an original composition, concerto for piano and orchestra

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LSU Doctoral Dissertations Graduate School

2004

An original composition, Concerto for Piano andOrchestra, and an analysis of Camargo Guarnieri'sConcerto No. 5 para Piano e OrquestraLiduino Jose Pitombeira De OliveiraLouisiana State University and Agricultural and Mechanical College, [email protected]

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Recommended CitationDe Oliveira, Liduino Jose Pitombeira, "An original composition, Concerto for Piano and Orchestra, and an analysis of CamargoGuarnieri's Concerto No. 5 para Piano e Orquestra" (2004). LSU Doctoral Dissertations. 2393.https://digitalcommons.lsu.edu/gradschool_dissertations/2393

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AN ORIGINAL COMPOSITION, CONCERTO FOR PIANO AND ORCHESTRA, AND

AN ANALYSIS OF CAMARGO GUARNIERI’S CONCERTO NO. 5 PARA PIANO E ORQUESTRA

A Dissertation

Submitted to the Graduate Faculty of the Louisiana State University and

Agricultural and Mechanical College in partial fulfillment of the

requirements for the Degree of Doctor of Philosophy

in

The School of Music

by Liduino José Pitombeira de Oliveira

B.M., Universidade Estadual do Ceará (Brazil), 1996 M.M., Louisiana State University, 2000

May 2004

ii

© Copyright 2004 Liduino José Pitombeira de Oliveira All Rights Reserved

iii

DEDICATION

This work is dedicated to my wife Maria José Bernardes Di Cavalcanti, who has always

encouraged and supported me to achieve my goals as a composer.

iv

ACKNOWLEDGMENTS

I would like to thank my parents, José Gomes de Oliveira and Maria Dolores Pitombeira

de Oliveira for their support during these years of hard study; my wife, Maria José Bernardes Di

Cavalcanti, for her patience and enthusiasm; my advisor, Boyd Professor Dr. Dinos

Constantinides, for his academic dedication and orientation during the production of this

dissertation and fifty other pieces; my former advisor in Brazil, Professor José Alberto Kaplan,

for his eight years spent in my formation as a composer; my harmony and counterpoint teachers

in Brazil, Vanda Ribeiro Costa and Tarcísio José de Lima; and the Syntagma ensemble, in

Brazil, for being the initial laboratory for my musical experiences as arranger and composer. I

also thank Dr. Joe Abraham, from the LSU Writing Center, for working with me on the English

problems; Guarnieri’s biographer, Dr. Marion Verhaalen, for her wonderful book on Guarnieri

and her total assistance by e-mail and phone about the musicological aspects of the piece; Max

Barros, from Ponteio Publishing, Inc., and Paulo Vicente and Alice Mangione, from Edições

Euterpe Ltda., for authorizing the use of excerpts of Guarnieri’s “Concerto No. 5 para Piano e

Orquestra” and Severino Araújo’s “Espinha de Bacalhau” respectively; and the members of my

committee, Dr. Dinos Contantinides, Dr. Jeffrey Perry, Dr. William Grimes, and Dr. Cornelia

Yarbrough for their valuable suggestions, comments, and corrections.

v

TABLE OF CONTENTS DEDICATION.................................................................................................................. iii ACKNOWLEDGMENTS ............................................................................................... iv PERFORMANCE NOTES ............................................................................................ vii EXPLANATION OF SYMBOLS ................................................................................. viii ABSTRACT...................................................................................................................... ix

PART 1: AN ORIGINAL COMPOSITION, CONCERTO FOR PIANO AND ORCHESTRA

I. DIALECTICS ..........................................................................................................2 II. MEMORIES OF SARATI.....................................................................................40 III. FINALE .................................................................................................................54

PART 2: AN ANALYSIS OF CAMARGO GUARNIERI’S CONCERTO No. 5

PARA PIANO E ORQUESTRA

CHAPTER 1. INTRODUCTION ................................................................................92 1.1 General Considerations....................................................................................92 1.2 Historical Background .....................................................................................92 1.3 General Overview of Guarnieri’s Fifth Concerto for Piano and Orchestra .....97 1.3 Classification of the Types of Sonorities Used in This Analysis ....................99

CHAPTER 2. FIRST MOVEMENT: “IMPROVISANDO.”......................................104

2.1 General Considerations..................................................................................104 2.2 Formal Design................................................................................................104 2.3 The Improvisational Factor............................................................................131

CHAPTER 3. SECOND MOVEMENT: “SIDERAL.”..............................................133

3.1 General Considerations..................................................................................133 3.2 Formal Design................................................................................................133

CHAPTER 4. THIRD MOVEMENT: “JOCOSO.” ..................................................148

4.1 General Considerations..................................................................................148 4.2 Formal Design................................................................................................148

CHAPTER 5. CONCLUSION...................................................................................175

BIBLIOGRAPHY ..........................................................................................................182

vi

APPENDIX A. LETTER OF PERMISSION I ...........................................................................184

B. LETTER OF PERMISSION II..........................................................................185

C. TYPES OF SONORITIES .................................................................................186

VITA................................................................................................................................187

vii

PERFORMANCE NOTES

“Concerto for Piano and Orchestra” is scored for the following instrumentation: Piccolo (Picc.) 3 Flutes (Fl.), third flute also plays Alto Flute 2 Oboes (Ob.) English Horn (E.Hn.) 3 Bb Clarinets (Cl.) Bass Clarinet (B.Cl.) 2 Bassoons (Bn.) Contrabassoon (CBn.) 4 Horns in F (Hn.) 3 Trumpets in C (Tp.) 3 Trombones (Tn.) Tuba (Tb.) Timpani 3 Percussionists:

1. Snare drum, Triangle, Tubular bells, Vibraphone, Suspended cymbal (3rd movement).

2. Bass drum, Suspended cymbal (1st movement), Temple blocks, Crash cymbal, Bongos.

3. Xylophone, Glockenspiel, Crash cymbal, Tambourine, Woodblock, Slapstick, Marimba (4 octaves).

Harp (Hp.) Piano (Pno.) – soloist Strings:

Violin I (Vn.I) Violin II (Vn.II) Viola (Va.) Violoncello (Vc.) String Bass (S.B.)

The score is in C, i.e., all instruments in the score, with the exception of octave transposing instruments, appear at concert pitch. Accidentals are valid for the entire measure, in the indicated octave only. Courtesy accidentals have been added for clarity.

viii

EXPLANATION OF SYMBOLS

ix

ABSTRACT

This dissertation is in two parts. The first part is an original composition, “Concerto for

Piano and Orchestra.” The second part is an analysis of Brazilian composer Camargo

Guarnieri’s “Concerto No. 5 para Piano e Orquestra.” I chose to analyze this work by Guarnieri

because I am also a native from Brazil and I believe he is one of the most outstanding composers

of the twentieth century. His wonderful mastery of both modern and traditional techniques of

composition, the blending of these techniques with genuine folk and popular sonorities of his

native culture, and a disciplined life entirely dedicated to compose, perform, conduct, and teach

music are a bright inspiration to composers inside and outside Brazil.

“Concerto for Piano and Orchestra” is in three movements, with three piano cadenzas.

The first movement, titled “Dialectics,” is in sonata allegro form and moderately fast. The

central idea of this movement is the conflict between tonality and dodecaphonism. After being

introduced in the exposition, the thematic groups fight during the development, and interchange

their roles in the recapitulation, i.e., what is tonal becomes twelve-tone and vice-versa. The

second movement, titled “Memories of Sarati,” is a tribute to the place where Camargo Guarnieri

spent most of his life composing and teaching. It is slow and uses graphic notation along with

traditional notation. The third movement, titled “Finale,” is fast and inspired by Brazilian folk

and popular music.

In the second part of the dissertation, the three movements of Camargo Guarnieri’s

“Concerto No. 5 para Piano e Orquestra” are analyzed with respect to formal design and

harmonic language. In order to accomplish this latter, a system of classification of sonorities is

provided in the first chapter along with historical and biographical information. In chapters two,

x

three, and four the three movements of Guarnieri’s work are analyzed in detail. Chapter five

provides a summary of the analysis.

1

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.œ# œ œ

.œ# œ œ

.œ# œ œœ œn œ œ œ œ œ œœ œn œ œ œ œ œ œ

.œ# œ# œ

.œ# œ# œ

.œ# œ# œ

.œ# œ# œ

‰ œ œ œ# œ œ œ

œ# œ œ# œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ

œ# œ œ# œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ



Jœ. ‰ Jœb . ‰

.œ# œ# œ

.œ# œ# œ

.œ# œ# œ‰ œ œ œ# œ œ œJœ. ‰ Jœb . ‰

Jœ. ‰ Jœb . ‰jœ. ‰ jœb .

‰

Jœ ‰ 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 œb œ œb œb œ œœ œ œb œ œb œb œ œ

OOOPOppO

3

œ œ# œ3

œ# œ œ#

3

œ œ# œ3

œ# œ œ#3

œ œ# œ3œ# œ œ#

3

œ œ# œ3

œ# œ œ#3


3

œ œ# œ3

œ# œ œ#

3

œ œ# œ 3œ# œ œ#œb œ œb œ œ œn œb œb


Jœb . ‰ jœ. ‰3


3


3


3


Jœb . ‰ jœ. ‰

Jœb . ‰ jœ. ‰jœb . ‰ jœ.

‰

Jœb ‰ Œ

∑∑

3

œ œ# œ3

œ# œ œ#

∑∑ &

∑

∑

3

œ œ# œ3

œ# œ œ#3


3


œb œ œb œ œ œn œb œbœb œ œb œ œ œn œb œb

B

B

e=e

e=e

π

ππ

ππ

ππ

.œ œ

.œ# œ

.œ# œ

.œ œ

.œ œ

.œ œ

.œ œjœn ‰ ‰ Œjœn ‰ ‰ Œjœn ‰ ‰ Œ

.œπœ

.œπœ

Jœ ‰ ‰ ŒHarmon Mute

Jœ ‰ ‰ ŒHarmon Mute

∑

∑∑∑

∑∑

.œ .œ œ œπ

Œ( ) Jœ ‰( )‰œgliss.

f ‰( )‰ Jœ

œfœ œ# œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

.œ œπ

.œ œ π

.œ œ πŒ Jœ#arco

Fœ# œ

Œ Jœ#arco

Fœ# œ

4

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&&

&?

&&B??

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

16 ∑

∑∑

Œ . œbF

1.

∑

∑∑

∑

∑

∑

∑

∑

Jœœbb˘F‰ ‰ J

œœ˘‰

jœnflF‰ ‰ jœfl

‰

∑

∑∑∑

∑‰

∑

‰( ) Jœ ‰( ) ŒŒ( )‰ Jœ ‰

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

∑

œF œ œ œ œœFœ œ œ œ œ œ œ œ œJœ Jœ# .œJœ Jœ# .œ

∑

∑∑

˙ Jœ

∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑.œ Œ

∑

œfœ œ# œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

∑jœ. ‰ ‰ Œjœ. ‰ ‰ Œ

Jœ. ‰ ‰ Œ

Jœ. ‰ ‰ Œ

n

∑.œbP

1. œ

∑

Jœn

‰ ‰ Œ∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œ# ¨ œ œ œ œœ œ œ œ œ œ œ œ œ œ

Œ . œπ∑∑∑

Jœpizz.

F‰ ‰ Jœ ‰

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œ# ¨fœ œ œ œ

œ œ œ œ œ œ œ œ œ œ

.œ# œ

‰ œπ œbŒ œπ

jœb∑

‰ Jœ ‰ ‰ Jœ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œfœ œ œ œ


œ# Jœn œ

œb œn Jœjœ œ œ

∑Œ Jœ ‰ ‰

∑

∑∑

∑∑

∑∑

∑œ.a2

Fœb . œb œ œ œ. œ.

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑


œ œb ¨ œb œ œ œ œ

œb œ œ œ œb

œ œ Jœ.œ œ‰ œπ

œ œ∑

∑

∑∑

∑∑

∑∑

∑œb . œb . œn . œ. œ œ

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑


œb ¨ œb ¨ œn ¨ œ œ œb &

œ Jœn œœ

Jœ œ œœb œ œ œ

Jœ œ œ#∑

C

C

∑

∑∑

∑∑

∑∑

∑Jœ. ‰ Œ Œ

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

9:8

œ œ œ

œœ œœ œ œ

œ# œ#

œ œ œ œ œ œ

œ# œ#

œn œn œ œb œb œ

œ œ œ

Jœ. ‰ Œ Œ

Jœ. ‰ Œ Œ

Jœ. ‰ Œ ŒœP

œ# œ#∑

5

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&&

&

&

&&B??

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

24 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

Œ6

œ œb œb œ œb œ6

œ œ œb œ œb œ

œ œ- œ- œ- œ- œ-

∑∑∑

.˙n∑

Œ Œ ≈ . rKœfœb œ œb œ#




Œ Œ ≈ . rKœf œb œœb œ#


Œ Œ ≈ . rKœf œb œ œb œ#∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑Bass Drum

∑Woodblock

∑∑

œb ¨ œ œ œ œ œ

œ œ œ œ œ œ ?

∑∑∑∑∑

œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙

∑

∑

Œ ˙P∑

∑

∑∑

∑

∑Œ ˙P

∑

∑‰ . rœF

Œ ‰ . rœ‰ . RœF

Œ ‰ . Rœ

∑∑

œœb ¨ œœ œœ œœ œœ œœ

‰ .. r–‡flƒ Œ ‰ .. r–‡fl∑∑∑∑

Œ ˙arco

P

jœn

‰ Œ Œ

jœn

‰ Œ Œjœ

n

‰ Œ Œjœ

n

‰ Œ 3

œa2

f œ# œ

jœn

‰ Œ 3

œfœ# œ

jœn

‰ Œ Œ

jœn

‰ Œ Œ

∑

Œ Œ3

œf

a2 œ# œ

œ ˙b∑

∑

∑∑

∑

∑

œ ˙b∑

∑‰ . rœ Œ Œ

‰ . Rœ Œ Œ

∑∑


‰ .. r–‡fl Œ Œ

∑∑∑∑

œ ˙b

∑

∑∑

3œb œ œb œ œ#3œn œ# œn œ

3œb œ œb œ œ#3œn œ# œn œ

∑∑

∑

3

œb œ œb œ œ#3

œn œ# œn œ

œ ˙∑

∑

∑∑

∑

∑

œ ˙∑

∑∑

∑

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Œ Œ3

œ œ œ#

∑∑∑∑

œ ˙

∑

∑∑

jœπ‰ Œ Œjœπ‰ Œ Œ

∑∑

∑

Jœπ‰ Œ Œ

.˙b∑

∑

∑∑

∑

∑

.˙b∑

∑∑

∑

∑∑

œœb ¨ œœ œœ œœ œœ œœ3œb œ œ

3œb œ œ œœbb

∑∑∑∑

.˙b

D

D

∑œb .a2

Fœb . œ. œb .

œb .a2

F œb . œ. œb .

∑∑

œb .Fa2 œb . œb . œb . .œ œ#

∑

∑œb .Fœb . œb . œb . .œ œ#

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œb .f œb .œb . œb . .œ œ#

œœœbbb ˘ ‰ œœœ ‰ Jœœœ

∑∑∑∑∑

∑œn œ œ

œn œ œ

Œ . Jœa2

Œ . Jœ

œ# œn œ#

∑

∑œ# œn œ#

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œ# œn œ#œœœn œœœbn

∑∑∑∑∑

∑œb . œn . œb . œ œ

œb . œn . œb . œ œ

œb . œn . œb . œ œœb . œn . œb . œ œ

˙b˙bFbFœ œb

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

∑∑∑∑∑

∑˙b

˙b

˙b˙b

œb œn

œb œnœb œ

œ œ

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

Œ . Jœf

œbp œœbp œœpœ

∑

6

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&&

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

34 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑œb œb œb . œ. œ# œn œ œn

œ# -F œ-œ# -F œ-œ# -F

œ# -œ# -F

œ# -

∑

∑∑

∑∑

∑∑

∑

∑

∑3Œ

1.

œ# -F œ-∑

∑∑

∑

∑∑

jœ#F Œ .

∑∑

∑

∑∑

œœ## ¨

f

œœ œœœœ## ¨

œ# . œ# . œ. œ# . œ# . œ. œ.œ# .

Jœ# . ‰ Œjœ# . ‰ Œ

Jœ# . ‰ Œjœ# . ‰ Œjœ# . ‰ Œ

∑

∑∑

∑∑

∑∑

∑

∑

∑3œ# œ œ#∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

..œœ## Jœœ##

œ# . œ. œ# . œ# . œ. œ. œ# . œ# .

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

œ# œ#∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œœ œœ œœ## ¨ œœ œœ##

œ.locoœ# . œ# . œ. œ. œ# . œ# . œ.

∑∑∑∑∑

∑

∑∑

∑∑

œba2

Pœ œ œb œ œn œb œ∑

∑

∑

∑

˙#∑

∑∑

∑

˙bP∑∑

∑∑

∑

∑∑

..œœ## Jœœ

œ#> œn œ œ# œn œ> œb œ

∑∑∑∑

˙bpizz.

P

∑

∑∑

∑∑

œb œ ‰ Œ∑

≈ œPœ œb œ œ œb œ

∑

∑

∑

∑

∑∑

∑

˙∑∑

∑∑

∑

∑∑

œœ## ¨ œœ œœ œœ œœœ# œn œ> œ# œn œ œb œ>

∑∑∑∑

˙

∑

∑∑

∑∑

∑∑

œ œb œ œb œ œn œb œ

∑

∑

∑

∑

∑∑

∑

˙∑∑

∑∑

∑Xylophone

∑Gn Df∑ ?

..œœ## œœ œœ##

œn œb œ œ# œ> œ œ œn

∑∑∑∑

˙

E

E

∑

∑∑

∑∑

∑∑

œ#˘ ‰3

‰ œ ‰œ#˘Fa2

‰3

‰ œ ‰œ#˘F‰

3

‰ œ ‰

∑

∑

∑∑

œ#˘Fa2 ‰

3

‰ œ ‰

œ#flF‰ 3‰ œfl ‰∑

œ#˘F‰

3

‰ œ ‰

∑∑

œF œ œ œ œ œ œ œ

∑3

œ# œ œ3œ œ œ

œn œn œ œ œ œ œ œ

3

œ# œ œ3

œ œ œ

∑∑∑

3

œ# œ œ3œ œ œ

œ#flF‰ 3‰ œfl ‰

∑

∑∑

∑∑

∑∑

3

‰ ‰ œ#˘ Œ

3

‰ ‰ œ#˘ Œ

3

‰ ‰ œ#˘ Œ

Œ1.

œ#F œ#∑

∑senza sordino

∑senza sordino

3

‰ ‰ œ#˘ Œ3‰ ‰ œ#flŒ∑

3

‰ ‰ œ#˘ Œ

∑∑

œ œ œ œ œ œ œ œ∑

3

œ# œ œ3œ œ œ


3

œ# œ œ3

œ œ œ

∑pizz.

∑pizz.

Œ œ#Fœ#

3

œ# œ œ3œ œ œ

3‰ ‰ œ#flŒ

œ.fœ# . œ. œ# . œ. œ# . œ. œ.

œ.fa2 œ# . œ. œ# . œ. œ# . œ. œ.

œ.f œ# . œ. œ# . œ. œ# . œ. œ.œ.fa2 œ# . œ. œ# . œ. œ# . œ. œ.

œ.f œ# .œ. œ# . œ. œ# . œ. œ.

œ.fa2

œ# . œ. œ# . œ. œ# . œ. œ.∑

œ ‰3

‰ œ ‰

œ ‰3

‰ œ ‰

œ ‰3

‰ œ ‰

˙∑

∑∑

œ ‰3

‰ œ ‰

œfl ‰ 3‰ œfl ‰∑

œ ‰3

‰ œ ‰

∑∑

œb œ œ œ œ œ œ œ∑

3

œ œ œ3œ œ œ

œb œ œ œ œ œ œ œ

3

œ œ œ3

œ œ œ

.œF

œ# .œ# œ

.œF œ# .œ# œ˙

3

œ œ œ3œ œ œ

œfl ‰ 3‰ œfl ‰

7

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&B??

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

44 œ. œ. œ# . œ. œ# . œ# . œ# . œ.

œ. œ. œ# . œ. œ# . œ# . œ# . œ.

œ. œ. œ# . œ. œ# . œ# . œ# . œ.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 Œ

3

‰ ‰ œ Œ

3

‰ ‰ œ Œ

œ œ#∑

∑∑

3

‰ ‰ œ Œ3‰ ‰ œflŒ∑

3

‰ ‰ œ Œ

∑∑


3

œ œ œ3œ œ œ


3

œ œ œ3

œ œ œ

.œ œ .œ# œ

.œ œ .œ# œœ œ#

3

œ œ œ3œ œ œ

3‰ ‰ œflŒ

œ. œ# . œ# . œ# . œ# . œ. œ. œ.

œ. œ# . œ# . œ# . œ# . œ. œ. œ.

œ. œ# . œ# . œ# . œ# . œ. œ. œ.œ. œ# . œ# . œ# . œ# . œ. œ. œ.


∑

œb˘ ‰3

‰ œ ‰

œb˘ ‰3

‰ œ ‰

œb˘ ‰3

‰ œ ‰

˙#f∑

∑∑

œb˘ ‰3

‰ œ ‰

œb˘ ‰3

‰ œ ‰∑

œb˘ ‰3

‰ œ ‰

∑∑

œ œ# œ œ œ œ œ œ∑

3

œb œ œ3

œ œ œ

œ œ# œ œ œ œ œ œ

3

œb œ œ3

œ œ œ

.œ œ# .œ# œ

.œ œ# .œ# œ˙#f

3

œb œ œ3

œ œ œ

œb˘ ‰3

‰ œ ‰

œ# . œ. œ. œ# . Œ

œ# . œ. œ. œ# . Œ

œ# . œ. œ. œ# . Œœ# . œ. œ. œ# . Œ

œ# . œ. œ. œ# . Œ

œ# . œ. œ. œ# . Œ

6

œbfœ œ œb œ œ

6

œb œ œ œb œ œ

3

‰ ‰ œb˘ Œ

3

‰ ‰ œb˘ Œ

3

‰ ‰ œb˘ Œ

˙#∑

∑∑

3

‰ ‰ œb˘ Œ

3

‰ ‰ œb˘ Œ∑

3

‰ ‰ œb˘ Œ

∑∑


3

œb œ œ3

œ œ œ


3

œb œ œ3

œ œ œ

.œ# œ#> Œ

.œ# œ#> Œ˙#

3

œb œ œ3

œ œ œ

3

‰ ‰ œb˘ Œ

∑

∑∑

∑∑

6

œbfœ œb œ œ œn

6

œb œ œb œ œ œnjœb ‰ Œ

œnfl ‰ 3‰ œfl ‰



˙#∑

∑∑


œnfl ‰ 3‰ œfl ‰∑


∑Snare Drum

∑œb œ œ œ œ œ œ œ

∑

3

œ œ œ3

œ œ œ


3

œ œ œ3

œ œ œ

∑∑

˙#

3

œ œ œ3

œ œ œ


6

œ#f œ œ#œ œ# œ

6

œ œ# œ œ# œ œ

6


6

œ œ# œ œ# œ œ6


6



6

œ œ# œ œ# œ œ

∑

Jœb ‰ Œ∑

3‰ ‰ œfl Œ3‰ ‰ œfl Œ3‰ ‰ œfl Œ

œ# - œ-

∑ ?

∑∑

3‰ ‰ œfl Œ3‰ ‰ œfl Œ∑

3‰ ‰ œfl Œ

æπ∑


3

œ œ œ3

œ œ œ


3

œ œ œ3

œ œ œ

∑∑

œ# - œ-

3

œ œ œ3

œ œ œ3‰ ‰ œfl Œ

F

F

Jœb˘ ‰ Œ Œ

6

œb œ œ œb œ œ Jœb ‰6

≈ œn œb œ œn œn

Jœb˘ ‰6

œb œ œ œb œ œ jœbfl ‰

6

œb œ œ œb œ œ6

œb œ œ œb œ œ jœbfl ‰Œ Œ 6œb

fœ œb œ œ œn

∑∑

∑

∑

∑3œœbbFœœ œœbb

3œœ jœœn

3

œbF

a2 œ œb3

œ Jœb

6

œbF

a2 œ œ œb œ œ6

œb œ œ œb œ œ jœbflf‰

Œ Œ 6œbFœ œb œ œ œn

3œF

œ# œ 3œ# Jœ3œ

Fœ# œ 3œ# Jœ

3

œFœ œ#

3œ jœ#∑

Jœf‰ Œ ŒTriangle

∑

Jœb˘ ‰ Œ Œ

∑jœfl ‰ Œ Œ

Jœb ‰ Œ Œjœfl ‰ Œ Œ

∑∑∑

jœfl ‰ Œ Œ∑

Jœb˘ ‰ Œ Œ

Jœb˘ ‰ Œ Œjœbfl‰ Œ Œ

jœbfl‰ Œ Œjœbfl‰ Œ Œ

∑∑

∑

∑

∑

jœœ## flf‰ Œ Œ

Jœf‰ Œ Œjœbflf‰ Œ Œjœbflf‰ Œ Œ˙f

œ#˙ Œ1.

FJœf‰ Œ Œjœflf‰ Œ Œ

∑.˙f

∑

∑

∑∑

Œ6

œbƒœ œb œ œ œn

6

œb œ œ œb> ‰

Œ 6œb œ œb œ œ œn6

œb œ œ œb> ‰

∑∑∑∑∑

8

&

&&

&&

&&?

?

?

&?

&&?

???

÷÷

&

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

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

Ÿ~~~~~~~~~~~~~~~

51 Œ Œ ‰ Jœb˘

Œ1.

3

œƒœ# œ> œ œ

∑

∑∑

∑∑

∑

∑

Œ Œ ‰ jœbflf∑

∑

∑∑

˙# œ

∑∑∑

∑∑

∑

∑∑

Œ3

œ œ# œ ‰ ‰ Jœb˘

fŒ 3

œ œ# œfl ‰ ‰jœbfl

∑∑∑∑∑

Jœ ‰ Œ Œœ œb 3

œfœ# œ

∑

∑∑

∑∑

∑

∑

jœfl‰ Œ Œ

∑

∑

∑∑

.˙

∑∑∑

∑∑

∑

∑∑

Jœ ‰ Œ Œ

jœfl‰ Œ Œ

∑∑∑∑∑

∑

.˙#

∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

Jœ ‰ Œ Œ

∑∑∑

∑∑

∑

∑∑

‰ Jœ#F 5

œ œb œ œ# œn

‰ jœ#5

œ œb œ œ# œn

∑∑∑∑∑

∑

œn a2

Fœb œ# - œn œ

Œ ˙ b

F∑∑

∑∑

∑

‰ jœF ˙‰ jœF ˙∑

∑

∑∑

œP œ# œ .œ œ

∑∑∑

∑∑

∑

∑∑

.˙b

‰ jœœƒ˙

∑∑∑∑∑

G

G

Œ œ# œ ˙bf

.˙n

.˙f

∑∑

∑∑

3

œFœ# œ# œn œn œ# œn œ œ œ# œ#jœ# . ‰ Œ Œ

jœ# . ‰ Œ Œ

∑

∑

∑∑

Jœ# . ‰ Œ Œ

∑∑∑

∑∑

∑

∑oooPoopO∑

Jœn

‰ Œ Œ

∑

∑∑∑∑∑

n

Jœπ‰ Œ Œ

∑.˙

∑∑

∑‰ œ#Fjœ

3

œ œ# œ# -

œn ˙b∑

∑

∑

∑

∑∑

Œ Œ ‰ Jœ#p∑∑∑

∑∑

∑....˙˙˙bb#gggggggggggggggggF...˙˙˙#b

∑

∑

∑∑∑∑∑

∑

∑∑

∑∑

∑œ œ œ œ# œ œ œbœ œ œ œb

3

œ œ œ œb œ œ# œ#

∑

∑

∑

∑

∑∑

˙ Œn

∑∑∑

∑∑

∑

∑∑

∑

∑

∑∑∑∑∑

∑

∑∑

∑∑

∑

˙b5

œ œ œn œb œb5

œ œ# œ# œ œn œ∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

∑∑∑∑∑

∑

Œ6

≈a2 œfœb œb œ œ

6

œ œ# œb œ œ# œn

Œ6

≈ œfœb œb œ œ

6


Œ3

‰a2

fœ œb

3

œ œ œ#

Œ3

‰fœ œb

3

œ œ œ#

Œ6

≈ œfœb œb œ œ

6


œ œ3

œ œf

œb3

œ œ œ#3œ œb œ# œ œbf œn œ

Œ ‰ jœbfa2

œ œŒ Œ ‰ jœ.f

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑Gn Cn∑

∑

∑

∑∑∑∑∑

9

&

&&

&&

&&?

?

?

&?

&&?

???

÷÷

&

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

H

H

60 ∑

Jœ. ‰ Œ ŒJœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œ

˙#1.

F œ#∑

∑∑

∑

∑∑

jœ.F‰ Œ ‰ jœ.

∑∑

∑

5

œpœ œb œb œ 5œb œ œ œb œb

5œ œb œ œ œb

∑

∑

œpizz.

F œb œbœpizz.

F œb œbœ#F 3

œfœ œ

3

œ# œ# œœpizz. œ œœpizz. œ œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

˙ œ œ∑

Œ1. ≈ œbF œ œ œ œ∑

∑

∑∑

Jœb . ‰ Œ Œ

∑∑

∑Xylophone

.˙bF.˙b

∑

∑

œb œ œnœb œ œnœ ≈ œb œb œ œn œnœb œ# œnœb œ# œn

Œ Œ ‰3

œ#fœ œ

Œ Œ ‰a2

3

œ#fœ œ

Œ Œ ‰3

œ#fœ œ

Œ Œ ‰a23

œ#fœ œ

Œ Œ ‰3

œ#fœ œ

Œ Œ ‰a23

œ#fœ œ

Œ Œ ‰3

œ#fœ œ

∑

∑

∑

.˙b∑ &

.˙b∑

∑

∑∑

Jœ# . ‰ Œ Œ

∑Snare Drum

∑Bass Drum

œbF œb

3

œn œ œ œ#

∑∑

∑

∑

4œ œ œb œ4œ œ œb œ

˙# œ# œnœ# Œ œœ# Œ œ

Jœn .‰ Œ Œ

Jœn .‰ Œ ŒJœn . ‰ Œ Œ

Jœn . ‰ Œ ŒJœn . ‰ Œ Œ

Jœn . ‰ Œ ŒJœn . ‰ Œ Œjœ.f‰ Œ Œjœœ.f‰ Œ Œ

jœ.f‰ Œ Œ

.˙jœ.f

a2 ‰ Œ Œjœœ.f‰ Œ Œjœ.f‰ Œ Œjœœ.f‰ Œ Œjœ.f‰ Œ Œ

jœ.f‰ Œ Œjœ.f‰ Œ Œ

Jœ.f‰ Œ Œjœ.f‰ Œ Œ

Jœœ.f‰ Œ Œ

Jœœ.f‰ Œ Œjœœ.‰ Œ Œ

∑

∑

œ Œ œœbarco div.

pœ Œ œb

arco

pœ œ3

œ# œ œb œ œ# œn œn

œ Œ œœ#arcodiv.

pœ Œ œarco

p

∑

∑∑

∑∑

Jœn˘f‰

5

œb œ œb œ œb œ

jœnflf‰

5

œb œ œb œ œb jœ. ‰

∑

∑

∑

f œ œ#∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

‰ jœœb≥flŒ jœœ

≥fl‰

‰ jœb≥flŒ jœ

≥fl‰

jœnfl ‰5


‰ Jœœ#≥Œ Jœœ

≥‰

‰ jœ≥fl Œjœ≥fl ‰

∑

∑∑

∑∑

œ ‰ Jœb3

œb œ œ

Œ ‰ Jœb3

œb œ œ

∑

∑

∑

.œ œb ˙∑

Œ Œ ‰ jœbFa2

Œ Œ ‰ jœbFŒa2 jœflP ‰ Œ

Œa2 jœflP ‰ ŒŒa2 jœflP

‰ Œ∑

∑∑

∑

∑∑

∑

∑

‰ jœœ#flŒ œœ≥f..œœ≤p

‰ jœb≥ Œ œ

≥f .œ≤pœ ‰ Jœb ≤

3

œb œ œ‰ Jœœ#˘ Œ œœ≥

f..œœ≤p

‰ jœfl≥ Œ œ≥f .œ

≤p

∑

∑∑

∑∑

Jœn ‰ Œ Œ

Jœn ‰ Œ Œ

∑

∑

∑

˙#Pa2

œf œn

˙#Pa2

œf œn.œb œn œ œn œ#f œ.œb œn œ œn œ#f œ˙# œ#˙# œ#

˙# œ#∑

∑∑

∑

∑∑

∑

∑

..˙æsul pont.

π.æ

sul pont.

sul pont.

π .æπ ..˙æsul pont.

π.æsul pont.

π

∑

∑∑

∑∑

∑∑

∑

∑

∑

3œ œb œb ˙3œ œb œb ˙3

œb œ œ# ˙3

œb œ œ# ˙4œnfœn œb œ

4œnfœn œb œ

4

œn f œn œb œŒ Œ œb æπ

∑∑

∑

∑∑

∑

∑

..˙æ

.æ

.æ

..˙æ

.æ

I

I

Œ6

‰ . œfœ œ#

6

œ œb œ œb œn œn

Œa2

6

‰ . œfœ œ#

6


Œ6

‰ . œfœ œ#

6


Œa2

6

‰ . œfœ œ#

6


Œ 6‰ . œf œ œ#6œ œb œ œb œn œn

Œa2

6

‰ . œfœ œ#

6


Œ 6‰ . œf œ œ#6œ œb œ œb œn œn

jœ#flf‰ œp

œb

jœ#flfa2 ‰ œp

œb

jœ#flf‰ Œ Œ

jœbfl‰ Œ Œ

jœbfl‰ Œ Œjœnfl‰ ˙npjœnfl‰ ˙npjœ#fl

a2 ‰ œp

œb

jœ#fl‰ œp

œb

jœ#fl‰ œp œbjœb .f‰ Œ Œ

∑∑

∑

∑∑

∑

∑

jœnflord.unis.‰ ˙npjœnfl

ord.‰ pjœbflord.‰ ˙bpjœ#flf

unis.ord.‰ œp

œbjœ#flford.‰ œp

œb

10

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

69

Jœn˘ ‰

6

≈ œb œb œ œn œb7

œn . œ œb œ œ# œ œ

Jœn˘ ‰

6



Jœn˘ ‰

6



Jœn˘ ‰

6



jœnfl‰

6

≈ œb œb œ œn œb 7


Jœn˘ ‰

6



jœnfl‰

6

≈ œb œb œ œn œb 7

œn . œ œb œ œ# œ œ∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

6

œfœb œ œ# œ œb ˙

6

œf œbœ œ# œ œb ˙

jœf‰ 3œ œ# œ 3œb œn œ

6

œfœb œ œ# œ œb ˙

Jœf‰ 3œ œ# œ 3œb œn œ

Jœb˘ ‰6

œb œ œn œ œb œ Jœ#˘ ‰

Jœb˘ ‰6


Jœb˘ ‰6


Jœb˘ ‰6

œb œ œn œ œb œ Jœ#˘ ‰jœbfl‰ 6œb œ œn œ œb œ jœ#fl ‰

Jœb˘ ‰6

œb œ œn œ œb œ Jœ#˘ ‰jœbfl‰ 6œb œ œn œ œb œ jœ#fl ‰

œbfœb œn . œ. Jœn˘ ‰

6

œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn˘ ‰

6

œ# . œ. œ# . œ. œ. œ.

œbfœb œn . œ. Jœn

˘ ‰ 6

œ# . œ. œ# . œ. œ. œ.œbf œb œn . œ.

jœnfl‰

6

œ# . œ. œ# . œ. œ. œ.

œbf œb œn . œ.

jœnfl‰

6

œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn

˘ ‰6

œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn

˘ ‰6

œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn˘ ‰

6

œ# . œ. œ# . ‰ ..œbfœb œn . œ. Jœn

˘ ‰ 6

œ# . œ. œ# . ‰ ..jœb .f‰ jœ.

‰ jœ# . ‰Œ Œ

6

œ#pœ œ œ œ œ

∑∑

∑

∑∑

∑

∑

Jœb˘ ‰6

‰ . œ œ# œ Jœn˘ ‰jœbfl ‰ 6‰ . œ œ# œ jœnfl ‰œb œb œn . œ. Jœn

˘ ‰ 6

œ# . œ. œb . ‰ ..Jœb˘ ‰

6

‰ . œ œ# œ Jœn˘ ‰œb œb œn . œ. Jœn

˘ ‰ 6

œ# . œ. œb . ‰ ..

Œ5

œ œ œ œb œb3

‰ œb œb

Œ5

œ œ œ œb œb3

‰ œb œb

Œ5

œ œ œ œb œb3

‰ œb œb

Œ5

œ œ œ œb œb3

‰ œb œb

Œ 5

œ œ œ œb œb3‰ œb œb

Œ5

œ œ œ œb œb3

‰ œb œb

Œ 5

œ œ œ œb œb3‰ œb œb

Jœb˘ ‰3

‰ œn œ5

œb . œ œ# œ œ# .

Jœb˘ ‰3

‰ œn œ5

œb . œ œ# œ œ# .

jœbfl ‰3‰ œn œ

5

œb . œ œ# œ œ# .

Jœb˘ ‰ 3‰ œn œ 5œb . œ œ# œ œ# .

Jœb˘ ‰ 3‰ œn œ 5œb . œ œ# œ œ# .

Jœb˘ ‰ 3‰ œn œ

5

œb . œ œ# œ œ# .

Jœb˘ ‰ 3‰ œn œ

5

œb . œ œ# œ œ# .

Jœb˘ ‰3

‰ œn œ5

œb . œ œ# œ œ# .

jœbfl ‰3‰ œn œ

5

œb . œ œ# œ œ# .jœbfl‰ 3‰ œn œ

5

œb . œ œ# œ œ# .‰ jœbflfŒ Œ

∑∑

∑

∑∑

∑

∑

Jœb˘ ‰F

Jœb˘ ‰Fjœbfl ‰ ˙Fjœbfl ‰ ˙Fjœbfl ‰ ˙F

6

œn œ œn œ# œ œb œ œ# ‰ Jœn˘

6


6


6

œn œ œn œ# œ œb œ œ# ‰ Jœn˘6

œn œ œn œ# œ œb œ œ# ‰ jœnfl

6

œn œ œn œ# œ œb œ œ# ‰ Jœn˘6

œn œ œn œ# œ œb œ œ# ‰ jœnflJœ# . ‰ œ œ Jœn

˘‰

Jœ# . ‰ œ œ Jœn˘

‰

Jœ# . ‰ œ œ Jœn˘ ‰

jœ# . ‰ œ œ jœnfl ‰

jœ# . ‰ œ œ jœnfl ‰

Jœ# . ‰ œ œ Jœn˘ ‰

Jœ# . ‰ œ œ Jœn˘ ‰

Jœ# . ‰ œ œ Jœn˘

‰

Jœ# . ‰ œ œ Jœn˘ ‰

jœ# .‰ œ œ jœnfl

‰∑

∑∑

∑Xylophone

∑∑

∑

∑

œ œƒ 3

œ œ# œ# 6œn œb œ œ# œ œ#

œ œƒ 3

œ œ# œ# 6œn œb œ œ# œ œ#œ œ

ƒ 3

œ œ# œ# 6œn œb œ œ# œ œ#&

œ œƒ 3

œ œ# œ#6

œn œb œ œ# œ œ#

œ œƒ 3

œ œ# œ#6

œn œb œ œ# œ œ#

œcresc.

œ œ# œ3

œb œ œ#

œcresc.

œ œ# œ3

œb œ œ#

œcresc.

œ œ# œ3

œb œ œ#

œcresc.

œ œ# œ3

œb œ œ#

œflcresc.

œ œ# œ3

œb œ œ#

œcresc.

œ œ# œ3

œb œ œ#

œflcresc.

œ œ# œ3

œb œ œ#

∑

Œ Œ3

‰ œcresc.

œ#

Œ Œ3

‰ œcresc.

œ#

‰cresc.

jœ œ# œ3

œb œ œ#

‰cresc.

jœ œ# œ3

œb œ œ#

Ó3

‰ œcresc.

œ#

Ó3

‰ œcresc.

œ#

Œ Œ3

‰ œcresc.

œ#

Œ Œ 3‰ œcresc.

œ#Œ Œ 3‰ œ

cresc.

œ#∑

∑∑

6

œbfœb œncresc.

œ œn œ#6

œ œb œ œ# œn œn6

œ œ# œ œb œ œ#

∑∑

∑

∑

jœnfl ‰ Œ3

‰ œf

œ#cresc.jœnfl ‰ Œ

3

‰ œf

œ#cresc.jœnfl ‰ Œ

3

‰ œf

œ#cresc.

Jœn˘ ‰ Œ3

‰ œf

œ#cresc.

Jœn˘ ‰ Œ3

‰ œf

œ#cresc.

11

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&&??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

74 œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .

œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .

œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .

œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .

œ œn œ œb5œb . œn . œ. œ. œb .

6

œ. œ# . œ. œn . œ. œ# .œ œn œ œb

5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .


6

œ. œ# . œ. œn . œ. œ# .∑

œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .

œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .


6

œ. œ# . œ. œn . œ. œ# .


6

œ. œ# . œ. œn . œ. œ# .


6


5œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .œ. œ. Jœb˘ ‰ œ. œ.

œ. œ.jœbfl ‰ œ. œ.

œ. œ.jœbfl ‰ œ. œ.

Œ Œ œbæp∑Snare Drum

∑Crash Cymbal (small)

œ œ œ œb5œb œn œ œ œb

6

œ œ# œ œn œ œ#

∑∑

∑

∑

œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .


6


5œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .

œ œn œ œb5

œb . œn . œ. œ. œb .6

œ. œ# . œ. œn . œ. œ# .

J

J

Jœ#˘ƒ ‰ Œ Œ

Jœ#˘ƒ ‰ Œ ŒJœ#˘ƒ ‰ Œ Œ

Jœ#˘ƒ ‰ Œ Œ

Jœ#˘ƒ‰ Œ Œ

Jœ#˘ƒ ‰ Œ Œ

Jœ#˘ƒ‰ Œ Œ

3

‰ œFœ

3

œ œb œ3

œ œ œbJœ#˘ƒ‰ Œ ŒJœ#˘ƒ‰ Œ Œ

Jœ#˘ƒ‰ Œ Œ

Jœ#˘ƒ‰ Œ Œ

Jœ#˘ƒ‰ Œ Œ

Jœ#˘ƒ‰ Œ Œ

Jœb˘ƒ‰ Œ Œ

jœbflƒ‰ Œ Œjœbflƒ‰ Œ Œ

Jœb˘ƒ‰ Œ Œ

Jœƒ‰ Œ Œ

.˙ƒBongos (marimba medium mallet)

Jœ#ƒ‰ Œ ŒWoodblock

∑∑

∑

∑

Jœ#ƒ ‰ ‰ J

œ#pizz.

Fœn œ

Jœ#˘ƒ ‰ Œ Œ

Jœ#˘ƒ ‰ Œ ŒJœ#˘ƒ ‰ Œ ŒJœ#˘ƒ ‰ Œ Œ

∑

∑∑To Alto Flute

∑∑

∑∑

œ œ# œ#∑

∑

∑

∑

∑∑

∑

∑∑∑

‰ . RœπŒ Œ

≈ œπœ ≈Œ ≈ œ ‰

Œ œπœ ‰ ‰ . œTambourine

∑∑

∑

∑

3

œ œ# œn œ œ œ#∑∑∑∑

∑

∑∑

∑‰ œF

jœb œ#∑∑

˙ Œ

∑

Œ œ#F3œ# jœ

∑

∑

∑∑

∑

∑∑∑

‰ Jœ œ œ Œ .

≈ œ ‰ Œ œ ≈ œ œ

‰ . œWBk.Œ ‰ JœTamb.

∑∑

∑

∑

œ œ# œ# Œ∑∑∑∑

∑

∑‰ jœ#F

3œ# œ œb œn œn∑

˙n œn∑∑

Œ ˙#

∑3jœ œb ˙n

∑

∑

∑∑

∑

∑∑∑

≈ .œ Œ Œ

œ œ œ œ œ ‰ jœœ œ œWBk.≈ ‰ œ œ œ œTamb.‰

∑∑

∑

∑

∑∑∑∑∑

∑

∑Œ œ œb

3

œ œ œn∑

œ œb œ œb

∑∑

∑

∑5

œ œ œb œ œ œn∑

∑

∑∑

∑

∑∑∑

œ ‰ . Œ ‰ . œ

Œ . œ œ .œ œ

œWBk.‰ . ŒTamb. œ œWBk.œ

∑∑

∑

∑

∑∑∑∑∑

∑

∑

˙n jœ ‰

∑4œ œb œn jœn ‰

∑∑

.œF

œ ‰

∑

˙b jœ ‰

∑

∑

∑∑

∑

∑∑∑

Œ ‰ . œ ‰ JœŒ ≈ œ ‰ ≈ œ ‰≈ œ ‰ ‰ . œTamb.‰ . œWBk.

∑∑

∑

∑

∑∑∑∑∑

K

K

Œ6

‰ƒœ œ œ# œ

6

œb œ œ# œn œn œn

Œ6

‰ƒ

a2 œ œ œ# œ6

œb œ œ# œn œn œn

∑To Flute in C

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

Œ Œ ≈ œ ‰

≈ œ ‰ œ Œ

‰ . œTamb. ‰ Jœ Œ

∑∑

6

œƒœ œ# œ œ# œn

6

œ# œ œn ‰ . Œ6

œ œ œ# œ œ# œn 6

œ# œ œn ‰ .Œ

∑∑∑∑∑

12

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&&??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

√

82 Jœ ‰ Œ Œ

Jœ ‰ Œ6

œfœ œ# œ œ# œ#

Œ Œ 6

œf œ œ#œ œ# œ#

Œ Œ6

œa2

fœ œ# œ œ# œ#

Œ Œ 6

œf œ œ#œ œ# œ#

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

Œ ‰ Jœ Jœ ‰

œ œ Œ Œ

Œ ≈ œ ‰ Œ

∑∑

6

œ œ œ# œn œ# œ6

œ# œ œ œ œ# œ# Jœn˘ ‰6

œ œ œ# œn œ# œ6

œ# œ œ œ œ# œ# jœnfl‰

∑∑∑∑∑

∑

6

œ œ œ œb œ# œ Jœn˘ ‰ Œ

6

œ œ œ œb œ# œ jœnfl ‰ Œ

6

œ œ œ œb œ# œ Jœn˘ ‰ Œ

6

œ œ œ œb œ# œ jœnfl ‰ Œ

Œ6

≈ œ#f

a2 œ# œn œ œn6

œb œ œ# œ œb œ

Œ 6≈ œ#fœ# œn œ œn

6

œ# œn œ# œ œ# œ

Œ6

≈f

a2 œ# œ# œn œ œn6


Œ6

≈fœ# œ# œn œ œn

6


∑

∑

∑

∑∑

∑

∑∑∑

∑∑

‰ Jœ Jœ ‰ Œ

∑∑

∑

∑

∑con sord.

∑con sord.

∑con sord. B

∑con sord.

∑

Jœƒ‰ Œ Œ

Jœƒ‰ Œ Œ

Jœƒ‰ Œ Œ

Jœƒ‰ Œ Œ

Jœƒ‰ Œ Œ

Jœn˘ƒ‰ Œ Œ

Jœn˘ƒ‰ Œ Œ

Jœn˘ƒ ‰ Œ Œ

Jœn˘ƒ‰ Œ Œjœflƒ‰ Œ Œ

∑

∑

∑∑

∑

∑∑

jœf‰ Œ Œ

∑∑

‰ Jœ Jœ ‰ Œ

∑∑

Jœœ˘

Ï‰

6

≈ œb œb œ œn œ#7

œ œn œ# œn œ# œ œ

jœœfl‰ 6

≈ œbloco

œb œ œn œ# 7

œ œn œ# œn œ# œ œ

Jœpizz.

ƒ ‰œ# arco sul pont.

Zπ œ( )Jœpizz.

ƒ‰ œ#arco sul pont.

Zπ œ#( )jœpizz.

ƒ ‰ œ#arco sul pont.Zπ œ( )

Jœpizz.

ƒ ‰œ#arco sul pont.

Zπ œ( )Jœpizz.

ƒ‰ œ#arco sul pont.

Zπ œ( )

∑

∑∑

∑∑

∑∑

∑

∑

.˙bp∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

Jœb ‰3

‰Fœ œ#

3

œ œ# œ

jœb ‰3‰ œ œ#

3œ œ# œ&

‰ jœord.

π ˙‰ jœ

ord.

π ˙‰ jœ# ord.

π ˙.˙b

ord.

π.˙bord.

π

∑

∑∑

∑∑

∑∑

∑

∑

.˙∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑oOoPopOO∑ &

3

Jœn œ ‰ œ# œ œ œ# œ œn

3jœn œ ‰ œ# œ œ œ# œ œn

.˙

.˙

.˙

.˙

.˙

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑Glockenspiel

Œ Œ œFœb œ#œb

œ œb œ# œb

œbfœ œ œ

6

œ œ œb œ œb œ

œb œ œ œ 6œ œ œb œ œb œ

.˙#

.˙œbF œ œ# p˙ œb˙ œb

13

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&&

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√)

◊

88 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑4:3œ# -P œ œ œ-

.˙f∑

4:3œ# - œ œ œ-

4:3œ# - œ œ œ-

4:3

œF œ# ˙#4:3

œF œb œ œ#.˙#.˙.˙

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

œ# Œ Œ

∑∑

œ#3

‰ œ œ#3

œ œ œ

œ#3

‰ œFœ#

3

œ œ œ

.˙np

.˙npœnF œb œ.˙#p.˙#p

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

3

Jœ# œ# ‰ œ# œn œ œ# œœn

3jœ# œ# ‰ œ# œn œ œ# œ œn

œ œ# œ

˙# œ#˙#p œ#œ œ# œ

œ œ# œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

6

œb œ œn œ# œ œb œ ‰ œ œ# œ œ#?

6

œb œ œn œ# œ œb œ ‰ œfœ# œ œ#

?

œb ˙

œ# .œbf œb œ œnœ ˙#œ# ˙

œ# ˙

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ#œ œ# œ œ œ# œ œ#

œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ#œ œ# œ œ œ# œ œ#

‰div. jœœbfl≥

F Œ jœœfl≥ ‰

Jœn jœbfl≥

F Œ jœfl≥ ‰

jœfl ‰5

œbfœ œb œ œb œ

‰div. Jœœ#≥

F Œ Jœœ≥

‰‰ jœfl

≥F Œ jœfl

≥ ‰

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

Jœƒ‰œb

f

œb œ œ

œ œ œ œ

œb œb œ œ

œ œb œ œ&

Jœ ‰ &

‰ jœœbfl≥ Œ œ≤ œ œb . œ.

‰ jœbfl≥ Œ œ≤ œ œb . œ.

œ Œ œ≤F

œ œb . œ.

‰ Jœœ#≥Œ œ≤unis. œ œb . œ.

‰ jœfl≥ Œ œ≤ œ œb . œ.

14

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&&

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

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

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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

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

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

94 ∑œfœ# œ# œ œn

7

œ œ œb œ# œ œb œn

œfœ# œ# œ œn 7œ œ œb œ# œ œb œnœfa2 œ# œ# œ œn 7œ œ œb œ# œ œb œnœfœ# œ# œ œn 7œ œ œb œ# œ œb œnœfœ# œ# œ œn 7œ œ œb œ# œ œb œnœfœ# œ# œ œn 7œ œ œb œ# œ œb œnœF

œ œ œ- œ

œFa2 œ œ œ- œ

∑

∑

∑

∑∑

œFa2 œ œ œ- œ

œF

œ œ œ- œ∑∑

∑∑

∑

∑∑

œn œ œb Œ Œ

∑ ?

jœfl≥ ‰ jœfl

≥ ‰ Œjœfl≥ ‰ jœfl

≥ ‰ Œ

Jœ≥ ‰ jœfl

≥ ‰ Œ

Jœ≥ ‰ Jœ

≥ ‰ Œ

Jœ≥ ‰ Jœ

≥ ‰ Œ

L

L

∑

œn Œ Œ

œn Œ Œ

œn Œ Œ

œn Œ Œ

œn Œ Œ

œn Œ Œ

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œœ-

f

œœ- œœ- œœ- œœ-

œœ. œœ## . œœ. œœ## . œœ. œœ. œœ## . œœ

. œœ## . œœ. œœ. œœ## .

∑∑∑∑∑

∑

∑∑

∑∑

.˙b1.

p∑

Œ Œ 6

œf œ# œ œ# œ œ#

Œ ‰3œ

f œ# œ# Jœ ‰

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

.˙#n

jœœfl‰

6

‰ . œfœ# œ# Jœ ‰

.˙#n

p.˙#n

p∑∑∑

∑

∑∑

∑∑

.˙fŒ Œ

5

œ#f œœ œb œ

jœ ‰6

œ œ œ# œn œ# œ Jœ# ‰6≈ œb œ œ œb œn jœ ‰ Œ

∑

∑

∑

∑∑

∑

∑∑∑

∑∑Bass Drum

∑

∑∑

.˙

6

≈ œ# œn œ œ# œ Jœ ‰ Œ.˙

.˙∑∑∑

cresc.

cresc.

3

œ#fœ œ Jœ# . Œ Œ

3

œ#fa2œ œ Jœ#

n ˙

3


3


3

œ#f œœ jœ# . Œ Œ

3

œ#fa2 œ œ jœ# . Œ Œ

Jœ# ‰ Œ Œ

Œ Œ6

œf œ#œ œb œ œ

Œ Œ6

œf œ#œ œb œ œ

Œ Œ6

œf œ#œ œb œ œ

jœœflF‰ ‰ ..œœbp

jœœflF‰ ‰ ..œœp∑∑

‰ jœflfjœfl‰ Œ

‰ jœbflfjœfl‰ Œ

‰ jœflfjœfl‰ Œ∑

∑‰ jœflf

jœfl ‰ Œ

∑

∑∑

.˙

‰ j–‡˘

ƒj–‡˘ ‰ Œ

.˙

.˙Œdiv. ‰ Jœœ#p

œœcresc.

‰ jœ#flfjœfl‰

6

œ œ# œ œb œ œ‰ jœnflf

jœfl ‰6

œ œ# œ œb œ œ

F

F

n

n

F

∑

.˙n

∑

∑∑

∑∑

Jœb˘ ‰ Œ Œ

œbfl œfljœfl‰ Œ

œ#fl œfljœfl ‰ Œ

..˙

..˙∑∑

jœ#fl ‰ ‰ JœFœn œ œ# œ

∑‰ jœbflƒ

jœfl‰ œ. œb .∑

∑‰ jœfljœfl ‰ Œ

∑

∑∑

.˙

‰ j–‡˘ j–‡˘ ‰ Œ

.˙

.˙

..˙

œbfl œfljœfl‰ Œ

œ#fl œfljœfl ‰ Œ

f

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

Œa2 ‰ jœP œfŒ ‰ jœP œf

3

œ. œb . œ. ˙b.œP

Jœ#fœ

jœ. ‰ Œ ŒŒ Œ œæp

∑∑

∑

∑∑

∑

∑

∑∑∑∑∑

15

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&&

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

M

M

101 ∑œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn

œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn

œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn

œ.P œ. œb . œ. œb . œ.œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn

œb .Fœb . œ. œb .œ œ œ# . œn œb œb œnœ.Pœ. œb . œ. œb . œ.

œ.Pœ. œb . œ. œb . œ.

∑

œ.P œ. œb . œ. œb . œ.œ.P œ. œb . œ. œb . œ.œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn

œ.P œ. œb . œ. œb . œ.œ.Pœ. œb . œ. œb . œ.

œ.P œ. œb . œ. œb . œ.∑

jœbflf‰ Œ Œ

∑∑

∑

∑∑

∑

∑

∑∑∑∑

œpizz.

Fœ œb œ œb œ

∑œbf

Œ Œœbf

Œ Œ

œbf

Œ Œ

œf

Œ Œ

œbf

Œ Œœbf

Œ Œœf

Œ Œœf

Œ Œ

∑

œfŒ Œ

œfŒ Œ ?

œbf

Œ Œ

œfŒ Œ

œf

Œ Œ

œfŒ Œ∑∑

∑Tubular Bells

∑

∑Glockenspiel

∑OOOPOppO∑

œ œb œ œ œn œb œ œ œnlocoœb œ œ œn œb œ œ

œn œb œ œ œn œb œ œÓF

∑∑∑senza sord.

∑senza sord.

œfŒ Œ

∑

∑∑

∑

.œf .œ

.œf .œ

.œf .œ

.œf .œ

.œf .œ

.œf .œ

.œf .œ

.œf .œ∑∑

.œf .œ

.œf .œ

.œf .œ∑

.œF

.œ

∑

∑

Œ . .œF∑ ?

∑

jœnfl

f‰ Œ Œ

∑∑.œf.œ

.œf .œ

.œarco

f .œ

ppp

∑

∑∑

∑jœ# . ‰ Œ Œ

jœ# . ‰ Œ Œjœ# . ‰ Œ Œ

Jœ# . ‰ Œ Œ

Jœ# . ‰ Œ Œ

Jœ# . ‰ Œ Œjœ# . ‰ Œ Œ

Jœ# . ‰ Œ Œ

∑∑

Jœ# . ‰ Œ Œ

Jœ# . ‰ Œ Œjœ# . ‰ Œ Œ

∑.˙#

∑œ#F

œ œ

∑œ#fœ# >

fœ> œ>

7

œ# œ œ œ# œ# œ œ7

œ œ œ œ œ œ œ7

œ œ œ œ œ œ œ

∑

∑senza sord.

∑senza sord.

.˙#

.˙#

.˙#

∑

∑∑

∑∑

∑∑

Œ Œ ‰ jœflFŒ Œ ‰ jœflFŒ Œ ‰ jœflF

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

˙# ‰ jœœœnflŒ Œ ‰ jœœflœbFœ œn . œb . œ œb œ. œb . Jœ# . ‰

œbFœ œn . œb . œ œb œ. œb .jœ# . ‰

œ# .Fœ. œ. œb . œ. œ.

Œ Œ ‰ jœflFŒ Œ ‰ jœflF

∑

∑∑

∑∑

4:3œp

œb œ œ#4:3

œp œb œ œ#œ-p œb - œb -œ-p œb - œb -œ-p œb - œb -

∑

∑

∑∑

.˙p

∑∑∑

∑∑

œ œ œ∑∑

7œ œœb œbœn œ œb

7œ œœ œbœn œ œ

7œ œœ œbœn œ œœ> œ

>œ>

4:3œp

œb œ œ#4:3

œp œb œ œ#.pœ-p œb - œb -œ-p œb - œb -

16

&

&&

&&

&&?

?

?

&?

&&?

???

÷÷

&

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

◊

107 ∑

∑∑

∑∑

4:3œF

œ œ# œ4:3

œF

œ œ# œ

œ-f œ- œ-œ-f œ- œ-œ-f œ- œ-

4:3œF

œ œ# œ4:3œ

Fœ œ# œ

∑∑

.˙f

∑∑∑

∑Snare Drum

∑

œF œ œ∑∑

7œ œœb œbœn œ œb

7œ œœ œbœn œ œ

7œ œœ œbœn œ œœ> œ

>œ>

4:3œf

œ œ# œ4:3

œfœ œ# œ

.fœ-f œ- œ-œ-f œ- œ-

N

N

Jœ ‰ Œ Œœbf

œb œ œJœ ‰ Œ œb œ œb œ œ œ# œ œb

Jœ ‰ Œ œbfœ œb œ œ œ# œ œbœbf

œb œ œJœ ‰ Œ œb œ œb œ œ œ# œ œb

Jœ ‰ Œ œbfœ œb œ œ œ# œ œb

6

œfœb œ œb œ œn

6

œ# œn œ œb œ œ# œ#6œ

fœb œ œb œ œn 6œ# œn œ œb œ œ# œ#jœfl ‰ Œ Œjœfl ‰ Œ Œjœfl ‰ Œ Œ

Jœf‰ Œ Œ

Jœf

‰ Œ Œ &

Jœf ‰ Œ œFœb œ. œ# .

Jœf ‰ Œ œFœb œ. œ# .

Jœf ‰ Œ Œjœflf

‰ Œ Œ

jœflf‰ Œ Œ

jœflf‰ Œ Œ

Jœf‰ Œ Œ

∑

œ Œ Œ

∑∑

jœ. ‰ Œ œbfœ œb œ œ œ# œ œb

jœ. ‰ Œ Œ

Jœ ‰ Œ œFœb œ. œ# .



œ œ œ# . œ. œb œ œ# œ. œn œb œb . œ.jœfl ‰ Œ Œ

∑jJœn ‰ Œ Œjœn ‰ Œ ŒjJœn ‰ Œ Œjœn ‰ Œ Œ

∑∑

6‰ . œ œb œ jœb . ‰ Œ6‰ . œ œb œ jœb . ‰ Œ6‰ . œ œb œ jœb . ‰ Œ

œF

œ œ

œF

œ œ

Jœ# .f‰ œ#pœn œ# . œn .

5œ œb œ. œb . œ.jœ# .f‰ œ#pœn œ# . œn .

5œ œb œn . œb . œ.œ. Œ œ.

œ. Œ œ.

œ.Œ œ.

∑

∑∑

∑

∑∑

6

.œ

œ œb œ jœb

‰ Œ

‰7

œ œb œ# œ œbœ# œ

Jœ#˘f‰ œ# .p œ. œ. œ.Jœ#˘f‰ œ#pœn œ# . œn .

5œ œb œ. œb . œ.Jœ#˘f‰ œ# .p œ. œ. œ.œn œ œb œ. œb . œœpizz.

fŒ œ

‰ œ#fœ œ œ# Jœ. ‰ Œ



‰ œ#f œ œ œ# jœ. ‰ Œ‰ œ#f œ œ œ# jœ. ‰ Œ


‰ œ#f œ œ œ# jœ. ‰ Œ

≈ œ# . œ# . œ. œF≈ œ. œb . œ.

≈ œ# . œ# . œ. œF≈ œ. œb . œ.

∑

œ ˙cresc.

œ ˙cresc.

jœf‰ œ œ# œ# . œ. œn œ# œn . œ# .

jœf‰ œ œ# œ# . œ. œn œ# œn . œ# .

Œ œ. œF

gliss.

Œ œ. œFgliss.

Œ œ.fŒ

∑

∑∑

∑

∑∑

‰ œb œn œ œ# Jœ. ‰ Œ

Jœb˘ ‰ Œ 6œF œb œ œb . œ. œ.jœ.f‰ œ œ#

jœ.f‰ Œ Œ

jœ.f‰ œ œ# œ# . œ. œn œ# œn . œ# .

≈ œ# . œ# . œ. œF≈ œ. œb . œ.

Œarco œF

≈ œ. œb . œ.

Œ Œ ‰ œ.fœ.

œfœb œ.

cresc.

œ. œb œ œ œn . œ.

œfœb œ.

cresc.


œfœb œ.

cresc.


œf œb œ.cresc.

œ. œb œ œ œn . œ.œfœb œ.

cresc.


œf œb œ.cresc.

œ. œb œ œ œn . œ.œbfœ œ.

cresc.

œ. œ œ# œ œ#œn

œbfœ œ.

cresc.


∑

˙ œb

˙ œbjœ ‰ Œ ≈ œ. œ. œ.

jœ ‰ Œ ≈ œ. œ. œ.

Jœbf‰ Œ œ

jœbf‰ Œ œ

.˙bF∑

∑∑

∑

∑∑

∑

œbfŒ ‰ œ. œ. œ# . œ.

œ# œn œŒ Œ ‰ œ.

fœ.

cresc.

œfœb œ.

cresc.


œbfœ œ.

cresc.


œbfœ œ.

cresc.


17

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&B??

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(◊)

cresc.

cresc.

112 œbcresc.

œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .

œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .

œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .

œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .≈ œ# œ œ# œ ≈ œ# œ# œ≈ œ# œ œ# œ ≈ œ# œ# œ≈ œ#fœ œ#

cresc.

œ ≈ œ# œ# œ

œb ≈ œb .f œ.cresc.

œb . œn œ# œ#œb ≈ œb .f œ.cresc.

œb . œn œ# œ#œ ≈ œb .f œ.cresc.

œb . œ œ# œ#œ ≈ œb .f œ.cresc.

œb . œ œ# œ#Œ

>p

Œ >p

Œ>p ∑

ŒSnare Drum

æπŒBass Drum æ

π∑ ÷

∑∑

∑

œb . œ. œb . œ. œ. œb . œb . œ. œ œ œb .loco

œb . œ. œb . œn . œb . œn . œn . œ# . œb . œn4:3

œbcresc.

œ œ# œœb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb ≈ œb . œ. œb . œn œ# œ#≈ œ# œ œ# œ ≈ œ# œ# œ≈ œ# œ œ# œ ≈ œ# œ# œ

ff

4:3œ œb œ œ#

4:3œ œb œ œ#4:3

œ œb œ œ#4:3

œ œb œ œ#4:3

œ œb œ œ#4:3

œ œb œ œ#4:3

œ œb œ œ#œ œ œ# œ# œ# œ œœ œ œ# œ# œ# œ œœ œ œ# œ# œ# œ œ

jœ .œn3

œ# . œ.œn .

jœ .œn3

œ# . œ.œn .

œ3

œ. œ# .œ. Jœ# . ‰

œ3

œ. œ# .œ. Jœ# . ‰

3

œb .fœ. œn .

cresc.

œ œ# œ#

3

œb .fœ. œn .

cresc.

œ œ# œ#3

œb .fœ. œn .

cresc.

œ œ# œ#Œ Œ œ#æf.˙

.˙∑Slapstick

∑∑

Œ3

œ. œb .œ.

3

œ# . œ. œn .

ƒ

3

œ# . œn . œn. Œ Œ &

4:3œ œb œ œ#4:3

œ œb œ œ#

Jœ .œn3

œ# . œ. œn .

œ œ œ# œ# œ# œ œœ œ œ# œ# œ# œ œ

O

O Piano Cadenza

Piano Cadenza

‰ Jœ#˘ƒ

Œ Œ

‰ Jœ#˘ƒ

Œ Œ‰ Jœ#˘ƒ

Œ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒŒ Œ

‰ jœ#flƒŒ Œ

‰ jœ#flƒŒ Œ

‰ jœ#flƒŒ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒ

Œ Œ

‰ jœ#flƒŒ Œ

‰ jœ#flƒŒ Œ

‰ jœ#flƒŒ Œ

‰ JœƒŒ Œ

‰ jœflƒŒ Œ

‰ JœƒŒ Œ

∑∑

œb œb œ œb6

œb

œb œb

œb œ œn6

œb œ œb œb œn œn6œb œn œ

œn œ œb?

‰ Jœ#˘ƒ Œ Œ

‰ Jœ#˘ƒŒ Œ

‰ Jœ#˘ƒ

Œ Œ‰ jœ#flƒ

Œ Œ‰ jœ#flƒ

Œ Œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

jœ œ# œ œ# œ œn6

‰ . œ œ œ#6

œ# œ œ œ œ œ#3

œ# œn œ œ œn œn œjœ œ# œ œ# œ œn

6

œb œ œb œ œ œ#6

œ œ œ œ œ œ#3

œ œn œ œ œn œn œ

∑∑∑∑∑

18

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

÷

&?

&?

&&B??

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

116 ∑

∑∑To Alto Flute

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑Triangle

∑Suspended Cymbal (soft mallets)

∑

∑∑

œb6

œb œn œ# œdim.

œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œœb

6

œb œ œ# œ œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œ

∑∑∑∑∑

F

∑œœF

..˙

œF

.˙∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑

wæπ∑

∑∑

œ>f .˙n>6

œ# œ œ œ œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œ6œ#p œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œœ

>f.˙#>

∑∑∑∑∑

∑˙bb ˙

˙b ˙∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

˙P

˙

∑

∑

∑∑

œb>

.˙>

6

œ# œ œ œ œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œ6

œ œ œ œ œ œ6œ# œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œœ

>.˙b>

∑∑∑∑∑

19

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

÷

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

119 ∑

ww

w∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

wp

∑

∑

∑∑

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n

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∑∑

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∑

∑

∑

∑

∑

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∑

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∑∑

∑

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œœ-œœ-?

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20

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÷÷

÷

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&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(◊)

122 ∑

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∑∑

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œ- œb - 3œb - œ- œb -Ó

3

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3

‰F

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∑

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∑

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∑

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∑∑∑∑∑

∑

∑∑

∑∑

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.˙ jœπ‰

.˙ jœπ‰

∑

∑

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∑∑

∑

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21

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

125 ∑

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∑Woodblock

∑∑

œ œ# œ œ# .œ# œn œ# œ# œ œ œ œ# œn œn

œ œ œb . œ. œb . œ. œb . œ. œ. œb . œ. œb . œ. œ. œb . œ.

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

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Œ ‰ JœF.œ œ Œ

∑∑

œn œn œ œ œb œ œ œb œœ œœ. œœ## . œœn. œœ## .

œb œ œ œb œ œ œn –‡fl –‡flœœbb œœnn

–‡fl &

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œ œ œ œ œb œ .œb œb œ œ6

œ œn œ œ œ œ6

œ œ œ œ œ œ6

œb œ œb œ œ œ6

œb œb œ œb œ œn

3

œb œb œ 3

œ œn œb œb œ œn œœ?

∑∑∑∑∑

P

P

≈ . rKœfœb œ œb œ# œn œ œ œ œ œ œ ˙



∑∑

∑∑

∑

∑

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∑

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∑∑

6

œ œ œ œ6

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œ œ œ œ6

œ œ œ œ˙#dim.

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22

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÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

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

◊

129 ˙bF

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n

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p

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f3

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1.

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1.

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wb

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23

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno. Ÿ~~~~~~~~~~~~~~~~~~~

(◊)

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

134

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24

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45

45

45

45

45

45

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45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

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45

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45

45

45

44

44

44

44

44

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44

44

44

44

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

√

138 ∑

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cresc.

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25

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43

43

43

43

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43

43

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43

43

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√)

ππ

ππ

ππ

142 ∑

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cresc.

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26

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√)

n

n

n

n

146 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑3jœ œ ˙3jœ œ ˙

3Jœ œ ˙3Jœ œ ˙∑∑

∑∑

∑

∑∑

6

œœ## œ# œœ œ6

œœ œ œœ œ6

œœ œ œœ œ

˙nn œœnnœ# œ œœ# div.

œ#unis. œ Œarco

œF œ œ.

cresc.

œb .3

œb œn œ#

˙n œncresc.

˙n œncresc.

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

6

œœ## œ# œœ œ6

œœ œ œœ œ6

œœ œ œœ œ

∑ &

œœ## œœ Œarco

3

œ œ œ œ# œ# œ œ#5

œ œ# œn œ# œœn œb œ œ œ#jœ ‰ jœ ‰ jœ# ‰jœ ‰ jœ ‰ jœ# ‰

Œ Œ6

œfœ# œ œ# œn œb

Œ Œ6


Œ Œ6


Œ Œa2

6


Œ Œ 6


Œ Œ6


Œ Œ 6


Œ Œ6


Œ Œ6


∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

6

œloco

fœ# œ# œ œn œ

6

œ# œ œn œ# œ# œn œ. œ.6

œ œ# œ# œ œn œ 6œ# œ œn œ# œ# œn œ# . œ# .?

6

œfunis.œ# œ# œ œn œ

6

œ# œ œn œ# œ# œn œ. œ.6

œf œ#œ# œ œn œ 6œ# œ œn œ# œ# œn œ. œ.

œ.fœ. œ# . œ# . œ. œ.

œ.f œ# . œ# . œ. œ# . œn .

œ.f œ# . œ# . œ. œ# . œn .

6

œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘

6


6


6

œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘6œ œb œ œb œ œn jœ# . ‰ ‰ jœ#fl

6

œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘6œ œb œ œb œ œn jœ# . ‰ ‰ jœ#fl

6


6


∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œœb . œœbb . œœ. œœ. œœn . œœ#n .œœb . œœ. œœ. œœbb . œœ. œœbn .

œ# . œ# . œn . œn . œ. œ# .œœ.div.

œœb . œœ. œœnb . œœn . œœb .œœb .

div. œœn . œœnb . œœb# . œœ# . œœn .œb . œ. œ. œb . œ. œb .œb . œ. œ. œb . œ. œb .

∑œ œb œb œ œ œ œ œbŒœfœ œb

dim.

œ œb œ œ œb œ œb œ œb œ œ œb œ

Œ œfœ œb

dim.

œ œb œ œ œb œ œb œ œb œ œ œb œœ œb œb œ œ œ œ œbŒ œfœ œb

dim.

œ œb œ œ œb œ œb œ œb œ œ œb œŒ œ

fœ œb

dim.

œ œb œ œ œb œ œb œ œb œ œ œb œœ œ œ œ œb œb œ œŒ œfœb œ

dim.

œb œ œb œ œ œb œ œb œ œ œb œ œbŒ œ

fœb œ

dim.

œb œ œb œ œ œb œ œb œ œ œb œ œbŒ œ

fœb œ

dim.

œb œ œ œb œ œb œ œb œ œ œb œ œbœ œ

dim.

œ œb œb œb œ œŒ œfœb œ œb œ œ œb œ œb œ œb œ œ œb œ œb

∑

‰ jœœ>f˙

‰ jœœ>f˙

‰ jœ>f ˙‰ jœ>f ˙‰ Jœ>f

˙

‰ Jœ>f˙

‰ jœ>f ˙jœbflf‰ Œ Œ

∑∑

∑

∑∑

∑

∑

∑∑∑∑∑

27

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&B??

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

151 ∑jœbJœbp ‰ Œ Œjœb p‰ Œ Œ

jœbJœbp ‰ Œ Œjœb p‰ Œ Œ

jœJœp ‰ Œ Œjœp‰ Œ Œjœp‰ Œ ŒjœJœp ‰ Œ Œ

∑jœœp‰ Œ Œjœœp‰ Œ Œ ?

jœp‰ Œ Œjœp‰ Œ Œ

Jœp‰ Œ Œ

Jœp‰ Œ Œjœp‰ Œ Œ∑

∑∑

∑

∑∑

∑

∑

3

œf œ# . œ# .3

œ> œn . œb>3

œb . œn> œn .3

œf œ. œ.3œb> œb . œn>

3

œn . œ> œb .3

œ#f œ.œ.

3œb> œb . œn>3

œn . œ> œb .Jœbf‰ 3œfl ‰ œ#fl

3‰ œfl ‰

Jœbf‰ 3œfl ‰ œ#fl

3‰ œfl ‰

Œ œfœb œb œ œ ‰ œ œ œ œ

Œa2 œfœb œb œ œ ‰ œ œ œ œ



Œ œfœb œb œ œfl ‰ œ œ œ œ


Œ œf œbœb œ œfl ‰ œ œ œ œ


Œ œœfœœbb œœbb œœ

œœ˘‰ œœ œœ œœ

œœ

∑

‰ jœœf..œœ ‰

‰ Jœœbf..œœ ‰ &

‰ jœf .œ ‰‰ jœf .œ ‰

‰ Jœœf..œœ ‰

‰ Jœbf.œ ‰

‰ jœbf .œ ‰jœbflf‰ Œ Œ

∑Snare Drum

∑Bass Drum

∑Xylophone

∑oooPoopO∑

∑

∑

Œ Œ Jœ#˘f‰

Œ Œ Jœ#˘f‰

Œ Œ Jœ#˘f‰

Œ Œ jœ#flf‰

Œ Œ jœ#flf‰

S

S

Rœœ#˘ƒ‰ . Œ

Rœœ#˘ƒ ‰ . ŒRœn˘ƒ ‰. Œ

Rœœ# ˘ƒ ‰. Œ

rœbflƒ‰ . Œ

Rœƒ‰ . Œrœbflƒ‰ . Œ

Rœn˘ƒ ‰. Œ

Rœœ#n˘ƒ‰ . Œ

Rœƒ‰ . Œ

Rœœƒ‰ . Œrœœbflƒ‰ . Œ

Rœœ# ˘ƒ‰ . Œ

Rœn˘ƒ ‰. Œ

Rœœ# ˘ƒ ‰ . ŒRœn˘ƒ‰ . Œrœbflƒ‰ . Œrœflƒ‰ . Œ

Rœƒ‰ . Œrœflƒ‰ . Œ

Rœœœœb#˘ƒ‰ . Œ

Rœœbb˘ƒ‰ . Œ

Rœœ#˘ ‰ . Œ

Rœœnb˘

ƒ‰ . Œ

Rœœ#˘ ‰ . Œ

œƒœ# œ. œb . œn œ# œ. œ# .rœœ#flƒ‰ . Œ

Rœœ˘

ƒ‰ . ŒRœœ˘

ƒ‰ . Œrœflƒ‰ . Œ

∑

œa2

Fœ œb œ

œFœœb œ

œa2

Fœœb œ

∑

œb .pa2

œ. œ. œ.œb .p œ. œ. œ.œb .pœ. œ. œ.

œb .p œ. œ. œ.∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

˙FFœb .p œ. œ. œ.œb .pœ. œ. œ.

œb .p œ. œ. œ.

∑.œ#

cresc.

Jœn

.œ#cresc.

Jœn

.œ#cresc.

Jœn∑

œb .cresc.œ. œ. œ.œb .cresc.

œ. œ. œ.œb .cresc.

œ. œ. œ.

œb .cresc.

œ. œ. œ.∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

œ œ-cresc.

œ œb œb œ œ œn

œ œ-cresc.

œ œb œb œ œ œnœb .cresc.

œ. œ. œ.œb .cresc.

œ. œ. œ.

œb .cresc.œ. œ. œ.

∑œn œ œb œ œb

œn œ œb œ œb

œn œ œb œ œb

∑

œb . œ. œ. œ.œb . œ. œ. œ.œb . œ. œ. œ.

œb . œ. œ. œ.∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

.œ# œn - œb œ œn

.œ# œn - œb œ œnœb . œ. œ. œ.œb . œ. œ. œ.

œb . œ. œ. œ.

∑.œ# œ œ

.œ# œ# œ

.œ# œ# œ

∑

œb . œ. œ. œ.œb . œ. œ. œ.œb . œ. œ. œ.

œb . œ. œ. œ.∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

.œ œb œb œ œ œ#

.œ œb œb œ œ œ#œb . œ. œ. œ.œb . œ. œ. œ.

œb . œ. œ. œ.

∑.œ# œ œ

.œ œ œ

.œ œ œ

∑

œb . œ. œ. œ.œb . œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ# . œ.∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

œ> œb ≈ œb> œ ≈ œb> œn

œ> œb ≈ œb> œ ≈ œb> œnœ œ œ œœ œ œ œ

œ. œ. œ# . œ.

∑œn œ œ œb œ œb

œn œ œ œb œ œb

œn œ œ œb œ œb

‰ œFœ œb œ œb

œ œb œ œn . œ œb œn œ# .œ œb œ œn . œ œb œn œ# .œ. œ. œ. œ.

œn . œ. œ# . œ# .∑

∑

∑

∑∑

∑

∑∑

‰ .œæp∑∑

∑

∑∑

∑

∑

≈ œb>œ ≈ œ> œb ≈ œ>

≈ œb> œ ≈ œ> œb ≈ œ>œ œ œ œœ œ œ œ

œn . œ. œ# . œ# .

T

T

∑˙#f#f˙#f˙#f

ff˙f˙f

∑

‰a2 jœF œb œ‰a2 jœF œb œ≈ œf

a2 œ œb - œ œ# œn œn -

≈ œf œœb - œ œ# œn œn -

.œ>fœ> œ œ>

.œ>f œ> œ œ>∑

.œ>Fœ> œ œ>

∑∑

∑

∑∑

∑

∑

˙bf˙bf#f˙f˙f

28

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

161 ∑

Jœ ‰ Œ

Jœ ‰ Œ

Jœ ‰ Œjœ ‰ Œ

jœ ‰ Œjœ ‰ Œ

Jœ ‰ Œ

Jœ ‰ Œ

∑

œ œbf

œ œbf

œn œb œ œb œ#

œn œb œ œb œ#œ .œ> œ

œ .œ> œŒ œfœ .œ> Œ

∑∑

∑

∑∑

∑

∑

œ œFœb œ œb œ

œ œFœb œb œb œ

.œF

jœ>œnFœ œ

œnFœ œ

∑

∑‰ œbFœ œb œ œb œ œ œb œ œb œ œ

‰ œFœb œ œb œ œ œb œ œb œ œb œ

∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

œ œ œb jœn>œ œb œn jœn>˙˙b˙b

∑

∑œb Œ

œ Œ∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

‰ .œæp∑∑

∑

∑∑

∑

∑

œ œb œ œb œb œ œ

œ œ œ œ# œ# œ œ

˙˙˙

∑

∑∑

∑∑

∑∑

∑

∑

∑

‰a2 jœF œb œ‰a2 jœF œb œ≈ œf

a2 œ œb - œ œ# œn œn -

≈ œf œœb - œ œ# œn œn -

.œ>fœ> œ œ>

.œ>f œ> œ œ>∑

.œ>Fœ> œ œ>

∑∑

∑

∑∑

∑

∑

˙

˙

˙#˙b˙b

∑

∑∑

∑∑

∑∑

∑

∑

∑

œ œbf

œ œbf

œn œb œ œb œ#

œn œb œ œb œ#œ .œ> œ

œ .œ> œŒ œfœ .œ> Œ

∑∑

∑

∑∑

∑

∑

˙F˙F.œ jœ>fœn œ œœn œ œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

œb>fœ ≈ œb> œ ≈ œ> œb

œ>fœ ≈ œb> œ ≈ œb> œ

˙˙#˙#

∑

Œ ≈ œFœ œb œ œb œ

Œ ≈ œFœ œb œ œb œ

Œ ≈ œFœ œb œ œb œ∑

Œ ≈ œbFœ œ œb œ œb

Œ ≈ œbFœ œ œb œ œb∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

≈ œ> œn ≈ œb> œ ≈ œ>

≈ œ> œb ≈ œ> œn ≈ œ>

˙˙˙

U

U

∑

œb . œ. œn . œ. œb . œb . œn . œ# .œb . œ. œn . œ. œb . œb . œn . œ# .

œb . œ. œn . œ. œb . œb . œn . œ# .∑

œ. œb . œb . œ. œ. œn . œb . œ.

œ. œb . œb . œ. œ. œn . œb . œ.œ œ œb œ

œ œ œb œ

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑˙

˙#

˙œf œ œb œ

œf œ œb œ

∑

œ. œ. œ. œb . œ# . œn . œ. œ.

œ. œ. œ. œb . œ# . œn . œ. œ.

œ. œ. œ. œb . œ# . œn . œ. œ.

∑

œ# . œ# . œ. œ. œ. œb . œb. œn .

œ# . œ# . œ. œ. œ. œb . œb. œn .

.œ# jœn

.œ# jœn∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

œb .Fœ. œ. œ. œ# . œ. œb . œb .œ.F œ. œ# . œ# . œn . œb . œ. œn .œ.Fœ# . œ# . œ# . œn . œb . œ. œn ..œ# jœ.œ# jœ

29

&

&&

&&

&&?

?

?

&

&

&&?

???

÷÷

&

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

170 ∑œb . œ# . œ. œb . œ. œn . œ. œb .

œb . œ# . œ. œb . œ. œn . œ. œb .

œb . œ# . œ. œb . œ. œn . œ. œb .

∑

œ. œ. œ# . œ. œ# . œ# . œn . œn .

œ. œ. œ# . œ. œ# . œ# . œn . œn .

œn œ œb œ œb

œn œ œb œ œb

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

∑

∑

œ. œ. œ. œ# .œ. œ# . œ# . œ# .

œ. œb . œb . œ.œb . œ. œ. œ.

œ. œb . œ. œ.œ. œ. œ. œ.

œ œ œb œ œb

œ œ œb œ œb

∑˙n˙n

˙n

∑˙#˙#

˙#F˙#F

∑

∑

∑ ?

∑∑

∑

∑∑∑

∑∑

∑

∑∑

10:8œ#Fœ# œœ œb œ œ œ

œ œ 10:8œ œ œœ œ œ œ œ

œ œ

œ. œb . œ. œn . œ. œb . œ. œ.œ# . œ. œ# . œ. œ# . œn . œ. œ# .œ# . œ. œb . œ. œ# . œ. œ# . œ# .˙#F#F

n

n

n

n

n

n

n

∑˙˙

˙

∑˙˙

˙

˙

∑3

œ#Fa2

œ œŒ œ#F

∑∑

∑

∑∑∑

∑∑

∑

∑∑

10:8œ# œ# œœ œb œ œ œ


œ œ

˙#

˙˙˙˙

n

n

n

n

n

∑

∑∑

∑∑

∑∑

∑

∑

∑

˙#Jœ# .œ˙#

∑∑

∑

∑∑∑

∑∑

∑

∑∑

6

≈ œbfœ œ œ œ# 6

œ œb œb œn œ œn3œœœ## - œœœ- œœœ-

˙

˙˙˙˙

π

π

∑

∑∑

∑∑

∑∑

∑

∑

∑

˙#˙

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œ# œ œ œ# œ#3œœœ## - œœœ- œœœ-

∑sul pont.

∑sul pont.

∑sul pont.

∑sul pont.

∑

∑

∑∑

∑∑

∑∑

∑

˙#π˙#π

∑

∑

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∑

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∑

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10:8œ#Fœ# œœ œb œ œ œ


œ œ

˙# æπæπæπ˙#æπ˙#π

30

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&&

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÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

n

n

n

n

n

n

n

176 ∑

∑∑

∑∑

∑∑

∑

˙F˙F

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

10:8œ# œ# œœ œb œ œ œ


œ œ

æFæFæFæFF

V

V

∑

∑∑

∑∑

∑∑

∑

∑

∑

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∑

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3œœ# -π

œœ-cresc.

œœ-

3œ# -π

œ-cresc.

œ-

∑∑

∑∑

∑

∑∑

6

œ œ œ œb œ# œ6

œ# œn œ œ œ# œ#3œœœ## - œœœ- œœœ-

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

3œœ# - œœ- œœ-3œ# - œ- œ-

∑∑

∑∑

∑

∑∑

3

œ œ œ œ œ œ# œ

3œœœ## - œœœ- œœœ-

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

3œœbn - œœ- œœ-F

3œn - œ- œ-F

∑∑

∑∑

∑

∑∑

6

œ œb œ œ# œn œn6

œ# œ œ œ# œ œ

3œœœb - œœœ- œœœ-

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

Jœœbb . ‰ Œ

Jœb . ‰ Œ∑∑

∑∑

∑

∑∑

œb œb œb œb .œ œn

œœœbbb . ‰ œœœ. ‰ Jœœœ.

∑∑∑∑∑

∑

∑∑

∑∑

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∑

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6

œ# œ# œ œ œ œ œ œn œb œ œb œn œb œnœœœn œœœbn

∑∑∑∑∑

31

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&&

&&

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÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

182 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œ œb œ œb œ œ œb œ œb œ œ œb œ œ œb œ

œœœnnn œœœbbb

∑ord.

∑ord.

∑ord.

∑ord.

∑

W

W

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑∑

∑∑

∑

∑∑

œ œb œb œ œb œ œ œbœœœb œœœbn

œp

œ

œbp œœbp œœp

œœp

œ

∑

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œœ#n pŒ

œœ## ŒœbFœb œb œ œ# œn œ œn

œ#F œœ#F œœ#F

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3œ# - œ- œ-œ. œ# . œ# . œ. œ. œ# . œ# . œ.œ# . œ# . œ. œ# . œ# . œ. œ.

œ# .œ# . œ# . œ. œ# . œ# . œ. œ. œ# .

∑

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.œ# Jœ#3œ# - œf œ#

œ# . œ. œ# . œ# . œ. œ. œ# .œ# .

œ# . œ# . œ. œ. œ# . œ# . œ. œ# .œ# . œ# . œ. œ. œ# . œ# . œ. œ# .

∑

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œ œn œ# œ œ#

œ.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. œ# . œ# . œ. œ. œ.

∑

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œ# . œn . œ. œ# . œn . œ. œ# . œn .œ# . œn . œ# . œn . œ# . œ# . œn . œ.œ# . œn . œ# . œn . œ. œ# . œn . œ.˙b

∑

∑∑

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œ# - œ- œ œ œ

œ# - œ- œ œ œœ# . œn . œ. œ# . œn . œ. œb . œ.œb . œ. œn . œb . œ. œ#

. œn . œ.

œ œn

32

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÷÷

&

&?

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

190 ∑

∑∑

∑∑

∑∑

∑

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ŒSnare Drum œæp∑

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œ œ œ# œ œœ œ œ# œ œœ. œb . œ. œ# . œb . œ. œ. œn .

œ. œb . œ. œ# . œb . œ. œ. œn .

X

X

∑

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‰3

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3

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cresc.

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3

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œ.f œ# . œ. œ# . œ. œ# . œ. œ.œ.fa2 œ# . œ. œ# . œ. œ# . œ. œ.

œ.f œ# .œ. œ# . œ. œ# . œ. œ.

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f3

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œ. œ. œ# . œ. œ# . œ# . œ# . œ.

œ. œ. œ# . œ. œ# . œ# . œ# . œ.

œ. œ. œ# . œ. œ# . œ# . œ# . œ.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

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3

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œ. œ# . œ# . œ# . œ# . œ. œ. œ.



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6

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33

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

Y

Y

199 Jœ#˘ ‰ Œ Œ

6

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≈ œ œ œ œ œ

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6

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3

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34

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

206 Jœπ‰ Œ Œ

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35

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CBn.

Hn.1-2

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Tn.3

Tb.

Timp.

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Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

213 Jœ.‰ Œ Œ

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jœ.f‰ Œ Œ

jœ.f‰ Œ Œ

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jœ.f‰ Œ Œjœœ.f‰ Œ Œjœ.f‰ Œ Œ

jœ.f‰ Œ Œjœ.f‰ Œ Œ

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Fl.1-2

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Hn.1-2

Hn.3-4

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Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

220 Œ6

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Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

225

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œf œ. œ.cresc.

3œ# . œ. œ# .Œ 3

œf œ. œ.cresc.

3œ# . œ. œ# .∑

∑∑

Œ6

œfœ# œ œ œ

cresc.

œb6


∑∑

6œ# œ œ œb œ œ jœn ‰ Œ

6

œ# œ œ œb œ œ jœn‰ Œ

Œ6

œfœ# œ œ œ

cresc.

œb6


Œ6

œfœ# œ œ œ

cresc.

œb6


Œ 6

œfœ# œ œ œ

cresc.

œb6


œfœ# œ œ œ

cresc.

œb 6œ# œ œn œn œ# œŒ 6

œfœ# œ œ œ

cresc.

œb6


38

&

&&

&&

&&

&?

?

&

&

&&?

???

÷÷

&

&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

229

6

œ# œ œ œ# œ# œ6

œ œ# œn œ#˘

ƒ‰

6


œ œ# œn œ#˘

ƒ‰

6


œ œ# œn œ#˘ƒ‰

6



6



6



6



6

œ# œ œ œ# œ# œ6œ œ# œn œ#flƒ

‰ ?

6



6



3

œ# . œ. œb . œfl œ#flƒ3

œ# . œ. œb . œfl œ#flƒ6



6

œ# œ œ œ# œ# œ6œ œ# œn œ#flƒ

‰

3

œ# . œ. œb . œ œ#˘ƒ

3

œ# . œ. œb . œ œ#˘ƒ

3

œ# . œ. œb . œfl œ#flƒ∑

∑∑

6



∑∑

Œ6

‰ . œƒœ œ

6

œ œ œb œ# œ œ

Œ6

‰ . œ œ œ6

œ œ œb œ# œ œ

6



6



6



6



6



6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ6‰ ‰ ≈ œƒ

6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6


6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 3

œ# . œ# . œ.6

œ œ œ œ œ œ

6‰ ‰ ≈ œƒ3œ# . œ# . œ.

6œ œ œ œ œ œ6‰ ‰ ≈ œƒ

3œ# . œ# . œ.6œ œ œ œ œ œ

6‰ ‰ ≈ œƒ6

œ# œ# œ# œ œ œ.6


6

œ# œ# œ# œ œ œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 3

œ# . œ# . œ.6

œ œ œ œ œ œ

6

‰ ‰ ≈ œƒ 3

œ# . œ# . œ.6


3œ# . œ# . œ.6œ œ œ œ œ œ

Œ ˙# æFŒ æFŒ æF

6

‰ ‰ ≈ œƒ

6

œ# œ# œ# œ œ œ.6

œ# œ œ œ œ# œ

∑∑

6

œb œb œn œb œb œb Jœ ‰ Œ

6

œb œb œn œb œb œb Jœ ‰ Œ

6

‰ ‰ ≈ œƒ 6

œ# œ# œ# œ œ œ.6

œ# œ œ œ œ# œ

6

‰ ‰ ≈ œƒ

6

œ# œ# œ# œ œ œ.6

œ# œ œ œ œ# œ

6

‰ ‰ ≈ œƒ

6

œ# œ# œ# œ œ œ.6

œ# œ œ œ œ# œ

6

‰ ‰ ≈ œƒ

6

œ# œ# œ# œ œ œ.6

œ# œ œ œ œ# œ

6

‰ ‰ ≈ œƒ

6

œ# œ# œ# œ œ œ.6

œ# œ œ œ œ# œ

Jœ#˘

Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

œ#˘Ï‰ Œ Œ

jœ#flÏ‰ Œ Œ

œ#˘Ï‰ Œ Œ

jœ#flÏ‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

œ#˘Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

jœ#flÏ‰ Œ Œ

jœ#flÏ‰ Œ Œ

jœ#flÏ‰ Œ Œ

jœ#flÏ‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

jœ#flÏ‰ Œ Œ

rœ#flÏ‰ . Œ Œ

RœÏ‰ . Œ ŒrœflÏ‰ . Œ Œ

Jœ#˘Ï‰ Œ Œ

∑∑

Rœœ##˘

Ï‰ . Œ Œrœœ##fl‰ . Œ Œ

Jœ#˘

Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

Jœ#˘Ï‰ Œ Œ

39

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷

&

÷

&?

&

&

&&B??

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

√

∏

Free and Slow

Free and SlowœCluster - divisi a 8

œ# œn œ# œn œ œ# œn

1

∑

2 3

p

œ#p1.

˙

œ#p ˙

œp

Glockenspiel

œœ

∑

œ œ œ# œ#œ œ œ# œ#

∑

4

P

œ œb ˙nœ œb ˙n

œTriangle

œFBongos œ œ œ œ œ œπ

∑

∑

5

∑

loco

π

œ

°œb

œœb

œ

œ

œœ

œ

œ

œœ

∑F∑

6

∑

œbSolo

pœ ˙bF

7 8

∑

œbπœn œb œ œ ˙# -Tutti

P˙n -

˙# -P -

40

II. MEMORIES OF SARATI

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷

&

÷

&?

&

&

&&B??

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

√

n

n

n

n

9

œbpœ œ œ# œ œnF

∑

˙#div.

P˙P -

-

œn œb œb ˙n

∑ ∑

10

n

œbpœ œ œb œ œ œb œ

∑

11

3

œa2

pœb œb

3

œ œ œ#3

œ# œn œn3œp œb œ

3

œ œ œn3

œ œb œ3

œa2

p œœb

3

œb œb œ#3

œ œ œ3œbp œ œ

3

œb œ œ3

œn œ œ#

jœ.f

∑œpizz.

Fœ œ

œpizz.

Fœ œ

œpizz.

Fœ œ

f

ff

cresc.

fcresc.

cresc.

cresc.

12

f

f

f

fffff

˙n˙n˙n

˙n

˙na2

˙ba2

˙˙˙b˙pa2

˙bp˙pæp

∑

A

A

q = 60

q = 60

13 ∑

∑∑

∑∑

Œ1. 5:4

œ#Pœ œ œ œ#∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

Œ Œ3

œ

P œ

œb

∑∑∑

.˙#p

.˙#p

n

n

∑

∑∑

∑∑

.˙∑

‰ JœP 3

œ œ œ#5:4œ œ œ œb œb

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

6

œn

œb

œn

œb

œb

œ5

œœn

œb

œn

œ7

œ

œbœœn

œ œb œloco

?

∑∑∑

.˙

.˙

Solo

∑

Œ1. œpœ œ œ#

∑

∑∑

..˙bb p

.p

.˙∑

∑

∑

∑

∑∑

∑

∑∑

∑∑ &

∑

∑∑∑

3œ œb œn3

œ œ# œ#

5:4

œ# œ œ œ œ# œ# œ œ œb œn&

.˙#π ∑

∑∑∑

41

&

&&

&&

&&?

?

?

&

&

&&?

??

?

&&

÷

&?

&

&

&&B??

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

◊ ◊

∑5:3œ œ œ œ œb œb

∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑Vibraphone

∑

∑∑∑

5:4

œ œ œ œ œ# œ œ# œ œ#

œ .œπ Jœ#? &

3

œ œPœ .œ jœπ∑∑∑∑

Tutti

∑

˙ Œ∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑Œ Œ œœœœ##p

∑

∑∑∑

œF 3

œ œ œ3œb Jœb

œ3

œ œ œ3œb Jœb

.˙π.œ#πJœ œ#

˙#π

œ˙π œ

∑

∑

∑∑

.œ1.

p Jœb œb œb

∑

∑∑

∑

∑

∑

∑Straight Mute

∑Straight Mute

∑Harmon Mute

∑Harmon Mute

∑Straight Mute

∑Straight Mute

∑

∑˙˙n#n Œ

∑

∑∑∑

œ œ œœb œ œn œ

œ œ œœbbp œb œ œn œ?

‰ jœSoloF 3œ œ œ œJœ ‰ Œ œTutti π

œ Œ œπœ Œ œπœ Œ œbπ

B

Œ ˙bFpizz.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

B

B

∑

Œ ˙∏Œ ˙∏Œ ˙∏Œ ˙b∏Œ ˙∏Œ ˙b∏Œ ˙b∏Œ ˙∏∑

Œ ˙∏Œ ˙˙#∏Œ ˙b∏Œ∏Œ ˙∏Œ ˙b∏∑

∑∑∑ ÷

∑∑∑

œ#f

3œ-Fœ- œ-

cresc.

œ- œ- œ- œ-

œ# Œ Œ

Œ ˙bTutti

∏Œ ˙b∏Œ ˙∏Œ ˙∏∑

FF

FF

FF

F

F

F

F

FF

F

F

∑

˙ Œ˙ Œ˙ Œ˙ Œ

˙ Œ

˙ Œ˙ Œ˙ Œ

Œ Œ œπ˙˙ Œ

˙˙ Œ

˙ Œ

˙ Œ˙ Œ˙ ŒŒ Œ œπŒ Œ œæ∏

∑ŒBass Drum Œ œæ∏

∑∑∑

5œb œ œ œ œ 5œ œ œ œb œ Œ

Œ Œ œ œb œb

˙ ŒF

˙ ŒF˙ ŒF˙ ŒF

Œ Œarco

œπ

n

∑

∑∑

∑∑

∑∑

∑

∑

˙ œ∑Mute out

∑Mute out

∑Mute out

∑Mute out

∑Mute out

∑Mute out

.˙

.æ∑

.æ

∑∑∑

∑

3

œ œ œb 3œ œ# œ œƒ

∑∑∑∑

.˙

∑

∑∑

∑∑

∑∑

∑

∑

˙ œ∑

∑œF1. 3œ œ œ∑

∑

∑

.˙

.æ∑∑

∑∑∑

∑

.˙ &

∑∑∑∑

.˙

∑

∑∑

∑∑

∑∑

∑

∑

.˙∑

∑3œ œb œn œ œ#∑

∑

∑

œ ˙.æ

∑∑

∑∑∑

œb

°p

œ

œ#

œ œ

œ

œ œ

œ

œ œ

œ

∑∑∑∑

.˙

π

∑

∑∑

∑∑

∑∑

∑

∑

.˙‰ jœœπ

˙‰ jœœbb π ˙˙.˙

∑

Œ ‰1. œb Jœ

∑

˙ œ.æ

∑∑

∑∑∑

œb œ

œ#

œ œ

œ

œ œ

œ

œ œ

œ

∑∑∑∑

.˙

42

&

&&

&&

&&?

?

?

&

&

&&?

??

?

&÷

÷

&?

&

&

&&BB?

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

C

C

Œ Œ3

œFœb œ#

Œ Œa2

3

œFœb œ#

Œ Œ3

œFœb œ#

∑∑

∑∑

∑

∑

œ ˙jœJœ‰ Œ Œ

Jœjœ ‰ Œ Œ

∑∑

3œ œb œb

∑

.˙

.æŒVibraphone

motor off

Œœœbn p

œœn#

∑Temple Blocks

∑∑

oOOPooop∑œb œ

œ#

œ œ

œ

œ œ

œ

œ œ

œ

∑pizz.

∑pizz.

∑pizz.

∑pizz. ?

.˙

Jœn .f‰ Œ Œ

Jœn .f ‰ Œ ŒJœn .f‰ Œ Œ

∑∑

∑∑

∑

∑

˙ œ∑

∑

‰ œ#F1. jœ

3

œ œb œ

∑œπ

Œ Œ

∑

.˙

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..˙bn..˙n#

3

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Œ

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F

œœœ œœœ œœœ œœ

œb œ

œ#

œ œ

œ

œ œ

œ

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p œn œb œbfŒ

3œpœn œb œbf

ŒŒ 3œb p œ œb fŒ 3œb

p œ œb f.˙

π

‰ JœFœ œ# œ# œ œb œ# œn œ



∑∑

∑∑

∑

∑

˙ œ∑

∑˙ Œ

∑

∑

∑

œ ˙.æ

∑∑

∑.˙#f‰ Jœœ ˙..˙b

.˙# *Œ . jœF

ŒŒ . jœnF

ŒŒ . JœbF

ŒŒ . jœb

FŒ

.˙

π

π

π

3œfœ œb3œ

fœ œb

3œf œ œb∑∑

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∑

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p œ#∑∑

∑

∑

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∑∑∑

∑

∑

Œ 5:4œp œ œ‰ œfŒ 5:4œp œ œ ‰ œfŒ œb

pŒ

Œ œbp Œ

.˙

Jœ ‰ Œ Œ

Jœ ‰ Œ Œjœ ‰ Œ Œ

∑∑

Œ . œœF J

œœbf

Œ . œFjœf

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.˙

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Œ Œa2 œp

∑

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∑∑∑

∑

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Œ 6:4œp œ‰ œ ‰ œfŒ 6:4œp œ ‰ œ ‰ œfŒ œb

pŒ

Œ œbp Œ

.˙

D

D

Œ œpœ œ# œ#

5:4

œ œ œn œb œ#

Œ œpœ œ# œ#

5:4

œ œ œn œb œ#

Œ œp œ œ# œ#5:4

œ œ œn œb œ#Œa2 œ

pœ œ# œ#

5:4

œ œ œn œb œ#

Œ œp œ œ# œ#5:4

œ œ œn œb œ#

3

œœ œœ œœ œœb Œπa2

3œ œ œb œbŒπ3œ œb œb œ Œπ

∑

œ ˙jœπ‰ Œ Œ

jœπ‰ Œ Œ

∑∑

œ œ œ# œbF

œb∑

.˙

.æ∑∑

∑∑∑

∑

∑

∑∑∑∑

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p

Jœn .f‰ Œ Œ

Jœn .f‰ Œ Œjœn .f‰ Œ Œ

Jœn .f‰ Œ Œjœn .f‰ Œ Œ

3œFœ œb3œ

F œ œb3œ

Fœ œb3œ

Fa2 œ œb

˙ œ∑

∑

∑∑

˙ Œ

∑

œ ˙.æ∑∑

∑∑∑

∑

∑

Œarco 3

œ#π œœ

Œarco 3

œ#π œ œŒarco 3œπ œb œnŒarco 3œπœ œ#

.˙

∑

∑∑

∑∑

œf ˙

œf ˙œf ˙

œf ˙

˙ œ∑

∑

∑∑

∑

∑

˙ œ.æ

∑∑

∑∑∑

∑

∑

3

œFœ œ# œ œ œ œ

5

œ œ# œ œ# œ#

3

œFœ œb œ œ# œ#œ#

5

œ œ œ# œ œ3

œF œ œœ œ

5

œ œ# œ œ# œ

3

œFœ œ œ œ œ

.˙

43

&

&&

&&

&&?

?

?

&

&

&&?

??

?

&÷

÷

&?

&

&

&&B??

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

∑

.˙#F.˙#F.˙#F.F.˙F.˙F.˙F.˙F.

cresc.

∑

∑

∑∑

Œ Œa2 œPœb

cresc.

5:4

œPœ œ œb œ

cresc.

œ

.˙

.æcresc.

∑∑

∑∑∑

∑

∑

.˙cresc.

.˙cresc..˙cresc..˙cresc.

.cresc.

∑

.˙

.˙

.˙

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.˙

.˙

.˙

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1.

F œcresc.œ

∑Œ Œ ‰ œ œb‰ œbPœb

cresc.

Jœ.œP

jœbcresc.

œb œbœn œ#

3

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6

œ# œ œ# œ œ œ#

œ œ# œ œ# œ œ œ# œ6

œ# œ œ# œ œ œ#œ œ# œ œ œn œ œb œ6

œ# œ œ œn œ œ#œ œ# œ œ œn œ œb œ

6

œ# œ œ œn œ œ#

œ œ# œ œ# œ œ œ# œ6œ# œ œ# œ œ œ#œ œ# œ œ œn œ œb œ

6

œ# œ œ œn œ œ#

3

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3

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‰ œ œ

3

œ œ ‰3

œ# œ ‰3‰ œ œ

œ œb œ œb œ œ œb œ 6œb œ œb œ œ œbœ œb œ œb œ œ œb œ 6œb œ œb œ œ œb

œ ˙

œ œ#3

œ œ œ œb œ œ œ‰ Jœ#2.F

œbcresc.

œ œ œ œ œ

œ3.

F cresc.

3œb œ œb œ œ œ œ‰ Jœ4.F cresc.

œb œ œ œœœn œœ# œœ## œœ œœb œœ œœ œœ

3œ œb œ œ# œ œ œ˙ œ œ œ œ

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œ œ œœ œ œœ œ œ

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E

E

Jœƒ ‰ Œ Œjœƒ‰ Œ ŒJœflJœƒ ‰ Œ Œjœƒ‰ Œ ŒJœflJœƒ‰ Œ Œ

Jœœ˘ƒ‰ Œ Œjœflƒ‰ Œ Œ

jœflƒ‰ Œ Œ

jœflƒ‰ Œ Œ

jœflƒ‰ Œ Œjœœflƒ‰ Œ Œjœœflƒ‰ Œ Œjœœflƒ‰ Œ Œjœflƒ‰ Œ Œ

Jœƒ ‰ Œ Œ

Jœƒ‰ Œ Œ

jœflƒ‰ Œ Œ

Jœƒ‰ Œ Œ∑ ÷

∑

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3

‰ œFœ

3

œ œœ# œ3

Jœ œƒ

3‰ œ œ3œ œœ# œ

3

Jœ œ

Jœƒ ‰ Œ Œ

Jœƒ ‰ Œ Œ

Jœƒ‰ Œ Œ

Jœƒ‰ Œ Œ

Jœƒ‰ Œ Œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

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∑∑

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∑Bass Drum

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3œ jœbF

jœ .œb&

œ œœ#b œœœnn 3jœœ## œ#

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∑

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‰ Jœœ## ‰ jœn œb

œ œœ3œœb œœbn œœ#

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∑

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∑∑∑

5:4

œ œnPœ# œ# œ œ œ

pœœ ..œœb

jœn

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∑

..˙## p∑

∑∑

∑∑

˙ Œ

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

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œ# œb3Jœb œb

∑∑∑∑∑

∑

jœœ ‰ Œ Œ∑

∑∑

∑∑

∑

∑

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∑

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∑

∑ ?

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3jœn œnœœ## .

p

œœ. ‰ Œ

œ œœnn . œœ.‰ œœœbnn

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44

&

&&

&&

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&

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44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

√

◊

√

◊

Ÿ~~~~~~~~~~~~~~~~ √

◊

F

F

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑Vibraphone

motor 1/2

∑

∑Marimba

∑oooPoooo∑

3

œπœb œn

7:4

œ œ# œ# œ œ œ œ

œœœ ˙bb

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

Œ Œ œæπœœbP

˙b

∑

Œ ‰ .œp.œb

3Œ œbPœb œ

˙b3

Jœb œb

JœP

..œœloco

œœ.pœœ.

˙n ‰ jœp

∑∑∑∑∑

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∑∑

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∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

PŒn

œœ œœb œœb∑

5:4

œP

œb œ œb œb œ

Œ 3Œ œb œbAnœb ˙b

œœ. œœ.5:4œ œ# œ œ œb

œ˙

∑∑∑∑∑

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n

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‰ œp

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3

‰ œbp

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œb œb

œb œb œn œbF

‰ jœnp œ?

5:4

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5:4

‰ œ ‰ œ œ œ

∑∑∑∑∑

cresc.

∑

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∑

∑

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œ# œ#

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œ œnp‰ œ# œ œ

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loco

jœ#

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∑4

œ œ# œ# œ

∑

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Œ Œ 3‰ œbP œ∑

3

‰ œ# œ œ œpœ œ. œb . ‰ &

œ œœ‰ jœœπ

∑∑∑∑∑

P

∑

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œp œ#œ

3

Jœ œnFœfœb œb œ œ Œ

π∑

∑

∑

∑

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∑

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∑

œ œbp œ∑

.œF

.œ3‰ ‰ Jœb Œ

3œœ‰

Œ œ

‰ Jœn

πœ

œœ‰ Jœb .π œ. œb .

∑∑∑∑∑

∑

∑∑

∑∑

‰ jœn ˙Œ ˙b.˙

∑

Œ1.

5:4

œpœ œb œ œn

F∑

∑

∑

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œ# œ œ œ œ# œ œ œb∑8:6

œ# œ œ œ œ# œ œ œbœbœœœŒ

‰ ..œœb œœb3œb ‰ œn .

3‰ jœ. ‰ jœn .‰ &

∑∑∑∑∑

45

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&&

&&

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?

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44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

◊

√ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~

G

G

e.=q =80

e.=q =80

∑

∑∑

∑∑

∑∑

∑

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∑

∑

∑

∑∑

∑

∑∑

∑

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˙ Ó∑∑

œFœ œb œ œ œ œ œ

˙b jœœœ ...œœœb

∑∑∑∑∑

∑

∑∑

∑∑

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∑

∑

∑

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∑

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œ œ œ

˙b jœœœ ...œœœnb ?

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∑

∑∑

∑∑

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∑

∑

∑

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∑

∑∑

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œ# œœ œœœn œœœœbbb5:4

œ# œ# œ œnœn

5:4

œ# œ# œn œn œ#

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∑

∑

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∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

5:4

œ#fœ œ œ œ#

5:4

œ# œn œb œn œn

œ# œ œn œ œ œb œ œb

∑∑∑∑∑

H

H

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

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wb

w

Œ œπ3œ œ œ

Œdiv. œπœb 3œ œ# œœ œb œ œ#

Œ œπœb ˙

Œ œπ œ œb œŒ œπ œ œb œ

∑

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w

∑

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œ#

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œPœ .˙

œPœ .˙

subito psubito psubito psubito psubito p

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∑

3

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Fœ. œ. Jœ. ‰ Ó

3

œ.Fœ. œ. Jœ. ‰ Ó

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Pœ œ œ œ# œ# œ œb

3

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˙# Ó˙n Ó˙n˙ Ó˙ Ó˙ Ó

n

∑

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∑∑

∑∑

∑

∑

∑

∑

∑

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Ó . ‰ Jœœ#pÓ . ‰ jœ#

pÓ . ‰ jœ#p

∑∑∑

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wn bp‰ œflf œfl œfl

‰ œbfl œbflœbfl

∑∑∑

‰pizz.œf œ œ ‰ œb

œb œb

‰pizz.œf œ œ ‰ œb

œb œb

∑

∑∑

∑∑

∑∑

∑

∑

∑

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‰ Œ

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Ó œb œb œ œ œ œ# œ œn

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∑∑arco

∑arco

46

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Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

√

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~◊

sul pont.

sul pont.

sul pont.

sul pont.

sul pont.

Œ .˙π

Œ .˙π

Œ .πŒ .πŒ .πŒ .πŒ .π∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

Jœƒ‰ Œ Ójœfl ‰ Œ Ó

3œ.ƒ œ. œ. Œ ‰ .œæπ3œb .ƒ œ. œ.Œ ‰ .œ# æπ

3

œb .ƒœb . œb . Œ ‰ .œæπ

3

œb .ƒœb . œb . Œ ‰

.œæπ3œ# .ƒ œ# . œ# .Œ ‰ .œæπ

Jœ ‰ Œ Ó

Jœ ‰ Œ Ójœ ‰ Œ Ójœ ‰ Œ Ó

jœ ‰ Œ Ójœ ‰ Œ Ó

jœ ‰ Œ Ó

∑

∑

∑

∑

∑

∑∑

∑

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∑ ÷

∑∑

3

œƒœ œ ‰ Jœ

3

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Œ .˙b

P

æ Ó

æ Ó

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1Free and Slow

Free and Slow

I

I

n˙ &

œCluster - divisi a 8

œ# œn œ# œn œ œ# œnœ# œn œ

Cluster - divisi a 8

œ# œn œ# œn œ#œ

Cluster - divisi a 6

œ œ# œn œ# œn

2 3

πloco

œ#1.

p

œ

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œœb

œ

œ

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œ

œ

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∑∑∑

4

Glockenspiel

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˙ œ œ œ# œ#

∑˙pœœp˙

∑∑∑

5

Triangle

œ œ# œ œb

œ1.

p ˙b

œ œb ˙n

˙

œFBongos œ œœ œ œp∑

∑∑∑

n

6

œ œ œb œb ˙b

œpœb œb œ œ œ œ ˙#

∑∑∑

n

œ œ# ˙

œb œn œ

∑∑∑

n

7

Solo

œb œn œ# œ œ ˙

∑∑∑

œbpœ ˙bF

47

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&&

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÷

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

œb ˙

∑∑∑

œ œ œb œ œ# œn

n

n

n

8

∑∑∑

œb œn œb œ œ ˙# -F˙# -F

n

n

n

n

9

œbpœ œ œb œ

∑˙#F˙F- -

- -

œF œnœb œb ˙

∑

n

10 11

pizz.

pizz.

pizz.

œbpœ œ œb œ œ œb œ

∑

J

J

q = 60

q = 60sempre crescendo

∑

3

œpa2 œb œb

3

œ œ œb3

œb œ œn3œp œb œ

3

œ œ œn3

œ œb œ3

œpa2

œ œb3

œb œb œb3

œn œ œ3œbp œ œ

3

œb œ œ3

œn œ œb3œp

a2

œ œ3

œ œ œ3

œ œ œ#∑

jœf‰ Œ Œ

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

∑

∑

∑œF

œsempre crescendo

œ

œF

œsempre crescendo

œ

œFœ

sempre crescendo

œ

∑

∑3

œ œ œb œ œ œ œb œb œ œ# œn3

œ œ œ œ œ œb œ œ œ œ œ

3

œb œn œb œ œb œ œ œ œ œb œb3œ œ œ œ œ œb œ œn œb œb œ

œ œ œb œ3œ œ œb

œp œ œb œ3

œ œ œ∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

∑

∑

∑œ œb œ œœ œb œb œœ œb œ# œŒpizz. œbF

œbsempre crescendo

œ#

∑

œb œ œ œ œcresc. poco a poco

œb œb œn œn œb œb œnœ œ œ œ œb

cresc. poco a poco

œ œ œ œ œ œb œn

œb œ œb œ œncresc. poco a poco

œ œb œb œb œ œ œœn œ œ œb œ

cresc. poco a poco

œ œ œ œ œ œ œb

3

œ œn œ œcresc. poco a poco

œ œ œ œb œb œb œ3

œ œb œ œcresc. poco a poco

œ œ œ# œ œn œ œŒ Œ

3

‰ œPœb

Œ Œ 3‰a2

œPœb

∑

∑

∑

∑∑

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∑

∑

∑

3

œb œb œ 3œ œ# œ# ‰arco jœÍ

3

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œb œb œn 3œn œ œb3œb œb œ

3

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3

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∑œ œ# œ# œnœ œ œ# œ# œ œ œ œ# œn œ# œ œn

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œ œ œ œ œ œ œb œ œ œb œ œ

œ œb œ œ œb œb œ œ œb œ œn œ

œ œ œ œb œ œ œb œ œ# œ œb œ

œ œ œ œ œ œb œ œ œ œœ œ

3

œb œ œ3

œ# œ# œn œcresc. poco a poco

œn œ œ#

3

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Œ Œ ‰ . rœ#>FŒ Œ ‰ .a2 rœ#F

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3

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3

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œ# œ œ3

œb œ œb

48

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÷

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Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

∑3

œ# œn œ œb 3

œ œb œ œb 3

œ œ œb œ3

œ# œn œ œb3

œ œb œ œ3

œb œ œb œ

3

œ œb œ œb3

œ œ œb œ3

œb œ œ œbœ œb œ œb œ œ œb œ œb œ œb œœ œ œb œ œb œ œb œ œ œb œ œ

3

œ# œn œ œb3

œ œb œ œ 3œb œ œb œœ œb œ œb œ œ œb œ œb œ œb œœ

3

œn œ œ#6

œ œ .œ# œ œn

œ3

œ œb œn6

œb œn .œ œ#6

œ œb œn œ œb œ

œ3

œ œb œn6

œb œn .œ œ# œcresc. poco a poco

6.œ œn œ œ#6

œ œ .œ# œ œnŒ Œa2

6

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∑∑

∑

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∑∑∑

∑∑∑

∑

∑

∑œ œb œ œb œ œ œb œ œb œ œb œ‰arco œ

Fœb œ œ œb œ œb œ œb œ

3

œb œb œ3

œb œn œ Jœ ‰arco

3

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∑

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.œ. œ>

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œ œb . œ. œ> œcresc. poco a poco

œ œb . œ. œb> œcresc. poco a poco

‰ œœbbFœœ œœ œœ

cresc. poco a poco

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∑

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∑6

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6

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6

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∑∑

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∑∑

∑

∑

6

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œ œ œ# œ œ#6

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6

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6

œ# œ œ# œ œ# œ6


œ# œ œ# œ œ# œ

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∑

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œ œ# œ œ# œ œb œn œb œn œ# œn œ# œn œb œn œ œn œ œb œœ œb œ œb œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œ œbœ# œ œ œ# œ œb œn œ œ œ œ œ# œn œb œn œn œb œn œb œœ# œ œ œ# œ œb œn œ œ œ œ œ# œn œb œn œn œb œn œb œœ œ# œ œ

œœ# œœ#6œ œb œn œb œ œ

6


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œcresc. poco a poco

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Œ œF œcresc. poco a poco∑

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∑

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3

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6

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.˙

49

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Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

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

∑

œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œ œb œn œb

œ# œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ#œ œ# œ œb œ œb œn œb

œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ# œœ œ# œ œb œ œb œn œb

œ œb œ œ# œn œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œ# œ

œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œb œ œ œb œn

œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œb œ œ œb œn

œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œœb œ œb œ œb œ œ œb œ œb œ œ œb œ œb œ œ œn œ œn œ œ œn œœ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œn œ œn œ œ œn œ œnœ œ œ œb œ œb œ œ œb œ œb œ œb œ œ œ œ# œn œ# œn œ# œn œ œ#

.œb jœn œb6

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3

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3

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cresc. poco a poco

∑∑∑

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∑

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Œ ˙#...˙˙˙ œ ˙‹div. a 4

....˙˙˙˙∫#b div. a 4

ƒ

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f

fffff

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ƒœ œb œb œ œb œ œb œb œ œb œ œb œ œb œb œ œb œ œb œb œ œb œ œbƒœb œ œb œ œb œ œ œb œ œb œ œ œ œ# œ œ# œ œn œ# œn œ# œn œ# œ#ƒœ# œ œ œ# œ œ# œ œ# œ œb œn œb œn œb œn œb œb œn œb œn œ œb œn œbƒœb œ œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œƒœb œ œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œƒ

œ# œ œ# œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œœ œ# œ œ# œ œ# œ œ

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œ œ# œ œ œ# œ œ# œ ˙b

œ œ œ# œ œb ˙œ œ# œ œ œ# œ œ# œ œ œ œb œn œb œn œ œb œn.˙œ

3

œ œb œ œ œb œ œb œ œ œb œœ œb œn œb œn œ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb

ƒ.˙œ ˙˙ œœ

3

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Jœ œ#3

œfl œfl œ#fl œ œ# œ œ#6

œ œ œ# œ œ# œƒ

∑∑∑Bass Drum

œ œ œ# œ œ# œ œ œ# ˙b

∑∑

∑

∑

....˙˙˙˙

....˙˙˙˙

subito psubito p

subito psubito p

subito psubito psubito p

subito p

subito p

subito p

subito p

subito psubito p

subito psubito psubito p

subito psubito psubito psubito psubito p

˙˙˙

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æπ˙

subito p

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Ï

Ï

Ï

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ƒ

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?

50

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Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

√

K

K

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

Ó .

∑

∑

∑∑

∑∑∑

∑∑∑

Œ .ƒœœb pjœœπ

..˙

∑∑∑∑∑

sos pedal

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

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∑

∑∑

∑∑∑

∑∑∑

‰3

œbpœb œ œb œ œ œb

5

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Fœbœ œ œb˙

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

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∑

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‰U3

œb . œ.œb .

6

œ œb œ

œ œb œ

‰ œœnb.

Fœœ.

jœn œœ#n . œœ.

∑∑∑∑∑

∑

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∑∑

∑∑

∑

∑

∑

∑

∑

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∑

∑∑

∑∑∑

∑∑∑

‰ jœœbn p..œœœœ#n .fœœ.

‰ jœœn# ..œœ œœb . œœ.

∑∑∑∑∑

∑

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œ 3œn œ#pœ œb œ œb œn

Œ Œ œœœb#

∑∑∑∑∑

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∑∑∑∑∑

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poco rit.

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Jœœbb œœbb œœb

3

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œb œn œ3

œn œb œb &

∑∑∑∑∑

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≈ œ œb œb œ œ œbœ œb

≈ œ œ# œ œ# œn œœ œb

∑∑∑∑∑

51

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Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

◊

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

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∑

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˙ œ#5:4

‰ œ# œ# œ œ œ œb5:4‰ œn œn œ œ œ œ#

˙œœ#?

∑∑∑∑∑

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...œœœnn œœœn#n œœœ œœœbnb œœœ ...œœœn#n ?

œœbb œ œb œœ œ œb œœ œb

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‰fœœœbpœœœb

dim.

Jœœœb

˙ œ∑∑∑∑∑

∑

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∑∑

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Jœœœ œœœb œœœb jœœœπ&

œb œb œn

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œb . œb .œœbn œœb

∑∑∑∑∑

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‰ Jœ œb œb œb œ œœnn œœnn œœn

œb œb œb œ œb œb œœn# œœn#

∑∑∑∑∑

52

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42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

169

Picc.

Fl.1-2

Fl.3

Ob.1-2

E.Hn.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn.

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.2

Va.

Vc.

S.B.

Hp.

Pno.

√

◊

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

≈ œœb œœb ≈ œœb œœb ≈ œœ#n œœbnfœœnn

œœb œœbb œœ#b œœ#

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∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœnbsubito p

œn œœcresc.

œ œœb œ œœ œ Rœœ

œb œb œb œ œ œ Rœ

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∑

∑∑

∑∑

∑∑

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∑

∑

∑

∑

∑∑

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∑∑

∑∑∑

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œn œn œ# œ œ œ Rœ

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∑∑

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∑

∑

∑

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∑∑∑

∑∑∑

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cresc.

œœb œ œœ œ Rœœ

œb œb œb œ œ œ Rœ

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∑∑

∑∑

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prœ

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∑

∑

∑∑

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∑∑∑

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œn œn œ# œ œ œ Rœ

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∑∑

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.œ .jœ∑

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∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœb

œœ

œœb

œœbb

œœbn

œœbb

œœn

œœnn

œœ

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Attaca

Attaca

No pause between movements

No pause between movements

∑

∑∑

∑∑

∑∑

.Jœ œ œb œb œ œ œb

.jœ œ œb œb œ œ œb‰ . ‰ . œ

Fœ œb

∑

∑

∑∑

∑

∑∑

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∑Bass Drum

∑Xylophone

∑∑

œœ## œœ œœb œœ#n œœb œœ#n œœn œœb œœ#nƒ

œœnn œœnn œœnn œœbb œœbb œœnn œœnn œœbb

∑∑∑∑∑

53

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42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

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q = 120

q = 120

∑

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∑∑

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54

III.FINALE

&

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43

43

43

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

B

B

PPPPP

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col legno battuto

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col legno battuto

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55

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43

43

42

42

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42

42

42

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42

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42

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

28 ∑

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œFœb œb . œ œ œ .œb>

œFœ œ. œb œ œ .œ#>Jœ ‰ œ œb œ .œ>jœ#fl ‰ œ œ œ .œn>jœ#fl ‰ œ œ œ .œn>

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œn œ œ# œ œ œ# œ œ?

œn œ œ# œ œ œ# œ œjœ ‰ Œjœn ‰ Œ

Jœ# ‰ Œjœ ‰ Œjœ ‰ Œ

56

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

?

?

&&B??

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

E

E

36 ∑œœfœœœœ. ‰œœ œœ Jœœ. ‰

œfœ œ. ‰ œ œ jœ. ‰

œf œœ. ‰ œ œ Jœ. ‰

œf œœ. ‰ œ œ Jœ. ‰

Jœœf‰ œœ œœ. ‰ Jœœ

jœf‰ œ œ. ‰ jœjœ#f‰ œ# œ. ‰ jœjœ#f‰ œ# œ. ‰ jœ∑

∑

∑

∑∑

∑

∑∑

jœ#F‰ œ# œ ‰ jœ∑∑

∑∑∑

.˙#

.˙#œfœ œ. ‰ œ œ Jœ. ‰œf œœ. ‰ œ œ Jœ. ‰jœflF‰ œ œfl ‰ jœ.jœ#flF‰ œ# œfl ‰ jœ.jœ#flF‰ œ# œfl ‰ jœ.

∑œœ œœœœ. ‰œœ œœ## œœ

œœ œœ œœ

œ œ œ. ‰ œ œ# œ œ œ œœ œ œ. ‰ œ œ œb œ œ œ

œ œ œ. ‰ œ œ œb œ œ œ

Jœœ. ‰ œœ œœ

. ‰ Jœœ

jœ. ‰ œ œ. ‰ jœjœ# . ‰ œ# œ. ‰ jœjœ# . ‰ œ# œ. ‰ jœ

∑

∑

∑

∑∑

∑

∑∑

jœ# ‰ œ# œ ‰ jœ∑∑

∑∑∑

∑

∑

œ œ œ. ‰ œ œ# œ œ œ œ

œ œ œ. ‰ œ œ œb œ œ œjœfl ‰ œ œfl ‰ Jœ.jœ#fl ‰ œ# œfl ‰ jœ.jœ#fl ‰ œ# œfl ‰ jœ.

e = e

e = e

q. = 80

q. = 80

:

:

∑

Jœœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .

Jœ. ‰ ‰ Œ .

Jœ. ‰ ‰ Œ .

Jœœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .jœ# . ‰ ‰ Œ .jœ# . ‰ ‰ Œ .

∑

∑

∑

∑∑

∑

∑∑

jœ# ‰ ‰ Œ .

∑∑

∑∑∑

∑ &

∑

œ œb œb œ œ œb .œ œ# œ# œœ œ œ œb œ œb .œ œ œn œbJœ ‰ ‰ Jœb˘ ‰ ‰jœ#fl ‰ ‰ Jœ ‰ ‰jœ#fl ‰ ‰ Jœ#

˘ ‰ ‰

ppppp

∑

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∑∑∑

∑∑∑

œœœbF Jœœœb . œœœbb . œœœ#n . œœœnn# .

œœœb Jœœœb . œœœ# . œœœ#bn . œœœ#n .

.œ .œ#

.œb .œ

.œ .œb

.œ .œ

.œ# .œn

ppppp

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœbbfœ œœ. œœnb œ œœ. œœn œb œœ.œœœbbb . œ œn œœbb . œn œb œœ. œn œb

Œpizz. jœ ‰ jœ ‰Œpizz. jœb ‰ jœ ‰Œpizz. jœ ‰ jœ# ‰Œpizz. Jœb ‰ Jœ ‰Œpizz. Jœb ‰ Jœ ‰

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

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∑∑Df∑

œœ# œ œœnb œ# œœ# œn4:3œœnb . œœn . œœbb . œœn .

œ. œœbb . œœnn .

4:3

œœnn. œœnn . œœnn. œœnn .

jœ# ‰ ‰ Œ .

jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .

Jœ ‰ ‰ Œ .arco

Jœ ‰ ‰ Œ .arco

F

F

∑

œbP

1. œ œ œ œ œb œb Jœ

∑

Jœp1. ‰ ‰ œ œb œ. œ œ

∑jœbp1. ‰ ‰ œ œb œ. œb œb

∑

.pJœ1.

p‰ ‰ œ œb œ. œ œ

.pjœp

1. ‰ ‰ Œ .

∑

∑∑

∑

∑∑

∑∑∑

∑

œP œ

œ

œ

œ

œ

..œœ#pŒ .

..œœ Œ .

∑∑∑

.p .p

∑

.œ .œb œ# œ œ

∑

œ œ œ .œ∑

œ œb œ .œ∑

.˙œb œb œ .œ

.˙œb œ œb .œ

∑

∑∑

∑

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∑

œ

œ

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œ

œ

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.˙

57

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&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

44 ∑

œ# œ œ. œ œ œ œ œ œ œ#œ#

∑

œ# œ œ jœ# œ∑

.œ# jœ# œ∑

.˙œ# œn œ .œ

.˙

.˙∑

∑Mute out

∑

∑Mute out

∑∑

∑∑Snare drum

∑

∑Glockenspiel

œ

œ

œ

œ

œ

œ

∑

∑

∑∑∑

.˙

.˙

∑

Jœ.

f‰ ‰ Œ .∑

jœ.f‰ ‰ Œ .

∑

jœ# .f‰ ‰ Œ .

∑

jœ# .f‰ ‰ Œ .

jœ# .f‰ ‰ Œ .

jœ# .f‰ ‰ Œ .

jœ# .f‰ ‰ Œ1. jœ>F∑

∑Œ . œflf œbfl œflŒ . œœf

œœ œœb˘

Œ . œflf œbfl œbflŒ .

œflf œbfl œbflŒ . jœF

‰ ‰Œ . œ

Fœ œ

∑..˙fjœb ‰ ‰ Œ .

jœb ‰ ‰ Œ .

œfœb œb œ œ

œœœnbbb

^ .œ

JœbH

∑∑∑

jœ# .‰ ‰ Œ .

jœ# . ‰ ‰ Œ .

G

G

∑

∑∑

∑∑

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∑

∑

∑

.˙∑

∑∑

∑

∑∑

∑œ œ œ œ œ œ Jœ ‰ ‰

∑

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œ œ# œ œ# œ œ# .œn œ. œ œ#œ œ# œ œ# œ œ# .œn œ. œ œ#

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

jœ ‰ ‰ Œ jœœb>FŒ . Œ jœœ#n >F∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œ# œ. œœ# . œn œ# œ. œœn# >œ œ# œ. œœn# .

œ œ# œ. œœ# >

œp œ# .cresc.

œ. œ. œ# . œ.Œ . œ.p œ# .

cresc.

œ# .∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

..œœ Œ .π

..œœ Œ .π∑∑

∑

∑∑

∑∑∑

∑∑∑

..˙

..˙˙

œ# . œ# œ œ# œ#œ œ# œ# œ

œ. œ# œ# œ# œ œ# œ#œ œ#

œ.pœ# œ# œ œ# œ# œ œ# œn

Œ Jœb .Pœ. œ œb

Œ Jœb .Pœ. œ œb

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

∑

∑

œfœ# œ# œ# œ œ Jœ#œF Jœ Jœ œœ#F Jœ# Jœ œn

œ#F Jœ Jœ œnœ#F Jœ Jœ œn

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

∑

∑

œ Jœb .œ œ œb œ

œb Jœ Jœ œ#œ Jœb Jœ œbœb jœb jœ œ#œb jœb jœ œ#

∑

∑∑

∑∑

∑∑

∑

∑

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∑∑∑

∑

∑

œ# œ œ. œ œ œ œ œb œ œ#œ

œ# jœn jœ œœ Jœ Jœ œ

œ Jœb Jœ œ

œ Jœb Jœ œ

58

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&?

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√ ◊

◊Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~

√

H

H

52 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œfœb œ œb œb œ .œn œb . œ œœ œb œ œb œb œ .œn œb . œ œ

.œ .œb

.˙

.˙

.˙#

.˙#

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑

OOOPoOOo∑œb œ œ œb œb œ œn œb œb œn œ œb

œb œ œ œb œb œ œn œb œb œn œ œbœFœ œb œ œ œb

œ# - jœ- jœ œ# -œ- jœ# - jœ œ-œ- Jœ# - Jœ œ-

œ- Jœ# - Jœ œ-

∑

∑∑

∑∑

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∑

∑

∑

∑

∑

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∑

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∑

œF œ œ œ œ œœb œ œ œ œ œ

œ. œ# . œ. œbFœ œn œ# œ œb

.œ ...œœœb

Jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .

Jœ ‰ ‰ Œ .

Jœ# ‰ ‰ Œ .

Jœ# ‰ ‰ Œ .

ppppp

œFœ# œ. œ œ# œ. œn œn œ.

œF

a2 œ# œ. œ œ# œ. œn œn œ.

œbFœ œ. œ œ œ. œ œ# œ.

œœbFœœ# œœ. œœ œœ# œœ. œœ œœn# œœn .

∑

∑∑

∑

∑

∑

∑

∑

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∑

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∑∑Snare drum

∑

∑

œ œ œ œ œ œœb œ œ œ œ œ

.œ Œ œ œb?

...œœœnb Œ œfœb

.œ .œ

.œ .œ

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.œb .œb

f

f

ff

f

ff

œ œ# œ. ‰ Œ .

œ œ# œ. ‰ Œ .œb œ œ. ‰ Œ .

œœb œœ# œœ. ‰ Œ .

∑

Œ . Œ1. œFœ#

∑

∑

∑

∑

Œ jœfl œbfl œfl ‰

Œ jœfl œflœbfl ‰

Œ jœœ#flœœ œœ ‰

Œ jœ#fl œflœfl ‰

Œ Jœœb˘ œœbb ˘ œœbb ˘ ‰

Œ Jœ œ œb˘ ‰

Œ jœfl œflœbfl ‰

Œ JœfŒ .

Œ Jœfœ œ ‰∑

∑Xylophone

.œ Œ .

.œb Œ .

.Œ . Œ œƒœ#

&

.˙∑∑∑∑∑

∑

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∑∑

œ œ# œ œfœn œ. œ œ

∑

Œ . .œ#ÍŒ .a2 .œ#ÍŒ . .œ#Í

∑

∑

∑∑

∑

∑Œ .

.œ#Í∑∑∑

Œ . œFœ œ. œ œ

∑∑

œœœœ#nb ˘ œœœœ#n ˘ œœœœ#b˘ .œ#n

dim.œœœœnn#b ˘ œœœœ œœœœb#n ˘ .œ#n

Œ . ‰pizz. œFœ

Œ . ‰pizz. œFœŒ . ‰pizz. œFœŒ . .œ#ÍŒ . .œ#Í

n

∑

∑∑

∑∑

œ. œ œ œ œ œb œb œ œ# œfl∑

.˙

.˙

.˙∑

∑

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∑

∑

.˙∑∑∑

œ. œ œ œ œ œb œb œ œ# œfl∑∑ &

.˙

.˙

Œ Jœ Jœ ‰arco ‰Œ jœ jœ ‰

arco ‰Œ jœ jœ ‰

arco ‰

.˙

.˙

∑œFœ œb œ œ œ .œ#

∑

∑∑

jœ#fl‰ ‰ Œ .

∑

.œ .œ#

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∑

∑∑

∑

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∑∑∑

jœ#fl‰ ‰ Œ .

œfœ œb

œ œ œ

œb œ œ

œ œb œ∑

∑ &

∑∑

Œ . œbFœ œ œ œb œ

.œ .œ#

.œ .œ#

59

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&&

&

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&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

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

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

√ √

I

I

60 ∑

∑∑

∑∑

∑∑

.œ .œ

.œ .œ

.œ .œ

∑

∑

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∑

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∑

.˙∑

œFœb œ œb œ œb œ œ œn œ œ# œœ œb œ œb œ œb œ œ œn œ œ# œ

∑‰ œ# .F œ. œ# .

cresc. poco a poco

œ œ#

.˙b

.œ .œ

.œ .œ

∑

∑∑

∑∑

∑∑

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.œ# .œ

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∑

∑

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∑

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∑∑∑

∑∑∑

‰ œ œ# œ œ#œ œb œn œb œn .

‰ œ œ# œ œ# œ œb œn œb œn .

‰ œ.F œ# . œ.cresc. poco a poco

œ# œ.œ .œ#œ- jœ- jœ œ-.œ# .œ.œ# .œ

∑

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‰ œ# œ œ œ# œ œb œn œ œb .

‰ œ# œ œ œ# œ œb œn œ œb .

œ œ# œ œ œ œ

œ jœ jœ œœcresc. poco a pocoJœ Jœ œ#

œ#cresc. poco a poco

Jœ Jœ œœ#cresc. poco a pocoJœ Jœ œ

∑

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‰ œ# œ œ# œ œb œ œb œn œ# œ

‰ œ# œ œ# œ œb œ œb œn œ# œ

œ# . œ# œ œ. œ œ œ. œ œn

œ. œ# œ œ. œ œ œ. œ# œœ Jœ# Jœ œœ# Jœ Jœ œ#œ# Jœ Jœ œ#

∑

∑∑

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∑∑

‰ œ#Fœ œ

cresc.

œ# œ.‰ œ#F

œ œcresc.

œ# œ.‰ œ#F

œ œcresc.

œ# œ.∑

∑

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∑

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œ# œ œ# œ œ œ# œ œb œn œ œ# œ

œ# œ œ# œ œ œ# œ œb œn œ œ# œ

œ# œ œ# œ œ œ# œ œ œn œ œ œ

œ œ# œ œ œ# œ œb œ œ œn œ œœ. œ# œ œ# œ œ# .œ. œ# œ œ œ# œ.œ. œ# œ œ œ# œ.

∑

Œ . Œ jœ#F∑

Œ . .œp cresc.

∑

œFœ# œ œ# œ œ .œ#

n

cresc.

œF œ# œ œ# œœ .œ#

n

cresc.

œ# œ œ. œ# œ œ# .

œ# œ œ. œ# œ œ# .

œ# œ œ. œ# œ œ# .

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œ# œ œ# œ œ œœ##

œ

œœ

œ

œœ.

œ œ# œ œ# œ œ

œ œ# œ œ# œ œ .œ#

œ# œ œ# œ œ# œ .œ

œ œ œ# . œ œ# œ.

œ# œ œ. œ# œ œ# .

œ# œ œ. œ# œ œ# .

∑

œ Jœ# Jœœ#

Œ jœ#Fjœ œ#

.œ œb˘fœ œ

∑.˙

.˙

.œ œb˘ œ œ

.œ œb˘ œ œ

.œ œb˘ œ œ

∑

∑

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∑

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∑.œæp

œF

œ œ

∑

∑∑∑

œ# .locoœ. œ# œ œ œ œ. œ# .œ# . œ. œ# œ œ œ œ. œ# .?

.œ8:6

œn œ œb œ œb œ œ œb.œ œb˘ œ œ.œ œb˘ œ œ.œ œb˘ œ œ.œ œb˘ œ œ

60

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÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

~~~~~~~~~

~~~~~~~~~

J

J

fffff

67 ∑œ

fœ œ. œb œb

cresc.

œn . œ œ œ.œfœ œ œ# œ# œn .

cresc.

œ œ œ.

œ#cresc.

œ# œ. œ œ œ œ œ.

‰ ‰ œf œ œ œb cresc.

œb .œ œn

fœ œ# œ#

cresc.

œ.

œ œfœ œ œ

cresc.

œ.œ#fœ œ. œ œ

cresc.

œb .œ#fœ œ. œ œ

cresc.

œb .œ#fœ œ. œ œ

cresc.

œb .

∑

∑

∑∑

∑

∑∑

∑œcresc.


∑Bass drum

œFœ œ. œb

cresc.

œb œ. œ œ œ.∑∑

œ# . œ# œ œ œ œ. œ# . œ.?

œ# . œ# œ œ œ œ. œ# . œ.œ œ œ. œb œb œ. œ œ œ.œ# œ# œ. œ œ œ œ# œ# .œb œ œ. œ œb œn .œ# œ œ. œ œ œb .œ# œ. œ. œ œ œb .

∑

œn œ œb . œ œ œ. œ# œ# œ# .

œn œ œb . œ œ œ. œ# œ# œ# .

œ œ œ# . œ œ œ. œ# œ# œ# .

œb œ œ. œ œb œb . 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.œ. œ œ# œ# . œ# œ œ. œ.

œbFa2

œ œ.cresc.

œ œ# œ# . œb œ œ.

œbFa2

œ œ.cresc.

œ œ# œ# . œb œ œ.œ#a2

Fœ# œ# .

cresc.

œ œ œ. œ œ œ# .

œ#a2

Fœ# œ# .

cresc.

œ œ œ. œ œ œ# .œ.Fœcresc.

œb œb . œ# œb œb . œ.œ.Fœcresc.

œb œb . œ# œb œb . œ.

œ.F œcresc.

œb œb . œ# œb œb . œ.∑

œ œ œ œ œ œ œ œ œ

.˙Fœ# œ# œ# . œ œ œ. œ# œ# œ# .

∑∑

jœ#fl‰ ‰ Œ .

jœ#fl‰ ‰ Œ .

œ# œ# œ# . œ œ œ. œ# œ# œ# .

œ œ œ# . œ# œ# œ. œ œ œ# .

œb œ œ. œ œ# œ# . œb œ œ.

œ. œ œb œb . œb œ œ. œ.œ. œ œb œb . œb œ œ. œ.

Œ . ‰ œfœ# œ# .cresc.

œn œn œn . œn œ# œ# . œ œ œ.œ œ œ œœn œn œn . œn œ# œ# . œ œ œ.œn œn œn . œn œ# œ# . œ œ œ.œ# œ# œ. œ œ œ. œ# œ# œ.œ œn œ# . œ# œ œ. œ œ œ.œ œn œ# . œ# œ œ. œ œ œ.œ# œ œ œ œ œ œ œ#

œ# . œ œ œ. œ œ œ. œ#

œ# œ œ œ œ œ œ œ#

œ# œ# œn . œ œ œ. œ# œ# œ.œ# œ# œn . œ œ œ. œ# œ# œ.œ œ œ# . œ# œ œ. œ œ œ.œ œ œ# . œ# œ œ. œ œ œ.œ# . œn œn œ. œ œ œ. œ#

œ# . œn œn œ. œ œ œ. œ#

œ# . œn œn œ. œ œ œ. œ#∑


.œcresc.

.œœ œ œ. œ œ# œ# . œ œ œ.

∑∑

∑

∑

œ œn œ. œ œ# œ# . œdiv. œœ œœ.œ œn œ# . œ# œ œ. œ

div.œœ œœ# .œ# œ# œn . œ œ œ. œ# œ# œ.œ# . 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 œœ## œœ. œœ œœ## œœ

. œœ œœ## œœ.

œ œ# œ. 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## œœ œœ## .

œœ œœ œœ. œœ œœ## œœ

.

œ# œ œ# . œ œ œ. œ œ# œ.

œ œ# œ œ œ œ# œ œ œ#

œ œ# œ. œ œ œ# . œ œ œ# .

œ œ# œ 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# œœ œœ## .

œœ œœ œœ. œœ œœ## œœ

.

œ œ œ# . œ œ œ. œ œ# œ.

œ œ# œ. œ œ œ# . œ œ œ# .œ œ# œ. œ œ œ# . 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 œœ## œœ. œœ. œœ## œœ

. œœ œœ## œœ.

œœ## œœ œœ## .œœ.œœ œœ. œœ œœ## œœ

.

œ œ# œ. œ. œ# œ. œ œ# œ.œ œ# œ. œ. 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 œœ œœ. œœ œœ œœ œœ## œœ

. œœ œœ##



œ œ œ. œ œ œ œ# œ. œ œ#œœbb œœ œœ. œœ œœ œœbb œœnn œœ

. œœbb œœbbœb œ œ. œ œ œb œn œ. œb œb

œ œ# œ œ œ œ# œn œ# œ œbœ œ# œ. œ œ œ# œn œ# . œ œb

œ œ# œ œ œ œ# œn œ# œ œb


œ œ œ. œ œ œ œ# œ. œ œ#œœbb œœ œœ. œœ œœ œœbb œœnn œœ

. œœbb œœbb

œb œ œ. œ œ œb œn œ. œb œbœ œ# œ. œ œ œb œ œ. œ œb

œ œ# œ. œ œ œb œ œ. œn œb

œ œ# œ. œ œ œb œ œ. œn œb.æp

œ œ œ œ œ œ œ œ œ œ œ œ

œ jœ œ œ œ


∑∑

∑ &

∑ &

œœ œœ œœ. œœ œœ œœ œœ## œœ

. œœ œœ##

œœbb œœ œœ. œœ œœ œœbb œœnn œœ

. œœbb œœbb

œ œ œ. œ œ œ œ# œ. œ œ#œ œ# œ. œ œ œb œ œ. œ œb

œ œ# œ. œ œ œb œ œ. œ œb

K

K

ƒ

ƒƒƒƒ

ppppp

Jœƒ ‰ ‰ Œ

.

Jœœ˘

ƒ ‰ ‰ Œ.

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .jœflƒ‰ ‰ Œ .

Jœœ˘ƒ‰ ‰ Œ .

Jœƒ ‰ ‰ Œ.

jœflƒ‰ ‰ Œ .


jœflƒ‰ ‰ Œ .

jœflƒ‰ ‰ Œ .

Jœœƒ‰ ‰ Œ .jœflƒ‰ ‰ Œ .


jœflƒ‰ ‰ Œ .

jœf‰ ‰ Œ .

Jœf‰ ‰ Œ .jœf‰ ‰ Œ .

Jœƒ ‰ ‰ Œ.

∑∑

‰œ

F

œ œ œ œ. œ. œ.

‰ œ œ œ œ œ. œ. œ.

Jœœ ‰ ‰ Jœb œb

Jœœ ‰ ‰ jœ œb

Jœ ‰ ‰ Jœb œ

Jœ ‰ ‰ Jœb œbjœ ‰ ‰ jœ œb

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

.œ# œ# . œ œ œ# œ# œ œn œ œ

.œ# œ# . œ œ œ# œ# œ œn œ œœ Jœb Jœ œ

œ jœ jœ œœb Jœ Jœ œœ Jœb Jœ œn

œ jœb jœ œn

61

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?

÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

74 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

jœ#œ# œ œ œ œ. œ# . œ.

jœ#œ# œ œ œ œ. œ# . œ.

œ# Jœ Jœ œ

œ# jœ jœ œœ Jœ# œ œ# . œ.œ# Jœ œ œ. œ# .

œ# jœ œ œ. œ# .

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ# œ# œ. œn œ œ. œn œ œ.

œ# œ# œ. œn œ œ. œn œ œ.

œ Jœ Jœ œ

œ# jœn jœ œœ# Jœ Jœ œœ# Jœ Jœ œ

œ# Jœ Jœ œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œb œ œ œ œ œb œ# œ œ# œ œn œ

œb œ œ œ œ œb œ# œ œ# œ œn œ

œ# Jœ# Jœ œ

œ# jœ# jœ œœ jœb jœ œœ Jœ Jœ œ#

œ Jœ Jœ œ#

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

.œ# œ# œ œ# œ œ œ

.œ# œ# œ œ# œ œ œ

œ œ œ œb jœœ œ œn œ# jœœ œ œ œb Jœœ œ œ œ# jœœ œ œn œ# jœ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

.œ# œ œn œb œ œ œ

.œ# œ œn œb œ œ œ

jœ œb œ œ œ

jœ œ œ œb œ

Jœ œ œ# œ œjœ œ œb jœjœ œ œb jœ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ# œ œ œb œ œ œ#> œ œ# œ# œ œn

œ# œ œ œb œ œ œ#> œ œ# œ# œ œn

œ# œ œ œb Jœ

œ œb œb œ Jœbœ œb œ- œ# Jœœ- œ œ# œ# jœnœ- œ œ# œ# jœn

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ# œ# ≈ œ#> œ œ œ ≈ œ

> œ œ œ

œ# œ# ≈ œ#> œ œ œ ≈ œ> œ œ œœb Jœb Jœ œbœb Jœ Jœ œbœb jœ jœ œœ jœ jœ œb

œ jœ jœ œb

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

‰ œb> œ œ œ# œ œ œ œ# œ œ#

‰ œb> œ œ œ# œ œ œ œ# œ œ#

œ Jœ œ œbœ

œ Jœb œ œ# œ

œb Jœ# Jœ œœ Jœ Jœ œb

œ Jœ# Jœ œ#

62

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÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√)

L

L

82 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ. ‰ œœbbloco

FJœœ œœbb

œ. ‰ œœ Jœœœœbb?

œ#fœ œ œ œ œ. œ œ

œ#fœ œ œ œ œ. œ œœ Jœb Jœ œœ Jœb Jœ œb

œ jœ jœ œb

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœn Jœœb Jœœ œœœœb Jœœb Jœœ œœnn.œb œb œ œ œb œb œ œ œn œ.œb œb œ œ œb œb œ œ œn œœb Jœ Jœ œnœ Jœb Jœ œ

œ jœb jœ œ

∑

∑∑

‰a2 œFœ œ œ œ œ# œ#

∑

‰ œœFœœ œœ œœ œœ œœ## œœ##

∑

∑

∑

∑

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∑∑

∑

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∑∑∑

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œ# . œ. œ> œ œ# œ œ œ# œ

œ# . œ. œ> œ œ# œ œ œ# œ &

œ# Jœ Jœ œ#œ# jœ jœ œ#œ Jœ# Jœ œ#œ# Jœ# Jœ œ

œ# jœ# jœ œ#

∑

∑∑

œ œ œ.œ œ# œ# .

œ œ œ.∑

œœ œœ œœ. œœ œœ## œœ## .

œœ œœ œœ.

∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

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∑Glockenspiel

∑∑

œ œ œ œ. œ œ œ. œ œ

œ œ œ œ. œ œ œ. œ œ

œ jœ# jœ œ

œ jœ jœ œœ Jœ# Jœ œœ Jœ Jœ œ

œ Jœ Jœ œ

∑

œœFœœ œœ œœbb

œœ œœ œœ œœ## œœœœbb œœ œœ

∑

œ œ œ œb œ œ œ œ# œ œb œ œ∑

Jœœnn . ‰ ‰ Œ .

∑

∑

∑

∑

∑

∑

∑∑

∑ B

∑∑

∑∑∑

œF

Jœb Jœ œ∑∑

œ œ œ œ œb œb œb œb œn œ# œb œn

œ œ œ œ œb œb œb œb œn œ# œb œn

jœ. ‰ ‰ ‰pizz. œFœ#

jœ. ‰ ‰ ‰pizz.

œF œ#jœ. ‰ ‰ ‰pizz. œ

F œbJœ. ‰ ‰ ‰pizz. œF œbjœ. ‰ ‰ ‰pizz. œF œb

∑

œœ. œœbb . œœ. œœ.œœbb . œœ.

∑

œ. œ. œb . œ. œb . œ.

∑

∑∑

∑

∑

∑

∑

∑

∑∑

Œ . Œ JœœbbÍ

Œ . Œ jœbÍŒ . Œ jœbÍŒ . Œ jœb æ

Í∑∑

.˙∑∑

œ œb œ# œ œn œb œn œ œ# œ œb˘

œ œb œ# œ œn œb œn œ œ# œ œbflœ œ# œn jœ ‰ ‰arco

œ œ# œn jœ ‰ ‰arco




∑

jœœ## . ‰ ‰ Œ .∑

Jœ. ‰ ‰ Œ .

∑

Œ . œœFœœ œœ## œœ œœ## œœ

∑

∑

∑

∑

∑

∑

∑∑

..œœ Jœœf‰ ‰ ?

.œ jœf‰ ‰

.œ jœf‰ ‰

.œæ jœæF‰ ‰

∑∑

∑∑∑

∑

∑

œFœb œ. œ Jœb .

œbFœ œb . œ Jœb .

œbFœ œ œb œ œb œ

jœ.œF œ œ#

œ œ# œ œb jœ.

œFœ œ# œ œ# œ œb jœ.

63

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?

÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

89 ∑

∑∑

∑∑

Jœœ## .f‰ ‰ Œ .

∑

∑

∑

∑

∑

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∑∑

∑

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∑∑∑

∑∑∑

œfœn œb œ œn> œ œb œ> œb œb œb> œb

œœœbbb fl œœœnfl œœœbb fl?

Jœ. ‰ ‰ Œ .jœb . ‰ ‰ Œ .

Jœ# . ‰ ‰ Œ .jœ# . ‰ ‰ Œ .jœ# . ‰ ‰ Œ .

M

M

œ>fœb œb . œ#> œn œn . œ> œ œ.

œ>f

a2 œb œb . œ#> œn œn . œ> œ œ.

œ>fœb œb . œ#> œn

œn . œ> œ œ.

Œ . Œa2 œb>fœb

Œ . Œ œb>f œ

∑∑

∑

∑

∑

∑

∑

∑∑

∑

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∑∑∑

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jœ. ‰F‰cresc.

Œ Jœ#

‰ œ œ œ# œ# œ œ œ# œ# œ œ

œFœb œ. œ Jœb .

œbFœ œb . œ Jœb .

∑∑∑

fffff

∑

∑∑

œ. œ> œ œ. œ

> œ œ. œ# .

œ.œ> œ œ.

œ> œ œ. œ.

∑∑

∑

∑

∑

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∑

∑∑

∑∑∑

∑∑∑

œnfœ œb œ œb œ œn . œœ. œœœn˘

œ. œb . œn . œjœœfl

œ œb œ œ œb œ œb . ‰ œ#˘

œ œb œ œb œ œ œb . ‰ œflŒ . Œ jœflŒ . Œ jœflŒ . Œ jœfl

∑

∑∑

∑∑

∑∑

∑

∑

∑

.˙a2

p.˙a2

p∑∑

∑

∑∑

∑∑∑

∑∑∑

‰ Jœœœbb˘ ‰ œœœnn ˘ ‰ œœœb˘

‰ jœœbbfl‰ œœfl‰ œœbbfl

‰ Jœ ‰ œ ‰ œb˘

‰ jœfl ‰ œfl ‰ œfl‰ Jœ#˘ ‰ œ ‰ œb˘

‰ Jœb˘ ‰ œ ‰ œ

‰ jœbfl ‰ œfl ‰ œ#fl

∑

∑∑

∑∑

∑∑

∑

∑

∑jœœ## flF‰ ‰ Œ .

jœœflF‰ ‰ Œ .

∑∑

∑

∑∑

∑∑∑

∑∑∑

‰ œ# œ œ œ œ. œ. œ.

..œœœ# . œ. œ.

Jœ#˘ ‰ ‰ Œ .jœfl ‰ ‰ Œ .

Jœb˘ ‰ ‰ Œ .œ œ œ#>Pœ œ# œ

œ œ œ#>Pœ œ# œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œb œ œ œb œb œ# œœ œb œ œ œb œb œ# œ

.œP.œ

.œ#P.œ#

.œP

.œ#

.œ .œ#

.œ .œ#

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

4:3

œ œ œ œ4:3

œ# œ œ# œ

4:3

œ œ œ œ4:3

œ# œ œ# œ&

.œ .œ#

.œ .œ

.œ .œ#

.œ .œ

.œ .œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œb œ# œ œn œb .œn

œ œb œ# œ œn œb .œn ?

œ œ œ œ œ# œ œ œ# œ

œ# œ# œ œ œb œ œ œn œœ# œ# œn .œœb œ œb .œœb œ œb .œ

64

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&&

&?

&&B??

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

97 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœbb Jœœbb

4:3

œœ œœ## œœœœ

....œœœœbb ...œœœbn

4

œb œ œb œb 4œ œb œ ‰

.œ .œ

4

œ œb œb œ .œb

.œ .œ

.œ .œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœ## Jœœ##

4:3

œœ œœnnœœ œœ##

...œœœ## ....œœœœn#

4œ# œn œ# ‰ .œn.œ# .œ#

4œ œ# œ# ‰ .œ

.œ# .œ

.œ# .œ

N

N

∑

‰œœFœœ## œœ. œœ. œœ œœ œœ.

‰ œF œ# œ. œ.

œ œ œ.‰ œF œ# œ. œ.

œ œ œ.∑

∑∑

∑

œ.Fa2 œ. œ. œ. œ. œ.

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœ Jœœ Jœœ œœ

œ œ œ œ œ œ

œ# . œ. œ. œ. œ. œ.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. œœ œœ## œœ.

œœ œœ œœ##

œ. œ œ# œ. œ œ œ#

œ. œ œ# œ. œ œ œ#

∑

∑∑

∑

œ. œ. œ. œ. œ. œ.∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

‰ œ# .locoœ. œ. œ. œ# . œ. œ. œ. œ œ#

œ œ œ œ œ œœ. œ# . œ. œ# . œ. œ.

œ. œ. œ. œ# . œ. œ.œ# . œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.

∑..˙nn Œ .

n

.˙n Œ .n

.˙n Œ .n

∑

∑∑

∑

œ. œ. œ. œ. œ. œ. œ. œ. œb .∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

‰ œ œ œb œ œ œ œ œb œ œ œ œ# œ œ# œn œ

..˙‰ œ œ œb œ œ œ œ œb œ œ œ œ# œ œ#

œn œ

œ. œ. œ. œ Jœb œœdiv. œœ œœbb .

œ. œ. œ. œb jœ œ œb œ.œ. œ. œ. œb jœb œn œb œ.

œ. œ. œ. œ. œ. œ. œ œ œb .œ. œ. œ. œ. œ. œ. œ œ œb .

∑

∑∑

∑∑

∑∑

∑

œ. œ. œ. œ. œ. œ.∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ# œ œ# . œ. œ œ œ. œ.œ# œ œ# . œ. œ œ œ. œ.

œœnn Jœœ## Jœœ œœ##

œœndiv. jœœ# jœœ œœœ# . œ. œ. œ. œ. 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 œ# . œ. œ œ œ. œ.

&

œœ## . œœ. œœ. œœ. œœ. œœ.

œœb . œœ. œœ. œœ. œœ. œœ.œ# . œ. œ. œ. œ. œ.œb . œ. œ. œ. œ. œ.œb . œ. œ. œ. œ. œ.

∑

∑∑

∑∑

∑∑

∑

œn . œ. œ. œ# . 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 œb

œœ. œœ. œœ. œœbb . œœ. œœ.

œœ# . œœ. œœ. œœ. œœ# . œœ.œ# . œ. œn . œ. œb . œ.œn . œ. œ. œ# . œ. œ.

œn . œ. œ. œ# . œ. œ.

65

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&&

&

&

&&B??

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

105 ∑

œFœ œ# . œ. œ œ œ. œ.

œFœ œ# . œ. œ œ œ. œ.

∑∑

∑∑

∑œ- ‰ œ- jœ œ#

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œb œ œ œ œ# œ# œ œ œ œ œ

œ œb œ œ œ œ# œ# œ œ œ œ œ

œœ œœ œœ## . œœ.cresc.

œœ œœ œœ. œœ.

œ.unis. œ œ# œ

cresc.

œ œ. œ œ œ œœ. œ œb œ

cresc.

œ œ. œ œ œ œœ. jœ-

cresc.

jœ œ#œ. jœ-

cresc.

jœ œ#

∑œb œ œ. œ. œ œ œ. œ.

œb œ œ. œ. œ œ œ. œ.œbFœ œ. œ. œ œ œ. œ.œbFœ œ. œ. œ œ œ. œ.

∑∑

∑

œ- ‰ œb - jœ œ∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œb œ œb œ ≈ œ œ œ œ ≈ œ œ

œb œ œb œ ≈ œ œ œ œ ≈ œ œ

œœbb œœ œœ. œœ.œœ œœ œœ. œœ.

œ# . œ œ œ œ œ. œ œ œ œœ# . œ œ# œ œ œ. œ œ œ œœn . jœb jœ œœn . jœb jœ œ

∑œb œ œb . œb œ œ. œn œb œ.

œb œ œb . œb œ œ. œn œb œ.



œœFœœ## œœ.

œœ œœ œœ.œœbb œœ œœ.

œF œ# œ.

œ œ œ. œb œ œ.œF‰ œb - œ œ œ

œF‰ œb - œ œ œ

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œb œ ≈ œb œ œ œ œb œn œb œ œn

œb œ ≈ œb œ œ œ œb œn œb œ œn

œœbb œœ œœbb .œœbb œœ œœ. œœnn œœbb œœ.

œ œ# œ. œ œ œ. œb œ œ.œ œ# œ# . œ# œ œ. œ œ œ.

œ. jœ# œ œ œ

œ. jœ# œ œ œ

∑

Jœ ‰ ‰ Œ Œ

Jœ ‰ ‰ Œ Œ

Jœ ‰ ‰ Œ Œ

Jœ ‰ ‰ Œ Œ

Jœœ## ‰ ‰ Œ Œjœ# ‰ ‰ Œ Œ

Jœb ‰ ‰ Œ Œ

Jœb ‰ ‰ Œ Œ

∑

œœbb .fœœ œœ œœ. œœ œœ ≈ œœ ≈ œœ œœ.

œœb .f œœ œœ œœ. œœ œœ≈ œœ ≈ œœ œœ.

œœbb .fœœ œœ œœ. œœ œœ ≈ œœ ≈ œœ œœ.œb .f œ œ œ. œ œ

≈ œ ≈ œ œ.œ.f

a2 œ œ œ. œ œ ≈ œ ≈ œ œ.

∑∑

∑∑∑

∑∑∑

œb œ œ œ œ# œ# œ œ# œ œ œb œ œ#œ#

œb œ œ œ œ# œ# œ œ# œ œ œb œ œ#œ#

œœ. œœ œœbb œœ œœbb œœ œœbb

œb . œ œ œb œ œb œœb . œ œb œ œb œ œœ# . œ œ œ# œ œ# œ

œ# . œ œ œ# œ œ# œ

O

O

∑

∑∑

∑∑

œa2

Fœ# œ# œ œ œ œn œb œ œb œ œb

œF œ#œ# œ œ œ œn œb œ œb œ œb∑

∑

∑jœœb . ‰ jœœP

..œœjœœbn .‰ jœœP

..œœjœœb . ‰ jœœP

..œœjœb . ‰ jœ

P.œ

Jœn . ‰ JœP.œ

Œ jœbP.œ

∑

.˙b æπ

∑Sus. cymbal

.æπ∑Xylophone

∑∑...˙˙˙bb

.˙ƒ

œœ. œœ œœ œœ. œœ. œœ œœ œœ.

œ. œ œ œ. œ. œ œ œ.œb . œ œ œ. œ. œ œ œ.œb . œ œ œ. œ. œ œ œ.

Jœb . ‰ ‰ Jœ. ‰ ‰

∑

œ# a2

fœ œ# . œ œ# œ# . œ œ#

œ.

œ#fœ œ# . œ œ# œ# . œ œ#

œ.

œ#fœ œ# . œ œ# œ# . œ œ#

œ.

œ#fœ œ# . œ œ# œ# . œ

œ# œ.

Jœb f‰ ‰ Œ .

jœb f‰ ‰ Œ .

œ#f œœ# . œ œ# œ#

. œ œ# œ.

œ#fœ œ# . œ œ# œ#

. œ œ# œ.

∑jœœbflf‰ ‰ Œ .

jœœbflf‰ ‰ Œ .

jœœbflf‰ ‰ Œ .

jœbflf‰ ‰ Œ .

Jœf‰ ‰ Œ .

jœbflf‰ ‰ Œ .∑

.˙bf.˙f.˙fŒ . œ#F œ œ# œ

∑∑...˙˙˙bb

.˙

Jœœ.f‰ ‰ Œ .

jœ.f‰ ‰ Œ .

Jœb .f ‰ ‰ Œ .Jœb .f ‰ ‰ Œ .Jœb .f ‰ ‰ Œ . dim.

∑

Jœ#.‰ ‰ Œ .

Jœ#.‰ ‰ Œ .

Jœ#.‰ ‰ Œ .

Jœ# . ‰ ‰ Œ .

œ#fœ œ# . œ#

dim.

œ# œ. œn œ œ œœ#f œœ# . œ#

dim.

œ# œ. œn œ œ œJœ# . ‰ ‰ Œ .

Jœ# . ‰ ‰ Œ .

Œ . .œ#p∑

∑

∑∑

∑

∑Œ . .œ#p

∑∑∑

œ# œ œ# œ# œ# Jœ ‰ ‰∑∑...˙˙˙bb

.˙

œ#fœdim.

œ# œ# œ# œ œn œ œ œ

œ#fœdim.

œ# œ# œ# œ œn œ œ œœ#fœndim.

œ# œn jœŒ . .œ

FŒ . .œ#F

66

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&&

&&

&&?

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&

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÷÷

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&

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√)

112 ∑

∑∑

∑∑

œ# œ# œ œ# œ œn œ# œ œ# œ œ œ#œ# œ# œ œ# œ œn œ# œ œ# œ œ œ#

∑

Œ . .œ2. p

jœcresc. poco a poco

œ œ Jœ

∑

∑

∑∑

∑

Œ . .œpjœ œ

cresc. poco a poco

œ jœ

∑∑∑

∑∑∑...˙˙˙bb

.˙

œ# œ# œ œb œ œ œ œb œ œb œ œbœ# œ# œ œ# œ œn œ# œ œ# œ œ œ#jœ œ# .œ.œ .œpjœ

cresc. poco a poco

œ œ Jœ

ππ

∑

≈ œFœ œ œ œ œ œ œ œ œ œ



≈ œF œœ œ œ œ œ œ œ œ œ

.œ œ ‰π

.œ œ ‰π

∑

.œ1. p jœcresc. poco a pocoœJœ œcresc. poco a poco

œ Jœ.œ .œ

∑

∑

∑∑

.œp Jœ

cresc. poco a poco

œjœ œ

cresc. poco a poco

œ jœ

.œ .œ

∑∑∑


∑∑...˙˙˙bb

.˙

.˙n

.˙

.œpjœ

cresc. poco a poco

œjœ

cresc. poco a poco

œ œ jœ.œ .œ

‰œfœ œb

dim.

œ œb œ œ œb œ œb

œfœ œ œb

dim.

œ œb œ œ œb œ œbœfœ œ œb

dim.

œ œb œ œ œb œ œb

Jœf‰ ‰ Œ .

Jœf‰ ‰ Œ .

∑

.œpjœ

cresc. poco a pocoœ

∑

œ jœ .œ.œ .œ

Jœ œ œ Jœb

∑

∑

∑

.œFjœ

cresc. poco a poco

œœ Jœ .œ

.œ .œjœ œ œ jœ#

∑∑∑

Jœ.‰ ‰ Œ .

∑∑...˙˙˙bb

dim..˙

∑

.œpjœ œ

cresc. poco a poco

œ jœ .œ.œ .œ

Jœ œ œ Jœ#

œ œb œ œ œb œ œb œ œ œb œ œb

œ œb œ œ œb œ œb œ œ œb œ œbœ œb œ œ œb œ œb ‰ œ œb

∑∑

.œa2

pjœ

cresc. poco a poco

œ

œ jœ .œ∑

.œ jœ œbJœ œb œ Jœ

.œ .œb

∑

∑

.œa2

Fjœ

cresc. poco a poco

œ

œ jœ .œ.œ Jœ œ#

Jœ œ# œ Jœ

.œ .œ#

∑∑∑

∑∑∑...˙˙˙bb

.˙

.œpjœ

cresc. poco a poco

œ

œ jœ .œ.œ jœ œ#Jœ œ# œ Jœ.œ .œ#

jœ.p‰ ‰ Œ .

œ œb œ œ œb œ jœb .p‰ ‰

œ œb œ œ œb œ jœb .p‰ ‰

∑∑

œ jœ .œ

.œ jœ œb

.œp .œ#cresc. poco a poco

œ jœb .œ.œ .œ#.œn .œ#

∑

∑

œ jœ .œ

.œ jœ œ#œ Jœ# .œ

.œ .œ#

.œ .œ#

∑∑∑

∑∑∑...˙˙˙bb

n.˙

œ jœ .œ

.œ jœ œ#œ jœ# .œ.œ .œ#.œ .œ#

P

P

∑

∑∑

∑

.œp .œ#

.œ# jœ œ#

œ jœ .œ.œ .œ..œœn# ..œœ#

.œ .œ

∑

∑

.œ# jœ œ#

œ jœ .œ.œ .œ#

.œ# .œ

.œ .œ

∑∑∑

∑∑∑

∑

∑

.œ# jœ œ#

œ jœ .œ.œ .œ#.œ# .œ.œ .œ

∑

∑∑

∑

.œcresc. poco a poco

.œ

œ Jœ .œ

.œ# .œ#

.œ2

œ œ#..œœ ..œœ B

2

œ œ2

œ œ#

∑

∑

œ Jœ .œ

.œ# .œ#

.œ .œ

.œ .œ2œ œ

2œ œ#

∑∑∑

∑∑∑

∑

∑

œ Jœ .œ

.œ# .œ#

.œ .œ

.œ .œ

2

œ œ2

œ œ#

∑

∑∑

∑

.œ .œ

.œ# Jœ œ

.œ .œ

2

œb œn2

œ# œ

.œ .œ2

œ œb2

œ œ#

2

œ# œ2

œ# œ

∑

∑.œ# Jœ œ

.œ# Jœ œ

.œ .œ

2

œ œ#2

œ œ#

2

œ# œ2

œ# œ

∑∑∑

∑∑∑

∑

∑

.œ# Jœ œ

.œ .œ

.œ .œ

2

œ œ#2

œ œ#

2

œ# œ2

œ# œ

∑

∑∑

∑

.œb 2œb œnœ Jœ .œ

.œ .œ

2

œ œ œ œ œb.œb 2œb œn

2

œ œ2

œ œ?

2

œ œ œ œ œ#

∑

Œ . 2

œ#F œœ Jœ .œ

œ Jœ .œ.œ#

2

œ# œ

2

œœ

2

œ œ2œ œ œ œ œ#

∑∑∑

∑∑∑

∑

∑

œ Jœ .œ

.œ .œ

.œ#2

œ# œ

2

œ œ2

œ œ

2

œ œ œ œ œ# .

∑

∑∑

∑2

œ# œ2

œ œ.œ .œ

.œ# .œœb œn œ# œ œ œ

2

œœ## œœ2

œœ# œœ#

œ# œ œ# œ œ œ

∑2


œ2

œ œ.œ .œ.œ .œ

2

œ# œ2

œ œ

2

œ# œ2

œ# œ#

œ# œ œ# œ œ œ

∑∑∑

∑∑∑

∑

∑

.œ .œ

.œ# .œ

2

œ# œ2

œ œ

2

œ# œ2

œ# œ#

œ# œ œ# . œ œ œ.

67

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&&

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

122 ∑

∑∑

∑2

œ œ2

œ œb2

œ# œ#2

œ œ#2

œ œ2œ œ#œ

œ œ# œ œ# œœœn œœ œœ## œœ œœ## œœœœ œ# œ œ# œ2

œF œ2œ

cresc. poco a poco

œ#2

œ œ2

œ# œ#2

œ# œ#2

œ œ#2

œ œ2œ œ#

2

œ œ2

œ# œ#œœ œ# œ œ# œœœ œ# œ œ# œ∑∑∑

∑∑∑

∑

∑

2

œ# œ#2

œ œ#

2

œ œ2

œ œ#

2

œ œ2

œ# œ#&œn

œ œ# œ œ# œ.œnœ œ# œ œ# œ.

∑

2

œa2

Fœ

2

œ œ

2

œFœ

2

œ œ

2

œa2

F œ2

œ œ2œ œ#

2

œ# œ

2

œ œ2

œ œ2œ œ#

2

œ# œ

œ œ# œ œ œ œœœ œœ## œœ

œœ œœ œœ

œ œ# œ œ œ œ2œ œ#

2

œ# œ2

œ œ#2

œ œ

2

œ œ2

œ œ2œ œ#

2

œ# œ

2

œ œ#2

œ œ

œ œ# œ œ œ œ

œ œ# œ œ œ œ

∑∑∑

∑∑∑

∑

∑

2

œ œ2

œ œ

2

œ œ#2

œ# œ

2

œ œ#2

œ œ

œ œ# œ. œ. œ œ

œ œ# œ. œ. œ œ

∑


œ# œ. œ# œ œ.


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 œ œ# . œ# œ œ# .œœ œ œ#.œ# œ œ#.

œ œ œ# . œ# œ œ# .

œ œ œ. œb œ œ# .œ œ œ. œb œ œ# .œ# œ# œ. œ# 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# .

∑∑Sus. cymbal

(soft mallets)

∑

∑∑∑

∑

∑

œ# œ# œ. œ# œ œ.

œ œ œ. œ# œ œ# .œ œ œ. œ# œ œ# .œ. œ œ# œ# œ œ# .

œ. œ œ# œ# œ œ# .

cresc.

cresc.

œfœ œ# .

cresc.

œ# œ œ# .

œ œ œ# . œ# œ œ# .

œ œ œ# . œ# 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. œ œ œ# .

œa2 œ œ. œ œ œ# .




œ œ œ# . œ# œ œ# .


œb œ œ. œ œ œ# .œ œ œ. œ œ œ# .


.æp.æp

∑

∑∑∑

∑

∑

œ œ œ# . œ# œ œ# .

œ# œ œ. œ œ œ# .

œ# œn œ. œ œ œ# . Bœ œ œ. œ œ œ# .œ œ œ. œ œ œ# .

4

œ œ œ œ4

œ# œ# œ œ#

4

œ œ œ œ4

œ# œ# œ œ#

4

œ œ œ œ4

œ# œ# œ œ#

4

œ œ œ œ4

œ# œ# œ œ#

4

œ œ# œ# œ4

œ œ œ œb

4

œ œ œ œ4

œ# œ# œ œ#

4

œ œ# œ# œ4

œ œ œ œ#

4

œ œb œb œ4

œ œ œ œ#

4

œ œb œb œ4

œ œ œ œ#

4

œ œb œb œ4

œ œ œ œ#4

œ œ# œ# œ4

œ œ œ œb4

œ œ# œ# œ4

œ œ œ œb4

œ œ œ œ4

œ# œ# œ œ#4

œ œ# œ# œ4

œ œ œ œb4

œ œ# œ œ4

œ œ œ# œ#

4

œ œ# œ# œn4

œ œ œ œ#4œ œ# œ# œn 4œ œ œ œ#.æ.æ

∑

∑∑∑

∑

∑ ?

4

œ œ œ œ4

œ# œ# œ œ#

4

œ œ# œ# œ4

œ œ œ œ#

4

œ œ# œ œ4

œ œ œb œb

4

œ œb œb œ4

œ œ œ œ#

4

œ œb œb œ4

œ œ œ œ#

Jœƒ ‰ ‰ Œ

.

Jœƒ ‰ ‰ Œ .Jœƒ ‰ ‰ Œ

.

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ ‰ ‰ Œ .Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

jœflƒ‰ ‰ Œ .


∑

∑∑∑

œœ>ƒ Jœœ Jœœœœ>

œœ> Jœœ Jœœœœ>

Jœƒ ‰ ‰ Œ .Jœƒ ‰ ‰ Œ .Jœƒ ‰ ‰ Œ

.

Jœƒ‰ ‰ Œ .

Jœƒ‰ ‰ Œ .

Q

Q

fffff

∑œfœ œ. œ œ œb œ œb œ œb œ

œfœ œ. œ œ œb œ œb œ œb œœfœ œ. œ œ œb œ œ œb œ œb

œ# f œ œ. œ œ œn œ œb œ œb œœ#fœ œ. œ œ œn œ# œn œ œb œœf œ œ. œ œ œb œ œ œb œ œbœ#fœ œ. œ œ œn œ# œn œ œb œœfœ œ. œ œ œb œ œb œ œb œœfœ œ. œ œ œb œ œb œ œb œ

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

..œœ Œ .

..œœ Œ .

œ œ œ. œ œ œb œ œb œ œb œ

œ œ œ. œ œ œb œ œ œb œ œbœb œ œ. œ œ œ œ œb œ œb œœb œ œ. œ œ œ œb œ œ œb œœb œ œ. œ œ œ œb œ œ œb œ

con sord.

con sord.

con sord.

con sord.

con sord.

∑

Jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .

jœ. ‰ ‰ Œ .

jœ.‰ ‰ Œ .

jœ# . ‰ ‰ Œ.

jœ.‰ ‰ Œ .jœ# . ‰ ‰ Œ .

Jœ. ‰ ‰ Œ .

Jœ. ‰ ‰ Œ .

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑

OOOPOOOO∑ ?

œœ œœœœbb - œœ œœ œœ

œœ œœœœbb - œœ œœ œœ

Jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ# ‰ ‰ Œ .

Jœ ‰ ‰ Œ .

∏∏∏∏∏

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑Œ .pœbœbœ

..œœ œpœ# œ œ# œ œ

..œœ œ œ# œ œ# œ œ#&

Œ . .œbŒ . .œbŒ . .œbŒ . .œbŒ . .œb

∑

∑∑

∑∑

Œ .1. ‰ œp œ∑

Œ . ‰ œpœb

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

Jœ# œ# œ œ œ

Jœ œ# œ œ œ

.˙

.˙

.˙

.˙

.˙

∑

∑∑

∑∑

œ jœ .œ∑

œ Jœ .œ

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

Œ . œFœ œ

dim.

œ œ

Œ . œ# œ œ œ œ

.˙

.˙

.˙

.˙

.˙

68

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

133 ∑

Œ .1. œPœ œb

Œ . œPœœb

∑∑

jœπ‰ ‰ Œ .

∑Jœπ‰ ‰ Œ .

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœb

œœœœ

œ œb œ œb œ œb .œp

œ œb œ œ œb œ .œb

.˙

.˙

.˙

.˙

.˙

∑

œb œ œb .œ

œb œ œb .œ∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

Œ . œPœ œb . œ. œ

Œ . œ œ œb . œ. œ

.˙

.˙

.˙

.˙

.˙

∑

Jœπ‰ ‰ Œ .

jœπ‰ ‰ Œ .

∑∑

∑∑

Œ œpœb œ œ œ œ œ œ

Œ1. œpœ œ œ# œ œ œ œ

∑

∑

∑

∑∑

∑

∑∑

Œ . ‰ œb æF p

∑∑

∑

œbœbœœœœ

œ. œb œ œ. ‰ jœbflf‰? &

œ. œ œ œ.‰ jœbfl

‰? &

.˙

.˙

.˙

.˙

.˙

R

R

∑

∑∑

∑∑

œœ## pœœ œœ# œœ#n œœ# œœ# ..œœn

∑.œ Œ ..œ Œ .

∑

∑

∑

∑∑

∑

∑∑

.œæ Œ .π

∑∑

∑

œbœb

œœœœ

œ-Pœ œ# œ œ œ œ œ œ

œ- œ œ# œ œ œ œ œ œ

.˙

.˙

.˙

.˙

.˙

∑

Œ . œœbbPœœ œœ. œœ.

Œ . œPœ œb . œ.

∑∑

Jœœ ‰ ‰ Œ .

Œ jœbp .œŒ Jœbp

.œ

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

œ œb œ œ œ .œ

œ œb œ œ œ .œ

.˙

.˙

.˙

.˙

.˙

∑œœbb œœ œœ. œœ œœ œœ# œœbn œœ œœbb œœnnœ œ œb . œ œ œ œb œ œ œb

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœ

œœ

œ œ œ œ œ œ

œ œ œ œ œ œ

.˙

.˙

.˙

.˙

.˙

∑

..œœ# Œ .

.œ Œ .

Œ . Œ1. jœbF

∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

œ œ œb . œ# œ œ. œn œ œb .

œ œ œb . œ# œ œ. œn œ œb .

.˙

.˙

.˙

.˙

.˙

∑

∑∑

œ jœb œb Jœb

∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

‰ œb œ œ œb œ œb œb œ œ œ

‰ œb œ œ œb œ œb œb œ œ œ

.˙

.˙

.˙

.˙

.˙

69

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√)

◊ ◊

√ √

141 ∑

Œ . ‰a2

Jœ-P‰

Œ . ‰ Jœ-P‰

Jœ œ .œŒ . ‰ jœ# -P

‰

Œ . ‰ jœœ-P‰

Œ . ‰ jœ-P‰

Œ . ‰ Jœ# -P‰

Œ . ‰ Jœœb -P‰

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

œb œb œb œ œn .œ

œb œb œb œ œn .œ ?

.˙

.˙

.˙

.˙

.˙

∑

‰ Jœ- ‰ Œ Jœ-

‰ Jœ- ‰ Œ Jœ-

.˙‰ jœ# - ‰ Œ jœ-‰ jœœ- ‰ Œ jœœ-‰ jœ-‰ Œ jœ-

‰ Jœ# - ‰ Œ Jœ-

‰ Jœœb - ‰ Œ Jœœ-

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

‰ jœœœœ#bflloco

‰ Œ jœœœœfljœbfl‰ ‰ ‰ jœfl

‰

.˙

.˙

.˙

.˙

.˙

∑

∑∑

‰ œbFœ œb œn∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

∑

∑

.˙

.˙

.˙

.˙

.˙

∑

∑∑

Jœ œ# œ œn œ

∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

∑

∑

.˙

.˙

.˙

.˙

.˙

∑

Œ . ‰ Jœ-P‰

Œ . ‰ Jœ-P‰

Jœ œb .œ

Œ . ‰ jœ# -P‰

Œ . ‰ jœœ-P‰

Œ . ‰ jœ-P‰

Œ . ‰ Jœ# -P‰

Œ . ‰ Jœœb -P‰

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

Œ . ‰ jœœœœ#bflF‰

Œ . jœbfl‰ ‰

œ œnp.˙.˙.˙.˙

∑

‰ Jœ- ‰ Œ1.jJœœ-

‰ Jœ- ‰ Œ Jœ-

.˙

‰ jœ# - ‰ Œ jœ-‰ jœœ- ‰ Œ

1.jJœœ-

‰ jœ-‰ Œ jœ-

‰ Jœ# - ‰ Œ Jœ-

‰ Jœœb - ‰ Œ Jœœ-

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

‰ jœœœœ#bfl‰ Œ jœœœœfl

jœbfl‰ ‰ ‰ jœfl

‰

œ œ#.˙.˙b p.˙.˙

∑

4

œ œb œb œb4

œ œb œ œ∑

∑∑

4

œ œb œb œb4

œ œb œ œ∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

œbœbœœœœ

2:3

œb œb2:3

œb œb

2:3

œbloco

œb2:3

œb œb&

œ œ

.˙np

.˙

.˙

.˙

S

S

∑

.œb Œ .∑

∑∑

.œb Œ .

∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑

.˙b

.˙bœœ Jœœ Jœœ œœ##

œœjœœjœœ œœ##

.œ .œ

.˙b

.˙b

.˙bp.˙bp

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

..œœ Œ .

..œœ Œ .

œ jœ# jœ œ

.˙n

.˙n

.˙b

.˙

PPPPP

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

∑

∑

œ# œ œ. œ œ œ. œ# œ œ-

œ œ œ. œ# œ œ. œ# œ œ# -œ Jœ .œ.˙

.˙

ppppp

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœF Jœœbb œœœœ œœbb

œœjœœbb œœœœ œœbb

.œ .œn

.œ .œ

.œ .œ#

.˙

.˙

70

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?

÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√) √

FFFFF

152 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

..œœ Œ .

..œœ Œ .

œ# œ œ. œ œ œ. œ# œ œ# -

.œ œ# œ# œ œ# œ-

œ œ œ# . œ# œ œ. œ œ œ-

.˙

.˙

ppppp

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœ##F Jœœ## œœ œœ

œœ##

œœ##jœœ## œœ œœ

œœ##

.˙

.˙

.˙

.œ# .œ

.œ# .œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœ- Jœœ## - Jœœ œœ-

œœ- jœœ## -

jœœ œœ-œFœ œ. œ. œ œ œ. œ œ

œ#Fœ# œ. œ. œ œ œ. œ œœFœ œb . œ. œ œ œ. œ.œ#F

.œ.œ#F

.œ

T

T

∑

œba2

Fœ œ. œ. œ œ œ. œ.œbFœ œ. œ. œ œ œ. œ.

œFa2œ œb . œ. œ œ œ œ.œFœ œb . œ.

œ œ œ œ.

..˙bp

.pœ.Fœ. œ. œ. œ. œ.

œœ.Fœœ. œœ. œœ. œœ. œœ.

∑

..˙bp

..˙p ∑∑

∑

∑∑

∑∑∑

∑∑∑

jœœ## ‰ ‰ Œ .

jœœ##‰ ‰ Œ .

œb œ œ. œ. œ œ œ. œ.

œ œ œb . œ. œ œ œ œ.œ. œ. œ. œ. œ. œ.œœ.div. œœ. œœ. œœ. œœ. œœ.

œ. œ. œ. œ. œ. œ.

∑

œb œ œ. œ œ œ œ œœb œ œ. œ œ œ œ œ

œ œ œb . œ œ œ œ œ.œ œ œb . œ œ œ œ œ.

..˙

.˙œ. œ. œ. œ. œ. œ.

œœ. œœ. œœ. œœ. œœ. œœ.

∑

..˙

..˙∑∑

∑

∑∑

∑∑∑

∑∑∑

∑

∑

œb œ œ. œ œ œ œ œ

œ œ œb . œ œ œ œ œ.œ. œ. œ. œ. œ. œ.œœ. œœ. œœ. œœ. œœ. œœ.

œ. œ. œ. œ. œ. œ.

∑

.˙p .˙p.˙#p.˙#p..˙bn.˙b .˙bp..˙#p

∑

..˙##

..˙#∑∑

∑

∑∑

∑∑∑

∑∑∑

œ#fœ# œ œ œ# œ# œ œn œ œ œ

œ# œ# œ œ œ# œ# œ œn œ œ œ

.˙p.˙#p.˙bp ..˙#p .˙bp

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

.œ2

œFœ#

.œ 2œ œ#

œb œ œ œb œ œb - œ-œ jœ jœ œbœ jœb jœ œœunis. jœ jœ œbœ jœ jœ œb

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

.œn2:3

œb œb

.œn2:3œb œb

œ# jœ jœ œn

œb jœ jœ œœ Jœ Jœ œb

œ œ# œ# œ œb œ

œ œ# œ# œ œb œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

4:3

œ œ œb œ4:3

œb œb œ œ

4:3

œ œ œb œ4:3

œb œb œ œ

.œ .œb

.œ .œb

.œ .œb

.œb .œ

.œb .œ

71

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÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

¤

161 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

.œb œ

fœ œ œ œb

cresc.

œ

.œb œ œ œ œ œb œ

œ œ œb œn œb .œ

.œb - .œ-

.œb .œ

.œ .œ

.œ .œ

cresc.

cresc.

cresc.

cresc.

cresc.

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ# œ œ œ œb œb œb œ œ œb œ œb

œ# œ œ œ œb œb œb œ œ œb œ œb ?

.œ .œ

.œ# .œ#

.œ# .œ

.œ .œ

.œ .œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

Œ . .œb æp∑∑

∑∑∑

8:6œ œ œb œ œb œ œb œ 8:6œ œb œ œb œ œ œb œ

8:6

œ œ œb œ œb œ œb œ 8:6œ œb œ œb œ œ œb œ

œ# œ œ. œ# œ œ# .

œ œ# œ. œ# œ œn .œ œ œ. œ œ# œ# .œb œ œ. œ œb œ.œb œ œ. œ œb œ.

U

U

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∑

∑∑

∑∑

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∑

œ# .Fa2 œ. œ. œ. œ. œ.

∑

∑

∑

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∑

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∑∑

∑∑∑

.˙bƒ

.˙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.

∑

∑∑

∑∑

∑∑

∑

œ# . œ. œ. œ. œ# . œœ

∑

∑

∑

∑∑

∑

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∑∑∑

∑∑∑

∑

∑

œ œ# œ# . œ# - œ œ# œ# œ

œ# œ# œ. œ- œ œ# œ œ

œ. œ. œ. œ. œ# . œ

œ# . œ. œ. œ. œ# . œœdiv.

œ# . œ. œ. œ. œ# . œ

ppppp

∑

≈ œFa2 œ œ œ œ œ# œ# œ

≈ œFœœ œ œ œ# œ# œ

≈a2

œFœœ œ œ œ# œ# œ

≈ œFœœ œ œ œ# œ# œ

Œ .a2 œbFœ œ œb œ œb

Œ . œbFœ œb œ œb œ

Œ . œbFœ œ œb œ œb

..œœ ..œœ##

∑

.œa2

p.œb

.œa2

p .œ#∑∑

∑

∑∑

∑∑∑

∑∑∑

∑

∑ &

.˙

.œ .œ#

.œ .œ#

..œœ ..œœ##

.œ .œ#

∑.œn Œ ..œn Œ .

.œn Œ .

.œn Œ .

.œ Œ .

.œ Œ .

.œb Œ .

..œœ Œ .

∑

.˙P.˙Pœba2

Fœ œ œ. œ œ œ. œ.œFœ œb œ. œ œ œ. œ.œœ.Fœœ. œœ. œœ. œœ. œœ.

jœb .F‰ ‰ jœ. ‰ ‰

jœ.F‰ ‰ jœ.

‰ ‰

∑∑∑

∑∑∑

Œ œfœ œ. œ. œ œ

Œ œ œ œ. œ. œ œ

.˙

.˙

.˙

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72

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83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(¤)

168 ∑

∑∑

∑∑

∑∑

∑

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∑

.˙n

.˙#œn œ# œ# . œ. œ œ œ. œ.œ# œ# œn . œ. œ œ œ. œ.œœ## . œœ. œœ. œœ. œœ. œœ.jœn . ‰ ‰ jœ. ‰ ‰

jœ# .‰ ‰ jœ.

‰ ‰

∑∑Snare drum

∑

∑∑∑

œb . œb œb œb œb œn œn œ# ‰ .œb . œb œb œb œb œn œn œ# ‰ .

.˙#

.˙

.˙#

.˙#unis.

.˙#

f

f

ff

f

ff

∑

∑∑

∑∑

∑∑

∑

∑

∑

œfl œbfl œflœfl œfl

œbflœœ#˘ œœ œœ

œ#fl œflœfl

œœb˘ œœbb ˘ œœbb ˘

œ œ œb˘

œfl œflœbfl

JœF‰ ‰

œF

œ œ

∑

∑∑∑

∑

∑

∑ pizz.senza sord.





ppppp

cresc.

cresc.

cresc.

cresc.

cresc.

∑

‰ œfœ# œ. œ# . œ# œ œb .

‰ œfœ# œ. œ# . œ# œ œb .

‰ œfœ# œ. œ# . œ# œ œb .

∑œfœ# œ. œ. œ œ œ. œ.

œfœ œ. œ. œ œ œ. œ.

∑

œ.a2

Fœ. œ. œ. œ. œ.

∑

∑

∑

∑∑

∑

∑∑

Jœ ‰ ‰ ‰ Jœ ‰

Jœ ‰ ‰ œ ‰ œ

∑

∑∑∑

‰œƒœ# œ. œ# . œ# œ œb .

‰ œ œ# œ. œ# . œ# œ œb .


œ# œ œ œ# œ œ#œ œ# œ œ# œ œ

œ œ œ# œ œ# œ

œ œ œ# œ œ# œ

∑

œn œ œ œ œb œb Jœ. ‰ ‰œn œ œ œ œb œb Jœ. ‰ ‰

œn œ œ œ œb œb jœ. ‰ ‰∑

œb œ œn . œ. œ œ œ. œ.

œ œb œb . œ. œ œ œ. œ.

∑œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑∑

∑

∑∑

Jœ ‰ ‰ œ ‰ œ

‰ ‰ Jœ ‰ Jœ ‰∑

∑∑∑

œ œ œ œ œb œb Jœ. ‰ ‰œ œ œ œ œb œb jœ. ‰ ‰

œ œ œ# œ œ# œ

œ œ œ# œ œ# œœ# œ œ# œ œ œ#



∑œ# œn œn œ# œ œ Jœ. ‰ ‰œ# œn œn œ# œ œ Jœ. ‰ ‰œ# œn œn œ# œ œ jœ. ‰ ‰

∑œn œ# œ# . œ. Jœn . ‰ ‰œ# œn œn . œ. Jœ. ‰ ‰

∑œ# . œ. œ. Jœ. ‰ ‰

∑

Œ . Œ jœFŒ . Œ jœFŒ . ‰ œœ#˘

fœœ

Œ . ‰ œ#flfœfl

Œ . ‰ œœb˘f

œœbb ˘

Œ . ‰ œfœ

Œ . ‰ œflf œfl‰ ‰ Jœ ‰ Jœ ‰‰ Jœ ‰ ‰ Jœ ‰

∑

∑∑∑

œ# œn œn œ# œ œ Jœ. ‰ ‰œ# œn œn œ# œ œ jœ. ‰ ‰


œ# œ œ œ# œ œ#œ œ# œ œ# œ œ

&

œ œ œ# œ œ# œ

œ œ œ# œ œ# œ

V

V

∑œ œ œ œ œb œb œ œ œ œb œ# œ#œ œ œ œ œb œb œ œ œ œb œ# œ#

œ œ œ œ œb œb œ œ œ œb œ# œ#∑

œb œb œb œ œ# œn œ œ œb œb œn œnœ œ œ œ œ œb œ# œ# œ œn œb œn

∑

∑

∑

œ jœb jœ œ

œ jœb jœ œJœœ ‰ ‰ Œ .jœfl ‰ ‰ Œ .

Jœœbb˘‰ ‰ Œ .

Jœb˘ ‰ ‰ Œ .jœbfl ‰ ‰ Œ .

‰ Jœ ‰ Jœ ‰ ‰œ ‰ œ ‰ ‰ Jœ

∑

∑∑∑

œ œ œ œ œb œb œ œ œ œb œ# œ#

œ œ œ œ œb œb œ œ œ œb œ# œ#

œ œ œ# œ œ# œ

œ œ œ# œ œ# œ

œ# œ œ# œ œ œ#œ# œ œ œ# œ œ#


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∑

œ œn œb œn œ# œn œ œ œb œ# œ œœ œn œb œn œ# œn œ œ œb œ# œ œ

œ œn œb œn œ# œn œ œ œb œ# œ œ∑

œ œb œ# œ# œ œn œb œn œ# œn œ œœ# œ œ œ œb œ# œ œ œn œb œ# œ#Œ . Œ JœFŒ . Œ JœFŒ . Œ JœFœb jœ jœ œ

œb jœ jœ œ∑∑

∑

∑∑

œ ‰ œ ‰ ‰ Jœ

‰ Jœ ‰ ‰ Jœ ‰∑

∑∑∑

œ œ œb œ œ# œn œ œ œb œ# œ œ

œ œ œb œ œ# œn œ œ œb œ# œ œœ# œ œ Œarco œn œœ# œ œ Œarco

œ œœ œ# œ Œarco

œ# œ#Bœ œ œ# Œarco

Jœ-œ œ œ# Œarco

Jœ-

73

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83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

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86

83

83

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83

83

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83

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83

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86

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86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

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86

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86

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86

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86

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

ππ

π

π

π

cresc.

cresc.

cresc.

cresc.

cresc.

175 ∑

.˙

.˙

.˙

∑

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.˙#∑∑

∑

∑∑

‰ Jœ ‰ œ ‰ œ

œ ‰ œ ‰ Jœ ‰∑

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œ œ# œ# œ. œ œ œ. œ.

œ œ œ œ. œ œ œ# . œ.

‰ jœ ‰ œ ‰ œ‰ jœ ‰ œ ‰ œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

Jœ ‰ ‰ .œæpJœ ‰ ‰ .œæp

∑

∑∑∑

∑

∑

œ œ œb œ œ œb œ œ

œb œ œ œb œ œ œ œbœ œ œ œ œb œ

œ œb œ œ œb œ

œ œb œ œ œb œ

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f

f

ff

f

ff

∑

∑∑

∑∑

∑∑

∑

∑

∑

œfl œbfl œflœfl œfl

œbflœœ#˘ œœ œœ

œ#fl œflœfl

œœb˘ œœbb ˘ œœbb ˘

œ œ œb˘

œfl œflœbfl

Jœf‰ ‰

œf

œ œ

∑

∑∑∑

∑

∑

.œ#

.œ

.œ

.œn

.œn

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∑œfœ œb . œ. œ œb œ. œ.

œfœ œb . œ. œ œb œ. œ.

œfœ œb . œ. œ œb œ. œ.

œb .fœ. œ œb œ. œ. œ œb

œ.f œ. œb . œ. œb . œ.œ.f œ. œb . œ. œb . œ.œ.fœ. œb . œ. œb . œ.

œf œb . œ. œ. œb . œb .

œf œb . œ. œ. œb . œb .∑

∑

∑∑

∑

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∑∑∑

∑

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œ œ œb . œ. œ œ# œn . œ.

œb . œ. œ œb œ. œ. œ œbœ. œ. œb . œ. œb œ.œ œb œ. œ œb œb .

œ œb œ. œ œb œb .

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∑.œ

.œ

.œ

.œ

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.œ

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4:3

œfl œflœbfl œnfl

4:3

œœ#˘ œœ œœ œœb˘

4:3

œ#fl œflœfl œbfl

4:3

œœb˘ œœbb ˘ œœbb ˘ œœn˘

4:3

œ œ œb˘ œb˘4:3

œfl œflœbfl œbfl

Jœ ‰ ‰

4:3

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∑

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œb œ œb . œ. œ œb œ. œ.œ œb œ. œ. œ œb œ. œ.œ œb œ. œ. œb œ œ. œ.œb œ œ. œb œ œ.

œb œ œ. œb œ œ.

W

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ppppp

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f

œb . œ. œ.4:3

œb . œ. œb . œ.

4:3

œ. œb . œ. œ.4:3

œb . œ. œb . œ.

.˙

.˙b

.˙b

.˙

.˙

∑

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4:3

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œb œ œ œb .

4:3

œ œ œ. œb4:3

œb œ œ œb .

.˙

.˙b

.˙

.˙

.˙

∑

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.˙

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œFœb œ. œ œb œ. œb œ œ.

œ.P œ. œ. œ. œ. œ.œ.Pœ. œ. œ. œ. œ.

œ.Pœ. œ. œ. œ. œ.

œb .Pœ. œ. œ. œ. œ.

74

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√ ¤

√

ppppp

184 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

4:3

œ#Fœ# œ œ

4:3

œb œ œn œ

4:3

œ# œ# œ œ4:3

œb œ œn œ

.œb .œ

.œb .œb

.œ# .œ#

.œ .œ

.œ .œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

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œb œ œ œ œb œb œ œ œn œb œb œœb œ œ œ œb œb œ œ œn œb œb œ

œb - jœ- jœ œ# -œ- jœ- jœ œ# -œ- jœ- jœ œ# -œ# - jœ- jœ œb -œ# - jœ- jœ œb -

∑

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F œ#œ. œ œ# œ.

Œ . œF œ#œ.

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œ œ# œ# . œ# œ œ# œ#œ œ#

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Œa2 jœb .F œ. œ œbŒ jœb .F œ. œ œb

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∑

∑∑

∑

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œb œ œ œ œb œb œ œ œn œ# œb œnœb œ œ œ œb œb œ œ œn œ# œb œn

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.œ# œ. œ# œ#

.œ# œ. œ œb

.œ# œ. œ œb

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pizz.

pizz.

pizz.

pizz.

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œ œ œ.œ œ œ# œ# œnœ œ œ# œ# œ œ œ œ œ#œ# œ# œ œ œ œ œ œ œ

œ# œ œ œ œ œ œ œb

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.œ Œ .

Œ Jœ# ‰ Jœ# ‰Œ jœ ‰ jœ ‰Œ jœ ‰ Jœ# ‰Œ jœ ‰ jœ# ‰Œ jœ ‰ jœ# ‰

∑œ J

œb œb œ œ#

œ Jœb œb œ œ#

œ Jœb œb œ œ#

‰ œ. œ. œ- jœ œb -œ Jœb œb œ œ#

‰ œ# . œ. œ jœ œ#‰ œ. œ. œ- Jœ œb

-

‰ œœb# . œœ. œœ- Jœœ œœn-

‰ œ# . œ. œ- Jœ œn -

∑

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‰ jœ# ‰ ‰ jœ# ‰‰ jœ ‰ ‰ jœb ‰‰ jœ# ‰ ‰ jœ ‰‰ Jœ# ‰ ‰ Jœn ‰‰ Jœ# ‰ ‰ Jœn ‰

X

X

∑œn Jœ Jœ œ#

œn Jœ Jœ œ#

œn Jœ Jœ œ#

œ jœ œ jœbœ Jœ Jœ œ#

œ œ# œ. œ œ œb . œ# . œ.œ Jœ œ Jœb

œœn Jœœ ..œœ##œ# Jœ .œ#

∑

∑

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jœ ‰ ‰ Œ .arco

jœ ‰ ‰ .œb arco

pjœ ‰ ‰ .œarco

pJœ# ‰ ‰ ..œœ#arco div.

pJœ# ‰ ‰ .œ#arco

p

∑œJœbpJœ œb

œJœbp Jœ œb

œJœbp Jœ œb

œ jœbpjœ œ

œ Jœ#pJœ œ#

œn jœnpjœ œb

œ JœbpJœ œ

œœn Jœœ#p Jœœ œœbb

œ jœpjœ œb∑

∑

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∑

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‰œfœ œ œ œ œ. œ.

œJœb Jœ œb

œœ Jœœb Jœœ œœbœœ Jœœb Jœœ œœbb

œ jœ jœ œb

∑

œ Jœb Jœ œœ Jœb Jœ œ

œ Jœb Jœ œ

œb jœ jœ œœ Jœ# Jœ œn

œ jœ jœ œœb Jœ Jœ œ

œœ Jœœbb Jœœ œœ

œ jœb jœ œ∑

∑

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∑

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∑

∑.œ œ- œ œ œb œ œ œ œb œbœ Jœb Jœ œœœb Jœœ Jœœ œœœœ Jœœbb Jœœ œœ

œ jœb jœ œ

75

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&&

&&

&&?

?

?

&

&

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??

?

÷÷

&&?

&

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

193 ∑

œ# Jœ Jœ œbœ# Jœ Jœ œb

œ# Jœ Jœ œb

œ# jœ# jœ œœ# Jœ Jœ œb

œ# jœ# jœ œœ# Jœ# Jœ œ

œœ##jœœ##jœœ œœnn

œ# jœ# jœ œn∑

∑

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∑

.œF œ# œ# œ# .œ# œ- œn œ#‰ œ œ œ œ œ œ. œ.

œœ## jœœ# jœœ œœ#œœ##

jœœ##jœœ œœnn

œ# jœ# jœ œn

∑

œ Jœb Jœ œb

œ Jœb Jœ œb

œ Jœb Jœ œb

œ jœb jœ œœ Jœb Jœ œb

œ jœ jœ œbœ Jœ Jœ œ


œ jœ jœ œ∑

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œ Jœb Jœ œb.œ œ- œ œb œ œ œ œ œb œœœjœœbjœœ œœ#


œ jœ jœ œ

∑

jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .

jœ ‰ ‰ Œ .

jœn ‰ ‰ Œ .

Jœ# ‰ ‰ Œ .jœœ## ‰ ‰ Œ .

jœ# ‰ ‰ Œ .

∑

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œfœ œ œ œb œb œ œb œ œn œb œœœœ# - J

œœœbnb - Jœœœ œœœ-

jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .

Jœœ ‰ ‰ Œ .jœœ## ‰ ‰ Œ .jœ# ‰ ‰ Œ .

∑

‰ œbFœ œ œ œ œ. œ# .

.œ# .œn

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.œ# .œn

.œ# .œn

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‰ œbFœ œ œ œ œ. œ# .

∑

∑

∑

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...œœœbbb Œ . &

∑∑∑∑∑

∑.œn œ# œ# œ .œn

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.œn œ# œ# œ .œn

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Œ .œFœb œ œb œ œ

Œ . œ œb œ œb œ œ

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Y

Y

F

F

FF

F

FF

∑

Jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .

jœ. ‰ ‰ Œ .

jœ.‰ ‰ Œ .

jœ.‰ ‰ Œ .

jœ. ‰ ‰ Œ .

Jœ. ‰ ‰ Œ .

Jœ. ‰ ‰ Œ .

∑

œ œ œb œ œn œ.œ œ œ œ œ# œ.œœ œœ## œœ. œœbb . œœbb œœ œœ## œœ.

œ œ œb œ œn œ.œ œ œb œ œb œ.

œb œ œb ‰ œn œb .œb œ œb œ œn œb .

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∑∑∑

.œn Œ œfœ

.œn Œ Jœœb?

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .jœœ.‰ ‰ Œ .

jœ. ‰ ‰ Œ .

Jœn . ‰ ‰ Œ .jœ. ‰ ‰ Œ .

jœ.‰ ‰ Œ .

jœ.F‰ ‰ Œ .

∑∑

∑∑∑

jœ ‰ ‰ œFœ# œ œ œ# œ

Jœœ ‰ ‰ œ œ# œ œ œ# œ&

œfœ œ .œbP

œ#˘fœ œ .œbP

œfœ œ .œbPœ

fœ œ ‰ œn˘ œjœflf‰ ‰ ‰ œnfl œfl

∑

∑∑

∑∑

∑∑

∑

∑

∑

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∑

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.œ#œloco

œ œ œ# œ# œ

.œ# œb œn œ œ œ œ?

.œn .œb

.œn .œ

.œn .œ

œ œb˘ ‰ œ#fl œfl œflœ œb˘ ‰ œ#fl œfl œfl

76

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?

÷÷

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&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

201 ∑

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∑∑

∑∑

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∑

∑

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∑∑∑

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.œ œ œ# œ .œ œ œ# œ

.œ œ œ# œ .œ œ œ# œ

.œ2

œ œ.œ

2

œ# œ.œ2

œ œ#œfl ‰ œfl .œœfl ‰ œfl .œ

∑

∑∑

Œ1. œ.Fœ. œ. œ. œ

Œ . Œ œ.Fœ.

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œ# œ œ œ œ. œ œ œ œ œ.œ. œ.

‰ œ. œ.‰

œ# œ.cresc.

œ. œ. œ. œ

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œ..˙

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cresc.jœ œ# .œcresc.

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2

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œ. œ. œ. œ. œ .œ2œ œn

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œ œb œ œb œ œb

.œ .œbœ Jœb œ. œ. œ. œ. œ

œ. œ. œ. œ. œ .œœ. œ. œ. œ. œ .œ

∑

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œ. œ. œ. œ. œ œ# œ. œ. œ. œ.

œ œ. œ. œ. œ. œ#

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∑œ Jœ Jœ œb

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∑

∑

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∑

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œ. œ. œ. œ. œ œ# œ. œ. œ. œ.

œ œ. œ. œ. œ. œbœ jœ jœ œbœ# Jœ Jœ œ#œ# Jœ Jœ œ#

Z

Z

p

pppp

∑

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.œb Œ .

.œb Œ .

∑∑

∑.œb Œ .

.œ Œ .

∑

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‰ œb .Fœ. œ. œ. œ œ œ#

‰ œb . œ. œ. œ. œ œ œ#

.˙b

.œb .œ

.˙b

.˙n

.˙n

∑

œ# .Fœ. œ. œ œ œ .œn

∑

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∑∑

∑

∑

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∑

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.œn œœbb

œb

œœbb

œ

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.œn ≈ Rœ

œ# .Fœ. œ. œ œ œ .œn

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∑

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.œn Œ .

.œn Œ .

.œ#pœ œ# œ œ# œ œ

.œ# .œ#

.œ# .œ#œ Jœ Jœ œœ Jœ Jœ œ

77

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÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√ ¤ ¤

ppppp

210 ∑.œ .œ#

∑

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∑∑

∑

∑

∑

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∑

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‰ œ.Fœ. œ. œ. œ œ# œ.

‰ œ. œ. œ. œ. œ œ# œ.

.œ .œ#

œ jœ jœ œ#œ# œ œ œ œ œ.œ# .œ.œ# .œ

∑.œp

Jœ ‰ ‰∑

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∑

∑

∑

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∑∑∑

œb œ œ œ œ œb œœbb

œb

œœ

œn

œœ

œ

œœ

œbœb œ œ œ œ œb

.œ .œœ# jœ# .œ.œ# .œ#œ# Jœ Jœ œ#

.œ .œ

cresc.

cresc.

cresc.

cresc.

cresc.

∑

Œ .a2 œFœ. œ#˘

cresc.

œ. œ œ.

Œ . œflFœ. œ#fl

cresc.

œ. œfl œ.Œ .a2 œ

Fœ. œ#˘

cresc.

œ. œ œ.

∑

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∑

∑

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œœbb

œbJœœ Œ .

.œ# œfl œ. œ#fl œ. œfl œ.

.œ .œ

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∑

œ œ. œ#˘ œ. œ œ.fŒ .

œfl œ. œ#fl œ. œfl œ.fŒ .

œ œ. œ#˘ œ. œ œ.fŒ .

∑

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Œ . œ# .fœ. œ œ# œ. œ.

Œ . œ# . œ. œ œ# œ. œ.

œfl œ. œ#fl œ. œfl œ. .œ#pœ œ# œ .œpœ œ œ# .œ

pœ Jœ Jœ œpœ Jœ Jœ œp

AA

AA

cresc.

cresc.

cresc.

cresc.

cresc.

∑

Œ . œ#˘Fœ. œ

cresc.

œ. œ œ.

Œ . œ#˘Fœ. œ

cresc.

œ. œ œ.

Œ . œflFœ. œ#fl

cresc.

œ. œfl œ.Œ . œflF

œ. œ#flcresc.

œ. œfl œ.

Œ . œFœ. œb˘

cresc.

œ. œ œ.

Œ . œflFœ. œbfl

cresc.

œ. œfl œ.∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œ# œ. œ. œ. Œ .œ œ# œ. œ. œ. Œ .

.œ œ#˘ œ. œ œ. œ œ.

.œ# œfl œ. œ#fl œ. œfl œ.

.œ# œn˘ œ. œ#˘ œ. œn˘ œ.

œ jœ jœ œœ jœ jœ œ

fffff

∑œ#˘ œ. œ œ. œ#˘ œ. .œ

fœ#˘ œ. œ œ. œ#˘ œ. .œf

œ#˘ œ. œ œ. œ œ. .œ#f

œ#˘ œ. œ œ. œ œ. .œ#f

œfl œ. œbfl œ. œfl œ. .œ# fœfl œ. œbfl œ. œfl œ. .œ#f∑

∑

∑

∑

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∑∑

∑

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∑∑∑

Œ . œfœb œb œb œn œb

Œ . œ œb œb œb œn œb

œ#˘ œ. œ œ. œ#˘ œ. .œ

œ#˘ œ. œ œ. œ œ. .œ#œfl œ. œ#fl œ. œnfl œ. .œ#.œb .œb.œb .œb

ppppp

FFF

FF

cresc.

cresc.

cresc.

cresc.

cresc.

∑

Œ . œFœ œ œ

cresc.

œ œ

Œ . œflFœ œ œflcresc.

œ œ

Œ . œFœ œ œ#˘

cresc.

œ œ

Œ . œ#flFœ œ œfl

cresc.

œ œ

Œ . œFœ œ œ

cresc.

œ œ

Œ . œFœ œ œ#˘

cresc.

œ œ

Œ . œ#˘Fœ œ œ

cresc.

œ œ

Œ . ‰ œ.F œ.cresc.

∑

Œ .a2 .œpŒ .a2

.œpŒa2 JœF Jœ ‰ ‰

Œ jœflFjœfl‰ ‰

Œa2 JœFjœfl ‰ ‰

Œ JœFjœfl ‰ ‰

Œ jœflFjœfl‰ ‰

Œ JœFjœfl ‰ ‰∑∑

Œ .Xylophone ‰ œFœb œ œ

∑∑

œ#˘ œ#˘ ‰ ‰ œ œ œn œ

œ#˘ œ#˘ ‰ ‰ œ œ œn œ

.œb œbfl œfl œ#fl

.œ# œfl œbfl œfl

.œ œfl œfl œbfl

.œ ‰ œfl œfl.œ ‰ œfl œfl

78

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&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(¤) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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

√

√

217 ∑

œ#˘ œ œ œ œ œ œ#˘ œ œ œ œ œ

œ#fl œ œ œfl œ œ œ#fl œ œ œfl œ œ

œ œ œ œ#˘ œ œ œ œ œ œ œ œ

œ#fl œ œ œfl œ œ œ œ œ œ#˘ œ œ

œ#˘ œ œ œ œ œ œ#˘ œ œ œ œ œ

œ œ œ œ#˘ œ œ œ œ œ œ œ œ

œ#˘ œ œ œ œ œ œ œ œ œ#˘ œ œ

œ# . œ. œ# . œ. œ# . œ.∑

.œ# .œ#

.œ .œ∑∑

∑

∑∑

∑∑∑

œb œ œb œ œn˘ Jœ ‰ ‰∑∑

œb œ œb œ œn˘ Jœ ‰ ‰

œb œ œb œ œn˘ Jœ ‰ ‰

œfl œfl œbfl œfl œbfl œflœbfl œfl œfl œbfl œfl œbflœfl œbfl œfl œbfl œfl œflœ#fl œfl œ#fl œfl œ#fl œflœ#fl œfl œ#fl œfl œ#fl œfl

fffff

FFFF

F

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Œ ..œ#f

Œ ..œf

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∑

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.œ .œ#‰ œFœ œ œ œ œ œ.

‰ œFœ œ œ œ œ# œ...œœbp

..œœ#n

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∑∑∑

∑

∑

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.œ# .œ

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.œ2

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cresc.

cresc.

cresc.

cresc.

cresc.

Œ Jœfœb˘ ‰ œ#˘

Œ Jœfœb˘ ‰ œ#˘

Œ jœflfœbfl ‰ œ#fl

Œ . .œFŒ . .œ#FŒ . .œbFŒ . .œbFœ.Fœ. œ.

cresc.

œb . œ. œ. œ. œ. œ. œb . œ. œ.

œ.Fœ. œ.

cresc.

œb . œ. œ. œ. œ. œ. œb . œ. œ.

œ.Fœ. œ.

cresc.

œb . œ. œ. œ. œ. œ. œb . œ. œ.

..œœb ..œœb

.œ .œb

.œb .œ

.œ .œb

.˙ .œb .œb

.œ .œb

.œ .œb∑∑∑

Œ JœFœb˘ ‰ œ#˘

∑∑

œbfœ œ œ œ œb˘ ‰ œ#˘

œb œ œ œ œ œb˘ ‰ œ#˘

.œ .œ

.œ .œ#

.œb .œbœ œ. œ œb . œ œ. œ œ. œ œb . œ œ.œ œ. œ œb . œ œ. œ œ. œ œb . œ œ.

Jœn˘ ‰ ‰ Œ .

Jœn˘ ‰ ‰ Œ .jœnfl ‰ ‰ Œ .

2

œ œcresc.

2

œ# œ2

œ œcresc.

2

œ# œ2œ œ

cresc.

2

œ# œn2œ œ

cresc.

2

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œ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.

œ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.

∑

∑

∑∑

∑

∑∑

∑∑∑

Jœ ‰ ‰ Œ .∑∑

Jœ ‰ ‰ ‰ .ƒœ œ# œ

Jœ ‰ ‰ ‰ . œ œ# œ

2

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œ# œ2

œ œ2

œ# œ2œ œ 2œ# œn

œ œ. œ. œ œ. œ. œb˘ 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# œ œ# .

œ œ# œ. œ# œ œ.

œ œ# œ. œ# œ œ.œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.

∑

∑

∑∑

∑

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œ# œ œ œ# œ œ# .œn

œ# œ œ œ# œ œ# .œn

œ# œ œ. œ# œ œ# .

œ œ# œ. œ# œ œ# .œ œ# œ. œ# œ œ.

œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.

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∑∑

.˙f.˙f.˙# f.˙# f.f.f.f

∑

∑

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œ#Fœ œ# œ œ# œ œ œ# œ œ# œ œ

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∑∑∑

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.˙

.˙

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.˙

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AB

AB

π

π

dim.

œfœb œ œb œ œ œb œ œb œ œb œ

œfœb œ œb œ œ œb œ œb œ œb œœfœb œ œb œ œ œb œ œb œ œb œ

Jœ ‰ ‰ Œ .

Jœ ‰ ‰ Œ .

jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .

.dim.

.dim.

.dim.

∑

∑.˙f .˙#f.˙

dim.F.˙

dim.F.˙

dim.F.æF

∑∑

∑∑∑

.˙dim.

.˙

œ œb œ œb œ œ œb œ œb œ œb œœb œ œb œ œb œ œ œb œ œb œ œœb œ œb œ œb œ œ œb œ œb œ œ.

dim.

.dim.

79

&

&&

&&

&&?

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&

&

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?

÷÷

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~

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

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

Ÿ~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~

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

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

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

(√)

(√)

n

p

p

n

n

224

Jœ.F‰ ‰ Œ .

œFœ. œ.

cresc.

œ œ. œ. œ#˘ œ. œ. œ œ. œ.

œFœ. œ.

cresc.

œ œ. œ. œ#˘ œ. œ. œ œ. œ.

œ#flFœ. œ.

cresc.

œfl œ. œ. œ œ. œ. œ#˘ œ. œ.

∑

œFœ. œ.

cresc.

œ œ. œ. œ#˘ œ. œ. œ œ. œ.

œFœ. œ.

cresc.

œ œ. œ. œ#˘ œ. œ. œ œ. œ.

.˙

.˙

.˙∑

∑

Œ . .œF œ#fl œ. œ.∑

.˙

.˙

.˙

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∑∑∑

.˙

.˙

œflFœ. œ.cresc.

œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ#flFœ. œ.

cresc.


œ#flFœ. œ.

cresc.


.˙

.˙

∑

œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.

œ#˘ œ. œ. œ œ. œ. 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#˘ œ. œ. œ œ. œ.

∑

œ>Fjœ>

cresc.

jœ œb>œ>F

jœ>cresc.

jœ œb>œ#flFœ. œ. œfl œ.

cresc.

œ. œ#fl œ. œ. œfl œ. œ.∑ ?

.˙n

cresc.

∑

œ>Fjœ>

cresc.

jœ œb>œ>F

jœ>cresc.

jœ œb>∑

∑∑∑

∑∑∑

∑

∑

œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ..˙ n

œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ œ. œ.œF

Jœcresc.

Jœ œœF

Jœcresc.

Jœ œb

∑œ œ œb œ œb œ œb œ œ œb œ œbœ œ œb œ œb œ œb œ œ œb œ œb

œ œ œb œ œb œ œb œ œ œb œ œb∑

œ œ œb œ œb œ œb œ œ œb œ œbœ œ œb œ œb œ œb œ œ œb œ œb

∑

œ> jœ#> œ œ#>‰

œ> jœ#> œ œ#> ‰

œ œb œb œ# œ œœFœ œ œ#

cresc.

œ# œb

œ œ# œ œ# œ œ œ# œ œ# œ œ# œ∑

œ> jœ#> œ œ#> ‰

œ> jœ#> œ œ#> ‰∑

∑∑∑

∑∑∑

∑

∑

œ œ# œ œ# œ œ œ# œ œ# œ œ# œ

œ œ œb œ œb œ œb œ œ œb œ œbœ#> Jœ#

> œ œn> ‰œ> Jœ> œ œ> ‰œ> Jœ#> œ œ# ‰

∑

.˙b

f.˙b

f.fŒ .

œ.f œ. œ. œ. œ. œ..˙b

f.˙b

fœFœ#cresc.

œ .œb

œ œ œ œ œ# œ# œ œ>

œ œ œ jœ. ‰ ‰

.˙

.˙

.˙ bfŒ . œ.f œ. œ. œ. œ. œ.

œ œ œ jœ. ‰ ‰

œ œ œ jœ. ‰ ‰

œF œœ jœ.

‰ ‰

∑∑Snare drum

∑

∑∑∑

∑

∑

.˙ b

.˙b

œ.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 œ>

∑

.œ œ œ œb œ œb œ


œfl œ. œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.

œ#fl œ. œ. œ. œfl œ. œ. œ. œ#fl œ œ. œ..œ œ œ œb œ œb œ.œ œ œ œb œ œb œœ œb .fœ. œ. œ œ. œ. œ. œ œ. œ. œ.

œ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.

Œ œ#˘fœ. œ. œ. œ œ. œ. œ.

.˙

.˙&


œ#fl œ. œ. œ. œfl œ. œ. œ. œ#fl œ œ. œ.≈ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.

≈ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.

Œ jœ#fl‰ jœfl

‰

∑œF

œcresc.

œ

∑

∑∑∑

∑

∑


œflfœ. œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ#fl œ. œ. œ. œfl œ. œ. œ. œ#fl œ œ. œ.œ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.

œ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.

∑

œ#fl œ.sempre crescendo

œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.œ#fl œ.

sempre crescendo

œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.

œnfl œ.sempre crescendo

œ. œ. œ#fl œ. œ. œ. œnfl œ. œ. œ.

œfl œ.sempre crescendo

œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ#fl œ.

sempre crescendo

œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.œnfl œ.

sempre crescendo

œ. œ. œ#fl œ. œ. œ. œnfl œ. œ. œ.œ œ.

sempre crescendo

œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.

œ œ.sempre crescendo

œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.


œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.

œ#flf œ. œ. œ.sempre crescendo

œfl œ. œ. œ. œ#fl œ. œ. œ.

œnflf œ.sempre crescendo

œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ#fl œ.

sempre crescendo

œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.œfl ≈

sempre crescendo

œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œflœ.sempre crescendo

œ. œ. œ#flœ. œ. œ. œ

flœ. œ. œ.

œflœ.sempre crescendo

œ. œ. œ#flœ. œ. œ. œ

flœ. œ. œ.

œflsempre crescendo

‰ œ#fl‰ jœfl

‰

∑œ œ œ

∑œfœ œbsempre crescendo

œ œb œ œ œb œ œb œ œb∑∑

∑

∑

œfœ œbsempre crescendo

œ œb œ œ œb œ œb œ œbœnfl œ.

sempre crescendo

œ. œ. œbfl œ. œ. œ. œfl œ. œ. œ.œfl œ.sempre crescendo

œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ œ.sempre crescendo

œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ>


œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ>

œ#flfœ. œ. œfl œ.

sempre crescendo

œ. œ œ. œ. œ#˘ œ. œ.

œ#fl œ. œ. œfl œ. œ. œ œ. œ. œ#˘ œ. œ.

œnfl œ. œ. œ#fl œ. œ. œ œ. œ. œ œ. œ.

œ#fl œ œ. œfl œ œ. œ#fl œ. œ. œfl œ œ

œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.œnfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.œ#fl œ œ œfl œ œ œ#fl œfl œ œfl œ œœ œ. œ. œ#˘ œ. œ. œn˘ œ. œ. œ#˘ œ. œ.

œb˘ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.

œ œ. œ. œb˘ œ. œ. œ œ. œ. œ œ. œ.

œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.

œ#fl œ. œ. œfl œ. œ. œfl œ. œ. œ#fl œ. œ.œ#fl œ. œ. œfl œ. œ. œfl œ. œ. œ#fl œ. œ.

œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ œ. œ. œ#˘ œ. œ. œn˘ œ. œ. œ#˘ œ. œ.


œ œ. œ. œb˘ œ. œ. œfl œ. œ. œfl œ. œ.

∑.œ .œ .œ .œ

∑

œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.∑∑

∑

∑

œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ œ. 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. œb˘ œ. œ. œ œ. œ. œ œ. œ.

80

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&B??

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

231 œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ œ. œ.

œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ œ. œ.

œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.

œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.

œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.

œ#fl œ œ œfl œ œ œ œ œ œ# œ œœ œ. œ. œ œ. œ. œ#˘ œ. œ. œn˘ œ. œ.

œ œ. œ. œb˘ œ. œ. œ œ. œ. œb˘ œ. œ.


œ#fl œ. œ. œfl œ. œ. œfl œ. œ. œ#fl œ. œ.

œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œfl œ. œ.œfl œ. œ. œ#fl œ. œ.. œfl œ. œ. œ#fl œ. œ.œfl œ. œ. œ#fl œ. œ.. œfl œ. œ. œ#fl œ. œ.œ œ. œ. œ œ. œ. œ#˘ œ. œ. œn˘ œ. œ.

œ œ. œ. œb˘ œ. œ. œ œ. œ. œb˘ œ. œ.

œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œ. œ.∑

.œ .œ .œ .œ∑Bass drum

œfl œ. œ. œ#fl œ. œ. œ œ. œ. œ œ. œ.

∑∑

∑

∑

œfl œ. œ. œ#fl œ. œ. œ œ. œ. œ œ. œ.

œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ. &œb˘ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.œb˘ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.

œ# œ œ# œ œ# œ œ œ# œ œ# œ œ

œ# œ œ# œ œ# œ œ œ# œ œ# œ œ

œ œ# œ œ# œ œ# œ œ œ# œ œ# œ

œ œ œ# œ œ# œ œ# œ œ œ# œ œ#

œ# œ œ# œ œ œ# œ œ# œ œ œ# œ

œ# œ œ œ# œ œ# œ œ# œ œ œ# œ

œ œ# œ œ œ# œ œ# œ œ# œ œ œ#

œb œ œb œ œ œb œ œb œ œ œb œœ œb œ œ œb œ œb œ œ œb œ œbœb œ œ œb œ œb œ œ œb 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#

œb œ œb œ œ œb œ œb œ œ œb œœ œb œ œ œb œ œb œ œ œb œ œbœb œ œ œb œ œb œ œ œb œ œb œ

.˙# æpœ œ œ œ œ œ œ œ œ œ œ œ

.æpœ# œ œ# œ œ œ# œ œ# œ œ# œ œ

∑∑

∑

∑

œ# œ œ# œ œ œ# œ œ# œ œ# œ œ

œ œ# œ œ# œ œ œ# œ œ# œ œ# œ

œ# œ œ œ# œ œ# œ œ œ# œ œ# œ

œb œ œ œb œ œb œ œ œb œ œb œœb œ œ œb œ œb œ œ œb œ œb œ

Ï

Ï

Ï

ÏÏ

Ï

Ï

Ï

Ï

Ï

ÏÏÏ

ÏÏ

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Jœ#˘‰ ‰ Œ J

œ

Jœ#˘‰ ‰ Œ J

œ

Jœ ‰ ‰ Œ Jœ#˘

Jœ ‰ ‰ Œ Jœ

Jœ#˘ ‰ ‰ Œ Jœ

Jœ#˘‰ ‰ Œ J

œ

Jœ ‰ ‰ Œ Jœ#˘

jœ#fl‰ ‰ Œ jœfljœfl‰ ‰ Œ jœbfljœ#fl‰ ‰ Œ jœflJœ ‰ ‰ Œ Jœ

Jœ ‰ ‰ Œ Jœ

Jœ ‰ ‰ Œ Jœ

Jœ ‰ ‰ Œ Jœ#˘

jœ#fl‰ ‰ Œ jœfljœ#fl‰ ‰ Œ jœfljœ#fl‰ ‰ Œ jœfljœ#ƒ œæp œæ

jœƒJœƒ‰ ‰ Œ Jœjœƒ œæp œæ jœƒJœ#˘Ï ‰ ‰ Œ J

œœb˘

∑∑

∑

∑

Jœ#˘ ‰ ‰ Œ Jœ

Jœ ‰ ‰ Œ Jœ#˘

Jœ#˘ ‰ ‰ Œ Jœ

jœ#fl‰ ‰ Œ jœfljœ#fl‰ ‰ Œ jœfl

AC

AC

Piano Cadenza

Piano Cadenza

e = e

e = e

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ-F

œ# -

œp œb œ#œ œ œ œ 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# . .œ œ#


∑∑∑∑∑

∑

6

≈1. œFœb œ œb œ#

6

œn œ œ œ œ œb∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

˙#


∑∑∑

Œpizz. œFŒpizz. œF

81

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&&??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

238 ∑

˙dim.

∑

∑∑

Œ1.

œp∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œn . .œ œ#

œ œ# œ# œn œ œ œ œ œ œ œ œ œ œ œ œ

∑∑∑

œ Œœ Œ

∑

œ Œn

∑

∑∑

˙∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œn œ œ# œn œ

œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ

∑∑∑∑∑

AD

AD

∑

∑∑

∑∑

˙∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ#6

œ œ œ œ œ œ#


∑∑∑∑∑

∑

∑∑

∑∑

˙∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œn 3œ œ# œn


∑∑∑

Œ œŒ œ

∑

∑∑

∑∑

œ Œ∑

∑

∑

∑

˙1.

p

˙3.

p∑∑

∑

∑∑

∑∑∑

∑∑∑

.œ3

œ œ œ

œ œb œ# œn œ œ œ œ œ œ œ œ œ œ œ œ

∑∑∑

œ Œ

œ Œ

∑

∑∑

∑∑

∑∑

∑

∑ B

∑

œ œ

˙∑∑

∑

∑∑

∑∑∑

∑∑∑

œ 3œ œ œ œ3

œ œ œ


∑∑∑∑∑

82

&

&&

&&

&&?

B

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&&??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√ √

244 ∑

Œ1.

3

œPœ œ#

∑

∑∑

∑∑

∑

Œ1.

3

œPœ œ#

∑

˙

˙∑∑

∑

∑∑

∑∑∑

∑∑∑

˙


∑∑∑∑∑

∑

3

œ œ œb œ œ-∑

∑∑

∑∑

∑

3

œ œ œb œ œ-

∑

˙

˙∑∑

∑

∑∑

∑∑∑

∑∑∑

∑


∑∑∑ B

Œ œŒ œ

∑

˙b∑

Œ1. œb .F

œ.

∑

∑∑

∑

˙b

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œb œ œ œ œ

œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Œ œbπŒ œbπŒ œbπ

œb Œœb Œ

∑

˙∑

œb . œ. œ. œ> œ

∑

∑∑

∑

˙

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

∑


dim.

dim.˙dim. ∑

∑

∑

Œ1.

6

≈ œ#Fœ œ# œ œ

∑

˙dim.

∑

∑Œ1. 6≈ œ#F œ œ# œ œ

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ# œ# œ œ# œ


˙˙˙

∑∑

π

n

n

n

∑

6

œb œb œ œ œ# œ œ#

∑

˙

∑

∑6œb œb œ œ œ# œ œ#

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

∑


˙˙˙

∑∑

83

&

&&

&&

&&?

B

?

&

&

&&?

??

?

÷÷

&&?

&

&

&&B??

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

◊

AE

AE

250 ∑

˙

∑

∑Œ œb .

Fœ.

∑

˙∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œ# œn œ# œn œb œ œ

œ# œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ

∑∑∑∑∑

∑

∑∑

∑

œb . œb . œn . œ> œb

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œ# œn œ# œn œ œb œf

œ# œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ?

∑pizz.

∑pizz.

∑pizz.

∑pizz.

∑pizz.

∑

∑∑

∑˙dim.

∑∑

∑

∑ ?

∑

∑

∑

∑∑

∑

∑∑

∑∑∑Bass drum

∑∑∑œ. œb . œ. œ.

œœœœbb . ‰ œœœœ. Œ

.œbFœ ‰ jœ.œbFœ ‰ jœ.œbF œ‰ jœ

.œbFœ ‰ Jœ.œbFœ ‰ Jœ

π

∑

∑∑

∑˙

∑∑

Œ ‰ jœb>FŒ ‰ jœb>FŒ ‰ jœb>F∑

∑

∑∑

∑

Œ ‰ jœb>FŒ ‰ jœb>FŒ ‰ jœbF∑Œ ‰ jœF∑∑∑

œb œb> œb œ

œœœœbb . ‰ œœœœ. ‰ jœœbb

≈ .jœb fŒ

≈ .jœb fŒ

≈ .jœb fŒ

≈ .Jœb f‰arco jœb>F

≈ .Jœb f‰arco Jœb>F

∑

∑∑

∑∑

∑∑

˙

˙

˙∑

∑

∑∑

∑

˙˙

∑∑∑

∑∑∑

‰ œ œ œ œ œ œ

˙

∑∑∑

˙˙

∑

∑∑

∑∑

∑∑

˙

˙

˙∑

∑

∑∑

∑

˙˙

∑∑∑

∑∑∑

œ œ œb œb œ œ œn

˙

∑∑∑

˙˙

∑

∑∑

∑∑

∑∑

jœπ‰ Œ

jœπ‰ Œ

jœπ‰ Œ

∑

∑

∑∑

∑

jœπ‰ Œjœπ‰ Œ

∑∑∑

∑∑∑

œfœ. œn . œ.

œ œb œ œb œ œb œ œ

∑∑∑

jœπ‰ Œ

Jœπ‰ Œ

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œ œ# œ# œ œ

œ# . œ. œ. œ.∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œn . œ# . œ. œn .

œ œ œ œ# œ# œ

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœœb œœœn# œœœ# œœœ##

.œ œn œ œ

∑∑∑∑∑

84

&

&&

&&

&&?

?

?

&

&

&&?

??

?

÷÷

&&?

&?

&&B??

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

AF

AF

260 ∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œœœbb œœœ## œœœ##n œœœn

œ .œ œn œn œn œ#

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

3œœœbbb - œœœ- œœœ##n -3

œn - œn - œn -

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œ œ œ œ. œ. œ#œ œ.

œœbb - œœbb - œœnn -∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ# œ œ œ 3œ œ# œ3

œ# œ œnœœœb - œœœnb - œœœ# -

∑∑∑∑∑

∑

∑∑

∑∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œb œ œ œ 3œ œb œn œ# œ œ œ

œœœ# - œœœbb - œœœbn -

∑∑∑∑∑

∑

œa2

Fœ# . œ. œ. œ# œ œœFœ# . œ. œ. œ# œ œ

œa2

Fœ# . œ. œ. œ# œ œ

∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ> œ œ œ> œ# œ œ> œ# œ

.œ œ œ œ# œ .œ

∑∑∑

.œpizz.

F œ œ œ# œ .œ.œpizz.

Fœ œ œ# œ .œ

∑

œ# œ. œ. œ. œ œ œ



∑

∑∑

∑

∑

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

œ œ# . œ. œ. œœ# œ#

.œb œb œ œ œ .œb

∑arco

∑arco

∑arco

.œb œb œ œ œ .œ

.œb œb œ œ œ .œ

∑.˙.˙

.˙

∑

œF

a2 œ. œ. œ. œ. œ# œ

∑.œbF

œ œ œ œ .œ

.œbFa2 œ œ œ œ .œ

∑

∑

∑

∑∑

∑

∑∑

∑∑∑

∑∑∑

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Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

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268 ∑

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

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Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

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275 ∑.˙#f .˙#f .˙#f.˙#f .˙#f .˙#f.f.f.f

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. œ. œ.

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Fl.1-2

Fl.3

Ob.1-2

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Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

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283 ∑˙f

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œ> œ Jœ.‰

œn>ƒœ œ. ‰ œ> œ Jœ. ‰œœ>ƒœœœœ. ‰ œœ> œœ Jœœ. ‰

œ>ƒœ œ. ‰ œ> œ Jœ. ‰

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jœjœflƒ‰œ œfl

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œn>f œœ. ‰ œ> œ

jœ. ‰jœflf‰ œ œfl ‰

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43

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43

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43

43

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Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

√

290 ∑œ> œ œ. ‰

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jœfl ‰ œ œfl ‰ Jœ

jœfl‰œ œfl

‰ jœflJœ ‰ œ œ ‰ Jœ

jœ#fl ‰ œ# œfl ‰ jœfljœ#fl ‰ œ# œfl ‰ jœflœ> œ œ. ‰ œ œ

œ œ œ œjœfl ‰ œ œfl ‰ Jœœ> œ œ. ‰ œ œ# œ œ œ œ


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89

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43

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43

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42

42

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43

43

43

43

43

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43

Pic.

Fl.1-2

Fl.3

Ob.1-2

E.H.

Cl.1-2

Cl.3

B.Cl.

Bn.1-2

CBn

Hn.1-2

Hn.3-4

Tp.1-2

Tp.3

Tn.1-2

Tn.3

Tb.

Timp.

Perc.1

Perc.2

Perc.3

Vn.I

Vn.II

Va.

Vc.

S.B.

Hp.

Pno.

(√)

296 ∑œ#> œ# œ. ‰

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œœ##> œœ##œœ. ‰ œœ

> œœ Jœœ. ‰

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Jœ#˘ ‰ œ œ ‰ jœflœ#> œ# œ. ‰ œ> œ Jœ. ‰

Jœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœflœ#> œ# œ. ‰ œ> œ Jœ

. ‰

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. ‰

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∑∑

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œœ. ‰

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jœœ.‰

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. ‰

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. ‰

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∑∑

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œfl œ œ# œ œ# œ œ# œ œ œ# œ œ#



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ÏÏÏÏÏ

cresc.

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JœÏ‰ Œ Œ

JœÏ ‰ Œ ŒJœ#˘Ï‰ Œ Œ

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πJœÏ‰ Œ œ#

πJœÏ‰ Œ œ

πJœÏ‰ Œ Œ

Jœ#˘Ï‰ Œ ŒJœÏ‰ Œ ŒjœflÏ‰ Œ Œ

JœÏ‰ ˙bπ

JœÏ‰ ˙bπjœflÏ‰π

.æsubito pJœ ‰ Œ Œ

.æsubito pœƒŒ Œ∑∑

Jœ ‰ Œ œb

Fœ

Jœ ‰ Œ œb œ

Jœ ‰ Œ Œjœfl ‰ Œ Œ

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Jœ ‰ ˙#πJœ ‰ ˙#π

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90

91

PART 2: AN ANALYSIS OF CAMARGO GUARNIERI’S CONCERTO No. 5 PARA PIANO E ORQUESTRA

92

CHAPTER 1. INTRODUCTION

1.1 General Considerations

The second part of this dissertation is an analysis of Camargo Guarnieri’s Concerto No. 5

para Piano e Orquestra with respect to its compositional aspects. Although this analysis utilizes

historical information and analytical tools, its primary focus is the examination of the

compositional forces that led the composer to write this piece. This introductory chapter

contains a general overview of the piece and the description of a system that I devised to classify

the melodic and harmonic entities used by the composer in this particular piece. Moreover, in

order to understand the context in which Guarnieri wrote his fifth piano concerto, it is necessary

to situate him within the history of Brazilian music, especially within Brazilian nationalism,

since he considered himself a nationalistic composer. Therefore, it is necessary to provide a

brief historical background of Guarnieri’s own life and of the musical environment that

surrounded him as well. These two latter aspects are covered in the following section.

1.2 Historical Background

The purposes of this section are: (a) to draw attention to some significant facts in the

history of Brazilian music and (b) to provide information about Guarnieri’s life as a composer

and his role within Brazilian nationalism. These two topics will provide the necessary

background to understand Guarnieri’s compositional views and their connections with Brazilian

cultural life.

The history of European-derived music in Brazil can be traced to as early as 1500, the

very year of the Portuguese arrival and occupation of the new territory. The cultural influence of

the Catholic Church, especially the Jesuits, during the first years in the new land was very strong

in all artistic expressions, including music, which was mainly used as a tool to Christianize the

93

natives. Therefore, music was powerfully connected with religion in the beginning of the

colonial period. This connection, which would endure until the first quarter of the 19th century,

contributed to the establishment of religious folk practices throughout Brazil.1 Important events

of the first century of colonization were the establishment of the first theatre in Rio de Janeiro

(1555) by Father José de Anchieta,2 the creation of the position of mestre-de-capela

(Kapellmeister) in Salvador, the capital of Brazil at that time (1559),3 and the foundation of the

first conservatory in the Americas by Father Manuel da Nóbrega. This institution started

conferring Master of Arts degrees in 1578.4

An important characteristic of the 17th century was the establishment of small charamela

ensembles throughout the country.5 Most of the performers, called “charamelleyros,” were

black slaves, and they performed sacred music from European tradition. Daniel Arce mentions

that at least one composition from that time has survived: an anonymous parody Mass a 4

subtitled sobre o gram Senhora.6 Also important in the 17th century was the period of Dutch

1 Mário de Andrade divides the evolution of Brazilian music in three phases: God, Love,

and Nationalism. The first phase corresponds to the influence of the Jesuits; the second phase, which starts with the Independence (1822), is influenced by secular music, such as Italian opera and modinha (Brazilian sentimental art song from the 18th and 19th centuries); the third phase starts with the Civil Wars in the South. Léa Vinocur Freitag, Momentos de Música Brasileira (São Paulo: Nobel, 1985), 30-31.

2 Daniel Mendonza de Arce, Music in Ibero-America to 1850 – A Historical Survey (Lanham, MD: The Scarecrow Press, Inc., 2001), 78.

3 Ibid., 150.

4 Ibid., 58.

5 Double reed instrument. The word “charamela” means reed in Portuguese.

6 Daniel Mendonza de Arce, op.cit.,151.

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domination of Pernambuco because of the contact with the music of Flemish composers of the

Renaissance, especially Josquin des Préz. 7

In the following century, the important factor that contributed to the increase of musical

activity was the discovery of gold and diamonds in the State of Minas Gerais, in the southeastern

part of Brazil. In this century important composers appear such as Lobo de Mesquista (1746-

1805), who wrote more than three hundred works. The first Brazilian opera, “Felinto Exaltado,”

was staged in Rio de Janeiro on December 1746.8

The next century started with the arrival, in 1808, of the Portuguese royal family in Brazil

to escape the expansion of Napoleon’s Empire in Europe. The most important composer of the

early 19th century was Father José Maurício Nunes Garcia (1767-1830), who wrote

approximately four hundred works, mostly sacred music. After the Brazilian Independence from

Portugal, in 1822, the Italian opera became the center of the musical life in Brazil and Dom

Pedro II, the second emperor of Brazil, created the Imperial Academy of Music and National

Opera. One important composer of the second half of the 19th century was Carlos Gomes, the

internationally celebrated composer of the opera Il Guarani, which premiered in Milan, in 1870.

Gomes is considered to be the first composer to use national elements in his music. His piece for

piano A Cayumba, written in 1857, and based on a black dance, as well as Brasílio Itiberê da

Cunha’s A Sertaneja, written in 1869, are the oldest pieces that employ folk elements. Some

7 Pernambuco, which is a tree whose wood is excellent for making violin bows, is also

the name of a state in the Northeastern part of Brazil.

8 Daniel Mendonza de Arce, op.cit., 226.

95

musicologists consider Alberto Nepomuceno (1864-1920) to be the true precursor of nationalism

in Brazil, however.9

In 1922, two years after Nepomuceno’s death, one of the most important events in the

history of Brazilian music took place—the Week of Modern Art, which consisted of a series of

concerts, conferences, and expositions of visual art. This event launched the modernistic

movement that in Brazil was strongly connected with nationalism. Heitor Villa-Lobos (1887-

1959), who was the central musical figure in the early stage of this movement, is regarded as a

composer of the first nationalistic generation, according to musicologist Vasco Mariz. In his

classification of the musical periods in Brazil, Mariz also mentions two more nationalistic

generations: the second generation includes composers such as Lorenzo Fernandez, Jaime Ovale,

and Francisco Mignoni, and the third generation Radamés Gnattali, José Siqueira, Waldemar

Henrique, and Camargo Guarnieri, among others.10

Mozart Camargo Guarnieri was born in Tietê, in the state of São Paulo, Brazil, on

February 1, 1907. 11 His father Miguel Guarnieri, an Italian immigrant barber who could play the

flute, gave him his first musical training. In 1923, his family moved to São Paulo city, the

capital of the state, and Guarnieri started working very hard to survive as a musician. His

excellent piano sight-reading skills made it possible for him to work in music stores as a pianist.

This job was also a good opportunity for him to get acquainted with the classical repertoire

during his free time. At that time he had a very hard life and a very busy schedule. In the

9 Vasco Mariz, História da Música no Brasil, (5a. Ed. Rio de Janeiro: Civilização

Brasileira, 1999), 97.

10 Ibid., 111-216.

11 Ibid., 217-230.

96

mornings he worked at the barbershop with his father, in the afternoon he worked at the music

store, in the evening he played background music for silent movies until 11 p.m., and after that

he would play in the nightclubs until 6 a.m. It was this very intense musical life as a performer

that made it possible for him to assimilate very deeply the various genres of Brazilian music.

Parallel to the cultivation of national music, a movement towards twelve-tone music

gradually began in Brazil at this time. The arrival of German composer and educator Hans-

Joachim Koellreutter, in 1937, was crucial to this new tendency. Koellreutter came to Brazil in

order to escape from the Nazi regime. He founded the group Música Viva, which was dedicated

to the study and use of serialism as a compositional technique. In 1944, this group started a

series of radio programs to introduce this type of music to the public. In 1946, they published an

important document called Manifesto de 1946, in which they explained their philosophy and

principles. This document triggered an anti-dodecaphonic campaign promoted by the

nationalistic composers, especially Camargo Guarnieri. In 1950, Guarnieri wrote the Carta

Aberta aos Músicos e Críticos do Brasil (Open Letter to the Musicians and Critics of Brazil), in

which he described the twelve-tone technique as a mechanical means of composition that could

destroy authentic Brazilian music and adversely affect younger generation of composers.

Later, as he used quasi-serial techniques in his fifth piano concerto, he was asked if he

had changed his opinion. He said, “ I am not changing my opinion. I live in the present and my

music is contemporary. You can recognize that this is my music, but its personality is always

connected with the present.”12 Indeed, even though the sonorities of his fifth piano concerto, for

12 Marion Verhaalen, Camargo Guarnieri: Expressões de uma Vida. Trans. by Vera

Sílvia Camargo Guarnieri. (São Paulo: Editora da Universidade de São Paulo/ Imprensa Oficial, 2001), 76. It is interesting to observe that Guarnieri, like other composers, such as Stravinsky, Copland, Barber, etc., adopted serial procedures to his own style.

97

example, are far from the tonal-modal sonorities used by other Brazilian nationalistic composers,

they have little connection with the music of other international composers of the same period.

The complexities and angularities found in Guarnieri’s late music seemed to have evolved

naturally from the extensive use of contrapuntal elaborations and textural and timbristic

experimentations. The next section provides a general overview and a historical background for

Guarnieri’s fifth piano concerto.

1.3 General Overview of Guarnieri’s Fifth Concerto for Piano and Orchestra

Guarnieri, who was a fine pianist, wrote ten works for piano and orchestra, including six

piano concertos.13 The Concerto No. 5 para piano e orquestra was commissioned by Jornal do

Brasil to be performed during the II Festival de Música da Guanabara (Second Music Festival

of Guanabara State).14 Guarnieri wrote this twenty-three minute piece in the short period of one

month (January 1970), when he was teaching at the Universidade Federal de Goiânia (Goiânia

Federal University, in the central part of Brazil). The first performance was given in May 1970

by Brazilian pianist, Laís de Souza Brasil, to whom the piece is dedicated. In 1973, a

performance in the U.S.A. was given by the same pianist and with the composer, Guarnieri,

conducting the Chicago Symphony Orchestra.

The fifth concerto is in three movements entitled: Improvisando, Sideral, and Jocoso.

The first movement is in sonata-allegro form, the second in monothematic ABA form, and the

13 In fact, his first symphonic work was the Piano Concerto No.1 (1931), composed thirteen years before his first symphony.

14 Guanabara was the former name of the State of Rio de Janeiro.

98

third, an arch form (ABCBA).15 According to Guarnieri, the second movement (slow) was the

first to be written.16 The piece is entirely built upon the gesture shown in Figure 1.1, i.e., an

ascending major seventh, two descending minor seconds, and a descending minor third.17 First

and last notes of this five-note motive form a tritone. This five-note motive is used in both an

ordered and an unordered manner; for example, the first theme of the second thematic group of

the first movement consists of the juxtaposition of two different forms of this motive, each form

having a different order of notes (see Figure 2.13).

Figure 1.1. The generative idea of the concerto

This basic motive is used cyclically, i.e., it is employed in all three movements not only

as a melodic motive but also as the generative structure for the harmonic language. Thus,

sonorities such as major seventh (first interval), minor second (second and third intervals), as

well as quartal harmonies (a perfect fourth is the interval between second and last pitches) derive

15 Marion Verhaalen, op.cit., 232. In the program notes about this piece, Guarnieri

himself mentions that the second movement is monothematic, i.e., built upon only one theme, and is organized in three parts: exposition, development, and recapitulation. Dr. Verhaalen labels these three parts as ABA.

16 Ibid., 230.

17 Figure 2.1 shows how this motive appears for the first time in the piece.

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from this basic motive.18 This five-note motive is enunciated at the very beginning of the

concerto by the orchestra and systematically elaborated by both piano and orchestra throughout

the entire piece, which closes with the opening gesture.

1.4 Classification of the Types of Sonorities Used in This Analysis

Since the harmonic language in this piece is not based on common-practice principles,

the traditional methods of harmonic analysis will not be used. Instead, I will introduce a method

of various types of sonorities, defined here as entities containing two or more harmonic and/or

melodic intervals generated through octave displacement of one of its components, in an

unordered fashion. For this I will consider the following principles:

Principle of Enharmonic Equivalence. According to this principle, enharmonic intervals

will be considered equivalent. Therefore, unlike in conventional tonal music, an augmented

second equals a diminished third, a diminished octave equals a major seventh, and so on.

Principle of Octave Equivalence. According to this principle, C0 equals C1, which equals

C2 and so forth (in this paper, C4 is middle C).

Principle of Inversional Equivalence. This principle is a direct consequence of the

principle of octave equivalence. According to it, the interval created by octave displacement of

one of the components of a given interval is taxonomically equivalent to the interval itself. This

applies also to compound intervals. See in Figure 1.2 that a perfect fifth (P5) equals a perfect

fourth (P4) since the difference between these two intervals only happens through octave

18 I give special attention to the second and the last pitch because they are salient. The

second pitch is salient because it is the highest note. The last note is salient because it is the goal of the five-note motive, when presented melodically. In addition, the second, fourth, and fifth pitches can be interpreted as both an incomplete tertian tetrad (major or minor, G-[B]-D-F) or an incomplete quartal tetrad (D-G-[C]-F).

100

displacement of one of the two notes. This principle creates classes of intervals (shown in Table

1.1) that will be used to classify the sonorities in Guarnieri’s piece.

Figure 1.2. Inversional equivalence

Table 1.1. The interval classes

Interval Class Members of the Interval Class m2/M7 m2 M7 M2/m7 M2 m7 m3/M6 m3 M6 M3/m6 M3 m6 P4/P5 P4 P5 A4/d5 Aug4 Dim5

Types of Sonorities.

Figure 1.3. Examples of Type 1 sonority

The Type 1 sonority is a trichord containing the following intervals or their equivalents:

tritone, perfect fourth (or perfect fifth), and major seventh (or minor second). Notice that the

tritone has to be present to characterize this sonority. For example, all the trichords shown in

Figure 1.3 are members of the Type 1 sonority, for the purpose of this analysis. I also mention

that this sonority corresponds to the first, the highest, and the last notes of the five-note motive

(see Figure 1.4).

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Figure 1.4. Intervallic relationship between first, highest, and last notes of the five-note motive

The Type 2a sonority is a trichord containing two consecutive perfect fourths or two

intervals that can be arranged in perfect fourths through octave displacements. For example all

the trichords shown in Figure 1.5 are members of sonority Type 2, which is related to quartal

harmony. As we will see during the analytical process, Guarnieri uses quartal harmony

plentifully. If the entity has more than three perfect fourths, the sonority will be called Type 2b.

Notice that Type 2 does not have a tritone; this is the crucial difference between Types 1 and 2.

Figure 1.5. Examples of Type 2a sonority

Comparing the intervallic relationships of Types 1 and 2 sonorities, one can see that Type

2 can be considered a contraction of Type 1. This contraction shows one of Guarnieri’s

compositional procedures in terms of definition of a harmonic vocabulary for the piece. In

Figure 1.6, one can see that if the C remains as a center of reference, Type 1 is transformed into

Type 2 through the transposition of the other two notes by descending minor second. 19 In other

19 Type 1 can also be transformed into Type 2 by the alteration of only one note. For

example: C-F#-B, which is Type 1, can be transformed into C#-F#-B, which is Type 2, just by raising the first pitch one half step. The transformation by means of two-note alteration was chosen by virtue of its geometrical properties that also allow a simultaneous further connection with Type 3, as shown in Figure 1.6.

102

words, the interval C-B (major seventh) is transformed into a minor seventh by the transposition

of B a half-step down (B-Bb) and the tritone C-F# is transformed into a perfect fourth by the

same transpositional operation. Carrying out this process another minor second down will

produce a minor triad (C-A-E), which will be Type 3a sonority. A major triad, also produced by

one further level of contraction, will be Type 3b sonority.

Figure 1.6. Type 1 is transformed into Types 2 and 3

The Type 4 sonority is also derived from the five-note motive. It is an entity consisting of

minor seconds (it can be two, three, four or more notes) or equivalent intervals. An example of

Type 4 sonority is shown in the Figure 1.7.

Figure 1.7. Type 4 sonority

The Type 5 sonority is a tetrachord that consists of a major seventh chord with lowered

fifth (Figure 1.8). As one can observe, the intervals of major seventh, perfect fourth, and the

tritone are also present in the Type 1 sonority. In fact, the diagram in Figure 1.9 shows how Type

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1 (Db, C, and Gb in the example) can be easily transformed into Type 5 (Db,C, F, and G) by the

symmetrical motion of one of its notes (Gb) outward by semitone yielding two notes a minor

second apart (F-G). Type 5 can also be created when a tritone is added to the extremities of a

quartal trichord (Type 2). See in Figure 1.9 that the quartal trichord G-C-F becomes Type 5 with

the addition of Db, which is the tritone of G.

Figure 1.8. Type 5 sonority

Figure 1.9. Type 1 (Db,C,Gb) or Type 2 (G-C-F) are transformed into Type 5 (Db,C,F,G)

To summarize, Type 1 can be built by juxtaposing a perfect fourth and a tritone, Type 2 is

quartal harmony, Type 3 is tertian harmony, Type 4 is a cluster of minor seconds, and Type 5 is a

Type 2 sonority plus a tritone. This last sonority inherits characteristics from the previous

sonorities because it has a tritone, perfect fourths, and a minor second (or major seventh). It also

has a major triadic sound (Type 3), in the manner of a jazz chord.

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CHAPTER 2. FIRST MOVEMENT: “IMPROVISANDO”


In this chapter, I will discuss three aspects of first movement of Guarnieri’s fifth piano

concerto: (1) the formal structure of this movement, (2) its harmonic language and contrapuntal

devices, and (3) the connection between the title, which means improvising, and the musical

design, i.e., the role of improvisation in its compositional process. Form and harmonic language

will be discussed concurrently in the same section since harmony and counterpoint are essential

formal determinants.

2.2 Formal Design

In this section I will propose a formal design for the first movement of Guarnieri’s fifth

piano concerto. After a brief description of each structural component of the piece, I will

provide a diagram summarizing its form. As I mentioned in the previous chapter (section 1.3),

this movement is written in sonata-allegro form, but the absence of common practice tonality

shifts the dualistic forces that govern this movement from the arena of tonal conflict.

The composer prepares the entrance of the first theme with three short introductory

events, each one with a distinctive character. The first event lasts five measures and introduces

the five-note motive in the low-register instruments of the orchestra. The second event is a free

section, in which the unaccompanied piano performs a sequence of arpeggios built on sonorities

Type 2 and Type 5. The third event consists of canons based on the five-note motive, played by

the brass section and accompanied by suspended cymbal and strings. Let us examine more

closely each of these three events to determine their specific features.

105

Figure 2.1. First of three opening events1

The first event of the piece is performed by the entire orchestra with the exception of the

percussion instruments and the piano. Figure 2.1 shows a three-staff reduction of this five-

measure first event and includes a classification of the sonorities. The first staff, a Type 1

sonority, is played by piccolo, flute, oboe, Bb clarinet, first violin, and upper divisi of the second

violin.2 The second staff, a Type 2a sonority, is played by English horn, French horn, lower

divisi of the second violin, and viola. One can see that Type 1 sonority moves into the second

staff as the end of this opening approaches and that Type 2a sonority (quartal harmony) is

completely absent from the last chord. The third staff, which comprises the five-note motive, is

performed by bassoon, contrabassoon, trombones, cello, and string bass. This section starts with

1 Copyright by Ponteio Publishing, Inc., used by permission (see Appendix A). This

copyright notice applies to all excerpts of the piece used in this dissertation. 2 Appendix C contains a simplified table showing the characteristics of the sonorities

used in this analysis.

106

ff dynamics and the last chord is played fff, short, and accented ( >). After this orchestral

outburst, in measure five, there is a brief silence indicated by a quarter note fermata, and then the

piano quasi-cadenza makes its first appearance, forming the second of the three opening events.3

Figure 2.2. Second of three opening events: the piano’s first entrance (fifth measure)

Let us examine the internal structure of this piano quasi-cadenza in Guarnieri’s work in

Figure 2.2. It consists entirely of the sonorities Type 2a and Type 5.4 These are played in an

3 The idea of introducing the solo instrument in the very beginning of a piano concerto is

something that has already been tried by classical composers such as Mozart (in his Concerto No. 9 in E-flat major, K271) and Beethoven (in his Concerto No. 5 in E-flat major, Opus 73.) Coincidentally, this work by Beethoven, which is his fifth piano concerto as well, has in its opening certain textural similarities with Guarnieri’s concerto, i.e., an orchestral outburst followed by a piano quasi-cadenza. The difference is that in Beethoven’s concerto the opening statement is clearly established with only one chord, because the piece is tonal, whereas in Guarnieri’s the five-note motive is the archetype that sets the atmosphere for this atonal structure. A more recent example of an early appearance of the piano in this genre is Schoenberg’s piano concerto, which starts with the piano alone.

4 However, the seventh arpeggio of the right hand cannot be classified as Type 5, because

of one of the notes does not belong to this sonority (Bb-D-E-G; the G would have to be replaced by A to create a Type 5 sonority). In order to be certain that this was not a typesetting mistake, I examined another version of the score (the version for two pianos, kindly lent by Dr. Marion

107

arpeggiated manner and joined to form a single entity, as indicated by the slur connecting both

sonorities, with the right hand playing the Type 5 sonority and the left hand playing the Type 2a.

This event consists of a sequence of sixteen arpeggiated blocks formed by these two sonorities

transposed a perfect fifth up each time until they reach the block starting with Bb5 (last arpeggio

shown in Figure 2.2). This block is played eight times until the end of the free section. 5

The piano free section as an unmeasured solo (interlude), i.e., the sixteen blocks of

arpeggios occupy one measure only (measure 5). These blocks move smoothly from p to fff, the

tempo gradually increasing (accelerando) to arrive in the chord shown in Figure 2.3. This chord

consists of two minor seconds a perfect fourth apart (B-C-E-F). The minor second and perfect

fourth are intervals derived from the five-note motive. At this point the brass section enters to

play the third and last event before the entrance of the first theme.

Figure 2.3. Last chord of the piano in the second opening event Verhaalen) and called by telephone the pianist Laís de Souza Brasil, to whom the piece was dedicated. The version for two pianos matches with the orchestral version. Ms. Brasil emphasized that the manuscript I have is correct, and that small deviations in patterns were intentional devices used by Guarnieri. (Telephone call made on December 20, 2003).

5 Coincidentally, the number five seems to have some numerological significance in this

piece. Guarnieri’s fifth piano concerto (that opens like Beethoven’s fifth concerto) is built upon a five-note motive, which generates basically five types of sonorities; the orchestra’s first event lasts five measures and the piano plays blocks of arpeggios transposed by a perfect fifth. Even though this is an interesting point, it will not be a subject of study in this paper because I could not find any further numerological connection that would justify a further research.

108

Figure 2.4. The third opening event (the brass canon)

The last event of the introductory part of the piece consists of a three-voice canon at the

interval of a perfect fifth played by the brass section and accompanied by suspended cymbal and

upper strings playing the same minor second in three different octaves (E5F5 + E6F6 + E7F7, as

shown in Figure 2.4). These notes of the strings are also present in the last chord of the piano in

the second event, and therefore have the function of interlocking the second event with a brass

canon, which is the third opening event. Figure 2.4 shows the first three measures and the last

two measures of the brass canon. This fifteen-measure canon gradually contracts in a stretto-

like procedure to arrive at a chord that consists of a combination of Types 1 and 2a sonorities.6

Thus, this introductory section concludes with the same sonorities as those presented at the very

opening (the five-note motive and Types 1 and 2a sonorities, even though, unlike the opening,

6 The canon is strict, i.e., only the material shown in Figure 2.4 is used.

109

the five-note motive here does not occur simultaneously with the two other sonorities). In the

next measure, the piano enters for the second time, and introduces the first theme of the concerto

unaccompanied.

One could argue that the first theme of the concerto starts at the very beginning of the

piece, when the orchestra states the five-note motive very clearly, which becomes the basis for a

canonic elaboration right after the brief free passage performed by the piano in its first

appearance. In this case, the second entrance of the piano, on measure 21, would be the

restatement of the first theme because it is also based on the five-note motive, as one will see

later in this analysis. This compositional device, i.e., the exposition of the first theme by the

orchestra and subsequently by piano, is called double exposition, and it is a device traditionally

used in the solo concertos of the classical period.

I believe, however, that the five-note motive is introduced simply as a raw material and

does yet not constitute a theme (even though it has clearly defined pitches, rhythms, dynamics,

and articulations). One must remember that this is not classical tonal music and, therefore, in the

first moments of the piece the composer must first establish a new atmosphere, metaphorically

speaking, before themes can be introduced and developed.7 Also, this is neither a twelve-tone

piece nor an integral serial piece, in which thematic material and the series have such a close

connection that the theme is omnipresent. For that reason, the five-note motive works in the first

moment solely as a kind of archetype for this new atmosphere, serving an analogous function to

the introduction or prelude of a work of tonal music (somewhat in the manner of an operatic

prelude of Wagner).

7 There are parallels also in Romantic music; themes take time to crystallize in works

such as Beethoven’s third and ninth symphonies.

110

Pursuing this parallel with tonal music, let us briefly examine the opening of Beethoven’s

fifth piano concerto. It starts with an Eb major chord played by the entire orchestra after which

the piano executes a series of arpeggios indicated freely in the score. Thus, in the Beethoven

concerto the entire orchestra has a fermata and the piano plays a quasi-cadenza passage that, as

in Guarnieri’s concerto, occupies one notated measure. Then, in the Beethoven concerto the

entire orchestra interrupts the piano line by playing a subdominant chord (Ab) and afterward the

piano resumes its free passage. The orchestra once more interrupts the piano with a dominant

chord (Bb), after which the piano plays one more time until the orchestra begins the first theme

that is restated later by the piano alone. With this introductory material, Beethoven appears to be

simply establishing clearly the tonality of the piece. Figures 2.5 and 2.6 summarize the opening

textures of both Guarnieri’s and Beethoven’s fifth piano concertos.

Figure 2.5. The opening of Beethoven’s fifth piano concerto

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Figure 2.6. The opening of Guarnieri’s fifth piano concerto

As one can see in the diagrams of Figures 2.5 and 2.6, both composers are introducing

the vocabulary (sonorities) and the syntax (how to interconnect these sonorities) for their work

using their own language, prior to the arrival of the first theme. In the case of Beethoven, the

language was common to a stylistic period, i.e., the tonal system, whereas in the case of

Guarnieri, not only did the work have to be created but also the system itself. In other words,

while Beethoven chose among various harmonic progressions within the tonal vocabulary,

Guarnieri had to create both the vocabulary and a particular syntax to connect the sonorities.

Having decided that measure 21 is where the first theme of Guarnieri’s fifth concerto

appears, with the second entrance of the piano, I will undertake a detailed examination of the

microstructure of the exposition. First, it is necessary to examine all the possible forms in which

the five-note motive may appear. It is important to make this inventory because the five-note

motive is the basic material of the main themes. Table 2.1 shows all forms (original or prime,

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inversion, retrograde, retrograde-inversion, and transposition) of the five-note motive.8 In effect,

the five-note cell and its variances act in a way similar to the twelve-tone system original set.

Table 2.1. The forms of the five-note motive

P0 E D# D C# A# R0 I0 E F F# G A# RI0 P1 F E D# D B R 1 I1 F F# G G# B RI1 P2 F# F E D# C R 2 I2 F# G G# A C RI2 P3 G F# F E C# R 3 I3 G G# A A# C# RI3 P4 G# G F# F D R 4 I4 G# A A# B D RI4 P5 A G# G F# D# R 5 I5 A A# B C D# RI5 P6 A# A G# G E R 6 I6 A# B C C# E RI6 P7 B A# A G# F R 7 I7 B C C# D F RI7 P8 C B A# A F# R 8 I8 C C# D D# F# RI8 P9 C# C B A# G R 9 I9 C# D D# E G RI9 P10 D C# C B G# R 10 I10 D D# E F G# RI10 P11 D# D C# C A R 11 I11 D# E F F# A RI11

The prime form, P0, represents the way the motive was first introduced, i.e., E-D#-D-C#-

A#. P3, for example, stands for the prime form of the five-note motive transposed up a minor

third; RI6 stands for the retrograde-inverted form of the motive transposed by a tritone. Figure

2.7 shows the first four measures of the exposition. From now on, the numbers inside circles

refer to the types of sonorities discussed in section 1.4. The forms inside brackets refer to

unordered presentation of sonorities listed in Table 2.1. For example, P0 is E,D#,D,C#,A#; [P0]

would indicate any order of these five notes, e.g., E,A#,D#,C#,D. As one can see in Figure 2.7,

everything is derived from the five-note motive. Sometimes the motive appears in its complete

form and original ordering. Other times it is unordered (measure 24, [I10]), incomplete, or has

other notes interpolated. The latter type of motivic variation is particularly important in the

8 Obviously a 12x12 matrix cannot be used in this case since the series has only five

notes. Also, a smaller matrix, 5x5 for example, would not reflect the reality of the work because Guarnieri uses all the twelve pitches of the chromatic scale and not only a permutation of five particular notes.

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construction of the first theme—labeled A—because it adds structural variety by the addition of

embellishing notes.

Figure 2.7. Guarnieri, Concerto No. 5, I, mm.21-24, showing the first four measures of the initial presentation of the first theme (A)

Let us examine in detail the two regions in Figure 2.7 indicated with dashed brackets,

which illustrate this process of interpolation. In the right hand of measure 24, the sonority

starting on the third sixteenth note (D#) and ending on the F at the end of the measure has the

same notes of [P1] (F,E,D#,D,B) but with the addition of one extra note (A#). Figure 2.8a shows

the main notes of [P1] in half notes and the extra note as a stemless quarter note. In the left hand,

starting on measure 23, three sonorities can be found: [P6], R10, I6. Figures 2.8b, 2.8c, and 2.8d

illustrate the relationship between these four sonorities, as forms of the five-note motive.

Figure 2.8a. [P1] in measure 24, right hand

Figure 2.8b. [P6] in measures 23-24, left hand

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Figure 2.8c. R10 in measures 23-24, left hand

Figure 2.8d. I6 in measure 24, left hand

Before we continue the microanalysis of the first theme, it is noteworthy to observe that

Guarnieri re-introduces the five-note motive very clearly in measure 21. He then gradually alters

its intelligibility by overlapping its different forms and by increasing the use of incomplete

statements of it that comprise one of the types of sonorities. This characteristic will be even

more prominent in the next three measures that are shown in Figure 2.9.

Figure 2.9. First theme (A) continued – measures 25-27.

As shown in Figure 2.9, this passage consists of the various types of sonorities. Only one

statement of the complete five-note motive occurs but it is unordered and has one note

interpolated (measure 26: [I9] with B as embellishing note). Two other contrapuntal devices are

briefly used in this passage. The first one is a voice exchange involving the pitches Ab and Fb in

measure 25 (indicated with dashed lines in Figure 2.9). The second one is a literal imitation in

measure 26, which is indicated with dashed brackets and an arrow in the same figure. Also,

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notice the contour similarity between the sonority indicated with x (in measure 25, right hand)

and the five-note motive.9

Three more measures of the first theme are shown in Figure 2.10 (measures 28-30). The

first vertical sonority that appears in this passage is Type 2b, consisting of more than three notes

arranged in fourths. The second vertical sonority is a compound of two Type 1 sonorities: F-Bb-

E (right hand) and A-Bb-E (left and right hands). An ostinato—in the lower voice of the left

hand, consisting of Type 4 sonorities—permeates the entire passage and becomes integrated in

the five-note motive in the last two measures. The note with an asterisk in P7’ should be F to

keep the pattern of the five-note motive. However, it seems to me that Guarnieri is using a type

of appoggiatura in the background, i.e., right after P7’ comes [P7] where the pitch is adjusted to

the “correct” value. This procedure is graphically explained in Figure 2.11. [P7] and [I5] have

embellishing notes (C and Db respectively) in the same manner used before (see Figure 2.8).

Figure 2.10. First theme (A) continued – measures 28-30.

9 Both motives start on the lowest note, move upwards to the highest note, and descend

gradually until reach the second-lowest note. The descending line of both motives is chromatic.

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Figure 2.11. Background appoggiatura used in measure 29.

The last five measures of the first theme are shown in Figure 2.12. They consist basically

of the interaction of Type 1 (right hand) and Type 4 sonority (left hand); Type 4 is expressed in

terms of an ascending chromatic scale. The right hand closes with the five-note motive in the

form of [R5].10

Figure 2.12. First theme (A) – measures 31-35.

The second thematic group consists of three themes (B1, B2, and B3). The first one (B1)

has eleven different notes and is also derived from the five-note motive, as one can see in Figure

2.13. Two distinctive characteristic of this theme are its short length (two measures) and its

10 The F# in the piano (right hand, last measure) is the same note with which the oboe

introduces the second thematic group of the concerto.

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rhythmic syncopation. Another interesting aspect of this eleven-note theme is that it is built

upon the chromatic scale lacking only the note D, which is not even present in the

accompaniment.11 Noteworthy is also the number of sonorities used in this short space of two

measures (see Figure 2.13). Notice that the piano shown in Figure 2.12, measure 35, plays two

notes—Bb and F#.

Figure 2.13. The first theme of the second thematic group (B1) – measures 35-36.

After B1 is presented by the woodwinds, the piano plays a brief passage basically built

upon Type 2 sonority (even though Types 1 and 5 sonorities can be found). At this point, the

piano begins its dialogue with the orchestra for the first time (mm.37-41) and then, the second

theme of the second thematic group (B2) is stated by the trombones, in measure 42 (see Figure

11 Perhaps Guarnieri was trying to create an almost dodecaphonic theme but this is a

hypothesis difficult to prove. However, when this theme appears again in the development (measure 56), Guarnieri adds some grace notes and changes the accompaniment to include the pitch missing from before (D), i.e., he uses all twelve notes of the chromatic scale but several pitches are repeated, which may discourage this hypothesis of dodecaphonism. In passing, the only repetition he uses when the theme is presented for the first time consists of consecutive notes, in the very beginning (two F-sharps), which is a procedure allowed in the dodecaphonic technique.

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2.14). This theme is entirely built on the pentatonic scale (Gb-Ab-Bb-Db-Eb) and therefore

consists of a Type 2b sonority (quartal harmony), since the notes of a pentatonic scale can also be

organized in a chain of perfect fourths (Bb-Eb-Ab-Db-Gb). Concomitantly with the presentation

of B2 by the trombones, the piano plays an ornamental ostinato built upon major and minor

seconds in the right hand, whereas the left land, besides complementing the rhythmic structure of

the ostinato, shows Type 1 sonority.12 This type of rhythmic figuration—which appears for the

first time as an accompaniment to B1, as one can see in Figure 2.13—in combination with the

interval of second will appear subsequently several times, as the following examples

demonstrate.13

Figure 2.14. The second theme of the second thematic group (B2) – measures 42-43.

12 Both major and minor seconds are related to the five-note motive. If we take one form

of this motive, for example, G4-F#5-F5-E5-C#5, one can see that the central portion (F#5-F5-E5) is built upon these two intervals.

13 This characteristic seems to reveal some connections with the music of Bartók (as one

can see in “Out of Doors” or in the “Suite,” for example). Another Bartókian connection would be the use of quartal harmony, which abounds in Guarnieri’s concerto.

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This statement of the trombone (Figure 2.14) works as an antecedent or a question that is

answered in the next two measures by the orchestra. Figure 2.15 shows a reduction of this

answer (consequent) made by oboes and English horn and accompanied by strings, bassoon,

contrabassoon, and timpani. Types 2b and 3a sonorities in the violins and viola are extended,

i.e., the cycle of fourths is incomplete, but the essence of quartal harmony still remains, and the

tertian harmony is enriched with added notes.

A closer examination of these two instances of type extension (see Figure 2.15) shows

that in the case of Type 2b’, the first statement in the violins and viola consists of F-Bb-Eb-Db.

As one can see, an Ab is needed to complete the chain of fourths and fully express the Type 2b

sonority. The missing Ab appears in the second statement that does not have Bb. Thus, the

entire measure in the violins and viola section configures the Type 2b sonority, except for the A

natural. In the case of Type 3a’ sonority that happens at the end of measure 45, the extension

happens in terms of added pitches: A-Db-(Eb)-Gb is a Gb minor with an added Eb, and C-Fb-A-

(B) is an A minor with an added B.

In terms of rhythm, the strings plus bassoon, contrabassoon, and timpani use a figuration

similar to the one used by the piano in measures 42-43. The violins restate the ornamental

seconds (major in this case) that are transformed into a minor triad at the end of measure 45.

Viola, cello, contrabass, bassoon, contrabassoon, and timpani complement the rhythmic

figuration with sonorities built upon Type 1 sonority. The viola acts as a connection between

both rhythmic and harmonic ideas because it plays the same rhythmic figuration of the low

instruments and helps the violins build a sonority based on extended quartal harmony, as I

mentioned in the previous paragraph. Another interesting aspect one can observe in Figure 2.15

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is the hierarchical arrangement of sonorities, i.e., the accompaniment is based on Types 1 and 2

from lower to higher register and the solo is based on Type 3 sonority.

Figure 2.15. The consequent of B2 – measures 44-45.

Antecedent and consequent, respectively shown in Figures 2.14 and 2.15, are restated one

major second up from measures 46 to 49, and then in measure 50 the third theme (B3) of the

second thematic group is introduced by muted trumpet and the piano (see Figure 2.16). This

theme is answered, in measure 52, by a blast of strings and woodwinds consisting of Types 1 and

2b sonorities. Another statement of B3 (mm.53-54) is also answered by the same blast, this time

a major second up (m.55). In Figure 2.16 one can observe the ornamental seconds played at the

beginning of B3 by the piano (right hand).

Figure 2.16. B3 – measures 50-51.

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B3, as played by the trumpet, can be analyzed as a mixture of Type 2b (E-D-G-B-(G#)-A)

with tritones (C#-G, B-F)—except for the G# that can be explained as an incomplete neighbor.14

The tritone derives from the five-note motive as it was seen in the previous chapter, in Figure

1.1. Therefore, B3 is also derived from the five-note motive. The piano, besides doubling B3,

plays an accompaniment that consists vertically of the Type 4 sonority, as one can see in Figure

2.17. The right hand upper melodic line of this accompaniment consists of an unordered form of

the five-note motive [P1]15, and the left hand upper melodic line consists of Type 2b sonority.

Notice the background leading tone resolution of Db (left hand, m.50) to D (right hand, m.51),

which are the only two pitches that do not belong to Type 4.

Figure 2.17. The accompaniment of B3 – measures 50-51.

The last ocurrence of B3 followed by the strings and woodwinds blast (measures 53-54)

marks the end of the exposition and the beginning of the development, starting with B1 played by

the piano in measure 56 (Figure 2.18). The orchestral blast and the quasi-cadenza statement of

14 The incomplete neighbor has only one stepwise connection with the main tone whereas

the regular neighbor has two. Incomplete neighbor decorate either the preceding or the following tone. Edward Aldwell and Carl Schachter, Harmony and Voice Leading (New York: Harcourt Brace Jovanovich, 1989), 316.

15 See Table 2.1.

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the piano—in the manner used at the beginning of the exposition—justify the choice of measure

56 as the beginning of the development.

Figure 2.18. The beginning of the development section – measures 56-57.

After the restatement of B1 by the piano alone, there are transformations of the previous

ideas, especially fragments of the five-note motive. These fragments vary from an ostinato built

on minor seconds to an entire chromatic phrase arranged in palindrome16 and interpolated with

other intervals. For example, a transformation of the theme B1 (Figure 2.18, right hand) is shown

by the left hand of the piano in measures 61-63 (Figure 2.19) while the right hand plays an

ostinato figure built on minor seconds (E-F). Notice, in Figure 2.19, that the melodic line on the

left hand starts similarly to B1 and is gradually transformed. Fragments x, y, and z, originally

shows in Figure 2.18, have contour similarity to the ones shown in Figure 2.19 but are modified

in terms of pitch content.17 This contour relationship is enough to reveal aural similarity between

both excerpts.

16 A piece or passage in which the retrograde follows the original (or ‘model’) from

which is derived. Brian Newbould: ‘Palindrome’, Grove Music Online ed. L. Macy (Accessed 22 December 2003), <http://www.grovemusic.com>

17 In terms of contour, fragment x is a horizontal line, fragment y is a descending line

from left to right, and fragment z has the contour “highest note-lowest note-middle note.” The inversion of fragment z (Figure 2.19) has the contour “lowest note-highest note-middle note.”

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Figure 2.19. Transformation of B1 – measures 61-63.

Figure 2.20. Another transformation of B1 – measures 72-75.

Another example of Guarnieri’s developmental technique is shown in Figure 2.20, in

which B1 is even more transformed to achieve a greater degree of similarity with the five-note

motive (see slur). Observe the internal symmetry of this four-bar phrase essentially built upon

minor seconds. This melodic line, introduced by the violins in measure 72, is repeated with

slight variations in the pitch content by the woodwinds (piccolo, flutes, oboes, and clarinets) in

measure 76 and by the strings again in measure 80. Figure 2.20 shows this passage as it is

played by the violins in measures 72-75. The reduction on the bottom staff clarifies the pitch

relations of the melodic line consisting of a palindrome. In this reductive diagram, the black note

heads represent the interpolations added in the melody to create variety.

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In measure 82 the tempo is reduced to poco meno, and the piano plays very softly another

transformation of B1 accompanied by flutes playing minor ninths (see Figure 2.21). This quiet

atmosphere—foreshadowing the one that is going to be heard in the second movement—is

abruptly broken in measure 86 by oboes, clarinets, English horn, bassoons, contrabassoon, the

brass section, timpani, cellos and basses playing a short motive. This motive is very similar to

the main motive of the first movement of Beethoven’s fifth symphony (three repeated notes, here

followed by a descending minor third, rather than major third – m.87). In addition this motive

will become an important rhythmic element in the third movement. Figure 2.21 shows the piano

restatement of B1 followed by this “Beethoven motive.” Notice that, as in Figure 2.21, I added a

reduction line in order to illustrate better the pitch contour of the melodic line played by the right

hand of the piano.

Figure 2.21. Poco meno and the “Beethoven motive” – measures 82-87.

In measure 88 the tempo is reduced to poco meno again, and the unaccompanied piano

restates the previous melodic line with variations in register and added embellishing notes (see

Figure 2.22). In Figure 2.22 I added the pitch letters on the top because of the excessive number

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of ledger lines. The pitches within brackets will be changed in the retrogradation process that

will occur later in the piece (see Figure 2.28). This passage is restated by oboe solo (see Figure

2.23) accompanied by the harp playing the Type 1 sonority, clarinets playing a perfect fourth that

resolves in a major third, and flutes playing the same accompaniment previously used by the

piano. Within this quiet atmosphere (dynamics from pp to p), the piano plays fragments of the

five-note motive (see Figure 2.24)18 in octaves accompanied by first and second violins playing

the Type 5 sonority with an added tritone.

Figure 2.22. Piano excerpt from the development that will be retrograded in the recapitulation – mm.87-92 (compare with Figure 2.28)

Figure 2.23. Oboe excerpt from the development (mm.92-96) that will be retrograded in the recapitulation (compare with Figure 2.27)

18 I did not notate measure 99 as it is in the original manuscript because the rhythmic

values given there seem to be in error. Guarnieri notated it as .. , which produces one extra quarter note. I used the retrograde version of this passage (m.156) as a reference to recreate the measure because even the version for two pianos is not notated correctly. Listening to a recording conducted by the composer, furthermore, one can observe that measure 99 seems to be reduced to 5/4.

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Figure 2.24. Piano excerpt from the development (mm.96-100) that will be retrograded in the recapitulation (compare with Figure 2.26)

In measure 100, the tempo changes again to tempo primo, and the “Beethoven motive” is

restated by brass and woodwinds in ff, breaking the tranquility of the previous passage. Then,

from measures 102 to 106, cello and English horn play complete and incomplete forms of the

five-note motive accompanied by the piano with rhythmic figurations mostly based on seconds

in the right hand, and consisting of Type 1 and Type 2 sonorities on the left hand. After that, the

“Beethoven motive” is restated one more time leading to a climax that indicates the end of the

development and the beginning of the retransitional section (preparing the recapitulation). The

retransition starts with the piano playing an orchestra reduction of the very opening event of the

concerto. In the introduction, after this opening event, the piano played a quasi-cadenza passage

leading to a three-voice canon performed by the brass section. This time, instead of a piano

passage, the three-voice canon, now performed by the double-reeds (oboe, English horn, and

bassoon), is preceded by a short imitative section—based on the five-note motive—performed by

the strings that concludes with a chord built upon Type 1 sonority. The violins also create a

background for the canon, as in the introduction, but now, only with a trill (B-C).

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Figure 2.25. Recapitulation – measures 127-130.

The recapitulation begins (in measure 127) differently from the exposition (shown in

Figure 2.7), with the restatement of the first theme by the piano, accompanied by additional

instruments. Besides the addition of strings and winds, Guarnieri uses a contrapuntal device

called invertible counterpoint that consists of switching the register of the voices, i.e., the higher

voice becomes lower and vice-versa. In this case, the original right hand of the piano moves to

the left hand, and is transposed two octaves down; the original left hand moves to the violoncello

and is performed in pizzicato in its original register. For the right hand of the piano, Guarnieri

creates a new melodic line based on the five-note motive. Interventions of the other instruments

are also based on the five-note motive. Figure 2.25 shows the first four measures of the

recapitulation. Since the sonorities presented in the exposition (Figure 2.7) reappear in the piano

left hand and in the cello, I indicate only the new relations found in the piano right hand and in

the winds. R7’ (second frame in the piano right hand) indicates that one note does not fit the

five-note motive pattern (see Table 2.1); this note (E) is circled. The flutes in the second half of

measure 129 have an interrupted five-note motive (A-G#-G-…)

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From measure 137 to 141 the piano alone starts playing the same material of the

exposition corresponding to measures 31 to 35. A detailed analysis of these measures was

shown in Figure 2.12. In measure 141, the theme B1 is restated in a different orchestration but

keeps the same melodic line and the same harmonic background. Flutes, oboes, and English

horn play the theme while the strings play the accompaniment (B1 is shown in Figure 2.13).

After B1 is restated, the same piano passage that in the exposition connects B1 with B2 is restated

(with some rhythmic variations). However, neither B2 nor B3 reappear in the recapitulation even

though a textural design similar to the one that appears between measures 44 and 45 (see Figure

2.15) appears twice in measures 148 to 152.

Figure 2.26. Piano excerpt (mm.155-159) from the recapitulation that is the retrograde of mm.96-100 (compare with Figure 2.24)

After that, a suspended cymbal roll (three measures long) leads to a poco meno section

that consists of retrograde restatements of previous materials of the development with some

embellishment added: the piano part from measures 155 to 159 (Figure 2.26) is the retrograde of

measures 96 to 100 (Figure 2.24); the oboe from measures 159 to 163 (Figure 2.27) is the

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retrograde of measures 92 to 96 (Figure 2.23); and the piano from measures 163 to 168 (Figure

2.28) is the retrograde of measures 87 to 92 (Figure 2.22). The diagram in Figure 2.29

summarizes these retrograde relationships at the end of the recapitulation.

Figure 2.27. Oboe excerpt (mm.159-163) from the recapitulation that is the retrograde of mm.92-96 (compare with Figure 2.23)

Figure 2.28. Piano excerpt (mm.163-168) from the recapitulation that is the retrograde of mm.87-92 (compare with Figure 2.22)

Figure 2.29. Retrograde relationships at the end of the recapitulation.

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Figure 2.28 adds the pitch letters on the top because of the excessive number of ledger

lines. The pitches within brackets were changed in the retrogradation process, and the pitch

within crotchet is an addition. The passages shown in Figures 2.22 and 2.28 are the ones with

several deviations compared with the others.

Table 2.2. Summary of the formal design of the first movement

Section mm. Comments

1— 4 Orchestral tutti 5 Piano: Free cadenza-like

Intro.

6 — 20 Brass Canon A 21 — 34 First group: First theme (piano) -

A 35—36 Second group: first theme B1

(English horn) 42—49 Second group: second theme B2

(trombone)

EXP. B

50—51 Second group: third theme B3 (piano + trumpet)

56—81 Developing A and B1 82—100 B1 deeply transformed

101—110 Developing A

DEV.

Retrans. 111—126 Based on the introduction A 127—140 First group: first theme

141—142 Second group: first theme 143—152 Material based on the

accompaniment used for theme B2 (mm. 42—49)

152—154 Suspended Cymbal connector

B

155—168 Retrograde of 87—100

RECAP.

Coda 173—190 Canon + sustained chord.

The piano arpeggio in measure 168 leads to an orchestral blast consisting of Types 1 and

2 sonorities. After that the bassoons play a four-measure staccato passage (also built on Types 1

and 2) accompanied by another suspended cymbal roll. The cymbal continues in pianissimo

while violins and violas (con sordino) start a canonic passage built on the five-note motive,

similar to the one played in the opening by the brass section. The movement connects with the

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next one by means of a chord consisting of Type 2 sonority (violas and second violins) and a

tritone (first violins). Over this string background, the harp plays a compound minor third (Eb3-

Gb4), and the bassoons restate a compact form of staccato passage played before. Table 2.2

summarizes the entire formal design of the first movement.

2.3 The Improvisational Factor

In this section I will examine the connection between the title of this movement—

Improvisando, which means “improvising”—and the actual use of improvisation. The idea of

improvisation is related not only to the cadenza-like sections but also to the rhapsodic character

of the movement as a whole. In the very beginning of the first movement, in measure 5, the

composer indicates that the passage is to be played ad libitum. There is also an indication of

accelerando for this passage. The piano plays several passages alone in this movement, but the

same type of freedom is not indicated again. However, even though the solo passages have strict

indication of musical parameters, they still have the flavor of cadenzas, which are sections

traditionally connected with the ideas of freedom and improvisation. Figure 2.30 shows that the

piano plays alone 23% of the time of the first movement. This percentage is normal when

compared to the piano concertos by Beethoven. For example, in Beethoven’s first piano

concerto the piano plays alone 21.8% of the time; in the second and fifth piano concertos these

numbers are 35% and 10.18% respectively. It is noteworthy to mention that in Beethoven’s fifth

concerto (like in Guarnieri’s fifth concerto) there is no cadenza close to the end, rather the solos

are spread throughout the piece.

In Guarnieri’s concerto, the passages that could be associated with the idea of

improvisation are found in the piano part in measures 5, 82-84, 88-91, 97-100, and 156-168.

However, the only passage in which the composer requests some degree of freedom is the one

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that happens in measure 5, as I have mentioned before. In conclusion, the idea of improvisation

in this piece is a metaphor since there are no passages in which the realization is left to the

discretion of the performer. Other passages with similar degrees of quasi-freedom are found in

the second movement, which is the subject of study of the next chapter.

Figure 2.30. Textural distribution in the first movement of Guarnieri’s concerto.

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CHAPTER 3. SECOND MOVEMENT: “SIDERAL”


In this chapter, I will discuss form, harmony, and counterpoint of the second movement

of Guarnieri’s fifth piano concerto. These three aspects will be analyzed concurrently in the next

section, in the same manner I did for the previous movement. As I mentioned in Chapter 1 (page

98, first line), this movement was written before the first movement. About this movement

Guarnieri wrote:

The second movement, which is monothematic, is constructed with a formal plan of exposition-development-re-exposition. What becomes important is the search for an atmosphere compatible with the designation of Sideral. The theme, which in the first movement had an energetic character, at times violent, now becomes calm, contemplative, involved. It is noted that in the middle of this movement the calm and contemplative character is transformed, becoming aggressive. All happens as if a dark cloud came over quickly, and then disappeared.1

3.2 Formal Design

The second movement, according to Guarnieri’s own words, is built upon a single theme,

which pervades the entire movement. He also mentions two other characteristics: (1) the formal

plan, which consists of exposition, development, and re-exposition, and (2) the division of the

movement into three parts: A-calm, B-aggressive, A-calm. As it happened in the first

movement, the formal demarcations do not depend on tonal contrast, but rather on contrast of

mood.

Section A starts in measure 191 with the violins sustaining a long sound in pianissimo.

In measure 195, the right hand of the piano plays the theme of the movement, which is derived

1 Marion Verhaalen, Camargo Guarnieri: Expressões de uma Vida. Trans. by Vera Sílvia

Camargo Guarnieri. (São Paulo: Editora da Universidade de São Paulo/ Imprensa Oficial, 2001), 232. Dr. Verhaalen sent me by e-mail her translation of the passage. According to her, the original sources of this passage are the program notes of the first performance, which was given on 17 May 1970.

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from the five-note motive introduced in the first movement (see Figure 1.1), whereas the left

hand plays arpeggiated quartal chords (Type 2a sonority), in which the three-note figures

descend in an octatonic scale pattern.2 Observe in Figure 3.1 that the theme begins with the five-

note motive and then gradually dissolves into a Type 4 sonority (chromatic motion) with

embellishing notes.3

Figure 3.1. Guarnieri, Concerto No. 5, II, mm.195-199, the theme of the second movement

In measure 199 a subsidiary motive is introduced. This motive, which will be present in

the entire movement, consists of diatonic quartal chords4 with the upper voices doubled a minor

second lower. Thus, this motive is somewhat derived from sonorities Types 2 and 4, which are

found in the second half of the theme (mm.197-199). Figure 3.2 shows an example of diatonic

quartal chords built on the Phrygian mode, and the types of sonorities generated with this

process. Figure 3.3 shows how the subsidiary motive appears in measures 199-200 (orchestral

reduction and piano).

2 The figures descend in an alternation of half and whole step. The complete descending octatonic scale would be Db-C-Bb-A-G-F#-E-Eb. Guarnieri follows the pattern only until G, which is the next arpeggio (m.199, show in Figure 3.3). However, this arpeggio is not built on perfect fourths like the previous ones.

3 The embellishing notes are: (1) the grace note B4 in measure 196, (2) F4 in measure 197.

Notice also that there are two chromatic lines because Eb5 is missing. 4 Chords consisting of juxtaposed perfect fourths in which all the notes belong to a

diatonic scale. In Figure 3.2 the diatonic scale used is the Phrygian mode.

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Figure 3.2. Types of sonorities created with diatonic quartal chords on the Phrygian mode

Figure 3.3. Subsidiary motive played by English horn, violas, and harp (mm.199-200)

Observe that the piano answers the subsidiary motive with a short motive built on Type 4

sonority (A,Cb, Bb). This dialogue between the piano (playing basically types of sonorities 1,

2a, and 4) and the orchestra (playing the subsidiary motive) continues until the end of section A

in measure 221. Types 3 and 5 sonorities are also employed in section A. Bassoons and flutes

play the Type 3a sonority in measure 205 (Figure 3.4), and the piano plays a variation of Type 5

sonority in measure 209 (while the left hand plays the Type 4 sonority—see Figure 3.5). This

variation consists of substituting the major third (Ab-C) by a minor third (enharmonically, Ab-

B), i.e., instead of Ab-D-G-C (original Type 5), Guarnieri used Ab-D-G-B (the third note of the

tetrad is the whole note). It can also be explained as a combination of Types 1 and 3b sonorities.

In Figure 3.4 beams are used to help with the visualization of the sonorities.

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Figure 3.4. Type 3a sonority played by flutes and bassoons in section A (mm.205-207)

Figure 3.5. Type 5’ sonority played by right hand of the piano in section A (m.209)

Close to the end of section A, there is a canonic dialogue between English horn and oboe.

This dialogue consists of the alternation of a three-note motive of which the last note in each

voice moves in opposite directions. Figure 3.6 shows this canonic dialogue (the last notes of

each motive are beamed together for visualization purposes only). Notice that in its last

appearance the motive is shortened because it reaches the desired pitch earlier (G). The canon is

basically accompanied by piano and bassoon that doubles the piano chromatic line in the bass.

Figure 3.7a shows the canon accompaniment. A quartal chord played by the harp appears briefly

only in measure 216 and is not shown in Figure 3.7a. Figure 3.7b shows a reduction of the

accompaniment disregarding rhythm, octave displacements, and repetitions. From this reduction

one can clearly see that this accompaniment consists of three layers: (1) the melodic line of the

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subsidiary motive arranged in planing (parallel chords beamed), (2) a Type 4 sonority ostinato

(stemless quarter notes), and (3) a chromatic descending bass line, which is a Type 4 sonority.

Figure 3.6. The canonic dialogue between English and Oboe at the end of section A

Figure 3.7a. The accompaniment for the canon

Figure 3.7b. A reduction of the accompaniment for the canon

Guarnieri describes section A as calm and section B as aggressive. I would also add to

Section B a character of agitation. Basically, this section consists of the alternation of these two

moods, which also coincides roughly with textural alternation. Figure 3.8 shows an approximate

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textural plan for section B (mm.222-262). In the graph, the full textural regions have aggressive

character whereas the empty regions can be associated with agitation. The aggressive character

is achieved by the use of dry and marcato articulations, louder dynamics, percussive sounds

(timpani and hand cymbals), and a more full texture. The agitated character is achieved by the

use of fast notes and lighter orchestration. The theme of the movement (shown in Figure 3.1)

appears only in the agitated passages. The graph shown in Figure 3.8 is inspired by the graph

time versus loudness of the audio curve of section B (shown in Figure 3.9).5

Figure 3.8. Textural plan of section B

Figure 3.9. Audio form of section B

As a consequence of the textural design, section B can be divided into five parts: B1

(mm.222-229), B2 (mm.230-234), B3 (mm.235-236), B4 (mm.237-245), and B5 (mm. 246-262).

B1 begins in measure 222 with a homophonic passage played by brass and woodwinds followed

by a long sustained note played by flutes, oboe, English horn, and trumpets, and attacks of

5 This graph was produced using the softwares Cool Edit version 96, by Syntrillium Software Corporation, and Corel Photo Paint version 8.0, by Corel Corporation.

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strings, brass, and timpani. Figure 3.10a shows the first four measures of B1. The sonorities

within rectangles, although not belonging to any of the pre-established five types, are important

because they close the B section. They are also equivalent with each other, considering the

principles introduced in Chapter 1 (section 1.4).6 B1 (mm. 222-229) closes with these same

sonorities in retrograde motion (see Figure 3.10b).

Figure 3.10a. B1 (mm.222-225)

B2 starts with a brief silence in measure 230 and has four layers. The upper layer consists

of the theme played by the English horn one octave down of the original. The middle layer

consists of the harp playing a Type 4 sonority, and the piano playing a combination of Type 2a

and Type 4 sonorities (perfect fourth leaps a compound minor second apart descending

6 If one disregards octave displacements, both sonorities include a minor second, a minor

third, and a major third. Since the interval content is the same for both sonorities, they are equivalent, i.e., they can be related through transposition and/or inversion (this is valid only because the sonority is a trichord; it is possible to find sonorities with four or more notes that have the same interval content and are not related through transpositional and/or inversional operations, e.g.: C-C#-D#G and C-C#-E-F#). Notice that I am considering G2 as passing tone.

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chromatically). The lowest layer consists of the viola playing Type 4 sonority in sextuplets,

which confers the character of intense activity to B2. Figure 3.11 shows the first three measures

of B2.

Figure 3.10b. B1 (mm.226-229)

Figure 3.11. B2 (mm.230-232)

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B3 (mm.235-236) is short and works just as a contrasting link between B2 and B4. It

involves parallel chords (planing) based on the subsidiary motive introduced in measure 199

(Figure 3.3). Figure 3.12 shows an orchestral reduction of B3. Observe that only the upper

melodic line of the subsidiary motive is used here (C#-D#-E). The harmonic content of these

chords is completely different from the one on their original appearance because here they are

produced by the juxtaposition of the motive melodic line at several transpositional levels. These

chords can also be analyzed as Type 1 (Bb-E-A) and Type 3b (E-A-C#) sonorities plus a perfect

fifth (associated of Type 2a sonority).

Figure 3.12. B3

B2 and B4 are very similar, i.e., both have the theme of the movement (shown in Figure

3.1) and the agitated character. However, the orchestration is quite different, and the length of

B4 is twice the length of B2. In B4, the flute plays the theme a fifth above the original, the harp

and strings play ostinato patterns, and the piano, for the first time, plays variations of the

subsidiary motive. The first three measures of B4 are shown in Figure 3.13.

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Figure 3.13. B4 (mm.237-239)

B4, like B2, can be explained as a three-layer texture. The first layer consists of the theme

played by the flute. The second layer consists of ostinato patterns played by the harp in

glissando (observe that the harp pedaling, shown in measure 237, produces an A# minor triad

with minor seventh, therefore associated with Type 3a sonority) and by the strings playing the A

pitch in four octaves with three different colors: first violins play harmonics, second violins

employ bariolage7 to produce the agitated character, and violas play pizzicato. The third layer is

based on the subsidiary motive played by the piano: the left hand plays diatonic quartal chords

7 In the playing of bowed stringed instruments such as the violin, an effect produced by

playing in rapid alternation on two strings, one open and the other stopped, with a resulting contrast in tone color. The pitches played on the two strings may be the same (producing a kind of tremolo). Don Michael Randel, ed., The New Harvard Dictionary of Music (Cambridge, MA: The Belknap Presss of Harvard University Press, 1986), 79.

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and the right hand plays notes mostly a minor second lower than the upper note of the quartal

chords. The material of the left hand belongs entirely to the C diatonic collection8 and the

material of the right hand belongs to the F# natural pentatonic (F#,G#,A#,C#,D#), which is

associated with quartal harmony (Type 2 sonority). This is the first time that the theme of the

movement is played simultaneously with the subsidiary motive.

Figure 3.14a. First half of B5 (mm.246-247)

B5 can be divided into two halves. The first half (eight measures, mm.246-253) is

entirely built on Types 1 and 2 sonorities. It begins with attacks of the orchestra (low strings,

low double reeds, and timpani) consisting of leaps of perfect fourths dialoging with Types 1 and

2 sonorities freely played by the piano. Figure 3.14a shows the first two measures of the first half

of B5. The second half of B5 (eight measures, mm.254-262) begins with the strings playing the

8 C diatonic collection includes all the scales generated with the notes C,D,E,F,G,A,B. I

use the term collection instead of scale because a scale is associated with some type of center, and here there is no clear centricity, i.e., the composer uses the notes pandiatonically.

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same motive used at the beginning of B1 (see Figure 3.10, m.222) followed by brass and

woodwind attacks, and ends with a pointillistic texture employing the same sonority associated

with this motive, i.e., a sonority containing minor second, minor third, and major third.9 Figure

3.14b shows the first two measures and the last four measures of the second half of B5.

Figure 3.14b. Second half of B5 (mm.254-255 and 259-262)

After reading Guarnieri’s own words about this movement in the beginning of this

chapter, one expects that some kind of thematic development will occur in section B. However,

in the two times the theme appears (mm.230-234, 237-245) it contains the original material, i.e.,

the theme is not developed. The idea of development is not so obvious as it should be because it

happens around the theme and not on the theme itself. The theme is the central figure of the

movement, and it is surrounded by several other ideas, three that I consider important: (1) the

9 In mm. 259-260 the three lowest notes of the brass are Db-Bb-D and C-B-Eb. The

interval content of both trichords, disregarding octave displacement, is m2-m3-M3. The same is valid for the melodic sonority played by the woodwinds in mm.260-262.

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quartal harmony accompaniment that appears along with the theme in its first appearance in

measure 195, (2) the subsidiary motive that consists of a melodic fragment accompanied by

diatonic quartal chords (m.199), and (3) the sonority introduced in the beginning of section B

(m.222). These three ideas are derived from the five-note motive because its interval content can

be found in them.10 Because these three ideas develop around the theme, the aural result is

relative development. Metaphorically speaking, when the satellites change, even if the planet is

kept intact, the system (planet plus satellites) changes as a whole. The development of these

elements was described previously in the analysis of the five parts of section B.

The re-exposition begins in measure 263 with the same sustained sound played by the

violins at the beginning of the movement. The piano plays the theme again in measure 267.

Measures 263 to 277 of the re-exposition are very similar to measures 191 to 205 of the

exposition. The differentiation starts in measure 278 when the piano plays a passage derived

from the piano accompaniment of the Oboe-English horn canon in the exposition (see Figure

3.7). This passage leads to another presentation of the theme by oboe and violin (starting in

measure 284, Figure 3.15), which is accompanied by the piano, the harp, and the viola (the

harmonic of harp produces the same pitch of the viola). This accompaniment consists mostly of

ostinato figurations, except for the upper voice of the piano, which is a free countermelody built

on the types of sonorities. Figure 3.15 shows an orchestral reduction of the first measures of this

passage, which ends in measure 294. Then, there is a pointillistic passage entirely built on the

Type 1 sonority that leads to the coda of the movement.

10 The five-note motive contains 3 minor seconds, 2 major seconds, 2 minor thirds, one

perfect fourth, and one tritone. The accompaniment of the theme is built on fourths. The melodic fragment of the subsidiary motive (C#-D#-E) contains one major second, one minor second, and one minor third. The sonority introduced at the beginning of section B (Ab-F-A) contains one minor third, one major third, and one minor second.

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Figure 3.15. The theme played by Oboe and Violin in the re-exposition (mm.283-287)

The piano has the leading role in the coda, which is the slowest part of the movement

(quarter note equals 50). The French horn doubles the piano’s left hand, and the flute and the

vibraphone make short punctuations to reinforce the piano. The material of the piano part

consists of a melodic line inspired by the theme of the movement accompanied by Type 4 chords

on the left hand (this sonority is used from measures 302-313 exclusively on the left hand, and

from measure 316 to the end is used in combination with a sustained note in the right hand). In

measure 311 the five-note motive is played by the piano, and it leads to a sequence of ascending

fast notes built on the Type 4 sonority. These fast notes gradually increase their speed by

shortening the rhythmic values on an arithmetic ratio 4:5:6:7, which is a way of expressing Type

4 rhythmically. The goal of each sequence fragment also increases by half step (these notes are

doubled by the vibraphone).11 Close to the end the clarinet plays a slow melodic fragment built

on the Type 1 sonority and the strings plays the last chord built on Type 1, 2a, and 5 sonorities.

11 The last note of each sequential unit forms a semitonally ascending line.

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Figure 3.16 shows the piano from measures 311 to 320. Table 3.1 summarizes the formal design

of the second movement.

Figure 3.16. An excerpt from the coda (mm. 311-321)

Table 3.1. Summary of the formal design of the second movement

Section mm.

A 190 — 221 B1 222 — 229 B2 230 — 234 B3 235 — 236 B4 237 — 245

B

B5 246 — 262 A’ 263 — 301

coda 302 — 326

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CHAPTER 4. THIRD MOVEMENT: “JOCOSO”


The last movement of Guarnieri’s Concerto No. 5 para Piano e Orquestra is the subject of

this chapter. Despite the movement’s title, jocoso, which means merry and humorous, this

movement is as dense and angular as the previous ones. However, in this finale, Guarnieri uses

for the first time clear nationalistic elements, including references to a Brazilian popular

composition. Complete chromatic aggregates are also used here for the first time, even though

there is no application of the serial technique.1 The use of nationalistic elements concurrently

with twelve-note statements is interesting because these are two contradictory forces for

Guarnieri, as I mentioned in the first chapter. Form, harmony, and counterpoint will be the main

analytical issues here, with the same approach employed in the previous chapters.

4.2 Formal Design

The third movement is in arch form, ABCBA. Sections A and B present clear

nationalistic elements. According to Guarnieri2, the theme of section A is inspired by choro3,

1 The use of twelve-tone ideas pre-dating the first twelve tone piece (Schoenberg’s

“Piano Suite,” 1923) can be found in several composers such as Strauss (“Also Sprach Zaratrusta,” 1895, in the von der Wissenschaft section), Ives (“Three-Page Sonata,” 1905), or even—with some stretch—in J.S.Bach (WTC Book II, Prelude XVIII, mm.11-12).

2 Marion Verhaalen, Camargo Guarnieri: Expressões de uma Vida. Trans. by Vera Sílvia

Camargo Guarnieri. (São Paulo: Editora da Universidade de São Paulo/ Imprensa Oficial, 2001), 233-234.

3 Generically choro denotes urban instrumental ensemble music, often with one group

member as a soloist. Specifically it refers to an ensemble of chorões (musician serenaders) that developed in Rio de Janeiro around 1870. The originality of the choro of the 1930s and 1940s, for example those of the Velha Guarda band of ‘Pixinguinha’ (Alfredo da Rocha Viana), lies in the typical virtuoso improvisation of instrumental variations and the resulting imaginative

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one of the themes of section B has the character of samba,4 and section C is toccata-like.5 In the

paragraphs that follow these thematic materials will be examined in detail.

Section A is characterized by a series of pointillistic figurations, a percussion ostinato,

and a main theme. It can be divided formally in three main parts: the first part is an introductory

ostinato (mm. 1-12) performed by the percussion section (this ostinato lasts for the entire A

section); the second part consists of the main theme played by the clarinet (mm.13-22); the third

part consists of the piano restatement and development of this main theme (23-44). The

unaccompanied percussion ostinato of the introduction is the first nationalistic element, since

folk and popular music of Brazil are strongly recognized by the use of percussion in this manner.

Huge ensembles of percussion are largely used during the carnival festivities in Brazil. The

instrumentation itself has also Brazilian connections, such as the use of pandeiro (tambourine)

and agogô (cowbell), which are very popular percussion instruments in Brazil. Another

nationalistic element to be noticed after measure 13 is the use of percussion as a background

ostinato for melodic events (see Figure 4.3), in the same manner it happens in the escolas de

counterpoint. Gerard Béhague: ‘Choro’, Grove Music Online ed. L. Macy (Accessed 12 January 2004), <http://www.grovemusic.com>

4 An Afro-Brazilian couple-dance and popular musical form. Originally ‘samba’ was a

generic term designating, along with batuque, the choreography of certain circle-dances imported to America from Angola and the Congo. Mostly in binary metre, samba melodies and accompaniments are highly syncopated: a semiquaver–quaver–semiquaver figure is particularly characteristic. The dance gradually became urbanized by the late 19th century and urban versions differ substantially from rural folk sambas, but both feature responsorial singing between a soloist and chorus who sing alternating stanzas and refrain. Gerard Béhague: ‘Samba’, Grove Music Online ed. L. Macy (Accessed 12 January 2004), <http://www.grovemusic.com>

5 A piece intended primarily as a display of manual dexterity, often free in form and

almost always for a solo keyboard instrument. John Caldwell: ‘Toccata’, Grove Music Online ed. L. Macy (Accessed 12 January 2004), <http://www.grovemusic.com>

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samba.6 Figure 4.1 shows the first six measures of the percussion ostinato. Observe that the

tambourine has a period of three measures, the snare drum has a period of three measures as

well, but it enters one measure after the tambourine. There are two cowbells. The one with the

highest pitch has a one-measure period, and the one of the lowest pitch has a two-measure

period. The rhythmic figuration of the “Beethoven motive” (see Figure 2.21) is also restated

here by tambourine (starting in m.1) and snare drum (starting in m.2). The percussion ostinato

ends in the downbeat of measure 44, which is the beginning of a new section.

Figure 4.1. Opening of the third movement –percussion ostinato

In measure 13 the first theme of the third movement (theme A) is introduced. It consists

of a melodic line that, according to Guarnieri, is inspired by choro.7 Figure 4.2 shows the first

four measures of “Espinha de Bacalhau,” which is the first choro written by Brazilian clarinetist,

6 Literally translated, schools of samba. They are private musical associations that

organize the carnival festivities in Brazil. Every year each school has to present a new song called samba-enredo. This song is accompanied during the parades by a battery of percussion (approximately 400 musicians) and instruments such as guitars and cavaquinhos (a small ukulele-like guitar).

7 The use of choro in Guarnieri’s early pieces was an influence of Villa-Lobos, who

always used the word in the plural—choros. Later, Guarnieri adopted sometimes the term to replace the word “concerto,” such as in the “Choro para Violino e Orquestra (1951)” or in the “Choro para Clarineta e Orquestra (1956).” Here, however, he is referring to the influence of this genre of popular music in the character of the melodic line shown in Figure 4.3.

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composer, and conductor Severino Araújo.8 It is a very popular choro in Brazil composed in

1936 and recorded many times by several ensembles of choro. Notice the contour similarity

between the beginning of the third movement of Guarnieri’s fifth concerto (shown in Figure 4.3)

and the beginning of “Espinha de Bacalhau.” This similarity goes beyond a simple contour line

though, since the pitch material of Guarnieri’s five-note motive introduced in the first movement

can be found in the second measure of “Espinha de Bacalhau.” I believe it is a coincidence, even

though the fact that this melody is given to the clarinet (Araújo’s instrument) could characterize

a tribute that Guarnieri made to this renowned composer.

Figure 4.2. The first four measures of Severino Araújo’s “Espinha de Bacalhau”9

Figure 4.3. Guarnieri, Fifth Piano Concerto, Third movement – theme A, clarinet (mm.13-23)

8 Severino Araújo was born in the state of Pernambuco (Brazil) in 1917. He studied clarinet with his father (a band conductor) and still conducts the oldest pop orchestra in Brazil, the Orquestra Tabajara, which is active since 1934. The literal translation of “Espinha de Bacalhau” is codfish’s spine, which is an oxymoron because this Norwegian fish is sold in Brazil with no spines.

9 Copyright by Edições Euterpe, Ltda., used by permission (see Appendix B).

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This melody played by the clarinet is accompanied by melodic fragments played by

piccolo, oboe, English horn, and bassoon (the percussion ostinato introduced in the beginning of

the movement is also present). Figure 4.3 shows the clarinet’s entire melody. It starts with the

five-note motive, and after an incomplete statement of this motive it introduces a sequential

pattern (labeled a1, a2, a3, a4, a5, and a6), which can be internally divided into two parts. The first

part has no relation with the five-note motive, except for the direction and size of its opening

interval (minor seventh), which has some similarity with the first interval of the five-note motive.

The second part is built on the Type 4 sonority. The first part of this pattern is shortened until it

disappears and the second part is kept intact. Table 4.1 shows the pitch content of both parts.

Notes within squares deviate from the pattern, even though the sonorities of a1, a2, and a3 are the

same.10 Notes within grayed squares are juxtaposed. The patterns descend according to the

whole-tone scale, as indicated with squares in Figure 4.3 and also in the first column of Table

4.1.

Table 4.1. The clarinet sequence

10 It is easy to see that a3 equals a2 transposed a major second down. The relation

between a1 and a2 is more complex. The inversion of a1, excluding the repeated note, is C#-D#-G-E-C. This sonority when transposed by a major third down produces A-B-D#-C-G#, which is the pitch content of a2. Therefore they belong to the same sonority and the deviation is just a variation. Guarnieri repeats the same variation later when the piano plays the theme A (m.26).

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Figure 4.4a. The English horn figurations

Figure 4.4b. The bassoon figurations

Figure 4.4c. Comparison between the bassoon’s sonority and Type 1 sonority

As I mentioned, besides the percussion ostinato, some woodwind instruments play

simultaneously with the clarinet’s melodic line. Their material consists basically of short

figurations. The piccolo doubles all the Type 4 sonorities fragments shown in Figure 4.3.11

Consequently, the piccolo fragments also descend following a pattern that belongs to the whole-

tone scale (D#-C#- B-A-G-Eb-B) lacking one note (F). The English horn plays a figuration built

on Type 1 sonority (Figure 4.4a) and also includes the sonority played by the bassoon (labeled

B.S. in Figure 4.4a).12 Each fragment of the English horn figuration is separated by a silence of

11 The note A with an asterisk in measure 20 is notated Bb in the clarinet part, and A

natural in the piccolo part (in the orchestral score). In the version for two pianos it appears as A natural. I chose A natural because it agrees with the piccolo doubling.

12 The inversion of F-C-C# is F-Bb-A, which equals F#-B-Bb (the bassoon sonority)

when transposed a minor second up. It is noteworthy to mention some disagreements between the orchestral and two-piano versions with respect to the first cell of the English horn ostinato.

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seven quarter notes. The second fragment is an all-Type 1 sonority, which means that all four

possible unordered trichords created with these four notes belong to Type 1 sonority (F#-C-F,

F#-C-B, F#-F-B, and C-F-B). The bassoon plays a figuration built on a type of sonority very

similar to Type 1. Its cells are separated one to another by a quarter-note silence. Figure 4.4b

shows the bassoon figurations and Figure 4.4c shows how this sonority deviates from Type 1 by

the changing of one note (F for Gb).

In measure 23 the piano reintroduces theme A one octave higher in the right hand

whereas the left hand reproduces a combination of English horn and bassoon figurations

previously played in measures 13-22 (see Figure 4.5 and compare it with Figures 4.4a and 4.4b).

For the first three measures, the melodic line of the piano is the same one played by the clarinet

in measures 23-25. After measure 26 the melody is compressed by the elimination of rests but

preserves the same notes (compare it with Figure 4.3) and theme A concludes in the downbeat of

measure 32. The percussion ostinato (not shown in Figure 4.5) continues and another group of

figurations is added consisting of oboe, English horn, bassoon, contrabassoon, viola, violoncello,

and string bass. Figure 4.5 shows ten measures of the theme A played by the piano and an

orchestral reduction. The orchestral figuration in measure 23 consists of one form of the five-

note motive with one interpolated note (circled C).13 The same motive appears in measure 28

without the interpolated note. In measure 25 the orchestra plays sonorities entirely built from

Type 1 sonority. The sonority in the third quarter note of measure 25 is an all-Type 1 sonority

The notes shown in Figure 4.4a come from the two-piano version because it matches with the same material restated later by the piano in both versions (starting in measure 23).

13 The forms of the five-note motive are shown in Table 2.1 (Chapter 2).

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(like the English horn fragment shown in Figure 4.4a).14 In measure 26, English horn and cello

play an arpeggio built on Type 2 sonority.

Figure 4.5. Section A (mm.23-32)

In measure 32, after the entire re-exposition of theme A, the right hand of the piano

continues briefly with the same material (ascending minor seventh plus chromatic descending)

and then plays a melodic line that reintroduces the five-note motive (P5 and P3) plus Type 1, 3,

and 4 sonorities. This melodic line dissolves into a Type 2b sonority phrase that closes section

14 The four-note sonority C-G-Db-Gb produces four unordered trichords: C-G-Db, C-G-Gb, C-Db-Gb, and G-Db-Gb. They all belong to Type 1 sonority.

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A, in the downbeat of measure 44.15 Simultaneously, the left hand of the piano continues with

the same patterns (shown in Figure 4.5) as well as percussion, oboe, English horn, bassoon,

contrabassoon, viola, cello, and string bass. In measure 35 a sequential pattern played by flute

and clarinet is added (the last statement of this pattern, in measure 39, presents some small

deviations). Figure 4.6 shows the melodic line played by the right hand of the piano and the

sequential patterns played by flute and clarinet from measures 32 to the downbeat of 44.

Figure 4.6. Section A, flute, clarinet, and the piano’s right hand (mm.32-44)

In measure 44 the percussion ostinato stops and section B begins. According to

Guarnieri this section is inspired by samba. The first theme (labeled B1) played by trumpets and

trombones shows some traces of the type of syncopation found in samba (see footnote 4). B1

consists of the juxtaposition of two major thirds a minor ninth apart (Eb-G in the trombones, E-

15 The entire phrase uses notes of the collection G-C-F-Bb-Eb-Ab-Db, which consists of notes arranged in ascending perfect fourths (Type 2 sonority).

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Ab in the trumpets). In Figure 4.7, one can see that immediately after B1 (samba) the composer

introduces, for the first time in the piece, a complete twelve-note theme (labeled B2). This theme

is played by flutes (piccolo enters in measure 46 doubling the flutes), oboes, English horn, and

clarinets (in mm.45-46), and is accompanied by the entire brass section plus violins and violas

playing juxtaposed major thirds. B2 is then imitated by the piano (in mm.47-48), while harp,

violins and violas (both in pizzicato) play a Type 2a sonority fragment (see measure 47). Figure

4.8a shows the internal structure of the twelve-note theme. One can see that it is abundant in

Type 1 sonority. Figure 4.8b shows the unordered forms of the five-note motive found within the

twelve-note theme: [R1], [I2], and [P0] (Table 2.1 shows the forms of the five-note motive).

Figure 4.7. Section B (mm.44-48) – themes B1 and B2

Figure 4.8a. The internal structure of the twelve-note theme B2

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Figure 4.8b. The unordered forms of the five-note motive within the twelve-note theme B2

In measure 48, trumpets and trombones play B1 transposed a tritone up. Piccolo, flutes,

oboes, English horn, and clarinets play the twelve-note theme (B2) in its retrograde form. As

before, the piano imitates the woodwinds statement but this time it omits the first note and

repeats one of the notes (last note, Bb). Figure 4.9 shows section B from measures 48 to 52.

Figure 4.9. Section B (mm.48-52) – themes B1 and B2 restated

In measures 52-53 the brass section plays B1 one more time and, after a short fragment

played by flutes, oboe, and clarinets, another theme is introduced in measure 54. This theme,

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played by the piano in style brisé16 and labeled B3, is basically built on Type 4 sonority, i.e., it

consists of a conglomerate of minor seconds (or compound minor seconds), even though other

sonorities are present, as one can see in Figure 4.10. The accompaniment essentially made by

woodwinds and strings is pointillistic and consists of types of sonority 1, 2a and 4. Figure 4.10

shows section B from measures 54 to 58.

Figure 4.10. Section B (mm.54-58) – theme B3

In measure 59, the orchestra repeats the same figuration of eighth notes shown in

measure 58 (but transposed), and the piano, after a short pause, continues to play B3. Notice in

Figure 4.11 that the first four notes of the piano, in measure 59, belong to an all-Type 1 sonority

(a similar sonority is used in the first section: see Figure 4.4a). The same sonority is also found

in measure 60, second beat (A,D,Eb,Ab). This continuation of B3 consists predominantly of

16 A term used to denote the use of a broken, arpeggiated texture in music for plucked

stringed instruments, particularly the lute, keyboard, or viol. David Ledbetter: ‘Style Brisé’, Grove Music Online ed. L. Macy (Accessed 10 February 2004), <http://www.grovemusic.com>

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major sevenths (notes inside ellipses in Figure 4.11) and perfect fourths (notes inside rectangles

in Figure 4.11), which are two intervals derived from the five-note motive (see Figure 1.1). The

orchestra’s accompaniment consists basically of Type 5 sonority played by the woodwind

section. Figure 4.11 shows four measures of B3’s continuation.

Figure 4.11. Section B (mm.59-62) – continuation of B3

Figure 4.12. Section B (mm.67-70) – theme B4

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Figure 4.13. Section B (mm.70-76) – variation of theme B4 by the piano

B3 ends in measure 67. From measures 67 to 70, the orchestra introduces another theme

for section B. This theme, labeled B4, is characterized by the extensive use of grace notes.

Figure 4.12 shows B4 played by the piccolo and accompanied by the harp (which plays an all-

Type 1 sonority) and violins in pizzicato (which alternates between Type 5 and all-Type 1

sonorities).17 B4 is basically built upon Types 4 and 5 sonorities (disregarding the grace notes).

From measures 70 to 73, the piano plays a variation of B4 and then restates the beginning of B3,

17 In Figure 4.12 the second chord of the violins is better visualized as a Type 5 sonority

when inverted. Thus, F#-B-E-Bb inverted around F# becomes F#-C#-G#-D, which is clearly a Type 5 sonority.

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transposed a major second up (see measures 73-76 in Figure 4.13 and compare with Figure 4.10).

The five types of sonorities appear in the measures shown in Figure 4.13. The block of three

juxtaposed major thirds (chord within ellipse), which is B1’s sonority (see Figure 4.7), is also

present in this passage.

Figure 4.14. Section B (mm.76-79) – variation of theme B4 by oboes and flutes

Figure 4.15. Section B (mm.80-85) – variation of theme B4 by the piano

In measure 76, flutes and oboes play another variation of B4 accompanied by violins and

violas playing Type 1 sonority in pizzicato (see Figure 4.14). This passage is followed by the

piano (measure 80) playing a variation of B4 in the right hand, without the grace notes, while the

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left hand plays arpeggios based on Type 1 sonority. The lowest notes of these arpeggios yield a

melodic line that is doubled by bassoon and harp (the same orchestrational procedure will be

used to close section B, as one will see later), simultaneously with a flute trill. Notice that, B4 is

always stated with a slight different content each time. However, except for its last appearance,

it maintains its main characteristic, which is the use of grace notes. It seems that the adorned

character produced by the grace notes is transferred, in its last appearance, to the flute trill that

lasts until measure 84 along with the piano. Figure 4.15 shows the B section from measures 80 to

85.

Figure 4.16. Closing of section B (mm.101-104)

From measure 85 to 89 there is another restatement of B1 by trumpets and trombones.

From measures 89 to 100 B3 is restated two times by the piano: first in triplets (mm.89-43) and

then in sixteenth notes (mm.93-100). This increasing of rhythmic activity, which started with

eight notes (in measure 54) and then moves to triplets and sixteenth notes, follows the arithmetic

progression 2:3:4.18 This is the same progression found in the pitch content of Type 4 sonority

18 It is necessary to distinguish between arithmetic and geometric progression.

Arithmetic progression exists when a number is changed by addition. Geometric progression

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(1:2:3), which abounds in B3 (see Figure 4.10). Finally, from measures 101 to 104, the piano

closes section B with arpeggios of sixteenth notes built on Type 2a and on a variation of Type 5

sonorities. This variation consists of replacing the major seventh by a minor seventh. The piano

is accompanied by short attacks of strings, brass, and woodwinds, and by a melodic line that

doubles alternately the highest and the lowest notes of the piano arpeggios. This line starts in the

flutes and then moves to the clarinets. It is also doubled by the harp. Figure 4.16 shows a

detailed analysis of the sonorities within this passage.

In measure 104 the orchestra plays a bridge that connects sections B and C. This bridge

begins with violins’ and violas’ upward glissandos simultaneously with descending chromatic

lines played by bassoon, contrabassoon, cello, and string bass. Flutes, oboes, clarinets, English

horn, and bassoon play descending parallel lines (a tritone apart one to another) based on Type 2

sonority answering the strings’ glissandi, which are repeated in measures 108-109. Figure 4.17

shows the three four measures of the bridge.19

Figure 4.17. Bridge between sections B and C (mm.104-108) exists when a number is changed by multiplication. The geometric progression of the Type 4 sonority (1:2:3) would produce 2:4:6 and not 2:3:4.

19 In measure 106 of Figure 4.17 the notes with asterisks are indicated as Db and Bb in

the orchestral score. I am using the notes from the two pianos version because they maintain the intervallic pattern of parallel tritones between the lines.

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Figure 4.18. Section C (mm.110-116)

Section C, which is toccata-like according to Guarnieri, begins in measure 110 with

figurations built on intervals of minor ninths played by both hands of the piano, also in style

brisé, as it happened in section B. The lowest note of the right hand and the highest note of the

left hand of the piano figurations produce a melodic line that consists of twelve distinct notes

successively repeated an octave lower (theme C). This line, which is played by flute and the

harp, is not related to the twelve-note motive of section B (theme B2). Moreover, these two

twelve-note themes are the central difference between sections B and C since the foreground of

both sections is very similar, i.e., the style brisé and the increasing rhythmic activity in the piano

figurations are clearly present in both sections. Theme C is also doubled by the highest note of

perfect major triads played by the violas in tremolo sul ponticello and by first bassoon and

clarinets. This is the first time in the piece that these antagonist forces—a twelve-note melodic

line and major triads—are put side by side. It is even possible to find tonic-dominant

relationships among these triads in terms of proximity, but it would not be consistent with the

atonal context, which is clearly perceived by the ear. Figure 4.18 shows the first seven measures

of section C.

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The piano is interrupted in measure 116 by a motive that rhythmically resembles B1 (see

Figure 4.7) but is entirely built on Type 4 sonority. This motive, shown in Figure 4.19, is played

alternately by violins, xylophone, trumpets, and trombones. After this motive, the groups of two

eight notes of the piano figurations are almost entirely restated in retrograde direction producing

the retrograde form of the twelve-note theme C (Table 4.2 has a 12x12 matrix of C). However,

there are some variations: 1) the major triads played by violas, first bassoon, and clarinets are

spaced more openly; 2) the note A is omitted; 3) There are some differences in the left hand of

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the piano (compare measures 114-115 in Figure 4.18 with measures 119-120 in Figure 4.20). In

measure 125, brass, violins, and contrabassoon restate a fragment similar to the motive that

previously interrupted the piano figurations (mm. 116-119).

Table 4.2. 12x12 matrix of C

I0 I7 I6 I1 I11 I4 I2 I3 I9 I10 I5 I8 P0 C# G# G D C F Eb E Bb B F# A P5 F# C# C G F Bb G# A Eb E B D P6 G D C# G# F# B A Bb E F C Eb P11 C G F# C# B E D Eb A Bb F G# P1 D A G# Eb C# F# E F B C G Bb P8 A E Eb Bb G# C# B C F# G D F P10 B F# F C Bb Eb C# D G# A E G P9 Bb F E B A D C C# G G# Eb F# P3 E B Bb F Eb G# F# G C# D A C P2 Eb Bb A E D G F F# C C# G# B P7 G# Eb D A G C Bb B F F# C# E P4 F C B F# E A G G# D Eb Bb C#


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In measure 127, the piano plays a variation of the previous material. This variation

occurs in the rhythm and in the pitch material of the arpeggios. The rhythmic activity increases

to triplets, in the same manner it happened with B3. The pitch material of the arpeggios is

organized in a way that the melodic line produced by the lowest note of the right hand and the

highest note of the left hand is the inversion of the twelve-note theme C, which was introduced in

the beginning of the section by the same procedure. There is however the omission of one note

(Eb). See the column I0 in Table 4.2 and compare it with the bassoon line in Figure 4.21. Notice

that, according to this table, in measure 131 there should be an Eb right after E. The melodic line

here is played by the bassoons and cellos in pizzicato and is accompanied by the harp playing

chords built on perfect fifths (Type 2a sonority), in contrast with the tertian harmony played

before (mm. 110-124).


In measure 132 another interruption of the piano occurs. It consists of short attacks

played by brass, violins, and violas. In measure 136, the piano resumes but with the rhythmic

activity increased to sixteenth notes (thus, following the same arithmetic proportion 2:3:4 used in

the closing of section B). The arpeggios also change the pitch organization in order to yield a

melodic line that is the retrograde of the previous statement (or the retrograde inversion of theme

C). In this form of the twelve-note motive the first note (F) is omitted (see Table 4.2). This

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omitted note appears as the last note of the piano in left hand (written enharmonically as E#).

This last presentation of C is performed only by triangle, snare drum, vibraphone, and piano.

The vibraphone plays the melodic line and the piano plays the arpeggios in sixteenth notes. With

these four presentations of C Guarnieri presented a twelve-note row in its four forms (P0, R0, I0,

and RI0).

Figure 4.23. Bridge between sections C and B (mm.141-147)

In measure 141, the same material of the bridge used previously to connect sections B

and C is restated (compare with Figure 4.17). This time, the violins’ and violas’ glissandos

move downward, the chromatic lines played by the low double reeds and the low strings move

upward, and the sonorities of the glissandos are modified (for example, the first chord of the

violins and violas in measure 141 is a Type 5 sonority with an added B). This retrograde

arrangement indicates that section B will be re-exposed. Indeed, in measure 144 the piano plays

a variation of B1, and piccolo, flutes, oboes, and clarinets answer with an incomplete statement

of B2 (twelve-note motive of section B with the first note E omitted). The piano plays B1 again

and once more the woodwinds answer with the retrograde of B2. Then, the piano plays B1 for the

last time and after that starts playing B3, which has the same proportion and similar orchestration

to the first time B3 was played, but it is transposed one half step up. The piano part from

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measure 159 to measure 166 is identical to the piano part from measure 59 to 66, with a small

difference in meter close to its end (examine again Figures 4.7 to 4.16, which contain the

materials of section B). Then, two more measures are added using the same type of figuration

but descending abruptly towards the low register and in measure 170 the entire orchestra and the

piano starts a bridge leading to the re-exposition of section A. This bridge consists of short

attacks of a chord based on the B1 sonority (E-G#-Eb-G) played by the orchestra whereas the

piano plays a sequence built on Types 2a and 1 sonorities that ascends in perfect fifths in the

right hand, and an ascending sequence (also in perfect fifths) based on an incomplete statement

of the five-note motive in the left hand (Figure 4.24 shows the bridges that connects section B to

section A). This incomplete statement consists of extending the chromatic descending line and

omitting the minor third (see the five-note motive in Figure 1.1).

Figure 4.24. Bridge between sections B and A (mm.170-175)

Section A re-starts in measure 176. As I mentioned before, section A was originally

divided into three main parts. In its recapitulation only the second and the third parts are used,

i.e., the reprise of section A starts with theme A played by the clarinet. The percussion ostinato

is also present in the recapitulation of section A. These two parts of A are almost literally

recapitulated. The small differences can be found basically in the orchestration of the first part,

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which is slightly denser, and in the connection between the parts. The differences in

orchestration in the first part are: 1) the clarinet theme is doubled by one flute; 2) contrabassoon,

cellos, and string basses double the lowest note of the bassoon; 3) oboe and trumpet double the

piccolo (the trumpet doubles only the two first fragments); 4) the cowbell of the percussion

ostinato plays a different rhythm; and 5) the piano is present from the very beginning and is used

in the higher register as a percussion instrument playing an ostinato of major seconds (used also

in the first movement: see Figure 2.14) in the right hand and diatonic thirds belonging to the key

of F# major in the rhythm of baião in the left hand, which is another nationalistic association.

The baião is a rhythm of the northeastern part of Brazil that probably appeared in the beginning

of the twentieth century and was popularized nationally in the 1940s by accordionist-singer Luiz

Gonzaga. Figure 4.25a shows the traditional rhythmic figuration of the baião, as it is played by

the zabumba.20 Figure 4.25b shows another conception of the baião, created around the late

1950s or early 1960s, which consists in removing the stroke that occurs on the second beat,

producing more syncopation. Guarnieri is using the rhythm shown in Figure 4.25b but omitting

the first thin stick upbeat. Figure 4.26 shows four measures of the piano ostinato played in the

beginning of the reprise of section A.

Figure 4.25a. The traditional rhythm of baião

20 The zabumba is a double-headed bass drum popular in the north-eastern states of

Brazil. It is played on the top skin with a soft mallet and on the bottom skin with a thin stick. The rhythms shown in Figure 4.25 were transcribed by Larry Crook. Larry Crook, “Brazil: Northeast Area,” in The Garland Encyclopedia of World Music, ed. Dale A Olsen and Daniel E. Sheehy (New York: Publishing Garland, Inc., 1998), V.2, 332.

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Figure 4.25b. A more modern baião

Figure 4.26. The piano part in the reprise of section A – mm. 176-179

The first and second parts of A are not overlapped as it happened in the first time.

Instead, they are connected with an orchestral outburst rhythmically derived from B1. The

recapitulation of the second part is literally identical, i.e., measures 23 to 43 equal to measures

189-209, including the cowbell part, which resumes to its original rhythmic figuration. Figures

4.3 to 4.6 contain the materials of Section A and should be re-examined.

In measure 210 the re-exposition of A ends and the samba theme (B1) is restated, as if it

another re-exposition of section B were about to occur. However the composer is just closing

the movement using previous elements. Trumpets and trombones state B1 two times and the

piano answers not with the twelve-note theme of section B (B2) but with the twelve-note theme C

in its inverted form (The note Bb is repeated at the end). The woodwinds and the strings answer

the piano with a fragment of C and a descending chromatic line. Trumpets and trombones play

B1 transposed a tritone up (as it happened in the first time: see Figures 4.7 and 4.9). The piano

answers with the retrograde inversion of C but with the first note (F) misplaced, i.e., put close to

the end (the note C is repeated at the end). Then, violins and viola play an all-Type 1 sonority

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and the piano starts playing the coda (in measure 222) that begins with a transformation of the

generative idea of the concerto, i.e., the five-note motive introduced in the first movement. This

transformation consists of replacing the first interval, which is a major seventh, by an octave.

This motive is played with full parallel chords (planing) and is accompanied by string glissandos

upwards and ascending chromatic scales played by flute, oboe, English horn, and clarinet. The

woodwind section answers with the retrograde inversion of C with the note F put at the end.

English horn, clarinets, and bassoon start after piccolo, flutes, and oboe producing a type of echo.

Figure 4.27 shows the first six measures of the coda (mm. 222-227).

Figure 4.27. The coda – mm.222-227

The piano restates the transformation of the five-note motive a major second up and the

woodwind answers it with the inversion of C. Then the piano plays a very fast passage built on

Types 1 and 2 sonorities, while violins and viola dialogue with piccolo, flutes, oboes, English

horn, clarinets, and bassoon using the five-note motive a perfect fifth apart. From measures 237-

241 the movement closes with the same opening of the first movement (see Figure 2.1) but this

time the piano integrates the orchestra. Table 4.3 summarizes the formal design of the third

movement.

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Table 4.3. Summary of the formal design of the third movement

Section mm. Comments

1—12 Introduction: Percussion Ostinato 13—23 Theme A (choro): clarinet

A

23—44 Theme A (choro): piano 44—45 B1 (samba) - brass 45—48 B2 (12-tone) – winds and piano 48—49 B1 tritone up - brass 49—52 B2 retrograde – winds and piano 52—53 B1 octave up - brass 54—67 B3 (style brisé)- piano (eight notes) 67—85 B4 (grace notes) – winds and piano 85—89 B1 expanded - brass 89—93 B3 – piano (triplets) 93—100 B3 – piano (sixteenth notes) 101—104 Closing of section B

B

104—110 Bridge between B and C sections (glissandos) 110—116 C (toccata) – flute/harp. Piano (eight notes) 116—119 Interruption based on B1 119—124 C retrograde 125—126 Another interruption based on B1 127—132 C inverted - bassoon/ cello. Piano (triplets) 132—135 Another interruption 136—141 C retrograde inverted– vibraphone. Piano (sixteenth notes)

C

141—144 Same material of the bridge (glissandos) 144—145 Piano plays B1 145—147 Woodwinds play B2 147—148 Piano plays B1 149—152 Woodwinds play B2 152—153 Piano plays B1 154—169 Piano plays B3

B

170—175 Bridge between B and A sections 176—186 Theme A (choro): clarinet 187—188 Orchestral interruption based on B1

A

189—210 Theme A (choro): piano 210—213 B1 – brass 213—215 C inverted – piano 216—219 B1 tritone up – brass

Closing

219—221 C retrograde inverted– piano 222—225 Five note motive – piano 225—227 C retrograde inverted – woodwinds 227—230 Five note motive – piano 230—232 C – woodwinds 232—236 Five note motive – woodwinds/string

Coda

237—241 Same opening of the first movement

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CHAPTER 5. CONCLUSION

“A composer, prior to being an individual, is a social being dependent on factors like time, race, and environment. Eliminating these factors by snobbism or mere intellectual attitude and introducing in the composer’s work alien stimuli in which he or she does not participate as a human being results in an artificial and hybrid work.”

— Camargo Guarnieri, Depoimento.1

In the previous chapters, Camargo Guarnieri’s Concerto No. 5 para Piano e Orquestra

was analyzed in detail with special emphasis on the formal design (macro-structure) and on the

vertical and horizontal sonorities (micro-structure). By its very nature, any analytical procedure

consists of decomposing the analyzed work into small parts and defining certain principles of

equivalence in order to identify unity and variety.2 Thus, this procedure is very useful in terms

of classification of elements, and this is an important issue because it creates simple labels for

complex structures that can be referred to in a more compact way. The purpose of this final

chapter is to recompose the analyzed (literally decomposed) work in order to bring back the

piece as a whole. This reassemblage is in fact a process of synthesis, i.e., the parts will be put

back together but the experience gained with the analysis provides a new level of knowledge

about the piece. This synthesis will be achieved by: 1) situating Guarnieri’s fifth concerto in the

context of his works for piano and orchestra, and in the context of the compositional trends of the

second half of the twentieth century, 2) summarizing the main characteristics of the piece, such

1 Camargo Guarnieri, “Depoimento,” in Camargo Guarnieri: o Tempo e a Música, ed.

Flávio Silva (Rio de Janeiro: FUNARTE, 2001), 15. 2 For example, in the classification of sonorities proposed for the analysis of this piece, a

perfect fourth is equivalent to a perfect fifth. This principle of equivalence is helpful to reduce the amount of sonorities used in the piece, but it also destroys the different nuances between these two intervals.

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as its general form and harmonic vocabulary, and 3) providing additional biographical

information about Guarnieri.

The works for piano and orchestra written by Guarnieri are: Concerto No. 1 para Piano e

Orquestra (1931), Concerto No. 2 para Piano e Orquestra (1946), Variações sobre um Tema

Nordestino (1953), Choro para Piano e Orquestra (1956), Concertino para Piano e Orquestra de

Câmara (1961), Concerto No. 3 para Piano e Orquestra (1964), Seresta para Piano e Orquestra

(1965), Concerto No. 4 para Piano e Orquestra (1968), Concerto No. 5 para Piano e Orquestra

(1970), and Concerto No. 6 para Piano, Orquestra de Cordas e Percussão (1987), written when

he was eighty years old. The fifth piano concerto, written in the short period of one month in the

beginning of 1970, is Guarnieri’s last work for large orchestra and piano. It occupies an

important position within Guarnieri’s works because its harmonic language is clearly syntonized3

with the compositional trends of the second half of the twentieth century, and—at the same

time—it reveals nationalistic influences.

The influence of nationalism in the fifth piano concerto is very subtle and appears in the

surface only in the third movement with the references to Brazilian popular genres including the

allusion to a Brazilian popular choro. However, the nationalism is not intelligible during most of

the piece because Guarnieri’s nationalism does not consist of the literal use of folk elements.

Guarnieri’s compositional output was the result of intense absorption of Brazilian culture,

including literature, poetry, visual arts, folklore, music, and history. As a disciple of Mário de

3 In electricity, it means to be adjusted with the same frequencies, as a receiver and

transmitter. I use the word here as a metaphor. Oxford English Dictionary <http://dictionary.oed.com> (Accessed 3 April 2004).

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Andrade4, the father of Brazilian modernism, Guarnieri learned how to immerse himself within

the complex universe of Brazilian culture and simultaneously build his own personal language.

Guarnieri said, “The folk element must be as integrated in the composer’s work as in his/her own

sensibility.”5 Moreover, the Guarnierian nationalism is, in some ways, expanded towards

universalism. He believed that the musician has the responsibility of enriching the universal

music, which he defines as the summation of the diverse national musics.6

The syntonization with the twentieth century compositional trends appears mostly in the

harmonic vocabulary employed in all three movements. The sonorities used abound in tritones

and minor seconds, and create a quasi-Webernian sound, which was the goal of several

composers worldwide during the same period. For example, Guarnieri uses the Viennese

trichord plentifully.7 The difference between the post-Webernian composers of the northern

hemisphere and Guarnieri is that the latter tried to obtain the Webernian sound by aural

experimentation in contrast with the former that conferred a huge part of the task to highly

4 Mário de Andrade (b São Paulo, 9 Oct 1893; d São Paulo, 25 Feb 1945). Brazilian

writer and musicologist. He was one of the founders of Brazilian ethnomusicology, and very influential in the assertion of musical nationalism in his country in the 1920s and 1930s. He studied at the São Paulo Conservatory where he later taught. He took an active part in the Semana de Arte Moderna (February 1922) whose basic goal was the reform of Brazilian art from academicism into ‘modernismo’. Soon afterwards he began his lifelong investigations into Brazilian folk and popular music which produced a series of outstanding essays. Norman Fraser and Gerard Béhague: ‘Mário de Andrade’, Grove Music Online ed. L. Macy (Accessed 24 February 2004), <http://www.grovemusic.com>

5 Camargo Guarnieri, op.cit., 15. 6 Ibid., 15. 7 The "Viennese trichord” was popular with Schoenberg and his disciples. It consists of a

perfect 4th plus a tritone. Jay Tomlin, “All About Set Theory,” <http://www.jaytomlin.com/music/settheory/help.html > (Accessed 24 February 2004).

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deterministic procedures (total serialization) and mathematical operations. Guarnieri fought

against the application of deterministic procedures in the field of composition, and this included

the fight against Koellreutter and the group Música Viva, as discussed in the first chapter. He

believed that the application of mechanical procedures without the correspondent development

of the ear could create a class of composers able to draw musical symbols with no aural meaning.

Furthermore, one will not find in Guarnieri’s music the use of sound mass in the manner of the

Polish School, serialism in the manner of Babbitt or the disciples of Messiaen, or chance in the

manner of Cage. Even the use of twelve-tone is modest and accomplished without the

preoccupation of applying the traditional postulates of the Second Viennese School. The

rhythmic vocabulary of this concerto is somehow connected with the works of Stravinksy and

especially Bartók. It is well known that both composers were influenced by the folk and popular

genres of their own culture. Bartók also influences Guarnieri’s use of quartal harmony.

Figure 5.1. The five-note motive

Guarnieri’s fifth piano concerto is a cyclic work entirely built on a five-note motive

(Figure 5.1). This motive generates a series of sonorities that are used both vertically (chords)

and horizontally (melodic lines). An important characteristic of this motive is the intervals

created between its salient pitches (first, highest, and last notes). The interval formed between its

first and its highest notes is a major seventh (equivalent to a minor second according to

principles of classification defined in the first chapter), the interval between its highest and its

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last notes is a perfect fourth (equivalent to a perfect fifth), and the interval between its first and

its last notes is a tritone—a Viennese trichord, in fact.

In order to understand and classify Guarnieri’s harmonic vocabulary for this piece, I

categorized five types of sonorities based on principles of octave, enharmonic, and inversional

equivalence (defined in the first chapter). These types of sonorities are: 1) Type 1, which is also

known as the Viennese trichord, consists of a tritone and a perfect fourth, 2) Type 2 is based on

quartal harmony, 3) Type 3 is based on tertian harmony, 4) Type 4 is based on chromaticism, and

5) Type 5 consists of a Type 2 trichord plus a tritone. The Webernian sound is caused especially

by the use of Type 1 sonority. This sonority can be considered the most important sonority of the

piece, because it uses the salient notes of the five-note motive (first, highest, and last pitches).

There are probably some connections between the five-note motive and the choro

“Espinha de Bacalhau” by Severino Araújo, as indicated in the first pages of the fourth chapter.

I believe though that the similarity is coincidental because Guarnieri would have mentioned the

quotation. The unintentional similarity is perhaps a result of the nationalistic mind of Guarnieri

impregnated with the genuine Brazilian folk and popular culture. Furthermore, as I mentioned in

the first chapter, the second movement was the first one to be written, and this movement has no

connection with choro.

Guarnieri’s fifth piano concerto is in three movements. The formal design is very clearly

defined. Even though the piece has an atonal harmonic language, its formal scheme maintains

the same level of intelligibility of a tonal work. The first movement is in sonata allegro form, the

second one is in ABA form, and the third one is in arch form (ABCBA). The five-note motive is

the central idea in all three movements. It is present in the form of melodic line (complete,

incomplete, or transformed) or in the form of the vertical sonorities generated from it. The piece

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makes references to universal masterpieces (Beethoven’s fifth symphony) and to Brazilian folk

and popular genres (choro, samba, and baião).

The analysis of this piece was a great experience for me as a composer. It helped me to

understand better the mind of this genial master, and also gave me the opportunity of a deeper

contact with twentieth-century Brazilian music, especially with Brazilian nationalism. As a

nationalistic composer like Guarnieri, I have been motivated by this analysis towards defining

and refining my own compositional voice. After having this intimate contact with the

compositional mastery of Camargo Guarnieri, I believe that serious composers, theorists, and

musicologists (not only in Brazil) must study his music. His music is attractive for many

reasons: its well-designed formal structure, its rich harmonic language, its creative use of

rhythm, its wonderfully conceived orchestration and textural distribution, and its intelligent and

elegant use of folk and popular elements. His compositions are a great source of musical

knowledge and beauty, and a wonderful example of balance between reason and intuition.

Guarnieri was a very prolific composer. In his last catalogue, published in 2001 by

Flávio Silva, are listed 407 original compositions, 46 arrangements, 1 movie soundtrack, and 81

pieces that the composer disregarded as part of his catalogue, written between 1920 to 1928.8

Guarnieri has 2 one-act operas (“Pedro Malazarte” and “Um Homem Só”), 7 cantatas, 7

symphonies, 6 concertos for piano and orchestra, 7 sonatas for violin and piano, 3 sonatas for

cello and piano, and 3 string quartets. The works for piano include 50 ponteios9 , 20 estudos, and

8 Flávio Silva, “Catálogo das Obras,” in Camargo Guarnieri: o Tempo e a Música, ed.

Flávio Silva (Rio de Janeiro: FUNARTE, 2001), 503-611. 9 In her article about Guarnieri’s piano music, Belkiss Carneiro de Mendonça uses Mário

de Andrade’s definition of ponteio, which is a type of improvised prelude played by guitarists. The word ponteio is also associated with the plucking technique of the guitar. Guarnieri’s

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8 sonatinas. The works for voice include more than 300 songs, many of them grouped together

in the form of a collection.10

Guarnieri’s international recognition includes the first prize of the Philadelphia Free

Library Fleisher Music Collection, in 1942, for his “Concerto No. 1 para violino e Orquestra,”

and the first prize from the Chamber Music Guild of Washington, DC, in 1944, for his “Quarteto

de Cordas No. 2.” National prizes include the first prize in the “Prêmio Luiz Alberto Penteado

Rezende,” in São Paulo (Brazil), in 1944, for his “Sinfonia No. 1”; the first prize in the “Prêmio

Alexander Levy,” in São Paulo, in 1946, for his “Concerto No. 2 para Piano e Orquestra”; and

the first prize in the “Prêmio Carlos Gomes,” in São Paulo, in 1954, for his “Sinfonia No.3.”

Samuel Barber was one of the judges in this latter contest. Also, in 1957, Guarnieri’s “Choro

para Piano e Orquestra” was awarded the first prize in the “2o. Concurso Latino-Americana”, in

Caracas, Venezuela. In 1943, Joseph Schuster and Leonard Bernstein performed his “Sonata for

cello and piano No.1” in a concert promoted by the American Composers League, in New York.

In 1945, Guarnieri founded chair No. 23 in the “Academia Brasileira de Música.”11

Presently, this chair belongs to Laís de Souza Brasil, the same pianist to whom the “Concerto

No. 5 para Piano e Orquestra” was dedicated.

Mozart Camargo Guarnieri died in 1993.

ponteios are through-composed monothematic miniatures that deeply express Brazilian music. Belkiss Carneiro de Mendonça, “A Obra Pianística,” in Camargo Guarnieri: o Tempo e a Música, ed. Flávio Silva (Rio de Janeiro: FUNARTE, 2001), 402.

10 For example, “Poemas da Negra” consists of 12 songs, “Treze Canções de Amor”

consists of 13 songs, and “Para Acordar Teu Coração” consists of 8 songs. 11 http://www.abmusica.org.br

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BIBLIOGRAPHY

Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading. New York: Harcourt Brace Jovanovich, 1989.

Appleby, David P. The Music of Brazil. Austin: University of Texas Press, 1983. Aretz, Isabel, Ed. América Latina en su Música. París: UNESCO, 1977. Bailey, Kathryn. The Twelve-note Music of Anton Webern. Cambridge: Cambridge University

Press, 1991. Beethoven, Ludwig van. Complete Piano Concertos. New York: Dover Publications, Inc.,1983. Cope, David. New Directions in Music, 6th Ed. Prospect Height, IL: Waveland Press, Inc., 1998. De Arce, Daniel Mendonza. Music in Ibero-America to 1850 – A Historical Survey. Lanham,

MD: The Scarecrow Press, Inc.: 2001. Finale. Eden Prairie, MN: Coda Music Technology, Inc., 2004. Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973. Freitag, Léa Vinocur. Momentos de Música Brasileira. São Paulo: Nobel, 1985. Guarnieri, Camargo. Concertos para Piano e Orquestra Nos. 3,4,5. Orquestra Sinfônica

Municipal de São Paulo e Orquestra Sinfônica Nacional da Rádio MEC, solista Laís de Souza Brasil. FUNARTE FUN003M/95, 1995. Compact Disc.

Guarnieri, Camargo. “Concerto No. 5 para Piano e Orquestra.” Score (Photocopy). 1970. The

Composer’s Archive, São Paulo, Brazil. Guarnieri, Camargo. “Concerto No. 5 para Piano e Orquestra (Version for Two Pianos).” Score

(Photocopy). 1970. The Composer’s Archive, São Paulo, Brazil. Hindemith, Paul. The Craft of Musical Composition. New York: Associated Music Publishers,

1945. Kiefer, Bruno. História da Música Brasileira: dos Primórdios ao Início do Século XX, 3a. Ed.

Porto Alegre: Editora Movimento, 1982. Marconde, Marcos Antônio, ed. Enciclopédia da Música Brasileira: Erudita, Folclórica e

Popular, 2a. Ed. São Paulo: Art Editora, 1998. S.v. “Copacabana,” V.II, 1228-1229.

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Mascarenhas, Mário, ed. O Melhor da Música Brasileira. Vol. 8. São Paulo: Irmãos Vitale, 1988.

Mariz, Vasco. História da Música no Brasil, 5a. Ed. Rio de Janeiro: Civilização Brasileira, 1999. Neves, José Maria. Música Contemporânea Brasileira. São Paulo: Ricordi Brasileira, 1981. Olsen, Dale A. and Daniel E. Sheehy, editors. The Garland Encyclopedia of World Music. New

York: Garland Publishing, Inc., 1998. S.v. “Brazil: Central and Southern Areas,” “Brazil: Northeast Area,” “Afro-Brazilian Traditions,” V.2, 300-355.

Perle, George. Serial Composition and Atonality, 6th Ed. Berkeley: University of California

Press, 1991. Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and Practice. New York:

W.W. Norton & Company, 1961. Reti, Rudolph. “The Role of Duothematicism in the Evolution of Sonata Form.” The Music

Review, V.17 (1956): 110-119. Rosen, Charles. Sonata Forms. New York: W.W. Norton & Company, 1980. Schechter, John M., editor. Music in Latin American Culture. New York: Schirmer Books, 1999. Silva, Flávio, ed. Camargo Guarnieri: O Tempo e a Música. Rio de Janeiro: FUNARTE, 2001. Slonimsky, Nicolas. Music of Latin America. New York: Thomas Y. Crowel Company, 1945. Straus, Joseph N. Introduction to Post-Tonal Theory, 2nd Ed. Upper Saddle River (NJ): Prentice

Hall, 2000. ______________. Remaking the Past: Musical Modernism and the Influence of the Tonal

tradition. Cambridge, MA: Harvard University Press, 1990. Travassos, Elizabeth. Modernismo e Música Brasileira. Rio de Janeiro: Jorge Zahar Editor,

2000. Verhaalen, Marion. Camargo Guarnieri: Expressões de uma Vida. Translated by Vera Silvia

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_______________. “Guarnieri: Brazilian Nationalist.” Clavier, V.16 No. 1 ( Jan. 1977): 18-19. Wisnik, José Miguel. O Coro dos Contrários: a Música em Torno da Semana de 22. São Paulo:

Livraria Duas Cidades, 1983.

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APPENDIX A. LETTER OF PERMISSION I

185

APPENDIX B. LETTER OF PERMISSION II

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APPENDIX C. TYPES OF SONORITIES

Type of Sonority Interval content Examples Pitch class prime form equivalent

Minor second, perfect fourth, and tritone

C-C#-G C-F#-B C-F-B

C-G-F#

016

1

All Type 1 is a tetrachord containing four Type 1 trichords

C-C#-F#-G#

0167

a Three perfect fourths C-F-Bb C-D-G

027 2

b More than three perfect fourths

C-D-G-A C-F-Bb-G-D

0257, 02479, …

a Minor triad C-E-A 037

3 b Major triad C-E-G 047

4 Three or more minor seconds

C-C#-B-Bb 012, 0123, 01234,…

5

A major triad with diminished fifth and major seventh

C-E-F#-B

0157

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VITA

Liduino José Pitombeira de Oliveira was born in Russas, Ceará, Brazil, in October

1962. He is a candidate for the degree of Doctor of Philosophy at Louisiana State

University, where he studies music composition with Boyd Professor Dinos

Constantinides. He received his Bachelor of Music degree from Universidade Estadual

do Ceará (Brazil), in the Spring of 1996, and his Master of Music degree from Louisiana

State University, in the Summer of 2000. He also studied composition with José Alberto

Kaplan, Vanda Ribeiro Costa, and Tarcísio José de Lima. Performances of his works

have been given by The Berlin Philharmonic Wind Quintet, Louisiana Sinfonietta, LSU

Symphony Orchestra, Poznan Philharmonic Orchestra (Poland), Red Stick Saxophone

Quartet, New York University New Music Trio, and Orquestra Sinfônica do Recife

(Brazil). He received important national and international awards, such as the first prize

in the 1998 Camargo Guarnieri Composition Contest, in Brazil, for his composition

“Suite Guarnieri”; the first prize in the “Sinfonia dos 500 Anos” composition contest, in

Brazil, in 2000, for his composition “Uma Lenda Indígena Brasileira”; and the 2003

MTNA-Shepherd Distinguished Composer of the Year prize, for his composition

“Brazilian Landscapes No.1.” He is a member of the National Association of

Composers, USA, Society of Composers, Inc., American Music Center, College Music

Society, and “Sociedade Brasileira de Música Contemporânea”, Brazil.

an original composition, concerto for piano and orchestra

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