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SYMPHONIC FANTASIA HAN-KOOK OUI JA-YEON (NATURE IN KOREA):
SCORE AND CRITICAL COMMENTARY
Sang-Eun Han, B.A., M.M
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
August 2004
APPROVED:
Joseph Klein, Major Professor Graham Phipps, Minor Professor,
Director of Graduate Studies Cindy McTee, Committee Member James C.
Scott, Dean of College of Music Sandra L. Terrell, Dean of the
Robert B. Toulouse School of Graduate Studies
-
Han, Sang-Eun, Symphonic Fantasia Han-Kook Oui Ja-Yeon (Nature
in Korea): Score
and Critical Commentary. Doctor of Musical Arts (Composition),
August 2004, 118 pp., 36
musical examples, references, 24 titles.
The Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in Korea) is
a single-movement
orchestral piece, which is divided into 5 characteristic
sections – each section has programmatic
subtitles (Rocks, River, Sea, Wind, and Mountain) and its own
idée fixe motive. The degree of
texture (homophonic/polyphonic), dynamics (strong/weak), density
(thick/thin), velocity
(fast/slow), and orchestration (emphasizing various sections of
the orchestra) is determined by
depiction of the subtitles.
The critical commentary of the Symphonic Fantasia Han-Kook oui
Ja-Yeon (Nature in
Korea) includes a discussion of form, pitch content (melodic and
harmonic), and texture of the
piece. The commentary also includes a discussion of the use of
programmatic subtitles (Rocks,
River, Sea, Wind, and Mountain) and depiction of these concepts
in the orchestration of the work.
A comparison with other orchestral works is added for
explanation and support of the
composer’s concept. Some of the other composers who are
discussed in this paper include
Richard Strauss (Alpine Symphony), Gustav Holst (The Planets),
Frank Bridge (The Sea), Aaron
Copland (Billy the Kid), and Joseph Klein (Pathways: Interior
Shadows).
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TABLE OF CONTENTS
Page
LIST OF FIGURES
.......................................................................................................................
iv
PART I: CRITICAL
ESSAY...........................................................................................................1
1. Programmatic Concept and Idée Fixe of Each Section
................................................2
I. Rock
.................................................................................................................2
II.
River.................................................................................................................3
III.
Sea...................................................................................................................7
IV. Wind
...............................................................................................................9
V, Mountain
.......................................................................................................18
2. Unique Korean Characteristics
...................................................................................20
Quotation from Korean Folk Tunes
......................................................................20
Quotation from Korean Traditional Rhythms and Other Korean
Characteristics.28
3. Relationship Among
Sections.....................................................................................35
Formal
Scheme......................................................................................................35
Pitch Contents and Other
Materials.......................................................................44
4. Orchestration and Other Characteristics
.....................................................................54
Orchestrational Techniques
...................................................................................54
Characteristics Related to Other Composers’
Work..............................................57
5. Conclusion
.................................................................................................................77
Bibliography......................................................................................................................79
PART II: SYMPHONIC FANTASIA HAN-KOOK OUI JA-YEON (NATURE IN
KOREA) .....81
Instrumentation
..................................................................................................................82
I.
Rock............................................................................................................................83
II. River
...........................................................................................................................87
III. The Sea
.......................................................................................................................95
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IV. Wind
.........................................................................................................................103
V.
Mountain...................................................................................................................112
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LIST OF FIGURES
Page
1. Rock Idée Fixe
.....................................................................................................................2
2. River Idée Fixe (mm. 31-42)
...............................................................................................4
3. River and Fish Idée Fixe (mm.
52-59).................................................................................6
4. Sea Gull Idée fixe (harp and solo violin, mm.
121-125)......................................................7
5. a. Wild Wave Idée Fixe (strings, mm.
147-150).................................................................8
b. Gentle Wave Idée Fixe (strings, mm.
156-160)...............................................................8
6. Wind Idée Fixe (mm. 180-184)
.........................................................................................10
7. Dialog Between Timpani and Jang-gu (mm. 182-201)
.....................................................11
8. “Chaotic” Mood on Percussion Instruments (mm.
194-208).............................................12
9. a. A Sunny Day (mm.
208-219)........................................................................................14
b. A Stormy Day (mm. 220-233)
......................................................................................15
10. Mountain Idée Fixe (piccolo, mm. 242-256)
.....................................................................19
11. a. Full Version of Arirang Melody
...................................................................................21
b. Full Version of Ko-Hyang-oui-Bom
Melody................................................................21
12. Quotation from a Part of Arirang (Bb trumpets, mm.
72-75)............................................22
13. Arirang with Pedal Tone (mm. 76-79)
..............................................................................22
14. Arirang as a Transition from Slow to Fast Passage (brass, m.
220)..................................23
15. Arirang as a release following the big climax (mm. 285-290)
..........................................24
16. Altered Ko-Hyang-oui-Bom (ka-ya-kum and harp, mm. 235-241)
...................................25
17. Ko-Hyang-oui-Bom with Tonal Harmonic Progression (mm.
270-273) ...........................25
18. Ko-Hyang-oui-Bom as a Transition to the Tutti Ending (mm.
274-278)...........................27
19. a. “Jung-Mo-Ri,” a Korean traditional rhythm (mm.
208-209)........................................28
b. “Sae-Mar-Chi,” a Korean traditional rhythm (mm. 231-232)
......................................28
20. Tutti Ending with “Jung-Mo-Ri” Rhythm (mm. 278-283)
................................................30
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21. a. Water Idée Fixe (strings, mm. 42-55)
...........................................................................31
b. Passage made out of Pentatonic Scale, Parallel Fifth, and
Open Triads (ka-ya-kum, mm. 208-213)
..............................................................................................................34
22. a. Ending of the “River” Section (mm. 79-83)
.................................................................37
b. Beginning of the “Sea” Section (mm. 84-92)
................................................................38
23. Ending of the “Sea” Section (mm. 167-179)
.....................................................................39
24. Beginning Melodic Line of the “Wind” Section (mm. 180-200)
......................................40
25. Dovetailing Passage between the “Wind” and “Mountain”
sections (mm. 234-244) .......42
26. Four-One Semitone Interval Melody (mm.
234-261)........................................................46
27. Beginning of the First Section (mm. 1-7)
..........................................................................48
28. a. Ascending Leap Figure of Timpani (mm. 3-5)
..............................................................50
b. Ascending Leap Figure of Sea Gull Idée Fixe (harp, mm.
111-112) ............................50
c. Ascending Leap Figure of Cloud Idée Fixe (trombone, mm.
202-203).........................51
d. Ascending Leap Figure of Sunny Day Idée Fixe (ka-ya-kum, mm.
208-209) ..............51
29. a. Syncopated Rhythm (horns, mm. 4-5)
..........................................................................52
b. Syncopated Rhythm in Fish Idée Fixe (trumpets, mm.
56-57)......................................52
30. Comparison of Quartal Harmony with Mystic Chord by
Skryabin...................................58
31. Joseph Klein, Pathways: Interior Shadows (mm. 439-450)
..............................................59
32. Gustav Holst, The Planets, Op. 32, “Mars” (mm.
49-66)..................................................62
33. Gentle Wave and Sea Gull Idée Fixe in the Symphonic Fantasia
(mm. 154-166) ............67
34. Frank Bridge, The Sea, No. 1 “Seascape” (Rehearsal No. 7)
............................................68
35. Aaron Copland, Billy the Kid (mm.
9-16)..........................................................................71
36. a. “Mountain” in the Symphonic Fantasia (mm.
242-248)...............................................73
b. Richard Strauss, Alpine Symphony (Rehearsal No. 83)
................................................74
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PART I
CRITICAL ESSAY
The Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in Korea) is
a single
movement programmatic orchestral work. The piece is divided into
five characteristic
sections with the subtitles of Rock, River, Sea, Wind, and
Mountain. Each of the sections
has its own idée fixe motive representing the concept embodied
in the subtitles. The
programmatic concept and idée fixe, unique Korean
characteristics, relationships between
sections, detailed orchestrational procedures, and other
characteristics such as formal
scheme, pitch content (melodic and harmonic), and textural
construction with detailed
orchestrational procedures are discussed in this critical
essay.
A comparison with other orchestral works is included in support
of the composer’s
concept, including a discussion and comparison of how other
composers have
orchestrated to produce their distinctive sound. The composers
discussed in this chapter
include Richard Strauss (Alpine Symphony), Alexander Skryabin
(Prometheus), Gustav
Holst (The Planets), Frank Bridge (The Sea), Aaron Copland
(Billy the Kid), and Joseph
Klein (Pathways: Interior Shadows).
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1. Programmatic Concept and Idée Fixe of Each Section
I. Rock
The concept of “Rock” is huge, giant, and solid, and is depicted
by thick
homophonic textures (mm. 19-20 and 27-30), strong dynamics (ffff
in m. 30), and slow
tempo. The pitch content of the rock idée fixe consists of
four-one semitones, and the
contour is an ascending line with chromatic mediant harmonic
background (see Figure 1).
Figure 1. Rock Idée Fixe
The detailed pitch content and chordal materials of each idée
fixe will be discussed
in the third chapter, Relationships Among Sections.
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II. River
The second section, “River,” describes a running river, which is
derived from a
small creek that gradually increases in size. Since the river is
always running from a
higher to a lower place, this is represented by a descending
melodic line made up of short
scalar passages; a gradually thickening orchestral texture
represents the accumulation of
water as time goes by (see Figure 2).
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Figure 2. River Idée Fixe (mm. 31-42)
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The composer also uses ostinato to represent the continuously
running river (cello
in mm. 42-55) and chord streams for fish moving in the opposite
direction (ascending
line in the brass) against the running river (descending line in
strings and woodwinds);
see Figure 3.
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Figure 3. River and Fish Idée Fixe (mm. 52-59)
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III. Sea
In the third section, “Sea,” which is composed for string
orchestra with harp and
solo violin, the composer describes a peaceful sea with flying
sea gulls gathering in the
sky above. To represent this concept, the composer uses
elongated rhythms to set a
peaceful mood, long sustained triads that gradually build up to
produce a poly-chord for
waves, and a meandering melody for sea gulls flying in the sky
(see Figure 4).
Figure 4. Sea Gull Idée fixe (harp and solo violin, mm.
121-125)
In order to depict the waves of the sea, the composer uses two
different techniques –
changing register and dynamics for wild waves (see Figure 5-a),
and changing accents
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with gradually expanding rhythms for gentle waves (see Figure
5-b).
Figure 5-a. Wild Wave Idée Fixe (strings, mm. 147-150)
Figure 5-b. Gentle Wave Idée Fixe (strings, mm. 156-160)
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IV. Wind
In the fourth section, “Wind,” the composer describes the two
faces of wind, mild
and strong. In order to depict these two faces, the composer
uses sudden changes of
register in the tutti orchestra from unison to five octaves, and
changing dynamics from
sforzando-piano to forte (see Figure 6).
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Figure 6. Wind Idée Fixe (mm. 180-184)
The dialog between timpani and jang-gu depicts the contrary
aspects of mild and
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strong wind. Here the timpani plays an indefinite rhythm, which
are constantly varied
upon recurrence, while the jang-gu plays a clearly defined
rhythm (see Figure 7).
Figure 7. Dialog Between Timpani and Jang-gu (mm. 182-201)
It is the composer’s opinion that of all the sections in the
orchestra, the percussion
instruments are those that best represent the wind, given the
variety of instruments as
well as the many playing methods to produce various sounds.
Since the character of wind
is to constantly change direction, the composer requires the
percussionists to play the
instruments in various “chaotic” ways, such as shaking,
stirring, tapping, rolling,
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swishing, and crashing with various beaters and the bare hand
(see Figure 8).
Figure 8. “Chaotic” Mood on Percussion Instruments (mm.
194-208)
Strong wind sometimes bring dark clouds and thunderstorms
including heavy rain,
which eventually lead to the sea through the river; the “Wind”
section describes this
circulation of nature. In the middle of windy weather, the sun
appears for a moment (mm.
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208-219; see Figure 9-a), yet, the winds (jang-gu idée fixe)
bring clouds (brasses, m. 214),
which gradually transform (contrapuntal development in brass
instruments, mm. 214-
219). Because of the windy weather, trees and others start
trembling (percussion, mm.
216-220), and finally the rain arrives (Water idée fixe on
strings, mm. 220-233). The
stormy winds (fast sixteenth notes in ka-ya-kum and clarinets,
mm. 221-233) result in a
more chaotic mood (percussion in mm. 224-233), thus making the
clouds more active
(brass, mm. 230-233; see Figure 9-b).
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Figure 9-a. A Sunny Day (mm. 208-219)
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Figure 9-b. A Stormy Day (mm. 220-233)
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In the above example, the ka-ya-kum doubled by clarinets
represents stormy winds
with fast sixteenth notes (mm. 221-233).
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V. Mountain
Mountains in Korea are always shaped as a chain, which is
massive, long, high, and,
in one word, magnificent. Within the mountain there are rocks,
plants, creeks, and winds
that course through. All of these together make the magnificent
mountain, which is
represented by the use of sound-mass technique, in which each
instrument and
instrumental group plays its own pitch and in its own pitch
registral space, which
combine to create a massive sound. Such characteristics as
homophonic texture, strong
dynamics, thick density, slow velocity, and tutti orchestration
are used to represent the
concept of the mountain range in this coda-like “Mountain”
section.
English horn and piccolo play the “Mountain” idée fixe, which
outlines the shape of
the long mountain range (see Figure 10).
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Figure 10. Mountain Idée Fixe (piccolo, mm. 242-256)
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2. Unique Korean Characteristics
Han-Kook oui Ja-Yeon includes such unique Korean characteristics
as pentatonic
scales, quartal harmonies, traditional Korean rhythms, and
quotations of Korean folk
tunes. The quoted tunes and rhythms are used in both original
and altered versions, and
are included in the “River,” “Wind,” and “Mountain” sections of
the piece.
To further emphasize the Korean qualities of this work, the
composer employs
Korean traditional instruments, jang-gu (a percussion
instrument) and ka-ya-kum (a
plucked string instrument). More details about these instruments
will be discussed in the
fourth sub-chapter, Orchestration and Other Characteristics.
Quotation from Korean Folk Tunes
The two quoted folk tunes are Arirang (anonymous composer), and
Ko-Hyang-oui-
Bom (composed by Nan-Pa Hong, translated as “Spring of
Hometown”); see Figures 11-a
and 11-b.
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Figure 11-a. Full Version of Arirang Melody
Figure 11-b. Full Version of Ko-Hyang-oui-Bom Melody
In the “River” section, a segment of Arirang appears in the
brass (mm. 65, 67, 72,
73, 74, and 75), which is altered both metrically and
rhythmically (compare Figure 11-a
A with Figure 12).
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Figure 12. Quotation from a Part of Arirang (Bb trumpets, mm.
72-75)
Just before the end of this section, the brass and strings,
along with some other
woodwind and pitched percussion instruments, play another part
of the Arirang melody
with parallel chord progressions and F-sharp pedal in the tuba,
second cello, and
contrabass. The pedal F-sharp is the tonal center of the section
(compare Figure 11 C
with Figure 13).
Figure 13. Arirang with Pedal Tone (mm. 76-79)
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Another segment of Arirang appears in the “Wind” section (brass,
measure 220),
which functions as a transition from the slow (gentle wind) to
fast (stormy wind) passage
(see Figure 14).
Figure 14. Arirang as a Transition from Slow to Fast Passage
(brass, m. 220)
At the very end of the last section, “Mountain,” the first
four-measures of Arirang
appears as a release after the big climax. Here the melody is
played by ka-ya-kum,
accompanied by woodwinds. At this time, the melody appears
without any alteration (see
Figure 15).
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Figure 15. Arirang as a release following the big climax (mm.
285-290)
The Ko-Hyang-oui-Bom melody first appears at the end of the
“Wind” section,
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which is altered with some grace notes and accidentals
(alternately on ka-ya-kum and
harp, compare Figure 11-b A and B with Figure 16).
Figure 16. Altered Ko-Hyang-oui-Bom (ka-ya-kum and harp, mm.
235-241)
The last four measures of Ko-Hyang-oui-Bom appear just after the
big tutti section,
which contrasts atonal (sound-mass) and tonal music (see Figure
17).
Figure 17. Ko-Hyang-oui-Bom with Tonal Harmonic Progression (mm.
270-273)
The first measure of Ko-Hyang-oui-Bom is used for the transition
to the tutti ending
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of the final section, “Mountain” (mm. 274-278). Unlike the
previous tonal passage in mm.
270-273, here the Ko-Hyang-oui-Bom is played by trumpets while
the accompaniment
accumulates in a sound mass. The trumpets play the melody,
accompanied by a chromatic
ascending chord stream in flutes, oboes, horns and strings;
syncopated rhythms with
descending lines in the bass clarinet, bassoons, contra bassoon,
and bass trombone; and a
C pedal on tuba and contrabass. The pedal C is the tonal center
of this section (see Figure
18).
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Figure 18. Ko-Hyang-oui-Bom as a Transition to the Tutti Ending
(mm. 274-278)
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Quotation from Korean Traditional Rhythms and Other Korean
Characteristics
Two Korean traditional instruments, jang-gu and ka-ya-kum, are
added to the
“Wind” and “Mountain” sections for playing Korean traditional
rhythms. In the “Wind”
section, they depict a sunny day (see Figure 9-a) and a stormy
day (see Figure 9-b) by
using unique Korean traditional rhythms, named “Jung-Mo-Ri” (see
Figure 19-a), and
“Sae-Mar-Chi” (see Figure 19-b).
Figure 19-a. “Jung-Mo-Ri,” a Korean traditional rhythm (mm.
208-209)
Figure 19-b. “Sae-Mar-Chi,” a Korean traditional rhythm (mm.
231-232)
The “Jung-Mo-Ri” rhythm is also used for the tutti ending of the
last section, where
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the jang-gu plays the rhythm in a very lively manner, while all
the other instruments play
a homophonic passage with hammer-like rhythms (see Figure
20).
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Figure 20. Tutti Ending with “Jung-Mo-Ri” Rhythm (mm.
278-283)
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In order to depict the unique Korean mood, the composer adopts
not only Korean
folk tunes and rhythms, but also includes pentatonic scales,
quartal harmony, parallel fifth,
and open triads – in which thirds are omitted (see Figure 21-a
and -b).
Figure 21-a. Water Idée Fixe (strings, mm. 42-55)
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A quartal sonority appears in measures 42-55. The cello ostinato
starts with C (m.
42), going up to F (m. 47), to B-flat (m. 51), and finally
E-flat (m. 54) doubled by horns.
When the cello ostinato arrives on E-flat, the second violin and
viola begin building up
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another quartal sonority from the E-flat doubled by woodwinds
(mm. 54-55). All of these
notes result in a big climax of quartal harmony: C – F – B-flat
– E-flat – A – D – G (see
Figure 21-a, a water idée fixe).
Figure 21-b. Passage made out of Pentatonic Scale, Parallel
Fifth, and Open Triads
(ka-ya-kum, mm. 208-213)
The above example (Figure 21-b), includes not only the
pentatonic scale but parallel
fifth and open chord progression as well.
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3. Relationships Among Sections
Formal Scheme
The basic formal scheme of the Symphonic Fantasia Han-Kook oui
Ja-Yeon (Nature
in Korea) is a composite ternary form,1 which consists of an
introduction (“Rock”), part
one (“River”), part two (“Sea”), part three (“Wind”), and coda
(“Mountain”). There are
transition passages between each section, though between the
“wind” and “mountain”
sections there is a period where the material of the two
sections overlap (dovetail).
The “Rock” section, for example, ends with a D-major chord while
the beginning
passage of the next section includes C-sharp and F-sharp. Thus,
the ending D-major
chord in “Rock” is extended as a transition passage to the river
idée fixe. The real “River”
section begins in measure 42 with cello ostinato and water idée
fixe on measure 44 (see
Figure 2, the river idée fixe, and Figure 21-a, the water idée
fixe).
The second “River” section ends with an F-sharp-major chord with
some staccato
rhythms in the strings (see Figure 22-a), and the next “Sea”
section starts with the same
chord and figuration until reaching the D-major chord in measure
92 (see Figure 22-b).
1 Douglass M. Green. Form in Tonal Music: An Introduction to
Analysis, 2nd ed. (New
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36
The extended figuration at the beginning of “Sea” acts as the
transition between the two
sections, modulating from an F-sharp to D-major.
York: Holt, Rinehart and Winston, 1979), 129 and 133.
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Figure 22-a. Ending of the “River” Section (mm. 79-83)
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Figure 22-b. Beginning of the “Sea” Section (mm. 84-92)
The “Sea” section ends with a long sustained E-major chord (mm.
167-179). At the
very end of the section, the contrabass has an E-F-E line with
an extremely long
decrescendo. The E-F-E line continues in the next section
(“Wind”), where the unison E
opens up to a five-octave F in mm. 180-184 (compare Figure 23
with Figure 6).
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39
Figure 23. Ending of the “Sea” Section (mm. 167-179)
There is no pause between the fourth and the final sections,
which is different from
the other sections. Like a “dovetail” ending found in tonal
music,2 the “Mountain”
2 Douglass M. Green. Form in Tonal Music: An Introduction to
Analysis, 2nd ed. (New
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40
section begins before the “Wind” section ends. The “Wind”
section begins with an
expansion of the E-F-E motive (see Figure 24).
Figure 24. Beginning Melodic Line of the “Wind” Section (mm.
180-200)
After the middle subsection (mm. 208-233), which depicts sunny
and stormy days
(see Figures 9-a and -b), the beginning melodic line reappears
in alteration between
strings and woodwinds (mm. 235-244). This segment of “Mountain”
materials had
York: Holt, Rinehart and Winston, 1979), 134.
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41
already appeared in mm. 238-241 (in English horn and flutes)
prior to the statement of
the “Mountain” idée fixe beginning in m. 242 (see Figure
25).
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42
Figure 25. Dovetailing Passage between the “Wind” and “Mountain”
sections (mm.
234-244)
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43
In addition to the transition passage, the idée fixe is also
used to connect the five
sections of the work. In some cases the idée fixe appears in
another section in order to
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44
reference the original section. For example, the water idée fixe
of the “River” section
appears in the “Wind” section to suggest the relationship
between the wind and clouds,
which bring the rain that eventually leads to the river. In
another example, the rock idée
fixe appears in the last section, “Mountain,” as rock is one of
the materials that makes up
the mountain.
When an idée fixe appears in another section, it is somewhat
altered to match the
pitch contents or to harmonize with its context. For example,
the water idée fixe
originally started with the whole-tone scale, G-sharp – A-sharp
– C – D – E, and played
only on viola and second violin. However, when the idée fixe
appears in the “Wind”
section, the beginning notes are changed to those of the
pentatonic scale (G – A – C – D –
E) in order to fit the Korean mood of the section, and all the
strings play the idée fixe in
unison in order to balance with the percussion and brass
sections at the end (compare
Figure 21-a with Figure 9-b).
Pitch Content and Other Materials
The movement is structured in an arch form, where pitch
relationships exist
between the first and the last sections, and the second and the
fourth sections, with the
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45
third section in the center.
The pitch content of the rock idée fixe consists of four-one
semitone intervals (A-
flat – C – B, A – C-sharp – C-natural, B-flat – D – E-flat,
E-flat –G – G-sharp), and the
contour is an ascending line with chromatic mediant harmonic
background (see Figure 1).
This four-one semitone interval appears in the last section,
which is dovetailed at the
beginning. In the strings in measures 234-242, the melodic line
of C – E – D-sharp, C – E
– F, and C – E – D-sharp again has the four-one semitone
interval and is dovetailed at the
beginning of the “Mountain” section. In the real “Mountain”
section, the first trumpet
also has the four-one semitone interval’s melodies in measures
242-261 (concert pitch of
D-sharp – G – F-sharp, D-sharp –G – F-sharp, E – A-flat – G, E –
A-flat –G, and D-sharp
– G – F-sharp; see Figure 26).
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46
Figure 26. Four-One Semitone Interval Melody (mm. 234-261)
In addition to the pitch content, the first and last sections
are also related to one
another in their thick homophonic texture, dynamic strength, and
slow tempo.
The basic pitch content of the second section, “River,” is
whole-tone scale, and that
of the fourth section, “Wind,” is pentatonic. The common feature
between the pentatonic
and whole-tone scale is that there are no semitones. While the
pitch content of the first
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47
and last section is four-one semitone step, the pitch content of
the second section is 2-2-2-
2-2 half-step, and that of fourth section is 2-2-3-2.
In addition to the pitch content, the quartal harmony (or
inversion of the fifth in a
pentatonic chord), open chords, fast rhythmic passages,
irregular accents, and irregular
beat alignment (e.g., 2:3:5 rhythmic subdivisions) reinforce the
relationship between the
second and fourth sections.
In addition to the rock idée fixe, the first section suggests
all the materials of each
section at the beginning. On the first page of the Symphonic
Fantasia Han-Kook oui Ja-
Yeon (Nature in Korea) (mm. 1-7), the second violin and viola
play a French-Sixth chord.
The pitch content of the chord is part of whole-tone scale
(B-flat – C – D – E – F-sharp –
G-sharp), and the chord has both tertial (B-flat – D, E –
G-sharp) and quartal (E – A-
sharp, D – G-sharp) harmonic construction depending on how one
reads the B-flat/A-
sharp enharmonic (see Figure 27).
-
48
Figure 27. Beginning of the First Section (mm. 1-7)
All of these French-sixth chord (string, m. 1 and horn, m. 4),
quartal harmony
(contrabass, cello, and timpani, m. 3), tertial harmony
(vibraphone, bassoon, and clarinets,
-
49
m. 3), and whole-tone scale (flutes and piccolo, m. 4) are
introduced in the first page of
the piece, and they are continuously used in other sections
throughout. For example, the
French-sixth chord reappears in the last section as a bridge
between atonal and tonal
passages (m. 269). The French-sixth chord appears at the very
beginning, and the chord is
used as a transition between the “Mountain” idée fixe
(sound-mass) and Ko-Hyang-oui-
Bom (tonal music) in measure 269.
The entire third section, “Sea,” is composed with tertial
combination harmony. In
order to represent the huge tide of the sea, the composer builds
up a big polychord with
the tertial combination chord. For example, with C as a root,
the third and fifth are added
to make a C-major chord; A-flat and E-flat are then added to the
C-major chord to build
an A-flat-major chord, and F and A-flat are added again to make
an F-minor chord. All of
these notes result in a poly-chord of C-major and F-minor-ninth
chords (mm. 135-136).
Another example of the tertial combination chord appears in
measures 147-150 (see
Figure 5-a). Here the A-major, G-major, and E-minor chords are
used together to build an
A-major-eleventh chord.
The whole-tone scale has already been introduced at the very
beginning of the first
section, and reappears at the beginning of the second section.
When it appears in the first
-
50
section, an ascending scale is used to represent rock. But in
the second section, the scale
is descending in order to represent the river running downhill
(see Figure 3, a river idée
fixe).
The ascending leap figure in the timpani (m. 3) affects the sea
gull idée fixe in the
third section, as well as the sunny day and cloud idée fixe in
the fourth section (compare
Figure 28-a with –b, -c, and -d). The pitch content of all three
examples is originally
derived from a whole-tone scale, but the sea gull and cloud idée
fixe deviate from this.
Figure 28-a. Ascending Leap Figure of Timpani (mm. 3-5)
Figure 28-b. Ascending Leap Figure of Sea Gull Idée Fixe (harp,
mm. 111-112)
-
51
Figure 28-c. Ascending Leap Figure of Cloud Idée Fixe (trombone,
mm. 202-203)
Figure 28-d. Ascending Leap Figure of Sunny Day Idée Fixe
(ka-ya-kum, mm. 208-
209)
The rhythm of the fish idée fixe is derived from the syncopated
rhythm of horns in
measures 4-5 (compare Figure 29-a with -b).
-
52
Figure 29-a. Syncopated Rhythm (horns, mm. 4-5)
Figure 29-b. Syncopated Rhythm in Fish Idée Fixe (trumpets, mm.
56-57)
As seen in the above examples, material is usually altered from
the original when it
reappears later in the piece. Such altered material includes
pitch content, rhythmic
gestures, melodic contour, chordal construction, and
articulation/dynamic markings.
The harmonic idiom of the piece is basically tonal, in which
triadic and quartal
harmonies are frequently used. The pitch and chordal materials
are derived from such
-
53
tonal materials as the French-six chord and pentatonic scale.
With these tonal materials,
the composer achieves an atonal sound while maintaining an
overall tonal environment
by ending each section with a complete triad.
-
54
4. Orchestration and Other Characteristics
Orchestrational Techniques
Among the unique instruments employed, Korean traditional
instruments are used
to produce an authentic sound, and the wind machine is used to
describe a stormy day. As
these instruments are not regular member of the traditional
orchestra, substitute
instruments are suggested, as well as special playing techniques
in order to best simulate
the original instruments (see “Special Notes” on Instrumentation
page of score).
The jang-gu has two different sized drums in one instrument. The
large drum side is
usually played with a hard mallet and the small one is played by
the bare hand or a thin
bamboo stick. The jang-gu can play very fast rhythmic passages
with varying dynamics,
and usually plays a rhythmic accompaniment part for solo vocal
melody or solo
instrument like ka-ya-kum. A pair of bongos may be used as a
substitute instrument for
the jang-gu, and the player is required to play it in the same
manner as the jang-gu.
The standard ka-ya-kum has 12 strings, but the modern ka-ya-kum
has 25 strings to
increase the range. The ka-ya-kum is played by both hands –
right hand for plucking the
strings and left hand for adjusting or bending the pitches,
which is likened to pedaling on
-
55
a harp. The left hand’s embellishment of pitch following the
plucked note is one of the
unique characteristics of the instrument. The ka-ya-kum player
can play various kinds of
grace note figures and pitch bends, such as microtonal vibrato.
Sometimes the left hand is
also used to pluck the strings in order to play fast rhythmic
passages or to expand the
range of a chordal gesture. The standard harp may be used as a
substitute instrument,
which sounds more like the ka-ya-kum than any other instrument
of the western orchestra.
The wind machine is made of a large cylindrical wood frame
covered with silk that
is rotated by turning a handle. Because of this method of sound
production, it is possible
to control crescendo and decrescendo passages very easily. The
successful use of the
wind machine appears in Richard Strauss’s Alpine Symphony
(1913).3 If it is necessary to
use a substitute instrument for the wind machine, the composer
suggests a large Chinese
gong playing with one hard stick and one cotton mallet in each
hand.
In order to balance materials in this work, a variety of
performance techniques are
used, including instrumental doubling, divisi, muting, and
adjusting the volume of each
instrument or instrumental group independently. When the
ka-ya-kum plays the
foreground melody, for example, the xylophone and piccolo
alternately double the
3 Samuel Adler. The Study of Orchestration, 2nd ed. (New York,
W.W. Norton, 1989), 403.
-
56
melody as brasses start building up to the tutti section. The
sound of this doubling is clear
and unique not only because the higher register of the doubling
instruments, but also
because the tone color of each instrument is distinct – plucked
strings, blown reeds, and
struck wooden bars (see Figure 9-b, mm. 214-220).
Other orchestrational devices include changing timbres,
alternation or doubling of
instrument(s), and contrasting dynamics. In the beginning of the
second section, for
example, the piccolo and flutes play a segment of the river idée
fixe melody doubled by
the xylophone (m. 31). After a short break, the marimba and
first violin take over the
melody, followed by an alternation of instruments, from the
piccolo and first flute to the
second flute and oboe, which pick up the melody doubled by
xylophone; and finally, the
second violin, viola, and cello with contrabass alternately play
the melody doubled by
marimba (see Figure 2, mm. 31-37).
In addition, the composer uses extended instrumental playing
techniques, (e.g., col
legno, glissando, sul ponticello, and spiccato for strings, and
flutter-tonguing for brass in
the fourth section), polyrhythm (e.g., duplet against triplet
against quadruplet in the
fourth and fifth sections), hocket (e.g., between contrabass and
contrabassoon in the
second section), and various types of chord voicings (e.g.,
enclosed position in the last
-
57
section, in which the register of first clarinet is higher than
first oboe, and the register of
second clarinet is lower than that of second oboe).
Characteristics Related to Other Composer’s Work
There are a variety of characteristics in the Symphonic Fantasia
Han-Kook oui Ja-
Yeon (Nature in Korea) that are related to other composer’s
works. The quartal harmonic
construction found in the cello and contrabass (m. 3), for
example, is similar to the
“mystic chord” of Alexander Skryabin as used in his piano
concerto, Prometheus, “The
Poem of Fire,” Op. 60 (1910). In the Fantasia, the first
four-note group (E – A-sharp – D
– G-sharp, played by cello, contrabass, and timpani) comes from
the French-sixth chord
in the strings (the A-sharp is enharmonic to B-flat). While the
last note G-sharp is
sustained, the vibraphone plays C. These five notes combine to
form a quartal sonority,
the pitch content of which is similar to that of the mystic
chord by Skryabin (compare
Figure 30 A and B with C, where A is the original harmony, B is
its transposition, and C
is the Mystic chord of Skryabin).
-
58
Figure 30. Comparison of Quartal Harmony with Mystic Chord by
Skryabin
The fish and river idée fixe in the second section (mm. 56-67)
is similar to the coda
of Joseph Klein’s saxophone concerto, Pathways: Interior Shadows
(1993/95) (mm. 439-
450). As Klein mentions in his program note, the concept of the
piece is that of a traveler
(solo saxophone) as he journeys through a pathway, the
surroundings of which
(orchestra) provide a sonic landscape for the soloist to pass.
This concept is similar to the
concept of the fish and river idée fixe in which the composer
represents a group of fish
(chord streams in the brass) as wandering through the running
river (descending line in
woodwinds and strings); compare Figure 3 with Figure 31.
-
59
Figure 31. Joseph Klein, Pathways: Interior Shadows (mm.
439-450)
-
60
-
61
In the same section of the Fantasia, parallel motion of the
brass is similar to the
brass chord stream in “Mars,” the first section of The Planets,
Op. 32 (1914-16) by
Gustav Holst (compare Figure 3 with Figure 32).
-
62
Figure 32. Gustav Holst, The Planets, Op. 32, “Mars” (mm.
49-66)
-
63
-
64
In comparing each of the three pieces, Pathways, Planets, and
Fantasia, the
conceptual metaphor is the same, that of an instrument or
instrumental group passing
-
65
through the orchestral tutti. Technically speaking, however, the
compositional procedures
are quite different from one another.
The melodic contour of the solo saxophone in the Pathways, for
example, is a
descending line, while that of the orchestral tutti is fixed.
The rhythm of the solo
saxophone gradually decreases from a dotted half-note rhythm (m.
439) to dotted eighth
(m. 440) to eighth (m. 441) to sixteenth (mm. 442-446) to
quintuplet rhythm (mm. 446-
447), while the rhythm of orchestral tutti remains fixed at
sixteenth notes. Thus, the solo
part is clearly heard as distinct at first (with the different
rhythmic division from tutti) and
then merges with the tutti for a while (with the same sixteenth
rhythms), before moving
out from the tutti with quintuplet rhythms.
In the Planets, on another hand, there are three layers: The
brass choir (switching
from trombones to horns, mm. 51-53), C pedal ostinato (timpani,
contrabass, and
trumpets), and the tutti orchestra. Some parts of the tutti
orchestra double the brass
choir’s chord stream, while the other part plays in contrary
motion to the brass (mm. 49-
53). From measure 54 the role of the three layers is gradually
changed: The tutti orchestra
now doubles the chord stream in the horns, and the part
originally playing the C pedal
ostinato now plays a sustained harmonic passage.
-
66
The fish and river idée fixe of the Fantasia also has three
layers: The chord stream
in the brass (trumpets and trombone), a pedal point in timpani
and other brass, and an
orchestral tutti. Here, the orchestral tutti always plays in
descending motion to represent a
river running downhill, while the brass’s choir’s chord stream
is going in the opposite
direction (ascending) against the tutti. The rhythmic divisions
in the brass are also totally
different from those in the other parts, and as a result, this
theme is heard clearly. The
eighth-note rhythm in the timpani recalls the beginning of the
Johannes Brahms’s
Symphony No. 1, in C minor, Op. 68 (1855-76).
In the third section of the Fantasia, “Sea,” the composer uses
shifting accents with
expanding rhythmic divisions to represent gentle waves, a
technique similar to that used
in the Orchestral Suite, The Sea (1911) by Frank Bridge (compare
Figure 33 with Figure
34).
-
67
Figure 33. Gentle Wave and Sea Gull Idée Fixe in the Symphonic
Fantasia Han-
Kook oui Ja-Yeon (Nature in Korea) (mm. 154-166)
-
68
Figure 34. Frank Bridge, The Sea, No. 1 “Seascape” (Rehearsal
No. 7)
-
69
In the example from his orchestral suite, The Sea, Bridge used a
syncopated rhythm
in the chordal texture of the strings to simulate sea waves as
an accompaniment to the
-
70
slow melody on woodwinds. This technique in The Sea is similar
to that used in the
Fantasia, where the strings are playing a chordal texture
beneath the slow melody of the
violin. However, while there is a uniform accent pattern in
Bridge’s work, the rhythmic
patterns in the Fantasia are slowly and constantly shifting,
eventually producing irregular
accents (mm. 154-166).
In the fourth section of the Fantasia, the composer uses an open
chord derived from
a pentatonic scale and a traditional Korean rhythm to create a
unique Korean mood,
which is similar to the first section of Billy the Kid (1938) by
Aaron Copland (compare
Figure 9-a with Figure 35).
-
71
Figure 35. Aaron Copland, Billy the Kid (mm. 9-16)
In the above example, Copland depicts an old frontier town with
open parallel fifth
-
72
and fourth (inversion of the parallel fifth) chords in Billy the
Kid, which is similar to the
use of parallel fifths and fourths in the Fantasia to create a
Korean mood. But whereas
Copland sometimes adds a minor third to the open chord to create
a minor triad (e.g.,
adding E-flat to the C-G open chord in viola and fourth horn, m.
13 and 16), the
composer of Fantasia consistently uses the open chord.
In the last section, “Mountain,” huge Korean mountain ranges are
represented by
chromatic ascending and descending lines in a high register
played by the piccolo. This is
similar to Alpine Symphony (1913) by Richard Strauss, in which
the composer depicts the
high Alpine mountain range with instruments in the higher
registers (compare Figure 36-a
with Figure 36-b).
-
73
Figure 36-a. “Mountain” in the Symphonic Fantasia Han-Kook oui
Ja-Yeon (Nature
in Korea) (mm. 242-248)
-
74
Figure 36-b. Richard Strauss, Alpine Symphony (Rehearsal No.
83)
-
75
While the jagged motion of Strauss’ melodic lines might suggest
the sharp contours
of the Alps, the more conjunct linear motion of the Fantasia is
consistent with the gentle
-
76
contours of the Korean mountain ranges.
-
77
5. Conclusion
The Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in Korea) is
a single-
movement orchestral piece consisting of five characteristic
sections. Each section has a
programmatic subtitle (Rock, River, Sea, Wind, and Mountain) and
its own idée fixe
motive. Variations in texture (homophonic/polyphonic), dynamics
(strong/weak), density
(thick/thin), tempo (fast/slow), and orchestration (emphasizing
various instrumental
sections of the orchestra) are suggested by these subtitles.
The pitch and harmonic content of the piece is based in
tonality, though some non-
tonal materials are used in order to enhance the degree of
tension and release related to
the concepts suggested by the subtitles. Such non-tonal
materials include whole-tone
scales, altered chromatic scales, pentatonic scales, altered
tertian chords including
polychords, and quartal combination chords.
In order to reinforce the Korean nature of the piece, the work
incorporates quotes
from famous Korean folk-tunes, traditional rhythms, and Korean
traditional instruments.
The quoted folk-tunes are Arirang and Ko-Hyang-oui-Bom (Spring
of Hometown), which
often elicit an emotional response, particularly from Koreans
living outside of the
-
78
homeland. The quoted traditional rhythms, “Jung-Mo-Ri” and
“Sae-Mar-Chi,” are
usually used for dancing in festive occasions, such as harvest
celebrations. The sounds of
the Korean instruments, jang-gu and ka-ya-kum, are quite
familiar to Korean people, and
are often used to console Korean farmers at work. These
distinctive Korean features
(melodic, rhythmic, and timbral) are organically integrated with
western orchestral music
in the Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in
Korea).
-
79
Bibliography
Bartolozzi, Bruno. New Sounds for Woodwind. Translated and
edited by Reginald Smith
Bridge, Frank. The Sea: Suite for Orchestra, 1911.Brindle.
London, New York: Oxford University Press, 1967.
Baur, John. Music Theory through Literature. Englewood Cliffs,
N.J.: Prentice-Hall, 1985.
Brindle, Reginald Smith. The New Music, 2nd ed. Oxford; New
York: Oxford University Press, 1987.
Carse, Adam. The History of Orchestration. New York: Dover
Publications, 1964.
Cho, Gene J. Theories and Practice of Harmonic Convergence. San
Francisco: Lewiston, NY: E. Mellen Press, c1992.
Cope, David. New Directions in Music, 4th ed. Dubuque, Iowa:
W.C. Brown, 1984.
Copland, Aaron. Billy the Kid, 1938.
Green, Douglass M. Form in Tonal Music: An Introduction to
Analysis, 2nd ed. New York: Holt, Rinehart and Winston, 1979.
Grout, Donald Jay, and Claude V. Palisca. A History of Western
Music, 5th ed. New York: W.W. Norton, 1996.
Hindemith, Paul. The Craft of Musical Composition. Translated by
Arthur Mendel. New York, 1942.
Holst, Gustav. The Planets, Op. 32, 1914-16.
Jeppesen, Knud. Counterpoint, The Polyphonic Vocal Style of the
Sixteenth Century. Translated, with an introduction, by Glen
Haydon, New York, Prentice-Hall, Inc., 1939.
Klein, Joseph. Pathways: Interior Shadows, 1993/95.
-
80
Longyear, Rey Morgan. Nineteenth-Century Romanticism in Music,
2nd ed. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1973.
Machlis, Joseph. Introduction to Contemporary Music, 2nd ed. New
York, W.W. Norton, 1961.
Miller, Hugh Milton. History of Music, 4th ed. New York: Barnes
& Noble, 1953.
Morgan, Robert P. Twentieth-Century music. New York: Norton,
1991.
Randel, Don Michael, ed. The New Harvard Dictionary of Music,
2nd ed. Cambridge, Mass.: Belknap Press of Harvard University
press, 1986.
Palisca, Claude V. Baroque Music, 3rd ed. Englewood Cliffs,
N.J.: Prentice Hall, 1991.
______. edited. Norton Anthology of Western Music, 3rd ed. New
York: W.W. Norton, 1996.
Read, Gardner. Style and Orchestration. New York: Schirmer
Books, 1979.
Strauss, Richard. Alpine Symphony, 1913.
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81
PART II
SYMPHONIC FANTASIA
HAN-KOOK OUI JA-YEON
(NATURE IN KOREA)
Sang-Eun Han
(2003-04)
-
82
Instrumentation
Woodwind: Piccolo, 2 Flutes, 2 oboes, English Horn, 2 Clarinets
in Bb, Bass Clarinet, 2 Bassoons, Contrabassoon
Brass: 4 Horns, 3 Trumpets in Bb, 2 Tenor Trombones, Bass
Trombone, Tuba
4 Timpani: 30", 28", 25", 23"
Percussion I: 3 Wood Blocks, Crash Cymbal, Snare Drum, Triangle
(6"-high), Suspended Cymbal (high), Tambourine (10"), Maracas
Percussion II: Bass Drum, Snare Drum, Suspended Cymbal (medium),
Shaker (wood), Castanets
Percussion III: Bass Drum, Triangle (10"-low), Chinese Gong,
Vibraphone, Xylophone, Marimba, Tubular Bells, Wind Chimes (Metal),
Maracas, Wind Machine*
Harp
Strings
Traditional Korean Instruments: Jang-Gu**, Ka-Ya-Kum (25 String)
***
Notes
* If the Wind Machine is not available, a large Chinese Gong
with one rubber and one cotton-Mallet in each hand can replace.
** If the Jang-Gu is not available, a pair of Bongo (low and
high, not highest) with one rubber mallet (for left hand only) can
replace.
*** If the Ka-Ya-Kum is not available, the orchestral harp can
play the Ka-Ya-Kum part.
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2 Flutes
2 Oboes
English Horn
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2 Bassoons
Contrabassoon
12
4 Horns in F
34
13 Trumpets in Bb
2
3
2 Tenor Trombones
Bass Trombone
Tuba
Timpani
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Sang-Eun Han(2003-04)
I. Rock
83
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Ó Ó
7
œœb œœ#œœ#œœœœœœb œœb
Ó Ó
3œœb œœ#
œœ#
∑
˙̇b œœb Œ Ó
∑
˙˙##
œœ#Œ Ó
∑
Ó Œ œœ#
>
œœ
œœ>
Ó Œ œ
œ>
œ
œ
œ
œ>
∑
∑
∑
∑
∑
.w
æ
.˙æ
Ó Ó
æ̇
˙˙# ˙˙nb
Ó
∑
∑
8
∑
..ww
..ww
.w
.w
ß
ß
sub.
sub.∏
∏
ç
ç
ç
ç
ç
ç
ç
ç
Jœ>
‰ Œ Ó Ó
J
œœb>
‰ Œ Ó Ó
J
œœ#>
‰ Œ Ó Ó
∑
∑
∑
∑
∑
jœœ#
>
‰ Œ Ó Ó
jœ
œ>
‰ Œ Ó Ó
∑
∑
∑
∑
∑
Jœ#‰ Œ Ó Ó
jœ ‰ Œ Ó Ó
Jœ ‰ Œ Ó Ó
∑
∑
∑
∑
..ww
..ww
Jœ#‰ Œ Ó Ó
Jœ#‰ Œ Ó Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..ww
..ww
∑
∑
∏ poco a poco cresc.
∏ poco a poco cresc.
(ppp)
(ppp) poco a poco cresc.
poco a poco cresc.
∏ poco a poco cresc.
∑
∑
∑
∑
.wÓ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..ww
..ww
.wbÓ
.wb
p
p
p
p
π
∑
∑
∑
∑
.w
.w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..ww
..ww
..ww
.w
P
P
P
P
p
p
∑
∑
∑
∑
.w
.w
∑
.wbÓ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..ww
..ww
.
.wwb
.wb
f
F
F
F
F
P
P
f
(Bass Drum)
∑
∑
∑
∑
.w
.w
∑
.w .w
∑
∑
∑
∑
∑
∑
∑
∑
Ó Ó
3
œœ#œ
∑
Ó Ó
3
œ œ œ
∑
∑
∑
∑
..wwb
æ
..wwb
æ
.
.ww
æ
.wæ
84
-
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
÷
÷
&
&
?
&
&
&
?
?
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
B. Cl.
Bsn.
C. Bn.
1 2
Hn.
3 4
1 2
Bb Tpt.
3
T. Tbn.
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Per. 3
Vln. I
Vln. II
Vla.
Vc.
Cb.
Hp.
f
f
f
f
f
f
(Crashed Cymbals)
ƒ
f
f
f
ƒ
f
f
ƒ
F
f
F
F
f
F
F
F
F
F
F
F
15
Ó Œ œ Ó
Ó Œ
œœnÓ
Ó Œœœb Ó
∑
Œ
œœb
Ó Œ
œœ#
Œ œb Œ œ œ œ#
Œ
œœbÓ Œ
œœn
ŒœbŒœ œ œ#
w ˙#
Ó Œ
œ
Ó
Ó ŒœÓ
wb ˙
˙b
>˙>
˙#>
˙˙n œ œ
w ˙
˙b
>˙>
˙n>
˙ ˙ ˙
˙b ˙ œ œ#
˙b ˙ œ œ#
.w#
æ
˙ Ó ˙
˙ ˙ ˙
Œ
œœbbŒ
œœŒ
œœn
∑
∑
15
˙b æ˙bæ
˙æn
˙b
æ ˙n æ ˙n
æ
˙
æ
˙
æœæ œæ
˙b æ æ̇ œæ œ# æ
˙b æ æ̇ œæ œ# æ
(Triangle)
Œ œ Ó Œ œ
Œ
œœÓ Œ
œœb
Œ œœ# Ó Œœœbn
∑
Ó Œ
œœb
Ó
Œ œ Œ œ# œ# œ
Ó Œ
œœ#
Ó
ŒœŒœ# œ# œ
wb ˙
Œ
œ
Ó Œ
œb
w ˙#Œœ#Ó Œ
œ#
˙˙b ˙
˙#˙ œb œb
w# ˙n
˙ ˙# ˙n
w# ˙b
˙ ˙# œ# œ
˙ ˙# œ# œ
w#
æ
˙æ
Ó ˙ Ó
˙ ˙ ˙
Œ
œœŒ
œœ#
Œ
œœnb
∑
∑
æ̇
˙æ
˙#æ
˙næ ˙# æ ˙
n
æ
w# æ œb æ œb æ
æ̇˙# æ œ# æ œ
æ
æ̇˙# æ œ# æ œ
æ
P
P
P
P
P
P
F
P
F
P
P
P poco a poco cresc.
F
p
∑
∑
∑
∑
∑
∑
∑
∑
Ó.
.
w
w
n
n
∑
˙˙ww#
˙˙n
˙.w
˙b w˙b
.w ˙b
˙b w˙b
˙b w ˙b
Jœ#‰ Œ Ó ∑
Œ œ œ œ>
‰ œ œ œ>
‰ œ œ œ œ ‰ œ
∑
˙
˙b
b w
w
˙
˙b
b
∑
∑
˙n
æ
˙æ˙æ
˙æ
˙æ˙æ
˙æ˙˙b
æ
˙bæwn æ ˙
˙bbæ
˙b æwæ ˙˙
bbæ
˙b æwæ ˙b
æ
f
f
f
f
f
cresc. molto
f
f
f
∑
∑
∑
∑
∑
∑
∑
∑
w
w
.
.
˙
˙
jœ
œ‰
∑
w .˙jœ ‰w .˙#Jœ
‰
w .˙Jœ ‰
w .˙njœ ‰
w .˙Jœ
‰
w .˙jœ ‰
w .˙
j
œ
‰
∑
œ œ ‰ œ œ>
‰ œ œ œ>
‰ œ œ œ œ ‰ œ
∑
w
w
w
w
∑
∑
w
æ
wæ
wwb
æ
wwn
æ
wwbb
æ wwn
æ
wwbb
æ
w
w
æ
wb
æwæ
ƒ
ƒ
ƒ
ƒ
σ
(B.D.)
ƒ
f
f
f
f
f
f
ƒ
ƒ
f
f
f
f
f
sfp
∑
Ó
ww
.
.
w
w#
#
∑
Óww
∑
.
.
w
w
∑
.w#
Ó w#
Ó
w.w#
..ww##
.w#
.
.ww#
.w
.w
Ó
wæ
jœ>
‰ Œ Ó Ó
∑
.
.
w
w#
#÷
∑
∑
.w#
æ
U
U
Óww>
Ó ww#
>
.
.wwnn
æ
.wnæ
Ï
Ï
Ï
Ï
Ï
ß
(Chinese Gong)
(C.Cym)
ß
ß
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
w#U
Ó
ww
U
Ó
w
w
U
Ó
w#U
˙
ww##U
Ó
w#
UÓ
w
w
UU
˙
wU
Ó
w
u
U Ó
w#Ó
wU
˙w Ó
wwU
Ó
wU
Ó
ww
U
Ó
wU
Ó
w
UÓ
wu
æÓ
˙U Ó
˙U Ó
wU
Ó
∑
∑
w#U
æÓ
wU
æÓ
ww#
Uæ Ó
ww
U
æÓ
wu
æÓ
F
P
P
∑
∑
∑
˙˙ w#
∑
∑
˙ ˙# w
∑
∑
W
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙n ˙ w#
∑
∑
˙# ˙ wb
∑
∑
W#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
85
-
&
&
&
&
&
&
?
?
&
&
&
&
?
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?
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÷
÷
÷
&
?
&
&
&
?
?
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
B. Cl.
Bsn.
C. Bn.
1 2
Hn.
3 4
1 2
Bb Tpt.
3
T. Tbn.
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Per. 3
Vln. I
Vln. II
Vla.
Vc.
Cb.
Hp.
rit.
rit.
23
∑
∑
∑
˙ w ˙
∑
∑
˙ ˙n w
∑
∑
w w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
23
∑
∑
∑
∑
∑
π
∏
∏
ƒ
ƒ
ƒ
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
wU
ÓUU
ÓU
∑U
ÓU ˙
˙
U
∑U
ÓU
ÓU
wU
ÓUU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
wU
ÓUU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
∑U
∑U
ÓU ˙
U
∑U
ÓU
˙
U
∑U
ÓU
ÓU
∑U
ÓU
ÓU
∑U
ÓU
ÓU
ƒ
ƒ
ƒ
ƒ
ƒ
a tempo
a tempo
∑
˙˙b>
Ó
˙˙n>
Ó
˙˙bb>
Ó
˙˙bn
>
Ó
∑
W
W
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
W
W
˙˙bb>Ó ˙̇nb>Ó
˙b>Ó ˙b>
Ó
˙b>Ó ˙b>
Ó
ƒ
ƒ
Ï
Ï
∑U
.
.ww>
ÓU
.
.ww
>n
ÓU
∑U
.
.
w
w ÓU
Ó Ó Ó˙>
U
∑U
Ó Ó Ó
˙>
U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
.wÓU
.wÓU
..wwn ÓU
.w˙>U
.w˙>U
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
Ï
Ï
Ï
F
F
F
F
ƒ
(C.Cym)
(S.D.)
ƒ
∑
..ww
..ww#
∑
.
.
w
w#
#
.w
.
.ww
.w
.
.ww
.
.ww#
Ó Ó˙̇#
Ó Ó ˙
Ó Ó
˙̇
Ó Ó˙
∑
∑
˙ Ó ˙
.˙æ
∑
∑
∑
.w#
æ
.w#æ
.
.ww
æ
.
.ww
æ
.w
æ
∑
..ww
..ww
∑
.
.
w
w
.w
.
.ww
.w
.
.ww
.
.ww
˙̇ wwn,
˙ w#
,
˙̇ wwb ,
˙ wb,
∑
∑
Ó ˙ Ó
.˙æ
∑
∑
∑
.w#
æ
.w#æ
.
.ww
æ
.
.ww
æ
.w
æ
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ç
(B.D.)
ß
ƒ
W#
WW
WW
W#
W
W
W
WW
W
WW
WW
WW
W#
WW
W#
W
W
æ
˙
æ̇∑
˙ Ó ∑
∑
∑
W#
æ
W#æ
WW
æ
WW
æ
W
æÎ
Î
Î
Î
Î
Ï
(C.G.)
ç
Ï
.wU
Ó
..wwU
Ó
..wwU
Ó
.wU
Ó
.
.
w
w
U
Ó
.w
UÓ
.
.ww
U
Ó
.w
UÓ
.
.ww
U
Ó
.
.ww
UÓ
..wwU
Ó
.w
UÓ
..wwU
Ó
.wU
Ó
.w
UÓ
.wU
æ
Ó
∑U
.˙Uæ
Ó
.w Ó
∑U
∑U
.w#U
Ó
.w#
UÓ
.
.ww
UÓ
.
.ww
U
Ó
.wU
Ó
86
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&
&
&
&
&
?
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&
&
&
&
?
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?
?
÷
÷
&
&
?
&
&
B
?
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
2 Flutes
2 Oboes
English Horn
2 Clarinets in Bb
Bass Clarinet
2 Bassoons
Contrabassoon
12
34
12
3
2 Tenor Trombones
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Violin I
Violin II
Viola
Cello
Contrabass
4 Horns in F
3 Trumpets in Bb
Harp
q»¡ºº
F
F
1.
q»¡ºº
P
(Wood Block)
P
(Xylophone)
31
Œ ≈ œ œ# œ
Œ ≈
œ œ# œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ≈ œ œ œ
∑
Œ ≈
œ œ# œ
∑
∑
31
∑
∑
∑
∑
∑
h»¢¢
h»¢¢
(Marimba)
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
P
q»¡ºº
q»¡ºº
P
(Snare Drum)
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ΠϾ
∑
Œ
5
œ œ œ# œ œ
∑
∑
Œ
5
œ œ œ# œ œ
∑
∑
∑
∑
h»¢¢
h»¢¢
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
F
q»¡ºº
F
F
1.
q»¡ºº
(Xyl)
Œ ≈ œ œ œb Œ
Œ ≈œ œ œb Œ
Œ Œœ œ# œ ≈
Œ Œœ œ# œ
≈
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ≈ œ œ œ œ œ œ ≈
∑
Œ ≈
œ œ œb œ œ# œ≈
∑
∑
∑
∑
∑
∑
∑
h»¢¢
h»¢¢
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
q»¡ºº
P
F
f
f
q»¡ºº
P
(Mrb)
(Suspended Cymbal)
π
lively
lively∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ .æ̇
Œ
œ œ œ œb œ œ œb œb œ œ œb œb
∑
∑
∑
Œ œ œ œ œbrœ‰ . Œ
Ó œ œ œb œbrœ‰ .
Ó Œœ œ œb œb
Ó Œœ œ œb œb
II. River
87
-
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
÷
÷
&
&
?
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
B. Cl.
Bsn.
C. Bn.
12
34
1 2
3
T. Tbn.
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Per. 3
Vln. I
Vln. II
Vla.
Vc.
Cb.
Hn
Bb Tpt
Hp.
ƒ
a2.
ƒ
a2.
Í
Í
f
f
ƒ
ß
ß
ß
Detache
ß
38
w>
≈
œ œb œb œb œ œ œ œb œ œ œb œnœ œb œb
∑
∑
∑
∑
∑
∑
∑
∑
w
w
J
œ
œ
>
‰ Œ Ó
jœ>
‰ Œ Ó
∑
∑
∑
jœ>
‰ Œ Ó
jœ>
‰ Œ Ó
∑
∑
38
≈
œ œb œb œb œ œ œ œb>œ œ œb œn œ œb œb
∑
∑
rœ ≈ ‰ Œ Ó
rœ ≈ ‰ Œ Ó
a2.
ƒ
f
f
ƒ
Detache
f
(W.B.)
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e e»
.
.
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˙
>
≈
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∑
∑
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>
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e»e
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>
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∑
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a2.
Í
Í
ƒ
Detache
w
w
w
w
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∑
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∑
w>
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œ
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w
w>
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œ œ œb œn œ œb œb
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a2.
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ƒ
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Detache
Detache
(S.D.)
f
f
(Xyl)
f
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≈ œ œ œ œ œ œ œ œ œ œ œ
≈
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∑
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≈
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>œ œb œb œb œ
≈
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>œ œb œb œb œ
ß
ß
ß
ß
p
pizz.
ß
P
(Triangle)
ß
p
P
p
ß
Jœ>‰ Œ Ó
J
œ
œ
>
‰ Œ Ó
jœ
œ>
‰ Œ Ó
∑
jœ
œ>
‰ Œ Ó
∑
j
œ
>‰ Œ Ó
‰ œ œ# ‰ ‰ œ œ ‰
∑
∑
Jœ>‰ Œ Ó
jœ>
‰ Œ Ó
J
œ
œ
>
‰ Œ Ó
jœ>
‰ Œ Ó
∑
jœ>
‰ Œ Ó
Œ œ œ œ>
‰ œ œ
jœ ‰ Œ Ó
jœ
‰ Œ Ó
∑
∑
w
jœ
‰ Œ Ó
jœ>
‰ Œ Ó
œ>
œ œ œ œ#>œ œ#>œ
œ#> œ œ œ œ>
œ œ> œ
jœ>
‰ ‰ Jœ#Jœ#‰ ‰ J
œ
∑
∑
∑
∑
∑
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∑
‰ œ œ# ‰ ‰ œ œ ‰
∑
∑
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‰ œ œ œ œ ‰ œ
∑
∑
∑
∑
w
∑
∑
œ>
œ œ œ œ#>œ œ#> œœ#> œ œ œ œ>
œ œ> œ
jœ>
‰ ‰ Jœ#Jœ#>
‰ ‰ Jœ
F
F
F
1.
legato
legato
∑
∑
∑
∑
∑
∑
Ó3
‰ ‰ jœ#
3
œ# œœ
‰ œ œ# ‰ ‰ œ œ ‰
∑
∑
∑
∑
∑
∑
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‰ œ œ
∑
∑
∑
∑
w
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œ#
3
œ# œœ
Ó3
‰ ‰ jœ#
3
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œ>
œ œ œ œ#>œ œ#> œœ#> œ œ œ œ>
œ œ> œ
jœ>
‰ ‰ Jœ#Jœ#>
‰ ‰ Jœ
88
-
&
&
&
&
&
&
?
?
&
&
&
&
?
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÷
÷
&
&
?
&
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B
?
?
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
B. Cl.
Bsn.
C. Bn.
12
34
1 2
3
T. Tbn.
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Per. 3
Vln. I
Vln. II
Vla.
Vc.
Cb.
Hn
Bb Tpt
Hp.
4.
π
45
∑
∑
∑
∑
∑
∑
˙
3
œ#œ œ
‰ œ œ# ‰ ‰ œ œ ‰
∑
w
∑
∑
∑
∑
∑
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∑
∑
∑
45
w
˙
3
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˙
3
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œ>
œ œ œ œ#>œ œ#> œœ#>œ œ œ œ>
œ œ> œ
jœ>
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œ
∑
∑
∑
∑
∑
∑
3
œ# œ# œ#
3
œ œ œn
‰ œ œ# ‰ ‰ œ œ ‰
∑
w
∑
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∑
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‰ œ œ
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∑
∑
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3
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3
œ œ œn
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jœ>
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‰ ‰ Jœn
2.
p
p
F
1.
∑
∑
≈
œ œb œb œ œ œb œb
Jœ ‰ Œ
∑
∑
∑
˙
3
‰ œb œb
3
œb œ œ
‰œ œ
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‰
w
j
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j
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,
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∑
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‰ œ œ œ œ ‰ œ
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∑
∑
∑
w
˙
3‰
œb œb
3
œb œ œ
˙3‰ œb œb
3
œb œ œ
œ>n œ œ œ
œ>œ œ#>œœ#
>œ œ œ œ>œ œ>œ
Jœn>‰ ‰
jœ#Jœ#>‰ ‰
jœ
∑
∑
∑
∑
∑
∑
˙
3
Œ œb œb
‰œ œ
‰ ‰œ œ
‰
w
w
∑
∑
∑
∑
∑
∑
œ œ ‰ œ œ œ ‰ œ
∑
∑ ÷
∑
∑
w
˙3
Œœb œb
˙ 3Œ œb œb
œ>n œ œ œ
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>œ œ œ œ>œ œ>œ
jœn>
‰ ‰jœ#Jœ#>‰ ‰
jœ
f
f
(Triangle)
P
∑
∑
∑
∑
∑
∑
3
œœ œ œb
3
˙œ
‰œ œ
‰ ‰œ œ
‰
w
w
∑
∑
∑
∑
∑
∑
jœ>
‰ Œ Ó
∑
Œ œ œ œ>
‰ œ œ
∑
∑
w
3œœ œ œb
3˙
œ
3
œœ œ œb
3˙
œ
œ>n œ œ œ
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