old school for the new school: discussing the importance

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3-18-2019

Old School for the New School: Discussing theImportance of Motown Records in AmericanMusic HistoryCrystal Darcell [email protected]

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Recommended CitationBirdsong, Crystal Darcell, "Old School for the New School: Discussing the Importance of Motown Records in American MusicHistory" (2019). LSU Doctoral Dissertations. 4868.https://digitalcommons.lsu.edu/gradschool_dissertations/4868

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OLD SCHOOL FOR THE NEW SCHOOL: DISCUSSING THE IMPORTANCE OF MOTOWN RECORDS IN AMERICAN MUSIC HISTORY

A Dissertation

Submitted to the Graduate Faculty of the Louisiana State University and

Agricultural and Mechanical College In partial fulfillment of the

Requirements for the degree of Doctor of Philosophy

in

The School of Music

by Crystal Darcell Birdsong

B.M., Centenary College of Louisiana, 2012 M.M. Louisiana State University, 2016

May 2019

ii

ACKNOWLEGDMENTS

First, I would like to thank Dr. Dinos Constantinides, who has provided a stellar

academic experience for me from start to finish, as well as pushing me to be a better composer

and scholar each and every day. I would also like to thank Professor Michael Gurt for shaping

me into a better pianist and performer, as well as providing insight and encouragement every step

of the way. A special thank you goes out to Dr. Alison McFarland for being a most excellent

example of representation, and reminding me that I can one day go above and beyond in the

world of academia just by being myself. I would also like to thank Dr. Carmela Mattza for your

positive feedback and encouragement. Lastly, I would like to thank God for my incredibly

gracious and loving parents. I am not the person I am today without the love and support that

blooms from them. I am a strong, proud, African American woman because they raised me to be.

I am forever grateful.

iii

TABLE OF CONTENTS

ACKNOWLDEGEMENTS………………………………………………………..ii

ABSTRACT……………………………………………………………………….iv

CHAPTER 1. MYSTERY SYMPHONY NO. 1 BY CRYSTAL BIRDSONG…………………………………………………………1

CHAPTER 2. INTRODUCTION AND BRIEF COMPARISON OF TWO NOT

SO DISTANT WORLDS…….……………………………………68 CHAPTER 3. THE SCHOOL THAT PAVED THE WAY……………..…….….72 CHAPTER 4. THE INCEPTION OF MOTOWN’S VOICE………………...…..80 CHAPTER 5. FREEDOM OF EXPRESSION WITHIN THE CIVIL

RIGHTS MOVEMENT………………………...…………………86

CHAPTER 6. CONCLUSION AND FINAL REMARKS…….…………………………………...…..………...92

BIBLIOGRAPHY………………………………………………………………...94 VITA………………………………………………………………………………96

iv

ABSTRACT

The purpose of this study is to look at the contribution of Motown Records within music

history and American history, as well as why it should be of great importance to those who study

20th century music. It tends to be overlooked in the world of academia, despite efforts to bring

the subject to the forefront of today’s classwork and courses at the collegiate level. It is not so

much that it does not exist, but it is not nearly as prevalent as it should be, seeing as its

contribution to music history and history in general is so innovative. The goal is to find parallels

between this subject matter and that which is heavily discussed in academia: Schoenberg and his

cultural contribution to 20th century music. It is extremely important that his methods of

composition and cultural background be discussed. However, if similarities are made and proven

that certain struggles are apparent, and that art was the means to break those molds, then it would

be a step in the direction.

1

CHAPTER 1. MYSTERY SYMPHONY NO. 1 BY CRYSTAL BIRDSONG

The Mystery Symphony No.1 is a body of work that was influenced by bridging the gap

between multiple influences. The main influences for this piece include the flare of Ludwig van

Beethoven, Edward Elgar, and Igor Stravinsky. There are also subtle hints of Nikolai Rimsky-

Korsakov’s Scheherazade. The inspiration of Beethoven was acquired by studying various

works, specifically his piano sonatas through years of piano research. One thing Beethoven is

admired for is the subtle changes he makes in the recapitulation sections of his works. They are

not always full on variations, but the changes (key structure, slight rhythmic changes, addition of

a coda, etc.) are a nod to the original exposition. This symphony is mostly a free form, but there

is a reinstatement of the “exposition” in the “recapitulation” section at the end. Edward Elgar’s

influence is shaped by the Enigma Variations. The entire piece itself is not in fact a variation,

but it was always believed that a hidden message or theme took residence within Elgar’s variated

masterpiece. Because scholars are not one-hundred percent sure just what the hidden message

could be, it could also be interpreted as an “enigma.” Furthermore, one of the enigmas in this

symphony includes a few musical homages, or “nods” to other famous pieces if observed. The

most obvious enigma is Igor Stravinsky’s Dance of The Adolescents from the ballet, Rite of

Spring. That is not to say that it quotes Rite of Spring, but it provides a satirical approach to the

era in which it was written. The rest of the enigmas within the piece remain hidden, which bows

its head to honor Elgar’s Enigma Variations. Rimsky-Korsakov’s influence is mentioned

because of the similar tonal and rhythmic relation between the first movement of the

Scheherazade. Again, nothing is actually quoted from these great works; it simply honors them

in a satirical way. That is a huge part of the enigma. Mystery Symphony No. 1 is 20 minutes in

length. Instrumentation is as follows:

2

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49 ..œœ## jœœ# ˙̇

.œ jœ ˙

.œ# jœ ˙œ> œ. ‰ jœ. œ. œ. ‰ jœ.œ> œ. ‰ jœ. œ. œ. ‰ jœ.

FF

Div.

∑Jœ ‰ Œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ

˙̇̇̇b ˙̇̇̇

∑∑

wwwwb

‰ œ œ œ œ œ œ œ

ww˙b ˙œ> œ. ‰ jœ. œ> œ> œb > œ>œ> œ. ‰ jœ. œ> œ> œb > œ>

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wwww#

∑∑∑

.œ# Jœ ˙

.œ jœ ˙


∑∑∑∑∑∑∑∑

œœ œœ œœb œœ œœ3

œœb œœ œœ œœ œœ3

∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ> œ. ‰ jœ. œ> œ> œb > œ>œ> œ. ‰ jœ. œ> œ> œb > œ>

FF

PP

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

..œœ## jœœ# ˙̇

.œ jœ ˙


FDiv.

10

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

54 ∑∑∑∑∑∑∑∑

54 ∑∑∑∑∑∑∑

54 ∑54 ∑54 ∑

∑54 ∑

∑54 ‰ œ œ œ œ œ œb

3

ww˙b ˙œ> œ. ‰ jœ. œ> œ> œb > œ>œ> œ. ‰ jœ. œ> œ> œb > œ>

Div.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

ww

ww#


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙̇ Œ œ˙˙ Œ œ

˙a Œ œ

œ> œ. ‰ jœ. œ> œ> œ> œ>

œ> œ. ‰ jœ. œ> œ> œ> œ>

.œ# Jœ ˙

..œœ## Jœœ ˙̇

.œ jœ ˙

.œ# jœ ˙

..œœ## Jœœ ˙̇

∑∑∑

œœ œœ œœ ..œœ œ œ# œ3

3

œ œ œ .œ œ œ œ#3

3

Ó œ œ œ œ

Ó œ œ œ œŒ Œ Ó

∑

œ œ ‰ jœ œ œ ‰ jœÓ Œ œ œ œ3

∑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

..œœ## Jœœ ˙̇

.œ jœ ˙

.œ# Jœ ˙œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.ff

f

f

FDiv.

F

F

ff

FF

FDiv.

FDiv.

f

FDiv.

f

f

‰ œ œ œb œ œ œ œ


wwb˙b ˙‰ œ œ œn œ œ œ œ

Œ œ> œ> œn >Œ œ> œ> œb >Œ œ> œ> œb >

˙ ˙n

w

Ó œb œ œ œ

Ó œb œ œ œŒ œ> œ> œb >Œ œ> œ> œb >œ œ ‰ jœ œ œ œb œœ Œ Ó

∑œ œ œb œ œ œb œ œ

œb œ œ œb œ œ œb œ∑

œ œ œb œ œ œb œ œœb œ œ œb œ œ œb œ

∑

‰ œ œ œb œ œ œ3

wwb˙b ˙œ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

Div.

Div.

FF

FF

F

.œ# Jœ ˙

.œ# Jœ ˙

.œ jœ ˙

.œ# jœ ˙

.œ# Jœ ˙

.>̇Œ

.>̇ Œ

.>̇ Œœœ œœ œœ ..œœ œ œ# œ

33


3

Ó œ œ œ œ

Ó œ œ œ œ

.>̇ Œ

.>̇ Œ

œ œ ‰ jœ œ œ ‰ jœÓ Œ œ œ œ3



∑ww

ww.œ# Jœ ˙

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

ff

FF

11

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

60 ∑∑∑∑∑

Œ œ> œ> œn >Œ œ> œ> œb >Œ œ> œ> œb >

60 ˙ ˙n

w

Ó œb œ œ œ

Ó œb œ œ œŒ œ> œ> œb >Œ œ> œ> œb >œ œ ‰ jœ œ œ œb œ

60 œ Œ Ó60 ∑60 œ œ œb œ œ œb œ œ


60 œ œ œb œ œ œb œ œœb œ œ œb œ œ œb œ

∑60 ˙̇ Œ œ œb œ œ

˙̇ Œ œ œb œ œ˙a Œ œ œb œ œœ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

FF

FF

F

.œ# Jœ ˙

..œœ## Jœœ ˙̇

.œ jœ ˙

.œ# jœ ˙

..œœ## jœœ ˙̇

.>̇Œ

.>̇ Œ

.>̇ Œœœ œœ œœ ..œœ œ œ# œ

33


3

Ó œ œ œ œ

Ó œ œ œ œ

.>̇ Œ

.>̇ Œ

œ œ ‰ jœ œ œ ‰ jœ∑∑

œ œ# œ œ œ# œ œ œ# œ œ œ œ œ œ œ œ


∑˙̇æ ˙̇## æ

∑∑

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

FDiv.

F

ff

FF

FDiv.

‰ œ œ œb œ œ œb3

‰ œ œ œb œ œ œb3

wwb˙b ˙‰ œ œ œn œ œ œn

3

∑∑∑

˙ ˙n

w

Ó œb œ œ œ

Ó œb œ œ œŒ œ> œ> œb >Œ œ> œ> œb >œ œ ‰ jœ œ œ œb œ

∑∑




∑∑∑

œ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

Div.

FF

12

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~63 w

ww

ww#

.œ# jœ ˙ww

∑∑∑

63 ww

ww#

∑∑

.>̇ Œ

.>̇ Œ∑

63 ∑63 ∑63 Œ œ œ œ# œ œ œ# œ œ œ#

3

33

∑63 Œ œ œ œ# œ œ œ# œ œ œ#

3

33

∑63 ∑

∑∑

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

˙ Ó˙̇ œ Œ˙˙ Œ œ

˙a Œ œ˙̇ œ Œ

∑∑∑

˙̇ ˙̇n

˙˙b ˙̇n∑∑∑∑∑∑∑

œœœœbbb Œ Ó∑

œœœœbbb Œ Ó∑

∑∑∑

œ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

.œ Jœ ˙

..œœ# Jœœ ˙̇

.œ Jœ ˙

.œ# Jœ ˙

..œœ# Jœœ ˙̇

∑∑∑

œœ# œœ œœ ..œœ œ œ œ#3 3

œ œ œ .œ œ œ œ3

3

Ó œ œ œ œ

Ó œ œ œ œŒ Œ Ó

∑

œ œ ‰ jœ œ œ ‰ jœÓ Œ œ œ œ

3

∑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

..œœ# Jœœ ˙̇

.œ Jœ ˙

.œ# Jœ ˙œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.ff

f

f

FDiv.

FF

ff

F

FDiv.FDiv.

f

FDiv.

f

f

F



wwb˙b ˙

‰ œ œ œn œ œ œ œ

Œ œ> œ> œn >Œ œ> œ> œb >

Œœ> œ> œb >

˙ ˙n

w

Ó œb œ œ œ

Ó œb œ œ œŒ œ> œ> œb >

Œ œ> œ> œb >

œ œ ‰ jœ œ œ œb œœ Œ Ó




∑


wwb˙b ˙œ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

Div.

Div.

FF

FF

F

.œ Jœ ˙

.œ Jœ ˙

.œ Jœ ˙

.œ# Jœ ˙

.œ Jœ ˙

.>̇ Œ

.>̇ Œ

.>̇ Œœœ# œœ œœ ..œœ œ œ œ#

3 3


3

Ó œ œ œ œ

Ó œ œ œ œ.>̇ Œ.>̇ Œ

œ œ ‰ jœ œ œ ‰ jœÓ Œ œ œ œ

3



∑ww

ww.œ# Jœ ˙

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

ff

13

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~68 ∑

∑∑∑∑

Œ œ> œ> œn >Œ œ> œ> œb >

Œœ> œ> œb >

68 ˙ ˙n

w

Ó œb œ œ œ

Ó œb œ œ œŒ œ> œ> œb >

Œ œ> œ> œb >

œ œ ‰ jœ œ œ œb œ68 œ Œ Ó68 ∑68


∑68


∑68 ˙̇ Œ œ œb œ œ

˙̇ Œ œ œb œ œ˙a Œ œ œb œ œœ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

FF

FFF

.œ Jœ ˙

..œœ# Jœœ ˙̇

.œ Jœ ˙

.œ# Jœ ˙

..œœ# jœœ ˙̇

.>̇ Œ

.>̇ Œ

.>̇ Œœœ# œœ œœ ..œœ œ œ œ#

3 3


3

Ó œ œ œ œ

Ó œ œ œ œ

.>̇ Œ

.>̇ Œ

œ œ ‰ jœ œ œ ‰ jœ∑∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ


∑˙̇æ ˙̇#æ

∑∑

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

FF

F

ff

FF



wwb˙b ˙

‰ œ œ œn œ œn œb3

∑∑∑

˙ ˙n

w

Ó œb œ œ œ

Ó œ œ œ œ

Œ œ> œ> œb >

Œ œ> œ> œb >

œ œ ‰ jœ œ œ œb œ∑∑




∑∑∑

œ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

FF

www

ww

.œ# Jœ ˙ww

∑∑∑

ww

ww∑∑

.>̇ Œ

.>̇ Œ∑∑∑

Œ œ œ œ œ œ œ œ œ œ3

3 3

∑Œ œ œ œ œ œ œ œ œ œ

3

3 3

∑

∑∑∑

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

œ> œ. ‰ Jœ. œ. œ. ‰ Jœ.

˙Ó

˙̇ œ Œ˙˙ Œ œ

˙a Œ œ˙̇ œ Œ

∑∑∑

˙˙b ˙̇b˙̇b ˙˙n

∑∑∑∑∑∑∑

œœœœbbbŒ Ó

∑œœœœbbb

Œ Ó∑

∑∑∑

œ> œ. ‰ Jœ. œ> œ> œb > œ>

œ> œ. ‰ Jœ. œ> œ> œb > œ>

PPP

PPPPP

w

ww

wwwww

www

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑

14

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

74 ∑∑∑∑∑∑∑∑

74 ˙˙b ˙̇b˙̇b ˙˙nÓ œb œ œ œ

Ó œb œ œ œ

Œ œ> œ> œb >

Œ œ> œ> œb >

∑74 ∑74 ∑74 ∑

∑74 ∑

∑74 ∑

∑∑∑∑

PP

FF

w

ww

wwwww

www

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

Œ œ> œ> œ>Œ œ> œ> œ>

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ ˙b

wwwb

w>œ> œ

w

ww#

ww#w

ww##

www

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑

˙˙ ˙̇

˙̇ ˙˙Ó œ œ œ œÓ œ œ œ œŒ œ> œ> œ>Œ œ> œ> œ>

∑∑∑∑∑∑∑

∑∑∑∑∑

PP

FF

w

ww#

ww#w

ww##

www

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

Œ œ> œ> œ# >Œ œ> œ> œ# >

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ ˙

www

w>w>

15

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

81 ∑∑∑∑∑∑∑∑

81 ∑∑∑∑∑∑∑

81 ∑81 ∑81 ∑

∑81 ∑

∑81 ww# æ

wwæwwæ

Ó ‰ œ. œ. œ# .

∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ ˙

wwbwwb

œ. œ. Œ Ó∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

ww# æwwæwwæ

Ó ‰ œ. œ. œ# .

∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ ˙

wwbwwb

œ. œ. Œ Ó∑

∑∑

‰ ‰ Œ Ó

œ œ œ ˙# œ œb œn œ3

3

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ Œ . Jœ œ œœ œ Œ . Jœ œ œ

pizz.

pizz.

dim.

∑∑∑

w

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

‰ œ œ œb œ œ# œ3

wwb˙b ˙œb œ Œ Óœb œ Œ Ó

Div.

dim.

dim.

16

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

87 ∑∑∑∑∑

œ œ œ ˙# œ œn œn œ3 3

∑∑

87 ∑∑∑∑∑∑∑

87 ∑87 ∑87 ∑

∑87 ∑

∑87 ww

ww#

.œ# Jœ ˙

Ó ‰ Jœ œ œÓ ‰ Jœ œ œ

∑∑∑∑∑

w∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙̇ Œ œ˙˙b Œ œ˙N Œ œb

œb œ Œ Óœb œ Œ Ó

P

PP

rit.

rit.

rit.

rit.

∑∑∑∑∑∑


3

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.æ̇ Œ

.˙# æ Œ

.æ̇ ŒÓ ‰ Jœ œ œÓ ‰ Jœ œ œ

rit.

rit.

∑∑∑∑∑∑

w

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙̇ Œ œ˙˙b Œ œ˙N Œ œb


p

pp

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wæw#æwæ

∑∑

17

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

92 œ œ œ ˙# œ œb œn œ3

3


3

a2

∑∑∑∑∑∑

92 ∑∑∑∑∑∑∑

92 ∑92 ∑92 ∑

∑92 ∑

∑92 ∑

∑∑∑∑

FF

wU

wU

Ó ˙̇bU

Ó ˙bU

Ó ˙˙nU

Ó ˙U

Ó U̇

Ó U̇

˙̇ ˙̇nU

˙̇b ˙̇nU

Ó ˙bU

Ó ˙bU

Ó ˙bU

Ó ˙U

Ó ˙U

wæw

∑∑∑∑

∑∑∑∑∑

FFFFF

FFFF

FFFF

f

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3

w

∑∑∑∑

∑∑∑∑∑

wU

wU

Ó ˙̇bU

Ó ˙bU

Ó ˙˙nU

Ó ˙U

Ó U̇

Ó U̇

˙̇ ˙̇nU

˙̇b ˙̇nU

Ó ˙bU

Ó ˙bU

Ó ˙bU

Ó ˙U

Ó ˙U

wæw

∑∑∑∑

Ó ˙̇Uæ

Ó ˙̇bb Uæ

Ó ˙̇bUæ

∑∑

FFFFF

FFFF

FFFF

FFF

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wæ∑∑∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wwæ

ww# æwwæ

∑∑

PPPP

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wwæ

ww æ

wwæ

∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wwU

wwU

wwU

∑∑

πππ

arco

arco

18

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

100 ∑∑∑∑∑∑∑∑

100 ∑∑∑∑∑∑∑

100 ∑100 ∑100 ∑

∑100 ∑

∑100 ∑

∑∑

wæwæ

ßß

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

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

a tempo

a tempo

∑∑

w∑∑∑

œ> œ> >̇œ> œ> >̇

∑∑

œ> œ> >̇œ> œ> >̇œ> œ> >̇œ> œ> >̇

œ> œ> >̇∑∑∑∑∑∑

∑∑∑

œ> œ> >̇œ> œ> >̇

ff

f

ff

ff

ff

a tempo

a tempo

(q=40)

(q=40)

∑∑

w∑∑∑

ww

∑∑

wwww

w∑

w

∑∑∑∑

∑∑∑

ww

Ï

∑∑

w∑∑∑

ww

∑∑

wwww

w∑∑∑∑∑∑

∑∑∑

ww

pp

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

ww

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

P

∑œœ œœ## œœ œœ œœnn œœ# œœ œœ##

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

P

19

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

108 ∑œœ œœ## œœ œœ œœnn œœ# œœ œœ##

∑∑∑∑∑∑

108 ∑∑∑∑∑∑∑

108 ∑108 w

108 ∑∑

108 ∑∑

108 ∑∑∑

ww

∑‰ œœ## œœ œœ ‰ œœ# œœnn œœ##

a2 œœ œœ# ‰ œœ œœnb œœ# ‰ œœ#n

∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

p

∑œœ œœ## œœ œœ œœnn œœ# œœ œœ##œœ œœ# ‰ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑

∑‰ œœ## œœ œœ ‰ œœ# œœnn œœ##œœ œœ# ‰ œœ œœnb œœ# ‰ œœ#n

∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

20

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

112 ∑œœ œœ## œœ œœ œœnn œœ# œœ œœ##œœ œœ# ‰ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑

112 ∑∑∑∑∑∑∑

112 ∑112 ∑112 ∑

∑112 ∑

∑112 ∑

∑∑

ww


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

ww


∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

ww

21

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

116 ∑‰ œœ## œœ œœ ‰ œœ# œœnn œœ##œœ œœ# ‰ œœ œœnb œœ# ‰ œœ#n

∑∑∑∑∑

116 ∑∑∑∑∑∑∑

116 ∑116 w

116 ∑∑

116 ∑∑

116 ∑∑∑

ww


∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

∑œœ ‰ œœ œœ## œœnn œœ# ‰ œœ##œœ œœ# ‰ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

∑œœ œœ## œœ œœ ‰ œœ# œœnn œœ##œœ œœ# ‰ œœ œœnb œœ# ‰ œœ#n

∑∑∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

œb œ# ‰ œ ‰ œ# œn œ#œœ œœ## œœ œœ œœnn ‰ œœ œœ##œœ ‰ œœ œœ# ‰ œœ# œœnb œœ#n

∑œœn œœ# œœ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑

ww

p

pœb œ# ‰ œ œn œ# œ œ#œœ œœ## ‰ œœ œœnn œœ# œœ œœ##œœ ‰ œœ œœ# œœnb ‰ œœ œœ#n


∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

˙ jœ ‰ Œ∑∑

ww

22

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

122 œb œ# œn œ œn œ# ‰ œ#œœ œœ## œœ œœ œœnn ‰ œœ œœ##œœ ‰ œœ œœ# œœnb ‰ œœ œœ#n

∑‰ œœ# œœn ‰ œœnb œœ# ‰ œœ#n

∑∑∑

122 ∑∑∑∑∑∑∑

122 ∑122 w

122 ∑∑

122 ∑∑

122 ∑jœ .œ Ó

∑

ww

œb ‰ œn œ# œn œ# œ œ#œœ œœ## ‰ œœ œœnn œœ# œœ œœ##œœ œœ# œœ œœ œœnb ‰ œœ œœ#n

Œ Œ ˙solo

œœn œœ# œœ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑

wb

ww

F

œb œ# œn œ œn œ# œ œ#œœ œœ## œœ œœ œœnn œœ# œœ œœ##œœ œœ# œœ œœ œœnb œœ# œœ œœ#nwœœn œœ# œœ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑

w

ww

œb œ# œn œ œn œ# œ œ#œœ œœ## œœ œœ œœnn œœ# œœ œœ##œœ œœ# œœ œœ œœnb œœ# œœ œœ#nœ œ œ œ .˙œœn œœ# ‰ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

˙ jœ ‰ Œ∑∑∑

w

œb œ# œn œ œn œ# œ œ#œœ œœ## œœ œœ œœnn œœ# œœ œœ##œœ œœ# œœ œœ œœnb œœ# œœ œœ#n˙ Œ œœœn ‰ œœ œœ# œœnb ‰ œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑jœ .œ Ó

∑∑

w

P

23

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~

127 ∑œœ ‰ œœ œœ## œœnn œœ# œœ œœ##œœ œœ# œœ œœ ‰ œœ# œœnb œœ#n

‰ jœ .˙œœn ‰ œœ œœ# œœnb œœ# œœ œœ#n

∑∑∑

127 ∑∑∑∑∑∑∑

127 ∑127 w

127 ∑∑

127 ∑∑

127 ∑∑

wb∑

w

œb œ# œn œ œn ‰ œ œ#‰ œœ## œœ œœ œœnn œœ# œœ œœ##œœ œœ# ‰ œœ œœnb œœ# œœ œœ#nwœœn ‰ œœ œœ# œœnb ‰ œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑

w∑

w

œb ‰ œn œ# œn œ# œ œ#œœ œœ## œœ œœ œœnn œœ# ‰ œœ##œœ œœ# ‰ œœ œœnb ‰ œœ œœ#nœ œ œ œ .œ Jœ œ œ œ œœœn ‰ œœ œœ# œœnb ‰ œœ œœ#n

∑∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑∑

w

f

∑œœ œœ## œœ œœ œœnn œœ# œœ œœ##œœ œœ# œœ œœ œœnb œœ# œœ œœ#nwb


Œ Œ ˙solo

∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑∑

w

P

F

œb œ# œn œ œn œ# œ œ#∑

œœ œœ# œœ œœ œœnb œœ# œœ œœ#n


w

∑∑∑∑∑∑∑∑∑∑

w

∑∑∑∑

∑∑∑∑

w

œb œ# œn œ œn œ# œ œ#œœ ‰ œœ œœ## œœnn œœ# œœ œœ##

∑∑


œ œ œ œ .˙∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑

w

∑∑

‰ œœ# œœ œœ œœnb œœ# œœ œœ#n

∑œœn œœ# œœ œœ ‰ œœ# œœnb œœ#n

˙ Œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Jœ. ‰ Œ ÓÓ Œ jœ. ‰

∑∑

w

P

ff

24

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~

134 œ œ‹ œ# œ œ# œ‹ œ œ‹œœ## œœ‹# œœ œœ œœ#n œœ‹# œœ œœ‹#œœ# œœ‹# œœ œœ œœ#n œœ## œœ œœ‹#

∑œœ# œœ‹# œœ œœ œœ#n œœ# œœ œœ‹#

‰ jœ .˙

∑∑

134 ∑∑∑∑∑∑∑

134 ∑134 ∑134 ∑

∑134 ∑

∑134 ∑

∑∑∑

w

p

p œ œ‹ œ# œ œ# œ‹ œ œ‹œœ## œœ‹# œœ œœ œœ#n œœ‹# œœ œœ‹#œœ# œœ‹# œœ œœ œœ#n œœ## œœ œœ‹#

∑œœ# œœ‹# œœ œœ œœ#n œœ# œœ œœ‹#

w

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑

Œ jœb . ‰ Ó∑

w

f

œ œ‹ œ# œ œ# œ‹ œ œ‹œœ## œœ‹# œœ œœ œœ#n œœ‹# œœ œœ‹#œœ# œœ‹# œœ œœ œœ#n œœ## œœ œœ‹#

∑∑

œ œ œ œ .œ Jœ œ œ œ œ

Œ Œ ˙solo

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑

w

fF

p œ œ‹ œ# œ œ# œ‹ œ œ‹œœ## œœ‹# œœ œœ œœ#n œœ‹# œœ œœ‹#

∑∑∑

wnw

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑

w

P

∑∑

œœ# œœ‹# œœ œœ œœ#n œœ## œœ œœ‹#

∑∑∑

œ œ œ œ .˙

Ó Œ œsolo

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑

w

F

∑∑∑∑∑∑

˙ Œ œœ .˙

∑∑∑∑∑∑∑∑∑∑∑∑∑

ww## æ

ww## æ

ww# æ

ww

P

ÍÍÍ

25

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~

140 ∑œœ## œœ‹# œœ œœ œœ#n œœ‹# œœ œœ‹#

Œ ‰ Jœœ# œœ## œœ œœ‹# ‰∑∑∑

‰ Jœ.˙

œ œ œb œ œb ˙140 ∑

∑∑∑∑∑∑

140 ∑140 ∑140 ∑

∑140 ∑

∑140 wwæ

wwæ

wwæ

ww

∑œœ## œœ‹# œœ œœ œœ#n œœ‹# œœ œœ‹#œœ# œœ‹# œœ#n œœ## Ó

∑Œ œœ# œœ‹# œœ#n œœ‹# Œ

∑w

.˙ Œ∑∑∑∑∑∑∑∑∑∑∑∑∑

wwæ

wwæ

wwæ

ww

∑œœ œœ## œœ œœ œœnn ‰ œœ œœ##

∑∑∑∑

œ œ œ œ .œ Jœ œ œ œ œ

œb ‰ jœ ˙∑∑∑∑∑∑∑∑∑∑∑∑∑

wwæ

wwæ

wwæ

ww

f

P

∑œœ œœ## ‰ œœ œœnn œœ# œœ œœ##

∑∑∑∑

wb

w∑∑∑∑∑∑∑∑∑∑∑∑∑

wwæ

wwæ

wwæ

ww

P

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∑∑∑∑∑

œ œ œb œ œb .œ JœŒ Œ Œ œsolo

∑∑∑∑∑∑∑∑∑∑∑∑

wwæ

wwæ

wwæ

ww

fF


∑∑∑∑∑

œb œ œ œ .˙b

œ .˙

∑∑∑∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

P

P

26

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

146 ∑œœ œœ## ‰ œœ œœnn œœ# œœ œœ##

∑∑∑∑∑

œ Œ Ó146 œ œ œn œ œ ˙

∑∑∑∑∑∑

146 wæ146 ∑146 ∑

∑146 ∑

∑146 wwæ

wwæ

wwæ

ww


∑∑∑∑∑∑

.˙ Œ∑

Ó ˙Ó ˙

∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

FF


∑∑∑∑∑∑

œn ‰ jœ ˙

∑ww

∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

P


∑∑∑∑∑∑

w

∑œ œ œ œ .˙œ œ œ œ .˙

∑∑∑

wæ∑∑∑∑∑

∑∑∑

ww


∑∑∑∑∑∑

œ œ œn œ œ .œ Jœ

∑˙ Œ œ˙ Œ œ

∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

f

PP

27

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~

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

151 ∑œœ œœ## œœ œœ œœnn ‰ œœ œœ##

∑∑∑∑∑∑

151 œ œ œ œ .˙n

∑‰ jœ .˙

‰ jœ .˙

∑∑∑

151 wæ151 ∑151 ∑

∑151 ∑

∑151 wwæ

wwæ

wwæ

ww

P

F


∑∑∑∑∑∑

œ Œ Ó∑

ww

∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

œb œ# ‰ œ ‰ œ# œn œ#œœ œœ## œœ œœ œœnn ‰ œœ œœ##

Œ ‰ Jœœ# œœ## œœ œœ‹# ‰∑∑∑∑∑∑∑

œ# œ œ œ .œ Jœ œ œ œ œ

œ# œ œ œ .œ Jœ œ œ œ œ

∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

ff

pœb œ# ‰ œ œn œ# œ œ#œœ œœ## œœ œœ œœnn ‰ œœ œœ##œœ# œœ‹# œœ#n œœ## Ó

∑∑∑∑∑∑∑

ww

∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

PP

f

f

œb œ# œn œ œn œ# ‰ œ#œœ œœ## ‰ œœ œœnn œœ# œœ œœ##

∑∑∑∑∑∑

œœ œœ# œœ œœ œœnn ‰ œœ œœ##œœn œœ# œœ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑

wæ∑∑∑∑∑

wwæ

wwæ

wwæ

ww

PPP

28

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

156 œb ‰ œn œ# œn œ# œ œ#œœ œœ## œœ œœ œœnn ‰ œœ œœ##

∑∑

Œ ‰ Jœœ# œœ‹# œœ œœ‹# ‰∑∑∑

156 œœ œœ# œœ œœ œœnn œœ# œœ œœ##œœn œœ# ‰ œœ œœnb œœ# œœ œœ#n

∑∑∑∑∑

156 wæ156 ∑156 Œ œ œ œ œ œ œ œ œ œ

3 3

3

∑156

œ œ œ Jœ ‰ ‰ Ó3

3

∑156 wwæ

wwæ

wwæ

ww

F

F


∑∑

œœ# œœ‹# œœ#n œœ‹# Ó∑∑∑

œœ ‰ œœ œœ# œœnn œœ# œœ œœ##œœn œœ# œœ œœ ‰ œœ# œœnb œœ#n‰ ‰ Œ Ó

∑∑∑

wwæ

∑Œ œb œ œb œb œ œ œb œ œ

3 33

∑∑∑

wwæ

wwæ

wwæ

ww

f


Œ ‰ Jœœ# œœ## œœ œœ‹# ‰∑∑∑∑∑

œœ œœ# ‰ œœ œœnn œœ# œœ œœ##œœn œœ# œœ œœ œœnb ‰ œœ œœ#nœ œ# œ# œ# Jœ# ‰ ŒŒ ‰ Jœ œ# œ# œ# œ#Œ Œ ˙solo

∑

wwæ

∑Œ œ œ œ œ œ œ œ œ œ

3 3

3

∑∑∑

wwæ

wwæ

wwæ

ww

F

FF

ƒ

ƒ

∑œœ œœ## œœ œœ œœnn ‰ œœ œœ##œœ# œœ‹# œœ#n œœ## Ó

∑∑∑∑∑

œœ œœ# ‰ œœ œœnn œœ# œœ œœ##œœn œœ# œœ œœ œœnb ‰ œœ œœ#nœ œ# œ# œ# Jœ# ‰ ŒŒ ‰ Jœ œ# œ# œ# œ#w

Œ Œ ˙solo

w#wæ

∑Œ œb œ œb œb œ œ œb œ œ

3 33

∑∑∑

wwæ

wwæ

wwæ

ww

F

29

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

160 œb œ# ‰ œ ‰ œ# œn œ#œœ œœ## œœ œœ œœnn ‰ œœ œœ##

Œ ‰ Jœœ# œœ## œœ œœ‹# ‰∑∑∑∑∑

160 œœ œœ# ‰ œœ œœnn œœ# œœ œœ##œœn œœ# œœ œœ œœnb ‰ œœ œœ#nœ œ# œ# œ# Jœ# ‰ ŒŒ ‰ Jœ œ# œ# œ# œ#œ œ œ œ .˙

w

w160 wæ160 ∑160 ∑

∑160 ∑

∑160 wwæ

wwæ

wwæ

ww

pœb œ# ‰ œ œn œ# œ œ#œœ œœ## ‰ œœ œœnn œœ# œœ œœ##œœ# œœ‹# œœ#n œœ## Ó

∑Œ ‰ Jœœ# œœ‹# œœ œœ‹# ‰

∑Œ ‰ Jœœ# œœ## œœ œœ‹# ‰

∑œœ œœ# ‰ œœ œœnn œœ# œœ œœ##œœn œœ# œœ œœ œœnb ‰ œœ œœ#nœ œ# œ# œ# Jœ# ‰ ŒŒ ‰ Jœ œ# œ# œ# œ#˙ Œ œœ œ œ œ .˙

w#wæ

∑∑∑∑∑

wwæ

wwæ

wwæ

ww

P

fff

f

œb œ# œn œ œn œ# ‰ œ#œœ œœ## œœ œœ œœnn ‰ œœ œœ##

∑∑

œœ# œœ‹# œœ#n œœ‹# Ó∑

œœ# œœ‹# œœ#n œœ## Ó∑

œœ œœ# ‰ œœ œœnn œœ# œœ œœ##œœn œœ# œœ œœ œœnb ‰ œœ œœ#nœ œ# œ# œ# Jœ# ‰ ŒŒ ‰ Jœ œ# œ# œ# œ#

∑˙ Œ œ

wwæ

∑∑∑∑∑

wwæ

wwæ

wwæ

ww

P

ff

ff

œb ‰ œn œ# œn œ# œ œ#œœ œœ## ‰ œœ œœnn œœ# œœ œœ##

∑∑

œœ œœ# ‰ œœ œœnn œœ# ‰ œœ##

∑œœ œœ# ‰ œœ œœnb œœ# ‰ œœ#n

∑œœ œœ# ‰ œœ œœnb œœ# ‰ œœ#nœœ œœ# ‰ œœ œœnb œœ# ‰ œœ#nœ œ# œ# œ# Jœ# ‰ ŒŒ ‰ Jœ œ# œ# œ# œ#

∑∑

wwæ

∑∑∑∑∑

wwæ

wwæ

wwæ

ww

f

f

f

f

ƒƒƒ

ƒƒ

œb ‰ œn œ# œn œ# œ œ#œœ œœ## ‰ œœ œœnn œœ# œœ œœ##

∑∑

œœ œœ# ‰ œœ œœnn œœ# œœ œœ##

∑œœ œœ# ‰ œœ œœnb œœ# œœ œœ#n

∑œœ œœ# ‰ œœ œœnb œœ# œœ œœ#nœœ œœ# ‰ œœ œœnb œœ# œœ œœ#nœ œ# œ# œ# Jœ# ‰ ŒŒ ‰ Jœ œ# œ# œ# œ#

∑∑

wbwæ

∑∑∑∑∑

˙̇æ Ó˙̇æ Ó˙̇æ Ó

˙ Ó

˙ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœN# > œœ# > œœ> œœ>œœN# > œœ# > œœ> œœ>œœ## > œœ> œœ> œœ>œ œ œ œ

a2

œ œ œ œa2

ƒ

ff

fDiv.

Div.

Div.

ƒ

(q=180)

(q=180)

30

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

166 ∑∑∑∑∑∑∑∑

166 ∑∑∑∑∑∑∑

166 ∑166 ∑166 ∑

∑166 ∑

∑166 Ó œœ## > œœ>

Ó œœ## > œœ>Ó œœ## > œœ>Ó œ œÓ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœN# > œœ# > œœ> œœ>œœN# > œœ# > œœ> œœ>œœ## > œœ> œœ> œœ>œ œ œ œœ œ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Ó œœ## > œœ>Ó œœ## > œœ>Ó œœ## > œœ>Ó œ œÓ œ œ

31

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

170 ∑∑∑∑∑∑∑∑

170 ∑∑∑∑∑∑∑

170 ∑170 ∑170 ∑

∑170 ∑

∑170


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑

.œ# jœ# ˙

.œ‹ jœ# ˙∑∑∑∑∑∑∑∑∑

Œ œ œ œ œ Jœb ‰œ# œ œ œ# Jœb ‰ ŒŒ ‰ Jœ# œ# œ# œ# œ

œ œ# œ œ

œ œ# œ œ

pizz.

pizz.

FF

pizz.

pizz.

pizz.

∑∑∑∑∑

.œ# jœ# ˙

.œ# jœ# ˙

.œ‹ jœ# ˙

.œ# jœ# ˙

.œ‹ jœ‹ ˙‰ œ œ œ œ œ œ œ‰ œ# œ# œ œ œ œ œ

∑∑∑∑∑∑∑∑∑

Œ œ œ œ œ Jœb ‰œ# œ œ œ# Jœb ‰ ŒŒ ‰ Jœ# œ# œ# œ# œÓ œ œ#Ó œ œ#

FF

FF

F

32

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

175 ∑∑∑∑∑

‰ œ œ# œ œ œ œ œ‰ œ œ# œ œ œ œ œ

‰ œ# œ# œ# œ œ œ œ175 ‰ œ œ# œ œ œ œ œ

‰ œ# œ# œ# œ œ œ œ.œ# jœ# ˙

.œ‹ jœ# ˙∑∑∑

175 ∑175 ∑175 ∑

∑175 ∑

∑175 Œ œ œ œ œ Jœb ‰

œ# œ œ œ# Jœb ‰ ŒŒ ‰ Jœ# œ# œ# œ# œœ œ Óœ œ Ó

∑∑∑∑∑

.œ# jœ# ˙

.œ# jœ# ˙

.œ‹ jœ# ˙

.œ# jœ# ˙

.œ‹ jœ‹ ˙∑∑∑∑∑∑∑∑∑∑∑


œ œ# œ œ

œ œ# œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Œ œ œ œ œ Jœb ‰œ# œ œ œ# Jœb ‰ ŒŒ ‰ Jœ# œ# œ# œ# œœ œ Óœ œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ# œ œ

œ œ# œ œ

33

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

179 ∑∑∑∑∑∑∑∑

179 ∑∑∑∑∑∑∑

179 ∑179 ∑179 ∑

∑179 ∑

∑179

œœN# > œœ# > œœ> œœ>œœN# > œœ# > œœ> œœ>œœ## > œœ> œœ> œœ>œ œ œ œ

a2

œ œ œ œa2

ƒarco

fDiv.arco

ƒarco

arco

arco

Div.

Div.f

f

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Ó œœ## > œœ>Ó œœ## > œœ>Ó œœ## > œœ>Ó œ œÓ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Ó œœ## > œœ>Ó œœ## > œœ>Ó œœ## > œœ>œ œ œ œÓ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœN# > œœ# > œœ> œœ>œœN# > œœ# > œœ> œœ>œœ## > œœ> œœ> œœ>Ó œ œœ œ œ œ

34

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

184 ∑∑∑∑∑∑∑∑

184 ∑∑∑∑∑∑∑

184 ∑184 ∑184 ∑

∑184 ∑

∑184

œœN# > œœ# > œœ> œœ>œœN# > œœ# > œœ> œœ>œœ## > œœ> œœ> œœ>œ œ œ œÓ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑a1

∑ a1

∑ a1

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Ó œœ## > œœ>Ó œœ## > œœ>Ó œœ## > œœ>œ œ œ œœ œ œ œ

.œ# Jœ# ˙

.œ# Jœ# ˙

.œ‹ Jœ# ˙

∑Ó .œ‹ Jœ‹a1

‰ .œ‹# jœ‹ .œa1

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


œ œ# œ œ

œ œ# œ œ

pizz.

pizz.

pizz.

pizz.

pizz.

P

P

P

PP

‰ 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 Jœb ‰œ# œ œ œ# Jœb ‰ ŒŒ ‰ Jœ# œ# œ# œ# œÓ œ œ#Ó œ œ#

.œ# Jœ# ˙

.œ# Jœ# ˙

.œ‹ Jœ# ˙

∑œ‹ œ# œ œ# .œ‹ Jœ‹

jœ‹ .œ‹# jœ‹ .œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑

˙‹ Ójœ ‰ Œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


œ œ# œ œ

œ œ# œ œ

35

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

191 ∑∑∑∑∑∑∑∑

191 ∑∑∑∑∑∑∑

191 ∑191 ∑191 ∑

∑191 ∑

∑191 Œ œ œ œ œ Jœb ‰

œ# œ œ œ# Jœb ‰ ŒŒ ‰ Jœ# œ# œ# œ# œœ œ Óœ œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


œ œ# œ œ

œ œ# œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


œ œ# œ œ

œ œ# œ œ

36

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

195 ∑∑∑∑∑∑∑∑

195 ∑∑∑∑∑∑∑

195 ∑195 ∑195 ∑

∑195

œ œ œ œ œ œ œb œ œ œ œ œb3

3 33


3 3 3

195 Œ œ œ œ œ Jœb ‰œ# œ œ œ# Jœb ‰ ŒŒ ‰ Jœ# œ# œ# œ# œœ œ Óœ œ Ó

FF

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œb œb œ œ œ œb œb œ œn œ# œ3 3 3 3



œ œ# œ œ

œ œ# œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ œ œb œ œ œb œ3 3 3

3

œ œ œ œ œ œ œ œb œ œ œb œ3 3 3 3


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œb œ œb œb œ œ œb œb œ œn œ# œ3

3 33


3

3

3


∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


3 33


3 3 3

∑∑∑

œ œ# œ œ

œ œ# œ œ

37

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

200 ∑∑∑∑∑∑∑∑

200 ∑∑∑∑∑∑∑

200 ∑200 ∑200 ∑

∑200 œ œb œb œ œ œ œb œb œ œn œ# œ

3 3 3 3


200 ∑∑∑

œ œ Óœ œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


3


∑∑∑

œ œ# œ œ

œ œ# œ œ

F

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œb œ œb Œ œb œb œ œ œ# œ3

33

œb œ œb Œ œb œb œ œ œ# œ3 3 3


3 33


3

3

3

∑∑∑

œ œ Óœ œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


3


∑∑∑

œ œ# œ œ

œ œ# œ œ

38

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

204 ∑∑∑∑∑∑∑∑

204 ∑∑∑∑∑∑∑

204 ∑204 ∑204 ∑

∑204 œ œ œ œ œ œ œ œb œ œ œb œ

3 3 33


204 ∑∑∑

œ œ Óœ œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Œ œb œb œ œb œb œ œn œ# œ3 3

3

Œ œb œb œ œb œb œ œn œ# œ3 3 3


3 33


3

3

3

∑∑∑

œ œ# œ œ

œ œ# œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

jœ ‰ Œ Ójœ ‰ Œ Ó

Ó œœ## > œœ>Ó œœ## > œœ>Ó œœ## > œœ>œ œ Óœ œ Ó

arco

arco

arco

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœN# > œœ# > œœ> œœ>œœN# > œœ# > œœ> œœ>œœ## > œœ> œœ> œœ>Ó œ œœ œ œ œ

arco

arco

39

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

208 ∑∑∑∑∑∑∑∑

208 ∑∑∑∑∑∑∑

208 ∑208 ∑208 ∑

∑208 ∑

∑208


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


40

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

213 ∑∑∑∑∑∑∑∑

213 ∑∑∑∑∑∑∑

213 ∑213 ∑213 ∑

∑213 ∑

∑213 Ó œœ## > œœ>

Ó œœ## > œœ>Ó œœ## > œœ>œ œ œ œœ œ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


41

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

218 ∑∑∑∑∑∑∑∑

218 ∑∑∑∑∑∑∑

218 ∑218 ∑218 ∑

∑218 ∑

∑218


Œ œ œ œ œ Jœb ‰Œ œ œ œ œ Jœb ‰œ# œ œ œ# Jœb ‰ Œ

∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑



∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ# œ œ

œ œ# œ œ

pizz.

pizz.


∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

Ó œ œ#Ó œ œ#


∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ Óœ œ Ó

Œ œ. œ. œ. œ. Jœb . ‰Œ œ. œ. œ. œ. Jœb . ‰œ# . œ. œ. œ# . Jœb . ‰ Œ

∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ# œ œ

œ œ# œ œ

42

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

224 ∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑∑∑∑

224 ∑∑∑∑∑∑∑

224 ∑224 ∑224 ∑

∑224 ∑

∑224 ∑

∑∑

œ œ Óœ œ Ó


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ# œ œ

œ œ# œ œ

∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ Óœ œ Ó


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ# œ œ

œ œ# œ œ

43

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

228 Œ œ. œ. œ. œ. Jœb . ‰Œ œ. œ. œ. œ. Jœb . ‰œ# . œ. œ. œ# . Jœb . ‰ Œ

∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑∑∑

228 ∑∑∑∑∑∑∑

228 ∑228 ∑228 ∑

∑228 ∑

∑228 ∑

∑∑

œ œ Óœ œ Ó

∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ# œ œ

œ œ# œ œ


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ œ Óœ œ Ó


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑


∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑

44

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

233 Œ œ œ œ œ Jœb ‰Œ œ œ œ œ Jœb ‰œ# œ œ œ# Jœb ‰ Œ

∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑

233 ∑∑∑∑∑∑∑

233 ∑233 ∑233 ∑

∑233 ∑

∑233 wæ

wæwæwæwæ

P

P

P

P

P


∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wæ

wæwæwæwæ


∑Œ ‰ jœ‹ œ# œ# œ‹ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

‰ Jœæ.˙

‰ Jœæ.˙

‰ Jœæ .˙

‰ Jœæ.˙

‰ Jœæ.˙


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑Ó œ# œ œ œ#

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑∑

jœb ‰ Œ œ# œ œ œ#∑∑∑∑∑∑∑∑∑∑∑∑∑∑

w#w#

w#

w#w#


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑jœb ‰ Œ œ# œ œ œ#

∑∑∑∑∑

wæwæ

∑∑∑∑∑∑∑

wæ

wæwæwæwæ

F

F

F

FF

FF

45

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

239 ∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑∑

jœb ‰ Œ Ó∑

239 ∑∑∑∑

wæwæ

∑239 ∑239 ∑239 ∑

∑239 ∑

∑239 wæ

wæwæwæwæ


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑∑

Ó œ# œ œ œ#∑∑∑∑

‰ Jœ .˙

‰ Jœ .˙

∑∑∑∑∑∑∑

‰ Jœæ.˙

‰ Jœæ.˙

‰ Jœæ .˙

‰ Jœæ.˙

‰ Jœæ.˙


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑Ó œ# œ œ œ#

jœb ‰ Œ œ# œ œ œ#∑∑∑∑

.œ ‰ ˙#

.œ ‰ ˙#∑∑∑∑∑∑∑

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑∑

Jœb ‰ Œ œ# œ œ œ#jœb ‰ Œ œ# œ œ œ#

∑∑∑∑

w#w#

∑∑∑∑∑∑∑

w#w#

w#

w#w#

46

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑

Jœb ‰ Œ œ# œ œ œ#jœb ‰ Œ Ó

243 wæwæ

∑∑

wæwæ

w243 ∑243 wsnare roll

243 ∑∑

243 ∑∑

243 wæ

wæwæwæwæ

FF

F

F


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

∑

Jœb ‰ Œ Ó∑

wæwæ

∑∑

wæwæ

w

∑w

∑∑∑∑

wæ

wæwæwæwæ


∑Œ ‰ jœ‹ œ# œ# œ‹ œÓ œ# œ œ œ#Ó œ# œ œ œ#wæ

‰ Jœæ .˙

‰ Jœæ .˙

∑∑

‰ Jœ .˙

‰ Jœ .˙

‰ Jœ .˙

∑w

∑∑∑∑

‰ Jœæ.˙

‰ Jœæ.˙

‰ Jœæ .˙

‰ Jœæ.˙

‰ Jœæ.˙

F


∑Œ ‰ jœ‹ œ# œ# œ‹ œ

jœn ‰ Œ œ# œ œ œ#Jœb ‰ Œ œ# œ œ œ#wæ

.œ ‰ ˙#

.œ ‰ ˙#∑∑

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#∑

w

∑∑∑∑

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#


∑Œ ‰ jœ‹ œ# œ# œ‹ œ

jœn ‰ Œ œ# œ œ œ#Jœb ‰ Œ œ# œ œ œ#

‰ Jœæ.˙

w#w#

∑∑

w#w#w#

∑w

∑∑∑∑

w#w#

w#

w#w#

47

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

jœn ‰ Œ Ó

Jœb ‰ Œ Ó.œ ‰ ˙#

248 ‰ Jœæ .˙

‰ Jœæ .˙

wæwæ‰ Jœæ

.˙

‰ Jœæ.˙

w248 ∑248 w

248 ∑∑

248 ∑∑

248 wæ

wæwæwæwæ

f

f

f

ff

FF

ff

fff

∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑

Ó œ# œ œ œ#∑

w#

.œ ‰ ˙#

.œ ‰ ˙#wæwæ

.œ ‰ ˙#

.œ ‰ ˙#w

∑w

∑∑∑∑

wæ

wæwæwæwæ


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

jœn ‰ Œ œ# œ œ œ#∑∑

w#w#‰ jœæ .˙‰ jœæ .˙

w#w#‰ Jœ .˙

∑w

∑∑∑∑

‰ Jœæ.˙

‰ Jœæ.˙

‰ Jœæ .˙

‰ Jœæ.˙

‰ Jœæ.˙

∑Œ œ. œ. œ. œ. Jœb . ‰

∑∑∑

jœn ‰ Œ œ# œ œ œ#∑

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#‰ Jœæ

.˙

‰ Jœæ.˙

.œ ‰ ˙#∑

w

∑∑∑∑

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#

.œ ‰ ˙#


∑Œ ‰ jœ‹ . œ# . œ# . œ‹ . œ.

jœn ‰ Œ Ó∑

w#

w#w#

w#w#

.œ ‰ ˙#

.œ ‰ ˙#w#

∑w

∑∑∑∑

w#w#

w#

w#w#

48

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

253 ∑∑∑∑∑∑∑∑

253 ∑∑∑∑∑∑∑

253 wæ253 ∑253 ∑

∑253 ∑

∑253 ∑

∑∑∑∑

ß

(q=80)

(q=80)

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wæ

∑∑∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wæ

∑∑∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wæ

∑∑∑∑∑

∑∑∑∑∑

ƒ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œN > œN > œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3

∑∑∑∑∑

∑∑∑∑∑

49

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~258 ∑

Œ œ ˙

w

w#

ww

∑∑

258 ww#

www

ww#

w

w258 ∑258

wgong

258 ∑∑

258 ∑∑

258 ∑∑∑∑∑

ƒ

ƒƒƒƒƒ

ƒƒ

ƒƒƒ

ƒ

ƒ

∑˙ ˙

˙ ˙w

ww

Ó ˙Ó ˙ww

ww˙ ˙

ww

w

w∑∑∑∑


∑

∑∑∑∑∑

∑Œ œ ˙

w

w#

ww

∑∑

ww#

www

ww#

w

w∑∑∑∑∑∑

∑∑∑∑∑

Ó˙

˙ ˙

˙ ˙w

ww

Ó ˙Ó ˙ww

ww˙ ˙

ww

w

w∑∑∑∑


∑

∑∑∑∑∑

∑Œ œ ˙

w

w

ww

∑∑

ww

www

ww

w

w∑

wgong

∑∑∑∑

∑∑∑∑∑

ƒ

∑˙ ˙b

˙ ˙bwn

wbwb

Ó ˙bÓ ˙bwwn

wwbb˙ ˙b

wbwb

wb

wb∑∑∑∑

œœbb > œœbb > œœbb > œœ> œœ> œœ> Œ3 3

∑

∑∑∑∑∑

∑Œ œ ˙

w

w

ww

∑∑

ww

www

ww

w

w∑∑∑∑∑∑

∑∑∑∑∑

50

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

265 ∑˙ ˙b

˙ ˙bwn

wbwb

Ó ˙bÓ ˙b

265 wwn

wwbb˙ ˙b

wbwb

wb

wb265 ∑265 ∑265 ∑

∑265 œœbb > œœbb > œœbb > œœ> œœ> œœ> Œ

3 3

∑265 ∑

∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ œb œ œ œb œ œb3

3 3 3

∑∑∑

∑∑∑∑∑

F

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œb œb œ œ œ œb œb œ œn œ œ3 3 3 3

∑∑∑

∑∑∑


pizz.

pizz.

F

F

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ œb œb œ œ œb œ3 3 3 3

∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œb œ œb œb œ œ œb œb œ œn œ œ3

3 3

3

∑∑∑

∑∑∑

Œ œb œb ŒŒ œb œb Œ

51

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

270 ∑∑∑∑∑∑∑∑

270 ∑∑∑∑∑∑∑

270 ∑270 ∑270 œœœœ

Œ œœœœ Œ∑

270 ∑∑

270 ∑∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ >̇3

3

∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œb œb œ œb >̇3

3

∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ >̇3

3

∑∑∑

∑∑∑∑∑

~~~~~~~~~

~~~~~~~

52

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

274 ∑∑∑∑∑∑∑∑

274 ∑∑∑∑∑∑∑

274 ∑274 ∑274 ∑

∑274 ∑

∑274 wwæ

wwæ

wwæ


pizz.

pizz.

PP

PF

F

Div.

Div.

Div.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

ww


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wwb

wwbbwwbbŒ œb œb ŒŒ œb œb Œ

ƒƒƒƒƒƒ

ƒƒ

ƒƒƒ

ƒƒƒ

ƒƒ

œb > œ> œ> œ> œ> œ> œb > œb > œb > œ> œb > œb >3 3 3 3


œb > œ> œ> œ> œ> œ> œb > œb > œb > œ> œb > œb >3 33

3

œb > œ> œ> œ> œ> œ> œb > œb > œn > œ> œb > œb >3 3

3 3

œn > œ> œ> œ> œ> œ> œb > œb > œn > œ> œb > œn >3 3

33

œn > œ> œ> œ> œ> œ> œb > œb > œn > œ> œb > œn >3 3

33



œb > œ> œ> œ> œ> œ> œb > œb > œn > œ> œb > œb >3 3 3

3

œb > œ> œ> œ> œ> œ> œb > œb > œn > œ> œb > œb >3 3 3

3


3


3



œb > œ> œ> œ> œ> œ> œb > œb > œb > œ> œb > œb >3 3 3

3

œb > œb > œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3

∑∑∑∑∑

..˙̇ Œ

..˙̇ Œ

..˙̇ ŒŒ œb œb ŒŒ œb œb Œ

ƒ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

ww


F

F

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

ww


53

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

280 ∑∑∑∑∑∑∑∑

280 ∑∑∑∑∑∑∑

280 ∑280 ∑280 ∑

∑280 ∑

∑280 wwb

wwbbwwbbŒ œb œb ŒŒ œb œb Œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Œ œb œb œ œ œ œ œb œ œ3 3 3

Œ œb œb œ œ œ œ œb œ œ3 3 3

Œ œb œ œ œb œ œ œb œ œ3 3 3

Œ œb œb ŒŒ œb œb Œ

rit.

rit.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

ww

wwwwÓ œ œÓ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

..˙̇U Œ

..˙̇U Œ

..˙̇U Œ

œ Œ œ> œ>œ Œ œ> œ>

a tempo

a tempo

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

Ó œ œbÓ œ œb

arco

arco

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

œ> œ ‰ jœ. œ. œ. ‰ jœ.œ> œ ‰ jœ. œ. œ. ‰ jœ.

ÍÍ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑


54

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

287 ∑∑∑∑∑

w

ww

287 ∑∑∑∑∑∑

w287 ∑287 ∑287 ∑

∑287 ∑

∑287 ∑

∑∑


P

PPP

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Ó ˙̇̇̇

Ó ˙̇

‰ Jœ .˙

wwww


PPP

F

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Ó˙̇̇̇bbbb

Ó˙̇bb

wwwwbbbbwwbb

˙ œb œ

wwbbwwbb


F~~~~~~~

~~~~~~~~

~~~~~~

~~~~~ ~~~~~~

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

55

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

291 ∑∑∑∑∑∑∑∑

291 ∑∑∑∑∑∑∑

291 ∑291 ∑291 ˙̇̇̇ Ó

˙̇ Ó291 Ó ˙̇̇̇

Ó ˙̇

291 ‰ Jœ .˙

wwww


PPP

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Ó˙̇̇̇bbbb

Ó˙̇bb

wwwwbbbbwwbb

˙ œb œ

wwbbwwbb


.œ Jœ ˙

.œ Jœ ˙

œœ œœb œœbb ˙̇a2

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙̇̇̇ Ó˙̇ Ó

∑∑

∑∑∑


F

F

F‰ œb œ œb œ œ œ œ

‰ œb œ œb œ œ œ œ

..˙̇bb Œ∑∑∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œtriangle

∑∑∑∑

∑∑∑


F

.œ Jœ ˙

.œ Jœ ˙

∑∑

œœ œœnn œœ ˙̇∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

∑∑

Ó ˙̇̇̇

Ó ˙̇

∑∑∑


F

∑∑∑

Ó œb œb œb œb..˙̇bn Œ

Ó œn œb œb œbÓ œb œb œ∫ œbÓ œb œb œ∫ œb

Ó œb œb œ œÓ œb œb œn œ

∑∑∑∑∑∑

œ y œ œ y œ

Ó˙̇̇̇bbbb

Ó˙̇bb

wwwwbbbbwwbb

∑∑∑


f

fff

ff

.œ Jœ ˙

.œ Jœ ˙

œœ œœb œœbb ˙̇

∑∑∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

˙̇̇̇ Ó˙̇ Ó

∑∑

∑∑∑


F

FF

~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~~

56

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

298 ‰ œb œ œb œb œb œ3

‰ œb œ œb œb œb œ3

..˙̇bb Œ∑∑∑∑∑

298 ∑∑∑∑∑∑∑

298 ∑298 œ y œ œ y œ

298 ∑∑

298 ∑∑

298 ∑∑∑


ww

∑∑

œœ œœnn œœ œœ œœ œœ∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

∑∑∑∑

∑∑∑


F

w

Jœb . .˙

∑∑

˙̇ Œ Œ∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

∑∑∑∑

Ó Œ œÓ Œ œÓ Œ œ


∑Jœ ‰ Œ Ó

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

wwwwb∑∑

Ó ˙̇̇b

..œœ jœœ ˙̇

.œ jœb ˙

.œ jœb ˙œb > œ. ‰ jœ. œ. œ. ‰ jœ.œb > œ. ‰ jœ. œ. œ. ‰ jœ.

FF

FDiv.

57

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

302 ∑Jœ ‰ Œ Ó

∑∑∑∑∑∑

302 ∑∑∑∑∑∑∑

302 ∑302 œ y œ œ y œ

302 ˙̇̇̇bbbb ˙̇̇̇b

∑302 ∑

wwwwbbbb

302 ‰ œb œ œb œ œ œ œ

wwbb˙b ˙bœb > œ. ‰ jœ. œ œ> œb > œ>œb > œ. ‰ jœ. œ œ> œb > œ>

Div.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

wwwwb∑∑∑

.œ Jœ ˙

.œ jœb ˙


∑∑∑∑∑∑∑∑

œœbb œœb œœb œœ œœ3

œœbb œœ œœ œœ œœ3

∑∑∑∑∑∑

œ y œ œ y œ

∑∑∑∑

∑∑∑

œb > œ. ‰ jœ. œ œ> œb > œ>œb > œ. ‰ jœ. œ œ> œb > œ>

FF

PP

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

∑∑∑∑

..œœ jœœ ˙̇

.œ jœb ˙


FDiv.

58

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

306 ∑∑∑∑∑∑∑∑

306 ∑∑∑∑∑∑∑

306 ∑306 œ y œ œ y œ

306 ∑∑

306 ∑∑

306 ‰ œb œ œb œb œb œb3

wwbb˙b ˙bœb > œ. ‰ jœ. œ œ> œb > œ>œb > œ. ‰ jœ. œ œ> œb > œ>

Div.

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

∑∑∑∑

wwb

ww


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ y œ œ y œ

∑∑∑∑

˙̇ Œ œb˙˙ Œ œb

˙N Œ œb

œb > œ. ‰ jœ. œ> œb > œ> œb >

œb > œ. ‰ jœ. œ> œb > œ> œb >

.œ Jœ ˙

..œœ Jœœ ˙̇

.œb jœb ˙

.œ Jœb ˙

..œœ Jœœ ˙̇

∑∑∑

œœn œœ œœbb ..œœ œ œ# œ3

3

œ œ œn .œ œ œb œn3

3

Ó œ œb œ œ

Ó œ œb œ œŒ Œ Ó

∑

œb œ ‰ jœ œ œ ‰ jœÓ Œ œ œ œ3

∑œb œ œb œb œ œb œb œ œ œ œ œ œ œ œ œb


œb œ œb œb œ œb œb œ œ œ œ œ œ œ œ œb

..œœ Jœœ ˙̇

.œb jœb ˙

.œ Jœb ˙œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.ff

f

f

FDiv.

FF

ff

F

F

FDiv.

FDiv.

f

FDiv.

f

f

‰ œb œb œb œ œ œ œ


wwbb˙b ˙b‰ œb œn œb œ œ œ œ

Œ œn > œb > œb >Œ œb > œb > œb >Œ œb > œb > œb >

˙b ˙

wb

Ó œb œb œ œ

Ó œb œb œ œŒ œb > œb > œb >Œ œb > œb > œb >œb œ ‰ jœ œb œ œb œœ Œ Ó

∑œb œb œb œb œb œb œb œb


œb œb œb œb œb œb œb œbœb œ œ œb œ œ œb œ

∑

‰ œb œb œb œb œ œ3

wwbb˙b ˙bœb > œ. ‰ Jœ. œb > œ> œb > œ>

œb > œ. ‰ Jœ. œb > œ> œb > œ>

Div.

Div.

FF

FF

F

59

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

311 .œ Jœ ˙.œ Jœ ˙

.œb jœb ˙

.œ Jœb ˙

.œ Jœ ˙

.˙n >Œ

.˙b > Œ

.˙b > Œ311 œœn œœ œœbb ..œœ œ œ# œ

33


3

Ó œ œb œ œ

Ó œ œb œ œ

.˙b > Œ

.˙b > Œ

œb œ ‰ jœ œ œ ‰ jœ311 Ó Œ œ œ œ3

311 ∑311 œb œ œb œb œ œb œb œ œ œ œ œ œ œ œ œb

∑311 œb œ œb œb œ œb œb œ œ œ œ œ œ œ œ œb

∑311 wwb

wwb

.œ Jœb ˙œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

ff

F

F

∑∑∑∑∑


˙b ˙b

wb

Ó œb œb œ œ

Ó œb œb œ œŒ œb > œb > œb >Œ œb > œb > œb >œb œ ‰ jœ œb œ œb œœ Œ Ó




∑˙̇ Œ œb œb œ œb

˙̇ Œ œb œb œ œb˙N Œ œb œb œ œbœb > œ. ‰ Jœ. œb > œ> œb > œ>

œb > œ. ‰ Jœ. œb > œ> œb > œ>

FF

FF

F

.œ Jœ ˙

..œœ Jœœ ˙̇

.œb jœb ˙

.œ Jœb ˙

..œœ jœœ ˙̇

.˙n >Œ

.˙b > Œ

.˙b > Œœœn œœ œœbb ..œœ œ œ# œ

33


3

Ó œ œb œ œ

Ó œ œb œ œ

.˙b > Œ

.˙b > Œ

œb œ ‰ jœ œ œ ‰ jœ∑∑



∑˙̇bæ ˙̇æ

∑∑

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

FDiv.

F

ff

F

F

FDiv.

‰ œb œb œb œb œb œb3

‰ œb œb œb œb œb œb3

wwbb˙b ˙b‰ œb œn œb œb œb œb

3

∑∑∑

˙b ˙b

wb

Ó œb œb œ œ

Ó œb œb œ œŒ œb > œb > œb >Œ œb > œb > œb >œb œ ‰ jœ œb œ œb œ

∑∑




∑∑∑

œb > œ. ‰ Jœ. œb > œ> œb > œ>

œb > œ. ‰ Jœ. œb > œ> œb > œ>

Div.

FF

60

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~315

wbwwbb

ww

.œ Jœb ˙wwnn

∑∑∑

315 wwn

ww

∑∑

.˙b > Œ

.˙b > Œ∑

315 ∑315 ∑315 Œ œb œb œ œb œb œ œb œb œ

3

33

∑315 Œ œb œb œ œb œb œ œb œb œ

3

33

∑315 ∑

∑∑

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

˙b Ó˙̇ œb Œ˙˙ Œ œb

˙N Œ œb˙̇ œn Œ

∑∑∑

˙̇bb ˙̇b

˙˙bb ˙̇b∑∑∑∑∑∑∑

œœœœ∫∫bb Œ Ó∑


∑∑∑

œb > œ. ‰ Jœ. œb > œ> œb > œ>

œb > œ. ‰ Jœ. œb > œ> œb > œ>

.œ Jœb ˙

..œœ Jœœb ˙̇

.œb Jœb ˙

.œ Jœb ˙

..œœ Jœœn ˙̇

∑∑∑

œœ œœ œœn ..œœ œb œ œ#3 3

œb œ œb .œ œ œ œb3 3

Ó œ œb œ œ


∑

œb œ ‰ jœ œ œ ‰ jœÓ Œ œ œ œ

3




..œœ Jœœb ˙̇

.œb Jœb ˙

.œ Jœb ˙œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.ff

f

f

FDiv.

FF

f

f

F

FDiv.FDiv.

f

FDiv.

f

f

F



wwbb˙b ˙b

‰œb œn œb œ œ œ œ

Œ œb > œb > œb >Œ œb > œb > œb >

Œœb > œ> œb >

˙b ˙

wb

Ó œb œb œ œ

Ó œb œb œ œŒ œb > œb > œb >

Œ œb > œb > œb >

œb œ ‰ jœ œb œ œ∫ œœ Œ Ó

∑œb œb œ∫ œb œb œ∫ œb œb


œb œb œ∫ œb œb œ∫ œb œbœb œ œ œb œ œ œb œ

∑


wwbb˙∫ ˙bœb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

œb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

Div.

Div.

FF

FF

F

.œ Jœb ˙

.œ Jœb ˙

.œb Jœb ˙

.œ Jœb ˙

.œ Jœn ˙

.˙n > Œ

.˙b > Œ

.˙b >Œ



Ó œ œb œ œ

Ó œ œb œ œ.˙b > Œ.˙b > Œ

œb œ ‰ jœ œ œ ‰ jœÓ Œ œ œ œ

3



∑wwbb

wwb

.œ Jœb ˙œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

f

f

61

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~320 ∑

∑∑∑∑


Œœb > œ> œb >

320 ˙b ˙

wb

Ó œb œb œ œ

Ó œb œb œ œŒ œb > œb > œb >


œb œ ‰ jœ œb œ œ∫ œ320 œ Œ Ó320 ∑320


∑320


∑320

˙̇Œ

œb œb œ œb

˙̇ Œ œb œb œ œb˙N Œ œb œb œ œbœb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

œb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

FF

FFF

.œ Jœb ˙

..œœ Jœœb ˙̇

.œb Jœb ˙

.œ Jœb ˙

..œœ jœœn ˙̇

.˙n > Œ

.˙b > Œ

.˙b >Œ



Ó œb œ œ œ

Ó œ œb œ œ

.˙b > Œ

.˙b > Œ

œb œ ‰ jœ œ œ ‰ jœ∑∑



∑˙̇bb æ ˙̇æ

∑∑

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

FDiv.

F

FDiv.

f

fFF



wwbb˙b ˙b

‰ œb œn œb œb œb œb3

∑∑∑

˙b ˙b

wb

Ó œb œb œ œ

Ó œ œb œ œ



œb œ ‰ jœ œb œ œ∫ œ∑∑


∑œb œb œ∫ œb œb œ∫ œb œb


∑∑∑

œb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

œb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

Div.

FF

wbwwbb

wwb

.œ Jœb ˙wwbn

∑∑∑

wwb

wwb∑∑

.˙b > Œ

.˙b > Œ∑∑∑

Œ œb œb œ œb œb œ œb œb œ3

3 3

∑Œ œb œb œ œb œb œ œb œb œ

3

3 3

∑

∑∑∑

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

œb > œ. ‰ Jœ. œ. œ. ‰ Jœ.

˙bÓ

˙̇ œb Œ˙˙ Œ œb

˙N Œ œb˙̇ œb Œ

∑∑∑

˙˙bb ˙̇b˙̇bb ˙˙b

∑∑∑∑∑∑∑



∑∑∑

œb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

œb > œ. ‰ Jœ. œb > œ> œ∫ > œ>

PPPPPPPP

wb

wwb

wwbwbwwn

wnwbwb

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑

62

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

326 ∑∑∑∑∑∑∑∑

326 ˙˙bb ˙̇b˙̇bb ˙˙bÓ œb œb œ œ

Ó œb œb œ œ



∑326 ∑326 ∑326 ∑

∑326 ∑

∑326 ∑

∑∑∑∑

P

P

FF

wb

wwb

wwbwbwwn

wnwbwb

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙b ˙b

wbww∫b

wb >œb > œ

w

ww

www

ww

www

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑

∑∑∑∑∑∑∑∑

˙˙b ˙̇b˙̇bn ˙˙bÓ œb œ œ œ

Ó œb œ œ œ

Œ œ> œb > œb >

Œ œ> œb > œb >

∑∑∑∑∑∑∑

∑∑∑∑∑

PP

FF

w

ww

www

ww

www

∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑

Œ œ> œ> œ>Œ œ> œ> œ>

63

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

332 ∑∑∑∑∑∑∑∑

332 ∑∑∑∑∑∑∑

332 ∑332 ∑332 ∑

∑332 ∑

∑332 ˙b ˙b

wbwwbb

wb >wb >

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wwb æwwbæwwbæ

Ó ‰ œb . œ. œ.

∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙b ˙b

wwbbwwbbœb . œ. Œ Ó

∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wwb æwwbæwwbæ

Ó ‰ œb . œ. œ.

∑

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙b ˙b

wwbbwwbbœb . œ. Œ Ó

∑

64

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

337 ∑∑

‰ ‰ Œ Ó

œn œb œ ˙ œ œb œb œb3

3

∑∑∑∑

337 ∑∑∑∑∑∑∑

337 ∑337 ∑337 ∑

∑337 ∑

∑337 ∑

∑∑

œb œ Œ . Jœb œb œœb œ Œ . Jœb œb œ

pizz.

pizz.

dim.

∑∑∑

wn

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


wwbb˙b ˙bœb œ Œ Óœb œ Œ Ó

Div.

dim.

dim.

∑∑∑∑∑

œn œn œ ˙ œ œb œb œb33

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wb

ww.œ Jœb ˙

Ó ‰ Jœb œb œb

Ó ‰ Jœb œb œb

∑∑∑∑∑

wn

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙̇bb Œ œb˙˙bb Œ œ˙A Œ œb


PPP

rit.

rit.

rit.

rit.

∑∑∑∑∑∑

œb œb œ ˙ œ œb œb œb3

3

∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.˙bæ Œ

.æ̇ Œ

.æ̇ ŒÓ ‰ Jœb œb œb

Ó ‰ Jœb œb œb

rit.

rit.

65

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

342 ∑∑∑∑∑∑

wb

∑342 ∑

∑∑∑∑∑∑

342 ∑342 ∑342 ∑

∑342 ∑

∑342 ˙̇bb Œ œb

˙˙bb Œ œ˙A Œ œb


ppp

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wb æ

wæwæ

∑∑


3


3

a2

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

∑∑∑∑∑

FF

wbU

wbU

Ó ˙̇bb U

Ó ˙bU

Ó ˙˙bnU

Ó ˙bU

Ó ˙bU

Ó ˙bU

˙̇bb ˙̇U

˙̇bb ˙̇bU

Ó ˙bU

Ó ˙bU

Ó ˙bU

Ó ˙bU

Ó ˙bU

wb æwsnare roll

∑∑∑∑

∑∑∑∑∑

FFFFF

FFFF

FFFF

f

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œb œb œ œ œ œ œ œ œ œ œ œ3 3 3 3

w

∑∑∑∑

∑∑∑∑∑

66

&&&&&&??

&&&&????

ã&?

&?

&&B??

## ## #

##

Picc.

Fl.1&2

Ob.1&2

E. Hn.

Bb Cl.1&2

B. Cl.

Bsn.1&2

C. Bn.

Hn.1&2 1

Hn.3&4 2

C Tpt. 1

C Tpt. 2

Tbn.1 1

Tbn.2 2

Tuba

Timp.

Perc.

Vln. I

Vln. II

Vla.1&2

Vc.

Cb.

Hp.

Pno.

347 wbU

wbU

Ó ˙̇bb U

Ó ˙bU

Ó ˙˙bnU

Ó ˙bU

Ó ˙bU

Ó ˙bU

347 ˙̇bb ˙̇U

˙̇bb ˙̇bU

Ó ˙bU

Ó ˙bU

Ó ˙bU

Ó ˙bU

Ó ˙bU

347 wb æ347 w

347 ∑∑

347 ∑∑

347 Ó ˙̇bb Uæ

Ó ˙̇bb Uæ

Ó ˙̇bb Uæ

∑∑

FFFFF

FFFF

FFFF

FFF

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

wæ

∑∑∑∑∑

∑∑∑∑∑

a tempo

a tempo

wbwwb

wwb

wb

w∑∑∑

œœn œœ œœbb ..œœ œ œ# œ3

3


3

Ó œ œb œ œ


∑

œb œ ‰ jœ œ œ ‰ jœ∑∑∑∑∑∑

wb æ

ww æwwb æ

œb > œ> ‰ Jœ> œ> œ> ‰ Jœ>

œb > œ> ‰ Jœ> œ> œ> ‰ Jœ>

ƒƒƒ

ƒƒ

arco

arco

ƒƒƒƒƒ

f

ƒƒƒƒ

wwwbb

wwbbœ œb œb Œœb œn œb œ œ œ œ œ


˙b ˙

wb

Ó œb œb œ œ


∑∑∑∑∑∑

wæ

ww# æ

wwb æ

œb > œ> ‰ Jœ> œb > œ> œb > œ>

œb > œ> ‰ Jœ> œb > œ> œb > œ>

ƒƒƒ

ƒƒ

wwwb

wwb

wb

w

.˙n >Œ

.˙b > Œ

.˙b > Œœœn œœ œœbb ..œœ œ œ# œ

33


3

Ó œ œb œ œ

Ó œ œb œ œ

.˙b > Œ

.˙b > Œ

œb œ ‰ jœ œ œ ‰ jœ∑∑∑∑∑∑

wb æ

ww æwwb æ

œb > œ> ‰ Jœ> œ> œ> ‰ Jœ>

œb > œ> ‰ Jœ> œ> œ> ‰ Jœ>

ƒƒƒƒƒ

wwwbb

wwbbœ œb œb Œœb œn œb œ œ œ œ œ


˙b ˙

wb

Ó œb œb œ œ


∑∑∑∑∑∑

wæ

ww# æ

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68

CHAPTER 2. INTRODUCTION AND BRIEF COMPARISON OF TWO NOT SO DISTANT WORLDS

When researcher dives into the topic of 20th century music, one would immediately

reference one of the most affective blueprints of modern music: The Second Viennese School. If

quantitative research on music students at the collegiate level of their studies in regards to music

history is taking place, a deduction could be made that 20th century music could not be properly

taught without mentioning the era of the Second Viennese school.1 Technique, sound, and a rich

history of the composers that made the Second Viennese School possible is one of many paths

that help shape and bridge the gap between music history, music theory, and music composition.2

How could this be compared to a later, but distinct sound of the 20th century within another

culture? How can the rhythmically rich and unique sound of Motown fit into music history and

composition today?

The purpose of this study is to take a look at Motown Records and view it as a viable

subject of study within composition and music history because of its contribution to an entire

culture, much like the what Schoenberg did with the Second Viennese School. Also, it is

important to look at Motown Records and its place in 20th century music history.

What exactly is the “Motown sound?” How is that sound organized and can it be

organized? How does it stand out? Unfortunately, due to the cultural majority that is immersed

within Motown Records, it could be believed that some perceive it as something that is not

important enough to study or review. It is not just because it is linked to what others believe to

be as popular music. This is certainly not the case. The argument made is to prove that just

1 Smith, Joan A. Schoenberg and His Circle: a Viennese Portrait. Schirmer Books. Pg. 15 2 Smith,P. pg. 21

69

historical context alone would worth exploring, as well as Motown Record’s contribution to a

very specific era in the 20th century. Scholars have many examples of musical schools of sound

and tonality, considering the great success of research involved with the Second Viennese

School. To a researcher, this should be an excellent place to start, as well as format

characteristics of how tonality and traits of a time period are organized. Because of this potential

model, one can deduce that this model could shape other possible traits unique to not only

musicality itself, but an entire culture.3 Although some strides have been taken on the subject

matter, the same rules should be applied to Motown Records, as well as expressing its

importance and place in American Music History.

The opportunity to look at Motown Records in the 20th century (specifically in the late

60’s, early 70’s) and view it as one of the greatest culture movements in the 20th century also

immerses itself into African American history and culture, therefore should be included in

American music history as a whole.4 One of the main objectives includes studying the culture

surrounding the “Motown Sound” and its legacy.5 The legacy itself is something that is of great

importance to not only American culture of the 20th century, but specifically the African

American culture. Motown Records is more than a record studio. It has birthed some of the

greatest tonal structure and composers of the 20th century, and an even more important message

of individuality and boldness.

The study takes a look at the Second Viennese school of the early 20th century and see

how it is structured, seeing as it was a successful model for outlining not only the prolific

3 George, Nelson. Where Did Our Love Go?: the Rise and Fall of the Motown Sound. University of Illinois Press, 2007. Pg. 8 4 Singleton, Raynoma G. Berry, Me, and Motown: the Untold Story. Contemporary Books, 1990. Pg. 165 5 Singleton, Pg. 254

70

composers involved, but their distinct characteristics of sound. Furthermore, a brief look will be

taken at Arnold Schoenberg himself, as his journey to America. Then, it can be concluded that it

goes beyond music theory. It is simply a legacy that Schoenberg left behind because of its

culture history. There is a parallel that can be made from Arnold Schoenberg’s story of freedom

of expression and that of Motown Records. This explanation will help bridge the gap between

the uniqueness and importance of Schoenberg’s Second Viennese School and the freedom that

Motown Records offered its artist, especially throughout the decade of the Civil Rights

movement. Thus, through looking at the composers of the early 20th century, the study will also

focus on the composers of the mid-20th century, specifically those involved heavily with Motown

Records and its legacy. Unlike the Second Viennese School, there is no real way to narrow

down just three main composers to describe the sound. Instead, one should narrow down the

unique sound and message that was produced by many who are linked to the iconic “Motown

Sound.”6

A look into the world of Motown Records would mean to look at its history in depth. It

is an opportunity to bridge worlds that, at first glance, would not have much in common, but in

fact are more related than one might think. Discussing the groundwork for 20th century music

should include the importance of Motown Records and its overall message to the world.

Pointing out the strong need for musical expression and bravery from Schoenberg and his

experience of escape could help aid in the importance of the innovation of Motown Records and

what it meant to an entire culture, which was also fighting for freedom.

6 George, Nelson. Where Did Our Love Go?: the Rise and Fall of the Motown Sound. University of Illinois Press, 2007. Pg. 41

71

CHAPTER 3. THE SCHOOL THAT PAVED THE WAY

To utter the worlds “Schoenberg was a genius” is a grand understatement. It can easily

be argued that one of the most influential composers of the early twentieth century is in fact

Arnold Schoenberg. The contribution made to the world of music history within that era is vast,

and fortunately, still taught in universities around the world today. The Second Viennese School

was credited to the great Arnold Schoenberg, along with his pupils Anton Webern and Alban

Berg.7 Various labels to what academia typically describes as the Second Viennese school

includes Young Viennese School, the Twelve-Tone School, the Central European Group, the

Schoenberg School, or the Atonal School.8 It serves an even greater purpose, not just because of

the theoretical techniques that have paved the way for many theorists and composers alike, but it

shows the resilience of Schoenberg and his fellow pupils and colleagues fighting for their

freedom to stay alive and create.

With the Second Viennese School came a series of new ideas of composing for that

particular time period. Arnold Schoenberg is credited as the creator of what music scholars

would call the Twelve Tone method, which would be somewhat of a far cry from some of

Schoenberg’s earlier (and still very important) works, such as “Transfigured Night.” Figure 1 is

one example of many works composed by Schoenberg that includes chromaticism.

Figure 2 is an example of a urtext of “Transfigured Night,” or “Verklärt Nacht.” These two

examples are depicted in a way to show the stages and evolution of Schoenberg’s style of

composition over a span of about a decade. For what researchers throughout the years would

cleary consider twelve tone characteristics, it is important to note historical context for the years

7 Simms, Bryan R. Schoenberg, Berg, and Webern: a Companion to the Second Viennese School. 8 Ibid., 3

72

in which Op. 19 would have been written. According to first person accounts and letter

accumulated over the years, Schoenberg was slowly creating a personal library for himself.9

Infused with the planning of free concerts around this estimated time, he would begin extending

his catalogue of books, perhaps as a form of therapy from the previous time period before or

around Op. 19 was completed. This is important to note because of the social climate and

change that perhaps influenced him to continue with atonality for this work.10

Discussing twelve tone and the Second Viennese school would be remiss without discussing its

influence from Vienna in general. Vienna as a whole was not merely a location, it set the

precedent for how the school of sound would be organized culturally.11 Bryan R. Simms, author

of “Schoenberg, Berg, And Webern,” discusses in his literary companion how Schoenberg really

regarded Vienna and his roots to the musically historic location, saying, “Let us show the world

that music, if nothing else, would not have advanced if it had not been for the Austrians, and that

we know what the next step must be.”12

This profound quote was taken from a letter written to Josef Hauf in 1923, in which he

expressed his concern and opinion for what would be considered new music on a scale of

national identity.13 It is important to note the contrast between this quote and some of the

hardships that all members of the Second Viennese School itself. There was a constant struggle

between the revolution of evolving compositional techniques and the idea of traditions passed

down through the “first” Viennese School.14

9 Stuckenschmidt, pg. 183 10 Stickenschmidt, pg. 181 11 Simms, pg. 23 12 Simms, pg. 23 13 Simms, pg 23 14 Idib., 22

73

Figure 1. First movement of the “6 Little Piano Pieces” by Arnold Schoenberg (1913)

74

Figure 2. A holograph manuscript of “Verklärte Nacht, Op. 4 (1899)

75

Figure 3. A generic and original twelve tone row by Crystal Birdsong

Figure 3 is an example of pitches chosen at random. As stated, any of these pitches can

appear in any way, shape, or form throughout a body of work based on Schoenberg’s method. It

is only successful when absolutely no pitches are available to be repeated in the original tone

row. This further proves that any tone row with pitches selected at random can create a new

composition depending on the many combinations and key structures, as well as how they’re

presented within a work. This method would go on to become one of the most innovated ways

of composing throughout the early 20th century. It would later be adapted by Schoenberg’s

pupils, Berg and Webern. In today’s methods of composing, one of the most functioning and

plausible ways to compose successfully and efficiently.

76

Figure 4. A twelve tone row used by Alban Berg in his Violin Concerto, 1935

This not only shows the influence of Schoenberg’s theory methods, but it also shows

Berg’s personal style of composing. When played on an instrument, it almost does not seem to

have the “traditional” sound of a twelve tone because it imitates tonal qualities, which is what

makes this row so unique. However, some would argue that the Second Viennese School was

sometimes viewed as problematic due to the personality clashes of Schoenberg and his pupils

Webern and Berg. Berg was actually the only one of the three who was a lifelong citizen of

Vienna. The other two traveled mostly, with Schoenberg travelling more within the last decade

or so of Berg’s life.15

However, Schoenberg always had ties to the non-musical, including his getting

acquainted with the poet Karl Klaus. Before the war began, Klaus found ways to attack the

propaganda by using satire in his writing, in hopes that corruption within politics would be

unveiled to the public eye.16 Unfortunately, this would not solve all of the cultural problems and

relationships that would soon come with the reign of Hitler.

The lectures and performance tours of Schoenberg would briefly come to a halt.

Schoenberg would later discover around 1933 an insanely impactful shift in his life and career.

This would mark the year of Adolf Hitler and his power.17 Although the inception of World

15 Smith,J. pg. 23 16 Smith, J. pg. 22 17Stuckenschmidt, pg. 365

77

War II was not until 1939, Arnold Schoenberg became more vocal about the “Horror

Propaganda” he witnessed due to his cultural background.18 Of course, he was warned by

Kolisch, his brother-in-law, not to use certain rhetoric depicting his disgust for the mistreatment

of people with Jewish heritage. There was a reasonable fear that Schoenberg could lose his entire

family, as well as his own life, simply for standing firm on his beliefs.19 In the days of the

Prussian Academy of Arts, there were obvious conflicting views between artists and residence

alike due to the rise of Hitler.20 The president of the academy at the time, Max von Schillings,

was a composer who declared himself an anti-Semite. His thoughts and views on the freedom

some Jewish composers should have were boldly stated on numerous occasions.21 Schillings

idea of a perfect world of composition included the omission of Jewish composers and their

influence altogether. He simply wanted the session at the academy that included Jewish

composers along with their influence to be broken.22

Due to these views and the environment surrounding the Prussian Academy of Arts at the

time, Schoenberg voluntarily sent in his resignation from the academy.23 Hard times begin to

fall upon Schoenberg as the political climate became increasingly negative. However, there

were others who understood the importance of freedom of expression. Schoenberg would first

flee to Paris with his wife and daughter before eventually escaping to America.24 As he

reconverted to Judaism, he became more vocal of the issue that arose in Germany concerning the

18 Stuckenschmidt pg. 366 19 Stuckenschmidt pg. 366 20 Stuckenschmidt pg. 366 21 Stuckenschmidt pg. 366 22 Stuckenschmidt pg. 366 23 Stuckenschmidt pg. 366 24 Smith, J. pg. 149

78

Jewish people. With the rise of boldness for his culture and faith, the move to America was

inevitable.25

It would go without saying that Schoenberg’s first year in America proved to be a feat.

His health at this point was very poor, and the work schedule he developed seemed to work

against his already declining health at the time.26 With English not being his first language,

Schoenberg struggled to keep his life maintained while traveling back and forth from Boston the

New York for his teaching obligation.27 Still, his resilience persisted. He worked until his body

finally gave out. He did not leave the world without strong pedagogical teachings that are still

being used today, which were birthed out of a struggle to create art in a destructive society.

25 Simms., pg. 149 26 Simms, pg. 149 27 Simms, pg. 150

79

CHAPTER 4. THE INCEPTION OF MOTOWN’S VOICE

One might be curious as to know what the parallel is between Schoenberg and Motown

Records. Several terms come to mind when comparing seemingly juxtaposed topics, one word

shining above the rest: Freedom. To truly understand the importance of Motown Records and its

rightful place in American music history of the 20th Century, its inception as its own record

company and studio must be discussed. Motown Records could not be mentioned without the

name of one man: Berry Gordy.

The scene is set in Detroit, Michigan. Much like the sound and flare of Motown, Detroit

was resilient in its efforts of to be the leader of one of the most booming cities across the United

States of America. Most of the detail accounts that surround the inception of Motown Records

was not only from Berry Gordy himself, but another hidden driving force behind the record

company: Raymona Gordy Singleton, Berry Gordy’s late ex-wife.28 Her story is by far one of

the most interesting and complex, seeing as she was present for the eclectic history surrounding

the music culture. She recalls upon meeting Berry Gordy for the first time, describing him as

calm, cool and collected individual, with a certain charm about him.29

“Berry, Me, and Motown” is included with the accounts of Raymona’s experience getting

to know the man behind the force that is Motown, as well as insight within the studio. Singleton

was a young woman with a dream of becoming what most artist of the 1950’s wanted to become:

a star. There have been several accounts from various people of Motown Records; singers,

songwriters, dancers, tour managers, etc. However, one of the most intriguing come from a

fellow native of Detroit would provide context into the type of man who is a resilient as the city

28 Singleton, pg. 20 29 Singleton, pg. 20

80

Motown Records was created. In this book, she was described as a relatively unknown

songwriter, who would later on reveal that she was capable of providing instrumentation and

lead sheets for studio purposes. This would actually pique the interest of Gordy, as it would

anyone with a budding music studio.30

According to the accounts of Singleton, Berry Gordy is described as a man willing to

fight for what he believed in, both figuratively and literally. He wanted to pursue a career in

boxing, and later left to enlist in the army. However, Gordy later realized that music was his true

calling. 1950’s was surely a decade of a budding musical heyday for African Americans in

America, despite the treatment that was endured solely based on race across America.31 The

1950’s produced musical legends within the African American community, including the

charismatic Jackie Wilson. He is certainly worth mention due to the fact that in 1956, he decided

to make a solo career, which included insight from his manager Al Green, who also shares the

same name with a future rhythm and blues star not affiliated with Motown Records.32

Coincidentally, Berry Gordy was looking to fully advance in the music business as an

entrepreneur. In 1957 of the following year, strides were made to ensure the success of Gordy’s

future business when Jackie Wilson performed the first big hit of the label, “Reet Petite.”33

Although this was a step in the right direction, more needed to be achieved in order to

make Motown Records a household name. Meanwhile, Raymona Singleton remained a pivotal

player in collaboration with other artists, known as the Five Stars at the time.34 She mentions in

her book that although there was not a dime to Gordy’s name at the time from the humble songs

30 Singleton, pg. 21 31 Singleton, pg. 25 32 Singleton, pg. 25 33 Singleton, pg. 25 34 Singleton, pg. 28

81

that he wrote, he still had the drive to push forward. Eventually there was a light at the end of

the tunnel as the Miracles enter the scene. The Miracles were a singing group that included one

of the most prominent singer/songwriters of Motown Records, as well as rhythm and blues as an

entire genre: Smokey Robinson.35

The Miracles at the time included members Bobby Rogers, Ronnie White, Pete Moore,

and Claudette Rogers, who was Smokey Robinson’s girlfriend at the time.36 The beginning of a

long and successful professional relationship began between Gordy and Robinson in the summer

of 1957. This would soon blossom into a friendship that would soon become similar to family.

Smokey Robinson had the voice and showmanship, as well as the ear and songwriting skills.

Paired along with Gordy’s phenomenal ear and stellar songwriting skills, this was a force that

would soon help Motown Records blossom into what it is today. At this point, Motown Records

was still just a dream. Most of the records done by the Miracles was done under the watchful

eye of the Label Records, which was a small New York label at the time.37

One of the most interesting factors that is not always discussed in documentaries is how

involved the rest of Gordy’s family was in making music and history happen. There was a

constant and rapid need for the “black sound” to be pushed through the radio. This was not just

because of the increase in the population of African Americans in specific areas such as Detroit,

Chicago, or even New York. This was also because of the growing trend for the want of black

music within the white American community as well. Berry Gordy’s sister, Anna, would create

her own record label called Anna Records. She eventually made the decision to collaborate with

Leonard and Phil Chess, two Jewish entrepreneurs from the Southside of Chicago who also saw

35 George, pg. 22 36 George, pg. 23 37 George., pg. 24

82

great and untapped potential and talent that laid dormant in the Detroit region.38 Because of the

business savvy intellect that Anna Gordy possessed, she was able to solidify a deal that would

involve her reaping the benefits of return sales in opposition of records being leased to other

labels.39 However, the power of Berry Gordy’s songwriting and management still reigned

supreme with his original song, “Money (That’s what I Want). This particular song was leased

to Anna by her brother Berry, and would prove the longevity of Berry Gordy’s talent and career,

as well as becoming one of the most successful songs in African American music history.40

At this point, the bulk of sales created by Berry Gordy and the collaboration of his sisters

and other small music labels throughout the northeast region of the United States were mostly

original songs leased by Berry Gordy himself. The success of “Money” with its unique groove

and chorus provided by both Berry Gordy and Raymona would become a stable in households

everywhere. The song had such a profound effect on popular music that John Lennon would

later create his own version for the Beatles on The Second Album.41 However, Gordy did not

realize what Smokey Robinson would later bring to light: the goal of creating for themselves and

for an entire culture to enjoy.

Smokey Robinson was well aware of what could be on the horizon for the start and future

of Motown Records. It was time to create a fully functioning record company. Eventually, a

building was found by Raymona Singleton which would soon become the location of one of the

most iconic corporations in music history: 2648 West Grand Boulevard, still standing tall today

in Detroit, Michigan.42 Berry Gordy’s mission became clear to provide a safe space for young,

38 George, 25 39 George, 26 40 George, 26 41 George, 26 42 George, 28

83

African American songwriters and musicians to come together and create. It could be

considered a new and innovative wave of music and culture within the mid-20th century. Due to

the treatment of many African American artists and African Americans in general, Berry Gordy

made sure the way his business ran was strict in terms of finances. This would provide

opportunities for many up-and-coming African American artists to thrive and have a voice in the

world. This would mean that major influences of black culture would come to the forefront in

terms of its unique stylistic traits that set it apart from other genres of music.

Quite of few of the traits include but are certainly not limited to: the genre of gospel,

classic call-and-response originally derived from African culture, syncopated rhythms,

improvisation of jazz influence or otherwise, just to name a few.43 Although more can be done

in terms of studying patterns of African American music within the realm of academia beyond

specialty classes, one thing remains: there will always be a great interest in the way that sound

shaped a culture. In Jon Fitzgerald’s article about the stylistic traits of black songwriting

between 1963-1965, he gives an extensive breakdown of what it means to create a melting pot of

rhythmic variations and influences within global black culture to create a distinct sound that

should be considered a standard American sound within the 20th century. In the section

concerning rhythmic tempos, a typical song from this era of music could be anywhere between

120-139 bpm.44 . Also, a popular tool within the confines of techniques found within popular

music of this era includes strong emphasis on the back beat, to the “two and four.”45 In terms of

instrumentation, there could be anything from a standard rhythm section of drums, bass guitar,

lead guitar and voices to a full orchestra. One thing is for certain: Motown Records was known

43 Fitzgerald, pg. 132 44 Fitzgerald, pg. 113 45 Fitzgerald, pg. 113

84

for making some of the most iconic basslines in history with artists from The Temptations to the

Supremes.46

Between 1963 and 1964 alone, there was evidence of a distinct shuffle rhythm, which is

ideal for a jazz/swing rhythm. However, it is noted that Smokey Robinson eventually deviates

from this trait and incorporates straight eighth notes.47 Could it be due to the content that was

produced as the years inch closer to the era of civil rights? It is quite possible that rhythmic

changes (and also the message within the lyricism) began to imitate the life that surrounded

many black artists nearing the end of this decade, which was definitely hostile and race driven.

Whatever the case may be, the “Motown Sound” was a signature all on its own; the lighthearted

lyrics, the driving funk rhythm associated with black culture, and distinct tonal harmonization of

voices on each and every track listing.48

46 George, pg. 110 47 George, pg. 113 48 Smith, S. pg. 154-155

85

CHAPTER 5. FREEDOM OF EXPRESSION WITHIN THE CIVIL RIGHTS MOVEMENT

Motown Records continued to make great strides in the midst of culture movements of

music and art. One of the most pivotal moments in African American history was the release of

the first spoken-word recording under Motown’s label.49 August 28, 1963 marked the release of

the album, The Great March to Freedom, which was unlike anything Motown Records ever

produced at the time.50 It was also strategically released the same day as the Martin Luther King

Jr.’s iconic and historical March on Washington. Prior to the March on Washington, Detroit

formed its own march known as the Great Detroit March, which took place on June 23, 1963. Its

goal was to raise funding for the Birmingham, Alabama’s Southern Christian Leadership

Conference, also known as SCLC.51 It was in Detroit that Dr. Martin Luther King Jr. was given

the opportunity to present an early or modified version of the famous “I Have A Dream”

speech.52 If anything, art and music within the black community was need now more than ever,

even if it was a brief escape for the cruel treatment of their culture.

Several events catapulted the need for the black voice within music in 1963. These

events included the assassination of Medgar Evers, as well as the church bombing of

Birmingham. Was the demonstration in Detroit something that was prominent at this time? It

certainly was in its own way, despite seeing most of the hostile depictions of race relations in

America focused on the Southern region of the United States in the news media, even though it

was extremely glaring everywhere else in the nation, and was certainly not mutually exclusive to

the south. This seemed to be one of the best ways to aid in standing up for a greater cause, while

49 Smith, S. pg. 21 50 Smith, S. pg. 21 51 Smith, S. pg. 21 52 Smith, S. pg. 21

86

simultaneously raising funds for SCLC. However, Detroit’s history still has an ugly past

concerning race in America. Taking a look into the past of 1946, the urban renewal program

essentially destroyed black owned businesses and neighborhoods, all whilst the plight of police

brutality and segregation was at an all-time high.53 The March happening in 1963 over a decade

later would serve a greater purpose, insuring that the past would not be forgotten, but

encouraging those to move forward and fight for their rights as human beings. This is why the

first spoken-word recording under the Motown label served a much greater purpose in the Civil

rights era.

Due to this, the civil rights movement and those involved recognized that Motown

records was more than just a label that produced “popular” music, it was a means to create a

platform for voices that would otherwise be ignored. It was a beacon of hope, but a reminder

that the fight against injustice did not cease after one crossed the Mason-Dixon line.54 Despite

the somber surrounds, Motown Records was still able to provide a positive voice, no matter how

stern or thought provoking. One of the hits to elevate the charts and give the world an example

of the black musical sound was Stevie Wonder’s song Fingertips. It was a live recording that

included everything there was about the cultural sound of black people; call and response,

improvisation, and an all-around joy in the midst of negativity.55 Berry Gordy released the audio

recording of Stevie Wonder’s live debut in two parts, which would include a B-side on most

records. Eventually, it peaked at No. 1 on the Billboard charts, as well as becoming the second

song after the Marvelettes’ “Please Mr. Postman” under the label to peak at No. 1. Through the

music of Motown and unified marches through the streets of Detroit, the black community felt as

53 Smith, S. pg. 23 54 Smith, S. pg. 25 55 Smith, S. pg. 36

87

if they could be represented to the world through art. Through the sound of Motown, an

invisible symbol of unity would appear as causes continued to be promoted in the Detroit area.56

Within the year of 1963, Motown Records was a beacon of hope for what was possible within

the Detroit community. At this point, Motown Records was a self-sustaining, self-sufficient,

black owned operated business that not only was a pillar in the African American community,

but it began to bridge the gap between black and white listeners through its commercial use, as

well.57

The success of young artists at the time under the Motown label paired with Great Detroit

March only began to scratch the surface. Motown Records became increasing involved in the

civil rights movement. The company continued to persist, despite the odds being stacked against

them for simply being a black owned business in America. However, the perseverance

continued as race relations became more hostile across the country. The people of Motown

Records to press forward and elevate their platform to relay a message across the country. The

sound of Motown Records would begin to shift. The bigotry grew, but so did the message of

Motown.

There was a distinct commitment to nonviolent protests and approaches, which was

extremely important for relaying the message of equality. However, ongoing violence would

continue to threaten that ideal.58 Motown Records would come to use what is known now as

some of the most iconic soul songs in American history (“Nowhere To Run” or “Shotgun”) and

infuse their meaning to mirror what black voices described as their struggle to obtain equal

56 Smith,S. pg. 37 57 Smith, S. pg. 55 58 Smith, S. pg. 138

88

rights.59 However, commercial success was still important in terms of keeping the company in

the forefront of race relations, as well. One of the most popular acts under the Motown label, the

Supremes, would go on and achieve both commercial success while simultaneously integrating

the audience of America by continuing the signature “Motown sound.”60

1968 was one of the years Motown Records was put to the ultimate test. Increase in

hostility within the civil rights movement and politics appeared to be reaching its peak.

President Lyndon B. Johnson would begin to respond by stating his domestic policy describing

the current state of race relations in America, while discussing his foreign policy regarding

Vietnam.61 The news of Johnson not seeking reelection was followed by the assassination of Dr.

Martin Luther King Jr. For a brief moment, it seemed as if the nonviolent approach was

shrouded in an environment where violence ran rampant.

After a chain of the most violent events in history took place, the strong need for a voice

within the civil rights movement was needed more than ever. That injustice experienced by

African Americans during the civil rights movement, as well as Vietnam, would eventually find

its voice again in the Motown artist, Marvin Gaye. He is quoted saying, “I always knew I was an

artist…and not the cog in some machine. To be an artist is a blessing and a privilege. Artists

must never betray their true hearts. Artists must look beneath the surface and show that there is

more to this world than meets the eye.”62

The above quote is from Marvin Gaye, an artist who would later create one of the most

influential albums of all time, “What’s Going On?” Gaye was the songwriter who would

59 Smith, S. pg. 165 60 Smith, S. pg. 167 61 Smith, S. pg. 214 62 Smith, S. pg. 236 by Marvin Gaye

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eventually infuse the newer Motown sound with the turmoil of 1968. Marvin Gaye created a

song cycle that described his indirect experience involving his brother Frankie’s return from the

Vietnam War. The entire album was a metaphor for the experience that most black men

experienced upon their return home to war: being met with hostility. Frankie Gaye’s experience

including difficulty finding steady work, as well as the blatant disrespect solely for the color of

his skin.63 It was an experience that far too many could relate to, not just in Detroit, but across

America. Because the span of composition of Marvin Gaye’s album was over the course of

several years, that music provided a backdrop that transcended beyond the plight of the Vietnam,

but also focused on the rise in urban violence, as well as the perpetuation of the mistreatment of

black people in America. Marvin Gaye’s new album broke creative ground, seeing as it gained

not only commercial success, but the political impact was on the rise. This album raised

Motown Records to new heights with its underlying orchestration and improvisatory

seamlessness, mixed with Gaye’s signature smooth voice.64 The success of the album would

soon encourage other artist, such as Gladys Knight and the Pips and the Temptations to ban

together for the Save The Children fundraiser, with Gaye’s title track, “What’s Going On?”65

The issues surrounding the urban areas of the North were addressed through music as a means of

creative outlet. It was a way to continue the idea of equality in a nation that was still so divided.

Motown Record’s timing since its inception was key. The events that took place up to this point

were leading up to an election year, symbolizing that Motown Records still had more to say, as

well as an entire cultural population to represent.66

63 Smith, S. pg. 237 64 Smith, S. pg. 238 65 Smith, S. pg. 239 66 Smith, S. pg. 239

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CHAPTER 6. CONCLUSION AND FINAL REMARKS

If by chance one reads research on Motown Records, one should simply come to the

conclusion that even still, there is not enough research. Understandably, popular music is not the

“go-to” for a stereotypical academic setting. However, the history behind Motown Records is

rich with historic context that transcends music history. If this is the case, why is this era of

music not being talked about as much? This is not to say that Schoenberg’s experience with

fleeing to America to continue his journey of composing great music does not count for

something within culture, but there is a parallel that can and should be drawn. That is the

purpose of this research; to take was is so astonishing and moving about Schoenberg’s

experience fleeing to create. It did not matter that English was not his first language, or that his

work schedule worked against his health all in the name of keeping his family afloat.

Schoenberg did what he felt he must do to maintain a life for his family, but to also keep a legacy

intact that he created. It was a legacy in which blossomed in the midst of war.

When discussing the parallel of finding escape within art for Schoenberg and finding the

black voice through Motown Records, special attention must be paid to both context. They

should share equal importance in the classroom without dimming its importance to history.

However, the research continues to grow involving Motown Records above a historical sense,

but within the lane of music. The knowledge and discovery of what Motown Records still has to

offer continues to bloom within the realm of academia.

Again, this is not to say that Schoenberg’s contribution to 20th century music is worth

more or less. His legacy and experiences is one of the most riveting aspects of 20th century

music. He will always remain one of the main standards academia upholds to further the

teachings of music theory and pedagogy.

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The depths of 20th century music theory as it pertains to the Second Viennese school was

groundbreaking and radical for the time period, and it continues to remain one of the most

practical ways to compose even today. Understanding the plight of Schoenberg and what

surrounded his life, family and culture is to also understand the parallel within Motown Records.

The culture at first glance may seem widely different in comparison. However, when freedom of

expression is the means to escape racism, both cultural experience walk hand in hand towards a

common goal: for their voice to be heard through their art.

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BIBLIOGRAPHY

Fitzgerald, Jon. “Black Pop Songwriting 1963-1966: An Analysis of U.S. Top Forty Hits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland.” Black Music

Research Journal, vol. 27, no. 2, 2007, pp. 97–140. Accessed August 01, 2018. JSTOR, www.jstor.org/stable/25433786.

Fong-Torres, Ben. The Motown Album. St. Martin's Press, 1990. George, Nelson. Where Did Our Love Go?: the Rise and Fall of the Motown Sound. University

of Illinois Press, 2007. Gorrell, Lorraine. Discordant Melody: Alexander Zemlinsky, His Songs, and the Second

Viennese School. Greenwood Press, 2002. Mathews, Joseph J. "World War II." In Reporting the Wars, 174-96. University of Minnesota

Press, 1957. http://www.jstor.org.libezp.lib.lsu.edu/stable/10.5749/j.cttts9ck.13. Neighbour, O. W., et al. The New Grove Second Viennese School: Schoenberg, Webern, Berg. Norton, 1997. “Popular Music, Stars and Stardom.” Popular Music, Stars and Stardom, by Stephen Loy et al., ANU Press, 2018, pp. 95–114.

Simms, Bryan R. Schoenberg, Berg, and Webern: a Companion to the Second Viennese School.

Greenwood Press, 1999. Singleton, Raymona G. Berry, Me, and Motown: the Untold Story. Contemporary Books, 1990. Smith, Joan A. Schoenberg and His Circle: a Viennese Portrait. Schirmer Books Smith, Suzanne E. Dancing in the Street Motown and the Cultural Politics of Detroit. Harvard,

2003. Stuckenschmidt, Hans Heinz. Schoenberg: His Life, World, and Work. Oneworld Classics, 2011.

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VITA

Crystal Birdsong (1989-) is a Louisiana native composer and pianist. She is currently

studying music composition at Louisiana State University. She is in the studio of Dr. Dinos

Constantinides, who was also her major professor throughout her Master’s degree at Louisiana

State University. Ms. Birdsong is also working towards her piano minor degree and is a member

of the piano studio of Professor Michal Gurt. Ms. Birdsong is also a member of Louisiana State

University ensembles, including the LSU Chamber Singers choir, with whom she has

collaborated with on many occasions with performances of her original choral works. She

expects to gradate with a PhD in Music Composition with a minor in Piano Performance in May

of 2019.

old school for the new school: discussing the importance

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