ANDERS HILLBORG AND HIS MUSIC

A Dissertation
Presented to the Faculty of the Graduate School
of Cornell University
In Partial Fulfillment of the Requirements for the Degree of
Doctor of Musical Arts

by
Christopher Andrew Stark
August 2013
© 2013 Christopher Andrew Stark
 ANDERS HILLBORG AND HIS MUSIC

Christopher Andrew Stark, D.M.A.

Cornell University 2013

The work of composer Anders Hillborg must be understood primarily, but not

exclusively, as electronic. The harmonic, melodic, rhythmic, formal and orchestral

techniques he employs are all defined by the use of computers and synthesizers.

However, because of Hillborg’s use of caricatures, found objects, and forms best

described as discordant collages, it is clear his work should be classified in the broader

artistic movement of postmodernism. Furthermore, the development of Hillborg’s

oeuvre can be elucidated by placing it chronologically within the context of his life

and work.

Hillborg’s approach to composition is refreshing because of its inclusionary

aesthetic and its diversity of content. His successful work in multiple genres aids him

in this approach and gives him a unique perspective from which to cross over

boundaries. Today, in the age of information and consumerism, many composers have

access to and are being influenced by a wide variety of musical genres and styles, and

Hillborg’s mantra that every sound, in the right context, can be music is now more

appropriate than ever before. Hillborg is a significant example of how artists can

continue to create thought-provoking and original art in an age of oversaturation and

global awareness, and he has opened new doors of possibility for composition in an

electronic world.
 BIOGRAPHICAL SKETCH

Christopher Stark was born in St. Ignatius, Montana on December 12, 1980.

He has previously studied at the Cincinnati Conservatory (MM) and the University of

Montana (BM), and in 2012 he was a resident artist in Italy at Civitella Ranieri. Stark

is a recipient of the Underwood Commission from the American Composers Orchestra

and winner of the prix de composition from the Orléans International Piano

Competition. His music has been featured on NPR’s Performance Today, and has also

been programmed, rehearsed, and performed by such ensembles as the Detroit

Symphony Orchestra, Sacramento Philharmonic, American Composers Orchestra,

Buffalo Philharmonic, University of Texas Wind Ensemble, CCM Wind Symphony,

Israeli Chamber Project, Aspen Contemporary Ensemble, and members of eighth

blackbird. Stark has also been awarded an ASCAP Morton Gould Young Composer

Award and placed first in the Utah Arts Festival's Orchestral Composition

Competition. He was a regional winner of the 2011 SCI/ASCAP Student Commission

Competition, and has received honorable mentions from both the ASCAP/CBDNA

Frederick Fennell Prize and the Music Teachers National Association Distinguished

Composer of the Year Award.

iii
 ACKNOWLEDGMENTS

I would like to thank my special committee: Professors Judith Peraino, Roberto

Sierra (chair), and Steven Stucky, for their guidance, seemingly infinite knowledge,
and encouragement during my time at Cornell University. I would also like to thank
Anders Hillborg, for generously making himself available during the writing of this
dissertation, and Stefan Conradi and Susanne Suttner, who helped me with accessing
his scores. I would like to thank the Cornell Music Department Manager, Christopher
Riley, for administrative help, and the staff of the Sydney Cox Library of Music and
Dance: Bonna Boettcher, William Cowdery, Eric Feinstein, Beth Kelly, Lenora
Schneller, Tracey Snyder, and Kate Wilkinson, who offered limitless resources. I
would also like to express my gratitude to the Civitella Ranieri Foundation who
provided me a space to think and write, and finally, I would like to thank my sister
Megan Stark for reading, editing, and keeping me on task, and Jenalie Auth for her
patience and companionship.

iv
 TABLE OF CONTENTS

Biographical Sketch iii

Acknowledgements iv
Table of Contents v
List of Examples vi

Introduction 1
Chapter 1: Musical Beginnings and Student Years 6
Chapter 2: Transitional Years 26
Chapter 3: Professional Years 44
Chapter 4: International Years 69
Conclusion 94

References 96
Discography 99
Chronological List of Works 104

v
 LIST OF EXAMPLES

Example 1: Lilla sus grav, mm. 1-5, example of tutti divisi technique. 12
Example 2: Worlds, mm. 53-4, example of pointillistic writing. 15
Example 3: Poem 62, mm. 36-8. 17
Example 4: Poem 62, score explanation for execution of filtering technique. 18
Example 5: Rite of Passage, first sixteen partials of the opening spectrum. 22
Example 6: Lamento, m. 1, inverted harmonic spectrum in strings. 23
Example 7: Lamento, mm. 47-9, violin texture imitating electronic delay. 24
Example 8: Mouyayoum, demonstration of “opening and closing of the timbre.” 28
Example 9: Mouyayoum, harmonic overview. 29
Example 10: Celestial Mechanics, tuning instructions for strings. 33
Example 11: Celestial Mechanics, mm. 1-5, LFO rhythmic technique. 34
Example 12: Celestial Mechanics, stacked-fifths scale. 36
Example 13: Celestial Mechanics, rewind effect, reverse-amplitude envelope. 37
Example 14: Celestial Mechanics, formal key and characteristics. 39
Example 15a: Celestial Mechanics, mm. 1-235, formal design. 40
Example 15b: Celestial Mechanics, mm. 236-472, formal design. 41
Example 16: Hudbasun, mm. 16, imitation of FM with trombone. 46
Example 17a: Close Ups, mm. 1-2, pitch-generating technique. 49
Example 17b: Close Ups, mm. 3-4, pitch-generating technique. 50
Example 18: Violin Concerto, formal design. 53
Example 19: “Kväll” (“Evening”), mm. 1-3, quasi-folk violin solo. 58
Example 20: Liquid Marble, sentimentale woodwind solos. 60
Example 21: Clarinet Concerto (Peacock Tales), catalog of delay effects 64
Example 22: Clarinet Concerto (Peacock Tales), cantabile melodies. 65

vi
Example 23: Clarinet Concerto (Peacock Tales), mm. 411-4. 66
Example 24: Dreaming River, mm. 15-7, unison transition device. 67
Example 25: Melodies from Exquisite Corpse, mm. 1-13, and Ligeti’s Lontano. 73
Example 26: Exquisite Corpse, mm. 295-9, Sibelius quotation. 73
Example 27: …lontana in sonno…, comparison of Hillborg and Petrarch. 76
Example 28: …lontana in sonno…, formal design. 78
Example 29: …lontana in sonno…, Intro and Outro harmonic analysis. 80
Example 30: …lontana in sonno…, mm. 1-14, orchestra melody. 82
Example 31: …lontana in sonno…, cracking material development. 83
Example 32: …lontana in sonno…, mm. 32-44, harmonic progression. 84
Example 33: …lontana in sonno…, mm. 52-70, octave cycles. 86
Example 34: …lontana in sonno…, mm. 199-211, A” material returns. 89
Example 35: Eleven Gates, Rehearsal Mark T1, elastic seabirds. 90
Example 36: Eleven Gates, mm. 329-35, Rehearsal Mark M1, “Toy Pianos.” 91
Example 37: Cold Heat, mm. 73-86, twisted harmonic spectrum. 93

vii
 INTRODUCTION

In the introduction to Robert Quist’s The History of Modern Swedish Music, he

speculates as to why modern Swedish music “remains an obscure topic among

publications in English.”1 He cites a language barrier, political and geographical

isolation, and a generally conservative musical style as his primary conclusions, and

although Quist’s inferences are debatable, it is undeniable that English publications

concerning Sweden’s twentieth-century concert music are scarce. Quist’s text begins

with the late-romantic vestiges of Wilhelm Stenhammar––a contemporary of fellow

Nordic composers Sibelius and Nielsen––and concludes with a chapter entitled,

“Approaching Postmodernism: Werle and Börtz.” If Quist had ventured into

postmodernism, perhaps he would have included a chapter on one of Sweden’s most

prominent contemporary voices, Anders Hillborg.

Jonathan D. Kramer’s brief summary of musical postmodernism, in his article

“The Nature and Origins of Musical Postmodernism,” written in 1999, reads like a

checklist of Hillborg’s style traits and is a fitting point of departure for beginning to

understand his music. It is likely that Kramer was largely unaware of Hillborg––few

people were outside of Sweden on the date of the article’s publication––or he likely

would have included him in illustrating his arguments for a postmodern style. Kramer

exclusively uses individual compositions as demonstrations for his classifications, and

if he was unaware of Hillborg’s work, he may have been intrigued to find a composer

whose entire oeuvre potentially falls under the heading of postmodern. For the
1
Robert Quist, The History of Modern Swedish Music: an Introduction to Nineteen
Composers (Lewiston, N.Y.: Edwin Mellen Press, 2010), 1.

1
purposes of initiating the serious study of Hillborg’s music, perhaps the most useful

section of Kramer’s article is his list of sixteen characteristics of postmodern music.

Six of the items are particularly appropriate, as they pertain to Hillborg, and will be

referenced regularly throughout this document. According to Kramer:

Postmodern music: avoids totalizing forms; includes quotations of or

references to music of many traditions and cultures; embraces
contradictions; is, on some level and in some way, ironic; challenges
barriers between “high” and “low” styles; considers technology not only as
a way to preserve and transmit music but also as deeply implicated in the
production and essence of music.2

At the end of Kramer’s list, he rightly cautions readers against using it as a steadfast

way of labeling works of art “postmodern,” but in the instance of Hillborg they offer a

succinct and accurate starting point for the study of his work. The characteristics

registered within this abbreviated list will be referenced regularly over the following

four chapters with the hopes of beginning a serious discussion of Hillborg’s music and

its place within the larger artistic movement of Postmodernism. Discussing it

chronologically within the context of his life will most effectively reveal these

distinctive qualities, and it will also provide a framework to discuss aspects of

Hillborg’s biography, which to date, is largely undocumented.

Of the six key elements on Kramer’s aforementioned list, the most vital, in

regards to analyzing and understanding Hillborg’s music, is the significant role

technology plays in the creation and inspiration of his compositions. Hillborg’s music

is the continuation of generations of composers’ works that were heavily influenced

by technology, and he also belongs to the first generation of composers whose entire
2
Jonathan D. Kramer, “The Nature and Origins of Musical Postmodernism,” in Postmodern
Music/Postmodern Thought, ed. Judy Lochhead and Joseph Auner (New York: Routledge,
2002), 16-17.

2
creative output is accompanied by computers and synthesizers. These new

technological capabilities have changed the way music is created, and it is no

coincidence that many important composers of the last hundred years were profoundly

impacted by this development (e.g., Adams, Cage, Harvey, Ligeti, Murail, Reich, and

Stockhausen). With new computer-aided means of production, these composers began

to create new and innovative musical associations and meanings––many of which

were highly idiosyncratic and often synthetic,3 but pioneering nonetheless. Because of

this, it is important to assess and reassess the implications generated by this new

means of production; and even more important, to invent methods for trying to

understand them. Terminology borrowed from the field of electronic music is now

necessary to describe certain electronically inspired acoustic techniques, and

Hillborg’s music is an excellent source of evidence.

Two other characteristics on Kramer’s list––embracing contradiction and the

avoidance of totalizing forms––are demonstrated by Hillborg’s affinity for

constructing his compositions out of disparate and frequently distorted musical

materials which are paired together in interesting and strange combinations. Finnish

conductor Esa-Pekka Salonen summarizes Hillborg’s inharmonious dichotomies: “the

static and the hyperactive, the mechanical and the human, the nobly beautiful and the

banally brutal, the comic and the moving.”4 These binaries in Hillborg’s work are

perhaps another byproduct of the inclusion of technology into his creative process

whereby experimentation with audio manipulation, sampling, and collage are readily

3
Not based on naturally occurring acoustic phenomena, or phenomena with widespread and
easily discernable associations.
4
Esa-Pekka Salonen, quoted in Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto,
Ondine ODE 1006-2, compact disc, liner notes interview by Camilla Lundberg.

3
available and encouraged by their ease of implementation. Hillborg’s use of these

contradictory and unrelated juxtapositions stresses diversity over unity as a formal

principle, and his avoidance of totalizing forms creates works which are held together

via small and delicate pieces of connective tissue. These fragile connections that

Hillborg reveals––often between musical genres and styles via quotation––help to give

his work emotional depth and intellectual clout. By revealing similarities between

disparate elements, he creates moving large-scale statements about universality and

commonality in regards to many musical languages and styles, effectively challenging

the distinctions of “high” and “low”––another element from Kramer’s list. The

composer Jonathan Harvey sheds light on Hillborg’s possible goal through an

explanation of his own process: “to take … very different entities and unite them

through … the computer.” Harvey goes on to explain, “Integration of the opposites is

very important, to show how, in some deep sense, everything is connected.”5

Finally, the postmodern use of quotation and irony are also prevalent in

Hillborg’s work, and are perhaps the most discernible traits of his language. The use

of quotation can be divided into two categories in Hillborg’s work: direct quotation––

both self-referential and of other artists’ work––and stylistic parody––which is often

the source of irony in his music.6 Both allusions are incorporated regularly into his

compositions, and they aid in creating sophisticated dramatic narratives ripe with

semantic associations. Because of this, the development of Hillborg’s language can be

5
Jonathan Harvey “hcmf composer in residence jonathan harvey in conversation” HCMF
2009, January 11, 2013. http://www.hcmf.co.uk/HCMF-Composer-in-Residence-Jonathan-
Harvey-in-conversation.
6
Christopher Ballantine, “Charles Ives and the Meaning of Quotation in Music,” The Musical
Quarterly 65:2 (April 1979): 177.

4
thought of as a long process of collecting and instantiating increasingly refined

musical materials––whether his own or borrowed. In this regard, Hillborg can be

viewed as a collector, and his works as exhibitions of his acquisitions. To put it

another way, his compositions can be perceived as finely curated displays of musical

taste, which contain myriad possible associations and meanings for the audience to

ponder over and decipher.

5
 CHAPTER 1

MUSICAL BEGINNINGS AND STUDENT YEARS

Per Anders Hillborg was born on May 31, 1954. The first of Margareta and

Carl-Erik William Hillborg’s three boys, he spent his childhood ten miles north of

Sweden’s largest city, Stockholm, in the suburb of Sollentuna. The only child in his

family to pursue music, his early exposure came from his mother’s side of the family.

Margareta’s grandfather, Lars-Johan Sundell, was a well-known folk musician in

Sweden. He played the fiddle and sang and was referred to as Lars i Svarven––

Svarven is a small town in rural central Sweden. Lars-Johan had two daughters, Greta

and Stina, who were also talented musicians. Greta, Hillborg’s grandmother, played

the cello and was a progressive advocate of women’s rights. She started and led her

own ladies’ orchestra in the 1940s because of her belief that Swedish male musicians

viewed themselves as superior to female performers.1 Greta’s sister, Stina, was also an

accomplished musician. She studied counterpoint with Alban Berg and piano with

Eduard Steuermann in Vienna in the 1920s as a Jenny Lind Scholarship recipient.

After her career was curtailed by a broken arm in the 1960s, she took a teaching

position at the Royal College of Music in Stockholm––years later she would make a

comeback at the age of eighty. Hillborg’s mother, Margareta, was a stay-at-home

mom––which he speculates was a reaction to her own mother’s absence due to her

touring schedule, and his father was an accountant for Sweden’s most widely

1
Margaret Myers, “Searching for Data about European Ladies’ Orchestras, 1870-1950,” in
Music and Gender, ed. Pirkko Moisala and Beverley Diamond (Urbana: University of Illinois
Press, 2000), 192.

6
circulated newspaper, the Dagens Nyheter. Despite the family’s rich and varied

background in music, neither of Hillborg’s parents were musicians.

Hillborg showed an early aptitude for music despite its absence in his home. At

the age of seven, after taking an ear-training test at the Rösjöskolan, his elementary

school teacher insisted that he study music, claiming he had the best ears in the

school––a compliment the defiant young Hillborg greeted with little care. But after his

parents were made aware of his talent, they insisted that he begin studying piano. In

the Swedish education system students are provided with music lessons, free of cost, if

they choose to pursue them. Hillborg took advantage of this and began lessons. He

contends that he was forced by his parents––“hating every second of it.”2 He

approached the lessons with contempt, and was the self-described worst student in the

piano studio. He continued against his will until he was eleven and quit. He was

interested in other endeavors––such as writing short stories about the fate of North

American Indian tribes, unaware that this subject would influence his later work.

In 1965, the year Hillborg quit piano lessons, another cultural phenomenon

was in full tilt: Beatlemania. Hillborg’s personal interest in music did not begin until

he discovered popular music, and more specifically, the Beatles.3 As a student at the

Sollentuna Centralskolan, and later the Rudbecksskolan, he devoured Revolver (1966),

Sgt. Pepper’s Lonely Hearts Club Band (1967), and The White Album (1968). Hillborg

was drawn to the experimentation and expanded instrumentation of the post-touring

Beatles’ albums, reflecting years later that they were “a really good example for a

2
Anders Hillborg, interview by author, November 27, 2011.
3
The term popular is used to describe music with wide appeal and distribution. Not to be
confused with pop music, which is a specific genre of popular music.

7
young person who wants to create music.”4 The Beatles’ shift towards a more

expanded instrumental palette, and their development of more sophisticated song

structures acted as a gateway to art music for Hillborg. At the age of sixteen he formed

a rock band with his classmates in order to pursue this newfound interest. The group

was wryly named Halv Sex (Half Six or Five-Thirty), and Hillborg played keyboards.

They ambitiously attempted to cover songs by groups like Chicago and Earth, Wind &

Fire with, as Hillborg jests, “limited success.”5 Through his interest in popular music,

Hillborg found his way back to the piano, which he had disliked in his youth. He also

began learning popular songs by rote rather than through method books and printed

music. This approach to learning and creating music would significantly influence his

compositions and working process––to this day, notation is always his last and

arguably least important step.

Because he had re-discovered music through his own self-interests, and

dropped out of the Rudbecksskolan, Hillborg sought out private lessons in ear

training.6 By joining a Lutheran Church-sponsored group, called a studiecirkel, he was

able to take lessons from a local music teacher named Birgit Johansson––who

incidentally, famously rejected a marriage proposal from Glenn Gould days before his

death.7 Hillborg considers these music lessons absolutely crucial to his development as

4
Hillborg, interview by author, November 27, 2011.
5
Ibid.
6
Although leaving secondary school while simultaneously pursuing private lessons seems
contradictory, it is important to note Hillborg’s rejection, from an early age, of educational
institutions. He is very practical and efficient in his acquisition of knowledge, and he has
never graduated from any of the institutions he attended, ambivalent towards the merit of
certification.
7
Michael Clarkson, The Secret Life of Glenn Gould: A Genius in Love (Toronto: ECW Press,
2010), 247.

8
a musician, and it allowed him to study with other teenagers in Sollentuna—one of

whom was the notable composer Jan Sandström (who was also a member of Halv

Sex). Hillborg speaks of Johansson’s caring nature and playful teaching method with

great fondness, and he maintains that she helped to create the foundation of knowledge

that would lead him to excel later at the Royal College of Music in Stockholm. When

he was seventeen he left his rock band and decided he wanted to seriously study music

again. He resumed his private piano lessons and also began lessons in counterpoint in

preparation for the conservatory entrance exams. Concurrent with these studies,

Hillborg sang in choirs, an experience that would undeniably inform all of his creative

work.

From 1976 to 1982 Hillborg studied counterpoint, composition, and electronic

music at the Kungliga Musikhögskolan i Stockholm (Royal College of Music in

Stockholm). He spent his first two years enrolled in the counterpoint course under the

guidance of Swedish composer Lars-Erik Rosell. Hillborg had not produced any

original compositions at this point other than a five-minute work for voice or mixed

choir with piano or small orchestra entitled O soluppgång i evigheten (O Sunrise of

Eternity) which he wrote as a teenager in 1973. As part of the two-year counterpoint

program, he was instead composing fugues and exercises in the style of Bach. He is

still fond of the exercises he composed and continues to compose them. He believes

strongly that counterpoint is the core of musical composition, and speaks of it in a

mystical and meditative way. He insists that, with practice, one can learn how to

9
merge, as if on a spiritual plane, the horizontal and the vertical.8 This tendency

towards mysticism is present in many of Hillborg’s works and is a key factor in

understanding aspects of his musical language. In 1977, towards the end of his

counterpoint studies, Hillborg composed a two-minute choral work entitled Vem är du

som star bortvänd (Who are you, who are turned away?) based on a text by Nobel

Laureate Pär Lagerkvist. This short work and the previously mentioned O Sunrise of

Eternity are currently not in circulation.

After finishing the two-year counterpoint certificate at the Royal College,

Hillborg began the four-year composition program.9 His primary composition teacher

was Gunnar Bucht, and the English composer Brian Ferneyhough also contributed to

his education as a frequent guest and teacher at the Royal College. Hillborg’s earliest

compositions are short choral works, a natural outgrowth of his experiences as a

teenager singing in choirs––an ensemble he considers his first instrument. Lilla Sus

grav (The Grave of Little Sus, 1978), a four-minute work for mixed choir, is an

example of these early works and was written in the first year of his composition

studies. The text is by the Chinese poet Li He, of the late Tang Dynasty, set in

Swedish using a translation by the poet and scholar Göran Sommardal. The most

salient feature of this short work, and a hallmark of Hillborg’s musical language, is the

use of tutti divisi––which was common practice in the 1960s and 70s. Example 1

demonstrates this technique, and in this instance also illuminates how the technique is

8
Hillborg laments that many students no longer study counterpoint seriously, believing that
there is a current trend toward exclusively vertical sonorities. This is one instance in which he
states a problem with the incorporation of popular music into concert music, believing that it
may be responsible for this phenomenon. From interview by author, November 2011.
9
Hillborg has no degrees from the Royal College of Music. He attended the courses, but did
not receive diplomas.

10
used to generate harmony. The sopranos and tenors begin in unison and quickly

branch out, primarily in stepwise motion, until they are divided into individual

soloists. The result, in measure 2, is a rich diatonic cluster––(024579) hexachord––

generated through contrary contrapuntal motion using a Phrygian scale on F. This

technique can be described as monophonic polyphony––creating harmony by

sustaining the melodic tones, and it allows complex harmonies to be created through

simple voice leading––an essential aspect of choral writing. The number of notes in

any given chord equals the number of voices; therefore, the harmony is dictated by the

instrumentation.

11
Example 1: Lilla Sus grav, mm. 1-5, example of tutti divisi technique. © Anders
Hillborg. Used by permission.

12
 Following on the heels of these short choral works, Hillborg turned his efforts

toward instrumental composition. Worlds (1978-9) for orchestra is an ambitious

twelve-minute work scored for an unusual combination of instruments: six percussion,

two harps, two amplified pianos, electric guitar, and strings. The piece is what one

might expect from a talented student-composer: a plethora of stimulating ideas with

little holding them together. The form is in two highly contrasting sections and

demonstrates a distinctly Hillborgian dichotomy in influence and style. The first part

owes much to mid-twentieth modernism: Ligeti, Stockhausen, Cage, Lutosławski, and

Xenakis; the second and much longer section reflects Hillborg’s affinity for American

minimalism. If the piece fails to unify these disparate elements, it does succeed in their

effective presentation. The dramatic opening of the work––two amplified pianos

brutally scraping their lowest strings––is the first instance of orchestral sound mass

found in Hillborg’s output, and the gesture reveals a subtractive perspective on

harmony. Out of this fortissississimo eruption, the violas, cellos, and basses quietly

emerge sustaining a dense twenty-four-note chord voiced primarily in major seconds

from D-flat1 to D5––the only exception being a perfect fifth dividing the cellos and

basses and a minor second separating the violas and cellos. The sonority is

overwhelmingly whole-tone although all twelve pitches are present. The sound mass is

quickly interrupted by a muted low E1 in both pianos, and the chisel-like blow propels

the strings into a dynamic flurry of ascending chromatic gestures––now bundled

together in minor seconds. Out of the pianos’ indeterminate noise comes tightly

controlled musical sound and gesture––not built up, but revealed. The roots of this

subtractive method of composing can be partially traced backed to the Spectral school

13
in France in the 1970s, where the construction of the whole towards the unit was

favored over the classical cellular construction technique.10

The most interesting aspect of Hillborg’s first orchestral composition is how

much of its material is still present in his current mature language: rapidly ascending

chromatic scales in the strings, pointillistic piano, harp, and percussion writing––using

a combination of controlled-aleatoric and highly specific notation (see Example 2),

and stasis––achieved through slow harmonic rhythm and a constant eighth-note pulse.

Worlds was premiered in 1980 by the Finnish Radio Orchestra under the direction of

Leif Segerstam, and was later programmed by Esa-Pekka Salonen––who was twenty-

five at the time––with the Swedish Radio Symphony in 1983. And although Hillborg

had already developed a friendship with Salonen through various Scandinavian music

festivals, he was surprised by the programming decision, stating, “I could scarcely

believe it. My self-esteem was not all that good at the time.”11 This would mark the

beginning of arguably the most important artistic relationship in Hillborg’s career. In

interviews, he credits Salonen for creating his life in the world of orchestra, primarily

through Salonen’s fearless programming and unceasing appetite for new music.12

Salonen also helped expose Hillborg to post-serialism and uncompromising musical

aesthetics, which Sweden lacked at the time.13 “If Salonen had not been in Sweden,”

10
Viviana Moscovich, "French Spectral Music: An Introduction," Tempo, New Series No. 200
(April 1997): 22.
11
Anders Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, with Martin Fröst
(clarinet), Anna Lindal (violin) and the Swedish Radio Symphony Orchestra, conducted by
Esa-Pekka Salonen, recorded at Berwald Hall, Stockholm, December 2001 and June 2002,
Ondine ODE 1006-2, compact disc, liner notes interview by Camilla Lundberg.
12
Hillborg, interview by author, November 27, 2011.
13
Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, Ondine ODE 1006-2,
compact disc, liner notes interview by Camilla Lundberg.

14
Hillborg states, “I wouldn’t have dared to write pieces like my early works from the

1980s.”14

Example 2: Worlds, mm. 53-4, example of pointillistic writing, using a combination

of controlled-aleatoric and highly specific notation. © Gerhmans Musikförlag AB.
Used by permission.

14
Hillborg, interview by author, November 27, 2011.

15
 After completing Worlds, Hillborg would return to his home medium. Poem 62

(1980), for mixed choir with text by e.e. cummings, is an early experiment in

homogenous textural effects. Much of its influence can be traced to Ligeti––as a

student Hillborg stole Ligeti’s Lux Aeterna (1966) from the college library.15 Example

3 is a brief excerpt from Poem 62, and despite the allusions to Ligeti, one can easily

discern three clear traits of Hillborg’s language: rapid staccato––granular––vocal

technique, short canons––used to create texture, and the previously mentioned tutti

divisi.

15
Anders Hillborg, Eleven Gates, with the Royal Stockholm Philharmonic Orchestra,
conducted by Alan Gilbert, Sakari Oramo, and Esa-Pekka Salonen, recorded at the Stockholm
Concert Hall, Sweden, September 2007, December 2009, and November 2010, BIS Records
BIS-SACD-1406, compact disc, liner notes by Sara Norling.

16
Example 3: Poem 62, mm. 36-8. © Anders Hillborg. Used by permission.

But perhaps the most interesting technique in Poem 62 is the use of slow

transitions between different vowel sounds to create the impression of electronically

filtering the choir. Though this technique is not new––Stockhausen exhaustively

explored it ten years earlier in Stimmung (1968), and it is present in the folk music of

many cultures around the world16––Hillborg’s usage is less didactic than previous

composers’, and its allusion is more easily recognizable. This filtering technique is

16
Mark C. Tongeren, Overtone Singing: Physics and Metaphysics of Harmonics in East and
West, (Amsterdam: Fusica, 2004) 119-161.

17
certainly now referenced more in mainstream music than in concert music––in fact, by

the late 1970s, popular music was the primary disseminator of electronic music

techniques first developed in experimental studios in the 1950s. Example 4 shows the

directions Hillborg provided to the choir to create this technique, which will

eventually become more developed and thematic in his first commissioned work,

muoɔɑa#yiyωɔoum (1983) for mixed choir, the title of which is a phonetic spelling of

the onomatopoetic action of progressing through vowel sounds with one’s mouth. The

effect is analogous to a low-pass filter opening and closing.

Example 4: Poem 62, score explanation for execution of filtering technique. © Anders
Hillborg. Used by permission.

It is not a coincidence that the language of the experimental electronic studio

began to permeate Hillborg’s acoustic compositions. He used his final year of study at

the Royal College to focus exclusively on electronic music while being mentored by

Swedish composer Par Lindgren.17 Lindgren was only one year removed from his

studies at the Royal College when he was hired to teach electronic music there. A self-

17
One humorous anecdote Hillborg relays is his request during his third year to the head
master that he be allowed an extra year to focus exclusively on electronic music. The head
master explained that the composition course is four years long, and that he had only just
completed his third year, an oversight that Hillborg attributes to “the seventies.” From
interview by author, November 2011.

18
proclaimed student of rock and roll and a “one-chord guy,”18 Lindgren’s early

electronic pieces heavily influenced Hillborg. Lindgren, along with Hillborg’s general

studies in electronic music, helped to expose Hillborg to new musical concepts and

different ways of creating music; more specifically, to the concept that “every sound,

in the right context, can be music.”19 Hillborg regularly states this in interviews when

speaking about important concepts in his musical development. The quote reveals his

early predilection towards a postmodern musical language, and his electronic music

studies were essential in initiating it. Once completely dedicated to mastering

electronic music techniques,20 Hillborg would begin acquiring skills that would inform

his entire output, including his purely instrumental compositions.

Rite of Passage (1981) is Hillborg’s first and most substantial electronic work.

Alongside his unusual orchestral composition Worlds and the exceedingly difficult

Poem 62 for mixed choir, these works mark the beginning of his serious output as a

composer. Although these pieces are infrequently performed, they contain many of the

key characteristics of Hillborg’s musical language. They also mark the beginning of a

long process of development that is most easily understood as a practice of collecting

and curating musical content. In this context, the term curator can be used to define the

phenomenon of discovering preexisting or original material and using/reusing it in

musical compositions. This is not unlike the use of objets trouvés by Marcel

Duchamp, but the difference is that Hillborg reuses his musical objects, and even

18
A term Lindgren uses to describe himself, according to Hillborg. From interview by author,
November 2011.
19
Hillborg, Eleven Gates, BIS Records BIS-SACD-1406, compact disc, liner notes by Sara
Norling.
20
Hillborg, interview by author, November 27, 2011.

19
manufactures some of them. The musical recycling that Hillborg employs in his

compositions is a deliberate decision; with each use, the materials attain a higher

degree of refinement, and a more defined meaning. This allows Hillborg to execute

musical drama with increasingly precise clarity and intent.21

Rite of Passage is inspired by Carlos Castaneda’s book, The Teachings of Don

Juan, which chronicles Castaneda’s apprenticeship with a self-proclaimed Yaqui

Indian sorcerer in Mexico during the 1960s. Hillborg’s lifelong fascination with the

mysticism of North American Indian tribes informs many of his works––he has set

Castaneda’s text as recently as 2011. An excerpt from the program note states: “Rite of

Passage is an anthropological term which describes ceremonial acts performed in

conjunction with such decisive moments in life as birth, death, initiation, etc. Here,

‘rite of passage’ refers to transitions between different states of consciousness or

worlds.”22 In another program note he describes the piece as a process of “gliding into

a different world.”23 These descriptions are paramount to understanding Hillborg’s

music. His aim to create musical worlds places him in dialogue with many of the

minimal, electronic, and ambient composers of the 1970s including Wendy Carlos––

Sonic Seasonings (1972)––and Brian Eno––Ambient 1: Music for Airports (1978).

These composers were attempting to metaphorically reposition the audience in a

synthetic space, whether through the creation of musical wallpaper or a sonic

landscape, where rules of past musics may no longer exist. Hillborg would build upon

21
The clarity and intent are heightened by an awareness of his previous compositions.
22
Anders Hillborg, Stockholms Elektronmusikfestival 1982, Fylkingen Records, 1982, 33⅓,
liner notes, translated by William Brunson.
23
Anders Hillborg, quoted in Zagorka Zivkovic, Six Swedish Composers: A Presentation of
Six Composers and Their Music, Performed at the ISCM World Music Days, 1984,
(Stockholm: Swedish Music Information Center, 1984). 4.

20
this idea in later pieces, usually as an attempt to establish a malleable space in which

he can present musical material. Establishing and controlling the synthetic space in

which the listener resides is an outgrowth of electronic music techniques, and

primarily a result of reverb, echoes, and delays.

Another of Hillborg’s definitive techniques is first found in Rite of Passage: a

harmonic language based upon atypical harmonic spectra. The harmony is constructed

using an overtone series based on a minor tenth,24 rather than the more common

octave; therefore, the ratios are slightly larger than the pure Pythagorean ratios of 1:1,

2:1, 3:2, 4:3, etc. Example 5 shows the opening harmonic spectrum of Rite of Passage

up to the sixteenth partial. It is based on scaling factors of 1.2:1, 2.4:1.2, 3.6:2.4, etc.,

rather than the more common Pythagorean ratios listed before. This altered, synthetic

spectrum fits the mystical concept of otherworldly-ness drawn from Castaneda’s text.

We are in a different universe with different fundamental laws. This technique

effectively removes and/or shifts a Western audience’s learned pitch-based

expectations, and it also creates a new and strong harmonic foundation. To this day,

Hillborg’s compositional process always begins with the careful creation of unusual

harmonic series.25

24
Ibid. It is incorrectly labeled a minor seventh in this publication.
25
Hillborg, interview by author, November 27, 2011.

21
Example 5: Rite of Passage, first sixteen partials of the opening spectrum.

The last significant work composed by Hillborg as a student is the eleven-

minute concertino for clarinet and fourteen solo strings entitled Lamento (1982).

Hillborg employs a more limited approach in Lamento by abandoning the poly-

stylistic method of his previous instrumental composition Worlds, and by adopting the

more ethereal and focused elements in Rite of Passage. The highly virtuosic clarinet

solo, resembling an ecstatic free jazz improvisation––although meticulously notated, is

set against an atmospheric string accompaniment which harkens back to the

otherworldly-ness of Rite of Passage. The care that Hillborg takes to create an

effective musical space is critical to the work’s success. We can see clearly the effect

Hillborg’s work in the electronic studio had on his acoustic composition. Like Rite of

Passage, Lamento has a formal trajectory that is more convincing than his previous

instrumental works. Having spent time working in a more mechanical and math-heavy

medium, Hillborg began stressing macro-level over micro-level thought, and the

playing-out of processes over more variable and ephemeral techniques.

The harmonic language of Lamento is also similar to Rite of Passage. Example

6 demonstrates an inverted harmonic spectrum based on a major sixth from the

opening string accompaniment. In this instance, Hillborg rounds to the nearest

chromatic pitch, although he uses microtones later in the composition to achieve a

22
greater degree of spectral refinement.26 Hillborg’s unusual spectra are now integrated

into his acoustic compositions.

Example 6: Lamento, m. 1, inverted harmonic spectrum in strings.

Another technique taken from the electronic studio, and first applied in

Lamento, is seen in Example 7. Here the string soloists are recreating an electronic

delay. The reason that this cannot be labeled as a classic imitative technique, or a

canon with entrances cascading down the octatonic scale by step, is revealed in the

intent of its use. The technique is used to create artificial space through the use of an

artificial echo, rather than harmony or individual contrapuntal lines. Also, the

individual voices are quickly blurred together with the inclusion of grace notes

beginning with the fifth entrance rather than a more calculated and contrapuntal

rhythmic scheme. This increases the probability that the technique is employed to

generate texture through the excitation, and subsequent activation, of a synthetic

space, and not strict canonic imitation. The result is an unnerving temporary mutation

of musical space and time.

26
He adamantly rejects quartertones, regarding them as purely hypothetical. He instead uses
microtones, based on the grounds that they have acoustic syntax. From interview by author,
November 2011.

23
Example 7: Lamento, mm. 47-9, violin texture imitating electronic delay. © Anders
Hillborg. Used by permission.

Hillborg’s comments years later reveal the political climate of his composition

studies in the late 1970s: “You couldn’t say that West Side Story was a masterpiece.”27

In an interview with Esa-Pekka Salonen, they both agreed that the climate was

oppressive and primarily modernist,28 a familiar trope of many composers of their

27
Hillborg, interview by author, November 27, 2011.
28
Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, Ondine ODE 1006-2,
compact disc, liner notes interview by Camilla Lundberg.

24
generation. In another statement, Hillborg also claims that Sweden had strong populist

leanings––stemming from their strong folk music tradition––and he credits his rock

music background for helping him make the decision to stop making populist art.29

These seemingly contradictory statements about the artistic climate in Sweden at the

time of Hillborg’s studies essentially express the same idea: suspicion of institutions

or schools of thought. Both comments clearly state a desire to be outside of the

cultural norm, and it is from this attitude that Hillborg’s highly unique musical voice

originates. These slightly incongruous statements also begin to suggest the presence of

a “modernism versus populism” dichotomy, and this opposition is crucial to

understanding Hillborg’s artistic intent. The influence of rock music, suggested by the

second quote, will also become more pronounced, but in general, Hillborg claims,

“The most important thing in my development in college was my studies in

counterpoint and electronic music.”30

29
Ibid.
30
Hillborg, interview by author, November 27, 2011.

25
 CHAPTER 2

TRANSITIONAL YEARS

Apart from the occasional temporary teaching position, Hillborg has been a

full-time freelance composer since 1982. In interviews he often asserts that he made a

promise to himself after finishing college that he would spend ten years without an

academic job––a promise that he proudly was able to keep.1 He has willfully remained

independent of academic institutions because of the perceived negative impact they

had on his friends’ and colleagues’ time and craft. Hillborg states, “It was tough

economic times, but instructive, and I avoided the trap of getting a job that would

prevent me from composing for economic convenience.”2 Esa-Pekka Salonen recalls

these tough economic times by describing Hillborg’s living situation in 1983, claiming

that there was nothing but a mattress in his Stockholm flat when he borrowed it for a

weekend conducting engagement with the Sveriges Radios Symfoniorkester (Swedish

Radio Symphony Orchestra).3 Despite Hillborg’s uncertain financial circumstances

during the 1980s, the works he composed during these transitional years are

exceptionally ambitious. Their strict processes, complex harmonic schemes, and

challenging––even idealistic––instrumental demands define them. It was not until the

Violin Concerto (1991-2) that he began to reassess his compositional methodology

1
Hillborg, Eleven Gates, BIS Records BIS-SACD-1406, compact disc, liner notes by Sara
Norling.
2
Mattias Franzén, “Anders Hillborg: A good composer need not be a dead composer,”
Svenska Tonsättares Internationella Musikbyrå, translated by Neil Betteridge, last modified
April 05, 2010, http://www.stim.se/en/PRESS/Portraits/Anders-Hillborg-A-good-composer-
need-not-be-a-dead-composer/.
3
Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, Ondine ODE 1006-2, compact
disc, liner notes interview by Camilla Lundberg.

26
and became more pragmatic in his approach, leading him to construct his materials

from the perspective of the performers’ tangible capabilities rather than from abstract

concepts.4

Hillborg’s first commission came from the Swedish Rikskonserter (The

National Institute of Concerts), an important government foundation that promoted

Swedish music from 1968 until 2010, including many of Hillborg’s works. He was

asked to write a choral work for a group in Stockholm for which he produced

muoɔɑa#yiyωɔoum (1983) for 16-part mixed choir––commonly abbreviated

Mouyayoum. After delivering the score to the choir, and as evidence of his ambitious

artistic concerns trumping his idiomatic apprehensions, they promptly replied, “We

will never again commission a piece by you because you write music that is

impossible.”5 Eventually, the artistry would prevail, and four years later there would

be four recordings by amateur choirs. Today, it is one of Hillborg’s most performed

compositions.

Mouyayoum is an expansion of the electronic filtering technique previously

explored in Poem 62. Hillborg describes this technique in the performance notes of the

score: “There is no text in the piece, only a phonetic ‘formula,’ which can be described

as an opening and closing of the timbre.”6 By progressing through different vowel

sounds, he creates the impression of a low-pass filter opening and closing, which is

essentially a process of revealing and concealing the upper partials of the human

voice. Example 8 clarifies this phenomenon by comparing low-pass filter settings,

4
Hillborg, interview by author, November 27, 2011.
5
Ibid.
6
Hillborg, muoɔɑa#yiyωɔoum: for 16-Part Mixed Choir a Cappella (Stockholm: Edition
Suecia, 1989).

27
resultant frequency formants of the human voice,7 and the vowel instructions provided

in the score. Clearly seen are the upper partials of the human voice becoming more

resonant as the mouth position moves from m towards i, and becoming less resonant

as it returns to its original position.

Example 8: Mouyayoum, demonstration of “opening and closing of the timbre,”8

shown by a mapping of low-pass filter settings, resultant frequency formants of the
human voice, and the vowels indicated in the score.

Mouyayoum is also a clear example of one of the early harmonic processes

present in Hillborg’s music. The harmony is comprised almost exclusively of

(024579) hexachords, and, in order to emphasize the strict harmonic process and the

electronic filtering technique, the work is composed almost exclusively of sixteenth

notes and long tones, which are performed sempre non vibrato––a clear allusion to

7
“Vowel Formants,” C.R. Nave, Georgia State University, last modified 2012,
http://hyperphysics.phy-astr.gsu.edu/hbase/music/vowel.html#c4.
8
Hillborg, muoɔɑa#yiyωɔoum.

28
Steve Reich, another important influence. The hexachords are generated from stacking

perfect fifths––not unlike the major scale, which are then re-voiced to fit the singing

ranges of the choir, and very often in heptatonic clusters. From measure 1 until

measure 174 the harmony progresses through a rotational process in which new

pitches are added a fifth higher than the previous chord’s highest pitch, and the lowest

note of the stacked fifths is dropped to maintain the (024579) hexachord. This strict

process creates an almost imperceptible shift in harmony, primarily because the same

<143250> interval-class vector is maintained. Example 9 shows this harmonic

progression. The perfect-fifth-based structure is also strengthened by the relationship

between the opening unison B-flat4 and the climactic unison on F5 in measure 203.

Note also that from measure 174 to measure 291 the new pitches are added in a

descending sequence of fifths, but now without dropping notes. This accumulative

harmonic technique acts as a transition back to the opening cluster, on which the piece

ends.

Example 9: Mouyayoum, harmonic overview.

29
 The most interesting and perplexing harmonic moment in Mouyayoum is also

shown in Example 9 at measure 204. There is no clear precedent for the chord that

appears immediately following the unison climax in measure 203, and in this context

it can only be viewed as a variation of the opening and ending tone clusters because it

is markedly more dissonant than its contiguous hexachords. This chord can be defined

as a (0234579) heptachord, and the reason for its importance is that it may be hinting

at postmodernism in Hillborg’s music; at the very least, it can be seen as a forebearer

to his use of postmodern techniques. From this point forward, seemingly random

appearances of unrelated objects permeate his output, and often the illogical nature of

these objects helps them to stand in stark contrast to Hillborg’s more strict and logical

processes.

Mouyayoum is also an example of an arch-like structure that Hillborg regularly

employs. It can be described as a gradual progression from chaos to clarity and back to

chaos. The work opens with the altos, tenors, and basses individually singing as low as

possible creating a chaotic indeterminate cluster. The low cluster gradually fades out

while the pitches of the first hexachord in Example 9 accumulate. The result is similar

to the opening of Worlds and again reveals a subtractive approach to harmony. From

the rumbling noise, discrete pitches materialize. A crossfading of musical materials, a

common electronic music technique, is used to achieve this effect. The form is also

reminiscent of apparitional structures, like Debussy’s La cathédrale engloutie (1910)

and Ravel’s La valse (1920), where sound images materialize and dematerialize. In

this instance, like Debussy, Hillborg’s inspiration was the sound and ambience of the

sea, which is revealed years later when he orchestrates Mouyayoum and renames it

30
King Tide (1999)––a colloquial term for an especially high tide. Music critic Sara

Norling describes King Tide as, “a lapping interaction between ebb and flow in the

orchestra that might be understood as a single, extended wave.”9 This description is

similar to American post-minimal composer John Adams’s explanation of his early

choral symphony Harmonium (1981), which he describes as light flickering on the

surface of water.10 Both Hillborg and Adams were attempting to highlight timbre and

form by limiting the pitch and rhythmic material. Mouyayoum marks the beginning of

an interesting parallel career trajectory between Adams and Hillborg. While Hillborg’s

work retains more elements of modernist European techniques––which Adams rejects

on the grounds of their limited range of expression11––they both share a likeness to

Steve Reich in language and formal design.

After Mouyayoum, Hillborg continued experimenting with grafting electronic

music techniques onto acoustic mediums. The height of these experiments came as a

result of a commission from the Swedish Radio Orchestra for a new chamber work.

Hillborg produced Celestial Mechanics (1983-5) for seventeen solo strings and

percussion, which he considers to be his first original work: “containing more of

himself than his influences.”12 While there are still heavy traces of mid-twentieth-

century modernism, there are now clear passages of uniquely Hillborgian techniques.

It is clear that during his early post-conservatory years Hillborg is trying to distance

9
Hillborg, Eleven Gates, BIS Records BIS-SACD-1406, compact disc, liner notes by Sara
Norling.
10
Jim Berrow and Barrie Gavin, John Adams, Minimalism and Beyond (Princeton, NJ: Films
for the Humanities & Sciences, 1992).
11
John Adams, Hallelujah Junction: Composing an American Life (New York: Farrar, Straus
and Giroux, 2008). 104.
12
Hillborg, interview by author, November 27, 2011.

31
himself from his influences. He spent two years composing the eighteen-minute work,

and the detail and originality present in its implementation and concept are tangible

confirmation of this effort. Intriguingly, and although he is fond of many aspects of

Celestial Mechanics, he considers the work to be ultimately unsuccessful, primarily as

a result of its problematic performance demands.13

The Finnish composer Jouni Kaipanen writes, “Each composition by Hillborg

contains a world of its own, …and the world of Celestial Mechanics is perhaps the

most whole.”14 The wholeness Kaipanen suggests can be attributed to the severity of

allegiance Hillborg pledges to the strict compositional planning executed in Celestial

Mechanics, but despite this intricate construction, its difficult and impractical

performance demands caused Hillborg to question its success. In order to

accommodate the precise microtonal pitch material, which requires sixth-tones, the

seventeen string soloists are instructed to retune their instruments based on a

complicated chart, seen in Example 10. The work is rarely performed because of the

extreme scordatura, but the reasoning for the retuning is logical. The problem does

not lie with the idea, but with the medium. Kaipanen is in agreement regarding the

logical yet complex execution of this harmonic concept given the circumstances: he

states “Hillborg’s solution is irrefutably practical.”15 The harmony almost seems to

have been conceived for electronic means; a simple concept for machines, but nearly

impossible for instrumentalists to realize. Another important thing to note about the

13
Ibid.
14
Anders Hillborg, Clang and Fury, with the Swedish Radio Symphony Orchestra, conducted
by Esa-Pekka Salonen, recorded at Berwald Hall, Stockholm, November 1999, Phono Suecia
PSCD 52, 1992, compact disc, liner notes by Jouni Kaipanen, translated by Cynthia
Zetterqvist.
15
Ibid.

32
chart in Example 10 is the central role of Violoncello 1 (Vc 1). The other instruments

are symmetrically retuned around it––eight above and eight below, and the graph’s

symmetry would be immediately visually apparent if there was not a mistake in

Violoncello 3’s instructions: the tuning for its D string is accidently left blank and

shifted one column to the right (142.2).

Example 10: Celestial Mechanics, tuning instructions for strings. © Gehrmans

Musikförlag AB. Used by permission.

Celestial Mechanics is also electronic in its rhythmic structure. The piece

opens with two microtonally pulsating violas in inverse rhythmic patterns. Example 11

shows this opening pattern, and exhibits the simple rhythmic scheme of adding eighth-

33
note durations and subsequently removing them, creating the impression of collapsing

and expanding time. This can be viewed as a reference to a commonly used electronic

device known as a low-frequency oscillator (hereafter LFO). LFOs are sound waves

below the human threshold of hearing used to modulate other waves. In this instance

the wave is used to modulate the speed of the rhythm, which in turn affects the

intensity of the microtonal interference. Viola 3 begins with an oscillation speed of 0.8

cycles per second (Hertz), which can be calculated by using the formula:

(Tempo/60/Duration of the Note). In the instance of Viola 3, when using the equation,

(120/60/2.5), there is a result of 0.8 Hz. When using the same equation at the fastest

point of the violas rhythmic scheme, the result is an oscillation speed of 4 Hz––

(120/60/0.5). The sound has an overwhelmingly electronic affect, and it also

demonstrates one of Tristan Murail’s five fundamental precepts of spectral music: “to

use logarithmic/expositional methods of organization instead of linear ones.”16 The

rhythm is in a constant state of speeding up and slowing down.

Example 11: Celestial Mechanics, mm. 1-5, LFO rhythmic technique.

16
Tristan Murail quoted in Moscovich, "French Spectral Music: An Introduction," 22.

34
 By continuing to follow the acquisition of new musical objects by Hillborg the

composer-curator, there are four new techniques first found in Celestial Mechanics:

unexpected major chords, rewind and gating transitional devices, and quasi-folk string

solos. These four techniques will pervade his entire output from this point forward,

and it is important to mark their successive appearances. With each reuse they attain a

greater level of meaning, which can be gleaned through context, program notes, titles,

lyrics, and expressive markings.

Violoncello 1 plays the extended quasi-folk string solo in Celestial Mechanics

beginning in measure 230 and continuing until measure 312. The principal

characteristic that makes the solo sound quasi-folk is the pitch material. Example 12

demonstrates how the pitch material was created by stacking eight perfect fifths and

then re-voicing them into a scale. The technique is exactly the same as in Mouyayoum,

but rather than stopping with six notes he continues to eight, creating one degree of

dissonance between the natural and raised fourth which, when employed, gives the

impression of folk music that utilizes the Lydian mode. It is important to note the

central importance of this material in not only the form (see Example 15a and

Example 15b), but in the instrumentation as well. The symmetrical retuning around

Violoncello 1 and its significant central solo suggest a concertante form, and if we

continue the concept of multiple worlds in Hillborg’s music, the kaleidoscopic effect

of retuning around the soloist suggests alternate realities radiating outward. The

central quasi-folk solo suggests that it is of this reality and not an alternate, which

increases its emotional weight and structural significance within the form.

35
Example 12: Celestial Mechanics, stacked-fifths scale, Violoncello 1 solo pitch
material.

Immediately following the solo in measure 313 is another newly acquired

musical object: an unexpected C major chord. The chord definitively marks the

Hillborgian moment of central clarity, and it is tuned to the central Violoncello 1. This

is the only moment in which the ensemble sounds in a more typical twelve-note

chromatic temperament––opposed to the sixth-tone harmony, and the presence of this

unrelated chord, as in Mouyayoum, points directly at Postmodernism because of its

freely associative and unrelatedly juxtaposed placement. The object, in this instance

and from this point forward, is now more caricaturized and exacting, strengthening its

bizarre affect and unusual positioning within the composition.

The last two techniques that are first found in Celestial Mechanics are both

transitional devices: rewind and gating. The gating technique has clear forebearers––

although the technique is not labeled as such: Igor Stravinsky’s Symphonies

d’instrument à vent (1920) and Witold Lutosławski’s Jeux vénitiens (1960-1). In both

of these cases gating means to instantaneously transition between musical materials,

like an electronic switchboard––or gate––passing and/or rejecting different signals

with the flip of a switch. It effectively acts as an anti-transition transitional device.

36
Like Lutosławski, Hillborg uses sharp and dry percussion instruments to signal the

switch and, like Stravinsky, he uses gating as a way of creating form and variation.

The rewind transitional device is used to give the impression that time is

suddenly moving backward or rapidly moving forward by imitating the sound of an

analog tape machine operating in reverse or at a faster speed. To achieve this effect,

Hillborg reverses the instruments’ more common and natural amplitude envelope with

quick niente to fortissimo crescendos, which are sharply cutoff. Example 13

demonstrates a comparison between a naturally occurring violin pizzicato envelope

and an unnatural reversed envelope. The rewind transitional effect is particularly

effective in part because of the technique’s widespread use in mainstream popular

music, and its secret code mystique––made famous by The White Album track

“Revolution 9” by the Beatles, in which it is speculated that information regarding

Paul McCartney’s fictitious death can be gleaned from playing the track backwards.

“Revolution 9” also contains samples of Sibelius’ Seventh Symphony, which Hillborg

will reference later in a work entitled Exquisite Corpse (2002).

Example 13: Celestial Mechanics, rewind effect, reverse-amplitude envelope.

37
 Example 14 details all of the material present in Celestial Mechanics, and

Examples 15a and 15b provide a formal overview. The work is defined by its abrupt

transitions and marked contrasts in character. It is easy to see in Examples 15a and

15b that Hillborg is thinking about his materials as occupying different worlds, and

that the form is generated through weaving a complex gating pattern, releasing and

impeding the flow of musical materials. Gate-form remains in Hillborg’s oeuvre

today, while the complex microtonal retuning schemes do not.

After Celestial Mechanics was recorded in 1991, it garnered praise from the

UNESCO International Rostrum of Composers (1992) and was awarded Sweden’s

highest compositional honor, the Christ Johnson Prize (1991), given annually by the

Royal Swedish Academy of Music.

38
Example 14: Celestial Mechanics, formal key and characteristics.

39
Example 15a: Celestial Mechanics, mm. 1-235, formal design.

40
Example 15b: Celestial Mechanics, mm. 236-472, formal design.

41
 Hillborg began composing Celestial Mechanics in Stockholm and finished it in

Paris while in residence at La Cité Internationale des Arts. He would, however, spend

the bulk of this three-year residency composing Clang and Fury (1985-9), an

ambitious work for large orchestra––the score to which is not available and possibly

destroyed. Clang and Fury has never been performed––in some instances at the

request of the composer, but it does however exist on a recording released in 1992––

perhaps evidence that acoustic music is now being conceived for recording and not

live performance. Clang and Fury is excluded from this discussion because the

materials and issues presented by the work are covered in Celestial Mechanics. That

said, the substantial twenty-seven-minute composition is worthy of future scholarship

if and when a score becomes available from Hillborg’s publisher.

In 1987, Hillborg returned to writing popular songs for the first time since

being a teenager. The move is surprising, considering the uncompromising aesthetics

of the works he was composing at the time, and it rekindles the contradiction

surrounding the populism versus modernism dichotomy in his music. He was asked by

the Swedish director Kjell-Åke Anderson to compose a short prologue and song for

the film Friends (1988). Hillborg produced “Broken Necklace,” which was recorded

by Swedish popular music artists Mikael Rickfors and Sharon Dyall and subsequently

released on Mercury Records––a major label and subsidiary of PolyGram Records,

Inc. Forays into popular song writing continue from this point forward, and Hillborg’s

songs are an important source for gleaning information about many of his symphonic

works––particularly the full-length album Hillborg composed for Swedish pop singer

Eva Dahlgren, which will be discussed more in Chapter 4. The songs also provided

42
Hillborg with an important source of income, which allowed him the time and

resources to compose more serious concert works in the 1990s.

43
 CHAPTER 3

PROFESSIONAL YEARS

After completing Clang and Fury in 1989 Hillborg dramatically changed his

approach to composition. He felt that he was relying too heavily on math and

processes to construct his works at the expense of his own intuition. He critically

states, “I was counting my way through the eighties.”1 He felt that his working process

was arduous and inefficient, and he was not happy with the products of his efforts. He

knew that he needed to change his methods, and in an anecdote describing a bizarre

incident, Hillborg details the epiphany that happened while he was working on Clang

and Fury: he had been working very meticulously and systematically with large and

incredibly detailed millimeter-paper charts and graphs––e.g., the entire twenty-seven-

minute composition was planned out in sixteenth-note increments, and one evening in

Paris one of these large charts spontaneously began to burn. After Hillborg quickly

extinguished the small fire, the impression of what he deemed “the shape of a Jesus

figure” remained.2 Although this anecdote is extraordinary and humorous, this

incident acted as an important tipping point, spurring a permanent change in

Hillborg’s approach. He describes the transformation as a shift towards a human being

mindset and away from an electronic music mindset,3 meaning a change from a

mechanical and objective musical language to one that is more expressive and

spontaneous. This does not mean, however, that he would abandon his electronic

1
Hillborg, interview by author, October 26, 2012.
2
Ibid.
3
Hillborg, interview by author, November 27, 2011.

44
music-inspired language, but rather that he would reverse the angle of translation,

developing techniques from the performer’s perspective and his own intuitions, rather

than from the computer’s.

The compositions that Hillborg wrote in the years following Clang and Fury

are short and exploratory, and begin to highlight his keen sense of humor––perhaps as

a byproduct of the aforementioned shift in attitude. The two short works written for

Swedish trombone virtuoso Christian Lindberg, Hudbasun (1990) for trombone and

tape and U-TANGIA-NA (1991) for alto trombone and organ, are examples of this.

Both pieces are acutely comic and highly virtuosic, but their most interesting attribute

is the further exploration of an electronic concept that was germinating in his earlier

works Celestial Mechanics and Musik för 10 Celli (1987): frequency modulation

(hereafter FM). FM is a simple technique whereby you modulate the frequency of one

signal with another signal’s amplitude, bending the pitch. Hillborg imitates this

technique with the trombone and previously with strings––the ability to glissando is an

important prerequisite. Example 16 shows an excerpt from Hudbasun and maps it onto

FM parameters. It is important that the rhythm and the interval covered by the

glissando are constant to accurately give the impression of frequency modulating the

trombone’s pitch. In Example 16, the trombone’s pitch is modulated at an eighth-note

rate at a tempo of 144 beats per minute. Using the previously discussed LFO formula

for determining the cycles per second (Hertz) of the modulating signal, a result of 4.8

Hz is calculated, (144/60/0.5), meaning the trombone glissandos from A-flat4 to D5

and back at a rate of 4.8 times per second. Another important parameter of FM is the

modulation index, which can be explained as the amount the frequency is displaced or

45
the amount the pitch is bent. This is determined by the modulating signal’s amplitude.

In Example 16 the modulating signal is displacing the central carrier frequency,

approximately B4 (501), by +/-86 Hz, ((587-415)/2=86). The amplitude of the

modulating frequency is therefore 86 times the absolute amplitude level of 1. This

would seem quite loud, but because the amplitude of the modulating signal is being

used to control the frequency of the carrier signal, it does not affect the end amplitude.

This FM technique will be further expanded and explored in the scherzo of the Violin

Concerto, where it will become motivic.

Example 16: Hudbasun, mm. 16, imitation of FM with trombone. © Anders Hillborg.
Used by permission.

Hudbasun also includes the first instance of a new sentimental caricature in

Hillborg’s output, not unlike the quasi-folk violoncello solo in Celestial Mechanics,

but now imbued with irony. In measures 45-8, after the spritely opening section of the

short work has comically ground to a halt, an old-timey funeral parloresque organ

enters unexpectedly. The trombone begins playing what sounds like a saccharine early

twentieth-century popular ballad, creating an impression of sudden and ironic

46
nostalgia. It is yet another caricature that Hillborg has added to his expanding palette

of musical objects. This short excerpt hints at material that will be more pronounced in

the central slow section of the Violin Concerto.

Of the other minor and peripheral works from the late 1980s and early 1990s,

arguably the most important is the short flute solo Nårbilder (1991), or Close Ups.

The reason this work is so significant is that it contains the first instance of Hillborg’s

prime number-based octave cycles technique. Hillborg invented this harmonic and

melodic device, and it is a technique that he regularly returns to in his compositions

after 1991. Examples 17a and 17b clarify this technique by dissecting the opening bars

of Close Ups. The technique is a two-fold prime-number process that sequentially

ascends both horizontally and vertically––harkening back to the importance of

counterpoint in Hillborg’s work. In Close Ups, Hillborg begins with a ten-note

collection as seen in Example 17a––A4 and E-flat4 are absent. In chromatically

ascending order, from the flute’s lowest C4, he submits each vertical pitch to a process

of repetition at sequentially increasing prime-number intervals with each repetition

being displaced by an octave. When the cycle reaches a third octave, it starts over with

the next sequential prime number in the horizontal sequence. The repetitions and rests

are then composited into a monophonic melody. The reason Hillborg chose prime-

number durational cycles in the horizontal sequence is important because their

repetitions rarely overlap due to their infrequent common denominators. Where the

notes do collide, Hillborg has to make an intuitive choice––the notes in parentheses in

Example 17a and 17b demonstrate these collisions and do not sound. This method

allows for the composer’s voice to speak––roughly one-fifth of the time––while

47
maintaining a rigid and disciplined structure. It is also interesting because it allows for

extreme variation and is thus a sustainable technique. Each time Hillborg reuses the

technique it is aurally recognizable, but very different based on the number of pitches

in the starting chord, the base unit of rhythmic repetition, and the order of the prime

numbers employed––hypothetically, it doesn’t need to be based on prime numbers, but

it would not sound like Hillborg if it weren’t. The technique is also fractal: the

horizontal and vertical processes are mirrored by one another, and this fact is

immediately visually apparent in Examples 17a and 17b. Unsurprisingly, Hillborg’s

favorite personal composition, Påfågelsögonblick (1996), The Peacock Moment for

clarinet and piano, is based exclusively on this technique.4 This taut work is one

minute in duration, and contains a pitch series generated through this technique, but

now submitted to loose serial techniques such as inversion and retrograde. Its

construction is elegant and clean, and it leaves little room for improvement. The

prime-number octave-cycle technique is one of Hillborg’s most interesting devices,

and it is the most uniquely Hillborgian sounding procedure in his oeuvre.

4
Hillborg, interview by author, October 26, 2012.

48
Example 17a: Close Ups, mm. 1-2, pitch-generating technique using prime-number
octave cycles.

49
Example 17b: Close Ups, mm. 3-4, pitch-generating technique using prime-number
octave cycles.

50
 After these short exploratory compositions, Hillborg began composing the

work that undeniably marks the beginning of his professional years: the Violin

Concerto. Begun in 1991 and finished in 1992, the concerto required him to become

more pragmatic, and he began envisioning “a human being playing” rather than

starting from a theoretical electronic stimulus.5 The twenty-five-minute work was

commissioned by violinist Anna Lindal and The Royal Stockholm Philharmonic, and

it again underlines the curious parallel-career trajectory between Hillborg and John

Adams––who wrote his Violin Concerto in 1992-3. Hillborg’s concerto is remarkably

similar to the toccata third movement of Adams’s, and both pieces exude a similar

early-1990s postmodern zeitgeist in their embracing of different and past musics and

the incorporation of technology into their creative processes.6

Hillborg’s Violin Concerto is constructed in four parts, and parts 1 through 3

each contain two central and contrasting characters. Part 4 does not contain any new

material, but is rather a mash-up of materials from parts one and two. The work

contains a plethora of material; Example 18 diagrams the form and labels all of the

content. Within each section the juxtaposing dialogues dictate the composition’s

forward momentum, and Hillborg again uses electronic echo and rewind effects to

transition between the larger sections. Both of these devices are superb transitional

strategies because they disorient the listener by blurring the harmony and pulse, setting

5
Ibid.
6
Adams, Hallelujah Junction: Composing an American Life, 175. Adams’s Violin Concerto
is scored for two synthesizers and he repurposed software algorithms that were “invented to
help film composers squeeze or stretch music to fit the … screen image” to instead manipulate
the harmony and rhythm.

51
the stage for dramatic changes in character. It is the aural equivalent of the time-travel

transition in science-fiction films.

Looking more closely at the individual sections of the concerto, part 1 does not

contain any descriptive tempo markings, but its character is distinctly that of a toccata

because of its relentless sixteenth-note pulse and the constant détaché bowing in the

violin. The work begins with a single sustained D4 in the solo violin, which suggests

that the work is born out of the soloist––a concept explored in Ligeti’s Cello Concerto

(1966). The note slowly branches out into the solo strings and flatterzunge flutes and

eventually comes to rest on a (02479) pentachord. This stark consonance is a break

from Hillborg’s 1980s microtonal aesthetics and a statement of his ideological shift. It

clearly marks the next phase of his artistic output. The juxtaposition of contrasting

dialogues in part 1 takes place between the consonant opening material and a more

typical Hillborgian microtonal spectrum––now produced senza scordatura. Also of

importance is a brief and contrasting trading eights duel starting in measure 88

between the soloist and the woodwind section. This is a brief allusion to a big band

technique in which a soloist will exchange short phrases of improvisation with

members of the band, and in the context of the Violin Concerto, it foreshadows

material in part 2. Perhaps the most interesting moment of part 1 is in measure 53,

where Hillborg uses rapid scalar passages to transition between the opening modal

section and the microtonal central section. This foreshadows a technique that will

become more important in his later works, such as Liquid Marble (1995) and Eleven

Gates (2005-6).

52
Example 18: Violin Concerto, formal design.

53
 The character dramatically shifts in part 2. It is labeled ritmico!, secco, and

brutalissimo!, and it has the character of an off-kilter scherzo. The violin’s material is

based exclusively on the FM technique first introduced in the short trombone works

mentioned above, and the contrast between the violin’s FM-inspired glissandos and

the staccatissimo orchestra is zany and eccentric. Further accentuating this strangeness

are brief moments of big band-like woodwind choruses accompanied by walking bass

lines based on major scales. Overall, part 2 is reminiscent of a Carl Stalling cartoon

score from the 1940s––like Adams’s Chamber Symphony written in the same year

(1992)––and it again highlights Hillborg’s proclivity for non sequitur when placed

after part 1. This batty scherzo strain in Hillborg’s composer-curator oeuvre will later

be labeled “Suddenly in the Room with Chattering Mirrors” and “Confused Dialogues

with Woodpecker” in Eleven Gates, which is why it is labeled chatter in Example 18.

These descriptors introduce Surrealist and Psychedelic art associations into Hillborg’s

postmodern collection of diverse musical objects, as they evoke free-flowing

subconscious and hallucinogenic-drug connotations. The full potential of this

outlandish and often hilariously grotesque material will be fully realized in Paulinesisk

Procession (1993) for wind band and inflatable doll.

Part 3 acts as the central slow movement of the concerto. The dialogue here is

based on the juxtaposition of the quasi-folk material from Celestial Mechanics and the

new ironically sentimental caricature. This is the longest section of the work at just

under ten minutes, and it emanates the same ironic sense of nostalgia that the old-

timey organ does in Hudbasun. The echo-effect transition at the end of part 3, in

measure 509, is the most impressive use of the technique in Hillborg’s output, and

54
signals the transition into the mashed-up part 4, which provides a rapid three-minute

overview of the work’s first and second sections.

In general, the channel-changing effect of instantaneously moving between

materials in the Violin Concerto is analogous to the composer as art curator; the

audience is left to view the musical materials as individual works of art, and asked to

ponder the curator’s intent––“Why are these objects in the same room?” It is very

difficult to understand––in the instance of the Violin Concerto––why Hillborg has

placed this diverse material together. It will not be until his mature period, beginning

in 2002, that the composer-curator approach will come into better focus.

The concerto was selected for the UNESCO International Rostrum of

Composers in 1995 and also claimed Sweden’s Christ Johnson Prize in 1997.

Immediately following the Violin Concerto, Hillborg again branched out and

embarked on another popular song project, but this time on a larger scale. Esa-Pekka

Salonen commissioned him to compose a crossover work for a joint concert between

the Swedish pop singer Eva Dahlgren and the Swedish Radio Orchestra in 1993.

Dahlgren wrote the lyrics and Hillborg wrote the music and together they produced the

five-minute-orchestral song “Innan kärleken kom” (“Before Love Arrived”). The song

is similar to many late-twentieth-century cinematic ballads––e.g., Alan Menken’s

Disney songs from the 1990s, which are typically collaborations between popular

music vocalists and film composers. Hillborg and Dahlgren’s song, like most

cinematic orchestral songs, applies more melodic and formal variation than a typical

popular song, and also includes modulations to unrelated keys, making it more

harmonically diverse, as well. Hillborg and Dahlgren found the partnership to be

55
rewarding, and as a result of the success of “Before Love Arrived,” Dahlgren asked

Hillborg if he would like to compose a full-length album. Hillborg took an entire year

off from composing concert music to work with Dahlgren, and together they created

the album Jag vill se min älskade komma från det vilda (I Want to See My Beloved

Come from the Wild). The album was released in 1995 by The Record Station, which

was a subsidiary of the Bertelsmann Music Group (BMG) at the time, and it spent

twenty-eight weeks on the Swedish charts from September 1995 until April 1996––

peaking at number 2 behind AC/DC’s Ballbreaker. The album had two singles,

“Stenmannen” (“Stone Man”) and “När en vild röd ros slår ut doftar hela skogen”

(“The Fragrance of a Wild Red Rose Permeates the Entire Forest”), and one

promotional single, “Jorden är ett litet rum” (“The Earth is a Very Small Room”)––

which is the only track for which Hillborg did not write the music.

The Dahlgren album is an important source for discovering new elements in

Hillborg’s language, as well as a significant document for discovering new

information about his older techniques. The important techniques that first arrive via

this album are the orchestral piano––primarily as an accentuating bass instrument7––

and extended passages of African-inspired drumming, used primarily as a central stop-

time break for other instruments to riff over. The older techniques that are reused on

the album, and thus given further meaning through context and text setting, include the

7
In this instance, because the instruments can be individually mixed during the production
process, the piano is used to provide clarity to the delayed attack-response of the orchestral
double bass. This type of album-stration will bleed into Hillborg’s concert music, which can
be problematic at times, and is ultimately an attempt to make the orchestra sound more like a
recording––more dynamically compressed and more present. Steve Reich also has the same
sonic preference, which he solves with sound-reinforcement. Both are attempting to make
natural sound imitate synthetic sound.

56
quasi-folk string solo and the modal, Reich-like, sixteenth-note pulse material from

Mouyayoum. The quasi-folk solo is the most pronounced, and it occupies a central and

intimate role in the album’s trajectory. Played by a solo violin, it is the only

accompanying instrumental material on the album’s sixth track, “Kväll” (“Evening”),

and Anna Lindal, who premiered the Violin Concerto, performs it on the recording.

Where the quasi-folk material is inharmonious in Celestial Mechanics and the Violin

Concerto, in this context, set to a text by Dahlgren, it is presented in its clearest form.

Through phrases such as, “Can you hear me?”8 and “What I want, is not a dream of

happiness, nothing undeserved, but you,”9 it is possible to imbue the quasi-folk solo

with connotations of melancholy and distant love––not unlike the courtly love subject

of medieval troubadour songs. Example 19 shows the opening bars of the solo violin

from “Evening,” and to give the impression of folk music there is an emphasis on

droning the open strings through the constant use of double-stops. The raised-fourth

scale degree is also prominent, creating allusions to the folk songs used by Béla

Bartók set in the Lydian mode. Later, in 2003, this material will reach its pinnacle of

form and meaning in the orchestral song …lontana in sonno… (...far away in sleep…).

8
Eva Dahlgren, lyrics to “Kväll,” by Anders Hillborg, recorded 1995, on Jag vill se min
älskade komma från det vilda, The Record Station, STAT 52, compact disc.
9
Ibid.

57
Example 19: “Kväll” (“Evening”), mm. 1-3, quasi-folk violin solo. © Anders
Hillborg. Used by permission.

One other minor detail to note: the album opens with a short one-minute

overture for orchestra entitled “Lava.” It is similar to Hillborg’s work Liquid Marble,

which he composed during a three-week break from the Dahlgren album in 1994. It is

an expansion of the short and rapid scalar passages in his earliest orchestral work

Worlds and part 1 of the Violin Concerto. In both previous instances the scales are

used as transitional devices, and in “Lava” they are used to transition between the

sound of the orchestra warming-up and the lush orchestration of the album’s second

track, “Stone Man.” The scales, which become almost exclusively chromatic in

Hillborg’s later works, have a disorienting harmonic effect not unlike the disorienting

rhythmic effect of the echo transition discussed before, and both provide motion

towards a goal or a feeling of imminent change.

After the success of this project, Hillborg would become a household name in

Sweden, and would also receive the designation of “Composer of the Year” from the

Swedish Grammis Awards––Sweden’s Grammy equivalent––for his work on the

album. Another important concurrent development in Hillborg’s personal life during

the production of the Dahlgren album was his marriage to Maria Arendt, a

psychologist and yoga teacher, and the birth of their son Theo two years later. After

58
the ten years had passed in which he had promised himself he would avoid an

academic job, Hillborg was now being offered more commissions than he could

accept.10 Salonen facetiously commented to Hillborg at the conclusion of the song

project, “Well, how does it feel? You have just written music that was easy to

compose, you got paid well and everyone liked it. Now you have to write something

that is difficult to compose, you are poorly paid, and no one will like it!”11

Returning to Hillborg’s concert music, and looking back at Liquid Marble, his

language begins to coalesce. In Liquid Marble he employs less material than his

previous works, possibly due to its shorter duration, and the outcome is far more

unified and potent. The work’s material can be broken into four categories: EQ,

scherzo, woodwind solos, and chromatic scales. The EQ effect is an orchestral

expansion of the overtone singing in Mouyayoum, and in order to make the effect

more realistic, Hillborg removes the instruments’ attacks and decays by having them

fade in and out from niente.12 This effectively removes the instruments’ most

identifying characteristic––the attack, which in turn creates a seamless transition

between instrumental choirs, giving the effect of a homogenous instrumental body

being equalized or filtered. The scherzo is a less nutty and more concise version of

part 2 of the Violin Concerto, and the woodwind solos are short octatonic melodies,

10
Franzén, “Anders Hillborg: A good composer need not be a dead composer.”
11
Ibid.
12
Charles Dodge and Thomas A. Jerse, Computer Music: Synthesis, Composition, and
Performance (New York: Schirmer Books, 1985) 82. This idea is based on the electronic
music concept that whenever an instrument produces a tone, the loudness and spectral content
of the tone change over time, and in order to recreate this physical phenomenon synthetically
an ADSR (Attack Decay Sustain Release) envelope is used. The Attack and Decay of a sound
have the greatest effect on the instrument’s sonic character, which is why Hillborg removes
them, in order to create the greatest amount of blend between instruments.

59
seen in Example 20, that impart a brief sensation of sentimentality. The melodies are

defined by their outlining of diminished triads, ascending stepwise motion, and

dolente falling grace notes. And finally, the thirty-second-note chromatic scales are

like digitized glissandos, and they show a likeness to passages of Ligeti’s Melodien

(1971). Hillborg’s uses of glissandos in the Violin Concerto are now digitized in

Liquid Marble. If a glissando can be viewed as an analog technique––meaning

continuous, and that two points––or musical notes––can be traveled between

continuously––then a thirty-second-note chromatic scale can be seen as a digital

version of a glissando, meaning there are finite and discrete points interpolating

between the two notes. This allows Hillborg to control more accurately and evenly the

movement between two points, while maintaining the impression of sliding. Also, all

of the instruments in the orchestra can participate in this digital technique rather than

just the strings and trombones, which creates more possibilities and variations in the

orchestration.

Example 20: Liquid Marble, sentimentale woodwind solos.

Liquid Marble was commissioned by the Swedish Rikskonserter for the

Orkester Norden––a Scandinavian youth orchestra outside Tampere, Finland. But its

most powerful performance would be in 1997 at the BBC Proms, the day after

60
Princess Diana was killed in a car accident. The Swedish Radio Orchestra was already

en route to London when the Proms organization decided to cancel all of their

concerts, so they allowed them to perform as scheduled with the exception that they

include “Nimrod” from Edward Elgar’s Enigma Variations (1898-9) on their program.

To Hillborg’s surprise, the pairing of his dissonant and cold work was viewed as a

success because its intense and violent qualities, following the healing consolations of

“Nimrod,” helped to channel the other half of the audience’s grief.13

Following a film score for Swedish television (Hjärtats Saga, The Heart’s

Tale), several short works for clarinetist Martin Fröst (including The Peacock

Moment), a trombone concerto for Christina Lindberg, a chamber orchestra work for

the Los Angeles Philharmonic New Music Group (Meltdown Variations, 1995-6), and

a short fanfare for the inauguration of Nybrokajen 11 (a Stockholm concert venue),

Hillborg composed one of his best-known and most-performed works: the Clarinet

Concerto (Peacock Tales) (1998). The concerto was the most ambitious work in his

output at the time of its composition––clocking-in at approximately thirty minutes––

and it exists in five different versions with varying accompaniments and durations.

Because the form and content are similar to the Violin Concerto, and ultimately

represent the same period in his output, it is only necessary here to discuss several new

techniques.

The concerto was written for the virtuoso clarinetist Martin Fröst, with whom

Hillborg had collaborated extensively before, and it is, again, a step towards

13
Anders Hillborg, interview by Jeff Dunn, “Liquid Marble Man,” San Francisco Classical
Voice, last modified November 28, 2006,
http://www.sfcv.org/main/mainarchives/main_11_28_06.php.

61
pragmatism. He abandons microtones completely in this work and leaves many

passages unwritten with simple and effective text instructions for the ensemble and

clarinetist.14 The work is also choreographed, which was done completely by Fröst,

with Hillborg contributing little input. Despite this, the work’s most striking moments

happen when the choreography strengthens Hillborg’s juxtapositions of contradictory

materials. For instance, one of the most arresting moments in Hillborg’s entire output

occurs in measure 431: the soloist is instructed to set aside the instrument and

pantomime the orchestra’s interposing dissonant chords and abrupt silences by

covering and uncovering his or her ears. When the soloist’s ears are uncovered, there

is sound, when plugged, there is silence. It is an eerie effect, and gives the impression

of metaphorically hearing the soloist’s thoughts. After the second fortississimo chord,

and subsequent silence, the soloist uncovers his or her ears to a massive B major chord

in which the conductor is instructed to turn around, face the audience, and sing a note

from the chord. It is the most surreal moment in all of Hillborg’s work because it is the

most unexpected material one could possibly imagine when encountering a Clarinet

Concerto. Immediately following this chord, when the soloist again abruptly covers

his or her ears, instead of silence the orchestra is instructed to hum the same chord, but

now pianissimo. It accurately imitates the equalization or filtering that accompanies

covering one’s ears. Hillborg’s electronic techniques have now realized their full

potential as a postmodern musical language, and this precise moment is a perfect

example of his unabashed mantra: anything can be music.

14
Fröst used the freedom provided by these text instructions to insert the “E lucevan le stelle”
aria from Giacomo Puccini’s Tosca (1900), which Hillborg was displeased with, believing the
quote leaves too strong of an impression on the listener. From Jeff Dunn interview, “Liquid
Marble Man.”

62
 The Clarinet Concerto is also Hillborg’s most sophisticated use of synthetic

space. The delay effect is now used almost exclusively as a technique to transition

between different material, and Example 20 diagrams all of the different delays

present in the concerto. He is clearly trying to give the impression that the room is

changing size by imitating different echo speeds and decay times. This tightening of

spatial control is possibly an outgrowth of his work on the Dahlgren pop album. When

mixing music for an album of this type, the recording engineers place their

instrumental mixes into synthetic spaces to help unify the sound of the separately

recorded instruments. This is usually achieved by adding reverb, which is a complex

filtering and delay algorithm that attempts to imitate the resonance of natural spaces.

Another way of creating synthetic space is through the use of subtle and unobtrusive

background material. Brian Eno uses this musical wallpaper concept skillfully in his

sonic introduction to the rock band U2’s album The Joshua Tree, in which

synthesizers create an artificial and calming space inside of which the band is

presented to the listener. Hillborg applies this same technique in the Clarinet

Concerto’s opening measures. The strings begin sustaining a soft and wide-ranging

dissonant chord beginning in measure 1––following a lengthy opening three-minute

prelude by the soloist. The chord drones for twenty measures, and by this time it is

completely subsumed into the sound of the room because of its high degree of

dissonance. It effectively blends in with the room’s external noises, e.g., the

ventilation system or the rustling of the audience. When Hillborg abruptly stops this

chord––labeled Freeze! in the score, it creates the impression of the room evaporating.

63
Example 21: Clarinet Concerto (Peacock Tales), catalog of delay effects.

Briefly returning to cataloguing Hillborg’s objects as they first appear in his

output, there are two important new figures in the Clarinet Concerto. The first is a

brief melody, labeled cantabile in the score, and it is defined by its 4-against-3

syncopation pattern. Its appearance and function is completely insignificant within the

confines of the concerto, but it will become one of his more interesting musical

64
caricatures in later works such as Eleven Gates (2005-6) and Six Pieces for Wind

Quintet (2007). Two instances of the cantabile melody are shown in Example 22, and

this is the most baffling first use of any of Hillborg’s gathered objects because it has

no real function in the composition of its first appearance. It is as if Hillborg is aware

of the material’s future importance, and he has inserted it as a hint. The second

important figure in the Clarinet Concerto is the granular synthesis inspired use of rapid

repeating notes to create the effect of a sustained unison. This can be seen in Example

23, and to give the granular effect, Hillborg uses a steady rhythmic pulse, but gives

each instrument a slightly different pattern to create a more dynamic unison.

Example 22: Clarinet Concerto (Peacock Tales), cantabile melodies.

65
Example 23: Clarinet Concerto (Peacock Tales), mm. 411-4, granular synthesis-
inspired unison. © C. F. Peters Frankfurt Leipzig London New York. Used by
permission.

Immediately following the Clarinet Concerto, Hillborg would compose

Dreaming River (1998)––which won first prize at the 2002 UNESCO International

Rostrum of Composers––and the sounds-more-electronic-than-acoustic Brass Quintet

(1999). These works are even more exacting uses of the previous discussed materials,

and from this point forward there are few significant and/or new additions to

Hillborg’s collection of materials. He will also confidently return to some of the

techniques he had previously abandoned on the grounds of their difficult execution.

With the inclusion of these older materials, a complete picture begins to form around

Hillborg’s intent as an artist.

Two remaining techniques from this stylistic period in Hillborg’s output are of

significance, and they come from two different sources: the use of the unison as a

66
transitional device––from Dreaming River––and the use of other composers’ music as

samples––from Rap Notes (2000). Example 24 shows the unison transition in measure

15 from Dreaming River, and the source material of the samples in Rap Notes are

Mozart’s “Der Hölle Rache kocht in meinem Herzen”––known colloquially as “the

Queen of the Night Aria”––from The Magic Flute (1791), and the sostenuto e pesante

“Spring Rounds” from Stravinsky’s Le Sacre du printemps (1913). Hillborg will

continue to use sampling in his later works Exquisite Corpse (2002) and …lontana in

sonno….

Example 24: Dreaming River, mm. 15-7, unison transition device. © C. F. Peters
Frankfurt Leipzig London New York. Used by permission.

67
 Hillborg’s output throughout the 1990s is extremely varied, and it is clear that

he is comfortable working in a wide variety of mediums, something that makes him a

rarity in era of increasing specialization and pinpoint craftsmanship. There are few

composers with the skills necessary to cross over from film music, to popular song, to

serious concert music, and to do them all with the expertise of an insider. Progressing

into the twenty-first century, Hillborg’s output will become less diverse, and the

artistic control he begins to yield over his collected objects will reach its pinnacle.

68
 CHAPTER 4

INTERNATIONAL YEARS

Today, Hillborg still lives in Stockholm, though since 1998 he has spent his

summers in southern France. His reputation as a composer now extends far beyond the

borders of his home country, as evidenced by commissions from the New York

Philharmonic (2013), Los Angeles Philharmonic (2011), Chicago Symphony

Orchestra (2011), and Berlin Philharmonic (2010). He is the first Swedish composer to

be commissioned by the Berlin Philharmonic and his reputation is firmly evolving as

an important voice of his generation.1 He did not, however, gain widespread

international appeal (despite his music being programmed in Los Angeles by Salonen

and the former Los Angeles Philharmonic New Music Advisor Steven Stucky since

the mid-1990s) until the early 2000s when more conductors began programming his

works––such as Alan Gilbert, who was the Chief Conductor of The Royal Stockholm

Philharmonic from 2000 until 2008, and David Zinman, who came into contact with

Hillborg’s work at the Aspen Music Festival in 2008. In the decade since 2002,

Hillborg has also developed important artistic relationships with two world-renowned

Swedish musicians, mezzo-soprano Anne Sofie von Otter and choral conductor Eric

Ericson. Incredibly, with the exception of Zinman, all of these relationships were

cultivated in Hillborg’s home country, which is remarkable considering its remote

geographical location and relatively obscure history regarding contemporary music.2

1
Franzén, “Anders Hillborg: A good composer need not be a dead composer.”
2
Quist, History of Modern Swedish Music, 1.

69
A publishing contract with C.F. Peters in Frankfurt, also contributed to Hillborg’s

growing international presence.

Hillborg’s music after the turn of the century is more candid than his previous

works, and its intent is more transparent. Now in his mature style, the musical objects

that Hillborg the composer-curator had spent two decades cultivating finally come to

fruition in works after 2001. Hillborg is less cryptic about their use, and the objects are

clearly labeled in most pieces from this point forward. The implementation of the

objects is also more focused, perhaps as a result of Hillborg himself better

understanding their effect and how to use them in more successful combinations over

longer trajectories.

This period commences with the work Exquisite Corpse (2002), which was

commissioned by Alan Gilbert and The Royal Stockholm Philharmonic. Hillborg

acknowledges his Surrealist affinities for the first time by naming his work Exquisite

Corpse, a concept made popular by French Surrealist artists from the early twentieth

century and based in turn on an old parlor game in which several people write a

complete sentence by each contributing a single word, unaware of each other’s

choice.3 The intent is to reveal, as Nicolas Calas suggests, the “unconscious reality in

the personality of the group.”4 But in Hillborg’s instance, it expresses the conscious

reality in the personality of the individual, as there is only one participant and there is

no unknown material to the partaker. Hillborg instead plays with an imaginary group,

which includes the likes of, perhaps predictably, György Ligeti, and, less predictably,

Jean Sibelius. Because of this workaround, and counter to the work’s title, Exquisite
3
William Stanley Rubin, Dada and Surrealist Art (London: Thames & Hudson, 1969), 278.
4
Nicolas Calas, quoted in William Stanley Rubin, Dada and Surrealist Art, 278.

70
Corpse cannot be considered Surrealist, but rather Surrealist-inspired. Hillborg uses

the Surrealist technique as a heuristic to solve compositional issues of form and

content. This does not detract from the work’s merit, but strengthens it by

reinterpreting the exquisite corpse concept to suggest that the contemporary composer

is a myriad of personalities and capable of playing the group game unaccompanied.

Viewed in this way, Exquisite Corpse must be seen as an expression of the author’s

multiple realities, and ultimately a demonstration of taste––which is uncovered

through assessing the quotations included of his imaginary participants’ music, and the

material he chooses to include from his own output.

The bold title, Exquisite Corpse, also suggests a musical form, and possibly the

expectation of a deviation from the author’s previous formal techniques. In this

instance, the title acts as a revelation, rather than a new point of departure for Hillborg.

The piece’s form is similar to that of his previous compositions’, but from this point

forward it becomes the standard model, perhaps as a result of his new working

process. Beginning in the late 1990s, Hillborg begins to construct his compositions in

digital audio workstations (known colloquially as DAWs), which are computer

software applications intended primarily for recording, editing, and playing back

digital audio. As discussed earlier, working in this type of environment stresses

macro-level over micro-level thought because of the constant presence of a bird’s-eye

view, and because of the built-in prejudice towards editing preexisting sound files

versus constructing your own. In essence, Hillborg’s music begins to be shaped by the

medium of its production, and Exquisite Corpse is the first clear indicator of this new

method of creating music.

71
 Influenced by this new process of working in a DAW, Hillborg again uses

musical quotation in Exquisite Corpse––he had previously explored the technique is

his work Rap Notes for rappers, coloratura soprano, and orchestra in 2000. The most

salient borrowings occur at the beginning and the ending of the piece. Example 25

shows the work’s opening melody, which is an allusion to Ligeti’s Lontano (1967).

Although Hillborg’s melody is not exactly the same as Ligeti’s––perhaps due to

copyright concerns––the effect is undeniably that of quotation because of the similar

pitches, interval pairing, contour, and most importantly, orchestration of the slowly

unfolding tune. Ligeti first used the melody from Lontano in his choral work Lux

Aeterna (1966),5 and this is the same score that Hillborg stole from the college library

as a student in the late 1970s, as discussed in Chapter 2, and possibly a reason the

quotation is included as part of his exquisite corpse. The quotation that concludes the

work is from a more unlikely source: Jean Sibelius. In measure 295, roughly fifteen

bars from the work’s conclusion, out of the fog of a five-octave (025) trichord,

Sibelius emerges. Example 26 shows the sample separated from the background

trichord. The five-measure Sibelius passage is from his Symphony No. 7 (1924),

rehearsal letter B, measures 36-40. It again may suggest that the composer of the

twenty-first century is more than one person, and Hillborg’s diverse musical output

can corroborate this claim. In this context, and going forward, Hillborg’s allusions

seem like inside jokes, and a way of rewarding his loyal friends and audiences. This

specific quote is likely directed towards Sibelius’ compatriot, Esa-Pekka Salonen, but

could also be viewed as another allusion to the Beatles––their experimental collage

5
Richard Steinitz, György Ligeti: Music of the Imagination (Boston: Northeastern University
Press, 2003), 156.

72
from The White Album, “Revolution 9,” also contains a quotation of Sibelius’ Seventh

Symphony.

Example 25: Melodies from Exquisite Corpse, mm. 1-13, and Ligeti’s Lontano, mm.
1-15, including melodic intervals.

Example 26: Exquisite Corpse, mm. 295-9, Sibelius quotation.

73
 Shortly after composing Exquisite Corpse, and now in full command of his

craft, Hillborg wholly merges form and content in the fifteen-minute orchestral song

…lontana in sonno… (2003). It is his most successful combination of materials to date

and a remarkable culmination of his previous techniques. Anne Sofie von Otter and

the Göteborgs Symfoniker (Gothenburg Symphony Orchestra), conducted by Kent

Nagano, commissioned and premiered the work. The use of text, as in the Dahlgren

album, again helps in gathering insight into the intent behind Hillborg’s recycled

materials.

To begin understanding …lontana in sonno…, a quick analysis of the text is

essential. Hillborg chose two sonnets by fourteenth-century Italian scholar and poet

Francesco Petrarca (hereafter Petrarch). This immediately sheds light on the quasi-folk

material present in his output, and the texts help to better understand that material. The

two sonnets Hillborg chose are numbers 250 and 301. What makes these texts

important is that Sonnet 250 was written before the death of Laura, the object of

Petrarch’s desires, and Sonnet 301 was written after her death. Example 27 shows the

Petrarch texts––omitting the two middle stanzas of Sonnet 301 because Hillborg does

not set them to music––and compares their structure with that of …lontana in sonno….

An Italian sonnet from this era is constructed in two parts based on a rhyming scheme:

the first two stanzas are called the octave, because they total eight lines, while the third

and fourth stanza are called the sestet, because they total six lines. As we can see,

Hillborg has removed the central text from Sonnet 301, and grouped the entire sonnet

74
into the Intro of the piece, and a fragment of the sestet is used for the Outro.6 Hillborg

also breaks Petrarch’s structure in Sonnet 250 in order to accommodate popular song

form––AABA. The sonnet has four stanzas, which could map onto song form, but

Hillborg skews it slightly by including the last line from the first stanza in the work’s

second section, A’. The composition’s textual psychology is thus described: the Intro

and Outro express distant love, but directed towards the afterlife or eternity, while the

central text expresses earthly distant love. Therefore, the song is a process of

remembering; beginning with grieving death––Intro, then grieving earthly obsession

and rejection––A and A’, which ultimately culminates with a quotation of the lusted-

after lover’s voice––B, and then briefly returning to both finite and infinite grief––A”

and Outro.

6
I use the terms Intro and Outro to describe the outer sections of …lontana in sonno…
because the work is in popular song form––AABA, and the colloquial terminology for
materials on either side of that form are Intro and Outro.

75
Example 27: …lontana in sonno…, comparison of Hillborg’s structure and Petrarch’s
structure. English translation from the musical score.

Hillborg uses objects from his previous pieces to illuminate this process.

Example 28 diagrams the work’s form. Immediately apparent is the contrast between

the simplicity of this structure and the complex and varied structures of the Violin

76
Concerto and Celestial Mechanics. In this specific work, Hillborg scales back the

juxtapositions of inharmonious materials in favor of a more transparent and seamless

form. The objects are still present, but are now woven together by the text, which

provides a sense of unity to the contradictory combinations. The material is also tied

together by the use of a standard form, and although the text clearly suggests a four-

part form, it is interesting that Hillborg used song form, and unknowingly so.7 It is

perhaps the artist’s unconscious instincts that tell us the most about the artist, and in

this instance, the influence of popular music and the remnants of writing an album

with Eva Dahlgren perhaps still remain in Hillborg’s language.

7
Hillborg, interview by author, November 27, 2011.

77
Example 28: …lontana in sonno…, formal design.

78
 The work begins and ends with the droning of four glass harmonicas––tuned

crystal glasses––playing in octaves. The pitch material of both the Intro and the Outro

is constructed using different church modes, with the droning glasses as a reference

point––see Example 29. At the premiere, Hillborg instructed the singer, Anne Sofie

von Otter, to sing the Intro and Outro senza vibrato, and the overall effect is described

by writer Per F. Broman: “the dense but clear, vibrato-free, sine-tone sound …

suggests a giant synthesizer … as well as the spacious acoustics of a cathedral.”8 He

goes on to say that the “static introduction with a Gregorian chant-like melody … is

emulating the medieval mystic Hildegard of Bingen.”9 These quotes reinforce

Hillborg’s penchant for creating musical spaces that his materials can metaphorically

reside in––in this instance through the use of glass harmonicas,10 as well as his

predilection for medieval allusions. Also of importance is the suggestion of a

synthesizer-like sound, which is created by the glass harmonicas and later in the work

by non vibrato string playing. The glass harmonicas in particular create this illusion

because of a perceived LFO effect that is created by the performers swirling their

fingers around the rims of the glasses. The pitch is constant, but the amplitude is

variable, and it is dictated by the speed at which the performers swirl their fingers.

Another interesting byproduct of the four glasses oscillating at slightly different

speeds is a subtle phasing effect, which is easily perceived due to the unison and

8
Anders Hillborg, Boldemann Gefors Hillborg, with Anne Sofie von Otter (mezzo-soprano)
and the Gothenburg Symphony Orchestra, conducted by Kent Nagano, recorded at the
Konserthuset, Gothenburg, December 2003, Deutsche Grammophon 00289 477 7439,
compact disc, liner notes by Per F. Broman.
9
Ibid.
10
Hillborg uses the glass harmonicas for precisely this effect. Because of their indirect
projection of sound, they give the impression of being omnipresent in the room, creating a
very effective space. From interview by author, November 2011.

79
octave doublings. The drone, combined with the church modes, gives the work’s

opening and closing sections a sense of eternity, matching the text.

Example 29: …lontana in sonno…, Intro and Outro harmonic analysis.

80
 If the Intro metaphorically places listeners in the eternal world of the dead,

than the A material repositions them in the world of the living. The first statement of

A, referring back to the graph in Example 28, is based on Hillborg’s previous work,

Exquisite Corpse––which in turn is based on Ligeti’s Lontano. Hillborg imported the

sound file of Exquisite Corpse’s opening into his DAW and overdubbed it with a

vocal melody.11 It is a sample of an allusion, and now even further removed because

of the added meaning conveyed by the grieving and despondent Petrarch text––pre-

Laura’s death. Example 30 diagrams the opening pitch material, and in general, the

singer outlines the sampled pitches from Exquisite Corpse. The singer’s long phrases

rarely repeat, and they evoke what John Adams calls hypermelody,12 which is the

continuous production of new melodic material. The singer’s material varies more in

the second phrase, measures 17 through 30, in which the orchestra plays the opening

material in retrograde, transposed down a minor third. Between these two phrases, in

measure 14, is the first instance of what can be described as cracking material, seen in

Example 31. After the Exquisite Corpse pitch material fully accumulates in measure

13, the flutes are instructed to overblow ad libitum, creating indeterminate microtonal

overtones. The reason this is labeled cracking is that it is an attempt to metaphorically

transition between the world of the living and the world of the dead. The specific term

crack is taken from Carlos Castaneda––mentioned in conjunction with Rite of Passage

from Chapter 1––who wrote about, “the crack between the worlds,”13 which Hillborg

set to music in his most recent work Sirens (2011). At that specific moment in Sirens,

11
Hillborg, interview by author, November 27, 2011.
12
Adams, Hallelujah Junction: Composing an American Life, 174.
13
Carlos Castaneda, The Teachings of Don Juan; a Yaqui way of knowledge (Berkeley:
University of California Press, 1968), 137.

81
Hillborg introduces a new microtonal harmonic spectrum, and the flute overblowing in

…lontana in sonno… provides the same otherworldly harmonic effect. The cracking

effect will repeat three times before finally leading to the work’s B section, which can

be viewed as a successful leap into another form of consciousness after two

unsuccessful attempts.

Example 30: …lontana in sonno…, mm. 1-14, orchestra melody from Exquisite
Corpse––via Ligeti’s Lontano––and mezzo-soprano pitch material.

82
Example 31: …lontana in sonno…, cracking material development.

83
 The A and A’ sections of …lontana in sonno… are related primarily by their

texture. Hillborg again uses the technique of removing the instruments’ identity by

removing their attacks and decays to create a completely seamless texture across

instrumental choirs. He also uses accumulating harmonic techniques in the A sections

to create motion towards goals. As seen before in Example 30, he uses monophonic

polyphony to create and sustain a (01345679) octachord, which is then cracked by

overblowing flutes, and later percussion, harp, and piano––see Example 31. Example

32 demonstrates another accumulation technique. The winds and brasses play a

chorale which begins on a B major chord in measure 32, and slowly adds notes until it

cracks on a twelve-note aggregate in measure 45––see Crack 2 in Example 31. The

bass motion propels the chorale forward, as the upper harmonies begin to stagnate,

building tension towards the aggregate goal.

Example 32: …lontana in sonno…, mm. 32-44, harmonic progression leading towards
crack aggregate.

84
 The A’ section repeats this same accumulative process, but instead it uses an

octave-cycle technique rather than the monophonic polyphony technique from

measures 1 through 30. Example 33 demonstrates the harmonic motion and

counterpoint created by these octave cycles in measure 52. It is immediately visually

apparent that Hillborg is using the technique, but in this instance he does not use prime

numbers to generate different lengths of cycles, and the cycles ascend four octaves

instead of three. Hillborg instead generates rhythmic interest through syncopation and

phasing, which gives the impression of fourth-species counterpoint. The rising octaves

in section A’ also have the effect of aftertouch on a synthesizer––in this instance it

would be an algorithm that ascends four octaves after being instantiated. The end

effect is the illusion of constantly ascending species counterpoint, not unlike the

auditory illusion of a Shepard tone.14

14
Dodge and Jerse, Computer Music, 106. A Shepard tone is an electronic music technique
that gives the auditory illusion of a tone continually ascending or descending using a
superposition of sine waves separated by octaves.

85
Example 33: …lontana in sonno…, mm. 52-70, octave cycles.

After the third, and now successful, crack attempt in measure 108 (see

Example 31) the winds and brasses return in measure 124, but this time with a

distinctly pesante feel––not unlike the previously sampled Rite of Spring material in

Rap Notes. But rather than accumulating towards an aggregate, it quickly comes apart.

The winds and brasses separate into a chorale in B-flat major, the high strings sustain

an attack-less and dissonant texture, and the quasi-folk violin solo emerges as if a

hallucination, in measure 154. The solo is labeled “like a folk-tune,”15 for the first

15
Anders Hillborg, …lontana in sonno… (Frankfurt: CF Peters, 2003) 17.

86
time, and it is in the exact same form as it is presented in “Kväll” (“Evening”) from

the Eva Dahlgren album. At this moment, the text’s subject is fully enthralled in self-

deception and fantasizing about the last evening he spent with his lost lover. It is no

coincidence that the quasi-folk violin solo from “Evening” should appear when the

text states, “Don’t you remember that final evening?” Hillborg is rewarding the

listeners who know his music intimately.

The solo marks the transition into the B section or bridge. The harmony

drastically changes to D major, with brief moments in A major, and the singer is now

accompanied by a small chamber ensemble, consisting only of the solo violin, harp,

and piano, creating an intimate change of space. The melody is also more florid now,

and set in a rapid triple meter. It is a clear allusion to the past; an apparition conjured

up by the text and also by the composer. The fantasy is short-lived and abruptly ends

with the sudden appearance of a D minor chord in measure 191––evoking the grief-

stricken pulsations of the second movement of Henryk Górecki’s Symphony No. 3.

This quickly leads back into the A material in measure 204, marked molto cantabile,

seen in Example 34. This thirty-two-voice contrapuntal texture would later be labeled

“Meadow of Sad Songs” in Eleven Gates, and it is a return in affect to the earthly

sorrow from parts A and A’.

The work concludes as it began, but now set a half step higher (see Example

29). The upward transposition could be perceived as a sign of hope, which is an

unexpected gesture considering the melancholic text. Further complicating the ending

is the incomplete final sentence with which the piece ends: “I saw my good from here:

87
and with these steps turn to see…”16 The final word, vedere (to see), cadences on an

inconclusive tritone between the singer and the glass harmonicas. The subject and

audience are ultimately left unfulfilled.

16
Anders Hillborg, …lontana in sonno… (Frankfurt: CF Peters, 2003) Preface.

88
Example 34: …lontana in sonno…, mm. 199-211, A” material returns at measure 204.
© C. F. Peters Frankfurt Leipzig London New York. Used by permission.

89
 After …lontana in sonno… there are only four new important developments in

Hillborg’s work. The first three are found in Eleven Gates––which is another revealing

title––and the fourth is found in Cold Heat (2010)––the Berlin Philharmonic

commission.

Example 35 is from a section of Eleven Gates labeled “Waves, Pulse and

Elastic Seabirds.” The example is a demonstration of the elastic seabirds, which is

defined by a minute upward glissando in the woodwinds. The origin of this technique

can be found in a short work entitled Aging Elastic Seabirds written by Hillborg’s

alter ego, Runar Fran Sverige, which was presented to composer Magnus Lindberg

and Esa-Pekka Salonen as a fortieth-birthday present in 1998. As many clarinets as

possible are instructed to play “Happy Birthday” with as much vulgarity as possible.

In essence, it is a joke that found its way into his serious output.

Example 35: Eleven Gates, Rehearsal Mark T1, elastic seabirds. © C. F. Peters
Frankfurt Leipzig London New York. Used by permission.

90
 The second important technique in Eleven Gates is the fulfillment of the short

cantabile melody found in the Clarinet Concerto. It is shown in Example 36 and it is

labeled in the score “Toy Pianos on the Surface of the Sea.” It is a simple tune that

creates its momentum by using melodies in two different meters: 3/16 and 2/8. It will

reappear as a movement of the Six Pieces for Wind Quintet in 2007.

Example 36: Eleven Gates, mm. 329-35, Rehearsal Mark M1, “Toy Pianos on the
Surface of the Sea.” © C. F. Peters Frankfurt Leipzig London New York. Used by
permission.

The third important late development, also found in Eleven Gates, is the

allusion to the final chord from “A Day in the Life” from the Beatles’ Sgt. Pepper’s

Lonely Hearts Club Band. The famous E-major chord, played primarily by piano, at

the end of the Sgt. Pepper’s album can be described as a cathartic release after a long

and dissonant building of tension at the end of the album’s last song. The Beatles and

their recording engineers famously used recording technology to add unnatural sustain

to the piano chord by slowly boosting the recording level in inverse relationship to the

91
natural decay of the piano. Hillborg quotes this last gesture in Eleven Gates, and he

orchestrates the unnatural sustain with strings and glass harmonicas. The gesture is

immediately recognizable, and possibly his most identifiable object, but what makes it

particularly interesting is what immediately precedes it: rapidly ascending chromatic

scales. These scales are at the core of Hillborg’s language, and with this specific

allusion in Eleven Gates, he is possibly revealing that their impetus came from the

dissonant and chaotic build-up at the end of Sgt. Pepper’s. Another possible reading,

and perhaps more interesting still, is that Hillborg is transitioning between musical

genres by creating a connection between two of his primary, yet disparate, influences:

the opening chromatic scales of Ligeti’s Melodien and the end of the Beatles’ Sgt.

Pepper’s album. It is another method of cracking between worlds and an interesting

device for prolonging the musical discourse.

Finally, the last important development in Hillborg’s language is the twisted

and merged harmonic spectra. The technique is first found in Cold Heat in measure

73. Hillborg combines the lower frequencies of a B-flat natural overtone series with a

synthetic upper series. Example 37 shows the twisted spectrum. The first thirteen

partials––disregarding the lowest pitch––are shown on the first line, and are notated

with microtones to show their specific intonation and relationship to the B-flat

fundamental. Partials 14 to 34, on the second line, are notated without microtones and

are based on a different series. The deformation of harmonic spectra is one of

Hillborg’s most interesting techniques and also one of his most potent musical objects.

92
Example 37: Cold Heat, mm. 73-86, twisted harmonic spectrum.

93
 CONCLUSION

Labeling Hillborg a postmodernist may overgeneralize his artist achievements,

considering the expression's fluid borders and often lenient definitions, but it is

undoubtedly the cultural movement that most clearly explains his work and its place

within the larger context of the global artist community at the turn of the twenty-first

century. His work is worthy of considerable future scholarship primarily for this

reason, and the annals of history may very well deem him the quintessential

postmodernist composer.

Hillborg’s unique language is undoubtedly aided by the integration of

technology into his creative process. Therefore, the use of an electronically oriented

approach to analyzing his music, both electronic and acoustic, is necessary. Further

research into mapping electronic concepts onto non-electronic musical techniques

could prove fruitful for theorists and composers looking to extract more meaning from

music composed in, but not limited to, the twenty-first century. Hillborg’s music

provides an excellent starting point for this research because he references commonly

used techniques––delay, reverb, EQ, LFO, phasing, etc., as opposed to highly

idiosyncratic procedures which were practiced in the experimental studios of the

1950s and 60s by composers such as Karlheinz Stockhausen and Luciano Berio.

Finally, Hillborg’s approach to composition is refreshing because of its

inclusionary aesthetic and its diversity of content. His successful work in multiple

genres aids him in this approach and gives him a unique perspective from which to

cross over boundaries. Today, in the age of information and consumerism, many

94
composers have access to and are being influenced by a wide variety of musical

genres and styles, and Hillborg’s mantra that “every sound, in the right context, can be

music,” is now more appropriate than ever before.1 Hillborg is a significant example

of how artists can continue to create thought-provoking and original art in an age of

oversaturation and global awareness, and he has opened new doors of possibility for

composition in an electronic world.

1
Hillborg, Eleven Gates, BIS Records BIS-SACD-1406, compact disc, liner notes by Sara
Norling.

95
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1950.” In Music and Gender, edited by Pirkko Moisala and Beverley
Diamond, 189-218. Urbana: University of Illinois Press, 2000.

Nave, C.R. Georgia State University. “Vowel Formants.” Accessed on December 10,
2012. http://hyperphysics.phy-astr.gsu.edu/hbase/music/vowel.html#c4

Quist, Robert. The History of Modern Swedish Music: an Introduction to Nineteen

Composers. Lewiston, NY: The Edwin Mellen Press, 2010.

Roads, Curtis. The Computer Music Tutorial. Cambridge, Mass: MIT Press, 1995.

Rubin, William Stanley. Dada and Surrealist Art. London: Thames & Hudson, 1969.

Steinitz, Richard. György Ligeti: Music of the Imagination. Boston: Northeastern

University Press, 2003.

Tongeren, Mark C. van. Overtone Singing: Physics and Metaphysics of Harmonics in

East and West. Amsterdam: Fusica, 2004.

Whittall, Arnold. Jonathan Harvey. London: Faber, 1999.

98
 DISCOGRAPHY

LP

Rite of Passage
Amirkhanian, Charles, Stanley Haynes, Anders Hillborg, Ingvar Karkoff, Ilmar
Laaban. 1982. Stockholms elektronmusikfestival 1982. Sweden: Fylkingen
Records.

Prologue; Broken Necklace

Rickfos, Mikael, and Sharon Dyall. 1988. Broken Necklace: Theme from “Friends.”
Sweden: Polygram/Mercury.

COMPACT DISC

Ein midsommarnattsdröm
Allmänna sången. 2008. Resonanser. Åkersberga, Sweden: BIS.

Brass Quintet
Axiom Brass. 2010. Axiom Brass: New Standards. Chicago: Axiom Brass, LLC.

Close Up (Version for Guitar and Fixed Media)

Bergström, Mats. 2002. SubString Bridge. Åkersberga, Sweden: BIS.

Celestial Mechanics
Börtz, Daniel, Anders Hillborg, Thomas Liljeholm, and Anders Hultqvist. Musica
Vitae. 1997. Sweden: Caprice.

Tryffelhymn
Chini, Andre, Mikael Edlund, Annie Gosfield, Sten Hanson, Anders Hillborg, Mårten
Josjö, David Lang, Per Martensson, Tristan Murail, and S. Pat Simmerud.
2009. The Peärls Before Swïne Experience; Swïne Live!. Stockholm: Caprice.

99
Lava; Stenmannen; När en vild röd ros slår ut doftar hela skogen; En gul böjd banan;
Kväll; Du som älskar; Innan kärleken kom; Vild i min mun
Dahlgren, Eva. 1995. Jag vill se min älskade komma från det vilda. Stockholm: The
Record Station/BMG.

muoɔɑa#yiyωɔoum
Eliasson, Anders, Eric Ericson, Anders Hillborg, Thomas Jennefelt, Jan Sandström,
and Sven-David Sandström. 1990. Swedish Contemporary Vocal Music, Vol.
III. Stockholm: Phono Suecia.

Ein midsommarnattsdröm
EMO Ensemble. 2008. Hereillä/Awake. Helsinki: Fuga.

Kväll
Ernman, Malena. 2004. Naïve. Sweden:KMH.

Tampere Raw
Fröst, Martin. 1994. French Beauties and Swedish Beasts. Åkersberga, Sweden: BIS.

Close Ups (Version for Clarinet and Percussion)

Fröst, Martin. 1997. Close Ups: Music for Clarinet and Percussion. Djursholm,
Sweden: BIS.

Påfågelsögonblick
Fröst, Martin. 2010. Fröst and Friends. Åkersberga: BIS.

Clarinet Concerto (Peacock Tales) (Version for Clarinet, Piano, and Strings)
Fröst, Martin. 2011. Dances to a Black Pipe. Åkersberga: BIS.

muoɔɑa#yiyωɔoum
Göteborg University Chamber Choir, Gunnar Eriksson. 1994. Vocal Minimalism from
Scandinavia. Sweden: Swedish Society Discofil.

Clang and Fury; muoɔɑa#yiyωɔoum; Lamento; Celestial Mechanics; Hudbasun

Hillborg, Anders. 1992. Clang and Fury. Stockholm, Sweden: Phono Suecia.

100
Clarinet Concerto; Liquid Marble; Violin Concerto
Hillborg, Anders. 2003. Clarinet Concerto; Liquid Marble; Violin Concerto. Helsinki:
Ondine.

King Tide; Exquisite Corpse; Dreaming River; Eleven Gates

Hillborg, Anders. 2011. Eleven Gates. Åkersberga, Sweden: BIS.

“Why God, Why?” (Arrangement of Schönberg and Boublil Song)

Jöback, Peter. 1997. Personliga val. Sweden: Sony Music Entertainment.

U-TANGIA-NA
Lindberg, Christian. 1991. The Sacred Trombone. Djursholm, Sweden: BIS.

U-TANGIA-NA
Lindberg, Christian. 1993. Ten-Year Jubilee. Djursholm, Sweden: BIS.

Rap Notes
Orchestre Symphonique des Etudiants de Lille Flandres, Pierre-Yves Gronier. 2002.
Univers ouverts. France:OSELF.

muoɔɑa#yiyωɔoum (Version for Male Choir)

Orphei drängar. 2003. Diamonds: Twentieth-Century Masterpieces for Male Choir.
Åkersberga, Sweden: BIS.

…lontana in sonno…
Otter, Anne Sofie von. 2008. Boldeman, Gefors, Hillborg. Hamburg, Germany:
Deutsche Grammophon.

Six Pieces for Wind Quintet

Royal Wind Quintet Stockholm. 2008. Royal Wind Quintet Stockholm. Paris: Intégral
Classic.

muoɔɑa#yiyωɔoum
St. Jacobs Chamber Choir. 1997. Sonority: St. Jacob's Chamber Choir Sings Swedish
Choral Music A Cappella. Djursholm, Sweden: BIS.

101
Kongsgaard Variations
Stenhammar Quartet. 2009. Quartetto con forza. Stockholm, Sweden: Phono Suecia.

Brass Quintet
Stockholms kammarbrass. 2002. NOW. Åkersberga, Sweden: BIS.

Paulinesisk Procession
Stockholms spårvägsmäns musikkår. 1993. Växlar. Lidingö, Sweden: Twin Music.

muoɔɑa#yiyωɔoum
Swedish Radio Choir. 2010. Visions and Non Thoughts. Stockholm, Sweden: Caprice.

muoɔɑa#yiyωɔoum
Swedish Radio Choir. 2012. Nordic Sounds 2. Herwijnen, The Netherlands: Channel
Classics.

DIGITAL

Eleven Gates
Hillborg, Anders. 2006. Live From Disney Hall. Hamburg, Germany: Deutsche
Grammophon. Digital release.

Cold Heat
Hillborg, Anders. 2010. Digital Concert Hall. Berlin, Germany: Berliner
Philharmoniker. Digital release.

FILM

Andersson, Kjell-Åke. 1988. Friends. Sweden: Swedish Television (SVT). 87 min.

Kalmér, Åsa and Maria Weisby. 2001. Kaspar i Nudådalen. Sweden: Swedish
Television (SVT). PAN Vision Video 244832. 180 min.

102
Löfman, Carl. 1998. Hjärtats Saga. Sweden: Swedish Television (SVT). PAN Vision
Video 200442. 159 min.

Södersten, Mikael. 1990. Pass. Sweden: Omega Film and Television AB. 43 min.

103
 CHRONOLOGICAL LIST OF WORKS

1973
O soluppgång i evigheten (O Sunrise of Eternity);
Voice or Mixed Choir and Piano or Small Orchestra
Text by Pär Lagerkvist
Swedish Music Information Center
1977
Vem är du som står bortvänd (Who are you who are turned away); SATB
Text by Pär Lagerkvist
Kummelby Förlag
1978
Lilla Sus grav (The Grave of Little Sus); SATB
Text by Li He (Translated by Göran Sommardal)
Swedish Music Information Center
1979
Worlds; Orchestra
Warner Chappell Music Scandinavia; Gehrmans Musikförlag
Mental Hygiene III; Fixed Media
Swedish Music Information Center
Untitled; Piano, Oboe, and 13 Solo Strings (withdrawn)
Swedish Music Information Center
Rite of Passage (formerly Bandkomposition I); Fixed Media
Swedish Music Information Center
1980
Poem 62; SATB
Text by e.e. cummings
1981
Spöksonaten (The Ghost Sonata); Fixed Media
Incidental Music for the Play The Ghost Sonata by August Strindberg
Swedish Music Information Center
1982
Kama Loka; Fixed Media
Overture for the Play The Ghost Sonata by August Strindberg
Swedish Music Information Center
Hyacintrummet (The Hyacinth Room); Harp
Incidental Music for the Play The Ghost Sonata
Swedish Music Information Center
Lamento; Clarinet and 14 Solo Strings
Swedish Music Information Center
Variations (Dante); Soprano, Mezzo-soprano, Flute, Saxophone, Viola, Double
Bass, Percussion (withdrawn)
From Oxford Online

104
 Living Room; Fixed Media
Swedish Music Information Center
1983
muoɔɑa#yiyωɔoum; SATB
Available from the Composer
1984
Två motetter (Two Motets); SATB
Traditional Swedish Texts
Warner Chappell Music Scandinavia; Gehrmans Musikförlag
1985
Celestial Mechanics; 17 Solo Strings and Percussion
Warner Chappell Music Scandinavia; Gehrmans Musikförlag
1987
Musik för 10 Celli (Music for 10 Cellos)
Swedish Music Information Center
1988
Friends; Fixed Media
For the Film Friends by Kjell-Åke Andersson
SVT Drama
Prologue; Fixed Media
From the Film Friends by Kjell-Åke Andersson
Polygram; Mercury
Broken Necklace; Vocals and Pop Group
From the Film Friends by Kjell-Åke Andersson
Polygram; Mercury
1989
Clang and Fury; Orchestra
Swedish Music Information Center
Hosianna I; SATB
Traditional Swedish Text
Swedish Music Information Center
Hosianna II; SATB
Traditional Swedish Text
Swedish Music Information Center
1990
The Giveaway; Fixed Media
For the Film Pass by Mikael Södersten
Omega Film and Television AB; Södersten Film Productions
Hudbasun (Skin Trombone); Trombone and Fixed Media
Swedish Music Information Center
1991
U–TANGIA–NA; Alto Trombone and Organ or Fixed Media
Swedish Music Information Center
Fanfare; Brass Quintet
Swedish Music Information Center

105
 Tampere Raw; Clarinet and Piano
CF Peters/Frankfurt
Närbilder (Close Ups); Flute
Swedish Music Information Center
1992
Violin Concerto; Violin and Orchestra
CF Peters/Frankfurt
Innan kärleken kom (Before Love Arrived); Voice and Orchestra
Text by Eva Dahlgren
Swedish Music Information Center
The Record Station; BMG
1993
Paulinesisk Procession; Wind Band and Inflatable Doll built by Mikael Pauli
Swedish Music Information Center
Psaltarpsalm; SATB, Brass Quintet, and Organ
Traditional Swedish Text
Swedish Music Information Center
1994
Trombone Concerto “Strange Dances and Singing Water”;
Trombone and Orchestra
Swedish Music Information Center
Strange Dances and Singing Water; Fixed Media
From Oxford Online (possibly withdrawn)
Kväll (Evening); Voice and Violin (or Trombone)
Text by Eva Dahlgren
Swedish Music Information Center
The Record Station; BMG
När en vild röd ros slår ut doftar hela skogen
(When the Scent of a Wild Red Rose Permeates the Entire Forest);
Voice, Background Vocals, and Orchestra
Text by Eva Dahlgren
Swedish Music Information Center
The Record Station; BMG
Vild i min mun (Wildflowers in My Mouth); Voice and Orchestra
Text by Eva Dahlgren
Swedish Music Information Center
The Record Station; BMG
Du som älskar (You Lover); Voice and Orchestra
Text by Eva Dahlgren
Swedish Music Information Center
The Record Station; BMG
En gul böjd banan (A Yellow Bent Banana); Voice and Windband
Text by Eva Dahlgren
Swedish Music Information Center
The Record Station; BMG

106
1995
Jorden är ett litet rum (The Earth is a Small Room); Voice and Piano
Arrangement of Eva Dahlgren Song
Swedish Music Information Center
The Record Station; BMG
Lava; Orchestra
Swedish Music Information Center
The Record Station; BMG
Stenmannen (Stone Man); Voice, Background Vocals, and Orchestra
Co-written with Eva Dahlgren; Text by Eva Dahlgren
Swedish Music Information Center
The Record Station; BMG
Liquid Marble; Orchestra
CF Peters/Frankfurt
Nursery Rhymes I and II; Clarinet and Percussion (optional)
Swedish Music Info Center
Close Up; Clarinet and Percussion (Version for Guitar and Fixed Media)
Swedish Music Information Center
1996
Meltdown Variations; Sinfonietta
Swedish Music Information Center
Hjärtats Saga (Miracle of the Heart); Fixed Media
For the TV Series Miracle of the Heart
PAN Vision Video
Available from the Composer
Påfågelsögonblick (The Peacock Moment); Clarinet and Piano
CF Edition Peters/Frankfurt
1997
Varför Gud? (Why God, Why?); Voice and Orchestra
Arrangement of Schönberg and Boublil Song from Miss Saigon
Available from the Composer
1998
Prèlude; Clarinet
Swedish Music Information Center
160 sekunder: Kunglig fanfar (160 Seconds: Royal Fanfare);
Soprano, Alto, and Chamber Orchestra
Text by Hans Åstrand
Swedish Music Information Center
Clarinet Concerto (Peacock Tales); Clarinet and Orchestra
CF Peters/Frankfurt
Chamber Version 2003; Clarinet, Piano, and Strings
Polar Version 2000; Clarinet and Fixed Media
Millenium Version 2004; Clarinet and Fixed Media
Millenium Version 1998; Clarinet and Orchestra

107
 Åldrande Elastiska Sjöfåglar (Aging Elastic Seabirds);
Flute, Oboe, Clarinet, Bassoon, Horns, Percussion
by Runar Fran Sverige
Swedish Music Information Center
Dreaming River; Orchestra and Two Suonas
CF Peters/Frankfurt
1999
Brass Quintet
CF Peters/Frankfurt
King Tide; Orchestra
CF Peters/Frankfurt
Fugue; Piano
Swedish Music Information Center
2000
Cadenzas for Mozart’s Concerto in G for Flute, K. 313
Swedish Music Information Center
Kaspar i Nudådalen (Kaspar in Nudådalen); Fixed Media
For the TV Series Kaspar i Nudådalen
by Åsa Kalmér and Maria Weisby
Swedish Television (SVT)
Gnomvibrationer; Sinfonietta and Suona
Co-written by Pär Lindgren and Jan Sandström
Swedish Music Information Center
Rap Notes; Rappers, Soprano, Sampler, and Orchestra
CF Peters/Frankfurt
2001
Piano Concerto; Piano, Sampler, and Orchestra
CF Peters/Frankfurt
Corrente della primavera; Piano
CF Peters/Frankfurt
En Midsommarnattsdröm (A Midsummer Night’s Dream); SATB
Text by Rune Lindström
Warner Chappell Music Scandinavia / Gehrmans Musikförlag
2002
Mirages; Orchestra
CF Peters/Frankfurt
Exquisite Corpse; Orchestra
CF Peters/Frankfurt
Tryffelhymn (Truffle Hymn); Flute, Violin, Cello, and Piano
Swedish Music Information Center
Stockholmsfanfar 2002 (Stockholm Fanfare); Brass Choir
Swedish Music Information Center
Velocity Engine; Piano
CF Peters/Frankfurt

108
2003
…lontana in sonno…; Mezzo-soprano and Orchestra
Text by Petrarch
CF Peters/Frankfurt
2004
Lux Aeterna; SATB
CF Peters/Frankfurt
Vid havet (By the Sea); Children’s Chorus
Text Unknown
Swedish Music Information Center
Endless Sky; SATB
Texts by Dante, Dylan Thomas, Traditional
CF Peters/Frankfurt
Concerto for Two Trombones and Orchestra;
Two Trombones, Sampler, and Orchestra
CF Peters/Frankfurt
2005
Borg fanfar (Borg Fanfare);
Brass Choir
Swedish Music Information Center
2006
Eleven Gates; Orchestra
CF Peters/Frankfurt
Kongsgaard Variations; String Quartet
CF Peters/Frankfurt
2007
Heisenbergminiatyrer (Heisenberg Miniatures); String Quartet
CF Peters/Frankfurt
Percussion Concerto; Percussion and Orchestra
CF Peters/Frankfurt
Six Pieces for Wind Quintet; Woodwind Quintet
CF Peters/Frankfurt
2008
Koral & Polkamaskin; Orchestra
CF Peters/Frankfurt
Two Pieces for Solo Marimba; Invention and Hal’s Daisy; Marimba
CF Peters/Frankfurt
The Cradle Song; Male Chorus
Text by William Blake
CF Peters/Frankfurt
2009
Four Transitory Worlds; Orchestra
CF Peters/Frankfurt
Flood Dreams; Orchestra and Two Suonas
CF Peters/Frankfurt

109
 Flute Concerto; Flute and Orchestra
CF Peters/Frankfurt
Méditations sur Pétrarque; Oboe and Orchestra
CF Peters/Frankfurt
Duet; Clarinet and Violin
CF Peters/Frankfurt
2010
Vaporised Tivoli; Chamber Orchestra
CF Peters/Frankfurt
Notes pour Grimal; Violin
CF Peters/Frankfurt
Cold Heat; Orchestra
CF Peters/Frankfurt
2011
Sirens; Soprano, Mezzo-soprano, Choir, and Orchestra
Text by Homer and Castaneda
CF Peters/Frankfurt
2013
The Strand Settings; Soprano and Orchestra
Text by Mark Strand
CF Peters/Frankfurt

110
 A PORTFOLIO OF THREE WORKS

A Dissertation
Presented to the Faculty of the Graduate School
of Cornell University
In Partial Fulfillment of the Requirements for the Degree of
Doctor of Musical Arts

by
Christopher Andrew Stark
August 2013
© 2013 Christopher Andrew Stark
 A PORTFOLIO OF THREE WORKS

Christopher Andrew Stark, D.M.A.

Cornell University 2013

The works presented in this portfolio express the musical worlds in which the
author primarily resides: acoustic orchestral music and electroacoustic chamber music.
Two-Handed Storytelling is a seven-minute work for piano and electronics, and
it is an exploration of the concept of fiction and non-fiction in music. The work
attempts to give the impression of physical impossibility and blurred reality by using
pre-recorded samples of the piano in combination with the live performance.
…and start west is a thirteen-minute work for chamber orchestra, and it is
constructed in three parts. It is based on the concept of travel writing, and it attempts
to musically depict the impressions of driving from coast to coast in the United States,
beginning in the East. It takes its inspiration and title from the last sentence of the first
chapter of William S. Burroughs’ Naked Lunch.
Ignatian Exercises is a seven-and-a-half minute work for sinfonietta. The title
is in reference to the Spiritual Exercises, written by St. Ignatius of Loyola, and also to
the town of the author’s birth, St. Ignatius, Montana. The piece is based on themes
surrounding the dark history between Jesuit settlers and indigenous Native Americans
in rural western Montana.
 BIOGRAPHICAL SKETCH

Christopher Stark was born in St. Ignatius, Montana on December 12, 1980.
He has previously studied at the Cincinnati Conservatory (MM) and the University of
Montana (BM), and in 2012 he was a resident artist in Italy at Civitella Ranieri. Stark
is a recipient of the Underwood Commission from the American Composers Orchestra
and winner of the prix de composition from the Orléans International Piano
Competition. His music has been featured on NPR’s Performance Today, and has also
been programmed, rehearsed, and performed by such ensembles as the Detroit
Symphony Orchestra, Sacramento Philharmonic, American Composers Orchestra,
Buffalo Philharmonic, University of Texas Wind Ensemble, CCM Wind Symphony,
Israeli Chamber Project, Aspen Contemporary Ensemble, and members of eighth
blackbird. Stark has also been awarded an ASCAP Morton Gould Young Composer
Award and placed first in the Utah Arts Festival's Orchestral Composition
Competition. He was a regional winner of the 2011 SCI/ASCAP Student Commission
Competition, and has received honorable mentions from both the ASCAP/CBDNA
Frederick Fennell Prize and the Music Teachers National Association Distinguished
Composer of the Year Award.

iv
 ACKNOWLEDGMENTS

I would like to thank Roberto Sierra and Steven Stucky for sharing with me
their immense knowledge of music and making me aware of what it takes to be great. I
would like to thank Xak Bjerken for his inspiring friendship, Andrew Zhou for editing
the piano score in this portfolio, and Cynthia Johnston Turner and Chris Younghoon
Kim for programming my music and encouraging me to make more during my time at
Cornell University. Finally, I would like to thank the American Composers Orchestra
and Paul Underwood who commissioned the chamber orchestra work in this portfolio.

v
 TABLE OF CONTENTS

Biographical Sketch iv
Acknowledgments v

Two-Handed Storytelling
Notes 1
Score 3
…and start west
Notes 18
Score 20
Ignatian Exercises
Notes 92
Score 95

vi
 Commissioned by American Composers Orchestra with the generous support of Paul Underwood

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{
f strike on palm to achieve staccato effect ff

Æ
#œ
Æ
œ
Æ
#œ
Æ
œ
Æ
#œ # ^œ
4 #œ 24
2
&4 ∑ J ‰ J ‰ J ‰ J ‰ J ‰ #œ 43 Œ Œ #œ œ 4 J ‰ Œ R ≈ ‰ Œ
ff p
#œ nœ
Ϯ Ϯ Ϯ Ϯ Ϯ
Pno.
6
œ #œ nœ œ 44 2
2 #œ 43 nœ
ff
&4 ∑ J ‰ J ‰ J ‰ J ‰ J ‰ ? ∑ &4
>

{
° *° *
nœ
> # >˙
Æ Æ Æ Æ Æ
2 bœ ‰ œJ bœ ‰ œ ‰ bœ 43 Œ ≈ & #œ œ 44 #˙ 24
G#

&4 ∑ J ‰ J J J ‰ ? bœ
œ œ Œ
Db
ff sons étouffés p …
j j j j j
Hp. F#
2 3 44 24
A§ ff 5
∑ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ? ≈ œ ∑
&4
' ' ' ' ' #œ b œ 4
œ
> œ
>
° 2 #˙ ^
#œÆ Æ #œÆ ‰ œÆ ‰ #œÆ ‰ œÆ ‰ œÆ
>
4 #˙ œ ≈ ‰ Œ 24
‰ œ ‰ ‰ 43 r ≈ #œ œ 4
port.

& 4L J J J J J J J R
nœ œ
Vln. I
> œ >
3
> ffp ff
# >˙
ff p ffp
^j ff
#-œ -œ -œ
2
&4 ˙ œ ‰ œj ‰ j
œ ‰
j
œ ‰
j j
œ ‰ œ ‰
j
œ ‰ 43 #œ
44
œ
24
œ œ œ œ >
Vln. II
' ' ' ' ' ' ' > 3
ff 3 > ffp ffp

œ. œ. .
p ffp

B 24 ˙ #œ œ ≈ ‰ Œ
ff
44 Π2
œ œ. #œ œ. œ. œ. #œ œ. œ nœ. #œ nœ œ œ 43 nœ ‰ R &4
. . # œ. . # œ. . # œ. >
Vla.
> >œ n˙ > œ
>
<#> ˙
f p ff
.œ . . . .
œ œ œ #œ .
ff sempre
44 B2
? 24 43
œ œO ™™
œ œ œ #œ œ. œ nœ. #œ nœ œ œ r≈ ‰ Œ 4
Vc.
. . . #œ . # œ. . # œ. > > >œ n>˙ Ȯ œO
f . >
Ϫ Ϫ
ff sempre ffp ff
pizz.
œ œ œ #œ >œ >œ arco
. . .
?2 >œ 3 nœ 44 Œ ≈ #œ #œ œ. Œ ‰ ≈ œR 24
¢‹ 4 ≈ J
∑ ‰ J #œ #œ #œ ≈ 4 r ≈‰
>
Db.
nœ œ
ff sempre
> ' f
 > ^ 3
<#> œ #œ œ > #œ
>œ
° 2
>
Œ ‰
#œ
‰
nœ 3
4Œ ‰ ≈ #œr œ r 24 œ #œ œ. #>œ 43
Fl. & 4 œ ≈ ‰ Œ Œ
J
‰
ff 3 3 >
ffp ff

> .
> . #œ 3
Ob.
2
&4 Œ ‰ œ œ #˙ 43
#œ œ œ ‰ Œ #œ #œ œ œ nœr ≈ ‰ Œ 24 Œ #œ. #œ 4
> > . > 3
ff ffp ffp ff

^
> #œ n>œ #œ œ. >
b œ b œ ‰ 43
2 ‰ ‰ ‰ J 43 J ‰ ‰ j 24 J
<#>œ.
3
Cl. &4 ∑ #œ ‰ ≈ œ nœ #œ œ œ #œ ‰ Œ ‰
3 > > 3
3
ff ffp ff
> . > . >
b œ œ œ. Œ
3

?2 43 ≈ #œ œ b œ. b œ. ‰ ‰ #œJ #œ #œ ‰ 24 43
¢ 4 œ. œ.
‰ Œ ∑ ‰ ∑
Bsn.
J
3

¿ ¿
° 2
+ +
r
Hn. &4 ∑ #˙ 43 œ ≈ ‰ ‰ ≈ #œr œ r
œ ≈ ‰ Œ Œ 24 ∑ 43
> >
ffp ff ffp ff

Tpt.
2 <#>œ
&4
Ϯ
≈ Œ ∑ 43 ∑ ∑ 24 ∑ 43
f

> . > .
?2 j bœ œ #œ. œ œ œ. #œj
Tbn.
¢ 4 œ. ‰ Œ ∑ 43 ≈ J ‰
.
‰ Œ Œ 24 ∑ 43

>
° 2 #>œ 24 Œ >œ # œ 3
¢& 4 43 #
3
∑ #œ Œ ≈ œ nœ #œ Œ Œ Œ ‰ 4
Perc. I
> > œ
> œ #œ *
3
*° * °
f mf
°

{
>œ
#œ >œ
œ 3 #^œ 24 ≈ #œ œ œ Œ
2
&4 Œ Œ ‰ 4J ‰ Œ Œ ∑ 43
3
^ mf
œ œ #œj ‰
Pno.
24 3
2
&4 Œ Œ 43 Œ ≈ œ nœ #œ Œ ≈
#œ #œ œ
Œ Œ ∑ &4
> > > *
° * °

{
> > ^œ
#œ œ bœ ^.
bœ >
2 J 43 ‰ ? œ #œ Œ 2 œR ≈ ‰ 43
&4 ‰ Œ ‰ ‰ ∑ Œ &4 Œ
3
>
Hp. 3

b œ b œ ‰ 24 3
? 24 43
Ab G§
∑ ∑ ∑ Œ Œ ∑ &4
3

> > >

#œ œ œ œ #œ nœ >
° 2 ‰ œ > > #œ
‰ ‰ ‰ J ‰ 43 #œ œ >œ ≈ Œ ‰
3
‰ Œ 24 œ #œ œ nœ. #>œ ‰ J 43
Vln. I &4 œ #œ #œ nœ J
3 3
ffp ff > > œ 3

<#> œ
^
# œ. >œ # >œ
>œ > #œ nœ 3 #>œ >
24 r ≈ ≈ nœ #œ #>œ
2
&4 ‰ œ #œ ‰ ‰ 4J ‰ ‰ œ œ #œ #œ ≈ n˙ 43
> #>œ œ œ R
Vln. II

ff 3
3
ffp ff
> > 3
ffp ff
> #œ j
2 43 Œ ‰ 24 ‰ 43
3 3 3
&4 ∑ #œ ‰ Œ Œ #-œ -œ -œ #œ #œ ‰ ‰ B œ #œ œO œO
# œ
Vla.

3 > > # >œ >

ffp
p ff

# œ^ n>œ #œ > #œ . >

pizz. arco
> #œ
Vc.
B 24 ∑ Œ 43 Œ ‰ Œ ≈ #œ œ nœJ ‰ ? #œ #œ 24 ∑ 43
sffz ff 3

> . > . .
.
?2 34 ≈ b œ œ œ #œ. œ œ b œ œ. #œj 24 43
Db.
¢‹ 4 œ. œ. ‰ Œ ∑ J ‰
.
‰ Œ Œ ∑
4
>Ϫ #Ϫ b Ϯ Ϯ Ϯ b Ϯ Ϯ Ϯ
° 3
œ
R ≈ ‰ Œ Œ 24 ∑ ∑ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 44
Fl. &4
ff poss. 3 3
mf ff
>œ ˙ Æ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ
Ob.
3
&4 ∑ ‰ ‰ J 24 œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 44
3 3 3
ffp ff p ff
> 24 b œJÆ Æ b œÆ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ
Cl.
3
&4 ∑ ‰ ‰ b œJ ˙ ‰ œJ ‰ J ‰ J J J J J J J ‰ 44
3 3 3
ffp ff p ff

?3
. . . . .
24 ≈ b œ b œ. œ. œ. œ ≈ b œ œ b œ œ. œ. . b œ b œ. œ. ≈ . b œ œ. b œ b œ b>œ œ >œ > 4
¢ 4
∑ ∑ . . nœ
Bsn. . . nœ
. nœ nœ nœ. . nœ 4
f

° 3 ∑ ∑ 24 j ‰ œj ‰ j ‰ j j j3 j j j 3 j 44
Hn. &4 bœ bœ œ ‰ bœ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰
' ' ' ' ' ' ' ' ' '
ff p ff

Tpt.
3
&4 ∑ ∑ 24 œj ‰ œj ‰ œ
j ‰ j
œ ‰
j j3 j
œ ‰ œ ‰ œ ‰
j j 3
œ ‰ œ ‰ œ
j ‰ 44
' ' ' ' ' ' ' ' ' '
ff p ff
. . . >
?3 24 ≈ b œ b œ. œ. œ. œ ≈ b œ œ ‰ œ. œ. b œ œ ≈ . b œ œ. b œ b œ œ >œ > 44
Tbn.
¢ 4 ∑ ∑ . . nœ
. œ. . . œ nœ. . œ
. nœ
f

°? 3 24 44
ææ
Timp. 4 ∑ ∑ ∑ ∑ ∑ Œ œ

n>œ ™ # >œ ™
pp
(hard plastic mallet)

Perc. I
3
&4 ∑ 2 œ
/4
œ œ œ œ œ œ œ œ œ
&4
4
° * ff
p
3 3
ff

3 24 ≈ œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 44
¢
Perc. II / 4 ∑ ∑

{
f simile

> Æ œÆ œÆ œÆ œÆ œÆ œÆ œÆ
3 ∑ #œ œ >œ Œ Œ 24 œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ ?
œ
œ #œ 44
&4
3 3
>
ff

24 b œJÆ Æ b œÆ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ b œÆ
p
#œ #œ >œ Œ
Pno. 6
3 ‰ œJ 4
ff
∑ Œ ‰ ‰ ‰ ? #œ nœ
&4 J J J J J J œ 4

{
°3 * 3
°
> >
#œ œ œ
3
&4 ∑ Œ Œ 24 œj ‰ œj ‰ œ
j ‰ j
œ ‰
j j3 j
œ ‰ œ ‰ œ ‰ œ
j ‰ ?œ #œ b œ 44
3 ' ' ' ' ' ' ' '
>
ff
Hp.
b œ # œ >œ sons étouffés p
ff
5

3 24 j 4
3 D§

&4 ∑ Œ Œ
bœ ‰ œj ‰ bœ
j ‰ j
œ ‰
j j j
bœ ‰ œ ‰ œ ‰ bœ
j ‰ ? œ
œ 4
3 ' ' ' ' ' ' ' '
> ^Æ
>œ™ #œ™ # >œ œ œ ˙ œ
° 3 24 J ‰ œj ‰ j ‰ j j j3 j j j 3 j 44
Vln. I &4 œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
3 ff poss. ' ' ' ' ' ' ' ' '
> ^
n>œ # >œ œ # œ # œ >œ ˙ # œÆ
p ff

3 J ‰ ‰ J 24 J ‰ b œj ‰ j ‰ j j j j
3
j j
3
j 44
Vln. II &4 bœ œ ‰ bœ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰
3 ff poss. ' ' ' ' ' ' ' ' '
>Ȯ ™
p ff

B 43 ™
Oœ 24 ≈ 4
Vla.
R ≈ ‰ Œ Œ b œ. b œ œ œ œ. ≈ b œ œ nœ. b œ. ≈
œ. œ nœ. b œ. b œ. œ nœ. b œ. œ. nœ. b œ. b œ. nœ. b>œ œ œ n>œ 4
ffp ff f
. . . . . . . >
. œ. ≈ b œ œ b œ. . . >
? 43 ∑ ∑ 24 ≈ b œ b œ. œ. œ. œ. œ. . b œ b œ. œ. ≈ . b œ .œ b œ b œ b œ œ >œ > 4
Vc. . . nœ
. nœ nœ nœ. . . nœ. nœ 4
f

24 ≈ b œ ™
pizz. arco
?3 bœ œ œ ‰ 4
¢‹ 4 œ nœ ‰ b œ œ œ
∑ ∑ bœ œ ≈ œ bœ œ
Db. J œ œ œ ≈ > >œ œ 4
f >
 5
° 4 #˙ ™ œ >
j bœ œ
3
24
&4 ∑ Ó Œ ‰ ≈ œœ R ≈‰ nœ ‰ J œœ‰ œ nœ #˙
Fl.
˙™
> 3 >
#>˙ ™
ffp ff
>
p 3
œ
4
&4 ∑ ∑ œ nœ ≈ Ó Œ ‰ œ b œ œ œ ‰ ≈ œ œ nœ #˙ 24
> >
Ob.
ffp ff > >
#>˙ ™
sub. p 3

4 œ 24
#œ œ œ ‰ ‰ j œœ
3
&4 ∑ Ó Œ ‰ r≈ ‰
Cl.
œ œ nœ ˙™ œ œœ œ˙
> ffp ff > # œ
sub. p >
> >
?4
>œ >
Bœ #œ. ˙™
n>œ œ 24
Bsn.
¢ 4 #˙ ™ œ œ œ r≈ ‰ Œ Œ ≈ ‰ ∑
> > œ bw œ 3
> >
p
ffp ff

° 4
ffp ff

Hn. &4 ∑ Ó r≈ ‰ Œ Ó ∑ ∑ 24
b˙ œ

#>˙ ™
p ff

4 œ 24
Tpt. &4 ∑ ∑ R ≈‰ ∑ ∑
ffp f
?4 24
¢ 4 #˙ ™
r ≈ ‰ Ó r≈ ‰ Œ Ó ∑ ∑
Tbn.
œ b˙ œ
>
ffp f

°? 4
p ff

b œ— Œ
Œ Ó b œ— Œ Ó ∑ Ó ∑ 24
Timp. 4 #œ— >
> pp

#>œ
p hard yarn mallet
mf

Perc. I
4
&4 ∑ ∑ Œ Œ Œ j‰ j‰ j‰ j ‰ j ‰ j ‰
2
j‰ j‰ 4
° * bœ œ œ œ bœ œ œ œ
'mp ' ' ' ' ' ' '
4 ^œ ‰ Œ
tam-tam mallet
… 24
¢/ 4 J
Ó Œ Ó ∑ ∑ ∑
Perc. II
œ—

{
ff p

#>œ
? 44 Ó Œ #œ œ b œ ∑ & Œ Ó b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ 24
J J J J J J J J
Æ Æ œÆ œÆ Æb œ œÆ œÆ œÆ
Pno. mp

? b œJ ‰ œJ ‰
ff
? 44 J ‰ J ‰ 24
6
‰ & #œ œ œ Ó Œ Œ J ‰ J ‰ J ‰ J ‰
<n> œ b œ
#œ œœ nœ
>

{
#˙ > b˙ > ° *
> *° > *
b >œ–
? 44 Ó Œ bœ bœ œ Ó Œ Œ & Œ Ó b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ 24
J J J J J J J J
… Cb …
b Ϯ Ϯ Ϯ Ϯ b Ϯ Ϯ Ϯ Ϯ
Hp. mp sons étouffés
Bb 5
? 44 Œ Ó Œ Œ ∑ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 24
#œ œ bœ
> #œ
>

° 4 œ #˙ ™
> œ
‰ b œj œ b œnœb œ œ 24
6

&4 Œ œ n œ b ˙™ nœ R ≈‰ ∑ ∑
œ n œ #œ
Vln. I
>
mf ff > > ffp ff
ffp ff
4 ‰ b œj œ nœ b œ œ ‰ j ‰ j 24
5
Vln. II &4 Œ œ œ bw r≈ ‰ Œ Ó ∑ Ó
bœ b œ
> œ '
mf ff
> '
ffp ff mf
>
nœ r
‰ b œJ ‰ b œj 24
Æ
B 44 #˙ ™ ≈ #œ >œ b w œ≈‰ Œ Ó ∑ Ó
'
Vla.
> >
ffp ff mf
ff sempre
> Æ
≈ nœ #œ >œ b w b œ— Œ
r ‰ b œ ‰ b œj 24
arco
? 44
pizz.

#˙ ™ œ≈‰ Œ Ó Ó Ó
Vc.
> J '
> ffp ff
p
mf
ff sempre

b œ– b œÆ b œÆ
arco
>
pizz.

Db.
?4
¢‹ 4 #˙ ™ ≈ œ #œ >œ b w r
œ≈‰ Œ Ó Œ Ó Ó ‰ J ‰ J 24
> > p mf
ffp ff
ff sempre
6
° 2
>
œ b>œ œ œ b œ ‰ j ≈ #œ ™
j œ
3

& 4<#>˙
44 Œ bœ œ ‰ Œ 24 b œ nœ ‰ 44 Œ Œ
Fl. nœ J #œ œ œ #œ nœ œ > #œ œ
> 3
> > >
3

> j #>œ >

4> œ #œ ™ œ ‰ <#>œ œ
& 4<#>œ
2 bœ œ œ bœ ‰ 3
24 ‰ ≈ #œ #œ 44 œ
3
Ob. œ nœ#œ#œ nœ 4 #œ nœ ‰ œ #œ Œ
#œ ™
≈ j
œ nœ >œ #œ
> 3 > > > > 3

> > >

r bœ œ bœ b>œ nœ œ #œ ‰ ‰ œJ #œ<#>œ œ
3
2 4 #œ 24 Œ 4
3
Cl.
¢& 4 œ œ œ# œ # œ œ 4 ˙
>
œ œ ≈ œ #œ œ
> > œ #œ ™ œ J #œ #œ #œ 4 œ
> 3 3

° 2 44 ≈ ‰ Œ
(stop note abruptly, do not rearticulate)
24
simile
44 ≈ ‰ Œ
¢& 4 b ˙
Hn. r Ó ∑ r Ó
œ ˙ œ
' '
pp f pp f

° 2 44 2 44
Perc. I
¢& 4 b œj ‰ œj ‰ j ‰ j ‰ j ‰ j ‰ ‰ j ‰ j Œ j ‰ 4 j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
' ' œ œ œ œ œ œ œ œ œ bœ œ œ œ
' ' ' ' ' ' ' ' ' ' ' ' '

{
2 Æ Æ 44 b œj ‰ œj ‰ j j j j j 2 j j 44 b œj ‰ j j j
& 4 b œJ ‰ œJ ‰ œ œ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ 4 b œœ ‰ œœ ‰ œ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ œœÆ œœÆ b œœÆ œœÆ œœÆ Æ Æ Æ œœÆ œœÆ œœÆ
? 24 b œJ ‰ œJ ‰ b œ œ b œ œ b œ
Pno.
44 œ ‰ œ ‰ 2œ œ 44 # œ ‰
J J J ‰ J ‰ ‰ J ‰ J Œ J ‰ 4J ‰ J ‰ J J ‰ J ‰ J ‰

{
2 Æ Æ 44 b œj ‰ œj ‰ j j j j j j
œœ ‰ 24 b œœ ‰
j 44 b œj ‰ œj j j
& 4 b œJ ‰ œJ ‰ œ œ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ œ œ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æb œ Æ œœÆ œœÆ b œÆ œÆ œœÆ Æ œœÆ Æb œ Æ œÆ œÆ
? 24 b œJ ‰ œJ ‰ œ 2 b œœ œ
Hp.
44 œ ‰ œ ‰ ‰ œJ ‰ œJ Œ 44 # œ ‰ œ ‰ œJ ‰ œJ ‰
J J J ‰ J ‰ J ‰ 4J ‰ J ‰ J J

° 2 b˙ 44 œÆ ≈ ‰ Œ
(abruptly stop note, do not rearticulate)
24 44 r ≈ ‰ Œ
simile

&4 Ó ∑ ˙ œ Ó
Vln. I
R '
pp f pp f

2 44 j ‰ j 2‰ j ‰ 44 j ‰ Œ
Vln. II & 4 ‰ j ‰ b œj j ‰ Œ Ó Ó ‰
bœ bœ 4 bœ j #œ Ó
bœ ' œ ' ' ' œ '
' ' '

j Æ
B 24 ‰ b œ ‰ b œJ 44 j ‰ Œ
œ Ó Ó ‰ b œÆ ‰ b œÆ 24 ‰ b œÆ ‰ j 44 j ‰ Œ Ó
Vla.
' J J J œ #œ
' ' '

? 24 ‰ b œj ‰ b œÆ 44 j ‰ Œ Ó Ó ‰ b œÆ ‰ b œJÆ 24 ‰ b œÆ ‰ j 44 j ‰ Œ Ó
Vc.
' J œ J J œ #œ
' ' '

Æ b œÆ b œÆ b œÆ b œÆ
? 24 ‰ b œJ ‰ J 44 œÆ J ‰ J 24 ‰ J ‰ œÆ 44 #œÆ
Db.
¢‹ J ‰ Œ Ó Ó ‰ J J ‰ Œ Ó
 7
° >œ > > >
œ 2 nœ b œ œJ ‰ >œ 4
J 4 n˙ ™
nœ œ œ
3
nœ œ
& œ #œ œ R ≈ ≈ R 24 œ b œ b œ 44 b œj ‰ ‰ j bœ œ œ Œ
œ
4 œ
Fl.
> > œ œ œ > nœ #œ
> 3
3

> > 3 >

œœ > œ ‰ œJ 2 œ
bœ œ œ
‰ 44 n˙ ™
nœ œ
& œ #œ ‰ J ‰ 24 œ b œ b œ 44
bœ
j
œ ‰ Œ ‰ nœ œ nœJ ‰ ‰ œj œ J 4 œ
>
Ob.
> > 3 3

> >
j nœ œ œœœœ2 44 œ nœ œ 24 œ
b œ œ >œ œ
44 n˙ ™
Cl.
¢& ‰ #>œ œ 4 œJ ‰ Œ bœ œ œ œ œ bœ œ > œ œ Œ œ
> 3

° 24 44 r ≈ ‰ Œ 24 44 r ≈ ‰ Œ
¢&
Hn. ∑ Ó ∑ Ó
b˙ œ ˙ œ
' '
pp f pp f

° 24 j ‰ j ‰ 44 j ‰ j ‰ j ‰ j ‰
¢& j‰ j‰ j‰ j ‰ ‰ j‰ jŒ j ‰ 24 j ‰ j ‰ 44 j ‰ j ‰ j ‰ j ‰
<n> œ
Perc. I
bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '

{
j j j j 24 b œœj ‰ j j j j j j j j j j j j j j
& b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ 24 b œœ ‰ œœ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ Æ œœÆ Æ Æ Æ Æ b# œœÆ œœÆ œœÆ Æ œÆ
? # œ ‰ œœ ‰ œœ ‰ œœ ‰
b œ b œ b œ œ
œ œœ œœ b œ Æ Æ Æ Æ
Pno.
24 # œ ‰ 4#œ œ ‰ 24 #b œœ ‰ œœ ‰ 44 bnœœ ‰ œœ ‰ œœ ‰ œœ ‰
J J J J J J ‰ 4 b œJ ‰ œJ ‰ œJ ‰ œJ ‰ ‰ bœ ‰ œ Œ
J J J J J J J J J

{
j j j j 24 b œœj ‰ œœj ‰ 44 b œœj ‰ œœj ‰ œœj ‰ œœj ‰ j j j j j j j j j
& b œœ ‰ œœ ‰ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ 24 b œœ ‰ œœ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ Æ œÆ
? #b œœ ‰ œœ ‰ œœ ‰ œœ ‰ b œ Æ Æ Æ Æ
Hp.
24 # œ ‰ œ ‰ 44 b œ ‰ œj ‰ œj ‰ œj ‰
j
‰ b œj ‰ œj Œ
j j j
F§

J J J J J J œ ‰ 24 b œ ‰ œ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' J J J J

° ∑ 24 b ˙ 44 œr ≈ ‰ Œ Ó 24 ˙ 44 œÆ ≈ ‰ Œ
& ∑ Ó
Vln. I
' R
pp f pp f

‰ j ‰ b œj 24 ‰ b œj ‰ œj 44 j ‰ Œ Æ
& Ó Ó Ó ‰ #œj ‰ j 24 ‰ œ ‰ j 44 j ‰ Œ Ó
Vln. II
bœ ' ' ' nœ ' œ J œ bœ
' ' ' ' '

Æ œÆ
B Ó ‰ b œj ‰ b œj 24 ‰ b œj ‰ j 44 nœj ‰ Œ Ó Ó ‰ #œJ ‰ œj 24 ‰ J ‰ œj 44 b œj ‰ Œ Ó
Vla.
' œ ' ' ' '
' ' '

Æ œÆ
? Ó ‰ b œj ‰ j 24 ‰ j ‰ j 44 nœj ‰ Œ Ó Ó ‰ #œJ ‰ œj 24 ‰ J ‰ œj 44 b œj ‰ Œ Ó
Vc.
' bœ bœ œ ' ' ' '
' ' '

# Ϯ
b œÆ Æ Æ
24 ‰ b œJÆ ‰ œÆ 44 nœJ ‰ Œ œÆ œÆ
? Ó ‰ J ‰ b œJ ‰ J ‰ J 24 ‰ J ‰ œj 44 b œj ‰ Œ
¢‹
Db. J Ó Ó Ó
' '
8
° r
> >
& œ≈‰ Œ Ó 24 Œ œ
44 b>˙ ™ œœ
œ bœ bœ
b œ nœ b ˙
>
≈ œ œ œ 24 nœ œ™
Fl. œ œ
ff > 3

> œ b>œ >

mf fmf

œ œ œ 4 b˙™
4> >
Ϫ
r 24 Œ b œ b œ nœ b ˙ ≈ œ œ œ 24 nœ
Ob. & œ≈‰ Œ Ó œœ œ
ff >œ> 3
> >
>
œ œ 4 ˙™
mf fmf
> > œ bœ >
Ϫ
r 4 >
Cl. & œ≈‰ Œ Ó 24 Œ œ b œœ b œ b œ nœ b ˙ ≈ œ œ œ 24 nœ œ
ff > œ
3
Æ Æ Æ Æ Æ Æ Æ Æ
Æ b œÆ œ b œ œÆ Æ œÆ b œÆ œÆ œÆ
mf fmf

B ≈ b œ b œÆ œÆ œÆ œÆ ≈ œ œÆ œÆ œÆ œÆ œÆ œÆ 24 ≈ œÆ œÆ b œÆ b œÆ œÆ œÆ œÆ 44
Æ Æ 24 ≈ b œ œ œ œÆ œ œ b œ
Bsn.
¢ ∑ œ ≈ œ≈ œÆ
mf f mf

° 24 44 r ≈ ‰ Œ 24
Hn. & ∑ Ó ∑
b˙ œ b˙
'
p f p
24 b œÆ ‰ œÆ ‰ œÆ ‰ 44 24 b œj ‰ œj3 ‰ œj ‰
(con sord.)

& ∑ ∑ ∑
Tpt.
J J J ' ' '
3

Ϯ b Ϯ
p
Æ
24 ŠϮ Ϯ b Ϯ b Ϯ Ϯ Ϯ Ϯ 44
p f

¢
B 24 Œ œÆ b œ
(con sord.)
Tbn. ∑ ∑ ∑
p f p

°?
hard felt mallets
∑ 24 ∑ 44 j ‰ Œ Ó ∑ 24 ∑
Timp.
bœ
'
p

24 j ‰ j3 ‰ j ‰ 44 b œj ‰ œj ‰ œj ‰ œj ‰ ‰ b œj ‰ œj Œ j 24 b œj ‰ œj ‰ œj ‰
3

Perc. I & j ‰ j ‰ j ‰ j ‰ œ ‰
bœ œ œ œ bœ œ œ ' ' ' ' ' ' ' ' ' '
' ' ' ' ' ' ' sub. mf
f

24 œ œ œ 24 œ œ œ
hard plastic mallet
44
¢/ ∑ ∑ ∑

{
Perc. II
3 3
p f p

Æ ‰ œÆ ‰ œÆ œÆ 24 b œÆ ‰ œÆ ‰ œÆ ‰ 44 b œj ‰ œj ‰ œj ‰ œj ‰ ‰ b œj ‰ œj Œ j 24 b œj ‰ œj3 ‰ œj ‰
& b œJ J J
‰
J
‰
J J J œ ‰
3
' ' ' ' ' ' ' ' ' '
Pno. sub. mf

24 b œj ‰ œj3 ‰ œj ‰ 44 b œJÆ Æ Æ Æ Æ Æ œÆ 24 b œJÆ ‰ œJÆ ‰ œJÆ ‰

f
? b œj ‰ œj ‰ œj ‰ j
œ ‰ ‰ œJ ‰ œJ ‰ œJ ‰ ‰ b œJ ‰ œJ Œ J ‰

{
' ' ' ' ' ' ' 3

Æ Æ Æ Æ 24 b œÆ ‰ œÆ ‰ œÆ ‰ 44 j ‰ j ‰ j ‰ j ‰ 24 j ‰ j3 ‰ j ‰
‰ #œj ‰ œj Œ j
F#

& b œJ ‰ œ ‰ œ
J J
‰ œ
J
‰
J J J #œ œ œ œ œ ‰ #œ œ œ
3
' ' ' ' ' ' ' ' ' '
Hp. f sub. mf
? j ‰ j ‰ j ‰
bœ œ œ
j
œ ‰
24 b œj ‰ œj3 ‰ œj ‰ 44 #œÆ Æ Æ Æ
‰ œJ ‰ œJ ‰ œJ ‰
Æ
‰ #œJ
Æ
‰ œJ Œ œÆ ‰ 24 #œÆ ‰ œÆ ‰ œÆ ‰
J J J J J
' ' ' ' ' ' ' 3

° ≈ 24 ≈ 44 b œ 24 ≈
& bœ ≈ ‰ j ‰ #œj ‰ nœj b œ œ b œ ≈ œ ≈ œ b œ œ œ bœ œ œ œ œ œ b œ'
Vln. I
œ bœ
' b œ' œ' œ' œ ' œ' œ' œ' œ' œ' œ' œ œ ' b œ' œ œ' œ ' bœ œ
' ' ' œ ' ' ' ' œ ' ' ' ' œ ' ' ' ' '
' ' ' ' ' ' ' ' ' '
& ≈ bœ ≈ 24 ≈ 4
4 bœ j
‰ j ‰ #œ ‰ nœ j ≈ ≈œ œ 24 ≈
Vln. II
œ bœ bœ œ bœ œ bœ œ bœ œ œ œ œ œ b œ'
' b œ' œ' œ' œ ' œ' œ' œ' œ' œ' œ' œ œ ' b œ' œ œ' œ ' b œ' œ ' ' œ ' ' ' ' œ ' ' ' ' œ ' ' ' ' '
' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ Æ Æ Æ Æ Æ 24 ≈ b œÆ œÆ œÆ œÆ Æ Æ
œÆ œ b œ
B ≈ b œ b œÆ œ œ œ ≈ œ œ œ œ œ œ œ 24 ≈ œ œ b œ b œ œ œ œ 44 b œ b œ ‰ œj ‰ j ‰ j œÆ b œ nœ b œ ≈ œ œÆ ≈ œ b œ œ œ Æ
œ
' ' ' ' ' ' ' ' ' ' ' # œ nœ
' ' ' ' ' ' ' '
Vla.
' ' '
? ∑ 24 Œ œÆ Æ 44 b œ ‰ j ‰ j ‰ j j ‰ j Æ 24 nœÆ Æ
‰ nœ œÆ
Vc. bœ bœ ' œ #œ nœ # œ œ ‰ b œ ‰ b œJ J
' ' ' œ
' ' ' ' '
Ϯ b Ϯ n Ϯ n Ϯ Ϯ
? 24 Œ b œÆ Æ Æ Æ Æ
44 b œÆ b œ ‰ œJ ‰ #œÆ ‰ nœÆ œÆ ‰ #œÆ œ ‰ b œJ ‰ J 24 J
Db.
¢‹ ∑ J J J ‰
 9
Ϫ
>
° >œ b>œ 4 b ˙ œ > œ b œ nœ œ b>œ ™ 24 nœ ™ b œ b œ 44 œ œ >œ ™ œ œ ™ >œ 24
& 4 œ œ œ nœ œ b œ œ
>
Fl.
f sub. mf > 3

Ϫ
>
œ b>œ 4 b ˙ œ > œ b œ nœ œ b>œ ™ 24 nœ ™ b œ b œ 44 œ œ >œ ™ œ œ ™ >œ 2
& 4 œ œ œ nœ œ b œ œ 4
>
Ob.
f sub. mf > 3

Ϫ
>
>œ b>œ 4 b ˙ œ > œ b œ nœ œ b>œ ™ 24 nœ ™ b œ b œ 44 œ œ >œ ™ œ œ ™ >œ 2
& 4 œ œ œ nœ œ b œ œ 4
>
Cl.
f sub. mf > 3

Æ Æ Æ Æ Æ Æ
B œÆ b œ œ œÆ œ œ œ œ 4 b œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ œÆ Æ Æ Æ Æ Æ Æ Æ
≈ b œ œ œ œ œ œ œ œ ≈ œ 24 b œ œ œ œ œ œ œ 44 24
¢
Bsn. 4 ∑ ∑
f mf f

° 44 24 44 r ≈ ‰ Œ 24
& r≈ ‰ Œ Ó ∑ Ó
<b> ˙
Hn.
b˙ œ
œ '
' p ff
ff
j j3 j 24 b œj ‰ œj ‰ œj ‰ 44
œ ‰ 44 24
3
Tpt. & b œ ‰ œ ‰ ∑ ∑ ∑
' ' ' ' ' '
ff p f
Æ Æ Æ œÆ œÆ œÆ 4 Æ Æ
B œÆ b œ œ œÆ œ 24 ‰ œÆ œÆ b œ œÆ œÆ œ 44 24
¢
Tbn. 4 ∑ ∑ ∑
ff p ff

°? 44 b œÆ 24 44 œÆ 24
∑ J ‰ Œ Ó ∑ ∑ ‰ Œ Ó
Timp.
J
mp

j j j
& b œ ‰ œ ‰ œ ‰ 44 b œj ‰ œj ‰ œj ‰ œj ‰ j ‰ j ‰ 24 j ‰ j ‰ j ‰ 44 j ‰ j ‰ j ‰ j ‰ 24
3
j ‰ j ‰
3
Perc. I
' ' ' bœ œ œ œ bœ œ œ œ œ œ œ
ff
' ' ' ' ' ' ' ' ' ' ' ' ' ' '
sub. mf ff sub. mf
œ œ œ 44 24 œ œ œ 44 24
¢/
Perc. II ∑ ∑ ∑

{
3 3
ff mf ff

j j3 j 4 j j j j j ‰ j j j 2 j j3 j 4 j j j j 2
& b œ ‰ œ ‰ œ ‰ 4 bb œœ ‰ œœ ‰ œœ ‰ œœ ‰ bb œœ œœ ‰ œœ ‰ œœ ‰ 4 bb œœ ‰ œœ ‰ œœ ‰ 4 bb œœ ‰ œœ ‰ œœ ‰ œœ ‰ 4
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Pno. ff
Æb œ œÆ Æœ Æb œ Æœ œÆ œÆ Æ œœÆ ‰ Æœ Æœ Æ œœÆ ‰ Æœ
sub. mf ff sub. mf
Æ Æœ Æœ œÆ
?
J ‰ J ‰ J ‰ 44 b Jœ ‰ œJ ‰ œJ ‰ œJ ‰ bb œœ ‰ œ ‰ œ ‰ 24 bb œœ ‰ œ ‰ 44 #œœ ‰ œ ‰ œ ‰ œ ‰ 24
J J J J J J J J J J J

{
3 3

& #œ ‰ œ ‰ œ ‰ 44 b#œœ ‰ œœ ‰ œœ ‰ œœ ‰
j j3 j j j j j j ‰ j ‰ j ‰ j ‰ 2 j ‰ j 3‰ j ‰ 4 j ‰ j ‰ j ‰ j ‰ 2
b#œœ œœ œœ œœ 4 b#œœ œœ œœ 4 b#œœ œœ œœ œœ 4
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Hp. ff sub. mf ff sub. mf
? #œÆ ‰ œÆ ‰ œÆ ‰ 44 b#œœÆ ‰ œœÆ ‰ œœÆ ‰ œœÆ ‰ Æ Æ Æ Æ Æ Æ
b#œœ ‰ œœ ‰ œœ ‰ œœ ‰ 24 b#œœ ‰ œœ ‰
Æ Æ
œœ ‰ 44 #œœ ‰ œœÆ ‰ œœÆ ‰ œœÆ ‰ 24
J J J J J J J J J J J J J J J J J J
3 3

° 4 ≈ œ 24 44 ‰ j ‰ j ‰ #œj 24
& œ œ œ4 bœ ‰ j ‰ j ‰ j ≈ bœ bœ
œ b œ' ' œ œ' ' œ' ' b œ' ' œ' œ' œ ' ' œ' œ œ' œ œ' œ œ' œ' ' b œ' œ œ' œ' œ œ' œ' œ'
Vln. I
œ bœ œ '
' ' ' ' ' ' ' ' ' ' '
4
& b œ œ œ œ œ œ 4 b œ b œ ‰ œj ‰ œj ‰ ≈ bœ bœ 24 4 ‰ j ‰ j ‰ #œj 24
Vln. II
œ
j
' ' œ' œ œ' œ œ' œ œ ≈ œ œ' bœ œ œ œ œ œ œ 4 œ œ bœ œ
œ ' 'œ ' ' ' '
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
'
'
Æ Æ Æ Æ Æ Æ Æ b œÆ Æ Æb œ Æ Æ Æ Æ Æ Æ Æ Æ
œÆ ≈ œÆ œ 24 b œÆ œÆ œÆ œÆ œÆ œÆ œÆ 44 œÆ Æ
B œÆ b œ œ œÆ œ œ œ œ 44 b œ ‰ œJ ‰ œJÆ ‰ Æ
œ ≈ bœ œ œ œ œ œ œ œÆ ‰ b œj ‰ œj ‰ #œJ 24
Vla.
J ' '

? Œ #œÆ œÆ 44 b œÆ b œÆ ‰ œÆ ‰ œÆ ‰ œ
j
œ #œ ‰ nœÆ ‰ j
œ ‰ #œj 24 j ‰ œ #œ 44 nœ j
œ ‰ b œ ‰ œj ‰ #œj 24
Vc.
J J ' ' ' J ' nœ ' ' ' ' '
' ' ' '
Æ
# œÆ œÆ b œ b œ œÆ
Æ
Ϯ Ϯ
Æ
œÆ # œ n œÆ Æœ Æ Æ
œÆ # œ n œÆ Æœ b œÆ
? Œ 44 ‰ J ‰ J ‰ ‰ J J ‰ #œJ 24 nœJÆ ‰ 44 Æ Æ
‰ J ‰ œJ ‰ #œJ 24
¢‹
Db. J ‰
10
œ b >œ ™ œ™
> >n œ > > œ >
° 2 nœ œ bœ œ > > > œ b >œ nœ #œ # œ œ œ œ
Fl. & 4
44 b œ n˙ œ œ #œ nœ œ b œ b œ b œ œ 24 44
3 3 3

œ b >œ ™ œ™
> œ >
ff
> >n œ >
œ bœ œ > > > œ b >œ nœ #œ # œ œ œ œ
Ob.
2 nœ
&4
44 b œ n˙ œ œ #œ nœ œ b œ b œ b œ œ 24 44
ff 3 3 3

œ b >œ ™ œ™
> >n œ > > œ >
œ bœ œ > > > œ b >œ nœ #œ # œ œ œ œ
Cl.
2 nœ
&4
44 b œ n˙ œ œ #œ nœ œ b œ b œ b œ œ 24 44
ff 3 3 3

Æ Æ Æ Æ
B 2 œÆ œ œÆ ≈ #œÆ œÆ œÆ œÆ #œÆ œÆ œ œÆ œÆ œÆ œ 44 Æ Æ œÆ Æ Æ œÆ #œÆ œÆ œÆ œ œÆ œÆ 2 Æ b œÆ Æ œÆ
¢ 4 ∑ œÆ b œ œÆ œ œ œ 4 œ œ œ œ œ' b œ 44
' ' '
Bsn.

mf ff

° 2 44 r ≈ ‰ Œ Ó 24 44
&4 ˙ ∑ ˙
Hn.
˙ œ
' p
p ff senza sord.

Tpt.
2 j j j j
3
j j 4
& 4 bœ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ 4
3
∑ ∑ 24 j ‰ j 3 ‰ j ‰
bœ œ œ
44
' ' ' ' ' ' ' ' '
p ff p

Æ Æ Æ Æ œÆ Æ Æ œÆ
Tbn.
B2
¢ 4 Œ ≈ #œ œÆ œ œÆ #œ œ œÆ œ œ 44 ∑ ∑ 24 ∑ 44
p ff

°? 2 44 j ‰ j ‰ j ‰ j j j j j 24 œÆ ‰ œÆ ‰ œÆ ‰ 44
Timp. 4 ∑ ∑ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J J J
' ' ' ' ' ' ' ' 3
mf

2 3
j ‰ j ‰ j ‰ 44 j ‰ j ‰ j ‰
3
24 3
44
Perc. I & 4 œj ‰ œj ‰ œj ‰ œ œ œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
' ' ' ' ' ' bœ œ œ œ bœ œ œ œ bœ œ œ
ff ' ' ' ' ' ' ' ' ' ' '
2 œ œ œ œ œ œ 44 24 œ œ œ 44
¢/ 4
Perc. II ∑ ∑

{
3 3 3
p ff p

2 j j3 j j j3
& 4 bb œœ ‰ œœ ‰ œœ ‰ bb œœ ‰ œœ ‰ œœ ‰
j 44 j ‰ j ‰ j ‰ j
œœ ‰ ‰ bb œœj ‰ œœj Œ j
œœ ‰
24 j ‰ j 3 ‰ j ‰ 44
bb œœ œœ œœ bb œœ œœ œœ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Pno.

44 #œœ ‰ œœ ‰ œœj ‰
j j
œœj ‰
j j
œœj ‰ 24 #œœ ‰ œœ ‰ œœj ‰
j j
ff
? 24 #œœÆ ‰ œœÆ ‰ œœÆ ‰ #œœÆ ‰ œœÆ ‰ œœÆ ‰
3

‰ #œœœ ‰ œœœ Œ 44

{
J J J J J J œ œ œ œ œ œ œ œ
3 3 ' ' ' ' ' ' ' ' ' '
2 4 24 j ‰ j 3 ‰ j 44
& 4 b#œœj ‰ œœj ‰ œœj ‰ b#œœj ‰ œœj ‰ œœj ‰ 4 b#œœj ‰ œœj ‰ œœj ‰ j ‰ b#œœj ‰ œœj Œ j
3 3

œœ ‰ œœ ‰
‰
b#œœ œœ œœ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Hp.
Æ Æ Æ
? 24 #œœ ‰ œœ ‰ œœ ‰ #œœ ‰ œœ ‰ œœ ‰ 44 œ ‰ œ ‰ œj ‰
Æ Æ Æ j j j j j j 24 œ ‰ œ ‰ œj
j j
ff 3
œœ ‰ ‰ œœ ‰ œœ Œ œœ ‰ ‰ 44
J J J J J J œ œ œ œ œ œ
3 3 ' ' ' ' ' ' ' ' ' '

Ϫ
> > > >œ
° 2 Æ Æ > > > >
œ bœ bœ b œ œnœ œ b >œ nœ #œ # œ œ œ œ
&4 nœ ≈ œ œÆ #œÆ œ œ 44 b œ ˙ œ œ #œ nœ 24 44
n œ ' œ' # œ œ œ œ
œ#œ ' '
Vln. I

' ' ' ' ' ' 3 3 3

Æ
ff
Æ Æ œ Æ
2
&4 ≈ œÆ #œÆ œ œ 44 b œ ‰ nœÆ ‰ #œJÆ ‰ j 2
œ 4 œ b œ' œœœœ œ b œ 44
Vln. II
n œ nœ' œ #œ œ œ œ # œ œ' œ' J œ œ œ #œ œ œ œ' œ ' ' ' ' ' '
' ' ' ' ' ' ' ' œ b œ' œ œ' ' œ' œ' ' ' ' ' ' ' '
' '
Æ Æ œÆ Æ Æ Æ œÆ œÆ b œÆ ‰ nœÆ ‰ #œÆ Æ Æ Æ œÆ b œÆ 4
ff
Æ Æ Æ œÆ œ œÆ œÆ
B 24 nœÆ nœ œÆ ≈ #œ œ œ œÆ #œ œ & œ #œ œ 44 ‰ BœJÆ œÆ Æ Æ œÆ #œÆ œÆ œÆ œ œ œÆ 2 œ b œ
Vla.
' ' ' J J œ b œ' œ œ' œ œ 4 &4
ff
' '

j j Æ œÆ #œÆ
Æ œÆ j 44
? 24 Œ
nœ b œ ‰
nœ
j bœ bœ
44
nœ b œ'
‰ nœ ‰ #œ ‰ œJ ‰ #œJ ‰ J ‰ œ 24 nœ œ œ bœ
' ' ' ' '
Vc.
' ' ' ' ' ' ' '
Ϯ Ϯ # Ϯ # Ϯ Ϯ
Ϯ b Ϯ
f

nœÆ b œÆ b œÆ b œÆ Æ nœÆ # œÆ œÆ Æ
ff
Æ 44 nœÆ b œ ‰ 24 n œ œÆ
?2 Œ ‰ nœJ J ‰ J ‰ J ‰ J ‰ J 44
¢‹ 4
Db. ‰ J
f ff
 < x = x > sempre

^ ^Æ ^ ^Æ ^ ^ ^Æ ^ ^Æ 11
> > >
œ œ b œÆ œ œÆ œ œÆ b œÆ œ œÆ œ
° 4 n œ œ b œ œ# œ n œ n œ b œ b œ œ#>œ œ 44 J ‰ J ‰ J ‰ J ‰ 12
Fl. &4 45 J ‰ J ‰ J ‰ J ‰ J ‰ 12
16 ∑ 16
6 3 ff poss. sffz simile
> ^ ^Æ ^ ^Æ ^ ^ ^Æ ^ ^Æ
n œ >œ b œ # >œ n œ n œ b œ > œ œ b œÆ œ œÆ œ œÆ b œÆ œ œÆ œ
b œ œ#œ œ 54 J ‰ J ‰ J ‰ J ‰ J ‰ 12 44 J ‰ J ‰ J ‰ J ‰ 12
Ob. & 44 œ 16 ∑ 16
6 3 ff poss. sffz simile

<n> Ϯ
> ^ ^Æ ^ ^Æ ^ ^Æ ^ ^Æ ^
n œ >œ b œ # >œ n œ n œ b œ > œ œ œ œÆ œ œÆ œ œÆ œ œÆ
b œ œ#œ œ 54 J ‰ J ‰ J ‰ J ‰ J ‰ 12 44 J ‰ J ‰ J ‰ J ‰ 12
Cl. & 44 œ 16 ∑ 16
6 3 ff poss. sffz simile

Æ Æ Æ >
B 44 nœÆ b œÆ œ œÆ œÆ œ œÆ œ n œ #œ œ œ œ œ œ œ#œ 6 5 12 44 12
¢
Bsn. œœœ4 ∑ 16 ∑ ∑ 16
6

° 4
ff poss.
^j ^j ^j ^j ^j 44 ^j ‰ ^j ‰ ^j ‰ ^j ‰ 12
Hn. &4 w 45 <n>œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ 12
16 ∑ <n>œ œ œ œ 16
' ' ' ' ' ' ' ' '
sffz simile
^ ^Æ ^ ^Æ ^ ^ ^ ^ ^
4 j j 3 j œ b œÆ œ œÆ œ œÆ 44 b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ 12
3

Tpt. & 4 bœ ‰ œ ‰ œ ‰
#œ
œ œ 45 J ‰ J ‰ J ‰ J ‰ J ‰ 12 16 ∑ J J J J 16
' ' ' > sffz simile

Æ
ff
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
Æ Æ Æ œ b œÆ œ œ œ œ 12 44 b œJ ‰ œ œ œ 12
senza sord. VI
Æ œ Æ œ Æ œ bœ
B 4 Æ b œ œÆ œ
¢ 4 œ 45 J
gliss.
Tbn. œ J ‰ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 16 ∑ J ‰ J ‰ J ‰ 16
mf sffz simile

°? 4 œÆ ‰ œÆ ‰
f ff

Ϯ >
‰ œ œ œ
æ æ
12 44 12
Timp. 4 J J J 45 ∑ 16 ∑ ∑ 16
3 pp ff dampen immediately

æ
f

Ͼ
ææ 45 R ≈ ‰ Œ Ó ™
œ …œ (choke cymbal very abruptly)
4 3
12 44 12
Perc. I &4 j ‰ j ‰ j ‰ / 16 ∑ ∑ 16
bœ œ œ bœ
' ' ' >
pp ff

ff poss.

¿™. ¿™. ¿™. ¿™.

wooden sticks (wooden sticks), closed
^œ ^œ ^œ œ^ ^œ ^ ^œ ^œ ^œ
4 œ œ œ œ 12 44 œ 12
¢/ 4 45

{
Perc. II Π16 J J J J 16
3 sffz simile mf sffz simile
> nœ >
ff poss.

‰™
4 j j 3 j j 12 > 44 12
& 4 bb œœ ‰ œœ ‰ œœ ‰ bb œœ ‰ Œ 45 ∑ 16 œ œ #œ nœ ∑ 16
' ' ' >
Pno. ff poss.

œ #œ œ œ ‰ ™
j j 3 j j ff
12
? 44 #œœ ‰ œœ ‰ œœœ ‰ #œœœ 45 12 œ #œ 44

{
œ œ ‰ Œ ∑ & 16 ∑ 16
' ' ' > #œ
b ^œ >
.
iss
b œ gl 12 44 12
4 j j 3
& 4 b#œœ ‰ œœ ‰
j ‰ j
œœ b œœ
‰ 45 ∑ 16 ∑ ∑ 16
' ' ' > mf ff
Hp. ff poss. …
? 44 œj ‰ œj ‰ œj ‰ œj ‰ Œ
3 D§CbBbEbF#G§Ab
12 44 ? 12
œ œ œ œ 45 ∑ 16 ∑ ∑ 16
' ' ' >
> >
nœ > #œ nœ nœ b œ
< x = x > sempre
œ œ
° 4 œbœ œ > >
b œ œ#œ œ
16 œ œ#œ ‰ ™ œ #œ ‰ ™
12 nœ 44 12
Vln. I &4 45 ∑ ∑ 16
6 3 >
ff
>
ff poss.

16 ‰ ™ œ ‰™
œ Æ œÆ œÆ œÆ nœ #œ œ œ œ œ œ 6 12 nœ œ œ 44 12
4
& 4 nœ b œ ' œ œ œ 45 ∑ ∑ 16
' ' ' > #œ œ œ œ # œ #œ
Vln. II
6 > >
ff poss.
ff
>
16 œJ ™ b œ^ ™ œ™ œ™
œ Æ œÆ œÆ œÆ nœ #œ œ œ œ œ œ 6 ^ ^ ^
pizz.

B 12 44 12
4
& 4 nœ b œ ' œ œ œ 45 ∑ ∑ 16
' ' ' > #œ œ œ œ J J J
Vla.
6
ff poss. sffz simile

B 12 œ ™ b œ^ ™ œ^ ™ œ^ ™
> ^
pizz.
44 12
? 44 œ b œ
œ œ
#œ œ nœ œ œ
œ œ #œ 45 ∑ 16 J J J J ∑ 16
' '
Vc.
' ' > sffz simile
Æ Æ
ff poss.

? 44 œ b œ œÆ œÆ >
12 44 12
Db.
¢‹
#œ œ nœ œ
b œ œ œ #œ 45 ∑ 16 ∑ ∑ 16
ff poss.
>
12 ^ ^ ^Æ ^Æ
œÆ œÆ œ œ
° 12 > #œ #œ
Fl. & 16 ∑ 166 ∑ 24 J ‰ J ‰ 166 J ≈ J ≈ 43 Œ ‰ #œ #œ œ
œ
>
f

^ ^ ^ ^
b Ϯ Ϯ b Ϯ Ϯ
12
& 16 ∑ 166 ∑ 24 J ‰ J ‰ 166 J ≈ J ≈ 43 nœ #œ œ œ nœ ‰ Œ
> > > œ
Ob.

<n> Ϯ
^ ^ ^ ^
Ϯ Ϯ Ϯ
12 166
24 J ‰ J ‰ 166 J ≈ J ≈ 43
¢& 16
Cl. ∑ ∑ ∑

° 12 ^ ^ ^
24 b œÆ ‰ œÆ ‰ 166 b œÆ
^Æ
& 16 ∑ 166 ∑ ≈ œ ≈ 43 ∑
Hn.
J J J J

^Æ ^Æ ^Æ ^Æ
24 #œJ ‰ œJ ‰ 166 #œJ ≈ œJ ≈ 43
Tpt.
12
& 16 ∑ 166 ∑ ∑

^Æ ^Æ ^ ^
24 œJ ‰ œJ ‰ 166 œÆ œÆ
B 12 166 ≈ 43
¢ 16
Tbn. ∑ ∑ J ≈ J ∑ ?

° 12
wooden sticks, rim shot (cross stick when poss.)
^ ^ 3
Perc. I / 16 ∑ 166 ∑ 24 ∑ 166 ≈ œR ≈ œR 4 ∑
2 2
sffz simile

¿™. ¿™. ¿™. ¿™. ¿. ¿. ¿. ^ ^œ ^œ ™ ^œ ™ ¿. ¿. ¿. ¿. ¿™.

(closed)

24 œ 166 J 43
Perc. II
¢ /
12
16 J J J J 166 J ≈ J
mf sffz simile mf

{
> > >
12 b œ œ œ ‰ ™ œ 6 #œ # œ n œ nœ > #œ #œ
& 16 #œ 16
24 ∑ 166 ∑ 43 œ #œ œ œ n>œ œ
> >
& 16 ‰ ™
Pno.
34 Œ
12 œ #œ nœ œ nœ 166 #œ nœ 24 ∑ 166 ∑ œ
> # œ n>œ > > œ #>œ #œ

{
^ ^
12
& 16 ∑ 166 ∑ 24 ∑ 166 ∑ 43 Œ œ #œ Œ
sffz simile

œ^ œ^ ^
Hp.
Ϫ
B§
? 12
16 ∑ 166 ∑ 24 ∑ 166 ∑ 43 Œ ≈ J

> > #œ >

° 12 b œ œ œ ™ #œ ‰ ™ 616 #œ n œ nœ #>œ nœ 24
> #œ #œ
& 16 ‰ ∑ 166 ∑ 43 œ #œ ‰ nœ œ ‰ ≈ œ
œ œ
Vln. I
> >
>
>
> nœ 6 #œ # œ >œ nœ > > #œ #œ
& 16 ‰ ™ ‰™ #œ nœ 24 166 43 ‰
12 œ nœ
Vln. II œ #œ
> #œ
16 ∑ ∑ œ #œ ‰
> #œ œ œ œ
>

#œ^ ™ ^œ™ ^™ ^œ™ #^œ ^œ ^ ^ ^ ^œ #^œ ^

ŠϪj
Vla. B 12
16 J J œ
J
J 166 #œ 24 ∑ 166 ∑ 43 œ œ

# œ^ ™
^œ™ ^œ™ ^œ
^œ ™ # ^œ ^œ #^œ
B 12 J J 166 #^œ 24 166
^
43 œ
^œ ^
¢ 16 J ∑ ∑ ≈ œ™
Vc. J J
 ^ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ 13
n œÆ œ œ >œ > > #œ nœ >œ œ b œ >œ œ œ œ œÆ œ
° J ‰ J ‰ J ‰ œ #œ #œ œ
& œ #œ ≈ Œ ‰ œ œœ‰ 24 J ‰ J ‰ 169 J ≈ J ≈ J ≈ 24
>
Fl.
sffz simile
^ ^Æ ^Æ
f 3 sffz simile

b œÆ œ œ ^Æ ^Æ ^Æ ^Æ ^Æ
& J ‰ J ‰ J ‰ Œ œ nœ #œ #œ œ ‰ ∑ 24 #œJ ‰ œJ ‰ 169 #œJ œ
≈ J
œ
≈ J ≈ 24
> > œ
Ob.
sffz simile

<n> Ϯ
^ ^Æ ^Æ f sffz simile

b œ nœ 24 <n>Jœ ‰ œJ ‰ 169 œJ
œ œ > >œ #œ nœ ^Æ ^Æ ^Æ ^Æ ^Æ
J J J ‰ ≈ #œr #œ ≈ œJ ≈ œJ ≈ 24
3
& ‰ ‰ Œ ‰ nœ # œ œ R ≈‰ ‰
> œ >œ > œ sffz simile
Cl.

f
^ 2
^ ^ 2
^ ^ 2
^
? ‰ ^j ‰ ^j ‰ ^j 24 ‰ ^j ‰ ^j 169 œ œ œ 24
Bsn.
¢ œ œ œ
∑ ∑
œ œ ' œ ' œ ' œ
' ' ' ' ' ' ' '

° ^ ^ ^
b œÆ ‰ œÆ ‰ œÆ ‰ 24 <n>^œj ^ ^ ^ ^
& ∑ ∑ ‰ œj ‰ 169 œj ≈ œj ≈ œj ≈ 24
Hn.
J J J ' ' ' ' '
^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
#œÆ œ œ ≈ 24
Tpt. & J ‰ J ‰ J ‰ ∑ ∑ 24 #œ
J ‰ œJ ‰ 169 #œJ ≈ œJ ≈ œJ
^Æ ^ ^ ^Æ ^Æ
^ œÆ ^ œÆ ^ œ ^ œ ^ ^ ^ ^
2 2 2
œ ^ ^ ^
? 24 169 œ' 24
¢
Æœ Æœ œ œ
Tbn.
œÆ ∑ ∑ œÆ œÆ œ ' œ ' œ
' ' '

°? ^ ^ ^ 24 ‰ ^j ‰ ^j 169
wooden sticks

‰ œj ‰ œj ‰ œj ∑ ∑ ∑ 24
Timp.
œ œ
' ' ' ' '
sfz simile

^ ^ ^ 24 ‰ ^Æj ‰ ^Æj 169 >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ 24

/ ‰ Æj ‰ Æj ‰ Æj ∑ ∑
œ œ œ œ œ
Perc. I

œ^ ™ œ^ ™ œ^ ™
4 4 4

œ^ œ^ œ^ ¿. ¿. ¿™. ¿. ¿. ¿. ¿. ¿™. ¿. ¿. ^
24 œ œ^ 24
Perc. II
¢/ ‰ J ≈J 169 J J J

{
sffz simile mf sffz simile

>œ > >

œ #œ #œ > > #œ nœ œ œ b œ >œ
∑ œ œ œ œœ 24 ∑ 169 ∑ 24
&
sffz simile
Pno. 6
2 ^ ^ 9 2
^ 2
^ 2
^ 24
& ∑ Œ #œ #œ œ nœ #œ œ Œ #œ nœ 4 ‰ ?œj ‰ œj 16 ≈ r ≈ r ≈ r
> œ >œ > œ œ œ œ
“‘
> ' '

{
' ' '

^ 24
& ∑ ‰ #œj Œ Œ ∑ 24 ∑ 169 ∑

œ^ ™ ^œ
C§

œ^ #œ^ ‰
^œ b œ^ ^œ™ ^œ ^œ
Hp.
24
? ∑ J ‰ J ≈J 24 ∑ 169 ∑

<n> Ϯ
^ ^Æ ^Æ
non div.

>œ œ œ
° > #œ nœ
6
œ œ 916 # Jœ œ œ
& ∑ ‰ œ œ #œ ‰ nœ ‰ œ J ‰ > œ œ #œ nœ 24 ∑ ≈ J ≈ J ≈ 24
> > œ
Vln. I
œ
> >œ
sffz simile
> œ bœ ^
non div.
^Æ ^Æ
#œ
‰ #œ ‰ b œÆ
≈ #œr #œ ‰ b œ nœ 24 169 <n>œ ≈ œœ ≈ œœ ≈ 24
3
& ∑ #œ œ ‰ ≈ ‰ ∑
> œ > œ J J J
Vln. II
>
sffz simile

^ ^j ^ ^j ^ ^Æ ^Æ
arco

Ϫ
^ ^ ^ ^ ^ ^ 9 Ϯ
Vla. B ∑ œ #œ #œ ‰ œ #œ œ ≈ œ™ nœ #œ
24 ∑ & 16 J ≈ œJ ≈ œJ ≈ B 24
sffz simile

^ ^ ^œ ™ ^ ^
arco

œ #œ ^ ^œ ^ ^œ ^ ^ ^ ^
2 2 2
B2
B ∑ #œ ‰ J #œ ≈ œ™
J nœ #œ ?2
4 ∑ 169 ≈ r ≈ r ≈ r 4
œ œ œ
Vc.

' ' '

sffz simile

? ‰ ^j ‰ ^j ‰ ^j 24 ‰ ^j ‰ ^j 169 ≈ ^ ^ ^
2 2 2
24
¢‹ œ œ œ ∑ ∑ œ œ r ≈ r ≈ r
œ œ œ
Db.
' ' ' ' ' ' ' '
sffz simile
14 ^ ^ ^ ^Æ ^Æ ^Æ ^Æ ^ ^ ^ ^
Ϯ Ϯ
> > # œÆ œ œ # œÆ œÆ œÆ œÆ
° 2J > b œ nœ b œ œ œ #œ > œ œ
b œ J ≈ 166 ≈ 12 ≈ 43
Fl. &4 ‰ J ‰ 44 Œ ≈œ œ #œ ‰ 169 J ≈ J ≈ J ≈ J 16 J ≈ J ≈ J ≈ J
3 sffz simile
^Æ ^ f ^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^Æ ^
2 #œ œÆ œ #œ nœ 169 œJ ≈ œJ ≈ œ #œÆ œ œ œ œ #œÆ
Ob.
4
&4 J ‰ J ‰ 4 Ó Œ > #œ
J ≈ 166 J ≈ J ≈ 12
16 J ≈ J ≈ J ≈ J ≈ 43
> sffz simile
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
f

^ ^ nœ œ œ ^ ^Æ œ œ œ ^
2 œÆ œÆ 4 nœ
& 4 J ‰ J ‰ 4 #œ #œ œ #œR ≈ ‰ Ó 916 J ≈ J ≈ J ≈ 166 œÆ ≈ œJ 12
Š16 J ŠJ ŠJ ŠϮ Š43
Cl.
> J J
> sffz simile
f ^ 2
^ ^ 2
^ ^ 2
^
? 2 ‰ ^j 16 ‰ ™ ‰™ ‰™
^ 4 œ œ œ
¢ 4 œ ‰ œ 4
j ∑ 169 ∑ 166 ' '
12
' 43
œ œ œ
Bsn.
' ' ' ' '

° 2 ^j ‰ ^j ^j ^j ^j 6 ^j ^ ^j ^j ^j ^j
Hn. &4 œ œ ‰ 4
4 ∑ 169 <n>œ ≈ œ ≈ œ ≈ 16 œ ≈ œj ≈ 12
16 œ ≈ œ ≈ œ ≈ œ ≈ 43
' ' ' ' ' ' ' ' ' ' '
^Æ ^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
2
& 4 #œJ ‰ œÆ ‰ 44 ∑ 6
169 #œJ ≈ œJ ≈ œJ ≈ 16 #œJ ≈ œJ ≈ 12
16 #œJ ≈ œJ ≈ œJ ≈ #œJ ≈ 43
Tpt. J
^Æ ^Æ
<n> Ϯ
^ ^ ^ ^Æ ^ ^
œ œ ^ œÆ œÆ ^ ^ œÆ œÆ ^
2 2 2
^ ^ œ ^
? 24 ^Æ Æ 4 6
169 J ≈ J ≈ J ≈ 16 œ'
12 43
¢ ∑ œ 16 J ≈ J ≈ J ≈ œ'
Tbn.
œ œ 4 œ ' œ œ
' ' '

°? 2 ‰ ^j
16 ‰ ™ ‰™ ‰™
^ 4 ^ 2
^ 2 2
^
4 œ ‰ œj 4 ∑ 169 ∑ r ≈ r 166 ≈
12 ≈ r 43
œ œ œ
Timp.
' ' ' ' '
^ ^ 4 ^ ^ ^ 6 > > 12 ^ ^ ^ > 3
169 ≈ œR ≈ œR ≈ œR 16 œ œ œ œ œ œ œ œ
> >
Perc. I
2
/ 4 ‰ œÆj ‰ œÆj 4 ∑ 16 ≈ œR ≈ œR ≈ œR œ œ >œ œ 4
2 2 2 2 2 2

œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™
4 4 4

^ ^œ . ¿. ¿™. ¿. ¿. ¿. ¿.
2œ 44 ¿ 169 J 166 J
12 43
¢/ 4
Perc. II ≈J J J J 16 J J J J

{
mf sffz simile
> >
b œ nœ
nœ #œ b œ œ
b œ n œ #œ
loco
2
&4 ∑ 44
#œ ># œ œ Œ 169 ∑ 166 ∑ 12
16 ∑ 43
> 3 sffz simile

16 ‰ ™ ‰™ ‰™
^ ^j ^ ^ ^
Pno. 2 2 2
12 3
? 24 ‰ 44 Œ œ #œ 169 166 ≈
ff
j
œ ‰ œ Œ
& œ œ ∑ ?
r ≈ r ≈ r &4
> > #œ
<“> ' ' > œ œ œ
'‘

{
“
' '

44 ^ ^ ^ ^ ^
2
&4 ∑ bœ œ Œ œ œ œ 169 ∑ 166 ∑ 12
16 ∑ 43
^
Hp.
^
? 24 ∑ 44 Œ ≈ œ™
J Œ ‰ œ
169 ∑ 166 ∑ 12
16 ∑ 43
> ^Æ ^Æ ^
non div.

> b œ nœ b œ œ œ œÆ
° 2 616 œJ 16 ‰ ™ ‰™ ‰™
b œ # œ #œ
&4 ∑ 44 ‰ ≈œ ‰ nœ #œ nœ 169 ∑ ≈ J ≈ 12 J ≈ 43
Vln. I
#œ #œ >
>
#œ
> sffz simile
>œ
ff
^ ^Æ ^
non div.

16 ‰ ™ ‰™ ‰™
44 ‰ > œ #œ œ #œ b œÆ ≈ œœ ≈ 12 b œÆ ≈ 43
2
&4 ∑ œ J ‰ ‰ ‰ 9
œ #œ 16 ∑ 166 œ œJ
J J
Vln. II

ff
3 > sffz simile

œ^ ^œ ^ ^ ^Æ ^
arco

16 ‰ ™ ‰™ ‰™
^
pizz.

B 24 ∑ 44 b ^œ ^
ŠϪj
^
œ œ 169 ∑ 6 œÆ ≈ œJ ≈ 12 œÆ ≈ B 43
Vla. œ & 16 J J
sffz simile

œ^ ^œ
pizz.
^ ^
arco

44 b œ ^œ ^œ ^ ^ ^
ŠϪj
2 2
12 B3
B 24 ∑ œ 169 ∑ ?
166 ≈ r ≈ r 16 ∑ 4
œ œ
Vc.

' '
sffz simile

? 2 ‰ ^j ‰ ^j 44 16 ‰ ™ ‰™ ‰™
2
^ 2
^ 2
^
¢‹ 4 œ œ
∑ 169 ∑ 166 ≈ r ≈ r 12 ≈ r 43
œ œ œ
Db.
' ' ' ' '
 ^ ^Æ 15
> n œ # >œ # œ >œ œ # >œ n œ # œÆ œ ^
Ϯ
^
Ϯ
^Æ
œ
° 3Œ > >œ >
‰ #œ #œ #œ œ œ #œ œ Œ
œ # œ œ #œ 6

Fl. &4 ‰ 24 #œ nœ #œ œ
#œ#œ nœ ‰
J ‰ J 169 J ≈ J ≈ J ≈ 41
6 sffz simile
^Æ ^Æ
6 ff
> ^ ^ ^Æ
>
24 œ b œ b œ œ b œ nœ b œ 5 œ œ 9 #œÆ œÆ œ
3 ‰ #œ #œ ‰ ≈ 41
3

&4 Œ œ #œ œ ∑ ‰ J ‰ J 16 J ≈ J ≈ J
Ob.
b œ nœ b œ
> 5 sffz simile
ff
^Æ ^Æ
œ œ
‰ J 169 <n>Jœ
#œ ^Æ ^Æ ^Æ
3œ ‰ Œ bœ bœ ‰ Œ 24 œ b œ ‰ J ≈ œJ ≈ œJ ≈ 41
Cl. & 4 #œ #œ nœ œ b œ œ >œ b œ nœ b œ
> > > œ > nœ b œ b œ sffz simile

b >œ œ ^ ^ ^
ff 2 2 2

> ^ ^ ^ ^ ^
œ≈ Œ j ‰ j ‰ 169 œ' œ œ
?3
¢ 4
24 Π41
3
∑ Œ œ bœ ' '
Bsn.
J œ #œ œ œ œ œ œ
f 3 ' ' ' ' '
sffz

° 3
simile
^ ^ ^j ^ ^
Hn. &4 ∑ ∑ 24 ∑ ‰ <n>œj ‰ œj 169 œ ≈ œj ≈ œj ≈ 41
' ' ' ' '
^Æ ^Æ ^Æ ^Æ ^Æ
3
&4 ∑ ∑ 24 ∑ ‰ #œJ ‰ œ 169 #œ
J ≈ œJ ≈ œJ ≈ 41
Tpt.
J

^ <n> œ
^Æ ^Æ ^ 2
^ 2
^ 2
^ œ 9 ^ ^ ^
?3
¢ 4 ∑ ∑ 24 ∑ Æ Æ 16 œ
' œ
œ
' œ
œ
' œ 41
œ œ
Tbn.
' ' '

°? 3 ^ ^
4 ∑ ∑ 24 ∑ j ‰ j ‰ 169 ∑ 41
œ œ
Timp.

' '
^Æ ^ > > >
3
/4 ∑ ∑ 24 ∑ j ‰ Æj ‰ 169 œ œ >œ œ œ œ >œ œ œ œ >œ œ 41
œ œ
Perc. I

f 4 4 4

>o– >¿o– ^™ œ^ ™ ^œ ™
open
. ¿. ¿. ¿. ¿. ¿™. ¿. ¿. ¿. ¿. … ^œ ^
(close hi-hat)

3 ¿™ 24 ¿ ‰ J ‰ œJ 169 œJ 41
¢/ 4
Perc. II ‰ J ‰ J J J
mf f sffz

{
simile

> # >œ >œ œ >

> nœ #œ #œ nœ #œ
> #œ #>œ #œ œ œ œ >œ bœ bœ œ
loco 6
3œ
&4 Œ 24 nœ #œ
œ ∑ 169 ∑ 41
> #œ#œ nœ sffz simile
Pno. 6
œ #œ #œ ^ ^ 2
^ 2
^ 2
^
3 24 j ‰ j ‰ 169 ≈ œr ≈ œr ≈ œr 41
ff 6

#œ œ b œ œ >œ Œ Œ Œ ?
& 4 #œ #œ n œ œ

{
> œ œ œ ' ' '
“‘
> ° *' '
^j ^ >œ # œ
^ ^ ^ ^ ^ ^ 24 ^j œ
bœ ™
3 ‰ j œ ‰ ‰ ? ∑ 169 ∑ 1
& 4 œ™ bœ œ œ œ bœ &4
^ #œ ^
Hp. 6 …
œ Œ
? 43 24 Œ #œ b œ œ 169 41
C# ff
œŒ Œ Œ ? ∑ ∑

> # >œ >œ œ > ^Æ ^Æ ^Æ

non div.

œ œ œ
° 3œ > nœ #œ #œ nœ #œ
‰ #œ #œ ‰ œ nœ ‰ ≈ œr b œ b œ œ 24 œ#œ#œ nœ #œ 6 #
169 J
œ œ œ
≈ 41
3

& 4 #œ #œ œ œ ∑ ≈ J ≈ J
> #œ#œ nœ
Vln. I
> > >
> # >œ >œ œ
6 sffz simile
ff
>œ nœ #œ > ^
non div.
^Æ ^Æ
#œ œ #œ œ 24 œ b œ b œ nœ b œ b œÆ ≈ œœ ≈ œœ ≈ 41
3 169 œ
5
&4 ‰ ≈ rœ
œ
‰ ‰
b œ nœ
‰ nœ b œ b œ nœ b œ ∑
J J J
Vln. II
> 3 > œ 5 > sffz simile
ff
^
bœ ™
^ œ^ b œ^ ^ ^œ ^ ^œ ^ ^Æ ^Æ
pizz. arco
^ ^ 24 b ^œ 9 œÆ
arco 5

B 43 œ™ ‰ b œJ œ ‰ J
œ
J ‰ œ œ bœ
œ bœ ∑ & 16 J ≈ œJ ≈ œJ ≈ 41
œ
Vla.
sffz > sffz simile
simile ff

b ^œ ™
^ œ^ ^œ ^œ
pizz.
^ ^ ^œ ^
‰ b œJ b œ^ ^ 24 b œJ ^ ^ ^ ^ ^
2 2 2
B 43 Ϫ
arco

œ œ ‰ J ‰ ?œ
#œ œ #œ j ‰ j ‰ 169 ≈ œr ≈ œr ≈ œr 41
n œ œ
Vc.
> ' ' '
sffz simile ff ' '
sffz simile
arco
^ ^ 2
^ 2
^ 2
^
?3
¢‹ 4
24 Œ 169 ≈ œr ≈ œr ≈ œr 41
3
∑ ∑ bœ ‰ j ‰
Db.
œ #œ œj œ
ff ' ' ' ' '
sffz simile
16 ^ ^
# Ϯ ^
Ϯ
^
œÆ # œÆ œ^Æ œ^Æ ^œÆ ^Æ
œ >œ
>nœ > # œ >œ œ n œ
° 1 J 6 44 Œ nœ œ > > #œ nœ > œ œb œ n œ 3 nœb œ nœ
24
Fl. &4 ‰ 16 J ≈ J ≈ 43 ‰ J b œ nœ nœ œ 4Œ Œ
f 6 3

^ ^ ^ ^ ^ ^ ^ ^Æ
œÆ 6 #œÆ œÆ œÆ #œÆ œÆ œÆ > > > nœ n>œ b œ 2
≈ œ bœ œ bœ œ œ ‰™
œ > >
1
&4 ‰ J 16 J ≈ J ≈ 43 ‰ J 44 Œ ‰ ≈ b œ nœ nœ #œ nœ œ œ ‰ 43 ‰ 4
Ob.
R 3
R 5
^ ^
œÆ œÆ ^Æ ^Æ ^Æ
3

b >œ œ nœ >
f
^Æ ^Æ ^Æ > >
3 44 œ œ #œ# œ Œ 43
>
nœ b œ œ b œ œ œ Œ 24
Cl.
1
&4 ‰
J 166 œJ ≈ œJ ≈ 4‰ J œ œ œ œ Ó
f 3
^ 2
^ ^ 2
^
? 41 ^j ‰ 166 œ œ ^
43 j ‰ Œ
44 43
24
¢ ' ' Œ ∑ ∑
Bsn.
œ œ œ œ
' ' ' '

° 1 ^j 6 ^j ^ ^ ^ ^ ^ ^
Hn. & 4 ‰ œ 16 œ ≈ œj ≈ 43 ‰ œj œ œ œ œ
44 ∑ 43 ∑ 24
' ' ' ' ' ' ' '
^ ^ ^Æ ^Æ ^Æ ^Æ ^ ^Æ
Tpt.
1 Æ 6 Æ
& 4 ‰ #œJ 16 #œJ ≈ œJ ≈ 43 ‰ #œJ #œ œ œÆ œ 44 ∑ 43 ∑ 24

^Æ ^ 2
^ 2^ ^Æ ^œÆ œ^Æ ^
Ϯ
^Æ
œ
^
? 41 ^Æ œ 166 œ 34 ^ œ 44 43 24
¢
œ Æ ∑ ∑
Tbn.
œ ' œ ' œ œ
' '

°? 1 ^ ‰ 6 ^ 24
4 œj 16 ∑ 43 j ‰ Œ Œ 44 ∑ 43 ∑
œ
Timp.

' '

Perc. I
1 ^ 6 > >
/ 4 œÆj ‰ 16 œ œ œ œ
>œ œ > 3 ^Æ
œ œ 4 œj ‰
>œ >œ >œ ^ > ^ 4
œ œ œœ œ 4 ∑ 43 ∑ 24

>¿o–
1 œ 6 œ™ œ^ ™
4 4
^ ^ . ¿. ¿™. ¿. ¿™. ¿. ¿. ¿™. ¿. ¿. ¿.
œ^ œ^ œ^ œ^ ^œ
(closed)

44 ¿ 43
24
Perc. II
¢ / 4 ‰ J 16 J J 43 ‰ J ≈J ‰ J

{
mf

> > >œ

>nœ > # œ >œ œ n œ
b œ n œ b >œ œ œ nœ œ nœ
loco

43 44 œ œ #œ# œ œ nœ #œ nœ
43 24
1
&4 ∑ 166 ∑ ∑ Œ
3

? 41 ^j ‰ 166 ≈ ^r ≈ ^r 43 ^j ‰ Œ œ6 > œ
œœ
Pno. 2 2 ff
24
œ œ
Π4
&4 Œ bœ œ nœ 43 nœ b œ œ b œ œ Œ
œ ' ' œ > > > >
<“>' ' °

{
3

43 44 ^ ^ b ^œ ™ ^ ^
43 Œ
^ ^ ?2
1
&4 ∑ 166 ∑ ∑ #œ #œ Œ œ bœ ‰ #œj œ 4
^
b œ b Jœ ™
^
b ^œ ™
Hp.
CbBb
sffz simile ^ b ^œ œ 24
? 41 166 43
44 Π43
E#
∑ ∑ ∑ ≈ Œ Œ

^
Ϯ
^
Ϯ
^Æ
œ
^Æ
œ
^Æ
œ
^Æ
œ >œ
>
nœ > # œ >œ œ n œ
° 1 # œ œ #œ œ œ œ > > b œ nœ > nœb œ nœ
≈ 43 Œ 44 œ nœ ‰ œœ
≈ œ #œ nœ ‰ 43 ‰
24
Vln. I &4 ∑ 166 J ≈ J ≈ nœ b œ œ ‰
R
ff 3 3

^
b Ϯ
^Æ ^ ^ ^
b Ϯ Ϯ Ϯ
^Æ >
#œ # œ > > nœ œ b >œ > œ
≈ œœ ≈ 43 Œ œ 44 ‰ ≈ b œ œj ‰ nœ 34 œ œ 24
1
&4 ∑ 166 œ œ œ œ œ ‰
R
‰ ‰ bœ bœ ‰ ‰
J J
Vln. II
3

^œ ™
ff 3

^Æ ^Æ ^Æ ^Æ ^Æ ^œ #^œ ^ ^j n ^œ b ^œ ^ ^ #^œ œ^
pizz.
^
Vla.
1
&4 ∑ 166 œJ ≈ œJ ≈ 43 Œ œ œ œ
J ‰ B 44 b œ ≈ nœ ™ 43 b œ ™ nœ ‰ J œ
24

^œ #^œ œ^ ™ n ^œ b ^œ ^ ^œ
pizz.

? 41 ^j ‰ 166 ≈ ^r ≈ ^r ^ b ^œ ≈ n^œ ™ 43 b œ ™
^ n^œ ‰ #œJ ^
2 2
B4 ?2
œ œ 43 j ‰ Œ Œ 4 J œ 4
œ œ
Vc.

' ' ' '

? 1 ^ ‰ 166 ≈ ^r ≈ ^r ^
2 2
24
¢‹ 4 œj œ œ 43 j ‰ Œ Œ 44 ∑ 43 ∑
œ
Db.

' ' ' '

 ^ ^Æ ^Æ ^Æ ^Æ ^Æ
n œÆ œ œ ^Æ ^Æ ^Æ ^Æ œ œ œ ^Æ ^Æ ^Æ 17
œ œ œ œ œ œ œ
° 2 b œ nœ b œ nœ nœ b œ r ≈ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 38 24
Fl. &4 nœ b œ nœ
3 3
sffz simile
^ ^Æ ^Æ ^ ^ ^Æ ^Æ ^ ^Æ ^Æ ^ ^ ^Æ
ff

#œÆ œ œ #œÆ œÆ œ œ #œÆ œ œ #œÆ œÆ œ 2

5
2œ
& 4 nœ b œ nœ b œ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 38 4
Ob. œ nœ bœ 3 3
5 sffz simile
ff
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
œ œ œ ^Æ ^Æ ^Æ ^Æ œ œ œ ^ ^ ^Æ
J ‰ J ‰ 38 œÆ œÆ
6

Cl.
2
& 4 nœ b œ nœ b œ œ
6
‰ J ‰ J ‰ J ‰ œ œ œ œ J ‰ œ 24
> nœ b œ nœ b œ œ 3 3
sffz simile
ff
> œÆ œÆ œÆ Æ œÆ 3 œÆ œÆ #œÆ Æ 2
?2 ‰ œ bœ œ bœ œ nœ b œ
7
œÆ #œÆ œÆ #œÆ Æ œÆ œÆ Æ n œ œÆ œÆ #œÆ
¢ 4
≈ ‰ #œ #œ 8 #œ 4
Bsn.
nœ b œ œ
7 nœ b œ ff
f ff

° 2 ∑
^j
‰
^j3 ^j ^ ^ ^ ^ ^j ^j3 ^j 3^ ^ ^ 2
Hn. &4 #œ œ ‰ œ ‰ œ œ œ œ #œ ‰ œ ‰ œ ‰ 8œ œ œ 4
' ' ' ' ' ' ' ' ' ' ' ' '
<n>œ
^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ ^Æ
œ œ Æ œ œ œ Æ œ 24
Tpt.
2
&4 ∑ J ‰ J ‰ J ‰ #œ œ œ œ J ‰ J ‰ J ‰ 38 #œ œ
3 3

œÆ œÆ œÆ #œÆ œÆ Æ
œÆ œÆ #œÆ Æ œÆ œÆ Æ n œ œÆ œÆ #œÆ œÆ 3 œÆ œÆ #œÆ Æ 2
?2
¢ 4
Tbn. ∑ ≈ #œ #œ 8 #œ 4
ff

°? 2 ^j ^j ^j
4 ∑ ∑ Œ #œ ‰ #œ ‰ Œ 38 ‰ ‰ #œ 24
' ' '
Timp.

> ^Æ > ^Æ
2 ∑
^Æ
j ‰ Œ ‰ œ œ
^Æ
j ‰ Œ 38 ‰ > 2
Perc. I /4 œ œ œ œ œ œ œ œ 4

>¿o– >¿o– >¿o– >¿o– … ^œ ^œ ^œ ¿– ¿– >¿–

o> >o o >¿o– … ^ ^œ ^œ >o– >o– >¿o–…
2 œ 38 ¿ ¿ 24
Perc. II
¢/ 4

{
3 f 3 f
sffz simile sffz simile

b >œ nœ b œ nœ nœ b œ nœ
2 ? ∑ ∑ ∑ 38 ∑ 24
&4
Pno.
2 nœ b œ nœ b œ œ ? ∑ ‰ œ ‰ Œ 38 ‰ 24
&4 bœ œ b œ œ #œ œ œ j œ #œ
> >

{
' ' #œ ' ' #œ ' ' #œ
“‘ “‘
> ' ' '
*
? 24 Π> 38 24
#œ œ ∑ ∑ ∑ ∑
#œ œ
C#
Hp.
B§
…
? 24 Œ 38 ‰ ‰ 2
A# ff ff
∑ Œ j ‰ j ‰ Œ j 4
#œ # œ #œ #œ #œ
nœ #œ
' ' '
>
° 2 b œ nœ b œ nœ n>œ b œ ≈ œÆ œÆ œ nœ œ œ 38 œ œ #œ 2
&4 nœ b œ Œ œ #œ ' œ œ #œ œ œ œ #œ ' ' ' ' #œ 4
' ' ' ' ' #œ ' ' #œ ' ' ' '
Vln. I

' ' '

b >œ nœ b œ œ >
ff poss.

2 nœ b œ nœ b œ œ ‰ ≈ œÆ œÆ œ #œ œ œ œ #œ œ œ nœ œ œ #œ œ 38 œ œ #œ 2
Vln. II &4
nœ b œ nœ ' ' ' ' ' ' #œ ' ' #œ ' ' ' ' ' ' ' ' #œ 4
> ff poss. ' ' '
>
arco
b œ œ b œ nœ
6
38 ‰ 24
Vla. B 24 ‰ nœ b œ nœ b œ nœ ∑ ‰ œ #œ œ œ j ‰ Œ œ #œ
> ' ' #œ ' ' #œ ' ' #œ
ff 3
arco
ff poss. ' ' '
5
? 24 Œ nœ ∑ ‰ œ #œ ‰ Œ 38 ‰ 24
Vc. nœ bœ œ bœ œ œ j œ #œ
> ' ' #œ ' ' #œ ' ' # œ'
ff ff poss. ' '
Æ Æ Æ Æ j Æ
?2 œ # œ Æ œ œ 38 ‰ œ #œÆ #œÆ 2
Db.
¢‹ 4 Œ ≈ bœ bœ
∑ ‰ #œ #œ
'
‰ Œ 4
> œ ff poss.
ff
18 ^Æ ^ ^Æ ^Æ ^ ^Æ ^ ^Æ ^ >œ
^
Ϯ
^Æ
œ
^
œÆ œ œÆ œ ^Æ
œ
^Æ
œ
^
œÆ œ œÆ œ œÆ œ œÆ #œ nœ #œ
° 2 J
œ œ #œ nœ
‰ J ‰ J ‰ 38 24 J ‰ J ‰ J ‰ 44
Fl. &4
3 3
^ ^Æ ^ ^Æ ^ ^Æ ^ ^Æ ^ ^ ^ ^Æ ^ ^ ^
b œÆ œ œÆ œÆ b œÆ œ œÆ #œÆ œÆ œÆ #œÆ œÆ #>œ nœ #œ œ
2 J ‰ J ‰ J ‰ 38 #œ œ 24 J ‰ J ‰ J ‰ œ
œ #œ nœ #œ 44
Ob. &4
3 3
^Æ ^ ^Æ ^Æ ^ ^Æ ^ ^Æ ^
<n> Ϯ <n> Ϯ
^ ^Æ ^ ^ ^Æ ^ >œ
œ œÆ œ œÆ œ œ œÆ œ œÆ œ œÆ œ œÆ œ #œ nœ #œ
Cl. &
24 J ‰ J ‰ J ‰ 38 24 J ‰ J ‰ J ‰ œ œ #œ 44
3 3

? 2 ≈ b œÆ b œÆ œÆ œÆ œÆ 3 b œ 24 ≈ b œÆ b œÆ œÆ œÆ œÆ b œÆ œÆ œÆ 44
¢ 4 8 ' œ œ œ œ bœ œ œ œ
Bsn.
' ' nœ nœ ' ' œ ' ' œ > œ
' ' ' '

° 2 3 24 ≈ 44
Hn. & 4 ≈ bœ bœ œ œ œ' 8 b œ œ œ bœ bœ œ œ œ' b œ œ œ œ œ bœ œ œ œ œ
' ' ' ' ' ' ' nœ ' ' ' ' ' ' ' nœ ' ' œ ' ' œ >
ff ' ' ' '
^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^ >œ
#œÆ œ œ œ œ œ 24 #œJ œ œ œ œ œ œ œ œÆ #œ œ 44
Tpt.
2
&4 J ‰ J ‰ J ‰ 38 ‰ J ‰ J ‰ œ #œ nœ
^ ^ ^Æ ^ ^ ^Æ ^ ^ ^
3 3
^ ^Æ ^ # œÆ œÆ ^Æ ^Æ ^ # œÆ œÆ œÆ # œÆ œÆ >œ 6

2 n œÆ œ œÆ 3
œ
24 œJ œ œÆ œ œ œ #œ nœ 44
?
¢ 4
Tbn. J ‰ J ‰ J ‰ 8 ‰ J ‰ J ‰
3 3 5
sffz simile

°? 2 ^
æ
Ͼ
38 ‰ ^j 2 ^j ^j 44
Timp. 4 ∑ ‰ œ 4 ∑ Œ œ ‰ œ ‰ œ
' ' ' '
gliss.
p
(wooden stick)
>
> ^Æ > ^Æ > ^Æ > œ
2 ∑ 38 ‰ 2 ∑ ‰ 44
Perc. I /4 œ œ œ 4 œ œ œ œ œ œ œ œ œJ ‰
v'
^ ^œ >o– >o– >¿o– … ^ >¿o– >¿o– >¿o– >¿o– ¿– ¿– ^œ
o> >o >¿o
œ^ 38 ¿ ¿
^œ œ^
Perc. II
2 œ
¢/ 4
24 œ æ 44
3 3

{
f f
sffz simile sffz simile

? 24 ∑ 38 ∑ 24 ∑ ∑ ∑ 44
Pno.
24 44
loco
? 24 ∑ 38 ‰ ∑ ‰
bœ œ bœ œ œ œ bœ œ œ œ
' ' œ ' ' œ ' ' œ ' ' œ > œ

{
' ' ' '
? 24 ∑ 38 ∑ 24 ∑ ∑ ∑ 4
&4
Hp.
? 24 ∑ 38 ‰ ‰ j 2 ∑ Œ j ‰ j ‰ j ‰ 4
œ 4 œ œ œ &4

“‘
' ' ' '

° 2 b œÆ b œÆ œÆ œÆ œÆ 3 b œÆ œÆ œÆ Æ
Æ
24 ≈ b œ b œÆ œÆ œÆ œÆ b œÆ œÆ œÆ Æ œÆ œÆ b œÆ œÆ b œ
7
44
Vln. I &4 ≈ 8 nœ nœ œÆ > œ b œ b œ nœ # œ
nœ
2 b œÆ b œÆ œÆ œÆ œÆ 3 b œÆ œÆ œÆ Æ
Æ
24 ≈ b œ b œÆ œÆ œÆ œÆ b œÆ œÆ œÆ Æ œÆ œÆ Æ Æ
Æ bœ œ bœ
7
44
Vln. II &4 ≈ 8 nœ nœ œ > œ b œ b œ nœ # œ
nœ

B 24 ∑ 38 ‰ b œÆ œÆ Æ 24 ∑
Æ
‰ b œ œÆ œÆ œÆ œÆ b œÆ œÆ œ œ 44
Vla. œ œÆ œ > œ
'
? 24 38 ‰ b œ œ 24 Æ Æ 44
∑ ∑ ‰ bœ œ œ œ œ bœ œ œ
> œ
Vc.
' ' œ ' ' œ ' ' œ œ
' ' ' '
?2 38 ‰ b œ œ 24 Æb œ Æ 44
¢‹ 4 ∑ ∑ ‰ œ œ œ bœ œ œ œ
Db.
' ' œ œ ' ' œ ' ' œ > œ
' ' ' '
 19
° 4 œ≈‰ Œ 44
Fl. &4 R Ó 43 ∑ ∑ ∑

4 >œ#>œ œ b œ œ >œ œ œ œ >œ œ œ œ >œ œ œ 3 œ 44 Ó >œ#>œ œ b œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ

Ob. & 4 œr ≈ ‰ Œ 4J ‰ Œ Œ J ‰ Œ Œ #œ
3 3 3 3 3 3 3 3 pp
p ff p ff

44 r ≈ ‰ Œ
(stop note abruptly, do not rearticulate)

Cl.
4
& 4 œr ≈ ‰ Œ Ó 43 Œ Œ #œ œ Ó Ó #œ
r
œ≈‰
' '
pp ff pp ff

?4 ^ ^
43 ™
44 ^ ^
¢ 4nœ ™ œ™ œ ™ œ' œ œ'
‰ jÓ ‰ Œ ‰ jÓ ‰ Ó
Bsn.
œ œ œ œ œ œ' œ œ
' ' ' ' ' ' ' ' ' ' '
ff poss. sempre

° 4
(stop note abruptly, do not rearticulate)

∑ 43 Œ Œ 44 r ≈ ‰ Œ Ó Ó r
Tpt. &4 œ œ œ œ≈‰
' '
pp ff pp ff

44 œ
Tbn.
?4
¢ 4
∑ 43 ∑ ∑ Ó Œ
pp

°? 4 ^ ‰ Œ 44
Timp. 4 œj Ó 43 ∑ ∑ ∑
'
ff
(choke)
…
œj (wooden stick)
44
Perc. I
4
/4œ ‰ Œ Ó 43 œ Œ Œ ∑ œ Œ Ó
J ë ë
v'
f

^.
(closed)

¿ > >
(wooden sticks)
4 ≈ œ œ œ 43 œ œ œ œ œ œ Œ 44 Ó ≈ œœœ œ
Perc. II
¢/ 4 Œ Œ ‰ Œ ‰ Œ Ó

{
3 3 3
3
mf f pp mf f

? 44 ∑ 43 ∑ 44 ∑ ∑
ff poss. sempre
? 44 ^ ^ 44 ^ ^
Pno.

43 ™ œ ‰ œ Œ
nœ ™ œ ‰ œj œ™ œ ™ œ' œ œ'
Ó
œ ‰ œj
Ó ‰ Ó
œ ' œ'
“‘
' ' ' '

{
' ' ' ' ' '

^œ ^j 4 ^œ ^j ^j
4
&4 Ó J ‰ Œ 43 Œ Œ œ ‰ 4Ó J ‰ Œ Ó œ ‰ #œ ‰
sffz simile
^ ^j 4 ^ ^j ^
Hp. loco
4
&4 Ó œ
j ‰ Œ 43 Œ Œ #œ ‰ 4 Ó œ
j ‰ Œ Ó #œ ‰ œj ‰

° 4Ó > >
n>œ b œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 43 œ ‰ Œ 44 Ó >œ b>œ œ#œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ
Vln. I &4 J Œ J ‰ Œ Ó
3 3 3 3 3 3 3 3
p ff p ff
> > >œ b>œ œ#œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ
4
&4 Ó n>œ b œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 43 œ ‰ Œ Œ 44 Ó
Vln. II J J ‰ Œ Ó
3 3 3 3 3 3 3 3
p ff p ff

>œ > œ b œ œ >œ œ œ > œ œ œ >œ œ 3 œ 44 Ó >œ > œ b œ œ >œ œ œ > œ œ œ >œ œ œ
B 44 Ó #œ œ œ œ4 ‰ Œ Œ #œ œ œ œ ‰ Œ Ó
Vla.
J J
3 3 3 3 3 3 3 3
p ff p ff

>
pizz.
>œ œ >œ >œ > >œ >œ œ >œ >œ
>œ 44 Ó
Vc.
? 44 Ó œ 43 ∑ œ ∑ B

p ff p ff

?4 ^ ^
43 ™ œ ‰ œ Œ
44 ^ ^
Db.
¢‹ 4 n œ ™ ‰ Ó
œ œj œ ' œ' œ™
‰ Ó
œ œj œ ™ œ' œ œ'
‰ Ó
' ' ' ' ' ' ' ' ' '
ff poss. sempre
20
°
(stop note abruptly, do not rearticulate)

œ Æ
∑ 45 Ó Œ Œ 44 œR ≈ ‰ Œ Ó 43
Fl. &
pp ff

œÆ ≈ ‰ 44 Ó >> > > >

& <#>œ ≈ ‰ Œ
r
(stop note abruptly, do not rearticulate)

Ó 45 Ó Œ œ
R b œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ 43
'
Ob.

ff pp ff
3 3 3 3
p
3
r
5 j 44 43
3 3 3

& Ó #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ ‰ Œ #œ œ≈‰ Œ ∑
'
Cl.
>> > > >
ff pp ff
p

? ^ Ó™
^ 44 ^
¢ œ™ 45 œ ™ 43
Ϫ
‰ j Ó ‰ ‰ j Ó
Bsn.
œ œ œ œ œ' œ œ
' ' ' ' ' ' ' ' '

°
Hn. & ∑ 45 Ó Œ Œ #œ
44 r ≈ ‰ Œ
œ Ó 43
'
pp ff

Æ
Tpt. & ∑ 45 Ó œ œ≈‰ Œ
R
44 ∑ 43
pp ff

Æ bœ œÆ
(stop note abruptly, do not rearticulate)

? œR ≈ ‰ Œ 45 Ó R ≈ ‰ 44 43
¢
Tbn. Ó Œ ∑
ff pp ff

° Ó™
Perc. I / ∑ 45 œ Œ 44 ∑ 43
ë

≈ œ œ œ 45 œ œ œ œ œ œ Ó ™
> 44 Ó ≈ œ œ œ 43
¢/
Perc. II Ó Œ ‰ Œ ‰
3 3 3

{
3
mf f pp mf

? ∑ 45 ∑ 44 ∑ 43
? ^ ^ ™ 44 ^
Pno.

45 œ ™ 43
œ™ œ ‰ œj Ó
' '
œ‰ œœÓ
' œ™ œ ‰ œj Ó
' ' ' '
“‘
' ' '

{
#œ^ ^ ^ œ^ ^j
& Ó J ‰ Œ 45 Ó œ ‰ œJ ‰ J ‰
J
44 Ó #œ ‰ Œ 43
Hp.
^j ^j Eb^ ^
& Ó #œ ‰ Œ 45 Ó #œ ‰ b œj ‰ #œj ‰ 44 Ó
j ‰ Œ 43
#œ

°
> > >
#>œ œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 5 #œ ‰ Œ
Ó™
>> > >
Vln. I & Ó 4J
44 Ó b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43
3 3 3 3
p ff 3 3 3 3

> >
p

#>œ œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 5 #œ ‰ Œ >

Ó™
>> > >
Vln. II & Ó 4J 44 Ó b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43
3 3 3 3
p ff 3 3 3 3
p
> > >
#>œ #œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ 5 #œ ‰ Œ Ó™
3 3 3 3

B Ó 4J 44 Ó b œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ 43
>>
Vla.
3 3 3 3
> > >
p ff p
> >œ œ >œ >œ > >œ œ >œ >œ
> #œ 44 Ó ? > bœ B3
Vc.
B Ó
#œ 45 ∑ bœ 4
p ff p ff

? ^ ^
45 ™ ™ 44 ^ 43
Db.
¢‹ œ ™ œ ‰ œj Ó œ œ‰ œœÓ œ™ œ ‰ œj Ó
' ' ' ' ' ' ' ' ' '
 21
° 3 r
3 3 3 3

∑ 44 Ó j 3
œ ≈ ‰ 43 44
&4 œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ bœ ∑
>#>œ '
Fl.
> > >
p ff pp ff

Æ >> >
3
& 4 b œJ ‰ Œ Œ 44 ∑ Ó œ œ≈‰ Œ 43 Œ Œ œ#œ œ œ œ œ œ œ 44
Ob.
R
ff 3 3 3
pp ff p

44 œÆ ≈ ‰ Œ œ œÆ 44
Cl.
3
&4 Ó œ
R Ó Ó Œ Œ 43 R ≈ ‰ Œ Œ
3
pp ff pp ff

?3 ^ 44 ^ ^
43
^ 44
¢ 4 œ ™ œ œj
‰ Œ ≈ ‰ ‰ ≈ Ó ≈ ‰
#œ™ œ œœœ œœ œœ #œ™ œ œœœ #œ™ œ œœœ œœ
Bsn.

' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '

° 3 44 3
r 3 44
Hn. &4 ∑ ∑ Ó Œ œ œ≈‰ 4 ∑
'
pp ff

Tpt.
3
&4 Ó
bœ 44 œRÆ ≈ ‰ Œ Ó Ó Œ Œ #œ Æ
43 œR ≈ ‰ Œ Œ 44
3
pp ff pp ff

œ œÆ 44
Tbn.
?3
¢ 4
∑ 44 ∑ Ó R ≈‰ Œ 43 ∑
3
pp ff

° 3 44
Perc. I /4œ Œ Œ 44 ∑ œ Œ Ó 43 ∑
ë ë

3> 44 Ó >
≈ œœœ œ œ œ œ œ œ Œ 43 44
Perc. II
¢/ 4 œ Œ Œ Œ ‰ Œ ∑
3 3

{
3
f mf f pp

? 43 ∑ 44 ∑ ∑ 43 ∑ 44

? 43 ^ 44 ^ ^ ^
Pno.

43 44
œ ™ œ' œ
‰ jŒ ≈ ‰ ‰ ≈ Ó ≈ ‰
#Ϫ #Ϫ #Ϫ
œ œœœ œœ œœ œ œœœ œ œœœ œœ
' ' ' ' ' '
“‘
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '

{
b ^œ ‰ 4 Ó œ^ ^ ^j ^œ ^ 44
3
&4 Ó J 4 J ‰ Œ Ó œ ‰ b œ ‰ J ‰ 43 Ó œ ‰
J J
D#C§
^œ 4 ^ ^ ^j #^œ ^
Hp. 3
3 j ‰ œ ‰ J ‰ 43 Ó 44
E§Ab
&4 Ó J ‰ 4 Ó œ
j ‰ Œ Ó
œ j ‰
œ
3

>œb >œ œ œ > œ œ œ >œ œ œ > œ œ œ

° 3 bœ ‰ Œ #œ œ œ œ >> >
œ œ œ#œ œ œ œ œ 44
Vln. I &4 J Œ 44 Ó J ‰ Œ Ó 43 Œ Œ
3 3 3 3
ff p ff 3 3

>œb >œ œ#œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ

p
>> >
Vln. II
3
& 4 b œJ ‰ Œ Œ 44 Ó J ‰ Œ Ó 43 Œ Œ œ œ œ#œ œ œ œ œ 44
3 3 3 3
ff p ff 3 3
p
>œ > œ b œ œ >œ œ œ > œ œ œ >œ œ œ
B 43 b œj ‰ Œ
3 3
#œ œ œ œ J ‰ Œ œ œ œ œ œ œ œ 44
Vla. Œ 44 Ó Ó 43 Œ Œ
>#>œ
ff 3 3 3 3
>
p
p ff
> >œ œ >œ >œ > >œ >œ
>œ œ B4
Vc.
B 43 ∑ 44 Ó ∑ 43 Œ Œ ?
œ 4
p ff p ff

?3 ^ 44 #^œÆ ™ œÆ ≈ œ œ œ ‰ ^
#œÆ ™ œÆ ≈ œ œ œ Ó ^
43 #œÆ ™ œÆ ≈ œ œ œ ‰ 44
¢‹ 4 œ ™ œ œj
‰ Œ ‰
Db.
' ' ' œœ œœ ' ' ' ' ' ' œœ
' ' ' ' ' ' ' ' '
22 >œ
Ϫ
>œ
° 4 Ó œ b œ œ b>œ b œ > œ™
œÆ œ
≈ #œr nœ nœ 8 ‰ ™
3 24
&4 Œ Ó ‰ 43 J
>
Fl.
pp ff ff pp

b>œ b œ > 3
≈ #œj™
3 3 3 3
4 r 3 j 24
Ob. & 4 œJ ‰ Œ œ ≈ ‰ Ó nœ #œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ nœ nœ 8 ∑
' >> > > >
ff pp ff p ff

38 #œ ™
>œ
œ œÆ ‰
œ œ œÆ 24
Cl.
4
&4 Œ ‰ b œJ Œ Œ ‰ œj œ #œ 43 R ≈‰ Œ ‰
pp ff > #œ #œ pp ff
fp ff
>
?4 ^ ^
43
^ 38 ‰ r ‰ 24
¢ 4 ™ œ ‰ j ≈ r‰ j ‰ ‰ j ≈ ≈ ‰ j ‰
œ # œr
bœ™ ' œ œ œ b œ ™ b œ' œ#œ
Bsn.
#œ ' œ œ œ b œ # œ œ œ œ œ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '

° 4 38 ™
Ϫ
24
Hn. &4 Ó Œ œ
∑ 43 ∑ #œ œ ‰
' '
pp ff pp ff

4 j r
43
38 ‰ ™ œ™ 24
&4 Ó ≈ œ™ œ ≈ ‰ ∑ ∑ J
'
Tpt.

pp ff pp

œ œ œÆ 38 B2
Tbn.
?4 Œ
¢ 4
‰ J ‰ Œ ∑ 43 ∑ ∑ 4
pp ff

° 4 38 24
/4 ∑ œë Œ Ó 43 ∑ ∑
œJ ‰
Perc. I

'
> > > >
f
38 >œ œ œ >œ œ œ 24
Perc. II
4
¢/ 4 Œ ‰ œ œ œ œ œ œ œœœœœœ ∑ 43 ∑
6

{
f ff f

38 24
? 44 ∑ ∑ 43 ∑ ∑

? 44 ^ ^ ^
Pno.
38 ‰ 24
‰ j ≈ j ‰ ‰ j ≈ ≈ 43 ‰ ‰ r ‰
# œ ™ œ' œ œ™
j j
œ # œr
œ b œ ™ b œ' œ #œ œ œ
' ' œ œ œ
' ' b œ ™ b œ' œ œ#œ
' ' ' '
“‘
' ' ' ' ' ' ' ' ' '

{
^Ϫ
38 #œ ™
^ ^r ^œ ^j ^
24
4
&4 Œ ‰ b œJ ≈œ ‰ J ‰ Ó œ ‰ Œ 43 ∑
^ ^œ ™
Db G§ G# D§
^ ^ ^ ^ 38 ^ ™
Hp.
4 ≈ #œr ‰ j ‰ œj j 43 ?2
F§G#A§
&4 Œ ‰ j
œ œ
‰ Œ ‰ Œ ∑ #œ 4
nœ

° 4 œ ‰ Œ #>œ #œ ‰ 38 ‰ ™ n^œ ™
pizz.
3 3 3 3

Ó Ó 3 j 24
&4 J œ bœ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ
> > #œ >œ J
Vln. I
> > sffz
ff p ff
3 3 3 3
4 3 j 3 24
& 4 œJ ‰ Œ Ó Ó œ bœ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ ‰ œ œ 8 ∑
> > #œ >œ
Vln. II
> > >
ff p ff

‰™
pizz.
j 38 ^j
#œ ™
B 44 œ ‰ Œ 3 j 24
3 3 3 3
Ó Ó œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ Œ
> #>œ
Vla.
ff > > > sffz
p ff
^œ >œ >œ œ >œ >œ
‰ J >œ 38 24
Vc.
B 44 ∑ Œ 43 ∑ ∑
sffz p ff

? 4 ^Æ œÆ ‰ œj ^ ^
¢‹ 4 #œ ™ b œ ™ b œ ‰ œ ≈ #œ 43 b œ ™ b œ ‰
j j j œ œ œ œ j œÆ #œÆ 38 ‰ œÆ #œr ‰ 24
≈ œ™ œ ‰ ≈œ œ ‰
R '
Db.
' ' ' ' ' ' ' ' ' ' ' ' ' ' '
 > 23
œÆ > œ > œ œ >œ œ œ b œ œ œ œ
° 2R 24 #œ ™ œÆ Œ
œbœ œ
Fl. &4 ‰ ≈ Œ 43 ∑ 44 Ó 43
ff 6 3
p ff mf ff
>œ 3

‰ œj œ bœ
3
2
&4 ‰ #œ #œ 43 œr ≈ ‰
24 œ™ œ Œ 44 Ó
œ œ > œ
œ œ 43
'
Ob.

p ff
> >

43 n˙ ™
24 ™
3
2 44 Ó 6
3
&4 Œ ≈ œ œ Œ œ œ œ b>œ œ œ œ 4
#œ œ œ b œ œ œ œ >œ
Cl.
> '
œ > >
> fp ff

?2 ^ ^ ^ ^ 44 ^
mf ff

¢ 4 Œ 43 ™ ‰ j ≈ r ‰ 24 Œ ‰ j ‰ ‰ 43
#Ϫ
j
bϪ
Bsn.
bœ œ œ b œ œ œ œ œ œ
' ' ' bœ ' ' ' œ™ ' œ ' ' '
' ' ' '
° 2
&4 Œ ≈ 43 ∑ 24 œ™ œ Œ 44 ∑ 43
#œ œ '
Hn.

œ
>
p ff

24 #œ ™
f

Tpt.
2 Æ
& 4 œR ≈ ‰ Œ 43 ∑ œÆ Œ 44 ∑ 43

™
ff p ff

24 œ œÆ
Tbn.
B2
¢ 4
∑ 43 ∑ Œ 44 ∑ 43
p ff

°? 2 44 j ‰
Timp. 4 ∑ 43 ∑ 24 ∑ œ Œ Ó 43
'
mfz

2
/4œ Œ 43 Æj ‰ ‰ Æj Œ 24 Æj ‰ Œ 44 œ Œ Ó 43
œ œ œ œJ ë ‰
Perc. I
ë
' >. . . >. . . >. . . >o–
^
2 >œ œ œ œ œ œ 43
24 ‰ ≈ œR Œ 44 Ó ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
43
¢/ 4
Perc. II ∑
3 3 6 3

{
sffz
pp p f

? 24 ∑ 43 ∑ 24 ∑ 44 ∑ 43
? 24 ^ ^ ^ 2 ^ 44 ^
Pno.
Œ 43 ™ ≈
œ ‰ j b œr ‰ 4 ™ Œ ‰ j ‰ ‰ j 43
bœ™ bœ œ
' ' bœ #œ œ
' œ™ œ œ œ œ œ

{
' ' ' ' ' '
“‘
' ' ' ' '
^ ^j ^j ^
24 #^œ ‰ 44 Ó ^
43
2
&4 Œ #œ
j ‰ 43 œ ‰ ‰ œ Œ J Œ Œ
œ bœ

b ^œ
Ab
Hp.
^
D# G§ C#
^œ D§
? 24 Œ #œ
J
‰ 43 ∑ 24 ∑ 44 Ó Œ 43

° 2
3
bœ
3
24 Π4 43
arco
3 3
3 j œ
Vln. I &4 Œ #œ œ œ‹ œ œ œ œ œ 4 #œ
‰ Œ Œ ≈
œ œ 4˙ nœ œ > œ œ
> > > > #œ > >
p ff > 3
bœ
3
2 3 j 24 Œ ≈ œ 44 œ 43
3 3
Vln. II &4 Œ #œ œ œ‹ œ œ œ œ œ 4 #œ
‰ Œ Œ
œ ˙ nœ œ > œ œ
> > > > #œ > >
>
≈ œJ ™
^
p ff
^ ^ ^ ^
pizz.

B 24 Π43 j
24 Œ 44 Ó 43
arco
œ
3 3
‰ Œ Œ œ bœ œ
#œ ‹œ œ œ œ œ œ œ #œ
Vla.
> > > sffz simile

> >œ ^
p ff arco

4 Ϫ
> #œ Æ
B 24 Œ
#œ 43 ∑ 24 ∑ ?4 œ ‰ œj ‰ œ œ ‰ œ B3
4
Vc.
' ' ' ' ' J
p ff
ff

?2 ^ ^ ^j ^ 44 ^ ™
¢‹ 4 b œ' ™
bœ Œ 43 ™ b œÆ ‰ 24 #œÆ ™ œÆ Œ œ ‰ œj ‰ œÆ 43
œ ‰ b œ' ≈ R œ œ œ ‰
Db.
' œ ' ' ' ' ' J
' '
24 > œ >œ œ >
> œ > œ bœ bœ bœ œ
° 3Œ œbœ œœœ
œ nœ œ 24 œ bœ 4Ó
Œ œœœ Œ ≈
Fl. &4
6 3
bœ œ 4
mf ff
bœ bœ œ œ
3 œ 24 nœ œ b œ b œ nœ 44 œ R ≈ ‰
Ob. & 4 nœ œ œ #˙ œ ≈ ‰
> > ' 3

>
p ff

3 > > bœ >

24 œ b œ œ œ œ œ œ œ œ
6
44 Ó #>œ
&4 Œ Œ œ nœ œ œ œ bœ œ œ œ #œ œ
> œ >
Cl.

6 6
mf ff

?3 ^ 24 ^ j 44 ^
Bsn.
¢ 4 œ
‰ j ‰ ‰ ‰ bœ œ™ œ'
‰ j ‰ bœ œ ‰ œ œ
œ™ ' œ œ œ' œ œ' > '
œ
'
' ' ' '
' ' ' '
° 3 24 44 Œ j
&4 ∑ ≈ Œ ‰
bœ œ œ
≈ Œ
Hn.
bœ œ
' '
p ff p ff

3 24 œ 44 Œ j
&4 Œ #˙ œ ≈ Œ ‰ œ œ œ ≈ Œ
'
Tpt.
> '
fp ff p ff

B3 24 œ œÆ 44 Œ œÆ ≈ Œ
¢ 4
∑ ≈ Œ ‰ œ œ
Tbn.
J
p ff p ff

°? 3 ∑ 24 ∑ 44 j ‰ Œ Ó
Timp. 4
œ
'
3
/4 ∑ 24 ∑ 44 œ Œ Ó
œJë ‰
Perc. I

>. . . >o– '

>. . . >. . .
¿ ¿ ¿ ¿ ¿ ¿ >¿™o– >. . . >. . . >. . . >o–
3… 24 ¿ ¿ ¿ ¿ 44 …Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¢/ 4 Œ Œ
Perc. II ≈ J Œ
6 3 6 3

{
p f p f

? 43 ∑ 24 ∑ 44 ∑

? 43 ^ 24 ^ 44 ^
Pno.
‰ ‰ ‰ ‰ j ‰ ‰
œ
j bœ œ™ œ'
j bœ œ ‰ œ œ
œ™ œ œ œ' œ œ' > œ ' ' ' '

{
' ' '
“‘
' ' ' '

3 24 ^ ^ 44 Π^j
&4 ∑ œ Œ ‰ Ó
œ b œœ
Eb ^
n^œ
A§
Hp.
? 43 Ó ^œ 24
C§
44 Œ œ
Œ ‰ J Ó

>
> b >œ œ œ œ œ nœ
° 3 œ
3 3 3 3 > b œ nœ b œ œ
Vln. I
2 j
& 4 nœ œ œ #œ œ œ‹œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ ‰ ‰ œ bœ 44
> > > > > > 3

#>œ
3 3 3 3

Vln. II
3 2 j
& 4 nœ œ œ œ #œ œ œ‹œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ ‰ Œ 44 Ó nœ œ #œ œ
> > > > > > > >
(stop note abruptly,

œÆ ≈ Œ
arco do not rearticulate)
nœ œ
non div.

B 43 Œ 2 j 44 Œ
3 3 3 3
‰ Œ ‰ œ œ œ
Vla. #œ ‹œ œ nœ œ œ œ œ œ
> > œ œ œ œ œ œ œ 4 #œ J &
> > > p ff
pizz.
> #œ > >œ œ >œ >œ
44 ^
arco
B 43 Œ 24 Œ ‰ j ‰ ‰ bœ œ ‰
?
#œ bœ j œ œ
œ™ œ'
Vc.
> œ ' ' ' '
p ff ' '
^ ^ b>œ ^Æ Æ
44 œ ™ œ ‰ b œÆ œÆ ‰ œÆ œÆ
Ϫ Ϯ
?3 j 24 œ œ ‰
¢‹ 4
œ ‰ œ ‰ œ œ ‰ J ‰
Db.
' ' ' ' ' ' ' J
 >œ 25
œ œÆ <n> œ
b >œ # ^œ œÆ <n> œ
<n> œ
œ œ > #œ # œ n œ
° œ #œ œ
‰ ‰ ≈ R ‰ J Œ ‰ #œ œ ‰ J ≈ R ≈ J
Fl. & #œ #œ
3 3 3
> pp ff pp ff pp

#>œ ™ œ œÆ ≈ #œ œÆ
> b œ nœ
3
nœ œ
& Ó œ œ Œ Œ ‰ J R ≈ J
Ob.
nœ œ #œ
> #œ
> pp ff pp ff pp
>œ
<#>˙ #˙ Œ ‰
#œ #>œ œ œ œ œÆ ≈ œ œÆ ≈ #œ
Cl. & nœ #œ ‰ b œJ R J
3 >
pp ff pp ff pp

? ^ ^ ^ ^
¢ œ™ œ
‰ j ≈ r ‰
œ œ œ'
‰
œ œ' œ œ'
‰
œ œ' œ œ'
‰
œ œ' œ œ' œ œ œ œ
‰ ‰ bœ œ
' œ' ' œ'
Bsn.
' œ ' œ œ
œ ' œ '
' ' ' ' ' ' ' ' ' ' ' ' ' ' '
° Œ ‰ j r
œ ≈Œ Ó œ ≈‰
& #œ ‰ j ≈ r≈ j
<n> œ
Hn.
bœ œ
' ' œ œ œ œ œ
p ff p ff ' ' pp
pp ff pp ff

& Œ ‰ bœ
j
œ œ ≈Œ Ó œ œÆ ≈ ‰ ‰ b œj œ œ ≈ bœ r≈ j
œ bœ
Tpt.
' R '
p ff p ff pp ff
' pp
^ ^
pp ff

B Œ œ œ œÆ ≈ Œ œ œÆ ≈ ‰ ^
¢
‰ J Ó R
?
œ œ ‰ ‰ œ œ Œ bœ œ ‰
' ' ' '
Tbn.
p ff p ff ' '

°? j
Timp. j ‰ Œ Ó j ‰ Œ Ó œ ‰ ‰ œj Ó
œ œ ' '
' '
^ ^
/ j ‰ Œ Ó œ Œ Ó œ ‰
J
‰ j œ
œ œ œ œ œ
Perc. I
ë
' ' ' ' '
>. . . >. . . >. . . >o– >. . . >. . . >. . . >. . . >o–
¿. ¿. ¿. >¿– œ^ ¿. ¿. ¿. >¿– ^œ
o … o …
… ¿¿¿¿¿¿¿¿¿¿ … ¿¿¿¿¿¿¿¿¿¿¿¿¿ … ^œ ¿. ¿. ¿.
Perc. II
¢/ Œ Œ Œ J ‰
6 3 6 6 3 3 3

{
p f p f

? ∑ ∑ ∑

? ^ ^ ^ ^
Pno.
‰ j ≈ r ‰ ‰ ‰ ‰ ‰ ‰ bœ œ
œ™ œ œ œ œ œ' œ œ' œ œ' œ œ' œ œ' œ œ' œ œ' œ œ œ œ œ œ ' œ' ' œ'
' ' œ ' œ '
“‘
' ' ' ' ' ' ' ' ' ' ' ' '

{
' '
^j ^j ^ ^Æ
& Œ ‰
bb œœœ Ó Ó b œœœ ‰ Œ Œ ‰ œÆ Œ œ ‰
J
J
G§ ^ E§ ^
Hp.
Æœ œÆ
?
Gb
∑ ∑ Œ ‰ J Œ J ‰

b >œ #œ nœ
° #>œ ™
œ œ #>œ
œœ œœ ≈#<n>œœ œÆ ≈ <n>œ
œ nœ #œ ‰ n<n>œœ
œ #œ œ >œ #œ œ j
non div.

& œ #œ œ J
R
Vln. I
>œ > '
# >œ ™
3 3 3

œ™ nœ œ
<#>œ
pp ff pp ff pp

œ r≈ j
3
bœ œ ‰ b œj
non div. (stop notes abruptly, do not rearticulate)
Vln. II & ‰ Œ
nœ œ > #œ #œ #>œ œ bœ
œ œ ≈ nb œœ
œ œ œœ # œœ
> > ' '
pp ff pp ff pp

j r ‰ <n>œj r j
non div.
Vla. & Œ ‰ #œœ œœ œœ ≈ Œ Ó #œœ œœ ≈ ‰ B œ œ ≈ œ œ ≈ b œœ
' ' ' '
pp ff pp ff pp
^ ^
p ff p ff

? ^ ‰ j ≈ r ‰ ‰ ‰ ‰ œ œ œ ‰ œ œ œ
^
œ ‰ bœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
' ' ' ' ' ' ' œ' ' œ
Vc.
œ™ ' œ ' œ ' œ ' ' ' œ ' ' ' œ ' ' ' ' ' '
' ' ' ' ' '
^ ^
™
^Æ
? Ϯ Ϯ
Æ
≈ œR ‰ œÆ œÆ œÆ œÆ œÆ œÆ ‰ œÆ œÆ œÆ œÆ ‰ œÆ œÆ œÆ œÆ ^
¢‹
œ ‰ ‰ œ œ œ œ ‰ œ œ œ œ ‰ bœ œ
Db.
J ' ' ' ' ' ' ' ' ' œ' ' œ
'
26 Ϯ
œÆ <n># œœ œœÆ œ
œÆ #œ œÆ <n> œ œÆ nœ œœ
° œ œ œ œ
Fl. & ≈ R ≈ J ≈ R ≈ J ≈ 24 R ≈ ‰ Œ

œÆ <n> œ
ff pp ff pp ff pp ff pp ff pp ff

œÆ œ œÆ œ œÆ #œ œÆ
œ R ≈ #œJ œ œÆ œ
R ≈ J 24 R ≈ ‰
Ob. & ≈ ≈ ≈ Œ
ff pp ff pp ff pp ff pp ff pp ff

œÆ œ œ œÆ Æ
œÆ ≈ b œ
& <#>œ
œ 24 œR ≈ ‰
œÆ ≈ nœ œÆ ≈ b œJ œ R ≈ J ≈ Œ
Cl.
R
ff pp ff pp ff pp ff pp ff pp ff
^ ^
? ^ ^ ^ ^
nœ œ œ œ 24
¢ #œ œ œ œ
‰ ‰ bœ œ œ œ ‰ ‰ ∑
œ œ' œ œ' ' ' ' ' b œ' b œ' œ' œ' œ œ' œ œ' ' ' ' '
Bsn.

' ' ' ' ' ' ' '

° r j 24 œr ≈ ‰
Hn. & ≈ r≈ j ≈ œ œ ≈ œ œ œ ≈ œ Œ
œ œ œ œ œ œ œ ' ' '
' ' ' pp ff pp ff pp ff

œÆ Æ
œÆ bœ œÆ ≈ b œ 24 œR ≈ ‰
ff pp

& <b>œ
pp ff ff
r R ≈ b œJ œ
œ ≈ bœ œ ≈ b œJ œ ≈ Œ
' '
Tpt.

ff pp ff pp ff pp ff pp ff pp ff

^ ^
? ^ ‰ ^ ^ ^ 24
¢ #œ œ
‰ Œ bœ œ ‰ ‰ ‰ Œ nœ œ ‰ ∑
œ œ' b œ b œ' œ œ' ' '
Tbn.
' '
' ' ' ' '

°? j j 24
#œ ‰ ‰ œ Ó j ‰ ‰ j Ó ∑
' ' bœ œ
Timp.

' '
^ ^ ^
/ Œ œ ‰ ‰ j œ Œ œ ‰ 24 ∑
Perc. I
œ œ J œ œ œ œ J
' ' ' ' ' '
>¿o– …^ .¿ ¿. ¿. >¿o– …^œ ¿. ¿. ¿. >¿– œ^
o … .¿ ¿. ¿. >¿o– …^ .¿ ¿. ¿. >¿o– …^ ¿. ¿. ¿. >¿–
o …^ ^ ^ ^ ^
œ œ œ 24 œ œ œ œ œ œ œ œ œ œ œ œ
Perc. II
¢/
3 3 3 3 3 6 6

{
? ∑ ∑ 24 ∑
^ ^
? ^ ^ ^ ^
Pno.
‰ ‰ bœ œ œ œ ‰ ‰ nœ œ œ œ 24 ∑
# œ œ' œ œ' œ œ' œ œ' ' ' ' ' œ' b œ' œ' œ'
b œ œ' œ œ' ' ' ' '
<“> ' ' ' ' ' '

{
^Æ ^ ^Æ ^Æ
^Æ œ ^Æ nœÆ œ œ
œ 24 J
& ‰ œJ Œ J ‰ ‰ J Œ J ‰ ‰ J Œ ‰ Œ
^ F# ^ ^Æ
? ‰ œJÆ œÆ ^j ^j 24 ^j
Hp. F§

Œ ‰ ‰ œ Œ ‰ ‰ Œ ‰ Œ ?
J J &œ œ œ
' ' '

Ϯ
° œ œœÆ ≈ <n>#œœ
Æ œ
œÆ ≈ #œœ œœÆ ≈ <n>œj œ œ ≈ nœœ œœ œœ ≈ 24 R ≈ ‰ Œ
Vln. I & R # œ œ œ R J
'
ff pp ff pp ff pp ff pp ff pp ff

r j r j 24 œœÆ ≈ ‰
& <#> œœ œ ≈ bœ œ ≈ bb œœ œ
œ
œ ≈ bœ
œ bœ œœ ≈ bnœœ œ
œ
œ ≈n#œœ
œ Œ
œ nœ œ R
Vln. II

' ' ' ' '

pp ff pp ff pp ff

œÆ ≈ œ œÆ ≈ œ Æ
ff pp ff pp ff
œ œ 24 œ ≈ ‰
Vla. B <b>œœ œœ ≈ œ
r
œ ≈ œ
j
œ œ ≈ R J bœ œR Œ
' ' ' pp ff
ff pp ff pp ff pp ff pp ff

^ ^
? ^ ‰
^
‰
^ ^ 24
bœ œ œ ‰ œ œ œ ‰
bœ œ œ nœ œ œ œ ∑
œ bœ
# œ œ' œ œ' œ œ' œ œ' œ ' ' ' '
Vc.
' ' ' ' ' ' ' ' ' ' ' '
' ' ' '
^Æ œÆ Æ œÆ ^Æ œÆ Æ œÆ ^ ^ b œÆ œÆ œÆ ‰ ^Æ œÆ œÆ œÆ ‰ ^
? b Ϯ 24
¢‹ #œ œ ‰ œ œ ‰ bœ œ œ œ nœ œ œ œ ∑
Db.
' ' ' œ ' ' ' '
'
 ^ ^Æ ^ 27
# œÆ œ ^Æ ^Æ ^
œÆ # œÆ n>œ
° ‰ J
œ œ > nœ > œ b œ >œ œ œ >œ œ œ œ œ œ œ
œ œ 24 œ œ b œ
Fl. & ‰ J 169 J ≈ J ≈ J ≈ 43 ‰ J œ œ œ œ ®Œ 41
sffz
>œ
simile ff poss.
^Æ ^Æ ^ ^Æ ^ ^Æ > >
œ œ 9 #œÆ œ œÆ œ œ nœ >œ œ b œ œ œ œ œ œ œ
24 œ œ b œ
Ob. & ‰ J ‰ J 16 J ≈ J ≈ J 3
≈ 4‰ J œ
œ œ œr ≈ ‰ 41
6 6

œ <n> œ
^Æ ^Æ ^
sffz simile ff poss.
^Æ ^Æ ^Æ > 6

œ œ œÆ œ > > œ œ >œ œ b œ >œ œ œ œ œ œ œ œ

œ
Cl. & ‰ J ‰ J 169 J ≈ J ≈ J 3
≈ 4‰ J bœ œ œ 24 œ b œ
œ œ œ ≈ ‰ 41
bœ œ œ
sffz simile
> œ
^ ^ ^ œ >œ œ œ >œ œ œ b œ œ œ œ b œ œ
2 2 2 ff poss.
^ ^ ^ >
? ^j ‰ ^j ‰ 169 œ œ œ 34 ^j ‰ œ b œ 24 41
¢ œ ' ' ' œ œ bœ ‰
Bsn.
œ œ œ œ œ œ œ œ
' ' ' ' ' ' ff poss. 6 6
6 3
sffz simile

° ‰ ^j ^j 9 ^j ^ ^ ^
& <n>œ ‰ œ 16 œ ≈ œj ≈ œj ≈ 43 ‰ œj ‰ 41
24
<n>œ
j ≈ ∑
Hn.
' ' ' ' ' ' œ œ
'
^Æ ^Æ ^Æ
pp ff
^Æ ^ ^ œÆ
Tpt. & ‰ #œJ ‰ œJÆ 169 #œJ ≈ œJ ≈ œJ ≈ 43 ‰ #œJÆ ‰ bœ
J
œ ≈ 24 ∑ 41

? ^Æ <n> œ
^Æ ^ ^Æ
pp ff

^ Ϯ 9 ^ ^ ^
2 2 2
^ ^ ^
34 ^Æ œ ‰ œÆ 24 Œ 41
¢ œ 16 œ' œ œ bœ œ ≈
œÆ œ ' œ ' œ œ J œ
Tbn.
' ' ' pp ff pp

°? ^ ‰ ^ ‰ 9 ^
j j 16 ∑ 43 œj ‰ Œ Œ 24 ∑ 41
nœ œ
Timp.

' ' '

…(choke immediately!)
^Æ
œ ^Æ >œ œ > >œ œ > >œ œ > 3 ^Æ
Perc. I / œ ‰ œj ‰ 16
9 œ œ œ œ œ œ 4 œj ‰ Œ Œ 24 ∑ 41
J
^œ ™ œ^ ™ œ^ ™ ^œ >¿. ¿. ¿. >¿. ¿. ¿. >¿. ¿. ¿. >¿o– >o– >¿o–
4 4 4
^œ œ^ ^œ œ œ œ^ œ œ
‰ J ‰ J 169 43 ‰ J 24 ¿ 41
Perc. II
¢/ J J J

{
6 3 6
p f

? ∑ 169 ∑ 43 ∑ 24 ∑ 41
sffz simile
? ^j ‰ ^j ‰ 169 ≈ ^ ^ ^ ^
Pno. 2 2 2

œ
r ≈ œ
r ≈ œ
r 43 j ‰ Œ Œ 24 ∑ 41
œ œ œ

{
' ' '
“‘
' ' '
^
& ∑ 169 ∑ 43 Œ Œ ‰ #œj 24 ∑ 41
œ
D# ^
'
#Ϯ
Hp.
? ∑ 169 ∑ 43 Œ Œ ‰
J
24 ∑ 41

^Æ ^Æ ^ >
œ œ œÆ > nœ b œ >œ œ œ >œ œ œ n œ œ œ b œ œ
° # œ œ œ œ œ >œ b œ
Vln. I & ∑ 169 J ≈ J ≈ J ≈ 43 Œ 24
œ œ œ ≈ 41
sffz 6 6 bœ œ
>
simile ff poss. 6 3
^
b Ϯ
^Æ ^Æ > œ nœ >œ œ œ >œ œ b œ œ œ œ 2 œ œ
≈ œœ ≈ œœ
6

169 Š43 Π41
3
& ∑ œJ bœ 4 bœ œ œ ≈‰
Vln. II
J J 6 > œ bœ œ
6

> œ b >œ œ œ œ
sffz simile ff poss.
^Æ ^Æ ^
œ œ œÆ > œ b œ >œ œ œ >œ œ œ œ œ
B ∑ 916 J ≈ J ≈ J ≈ 43 Œ œ 24 b>œ œ œ œ B 1
Vla. bœ œ œ œ Œ &4
sffz simile ff poss. >œ
œ œ b>œ
? ^j ‰ ^ ^r ^r ^r ^
2 2 2
2 œ œ œ 1
j ‰ 169 ≈ œ
≈
œ
≈
œ 43 j ‰ Œ Œ 4‰ bœ œ 4
œ œ œ
Vc.

' ' ' ' ' ' 3

ff poss. 6
sffz simile
^ ^ 2
^r 2
^r 2
^r ^
? 169 ≈ 43 j ‰ Œ 24 Œ œ b œ œ 41
¢‹ œj
‰ j ‰ ≈ ≈ Œ œ
Db.
œ œ œ œ œ >
' ' ' ' ' ' ff poss.
sffz simile
28 ^ ^Æ ^Æ ^ ^Æ ^Æ ^
n œÆ œ œ # œÆ ^Æ
œ
^Æ
œ œ œ # œÆ ^
Ϯ
^
Ϯ
^Æ
œ
^Æ
œ
° 1‰ J 316 J
Fl. &4
616 J ≈ J ≈ 43 ‰ J ‰ J ≈ 43 ‰ J 24
sffz simile
^ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^ ^Æ ^Æ
b Ϯ b Ϯ Ϯ
Ob. & 41 ‰ J 616 œJ ≈
œ
J ≈ 43 ‰
œ #œ
J œ
‰ J 316 œJ ≈ 43 ‰
œ #œ
J œ œ 24
sffz simile
^ ^ ^Æ ^Æ ^Æ ^Æ ^ ^ ^Æ ^ ^ ^Æ ^Æ
b œÆ b œÆ œ œ œ œ b œÆ b œÆ œ œÆ œÆ œ œ
Cl.
1
&4 ‰
J 616 J ≈ J ≈ 43 ‰ J ‰ J 316 J ≈ 43 ‰ J 24
sffz simile

^Æ ^Æ ^Æ
?1 ^ 616 b œ ^ œ ^ ^ ^ 316 b œ ^ ^
¢ 4 œj ‰ b œÆ œÆ 43 œj ‰ Œ
œ
j ‰ b œÆ 43 j ‰ Œ Œ 24
œ
Bsn.
' 2 2 ' ' 2 '
sffz simile

° 1 ^j ^j ^j ^j ^ ^ ^j ^j ^j ^ ^ ^ ^
& 4 ‰ bœ 166 b œ ≈ œ ≈ 43 ‰ œ œ œ ‰ bœ 163 b œ ≈ 43 ‰ <n>œ œ œ œ œ
24
' ' ' ' '
Hn.
sffz simile
' ' ' ' ' ' ' '
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ ^Æ
1
&4 ‰ œ œ
166 J ≈ œ
J ≈ 43 ‰ #œJ #œ œ ‰ nœJ œ
163 J ≈ 43 ‰ #œJ #œ œÆ œ œ 24
Tpt. J
sffz simile
^ ^ ^Æ ^Æ ^Æ ^ ^Æ ^ ^Æ ^Æ
b Ϯ ^ ^ Ϯ ^ Ϯ Ϯ
2 2 2
^ ^ œ œ ^ bœ ^ œ œ œ
? 41 ^Æ 616 œ œ ^
43 œÆ 316 œ ^
43 Æ 24
Tbn.
¢ œ ' bœ ' œ œÆ ' bœ œ
' ' '
sffz simile

°? 1 ^ ^ ^ ^ 24
Timp. 4 œj ‰ 166 ∑ 43 œj ‰ Œ
œ
j ‰ 163 ∑ 43 j
œ
‰ Œ Œ
' ' ' '
…
^Æ
œ > > > > ^ >œ ^ >œ ^ ^Æ > > ^ >œ ^ >œ ^ >œ ^ >œ ^ 2
Perc. I
1
/4œ ‰ 166 œ œ œ œ œ œ œ œ 43 œÆj ‰ œ œ j
œ
‰ 163 œ œ œ œ 43 œÆj ‰ œ œ œ œ 4
J 4 4 4

^œ ^œ ™ œ^ ™ œ^ œ^ œ^ ^œ ^œ ™ ^œ œ^ œ^ ^œ ^œ
1 …‰ 166 J 43 ‰ 163 J 43 ‰ 24
¢/ 4
Perc. II J J J ‰ J J

{
? 41 ∑ 166 ∑ 43 ∑ 163 ∑ 43 ∑ 24
sffz simile

? 1 ^j ‰ ^r ^r ^ ^ ^r ^
Pno. 2 2 2

4œ 166 ≈ bœ ≈ œ 43 œj ‰ Œ
œ
j ‰ 163 ≈ bœ 43 j
œ
‰ Œ Œ 24
' ' '
“‘
' ' ' '
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
œ œ œ œ œ œ œ œ œ
° 1 œ œ #œ œ œ #œ œ œ œ 24
Vln. I &4 ∑ 166 J ≈ J ≈ 43 Œ Œ 163 J ≈ 43 Œ
sffz simile

^Æ ^Æ ^ ^Æ ^ ^ ^Æ ^Æ ^Æ
œ œ b œÆ œ nœÆ b œÆ œ œ œ 24
Vln. II & 41 ∑ 166 #œJ ≈ œ
J
≈ 43 Œ nœ œ Œ 163 # œJ ≈ 43 Œ nœ œ œ œ
sffz simile

^ ^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^Æ
b œÆ œ b œÆ 24
Vla.
1
&4 ∑ 166 J ≈ J ≈ 43 Œ œ œ Œ 163 J ≈ 43 Œ œ œ œ œ
sffz simile

? 41 ^j ^r ^r ^ ^ ^r ^
2 2 2

163 ≈ 43 j 24
Vc.
œ
‰ 166 ≈ bœ ≈ œ 43 œj ‰ Œ
œ
j ‰ bœ œ
‰ Œ Œ
' ' ' ' ' ' '
simile
sffz

?1 ^ ^r ^r ^ ^ ^r ^
2 2 2

163 ≈ 43 j 24
Db.
¢‹ 4 œj ‰ 166 ≈ bœ ≈ œ 43 œj ‰ Œ
œ
j ‰ bœ œ
‰ Œ Œ
' ' ' ' ' ' '
simile
sffz
 ^ ^ 29
> n œÆ ^ ^ # œÆ n œ^Æ ^
> œ > œ œ >œ œ b œ >œ œ n œ n œ œ b œ œ œ b œÆ œÆ œÆ
° 2 nœ # œ œ #œ nœ nœ b œ
Fl. &4 43 œ œ #œ nœ
nœ b œ œ œ
≈ Œ 24 ‰ J J ‰ J ‰ J J ‰ J
ff poss. sffz 3 3

> ^Æ ^Æ ^Æ ^Æ
simile
> > > œ œ œ œ nœ ^Æ ^Æ
2 b œ nœ nœ œ œ #œ nœ #œ
&4 43
œ bœ œ œ
#œ nœ nœ b œ Œ 24 ‰ b œJ œJ ‰ œJ ‰ n œJ #œJ ‰ œJ
œ œ
Ob.
ff poss. 6 6 sffz 3 3
6
^ ^ ^
6
^Æ ^Æ ^
simile

> > > > >œ

œ #œ œÆ n œÆ œÆ œÆ
2 œ b œ nœ b œ nœ œ œ œ #œ nœ #œ œ œ œ nœ 3 œ b œ œ œ ≈ Œ 24 ‰ J J ‰ J ‰ J J ‰ J
Cl. &4 4 #œ nœ nœ b œ œ
œ #œ nœ
nœ b œ sffz 3 3
ff poss.
> > simile
> > œ œ œ b œ n œ b œ œ 3 œ #œ nœ
? 24 œ #œ œ œ œ 24 ^j ‰ ‰ ^j ‰ ^j ‰ ‰ ^j ‰
3 3

¢
nœ b œ œ œ
6
4 j ‰
Bsn.
# œ nœ nœ b œ œ œ bœ bœ nœ nœ
ff poss. 6 6
6 ' ' ' '
simile
sffz

° 2 j 24 ‰ b ^œj ^j 3 ^j ^j ^j 3 ^j
&4 ‰ bœ œ œ ≈ 43 ∑ œ ‰ œ ‰ <n>œ œ ‰ œ
'
Hn.
' ' ' ' ' '
pp ff sffz simile
œ œ œÆ ^ ^
24 ‰ œÆ œÆ ‰
^Æ ^ ^
œ ‰ #œÆ #œÆ ‰ œÆ
^
Tpt. & 24 ‰ J ≈ 43 ∑ J J J J J J
pp ff 3 3
sffz
simile

^ <n> Ϯ ^ ^ ^
^ ^ ^ ^3 ^ ^ 3

œ œ œÆ œ
Tbn.
?2 ‰
¢ 4 J ≈ 43 ∑ 24 ' bœ bœ œ Æ
b œ simile ' ' ' n œ
nœ
' nœ '
œ
pp ff ' '
sffz

°? 2 24 ^j ‰ Œ ^
Timp. 4 ∑ 43 ∑
bœ nœ
j ‰ Œ
' '

^Æ > ^Æ > ^ > ^Æ >

Perc. I
2
/4 ∑ 43 ∑ 24
œ
œ
j ‰ œ œ
œ œ œ
Æ
j ‰ œœ œ
œ œ
>. . . >. . . >. . . >o– >o– >¿o– >¿o– >¿o–
3 3

2 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 34 ¿ œ^ œ œ ^œ œ œ 2 …‰ ^œ œ^ ‰ œ^ ‰ œ^ œ^ ‰ œ^
Perc. II
¢/ 4 4 J J J J J J

{
6 3 6 3 3
p f

? 24 ∑ 43 ∑ 24 ∑ ∑

24 ^j ‰ ‰ ^j ^ ^
Pno. 3 3
? 24 ∑ 43 ∑ ‰ ‰ j ‰
bœ b œ ‰ n œj nœ

{
' '
“‘
' '
^Æ
2 œ
&4 Œ ‰ bœ
J 43 ∑ 24 ∑ ∑
Ab ^
Ϯ
Hp.
? 24 Œ ‰ J 43 ∑ 24 ∑ ∑

> b œ > œ n œ b >œ n œ n œ # >œ n œ œ b œ ^

b Ϯ
^Æ
œ
^
n Ϯ
^Æ
œ
° 2œ œ œ œ œ #>œ nœ œ œ #œ œ
6
nœ b œ œ œ
43 24 Œ
6
&4 #œ nœ nœ b œ J ‰ J Œ J ‰ J
œ œ #œ nœ
Vln. I
ff poss. 6 6 6 > 3 3

>
sffz simile
> >
œ >œ œ œ œ œ b œ n œ b œ œ œ #œ nœ n>œ b œ ^j ^j ^ ^
3

2 œ #œ b œÆ ‰ œÆ
43 24 Œ œ œ
6

&4 œ œ #œ nœ 3
‰ #œ ‰ œ Œ œ œJ
Vln. II
nœ bœ œ œ J
ff poss. 6 6 6 > #œ nœ ' '
sffz simile 3
> ^Æ ^Æ ^Æ ^
œ ‰ œÆ
6
2 > bœ œ œ 3 24 Œ
4 #œ nœ nœ Bb>œ œ œ #œ nœ nœ b œ
6

& 4 œ œ #œ nœ #œ œ œ œ œ & #œJ ‰ œJ Œ

6
Vla. ΠJ J
> > œ 3 3
>
6
sffz simile
œ b œ œ >œ
ff poss.

2 ^ ‰ ‰ ^j ‰ ^j ‰ ‰ ^j ‰
3 3
? 24 ∑ 34 ‰ #œ nœ nœ bœ œ œ
6
Vc.
#œ nœ n œ b œ œ 4 b œj bœ nœ nœ
3
ff poss. 6 > ' ' ' '
simile
>œ
sffz

2 ^ ‰ ‰ ^j ‰ ^j ‰ ‰ ^j ‰
3 3
?2 43 Œ
¢‹ 4
∑ œ bœ œ œ
Db.
#œ nœ n œ 4 b œj bœ nœ nœ
ff poss.
> ' ' ' '
simile
sffz
30 > b œ > œ b œ n>œ b œ œ ^Æ ^Æ > ^ >œ >œ
œ œ œ œ bœ œ œ
^ >
# œÆ n œ n œ # œ œ œ b œ œ œ œ œ b œ b œ œ b œÆ œ œ œ #œ nœ b œ œ
° œ bœ
‰ J ‰ J ‰ J 38 24 ‰ J ‰ ‰
Fl. &
ff poss. 6 3 3 3
^Æ
3 3
^ ^Æ ^ > >œ >œ
> b œ > œ n œ >œ œ b œ
œ nœ œ bœ œ bœ œ # œÆ œ # œÆ # >œ œ # œ œ œ œ œ #œ nœ œ œ # œ œ # œ #œ œ
‰ J ‰ J ‰ J 38 24 ‰ J ‰ ‰
Ob. &
ff poss. 6 7 3 3 3 3 3 3 6 3

> > >

b œ n œ œ œ œ œ œ œ œ œ b œ bœ œ bœ ^Æ ^ ^Æ > > ^Æ >œ n>œ œ
œ ‰ œ ‰ b œÆ b œJ 3 œ b œ b œ n œ b œ œ œ b œ œ œ 2 n œJ œ b œ bœ œ bœ
œ œ
Cl. & J J ‰ 8 œ 4‰ ‰ ‰
ff poss. 6 9 3 3
3 3 3

> > n>œ #œ œ b œ b œ ^j ^j

3

? >œ b œ œ œ œ b œ nœ b œ œ œ œ œ œ ^ ^ ^j ^
3 3

¢
3
nœ b œ b œj ‰ nœj ‰ nœ ‰ 8 ‰ œ 24 b œ ‰ œ œ œ œ #œ
6
j ‰ Œ
' n œ b œ
Bsn.
' ' ' ' > bœ
ff poss. 6
9
3 3 '

°
3
^ ^
3
^ ^ >
& ‰ j r ≈ ‰ ‰ b œj ‰ nœj ‰ œÆ 38 ∑ 24 ‰ œÆ ‰ Œ ‰ bœ œ
Hn.
œ œ ' ' J J
' 3 3

^Æ ^Æ ^ ^Æ >œ
œÆ œ
pp ff
Æ œ
‰ œJ ‰ J ‰ J 38 24 ‰ #œJ ‰ Œ
Tpt. & ‰ œ
J
œ
R
≈ ‰ ∑ ‰
3 3 3 3
pp ff

Ϯ ^
3
œ ^ ^ ^ 24 ^j ‰ œj Œ ^
3 3
?
¢ ‰ J R ≈ ‰ j ‰ œj ‰ œj ‰ 38 ∑ bœ j ‰ Œ
Tbn.
#œ ' ' ' bœ
pp ff ' ' '

°? ^ 24 ^j
^
∑ j ‰ Œ 38 ∑ bœ ‰ Œ b œÆ ‰ Œ
Timp.
#œ ' J
'
^Æ > ^Æ > ^Æ > ^Æ > ^Æ ^Æ >œ æœ
/ ∑ œ
œ
œ
œ
œ 38
œ ∑ 24 œ
œ Œ j æ
œ œ œ œ œ œ
Perc. I

>. . . >. . . >o– o

œ^ ¿ ¿ ¿ ¿– œ¿– ‰ Œ
3

. . . >o
3 3 3

¿. ¿. ¿. ^œ œ œ ^
¿ ¿ ¿ ¿ ¿ ¿ ¿ œ^ œ œ … ^œ ^œ œ^ œ œ 2 … ^œ
Perc. II
¢/ ‰ J ‰ J ‰ J 38 4‰ J ‰ ‰ J
6 3 3 3 3 3 3 3 3 3

{
? ∑ ∑ 38 ∑ 24 ∑ ∑
^j ^j ^j 24 ^ ‰ ^ Œ ^
Pno. 3 3 3
? ∑ ‰ ‰ œ ‰ 38 ∑ j j j ‰ Œ
b œ nœ

{
' ' ' bœ œ bœ
“‘ ' ' '
^j
38 24
& Œ œ ‰ ∑ ∑ ∑ ∑ ?
œ
'
^j
Hp.
? Œ ‰ ∑ 38 ∑ 24 ∑ ∑
œ
'
> b œ > œ b œ n>œ b œ œ ^ ^Æ > ^ >œ >œ
^
# œÆ n œÆ #n œœ # >œ œ œ b œ œ œ œ œ b œ b œ b œÆ œ œ œ#œ œ
œ œ œ œ bœ œ œ nœ b œ b œ
° œ # œ œ nœ nœ
‰ J ‰ J ‰ J 38 24 ‰ J ‰ ‰
Vln. I &
ff poss. 6 3 3 3 3 3

> > > ^ ^Æ > >œ ^Æ >œ b >œ œ

b œ n œ œ œ œ œ œ œ œ œ b œ bœ œ bœ ^Æ œ # œ œ # œ #œ
œ ‰ b œÆ b œœ 3 # œ n œ # œ œ œ œ #œ nœ
œ ‰ 24 ‰ n#œœ ‰
& nœ b œ ‰ J 8 J ‰
Vln. II
J J
ff poss. 6 9
3 3
3 3 3
3
6 3

> b œ > œ n œ >œ œ b œ ^Æ ^ ^ > > ^Æ >œ >œ

œ œ œ bœ œ bœ œ œÆ nœÆ œ bœ b œ n œ b œ œ œ bœ œ œ 24 ‰ b œJ ‰ n œ b œ b œ œ b œ œ œ ‰
œ
Vla. & ‰ nœJ ‰ J ‰ J 38 œ
ff poss. 6 7 3 3 3 3 3

n>œ #œ œ b œ b œ ^j ^j
3
^ ^ ^j ^
6 3 3
? Œ bœ œ œ œ j j 3 œ 24 b œ ‰ œ œ œ œ #œ
6
Vc.
> œ b œ b œ ‰ nœ ‰ nœ ‰ 8 ‰ ' > n œ b œ b œj
‰ Œ
' ' ' '
ff poss. 3 3 '
^
3
^ ^j
3
> ^
3
^ ^
? 3 œ b œ b œ œ 24 b œj ‰ œj
¢‹ Œ
j j
Db. œ
>
œ œ bœ b œ ‰ nœ ‰ nœ ‰ 8 ‰ ' ' œ # œ n œ b œ b œ
j ‰ Œ
' ' ' >
ff poss. '
 Meditative q = 52ca.
Ϯ
31
° R U ˙ ~~~
~~~~ 4
& ≈‰ Œ ~~~~4 r ≈ ‰ Œ Ó ∑ ∑ ∑
~ œ
Fl.

Ϯ ff poss.
˙ ~~~
R ≈ ‰ UŒ ~~~~ 4 ≈ ‰ Œ Ó ∑ ∑ ∑
Ob. & ~~~~4 r
~ bœ
Ϯ
ff poss.
b ˙ ~~~
R ≈ ‰ UŒ ~~~ 4
& ~~~ 4 r ≈ ‰ Œ Ó ∑ ∑ ∑
~~~
Cl.
ff poss. ~ œ
U b ˙ ~~~
~~~
¢
? Œ Œ ~~~ 44 r ≈ ‰ Œ Ó ∑ ∑ ∑
~~~ b œ
Bsn.
ff poss.

° <b>œÆ U
˙ ~~~ 4
Hn. & R ≈‰ Œ ~~~~ 4 r ≈ ‰ Œ Ó ∑ ∑ ∑
~ ~ ~~~ œ
Ϯ
ff poss.
U ˙ ~~~~~ 44 ≈ ‰ Œ
Tpt. & R ≈‰ Œ ~~~~~ r Ó ∑ ∑ ∑
~ œ
bœ Uœ ff poss.
˙ ~~~
? ~~~~ 4 ≈ ‰ Œ
¢ ~~~~4 r Ó ∑ ∑ ∑
nœ
Tbn.
p ff poss.

°? æ
˙æ
U
center of drumhead

Œ Œ 44 j ‰ Œ Ó ∑ ∑ ∑
œ—
Timp. gliss.
p

– l.v...
ff (lowest pitch poss.)
…œ ˙
Perc. I
U
/ R ≈‰ Œ æ 44 œJ ‰ Œ Ó ∑ ∑ ∑
p ff

U æ æ
˙æ ˙æ
… 44 j ‰ Œ
¢/
soft mallets

{
œ—
Perc. II Œ Œ Ó ∑ ∑ Ó
> pp sempre
p ff
molto legato sempre

? ΠU (black keys)
44 j
create as much resonance as poss., and let ring as long as poss.
Œ Œ bœ
3 6 6 6 6
‰ Œ Ó ∑ Ó Œ ‰
œ #œ œ #œ œœ œœ œœ œœ œœ œœ œœ
bœ bœ œ œ œ œ œ œ œ
“‘
gli

bœ
ss.

p
Pno.

? ΠU (white keys)
44 j
ff poss. pp p pp

<n> œ <n>œ
Œ Œ œ ‰ Œ Ó ∑ Ó Œ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
gli
° sempre
“‘
ss.

{
œ

? Œ U œ create as much resonance as poss., and let ring as long as poss.

44 j ‰ Œ
molto legato sempre
Œ Œ œ— Ó ∑ ∑ ∑
glis
s.

D§C§B§E#F#G§A§
U
Hp. p ff poss. D§C§B§E#F#G§A§ pp p
? Œ Œ Œ 44 j ‰ Œ Ó ∑ ∑ Œ ‰ j
œ # œ gliss. œ œ œ œ
“‘
gliss. gliss. gliss. gliss.

œ—
glis
s.

Ϯ Meditative q = 52ca.
° R U ˙
sul G

Vln. I & ≈‰ Œ glis

s.
44 r ≈ ‰ Œ Ó ∑ ∑ ∑
bœ
<b> Ϯ
ff poss.

R ≈ ‰ UŒ ˙
sul G

Vln. II & glis

s.
44 r ≈ ‰ Œ Ó ∑ ∑ ∑
ff poss. œ
œÆ ˙
sul C

R ≈ ‰ UŒ 44 r ≈ ‰ Œ Ó ∑ ∑ ∑
& B
glis
s.
bœ
Vla.
ff poss.

˙
sul C

? Œ U 44 r ≈ ‰ Œ
Vc. Πglis
s. Ó ∑ ∑ ∑
ff poss. œ
˙
sul E

? U 44
¢‹ Œ
div., free bowing, arco
Œ
glis
s.
ww ww ww ww
Db.
ff poss. > p mp
32
°? æ
Ͼ
Timp. ∑ ∑ Ó Œ
pp sempre

tam-tam mallet

/ œj ‰ Œ Ó ∑ j ‰ Œ Ó
— œ—
Perc. I

æ æ æ
¢ / wæ ˙æ ˙æ
Perc. II Ó Ó

{
? ∑ ‰ bœ Œ Ó
bœ œ œ œ œ œ œ œ œ œ œ œ œ bœ b œ œ œ
Pno. “‘
p pp

? ∑ ‰
3 6 6 6 6
Œ Ó
œ <n> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
“‘
°...

{
D§C§B§EbFbG§Ab
? ∑ ∑ ∑
Hp. p pp Db
pp
? œ j ‰ Ó ‰ j ‰ Œ Œ ‰ œ<b>œ œ b œ
#œ œ j bœ œ œ bœ
“‘ “‘
œ œ œ œ
<“>
gliss. gliss. gliss. gliss. gliss. gliss. gliss.

° senza vib.
Vla. B ∑ ∑ Ó œ
Œ
pp

senza vib.
? j ‰ Œ Ó
Vc.
˙ ˙ œ ˙ ˙
pp p pp pp mp

?
Db.
¢‹ ww ww ww
p mp
 33
°? senza vib.

Bsn.
¢ ∑ Ó
˙ œ ˙™
pp mp

°?
con sord. (bucket)

Tbn.
¢ ∑ ∑
w
pp

°? æ æ æ
wæ œæ wæ
Timp. Ó Œ

∑ j ‰ Œ Ó ∑
Perc. I / œ—

æ æ æ
¢ / wæ ˙æ ˙æ
Perc. II Ó Ó

{
? Œ ‰
3 6 6 6 6
nœ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ Ó Ó ‰ bœ
bœ œ œ œ œ
“‘
#œ œ œ œ œ #œ œ œ œ
Pno. “‘
p pp
? Œ
<n> œ <n>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ <n>œ
3 6
‰ Ó Ó ‰
œ œ
œœ œœ œœ
°... “‘ “‘

{
DbC§B§EbF#G§Ab
? ∑ ∑ ∑
Hp. p pp p pp
? j ‰
bœ œ œ œ œ œŒ Ó ‰ j œ Œ
œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
<“>
#œ
“‘

°B ∑ Ó Œ ∑
Vla.
œ
p

? j ‰ Œ Ó j ‰ Œ Ó
Vc.
œ ˙ ˙ œ
pp pp mf pp

?
Db.
¢‹ ww ww ww
p mp
34
°
& ∑ ∑ Œ
˙™
Cl.

pp

? j
¢ œ
‰ Œ j ‰ Œ
Bsn.
˙ œ ˙™ œ ˙
pp mf pp

°
Hn. & ∑ ∑ Ó Œ œ
pp

?
¢ ˙
j ‰ Œ ∑
Tbn.
œ w
mf pp

°? æ æ æ
œæ wæ œæ
Timp. Ó Œ Ó Œ

/ œj ‰ Œ Ó ∑ ∑
—
Perc. I

æ æ æ
¢ / wæ ˙æ ˙æ
Perc. II Ó Ó

{
loco
? 3 6 6 6
bœ bœ œ œ œ œ œ œ œ œ œ œ Œ Ó Œ ‰ bœ
b œ b œ b œb œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Π&
<“>
Pno.
p pp
“‘
p pp loco
?
<n>œ
6 6 6

œ Œ Ó Œ ‰ Œ
<n> œ
œ œ œ œ œ œ œ œ œ œ œ &
œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ
<“> “‘

{
°...
DbC§B§E#F#G§A# loco
? ∑ ∑ ∑ &
D§ p pp
Hp. p pp
C#
j
loco
? Œ ‰ œ œ œ œ œ œ œŒ Ó ‰ œ ‰&
#œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ#œ œ œ œ j œ œ
‘
# œ gliss. œ œ
“‘ “
gliss. gliss. gliss. gliss.

°B
Vla. Ó œ
Œ ∑ Ó
œ
Œ
mf f

? j ‰ Œ Ó
Vc.
˙ ˙ œ ˙ ˙
pp f pp pp ff sempre

?
Db.
¢‹ ww ww ww
p mp
 o 35
˙ œo œ œo œ œo œ œo œ ˙o ˙o œ
° J ‰ Œ
Fl. &
pp mf 3 3

œœ œœ œœ œœ œ œ œ œ
Ob. & Ó œœ œœ œœ œœ œœ J ‰ Œ Ó ‰ #œj œr ≈ œj
6 6 6
3 '
pp ff pp
pp mf pp
3 3 3 3
Cl. & r≈ ‰ œ œ œ œ j œ œ j ‰ Ó Ó #œ œ œ œ
œ œ œ œ œ œ œ #œ œ œ œ
ff pp pp
?
Bsn.
¢ œ ˙™ œ
j ‰ Œ
˙ œ ˙™
¿
°
+
ff pp ff

r j
Hn. & œ≈‰ Œ Ó Ó ˙ ˙ #œ ‰ Œ
ff
>
pp f
j r j r j r j r j r j r
con sord. (cup)

& ‰ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ‰ Œ Ó Œ #œ
' ' ' ' ' '
Tpt.
pp ff pp f pp mf pp mp pp p pp pp
?
Tbn.
¢ ˙ œ
j ‰ Œ
w ˙ œ
j ‰ Œ

°?
ff pp ff pp

æ æ æ
wæ œæ wæ
Timp. Ó Œ
brass mallet, l.v. sempre
>j
œ
Perc. I (a) & Œ Œ Ó ∑ ∑
ff poss. (both staves)
hard yarn mallet
j
œ œ œ œ œ ‰ Œ #œ ™
3 3 3 3 3 3

& œ ‰ ‰ œ œ œ œ œ œ œ ‰ Ó ‰ œ œ œœ œ
>
Perc. I (b)
> > >
° sempre pp mf pp pp mf pp
ff

æ æ æ
Perc. II
¢/ wæ ˙æ Ó Ó ˙æ

{
mfpp
>

œh ™ œ œ œ œ œ œ œ œ œ œ œ œh ™ œ œ œ œ œ œ œ œ œ œ œ
A œ
>œ
3
>
J ‰ Œ Ó #œ 3 >œ
& #œ œ œ œ>œ J
œ œ
ff poss.
>> >> J > >
Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ff poss.

œ
& œ> Œ Œ ? Ó #œ
> Ó
>
°...

{
mf ff sempre
> > >j >>
œ œj œ œ >
>œ >œ >œ >œ >œ >>
œœ
>œ >œ >œ >œ >œ œ
>œ #œ
> q
& J ‰ Ó Ó
#œ
Œ #œ œ œ œ
Hp. A§ ff poss.
∑ ∑ Ó j
& œ #œ ‰ œ œ œ œ
>
#œ >
>-œ -œ -œ -œ -œ -œ -œ -œ -œ -œ œ »
mf

°
-œ -œ -œ -œ -œ -œ -œ -˙ œ
> arco

J ‰ ‰
Vln. I & #œ œ œ
5 3 3
ff pp ff pp

~ ~ ~
sul A, free bowing (II)

Vln. II & w w
I - open

»
pp ff pp II - harm. (touch third on open string)
non div.
#Ȯ˙
™
arco
j j
3 5
B ‰
Vla. œ
-œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ >-˙ œ ‰ Œ
ff
pp ff pp

?
molto sul pont. ord. molto sul pont.
Vc.
w w w
?
Db.
¢‹ ww ww ww
p
36
ææ ææ ææ æ
œ æ œæ æ œ
flz.

°
3 3

æj
#œæ ‰
#œ œ
&
ææ ææ ææ œ æ æœ Œ Ó ∑
æ æ
Fl. #œ œ œ œ
3
pp mf pp

Ob. & <#>œr ≈ #œj r

œ ≈ œ
j r
œ≈‰ Œ ∑ ∑
' ' '
f pp mf pp mp

& j ‰ Œ Ó
Cl. #œ œ œ œ œœ œœ #œ œ œœ˙ œ
#œ œ œ œ œœ œœ #œ œ œœ
>
mf pp
?
Bsn.
¢ œ
j ‰ Œ Ó Ó
˙ œ ˙™
pp

°
pp mf

#˙ ™
open
∑ Œ j
Hn. & ˙™ œ ‰
pp p pp
> #œ œ œ œ œ œ œ œ œ œ œ #œ œ
Tpt. & <#>œ œ J ‰ Ó ∑
5 3
f pp

?
¢ Ó j ‰ Œ ∑
Tbn.
˙ ˙ œ

°?
mf pp

æ æ
œæ wæ
Timp. Ó Œ ∑

≈ #œj™ œ Ó ∑ j ‰ Œ Ó
Perc. I &
>
Ϫ
> >
/
œ—
pp * p
°...
æ æ æ
wæ ˙æ ˙æ

{
¢/
Perc. II Ó Ó

>
#œ 3 3
j 3 6 6 6 6
œ >œ >œ œ œ œ ‰ Œ Ó ‰ Œ
?
& #œ œ œ œ # œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > bœ œ œ bœ œ œ œ œ œ
Pno. “‘
?
pp p pp

<n>œ
#œ Œ #œ ‰ Œ Ó Ó ‰ Œ
<n> œ
> J
œ œ œ œ œ œ œ œ
>
œ œ œ œ œ œ œ œ

{
°...
“‘
3

q D§C§B§EbFbG§Ab
& #œ #œ #œ #œ Œ Ó ∑ ∑
Hp. pp p pp
j
#œ œ œ œ Œ Ó Ó ‰ ‰ Œ
?
& j .
œ gliss b œ bœ œ œ &
“‘
œ œ œ
gliss. gliss. gliss. gliss. gliss. gliss.
ff

° Œ
3 3
j ‰ Ó
& #˙ ˙
-œ -œ -œ #-œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ œ œ
Vln. I

f pp

~
ff pp

& O O ‰ Œ ∑
Vln. II J
pp

B <#>O
œ - - - - -œ -œ
#œO œO Oœ œO O O œO œO
#˙ ™
(senza vib.)

Vla. J ‰ Ó œ
3
ff pp
mp
molto sul pont.
?
ord.
Vc.
˙ ˙ ˙ ˙ w
mf ff

? ˙o
¢‹
unis.
j ‰ Œ
˙˙ ˙˙
Db.
w œ
ff pp
 37
° Ó nœ ™
ord.
œ œ œ œ œ œ œ œ œ œ œ
overblow

& Œ ‰ #œ œ j ‰ Œ Œ
Fl. #œ
> pp
3
mf
pp ff

∑ <n>œ œ œ œ œ œ œ œ ˙ œ
Ob. & J ‰ Œ
3 3
pp mf pp

‰ Œ Ó nœ œ œ
& j
# ˙™
Cl.
œ œ #œ œ œ œ 3

pp
ffp pp
?
¢ œ j ‰ Ó Ó Œ œ j ‰ Œ
Bsn.
œ #˙ œ
pp

° <n>œ
mf pp

Tpt. & ∑ ∑ Ó Œ ‰ J

? Œ ‰ œJ œÆ ≈ ‰ #˙ ™ œ ˙ œ
Tbn.
¢ Ó R J ‰
pp ff pp mf pp

°? ∑ ∑ j ‰ Œ Ó
Timp.
#œ—
mp
>j
œ
Perc. I (a) & ∑ Œ Œ Ó ∑
ff poss. (both staves)

>œ
Perc. I (b) & ∑ J ‰ Œ Ó ∑
° sempre
æ æ æ
¢ / wæ ˙æ ˙æ
Ó Ó

{
Perc. II

? Ó Œ ‰ bœ ∑
bœ bœ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno. “‘
p pp
? Ó Œ ‰
3 6 6 6 6
∑
œ <n> œ œ œœœœœœœœœœœœœœœœœœœœœœœœ
“‘
°...

{
>
œ
loco

& ∑ ∑ ∑
>œ–
ff poss. pp p pp
Hp. F§ Db
œ
& ∑ J ‰ Œ Ó ‰?
œ b œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
“‘
>

° ∑
>-œ -œ -œ -œ -œ -œ -œ -œ -œ ˙ œ ‰ Œ Ó
Vln. I & J
6 3
ff pp

& Ó Œ ‰ j r ≈ ‰ Œ Ó ∑
œO œO
Vln. II

pp ff

<#>˙ ™
B j
œ ‰
Vla. ∑ ∑
pp
ord.
?
Vc. j ‰ Œ Ó w #w
œ
pp pp mf

o ˙o œo
? w
Db.
¢‹ J ‰ Œ ∑
p pp
38
° œ ‰ >œ
flz.

ææ ææJ
Œ œ ‰ ∑ ∑
Fl. & J

˙™
ff pp

œ œ œ œ œ ‰
Ob. & Ó ‰ J J Ó
pp mp pp

œ œ œ œ œ œ œ œ >œ
Cl. & J ‰ Œ ∑ ∑
3 5
ff

?
Bsn.
¢ ∑ Ó
<n>˙ ˙ œ
j ‰ Œ
pp mp pp

° Ó + ¿
& j ‰ Œ ∑
Hn.
˙ ˙ œ
pp mf pp

œ ˙ œ
Tpt. & J ‰ ∑ ∑
mf pp

˙™ œ ˙™ œ
? J
Tbn.
¢ ∑ ‰
pp mp pp

° Ó >œ
‰ Œ ∑ ∑
Perc. I & J
°... ff

æ æ
¢ / wæ ˙æ
Ó ∑

{
Perc. II &

? ‰ 3 6 6 6 6
nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ Œ Ó Œ ‰ bœ bœ œ œ œ œ œ œ œ œ
“‘
#œ œ œ œ œ œ œ #œ œ
Pno. “‘ p
p pp
? ‰
<n> œ <n>œ œ œ œ œ œ œ œ œ œ œ œ œ œ <n>œ
3 6 6
Œ Ó Œ ‰
œ œ œ œ œ
œ œ œ
œœ œœ œ œ œ œ
œ
“‘ “‘

{
°...
>œ –
loco
DbC§B§EbF#G§Ab

& Ó J ‰ Œ ∑ ∑
ff poss. pp p pp D§
Hp.
? Ó j C#
Œ ‰ j œ œ œ œ œ œ ‰ Ó ‰ ‰ œ œ
#œ #œ #œ œ #œ œœœ
‘ “‘
gliss.

“
gliss. gliss.

° Ó
w~ w~
‰ j
Vln. I & œO œO
pp p sempre

œ œ œ
Vln. II & Ó J ‰ ∑ ∑
pp mf pp

pizz. arco

Vla. B Ó œ Œ ∑ w
f pp

molto sul pont. ord.

?
Vc.
<#>w w nw
pp

? w
Db.
¢‹ ∑ ∑
pp
 39
°?
¢
Bsn. ∑ Ó j ‰ Œ
b˙ ˙ œ
pp mp pp

°?
¢
∑ ∑
b ˙™
Tbn.
œ
pp mp

°
blends-with-the-piano mallets,
molto legato sempre

¢&
∑ Ó Œ ‰ ≈ r
Perc. II
œ œ œ œ œ œ œ œ œ œ œ œ œ
n pp

{
molto legato sempre
? Ó
bœ bœ œ œ œ œ œ œ &
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno.
<“> n pp
pp
? 6 6
Ó ∑ ∑
œ œ œ œ
œ œ œ œ œ œ œ œ
<“>
°...

{
& ∑ ∑ ∑
Hp. p pp Bb

?
mp
#œ œ œœ œœœ œœœ œœœ‰ Œ j ‰ Œ Ó ∑
#œ œ œœ œ œ œ b œ—
<“> >

°
& w~
j ‰ Œ ∑
Vln. I Ȯ œO
pp

Vla. B w w w

? j ‰ Œ Ó ∑
Vc.
w œ
mp pp

? w
Db.
¢‹ bw ˙ ˙
mp pp
 40
°
˙™
senza vib.

& ∑ ∑ j ‰ œ
Fl.
œ œ œ œ œ œ ˙ œ
j œ
p

¢& ˙™
∑ ∑ œ œ
Cl.
œ œ œ œ œ œ œ ˙ œ
j
p

°?
¢ j ‰ Œ Ó ∑ ∑ ∑
<b> w
Tbn.
œ
pp

° œ–‰ Œ
arco, l.v. sempre

Perc. I (a) & ∑ ∑ ∑ Ó Œ ‰ œJ J Ó

œ œ–
pp mp

‰ œJ œJ– ‰
arco, l.v. sempre

Perc. I (b) & ∑ ∑ Ó ∑ Ó ‰ J J ‰

pp mp pp mp
° sempre

Perc. II
¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

{
& œ œ œœ œœœœœ œ œ œ œœœœœ œœ œœœœœ œœ œœœœœ œ œœ œœœ œœ œ œ œœ œœœœœœ œ œœœ œ œœœ œœœœ œ œœ œœ
Pno.
? ∑ ∑ ∑ ∑ ∑
°...

{
˙™
& ∑ ∑ Ó œ œ
œ œ œ œ œ œ œ œ
j

Hp. p
F§
?
E§ A§ C§
∑ ∑ ∑ ∑ ∑

°
1st & 2nd desk only
1st desk only, senza vib. divisi, senza vib.

˙™
& ∑ ∑ ∑ Œ ˙
˙ ˙
Vln. I

p sempre

1st & 2nd desk only

˙™ ˙™
1st desk only, senza vib. divisi, senza vib.

Vln. II & ∑ ∑ Œ w œœ
p sempre

˙™
1st player only, arco, pochissimo vib.

œ œ œ œ œ œ œ
Vla. B w œ ‰ Œ
J Ó œ œ ˙ œ
j

˙o wo wo wo wo
Vc.
? Ó
n p sempre

‰ œO O ™ ~
1st player only
j
¢‹ <b>˙
? j
Db. ˙ ˙ œ ‰ Œ ∑
mp pp poss. p sempre
 41
° w
& œ œ ˙ ˙ j
Fl.
œ ˙ œ
j #œ

∑ ∑ w
Ob. & #œ
j

w
¢& œ œ ˙ ˙ j
Cl.
œ ˙ œ
j #œ

° œ– ‰ œ œ–
Perc. I (a) & Ó ‰ #œJ J
∑ Ó ‰ J J ‰

œ–
pp mp pp mp

œ
Perc. I (b) & ∑ Ó ‰ J J ‰ ∑
pp mp

Perc. II
¢& œ œœœœ œœ œœœœ œ œ œœœœ œœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ

{
& œœœ œœ œœœœœœœœ œœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno.
? ∑ ∑ ∑
°...

{
& œ œ ˙ ˙ j w
œ ˙ œ
j #œ
Hp. F#
? ∑ ∑ ∑

°
& ˙˙ ™™
tutti, div. a3

Vln. I œœœ www www

tutti, div. a3

Vln. II & ww www www

Vla. B œ œ ˙ & œj œ ˙ ˙ #œ
j w

–wo wo
o o
o o œo #œo œo œ œo œo œo o o o œo œo œo œ œo œo œo o
?
Vc. (a) & œ œ œ œ œ œ
5 5
5 5

–wo
DIVISI
wo o o o o
o o œo#œo œ œo œo o o o œo œo œ œo œo o o o œo œo œ œo œo o o o œo œo œ œo œo o
? œ œ œ œ œ œ œ œ
Vc. (b) & œ œ œ œ

¢‹ ~ ~ ~
Db.
?
 42
° w #w œ ‰ Œ Ó
Fl. & J
ff

w #w œ ‰ Œ
Ob. & J Ó
ff

w w œ ‰ Œ
¢&
Cl. J Ó
ff

° Ó ‰ œ œ– #œ œ–
Perc. I & J J ‰ Ó Œ ‰ J J ‰ Œ Ó
pp mf pp f

Perc. II
¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j ‰ Œ Ó
f

{
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œœœœœ œœ
Pno.
?
fp
∑ ∑ ∑
°...

{
w #w
& Ó
˙
Hp.
>
ff
? ∑ ∑ ∑

° j
Vln. I & www www œœœ ‰ Œ Ó

ff

j
Vln. II & www www œœ ‰ Œ
œ
Ó
ff

w w œ ‰ Œ Ó
Vla. & J B
ff

o o o o o o o o
o o œo #œo œ œ œo œo œo o o o œo œo œ œ œo œo œo o o o œo #œo œ œ œo œo œo o o o œo œo œ œ œo œo œo o o
& œ œ œ œ œ œ œ œ œ
Vc. (a)
œ œ œ w
5
5
5
5
5
5
5
5 >
ff poss. ffpp
DIVISI

o o œo #œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o o œo #œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o
Vc. (b) & œœ œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ
w
ffpp
ff poss.

? ~ ~
¢‹
O ‰ Œ Ó
Db.
J
ff
 43
°
& ∑ 43 ∑ 44 Œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 24 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ 44
œœœ œ œ œ œ
Fl.

pp mp

9 9 9 9 9

¢& ∑ 43 ∑ 44 Œ #œ œ œ œ œœ œ œœ 24 #œ œ œ œ œ œ œ 44
œœœœœœœ œ œœœœœœœ œœ œ œœœ œ œœœœœœœ
Cl.

pp mp

° Œ
œ ˙™
j 43 44 24 44
Hn.
¢& œ œ™ ˙ ˙ ˙

{
p

molto legato sempre

44 Ó 24 44
43
10 10 10
& œj ‰ Œ Ó ∑ Œ
œœ œœ œœ œœ œœ œœ
Pno. mp

44 Ó
pp
œ œ #œ œœ œ2 œ œ #œ œ œ œ mp œ œ œ œœœ4
? ∑ 43 Œ j ‰ Œ Œ 4 4
-œ—
°...

{
44 24 44
43 Œ Œ
l.v...

& w œœ Œ Ó ∑
Hp. p mp
œ
? ∑ 43 Œ œœ 44 #œ Œ Ó 24 ∑ 44
œ

° Œ œ œ™
& œ 43 ˙™ 44 ˙ ˙ 24 œ œ
J ‰ 44
Vln. I (a)
J
p

DIVISI

˙™ ˙™ 44 w 24 œ œ œ 44
Vln. I (b) & Œ 43 ‰
p 3

œ ˙ ˙™ 44 w 24 œ œ œ 44
Vln. II (a) & Œ 43 ‰
p 3

DIVISI

œ œ™ 44 w 24 œ 44
& Œ œ 43 ˙™ œ ‰
Vln. II (b)
J J
p

divisi a3

B ∑ 43 ∑ 44 b www 24 œœœ œœ
œ Œ 44
J
Vla.
p 3

o
unis.
? œœ 4 ww
divisi a3
24 œœ œœ 44
& œj ‰ Œ Ó 43 Ó ‰ Œ
—
Vc. œ 4 w œ œ
p
p 3

44
tutti
44 24 j
Db.
?
¢‹ ∑ 43 Œ ˙ w œ
‰ Œ
p
 44
° 4 44 Œ 24 44
& 4 œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ Ó 43 ∑ œ œ œ œ œ
# œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
Fl.

pp
mp

9 9 9 9 9 9 9
44 Π2 4
4
¢& 4 œ#œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ Ó 43 ∑ œœœœœœ œ œ œ œœœ œ œ œ œ œ œ 4 # œ #œ œ œ œœ œ œ œ œ œ œœ œ œ 4
œ # œ #œ œ œ œ
Cl.
œ œ œ œ œ œ
pp mp

° 4 j
j 4 b˙™
3 44 24 44
¢& 4 œ œ™
‰
Hn.
œ ˙ n˙ ˙
œ

{
p

4 10 10 10
Œ 43 ∑ 44 Ó Œ œœ
10
œœ 24 œ 10
œœ œœ
10
œœ 44
& 4 œœ œœ œœ œœ œœ œœ œ
Pno.
œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp pp mp
? 44 Œ 43 Œ j ‰ Œ 44 Ó Œ 2 4
& œ#œ# œ œ œ œ 4 œ#œ# œ œ œ œ œœ œ œœ œ 4
-œ—
°...

{
44 œ Œ 24 44
4
&4 ∑ 43 Œ Œ Ó ∑
œ #œ
#œ
Hp.
? 44 ∑ 43 Œ #œœ 44 Œ Ó 24 ∑ 44
œ

° 4Œ œ œ™ j 3 b˙™ 44 ˙ n˙ 24 œ œ œ ‰ 44
Vln. I (a) &4 œ 4
p 3

DIVISI

4 ˙™ 43 ˙
™ 44 w 24 œ œ œ ‰ 44
Vln. I (b) &4 Œ
p 3

44 w 24 œ 44
Vln. II (a)
4
&4 Œ
œ ˙ 43 ˙™ œ
J
‰
p

DIVISI

œ 4 ˙™
4 œ œ™ j3 44 24 j 44
Vln. II (b) &4 Œ w œ œ ‰
p

44##www 24 œœœ œ 44
Vla. B 44 ∑ 43 ∑ œœ
J
Œ
p 3

œœ 4 ww 24 œœœ œœœ 44
Vc.
? 44 ∑ 43 Ó # œ 4 w ‰ Œ
p 3

44 24 j 44
?4
¢‹ 4 ∑ 43 Œ ‰ Œ
˙ w œ
Db.

p
 45
° 4
Fl. & 4 # œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó 43 ∑ 44 Œ 2 4
œ œ#œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ #œ#œ œ œ œ œ œ œ œ œ œ œ œ œ 4
pp
mp

9 9 9 9 9 9 9
4 43 44 Œ 2 œœ4
Cl.
¢& 4 œ œ œ # œ #œ œ œ œ œ œ œ œ œ œ œ Ó ∑ œb œ œœ œ œ œœ œb œ œ œ
œœ#œ œ œœ#œ œ œœœœœœœ œ œ œ œ 4 œ œ#œ#œ œ œ œ œ œ œ œ œ 4
œ œ œ
pp mp

° 4 j
#œ ™ œ œ 4 #˙ ™
3 44 ˙ 24 ˙ 44
Hn.
¢& 4 œ ‰
œ n˙

{
4
&4 œœ
10
œœ œœ
10
œœ œœ
10
œœ Œ 43 ∑ 44 Ó Œ
10
œ#œ#œ œœ 24 œ#œ 10
œœ œœœ œœ
10
44
#œ
Pno.
pp pp mp

& 44 œ#œ # œ œ œ œ œœ œ œ œ œ œœ œ œœ œ
Œ 43 Œ ? j ‰ Œ 44 Ó Œ &
2
œœ œœb œ 4 œ œ œœb œ
4
œœ œ œ œ 4
°... b -œ—

{
& 44 ∑ 43 Œ Œ 44 œ Œ Ó 24 ∑ 44
œ bœ
Hp.
?4 œ
4 ∑ 43 Œ b œœ 44 Œ Ó 24 ∑ 44
bœ

° 4 Œ œ #œ ™ œ œ 3 #˙ ™ 44 ˙ n˙ 24 œ œ œ
‰ 44
Vln. I (a) &4 4
p 3

DIVISI

˙™ ˙™ 44 w 24 œ œ
Vln. I (b) & 44 Œ 43 J ‰ 44
p

œ #˙ ˙™ 44 w 24 œ œ œ ‰
Vln. II (a) & 44 Π43 44
p 3

DIVISI

œ #œ ™ œ 3 ˙™
& 44 Œ 44 w 24 œ 44
œ ‰
Vln. II (b) J 4 J
p

Vla. B 44 ∑ 43 ∑ 44 b www 24 œœœ œ

œœJ Œ 44
p
3

?4 œ w 24 œœœ œ
Vc. 4 ∑ 43 Ó b œœ 44 ww œœ ‰ Œ 44
p 3

?4
Db.
¢‹ 4 ∑ 43 Œ b ˙ 44
w
24 j
œ
‰ Œ 44
p
 46
° 4 44 Œ 24 44
& 4 œ œ#œ#œ œ œ œ œ œ œ œ œ œ œ œ œ Ó 43 ∑ œ œ œ œ œ
# œ œ#œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ
Fl.

pp
mp

9 9 9 9 9 9 9
44 Π24 4
4 bœ
¢& 4 #œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ
œ œ Ó 43 ∑ œ œ œœ œœ œ œ œœ œœ œœ œœ4
# œ œ œ œ œœœ œ œ œœ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ
Cl.

pp mp

° 4 j
# œ ˙™
j 43 44 24 ˙ 44
¢& 4 œ
Hn. ‰ œ œ™ ˙ ˙

{
4 10 10 10
Œ 43 ∑ 44 Ó Œ #œœœ#œ
10
24 #œ œ œ 10 œ œœ œ
10
44
& 4 œ#œ#œ œ œ œ œœ œœ œœœ œœ #œ #œ#œ œ
Pno.
pp pp mp sempre
4 3 ? ‰ Œ 44 Ó 2 4
œœ œœ œ Œ 4 Œ j
&4 Œ nœnœœœ# œ 4 nœnœœœ# œ nœnœœœ œ 4
œ œ œœb œ œœ œœ œ &
°...
-œ—

{
o
44 Π24 44
4
&4 ∑ 43 Œ Œ #œ ˙ ∑
#œ >
>˙o
mf
Hp.

? 44 ∑ 43 Œ 4 #œœ 24 44
œœ 4 Œ ∑
œ

° 4 œ œ™ #œ 43 ˙™ 44 ˙ ˙ 24 ˙ 44
Vln. I (a) &4 ΠJ
p

DIVISI

˙™ ˙™ 44 w 24 œ œ œ 44
Vln. I (b)
4
&4 Œ 43 ‰
p 3

œ n˙ ˙™ 44 w 24 œ œ 44
Vln. II (a)
4
&4 Œ 43 J ‰
p

DIVISI

4 œ œ™ #œ 43 ˙™ 44 w 24 œ œ 44
Vln. II (b) &4 ΠJ J
‰
p

œj Œ
3

B 44 ∑ 43 ∑ 44 #w 24 œ 44
Vla. #ww œœ œœ
p

3
#œ 44 w 24 œ 44
Vc.
? 44 ∑ 43 Ó œœ ww œœ
œ
œœ ‰ Œ
p

44 24 44
Db.
?4
¢‹ 4 ∑ 43 Œ j ‰ Œ
˙ w œ
p
 47
° 4 æj æ æj
‰ b œæ ˙æ œæ ‰
flz.
overblow

Fl. & 4 # œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ Ó Œ
œ #œ œ œ
Œ
mp pp
pp mf pp
pp

w œ b >œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ
Ob. & 44
pp 5 3 3
ff
j
9 9

& 44 œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó Œ bœ œ œ œ œ ‰
˙™
Cl.
>
ffpp mf pp

pp
?4
Bsn.
¢ 4 ∑
˙™ œ ˙ œ
j ‰ Œ

° 4 j ¿
pp ff pp
+
Hn. & 4 œ ‰ Œ Ó Ó Œ j ‰ Œ
œ œ œ œ œ
pp f pp

‰ b œj œr ≈ œj œr ≈ œj œr ≈b œj r
(con sord.)

& 44 ∑ Œ œ ≈‰ Ó
' ' ' '
Tpt.
pp mp simile
(con sord.)

?4 b˙
¢ 4
Tbn. ∑ ∑ Ó
pp

°? 4
4 j ‰ Œ Ó ∑ ∑
œ—
Timp.

mp >
b œj
Perc. I (a) & 44 ∑ Œ Œ Ó ∑
ff poss. (both staves)

j
Perc. I (b) & 44 ∑ Œ bœ ‰ Ó ∑
>
° sempre
h h
4
Perc. II
¢& 4 ∑ Ó
œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ
Ó

{
pp mf pp

b >œ h
& 44 #œœ œ #œ#œ œœ œ œ œœœ œ œœœ œ #œœœ#œ 10 J ‰ Ó
10 10 10 10
œ œ œ #œ Ó b œœœœœœœœœœœœœœœœ
Pno. ff pp mp pp

& 44 nœnœœ œ# œ nœnœœœ

#œ nœnœœœ# œ nœnœœœ# œ nœnœœœ# œ Œ Ó ∑
°...

{
> 3
j j
& 44
bœ œ
∑ Œ b œ œ œ œ œ œ œ b œ œj œ œ ‰ œ ‰
J
Œ
>
Hp. f
b œj b œj
ff poss.
? 44 j ‰ Œ Ó Œ bœ
> Œ Ó Ó Ó

-œ—
° 4 –œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ b >œ
unis.
sul D molto sul pont.

&4 J ‰ b˙ b˙ ˙
Vln. I
3 3
˙ ˙ ˙

æ
(p) ff pp ff

Oæ™
unis.

Vln. II & 44 ∑ Œ ‰ bb Oœ Oœ Oœ Œ
J nœO
»
pp ff pp f
unis.
bœ
B 44
arco 3 5 3
∑ Œ J ‰ b œ œ œ œ œ b œ œ œœœœœœœœ œ œ œ œ
- - - - - - - --- ----- - - - -
Vla.
ff >
pp ff
unis.
? 44
molto sul pont.
Vc. ∑ Ó j ‰ Œ
˙ ˙ œ
ff pp
?4
Db.
¢‹ 4 w w w
ff pp
48
° Ó Œ
nœ œ œœ œœ œœ œœ ˙ œ
J ‰ Œ ∑
Fl. & nœ œ œœ œœ œœ œœ

<b> œ
pp mp pp

& J ‰ Œ Œ nœ œ≈ œ œ≈œ œ≈œ œ ≈Œ ∑ ∑

' ' ' '
Ob.
pp mf simile

œ <n>œ
j œ œ œ œœœœœœœœœœ œ œ ˙ œ ‰
& ˙ ˙ œ ‰ Œ J Œ
˙™
Cl.
3 5 3
mf pp
mf pp f pp
?
¢ ˙
j ‰ Œ Ó ∑ ∑ B
Bsn.
˙ œ
mf pp

° open
& w j ‰ Œ ∑ ∑
Hn.
˙ œ
pp p pp

∑ j j
Tpt. & ‰ œ ˙™ ˙™ œ ‰ ∑
pp mp pp

? <b>œ œ œ ‰ ‰ œ ˙ ˙ œ ‰ Œ
¢ J J J j ‰
Tbn.
˙ ˙™ œ
mf pp mp pp
mp pp

° >
œ ‰ Œ
Perc. I & ∑ ∑ J Ó ∑
°...
molto legato
r
¢&
Perc. II ∑ ∑ Ó œ œ œ œ ≈œœœ ≈œœœœ œœœ œœœœ≈œ
n pp sempre

{
>
nœ >
>
nœ 33 œ j j œ >
& Ó Œ nœ œ œ œ j
œ œ œ ‰ œ œ œ ‰
j œ ‰ Œ Ó ∑
>
œ œ
J
Pno. ff

& Ó Œ Œ
j
∑ ∑ ∑
°... œ
>
œ œ
>

{
> >
j œ
>œ
molto legato
nœ
& Ó Œ nœ ‰
>
∑ J ‰ Œ Ó œœ œœœœœœœ œœœœœ
Hp. n pp sempre
œ
? Ó Œ œ
> Œ ∑ > ∑ ∑

° æj
nœæ ‰
-O -O -O -O -O -O -O
ord.

& ˙ b˙ Œ œ ∑ ∑
>
Vln. I
3
pp ffp mf pp

ær
Vln. II & Oæ ≈ ‰ Œ Ó Ó ˙ ˙™ ˙™ Œ ∑
pp
f pp

w~ ~
B bœ Ó ∑
- -œ
Vla.

pp pp
b Ȯ Ȯ Oœ Oœ
ord.

?b
molto sul pont. ord.

J ‰ Œ j ‰ Œ
Vc.
œ ˙ ˙ ˙ œ
pp mp pp
mf pp

?
Db.
¢‹ ˙ ˙ w w w
mp pp
 49
°B œ œ ˙™ œ œ œ œœ ˙ j˙ œj œ™ œ œ œ œ™ œ b ˙ œ œbœ bœ ˙
J
¢ Ó
œ
Bsn.
p

°
¢&
Tpt. ∑ ∑ ∑ ∑ ∑ Ó Œ œ
pp

° –
arco, l.v. sempre
œ œ– œ œ–
Perc. I (a) & Ó Œ ‰ œJ œJ ‰ Œ Ó Ó Œ ‰ J J ‰ Œ Ó Ó Œ ‰ J J ‰ Œ Ó
pp mp pp mp pp mp

#œ œ– –
arco, l.v. sempre

Perc. I (b) & ∑ Ó ‰ J J ‰ ∑ Ó ‰ #œJ œJ ‰ ∑ ∑

pp mp pp mp
° sempre

¢& œ œ œœœœ œ œœ œ œœ œ œœœ œœœœ œ œœ œ œ œ œ œœ œ œœ œœ œœ œ

Perc. II ≈ ≈ œ œœœ ≈œœ œ ≈ œ œ œœ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œ ≈ œœœœ œœ œ

{
& Ó œ œ ˙™ œ œ œ œœ ˙ ˙ j œ™ œ œ œ œ™ œ b ˙ œ œ bœ bœ ˙
œ
j œ J
Pno. p

& ∑ ∑ ∑ ∑ ∑ ∑ ?
°...

{
& œ œ œœœœœœ œ œœ œœ œ œ œ œœœœœœ œ œœœ œ œ œ œ œœ œœœœ œ œœœ œ œ œ œ œœœœ œ œ œ œœœ œ œ œ œ œ œ œœ œ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œœ
Hp.
? ∑ ∑ ∑ ∑ ∑ ∑

° Ó
1st & 2nd desk only

˙˙ ™™
1st desk only, senza vib. divisi, senza vib. tutti, div. a3

Vln. I & ˙ w w œœ œœœ www www

pp sempre

1st & 2nd desk only

1st desk only, senza vib. divisi, senza vib.

Vln. II & Ó Œ œ w w ˙ ˙˙ ww ww
pp sempre

o o™ wo wo wo
Vla. B Oj ‰ Œ Ó ∑ ‰ œJ ˙
pp sempre

Ϫ
pochissimo vib.

˙™
& Ó ˙ œ œ œ œ™ œ b ˙ œ œ bœ bœ ˙
œ œ œ œœ
j
Solo Vc. œ œ ˙ œ
j œ J
p

œo wo wo wo wo
(gli altri) Vc.
? ∑ Ó Œ ‰ J
pp sempre

?
¢‹ w
molto sul pont. ord. molto sul pont. ord. molto sul pont.
Db.
w w w w w
 poco meno mosso (q = 46ca.)
50
°
& ≈ ™ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
9 9 9 9 9 9 9 9

Fl.

pp mp pp pp mp pp pp mp pp pp mp pp

& ≈™ ™ ™ ™
9 9 9 9 9 9 9 9

œ œ œ œ œ≈ œ œ œ œ œ ≈ œ œ œ œ œ≈ œ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
Cl.

pp mp pp pp mp pp pp mp pp pp mp pp

œ
B J
Bsn.
¢ ‰ Œ Ó ∑
ff poss.

° œÆ ≈ ‰
¢& R
Tpt. Œ Ó ∑
ff

° >œ–
brass mallets, l.v. sempre

¢& J
Perc. I ‰ Œ Ó ∑
ff poss.

{
>˙
n>˙ b >˙ >˙
&
Pno. f sempre
?
˙ n˙
b˙ > ˙ >
> >
°...

{
>˙ >˙ #>˙ >˙
&
Hp. f sempre, l.v. sempre
>˙ >˙
? ˙
#˙ >
>
poco meno mosso (q = 46ca.)

° Ȯ
unis., senza vib.

Vln. I & Ȯ bb Ȯ b Ȯ
pp mp pp mp pp mp pp mp

˙
tutti, unis., senza vib.
˙ b˙ ˙
Vln. II &
pp mp pp mp pp mp pp mp

bœ bœ nœ œ nœ œ bœ bœ nœ œ nœ œ
B œ œ œ œ œ nœ œ œ œ œ b œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ bæœ æ æ æ æ æ næœ æ æ æ æ æ næœ æ æ æ æ æ bæœ æ æ æ æ æ bæœ æ æ æ æ æ
Vla. œ œ
6 6 6 6 6 6 6 6
mf sempre

?
tutti, senza vib.
˙ n˙
Vc. b˙ ˙
pp mp pp mp pp mp pp mp

?
ord., senza vib.
˙ n˙
Db.
¢‹ b ˙ ˙
pp mp pp mp pp mp pp mp
 51
° ™
& ≈ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
9 9 9 9 9 9 9 9

Fl.

pp mp pp pp mp pp pp mp pp pp mp pp

™ ™ ™ ™
9 9 9 9 9 9 9 9

¢& ≈ œ œ œ œ œ≈ œ œ œ œ œ ≈ œ œ œ œ œ≈ œ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
Cl.

{
pp mp pp pp mp pp pp mp pp pp mp pp
>˙
n>˙ b >˙ >˙
&
Pno.
? >˙ n>˙
b˙ ˙
>

{
>
°...
>
& ˙ ˙
> #˙ ˙
> > >
? #˙
Hp.
?
&˙ ˙
> ˙ >
>
° n˙ b˙ ˙
Vln. I & Ȯ
pp mp pp mp pp mp pp mp

Vln. II & ˙ n˙ b˙ n˙
pp mp pp mp pp mp pp mp
bœ bœ nœ nœ bœ bœ nœ nœ
B nœ œ œ œ œ nœ œ œ œ œ b œ œ œ œ œ b œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ b œ œ œ œ œ b œ œ œ œ œ
æææ æ æ æ æ æ æ æ æ æ æææ æ æ æ æ æ æ æ æ æ æææ æ æ æ æ æ æ æ æ æ æææ æ æ æ æ æ æ æ æ æ
Vla.

6 6 6 6 6 6 6 6

? b˙ B˙ ˙ div.

Vc.
˙ n˙
pp mp pp mp pp mp pp mp
˙ ˙
? b˙
Db.
¢‹ Ó
pp mp pp mp pp mp

° ™
œ ≈™ œ 24 ≈ ™
9 9 9 9 9 9

& ≈ œ bœ œ œ œ œ nœ œ œ œ œ bœ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Fl.

pp mp pp pp mp pp pp mp pp

Cl. & ≈ ™ ™ 2 ™
9 9 9 9 9 9

¢ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ
œ ≈ œ œ œ œ
bœ œ œ œ œ œ œ œ œ œ
œ 4≈ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ
œ

{
pp mp pp pp mp pp pp mp pp
> 24 b ˙
& ˙ n˙
> > >
? b˙
Pno.
24

{
&˙
> ˙
°... >
& ˙ ˙ 24 #˙
> >
Hp. >>
? #˙ 24
&˙
> ˙
>
° ˙ 24 b ˙
Vln. I & n˙
pp mp pp mp pp mp

& b˙ 24
Vln. II ˙ ˙
pp mp pp mp pp mp
bœ œ bœ œ nœ œ nœ œ bœ œ bœ œ
B nœ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ
æ æ æ æ æ æ næœ æ æ æ æ æ bæœ æ æ æ æ æ bæœ æ æ æ æ æ 4 næœ æ æ æ æ æ næœ æ æ æ æ æ
Vla. œ œ œ œ œ
6 6 6 6 6 6
B ˙ 24
Vc.
¢ b˙ Ó ∑ &
pp mp
52
° æj æ æj æ æj æ æj æ æj æ æj æ æj æ æj æ
& ‰ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ
flz.

Fl. ‰ ‰ ‰ ‰ ‰ ‰ ‰
pp mp pp pp mp pp pp mp pp pp p pp pp p pp pp p pp

j j j j j j j j
Cl.
¢& œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ ‰
pp mp pp pp mp pp pp mp pp pp p pp pp p pp pp p pp

°? Œ Æ Æ Æ Æ Æ Æ Æ
senza sord., blow air through horn

¢
‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿
Tbn.
J R J R J R J R J R J R J R J
pp mp pp mp pp mp pp p pp p pp p pp

{
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
>
Pno. mf mp p pp

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &
°...

{
let ring as much as poss.

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
>
Hp. mf mp p pp

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &

° ∑ ∑ ∑ ∑
Vln. I & ˙ ˙ ˙ ˙
pp mp pp mp pp p pp

¢&
Vln. II ∑ ˙ ∑ ˙ ∑ ˙ ∑ ˙
pp mp pp p pp p pp
 53
° ‰ æj æ
Ͼ Ͼ
senza vib., molto legato sempre

Fl. & ∑ ∑ ∑ ∑ j ˙ œ j œ œ œ j œ
œ œ œ
p

j
molto legato sempre
j
Cl. & œ œ ‰ œ œ ‰ Œ ∑ ∑ ∑ œœ œ œ œœ œ œ œœ œ œ œœ œ œ
œ œ œ œ œ
p
senza vib.

B ˙ ˙ ˙ œ œ œ œ
¢
Bsn. ∑ R ≈ ‰ Œ ∑ ∑
pp mf

°? ¿Æ ≈ ‰ ‰ ¿ ¿Æ ≈ ‰
¢ R
Œ ∑ ∑ ∑ ∑ ∑ ∑ B
Tbn.
J R

°
medium yarn mallets, l.v. sempre

Perc. I & ∑ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙ j ˙ j ˙

> pp >
œ
p
œ
p mp
°...
œ^ – ^œ –
brass mallets, l.v. sempre

Perc. II
¢& ∑ œJ — ‰ Œ ∑ ∑ ∑
œJ — ‰ Œ ∑ ∑
p mp

{
œ^ – ^œ –
œ— ‰ Œ œ—
& ˙ J ∑ ∑ ∑ J ‰ Œ œœœ ˙ œœœ ˙
Pno. p pp mp p

& ∑ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙ ∑ ∑
° ...
> >

{
& ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙
> >
œœ œœ
Hp. p pp mp p

& ∑ ˙ ˙ ˙ ˙ ˙ ∑ ∑
> >

° ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ
6 6 6 6 6 6

Vln. I & ˙ œ œ œ œ œ œœœœœœœ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œœœ œœœœœœœœœœœœ ∑

>
p n
>
mp n

ææ ææ ææ ææ ææ ææ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ‰
& ∑ œœœœœœ≈ Œ ∑ ∑ ∑ ∑ ∑
Vln. II
> œœœœœœœœœœœœ
p n
>
mp n

bO Oœ O Oœ
Vla. B Œ ‰ œJ R ≈ ‰ Œ ∑ ∑ Œ ‰ œJ R ≈ ‰ Œ ∑ ∑
pp mp pp mf

œo
j r
& Œ ‰ b œO œO ≈ ‰ Œ ∑ ∑ ∑ ?
Ȯ O O
Vc.
pp mp
p

Ȯ O O ‚ ‚ ‚ ‚
?
¢‹
Db. ∑ R ≈ ‰ Œ ∑ ∑
pp mf
54
° j ‰ ‰
3
j 3
‰ œ œj Œ j ‰ œ œj ‰
3 3
‰ œ œj Œ
Fl. & œ œj œ œœ œ œœ œ ‰ ‰
œ œœ œ ‰
œ
‰
œ
mp mf f ff
senza vib., molto legato sempre

Ob. & ∑ bœ
j
œ bœ
j
œ œ bœ
j
œ œ bœ
j
œ œ bœ
j
œ œ bœ
j
œ œ
mp ff

& œ œ œ j ‰ ‰ j Œ j ‰ ‰ j Œ j ‰ ‰ j
Cl.
œœ œœ œnœ œ #œ œnœ œ #œ œnœ œ #œ œnœ œ #œ œnœ œ #œ œnœ œ #œ
œ œ #œ mp œ #œ #œ #œ œ
mf f ff
molto legato sempre

B œ œ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ

¢
Bsn. ∑ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
mp ff

° ∑
con sord.

Hn. & œœœ ˙ œ œœœ œ œ œ œœœ œ œ œ œœœ œ

mp ff

j r
con sord. (straight)

& Œ ‰ œ œ ≈ ‰ Œ Œ ‰ j
Tpt.
œ œ œ œ ˙
pp mf
con sord. (straight) p f

B œ œ #œ
Tbn.
¢ Œ ‰ J R ≈ ‰ Œ ∑ ∑ Œ
pp mf pp ff

°
Perc. I & œ
j ˙ b∫˙˙˙˙ œb œ ˙ œb œ ˙ œb œ ˙
>
°... mf mp mf ff

^œ –
Perc. II
¢& ∑ œJ — ‰ Œ ∑ ∑ ∑

{
# ^œ –
mf

œ—
& œœœ ˙ J ‰ Œ ‰ œnœbœ∫œ b œ ™ ‰ œ œbœ∫œ b œ ™ ‰ œ œbœ∫œ b œ ™
Pno. mf mp mf ff

& ∑ b∫˙˙˙˙ ∑ ∑ ∑
°... >

{
& œœ ˙ ˙˙ Œ œ#œ œ œ Œ œ#œ œ œ Œ œ#œ œ œ
>
Hp. F# mf mp mf ff

& ∑ #˙ ∑ ∑ ∑
>

° ææ æææ ææ æ æææ æ æ æ ææææ ææææ ææ æ æ æææ æ ææææ ææ æ æ æ ææ æ æ æ æ æ ææ

œæ æ æ æ œæ æ æ œæ æ æ æ œæ nœæ#œæ œæ œænœæ#œæ œæ œænœæ#œæ œæ œæ nœæ #œæ œæ œænœæ#œæ œæ œænœæ#œæ œæ œæ nœæ #œæ œæ œænœæ#œæ œæ œænœæ#œæ œæ
6 6 6 6 6 6 6 6

& ∑
> œ #œ œ nœ #œ œ nœ #œ œ
Vln. I

mf pp ff

ææ ææææ æææ æ ææææ ææ ææ æ

& ∑ œæ æ æ æœæ æ æ æœæ æ æ æœæ æ æ æ œænœæ ≈ ‰ Œ ∑
˙æ
> œ#œ œ nœ#œ œ nœ #œ œ nœ#œ œ
Vln. II

mf n ff

senza vib.

B ∑ #˙ ˙ ˙ ˙
Vla.
mp ff
1st player only, espressivo
? Bœ œ œ œ ˙
r ≈ ‰ Œ Œ ‰ J &
‚ ‚ ‚ ‚
Vc.
p f
f
Ȯ O O O
?
¢‹
Db. ∑
mp ff
 55
°
Fl. & œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ
pp sub.

3 3
j j j j j ‰ j Œ
3 3
& j ‰ ‰ j ‰ ‰ ‰ j Œ j ‰ ‰ j ‰ ‰ j
Ob. nœ œ œ œ œ œ œ œ œ œ œ œ
pp sub.

3 3 3 3 3 3 3

& j j j j j j j
Cl. œ œnœ œ
œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ
œ œ œ œ œ œ œ œ
pp sub.

œnœ œ œ
œ œœœ œ
œ œœœ œ
œ œœœ œ
œ œœœ œ
œ œœœ œ
œ
B J J J J J J
Bsn.
¢ ‰ ‰ Œ ‰ ‰ Œ ‰ ‰
pp sub.

° ∑ Œ ‰ j
Hn. & œ œ œ œ ˙
p mf
molto legato sempre

Tpt. & œœ ˙ œ œœ œ œ œ œœ œ œ œ œœ œ
pp sub.
espressivo
B œ œ œ œ
Tbn.
¢ ∑ ∑ ‰ ‰ œ œ
J J J
3 3
3
p mf

°
Perc. I & n˙˙˙˙ Œ œœœ
œ Œ
œœœ
œ Œ
œœœ
œ
>
p pp
*°
^œ –
¢& œJ —
Perc. II ‰ Œ ∑ ∑ ∑

{
n ^œ –
p

nœ —
& J ‰ Œ œ
œœœ œ ˙ œ
œœœ œ ˙ œ
œœœ œ ˙
Pno. p pp

& ˙˙˙˙ ∑ ∑ ∑
>

{
*°

œ™ œ™ ‰ œœœœ œ™
& ˙˙ ‰ œ ‰ œ
œœœ œœœ
>
Hp. F§ p pp

& ˙˙ ∑ ∑ ∑
>

° ææ æ ææ ææ ææ æ ææ ææ æ ææ ææ ææ ææ æ ææ ææ ææ æ
6 6 6
j
Vln. I & nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ∑ Œ ‰ œ
>
p sub. n

æ æ ææ æ ææ ææ æ ææ ææ æ ææ ææ j
Vln. II & œ œ œ œ œ œ œ œ œ œ œ œ ‰ ∑ ∑ Œ ‰ œ
>
p sub. n
1st player only, espressivo

B ∑ Œ ‰ œ œ œ œ ˙
Vla. J
p mf
tutti, ord.

Vc. & O O O ‚ ‚ ‚
˙
pp sub. 1st player only

?
3
j Ȯ
¢‹ ∑ ∑
Db. ‰ ‰ œO ‚
p mf
56
° j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
Fl. & œ
bœ œ œ bœ œ
œ œœ œ œ
bœ œ œ bœ œ
œ œœ œ œ
bœ œ œ œ œ
œ œœ œ
mp

3 3 3
j 3
‰ j ‰ j ‰ j 3
‰ j ‰ j ‰ j 3
‰ j j
Ob. & œœ #œ œœ œ œœ œ œœ #œ œœ œ œœ œ œœ #œ œœ œ ‰ œœ œ ‰
mp

Cl. & œ œ#œ œ œ œ

j ‰ ‰™ nœ œ#œ œ œ œ
r Œ ≈ nœ œ#œ œ œ
r
œ ‰ ‰™ nœ œ#œ œ œ
r
œ Œ
bœ mp œ bœ bœ

B #œ œ œ nœb œ œ œ #œ œ œ nœ œ œ œ #œ œ œ nœb œ œ œ #œ œ œ nœbœ œ œ

Bsn.
¢
mp

°
Hn. & œb œ œ œ œœ œ™ œ œb œ œ œ™ œœ œ œ œb œ œ
mp

r ≈ ‰ Œ Œ ‰ j
Tpt. & œ œ œ œ œ
molto legato sempre p mf
b œj b˙ b œj b˙ b œj b˙
B
Tbn.
¢
mp

°
#œ ™ #œ ™
& ‰ ‰
Perc. I
###˙˙˙˙ œ#œ#œ œ œ#œ#œ œ
>
mf mp
°...
b ^œ –
Perc. II
¢& œJ — ‰ Œ ∑ ∑

{
b œœœ –
mf
^
—
& J ‰ Œ Œ Œ
œœ
#œ#œ#œ œ #œ œœ
#œ#œ#œ œ #œ
Pno. mf
mp
& ###˙˙˙˙˙ ∑ ∑

{
>
°...

& ∑ #œ œ œ#œ#œ #˙ #œ œ œ#œ#œ #˙

D#
Hp. mp
E#F#

& ∑ ∑ ∑

° æ æ æ æ æ æ æ æ æ æ æ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ
Ͼ Ͼ #Ͼ #Ͼ nϾ Ͼ Ͼ #Ͼ Ͼ nϾ Ͼ Ͼ
6 6 6 6

Vln. I & #œ #œ nœ œ œ #œ œ nœ œ œ #œ œ ∑
>
mf n

æ æ æ ææ ææ æ ææ ææ ææ ææ æ ææ ææ ææ
& œæ œ œ œ #œ nœ œ œ #œ ≈ ∑ ∑
> #œ #œ nœ œ œ
Vln. II

mf n
tutti, senza vib.
˙ ˙ ˙
Vla. B
mp

r
1st player only, espressivo
Bœ œ œ œ
Vc. & ‚ ≈ ‰ Œ Œ ‰ J
mf mp f
# œo

? #Ȯ O O
Db.
¢‹
mp
 57
° j
& ‰ œ œ œ œ œj ‰ bœ œ œ œœ œ œ bœ œ œ œ
Fl. œ
bœ œ œ œ bœ œ
œ œ nœ
œ œ
œœ œ J Jœ œ bœ œ
œœ œ
œ œ
œœ œ J J œ œ
œœ œ
3 3 3 3
mf
3
j 3
‰ j j
Ob. & œœ #œ œœ œ ‰ œœ œ ‰ bœ œ œ nœ œ œœœ œ œ bœ œ œ œ
mf

Cl. & ≈ nœ œ#œ œ œ

r
œ ‰ ‰™ nœ œ#œ œ œ œ
r b œb œ nœ œ œb œ œnœ œ b œb œ nœ œ œb œ œnœ œ
œ nœnœ œ œ œ œœ œ œ
bœ œ bœ œ
bœ œ mf

B #œ
œ œ nœ ˙ œ œ nœb œ
b œ nœ
œ œœ œœ
b œ nœ
œ œ œ œb œ
b œ nœ
œ ‰
¢
bœ
Bsn. J ‰ ‰ ≈ R Œ ≈ R
mf

° r
Hn. & œ œb œ œ™ œ œ œ ≈ ‰ Œ ∑
f

Tpt. & œ œ œ œ
bœ bœ œ œ
œ œ™ œ œ
bœ bœ œ™ œ
œ œ

b œj bœ œ œ œ
B
Tbn.
¢ R ≈ ‰ Œ ∑
f

°
#œ ™
Perc. I & ‰ œ#œ#œ œ bnb ˙˙˙˙ nœ œ œ nœ #˙
°... > œ
mf

^œ –
f

¢& ∑ œ— ‰ Œ ∑
Perc. II
J
^–

{
f

nb œœ —
& Œ J ‰ Œ ‰ œb œb œ
bœ
#œ#œ#œ
œœ
œ #œ œœœ œ™
Pno. f
mf

& ∑ bb ˙˙˙˙˙ ∑
°... >

{
>
& #œ œ œ#œ#œ #˙ ∑ Œ œ œ œ b œb œ
bœ
œ
D§CbBb
Hp. mf
E§F§Ab

& ∑ ∑ ∑

° æ æ æ æ æ æ æ æ æ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ
œæ #œæ #œæ nœæ œæ æ œæ œæ œæ #œæ
6 6 6 6

∑ œ œ
Vln. I &
> œ nœ œ œ œ #œ #œ nœ œ œ œ œ #œ
f

æææææææææ ææææ ææ ææ ææ ææ ææ ææ ææ ææ æ ææ ææ æKr

& ∑ œæ#œæ#œænœæ œæ æ œæ œæ œæ #œ nœæ œæ æ œ œœ #œ nœ œ œ œ œ #œ #œ nœæ ® ≈ ‰
Vln. II
> œ œ
f n
non div.
œ œ œ ˙ ˙
Vla. B ˙ ˙
mf

B œ œ œ
tutti, senza vib.

Vc. ˙ ˙

<#>‚
mf

? ‚ ‚ ‚
¢‹
Db. R ≈ ‰ Œ ∑
f
 58
°
& bœ œ bœ œ œ œ œ œœ œ œ bœ œ bœ œ œ œ œ œ œ œ œ#œnœ bœ ‰ œœœ œ ‰
Fl.
œœ œ œœ œ J Jœ œ œœ œ œœ œ J J œœ œ # œ œ#œ J œ œœ J
3 3 3 3 f

j j j
3 3
Ob. & œ bœ œ œ œ œ bœ œ œ œ œ œœœ œ nœ œb œ#œ œ ‰ œœœœ œ ‰ œœœœ œ ‰
f

& b œb œ nœ œ œb œ œnœ œ b œb œ nœ œ œb œ œnœ œ œ nœb œ nœ ‰ ‰ œœ œ

Cl.
bœ
œ œœ
œ
œ œ
bœ
œ œœ
œ
œ œ
bœ
œ#œ œ# œ #œ J œ
œœœœ œ J
f

‰™ ‰™
B œ œ œb œ
b œ nœ
œ Œ œ œ œb œ
b œ nœ
œ ‰ œœ œœ
b œ nœ
œ #œ œ n œ
œ
œ œ œ œ œ œ œ œ œ œ™
¢ ≈ #œ#œ œ
Bsn. R R R
f

°
3

Ϫ
‰ œ j
Hn. & œ œ œ œ œ œœ œœ œ œ œœ œ
ff f

<b>œ bœ ™ j j j
3
Tpt. & œ
bœ bœ œ œ
bœ œ œ
œ œ œ#œ bœ ‰ nœ œ bœ ‰ nœ œ bœ
f

B œ œj #˙
¢
Tbn. ∑ Œ ‰ J
pp f

° ˙
Perc. I & nœ œ œ œ #˙ nœ œ œ œ #˙ #b ˙˙˙
œ œ
>
°...
^œ –
ff

Perc. II
¢& ∑ ∑ œJ — ‰ Œ

{
b ^œ –
ff

b œ—
‰ ‰ J ‰ Œ
& œœœ
œb œb œ
bœ
œ™ œœœ
œb œb œ
bœ
Ϫ
Pno. ff

∑ ∑ ˙
& bb ˙˙˙˙
>

{
°...

& Œ œ œ œ b œb œ
bœ Œ œ œ œ b œb œ
bœ ∑
œ œ
Hp.

& ∑ ∑ ∑

° ææ æ ææ ææ æ ææ æ æ æ ææ æ ææ æ æ æ æ æ æ æ ææ æ ææ æ ææ
æ b œæ œ œ œ œæ #œæ æ
6 6

nœ œ œ œ œ #œ #œæ nœ œ œ œ œ
6 6

& ∑ œ nœ œ œ
Vln. I
> #œ #œ
n ff

æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
& ∑ ∑ b œæ œ œ œæ #œæ æ æ œæ nœæ œ œæ œæ æ
Vln. II
> œ # œ #œ œ œ œ
ff

˙ œ œ œ ˙
Vla. B ˙ œ œ œ ˙
f
espressivo 3

‰ œ j ∑
Solo Vc. & œ œ œ œ œ
f ff
˙
non div.

(gli altri) Vc.

B ˙ œ œ œ #˙
f
o
non div., I - touch 4th II - touch 3rd
# œœ

? # OȮ˙
¢‹
Db. ∑ ∑
f
 59
° bœ ‰ œ ‰ bœ ‰ œ ‰ bœ ‰ œ œ
Fl. & # œ œ#œ
œ#œ œ
J œ œœ
œœœ
J # œ œ#œ
œ#œ œ
J œ œœ
œœœ
J # œ œ#œ
œ#œ œ
J œ œœ
œœœ
œ œœ
œœœ

ff poss.

j ‰ œ œ œ œ œj ‰ œ œ œ œ œj ‰ j j ‰ œ œ œ œ œj ‰ j j j
3 3 3 3 3 3
Ob. & œ œb œ#œ œ œ œb œ#œ œ ‰ œœœœ œ œ œb œ#œ œ ‰ œœœœ œ ‰ œœœœ œ ‰
ff poss.

& Œ œb œ nœ ‰ ‰ œb œ nœ Œ œb œ nœ ‰ ‰ œœ œ
Cl.
bœ
œ#œ œ# œ #œ J bœ
œ#œ œ# œ #œ J bœ
œ#œ œ# œ #œ J œ
œœœœ œ J
ff ff poss.

B <#>œ #œ#œ œ#œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ #œ œ œ

œ
œ œ#œ#œ œ#œ œ œ œ œ™ œ œœ œ
œ
œ
¢
#œ#œ œ œœœ
Bsn.
ff poss.

°
Hn. & œ œœ œ™ œœ œ™ œœ œ œ œœ œ œ œœ œ™ œœ œ™ œœ œ œ œœ œ
ff poss.

3 3 3
j ‰ nœ œ b œj ‰nœ œ b œj j ‰ nœ œ b œj ‰nœ œ b œj j ‰ nœ œ b œj ‰ nœ œ b œj
3 3 3
& ‰ ‰ ‰
Tpt.
nœ#œ bœ nœ#œ bœ nœ#œ bœ
ff poss.

B œj #˙ œj #˙ œj #˙
Tbn.
¢
ff poss.

°
¢& Œ œ
œ œb œ#œ Œ œ
œ œb œ#œ Œ œ
œ œb œ#œ
Perc. I
#œ œ #œ œ #œ œ

{
°... f ff ff poss.

& #œnœ œ
b œnœ
#œ œ œ
b œnœ
#œ œ œ
b œnœ
œœœ
œœ
# œ #œ œ #˙ # œ #œ œ #˙ # œ #œ œ #œ œ œœ #œ
Pno. f ff ff poss.

& ∑ ∑ ∑

{
°...

‰ j j j
& #œ œ œ
bœ œ Œ ‰ #œ œ œ
bœ œ Œ ‰ #œ œ œ
bœ œ œœœ
œ œ œœœ
œ œ
# œ #œ œ # œ #œ œ # œ #œ œ œ œœ œ œœ
D#C# f ff
Hp. F#A§ ff poss.

& ∑ ∑ ∑ ?

° ææ ææ ææ ææ ææ nœææ ææ æ ææ ææ ææ ææ æ æ æ æ æ æ æ æ æ æ ææ ææ ææ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ
b œæ nœæ œæ œæ æ #œæ æ æ œæ nœæ œæœæ
6 6 6 6 6 6

Vln. I & œ #œ # œ #œ
bœ œ œ œ
œ #œ œ œ # œ #œ œ #œ # œ #œ b œ nœ œ œ œ œ# œ œ
pp ff poss.

æ æ æ æ æ æ æ ææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ æ æ
& b œæ œæ œæ œæ æ#œæ æ æœæ nœæ œæ œæ æœæ æ æ ∑ b œæ œæ œæœæ æ æ æ æœæ nœæ œæ œæ æ æ æ æ
Vln. II
œ # œ #œ œ œœ œ #œ # œ #œ œ œœœ
n ff poss.

˙ ˙ ˙
Vla. B ˙ ˙ ˙ &
ff poss.

∑ ‰ œ œ ‰
>
œ œ B
Solo Vc. & #œ #œ
j
J
> ff ff poss.
f

<#>˙
˙ ˙ ˙
(gli altri) Vc.
B ˙ ˙
ff poss.

? <#>OO OO OO
Db.
¢‹
ff poss.
60
° Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~
Fl. & ‰ nœ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ
pp p pp p pp mp pp mp pp mf pp

j j j j j
Ob. & ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ
pp p pp p pp mp pp mp pp mf pp

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

& ‰ j ‰ j ‰ j ‰ j ‰ j
Cl. #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp p pp p pp mp pp mp pp mf pp

B œ œ œ œ #œ œ œ
¢
Bsn. ∑ ∑ Œ ‰ J R ≈ ‰ ‰ J
pp mp pp

°
senza sord.
∑ ∑ Œ ‰ j r j
Hn. & œ œ œ œ œ œ ≈ ‰ ‰ œ
pp mp pp

B œ œ œ œ œ œ
¢
Tbn. ∑ ∑ Œ ‰ J R ≈ ‰ ‰ J
pp mp pp

°
Perc. I & ∑ ∑ ∑ ∑ ∑
*

œ–
^j
Perc. II
¢& œ — ‰ Œ ∑ ∑ ∑ ∑

{
p

^œ –
œ— ‰ >
like an echo
j j j b œœ œœ œœ œœ œœ œœ
>— >— >—
& J Œ ‰ Œ ‰ Œ ‰ Œ
œ œ œ
p 3 3
Pno. mp pp
3 3
& ∑ ∑ ∑ ∑ #œœœ œœœ œœœ œœœ œœœ œœœ
*° >

{
o o o o
j j j j
∑ œ— œ— œ— œ—
& ‰ Œ ‰ Œ ‰ Œ ‰ Œ
> > > >
Hp. … p mp mf
? ∑ ∑ ∑ ∑ ∑

° Œ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~

a2 tutti
1st player only
œ bœ œ Œ bœ œ Œ bœ œ Œ bœ œ Œ bœ œ
Vln. I &
pp p pp p pp mp pp mp pp mf pp

Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~

a2 tutti
1st player only Ÿ~~~~
Vln. II & Œ bœ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ
pp p pp p pp mp pp mp pp mf pp

Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~

a2 tutti
1st player only

Vla. & Œ #œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ
pp p pp p pp mp pp mp pp mf pp

>O >O >O >O

1st player only a2 tutti

B Ȯ
Vc.
¢
p sub. mp mf
 61
Ÿ~~~~~~~~~~~~~~~~~
° Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ œ bœ
J
œ œ
Fl. & ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰
f pp ff pp ff pp ff pp

j j j œ œ œ
Ob. & ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ J
f pp ff pp ff pp ff pp

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

j j j #œ œ œ œ
Cl. & ‰ œ œ œ
‰
œ œ œ
‰
œ œ œ
‰ J
ff pp
f pp ff pp ff pp

#œ œ œ œ #œ œ œ œ bœ œ œ
B œ R
¢
Bsn. R ≈ ‰ ‰ J ≈ ‰ ‰ J
mf pp f pp

° r j r j
Hn. & œ #œ œ œ œ ≈ ‰ ‰ #œ œ œ œ œ œ ≈ ‰ ‰ œ
mf pp f pp

∑ ∑ ∑ Œ ‰ j
Tpt. & œ
pp

B œ œ œ œ #œ œ œ œ œ œ
¢
Tbn. R ≈ ‰ ‰ J R ≈ ‰ ‰ J
mf pp f pp

{
> >
& ∑ b œœ œœ œœ œœ œœ œœ ∑ b œœ œœ œœ œœ œœ œœ
3 3 3 3
Pno. mf pp f pp
3 3 3 3
& ∑ #œœœ œœœ œœœ œœœ œœœ œœœ ∑ #œœœ œœœ œœœ œœœ œœœ œœœ
> >

{
o o o o
& œj— ‰ Œ j
œ—
‰ Œ j
œ—
‰ Œ j
œ—
‰ Œ
> > > >
Hp. f ff
? ∑ ∑ ∑ ∑

Ÿ~~~~~~~
° Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ œ bœ œ
Vln. I & Œ bœ œ Œ bœ œ Œ bœ œ Œ
f pp ff pp ff pp ff pp

Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~

bœ œ œ
Vln. II & Œ œ œ Œ œ œ Œ œ œ Œ
f pp ff pp ff pp ff pp

Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~

#œ œ œ
Vla. & Œ œ œ Œ œ œ Œ œ œ Œ
f pp ff pp ff pp ff pp

> >O >O >O

B O
Vc.
¢
f ff
 <K q = q > (q = 69ca.)
62
Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
° ‰ œ bœ
J
œ œ
‰
œ bœ
J
œ œ
‰
œ bœ
J
œ œ
R ≈ ‰ Œ
œ
44
Fl. &
ff pp ff pp ff pp

œ œ œ œ œ œ œ œ œ bœ
Ob. & ‰ J ‰ J ‰ J R ≈ ‰ Œ 44
ff pp ff pp ff pp

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

#œ œ œ œ #œ œ œ œ #œ œ œ œ œ 44
Cl. & ‰ J ‰ J ‰ J R ≈ ‰ Œ
ff pp ff pp ff pp

œ bœ œ œ œ #œ œ bœ œ œ œ
B R R ?4
¢
Bsn. ≈ ‰ ‰ J ≈ ‰ Œ Œ 4
ff pp ff

° j r 44
& œ bœ œ œ œ ≈ ‰ ‰ #œ œ œ œ œ ≈ ‰ Œ œ
Hn.
R
ff pp ff pp

& œ bœ œ œ œ ≈ ‰ ‰ j œ bœ œ œ œ ≈ ‰ Œ œ 44
Tpt.
R #œ R
ff pp ff pp

B œ œ œ œ #œ œ œ œ œ #œ 44
¢
Tbn. R ≈ ‰ ‰ J R ≈ ‰ Œ
ff pp ff pp

°
soft yarn mallets

ææ
œ 44
¢&
Perc. II ∑ ∑ ∑ Œ Œ

{
pp

> > 44
& ∑ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ ∑
3 3 3 3
Pno. ff pp ff
?4
3 3 3 3
& ∑ #œœœ œœœ œœœ œœœ œœœ œœœ #œœœ œœœ œœœ œœœ œœœ œœœ ∑ 4
> >

{
o o o 44
& œj— ‰ Œ j
œ—
‰ Œ j
œ—
‰ Œ ∑
Hp. > > >
? ∑ ∑ ∑ ∑ 44

<K q = q > (q = 69ca.)

Ÿ~~~~ Ÿ~~~~~~ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
° Œ
œ bœ œ œ bœ œ b -œ -œ -œ -œ -œ -œ b >œ œ œ œ œ œ
Vln. I & Π44
3 3
ff pp ff pp ff

Ÿ~~~~ Ÿ~~~~~~ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
bœ œ œ bœ œ œ œ œ œ œ œ œ 44
Vln. II & Œ Œ
3 3
ff pp ff pp ff

Ÿ~~~~ Ÿ~~~~~~ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
#œ œ œ #œ œ œ œ œ œ œ œ œ
Vla. & ΠΠB 44
3 3
ff pp ff pp ff

> >O >‚

B O ‚ ‚ ‚ ‚ ‚ ‚ ?4
¢
Vc. J ‰ Œ Œ 4
3 3
pp ff
 63
° 4 œ
Fl. &4 R ≈ ‰ Œ Ó 43 ∑ ‰ ≈ œr œ œ
44
>
<b> œ
ff
fp

Ob.
4
&4 R ≈ ‰ Œ Ó 43 ∑ ‰ ≈ œr œ œ
44
ff
>
fp
œ ≈ œj™ 44
Cl.
4
&4 R ≈ ‰ Œ Ó 43 Ó ˙ œ
ff >
>œ ™
fp

˙ œ
?4 43 ≈ J 44
¢ 4 r≈ ‰
Bsn. Œ
w œ
> fp

° 4
ff
r 44
Hn. &4 œ ≈ ‰ Œ Ó 43 ∑ #˙ œ
>
ff fp
> 44
Tpt.
4
&4 œ
R ≈ ‰ Œ Ó 43 ∑ Œ ‰ bœ œ
J

<#>œ
ff fp
>
Tbn.
B4
¢ 4 R ≈ ‰ Œ Ó 43 Œ ‰ œJ œ ˙ œ 44
ff fp

> >> > >

metal mallets, l.v. sempre

° 4 œ#œ œb œ œ 44
Perc. I &4 Œ Ó 43 ∑ ∑
sffz

œ– œ
4
¢& 4
R ≈ ‰ Œ Ó 43 ∑ Œ Œ æ 44

{
Perc. II
ff pp
^ ^ ^ ^ ^ ^
œœ œœ œœ œœ œœ œœ 44
4
&4 ∑ 43
3 ##˙^˙ ^ ^
Pno. sffz sempre
? 44 ‰ Œ Ó œœ œœ ##˙˙ ?4
&4 4
œ–
j

>œ —

{
*°
b œœ ™™ œœ œœ œœ œœ œœ ™™ b œœ ™™ œœ œœ œœ œœ œœ ™™
^ ^ ^ ^ ^ ^ ^ ^
°
4 ∑ 43 44
&4
3 #œœ ™™ œœ ™™ #œœ^ ™™ œœ ™™
Hp. sffz sempre ^ ^ ^
? 44 ‰ Œ Ó ?4
&4 4
œ–
j

>œ — Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b >œ ™ b >œ ™
>œ > > > >œ œ >œ œ >œ™ >œ œ >œ œ >œ™
° 4 œ œ œ œ 44
Vln. I (a) &4 43
ff

b >œ œ #œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
DIVISI
œ œ œ œ œ œ 44
4 43
œ
Vln. I (b) &4 œ œ œ œ
ff

4
>œ > > >
#œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 #œ >Ÿ
œ™ >Ÿ
œ™ >Ÿ
œ™ >Ÿ
Ϫ 44
Vln. II (a) &4 4
~~~~~~~
ff
Ÿ >Ÿ >Ÿ
#>œ œ œ œ b œ œ œ œ >œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ 3 #œ #>˙
DIVISI

4 4 œ œ #˙ 44
Vln. II (b) &4

b ^œ
‰ œJ ≈ œJ ™ #^œ ™ ^œ
ff
^ ^
pizz.
r 44
B 44 43 ‰ J Œ
non div.
bw
w œ ≈ ‰
Vla.
œ
> sffz
ff
^ ^ ^ ^ ^
pizz.
? 44 43 r ‰ & j ≈ j™ #œ ™
?4
non div.
Vc.
w œ ≈ ‰ œ œ œ ‰ b œJ Œ 4
w œ
> sffz
ff
?4 43 44
Db.
¢‹ 4 r≈ ‰ Œ Œ ∑
w œ
>
ff
 64
° 4 r
3

&4 œ ≈ ‰ Œ Ó Ó ‰ œ œ
>
Fl.
ff fp

r
& 44
3

œ ≈ ‰ Œ Ó Ó ‰ œ œ
>
Ob.
ff fp

& 44 r ‰ ‰ #œj œ
3
≈ ‰ Œ Ó Œ œ
Cl.
œ >
ff fp
# >œ œ œ
?4 J
Bsn.
¢ 4 w œ
r ≈ ‰ ‰ ‰
>
3
fp

° 4
ff

<#>œ
Hn. &4 r ≈ ‰ Œ Ó Ó #œ œ
ff
>
fp

<b>œ
>œ œ
Tpt. & 44 R
≈ ‰ Œ Ó Ó Œ
J
ff 3
fp
>œ œ œ
B4 œ
¢ 4
Tbn. R ≈ ‰ Œ Ó Œ ‰
ff 3
fp

>œ
° 4
> >> >
œ#œ œb œ
Perc. I &4 Œ Ó ∑
sffz

œ–
ææ
4 œ
¢& 4
R ≈ ‰ Œ Ó Ó Œ

{
Perc. II
pp

œœ^ œœ^ œœ^

^ ^ ^
ff
œœ œœ œœ
& 44 ∑
3 3
^ ^ ^
##˙˙ ˙˙ ˙˙
Pno.
?4 ‰ Œ Ó ?
4
nœ –
j &

n>œ — *°
3

{
° œœ^ œœ^ œœ^ œœ^ œ^œ œœ^ œ^œ œœ^
& 44 ∑
^ ^ ^ ^
Hp.
?4 ##œœ œœ œœ œœ
4 ‰ Œ Ó ?
œ–
j &

œ> —
>œ > > > Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
>œ >œ >œ >œ >œ >œ >œ >œ
° 4 b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
Vln. I (a) &4
DIVISI
b >œ œ #œ >œ >œ >œ >Ÿ
œ >Ÿ
œ >Ÿ
œ >Ÿ
œ >Ÿ
œ >Ÿ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
nœ
Vln. I (b) & 44
3 3

>œ > > > Ÿ >Ÿ >Ÿ >Ÿ

#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #>
œ œ œ œ
Vln. II (a) & 44 bœ œ œ œ

~~~~~
#>œ œ œ nœ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >Ÿ >Ÿ >Ÿ
DIVISI

& 44
Vln. II (b) bœ œ œ œ #œ #˙ œ œ ˙
3 3
^
^œ #^œ #^œ ^œ œ
pizz.

B 44
arco
r
b ww œ ≈ ‰ ‰ Œ
Vla.
œ
> 3 3
sffz
ff

^ ^ ^ ^ ^
pizz.
?4
arco
r œ Œ
œ ≈ ‰ ‰ & œ #œ #œ œ
?
Vc. 4 w
w œ
> 3 3
sffz
ff
?4
Db.
¢‹ 4 r ≈ ‰ Œ Ó
w œ
>
 65
° r > ˙
Fl. & œ ≈ ‰ Œ Ó ∑ ‰ œ œ
J
ff
fp
r #˙
Ob. & œ ≈ ‰ Œ Ó Ó ‰ #œj œ ˙
ff
>
fp
>
<#>œ ≈ ‰
& r Œ Ó ∑ ‰ œ œ ˙
Cl.
J
ff fp
# >œ œ ˙ ˙
? ‰ J
Bsn.
¢ w œ
r≈ ‰ Œ
> fp

°
ff
j
<#>œ ≈ ‰
r Œ Ó Ó Œ ‰ #œ
& ˙ ˙
>
Hn.
ff fp
>
& œ ≈ ‰ Œ Ó ∑ Œ ‰ œJ ˙
Tpt.
R
ff fp

B œ #>œ ˙ ˙ ˙
Tbn.
¢ R ≈ ‰ Œ Ó Œ ‰ J
ff fp

°
> > >>
œ #œ#œ >œ
Perc. I & œ Œ Ó ∑ ∑
sffz

œ–
ææ
œ
Perc. II
¢& R ≈ ‰ Œ Ó ∑ Ó Œ

{
ff pp

#œœ^ œœ^ œœ^ œœ^ œ^œ œœ^ œ^œ œ^œ #œ^œ œœ^ œ^œ œ^œ œ^œ œœ^ œ^œ œ^œ
& ∑
^ ^ ^ ^ ^ ^ ^ ^
œœ œœ œœ œœ œœ œœ œœ œœ
Pno.
? ‰ Œ Ó ?
nœ –
j &
n>œ —

{
*°
° # œœ^ œœ^ œœ^ œ^œ œœ^ œ^œ œ^œ œœ^ œœ^ œ^œ œœ^ œœ^ # œ^œ œœ^ œœ^ œ^œ œœ^ œœ^ œ^œ œœ^ œœ^ œ^œ œœ^ œœ^
& ∑
b œ^œ ^ ^ ^ 3 ^ 3^ b œ^œ œœ^ œœ^ œ^œ œœ^ œœ^
3 3 3 3 3 3
œœ œœ œœ œœ œœ
Hp.
? ‰ Œ Ó ?
œ–
j &

œ> —
3 3 3 3

>œ > > > Ÿ ŸŸŸ ŸŸŸŸŸŸŸŸ ŸŸŸŸŸŸŸŸŸŸŸŸ

œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ # >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
° #œ œ œ œ
Vln. I (a) &
3 3 3 3 3 3 3 3
>œ > > > Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # >œ >œ >œ >œ >œ >œ >œ >œ #>œ >œ >œ >œ >œ >œ >œ >œ
DIVISI

Vln. I (b) &

>œ > > > Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
#œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ n>œ œ œ œ œ œ œ œ œ œ œ œ
Vln. II (a) & œ œ œ œ
3 3 3 3

Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ

#>œ #œ nœ nœ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ
DIVISI
nœ >
œ œ œ œ œ œ œ œ
Vln. II (b) & œ œ œ œ

r ^
pizz.
^ ^ ^ ^
œ ≈ ‰ ‰ & #œj ‰ #œj ‰ #œj ‰ œ ‰ œJ Ó
arco
B w
#w B
Vla.
œ J
> sffz
ff
^
r ≈ ‰ ‰ & ^j ‰ #^œj ‰ #œj
pizz.
? ^ ^
‰ œ ‰ œJ Ó
arco
?
Vc. w œ #œ J
w œ
> sffz
ff
?
¢‹ r≈ ‰ Œ
Db. Ó ∑
w œ
>
 66
° œ bœ
Fl. & R ≈ ‰ Œ Ó 43 ∑ 24 b>œ 43

<#>œ
ff fp

> bœ
Ob. & R ≈ ‰ Œ Ó 43 Œ Œ bœ 24 œ 43
ff fp

& œ ≈ ‰ Œ Ó 43 ∑ 24 b>œ œ 43
Cl.
R
ff fp

b>œ 24 œ œ
¢
? 43 r≈ ‰ Œ 43
˙
Bsn.
> ˙ œ
> fp

°
ff
> 2
<#>œ
r
Hn. & ≈ ‰ Œ Ó 43 Œ Œ ‰ œ 4 œ
J
œ 43
ff fp

& œ ≈ ‰ Œ Ó 43 ∑ 24 ‰ >œJ œ
43
Tpt. R

<#>œ
ff

b >œ œ 24 œ œ
Tbn.
¢
B R ≈ ‰ Œ Ó 43 Œ ‰ J 43
ff fp

°
> >>>
œ #œ# œ >œ
Perc. I & œ Œ Ó 43 ∑ 24 ∑ 43
sffz

œ–
ææ
œ
Perc. II
¢& R ≈ ‰ Œ Ó 43 ∑ 24 Œ 43

{
ff pp
^ ^ ^ ^ ^
## œœ œœ œœ ## œœ œœ
& ∑ 43 24 43
^ ^ ^
3 ˙˙ œœ 24 œœ œœ
Pno.
? ‰ Œ ‰ Œ ?3
œ–
j j &4 4
œ–
>œ —
*°
>œ —

{
° ° # œœ^ ™™ œœ œœ œœ œœ œœ ™™
^ ^ ^ # œ^œ ™™ œœ^ œœ œ^œ
& ∑ 43 24 43
Hp. b œ^œ ™™ œœ^ ™™ b œ^œ ™™ ^
œœ
? ‰ Œ ‰ Œ 3 24 J ? 43
œ–
j j &4
œ–
>œ — >œ — ~~ Ÿ Ÿ ~~ Ÿ
œ n œ b œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ ™ œ œ >œ œ >œ ™ œ™
>œ > >œ > >Ÿ >Ÿ >Ÿ >Ÿ
œ œ >œ
œ œ # œ #œ œ œ œ œ œ œ œ œ œ œ œ
°
Vln. I (a) & 43 24 43
>œ > > > Ÿ >Ÿ >Ÿ Ÿ >Ÿ
DIVISI
œ # œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ # œ # >œ œ œ #>œ œ
Vln. I (b) & 43 24 43
Ÿ >Ÿ Ÿ Ÿ
b >œ ™ b >œ ™
>œ > > > >œ
# œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ™
Vln. II (a) & 4 24 J 43
~~~~~~~~~~~~
DIVISI > >
# >œ #œ #œ œ œ œ œ œ >œ œ œ œ œ œ œ œ b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 >Ÿ >Ÿ >Ÿ
n˙ œ 24 œ œ
43
nœ
Vln. II (b) & 4
pizz.
arco
r ^j ^ ^œ 2 b œ^ b ^œ
Vla. B #˙˙ b ˙˙ 43 œœ ≈ ‰ ‰ & bœ bœ 4 Œ B 43
> > sffz
^
ff

b ^œ b ^œ
^œ b ^œ b œ
pizz.

? 43 r 24 43
arco
Vc. ˙˙ ˙˙ œœ ≈ ‰ ‰ J Œ
> > sffz
ff
?
¢‹ 43 r≈ ‰ Œ Œ 24 ∑ 43
˙
Db.
> ˙ œ
>
 67
<b> œ
° 3 R 44 24 b>œ œ 44
Fl. &4 ≈ ‰ Œ Œ ∑

<b> œ
ff fp

3 R 44 > 24 œ 44
&4 ≈ ‰ Œ Œ Ó Œ œ œ œ
Ob.
J
ff 3

<b>œ 24 b>œ
fp
3 ≈ ‰ Œ Œ 44 ∑ œ 44
Cl. &4 R
ff fp
>œ œ
?3 44 r 24 œ œ 44
¢ 4
J
#œ ™ œ ≈ ‰ Œ
Bsn. œ™ Œ
> > 3
fp
ff

° 3 œ ≈ ‰ Œ Œ 44 Ó Œ ‰
3
24 44
Hn. &4 R œ œ œ
ff >
b>œ œ
fp
3 œ ≈ ‰ Œ Œ 44 ∑ 24 Œ J 44
Tpt. &4 R
<b> œ
ff 3
fp

B3 44 > 24 œ 44
¢ 4
Tbn. R ≈ ‰ Œ Œ Ó b˙ œ
ff
fp

° 3
> >>>
#>œ
œ #œ
Perc. I &4
#œ œ
Œ Œ 44 ∑ 24 ∑ 44
sffz

œ–
ææ
3 44 24 Œ œ 44
¢& 4
R ≈ ‰ Œ Œ ∑

{
Perc. II
ff pp
b œ^œ œ^œ œ^œ œ^œ œœ^ œœ^ b œ^œ œœ^ œ^œ
3
&4 ∑ 44 24 44
3 3 3

^ ˙^˙ ˙˙^ ^ œ^œ

Pno. 3 3

? 43 4 #˙˙ 24 #˙˙ ?4
#œ –
j ‰ Œ Œ &4 4
# >œ — *°

{
° b œ^œ œ^œ œ^œ œ^œ œ^œ œ^œ œ^œ œ^œ b œ^œ œ^œ œœ^ œœ^
3
&4 ∑ 44 24 44
Hp. œ^œ œœ^ œœ^ œœ^ œœ^ œœ^
? 43 4 24 ?4
#œ –
j ‰ Œ Œ &4 4
# >œ —
Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
# >œ œ # œ œ
>œ
œ œ
>œ
œ œ b œ n>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
° 3 #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. I (a) &4
44 24 44
~~ Ÿ ~~ Ÿ
>œ > > >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >œ >Ÿ >Ÿ
œ >œ
DIVISI
# œ # œ # œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ
Vln. I (b)
3
&4
44 24 44
Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
3 3 3

# >œ # œ # œ #œ >œ >œ

n>œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ
nœ
Vln. II (a)
3
&4 4 24 44
Ÿ ~~~~
DIVISI
# >œ # œ #œ #œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ n œ #>˙ >Ÿ
œ œ >Ÿ
˙
>Ÿ Ÿ>
Vln. II (b)
3
&4
œ œ œ 44 24 #˙ œ 44
3 3 3

^ b œ^
pizz.
^ ^ 24 b œ^
b˙™
r
arco
B 43 44 œ 44
˙™
œ ≈ ‰ Œ bœ œ Œ
Vla.
œ
> sffz
3 3
ff
^ b œ^
œœ ™™ œ^
r ^ nœ^
pizz.

##œœ ™™
24 b œ
arco
? 43 44 œœ ≈ ‰ Œ Bb œ Œ ?4
Vc. 4
> > 3 3
sffz
?3 44 r 24 44
ff

¢‹ 4 #œ ™ œ ≈ ‰ Œ
Db. œ™ Ó ∑
> >
 68
° 4 <b>œ >œ œ
Fl. &4 R ≈ ‰ Œ Ó Ó ‰ 43
ff 3
fp
>œ œ
Ob.
4
&4 œ
R ≈ ‰ Œ Ó Œ Œ J
œ 43
ff 3

<b>œ
>
fp

Cl.
4
&4 R ≈ ‰ Œ Ó Ó ‰ œ œ
43
3
>œ œ
ff fp
œ
Bsn.
?4
¢ 4 b˙ œ
r ≈ ‰ Œ J 43
˙ >
> 3
fp

° 4
ff

Hn. &4 œ
r ≈ ‰ Œ Ó Ó œ œ 43
>
<b>œ b >œ œ
ff fp

Tpt.
4
&4 R ≈ ‰ Œ Ó Ó ‰ ‰ J 43
ff 3
fp

<b>œ
>
Tbn.
B4
¢ 4 R ≈ ‰ Œ Ó Œ ‰ œ œ œ 43
3
ff fp

° 4
> > >>
>œ
43
b œ bœ
Perc. I &4
bœ œ
Œ Ó ∑
sffz

œ–
ææ
œ
Perc. II
4
¢& 4
R ≈ ‰ Œ Ó Ó Œ 43

{
ff pp

œœ^ œœ^ œœ^ œ^œ œœ œœ œœ œœ

^ ^ ^ ^
4
&4 ∑ 43
^ ^ ^ ^
Pno.
? 44 bb œœ œœ œœ œœ ?3
bœ –
‰ Œ ‰ Œ
œ–
j j & 4
œ> — b >œ — *°

{
^ ^ ^ ^ ^ ^ ^ ^
° œœ œœ œœ œœ œœ œœ œœ œœ
4 ∑ J J J J 43
&4
# œ^œ ^ ^ ^ ^ ^
3 3 3 3
Hp.
œœ œœ œœ œœ œœ
? 44 ?3
bœ –
‰ Œ ‰ Œ
œ–
j j & 4
>œ — >—
3 3
b œ
b œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ
> > > >Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
° 4
nœ
œ œ œ œ
Vln. I (a) &4 43
3 3 3 3
DIVISI b >œ b œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >Ÿ
œ >Ÿ Ÿ
œ >œ >Ÿ Ÿ Ÿ Ÿ Ÿ
œ >œ >œ >œ >œ
bœ œ œ œ nœ

Vln. I (b)
4
&4 43
b >œ œ œ >œ >œ >œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
b œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
Vln. II (a)
4
&4 43
>œ > > > Ÿ 3
>Ÿ >Ÿ
3
>Ÿ
DIVISI
œ b œ b œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ b >œ œ œ œ
Vln. II (b)
4
&4 43
^ ^ ^ ^ ^
pizz.
r
arco
B 44 b ˙˙ ˙ œ ≈ ‰ ‰& bœ Œ B 43
œ œ œ œ3
Vla.
> ˙ œ
> 3
ff sffz

^ ^ ^ ^ ^
pizz.
? 44
arco
r ?3
b˙ ˙ œ ≈ ‰ ‰& bœ Œ 4
b˙ œ œ œ nœ œ3
Vc.
˙ >
> 3
ff sffz
?4
¢‹ 4 r ≈ ‰ Œ Ó 43
b˙ œ
Db.
˙ >
>
 69
° 3 œ ≈ ‰ Œ Œ ∑ 44
Fl. &4 R
ff

& 43
œ ≈ ‰ Œ Œ ∑ 44
Ob. R
ff

œ
& 43
Cl. R ≈ ‰ Œ Œ ∑ 44
ff

˙™ b˙™
?3 44
Bsn.
¢ 4 >
>
ff

° 3 r ≈ ‰ Œ Œ 44
Hn. &4 œ ∑

<b> œ
ff

& 43
Tpt. R ≈ ‰ Œ Œ ∑ 44
ff

B3 œ 44
¢ 4
Tbn. R ≈ ‰ Œ Œ ∑
ff

° 3
>>>>
bœ bœ
œ œ >œ 44
Perc. I &4 Œ Œ ∑
sffz

3 œ– 44
Perc. II
¢& 4 R ≈ ‰ Œ Œ ∑

{
ff

& 43 ∑ ∑ 44

bœ –
j
Pno.
? 43 44
œ–
j ‰ Œ Œ ‰ Œ Œ
œ> — b >œ —

{
° °
3
&4 ∑ ∑ 44

bœ –
j
Hp.
? 43 44
œ–
j ‰ Œ Œ ‰ Œ Œ
œ> — b >œ —
>œ > > >œ > >
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
° 3 44
Vln. I (a) &4
>œ > > > > >
DIVISI
œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. I (b)
3
&4
44

b >œ b œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ b >œ b œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ

3 œ œ œ œ œ œ 44
Vln. II (a) &4
DIVISI
>œ > > > > >
3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
Vln. II (b) &4 4

b ˙˙ ™™ ˙˙ ™™
arco

Vla. B 43 44
>
ff

>™
˙ ™™ b ˙˙ ™
arco
? 43 44
Vc.
˙
>
ff

˙™ b˙™
?3 44
Db.
¢‹ 4 >
>
 70
w>
° 4
Fl. &4 ∑ 43
ff
w>
Ob.
4
&4 ∑ 43
ff
>
Cl.
4
&4 ∑ bw 43
ff

Bsn.
?4
¢ 4w r ≈ ‰ Œ Ó 43
œ
>
° 4
Hn. & 4 ∑ Ó ˙ 43
pp
senza sord.
#˙
Tpt.
4
&4 ∑ Ó 43
pp
senza sord.
˙
Tbn.
B4
¢ 4 ∑ Ó 43
pp

° 4
Perc. I &4 ∑ ∑ 43

˙ œ–
Perc. II
4
¢& 4 Ó æ R ≈ ‰ Œ Œ Œ 43

{
pp ff

4
&4 ∑ ∑ 43
Pno.
? 44 ‰ Œ Ó ∑ 43
œ –
j

>œ —

{
°
4
&4 ∑ ∑ 43
Hp.
? 44 j ‰ Œ Ó ∑ 43
œ –
>œ —
>œ > >œ > w>
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
° 4
Vln. I (a) & 4 43
>œ > >œ > w>
œ b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. I (b) & 4
4 43

b >œ œ #œ œ >
œ œ œ œ œ
>
œ œ œ œ œ
>
œ œ œ œ œ
>
œ bw
Vln. II (a)
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ 43
> > > > w>
4 œ #œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43
Vln. II (b) &4

r
Vla. B 44 b w
w>
œœ ≈ ‰ Œ Ó 43

Vc.
? 44
ww œœ
r ≈ ‰ Œ Ó 43
>
Db.
?4
¢‹ 4 r ≈ ‰ Œ Ó 43
w œ
>
 71
œ
° 3 R
Fl. &4 ≈ ‰ Œ Œ ∑ ∑ ∑

œ
Ob.
3 R
&4 ≈ ‰ Œ Œ ∑ ∑ ∑

3 <b>œ ≈ ‰ -œ œ
¢& 4 R
Cl. Œ Œ ∑ ∑ Œ ‰ J
p

° 3 œ ≈ ‰ Œ Œ ∑ ∑ ∑
Hn. &4 R

Tpt.
3<#>œ
&4 R ≈ ‰ Œ Œ ∑ ∑ ∑

B3 œ ≈ ‰
¢ 4 R
Tbn. Œ Œ ∑ ∑ ∑

>
° 3 œœ
¢
Perc. I & 4 Œ Œ ∑ ∑ ∑
sffz

{
3 o
&4 ∑ ∑ ∑ Œ ‰ j Œ
œ
Hp. p
? 43 ∑ ∑ Ó Œ ∑

° 3 Œ
unis., pizz., non div.
r r r r
a5 a4 a3

Vln. I &4 ‰ ≈ #œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ

p mp p p mp p p mp p p mp

unis., pizz., non div. a4 a3

3
&4 Œ ≈ bœ œ œ œ œ ‰ Œ ≈ b œœ œœ œœ œœ œœ ‰ Œ ≈ b œœ œœ œœ œœ œœ ‰ Œ ≈ b œœ œœ œœ œœ œœ ‰
Vln. II
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp p mp

pizz., non div.

r r r r
a3

B 43 ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ
Vla.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp p mp

pizz., non div. 1st desk only (a2)

? 43 ≈ œ œ œ œ œ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ
Vc.
œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp p mp

?3
¢‹ 4
pizz.
Œ Œ Œ Œ Œ Œ Œ Œ
œ— œ— œ— œ—
Db.

p
72
-˙
° -˙ œ
-˙ œ œ
J
Fl. & J ‰ J ‰ ‰ ∑
p n p n p n

#-œ œ œ b -œ œ œ
œ J
Cl.
¢& ‰ J ‰ Œ Œ ∑
n p n p n

{
b œ– œ–
o o o o o
j j
& œj ‰ ‰ #œ Œ œ ‰ ‰
J
Œ J ‰ Œ Œ ∑
Hp.
? ∑ ∑ ∑ ∑

° œ œ œ
1st desk only (a2) 1st player only
r r 3
j 3 3
j
Vln. I & #œ œ œ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ‰ œœ œœ œœ œœ #œœ œœ œœ œœ ‰ Œ
p p mp p p mp p p mp n

1st desk only (a2) 1st player only

Vln. II & Œ ≈ bœ œ œ œ œ ‰
œ œ œ œ œ
Œ ≈ bœ œ œ œ œ ‰
œ œ œ œ œ
Œ ≈ bœ œ œ œ œ ‰
œ œ œ œ œ ∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp

1st desk only (a2) 1st player only

r r r
B ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ∑
Vla.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp

1st player only

? ≈ œ œ œ œ œ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ∑
Vc.
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp

1st player only

?
¢‹ œ
Œ Œ Œ Œ Œ Œ ∑
— œ— œ—
Db.
ppp fff
 Ignatian Exercises for fourteen players

Un ricordo lontano ( = 52) sempre Christopher Stark (2009)

Flute

Oboe

Clarinet

Bassoon

(stopped)
Horn

con sord. (straight)

Trumpet

solo, espressivo
con sord. (straight) gliss.

Trombone

arco (arco)
(as much as possible, choke cymbals at the pinnacle of crescendi)

Percussion

(muted)

Piano

senza vib.
Violin I

sempre

sul G
Violin II

sempre

Viola

Violoncello
sempre

Contrabass

Copyright©2009 Sommerso Publishing (ASCAP) | All Rights Reserved

2 A
7 soli, senza vib.

Fl.

Ob.

Cl.

Bsn.

Hn.

(con sord.)
Tpt.

Tbn.

thumb roll

Perc.

Pno. sempre

pizz., sul G arco

Vln. I

pizz. arco

Vln. II

soli, senza vib.

Vla.

pizz.

Vlc.
sempre

Cb.
 B 3
(bisbigliando)
12
Fl.

Ob.

flz.

Cl.

Bsn.

Hn.

Tpt.

flz., (con sord.)

Tbn.

arco

Perc.

Pno.

senza vib.

Vln. I

senza vib.
Vln. II

sul D, sul pont. simile

Vla.

arco

Vlc.

sempre

Cb.

sempre
4
jet whistle
17 flz.
Fl.

senza vib. molto vib.

Ob.

flz.
Cl.

senza vib. molto vib.

Bsn.

Hn.

senza sord.

Tpt.

senza sord.

Tbn.

wooden stick
arco

Perc.

Pno.

molto
molto vib. sul pont. senza vib.
gliss.
Vln. I

molto senza vib., gliss. sul G

molto vib. sul pont.
Vln. II gliss.

molto ord.
sul pont.
ord., molto vib. (simile)

Vla.

Vlc.

sul pont., solo

Cb.
 C 5

21
Fl.

Ob.

breath articulation
Cl.

breath articulation soli, senza vib.

Bsn.

breath articulation

Hn.

breath articulation
con sord.
Tpt.

breath articulation
con sord.

Tbn.

(wooden stick)

Perc. hard yarn mallets

sempre
soli

Pno.

pizz. arco, ord., sul D

Vln. I

sempre
pizz. arco, ord., sul D
Vln. II

sempre arco, ord., senza vib.

pizz.
Vla.

sempre
pizz. arco, soli, senza vib.
Vlc.

Cb.
6

24
Fl.

Ob.

Cl.

Bsn.

Hn.

senza sord.
Tpt.

senza sord.
Tbn.

(h.y. mallets)

Perc. (h.y. mallets)

Pno.

Vln. I

Vln. II

Vla.

Vlc.

pizz.

Cb.
 D 7

27
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

arco
Perc.

gliss. rapido subito gliss. molto lento

Pno.

molto vib. senza vib.

Vln. I

molto vib. senza vib.

Vln. II

sul G, molto vib. senza vib.

Vla.

molto vib. senza vib.

Vlc.

senza vib.
arco, sul A, molto vib.
Cb.
8

32
Fl.

Ob.

Cl.

Bsn.

flz.
Hn.

con sord. senza sord., flz.

Tpt.

con sord. senza sord., flz.

Tbn.

wooden sticks
rim shot

Perc.

Pno.

arco, sul D
pizz. molto sul pont.

Vln. I

sub.

arco, sul D
molto sul pont.
pizz.

Vln. II

sub.
arco, sul D
pizz. molto sul pont.

Vla.

sub. arco, sul D

pizz. molto sul pont.

Vlc.

sub. arco, sul D

molto sul pont.
pizz.
Cb.

sub.
 E 9

35
Fl.

Ob.

Cl.

senza vib.

Bsn.

Hn.

con sord.
Tpt.

con sord.

Tbn.

(metal beater, l.v.)

(wooden sticks)
Perc. (grace notes on the beat)
metal beater, l.v.

Pno.

ord.

Vln. I

ord.
Vln. II

senza vib.

Vla.

pizz.

Vlc.

ord.

Cb.
10 F
38
Fl.

Ob.

breathe where necessary

Cl.

Bsn.

Hn.

Tpt.

Tbn.

(metal beater, l.v.)

Perc. (metal beater, l.v.)

Pno.

pizz.

Vln. I

pizz.

Vln. II

pizz.

Vla.

arco, senza vib.

pizz.
Vlc.

pizz.

Cb.
 11

41
Fl.

Ob.

Cl.

breathe where necessary

Bsn.

solo

Hn.

cresc.

Tpt.

Tbn.

h.y. mallets

Perc.

Pno.

Vln. I

Vln. II

Vla.

Vlc.

Cb.
12
poco accel.

44
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

(h.y. mallets) (h.y. mallets)

Perc.

Pno.

arco, ord.

Vln. I

arco, ord.

Vln. II

arco

Vla.

arco

Vlc.

arco, ord.

Cb.
 G 13
A tempo
46 senza vib.
Fl.
sempre

Ob.

Cl.

Bsn.

Hn.

Tpt.

solo, espressivo
(con sord.) gliss.

Tbn.

tam-tam mallet

Perc.

gliss. molto lento

sempre
Pno.

Vln. I
sempre
poco vib.
senza vib.

Vln. II

poco vib. senza vib.

Vla.

poco vib. senza vib.

Vlc.

senza vib.
Cb.

sempre
14 H
Doppio movimento ( = 104)
52
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Perc.

sempre
(if muting is impossible due to piano construction, than play staccatissimo)

Pno.

sempre

Vln. I

sempre staccato

ord.
Vln. II

sempre staccato

ord.
Vla.
sempre

ord.
Vlc.
sempre

Cb.
 15

55 soli, senza vib.

Fl.

soli, senza vib.

Ob.

soli
Cl.

Bsn.

Hn.

Tpt.

Tbn.

Perc.

Pno.

Vln. I

sub.

Vln. II

sub.

Vla.

sub., sempre staccato

Vlc.

pizz.
Cb.
16 I
58 ord.

Fl.

ord.

Ob.

ord.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Perc.

sempre

Pno.

pizz.
arco
Vln. I
sempre staccato

pizz.
arco
Vln. II
sempre staccato

pizz.

Vla.

pizz. arco

Vlc.

arco

Cb.
 17
soli, senza vib.
61
Fl.

soli, senza vib.

Ob.

soli
Cl.

Bsn.

Hn.

Tpt.

Tbn.

Perc.

Pno.

Vln. I

sub.

Vln. II
sub.
arco

Vla.

sempre staccato

Vlc.

pizz.
Cb.
18 J
64
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

wooden sticks, l.v.

Perc.

Pno.

pizz.

Vln. I

pizz.

Vln. II

pizz.

Vla.

pizz.

Vlc.

Cb.
 19

67
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

(wooden sticks, l.v.)

Perc.

Pno.

arco, espressivo

Vln. I

Vln. II

Vla.

arco
Vlc.

arco
Cb.
20 K
(senza vib.)
70
Fl.

(senza vib.)

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

(wooden sticks)

Perc. (wooden sticks, l.v.)

sub.
Pno.

Vln. I

sempre staccato
arco
Vln. II

sempre staccato

arco

Vla.

sempre staccato

Vlc.
sempre staccato
pizz.

Cb.
 21

73
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Perc.

Pno.

Vln. I

Vln. II

Vla.

Vlc.

Cb.
22 L
76
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

metal beaters (metal beaters, l.v.)

Perc.

Pno.

pizz.
arco
gliss.
Vln. I gliss.

pizz.
arco
Vln. II gliss.
gliss.
pizz.
arco
gliss.
Vla. gliss.

pizz.
arco
gliss.
Vlc. gliss.

pizz.

Cb.
 23

80
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

wooden sticks

Perc.

Pno.

Vln. I

sempre staccato

Vln. II

sempre staccato

Vla.

sempre staccato

Vlc.

Cb.
24 M
molto rit.
lunga
83
Fl.

lunga

Ob.

lunga

Cl.

lunga
senza vib. ord.
Bsn.

lunga

Hn.

lunga

Tpt.

lunga

Tbn.

lunga
tam-tam mallet

Perc.

lunga

Pno.

arco

pizz. lunga

Vln. I

arco
lunga
pizz.

Vln. II

arco
lunga
pizz.
Vla.

arco
pizz. lunga

Vlc.

lunga
arco
Cb.
 N 25
A tempo
87
Fl.

Ob.

Cl.

Bsn.

Hn.

con sord.

Tpt.

con sord.

Tbn.

h.y. mallets

Perc.
slightly less than the piano

Pno.

Vln. I

Vln. II

pizz.

Vla.

pizz.

Vlc.

Cb.
26

91
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

(h.y. mallets)

(h.y. mallets)
Perc.

Pno.

( )

Vln. I

Vln. II

Vla.

Vlc.

pizz.

Cb.
 27

95
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

(h.y. mallets) (h.y. mallets)

Perc.
(h.y. mallets)

Pno.

( )

Vln. I

Vln. II

arco

Vla.

arco

Vlc.

arco

Cb.
28 O
99
Fl.

Ob.

Cl.

Bsn.

Hn.

senza sord.
Tpt.

senza sord.

Tbn.

wooden sticks

Perc.

gliss. white keys only

do not articulate beginning
and ending pitches

ss.
Pno. gli

senza vib. gliss. sul G

gliss.
Vln. I

senza vib. gliss. sul G

Vln. II gliss.

Vla.

Vlc.

Cb.
 P 29
jet whistle Quasi tempo primo ( = 58)
103
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

(wooden sticks) wooden sticks

Perc. brass mallets, l.v.

Pno.

!!!!

Vln. I

Vln. II

Vla.

Vlc.

Cb.
30

106
Fl.

sempre

Ob.

sempre

Cl.

sempre

Bsn.

Hn.

Tpt.

Tbn.

Perc. brass mallets, l.v.

Pno.

Vln. I

Vln. II

Vla.

Vlc.

Cb.
 Q 31

108
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

wooden sticks

Perc.

Pno.

Vln. I

Vln. II

Vla.

Vlc.

Cb.
32

111
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

wooden sticks

Perc.
brass mallets, l.v.

Pno.

Vln. I

Vln. II

Vla.

Vlc.

Cb.
 33

114 lunga

Fl.

lunga

Ob.

lunga

Cl.

lunga

Bsn.

lunga

Hn.

lunga

Tpt.

lunga

Tbn.

medium yarn mallets lunga

Perc.

lunga

Pno.

lunga

Vln. I

lunga

Vln. II

lunga

Vla.

lunga

Vlc.

lunga

Cb.
34 R
117
Tempo primo ( = 52)
Fl.

sempre

Ob.

Cl.

sempre

Bsn.
sempre

con sord. (straight)

Hn.

sempre

con sord. (bucket)

Tpt.

sempre

con sord. (bucket)

Tbn.

sempre
(medium yarn mallets)

Perc.

Pno.

sempre

Vln. I

Vln. II

Vla.

Vlc.

Cb.
 S 35

121
Fl.

Ob.

Cl.

Bsn.

breath articulation simile

Hn.

sub.
breath articulation simile
Tpt.

sub.

breath articulation simile

Tbn.

sub.

Perc.

Pno.

Vln. I
sempre

sul tasto, senza vib.

Vln. II

sempre

sul tasto, senza vib.

Vla.

sempre

Vlc.

sempre

Cb.

sempre
36

125
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Perc.

Pno.

Vln. I

Vln. II

Vla.

Vlc.

Cb.
 T 37

129
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Perc.

Pno.

Vln. I

Vln. II

Vla.

Vlc.
sempre

Cb.
38 U
134
Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

sempre morendo

Perc.

Pno. morendo

Vln. I

Vln. II
sempre morendo

Vla.

(Do not change bow direction in this measure)

Vlc.
morendo

Cb.

sempre morendo