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Sydney Hodkinson

MIDNIGHT PASSAGE for Solo Bassoon with Brass Ensemble, Harp, Keyboards, and Percussion

January 2012


commissioned by

DR. ASHLEY HEINTZEN and the STETSON UNIVERSITY SYMPHONIC BAND - Bobby Adams, conductor Deland, Florida

Suggested STAGING: Timpani (4)

as

Ì

Trumpet 3º

Percussion 1º

separated Trumpet 1º

widely

Celesta

Percussion 3º

as

possible

Ì

Trumpet 2º

Tuba

Piano

Euphonium 1 2

[ optional exit to offstage ]

Percussion 2º

Harp

Bass Trombone

3

Trombone 2º

4

Trombone 1º

Ì

SOLO BASSOON Horns CONDUCTOR

- ii -


Instrumentation: • BASSOON SOLO • 4 Horns in F

• Harp

• 3 Trumpets in B-flat

• Piano, doubling Celesta

• 2 Trombones - 4 Horns in F [ OFFSTAGE : Ms. 239 al fine ]

• Bass Trombone

• Euphonium

• Timpani (4)

• Tuba

• Percussion (3 players) (see Percussion key @ bottom of this page)

THE SCORE IS TRANSPOSED

1

Horns, Euphonium and Tuba require mutes. All trumpets require Whispa, Harmon and Straight mutes; and all Trombones require straight mutes. Additionally, Trumpet 2º and Trombone 1º require cup mutes.

2

It is preferable for the offstage horn quartet to be 4 additional players, if possible. Otherwise, the ensemble horn section will quietly move to the offstage position during meas. 228 - 238. The temporal notation in the score is approximate (a second conductor may be used). The quartet should continue to sound for at least 30 ~ 40 seconds after the soloist has concluded (meas. 270).

NOTATION: . . . All accidentals hold for the full measure, but not at the octave, as in customary practice. . . . Square brackets indicate leading melodic lines to be brought to the foreground of the prevailing texture.

&

n

. . . (percussion) Completely dampen all vibrations. . . . niente - used as a dynamic beneath the level of

ppp

(pianississimo).

Suggested subdivisions for asymmetric conductor beat patterns are given in brackets above the signature : e.g., [ 2•3 ] [ 2•2•3 ]

45

78

Further clarifications to conductor and performers are given using numbered asterisks within the score context.

PERCUSSION KEY: Tambourine Crotales (Tamb.) (CR) Snare Drum Small Tom-Tom Xylophone (mounted) (SD) 2 octaves (T-T) (Xyl.) A

!

Vibes (V.) 2º

A

lg.

A

MALLETS: sb - soft beater(s) BD sy/my/hy: yarn - soft, medium, hard respectively br - brass hh - hard hammers (CH)

3 Tom-Toms (T-T.)

$ A !

(medium)

A

$ A

(sounds 8va (sounds 15ma higher) higher)

Suspended Cymbal (SC)

A med.

brushes large Bass Drum (BD)

Chimes (CH) 3º

!

Glockenspiel (GL.)

(mounted horizontally)

$ A

2 Congas (CGA)

A

A

Bongo (BGO)

A

(sounding 15ma)

- iii -

Large Suspended Cymbal (SC)

A


MIDNIGHT PASSAGE

Sydney Hodkinson

(2012)

(b. 1934)

for solo Bassoon

with

brass ensemble, Harp, Keyboards,

and Percussion

PERFORMANCE TIME: approximately 12 minutes.

PROGRAM NOTE: In referring to writing transcriptions of his own previously-composed works, the Italian artist Luciano Berio said it was akin to "peeling away the layers of an onion." When a university colleague requested an arrangement of my solo etude "Night Watch" (2010) for bassoon and concert band, I pondered the rectitude of Mr. Berio's comment. The accompaniment for the piece that resulted was for a brass / percussion ensemble, not band, and extended the earlier composition into somewhat different territory. The sonic world of brass coupled with the solo woodwind appealed to me. The work is in four sections: a rather vociferous prelude, a quick scherzo followed by a brief return to the opening material, and an extended coda. This last part - marked "very freely, coolly" - carries the soloist into the bassoon's keening upper register, closing the piece calmly, but still suspended. MIDNIGHT PASSAGE is roughly twelve minutes in duration. The score is dedicated to the American bassoonist

Dr. Ashley Heintzen, who commisioned it, and was completed in January of 2012 in Ormond-by-the-Sea, Florida. The Stetson University Symphonic Band, Douglas L. Phillips, conductor, presented the premiere performance on October 19, 2013. S.H.

- iv -


1

TRANSPOSED SCORE For ASHLEY HEINTZEN, with thanks

• MIDNIGHT PASSAGE • Sydney Hodkinson (2012)

Declaimed [ C = 72 ~ 76 ]

[

# 4 4

SOLO BASSOON

1, 3

] [

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Tuba

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[

Tuning:

Timpani

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(sy)

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$ 44

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> $ 5 .C T 8 h f $ 58

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$ 58 S

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]

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[ #

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] [

C

[3•2]

24

(take cup mute)

(take cup mute)

(take str. mute)

(take mute)

16 Marcato[

24

Q

43

2 4

Q

3 4

Q

24

Q

43

Q

( discard mallets)

> YCYC

! ! !

Q

Tpt. 1

Q

Tpt. 2

]

S

Perc. 2

(T-T)

]

$

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sim.

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[3•2]

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Tpt. 1

Tpt. 2

Trb. 1

Trb. 2

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]

Perc. 1

$ T (T-T)

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$

Perc. 2

]

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ph

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31 Pesante

$

*

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T

X -C O

tightly stopped

TU h C O ÃC

h

C

T

Q B B

YC g

C

C

Q

S

g WC

C C Q


6

[ #

SOLO BSN.

] [

gl.

! (Y) C !

Hn. 3

(str. mute)

!

Tpt. 1

C C gi . TU

CO (cup mute)

!

Tpt. 2

WC p

T Q W .C T C mp T TU Y C jh

TU T W .C U C T

YC p

Ì

gl.

Q

X .C h

Ã

Cmp

C

Ãg T

Q

T

S

0

Ì

YC p

. UT W C W C T U

]

C

Q

gl.

C

Cmp Q

S

!

Pno.

h #

C

T U C W C. T U p

Q

Q

Q

Q

S

Q

Q Q

Q

T #

g

p

Q

h

.C

W .C

YC

>. C

XC T TU X C W C Y C YC U WC Y >C . T U Y C . T U C C. T X C > . C C > > mf cresc. molto f (cresc.) 0

g T C> Y C.

"

Q

Q

24

43

Q

Q

Q

Q

Q

Q

Q

Q

Trb. 1

#

Q

(mute out)

g # Y -C gl. Y .C T (Y) C . YC

Trb. 2

T Y -C ph

S

h

C , -C

, X -C h

open gl.

C. S

Q

Bs. Trb.

Q

open (w. strong syncopation)

S

Q

(mute out)

Q

Q

S

h

C , X -C

W -C h

*S

Y >C mp 2 sim. * S T YC C C T YCO C 43 Y C. > Y C. > h p mp mp 2 marc. open * g T sim. T 3 S 4 Y C> O C Y B> p 47 2 >C C mp >C C sim. * C C U S U " C O . T T 43 W C p mp mp marc.

p

g

Q

Q

g

3 4

ph

mp

Q

C T

open

S

2

U U U * U O C O T Y C O T X C O T 43 T Y h C C g

2

S 2

C mp

g T*W C C mp 2

# Q

Euph.

Tba.

]

#

*

Q

Q

2

Q Q

Q Q

BRASS: Ms. 47-51: stinging, with quick diminuendos, cresc. only to mf ..

24

43

Q

# W -C

Q

h T ff

Q

Q

!

C

Q

Q

Tpt. 3

Q

24

!

(mute out)

Q

>

C , -WC C 43

YC C

Q

Q

!

g

Q

Q

Tpt. 2

C p

C

43

Q

(mute out)

T

C

C

Q

Q

mf

S

YC

Q

Q

C- O

C.

g C.

X C. W C . YC . X C.

Y C ,X C W C YC

!

C mp Q

T

Q

Q

Q

S

S

41

.C

47

> Y .C

g C.

T Yh C p

Q

WC

YC T YC .

g T U gi C i T U T Y C> Q

!

Tpt. 1

T

Q

Q

Hn. 3

Q

W C. T

WC C

Q

T C p T

C

C mp

Q

Q

> [ # Y C C W .C YC WC XC T ] sfz [

Ãg

T

Q

Q

T

41

C YC YC XC XCWC C S YC YC XC C C C. C C molto pp

Q #

Hn. 1

T Q

mp

(str. mute)

SOLO BSN.

g

.C #

(cup mute)

#

Trb. 1

Trb. 2

.C > W -C YC C C fsfz

W -C O

-O UT W h C mf

0

C >mp Q

"

fsfz

Ãg

Ì

Hn. 1

X >.C

CO Y C Y .C X C C

Q

Q Q

43

Q

43

Q

*T W .C C> B open

24 24 2 4 24

C g C T p

YC mp

C

2 4 24

mp marc.

*T 2 g

24

C p

g T

24


7 53

[

" 2 ] 4

SOLO BSN.

Hn. 1

[

gi

! 24 T

TU C C > p ma marc. Q

! 24

Hn. 2

Q Q

Q

! 24

Hn. 4

> W .C X .C C

(Y) C ! 24 h T p

Tpt. 1

marc.

>

T

WC T

Y .C X >C O

! 24 (Y) C h

Tpt. 2

! 24 (Y) C g

Tpt. 3

marc.

.C X >C C

" 2 C 4

Trb. 1

# 2 T 4

Trb. 2

h

>C C

# 2 WCO 4 C. > sim. marc. # 2 C C 4 p # 2 TU g ] 4 Y C- O mp

Bs. Trb.

Euph.

Tba.

C

[

(T-T.)

]

Tpt. 2

Pno.

43 43

Q

Q

T 43

Q

Q

Q

43

Q

"

! 2 ] 4 # 2 4

Q

43

Q

43

Q

Q WC

g

43 C

p

WC h

TAMB. (sticks)

[ to tambourine ]

>C C C C T

C

4XC C C 4

C C

44 C C C

C C

44 C X C C W C W >C C O 44 C W C > sfz C C C 44 >C C C T U 44 T X C h C C C gl. Y C C C C 44 C C C YCO 44 44 Y C O ->

C C

S 43

#

B

S 43

]

C

> > > C C C YC C C C C C C C C

XC

44 Y C Y C X C C O X >C C C 44

C C mp W >C .C .C sfz

>C W C C> X C W C Y C C S 3C 4

Q

Q

T

C

p

str. mute

S

C .C

C

gl.

(sm.) T-T

Q

T

WC

C C

43

! 24

$ 24

CO

Q

S 43

Perc. 1

Cmp

g

Q

# 2S 4

4 4

non [ 28" sempre ] trem.

Q

[

C C

Q

! 24

Tpt. 1

> C CO

>

#

comodo T CXCWC C CXC 2 3 U gi 4 T W C- C C 4 mp

Q

3 4

2 4

fsfz > C C C C C C >C C Q 3 4 fsfz > > C CYC C C C C C C Q 43 fsfz > > C C C C C C C C C 3 Q 4 fsfz > C C C C C C C C >C Q 3 4 mfsfz (take str. mute) > > C C WC C C C C C C 3 Q 4 (take str. mute) mfsfz > C C C C C C C >C Q 43 (take str. mute) mfsfz >C C >C C C >C C C >C Q 43 mfsfz >C C C >C C C >C X C Q 43 mfsfz > > C Y C X C C C C C C >C Q 43 mfsfz > C Y C C X C C C C >C 3 Q 4 mfsfz (take mute) g Q 3 C- Y C- C- C> C C C> 4 mfsfz

2 4 24 24 24 24 24 24 24 24 24 24

53

W C -C Y C # 2 C C YC XC C 4 ] [

Q

4 4

sim.

[

SOLO BSN.

Hn. 1

$ 24

p

Q

$ 24

Perc. 2

>

C

Q

(T-T)

[

Perc. 1

T

T

Q

# 2 4 ]

T

g

>

Q

# 2 4 Timp.

g

S

# 2 4

Pno.

"

C

3 4

3WC O 4 mp g g 3 U C TU W C O C 4 T W C> O > mp p ma marc. > C C C CO YB 43 C mp T T U gi 3 C> 4 C O W C> p ma marc. > C T U .C W C 3 h C T S 4 >C O W >B > . C W .C W C C 43 Y C g Y .C X >C T O C 43 W C> O C> C .X C C T U >C C 34 h T W C >C >C O CO W >C O W . U . T 43 W C WC h marc. > C W -C C TU C 3 C h 4 > W -C C C T 3 W .C X C C 4 h sim. g T 3 T g X C- C O YC 4 C C

> TU C O h ma p marc.

! 24 S

Hn. 3

g

Q

C Y C Y C. X C.> sfz mf

44

Q

43

44

Q

S 43

S .C

.C

gl.

C

Q

> T U .C 3 8

! stacc.

W .C h

T Q

24 C. 24 24 S

43

gl.

Y C> O gl. C C >

> . W .C . . . 3 T U .C .C C W C C " 2 C C Y C 8 4 mf W >.C T 38 C O 24 h mp g Q 38 24 T g C C . p Q 38 24

38 T

gently (non stacc.)

p

C

[ 25": E∫

W C.

C> W C >C C

C

C WC Ì

D]

24

> > > X C W .C T U Y .C C W .C C .C fsfz Q

T

WC

g C. g

Q

g C WC . > mp g

T S

g CW C. mp .C

mp

S str. mute

C p. g T C g .C T g T W C W .C T h

.C .C

58

T

.C T

C C

h

.C

.C

24 24

58

S

24 24

D∫ ]

Ì

Q C> & [30": E f sfz (sticks) g Q 44 T C C C C C C C T U C T C 43 > > > > mp sfz [ to tambourine ] f > (sy) > Q 44 R C C C C C C C 43 > p fsfz 44 Y C O

38 T

g

Q

h

h

.C .C


8

"

SOLO BSN.

] [

S !

Hn. 1

!

Hn. 2

Hn. 3

!

Hn. 4

!

S

(str.)

T

!

Tpt. 1

(str.)

T

] !

Tpt. 2

WC

g

! W C.

Pno.

#

(tamb.) 6: as16

[

.C T U U .C T T

Perc. 1

$

(T-T)

]

.C h

#

64 Meno mosso [ C = c. 76 ] .C Y .C Y C C C X C U YC CYC YCWC W -C C C C C W C T U - 3 C C W C C Y C X .C T CYCYCXC C 8 ‘rolling’ mf mp

ÃC

T

h p

g X C.

Ãg C Y C C. T p (0) g C YCO p Q

a

T

g Y C. C

C

Hn. 1

!

Q

tightly stopped

!

Hn. 2

Ã> # WC C C p (str.)

T

!

T

str. mute

!

Tpt. 3

CO pp #

]

sim.

Q

!

Tpt. 2

Q

g C pp

T C

YCO

Q Q

T

C U 2 T 0C O T 4 T 2 T CO 4

Y .C T h T T YC h

T XC pp CO

C

2 S 4

C U W >C C C T

C U W C> C C T

Ì

(str.)

C-

Q

tightly stopped

Tpt. 1

C-

0

24 S

C

(

(

24 B

(

2 B 4 Q

g

(0)

Q

2 4

>

)

3 8

Q

Q

38

Q

Q

38

T

Q

Q

Q

Q

Q

Q

p asg 38 : W CTU W C i W .C giocoso T

CWC

38 T W C O

XCO

38 XC .C

W C.

C

64 Meno mosso [

Q

Q

Q

Q

Q

Pno.

#

X C-

(T-T)

]

C-

$ C-

g T

(cresc.)

C

Q T

C. C- T

C- Y C

24 T -C

24 T U .CC

TU C .C

X .C

Q $

Perc. 2

TU

.C

[

Perc. 1

C

T

Q

#

Q

38

T

C YY .CC > mp

C C C C > pp (reverse (w. wood) mallets) T T C C C. C T T 24 S mp p

g

C

[

C

= ] -C C C Y C W .C X C Y C X C . Y C Y C C 24 C C C T 43 . mp mf

Ì

Y -C C 34 T T U jh mp U S 43 C C T > mp

TU C C

TU S

S

2 -C 4h mp

TU S

S

2 4

Q

2 4

Q

Q

3 4

24

Q

Q

43

2 4

Q

Q

3 4

3 4 C C> mp > 3 C C 4 mp

TU Y C

S

Q 3 4 mp (mute out) > Q 3 4 mp (mute out) > Q 3 4 mp (mute out) ( clear syncop.) mute T -C 3 S C T U -C 4 ph

T-T (w. hands)

24 S

= c. 76 ]

gi T T U 3 T C C 8 C p - poco cresc.

(still sy)

S

XC

24 .C ph 24 T

T g Cmp T

S

Q

U C T Y CY -C h

C T U Y C-

43

g TU C O T

-C

)

Q

S 43

T

S 43 C C C> mfsfz S 43 C C C C> mfsfz

mf g C-

2 C TU W C 4 mp

C T U X -C

C T U -C C ph [

Q

Q

24 dim. poco

T S

C-

g

a poco

g 24 T W -C

S

24 24

3 4 3 4

mp

)

43

43

C O Y Cgi U T C T p C O Y C>

Ì

!

T

#

Q

69

T

Q

Q

poco

Q

24

à T

Q

!

Hn. 4

Ã

T

C-

p

Hn. 3

sim.

Ã

T

Q

Q

Q

(0)

Q

Q

S

> .C 69 >C C Y C . Y . . [ # . Y C Y Y C . Y C X C Y C . . Y C X C X C W C . X C . C C C Y C . C C Y C CWC XC C CWC " 3 T U jh C C 24 C C W C X C X -C C 4 T ] f f f [

3 8

Q

Q

poco

Q

Q C

Ã

Ã

Q

24

S

C

Q 24 [ to Tom ]

mfsfz Q

38

rit.

poco

>-

SOLO BSN.

Euph.

>.C

. 38 T U C T

Q

$

Perc. 2

a

Ì

[

rit. -C C X C poco .C >.C U W .C W C -C W C C T 2 3 C 8 4 sfz mp sub. à > > W C .C T U W C 3 .C T T 2WB 8h 4 mp mf (0) Q Q T W Cg 3 2 S 8 4 p à >. WC 2 S T YC 3 C XC 8 4 h hmp mp mfsfz Q Q Q 38 24 > UT gi W C C T U C 3 .C T W .C 2 Q X C. > . > 8 4 mf sfz > g g g . Q T g T C Y C .C 2 3 8 4 C. C C. mf sfz .C> W CC W C T 3 Q Q 24 . h 8 mfsfz Q Q Q 38 24

>C . W YC

> . TU W C C TU S sfz

T

X Y C-C

g T

C

T g

=

C

3 4 ]

Ì

43

g XC Y C Y C 43 Y C8ba

Q

Q

43

Q

Q

43

(to Tamb.)

(take brushes)


9

73 gDoppio movimento [

[

Ì

[

C

=

C

]

C

= c. 152 ] 76 Energico

Ì

# 3 2 ] 4 X C C. C C Y C Y C.> 4 . p poss. sub.mf

SOLO BSN.

[

Q

Hn. 1

! 43 ! 43 g T S C. p Q ! 43 # 3 Y .C T S 4 h p

Hn. 2

Hn. 3

Hn. 4

S

S

Q

43

Q

Q

44

Q

43

Q

44

24

Q

43

Q

Q

44

Q

43

Q

44 S

24

Q

43

Q

Q

44

Q

43

Q

44 S

24

Q

43

Q

Q

44

Q

43

Q

44 S

24

Q

43

Q

Q

44

Q

43

h R

43

Q

44 S

43

Q

44 S

43

Q

44 S

movimento [ 73 Doppio g [ C = C ]

C

= c. 152 ]

76 Energico

Ì

Q

Ì

! 43

Tpt. 1

open

S 43 Q

24

open Tpt. 2

Tpt. 3

Trb. 1

Trb. 2

Bs. Trb.

! 43

Q

24

Q

S 43

! 43

Q

24

Q

S 43

" 3 4 Q

24

Q

S 43

" 3 4 Q

# 3 4 Q (mute)

Tba.

Q

#

24

S 43 43

S T _ g 2 __ 4B mf W C > ( sfz ) Q Q 24

# 3 4 ]

24

(flt.)

# 3 S 4

Euph.

Q

open

>. T YC h mf > T .C h mf g T C. > mf g .> W C T C h mf g >. C T hC mf Q S

S

C Q

C p

43

S

S

S

S

S

non flt.

43 C

TU S

S

f

Q

p # 3 g T S 4 C X C. (8)

Pno.

S

movimento [ 73 Doppio g C C [ = ]

Ì

[ ] [

Q

Q

$ 43

Perc. 1

$ 43 S

S

$ 43 S

S

Susp. Cym. [ scrape w. ]

Perc. 3

]

C

24

Q

T C C 2 > 4 mf > T SC 2 h 4 f sfz

Q

.C>

S 43 43

T

WC C

h Y C. C. X C . mf Q

44

f

>C

h R f > C R h f S #

mf S

44 4 4 4 4

Q

44

Q

Q

!

44 S

.C W .C 3 S W .C T S 4 h

44 R

g T S .C W .C 3 S 4 W C.

44 R

mf T Cg g T 3 4C . .C mf open Q 43 Cmf Q S 43

44 S

Q

(w. hands)

Q

C C- .

S

Q

= c. 152 ]

24

(T-T) Perc. 2

Q

Q

Q

3 4 3 4

Ì

# 3 4

Timp.

Q

2 4 2 4

-C

>C

CO

mf sfzp > O S C 44 C p mf > TWC O 44 C O p mf > C X .C C O 44 h T S h p f > .C C C C U 4 R T 4 p f . C. .C C S 44 R

(mute out)

f ! 43

S

S

S

.C Y >C

Q

g C .W C T S .

Q > T C Y .C h h sfz T g g >C C. sfz > T C Y .C h h sfz T g g C C. > sfz > T C .C h sfz h > g T C C h . sfz g g T C WC > . sfz > W .C T C h mph sfz Y >C Y .C T h h mp sfz

T X .C mph T g C mp. T X .C mph T g C. mp T Y .C ph T .C ph g T C p. "

Q

44

. T -C 4 W C W .C S h 4

C. S S

R

T g 4 W C. S C- 4 W C. mf

3 4 3 4

Q

43

Q

Q

R

4 4 4 4

Q

44

Q

Q

76 Energico

Q (take hy)

TAMB. (w. sticks)

Q

_ Q C C C C C 43 C C C C C. C C C> S > p mf sub. [ take hy ] B C T S Q 34 C h & [ take sy ]

[ 30": D

Ì

E ∫]

....> 44 T C C C C C R p mf sfz Q 44 44 S

(sy)

> T C R h mf

S 43 3 4 43

T

C

g

mp Q Q

.C .C >.C T 4 R h 4 C

.C .C .C> g

44

Q

44

Q

S

T

T

T

T

T

T

T

T

T


10

80

[ #

SOLO BSN.

78

Q

43

!

Q

78

Q

S 43

!

Q

78

Q

43

] [

Hn. 1

Hn. 2

Q

!

Q !

Q

Hn. 3

Hn. 4

.C Y >C O . S T C h mph >B R mp > S T C B mph > T .C W B h fg > T W C. B f

80 Tpt. 1

!

Tpt. 2

!

Tpt. 3

! "

Trb. 1

#

Trb. 2

#

Bs. Trb.

W C. S C>

f

# ]

-C>

f

Q

78

Q

Q

78 78 C T h mp C T h mp "

78 78 78

R

T T

T

T

T T

T

T

T T

Y ^C h T fsfz T T

B

78

T

#

T

43

Q Q

Q

43

Q

Q

Q

43

Q

Q

Q

C W C. . mf

XC Y C. .> T g Y C.> mf XC Y C. .> T mf

S 43 S 43

.C W .C S

mf

mf l. C g C. S

S gl. X C Y .C S

.C W .C

T

Y >C S O YC YC ff sfz WC SO 7 8

g C.>

S

S

g T W C.

S

S

> T C W .C .C h S

S

.C W .C > S mf sfz >. . S TWC C T h h sfz C. S

X C-

S

mf

C- C.

S

S S

. CXCWC T S h

T g .C Y .C W C> Q

S

>

mf ) Q

Q 86

.C T T C g C g > . h g g C. T T C g > C. g T T g g C. C> C. >C . XC S T

T g S C mp. g . T Y C. Y .C T Y C T h h

"

C-

Ãg à C CO > Ã

C

g T C. S mp T g S C mp.

S

S

Q

TYC O

(

à à C CO h >

Ã>

cuivré

S

Q

Ã> XC

sim.

cuivré

S

g T Y C. g Y C. T

Q

Ã> TXCO ( mf ) Q

> . T W .C W C T h h sfz S S X C W C. .> sfz > S T W .C W .C T h h sfz S S W C. C.> sfz

Q

S

YC S 43 C. . mf g T g 3 XC Y -C 4 X C Y .C . . (f )

mp 7 R 8

g Y C. T

Q

43

Q

C W C. . mf

43

Y ^C B h fsfz ^C B h fsfz ^C B h fsfz gl. X ^C X C S h fsfz ^ gl. W C WB h fsfz gl. X ^C T CO h mp fsfz

Q

g T C > sfz T g C> sfz g T C > sfz T g C> sfz Q

S

S 43

78

78

R

W C. S

Q

[2•2•3]

> . T YC XC T R h h

#

Euph.

Tba.

86

[2•2•3]

.

>C . C S

S Y .C Y C ( mf ) C. S

#

!

Pno.

f spiky T g WC C C>

# R

80

[

[2•2•3]

#

Timp.

Q

]

SD (sticks)

[

R

$

Perc. 1

$

Perc. 3

$

(TT)

Perc. 2

(SC)

]

7 8

R

7 S 8

S

(hy)

S

Q

Q

Q

Q

3 4

Q

Q

Q

Q

Q 86

> > T C C C C C C 7 C C C T T 8 _ _ h pp f sfz (hy) > Q 7 T C C C C C C C C C T 8 > .. p f >C C B S T T 7 __ 8 __ h pp ( p) fsfz

Q

Q

Q

Q

3 4

Q

Q

43

Q

Q

TT

43

S

Q

g T C C C C C C C T S .> p mf Q C. C C S .. mf > Q Q

h

> C >

g . > T C C C > . C C> . S C T mph

> T .C -C .C S h T g g T S C >.C .

Q

S

T

g . T C C T > h S

3 4

T W >C Y C 3 g T S . .C 4 Y C . f

T

TXC h

[2•2•3]

Q

T

S

YC

g

mf

C

g T S Q

S

S S

C C

g T S C. Q


11

> Y .C

91

[ #

SOLO BSN.

Hn. 1

]

Q Q 0

Ãg ! W C. T S [

h

> X .C T h Ãg 0>. T WC T C h g S XC T .>

S

S

!

Hn. 2

>. C T

Hn. 3

! WC >

Hn. 4

!

à S

3

T g T g C C C C C p. . > mf 3 T g T g WC C C W C. W C. > mf p 3 T g T g WC C C C. C. > mf p . .C C S S !

Tpt. 1

!

Tpt. 2

!

Tpt. 3

"

Trb. 1

. # W .C C S

Trb. 2

#

Bs. Trb.

Euph.

Tba.

S

# W .C T S h g # T C T g . C. ]

f

h

>.C T

S

Q

. > T C WC h sfz . > T C YC h sfz . > T C WC h sfz . > T C YC h sfz

44

S

.C

Q

.C

.C C

mf

g > T W C g T C. Y C C C . mp f3 .C 3 g g Q 44 S T W C T C . . Y C> C C mp f .C Q 44 S T g T g 3 C. Y C. Y C C C > mp f g 3 .C Q 44 S T C g T C. W C C C . > mp f g > g Q Q 44 T C g T C T Y C. Y C C C . . mp mf 3 g 3 g Q Q 44 T g T C T C Y C C C Y C. . . > mf mp 3 Q Q 44 T g T g T g C C C W C. X C. C. > mf mp t. > por . . . . . . C C C WC T 4 T T S XC C C # XCWC C Q 4 h h h mf 3 mp > . . . Q S .C T W C T 4 T C T X C S W C C C 4 h h h mf 3 mph > W C. T g g T 4 R Q S YC C C C. W .C 4 Cmp mf 3 . > Y C Y .C Y C g T .C T h S S T X C 4 .C T S R h . 4 (take mute) sfz mp h Q T g 4 g T S R C- W C S 4 C . C . (take mute) . mp . TWC h f T Y .C h f . TWC h f . TYC h f

WC

Q

g

44 S

C. Y C

fsfz

lightly, but ( ‘show the way’ )

>. YC C C W C. 3 X .C Y C T g W C W .C C. . 4 C C> p

driving

S

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

43

Q

Q

Q

3 4

Q

S W gC T W W CC.> sempre rfz >.C S W W CC T h Q

Q

3 4

Q

Q

Q

43

Q

Q

Q

Q

43

Q

Q

Q

3 4

Q

91 (take str. mute)

(take str. mute)

(take str. mute)

(take str. mute)

(take str. mute)

(take str. mute)

91

S

g T W CC. C > mfsfz S

! Pno.

Q

Q

44 R

# Q

Q

Q

44

[ 28" F

[

(T-T)

$

S

Perc. 2

]

A]

Ì

(T-T)

$

Perc. 3

4 R 4

Q

]

Perc. 1

Q

# [

Timp.

Q

$

(SC)

Q C C C C C T h Q

Q Q

Q

[ discard mallets ]

Q

Ì

E]

g g 4 T C. T C. C. C. C. 4 p Q 4 4

Q >.

[ 23": G ∏

Q

44 _ B O _ pp

SD

>. C. C T mfh C> T h mf

(w. hands)

T

g g T S C C C. p. Q g

T

g g T R C C C .> C. C. C. p mf Q

[ to Congas/Bongo ]

3 T 4 43

g g C. C T S > .

(echo)

C

g

mp

Q


12

!

Q

Q

Q

!

Q

Q

Q

#

SOLO BSN.

] [

Hn. 1

Ì

. Y .C T W C C X C Y .C h

Hn. 2

T "

WC

g

g

g

= C g ] C

99 .C Y .C Y .C Y >C Y .C . g Y C > . # W C W C . g C .C T CWC . 6 C C W C 3 X C Y X C h W C. 4 X C C Y C. 8 p sfz sfz

X C. X C. W .C T C- W C. h

[

C

[

Ì

6 W -C O 8 mf 6 8

C

Q

Q

Q

68

Q

Hn. 4

] !

Q

Q

Q

68 g

Q

!

Q

Q

Q

# Q

Q

Q

Ì

Pno.

[

[

Ì

Q

Q

Q

Q

Q

Q

$

Perc. 1

(T-T.)

$

Perc. 2

(take lite sticks) BGO CGA (w. hands)

S

$

Perc. 3

]

SOLO BSN.

[ #

Hn. 1

[

]

.> C. C. C T S h p mp

S

C. C.

C

g

h

sim.

> C.

T S

YCXC

Y C.

YC

S

24 X C24

Q

43

!

Q

24

Q

S 43

Hn. 3

!

Q

24

Q

43

Hn. 4

!

Q

24

Q

S 43

(open)

Q

24 S

! Q !

Q

Tpt. 3

# #

str. mute

Trb. 2

#

str. mute

Bs. Trb.

S

S

Perc. 3

]

> W C .C .C 2 4 mp 3 > .. C C C 2 4 mp 3

3 S 4 Ì

Q

S 43

Q

Q

68

Q Q

68

Q

Q

68

Q Q

C

g

C. C. 68

]

C

g

Ì

.C T C. mf sub.

3

S

S Q

C p

B p

Q W C> C. C. 43 (take str. mute) mp 3 Q 3 W C> C. C. 4 (take str. mute) mp 3 Q 3 4 C C. C. (take str. mute) mp > Q Q 43

78 C C > . mf 3 78 C C mf > . 3 78 C> C. mf 3 78 W C> C. mf [2•2•3] 78

S

3

Q

C. C. Q

3

YC C C mf > . . Q

mf YY >CCC T S S Y C 43 h 99 Tamb. > C C .C T S 34 S h mpsfz (lite sticks) g 34 S C. C. C. C. C. T p mp Q 43 S

Q Q Q Q

W .C g . g T T g 4 2YC T 3 C 4 W C. 4 - X .C C 4 Y C. CX C p . sub. ( mf ) > S Q

24

Q

43

Q

44

S

SO

43

Q

24

Q

43

Q

44

S

SO

43

Q

24

Q

43

Q

44

S

SO

43

Q

24

Q

43

Q

44

24

Q

43

Q

44

24

Q

43

Q

44

2 4

Q

3 4

Q

4 4

24

Q

43

Q

44

2 4

Q

3 4

Q

4 4

24

Q

43

Q

44

24

Q

43

Q

44

24

Q

43

Q

44

C. C. C.

105 str. mute

Q

7 8

Q

3

mp > . S Y C C .C S mp 3

43

str. mute

7 8

Q

W C C. C. 24 > mp

Q

43

Q

78

Q

24

Q

43

Q

43

Q

> Y .CCC T 78 W C h

43

Q

78

Q

43

Q

78

Q

[2•2•3]

Q

78

S

3

X C C. C. S > mp > .. " 3 XC C C S S 4 3 mp Y >C .C .C S S 3 4 3 mp > .. S 34 Y C C C S mp 3 105 .> 34 S Y Y C CC T S h .C > W C T 3W C T S S 4 h 3 4

Q

g > T C. 7 C .C .C S 8

>C .C .C S

str. mute

Q

78

S

43

78

3

Q

C. C.

43

Q

g 34 C. T S

YC mf 0> C> mf

Ãg

SO

3 4

.C>

Q

3

S

C.

Q

mf .> W CC W W C CC T 24 S h h g > g > (tamb.) C .C T T .C C .C T $ S S 2 h 4 ph mp h (T-T.) sim. g Q $ S T C C C T 24 .> leggero > . . (BGO/CGA) Q C C C $ 24 S p 3 S

3

Q

S

43

Q

C. T C . p

Q

C> C. C. mf

99

Ì

68

=

3

S

T S 43 C

C gl.

CO mp

3

S

Q

#

Perc. 2

2 S 4

S

!

Perc. 1

(open)

S

S

]

[

24 S

str. mute

Trb. 1

Pno.

(open)

!

Tpt. 2

g

]

Q

105

Q

Tpt. 1

C

C

=

3 S 4

g .> [2•2•3] C C X .C g . W C YC 7 S 34 T C. Y >C Y C 43 8 C- W C. Y C. . mf mp

W C. S

!

Hn. 2

g

T SO

0

!

C

YC

Q

Hn. 3

[

h

C

g .> T C WC h XC C C YC (p)

S

S

S

C

g . .> 34 C h C T C C h C T S p mp Q 43

g

g C. T T 43

> .. . C C C C T S h 3

. 24 S C C h C T 43 S p Q 24 43 24

Q

43

> T .C .C T 4 h h 4 Q

44 Q

44


13

[

# 4 YC XC ] 4 Y C. .

SOLO BSN.

[

.C >.C C WC h T fsfz

W .C

W >C .C .C 3 4 mp 3 >C .C . C 3 S 4 mp 3 > . . S C C C 43

(mute)

! 44 R

Tpt. 1

Tpt. 2

(mute) ! 44 R

Tpt. 3

(mute) 4 ! 4 R

S

# 4 (mute) R 4 S

mp

Trb. 2

mp

(mute)

mp

# 4 R 4

Bs. Trb.

S

Euph.

# 4 ] 4

mp

Q S

Pno.

# 4 R 4 [

S

Perc. 1

(CGA/BGO)

]

Hn. 1

[

3

>C .C .C 3

>C .C .C 3

S

Q Q

44 R

S

Q

43

Q

43

Q

43

Q

Q

44

Q Q

Q

44 R

Q

Q

44 S

116

S

S

WC WC C C p

> S Y C .C mf

!

Q

T

g

Q

Q

Q

Q

!

Q Q

Q

Q

T

Q

Q

(mute)

Trb. 2

#

Bs. Trb.

# (mute)

S

.C S

-C W .C

S Q

mp

.C

p Q

S

# ]

(CGA/BGO)

$

S S Q

Q

Q Q

Q

S S

X -C . S C Q

Q

43

Q

Q

24

Q

43

Q

Q

> Y .C Y C T T 24 h h mp Q

24

Q

43

Q

24

Q

43

Q

Q

43

Q

Q

43

Q

mute

C

g

S

Cmp

>C . C S mp > .C S C mp S C. S

g

0

gl.

C WCO p

0

C Q

Ã

Ì

gl.

C

Ì

C

à C

Ã

h

.C

-C . Y C Y .C h

Ì

gl.

0

Q

>C. mp

C. > mp

Q S

Q

Q

Q

Q

g

WC

WB >

à p

S

Q S

WC

g

W B>

Ã

Q

p

Q Q

Q Q

"

Q Q

S Q

Q

-C T

.C . C g W .>C XC h T S f

Q

T

mute

ph

Q

Q

Q

S

S

C.> mp

T .C T S h -B S

Q

0

gl.

Q

>mpC.

Ã

Y C- C p

C Ã

Ì

Ã

Ã

Q S

S 43

. X C. W .C T T C W C h W CY C.> h

Q

Q

. Y .C # Y -C T Y h C T h T h

Euph.

S C C- . .C h T S

Q

(mute)

24

WCO p

!

Trb. 1

Q

Ã

T Y C- C p S T

-C .C

Q

T W .C S h

Q

Q

43

>C .C .C 24 mp 3 3 > T g C C .C T 24 C. . C. . h p mp

Q

Tpt. 2

Q

S

Q

S

24

mf > W .CCC S WC T h

W .C p . g T h T WC T C 4 g T S h . 4 W C-

!

S

Q

44

S

! YC T S C. W C. > h (mute) g T S ! C. C C. > (mute) # Q

Y C C. C. 24 S >

mp W C X .C T S 44 C h mp T Y .C -C gl. C 4 h . 4 mp p Q 44

43

Y C Y .C S C mfsfz

. C Y C Xh C T

S

#

Q

Tpt. 1

]

4 R 4

43

(mute)

Perc. 3

Q

Q

Hn. 4

[

Q

Q

Hn. 3

> T .C 3 Y C. .C X .C C Y .C h 4 Y C-

2 S 4

> . g g g Y .C X C 43 T Y C C T (Y) C- T p g 3 T 3 Q C> C. C. 24 Y C. C> Y C. 4 p g 3 Q 24 T C C g T 43 . W C> C. C. > p S

Q

Hn. 2

Tba.

4 R 4

Q

43

>.C

[ # Y -C . . C YC T S ] h

SOLO BSN.

Q

T C h

$ 44 R

Perc. 3

. C. W .C C Y C X .C S T X Cg 4 . 4YC

S

3

.C> T h 43 mf g > T C. C .C .C 3 4 3 mf

(tamb.)

$ 44 R

S

3

>C .C .C

g CC T C .C> mf > C .C h T

! 44 R

soft, but molto marc.

Q

S

" 4 (mute) R 4

Trb. 1

.C T .C >C .C W T 3 4 h h mp sub.

109

S

S S

but as solo (to ms. 123)

T W .C .C T S mph h

S

116

Q

S

WC

g

h

>.

C T

Y >C C W .C mf 3 . T W C .C T h hcresc. 3 T C g C C. C . . . p


14

121

[ #

SOLO BSN.

Hn. 1

] [

Q

S

S

.C T Y .C T h h mf .C T W .C T S h h mf 0g S Y C. T C g T . mf !

S

!

Hn. 3

!

Hn. 4

! 121

h mf

.C T h

0

!

S

mf 3 .C >C W X C S C C ! 3 mf 3 3 (mute) g .C T T ! WCWC .C> h > mf > " (mute) S Y C C W .C S >

(mute)

Tpt. 2

Tpt. 3

Trb. 1

3 Trb. 2

Bs. Trb.

# (mute) S

Euph.

S

3

> X C .C .C

.C S

3 3

C. S

C C. C. > X >C .C .C S

3

S S

Y >C .C .C S

S

S

# (mute) S

S

Y .C h T S mf >C .C .C S

(mute)

#

C T h fsfz g Y C. T > fsfz >. C T h fsfz g T C.> fsfz > Y C C .C

> X C C W .C S

(mute)

S

Tpt. 1

>.

.C T

S

Hn. 2

Y .C h T Y >C .C .C 3

3

>C .C .C

3

3

(mute)

Tba.

# Y .C Y .C Y C g T g T . X C. ] 121

S

mf W .CC X Y .CC S T h T h

Pno.

#

# WA XA Y A A

Timp.

] [

$

S

Perc. 2

$

(T-T.)

Perc. 3

]

S

h p

58

^ T Yh C fsfz ^ T YC h fsfz ^ T C h fsfz ^ T Wh C fsfz Y C^ T h fsfz T Y ^C h fsfz T ^C h fsfz T ^g YC fsfz

.^ Y XY CCC T T WW CCCC .> h fsfz >.C .^ W CC T T WY CCC h h Q

.C T

>C .C .C S 3

Q

3 g T $ C. C. C. mp

(CGA/BGO)

S

S

S

58 S

S

S

g

Q

(tamb.)

Perc. 1

g T C. W C. C.

g T g T CC. Y Y C.C

!

[

T W C W C W .C 3 g T S 4 W C. mf

58 S Q

> C. .C T mfh

mf

>C .C .C S 3

>.

C C C T S C C h mp mf > S C C .C T S h

126

g

[2•3]

cuivré

T

Ã>

YC sfzpp Q

à Ã

43 C

S

h

"

Ã

à 44 C O

C T XC Q

43 Ã

g C. T > mf Ì

0

Ãg à W C> B

43

T W Cg R .

43

44

Q

43 43 43

58

S 43

58

Q

43

Q

Q

43

Q

44

Q

Q

43

Q

44

Q

43

Q

44

Q

44

Q

58 (mute out)

58

44 S

126

[2•3]

58

W Cp

43

Q

44

Q

gl.

g >. 34 C Y C Y .C

> 44 C Y C .C W C C .C S sfz

(mute out)

Q

(mute out)

58 S

T

g crisply C Y .C .C X C W C T W C. 3 W C > 4 p mp

3

Ã

0 g Y C X C C . . > mf T g g C. C. mp mf> g T C g Y C. . > mp mf T g g W C. C.> mp mf

T S

44

T S

44

T S

44

T S

44

W C> .C .C S mf 3 > .. open S C C C S

open

S

open

S

mf

3

44 44

3

C C. C. S >

44

43

Q

44

43

mf

gl.

#

Y >C Y C Y .C 4 4 S

58

Q

43

Q

44

Q

43

Q

44

58

Q

43

Q

44

Q

43

Q

44

5 8

Q

3 4

Q

4R 4

58

Q

43

Q

44

Q

S

g .> C YC . 3 YC T h T S 4 h mf Q 43 126

[2•3]

Q

43

44

Q

43

Q

p. W C g 3 g T Y C T X -C 4 4 Y C. 4 . Q

3 4

44

Q

43

58

Q mf

5 8

[ take brushes:1 2 closed ]

Q

43

Q

5 8

Q

3 4

Q

4 4

Q

58

Q

3 4

Q

44

58

Q

43

Q

44

58

S

S

g CY C T S CC .> mfsfz Y >.C C T S h

4 4 44 44 4 4

Q

44

3 4

Q

4 4

Q

3 4

Q

44

Q

43

Q

44

126

[2•3]

(to T-T)

(to SC)

W -C mp

.C


15 131

C W .C 3 W C " 4S # X C 3S C 4 ] 4 Y C- C Y C Y C 3 f molto 3

SOLO BSN.

[ [

Hn. 2

Hn. 4

T .C C C h mp sub.

! 44

Q

3 4

Q Q

! 44

Q

3 4

Q

Q

! 44

Q

S 43

harmon Tpt. 1

Tpt. 2

Tpt. 3

Trb. 2

Bs. Trb.

]

Pno.

Hn. 1

(take harmon)

[

Q ! 44 (take harmon)

43

Q

# 4 4 Q

43

Q

Q

# 4 4 Q

43

Q Q

! 44 # 4S 4

Q

43

Q

Q Q

Q

Y C>

g T

Ã

(harm.)

! 44

Tpt. 1

(harm.)

! 44 R

Tpt. 2

(harm.)

! 44

Tpt. 3

> . . . >. T .C 3 C C W C C C .C Q 4 h (f) à à S C S Q 34 B p mf Ã> à 0 0 gl. S C C gl. C T 43 S C T S hmp p mfh à à S C B S Q 43 p mf Ã> à 0 0 gl . . gl C T 3 S S C C T S C 4 hmp p mfh . > . C W .C Q 34 W C C S h T h T S mp W C. 3 Q Q 4 W C W C. X C. mp Q Q Q 3 4 (still mute)

3 4

(mute) solo

Trb. 2

Bs. Trb.

Pno.

. . " 4 X >C X .C Y C C W C X .C X C T h 4 mf crisply (mute)X B C gl. .C T # 4 h ] 4p mf Q ! 44 # 4 4 Q

"

# 4 WA XA 4 YA A

Timp.

] [

Perc. 1

$ 44

Q

S

"

3 4

Q

3 4

Q

3 4

Q

3 4

Q

43

Q

Q

43

Q

(T-T) Perc. 2

Perc. 3

]

4 4 44 44

"

44 44 44 44 44

44

Q

43

Q

44

Q

43

Q

44

Q

43

Q

44

Q

43

Q

44

Q

43

S

S

3

S

3

T X -C W C W C C h mf T C C WC mf h

44 W C mp 4 XC 4 mp

S

4 4

3

Y >C .C .C X >C .C .C

mf

C- Y C

molto

C YC

3

T

S

R

43

T

S

R

3 4

S

R

3 4

C

p C Y C YC YC C S 4 4 p mp 3 3 -Y C gl. gl. gl. C C C C WC S 4 4 h h p 3 mp g

Q

3 mf 3 > > S Y C .C .C C .C .C Q 3 mf 3 >W C .C . > . . C C C C S Q 3 mf 3 sloppily C Y CC Q S WC C mf Q S ! C WC C -

Q

(T-T)

4 4

Q

#

S

XC mp S

4 4

#

4 YC 4 WC 4 C 4

XW C C

gl.

3

YC

Q

$ 44

Q

43

Q

$ 44

Q

43

Q

S S

C C

mf

>

C

g T 3

C

g

Y Y CC

Q

44 Q

44

Q

Q

44

Q

T

> 3

C> C. C. C C. C. > mf SC Q S

-B __ mf

molto

44

R

__

S

BO

gl.

R

(reminder)

[

4 4

Ì

Ì

Q

[2•3]

>

Ì

Ì

# 4 4

Trb. 1

43

C X .C Y .C >C C T

S

! 44 R Ã 4 ! 4 B

Hn. 4

g T Y .C T h Y C.

> .C > .C > .C W C W C >.C . C C 5 C C T C h h 4 sfz f sub. Ã> Q R S S T 4 5 XC 4 4 ph Ã> Q R S S T XC 4 5 4 4 ph 131 >. .C > [2•3].C > .C W W C W C T WC 5 T T WC T S C 44 R h 4h h h più mp p >.C . .C Y .C Y R T YC T S 44 h T h T R 45 h h g g T g g T S 44 C T Y C T R 5R Y C.> Y C. 4 . . Y .C (mute) S S Q R YC 44 45 g (mute) Q S 44 54 T g Y C. T R Y CQ Q 44 45 Q Q 44 45

XC 4 Y C. . 4

W .C T S S h harmon g . C. T X .C T Y h C T h p harmon g T S g T X C. Y C. p

Q

! 44 B

Hn. 3

p

-C C

43

! 44 R

Hn. 2

S

Q ! 44 (take harmon)

[ " 4 R ] 4

SOLO BSN.

WC C YC C

Y >C

p S

3 4 3 4 3 XC 4 pp 3 4 3 4

playfully, stacc. ( 1 2 closed)

T XC 3 >. Y C. 4 mp 43 43

C h pp T

43


16

137 Unrelenting molto stacc./ ‘push it ’ > . . sim. g . .C . (W ) C Y T .C X .C Y C X C .C Y .C Y C X C 4 T C W C C C C YC 4 h > mf

[

SOLO BSN.

" 3 S ] 4

C

>g

Ã

0

[

! 43

Hn. 1

! 43

Hn. 2

! 43

Hn. 3

! 43

Hn. 4

g T C S .> fsfz T 0g S W C.> fsfz 0g T C. S > fsfz 0 T W Cg S .> fsfz

S

S

S

C mf Q

S S

S

0> YC T S h

Ì

44 C

gl.

C T 4 R 4 h mfsfz Q 44

! 43

Tpt. 1

Q Q

(harm.)

Q

! 43

Tpt. 2

(harm.)

Q

! 43

Tpt. 3

" 3 4

Trb. 1

Trb. 2

Bs. Trb.

(mute)

dim.

B

> T YC C ph 0

Q

S

g

>.C . > XCO Y T h Y C T S Y .C Y .C h p

YBO mp

C glY. C. S mp

Q

p

-

Q

44

Q

# 3 4 Q

Q

44

Q

# 3 4 Q

Q

44

Q

T hC mp

Q

C

gl.

Q

Y .C S h T mp g g . Y .C T S C C T h mp g

Q Q

Q

C

C

à à gà C C. W C T . p Q

Q

44 S 44 S

CO

Ã

sim.

44 R

C gl. C. S > mf Q

YC p

à à C CO h >

> Y .C T h

S

137 Unrelenting (harm.)

h

Ã

Q

>.

S

Ì

gl.

.C .C X .C W >.C .C W .C .C X >C T .C W -C X .C >C S T h h ff sffz sfz

. . T Y .C Y C X C T .C h h

Q

44

S

0

W -C

>.C C

gl.

R

Y .>C h R mpsfz T -C p

R

Q

Ã

C mf R

S

S

-B

>.C

WC h

R T

p

h T mp T g W C> p

Q

W .C T S h p

gl.

Ì

C WC S

R g T g T S C. X C.

Q

Q Q

Q Q

Q

Q

mp

g C- C W C

(still mute)

.C >

# 3 T h S 4

Euph.

Tba.

quasi-solo (w. timp.)

]

Pno.

g T Cg Y C T S . . p , ma marc. Q

S

# 3 4 Q

! 43 # 3 4

Q

Q Q

Q

137 Unrelenting

>.

[

# 3 W .C X C S 4 mf

Timp.

] Perc. 1

[

S

T Y Cg . S

S

R Q

44 44

Q

Q

Q

Q

Q

Q

Q

Q

S

T C

g

g W C. C. C. C g T S . .C

WC C

C.

T

Y .C

S

YC

g

g g W C. T S .C

Q

Q

4 4

Q

Q

Q

$ 3 4

Q

Q

4 4

Q

Q

Q

$ 43

Q Q

44

Q Q

C C

>C

T

Q

$ 3 4

[ to Vibes ] (hy: à2)

> X .C .C S mp

W C. C. S

Q

T W .C .C 4 C S 4 .Y C .> sim.

S

.C T >.C T S W C .> C. h h

44

quasi-solo (w. Euph.) very crisply

[ to Xylophone ] (hy: à2)

Perc. 2

> . 44 W .C C S

h W C. C.

Q

C. C.> S

T

f

Perc. 3

]

[ to CGA/BGO ]

h

>.

C W C. C. C

.

Q Q !

CGA/BGO (w. hands)

R

C C

S

C C C C p

C C S .> mp

S

> . C C .C


17

143

[

>C >C C WC "

SOLO BSN.

]

( ff ) 0

Hn. 1

[

S !

S !

R

Hn. 2

!

X -C p

Hn. 3

!

Hn. 4

h mf

W >C h

X >C .C X .C Y WC T XC

à YC mph T

C > Y C X C X .C C

>C

W .C T h Y .C S

> > .C C 3 X .C C Y .C T h 4

0

C p

C

WC T mp 0

S

>.

C T S

WC p

R

Q

S 43

Q

Q

43 Q

S 43 Q

43

Ãg

Ì

gl.

Q S

quasi gl.

Ì

Ã

C T S h mp 0 T g WC C p

R Ãg T S X C. mp Ì

gl.

T

.C >C > .C W C X .C Y h

X >C Y .C mp sfz

Ì

gl.

S

S Q

Q Q

> X C Y .C mp sfz

S Q

Q Q

143 (harm.)

X .C ! h T S mp

Tpt. 1

(harm.)

R Q

S

!

Tpt. 2

(harm.)

(mute)

Trb. 1

" #

(mute)

Trb. 2

S

Tba.

# (mute)

S

g

.C . . Y .C> R Q T h XC C 43 (harm. out, take str.) mf . XC . R Q C S 43 (harm. out, take str.) (bring out) mf -C Q T C C 43 h p

.C >. YC

T WCO

.C

( mp )

Q Q Q Q Q

h

.C W >.C W C g T .

.C T

g T WC .

g C.

. . T XC T C 3 T h h 4 p R

#

Q

T

R Y C- O

X C>

g

43 g gl. 3 g C 4 C.

W C- O p

Q S

43

Q

!

Q

Q

Q

3 S 4

# Q

Q

Q

43

Pno.

Q

non stacc.

g T R X C. C. W C.> mf Q

Q

]

Q

, Y >B Y -C mp più marc. > .C T .C Y -C gl. Y B S h T h h mp sub. pp sfzp molto .C stacc. . Y T XC Q S T h h p g T W C. T S S S Cmp

molto stacc.

Q

(mute)

#

Euph.

C

Q

# (mute)

Bs. Trb.

T

Q

!

Tpt. 3

T

.C . YC h h W -C g

WC

molto legato

3 S 4

C C

XC

Y C-

C T WC T hmp h WC

>. . T Y Y C .C Y CC T XW CC T h h h Q

g > T C C Y .C . mf agitato Q

143

[

#

Timp.

]

R

[

T

YC C

mf Q

$

Perc. 1

g S C.> T

C

g

.C T mph

.C W .C .C T C C W C C. C g . C. .> h f

T T

YC

g

g g T C g 3 T W C T C g C. W C. C. .YC C. C. 4 mf >

Q

Q

3 4

g T S Y C C C C C C >.

Q

S 43

T Cg . p S

Q

T W C. C.

Q

Vibes (hyà2)

S !

Perc. 2

(CGA/BGO) Perc. 3

]

$

R

C C C CWC p T

C. >

T

XC

g

> . .. C C C C C.

( mp )

R

C

S

T C C

C C C C C .>

C. R

g

S

TC 43 h p

WC

g

C > Y C.

mf .C C C C C C C C

S Cmp

g

g T

C C. mp S

g T

g WC

C. S


18

[

SOLO BSN.

"

.C

] [

C

!

Q !

Q

Hn. 3

Hn. 4

Hn. 1

Hn. 2

149

-C> O . WC h sfz

Q

!

Q

B> O p S S

!

Q

S

T

S

T

p

149

C p

C

WC

WC

C

CO

g T C

! !

Q

Tpt. 1

Tpt. 2

T

(harm.)

C

XC !

Tpt. 3

Trb. 1

Trb. 2

#

Bs. Trb.

#

Euph.

#

T h

(mute)

T

h

C

Q

Q

Pno.

#

[

(V.)

T

!

Perc. 2

g C C. mp g

(CGA) Perc. 3

]

g T

$

S

g

S

C

T

WC mp

C

T .C T .C h h

. T C h

T C

C

X Cmp

g

W -C O T U -C O T U W -C O T U h h h T CO >

W C-

g g T g T T W C (W ) C C >

Q

Q Q

Q

C C. > sfz

Q

Q

.C . T hC T h

-C O T U -C O T U W -C O U h T h h XC C W .C T h h T

.C T W -C

C -C O

Q

> .C S WC

g T

T W .C mph W C-

(harm. out, take str.)

S

. T C h

T W .C h g W C. T h

h

g T Cg T C . .

g W C. p T

"

T -C mp

Q

> C .C sfz W -C h -C

Q

(mute out)

T f

S

g T T W C S CC C W W CC.> C .> ffsffz Q

molto stacc.

Q __

g T S S Y >C. (discard brushes) f sfz

XYL. (à2 hy)

S

g S C.

g

g C. C T >

g S C. >

WB pp

!

T

T WC mph

T .C T .C h h BO

WC

WC

Q

g

Q

T S

Q $

poco

p

(non stacc.)

S

Y -C T T h S

149

.C T W C C C g h mf

]

Perc. 1

T

C

!

#

C T S

YC h

C S h

.> .C .C W .C C S sfz .CC W .CC> T T h S h

[

g

C

(W ) B

]

h

W C-

T W .C mph

W -C O

T WC mp

g CO C C C mf Q

BO

WC

W -B mf

g

C WCO

W .C T h S mp

(mute)

#

W -C

Q

WB C

X -C

Q

.C

(mute)

Y -C

Q

W -C O

WC

C C- O

XC

g g T C- C W C -

Q T WC

g

C

(strong syncop.)

WC mf

C S h sfz

WB

WC

WC

Q

(mute)

Timp.

più marc.

(mute)

#

Tba.

W C-

S

>.

CO

T C C CO h h mp g XC C C- O

C C WC g

g g C Y C T X C- C. . mp str. mute S S C YC > . mp g C CO -C

WC XC

WB p

str. mute

Q

3

C -C W C

BO

S

T g WC

C C C C p g T CC.

g S C.

BD (still w. hands)

C C C C

poco

g C.

T S

S

cresc. poco a poco

S

C

_

g T W C.> mp W C. (CGA)

Q

Q

Q

Q

Q

Q

Q

[ 30": E ∫

S

Ì

F]

g T C C C C W C.>

C. W C C.> S C> mpsfz

(W ) C C> . 3

C C. C. >

[ 28": A

sim.

Q

agitato

W C> p g T S C.

Q

(take hy)

Q

C-

S

C C C C

S

S

T WC C C C C C p

WC

C

g

g

as 6 8:

Ì

B∫ ]

Ì

W C.> T C. C. mf cresc.

as 6 :

8

Ì

C. T C W C . > mf cresc. as 6 8: g C. Cmf

g

C. >

Ì

C-

S

S

T C.W C g

C> O

T C. C

g


19

Ì

157

"

Hn. 1

]

Q

X >C .C S ! mf T -C B ! h mf X >C .C S [

Hn. 2

!

Hn. 3

mf

!

Hn. 4

Q

WC mp

WC mp

T C B h mf

44 h

X -C

Y -C h C

44 C C h

-C C

h

Y -C h

X -C

44 h C

(str.)

S

!

Tpt. 2

S T

str. mute

!

Tpt. 3

S

44

44

C

C>

mf

S

X C.

S

Trb. 1

Trb. 2

Bs. Trb.

44

S

44

S

> Y .C # (W ) C T T W C g .C T 4 Y C - h 4 h mf g open g # S T W C. T C g 4 T Y C . 4 . ] mp (mute)

Euph.

Tba.

"

C T h mf C h T mf R

W -C

rip

f

rip

Y -C f W -C R

f

rip

R

rip

Y -C f

> W C .C > . WC C S

. T C h

T X .C h

T g C.

T g C.

X ^C T h S ffsfz

h T 43 T mf C T 3 T 4 h mf

C T h 43 mf C T 3 4 h mf

T g O X C> B f sfzp > T Yh C B O fsfz p T g W C> B O f sfz p

C mf

g T 3 4

C h T mf g T C mf

T

24

S

24

Q

44

Q

24

S

24

Q

44

Q

24

S

24

Q

44

Q

24

Y ^C h S ffsfz X ^C S h ffsfz S

Q 24 (mute out) S

24

(mute out)

44

Q

24

S

Q 24 (mute out)

44

Q

24

S

Q 24 (mute out)

44

Q

24

S

Q 24 (mute out)

44

Q

24

44

Q

24

Q

24

Q

24

Q

# Q

4 4

Q

Q

3 S 4

44 Y C O mf 44 Y C- O

molto agitato

S 43 43

g T g T 2 g T 4 Y CCC- Y C( mf ) Q

#

24

mp Y .C T .C T h h 24

.C S T h 4 T Ch S 4 pecking g . T X C T W C. 4 T .C S h 4 h .C

g

Ì

Perc. 2

Ì

Perc. 3

]

Ì

D]

Q

43

24

Q

Ì

24

T T

T 43

C- O

T 2 4

C- O

T 2 4

.C

. C T T CC 2 h h 4 g T T g Y C. Y C. 24

24

Q

24

Q

24

Q

[ 23": E

Ì

F∏ ]

g

g S

C.> f sfzg T g S 43 C C.> fsfz Q 43

S

WC

S

[

C

=

C

g

]

44

Q

44 T g S C. mf 44 T g S Y C. mf 44

g T T g 2 C. 4 Y C.

Ì

g T T W C.

Perc. 1

[ 25": C ∏

^. g g g . Y C g .C Y C .C T T Y C T T T T 44 Y C C C C. XC R ! W C C C C C C C> h h h h p mfsfz (cresc.) fsfz ^ g WC (V.) g . g . > X C .C C C C C C W C C T T T T S C C 4 C C C C Y C C C ! .> C. W C. C. 4 h h h h _ fsfz (cresc.) p mf sfz g (CGA/BGO/BD) g g g . T T C C T S Q $ 44 C C. C. C O C. h > [ to SC ] (take sy) fsfz (Xyl.)

[

Q

]

(mute)

Q

Q

g C

=

Q

Q

43

Q

44

C

[

44

Q

(mute out)

44

Q

Ì

Q

Ì

]

]

44

W ^C h S ffsfz ^ T hC S ffsfz

Q

#

Timp.

g C

Q

157

[

.C

=

24

^ C T 3 T WC S 4 h h ffsfz mf

BO

!

Pno.

S

T X ^C S h ffsfz W ^C T h S ffsfz ^ T YC S h ffsfz

157

C

. > . > g W C. C. W C 4 C T Y C Y C T Y C h T 2 T Y C C. 2 C> 4 h C> 4 > > 4 h fff

3 S 4

.î > h T 43 .î > h T 43 .î> h T 43 >. î h T 43 C

> .C W >C B O C T h fsfzp > S T WC BO h fsfzp

R

44

R

> T XC h fsfzp

S

(mute)

> " W C .C S S f sfz (mute) > W .C # S S WC mfsfz > (mute) # S W C W .C S mfsfz

C T h mf C h T mf

#

> > C .C T Y C B O h fsfzp > .C Y C> B O T C h fsfzp

> Y .C WC

g g C T 4 XC 4 C> . W C> . mf mfsfz Q

C

h

(str.)

Tpt. 1

-C

C -C

44 C h

> W C .C S ! mf

Q

4 4

ruvido!

Ì

[

SOLO BSN.

[

24

g T T Y Cg 2 . 4 Y C. Q

24

Ì


20

3

* 160 Mezza movimento [

>

= c. 76 ]

>C

CO

Ì

# 2 C ] 4 h

Ì

SOLO BSN.

Hn. 1

C

[

C

[g Sub. = C ]

C

ffff

TU S Q

Q

‘ghostly’

[

Q Q

! 24

Q

CO p CO

‘ghostly’

Q

T

! 24

Hn. 3

g

C CO Q #

g

C-

YC -C Y C

p

C Y -C h

CC-

C-

p poco marc. W -C 34 T X -C p poco marc. -C W -C X T 43

g

-C h

p poco marc.

T 43

C

S

-C

T 43 C

‘ghostly’

Q

! 24

Hn. 4

YC p

h

‘ghostly’

Q

! 24

Hn. 2

-C O

p

Q

3 4

g

X -C C-

C. X C-

C C-

Y C-

C

-C

Y -C

C

Y -C h h

Y -C h

2 4

h

C

W .C h

24

Y C.

24

g Y C.

24

Y .C h

24

3

* Mezza movimento 160 [

Ì

Tpt. 1

Tpt. 2

Tpt. 3

Trb. 1

Trb. 2

= c. 76 ]

Ì

! 24

Q Q

Q

43

Q

Q

24

! 24

Q

Q

Q

43

Q

Q

24

! 24

Q

Q

Q

43

Q

Q

24

" 2 4 Q

Q

" 2 4 Q

Q

TU

C WC C WC

C

C C f

# 2 4 C YC C YC

C

C WC C WC

Ped.

g

TU

Y C- O !

Q

gl.

C

TU g C- O

as a solo

Pno.

open

T 43 S 43

Q

U X -C T

# 2 g ] 4 X -C O # 2 4

#

Q

Q

# 2(mute)g 4 C- O

Euph.

Q

p

T

C>

(mute out)

Q

Y C TU Y C mp

sub.

YC Y C>

C

43 T

C mp

YC

W C TU WC

ff

TU C

YC h

T 43

S

XC

g

C

p

Y -C h mp open T Y -C mph

W -C -C

open

# 2 4

Bs. Trb.

Tba.

C

[ Sub. g = C ]

C

g

YC

#

h h

C C

WC h

W C-

S

C

g

p p

T

Q

24 Q

2 4

sfz T !

senza ped.

X C>

WCXC C

24 24

C .C . > WCXC C WC WC C

C WC 3 T C TU C 4

24

Q

p

> C C WC Y C C WC C YC YC C CYC mf sfz stacc. molto YC Y C C TU W C 3 T C YC C CWCWC C YC 4 C> CYC C XC YC

X -C

XC Y C Q

S

3 4 C

C Y -C

WC

C CWC C WC

24 #

24

3

* 160 [

Ì

[

C

Mezza movimento C = c. 76 ] [ Sub. g = C ] Ì

Q

Timp.

g TU Y C _ O p

YC C C WC

TU Y C

# 2 WA 4 Y AA A ]

(Xyl.)

[

! 24 Y C WC ff (V.) C ! 24 C ff

Perc. 1

Perc. 2

C

C

WC

YCWC CXCYC

(hy)

__

CO

X C.> mf

> C U XC T C TU YC > mf sub. > > TU W C C TU Y C Y C TU C mf

sub.

XC p

Susp.Cym. (sy)

Perc. 3

]

$ 24

*

3

Q

Q

The into 1 2 time must be totally inaudible; g ‘transfer’ g C = C i precisely.

_

_ T 3Y C Y C TU Y_ C 4 > .> j mf sfz ph C WC >Y C Y C X C Y C Y C X C X C T X C C C TU Y C 43 sfz > C WC C C Y C Y C C T U W C C 43 T C C Y C C sfz S

T

gl.

(@ edge)

>C O

mp poco sfz

sim.

T 43 h

>C

B

> W .C h mf

__

C

C

YC C C p >C Y C WC YC p

T

S

S

XC C YC C> Y C C Y C C C mfsfz p > C C T WC C C WC WC C C WC p mfsfz T

S

__ mf

-B molto

$

2 4 24 24 24


21

165

[

[3•2]

# 2 ] 4

SOLO BSN.

Q Q

Q

3 4

Q

2 4

Q

5 8

Q

2 4

3 4

4

Hn. 1

*S

[

O Y -C C

! 24

C

W -C

mp ! 24 T Y C- O mp

Hn. 2

YC mp -C O C X # 2 TU h h 4 mf

Hn. 4

sim.

C

! 24 S

Hn. 3

g

X C-

C C mf

TU Y C C C

sim.

TU Y C O h

T

43 X C W C O

h

C T

43

C

g T

C mf

C CO C

34 X -C S 43

C

24 C X C

WCO

24 g T S C p 24 T Y -C O

C

C mf C T X -C

C U T j T h

O 58 C p 58 S

C

C

165 Tpt. 1

Tpt. 2

Tpt. 3

Trb. 1

Trb. 2

Bs. Trb.

Tba.

! 24

Q

! 24

Q

! 24

Q

# 2 4 Q

Q

43

# 2 4 Q

Q

43

Q

24 S

# 2 4 Q

Q

43

Q

24 S

Q

43 Q

43

Q

*U g T

YC O p

still soloistically strong tenutos

! 24 S

YC

legato

f # 2 T U -C W C 4 d

[

$ 2 4

Perc. 1

YCO

C

Perc. 3

] 4

> .C W C O

43

marc.

T

WCO C. >

!

mf marc.

24 C W C C C . >

43

24

58

Q

24

Q

43

Q

24

Q

58

Q

24

Q

43

Q

24

Q

58

Q

24

Q

43

. 24 C X C C C

43

24 Y C X C O .

43

Q "

C C

gi

U C T Y C-

43 C

C C

Q

43 X C W C C

YCYC

C C jh Y C-

C Y C-

Q

43

C

C

* 2 S

4

surging

WC p surging T TU C j ph

4

TU g XCO mp S

24 C Q

24

C

WC C

C- Y C C

C 3 C- 4

Q

Q

[ 28": B ∫

Ì

3 4

A∫]

Q

Q

(to Drums) (V.)

Perc. 2

43

g 58 C W C -C 58

T WC h T

C "

C

W -C

24 2 4

YCYC C

T

58 C

WC XC

C Q

58

Q

C 5 8

WC

g

24 XC

C p

24 W -C mp 24

58

58

gl.

C C

C

WC WC

-C

h

C

T

43 T

Q

43

C C C C C

C 24 2YC 4 C-

43

XC

WC

43 3 4

[3•2]

# 2 4 ]

C

Q

165

Timp.

*

43

Q

4 open unsettled

# 2 ] 4

[

24 C W C C . > mf marc. > , T W .C W C 2 C 4 WCO C. >

surging

Q

Pno.

T

[3•2]

Q

# 2 4

Euph.

43

marc.

58 C Y Cph 58 C

-O TU W C h

24 S

C

> .C W C O ,

W >C C W .C 24

C C

! 24 T W C W C ph d (SC) CO $ 24 _ C h p

T YC l.v.

g YC Q

[ 25": D ∫

Q Ì

Dπ ]

Q

C

3 4 XC 34 h C 43

YC Q

g

C WC

2 4

Q

5 8

Q

2 4

Q

3 4

2 4

Q

5 8

Q

2 4

Q

3 4

$ 24

Q

43 Q

43

24 C Y C YC 24

BRASS Ms. 165-174: All entries with quick diminuendo; sempre rfz (bell-like); as ms. 47-51.

Q

58 g T C 58

T Q

S

24

(to Toms)


22

# 3 ] 4

SOLO BSN.

Hn. 1

175 allargando

171

[

[

! 43

(W ) B

! 43 C

Hn. 2

! 43

Hn. 3

(W ) B

ph

171

! 43 S

4

open

! 43 S

Tpt. 2

open

Tpt. 3

Trb. 1

Trb. 2

Bs. Trb.

Euph.

Tba.

Pno.

Q

WC T h 24 p Q

Q

24

Q

Q

WC T 2 h p 4 Q

T S C

*S

open

Tpt. 1

Q

T S C

ph

! 43 C

Hn. 4

2 4

Q

Y >C mf

YCO C Y C. > mf

Q Q

24 C h 24 C h 24 g C

> T U .C W C 3 h C 4

> T W .C X .C C

sim.

C

sim.

>

T WC > T Y .C X C O

sim.

S 43

C

> .W C C

WC

g T Y .C > CO C

. 43 Y C

Q

TU C O mph

S

T S

> .W C

.C C

X >C O W >B

44 Y B mf 44 -A mf 44 Y B O mf 44 -B mf

Timp.

# 3 4 ] [

Perc. 1

Perc. 2

S

h h

C

C T

T

C

]

*

> C C C C C C 3 4 C

C

> C C C C C C C

43 C

43

f

>

C

h

3

3

>

T C

CO

XC

C

C WCO C C 43 C (W ) C 43

C W >C O

CYC

W >C C h

CO >C C C

C C C

CWC C 3 4 3

C

C C C 3

3

C

> C

3

T

YC C T U jh C

C C O -C C

T

WC CXC T U jh

C

, CC

C Y C O X C-

C

C- O

3

3

f

X >B

C T U W >C f

C C C

43

>

>C S

43

C C C 3 4 C C 3

C C C C C

43 43

3

3 4

Q Q

3 4

Q

Q

43

175 allargando

Q [ 30": F

Ì

E∫]

2 4

Q

Q

3 4

Q

lv sempre

(still hy)

4YB 4 mp only

YCO

C Y -C O X C mf

C C C

C

C 3

C

3 4

$ 43

Q

24

Q

Q

43

Q

44

Q

Q

43

$ 3 4

Q

2 4

Q

Q

3 4

Q

4 4

Q

Q

3 4

Q

24

Q

Q

43

Q

44

Q

B __ pp

43

(SC) Perc. 3

C C

T S

f

C T U W >C B f C

3 4

C

S

C CO

43 W C> O C> C

f h

B

44

>C

T

175 allargando

44

171

[

C h

44 Y C C C C X B Y B> f mf > > C gl. s> im. > X C CO C T W .C C TU C C " 3 S C O C C 2 C .C C C 3 4 h 4 4 4 4 f mp mf sim.> > > > C C U 4YB " 3 S C 2 T CO .C W C O C O T U 3 W .C W C O C C T 4 W 4 4 h 4 f mf mp sim. g > g g C T C C C C gl. Y -B # 3 T WC C C TU C 3 C T 2 C W C O C T W -C 4 C h 4. > 4 4 4 mf f >C B > C C YB C # 3 T W .C W C C C T 3 W .C X C C S 2 4 4 4 4 4 h f mf sim. g T 3 T g # 3 T g g T 2 TU g g T 4 Y CC 4 X C- C O C C C 4 Y B] 4 XC C C 4 Y C> O C f mf ^ W >CC W C CCC g . C C W C 4 C C W C CC 3 W CC W CC W CC C T S 2S C ! 43 S 4 4 4 C C. C. C. ff fg stacc. g g WC # 4 W C T TU # 3 TW C S S 2T C S T C ! 4 43 C W W CC CC C 4 4 WC . W .C W CC C . WC ! 43 S

Q

4 4

> C CO 34 W C O C C mp S T -C C 43 mph T C C 34 S mph Q

24

Q

3 4

$ 43

4

See note: Pg. 21.

R


23

(allarg.)

[

# 3 ] 4

SOLO BSN.

Hn. 1

[

Q S

C C C CO ! 43 C C C h 3

TU

3

! 43 h C T

Hn. 2

3

! 43 h C T

Hn. 4

S

YC C

TU

C C C C C C

Tpt. 2

Tpt. 3

Trb. 1

Trb. 2

Bs. Trb.

Euph.

Tba.

>C > C

CYC

>C

C C

> C

3

3

C

[

= c. 66 ] 179

> ^ W C O >C C Y C C h T ! 43 ffsffz > >C W C ^C (W ) C W C C C C C C O X C W Y C U T h T ! 43 h 3 3 ffsffz ^ > > WC WC C C C C C WC WC C WC XC T 3 ! 4 h ffsffz 3 >C >C W ^C C C C C C C C C " 3 C h T 4 h 3 3 ffsffz >C X ^C > " 3 C C C C C C C C T C WC C h 4 ffsffz 3 3 , ^ # 3 YC C C XC C g T C C C 4 > W C> Y C ffsffz > C # 3 Y C C C C C Y C C C >C ^C T 4 h ffsffz , ^ C C # 3 Y C C Y -C g T X C W C Y C> X C ] 4 >YC ffsffz CO

WC CWCO h

Q

Q

Pno.

Q

Q

! 43 # 3 4 (allarg.)

[

3

_ # 3 W C C 4 Y C C __

Timp.

[ ]

Perc. 1

[

Perc. 2

Perc. 3

]

_

C C

C C

f

Q

Q

Q Q

Q

Q Q

Q

Q

Q

Q

Q

Q

43

Q

Q

Q

Q

43

Q

Q

Q

Q

43

Q

Q

Q

Q

43

Q

Q

Q

Q

43

Q

Q

Q

24

Q

43

Q

Q

Q

2 4

Q

3 4

Q Q

Q

24

Q

43

Q

Q

Q

24 24 24

(take wispa mute)

(take wispa mute)

(take wispa mute)

(take str. mute)

(take str. mute)

(take str. mute)

24

Q

C.

8ba

[ 30": E ∫

Q Ì

D]

$ 43

T 24 S (snares on)

$ 43

Q

Q

24

Q

24

Q

h fsfz

T

g C C. >. T

Y C. 8

loco

C.

W C. S C. >

W C.

(loco)

Subito A Tempo C = c. 76

43

Q

Q

[ take drumsticks ]

SD (lite sticks) (barely audible)

>C

T T U gi Y C C YC YC

Q

= c. 66 ] 179

> ^ C W CC Y C g T YC & ff

C YCXC

W ^C

Q

ff spiky, abrupt C 3 2 4 Y C. Y C. .> 4 X C.

C

T

YC XC C

Q

24

#

WC

XC

sim.

43

24

#

#

X ^C

C CYC

Q

24

Q

B __ mp

^ C C OX C C 3 h T 4

Subito A Tempo C = c. 76

Q

$ 43 __ B O

>C

T T U gi 2 Y C C " W C 4 C C Y C> sfz fff >C X ^C Q 24 h T 43 (take mute) ffsffz > ^ Q C WC T 24 43 h (take mute) ffsffz >C Y C^ Q 24 h T 43 ffsffz >C ^ WC T Q 24 43 h (take mute) ffsffz

3

(allarg.)

Tpt. 1

CXC

C C

C C C C C C

C C C C C C CO ! 43 h 3 3

Hn. 3

= c. 66 ] 179 Subito A Tempo C = c. 76

C

[

T U j C 43 B O _ pph T-T (hy) 34 S S BD (hb)

S S 43

hj

C TU T

S C C C > f sfz T g S C> f secco C C

Q

TU _ C O h T C C Cg > T C>

C __

BO __

S g S

T S

g T U C.i C _ C T U S > ten. __ S Cp mf

C.

XC


24

183

[

SOLO BSN.

# h ] [

Hn. 1

! !

Q !

Q !

Q

mute

Q

Hn. 2

Hn. 3

Hn. 4

>.C Y >.C Y Y >C YC C C YCXC YC T S h C C X C X C YC sfz Y C> sfz ^C

]

T

S

S

mute

T

CO

C

Y C. > YC . 8

C X C Y C> .

YC

(loco)

#

suddenly relenting

S

C. X C>

f T

Q Q

3

g

T

$ _C h

Perc. 1

S

C

__ ( pp ) S

(T-T)

T U CC C S .> (BD) sim. $ T _ g __ C C $

Perc. 2

Perc. 3

]

XC XC XC

__

B

C

( pp )

(sy)

S

S

C pp S

__

C pp

C

__ sub. mf __ C sub. mp _ C sub. mp

__

B

__ pp __ C pp __ B pp

B

__ C

g n

T

C

_

gl.

_

_ _ Y C gl.

43

Q

Q

44

Q

Q

44

Q

[ to lg. Susp. Cym. ]

n

__

44

n

C

C pp

43 !

=

C O)

Ì

molto espress., (finally ‘breaking out’)

Ì

[ " X -C O C W C Y C C W C C 9 ] 8 mf

SOLO BSN.

Hn. 1

C

C T U W -C W C

(mute)

[

! 43 (Y) B

0

C

Q

! 43

WC

Trb. 1

Tba.

# 3 ] 4

Timp.

]

# 3 _ 4 B_

S

4 C 4 C

_

C ppp

T

T

_ YC pp

g C

__

Q

__

YC p

gl.

YC

__

gl.

YC

__

Ì

à Ã

0

? C T T ph

C YBO

C

ph

? C T R

(mute out) poco

poco

?

Q poco g T ?S

T U gi YC C mp-

Q

T

44

g T ?S C p

WB

C C O TU R h

C p

espress.

S R

B pp

__ B mp

poco ? g T YC XC CO h pp

S

poco espress.

R

_

S

C T

hn

mp

?

pp __ C

?

-C

gl.

espress.

Q Q

poco

poco espress.

Q

(25")

44

YC YC C pp

Q

44 X_ C _ pp

h

C

poco

poco

YC mp C XC mp

WC pp

44 Q

gl.

pp

gl.

#

CWC

C

4 4

Q

g

p

Q

Q

YB

4 4

Q

Q

g T

Q

Q

"

44 R (0)

YB pp

Bmp

Y Cp

Q

188

[

S

p

mp

(still mute)

S

-C X -C W C C Y C C C h

4 S 4

Q

# 3 4

Bs. Trb.

C C

Q

# 3 4

Trb. 2

Ã

Ì

gl.

B

S

C

12 8 h

Q C

188

# 3 4

S

YC pp

C WC p

CO

calmo

open 0

S

XB ! 43 mp

Hn. 4

C

Q Ì

Hn. 3

g C T p

YC mp

! 43

Hn. 2

#

C C XCYC YC XC YCYC CXC C h

Q [ 30": D

Ì

43 43

188

(

43 43

(w. sticks) misterioso

g

g _ T

Q

44 S

_ T S

C_

9 8

(to Celesta)

44 Q

T-T

(SD)

[

44 Y Amf

YC

YC YC

C Y C- X C Y C X C 8 loco d Q

(loco)

C O)

3

sonorously, but cloudy

8

]

g T YB

Q

(

[

BO C

=

4 B 4

S

B

C

(

Y -C Y C C Y C -C C C - 3 YC 4 mf Q 44 3 4 (mute out) Ã Ã solo YC C gl. 3 44 R 4 p S R 44 C 43

YC S

WC

Q

!

Timp.

S

C

mp !

B

C

Y -C Y C C -C C C R 4 4 3 3 f "

sub.

BO

B pp

Q

(no ped!)

B

Y -C B h

YC C

C

3

>

(open)

p

ff ) > # .C T h

YC

YCO p

183

Pno.

g X C C X C C Y -C Y C T YC 3 C

CO p

mute

T

(becoming immediately more legato) emerging

F]

C

?


25

194

[ #

SOLO BSN.

] [

X Cmf

XC C YCYC C " X C YC C h YCYCXC solo

R

S

!

Hn. 1

!

Q

!

Q

Hn. 2

Hn. 3

R

!

T SO

g YC C - C C C T T C C XC YC h ( mf ) #

molto espress.

T g 3XC 4 C YC C C C W Cmp S T 43 CO p tightly stopped à à à T g 34 S C p C YC S

T g 3 4 WC B mp

g T

12 B O 8

S

C T T SO h p Q

C C

g C YCO

44 C

Ã

à 44 g T S C pp 44

à à C C B

pp

S

Q [ retain mute ]

p

9 T TXC 8 mf

g YC

Y C C C Yh C

3 4

Q

43

Q

43

Q

Q

43

Q

4 4

C

(echo) non legato

(mute) Hn. 4

9 8

4

sonoramente

C

g T

R

C pp

R

194

#

Trb. 1

B 3 # Y C gl. g C C mp

Trb. 2

#

Bs. Trb.

43

S pp

43

Y B- O mp # #

]

S

X B- O mp

pp

Q

Q

44

Q

43

Q

g C T S

Q

44

Q

43

Q

Q

44

Q

43

Q

(take str. mute)

43 C

Q

Euph.

Tba.

C T S pph g C XCO

n

(take str. mute)

Q

(take str. mute)

S

espr. solo

43

Q

S

T

43

Q

Q

Q

Q

YC g 4 Y C Y C C C Y C -C X C C- 4 X C 3 mp mf molto Q 44

43

C

C

S

43

h T pp Q

[take mute]

194

[

Timp.

]

# Q

[ 25": D

[ 23": F ∏ (G ∫

D∫ ]

Ì

Ì

43

A∫) ]

Q

44

Q

43

199 Ì

YC # -C X C C h h ] [

SOLO BSN.

Tpt. 1

CO

C O= C

]

Ì

B

CYCXC C

43

T YC h f

C CYC

C

* ! S YB

C

mf gently Q

!

B Q

Q

Q

] !

Perc. 1

Perc. 2

]

CYC X C C

-C

3

mf

3

-C C Y C > C Y C C XC h

C

C 43 B

44

B

g 44 C C O

C C

C C

B C

C 43 B

44

C

C C

B C

C 43 B

44

gently

whispa mute

Q

44 R

*S

5

mf

gently

ritardando

poco a poco

Q

Q

4 4

Q

Q

!

Q

Q

Q

4 4

Q

Q

*

pp

CHIMES

Q

44

p

B

Q

$ S

, C

C C

$

B-

43

B

C

SC (at edge) l.v. Perc. 3

poco a poco

C

199

[

X -C h

ritardando

g 44 C C O

5 whispa mute

mf

"

,

B

C S*

CO

44

3

5 whispa mute

[

Tpt. 2

Tpt. 3

[

Q !

3 4 VIBES

(w. yarn mallets- to ms. 218)

44 S

5 TRUMPETS - Ms. 198 - 226: Seamless, with NO breaks. Stagger breathing; enter & exit as unobtrusively as possible: a single fluid line.

(oblivious to all else)

g

sim.

B

C C YCO > ( > ) pp ghostly, sempre poco marcato

CO

Q

4 4

(my)

3 U g 4 T p CO C

g 3 Ped. YC 4 CO

CYC XC C h

4 4 44


26

C X -C

YC " 4 C ] 4 3 [

SOLO BSN.

Y -C Y C h C

! 44 C

WB

C

4 C ] ! 4

WB

C

Tpt. 1

WB

3

! 44 C (wispa)

Tpt. 2

3

Tpt. 3

Q

43

C

= c. 60 ]

44 R

(CH.)

! 44 C ( pp ) ]

C YC CO C

C

= c. 54 ]

209 molto libero[

B

[ " ]

g

3

h h

B

] !

h

CWC

6

*T X À >C O !

C

#

C

#

(V.)

R

!

(CH.)

! (Y) C ( pp )

*

WC

C

XB

XC

3

C C

WCO WCO C

g

g

C YC

C 3

C

C

C

WC

C

XB

XC

g

g

C CO T g WC C W C C C C C 3 mf C CO C WC C C C CWC

C

g C YC

CO

Y -C C

-C C C Y C C C -C C C Y C C C

3

Q (balance Hp.)

XC

YC

Q

C YC C

YC C

YC

C YC

C C

YC

C

C CYC

g C C XCO mp

3

g g C- C Y C O

CO XC CO

poco cresc.

44 C

3

(Y) C h

YC YCO

C

43

CO

gl.

C

C XC

YC

3

g

C C

C

g C

CYC Y -C h 44 mf

pressando

-C O T

C

XCO

rt. Y C C W C C U - > X -C -C W C X -C O po C C O WC C T WC 2 4 3 p molto f

mf

YC

B 43

WC

B

C WC

24 B

C

WC

C C

C

YC

B 43

WC

B

C WC

24 B

C

WC

C C

C

YC

B 43

WC

B

C WC

24 B

C XCO h

XCO C

h

44

XCO C

h

44

44

= c. 54 ]

À> S

BO

R !

R

S S

C

B> mfsfz g C C CO

mp8va-C≈ T h

T CO p f rfz

loco

slow

B> O BO >

gl.

3 4

À>

3 S 4

(w. back of hand)

R

B

C

C

Q

209 molto libero[

XC

C C

R

C> O mf T CO >

Cel.

C

3

sempre rfz and l.v.

!

XB

WC

T

C XC

XC C YC XC C X C T h h

l.v. sempre

frfz

Hp.

g 4 C C C Y C 4 C-

3

209 molto libero[

C

ancora rit. al

3

(whispa)

WC

C

CWC

B !

Tpt. 2

C

CO

C

Q mp YC

44 R

3

(whispa)

C

3

43 C Y C

3

CWC

B !

C g

CO

S

44

= c. 60 ]

(whispa)

[

C

3

C CYC XC CWC

mf coolly

Q

43 X C

(ped.) Perc. 3

CELESTA

43 3

g

CO

ancora rit. al

Q

Q

C

Q

molto espressivo

Q

! 44 C C (Y) C X C C C O C Y C

]

CO

44 B O

# 4 4

[

R

molto espressivo

43

(V.)

Perc. 3

C

Q

[

Perc. 2

CO

44 B O

! 44

E ∫ F π G π A∏ D∫ C π B π

204 (rit.)

[

CO

C

Q

Cel.

Tpt. 3

C

T S

h

4 BO 4

mp slowly emerging; molto libero WC YC 34 S C 44 C C h C3

# 4 4

Tpt. 1

4XC O 4 p (echo)

C

molto espressivo

g X C 43 C O

Hp.

SOLO BSN.

h T

3

[

! 44

YC BO

C

g 3 XC 4 CO

204 (rit.)

Perc. 2

B

g 3 XC 4 CO

(wispa)

ancora rit. al

= c. 60 ]

3 4

3

mf

(wispa)

[

C

[

204 (rit.)

(

B

TU C O h

T

3 S 4

T CO >

À

B

S

)

S 43

pressando

S

8va sim.

mp X -C

TU g O C> B g TU C O B >

C> O

2 4

loco

2 4 24

( C

T CO C> O BO

6 HARP: All C harmonics to the fore, sempre rfz, echoing the soloist.

S 43 YC

43 B

S C>

C C XC

CO C B C O C> B CO YC C

S

)

S

4 4

Q

44 Q

4 4

(to Piano)

Q

4 4

(sy)

24 C C

Y CT h

sim.

Q

CO

(take softest yarn)

R

Q

p

2 4

pressando

= c. 54 ]

Q

p , oscura

24 C

WC h CYCO

C Y C C W -C C

XC

44 44


27 216

[

SOLO BSN.

" 4 ] 4

X -C O

Q

mf

W C C Y C C W -C C O h

TU Y C f

poco a

rit.

-C

C

Y -C

2 4

Q

! 44

Q

3

S

C XCO ! 44 h

B

C XCO 4 ! 4 h

B

C C

C

C C

B

B

C C

poco a

Hp.

! 44

S) ( ( C ) l.v.

24 B

34 B

C

>C

24

(V.)

! 44 (W ) C W C C p (CH.) ( ) ! 44 C O C C ( pp )

Perc. 2

Perc. 3

]

Q Q

$ 44

Perc. 1

XC C

XC

W -C

C

YC

YB

C

CO

Q

?

#

?

Q

! 45

C

44 S

mp

?

C

WC

C

C

?

Q

Hn. 3

(mute)

g >C 5 ! 4 (W ) C

Hn. 4

W C>

(wispa)

3

g C

?

C

WB

(W ) C O ! 45 h W C C

WB

(W ) C W C O ! 45 h C

? WB

(wispa) Tpt. 2

(wispa) Tpt. 3

# 5 ] 4 [2•3]

C

?

long

3

[

[2•3]

Perc. 1

$ 45 _ B _ p

C WC WC

(V.) Perc. 2

Perc. 3

]

! 45 B p (CH.) ( ) ! 45

long

__

mf g C pp

? B

C

g

? BO

?

C- O

4 4 44

?

_C T S h ppp

44

f Q

R

C

C g T

C

T C

Ã

sim.

T

WC h

45

C

g Y -C C

YC T #

44 R

O 43 B

44

B-

g 5 YC 4

Y -C

YC h

B __ pp

45 45

C C

Q

45 45

[ take hard hammers ]

g

g C

C WC

B

C WC

B

C WC

B

S

3

Ãg

C C-

g C T R C

T

C

B>

YB C

C C

C C

C

C p

sim.

= c. 54 ]

43

WC

C h XCO

3 4

WC

C h XCO

3 4

WC

C h XCO

3 4

B> O

43 C YC

C

C

XC

C

3

h

3

C B G∫

C

3 4 C 3 4

Q

Q

43

Q

Q

43

[ to Susp. Cym. ]

Q

43

3

C- C Y C B

43

C mp Ãg C T S

BO

C

XC XC C YC

43

YB

(still open) (undulating)

S

YC

Ã

S

R

3

g

g C>

43 -

S B C

T

Y -C X C W C 3 X C Y C- X C S

T

C> O

(hh)

44 A> mf only

WCO

44 C

= c. 54 ] ancora molto rubato

S

E π F π G∫

B

O 43 X B

C TU S

C>

R

(balance soloist)

221 Comodo [

?

Q

sim.

S

Q

44 R

long

BB OO

T

WC

C

45

SD. (still lite sticks)

Q

45

WC h

44 R

g C WC WC CXC C C T 3

S

3

5

-C

mute

221 Comodo [

3

(SD)

XC CXC CWCXCYC T

C

44

C WC WC

XC

Q

5 4

WCO

44

3

5 4

= c. 54 ]

BO

4 4

Q

! 45 C Y C C # 5 YC 4

Hp.

C C

(W ) C O ! 45 h W C

Tpt. 1

24 Y C

XC YC C p pp mute) tightly stopped Ãg à S 44 T C O C T p fsfz long ? R T g C 44 C pp pX C BO WC 4 4 O WC 4 B 4

long

! 45

44 B > mf 44 R (take

long

3 Hn. 2

C

C

WC

5 4

B

44

C WC

43

(momentarily relaxed)

long

! 45 C

C

C

B

44

poco

Q

24

g C YCO

221 Comodo [

long

[

g

poco a

rit.

24 B

3

[ " [2•3] 5 ] 4

SOLO BSN.

Q

T h 3 4 mf chiaro Q 43

C

n

T

> g T XC W C> p ( poco sfz ) WC WCO h

44

C

216

[

C C

24 S

E∏ F∏ A ∫

B

34 B

Q

gl.

4R 4

poco

43

216

Q

S

C T XC

YC S

CO g

4C 4

24 B

3

! 44

mf

C

3

C O 4 h XC ! ] 4

-C 4h XCO 4 mp B

3 4 C

B

24

Y -C

3 B 4

p

rit.

B

(wispa)

Tpt. 3

B

C

2 B 4

3

(wispa)

Tpt. 2

B

T YCO

YC p

(wispa) Tpt. 1

2 S 4

(still mute)

! 44 R

Hn. 4

Tba.

3 4

(open)

[

Hn. 2

Hn. 1

poco

-C

T C>

g A

43


28

[

# 3 ] 4 C

SOLO BSN.

[

Hn. 1

. YCXC C S C Y C C YC

g ! 43 C T p

T YCO mp Q

! 43

! 43 (Y) C X C C YC mp ! 43 C

C

! 43 C C

! 43 C C

B

Q

S

> CO XC g T

[

T

Q

! 43

Perc. 2

S

B

(mute out)

p

3 4

Q

2 4

3 4

Q

2 4

43

Q

24

43

Q

24

43

Q

24

C

S

(take hy à4)

Q

24

44

Q

43

Q

24

44

Q

43

Q

24

C Y >C C

C p

>C

XC

4 >C 4 B

WC mp #

solo

*7 > 3 T TU C Y C X C 43 jh X C- C mf C 34 h X -C O mf 3 g T 4 C p

C >C O

>C

CO YC

h sfz

XC C >

Q

4 4 mfsfz T U 44 C> B

B

T

X C- C

YC

S

3 4 43 C 3 4

YC

C 4 C _ 4 __

p

S

p

#

*T T g

C C

S 43

>

24

E∫

Q

!

2 4 24

non trem.3

mf

24

2 4

YB sim.

24

2 4

X C> C mf

3 sfz >C C Y C T XCX C C 43 > declaimed

g

g T XC - Cmp p

S

7 3

p

BO

agitato e accel. 227 poco a poco

S

24 p

str. mute

C

T

2 p4

C C YB

h 43 mp

Q

sfz

B

WC 34 mp

-C Y C X C Y C XC 44 T T U jh Y C mp , espr.

4 T 4 YC >

S

YC C "

g T T

sim.

S

(my)

Q

C

B

C C C >

XCO mp

43

4 BO 4

sfz

mfsfz

C

"

>C

T U gi C> C Q

Q

44

B

B T

44

*WCWC C 4 X C> 4 C > mf

S

S

Q

$ 3 4

Perc. 1

R

XC 44 C

p

7

Q

S

mpg C

Q

# 3 YA YA 4 A A ]

str. mute

C W C C. X C S >

C >C T T U jh ( f )sfz marc. S C T

(reminder)

Timp.

3

(w. timp., pno.)

PIANO

# 3 4 [

Q

(whispa out, take fibre str. mute)

Q

p

Q

! 43

CWC S

>C

h

C

mf

#

X CC Y C # 3 4 C

Pno.

(mute out)

(whispa out, take fibre str. mute)

Q

C

! 43 S

Hp.

R

(whispa out, take fibre str. mute)

* C >C W C W C S S

Q

# 3 ] 4 B

Tba.

p

7

Q

# 3 T C WC WC 4 mph

T

Q

mf

solo

C S

S

Q

mute

Euph.

S

44

str. mute

Q

# 3 4

Bs. Trb.

h p

C T S h p p

# 3 4

Trb. 2

B

BO

g WCO

# 3 4

Trb. 1

44 C

44

g T S p

g C T R pp

4 C C 4 C

C

p

3

BO

g WCO

(whispa) Tpt. 3

C

g WCO

(whispa) Tpt. 2

B

C

agitato e accel. 227 poco a poco

(whispa) Tpt. 1

g

T C > mf

4 XC 4 B

S T X CC YC C T Y Bp p mf mf à Ãg à S S TU C O C B> > pp mf p fsfz ( sfz ) 3 g T S T T g T g Y C- C X C X C- C Y C- C p p mf mf

(mute) Hn. 4

C

g C T pp g

O TU C W C C > > mp f

X C> C

f marc.

T T U C gi C > mf S

(mute)

Hn. 3

h

poco

! 43 S

Hn. 2

T

agitato e accel. 227 poco a poco

>C O >C

24

C > gl.> X C C >

Q

Q

4 4

Q

3 4

Q

2 4

Q

Q

44

Q

43

Q

24

(CH.)

! 43 S

Perc. 3

]

*

7

S

T T U gi C> B ( mf )

LOW BRASS - Ms. 226 - 236: very quick diminuendi; (as ms. 47-51/165-174).

T C>

g

BO

cresc.

44 T g C> B

T C>

g 3 4 B

T C>

g 2 4

f (cresc.)


29

(accel.)

[

# 2 4

SOLO BSN.

Hn. 1

] [

Hn. 2

Hn. 3

Hn. 4

Q

Tpt. 2

Tpt. 3

Q

3 4

Q

4 4

Q

3 4

Q

! 24

Q

Q

Q

3 4

Q

4 4

Q

3 4

Q

! 24

Q

Q

Q

43

Q

44

Q

43

Q

If necessary, EXIT - (quietly) to offstage position.

! 24

Q Q

Q

43

Q

44

Q

43

Q

! 24

Q

Q

Q

43

Q

44

Q

43

Q

Q

43

Q

! 24

Q Q

Q

43

Q

! 24

Q

Q

Q

43

Q

Bs. Trb.

Euph.

Tba.

Hp.

" 2 4 mf

WC C CO

h p C

C

> XCO WC CWCXC mf 3 Y >C S mf S C p

T S

# 2 TU h Q 4 p mf > (mute) X C # 2 T W C W -C XCYC > XC C 4 p mf mf 7 > * # (mute) C T S YC C C YC 24 XC ph 3 mf 3 g T # 2 T C C X C. ] 4 C > XCO B p p mf mf > >O >C B # 2 T C 4 fsfz sfz C # 2 S XC C 4 YC X C> O B ! 24 >C C X C W C S p mf # 2 S YC 4 h X C>

Pno.

3

C> #

mfg C

T

O CX C XCO

p B

Timp.

] [

Perc. 1

[30": E

g T 43 C p

C> C> O mf

B

[ 30": F

]

C T XC C

p

h

Ì

Ì

B∫ ]

G]

[

3 4 C-

C

44 XC p

C T

S p

T h

44 44 S 233

Q

Q

Q

43

Q

44

See note: pg. 28.

B>

C> ff

44 A

f S

>C

>

YC

f

>B O

43 mf

p

43

Q

3 4

Q

3 4

Q

3

C

^ 34 T XCO f marc. S Y C> 43

! YC YC YC f XB C X B-

3

YC

F ∫ G∫

__ pp

R

Ì

F]

[28": B ∫

C Q

__

B

3

Ì

>

Bπ ]

-C

X C-

mf

C T 3 4 h mf 43 43 B O > mp sub.

>

C> Y C >

Ped.

3 S 4

C

C> mf

loco

poi subito ritardando poco a poco YC C

! 24

*

Y 3C

S.C. (sy)

S

S

S 43

>C

p

g _ 4 C T S 4 p [ 30": G

__

44 S

S 43

pp

l.v.

C

YB f S

S 43

A

>C

>

S 43

S

4 A 4

Q

(cresc.)

h p

C

3

S

C T

C

34 W C g B mf p C sub. 43 B O mf p sub.

Q

43

7

p

3

43 X C W C p sub.

T

B

BO

Q

Q

C

4 4

= c. 63 ]

YB

T

h p

l.v.

sfz YB Y B->

C

h p C

44 T mf >C Y -C 44 mf 3 > 44 B mf

Q

C> O

YB p

X >C O

Q

! 24 C g

YC

Y -B

44

Y B> mf

3 -C> Y Y C YC mf 3 g YC YC C

44 B p str. mute 44 R 44 C

g T C p

34 C Y C C > XC C p S YB 43 Y B>S

C

>

g

poi subito ritardando poco a poco

$ 24

(take hy: à4) (CH.)

Perc. 3

> 3 BO 4 B∫

(V.)

Perc. 2

>C

3 4 C>

[ 28": B

F]

Ì

S

CO

str mute

C> C C mf 34 T X C g C > mf

l.v.

8ba

S Q

T 43

mf

(accel.)

# 2 4

43 Cp . 34 C Y C O

>C S

YC C C

Ped.

[

str. mute

Q

>C O

233

= c. 63 ]

Q

(mute)

Trb. 2

C

[

! 24

(mute) Trb. 1

233 poi subito ritardando poco a poco

= c. 63 ]

Q

(accel.) Tpt. 1

C

[

YC

Q Q

ancora cresc.


30 239 Molto doloroso Più Mosso [ C = c. 63 ~ 66 ]

(ritard.) straining

[

SOLO BSN.

# ] [

Q Q

!

Hn. 1

Q !

Hn. 2

Q !

Hn. 3

Q !

Hn. 4

4 4

Q

Q

4 4

Q

Q

44

Q

44

Q

44

Q

Tpt. 1

Tpt. 2

Tpt. 3

(mute)

" (Y) C

Trb. 1

(mute)

C T C p mph

#

Trb. 2

B

mp

(mute)

# (Y) B

Bs. Trb.

#

S

Tba.

YB mp

# ]

S

mp

(mute) Euph.

S

p Q

Q

> W >C O C WC mf > S WC mf >C C Y >C B O Y C 44 f sub. >C CO YC C 44 S f 3 g R 44 XC YC C > > f > 44 R XB

Q

44

Q

# Q

44

Q

sim.

!

C C

Pno.

#

^ C

3

C

W >C C WC C f

(Y) C O X C B

4 T 4 C > 4 R 4

^

43

W >C C h

>C

> WC C h >

43 C

C YCO h T mp C B h T XC mp C

B mp C

YB mp

YC mp C

XC C XC

YC C YC mf XC

XC

XC

f WC f

g 43 C

Cf

XC C C 43 mf g 3 C O X C 4Y C f Q 43 Q

g

Y -^C __ h T ffsffz flt. ^ C_? X -C T h _ ffsffz flt. ?C W ^-C T __ h ffsffz ? C gl. Y -C^ h T ffsffz ? C gl. ^-C h T ffsffz ? Y ^-C T h X C- O ffsffz ^? W -C W h C T ffsffz ? ^g T C- Y Cffsffz ? Q ?C

YC

WC 43 f Y -C C h 43 mf " 3 YC 4 mf

C

Q

44

# Hp.

CO

?

g

S T CC 3 Y CC Y YY C CCC 4 molto fff ? g XCO XC 3 YB X C O X C 4 Y B8ba #

C> C C

(ped.)

2 4

Q

24

Q

24

Q

24

Q

"

] [

(ritard.) straining

_ _ C gl. 44 Y C p mp > _ C C 44 più f

# (Y) C O X C- C

Timp.

] [

(S.C.)

Perc. 1

$ _B _ pp

(V.)

Q !

Perc. 2

(CH.) Perc. 3

]

!

B> O

(cresc.)

44 44 B>

* 8 See Performance note 2; page iii.

T Y -C C h

YC Q

YC

C

p

Q C> O

_ Y C 43 Y C _ Cp sub. ? 34 _ B _ mp

C- O mf

R

B> mf

g

_

Q

43

C> C

43 B > ff

g

f

_B

C>

C-

__

?

g T Y C> fsfz >C T h & fsfz

?

gl.

Q

? &

S

[ TACET al Fine ]

Q

44

[ TACET al Fine ]

Q

44

24

Q

[ TACET al Fine ]

24

Q

44

24

Q

44

24

Q

44

24

Q

44

24

Q

44

24

Q

44

24

Q

44

Q

44

[ TACET al Fine ]

Q

[ TACET al Fine ]

Q [ TACET al Fine ]

Q

[ TACET al Fine ]

Q

[ TACET al Fine ]

Q

[ TACET al Fine ]

Q

[ TACET al Fine ]

Q [ TACET al Fine ]

24

Q

44 R !

S

24

Q

44 R !

S

2 4

Q

4 4

Q

2 4

Q

4 4

Q

*

8

S 43 !

3, 4

Q

44

(to Celesta)

!

Hns. in F (offstg.)

[ TACET al Fine ]

(w. perc.)

C CC T C h g C T C

[

B

Q

4 4

239 Largo [ 1, 2

4h 4 ff

CO

239 Molto doloroso Più Mosso [ C = c. 63 ~ 66 ]

? Q

43

^

YC

Q

flt.

>B

T mf CO

?

43

Y >C O

? Q

Q

2 4

Q

43

-C >

keening

Q

?

43

Q

> W C> C S W C h 44 ! 3 f mf (mute) > C 44 R TU h O B ! mf f (mute) > WB 44 R ! C> f mf

?

3 4

Q

(mute)

Q

3 4

Q

(ritard.) straining

?

Q

S

C

T

= 48 ~ 50 ] 1º

C

p

BO S

Q

43

T

BO S Q 3º

S

C Q

239 Molto doloroso Più Mosso [ C = 63 ~ 66 ]

Q

24 24 24

Q

44

Q

[ to CR. ]

> 24 B fff rfz

> X YY CCC h ff g Y Y CC Y C>

p

BO

Q

[ TACET al Fine ]

44 R

CROTALI (br.)

!

S

T

(w. Hp.)

WC

g

C> ff> (w. Hp.) Y C (hy: à4) S T WW CCC 44 R h ff Ped. l.v. sempre Q 44


31

[

SOLO BSN.

>C X C W C X -C C C -C S WC h h 43 h T ( ff )

" ]

(

S

Th mp > Y CC OO Y CO

sonoramente

(Y) A (Y) AA

!

YCO 3 Y Y CC OO 4 f C 43 YY CC

l.v. sempre

Hp.

! (Y)(Y)(Y) AAA

C C Y -C Y C Y -C

g

3

YCO Y Y CC OO >

CC C

(

)

Q

4 TU h 4 f S

ff

(

244

#

)

> C C O >C C O

Q

Cel.

# [

Q

1, 2

!

Hns. (offstg.)

(

3, 4

B O)

p

S B )

p

(Ped.) sempre

>

! ]

*

f

Q

44

C C h

B OS T

WCO C 43 f CC OO W C C 43 f

(Y) AA (W ! )(W ) AA

Perc. 3

43

Q

A

9

43

YC C

C Y -C

C

Q

# 3 4

Q >C

C

! 43 C fsfz # 3 4

Cel.

(Ped.)

[

C

>C O YCO

Hns. (offstg.)

!

Q Q >

>

T C B h

C C

S B

(V.)

XC

! 43 pp

(ped.) (GL.)

]

Q

43

EπFπ

C

3

XC

accel. poco a

C ! 43

WB

YC C 2 C XC 4

pp sub. Q

Q

S

C BO

YB

Q

24 S

S

43 43

S BO C

BO S accel. poco a

44 S B O W B> O mf X >BB OO W S 44 X Y BB OO mf (ped.)

43

Q

(

(take softer mallet)

43

Q

(

Q

*> 24 S C YC XC XC mf pp sub.

)

(to Glock.)

B

S*

9

YC XC

B

S

YC p R

fsfz Q

4 4

C

YC C

XC

YBO C

S

C

C WC

B∫

44 X C 44 C

C

Q

>

XC

WB >

XC C WC h pp mfsfz

mfsfz XC h

gl.

XC p

R

g C WC X C h pp sub. C 3 YC XC

g

YC

Ì

C C 3 C h h WC

C YC

C

S h

C

S T

BO

>

C

C

WC pp C YC

XC

S S

BO CC

g g Y3 C C C C

g T

3

g

3

YC

B

C

CO mfsfz

C

Q C

WB

XC C

C

fsfz S

XC

Ì

WCO p

250

44 C Y C pp sub.

C

3

YC

3

>

gl.

YC

C

3

C

S

XC

YB

BB O

>C

3

C

43

C

Y -C O

3

XC

B fsfz

Q

C C- C C

3

>B

XC

3

YB

(soft)

T

C Y C C -B

250

B

XC

sub.

>B

9

44

mfsfz

3

5

3

rit. poco a poco

S

mfsfz

(soft mallets) GL. (

43

l.v. sempre 3

9

43

43

9 > *S (sy) C

Q

24

)

(take sy) Ì

Q Q

24

)

sempre (do NOT dampen)

250

C C C C YC S

YC C C

4XC 4 ff

XC h

BO S

! 43 S

Perc. 3

Q

Ped. sempre

T TU C 4 A jh 4

44

C

(CR.)

Perc. 2

24

C 43 CELESTA fsfz Q 43

S

Ì

S

Ì

poco (accel.) Perc. 1

Q

244

W >C O CC OO WCO C

h

S

C C CYC

WC pp sub. Q

h

S !

[

43

* >C

Q

BO S S

g

C

poco (accel.)

]

3 4

(p )

4 *R 4

! 43

Hp.

3, 4

Q

The pitch C always to the fore. The 5 accompaning players molto libero: as a misty gauze behind the soloist until coalescing @ ms. 266. pp !

[ " 3 XCO 4 ]

1, 2

Q

B

poco (accel.) SOLO BSN.

2 4

Y BB OO

B

B

(V.)

(CH.)

44

BO

A

Perc. 2

Q

S B

l.v. sempre

(W ) A !

Perc. 1

Q

(4º)

(CR.)

Q

Q

(3º)

(

] ! [

43

unyielding CYC C C C C 3 4 3

CXC - XC C O YC 2 h h h 4

3 4

9

244

!

C

3 4

> 4 S YY BBB OOO 4 mf Y >BB OOO Y 44 S Y B

)

Q

accel. poco a

C- O C

C XC C > XB mfsfz

XC

C

>

B mfsfz WCO pp

h

C


32 (rit.) p ort.

[

C

"

SOLO BSN.

]

C

C

#

C C

C

p XBO

C

WC !

Hns. (offstg.) 3, 4

S

T YB !

]

YCO

(rit.)

B mfsfz

XC !

Perc. 1

(V.)

WCO (ped.) pp !

Perc. 2

C

g C

(GL.)

C YC C !

Perc. 3

]

C

a tempo(

>

(CR.)

[

3

h

C

YC pp YC C 3

C

C

h WC

C

g WC

C mfsfz

SOLO BSN.

[ "

T YC h

]

C

C

C 3

(Y) C !

Hp.

XC WC C

C

XB pp sub.

S

XC S

YB

C

44 R

f

S

#

C C

YC

C

p

C

C

43

Cel.

#

(Ped.)

-C

1, 2

[

YC mp -C WC mp !

Hns. (offstg.) 3, 4

! ]

257

Q Y BB

pp B

XB pp

-C YC mp

Y BB

WX CC

X BB

mp

-C

sempre simile

lontano [ C = c. 54 ](as ms. 221)

(CR.)

[

C

C pp

!

Perc. 1

C

-

C

W BB

YC

B

4XC 4

!

C

YB

C C >

C

(GL.) Perc. 3

]

C

(Ped.)

! XBO

h

C

mp (pocopp sfz )

C

C-

B

Heaving [

C = c. 72 ]

CYC mp -C WC mp

Y BB pp T

S

W BB pp

C>

mp poco sfz C C

44 C mp ( poco pp sfz ) C B 44 YC

C 3

WC h

C-

C pp YC

h

WC

XCO

Y BB pp W BB pp

X >C C

C

C

44

262

Y -C S

f

S

C mf sfz S

4 R 4 >C

4 C 4 mf ( sfz ) 4 4

Q -

solo

C YC mp

BB O

C

C

B

WB

mp BO

C

3 4 BO B 43 >C

C 43 C mp pp ( poco sfz)

pC C C

3YC 4

poco

CO

44 C 44

C

Q

C C

mp pp ( poco sfz ) YC C

C Q

pp

C

C

C C

S

S Q

262

>

C XC C

g

C S

T

h

poco ]

C

pp

>C

a

-C

E∫

3 4

pp

B

f

43 B O BO 3 BO 4

BO

4 4YC C

S

-

BO

B

43

Q

[ rit.

C

B

C

B p

C

T h mp >C

44 B

C

> XC mp sfz

C YC

X >C C XC mp ( poco XppC sfz ) C C YC

C pp

mp3 ( poco sfz )

C C

C C WC C h

-C -C

C

3

g

3

C

YC C T 43 h

Y BB

C

WB

C

3 4 YC

C >C

(V.) Perc. 2

XCO

sempre simile

W CC

WC h

3 4YC

-C

Y BB

C

43 B YBO 3 4 C

Q

YC

mf ( poco sfz ) Q

Q

C C mfsfz pp

43 h W C

C

-C

Y BB

YC

Q S

C S

C

p B

C 4 BO 4 mf p ( sfz ) Q 4 4 C

B

>

43 C

>C

C

YC

( sfz )

4 R 4

!

mf

C

B

ppg C

pp

>C C

al ]

XB

CYCX C C C T h

mf

44 C

>C

Q

T WCO

lontano 257 [ C = c. 54 ] (as ms. 221)

-C C

C

ancora rit. al

XC mfsfz pp

3

YC h

CO

XC

YC

pp

3

>

C

S

p

C

Q

T

= c. 66 )

>

C

3

g

B fsfz

XC C

43

B

C XC C WC C

>B

S

C p

C

YC

B

S

C 43

CB O

C C C C

Y -C

5:4

C

poco

XB

B S

Q C

g

BO

TU S

C YC

43

a

BO

C

3

C

3 4

X >C C C WC XC f sfz Q

poco

OFFSTAGE: [ accel.

[

h

C

g

g WC

-C C

C TU 3 T h 4

3

(ped.)

1, 2

C

C YC h p Q

fsfz

ancora rit. al

>

C

C

Q

fsfz S

#

= c. 66 )

>C C

C

Cel.

C

YC C h

3

>C !

-C O

YC

g

C

! (Y) C h

Hp.

a tempo (

C C U C C CO C T

3 4 C mp ( poco pp sfz ) C

43 Y B O C

43 B

B

> C

mp ( poco sfz)


33 CUE OFFSTAGE HORNS

Cond.

[ "

SOLO BSN.

]

solo

sonoramente 3

T CC BB h # C

!

mfsfz p )

C

Cel.

Q

(ped.)

C !

Hns. (offstg.)

Q

B

C

C

C

C

C pp C

C

]

[ "

>C mp(sfz ) C

YC

R

]

!

C

3

# (Y) B R

( poco sfz )

C

Q

,

[

S

T T U jh

C C gl. C B

Q

R

44 R

mf YC YC S

267

C

S CYC mp T YCO

Q

4 4

C

mp C

)

.

C pp

B B

44 Y C

C

XB

C C

C

YC

44 Y C

C

XB

C C

C

YC

dim. poco a poco

C C

C = c. 54 ] Adagio [ Wave-like ]

Y BB pp

-C O CO mp

T

Y BB pp

CC OO mp

T

C

C

BO

YC

(swaying)

Y BB pp

-C O CO mp T

BB pp

Y CC OO mp

T

C C

p delicato C C C C p delicato

Ped.

C

S &

S [ remain poised ]

BO

C

p delicato C C

BO

B

C

T h YC C C

Hp.

C mp

YC

(Ped.) (GL.)

!

Q

4 T h 4

C gl. C

l.v.

C

)

Q

>

C !

Perc. 3

.

44

C

!

Perc. 2

S

C C

Y BB

sempre sim.

CC OO T

BB

CC OO

T

Y BB

(swaying)

Y BB

sempre sim.

267

(V.)

SOLO BSN.

44 X C

YC Q

pp

(CR.)

Perc. 1

TU S

Cond. CUE

! ]

(

Ì

[

[

Q

(

Q

, mp C

(rit.)

3, 4

C

g YC

267

> YC C C C B O C YC C f

(

# 1, 2

A∫

C

YC

C

B∫

Ì

TYC YC

CO h

S

Q E∫

>C

BO

C O Y >C C X C C C O Y C C gl.X C C

C mf

C C

C X -C h 3 mf

mp

>C

CYC

S

!

Hp.

B

Q

263

Ì

relenting

.

S

C

44 Y C

C

C B

C C

YC

dim. poco a poco

C

XB C

XB XB C

YC

dim. poco a poco

sempre simile

C

C C

C

C C

YC YC C

C

dim. poco a poco

273

Q

*À Àg À gÀ À g TU C O TU C g OTU C O TU Y C g O TU C O C C O > > > > Àg

mfrfz

C

44 Y C YC C

senza dim. 10 CONDUCTOR - Ms. 270: Gradually cease conducting; sempre stop all movement by ca. meas. 273. harms. sim.

>C

44 Y C

CO

Q

YC

g

g

C C

Ì

CO mp

C CO

Q

[ remain poised ]

À

( )

g

C C ( still rfz ) Q

Q

.

C YB C

(

C

>)

A

l.v.

Q

Q

273

B C B

!

C

Cel.

#

C p

YC

C

C

C C

YC

C

C

C B

C

pp

(dim.)

!

(ped.)

C C

A

C

YC

1, 2

T

!

CO CO

T

Hns. (offstg.)

!

CC OO

3, 4

]

(CR.)

[

!

Perc. 1

(V.)

!

Perc. 2

C C B

]

B C B

(dim.)

SOLO BSN.

[ "

1, 2

[

9

C pp

*

l.v.

273

YB T

Y C OO C

C C

C C C

9

T

B

C OO C T

Y C OO C

T

senza dimin. al fine

B

CO CO

Y BB

YCO CO

YB

T

BO 43 Y B O p

44 BB OO

T 3YB O 4 BO p

44 Y B O BO

g C T 3 BO C 4YB O p g C T 43 Y B O BO C p

senza dimin. al fine

C

pp

(dim.)

C

Y BB

CO T Y C O Y BB

CO CO

BB

pp C

(dim.)

!

Perc. 3

C OO T C

C B

(GL.)

BB

[ remain poised ]

Q

[ offstage: rit. poco a poco al fine ]

[

.A

C

BB

C

YC

C

.

YC

C

A

YC

44 BB OO 44 Y B O BO

g

CC g C

C

T T

[ remain poised ]

B

C

.

[ remain poised ]

C

C

C

YC

C (Ped.)

.A

[ remain poised ]

Ì

A

- (meas. 270): See last * HNS. sentence; note 2; pg. iii.

long

. Q

]

long

Hns. (offstg.) 3, 4

! 44 S

BB OO

CC

! 4 S ] 4

Y BB OO

CC

g

g T

S T

S

B

BO BO

BB

BB OO

YB

.

g

C

C

CC

g

T T

Q Q

Ormond-by-the Sea, FL Jan. 16, 2012


Sydney Hodkinson: Midnight Passage