mf

p

mf

back and forth strokes on surface - breathing w. hands on surface

5 8 5 8

Perc. I mf

mp

pp

mf

Perc. II mp

pp back and forth strokes on skin - breathing w. hands on surface

Perc. III mf

Vln. I

Vln. II

Vla.

Vc.

Db.

p

mp

pp

mp

f

mp

f

mf

p

mf

p

mf

p

mf

mp

f

mp

f

mf

p

mf

p

mf

p

mf

mf

p

mf

mp

f

mf

mp

f

f

mp

mp

f

p

p

f

mp

f

mp

mf

mf

f

mp

f

mp

f

mp

mp

f

mp

f

mp

f

mp

f

mp

f

f

mp

mf

p

mf

mf

p

p

mf

f

5 8 5 8 5 8 5 8 5 8 85

mf

5 8 5 8 5 8 5 8 5 8

p

p

mf

p

p

p

mf

mf

mp

p

mf

pp

mp

mf

mp

pp mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

f

p

mp

mp

f

f

p

p

f

mf

mp

mp

p

mf

mf

mp

p

mf

p

p

mp

f

mp

f

mp

f

mp

f

f

mf

p

mf

mp

p

mp

mf

p mp

mf

mp

mp

mf

mf

p

mf

p

mp

p

mf

p

mp

mf

p

mf

mp

p p

p

mf

mf

p

p

p

mf

mf

mf

mf

p mf

mp

p

mf

p

p

mf

p

mf

p

p

mf

mp

mf

p

p

mf

mf

mp

p

mp mf

mf

p

mp

p

mp

a2

mf

p

mf

p

p

mf

p

mf

p

mf

p

mf

p

mp

pp

4 4

4 4 4 4 4 4 4 4 4 4

p

p

p

4 4

4 4 44

p

p

mf

mf

4 4 4 4

4 4 4 4 4 4

mf

mf

4 4 4 4

4 4 4 4

mf

mp

p

mp

4 4 4 4 4 4 4 4

4 4 4 4 4 4

mf

p

p

p

mf mf

p

p

mf

p

p

p

p

mp

p

p

p

mf

4 4 4 4 4 4 mf

mf

4 4 4 4

p

p

mf mf

p

p

5 8 5 8 5 8

Ob. 1.2

1.2

mf

p

p

mp

pp

mf

mf

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

f

mf

p

mf

p

mp

f

mp

f

mf

f

f

mp

mp

mp

f

f

mp

f

pp mf

p

p

mf

p

mf

mp

p

mf

p

pp

mp

mf

mf

pp

pp mf

mp

pp

mp

p

p

mp

mp

f

mp

f

mf

mp

mp

p

f

p

mp

pp

mp

mp

mf

mf

mp

mf

mf

f

mp

mp

mp

mf

p

mp

p

f

mp

p

f

mp

f

mp

mp

f

mp

mp

f

mp

mp

f

f

f

mp

f

f

f

mp

mp

mp

f

mp

f

mp

f

mp

mp

mp

f

f

mp

f

12

E 49

Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

mf

mp

mf

mp

mf

mp

mf

mp

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba. mp

Perc. I mp

pp

Perc. II

Perc. III

E mp espress.

Vln. I

on A string gliss. pp

Vln. II

Vla.

Vc.

Db.

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mp

gliss.

13

53

3 4

Picc.

mp lyrically Fl. 1.2

3 4

B. Cl.

3 4

mp lyrically

3

Vln. I gliss.

gliss.

mp espress.

Vln. II

q

gliss.

gliss.

3

on A string gliss.

on D string

gliss.

gliss.

pp

3

mp espress.

Vla.

on D string

gliss.

on G string

gliss.

p on D string

p

Vc.

Db.

Fl. 1.2

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

p

4 4 4 4

3

3 4 3 4 3 4

4 4 4 4 4 4

3 4

4 4

3 4 3 4

4 4 4 4

3 4 3 4 3 4

gliss.

on G string gliss.

p

3 4 57

Picc.

4 4

4 4

4 4

gliss.

p

mp p

4 4

p

mp gliss.

p

gliss.

mp

p

4 4

p mp

p

p

4 4

mp

p

p

mp

p

p

4 4 4 4

p

p

(on E string)

Vln. I

Vln. II

Vla.

Vc.

Db.

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

gliss.

p

(on E string) gliss.

p

on A string gliss.

p

on A string

p

mp

mp

p

p

4 4 4 4 4 4

14

60

a2

Fl. 1.2 p

mp

A. Fl. p

p

a2 Ob. 1.2 p

p

C. A. p

p a3

Cl. 1–3 p

B. Cl. p

p

Bsn. 1–4

p Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

Perc. III

q

on A string gliss.

gliss.

on D string

q

gliss.

p Vln. I h

on A string

gliss.

q

(on D string)

gliss.

gliss.

p on D string

h.

on G string

gliss.

gliss.

gliss.

on D string

Vln. II

gliss.

(on A string)

gliss.

on D string

gliss.

p

on G string

q

gliss.

on G string

gliss.

gliss.

p Vla.

2 4 2 4 2 4 2 4

mp

2 4 2 4 2 4 2 4 2 4

4 4 4 4 4 4 4 4 4 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

2 4 2 4 2 4

4 4 4 4 4 4

2 4

4 4

2 4

4 4

2 4 2 4

4 4 4 4

2 4

4 4

2 4

4 4

(on A string) gliss.

q

on D string gliss.

p

Violoncello solo

2 4 2 4

Vc. p

p

Db.

4 4 4 4 4 4 4 4

2 4 2 4 2 4

mp

5

4 4 4 4 4 4 4 4 4 4

15

64 Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

Perc. III

F Glimpses

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

mp

p

p

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

on air, no pitch

p on air, no pitch

on air, no pitch

p

p on air, no pitch

p on air, no pitch

p on air, no pitch

p on air, no pitch

p on air, no pitch

p

4 4 4 4 4 4 F

4 4 Vln. I

Vln. II

on A string

mp

4 4 4 4 44

(on E string)

mp

Vc.

Db.

4 4 4 4 4 4 4 4 4 4

gliss.

p (on A string)

gliss. p

p

4 4 Vla.

gliss.

mp

p

mf lyrically with expression

p (tutti) mp

p

p

p

mp

16

68 Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl. mp lyrically

Bsn. 1–4

Cbsn. mf

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I mp Perc. II

Perc. III

mp

(on A string)

on G string

gliss.

gliss.

mp

p

Vln. I (on D string)

gliss. p

p

p Vln. II

gliss. p

Vla.

gliss.

mp

p

gliss.

Vc.

gliss.

mf lyrically with expression

p

Db. gliss.

mp

17

72 Picc. p Fl. 1.2 mp

mp

A. Fl. mp 5

Ob. 1.2 mp

5

C. A. mp Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn. mf

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II mp Perc. III mp

divisi gliss. gliss.

mp

p

Vln. I

divisi gliss. gliss. mp

p

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

p divisi

gliss. gliss.

gliss. gliss.

p

Vln. II

gliss. gliss.

mp divisi

mp

mp divisi

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

mp

Vla.

divisi p

mp

gliss.

divisi

gliss. gliss.

gliss.

Db.

mp

p

Vc.

gliss. gliss.

gliss. gliss.

gliss.

gliss.

gl. gl.

gliss. gliss.

gliss.

gliss.

mp

gliss.

gliss.

gliss.

gliss.

18

G q = 90 76

(4+3)

7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4

Fl. 1.2 mp A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4

Hn. 1–4

Tpt. 1.2 on air, no pitch Tbn. 1.2 mp

mf

Ten. Tba.

Bass Tba.

7 4 7 4 7 4 7 4

Perc. I

Perc. II

Perc. III

G q = 90 p

Vln. I

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

Vln. II

gliss. gliss.

Vc.

mp

mp pizz.

mp

Db.

gliss. gliss.

gliss. gliss.

Vla.

p pizz.

f

mp

p

pp

f

mp

p

pp

f

mp

p

pp

on air, no pitch

mp

mf

mf

p

mp

pp

(4+3)

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

mp

mf

7 4 7 4 7 4 7 4 47 7 4 7 4

arco

mp

47

arco

p

p

mf

7 4 7 4

solo gliss. gliss.

gliss. gliss.

7

mf

mp

p

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

mp

gliss. gliss.

gliss. gliss.

gliss. gliss.

q gliss. gliss.

p

pizz.

f pizz.

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

p

mf

mp

arco

p

mp

arco

f

mp

f pizz.

p

f

mp

mf

p

pp

mp

arco

p

pp

pp

19

80 Picc.

Fl. 1.2 on air, with subtle pitch colors 7 A. Fl. mp

Ob. 1.2

7 4 7 4 47

6 4

7 4

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

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

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

Hn. 1–4

Tpt. 1.2 sim.

Tbn. 1.2 mp

mf

Ten. Tba.

Bass Tba.

6 4 6 4 6 4

Perc. I

Perc. II

Perc. III

Vln. I

gliss. gliss.

Vln. II

solo

7

mf

Vla.

Vc.

p

Db.

6 4 6 4 46

mf

mf

mf

mp

double tongue on air, with subtle pitch colors 5

mp

mf

on air, no pitch

mp

mf

on air, no pitch

mp

mf

double tongue on air, with subtle pitch colors

mp

5 4

7 4 7 4 7 4 7 4 7 4 7 4

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

7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4

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

7 4 7 4 7 4

mf

p

5 4 5 4 45

mp

sim. mp

mf

f

mf

5 4 5 4 5 4

6 4 6 4

7 4 7 4

5 4 5 4

6 4

7 4

5 4

6 4

7 4

5 4

6 4

7 4

5 4

6 4

7 4

5 4

6 4

7 4

5 4

7 4 7 4 7 4

5 4 5 4 5 4

6 4 6 4 6 4

mp

mp

20

83 (2+3) Picc.

Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

Perc. III

Vln. I

Vln. II

Vla.

Vc.

Db.

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

sim.

7

7 4 7 4 7 4 7 4 7 4

6 4 6 4 6 4 6 4 6 4

7

Cl. 1 on air, with subtle pitch colors

7 4 7 4 7 4 7 4 7 4

f

f

on air, no pitch

mp

mf

mp

on air, no pitch

mp

sim.

mf

sim. mp

5 4 5 4 5 4

7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4

5

mp

sim. mp

mf

mf

sim. mp

mf

mp

mf

mp

mf

7 4 7 4 7 4

mf

p

pp

sim.

sim.

7

6

6 4 6 4 6 4 6 4 6 4

4 4 4 4 4 4 4 4 4 4

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

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

mp

mp

mf

mp

mf

mf

mp

mf

mp

mf

mp

mf

6 4 6 4 6 4

Violin I solo

7

4 4 4 4 4 4 4 4 4 4

4 4 4 4 4 4

f

5 4 (2+3) 5 4 5 4

7 4 7 4 7 4

5 4 5 4 45

7 4 7 4 47

6 4 6 4 46

5 4

7 4

6 4

4 4

5 4 5 4 5 4 5 4

7 4 7 4 7 4 7 4

6 4 6 4 6 4 6 4

4 4 4 4 4 4 4 4

f

p

f

p

7

mp

7

p

p

f

p

f

p

6 4 6 4 6 4

4 4 4 4 4 4

p

p

f

p

f

p

f

p

f

p

4 4 4 4 44

87 Picc.

Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

Perc. III

21

H Point of no return

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

on air, with subtle pitch colors (a 2)

pp

4 4 4 4 4 4

7

mp

mp

6

sim.

7

6

6

7

on air, with subtle pitch colors

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

6

mp

7

6

mp

mp

mf

mp

mf

mp

mp

mp

mf

mp

mf

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

place cymbal (the one that is not muted) on the skin of bass drum so that the edge of the cymbal rests steadily on the skin with the bell of the cymbal faced up

H

4 4 Vln. I

Violin I solo

4 4 4 4

Vln. II

4 4 4 4

Vc.

Db.

4 4 4 4 4 4

mp

p

mp tutti

4 4 4 4

7

p

44 Vla.

7

mf

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mp

mf

p

mp

mf

p

mp

mf

p

mp

mf

p

mp

mf

p

mf

p

mf

p

f

p

f

p

f

p

f

p

f

p

f

p

f

p

f

p

22

91 Fl. 1.2

A. Fl. a2

7

7

6

6

Ob. 1.2

C. A. 6

a3 Cl. 1–3 7

5

B. Cl.

Bsn. 1–4

Cbsn. mf

mp

Hn. 1–4

mf

mf

mp

mf

mf Tpt. 1.2

Tbn. 1.2 mp

mf

mp

mf

Ten. Tba.

Bass Tba.

Perc. I mf

Perc. II mf Perc. III

mp

mf

mp

mf

mp

mf

mp

Vln. I

mp solo

Vln. II

7

tutti

mf

mf

mf

p

mp

mp

mf

p

mp

p

mp

mp

mf

p

mf

p

mp

p

Vla.

mf

Vc.

Db.

p

mp

mf

p

mp

mf

p

mf

mf

p

p

mf

p

f

mf

p

mp

p

mp

p

mf

p

mp

mp

mp

mf

mf

p

mp

f

p

f

p

f

p

f

p

f

p

f

p

f

p

f

p

mf

23

95 Fl. 1.2 7

5

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn. mp

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba. p

mp

rhythmically Perc. I

place strips of thick wax paper on skin of bass drum for distortion effect when played Perc. II

Perc. III

mf

mp

mp

mp

mp

mp

mp

Vln. I

mp

mp

mp

f

p

mp

Vln. II

mf

p

mf

p

divisi mp

7

mf

Vla.

p

mp

f

mp

mf

mf

p

mf

p

mf

mf

p divisi

mf

p

mf

p

mf

p

mf

mp

mp

on G string gliss. mp

p

mf

mp

(on G string) gliss.

mf

Vc.

mp

on G string gliss. p

mf

mp

p

mp

mf

p

mp

mf

p

mp

f (on G string) gliss.

mf

mp

f

on A string gliss.

gliss.

Db.

f

p

f

p

mf

p

mp

mf

mp

f on A string gliss.

f

p

f

p

f

p

f

p

mp

f

f

24

I Rhythmic structures in a chaotic field 100

Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn. p

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

very rhythmic until m. 131 Perc. I f Perc. II very rhythmic until m. 131 play on the surface of cymbal that is placed on the skin of bass drum - for a muted metal sound that is supported by the low resonance of the bass drum - play on the cymbal on skin from the lowest staff line (bass drum line) until indicated to remove cymbal from skin

mp

Perc. III

Tom toms mf

I Vln. I

p

mp

p

p Vln. II

p

p

Vla.

p

Vc.

mp

mp

f

p

mp

mp

Db.

mp

mp

f

p

f

p

f

p

f

p

25

104 Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl. (a 2)

p 5

5

p

Bsn. 1–4

(a 2)

6 5

5

6

p 9

9

Cbsn. p

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I sustained stroke on surface of tam tam from center to edge in a quick motion with scrubbing brush - for distorted sound

sust. w. brush sim. distortion sound

very rhythmic until m. 131 Perc. II f

f

mp

Perc. III

mp

mf

p

mp

mf

mf

mf

mf

mp

Vln. I

mf

p

mp

Vln. II

f

mp

mp

mp

mf

mp

mp

Vla.

p

f

p

mp

f

mp

Vc.

mp

Db.

p

f

mp

f

mp

mp

f

f

p

f

p

f

p

f

p

mp

f

mp

mp

f

mp

f

mp

f

mp

f

26

108

7

Picc. p

5

6

5

Fl. 1.2 p

7

A. Fl. p

9 6

Ob. 1.2 p 5

5

7

5

9

C. A. p

6

Cl. 1–3 p 5

B. Cl.

5

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

3

Perc. I attack on skin, (with wax paper strips on skin) sust. w. brush

sust. w. brush Perc. II mf

f

Perc. III

mp

f

mp

mp mf

mf

mp

Vln. I

mf

pizz.

arco

mf

mp

mp

f

f

pizz.

mf

f

Vln. II

pizz.

p

mf

f gliss.

mp

Vla.

f

mp

mp

f

mp

mf

p

Vc.

mp

mf

mp

mf

mp

p

mp

Db.

f

gliss.

mp

f

mp

f

mp

27

J 111 Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl. p

mf

p

mf

p

Bsn. 1–4

p

mf

mf

p 5

5

p

6

5

5

6

p 9

9

Cbsn. p

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba. p

mf

Bass Tba. p

5

mf

3

3

Perc. I sust. w. brush sim, but on skin of bass drum

attacks

sim. attacks

sust. w. brush

mf

f

sim. attacks

Perc. II mf

f

mp

Perc. III

mp

mp

mf

J

mp

mf

mp

mf

mf

mf

pizz.

on A string

arco gliss.

gliss.

f

pizz. mp

Vln. I

mp

f

f arco

mp

mp

arco

gliss.

Vln. II

gliss.

mf

mp

gliss.

p

mp

arco

pizz.

mf

mf

mp

f

gliss.

mp

mp

arco

mp

mp

f

mp

mf

pizz.

p

arco

gliss.

mp

mp

mf

f

Vla.

p

mp

pizz.

arco mf

f pizz.

arco gliss.

mf

Vc.

f

mf

gliss.

gliss. p

mf

p

mf

p

divisi

mp

gliss.

mp

Db. gliss.

gliss.

p

gliss. mp

gliss.

p

28

116 Picc.

7

p 6

5

Fl. 1.2 p

7

A. Fl. p

p

9

6

Ob. 1.2 p

5

5

5

7 9

C. A. p

6

Cl. 1–3 p 5

B. Cl. p

5

mf

Bsn. 1–4

p

mf

p Cbsn. p

mf

Hn. 1–4

Tpt. 1.2

Tbn. 1.2 p

mf

p

mf

Ten. Tba. p

mf

p

mf

p

mf

Bass Tba. p

mf

Perc. I sust. w. brush

attacks

sust. w. brush

3

sim. attacks with mallets

sust. w. brush

attacks

Perc. II mf

mf

f

on muted cymbal dampen after attack

mf

f

on muted cymbal dampen after attack

on muted cymbal dampen after attack

sustain superball on skin

Perc. III

mp

mp

mp

mf

mf

mp

mf

mp

mp

mf

mf

gliss.

gliss. pp

Vln. I

p

mf

mf

pp

p

pp

mp

f

gliss.

gliss.

gliss.

p

pp

p

gliss.

Vln. II

mf

pp

mf

mp

mf

p

gliss.

p

gliss.

mf

mp

p

mp

mf

p

gliss.

Vla.

mf

p

mf

p

mf

p

mf

mp

p

mf

p

gliss. p

Vc.

mp

mp

f

pizz.

mp

mf

p

mp

p

mp arco

p

mf gliss.

mf

p

mf

gliss.

p

mf

p

mf

p

mp

p

mf

gliss.

Db.

gliss.

p

mf

p

mf

p

mf

p

gliss.

p

mf

p

mf

p

mf

29

K

120 Picc.

5

Fl. 1.2

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

p

6

gliss.

p A. Fl.

gliss.

Ob. 1.2

C. A.

Cl. 1–3

gliss. p

B. Cl. p

Bsn. 1–4

p

mf

p

mf

mf

p

mf Cbsn. p

mf

p

mf

mf

mf

Hn. 1–4

mf

mf

mf

mf

mf

mf

Tpt. 1.2 Tbn. 1.2

Ten. Tba. p

mf

p

mf

p

mf

Bass Tba. p

5

5

p

mf

mf

5

p

sustain superball on skin

5

mf

attacks

Perc. I sustain superball on skin

sust. w. brush

mf

attacks

3

f

sim. attacks

sust. w. brush

3

3

3

Perc. II mf on muted cymbal dampen after attack

f

Perc. III

mp

mp

mf

Vln. I

mf

p

p

mf

f

on muted cymbal dampen after attack

f

on muted cymbal dampen after attack

3

mp

mp

on muted cymbal dampen after attack

3

mp

mf

mf

K

f

mf

mf

f

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

mp

pizz.

f

mp

mf

mp

mf pizz.

mp

f

mp

arco

arco

gliss. p

pizz.

Vln. II

mf

Vla.

pizz.

arco

arco

p

mp

p pizz.

mf

mf arco

mf

p

mf

p pizz.

mf

p

mf

p

mf

mf

p

mf pizz.

mp

arco p

f

mf

mf

arco

q

gliss. p

mf

mf

p

mf

mp

p

mf

mf pizz.

p

pizz.

mf

mf

mf

p

mf

p

p

p

p arco

mf

p

mf

p

mf

p

p

mf

mp

mf

mp

mf

p

mf

mp

mf

mf

p

mf

mp

mf

mp

gliss.

gliss.

p

mf

mp

mf

mf arco

mf

arco

pizz.

Db.

p

gliss.

gliss.

Vc.

p

mf

mf

p

mf

mf

gliss. p

p

mp

mf

mp

mf

30

124 Picc.

gliss.

Fl. 1.2

gliss.

gliss.

gliss.

gliss.

mp

q A. Fl.

gliss.

gliss.

gliss.

gliss.

mp Ob. 1.2

gliss.

gliss.

p C. A.

gliss.

gliss.

gliss.

p Cl. 1–3

gliss.

gliss.

gliss.

B. Cl. p

Bsn. 1–4

p

mf

mf

mf

p

p

mf

p

mf

p

mf

p

p

mf

p

mf

p

mf

Cbsn. p

mf

mf

mf

mf

Hn. 1–4

mf

mf

mf

mf

mf

mf

mf

Tpt. 1.2 mf

mf

mf

Tbn. 1.2 p

mf

p

mf

p

mf

p

mf

Ten. Tba. p

mf

p

mf

Bass Tba. p

mf

p

mf

p

mf

sustain superball on skin Perc. I mp

ff

sust. w. brush

attacks

Perc. II

Perc. III

on muted cymbal dampen after attack

f

mp

mf

mp f

mf

mf

f

f pizz.

Vln. I

Vln. II

mf

mp

mf

mp

mf

mf pizz.

mp

mf

mp

mf

arco

f

mp

mf

arco

f

pizz.

mf

mp

mp

mf

mp

mf

mp

f

mp

mf

mp

mf pizz.

mp

arco

mp

mf pizz.

on muted cymbal dampen after attack

ff

mp

mf

arco

mp

mf

mp

mf

arco

mp

mp

mp pizz.

mf

q

gliss.

Vla.

mf

mf

p

mf

mp

mf

mp

mp

mf

mp

mf

mf

mp

mf

mp

mf

mp

mp

mf

mp

mf

mp

mf

mp

mf

mf

mp

mf

mf

f

gliss.

Vc.

pizz.

mp

arco

f

gliss. mp gliss.

mp

pizz.

mp

mf

mp

f

mp

mf

mp

mf

f

arco

gliss.

gliss.

Db.

mp

mp

mp

f

mp

f

mp

mf

mp pizz.

f

mf

p

31

127 Fl. 1.2

gliss.

gliss.

A. Fl.

gliss.

gliss.

Ob. 1.2

gliss.

gliss.

gliss.

gliss.

mp C. A.

gliss.

mp Cl. 1–3

gliss.

mp

B. Cl.

Bsn. 1–4

mf

p

mf

mp

f

mp

mf

p

mf

mp

f

mp

p

mf

mp

f

mp

f

p

mf

mp

f

mp

f

Cbsn.

Hn. 1–4

mf

mf

mf Tpt. 1.2 mf Tbn. 1.2 p

p

mf

mf

p

mf

p

mf

Ten. Tba. p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

Bass Tba. p

mf

3

p

mf

5

Perc. I sim. attacks with mallets

sust. w. brush Perc. II f

ff

sustain 2 superballs on skin back and forth as needed

attack on skin

remove cymbal from skin of bass drum Perc. III

f

f

Vln. I

Vln. II

Vla.

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mp

mf

mp

mf arco

mp

mf

mp

mf

mp

mf

mp

mf

mf

mp

mf

mf

mp

mf

pizz.

mp arco

pizz.

mp

on D string

arco

gliss.

f

Vc.

mp

mp

f

mf pizz.

f

mp

mf

mf

arco

gliss.

mp

Db.

mf pizz.

mf

mp

f

mp

f

mp

mp

mf

mp

mp

mf

mp

mf

mf

mp

mf

arco

mp

f

f

arco

mp

mf

mf

mp

f

mp

p pizz.

f

mf

arco mp

32

130 Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

f

mp

f

mp

f

mp

f

mp

mp Cbsn. mp

f

mp

Hn. 1–4

Tpt. 1.2

Tbn. 1.2 mp

f

Ten. Tba. mp

f

mp

f

mp

f

mp

f

Bass Tba.

7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4 7 4

a2

mf

mf

mf

mf

f

mp

f

mp

f

f

mp

f

mp

f

mp

ff

f

mp

f

mp

f

mp

ff

f

mp

f

mp

f

Perc. II

Perc. III f

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

f

f

f

f

mp

f

mp

f

mp

f

mp

f

mp

f

mp

f

mp

f

mp

f

mp

f

sustain superball on skin - back and forth as needed for sustained sound

7 4 7 4 7 4

Perc. I

Cl. 1 Bb Cl. 2, 3 F

mf

as loud as possible sustain superball on skin - back and forth as needed for sustained sound - with subtle distortion effect f

as loud as possible

ff

7 4 Vln. I

Vln. II

Vla.

mp

f

mp

f

mp

f

mp

f

mf

mp

f

mp

7 4 7 4

mp

f

mp

mp

f

mp

f

mp

f

mp

gliss.

Vc. on D string

mf

gliss.

mf on D string

p

mf

Db. on D string

mf

gliss.

gliss.

7 4 7 4 7 4 7 4 7 4 7 4

4 4 4 4 4 4 4 4

mp

f

mp

f

mp

mp

f

mp

f

f

f

mp

f

7 4 f

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

f

mp

mp

f

f

f

4 4 4 4

f change bow where necessary not synchronized

4 4

f

4 4

mf

4 4

change bow where necessary not synchronized

f

mp

f on G string

gliss.

gliss.

ff on G string

gliss.

4 4

gliss.

ff on A string

gliss.

gliss.

ff gliss.

ff

on A string gliss.

4 4 4 4 4 4

33

L q = 45 Beyond - arriving on the other side

132 Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2 Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

Perc. III

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

f

mp

f

mp a2

f

mp

f

a3

mp

f

mp

f

mp

f

mp

mf

p

mf

p

mf

p

mf

p

f

mp

f

mp

p

f

mp

p

f

f

attack - bass drum and tam tam

f

change bow where necessary not synchronized

L q = 45

4 4 Vln. I

4 4 4 4 Vln. II

4 4 4 4

Vla.

4 4 4 4

Vc.

44 4 4

Db.

4 4

mp

ff change bow where necessary not synchronized

ff

mp

change bow where necessary not synchronized

ff

mp

ff

f

mp

change bow where necessary not synchronized

ff

f

ff change bow where necessary not synchronized

mp

f

mp

mp divisi

ff

f change bow where necessary not synchronized

on C string

mp

divisi

gliss.

ff

f

change bow where necessary not synchronized

mp

divisi

ff

f

mp

change bow where necessary not synchronized

on C string (E) gliss.

ff

f

mp

34

q = 50 M

137

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

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. I

2 4

4 4

Perc. II

2 4

4 4

Perc. III

2 4

4 4

Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

q = 50 M

p Vln. I

p

p

p

p

Vln. II

p

p

p

Vla.

p

p Vc.

on G string gliss.

p

p Db.

p

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

42

44

2 4

4 4

2 4

4 4

lyrically with expression

mf

35

144

on air, with subtle pitch colors

sim.

6

7

7

6

Fl. 1.2 on air, with subtle pitch colors

mp

sim.

A. Fl. mp

7

5

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

bow edge of tam tam light bow pressure ethereal airy effect Perc. I p

mp

bow edge of tam tam light bow pressure ethereal airy effect

p

Perc. II p

bow edge of tam tam light bow pressure ethereal airy effect Perc. III p

on A string

mp

p

on D string

gliss.

gliss.

mp Vln. I on A string

on D string

gliss.

on D string gliss.

gliss.

mp

mf lyrically with expression

Vln. II

mf lyrically with expression

Vla.

mf lyrically with expression

p

Vc.

Db.

p

p

p

mf lyrically with expression

mf lyrically with expression

36

149

5

Fl. 1.2

A. Fl. 7

6

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

on air, no pitch mp on air, no pitch

Hn. 1–4

on air, no pitch

mp

mp on air, no pitch mp

on air, no pitch

Tpt. 1.2 mp on air, no pitch Tbn. 1.2 mp

on air, no pitch

Ten. Tba. mp

on air, no pitch

Bass Tba. mp

sim.

attack

Perc. I p

mp

p

mp

Perc. II mp

p

Perc. III

on G string gliss.

mf lyrically with expression

Vln. I

p

p

p

Vln. II

ord. on C string gliss.

Vla.

gliss.

mp

mf lyrically with expression

on C string gliss.

mp

Vc.

p

mp

mp

gliss. mp

Db.

p

mp

mp

p

37

154

7

6

Fl. 1.2

A. Fl. 5

Ob. 1.2

C. A.

Cl. 1–3

B. Cl. mp

Bsn. 1–4

Cbsn.

on air, no pitch mp

Hn. 1–4

on air, no pitch mp

on air, no pitch mp

on air, no pitch mp

Tpt. 1.2 on air, no pitch Tbn. 1.2 mp

on air, no pitch

Ten. Tba. mp Bass Tba.

bow edge light bow pressure Perc. I p

mp

p

Perc. II

attack

sim.

Perc. III p

mp

p

mp

(on D string)

gliss. p

pp

p

Vln. I

Vln. II

mp

p

gliss.

p

mp

Vla.

p

mf lyrically with expression

Vc. (on G string)

gliss.

on D string

mp Db.

gliss.

on A string gliss.

38

q = 45

N

158 on air, no pitch Fl. 1.2 mp on air, no pitch A. Fl. mp Ob. 1.2

C. A. on air, no pitch Cl. 1–3 mp on air, no pitch B. Cl. mp

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

bow edge light bow pressure

attack

mp

Perc. I

p

bow edge light bow pressure

mp

p

sim.

Perc. II p

mp

p

p

bow edge light bow pressure

mp

p

sim.

Perc. III p

mp

p

p

mp

p

N

q = 45 mp

Vln. I

p

mp

p

mp

Vln. II

Vla.

mp

p

p

p

p

p

divisi

Vc.

p

(on A string) senza vib.

Db.

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

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

2 4 2 4 2 4

4 4 4 4 4 4

mp

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

p

2 4

4 4

42

44

2 4

4 4

2 4

4 4

42 2 4 2 4

(on C string) senza vib. p gliss.

44 4 4 4 4

39

163 Fl. 1.2

A. Fl.

Ob. 1.2

C. A.

Cl. 1–3

B. Cl.

Bsn. 1–4

Cbsn.

Hn. 1–4

Tpt. 1.2

Tbn. 1.2

Ten. Tba.

Bass Tba.

Perc. I

Perc. II

Perc. III

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

sim.

p

Violin I solo senza vib.

Vln. I

4 4

senza vib.

on air, no pitch gliss.

4 4

senza vib.

on air, no pitch gliss.

gliss. mp

4 4

Db.

44 4 4

gliss.

p

(on D string) senza vib. gliss.

(on G string) senza vib.

gliss.

p (on C string) senza vib.

4 4

44

gliss.

p

gliss. p (on G string) senza vib.

4 4 Vc.

(on A string) senza vib.

on air, no pitch

44 Vla.

all except solo al niente

p

mp

4 4 Vln. II

p

gliss.

p

pp

mp

gliss.

on air, no pitch gliss.

gliss. p

mp on air, no pitch gliss.

sim.

mp

mp

gliss.

gliss. on air, no pitch gliss.

sim. gliss.

mp

mp

on air, no pitch gliss.

mp