Flowing Waters and the Flow of Time: Guan Pinghus Interpretation of Flowing Waters Lu Wang

Submitted in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences

COLUMBIA UNIVERSITY 2012

Copyright 2012 Lu Wang All rights reserved

Abstract

Flowing Waters and the Flow of Time: Guan Pinghus Interpretation of Flowing Waters Lu Wang

The search for alternative approaches to time outside of the Western concert music tradition has provided inspiration for many contemporary composers. This essay is a brief examination of temporal models taken from traditional Chinese guqin music. Focusing on the famous composition Flowing Waters, the study looks at aspects of temporality in the piece: the use of traditional notation (the jianzipu spectrum as well as brush-painting illustrations) with transcribed comparisons of individual interpretations, various finger-sliding techniques, the dual melodic and harmonic roles of single lines, and even the tuning system as a path toward revealing a new way of composed time, that which reflects the aesthetics of brush-stroke calligraphy, brush-painting, and ancient Chinese philosophical views on nature and the arts. Continual movement of textures, fluidity of materials, organic transitions, and gradual growth and decay of sound in space are the unique characteristics of this piece that become the main focus of the analysis.

Contents

Flowing Waters and the Flow of Time: Guan Pinghus Interpretation of Flowing Waters

List of Figures Acknowledgements

ii iv

Introduction I. General Background on Guan Pinghus Flowing Waters II. Formal and Temporal Considerations III. Time and the Poetry of Notation IV. Specific Fingering Techniques and Effects, From a Structural Point of View V. Functional Ambiguity and a Dialogue with Calligraphy and Painting VI. The Tuning of Flowing Waters

1 6 7 11 20 24 29

Conclusion Endnotes and Bibliography

31 33

List of Figures

Fig. 1: The traditional qin Fig. 2: An extract from (Qin Qu Ji Cheng), in early wenzipu notation Fig. 3: Transcription of Guan Pinghus Flowing Waters, opening accelerando to approximately 0:45 Fig. 4: Tempo change (accelerando) from quarter-note = 80 to 104. Fig. 5: Dramatic ritardando from quarter-note = 100 to 50, near the conclusion Fig. 6: Jianzipu spectrum notation showing finger positions and techniques as related to poetic/naturalistic gestures Fig. 7a: Jianzipu spectrum notation of a passage from Flowing Waters Fig. 7b: Transcription of Guan Pinghus version of the same passage Fig. 7c: Gong Yis version of the same passage Fig. 7d: Comparison of the rhythmic profile of both renditions Fig. 8a: Detail of a brushstroke for the character yi (one) Fig. 8b: Endless ways of writing the character yi (one) Fig. 9: (Zi Xu Tie), handscroll written in 777AD by Tang Dynasty monk (Huai Su) in the cursive script style Fig. 10: Jianzipu spectrum notation for right hand finger-slides Fig. 11a,b: extracts from A Gesture-based Typology of Sliding-tones in Guqin Music, by Li Hanbing and Marc Leman Fig. 12a: The opening bars of Guan Pinghus performance of Flowing Waters Fig. 12b: Pitches indicated in the jianzipu spectrum, without additional embellishment Fig. 13: The left hand continues the plucked tones of the right Fig. 14: The left-hand rhythmic slides continue the end of each line Fig. 15a: A spectral resynthesis

1 4 9 10 11 13 15 15 15 16 17 17 18

19 20 22 22 23 23 24

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Fig. 15b: Standard notation of Fig. 15a Fig. 16: (Zi Xu Tie), handscroll written in 777AD by Tang Dynasty monk (Huai Su) in the cursive script style Fig. 17: Brush-Painting (Huangshan Wenbifeng) by Zhang Daqian Fig. 18: Transcription of the first 42 seconds Fig. 19: Transcription from 0:42 to 0:51 Fig. 20a: A transcription of Guan Pinghus interpretation of Flowing Waters by (Xu Jian), with verbal notations below the transcription from (Tianwenge Qinpu) Fig. 20b: After the ritardando, the emergence of a new melody coming out of the accompanimental figure. Fig. 21: The open strings of the guqin in Flowing Waters Fig. 22: Tuning scheme based on common tones of Hui nodes on different strings

24

26 27 28 29 29

30 30 32

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Acknowledgements

In early February 2005, when I was residing in Beijing, an email from America reached me, changing my life both personally and professionally. I will always remain grateful to the faculty of Columbia University, which generously brought me to the United States to study. I have been honored to be a doctoral candidate in composition in the music department. Seven years flew by, and in learning from wonderfully diverse professors and colleagues, attending concerts and festivals, teaching four kinds of undergraduate music courses, and meeting performers in the city, I cant express how much I appreciate the opportunity to be a part of Columbia University and New York City. As the Chinese idiom goes, One can see the mountain more completely if one steps out of it. Living and studying in New York has provided me with a unique view of my home country and culture. My increasing interest in incorporating linguistic elements of Chinese folk music and traditional instruments into my own composition has led me not only to fascinating sound worlds but also to a deeper contemplation of social and societal problems in my current country. The choice of the topic of this dissertation on guqin music is in homage to my mentor Chou Wen-chung, who has always been supportive and enlightening since we first met in China in 2004. He has inspired me to do research into Chinese traditional arts and philosophy and thereby search for my own compositional language. Much gratitude goes to my husband, Anthony Cheung, whom I met in the music department, and who has accompanied, taught, supported, inspired and shared the ups and downs of life with me. And finally thank you to my parents, whose passion towards life and music and boundless love are the treasures of my life.

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Introduction Bo Ya always played the Qin in the mountains by himself. One day, the woodcutter Zi Qi came by quietly, stopped and listened. Without words, he comprehended the music. It was about the flow of water. From that time on, Bo Ya played for him in the mountains, until one day Zi Qi suddenly passed away. Bo Ya could not bear the loss of his only soul mate, so he threw his Qin off the cliff, never to play again. Flowing Waters is an ancient classical Chinese qin piece derived from this myth in the Spring and Autumn Period of the Eastern Zhou dynasty (approx. 8th century BC). This story carried the legend of two friends deep communication through music for more than 2000 years. (Zhi Zhe Le Shui) is a Confucian idiom suggesting that intellectuals are fond of water because their minds and thoughts are active and flowing as water.1 Therefore, Flowing Waters does not merely describe the images and sounds of water but is an analogue for the beautiful mentality, creativity and strength of the enlightened mind. The qin (Fig. 1) is a seven-stringed zither instrument, which, together with chess, calligraphy, and brush painting, comprises the symbolic four artistic manners that traditional Chinese literati were required to master to be considered well-cultured.

Figure 1: The traditional qin

As Confucius says in the Analects (), The mind is aroused by the odes. Character is established by the Rules of Propriety. Completeness is received by music."2 By music, he is referring to the tradition of qin music for self-enlightenment. One can see that music in the

2
time of Confucius is already considered the highest form of art among all the disciplines. Playing the qin consists not only of technical mastery, but also aspires to the highest cultural, philosophical, and artistic pursuits of sophisticated intellectuals. Ancient literati who played the instrument were also experts in the three other disciplines, and thus associated qin music closely with the merging of colors in brush painting, the movement of brushstrokes in calligraphy and poetry, and the spiritual practices of Daoism, Confucianism, and Buddhism. The relationships between these aesthetic factors will be explained in detail later in the essay. The purpose for playing the qin among the literati is thus to express personal emotion, gain philosophical understanding, and meditate on observations from nature. Rather than displaying technical brilliance or engaging with a public for the purposes of entertainment, the practice is founded on the ideals of an absolute and personal art form, designed for selfcultivation. In comparison to other Chinese instruments, the qin has the most tranquil sound of all. The instrument was made with the intention to be played in a very intimate setting, for no more than a few listeners. These artistic characteristics and social functions of qin practice have affected the way the music has been received, notated, and inherited throughout Chinese music history. For more than two thousand years, qin music was taught primarily by oral practice. Many compositions bore a title as well as a poem or painting on the subject of the work. These interactions with other art forms inspired the qin players imagination and stimulated their inner reflections. It is not difficult to understand why every member of the literati created his own interpretation from the same original tune or poem. The musical atmosphere and expressive ethos were brought into being by each unique adaptation. Today, there are roughly three thousand surviving qin pieces in the repertoire. This total number represents adaptations from about five hundred actual notated traditional scores. The written qin score, the (jianzipu) spectrum, was not developed until the

3
Tang dynasty by (Cao Ru), out of the previously more elaborate (wenzipu) system, which reads like a series of verbal instructions using Chinese characters. (There is only one extant qin score in early wenzipu notation, a piece titled (Jie Shi Diao You Lan), from the Tang Dynasty, as seen in Fig. 2.3

Figure 2: An extract from (Qin Qu Ji Cheng), in early wenzipu notation.4

Jianzipu spectrum notation represents a different purpose for notation, in contrast with a traditional western system. As with some types of tablature notation, it provides

5
informative details on fingering techniques and string positions; neither durations nor pitch names are definitively labeled, but their results are implied by the instructions. As a result, temporal and timbral varieties are innumerable. Each performance becomes an improvisatory endeavor with abundant surprises and variants of tone color, rhythm and structure. On the topic of the qins timbre, the scholar (Xu Shangying) from the late Ming dynasty explained in his treatise (Xi Shan Qin Kuang) that there are twentyfour different categories of timbres in traditional qin playing.5 These timbres are poetic illustrations and interpretations, and are labeled by aesthetic rather than concrete performing techniques. As for technical divisions and categorizations of qin timbres, there are three basic types of sounds: -

San Yin: open strings Fan Yin: harmonics An Yin: fundamental fingered tones that are produced by the depressing the left hand at certain positions while plucking the string with the right hand

Accounting for all seven strings, there are an equal number of open strings (San Yin), with thirteen Hui (white dots showing the nodes for fingering harmonics) for each, which allow a total of 91 harmonics (Fan Yin) positions, and 147 basic, non-harmonic fingered note positions (An Yin). Thus, a total of 245 sounding pitch positions are available on the qin, ranging from C2 to D6, a total range of four octaves plus a major second. In 1977, Guan Pinghus interpretation of Flowing Waters (from the 1950s) was selected for the Voyager 1 spacecrafts Golden Record as the sole musical work representing Chinese culture. It is one of the most well-known and oft-cited interpretations of qin literature. The effortlessness of its natural flow and mastery of improvisatory materials have greatly influenced my own creative work as well. The purpose of this essay is to analyze the formal and temporal structures of this piece and Guan Pinghus particular

6
interpretation, as well as the mixed pitch/noise continuum in its sound world. The analysis will focus on three main sections. The use of principles from standard musical forms of traditional Chinese music. The free transformation of melody to harmony and vice-versa. Noise and noise-pitch mixtures with finger-slide techniques.

Issues regarding the tuning system, timbral varieties, various finger techniques, and notation and its philosophical reasons and implications will also be addressed. Again, my main interest in analyzing this version of Flowing Waters is to find out how the music flows through time, and how such an interpretation captures the poetic and literal meanings behind such an elusive concept.

I. General Background on Guan Pinghus Flowing Waters This particular interpretation of Flowing Waters by Guan Pinghu is based on the score from (Tian Wen Ge Qin Pu), collected by (Zhang Kongshan) around 1876. The score was first recorded in a Ming dynasty (15 Century) volume, (Shen Qi Mi Pu), which contains sixty-four qin pieces. It is the oldest qin score collection and was edited by the son of the first emperor of the Ming Dynasty, (Zhu Quan).6 The original written score of Flowing Waters is constructed in nine sections. Each section depicts different kinds of movement for flowing water, some of which are peaceful and elegant, while others are about aggression, drama, and energy. The verbal descriptions include these types: crystal brooks, the convergence of two rivers, the quick running of rivers off a cliff, the striking combat of water against stones, great rivers embraced by the ocean, etc. In the same way that most other traditional qin pieces are inspired by poetry and painting, the title Flowing Waters clearly suggests that the transformation of musical materials and motion follows a naturalistic, poetic impulse. As mentioned before, the title and images

7
are only intended to provide inspiration to qin interpreters but are not the absolute, literal message, and do not have to constrain the imagination of the performer. The idea of ever-changing, organically growing and non-exact repetitions of any sort in this piece reflect a saying from Heraclitus: You cannot step twice into the same river, for other waters are ever flowing onto you. This articulates the metamorphosis of nature and our interaction with and dependence on it.

II. Formal and Temporal Considerations If we look at the overall temporal scheme of this piece, it follows the basic structural principle in Chinese opera known as (San Man Zhong Kuai San), which refers to a continuum of tempo changes: music starts from being out-of-time and without pulse, gradually introduces inconsistent beats, moves towards a slow tempo, then accelerates to a medium tempo with a clearer ictus, consistently accelerates to a fast tempo, and towards the end returns back to non-metered free time, which reflects the beginning. In Guan Pinghus interpretation of Flowing Waters, tempo changes reflect the formal structure very clearly: 0- 30: Quarter-note = 46-63 30- 42: Quarter-note = 63-72 42-122: Quarter-note = 72 122-145: Quarter-note = 72-76 145-225: Quarter-note = 76 225-257: Quarter-note = 76-80 257-500: Eighth-note = 80-84 500-520: Unstable accelerating tempo 520-635: Quarter-note = 104 635-718: Quarter-note = 104-100 718-730: Quarter-note = 50 Thus the five different temporal sections can be divided approximately in this way: (Free time)0- 42 (Slow tempo)42-122 (Medium tempo): 122-500

8
(Fast tempo)500-718 (Free time): 718-end Although the divisions of tempi are shown above, there are rarely exact moments when the tempo changes crystallize. The gradual speeding up and slowing down between the tempi make the continuation of the piece very organic and seamless. If measured strictly throughout the work, there can be a pushing forward or pulling back within a bar, but the deviations are usually slight. For example, the first tempo change (from quarter-note = 46 to 63) occurs as a very subtle, continuous acceleration lasting from the opening to about thirty seconds into the piece, within a single phrase and without any rigid demarcations of time. The second clear tempo change (from quarter-note = 63 to 72) occurs over twelve seconds, or four bars, by a successive free acceleration from 30 to 42, also rather unseeingly. Figure 3 shows the progression of the entire opening, and the gradual acceleration from quarternote = 46 to 72.

9
Fig. 3: Transcription of Guan Pinghus Flowing Waters, opening accelerando, to approximately 0:45.

While the gradual distortion of time is natural and completely free in qin music, certain textures without strong beat indications and rhythmic cells function also as transitions between dramatic tempi changes, e.g. the accelerando from quarter-note = 80 to 104 at 5:00 to 5:20 (Figure 4).

Fig. 4: The tempo change (accelerando) from quarter-note = 80 to 104. This excerpt is taken from a transcription of Guan Pinghus interpretation of Flowing Waters by (Xu Jian). The verbal notations below the transcription are the Jianzipu instructions from (Tianwenge Qinpu).

This change occurs towards the end of a long period of glissando textures, in which floating and interwoven glissando movement (both ascending and descending) is the strongest sonic feature for a long enough period to create the sensation of non-metrical time. Acceleration and deceleration are also naturally imbedded in this glissando texture, resulting in tempo distortion when combined with the gliding up and down motion on the strings. Another instance of a dramatic tempo change takes place towards the end of the piece, when a

10
decelerando results in a halving of the tempo (from quarter = 100 to 50; Figure 5). One perceives this shift as eighth- and sixteenth-notes in the new tempo are introduced first, before a further ritardando introduces longer notes and finally the coda.

Fig. 5: Dramatic ritardando from quarter-note = 100 to 50, near the conclusion.

All the unique and flexible ways of treating time in this piece belong to the tradition of qin playing. With the Jianzipu spectrum, notation does not precisely record and require the exact duration execution of each tone, allowing musicians to interpret their personal feeling of time with every single note and gesture; events occur on the note-to-note level much more than in Western music, which often is more felt on a phrase-to-phrase basis. The philosophy of qin music is to create an inner reflection of music in each individual, not as a singular work of art meant to be reproduced in performance by showing varying degrees of competence or prowess. The notation of the music itself reinforces this notion, in that it is not a descriptive visual representation of how the music should sound in terms of the parameterization of melodic shape, harmonic direction, intensity, duration, etc., but rather a set of flexible instructions toward realizing existing, shared cultural and poetic tropes.

III. Time and the Poetry of Notation This is an example of a Jianzipu character. The notation instructs the performer to press the left thumb down on the fifth string at the seventh Hui (harmonic node position), and to use the right index finger to pluck the string. Despite a relative openness toward

11
temporal aspects, there is ample information on fingering techniques from the Jianzipu spectrum, which includes: position of the finger (such as which finger(s) to use, the part of the fingers flesh or nail, etc.), direction of the pluck (whether it is directed inward or outward), and intensity of the attack (relative strength and weakness, sometimes illustrated with paintings). For instance, examples can encompass a tiger crouching or a dragonfly skipping along the water (Figure 6). Combined with visual illustrations of the poetic metaphors of paintings, the meanings of adjacent finger gestures become reinforced.

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Fig. 6: Jianzipu spectrum notation showing finger positions and techniques as related to poetic/naturalistic gestures. QinQu JiCheng Feng Xuan XuanPin ShouShi Tu)

For reasons stated earlier, temporal and timbral varieties vary greatly among different interpreters. Using Flowing Waters as an example, one can see obvious differences in

14
the durations of some convincing interpretations: Guan Pinghus version is about 730, Gong Yis adaptation is only 4 minutes, and Wu Wenguangs interpretation is 911. If we examine for a moment a small extract from the middle of the piece, we can clearly see the differentiation in approach by comparing transcriptions of the versions by Guan Pinghu and Gong Yi. Figure 7 shows the identical passage, first with Jianzipu spectrum notation, then transcriptions of the two interpretations.

Fig. 7a: Jianzipu spectrum notation of a passage from Flowing Waters.

Fig. 7b: Transcription of Guan Pinghus version of the passage.

Fig. 7c: Gong Yis version of the same.

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As we can see, both interpretations retain the same overall pitch material, with the central pitch center moving from A to F. The global rhythmic characteristics of the passage also carry through, with clearly delineated rhythmic patterns and beat divisions (Figure 6d).

Fig. 7d: Comparison of the rhythmic profile of both renditions.

Both interpretations develop closely out of the variation and repetition of the core patterns. But the tempi and rhythms differ greatly, even though they both serve similar structural functions in their respective versions, occurring at this moment of driving rhythmic contrast approximately 2/5 into the overall length of the piece. On a local level, rhythmic flexibility between notes is created by adding various finger-slides and shades of vibrato. These subtleties of playing in traditional qin practice add to the continuous sonic connection between moving notes, emphasize the complete sound trajectory and direction of the central pitches, and make the overall melody smoother and more floating. Each individual note is treated as an independent and meaningful musical life through various types of actions: embellishing the decay of plucks through the bending of pitch, adding nail noise, prolonging resonance with excessive vibrato, and enriching a notes presence from an attack to complete silence. The composer and scholar Chou Wen-chung once gave an interesting example of the aesthetic by referring to all the ways in which a single line, the character for one in Chinese calligraphy, could be interpreted through brushstrokes. As shown in Figure 8a, a single brushstroke reveals a line that allows for details to emerge naturally alongside the

16
movement of the brush. This is but a single interpretation of an infinite number of possibilities for the same meaning.

Fig. 8a: Detail of a brushstroke for the character yi (one)

Fig. 8b: Endless ways of writing the character yi (one)

Sophisticated calligraphic characters are comprised of multiple unique individual strokes like in the above example. Not only is the visual appearance of each individual character unique, but also its independent meaning. A single character can signify anything from an isolated word to a phrase. Yet, when calligraphers write out the self-contained characters, they do so

17
using a continuous breath, with their brushstrokes following suit. The individual characters flow into adjacent ones, filling and connecting the space and separation between them, and keeping a generally uninterrupted flow to the motion (Figure 9).

777

Fig. 9: (Zi Xu Tie), handscroll written in 777AD by Tang Dynasty monk (Huai Su) in the cursive script style, detailing his own pedagogical background with calligraphy and his contemporaries appraisals of his craft. There are many notational symbols in the Jianzipu spectrum used to describe finger-slides that are the equivalent of subtle brush strokes. Figure 10 shows a few examples for the right hand.

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Fig. 10: Jianzipu spectrum notation for right hand finger-slides.

The column headers, from right to left, are annotated as follows: : the right hand plays the open string without the left hand touching. : use the thumb nail to pluck inward, producing a strong, clear pitch. Meanwhile, the third finger rests upon the lowest string for support. If the attack is done partly by the nail and partly with the flesh of the thumb, the palm should lean at an angle. Too aggressive an attack is not recommended.

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: use the flesh of the thumb to pluck outward while the third finger supports and rests upon the lower string. use the tip of the flesh of the index finger to play gently in an inward motion; avoid leaning, and relax the thumb.

Aside from existing character-based notation, there have also been studies of sliding tones using traits that attempt to accurately represent gesture and articulation. In Li Hanbing and Marc Lemans paper, A Gesture-based Typology of Sliding-tones in Qin Music, sonic traits are categorized with newly invented symbols (Figure 11a), and a spectrum of variable vibrato types used during improvisation is mapped out (Figure 11b).

Fig. 11a: extract from A Gesture-based Typology of Sliding-tones in Qin Music, by Li Hanbing and Marc Leman, Journal of New Music Research Vol. 36:2, p. 62.

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Fig. 11b: Ibid.

IV. Specific Fingering Techniques and Effects, From a Structural Point of View The focus on various fingering techniques in the following section stems from their structural context. In Flowing Waters, diverse sound effects all serve the rhetoric of the flow of music.

Example 1: In the opening of the piece as shown in Fig. 12, the left hand finger-slides modify the attackresonance timbres emerging from the more direct plucks of the right hand, transforming them into soft and unstable upper partials by pitch-bending in both directions with the flesh

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of the fingers and nails during the decay of the initial attacks, which become smoothed out by the end of each phrase.

Fig. 12a: The opening bars of Guan Pinghus performance of Flowing Waters, showing the the left hands transformation of timbre during the decays of the right hands attacks.

The x note-heads in the bottom staff represent a mixture of pitch and noise resulting from the left hand finger-slides. The black triangle note-heads stand for high frequency noises with little pitch, obtained by sliding the nails of the left hand. If one only played the pitches indicated from the Jianzipu spectrum, without the embellishment of resonance made by sliding and vibrato in the left hand, the reduction would be as shown in Figure 12b.

Fig. 12b: Pitches indicated in the Jianzipu spectrum, without additional embellishment.

Example 2: At 225 in Guan Pinghus recording, the left-hand finger slides are used more as extensions of the right-hand plucked notes, continuing the flow of the melody (Figure 13) with pitchbased finger-slides, as opposed to the noisier decays of the opening. The addition of neighbor tones (A-flat, for example) are the graceful result of sliding embellishments with the left hand.

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Fig. 13: The left hand continues the plucked tones of the right

Example 3: In Figure 14, the added sliding noise in the left hand continues the momentum of the melodic line by imitating the last rhythmic pattern immediately after it has been played. This example of sliding notes mostly contributes to the rhythmic flow of the melody, as a kind of echoing refrain of the end of each phrase.

Fig. 14: The left-hand rhythmic finger slides continue the end of each line, connecting each phrase without pause.

Since the finger-slides occur on the same strings as the plucked tones, which also share the same partials, the sliding pitches or noises thus sound more in-tune and resonant, due to the effect of sympathetic resonance, which occurs especially when two sounds share harmonics on the lower part of the harmonic series. The vibrations of one sound producing one set of partials reinforce the resonance of the other. The organic musical flow depends not only on nail noises and bent pitches resulting from distorting the resonance of initial attacks, but also frequently from the combination of

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nail noises with more pure pitches at the onset of plucked attacks. This blurs the sonic boundary between the pure, consonant timbre of pitch and a noise-based nail strike or slide. As demonstrated in Figure 15, even when sounds with pure harmonics are played, the finger gliding noises are produced simultaneously as part of the overall timbre.

Fig. 15 a: A spectral resynthesis showing the complex, inharmonic timbres of attacks made from pure tones with their overtones combined with the noise of finger glidings.

The highlighted area reveals the complex inharmonicity of the mostly metal-like timbres, produced by striking the nail against the strings and the wood body of the instrument, simultaneous with the plucking of tones. According to the score, the pure harmonic pitches do not at all account for these complex sounds (Figure 15 a).

Fig. 15 b: As in Fig. 12b, the standard notations pitch information is incomplete, in this case giving pure harmonics but no complex inharmonic sonorities. The visual cue is far different from the resultant sound.

These consonant harmonic pitches correspond to the darker horizontal lines (overtones) in the lower range of the spectral analysis in Figure 15 a.

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The result of the mixture between pure harmonics and noise in this particular case serves as a bridge, carrying over the nail sounds from the previous section into the contrasting sounds of pure harmonics. The timbral continuation into this passage is not a simple, abrupt contrast, but a natural continuation and novel introduction at the same time. And the noise component, instead of becoming a reactive, modulatory device, becomes integrated and fused with the pure tones themselves, in the manner of cross-synthesis.

V. Functional Ambiguity and a Dialogue with Calligraphy and Painting As mentioned earlier, there have historically been scholarly categorizations of qin timbres. According to Xu Shangyings book (Xi Shan Qin Kuang), the twenty-four aesthetic timbres are: harmonious calm clear remote ancient unsophisticated pleasing free from vulgarity elegant fair and pretty penetrating splendid simple gentle and moist round/perfect melodious grand delicate smooth energetic gentle powerful slow swift. Each descriptive name gives a unique and suggestive atmosphere as well as a specific poetic impulse, yet none clearly defines the exact techniques necessary to achieve the image. Again, the true, personal expression of thought from a qin musicians inner world is more valued than pure artisanal reproduction. The players unique personality must be brought forth. The true value of interpreting a qin score is akin to composing and improvising a personal piece with poetic guidelines. The philosopher Zhuangzi once explained: Do not listen for it with your ears, listen for it with your heart-mind. Do not listen for it with your heart-mind, listen for it with your qi. The ear stops with listening and the heart-mind stops with calculating. Qi is empty and waits for things to act. Only the Dao collects emptiness. What is empty is the heart-mind that fasts.7

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Just as the fusing of noise and pitch create a kind of hybridity out of a duality, pitches themselves serve both melodic and harmonic functions in Flowing Waters, creating an interesting phenomenon of single-lined harmony that contributes to the flow of the music. The exact division between melody and harmony in this piece is often hard to place or define, which reflects the visual concept of a line in Chinese culture. Rooted deeply in traditional calligraphy and brush painting has been the notion that a line can never appear absolutely straight or even, but is constantly continuing, transforming, allying, and multiplying, as it takes on a life of its own. Even when one line ceases to expand, the way in which lines follow one another consecutively suggests that the blank space in between characters is not empty, but imaginatively and invisibly continuous. As before in Figure 9, the calligraphic example from Tang Dynasty monk Huai Su (again in Figure 16) reveals the liveliness, fluidity and flexibility of the transformation of line in brushstroke calligraphy.

Fig. 16: (Zi Xu Tie), handscroll written in 777AD by Tang Dynasty monk (Huai Su) in the cursive script style.

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If all the characters in Figure 16 were written out in clear, formal type, they would appear as thus: An example of brush painting by 20th Century artist Zhang Daqian (Figure 17) shows not only that lines are always fusing into one another, revealing surface and extra dimension, but also that colors are fading or merging freely. There are no single-edged cuts with which one can divide the images.8 Clouds, fog, mountains, and reflections in the water are all continually transforming and in motion, not stuck in a frozen, clear display of objects, but flowing forth in motion, as the outgrowth of natural processes and the expression of an atmosphere in flux.

Fig. 17: (Huangshan Wenbifeng) by (Zhang Daqian).

In Flowing Waters, similar effects of ambiguity and blurring are achieved by transforming melody into harmony, and vice versa. Instead of following chords that serve a stabilizing harmonys purpose, single-line melodies are played with worlds of variation within

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parameters such as register and dynamics (including, for instance, frequent dynamic emphasis on low notes, the resonance of which produces the functions of both melody and and harmonic fundamentals). On the other hand, ethereal high notes and harmonics are deployed not only melodically, but also as the sonic extension of related harmony. This kind of multifunctional way of dealing wit h musical lines resembles the same transformational and fluid aesthetic techniques as demonstrated in the painting by Zhang Daqian. One frequent method of creating stable harmony is by using melodic leaps across the range of an octave or more, with strong dynamic emphasis on low notes (often with the motion of fourths or fifths); in creating strong fundamental resonance in successive phrases, the performer produces the effect of harmony and harmonic motion. Boxed notes in Figure 18 are accented in the lower register, resonating as emphasized fundamentals, while at the same time moving along with the melodies above. Notes above C4, played with softer dynamics, belong to melodies that grow out of and elongate the low resonances. The central pitches in this passage, all reinforced in the low register, move from C to F, and then back to C.

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Fig. 18: Low notes take on harmonic stability, extending the melodic flow above, which also acts as an extension of harmonic resonance.

Playing very gently on high harmonics (Figure 19) suggests that a high melody can also be a quiet, horizontal manifestation of the overtones of a just-emphasized fundamental, as if it were a melodic echo.

Fig. 19: A fundamental followed by the echo of soft harmonics acting as its resonance. Figure 20a shows the use of textures that blur the boundary between melody and harmony with the goal of creating a mass, unified sonic web.

Fig. 20a: Two layers, the melody on top and arpeggio/glissando harmonic support below, become unified as one during a gradual descent. This excerpt is taken from a transcription of Guan Pinghus interpretation of Flowing Waters by (Xu Jian). The verbal notations below the transcription are the Jianzipu instructions from (Tianwenge Qinpu).

In this example, the recurring two-note bending motive first heard in the top line at the beginning is very clear as a separate melodic motive. As it descends, it gradually merges with the momentum of the arpeggio/glissando texture, fusing into the overall woven sound, until the separate layers are almost indistinguishable. By slowing down and clearing out the busy

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texture as in Figure 20b, a clear melody gradually appears out of the massive texture, synthesizing the accompanimental figure into the melodic one.

Fig. 20b: After the ritardando, the emergence of a new melody coming out of the accompanimental figure.

The section in Figure 20a was added by (Zhang Kongshan) in his 1876 edition of Flowing Waters and is named the 72 (Gun Fuo); it calls for 72 glissandi in both directions across all seven strings to illustrate the impulses of the movement of water. This is a passage of music directly mimicking the motions and sounds of water rather than expressing the more abstract emotions stimulated by thinking about and observing it. There are many interpretations of the score that do not use the literal meaning of the 72 passage; players rarely execute 72 exact glissandi, as the suggestion is more or less poetic.

VI. The Tuning of Flowing Waters The pitch structure of Flowing Waters is based on a C pentatonic mode, with the seven open strings tuned accordingly (Figure 21).

Fig. 21: The open strings of the qin in Flowing Waters.

When modulations of the pitch center occur, they do so within the limits of this pentatonic scale. This modal structure of shared pitches makes the modulations of central notes much

30
less contrasting in terms of tonal color but more ambiguous. Different primary focal points are established by having stronger attacks, repetitions, embellishments, etc. The tonal roles of the same pitches in altered modes switch as the central notes modulate, providing contrasting tonal basses and harmonic colors. The central pitches of this piece progress through four primary areas: C, F, A, and F. The just intonation tuning method used for the seven open strings is also an important factor for the lasting resonance produced. On the instruments wood body, along each of the open strings, the thirteen white dots (Hui, as described earlier) indicate the finger positions for harmonics. The first harmonic, sounding an octave higher than the fundamental, is produced by depressing the seventh dot in the middle. Dividing each string into two, four, and eight parts in length by pressing the 1st, 4th, 7th, 10th or 13th dot produces octave-relation harmonics. Dividing each string into three or six parts in length by pressing the 2nd, 5th, 9th, or 12th dot produces perfect-fifth-relation harmonics. Dividing each string into five parts in length by pressing the 3rd, 6th, 8th or 11th dot produces major-3rd-relation harmonics. Thus, to tune the strings, one can do as shown in Figure 22, by pressing the Hui on the first indicated string in each bar, then comparing the resulting harmonic to the second harmonic produced by pressing on the indicated Hui on the second string. The process uses cross-relations of common-tone sounding harmonics between different open strings. All the upper staff pitches in each measure should sound in tune.

31

Fig. 22: Tuning scheme based on common tones of Hui nodes on different strings.

All seven strings are connected by a tight harmonic relationship because of the use of just intonation octaves, fifths, and thirds. As a result of the tunings, the seven strings share many common harmonics that, as mentioned before, support the resonances of one another when vibrating, creating an effect of sympathetic resonance, even when the articulations are subtle. Therefore, the use of the same pitches through modal modulation as well as the method of tuning across strings creates an overall continuous sonority that adds to the vagueness of the structural boundaries of the piece, and makes the music flow through a constantly similar sound world.

Conclusion The qin is an extremely delicate-sounding instrument. The aesthetic of its music is heavily influenced by Daoism. Laozis idea of (Da Yin Xi Sheng), literarily the most beautiful sound is silence, can be heard as the strongest sonic impression of qin music.9 The expression of inner calmness, emptiness, natures vastness, and the search for harmoniousness are results of this aesthetic. In a performance of a qin score, ample space

32
and time are sometimes left between sparsely placed sounding pitches, giving the players requisite time to reflect on the music and internalize it. Technically, temporal freedom is provided for players to be soloistic and improvisatory, and they can choose to add tasteful ornamentations between notes. The flow of time in Flowing Waters is achieved naturally by the union of improvisatory temporal flexibility, timbral mixture of noise and pure pitch, finger- and nailarticulated slides between notes, dual functions of single-lined melody and harmony, and just intonation tuning. The aesthetics of calligraphy, brush-painting, and philosophy are the deep reasons behind the artistic and technical manifestations of notation, translating into performance. The timelessness and sense of complete discovery in each hearing of a work extends beyond the specifics of its cultural heritage. Guan Pinghus Flowing Waters recording continues to be played every hour as the Voyager 1 spacecraft edges towards interstellar space, with the hope that an extraterrestrial civilization will be able to sense the universally communicative force of this manmade music. My hope is to discover the temporal and timbral possibilities from this ancient, celestial instrument, which will undoubtedly enrich my own compositional language, however dissimilar it might be to its source of inspiration.

(Zhi Zhe Le Shui) is from (The Analects of Confucius), chapter 6, (conversation with student Yong).
2

The original text is from (The Analects of Confucius), chapter 8, (conversation with student Tai Bo).
3

(JieShiDiao YouLan), meaning Solitary Orchid, is the oldest surviving qin (wenzipu) score from approximately 908 AD.
4

(QinQu JiCheng), is one of the most complete qin score collections, including scores from the Tang Dynasty to (Min Guo the Republic of China period of the early 20th Century), encompassing over 1300 years of history. This first edition was edited by (Kang Sheng) (Beijing, 1963).

33

(Xi Shan Qin Kuang), written in 1641 by (Xu Shangying), discusses qin performance aesthetics.
6

(TianWenGe QinPu), a qin score collection, edited by (Zhang Kongshan) and (Tang Yiming) in the late 19th Century. 7 The original text reads , quoted by Confucious in (Ren jianshi). Translation is quoted from Hide the World in the World by Scott Cook.
8

(Zhang Daqian,1888-1983), one of the best known 20th Century Chinese artists to work in the brush-painting medium.
9

(Da Yin Xi Sheng) from (Laozi), (Tao Te Ching), section 41.

Bibliography

Primary sources Confucius (), (Analects of Confucius) (HuiYan MiZhi Ding) Edited by Qing Dynasty Sun Jin based on HuiYan MiZhi written by Yin Er Tao in Ming Dynasty Laozi (), (Tao Te Ching) (QinQu JiCheng), First Edition edited by Kang Sheng(), 1963, Beijing() Huai SuZi Xu TieOriginal preserved at Taibei Shi Guo li gu gong bo wu yuan ().First Edition, Beijing Shi : Xue yuan chu ban she, : , 1999 Zhuang Zi (Renjian shi)

Secondary sources Hanbing, Li and Marc Leman. A Gesture-based Typology of Sliding-tones in Qin Music. Journal of New Music Research Vol. 36:2 (2007) (6182). Yung, Bell, editor. Celestial Airs of Antiquity: music of the seven-string zither of China. Madison, WI: A-R Editions, 1997.

34

Cook, Scott Bradley, editor. Hide the World in the World: Uneven Discourses on the Zhuangzi. Albany: State University of New York Press, 2003. Penttinen, Henri and Jyri Pakarinen and Vesa Vlimki. Model-based sound synthesis of the qin. Journal of the Acoustical Society of America Vol. 120: 6 (2006) (pp. 4052-4063). / . Zhang Daqian hua ji/Zhang Daqian hui. 1 (first edition). : , 2003. (Tianjin: Tianjin ren min mei shu chu ban she, 2003).

35

Wailing
For Orchestra

Wang Lu

36

Wailing

This piece was inspired by my experiences in a small remote town in a mountainous area of Northern China when I was 5 years old. I can still vividly remember a scene during that wintry season, when some robust young peasants were wailing and crying desperately while others were playing out-of-tune brass and percussion folk instruments in all ranges and with full force. They paraded past every house. I was told that someone had just passed away. Later the same strikingly mournful sound echoed upon the sterile earth once again, but this time, a young girl was getting married. The young men of the village got drunk after the procession, then went back to their group and played even more wildly. Many years later, when I recalled my memory of these experiences, I suddenly understood why they were wailing so sadly, because that was the only way peasants could set free their repressed sorrow from years and years of weariness. They sang the same tunes for both funerals and weddings as if they were telling people that life is only a drama of birth, aging, ailing and eventually dying.

37

Instrumentation
Piccolo 2 Flutes 3 Oboes (3rd dbl. English Horn) Clarinet in E-flat 2 Clarinets in B-flat (2nd dbl. Bass Clarinet) 2 Bassoons Contrabassoon 4 Horns (F) 3 Trumpets (C) (straight mute) 3 Trombones (2 Tenor, 1 Bass) (straight mute) Tuba Timpani (30-28-25-23) Percussion (for three players) Bass Drum, 4 tom-toms. tam-tam, whip, chimes, glockenspiel, marimba, xylophone, vibraphone, triangle, crotales, cowbell, a pair of small cymbals, woodblocks, ratchet Harp Piano/Celesta(one player) Strings

Accidentals last for the entire bar in the same octave only

Score in C

score in C

Wailing
f f f f f f f f f f f f f f f f f f f
3

Piccolo

& & & & & & & & & ? ? ?

2 4

j #f

q = 72
> f > f #f #f #f #f
j #f j #f

ff
j #f

> f J > f J > f J > f J > f J > f J > f J > f J

#f #f #f #f #f #f

f
5

f f f f f nf nf f f f f f

# fj

f f f

> f
fff

#> f #f n> f nf n> f

ff ff

f f f f f
> j f

f f f f f

f f f f f

f f f

f f

#> f #> f #> f #> f > f > f b> f > f > f

f f f f #f #f bf #f #f

38

Flute I

j #f

ff

Flute II

> j #f f
j #f

fff

> f > f > f > f

nf nf f

f f f

f f f f

ff

Oboe I

> f > f > f

#f #f f f bf bf f nf f
ff

f
5

# fj

f f f

fff

n> f
ff

ff

ff
j f

fff
j f

Oboe II

j f

> f f

ff

fff

Oboe III

ff

j f

bells up j bf

> bf
5

bf
j #f

> f > f > f > f

> j f

ff

f f f f f f f f
3

f
5

f bf f f f

fff

b> f bf
ff

ff

f bf f f f

Clarinet in Eb

ff

Clarinet in Bb

bells up j f

ff

> f

f
5

fff

> f > f

f
j f

bells up

Clarinet in Bb

fff

j f

ff

> f

fff
j f

ff

Bassoon

bF bF

j bf j bf j bf nf
ff

fff

Bassoon

j f

Contrabassoon

j bf

Horn I

4 & & & ? ? ? ?

bells up j #f

q = 72
f f

r bf
fltg.

fff

fff

ff

bf f

f f

f f

> f J > f J

bf bf nf bf f bf

f f
5

f f f f

f f

f f f
in the air

Trumpet I

bells up j f

j #f

fff

fltg.

ff

fff

> f

f >

ord.

nf nf

f f

f f

f f

f f
3

f f

f f

f f

j #f j f

f f

nf
ff

ord.

bells up

fltg.

Trumpet II

ff
Trombone I

fff
j #f

f > F

fltg.

ff

j f j f j f

in the air

Trombone II

f
in the air Trombone III

j f

bF

r f

fltg.

fltg.

ff

ff

Tuba

Timpani

2 ? 4
/ / {&

q = 72

bnf f nf f
l.v.

Bass Drum

fr
f mf

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j f f >
fp

r f

ff

j #f

fltg.

Tam-tam

Glockenspiel

Xylophone

Piano

{
{

bf f f f { & J ff f #ff f & bf

ff

l.v. #F F F #F

#C F

ff

#f f & nf f & &

ff

ff

nbf f nf nb f f f ##f f

bf f ##f f J

Harp

ff

l.v. f #ff bf

D C bB E #F G bA

Violin I

& & B ? ?

2 4

bf f f f

l.v. f nbf b# ff f f b#f f

ff

q = 72

pizz.

ff

bf '

f ' f ' f ' f '

pizz.

Violin II

ff
Viola

pizz.

bf ' f ' f ' f '

f ' f ' f R

ff

pizz.

Violoncello

ff

pizz.

Double Bass

f '

f ' f '

ff

f ' f '

Picc.

5 f &

j #f j f

f nf nf nf
j f
5

f f f f f f f
j f
5

f f f f f f f f
j f

f
fff

q = 80 > j

#f

39
f f f f
j f

Fl.I

& & &

#f #f #f

j f

fff

f f f f f f f f f f

ff

j > f bf

> jf f J
j f

> f J f J

ff

Fl.II

j f j f

> f

j f

j f

fff

ff

> bf

Ob.I

Ob.II

& f & f bf
j bf

f f

> j f b f J

fff

ff

Ob.III

j f

fff

Cl.I in bE

&

bf

fff

j> f f

> f J

ff

Cl.II in bB

& f ? ? ? & bf ?
f J

f
ff

fff

j f

fff

Bsn.I

ff

j f

j f

fp

#f

ff
3

bf f

j f > j f >

Bsn.II

j b f

j bf

j f

j nf j f F F F
f

ffp
3

j f

f f

ff

j f

Cbsn.

ff

j f

Hn.I

bf

ffp

j f

ff

j f

bf
j f

fltg.

q = 80
ord. j f

bells up

Hn.II

fff fltg. j f f

Hn.III

& bf ?
f

bells up

Hn.IV

C Tpt.I

& f & & f ?

f

j #f
5

f f
fltg.

ff

#f

ff

bf >

ord.

fltg.

#> f J

j bf

j bf >

f J f J f J
j f

bells up

fltg. j #f

fltg.

C Tpt.II

bf

f f

ord. j f

ff

> j #ff
ff
j #f

fltg.

ord.

f f

> f J

j #f j #f

fff

ord.

C Tpt.III

fff

ff

> f

> f J > f J

Tbn.I

j f ord.

fltg. j bf

Tbn.II

? ? ? ?
5

j bf j f j f

bf j nf
3

j f

j f

ff

Tbn.III

j f

ord.

bF
j f

ffp
j #f ord.

#f nf f

fltg.

j f >

fltg.

ffp
j f

ff

fltg. j f > fltg. j f >

ff

Tba.

j b f

ord.

j nf

j f

f > ##f f f f R r ff nf f #f f > > f f b#ff f R ff > f f f f R

ffp

ff

Timp.

B. D. T.-t. Tom-t.

/ /

f j f J
f

q = 80
f ff f j f f f f f f f f f f ff f f f f f f f f f
f f f

j f j f f f f f

Glock. Xyl.

{&

ff

Pno.

{ {

{ & & & & &

f l.v.sempre. fj f #ff ff j f f f ff # f
3

f j f f

j f

? ? ? ?

Hp.

C B bG #A

Vln. I

& & B ? ?

Vln. II

Vla.

ff ff ff

ff

Vc.

3 f 3 bf f
3

q = 80
j #f f f sfz >j pizz. ord. nf bf J
sfz
div. in 3

Db.

j f > j f sfz b > j f sfz > unis. j nf sfz > > j nbf J
sfz sfz

ff

Picc.

&
8

j #f

> f

f f f f f f

f
3

f f
3

f f f f f f

q = 84

40
f f f f f f f f f
3

> jf # f
f

f f f f f f f

j #f

f f f f f f f f f
3

f f f R f R f f f f R f f f f f

f nf f f nf nf bf f f f #f f #f f f f nf
3 5 5

f f f

Fl.I

& & & & & & & & ? ? ? &

j nf

> bf > f > f

f f f f f

j f j f

b> f b> f

f3 f3 f3 f3 f3 bf bf
3

fff
j f

bf nf f

j #f

Fl.II

f f

fff

j #f

j #f

j #f

#> f b> f b> f b> f b> f

fff

j #f

Ob.I

Ob.II

j nf

> bf > bf

bf bf

j f

fff

j f j f

bf bf bf nf bf nf
3

f f f

f f f

Ob.III

j nf

ff

j f

fff

Cl.I in bE

Cl.II in bB

j bf

b> f

j b f

fff
j bf

bf
3

j nf

fff

j #f

ff

fff
j f

Cl.III in bB

bf f
j nf

fff

f f bf f

Bsn.I

j f > j f >

f nf

bf bf
f

ff

f > f >

Bsn.II

n> f

f >

bf

fff

bf f j f f

bf bf bf f

fff
j f

Cbsn.

bf
ord. j #f

mf

bF f
ord. f

fff

j bf
j #f

Hn.I

> nf

f
fltg.

q = 84j >
bf
f

fltg.

f3 > f f
3

fff

f f

Hn.II

? #f

#> f J

ord.

f
(bells up)

> f

ord.

fff
j #f

&

Hn.III

& ? & & & ? ? j #f f ? ? ?

8
j f ord. ord.

j #f

f >

f #> f

fff

f
3

f f f f f f #f f f f

f #f f f f f f #f f

Hn.IV

C Tpt.I

j nf

> bf > f J bf >

> f J f f

fltg.

f
3

fltg.

j #f j f

n> f

> f

ord.

bf
3 f

j nf

fff

&

bf f

f f f f f

C Tpt.II

j #f j f

bells up

C Tpt.III

ff

f
fltg.

b> f J f f

fff
j #f

ord.

j #f f

Tbn.I

f > j> f

f > f > f >

fltg.

f3 f > f > f > j f f

f f

ord.

fff

j f

fff

bf f

j f

#f
3 3

bf

Tbn.II

ffp
ord.

j f > j f > j f >

fff
3

ord.

ff

ff

Tbn.III

ffp
ord. j f

f f

fltg.

ff

bf f f f

ord.

fltg.

ord.

ff

f bf

f f

bf f

fltg.

ord.

fltg.

ord.

Tba.

ffp

ff

ff

bf

Timp.

B. D.

/ /

f f

j f r f sfz > r f sfz b >

sfz

q = 84
f

j f

j f

f j f sfz > > j f f sfz J > unis. j f sfz n > > j nbf J
sfz sfz

j bf f

j f

ff

f
ff

f f j f > j f sfz b > >j f f sfz J > j f sfz > > j bnf J sfz
sfz

f f

T.-t.

Vln. I

& & B

div. in 3

f sfz n >
sfz
unis.

q = 84

Vln. II

Vla.

Vc.

Db.

>j ? nf bf J
sfz

? #fj f f
sfz

pizz. ord.

> j nbf J

r f >

div. in 2

j b> f

div. in 3

sfz

pizz. ord.

j #f f f > nfj bf J

sfz

Picc.

&

A
> f
f
j # f j f
5

11

bf

#f

nf f f f f f

f
6

f f f

f f f bf bf bf

#f

#f #f #f f
> j # f

#f #f #f f f
j f

#f #f f

f f f f f
j f

f f f

f
3

f f
3

f f f f f
j f

f f f bf bf bf f f f f
ff
> j #f

f f
gliss.

41 3 8
#f J f J f J f J f J f J f J f J

Fl.I

&

> f > f

#f
5

f #f f #f > f bf f > f bf > f bf

> j f

f f
3

Fl.II

&

#f
5

f f f

bf
ff

nf f f

> f

f f f

gliss.
3

Ob.I

& &

> f
f

j #f
5

f f f

f f f f J f J f J

f nf f

f
7

f
ff

> j f

f f > f

gliss.
3

Ob.II

f
f

#f f
5

f f

f
7

> j f

gliss.
3

ff
j f

Ob.III

& &

> f
f
normale

f f f f

bf
ff

f ff

f f f

gliss.
3

Cl.I in bE

> f > f

j bf

bf bf bf f bf

nf
3

>j f

nf f f

> j #f

f f f

nf nf nf

f f f

j b f

f f

> j f

f f > f

gliss.
3

ff
>j f > j #f j f > j f

Cl.II in bB

&

normale

> j f

nf
3

gliss.
3

ff
>j f > j #f j f

Cl.III in bB

& ? ? ?

normale j f

> f

>j bf

> j nf

nf
3

bf
ff

nf f f

gliss.
3

f
. j f

Bsn.I

ff
.j bf

j bf . > j bf . > j f . >

ff

.j f

j bf . > j bf . > j f . > f

3

ff

.j f

> bf bf > f > f f f f

b> f
3

Bsn.II

ff

ff

.j bf

ff

j bf

bf >
3

Cbsn.

ff

.j f

ff

.j f

ff

j f

f >
3

Hn.I

normale > & bf

bf bf

f f > bf

f J

f J

bf bf bf bf bf > bf > f > f >

f f

bf bf f
3

f f f f f f

bf f

bf bf bf bf

> j nf

f f f f

gliss.
3

f J f J f J f J

3 8

Hn.II

& fj bf > & bf

f f

normale

f f f f
bf bf

j bf

f f
3

> j f

gliss.
3

normale

Hn.III

f f > f bf

f J

f J

f f

bf bf bf bf f f
j f

bf f

> j nf

gliss.
3

Hn.IV

& fj bf f > ? ? ? ? ? ?
j b f

normale

j bf

f
3

> j f

Tbn.I

bf > f
f

normale

f bf f f
j f

f bf f f
j f j f

bf bf f f j #> f

ff

Tbn.II

normale j f

bf >

bf f f
j f

f > > f f > f >

j f

nf > n> f
3

ff

Tbn.III

normale j f

nf > f >

ff

f > f >
3

3 3

Tba.

Pno.

j f

ff

A 11
j f

ff

Hp.

Vc.

j #f >
#f #f J

j f

j #> f j f >

j #> f

j f

j #> f j f >

j #> f
#f #f J

j f

j f > j f >

3 8

?
ff

#f #f J #D C B E F bG #A

? bfj j b> f
ff

j f f >

j f f >
j bf

#f #f J

#f #f J

#f #f J

j f f >
j bf

j f f >
j f

j f f >
j bf

j f f > f > f > f > f >

3

Db.

unis

ff

j f >

j b> f j f >

j b> f j f >

j f > j f >

j b> f j f >

3 8

ord. pizz.
3

14
Picc.

& & & & & & & & & ? ? ?

3 8
f bf bf bf bf f f bf
. j f nf

2 4
f

> f > f

#f
5

f f f f f f f > f f > f
fn f ff

> f > f bf b> f > bf > bf

j #f

f f

f f
j # f

#f #f

#f #f

f f

f f f f f f f f f

f f f f f f f f f

f f f f f f f f f f
3

f f nf nf bf bf f nf f #f f bf
j f

j # f

f f f J f J

f J f J f J f J

j #f

f J f J f J f J

j nf

ff
j # f

bf

42 3 8

Fl.I

#f
5

j # f

f
f

j f

j f

bf
3

Fl.II

> f
f

nf
5

bf bf bf bf bf f f f f bf
j f

f f f f f f f

f nf f nf bf bf nf f f f

ff

j f

j f

j #f

f
3

Ob.I

> f
f

f
5

ff

j f

j # f

j f

j f

j #f

f
3

Ob.II

f
f

> bf > bf > f

f
5

ff

j bf

j nf

bf bf
j3 f

j f

bf bf f J
j bf

f f

ff
j f

Ob.III

f
bf

f f
5 5

j bf

j nf

j f

Cl.I in bE

b> f f f

ff

j # f

f
f

Cl.II in bB

> bf > f bF > bF > F >

f
5

f f

j f

f nf bf bf > bf > f > f

f
3

ff
j f

f J

f J

j nf

f
3

bf
f J
3

j f

bf f J f bf f
j bf

f bf
3

ff

Cl.III in bB

f f bf bf

f
3

f f f

f J

f J

j nf

ff

Bsn.I

j bf . > j bf . > j f .

ff

j f

bf bf

Bsn.II

.j bf

ff

j bf

bf f > bf J

Cbsn.

.j f

ff

j f

Hn.I

8 bf & & & & & & & ? ? ? ? ? ? ? ? bf bf f f bf bf bf

f

2 4

nf

ff

#f bf nf
j f j f

f f
j f j f

ff

bf nf

3 8

Hn.II

Hn.III

ff

bf J

ff
f

nf

j bf >

ff

ff

bf f

Hn.IV

f normale

C Tpt.I

normale

f f f >
j bf

> f bf > bf >

f bf > bf

ff
j f

f
j nf j nf

j bf > f

f f f

f f f

C Tpt.II

bf > b> f F

bf bf F

f f

bf bf

bf bf F

j f

f J

ff

f J

j #f

f
3

bf bf

j #f j #f

f f

normale

C Tpt.III

j f

Tbn.I

f
.j f

Tbn.II

Tbn.III

.j bf

j bf . > j bf . >

j f .j bf

j bf . > j bf . > j f . >

j f .j bf

j bf . > j bf . > j f . >

Tba.

Pno.

14

3 8
j f

j #> f
j f

2 4
j f >

j f . f >

.j f

.j f

.j f

j f

j f

Hp.

Vc.

#f #f J

#f #f J

f j #> f #f #f J

j f

j f >

j #f >

j f

j #f > j f >

j f

j #f >
j f

3 8

j f >

? 8 bfj j b> f ? j f >

j f f >

j f

j f f > j f > j f >

#f #f J

2 4

j f f >

j f f > j f > j f >

#f #f J

#f #f J

j f f >
j bf

j f f > j f > j f >

#f #f J

#f #f J

j bf

j f f > j b> f j f >

j f f >
j f

j bf

j b> f j f >

j f

j b> f j f >

j f

j f > j f >

3 8

Db.

18
Picc.

& & & & & & & & & ? ? ? & ? & ? & & & ? ?

3 8

Fl.I

nf bf bf
j f j f

#f f
3

#f

f
5

f f f f

f f

f f f f
j f

j #f j # f

f f

j # f j nf

bf bf bf bf bf

#f #f #f f
j bf j bf f # f n f # f

f f f

f f f f bf bf f

#f nf nf f f f f f f f f
j bf

f f f #f nf bf

#f #f #f

f f f #f f f

Fl.II

j f j f

b> f b> f f f bf
3

fj

bf f f f f f f f f f bf bf

43

ff

ff

Ob.I

bf nf nf

ff

Ob.II

bf bf

f f
j f

bf

Ob.III

Cl.I in bE

bf

f
3

j f

f f f f f
j bf j bf

nf

ff

ff

> f f bf
3

bf bf bf j bf >

bf bf bf f
f #f

bf bf bf bf bf

bf f f f f

ff

Cl.II in bB

j f

bf f nf

j f

Cl.III in bB

bf

j f j f

bf bf

ff

ff

Bsn.I

bf bf

bf bf
f f

bf bf

bf bf

ff

ff

Bsn.II

Cbsn.

Hn.I

3 8

j bf f > j f f >
j #f j

ff

Hn.II

j bf >

& nf

#f #f f

#f #f #f #f

Hn.III

Hn.IV

C Tpt.I

j f > f bf
f J

nf bf

f f f

f f

f f f

> ff f > f >

j nf

j #f

f f f

f f f f

#f nf #f nf

f f f f

#f #f #f #f

f f f f

mf

bf

mf

bf bf nf

ff ff

f# f

mf

ff

mf

ff

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j f f > f > f f f

ff ff

C Tpt.II

C Tpt.III

bf f

f J

Tbn.I

Tbn.II

Tbn.III Tba.

18
Timp.

j bf . > .j ? j bf bf . .j > ? j f f . > <>

j f

Tom-t.

? 8 /

j bf . > .j j bf bf . .j > j f f . >

j f

j f

j f #f #f J

j f #f #f J

mf

Xyl.

{&

Mar.

Pno.

? { ?

Hp.

j #f > ? fj j #f > ? ?
#f #f J

j f

ff

##f f f f > > f #f f f

f f f f > > f f f f

f f f f > > f f f f

j f > j f f >

Vln. I

8 & & B B ? ?
j bf

j f f >

#f #f J

j #f >

j f > j f f >
&

f nf nf nf #f f f f
j #f

(pizz.)

j f f > > f J

#f

j b> f j f >
j f

(pizz.)

Vln. II

(pizz.) Vla.

#> f J
ff

#> f J

ff
f

j f

ff

f f f f

f bf f f

ff

ff

j #f j f

(pizz.) Vla.

> f J

ff

j f

Vc.

Db.

j f > j f >

j bf

j b> f j f >

ff

j f > j f >

ff

Picc.

& & & & & & & & & ? ?

22
j # f

#f J #f J
j f

j #f
3

Fl.I

f f
3

f J f J f J f J

nf nf f f

nf nf nf nf

f #f f #f bf bf
3

f f bf bf f f

f f bf bf

gliss.
3

nf J nf J f J f J bf J f J

2 4
#f
f

44
f f f f f f f f f f
&

#f bf bf bf bf

f f f f f f f f

f f f f f f f f f f

f #f bf f f bf bf bf

#f J bf J bf J bf J bf J bf J bf J bf J

#f J

#f

#f #f f

f f f f f f f f f

f f bf bf bf bf f

f f

j # f

ff

Fl.II

j #f

gliss.
3

bf bf bf f

bf bf bf bf bf bf bf bf f f f f f f

Ob.I

j f

f J f J

bf bf
3

ff

j f j f

gliss.
3

gliss.
3

ff

Ob.II

ff

Ob.III

j b f

Cl.I in bE

bf J bf J bf J

bf bf bf bf bf f bf
3 3

j bf

f J f J f J

bf bf f

bf bf nf

bf bf bf bf bf bf

f f

f f f

f f f

gliss.

bf f

bf bf bf

f f f f f

bf bf bf f f

bf bf bf

j bf

gliss.

ff

Cl.II in bB

j b f

Cl.III in bB

j f

gliss.
3

nf J
ff

ff

Bsn.I

f f f f f f f f f bf J bf J bf J bf J bf J
ff

bf bf
f

f nf f nf

Bsn.II

Hn.I

& & & ?

con sord. j bf

2 4

ord.

f J f J f J

bf

f f

bf f

Hn.II

f ord. f f

j bf

Hn.III

bf
bf f

f bf f

bf bf

Hn.IV

C Tpt.I

& & & B

f J f J f J f J f J

j f
3

f J f J f J f J f J

j f

bf bf bf

f f f f f
j f

bf bf bf bf f f bf f f

j f
3

ff

C Tpt.II

con sord. j bf

j f
3

j f

j f
3

C Tpt.III

con sord. j bf

j f

j f
3

ff

con sord. j bf

ff

Tbn.I

bf bf

gliss.
3

Tbn.II

? ? / /

con sord. j bf

ff

f
3

j f

gliss.
3

senza sord.

22

Timp.

j f j f j f j f f J f J f J f J f J f J f J f J
f

j ##f f f f ff > > f #f f f J

f whip

2 4

whip

j f
pizz.

Tom-t.

Tri.

ff

>j f f J f J

Xyl.

{& ? { & & & & B B ? ?

Mar.

ff

Vln. I

ff

ff
arco

Vln. I

ff

Vln. II

ff

Vln. II

ff

Vla.

ff

Vla.

ff

Vc.

ff

Db.

ff

ff

j f

ff

j f

ff

j f

ff

j f

ff

j #f

ff

B #fj

f J

ff

f J

ff

f J

ff
arco

#> f J

pizz.

f J

ff

#f J

ff
arco

> f J

#f

#f J

pizz.

> f J

pizz.

j f

ff

2 4

arco

> f J

ff
f

j ff ##f f ff > > f #f f f J

ff

>j f

j f

> f #f f f

> f f f f

j #f #f f f j nf f bf ff f j f #f f f j nf f bf f

j #f f f f ff j f f #f f j f f #f f j f #f f f

Picc.

bf f & J
27
j nf

f f f f f f J f f f

j f

Fl.I

& &

b f f f J
j

bf f f f f

3 8

f f f bf bf

j f

f f f f f

j f

bf nf

4 4

45
bf J bf J bf J bf J bf J
j f
3

f f f f f

f bf f bf f f
3 3 3

j f

bf f f

j f

f f f nf nf

j f

f f f f f

f f f #f #f

3 j

f J f J f J f J

j f

mf
j f

f f

j #f

#f #f f
j f

j f

f f
j f

j f

f f
j f

j f

f f f f
j f

j f

f f
j f

j f

f f f f f
j f

j f

f f
j f

j f

f f f f f
j f

j f

fff

f f f f f

j f j f

f f f f f
j f

j f

f f
j f

j f

f f f f f

j #f

j f

j f

j f

j #f

j f

j f

j f
3

j #f

Fl.II

b f f f J
j
3

mf
j f

j #f

j f

j f

fff
j f j f j f

j #f

j f

j f

j f
3

Ob.I

nf f & bf J j
3

j f

j f

j #f

f f

j f

f f

mf
j f

bf bf bf

j #f

j f

bf bf bf
j f j f

j f

f f f
j f

j f

j f

f f f

j f

j f

f f f

j f

f f f

j f

j f

bf bf

fff
j f

j #f

j f

j 3 nf

Ob.II

nf f & bf J j

j f

j f

Ob.III

f & bf J
j nf

j #f

j f

j f

j #f

j f

j 3 nf

bf J

mf
j f

#f f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

fff

j #f

j f

mf

fff

to english horn

Cl.I in bE

& & & ? ? & & & &

b f b fj f b f f f J
j3

j nf j f

bf bf f

bf f f

j bf

f f f

j f

j f

bf bf J bf J F bf J bf J bf J
f

j bf

f f f

f bf f bf
3

j f

b f f b f
j

j f

f f f

bf f f

j bf

bf J f J f J

j f

f f

j f j bf

j f

j f

Cl.II in bB

bf f

j f

f f

bf #f bf

j f j f

f f f

j f j f

f f
j f

j f j f

f f f

j f j f

f f
j f

j f j f

f f f

j f j f

f f
j f

j f j f

f f f

j f

f f f f f f

j f j f

f f f

j f j f

f f
j f

j f j f

f f f

j f

j nf

j f

mf

j fff f

Cl.III in bB

bf f J
j f
3 3

j #f

j f

j f

f f
3 3

j #f

j f

j f

j nf

j f

mf

mf

bf

j #f

j f

j f

j f

j f

j f

fff

j f

j f

fff

Bsn.I

bF
f

Bsn.II

mp

bF

Hn.I

3 8
f

f nf
j nf

j f

4 4
f

bF nf f
j f

mf

bF bF bf
j f

fff

mf

fff

j nf f

f f f f f f f

f f J f f J f f f

j f

bf

j #f

f f f f f f f

#f bf #f bf f f f

3j

nf

f J

j f

Hn.II

3 j

j f

j f

3 j

bf J f J f J f J j f

mf

bf

j f

fltg.

mf
j f

bF bf

bf

j f

j f

j f

j f

j f

j f

j f

j f

fff
j f

f f

fff

j f

j f

Hn.III

nf

j nf

j f

j nf f j f

Hn.IV

C Tpt.I

bf f & J
j f

f f f

j nf

C Tpt.II

f ff & J
j

bf f bf

j f

bf f bf

j f

f f f

j f

f f f

3 3

f f f

bf J f J j bf

bf J

j f

bf

j #f

nf f

j f j f j f

3 j

nf

j f

3 j

j f j f

3 j

j nf

bf f bf

bf f f

bf J

mf

bf

bf

j f

j f

j f

j f

j f

j f

j f

j f

fff

j f

j f

j f
3 3 j

j f

mf
j f

f f

j f

bf bf #f
j f

j f

f f

j f

f f f

j f

f f f

j f

f f f

j f

f f f
3

j f

f f f

j f

f f f

j f

fff
j f

f f f f

j f

f f f bf
3

j f

f f f

j f

f f f

C Tpt.III

bf f & J
j bf

j nf j nf

j f

j nf

j f

j f

j f

j f

j f

j f

j f

j f

j f

j f

j f

j f

j f

mf
j f

fff
j f j f

j3 f

j nf

j f

j f

j f

mf

#f
mf
j f

j #f

#f

j f

j f

j f

j f

j f

j f

j f

j f

Tba.

? ?
27

Timp.

3 8
j 3 f ff f ff f f > > > f > f f f f f f f J f f f #f f f f f f f f f
5 5

4 4
f f f f f f f f
#f

Xyl.

Mar.

{ & ##f ff f f> > f f ? #f f { & f f & bf f #f &# f nf & f B f f B #f #f ? f f #f f ? f f #f f

3 #f #f 3 nf f

##ff f ff f f f f f f f f f f f ff ff ff ff f f f f
#f

Vln. I

f f bf f f f

3 8

arco

#> f
f

#f

> f > f > f f > f > f >

#f
4

> f > f > f f > f > f >

> f > f > f f > f > f >

4 4

f ##f> f f R > f #f f f R

mf

f f f
3

bf f f

j f

bf f

j f f
5

fff

#f

fff

f
6

ff

f f f

5 cresc.

> f f > ff> ff> ff > ff

5

> ff> ff> ff

6

ff

#f f f f f f n f #f f f f f bf f bf f f bf f f f bf f f ff fbf f#f f f f bf f bf f bf f f f f f f #f f f b f f f bf bf bf f bf #f nf fff f #f f f f f

9 9

f f f f bf f f f bf f f nf f nf #f f f f f f f f f f bf f f f b f bf bf f f f nf
3

arco

Vln. I

f
arco

> f > f

f
4

Vln. II

f f
3

f
4

#> f #f > ff> ff> ff > ff

5 cresc. 5

cresc.

f f f f f > f >f>f>f >f

5 5

f f f >f>f>f
6

> ff> ff> ff

6

ff

ff

nf f f f f f f f f f f f bf f f f f f f f nf f f nf f f f f #f ff nf ff f
9 9

bf nf

ff

f f

Vln. II

bf f
3 3 #f f

nf f f f f f f f f f f f f f

arco

#> f #> f f >

cresc.

#f f f f f f f f f f > > > > >

5 5

f f f >f>f>f
6

ff

fff f f f f

f nf #f #f f f f f f f f
3

arco

Vla.

Vla.

f f
3 3

f
arco

cresc.

f f f f f >bf > f > f > f > f

5 5 5 5

f f f >f>f>f
6 6

ff

f nf

bf f f f f #f

ff f f f

f f

nf f f

f f
3

ff

f f

f f f f

div.in 2

Vc.

3 3

f f f f f f f f

bf

bf

bf

bf

f f #f f f f #f f

f f f f f f f f

cresc.
arco

f f #f f f f #f f

#f f f f f f f f f f > > > > > f f f f f f f f f f f f

5

f f f f f f f f

f f f f f f f f

f f f >f>f>f f f f f f f f f f f f f f f f f
3

f f f f f f f f

ff

bf f f nf fbf f f f f f #f f bf f fbf w w w nw #w #w

bf

f f f f
3

ff

div.in 2

arco

Db.

f f f f
5

ff

#w w

Picc.

fj #f &
31
mf
j b f

j nf

bf nf nf

j f

f f f

j f

f f f

j f

f f f

j f

f f f

j f

f f f

j f

f f f

j f

f
fff

j f

f f f

j f

f f f

j f

f f f

j f

f f f

2 4

46

Fl.I

&

nf nf

j nf

j bf

j f

j f

j f

j f

j f

j f

f
fff

j f

j f

j f

j f

mf
j b f j f j bf j f j f j f

Fl.II

&

j f

j f

j f

f
fff

j f

j f

j f

j f

mf

Ob.I

f & bf j

j #f

mf

j f

bf f

j f

f f f f

j f

f f f f

j f

f f f f

j f

f f f f

j f

f f f f

j f

f f f f

j f

fff
j f

f f f f

j f

f f f f

j f

f f f f

j f

f f f f

Ob.II

& nf
j bf

j f j bf

mf

bf f bf
j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j f j f

j b f

Cl.I in bE

&

bf bf

bf bf

fff

j f

mf
j # f n j f j f n j f j f n j f j f n j f j f

fff
n j f j f n j f j f

Cl.II in bB

&

mf
j b f

fff

Cl.III in bB

& ? ?

f
mf

j bf

j f

j f

j f

j f

j f

j f

j f

f f f f

j f

j f

j f

mf

fff

Bsn.I

bF bF bF
j f j f j f j f j f j f j f

fff

Bsn.II

mf

fff

Cbsn.

mf

fff

Hn.I

fj & bf
mf

j f

bf bF bf bf bf

j f

fff

j f

j f

j f

2 4

Hn.II

&
j

mf
j f

fff
j f

f f f f f
j f

Hn.III

& f bf
mf
j f

bf f f

j f

f f f f

j f

f f f f

j f

f f f f

j f

f f f f
3

j f

f f f f

j f

f f f
fff

fff

j f

f f f f f
3

j f

f f f f f

j f

f f f f

C Tpt.I

& & &

mf

f f

j f

j f j f

j f

j f j f

j f

j f j f

j f

j f j f

j f

j f j f

j f

j f j f

senza sord.

fff
j f

C Tpt.II

j f

j f

j f

j f

j f

j f

senza sord.

mf
j f

C Tpt.III

mf

#f
j f

j #f

#f

j f

#f

j f

j f

j f

j f

j f

j f

j f

j f

j f

j f

senza sord.

fff

Tba.

? <> ? #f
31

mf

bf f #f f nf nf f f f f nf f f f
9

j f

bf f f f f nf

j f
5

fff

bf f f

Timp.

Vln. I

# f #f f f #f #f f f f & & & & B B ? ? f f f f f f f f f f bf f #f f f f bf f f #f f f bf f f f f f bf bf bf f bf #f nf f f f f bf f f f f f #f nf w w w w

mf

f f f f f f f f f f f

f f f f f

f nf f f
9

f f f f f f f f f f

f #f f f

f f f nf f nf f f
9

f bf bf f n f nf #f #f f n f f #f f bf f f #f f f bf nf nf f #f f #f
3

ff

2 4 2 4

Vln. I

f #f f #f #f f f
9

f bf f bf

Vln. II

Vln. II

Vla.

nf bf

f bf f f f f f nf

nf f

f f nf f f f f

nf f

bf f f

f f

f nf #f #f f f f f f f f
3

f f

f f

nf nf

f f

f f

f f
3

f f f

Vla.

#f nf bf w bw w nw

#f f

bf nf f

f f f

Vc.

Db.

Picc.

& & & & & & & & & ? ? ?

q = 88
#> f #f
3

47

j f

33

j f

Fl.I

ff

#f

j #f

f f f f f

bf f
j f

j #f

#> f #f

j # f

#f #f #f bf #f f > bf #f bf
3 3

f f f f f
j nf

#f #f #f
j f j f j f

f f f

bf nf f
5

f
5

ff

#f f

f bf f nf
3 3 3 3

f nf nf nf nf bf nf #f nf

ff

Fl.II

j f

j # f

j nf

ff

#f bf
j f

Ob.I

ff

#> f f >

j # f

f j b f nf #f bf bf
j f

f nf f f

ff

ff

Ob.II

nf f

ff

ff

Eng. Hn.

j b f

b> f

ff

f > f > f > f f

Cl.I in bE

b> f #> f
ff

j b f

bf
j f

j bf

ff

Cl.II in bB

bf bf
j f

bf bf f bf bf bf > f f
f> f

bf >

ff

bf
5

bf

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f bf f > j b f b f bf bf bf
j f

ff

bf
3

bf f

Cl.III in bB

Bsn.I

ff

f f

f f

ff

f > f f

f > f > f >

ff ff
5

f f f

bf f f

j f

f bf f bf

j f j f

bf bf f

bf bf

f f

bf bf

f f

f f

f bf f bf

Bsn.II

ff

Cbsn.

Hn.I

& & & & & & & B

q = 88
#> f #f
ff

bf >
f

f > f
ord.

bf bf bf bf
j f j f

j f > > bf > bf

Hn.II

f f f

Hn.III

f > f f >

Hn.IV

C Tpt.I

C Tpt.II

#> f #f > f > f f f >

f f

f f

f f f f f f f f
3 3

bf

> f f >

bf bf bf bf

j f >

bf f > f > f > f > f nf nf bf

f >

bf
3 3

bf bf bf
j nf j f

ff

bf
j f

ff
j f

C Tpt.III

f bf

ff
j f

bf bf bf

#> f #f
ff

nf nf

f f

f f

f f f bf f f f f
3 3

f f

bf
3

f f

bf nf f

bf

ff

ff

Tbn.I

senza sord. j f

Tbn.II

? ? ? ?
33

ff
(senza sord.)

Tbn.III

f>

> f f

> f bf bf

b> f > j f bf f f > f > f

> f
ff

ff

bf bf

bf f f

bf bf

j f j f

b> f b> f

f bf bf

> f J

bf bf

f f

> f > f f

> f

bf bf f >

Tba.

f >

j f > f

Timp.

Chim.

q = 88 & {&

l.v. sempre

Glock.

Vib.

Pno.

Hp.

& &

#D #C bB E #F G A

{
{

{ &

& ff > ? bbbf ff nn f f f

n f # f f >j n f nf f f ## f f f #f f >
f

>j nf f ## f #f

f #nn f f f f f f f >

>j f f f f

f ## f f f

l.v.

f f f f f f f f >

&

Vln. I

& & B

q = 88
div.in 3

ff b#f #f

f ## f f f

Vln. II

div.in 2

Vla.

Vc.

? sul pont. ?
sul pont.

unis.

f f f ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f ff

> f #f f
f

f #f f

ff b#f #f

f f f f

l.v. sempre

nf f ## f #f

f #f f f

nf f ## f #f

f #f f f

l.v.sempre.

f f f f f f f f

f nf f f f f f f

nf f ## f #f
f

f f f #f f f

f f f

f #f f

f #f f

f ff f
j f f

bf bf f f
5

ff b#f #f f #f f f #f f

f ## f f f

f f f

Db.

unis.

ff

f f bf > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > f f bf

f f f f

f > > f

bf bf

f f f R f f f R r f f bf f

f f

#f f #f

f #f f

bf > j > bf

bf bf

f f ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

f f bf > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > f f bf

Picc.

& & & & & & & & & ? ?

36

#f #f f f #f #f
j b f
3

j # f

f f f f f f
3

Fl.I

f #f #f f f f #f f #f f bf
3

j # f

f f f f f

f f

q = 92
> f #f #f #f #f #f #f #f #f bf f f f f f

f #f f f f f
j f

f f f f f

f
3

f f f f

f f f f f bf

#> f #f #f #f #f #f #f #f #f bf f f f f

f f f f f bf f f bf bf

#f

f f f f f f f f
3

3 8 q = 88

48 2 4

#f

#f

f f

Fl.II

f f f f
3

f f f

Ob.I

f f bf

f f f f
3

Ob.II

bf f bf

j f

f bf
3

j f

f
j f

j b f j f j f

f f f f
3

Eng. Hn.

Cl.I in bE

bf bf bf f f

j b f

bf f

bf

Cl.II in bB

Cl.III in bB

f J

bf bf bf
3 3

f f f nf bf
3

bf bf

f f

bf f f

bf

f
j f j f

f bf f
j f j f j f

f J

f f f

f f f bf
3

bf

b> f bf bf > f

bf bf f f f f
j f j f

f
3

f f bf f

b> f bf f f

bf

f f

f bf

#> f bf bf bf > bf >

nf f

f f f bf
3

bf

f f f

Bsn.I

bf bf

j f j f

bf bf f

j f j f

f f

f f

Bsn.II

Cbsn.

? #f & bf & bf & & &

j f j f n f J f J j f j f

f bf bf bf

j f

bf

Hn.I

bf bf bf bf f

bf bf bf bf bf

j f

bf f

q = 92
j f j f j f

#f bf f f f

f j f
j f j f j f

f J f J f J

bf f f

j f j f j f

bf f f f

f f f f f f f bf bf bf f f f
sff

bf f f f f f f f f f

3 8 q = 88

2 4

Hn.II

j f j f

Hn.III

bf bf bf

bf bf f f f

Hn.IV

j f j f

f
C Tpt.I

j f

> f > f f >

3

j f

j f

bf f bf bf bf bf f

f J

f bf bf bf f f f f f f f f f f f f bf bf bf

j f

bf f bf bf bf bf

j f

C Tpt.II

& fj bf & fj bf B ? ? ? ?
36
f

bf bf f > bf bf bf

j f

f f f f f

C Tpt.III

j f

Tbn.I

f f f f f

Tbn.II

bf
3

j f j f j f

j f

j f j f j f

bf bf bf

j bf

> f

Tbn.III

bf
3

bf bf bf

j bf > f f f

Tba.

bf

q = 92
j nf #f

Timp.

3 8 q = 88

Crot.

& & {&

fj bf f f f f f f f f Jj f f J bf f f f f bf bf
f f f

Chim.

Glock.

Vib.

Pno.

bf { & nf f &

bf & nf f
f

n > bf f nf f J > b b bf f bf f f J f J

bb f f bf f

f bff f

n# f #f f J n #f ##f f f

f #f J #f f f J

2 4

& & &

bf f f f f

Vln. I

bf J f f # f J bf f

j f j f j f

q = 92
f bf bf
ff

nf bff f

> n f #n#f f f J n #> f ##f f f #f nf nf #f f bb f f bf f f f

f bf bf

nf f #f f J f f f f f f f f nf nf nf

? ?

#f bf f

f nf bf

q = 88

3 8

2 4

ff ff

Vln. II

& B ? ?

div.in 2

Vla.

Vc.

bf bf
3

j f j f

bf bf

j f

Db.

j f

bf f

j f f fj f bf J bf bf

ff ff

bf bf

bf f

bf f

f f

f f

Picc.

2 39 # f 4
& &
ff

f f f f

bf f f bf nf
mf

13

f nf f #f

f f f bf f
3

3 nF~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4
f

4 4

C q = 70
w w #w

49

ff

Fl.I

jf f nf bf f f j f

mf

ff

Fl.II

&

# f f nf
ff

bf f

#f f f #f #f #f

13

#f n f b f n f bf nf f #f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ F f

pp

ff

bf bf nf f bf nf nf
mf

#f n f
13

#f # F~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ff

Ob.I

&

#f f f
ff

j f

bf f

bf bf nf f bf f f
mf

#f f
13

bf nf f #f #f n f b f n f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bF f
ff

Ob.II

&

Eng. Hn.

bf bf & nf
ff ff

jf f f bf f f j f

bf f

mf to ob.

#f f f #f #f #f

13

f #f nf nf

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ F b nf
ff

Cl.I in bE

& &

bf f bf bf bf
f bf bf f j

ff

bf f

bf bf nf f bf b f bf bf bf nf f bf f f
mf mf

nf f f bf bf
3

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ F b bf
ff

13

Cl.II in bB

#f f
13

bf nf f #f bf nf bf bf

ff

Cl.III in bB

jf f nf bf f f &

ff

bF nF
to Bcl.

ff

Hn.I

j 4 f bf f & f bf bf bells up

mf

bf bf bf bf #f f
E harmonic gliss.

13

bf bf

ff
13

ff

#f #f f f nf nf #f
fp
E harmonic gliss.

#f f f #f #f f f nf

#f f #f nf
6

3 4 F
ff

4 4

C q = 70

bells up Hn.II

&

ff

f bf bf f bf bf f bf b f

j f

bf f bf f bf f

D harmonic gliss.

fp

nf #f

f f
13

#f #f

#f f #f f f F
3

ff

bells up Hn.III

&

j f

ff

nf #f
fp

#f f f nf f f #f fp
3

f f #f nf #f #f f

ff
6

#F f f #f f
3

bells up Hn.IV

& & & &

ff

j f

E harmonic gliss.

C Tpt.I

jb f f nf bf bf f

f f

ff
C Tpt.II

ff

f bf bf f f f

j f j f

bf f f f

ff

nF nF

ff

ff

C Tpt.III

Timp.

? 4
39

ff

ff

3 4

bF

4 4 q = 70
f

B. D.

T.-t.

Pno.

/ ?

w
f mf

F ww

ppp

Hp.

? & &

fff

mp

ww ww w

ww w
?
#D C B E F G A

FF
f

FF

Vc.

2 ? 4
? ? ?

3 4

4 4

q = 70

ord. div. in 2

F f f

f gliss. f #f f j f gliss. #f F

gliss.n f

#f

ord.

Vc.

j f gliss. nf #F
ord.

ord. div. in 2

Db.

Db.

50
Picc.

& w
45

weeping > j b f j f n f B f b> f

f bf nf
ff

f fj bf bf bf
j f

f J
p

Cl.I in bE

&

f espress.

f fjf#fj bf f
> >

mp

bf

> j Bf

f
ff

f fj bf bf bf
j f

B. D.

45

ppp

Tri.

l.v.sempre.

mf

f f
3

r f

j f

j 3 f f

mf

j 3 f f

j 3 f f

j 3 f f

Glock.

{&

l.v. sempre.

bf

3 bf

bf R

bf
3

3 f

bf
p

Vib.

Pno.

sempre. l.v. f ? {

mp

f f

f
3

f f

&

play with slight rhythmic rubato

legato
5

ff

ff

ff
5

ff

cresc

ff
5

ff
5

ff
5

ff
5

ff
5

ff
5

ff
5

ff
5

ff

ff
5 5

ff
5

ff
5

ff
5

ff
5

ff
5

ff

Hp.

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

f f

ff

ff

ff

mf f

ff

ff

?
mf

l.v.sempre.

ff

ff

ff

f J

f f

f f

ff

f f

f f

ff

f f

&

legato

ff

ff

ff

f f

ff

ff

f f

f f

ff

f f

&

Vla.

gliss.

mf

f gliss. f

div.in 2

mp

Vla.

gliss.

mf

f gliss. f

mf

3 f f f f f f f

sul pont.

Vc.

nf f f f F > > mf

f f > f >

> F

gliss.

bf
p

f nf f f f gliss. f > >

mf

f f

fj
p

ff f >
mf

ff f >

mf

> > ff f f ff J
3

> f f

Vc.

nf f f f F > > mf

f f f f > >

fp

j f F

mf

f ff >

sul pont. f > f f > f > f

3 f > ff f

j f f f > mf
3

f J
fp

ord.

ff f f > >

Db.

mf

f gliss.nf >

mf

mf

f f >

f f >
p

bfnf >
fp

mf

ff

fp

f f >

Db.

? bF

mf

nf >

mf

f >

gliss.

#f f

nF

ff f f F > >
p

bf f > fp

mf

fp

f nf >

mf

51
Picc.

&
50

bf
3

pp

- f - f - f - f - f f f f ff f f
5 6

f bf
3 3

mf

Fl.I

& & & & f & J

p

f f

F F

w
mf

#F
mp

pp

Fl.II

Ob.I

bf

f
3

f f J

f
5

f
f

f f

f
6

pp

bf

w
mf

w
mf

bF
mf

Ob.II

Cl.I in bE

f
pp
3

Cl.II in bB

& ? ? & & ?

50

j f

bw
mf

Bsn.I

j f f f J
p

j f

mf

f fjf f f

f
j f

Bsn.II

mp

mf

mp

f f

C Tpt.I

w
mp f

F f f f f
5

con sord.

C Tpt.II

con sord.

nf J
mf

Timp.

j f

B. D.

w / / / &

cowbell

Tri.

W. Bl.

Chim.

Glock.

3 bf {&

mf

3 f

F F

f ff
mp

ff f

f ff f f f fff f
mp

f f f

Vib.

{ &

f
3

mp

Pno.

Hp.

Vln. I

? {
l.v.
3 #n f f nf f

fff f
5

&

nf f J
mp
#E

f f f f f f R R R #f 6 f f f f #f R R R
6

ff ff
5

f f f f
5

f f f f f f f f f f f f f f R R R R R R R #f 6f f f 7 f f f f f f f #f R R RR RR
f
6 7

f f f f
5

f f ff
5

f f f f
5

3 #n f f f f

mf

f f f f f
#E

f f f f f f R R R f 6f f f f f R R R
6

f f

f f

f f

ff

ff

ff

f f

f f

nf & f f f
3

3soli.div. f bbf f &

Vla.

B f f B ?
ord.

mf pp
3

mf

F F F

f nf f f
3

#f #f J

mp

F F F f
ord.

F F F f > f J f
5

f f > f f > f f f > f f f f ff >

f

f f > F f f jf > f> F f > F f f > f gliss. f > f f f > f f f

f f f f f
sul pont.
3 3

F f

mf

mp

mf

j f

j f

Vla.

mp

f f F f
gliss.
5

> f f > f f
mf

ff

fp

f >

fgliss. f
j f

mp
j f

tutti div.in 3

Vc.

f f f f > > mp f f f

fF R f J > f f f bf f > > f bf f > >

f
mf

f f > f f

f f > - f

gliss.
mp

Vc.

? ?

f > f J f f >

f f
mf

ff

- f f

r f f f f > f f f f >

mf

fp

fp

f f f f f g F

f f f f f f

ff

mp

Vc.

ff

fp

f f >

mf

> ff

f f

f f >

mp

> f f

> f f f f f >

f ff f f f F > > > f ff f > gliss. J

ff
3

> f f> f > ff

3

j j j f f f

f f f
3

liss.

gliss.

Db.

? F ? F

ff

f f

gliss.

mp

fgliss. nf f fgliss. f f f > >

mf

f f

F F

fgliss. f F

gliss.
f

Db.

mf

nf

gliss.

mp

bf f >
fp

gliss.

nF

52
Picc.

54 w &

Fl.I

w & & bw
ff ff

ff

bf J F
weeping

gliss.

Fl.II

Ob.I

& &
ff

Ob.II

bf R
ff

Ob.III

& &

Cl.I in bE

Cl.II in bB

bw &
ff

ff

ff

> j f

bf
3

fespress.

> f #f J

mp

f J
f

gliss.

f b f b f
> j

f fj #f

j nf

Bf f > f

ff

B. Cl.

? ? F

f
j f

f
3

Bsn.I

ff

f
j j f

f
3

pp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bf F F F
normal j bf

mf

Bsn.II

? F ? ? F & F & ?
54

ff

f >

j f

f ff > >

f >

j f

f >

j f

f >

f F

Hn.II

f f f
f

bF
mf

p
Hn.IV

r f > f

C Tpt.I

fff

C Tpt.II

fff

Timp.

f
f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ gliss. bF F w
p

Tri.

f /

W. Bl.

f f f f f f f f f f f f f f f / f f f f f f f f f
f ff

to Tri.

mf

Glock.

{& {& ? { ? { {&

Xyl.

#f #f f f f f f f f f f f f f #f #f f f f f f f
mf
6 6 6

f f
legato

ff

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53
bf > f f J

B. Cl.

mp

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57

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Tri.

j f

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54
Picc.

&
59

f f

F F

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3

> f R > f R

Ob.II

&

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Cl.I in bE

&

> fgliss. be
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Cl.II in bB

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F f F
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j f

nF

fp

fp
j bf

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Bsn.II

? ? f f
j f

j bf

fp

f F f bf f f f

mp

j f

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Hn.II

fp

bF j f F

j f

j f

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j bf

ff
(con sord.)

f f

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& & ? ?

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ff

(con sord.)

C Tpt.II

> f
ff

be

Tbn.III

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p

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Picc.

& & & & ? ? ? ? ? & & ? ? ? / / & {&

61

f f f bF
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55

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n> f be

B. Cl.

mp

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F
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61

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D
Picc.

56
f
3

& & & &

63

dolce

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p

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C Tpt.I

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& ? ? ? ? / / /

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63

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& f
67
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non trem

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2 4

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57
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C Tpt.I

Tbn.III

j #f

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B. D.

/ / /

67

f e e e e e e e e e e e
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2 4

a pair of small cymbals

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& & & & & & & ? ? ? & ? & ? ? ? ? / / / & {& { ?

70

f bf nf f

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p

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58
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Cl.II in bB

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f

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Tbn.III

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fp

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B. D. T.-t.

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f f

f
3

f f f f f

5 ff f f f f f f

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f f
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5

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div. in 2

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f f
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ff

bf

> f > f

f f F >

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f f

j f

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f nf
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bf

fp

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nf

nf bf nf
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3

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bf >

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ff

ff

Picc.

& & & & & & ? ? ?

74

#f f f f > f f #f f nf f f bf
p

f #f f f #f > f f f f f f #f > #f

f bf
ff

f f f f f f

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4 4

#f bf bf bf bf bf

nf f f
3

f f f f

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- nf bF #f f j #f J f f f f
3

59
mf

Ob.I

bff f bf bf bf
ff

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mf

Cl.I in bE

ff

Cl.II in bB

ff

Cl.III in bB

ff

- bf nF j J bf 3 - bf nF f 3 J f f bfj - bf f 3 J F f f bfj
3

bf f

mf

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Bsn.I

mf

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Hn.I

& ? ? & & & ? ? ? / /

74

f f >

f f >

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f f f f bf f f f > f f f f f > f

ff

Hn.II

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f f f f

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4 4

#f f #f f

nf f f
3

f f f f f f f f f

f f f f

nf f f f f f f f

j #f

ff

- F - f j f J j f

Hn.III

ff

3 3

3 3

C Tpt.I

C Tpt.II

F j f bf
3

ff

- f j J F f ff - f J #F - j bf - bF ff
ff

C Tpt.III

Tbn.II

bf f
bf

f bf b> f f

bf f F F

bf

bf

ff

Tbn.III

Tba.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
p

F F

B. D.

pp

F
cowbell

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plegato

W. Bl.

Pno.

{
{

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f J f f ff

f f

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f f ff

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& &

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O f O f O f

Vln. I

bbO f O f O f
3

O f b > O j #f J bF O f n> O j #J F bf

Vln. II

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & ff f F
p

j f

f f

j f

j f

Vln. II

& B B ? ?
p

p
j f

F j bf bF F bf nf
j f j f

j f

Vla.

f
3

j f

j f

f
3

j f

j f

j f

j f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bF bf

f >

j f

f f

j f

j f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #O f gliss. f # f f O ##f

ff ff

ff

bbO f O f O f f
3

Vla.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bF f #F #F f
f f
j f

& &

f f

f f f
3

f f #O n O O f j # f F J > #f 3 f j f f O O j f F f > 3
3

f f

ff

f f f

O > O f f B j f J F #f
3 O f f B j f #F O J > nf 3

ff

Vc.

p
Vc. j f

f f f

j f

f
3

j f

Db.

? ?

#F F F

p
Db.

nf bf f f F

Picc.

& &

rit.
f F f F f F bf bf #f f f j 3 f f j f bf
3

79

f j 3 f f f f f f f fj
mp

f fj
mp

f
mp

f #f J
3

#f J
f

q =70

>j b f

bF F
> j b f

60

Fl.I

Ob.I

& & & & & & ? ? ?

#f #f
ff f

mf

f
3

mf

F
mp

f f
f

F F

nf f

gliss.

B f b fj f
>

gliss.

mf

mf

Ob.II

bf

bF

mf

f J

f espress.

>j f

mp

>j #f

bf

espress.

f J

Ob.III

mf

weeping

> j b f

Cl.I in bE

nf
3

gliss.

Bf

>j b f

f F

gliss.

>j f

f espress.

>j #f

bfgliss. f

Cl.II in bB

mf

bF bF #F F F

nf

Cl.III in bB

mf

Bsn.I

mf

j f f
3

mp

j bf j #f j f

mf

mf

Bsn.II

mf mf

j f f
3

mp

p p

Cbsn.

j 3 f f

j f
mp

mp

Hn.I

- #f F & f - f ? J
f f

Hn.II

- F

mp

rit.

F

A

q =70
bf

j f

Hn.III

? ? & & / {
79

bf
f

bf F f F
bD C bB E F G bA

mp

j f

mf

mp

bf bF

&

Hn.IV

C Tpt.I

mp

C Tpt.III

f
p

B. D.

Mar.

mp

f bf

f
3

f f f f J
3 3

rit.

f f f f

fj f f J
p

F bF bF F

=70 F q w
p

f bf bf f bf f f f f f f f f f f f f f f f f f f f f f

Vib.

Pno.

{ & ?

bf f
p

j f f f f

j f f

Hp.

? ? ?

mp

F F bbFF F F bF
mf

f ff f f f f

F FF F F F F

f bf

f bf

mp

f f

f bf

f f

f f

Vln. I

O f bb> O f O F & #O f n> O f O F &

f

rit.
mp

f f f j 3 f f j f f
3

f f f f f f f fj
mp

q =70

Vln. I

Vln. II

#O > O & # f nO f F O & f O B f

f f f

mp

Vln. II

O F O f > > O f O F

mp

mp

Vla.

Vla.

O B f O F O #> f f ? ? ? ? ?
div.in 3

mp

mf

mp

F F F bF F F bF

mp

mf

Vc.

Vc.

mf

bf f f

mf

j f f
3

fj fj
mp mp mp

j f

div.in 2 j j f f

j 3 f f j f f
3

bf bf

f f

j f

Vc.

mf

Db.

f f J f f J
3 3

Db.

mf

bf

mf

f J mp

mp

j f f J

j f

nF

bF bF

f f

j f j f

f f

Picc.

&
84

nf
3

f
3

f J f J

f
mf

3 4

nf

f J

#f

f J

f
3

61

Fl.I

& & & bf J

#f

f
3

mp

mp

Ob.I

f
3

f
5

f bf J f J bf

Cl.I in bE

bf

f bf
f

f f f f
7

mp
3

f J f J f J

f f f

#f bf #f

f J f J f J
5

f
3 3 nf

mf

mp

Cl.II in bB

& ?
p
j f

bF f F j f bf
3

mp
j nf

f
3

mp

Bsn.II

Hn.I

& ?
mp

j bf

3 4
3

j nf

bf f f
mf

j nf

3 + f

j f

f f

Hn.II

f
j f

j f
j f

f
j f

F bf f
j f

+ #f

j nf

r bf

j f

+ f
3

j bf

Hn.IV

mp

bf

f
3

f f
3

f f J f f f f
j bf

C Tpt.I

& & ? ? f bF

mf

f J bf

f J

#f f

f
3

C Tpt.III

f
j f

mf

f bf
mp

f f

Tbn.I

f f

Tbn.II

mp

j f
j f

F bf bf
p
j f

f f
3

Tbn.III

? j fbF ? /
84

mp

j bf

Timp.

B. D.

/mp w
a pair of small cymbals

3 4

mf

f f
6

f f f f F

j f

r bf

j bf

roll against each other

T.-t.

mp

f f J
3

Xyl.

Pno.

{
{

{ & ? f bf bf f bf f f f f f

f bf f f f f f f f f f f f f f bf f
f

mf

f f f

f f J

f f f bf f bf

f f f f f f f f f f f f

#f #f

f f f f f f f

f f f f f f f f f f f f f f f

3 f f

? ? ?

f bf

f f

f f

f f

f bf

f bf f f bf

f f

Hp.

Vln. I

& & & & B B ? ? ? ?

j f j f

f bf

3 4

f
pizz.

bf
3

f f > bf > bf > f >

f bf

sub. sfz
pizz.
3

Vln. I

sub. sfz
pizz.
3

mp

j f

j f

arco

f
mf
j b f

gliss.

arco

Vln. II

sub. sfz
pizz.
3

j f

arco

Vln. II

div.in 2

Vla.

Vla.

Vc.

mp
Vc.

bf f F F

j f j f

f f

F
j f

mp
Db.

j f

F F F

j bf sfz > pizz. j f > sfz

pizz.

sub. sfz

mf
arco

f f f f

j b f

mf

mf

bF f f bf f bf f
3

mf

j bf

gliss.

gliss.
mp

f f f f

j f f f F

gliss.

Db.

gliss.

mp

Picc.

& & & & & & ? ? ?

86
f

> f #> f > f #> f > f #> f #> f

> f
f

> n> f f f > n> f f f > > f f f

Fl.I

> f > f > f

ff

. f . f f . . f
ff

. f . f f . . f . f . f
3

. f
5

. #f . #f #f . . #f . #f f

. bf . bf bf .

. . nf f . f . f . f . f f
j nf

. nf . nf . nf
7

. nf . . bf f . nf . . bf f . nf . . bf f . nf . . bf f . nf . . bf f . nf . . bf f f

. f . f . f . f . f . f

62

. f f . . f . f

. f . f . f . f . f

ff

5 5

Ob.I

Cl.I in bE

n> f #f
f > f

b> f

> n> f f f > n> f f f

ff

. f
5

. bf

. bf . bf . bf

. nf

. nf . nf . nf
j nf j nf

Cl.II in bB

. f . f f f

ff

Cl.III in bB

Bsn.I

j nf

mp

bf bF

f
j nf

f bf bf +
f
j nf

j nf

j bf f f f bf

ff

Bsn.II

j nf

bf f + + f f n> f > + + f f f > > > n> f f f

3

ff

r j nf b f
ff

ff

j nf

bf

j bf + f .
5 5 + f .

bf

bf f

bf

Cbsn.

Hn.I

& ? & ? &

+ + f #f > > f f > f #> f

bf f

f f bf f f f
3

Hn.II

f f +
j f

f > f > > f

bf + bF + f .

ff

f . f . . f

+ #f . + #f . . #f

+ bf . + bf . . bf

+ + . . nf f + . f . f + . f . f

+ . nf + . nf . nf

+ . f
7

ff ff

Hn.III

Hn.IV

j f

j f

ff

f f
j f

j f

j f

f f

ff

f . F . f

+ . f
7

C Tpt.I

. f
5

. f
7

C Tpt.II

& bF & ? ? ? ? ? / /
86

f bf f

j f

bf f f f
ff

ff

ffp

C Tpt.III

F F f f
mf

Tbn.I

j bf

ff

j n f

bF
j f

Tbn.II

f
3

gliss.

bf f f
j f

ff

j f

bf f f

ff
j f

j f

j f j f

f
j f

j f

f f bf f

j f

f bf
3

bf f f

Tbn.III

j bf
f

bf

f bf f

f bf f f f

ff

Tba.

Timp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bf F
f

T.-t.

Tri.

Xyl.

Pno.

Hp.

{
{

{ & ?

> f #> f f #f F

whip.

subito

sfz

> f

bF f f bf f f f f f f
6

> f f
f

ff

ff ff

> n> f f f f nf f

sfz

f > f bF f f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ F f f f f f f
6

secco

f
5

#f

bf

sfz

nf

>j f
7

f f f f f f f f f f f f f f

F f bf f f
gliss.

ff

f bf nf nf

f f
&

? ? ?

ff

f bf
ff

f bf f f bf

Vln. I

& & & & B B ? ? ? ?

f bf

f
j f

f bf f f bf

bf

f f f
j f

f f f
gliss.

bf

f
j f

f f f

f f f
j f

f f

f f

f
& &

f
j f

f f

j f

bf
f f

arco

f bf
j b f

Vln. I

f f f F

gliss.

Vln. II

j f

j f

f f f f f f f

ff

bf bf f bf

f f f f F

j f

f f f f
ff

f f bf

ff

f f

Vln. II

gliss.

bf

ff

f f f

ff ff

F F

Vla.

arco

Vla.

Vc.

nf

j bf

Vc.

F F F

f
3

j f

bf

bf

j f

j f

nf
3

j f

bf nf f

ff

bF F

bf

ff ff ff

Db.

gliss.
j f

Db.

bf

j f

bF bf
gliss.

gliss.

Picc.

88 f #f f f f bf bf nf bf b f b f &
ff

f n f

f F
ff

f > f
fp

Fl.I

& & & / /

88

mf

f #f #f f f #f f f nf nf f

f
ff

f f

63

mp

> bf j j > bf bf f ff nf bf bf
6

Ob.I

to Tam-tam l.v.

f
fp

f
fp

f J

nf
fp

cresc

Cl.I in bE

> f > f f f
?

B. D.

> > f f
f

T.-t.

Vib.

Pno.

f { & > f b f> & nff

f

Hp.

sff

l.v. > f & bf

& f b> f

Picc.

93 f #f f bf nf f f #f #f f f nf nf f f &
mf p

f bf
f

f #f #f
f

f f #f f f nf nf f

2 4

#f
ff

f
5

nf bf bf
f

nf f #f n f n f

# f # f f f f #f nf f

keep playing music in the box with rhythmic freedom until the end of bar101 Ob.I

& & f
mf

Ob.II

bf f

bf
j f

f f
j f

j f

bf

cresc

b> f 3
j f
5

f n f f f
j

keep playing music in the box with rhythmic freedom until the end of bar 101

Cl.I in bE

& ? ? ? & &

j f

f bf

keep playing music in the box with rhythmic freedom until the end of bar 101

mf

cresc 5

Bsn.I

#f J
>j nf jf f> f J

f J
ff

f nf

bF bF

mf

bf #f

Bsn.II

f nf

mf

bf f bf f f f bf > f f bf >

f f f bf >

ff

f f f f oj f
ff

ff

Cbsn.

Hn.I

2 4

f nf b F j

mf

o f bf >

f f >

mf

mf

bf

ff

Hn.III

C Tpt.I

nf & J
3

con sord.

Tbn.I

? ? ? /
93

mp

cresc

f J

f J

f f

f
3

f J

keep playing music in the box with rhythmic freedom until the end of bar 101

mf

con sord. j f

mf
j nf

bf J

f
3

f fjf

bf f f bf > f > f
j #f j #f
6

j f

f f f f > f > f
j f j f

j f

f
3

j f

Tbn.III

bF

mf

f f bf f f b f
ff mf

Tba.

B. D.

2 > 4
f f

nf #F j

f f #f > > f
j f j f

Tom-t.

Pno.

5 5 > > > f f f f f f f f f f

5 > >5 f f f

ff

f f

f f f f f f

> f f f f f f f

5 > f 5 > f f

f f

> f > f
j f j f

Vc.

? ?

2 4

j #f

j #f

f f f f f f f f f f f f f f > f f f > f f f >

5

f f f f fjf f f fjf f f > > >

5 5

j f

j f

unis.

f f

unis.

f f f f > f f f > f f f >

5 5

f f f f > f > f > f f

f >

f > f f > f > f >

f f > f > f >

f >

f fjf >
5

f f f f > f f
j f
5

f >

Db.

f f f f > f f f > f f f >

5 5

f > f
5

f > f
5

f f

f f > f > f >

Picc.

& & & & ?

97 n f n f

> f #f f f f f f nf
ff

f f f f f #f f #f f f f f f f f f f f f
3 3

mf

ff

> f f f nf f f f #f
f

ff

> f f f > f #f f f nf f f f #f
f

64

ff

Ob.I

Ob.II

f f f f f bf nf f
ff

ff

Cl.I in bE

Bsn.I

f > f >

mf

bf #f

f f f bf nf bf >
ff

f f f f f f

mf

f bf b f b f n f >
ff

f > f > bf > f f

f f

mf

bf f nf f bf >
ff

f f f f bf f bf f bf > f f f >
ff

nf b f f #f f f b f > mf
ff

ff

f f f f bf

Bsn.II

bf
mf

f f bf f f n f b f f >
ff

bf f b f n f b> f mf
ff

mf

f nf bf bf f > f
ff

mf

nf f bf nf bf f bf > nf f bf >

mf

ff

mf

ff

f f nf bf f bf f

Cbsn.

? j f > f & & f & ? bf ? ? f

mf

f f nf bf f >
ff

f f bf > f bf >

ff

b> f f f > f f >

b> f

mf

ff

mf

Hn.I

mf

f f

bf bf

ff

mf

f f bf > f f >

Hn.III

ff

mf

ff

F
f

C Tpt.I

Tbn.I

f
con sord.

f f bf
6

j f

f f bf
cresc.

f f

f f

f f bf
6

j f

f f

nf bf f f f
ff 3

f J nf bf f bF
ff
3

f bf f f
3

Tbn.II

bf
mf

F f f bf bf f f
ff

Tbn.III

bf
mf

f f bf f f f f
mf

f bf f
ff

f f

mf

bf f b f nf bf r f

ff

f f

mf

f f

nf f bf f bf f bf nf
mf

ff

f f

mf

f f

ff

f f nf bf f #f

Tba.

? j f <> /
97

f #f f >
ff

mf

j #> f
ff

#f
ff

#f

B. D.

f f

mf

> f > f

> f > f

> f > f f

5 3 3 > 3 f f f fr

Tom-t.

/ f

Glock.

Pno.

{ & ?

mf

5 > 3 3 3 f f f f f f f f f f f f fj > f J

3 3 r r r f f f

3r 3r f f

>j f
3 3

f f

f f
3

f f

f f
3

f f
3

f f
3

r r r r f f f f f f
3 3

f f f

f f f f f f

j #f

f > f f >

j f

f >

f f f

f f f

j f

f f > f f f f >

f f f #fjf f f #ff >

5

f ff f ff f f

f f
6

Hp.

? f f & &

j #f

j f

f f >

j f

f f f #fj f f f # ff f f f f f f f >
5

f f f f
6

f #ff f # ff f f
f f f f f f

f ff f ff f f

f f
6

f f f f f f
6

> f
ff

f f f f
6

f #f f #f f

f ff ff ff
6

f f f

bf

#C

> f > f

ff

f f #f f #f f

> f > f

f ff ff ff f f f f
6

f f bf f bf f

Vln I 1

& & & & B ? f f f

5

div. in 3

sfz

f J f J f J

f f f f
3

f f f f
3 3

sfz

f J

Vln. I 2

sfz

sfz

f J f J

sfz

f J f J f J

sfz

Vln. I 3

sfz

Vln. II

f f f f f > f > f > f > f f

5

f f f f > f f > f f f > f f f f

5 3

div. in 3

fj ff J j f ff J

fj ff J fj ff J

sfz

sfz

sfz

sfz

j # ff f J
sfz

f f
3

Vla.

&

div. in 3

sfz
3

sfz

fj #ff J
sfz

Vc.

Db.

? f

f f f > f f f f
5

f f
3

f f
3

f f
ff

f f

ff
3

f f f f
3

f f f f
3

f f f f

f f

f f

f f

Picc.

&

102

Fl.I

& & bF & & & & bf

f mp

#f #f f
mf

#f #f f

#f #f f

4 4

f #f #f f nf #f f f nf nf f
f

ff

65

Ob.I

Ob.II

> f
f

bf f bf
3

bf bf >
3

f bfbfj b> f f f> bf

j f
5

j f

j f

b> f
3

f J f
j bf

> bf

j f

b> f

> f f f
3

bf f
3

bf
3

j bf f > f bf

j f

bf
3

> f fj > f f f

Ob.III

f
j f

> bf f

> f b> f bf f bf bf
j f

bf f
j f

j f

Cl.I in bE

f f f
j
5

nf

f f

j f

nf f J

j f

f f f
j
5

bf >

f bf f

bf >

fbfj b> f
j f
5

f
3

> bf f

nf

j f

> f b> f bf bf f

Cl.II in bB

f bf bf

nf

> f J

> f J

> f J

#f f f nf bf > f bf
ff

j b> f j b> f j b> f f bf > F nf f f # f #f n f b f > f b f nf f bf b f > f #f f f b> f f F f f

gliss.

Bsn.I

? ? ? & ? & &

mf
Bsn.II

mf

f f bf #f bF >
ff

mf

mf
Cbsn.

f f bf > bf >
ff

ff

mf

f f bf bf F > j f bF >
ff

nf
mf

ff

f f f f f

bf f f nf bf f b f nf f bf f

ff

Hn.I

4 4

mf

j f

mf

ff

mf

nf f

ff

ff

mf

f bf > w
j #f

f f >

f f
mf

f f >

ff

Hn.II

mp

Hn.III

bf f J F

mp

f f
j #f

f ff
3

C Tpt.I

bf F f

gliss.
ff

f J

j f f f

#f

C Tpt.II

& & ?

bf j bf - f -

j n f

mp

f J

ff
j f

f f
j #f

C Tpt.III

#F

ff

f
j f

ff

nf

Tbn.I

bf
mf

f f f
6

f f f J

j f

f f

nf bf f bF
f
3

nf bf f bf
ff
3

Tbn.II

? ? ? ? /

bf
mf

j f

bf F

f J

f J

ff

Tbn.III

j bf mf f > > f > f f f f f nf > f > > f > f j bf nF > f > f f f >

mf

Tba.

bf

bf

bf >

b> f

f
ff

bf

102

Timp.

f fjJ #f #f

4 4

f f

f > > f f > f f

j f >

f >
5

f > > fr
5 > f f

f >

f >

B. D.

f fjJ f f

> > f f f f > > f f f f

> > fr 5 fr > f f

5

>r >r5 f f > >5 f f f f f f

Tom-t.

> f f f f

f f f

W. Bl.

Hp.

Vc.

jf f ff fJ / f f

mf

& &
#F #G

#f #f

##ff J .j f f mf .J pizz. . bf J
mf

mf

##ff J .j f f J . . bf J

ff J .j f f J . . f J

f f f f fj> f f fjf f fj> f f > f f fj> f f fjf f fj> f f > f #ff f f f ff f > >
5

D #C B bE F #G #A

2pizz. ? div.in

4 4

unis. arco j #f j #f

f > f >

f f

f f

j f j f

f > f >

f f

f fj> f f fj> f

j f j f

f ff f >
5

f f f f f f

ff f f f > ff f >
5

f f

Db.

arco

f #ff f f f ff f > >

5

f ff f >
5

ff f f f > ff f >
5

Picc.

& & & & & & ? ? ?

106
very expressive

Ob.I

nf

mf

dolce

f f J

j n f

f f J

j f
5

j f

j f

pp

f F J

3 4 F
j f j j f f

f
mf

bf bf f f f f f f
mp

66 4 4

Ob.II

bf
mf

Cl.I in bE

mp

f fffffff
4 4

b f b f b f f f f f f f J
j b f j j j j

Cl.II in bB

mp

bw

w
mf

bf J
j f

j f

f fj f fj f fj f
mp

mp

Cl.III in bB

mp

bw

mf

w j nf

Bsn.I

Bsn.II

bw
mp

mf

Cbsn.

j bf
mf

mf mf

j bf
mf

j bf j bf

j j bf f j j bf f

mf

Hn.I

& bw ?

sub.p

Hn.II

mp

con sord.

3 4

bf f
mf mf mf

- #f
mp mp

#f #f -

f - f

f - f

f - f

f J f fjf fjf fjf

mp

4 4

Hn.III

& & & & ? ? ? / / /

sub.p

bw

C Tpt.I

mp

#C

mp

f - f - f -

C Tpt.II

C Tpt.III

bf f ff

ff

j f

j f

Tbn.I

Tbn.II

mf

f J j f

mf

f J
mf

f f J J

mf

Tbn.III

mf

j f

106

B. D. Tom-t.

3 4

j j f f > f R f > f R fb > f f R f #> f #ff f R

W. Bl.

Glock.

{& { &
mf

> fr f>> > f R ff f > f R ff >> > f #ff f R #f f f nn #f ff > ff >

f

4 4

Xyl.

Cel.

{ & b f bf b f bf e e e e e e e e e e e e

legato

Pno.

Hp.

Vln. I

? {

b e be b e be e e e e e e e e e e e e f
3

ff

3 3 f f 3 f 3 f f J J & f & #f #f #f
mf mp legato

nf

bf e e e e e e e e e e e e

e be e e e e e e e e e e e #e #e e

ff

f 3 f J J
3

subito ff

& & & &

pizz.

(arco)

Vln. I

Vln. II

O f O O f O O f O f . . f . . f . . (arco) j O f O O f O O f . . f . . f .
mf mf
pizz.

mf

r4 O f O O f O O f O f O Of O Of OOf OOf OO f f . . f . . f . . . . . f . .f . .f . .f . r O f . j O f . Of O Of OOf OOf OO f . . f . .f . .f . .f . Of O Of OOf OOf OO f . . f . .f . .f . .f . Of O Of OOf OOf OO f . . f . .f . .f . .f . F F

4 4

Vln. II

1solo arco Vla.

&

#f

arco tutti div.in 4

mf dolce

f F J

j # f

f fj f
5

j f

#f w w w w

#f f f#f
j

mf

j j O f O O f O O f O f . . f . . f . .

B bw B bw

tutti div.in 3

#f #f #f
mp

f f f
4

f f f

f f f

pp arco pp arco pp pp

Vla.

B bw B bw

mp mp

arco

Vc.

? ?

w bw
div.in 2

(unis.) pizz.

#f f > > bf
f f

unis.

pizz.

Db.

pp

Ob.I

4 113 4
&

very expressive j # f
3

nf

f f J

j # f

f f fj # f J
5

j # f

F
mp
j b f j j

2 4

67

mf dolce
j f F # f J

Ob.II

&

f # fj f
mf

mp

b f b f b f f f f f f f J
j j

Cl.I in bE

&

ff

mp

Cl.II in bB

&

bw
mp

w
mf mp

j f

bf J

j f

f fj f fj f fj f
mp

ff

Cl.III in bB

&

mp

bw

mf

mp

Bsn.I

Bsn.II

bw
mp p

Hn.I

4 &

bw
p

mp

2 4

Hn.III

&

bw
p

mp

C Tpt.I

&

j f

ff

f J

j f

f fjf fjf fjf

mp

113
Tom-t.

4 4w
pp

pp

2 4 f

Tri.

3 3 3 3 j 3 j 3 j j j f f f f f f f f f

pp

3 3 j3 j 3 j f f f f f f f

Cel.

Hp.

{&

legato
mf

b f bf b f

bf e e e e e e e e e e e e f f
3 f 3 f J J

be e e e b e beb e e e e e e e e e e
mp

&

# f #f f f f f f f f f f f
mp

# f #f
p

f R
pp

f
mp

f
3

f
3

nf

3 f f 3 f f J J

# f #f f f f f f f f f f f
mp

&

o f

o f o f o f o f o f

o f J

o f R

legato
mf

#f #f #f

bf e e e e e e e e e e e e

e be e e e e e e e e e e e #e #e e
mp

o f

o f o f

o f o f o f

Vla.

4 &

1solo

#f

mf

dolce

f F J

j # f

j f
5

j f

#f

#f f f#f
j

mp

2 4

Vla.

w ww bbbbw
div.in 4

pp

w ww w

Vc.

#f f >
f

(pizz.)

Db.

(pizz.)

> bf

q = 80
Picc.

& & &

120

j # f

> f

f f f f

j > f bf

ff

> jf f J
j f

Fl.I

> f J > f J

j #f

> f

f f f f f f

f f f f f f

f f f f bf bf
5 5

f f f f f f

f f f f f f

q = 92

> jf # f b> f b> f b> f

f f f f f f f f

f
3 3 f 3 f

f f f f f f f f

j #f j f

f f f f f f f f f
3

f f f R f R f f f f R f f f

f nf f f nf nf bf f f

f
5

f f f

68 3 4

j nf

> bf > f > f

j f

fff

bf nf nf

ff

Fl.II

j f

> f

j f

j #f

j f

j #f

fff

Ob.I

& & &

j nf

ff

> bf

ff

j f

b> f J

j #f

j f

Ob.II

j nf

b> f b> f

j > f b f j f

3 bf

j #f

fff

3 f 3 f 3 bf

j f

fff

bf bf bf f

f f

f f f f

Ob.III

j f

> f

ff

j f

> f J

j nf

ff

b> f b> f b> f

f

j f

fff

Cl.I in bE

& & & ? ? ? &

j f

bf j f > j f >
ff bells up

j bf

bells up

j b f

b> f
ff

bf
5

j nf

3 bf

bf
j f

j bf

fff

f
5

j #f

fff

Cl.II in bB

fff

Cl.III in bB

bf f bF #f
j #f

bells up j f

fff

bf f f

f f nf bf bf f

Bsn.I

ff
Bsn.II j f

j f > j f >

fn f

bf #f bF f
j f

f > f >

f > f >

fff

bf f f f

bf bf bf f

ff

nf

fff

Cbsn.

ff

j f

bF bf > f > f J > f J j bf >

fff
j #f

bf

q = 80
bells up j f

Hn.I

j bf

> f

f > f J > f J f

Hn.II

? fj #f & ? & & & ?

ff

ff

q = 92

b> f

> f > f

3 f

f > f #> f

bells up

nf
3

f f

f #f

3 4

fff

bells up

Hn.III

j #f

j #f

f #f

f f bf
3

Hn.IV

bells up j f

ff

f
j nf

bf
5

f f
j #f

fff

f f f f f

C Tpt.I

senza sord. j bells up #f

> f > f

f f

ff

> f J > f J

b> f

n> f

3 bf

bf

j f

bf f

f f f f f r #f bf

f f f f f f R f f

fff

bells up

C Tpt.II

j f

j f

bells up

(bells up) j f

ff

fff
j f

C Tpt.III

ff

j f

bf >

in the air

j #f #f

senza sord.

Tbn.I

j f > j f > j f >

ff

f > j> f

f f

f > f > f >

f
3 3 f

f f f > f > f > j f f

fff
j f

bf
3 # f

bf

#f
3 3

bf

Tbn.II

? j #f f
ff

senza sord. in the air

Tbn.III

senza sord. in the air j f

fff

ff

#f f f

fff

j f > j f > j f >

ff

fff

ff

fff

fff
3

ff
Tba.

fff

ff

fff

bf f f f

ff

fff

fff
3

f f f

? fj nf
ff

fff

fff

Timp.

? / /

q = 80
f f f

ff

fff

120

f f

j f

B. D. T.-t.

j f

j f

q = 92
f

j f

j f

j bf f

j f

f f

f f

f f

3 4

Vc.

?div. in j3 #f f f
fff

pizz. ord.

q = 80

unis.

j nf j f j f

pizz. ord. div. in 3

j #f f f f J

unis.

j nf j f j f

q = 92

pizz. ord. div. in 3

j #f f f

unis.

j nf j f j f

fff

j f

3 4

Db.

? < n>f J
pizz. div.in2

fff

ord.

ord. f J

j bf

j f j f

Db.

? j bf
fff

j bf

ord.

j bf

ord.

Picc.

3 124 4
& &

q = 66

weeping > j f

Ob.I

f f

> j # f

#f

ff mf espress.
> j weeping f > j f

n> f

> j b f

> j f

#f
mf

> f
ff

69
#f

ff
> j f >

Ob.II

&
weeping > j b f j f n f B f b> f

f fj f#fj bf gliss. f
> >

f r bf

#f

Cl.I in bE

&

f espress.

> j f

ff mf espress.

f # fj # f
mf
>

ff
> j b f

> j Bf

f
f

f fjbf f fj f
>

f b fj n f
>

mp

ff mf espress.

b f b fj f
mf

ff

b f n f gliss.
ff

bf bf
> j nf

j f

f J
p

#f R
j f

Cl.II in bB

&

weeping > j f

f espress.

bf
3

> f #f J

bf

f gliss. B f f b f
f

gliss.

mp

> f J
f

gliss.

> f bf
ff
j f bf > f
3

Bf

f f
p

Bf J
p

Cl.III in bB

&

mf

f J

weeping

espress.

bf

bells up

f
f

bf

> j # f

ff

f #f J

mp

> j f

b f gliss. f
ff

j nf

124
Tri.

3 4

q = 66

whip.

ff

> f > f > F F

Crot.

Hp.

& & ?

ff

ff

Picc.

4 &
129

nf
> j f

>j #f >j f

j n f

espress.
Ob.I

&

n f gliss.

mf

f #f f f bf
3

f
gliss.

b> f bf
> j f

j n f

j f

f > f

f
>j bf

f f

bf J f J

bf
f
>j nf

ss. > f gli f

sf

mf
j f

f #f f nf f
3

3 4

n> f
ff

gliss.

j f

> f f

nf J j f

f b f n f
> j

mf

f J

f Bf f J
mf

b f f #f nf
3

gliss.

mp

Ob.II

& &

nf gliss. Bf f #f
3

>j f

f
>j f

nf gliss. f bf
3

f
f

gliss.

nf

j f

j f

sf

#f

espress.

Ob.III

j n> ff f >

mp

ff

> f J

bf f f
mf

> f f bf
ff

> f f f #f
p

Cl.I in bE

&

bf J
f

> j f

>j f

f
f

gliss

> f> f f

f Bb f
sf

j b f

b f fj b > f

j > f f

nf

> j # f

nf
ff

gliss.

# f fj # f
>

gliss.

f f J
mf

bf

Cl.II in bB

&

(bells up)

n> f J
f
j b f b f J >

nf

mp

#f

> f bf
f

gliss.

f bf

> f
sf

f f fj f J
>

f
p

n> f J
ff

gliss.

b> f

gliss.

Bf

mf

bf
3

Cl.III in bB

&

gliss.

f f
p

gliss.

nf
sf

Bf f fj nf

f Bf
p

bf J
ff

gliss.

>j #f

gliss.

f
mf

Picc.

&

132

f
p

f J

f J
p

#f bf

2 4

70

Fl.I

&

b f gliss. f
f

> j b f

f f J

> f

f J

mf

> j # f

fp

> j f

bf J
fp

f J

> j b f Fl.II

&

f b fj f
>

> j # f

f
3

> j f

bf f
mf

Ob.I

&

> f
f

gliss.

bf

> j #f

f # fj f
>

f
p

> j #f

>j bf

f
3

#f f R
p

Ob.II

&

#> f f
f

b> f f

> j f

> j # f

nf

f #f
p

> j #f

nf J

Ob.III

&

Cl.I in bE

&

> j b f

f gliss. f b fj b f
>

gliss.

b f B> f J
p

> j f

bf n f gliss. Bbf f

> j

> j b f

> j bf

f
f

> j b f

f
p

> f b> f
ff

>j bf

f J

nf
f

nf

ffp

> j Bf

f f b> f bf
fp

fp

Cl.II in bB

&

(bells up)

> j bf

bf

> j n f

f R

> j b f

j b f b> f R f

#f

sfp

sfp

Cl.III in bB

&

Hn.I

&

2 4

(bells up)

Hn.II

(bells up)

Hn.III

&

(bells up)

Hn.IV

(bells up)

C Tpt.I

& & &

C Tpt.II

C Tpt.III

71
Picc.

137 f f f bf f bf nf f f & bf f f
13

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nF f nf
ff

f f nf #f #f # f nf nf #f f f #f
13

~~~~~~~~~~ bf bf
ff

mf

f f f bf nf bf nf nf nf bf f f
13

mf
13 bf f f #f f f nf b f

ff

Fl.I

13 nf bf nf f f #f #f & nf #f #f #f #f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ F f f
ff

mf

bf nf

b f~~~~~~~~~~~~ f
ff

mf

#f n f b f n f #f f f #f f #f #f #f
13

ff

Fl.II

f bf nf f #f bf bf nf f #f & bf f f
13

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # F #f f
ff

nf bf nf f #f nf n f b f n f nf bf bf
mf
13

~~~~~~~~~~~ f f
ff

f bf nf f #f bf bf nf f #f bf f f
mf
13

ff

Ob.I

bf nf f #f bf nf f #f f & bf f f bf
f
13

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bF f f
ff

bf f bf
mf

bf nf f f f bf nf nf
13

~~~~~~~~~~~ f f
ff

f bf nf f #f bf bf nf f #f bf f f
mf
13

ff

Ob.II

&

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f bF f
ff

~~~~~~~~~~ f f
ff

Ob.III

nf bf nf f f #f #f & f #f #f #f #f
13

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f nF f
ff

mf

bf f

bf f f #f f f f bf
13

bf
ff

mf

13 #f n f b f n f #f f f #f f #f #f #f

ff

Cl.I in bE

f bf f nf nf f & bf bf f f bf nf f bf 3
13

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b F bf bf
ff

f
mf

bf bf bf nf f bf nf f bf b f f f bf
13

~~~~~~~~~~~~ b f bf
ff

nf f f bf f bf nf f nf bf f f b f bf 3
13

mf

ff

Cl.II in bB

(bells up) f bf nf f #f bf bf nf f #f & bf f f

13

bF

ff

bf f bf
mf

f #f f bf bf f bf nf
13

f
ff

f bf nf f #f bf bf nf f #f bf f f
mf
13

ff

Cl.III in bB

bells up bf nf bf bf bf nf bf bf & bf bf bf bf
13

ff

nF

mf

bf f

13 bf f f bf nf f f bf

bf
ff

mf

13 bf bf bf b f n f b f bf bf bf bf bf nf

ff

Hn.I

&

harmonic gliss.

mf

#f f #f #f #f #f f f f f f #f
13

F
ff

f f

f bf bf bf f &
harmonic gliss.

mf

f bf nf bf f f f f

13

bf
ff

harmonic gliss.

mf

#f f #f f #f #f #f f f f f f #f
13

ff

Hn.II

harmonic gliss. #f f f f #f nf f f #f ? f #f f

mf

13

#F
ff

bf bf bf bf & bf nf bf bf f f f bf f
13

harmonic gliss.

mf

ff

mf

f #f f f f #f f f f #f f #f f
harmonic gliss.
13

ff

harmonic gliss. Hn.III

&

mf

f #f f #f f f f f f f f f
13

f f

F bF nF
ff

ff

f f f f f

bf bf f & bf bf bf nf bf b f bf bf f f
13

harmonic gliss.

mf

ff

harmonic gliss.

Hn.IV

f bf nf f f f f f bf f ? f f
harmonic gliss.

mf

f #f f f #f f f nf f f f f f
13

ff

harmonic gliss.

mf

13

ff

mf

#f f #f

&

#f #f f #f f # f #f #f

13

ff

nf

f f f nf bf nf bf nf nf nf nf nf nf
harmonic gliss.
13

mf

ff

bells up C Tpt.I

&

ff

bf bf f

C Tpt.II

& &

(bells up)

ff

ff

C Tpt.III

bells up

ff

bF

ff

Picc.

&

143

3 8

~~~~~~~~~~~~~~~~~~~~~~~~~~ f f n
ff

2 4 bF
sfp

non tr.

3 8

~~~~~~~~~~~~~~~~~~~~~~~~ f b bf
ff

3 4

q = 70

72

Fl.I

&

~~~~~~~~~~~~~~~~~~~~~~~~~~ f f
ff

non tr.

~~~~~~~~~~~~~~~~~~~~~~~ #f f
ff

f
p

sfp

Fl.II

&

~~~~~~~~~~~~~~~~~~~~~~~ f #f #
ff

non tr.

f~~~~~~~~~~~~~~~~~~~~~ f
ff

sfp

Ob.I

&

~~~~~~~~~~~~~~~~~~~~~~~~~~ bf f
ff

non. tr.

nF

~~~~~~~~~~~~~~~~~~~~~~~ f f
ff

sfp

Ob.II

&

~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bf f
ff

sfp

bF

non. tr.

~~~~~~~~~~~~~~~~~~~~~~~~ f f
ff

Ob.III

&

~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nf f
ff

sfp

bF

non. tr.

~~~~~~~~~~~~~~~~~~~~~~~~~~ #f f
ff

Cl.I in bE

&

b f~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bf
ff

nF
sfp

non. tr.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f n f
ff

Cl.II in bB

&

(bells up)

bf

ff

sfp

bF

ff

Cl.III in bB

&

bells up

nf

ff

sfp

bF

bf
ff

Hn.I

&

3 8

(bells up)

ff

2 4

sfp

3 8

ff

3 4

solo normal

mp

Bf J

Hn.II

&

(bells up)

ff

#f f f

bF F

sfp

bf
ff

normal

mp

f J

Hn.III

&

(bells up)

ff

sfp

bf
ff

Hn.IV

&

(bells up)

ff

bF bF

sfp

f
ff

C Tpt.I

&

bells up

ff

f f

sfp

bf
ff

C Tpt.II

&

(bells up)

ff

bF

sfp

bf
ff

C Tpt.III

& &
143

bells up

ff

bf

bF

Vln. I

3 8

2 4

sfp

bf

3 8

ff

3 4

q = 70
unis arco con.sord.

pppp

f J

mp

Vln. II

&

unis arco con.sord.

pppp

73
Picc.

& &

149

gliss.

Bf f
pp

nf gliss. F F
gliss.

nf

f nF f
5

Fl.I

ppp

f f J

Bf

Hn.I

f & & {& & & #f

mp

pp

mp

BF f f f f f J f nf nf J
mp mp

pp

Hn.II

mp

pp

mp

f Bf J
3

bF

gliss.

pp

l.v. sempre.

149

Hp.

f
5

f
p

f
p

f
p

Vln. I

f J
mp

F F

f f f #f

f f J
pp

bf J nf

f J

f f

f f

F
pp

Vln. II

mp

F f R
mp

f f J

pp

f f f f J

f
pp

Picc.

157 &

pp

F F f f f

ppp

4 4 F

ppp

fF R f f J
mp pp

F
mf

mp

f ff

> f f

mf

bf

Fl.II

& & & &

Ob.I

f J

mp espress.
3

bf f f J J
3

mp

Ob.II

normale

Cl.I in bE

bf f
p

mf

mp

f bf f J
D #C B bE #F #G #A

ff f f J

f f

mp

bf J
mp

bf
p

f J

Bsn.I

? ? ? &

#F

Bsn.II

#F f

ff

pp pp

Cbsn.

ff f

Hn.I

Tbn.I

? ? ?

ord.

normale

Tbn.II

bf f
pp

bF F

#f nf f f f nF Bf J J
mp

4 4

bF

o f o f

ppp

bf

#F
ppp

ff ff

#f nf J
mp
3

normale

Tbn.III

Tba.

pp

ff

F f

Timp.

Mar.

Hp.

Vln. I

? { <> & &

157 3 6 7 ? j f f f f f f f f f f f f ff f ff ff f ff f f
ff pp

pp

4 4
l.v.

f #f
sul pont.

ff

f F

mp

div. in 2 & &

div. in 2

mp
Vln. II

F F F F F F F F

ord. unis.

ff
sul pont.

mp

f f J
ord. unis

f f f J
3

4 4

f ###ff #f

mp l.v.sempre.

pp

mf

f ff ff ff f f f J f J f > f f f ff bf
mp mf
3

bbbff bf f mp J
p
3

ff f f

f ff f ff ff f f
3

o f

#bff ff #f f f

f f J

mp
Vla.

#f f f f

ff
sul pont.

mp
ord. unis

f o f
ppp
pizz.

pp

f o F
B

con sord.

div. in 2

mp
arco

bf f

&

ff
sul pont. ord.

bF

pp

f bf

bF bf bf bf bf f
3

f bf f f f bf bf f
3

Vc.

? div. in 2 #F
mp

ff
sul pont. ord.

pp
pizz.

O f O f

arco con sord.

pp

Vc.

? arco #F
mp

arco

con sord.

ff

pp

#f #f f
pp

j3 ff f

j 3 f bf

Db.

? FF
mp

arco div.in2

sul pont.

ff

FF

Picc.

&

166

nf
p

f J f F

mp

ff J
3

f f f f f J J
mf

mp

q = 63

74 4 4

Fl.I

&

gliss.

mp

Cl.I in bE

&

ppp

j b f bf b f f f
3 3

j f f f f f bf f bf
5 3

Cl.II in bB

&

bfr F
p

normale

j bf bf
ppp

f bF

f f

j bf bf
3

Cl.III in bB

& ?

normale

ppp

bf b f fj f bf
3

f f f bf f
5

j f bf f bf f

f f f J

ppp

Bsn.I

bf f nf

f# f R
p

Bsn.II

? &

f J

ppp

ppp

bf bf f J
3

f f R
p

Bf nf f w J
3

F F
mf

F F
f

Hn.I

mp

f gliss. f

mp

BF

mf

q = 63

mp

f Bf f J f #f

4 4

Hn.III

&

#fr F
p

normale

pp

C Tpt.I

& ? / /
166

bF

bf bf f
p

normale

nf #f

j f

bf bf b f f J

f bf f bf

Tbn.I

ppp

F
p

ppp

T.-t.

j f
mp

a pair of small cymbals

q = 63

4 4

to Tri.

Tri.

l.v.

bf f bbbff
mp

bF F bbbFF f
mp

f f J f J

Chim.

3 j. j. & ff ff J

mp

Mar.

Cel.

? bbbff bf f {
3. f &

f f ff

nn f f f nf bbf f J

f f bf f f J J f f f J

nf f f #f f b f J bf nF F n##FF

nf f f f J J J
3 3 3

mp

Hp.

Vln. I

o f J j ff ff f f bf f # f f #fJ f F
pp

nf f ff f n##ff f J f n##f ff
mf

mf

3 f f ff f ff f ff f ff f f f J J

& ? bF ##FF f

f f fJ
p

f ff bF ##FF

F FF F

f nf ff

f ##FF ff f FF

&

f
mp

f f f f J
pp mp

f f J
3

bf f
pp

q = 63

4 4

Vln. II

&

bf

f f J
pp

f
mp

F f R
p

Vla.

B bf F

bF
ppp

ppp

bf bf f f
3

f f f bf f
5

3 j f bf f bf F

Vc.

bf bf

bf f

f bf f bf f bf bf f J
3

F
p

f J

Vc.

? F

bf

ppp

f# f F

174
Ob.I

& & & & & & ? ? ?

4 4

I
f Bf f f fj fbfj b f fgliss. f
> > > j f > j Bf

> j b f

ff

> j f

bf J bf J b> f J
ff

gliss.

f #f > f nf
f

f nf J Bf f n> f n> f
> j f

> f J bf J b> f J
ff ff ff

75
gliss.

#f nf f > f bf
f f

> j # f

> j f

gliss.

Ob.II

ff
j f

gliss.

Ob.III

> f bf
f
j n f

j f

gliss.

f #f
f

Cl.I in bE

bells up > weeping > j j b f b f

ss. b f b f f gli
ff

gliss.

f espress.
bells upweeping

mp
f

f fj nf bf bf
gliss.

> f f

nf J
fff

bf f

Cl.II in bB

bf
3

> f #f J

gliss.

espress.

mp

f J
f

gliss.

f b fb f
> j

f fj #f

j nf

Cl.III in bB

bells upweeping

mf espress. f

f J

b> f

> j b f

bf

ff

ff

bf f #f J
> j # f
3

bf R
> j f

> bf f f bf > fb > f bf f f f

fff

bf J
> j b f

>j f

bf > f

> j # f

f f b> f f bf bf f J f b> f f b>

3

j f nf J R > > j n f

b> f

> f bf f bf B> f f

r bf r b> f r n> f

fff

> j f

f Bf J

> j f

> j f

#f J
> j f

Bsn.I

> fff sf
fff sf

Bsn.II

Cbsn.

fff sf

Hn.II

4 & & & & & ? ? ? ? 4 / / /

I
bf J
pp

bF
j f

f fj f f bw F

w w w

? ?

fffsf
normal

Hn.IV

C Tpt.I

bells up

F bf J
j f

j f

r f > r f >

fff sf

(bells up)

C Tpt.II

j f

w
j f

fff

pp

C Tpt.III

bells up

pp

bf J

nF

fff

bF

fff

Tbn.II

fff sf

r f > r f >

Tbn.III

fff sf

Tba.

fff sf

174
Timp.

I
f
to pno.

r f > r bf f r f

f f f
ratchet

B. D.

fff sf> > fff sf

hold the small cymbals in hands, roll in circles against each other

T.-t.

f w

f
3

f f

f f

fff

roll very fast

W. Bl.

mp

fff

Mar.

Pno.

? { & &

fff sf

> bf f ff R

Hp.

Vln. I

play all pitches between bB and A

fff sf

& ?

bC

pizz. div.senza sord.

f '

r bf

4 & & B ? ? ?

fff sf

pizz. div.senza sord. pizz. div.senza sord.

fff sf

Vln. II

Vla.

pizz. unis senza sord.

Vc.

pizz. unis senza sord.

Vc.

pizz. unis ord.

Db.

fff sf

r #f f > r ff fff sf > r f f fff sf > r #f f fff sf > r #f f fff sf > r f >

r b ff ' >