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Flowing Waters and the Flow of Time:
Guan Pinghu’s Interpretation of Flowing Waters
Lu Wang
Submitted in partial fulfillment of the Requirements for the degree of
Doctor of Musical Arts in the Graduate School of Arts and Sciences
COLUMBIA UNIVERSITY
2012
Copyright 2012 Lu Wang
All rights reserved
Abstract
Flowing Waters and the Flow of Time: Guan Pinghu’s Interpretation of Flowing Waters
Lu Wang
The search for alternative approaches to time outside of the Western concert music tradition has provided
inspiration for many contemporary composers. This essay is a brief examination of temporal models
taken from traditional Chinese guqin music. Focusing on the famous composition Flowing Waters, the
study looks at aspects of temporality in the piece: the use of traditional notation (the jianzipu spectrum as
well as brush-painting illustrations) with transcribed comparisons of individual interpretations, various
finger-sliding techniques, the dual melodic and harmonic roles of single lines, and even the tuning system
as a path toward revealing a new way of composed time, that which reflects the aesthetics of brush-stroke
calligraphy, brush-painting, and ancient Chinese philosophical views on nature and the arts. Continual
movement of textures, fluidity of materials, organic transitions, and gradual growth and decay of sound in
space are the unique characteristics of this piece that become the main focus of the analysis.
Contents
Flowing Waters and the Flow of Time: Guan Pinghu’s Interpretation of Flowing Waters
List of Figures ii
Acknowledgements iv
Introduction 1
I. General Background on Guan Pinghu’s Flowing Waters 6
II. Formal and Temporal Considerations 7
III. Time and the Poetry of Notation 11
IV. Specific Fingering Techniques and Effects, From a Structural Point of View 20
V. Functional Ambiguity and a Dialogue with Calligraphy and Painting 24
VI. The Tuning of Flowing Waters 29
Conclusion 31
Endnotes and Bibliography 33
ii
List of Figures
Fig. 1: The traditional qin 1
Fig. 2: An extract from 琴曲集成 (Qin Qu Ji Cheng), in early wenzipu notation 4
Fig. 3: Transcription of Guan Pinghu’s Flowing Waters, opening accelerando 9 to approximately 0:45
Fig. 4: Tempo change (accelerando) from quarter-note = 80 to 104. 10
Fig. 5: Dramatic ritardando from quarter-note = 100 to 50, near the conclusion 11
Fig. 6: Jianzipu spectrum notation showing finger positions and techniques 13 as related to poetic/naturalistic gestures Fig. 7a: Jianzipu spectrum notation of a passage from Flowing Waters 15
Fig. 7b: Transcription of Guan Pinghu’s version of the same passage 15
Fig. 7c: Gong Yi’s version of the same passage 15
Fig. 7d: Comparison of the rhythmic profile of both renditions 16
Fig. 8a: Detail of a brushstroke for the character yi (one) 17
Fig. 8b: Endless ways of writing the character yi (one) 17
Fig. 9: 自叙帖 (Zi Xu Tie), handscroll written in 777AD 18 by Tang Dynasty monk 怀素 (Huai Su) in the cursive script style
Fig. 10: Jianzipu spectrum notation for right hand finger-slides 19
Fig. 11a,b: extracts from “A Gesture-based Typology of Sliding-tones in Guqin Music,” by Li Hanbing and Marc Leman 20
Fig. 12a: The opening bars of Guan Pinghu’s performance of Flowing Waters 22
Fig. 12b: Pitches indicated in the jianzipu spectrum, without additional embellishment 22
Fig. 13: The left hand continues the plucked tones of the right 23
Fig. 14: The left-hand rhythmic slides continue the end of each line 23
Fig. 15a: A spectral resynthesis 24
iii
Fig. 15b: Standard notation of Fig. 15a 24 Fig. 16: 自叙帖 (Zi Xu Tie), handscroll written in 777AD by Tang Dynasty monk 怀素 (Huai Su) in the cursive script style 26
Fig. 17: Brush-Painting 黄山文笔峰 (Huangshan Wenbifeng) by 张大千 Zhang Daqian 27
Fig. 18: Transcription of the first 42 seconds 28
Fig. 19: Transcription from 0:42 to 0:51 29
Fig. 20a: A transcription of Guan Pinghu’s interpretation of Flowing Waters 29 by 许健 (Xu Jian), with verbal notations below the transcription from 天闻阁琴谱 (Tianwenge Qinpu) Fig. 20b: After the ritardando, the emergence of a new melody coming out of the
accompanimental figure. 30 Fig. 21: The open strings of the guqin in Flowing Waters 30
Fig. 22: Tuning scheme based on common tones of Hui nodes on different strings 32
iv
Acknowledgements
In early February 2005, when I was residing in Beijing, an email from America
reached me, changing my life both personally and professionally. I will always remain
grateful to the faculty of Columbia University, which generously brought me to the United
States to study. I have been honored to be a doctoral candidate in composition in the music
department. Seven years flew by, and in learning from wonderfully diverse professors and
colleagues, attending concerts and festivals, teaching four kinds of undergraduate music
courses, and meeting performers in the city, I can’t express how much I appreciate the
opportunity to be a part of Columbia University and New York City.
As the Chinese idiom goes, “One can see the mountain more completely if one steps
out of it.” Living and studying in New York has provided me with a unique view of my
home country and culture. My increasing interest in incorporating linguistic elements of
Chinese folk music and traditional instruments into my own composition has led me not
only to fascinating sound worlds but also to a deeper contemplation of social and societal
problems in my current country.
The choice of the topic of this dissertation on guqin music is in homage to my
mentor Chou Wen-chung, who has always been supportive and enlightening since we first
met in China in 2004. He has inspired me to do research into Chinese traditional arts and
philosophy and thereby search for my own compositional language. Much gratitude goes to
my husband, Anthony Cheung, whom I met in the music department, and who has
accompanied, taught, supported, inspired and shared the ups and downs of life with me.
And finally thank you to my parents, whose passion towards life and music and boundless
love are the treasures of my life.
1
Introduction
Bo Ya always played the Qin in the mountains by himself. One day, the woodcutter Zi Qi came by
quietly, stopped and listened. Without words, he comprehended the music. It was about the flow of
water. From that time on, Bo Ya played for him in the mountains, until one day Zi Qi suddenly passed
away. Bo Ya could not bear the loss of his only soul mate, so he threw his Qin off the cliff, never to play
again.
Flowing Waters is an ancient classical Chinese qin piece derived from this myth in the Spring
and Autumn Period of the Eastern Zhou dynasty (approx. 8th century BC). This story carried
the legend of two friends’ deep communication through music for more than 2000 years. “智
者乐水” (Zhi Zhe Le Shui) is a Confucian idiom suggesting that intellectuals are fond of
water because their minds and thoughts are active and flowing as water.1 Therefore, Flowing
Waters does not merely describe the images and sounds of water but is an analogue for the
beautiful mentality, creativity and strength of the enlightened mind.
The qin (Fig. 1) is a seven-stringed zither instrument, which, together with chess,
calligraphy, and brush painting, comprises the symbolic four artistic manners that traditional
Chinese literati were required to master to be considered “well-cultured.”
Figure 1: The traditional qin
As Confucius says in the Analects (论语), “The mind is aroused by the odes. Character is
established by the Rules of Propriety. Completeness is received by music."2 By music, he is
referring to the tradition of qin music for self-enlightenment. One can see that music in the
2
time of Confucius is already considered the highest form of art among all the disciplines.
Playing the qin consists not only of technical mastery, but also aspires to the highest cultural,
philosophical, and artistic pursuits of sophisticated intellectuals. Ancient literati who played
the instrument were also experts in the three other disciplines, and thus associated qin music
closely with the merging of colors in brush painting, the movement of brushstrokes in
calligraphy and poetry, and the spiritual practices of Daoism, Confucianism, and Buddhism.
The relationships between these aesthetic factors will be explained in detail later in the essay.
The purpose for playing the qin among the literati is thus to express personal emotion, gain
philosophical understanding, and meditate on observations from nature. Rather than
displaying technical brilliance or engaging with a public for the purposes of entertainment,
the practice is founded on the ideals of an absolute and personal art form, designed for self-
cultivation.
In comparison to other Chinese instruments, the qin has the most tranquil sound of
all. The instrument was made with the intention to be played in a very intimate setting, for
no more than a few listeners. These artistic characteristics and social functions of qin practice
have affected the way the music has been received, notated, and inherited throughout
Chinese music history. For more than two thousand years, qin music was taught primarily
by oral practice. Many compositions bore a title as well as a poem or painting on the subject
of the work. These interactions with other art forms inspired the qin players’ imagination
and stimulated their inner reflections. It is not difficult to understand why every member of
the literati created his own interpretation from the same original tune or poem. The musical
atmosphere and expressive ethos were brought into being by each unique adaptation.
Today, there are roughly three thousand surviving qin pieces in the repertoire. This
total number represents adaptations from about five hundred actual notated traditional
scores. The written qin score, the 减字谱 (jianzipu) spectrum, was not developed until the
3
Tang dynasty by 曹如 (Cao Ru), out of the previously more elaborate 文字谱 (wenzipu)
system, which reads like a series of verbal instructions using Chinese characters. (There is
only one extant qin score in early wenzipu notation, a piece titled 碣石调幽兰 (Jie Shi Diao
You Lan), from the Tang Dynasty, as seen in Fig. 2.3
4
Figure 2: An extract from 琴曲集成 (Qin Qu Ji Cheng), in early wenzipu notation.4
Jianzipu spectrum notation represents a different purpose for notation, in contrast
with a traditional western system. As with some types of tablature notation, it provides
5
informative details on fingering techniques and string positions; neither durations nor pitch
names are definitively labeled, but their results are implied by the instructions. As a result,
temporal and timbral varieties are innumerable. Each performance becomes an
improvisatory endeavor with abundant surprises and variants of tone color, rhythm and
structure.
On the topic of the qin’s timbre, the scholar 徐上瀛 (Xu Shangying) from the late
Ming dynasty explained in his treatise 溪山琴况 (Xi Shan Qin Kuang) that there are twenty-
four different categories of timbres in traditional qin playing.5 These timbres are poetic
illustrations and interpretations, and are labeled by aesthetic rather than concrete performing
techniques. As for technical divisions and categorizations of qin timbres, there are three basic
types of sounds:
- San Yin: open strings - Fan Yin: harmonics - An Yin: fundamental fingered tones that are produced by the depressing the left hand
at certain positions while plucking the string with the right hand
Accounting for all seven strings, there are an equal number of open strings (San Yin), with
thirteen Hui (white dots showing the nodes for fingering harmonics) for each, which allow a
total of 91 harmonics (Fan Yin) positions, and 147 basic, non-harmonic fingered note
positions (An Yin). Thus, a total of 245 sounding pitch positions are available on the qin,
ranging from C2 to D6, a total range of four octaves plus a major second.
In 1977, Guan Pinghu’s interpretation of Flowing Waters (from the 1950s) was
selected for the Voyager 1 spacecraft’s “Golden Record” as the sole musical work
representing Chinese culture. It is one of the most well-known and oft-cited interpretations of
qin literature. The effortlessness of its natural flow and mastery of improvisatory materials
have greatly influenced my own creative work as well. The purpose of this essay is to
analyze the formal and temporal structures of this piece and Guan Pinghu’s particular
6
interpretation, as well as the mixed pitch/noise continuum in its sound world. The analysis
will focus on three main sections.
- The use of principles from standard musical forms of traditional Chinese music.
- The free transformation of melody to harmony and vice-versa.
- Noise and noise-pitch mixtures with finger-slide techniques.
Issues regarding the tuning system, timbral varieties, various finger techniques, and notation
and its philosophical reasons and implications will also be addressed. Again, my main
interest in analyzing this version of Flowing Waters is to find out how the music flows
through time, and how such an interpretation captures the poetic and literal meanings
behind such an elusive concept.
I. General Background on Guan Pinghu’s Flowing Waters
This particular interpretation of Flowing Waters by Guan Pinghu is based on the
score from 天闻阁琴谱 (Tian Wen Ge Qin Pu), collected by 张孔山 (Zhang Kongshan)
around 1876. The score was first recorded in a Ming dynasty (15 Century) volume, 神奇秘谱
(Shen Qi Mi Pu), which contains sixty-four qin pieces. It is the oldest qin score collection
and was edited by the son of the first emperor of the Ming Dynasty, 朱权 (Zhu Quan).6
The original written score of Flowing Waters is constructed in nine sections. Each
section depicts different kinds of movement for flowing water, some of which are peaceful
and elegant, while others are about aggression, drama, and energy. The verbal descriptions
include these types: crystal brooks, the convergence of two rivers, the quick running of rivers off a cliff,
the striking combat of water against stones, great rivers embraced by the ocean, etc.
In the same way that most other traditional qin pieces are inspired by poetry and
painting, the title Flowing Waters clearly suggests that the transformation of musical materials
and motion follows a naturalistic, poetic impulse. As mentioned before, the title and images
7
are only intended to provide inspiration to qin interpreters but are not the absolute, literal
message, and do not have to constrain the imagination of the performer.
The idea of ever-changing, organically growing and non-exact repetitions of any sort in this
piece reflect a saying from Heraclitus: “You cannot step twice into the same river, for other
waters are ever flowing onto you.” This articulates the metamorphosis of nature and our
interaction with and dependence on it.
II. Formal and Temporal Considerations
If we look at the overall temporal scheme of this piece, it follows the basic structural
principle in Chinese opera known as 散慢中快散 (San Man Zhong Kuai San), which refers
to a continuum of tempo changes: music starts from being out-of-time and without pulse,
gradually introduces inconsistent beats, moves towards a slow tempo, then accelerates to a
medium tempo with a clearer ictus, consistently accelerates to a fast tempo, and towards the
end returns back to non-metered free time, which reflects the beginning. In Guan Pinghu’s
interpretation of Flowing Waters, tempo changes reflect the 散慢中快散 formal structure very
clearly:
0”- 30”: Quarter-note = 46-63 30”- 42”: Quarter-note = 63-72 42”-1’22”: Quarter-note = 72 1’22”-1’45”: Quarter-note = 72-76 1’45”-2’25”: Quarter-note = 76 2’25”-2’57”: Quarter-note = 76-80 2’57”-5’00”: Eighth-note = 80-84 5’00”-5’20”: Unstable accelerating tempo 5’20”-6’35”: Quarter-note = 104 6’35”-7’18”: Quarter-note = 104-100 7’18”-7’30”: Quarter-note = 50
Thus the five different temporal sections can be divided approximately in this way:
散 (Free time):0”- 42” 慢 (Slow tempo):42”-1’22” 中 (Medium tempo): 1’22”-5’00”
8
快 (Fast tempo):5’00”-7’18” 散 (Free time): 7’18”-end Although the divisions of tempi are shown above, there are rarely exact moments when the
tempo changes crystallize. The gradual speeding up and slowing down between the tempi
make the continuation of the piece very organic and seamless. If measured strictly
throughout the work, there can be a pushing forward or pulling back within a bar, but the
deviations are usually slight. For example, the first tempo change (from quarter-note = 46 to
63) occurs as a very subtle, continuous acceleration lasting from the opening to about thirty
seconds into the piece, within a single phrase and without any rigid demarcations of time.
The second clear tempo change (from quarter-note = 63 to 72) occurs over twelve seconds,
or four bars, by a successive free acceleration from 30” to 42”, also rather unseeingly. Figure
3 shows the progression of the entire opening, and the gradual acceleration from quarter-
note = 46 to 72.
9
Fig. 3: Transcription of Guan Pinghu’s Flowing Waters, opening accelerando, to approximately 0:45.
While the gradual distortion of time is natural and completely free in qin music, certain
textures without strong beat indications and rhythmic cells function also as transitions
between dramatic tempi changes, e.g. the accelerando from quarter-note = 80 to 104 at 5:00
to 5:20 (Figure 4).
Fig. 4: The tempo change (accelerando) from quarter-note = 80 to 104. This excerpt is taken from a
transcription of Guan Pinghu’s interpretation of Flowing Waters by 许健 (Xu Jian). The verbal
notations below the transcription are the Jianzipu instructions from 天闻阁琴谱 (Tianwenge Qinpu).
This change occurs towards the end of a long period of glissando textures, in which floating
and interwoven glissando movement (both ascending and descending) is the strongest sonic
feature for a long enough period to create the sensation of non-metrical time. Acceleration
and deceleration are also naturally imbedded in this glissando texture, resulting in tempo
distortion when combined with the gliding up and down motion on the strings. Another
instance of a dramatic tempo change takes place towards the end of the piece, when a
10
decelerando results in a halving of the tempo (from quarter = 100 to 50; Figure 5). One
perceives this shift as eighth- and sixteenth-notes in the new tempo are introduced first,
before a further ritardando introduces longer notes and finally the coda.
Fig. 5: Dramatic ritardando from quarter-note = 100 to 50, near the conclusion.
All the unique and flexible ways of treating time in this piece belong to the tradition
of qin playing. With the Jianzipu spectrum, notation does not precisely record and require
the exact duration execution of each tone, allowing musicians to interpret their personal
feeling of time with every single note and gesture; events occur on the note-to-note level
much more than in Western music, which often is more felt on a phrase-to-phrase basis. The
philosophy of qin music is to create an inner reflection of music in each individual, not as a
singular “work of art” meant to be reproduced in performance by showing varying degrees of
competence or prowess. The notation of the music itself reinforces this notion, in that it is
not a descriptive visual representation of how the music should sound in terms of the
parameterization of melodic shape, harmonic direction, intensity, duration, etc., but rather a
set of flexible instructions toward realizing existing, shared cultural and poetic tropes.
III. Time and the Poetry of Notation
This is an example of a Jianzipu character. The notation instructs the performer to
press the left thumb down on the fifth string at the seventh Hui (harmonic node position),
and to use the right index finger to pluck the string. Despite a relative openness toward
11
temporal aspects, there is ample information on fingering techniques from the Jianzipu
spectrum, which includes: position of the finger (such as which finger(s) to use, the part of
the finger’s flesh or nail, etc.), direction of the pluck (whether it is directed inward or
outward), and intensity of the attack (relative strength and weakness, sometimes illustrated
with paintings). For instance, examples can encompass a tiger crouching or a dragonfly
skipping along the water (Figure 6). Combined with visual illustrations of the poetic
metaphors of paintings, the meanings of adjacent finger gestures become reinforced.
12
13
Fig. 6: Jianzipu spectrum notation showing finger positions and techniques as related to
poetic/naturalistic gestures. 琴曲集成•风宣玄品•手势图(QinQu JiCheng• Feng Xuan XuanPin•
ShouShi Tu)
For reasons stated earlier, temporal and timbral varieties vary greatly among
different interpreters. Using Flowing Waters as an example, one can see obvious differences in
14
the durations of some convincing interpretations: Guan Pinghu’s version is about 7’30”,
Gong Yi’s adaptation is only 4 minutes, and Wu Wenguang’s interpretation is 9’11”. If we
examine for a moment a small extract from the middle of the piece, we can clearly see the
differentiation in approach by comparing transcriptions of the versions by Guan Pinghu and
Gong Yi.
Figure 7 shows the identical passage, first with Jianzipu spectrum notation, then
transcriptions of the two interpretations.
Fig. 7a: Jianzipu spectrum notation of a passage from Flowing Waters.
Fig. 7b: Transcription of Guan Pinghu’s version of the passage.
Fig. 7c: Gong Yi’s version of the same.
15
As we can see, both interpretations retain the same overall pitch material, with the central
pitch center moving from A to F. The global rhythmic characteristics of the passage also
carry through, with clearly delineated rhythmic patterns and beat divisions (Figure 6d).
Fig. 7d: Comparison of the rhythmic profile of both renditions.
Both interpretations develop closely out of the variation and repetition of the core patterns.
But the tempi and rhythms differ greatly, even though they both serve similar structural
functions in their respective versions, occurring at this moment of driving rhythmic contrast
approximately 2/5 into the overall length of the piece. On a local level, rhythmic flexibility
between notes is created by adding various finger-slides and shades of vibrato. These
subtleties of playing in traditional qin practice add to the continuous sonic connection
between moving notes, emphasize the complete sound trajectory and direction of the central
pitches, and make the overall melody smoother and more floating. Each individual note is
treated as an independent and meaningful musical “life” through various types of actions:
embellishing the decay of plucks through the bending of pitch, adding nail noise, prolonging
resonance with excessive vibrato, and enriching a note’s presence from an attack to complete
silence.
The composer and scholar Chou Wen-chung once gave an interesting example of the
aesthetic by referring to all the ways in which a single line, the character for “one” in
Chinese calligraphy, could be interpreted through brushstrokes. As shown in Figure 8a, a
single brushstroke reveals a line that allows for details to emerge naturally alongside the
16
movement of the brush. This is but a single interpretation of an infinite number of
possibilities for the same meaning.
Fig. 8a: Detail of a brushstroke for the character yi (one)
Fig. 8b: Endless ways of writing the character yi (one)
Sophisticated calligraphic characters are comprised of multiple unique individual strokes like
in the above example. Not only is the visual appearance of each individual character unique,
but also its independent meaning. A single character can signify anything from an isolated
word to a phrase. Yet, when calligraphers write out the self-contained characters, they do so
17
using a continuous breath, with their brushstrokes following suit. The individual characters
flow into adjacent ones, filling and connecting the space and separation between them, and
keeping a generally uninterrupted flow to the motion (Figure 9).
怀素(自叙帖)777,唐
Fig. 9: 自叙帖 (Zi Xu Tie), handscroll written in 777AD by Tang Dynasty monk 怀素 (Huai Su) in the cursive script style, detailing his own pedagogical background with calligraphy and his contemporaries’ appraisals of his craft.
There are many notational symbols in the Jianzipu spectrum used to describe finger-slides
that are the equivalent of subtle brush strokes. Figure 10 shows a few examples for the right
hand.
18
Fig. 10: Jianzipu spectrum notation for right hand finger-slides.
The column headers, from right to left, are annotated as follows:
: the right hand plays the open string without the left hand touching.
: use the thumb nail to pluck inward, producing a strong, clear pitch. Meanwhile, the
third finger rests upon the lowest string for support. If the attack is done partly by the nail
and partly with the flesh of the thumb, the palm should lean at an angle. Too aggressive an
attack is not recommended.
19
: use the flesh of the thumb to pluck outward while the third finger supports and rests
upon the lower string.
use the tip of the flesh of the index finger to play gently in an inward motion; avoid
leaning, and relax the thumb.
Aside from existing character-based notation, there have also been studies of sliding
tones using traits that attempt to accurately represent gesture and articulation. In Li Hanbing
and Marc Leman’s paper, “A Gesture-based Typology of Sliding-tones in Qin Music,” sonic
traits are categorized with newly invented symbols (Figure 11a), and a spectrum of variable
vibrato types used during improvisation is mapped out (Figure 11b).
Fig. 11a: extract from “A Gesture-based Typology of Sliding-tones in Qin Music,” by Li Hanbing and
Marc Leman, Journal of New Music Research Vol. 36:2, p. 62.
20
Fig. 11b: Ibid.
IV. Specific Fingering Techniques and Effects, From a Structural Point of View
The focus on various fingering techniques in the following section stems from their structural
context. In Flowing Waters, diverse sound effects all serve the rhetoric of the flow of music.
Example 1:
In the opening of the piece as shown in Fig. 12, the left hand finger-slides modify the attack-
resonance timbres emerging from the more direct plucks of the right hand, transforming
them into soft and unstable upper partials by pitch-bending in both directions with the flesh
21
of the fingers and nails during the decay of the initial attacks, which become smoothed out
by the end of each phrase.
Fig. 12a: The opening bars of Guan Pinghu’s performance of Flowing Waters, showing the the left hand’s transformation of timbre during the decays of the right hand’s attacks.
The “x” note-heads in the bottom staff represent a mixture of pitch and noise resulting from
the left hand finger-slides. The black triangle note-heads stand for high frequency noises with
little pitch, obtained by sliding the nails of the left hand. If one only played the pitches
indicated from the Jianzipu spectrum, without the embellishment of resonance made by
sliding and vibrato in the left hand, the reduction would be as shown in Figure 12b.
Fig. 12b: Pitches indicated in the Jianzipu spectrum, without additional embellishment.
Example 2:
At 2’25” in Guan Pinghu’s recording, the left-hand finger slides are used more as extensions
of the right-hand plucked notes, continuing the flow of the melody (Figure 13) with pitch-
based finger-slides, as opposed to the noisier decays of the opening. The addition of neighbor
tones (A-flat, for example) are the graceful result of sliding embellishments with the left hand.
22
Fig. 13: The left hand continues the plucked tones of the right
Example 3:
In Figure 14, the added sliding noise in the left hand continues the momentum of the
melodic line by imitating the last rhythmic pattern immediately after it has been played. This
example of sliding notes mostly contributes to the rhythmic flow of the melody, as a kind of
echoing refrain of the end of each phrase.
Fig. 14: The left-hand rhythmic finger slides continue the end of each line, connecting each phrase
without pause.
Since the finger-slides occur on the same strings as the plucked tones, which also share the
same partials, the sliding pitches or noises thus sound more “in-tune” and resonant, due to
the effect of sympathetic resonance, which occurs especially when two sounds share
harmonics on the lower part of the harmonic series. The vibrations of one sound producing
one set of partials reinforce the resonance of the other.
The organic musical flow depends not only on nail noises and bent pitches resulting
from distorting the resonance of initial attacks, but also frequently from the combination of
23
nail noises with more pure pitches at the onset of plucked attacks. This blurs the sonic
boundary between the pure, consonant timbre of pitch and a noise-based nail strike or slide.
As demonstrated in Figure 15, even when sounds with “pure” harmonics are played, the
finger gliding noises are produced simultaneously as part of the overall timbre.
Fig. 15 a: A spectral resynthesis showing the complex, inharmonic timbres of attacks made from pure tones with their overtones combined with the noise of finger glidings. The highlighted area reveals the complex inharmonicity of the mostly metal-like timbres,
produced by striking the nail against the strings and the wood body of the instrument,
simultaneous with the plucking of tones. According to the score, the pure harmonic pitches
do not at all account for these complex sounds (Figure 15 a).
Fig. 15 b: As in Fig. 12b, the standard notation’s pitch information is incomplete, in this case giving pure harmonics but no complex inharmonic sonorities. The visual cue is far different from the resultant sound.
These consonant harmonic pitches correspond to the darker horizontal lines (overtones) in
the lower range of the spectral analysis in Figure 15 a.
24
The result of the mixture between pure harmonics and noise in this particular case
serves as a bridge, carrying over the nail sounds from the previous section into the
contrasting sounds of “pure” harmonics. The timbral continuation into this passage is not a
simple, abrupt contrast, but a natural continuation and novel introduction at the same time.
And the noise component, instead of becoming a reactive, modulatory device, becomes
integrated and fused with the pure tones themselves, in the manner of cross-synthesis.
V. Functional Ambiguity and a Dialogue with Calligraphy and Painting
As mentioned earlier, there have historically been scholarly categorizations of qin
timbres. According to Xu Shangying’s book 溪山琴况 (Xi Shan Qin Kuang), the twenty-four
aesthetic timbres are: 和 harmonious、静 calm、清 clear、远 remote、古 ancient、
unsophisticated、恬 pleasing、逸 free from vulgarity、雅 elegant、丽 fair and pretty、 亮
penetrating、采 splendid、洁 simple、润 gentle and moist、圆 round/perfect、坚
melodious、宏 grand、细 delicate、溜 smooth、健 energetic、轻 gentle、重 powerful、迟
slow、速 swift.
Each descriptive name gives a unique and suggestive atmosphere as well as a specific
poetic impulse, yet none clearly defines the exact techniques necessary to achieve the image.
Again, the true, personal expression of thought from a qin musician’s inner world is more
valued than pure artisanal reproduction. The player’s unique personality must be brought
forth. The true value of interpreting a qin score is akin to composing and improvising a
personal piece with poetic guidelines. The philosopher Zhuangzi once explained: “Do not
listen for it with your ears, listen for it with your heart-mind. Do not listen for it with your
heart-mind, listen for it with your qi. The ear stops with listening and the heart-mind stops
with calculating. Qi is empty and waits for things to act. Only the Dao collects emptiness.
What is empty is the heart-mind that fasts.”7
25
Just as the fusing of noise and pitch create a kind of hybridity out of a duality, pitches
themselves serve both melodic and harmonic functions in Flowing Waters, creating an
interesting phenomenon of single-lined harmony that contributes to the flow of the music.
The exact division between melody and harmony in this piece is often hard to place or define,
which reflects the visual concept of a “line” in Chinese culture. Rooted deeply in traditional
calligraphy and brush painting has been the notion that a line can never appear absolutely
straight or even, but is constantly continuing, transforming, allying, and multiplying, as it
takes on a life of its own. Even when one line ceases to expand, the way in which lines
follow one another consecutively suggests that the “blank” space in between characters is not
empty, but imaginatively and invisibly continuous.
As before in Figure 9, the calligraphic example from Tang Dynasty monk Huai Su
(again in Figure 16) reveals the liveliness, fluidity and flexibility of the transformation of line
in brushstroke calligraphy.
Fig. 16: 自叙帖 (Zi Xu Tie), handscroll written in 777AD by Tang Dynasty monk 怀素 (Huai Su) in the cursive script style.
26
If all the characters in Figure 16 were written out in clear, formal type, they would appear as
thus:
戴公又云 驰毫骤墨剧奔驷 满座失声看不及 目愚劣 则有从父司
An example of brush painting by 20th Century artist 张大千 Zhang Daqian (Figure 17) shows
not only that lines are always fusing into one another, revealing surface and extra dimension,
but also that colors are fading or merging freely. There are no single-edged “cuts” with
which one can divide the images.8 Clouds, fog, mountains, and reflections in the water are
all continually transforming and in motion, not stuck in a frozen, clear display of objects, but
flowing forth in motion, as the outgrowth of natural processes and the expression of an
atmosphere in flux.
Fig. 17: 黄山文笔峰 (Huangshan Wenbifeng) by 张大千 (Zhang Daqian).
In Flowing Waters, similar effects of ambiguity and blurring are achieved by transforming
melody into harmony, and vice versa. Instead of following chords that serve a stabilizing
harmony’s purpose, single-line melodies are played with worlds of variation within
27
parameters such as register and dynamics (including, for instance, frequent dynamic
emphasis on low notes, the resonance of which produces the functions of both melody and
and harmonic fundamentals). On the other hand, ethereal high notes and harmonics are
deployed not only melodically, but also as the sonic extension of related harmony. This kind
of multifunctional way of dealing wit h musical lines resembles the same transformational
and fluid aesthetic techniques as demonstrated in the painting by Zhang Daqian.
One frequent method of creating stable harmony is by using melodic leaps across the
range of an octave or more, with strong dynamic emphasis on low notes (often with the
motion of fourths or fifths); in creating strong fundamental resonance in successive phrases,
the performer produces the effect of harmony and harmonic motion. Boxed notes in Figure
18 are accented in the lower register, resonating as emphasized fundamentals, while at the
same time moving along with the melodies above. Notes above C4, played with softer
dynamics, belong to melodies that grow out of and elongate the low resonances. The central
pitches in this passage, all reinforced in the low register, move from C to F, and then back to
C.
28
Fig. 18: Low notes take on harmonic stability, extending the melodic flow above, which also acts as an extension of harmonic resonance.
Playing very gently on high harmonics (Figure 19) suggests that a high melody can also be a
quiet, horizontal manifestation of the overtones of a just-emphasized fundamental, as if it
were a melodic echo.
Fig. 19: A fundamental followed by the echo of soft harmonics acting as its resonance.
Figure 20a shows the use of textures that blur the boundary between melody and harmony
with the goal of creating a mass, unified sonic web.
Fig. 20a: Two layers, the melody on top and arpeggio/glissando harmonic support below, become unified as one during a gradual descent. This excerpt is taken from a transcription of Guan Pinghu’s interpretation of Flowing Waters by 许健 (Xu Jian). The verbal notations below the transcription are the Jianzipu instructions from 天闻阁琴谱 (Tianwenge Qinpu).
In this example, the recurring two-note bending motive first heard in the top line at the
beginning is very clear as a separate melodic motive. As it descends, it gradually merges with
the momentum of the arpeggio/glissando texture, fusing into the overall woven sound, until
the separate layers are almost indistinguishable. By slowing down and clearing out the busy
29
texture as in Figure 20b, a clear melody gradually appears out of the massive texture,
synthesizing the accompanimental figure into the melodic one.
Fig. 20b: After the ritardando, the emergence of a new melody coming out of the accompanimental figure.
The section in Figure 20a was added by 张孔山 (Zhang Kongshan) in his 1876
edition of Flowing Waters and is named the 72滚拂 (Gun Fuo); it calls for 72 glissandi in both
directions across all seven strings to illustrate the impulses of the movement of water. This is
a passage of music directly mimicking the motions and sounds of water rather than
expressing the more abstract emotions stimulated by thinking about and observing it. There
are many interpretations of the score that do not use the literal meaning of the 72滚拂
passage; players rarely execute 72 exact glissandi, as the suggestion is more or less poetic.
VI. The Tuning of Flowing Waters
The pitch structure of Flowing Waters is based on a C pentatonic mode, with the seven open
strings tuned accordingly (Figure 21).
Fig. 21: The open strings of the qin in Flowing Waters.
When modulations of the pitch center occur, they do so within the limits of this pentatonic
scale. This modal structure of shared pitches makes the modulations of central notes much
30
less contrasting in terms of tonal color but more ambiguous. Different primary focal points
are established by having stronger attacks, repetitions, embellishments, etc. The tonal roles of
the same pitches in altered modes switch as the central notes modulate, providing
contrasting tonal basses and harmonic colors. The central pitches of this piece progress
through four primary areas: C, F, A, and F.
The just intonation tuning method used for the seven open strings is also an
important factor for the lasting resonance produced. On the instrument’s wood body, along
each of the open strings, the thirteen white dots (Hui, as described earlier) indicate the finger
positions for harmonics. The first harmonic, sounding an octave higher than the
fundamental, is produced by depressing the seventh dot in the middle. Dividing each string
into two, four, and eight parts in length by pressing the 1st, 4th, 7th, 10th or 13th dot produces
octave-relation harmonics. Dividing each string into three or six parts in length by pressing
the 2nd, 5th, 9th, or 12th dot produces perfect-fifth-relation harmonics. Dividing each string into
five parts in length by pressing the 3rd, 6th, 8th or 11th dot produces major-3rd-relation
harmonics. Thus, to tune the strings, one can do as shown in Figure 22, by pressing the Hui
on the first indicated string in each bar, then comparing the resulting harmonic to the second
harmonic produced by pressing on the indicated Hui on the second string. The process uses
cross-relations of common-tone sounding harmonics between different open strings. All the
upper staff pitches in each measure should sound in tune.
31
Fig. 22: Tuning scheme based on common tones of Hui nodes on different strings.
All seven strings are connected by a tight harmonic relationship because of the use of
just intonation octaves, fifths, and thirds. As a result of the tunings, the seven strings share
many common harmonics that, as mentioned before, support the resonances of one another
when vibrating, creating an effect of sympathetic resonance, even when the articulations are
subtle. Therefore, the use of the same pitches through modal modulation as well as the
method of tuning across strings creates an overall continuous sonority that adds to the
vagueness of the structural boundaries of the piece, and makes the music flow through a
constantly similar sound world.
Conclusion
The qin is an extremely delicate-sounding instrument. The aesthetic of its music is
heavily influenced by Daoism. Laozi’s idea of 大音希声 (Da Yin Xi Sheng), literarily “the
most beautiful sound is silence,” can be heard as the strongest sonic impression of qin
music.9 The expression of inner calmness, emptiness, nature’s vastness, and the search for
harmoniousness are results of this aesthetic. In a performance of a qin score, ample space
32
and time are sometimes left between sparsely placed sounding pitches, giving the players
requisite time to reflect on the music and internalize it. Technically, temporal freedom is
provided for players to be soloistic and improvisatory, and they can choose to add tasteful
ornamentations between notes.
The flow of time in Flowing Waters is achieved naturally by the union of
improvisatory temporal flexibility, timbral mixture of noise and pure pitch, finger- and nail-
articulated slides between notes, dual functions of single-lined melody and harmony, and
just intonation tuning. The aesthetics of calligraphy, brush-painting, and philosophy are the
deep reasons behind the artistic and technical manifestations of notation, translating into
performance. The timelessness and sense of complete discovery in each hearing of a work
extends beyond the specifics of its cultural heritage. Guan Pinghu’s Flowing Waters recording
continues to be played every hour as the Voyager 1 spacecraft edges towards interstellar space,
with the hope that an extraterrestrial civilization will be able to sense the universally
communicative force of this manmade music. My hope is to discover the temporal and
timbral possibilities from this ancient, celestial instrument, which will undoubtedly enrich
my own compositional language, however dissimilar it might be to its source of inspiration.
1 智者乐水 (Zhi Zhe Le Shui) is from 《论语》 (The Analects of Confucius), chapter 6, 雍也第六 (conversation with student 雍 Yong).
2 The original text is “子曰:兴于诗,立于礼,成于乐” from 《论语》 (The Analects of Confucius), chapter 8, 泰伯第八 (conversation with student 泰伯 Tai Bo).
3 碣石调幽兰 (JieShiDiao YouLan), meaning Solitary Orchid, is the oldest surviving qin 文字谱 (wenzipu) score from approximately 908 AD. 4 琴曲集成 (QinQu JiCheng), is one of the most complete qin score collections, including scores from the Tang Dynasty to 民国 (Min Guo – the Republic of China period of the early 20th Century), encompassing over 1300 years of history. This first edition was edited by 康生 (Kang Sheng) (Beijing, 1963).
33
5 溪山琴况 (Xi Shan Qin Kuang), written in 1641 by 徐上瀛 (Xu Shangying), discusses qin performance aesthetics.
6 天闻阁琴谱 (TianWenGe QinPu), a qin score collection, edited by 张孔山 (Zhang Kongshan) and 唐彝铭 (Tang Yiming) in the late 19th Century. 7 The original text reads “若一志,无听之以耳而听之以心;无听之以心而听之以气。听止于耳,心止于符。气也者,虚而待物者也。唯道集虚。虚者,心斋也,” quoted by Confucious in 庄子 《人间世》 (Ren jianshi). Translation is quoted from Hide the World in the World by Scott Cook.
8 张大千 (Zhang Daqian,1888-1983), one of the best known 20th Century Chinese artists to work in the brush-painting medium.
9 “大音希声” (Da Yin Xi Sheng) from 老子 (Laozi), 道德经 (Tao Te Ching), section 41.
Bibliography
Primary sources
Confucius (孔子), 《论语》 (Analects of Confucius)
《徽言秘旨订》 (HuiYan MiZhi Ding) Edited by Qing Dynasty 孙淦(Sun Jin), based on 《徽言秘旨》 (HuiYan MiZhi) written by 尹尔韬(Yin Er Tao) in Ming Dynasty
Laozi (老子), 《道德经》 (Tao Te Ching)
《琴曲集成》 (QinQu JiCheng), First Edition edited by Kang Sheng(康生), 1963, Beijing(北京) 怀素(Huai Su)《自叙帖》(Zi Xu Tie)Original preserved at Taibei Shi Guo li gu gong bo wu yuan (台北市国立故宫博物院).First Edition, Beijing Shi : Xue yuan chu ban she, 北京市 : 学苑出版社, 1999
庄子(Zhuang Zi)《人间世》 (Renjian shi)
Secondary sources
Hanbing, Li and Marc Leman. “A Gesture-based Typology of Sliding-tones in Qin Music.” Journal of New Music Research Vol. 36:2 (2007) (61–82). Yung, Bell, editor. Celestial Airs of Antiquity: music of the seven-string zither of China. Madison, WI: A-R Editions, 1997.
34
Cook, Scott Bradley, editor. Hide the World in the World: Uneven Discourses on the Zhuangzi. Albany: State University of New York Press, 2003.
Penttinen, Henri and Jyri Pakarinen and Vesa Välimäki. “Model-based sound synthesis of the qin.” Journal of the Acoustical Society of America Vol. 120: 6 (2006) (pp. 4052-4063).
张 大千画集 / 张 大千 绘. Zhang Daqian hua ji/Zhang Daqian hui. 第1版 (first edition). 天津 : 天津 人民 美术 出版社, 2003. (Tianjin: Tianjin ren min mei shu chu ban she, 2003).
35
Wailing
For Orchestra
Wang Lu
36
Wailing This piece was inspired by my experiences in a small remote town in a mountainous area of Northern China when I was 5 years old. I can still vividly remember a scene during that wintry season, when some robust young peasants were wailing and crying desperately while others were playing out-of-tune brass and percussion folk instruments in all ranges and with full force. They paraded past every house. I was told that someone had just passed away. Later the same strikingly mournful sound echoed upon the sterile earth once again, but this time, a young girl was getting married. The young men of the village got drunk after the procession, then went back to their group and played even more wildly. Many years later, when I recalled my memory of these experiences, I suddenly understood why they were wailing so sadly, because that was the only way peasants could set free their repressed sorrow from years and years of weariness. They sang the same tunes for both funerals and weddings as if they were telling people that life is only a drama of birth, aging, ailing and eventually dying.
37
Instrumentation Piccolo 2 Flutes 3 Oboes (3rd dbl. English Horn) Clarinet in E-flat 2 Clarinets in B-flat (2nd dbl. Bass Clarinet) 2 Bassoons Contrabassoon 4 Horns (F) 3 Trumpets (C) (straight mute) 3 Trombones (2 Tenor, 1 Bass) (straight mute) Tuba Timpani (30”-28”-25”-23”) Percussion (for three players) Bass Drum, 4 tom-toms. tam-tam, whip, chimes, glockenspiel, marimba, xylophone, vibraphone, triangle, crotales, cowbell, a pair of small cymbals, woodblocks, ratchet Harp Piano/Celesta(one player) Strings Accidentals last for the entire bar in the same octave only Score in C
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39
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q = 84
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
B. D.
T.-t.
Vln. I
Vln. II
Vla.
Vc.
Db.
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11
11
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
Tbn.I
Tbn.II
Tbn.III
Tba.
Pno.
Hp.
Vc.
Db.
38
38
38
38
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14
14
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Pno.
Hp.
Vc.
Db.
38
38
38
38
24
24
24
24
38
38
38
38
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42
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{
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18
18
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
Tom-t.
Xyl.
Mar.
Pno.
Hp.
Vln. I
Vln. II
Vla.
Vla.
Vc.
Db.
38
38
38
38
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22
22
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Hn.I
Hn.II
Hn.III
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C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Timp.
Tom-t.
Tri.
Xyl.
Mar.
Vln. I
Vln. I
Vln. II
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24
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C Tpt.I
C Tpt.II
C Tpt.III
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Mar.
Vln. I
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31
31
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
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C Tpt.I
C Tpt.II
C Tpt.III
Tba.
Timp.
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Vla.
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Db.
24
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46
°
¢
°
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°
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°
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°
¢
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{
°
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q = 88
q = 88
q = 88
q = 88
33
33
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Eng. Hn.
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
Chim.
Glock.
Vib.
Pno.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
&ff ff5 3
&ff ff3 5 3
&ff ff3 5 3
&ff ff3 5 3
&ff ff5 3
&ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~5
&ff ff5 3
&ff ff 3 3
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ff 3
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5
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5
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3
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ord.
f f
3
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3
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f f
3
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3
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Bsenza sord.
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∑
f
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∑
f
& ∑ ∑l.v.sempre.
f
&l.v. sempre
f
∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
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f
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f
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36
36
q = 92
q = 92
q = 92
q = 92
q = 88
q = 88
q = 88
q = 88
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Eng. Hn.
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
Crot.
Chim.
Glock.
Vib.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Db.
38
38
38
38
24
24
24
24
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39
39
C
C
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q = 70
q = 70
q = 70
q = 70
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Eng. Hn.
Cl.I in bE
Cl.II in bB
Cl.III in bB
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Timp.
B. D.
T.-t.
Pno.
Hp.
Vc.
Vc.
Db.
Db.
24
24
24
24
34
34
34
34
44
44
44
44
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? ∑ ∑ ∑ ∑ord.
∑div. in 2
pgliss. gliss.
? ∑ ∑ ∑ ∑ord.
pgliss. gliss.
? ∑ ∑ ∑ ∑ord. div. in 2
p
? ∑ ∑ ∑ ∑ ∑ord.
p
f# ™ ff
f f
≈ ≈
f
fb ff fb fn f fn f fb f
ff Fn ™
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fif
jfn ™ fb
f
f f
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f f# f# f# f# f f f# f# fn fb fn F ™
fif
j
f# ™ ffn
fb f f#
fb fn fn fb fb fn f f# fn fb fn f f# F# ™
fif
j
f# ™ ff
fb ff
fb f ffb fb fn f f# f fb fn f f# Fb ™
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jf ™ fb
f
f f
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f f# f# f# f# f f f# f# fn fb fn Fb ™
fif
jfn ™ fb
fbfb f
fb ™ fbfb
fb f fb
fb fb fb fn f fb fb fn fn f fb fb fn f
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fif
jfb ™ fb
f
fb f
fb f ffb fb fn f f# f fb fn f f#
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fif
jfn ™ fb
f
f f
≈fb fb fb fb f# f
fb fb fb fn fb fb
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fi
f
jf ™ fb
fbfb f
fn f# ff fn f# f# f# f f# f f# fn
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fi
f
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fb f ‰fn f# f
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fi
f
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fb f
fn f# ff fn f f# f# f f f f# fn
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fi
f
j
f ™ fbfb
fb f ‰f
f# ff f fn f# f# f f f f# f F
fif
jfn ™ fb
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æææ
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fif
jf ™ fb
fbfb f
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fif
j
f ™ f
f
f f
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f ™ f f# f ™ fn f#
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49
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45
45
Picc.
Cl.I in bE
B. D.
Tri.
Glock.
Vib.
Pno.
Hp.
Vla.
Vla.
Vc.
Vc.
Db.
Db.
& ∑ ∑ ∑ ∑
& ∑f
weeping
espress. mp f ff p ff
/ ∑ppp
/ ∑l.v.sempre.
mf
3 3
mf
3 3 33
& ∑l.v. sempre.
p p p
3
p
3 3
?¡
mp
l.v. sempre.
& ∑ ∑3 3
?legato
play with slight rhythmic rubato
?‹
f f ff f f
cresc
ff f f ff f f ff f f f f ff f f f f f f f f ff f f
mf
f f f f
°
f f
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
?l.v.sempre.
∑ &
?legato
mf
f f f f f f‰ fJ
f f f f
f
f f f f
f
f f f f f f
&
B ∑ ∑pgliss.
mf
gliss.div.in 2
mp
B ∑ ∑pgliss.
mf
gliss.mf
sul pont.
f
3
3
?
mf p
gliss.
mf
gliss.p mf mf 3
?
mf fp mf
sul pont.
f p mf
ord.
fpf
3 3
33
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mf
gliss.p mf mf p fp mf fp
?
mf p mf
gliss.p fp mf fp mf
w
fif
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fif
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fBfif
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f
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f f fb Œ Ó fif
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fifjfn ™
f
fifj
fb ™fb fb f ™J ≈ Œ Œ
fifjf ™
f
fifj
fb ™fb fb
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r Œf
jf f
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f
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50
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50
50
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Cl.I in bE
Cl.II in bB
Bsn.I
Bsn.II
C Tpt.I
C Tpt.II
Timp.
B. D.
Tri.
W. Bl.
Chim.
Glock.
Vib.
Pno.
Hp.
Vln. I
Vla.
Vla.
Vc.
Vc.
Vc.
Db.
Db.
&pp mf
∑mp
5 6
& ∑ ∑pp
3
mf
& ∑ ∑pp
3
mf
&p
3
f
∑ ∑3 5 6
& ∑p f
∑
mf
&p
∑pp3 mf
& ∑ ∑ ∑mf
? ∑ ∑ ∑
mf
? ∑ ∑mp mf mp
& ∑ ∑ ∑con sord.
p
& ∑ ∑ ∑con sord.
mf
? ∑ ∑ ∑p
£
/ ∑
/ ∑ ∑ ∑cowbell
mp
/ ∑ ∑ ∑
mp
& ∑ ∑mf
3
∑
&p
∑ ∑ ∑3
& ∑ ∑mp
3
∑
?‹
mp
f
°mf
ff
5 5 5 5 5 5 5
&l.v.
mf
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
3
#Emp
6 6
f§E
mf
3
#Emp
6
∑7
&3 7
3
∑6 6 6
&3soli.div.
pp3 f
∑ ∑
B
sul pont.
mf mp
ord.
mf f ff fp
gliss.3 3
3
Bord.
mp mf f
gliss.mp f
?tutti div.in 3
mp
gliss.
mf mp
gliss.mf fp fp f
5
5
3
?
mf ffmp f
3
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mp
gliss.
ff ff
gliss. gliss. gliss.3
3
?f mp
gliss. gliss.mf f p
gliss.f
gliss.
?f mf mp
gliss.fp
gliss.
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f f-f-
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f
fbf
f
f
f
f
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f
f
f
f
f
f
f
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Jf f
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f ™J ≈ Œ Ó ‰f F ™ w
wb
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jfif
jf f ™ f f
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fif
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f
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rf f ™
fi
f
j æææf ™
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f
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51
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54
54
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
B. Cl.
Bsn.I
Bsn.II
Hn.II
Hn.IV
C Tpt.I
C Tpt.II
Timp.
Tri.
W. Bl.
Glock.
Xyl.
Mar.
Pno.
Hp.
Vla.
Vla.
Vc.
Vc.
Vc.
Db.
Db.
&ff
∑ ∑
&ff
∑ ∑
&ff
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&ff
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&ff
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&ff
∑ ∑
&ff
∑ ∑
&ff
weeping
fespress. mp f
gliss.
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gliss.
3
? ∑pp mf
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
ff
∑ ∑
?
ff
∑ ∑3 3
? ∑ normal
p mf
? ∑ ∑ ∑
&fff
∑ ∑
&fff
∑ ∑
?
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gliss.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3
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to Tri.∑
mf
3
/
ff
∑ ∑
& ∑ ∑p
&mf ff
∑ ∑6 6 6 6
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p cresc
6 6 6
6
6
6
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∑ ∑
& ∑bB?
mpcresc.
5 5 5 5 5
B
ff
∑unis
fp fp
3 3 3 5
B gliss.ff
gliss.gliss. ∑ ∑
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ffsub.pp
tutti div. in 2
f
3 5 3
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3 3 5 3
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∑ ∑3
3
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gliss. gliss.sub.pp
gliss.mp
gliss.
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ff sub.ppgliss.
mp
gliss.
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w
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F ™ Œ
‰ fbJ F ™
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w
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wbŒ Œ fi
f
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f fb ™ f
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fifn jfµ f# fB f f
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jfif
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f
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f fn Œ
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jfif
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fb ™ fif
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fn j fb j ffif
jfifn jfb ™ fb f f fn fb f
fifn jf f fb
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f
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f
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Jf f ™ f f f ™ f f ™ f f f ™ f f Fb fifn j fb fi
fn j fb j ffif
jfifn jfb ™ fb fi
fn jf f f fb fifn jf f fb f
f
f
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52
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57
57
Cl.II in bB
B. Cl.
Hn.II
Hn.IV
Timp.
Tri.
Glock.
Mar.
Hp.
Vla.
Vc.
Vc.
Db.
Db.
&fff
gliss.
?mp ff mp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
p mfp
? ∑normale
mp
?p
gliss.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
/3 3
mf
3
mf
3
&p p p
33 3 3
?
ff
6
6
6
6
6
6
6
6
?5
?
fb
mf
f f f f f f f fb f
f
f
5 5 5 55
5
B3
p f mp
6 3 6
?fp mp f
5 3
?
mp f
3 5 3 3
?fp
f
gliss.mp
?fp f mp
fbR ≈ ‰ Œ ≈
fif
># j
fb ff>
fbf>
f>b
Œf>
fbf>
fJ ‰ Œ
ŒfbF ™ F ™ f
ffifb jæææF
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jf f F Fb
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f
jf f
jf Ó f
jf
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jf
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f fbf fb
f f
f f f f
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f f
f f
f f f f
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f f
f f f f
f f f f
f f
f f
f f f f
f f
fbf f f f
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f fb f f f f f fb f f
f fbf f f f
Œ
f
jfb fi
f
jf f ™ f f f ™ f f f ™ f f f f fb f f f f ™ f
fifn j Fb ≈ fi
fn ™jfb ™
jf
fif
jfifn jfb fb ™ f
fifn j fb r f f
jf
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jfi
f
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59
59
Picc.
Ob.II
Cl.I in bE
Cl.II in bB
Bsn.I
Bsn.II
Hn.II
Hn.IV
C Tpt.I
C Tpt.II
Tbn.III
Tba.
Timp.
T.-t.
Tri.
Glock.
Vib.
Pno.
Vla.
Vla.
Vc.
Vc.
Vc.
Db.
Db.
&mp
3
f
&mp
3
f
& ∑sub.ff
gliss.
& ∑sub.ff
gliss.
? ∑fp fp
?
fp f mp
3
?
fpfp
3
?
ff mf
& ∑(con sord.)
ff
gliss.
& ∑(con sord.)
ff
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? ∑ ∑
?p
gliss.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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/mf
3
∑
&p
∑
& ∑
ff
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mp
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cresc
°
Bdiv. in 2
ff
3
Bff
33 5
?mp
tutti div. in 3
3ff
3 3
?mp 3
ff
33
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3
ff
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?
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gliss.
‰ f F ™ f>R ≈ ‰ Œ Ó
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f>
eb® ‰ Œ Ó
f>b eb
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jF
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f fif
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f
jfif
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f> f>f f
f> f>f f
fb ™ fn fb f Fb f fif
jfif
jfb ™ f fi
f
jf f f
fb ™ fn fb f Fb ‰ fb fi
f
jfif
jf ™ f F
fn Fbfi
f
j fi
f
jfb fb f
fb f ™ ffifn j fi
fn jf fb fb f ™ f f
Fb ™fi
f
j fi
f
jfb fb f
fb f ™ ffifn jf
jfb fn ™ f f
Fn fif
j fi
f
jf f f fb fi
f
jfn f f fi
f
jf f f F
F ™ fb f f ™ f
>b f F
Fb f f f ™ F f
jfn ™
54
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¢
°
¢
{
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{
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61
61
Picc.
Ob.I
Ob.II
Ob.III
B. Cl.
Bsn.I
Bsn.II
Hn.II
Hn.IV
C Tpt.I
C Tpt.II
Tbn.III
Tba.
Timp.
B. D.
T.-t.
Crot.
Xyl.
Mar.
Pno.
Hp.
Vla.
Vla.
Vc.
Vc.
Vc.
Db.
Db.
& ∑
sub.ff ff
& ∑
sub.ff ff
& ∑sub.ff ff
& ∑
sub.ff ff
? ∑mp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
mpmp
?f mp3 3
?
fp fp
?
fp mp
gliss.
& ∑senza sord.
mp
& ∑senza sord.
mp
? ∑mp
3
? ∑
p
?p
gliss.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
/ ∑£
ff
3
/to Tam-tam
∑ ∑
& ∑sub.f f
& ∑ff
? ∑ffp
?
ff
&sff
to cel.?
”“
?‹
°
&
°
?
? ∑
? ∑
mf
fbf
f
f
f
bf
f
f
f
f f
f
f
f
f f
f
f
f
f
6 6 6 6
Bmp
3 36
Bmp fp fp mp
5 5 3
?mp
f
pizz.5
6
?mp fp mp
33 5
3
3
?fp
3
mp
33
?mp fp
gliss. gliss.
?
fpf
gliss.
f>
eb® ‰ ≈
f>n eb
® ≈ Ó
f>
eb® ‰ ≈
f>n eb
® ≈ Ó
f>
eb® ‰ ≈
f>n eb
® ≈ Ó
f>
eb ® ‰ ≈ f>n eb ® ≈ Ó
‰fbf
jF ™
f fif
jf f fi
f
jfif
jf ™ f fi
f
jf ™ fb ‰
f
jF
f
fifb j fi
fj
fifj
f f ffifb j fi
fj
f f f ‰ fJ f
fifb jF ™
æææf
fifb jF ™ fi
fb jF f ™ f f ™ f f ™ f f ™ f
æææFb F f
j ‰Fb f
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ŒF ™
Ó Ófifb jf fif
jf
jfifb jf f
‰fbj
F ™
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f>J ‰ ≈ f
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f> f
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f f
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f f
f
fb f f f f f ™ f f f ™ f f fif
jfb f f f
f fif
jfif
jfb ™ f f f fi
f
jfif
jfif
jfb f f f f f ™ fb fi
f
jfb j fb
fb ™fi
fnjfnJ fi
fn jfb ™ fb f
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fif
jfb fn ™ fb j fi
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jf ™ f fi
f
jf fn
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jf f
‰ fi
f
jfb f f f f f ™ f f f f fi
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jfb j f f f f f
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F ™ f>fb ™ F f œ f f
55
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63
63
D
D
D
D
Picc.
Fl.I
Fl.II
Cl.II in bB
B. Cl.
Bsn.I
Bsn.II
Hn.I
Hn.II
Hn.IV
C Tpt.I
C Tpt.II
Tbn.II
Tbn.III
Tba.
Timp.
B. D.
Tri.
W. Bl.
Mar.
Cel.
Hp.
Vln. I
Vln. II
Vla.
Vla.
Vc.
Vc.
Vc.
Db.
Db.
& ∑dolce
pp
3 3
p pp
∑
& ∑p pp mp pp
& ∑ ∑p pp pp mp
& ∑pp pp mp pp
∑
?
ff
Ÿ< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ to Cl in bB∑ ∑ ∑
?f
ff
∑p pp p pp 3
3 3 3
?
f ff
∑ ∑pp
& ∑normale
ppp pp p pp
3
mp
3
?
f ff
∑ ∑ ∑
?
ff
∑ ∑ ∑
&f ff
∑ ∑ ∑3
&f ff
∑ ∑ ∑
?
f ff
∑ ∑ ∑
?
f ff
∑ ∑ ∑3
?
fff
∑ ∑ ∑
?f
∑ ∑ ∑
/mp f
∑ ∑ ∑
/ ∑p
3 3
p
3 3
p
3
/ ∑pp pp pp5 6 6 6 6
?
ff
∑ ∑ ∑
& ∑mp
dolce
pp mp mp pp mp pp
? ∑
pp mp pp
?&
p
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mf mf3 3
3 3
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fbf
f
f
f
bb
fff
f
f
f
f f
f
f
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&
§D C §BbE #F G bA
f
f
f
f
f
p p mf6 6 6 6
3 3 3 3 3 3 3 3 3
& ∑p
1 sologliss.
pp
3
mp pp mp3 pp
3
& ∑pp
1 solo
pp mp pp pp mp pp
Bsul pont.
ff
3 3 ord.
pp
1 solo
mp pp
3
mp pp
5
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f ff
∑ ∑ ∑5
?
ff
∑ ∑ ∑3 3
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ff
∑ ∑ ∑6 3
?sul pont.
f ff
∑ ∑ ∑6
?f fp ff
∑ ∑ ∑
?fp
gliss.ff
∑ ∑ ∑
‰æææ
f
æææ
f
J æææ
fbæææ
f ™ ‰ Œ f ™ f# ™
F ™ fb f F Œ Œ ≈ æææf# ™
jæææf ™
‰
f fJ fb ™ Œ Œ æææF#
Œ
Œ ≈ fb ™J F ≈ fb ™J F ™
w
fifb j fi
f
jfif
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fifb j fi
f
jfif
jfifb jf f f
fif
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jf f f
Œ Œ
f ™
‰fb ™
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f f
J ‰
f fb ™f ™ fb f ™ f f fi
f
jfb Ó F
‰ ‰f# j F ™ F# F
‰f# F ™
f ™ fb f ™ f f F
f ™≈ fi
f
jf
rF
f f
fif
jfb ™ ≈ fi
f
jfifj
f ™Jfb f f f
f>j ‰ Fb F
fifj
æææ
fb
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jfb ™
f
>™ ff
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fb j fif
jf f
fifb j fi
f
jf f f
fi
f
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æææf
F F
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æææF
‰ f f
jf Ó ‰ f ‰ f Ó Ó ‰ f
Œ
Ó Œ fffff Ó f
ffffffff
fff
Ó fff
fff
ffffff
wwbww
f# feeeeeeeeeeee
ffeeeeee ≈ Œ
f# feeeeeeeeeeee
ffeeeeee ≈ Œ
ffeeeeeef
f
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
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≈
f# feeeeeeeeeeeeeeeeeeeeee Œ f# f
eeeeeeeeeeeeeeeeeeeeee Œ f# f#
e
e
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Œ fb fb f
ff
f
≈ fff
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ff
f
fff
≈ Œ fb f# ff#
f f
ff
f f
ff
f
f
f fbf
f f
f
f f
fŒ f
f# f
f
ff
≈ f
ff
f
f# f
f
ff
f
ff
f
ff
≈ f
f# f
f
ff
f
ff
f
ff
Fµ fn f f
‰ æææ
f
æææ
f
æææ
fµ
J æææ
F
æææ
f
æææ
f
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fµ
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f ™
æææ
fnJ
‰ fJ F ™ ≈æææf ™
J æææ
F
æææ
f Œ ≈ æææf# ™
jæææf ™
æææf
j
fb ™ f f
jf f f ™ f f f
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F# ™
æææ
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F ‰æææ
f#æææ
f
æææ
f ™
æææ
f
J
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jfif
jf ™ f f
f f f ‰™f
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‰f
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J
fb f f f f ™ f f f f- ™ f f
fb f f ™ f f f f f f
f f>b f ™
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f ™ fb j œ> fnæææf
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56
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67
67
Picc.
Fl.I
Cl.II in bB
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
Tbn.III
B. D.
Tri.
W. Bl.
Mar.
Cel.
Hp.
Vln. II
Vla.
Vla.
Vc.
Vc.
Db.
Db.
24
24
24
24
44
44
44
44
&mp
non trem
pp
3
ppp
∑
&mp pp ppp
∑
&pp
∑ ∑
?ppp
∑p
? ∑ ∑p
& ∑ppp
?p
ppp
∑p
& ∑ ∑ ∑
? ∑ ∑p
3
&ppp
∑ ∑
? ∑ ∑con sord.
p
3
/ ∑ ∑pp
/ ∑ ∑a pair of small cymbals
p
hold the small cymbals in hands, roll in circles against each other
cresc
/ ∑pp
∑
? ∑ ∑
mp cresc7 7 7 7
& ∑
?
mp pp mp pp
to Pno.∑
& bB §A
?“< >
& ∑ ?
p
f fb f f f f f f
3 3 3
6 6 6 6
&mp
non.trem
pp ppp
∑
Bmp pp
ord. tutti div.in 2
p mp
5 5
B ∑ ∑ord.
p mp
5 5
? ∑ ∑arco ord.
tutti div.in 2
p fp mp
3
? ∑ ∑arco ord.
p mp
3 5 3
? ∑ ∑div.in 2
p fp mp
3
? ∑ ∑p
fp mp
3
æææf
æææf
jf f
j ‰ Œ æææf ™
‰
≈ æææf# ™
jæææf
j‰ Œ Œ æææ
f Œ
Œ ≈ fb ™
jf
j ‰ Œ
F Ó Ó Œfn
Ó Œ ‰fif
jfb j
fn f f f f fn Œ Ó
Fb fJ ‰ Œ Œ ‰ fi
ffb fn j f
fi
ffb fn f
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j‰ ‰fb f fn
f ™ f ™ Œ
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jf
≈fif# j f ™
j
æææw
‰ f f f
jf ™ f
f f f f f f f f
f fbf fb
f f
f
f f
f f
f f
f
f f
f
f f
f f
f f
f
f f
f f
f
f
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e
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e
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e
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≈ Œ Œf
f
e
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f# f#e
e
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e
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f f
ff
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f
ff
f
f
f# f
f
ff
f
ff
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f fbf f
f f
f f
f f
f f
f f
≈f# ™
jf f
j ‰ Œf# ™ ‰
æææ
F# F F Œ fi
f
jfif
jfb ™ f f fi
f
jf ™ f
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f
jfif
jfb ™ f f fi
f
jf ™ f
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f
jfn fb f ™ f
j
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jf ™ f
fif
jf f ™ fn
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57
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70
70
E
E
E
E
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.II in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
Tbn.II
Tbn.III
Tba.
B. D.
T.-t.
Tri.
Chim.
Glock.
Mar.
Vib.
Pno.
Hp.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vla.
Vc.
Vc.
Db.
Db.
34
34
34
34
& ∑p f ff
& ∑ ∑ff mf
& ∑ ∑ff mf
& ∑ ∑ff mf
& ∑ ∑ff mf
& ∑ ∑ff mf
& ∑p f
∑ ∑
?fp fp
3
f p f
∑ ∑
?fp fp mf mp f
∑ ∑
?
fp fp mf mp f
∑ ∑3
& ∑
mp mf
∑
f mf?
mp fp mf mp mf
∑f mf
& ∑normale
mp mf
∑ ?
fmf
?fp mf
∑ ∑f mf
?con sord.
mp mf
senza sord.∑ ∑
?
mf
senza sord.∑ ∑
3 3
?p mf
∑ ∑
/mp mf
∑ ∑
/ ∑ ∑ ∑
/f
∑ ∑3 3 3 3 3 5
& ∑ ∑ff
& ∑ ∑ ∑f
?
ff
∑ ∑
7 7 7 7 7 7 7 7
& ∑ ∑ ∑f
?
cresc&
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sff
?
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mf
°
ff
&
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°
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ff
∑#C§E
∑6 6 6 6 6 6 6
6
& ∑ ∑div. in 2
fff
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f
& ∑ ∑div. in 2
ff f
& ∑ ∑ff
f
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3
f
5
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f
6 3
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f
5 3 5 5 3
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f
3
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∑ ∑5
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∑ ∑
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f>b f ™
f f fJ ‰ Œ Œ
fb f ™ f f f
f>b f F
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f> f F
fb f ™ f f f
f>b f F
fb f ™ fb f f
f> f F
f f ™fb f f
f> f F
F ™ f
fi
ffb fn f
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ffb fn f
fb f
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f‰ fi
ffb fn f fi
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f ™ f
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f
fb f
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f
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f
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f fb
f f
f f
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f f
f f
f f
f f
f f
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f f
f f
f fn
f f
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f f
f f
f f
f f
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f f f
f
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fb f ™f# f f
f> f F
f f ™fb f f
f> f F
fb f ™
f f f
f> f F
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jfif
jfb ™ f f
æææFb ‰ æææ
f
æææf
f>
f ™f>b f f
f># f> F
f fb f f f f f ™ f f fb ™ fn fb f f
æææf
f>
f ™f>b f f
f># f> F
fif
jfb ™ f fi
f
jf f f f fi
f
jf f f f fn fi
f
jfb ™ fn fi
f
jf ™ fb f fn j ‰
f> f F
fb ™f fn f ™ f fb f
> f f Fnfn fb fn f ‰
f> f F
fif
jf ™ fb F ™ f f fb ™ F
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58
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¢
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74
74
Picc.
Fl.I
Ob.I
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.II
Tbn.III
Tba.
B. D.
Tri.
W. Bl.
Pno.
Hp.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vla.
Vc.
Vc.
Db.
Db.
44
44
44
44
& ∑ ∑ff 3 mf3
& ∑ ∑ff 3 mf3
& ∑ ∑ff 3
∑3
& ∑ ∑ff 3 mf3
& ∑ ∑ff
3
mf
3
& ∑ ∑ff
3
mf
3
?
p f
∑ ∑ ∑
?
pf
∑ ∑ ∑
?
p f
∑ ∑ ∑
& ∑ ∑ff
3
∑3
? ∑ ∑ff 3 f3
? ∑ ∑ff 3
∑3
& ∑ ∑ff
3
ff f
3
&p f
∑ ∑ff f
&p
3
f
∑ ∑ff
f
?p f
∑ ∑ ∑
?p f
∑ ∑ ∑
?
pf
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑ ∑ ∑
/pp f
∑ ∑ ∑
/ ∑cowbell
p ff∑ ∑ ∑
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∑ ∑ ∑
?
f
∑ ∑ ∑
?‹
plegato cresc.
° °
∑ ∑ ∑
?
legato cresc.
∑ ∑ ∑
?p
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ffff
f
fff# f#
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∑ ∑ ∑
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& ∑ ∑ff
3
3
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f
gliss.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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33
3
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f ff 3
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f-n ™
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f ffb
fb f f f
f ™ f
f# j ≈f-# ™
J F ™
fb f ™
f ffb
fb f f f
f ™ f
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f ffb
fb f f f
fb ™ f
fb j ≈f-b ™
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fb f ™
fn f
fbfb f f f
f ™ ffb j ≈
f-b ™
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fb f ™
fn f
fbfb f f f
f ™ ffb j ≈
f-b ™
J F ™
f# f ™ f ™ f# f f ™ f> f# ™ f f ™ f> f# ™
f
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fn f ™
fb ff
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f ™ f f
j ≈f- ™J
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f f ™
fb ff#
f f f f
f ™ f
f
j
f f ™
f ff
f f f f
f ™ f
f
j ≈ f-™J F-™
f f ™ F f f ™ f f
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f ™≈ f
-™J F-# ™
f f
jfb f fb f ™ fb f ™ f f f ™ f
≈ f-b ™
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Œ fb f fb ™ f fb fb ™ f
≈ fb f f ™ f>b f ™ F f
fbF ™ F f
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f
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≈ Ofbb O
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fi
fff F ™
fif
jfif
jfif
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fif
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jf f f f f ™ f f
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f f
≈ Ofbb O
fOf
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f ™ f
f# j≈ O
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fif
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f
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f
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f f ™
fb f
f#f f f f
f ™ f
f# j ≈Of ™
™
J OF
>™
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f f ™
fb f
f#f f f f
f ™ f
fn j≈ O
f ™™
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59
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79
79
rit.
rit.
rit.
rit.
F
F
F
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q =70
q =70
q =70
q =70
Picc.
Fl.I
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.III
B. D.
Mar.
Vib.
Pno.
Hp.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vla.
Vc.
Vc.
Vc.
Db.
Db.
& ∑ ∑mp
3f p mf
& ∑mf
3
mp p
∑p3 mf
&f mf
∑mp f f espress.
gliss. gliss.
&f mf
∑mp f f espress.
&f mf
∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑weeping
f espress.
gliss. gliss.gliss.
& ∑
mf
3
mp p
∑p
3
mf
& ∑
mf
3
mp p
∑p
3
mf
? ∑
mf
3
mp p
∑ ∑
? ∑
mf
3
mp p
∑ ∑
? ∑mf
3
mp p
∑ ∑
&f mp
∑ ∑ ∑ ∑
?
f mp
∑ ∑ ∑p 3 mf
?f mp
∑ ∑ ∑ ∑ &
? ∑ ∑ ∑ ∑p
&mp
∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
p
/ ∑¡
mp
3
p∑
p
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∑ ∑
& ∑
p
3 ∑ ∑
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p
∑
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f
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∑ ∑ ∑ ∑
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∑ ∑ ∑ ∑
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3
mp
∑ ∑
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3
mp
∑ ∑
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3
mp
∑p
div.in 2
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3
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3 mp
∑p
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≈f# ™
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≈f ™
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≈f-#
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≈f-#
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f
># jf fb
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≈f ™
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fb f
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jFb
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f# f
jf f
≈f# ™
jF# Ó
f f
jf f
≈f ™
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Ó
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jf f ≈ f ™
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≈ f-f# F ™
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f ™
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f ≈f
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f f f f
f fb
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ffff
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FF
b ™
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ff
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fb f
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≈f ™
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fif
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f f
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Ó
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84
84
Picc.
Fl.I
Ob.I
Cl.I in bE
Cl.II in bB
Bsn.II
Hn.I
Hn.II
Hn.IV
C Tpt.I
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Timp.
B. D.
T.-t.
Xyl.
Pno.
Hp.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vla.
Vc.
Vc.
Db.
Db.
34
34
34
34
&p3 mf mp 33
3
&mp
3 f
∑3
& ∑mp 3
3
&mf f mp
3
3 5 7
3
& ∑mp 3
3
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p mp f
5 3
& ∑mf
33
?mp
3 3
f
?mp
3
f
3
& ∑mf 3
3
&mf
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6
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mp mf
5 3
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6
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∑
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& ∑mf
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f
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3 arco
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sfz
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jF
fifb jf
fif
jFb ≈
fif
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jf fi
f
jfif
jfb f ™ f fi
f
jfb r f fb j
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f fbf fb ‰
f f
f f‰
f f
f f‰
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f f f f
f fb
f fbf fb f f
f fb
f f
f f f f
f f
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f f f f f f
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fif
jfif
jfb f ™ f
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j
‰f>b
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fb jf f ™
f
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f
f>j ‰ Œ Œ
fif
jfif
jfb f ™ F f F
fifb jf f
fif
jfif
jfif
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f
jf f ™ F Fb f
F F f ™ fb f ™ f f ™ f f
jf ™
F F f ™ fb f ™ f f ™ f F
61
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86
86
Picc.
Fl.I
Ob.I
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
T.-t.
Tri.
Xyl.
Pno.
Hp.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vla.
Vc.
Vc.
Db.
Db.
&f f ff
5 7
&f f ff 5 7
&f f ff
5
7
&f f ff
5 7
&f f ff 5 7
& ∑ff 5 7
?
mp f
3
ff
3 3 3
?
ff
5 3
?
f ff
&f f ff
5
7
?
ff
&ff ff 7
5
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3
3
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&f f ff 75
&f ffp ff
&
ff
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3
?
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gliss.ff
?
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3
ff
6 3
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ff
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/f ff
/whip.
subito sfz sfz sfz
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fbf fb
f
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fbf fb
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f f ≈ ≈ ≈6
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gliss.
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3 3
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jfif
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jf f
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jf f f
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jfif
jfif
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f
jfb f f
f fb j f fif
jf fb ™ f f fb ™ f f fb ™ f f ™ fb f ™ f
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ff f# fb f
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fnn f
f
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f f
f f
f f
f f f f f f f f f f
f fbf fb f f f f
f f
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f f
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f f
f fbf
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f fbf
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fif
jfif
jfb ™ f f f f fi
f
jfif
jfif
jfb f ™ fi
f
jfif
jf f f
f fb f fb f ™ f f ™ f f ™ f f ™
ffifb j fi
f
jfif
jf f f f f
ææf
æææfb
æææ
f
æææf
æææf
æææf
f fb f f f ™ f f fb ™ F F
F f f F
‰ fif
jfb ™ fi
f
jf f f Fb
fifb jfn f f f fb fi
f
jf
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F
æææfb
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62
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88
88
Picc.
Fl.I
Ob.I
Cl.I in bE
B. D.
T.-t.
Vib.
Pno.
Hp.
93
93
Picc.
Ob.I
Ob.II
Cl.I in bE
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.III
C Tpt.I
Tbn.I
Tbn.III
Tba.
B. D.
Tom-t.
Pno.
Vc.
Db.
24
24
24
24
&ff mf ff f ff
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f cresc6
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∑
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3
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3
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5
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keep playing music in the box with rhythmic freedom until the end of bar101
&mf cresc
keep playing music in the box with rhythmic freedom until the end of bar 1013
&mf cresc
keep playing music in the box with rhythmic freedom until the end of bar 101
5 5
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mf ff
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mfff
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f mf ff
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5 5 5 5
? ∑ ∑f
unis. 5 5 5 5
ff# f f f fb fb fn fb fb fb ™ f ™™
fn f ™
‰ Œ Œ ‰f
f# f# f ffn fn f f f f# f f ™
f
‰ Œ
F ™ F f f>™ F
Œ
fif
jf
>b ™ fbf
>b ™
ffifn j
f
fbfb ™
‰
f ™ f f f
Jfn ™
Œf
>f
>‰ Œ Œ ‰ ‰ f
>Œ Œ Œ Œ
Œ ‰ ‰ f
>f f
Œ Œ
f
>Œ Œ
ff
ff
>nb
Œ Œ
f
f
>b Œ Œ
f
f
>bŒ Œ
ff# f# f f
fn fn f f f f# f fb fn f ffb
‰ Œff# f# f f
fn fn f f f f# ™ f ™™f
f# f
f
f
f fn fb fbfn f f# fn fn f# f# f f
ff# fn f
f ™fbf
fb ™fifjf ™™ fb
‰f>b ™ f
Œfifj
fifj
fifj
f f ffifj
fifj
f ™ fn f f ™fb
fi
fnjFb f
fbf#f f
f f>b f
fi
fnjFb
fbf f
fbfff>b f
fi
fnjFb
‰fff>b f
f
o
>fb ™
f
>f ™ f ≈ f fb f
Œ ‰ f
oj
≈ fnJfJ f ™ fi
f
>n jf#J
fif
>jfJ ffiff
fJfi
f
ffJ f fJ
fif
jfbJ f fi
f
jf f ™ fi
f
jfb f f ™ f fi
f
j fif
jf f ™ f
fi
fnjFb
fbf f
fbfffb f
fifn j F# ‰
ff
f># f
f
> ≈ ≈ ≈f
> ≈ ≈f
> ≈ ≈f
> ≈ ≈ ≈f
>f
> ≈f
> ≈f
>
f
>f f f f
>f f f
>f f f
>f f f
>f f
>f f
>f f
>
fif# j fi
f
jf
>f f f f
>fif
jfif# jf f f
>f f fi
f
jfif
jf
>f f f
>f fi
f
jfif
jf
>f f
>f f
>
fif# j fi
f
j
f
f
> f
f
f
f
f
f
f
f
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jfif# j
f
f
f
f
f
f
> f
f
f
f fif
jfif
j
f
f
> f
f
f
f
f
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f fif
jfif
j
f
f
> f
f
f
f
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f
f
f
>
f> f f f f> f f f> f f f> f f f> f f> f f> f f>
f> f f f f> f f f> f f f> f f f> f f> f f> f f>
=
63
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°
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97
97
Picc.
Ob.I
Ob.II
Cl.I in bE
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.III
C Tpt.I
Tbn.I
Tbn.II
Tbn.III
Tba.
B. D.
Tom-t.
Glock.
Pno.
Hp.
Vln. I 2
Vln. II
Vla.
Vc.
Db.
&ff mf
ff f fff
∑3 3 3
&ff
fl
&ff
fl
&ff
fl
?
mf ffmf ff mf ff
mfff mf ff
?
mf ffmf ff mf ff mf ff mf ff
?
mf ffff mf ff mf
&mf ff mf f
f ff
&ff mf f
f ff
&f
fl
?cresc. ff6 6 3 3
? con sord.
mf ff 3
?
mf ffmf
ff mf ff mf ff mf ff
?
mfff
mf ff ff“< >
/mf f
3 3 3 3
f
3 35 5 5 3 3
/mf
3 3
f
3 3 3 3 3 35 5 5 3 3 3 3 3
& ∑ ∑™
f
∑ ∑
? 6 6 65 5 5 6 6 6 6
?‹
° ° ° °
6
° °
6
°
6
° °
5 5 5 6 6 6 6
& ∑ ∑ff ff
”“
∑
& ∑ ∑§D
∑#C
∑
Vln I 1 & ∑ ∑div. in 3
f sfz
”“
sfz sfz
”“
∑
& ∑ ∑f sfz sfz sfz
”“
∑
Vln. I 3 & ∑ ∑f sfz sfz sfz
∑
& ∑ ∑div. in 3
f sfz sfz sfz
#∑
B ∑ ∑ &div. in 3
sfz sfzsfz
# ∑
?ff
5 5 5 3 3 3 3 3 3 3 3 3 3 3
?ff
5 5 5 3 3 3 3 3 3 3 3 3 3 3
fn fn f f# f f f f f>fn
f ff f
ff# f f# f f f f f f f f f f f ‰
f>ff fn
f fff# ‰ ‰
f>fff# f>ff fn
f fff#
f>f
fbf#
f ff fb fn f>b f
ffbfbfb f>n f
>fbf fn f
f>b ffb f f# fn
f
f f>b f f fb fn f f
f>fbf f
fbff
fn fb f> f
fbf fb
fn f>b f
>ffn fb
fb f> f
fnffb fb
f
fnf>b f f
f ffn fb
f
>
j ‰ff
fn fb f> f f
≈f>b f
>b f
≈ ™f>b f
fnf f>b f f
f
fb
f f fb ™ f ™ f f
>fb ™
f
>f ™ f ≈ f fb f
>fb ™
f
>f ™ f f fb ™ f ™ f
f f fb ™ f f
>fb ™
f
>f ™ f ≈ f fb f f
>fb ™
f
>f ™ F
fb f f f fifjf f fb ™ f f f f fi
f
jf f fb ™ f f fn fb f f ™ fJ f fb f f
Œ fb f fb f f F f ™ fn fb f Fb
f
fbf f
fbff
f fb f f
fbf fb
fn fb f ff fb
fb f f
fnffb fb
f
f
fb f f
f ffn fb
f
j ‰ff
f f># f ff
r ≈f>#j
f
f ≈ ™f# f
fnf
f# f f
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f#
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r ≈ ≈f
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r ≈ Ó ≈f
r ≈ ≈f
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f f f f f
>f
>f f f
>f f f f f
>f f f
≈f f
≈f f
≈ ‰f f
≈f f
≈ ≈f f
≈f f
≈f f
≈f f
≈f
r ≈f f
≈ ≈f
r ≈f
r ≈f
r
‰fifj f>J Œ
fif# j fi
f
jf f f f f
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jf
>f f f
>f fi
f# jf f f f
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≈f f
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≈f f
‰™ ≈f f
‰™ ≈ff# f ff
≈ff ff f
fif# j fi
f
j
f
f
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f
f
f
f
f
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f
f
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f
f
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f fif# j
f
f
f
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f
f
f
f
ff#f
f
f
ff≈f
f
f
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f
f
f
ff#f
f
f
ff≈
f
f
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f
f
f
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f
ff#f
f
f
ff≈f
ff
f
ff
f
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ff f
f ff
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f>
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fb ‰
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f
f>
ffb f ‰
‰fJ Œ ‰
fJ fJ ‰
‰f
J Œ ‰ fJ fJ ‰
‰f
J Œ ‰f
Jf
J ‰
‰‰
ff
JŒ
fj
Œ‰‰
fjff
JffJ
‰
fj
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fj
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jffJ ffJ ‰
fj ‰
f f f f f> f> f f f> f f f f f> f f f f f≈f f
‰f f f f
≈f f
‰ ≈f f
‰ ≈f f f
≈f f f
f f f f f> f> f f f> f f f f f> f f f f f f f‰
f f f f f f‰
f f‰ ≈
f f f≈f f f
64
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{
°
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102
102
Picc.
Fl.I
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
B. D.
Tom-t.
W. Bl.
Hp.
Vc.
Db.
44
44
44
44
& ∑ ∑
f
&mf
∑ ∑
&mp
∑ ∑
& ∑ ∑f
3 3
3 3
& ∑ ∑f 3
3
3 3
3
3 3
& ∑ ∑f 5 5 5 5
&f
∑ ∑
? ∑ ∑
mf ff mfff mf ff
? ∑ ∑
mfff mf ff
mfff
? ∑ ∑
mfff mf ff ff mf ff
& ∑ ∑
mfmf ff
?∑ ∑
mpf
& ∑ ∑mp f ff
gliss. gliss.3 3
3
& ∑ ∑p
ff
& ∑ ∑mp ff
&p
∑f ff
? ∑ ∑mf f ff
6 3 3
? ∑ ∑mf ff
? ∑ ∑ ∑mf f
? ∑ ∑
mfff
‘“
?∑ ∑
£
f
/ ∑ ∑f
55
5 5
/ ∑ ∑f
5 5 5 5
/mf
∑ ∑
&mf
∑ ∑D #C §BbE §F #G #A
&#F #G
∑ ∑
? div.in 2pizz.
mf
»» »» »» arcounis.
f
5 5 5 5
? pizz.
mf
» » » arco
f
5 5 5 5
ff# f# f f
fn fn f f fn f# ™ f ™™f f F ™
Œ
Œ ‰f# f# f
‰f# f# f
‰f# f# f
Fb F
f>™ fb
f
fb ™fifjf ™™ f
‰fifjf>b ™ f
‰f
J ‰fifj f>b ™ f
f>™
fbf
fb fifj
fifj
f>™ fb fb fi
fjfb ™ f
>f>
f
>b fb ≈ fifb j
f
>b
fbf
>b ™ f
f
>b ™
ff
>b ™ fbf
>b ™
f fifb j
fb ™ f
f
>b fbf
f fifb j
f
>b
f ® fbf
>b
ff
>b f
f
>b
ff
>b ™ fbf
>b ™
f
fifj
fifj
fifj
f f ffifj
fifj
f ™ fn ffifj
f ™™ fn fJ ‰ ‰fifj
fifj
fifj
f f ffifj
fifj
f ™ fn f f ™™f
≈f
fb fb fb f
fn‰
f>J ‰
f>J ‰
f>J
f#f f
fn f
>b f
f fb f# F
>b f>b
j ‰ff
fnf# f#
fn f>b f ffb f f
fn
f
fbfff
>b f
f fbfb F
>f>bj ‰
fnf fb fn
f
fbf>b f f
fbf fb
fn
f
jf>b
f
jF>b f>b
j ‰fn
ff#
f>b f
f
fb
f
>fb ™
f
>f ™ f ≈ f f f f
>fb ™
f
>f ™ f f f ™ f ™ f
w F
F
Œ fb f f f f f f fb f f
Jf f
j ‰
‰fif# j fJ F fi
f# j f F
æææ
f
æææ
f™™ f#
Œ ≈fifn j f ™J
fifj
f ™ f f f
æææ
F#æææ
f
Œf-b f-b
jf- ™
fif# j F ™
æææ
fn
fb f f fifjf f f ™ f f fi
fj f fn fb f Fb fn fb f fb
Œ fb ™ fifjfJ f fb ™ fJ fJ
æææ
f ™
ŒF ™
fb jf
>n fb j F
>n f
fbfb f
>b
f>b f fb f
f> ™ f>‰
f> f> f>Œ
f>j ‰
f> ™ f>≈
f> ™‰
f>
f
>f f f
>f f f
>f f
>f f
>f
Œ ≈f
>r ≈ ≈ ≈f
>r ≈ ≈f
>r ≈ ≈ ≈ ≈f
>r ≈ ≈ ≈f
>r ≈ ≈
f
>f f
f
>f f
f
>f
f
>f
f
>f
Œf
f
>f f f
f
>f f
f
>f f f f
f
>f f f
f
>f f
fffff ‰ fi
f
jfJ ‰ fif
jfJ ‰ fif
jfJ
Œ ‰f# f# ™
‰f# f# ™
‰f f ™
Œ ‰ ff## J ‰ ff## J ‰ ffJ
ŒŒ
f
.J‰f
.j ‰f
.J‰f
.j ‰f
.J‰f
.j ‰fif# j fi
f
jf> f f f> fi
f
jfif
jf f f> f fi
f
jfif
jf> f f> f fi
f
jf f f> f f ff># f f f ff> f f ff> f f f f ff> f f f ff> f f
Œ f.bJ ‰ f
.bJ ‰ f.J ‰
fif# j fi
f
jf> f f f> fi
f
jfif
jf f f> f fi
f
jfif
jf> f f> f fi
f
jf f f> f f ff># f f f ff> f f ff> f f f f ff> f f f ff> f f
65
°
¢
{
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106
106
Picc.
Ob.I
Ob.II
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
B. D.
Tom-t.
W. Bl.
Glock.
Xyl.
Cel.
Pno.
Hp.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vla.
Vc.
Db.
34
34
34
34
44
44
44
44
& ∑ ∑pp
mf
∑ ∑
&
very expressive
mf dolce
∑ ∑ ∑mp
∑3 5 4
& ∑ ∑ ∑ ∑ ∑mp
∑4
& ∑ ∑ ∑ ∑
mf
∑f mp
&mp mf
∑ ∑ ∑ ∑f mp
&
mp mf
∑ ∑ ∑ ∑ ∑
? ∑ ∑
mf mf
∑ ∑ ∑
? ∑mp
mfmf
∑ ∑ ∑
? ∑ ∑
mf mf
∑ ∑ ∑
&sub.p mp
∑ ∑ ∑mp
∑
? ∑ ∑ ∑ ∑ ∑mp
∑
&sub.p mp
∑ ∑ ∑
mp
∑
& ∑ ∑ ∑ ∑mf
∑f mp
& ∑ ∑ ∑ ∑mf
∑ ∑
& ∑ ∑ ∑ ∑mf
∑ ∑
? ∑ ∑ ∑ ∑mf
∑ ∑
? ∑ ∑mf mf
∑ ∑ ∑
? ∑ ∑con sord.
mf mf
∑ ∑ ∑
/ ∑ ∑ ∑ ∑f
∑ ∑
/ ∑ ∑ ∑ ∑f f
∑ ∑
/ ∑ ∑ ∑ ∑f f
∑ ∑
& ∑ ∑ ∑ ∑f
∑ ∑
& ∑ ∑ ∑ ∑ff
∑ ∑
&mf
legato∑ ∑ ∑ ∑ ∑
?‹
∑ ∑ ∑ ∑subito ff
∑ ∑
&mp
§C
3”“
∑ ∑ ∑ ∑ ∑3 3 3 3 3 3 3
&mf
legato #C∑ ∑ ∑ ∑ ∑
pizz.& ∑ ∑
mf
∑ ∑ ∑
& ∑ ∑(arco)
mf
∑ ∑ ∑
& ∑ ∑(arco)
mf
∑ ∑ ∑
& ∑ ∑pizz.
mf
∑ ∑ ∑
&
1solo
mf dolce
arco
∑ ∑ ∑ ∑ ∑3 5
Btutti div.in 4
pp
arco
∑ ∑ ∑tutti div.in 3
mp
∑4
Barco
pp
∑ ∑ ∑mp
∑4
Barco
pp
∑ ∑ ∑mp
∑4
Barco
pp
∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑(unis.) pizz.
f
? ∑ ∑pp
div.in 2
b ∑ ∑unis. pizz.
f
‰ fJ F ™ F ™ ff
≈f
Œf Œ
fn f
Jf ™ fi
fn j f
Jfifj fi
fj
f ™ ff
fi
f
jF
Œfbfb f
fffff
ffffffff
ffb
≈
f
Œf
Œ ‰fifb j fi
fb jfbJ
fifj
fifj
fb ffifj
f f
wb w ‰fifj
fifjfbJ fi
fj
fifjf f
fifjf f
wb w
fnj ‰ Œ Œ
f
j ‰f
j ‰f
j ‰ Œ
wbfb j
‰ Œ Œfb j‰
fb j‰
f
j ‰ Œ
fb j‰ Œ Œ
fb j‰
fb j‰
f
j ‰ Œ
wb w f-# ™ f- ™ f- ™ f- ™
f-# ™ f
- ™ f- ™ f
- ™
wb w f-# ™ f- ™ f- ™ f- ™
≈ fb f ≈ Œ Œ ‰ fi
f
jfi
f
jfJ fi
f
jfif
jf f fif
jf f
≈f f
≈ Œ Œ
≈fb f
≈ Œ Œ
≈ f f ≈ Œ Œ
fJ ‰ Œ Œ fJ ‰ fJ ‰ fJ ‰ Œ
f
j ‰ Œ Œ f
j ‰ f
j ‰ f
j ‰ Œ
Ó ‰ f
>r≈
f
>R ‰ f
>R Œ ‰
f
>f
>
f>R ‰ f
>R Œ ‰
f> f>f
f
>bR
≈ ‰ Œ Œ
f
ff
f
>##R ‰
f
ff
f
>#R Œ Œ
fb fbfb fb
eeee
eeee
eeee
eb ebeb eb
eeee
eeee
eeee
Ó ‰™fff
f
>##nn ff
f
f
>‰ f
f
‰ f
f
‰ ‰fJ ‰ ‰
fJ ‰ f
fn‰
f f
‰ ‰ ‰fJ ‰ ‰
fJ
f# f#f# fb
eee
e
eee
e
eee
e
e#e
e# ebe
e
e
e
e
e
e
e
e
e
e
e
≈fO. f
O. fO. fO. fO. fO.‰™
fO.r
‰fO. fO.≈fO. fO. fO. fO. fO. fO. fO.
≈fO. f
O. fO. fO. fO. fO.‰™
fO.r
‰fO. fO.≈fO. fO. fO. fO. fO. fO. fO.
‰fO.jfO. fO. fO. fO.‰fO.j
‰fO. fO.≈fO. fO. fO. fO. fO. fO. fO.
‰fO.jfO. fO. fO. fO.‰fO.j
‰fO. fO.≈fO. fO. fO. fO. fO. fO. fO.
f# fJ F fif# j fi
fj fi
fj
f ™ ff# ™ f# fi
f
jf
f# ™ F
wb w f-# f
-f-
f-
wb w f-# f
-f-
f-
wb w f-# f
-f-
f-
wb w
f
f
># Œ Œ
ww
F ™
F ™ f
>b Œ Œ
66
°
¢
°
¢
°
¢
°
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{
{
°
¢
113
113
Ob.I
Ob.II
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Hn.I
Hn.III
C Tpt.I
Tom-t.
Tri.
Cel.
Hp.
Vla.
Vla.
Vc.
Db.
44
44
44
44
24
24
24
24
& ∑ ∑
very expressive
mf dolce
∑ ∑ ∑3 5
& ∑ ∑mp mf mp
∑ ∑ ∑
& ∑ ∑ ∑ ∑ff mp
∑ ∑
& ∑ ∑mp mf mp ff mp
∑ ∑
& ∑ ∑
mp mf mp
∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑mp p
∑ ∑ ∑
& ∑ ∑p mp p
∑ ∑ ∑
& ∑ ∑
p mp p
∑ ∑ ∑
& ∑ ∑ ∑ ∑ff mp
∑ ∑
/pp
∑ ∑ ∑pp
/p p
3
pp∑ ∑ ∑
p∑
3 3 3 3 3 3 3 3 3
& ∑ ∑mf
legato
mp
∑ ∑ ∑
&mp p pp
mp§C
3”“
∑mp
∑3 3 3 3 3 3 3
&mf
legato
mp
∑ ∑ ?
& ∑ ∑1solo
mf dolce mp
∑ ∑ ∑3 5
B ∑ ∑div.in 4
pp
∑ ∑ ∑
? ∑ ∑ ∑ ∑(pizz.)
f
∑ ∑
? ∑ ∑ ∑ ∑(pizz.)
f
∑ ∑
fn fif# j f
Jf ™ fi
f# j f
Jfifj
fif# jf ™ f# F ™
Œ
Œ ‰fif# j fJ
F fif# jf f F ™
‰fifb j fi
fb jfbJ
fifj
fifj
fb ffifj
f f
Œ
wb w ‰fifj
fifjfbJ fi
fj
fifjf f
fifjf f
Œ
wb w
wb
wb w
wb w
‰ fi
f
jfi
f
jfJ fi
f
jfif
jf f fif
jf f Œ
ææ
wææ
wææ
wææ
f Œ
f
j ‰ f
j ‰ f f ‰ f fŒf
j Œ ‰ fj ‰ Œ Œf
jf
j ‰ f
j ‰ f f ‰ f fŒf
j
fb fbfb fb
eeee
eeee
eeee
eb ebeb eb
eeee
eeee
eeee
f# f# f f f f f f f f f f Œ Œ ‰f# f# Œ ‰™
fR ‰ f
f
‰ f
f
‰ ‰fJ ‰ ‰
fJ ‰ f
fn‰ f
f
‰ ‰ ‰fJ ‰ ‰
fJ f# f# f f f f f f f f f f Œ
fo
fo
fo
fo
fo
fo
Œ Œ ‰foJ Œ ‰™
foR
f# f#f# fb
eee
e
eee
e
eee
e
e#e
e# ebe
e
e
e
e
e
e
e
e
e
e
e
fo
fo
fo
fo
fo
fo
Œ
f# fJ F fif# j fi
fj
fifj
f ™ ff# ™ f# fi
f
jf
f# ™ F
wwwwbbbb wwww
f
f
># Œ Ó
f
>b Œ Ó
67
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
q = 80
q = 80
q = 80
q = 80
120
120
q = 92
q = 92
q = 92
q = 92
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
B. D.
T.-t.
Vc.
Db.
Db.
34
34
34
34
&ff fff5
3
5
&ff fff5
3
&ff fff 55
3
&ff fff 55
3
& ∑ff fff5
3
&ff fff5
3
& ∑ ∑bells up
f fff
3
5
& ∑bells up
ff fff 55
3
& ∑ ∑ ∑bells up
fff 3
?
fffff
3
?
ff fff
3
?
ff fff
3
&bells up
ff fff5
3
? bells up
ff
3
& ∑ ∑ ∑bells up
fff
?bells up
ff
3
&bells upsenza sord.
ff fff5
3
3
&bells up
ff
∑ ∑(bells up)
fff 3
& ∑bells up
ff fff
5 3
3
? senza sord.∑ ∑
in the air
ff fff
3
3
?
ff
senza sord.in the air
fff ff fff ff fff fff
3
? in the airsenza sord.
ff fff ff fff ff ffffff
3
?
ff fff ff fffff fff
3
?
f f
3
/f
3
/f
∑f
∑
?div. in 3
fff
pizz. ord.unis. » div. in 3
pizz. ord.unis.
»div. in 3pizz. ord.
unis.»
fff
»
?div.in2
fff
pizz.» ord. » ord. » »
?fff
» ord. » ord. » »
≈fi
f#jf>
f
‰fifj f>J ≈
fi
f#jf
>f f f f f
≈fif# jf>
f
‰f f
≈fi
f#jf f f f f f f
≈
fi
f
jf
>b f
‰
fi
f
jf>
J ≈fi
fnjf
>b f f f f f
≈fif
jf>b f
‰f f
≈fi
f
jfb f f fn f f
≈fi
f
jf>
f
‰fi
f
jf>J ≈
fi
f#jf>
f f f f f
≈
fi
f
jf>b f
‰f f
≈
fi
f#jfn f f
R æææ
f
≈
fi
fnjf
>b f
‰
fi
f
jf>bJ ≈
fi
f#jf>
f f f f f
≈
fi
f
jf>b f
‰fb f
≈
fi
f#jfn f f
Rf
≈fi
fnjf>b f f fb f f
≈fif
jf>b f
‰f f
≈fi
f
jfb f f fn f f
≈fi
f
jf>
f
‰fi
f
jf>J ≈
fi
fnjf>b f f fb f f
≈fif
jf>b f
‰f f
≈fi
f
jfb f f fn f f
≈
fifb j f>b f
‰
fb f
≈
fi
fbjfb f f fb f f f
≈fi
fbjf>b f f fb f f
≈
fi
fnjf>b f
‰fb f
≈
fi
f#jf f f
R æææ
f∫
≈ fi
f
jfb f f f f
fif
j fb f>j ‰
fb f>j ‰
fb f> f>‰
ffb f
fbf
fb
fif
jfn f>
j ‰f f>
j ‰f# f> f> fb f
f
f
fbfn
fb
fi
f
jFb
fi
ff Fb
fi
fnf Fb fi
f
jfb
‰f
≈fb
≈f
≈ fif
jf
>b f ‰ fi
fb j f>b j ≈ fi
f#jf
>f f f f f ≈
fi
f
jf>b f ‰ f f ≈ fi
f#jfn f f f f
fif
jf#
æææ
f>J
‰ f#æææ
f>J
‰ f
æææ
f>
æææ
f>
‰ f f f#
≈ fi
f#jf f f f f
fif
jf
æææ
f
>J
‰ f
æææ
f
>J
‰ f
æææ
f
>æææ
f># ‰ f f# f
≈fif#jf>
f ‰ fif# jf>J ≈
fi
fnjf>b f f fb f f ≈
fi
f#jf>n f ‰
fb f
≈fi
f
jfb f f fb f
≈ fi
f
jf
>f ‰ fi
f
jf
>J ≈
fi
f
jf f f f f
≈ fi
f
jf
>b f f f f f ≈ fi
f#jf
>f ‰ f f ≈ fi
f
jfb f f fb f
≈fi
f#jf>
f
‰f f
≈fi
f
jfb f f f# f
fif
jf#
æææf
>
j‰ f#
æææf
>
j‰
f
æææf>
æææf
>‰ f# f f
fif
jf
æææf>j ‰
f
æææf>j ‰
fbæææf>
æææf
>‰ f f# r ≈ fR ≈
fif
jfn
æææf>j ‰
f
æææf>j ‰
f
æææf>
æææf>
fb ff
f
fb f
f
f
Œf
Œf
‰f
jfb j f f
ff
f
f
j ‰ f
j ‰ f
j ‰ f
j ‰ f
j ‰ f f f f
j ≈f f f
fŒ
fŒ
fff# j ‰
fnj ‰
fff# j ‰
fnj ‰
fff# j ‰
fnj ‰ Œ ‰
f
j
f<n>J ‰f
j ‰ fJ ‰f
j ‰ fJ ‰f
j ‰ Œf
j ‰
fb j ‰f
j ‰fb j ‰
f
j ‰fb j ‰
f
j ‰fb j ‰
f
j ‰
68
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
G
G
q = 66
q = 66
124
124
Picc.
Ob.I
Ob.II
Cl.I in bE
Cl.II in bB
Cl.III in bB
Tri.
Crot.
Hp.
129Picc.
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
34
34
44 34
& ∑ ∑ ∑ ∑ff
& ∑ ∑weeping
ffespress.
mf ff mf
∑ ∑
& ∑ ∑weeping
ffespress.
mf ff mf
∑ ∑
&
weeping
f espress.
gliss.
mp ffespress.
mf ff mff
ff
gliss.
p
&weeping
f espress. mp f
gliss. gliss.
f
gliss.
ff p3
& ∑mf
weeping
espress.∑
bells up
f ff mp ff
gliss.
p3
/ ∑ ∑ ∑ ∑whip.
ff
& ∑ ∑ ∑ ∑ff
& ∑ ∑ ∑ ∑
§Eff
? ∑ ∑ ∑ ∑ ∑
&mf p mf p mf p3 3 3
&f
espress.gliss.
p f
gliss.
sf
gliss.
mp ff
gliss. gliss.
mf
&f
gliss. gliss.
p f
gliss.
sf mp ff mf ff
&f
espress.
p
∑ ∑3 3
&f p
f
gliss.
sf p ff
gliss. gliss.
mf
&(bells up)
f mpf
gliss.
sf 3p ff
gliss.
mf
gliss.
&f
gliss.
pf
gliss.
sf p ff
gliss.
mf
gliss.
3
Œf>™
f#Œ
fif
>j
fif
># jf f#
≈
fif
>b j
≈f>n f
fif
>jf
f#≈
fif
>j
fif
>jf
f#≈ Œ
fif
>j
fif
># jf f#
≈
fif
>b j
fif
>b jfn ™
fBfif
>jf ™f fi
f
># jf fb
f f fb r ≈ ‰ Œfif
>j
fif
>b jf
fn≈ Œ
fif
>b j fi
f
>b jfb f
≈ fif
>Bj f ™
fbfifjfn ™
f
fifj
fb ™fb fb f ™J ≈ Œ Œ
Œ Œ fif
>jf fb ™ f
>fbf#J ‰ Œ Œ Œ
f ™fB f fb ™
f ≈ f>™
Jf f
>b ™fif
>j
fif
>n jfµ
f fB f f ™f#R ≈ ‰ Œ
≈ f ™J fb f ≈ Œfif
># j
f ™
fb fif
>jf ™ fbf f#J ‰
fif
>j
fifjfb ™
fµ fifn jf fµ fB ™
J ≈
Œf
>Œ
Œ f> Œ
ŒF
F
>
Œ Œfifn j
‰f f
f# f f fb f ≈ ‰ Œfifj
≈f ™
f f# f fn f Œ ≈fifjf ™
Jf fb f f# fn
fif
>jfn ™
fn fif
># j
fif
>jf f ™ fbJ ‰ Œ fb ™
f>b fi
fn jf ™
f>µ
fifj
f>
f
>µ fn ™
J ≈fif
>b jf
>n ™fµ
fn ™
fB f ™J ≈
fif
>b j fi
f
>jfn ™
fB fn ™ fµ f ™J ≈ Œ fif
>n j
fif
>j
f ™fb
fifjfn ™
f fifj
ff#
f ™
j ≈ ‰f>J
fb ffµ
‰ f>
ffb
f
fif
>j fif
>jf f# ™ f
>n ff fb ™ f
>Ó
Œ ≈
fif
>j
fb ™
Jf f# ™
Œfif
>jfif
>f
>
f ™
f fifb j
f ™fBb
fifj
fifj
fbf>b
≈
fif
># j
f
>µ fn ≈
fif
>jfn ™
f# f# ™f
ff ™
J ≈
Œ ≈f>n ™
Jfn
f# ™ Œ f>™
ffif
>jf
>™
fµf
fJ f fµ ≈f>n ™
Jfµ
f>b ™
fB fb‰
Œ ≈fif
>b j fb ™J f
f ™ Œ fb ™
fbfifjfn ™
fBf fn ™ f fB ≈
fb ™J fif
># jfµf ™
f fb ™f
=
69
°
¢
°
¢
°
¢
132Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
24
24
&p p
∑ ∑ ∑
&f
gliss.
mf
∑ ∑fp fp
&f mf
∑ ∑ ∑ ∑3
& ∑f
gliss.
p f p
∑ ∑3
& ∑f p f
∑ ∑
& ∑ ∑ ∑ ∑ ∑
&f
gliss. gliss.
p f
gliss.
p f p ff ffp f fp fp
& ∑(bells up)
f p sfp sfp
∑
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑(bells up)
? ∑ ∑ ∑ ∑ ∑(bells up)
& ∑ ∑ ∑ ∑ ∑(bells up)
? ∑ ∑ ∑ ∑ ∑(bells up)
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
Œ Œ f fJ ‰ ≈ f ™J f# fb ≈
fb ™
f
≈
fif
>b j
ff ™
J ≈fif
>f
f ™
J Œfif
># jf
‰
fif
>jfbJ
f ™
J ≈
fif
>b j fi
f
>b j
fif
># jf ff fi
f
>jf
‰f
≈fb
f
fi
f
>
#j
f>™ fb fi
f
># jfµf ™ f
fi
f
>
#j
fi
f
>bj
fµ
f ™ f# fR ≈ ‰
®
fi
f
>j
f># f f
>b f
fif
># jf
fnfi
f
>
#j
f f# ™
fnJ ‰ Œ
fif
>b j
fif
>b jf ™
ffb ™
fb f>B ™J ≈ Œ
fif
>j
fi
f
>
bj
fn ™ fBb fif
>b j
fi
f
>
bj
fµfµ
fif
>b jfµ
fµ f ™ f>∫ f
>b‰
fi
f
>bj
fµ
Jfn
fn‰ ‰
fi
f
>
B
j
fµf f
>bfb ‰
Œ Œ ≈
fi
f
>
bj
fif
>n jfbfµ
fR ≈ ‰ Œ ‰ ®fif
>b j
fb ™
R ®fif
>b jf ™ f#
70
°
¢
°
¢
°
¢
137Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
13
13
&
fff
13 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mfff
13 Ÿ~~~~~~~~~~
mf ff3
33
&
fff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf ff
Ÿ~~~~~~~~~~~~”“
mf ff
1313 13
&
fff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf ff
Ÿ~~~~~~~~~~~
mf ff13 13 13
&
fff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mfff
Ÿ~~~~~~~~~~~
mfff13 13 13
& ∑ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~∑
ff
Ÿ~~~~~~~~~~
∑
&
fff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf ffmf
ff
1313
13
&
fff
13 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf
ff13
Ÿ~~~~~~~~~~~~
mfff
3 3 3
&
f
(bells up)
ff mfff
mfff13 13 13
&f
bells up
ff mf ffmf ff
13 1313
&
harmonic gliss.
mf ff
?
mf
harmonic gliss.
&
ff
harmonic gliss.
mf ff
13 13 13
?harmonic gliss.
mf ff
?
harmonic gliss.
mf
&ff
mf
harmonic gliss.
ff
13
1313
&
harmonic gliss.
mf ff
?
mf
harmonic gliss.
&ff
mf
harmonic gliss.
ff
13 13 13
?
mf
harmonic gliss.
ff
?
mf
harmonic gliss.
&
ffmf
harmonic gliss.
ff
13
13 13
& ∑(bells up)
ff
∑ff
∑
& ∑(bells up)
ff
∑
ff
∑
& ∑(bells up)
ff
∑ff
∑
≈ ≈
f
fb ff fb fn f f
f fb ff
f Fn fnŒ ≈ ≈ fn fn f# f f f# f# f# f
fn f# f fb ™ fb
‰ ≈ ≈fb f
f fb fn fn fn f fb fn ff
≈f
fn f# f# f# f# f f f# f# fn fb fn F f
Œ ≈ fb fn f ffn fb fb f f f# f f
fb ™ f
‰ ≈f f# f# f# f# f f f# f# fn fb fn
f#
fb f ffb fb fn f f# f fb fn f f# F# f
Œ fn fb fb fn fn fb fn fn fb fn f f# f f ™ f
‰fb f f
fb fb fn f f# f fb fn f f#
f
fb f ffb fb fn f f# f fb fn f f# Fb f
Œ ffb fb f f fb fn fn fb fn f f f f ™ f
‰fb f f
fb fb fn f f# f fb fn f f#
fFb f
Œf ™ f
‰
≈f
f f# f# f# f# f f f# f# fn fb fnFn f Œ ≈ fb f f f
f fb fb f f f# f ffb ™
‰ ≈f f# f# f# f# f f f# f# fn fb fn
fb fb fb ff fb fn f fn f fb
fb
ffn f
Fb fb
Œf
ff∫ fb fb fn f fb fb fb fn f
fb fb fb ™ fb
‰fb fb fb f
f fb fn f fn f fb ffn f
fb f ffb fb fn f f# f fb fn f f#
æææ
Fbæææ
f Œ ffb fb f f fb fb f fb fn f f# f
æææ
f ™
‰fb f f
fb fb fn f f# f fb fn f f#
≈fb fb fb fb fb fn fb fb fb fn fb fb
æææ
Fnæææ
f Œ ≈ fb f f ff fb fb f f fb fn f
æææ
fb ™
‰ ≈fb fb fb fb fb fn fb fb fb fn fb fb
ff# f
f f f# f# f# f f# f f# f
æææ
F
æææ
f Œfb f
ffb fb
f f f f f fb fn fbæææ
fb ™ ‰f
f# ff f f# f# f# f f# f f# f
ff# f
fn f f f# f# f f f f# f
æææ
F#æææ
f
Œfb f
fb fb fb fbf f fb f fb fn fb æææ
f ™‰
ff# f
f f f f# f# f f f f# f
ff
ff f f f f# f f f f# f
æææ
F
æææ
f Œ fb ffb
fb fb fb f f fb fb fb fn fb æææf ™
‰f
ffn f f f f f# f f f f# f
ff
ffb f f f f f f fb fn f
æææ
Fbæææ
f
Œf
f# f# f
f f# f# f# f# f# f f# fæææfn ™
‰fn fn fn fb fn fn fn f f fn fb fn f
æææ
Fnæææ
f
Œæææ
fb ™ ‰
æææ
F
æææ
f Œæææ
fb ™ ‰
æææ
Fbæææ
f Œæææ
f ™ ‰
71
°
¢
°
¢
°
¢
°
¢
143
143
H
H
H
q = 70
q = 70
Picc.
Fl.I
Fl.II
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Hn.I
Hn.II
Hn.III
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Vln. I
Vln. II
38
38
38
24
24
24
38
38
38
34
34
34
& ∑ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
sfp
non tr.
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~∑ ∑
& ∑ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
sfp
non tr.
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~∑
p
& ∑
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~
sfp
non tr.
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~∑ ∑
& ∑ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
sfp
non. tr.
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~∑ ∑
& ∑ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sfp
non. tr.
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~∑ ∑
& ∑ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sfp
non. tr.
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~∑ ∑
& ∑ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sfp
non. tr.
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑ ∑
& ∑(bells up)
ff sfp ff
∑ ∑
& ∑
ff
bells up
sfp ff
∑ ∑
& ∑(bells up)
ff sfp ff
solo
mp
normal
& ∑(bells up)
ff sfp ff
∑normal
mp
& ∑(bells up)
ffsfp ff
∑ ∑
& ∑(bells up)
ff sfp ff
∑ ∑
& ∑(bells up)
ff sfp ff
∑ ∑
& ∑(bells up)
ff sfp ff
∑ ∑
& ∑(bells up)
ff sfp ff
∑ ∑
& ∑ ∑ ∑ ∑
unisarcocon.sord.
pppp mp
& ∑ ∑ ∑ ∑con.sord.
unisarco
pppp
ffn ™
Fb fbfb ™
ff ™
Fff# ™
Œ Œ fµ
f#f# ™
F
ff ™
ffb ™
Fn ff ™
ffb ™
Fb ff ™
ffn ™
Fb ff# ™
fbfb ™
Fn ffn ™
fb ™
Fb f ™
fn ™
Fb fb ™
æææ
f ™ æææF
æææ
f ™ ‰ fBJ F F ™
æææ
f# ™æææFb
æææfb ™ ‰ fµJ F
æææ
f ™ æææF
æææfb ™
æææf ™ æææ
Fbæææf ™
æææ
f ™
æææ
Fbæææ
fb ™
æææ
f ™ æææFb
æææ
fb ™
æææ
fb ™ æææFb
æææfb ™
Œ ‰ fJ f F ™
Ó fµ F ™
72
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
{
149
149
Picc.
Fl.I
Hn.I
Hn.II
Hp.
Vln. I
Vln. II
157
157
Picc.
Fl.II
Ob.I
Ob.II
Cl.I in bE
Bsn.I
Bsn.II
Cbsn.
Hn.I
Tbn.I
Tbn.II
Tbn.III
Tba.
Timp.
Mar.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Vc.
Db.
44
44
44
44
& ∑ ∑ ∑ ∑ ∑ppp 3
&mp
gliss.
pp
gliss.
mp
gliss. ∑ ∑ ∑ ∑
&pp
∑ ∑mp pp mp
3 pp
gliss.
&pp
∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑§C
l.v. sempre.
p 5 p
”“5
∑p
5 5
p
”“
& ∑mp pp
∑
mp 3 pp
&mp mp pp
∑
mp 3pp
& ∑ ∑ppp ppp pp
∑mp mf
3
∑
& ∑ ∑ ∑ ∑ ∑mp mf mp
∑ ∑
& ∑ ∑ ∑ ∑ ∑mp espress. mf
3
mp
∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑mp
3
mp
& ∑ ∑ ∑ ∑ ∑normale
p
3
p
?
pp ff
∑ ∑ ∑ ∑ ∑ ∑ ∑
?
pp ff
∑ ∑ ∑ ∑ ∑ ∑ ∑
?pp f
∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑mp 3 ppp
∑ ∑ ∑ ∑
?ord.
ff
∑ ∑ ∑ ∑ ∑ppp mp
3
∑
?normale
pp ff
∑ ∑ ∑ ∑ ∑ ∑ ∑
?normale
pp ff
∑ ∑ ∑ ∑ ∑ ∑ ∑
?
ppff
∑ ∑ ∑ ∑ ∑ ∑ ∑
?pp
6
ff
∑ ∑ ∑ ∑ ∑ ∑ ∑3 7
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑mp
& ∑“< >
∑ ∑l.v.
mp
∑D #C BbE #F #G #A
∑3
& ∑ ∑ ∑ ∑ ? ∑ ∑mp l.v.sempre. p 3 3
&div. in 2
mp
sul pont.
ff
ord.unis.
mp 3 pp
∑ ∑mf mp mf
3p
&div. in 2
mp
sul pont.
ff
∑ord.unis
mp pp
∑ ∑ ∑ ∑
Bdiv. in 2
mp ff
sul pont.∑ &
unisord.
ppp
B ∑ ∑con sord.
pp
?
mp
arcodiv. in 2
ff
sul pont. ord.∑ B pizz.
pp
∑ ? ∑ ∑con sord.
∑arco
pp
3
?
mp
arco sul pont.
ff
ord.∑
pizz.
pp
∑ ∑ ∑arco con sord.
pp
3 33
?arco
mp
div.in2 sul pont.
ff
∑ ∑ ∑ ∑ ∑ ∑ ∑
Ó f f f fJ f f f fB ™ ‰
F ™ fB Œ Œ Œ Œ fn Fµ fn
f Œ Œ Fµ ™ f Fn FB f f ™ fJ fB F Fb f
F ™ f Œ Œ
Œ Œf
f
f
f ≈ Œf
f
f
f ≈ Œ Œf
f
f
≈ ≈f
f
f
≈ ≈ Œ Œf
‰ fµJ F F ff
fµJ ffbJ Œ Œ ≈ f ™J f f fJ f f F Œ
f# Œ Œ ‰ ≈ fR F Fµ f f# fJfµ
fn ‰ Œ ≈ fn ™
J f fn ™ f f f fJ f f f ™ ‰ Œ
Ó f f Œ Œ F ™ Œ ‰ ≈f
RF
Œ ff f ‰ f
>f
fb ™
‰ fJ f F f Œ Ó
‰ fJf ™ fbJ fJ f f fb fJ ‰ Ó
‰f f
Œ ‰fbJ fJ ‰ Œ Ó
Œ ‰fb f f
ff
Jf
Œ ‰ Œ ∑fb ™
‰ Ó
ŒF# F
Œ
ŒF# F
Œ
Œf f f f
Œ
≈ fB ™J f# fn f ™ fJ fµ Fn Fb fb Œ
Ó™æææ
Fb Œ F# f f#J fn
Œ ‰ fb ™
æææ
F Œ
Œ ‰ f ™
æææF Œ
F f f
æææ
f
Œ
f f
j≈f f f fffff
≈fffffff
®fffffff
Œ
æææ
ffffbb
bbJ ææ
æ
ffff ™™™™ ‰
æææ
ffff ™™™™
Œ Œfo
Ó Œ ‰fo
Œ Œ fo ff
ff##
##™™™™ ff
ffJ
ffffJ
ffff ™™™™ ‰
ff
fb## ff
f ‰ff
f
ff
f
Óff# F
F
Œ Œ ≈ f ™J f f fJ f f F ™ Œff f
‰f
>f
fb ™ f ™ f
Jf f
Œ ‰ff# ™™
FF
Œ Ff f ™ ‰ Œ Œ
‰ffb™™
ff
FF
Œ Ófo
Fo
ÓFb f f fb ™
Fb ™
Œ
F# ™ F
Œ ÓOf fb f
fb ™ f ffb fb f
F# ™ F
Œ Óf
Of#f# f f
jf f fb
fb fb f ™ f f
jfb
F ™F ™FF
ŒŒ
=
73
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
{
°
¢{
166
166
q = 63
q = 63
q = 63
q = 63
Picc.
Fl.I
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Hn.I
Hn.III
C Tpt.I
Tbn.I
T.-t.
Tri.
Chim.
Mar.
Cel.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Vc.
44
44
44
44
& ∑ ∑ ∑mp 3 mf mp
∑ ∑ ∑
& ∑p
gliss.
mp
∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
ppp
∑3 5 3
& ∑ ∑ ∑ ∑ ∑normale
ppp
3 3 ∑
& ∑normale
ppp p
∑ppp
∑3 5 3
? ∑ ∑ ∑p
∑ ∑ ∑ ∑
? ∑ppp ppp 3 p
∑ ∑ ∑
& ∑mp
gliss.
mp mf
∑mp 3 f
& ∑ ∑ ∑ ∑ ∑p
normale
pp mf f p
& ∑ ∑ ∑normale
p
∑ ∑ ∑
? ∑ ∑ppp p p
∑ppp
∑
/ ∑ ∑ ∑ ∑ ∑a pair of small cymbals ∑ ∑ ∑
/to Tri. l.v.
mp ∑ ∑ ∑ ∑ ∑ ∑ ∑
&mp
3
∑ ∑mp
∑ ∑ ∑3
?mp
∑ ∑ ∑ ∑ ∑
&mp
3 ∑ ∑mf
∑ ∑p
3 3 3
? ∑ ∑ ∑ ∑ ∑ ∑3
& ∑ ∑
mf
∑ ∑ ∑
?p
§E∑ ∑ ∑ ∑ ∑
&pp mp pp mp
3 pp
∑ ∑ ∑
& ∑
pp mp
∑ ∑ ∑ ∑
B ∑ppp p
∑ ∑ ∑3 5
3
?ppp p
∑ ∑ ∑ ∑
?ppp 3 p
∑ ∑ ∑
fJ f fJf fJ
f
f f Œ Ó
fn ™ fJ Œ fµ F ™ Œ
Œfb fb
fb f
jf f
ff f f fb j f ™ fb
Ó
Œfbj
fb f f f fbjfb
Ó
Œfbfb fb f
jf f
fffb f f fb j f ™ fb f ™
‰ ‰™fb r F ™ Ó
Fb f ™‰ Ó
Œ ≈fRf# ™ f
Ó fb f Œ fbJ fb f Œ Œ ≈fR f ™ f fJ ‰ Œ Ó
≈ fµ ™J f fµ Œ fn F FB Ó fBJ fn f w F F f fB fJ ‰ Ó
F ™ Œ F F f ™ f# ™ Œ
‰™f# r F fn f# ™ f
j ‰ Œ Ó
Fb fb fb ™ f
Œ F ™ Œ ‰ fbJ fb fb ™ f f
fb fb f
Ó
Ó Œ ‰ fj
‰ fif
jf. Œ fi
f
jf.J ‰ Œ ‰ f fJ Œ f fJ Œ Œ Ó
‰æææ
ffffbb
bb™™™™ Œ Œ
æææ
ffff
bbbb ™™™
™
æææ
ffff ™™™
™
Œæææ
FFFF
bbbb ™™™
™
Œ
‰ f. Œ Œ Œ
ff
fnnnJ
fffbb
f
fJ Œff
f
bJ ‰
ff
fJ ‰ ‰f
f
f#n J
f
ff
fbb
Œ fn fJ ‰ ‰ fJ ‰ ‰ fJ Œ
ffff
n##n J
ffff
ffffJffff ‰ ‰ ffffJ
ffff Œ F
FFF
n##n
Œ ŒfoJ ‰ Œ
ffff##n FF
FF
ffffn
ffff
FFFF##
Œ
FF
Fb## ‰ff
f
jff
f ‰f
ff
b## Jf
ff Œ ‰f
ffJf
ff
F
FF
b## Œ
f
Œ Ó Œ F f wf
f f
Jf ™ f
Jf f
fb ™ f
Ó
Œ ‰ fJ f f F Ó ∑
Œ fbfb fb f f f
fffb f f fb j f ™ fb F
‰™ fR F ™ f Œ Ó
f
fb ™ F Œ Fb fb fb ™ f f
fb fb f ™
‰ Œ Œ F ™
F fb Œ Ó fb f f fbJ fb f Œ Œ ≈ff# F fJ ‰ Œ Ó
74
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
{
{
I
I
I
I
174
174
Ob.I
Ob.II
Ob.III
Cl.I in bE
Cl.II in bB
Cl.III in bB
Bsn.I
Bsn.II
Cbsn.
Hn.II
Hn.IV
C Tpt.I
C Tpt.II
C Tpt.III
Tbn.II
Tbn.III
Tba.
Timp.
B. D.
T.-t.
W. Bl.
Mar.
Pno.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Vc.
Db.
44
44
44
44
& ∑ff
gliss.
f ff
gliss.
f
∑
& ∑ff f ff
gliss.
f
∑
& ∑ff
gliss.
f ff
gliss.
f
∑
&
bells up
f
weeping
espress. mp
gliss.f
gliss.
ff
gliss.
fff
&bells upweeping
fespress. mp f
gliss.
ff
gliss.
fff3
&bells upweeping
mfespress. f
gliss.
ff fff33
? ∑ ∑ ∑
fff sf? ∑ ∑ ∑
fff sf? ∑ ∑ ∑
fff sf
& ∑ ∑ ∑ ?
fffsf
& ∑ ∑ ∑ ? normal
fff sf
&bells up
pp fff
&(bells up)
pp fff
& ∑(bells up)
pp fff
? ∑ ∑ ∑fffsf
? ∑ ∑ ∑fff sf
? ∑ ∑ ∑fff sf
‘“
?∑ ∑ ∑
fff sf
/ ∑ ∑ ∑fff sf
/
hold the small cymbals in hands, roll in circles against each other
p fff
3 3
/ ∑ratchet
mp
roll very fast
fff
? ∑ ∑ ∑
fff sf
&to pno. ∑ ∑ ∑ ∑
& ∑ ∑ ∑
play all pitches between bB and A
fff sf
°ø
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑bC
fff sf‘“
& ∑ ∑ ∑pizz.div.senza sord.
fff sf
»
& ∑ ∑ ∑pizz.div.senza sord.
fff sf
»
B ∑ ∑ ∑pizz.div.senza sord.
fff sf
»
? ∑ ∑ ∑unispizz.
senza sord.
fff sf
»
? ∑ ∑ ∑pizz.unis senza sord.
fff sf
»
? ∑ ∑ ∑pizz.unis ord.
fff sf
»
Œ ≈fif
>jfb ™
Jf f# ™
≈f>™
Jf# fn f
Œ Ó
Œ ≈fif
>jfb ™J
f>
fn ™
≈fif
>jfb ™
Jf>
fb ™
Œ Ó
Œ ≈fifjf>b ™J f f
>bf ≈
fifjf>b ™
J ff# ™ Œ Ó
fif
>b j
fif
>b jf ™ fB
fif
>jf ™f
fif
>b jf fb
f f
fif
>Bj
fif
>b j
f ™fb
fifjfb ™
f
fifn j
fn ™ fb fb fn ™
J ≈ Œ Œ ≈
fn ™
Jfb
f ™
≈
fif
>b j fi
f
>jfb ™
Jfb f>
®
f>bRÔ ≈
fif
>jfn ™
Jf
f
≈ ‰
Œ Œ fif
>jf fb ™ f
>f
f#J ‰ ≈ f ™Jfif
>b j
f fb ™fifj
fifn jfµ f# fB f f
>™
fbR ≈ ‰ Œ ≈
fif
># j
fb ff>
fbf>f>b
≈
fif
># j f
f f>bf fb fb ≈
fif
>n j f
fb f>
fb‰
Ó Œ ≈ f ™J
fif
>b j
f ™
f>b fi
f
># jfb ™ fbf f#J ‰
fif
>jf
>n f>n
fµ ™ fif
>j
f fµ fB ™
J ≈ ≈fif
>jfb
f ff ™
≈fif
>jf ™
Jf>b
f
f>b
≈fif
>jf# ™
J f>B f ‰
Ó Œ ‰™f>br
Ó Œ ‰™f>br
Ó Œ ‰™f>nr
Ó Œ ‰™f>r
Ó Œ ‰™f>r
Œ ‰fbJ F Fb fi
fj
fifjf f ™ f
æææ
wbæææ
w
Ó ‰fifj
fifjfbJ f fi
fj w
æææ
F
æææ
Fbæææ
w
‰fifj fbJ f Fn
æææ
wæææ
w
Ó Œ ‰™f>r
Ó Œ ‰™f>r
Ó Œ ‰™f>r
Ó Œ ‰™f
f
>b r
Ó Œ ‰™ f
>r
Œf f f ™ f f f f f f f f f f f f f f
æææwæææF Ó
æææ
wæææ
F
æææ
F
æææ
F Ó
Ó Œ ‰™ ffff
>bR
Ó Œ ‰™
f
f
'
b r
Ó Œ ‰™ff'>br
Ó Œ ‰™ff
># r
Ó Œ ‰™ff>r
Ó Œ ‰™ff
>r
Ó Œ ‰™f
f
># r
Ó Œ ‰™f
f
># r
Ó Œ ‰™f>r
75