dream of a thousand keys: a concerto for piano and orchestra/67531/metadc67968/m... · choi, da...

APPROVED: Joseph Klein, Major Professor and Chair

of the Division of Composition Studies

Cindy McTee, Committee Member Jon Nelson, Committee Member Graham Phipps, Committee Member Lynn Eustis, Director of Graduate

Studies in the College of Music James C. Scott, Dean of the College of

Music James D. Meernik, Acting Dean of the

Toulouse Graduate School

DREAM OF A THOUSAND KEYS: A CONCERTO FOR PIANO AND ORCHESTRA

Da Jeong Choi, B.A., M.A.

Dissertation Prepared for the Degree of

DOCTOR OF PHILOSOPHY

UNIVERSITY OF NORTH TEXAS

May 2011

Choi, Da Jeong, “Dream of a Thousand Keys”: A Concerto for Piano and

Orchestra. Doctor of Philosophy (Composition), May 2011, 111 pp., 32 illustrations,

bibliography, 71 titles.

Dream of a Thousand Keys is a concerto for piano and orchestra, which consists

of four movements presenting multiple dimensional meanings as suggested by the word

“key.” I trace the derivation of Korean traditional rhythmic cycles and numerical

sequences, such as the Fibonacci series, that are used throughout the work, and

explore the significant role of space between the soloist and piano that are emphasized

in a theatrical aspect of the composition. The essay addresses the question of musical

contrasts, similarities, and metamorphosis. Lastly, I cover terms and concepts of

significant 21st-century compositional techniques that come into play in the analysis of

this work.

ii

Copyright 2011

by

Da Jeong Choi

iii

ACKNOWLEDGEMENTS

I would like to thank the librarians that assisted in the acquisition of research

materials, scores and recordings. Special thanks go to Donna Arnold for her tireless

help. In addition, I am grateful to Janelle West for assistance in locating a large number

of theses, dissertations, books, and scores needed for the study. I would also like to

thank my doctoral committee members for their encouraging words and suggestions. I

express my deepest gratitude to my mentor and adviser, Joseph Klein, for his

invaluable feedback and guidance. Many thanks go to Jon Nelson for his

recommendations during the proposal process through the completion of the

dissertation. Also many thanks go to Graham Phipps for encouraging me to pursue a

cognate field (theory). I thank conductor Ludwig Esteban Carrasco Curíntzita and my

UNT Orchestra friends for reading three movements of Dream of a Thousand Keys on

March 10, 2010. Especially, I thank conductor and violinist Hsuan Yu Lee for reading

the piece at another orchestral reading session (November 29, 2010), and also for

sharing his thoughts and ideas regarding the string parts. Moreover, many thanks go to

pianists Pamela Mia Paul, Steve Harlos, and Anastasia Markina for inspiring my

research. On a personal note, many thanks go to all my friends for their support and

encouragement. Finally, I would like to thank my parents for their ceaseless love and

prayers throughout my career. Without their support and Joseph Klein’s advice, this

would not have been possible.

iv

TABLE OF CONTENTS

Page ACKNOWLEDGMENTS .................................................................................................. iii LIST OF TABLES AND FIGURES .................................................................................. vi PART I: CRITICAL ESSAY ............................................................................................. 1

1. Introduction ................................................................................................ 2 2. Precompositional Ideas .............................................................................. 4

Asian Music Influence Korean Traditional Rhythmic Cycle (Changdan) Application of Fibonacci Series and Numerical Elements Fibonacci Theory in Dream of a Thousand Keys Multiple Dimensional Meanings as Suggested by the Word “Key”

3. Analysis of Dream of a Thousand Keys ................................................... 15

Prelude Choreography of Piano Solo in Prelude Tonality of Prelude First Movement Second Movement (Subtitle: Interlude) Third Movement

4. Conclusion: Synthesis, Reflection, and Relevance to Future Projects ..... 47

Bibliography ........................................................................................................ 49

PART II: DREAM OF A THOUSAND KEYS .................................................................. 56

Program Note ..................................................................................................... 57

Performance Direction ........................................................................................ 57

Choreography in Prelude .................................................................................... 58

Instrumentation ................................................................................................... 59

v

Movements and Dedications .............................................................................. 60

Prelude ............................................................................................................... 61

Movement I ......................................................................................................... 65

Movement II ........................................................................................................ 85

Movement III ....................................................................................................... 91

vi

LIST OF TABLES AND FIGURES

Page

Tables 1. Rhythmic cycle (Changdan)....................................................................................

Figures

1. Fibonacci number formula .................................................................................... 8

2. Fibonacci series .................................................................................................... 8

3. Significant events at the Fibonacci series points in the first movement of Bartók’s Music for Strings, Percussion, and Celesta ........................................................ 10

4. Fibonacci series and pitch (0=C, 1= half step).................................................... 12

5. Fibonacci twelve-tone row: P-0 ........................................................................... 13

6. Tonality in the Fibonacci twelve-tone row ........................................................... 13

7. Fibonacci twelve-tone row matrix ....................................................................... 14

8. Harmonic reduction of the Prelude ..................................................................... 17

9. Harmonic scheme of the Prelude ....................................................................... 18

10. Harmonic reduction of the Prelude using jazz chords ......................................... 19

11. Fibonacci tetrachords ......................................................................................... 21

12. Fibonacci tetrachords in Theme 1 ...................................................................... 22

13. Application of Fibonacci tetrachords ................................................................... 22

14. Fibonacci tetrachords in the introduction of the first movement .......................... 23

15. Primary themes in the first movement ................................................................ 25

16. Motive A and Motive B ........................................................................................ 26

17. Comparison between Theme 1a and Theme 1a” in the piano (mm. 166-170) ... 27

18. Theme1b’: Retrograde of Theme b ..................................................................... 28

vii

19. Motive C (mm. 75-78) ......................................................................................... 28

20. Form of the first movement ................................................................................. 28

21. Pitch references in the first movement ............................................................... 31

22. Motives in the second movement ....................................................................... 35

23. Theme I and retrograde of Theme I (mm. 253-259) ........................................... 36

24. The complete twelve-tone row in the second movement (mm. 271-276) ........... 37

25. Significant recurrences of the themes and modifications .................................... 39

26. Application of Fibonacci series to strings in the second movement .................... 40

27. Example of retrograde rhythm of Fibonacci series (mm. 271-276) ..................... 40

28. Fibonacci numbers in the piano part (mm. 279-316) .......................................... 43

29. Themes in the third movement ........................................................................... 45

30. Structure of the third movement ......................................................................... 46

1

PART I

CRITICAL ESSAY ON

DREAM OF A THOUSAND KEYS

2

Chapter 1

Introduction

Dream of a Thousand Keys is a twenty-minute concerto for piano and

orchestra, which consists of four movements presenting multiple dimensional

meanings as suggested by the word “key.” According to Webster’s New World

College Dictionary, the term “key” includes more than ten meanings, such as

‘tone or pitch,” “one of the levers that sets in motion the playing mechanism,”

“something that affords a means of access,” “a means of clarifying a problem,”

and others. Additionally, the performance space in Dream of a Thousand Keys

creates a unique and remarkable theatrical environment during the

performance. The significant roles of space with regard to the piano and the

performers are emphasized in a theatrical manner. In particular, space between

the pianist and the piano in the Prelude has been choreographed by the

composer. Moreover, one of my goals is to expand the research and study of

eclectic influences, i.e., the co-existence of various styles, cultural influences,

and chronological eras within a given work. A wide variety of musical sources,

idioms, styles, and concepts are clearly delineated and blended throughout the

work. However, there is a unifying musical factor that is used to achieve

coherence: namely, the Fibonacci series is one of the most significant

compositional tools used in this multifarious composition. The Fibonacci series

determines not only the structure of the work on a macro level but also the form

of each movement and the sections on the micro level. With regard to harmonic

3

structure, the first, second, and third movements are built on twelve-tone rows

derived from the Fibonacci series. The musical materials on the micro level are

carefully controlled and performance aspects are precisely specified in each

movement. Optionally, each movement can be performed as an independent

work. There is improvisation involved in the Prelude: the conductor and the solo

pianist can choose to follow one of three options: playing the materials as

written, improvising on the written materials, or miming.

4

Chapter 2

Precompositional Ideas

Asian Music Influence

One of my goals in Dream of a Thousand Keys was to incorporate Asian

elements and to integrate the sounds of the East with western instruments. East

Asian performing practices used in this piece include wide vibrato, extensive

glissandi, grace notes (before or after the beat), flutter tongues, and microtones,

the latter of which are particularly significant in Korean music. Isang Yun, one of

the most familiar Korean composers, adopted these Korean instrumental

approaches in his works as well.1 Also, the abundance of percussion instruments

is of particular importance, as these instruments have been used historically in

traditional East Asian music to signal the beginning and ending of a work.2

Similarly, the first movement of Dream of a Thousand Keys begins with crash

cymbal and ends with a low percussive piano chord in the first movement;

triangle and string harmonics appear in the first measure of the second

movement; timpani and strings are employed at the very beginning of the third

movement.

1 Yayoi Uno Everett and Frederick Lau, Music Syncretism in Isang Yun’s Gasa from Locating East Asia in Western Art Music, Middletown, Conneccticut, Wesleyan University Press, 2004, p. 175. 2 Ibid, p. 180.

5

Korean Traditional Rhythmic Cycle (Changdan)

One of the Korean traditional rhythmic cycles, which consists of seven

rhythmic patterns, is derived from p’ansori performance. P’ansori,3 one of the

most representative performing arts, is a unique Korean style of dramatic folk

song belonging to the category of Korean vocal music that was developed during

the late period of the Chosôn Dynasty (1392-1910). P’ansori is presented by a

vocalist and a drummer.4 The two musicians’ interactivity in p’ansori is applied to

the antiphonal relationship between the piano solo and the orchestra.

3 Bang Song Song, Korean Music: Historical and Other Aspects, South Korea, Jimoondang Publishing Company, p. 247.

4 Ibid, pp. 253-255.

7

Table 1. Rhythmic cycle (Changdan).

Application of Fibonacci Series5 and Numerical Elements

Numerical concepts are a favorite compositional tool for many composers

and are frequently utilized in modern works. Durational and pitch uses of the

Fibonacci series and Golden mean ratio appear in such contemporary works 5 A number sequence in which each subsequent number is the sum of the previous two.

8

such as Reflets dans l’eau (Reflection on the Water, 1905) for piano by Claude

Debussy; Allegro Barbaro for Piano Solo (1911), Music for Strings, Percussion,

and Celesta (1936), Sonata for Two Pianos and Percussion (1937) by Béla

Bartók; Klavierstück IX by Karlheinz Stockhausen; and Business Music and Sixth

Piano Sonata by Don Walker (1907-1989).6

n > O

Figure 1. Fibonacci number formula.

Fibonacci Series 0 1 1 2 3 5 8 13 21 etc.

Figure 2. Fibonacci series.

The proportional inevitability of the golden section is produced in Debussy’s 6 Jonathan Kramer, The Fibonacci Series in Twentieth-Century Music, Journal of Music

Theory, Vol 17, No. 1 (Spring, 1973), p. 137.

9

works on a macro level. For example, Reflets dans l’eau (1905) for Piano

provides the principal climax in mm. 56-61 and the unexpected modulation to Eb

major occurs in m. 56, which corresponds with the work’s Golden Section. Also

the first rondo reprise appears after 34 measures.7

Golden mean proportions are also found in Bartók’s Sonata for Two Pianos

and Percussion at the macro level. The entire work is 6,432 eighth-note units

divided into 3,794 eighth-note units in the first movement and 2,458 eighth-note

units (771+1,687) in the second and third movements. Bartók also utilized the

Fibonacci series as a cogent structural source in his Music for Strings,

Percussion, and Celesta. We may see the use of the Fibonacci proportions

corresponding with significant events in these works.

One apparent anomaly is that the first movement of Music for Strings,

Percussion, and Celesta does not maintain 89 measures, but is only 88 bars

long; however, the pause after the first movement may be interpreted as a final

bar of silence (thus resulting in Fibonacci number 89). The movement is divided

into 55 bars and 34 bars (including the pause) by the major climax occurring in

measure 56. The first 55 bars are subdivided into 21 bars and 34 bars when the

exposition of the fugue ends in measure 21. The final 34 bars are subdivided

into 13 bars and 21 bars, at which point the strings are unmuted and the entire

statement of the theme is presented in inversion. The final 21 bars are also

7 Howat, Roy. Debussy in Proportion, A Musical Analysis, Cambridge University Press, Cambridge , London, New York, , New Rochelle, Melbourne, Sydney, 1983. p. 24-25.

10

subdivided into 13+8, where the texture is altered by the omission of celesta

arpeggios and string tremolos. 8

Exposition of Fugue Climax Omission of celesta arpeggio

21

Exposition of

Fugue

34

=12+22

13

String

muted

22

=13 (omission of

celesta arpeggios)+8

55

Climax 34

89=88 bars long +1 (a final bar of silence)

Figure 3. Significant events at the Fibonacci series points in the first movement

of Bartók’s Music for Strings, Percussion, and Celesta.

In Karlheinz Stockhausen’s Klavierstück IX, the Fibonacci series governs

the length of notes, time signatures (13/8, 2/8, 21/8, 8/8, 1/8, etc.), tempo (e =60,

e =120, e =160), division of sections, etc. Jonathan Kramer claims that

Stockhausen is interested in Fibonacci durational proportions because of the

resultant golden mean proportions (1.618).

Another composer, Don Walker, establishes a limited Fibonacci pitch

system in his composition, Business Music. Walker built his Fibonacci pitch

8 Jonathan Kramer, p. 120.

11

system on the basis of an ascending and descending interval of the seven digits

of the Fibonacci series, resulting in repetition of pitches.

Example 1. Fibonacci pitch system in Business Music by Don Walker.9

Fibonacci Theory in Dream of a Thousand Keys

Numerical concepts are used in the Prelude and three movements of

Dream of a Thousand Keys, including permutations of the Fibonacci series. The

Fibonacci proportions not only determine the form of the entire work but also the

structure, tempo, meter, duration, rhythmic patterns, phrase length, and pitch

collections.

In order to create an ordering of the twelve pitches derived from the

Fibonacci series, using each pitch only once, each recurrent pitch is removed

from the pitch system; as seen in Figure 6 below, the repeated pitches such as

number 13 (C#) and number 89 (F) are deleted when creating a Fibonacci row.

9 Jonathan Kramer. The Fibonacci Series in Twentieth-Century Music, Journal of Music Theory, Vol. 17, No. 1 (Spring, 1973), pp. 110-148, 1973. p. 137.

12

a. Scale of Fibonacci series and pitch.

b. The relation between Fibonacci series and pitch.

0 1 1 2 3 5 8 13 21 34 55 89

C C# (C#) D Eb F Ab (C#) A Bb G (F)

144 233 377 610 987 1597 2584 4181 6765 10946 17711 28657

(C) (F) (F) (Bb) E (C#) (E) (F) (A) (D) B (C#)

46368 75025 121393 196418 317811 514229 832040 …

(C) (C#) (C#) (D) (C) (C) (Ab) … F#

Figure 4. Fibonacci series and pitch (0=C, 1= half step).

Figure 5 shows the Fibonacci twelve-tone row that is used in this piece.

13

Figure 5. Fibonacci twelve-tone row: P-0.

As seen in Figure 6, the first two tetrachords are highly chromatic; the third tetrachord

is more distantly related to the other two.

Figure 6. Tonality in the Fibonacci twelve-tone row.

The matrix in Figure 9 shows 48 possible forms of twelve-tone rows and the prime (P,

left to right), retrograde (R, right to left), inversion (I, top to bottom), and retrograde-

inversion (RI, bottom to top),

14

P=prime, R=retrograde, I=inversion, RI=retrograde and inversion

Figure 7. Fibonacci twelve-tone row matrix.

Performing practices of Asian music, the use of Korean traditional rhythmic

cycles, and Fibonacci theory, which are incorporated as significant musical

materials, result in a unique sound in Dream of a Thousand Keys. These

elements are discussed further in the following chapter.

15

Chapter 3

Analysis of Dream of a Thousand Keys

The relationship between the piano soloist and orchestra is usually

hierarchical, following the traditional practice of works for solo instrument and

orchestra or solo and large ensemble written since the mid-18th century.

According to Charles Rosen, audiences tend to wait in anticipation for the soloist

to begin playing and when the soloist stops, audiences again wait in anticipation

for the soloist to resume playing.10 However, in Dream of a Thousand Keys, the

solo piano may not emerge until the end of the introduction of the first movement

if the conductor and soloist decide not to perform the written piano solo part in

the Prelude.

Prelude

The term prelude generally refers to a short piece of music with unspecified

form that typically features rhythmic and melodic motives which occur

throughout.11 The initial movement of this work, Prelude (Adagio), can be played

independently of the other movements, as was often the practice during the

Romantic era. This practice may recall the performance of the fourth movement

(Adagietto) of the Symphony No. 5 (1902) by Gustav Mahler (1860-1911), which

was presented as an independent work thirty-six years before the entire 10 Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven. Expanded edition. New York, London: W.W. Norton & Company (1997), p. 196.

11 Don Michael Randel, The New Harvard Dictionary of Music, Cambridge: Belknap Harvard, 1986, p. 653.

16

symphony was premiered.12 In addition, a prelude may serve as an introduction

to successive movements of the work, as is the case with preludes in the

Baroque era. The majority of piano concertos introduce the piano soloist at the

beginning of the first movement; however, for this work, a conductor may decide

whether or not to include the prelude with the soloist. There is also an option for

the soloist to improvise on the basis of the specified chords (Figure 11). These

optional interpretations of the Prelude are in opposition to the conventions of the

piano concerto.

Choreography of the Piano Solo in the Prelude

In the Prelude, the pianist’s hand gestures, motion, and touch level on the

keyboard are choreographed by the composer. These gestures should encompass

the entire keyboard and include sweeping gestures, all without sounding pitches.

The space between soloist and piano is designed as if gestures of prayer are

delivered, which recalls Stockhausen’s thorough guidelines for dance, “Lecture on

Hu,” which serve as an introduction to the composition Inori (1974), for one or two

soloists and orchestra. In Dream of a Thousand Keys, the soloist may be interpreted

as a dancer while the keyboard can be considered as a two-dimensional black and

white floor.

12 http://en.wikipedia.org/wiki/Symphony_No._5_(Mahler)#Adagietto (accessed Aug 25, 2010).

17

Tonality of the Prelude

Prelude displays both the arpeggio patterns and textural quality typical of

late Romantic piano solo works, though it reflects the tonal functions in Western

music practice during the first decade of the twentieth century. As seen in the

harmonic reduction of the Prelude (Figure 10), Prelude begins with C9 and ends

with a quintal chord on D, thus providing a diatonic basis for the movement.

Figure 10 reveals how the unresolved sevenths and ninths dilute traditional

functions and stretch the harmonic framework. Audiences hear traces of a

harmonic progression that preserves traditional functions.

Figure 8. Harmonic reduction of the Prelude.

The chromatic voice in the bass (mm. 1-9, mm. 23-24, mm. 34-35) and

the last two chords (A-11 and D2) might create ambiguity with regard to key in

the Prelude; however, the tonality is confirmed by a number of moments

containing a dominant and tonic relationship in C Major (V-I) and the return of the

opening chord near the end (Figure 11).

18

Figure 9. Harmonic scheme of the Prelude.

If the soloist improvises on the basis of the jazz chords (Figure 12), he/

she should be prepared to create variations on the written material within the

given structure provided by the orchestra. According to jazz composer and

drummer Richard DeRosa, music is the reaction to sound and the

communication of ideas.13 The solo pianist should be able to express himself or

herself in response to the orchestra.

13 Richard DeRosa, Concepts for Improvisation Houston Publishing Inc. distributed by Hal Leonard Corporation, 1997, p. 8.

19

Figure 10. Harmonic reduction of the Prelude using jazz chords.

20

First Movement

The tightly woven first movement, which at approximately seven minutes is one-

third of the total length of the work, begins in a moderately fast tempo and employs

“Fibonacci Tetrachords.” Musical segments are continuously transformed

throughout, which might recall Mahler’s mature works: “Music is governed by the law

of eternal evolution, eternal development—just as the world, even in one and the

same spot, is always changing, eternally fresh and new.”14

The movement is comprised of four sections: introduction (mm. 40-60) - A (mm.

61-130) - cadenza (mm.131-165) - A’ (mm. 166-216). It is broadly built by means of

tetrachords (Figure 11) derived from the original Fibonacci twelve-tone row and

expanded on the basis of the themes (Figure 17). The use of tetrachords might recall

In Memoriam Dylan Thomas (1954) by Igor Stravinsky in which the musical materials

are evolved on the basis of the five tone row (E-Eb-C-C#-D) rather than utilizing an

entire twelve-tone row.

14 Natalie Bauer-Lechner, Recollections of Gustav Mahler, ed. Peter Franklin, trans. Dika Newlin (London, 1980), p. 130 and Robert P. Morgan, Twentieth-Century Music: A History of Music Style in Modern Europe and America. 1st ed. New York: W.W. Norton & Company, Inc., 1991, p. 23.

21

Twelve-tone row C-C#-D-Eb F-Ab-A-Bb G-E-B-F#

Pitch Class Set (0,1,2,3) (0,1,2,5) (0,2,3,7)

Interval Vector15 321000 211110 111120

Tetrachord TX TY TZ

Figure 11. Fibonacci tetrachords.

Pitch materials in the introduction, especially those that are nontraditional, are critical

since they are derived from the Fibonacci tetrachords. Even though cm+GM+gm4 is

added to the last chord (mm. 217), the progression of A-D-G in the bass line (mm.

215-217) strongly suggests a supertonic-dominant-tonic relationship (ii-V-i) in G

minor.

This movement emphasizes expressivity and chromaticism, mainly derived from

the two tetrachords (TX and TY), and is influenced by Germanic Romanticism such

as evidenced in Wagner’s musical style: exploration of emotional expression, rich

15 Allen Forte, http://solomonsmusic.net/setheory.htm#3.%20Interval and http://www.jaytomlin.com/music/settheory/help.html (accessed Jan 2, 2011).

22

chromaticism, and elaborate use of themes. The first and second tetrachords

represent an intensification of chromaticism.

Figure 12. Fibonacci tetrachords in Theme 1.

Tetrachords are presented both harmonically and melodically in each instrument,

producing successions in the first main section (for example, in mm. 40-60 of the

woodwind and string family). Flutes present a variation in rhythm in mm. 42-43.

Fl 1/Vln 1 TY-R1+ TX-R1 /TY-R-0+ TX-R-0 /TY-R1/TX-R2 /12T-R0 (5, 6,7,8)/ TX-R1/etc. Fl 2/Vln 2 TY-R1+ TX-R1 /TY-R-0+ TX-R-0 /TY-R1/TX-R2 /12T-R0 (5, 6,7,8)/TX-R1/ etc.

Figure 13. Application of Fibonacci tetrachords.

TY-R2 + TX-R2 (Pi) and TY-R-0 + TX-R-0 are heard in the woodwinds (flute,

oboes, clarinet) in the introduction (mm. 40-61). TZ-P1 (Bb-G-D-A) is presented

vertically sounding a G minor chord in m. 44, which is a hint of the primary key

center in the following sections.

23

Figure 14. Fibonacci tetrachords in the introduction of the first movement.

The division of the introduction (mm. 40-61) and exposition (mm. 61-130), which is

articulated by “D” (the initial pitch of TY-P1 and the dominant note of G minor),

24

eventually forms the harmonic structure of the first movement. The first period (mm.

61-82) is used to announce the home key of G minor. It is balanced and clearly

defined in a structure consisting of antecedent (mm. 61-69) and consequent (mm. 70-

78) phrases, and includes an extension of the materials that leads directly to the next

phrase.

Two primary themes, which are initially stated by the piano, are developed

throughout the movement. Piano, woodwind, and string instruments exchange

significant melodic lines of the main themes. However, they return with varied and

transformed figures in the recapitulation.

1. Theme 1a of the first movement in piano (mm. 61-65).

2. Theme 1b of the first movement in piano (mm. 66-69).

25

3. Theme 2x in piano (mm. 83-85).

4. Theme 2y in piano (mm. 86-90).

5. Theme 2y’: Retrograde of Theme y in piano (mm. 99-103).

Figure 15. Primary themes in the first movement.

The opening phrase (mm. 61-69) is repeated an octave higher in mm. 70-

78. The exposition (mm. 61-130) remains in the tonic G minor throughout the

movement without modulating; the modulation is left to the soloist in the cadenza.

The second period (mm. 83-94) introduces Theme 2 in the piano (mm. 83-90) but

also reiterates Theme 1 in the woodwind instruments (mm. 90-95).

The second theme (mm. 83-90) in the piano solo is not in a relative key of

G minor (Bb Major or d minor) but remains in the original key of G minor. The

following extended section (mm. 95-130) continues in G minor, announces

26

variations of Motive B in the woodwinds (mm. 97-107), and emphasizes the

dominant “D” as a pedal tone (mm. 115-123). The end of the second period

(mm. 123-130) is a cadential extension containing fragments of Motive A that

occur earlier in Percussion 3 (mm. 79-82), in Percussion 1 (mm. 123-124), and in

the Piano (mm. 210-212).

1. Motive A in percussion 3 (mm. 79-83).

2. Motive B in the woodwinds (mm. 85-90).

Figure 16. Motive A and Motive B.

The first movement (mm. 40-130) includes three distinct tonal regions: G minor,

A minor, G minor, A-flat minor, and G minor (i-ii-i-iib-i/G).

Rather than being in the dominant of G minor, the cadenza (mm.131-165)

introduces A minor. It begins with TY-P1 transposed a major second upward

(mm. 132-133) and echoed by the right hand of the piano, suggesting a move

from G minor to A minor. The cadenza plays a role as a contrasting feature of

the middle section. A written-out solo cadenza appears at the end of the

exposition, which evokes the virtuoso cadenza in the first movement of Samuel

Barber’s Piano Concerto, Op. 38. The cadenza maintains the coloristic sonority

27

and excitement of the movement, dropping some of the thematic material,

borrowing materials from the orchestra (e.g., mm. 139-142 from m. 85

woodwind), and adding new material for freshness. The extension section (mm.

95-107) is built on materials from the first and second periods (closing theme).

The recapitulation (mm. 166-217) differs from the exposition (mm. 61-95)

in that Theme 1a’’ is presented as a “segmented retrograde’’16 of Theme 1a (mm.

61-65), which occurs in the left hand of the piano (mm. 166-170 and mm. 174-

177), bass clarinet, and bassoons (mm. 175-177). Theme 1a’’ of the right hand

of the piano also appears in the bassoon and brass instruments (mm. 167-170).

Figure 17. Comparison between Theme 1a and Theme 1a” in the piano (mm.

166-170).

16 “Segmented retrograde’’ refers to a retrograde pattern on the basis of the measure rather than the phrase.

28

Theme1b’, retrograde of Theme1b, occurs in the piano (mm. 75-80, mm. 95-98,

mm. 188-189) and in the woodwinds (mm. 170-174).

Figure 18. Theme1b’: Retrograde of Theme b.

Motive C first appears in the trombones (mm. 75-78) and returns in the flutes and

clarinets (mm. 179-182).

Figure 19. Motive C (mm. 75-78).

Figure 20 illustrates that the first movement comprises four main sections:

introduction, exposition, cadenza, and recapitulation. The development is

replaced with a cadenza. White note heads indicate the primary tonal centers

(D-G-E-D-G) and the black note heads indicate the secondary tonal centers.

Figure 20. Form of the first movement.

29

As figure 23 illustrates, the first movement is built upon the two primary

thematic ideas, which are percussive and have their own distinctive

characteristics. The first period (mm. 61-82) is balanced and clearly defined in

phrase structure, consisting of antecedent and consequent phrases, and includes

a link that leads directly to the next phrase. The second period (mm. 83-95)

constitutes period, G minor. The last part of the exposition is a cadential

extension (m. 108-130).

The cadenza (mm. 131-165) is based on materials from the first period

(e.g., piano in mm. 66-67) and the second period (e.g., woodwinds in mm. 85-

89).

The recapitulation (mm. 166-217) differs from the exposition (mm. 61-

130) in that it does not contain the link at the end of the first period, theme2x in

the second period (mm. 183-192), and theme 1b in the third period (mm. 193-

201). The second theme appears not only in the piano but also in woodwinds

and strings in mm. 183-187. Additionally, the extension (202-217) in the

recapitulation is shorter than the one in the exposition.

Due to the transposition of this material to Ab minor, the repetition of the

exposition material in the recapitulation is more energetic and sets up the return

to the tonic (G minor). Furthermore, the orchestration of the recurring material is

more driving, more dramatic, and more colorful in the recapitulation than in the

exposition.

30

Introduction mm. 40-61 (4+9+8)+1 Cm/G17

Exposition

Period 1 mm. 61-82

Theme 1

Antecedent mm. 61-69 (a5+b4) Gm

Consequent mm. 70-78 (a5+b’4) Gm/D

Link mm. 79-82 (4)

Period 2

Theme 2 mm. 83-90 (x3+y5) Gm

Theme 1 mm. 90-95 (b2+b’4) Gm9/Bb

Theme 1&2 mm. 95-107 (b’4+y’5)+4 Gm

Extension mm. 108-130 (6+1+8+8) Gm

Cadenza mm. 131-165

Modulation M2 up from m.132-165 in piano Am

Recapitulation mm. 166-217

Period 1 mm. 166-182

Theme 1 (a+b)

Antecedent mm. 166-174 (a”5+b’4) Gm

Theme 1 a” mm. 166-170 = Theme a mm. 61-65

Theme b’ mm. 170-173 = Theme b mm. 66-69

Consequent mm. 174-178 (a’5+b’4) Gm/D

17 Jazz chords.

31

Theme 1a’ mm. 174-178 = Theme 1a mm. 70-74 (piano and bassoon) = (piano)

Theme 1b’ mm. 179-182 = Theme 1b’ mm. 75-78 (bassoon : L.H) =(Piano)

Period 2

Theme 2y’ mm. 183-187 = Theme 2y mm.86-90 (woodwind, strings and piano) = piano

Theme 1b’+b+ F mm. 188-192 = mm. 90-95

Skip mm. 96-98

Theme 2y’ mm. 193-197 = mm.99-103 Abm

Extension mm. 198-201 = mm. 104-107 (a minor)

mm. 202-217 = mm. 115-130 Gm

Figure 21. Pitch references in the first movement.

32

Second Movement

a. Influences

The second movement, influenced by Anton Webern and Olivier Messiaen,

reflects the stylistic traits of Webern’s twelve-tone music with a relatively simple

surface rhythm and transparent texture. It is clearly divided into three parts (ABA’)

and characterized by pitch sets derived from a twelve-tone row, all of which recall the

Second Viennese School composers’ works, particularly those of Webern. As was

previously discussed, the original twelve-tone row is constructed on the basis of the

Fibonacci series. However, the prime form of the row is not exclusively exploited,

since segments derived from the rows such as trichords, tetrachords, and

hexachords are often used. In contrast with Schoenberg’s conception of the row in

thematic terms, here the tone row is broken up into smaller segments; as Anton

Webern states “the twelve-note row is, as a rule, not a ‘theme’ … the row ensures

unity.”18 Every gesture is based on one note, pairs of notes, trichords, tetrachords,

and hexachords derived from the Fibonacci twelve-tone series, partitioned between

the soloist and the orchestra. These segments of the row are often separated from

each other by rests or by differences in instrumentation, dynamics, rhythm, and

articulation. Similar to Webern’s earlier works, a pointillistic approach to texture is

applied to the first section of the movement. Unlike the traditional Second Viennese

(Schoenbergian) twelve-tone method, however, here the original row is used in a

18 Robert P. Morgan, Twentieth-Century Music: A History of Music Style in Modern Europe and America. 1st ed. New York: W.W. Norton, 1991, p. 206.

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33

freer and less systematic manner.

The second movement presents various colorful effects by assigning a certain

row or a tetrachord to instruments of similar color, giving clarity to the direction of

color chords.

b. Form and Themes

The second movement is tightly structured and begins in a slow tempo creating

a sense of timelessness through long stretches of silence, especially in the beginning

of the movement. Most of its content is based on two primary themes and four basic

motives derived from the Fibonacci twelve-tone matrix that occurs throughout. The

first section (mm. 218-231) of the movement presents the first fragment of Motive I

(Figure 24) in the harp (m. 221). Motive I consists of pentachords (F-Bb-Db-E in

woodwinds and C in strings) in mm. 223-224 and Motive II, which immediately follows

in the oboe, introduces chromaticism (E-Eb-D). The notes of Motive III fall

symmetrically in rhythm. The recurrences of the four-note falling motive (Motive I-

x:perfect 5th+y:dimished 7th) are heard in flute 1 in mm. 223-226, and echoed at the

original pitch level by the flute family and clarinets, mm.229-233. One of the principal

motives, Motive I, occurs a perfect fourth lower with slight intervallic alterations in

violin I and viola (mm. 239-241), and rhythmic augmentation of Motive III in non-

retrogradable rhythm occurs in oboe 2 (mm. 266-269). Some materials, derived from

the canonic figure of Theme 2, appear with various melodic and rhythmic

modifications in piano and orchestra (mm. 248-265).

34

a. Theme 1 in flute (mm. 238-242).

b. Theme 2 in xylophone (mm. 248-249).

c. Motive I.

d. Motive II.

35

e. Motive III.

f. Motive IV.

g. Motive V.

h. Motive VI (Variation of Motive III).

Figure 22. Motives in the second movement.

Theme I, which consists of Motive III plus Motive IV (two hexachords),

begins in the woodwinds (m. 238). The first hexachord (a) of Motive III is

36

canonically imitated by oboes and bassoon 1 in mm. 246-249 and is presented in

retrograde by the woodwind instruments (piccolo, flute, clarinet) at the original

pitch level in non-retrogradable rhythm in mm. 253-259. The second section

(mm. 232-263) introduces the first note of Motive V in the piano (m. 232) and

Theme 2 in the xylophone (m. 248). A two-voiced canon with Motive III is

distributed in the woodwind instruments, violin II, and viola (mm. 238-242),

followed by Motive IV (flute in mm. 240-242). Motive III and Motive IV are

repeated in non-retrogradable rhythm and retrograde of the motives in mm. 254-

259 (Figure 23).

Figure 23. Theme I and retrograde of Theme I (mm. 253-259).

The closing section (mm. 264-276) begins with a rhythmic variation of Motive V in the

piano. The note C, as the first pitch of the twelve-tone row, serves as the pitch center

37

in the double bass (mm. 218-275). The retrograde form of the complete original

twelve-tone row appears at the end of the movement: R1 (0-11) of Theme I, which is

modified in flute 1, flute 2, clarinet 1, clarinet 2 (R1-0-10), and piano (R1-11). This

group of pitches contains all twelve pitches of the row (Figure 26).

Figure 24. The complete twelve-tone row in the second movement (mm. 271-

276).

Figure 25 clearly indicates the segments and a particular collection of sonorities in

the entire second movement. Each box contains the significant recurrences of

primary themes, the four motives, modifications, and fragments presented linearly in

each instrument.

38

mm.

218-237

Motive I: R-11 (1-4) in Flute1 and Bass clarinet R-11 (1-2) in Piccolo, Cl.1&2 R-11 (3-4) in Fl.2 R-11 (1-3) in Harp Motive II:I-9 (0-2) in Ob.2, Bsn 1 & 2 P-0 (1-4) Timpani R-11 (0) Strings P-0 (4-5) in Piano R-0 (4-7) in Vibraphone, Crotales, Harp, Piano P-11 (0-1) in Trumpet

mm.

238-243

Motive III: R-1 (1-6) in Piccolo, Flute1 & 2, Oboe1, Cl.1&2 Motive IV: R-0 (7-12) in Flute1, Oboe2 R-11 (11-12) in Trumpet R-11 (10) in Harp Motive V: P-0 (4-7) in Piano Motive VI: R-10 (0-5) in Violin2 R-10 (0-3) in Violin1

mm.

244-249

Retrograde of Motive I: P-8 (8-11) Motive III:R-1(1-6) in Oboe1&2, Bassoon1 R4-7 (=∑-R-0) in Bassoon2 P-0 (4-7) in Piano R-0 (5-8) in Piano and Harp

mm. 250

-253

P-0 (4-7) in Flute1&2, Clarinet1&2, Bassoon2, Trumpet1, Tuba, Piano P-0 (1-6): Retrograde of Theme I in Flute and Oboe in mm. 36 P-0 (3-6) R-0 (8-11) P-0 (4-6) in Xylophone and Marimba P-0 (3-4) in Trumpet R-0 (4-7) in Bassoon, Trumpet1, Tuba

mm.

253-261

Motive III: R-1 (1-6) in Flute1, Oboe.2 P-1 (6-11) in Piccolo, Flute1&2, Oboe1, Clarinet1&2 R-11 (1-4) in Crotales, Violin2, Viola R-11 (1-3) in Vibraphone, Crotales, Harp P-0 (3-6) in Bass Clarinet, Bassoon1&2, Piano, Trumpet1&2 P-0 (4-6) in Trombone1-3, Tuba

39

P-0 (4-7) R-0 (5-8) in Xylophone R-0 (7-8) in Trumpet2&3, Trombone1 P-0 (3-6) R-0(8-11) P-0 (4-6) in Trumpets1-3

mm.

262-270

R-0 (5-8) Fl. 1&2, Obo. 2, BassCl. R-0 (4-7) Picc., Ob.1, Cl.1, Bsn1, Piano P-0 (0-3), R-0 (5-8) Fl. 1&2, Retrograde of Motive III: P-0 (3-6)+P-1 (6-11) Ob.2 P-11 (9-11) Piano R-10 (0-3) from Motive IV Piccolo, Harp

mm.

271-276

R-1 (0-11): Theme I (modified) Fl.1&2, Cl.1&2+Piano R-1 (0-1) Piano

Figure 25. Significant recurrences of the themes and modifications.

c. Fibonacci Number Proportions in the Second Movement

The sectional divisions are articulated by the retrograde of the Fibonacci

series: The second movement is 233 beats in duration (58 measures of 4/4),

which is 55+3 bars, the same duration as the first pitch of the Fibonacci twelve-

tone row “C” in the double bass (mm. 218-276). The strings’ duration is based

on the Fibonacci series.19 For example, the first violin is 34 beats long in mm.

218-226 and viola 55 beats long in mm. 218-231, etc (Figure 26).

19Allbeatunitsdiscussedinthissectionwillbeinquarternotevalues.

40

Quarter-note beats Measure Beats (measure)

Violin 1 34 218-226 21 (231-237) 13 (251-254) 13 (258-261)

Violin 2 13 218-221 21 (231-237) 13 (243-246)

Viola 55 218-231 13 (243-246)

Cello 1 13 (top)+42 (bottom)=55 (218-)+(-261) 34 (263-271)

Cello 2 43+12 (top)=55 43 (bottom= retrograde of

34)

(218-261)+(262-276) (218-261)

Double bass

233 218-276

Figure 26. Application of Fibonacci series to strings in the second movement.

A rhythm based on the Fibonacci series in retrograde is applied to pizzicato

strings in mm. 263-276 (Figure 27).

Figure 27. Example of retrograde rhythm of Fibonacci series (mm. 271-276).

41

Third Movement

The introduction of the third movement is an exploration of

minimalist music20 where the Fibonacci series is applied to the number of pitches

in the solo piano part (Figure 30). The unfolding of time in this movement

displays dramatic intent, a developmental goal, and a clear direction, which is

more closely related to John Adams’ approach to minimalism than to Steve

Reich’s phase composition or pattern accumulation.21 The rondo sections (mm.

327-412) of the third movement are clearly influenced by piano concertos by Béla

Bartók (1881-1945), Igor Stravinsky (1882-1971), and Henry Cowell (1897-1965)

that exploit various characteristics of the piano as a percussion instrument,

emphasizes percussion in the orchestra, and ends with high energy and vigorous

excitement.

Particularly, the three piano concertos (1926, 1932, 1945) by Bartók

influence this third movement, as evidenced by the use of driving rhythm,

dissonance, and folk elements (as one of the Korean Traditional Rhythmic

Cycles, Chinyangjo is utilized in the second section, mm. 327-345).

20 http://en.wikipedia.org/wiki/Minimalist_music (accessed November 11, 2010). 21 Robert P. Morgan, p.435.

43

Figure 28. Fibonacci numbers in the piano part (mm. 279-316).

a. Thematic and Motivic Ideas

Whereas musical segments often recur and are invariably transformed

through the process of variation that prevails in the first and second movements,

each section has its own individual theme or motive in the third movement:

sections are articulated with distinctive thematic materials that are not modified

throughout the movement. The first entrance of a continuous linear statement

begins on C, which serves as a pedal point until F# is introduced in the strings

(m. 290). Figure 31 shows the opening measures of each theme: Theme 1 and

Theme 3 display a high level of lyricism. Theme 2 (mm. 327-332) is derived from

44

one of the Korean Traditional Rhythmic Cycles, Chinyangjo, and occurs two

more times in the piano (mm. 333-345). Theme 4, which is derived from Motive

D in Percussion 3 (mm. 79-83) in the first movement, has a motoric rhythmic

quality. Theme 5 is more self-contained and has a definite cadential goal.

1. Theme 1 in cello (mm. 297-307).

2. Theme 2 derived from Chinyangjo rhythmic cycle in the piano (mm. 327-332).

3. Theme 3 in woodwinds (mm. 359-368).

4. Theme 4 in oboes (mm. 372-374).

45

5. Theme 5 in flute (mm. 377-379).

Figure 29. Themes in the third movement.

b. Form: Rondo

The third movement is in rondo form, giving the concerto a more dramatic

feeling by alternating the main theme with new themes and recalling the earlier

use of this form in the Classical era. However, the rondo form in this movement

(A-B-A-C-D-E-A-E) is an altered version of the traditional model (A-B-A-C-A-D-

A). In addition, the coda (mm. 399-401) might recall the ritornello, which was the

Baroque predecessor to the rondo, since Theme 5 is played by the entire

orchestra in unison ("tutti"). Moreover, Korean traditional folk material

(Chinyangjo Rhythmic Cycle) is included here, which is consistent with the fact

that many classical rondos feature music of a folk character.22

c. Pitch Structure

The opening remains in the tonic (G minor) throughout until the second

theme occurs in the second period (mm. 327-347). The very first chord, a C

22 Don Michael Randel, The New Harvard Dictioanry of Music, P. 717

46

major 9th chord, might dilute the sense of a key center but F# as the leading tone

to G (m. 283) suggests a clear tonality. Period 2 illustrates significant

characteristics of the new key, A flat minor, which is a key far removed from the

original key of G minor. The modulation is left to the piano soloist, who presents

the second theme with the Chinyangjo Rhythmic Cycle in the second section

from G minor to A flat minor without any preparation, but by chromatic

modulation in mm. 327-368. G minor returns in the third period (mm. 348-368)

and is sustained throughout the rest of the movement. The climax is punctuated

by the tutti section toward the end of the piece.

Introduction mm. 277-293 gm Period 1 mm. 294-324 gm

Theme 1 mm. 297-308 (V.C.) Link mm. 324-326

Period 2 mm. 327-347 Abm Modulation m2 up from mm.327-347

Theme 2 mm. 327-332 (Pf) Chinyangjo Rhythmic Cycle

Theme 1 (Var.) mm. 326-347 (Vln.) Abm Period 3 mm. 348-368 gm Theme 3 mm. 359-368 (woodwinds) Theme 1 mm. 361-368 (Tbn.) Period 4 mm. 368-398 Theme 4 mm. 372-373 (Pf, Ob.) from First Movt. Theme 5 mm. 377-380 (Fl.,Ob.) Theme 1 mm. 387-398 (Fl.1, Fl.2, Strings) gm Coda mm. 399-412 gm

Theme 5 mm. 399-412

Figure 30. Structure of the third movement

47

Chapter 4

Conclusion: Synthesis, Reflection, and Relevance to Future Projects

In Dream of a Thousand Keys, I have endeavored to liberate myself from

traditional Western music by borrowing from a variety of sources. The concerto is

a mixture of disparate musical styles, including references to my own Korean

heritage. The structural use of Fibonacci series, characteristic rhythmic cycles of

Korean traditional music, jazz influences, and optional interpretations on the part

of the conductor and pianist all contribute to the distinctive identity of the work.

As may be evident in the theatrical component of the prelude to Dream of a

Thousand Keys, I have a continuing interest in other fields outside of music, such

as theatre, dance, and multimedia, as well as film, art, and computer technology.

These are areas of interest to me for future collaborative projects.

In the near future, I plan to create several transcriptions of the original

score to Dream of a Thousand Keys, including versions for wind ensemble, for

jazz band, and for string ensemble. This will not only allow me to further explore

the relationship between the piano and varied ensemble types, but will provide a

greater number of performance opportunities for the work.

As a composer who is interested in combining music with theatrical

components and technology, I believe that my continued research will lead me in

new directions, allowing me to further expand my compositional language and to

explore a diversity of musical forms and approaches in my future works. I believe

48

it is important as an artist to challenge oneself with such projects in pursuit of

developing a distinctive musical voice.

49

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Prokofiev, Sergey. Piano Concerto No. 3, in C Major, Op. 26: Boosey & Hawkes London. New York. Berlin. Sydney,1990.

Rachmaninoff, Sergei. Concertos, piano, orchestra, No. 1, Op. 1, F# minor: Dover Publications, Inc., New York, 1990.

Stravinsky, Igor. Movements for Piano and Orchestra: Boosey & Hawkes,

55

Music Publisher Limited London. Paris. Bonn. Johannesburg. Sydney. Toronto. New York,1960.

Wuorinen, Charles. Concerto for piano and orchestra, No. 3: C.F. Peters Corporation, New York. London. Frankfurt,1983.

56

PART II

DREAM OF A THOUSAND KEYS

57

Dream of a Thousand Keys (A Concerto for Piano and Orchestra)

Duration: ca. 20 min.

Completion Date: February 10, 2011

Program Note

Dream of a Thousand Keys is a twenty-minute concerto for piano and orchestra,

which consists of a prelude and four movements presenting multiple dimensional

meanings as suggested by the word “Key.” According to Webster’s New World

College Dictionary, the term “Key” includes more than ten meanings such as ”tone or

pitch,” “one of the levers that sets in motion the playing mechanism,” “something that

affords a means of access,” “a means of clarifying a problem,” and others. The

Fibonacci series determines not only the structure of the work on a macro level but

also the form of each movement and the sections on the micro level. With regard to

harmonic structure, the four movements are built on the modes from twelve-tone

rows derived from the Fibonacci series.

Performance Direction in the Prelude

A conductor may decide whether he or she includes the Prelude with soloist or

orchestra only. When a conductor and a solo pianist play the Prelude with the piano

solo, the conductor may also decide whether the soloist plays the written part, or

chooses to improvise on the basis of the given chords in the solo part. If a conductor

prefers using orchestra only, the pianist does not sound any notes, but may mime

the written notes at the piano or may wait until the end of the introduction of the first

movement. When the soloist mimes or the solo part is not involved, the Prelude

58

would last 2 minutes 30 seconds. However, if a piano soloist decides to perform the

written part along with the orchestra, the tempo should be slower (q=44-60).

Choreography of the Piano Solo in Prelude

In the Prelude, the pianist’s hand gestures, motion and touch level on the

keyboard are unambiguously notated as traditional notation of musical elements on

the score. The soloist can be interpreted as a dancer and the keyboard can be

treated as a two-dimensional black and white floor. If interpreted in this manner, the

soloist should touch (without sounding) the key of the lowest note, the key of the

highest note, and the beginning note on the first beat and the second beat in every

single measure. He or she should make a large circular motion after the attack of

the first note in each measure to the last note on the second beat. In addition, the

soloist may omit notes between the lowest note and the highest note, but may mime

all chords in the Prelude. The space between the soloist and piano is designed as if

gestures of prayer are delivered, which recalls Stockhausen’s thorough guideline for

dance, “Lecture on Hu,” as an introduction to the composition Inori (1974), for one or

two soloists and orchestra. The soloist has his/her hands clasped together before the

heart as if he/she prays before the first note and after the last note of the Prelude

until the conductor gives a cue for the next movement. This prayer gesture is a

symbol of obedience, hope, love, and dream of the future.

59

Instrumentation

1 Piccolo 2 Flutes 2 Oboes 2 Clarinets in Bb Bass clarinet Bb 2 Bassoons 4 Horns 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani 3 Percussions Harp Piano Violin I Violin II Viola Violoncello Contrabass Percussion 1 Xylophone Marimba Brake Drum Triangle Cymbal Claves Percussion 2 Marimba Vibraphone Snare Drum High-hat Gong Percussion 3 Marimba Cymbal Crotales Tom tom Bass Drum

60

Movements and Dedications

Prelude (Ca. 2'40")

I

(Ca. 7')

dedicated to my father Nak Joong Choi

II (Ca. 4')

dedicated to my mother Hyo Suk Choi

III (Ca. 6)

dedicated to my mentor Joseph Klein

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Clarinet in Bb 2

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Dream of a Thousand Keys

Da Jeong Choi

©2011 dajeongchoi.com All rights reserved

Transposed

Concerto for Piano and Orchestra

(2011)

61

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Rœb˘‰ . Œ Ó

Rœ ‰ . Œ Ó

Rœ ‰ . Œ Ó

rœfl‰ . Œ Ó

rœfl‰ . Œ Ó

Rœ ‰ . Œ Ó

Rœ ‰ . Œ Ó

Jœœ œœ J

œœ ˙

Jœ œ jœ ˙

Rœ ‰ . Œ Ó

Rœœ# ‰ . Œ Ó

Rœ ‰ . Œ Ó

"

"

"

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

"

"

"

"


Jœ ‰ Œ Ó

Jœœ# ‰ Œ Ó

Jœœ#

‰ Œ Ó

"

"

"

F

F

F

F

F

ƒ

"

"

"

"

"

"

"

"

"

"

..œœ Jœœ ˙

..œœjœœ ˙

"

"

"

"

"

"

"

"

"

"

"

Ó ...œœœ>jœœœ>

Jœœ> œœb - œœ- œœ- Jœ

>

æ ˙b æ

˙b æ æ

wæ

wæ

wæ

"

"

"

"

"

"

"

"

"

"

"

..œœ jœœ ˙

.œ jœ ˙.œ Jœ ˙

"

"

"

"

"

"

"

"

"

"

"

Œ œœœ> œœœ œœœ>Œ


wæ

wæ

wb æ

æ æ

wæ

"


67

&

&

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

÷

÷

?

&

?

&

?

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

73

"

"

"

"

"

"

"

"

"

"

..œœ Jœœ ˙

..œœjœœ ˙

"

"

"

"

"

"

"

"

"

"

"

Ó œœœ- œœœ-œœ> œœb> œœ> œœ> J

œœ> œœ> Jœœ>

wæ

wæ

wb æ

wæ

wæ

"

"

"

"

"

"

"

"

"

"

"

..œœ Jœœ ˙

..œœjœœ ˙

"

"

"

"

"

"

"

"

"

"

"

œœœ- œœœ- Ó

‰ œ Jœ œ> œœ> œœ# > œœ>

wæ

wæ

wæ

wæ

wæ

"

F

F

Tbn. 2

"

"

"

"

"

"

"

"

"

"

"

"

"

"

˙ Jœ .œ

˙ Jœ .œ

"

"

"

"

"

"

"

Jœœœœb œœœœ# - œœœn - œœœ# -

jœ

Jœœ œ œ œ Jœ

wæ

wæ

wæ

wæ

wæ

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

˙ Jœ .œ

˙ Jœ .œ

"

"

"

"

"

"

"

œb œ œ œb œ œ œb œn . œb œ œ. œn

Jœœœ> J

œœ Jœœœ> J

œœ>

wæ

wæ

wæ

wæ

wæ

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

˙ Jœ.œ

˙ Jœ.œ

"

"

"

"

"

"

"

œb œ œ œ œ œn œ œ œ# œ

Jœœ œœb>

Jœœ œœ# œœn œ œœ>

wb æ

wæ

wæ

wæ

wæ

"

f

f

f

f

Marimba

"

Ó Œ œ œ# œ œ# œ# œ œ# œ


"

"



"

"

"

"

"

"

"

˙Jœ .œb

˙b Jœ .œ

"

"

"

"

" &

"

"

"

œœ œœ# œœn œ Jœ œ Jœ

wæ

wæ

wæ

wæ

wæ

"

C

ƒ

f

f

Hi-hat with bamboo sticks

Cymbal with sticks

f

with hard mallets

f

f

ƒ

ƒ

ƒ

Ab

Bb

Bb

F

F

F

"

wb

w

"

"

w

w

"

"

"

"

"

.œb Jœ œ ‰ Jœ

..œœb jœœ œœ ‰ jœœ

.œ Jœ œ ‰ Jœ

..œœb Jœœ œœ ‰ Jœœ

"

"

wæœ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ

œ> œ œ œ œ œ œ# > œ œ œ> œ œ œ> œ

"

"

œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ

"

"

"

"

"

"

"

a2

"

w

w

"

"

w

w

"

"

"

"

"

.œ jœ œ ‰ Jœ

.œ jœœ œœ ‰ jœœ

.œ Jœ œ ‰ Jœ

..œœ Jœœ œœ ‰ J

œœ

"

"


œ œ œ œ œ œ> œ œb> œ œ> œ œb> œ œ> œ œ>

"

"


"

"

"

"

"

"

"

Eƒ

Bb

D

Ewn

w

w

"

"

w

w

"

"

"

"

"

.œ Jœ ˙

..œœ jœœ ˙˙.œ Jœ ˙

..œœ Jœœ ˙

"

"

wæœ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ

œ œ œ œ œ œ œn œ œ œ> œ œ œ œb > œ œn >

"

"


"

"

"

"

"

"

"


68

&

&

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

÷

÷

&

&

?

&

?

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ƒ Ï

G

ƒ

Bb

82 w

w

w

"

"

w

w

"

"

"

"

"

.œ Jœ> ˙

..œœ Jœœ ˙

.œ Jœ ˙

..œœbJœœ ˙

"

"


œ> œ œ œ œ œ œ> œ Ó

"

"

œœ> œœ

> œœ> œœ

> œœbb> œœ

> œœ##> œœnn

> œœ>œœbb >

œœ>œœb >

œœ ..œœ>œœ

> œœ> œœ

> œœ> œœbb

> œœ> œœ##

> œœnn> œœ

> œœbb> œœ

> œœb> œœ ..œœ

>

"

"

"

"

"

"

f

f

F

F

ƒ

ƒ

ƒ

ƒ

a2

Tpt. 2

"

"

"

"

"

"

"

"

"

"

‰ œ ‰ œ ‰ œ ‰ œ

‰ œœ ‰ œœ ‰ œœ ‰ œœ

Jœœ œ œb Jœ

jœ œ œ œb jœ

"

"

"

"

Jœ ‰ Œ Ó

œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ

"

"

"

œ œ œ# œ ...œœœ œœœb œœœ œœœb œœœ œœœn

Œ œœœ>œœœ œœœ>

œœœ

wwæ

wwæ

wwæ

"

"

"

f

gliss.

gliss.

gliss.

f

"

"

"

"

"

"

"

"

"

"

"

"

œb œ œ œn œ œb œ œ

œb œ œ œn œ œb œ œ

‰ œb ‰ œ ‰ œ ‰ œ

‰ œœ ‰ œœ ‰ œœ ‰ œœ

"

"

"


"

"

"

...œœœ# œœœb œœœ œœœœ œb œ œ ..œœ> œœœ

...œœœ>

Jœœœ> œœœ œœœb >

.

.˙æ œœ

.

.˙æ œœ

.

.˙æ

œœ

"

"

"

F

F

F

ç

ç

ç

ç

ç

ç

"

Jœ œb œ œ jœ

"

Jœ œb œ œ jœ

"

Jœ œb œ œ jœ

"

"

"

"

"

"

Jœ ‰ Œ Ó

jœ ‰ Œ Ó

"


"

"

" &

" &

"?

"

"

œœœ- Œ Ó


jœœœœb ‰ Œ Ó

jœœœœb ‰ Œ Ó

jœœ ‰ Œ Ó

jœœœb

>‰ Œ Ó

jœœœ>‰ Œ Ó

jœœ>‰ Œ Ó

Marimba

F

F

F

a2

F

"

Jœ œ œb œ jœ

"

Jœ œ œb œ jœ

"

Jœ œ œ œ jœ

"

"

"

"

Ó ..œœ>Jœœ>

Ó .œ>jœ>

"

"

"

Jœœ> ‰ Œ Ó

"

"

"

"

œb œ œ œ œ œ œ œœ œ œ œ œ œ œ œ&

"

"

œb œ œ œ œœœ œœœ# ...œœœ œœœn œœœ

Œ œœœ>œœœ œœœ> œœœ

"

"

"

"

"

"

F

F

"

Jœ œb œ œ Jœ

Jœ œb œ œ Jœ

Jœ œb œ œ Jœ

Jœ œb œ œ Jœ

Jœ œ œ œJœ

"

"

"

"

Œ œœ> œœ œœ> Œ

Œ œ> œ œ> Œ

"

"

"

"

"

"

"

"

œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ

"

"

...œœœ# > œœœn œœœ ...œœœ# œœœb œœœ œœœ#b

...œœœ>

Jœœœ> œœœ œœœb> œœœ

"

"

"

"

"

"

f

F

f


"

Jœ œb Jœ œ œ œ


Jœ ‰ Œ Ó

Jœ ‰ Œ Ó


"


"

"

Ó œœ œœ

Ó œ œ

"

"

"

"

"

"

Óœ œ œb œ œ œ œ

"

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

"

"

œœœ œœœb œœœ#b œb œn œ œ œ œ œ œ# œ œœb

jœœœ‰ œœœœb# ‰ œœœœ ‰ œœœ

"

"

"

"

"

"


69

&

&

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

&

&

&

&

?

&

?

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

P

P

P

f

no decresc.

89

"

w

w

"

"

w

"

w

"

"

œœ œœ Ó

œ œ Ó

"

"

"

"

"

"

œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ

"

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

"

"

œœœb œœœ# œœœb œœœ# ...œœœ œœœn œœœ œœœb

....œœœœb# Jœœœœ ‰ œœœ ‰ œœœ

"

"

ww

wwww

"

f

1a.

f

f

f

f

f

P

F

P

P

P

"

jœ ‰ Œ Ó

jœ ‰ Œ Ó

œ œb œ œn œ œ œ œ œ œ#

"

jœ ‰ Œ Ó

"

jœ ‰ Œ Ó

œ œ> œ> œ# > Jœ> œb >Jœ>

œ œ> œ> œ> Jœ> œ> Jœ

>

"

"

"

"

"

"

"

"

œ Œ Ó

"

œ Œ Ó

"

"

œœœb >Œ Ó

œœœ> œœœ>Œ Ó

"

"

Jœœ> ‰ Œ Œ ‰

Jœœ>

jœœ>‰ Œ Œ ‰ jœœ>


"

f

"

"

Ó œb œn œ œb œn œ œ#

œ œ œ œ# œ œb œn œ œb œn œn œ#

"

"

"

"

Jœ œ>Jœ> Jœ œ>

Jœ>

Jœ œ> Jœ>

Jœ œ> Jœ>

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

Jœœ> ‰ Œ Œ ‰

Jœœ>



"

f

"

"

œ Œ Ó

œ Œ Ó

"

œ œb œ œ œb œ œ# œn œn œb œ

"

"

‰ œ> Jœ> ‰ œ> Jœ

>

‰ œ> Jœ> ‰ œ> Jœ

>

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

Jœœ> ‰ Œ ‰ œœ

> œœ> ‰

jœœ>‰ Œ ‰ œœ>

œœ>‰


œœ>‰

"

f

"

"

"

"

"

œ œ œb œ œ œ œ œ œ

"

"

‰ œ> Jœ> ‰ œ> Jœ

>

‰ œ> Jœ> ‰ œ> Jœ

>

"

"

"

"

"

"

"

"

"

"

"

"

"

"

œœ œ> œœ> œœ# >Jœœ> œœb>

Jœœ>

"

"

Jœœ> ‰ Œ ‰

Jœœ> Œ

jœœ>‰ Œ ‰ jœœ>

Œ


Œ

"

F

with a mute

with a mute

F

P f

fP

P

P

f

f

f

f

f

f

Pizz.

Tpt. 2

Ó Œ œ œb œn œ œ# œ œb7

Ó œ œb œn œb œn œ œb œn œ œ# œ œb5

7

Ó œ œb œn œb œn œ œb œn œ œ# œ œb5

7

"

"

œ œ# œ jœ œ œ- jœ-

Ó Œ œ œb œn œ œ# œ œ7

"

‰ œ> Jœ> ‰ œ> Jœ

>

‰ œ> Jœ> ‰ œ> Jœ

>

"

"

Ó Œ œ# œ œb œn

Ó Œ œ œ œ# œ

"

"

"

"

"

"

"

"

"

"

Jœœ œœ> Jœ

>Jœœ œœ> Jœ

>

"

.

.˙æ jœœæ ‰

.

.˙æ J

œœæ‰

..˙æ jœœæ ‰

..˙æ jœœæ ‰

"

D

A

D

A

pizz.

pizz.

pizz.

pizz.

pizz.

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

E

Jœ ‰ Œ Ó

w

w

"

"

jœ ‰ Œ Ó

w

"

Jœ> ‰ Œ Ó

Jœ> ‰ Œ Ó

œœ ‰ ‰ œœ Ó

œœfl‰ ‰ œœfl

Ó

w

w

"

"

"

"

"

"

"

"

"

Jœœœœb > œœœœ# > œœœn > œœœ# >

jœ>

jœ œ œ œ jœ

œœœbfl

‰ ‰ œœœflÓ

œœœbfl

‰ ‰ œœœflÓ

œœœœbb˘

‰ ‰ œœœœ˘

Ó

œœbbfl‰ ‰ œœfl

Ó


Ó

œbfl‰ ‰ œfl

Ó

F

"

w

w

"

"

"

w

"

"

"



Ó

w

w

"

"

"

"

"

"

"

"

"

œb œ œ œb œ œ œb œn œb œ œ. œn -

jœ œœjœœ jœ œœ

jœœ

œœœb ˘‰ ‰ œœœ

˘Ó

œœœbfl

‰ ‰ œœœflÓ

œœœ˘

‰ ‰ œœœ˘

Ó


Ó


Ó

œ ‰ ‰ œ Ó


70

&

&

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

&

&

&

&

?

&

?

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

f

f

f

97

"

.œb œ œ œ# .œn œ œ œb

"

.œb œ œ œ# .œn œ œ œb

"

.œ œ œ œ# .œn œ œ œb

"

"

"

"



Ó

"

"

"

"

"

"

"

"

"

"

"

œb œ œ œ œ- œ. œ. œ œ# . œ>jœœ œœb jœœ œœ# œœn œ œœ

œœœbfl

‰ ‰ œœœflÓ

œœœbfl

‰ ‰ œœœflÓ

œœœœbb˘

‰ ‰ œœœœ˘

Ó

œœbb fl‰ ‰ œœfl

Ó


Ó

œb fl‰ ‰ œfl

Ó

f

f

f

"

Jœb ‰ Œ Ó.œb œ œ œ# œ œ œn œ

Jœb ‰ Œ Ó.œb œ œ œ# œ œ œn œ

"

.œ œ œ œ# œ œ œn œ

"

"

"

œœ ‰ ‰ œœ ‰ Jœœ Œ


‰ jœœflŒ

"

"

"

"

"

"

"

"

"

"

"

"

œœ œœ# œœn œ jœ œ ‰

œœœb˘‰ ‰ œœœ

˘‰

Jœœœ˘

Œ

œœœbfl

‰ ‰ œœœfl‰

jœœœflŒ

œœœ˘

‰ ‰ œœœ˘

‰ Jœœœ˘

Œ


‰jœœfl

Œ


‰ jœœflŒ

œ ‰ ‰ œ ‰ Jœ Œ

f

"

œ œ# œ œ œ# œ œb œ .œ œ œ œ

Rœ ‰ . Œ Ó


Rœ ‰ . Œ Ó

œ œ# œ œ œ# œ œ œ .œ œ œ œ

Rœ ‰ . Œ Ó

"

"

"



‰ jœœflŒ

"

"

"

"

"

"

"

"

"

"

"

œœœb œœœb œœœ œœœ ...œœœ# œœœ œœœb

œœœ Jœœœ ‰ œœœ ‰ œœœœ# œœœœb

œœœbfl

‰ ‰ œœœfl‰

jœœœflŒ

œœœbfl

‰ ‰ œœœfl‰

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71

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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104

œ œ# œ œ œ# œ œb œ œ œ


œ œb œ œ œ œn œb œ œ œb œ œ œ œ œ œ


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72

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

%

112

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73

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

(%)

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74

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

127

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B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

F

F

181

"

˙ Jœ.œ

˙ Jœ.œ

œ œ œ œb œ Jœ .œ

Œ œb œ œ œ Jœ.œ

˙ Jœ.œ

˙ Jœ.œ

˙ Jœ.œ

Jœ œb >Jœ œ# œn œ œ>

Jœ œ> Jœ œ œ œ œ>

"

"

"

"

"

"

"

"

"

"

"

"

"

œœœ> œœœ

> œœœ> œœœ

> œœœ> œœœ

> œœœb > œœœ# > œœœ> œœœ#> ‰ J

œœœb >

œœœb >œœœ>

œœœ>œœœ>

œœœ>œœœ>

œœœ# >œœœ> œœœ> œœœ# >

‰ jœœœ>wb æ

wwb æ

wæ

wæ

wæ

"

Marimba

"

˙Jœ .œb

˙b Jœ .œ

œ œ œb œ Jœ œ .œ

œ œ œ œ œ Jœb .œ

˙ Jœ .œ

˙ Jœ .œ

˙ Jœ .œ

œ œ# Jœn œ Jœ œ

œ œ œ œ> œ œ œ

"

"

"

"

"

"

"

"

"

" &

" ?

"

"

œœœb œœœ œœœ œœœ œœœ œœœb œœœ œœœ œœœ œœœ œœœ# œœœ# œ œœœ

œœœb œœœ œœœ œœœ œœœ œœœb œœœ œœœ œœœ œœœ œœœœ# œœœ œœœœœœœ#

wæ

wwæ

wæ

wæ

wæ

"

F

F

F

F

F

F


F

F

F

œb œ œ œ œ œ .œ œ œ


œb œ œ œ œ œ# .œ œ œ


œb œ œ œ œ œ# .œ œ œ

œ œ œ œ œ œ .œ# œn œ

œ œ œ œ œ œ# .œ œ œ

Œ œ> œ œ> œŒ œ> œ œ> œ

Œ œ> œ œ> œ

"

"

"

"

"

"

"

"

œ œ œ œ œ œ œ œ œ œ œ œ

"

œ œ œ œ œ œ œ œœ œ œ œ œb œ œ œ&

"

"

œœœb> œœœ> œœœ> œœœb > œœœ> œœœ> œœœ> œœœ> œœœ> œœœ> œœœ> œœœ>

œœœb> œœœ> œœœ> œœœ> œœœ> œœœ> œœœ> œœœ> œœœ> œœœ>œœœ>

œœœ>?



œb œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ

Œ œ> œ œ> œŒ œ> œ œ> œŒ œ> œ œ> œ

.œ œ œ .œ œb œ œ#

.œ œ œ.œ œb œ œ#



.œ œ œ .œ œ œ œb

.œ# œn œ .œ# œ œ œ

.œ œ œ .œ œ œ œ

.œ>jœ> œ œ> œ

.œ> Jœ> œ œ> œ

.œ> Jœ> œ œ> œ

"

"

"

"

"

"

"

"

œ œ œ œ œ œ œ œ ˙

"


"

"

œœœb > œœœ> œœœ# > œœœ> œœœ

> œœœb> œœœ> œœœ#

> ...œœœ œœœb œœœ œœœœœœb > œœœ> œœœ# > œœœ

> œœœ> œœœb

> œœœ> œœœ##

> œœœ œœœ> œœœ>.œ œ œ .œ œb œ œ#


œb œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ

.œ>jœ> œ œ> œ

.œ>jœ> œ œ> œ

.œ> Jœ> œ œ> œ

f

œ œ œb œb œn œ œ œ œ œ œ# œ œb




œ œ œ œb œn œ œ œ œ œ œ# œ œ

œ œ œb œ œn œ œ œ œ œ œ# œ œ

œ œ œ œb œn œ œ œ œ œ œ# œ œ

jœ‰ œ ‰ œ> ‰ œ>

jœ ‰ œb ‰ œ> ‰ œ# >

jœ ‰ œ ‰ œ> ‰ œ>

"

"

"

"

"

"

"

"

Óœ œ œ œ œ œ œ

"


"

"

œœœ œœœb œœœ#b œb œn œ œ œ œ œ œ# œ œœb

jœœœ‰ œœœœb# ‰ œœœœ ‰ œœœ



œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ

jœ‰ œ ‰ œ> ‰ œb >

jœ‰ œb ‰ œ

> ‰ œ# >

Jœ ‰ œ ‰ œ> ‰ œ>

f

œ œ# œb œ .œ œ œ œb



œ œ œ œ .œ œ œ œ

œb œ œ œ# .œ œn œ œb

œ œ# œ œ .œ œn œ œœ œ œ œ# .œ œn œ œb

.œJœ ‰ œ> ‰ œ>

.œb Jœ ‰ Jœ> ‰ Jœ>

.œ Jœ ‰ œ> ‰ œ>

"

"

"

"

"

"

"

"


"


"

"

œœœb œœœ# œœœb œœœ# ...œœœ œœœn œœœ œœœb

....œœœœb# Jœœœœ ‰ œœœ ‰ œœœ



œ œb œ œ œ œ œ œ œ œ œ œb œ œ œ œ.œ

Jœ ‰ œ> ‰ œ>

.œb Jœ ‰ jœ> ‰ jœ>

.œ Jœ ‰ œ> ‰ œ>


79

&

&

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

÷

&

&

&

?

&

?

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

Ÿ~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~Ÿ~~~~

Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~

F

with a mute

with a mute

F

Tpt. 2

187

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

jœ ‰ Œ Ó

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

"

"

Ó Œ œ# œ œb œn

Ó Œ œ œ œ# œ

"

"

"

"


"

œ Œ Ó

"

"

œœœb >Œ Ó

jœœœ>‰ Œ Ó

œb >Œ Ó

œ> Œ Ó

Jœœ> ‰ Œ Ó

jœ> ‰ Œ Ó

jœ> ‰ Œ Ó

Jœ> ‰ Œ Ó

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ D

ƒA

ƒ

ƒ

pizz.

ƒpizz.

ƒ

ƒpizz.

ƒpizz.

ƒpizz.

ƒ

A

B

E

Pizz.

ß

ß

Jœ ‰ Œ Ó

˙ œ œ#

w

˙ œ œ#

"

w

w

"

Jœ> ‰ Œ Ó

Jœ> ‰ Œ Ó



Ó

w

w

"

"

"

"

"

"

"

"

"

Jœœœœb > œœœœ# > œœœn > œœœ# >

jœ>

Jœ œ œ œ Jœ

œœœbfl

‰ ‰ œœœflÓ

œœœbfl

‰ ‰ œœœflÓ

œœœœbb˘

‰ ‰ œœœœ˘

Ó


Ó


Ó

œbfl‰ ‰ œfl

Ó

FD C A

F CD Aœb œ œb œœb œ œb œ

w

œb œ œb œ

"

w

w

"

"

"



Ó

w

w

"

"

"

"

"

"

"

"

"

œb œ œ œb œ œ œb œn œb œ œ. œn -

Jœœœ J

œœ Jœœœ J

œœ

œœœb˘‰ ‰ œœœ

˘Ó

œœœbfl

‰ ‰ œœœflÓ

œœœ˘

‰ ‰ œœœ˘

Ó


Ó


Ó

œ ‰ ‰ œ Ó

f

f

f

f

"

.œ œ œ œ# .œn œ œ œ



"


"

"

"

"



Ó

"

"

"

"

"

"

"

"

"

"

"

jœ œœœb# œœœ œœœœ#Jœœœœ

Jœœ œœb

Jœœ œœ# œœn œ œœ

œœœbfl

‰ ‰ œœœflÓ

œœœbfl

‰ ‰ œœœflÓ

œœœœbb˘

‰ ‰ œœœœ˘

Ó


Ó


Ó

œb fl‰ ‰ œfl

Ó


Marimba with hard malletsf

f

"

Jœb ‰ Œ Ó

œ œ œ# œ .œ œ œ œb

"

œ œ œ# œ .œ œ œ œb

"

œ œ œ# œ .œ œ œ œ

"

"

"



‰ jœœflŒ

"

"

"

"

"

"



"

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"

œ œ .œ œb œ œ œ œ# œn œ œb œ

œœ œœ# œœn œ Jœ œ ‰


˘‰

Jœœœ˘

Œ

œœœbfl

‰ ‰ œœœfl‰

jœœœflŒ

œœœ˘

‰ ‰ œœœ˘

‰ Jœœœ˘

Œ


‰jœœfl

Œ


‰ jœœflŒ

œ ‰ ‰ œ ‰ Jœ Œ

"

œ œ .œ œb œ œ œ œ# œn œ œb œ

Jœ ‰ Œ Óœ œ .œ œb œ œ œ œ# œn œ œb œ

Jœ ‰ Œ Óœ œ .œ œ œ œ œ œ# œn œ œb œ

Jœ ‰ Œ Ó

"

"

"



‰ jœœflŒ

"

"

"

"

"

"

œ œ .œ œ œ œ œ œ œn œ œb œnœ œ .œ œ œ œ œ œ œn œ œb œn

"

"

"


œœœ Jœœœ ‰ œœœ ‰ œœœœ# œœœœb

œœœbfl

‰ ‰ œœœfl‰

jœœœflŒ

œœœbfl

‰ ‰ œœœfl‰

jœœœflŒ

œœœœbb˘

‰ ‰ œœœœ˘

‰Jœœœœ˘

Œ


‰ jœœflŒ


‰ jœœflŒ

œb fl‰ ‰ œfl

‰ jœflŒ

"

œb œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ


œb œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ




"

"

"



‰ jœœflŒ

"

"

"

"

"

"

œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ

"

"

"

œœœ# œœœb œœb > œ œ# œ> œ> œ œ œ œ œb œœœn#>

œœœœ Jœœœb# ‰ J

œœœœ ‰ œœœœ


˘‰

Jœœœ˘

Œ

œœœbfl

‰ ‰ œœœfl‰

jœœœflŒ

œœœ˘

‰ ‰ œœœ˘

‰ Jœœœ˘

Œ


‰jœœfl

Œ


‰ jœœflŒ

œ ‰ ‰ œ ‰ Jœ Œ


80

&

&

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

÷

&

&

&

?

&

?

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~

Ÿ~~

Ÿ~~

194

"

œ œ œ œ# œ œb œ œ# œŒ



œ œ œ œ# œ œb œ œ# œ Œœ œ œ œ# œ œ œ œ# œ

Œœ œ œ œ# œ œ œ œ# œ

Œ

"

"

"



‰ jœœflŒ

"

"

"

"

"

"

"

"

"

"

"

œœœb œœœ# œœœ œœœ#b œœœ ...œœœ> Œ

‰ œœœ Jœœœb œœœ Œ

‰ œœœbfl

‰ œœœfl‰

jœœœflŒ

‰ œœœbfl

‰ œœœfl‰

jœœœflŒ

‰ œœœœbb˘

‰ œœœœ˘

‰Jœœœœ˘

Œ


‰ jœœflŒ


‰ jœœflŒ

‰ œb fl‰ œfl

‰ jœflŒ

"

œ œ œ œ# œ œb œ œ# œ œb œb œ œn



œ œ œ œ# œ œb œ œ# œ œb œb œ œnœ œ œ œ# œ œ œ œ# œ œb œ œ œ#

œ œ œ œ# œ œ œ œ# œ œb œ œ œ#

"

"

"



‰ jœœflŒ

"

"

"

"

"

"

"

"

"

"

"

œœœb œœœ# œœœ œœœ#b œœœ ...œœœ> œœœbbb

‰ œœœ Jœœœb œœœ œœœ œœœbb

‰ œœœbfl

‰ œœœfl‰

jœœœflŒ

‰ œœœbfl

‰ œœœfl‰

jœœœflŒ

‰ œœœœbb˘

‰ œœœœ˘

‰Jœœœœ˘

Œ


‰ jœœflŒ


‰ jœœflŒ

‰ œb fl‰ œfl

‰ jœflŒ

arco

arco

f

f

arco

arco

arco

f

f

f

f

f

f

f

f

f

f

f

f

f

œ œb œb œ œn œb œb œ œb œ



œb œ œb œb œ œ œb œ œ œ

.œb œb œ œ .œb œ œ œœ# œb œb œ œn œ œb œ œb œ

œ# œb œb œ œn œ œb œ œb œ

.œb œ œ œ .œ# œ œ œ

.œb œb œ œ .œ œ œ œ


"

"

"

"

"

"

"

"

"

"

"

"

"

œœœ ...œœœbnb >œœœbbb > œœœ ...œœœn > œœœbb œœœb

œœœ œœœbbb> J

œœœbb > ...œœœ


œb œb œb œb œ œ œ œ œ' œ.œb œb œ œ .œb œ œ œ

.œb œb œ œ .œb œ œ œ


"

œ œb œb œ œ œb œ œ œ œ œ œ œ œ œ œb

œ œb œb œ œ œb œ œ œ œ œ œ œ œ œ œbœ œb œb œ œ œb œ œ œ œ œ œ œ œ œ œbœb œb œ œ œb œ œ œ œ œ œ œ œ œb œb œb

.œb œb œ œ .œb œ œ œœ# œb œb œ œ œ œ œ œ œ œ œ œ œ œ# œbœ# œb œb œ œ œ œ œ œ œ œ œ œ œ œ# œb




"

"

"

"

"

"

"

"

"

"

"

"

"

œb œb œb œn Œ Œ Œ

Œ œœb œœb œ œœb œœ œœn

œb œb œa œ œb œb œ œ œ œ œ œ œ œ œb œbœb œb œ œ œb œ œ œ œ œ œ œb œ œb œb œb




"

œb œn œb œb œn œb œ œ œb œ

œb œn œb œb œn œb œ œ œb œ

œb œ œb œb œ œ œb œb œ œn œ œb œ œn œ œb

œb œ œb œb œ œ œb œb œ œn œ œb œ œn œ œb

œb œn œb œb œn œb œb œ œb œ

œb œ œb œ œ œ œb œb œ œn œ œb œ œn œ œb

œb œn œ œb œn œb œb œ œb œ




"

"

"

"

"

"

"

"

"

"

"

"

"

œœœbbb œœœb ..œœ œ œb œ œ œœœ œœœb

œœbb œ œœœbb ...œœœ Jœœœb

œb œn œb œb œn œb œb œ œb œ

œb œb œb œn œb œb œb œb œ œ




"

F

F

Bb

Bb

ƒ

ƒ

ƒ

ƒ

ƒ

C

wb

wb

œ œb œ œb œ œ œ œ

œ œb œ œb œ œ œ œ

œ œb œ œb œb œ œ œœ# œb œ œb œ œ œb œ

œ# œb œ œb œn œ œ œ#.œb œn œ œ .œ# œ œ œ



"

"

"

"

"

"

"

"

"

"

"

"

"

œœœbb ...œœœb œœœbbb œœœ œœœ œœœ œœœ ...œœœb

œœœ œœœbbbJœœœ

...œœœ

wbæœb œb œb œb œb œ œ œb


.œb œb œ œ œb - œ œ œb œ


"


81

&

&

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

÷

&

&

&

?

&

?

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ƒ

ƒ

ƒ

ƒ

ƒ

Bb

ƒ

ƒ

ƒ

C

200

w

w

w

w

wbw

wb

Jœb ‰ Œ Ó

Jœb ‰ Œ Ó

Jœb ‰ Œ Ó

"

"

"

"

"

"

"

"

"

" ÷

"

"

"

œœœbbb > ...œœœ>

Ó .

œœœbbb >...œœœ>

Ó .

wæwbæ

wwbbæ

wb æ

wb æ

"

div.

div.

arco.

A

A

A

E

E

D

B

w

w

w

w

ww

w

"

"

"

"

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"

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"

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"

"

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"

"

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"

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wæ

wbæ

wwæ

wæ

wæ

"

ƒ

ƒ

ƒ

p

p

ƒ

ƒ

p

p

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Ó.˙

U

œ Œ Ó .U

œ Œ Ó .U

œ Œ Ó .U

œ Œ Ó .U

œœ Œ Ó .U

˙ ..˙U


90

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44

44

44

44

44

44

44

44

44

44

44

44

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44

44

44

44

44

44

44

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44

44

44

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44

44

44

44

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

q = 108

p

p

III

#

q = 108

p

p

p

pizz.

p

q = 108277

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

.œ- jœ- .œ- jœ-

.œ- jœ- .œ- jœ-œ ‰ jœ œ ‰ jœ

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‰ jœœ> Œ Ó



.œ- ‰ œ Œ

.œ- ‰ œ Œ

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ß

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œ‰ jœ œ ‰ jœ


œ Œ œ Œ

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F

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‰ œ œ Œ Œ œ œb œ




.œ jœ .œ jœ



91

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

283

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with a mute a 2

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

P

P

P

P

P

p

a 2

P

290

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œ ‰ jœ œ#‰ jœ

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œb œ œ œ œ œ œ œ œ œb œ œ#œ œ œ?

œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œb œ œ# œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

P

P

F

F

F

F

arco.

297

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œb œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~

F

F

F

Marimba F

F

303

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˙ Jœ ‰ œ œ œ œ#

˙ Jœ ‰ œ œ œb œ

Ó Œ œ œ œ œ#

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with a mute

with a mute

with a mute

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œ œ œ œ œ œ œb œ Rœ ‰ . Œ


œ œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ

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f

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pizz.

pizz.

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pizz.

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&?

&

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&

&

&

&

B

B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

f

309


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arco

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arco


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œ œb œ œ œ œ œ œ# œ œ œ œ œ œ œ œ

˙ œb œ

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œb œb œ œb œ œ œ œ œ œ œ œ œ œ œ œ

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œb œ œ œb

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

315

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œb œ œ œ œ œ œb œ œ œ‰ Œ

œ œ œ œœb œ œ œ œ œ œ œ œ œ œ œ

œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œœ œ# œ œb œ œ œ œ œ œ œ œ œ œ œ œ

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dim.

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a 2

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33

3

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

F

P

324

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without a mute

without a mute

without a mute

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

F

F

F

F

F

with soft mallets

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B

B

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

Vc. 2

Cb.

Hp.

Pno.

P

337

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F

F

F

f

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Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

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Tbn. 1

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Tuba

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Per. 1

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Vln. I

Vln. II

Vla.

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Hp.

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343

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101

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44

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

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Tuba

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Per. 1

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Vln. I

Vln. II

Vla.

Vc. 1

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Hp.

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102

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

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Vln. I

Vln. II

Vla.

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Vc. 2

Cb.

Hp.

Pno.

%

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103

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Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1.2

Hn. 3.4

C Tpt. 1

C Tpt. 2.3

Tbn. 1

Tbn. 2.3

Tuba

Timp.

Per. 1

Per. 2

Per. 3

Vln. I

Vln. II

Vla.

Vc. 1

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Cb.

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Pno.

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104

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Fl. 1

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106

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107

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