Concerto for Florist and Orchestra

Mark Applebaum, 2009

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Concerto for Florist and Orchestra Mark Applebaum, 2009

For conductor Steven Schick, florist James DelPrince, and the La Jolla Symphony Orchestra.

This piece was made possible by a grant from the Fromm Music Foundation.

Duration

I. Aphorism c.1:50 II. Passacaglia c.6:30

III. Inflorescence c.8:30

The individual movements of the Concerto for Florist and Orchestra may be performed as autonomous concert works without soloist. In such cases, their respective movement titles should be substituted: Aphorism, Passacaglia, and/or Inflorescence. When played without soloist, Inflorescence is performed without its coda.

Stage Layout: The players are encouraged to find a creative solution to the challenges of staging such a piece, one that is attractive, logistically sound, and takes into account the specifics of the performance site. By way of a default, the work was imagined with the soloist performing in front of the orchestra in three specific downstage areas, each associated with a given movement: Movement I: the smallest area, located to the immediate left of the conductor. Movement II: a somewhat larger area, located to the left of the conductor and occupying the remainder of the stage right width. Movement III: the largest area, located to the right of the conductor and occupying the majority of the stage left width. Accidental Policy Accidentals apply only to the noteheads to which they immediately adhere. “Courtesy” natural signs are often supplied.

Legend

n.

Quarter-tone sharp.

Quarter-tone flat.

Niente, silent.

Muted; the sound immediately stops.

Let vibrate.

Glissandi occur over the entire duration as given; the end pitch is heard as such. Stems are provided only to denote the passage of time and do not suggest points of rearticulation unless accompanied by an accent mark.

Grace note figures appear with thinner beams and are to be played as fast as possible.

Rapid, unmeasured tremolo; flutter tongue in winds and brass.

Trills are made to the notes given in parentheses.

“Limping” trill; instead of an even oscillation between the base note and trilled note, the duration of the base note is substantially longer than the trilled note; the pattern should be regular, however.

Winds & Brass:

Blow through the instrument or loosely against mouthpiece.

Vocal hissing.

Winds:

Flute: tongue ram; sounding approximately one major seventh lower than the notated pitch.

Flute: pizzicato articulation, a plosive "pah."

Flute: pizzicato articulation, a plosive "tah."

Clarinet: tongue slap.

Horns:

Horn: stopped.

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Trumpets:

Trombones:

Trumpets require straight mutes and harmon mutes (stem removed).

Rip; the note is approached by an ascending glissando.††

Doit; the note is followed by an ascending glissando.††

Shake; raucous, wide lip trill; large interval and somewhat out of control.

Spill; the note is followed by a chromatic descent.††

Fall; the note is followed by a descending glissando.††

Lift; the note is approached by a chromatic ascent.††

†† In these explanations the word chromatic suggests a scale of individual half steps; in contrast, glissando refers to a continuous pitch continuum (portamento), often employing half valves in the trumpet.

All trombones require straight mutes; Trombone 1 & 2 and Bass Trombone 1 require plungers.

Piano:

The keys are depressed while the corresponding string are hand-muted.

Harmonic: the key is depressed while the corresponding string is fingered lightly several inches away from the bridge, thereby producing an upper partial.

Movement III, measure 72: The highest two strings can be prepared with a heavy substance that leaves no residue (i.e. “blue tack”) so that trilling on the keyboard produces a loud, percussive “thwacking” of indeterminate pitch.

Percussion:

Dead stroke.

Toms: played on the rims.

Strings:

Snap pizzicato.

s.p. Molto sul ponticello; bowed at the bridge to produce a glassy sound; this should be exaggerated.

s.t. Molto sul tasto flautando; bowed at the fingerboard to produce and airy sound; this should be exaggerated.

Overpressure; excessive, grinding bow pressure and slow bow speed causing noise and severe pitch distortion.

The highest pitch on the string, well above the fingerboard.

Half-harmonic: note is fingered lightly to produce noisy, semi-uncontrolled pitch.

Arco gettato, the bow bounces off the string and rebounds to make successive attacks.

Col legno battuto: with the wood of the bow.

Downward, quarter-tone glissando "fall-off."

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Program Note: I met James DelPrince, by chance, on an airplane in 1999. Four things happened during the ride, all in the span of about twenty seconds: I learned that he was a florist; I instantaneously had the idea of a concerto for florist; I asked him if he’d ever thought about being a performance florist; and he responded “Yes—I’ve always dreamed about being a performance florist!” The Concerto for Florist and Ensemble was premiered soon after, a piece for improvising musicians, with Jim simultaneously sculpting magnificent and idiosyncratic floral sculptures. The piece was revised for several subsequent performances, always with a new ensemble, a new improvisation score, and new durations. Likewise, Jim changed his approach to floristry each time, sometimes employing skewered green apples, barbed wire, or police crime scene tape, other times working with long-stemmed artichokes and a glue gun, inserting flowers and flashlights into salvaged car parts, or weaving fronds of juniper and tinsel. Jim is not your standard florist. Steven Schick, conductor of the La Jolla Symphony Orchestra and a longtime friend, mentor, and collaborator, played percussion in the most recent adaptation of the Concerto for Florist and Ensemble, a 50-minute version scored for an octet of particular virtuoso musicians. Steve enthusiastically proposed a new piece for symphony orchestra, one that differs from its predecessors in a number of important ways. First, and most obvious, the Concerto for Florist and Orchestra has a generously expanded instrumentation, including six very active percussionists. Second, it is a three-movement work, whereas the earlier versions were all single-movement forms. Third, and most significant, the musicians perform a determinate, traditionally notated composition, whereas earlier concerti featured improvisers who were directed when to play, but not what to play. Unlike the orchestral players, the soloist is free to improvise his part spontaneously. Alternatively, he may choose to prepare an approximate agenda, or to formulate an exact series of step-by-step actions in advance. The only requirement is that he undertake three projects on stage whose duration of execution matches those of the orchestra’s musical endeavors. In this regard, the spirit is very much akin to the classic Merce Cuningham and John Cage collaborations in which music and dance cohabitate rather than coordinate. My experiences composing for the Cunningham Company, first in 1993 and then in 2005, profoundly affected my aesthetic orientation. The music and dance—or in this case, the music and floristry—will have coincidental, chance moments of seeming congruity, and other times of seemingly coordinated antithesis, both of which suggest a kind of cognitive clarity. But for me, the abundant time in which the media relate at an uncomfortable, oblique angle is of greatest interest and excitement. It is the problem of their incongruous juxtaposition that I find most arresting. An alternative performer of another medium may be substituted. When such a substitution is made, the title is revised accordingly. Some examples include: Concerto for Juggler and Orchestra, Concerto for Plumber and Orchestra, Concerto for Contortionist and Orchestra, Concerto for Quilter and Orchestra, Concerto for Locksmith and Orchestra, Concerto for Chef and Orchestra, Concerto for Tax Attorney and Orchestra, etc. A Concerto for Composer and Orchestra might involve a composer (but not the one of this piece) quietly working at a desk onstage. The Concerto for Florist and Orchestra was composed for the La Jolla Symphony Orchestra and was made possible by a grant from the Fromm Music Foundation. It is dedicated to Steven Schick and James DelPrince, intrepid collaborators, conspirators, and experimentalists.

Mark Applebaum, November, 2009

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Instrumentation

Soloist—a performance florist

An alternative performer of another medium may be substituted, provided that the medium does not produce much sound. When such a substitution is made, the title should be revised accordingly; for example, Concerto for Juggler and Orchestra,

Concerto for Plumber and Orchestra, Concerto for Contortionist and Orchestra, Concerto for Quilter and Orchestra, Concerto for Locksmith and Orchestra, Concerto for Chef and Orchestra, Concerto for Tax Attorney and Orchestra, etc. A Concerto for Composer and Orchestra might involve a composer (but not the one of this piece) quietly working at a desk.

Piccolo 2 Flutes

Alto Flute 2 Oboes

English Horn E Clarinet

3 B Clarinets Bass Clarinet 2 Bassoons

Contrabassoon

4 Horns 2 Trumpets in C Trumpet in B 2 Trombones

2 Bass Trombones Tuba

6 Percussion

Percussion 1: vibraphone (and bow), thai gongs (c4, d, e , g , a , b , c5), bass drum, 23" timpano, claves, triangle, low cowbell, suspended splash cymbal, metal can, police whistle, 2 click ballpoint pens, suspended aluminum foil, bamboo wind chimes. Percussion 2: marimba (4-1/3 octave), bongos (lower pair), 26" timpano, 4 glass bottles, woodblock, castanets, triangle, 2 automobile brake drums, tambourine, sleigh bells, metal can, metal bowl, 2 click ballpoint pens, suspended aluminum foil, maraca, bamboo wind chimes. Percussion 3: xylophone, 26" timpano, 2 glass bottles, tubular bells, thai gongs (c 4, e, f, g, a, b), slapstick, low cowbell, dark suspended cymbal, galvanized steel “wobble” sheet, metal can, metal bowl, 2 click ballpoint pens, suspended aluminum foil, large tam-tam, triangle, bamboo wind chimes. Percussion 4: glockenspiel, 4 toms, 29" timpano, 2 glass bottles, triangle, suspended cymbal (with bow), heavy (Tibetan) finger cymbals, vibraslap, metal bowl, glass wind chimes, 2 click ballpoint pens, suspended aluminum foil. Percussion 5: crotales (higher octave), snare drum, 4 toms, 23" timpano, 2 glass bottles, 2 shakers, triangle, bright suspended cymbal, metal can, police whistle, sandpaper blocks, 2 click ballpoint pens, suspended aluminum foil. Percussion 6: bass drum, bongos (higher pair), 4 toms, 4 woodblocks, claves, castanets, suspended sizzle cymbal, PVC tube (with ping-pong paddle), bottle of compressed air, metal bowl, 2 click ballpoint pens, suspended aluminum foil, bell tree. * Note: except for the ballpoint pens and suspended aluminum foil, instruments that are duplicated among the various percussionists—such as triangles, police whistles, and toms—should have different timbres and/or tunings.

Celesta Piano

2 Harps

Violin I (12†) Violin II (12†)

Viola (9†) Cello (9†)

Contrabass (6†)

† minimum string players

The Score is Transposed: Glockenspiel and crotales sound two octaves higher than notated. Piccolo, xylophone, and celesta sound one octave higher than notated. E clarinet sounds one minor third higher than notated. B clarinet and B trumpet sound one major second lower than notated. Alto flute sounds one perfect fourth lower than notated. English horn and French horn sound one perfect fifth lower than notated. Contrabassoon and contrabass sound one octave lower than notated.

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Piccolo

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Alto Flute

Oboe 1 & 2

English Horn

Clarinet in Bb 1 & 2

Clarinet in Bb 3

Bass Clarinet

Bassoon 1 & 2

Contrabassoon

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trumpet in C 1

Trumpet in C 2

Trumpet in Bb

Trombone 1 & 2

Bass Trombone 1

Bass Trombone 2

Tuba

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

Percussion 6

Violin I

Violin II

Viola

Violoncello

Contrabass

Celesta

Piano

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Harp 2

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Concerto for Florist and Orchestra

Mark Applebaum

Transposed Score

©2009

I. Aphorism

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Picc.

Fl. 1 & 2

A. Fl.

Ob. 1

Ob. 2

E. Hn.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1 & 2

C. Bn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

C Tpt. 1

C Tpt. 2

Bb Tpt.

Tbn. 1

Tbn. 2

B. Tbn. 1

B. Tbn. 2

Tuba

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Perc. 6

Vln. Solo 1

Vln. I

Vln. Solo 2

Vln. II

Vla.

Vlc.

Cb.

Cel.

Pno.

Hp. 1

Hp. 2

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Two Shakers

Castanets

P

P

f

F

F

arco staccatissimo

arco staccatissimo

ƒ

ƒ

P

P

ƒ

ƒ

P

P

pizz.

pizz.

F Fƒ ƒ

ƒFF ƒ

pizz.div. a 2

ƒFF ƒ

f

f

gli altri

gli altri

tutti

∑

∑

∑∑

∑

∑

∑

∑

∑

œ.œ. œ. œ# .

œb . œb .œb .

3

œ.œb .œ. œn .

œ# . œn .œ# .

3

∑

‰ œb œ œ ‰

‰ œ# œ œ ‰

∑

∑

∑

∑

∑

∑

Œ Œ Œ Jœb œ3

Œ Œ ‰ œ œ# ‰3

Œ Œ jœb œ Œ3

∑

∑

‰ œ# œ# œ œ œn ‰

∑ &

∑

∑

∑

∑

∑∑

œ.œb .œ. œn . Œ

∑

∑

∑

Œ Œ œ# . œ.œ# .

3

∑

∑

∑

∑

B

∑ B

?

∑

∑

P

P

Marimba

P

P

p

p

soft yarn

P( ) ( )

p

F

con sord.

con sord.

con sord.arco

arco

ord.

(senza sord.)

arco

arco

p

con sord.( )

( )

( )

(senza sord.)arco

(senza sord.)

tutti

con sord.

solo

con sord.solo

gli altri

(senza sord.)

ord.

con sord.

∑

œœ# æ œœn æ œœb æ3

∑∑

∑

∑œ# œ# œn œ# œ œn

3 3

∑

∑

œ. ‰ Œ

œ. ‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

Jœ œb Œ Œ3

∑

∑

∑

∑

∑

∑

œœb°

œ ‰ œ ‰ œbfi3 3

∑

∑

∑

œ# œ œn œ œ œb3

3

∑∑

∑

∑

∑

∑œ. ‰ Œ

œ œ œb3

œ œ œb3

œ# œ œ3

œ# œ œ3

œ œ œb3

œ œ œb3

œ# œ œ3

œ# œ œ3

∑

F

π

1.

p

P

P

P

P

P

( )

P

P

con sord.

P

P

gli altri

con sord.

π

Tubular Bells

senza

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó∑

∑

∑

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

∑

∑

¿ Œ Ó ?

¿ Œ Ó ?

¿ Œ Ó ?

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

¿ Œ Ó

∑

∑

∑

∑

∑

∑

∑

∑∑

∑

∑

j¿ ‰fi Œ Ó

∑

j¿ ‰fi Œ Ó

≈.œ œ œ

≈ œ# œ œ œ ® .œœ# .œ ® œ# œ

3

∑

‰œb œ œ ≈ œ œ œ ≈

œ œn œ ≈ œ œ#5

3

∑

Œ J œœœ Œ j œ# œ œ# ‰ . .  œ œ# œ Œ3

3

∑

Œ œœb œ  ‰ . ≈  œ œœ ‰ ‰  œ œn œ ‰

3

∑

œœ         

( )

( )( )

( )

( ) ( ) ( )

ç

* Fast, vertical stroke of low wound string with fingernail or plectrum to produce a whispy, zipping sound. The string's pitch is not heard.

ç*

p

p

p

p

div. a 2

sempre

ƒAir

ƒAirƒ

Air

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

ƒAir

(con sord.)

(con sord.)

(con sord.)

(con sord.)

A

A

A

A

(arco)

*

( )

P

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

‰ œμfl Œ Ó

‰ œnfl Œ Ó

‰ œBfl Œ Ó

‰ œnfl Œ Ó

Œ œ̆ ‰ Ó

Œ œ̆B ‰ Ó

Œœ̆

‰ Ó

‰ œμ> œμŒ Ó

‰ œ> œŒ Ó

‰ œB> œBŒ Ó

‰ œ> œ#Œ Ó

∑

Œ œ> Ó

∑

Œ œ> Ó

Œ œ Ó

Œ œ    

‰ Jœ œ> Œ Ó

∑

∑∑

∑

∑

∑

∑

∑

œ œ ® .œ# œ# .œ ≈ œn œb œ ® .œb œ5

‰ ¿¿æ æ

 æ

 æ

œ ‰ œ œ# œ œ ≈ œ œ œ ® . .œb œb3 3

‰ ¿¿æ æ

 æ æ

 œ# œ œ# ‰ . ‰ .  œ# œ# œ# Œ ≈  œ œb œ ‰ œb œ œb 5

‰ ¿¿æ æ

 æ

 æ

®  œ œ# œ‰ .  œ œ# œ ‰ . ≈  œ œœ ‰ ‰  œb œb œb3

‰ ¿¿æ æ

 æ æ

           

ç

ç

ç

ç

( )

( )

( )

( )

Low Cowbell

Low Cowbell

Triangle

Sandpaper Blocks

High Bongo

( )

( )( )

( )( )

( )

**I & II

(non trem.)

**I & II

**I & II

**I & II

** Wispy sound from fast reciprocation of bow hair (punta d'arca) parallel to string—like wiping several inches of stringwith the bow, back and forth very quickly. Double stop (I & II); glissando from low "stopped" position to high.

çdeadstroke

deadstroke

ç

fl.v.

π

ç

senza sord.

senza sord.

senza sord.

senza sord.

senza sord.

senza sord.

senza sord.

p

p

p

ç

ç

ç

half-valve rip

half-valve rip

half-valve rip

f

f

f

f

gli altri

F

F

F

F

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

     

∑

∑

∑∑

∑

∑

∑

∑

∑

œ ≈ œn œn œ œ3 æ

 æ

 æ±±

.œ ≈ œb œ Jœ5 

æ æ

 æ±±

‰ ≈  œn œœ ‰3

 æ

 æ

 æ±±

‰ ≈ .  œb œ œb ‰ æ

 æ

 æ±±

         œœ

( )

( )

( )

~~~~~

~~~~~

~~~~~

2

&

&

&

&

&

&

&

&

&

&?

?

?

?

??

&

&

&

?

?

?

?

?

&

&?

&?

&?

&?

&

&

B

?

?

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Picc.

Fl. 1 & 2

A. Fl.

Ob. 1

Ob. 2

E. Hn.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1 & 2

C. Bn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

C Tpt. 1

C Tpt. 2

Bb Tpt.

Tbn. 1

Tbn. 2

B. Tbn. 1

B. Tbn. 2

Tuba

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Perc. 6

Vln. I

Vln. II

Vla.

Vcl.

Cb.

Cel.

Pno.

Hp. 2

Hp. 1

HHHHHHHHHH

◊

~~~~~~~~

~~~~~~~~~

~~~~~~~~~

~~~~~~~~~

HHHHHHHHHHHHHHHHHHH

Ÿ~~~~~~~~~

Ÿ~~~~~~~~~~

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

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

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

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

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

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

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

12 ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

12 ∑

∑

∑∑

∑

∑

∑+̇ o

˙b+ o

˙b+ o

∑

∑

12∑

∑

∑

∑

   

∑

∑∑∑

∑

∑

j¿ ‰fi Œ∑

j¿ ‰fi Œ

&

∑

&

∑

∑

∑

∑

senza sord.

senza sord.

ç

ç

∏

∏

∏

plunger

plunger

plunger

F

F

F

poco

div. a 2

div. a 2

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ jœ œ ‰fi

Œ jœ œ ‰fi

.œ œ ‰fi

          ‰fi

Œ jœ œ ‰fi

‰ œ œ œ œ ‰ Œ .3 3

∑∑

Œ . œœ>°

+ ‰fi

Jœœœœ.Œ Œ .

∑

Œ . Jœœœœ##.Œ

∑

Oœ ‰ Oœ## ‰

Oœ ‰ Oœ# ‰

Oœb ‰ Oœ ‰

Oœ ‰ Oœ‰

∑

∑

∑

Filled with (shallow)water, struck with hard yarn mallet and slowly tilted.

FFilled with (shallow)water, struck with hard yarn mallet and slowly tilted.

F

Filled with (shallow)water, struck with hard yarn mallet and slowly tilted.

F

F

p

ßStrings are severely muted by fingers.

P

POOOPoppO

π

π

π

π

f

f

f

f

π

π

π

π

f

f

f

f

senza vib.

senza vib.

senza vib.

senza vib.

Metal Bowl

Metal Bowl

Tibetan Finger Cymbals

Metal Bowl

P

senza sord.

senza sord.

Tambourine

Blow on hanging sheet of aluminum foil.

∑

∑

∑

‰  œ# œ# ≈ œ ≈  œ œ# ® œ# œ ‰ œ3 3

Œ Jœ# ‰  œ# œœ œ# ≈  œ# ≈ œ ≈ œ ≈3

5

∑

Œ Rœ#  œ# œ ‰  œ  œ# œ# œ ‰  œ5

3

‰ .  œ# œ# œ ≈ ‰  œ œ# ≈  œ# œ ‰   œ‰5 3

‰ œ# ® œ# ≈ ‰ œ ≈  œ œ# œ# ≈  œœ5 5

∑

∑

∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑ &

∑

∑

∑ &

∑

∑

∑∑∑

∑

∑

∑

∑

∑

œ# .  .  . ≈  . ‰  .  .  .  . œ# .3

3

œ# .  .  . ≈  . ‰  .  .  .  . œ.3

3

œ.  .  . ≈  . ‰  .  .  .  . œ.3

3

œ.  .  .≈ .‰

 .  .  .  . œ.

33

Œ œ# œ# ‰ Œ

Œ œ œ ‰ Œ

∑

stac.

stac.

stac.

stac.

stac.

P

P

P

P

P

col legno battuto secco

col legno battuto secco

col legno battuto secco

col legno battuto secco

( )

( )

( )

( )

F

F( )

( )

ƒ

ƒ

ƒ

ƒ

Œ œ̆ ‰ Œ

Œ >œ#fl‰ Œ

Œ >œfl‰ Œ

∑

∑

œ# œ œn œ œ# œ# jœ œn3 3 3

∑

∑

∑

Œ Œ ‰œ‰

3

∑

∑

∑

∑

∑∑

Œ ‰œ#‰ Œ

3

∑

∑

∑

∑

∑

∑

œ# .‰ Œ Œ

Œ Œ ‰œ°

3

∑

∑

Œ ‰ œ# ‰fiŒ

3

∑

∑

∑∑∑

∑

∑

∑

∑

∑

œ#>œ  .  .  . ‰ Œ Œ

œ#>œ  .  .  . ‰ Œ Œ

œ#>œ  .  .  . ‰ Œ Œ

œ#>œ  .  .  . ‰ Œ Œ

œ#fl© ‰ Œ Œ

ç

ç

tongue ram

tongue ram

P

F

F

(half-valve doit)

f

(senza sord.)

(senza sord.)

(senza sord.)

(senza sord.)

Vibraphone

arco

P

Glock.

F

ç

col legno battuto gettatotutti

ç

col legno battuto gettatotutti

ç

col legno battuto gettatotutti

ç

col legno battuto gettato

ç

( )

( )

ç(tutti)

snares on

∑

∑

∑

∑

∑

∑

Œ ‰ ® œ œ œb œœ

6

∑

∑

∑

∑

∑

∑ &

∑ &∑∑

∑

∑

∑

œ œ   œb

œ œ   œμ

œ œ   œμ

œ œ   œ

∑

œ‰ Œ

œ ‰ Œ

∑

∑

œ> œæ ‰ œæ

∑

∑∑∑

∑

∑

∑

∑

∑

Œ ‰ œ# æ

Œ ‰ œ# æ

‰ œæ ‰ œæ

‰ œæ ‰ œæ

∑

p poco

∏

∏

∏

∏

poco

poco

poco

poco

Aluminum Foil

One or Two "Click"Ballpoint Pens

thumb roll

wire brush

F ∏

∏

∏

arco

arco

s.p.

s.p.

∏

arcos.p.

∏

arcos.p.

One or Two "Click"Ballpoint Pens

One or Two "Click"Ballpoint Pens

One or Two "Click"Ballpoint Pens

One or Two "Click"Ballpoint Pens

Aluminum Foil

Aluminum Foil

Aluminum Foil

Aluminum FoilP

Snare Drum

∑

Ó Œ ‰  

Ó Œ ‰  ∑

∑

Ó Œ ‰  Ó Œ ‰  Ó Œ ‰  Ó Œ ‰  Ó Œ ‰  Ó Œ ‰  Ó Œ ‰  

Ó Œ ‰  Ó Œ ‰  

∑∑

Ó Œ ‰  

Ó Œ ‰  

Ó Œ ‰  

Ó Œ ‰  

Ó Œ ‰  

Ó Œ ‰  

Ó Œ ‰  Ó Œ ‰  

‰ œ≥œ≤œ≥œ≤Œ œ

≥œ≤œ≥≈ . œ≤œ≥œ≤œ≥œ≤‰¿      

‰ œ≥œ≤œ≥œ≤Œ œ

≥œ≤œ≥≈ . œ≤œ≥œ≤œ≥œ≤‰¿      

‰ œ≥œ≤œ≥œ≤Œ œ

≥œ≤œ≥≈ . œ≤œ≥œ≤œ≥œ≤‰¿      

‰ œ≥œ≤œ≥œ≤Œ 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≤‰¿      

∑∑∑

∑

∑

∑

∑

∑

Oœn ‰ Œ Ó

∑

Ó ‰ œ. œ.‰ œb .

3

Ó ‰ œ. œ. ‰ œb .3

Ó ‰ œ. œ. ‰ œb .3

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

SF

Hiss

f Blow on hanging sheet of aluminum foil.

(as possible)ƒ

f

(as possible)ƒ

f Blow on hanging sheet of aluminum foil.

(as possible)ƒ

f Blow on hanging sheet of aluminum foil.

(as possible)ƒ

f Blow on hanging sheet of aluminum foil.

(as possible)ƒ

f Blow on hanging sheet of aluminum foil.

(as possible)ƒ

pizz.

p

pizz.

p

pizz.

p

One or Two "Click"Ballpoint Pens

Aluminum Foil

p f

soloarcoord.

B

B

B

B

Ó Œ œ œ# œ œn

  ‰ Œ Ó

  ‰ Œ Ó

‰ . œ .˙

∑

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

∑∑

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

  ‰ Œ Ó

‰ œ≥œ≤≈ Œ Ó    ≈

‰ œ≥œ≤≈ Œ Ó    ≈

‰ œ≥œ≤≈ Œ Ó    ≈

‰ œ≥œ≤≈ Œ Ó    ≈

‰ œ≥œ≤≈ Œ Ó    ≈

‰ œ≥œ≤≈ Œ Ó    ≈

∑∑∑

∑

Ó Œ œ ‰ .

∑

∑

∑

‰ . œfl Œ Ó

‰ . œfl Œ Ó

‰ . œ̆ Œ Ó

‰ .œœ˘Œ Ó

‰ .œ̆Œ Ó

pexpressive

p

snares off

p

pizz.

ç

ç

ç

ç

div. a 2

pizz.

ç

tutti

œ œ œ# œ œ Œ

∑

∑œ œ Ó

Œ œ ˙

∑

Ó Œœ œ# œn

3

∑

∑

∑

∑

∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑∑∑

∑

Ó Œ JœŒ

3

∑

∑

∑

‰œ#> œ œ

Œ

∑

∑

∑

∑

n.

n. p

pexpressive

p

ç

arco, con sord., senza vib.

∏

solo

∑

Ó Œ œ#>

∑

Ó œ œ

˙ œ Œ

∑

œ# œ œ# œ œ œ Œ3

∑

∑

∑

∑

∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑∑∑

∑

∑

∑

Ó Œ œ#

∑

Œ Jœ#> œ œ Œ3

∑

∑

∑

∑

ßp

expressive"Shakuhachi" attack

n. p

n.

f

pOpOPoppO

ç∏

1.

3

&

&

&

&&

&

&

&

&

?

?

&

&

&

&

?

?

?

&?

&?

&

?

&

?

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Picc.

Fl. 1 & 2

A. Fl.

Ob. 1

E. Hn.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1 & 2

C. Bn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1 & 2

Bb Tpt.

Tbn. 1 & 2

B. Tbn. 1 & 2

Tuba

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Perc. 6

Vln. I

Vln. II

Vla.

Vcl.

Cb.

Cel.

Pno.

Hp. 2

Hp. 1

Ÿ~~~~

HHHHHHHHHHHHHHHH HHHHHHHHHHHHHHH

HHHHHHHHHHHHHHHH

HHHHHHHHHHHHHHHH

HHHHHHHHHHHHHHHH

HHHHHHHHHHHHHHH

HHHHHHHHHHHHHHH

HHHHHHHHHHHHHHH

Ÿ~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~

Ÿ~~~

HHHHHHHHHHHHHHHHHHHHHHHHHH~~~~~~~~

√

√

21 ∑

œ œ# œ# œ# œn œ# œ# œn œ# .œæ œæ∑

w

∑

∑

∑

∑

Ó Œ ≈ œ# . œn . œ. œ# . œ. œfl

7

∑

∑

21 ∑

∑

∑

∑

∑

∑

∑

21∑

∑

∑

∑

∑

∑

∑

∑

Ó ≈ .œ œ

∑

∑

∑

œ ‰ . Œ Ó

∑

Ó ≈ .œ> œ

∑

∑

∑

∑

poco

F ƒ

Large PVC Tube

P

ç∏

(1.)

(with marbles, coins, or shot swirled inside)

Metal Canor Bowl

(with marbles, coins, or shot swirled inside)

Metal Canor Bowl

(with marbles, coins, or shot swirled inside)

Metal Canor Bowl

(with marbles, coins, or shot swirled inside)

Metal Canor Bowl

Slap tube embouchurewith ping-pong paddle.

(solo)

∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

Œ ‰ œbo œb œ œ ‰

∑

∑

∑

∑

∑

∑

œ    

œ    

œ    

∑ &

œ    

¿> Œ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

F

ç

fast

1.

fast

P

P

P

P

∑

Œœæ ‰

∑

∑∑

Œ œb œ ‰

∑

∑

∑

∑

œb œb œ œ ‰3

∑

œ œœ+œ œb œ ‰3

∑

∑

∑

∑

∑

    ‰fi

    ‰fi

    ‰fi

Œ œ ‰fi

    ‰fi

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ jœ# œ ‰3

Œ jœ# œ ‰3

∑

∑

∑

F

ppoco

( )

F

Glock.

P f

arco tuttivib. ord.senza sord.

P f

arco tuttivib. ord.

arco tutti

F3.

(1.)

fast

P

œ œ Œ Óœb œb Œ Óœb œ Œ Ó

Ó Œ ‰ œb œb œb3

∑

Ó Œ ‰ œ œ œ3

Ó Œ ‰ œ œ œ3

∑

∑

∑

Œ ≈ .œ>Ó

Œ ≈ ..œœb Ó

Œ ≈ ..œœb Ó

œœb . ‰ œœb . ‰ œœn. œœ. ≈. œœ. ≈ œœ. ‰

œ.‰ œ. ‰ œb . œb . ≈ œb . ≈ œb . ‰

œœb . ‰ œœb.‰ œœb. œœb . ≈ œœb

.≈œœbb .‰

œœbb . ‰ œœnb .‰ œœ#n .

œœ#n . ≈œœ#n . ≈

œœnb.‰

œ# . ‰ œ.‰ œ# . œ# . ≈ œ# . ≈ œ

. ‰

Ó ‰ œ. Œ

Ó ‰ œ   ‰ .

Ó Œ ‰ œ œ œ3

∑

Ó ‰ œ. Œ

Œ ≈ .œ> Ó

≈ œb œœb œœb Œ Ó

6

∑

∑

Œ ≈.œ>

Ófi

Œ ≈....œœœœb#>

Ófi

∑

Œ ≈....œœœœb#>

Ófi

∑

œœb≥fl ‰

œœb≥fl ‰

œœn≥fl œœ≤fl ≈ œœ≥fl ≈

œœ≥fl ‰

œœb≥fl ‰

œœb≥fl ‰

œœn≥fl œœ≤fl ≈ œœ≥fl ≈

œœ≥fl ‰

œœ#≥fl

‰ œœb≥fl‰ œœ#≥fl œœ#≤fl ≈ œœ#≥fl ≈

œœ##≥fl ‰

œœ#≥fl ‰

œœb≥

fl ‰œœ#≥̆ œœ#≤̆≈ œœ#≥̆≈œœ## ≥̆ ‰

œ# ≥̆ ‰ œ≥̆ ‰ œ#≥̆ œ# ≤̆ ≈ œ#

≥̆≈œ≥̆‰

F

F( )

( )

( )

ftutti

f

f

Ï

Ï

Ï

cuivré

cuivré

Ï

Ï

Ï

Ï

Ï

F

Police Whistle

f

Sleigh Bells

Large Flexible GalvanizedSteel "Wobble" Sheet

f"wha-kah-wha"

F

f

Police Whistle

Bass Drum

f

ƒ

Ï

Ï

OpOPoOOO

OpOPoOpO

arco

Ï

Ï

Ï

Ï

Ï

1.2.

3.4.

non div. sim.

non div. sim.

non div. sim.

non div. sim.

C

C

C

C

secco

secco

∑

∑

œæ œb æ œb æ ‰ jœ# æ œæjœ# æ Œ

33 3

∑∑

∑

∑

∑

∑

∑

∑

Ó Œ ‰ œ œ3

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ Œ jœ. Œ ‰ œ.3 3

Œ Œ jœ# .Œ ‰

œ.3 3

Œ Œ Jœœ#. Œ ‰ œœn .

3

3

Œ Œ Jœœ# . Œ ‰ œœn

.3 3

∑

P

1.

p( )

pizz.

pizz.

pizz.

pizz.

p

p

p

p

∑

∑

∑

∑∑

∑

˙

∑

˙b

∑

∑

∑

œœb .‰ Œ

œ. ‰ Œ

∑

œb . ‰ Œ

∑

∑

∑

∑

∑

∑

∑ &

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ  æ

˙

˙b

˙b

∑

n.

n.

1.

P

P

P1.

arco

arco

arco

arco

P

P

P

P

ord.

ord.

ord.

ord.

f

f

f

fs.p.

s.p.

s.p.

s.p.

∑

∑

∑˙b

∑˙

˙

∑

˙

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑ &

˙

∑

¿ Œ

˙b

∑

∑

∑˙b

∑

∑

∑

∑

∑

˙b

œæ œ

œ  æ

˙

∑

1.

P

n.

P

P

Maraca

(swirled)

p

l.v.

Glass Windchimes

Crotale

P

P

sub.

sub.

sub.

sub.

sub.

sub.

sub.

ord.

ord.

P

P

P

ord.sub.

ord.

P

f

f

f

fs.p.

s.p.

s.p.

s.p.

P

∑

∑

∑˙

∑˙

˙

˙

˙

∑

∑

∑ ?

∑

∑

∑

∑

∑

∑

æ̇°   

∑

∑˙

∑

∑

∑˙

∑

∑

∑

∑

∑

œ œ œb œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

œæ œ œb œ œ œ œ œ œ

∑

P

n. P

F

sub.

sub.

ord.

P f

s.p.

sub.

sub.

ord.

P fs.p.

sub.P

ord.sub.

f

s.p.

sub.

sub.

ord.

P f

s.p.

Eb

Db

∏

Vibraphonesoft yarn

4

&

&

&&

&

&

&

&

&

?

?

?

&

&

&

?

?

?

&

&

&

?

&?

&

?

&?

&

&

B

?

?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Picc.

Fl. 1 & 2

A. Fl.

Ob. 1 & 2

E. Hn.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1 & 2

C. Bn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1 & 2

Bb Tpt.

Tbn. 1 & 2

B. Tbn. 1 & 2

Tuba

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Perc. 6

Vln. I

Vln. II

Vla.

Vcl.

Cb.

Cel.

Pno.

Hp. 2

Hp. 1

Ÿ~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~

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

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

¤

29 ∑

∑

∑∑

∑

œ œ# œ# œ œn œ œ œ#œ# œ œn œ œ# œ

Œ œ œ# œ# œ œ œ œ œ#œ# œ

∑

Ó œæ œ# .Œ

Ó Œœ.

‰

∑

29 Ó ‰ œb . Œ

∑

∑

∑

∑

Ó Œœ.

‰

∑

29 ∑

∑ ?

æ̇ Ó

∑

∑

Œ œæ œæ Œ

∑

∑

Ó Œ ‰  

°

œ# œ œ œ

∑

∑

∑

∑∑

Ó Œ œœ

‰ œ# . œ.‰ Œ œ# œ

‰ œ# . œ. œ# .Ó

‰œ# . œ. œ# . œ. œ# . œ.

‰

Ó œ. œ# . œ. ‰

p

p

lyrical

lyrical

P

P

( )

( )

2.

π

π

1.

5

5

5

5

q = 75

q = 75

q = 75

q = 75

Suspended Cymbal (Dark)

soft yarn

π Pl.v.

π Pl.v.

Sizzle Cymbal (Medium/Bright)soft yarn

P

p

p

p

pizz.

pizz.

pizz.

pizz.

arco

arco ( )

( )

π

π

s.t.

s.t.

; x = x :

; x = x :

; x = x :

; x = x :

p

Ó Œ œ œ œ œ œ œ œ œÓ Œ œb œ œ œ œ œ œb

7

Ó Œ œ œbœ œ œb œ

6

∑

∑

Ó ˙b

Ó ˙b

∑

Ó Œ ‰ œb . œ.3

∑

∑

∑ &

∑

Œ ≈ ..œœ œœ œœ

∑

∑

∑

∑

∑ ?

Ó Œ ‰ œ. œb .3

∑

œ Œ Ó

∑ ?

∑œœœœb

°

≈ ..œœ œ# ‰œb œ3

∑

∑

∑

∑

∑

∑∑

˙ œ ˙

˙b œ ˙

∑

Ó Œ ‰ œ. œb .3

∑

; x = x :

; x = x :

; x = x :

; x = x :

5

5

5

5

q = 60

q = 60

q = 60

q = 60

n.

n.

f

f

F

∏ f sub.

P

Marimbamedium yarn

Suspended Cymbal

arco, shriek/groan

Fl.v.

f F

( )

p ƒ

s.p.ord. ord.

P

( )

p ƒ

s.p.ord. ord.

P

P

(1.)

con sord.

(pizz.)

p

p

p

p

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

Œ œœμμjœœ œœ œœ ‰ .

3

Œ œœBμjœœ œœ œœ ‰ .

3

‰ œœ# œœjœœ ..œœ ≈ œœ

3

‰ œ œ jœ .œ ≈ œ3

Ó ‰œœμB œœ

3

Ó ‰ œœμB œœ3

‰ œ œ Jœb .œ ≈ œb3

‰ œæ>  æ  æ  æ

∑

∑

∑

‰ œæ>  æ  æ  æ

∑∑

∑

∑

∑

∑

∑

∑∑

Ó Œ œœb

∑

Ó Œ œœ#

∑

‰ œœœœ#fl©Œfi Ó

?

p

p

f

fsenza sord.

p Í f p

p

p Í f p

senza sord.

p Í f p

p

23" Timpano

ß p f

23" Timpano

ßp

tutti

p

tutti

p

arco

div. a 4

tutti, div. a 2ç

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

..˙̇μμ œœæ

..˙̇Bμ œœæ

..˙̇ œœ œœæ

.˙ œ œæœœ ‰

œœ ˙̇ œœ

œœ ‰ œœ# ˙̇ œœ

.˙ œ œæ

 æ  æ  æ  æfiœ

∑ &

∑ &

∑ æ  æ  æ  æ

fiœ

∑∑

∑

∑

∑

∑

∑

∑∑

˙̇ ˙̇ œœ

wwμμ˙̇ ˙̇ œœ#

wwBμ

Œ ..·̇## ..·̇

Œ ..·̇ ..·̇

p

p

ƒ

ƒ

ƒ

f p ƒ

ƒ

( )

ƒ

f p ƒ( )

sub.p f( )

sub.p f( )

f

( )

tutti

p

ƒ Ï

( )ƒ Ï

Ï

p

p

Ï

Ï

tutti

p Ï

arco

(tremolo between harmonics on one string)

arco

arco

∑

Œ ‰ .œb .Ó

∑Œ ‰ . œœb . Ó

Œ ‰ . œ. Ó

œ# . œ.œb . ≈

œ.‰ .

œ.Ó

œn . œb . œb. ≈ œb . ‰ . œb . Ó

œb . œb . œ. ≈ œ. ‰ . œ. Ó

œ. œ. œb . ≈ œ. ‰ . œn . Ó

∑

∑

Ó Œ œœb .

Ó Œ œœb .?

∑

∑

∑

∑

∑

∑

Œ ‰ .œœœœb#˘Ó

Ó Œ œ.

Ó Œ œ.

∑

‰ . œ> Œ Ó

∑

∑

Ó Œ œœnb .Ó Œ œœn# .Œ ‰ .

œœœœb#˘Ó

∑

∑∑

œ. œ.œb . ≈ œb

.‰ .

œb .Œ

œ.

œ# . œ.œ# . ≈ œ# . ‰ . œ. Œ

œ# .

œb . œb . œ. ≈ œ. ‰ . œb.Œ

œn .

œ. œb . œn . ≈œb .‰ .

œ.Œ

œ# .

∑

∑

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

π

π

High Woodblock

f

ƒ

π

pl.v.Triangle

Xylophone

ƒ

π

ppoPOOOO

p

p

p

p

tutti

5

6

&

&

&

&

&

&

&?

?

?

&

&

&&???

&&

&?

&?

&?

&?

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

812

Piccolo

Flutes1 & 2

Alto Flute

Oboes1 & 2

English Horn

Clarinet in Eb

Clarinets in Bb1 & 2

Clarinet in Bb 3

Bassoons1 & 2

Contrabassoon

Horns in F 1 & 2

Horns in F3 & 4

Trumpets in C1 & 2

Trumpet in Bb

Trombones 1 & 2

Bass Trombones1 & 2

Tuba

Percussion1 & 2

Percussion3 & 4

Percussion5 & 6

Violin I

Violin II

Viola

Cello

Contrabass

Celesta

Piano

Harp 1

Harp 2

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œœ.œœ.œœ.∑

∑∑∑∑∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

o

P

q = 144

q = 144

q = 144

q = 144

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œœ.œœ.œœ.∑

∑∑∑∑∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œœb .‰ œœb .‰ œœb .‰

∑∑∑∑∑

∑

∑

∑∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

P

(e = e sempre)

(e = e sempre)

(e = e sempre)

(e = e sempre)

∑

∑

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7

II. Passacaglia

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89

89

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85

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85

85

85

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85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

Fl.1 & 2

A. Fl.

Ob.1 & 2

E. Hn.

Bb Cl.1 & 2

Bb Cl. 3

Bsn.1 & 2

Cbsn.

Hn.1 & 2

Hn.3 & 4

C Trpt.1 & 2

Trbn.1 & 2

B. Trbn.1 & 2

Tuba

Perc. 1

Perc. 2

Vln. I

Vln. II

Vla.

Vcl.

Cb.

Hp. 1

Hp. 2

Pno.

12 ∑

∑

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8

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43

43

43

43

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43

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43

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43

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43

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43

43

43

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43

43

43

43

43

43

43

43

89

89

89

89

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44

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44

Fl.1 & 2

A. Fl.

Ob.1 & 2

E. Hn.

Bb Cl.1 & 2

Bb Cl. 3

Bsn.1 & 2

Cbsn.

Hn.1 & 2

Hn.3 & 4

C Trpt.1 & 2

Trbn.1 & 2

B. Trbn.1 & 2

Tuba

Perc. 1

Perc. 2

Vln. I

Vln. II

Vla.

Vcl.

Cb.

Hp. 1

Pno.

Hp. 2

23 ∑

∑

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pizz.

pizz.

pizz.

pizz.

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Marimba

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∑

9

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44

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86

86

86

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86

86

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86

86

86

86

86

86

86

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86

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86

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86

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86

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812

812

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89

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44

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44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

85

85

85

85

85

85

85

85

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85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

Fl.1 & 2

A. Fl.

Ob.1 & 2

E. Hn.

Bb Cl.1 & 2

Bb Cl. 3

Bsn.1 & 2

Cbsn.

Hn.1 & 2

Hn.3 & 4

C Trpt.1 & 2

Trbn.1 & 2

B. Trbn.1 & 2

Tuba

Perc. 1

Perc. 2

Vln. I

Vln. II

Vla.

Vcl.

Cb.

Hp. 1

Pno.

Hp. 2

33 ∑

∑

∑

∑

∑

∑

∑

∑

33

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∑

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33 œn . Œ œ. œb .

œn . Œ œ. œb .

œn . Œ œ. œb .

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∑

(Vib.)

(Mar.)

∑

∑

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OOOPOppp

10

&

&

&

&

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&

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&

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85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.1 & 2

A. Fl.

Ob.1 & 2

E. Hn.

Bb Cl.1 & 2

Bb Cl. 3

Bsn.1 & 2

Cbsn.

Hn.1 & 2

Hn.3 & 4

C Trpt.1 & 2

Trbn.1 & 2

B. Trbn.1 & 2

Tuba

Perc. 1

Perc. 2

Vln. I

Vln. II

Vla.

Vcl.

Cb.

Hp. 1

Pno.

Hp. 2

41 ∑

∑

∑

∑

∑

∑

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41 ∑

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∑

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