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270810

EDITION WILHELM HANSEN WH29060

Per Nørgård

VOYAGE INTO THE GOLDEN SCREEN FOR

CHAMBER ORCHESTRA

Full Score


I

Per Nørgård VOYAGE INTO THE GOLDEN SCREEN 1968 for Chamber Orchestra

NEW EDITION Revised, corrected and reengraved New version © 2010 [ Replacing earlier Full Score version © 1970 ]

Full Score Duration: c. 18 min.


II

Orchestra 2 Flutes (Fl. 1 db. Alto Flute in G) 1 Oboe 1 Clarinet in Si 1 Bassoon 2 Horns in F 2 Trumpets in C 1 Trombone 1 Percussion (1 player): Tamtam (Tamt.), Vibraphone (Vibr.), Tubular Bells (Tub.B.)

1 Piano 1 Harp Strings: Scordatura: (for advice on implementation, see "Notes") Vl. 1, 1

Vl. 1, 2

Vl. 1, 3

Vl. 1, 4

Vl. 2, 1

Vl. 2, 2

Vl. 2, 3

Vl. 2, 4

Va. 1

Va. 2

Va. 3

Vc. 1

Vc. 2

4 Violin 1:

4 Violin 2:

3 Viola:

2 Violoncello:

1 Double Bass (with 5th string B ) The score is written in C (suoni reali) Traditional octave transposition (Cb.) indicated by the clefs


III

Notes on notation and special features 1) Tuning / scordatura The idea behind the scordatura (re-tuning) called for in this score is the audible difference between two overtone-spectra/complexes, namely: 1/6 tone further down (for nat. 7th)

1/6 tone down (for nat. 7th)

8ba 1

2

3

4

5

6

7

8

9

AND

8ba 1

2

G:

3

4

5

6

7

8

9

A :

To tune the scordatura-instruments (Vl.1: 1+3, Vl.2: 1+3, Va.: 1+3, Vc.: 2) as indicated (see the Orchestration-page, p. II) one of the following methods is recommended. a) use an electronic “frequency-counter”, on which the desired quarter-tone lowered A-flat (note no. 1 in the quarter-tone lowered A-flat spectrum above) has a count of 226.541 Hertz (Hz). NB: all the following pitch/Hz-indications assume that your Orchestral Pitch is the so-called Standard Pitch of a’ (a4, or “a above middle c”) = 440 Hz; if a different Concert Pitch is used, then the Hzcounts must be adjusted accordingly, see below. b) or let Cello 1 play a g as a natural one-octave harmonic on the third string (G), accompanying Cello 2 tuning down the first string (A) to the quarter-tone lowered A flat. The result should be guided by the listening for the difference between the two pitches, namely 6 beats per second: The scordatura of the other players can take place in a similar way, or be adjusted by each player separately in cooperation with Cello 2.

Vc. 1

Vc. 2 6 beats per second tune down to:

III

I

c) or you can listen to Horn 1 playing a quarter-tone lowered A-flat while Horn 2 plays a straight G in the same octave. Together the two Horns will produce 3 beats per second:

Horn 1

Horn 2 3 beats per second (slow)

The important thing is to produce clearly audible beats in performance. The conductor is adviced to check the intended effect by letting the string players, all together, play the individual, recurrent tone of their part; the resulting chords (quarter-tone lowered A-flat versus G) should produce clearly audible beat-patterns. All scordatura/re-tuning should take place before the players enter the hall. On the platform the tuning should be discreetly confirmed, guided by the conductor. In special situations, at the discretion of the performers, the process of re-tuning make take place in front of the audience, allowing the listeners an auditive insight into the properties of the music.


IV

Fingerings and harmonic stops are notated “as-if-no-scordatura”; however, the sounding note is given at pitch, suono reale, like this:

SCORDATURA: after scordatura, the sounding note is:

NORMAL TUNING: sound

light stop open string

still notated:

but actual sound / stop:

An arrow attached to a traditional accidental alters the accidental by yet a quartertone, like this:

3/4 tone down

3/4 tone up

1/4 tone up / down

The half-arrow indicates an alteration equalling the “natural 7th harmonic”, i.e. approximately. an (extra) 1/6 note deviation:

Alternative Concert Pitch (other than A = 440 Hz)

Pitch 441: A

= 415-392 Hz

Pitch 442: A

= xxx.xxx Hz

Pitch 443: A

= xxx.xxx Hz

Pitch 444: A

= xxx.xxx Hz


V

Per Nørgård VOYAGE INTO THE GOLDEN SCREE for Chamber Orchestra 1968

Preface / Programme Note In an interview the composer speaks about the background for this work: “Since my earliest youth I had cherished a dream of a new kind of music where everything was interconnected in a kind of delicate latticework that radiated out in all sorts of wave forms – yet which still formed one melody. A clear conception of the qualities music should have to emancipate itself from rigidity and still retain its links with the past. It was the conception of unity that had possessed me. And that led on to the infinity series in 1959.” from Dansk Tonekunstnerforening’s 100th anniversary festschrift Tore Leifer: “Medspil og Modspil”, Copenhagen 2003

Nørgård used infinity series in several works in the 1960s, but VOYAGE is the first work where the infinity series is clearly audible and where it is so to speak the very idea of the work. The first movement is a tonal immersion in the areas between the notes g/a flat, the interval which, in the second movement, brings the infinity series to fruition in blossoming polyphony. VOYAGE plays a central role in Nørgård’s oeuvre, and (along with the SYMPHONY NO. 2 from 1970) became the jumping-off point for the works up to about 1980. It is a strange and wonderful work with ramifications forward in time to tendencies later so widespread such as spectral music, minimalism and so-called postmodernism – in its Nørgårdian formulation. VOYAGE’s second movement consists of the 1024 first notes of the infinity series (here chromatic – starting on the note G), which according to the composer was rather ‘discovered’ than ‘invented’ by him . About the work the composer has written: “VOYAGE INTO THE GOLDEN SCREEN is among the first works that leaves the perception/forming of the music to the listener himself to a large extent. The point of departure is strikingly different in the two movements, but what they have in commom is that the devices used in the music are laid out openly for the listeners, who can thus directly experience the material from which form is created. In the first movement there are two harmonic spectres: one on G fundamental, the other a quarter note above G. However, each of the harmonics in the two complexes moves at its own tempo, and the panorama of the whole movement can therefore be compared for example to a fjord wherea score of sailing ships are moving in the same direction, but at slightly different speeds. Thus it becomes the listener’s own (if usually unconscious) concern whether he will mainly follow one, the other, or a pair of the ‘ships’ – or perhaps conceive the whole picture as a wave interference pattern. Something similar is at work in the second movement – with quite different resources: here there is a constant melodic flow in all the instruments. It is even the same melody for all – and starting from the same note! But each line moves – again – at its own tempo: all movements are doubled, halved, quadrupled (etc.) by the others. That this does not result in tonal chaos is solely due to the properties of the infinity series – for they ensure that all notes meet on unisons! This makes the music even more open to listening than the harmonic spectra of the first movement, and thus here too – in fact to an even greater degree – the listeners can follow one or the other strand, a pair - or conceive the whole picture as a constantly turning kaleidoscope.” The title of the work was inspired by the Scottish singer-songwriter Donovan’s title and text for the song VOYAGE INTO THE GOLDEN SCREEN (from the release ”For Little Ones”, 1967), the first stanza of which reads like this: In the golden garden Bird of Peace stands the Silver Girl the Wild Jewels niece paints in pretty colours children´s drawings on the wall looks of doubt I cast you out begone your ragged call.

© Ivan Hansen From CD-booklet (see p. VIII) May be reproduced with proper creditting of the author


VI

Per Nørgård REJSE IND I DEN GYLDNE SKÆRM VOYAGE INTO THE GOLDEN SCREEN for kammerorkester 1968

Forord / Programnote Komponisten udtaler om baggrunden for værket: ”Siden min pure ungdom havde jeg gået med en drøm om en ny slags musik, hvor alting hang sammen i en slags trådværk, som stråler i alle mulige bølgeformer – som alligevel dannede én melodi. En klar forestilling om de egenskaber musikken skulle have for at komme fri af det stive og alligevel bevare forbindelsen bagud. Det var enhedsforestillingen, der havde besat mig. Og det førte hen til uendelighedsrækken i 1959.” fra Dansk Tonekunsterforenings 100 års jubilæumsskrift Tore Leifer: “Medspil og Modspil”,

København 2003

Nørgård anvendte uendelighedsrækker i flere værker i 1960erne, men REJSE IND I DEN GYLDNE SKÆRM er det første værk hvor uendelighedsrækken er tydeligt hørbar, og hvor den så at sige er selve værkets idé. Første sats er en klanglig fordybelse i området mellem tonerne g/as, intervallet der i anden sats bringer uendelighedsrækken til udfoldelse i blomstrende flerstemmighed. REJSE IND I DEN GYLDNE SKÆRM står centralt i Nørgårds produktion og blev (sammen med SYMFONI NR. 2 fra 1970) springbræt for værkerne frem til ca. 1980. Det er et forunderligt værk, med tråde til senere så udbredte tendenser som spektralmusik, minimalisme og såkaldt postmodernisme – i Nørgård´sk udformning. Andensatsen i REJSE består af de 1024 første toner af den uendelighedsrække (her kromatisk, startende på tonen G), der ifølge komponisten snarere er ”opdaget” end ”opfundet” af ham. Om værket har komponisten bl.a. skrevet: ”REJSE IND I DEN GYLDNE SKÆRM overdrager i høj grad udformningen af musikken til tilhørerne. Udgangspunktet er vidt forskelligt i de to satser, men fælles er at musikens virkemidler lægges åbent frem for tilhørerne, som derved umiddelbart kan opfatte det materiale, der skabes form af. I førstesatsen drejer det sig om to overtone-klange: den ene ud fra grundtonen G, den anden en kvart tone over G. Hver af overtonerne i de to komplekser bevæger sig imidlertid i sit eget tempo, og hele satsens panorama kan derfor sammenlignes med fx en fjord, hvor sejlskibe bevæger sig i samme retning, men i lidt forskellige tempi. Derved bliver det tilhørerens egen (om end oftest ubevidste) sag, om han især vil følge den ene, den anden, et par af ‘sejlerne’ – eller evt. omfatte hele billedet som et interfererende bølgemønster. Noget lignende gør sig gældende i andensatsen, med helt andre midler: her er der en konstant melodisk strøm i alle instrumenterne. Det er tilmed den samme melodi for alle – og ud fra samme tone! Men hver linje bevæger sig – igen – i sit eget tempo: alle bevægelser er dobbelte, halve, firedobbelte (osv.) af de andre. At dette ikke resulterer i klang-kaos skyldes udelukkende uendeligheds-rækkens egenskaber – for de bevirker, at alle tone-møder finder sted på énklange! Derved bliver musikken endnu mere åben at lytte til end førstesatsens overtonespektre, og tilhørerne kan altså også her – måske i endnu højere grad – følge den ene, den anden, et par - eller måske omfatte hele billedet som et konstant drejende kalejdoskop.” Værkets titel er inspireret af den skotske folkesanger Donovans titel og tekst til sangen VOYAGE INTO THE GOLDEN SCREEN (fra udgivelsen ”For Little Ones”, 1967) – hvis første strofe er gengivet her: In the golden garden Bird of Peace stands the Silver Girl the Wild Jewel’s niece paints in pretty colours children´s drawings on the wall looks of doubt I cast you out begone your ragged call.

© Ivan Hansen Fra CD-booklet. Må gengives med kredittering af forfatteren


VII

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

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

Om Per Nørgårds uendelighedsrækker kan man læse i bl.a. følgende bøger/ artikler: Erling Kullberg: DEN HIERAKISKE MUSIK fra: Ivan Hansen (red.): PER NØRGÅRDS ARTIKLER 1962-82 København 1982 Jørgen I. Jensen: PER NØRGÅRDS MUSIK Forlaget Amadeus, København 1986 Jørgen Mortensen: PER NØRGÅRDS TONESØER Esbjerg 1992 Jørgen I. Jensen, Ivan Hansen, Tage Nielsen (red.): MANGFOLDIGHEDSMUSIK Gyldendal 2002 Per Nørgård: TILBAGEBLIK UNDERVEJS Ivan Hansen, red. WH 30959, Kbh. 2009

Further to Per Nørgård’s so-called infinity series in the following books/articles: Erling Kullberg: DEN HIERAKISKE MUSIK (in Danish) fra: Ivan Hansen (red.): PER NØRGÅRDS ARTIKLER 1962-82 København 1982 Jørgen Mortensen: PER NØRGÅRDS TONESØER (in Danish) Esbjerg 1992. Erling Kullberg: BEYOND INFINITY (in English) from: Anders Beyer (ed.): THE MUSIC OF PER NØRGÅRD Scolar Press, 1996 Leif Thomsen: INFINITE RECEPTION (in English) (in preparation) Copenhagen

internet resources: www.pernoergaard.dk www.ewh.dk www.4komponister.dk


VIII

I. Lento molto page 1

II. Lento, poco rubato page 36

Per Nørgård VOYAGE INTO THE GOLDEN SCREEN has been recorded on CD by the Copenhagen Philharmonic Orchestra (Sjællands Symfoniorkester) conducted by Giordano Bellincampi on the label DACAPO RECORDS cd 8.226014 On the same all-Nørgård CD also: BORDERLINES (Violin Concerto No. 2, Premiere Recording) DREAM PLAY (orch)


VOYAGE INTO THE GOLDEN SCREEN I. Per Nørgård, 1968

Lento molto ( c. 40) Flauto

1 2

Oboe Clarinetto in Si

Fagotto

Corno in Fa

Tromba in Do

1 2 1 2

Trombone

Percussione

Arpa

Piano

Lento molto ( c. 40) Archi: senza vibrato al fine mov. I 1

3 3

2

Violino 1 3

4

1

2

Violino 2 3

4

1

Viola

2

3

1

Violoncello 2

Contrabbasso

8

WH 29060

Copyright © 2010 by Edition Wilhelm Hansen AS, Copenhagen

ISBN 978-87-598-5590-4


2

4 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1 3

3

2 3

Vl. 1 3

4

1

2

Vl. 2 3 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8

3


3

7 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

sim. 1 3

2 3

Vl. 1 3

4 3

1

2

Vl. 2 3

4 3

sim. 1 3

Va. 2

3 3

1

Vc. 2

Cb.

8

3


4

A

10 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

sim.

1

3 3 3

2

5

Vl. 1

3

3

4

1

2 3

Vl. 2 3

4

1

3

Va. 2 sim. 3

1 3

Vc. 2

Cb.

8


5

13 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno. 3

1

(

)

3 3

2

(

)

3

Vl. 1 3 3

4

1

2 3

Vl. 2 3

4

1

3

3

Va. 2 3

1 3

Vc. 2

sul G

Cb.

8

8


6

16 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

2 3

Vl. 1

3

3

4

1

2

Vl. 2 3

4 3

1

3

3

Va. 2 3 3

1 3

Vc. 2

3

Cb.

8


7

19 1 in Sol

Fl. 2

Ob. 3

Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

2

Vl. 1 3

4 3

1

2 3

Vl. 2 3

4

1 3

Va. 2 3

1

Vc.

sim. 2

Cb.

8

3


8

22 1 in Sol

Fl. 2

Ob. 3

Cl. in Si

Fg. 3

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

3

3

2

3

3

Vl. 1

3

3

3

4

1

2 3

Vl. 2 3 3

4 3

1

3

3

Va. 2 3

1

Vc.

sim. 2 3

Cb.

8


9

(arm.)

25 1 in Sol

Fl.

(arm.)

cresc.

2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

non arm!

1 non arm! ord. 2

Vl. 1 3

4

1 sim.

2 sim.

Vl. 2 3

sim. 4

1 3

Va. 2 3

1

Vc. 2

Cb.

8

3


10

28 1 in Sol

dim.

Fl. 2

Ob.

Cl. in Si (blow with increased lip-pressure)

Fg.

1

Cor. in Fa 2 cup mute 1

Tr. in Do

cup mute 2

con sord.

Trbn.

Tamt. (hold a Trgl. stick close to the Tamt.)

(normal st.) 5

5

Perc. hold the tuning metal up to the sounding strings)

Arpa

damp A2 + B2 with fingers

loosen fingers of damp hand

6

Pno.

6

6

8

1

3

etc. ad lib.

2

3

etc. ad lib.

Vl. 1 3

etc. ad lib. 4

1

2

Vl. 2 3

4 3

1

Va.

2

3

1

Vc. 2

Cb.

8

8


11

B 30 1 in Sol

Fl. 2

Ob. Cl. in Si ord.

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2 ord.

Trbn. Perc. Arpa remove fingers (free sound) 6

Pno.

touch

6

6

damp 6

6

6

6

8

3

arm. 1

3 3

arm. 2

3

Vl. 1 3

4

1

2

Vl. 2 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8

8


12

32 1 in Sol

Fl. 2

Ob. Cl. in Si

sim.

Fg. 1

Cor. in Fa 2

1

Tr. in Do 2

Trbn. Perc. Arpa keep pedal down

Pno.

1

3

2

3

3

Vl. 1 3

4 3

3

1

2

Vl. 2 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8

8


13

34 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

Cor.

1

in Fa 2

1

Tr. in Do 2

Trbn. Perc. with tuning fork

Arpa damp

loosen 6

Pno.

remove 6

touch 6

damp 6

6

6

8

non arm.

1

3

non arm.

3

2

3

Vl. 1

3

3

4

1

2

Vl. 2 3 3

4 3

1

3

Va. 2 3

1 sim.

Vc.

non arm! 0

2 sim.

Cb.

8

non arm!

8


14

37 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa loosen

damp 6

Pno.

remove 6

damp 6

6

8

sempre sim.

1

5

3

2

Vl. 1

7

3

4 3

1

2 3

Vl. 2

3

3

4 3

1

Va. 2 3

1

Vc. 2

Cb.

8

3


15

C 40 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn. (metal stick close to Tamt., to sizzle against the Tamt. - irregular) come sopra

Tamt.

Perc.

Arpa

Pno.

1 6

2

Vl. 1 3

4

1

2

Vl. 2 3

4

1 3

Va. 2 3

3

1

Vc. 2

Cb.

8

3


16

43 1 in Sol

Fl. 2

Ob. Cl. in Si

3

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

2

Vl. 1 3

4

1

2

Vl. 2 3 3

4 3

1

Va. 2 3

1

Vc. 2

Cb.

8


17

46 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg. 3

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

2

Vl. 1 3

4

1

2

Vl. 2 3

4 3

1

Va. 2 3

1

Vc. 2 arm.

Cb.

8


18

D

49 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1 3

3

2

Vl. 1 3

4

1 3

2

Vl. 2 3

4 3

1

Va. 2 3 3

1

Vc. 2

Cb.

8


19

52 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1 3

3

2

Vl. 1

3

3

4 3

1

2

Vl. 2 3 3

3

4 3

1

3

Va. 2 3 3

1

Vc. 2

Cb.

8


20

55 1 in Sol

Fl.

flz. 2

Ob. flz.

Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn. Perc. 5 5

Arpa

with soft mallets on the strings

sim. 3

Pno.

3

poco 1

2

Vl. 1 3

4

1

2

Vl. 2 3

4

poco 1

Va. 2 3

3

1

Vc.

3

2

Cb.

8


21

58 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc. 5

5

Arpa

Pno.

1

2

Vl. 1

poco

3

4

1

2

Vl. 2 3

4 3

1

poco

Va. 2 3

1

Vc. 2 3

Cb.

8


22

E

61 1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

cup mute 1

Tr.

cup mute

in Do 2

Trbn.

Perc.

Arpa

Pno.

1 3

2

Vl. 1 3

4 3

1

2

Vl. 2 3 3

4 3

1

Va. 2 3

1

Vc. 2

Cb.

8


23

64

norm. muta in Fl. in Do

1 in Sol

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

3

2 3

Vl. 1 3

4 3

1 3

2

Vl. 2 3 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8


24

67 1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1 5

2 3 5

Vl. 1 3

5

3

4 5

1 5

3

2 3

Vl. 2 3

3

4

1 3

Va. 2 3

1

Vc. 2

Cb.

8

3


F

25

70 1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

2 3

3

Vl. 1 3 3

4

1

2

Vl. 2 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8

3

3

3

3

3


26

73 1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1 3

3

3

3

3

2

Vl. 1

3

3 3

4 3

1 3

2 3

Vl. 2 3

3

4 3

1

Va. 2 3

1

Vc. 2

Cb.

8


27

76 1

Fl. 2

Ob. ( )

Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

3

1

3

3

3

3

2 3

Vl. 1 3

3

3

3

3

3

4

1

2

Vl. 2 3

4 3

1 3

Va. 2 3

1 3

Vc. 2

Cb.

8


28

G

79 1 3

3

5

5

5

5

5

5

5

5

5

5

5

Fl. 2

5

3

Ob. 5

Cl.

5

in Si

3

3

Fg. 1

Cor. in Fa 2

1

Tr. in Do 2

Trbn. Perc. Arpa Pno.

1

3

3

3

3

3

3 3

2

Vl. 1 3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

4

1

2

Vl. 2 3

4

1

Va. 2 3

0

1

Vc.

0

2

Cb.

8


29

82 1

5

5

5

2

5

5

5

5

5

5

5

5

5

5

5

Fl.

Ob. Cl. in Si

Fg. 1

Cor. in Fa 2

1

Tr. in Do 2

Trbn. (steel stick close to Tamt.) 5

Perc.

cresc.

5

5

5

5

5

5

with plectrum

(metal close to strings)

5

Arpa 8

5

damp

loosen

remove 5

Pno.

5 5

8

non arm.

sul pont.

non arm.

sul pont.

1

2

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

Vl. 1

sul pont.

3 5

sul pont. 4 5

sul pont. 1 5

sul pont. 2

Vl. 2

sul pont.

3 sul pont. 4 sul pont. 1 5

sul pont.

Va. 2

5

sul pont. 3 5

0

sul pont.

1 sul pont.

Vc. 2

sul pont.

Cb.

8

5


30

84 1 5

5

Fl. 2 5

5

5

5

5

5

5

5

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn. Perc. Arpa Pno.

1

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

6

5

5

5

5

5

5

5

5

5

5

6

6

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

2

3

Vl. 1 3

4

1

2

Vl. 2 3

4

1

Va. 2

3

1

Vc. 2

Cb.

8


31

87 1 5

5

5

5

Fl.

6

6

6

6

6

6

6

(breathing ad lib.) 2 5

5

5

5

6

Ob. (breathing ad lib.)

Cl. in Si

5

5

5

5

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

5

5

5

5

5

6

6

6

5

5

5

5

6

6

6

6

5

5

5

5

6

6

6

6

5

5

5

6

6

6

6

6

5

5

5

6

6

6

6

6

5

5

6

6

6

6

6

6

5

5

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

2

Vl. 1 3

4

1

2

Vl. 2 3

4

1

Va. 2 3

1

Vc. 2

Cb.


32

89

H

1

Fl.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2

Ob.

3

3

3

(softly underlining the melodic contour of the strings)

Cl. in Si

6

6

6

6

6

6

3

4

Fg. 3

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn. Perc. Arpa Pno.

1

2

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Vl. 1 3

4

1

2

Vl. 2 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8

N.B. The accents should be played with rhythmic precision and contrasting as much as possible the non-accentuated notes! The melodic contour is not to be heard as coming from the oboe, but from the strings!


33

92 1

Fl.

6

6

6

6

6

6

6

6

6

6

6

6

3

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2

Ob.

3

3

Cl. in Si

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

1

2

Vl. 1 3

4

1

2

Vl. 2 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8


34

I

95 1 6

6

6

6

6

6

6

6

6

6

6

6

3

3

6

6

6

6

3

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 2

Ob.

3

3

Cl. in Si

6

6

3

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno. 3

1

2

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Vl. 1 3

4

1

2

Vl. 2 3

4

1

Va. 2 3

1

Vc. 2

Cb.

8


35

non rit.

98 1 6

Fl.

6

2 6

3

Ob. Cl. in Si

6

Fg.

1

Cor. in Fa 2

1

Tr. in Do 2

Trbn.

Perc.

Arpa

Pno.

non rit. 1

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

3

6

6

6

6

6

6

3

6

6

6

6

6

6

6

3

2

3

Vl. 1 3

3

4

1

2

Vl. 2 3 3

4 3

1

Va. 2

6

6

6

6

6

6

6

6

6

6

6

6

6

6

3

6

6

6

6

3

6

6

6

6

3

3

3

1

Vc. 2

Cb.

8

3

3

3

3

3


36

II. Lento, poco rubato **) 1

Flauto 2

Oboe

gliss.

gliss.

gliss.

Clarinetto in Si

gliss.

Fagotto

con sord.

Corno

1

in Fa

con sord. 2 cup mute

gliss.

1

Tromba in Do

cup mute

gliss.

2

gliss.

cup mute

gliss.

Trombone (Melodic contour: for the conductor)

( g)

( b - b)

( g)

Vibr.

soft mallets (fast vibrations)

Percussione

Arpa

Piano

*)

Lento, poco rubato **)

Violino 1 / 2 Viola *) All scordatura strings (and Vc.+ Cb.) are tacet in Mvt. II. The non-scordatura strings (except Vc.+Cb. which are tacet) play in unisono throughout Mvt. II. The string section in Mvt. II. thus consist of: Vl. 1 (2+4), Vl. 2 (2+4) and Va. 2. **) The conductor should not maintain the tempo strictly, but allow the sounds to "develop" freely and interfere without breaks. The dynamics indicate the relations of loudness between the winds.


A

37

Tranquillo ma fluente

6 1

Fl. 2 dolcissimo

Ob.

Cl. in Si

Fg. (con sord.) 1

Cor. in Fa 2

Vibr.

Perc.

(suono reale)

Arpa

Tranquillo ma fluente con sord. (str. sempre unis.)

Vl. 1/2 Va. attacca subito

10 1

Fl. 2

sim.

Ob.

Cl. in Si

sim.

Fg. sim.

1

Cor. in Fa 2

l. v. sim.

Arpa

Vl. 1/2 Va.


38

14 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

18 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

sord. (cup)

1

in Do

Arpa

Vl. 1/2 Va.

B


39

22 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

26 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa

Vl. 1/2 Va.

C


40

30 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

cup

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

34 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa

Vl. 1/2 Va.


41

38

D

1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2 senza sord.

cup

1

Tr. in Do 2

Trbn. Tub. B. l. v.

Perc. l. v.

Arpa 8

Pno.

Vl. 1/2 Va.

42 1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa Vl. 1/2 Va.

l. v.


42

E

46 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 cup

senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

50 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa

Vl. 1/2 Va.


43

54 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

58 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

cup

1

in Do

Arpa

Vl. 1/2 Va.

F


44

62 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 senza sord.

Tr.

cup

1

in Do

poco

Arpa

Vl. 1/2 Va.

G 66 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa

Vl. 1/2 Va.


45

70 1

Fl. 2 *)

Ob. Cl. in Si

**)

Fg.

1

Cor. in Fa 2 senza sord. 1

Tr. in Do 2

Trbn. Tub. B.

l. v.

Perc. l. v.

Arpa 8

Pno.

Vl. 1/2 Va.

74 1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa Vl. 1/2 Va. *) If the flute has no B key the note is to be played by the clarinet. **) Only to be played if the flute has no low B key.

l. v.


46

78

H

1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

cup

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

82 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa

Vl. 1/2 Va.


47

I

86 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

senza sord.

Tr.

1

in Do

Arpa

Vl. 1/2 Va.

90 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa

Vl. 1/2 Va.

cup


48

94 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

98 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

cup

1

in Do

Arpa

Vl. 1/2 Va.

J


49

102 1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa

2 senza sord.

cup

1

Tr. in Do 2

Trbn. Tub. B.

l. v.

Perc. l. v.

Arpa 8

l. v.

Pno.

Vl. 1/2 Va.

106 1

Fl. 2

Ob. Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa Vl. 1/2 Va.

K


50

110 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 cup

senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

114 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

1

in Do

Arpa

Vl. 1/2 Va.


51

118

L

1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

122 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

cup

1

in Do

Arpa

Vl. 1/2 Va.


52

M

126 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 senza sord.

Tr.

1

in Do

poco

Arpa

Vl. 1/2 Va.

130 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2

Tr.

cup

1

in Do

Arpa

Vl. 1/2 Va.


53

marcato 134 1

Fl. 2

Ob.

Cl. in Si

Fg.

1

Cor. in Fa 2 cup senza sord. 1

Tr. in Do 2

Trbn. l. v. *)

Tub. B.

Perc.

l. v. *)

Arpa

l. v. *)

Pno. Vl. 1/2 Va. *) It is important that the last note is allowed time to die away completely.


WH 29060 ISBN 978-87-598-ZZZZ-Z


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