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John Corigliano

CONCERTO FOR VIOLIN AND ORCHESTRA (“The Red Violin”) full score

From the G. Schirmer Rental Library Date of Printing_______

G. Schirmer, Inc. New York, NY


John Corigliano

CONCERTO FOR VIOLIN AND ORCHESTRA (“The Red Violin�)

commissioned by the Baltimore Symphony Orchestra, Yuri Temirkanov, Music Director, through generous support of the family of Ryda H. Levi in honor of her 85th birthday; the San Francisco Ballet, Helgi Tomasson, Artistic Director, Andrew Mogrelia, Music Director; the Dallas Symphony Orchestra, Andrew Litton, Music Director; the Atlanta Symphony Orchestra, Robert Spano, Music Director The world premier was September 19, 2003 at Meyerhoff Symphony Hall in Baltimore, Maryland by the Baltimore Symphony Orchestra under the direction of Marin Alsop, with Joshua Bell, soloist.

The first movement of this work is derived from THE RED VIOLIN Chaconne, which was commissioned by SONY Classical, the San Francisco Symphony, the Boston Symphony Orchestra and Joshua Bell. The Chaconne was inspired by the film The Red Violin. It was premiered November 25, 1997 by the San Francisco Symphony under the direction of Robert Spano, with Joshua Bell, soloist.

G. Schirmer, Inc. New York, NY


Instrumentation 3 Flutes (2nd & 3rd doubling Piccolo, 3 doubling Alto Flute) 2 Oboes 2 Clarinets in B=(2nd doubling Clarinet in A and Bass Clarinet) 2 Bassoons (2nd doubling Contrabassoon) 4 Horns in F 2 Trumpets in C (1 may optionally use Piccolo Trumpet for high passages) 2 Trombones Bass Trombone Tuba Timpani Percussion (4 players) Glockenspiel Crotales Xylophone Vibraphone Chimes Bell Tree 2 small Metal Plates Triangle Suspended Cymbal Ride Cymbal Tamtam Slapstick Ratchet Tambourine Wood Block Temple Block Castanets Snare Drum 2 Tenor Drums Roto-toms Tom-toms

Piano (doubling Celesta) Harp Solo Violin Strings

estimated duration ca. 38 minutes

Performance Notes: In the second movement the strings switch between a regular mute and a practice mute. If not all players have practice mutes they should be provided (rubber practice mutes are fine for this purpose). There are, in the second movement, large semi-tone clusters marked: “div. a5", “div. a7", “div. a12" etc. in the string section. These clusters are always built from the bottom up; each individual player in a section should be assigned a pitch, starting with the principle and working up through the cluster, before or at first rehearsal. If the number of players exceeds the number of pitches in a cluster, cycle through the cluster from the bottom again until all players have pitches to play. The “crunch” in movement four is notated with “x” note heads indicating the strings on which to play. To get the sound the composer desires the string players should lightly mute the indicated strings with their hands in first position. A very heavy and short bow stroke, al tallone, should be used to produce a loud, scratchy sound with no discernable pitch. The bow must stay on the strings after it is stopped.


CONCERTO FOR VIOLIN AND ORCHESTRA (“The Red Violin”)

My third film score (“The Red Violin”) gave me an opportunity to visit my own past, for my father, John Corigliano (I was a “jr.”) was a great solo violinist and the concertmaster of the New York Philharmonic for more than a quarter of a century. My childhood years were punctuated by snatches of the great concertos being practiced by my father, as well as scales and technical exercises he used to keep in shape. Every year, he played a concerto with the Philharmonic (as well as in other venues), and I vividly remember the solo preparation, violin and piano rehearsals, orchestral rehearsals and the final tension-filled concerts (where I would sit backstage in the Carnegie Hall green room, listening to my father over a small speaker breathlessly playing the work in my head and listening to make sure everything came out all right.) It is no wonder that the concerto form, and the violin concerto in particular, has a deep place in my heart. I have written a half-dozen concerti, but this is my first one for my first love, the violin. It is an “in the great tradition” kind of concerto, because I wrote it in an attempt to write the piece my father would love to play. Because he inspired it, it is dedicated to his memory. The event that galvanized my energies into composing this concerto was, of course, the scoring of the film “The Red Violin”, directed by Francois Girard, and featuring the sublime young virtuoso, Joshua Bell as the voice of the violin. Josh's playing resembles that of my father, he is an artist in the grand tradition. No cold, clinical dissection of a work would flow from his bow. The story of “The Red Violin” is perfect for a lover of the repertoire and the instrument. It spans three centuries in the life of a magnificent but haunted violin in its travels through time and space. A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque device of a chaconne: a repeated pattern of chords upon which the music is built. Against the chaconne chords I juxtaposed Anna's theme, a lyrical yet intense melody representing the violin builder’s doomed wife. Then, from those elements, I wove a series of virtuosic etudes for the solo violin, which followed the instrument from country to county, century to century. I composed these elements before the actual filming, because the actors needed to mime to a recording of these works since their hand motions playing the violin would have to synchronize with the music. Then, during the summer of 1997 while the film was being shot all over the world, I remained at home and composed the 17-minute “The Red Violin: Chaconne for Violin and Orchestra”, a concert work based on the existing elements, and given its world premiere in San Francisco with Josh and Robert Spano in the fall of that year. After that, I had only a few weeks to provide the underscoring (the music that is not seen on camera) for the recording dates around Christmas 1997 in London. The violin and orchestra “Chaconne” then became a concert work, performed by Josh (and others) around the world. But, as a moderate length single-movement work, it fell into a category of works that must be paired with other works to complete a soloist's guest appearance with an orchestra. Great works like Ravel's “Tzigane” or the Chausson “Poem”, or Beethoven romances, have the same problems. More importantly for me, the chaconne had given me the opportunity to strip away any inhibitions and write a passionate and romantic essay that I probably would not have written had it not been accompanying a film. It bypassed my “censor button” that made it necessary for me to not only write a piece, but “rediscover” the form in the piece (like my three woodwind concerti.) I liked what I heard, and it came very naturally. So, like Schumann, I decided to add some movements to the existing chaconne (he to his piano and orchestra fantasy) and make it a full-length concerto. In my case, that meant composing another three movements to balance the large first one. The other movements are connected to the first (and the film) in different ways: the first is a fleet “Pianissimo Scherzo” in which the dynamics are soft, but the action wild and colorful. I wanted to break the romantic mood of the first movement with sonoric and timbral effects that create a sparkling, effervescent energy. A central trio is distantly related to Anna's theme, but here heard in knuckle-breaking double harmonics by the soloist - high, ethereal, and dance like. The third movement (“Andante flautando”) starts with an intense recitativo that is more closely related to the film’s main theme, but soon gives way to a gentle, rocking melody played by the soloist in an unusual manner that results in his sound changing to that of a flute (“flautando”.) He and the alto flute pair up as a complementary duo in this theme. The final movement (Accelerando Finale), as the title suggests, is a rollicking race in which the opposed forces of soloist and orchestra vie with each other. They each accelerate at different times and speeds, providing a virtuoso climate befitting a last movement. Some other unusual techniques are used here: the violin (and orchestral strings) are asked to press so hard on their strings that there is no pitch at all, just a crunch. This percussive and unusual sound provides energy, especially during the races. A major theme from the film that was not used in the concert chaconne was that given to Moritz, the contemporary violin expert who discovers the mystery of the Red Violin. It is a sadly romantic theme, and becomes the lyrical counterpoint to the high spirits of this final movement. Near the end of the work, the original chaconne from the first movement comes back to complete the journey of this violin concerto.

SJohn Corigliano


in memory of my father

CONCERTO FOR VIOLIN AND ORCHESTRA (“The Red Violin”)

Score in C

I. (Chaconne)

= 60

John Corigliano

*

Fl. 1 blurred, liquid, cresc.

Picc. Fl.2 / Picc. 1 Picc.

Fl.3 / Picc. 2 Al. Fl. 1 Ob. 2

* Cl. 1

blurred, liquid, cresc. *

Cl. 2 Bs. Cl. (Cl. in A)

blurred, liquid, cresc.

Bsn. 1 Bsn. 2/ Cbsn.

1 3 Hn.

al sord.

2 4 1 Tpt. 2 2. al sord. Tbn. 1 2 Bs. Tbn. Tba.

Timp. Crotales ( 15ma ) 1 liquid Glockenspiel ( 15ma), soft sticks 2 Perc. Vibraphone

blurred, liquid 5:3

5:3

3

blurred, liquid 4 Celesta (ossia: Piano, 8va ) 3

Piano/ Celesta

blurred, liquid

3

Hp.

liquid, l.v. sempre

Solo Vn.

= 60 al sord. I Vn.

al sord. II al sord.

Va. al sord. Vc.

Cb. *Woodwinds: Enter where indicated. Play freely, fitting the notes approximately into the conductor’s beat. Do not synchronize. Corrected 10/2003 Corrected 01/2004 Corrected 08/2004a (Solo Vn., Fl2, Cl1, Cl2, Hn1, Hn2, Per, Hrp, Vn1, Vn2, Va, Vc.)

Copyright © 2003 by G. Schirmer, Inc.(ASCAP) and SONY Classical, New York, NY International Copyright Secured, All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

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


2 5 Picc. 1 blurred, liquid, cresc.

dim.

Picc. 2 blurred, liquid, cresc.

Fl.

1

Ob.

1 2

dim.

1

Cl. 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

*

(Crot.) 1 5

5

(Glock.)

*

3

Perc. 2 6

(Vib.) 3

Cel. (Pno. 8va )

*

6

Hp.

Solo Vn.

I Vn. II

Va.

Vc.

Cb.

*Dampen sound if still ringing


3 9 Picc. 1 blurred, cresc.

Picc. 2 blurred, cresc. Fl.

1 blurred, cresc.

Ob.

1 2

1

Cl.

blurred, cresc. 2

blurred, cresc. Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. (Crot.) 1 liquid (Glock.)

(soft sticks)

Perc. 2

blurred, liquid (Vib.)

5

5

3

blurred, liquid

3

Cel. (Pno. 8va )

blurred, liquid

3

Hp.

liquid, l.v.

Solo Vn.

I Vn. II

Va.

Vc.

Cb.


4 12

to Flute 2

Picc. 1 dim. to Flute 3 Picc. 2 dim.

Fl.

1 dim.

Ob.

1 2

1 Cl. 2

soli Bsn.

1 2 sost. 1 3

Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

(Crot.)

*

to Tambourine

*

to S.D.

1 5

5

(Glock.) Perc. 2 3

6

(Vib.)

to B.D.

3

to Piano

Cel. (Pno. 8va )

*

Hp.

6

Solo Vn.

I Vn. II

Va.

Vc.

Cb.

* See note, pg.2


5 16 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2 1.

Tbn. 1 2 sost. Bs. Tbn. Bs. Tbn. Tba. sost.

Timp.

1

Perc. 2

Large B.D. 3

Pno.

Hp.

Solo Vn.

I

Vn. II

Va.

Vc.

Cb.


6 23 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3

Hn. 2 4

Tpt.

1 2

(1.)

al sord.

Tbn. 1 2

(Bs. Tbn.) Bs. Tbn. Tba.

Timp.

1

Perc. 2

(B.D.) 3

Pno.

Hp.

Solo Vn.

I Vn. II

Va.

Vc. con sord. pizz.

div. pizz.

Cb.

arco


7 31 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 al sord. Bs. Tbn. Tba.

Timp.

1

Perc. 2

to Susp. Cym. 3

Pno.

Hp.

(rubato) 3

Solo Vn.

div., con sord.

sul tasto

div., con sord.

sul tasto

I Vn. II

Va.

Vc.

Cb.


8 * 40 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

* 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

* Timp.

1

Perc. 2

3

* Pno.

Hp.

* 6

3

Solo Vn.

6

*

7

5

**

3

rubato

I 7

6

3

5

Vn.

**

rubato 3

3

6

II 6

7

div., con sord. Va. div., con sord. Vc.

Cb.

* Indicates cues instead of beats. Follow soloist’s line. The dotted lines are also cues — the number of cues (including downbeat) are indicated within the triangle. **Each player enters slightly after the previous one, starting with the first desk (should sound free and asynchronous). The E and A will gradually disappear as more players start the filigree. Imitate the soloist.

5

3


9 41 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

(rubato) 3

Solo Vn.

3

5

3 5

(div. a2) I

Vn.

*

(div. a2)

3

3

5

3

II rubato (div.) Va.

(div.) Vc.

Cb.

*See note (**) on pg. 8.

5


10 (44) 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

8va

Solo Vn.

3 3

* rubato

via sord.

I

3

rubato

Vn. II

3

Va.

Vc.

Cb.

*See note (**) on pg. 8.


11 45 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

(Clarinet 2. in A) 3

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

(sounding pitches)

Hp.

8

Solo Vn.

I

(div. a2)

Vn. II

Va.

(div.) Vc. legatissimo Cb.

3


12 53

tratt.

a tempo

1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1.

1 3 Hn.

con sord. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn.

tratt.

a tempo

I Vn.

unis. II

unis. Va.

Vc.

Cb.


13 pushing forward

61 1 2 Fl. 3

3

1. Ob.

1 2 3

(1.) Cl.

1 2

Bsn.

1 2

1 3 Hn.

via sord. 2 4

Tpt.

1 2

con sord. Tbn. 1 2

con sord.

3

3

3

3

Bs. Tbn. Tba. con sord.

soft sticks Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn.

pushing forward I Vn.

div.

3

3

II

3

3

3

3

Va.

unis. Vc.

unis., arco Cb.


14

pushing forward

69 1 2 Fl. 3

(1.) Ob.

1 2

Cl.

1 2

Bsn.

1 2

(1.)

1 3

Hn.

senza sord. 2 4

Tpt.

1 2

via sord. Tbn. 1 2

(con sord.) Bs. Tbn. Tba. cresc.

Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn.

pushing forward

unis., senza sord. I espr. Vn.

(arco)

via sord.

II

pizz.

arco pizz.

via sord.

pizz.

via sord.

arco, senza sord.

pizz.

via sord.

arco, senza sord.

Va.

Vc.

Cb.


15 77 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1. Solo

1 3

Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba. (cresc.)

Timp.

1

S.D. (muffled) Perc. 2

3

Pno.

Hp.

6

Solo Vn.

cresc.

cresc. 18

I Vn. II

Va.

pizz. Vc.

pizz. Cb.


16 84

a tempo

Faster

tratt.

= 60

a2

1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

a2

1 3 brassy Hn. 2 4 brassy Tpt.

1 2 sub.

sub.

senza sord. Tbn. 1 2 sub.

sub.

via sord. Bs. Tbn. Tba.

Timp. Tambourine 1 (S.D.) Perc. 2 Susp. Cym.

to B.D.

3 Piano, hammered

Pno.

Hp.

Solo Vn.

a tempo pizz. I

Vn.

pizz., senza sord. II

(pizz.) senza sord. Va.

(pizz.) Vc.

Cb.

tratt.

Faster

= 60


17 2. to Picc. 1

90

a2

1.

1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1.

a2

1.

a2 1 3

Hn. a2 2 4

Tpt.

1 2

al sord. Tbn. 1 2

senza sord.

al sord.

Bs. Tbn. Tba.

Timp. (Tamb.) 1 (S.D.)

rimshot (metallic)

Perc. 2

B.D. 3

Pno.

Hp.

Solo Vn.

arco I

Vn.

arco II

arco Va.

arco Vc.

arco Cb.


18 95

to Flute 2

Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

1.

a2 *

1.

(

)

etc.

legato a2 Bsn.

1 2

a2 *

a2

) )

( (

1 3

etc.

legato a2 *

Hn. 2 4

etc.

legato Tpt.

1 2 con sord.

2. via sord.

con sord.

via sord.

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

(S.D.)

r.s.

ord.

Perc. 2

3

Pno.

Hp.

3

Solo Vn.

I

Vn. II

Va.

Vc.

(sounds 8ba ) Cb.

*

= Play between and including the boxed pitches in random and constantly changing patterns, legato, as fast as possible at the indicated dynamic. An example is given in parentheses.

3

3

3

3

3

3

3

3

3


19 100 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

a2

(a2) 1 3 Hn.

(a2) 2 4

1. Tpt.

al sord.

1 2

1. (con sord.)

via sord.

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

(Tamb.)

to Xylophone

1

(S.D.)

to Susp. Cym.

Perc. 2 Ratchet 3

Pno.

Hp.

Solo Vn.

I Vn. II div. Va.

div. Vc.

pizz. Cb.


20 107 1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

(Cl. 2 plays A Cl.)

1 3 Hn. 2 4 harmon mute Tpt.

via sord.

1 2

Tbn. 1 2 Bs. Tbn., senza sord. Bs. Tbn. Tba. Tuba, senza sord. Timp.

1

Perc. 2 (Rat.)

to B.D.

3

Pno.

DC B

Hp.

E F G A l.v. sempre

3

Solo Vn.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

0

3

3

marc. div. *

unis.

**

I slow, even gliss.

marc. Vn. div.

*

**

II

marc. marc. div.

*

**

Va. marc. unis. Vc.

arco Cb.

* **

= Play between and including the boxed pitches in random and constantly changing patterns, marcato, as fast as possible at the indicated dynamic. on any pitch within the box that occurs on the downbeat


21 112

a2

3

1 2 Fl. 3

cresc. Ob.

1 2

cresc. 3

3

3

1. Cl.

1 2 3

Bsn.

3

3

3

3

cresc.

3

1 2

1 3

cresc. Hn. 2 4

cresc. 2., senza sord. 1. to Trumpet in D Tpt.

3

3

3

3

3

3

3

3

3

1 2

Tbn. 1 2 (Tba.) Bs. Tbn. Tba.

cresc. Timp.

1 Susp. Cym. Perc. 2

3

Pno.

cresc.

G

Hp.

8va

**) ossia:

** 0 0

Solo Vn.

sim. I

cresc. Vn.

sim.

unis. II slow, even gliss.

cresc.

Va.

cresc. div. * Vc.

cresc. * Cb.

cresc. *

= Play between and including the boxed pitches in random and constantly changing patterns, legato, as fast as possible at the indicated dynamic.


22

(a2)

116

2. to Picc. 1.

1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

a2 1 3

Hn.

a2 2 4

(Tp. 1 plays Tp. in D, senza sord.) 2. Tpt.

1 2

senza sord. Tbn. 1 2 (ossia:

)

Bs. Tbn. Tba.

Timp.

1 (Susp. Cym.) l.v.

to S.D.

Perc. 2 sub. (B.D.) 3

Pno.

8ba

Hp.

8ba

8ba

8ba

( 8ba )

D C B

E F G A

8

(ossia)

Solo Vn.

pizz.

unis. arco

div.

I

Vn.

pizz.

div.

div. a3

unis. arco

II

unis., pizz.

div.

div. a3 arco

Va.

*

unis., pizz.

arco

Vc.

* Cb.

* See note, (**) pg. 20

(unis.) pizz.

arco


23 121 Picc. 1

1. Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1.

2. to Cl. in B

1.

1 3 brassy Hn. 2 4 brassy 1. to Tpt. in C Tpt.

1 2

Tbn. 1 2 Bs. Tbn.* Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn.

I

Vn. II

Va.

Vc.

Cb.

*The following eight bars can be played by the Tuba if the Bass Trombone has no E attachment.


24 126

(

=

)

(

=

)

Picc. 1

(1.) Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1.

1.

1.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

Xyl. 1

Perc. 2

(B.D.) 3

3

Pno.

Hp.

Solo Vn.

(

=

)

(

=

)

I

Vn. II div. a2 pizz. Va.

Vc.

Cb.


25 130

accel.

rall.

accel.

rall.

Picc. 1

(1.) Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

(1.)

1 3 Hn. 2 4 1., 2., with harmon mute Tpt.

1 2

Tbn. 1 2

sub. Bs. Tbn. Tba.

Timp. (Xyl.) to Slapstick 1 S.D., rimshot (metallic) Perc. 2

(B.D.) 3

Pno.

Hp.

3

3

3

3

3

3

3

Solo Vn. 3 8va

I

Vn. II

Va.

Vc.

Cb.

0


26 134

colla parte

Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

a2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

hard sticks Timp.

Slapstick

to Glock.

1

(S.D.)

to Crot.

Perc. 2

(B.D.) 3

Pno.

Hp.

= 60)

Faster

= 80

= 60

Faster

= 80

= 60

Faster

= 80

= 60

gliss.

iss

.

(Tempo primo

3

gl

3 3

3

Solo Vn. passionate

3

colla parte I Vn. II

Va.

Vc.

div. pizz. Cb.

arco

3

3 3

3


27 139 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

open 1 3 Hn.

open 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

Perc. 2

(B.D.) 3

Pno.

Hp.

Faster

3

= 80

3

3

3 3

3

3

3

Solo Vn. 3 3

I Vn. II

Va.

Vc.

Cb.

3

3

3

3

3

3 3

3

3

3


28

= 80 fltg., non synch.

*

rall.

*

rall.

144 Picc.

1

a2, non synch. 8va

fltg. Fl.

1 3 non synch.

a2 Ob.

1 2 a2, non synch. 8va

fltg. Cl.

1 2

Bsn.

1 2

a2, non synch.

a2

fltg., non synch.

1 3 Hn.

a2

fltg., non synch.

2 4

fltg., non synch. 1 Tpt.

fltg., non synch. 2

a2 Tbn.

1 2

Bs. Tbn. Tba.

Timp. Glock. (hard sticks)

(accel.) sempre l.v. (l.v.)

to Bell Tree

1

Crot. Perc.

sim.

2 Susp. Cym.

to Vib.

3 B.D. 8va

sempre l.v. loco sim. loco

8

Pno.

9

Hp.

al sord. Solo Vn.

=non80synch.

3

(continue similar downward chromatic pattern) I

non synch. Vn.

(continue similar downward chromatic pattern) II arco, non div.

div., pizz.

Va.

non div. Vc.

(div.) tutti pizz. Cb.

*unless indicated, players do not slow the speed of their runs as the conductor slows the tempo (rall.).

div., pizz.


145

29

rall. poco a poco

Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2 continue similar downward chromatic pattern (rall.)

a2, non synch. Bsn.

1 2

(a2, non synch.)

continue similar downward chromatic pattern

1., 3., al sord.

1 3

Hn.

(a2, non synch.)

continue similar downward chromatic pattern

2., 4., al sord.

2 4

continue similar downward chromatic pattern 1

Tpt. continue similar downward chromatic pattern 2

even gliss.

Tbn.

al sord.

1 2

even gliss.

Bs. Tbn.

even gliss.

Bs. Tbn. and Tba. al sord.

Bs. Tbn. Tba.

Timp. Bell Tree

l.v.

1

Perc.

2 sempre l.v. Vib. 3

(rall.)

Pno.

(rall.)

Hp.

Solo Vn.

rall. poco a poco I Vn.

al sord. II arco, non synch.

continue similar downward chromatic pattern

Va.

div.

al sord.

al sord.

* arco, con sord.

Vc.

div.

arco, non synch.

al sord.

continue similar downward chromatic pattern

al sord.

*arco, con sord.

arco unis., non synch. Cb.

*1/2 Violas and Cellos sneak in. Play divisi if section is large enough. If not, play these notes as double stops.

continue similar downward chromatic pattern

al sord.


30 Lento

147

= 52–54

*

Picc. 1

1. Solo

Fl.

rubato

1 3

3 3

liquid

rubato 1. Solo Ob.

1 2

Cl.

1 2

Bsn.

1 2

*

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

*

to Crot.

1

to Tambourine Perc. 2

to B.D. 3

Pno.

Hp.

Solo Vn.

Lento

= 52–54

*

1 solo

Tutti al sord.

I Vn. II ** con sord.

Va.

** con sord.

Vc.

1 / 2 section, con sord. Cb.

*Conductor: wait for percussion sound to clear before continuing. **See note on previous page.


31 152

*

Picc. 1

Fl.

1 3 (1.) 1. Solo

Ob.

1 2

5

liquid

5 3

3

3

1. Solo, rubato 3

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba. Timp.

1

Perc. 2

3

Pno.

Hp.

con sord. Solo Vn. floating

I Vn. II

Va.

Vc.

(half section) Cb.

*Conductor: optional fermata.


32 157

to Flute 2

Picc. 1

Fl.

1 3 (1.)

Ob.

1 2

Cl.

1 2

1. Solo

3

5

3

1. Solo Bsn.

1 2 3

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

8va

(loco) Solo Vn.

I Vn. II

Va. (balance high C with rest of chord)

Vc.

tutti, div., con sord. Cb.


33 breve

1. (Solo)

162 1 2

3

(liquid) Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1. (Solo)

(1.)

3

1 3 Hn. 2 4 Tpt.

1 2 breve con sord.

via sord.

Tbn. 1 2 breve

con sord.

via sord.

Bs. Tbn. Tba.

Timp. Cro. (15ma)

l.v.

1

Perc. 2

3

Pno.

Hp.

8va

loco

breve via sord.

0

Solo Vn. breve

* Tutti, con sord.

(

I

etc.

)

freely, liquid breve

* con sord.

Vn.

(

II freely, liquid breve via sord.

senza sord.

Va.

breve via sord.

senza sord.

Vc. via sord.

half section, senza sord. breve half section

Tutti: via sord.

Cb.

*Each player enters and plays slightly after the previous one, starting with the first desk (should sound free and non synchronous).

)

etc.


34 (echo)

167

stringendo

3

1 2 (echo)

Fl. 3

Ob.

1 2

(1.) a2 Cl.

1 2 3

Bsn.

1 2

*

con sord.

via sord.

1 3

* con sord.

Hn.

via sord.

2 4

Tpt.

1 2

senza sord. Tbn. 1 2

senza sord.

Bs. Tbn. Tba.

Timp. to S.D. 1 Tamb. Perc. 2

3

Pno.

Hp.

8va

8va 0

senza sord. 0 Solo Vn.

stringendo

pizz. * arco

via sord.

senza sord.

via sord.

senza sord.

pizz.

* arco

tutti, unis., senza sord.

pizz.

* arco

tutti, div., senza sord.

unis., pizz.

I

Vn. II

(half section) Va.

(half section)

* arco

Vc. 0

(half section) Cb.

*Even crescendo with abrupt cutoff just before downbeat.

tutti, div., senza sord.

unis., pizz. (sounding pitch)

* arco


35 = ca. 92

* (no attack)

172

Flute 2 to Piccolo

1 2

molto

Fl. 3

Ob.

1 2 * (no attack)

Cl.

1 2

molto

Bsn.

1 2

*

1 3 Hn.

a2 senza sord. (no attack)

a2 *senza sord. (no attack)

molto

2 4

molto

Tpt.

* (no attack)

1 2

molto (no attack)

*

Tbn. 1 2

molto (no attack)

*

Bs. Tbn. Tba.

molto Timp.

1

Perc. 2

3

Pno.

Hp.

8

Solo Vn. 5

= ca. 92 (vib.) I

Vn.

molto

molto

molto

molto

molto

molto

molto

molto

(vib.) II

(vib.) Va.

(vib.) Vc.

(vib.) Cb.

molto *See note on previous page

molto


36 177 Picc. 1

Fl.

1 3

Ob.

1 2

2. 1.

Cl.

1 2

Bsn.

1 2

1 3

Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

6

6

Solo Vn. 6

I

Vn.

molto

molto

molto

molto

II

Va.

molto

molto

Vc.

molto Cb.

molto

pizz.

20


37 181 Picc. 1

a2

Fl.

1 3

Ob.

1 2

1. 2.

a2 Cl.

1 2

Bsn.

1 2

1 3

Hn. 2 4

Tpt.

a2

a2

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

S.D. Perc. 2

B.D. 3

Pno.

* 8ba

Hp.

3

Solo Vn.

I

Vn. II

Va.

Vc.

div.

pizz.

Cb.

*Chromatic cluster

(arco)

3


38 rall.

187

to Flute 2

Picc. 1

a2

Fl.

1 3

Ob.

1 2

a2 Cl.

1 2

Bsn.

1 2

a2

1. al sord.

a2

2., 4. al sord.

1 3

Hn. 2 4

Tpt.

1 2

Tbn. 1 2

al sord. Bs. Tbn. Tba.

Timp.

1 (S.D.)

to Tambourine

Perc. 2

(B.D.) 3

Pno.

8ba

Hp.

3

3

Solo Vn.

rall. al sord. I

Vn.

al sord.

con sord.

al sord.

con sord.

al sord.

con sord.

II

Va.

Vc.

al sord. Cb. (senza sord.)

arco, con sord.


39 192

= ca. 60

1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1. con sord. 1 3

Hn.

2. con sord.

2.

2 4 4. con sord.

Tpt.

1 2

Tbn. 1 2

con sord. Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn. 3

3

= ca. 60 con sord. I Vn. II

Va.

Vc.

via sord. Cb.

3

3


40 199

= 60 =

1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1. via sord. 1 3 Hn.

via sord. 2 4

Tpt.

1 2

Tbn. 1 2

via sord. Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn.

espr.

= 60 =

via sord.

senza sord.

via sord.

senza sord.

via sord.

senza sord.

via sord.

senza sord.

I Vn. II

Va.

Vc.

(div.) senza sord. Cb.


41 207

2. to Picc. 1

1 2 Fl. 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

(Cl. 2 to Cl. in A)

a2, senza sord. 1 3 Hn.

a2, senza sord. 2 4

Tpt.

1 2

Tbn. 1 2

3

3

3

senza sord. Bs. Tbn. Tba.

soft sticks Timp.

1

Perc. 2

3

Pno.

cresc.

Hp.

Solo Vn.

div. I Vn.

div. II

Va.

Vc.

Cb. 3

3

3


42 215 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

(a2) 1 3 Hn.

(a2) 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

freely, start slowly, then accel. 3

Solo Vn.

appassionato

I

Vn. II

Va.

Vc.

Cb.

6

3

sim.

6

7

5

3


43 219 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

(a2)

al sord.

1 3

Hn.

(a2) 2 4

al sord. (harmon mutes) Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

8va

(free) 3

3 3

Solo Vn.

3

sim.

I Vn. II al sord. Va. al sord. Vc.

Cb.


44

Cadenza 8va

221

loco 3

Solo Vn.

cresc.

0

rall.

0

0

0

Solo Vn.

a tempo ( = 60) Solo Vn. rich,sonorous

6 3

Solo Vn.

3

3

0

sub., freely

sul tasto, flautando II

III

IV

Solo Vn. (a sigh) 0

0

0

0

3

3


45 222

= 60

Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3

Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

Perc. 2

Lg., low B.D. (soft stick) 3

Pno.

Hp.

col legno battuto Solo Vn.

= 60 I Vn. II

Va.

Vc.

Cb.


46 228 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

1. Tbn. 1 2

Bs. Tbn. Bs. Tbn. Tba.

Timp.

1

Perc. 2

(B.D.) 3

Pno.

Hp.

pizz.

(pizz. sempre)

Solo Vn. sub., marc.

I

Vn. II

Va.

Vc.

(div.) col legno batt. Cb.


47 234 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn.

2.

2 4

Tpt.

1 2

(1.) Tbn. 1 2

(Bs. Tbn.) Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn.

I Vn. II con sord., non-synch., sul pont. Va.

con sord., non-synch., sul pont. Vc.

(arco,) ord. Cb.


48 238 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn.

(2.)

3

2 4

Tpt.

1 2

Tbn. 1 2 (Bs. Tbn.) Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

Solo Vn.

I Vn. II (sul pont.), non-synch.

via sord.

Va.

(sul pont.), non-synch.

via sord.

Vc.

3

Cb.


49 ( = ca. 80) string.

stringendo poco a poco

240 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn.

(2.) 2 4

Tpt.

al sord.

4.

1 2

gliss. Tbn. 1 2

gliss.

Tuba Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

arco

arco pizz.

arco

arco pizz.

pizz.

arco

pizz.

Solo Vn.

gliss.

gliss.

( = ca. 80) string.

stringendo poco a poco * unis., col legno batt. I 0 0 0

Vn. * unis., col legno batt.

0 0

0 0

II 0

senza sord., col legno batt. 0 0

* Va. * senza sord., col legno batt. Vc. 0

0

col legno batt. *

div.

0

Cb.

*Each player at a slightly different tempo (approx.

= 60). Do not change tempo. Pause slightly at commas. Play

to sound

.


50 = 90 (

= 60)

244 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

gliss.

Tbn. 1 2

(Tba.) Bs. Tbn. Tba.

Timp.

1

Perc. 2

3

Pno.

Hp.

gliss.

3

gliss.

Solo Vn.

gliss.

3

gliss.

cresc.

= 90 (

= 60) *

(tutti pizz.)

*

(tutti pizz.)

I Vn. II

*

(tutti pizz.)

*

(tutti pizz.)

Va.

Vc.

(half section pizz.)

Cb.

div.

*

*Stand by stand change from col legno to pizzicato

. Keep tempo steady. Complete transition to pizz. by the indication "tutti pizz."


51 248 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

(Cl. 2 in A)

1 3 Hn. 2 4

Tpt.

1 2

gliss.

Tbn. 1 2

(Tba.)

gliss.

gliss.

Bs. Tbn.

Bs. Tbn. Tba.

Timp.

1 Tamb. Perc. 2

3

Pno.

Hp.

3

3

3

Solo Vn.

3

0

3

3

3

3 0

3

3

3

3

3

3

3

3

3 3

sim.

arco *

**

I Vn. *

marc.,

**

arco

div.

II

, marc. * arco

div.

**

Va.

, marc. * arco Vc.

Cb.

div.

*

arco

pizz.

pizz.

*Jump to indicated notes (arco) on downbeat wherever you are in your pattern. **

= Play between and including the boxed pitches in random and constantly changing patterns, marcato, as fast as possible at the indicated dynamic. An example is given in parentheses.

, marc.

marc.,

div.

marc.,


52 253 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

1. 3

Bsn.

3

3

3

1 2 con sord. 1 3 con sord.

Hn.

con sord. 2 4 con sord. con sord., harmon mutes

Tpt.

1. al sord., st. mute

3

1., con sord., st. mute

3

3

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1 (Tamb.) Perc. 2

B.D. 3

Pno.

D C B E F G A

Hp.

l.v. sempre

0

0

Solo Vn. 3

* unis. I

sim. slow, even gliss.

Vn.

unis.

*

sim. slow, even gliss.

II

* Va.

div. Vc.

unis., arco Cb.

*

on any pitch within the box that occurs on the downbeat

3

3


53 256 Picc. 1

Fl.

1 3

Ob.

1 2

3

3 3

Cl.

1 2

Bsn.

1 2

via sord. 1 3

Hn.

via sord. 2 4

3

3

Tpt.

3

via sord.

1 2 via sord.

Tbn. 1 2 (Tba.) Bs. Tbn. Tba.

Timp.

S.D.

to Xyl.

1

(Tamb.)

thumb roll

to Susp. Cym.

Perc. 2

(B.D.)

cut sound

3

Pno.

Hp.

0

0 0

Solo Vn.

I

Vn. II * Va.

* Vc.

* Cb.

*See previous page.


54 Tempo I

rall.

= 60

259 Picc. 1

Fl.

1 3

Ob.

1 2

a2

sost. Cl.

1 2 a2 3

Bsn.

1 2

a2, Soli, senza sord. 1 3 sost. Hn.

a2, Soli, senza sord. 2 4 sost. senza sord.

Tpt.

1 2

Tbn. 1 2 3

3

Bs. Tbn. Tba. 3

Timp.

1 Susp. Cym.

to Tenor Drum (and Tamtam if 4th player available)

l.v.

Perc. 2

B.D. 3

Pno.

A

Hp.

3

sim.

Solo Vn.

Tempo I

rall.

IV I sost.

Vn. II

(div.) Va.

non div. Vc.

div. Cb.

= 60


55 263 Picc. 1

Fl.

1 3 (a2)

Ob.

1 2 5

Cl.

1 2

Bsn.

1 2

(a2)

5

1 3

(a2)

Hn.

5

2 4

a2 Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

Tenor Dr. Perc. 2

3

Pno.

Hp.

Solo Vn. (IV) I 5

Vn.

div. II

unis. Va.

div. Vc.

Cb.

unis.


56 Slower

= 50

accel. poco a poco

267

**

Picc. 1

(a2) Fl.

1 3

Ob.

1 2

a2 Cl.

1 2

Bsn.

1 2

(a2) 1 3 Hn.

(a2) 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

3

Timp.

Xyl.

3

to Tamtam

3

Tam-Tam

1 Ten. Dr.

to Chimes

Chimes

l.v. sempre

Perc. 2 l.v. Tam-Tam (B.D.)

3

3

Pno.

8ba

C ,E only

Hp.

8ba

8ba

l.v. sempre

8ba

8ba

Solo Vn.

Slower I

Vn. II

Va. unis. Vc.

div.

0

Cb.

**only if necessary. 8ba

= 50

accel. poco a poco

3

3


Allegro

57

= 144

274 Picc. 1

8va

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1.

sim. 1 3

Hn.

sim. 2 4

al sord. (harmon mutes) Tpt.

1 2

al sord. (harmon mutes) Tbn. 1 2

Bs. Tbn. Tba.

Timp.

l.v. 1 (Chimes)

(sempre l.v.)

Perc. 2 (B.D.) 3

Pno.

8ba

Hp.

Solo Vn.

Allegro

= 144

8va

loco I

Vn. II

Va.

Vc.

(sounding pitch) unis. Cb.


58 278 Picc. 1

(1.) Fl.

1 3

Ob.

1 2

Cl.

1 2

cresc.

Bsn.

1 2

1 3

cresc. Hn. 2 4

cresc. con sord., harmon mutes Tpt.

1 2

con sord., harmon mutes Tbn. 1 2

Bs. Tbn. Tba.

hard sticks Timp. secco, non cresc.

1 (Chimes) Perc. 2 non cresc.

(B.D.) 3

non cresc.

Pno.

pi첫

Hp.

Solo Vn.

* I

cresc.

Vn.

* II

cresc. sim.

*

sim.

*

Va.

cresc.

Vc.

cresc. col legno batt.

norm.

Cb.

cresc. *Continue playing 2-bar ostinato until next figure.

col legno batt.

norm.


59 282 Picc. 1

dim. (1.) Fl.

1 3

dim.

Ob.

1 2

dim.

Cl.

1 2

dim.

Bsn.

1 2

dim. 1 3

Hn. 2 4

Tpt.

1 2

dim.

Tbn. 1 2

dim. Bs. Tbn. Tba.

dim.

Timp.

1 (Chimes) Perc. 2 (B.D.) 3

Pno.

Hp.

Solo Vn. (Cue notes: 1st stand. Others: continue ostinato as indicated)

*

I

dim.

legato, rubato, dim. Vn.

*

3

II

dim.

legato, lyrical (Cue notes: 1st stand. Others: continue ostinato as indicated)

*

Va. legato, rubato, dim. (Cue notes: 1st stand. Others: continue ostinato as indicated)

dim.

*

Vc.

dim.

legato, rubato, dim. col legno batt.

norm.

col legno batt.

norm.

Cb.

dim. *Stand by stand change to free legato line. Do not synchronize. Play beautifully and freely. Other stands continue previous ostinato until your turn.


60 286

to Flute

Picc. 1

(1.) Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Tuba Bs. Tbn. Tba.

Timp.

1

(Chimes) Perc. 2

(B.D.)

to Tenor Drum

3

Pno.

Hp.

Solo Vn.

etc. I (dim.)

Vn.

etc. II (dim.)

etc. Va. (dim.)

etc. Vc. (dim.)

col legno batt.

norm.

Cb.

dim.

col legno batt.

norm.


61 290 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3 Hn. 2 4

via sord. Tpt.

1 2

via sord. Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

(Chimes) Perc. 2

3

Pno.

Hp.

Solo Vn.

I

Vn. II

Va.

Vc.

Cb.


62 294 Picc. 1

Fl.

1 3

Ob.

1 2

Cl.

1 2

Bsn.

1 2

1 3

Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

(Chimes) Perc. 2

3

Pno.

Hp.

Solo Vn.

I Vn. II

Va.

Vc.

Cb.


63 297 Picc. 1 8va

Fl.

1 3

Ob.

1 2

Cl.

1 2

a2

possibile

Bsn.

1 2 possibile a2, open 1 3

Hn. a2, open 2 4

senza sord. Tpt.

1 2

senza sord. Tbn. 1 2

Bs. Tbn. Tba. 8ba

hard sticks Timp. possibile r.s.

S.D. 1

possibile B.D. Perc. 2 possibile

Xyl. (Perc. 4)

Ten. Dr.

T.D.

3 possibile

8va

Pno.

8va 8ba

l.v.

Hp.

0

ossia:

ossia:

8va

0

Solo Vn. brilliant

pizz.

arco

pizz.

arco

pizz.

arco

pizz.

div., arco

I

Vn. II

Va.

Vc.

div., pizz. Cb.

non div., arco


64 = 156–160

II. (Pianissimo Scherzo)

a2 * 1 2 legatissimo Fl.

Flute

*

3 legatissimo * 1 legatissimo

Ob.

* 2 legatissimo

* 1 Cl. *

legatissimo

2 legatissimo

* 1 legatissimo

Bsn.

* 2 legatissimo

take straight mute 1 3 Hn.

take straight mute 2 4 take harmon mute

Tpt.

1 2 take straight mute

Tbn. 1 2 take straight mute Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Cel.

Hp.

Solo Vn.

= 156–160

div. a5, with practice mute senza vib.

to practice mute I div. a4, with practice mute senza vib.

Vn. II

senza vib. div. a4, with practice mute

to practice mute Va. to practice mute

div. a5, with practice mute senza vib.

practice mute off, al sord. ord.

Vc. al sord. ord. Cb. *Play legatissimo as fast as possible between and including the two given pitches. Vary the patterns constantly. Do not play chromatic scales up and down!


65 7 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

a2, with straight mute 1 3 legatissimo a2, with straight mute

Hn. 2 4

legatissimo Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3 Snare Drum, snares off, muffled 4

7

Cel.

7

(sounds 8va)

Hp.

0 0

Solo Vn. div. a3, con sord. ord. practice mute off, al sord. ord. I

div. a7, with practice mute, 1/2 tone cluster (C–F )

Vn.

II unis. Va.

con sord. ord.

div. a2 8va

Vc.

div. a2

div. a5, con sord. ord. * Cb.

*Continue diminished fifth interval ad lib. downwards in pitch.

practice mute off, al sord. ord.


66 11 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3 Tenor Drum, muffled

(S.D.) 4

7

7

Cel.

7

8va

(B )

Hp.

A

0 0

Solo Vn.

I (div. a7, C–F ) Vn.

A –D II div. a2, con sord. ord. 8va

Va.

Vc.

Cb.

8va

A

0 0


67 15 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. Crot. 1 Glock. 2 Perc. 3 S.D. 4

7

Cel.

Hp.

Solo Vn.

I C–F

Vn. II

Va.

Vc.

Cb.


68 18 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4 with harmon mute

Tpt.

1 2 with harmon mute straight mute

Tbn. 1 2 straight mute Bs. Tbn. Tba.

Timp. Crot.

Small S.D.

1 Glock. 2 Perc.

Tamb. 3

Ten. Dr.

(S.D.)

S.D.

4

to Piano

Cel.

7

8va

Hp.

Solo Vn.

I (div. a7, C–F ) Vn.

A –D II

Va.

Vc.

Cb.

C–F


69 21 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4 remove harmon mute, take straight mute Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. (Sm. S.D.) 1

2 Perc.

(Tamb.) 3 (Ten. Dr.)

(S.D.) 4

Pno.

Hp.

3

3

I Solo Vn. II

III

IV

via sord. ord., to practice mute I Vn.

A –D

C–F

A –D

C–F

II via sord. ord., to practice mute Va. via sord. ord., to practice mute Vc. via sord. ord., to practice mute Cb.


70 24

(a tempo)

a2

1 2 legatissimo

Fl. 3

legatissimo 1 legatissimo Ob. 2 legatissimo 1 legatissimo

Cl. 2

legatissimo 1 legatissimo

Bsn. 2

legatissimo a2 (with mute) 1 3 legatissimo a2 (with mute)

Hn. 2 4

with straight mute

legatissimo Tpt.

1 2 1. (with straight mute)

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1 Xyl. 2 Perc. 3

4

Pno.

Hp.

Solo Vn.

div. a5, with practice mute 1/2 tone cluster, E–G

(a tempo) I div. a4, with practice mute 1/2 tone cluster, G –B

Vn. II div. a4, with practice mute 1/2 tone cluster, C–E Va. div. a5, with practice mute 1/2 tone cluster, E –G Vc. div. a5, with practice mute Cb.


71 30

(a2)

1 2 Fl. 3

1

Ob. 2

1

Cl. 2

1

Bsn. 2 (a2) 1 3 Hn.

(a2) 2 4 (quasi gliss.)

Tpt.

sim.

take harmon mute

sim.

take harmon mute

1 2 (quasi gliss.)

(1.) Tbn. 1 2

Bs. Tbn. (straight mutes)(quasi gliss.)

Bs. Tbn. take harmon mute

sim.

Bs. Tbn. Tba.

Timp.

1 (Xyl.) 2

Perc.

Tamb. 3

B.D. 4

Pno.

Hp.

0

0

0

Solo Vn.

slow gliss. I Vn.

non cresc.

slow gliss.

non cresc.

slow gliss.

non cresc.

slow gliss.

II

Va.

Vc. non cresc. Cb. non cresc.

slow gliss.


72 36 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

remove mute 1 3 Hn.

remove mute 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

3

3

3

3

3

Solo Vn. 3

3

3

3

practice mute off I practice mute off, al sord. ord.

Vn.

unis., con sord. ord.

II practice mute off Va. practice mute off Vc. practice mute off Cb.

senza sord.

½ col legno battuto, ½ arco ord.


73 42 1 2 Fl. 3

1 Ob. 2

1 Cl. 2 1. 1 Bsn. 2

1 3 Hn. 2 4 with harmon mute Tpt.

1 2 with harmon mute

Tbn. 1 2 Bs. Tbn. with harmon mute Tuba with straight mute Bs. Tbn. Tba.

Timp.

1

2 Perc.

Tamb. 3

4

Pno.

Hp.

Solo Vn.

Vn.

I div.

Vn. div.

div.

II

Va. senza sord. ½ col legno battuto, ½ Bartok pizz. Vc.

Cb.


74 48 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

2 Perc.

Tamb. 3

4

to Celesta

Pno.

Hp.

Solo Vn.

Vn.

I div. a3

Vn. div.

II

div. a3

div. a4

Va. 0

Vc.

Cb.


75 54 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2 take straight mute

Tbn. 1 2 Bs. Tbn. take straight mute Bs. Tbn. Tba.

Timp.

1

2 (Tamb.)

Perc. 3

S.D., muffled 4

7

Cel.

non arp.

D CB E FG A

Hp.

0 0

Solo Vn. div. a3, senza sord.

con sord. ord.

al sord. ord. I

Vn.

div. a7, con sord. ord., 1/2 step cluster, C–F

II div., senza sord.

con sord. ord.

al sord. ord. Va.

tutti, div., arco

con sord. ord.

al sord. ord. Vc.

div., arco Cb.

al sord. ord.

con sord. ord.


76 57 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3 (S.D.)

Ten. Dr., muffled

4

7

Cel. 7

7

8va

A

Hp.

Solo Vn.

I (div. a7, 1/2 step cluster, C–F )

Vn.

A –D II

Va.

Vc.

Cb.

8va


77 60 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

(harmon mute)

1 2 (harmon mute) straight mute

Tbn. 1 2 straight mute Bs. Tbn. Tba.

Timp. Crot. 1 Glock. 2 Perc.

Tamb.

S.D.

Tamb.

S.D.

Tamb.

3 (Ten. Dr.)

S.D.

4

Cel.

Hp.

Solo Vn.

I Vn.

C–F II

Va.

Vc.

Cb.

A –D

C–F

A –D

S.D.


78 63 1 2 Fl. 3

1 Ob. 2

1 Cl.

to Bass Clarinet 2

1 Bsn.

to Contrabassoon 2

1 3 Hn. 2 4

Tpt.

1 2 remove mute

open

remove mute

open

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Crot. 1 Castanets

(Glock.) 2

3

Perc.

Tamb. 3 (Ten. Dr.)

B.D.

4

Cel.

Hp.

0

Solo Vn.

div. a12, A –A gliss.

I (div. a7) C–F

Vn. II

div. a10, A–F

gliss. div. a8, D –A

Va.

gliss. div. a6, G–C

Vc.

gliss.

via sord.

non div., senza sord. ½ col legno ½ Bartok pizz.

Cb. 0

3


79 68 1 2 Fl. 3

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1 Contrabassoon

Cbn.

open 1 3 open

Hn. 2 4

3

Tpt.

1 2

Tbn. 1 2 3

Bs. Tbn. Bs. Tbn. Tba.

Timp. Wood Block. 1 Cast. 2 3

Perc.

3

Tamb.

thumb roll

3 B.D. 4

Cel.

Hp.

pizz. 3

Solo Vn.

3

3

arco

3

3

tutti, 1/2 step I sub. Vn.

tutti, 1/2 step

II sub. tutti, 1/2 step Va. sub. tutti, 1/2 step Vc. sub. div., ord.

Cb. 3 3


80 73 1 2 Fl. 3

1 Ob. 2

Cl.

1 Bass Clarinet 3

Bs. Cl.

* Bsn.

3

1

Cbsn.

* 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. take straight mute

Tuba

Bs. Tbn. Tba.

*

Timp. Crot. 1

Tom-toms

Glock.

2 Perc.

Tamb. 3 B.D. 4

Cel.

Hp.

Solo Vn.

div. a2

(div. a12, A –A ) gliss. I

div. a7

(div. a10, A–F )

Vn.

gliss.

II (div. a8, D –A )

gliss.

div. a2

Va. (div. a6, G–C)

gliss.

Vc.

Cb.

*Cbn., Bcl. and Tba. should be balanced to all sound mezzo piano to mezzo forte.

div. a2


81 ( = 156–160)

78

(

=

)

1 2 Fl. 3

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1 3

Cbsn. 3

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 (Tba.) Bs. Tbn. Tba.

Timp. Vib.

(l.v.) 1

Pedal Tom-toms (Hi, med., low)

(l.v.) 2

3

3

Tamb.

Perc. 3 B.D. 4

to Piano

Piano

l.v.

Cel.

non arp.

non arp.

l.v.

Hp.

Solo Vn. ( = 156–160) unis.

3

3

3

3

unis.

3

3

unis.

I div. a2

Vn. II

Va.

div. Vc.

Cb.

(

=

)


82 83

Slightly slower = ca. 84–86

= 104–106 rall.

1 2 Fl. 3

1 Ob. 2

Cl.

1 to Clarinet in B

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 (Tba.) Bs. Tbn. Tba.

Timp.

1 (T.-t.) 2 3 Drums

Perc. 3

Trg. 4

to Celesta

Celesta

Pno.

l.v.

Hp.

Solo Vn.

Slightly slower = ca. 84–86

= 104–106 rall. I Vn. II

Va. unis. Vc.

div. a3 Cb.


83 87 1 2 Fl. 3

1 Ob. 2

1 Cl.

Clarinet in B 2

Bsn.

1

Cbsn.

1. 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. Crot. 1

2 (3 Drums)

Perc. 3

2 Small Metal Plates

Trg.

4

Cel.

B

Hp.

A

B

B

8va

Solo Vn.

I Vn. II

Va. unis.

div. Vc. (div. a3)

Cb.

C


84 92 1 2 Fl.

to Piccolo 3

1 Ob. 2

1 Cl. 2

Bsn.

1

Cbsn.

1. 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. Crot. 1

2 (3 Dr.)

Perc. 3

2 Metal Plates 4

Cel.

non arp.

A

Hp.

B

non arp.

B A

B

C

arco pizz. (l.h.) Solo Vn.

I Vn. II

Va.

unis.

div. Vc. (div. a3)

Cb.

8va

pizz.


85 96

Piccolo

to Flute

Picc.

1. Fl.

1 2

1 Ob. 2

1 Cl. 2

Bsn.

1

Cbsn.

1. 1 3 Hn. 2 4 (with harmon mute) Tpt.

remove harmon mute, take straight mute

1 2

Tbn. 1 2 Tuba, with mute Bs. Tbn. Tba.

Timp. Vib. 1 T.-t.

Pedal

2 Perc.

(3 Dr.) 3

Trg. 4

Cel.

B F

Hp.

8va

(arco) Solo Vn.

pizz. I Vn.

pizz. II

Va. unis. div. Vc.

Cb.


86 99

(2.)

1 2 Fl. 3

1 Ob. 2

1 Cl. 2

Bsn.

1 to Bassoon

Cbsn.

take straight mute 1 3

Hn.

2.

take straight mute

2 4

Tpt.

1 2 take straight mute

Tbn. 1 2 Bs. Tbn. Tba.

Timp. (Vib.) 1 Pedal

(T.-t.) 2 Perc. 3

4

Cel.

Hp.

Solo Vn.

via sord., to practice mute I Vn.

via sord., to practice mute II via sord., to practice mute

Va. div.

via sord., to practice mute

Vc.

al sord. ord. Cb.


87 103

= 156–160

1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Cel.

Hp.

sul pont. al extreme pont. al ord. pont.

sul pont. al extreme pont. al ord. pont.

sul pont. al extreme pont.

sul pont. al extreme pont.

Solo Vn.

div. a5, arco, with practice mute, senza vib.

= 156–160 I div. a4, arco, with practice mute, senza vib.

Vn. II

div. a4, with practice mute, senza vib. Va. div. a5, with practice mute, senza vib. Vc.

Cb.

practice mute off, al sord. ord.

practice mute off, al sord. ord.


88 109 1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1 Glock. 2 Perc. 3 S.D., muffled (no accents) 4

7

Cel.

Hp.

change to

ord. (sans sul pont.)

extreme pont. Solo Vn. scherzando 0

div. a3, con sord. ord. practice mute off, al sord. ord. I (practice mute)

Vn. II

con sord. ord.

unis.

Va. div. a2, con sord. ord. Vc. div. a6, con sord. ord. slow gliss. Cb.

div. a2

0


89 113

a2

1 2 Fl. Flute 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2 (straight mute)

Tbn. 1 2 (straight mute) Bs. Tbn. Tba.

Timp.

1 Vib.

Glock. 2 Perc. 3

Ten. Dr., muffled

(S.D.) 4

7

Cel.

7

8va

Hp.

Solo Vn. 0 0

0

I div. ord. Vn.

sul pont. II

div. Va.

Vc.

Cb.

0

0


90 117

a2

1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1 (Vib.) 2 Perc. 3 (S.D.)

Ten. Dr.

4

Cel.

Hp.

I

II

III

Solo Vn.

I Vn.

practice mute off, al sord. ord. II

Va.

Vc.

Cb.

breve


91 120 (a

tempo)

1 2 Fl. 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4 with straight mute Tpt.

1 2 (with straight mute)

Tbn. 1 2 Bs. Tbn. (with straight mute) Bs. Tbn. Tba.

Timp.

1 Vib.

Xyl.

2

Perc.

Pedal 3

4

Cel.

Hp.

0

Solo Vn.

unis. (con sord.)

(a tempo)

poco a poco al

sul pont.

I unis. (con sord.)

Vn.

marc.

sul pont. poco a poco al

II unis. (con sord.)

marc. poco a poco al

sul pont.

Va. unis. (con sord.)

marc. poco a poco al

sul pont.

poco a poco al

sul pont.

Vc. unis. (con sord.) Cb. marc.

marc.


92 a2

127 1 2

legato

Fl. 3

legato 1 legato Ob. 2 legato 1 legato

Cl.

to Bass Clarinet

2 legato 1 legato

Bsn.

Bassoon

to Contrabassoon

2 legato a2, with mute 1 3 legato a2, with mute

Hn. 2 4

legato Tpt.

1 2

remove mute Tbn. 1 2 Tuba with mute

remove mute

Bs. Tbn. Tba.

Timp. 3 Roto-toms, play with hands 1 (Xyl.) 2 Perc. 3 B.D. 4

Cel.

Hp.

0

0

0

0

Solo Vn. div. a7, ord. D –G I

unis., ord.

Vn. II

div. a12, A–G gliss.

div. div. a10, B G gliss.

div. a8, E –B

unis., ord. Va.

gliss.

div., ord. Vc.

Cb.

gliss.


93 133 1 2 Fl. 3

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2 open

Tbn. 1 2

open Bs. Tbn. Tba.

Timp. (Roto-t.) 1 Cast. 2 3

3

Perc.

Tamb. 3 B.D. 4

7

Cel.

B only

Hp.

3

Solo Vn.

3

3

3

pizz.

tutti, 1/2 step trill

I sub.

Vn.

tutti, 1/2 step trill

unis., non div.

II

gliss. sub. tutti, 1/2 step trill

Va. sub.

div. a6 (A–D)

tutti, 1/2 step trill

Vc. sub. unis., non div. Cb. 0

3

3

0


94 138 1 2 Fl. 3

1 Ob. 2

Cl.

1 Bass Clarinet 3

Bs. Cl. 3

* Bsn.

1 Contrabassoon

Cbsn.

* 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Tba. Bs. Tbn. Tba.

* Timp. Vib. 1 Tamb.

T.-t.

Pedal

2 Perc.

B.D. 3 S.D. 4

7

Cel.

8va

Hp.

arco

Solo Vn. div. a3

I Vn.

div. a7, C–F

II div.

Va. div. Vc.

div., arco ord. Cb.

*Cbn., Bcl. and Tba. should be balanced to all sound mezzo piano to mezzo forte.


95 rall.

142

a2

1 2 legatissimo

Fl. 3

legatissimo 1 Ob. 2

Cl.

1 to Clarinet in B

Bs. Cl.

Bsn.

1 to Bassoon

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 (Tba.) Bs. Tbn. Tba.

Timp.

1

Pedal

Tamtam

2 Perc.

B.D. 3 Ten. Dr., muffled

(S.D.) 4

7

Cel.

8

8va

Hp.

Solo Vn.

rall. I Vn.

div. a2 II

Va. via sord., to practice mute Vc.

via sord., to practice mute Cb.


96 146

Slower = ca. 94–96

(rall.) (a2)

1 2 Fl.

to Piccolo 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1 T.-t. 2 Perc. 3 (Ten. Dr.) 4

Cel.

Hp.

Solo Vn.

(rall.) I Vn. II

Va.

Vc.

Cb.

Slower = ca. 94–96


97 150

Piccolo

to Alto Flute

Picc.

Fl.

1 2

1 Ob. 2

1 Cl.

Clarinet in B 2

1 Bsn.

Bassoon 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. Trg. 1 (T.-t.) 2 Perc. 3

4

to Piano

Cel.

Hp.

al sord. Solo Vn.

div. a3, with practice mute

free bows

al sord., practice mute

div., with practice mute

free bows

al sord., practice mute

div., with practice mute

free bows

div., with practice mute

free bows

slow, even gliss.

div., with practice mute

free bows

slow, even gliss.

al sord., practice mute I Vn. II

Va.

Vc.

Cb.


98 A tempo primo

155 Picc.

Fl.

1 2 3

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. Trg. 1 (T.-t.) 2 Perc. 3 Ten. Dr., muffled 4 8va

Piano

Pno.

8va

Hp.

8va

con sord. 3

3

0 0

Solo Vn. 3

0 0

7

Vn. II

Va.

Vc.

Cb.

0 0

7

3

A tempo primo I

7

l.v.


99

III. (Andante Flautando) Lento Fl.

= 48

rall.

1 2

Al. Fl.

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4 take st. mute Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

Solo Vn.

Lento

= 48

via sord. I Vn.

via sord. II div. a2, senza sord.

Va. rich, sost. div., senza sord. Vc. rich, sost. senza sord. Cb. rich, sost.

rall.


100 3

7 Fl.

A tempo

= 48,

= 72

1 2

Al. Fl.

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1. 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

IV 3

3

3

3

3

3

3

Solo Vn. freely

A tempo

3

= 48,

= 72

I Vn. II unis. Va.

unis. Vc.

Cb.

3

3


101 14 Fl.

1 2

Al. Fl.

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1. 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

IV 3

3

3

3

3

3

3

3

3

3

3

Solo Vn.

3

3

3

espr. non div., senza sord.

I rich, sost. non div., senza sord.

Vn. II

rich, sost. Va. rich, sost. non div. Vc. rich, sost. div. Cb. rich, sost.

div.


102

Tempo doppio 22

Fl.

= 96

( = )

1 2

Al. Fl.

1 Ob. 2 ten. 1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

3

3

3

3

Solo Vn. 3

Tempo doppio

= 96

( = ) al sord. I Vn. II

Va.

unis.

div.

unis., pizz.

Vc.

unis., pizz. Cb.


29 Fl.

103

Slightly slower = ca. 80

rall.

1 2 Alto Flute, senza vib.

Al. Fl.

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

C E F

IV * sempre l.v. Solo Vn.

Slightly slower = ca. 80 rall.

con sord. 3 stands soli

I Vn.

al sord. II al sord.

Va. al sord. Vc. arco Cb.

*Extreme flautando: bow halfway between fingertip and bridge. Play sul G and hold D string down to keep out of the way.


104 36 Fl.

1 2

Al. Fl.

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

C

E F

Solo Vn. (con sord.) tutti I con sord.

Vn. II

con sord. Va. arco, con sord. Vc.

Cb.


105 senza vib.

rall.

44 Fl.

1 2 to Piccolo

(senza vib.) Al. Fl.

1 Ob. 2

1 Cl. 2

1 Bsn. 2

3. 1 3 Hn.

4. 2 4 with straight mute remove mute

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. Trg. 1

2 Perc. 3

4

Pno.

Hp.

sempre l.v. IV

ord.

Solo Vn. 3

3

rall. I Vn. II

Va.

Vc. pizz. Cb.


106 50

Tempo I

= 48

Tempo doppio

=

= 96

=

Picc. 1. 1 2

Fl.

1 Ob. 2

1 Cl. 2

1 Bsn. 2

*

[opt. st. mute]

a2

dolce [opt. st. mute]

a2

1 3 Hn. 2 4 dolce [opt. st. mute] Tpt.

take st. mute

1 2 dolce [opt. st. mute] 1., take st. mute

Tbn. 1 2 dolce [opt. st. mute] Bs. Tbn. Tba. dolce Timp.

1

2 Perc. 3

4

Pno.

Hp.

Solo Vn. 3

Tempo I

3

3

3

= 48

=

3

3

Tempo doppio

= 96

=

I Vn. II

Va.

Vc. (pizz.) Cb.

*The brass here may be played with straight mutes if desired.

al sord.


107 rall.

57

Slightly slower = ca. 80

Picc. (1.) Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1., open

1., take straight mute

1 3 Hn.

2. open

2., take straight mute

2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

F

Solo Vn.

div. (con sord.)

rall.

Slightly slower = ca. 80

I Vn. (con sord.) II (con sord.) Va. (con sord.) Vc. con sord. Cb.

arco


108 65

Piccolo

rall.

slower

A tempo ( = ca. 80)

Picc. 1. Fl.

senza vib.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

D B F G A

C F

IV extreme flautando Solo Vn.

rall.

slower

A tempo ( = ca. 80)

I div.

Vn. II

Va.

Vc.

Cb.

div., sul tasto


109 71

= ca. 40 stringendo

=

Tempo I

= 48

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

with mute 1 3 Hn.

with mute 2 4 (with straight mute)

Tpt.

1 2 1. (with straight mute)

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

(L’istesso tempo) 3

3

3

3

Solo Vn. 3

3

3

=

3

3

3

3

= ca. 40 stringendo

3

3

Tempo I

3

3

= 48 via sord.

I Vn.

via sord.

3

II via sord. Va.

Vc. pizz. Cb.

via sord.


110 77 Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2 (1.)

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

Solo Vn. 3

3

3

3

3

3

senza sord.

soaring

legatissimo

div.

I rich, sost. Vn.

senza sord.

div.

senza sord.

div.

senza sord.

div.

senza sord.

div., arco

II rich, sost. unis.

Va. rich, sost. via sord. Vc. rich, sost. Cb. rich, sost.


111 lunga

82 Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

8va

Solo Vn.

lunga I Vn.

unis.

div.

II

div. Va.

(div. a2) Vc.

Cb.


112

IV. (Accelerando Finale)

= 138 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

Solo Vn. arco non div., senza sord.*

= 138

(l.h. pizz.)

I 0

Vn. non div., senza sord. * II

non div., senza sord. * Va. senza sord., col legno battuto

0

Vc.

senza sord., col legno battuto

0

senza sord., col legno battuto 0

Cb.

*Crunch. Lightly mute the indicated strings with your hand in first position. Bow with extreme pressure, al tallone, using a short bow stroke. Do not lift the bow off the strings. The resulting sound should be loud and scratchy with no discernable pitch.


113 6 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1 Bass Clarinet

Bs. Cl.

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2 1.

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

2 Perc.

T.-t. 3 Tamb.

Ride Cym., wire brushes

4

Pno.

Hp.

sim. Solo Vn. sost. (III) I sub.

0

Vn.

II sub. (III) Va. sub.

Vc.

(col legno)

0

(col legno)

0

Cb. 0


114 11 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

1

Bsn.

Bassoon 2

1 3 Hn. 2 4

Tpt.

1 2 1.

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Xyl. 1 B.D. 2 (T.-t.)

Perc.

molto

3 Tamb.

(Cym.) 4

Pno.

Hp.

l.h. pizz. arco Solo Vn.

I Vn. II

Va.

Vc. arco Cb.


115 15 Picc. molto

Fl.

1 2

1 molto Ob. 2 molto Cl.

1

Bs. Cl. molto a2 Bsn.

1 2

molto

1 3 Hn.

molto 2 4 molto

Tpt.

1 2 molto 1.

Tbn. 1 2 molto Bs. Tbn. Tba.

molto Timp. Glock.

molto

1 B.D. 2 Perc.

Metal plate

T.-t.

3 Ride Cym., brushes 4 8va

Pno.

non arp.

Hp.

Solo Vn.

I molto Vn. II molto Va. arco

Vc.

arco

molto

col legno battuto (non div.)

0

col legno battuto (non div.)

0

col legno battuto Cb.

0


116 20 Picc.

Fl.

1 2

1 Ob. 2 solo Cl.

1

Bs. Cl.

1 Bsn. 2

1.

a2

1 3 Hn.

a2 2 4 1., open

Tpt.

2., with harmon mute

remove mute

1 2

Tbn. 1 2 Bs. Tbn. Tba.

hard sticks, dampen between beats Timp. Xyl.

secco

1 B.D.

Slapstick

2 Perc.

T.-t. 3 (Cym.)

(Tamb.)

4

Pno.

Hp.

* Solo Vn.

6 stands

5 stands

I div. Vn.

unis., col legno II

div.

unis., col legno

Va.

Vc.

arco, ord.

pizz.

arco col legno

pizz.

arco col legno

col legno 0

Cb.

*Crunch on D and A .


117 24 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

= * Solo Vn.

4 stands

3 stands

2 stands

1 stand

solo

I sempre

Vn. II

Va.

(col legno)

Vc.

(col legno)

Cb.

*Solo Violin accelerates steadily, but the orchestra plays repeated ostinato in strict time until conductor changes tempo.

accel. poco a poco sempre


118 (27) Fl.

( = 138, in 4)*accel. poco a poco

28

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

1 Bsn. 2

1 3 Hn. 2 4 Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

0

(sempre accel. poco a poco)

0

0

0

0

0

0

0

0

0

0

0

0

0

0

Solo Vn. stacc., sempre cresc. poco a poco 0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

** 0

0

0

0

0

0

0

0

0

0

0

0

0

0

Solo Vn.

( = 138, in 4)*accel. poco a poco I Vn. II

Va.

Vc.

0

Cb. *Orchestra accelerates independently of solo. **Orchestra bar 28 should start approximately here.

0

0

0

0

0

0


119 (30) (accel.)

= ca. 138 (in 4) accel. poco a poco 31

Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

(accel.) Solo Vn. (cresc.)

(accel.)

= ca. 138 (in 4) accel. poco a poco

I Vn. II

Va.

Vc.

0

Cb.


120 32

(accel.)

=

(in 4) accel. poco a poco

Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

(accel.) Solo Vn. (cresc.)

(accel.)

=

(in 4) accel. poco a poco

tutti, ord. I Vn. arco, ord. II

non div., ord.

div., pizz.

non div., ord.

div., pizz.

non div., ord.

pizz.

Va.

Vc.

Cb.


36

(accel.) (in 3)

121 (in 3) (accel.)

( = 138–160)

=

Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3 T.-t. 4

Pno.

Hp.

(accel.) Solo Vn. (cresc.)

(accel.) (in 3)

(in 3) (accel.) ( = 138–160)

= 0 0

0

0

0

0 0

0

0

0

0

0

0

I

Vn. II arco

pizz.

arco

arco

pizz.

arco

Va.

pizz. 0

Vc.

pizz. Cb.

div., unis., arco pizz.

div., arco

unis., pizz.

div., arco unis., pizz.


122

= 138 41

Picc. molto

Fl.

1 2

1 molto Ob. 2 molto Cl.

1

Bs. Cl. molto a2 Bsn.

Bassoon 2 to Contrabassoon

1 2

molto

1 3 Hn.

molto

2 4

molto 2. open Tpt.

1 2

molto

Tbn. 1 2 molto

Bs. Tbn. Tba.

molto Timp. Glock. molto 1 B.D. 2 Perc.

Metal plate 3

4 8va

Pno.

non arp

Hp.

F

Solo Vn.

= 138 I Vn. molto II

non div.

molto

Va. non div., arco

Vc.

non div., arco

non div., arco

molto

molto

molto

col legno battuto

col legno battuto

non div., col legno battuto 0

Cb.

molto


123 45 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2 1.

1.

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

non arp.

Hp.

Solo Vn.

(III)

div.

I Vn.

div. II (III)

Va.

unis., non div. (col legno) Vc.

0 0

non div. (col legno) Cb.

div.

8ba


124 49

accel. molto

(accel.) (in 4)

Picc.

Fl.

1 2

1

Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1 B.D. 2 Perc. 3

4

Pno.

8ba

non arp.

Hp.

(non accel.) * Solo Vn.

accel. molto

(accel.) (in 4)

I Vn. II

Va. div., arco ord. Vc. div., arco ord. Cb.

*Solo Violin stays in tempo while the orchestra accelerates. (They are asynchronous.)


125 54

(accel.)

(accel.)

=

Picc.

Fl.

1 2

1 Ob. 2

Cl.

1 Tbn. 2

Bs. Cl.

Bsn.

1 Bs. Tbn. Contrabassoon

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1 (B.D.) 2 Perc. 3

4

Pno.

non arp.

non arp.

Hp.

B C F

B E

C E

Solo Vn.

(accel.) I Vn. II

Va.

Vc.

Cb.

=

(accel.)


126 (accel.)

59 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1 to Clarinet in B

Bs. Cl.

Bsn.

1 to Bassoon

Cbsn.

1 3

Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1 (B.D.) 2 Perc. 3

4

Pno.

non arp.

sim.

A B E

Hp.

Solo Vn.

(accel.) I Vn. II

Va.

Vc.

Cb.

E A


127 64

= 138

Picc.

Flute 2 to Piccolo Fl.

1 2

1 Ob. 2

1

Cl.

Clarinet in B

legato, asynchronous

2

legato, asynchronous 1

Bsn.

legato, asynchronous

Bassoon 2

legato, asynchronous 1 3 Hn. 2 4

* Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Glock. 1 T. Blk.

B.D.

2 Perc.

Tamb. 3 Sus. Cym. 4 8va

Pno.

sempre l.v.

Hp.

sempre

Solo Vn.

div. a3

=8va 138

I Vn.

unis. II

unis. Va. unis. Vc. asynchronous Cb. *Optional Trumpet in D.

asynchronous


128 67 Picc. 1 2

Fl.

1

1 Ob. 2

1

Cl. 2

1 Bsn. 2

a2 1 3 Hn.

a2 2 4

Tpt.

1 2

Tbn. 1 2 a2 Bs. Tbn. Tba.

Timp.

1 B.D. 2 Perc. 3

4

Pno.

E

Hp.

Solo Vn.

unis. I asynchronous, as fast as possible

Vn. II asynchronous, as fast as possible

Va.

Vc. unis. Cb.


129 69 Picc. 1 2

Fl.

1

1 Ob. 2

1

Cl. 2

1

Bsn. 2

a2

3

a2

3

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 3

(a2) Bs. Tbn. Tba.

Timp.

1 B.D. 2 Perc. 3

4

Pno.

3

B

Hp.

A

Solo Vn.

I

Vn. II

Va.

Vc. div. Cb.

3


130 a tempo ( = 138) 72 Picc. 1 2

Fl.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

sub.

sub.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

dim. poco a poco

1 sub.

dim. poco a poco

1 sub.

dim. poco a poco

Ob. 2 sub.

dim. poco a poco

1 Cl.

to Clarinet in A 2

1 Bsn. 2 (a2) 1 3 Hn.

(a2) 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp. Xyl. 1 3

(B.D.)

3

3

2 Perc.

dim. poco a poco 3 S.D. 4 3

3

3

3

sub.

8va

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

sub.

dim. poco a poco

Pno.

non arp 8va

Hp.

dim. poco a poco

* Solo Vn.

a tempo ( = 138)

as fast as possible

I Vn. II

Va.

Vc.

Cb.

*Solo Violin plays as fast as possible and should not synchronize with the orchestra.


131 rall. 2.

75 Picc. 1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

(dim. poco a poco)

Fl.

1 (dim. poco a poco)

1 (dim. poco a poco)

Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1 (B.D.) 2 (dim.)

Perc. 3

4

8

(dim. poco a poco) Pno.

8

(dim.)

Hp.

rall. Solo Vn. sim.

rall. I Vn. II

Va.

Vc.

Cb.


132 (rall. poco a poco) 77

(2.) Piccolo 1 to Flute 2

Picc. 1 2 (dim.)

Fl.

1 (dim.) 1

Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 (dim.)

Perc. 3

4

(dim. poco a poco)

Pno.

8

(dim.)

Hp.

*

Solo Vn. dim. poco a poco

(rall. poco a poco)

div., con sord.

I Vn.

(con sord.) II

Va.

Vc.

Cb. *Accents gradually disappear with diminuendo.


133 80

= 54

Picc. 3

3

1. Fl.

1 2 3

solo

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1. 1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

3

Hp.

3

3

Solo Vn.

= 54 I Vn.

div., con sord.

via sord.

II div., con sord.

Va.

div., con sord. Vc. half section Cb.


134 86 Picc. 3

(1.) Fl.

3

sempre

3

3

1 2 3

3

sempre

3

3

1 Ob. 2 solo 1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

3

Hp.

3

3

3

3

3

3

3

Solo Vn. simply

I Vn. II

Va.

Vc.

Cb.


135 92

= 60

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

with mute 1 3 Hn.

4. with mute 2., with mute 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

Solo Vn.

= 60 I div., senza sord.

Vn.

unis.

II

via sord.

unis., senza sord.

via sord.

unis., senza sord.

Va.

Vc.

tutti, pizz. Cb.

div., arco


136 98

a tempo ( = 60)

rall.

Picc.

Fl.

1 2

1 Ob. 2

1 Cl.

Clarinet in A 2

1 Bsn. 2

a2 1 3

3

Hn.

a2 2 4 3

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

quasi 3

3

3

3

3

3

Solo Vn. 3

espr.

a tempo ( = 60) rall.

unis. (con sord.) 4 stands, soli

I Vn.

pizz. II (trem.)

Va. div. Vc. 3

pizz. Cb. 3

3

half section, arco


137 rall.

103

=

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 3

2

1 Bsn. 2

remove mute 1 3 Hn.

remove mute 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

3

3

3

Solo Vn. 3

3

3

3

rall. I Vn.

arco (trem.) II

Va.

Vc. 3

3

tutti, div. (arco) Cb.

3

pizz.

3

3

unis.

3

=


138 107

= 60 (A tempo)

Picc.

Fl.

1 2

1 Ob. 2

1 Cl.

to Clarinet in B 2 3

1 Bsn.

3

2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 3

3

3

3

3

3

3

3

3

3

sub.

Bs. Tbn. Tba. sub.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

quasi 0 0 0

0

0

0

0

0

0

0

Solo Vn. deliberate

= 60 (A tempo) via sord. I Vn. II

Va.

Vc. div., arco Cb. 3

0


139 112

accel. poco a poco

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2 3

3

3

3

3

3

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

0

0

0

0

0

0

0 0

0

0

0

0

0

0

0

Solo Vn.

accel. poco a poco I Vn. II

Va.

Vc.

Cb. 3

3

3


140 116 (accel.

poco a poco)

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2 3

1 Bsn.

3

2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 3

3

3

3

Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

0

Solo Vn.

(accel. poco a poco) I Vn. II

Va.

Vc.

Cb. 3

0

0

0

0

0

0

0

0

0

0

0

0


141 119 (accel.

poco a poco)

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 3 3

3 3

Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

0 0

0

0

0

0

0

0

0 0

0

Solo Vn.

(accel. poco a poco) I Vn. II

Va.

Vc. unis. Cb.

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0


142 122 (in

2) accel. poco a poco

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1., open 1 3 Hn.

2., open 2 4

Tpt.

1 2

Tbn. 1 2 sub. Bs. Tbn. Tba. sub.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

0 0

0

0

0

0

0

0

0

0

Solo Vn.

(in 2) accel. poco a poco tutti, senza sord. I Vn.

3

3

3

3

3

3

3

3

II

Va. (div.) Vc. unis. Cb.


143 125 (accel.

poco a poco)

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

3. open

3

3

1 3 3

4. open

Hn.

3

3

2 4 3

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

0 0

0

0

0

0

0

Solo Vn.

(accel. poco a poco) I 3

3

3

3

3

3

3

3

3

3

3

3

Vn. II

Va.

Vc. div. Cb.

0

0

0


144 128 (accel.

poco a poco)

=

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1. 1 3 Hn.

2. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

Solo Vn.

(accel. poco a poco) = I Vn. II div. Va.

Vc.

Cb.


145 131

= 138

tratt.

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Glock. 1 T.-t. 1 player

Xyl.

2 Perc.

Tam. 3 S.D., wire brushes 4

Pno.

Hp.

Solo Vn.

= 138 pizz.

tratt.

arco

I

Vn.

pizz.

arco

pizz.

arco

II

Va.

pizz. Vc. unis., pizz. Cb.

*Crunch.

arco *


146 135

a tempo

= 69 ( = 138)

Picc.

Fl.

1 2

1 Ob. 2

1 Cl.

Clarinet in B

asynchronous, as fast as possible

2

asynchronous, as fast as possible 1 Bsn.

asynchronous, as fast as possible 2 a2

asynchronous, as fast as possible

1 3 Hn.

a2 2 4

Tpt.

1 2

Tbn. 1 2 Tuba Bs. Tbn. Tba. Bs. Tbn. Timp.

(Glock.) 1 (Xyl.) B.D. 2 Perc.

(Tam.) 3

S.D. 4

Pno.

Hp.

8va

Solo Vn.

a tempo

= 69 ( = 138)

I Vn. II

Va. asynchronous, as fast as possible Vc. asynchronous, as fast as possible div., arco Cb.


147 137 Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

(a2) 1 3 Hn.

(a2) 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1 (B.D.) 2 Perc. 3

4

Pno.

Hp.

Solo Vn.

I asynchronous, as fast as possible

Vn. II asynchronous, as fast as possible

Va.

Vc.

Cb.


148 139

tratt.

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

1 Bsn. 2

(a2) 1 3 Hn.

(a2) 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1 (B.D.) 2 Perc. 3

4

Pno.

Hp.

Solo Vn.

tratt. I Vn. II

Va.

Vc.

Cb.


149 = 138

a tempo

Cadenza

141 Picc.

Fl.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 2

1

Ob. 2

1 Cl.

to Bass Clarinet 2

1 Bsn.

to Contrabassoon 2 (a2) 1 3

Hn.

(a2) 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

Xyl. 1 3

3

3

(B.D.) 2 Perc. 3 S.D. 4 3

3

3

3

3

3

3

3

3

3

8va

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Pno.

Hp.

Solo Vn. poss., sost.

a tempo I Vn. II

Va.

Vc.

Cb.

= 138

Cadenza


150

(Cadenza)

accel. molto (144)

*

Solo Vn. sim.

(144) 0

0

0

0

0

0

0

0

0

0

Solo Vn.

Slapstick

(144)

145

3 Perc. Tamb. 4 8va

III IV

I

II

Solo Vn.

8va

(145)

Allegro

rall.

146 0

0

0

0

0

sim.

0

Solo Vn. 3

(146)

3

sub.

0

tratt.

3

3

3

3

3

3

3

3

3 3

accel. free bows if necessary

Solo Vn. 3

3

3

3

*Articulation will change to staccato as figure accelerates.

change to sul pont. sul pont.

lunga


151 147 Slightly

slower

= 120

Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

crunch

col legno battuto Solo Vn.

Slightly slower

= 120

(crunch)

I

Vn. (crunch) II

(crunch) Va. non div., col legno battuto

Vc.

non div., col legno battuto

non div., col legno battuto 0

Cb.

(arco)

(l.h. pizz.) arco


152 151 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3

4

Pno.

Hp.

Solo Vn.

I

Vn.

II

Va. (crunch)

col legno battuto

(crunch)

col legno battuto

(crunch)

col legno battuto

Vc.

* Cb.

*Crunch.

0


153 accel.

155 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1 Contrabassoon

Cbsn. 1. 1 3 Hn. 2 4

Tpt.

1 2 2.

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Trg.

Ratchet

1 B.D. 2 Wood Block

Perc. 3 Tamb. 4

Pno.

Hp.

Solo Vn.

accel.

non div., pizz. I Vn.

non div., col legno battuto II

Va. col legno battuto

Vc.

col legno battuto

col legno battuto 0

Cb.


154 159

( = ca. 220)

accel. molto poco a poco

Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1. 1 3 Hn. 2 4

Tpt.

1 2 2.

1., with harmon mute

1. (with harmon mute)

2. (open)

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Ratchet 1 Xyl. 2 Perc. 3

4

Pno.

Hp.

IV Solo Vn.

accel. molto poco a poco

( = ca. 220)

I Vn.

(col legno) II

Va.

unis. Vc.

Cb.

(pizz.)


155 = ca. 112,

= ca. 224, accel. poco a poco

163 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1. 1 3 Hn. 2 4

Tpt.

1 2 2. (open)

1. (with mute)

2.

1.

2.

Tbn. 1 2

Bs. Tbn. Tba.

Timp. (Ratchet) 1 Xyl. 2 Slapstick

Perc. 3

4

Pno.

Hp.

Solo Vn.

= ca. 112,

= ca. 224, accel. poco a poco

(pizz.)

I

Vn. (col legno) II

Va.

Vc.

Cb.

1. remove mute


156 166

(accel. poco a poco)

=

Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn. 1. open 1 3 Hn. 2 4

Tpt.

1 2 (2.)

1. open

Tbn. 1 2

Bs. Tbn. Tba.

Timp.

1

2 Perc. 3 B.D. 4

Pno.

Hp.

Solo Vn.

(accel. poco a poco) div. a2, arco

=

I div. a2, ord.

Vn. II

div., arco ord. Va. div., arco ord. Vc. div., arco ord. Cb.


157 (accel.)

(accel.)

170 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1

Bs. Cl.

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

1

2 Perc. 3 (B.D.) 4

Pno.

Hp.

Solo Vn.

(accel.) I Vn.

II

Va.

Vc.

Cb.

(accel.)


158 (accel.)

rall.

175 Picc.

Fl.

1 2

1 Ob. 2

Cl.

1 to Clarinet

Bs. Cl.

Bsn.

1

Cbsn. a2 1 3 Hn. a2 2 4

Tpt.

1 2

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Glock. 1 Sus. Cym. 2 Perc.

B.D. 3 (B.D.) 4

Pno.

Hp.

Solo Vn.

(accel.) rall. I Vn. II

Va.

Vc.

Cb.


Slower

= 50

159

accel. poco a poco

179 Picc.

a2 Fl.

1 2

1 Ob. 2

1 Clarinet in B Cl. 2

Bsn.

1

Cbsn.

(a2) 1 3 (a2)

Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

3

Timp.

3

3

Xyl. 1 (Sus. Cym.)

Tamtam

2 Perc.

Ten. Dr.

Chimes

l.v. sempre

3 (B.D.)

l.v. 3

4

Pno.

8ba

C ,E only

Hp.

8ba

8ba

l.v. sempre

8ba

8ba

Solo Vn.

Slower unis. I Vn.

unis. II unis.

Va. unis. Vc.

div. Cb.

0

= 50

accel. poco a poco

3

3


160 186

= 138

accel.

Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2 1.

Tbn. 1 2

Bs. Tbn. Tba.

Timp. Glock. (15ma) 1 Xyl. (8va)

T. Blk.

(Tam.) 2 Metal plate T.-t.

Perc.

vary pitches ad lib.

vary pitches ad lib.

vary pitches ad lib.

3 B.D. 4

Pno.

Hp.

Solo Vn. arco

= 138

div.

div., pizz.

unis.

div., pizz.

unis.

div.

div., pizz.

unis.

div.

non div., arco

div., pizz.

unis.

div.

non div., arco

I arco Vn. II

0

Va.

0

Vc. unis., pizz. Cb.

div., arco

accel.


161 190 Picc. poss. a2 Fl.

1 2 poss.

1 poss.

Ob. 2

poss. 1 poss. Cl. 2 poss. Bsn.

1 poss.

Cbsn. poss. 1 3 Hn. 2 4

Tpt.

1 2 poss.

Tbn. 1 2 poss. Bs. Tbn. Tba.

poss. Timp. poss. Xyl. 1 poss. T. Blk. 2 Metal plate (T.-t.)

Perc.

poss.

3 poss. 4

poss.

Pno.

poss.

Hp.

(B C D E F G A )

Solo Vn.

I poss. Vn. II poss. Va. poss. Vc. poss. Cb. poss.


162 192 Picc.

Fl.

1 2

1 Ob. 2

1 Cl. 2

Bsn.

1

Cbsn.

1 3 Hn. 2 4

Tpt.

1 2

Tbn. 1 2 Bs. Tbn. Tba.

Timp.

Xyl. 1 S.D., rimshot 2 Perc.

T.-t. 3 B.D. 4 poss. 8va

Pno.

Hp.

quasi tremolo and quasi glissando 0 0

Solo Vn.

x

x

poss.

I Vn. II

Va.

Vc.

Cb.

x

x

x

0 0

0 0

x 3 1


Corigliano CONCERTO FOR VIOLIN AND ORCHESTRA ("THE REDVIOLIN")