cire perdue

fr Ensemble








eduardo moguillansky

(2008)
ii

InstrumentationandPlacement

Piccolo+MetalSpatula(seenotes)
Bassflute
Oboe(+EnglishHorn)+plasticpeppermill(seenotes)
ClarinetI(inB)
ClarinetII+MetalSpatula(seenotes)
Kontraforte
Horn
Trumpet(inC&B)
Trombone
Piano.+ribbedplastictube(seenotes)
Accordion
Percussionx2
Percussion1:
1SuspendedCymbal(middle)
1SuspendedChineseCymbal(middlelarge)
1Hihat
1TamTam(middlelarge,porousifpossible)
1BassDrum(mostlytoberubbedwithdifferentobjects,ev.coverwithrosin)
1ChineseCymbal(nottoobig)
1Woodenbox(bigandraw,notfancyatall,liketheonesusedoftentoputotherinstrumentsin)+footpedal(ashardaspossible,preferably
plastic)
2Styroporpieces(preferablybig).
Crotales:soundingC#6(A4=440Hz)
Ahandfulofforksandspoonsputoverahardresonatingsurfaceandcoveredbyapieceofclothsothattheystayinplace.
1Metalspatula(big)
1Knifeornarrowmetalspatula(seenotes)
3xPVCtubes(threedifferentsizes,butallhighpitched)
1Broomorsimilarobjectmadeofthinstickswhichcan(andshould)brake,tobeusedasguiro(seenotes)
1Metalbar(tobowtheTamTamandmakeitscream)
1Megaphone(>=25Watts,canalsobeborrowedfromthecomposer)
Beaters:
1Trianglebeater
2Timpanibeaters(soft)
2Drumsticks
2raspersticks
Percussion2:
Marimba
1Plasticrulertobowthemarimba
1Metalbathroomsinkorbathtuboranyotherpieceofvibratingmetalwhich,whenrubbedwithasuperballcanproduceasoundsimilartothe
piano when its metal bars are rubbed with a superball. The composer tried also with heating pipes, old, rusty plate bells and similar objects. All render a
satisfactoryresult.Sometimes,ametalplateputoveraresonatingbody,likeabassdrumortimpani,canalsorendergoodresults.
1SuspendedCymbal(middle)
1SuspendedChineseCymbal(middlelarge)
1Hihat
1BassDrum(mostlytoberubbedwithdifferentobjects,ev.coverwithrosin)
1ChineseCymbal(nottoobig)
1Woodenbox(bigandraw,notfancyatall,liketheonesusedoftentoputotherinstrumentsin)+footpedal(ashardaspossible,preferably
plastic)
1Styroporpiecesx2(preferablybig).Oneofthemmountedonasurface,sothatitstaysfixed.
Crotales:soundingA#7(A4=440Hz)
1Metalspatula(big)
1Knifeornarrowmetalspatula(seenotes)
2xPVCtubes(2differentsizes,bothhighpitched)
iii
1Megaphone(>=25Watts,canalsobeborrowedfromthecomposer)
Sandpaper
Metalbrush(alsoavailablefromthecomposer)
Pine(Q )orsimilarobjecttorubonachin.cymbalandonthebassdrum
Al,mostlyusedinpaintingtopreparethewallbeforeapplyingcolorinordertohaveasmoothsurface.Usedtogetherwiththesandpaper
toproduceagranulatedwhitenoise,seenotes.

Violinx2.Eachholdsalsoamegaphone(anykind)
Viola
Cello. NB: since most of the time the cello is played col legno tratto, an old bow with an irregular, worn out wood is highly preferable. Or use a different object
altogetherforthesectionswherethearenofastchangestoordinario.
Kontrabass.NB:sincemostofthetimethebassisplayedcol legno tratto,anoldbowwithanirregular,wornoutwoodishighlypreferable.Oruseadifferentobject
altogetherforthesectionswherethearenofastchangestoordinario.

Thisdispositionisonlyasuggestion.Theaspectstotakeintoaaccountare:
KontrabassandKontraforteshouldbeabletoplayverysoftlyandstillbeaudible.
Thetwopercussionsetsshouldbeasfaraspossiblefromeachother.
Thetwoviolinsshouldbeasfaraspossiblefromeachother.
Thepositionofthepiccolocanbechangedadlib.ifthehighnotesappearinginthescorecanbemasteredinthewrittendynamic.
Thebassfluteandtheoboe(Englishhorn)haveveryfragilemultiphonicsanddoubleflageoletswhichshouldbeaudible.

Duration:~9

Dem Klangforum Wien gewidmet.

iv
GeneralRemarks

Unlessthereisaspecificcoordinationpointbetweeninstruments,rhythmisalwayssubordinatedtothesmoothnessinthedifferentmusicaltransitions
andshouldnotbeinterpretedtobestrict.ThisisparticularlytrueofSpaltklngeinthebrass,ofdoubleflageoletsinthewoodwinds,etc.

Dynamics

Dynamicsinthispieceareabsolute,unlessotherwiseindicated:

Anytwogestureshavingthesamedynamicsignshouldsoundatthesamelevelofloudness,independentofthetechniquesused.Certaintechniques,
for example in the case of the strings, playing col legno, sound naturally softer than the same gesture performed with normal bowing. These natural tendencies
shouldbecompensatedaslongaspossible.
Effortdynamics:theyarewrittenbetweenquotationmarks,likef.Theyaretobeinterpretedasplayingwiththeeffortnormallyinvolvedinplaying
forteeveniftheresultdoesnotreproducethiseffort.

NB:thedynamicswrittenindicatewhichdynamictheaudienceshouldhear.

Contextdynamics:
subliminale:loudenoughsothat,ifitwasnotplayed,someoneintheaudiencewouldhearthedifference.
niente (alsoabbreviatedn):playsoftlyenoughsothat,inthecontextitisnotheard(but,eventually,whentheotherinstrumentschangetheir
dynamicsorstop,thenifwouldbeheard).

Signsandabreviations

suono mobile:mobilesound.Withthegivennote/notesanddynamicsvariatethesoundtryingtoimitategesturesthatyouhavealreadyplayed,orthatyouhave
heard,asorganicaspossible.Formultiphonics,variatethebrightness/darknessofthemultiphonic,bringingdifferentpitchestothefront.Formultipleharmonics,
variatethebalanceofthenotes,changingthefocusfromonetotheother.Forsinglenotes,variatethevibratoanddifferenttypesofvibrato,timbralmordents,
etc.Forstringsvariatealsoadlib.thespeedandtheamountofbowused.Alltransitionsassmoothaspossible,trytoavoidanypatterns.Alwaystrytoreactto
theenvironment.
Theamountofmobility,orthespeedofthevariationsinsoundshouldfollowthedynamics.

J: irregularandfasttremolo,likeatexture.Forthebrass:flatterzunge
< : veryregular,fasttremolo,eachnotedistinctlyarticulated.
aria intonata:air+pitch,unfocusedsound

Glissandi

Twodifferenttypesofglissandoareused,inordertoindicatewhichactionisaskedfor.

_________: usedwhenbendinganote,doingavalveglissando,slideglissando,etc.

- - - - - - - - : overtoneglissando;nofingeraction;transitionbetweenoneovertone(ormultiphonic)toanother.

This line is also used to indicate a smooth transition between two notes, a blending from one sound into the other, which might need both changes in
embouchureANDFINGERING.

Flute(PiccoloandBassflute)

Piccolo plays also a small cymbal or metal spatula (the second is

more desirable since the actions could damage the cymbal), which is
bowed with a knife or a second metal spatula. This action is also
performed by the percussionist, so the technique used must be the same.
Seetheclarinetorpercussionnotesformoredetails.

transitionfromonlyairto
air+pitch

colormordente: like a
mordente, but between two
different fingerings for the same
pitch. If the fingerings are not
given, there should be some
differenceinthetonecolor.

ariaintonata:pitchedair

while blowing away from the

instrument, move the
instrument rapidly so that it
intercepts your air stream. The
result should be airnoise with a
veryclearbeginningandend.

with the fingering indicated by

the note in parenthesis (in this
case,Db),bringouttheindicated
flageolet and produce a
harmonic gliss. to the other
flageolet, so that there is a
seamless transition. NB: there
shouldnotbeapitchgliss.,buta
transition from one flageolet to
the other (here notated by the
dashed line). In this example the
stress is put in the transition, in
the moment where one note
turnsintheother.

overblown chords: finger the

lower pitches in parenthesis,
overblow to bring (approx.) the
chordswrittenabove.

the different U indicate the

blowing angle to perform the
indicatedgliss.

thenoteheadwitha?referstoa
pitch which should be taken
fromtheinstrumentindicated,in
this case, from the action
performed by the bass clar. As
thisaction(inthiscase,bowinga
metal spatula) produces a
distinctpitchbutapitchwhichis
dependent on the object used,
the composer has left it
unknown and the player
should ask for it during the
rehearsals and write it down.
Ideally this pitch would then be
thesameeachtime.

lippizz.,moltosecco
e
bow the side of the metal
spatula/small cymbal with a
knifeorsimilarobjecttoproduce
a granulated resonance. When
muted is asked for, this can be
done by simply pushing the
spatulaagainstyourbody.
i
hit the side of the metal
spatula/smallcymbal.

EnglishHorn

doppelflageolet. Begin with the

lowerpitch,bringouttheupperone
(herewritteninconcertpitch)

onlykeynoises.

aside from playing his instrument

the player also plays a pepper
mill, a traditional, cheap, pepper
mill, at best made of plastic. Turn it
slowly to produce single, random
irregularcracks,inresultsimilarto
the crackling of old records. The
instrument can be directly
borrowedfromthecomposer.
Very important: a small bucket
should be provided to gather the
pepper and all pepper actions
should be carefully performed so
that no flying powder causes
accidental reactions in your or your
colleaguesnoses.
vi

smorzato, quasi ricochet. Transition

frompitchlesstopitchful.

slapnoise,noair,onlytongue.

slap,withair.

subtones, a.k.a pianissimo la

Gonzalez: as if playing underblown
multiphonics, but picking only one
ofthepitches.Airy,veiledsound.

o c : two different fingerings for

thesamepitch,changeincolor.

Clarinet
ClarinetIIplaysalsoasmallcymbalormetal spatula(thesecondis
more desirable since the actions could damage the cymbal), which is
bowed with a knife or a second metal spatula. This action is also
performedbythepercussionist,sothetechniqueusedmustbethesame.

coloredair

transitiontoair+pitch

unfocused: try to find a fingering which results in a

darker color as the normal fingering, in color similar
toplayingcollegnoonthestrings.
e
bowthe sideofthe metal spatula/smallcymbalwith
a knife or similar object to produce a granulated
resonance. When muted is asked for, this can be done
bysimplypushingthespatulaagainstyourbody.
i
hitthesideofthemetalspatula/smallcymbal.

Kontraforte

with the fingering indicated by the lower

note in parenthesis, bring out the
indicated overtones. In this case, a
seamlesstransitionfromthe6
th
tothe5
th

overtoneisaskedfor.Noticethatitisnot
a glissando from one pitch to the other,
but a transformation from one into the
other,withallthestepsinbetween.
Ifnofundamentalisindicated,itisleftad
lib.Infact,itispossibletousealternative
fingerings that might be more reliable
thanthenormalfingering(sometimesjust
liftingthefirstfingerofthelefthandhelps
bring out the overtones) as long as they
preservethecharacteristicsoftheoriginal
sound.
In some cases the fundamental has been
indicated by simply indicating the pitch in
thelastoctave,asinD
b
,forexample.
keyclicks,noair.
pitchlessslap
tonguevib.

Brass

The trumpet plays mostly C trumpet, with the exception of a small

passagewhereaBtrumpetisneeded.
Allthreebrassinstrumentsplayalmosttheentiretimewithmuteto
help control the dynamics and make a more homogeneous color between
the three. Thus, mutes should be found which make the instruments as
muchlikeonebiginstrumentaspossible.

while blowing (with flatterz. in this

case) outside the instrument, swing
the instrument rapidly so that the
horninterceptsforoneinstantthe
airstream.Apitchedresonancewith
very marked beginning and end
shouldresult.
colored air, very regular airstream,
the character should somewhat
resemblearadiowithoutsignal.
shake the instrument violently with
thehand.
spaltklang, make the transition from
normal note to multiphonic as
smooth as possible. + indicates [con
sordino],oindicatesasmallopeningof
themute.
pinched, dirty sound, as if
attemptingtoplayagivennotewith
thewrongfingering/position
quasi spaltklang, play as if you
wanted to play a spaltklang, but,
given that the note is very short, an
unfocused sound results. Of course,
if you can play the spaltklang, then,
vii
please,do!

the circle as notehead indicates that

this note should be sang while the
normalnoteshouldbeplayed.

Piano

Clusters:ifnototherwiseindicated,allclustersarechromatic
Thepianoneedssomeadditionalobjects:
a plastic ringed tube, as the ones used for ventilation
(approx. 15 mm diameter), which can be aquired in any Bauhaus or also
borrowedfromthecomposer.
a piece of wood, approx. 10cm x 7cm x 2cm, preferably
birch(Birke)toscratchthelowerstringswith
acoin
ahammerwithgumends,usedtogentlyhitthemetalbars
insidethepiano
2superballmallets.

Alsothepianoneedstobeslightlypreparedasfollows:

1) On the whole last octave all white keys should be

heavilymuted
2) ThelowestFshouldalsobemuted
3) The following pitches should be half muted, which
means, the middle and right strings should be muted,
the left string should be left untouched, so that when
playing with 1C, only the muted strings are touched,
and when playing 3C, both muted and unmuted
stringsarehit.
&=m=q

depress silently and hold with

middlepedal

double flageolets: the notes in

parenthesis are the ones being
played,theuppernotesarethe
resultingpitches.

Guiro effect on the black keys.

Do not depress the keys, only
the noise of the hand rubbing
against the keys is asked for.
Register ad lib. The duration of
the guiro is not ad lib. and
determines how wide the
movementis,thatis,howbiga
portion of the whole keyboard
isused.

The same as before, but very

fast, as one indiscernible
movement (in the case
indicated,fromlefttoright).

Inside the piano. Hit any of the

metal bars with a hammer (the
hammer should have soft,
gummy ends in order not to
damage the instrument). Press
thepedaldownadlib.

Insidethepiano.Ruboneofthe
metal bars with a superball
mallet in order to generate a
deep resonance. Three
different places should be
chosen which render distinctly
differentresonances.

The x noteheads indicate

hittingthemetalbarwhereyou
are playing with the superball.
The hitting can be performed
alternatively with the same
superballorwithyourknuckles.
If not otherwise indicated,
molto secco.

Inside the piano. Scratch the

indicatednote(thelowestC#in
this case) with the edge of the
piece of wood. The resulting
pitch varies with the place of
contact. If no indication is
given, all the scratching actions
shouldbetowardsyou(abstrich)
whichresultsinafallingpitch.

Inside the piano. Bring the

piece of wood near to the
stringssothatwhenthecluster
indicatedisplayed,the woodis
also hit by the moving strings
producing a noisy, creaky
resonance (knarrendes
Gerusch). Some flageolets can
eventuallybealsoaudible.

while playing the indicated

clusters at the keyboard, press
the piece of wood against the
strings in order to produce a
transition from knarren
soundtoasmutedaspossible.

muted sound, if not already

muted by the preparation,
mutewithyourfreehand.

play 1C in order for the

prepared notes to sound
muted.
viii

blowthroughtheplastictubein
order to produce a resonance.
Thelouderyoublow,thehigher
theharmonicsgeneratedare.

Inside the piano. With a coin,

scrape only one ring of the
indicatedstring(inthiscasethe
lowest A) to produce a distinct
tuck sound with a pitched
resonance. In order to isolate
only one ring of the string
quite much pressure must be
appliedsothatthecoinsticks
tothestring.

Inside the piano. Hit the

indicatedstring(inthiscasethe
lowest H) with a coin at the
node point which produces the
notatedflageolet.

The same results achieved by

scraping the indicated string
and lifting at the point which
producesthenotatedflageolet.

Inside the piano. A similar

movement as the scraping over
one ring of a string, but in this
case performed on any of the
tuningpins.

Inside the piano. Sizzle

glissando. On the strings, gliss.
ACROSS the indicated strings
violently so that they hit each
other producing a sizzling
sound.

Inside the piano, hit the

indicated strings with the palm
ofyourhand,eventuallymuting
previousactions.

Accordion

Theregistersareonlywrittenwhenthereisaneedtodisambiguate
or if a certain effect is asked for. If there is only one possibility to play a
certainpitchatthegivenoctave(withthegivenmanual),theregisterusedis
notindicatedandthenoteisnotatedatthesoundingpitch.
Independently of the cases where a certain register or change thereof has
been asked for, the player is free (and highly encouraged!) to use the
registers available in his/her instrument to facilitate certain dynamics,
changecolourstoblendbetterwithotherinstruments,etc.

Play a cluster, as big as possible,

whose upper note depends on the
pitch produced by an action in
another instrument. The instrument
to pick the pitch from is indicated
eachtimeinthescore.

Glissando: glissandi are used to generate beatings. The written alterations

are only a mere indication of the variations in pitch. The important
parametertocontrolthisvariationisthespeedofthebeatings.Thedynamic
written is also dependent on the glissando which in general means, do the
neededcrescendotoproducethebeatingsaskedfor.
guiroontheridgesofthebellows
No pitch, only air, very defined
beginningandending.
quasiricochet
transformation from one register to
theother,assmoothlyaspossible
averyrapidtremoloatthebeginning
of the note, accompanying the
accent.Thetremolodoesnotlastthe
whole note, it colors only the attack
(something like a mordente). The
tremolo as fast as possible, almost
likeatexture.

Percussion

a handful of forks and spoons placed

overasurfaceandcoveredbyacloth.
Playthembyhittingthem withany
objectormallet.
abigwoodenbox,playedmostlyviaa
footpedal, but also eventually with
normal drum sticks. The pedal to be
usedmustbeashardaspossible.The
composerhashadsatisfactoryresults
by turning some cheap drum pedals
180 so that the wood is hit by hard
plastic and not by the cloth, which
thepedalsarenormallymadeof.
ix

From top to bottom: hihat, Chinese

cymbal, normal cymbal (crash), tam
tam. In this case, play a roll on the
suspended Chinese cymbal with soft,
timpanimallets.
Bathtub. As explained in the section
Instrumentation, acnactual bathtub
isnotreallyneeded.Thesoundbeing
asked for is that of a deep metallic
resonance, achieved by rubbing with
a superball. Any metal plate which
offers a surface that has a certain
resistance when rubbed and that
has a resonating body or is placed in
contactwithoneshouldworkfine.
Guiro effect on a broom or similar
object with a stick. The resulting
sound should resemble the crackling
of small tree brunches, or something
beingbroken.

Styropor. Rub one block against

another block of styropor to produce
awhitenoise

change the direction to produce

different shades and accents. For
ease of production, one of the
styropor blocks could be fixed to a
surface so that only one hand is
needed.Adifferentsolutionwouldbe
to rub the styropor against another
surface,likeaskindrumorsimilar.

bow the hihat with a rasper stick

whileclosingthehihat.
o=open
x=closed

metal brush over sandpaper, ad lib.

amplifiedwithamegaphone.

a different type of white noise: rub

asandpaperwitharatherbigsurface,
like the one depicted here. The
rubbing surface can be smooth or
haveatexturealso.

bow the marimba with a rasper

stick.

useaplasticrulertorubthemarimba
keys as indicated. The small arrow
on the stem indicates that the
rubbingisproducedalongthekey.
Megaphone:
o=on
x=off
Applyamplificationtothemarimba
actions by placing the megaphones
micclosetothekeybeingplayed.The
megaphonebeginsoff,indicatedby
the (x), and is only briefly turned on
when the upper line has a note with
anohead.
hit the PVC tube with the hand to
produce a (high pitched) pop
sound. The PVC tubes asked are
actually any sort of tube of a length
between 25 and 50 cm. If needed
theycouldbefixedtoastand.
scrape the TamTam with your nails
or with another object which can
produce the right sound. If the
surface of the tamtam used is too
smooth,anyothermetalobjectcould
be used. The resulting sound should
ideallybeliterallypainfulinthesame
sense that chalk on a blackboard can
bepainfultolistento.
bow the tamtams edge with a
metal bar in order to make it
scream
hit the rim of the bass drum, in this
casewitharasperstick
rub the bass drum with a superball,
bend the pitch by leaning over the
drum with your arm, to make the
pitchgohigh.
with two drum sticks A and B, A is
placed with its head touching the
bass drums skin. Rub the body of A
with B and change the contact
position of As head with the drums
skin as indicated (in this case going
from the edge to the center, which
causestheresonancetogofromhigh
tolow)
the same as before, but in this case
going from the center to the edge
and, when reaching the edge, hit the
rim from the side with the sticks
head which is being in contact with
thedrumsskin
use any clock or clockwork toy which
makes an audible noise when you
wind it up / Ein Spielzeug oder
irgendein Objekt nehmen, das ein
lautes Gerusch macht, wenn es
aufgezogenwird.
x

This is more of a sound description

thanaspecificinstrument.Thesound
being looked for is that of bones
being broken. The composer talked
toasoundengineeractiveinthefield
ofaudiodubbingandtheycameup
with a very interesting sound
produced by very rapidly chewing (in
the example only once) a package of
dry, uncooked spaghetti (still in the
plastic package). Just hitting the
spaghetti with some mallet did not
reallywork. Youareofcoursefreeto
choose whatever instrument or
mechanism you can think of which
produces a similar result. In practice
chewing could prove difficult when
changing instruments very often, in
such a case, a good compromise
could be to put many
branches/spaghetti packages over a
highly irregular surface, and just
smashitwithawidesurface.

pluck a Chinese cymbal with your

nail and then bring it really close to
the bass drum in order to make the
drum resonate with the vibration of
thecymbal.
A
: hit the cymbal with the object
indicated(inthiscasewithyournail).

: bring the cymbal near the bass

drumtoamplifyitsvibrations.

: the cymbal lays on the surface

ofthebassdrum.
S:
blowverystrongly(fffff)to
make the cymbal vibrate,
then bring it near the drum
asindicatedpreviously.
withthechin.cymbalintheindicated
positiontouchingtheskinofthebass
drum, rub the cymbal against it to
producearesonance.
:rub the cymbal in your
direction
:rubthecymbalawayfromyou

A
:hit the cymbal with the other
hand, in this case directly with
your hand (could be with a
mallet, your nails, a pine, as
indicatedeachtime)
2 rub away from you with
extrapressure
1 begintheaction(inthiscase
rubbing away from you with
increased pressure) by
hitting the bass drums skin
withthecymbal.
sss
because of the extra
pressure the cymbal does
not slide smoothly but with
interruptions, like
stumbling (stockende
Bewegung)
make the cymbal resonate. It does
not sound exactly as when played
with a bow, but high overtones do
appearatfixedpitches.
megaphoneoff
indicates the volume of the
megaphone, from 1 to 10 (10 is the
loudest)
with the mouth completely covering
the megaphone (like eating it),
perform gentle movements of your
tongue to create a wet sound. Not
fast and rather irregular. Its function
is always to serve as background
noise and should never be
performedwithtoomuchintention.

Q
pine, used to hit or rub the surface
ofthechin.cymbal.Anyotherobject
with an irregular surface might be
used
___________________________

rubthesurfaceofthecymbal(upper
line)orofthebassdrum(lowerline)
with irregular movements (the do
notneedtobecircular,infact,avoid
creatingpatterns)
___________________________
similar to sss but quasi legato,
changingtheangleofthecymbal

xi

rub the cymbal with little pressure

onthebassdrum,quasi flautando

The
o
clef shows the contact
point between the Chinese cymbal
and the bass brum. The wavy line
indicates a mobile sound, irregularly
changingangle,pressure,etc.

The indicates a fast tremolo

movement of the chin. cymbal over
thebassdrum,likeatexture.
e
bow the side of the metal
spatula/small cymbal with a knife or
similar object to produce a
granulated resonance. When
mutedisaskedfor,thiscanbedone
by simply pushing the spatula
againstyourbody.
i
hit the side of the metal
spatula/smallcymbal.

Strings

Violin I and II have also a megaphone each, through which voice

actionsareamplified.
Kontrabass: tune the E string down so that when you play the 6th
harmonic (H) together with the 8th harmonic (H) of the H string, very slow
beatingsareaudible(somethinglike4hz>16thnotesatMM=60).Or,what
isthe same,tuneitdown~28cents (whichisabithigher thantheHas7th
flag.ofC#,comparewithKontrafortewhohasthispitchconstantly).

MT moltotasto
MP moltoponticello
T tasto
P ponticello
unknown pitch: in general, it is
indicated where to pick the pitch
from, or to repeat an unknown
pitch played before. This is done
where you are supposed to play
the same pitch produced by the
actionofsomeother(percussion)
instrument, whose exact pitch
cannot be fixed by the composer
before the rehearsals and will
probably change with each
productionofthepiece.
NB: always try to imitate the
colorasmuchaspossible.Thatis,
if the unknown pitch comes from
a bowed cymbal or something
similar, a flageolet with some
extrapressurecouldbeused.
multiphonic flageolet. The
microtonalalterationgiventothe
flageoletisonlytoindicatewhere
the node to produce this
multiphonic is to be found. As
sounding pitch only an
orientation pitch is given, the
resulting cloud of pitches being
muchcomplexthanthat.
cello only: play over 3 strings by
depressing the middle string all
the way down to the fingerboard
and pressing the outer strings
only enough to avoid them
sounding as flageolets. The result
should somewhat resemble a
flutemultiphonic.
D
:halfpressureofthefinger

Pressthehairofthebowverytightlytothebodyoftheinstrument,sothat
the wood of the bow and the body of the instrument make a sandwich
with the hair in the middle. The turn the bow in rapid movements over its
axis to produce crackling sounds, similar to some thin wood or branches
beingbroken.
legno (sss)
con legno tratto, with extra
pressure. The sound should be
somewhat granular and with a
lowresonance.

The black triangles indicate still

extrapressure.
ric.behindthebridge(inthiscase
ontheviolin,ontheEstring)
: muted pizz. arpeggio with plectrum
(a credit card will do), as high as
possibleonthefourstrings.

airy sound, like whistling to

yourself
xii
in cases where 4
th
flageolets over
microtonal tones are asked for, a
simplified notation is used to
avoid the unnecessary alterations
on the upper note. In this case,
theflageoletisoverF+tone,to
to be pedantic, the upper note
should be B flat a quarter tone
higher. This is avoided, and
instead simple a 4
th
above the
fundamental is written, sounding
ofcourse2octaveshigher.
angledbowing,the/indicatesthe
direction of the modification. In
this case, for viola, the tip of the
bow is closer to your face than
normal,thefrogfurtheraway.
transitioninthebowingangle.
sticky tremolo: perform a very
fast tremolo with very little bow,
as if the hair of the bow was
stuck at the strings and could
not move from its place. Very
noise,somewhatunclearpitch.
very fast tremolo, with ALL the
hairincontactwiththestring(not
only the side), resulting in a
colorednoisetexture.Thepitch
ofthelefthandisonlyapproxand
colorstheendresult
extrabowpressure,the,atthe
end of any gesture indicates a
stopbow.
Kontrabass: the flageolets sound
always where they are written.
The dynamic is the resulting
dynamic and probably a much
greater effort must be made to
achieve the written dynamic in
comparison to normal playing. In
general you must be very
sensitive as to when your
gestures have an independent
quality and when they are
colorations of the beatings being
produced by the interferences in
otherinstruments.
For example, in this case the
actionsshouldnotbeunderstood
as punctual events but as
orchestrated beatings, blending
as much as possible with the
environment.
double flageolet: from a certain
(high) position it is possible to
play in between the nodes so
that two neighbor flageolets are
heard.Thestabilityandthespeed
in which they appear (and
disappear) might change
drastically between different
instruments, different type of
strings,etc.Thatbeingsaid,tryto
play a double flageolet as
indicated. If this proves too
random, distribute the two
pitches over two different strings
andtrytomakethatsoundasif
itwasadoubleflageolet.
bow the side of the ponticello to
producealowresonance
bow the metal bar of the
instrument to produce a low
resonance.
violinonly:pronouncesch(asin
schuh or show) with your
mouth as if pronouncing the
letter u. Perform this action
away from the megaphone and
move the megaphone rapidly as
written in order to intercept your
airstreamandamplifyitshortly.
Important: as explained later on
regarding feedback, each
megaphone resonates with a
unique frequency. By producing
the voice actions close enough to
the microphone, this frequency
can be made audible. This is in
fact the desired effect and each
voice action should be indeed
accompaniedbyahighresonating
pitch product of this resonating
frequency.
Pronounceschbutchangingthe
position of the mouth from i to
u so that the pitch falls. This
time, the action is performed
directly on the mic of the
megaphone.
xiii
Pronounce sch with the mouth
shaped as u. Be already very
closetothemic.
x:megaphoneoff
o:megaphoneon
Atthebeginningoftheactionthe
megaphone is off, so nothing is
heard, the megaphone is turned
on briefly at the indicated
moment(theonotehead)
Feedback noise: by placing your
hand or some flat object
somewhat covering the bell of
the megaphone, feedback
(rckkoplung) is generated. This
can vary from a very subtle
whistling to an earhearting
experience one lets the feedback
to grow uncontrolled, so be
careful not to have the
megaphone too close to your
ears.
The crescendo and decrescendi
on the feedback sounds can be
eitherregulatedbythepositionof
the hand (which is difficult) or,
more effectively, directly by
manipulatingthevolumewheel.
megaphoneoff
indicates the volume of the
megaphone, from 1 to 10 (10 is
theloudest)

Similar to the technique of feedback described above, here the feedback is

producedbyplacingahandaroundthemicofthemegaphonetoproducea
tunnel and place your mouth touching the hand as if you were to speak
through it. The cavity of the mouth produces feedback in the megaphone
whichcanbemodulatedbytheshapeofthemouth.
Becarefulnottoletthefeedbackgettooloud.
o:openmouth
+:closedmouth(stopsthefeedbackinstantaneously)
/u/:shapethemouthasifsayingu
/i/:shapethemoutasifsayingI

rub the microphone against a piece

of cloth or, more practically, against
yourself (for instance, against your
trousers or shirt). The lower staff
indicatestherubbingaction,whichis
continuous (in this with sudden
tremoli), the upper staff indicates
whentoturnthemegaphoneonand
off. When off, the action should
barelybeaudible.
o:on
x:off

improvise with one hand over the

mic of the megaphone, to create
highharmonicsofvariablepitch

with a small plastic bowl (for

instance, those plastic open
cylinders which come when you buy
a pile of blank CDs) produce a
changing vibrato and, by variating
the distance to the mic of the
megaphone, high harmonics are
produced.Inthisexample,comeand
gotothegivendynamics(nienteand
ppppp) while maintaining a
smoothly moving vibrato, so small
waves of sound appear and
disappear.

Corrections:
1) Placement: there is of course no bass clarinet,
wherebassclarinetisthereshouldreadclarinet2
2) The accordion is not given a position: in the same
row with the woodwinds is probably the most
appropriate.
7
?
r
r
|
t
?
r
?
|
|
|
|
|
|
|
?
?
r
r
r
N
?
R
4
3
Piccolo
Bass Flute
English Horn
Clarinet I in Bb
Clarinet II in B
Contraforte
Horn in F
Trumpet in C
Trombone
Violin I
Violin II
Viola
Cello
Piano
Accordion
Percussion 1
Percussion 2
Contrabass

n = 36-40

. ,

e

0

3
,

,
,
,
,,
sf " 3 "
.

" 3 "
E
.

9 c
.

w
r

sf in pp
.

3

u
.

ppppp

r
sf
h
molto secco
. .

S
" fff "

<
hand vib.

<

.

<

<

3 3

r
.

o

3 3
?
,
,
, s

f
.
.
.
,
, s
,

.
,
,

ppppp

. ,
ppppp
3
3

,
,
,
,
,
,
,
,
, -
*)
pppppp

sf

.

*) accordion: the highest pitch of the cluster must
be as close as possible the resonance of the action
played by the Bass Clarinet at the end of the beat.
|
,

.
,

9
,

r
r
.
,

*)
legno(sss)
.
<
0

<
.

o
3
clar 2 R
*) viola: the pitch must be as close as possible t
the resonance of the action played by the Bass
Clarinet. If possible, as flageolet.

legno(sss)
V
ppppp
. ,

3 3

V

V

V

V

i molto secco
0

V
3

V

V

V

V

V

V

V
|

V
,

ppppp

V
3
,

n
n
ppppp

V
3


V

V
,
-

V
3

dem Klangforum Wien gewidmet

"colored noise"
" 4 "

.
"s4 "
.

3

"colored noise"
" 4 "

w
3
,

rim
ppppp
r .
.

7
j

3
.

.
sf
.

y
,
-

, j


3 3
*) the alteration of the H is to differentiate the two Hs, one on the E-string (tuned
down 1/6 tone -see notes-) , one on the H-string.Through this whole passage and
in following similar passages, only natural harmonics are intended.
*)

ppppp
slap
(only tongue, no air)

3

w

3

u
.

sf

r



"guiro"
O
" fff "
3

,
" fff "
C
3

6 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 6
WW
W
WW
W
WW
W
WW
WW
W
WW
,,,
qqq
o
oo
[1/35]
cire perdue
eduardo moguillansky
(2008)
7
?
r
r
|
t
?
r
?
?
|
|
r
|
r

N
y
R
4
5
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc. Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

t
5

slap(no pitch)
0
`

"white noise"
" 4 "
.

3
,

(p )
0
*) move slowly to create isolated random "cracks"
*) .

9
.

" 3 "
.


B/uUbUuUbUuuUbUUUUb
" fff "
3

j

3
5

,

pizz.
sf
IV

.
ric. B/uUbUuUbUuuUbUUUUb
0

3
3

3
,

pppppp
[VOL: 10]
m
/sch(u)/




.

ppppp
3
(same pitch as before)
,

sf
.
, ,
-
legno(sss)
0

3
?
,
B/uUbUuUbUuuU|
.

,
>
ppppp

>
,
V
>

m
[VOL: 10]

>
3

t
0

3

V

3

V

, ,


V

3

V
, j

-
0

3
7

>

>

>

>

>

,
-

9
.

.
0
3

3 3

>

>

>

>

,
ppppp


<

a

ppppp

3 3

.
,
IV
legno(sss)

ppppp
3
, n
-

8


,

pppp / ppppp

<

3 3
l ll l l ll l l ll l l ll l
WW
W
WW
W
WW
W
WW
W
WW
W
W
oo
,,,
[2/35]
7
?
r
r
|
t
?
r
?
?
|
|
|
|
r
r
N
?
R
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
t
9

ppppp
slap


3

.
3 3

>

>

>

/

,

center
,
edge
" 3 "

sf

,
.
ppppp

a

<

()
(

)
3

9
.
.

pizz.
8

legno batt.
\IDDbDDdbDddbddddddb ric.
pppppp

.

- pizz.
8

3

, j

w
. , n

, n

batt.
,

w
3 3

.
, n
sf 0

sf
>
o
.


3

V
. ,

(p )
ppppp
.
3

V

r

C
,
" 3 "

w
.

3
y
r

" 3 "
j

3
y

C
,

" 3 "

3
y
N

, n

.

sf
, j

\IDDbDDdbDddbddddddb

, n

3 3

.
ppppp


.
ppppp

sfin pp
. .

ppppp
.

t
ppppp
.

ppppp
. .

B/uUbUuUbUuuUbUUUUb
"sffz" 0

, , n j
ppppp

II,III
, , n j

ppppp
, ,
<
, ,

, n



3

.
ppppp
,



9
,
.
3

,
.

sf

. ,

9


s
-
9
. .

.
,

. , j

B/uUbUuUbUuuUbUUUUb
ric.
0
II n

, , n j
-

, n

,

,
-

3 3
mmm

,,,
WWWWWWWWWWWWWW
,,,,,
[3/35]
7
?
r
r
r
t
?
r
?
|
|
r
|
r
r
N
?
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

t
13

V

{2=3=4;=2=3=4}C#

V
3 3

V
,
gliss.
d
V
slow beatings
0
,
V
0

ppppp

.
o

V

V

V

V

V

V

V

V
?
?
13

V

V

V

j

legno(sss)
ppppp
n j

o

V
,
batt.

sf
, , n j
-

, j

, n

, s

V
3
3
accel. poco a poco

0
slap
. .

9


9

" 4 "

()

ppppp

w
,
suono mobile


.
ppppp

0
.

j
"sffz"

.
ppppp
inaudibile

legno batt.
0
.

j

legno(sss)
ppppp
n j

o

,

,

3

.
0
.

.
ppppp
,

,
ppppp

<
, b
3
r

ppppp

ppppp

" 3 "

u
. ,

0 o
|


s
-
9
. .

j
9
+ slow beatings

r

j

.
,

j

legno(sss)
n j
0
n
o

, , n j
-

, n

,

,
-

3 3

{2=3=4;=2=3=4}C#

ppppp

s
3
?

, j
0
, n , d
. .

s
. , j
ppppp
, s

j

legno(sss)
0
n j n
sf

,

,

sf
, , n j
-

, j , n

, s
3
3


oo oo
[4/35]
7
?
r
r
r
t
?
r
?
?
|
|
r
r
r
r
N
?
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

17

<


.


ppppp

s
<
3 3



,

, j

17

j

legno(sss)
n j
0
n
o

. , j

,
,
,
s
. , n

. , , n j

, n
3 3 3


s

r
9

s
<

3
r
, d
0
, j , n
o

, b , , g
9
,
, j , d
,
, n

j
.
ppppp

8
,

. , s
d
0

sf

,
.

l
@
0

sf

~

D
S
" fff "
hand vib.

<

<

<

<

3 3
r

J,
ppppp
.
3
r

s
\IDDDDbDDDdbDDddbddddddbDdbDddbddddddb
quasi ric.
sf
a1

0
s

a14
,
r
[ord]
,
r
[ord]

, , s

legno(sss)
sf9
, , , , , , , , ,
ppppp

r
. , j
-

, n
-

, s

-
sf
,

, , n j
-

, n
-

3 3
19

J
j

3

b
,
0
<
, b



.

ppppp
3
3
pi ck

j
.
ppppp
, .
8
,
ppppp
3 3

.
j
.

j
0

<

o
3 3

Trumpet in B

.
.

<

o
3 3

. j
.

j
0

<

o
3 3

D
8
.

7
0

3



pizz.
8
3

9
,
g
,

o


j
pppppp
legno(sss)

.
.

9
3
3
,

9
,

o


n
pppppp
legno(sss)
H

n
.
.

9
3
3

j
j
pppppp
legno(sss)

.
.

9
3 3
. , +

legno(sss)
IV

,
0
,
o

, n
-

, j
-


, , n j
-

,
, j
<

sf

, n

. ,
,
j
j
-
3
3 3

. +


9
j

o
3 3

.
2

3 3 3

. ,
,
,
s
<
8
3

, j
ppppp
, , .
.
,
,
8
espressivo
,
3 3

ppppp

3 3

ppppp

3 3

ppppp

3 3

, +

IV

, ,
0

o
3 3
?

, j
-

, n , n

, s

, j
,
,
s
j


, j

. , , n j
-

3 3 3

suono mobile
suono mobile
suono mobile
oo
oo
oo
oo
oo
[5/35]
7
r
r
r
r
t
?
r
?
|
|
|
|
r
r
r
r
r
N
?
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

c
7
21

<
cant. ma da lontanissimo
j

3
,
,
.
.
,
,
<


3

J
,

ppppp

3

.
8
.


3

J
.

"white noise"

sfin pp

3

3

m
,

pppppp
[VOL: 10]
/sch(u)/

ppppp

3
?

21

, , ,
-
, ,
-
espress.
, ,
-
, , ,
-
. ,
,
s
j

9

, n

.
,
,
j

3 3 3

+
"pizz."
0
.

, j
, d
9
, s
. .
o

.
,

.
, . ,
< ,
,
j
<
8
5 5

I
.
5
B12

" 3 "
H
"scrape"

.
-

legno(sss)
IV
ppppp
3

, , s j

, , j
9
, n , , n j


3
3 3
r

, j

sf0
, n ,

, , n j

, ,
-
9
, ,
-
, , , ,
-
.
,
,
j
-

9
3 3 3

/

9
n
\

o

5

,
b

<
9
j
, b
.
o

. ,
,
,
s
9

.
5 5

|
,
,
.
.
,
,
<
J,

J
,
5
3

.
.

n
0

.

5 5

.
.

5
5

b
0

.
s
n
.
5 5

.
-

" 4 "
.
-

3

J

ppppp
7
,
<
,
i,

sf

3 3
(always a shadow of Kontrabass)
;
" 3 "

ppppp
. .
r
j
,

,
8
\IDDDDbDDDdbDDddbddddddbDdbDddbddddddb
sf


j

, s

legno(sss)
ppppp
, ,
j
,
9
++press.
granular
,
j
,

MT
3 3 3


,
,
,
j
.
,
,
J , n j
III
II
9
++press.
granular
, n j
j
,

MT
3
3
, , + j
<
0

, , + j
<

, , + j
<

5 5

, , j s
-

, j
-

,
-

,
-

,
-
. ,

-
, j

f9
, , n j

3
3 3

.
, ,
,
,
s
8


3
3

. ,

e
3
,
.
.
,
,
j
<
8
,
2
J
,
, s

, j
0
,
3
3
3

.
b

n

s

.
^
ppppp

3

j
, i,
.

0
sub.
sf
/
,

simile
,

simile

.

0

?

m
J,

[VOL: 10]
/sch(u)/
0
3

?
, , , ,
-
, ,
-
, ,
-
, , ,

8

.

simile

, j

3 3 3
m
R sss s
o o
sss s R s
o o

oo
o o
o o
oo
o o
o o
oo oo
o o
o
oo oo
o o o oo oo oo
[6/35]
7
r
r
r
|
t
?
r
?
?
|
o
|
|
r
r
?

N
?
R
4
2
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

25

.
sf
. .

sf

r
,
<
8
.
.
,
,
<
j
,

o


, j
9

<
3

(always a shadow of Kontraforte)
0

. j
0
3
B123

.
ppppp

.
ppppp

sf

sf

25

, j

0
, s
,
,
j

, , n


0

3

sf

, +
-
0
V

, , j s

, j

, +
.
, , j s
-

, , n j
-
3
3

D

.
/
9
\IDDDDbDDDdbDDddbDdDdbDdDdb
smorz.

n
\

o
3

J, ,
<
8
,
, b
o

3
3

,,<
,,}h
,,c
,,c
,,-
,,c \
,,c
,,o
Eb
.
.
,
, b
<
9

3



.
ppppp


s
.
ppppp
,
.

J
, j
<
,


, j
<
3
3
J
< j

j
3
3 3
wB12

j
very slow beatings

sf
, j

,
,
<
,
,
,
,
<

, ,
-
, , .
, j

, n , j , n
3 3

, , j s
-

, +
-

, , s

, , n j
, , j s
-

,
-

, , n j

, n
3
3 3

,

, j
<
,
s
, j
<

, n
3 3

j
s
<

<

j
3
3

.
,

7
0
,

, ,

sf

, ,

sf

3 3
, , j s

, , n j
, ,

, ,
, ,

3 3
h
-
28

,
" 3 "

,
. .
3
3
J

" fff "

3
r
J, b
.
ppppp
>
h
c
cBn
-
c
c /
Cc
, J
,
,
8
cant.
3 3

. .
,
9

..
,
9

s
, j
<
6
s
,

j
j

s

s
6

s f

s f

3

J
r
3
?

f
,

sf

9
J

sfz

<

<

<
3

J
,

, ,
,
,
,
sf

3

3
?

,
,
,
,
.
m
pppppp
. .
. .
. .
. .
,
,
,
,
,
w
9
3

/f(e)/
/f(u)/
j
,
,

3

3

.
3
/f(u)/
,

3
r

IV
"white noise"
" fff "
,

sf

, ,

6

sf

3

, , n j
, , j s

6
j
, , n
3
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s



oo
s
s
sss

[7/35]
7
r
r
r
r
t
?
r
?
?
|
|
|
|
|
|
r
?
?

r
N
?
R
4
3
8
5
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

n = 48 - 52

29
|

ppppp

<

<

simile

pcant.

3 3 3 3 3 3
,
,
. ,
<
, b ,

. ,
<
,

,
simile
5 5 5

.
,

cc
Hc
Bc
-
c
c
c
0
,
,

,
8
5
5

. , b
12
cc
Hc
Bc
-
c
c
c
0
,
,

,
8
5 5

sf

,
" 3 "
H
c
c

0
j
,
simile


,
3
3

6
h
secco
8
.

-
.
" 3 "
-

.
" 3 "

d
*) put the cymbal down all the way, hitting the bass drum.
*)
9
.

,
,
8
.
P
"guiro"
" 3 "
j

sf
. ,

simile
j

,
3
3
i
j

b

sf
. .
.

B/uUbUuUbUuuUbUUUUb
" fff "

0

sf

" fff "

r

j
.
j

29

IV
pizz.
MP!
sf
.

i
f
.

3
7

ppppp

3 3
, b

,
j
,

ppppp

5
,
,

,
j
,
,

ppppp

5
,
,

, b
j
,
,

ppppp

5

.

s
<

0
J

3 3
J
.

<

0
J
j

3 3

J
.

s
<

0
J
j

3 3

sf

|

j
,

,
.
j
,

3
3
3

sf

J
" fff "

sf

" fff "
j

sf

3
3 3
r

j

j

3 3

.

ppppp

3


.

ppppp
r
3

J

sf
3
.
, j
9

g
beatings = ~

8

b
8

-
ppppp

,
-

,
-

,
-

,
-

3 3 3 3 3

.
9

ppppp

y
.
fast beatings
8

ppppp
very slow beatings
j
j
b

" 3 "
r

.
3
J

" 3 "
.
|

6
h
secco
sf

.
~
^
0
J

,
r

,
,

f
.

,
,
,

8
,
.

3
3

.
0

8

.
0
j
8

sf

m
|

sf

.

m
|

f
.

r
,

sf

,
-

legno(sss)
ppppp

,
-
,
-
,
-
,
-
,
-
,
-
3 3 3 3 3
meno mosso
32

^
~
pppppp

3
.

E
" 3 "
.


3
I
J

+footpedal

f
. .

sf

o

3 3

footpedal

3

3

<
9
.
<

" fff "

. .

,
/e/
" pppppp" / ppp *)


*) very near to the mic, almost covering it with the mouth. Pronounce the given phonetic sound without voice, only coloured air. The sound
becomes audible only when the megaphone is activated (the voice action should be very soft). The dynamic not between quotation marks "" is
the one which should be heard in the audience. Adjust volume if necessary. The actions should be prepared so that when the megaphone is
activated, you are already performinc the action, and you keep perfoming the action some instants after the mic has been turned on. In this
way, the result is like a snapshot of a continuum.

J,

,

2
3

J,

,

2
3

ppppp

, +

legno(sss)
0

.
.
, +

ppppp
r

WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
oo oo
o
o
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
WW
W
W
W
WW
W
W
W
W
WW
W
W
W
W
WW
W
W
W
W
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
l ll ll ll l l ll l
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
o oo
o
o oo
o
l ll l
oo

[8/35]
7
r
r
r
r
t
?
r
?
|
|
r
?
r
|
|
r
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
34

, b J
,
,
,
,
2
8
J, ,
o

3 3
, b J
,
,
d ,
,
2
8
J, ,
o

3 3

,
/a/
9

.

34

b

.
0
.

.

blow from2-3 cmaway frommouthpiece
0

sf

,
rub megaphone on cloth
*)
0
"white noise"
*) prepare the action before turning the megaphone on, continue
it some instants after turned off, the rhythm only indicates the
turning on/off.

,
-
/e/
9
*)

,
,
+
d

III, 11th overtone

IV, 13th overtone

j
,
s
l , , ,
, s
8
3

q
.

*) very near to the mic, almost covering it with the mouth. Pronounce the given phonetic sound without voice, only coloured air. The sound becomes audible only when the megaphone is activated (the voice action should be
very soft). The dynamic not between quotation marks "" is the one which should be heard in the audience. Adjust volume if necessary. The actions should be prepared so that when the megaphone is activated, you are already
performinc the action, and you keep perfoming the action some instants after the mic has been turned on. In this way, the result is like a snapshot of a continuum.

.
,

IV
pizz.
0

,
,
,
,
,
,
,
,
8

0
pizz.
thumb sul pont.
molto secco

,
, J
,
,
o

3

,
-
9
|

,

0

. ,
/o/

,
/a/

, ,

\
" 4 "
legno(sss)

,
,
,
,

o

J,

J, ,
, b
9
2
3 3

J,

3

, b

3
12
,cc
, c
,Bc
, -
, c
c
G#c

. ,
/a/

R
qqqqqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
[9/35]
7
r
r
r
r
t
?
r
?
r
|
|
|
|
r
?
r
?
|
|
r
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
39

, .
o

,
, b
8
,
,
o

,
, b
8
,
,

o

r
ppppp

. ,

0

.
,

ditta

sf in pppp 0

39

. , +

ppppp

(ad lib. flag. sul IV)
, +

.
.

/(a)ch/
.

. ,

. ,

. , b

, J
,
,
g ,
,
b ,
,
.
.
,
,
0
3
Eb

,
/i/

,
/e/

, ,
,
8
.
.
,
,
,
,
,
,

o

, ,
, b
8
,
, , ,

o
|

,

,
,

o

oc
c
Bc
-
cE
c
Fc

, +

, , ,
pppppp
,
,
o

,
.

/o/

.
, +

0
pizz.

.
t
0

, , , ,

,
/a/
.

qqqqqqqqqqq

qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq

i ii i
[10/35]
7
r
|
r
r
R
?
r
?
|
|
|
|
r
?
r
?
|
|
r
r
t
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
44

44

,
/a/

r
.
, ,

\
" 4 "
legno(sss)

R
n = 48 - 52
45

.
clar R

.
9

ppppp
r
9
3

sf

s
ppppp

sf
. .

3
. ,

e
0

,C
pppppp


,C ,
w
simile
,

,

5
5 5

.
0

j
.
very slow beatings
niente cresc. poco a poco

.

" 3 "
E
.

~
D

<

<

J,
j

,
p

.

+footpedal

~

D
S
" 3 "

<

<

.

f
.
.
.
,
, s
,

.
,
,

ppppp

3
,

a ,
0

o
3
J
B/uUbUuUbUuuUbUUUUb
" fff "

8

w

3
j .

.
legno
.
0

ppppp

9
3

C
V
legno(sss)
pppppp
subliminale

,
( )
C

, ,
simile
IV+V

,

, ,

,

,

, ,
3
3 3 3
3
3 3 3
3
3 3 3
n

.
,

,
w

,

5
5 5

,

,

, ,

, ,

,

, ,

,

,

, ,
3
3 3 3
3
3 3 3
3
3 3 3

, b
quasi niente
,,<
,,}h
,,c
,,c
,,-
,,c \
,,c
,,o
Eb
,
,
<
3



cc
Hc
Bc
-
c
c
c
ppppp

<
j

3


12
ccG#
c
c
-
c
c
c
ppppp

<
j

I
,

,

.
,

5
5 5

, , n j

ppppp
suono mobile
. , , n j

simile
3

,

,

, ,

, ,

,

, ,

9
,

,

, ,
3
3 3 3
3
3 3 3
3
3 3 3

J
,
, J, b
,
,
<
J,
3 3 3

J
J

<
j

<
8
j

3
3
3

J
J

<
j

<
8
j

3
3
3

,

, ,
w
,
.
,
5
5 5

, , . , , n j

,
.

3 3 3

,

,

, ,

, ,

,

, ,

,

,

, ,
3
3 3 3
3
3 3 3
3
3 3 3

i ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii i
[11/35]
7
r
|
r
r
t
?
r
?
|
|
|
|
r
?
|
r
r
?
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
9
w
49

,
,
<
9
, b
,
,
<
J
,
,
ppppp

MUTA IN OBOE
3 3 3

<
j

ppppp

<
j

ppppp

3
,

,

,
o
cant. ma da lontanissimo
9
,
c

5 5 5

j

3
J
0

3

J,
3

49

9
, ,

,
. , ,

. , ,

, ,
ppppp
.
3 3 3

,
bow vib.

, ,
simile

,

,

, ,

, ,

ppppp
, ,
-
,

, ,

, ,
3
3 3 3
3
3 3 3
3
3 3 3
|

,
o
,
c

,
-

pppppp
I
,
-

5
5

,
w

.
pppppp
subliminale

o
3
3
J
pppppp
subliminale
.
3
?

, ,
-
,

, ,

, ,
-
,

, ,

, ,

, ,

, ,
-
,

,

3
3 3 3
3
3 3 3
3
3
,
e

3
7

s
,
" 3 "

" 3 "
.

.
,o ,c

I
,
-

I
,
5
5 5

.
niente

j

ppppp

3
J =
ppppp
slow beatings

3

/

edge
,
" 3 "
center

(tam-tam)

9

S
"sffz"

<

<

<
3 3

,
, s
9
.

subliminale

, +
legno
ppppp
IV

/
0
legno(sss)

" 3 "

3
|

III
IV

, ,

ppppp
legno(sss)
,
-

,
-
,
-

,
-
,
-

, ,

,
-

,
-
,
-
3 3

, ,
-
simile

,

, , , ,
-
sf
,
3
3
rall.
52

,


,

,
-
,
-

5 5 5


t
beatings = ~

,
e

<

3
o

9
j

m
,
/f/
.
sf

y

w

,
-
,
-

, ,

3 y
, ,

sf ppppp
IV+V
,
-
V
,
-
IV
(or the other way around ad lib.)
,
-
V
,
-
,
-
, , , ,

, , , , , . ,
3 3 3

oo o o
6 66 66 66 66 66 66 66 6
[12/35]
7
r
|
r
r
t
?
r
?
?
|
|
o
?
?

y
y
y
y
R
4
2
4
3
4
2
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

c
53

.
ppppp


s
.
ppppp
,
0
,


-
.

5 5
r
0

r
J

ppppp sub.


3 r
J

3
?
53

. ,

secco
. ,

. ,

. ,

. ,

.
3 3 3

J
,

0
,
, s
p
i,

0
3

s

" 3 "




sf

3
r

" 3 "

sf


3

. .
,
p

..
,
p

pppppp
.
5 5

s
j

9

3

s
j

9

3

J
r

3

/
,

" 3 "
center
,

sf
rim

3
|

"
,

1
edge
sf8
,

j
,

sfz

<
vib.

<
3
3

,
b

,
, ,
,
,
sf

3

b

0

3
?
j
,
,
,
.
m
pppppp
. .
. .
. .
,
,
,

w
sf

3
J
,
,
,
.
m
. . . .
. .
,
,
,
s
w
3
,

" 1 "

3
r
,

" 1 "

3
r
, ,

" 1 "

3
N
, ,

" 1 "

3
?
,

. ,

. ,

3
n = 30 n = 30

<

<

simile

3 3 3 3 3 3

D
o o
h h
oAb ,oAb
- -
o ac
o o
o o
(doppeltrill)
0

<

<


simile

3 3 3 3 3 3

sf

,
" 3 "
H
c

0
,
" 3 "


,
" 3 "

3 3

h
secco "
f

~

j

sf

. ,

1
{
5

<

<

1
simile

<
3
3 3

,
,
8
.
P
"guiro"
" 3 "
j
,

sf
. ,

" 3 "
j
,

sf
,
" 3 "
3
3
(play the C and begin immediately the "guiro" gesture)
.

B/uUbUuUbUuuUbUUUUb
" fff "

sf

" fff "

|
r
|

j
.
j

,

IV
pizz.
MP!
sf
.

punta
U
,

0
,

ppppp
U
,

3 3 3

flaut.
legno
(PRMT)
ppppp
,
,

,
,

,
,

sss
,
,
8

,
,

3 3 3 3 3 3

3 3

i
3
.

3
?

.

s
<

0
J

3 3
B2
J
.
.

<

0
J
j

3 3

J
.
.

s
<

0
J
j

3 3
|

.
~
^
0
J

sf
3
3

<
j

,
-
,

sf

.
,

,
f

rim
5
3

1
,

3 3 3

j
,

sf

,
.
j
,

3 3
3
(sic)

sf

J
" fff "

sf

" fff "
j

sf

3
3 3

j

j

3 3


..
.
,

l
o

ppppp
,

3


.
.
.
,

, l
o

ppppp
,

8
3

,
,

ppppp

3 3

-
.
" 1 "
.

.
simile
3

j
,
.

simile



B/uUbUuUbUuuUbUUUUb

3
?
j
.
j

3
.
.
.
,

8
,

0
.
.
.
,

0
,

z zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz z
z zz zz zz zz zz zz zz zz zz zz zz zz zz z
l ll ll ll ll ll l l ll l l ll l
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
sssss ss ss sss ss ss s
~~~~~ ~~~~
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
WW
W
W
W
W
W
W
W
WW
W
W
W
W
W
W
W
WW
W
W
W
[13/35]
7
r
|
r
?
t
?
r
?
|
|

|
|
r
?
?
?
r
r
N
?
R
4
3
8
3
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

n = 120 n = 120
58

<
0
cant. ma da lontanissimo
j

3 3

b
.
ppppp

b
.
pppppp

.
9

y
.
fast beatings
ppppp

.
-
.

9
S
" fff "

<

<

s

" 4 "
.



9
S
" fff "

<

<

+footpedal

2
. .

,
, s
,

.
9

,
,

ppppp

.
pppppp

.

58
,

,
f
. .

,
ppppp
. .

legno batt.
ric.
sf
\IDDDDbDDDdbDDddbddddddbDdbDddbddddddb

" 3 "

f
.

, j

,
0

.
V
legno(sss)
ppppp
,
IV
, , , ,

J
.
0

<



3
3 3

,, ,, ,,
J

<
J

o
3 3
.
,
s
s
<
ppppp
,

.
.
,

<
,

. g
fast beatings
9

.
0

,
ppppp

.
t

ppppp

. ,

.
, +

ppppp
, g , b , , g
, + ,
, g , b
IV III II
try to make the bow changes inaudible

, g

ppppp
III
, +
IV
,
, , g
try to make the bow changes inaudible

r
,, ,, ,,
~

.
.
,
s
l
<
.
.
,

s
<
,

.
.
,
s
<
, s
. b
ppppp

.
pppppp

sf

j
very slow beatings
9

0

<

.
b

.
,

?

y
fast beatings
(pppp)

, + ,
, g , g
, + , +
, g ,
, ,

, +

crini

III
.
. , d
IV

sf

?
, , ,
8
, , ,

,
,

s
<
,
, .
.
,
s
l
<
8
, s
.
.
,

s
<
, n

U
Q

o
j
sf
|

j

9





, g , g
, + ,
, , g
, + ,
, g

,, ,, ,,
, +
sf
"pizz."
.

.
.
.
,
,

s
s
s
<
,
,

l
s
s
<

,
t
" 4 "

,
e

sf

,
8

.
" 3 "





n


?

center

/
" 3 "
,

rim
sf

~

.
improvisando

sf

7
9


< ,

sf
,

.

.

P
"guiro"
" 3 "

sf


j
,

ppppp

j
very slow beatings

ppppp

, g
, + , +
, g ,
9
,

, , n j

-
\
" 1 "
legno(sss)

, ,

-
\

legno
"colored noise"
IV
" 3 "
,
sfz
.
, , ,
ppppp
,

r


sf

.
.
.

<
.
,

,

<
j
,

r
,

a
9

<

, , n j

-
\

ssssssss
....

W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
i ii i i ii i i ii i i ii i i ii i i ii i
s
s
s
s
s
s
............
[14/35]
7
r
|
r
|
t
?
r
?
?
|
|
|
o
|
r
?
|
r
r
N
?
R
4
3
4
4
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

n = 80
65
b
, b
" pppp"
J
,
,
8
,
, ,

.
.

<

p
.

blow from2-3 cmaway frommouthpiece

" 3 "
3

" 4 "
.

e
,

sf

.
0
.

s

sf

. s

" 3 "
, s

.
0
.

,
H
c
"scrape"
c
" 1 "
.
0


,

" fff "

-
.
" 3 "
-

.
,
sf

rim
7
.

I,

,
p

.

r
j

p

o

3
b

. .
.
,

" 3 "
P *)
*) play the C and begin immediately the "guiro" gesture

b

molto secco
f
. .

j
,

sf

B/uUbUuUbUuuUbUUUUbUUUUUUU|
" 3 "
.

;
sf

65

, ,
-

ppppp
legno(sss)
, ,
-
<
.
, ,
-

, ,
-
<

. , ,
-

, ,
-
<
5 5 5

s
J
,

, s

0
,

,
,

,
f
,

flaut.
legno
0
,
,
-
.

,
,
-

,
,
-

5 5 5
(PRMT)

" fff "

sf

" 4 "

.


s

" 4 "

b

" 4 "

" 3 "

.

.
" 3 "

.
" 3 "

simile

3

|

. ,

" 3 "

sf
,

" 3 "

j
,

.

w
.

w

r
;
sf
.
r
I, ,
-
I, ,
-
<

, ,
-
, ,
-
<
9
.
5 5 5

sss
,
,
-

I
,
,
-
8

5 5 5

n = 56
.
r
cant. ma da lontanissimo

9

j
<
.

n
<
.
5
5
5

j
s
(approx.)

l
s
s
I s
f
prestissimo
.

r

" 3 "

" fff "

" fff "

.
.
" 4 "

. .

3

" fff "

9
r

9
" fff "
S

<

<

< .

<

<

+footpedal

,
,

f
. .

,
, s
,

.
9
.

ppppp
. .
b

+
fast beatings
9

.
.
,

l
l

38

.
.
.
simile

.
,
,
,
,

f
U
. .

j
, , n j

ppppp
crini
suono mobile
, ,

muta in ENGLISH HORN

<
8

j
<
I

5
5
5

. ,
.
pppppp
velato
, ,
5

. ,
.
pppppp
velato
, ,
5

very slow beatings

.
.

.

, , , , , ,
9

" 3 "




sf

,
J
, ,
J
, ,
<
9

o
.
0
3 3
3
,
J
, ,
J
, ,
<
9

w
.
fast beatings
0
3 3
3

" 1 "
.

f8

s

sf


s
.
"sffz"

3
3

8
.

j
,

w
3
3

s

"

s


3 3 3

3
(if needed)
?

~

j

0

<
,
,

,

<
,
J,

" 3 "

3 3
3

~
9
j

{
p
,

3
i
j

3
3
3
3

f
,
,

molto secco

U
sfz

3
3 r

j
.
,
j

z m

j
.
K
0
j

sfz
3 3

ppppp
j

J
b
;
sf

3
3

,
r
y
-

-
,

-
8
,

-
r
,

r
-
,

o
3 3 3

j
,

b
b
ppppp

ppppp
,
3
3 3


s
-

3
molto secco

IV
pizz.
MP!
sfz

3
3
,
, j


,
,

ppppp

J
,
,
legno(sss)

l ll ll ll l
i ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii i
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
l ll l l ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll l

s
s
s
s
s
s
WWWWWWWWWWWWWWWWWWW
[15/35]
7
?
r
r
r
t
?
r
?
?
|
|
r
?
r
r
r
N
?
R
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
q = 40
70

70

.
.

0
rub mic (low)

,
[low resonance]
,
.
.
C

. ,
-
/e/

ppppp

.
,
,

sf

,
/e/
0
.

,
/i/
0

, +

legno(sss)
0

s
,
sf in pp
.

,
,
j
s

,
,
,
,
C#

u
sfin pp
.

.
rub mic (high)
0
.

/a/
simile
0

,
,
8
,
,
,
,
o

. ,
/i/

0
. , b

o
3
3

,

,
0
.
.
,
, b

o
3
3

j
very slow beatings

qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
[16/35]
7
r
r
r
r
t
?
r
?
|
|
r
?
r
r
|
|
N
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
76

,
, s

. ,
/e/

76

,
,
,
,
,
,

/i/
.

.
, +

legno(sss)
0

(non dim.)

(non dim.)

,
,
,
,
,
,
p

J,
/a/

3

, , n j

,
,
,
,
,
,

. ,
/o/

,
/e/
.
,
/o/
.
. ,

-
x
0

, +
IV
legno(sss)
9

.
.
,
,

o

,
/(a)ch/

J
8

3

j
.
rub mic (low)
8

3

o

qqqqq
[17/35]
7
r
r
r
r
t
?
r
?
|
|
|
r
?
r
r
|
|
r
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
82

S
" 1 "
9
.

.
b
m

82
,
-
/i/

0
, b
o

3
3

,
0
.
.
,
, b

o

3
3

,
/(e)ch/

.

.

,
/o/

.

,
,
s
l

,
,

,
/i/

,
/o/

,
, s
,
,
8
,
,

. ,
/a/

,
,

o

. ,
b

,
/i/

r
N

|


[18/35]
7
r
r
r
r
R
?
r
?
|
q
|
|
r
r
|
r
N
r
|
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

n = 36-40
87

" 3 "

" fff "

.

" 1 "

|
87

.
,

.
" 4 "

t
.

" 4 "

. .


m

[VOL: 10]
0
3
,

9
rim
. .

h
0
.
J
r
0
H
3

0
. .


sf

. .

" 1 "
B/UUUUU|UUU|UU|

,

" fff "

. ,
8
,
2
J ,
C

3 3 3
r
,

" fff "

. .
,
IV
pizz.
sfin pp
.

?
,
y
" 1 "

t
rall. n = 80

J
ppppp
J

<

3
3

s

J
prestissimo
(approx.)

s
j

l
s
s
. ,
ppppp
,
,
<
. ,
,
,
<

,
,
,
<
9
3 3 3
.
ppppp

<
.

<

b
<
9
3
3
3

i
3
. .

r
.
, s
.
ppppp
I
,

. ,
.

5
5
5
legatissimo, as if it were a very long line -play
"across" the rests as if they were written out
diminuendi.
j

" fff "

*) pitch ad lib.
*)

j
<

<
9
cant.
5 5
F5
B3

3 3

f
8 sf

.
Q
" 4 "


3
.
,

" 3 "
,
-
.
,

,
,

+footpedal

.
.

,
^

l
3
.

,
^

,
^

.
,
^

J,
a

3 3
|

.

3
r

+
fast beatings

3

m
,

/f(u)/
3
S

3
,
,
,
,

U
" 1 "

. .

, , n j

- legno(sss)
ppppp

,
simile

,

3 3 3
,
,
,
,

U
" 1 "

. .

J

<

.

9
3 3 3

,
,
,
<

,
,
<
ppppp

3 3

<

b
<
ppppp

3
3

. , s
.

I
, ,
.
5
5
5

. s

<

5 5
B7
. .
J

"sffz"

0


?

.
sf
.
.

.
. .

very slow beatings

9
cant. ma da lontanissimo
J

9
J

o
3 3
3

,
9

,
, j

,
,

3 3 3

<
.
.

<



.
niente

3
3
fromviolin I

. , s
J
,


. ,
5
3
5

l
@
J ,
" pppp" / p
m
[VOL: 1]
3

7
~
j

J,

8
,

w
2

1
0 sf

<
,

3 3 3
|

J
. P
"guiro"
" 3 "

,
,

8


3
3
r

.
.

.
.

.
.

ppppp
J

3
J
b

3

,
,

J
,
,
p
J
,
,
f

3 3

.
.
,
, j
ppppp

3
|

J,
- crini
IV+V
" 4 "
j
,

" fff "

3 3
|
s
s
s
s
s
s
WWWWWWWWWWWWWWWWWWWW
l ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll l
..........

s
s
s
s
s

WWWWWWWWWWWWWWWWWWWWWWW
i ii i i ii i i ii i i ii i
[19/35]
7
r
r
r
r
t
?
r
?
|
|
|
|
|
r
?
r
r
r
r
N
|
|
4
5
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
-
92 . r
<
9
poco vib.
n . r
<
0
n
3

,
0


0

s
0
,12
,cc
, c
,Bc
-
c
c
G#c

.
.
,
s
l

. , l

. , l

3
3 3

[ON/OFF]

3
J,
" 1 "
x
rub megaphone on cloth

3
J

l
m
J
[VOL: 10]

J,

7

sf

,



3
cluster, the upper note should be the
nearest note to the pitch sounding as a
result of the action in violin II on the next
measure

sf

3
|

92

, l
.

9
vib.
3

" 3 "

3 3

y
" 3 "

3 3



3

, ,
,
<


. , ,
,
<

<

<

s
<

. s

<

. , l

.
.
,

s


. ,

,

,

3 3 3

b
.

<

9

<

9

o

.

j

3
3

,
w

,
<
0
J,
<

o
3
3

- .

sfz

9
vib.

, l

.
9
vib.

9
vib.

3 3

simile

3 3

,

,

,

j

j

J.
-
3

a
hit with knuckles
0

3
t
J
B/uUbUuUbUuuUbUUUUb
" 1 "

3


" 4 "


3

J
,

, s

,
8
3

" 3 "

3
?
J

3
n = 60
.

<
0

.
{2=3=4;=2=3=4}C#

ppppp
(as a shadow of Kontraforte)

, j
-
ppppp
(as a shadow of Kontraforte)
, n


3

" 3 "



s
ma audibile
8



,

s
, j

.
9
S
" 1 "

<

.

<
.

" 3 "
E
.
.
9

" fff "

7
9

<
,

s
sf
. .

,
a

9

<

.

j
j
9

o
3
.

f
. .

.
.

:
9 sf

:
J

:

o

3
3

f
. .

J
<
8
.
J

<
0
3
3

{2=3=4;=2=3=4}C#

ppppp

s





5

, n
-
, d

, j
-
, d


, g
- , d , n
-
, j
5 5
3

,
velato

J
, ,
0
J
,

o
3
3
3

,
velato

J
, ,
0
J
,

o
3
3
3
. , j

. , n ,
, s
,

. , ,
,
,

i.
Q

i.
,

,
,
bend
,

.

<
,
,

,
,
bend
,

. ,
<

crini
quasi pont.
8
,
,
j
<

.
,

,
,
<

III,IV
, +

crini
quasi pont.
8
, ,
<

.
,

, ,
<

II, III

R





ssssssssssss ssssssssss sssss
.... ...

oo
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
WWWWWWWWWWWWWW

[20/35]
7
?
r
r
r
t
?
r
?
?
|

|
|
7
r
r
r
N
r
R
4
5
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

97

. , +
sf
"pizz."

.
.
{2=3=4;=2=3=4}C#

<

<
0
cant. ma da lontanissimo

, g
,
o
,
c

s

, j

s

3 3
3 3 3
diff. fingerings

" 3 "

, j

s
" 3 "

, s

3
s
, j ,
, s

p
, j
ppppp
,
<
,
, s
, j , ,
, s
.

sf


.

" 4 "


b

sf

sf

E
. .

" 3 "

<
,
,

rim

molto secco
sf
pizz.
plectrum
. .


<

,
,
sf

97

.
,

" 3 "

s
3
molto secco

sounding:

s
j
r

, +

legno(sss)
ppppp


?
, ,

ppppp
(always a shadow of Kontraforte)
legno(sss)
, ,
<
,
, j
, ,

, ,
<
,
, j

n = 30sub.

9

, , , ,
9
, ,
, , , ,
9
, ,
n

9
,

, s


, n
,
j
,

s
, j
<
,
j
<

cant.
. ,
,
, j j
,
5 5 5

.
" fff "
.
.

f




j

|
[ON/OFF]


.
. .

" 1 "
x

.
,

.

3

8
.

;
sf
.

. ,

s

p
.

" 3 "
.
sf

3
J
,

" fff "

,

5
,

8
3
3
,

"sffz"
.

.
y s

9
legno
,

,
j
l
j
9
suono mobile
.
<
f

8

<
5

8
J

o
3 3 3
N
,

IV
pizz.
MP!
" 1 "
.

0
legno(sss) s
II,III,IV

, j
-
, , s

, , j s

,
-
,
, , n j
-
, ,
-

, j
-
, ,

, , j s

-

, j
-
, ,

,
-
, ,
3 3 3 3 3 3 3 3 3
rall.
n = 45

j
{==4;=2=3=4}C
, n s

{=3=4;=2=3=}D#
n
2

s
<
{==3=4;=2=3=}D#
, n
8

-

.

5
r

f
\IDDDDbDDDdbDDddbDdDdbDdDdb
stacc.

0
.
, r
-
(always a shadow of Kontraforte)
ppppp
, d

, n
-
, j

.
, j
simile
, n
5 5 5
,
o
. .
, r
.
pppppp (as a shadow of english horn)
, . , n
.
. , , j
.
5 5 5
,
o
.

i, d
.
(as a shadow of english horn) pppppp
. , , j
.
, i, n
. 5
5 5

j
s
j

sf

, s
0
H
, j ,
, s
<
, s
w
, j

cant. 8
,
, s
s
,
-
s
,
- , j
<
5 5

01346 01346 01346 01346

f
s
.

j
<

.
0

.
3
.
s
.

s
<

s
j

s
s
j

o
3
3

s
<
9

ppppp
2

9
b J
j

n

o
3 3
F2

v
ppppp
3

. ,

/
" 3 "

,
sf

.
H
r

7
j

,
<
9
,

sf

8
.
o

s
3

s

9

.
-
sf

.
. . ,
,
s
\IDDDDbDDDdbDDddbDdDdbDdDdb quasi ric.
sf8

0

.

.
.

d
d
.
ppppp
legno(sss) MT!

.
.

8
++granular
T

3 3


.
f
crini

.
.

s
s
.
ppppp
legno(sss)
MT!

.
.

8
++granular
T

3 3

" 4 "
,

"sffz"
.
,

,
j
l
j

ppppp
3
r

,
, s
n
<

5
,

,
b
.

J

legno(sss)

3
play the pitch resulting from the action
played by perc. 1, as flageolet (you actualy
anticipate it, since perc plays later, so it
sounds as if it takes the pitch from cello and
not the other way around)
, ,
-

crini
f
.

sfz
j
s
,

-
V
sf
legno(sss)
suono mobile
, ,

IV+V
0
, ,
, , j

s

V
, , ,

IV+V
j
, ,

, , j s

, , , ,

5 5
(becoming independent from kontraforte)
J,

e
,
8
3
|

j

s
<
{2=3=4;=2=3=4}C#

.
2

.
.
.

<
3
3

, , j

, b
o
,
c
, g

, r , n

, b

, j
9
, d , n

5
5 5
5
, . , n
simile
, b , i,
, j
5
5
. , , j
simile
,
. , g i, , j . ,
, n
5
5 5 5
s
, l ,
,
<
s
,
, s
, l
w
s
,
<

=

=

s
, s ,
<
,
=
j

molto cantabile
p

, s
5
5 5

r

8
.

,
< w

0


.

,
,
<

,
,
<

r

0
|
,

,
8

ppppp

o
ppppp
take pitch from action in piccolo
J

" 3 "
o

0
legno(sss)
s
,
, s
n
<

p
.
.
.

,
b

o
3
3
3
, , j s

/
, ,
<
, , , ,

-
sf
.
.
.
, , j s
-
, , .
, , j s

, ,
j
, ,
,

.
.
, ,
.
, , j s

-
5

ssssss

qqqqqqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq



ssss
/ \ / \
/ \
[21/35]
|
r
r
r
r
t
?
r
?
r
|
|
|
r
r
r
|
r
?
R
4
3
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 30 rall.
101
J

o

3

0
. s
3

<
8

<

<

.
3

, = , , j

, g , b

, r , n
.
, j
3
3
3
j
,
, d ,
. , g
, r ,
8
3 3
,
, j ,
. , s , n ,
8
3
, ,
, s
-

s
s
<

,
, j ,
, s

, n

, j
3 3
3

8
.

. .

.

sf

>
" 3 "

s
>
" 3 "
.

t
0
.

,
bend with arm

.
,
- center

0
j
,

6
[rub the side]
0

3
secco

pizz.
plectrum
sf

,
3
pitch from viola
?

knuckles
0

.
t



"sffz"
101
,
IV
8
pizz.

.

r
J

, +

legno(sss)
IV

3
r
N
. .
,
-
crini
8

.
legno(sss)
0
, ,
P
++press.
, , s
T
, ,
P
, , s
T
. , ,
P
, ,
T
the (change of) contact point
should make a pitch of its own,
going from lower (pont.) to higher
(tasto)
J,

e
3

s
0

<

8
j

sf

, d
,
.
, ,
, r , d

, r , n

, n
, D
<
, r

, n
p
j
, j
3
3
3
, d , n
9
, r , n
, r ,
. , D
, n
3
3
, , , ,
9
. , d
, n , . , r , j
3
3
b
, n
<
, b
" 4 "
, n
w

,
<
, b
s
, l
b
, b


j
s
, j ,
, s

,
j
-
<
3
3 3 3

sf
.
b
.
ppppp
3

sf
.

.
ppppp
3

v

0
j

" 3 "

~

Q

7 ,

8
3
o

,
8

,


,
9
.

small cluster, highest pitch: from piccolo
|
r

,

,
.

,
,
, s
.
ppppp
,
,

,
.
8

0

r

,
,
, s
.

. .
. . .. . .
..
,

,
,

f
r

x
IV

punta
" 1 "
,

, s
"sffz"
.

f
T

-
quasi pont.
punta
" 4 "
, s
sf

s
<

,
n
<
crini
6
,

,
b

3
, j
8
arco mobile
P
,
<
,
-

w
, j

, ,
-
3
R

,
, j

P

IV (-28 cents)
, s
V
,
-

9
, s , s ,
p
3
the IV and V strings are notated each in its own staff
c= 52

j
,

,
,
s
0
,
o

.
s

" fff "

9

3
?

j

p

3

j

p

3

sf

,

,
,
8
, s .
.
,
b
b
, b
<
p
3
3

n

sf

. .
b

.

" fff "

s
9

!!"aaabbabcbacdcaaaa""!


p
j

.
o

3 3

j

sf

.
. b

.

" fff "

bright
medium
dark
,
[VOL: 1]
"
p
"
,
[VOL: 10]
[VOL: 1]

3

.

3

3 p

,
,

o
.
,
sf0
1
3

m

,
improvisando
n/ ppppp

3
fluctuate between the given dynamics
,

w

. ,
8 o

3
, J,
<
8

o

s
" 3 "


.

3
3
.
.
.
30
.



K

8

.
o

K
9
3
3
.
,
,
,
, s
n
.
pppppp
,
,

,
9
, ,

,
,

, s

f
.

5
3
.
,
,
, s
.
,

,
,

.


5
3

o

r
6
J

p
J

.
, x

" 3 "
,

"sffz"
j
, s
3
3
3
some other flag.
[from picc.]

punta

-

.

-

.
s

T
9
3
3
(pitch from picc.)

,

" 3 "
quasi pont.
,

sf
T
j
, s
3



,
,
w
s

-
,
,
-
,
,
-
p
,
-
,
,
-

, , n j

-
, ,
-
, ,
-
6

-
,
,
g
s
-
3
3 3
3 3
j
, s

, j

H
8
, ,
, s
<

, j
<
, j
-
, ,
,

3
j
, j
, s , , , s ,
p

, ,
f ten.
3

ssss ssssssss
o



o
oo
sssssssss

legno
sssssss
ss
sssssssssssssssss
s
s
s
s
s
s

[22/35]
7
?
r
r
r
t
?
r
?
|
o
|
r
t
r
r
r
r
N
?
R
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

c=72
104

!"aabbcbcbaa""!!
ppppp
poco vib.

.
o

3
fromperc. 2

, b
<

,
,

,
3
r

J,

,,<
,,}h
,,c
,,c
,,-
,,c \
,,c
,,o
Eb
,
, b
<

, ,
, b
3
3
j

. , y

r
<
8

0
j
3
cc
c
HcC#
-
c
c
o
12
cc
c
cC#
-
c
c
o j

,
9
J

o
3
|
r
J
,
,

niente
3
approx. pitch of piano
j

.
.

j
<

0

o

3

b
b
<
0



3 2
12
j

9
j
.

.
.

j
<

0

o

3
B4

^
~
.
.

pppppp
"white noise"
J

3

7

,
p
,

0 sf

J,
<
j
,

3
3
|

!!!"""babcbcdaaa""! !!!"""babcbcdaaa""! !!!"""babcbcdaaa""! !!!"""babcbcdaaa""!
m

<
,
hit against mic
3

3



D
sf
on the beat

0

sf
.
p
,
w

suono mobile


9

0

. ,
.

.
8

0
5

?
104

j
, , s
" 3 "

crini
j

9
legno(sss)

. , j

legno
IV
P

T
3 3
j

,
" fff "
IV
pizz.

thumb sul pont.

,
b
b
b

5
,

o
3
3 3

r
9
. n +
0

.
o
j
B/UUUUU|UUU|UU|U|U|u|
legno batt.

sf

3
3
3
fromperc 2
r
N

, , s

legno(sss)
8
P

sf
T

, j

quasi pont.

III
,
,
D

9
IV
,

simile
3
3 3
r
, j
, s
.
o
,
j
, j
.
o

J, j

legno
0
, , , J
,
,
,
b
b
<
crini
MT
3 3

*)

9
3
*) pitch: what E.H. will be playing at
the beginning of the next measure

< ,
,
8

, b
< ,
,
o

3
,
,
<
8

, ,
, b
,
,
. ,
<

o

3 3

j
<
8

<

o

s

8
cant. ma da lontanissimo

o
3
3 3
ocA
c
c
-
cE
c
c
Fc

.
\IDDDDbDDDD dbDDD ddbDDdD dbDD dD db
0

o

3

.
s
.
\IDDDDbDDDD dbDDD ddbDDdD dbDD dD dbDdDdbDddb

w
<

8
cant. ma da lontanissimo
vib.

3
3 (o = voice)

ppppp
.

pppppp

o

only enough to mask the entrance of accordion

. ,
.

.
,

o
3
ossia:
. ,
3

,
,
,
, s
n
.
pppppp
suono mobile
,
, ,
,
,
, ,
,

,
,,
,
,
,,
,
9
,
,

,

,
ppppp

3

,
,
, s
.
,
,
,
,
,
,
,
,

,

3

m
[VOL: 1]
bright
medium
dark

rub megaphone on a surface (cloth, skin, hair, etc.)
according to the indication given (bright/medium/dark)

m
[VOL: 1]
bright
medium
dark

rub megaphone on a surface (cloth, skin, hair, etc.)
according to the indication given (bright/medium/dark)



pizz.
8

3
,
,
b

II
,

, j

,
,
D

p
,

,
,

3 3 3 3
,
,
,
b
b

8
J
,
,
, s
0
legno(sss)
,
,
,
,
,

,
,
j

f9
,
,
,
j
-
,

,
-
8
,

,
-
,
.
.
,
,
s
.
crini
,
change bow ad lib.
3 3 3
rit.

vib.

o

s

" 1 "

8

, n
.
ppppp
3
3

" fff "
?

*)

.
<

9
s
f

sf

j
, b
ppppp
3
3
3
*) find a multiphonic (M) which has sounding g- as its lowest note. begin with the
upper note of this M (whichever that might be) and reach for the whole M. then go
down to the g- and, from then on, a gliss to f#.
>
}h
c
c
-
c /
c
c

j

8

.
" 3 "

p
3
3


8

" fff "

3


J
,
.
niente
,
,
j
<

6
, n
s
, j
,
,
s
,
2
s
,
,
,
g
<
5
vib.
3
3 3

b

" 3 "

.
s
.
" 1 "
j

" fff "

3

sf

bright
medium
dark
m
. ,
[VOL: 1]
"
p
"
,
[VOL: 10]
3

[VOL: 1]
,
//
[VOL: 10]

,
a

,
-

.
" 3 "

.

.

. .

.
.
.
.
8

K
3


s
2
. .

. .


. ,
[VOL: 1]
"
p
"
x
,
[VOL: 10]
3

[VOL: 1]
3

x

,
[VOL: 1]
"
p
"
3

,
-

quasi pont.
. .

, s
" 1 "
MT!

J
,
, + ( )

crini
,
,
,
, s
f
, ,

3
3
?

,
,
,,
,
,
, ,
, , , s , ,
++press.
J, , , ,
3
, ,
sf
crini
J, ,
0
, ,

3 3 3 3
qqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqqqqqqqqqq
oo
oo
ssssss
legno
ssssssssssss
WWWWWWWWWWWWWWWWWWWWWWWWWW

[23/35]
7
?
r
r
r
t
?
r
?
|
|
|
|
r
r
?
|
N
?
R
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

7
c =60
107 ,

,
,
,
p
,
2
{2=3=4;=2=3=4}C#

s
<

9

<
s
8

5
3 3
trillo legatissimo!
|
j

r
. ,
<
,
,
b
<
. ,
<
8
,
, b
<
,
,
.
o

5 5 5
j

|
j

sf
j

"sffz"

. j
.

da lontano

123

sfz

. .

j

.
"sffz"
. j
.

da lontano

g
B1-

~
7
sf0

<
,

bend
,

<
8
,

bend


5 5
.
m
,
<
,
<
0

.
,
<

j

o
.
,
<

,
<

n w

. .
,
<

<

<
9

<

o

5 5
(mute as fast as poss)
r

3
,
suono mobile
,
<
J
8
J
9
5 3 3
|

107

.
.
, , s
crini

MT
" fff "
, ,

legno(sss)
ORD
3
,

sf

[VOL: 10]
m
2

.
.
, , s
0
, ,

3
r

<
crini

r
<

3
perc. 2 >

.
, , s

9
legno(sss)
P
J

" fff "

T
3

b
, b

<
,
,
<
5

J,

, ,
, b
,
,
d
<
,,<
,,}h
,,c
,,c
,,-
,,c \
,,c
,,o
Eb

3
5


s
<

j
<
8

0
5 5

i
3
molto secco
. .

, g

Db
, b , g
F
5
R

0

o

s
<

8

g
b
9

p

.
vib.

9
3
5
5
r
|

n
.
da lontano

ppppp

.
o

d
s
.
\IDDDDbDDDD dbDDD ddbDDdD dbDD dD db
sf9

s
123
8

5
j

.
13

b
1
9
.
5
5
.
.

0

.
o


.
" 3 "

.

pppppp
use the softest mallets you can possibly find

.
,
<
0

o
.
,
<
ppppp
,
3
. .

D
sf
on the beat
. .
0

" 1 "
with 2 hands, like a harp
J
8
J
9

3 3
J
B/uUbUuUbUuuUbUUUUb
" fff "

3
r

.

.
9


P
T
, , j

III
IV
8

" fff "

5
, ,
" fff "

.
.
, , s +

sounding:
0

b
+

8

o

5

<

<

8


<

<

o

i

pizz.

sf
3 3 3
5

d
s
- w
3
. .

, , b

0
, , D
<

, , b

, , b

5
r

, , j s
IV+V
38
, , s
,
,
s
<
III
, , n

^

^
,
, s
^ .
.
,
,
s
s
,
,
p
cant.
5
5

,
,
\

,
,
,
<
8
,
,
b
b
,
, b
<
,
,
5 5 5

, ,
, b
<
8
,
,
d
<

, j
<
, n
2
, , ,
,
,
,
d , d
<
5 5 5
. j
j
<
8

.
.

<
i

o
5 5
5

r
,
p
molto cantabile
,
, n

o

j
H

5
t
i

o

5
r

.
+
.

8
cant.

5

7
,

suono mobile
,

2
,
-
,

5 5

j
,
,
,

, s
n
.
pppppp
,
,
,
,
suono mobile
.
. .
. .
. .
.
,
,

,

,
2

s
n

J
,
,
,
n
s
,
,
,
.
.
.
,
,
,
,
,

, , D

<
8
, , b

, , b

, , D

<
I
, , b

0

.
,
,
+
d

III
legno(sss)
IV
0
5 5
inaudible at beginning
,
,
9
, , , s
<
p
, , , ,
<
2
, ,
++press.
++granular
++beatings
*)
, ,
<
-
, , ( )
-
*) only overtones,
pitch unrecognizable
*)

5
5
*) NB: the increased pressure does not imply, by any means, a harsh, agressive sound. A
sound should be produced which is almost as if you could "touch" it, and, at the same
time, should never appear "intentional"
qqqq
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW

/\
WWWWWWWWWWWWWWW


ss











s
s
sss s
s
sss
P
T
P
T
P
T
P
T
P
T
P
T

sssssss ssssss ssss
[24/35]
|
r
r
r
r
t
r
r
?
|
|
t
r
?
|
|
N
r
R
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

110

,
9

o

5
, .

5

<
9

s
l
< j

o
5

?
. +

.
2

.
5

m
very high
higher
low

feedback resonance:
3 different pitches

<
-
ppppp

.
<
vib.

<
-


-
simile
3 3
3
J .

. . ,

*)
1
sfp
7
5
*) make the bass drum resonate too

. ,
<
0
suono mobile
J
9
"cant."
J
. .
,
<
5
3 3

T
sf
. .
,
.
9
suono mobile
5

d
.
sfz

b
.
subliminale




5
3
I

5
110

[VOL: 5]
,
-
/e/ *) keep vocal actions through the pauses, the rhythmindicates the on/off actions
*)
" pppp"
.

m
. .
[VOL: 5]
,
-
/a/
*)
" pppp"

<
crini
0



3
(same pitch as before)
,
, d
.
.
,
, .
.
.
, n
d
<
*) j
, n

<
espress.

.
<

5 5 5
*) III: 9th overtone
IV: 12+13th overtones (double flag)
?
.
sfz

-
8
3
3
j

-
8
3
3

. j
.

ppppp

<

J

o
3
3 3
B123

.
.

ppppp

<

J

o
3 3 3
B4
.

vib.

.
vib.

9





.

ppppp
3
3
3
3

2
5
,

2
. ,

bend
3
j

sf

ad lib.

0

,



3
r

p

8

p

r

poco




.
.
.

sfz

|

. ,
-
/e/


.
,

m
,
f
3

,
-
/e/

.
,
-
/a/
.
,
8
/f/
.

simile

3 3

.
B/UUUUU|UUU|UU|U|U|u|
legno batt.
ric.
,

9
. .

3

i
3
. .

.
+

j
.
8
3
, ,2 ,2 ,2 ,2
, n3 n3 n3 n3
4 44 4
- -- -
A2 A2 A2 A2
B BB B
D# D# D# D#
7

s
\
" fff "

sf

3

b

g
3
i

o

5 5

" 3 "

sf
.
s
0
j

3 5
3
ocA
c
c
-
cE
c
c
Fc

s
" 3 "

sf
. 3

,
,
g
p
espress.
, b
<
vib.
" 3 "

o
. ,
inaudibile
0
,
,
3
5
3
R

s

sf
.
b
-
.
ppppp

-

-

-

-

b
-

-

-

-

6
3
5
5 5
r

*) pitch ad lib.
*)

s
-
.
ppppp

-

-

-

-

-

s
-
-

-

j
-

6 5
5

b
B/uuu|U|U|UU|UUU|UUUUU|
sf

g
<
f

sf

b
.
9

.
b
-
.
ppppp

-

-

-

-

-
6
3 5
5 5

^
j

ppppp

.

3
5 5
-

.

" 1 "

ppppp

6
3
. .

+footpedal
. .

b
b
3

,
b
.
0
//

" 1 "

3
.
.
.
.

.
sfz
.
K
8

. .
t

" 4 "

i ,
,
,
, s
n
.
pppppp
,
,
,
,

2

3
5 5
r
j
" fff "

I
,
,
, s

3
5
r
,
sfz

. .
,

f
.
.
,
"
p
"
B

I.

3
5
,
x

IV
" 1 "
,

j
, s

MT!
sf

3
|
, b

IV
tall.
2
,

, n

,

III
, b

p
, n

,

IV
" 1 "
,

sf

MT!

.
, +
.
III
0
legno(sss)
3
5 r
, , s j

3
,
, n
s

, , s j ,
,
j
s

-
p
,
,
-
,
, s
-
,
,
s
-
,
,
, , s +
<
2

, ,
beatings = ~df5 ffg
f
I

2
molto tenuto
++press.

-

j

5
5 5
qqqqq
ssssssss





qqqqqqqqqqqqqqqq


qqqqqq ssss
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
P
T
[25/35]
7
?
r
r
r
R
r
r
?
|

|
|
r
t
r
r
|
|
|
r
R
4
3
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

7
113

8

2

<
b


3

.
, g

,
j
,
9
vib.
3

p
j

o
. , j
.
ppppp
, ,
3 3

.
, r
.
ppppp
, ,
,
,
,
,
8
, , j ,
,
,
s
2
, ,
, s
, g
2
,
,
2
. ,
, g
3
3
->Bb
C
#
F

l
s
.
0

j
valve
+

3

MUTA IN Bb TRUMPET

m
. ,
quasi improvisando
ppppp
,
2
3

sf

c
.

,

J s

r
9

3
j

sf

,
ppppp

. ,

suono mobile
J
8
3
ad lib. with 2 hands (and 2 superballs, of course)
.
,

T
sf

//
J
g
0
g b
o

3
b . .

113
,
-
/e/
8

,
/a/
8

r
.

. ,
-
crini
" 3 "
x
N
, , , + j
<
III
II
9
,

, , , + j
<
,

, , ,

3
|
.
B/UUUUU|UUU|UU|U|U|u|
crini
ric.
" 3 "
,

.
rit.

o

, . , ,
9
.
5
(only air)
, . , ,
9
.
5
(only air)
J ,
2

o

3

, ,
,
,

-
//
,

,
<

9
,
3
3
3
.
7
,

8

2
. ,

,
higher flageolet
2
,

2
5 5

w
. ,
8

2
. ,
8

2

5 5
J
0
.
3 5

,
/a/
8
. .



<

crini
0
.
.

,
-
" 4 "

5
?

n=52 q = 40

.
s

s
9

3
3
3 3 3



s
\
" fff "

sf

3

.
o

s


0
s
<

.
5
5
oc
Hc
Bc
-
c
c
Fc
.
o

s
<

.
5
5
,cc
,c
,Bc
,-
,c
,c
G#c
J,
0
3
j
.

ppppp

<

s
-
9

3


.
.

s
.

falsetto

s

3
5 5
3
3
?

<
ppppp

s
n

9

o

`


j
b

+
o

sf

5 5
3
different fingerings

ppppp

<

b
B/uuu|U|U|UU|UUU|UUUUU|
sf

g
2
3

sf
b

9
5 5
3
3 3
, . ,
2
,

.
,
-

,
,

,

3 3

9

.
0

o
3 3

"
~

,

5
,
2

sf

hand vib.

+footpedal
3
. ,
center
edge
0
7

f
,
8
.

5
6
3

s
s

2

b
b
b
n

8

" 1 "

3

,
,
,
,

,
,
,
,

.
.
.
.
8
.
K
sf

3
(approx. range)
?


8


" 1 "

b
.
ppppp
3
3


b
3

s

crini

IV
flaut.
,

" fff "

3
|
,
/a/
8
.

B
,
3
.
,

,
.
. .
3

.
,
,
b
+
-

legno
" 4 "

d

crini
3

.

,
l
j
l

sounding:
punta
,

.
.
.
,

o
3 3
III, IV

,

2
tall.
, b

III

.
.
s
-
8
III
IV
s
2
++press.
*) only overtones should sound
*)

sfz

,
.
III
legno
0
3
3
r

, , + n

2

,
, n
+

,
,
j
s

, , s

,
,
s

p
, , s +

, ,
2

++press.
, , .
.
,
,
2
, ,
-
3
3
|
qqqqqqqqqqq







sssssssssssssssss

qqqqqqqqqqqq qqqqqqqqqqqqqqqq ssssss
WWWWWWWWWWWWWWWWWWWWWWWWW
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
P
T
[26/35]
7
?
r
r
r
R
?
r
?
|
|
|
?
r
r
|
|
N
r
|
4
3
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
q = 40
116

,
0
J
,
,
j ,
,
2
. ,
,
, J
,
,
,
,
2
3 3 3


.
pppppp
3

. ,
/e/
8

. ,
<
w

<
.
<
9
.
<
,
9
i
ppppp

J
g
0
b . g
3 5

116

m

,
-
/a/
8

. .
, , s
legno(sss)

" 3 "
, J
.
,
+
double flag.
(III)
8
,
,
,
j
II
III
,
,
<
8
,
0
.
.
, + j
<
p
cant. ma da lontanissimo
3 5
,

" fff "

, +

suono mobile

(sic.)
.,
double flag.
ppppp
3
5
r

.
.
ppppp

.
.

s
0
(as a shadow of Kontraforte)

3


, g

,
9
vib.
,
.
ppppp
, , ,
9
, j
.
ppppp
, , ,
9
,
,
8
cant.
J,
9
,
,
s
2
. , ,
, s
2
,
,
,
. , g
2
8

o
3
3
J

j
2

o

3

m
,
ppppp
,
,
2
,
,
.
,
,
,
2
3
3

J
<

o

3

knuckles
.
. ,
suono mobile
2

.
2
.
2 3

,
,
1C

3C

1C

J
b
pppppp

3
J

3

,
-
/a/
.
.
,
-
/e/
8

.
, , b +
-
legno
" 4 "

. .

0
crini

3
J
, , + j

o


pizz.
thumb sul pont.
8
.

3
?
J
., ., .
.
.,
2
,

3
t
rit.

. . .
o

5 5
,
.
o

MUTA IN OBOE

.
, .

o
. s

s
0
5
5
.
, .

o
.

s
0
5
5

ppppp
.
.

.
.

s
2

o
5 5
5

.
.

ppppp
.
.

s
2

o
5 5

. j

ppppp
.
.

.
2
. s
-

o
5
5 5
,
,

, ,
,
9
2

. , J
,
,
ppppp
2

3
3
3
r
.
j

~
,
8
7
.
,
2
,

sf

vib.

.
2
.
2

. ,
ppppp
.
0
J
o
5 3
t

.
,
-
/u/

,
-
/a/
.

/e/
8
. .

. ,
" 4 "
x

. ,

,
ric.
legno batt.
8
B/UUUUU|UUU|UU|U|U|u|

pizz.
thumb sul pont.
. .

R






qqqqqqq qqqqqqqqqqqqq
P
T
[27/35]
7
?
r
r
r
R
?
r
?
r
|

|
o
t
r
r
|
|
N
r
R
4
3
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Cb.
Perc. 2
Perc. 1
c=72
119

s
s

o

s

n
<
0
3 3

,
A

, ,
,
8
,
E
2
,
,
j
0
,
<

, s

. ,
/a/
m
8


3
|

7
sf
1
,
8
,

colla voce (kontraforte)

0

sfz
secco

. |
b
l

sf9

.
0

J

5 3
b
119
. ,
/e/
8

0
crini

, +
.
III
ppppp
, .
.
, ,
II
III
8
,
0
,
.
III
.
,
+
double flag.
(III)
8
5
, +

sfz


, d
pppppp
ossia: highest pitch on the G string

.

.
ppppp
.

<

o

, j
.
ppppp
,

j
9
3
5
12
cc
c
cC#
-
c
c
o

, n
.
ppppp
,

r
9
5
12
,cc
, c
, cC#
, -
, c
c
G#c
,
,
,
j ,
,
<
,
,
,
j ,
,
<
8
,
, , , j
C
#
9
, , s
3

s
.
pppppp

j
2
.
o

.
pppppp

s
2

.
o

J
.
pppppp

s
s .
o
3

m
very high
higher
low

0
bend with arm
,
rim
ppppp
.

,

.
~
ppppp
v
.
0
3

w

9

ppppp

o
.
-
8

. .
t
,


3

b
l

ppppp

3 3



.
,
/u/

. ,
/e/
8

.
,
/e/

. ,

legno(sss)
9
,.

,
,
,
j
II
III
,
,
<
8
J ,
, + j
<
p
cant.

3 3
?
,
J
,

J
, ,
8

o
3 3
|

.
.

s .
.

0

ppppp

-
" 3 "

ppppp

-

" 3 "
5 5

ppppp

-

" 3 "

5 5
, , , ,
, s
,
.
o

b
.

" 3 "


.

" 3 "

,
,
,
2

,
,
I,

5
5
5
, .

" fff "

q

. ,

5
r
,

T
9
. .
,

. ,
/a/


,
/u/
[VOL: 10]
.
.

" 1 "
rub mic (low)
.

sf

pizz.
thumb sul pont.
9
.
,

crini

9
I
o

5
R
, +
"pizz."
sf
. .

, j

,
,

. .

. .

. ,
/e/
8
m

.

9
rim
. .
|

8
. .


. ,

ppppp
|
j

sf

b
.
pppppp

l

sf9

b
,
/a/
8
. . ,
/a/


.
,
/e/
8


,

9
legno(sss)
,
.
.
, s

legno
N

, +
.
III
II
ppppp
legno(sss)
.
.
,
,
2
, ,
8
alguien que ya toque el si
r
. .
, +

suono mobile
legno(sss)
, ,
.

qqqqq

s
s
s
s

WWWWWWWWWWWWWWWWWWWWW
[VOL: 1] [VOL: 10]
[VOL: 10] [VOL: 1]
P
T


P
[28/35]
7
?
r
r
r
R
?
r
?
|
|
|
|
r
r
|
|
N
r
R
4
4
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla. Vla. Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

123

.
s

8


o

, j

,

8 sf
.
3
12
ccA
c
c
-
cE
c
c


,

sf
.
8
3
,
,
8
,
2
,
,
j ,
,
. ,
. ,
<
,
,
n ,
,
<
,
3

.
pppppp
3


.
pppppp
3
.
,
/a/

.

,

"white noise"
" 4 "


0

.
5
. ,
sf
b
l
0
.
b

, ,
,
,
, ,
.

3

J

3
123
. .

. .

,
/a/
.

.

.
,
x
" 4 "

, ,
,
0
,
.
,
+
double flag.
(III)
8
,
,
,
j
II
III
,
,
<
,
0
. ,
,
+ j
3
|

9

o
5
5
?

, +
.
0

3
j
,

o

3
j
,

o

3
,
,
,
,
<
p
,
, , , j .
.
, , s
2
,
, s ,
,
n
o
5
5
5
t
.
cant. ma da lontanissimo
ppppp

<
s .

3
5

.
.

2
i

3 5
5

b
.
.

2
I

3
5
5

^
~

sf

-
.
" 3 "

3
J

.
,

1
2
sf9
,

.
,

2
8

sf

3 3

8



3
r

.
. s
0
,
.
j
sf
. .

3
t
, ,
,
,
, ,
pppppp

3
.

3

.
.

/e/
" 3 "

.
,

s
s
f
3
r

.
.

. ,

/e/

sf


, +

3
mute the strings while plucking, no pitch
r
J
, + j
<
p


3
?
,

" 4 "
J
3 3
t
n = 36-40
s

sf

.
p

s
.

o

5 5 5

J,
.
ppppp

s

3
,

3 5
5


b
.
g

012346 012346 012346 012346
f
.

3


, +
.
ppppp
,

.
, n
=

"blowon the wind"

8 sf
n
=
2

.
,

, , j
2
,
,
2
8
,
5 3

.
f

sf
{0
,

{

U
9
.
U

6
f
. .

H

9
.

9
.
o

.

.

H
0

hand vib.

t

0

s
w
f
. .

5

.

b
pppppp

l

sfz

0
.

2
5
only crescendo enough to produce beatings
b
,

s
,
,

8

s

s
s

U
punta
8

,
-
x
" fff "
.
r
,

s
s

3
vib.
.
.
, , r n

legno(sss)
suono mobile
0

N

,

legno(sss)
batt.
9
, s

.
,
, +
.
III
II

,
, , , n +
8
, +
0
5 r

8
2

. .
I
J
, , + r
-

8
.
.
, ,

(ad lib. only G string)
R
mmmmmmmmm

qqqqqqqqqqqq
qqqqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqq


qqqqqqqqqqqqqqqqqq sssss
T








[29/35]
7
?
r
r
r
t
?
r
?
|
|
|
r
r
|
r
N
r
R
4
3
4
2
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

126

,
,
s ,
,
9
2
,

s
2

2
{==4;=2=3=4}C
, n
J

s
+
8
3 3

, . , , , . ,
9
,
3

,
ppppp
, , . ,
9
,
3
,
,
j
J
,
,
2
pcant.
,
,
,
,
2
,
8
,
2
3

,
8
w

t
. ,
<
.

,
s
j
T
. s
K
5
?
.
b
l
2

5
.

126

.
,
-
legno contro crini
" 3 "
.
C
sf

(make the tailpiece resonate)
r

crini
legno
sf
(III)
.
, b

legno(sss)

across the bridge: legno plays the fingered

note, crini play behind the bridge on the
same string (D in this case)
(behind the bridge)

j

legno(sss)
8
, .
.
,
+
8
,
,
,
j
II
III
,
,
<
,
. ,
,
+ j
<
p
. ,
,
j
, d
f

J
.
ppppp
{2=3=4;=2=3=4}C#

s
2

3
,

3 5
5

, s

J, n
= j
b
.
=
p

3
3
s
0
j j

3
3

" 3 "

9

, s
f
j
sf


,

.
.




b . l
f p
b
b

,
,

s
(begind the bridge){
crini
legno(sss)
8
.


(III + IV)
,

crini
legno
" 1 "
x

.
P

n
s

,

, s
b
punta

,
, +

. .
, , + r
-

, ,

" 4 "

,
,
s ,
,
8
,

s
2
{==4;=2=3=4}C
, n
J

s
+
2
3 3

,
,
,
j
2
8
,
,
.
.
,
,
2
p
,
, s
,
, ,
, s
,
o

.

sf
.

3
. ,
3
I

I
b




6
3


3
.
,

IV

thumb
sf

,
l

P
2 5
j
,
, j

MP!

I
II

III
8

" 1 "

|
r
|
,
,
,
, +
8
.
, n
2
,
, ,
2
, , ,
j
, , n d

f

3 3

n = 60

s
-
sfin pp

n
-
8

.
ppppp
.
.
,
,
s
,

, s
=
5
//

=
p

, n
=

=
3
,
=

=
8
j
D
=

3
j

0
2

6

9

3
s
.

5
.
.
9

,
b

, s
.

,

.
. s
. |

. . b

. . b

p
poco vib.

MP!
3

s
T

p
poco vib.

MP!
3

. .
, , + r
-

mmmmmmmm


[30/35]
7
?
r
r
r
t
?
r
?
|
|
|
|
r
r
r
r
|
r
R
8
9
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

130

2

2

2
8

2

2
o
3 3

.
.
,
,
s ,
,
8
, r

.
.
,
,
j
p
,
,
2
6
j
,
3

. ,
w
0

,
3

3
t

l
b



b
3

130

b
n
,

n
b
b
b
P
,

p

o
3
3

s
n
,

,
n
l

P
J
,

,
p
3
N

,
, +

,
,
2
,
,
,
2
, ,
,
j
2
8
,
, ,
2
, , , n d
-
2
o
3 3
J
, , +
" 3 "
J
,
,

3
t
c= cpoco pi mosso

n
b
b

. .
,

8
. .
3
.
,

.
ppppp (covered by other instruments at the beginning)
,
,
,
s ,
, . ,
,
,
8

b
.
0
l
.

38
01123 01123 01123 0112346 46 46 466 66 6

59
simile

8
.

.
3
. , +
pppppp
subliminale
. , , ,
2
,
2
,
8

i
3

. .
s
=
2p
, j
=
, s
=
,
s
l
=
5
,
=
n
=
3

J
, n

,
,
j
8
.
.
,
,
2
,
3

.
.

9

o
.

.
.
9

5

9

3
vib.

s
p

5
r
.
9


.

. .
,
U
c

.
. .
.

sf
rim

"scream"

. .


,
2
9

2

+footpedal
. .
5

s
s

s
9

0


,

.
, ,

s
s l
s
,
,

j
l

,

,
,

j
s
s



,
p
. ,
<
|
.
b
.
pppppp

l

fp

2
.


2

-
.
b . .

p
,

b
,

f
,

s
.
.
.
,

, l
5

o
,
, s

MP
9

MP!

sf
,
,

simile

sf

,
,

sf

5
3

.
.
.
,

, l

9
,

,
3

,
, s

MP
9

MP!

sf
,
,

simile

sf

,
,

3
. .

2
.

.
.
, , , ,
<
, , ,
<
, , , d , ,, n d
<
p
, , d , ,, n d
<
3 3 3
?
s
\IDDbDDdbDddbddddddb
legno batt.
ric.
" 1 "
.

, , + r

" 4 "

" fff "

.
R
t

,
s
^
2

,
^

,
n

,
s
s
s

s

. , +

8
.
5 5 5
.

,
.
ppppp
J
,
,
s .
.
,
,
,
,
p
,
b
.
0
l
.

38
01123 01123 01123 0112346 46 46 466 66 6

59
simile

8
.

.
3

. ,
.
pppppp
, . , , ,
<
, ,
<
,

e
f

0
2

. .
3
s
=
8
//
, j
=
, s
=
,
s
l
=
5
,
=
n
=
3

. , n

,
,
j
8
,
,
s
n
ppppp



.

9
.
o

.
9

f

9

p

.
s
.
f

3
vib.

5
r
.
9

.
.

2

. . |
,
U
"scream"
c

.
3
.

,

sf
rim

.
,

+footpedal
. .
,

U
"scream"

,
3

,
w

8

<

<

<

<

[ON/OFF]
[ON] 3
.

m
ppppp
[VOL: 10]

3

0
,
,
s
^

sf
.

.
,

0
,

, ,

s
s
s

,
,

,
.
. .
,

f
. ,
<
0

t
|

b
.
pppppp

l
++beatings
3

2
.

2
3

b . .
3
,

p
,

.
.
.
.
,

b
.
.
.
.
,

f
,

p
,

,
s
n
,

, s
,

,
f

,
, s

MP
p

MP!

sf
,
,

simile

sf

,
,

sf

5
,

8
,

2
.

.
+

3
,
, s

MP
p

MP!

sf
,
,

simile

sf

f
.
.

s
s

ppppp
r

.
,

, ,
2
, , ,
2
, , , d
2
, ,, n d
-
, , d
-
3
, ,, n d
-
3 3 3 r
s

.
legno batt.
\IDDbDDdbDddbddddddbdddddbddddbddddbddb
ric.
j

J
, , + r

" 4 "
.
" fff "
R
mmmmmmmm
[31/35]
7
?
r
r
|
t
?
r
?
|
|
|
t
|
r
r
|
r
r
R
4
4
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 56
133

, , ,
o

, , ,

. ,
/e/
0

o




133

sf

3
m

m

. .
-
0
rub mic (high)
,

.
.
,

,
/a/
.
5

,
/(e)ch/
0

5
I,
/e/

. .

t
8

5
.


5

.
m

[VOL: 10]

5
.



[VOL: 1]
5

.
.
rub mic (high)
8


5

rub mic (low)

sf


5

pppppp
quasi niente
3



.

J
b
pppppp
quasi niente
3

[VOL: 1]

[VOL: 10]

qqqqqqqqqqqqq
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmm
[32/35]
7
?
r
r
r
t
?
r
?
|
|
|
t
r
|
|
r
r
R
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
137

o

3
J

o
.
3

,
/a/
.
5

137

,
/e/

5

. ,
/o/

.
5

,
/e/

,
.
frozen, as soft as possible (try to avoid any fluctuations in dynamic)

3

.
, s
.
frozen, as soft as possible (try to avoid any fluctuations in dynamic)

3

,
.
frozen, as soft as possible (try to avoid any fluctuations in dynamic)

3

b
.

.
.

s
pppppp
quasi niente

.
.

j

o

3
3

.
.

s
pppppp
quasi niente

.

o

3 3
. s
.

.
.

pppppp
quasi niente
j

s

o

3
3

/a/
.

mmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmm mmmmm mmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmm mmmmmmmmmmm mmmmmmmmmmm

[33/35]
7
?
r
r
r
t
?
r
?
|
|
|
t
r
|
r
r
R
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
141

141

.
- rub mic (high)

.
.

pppppp
quasi niente

o

3

.
.

s
pppppp
quasi niente

o

3

.
.

s
s
pppppp
quasi niente

o

3

r
r

t
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmm


[34/35]
7
?
r
r
r
t
?
r
?

|
|
|
|
|
|
|
t
t
r
r
r
r
r
?
t
8
9
8
6
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.

n.= 54
144

,
s
^
2

,
^

,
n

,
s
s
s

s

. , +

8
.
5 5 5
.

,
ppppp
(covered by other instruments at the beginning)
J
,
,
s .
.
,
,
,
,
9
,
b
.
0
l .
38
01123 01123 01123 0112346 46 46 466 66 6
59
simile

8
.

.
3
. , +
pppppp subliminale
. , , ,
<
, ,
<
,

e
f

0
2

. .
3

, s
, n ,

. ,

.
.
,
,
j
8
s
=
"blowonthewind"
8

=
5
n
=

=
3

=
J



.

9
.
o
+ 6430\ 6430\ 6430\ 6430\
shake

.
9

<
f

9

.
+very slow beatings between tb. and tr.

p

.
s
.

3
vib.

5
r
.
9
+very slow beatings between tb. and tr.

sf
.
?
,
U
"scream"
c

.
.

,
on the rim
sf

.
,

+footpedal
. .

U
"scream"

,
3

+footpedal

,
w

<
p

<

<

<

.
.

0
,
,
s
^

p
.

.
,

0
,

, ,

s
s
s [ ]

,
,

j
[ ]

,
, .
. .

8
. ,
<
0

b
.
pppppp

J
l
p
++beatings
f

p
.
3

b . .
3
144
,

p
,

.
.
.
.
,

b
.
.
.
.
,

f
,

p
,

,
s
n
,

, s

3
.

8
,

2
.

.
+

0
suono mobile

.
.

.
, +

legno(sss)
III

.,
p
2
*) ., .,
2
3
*) double flag. on G or any other flag. in C
or D which is close enough to produce
beatings.
r
s

.
legno batt.
\IDDbDDdbDddbddddddbdddddbddddbddddbddb
ric.
j

J
, , + r

legno(sss)
" 3 "

.
" 1 "
R

. , r

o

.
. . s

" 3 "

J
,
<
, , .

.
.

" 3 "
.
.
. s

" 3 "
,
, ,

o

.
.
s
, j

,
, s
6

.
.

.
8

0
.
.
. n

" 3 "

. d
.
.
fast beatings

r
slow beatings
8

0
.

.
.

,
U
"scream"

. .
.

.

,
.
0
w

8

1C
8
. ,
<
,
<

.
,

corte
,
<

r
.
,
T
sfin pp
.
,
<

. ,
<

.
secco
f

J
,
,
,
, s
n
.
pppppp
.
.
.
.
,
,
,
,

j
,
,
, s
.
.
.
.
,
,
,

.
.

x
.
.

,
P
p
j

,

o
x
.

.
.
.

,

x

,
.
.

,
P
p

o
x
.
.
.
.
,

,
b
b
ppppp
.

,
pizz.
" 3 "
.
,

s
s


,

f
r
J
. ,

0
.
. . ,
-

quasi pont.
" 3 "
?
.
. , j
0
inaudibile
IV
legno(sss)
,
,
V
.
.
,
,
,
,
arco mobile
,
,
p
rall.

.


.
,
, , .
o


, j ,
, s
9
,
,


b
, g
0

,
.


bend with arm

o
.
,

l
@
,
sf
. .

//

S
" 1 "
9 .

hand vib.
.

,
<
0
.

,
-
<

.
,
,
<
ppppp

,
,

. .

. , j

,
0
,

,
.
.
.
,

,
,

,
8
J
,

,
,

,
0
.
.
.
,

, b
9
,
,

.
9

j
, s
.

pizz.
thumb sul pont.
9

,
, , , j
-


, ,

IV+V
\

9
, , s

c =48

,
<
,
, s
,
, j ,
, s
-
molto tenuto

,

o
.

, , j s
.
ppppp
, ,
<
, , , ,
9
molto tenuto
, , j
-

[35/35]