an original composition, concerto for piano and orchestra
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Louisiana State UniversityLSU Digital Commons
LSU Doctoral Dissertations Graduate School
2004
An original composition, Concerto for Piano andOrchestra, and an analysis of Camargo Guarnieri'sConcerto No. 5 para Piano e OrquestraLiduino Jose Pitombeira De OliveiraLouisiana State University and Agricultural and Mechanical College, ldeoli1@lsu.edu
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Recommended CitationDe Oliveira, Liduino Jose Pitombeira, "An original composition, Concerto for Piano and Orchestra, and an analysis of CamargoGuarnieri's Concerto No. 5 para Piano e Orquestra" (2004). LSU Doctoral Dissertations. 2393.https://digitalcommons.lsu.edu/gradschool_dissertations/2393
AN ORIGINAL COMPOSITION, CONCERTO FOR PIANO AND ORCHESTRA, AND
AN ANALYSIS OF CAMARGO GUARNIERI’S CONCERTO NO. 5 PARA PIANO E ORQUESTRA
A Dissertation
Submitted to the Graduate Faculty of the Louisiana State University and
Agricultural and Mechanical College in partial fulfillment of the
requirements for the Degree of Doctor of Philosophy
in
The School of Music
by Liduino José Pitombeira de Oliveira
B.M., Universidade Estadual do Ceará (Brazil), 1996 M.M., Louisiana State University, 2000
May 2004
ii
© Copyright 2004 Liduino José Pitombeira de Oliveira All Rights Reserved
iii
DEDICATION
This work is dedicated to my wife Maria José Bernardes Di Cavalcanti, who has always
encouraged and supported me to achieve my goals as a composer.
iv
ACKNOWLEDGMENTS
I would like to thank my parents, José Gomes de Oliveira and Maria Dolores Pitombeira
de Oliveira for their support during these years of hard study; my wife, Maria José Bernardes Di
Cavalcanti, for her patience and enthusiasm; my advisor, Boyd Professor Dr. Dinos
Constantinides, for his academic dedication and orientation during the production of this
dissertation and fifty other pieces; my former advisor in Brazil, Professor José Alberto Kaplan,
for his eight years spent in my formation as a composer; my harmony and counterpoint teachers
in Brazil, Vanda Ribeiro Costa and Tarcísio José de Lima; and the Syntagma ensemble, in
Brazil, for being the initial laboratory for my musical experiences as arranger and composer. I
also thank Dr. Joe Abraham, from the LSU Writing Center, for working with me on the English
problems; Guarnieri’s biographer, Dr. Marion Verhaalen, for her wonderful book on Guarnieri
and her total assistance by e-mail and phone about the musicological aspects of the piece; Max
Barros, from Ponteio Publishing, Inc., and Paulo Vicente and Alice Mangione, from Edições
Euterpe Ltda., for authorizing the use of excerpts of Guarnieri’s “Concerto No. 5 para Piano e
Orquestra” and Severino Araújo’s “Espinha de Bacalhau” respectively; and the members of my
committee, Dr. Dinos Contantinides, Dr. Jeffrey Perry, Dr. William Grimes, and Dr. Cornelia
Yarbrough for their valuable suggestions, comments, and corrections.
v
TABLE OF CONTENTS DEDICATION.................................................................................................................. iii ACKNOWLEDGMENTS ............................................................................................... iv PERFORMANCE NOTES ............................................................................................ vii EXPLANATION OF SYMBOLS ................................................................................. viii ABSTRACT...................................................................................................................... ix
PART 1: AN ORIGINAL COMPOSITION, CONCERTO FOR PIANO AND ORCHESTRA
I. DIALECTICS ..........................................................................................................2 II. MEMORIES OF SARATI.....................................................................................40 III. FINALE .................................................................................................................54
PART 2: AN ANALYSIS OF CAMARGO GUARNIERI’S CONCERTO No. 5
PARA PIANO E ORQUESTRA
CHAPTER 1. INTRODUCTION ................................................................................92 1.1 General Considerations....................................................................................92 1.2 Historical Background .....................................................................................92 1.3 General Overview of Guarnieri’s Fifth Concerto for Piano and Orchestra .....97 1.3 Classification of the Types of Sonorities Used in This Analysis ....................99
CHAPTER 2. FIRST MOVEMENT: “IMPROVISANDO.”......................................104
2.1 General Considerations..................................................................................104 2.2 Formal Design................................................................................................104 2.3 The Improvisational Factor............................................................................131
CHAPTER 3. SECOND MOVEMENT: “SIDERAL.”..............................................133
3.1 General Considerations..................................................................................133 3.2 Formal Design................................................................................................133
CHAPTER 4. THIRD MOVEMENT: “JOCOSO.” ..................................................148
4.1 General Considerations..................................................................................148 4.2 Formal Design................................................................................................148
CHAPTER 5. CONCLUSION...................................................................................175
BIBLIOGRAPHY ..........................................................................................................182
vi
APPENDIX A. LETTER OF PERMISSION I ...........................................................................184
B. LETTER OF PERMISSION II..........................................................................185
C. TYPES OF SONORITIES .................................................................................186
VITA................................................................................................................................187
vii
PERFORMANCE NOTES
“Concerto for Piano and Orchestra” is scored for the following instrumentation: Piccolo (Picc.) 3 Flutes (Fl.), third flute also plays Alto Flute 2 Oboes (Ob.) English Horn (E.Hn.) 3 Bb Clarinets (Cl.) Bass Clarinet (B.Cl.) 2 Bassoons (Bn.) Contrabassoon (CBn.) 4 Horns in F (Hn.) 3 Trumpets in C (Tp.) 3 Trombones (Tn.) Tuba (Tb.) Timpani 3 Percussionists:
1. Snare drum, Triangle, Tubular bells, Vibraphone, Suspended cymbal (3rd movement).
2. Bass drum, Suspended cymbal (1st movement), Temple blocks, Crash cymbal, Bongos.
3. Xylophone, Glockenspiel, Crash cymbal, Tambourine, Woodblock, Slapstick, Marimba (4 octaves).
Harp (Hp.) Piano (Pno.) – soloist Strings:
Violin I (Vn.I) Violin II (Vn.II) Viola (Va.) Violoncello (Vc.) String Bass (S.B.)
The score is in C, i.e., all instruments in the score, with the exception of octave transposing instruments, appear at concert pitch. Accidentals are valid for the entire measure, in the indicated octave only. Courtesy accidentals have been added for clarity.
viii
EXPLANATION OF SYMBOLS
ix
ABSTRACT
This dissertation is in two parts. The first part is an original composition, “Concerto for
Piano and Orchestra.” The second part is an analysis of Brazilian composer Camargo
Guarnieri’s “Concerto No. 5 para Piano e Orquestra.” I chose to analyze this work by Guarnieri
because I am also a native from Brazil and I believe he is one of the most outstanding composers
of the twentieth century. His wonderful mastery of both modern and traditional techniques of
composition, the blending of these techniques with genuine folk and popular sonorities of his
native culture, and a disciplined life entirely dedicated to compose, perform, conduct, and teach
music are a bright inspiration to composers inside and outside Brazil.
“Concerto for Piano and Orchestra” is in three movements, with three piano cadenzas.
The first movement, titled “Dialectics,” is in sonata allegro form and moderately fast. The
central idea of this movement is the conflict between tonality and dodecaphonism. After being
introduced in the exposition, the thematic groups fight during the development, and interchange
their roles in the recapitulation, i.e., what is tonal becomes twelve-tone and vice-versa. The
second movement, titled “Memories of Sarati,” is a tribute to the place where Camargo Guarnieri
spent most of his life composing and teaching. It is slow and uses graphic notation along with
traditional notation. The third movement, titled “Finale,” is fast and inspired by Brazilian folk
and popular music.
In the second part of the dissertation, the three movements of Camargo Guarnieri’s
“Concerto No. 5 para Piano e Orquestra” are analyzed with respect to formal design and
harmonic language. In order to accomplish this latter, a system of classification of sonorities is
provided in the first chapter along with historical and biographical information. In chapters two,
x
three, and four the three movements of Guarnieri’s work are analyzed in detail. Chapter five
provides a summary of the analysis.
1
PART 1: AN ORIGINAL COMPOSITION, CONCERTO FOR PIANO AND ORCHESTRA
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.œ# œ# œ
.œ# œ# œ
.œ# œ# œ‰ œ œ œ# œ œ œJœ. ‰ Jœb . ‰
Jœ. ‰ Jœb . ‰jœ. ‰ jœb .
‰
Jœ ‰ Œ
∑∑
œ# œ# œ œ œ œ œ œ œ œ œ œ œ# œ
∑∑
∑
∑
.œ# œ# œ
.œ# œ# œ
.œ# œ# œœ œ œb œ œb œb œ œœ œ œb œ œb œb œ œ
OOOPOppO
3
œ œ# œ3
œ# œ œ#
3
œ œ# œ3
œ# œ œ#3
œ œ# œ3œ# œ œ#
3
œ œ# œ3
œ# œ œ#3
œ œ# œ3œ# œ œ#
3
œ œ# œ3
œ# œ œ#
3
œ œ# œ 3œ# œ œ#œb œ œb œ œ œn œb œb
œb œ œb œ œ œn œb œb
Jœb . ‰ jœ. ‰3
œ œ# œ3œ# œ œ#
3
œ œ# œ3œ# œ œ#
3
œ œ# œ3œ# œ œ#
3
œ œ# œ3œ# œ œ#
Jœb . ‰ jœ. ‰
Jœb . ‰ jœ. ‰jœb . ‰ jœ.
‰
Jœb ‰ Œ
∑∑
3
œ œ# œ3
œ# œ œ#
∑∑ &
∑
∑
3
œ œ# œ3
œ# œ œ#3
œ œ# œ3œ# œ œ#
3
œ œ# œ3œ# œ œ#
œb œ œb œ œ œn œb œbœb œ œb œ œ œn œb œb
B
B
e=e
e=e
π
ππ
ππ
ππ
.œ œ
.œ# œ
.œ# œ
.œ œ
.œ œ
.œ œ
.œ œjœn ‰ ‰ Œjœn ‰ ‰ Œjœn ‰ ‰ Œ
.œπœ
.œπœ
Jœ ‰ ‰ ŒHarmon Mute
Jœ ‰ ‰ ŒHarmon Mute
∑
∑∑∑
∑∑
.œ .œ œ œπ
Œ( ) Jœ ‰( )‰œgliss.
f ‰( )‰ Jœ
œfœ œ# œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
.œ œπ
.œ œ π
.œ œ πŒ Jœ#arco
Fœ# œ
Œ Jœ#arco
Fœ# œ
4
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&&
&?
&&B??
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
16 ∑
∑∑
Œ . œbF
1.
∑
∑∑
∑
∑
∑
∑
∑
Jœœbb˘F‰ ‰ J
œœ˘‰
jœnflF‰ ‰ jœfl
‰
∑
∑∑∑
∑‰
∑
‰( ) Jœ ‰( ) ŒŒ( )‰ Jœ ‰
œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
∑
œF œ œ œ œœFœ œ œ œ œ œ œ œ œJœ Jœ# .œJœ Jœ# .œ
∑
∑∑
˙ Jœ
∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑.œ Œ
∑
œfœ œ# œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
∑jœ. ‰ ‰ Œjœ. ‰ ‰ Œ
Jœ. ‰ ‰ Œ
Jœ. ‰ ‰ Œ
n
∑.œbP
1. œ
∑
Jœn
‰ ‰ Œ∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ# ¨ œ œ œ œœ œ œ œ œ œ œ œ œ œ
Œ . œπ∑∑∑
Jœpizz.
F‰ ‰ Jœ ‰
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ# ¨fœ œ œ œ
œ œ œ œ œ œ œ œ œ œ
.œ# œ
‰ œπ œbŒ œπ
jœb∑
‰ Jœ ‰ ‰ Jœ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œfœ œ œ œ
œ œ œ œ œ œ œ œ œ œ
œ# Jœn œ
œb œn Jœjœ œ œ
∑Œ Jœ ‰ ‰
∑
∑∑
∑∑
∑∑
∑œ.a2
Fœb . œb œ œ œ. œ.
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ œ œ œ œ œ œ œ œ œ
œ œb ¨ œb œ œ œ œ
œb œ œ œ œb
œ œ Jœ.œ œ‰ œπ
œ œ∑
∑
∑∑
∑∑
∑∑
∑œb . œb . œn . œ. œ œ
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ œ œ œ œ œ œ œ œ œ
œb ¨ œb ¨ œn ¨ œ œ œb &
œ Jœn œœ
Jœ œ œœb œ œ œ
Jœ œ œ#∑
C
C
∑
∑∑
∑∑
∑∑
∑Jœ. ‰ Œ Œ
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
9:8
œ œ œ
œœ œœ œ œ
œ# œ#
œ œ œ œ œ œ
œ# œ#
œn œn œ œb œb œ
œ œ œ
Jœ. ‰ Œ Œ
Jœ. ‰ Œ Œ
Jœ. ‰ Œ ŒœP
œ# œ#∑
5
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&&
&
&
&&B??
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
24 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
Œ6
œ œb œb œ œb œ6
œ œ œb œ œb œ
œ œ- œ- œ- œ- œ-
∑∑∑
.˙n∑
Œ Œ ≈ . rKœfœb œ œb œ#
Œ Œ ≈ . rKœfœb œ œb œ#
Œ Œ ≈ . rKœfœb œ œb œ#
Œ Œ ≈ . rKœfœb œ œb œ#
Œ Œ ≈ . rKœf œb œœb œ#
Œ Œ ≈ . rKœfœb œ œb œ#
Œ Œ ≈ . rKœf œb œ œb œ#∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑Bass Drum
∑Woodblock
∑∑
œb ¨ œ œ œ œ œ
œ œ œ œ œ œ ?
∑∑∑∑∑
œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙œn œ œ# œb œ œb œ ˙
∑
∑
Œ ˙P∑
∑
∑∑
∑
∑Œ ˙P
∑
∑‰ . rœF
Œ ‰ . rœ‰ . RœF
Œ ‰ . Rœ
∑∑
œœb ¨ œœ œœ œœ œœ œœ
‰ .. r–‡flƒ Œ ‰ .. r–‡fl∑∑∑∑
Œ ˙arco
P
jœn
‰ Œ Œ
jœn
‰ Œ Œjœ
n
‰ Œ Œjœ
n
‰ Œ 3
œa2
f œ# œ
jœn
‰ Œ 3
œfœ# œ
jœn
‰ Œ Œ
jœn
‰ Œ Œ
∑
Œ Œ3
œf
a2 œ# œ
œ ˙b∑
∑
∑∑
∑
∑
œ ˙b∑
∑‰ . rœ Œ Œ
‰ . Rœ Œ Œ
∑∑
œœb ¨ œœ œœ œœ œœ œœ
‰ .. r–‡fl Œ Œ
∑∑∑∑
œ ˙b
∑
∑∑
3œb œ œb œ œ#3œn œ# œn œ
3œb œ œb œ œ#3œn œ# œn œ
∑∑
∑
3
œb œ œb œ œ#3
œn œ# œn œ
œ ˙∑
∑
∑∑
∑
∑
œ ˙∑
∑∑
∑
∑∑
œœb ¨ œœ œœ œœ œœ œœ
Œ Œ3
œ œ œ#
∑∑∑∑
œ ˙
∑
∑∑
jœπ‰ Œ Œjœπ‰ Œ Œ
∑∑
∑
Jœπ‰ Œ Œ
.˙b∑
∑
∑∑
∑
∑
.˙b∑
∑∑
∑
∑∑
œœb ¨ œœ œœ œœ œœ œœ3œb œ œ
3œb œ œ œœbb
∑∑∑∑
.˙b
D
D
∑œb .a2
Fœb . œ. œb .
œb .a2
F œb . œ. œb .
∑∑
œb .Fa2 œb . œb . œb . .œ œ#
∑
∑œb .Fœb . œb . œb . .œ œ#
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œb .f œb .œb . œb . .œ œ#
œœœbbb ˘ ‰ œœœ ‰ Jœœœ
∑∑∑∑∑
∑œn œ œ
œn œ œ
Œ . Jœa2
Œ . Jœ
œ# œn œ#
∑
∑œ# œn œ#
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ# œn œ#œœœn œœœbn
∑∑∑∑∑
∑œb . œn . œb . œ œ
œb . œn . œb . œ œ
œb . œn . œb . œ œœb . œn . œb . œ œ
˙b˙bFbFœ œb
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
∑∑∑∑∑
∑˙b
˙b
˙b˙b
œb œn
œb œnœb œ
œ œ
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
Œ . Jœf
œbp œœbp œœpœ
∑
6
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&&
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
34 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑œb œb œb . œ. œ# œn œ œn
œ# -F œ-œ# -F œ-œ# -F
œ# -œ# -F
œ# -
∑
∑∑
∑∑
∑∑
∑
∑
∑3Œ
1.
œ# -F œ-∑
∑∑
∑
∑∑
jœ#F Œ .
∑∑
∑
∑∑
œœ## ¨
f
œœ œœœœ## ¨
œ# . œ# . œ. œ# . œ# . œ. œ.œ# .
Jœ# . ‰ Œjœ# . ‰ Œ
Jœ# . ‰ Œjœ# . ‰ Œjœ# . ‰ Œ
∑
∑∑
∑∑
∑∑
∑
∑
∑3œ# œ œ#∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
..œœ## Jœœ##
œ# . œ. œ# . œ# . œ. œ. œ# . œ# .
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
œ# œ#∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œœ œœ œœ## ¨ œœ œœ##
œ.locoœ# . œ# . œ. œ. œ# . œ# . œ.
∑∑∑∑∑
∑
∑∑
∑∑
œba2
Pœ œ œb œ œn œb œ∑
∑
∑
∑
˙#∑
∑∑
∑
˙bP∑∑
∑∑
∑
∑∑
..œœ## Jœœ
œ#> œn œ œ# œn œ> œb œ
∑∑∑∑
˙bpizz.
P
∑
∑∑
∑∑
œb œ ‰ Œ∑
≈ œPœ œb œ œ œb œ
∑
∑
∑
∑
∑∑
∑
˙∑∑
∑∑
∑
∑∑
œœ## ¨ œœ œœ œœ œœœ# œn œ> œ# œn œ œb œ>
∑∑∑∑
˙
∑
∑∑
∑∑
∑∑
œ œb œ œb œ œn œb œ
∑
∑
∑
∑
∑∑
∑
˙∑∑
∑∑
∑Xylophone
∑Gn Df∑ ?
..œœ## œœ œœ##
œn œb œ œ# œ> œ œ œn
∑∑∑∑
˙
E
E
∑
∑∑
∑∑
∑∑
œ#˘ ‰3
‰ œ ‰œ#˘Fa2
‰3
‰ œ ‰œ#˘F‰
3
‰ œ ‰
∑
∑
∑∑
œ#˘Fa2 ‰
3
‰ œ ‰
œ#flF‰ 3‰ œfl ‰∑
œ#˘F‰
3
‰ œ ‰
∑∑
œF œ œ œ œ œ œ œ
∑3
œ# œ œ3œ œ œ
œn œn œ œ œ œ œ œ
3
œ# œ œ3
œ œ œ
∑∑∑
3
œ# œ œ3œ œ œ
œ#flF‰ 3‰ œfl ‰
∑
∑∑
∑∑
∑∑
3
‰ ‰ œ#˘ Œ
3
‰ ‰ œ#˘ Œ
3
‰ ‰ œ#˘ Œ
Œ1.
œ#F œ#∑
∑senza sordino
∑senza sordino
3
‰ ‰ œ#˘ Œ3‰ ‰ œ#flŒ∑
3
‰ ‰ œ#˘ Œ
∑∑
œ œ œ œ œ œ œ œ∑
3
œ# œ œ3œ œ œ
œ œ œ œ œ œ œ œ
3
œ# œ œ3
œ œ œ
∑pizz.
∑pizz.
Œ œ#Fœ#
3
œ# œ œ3œ œ œ
3‰ ‰ œ#flŒ
œ.fœ# . œ. œ# . œ. œ# . œ. œ.
œ.fa2 œ# . œ. œ# . œ. œ# . œ. œ.
œ.f œ# . œ. œ# . œ. œ# . œ. œ.œ.fa2 œ# . œ. œ# . œ. œ# . œ. œ.
œ.f œ# .œ. œ# . œ. œ# . œ. œ.
œ.fa2
œ# . œ. œ# . œ. œ# . œ. œ.∑
œ ‰3
‰ œ ‰
œ ‰3
‰ œ ‰
œ ‰3
‰ œ ‰
˙∑
∑∑
œ ‰3
‰ œ ‰
œfl ‰ 3‰ œfl ‰∑
œ ‰3
‰ œ ‰
∑∑
œb œ œ œ œ œ œ œ∑
3
œ œ œ3œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
.œF
œ# .œ# œ
.œF œ# .œ# œ˙
3
œ œ œ3œ œ œ
œfl ‰ 3‰ œfl ‰
7
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
44 œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.∑
3
‰ ‰ œ Œ
3
‰ ‰ œ Œ
3
‰ ‰ œ Œ
œ œ#∑
∑∑
3
‰ ‰ œ Œ3‰ ‰ œflŒ∑
3
‰ ‰ œ Œ
∑∑
œb œ œ œ œ œ œ œ∑
3
œ œ œ3œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
.œ œ .œ# œ
.œ œ .œ# œœ œ#
3
œ œ œ3œ œ œ
3‰ ‰ œflŒ
œ. œ# . œ# . œ# . œ# . œ. œ. œ.
œ. œ# . œ# . œ# . œ# . œ. œ. œ.
œ. œ# . œ# . œ# . œ# . œ. œ. œ.œ. œ# . œ# . œ# . œ# . œ. œ. œ.
œ. œ# . œ# . œ# . œ# . œ. œ. œ.œ. œ# . œ# . œ# . œ# . œ. œ. œ.
∑
œb˘ ‰3
‰ œ ‰
œb˘ ‰3
‰ œ ‰
œb˘ ‰3
‰ œ ‰
˙#f∑
∑∑
œb˘ ‰3
‰ œ ‰
œb˘ ‰3
‰ œ ‰∑
œb˘ ‰3
‰ œ ‰
∑∑
œ œ# œ œ œ œ œ œ∑
3
œb œ œ3
œ œ œ
œ œ# œ œ œ œ œ œ
3
œb œ œ3
œ œ œ
.œ œ# .œ# œ
.œ œ# .œ# œ˙#f
3
œb œ œ3
œ œ œ
œb˘ ‰3
‰ œ ‰
œ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œœ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œ
6
œbfœ œ œb œ œ
6
œb œ œ œb œ œ
3
‰ ‰ œb˘ Œ
3
‰ ‰ œb˘ Œ
3
‰ ‰ œb˘ Œ
˙#∑
∑∑
3
‰ ‰ œb˘ Œ
3
‰ ‰ œb˘ Œ∑
3
‰ ‰ œb˘ Œ
∑∑
œ œ# œ œ œ œ œ œ∑
3
œb œ œ3
œ œ œ
œ œ# œ œ œ œ œ œ
3
œb œ œ3
œ œ œ
.œ# œ#> Œ
.œ# œ#> Œ˙#
3
œb œ œ3
œ œ œ
3
‰ ‰ œb˘ Œ
∑
∑∑
∑∑
6
œbfœ œb œ œ œn
6
œb œ œb œ œ œnjœb ‰ Œ
œnfl ‰ 3‰ œfl ‰
œnfl ‰ 3‰ œfl ‰
œnfl ‰ 3‰ œfl ‰
˙#∑
∑∑
œnfl ‰ 3‰ œfl ‰
œnfl ‰ 3‰ œfl ‰∑
œnfl ‰ 3‰ œfl ‰
∑Snare Drum
∑œb œ œ œ œ œ œ œ
∑
3
œ œ œ3
œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
∑∑
˙#
3
œ œ œ3
œ œ œ
œnfl ‰ 3‰ œfl ‰
6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ
6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ
∑
Jœb ‰ Œ∑
3‰ ‰ œfl Œ3‰ ‰ œfl Œ3‰ ‰ œfl Œ
œ# - œ-
∑ ?
∑∑
3‰ ‰ œfl Œ3‰ ‰ œfl Œ∑
3‰ ‰ œfl Œ
æπ∑
œb œ œ œ œ œ œ œ∑
3
œ œ œ3
œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
∑∑
œ# - œ-
3
œ œ œ3
œ œ œ3‰ ‰ œfl Œ
F
F
Jœb˘ ‰ Œ Œ
6
œb œ œ œb œ œ Jœb ‰6
≈ œn œb œ œn œn
Jœb˘ ‰6
œb œ œ œb œ œ jœbfl ‰
6
œb œ œ œb œ œ6
œb œ œ œb œ œ jœbfl ‰Œ Œ 6œb
fœ œb œ œ œn
∑∑
∑
∑
∑3œœbbFœœ œœbb
3œœ jœœn
3
œbF
a2 œ œb3
œ Jœb
6
œbF
a2 œ œ œb œ œ6
œb œ œ œb œ œ jœbflf‰
Œ Œ 6œbFœ œb œ œ œn
3œF
œ# œ 3œ# Jœ3œ
Fœ# œ 3œ# Jœ
3
œFœ œ#
3œ jœ#∑
Jœf‰ Œ ŒTriangle
∑
Jœb˘ ‰ Œ Œ
∑jœfl ‰ Œ Œ
Jœb ‰ Œ Œjœfl ‰ Œ Œ
∑∑∑
jœfl ‰ Œ Œ∑
Jœb˘ ‰ Œ Œ
Jœb˘ ‰ Œ Œjœbfl‰ Œ Œ
jœbfl‰ Œ Œjœbfl‰ Œ Œ
∑∑
∑
∑
∑
jœœ## flf‰ Œ Œ
Jœf‰ Œ Œjœbflf‰ Œ Œjœbflf‰ Œ Œ˙f
œ#˙ Œ1.
FJœf‰ Œ Œjœflf‰ Œ Œ
∑.˙f
∑
∑
∑∑
Œ6
œbƒœ œb œ œ œn
6
œb œ œ œb> ‰
Œ 6œb œ œb œ œ œn6
œb œ œ œb> ‰
∑∑∑∑∑
8
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~
51 Œ Œ ‰ Jœb˘
Œ1.
3
œƒœ# œ> œ œ
∑
∑∑
∑∑
∑
∑
Œ Œ ‰ jœbflf∑
∑
∑∑
˙# œ
∑∑∑
∑∑
∑
∑∑
Œ3
œ œ# œ ‰ ‰ Jœb˘
fŒ 3
œ œ# œfl ‰ ‰jœbfl
∑∑∑∑∑
Jœ ‰ Œ Œœ œb 3
œfœ# œ
∑
∑∑
∑∑
∑
∑
jœfl‰ Œ Œ
∑
∑
∑∑
.˙
∑∑∑
∑∑
∑
∑∑
Jœ ‰ Œ Œ
jœfl‰ Œ Œ
∑∑∑∑∑
∑
.˙#
∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
Jœ ‰ Œ Œ
∑∑∑
∑∑
∑
∑∑
‰ Jœ#F 5
œ œb œ œ# œn
‰ jœ#5
œ œb œ œ# œn
∑∑∑∑∑
∑
œn a2
Fœb œ# - œn œ
Œ ˙ b
F∑∑
∑∑
∑
‰ jœF ˙‰ jœF ˙∑
∑
∑∑
œP œ# œ .œ œ
∑∑∑
∑∑
∑
∑∑
.˙b
‰ jœœƒ˙
∑∑∑∑∑
G
G
Œ œ# œ ˙bf
.˙n
.˙f
∑∑
∑∑
3
œFœ# œ# œn œn œ# œn œ œ œ# œ#jœ# . ‰ Œ Œ
jœ# . ‰ Œ Œ
∑
∑
∑∑
Jœ# . ‰ Œ Œ
∑∑∑
∑∑
∑
∑oooPoopO∑
Jœn
‰ Œ Œ
∑
∑∑∑∑∑
n
Jœπ‰ Œ Œ
∑.˙
∑∑
∑‰ œ#Fjœ
3
œ œ# œ# -
œn ˙b∑
∑
∑
∑
∑∑
Œ Œ ‰ Jœ#p∑∑∑
∑∑
∑....˙˙˙bb#gggggggggggggggggF...˙˙˙#b
∑
∑
∑∑∑∑∑
∑
∑∑
∑∑
∑œ œ œ œ# œ œ œbœ œ œ œb
3
œ œ œ œb œ œ# œ#
∑
∑
∑
∑
∑∑
˙ Œn
∑∑∑
∑∑
∑
∑∑
∑
∑
∑∑∑∑∑
∑
∑∑
∑∑
∑
˙b5
œ œ œn œb œb5
œ œ# œ# œ œn œ∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
∑∑∑∑∑
∑
Œ6
≈a2 œfœb œb œ œ
6
œ œ# œb œ œ# œn
Œ6
≈ œfœb œb œ œ
6
œ œ# œb œ œ# œn
Œ3
‰a2
fœ œb
3
œ œ œ#
Œ3
‰fœ œb
3
œ œ œ#
Œ6
≈ œfœb œb œ œ
6
œ œ# œb œ œ# œn
œ œ3
œ œf
œb3
œ œ œ#3œ œb œ# œ œbf œn œ
Œ ‰ jœbfa2
œ œŒ Œ ‰ jœ.f
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑Gn Cn∑
∑
∑
∑∑∑∑∑
9
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
H
H
60 ∑
Jœ. ‰ Œ ŒJœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œjœ. ‰ Œ Œ
˙#1.
F œ#∑
∑∑
∑
∑∑
jœ.F‰ Œ ‰ jœ.
∑∑
∑
5
œpœ œb œb œ 5œb œ œ œb œb
5œ œb œ œ œb
∑
∑
œpizz.
F œb œbœpizz.
F œb œbœ#F 3
œfœ œ
3
œ# œ# œœpizz. œ œœpizz. œ œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
˙ œ œ∑
Œ1. ≈ œbF œ œ œ œ∑
∑
∑∑
Jœb . ‰ Œ Œ
∑∑
∑Xylophone
.˙bF.˙b
∑
∑
œb œ œnœb œ œnœ ≈ œb œb œ œn œnœb œ# œnœb œ# œn
Œ Œ ‰3
œ#fœ œ
Œ Œ ‰a2
3
œ#fœ œ
Œ Œ ‰3
œ#fœ œ
Œ Œ ‰a23
œ#fœ œ
Œ Œ ‰3
œ#fœ œ
Œ Œ ‰a23
œ#fœ œ
Œ Œ ‰3
œ#fœ œ
∑
∑
∑
.˙b∑ &
.˙b∑
∑
∑∑
Jœ# . ‰ Œ Œ
∑Snare Drum
∑Bass Drum
œbF œb
3
œn œ œ œ#
∑∑
∑
∑
4œ œ œb œ4œ œ œb œ
˙# œ# œnœ# Œ œœ# Œ œ
Jœn .‰ Œ Œ
Jœn .‰ Œ ŒJœn . ‰ Œ Œ
Jœn . ‰ Œ ŒJœn . ‰ Œ Œ
Jœn . ‰ Œ ŒJœn . ‰ Œ Œjœ.f‰ Œ Œjœœ.f‰ Œ Œ
jœ.f‰ Œ Œ
.˙jœ.f
a2 ‰ Œ Œjœœ.f‰ Œ Œjœ.f‰ Œ Œjœœ.f‰ Œ Œjœ.f‰ Œ Œ
jœ.f‰ Œ Œjœ.f‰ Œ Œ
Jœ.f‰ Œ Œjœ.f‰ Œ Œ
Jœœ.f‰ Œ Œ
Jœœ.f‰ Œ Œjœœ.‰ Œ Œ
∑
∑
œ Œ œœbarco div.
pœ Œ œb
arco
pœ œ3
œ# œ œb œ œ# œn œn
œ Œ œœ#arcodiv.
pœ Œ œarco
p
∑
∑∑
∑∑
Jœn˘f‰
5
œb œ œb œ œb œ
jœnflf‰
5
œb œ œb œ œb jœ. ‰
∑
∑
∑
f œ œ#∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
‰ jœœb≥flŒ jœœ
≥fl‰
‰ jœb≥flŒ jœ
≥fl‰
jœnfl ‰5
œb œ œb œ œb œ
‰ Jœœ#≥Œ Jœœ
≥‰
‰ jœ≥fl Œjœ≥fl ‰
∑
∑∑
∑∑
œ ‰ Jœb3
œb œ œ
Œ ‰ Jœb3
œb œ œ
∑
∑
∑
.œ œb ˙∑
Œ Œ ‰ jœbFa2
Œ Œ ‰ jœbFŒa2 jœflP ‰ Œ
Œa2 jœflP ‰ ŒŒa2 jœflP
‰ Œ∑
∑∑
∑
∑∑
∑
∑
‰ jœœ#flŒ œœ≥f..œœ≤p
‰ jœb≥ Œ œ
≥f .œ≤pœ ‰ Jœb ≤
3
œb œ œ‰ Jœœ#˘ Œ œœ≥
f..œœ≤p
‰ jœfl≥ Œ œ≥f .œ
≤p
∑
∑∑
∑∑
Jœn ‰ Œ Œ
Jœn ‰ Œ Œ
∑
∑
∑
˙#Pa2
œf œn
˙#Pa2
œf œn.œb œn œ œn œ#f œ.œb œn œ œn œ#f œ˙# œ#˙# œ#
˙# œ#∑
∑∑
∑
∑∑
∑
∑
..˙æsul pont.
π.æ
sul pont.
sul pont.
π .æπ ..˙æsul pont.
π.æsul pont.
π
∑
∑∑
∑∑
∑∑
∑
∑
∑
3œ œb œb ˙3œ œb œb ˙3
œb œ œ# ˙3
œb œ œ# ˙4œnfœn œb œ
4œnfœn œb œ
4
œn f œn œb œŒ Œ œb æπ
∑∑
∑
∑∑
∑
∑
..˙æ
.æ
.æ
..˙æ
.æ
I
I
Œ6
‰ . œfœ œ#
6
œ œb œ œb œn œn
Œa2
6
‰ . œfœ œ#
6
œ œb œ œb œn œn
Œ6
‰ . œfœ œ#
6
œ œb œ œb œn œn
Œa2
6
‰ . œfœ œ#
6
œ œb œ œb œn œn
Œ 6‰ . œf œ œ#6œ œb œ œb œn œn
Œa2
6
‰ . œfœ œ#
6
œ œb œ œb œn œn
Œ 6‰ . œf œ œ#6œ œb œ œb œn œn
jœ#flf‰ œp
œb
jœ#flfa2 ‰ œp
œb
jœ#flf‰ Œ Œ
jœbfl‰ Œ Œ
jœbfl‰ Œ Œjœnfl‰ ˙npjœnfl‰ ˙npjœ#fl
a2 ‰ œp
œb
jœ#fl‰ œp
œb
jœ#fl‰ œp œbjœb .f‰ Œ Œ
∑∑
∑
∑∑
∑
∑
jœnflord.unis.‰ ˙npjœnfl
ord.‰ pjœbflord.‰ ˙bpjœ#flf
unis.ord.‰ œp
œbjœ#flford.‰ œp
œb
10
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
69
Jœn˘ ‰
6
≈ œb œb œ œn œb7
œn . œ œb œ œ# œ œ
Jœn˘ ‰
6
≈ œb œb œ œn œb7
œn . œ œb œ œ# œ œ
Jœn˘ ‰
6
≈ œb œb œ œn œb7
œn . œ œb œ œ# œ œ
Jœn˘ ‰
6
≈ œb œb œ œn œb7
œn . œ œb œ œ# œ œ
jœnfl‰
6
≈ œb œb œ œn œb 7
œn . œ œb œ œ# œ œ
Jœn˘ ‰
6
≈ œb œb œ œn œb7
œn . œ œb œ œ# œ œ
jœnfl‰
6
≈ œb œb œ œn œb 7
œn . œ œb œ œ# œ œ∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
6
œfœb œ œ# œ œb ˙
6
œf œbœ œ# œ œb ˙
jœf‰ 3œ œ# œ 3œb œn œ
6
œfœb œ œ# œ œb ˙
Jœf‰ 3œ œ# œ 3œb œn œ
Jœb˘ ‰6
œb œ œn œ œb œ Jœ#˘ ‰
Jœb˘ ‰6
œb œ œn œ œb œ Jœ#˘ ‰
Jœb˘ ‰6
œb œ œn œ œb œ Jœ#˘ ‰
Jœb˘ ‰6
œb œ œn œ œb œ Jœ#˘ ‰jœbfl‰ 6œb œ œn œ œb œ jœ#fl ‰
Jœb˘ ‰6
œb œ œn œ œb œ Jœ#˘ ‰jœbfl‰ 6œb œ œn œ œb œ jœ#fl ‰
œbfœb œn . œ. Jœn˘ ‰
6
œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn˘ ‰
6
œ# . œ. œ# . œ. œ. œ.
œbfœb œn . œ. Jœn
˘ ‰ 6
œ# . œ. œ# . œ. œ. œ.œbf œb œn . œ.
jœnfl‰
6
œ# . œ. œ# . œ. œ. œ.
œbf œb œn . œ.
jœnfl‰
6
œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn
˘ ‰6
œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn
˘ ‰6
œ# . œ. œ# . œ. œ. œ.œbfœb œn . œ. Jœn˘ ‰
6
œ# . œ. œ# . ‰ ..œbfœb œn . œ. Jœn
˘ ‰ 6
œ# . œ. œ# . ‰ ..jœb .f‰ jœ.
‰ jœ# . ‰Œ Œ
6
œ#pœ œ œ œ œ
∑∑
∑
∑∑
∑
∑
Jœb˘ ‰6
‰ . œ œ# œ Jœn˘ ‰jœbfl ‰ 6‰ . œ œ# œ jœnfl ‰œb œb œn . œ. Jœn
˘ ‰ 6
œ# . œ. œb . ‰ ..Jœb˘ ‰
6
‰ . œ œ# œ Jœn˘ ‰œb œb œn . œ. Jœn
˘ ‰ 6
œ# . œ. œb . ‰ ..
Œ5
œ œ œ œb œb3
‰ œb œb
Œ5
œ œ œ œb œb3
‰ œb œb
Œ5
œ œ œ œb œb3
‰ œb œb
Œ5
œ œ œ œb œb3
‰ œb œb
Œ 5
œ œ œ œb œb3‰ œb œb
Œ5
œ œ œ œb œb3
‰ œb œb
Œ 5
œ œ œ œb œb3‰ œb œb
Jœb˘ ‰3
‰ œn œ5
œb . œ œ# œ œ# .
Jœb˘ ‰3
‰ œn œ5
œb . œ œ# œ œ# .
jœbfl ‰3‰ œn œ
5
œb . œ œ# œ œ# .
Jœb˘ ‰ 3‰ œn œ 5œb . œ œ# œ œ# .
Jœb˘ ‰ 3‰ œn œ 5œb . œ œ# œ œ# .
Jœb˘ ‰ 3‰ œn œ
5
œb . œ œ# œ œ# .
Jœb˘ ‰ 3‰ œn œ
5
œb . œ œ# œ œ# .
Jœb˘ ‰3
‰ œn œ5
œb . œ œ# œ œ# .
jœbfl ‰3‰ œn œ
5
œb . œ œ# œ œ# .jœbfl‰ 3‰ œn œ
5
œb . œ œ# œ œ# .‰ jœbflfŒ Œ
∑∑
∑
∑∑
∑
∑
Jœb˘ ‰F
Jœb˘ ‰Fjœbfl ‰ ˙Fjœbfl ‰ ˙Fjœbfl ‰ ˙F
6
œn œ œn œ# œ œb œ œ# ‰ Jœn˘
6
œn œ œn œ# œ œb œ œ# ‰ Jœn˘
6
œn œ œn œ# œ œb œ œ# ‰ Jœn˘
6
œn œ œn œ# œ œb œ œ# ‰ Jœn˘6
œn œ œn œ# œ œb œ œ# ‰ jœnfl
6
œn œ œn œ# œ œb œ œ# ‰ Jœn˘6
œn œ œn œ# œ œb œ œ# ‰ jœnflJœ# . ‰ œ œ Jœn
˘‰
Jœ# . ‰ œ œ Jœn˘
‰
Jœ# . ‰ œ œ Jœn˘ ‰
jœ# . ‰ œ œ jœnfl ‰
jœ# . ‰ œ œ jœnfl ‰
Jœ# . ‰ œ œ Jœn˘ ‰
Jœ# . ‰ œ œ Jœn˘ ‰
Jœ# . ‰ œ œ Jœn˘
‰
Jœ# . ‰ œ œ Jœn˘ ‰
jœ# .‰ œ œ jœnfl
‰∑
∑∑
∑Xylophone
∑∑
∑
∑
œ œƒ 3
œ œ# œ# 6œn œb œ œ# œ œ#
œ œƒ 3
œ œ# œ# 6œn œb œ œ# œ œ#œ œ
ƒ 3
œ œ# œ# 6œn œb œ œ# œ œ#&
œ œƒ 3
œ œ# œ#6
œn œb œ œ# œ œ#
œ œƒ 3
œ œ# œ#6
œn œb œ œ# œ œ#
œcresc.
œ œ# œ3
œb œ œ#
œcresc.
œ œ# œ3
œb œ œ#
œcresc.
œ œ# œ3
œb œ œ#
œcresc.
œ œ# œ3
œb œ œ#
œflcresc.
œ œ# œ3
œb œ œ#
œcresc.
œ œ# œ3
œb œ œ#
œflcresc.
œ œ# œ3
œb œ œ#
∑
Œ Œ3
‰ œcresc.
œ#
Œ Œ3
‰ œcresc.
œ#
‰cresc.
jœ œ# œ3
œb œ œ#
‰cresc.
jœ œ# œ3
œb œ œ#
Ó3
‰ œcresc.
œ#
Ó3
‰ œcresc.
œ#
Œ Œ3
‰ œcresc.
œ#
Œ Œ 3‰ œcresc.
œ#Œ Œ 3‰ œ
cresc.
œ#∑
∑∑
6
œbfœb œncresc.
œ œn œ#6
œ œb œ œ# œn œn6
œ œ# œ œb œ œ#
∑∑
∑
∑
jœnfl ‰ Œ3
‰ œf
œ#cresc.jœnfl ‰ Œ
3
‰ œf
œ#cresc.jœnfl ‰ Œ
3
‰ œf
œ#cresc.
Jœn˘ ‰ Œ3
‰ œf
œ#cresc.
Jœn˘ ‰ Œ3
‰ œf
œ#cresc.
11
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&&??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
74 œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5œb . œn . œ. œ. œb .
6
œ. œ# . œ. œn . œ. œ# .œ œn œ œb
5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5œb . œn . œ. œ. œb .
6
œ. œ# . œ. œn . œ. œ# .∑
œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5œb . œn . œ. œ. œb .
6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5œb . œn . œ. œ. œb .
6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5œb . œn . œ. œ. œb .
6
œ. œ# . œ. œn . œ. œ# .œ œn œ œb
5œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .œ. œ. Jœb˘ ‰ œ. œ.
œ. œ.jœbfl ‰ œ. œ.
œ. œ.jœbfl ‰ œ. œ.
Œ Œ œbæp∑Snare Drum
∑Crash Cymbal (small)
œ œ œ œb5œb œn œ œ œb
6
œ œ# œ œn œ œ#
∑∑
∑
∑
œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5œb . œn . œ. œ. œb .
6
œ. œ# . œ. œn . œ. œ# .œ œn œ œb
5œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
œ œn œ œb5
œb . œn . œ. œ. œb .6
œ. œ# . œ. œn . œ. œ# .
J
J
Jœ#˘ƒ ‰ Œ Œ
Jœ#˘ƒ ‰ Œ ŒJœ#˘ƒ ‰ Œ Œ
Jœ#˘ƒ ‰ Œ Œ
Jœ#˘ƒ‰ Œ Œ
Jœ#˘ƒ ‰ Œ Œ
Jœ#˘ƒ‰ Œ Œ
3
‰ œFœ
3
œ œb œ3
œ œ œbJœ#˘ƒ‰ Œ ŒJœ#˘ƒ‰ Œ Œ
Jœ#˘ƒ‰ Œ Œ
Jœ#˘ƒ‰ Œ Œ
Jœ#˘ƒ‰ Œ Œ
Jœ#˘ƒ‰ Œ Œ
Jœb˘ƒ‰ Œ Œ
jœbflƒ‰ Œ Œjœbflƒ‰ Œ Œ
Jœb˘ƒ‰ Œ Œ
Jœƒ‰ Œ Œ
.˙ƒBongos (marimba medium mallet)
Jœ#ƒ‰ Œ ŒWoodblock
∑∑
∑
∑
Jœ#ƒ ‰ ‰ J
œ#pizz.
Fœn œ
Jœ#˘ƒ ‰ Œ Œ
Jœ#˘ƒ ‰ Œ ŒJœ#˘ƒ ‰ Œ ŒJœ#˘ƒ ‰ Œ Œ
∑
∑∑To Alto Flute
∑∑
∑∑
œ œ# œ#∑
∑
∑
∑
∑∑
∑
∑∑∑
‰ . RœπŒ Œ
≈ œπœ ≈Œ ≈ œ ‰
Œ œπœ ‰ ‰ . œTambourine
∑∑
∑
∑
3
œ œ# œn œ œ œ#∑∑∑∑
∑
∑∑
∑‰ œF
jœb œ#∑∑
˙ Œ
∑
Œ œ#F3œ# jœ
∑
∑
∑∑
∑
∑∑∑
‰ Jœ œ œ Œ .
≈ œ ‰ Œ œ ≈ œ œ
‰ . œWBk.Œ ‰ JœTamb.
∑∑
∑
∑
œ œ# œ# Œ∑∑∑∑
∑
∑‰ jœ#F
3œ# œ œb œn œn∑
˙n œn∑∑
Œ ˙#
∑3jœ œb ˙n
∑
∑
∑∑
∑
∑∑∑
≈ .œ Œ Œ
œ œ œ œ œ ‰ jœœ œ œWBk.≈ ‰ œ œ œ œTamb.‰
∑∑
∑
∑
∑∑∑∑∑
∑
∑Œ œ œb
3
œ œ œn∑
œ œb œ œb
∑∑
∑
∑5
œ œ œb œ œ œn∑
∑
∑∑
∑
∑∑∑
œ ‰ . Œ ‰ . œ
Œ . œ œ .œ œ
œWBk.‰ . ŒTamb. œ œWBk.œ
∑∑
∑
∑
∑∑∑∑∑
∑
∑
˙n jœ ‰
∑4œ œb œn jœn ‰
∑∑
.œF
œ ‰
∑
˙b jœ ‰
∑
∑
∑∑
∑
∑∑∑
Œ ‰ . œ ‰ JœŒ ≈ œ ‰ ≈ œ ‰≈ œ ‰ ‰ . œTamb.‰ . œWBk.
∑∑
∑
∑
∑∑∑∑∑
K
K
Œ6
‰ƒœ œ œ# œ
6
œb œ œ# œn œn œn
Œ6
‰ƒ
a2 œ œ œ# œ6
œb œ œ# œn œn œn
∑To Flute in C
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
Œ Œ ≈ œ ‰
≈ œ ‰ œ Œ
‰ . œTamb. ‰ Jœ Œ
∑∑
6
œƒœ œ# œ œ# œn
6
œ# œ œn ‰ . Œ6
œ œ œ# œ œ# œn 6
œ# œ œn ‰ .Œ
∑∑∑∑∑
12
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&&??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
√
82 Jœ ‰ Œ Œ
Jœ ‰ Œ6
œfœ œ# œ œ# œ#
Œ Œ 6
œf œ œ#œ œ# œ#
Œ Œ6
œa2
fœ œ# œ œ# œ#
Œ Œ 6
œf œ œ#œ œ# œ#
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
Œ ‰ Jœ Jœ ‰
œ œ Œ Œ
Œ ≈ œ ‰ Œ
∑∑
6
œ œ œ# œn œ# œ6
œ# œ œ œ œ# œ# Jœn˘ ‰6
œ œ œ# œn œ# œ6
œ# œ œ œ œ# œ# jœnfl‰
∑∑∑∑∑
∑
6
œ œ œ œb œ# œ Jœn˘ ‰ Œ
6
œ œ œ œb œ# œ jœnfl ‰ Œ
6
œ œ œ œb œ# œ Jœn˘ ‰ Œ
6
œ œ œ œb œ# œ jœnfl ‰ Œ
Œ6
≈ œ#f
a2 œ# œn œ œn6
œb œ œ# œ œb œ
Œ 6≈ œ#fœ# œn œ œn
6
œ# œn œ# œ œ# œ
Œ6
≈f
a2 œ# œ# œn œ œn6
œ# œn œ# œ œ# œ
Œ6
≈fœ# œ# œn œ œn
6
œ# œn œ# œ œ# œ
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
‰ Jœ Jœ ‰ Œ
∑∑
∑
∑
∑con sord.
∑con sord.
∑con sord. B
∑con sord.
∑
Jœƒ‰ Œ Œ
Jœƒ‰ Œ Œ
Jœƒ‰ Œ Œ
Jœƒ‰ Œ Œ
Jœƒ‰ Œ Œ
Jœn˘ƒ‰ Œ Œ
Jœn˘ƒ‰ Œ Œ
Jœn˘ƒ ‰ Œ Œ
Jœn˘ƒ‰ Œ Œjœflƒ‰ Œ Œ
∑
∑
∑∑
∑
∑∑
jœf‰ Œ Œ
∑∑
‰ Jœ Jœ ‰ Œ
∑∑
Jœœ˘
ω
6
≈ œb œb œ œn œ#7
œ œn œ# œn œ# œ œ
jœœfl‰ 6
≈ œbloco
œb œ œn œ# 7
œ œn œ# œn œ# œ œ
Jœpizz.
ƒ ‰œ# arco sul pont.
Zπ œ( )Jœpizz.
ƒ‰ œ#arco sul pont.
Zπ œ#( )jœpizz.
ƒ ‰ œ#arco sul pont.Zπ œ( )
Jœpizz.
ƒ ‰œ#arco sul pont.
Zπ œ( )Jœpizz.
ƒ‰ œ#arco sul pont.
Zπ œ( )
∑
∑∑
∑∑
∑∑
∑
∑
.˙bp∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
Jœb ‰3
‰Fœ œ#
3
œ œ# œ
jœb ‰3‰ œ œ#
3œ œ# œ&
‰ jœord.
π ˙‰ jœ
ord.
π ˙‰ jœ# ord.
π ˙.˙b
ord.
π.˙bord.
π
∑
∑∑
∑∑
∑∑
∑
∑
.˙∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑oOoPopOO∑ &
3
Jœn œ ‰ œ# œ œ œ# œ œn
3jœn œ ‰ œ# œ œ œ# œ œn
.˙
.˙
.˙
.˙
.˙
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑Glockenspiel
Œ Œ œFœb œ#œb
œ œb œ# œb
œbfœ œ œ
6
œ œ œb œ œb œ
œb œ œ œ 6œ œ œb œ œb œ
.˙#
.˙œbF œ œ# p˙ œb˙ œb
13
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√)
◊
88 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑4:3œ# -P œ œ œ-
.˙f∑
4:3œ# - œ œ œ-
4:3œ# - œ œ œ-
4:3
œF œ# ˙#4:3
œF œb œ œ#.˙#.˙.˙
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
œ# Œ Œ
∑∑
œ#3
‰ œ œ#3
œ œ œ
œ#3
‰ œFœ#
3
œ œ œ
.˙np
.˙npœnF œb œ.˙#p.˙#p
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
3
Jœ# œ# ‰ œ# œn œ œ# œœn
3jœ# œ# ‰ œ# œn œ œ# œ œn
œ œ# œ
˙# œ#˙#p œ#œ œ# œ
œ œ# œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œb œ œn œ# œ œb œ ‰ œ œ# œ œ#?
6
œb œ œn œ# œ œb œ ‰ œfœ# œ œ#
?
œb ˙
œ# .œbf œb œ œnœ ˙#œ# ˙
œ# ˙
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ#œ œ# œ œ œ# œ œ#
œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ#œ œ# œ œ œ# œ œ#
‰div. jœœbfl≥
F Œ jœœfl≥ ‰
Jœn jœbfl≥
F Œ jœfl≥ ‰
jœfl ‰5
œbfœ œb œ œb œ
‰div. Jœœ#≥
F Œ Jœœ≥
‰‰ jœfl
≥F Œ jœfl
≥ ‰
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
Jœƒ‰œb
f
œb œ œ
œ œ œ œ
œb œb œ œ
œ œb œ œ&
Jœ ‰ &
‰ jœœbfl≥ Œ œ≤ œ œb . œ.
‰ jœbfl≥ Œ œ≤ œ œb . œ.
œ Œ œ≤F
œ œb . œ.
‰ Jœœ#≥Œ œ≤unis. œ œb . œ.
‰ jœfl≥ Œ œ≤ œ œb . œ.
14
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
94 ∑œfœ# œ# œ œn
7
œ œ œb œ# œ œb œn
œfœ# œ# œ œn 7œ œ œb œ# œ œb œnœfa2 œ# œ# œ œn 7œ œ œb œ# œ œb œnœfœ# œ# œ œn 7œ œ œb œ# œ œb œnœfœ# œ# œ œn 7œ œ œb œ# œ œb œnœfœ# œ# œ œn 7œ œ œb œ# œ œb œnœF
œ œ œ- œ
œFa2 œ œ œ- œ
∑
∑
∑
∑∑
œFa2 œ œ œ- œ
œF
œ œ œ- œ∑∑
∑∑
∑
∑∑
œn œ œb Œ Œ
∑ ?
jœfl≥ ‰ jœfl
≥ ‰ Œjœfl≥ ‰ jœfl
≥ ‰ Œ
Jœ≥ ‰ jœfl
≥ ‰ Œ
Jœ≥ ‰ Jœ
≥ ‰ Œ
Jœ≥ ‰ Jœ
≥ ‰ Œ
L
L
∑
œn Œ Œ
œn Œ Œ
œn Œ Œ
œn Œ Œ
œn Œ Œ
œn Œ Œ
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œœ-
f
œœ- œœ- œœ- œœ-
œœ. œœ## . œœ. œœ## . œœ. œœ. œœ## . œœ
. œœ## . œœ. œœ. œœ## .
∑∑∑∑∑
∑
∑∑
∑∑
.˙b1.
p∑
Œ Œ 6
œf œ# œ œ# œ œ#
Œ ‰3œ
f œ# œ# Jœ ‰
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
.˙#n
jœœfl‰
6
‰ . œfœ# œ# Jœ ‰
.˙#n
p.˙#n
p∑∑∑
∑
∑∑
∑∑
.˙fŒ Œ
5
œ#f œœ œb œ
jœ ‰6
œ œ œ# œn œ# œ Jœ# ‰6≈ œb œ œ œb œn jœ ‰ Œ
∑
∑
∑
∑∑
∑
∑∑∑
∑∑Bass Drum
∑
∑∑
.˙
6
≈ œ# œn œ œ# œ Jœ ‰ Œ.˙
.˙∑∑∑
cresc.
cresc.
3
œ#fœ œ Jœ# . Œ Œ
3
œ#fa2œ œ Jœ#
n ˙
3
œ#fœ œ Jœ# . Œ Œ
3
œ#fœ œ Jœ# . Œ Œ
3
œ#f œœ jœ# . Œ Œ
3
œ#fa2 œ œ jœ# . Œ Œ
Jœ# ‰ Œ Œ
Œ Œ6
œf œ#œ œb œ œ
Œ Œ6
œf œ#œ œb œ œ
Œ Œ6
œf œ#œ œb œ œ
jœœflF‰ ‰ ..œœbp
jœœflF‰ ‰ ..œœp∑∑
‰ jœflfjœfl‰ Œ
‰ jœbflfjœfl‰ Œ
‰ jœflfjœfl‰ Œ∑
∑‰ jœflf
jœfl ‰ Œ
∑
∑∑
.˙
‰ j–‡˘
ƒj–‡˘ ‰ Œ
.˙
.˙Œdiv. ‰ Jœœ#p
œœcresc.
‰ jœ#flfjœfl‰
6
œ œ# œ œb œ œ‰ jœnflf
jœfl ‰6
œ œ# œ œb œ œ
F
F
n
n
F
∑
.˙n
∑
∑∑
∑∑
Jœb˘ ‰ Œ Œ
œbfl œfljœfl‰ Œ
œ#fl œfljœfl ‰ Œ
..˙
..˙∑∑
jœ#fl ‰ ‰ JœFœn œ œ# œ
∑‰ jœbflƒ
jœfl‰ œ. œb .∑
∑‰ jœfljœfl ‰ Œ
∑
∑∑
.˙
‰ j–‡˘ j–‡˘ ‰ Œ
.˙
.˙
..˙
œbfl œfljœfl‰ Œ
œ#fl œfljœfl ‰ Œ
f
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
Œa2 ‰ jœP œfŒ ‰ jœP œf
3
œ. œb . œ. ˙b.œP
Jœ#fœ
jœ. ‰ Œ ŒŒ Œ œæp
∑∑
∑
∑∑
∑
∑
∑∑∑∑∑
15
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&&
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
M
M
101 ∑œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn
œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn
œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn
œ.P œ. œb . œ. œb . œ.œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn
œb .Fœb . œ. œb .œ œ œ# . œn œb œb œnœ.Pœ. œb . œ. œb . œ.
œ.Pœ. œb . œ. œb . œ.
∑
œ.P œ. œb . œ. œb . œ.œ.P œ. œb . œ. œb . œ.œb .Fœb . œ. œb .œ œ œ# . œn œb œb œn
œ.P œ. œb . œ. œb . œ.œ.Pœ. œb . œ. œb . œ.
œ.P œ. œb . œ. œb . œ.∑
jœbflf‰ Œ Œ
∑∑
∑
∑∑
∑
∑
∑∑∑∑
œpizz.
Fœ œb œ œb œ
∑œbf
Œ Œœbf
Œ Œ
œbf
Œ Œ
œf
Œ Œ
œbf
Œ Œœbf
Œ Œœf
Œ Œœf
Œ Œ
∑
œfŒ Œ
œfŒ Œ ?
œbf
Œ Œ
œfŒ Œ
œf
Œ Œ
œfŒ Œ∑∑
∑Tubular Bells
∑
∑Glockenspiel
∑OOOPOppO∑
œ œb œ œ œn œb œ œ œnlocoœb œ œ œn œb œ œ
œn œb œ œ œn œb œ œÓF
∑∑∑senza sord.
∑senza sord.
œfŒ Œ
∑
∑∑
∑
.œf .œ
.œf .œ
.œf .œ
.œf .œ
.œf .œ
.œf .œ
.œf .œ
.œf .œ∑∑
.œf .œ
.œf .œ
.œf .œ∑
.œF
.œ
∑
∑
Œ . .œF∑ ?
∑
jœnfl
f‰ Œ Œ
∑∑.œf.œ
.œf .œ
.œarco
f .œ
ppp
∑
∑∑
∑jœ# . ‰ Œ Œ
jœ# . ‰ Œ Œjœ# . ‰ Œ Œ
Jœ# . ‰ Œ Œ
Jœ# . ‰ Œ Œ
Jœ# . ‰ Œ Œjœ# . ‰ Œ Œ
Jœ# . ‰ Œ Œ
∑∑
Jœ# . ‰ Œ Œ
Jœ# . ‰ Œ Œjœ# . ‰ Œ Œ
∑.˙#
∑œ#F
œ œ
∑œ#fœ# >
fœ> œ>
7
œ# œ œ œ# œ# œ œ7
œ œ œ œ œ œ œ7
œ œ œ œ œ œ œ
∑
∑senza sord.
∑senza sord.
.˙#
.˙#
.˙#
∑
∑∑
∑∑
∑∑
Œ Œ ‰ jœflFŒ Œ ‰ jœflFŒ Œ ‰ jœflF
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
˙# ‰ jœœœnflŒ Œ ‰ jœœflœbFœ œn . œb . œ œb œ. œb . Jœ# . ‰
œbFœ œn . œb . œ œb œ. œb .jœ# . ‰
œ# .Fœ. œ. œb . œ. œ.
Œ Œ ‰ jœflFŒ Œ ‰ jœflF
∑
∑∑
∑∑
4:3œp
œb œ œ#4:3
œp œb œ œ#œ-p œb - œb -œ-p œb - œb -œ-p œb - œb -
∑
∑
∑∑
.˙p
∑∑∑
∑∑
œ œ œ∑∑
7œ œœb œbœn œ œb
7œ œœ œbœn œ œ
7œ œœ œbœn œ œœ> œ
>œ>
4:3œp
œb œ œ#4:3
œp œb œ œ#.pœ-p œb - œb -œ-p œb - œb -
16
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
◊
107 ∑
∑∑
∑∑
4:3œF
œ œ# œ4:3
œF
œ œ# œ
œ-f œ- œ-œ-f œ- œ-œ-f œ- œ-
4:3œF
œ œ# œ4:3œ
Fœ œ# œ
∑∑
.˙f
∑∑∑
∑Snare Drum
∑
œF œ œ∑∑
7œ œœb œbœn œ œb
7œ œœ œbœn œ œ
7œ œœ œbœn œ œœ> œ
>œ>
4:3œf
œ œ# œ4:3
œfœ œ# œ
.fœ-f œ- œ-œ-f œ- œ-
N
N
Jœ ‰ Œ Œœbf
œb œ œJœ ‰ Œ œb œ œb œ œ œ# œ œb
Jœ ‰ Œ œbfœ œb œ œ œ# œ œbœbf
œb œ œJœ ‰ Œ œb œ œb œ œ œ# œ œb
Jœ ‰ Œ œbfœ œb œ œ œ# œ œb
6
œfœb œ œb œ œn
6
œ# œn œ œb œ œ# œ#6œ
fœb œ œb œ œn 6œ# œn œ œb œ œ# œ#jœfl ‰ Œ Œjœfl ‰ Œ Œjœfl ‰ Œ Œ
Jœf‰ Œ Œ
Jœf
‰ Œ Œ &
Jœf ‰ Œ œFœb œ. œ# .
Jœf ‰ Œ œFœb œ. œ# .
Jœf ‰ Œ Œjœflf
‰ Œ Œ
jœflf‰ Œ Œ
jœflf‰ Œ Œ
Jœf‰ Œ Œ
∑
œ Œ Œ
∑∑
jœ. ‰ Œ œbfœ œb œ œ œ# œ œb
jœ. ‰ Œ Œ
Jœ ‰ Œ œFœb œ. œ# .
Jœ ‰ Œ œFœb œ. œ# .
Jœ ‰ Œ œFœb œ. œ# .
œ œ œ# . œ. œb œ œ# œ. œn œb œb . œ.jœfl ‰ Œ Œ
∑jJœn ‰ Œ Œjœn ‰ Œ ŒjJœn ‰ Œ Œjœn ‰ Œ Œ
∑∑
6‰ . œ œb œ jœb . ‰ Œ6‰ . œ œb œ jœb . ‰ Œ6‰ . œ œb œ jœb . ‰ Œ
œF
œ œ
œF
œ œ
Jœ# .f‰ œ#pœn œ# . œn .
5œ œb œ. œb . œ.jœ# .f‰ œ#pœn œ# . œn .
5œ œb œn . œb . œ.œ. Œ œ.
œ. Œ œ.
œ.Œ œ.
∑
∑∑
∑
∑∑
6
.œ
œ œb œ jœb
‰ Œ
‰7
œ œb œ# œ œbœ# œ
Jœ#˘f‰ œ# .p œ. œ. œ.Jœ#˘f‰ œ#pœn œ# . œn .
5œ œb œ. œb . œ.Jœ#˘f‰ œ# .p œ. œ. œ.œn œ œb œ. œb . œœpizz.
fŒ œ
‰ œ#fœ œ œ# Jœ. ‰ Œ
‰ œ#fœ œ œ# Jœ. ‰ Œ
‰ œ#fœ œ œ# Jœ. ‰ Œ
‰ œ#f œ œ œ# jœ. ‰ Œ‰ œ#f œ œ œ# jœ. ‰ Œ
‰ œ#fœ œ œ# Jœ. ‰ Œ
‰ œ#f œ œ œ# jœ. ‰ Œ
≈ œ# . œ# . œ. œF≈ œ. œb . œ.
≈ œ# . œ# . œ. œF≈ œ. œb . œ.
∑
œ ˙cresc.
œ ˙cresc.
jœf‰ œ œ# œ# . œ. œn œ# œn . œ# .
jœf‰ œ œ# œ# . œ. œn œ# œn . œ# .
Œ œ. œF
gliss.
Œ œ. œFgliss.
Œ œ.fŒ
∑
∑∑
∑
∑∑
‰ œb œn œ œ# Jœ. ‰ Œ
Jœb˘ ‰ Œ 6œF œb œ œb . œ. œ.jœ.f‰ œ œ#
jœ.f‰ Œ Œ
jœ.f‰ œ œ# œ# . œ. œn œ# œn . œ# .
≈ œ# . œ# . œ. œF≈ œ. œb . œ.
Œarco œF
≈ œ. œb . œ.
Œ Œ ‰ œ.fœ.
œfœb œ.
cresc.
œ. œb œ œ œn . œ.
œfœb œ.
cresc.
œ. œb œ œ œn . œ.
œfœb œ.
cresc.
œ. œb œ œ œn . œ.
œf œb œ.cresc.
œ. œb œ œ œn . œ.œfœb œ.
cresc.
œ. œb œ œ œn . œ.
œf œb œ.cresc.
œ. œb œ œ œn . œ.œbfœ œ.
cresc.
œ. œ œ# œ œ#œn
œbfœ œ.
cresc.
œ. œ œ# œ œ#œn
∑
˙ œb
˙ œbjœ ‰ Œ ≈ œ. œ. œ.
jœ ‰ Œ ≈ œ. œ. œ.
Jœbf‰ Œ œ
jœbf‰ Œ œ
.˙bF∑
∑∑
∑
∑∑
∑
œbfŒ ‰ œ. œ. œ# . œ.
œ# œn œŒ Œ ‰ œ.
fœ.
cresc.
œfœb œ.
cresc.
œ. œb œ œ œn . œ.
œbfœ œ.
cresc.
œ. œ œ# œ œ#œn
œbfœ œ.
cresc.
œ. œ œ# œ œ#œn
17
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(◊)
cresc.
cresc.
112 œbcresc.
œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .
œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .
œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .
œb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .≈ œ# œ œ# œ ≈ œ# œ# œ≈ œ# œ œ# œ ≈ œ# œ# œ≈ œ#fœ œ#
cresc.
œ ≈ œ# œ# œ
œb ≈ œb .f œ.cresc.
œb . œn œ# œ#œb ≈ œb .f œ.cresc.
œb . œn œ# œ#œ ≈ œb .f œ.cresc.
œb . œ œ# œ#œ ≈ œb .f œ.cresc.
œb . œ œ# œ#Œ
>p
Œ >p
Œ>p ∑
ŒSnare Drum
æπŒBass Drum æ
π∑ ÷
∑∑
∑
œb . œ. œb . œ. œ. œb . œb . œ. œ œ œb .loco
œb . œ. œb . œn . œb . œn . œn . œ# . œb . œn4:3
œbcresc.
œ œ# œœb œ œn . œ. œb œ œ# . œ. œn œ œ# . œ# .œb ≈ œb . œ. œb . œn œ# œ#≈ œ# œ œ# œ ≈ œ# œ# œ≈ œ# œ œ# œ ≈ œ# œ# œ
ff
4:3œ œb œ œ#
4:3œ œb œ œ#4:3
œ œb œ œ#4:3
œ œb œ œ#4:3
œ œb œ œ#4:3
œ œb œ œ#4:3
œ œb œ œ#œ œ œ# œ# œ# œ œœ œ œ# œ# œ# œ œœ œ œ# œ# œ# œ œ
jœ .œn3
œ# . œ.œn .
jœ .œn3
œ# . œ.œn .
œ3
œ. œ# .œ. Jœ# . ‰
œ3
œ. œ# .œ. Jœ# . ‰
3
œb .fœ. œn .
cresc.
œ œ# œ#
3
œb .fœ. œn .
cresc.
œ œ# œ#3
œb .fœ. œn .
cresc.
œ œ# œ#Œ Œ œ#æf.˙
.˙∑Slapstick
∑∑
Œ3
œ. œb .œ.
3
œ# . œ. œn .
ƒ
3
œ# . œn . œn. Œ Œ &
4:3œ œb œ œ#4:3
œ œb œ œ#
Jœ .œn3
œ# . œ. œn .
œ œ œ# œ# œ# œ œœ œ œ# œ# œ# œ œ
O
O Piano Cadenza
Piano Cadenza
‰ Jœ#˘ƒ
Œ Œ
‰ Jœ#˘ƒ
Œ Œ‰ Jœ#˘ƒ
Œ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒŒ Œ
‰ jœ#flƒŒ Œ
‰ jœ#flƒŒ Œ
‰ jœ#flƒŒ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒ
Œ Œ
‰ jœ#flƒŒ Œ
‰ jœ#flƒŒ Œ
‰ jœ#flƒŒ Œ
‰ JœƒŒ Œ
‰ jœflƒŒ Œ
‰ JœƒŒ Œ
∑∑
œb œb œ œb6
œb
œb œb
œb œ œn6
œb œ œb œb œn œn6œb œn œ
œn œ œb?
‰ Jœ#˘ƒ Œ Œ
‰ Jœ#˘ƒŒ Œ
‰ Jœ#˘ƒ
Œ Œ‰ jœ#flƒ
Œ Œ‰ jœ#flƒ
Œ Œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
jœ œ# œ œ# œ œn6
‰ . œ œ œ#6
œ# œ œ œ œ œ#3
œ# œn œ œ œn œn œjœ œ# œ œ# œ œn
6
œb œ œb œ œ œ#6
œ œ œ œ œ œ#3
œ œn œ œ œn œn œ
∑∑∑∑∑
18
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
÷
&?
&?
&&B??
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
116 ∑
∑∑To Alto Flute
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑Triangle
∑Suspended Cymbal (soft mallets)
∑
∑∑
œb6
œb œn œ# œdim.
œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œœb
6
œb œ œ# œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ
∑∑∑∑∑
F
∑œœF
..˙
œF
.˙∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑
wæπ∑
∑∑
œ>f .˙n>6
œ# œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6œ#p œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œœ
>f.˙#>
∑∑∑∑∑
∑˙bb ˙
˙b ˙∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
˙P
˙
∑
∑
∑∑
œb>
.˙>
6
œ# œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6œ# œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œœ
>.˙b>
∑∑∑∑∑
19
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
÷
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
119 ∑
ww
w∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
wp
∑
∑
∑∑
w6
œ# œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6
œ œ œ œ œ œ6œ# œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ œ œ œ œ 6œ œ# œ œ# œ œ#w
∑∑∑∑∑
∑
˙## Jœœ Œ .
n
˙# jœ Œ .n
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ#pœ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙## fœ# -F
œ# - œ- œ# -&
∑∑∑∑∑
∑
∑∑To Flute in C
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ# œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙# Œ œœ## > œœ> 3œœ## -F
œœ-œœ-?
∑∑∑∑∑
20
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
÷
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(◊)
122 ∑
∑∑
∑∑
∑∑
Ó3
‰F
œ- œb - 3œb - œ- œb -Ó
3
‰F
œ- œb - 3œb - œ- œb -Ó
3
‰F
œ- œb - 3œb - œ- œb -∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ# œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙##
3œœ œœ- œœbb -3œœbb - œœ- œœbb -
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
.˙ jœπ‰
.˙ jœπ‰
.˙ jœπ‰
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œn œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
..˙œ.loco œ# . œ. œ# .
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œF
œ œ# œ œ œ3
œ œb œ œb .fœ. œ. œ. œœœb ˘ œ. œ. œœœ˘
œ œb œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œœ# ˘ ‰ œœ˘ œœ ‰ œœ
∑∑∑∑∑
21
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
÷
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
125 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑Bass Drum
∑Woodblock
∑∑
œ œ# œ œ# .œ# œn œ# œ# œ œ œ œ# œn œn
œ œ œb . œ. œb . œ. œb . œ. œ. œb . œ. œb . œ. œ. œb . œ.
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑Œ ‰ jœF .œ œ Œ
Œ ‰ JœF.œ œ Œ
∑∑
œn œn œ œ œb œ œ œb œœ œœ. œœ## . œœn. œœ## .
œb œ œ œb œ œ œn –‡fl –‡flœœbb œœnn
–‡fl &
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ œ œ œ œb œ .œb œb œ œ6
œ œn œ œ œ œ6
œ œ œ œ œ œ6
œb œ œb œ œ œ6
œb œb œ œb œ œn
3
œb œb œ 3
œ œn œb œb œ œn œœ?
∑∑∑∑∑
P
P
≈ . rKœfœb œ œb œ# œn œ œ œ œ œ œ ˙
≈ . rKœfœb œ œb œ# œn œ œ œ œ œ œ ˙
≈ . rKœfœb œ œb œ# œn œ œ œ œ œ œ ˙
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑Glockenspiel
∑∑
6
œ œ œ œ6
œ œ œ œ6
œ œ œ œ6
œ œ œ œ˙#dim.
3œœœœœbbb - œœœœœ- œœœœœ-&
∑∑∑∑∑
22
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
÷
&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
◊
129 ˙bF
˙
˙bF
˙
˙bF
˙
∑∑
∑∑
Ó5
œbpœ œb œb œ
Ó5
œbpœ œb œb œ
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
˙bP
˙
∑∑
6
œ# œ# œ œ6
œ œ œ œ6
œ# œ œ œ6
œ œ œpœ
3œœœœœbbb - œœœœœ- œœœœœ-3œœœœœ- œœœœœ- œœœœœ-
∑∑∑∑∑
n
n
n
n
n
n
n
wPwPwPwbP
∑
∑∑
˙#F
˙
˙#F
˙
˙p ˙
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œ
œb
œcresc.
œ#
œ
œ6
œ
œ
œ
œ
œ
œ6
œ
œ
œ
œ
œ
œ6
œ
œ
œ
œ
œ
œ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œfœ œ œ# œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œb œb œb œ
œb œb œn
œb
œn œ# œ œ œ œ œb œb œ œ œ œ# ?
∑∑∑∑∑
p
∑
∑∑
∑∑
‰ jœ1.
f3
œ œb œb ˙b‰ jœ
1.
f3
œ œb œb ˙b‰ jœ
1.
f3
œ œb œb ˙b
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑Xylophone
&
∑∑
wb
‰ jœ3
œ œb œ# ˙## &
∑∑∑∑∑
ππ
π
Ó œfœœœ œ# œ# œ œ œ œ œ œ œ
Ó œfœœœ œ# œ# œ œ œ œ œ œ œ
Ó œfœœœ œ# œ# œ œ œ œ œ œ œ
∑∑
w3
œ2.Fœœ
3
œ œb œ ˙nwFwF
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
4
–—f–— –— –— Œ
∑∑
w
4
–—f–— –— –— ‰ jœœ?
∑∑∑∑∑
23
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno. Ÿ~~~~~~~~~~~~~~~~~~~
(◊)
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
134
Jœ ‰ Œ Ó
œ œ ˙ Œπ
œ œ ˙ Œπ
∑∑
Ó ‰ jœa2
f œ œb œ# œÓ ‰ jœf œ œb œ# œÓ ‰ jœf œ œb œ# œ
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
≈ œbf œ œ œb . œn œb œ œ œb . œ. ˙b
˙b
œ. œn -loco
F œ œb œ# œ˙
∑∑∑∑∑
n
n
n
n
n
n
œfœ# œ# œ œ œn œn œ œ œ œ œ œ ˙
œfœ# œ# œ œ œn œn œ œ œ œ œ œ ˙
œfœ# œ# œ œ œn œn œ œ œ œ œ œ ˙
∑∑
www
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
˙ œ œb œ œ œ œ œn œb œn œ œ# œ œ# œ œ# œfœf ..˙
Œ Œ œb œ œb œ œ œb œn œb
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œœ.subito pœœbb .
3
‰ œœ. œœbb . œœ. œœ.œœb . œœ# .
3
‰ œœ. œœb . œœ. œœ. 3–‡fl
–—–‡fl
∑∑∑∑∑
π
π
∑
∑∑
∑∑
∑∑
∑
∑
∑
œF
a2 œ œb œn ˙œF
a2 œ œb œn ˙∑∑
∑
∑∑∑
∑∑
∑
∑∑
œœ.pœœbb .
3
‰ œœ. œœbb . œœnn . œœ. JœœnnF
‰ ?
œœb . œœ# .3
‰ œœ. œœb . œœnn . œœ#.œb œ œ œb œ œb œ œ
∑∑∑∑∑
24
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
?
?
&&B??
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
√
138 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œbpœ œ
œ#(both hands)
cresc.
œ# œ
œ# œ œ
œb œ œb
œb œ œ
œlocoœ œ
œ œ œ
œb œ œ
œ œ œ
œ# œ# œ
œ# œ
∑∑∑∑∑
(both hands)
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
&œ
œb œ œbœb œœ
œ# œ# œ
œ# œœ
œ œ œb
œb œœ
œ# œ# œ
œ# œ œ
œ œ œb
œ œ œ
œ œœ
œœœ
œœ œ
f&
∑∑∑∑∑
Q
Q
∑
Ó Œa2 œbFœ
Ó Œ œbFœ
Ó Œ œbFœ
Ó Œ œbF œ
Ó Œa2 œbFœ
Ó Œ œbF œ
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œœ##subito p
œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ6
œœ œ œœ œœ# Œ
3œœœnnn - œœœ- œœœ-
∑∑
Ó Œ œbFœ
∑∑
∑
.œ Jœb ˙
.œ Jœb ˙
.œ Jœb ˙
.œ jœb ˙
.œ Jœb ˙
.œ jœb ˙∑
∑
π ˙#cresc.
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œœ## œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ6
œœ œ œœ œ3œœœ- œœœ- œœœ- 3œœœ# - œœœ- œœœ-
œ# pizz.
Fœ œ œ
œ# pizz.
Fœ œ œ
.œ Jœb ˙
π ˙#cresc.
π ˙#cresc.
25
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&
&
&&B??
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√)
ππ
ππ
ππ
142 ∑
œ œ# œ# ˙
œ œ# œ# ˙
œ œ# œ# ˙
œ œ# œ# ˙
œ œ# œ# ˙
œ œ# œ# ˙6œb
pœ œb
cresc.
œ œ œ6
œb œ œ œ œ œ#6
œn œ œ œb . œ œ6
œb . œ œ œ. œ œb
6œbpœ œb
cresc.
œ œ œ6
œb œ œ œ œ œ#6
œn œ œ œb . œ œ6
œb . œ œ œ. œ œb
˙ ˙#
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œœ## œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ6
œœ œ œœ œ
∑
œ# œ œ Œœ# œ œ œœ#div.
œ œb œb ˙
˙ ˙#˙ ˙#
π
∑
∑∑
6œF œ# œ œ# œ œ
6
œ œ œ œ œ œ6
œ# œ œ# œ. œ œ#6
œ. œ œ# œb . œ œ
∑6œ
F œ# œ œ# œ œ6
œ œ œ œ œ œ6
œ# œ œ# œ. œ œ#6
œ. œ œ# œb . œ œ6œF œ# œ œ# œ œ
6
œ œ œ œ œ œ6
œ# œ œ# œ. œ œ#6
œ. œ œ# œb . œ œœF 3
œ œ# œ ˙#œF 3
œ œ# œ ˙#
3
œ.Fœ# œ
3
œb . œ œb ˙
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œœ## œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ6
œœ œ œœ œ
∑ ?
6œarco
p œ# œ œ# œ œ6
œ œ œ œ œ œ6
œ#Fœ œ# œ. œ œ#
6
œ. œ œ# œb . œ œœœ## œœ œœ œœœF 3
œ œ# œ ˙#3
œ.F œ# œ3œb . œ œb ˙
3
œ.Fœ# œ
3
œb . œ œb ˙
π
π
π
π
6
œb
Fœb œ œb œ œ
6
œ œ œ œ œ œ6
œ œn œb œb œ œb
6
œb
Fœb œ œb œ œ
6
œ œ œ œ œ œ6
œ œn œb œb œ œb
6
œbFœb œ œb œ œ
6
œ œ œ œ œ œ6
œ œn œb œb œ œb.˙n
∑.˙n
.˙#
œ œ œ. œ. œ
œ œ œ. œ. œ
œ œ œ. œ. œ∑
∑
∑∑
Œ Œ3
œ-F
a2 œ- œ-
Œ Œ3
œ-F
œ- œ-
œF
œ œ. œ. œ∑
∑∑
∑
∑∑
6
œœ## œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ
œœloco
F œœ œœ.œœ. œœ
.˙
œœ## œœ œœ
∑
œ œ œ. œ. œœ œ œ. œ. œ
FF
F
R
R
3
œfœb œb œ. Œ Œ
3
œfœb œb œ. ‰ Jœnπ
œ
3
œfœb œb œ. ‰ Jœn
πœ
3
œfœb œb œ. ‰ jJœœb
πœœ
‰ 3
œf œœb jœb .
‰ Œ
‰ 3
œf œœb jœb .
‰ Œ‰ 3
œf œœb jœb .
‰ Œ
‰3
œfœ œb jœb . ‰ Œ
‰3
œfœ œb jœb . ‰ Œ
‰3
œfœ œb jœb . ‰ Œ
∑
∑
Œ Œa2 3œ-F œ- œ-Œ Œ 3œ-F œ- œ-Œ Œ
3
œ-Fœ- œ-
Œ Œ3
œ-Fœ- œ-
∑∑
∑∑
∑
∑∑
6
œœ## œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ
Œ 3œœbb - œœ-œœbb -
∑pizz.
œœ## œœ œœ
∑Œ 3œb - œ- œb -Œ 3œb - œ- œb -
26
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√)
n
n
n
n
146 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑3jœ œ ˙3jœ œ ˙
3Jœ œ ˙3Jœ œ ˙∑∑
∑∑
∑
∑∑
6
œœ## œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ
˙nn œœnnœ# œ œœ# div.
œ#unis. œ Œarco
œF œ œ.
cresc.
œb .3
œb œn œ#
˙n œncresc.
˙n œncresc.
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œœ## œ# œœ œ6
œœ œ œœ œ6
œœ œ œœ œ
∑ &
œœ## œœ Œarco
3
œ œ œ œ# œ# œ œ#5
œ œ# œn œ# œœn œb œ œ œ#jœ ‰ jœ ‰ jœ# ‰jœ ‰ jœ ‰ jœ# ‰
Œ Œ6
œfœ# œ œ# œn œb
Œ Œ6
œfœ# œ œ# œn œb
Œ Œ6
œfœ# œ œ# œn œb
Œ Œa2
6
œfœ# œ œ# œn œb
Œ Œ 6
œfœ# œ œ# œn œb
Œ Œ6
œfœ# œ œ# œn œb
Œ Œ 6
œfœ# œ œ# œn œb
Œ Œ6
œfœ# œ œ# œn œb
Œ Œ6
œfœ# œ œ# œn œb
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œloco
fœ# œ# œ œn œ
6
œ# œ œn œ# œ# œn œ. œ.6
œ œ# œ# œ œn œ 6œ# œ œn œ# œ# œn œ# . œ# .?
6
œfunis.œ# œ# œ œn œ
6
œ# œ œn œ# œ# œn œ. œ.6
œf œ#œ# œ œn œ 6œ# œ œn œ# œ# œn œ. œ.
œ.fœ. œ# . œ# . œ. œ.
œ.f œ# . œ# . œ. œ# . œn .
œ.f œ# . œ# . œ. œ# . œn .
6
œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘
6
œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘
6
œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘
6
œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘6œ œb œ œb œ œn jœ# . ‰ ‰ jœ#fl
6
œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘6œ œb œ œb œ œn jœ# . ‰ ‰ jœ#fl
6
œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘
6
œ œb œ œb œ œn Jœ# . ‰ ‰ Jœ#˘
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œœb . œœbb . œœ. œœ. œœn . œœ#n .œœb . œœ. œœ. œœbb . œœ. œœbn .
œ# . œ# . œn . œn . œ. œ# .œœ.div.
œœb . œœ. œœnb . œœn . œœb .œœb .
div. œœn . œœnb . œœb# . œœ# . œœn .œb . œ. œ. œb . œ. œb .œb . œ. œ. œb . œ. œb .
∑œ œb œb œ œ œ œ œbŒœfœ œb
dim.
œ œb œ œ œb œ œb œ œb œ œ œb œ
Œ œfœ œb
dim.
œ œb œ œ œb œ œb œ œb œ œ œb œœ œb œb œ œ œ œ œbŒ œfœ œb
dim.
œ œb œ œ œb œ œb œ œb œ œ œb œŒ œ
fœ œb
dim.
œ œb œ œ œb œ œb œ œb œ œ œb œœ œ œ œ œb œb œ œŒ œfœb œ
dim.
œb œ œb œ œ œb œ œb œ œ œb œ œbŒ œ
fœb œ
dim.
œb œ œb œ œ œb œ œb œ œ œb œ œbŒ œ
fœb œ
dim.
œb œ œ œb œ œb œ œb œ œ œb œ œbœ œ
dim.
œ œb œb œb œ œŒ œfœb œ œb œ œ œb œ œb œ œb œ œ œb œ œb
∑
‰ jœœ>f˙
‰ jœœ>f˙
‰ jœ>f ˙‰ jœ>f ˙‰ Jœ>f
˙
‰ Jœ>f˙
‰ jœ>f ˙jœbflf‰ Œ Œ
∑∑
∑
∑∑
∑
∑
∑∑∑∑∑
27
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
151 ∑jœbJœbp ‰ Œ Œjœb p‰ Œ Œ
jœbJœbp ‰ Œ Œjœb p‰ Œ Œ
jœJœp ‰ Œ Œjœp‰ Œ Œjœp‰ Œ ŒjœJœp ‰ Œ Œ
∑jœœp‰ Œ Œjœœp‰ Œ Œ ?
jœp‰ Œ Œjœp‰ Œ Œ
Jœp‰ Œ Œ
Jœp‰ Œ Œjœp‰ Œ Œ∑
∑∑
∑
∑∑
∑
∑
3
œf œ# . œ# .3
œ> œn . œb>3
œb . œn> œn .3
œf œ. œ.3œb> œb . œn>
3
œn . œ> œb .3
œ#f œ.œ.
3œb> œb . œn>3
œn . œ> œb .Jœbf‰ 3œfl ‰ œ#fl
3‰ œfl ‰
Jœbf‰ 3œfl ‰ œ#fl
3‰ œfl ‰
Œ œfœb œb œ œ ‰ œ œ œ œ
Œa2 œfœb œb œ œ ‰ œ œ œ œ
Œ œfœb œb œ œ ‰ œ œ œ œ
Œa2 œfœb œb œ œ ‰ œ œ œ œ
Œ œfœb œb œ œfl ‰ œ œ œ œ
Œa2 œfœb œb œ œ ‰ œ œ œ œ
Œ œf œbœb œ œfl ‰ œ œ œ œ
Œ œfœb œb œ œ ‰ œ œ œ œ
Œ œœfœœbb œœbb œœ
œœ˘‰ œœ œœ œœ
œœ
∑
‰ jœœf..œœ ‰
‰ Jœœbf..œœ ‰ &
‰ jœf .œ ‰‰ jœf .œ ‰
‰ Jœœf..œœ ‰
‰ Jœbf.œ ‰
‰ jœbf .œ ‰jœbflf‰ Œ Œ
∑Snare Drum
∑Bass Drum
∑Xylophone
∑oooPoopO∑
∑
∑
Œ Œ Jœ#˘f‰
Œ Œ Jœ#˘f‰
Œ Œ Jœ#˘f‰
Œ Œ jœ#flf‰
Œ Œ jœ#flf‰
S
S
Rœœ#˘ƒ‰ . Œ
Rœœ#˘ƒ ‰ . ŒRœn˘ƒ ‰. Œ
Rœœ# ˘ƒ ‰. Œ
rœbflƒ‰ . Œ
Rœƒ‰ . Œrœbflƒ‰ . Œ
Rœn˘ƒ ‰. Œ
Rœœ#n˘ƒ‰ . Œ
Rœƒ‰ . Œ
Rœœƒ‰ . Œrœœbflƒ‰ . Œ
Rœœ# ˘ƒ‰ . Œ
Rœn˘ƒ ‰. Œ
Rœœ# ˘ƒ ‰ . ŒRœn˘ƒ‰ . Œrœbflƒ‰ . Œrœflƒ‰ . Œ
Rœƒ‰ . Œrœflƒ‰ . Œ
Rœœœœb#˘ƒ‰ . Œ
Rœœbb˘ƒ‰ . Œ
Rœœ#˘ ‰ . Œ
Rœœnb˘
ƒ‰ . Œ
Rœœ#˘ ‰ . Œ
œƒœ# œ. œb . œn œ# œ. œ# .rœœ#flƒ‰ . Œ
Rœœ˘
ƒ‰ . ŒRœœ˘
ƒ‰ . Œrœflƒ‰ . Œ
∑
œa2
Fœ œb œ
œFœœb œ
œa2
Fœœb œ
∑
œb .pa2
œ. œ. œ.œb .p œ. œ. œ.œb .pœ. œ. œ.
œb .p œ. œ. œ.∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
˙FFœb .p œ. œ. œ.œb .pœ. œ. œ.
œb .p œ. œ. œ.
∑.œ#
cresc.
Jœn
.œ#cresc.
Jœn
.œ#cresc.
Jœn∑
œb .cresc.œ. œ. œ.œb .cresc.
œ. œ. œ.œb .cresc.
œ. œ. œ.
œb .cresc.
œ. œ. œ.∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œ œ-cresc.
œ œb œb œ œ œn
œ œ-cresc.
œ œb œb œ œ œnœb .cresc.
œ. œ. œ.œb .cresc.
œ. œ. œ.
œb .cresc.œ. œ. œ.
∑œn œ œb œ œb
œn œ œb œ œb
œn œ œb œ œb
∑
œb . œ. œ. œ.œb . œ. œ. œ.œb . œ. œ. œ.
œb . œ. œ. œ.∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
.œ# œn - œb œ œn
.œ# œn - œb œ œnœb . œ. œ. œ.œb . œ. œ. œ.
œb . œ. œ. œ.
∑.œ# œ œ
.œ# œ# œ
.œ# œ# œ
∑
œb . œ. œ. œ.œb . œ. œ. œ.œb . œ. œ. œ.
œb . œ. œ. œ.∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
.œ œb œb œ œ œ#
.œ œb œb œ œ œ#œb . œ. œ. œ.œb . œ. œ. œ.
œb . œ. œ. œ.
∑.œ# œ œ
.œ œ œ
.œ œ œ
∑
œb . œ. œ. œ.œb . œ. œ. œ.œ. œ. œ. œ.
œ. œ. œ# . œ.∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œ> œb ≈ œb> œ ≈ œb> œn
œ> œb ≈ œb> œ ≈ œb> œnœ œ œ œœ œ œ œ
œ. œ. œ# . œ.
∑œn œ œ œb œ œb
œn œ œ œb œ œb
œn œ œ œb œ œb
‰ œFœ œb œ œb
œ œb œ œn . œ œb œn œ# .œ œb œ œn . œ œb œn œ# .œ. œ. œ. œ.
œn . œ. œ# . œ# .∑
∑
∑
∑∑
∑
∑∑
‰ .œæp∑∑
∑
∑∑
∑
∑
≈ œb>œ ≈ œ> œb ≈ œ>
≈ œb> œ ≈ œ> œb ≈ œ>œ œ œ œœ œ œ œ
œn . œ. œ# . œ# .
T
T
∑˙#f#f˙#f˙#f
ff˙f˙f
∑
‰a2 jœF œb œ‰a2 jœF œb œ≈ œf
a2 œ œb - œ œ# œn œn -
≈ œf œœb - œ œ# œn œn -
.œ>fœ> œ œ>
.œ>f œ> œ œ>∑
.œ>Fœ> œ œ>
∑∑
∑
∑∑
∑
∑
˙bf˙bf#f˙f˙f
28
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
161 ∑
Jœ ‰ Œ
Jœ ‰ Œ
Jœ ‰ Œjœ ‰ Œ
jœ ‰ Œjœ ‰ Œ
Jœ ‰ Œ
Jœ ‰ Œ
∑
œ œbf
œ œbf
œn œb œ œb œ#
œn œb œ œb œ#œ .œ> œ
œ .œ> œŒ œfœ .œ> Œ
∑∑
∑
∑∑
∑
∑
œ œFœb œ œb œ
œ œFœb œb œb œ
.œF
jœ>œnFœ œ
œnFœ œ
∑
∑‰ œbFœ œb œ œb œ œ œb œ œb œ œ
‰ œFœb œ œb œ œ œb œ œb œ œb œ
∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œ œ œb jœn>œ œb œn jœn>˙˙b˙b
∑
∑œb Œ
œ Œ∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
‰ .œæp∑∑
∑
∑∑
∑
∑
œ œb œ œb œb œ œ
œ œ œ œ# œ# œ œ
˙˙˙
∑
∑∑
∑∑
∑∑
∑
∑
∑
‰a2 jœF œb œ‰a2 jœF œb œ≈ œf
a2 œ œb - œ œ# œn œn -
≈ œf œœb - œ œ# œn œn -
.œ>fœ> œ œ>
.œ>f œ> œ œ>∑
.œ>Fœ> œ œ>
∑∑
∑
∑∑
∑
∑
˙
˙
˙#˙b˙b
∑
∑∑
∑∑
∑∑
∑
∑
∑
œ œbf
œ œbf
œn œb œ œb œ#
œn œb œ œb œ#œ .œ> œ
œ .œ> œŒ œfœ .œ> Œ
∑∑
∑
∑∑
∑
∑
˙F˙F.œ jœ>fœn œ œœn œ œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œb>fœ ≈ œb> œ ≈ œ> œb
œ>fœ ≈ œb> œ ≈ œb> œ
˙˙#˙#
∑
Œ ≈ œFœ œb œ œb œ
Œ ≈ œFœ œb œ œb œ
Œ ≈ œFœ œb œ œb œ∑
Œ ≈ œbFœ œ œb œ œb
Œ ≈ œbFœ œ œb œ œb∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
≈ œ> œn ≈ œb> œ ≈ œ>
≈ œ> œb ≈ œ> œn ≈ œ>
˙˙˙
U
U
∑
œb . œ. œn . œ. œb . œb . œn . œ# .œb . œ. œn . œ. œb . œb . œn . œ# .
œb . œ. œn . œ. œb . œb . œn . œ# .∑
œ. œb . œb . œ. œ. œn . œb . œ.
œ. œb . œb . œ. œ. œn . œb . œ.œ œ œb œ
œ œ œb œ
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑˙
˙#
˙œf œ œb œ
œf œ œb œ
∑
œ. œ. œ. œb . œ# . œn . œ. œ.
œ. œ. œ. œb . œ# . œn . œ. œ.
œ. œ. œ. œb . œ# . œn . œ. œ.
∑
œ# . œ# . œ. œ. œ. œb . œb. œn .
œ# . œ# . œ. œ. œ. œb . œb. œn .
.œ# jœn
.œ# jœn∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œb .Fœ. œ. œ. œ# . œ. œb . œb .œ.F œ. œ# . œ# . œn . œb . œ. œn .œ.Fœ# . œ# . œ# . œn . œb . œ. œn ..œ# jœ.œ# jœ
29
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
170 ∑œb . œ# . œ. œb . œ. œn . œ. œb .
œb . œ# . œ. œb . œ. œn . œ. œb .
œb . œ# . œ. œb . œ. œn . œ. œb .
∑
œ. œ. œ# . œ. œ# . œ# . œn . œn .
œ. œ. œ# . œ. œ# . œ# . œn . œn .
œn œ œb œ œb
œn œ œb œ œb
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œ. œ. œ. œ# .œ. œ# . œ# . œ# .
œ. œb . œb . œ.œb . œ. œ. œ.
œ. œb . œ. œ.œ. œ. œ. œ.
œ œ œb œ œb
œ œ œb œ œb
∑˙n˙n
˙n
∑˙#˙#
˙#F˙#F
∑
∑
∑ ?
∑∑
∑
∑∑∑
∑∑
∑
∑∑
10:8œ#Fœ# œœ œb œ œ œ
œ œ 10:8œ œ œœ œ œ œ œ
œ œ
œ. œb . œ. œn . œ. œb . œ. œ.œ# . œ. œ# . œ. œ# . œn . œ. œ# .œ# . œ. œb . œ. œ# . œ. œ# . œ# .˙#F#F
n
n
n
n
n
n
n
∑˙˙
˙
∑˙˙
˙
˙
∑3
œ#Fa2
œ œŒ œ#F
∑∑
∑
∑∑∑
∑∑
∑
∑∑
10:8œ# œ# œœ œb œ œ œ
œ œ 10:8œ œ œœ œ œ œ œ
œ œ
˙#
˙˙˙˙
n
n
n
n
n
∑
∑∑
∑∑
∑∑
∑
∑
∑
˙#Jœ# .œ˙#
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
≈ œbfœ œ œ œ# 6
œ œb œb œn œ œn3œœœ## - œœœ- œœœ-
˙
˙˙˙˙
π
π
∑
∑∑
∑∑
∑∑
∑
∑
∑
˙#˙
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ# œ œ œ# œ#3œœœ## - œœœ- œœœ-
∑sul pont.
∑sul pont.
∑sul pont.
∑sul pont.
∑
∑
∑∑
∑∑
∑∑
∑
˙#π˙#π
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
10:8œ#Fœ# œœ œb œ œ œ
œ œ 10:8œ œ œœ œ œ œ œ
œ œ
˙# æπæπæπ˙#æπ˙#π
30
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
n
n
n
n
n
n
n
176 ∑
∑∑
∑∑
∑∑
∑
˙F˙F
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
10:8œ# œ# œœ œb œ œ œ
œ œ 10:8œ œ œœ œ œ œ œ
œ œ
æFæFæFæFF
V
V
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
3œœ# -π
œœ-cresc.
œœ-
3œ# -π
œ-cresc.
œ-
∑∑
∑∑
∑
∑∑
6
œ œ œ œb œ# œ6
œ# œn œ œ œ# œ#3œœœ## - œœœ- œœœ-
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
3œœ# - œœ- œœ-3œ# - œ- œ-
∑∑
∑∑
∑
∑∑
3
œ œ œ œ œ œ# œ
3œœœ## - œœœ- œœœ-
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
3œœbn - œœ- œœ-F
3œn - œ- œ-F
∑∑
∑∑
∑
∑∑
6
œ œb œ œ# œn œn6
œ# œ œ œ# œ œ
3œœœb - œœœ- œœœ-
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
Jœœbb . ‰ Œ
Jœb . ‰ Œ∑∑
∑∑
∑
∑∑
œb œb œb œb .œ œn
œœœbbb . ‰ œœœ. ‰ Jœœœ.
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
6
œ# œ# œ œ œ œ œ œn œb œ œb œn œb œnœœœn œœœbn
∑∑∑∑∑
31
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
182 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ œb œ œb œ œ œb œ œb œ œ œb œ œ œb œ
œœœnnn œœœbbb
∑ord.
∑ord.
∑ord.
∑ord.
∑
W
W
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œ œb œb œ œb œ œ œbœœœb œœœbn
œp
œ
œbp œœbp œœp
œœp
œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œœ#n pŒ
œœ## ŒœbFœb œb œ œ# œn œ œn
œ#F œœ#F œœ#F
œ#œ#F
œ#
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
jœ# .F‰ Œ
∑∑
∑
∑∑
∑
∑
œ#fœ œ œ#
3œ# - œ- œ-œ. œ# . œ# . œ. œ. œ# . œ# . œ.œ# . œ# . œ. œ# . œ# . œ. œ.
œ# .œ# . œ# . œ. œ# . œ# . œ. œ. œ# .
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
.œ# Jœ#3œ# - œf œ#
œ# . œ. œ# . œ# . œ. œ. œ# .œ# .
œ# . œ# . œ. œ. œ# . œ# . œ. œ# .œ# . œ# . œ. œ. œ# . œ# . œ. œ# .
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œ œn œ# œ œ#
œ.F œ# . œ# .œ. œ. œ# . œ. œ.
œ. œ# . œ# . œ. œ. œ# . œ# . œ.œ# . œ# . œ. œ# . œ# . œ. œ.
œ# .œ# . œ. œ. œ# . œ# . œ. œ. œ.
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
.œ# Jœ
œ# . œn . œ. œ# . œn . œ. œ# . œn .œ# . œn . œ# . œn . œ# . œ# . œn . œ.œ# . œn . œ# . œn . œ. œ# . œn . œ.˙b
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑OOOPOpOO∑
∑
∑
œ# - œ- œ œ œ
œ# - œ- œ œ œœ# . œn . œ. œ# . œn . œ. œb . œ.œb . œ. œn . œb . œ. œ#
. œn . œ.
œ œn
32
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&?
&&B??
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
190 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
ŒSnare Drum œæp∑
∑
∑∑
∑
∑
.œ# œ œ#
œ œ œ# œ œœ œ œ# œ œœ. œb . œ. œ# . œb . œ. œ. œn .
œ. œb . œ. œ# . œb . œ. œ. œn .
X
X
∑
∑∑
∑∑
∑∑
œ#˘ ‰3
‰ œ ‰œ#˘Fa2
‰3
‰ œ ‰œ#˘F‰
3
‰ œ ‰
∑
∑
∑∑
œ#˘Fa2 ‰
3
‰ œ ‰
œ#flF‰ 3‰ œfl ‰∑
œ#˘F‰
3
‰ œ ‰
œF‰
3
‰ œ ‰∑
œF œ œ œ œ œ œ œ
∑3
œ# œ œ3œ œ œ
œn œn œ œ œ œ œ œ
3
œ# œ œ3
œ œ œ
œF
œ#cresc.
œ
œ# œcresc.
œœ œ#
cresc.
œ3œ# œ œ#
3œ œ œ
œ#fl ‰3‰ œfl ‰
∑
∑∑
∑∑
∑∑
3
‰ ‰ œ#˘ Œ
3
‰ ‰ œ#˘ Œ
3
‰ ‰ œ#˘ Œ
Œ1.
œ#F œ#∑
∑∑
3
‰ ‰ œ#˘ Œ3‰ ‰ œ#flŒ∑
3
‰ ‰ œ#˘ Œ
3
‰ ‰ œ Œ∑
œ œ œ œ œ œ œ œ∑
3
œ# œ œ3œ œ œ
œ œ œ œ œ œ œ œ
3
œ# œ œ3
œ œ œ
3
œ œ# œ œ œ# œ œ#
3
œ# œ œ# œ œn œ œnœ# œ# œ#
3
œ# œ œ3œ œ œ
3‰ ‰ œ#flŒ
œ.fœ# . œ. œ# . œ. œ# . œ. œ.
œ.fa2 œ# . œ. œ# . œ. œ# . œ. œ.
œ.f œ# . œ. œ# . œ. œ# . œ. œ.œ.fa2 œ# . œ. œ# . œ. œ# . œ. œ.
œ.f œ# .œ. œ# . œ. œ# . œ. œ.
œ.fa2
œ# . œ. œ# . œ. œ# . œ. œ.∑
œ ‰3
‰ œ ‰
œ ‰3
‰ œ ‰
œ ‰3
‰ œ ‰
˙∑
∑∑
œ ‰3
‰ œ ‰
œfl ‰ 3‰ œfl ‰∑
œ ‰3
‰ œ ‰
œ ‰3
‰ œ ‰∑
œb œ œ œ œ œ œ œ∑
3
œ œ œ3œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
œ.fœ# . œ. œ# . œ. œ# . œ. œ.
œ.f œ# .œ. œ# . œ. œ# . œ. œ.
f3
œ œ œ3œ œ œ
œfl ‰ 3‰ œfl ‰
œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.∑
3
‰ ‰ œ Œ
3
‰ ‰ œ Œ
3
‰ ‰ œ Œ
œ œ#∑
∑∑
3
‰ ‰ œ Œ3‰ ‰ œflŒ∑
3
‰ ‰ œ Œ
3
‰ ‰ œ Œ∑
œb œ œ œ œ œ œ œ∑
3
œ œ œ3œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
œ. œ. œ# . œ. œ# . œ# . œ# . œ.
œ. œ. œ# . œ. œ# . œ# . œ# . œ.œ œ#
3
œ œ œ3œ œ œ
3‰ ‰ œflŒ
œ. œ# . œ# . œ# . œ# . œ. œ. œ.
œ. œ# . œ# . œ# . œ# . œ. œ. œ.
œ. œ# . œ# . œ# . œ# . œ. œ. œ.œ. œ# . œ# . œ# . œ# . œ. œ. œ.
œ. œ# . œ# . œ# . œ# . œ. œ. œ.œ. œ# . œ# . œ# . œ# . œ. œ. œ.
∑
œb˘ ‰3
‰ œ ‰
œb˘ ‰3
‰ œ ‰
œb˘ ‰3
‰ œ ‰
˙#f∑
∑∑
œb˘ ‰3
‰ œ ‰
œb˘ ‰3
‰ œ ‰∑
œb˘ ‰3
‰ œ ‰
œ ‰3
‰ œ ‰∑
œ œ# œ œ œ œ œ œ∑
3
œb œ œ3
œ œ œ
œ œ# œ œ œ œ œ œ
3
œb œ œ3
œ œ œ
œ. œ# . œ# . œ# . œ# . œ. œ. œ.
œ. œ# . œ# . œ# . œ# . œ. œ. œ.˙#
3
œb œ œ3
œ œ œ
œb˘ ‰3
‰ œ ‰
œ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œœ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œ
œ# . œ. œ. œ# . Œ
6
œbfœ œ œb œ œ
6
œb œ œ œb œ œ
3
‰ ‰ œb˘ Œ
3
‰ ‰ œb˘ Œ
3
‰ ‰ œb˘ Œ
˙#∑
∑∑
3
‰ ‰ œb˘ Œ
3
‰ ‰ œb˘ Œ∑
3
‰ ‰ œb˘ Œ
3
‰ ‰ œ Œ∑
œ œ# œ œ œ œ œ œ∑
3
œb œ œ3
œ œ œ
œ œ# œ œ œ œ œ œ
3
œb œ œ3
œ œ œ
œ# . œ. œ. œ# œ œ œ# œ#
œ# . œ. œ. œ# œ œ œ# œ#˙#
3
œb œ œ3
œ œ œ
3
‰ ‰ œb˘ Œ
∑
∑∑
∑∑
6
œbfœ œb œ œ œn
6
œb œ œb œ œ œnjœb ‰ Œ
œnfl ‰ 3‰ œfl ‰
œnfl ‰ 3‰ œfl ‰
œnfl ‰ 3‰ œfl ‰
˙#∑
∑∑
œnfl ‰ 3‰ œfl ‰
œnfl ‰ 3‰ œfl ‰∑
œnfl ‰ 3‰ œfl ‰
œ ‰3
‰ œ ‰∑
œb œ œ œ œ œ œ œ∑
3
œ œ œ3
œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
œ œb œ œ œ œ œ œœ œb œ œ œ œ œ œ˙#
3
œ œ œ3
œ œ œ
œnfl ‰ 3‰ œfl ‰
6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ
6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ6
œ#f œ œ#œ œ# œ
6
œ œ# œ œ# œ œ
∑
Jœb ‰ Œ∑
3‰ ‰ œfl Œ3‰ ‰ œfl Œ3‰ ‰ œfl Œ
œ# - œ-
∑
∑∑
3‰ ‰ œfl Œ3‰ ‰ œfl Œ∑
3‰ ‰ œfl Œ
æπ∑
œb œ œ œ œ œ œ œ∑
3
œ œ œ3
œ œ œ
œb œ œ œ œ œ œ œ
3
œ œ œ3
œ œ œ
œ œb œ œ œ œ œ œœ œb œ œ œ œ œ œœ# - œ-
3
œ œ œ3
œ œ œ3‰ ‰ œfl Œ
33
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&?
&&B??
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
Y
Y
199 Jœ#˘ ‰ Œ Œ
6
œ# œ# œ œ œ# œ Jœ ‰6
≈ œ œ œ œ œ
Jœ#˘ ‰6
œ# œ# œ œ œ# œ jœ#fl ‰
6
œ# œ# œ œ œ# œ6
œ œ# œ œ œ# œ jœ#fl ‰Œ Œ 6
œ#f œ# œ# œ œ œ
∑∑
∑
∑
∑3œœ#
Fœœ# œœ#
3œœ# jœœ
3
œF
œ# œ#3
œ Jœ#
6
œ#f
a2 œ# œ œ œ# œ6
œ œ# œ œ œ# œ jœ#fl ‰Œ Œ 6
œ#fœ# œ# œ œ œ
3œ#F
œ œ# 3œ Jœ3œ#F œ# œ 3œ Jœ3
œFœ# œ
3
œ# jœ∑
Jœf‰ Œ ŒTriangle
∑
∑
∑
Jœœbb˘‰ Œ Œ
jœœ##fl‰ Œ Œ
jœ#fl ‰ Œ Œ &
Jœ#˘ ‰ Œ Œjœ#fl ‰ Œ Œjœ#fl ‰ Œ Œjœ#fl ‰ Œ Œjœfl‰ Œ Œ
ppppp
Jœ ‰ Œ Œ
Jœ ‰ Œ Œjœfl‰ Œ Œ
jœfl‰ Œ Œjœfl‰ Œ Œ
∑∑
∑
∑
∑
jœœflf‰ Œ Œ
Jœ# ˘f‰ Œ Œjœ#fl ‰ Œ Œjœfl‰ Œ Œ˙#f
œ˙ Œ1.
FJœ#˘f‰ Œ Œjœ#flf‰ Œ Œ
∑.˙f
∑
∑
∑∑
Œ6
œ#fœ# œ#
dim.
œ œ œ6
œ# œ# œ œ œ# œ
Œ 6
œ# œ# œ# œ œ œ 6œ# œ# œ œ œ# œ?
.˙#
.˙
.˙
.˙#
.˙#
πππππ
∑
Œ1.
3
œfœ# œ#> œ œ
∑
Ó6
≈ œ#Fœ# œ# œn œ#
∑
∑∑
∑
∑
∑
∑
∑
∑∑
˙# œ
∑∑∑
∑∑
∑
∑∑
6œ# œ# œ# œ œ œ 6œ œ# œ# œ œ œ œœ#n p6
œ# œ# œ# œ œ œ 6œ œ# œ# œ œ œ œ#
.˙
˙ œ˙ œb.˙.˙
∑
œ œ 3
œ#Fœ# œ#
∑
œ# œ3œ#
Fœ# œ#
∑
.˙b1.
F ∑
∑
.˙b1.
F∑
.˙bP∑
∑∑.˙
∑∑∑
∑∑
∑
∑∑
...˙### P
..˙##
.˙#
.˙b
.˙
.˙b
.˙b
∑
.˙n
∑.˙n
∑
œ ˙b∑
∑
.˙
∑
˙ œ œb∑
∑∑
Jœπ‰ Œ Œ
∑∑∑
∑∑
∑
∑∑
‰ JœbF 5
œ œ œ œb œ
‰ Jœb5
œ œ œ œb œ
.˙
.˙
.˙
.˙
.˙
∑
œ# œ# œ# œ œb
∑œ# œ# œ# œ œb
∑
∑∑
∑
.˙b
.˙b∑
∑
∑∑
œnP
œb œ .œb œb .
∑∑∑
∑∑
∑
∑∑
...˙n##
˙##
.˙#
.˙
.˙n
.˙b
.˙b
Z
Z
π
Œ œ œ ˙f
.˙n
∑.˙n
∑
∑∑
3
œFœ œb œ œ œ œ œ œ œ œ∑
∑
∑
∑
∑∑
.˙n
∑∑∑
∑∑
∑
∑OOOPoOOO∑...˙
..˙ &
.˙
.˙
.˙
.˙
.˙
34
&
&&
&&
&&?
?
?
&?
&&?
???
÷÷
&
&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
206 Jœπ‰ Œ Œ
∑∑
∑∑
∑‰ œF Jœ
3
œ œ œ
.˙∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑....˙˙˙b F....˙b
5
œ
œπœ
œ œb5
œb
œ
œ
œ œ5
œ
œ
œ
œ œ
‰ J‚œp·
‰ j‚œp ·‰ J‚œp
·
.˙
.˙
∑
∑∑
∑∑
∑œ œ œ œb œ œ œœb œ œ œ
3
œ œ œ œ œ œ œ
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
5
œb
œ
œ
œ œb5
œ
œ
œ
œ œ5
œ
œ
œ
œ œ
..·
..·
..·
.˙
.˙
∑
∑∑
∑∑
∑
˙5
œ œ œ œ œ
5
œb œ œ œ œ œ
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
5
œ
œ
œ
œ œb5
œb
œ
œ
œ œ5
œ
œ
œ
œ œ
..·
..·
..·
.˙
.˙
∑
Œa2
6
≈ œbfœ œ# œn œ
6
œ œ œ œ œb œ
Œ6
≈ œbfœ œ# œn œ
6
œ œ œ œ œb œ
Œa2
3
‰ œf
œ3
œb œ œ
Œ3
‰ œf
œ3
œb œ œ
Œa2
6
≈ œbfœ œ# œn œ 6œ œ œ œ œb œ
œ œ3
œfœ œ
3
œb œ œ3‰ œ œ œf
œ œ œŒ .a2 jœf œ œŒ Œ . jœf
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
5
œb
œ
œ
œ œb5
œ
œ
œ
œ œ5
œ
œ
œ
œ œ
..·
..·
..·
.˙
.˙
AA
AA
∑
Jœb˘ ‰ Œ Œ
Jœb˘ ‰ Œ Œ
Jœ ‰ Œ Œ
Jœ ‰ Œ Œ
jœbfl‰ Œ Œ
Jœ ‰ Œ Œ
jœ#fl‰ Œ Œ
jœ#fl‰ Œ Œ
jœ#fl‰ Œ Œ
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
œb Œ Œ
œb Œ Œ
œb3
œ œ œ3
œb œb œb
œ- œb - œb -œ# - œ- œ-œb - œ- œ-œb - œ- œ-
n
œb œ ˙f
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œb œ œn œ œb œ œ
œ# œ- œn -œ# œ- œ-
œ œb - œb -œ œb - œb -
Ó ‰3
œfœ œ#
Ó ‰3
œfœ œ#
Ó ‰3
œfœ œ#
Ó ‰3
œfœ œ#
Ó ‰3
œfœ œ#
Ó ‰3
œfœ œ#
Ó ‰3
œfœ œ#
∑
∑
∑
∑
∑ &
∑∑
∑
∑∑∑
∑Snare Drum
∑Bass Drum
∑
∑∑
∑
∑ ?
œ œ œ œ4:3
œn œ œ# œ4œ œ œ œ#
4œb œb œn œ4œb œb œn œ
35
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
213 Jœ.‰ Œ Œ
Jœ.‰ Œ Œ
Jœ. ‰ Œ Œ
Jœ. ‰ Œ ŒJœ. ‰ Œ Œ
Jœ. ‰ Œ ŒJœ. ‰ Œ Œjœ.f‰ Œ Œ
jœ.f‰ Œ Œ
jœ.f‰ Œ Œ
.Fjœœ.f‰ Œ Œjœœ.f‰ Œ Œ
jœ.f‰ Œ Œjœœ.f‰ Œ Œjœ.f‰ Œ Œ
jœ.f‰ Œ Œjœ.f‰ Œ Œ
Jœ.f‰ Œ Œjœ.f‰ Œ Œ
∑
Jœœ.f‰ Œ Œjœœ.‰ Œ Œ
Jœœ.f‰ Œ Œ
jœœ.‰ Œ Œ
œƒœ
3
œ# œ œ# œfœ# œn œ
œ#fŒ œF
œfŒ œ
Fœf Œ œ#
Fœf Œ œ#
F
∑
∑∑
∑∑
Jœf‰
5
œ œ# œ# œ# œn œ#
jœflf‰
5
œ œ# œ# œ# œn jœ# . ‰
∑
∑
∑
f œ œ#∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑
Jœ# ‰5
œ œ# œ# œ# œn œ#
‰ jœ#flŒ jœfl
‰‰div. jœœ#fl Œ
jœœfl ‰‰div.
Jœœ## ˘ Œ J
œœ ‰‰ jœ#fl Œ
jœfl ‰
∑
∑∑
∑∑
œ ‰ Jœ1.
3
œ# œ œ#
∑
∑
∑
∑
.œ# œ ˙#∑
Œ Œ ‰a2 jœFŒ Œ ‰ jœF∑
∑∑∑
∑∑
∑
∑∑
∑
∑
œ ‰ Jœ-3
œ# œ œ#
‰ jœ#flŒ œ#F
‰ jœœ#fl Œ œœ## F‰ Jœœ## ˘ Œ œœ#
F‰ jœ#fl Œ œF
n
dim.
dim.
dim.
dim.
dim.
∑
∑∑
∑∑
.˙#∑
∑
∑
∑
˙# œ#a2
f œ#Œ Œ œ#
a2
f œ#.œ# œ œ# œ# œ# œ.œ# œ œ# œ# œ# œ˙bFa2 œb˙bF
œb
˙bF œb∑
∑∑
∑
∑∑
∑
∑
.˙#
.˙
..˙
..˙
.˙
ppppp
∑
∑∑
∑∑
∑∑
∑
∑
∑3
œ# œ œ ˙3
œ# œ œœ ˙3
œ#fœ# œ# ˙3
œ#fœ# œ# ˙
4œbfœb œn œ#
4œbfœb œn œ#
4
œbfœb œn œ#
Œ Œ œæπ∑∑
∑
∑∑
∑
∑
.˙
.˙
..˙
..˙
.˙
AB
AB
f
ffff
ppppp
Œ6
‰ . œ#fœ# œ
6
œ œ œ œ œ œ
Œa2
6
‰ . œ#fœ# œ
6
œ œ œ œ œ œ
Œ6
‰ . œ#fœ# œ
6
œ œ œ œ œ œ
Œa2
6
‰ . œ#fœ# œ
6
œ œ œ œ œ œ
Œ 6‰ . œ#f œ# œ6œ œ œ œ œ œ
Œ6
‰ . œ#fœ# œ
6
œ œ œ œ œ œ
Œ 6‰ . œ#f œ# œ6œ œ œ œ œ œ
jœ#flf‰ œp
œ#
jœ#flfa2 ‰ œ
pœ#
jœ#flf‰ œp
œ#
jœ#flf‰ Œ Œ
jœ#flf‰ Œ Œjœ#flf‰ ˙#pjœ#flf
‰ ˙#p
jœ#flf‰ œp
œ#
jœ#flf‰ œp
œ#
jœ#flf‰ œp œ#jœ#flf‰ Œ Œ
∑∑
∑
∑∑
∑
∑
Jœ#˘ ‰ ˙#
jœ#fl ‰ ˙Jœ#˘ ‰ ˙jœ#fl‰ œ œ#jœ#fl‰ œ œ#
Jœ#˘ ‰ Œ Œ
Jœ#˘ ‰ Œ Œ
Jœ#˘ ‰ Œ Œ
Jœ#˘ ‰ Œ Œ
jœ#fl‰ Œ Œ
Jœ#˘ ‰ Œ Œ
jœ#fl‰ Œ Œ
∑
∑
∑
∑
∑
∑∑
∑
∑∑∑
∑∑
∑
∑∑
∑
∑ &
6
œ#fœ# œb œb œ œb
6
œ œ œ>6
.œ œ# œn œ>6
œ#f œ# œbœb œ œb
6œ œ œ>6.œ œ# œn œ>
6
œ#fœ# œb œb œ œb
6
œ œ œ>6
.œ œ# œn œ>
6
œ#fœ# œb œb œ œb
6
œ œ œ>6
.œ œ# œn œ>
6
œ#fœ# œb œb œ œb
6
œ œ œ>6
.œ œ# œn œ>
36
&
&&
&&
&&?
?
?
&
&
&&?
???
÷÷
&
&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
220 Œ6
‰ . œfœb œ
6
œ œ œ œ# œ œ
Œ6
‰ . œfœb œ
6
œ œ œ œ# œ œ
Œ6
‰ . œfœb œ
6
œ œ œ œ# œ œ
Œ6
‰ . œfœb œ
6
œ œ œ œ# œ œ
Œ6
‰ . œfœb œ 6
œ œ œ œ# œ œ
Œ6
‰ . œfœb œ
6
œ œ œ œ# œ œ
Œ6
‰ . œfœb œ 6
œ œ œ œ# œ œŒ . jœ-f œŒ . jœ-f œŒ . jœ-f œŒ Œ œœPŒ Œ œœbP
∑∑
Œ . JœF
œcresc.
Œ . JœF
œcresc.
Œ . jœF œ
cresc.
∑
∑∑
∑
∑∑
6
œ# œ œ œ œ œ3
œ œb œ œ ≈ œœ?
6
œ#ƒœ œ œ œ œ
3
œ œb œ œ ≈œœ
f?
.œ Jœ-6
œ œ# œ œ œ# œ
.œ Jœ-6
œ œ œ œ# œ œ.œ Jœ# - œ.œ jœ- œ.œ jœ- œ
Jœ ‰ Œ Œ
6
.œ œ# œ# œ6
œ# œ œ# œ œ œ6
œ œ œ œ œ œ
6
.œ œ# œ# œ6
œ# œ œ# œ œ œ6
œ œ œ œ œ œ
6
.œ œ# œ# œ6
œ# œ œ# œ œ œ6
œ œ œ œ œ œ6
.œfl œ# œ# œ6
œ# œ œ# œ œ œ6œ œ œ œ œ œ
6
.œ œ# œ# œ6
œ# œ œ# œ œ œ6
œ œ œ œ œ œ6
.œfl œ# œ# œ6
œ# œ œ# œ œ œ6œ œ œ œ œ œ
œ œ# œ# œ# œ
œ œ# œ# œ# œ
œ œ# œ# œ# œ
œœ#fŒ Œ
œœn fŒ Œ
∑∑
œ œ# œ# œ# œ
œ œ# œ# œ# œ
œ œ# œ# œ# œ∑
∑Snare Drum
∑Bass Drum
∑
∑∑
..˙ &
..˙
6
.œ œ# œ# œ6
œ# œ œ# œ œ œ6
œ œ œ œ œ œ6.œ#fl œ œ# œ
6
œ# œ œ# œ œ œ6œ œ œ œ œ œ
œ œ# œ# œ# œ
œ œ# œ# œ# œ
œ œ# œ# œ# œ
Œ ‰ Jœ#˘ƒ‰ Jœ
6
œ# œ œ .œ ‰ Jœ#˘ƒ ‰ Jœ
6
œ# œ œ .œ ‰ Jœ#˘ƒ‰ Jœ
6
œ# œ œ .œ ‰ Jœ#˘ƒ‰ Jœ
6œ# œ œ .œfl‰ jœ#flƒ
‰ Jœ
6
œ# œ œ .œ ‰ Jœ#˘ƒ‰ Jœ
6œ# œ œ .œfl‰ jœ#flƒ
‰ Jœ
œ# œfl ‰ jœ#flƒ‰ Jœ
œ# œfl ‰ jœ#flƒ‰ Jœ
œ# œfl ‰ jœ#flƒ‰ Jœ
Œ ‰ jœ#flƒ‰ Jœ
Œ ‰ jœ#flƒ‰ jœfl
Œ ‰ jœ#flƒ‰ Jœ
Œ ‰ jœ#flƒ‰ Jœ
œ#fœ ‰ Jœ#˘ƒ
‰ Jœ
œ# f œfl ‰ jœ#flƒ‰ Jœ
œ# f œfl ‰ jœ#flƒ‰ Jœ
Œ ‰ jœ#flƒ‰ Jœ
Œ ‰ Jœƒ‰ Jœ
Œ ‰ jœflƒ‰ jœfl
∑
∑∑
6
‰ . œƒ
œ# œ#6
œ# œ œ œ œ œ6
œ œ œ œ œ œ
6
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37
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Fl.1-2
Fl.3
Ob.1-2
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Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
225
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38
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Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
229
6
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Fl.1-2
Fl.3
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E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
√
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Free and Slow
Free and SlowœCluster - divisi a 8
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40
II. MEMORIES OF SARATI
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Hn.3-4
Tp.1-2
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Tn.1-2
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Tb.
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Vn.I
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41
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Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
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Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
C
C
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Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
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Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
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S.B.
Hp.
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‰ jœnp œ?
5:4
‰ œbF‰ œ œ œ
5:4
‰ œ ‰ œ œ œ
∑∑∑∑∑
cresc.
∑
∑∑
∑∑
∑∑
Œ ˙p∑
∑
∑
∑
∑∑
∑
∑∑
∑4
œ#P œ œn œ
∑
Œ 3œp
œ# œ#
∑∑
5:4
œ œnp‰ œ# œ œ
Fœ .œ
loco
jœ#
∑∑∑∑∑
∑
∑∑
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∑∑
.˙
∑
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∑
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∑∑
∑
∑∑
∑4
œ œ# œ# œ
∑
œ# œ œ œ# œ œb
Œ Œ 3‰ œbP œ∑
3
‰ œ# œ œ œpœ œ. œb . ‰ &
œ œœ‰ jœœπ
∑∑∑∑∑
P
∑
∑∑
∑∑
∑Œ 3
œp œ#œ
3
Jœ œnFœfœb œb œ œ Œ
π∑
∑
∑
∑
∑∑
∑
∑∑
∑
œ œbp œ∑
.œF
.œ3‰ ‰ Jœb Œ
3œœ‰
Œ œ
‰ Jœn
πœ
œœ‰ Jœb .π œ. œb .
∑∑∑∑∑
∑
∑∑
∑∑
‰ jœn ˙Œ ˙b.˙
∑
Œ1.
5:4
œpœ œb œ œn
F∑
∑
∑
∑∑
∑
∑∑
∑8:6
œ# œ œ œ œ# œ œ œb∑8:6
œ# œ œ œ œ# œ œ œbœbœœœŒ
‰ ..œœb œœb3œb ‰ œn .
3‰ jœ. ‰ jœn .‰ &
∑∑∑∑∑
45
&
&&
&&
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&
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?
&?
&
&
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44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
◊
√ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~
G
G
e.=q =80
e.=q =80
∑
∑∑
∑∑
∑∑
∑
œ Œ Ó
∑
∑
∑
∑∑
∑
∑∑
∑
˙n Ó∑
˙ Ó∑∑
œFœ œb œ œ œ œ œ
˙b jœœœ ...œœœb
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œb œb œ œcresc.
œ œ œ
˙b jœœœ ...œœœnb ?
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œœ œœœn œœœœbbb5:4
œ# œ# œ œnœn
5:4
œ# œ# œn œn œ#
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
5:4
œ#fœ œ œ œ#
5:4
œ# œn œb œn œn
œ# œ œn œ œ œb œ œb
∑∑∑∑∑
H
H
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
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∑∑
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wb
w
Œ œπ3œ œ œ
Œdiv. œπœb 3œ œ# œœ œb œ œ#
Œ œπœb ˙
Œ œπ œ œb œŒ œπ œ œb œ
∑
∑∑
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w
∑
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3
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Fœ. œ. Jœ. ‰ Ó
3
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Pœ œ œ œ# œ# œ œb
3
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˙# Ó˙n Ó˙n˙ Ó˙ Ó˙ Ó
n
∑
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pÓ . ‰ jœ#p
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‰ œbfl œbflœbfl
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œb œb
‰pizz.œf œ œ ‰ œb
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‰ Œ
˙ jœflf‰ Œ
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Ó œb œb œ œ œ œ# œ œn
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∑∑arco
∑arco
46
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Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
√
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~◊
sul pont.
sul pont.
sul pont.
sul pont.
sul pont.
Œ .˙π
Œ .˙π
Œ .πŒ .πŒ .πŒ .πŒ .π∑
∑
∑
∑
∑
∑∑
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∑∑
∑∑∑
∑∑∑
Jœƒ‰ Œ Ójœfl ‰ Œ Ó
3œ.ƒ œ. œ. Œ ‰ .œæπ3œb .ƒ œ. œ.Œ ‰ .œ# æπ
3
œb .ƒœb . œb . Œ ‰ .œæπ
3
œb .ƒœb . œb . Œ ‰
.œæπ3œ# .ƒ œ# . œ# .Œ ‰ .œæπ
Jœ ‰ Œ Ó
Jœ ‰ Œ Ójœ ‰ Œ Ójœ ‰ Œ Ó
jœ ‰ Œ Ójœ ‰ Œ Ó
jœ ‰ Œ Ó
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑ ÷
∑∑
3
œƒœ œ ‰ Jœ
3
œ œ œb˘ Jœb˘ ‰
Œ .˙b
P
æ Ó
æ Ó
æ Óæ Óæ Ó
∏∏∏
1Free and Slow
Free and Slow
I
I
n˙ &
œCluster - divisi a 8
œ# œn œ# œn œ œ# œnœ# œn œ
Cluster - divisi a 8
œ# œn œ# œn œ#œ
Cluster - divisi a 6
œ œ# œn œ# œn
2 3
πloco
œ#1.
p
œ
°œb
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œ
œ
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œ
œ
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∑∑∑
4
Glockenspiel
œ#p1.
œ
˙ œ œ œ# œ#
∑˙pœœp˙
∑∑∑
5
Triangle
œ œ# œ œb
œ1.
p ˙b
œ œb ˙n
˙
œFBongos œ œœ œ œp∑
∑∑∑
n
6
œ œ œb œb ˙b
œpœb œb œ œ œ œ ˙#
∑∑∑
n
œ œ# ˙
œb œn œ
∑∑∑
n
7
Solo
œb œn œ# œ œ ˙
∑∑∑
œbpœ ˙bF
47
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÷
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43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
œb ˙
∑∑∑
œ œ œb œ œ# œn
n
n
n
8
∑∑∑
œb œn œb œ œ ˙# -F˙# -F
n
n
n
n
9
œbpœ œ œb œ
∑˙#F˙F- -
- -
œF œnœb œb ˙
∑
n
10 11
pizz.
pizz.
pizz.
œbpœ œ œb œ œ œb œ
∑
J
J
q = 60
q = 60sempre crescendo
∑
3
œpa2 œb œb
3
œ œ œb3
œb œ œn3œp œb œ
3
œ œ œn3
œ œb œ3
œpa2
œ œb3
œb œb œb3
œn œ œ3œbp œ œ
3
œb œ œ3
œn œ œb3œp
a2
œ œ3
œ œ œ3
œ œ œ#∑
jœf‰ Œ Œ
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
∑œF
œsempre crescendo
œ
œF
œsempre crescendo
œ
œFœ
sempre crescendo
œ
∑
∑3
œ œ œb œ œ œ œb œb œ œ# œn3
œ œ œ œ œ œb œ œ œ œ œ
3
œb œn œb œ œb œ œ œ œ œb œb3œ œ œ œ œ œb œ œn œb œb œ
œ œ œb œ3œ œ œb
œp œ œb œ3
œ œ œ∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
∑œ œb œ œœ œb œb œœ œb œ# œŒpizz. œbF
œbsempre crescendo
œ#
∑
œb œ œ œ œcresc. poco a poco
œb œb œn œn œb œb œnœ œ œ œ œb
cresc. poco a poco
œ œ œ œ œ œb œn
œb œ œb œ œncresc. poco a poco
œ œb œb œb œ œ œœn œ œ œb œ
cresc. poco a poco
œ œ œ œ œ œ œb
3
œ œn œ œcresc. poco a poco
œ œ œ œb œb œb œ3
œ œb œ œcresc. poco a poco
œ œ œ# œ œn œ œŒ Œ
3
‰ œPœb
Œ Œ 3‰a2
œPœb
∑
∑
∑
∑∑
∑
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∑∑∑
∑∑∑
∑
∑
∑
3
œb œb œ 3œ œ# œ# ‰arco jœÍ
3
œ# œ# œ3
œb œb œn 3œn œ œb3œb œb œ
3
œ œ œ 3œ œn œ
3
œ œ œ 3œb œn œ3
œ œ œ#
∑œ œ# œ# œnœ œ œ# œ# œ œ œ œ# œn œ# œ œn
œ œ œ œ œb œ œ œn œ œ œb œ
œ œ œ œ œ œ œb œ œ œb œ œ
œ œb œ œ œb œb œ œ œb œ œn œ
œ œ œ œb œ œ œb œ œ# œ œb œ
œ œ œ œ œ œb œ œ œ œœ œ
3
œb œ œ3
œ# œ# œn œcresc. poco a poco
œn œ œ#
3
œb œ œ3
œ# œ# œn œncresc. poco a poco
œn œn œ#
Œ Œ ‰ . rœ#>FŒ Œ ‰ .a2 rœ#F
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
∑
œ œ œ# œ œ# œ œ# œ œ œ# œ>3œb œ œb 3
œ œ œ#3œ œb œn
3
œb œ œ3
œ# œ œ3
œ œb œ
3
œ œ œ3
œ# œ œ3
œb œ œb
48
&
&&
&&
&&?
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?
&
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&÷
÷
&?
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&&B??
Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
∑3
œ# œn œ œb 3
œ œb œ œb 3
œ œ œb œ3
œ# œn œ œb3
œ œb œ œ3
œb œ œb œ
3
œ œb œ œb3
œ œ œb œ3
œb œ œ œbœ œb œ œb œ œ œb œ œb œ œb œœ œ œb œ œb œ œb œ œ œb œ œ
3
œ# œn œ œb3
œ œb œ œ 3œb œ œb œœ œb œ œb œ œ œb œ œb œ œb œœ
3
œn œ œ#6
œ œ .œ# œ œn
œ3
œ œb œn6
œb œn .œ œ#6
œ œb œn œ œb œ
œ3
œ œb œn6
œb œn .œ œ# œcresc. poco a poco
6.œ œn œ œ#6
œ œ .œ# œ œnŒ Œa2
6
œFœb œ œ œb œ
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
∑œ œb œ œb œ œ œb œ œb œ œb œ‰arco œ
Fœb œ œ œb œ œb œ œb œ
3
œb œb œ3
œb œn œ Jœ ‰arco
3
œ œ œ3
œ œ œ Jœb ‰arco
∑
œ œb . œ. œ>
œœ œb.œ. œ>
œœ œb . œ. œ> œ
œ œb . œ. œb> œ
œ œb . œ. œb> œœ œb
.œ. œ>
œœ œb . œ. œb> œœ œb . œ. œ> œ
œ œb . œ. œb> œ
œ œ# . œ. œ> œ
œ œb . œ. œ> œcresc. poco a poco
œ œb . œ. œb> œcresc. poco a poco
‰ œœbbFœœ œœ œœ
cresc. poco a poco
œœn œœ## œœ œœbn œœn#Œ Œ œF
∑
∑∑
∑∑∑
∑ &
∑∑
∑
∑
∑
œ œb . œ. œb> œœ œb . œ. œ> œ
œF œ# . œ. œ> œœF
œ# . œ. œ> œ
∑6
œ œ# œ œ# œ œ# œ œ œ# œ6
œ# œ œ œ# œ œ#6
œ œ# œ œ œ# œ œ# œ œ# œ6
œ œ# œ œ# œ œ
6œ œ œ# œ œ œ# œ œ# œ œ6
œ# œ œ# œ œ# œ6
œ# œ œ œ# œ œ# œ œ# œ œ6
œ# œ œ# œ œ œ#
6
œ# œ œ# œ œ# œ œ œ# œ œ#6
œ œ œ# œ œ# œ6
œ# œ œ# œ œ# œ œ œ# œ œ#6
œ œ œ# œ œ# œœ# œ œ#œœ œœ# œœ#
œ œb œ œ
œ œ# œ œ# œ œ#
œ œb œ œb œ œ3œœb œœ œœ œœfl ≈ œœn# œœ œœ
6
œœ œœ œœ œœbb œœ œœ
œ œ œ#Œ JœœF
œœb Jœœb
∑∑
∑∑∑
∑Xylophone
∑∑
∑
∑
6
œ#div. a 2
œ œ œ# œ œ#6
œ œ# œ œ œ# œŒ Œ
6
≈ œ œ œ# œ œ#.˙ div. a 2œ ˙
6
œ# œ œ# œ œ# œ6
œ œ# œ œ# œ œ6
œ# œ œ# œ œ# œ
œ# - œ- œ# -
∑
œ œ# œ œ œb œ œ œ œn œ# œ œ œ œ œ œb œn œb œ œbœ# œ œ# œ œ œb œ œb œn œ# œn œ# œn œb œn œb œn œ œn œ
œ œ# œ œ# œ œb œn œb œn œ# œn œ# œn œb œn œ œn œ œb œœ œb œ œb œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œ œbœ# œ œ œ# œ œb œn œ œ œ œ œ# œn œb œn œn œb œn œb œœ# œ œ œ# œ œb œn œ œ œ œ œ# œn œb œn œn œb œn œb œœ œ# œ œ
œœ# œœ#6œ œb œn œb œ œ
6
œb œ œb œ œb œ
œ œ œ# œ6
œ# œ œ œ# œ œ#
œ œ œ œ œfl œb œ œ œ œ# œ œ œ œ#
œ œ œ œ œ œb œ œ œ œ œ œ œ œœœnn œœb œœ œœ œœbb œœ œœbb œœ œœn# œœbn
œcresc. poco a poco
œ œ œ œ œ œ œ œ œ# œ œ œ œb
Jœœ œœbcresc. poco a poco
œœb Jœœb
Œ œF œcresc. poco a poco∑
∑∑ ÷
∑
Œ œ#F
œ œ# œcresc.
œ œ œ œn œ œ œ# œ œ œ œ œn
∑∑
∑
∑
.˙div. a 3
3
œ œb œn œn ˙Œ Œ
6
œ œ# œ œ# œ œ#..˙˙ div. a 3œ ˙#....˙˙˙˙b# div. a 4
.˙
49
&
&&
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&
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Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œ œb œn œb
œ# œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ#œ œ# œ œb œ œb œn œb
œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ# œœ œ# œ œb œ œb œn œb
œ œb œ œ# œn œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œ# œ
œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œb œ œ œb œn
œ# œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ#œ œ œb œ œ œb œn
œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œœb œ œb œ œb œ œ œb œ œb œ œ œb œ œb œ œ œn œ œn œ œ œn œœ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œn œ œn œ œ œn œ œnœ œ œ œb œ œb œ œ œb œ œb œ œb œ œ œ œ# œn œ# œn œ# œn œ œ#
.œb jœn œb6
œb œ œb œ œ œbœ œb œ œ œ œ œb
3
œn œ œb
œœ œœ# œœ œœ œœ œœ# œœ œœ œœ œb œn3
œfl œfl œfl
œ œ œ œ œbœœ œœ œœ œœ œœ#
3
œœ# œœb œœbn œœ œœ
œ#3
œfl œ#fl œ#fl3
œfl œfl œ#fl‰ jœF œfl œfl œb œ œn
cresc. poco a poco
∑∑∑
œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ# œn œ# œn œ œ# œn œ œn œ#∑∑
∑
∑
...˙˙˙bdiv. a 4
Œ ˙#...˙˙˙ œ ˙‹div. a 4
....˙˙˙˙∫#b div. a 4
ƒ
ƒƒ
ƒ
ƒ
ƒƒ
f
fffff
∑œ œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œ œb
ƒœ œb œb œ œb œ œb œb œ œb œ œb œ œb œb œ œb œ œb œb œ œb œ œbƒœb œ œb œ œb œ œ œb œ œb œ œ œ œ# œ œ# œ œn œ# œn œ# œn œ# œ#ƒœ# œ œ œ# œ œ# œ œ# œ œb œn œb œn œb œn œb œb œn œb œn œ œb œn œbƒœb œ œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œƒœb œ œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb œ œ œb œƒ
œ# œ œ# œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œœ œ# œ œ# œ œ# œ œ
ƒœ œ œ# œ œ# œ œ# œ ˙œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ# œ œ
œ œ# œ œ œ# œ œ# œ ˙b
œ œ œ# œ œb ˙œ œ# œ œ œ# œ œ# œ œ œ œb œn œb œn œ œb œn.˙œ
3
œ œb œ œ œb œ œb œ œ œb œœ œb œn œb œn œ œb œ œb œ œ œb œ œb œ œb œ œ œb œ œb
ƒ.˙œ ˙˙ œœ
3
œ œ#˘ œ 3
Jœ œ#3
œfl œfl œ#fl œ œ# œ œ#6
œ œ œ# œ œ# œƒ
∑∑∑Bass Drum
œ œ œ# œ œ# œ œ œ# ˙b
∑∑
∑
∑
....˙˙˙˙
....˙˙˙˙
subito psubito p
subito psubito p
subito psubito psubito p
subito p
subito p
subito p
subito p
subito psubito p
subito psubito psubito p
subito psubito psubito psubito psubito p
˙˙˙
˙
˙˙#˙n˙b
˙˙
˙
˙
˙b˙˙˙˙
.˙
.˙n
Œ æπ
ŒSnare DrumŒ æπ
æπ˙
subito p
ÏÏ
ÏÏ
ÏÏÏ
Ï
Ï
Ï
Ï
ÏÏ
ÏÏÏ
Ï
ÏÏÏÏÏ
ƒ
ƒƒ
?
50
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&?
&&B??
Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
√
K
K
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
Ó .
∑
∑
∑∑
∑∑∑
∑∑∑
Œ .ƒœœb pjœœπ
..˙
∑∑∑∑∑
sos pedal
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰3
œbpœb œ œb œ œ œb
5
œloco
Fœbœ œ œb˙
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰U3
œb . œ.œb .
6
œ œb œ
œ œb œ
‰ œœnb.
Fœœ.
jœn œœ#n . œœ.
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ jœœbn p..œœœœ#n .fœœ.
‰ jœœn# ..œœ œœb . œœ.
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ 3œn œ#pœ œb œ œb œn
Œ Œ œœœb#
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
˙ œ# œœ#n .fœœ.
3œœœ Jœb .3œb . œb .‰ ‰ œœnb . œœ.
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ3
œnpœb œn œn
poco rit.
œ# œ# œ
Œ ˙bb
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
..œœa tempo
Jœœbb œœbb œœb
3
œb œb œb3
œb œn œ3
œn œb œb &
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
≈ œ œb œb œ œ œbœ œb
≈ œ œ# œ œ# œn œœ œb
∑∑∑∑∑
51
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&
&
&&B??
Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
◊
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
˙ œ#5:4
‰ œ# œ# œ œ œ œb5:4‰ œn œn œ œ œ œ#
˙œœ#?
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
...œœœnn œœœn#n œœœ œœœbnb œœœ ...œœœn#n ?
œœbb œ œb œœ œ œb œœ œb
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰fœœœbpœœœb
dim.
Jœœœb
˙ œ∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
Jœœœ œœœb œœœb jœœœπ&
œb œb œn
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰FJœ œ œb œb œn œbœ œb œ
œb œb œb œ œb œb œœ#n
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
≈ œœn œœbb œn œn œ œœn œb œ
œb . œb .œœbn œœb
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ Jœ œb œb œb œ œœnn œœnn œœn
œb œb œb œ œb œb œœn# œœn#
∑∑∑∑∑
52
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&?
&&B??
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
42ˆ161
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
169
Picc.
Fl.1-2
Fl.3
Ob.1-2
E.Hn.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn.
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.2
Va.
Vc.
S.B.
Hp.
Pno.
√
◊
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
≈ œœb œœb ≈ œœb œœb ≈ œœ#n œœbnfœœnn
œœb œœbb œœ#b œœ#
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœnbsubito p
œn œœcresc.
œ œœb œ œœ œ Rœœ
œb œb œb œ œ œ Rœ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœn# œ œœ œ œœn# œ œœ# œ Rœœf
œn œn œ# œ œ œ Rœ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
˙#p Rœ#
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœnbpœ œœ œ
cresc.
œœb œ œœ œ Rœœ
œb œb œb œ œ œ Rœ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
˙ Rœ
prœ
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœ#n œ# œœ œ œœ œ œœ# œ Rœœ
œn œn œ# œ œ œ Rœ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
.œ .Jœ
.œ .jœ∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœb
œœ
œœb
œœbb
œœbn
œœbb
œœn
œœnn
œœ
∑∑∑∑∑
Attaca
Attaca
No pause between movements
No pause between movements
∑
∑∑
∑∑
∑∑
.Jœ œ œb œb œ œ œb
.jœ œ œb œb œ œ œb‰ . ‰ . œ
Fœ œb
∑
∑
∑∑
∑
∑∑
∑∑Triangle
∑Bass Drum
∑Xylophone
∑∑
œœ## œœ œœb œœ#n œœb œœ#n œœn œœb œœ#nƒ
œœnn œœnn œœnn œœbb œœbb œœnn œœnn œœbb
∑∑∑∑∑
53
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&?
&&B??
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
q = 120
q = 120
∑
œ.fœ# . œ. œ.
œ.fœ# . œ. œ.
œ# .fœ. œ. œ.
œ.fœ# . œ. œ.
œœ# .fœœ. œœ. œœ.
œ.fœ# . œ. œ.
Í
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∑
∑∑
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˙ÍÍæÍæÍ
Triangle
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∑∑
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˙ƒ
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jœ ‰ Œarco
jœ ‰ Œarco
Jœ# ‰ Œarco
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∑
˙p˙p˙#pp˙pp˙nF˙nF˙nF∑
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F
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œba2
F œb . œb œ.
œF œb . œb œ.œa2
Fœb . œb œ.
œbF œ. œb œ.˙bbp˙bp˙bp∑∑∑
∑∑∑
∑
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˙
˙b˙b˙b˙b
∑
œfœ œ œ œ œ œb œ
œfœ œ œ œ œ œb œ
œœfœœ œœ œœ
œœ œœ œœbbœœ
œfœ œ œ œb œ œ œ
œœfœœ œœ œœ œœb œœ œœ œœ
œf œœb œ œ œ œ œ
∑
∑
∑
˙n
˙˙
˙b˙
˙˙
∑∑∑
∑∑
OOoPoOoo∑
∑
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A
A
FFFFF
∑
Jœ#.
ƒ‰ ŒJœ# .ƒ‰ Œœ# .
ƒœ#. œn œb
Jœ# ‰ ŒJœ# .ƒ‰ Œ
Jœœ## .ƒ‰ Œ
Jœ# .ƒ‰ Œ
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∑∑∑
∑
œF œbœb œb œ œb
∑
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jœb . ‰ ‰ jœ.jœ. ‰ ‰ jœ.jœb . ‰ ‰ jœ.jœb . ‰ ‰ jœ.jœb . ‰ ‰ jœ.
∑
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œb1. œ œb œ œ
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Œ jœb . ‰Œ jœ. ‰Œ jœb . ‰Œ jœb . ‰Œ jœb . ‰
∑
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˙
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œ œbœb œb œ œb
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jœb‰ œb> jœb‰ œb> jœbœbpizz. Œ
∑
≈ œFœ œ# œ œ
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œ œ œ œ œœ œb œ œ œœ œ œ œ œb
œ œ œ œ œb
54
III.FINALE
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43
43
43
43
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43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
B
B
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15 ∑
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col legno battuto
col legno battuto
col legno battuto
col legno battuto
col legno battuto
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n
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3
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55
&
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43
43
43
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43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
28 ∑
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œn œ œ# œ œ œ# œ œjœ ‰ Œjœn ‰ Œ
Jœ# ‰ Œjœ ‰ Œjœ ‰ Œ
56
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43
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86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
E
E
36 ∑œœfœœœœ. ‰œœ œœ Jœœ. ‰
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∑œœ œœœœ. ‰œœ œœ## œœ
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e = e
e = e
q. = 80
q. = 80
:
:
∑
Jœœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .
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Jœ. ‰ ‰ Œ .
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œœœbF Jœœœb . œœœbb . œœœ#n . œœœnn# .
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p‰ ‰ œ œb œ. œ œ
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57
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
44 ∑
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∑
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f‰ ‰ Œ .∑
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jœ# .f‰ ‰ Œ .
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jœ# .f‰ ‰ Œ .
jœ# .f‰ ‰ Œ .
jœ# .f‰ ‰ Œ .
jœ# .f‰ ‰ Œ1. jœ>F∑
∑Œ . œflf œbfl œflŒ . œœf
œœ œœb˘
Œ . œflf œbfl œbflŒ .
œflf œbfl œbflŒ . jœF
‰ ‰Œ . œ
Fœ œ
∑..˙fjœb ‰ ‰ Œ .
jœb ‰ ‰ Œ .
œfœb œb œ œ
œœœnbbb
^ .œ
JœbH
∑∑∑
jœ# .‰ ‰ Œ .
jœ# . ‰ ‰ Œ .
G
G
∑
∑∑
∑∑
∑∑
∑
∑
∑
.˙∑
∑∑
∑
∑∑
∑œ œ œ œ œ œ Jœ ‰ ‰
∑
∑∑∑
œ œ# œ œ# œ œ# .œn œ. œ œ#œ œ# œ œ# œ œ# .œn œ. œ œ#
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
jœ ‰ ‰ Œ jœœb>FŒ . Œ jœœ#n >F∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ# œ. œœ# . œn œ# œ. œœn# >œ œ# œ. œœn# .
œ œ# œ. œœ# >
œp œ# .cresc.
œ. œ. œ# . œ.Œ . œ.p œ# .
cresc.
œ# .∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
..œœ Œ .π
..œœ Œ .π∑∑
∑
∑∑
∑∑∑
∑∑∑
..˙
..˙˙
œ# . œ# œ œ# œ#œ œ# œ# œ
œ. œ# œ# œ# œ œ# œ#œ œ#
œ.pœ# œ# œ œ# œ# œ œ# œn
Œ Jœb .Pœ. œ œb
Œ Jœb .Pœ. œ œb
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
œfœ# œ# œ# œ œ Jœ#œF Jœ Jœ œœ#F Jœ# Jœ œn
œ#F Jœ Jœ œnœ#F Jœ Jœ œn
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
œ Jœb .œ œ œb œ
œb Jœ Jœ œ#œ Jœb Jœ œbœb jœb jœ œ#œb jœb jœ œ#
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
œ# œ œ. œ œ œ œ œb œ œ#œ
œ# jœn jœ œœ Jœ Jœ œ
œ Jœb Jœ œ
œ Jœb Jœ œ
58
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√ ◊
◊Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~
√
H
H
52 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œfœb œ œb œb œ .œn œb . œ œœ œb œ œb œb œ .œn œb . œ œ
.œ .œb
.˙
.˙
.˙#
.˙#
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑
OOOPoOOo∑œb œ œ œb œb œ œn œb œb œn œ œb
œb œ œ œb œb œ œn œb œb œn œ œbœFœ œb œ œ œb
œ# - jœ- jœ œ# -œ- jœ# - jœ œ-œ- Jœ# - Jœ œ-
œ- Jœ# - Jœ œ-
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑
œF œ œ œ œ œœb œ œ œ œ œ
œ. œ# . œ. œbFœ œn œ# œ œb
.œ ...œœœb
Jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .
Jœ ‰ ‰ Œ .
Jœ# ‰ ‰ Œ .
Jœ# ‰ ‰ Œ .
ppppp
œFœ# œ. œ œ# œ. œn œn œ.
œF
a2 œ# œ. œ œ# œ. œn œn œ.
œbFœ œ. œ œ œ. œ œ# œ.
œœbFœœ# œœ. œœ œœ# œœ. œœ œœn# œœn .
∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑Snare drum
∑
∑
œ œ œ œ œ œœb œ œ œ œ œ
.œ Œ œ œb?
...œœœnb Œ œfœb
.œ .œ
.œ .œ
.œ .œ
.œb .œb
.œb .œb
f
f
ff
f
ff
œ œ# œ. ‰ Œ .
œ œ# œ. ‰ Œ .œb œ œ. ‰ Œ .
œœb œœ# œœ. ‰ Œ .
∑
Œ . Œ1. œFœ#
∑
∑
∑
∑
Œ jœfl œbfl œfl ‰
Œ jœfl œflœbfl ‰
Œ jœœ#flœœ œœ ‰
Œ jœ#fl œflœfl ‰
Œ Jœœb˘ œœbb ˘ œœbb ˘ ‰
Œ Jœ œ œb˘ ‰
Œ jœfl œflœbfl ‰
Œ JœfŒ .
Œ Jœfœ œ ‰∑
∑Xylophone
.œ Œ .
.œb Œ .
.Œ . Œ œƒœ#
&
.˙∑∑∑∑∑
∑
∑∑
∑∑
œ œ# œ œfœn œ. œ œ
∑
Œ . .œ#ÍŒ .a2 .œ#ÍŒ . .œ#Í
∑
∑
∑∑
∑
∑Œ .
.œ#Í∑∑∑
Œ . œFœ œ. œ œ
∑∑
œœœœ#nb ˘ œœœœ#n ˘ œœœœ#b˘ .œ#n
dim.œœœœnn#b ˘ œœœœ œœœœb#n ˘ .œ#n
Œ . ‰pizz. œFœ
Œ . ‰pizz. œFœŒ . ‰pizz. œFœŒ . .œ#ÍŒ . .œ#Í
n
∑
∑∑
∑∑
œ. œ œ œ œ œb œb œ œ# œfl∑
.˙
.˙
.˙∑
∑
∑∑
∑
∑
.˙∑∑∑
œ. œ œ œ œ œb œb œ œ# œfl∑∑ &
.˙
.˙
Œ Jœ Jœ ‰arco ‰Œ jœ jœ ‰
arco ‰Œ jœ jœ ‰
arco ‰
.˙
.˙
∑œFœ œb œ œ œ .œ#
∑
∑∑
jœ#fl‰ ‰ Œ .
∑
.œ .œ#
.œ .œ#
.œ .œ#∑
∑
∑∑
∑
∑∑
∑∑∑
jœ#fl‰ ‰ Œ .
œfœ œb
œ œ œ
œb œ œ
œ œb œ∑
∑ &
∑∑
Œ . œbFœ œ œ œb œ
.œ .œ#
.œ .œ#
59
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
√ √
I
I
60 ∑
∑∑
∑∑
∑∑
.œ .œ
.œ .œ
.œ .œ
∑
∑
∑∑
∑
∑∑
∑∑∑
∑
.˙∑
œFœb œ œb œ œb œ œ œn œ œ# œœ œb œ œb œ œb œ œ œn œ œ# œ
∑‰ œ# .F œ. œ# .
cresc. poco a poco
œ œ#
.˙b
.œ .œ
.œ .œ
∑
∑∑
∑∑
∑∑
.œ# .œ
.œ# .œ
.œ# .œ
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ œ œ# œ œ#œ œb œn œb œn .
‰ œ œ# œ œ# œ œb œn œb œn .
‰ œ.F œ# . œ.cresc. poco a poco
œ# œ.œ .œ#œ- jœ- jœ œ-.œ# .œ.œ# .œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ œ# œ œ œ# œ œb œn œ œb .
‰ œ# œ œ œ# œ œb œn œ œb .
œ œ# œ œ œ œ
œ jœ jœ œœcresc. poco a pocoJœ Jœ œ#
œ#cresc. poco a poco
Jœ Jœ œœ#cresc. poco a pocoJœ Jœ œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ œ# œ œ# œ œb œ œb œn œ# œ
‰ œ# œ œ# œ œb œ œb œn œ# œ
œ# . œ# œ œ. œ œ œ. œ œn
œ. œ# œ œ. œ œ œ. œ# œœ Jœ# Jœ œœ# Jœ Jœ œ#œ# Jœ Jœ œ#
∑
∑∑
∑∑
∑∑
‰ œ#Fœ œ
cresc.
œ# œ.‰ œ#F
œ œcresc.
œ# œ.‰ œ#F
œ œcresc.
œ# œ.∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ œ# œ œ œ# œ œb œn œ œ# œ
œ# œ œ# œ œ œ# œ œb œn œ œ# œ
œ# œ œ# œ œ œ# œ œ œn œ œ œ
œ œ# œ œ œ# œ œb œ œ œn œ œœ. œ# œ œ# œ œ# .œ. œ# œ œ œ# œ.œ. œ# œ œ œ# œ.
∑
Œ . Œ jœ#F∑
Œ . .œp cresc.
∑
œFœ# œ œ# œ œ .œ#
n
cresc.
œF œ# œ œ# œœ .œ#
n
cresc.
œ# œ œ. œ# œ œ# .
œ# œ œ. œ# œ œ# .
œ# œ œ. œ# œ œ# .
∑
∑
∑∑
∑
∑∑
∑∑Snare drum
∑
∑∑∑
œcresc.
œ# œ œ# œ œ œœ##
œ
œœ
œ
œœ.
œ œ# œ œ# œ œ
œ œ# œ œ# œ œ .œ#
œ# œ œ# œ œ# œ .œ
œ œ œ# . œ œ# œ.
œ# œ œ. œ# œ œ# .
œ# œ œ. œ# œ œ# .
∑
œ Jœ# Jœœ#
Œ jœ#Fjœ œ#
.œ œb˘fœ œ
∑.˙
.˙
.œ œb˘ œ œ
.œ œb˘ œ œ
.œ œb˘ œ œ
∑
∑
∑∑
∑
∑∑
∑.œæp
œF
œ œ
∑
∑∑∑
œ# .locoœ. œ# œ œ œ œ. œ# .œ# . œ. œ# œ œ œ œ. œ# .?
.œ8:6
œn œ œb œ œb œ œ œb.œ œb˘ œ œ.œ œb˘ œ œ.œ œb˘ œ œ.œ œb˘ œ œ
60
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
~~~~~~~~~
~~~~~~~~~
J
J
fffff
67 ∑œ
fœ œ. œb œb
cresc.
œn . œ œ œ.œfœ œ œ# œ# œn .
cresc.
œ œ œ.
œ#cresc.
œ# œ. œ œ œ œ œ.
‰ ‰ œf œ œ œb cresc.
œb .œ œn
fœ œ# œ#
cresc.
œ.
œ œfœ œ œ
cresc.
œ.œ#fœ œ. œ œ
cresc.
œb .œ#fœ œ. œ œ
cresc.
œb .œ#fœ œ. œ œ
cresc.
œb .
∑
∑
∑∑
∑
∑∑
∑œcresc.
œ œ œ œ œ œ œ œ
∑Bass drum
œFœ œ. œb
cresc.
œb œ. œ œ œ.∑∑
œ# . œ# œ œ œ œ. œ# . œ.?
œ# . œ# œ œ œ œ. œ# . œ.œ œ œ. œb œb œ. œ œ œ.œ# œ# œ. œ œ œ œ# œ# .œb œ œ. œ œb œn .œ# œ œ. œ œ œb .œ# œ. œ. œ œ œb .
∑
œn œ œb . œ œ œ. œ# œ# œ# .
œn œ œb . œ œ œ. œ# œ# œ# .
œ œ œ# . œ œ œ. œ# œ# œ# .
œb œ œ. œ œb œb . œb œ œ.
œ# œ# œ# . œ œ œ. œ œ œ# .
œ# œ# œ# . œ œ œ. œ œ œ# .
œ. œ œ# œ# . œ# œ œ. œ.œ. œ œ# œ# . œ# œ œ. œ.œ. œ œ# œ# . œ# œ œ. œ.
œbFa2
œ œ.cresc.
œ œ# œ# . œb œ œ.
œbFa2
œ œ.cresc.
œ œ# œ# . œb œ œ.œ#a2
Fœ# œ# .
cresc.
œ œ œ. œ œ œ# .
œ#a2
Fœ# œ# .
cresc.
œ œ œ. œ œ œ# .œ.Fœcresc.
œb œb . œ# œb œb . œ.œ.Fœcresc.
œb œb . œ# œb œb . œ.
œ.F œcresc.
œb œb . œ# œb œb . œ.∑
œ œ œ œ œ œ œ œ œ
.˙Fœ# œ# œ# . œ œ œ. œ# œ# œ# .
∑∑
jœ#fl‰ ‰ Œ .
jœ#fl‰ ‰ Œ .
œ# œ# œ# . œ œ œ. œ# œ# œ# .
œ œ œ# . œ# œ# œ. œ œ œ# .
œb œ œ. œ œ# œ# . œb œ œ.
œ. œ œb œb . œb œ œ. œ.œ. œ œb œb . œb œ œ. œ.
Œ . ‰ œfœ# œ# .cresc.
œn œn œn . œn œ# œ# . œ œ œ.œ œ œ œœn œn œn . œn œ# œ# . œ œ œ.œn œn œn . œn œ# œ# . œ œ œ.œ# œ# œ. œ œ œ. œ# œ# œ.œ œn œ# . œ# œ œ. œ œ œ.œ œn œ# . œ# œ œ. œ œ œ.œ# œ œ œ œ œ œ œ#
œ# . œ œ œ. œ œ œ. œ#
œ# œ œ œ œ œ œ œ#
œ# œ# œn . œ œ œ. œ# œ# œ.œ# œ# œn . œ œ œ. œ# œ# œ.œ œ œ# . œ# œ œ. œ œ œ.œ œ œ# . œ# œ œ. œ œ œ.œ# . œn œn œ. œ œ œ. œ#
œ# . œn œn œ. œ œ œ. œ#
œ# . œn œn œ. œ œ œ. œ#∑
œ œ œ œ œ œ œ œ œ
.œcresc.
.œœ œ œ. œ œ# œ# . œ œ œ.
∑∑
∑
∑
œ œn œ. œ œ# œ# . œdiv. œœ œœ.œ œn œ# . œ# œ œ. œ
div.œœ œœ# .œ# œ# œn . œ œ œ. œ# œ# œ.œ# . œ œ œ. œ œ œ. œ# .œ# . œ œ œ. œ œ œ. œ# .
œ œ# œ. œ œ# œ. œ œ# œ.
œœ œœ## œœ. œœ œœ## œœ
. œœ œœ## œœ.
œ œ# œ. œ œ# œ. œ œ# œ.
œ œ# œ. œ œ# œ. œ œ# œ.
œ œ# œ. œ œ# œ. œ œ# œ.œœ## œœ œœ## .
œœ œœ œœ. œœ œœ## œœ
.
œ# œ œ# . œ œ œ. œ œ# œ.
œ œ# œ œ œ œ# œ œ œ#
œ œ# œ. œ œ œ# . œ œ œ# .
œ œ# œ œ œ œ# œ œ œ#
œ œ# œ. œ œ# œ. œ œ# œ.
œ œ# œ. œ œ# œ. œ œ# œ.œœ# œœ œœ## .
œœ œœ œœ. œœ œœ## œœ
.
œ œ œ# . œ œ œ. œ œ# œ.
œ œ# œ. œ œ œ# . œ œ œ# .œ œ# œ. œ œ œ# . œ œ œ# .
œ œ# œ. œ œ œ# . œ œ œ# .∑
œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ# œ. œ œ# œ. œ œ# œ.∑∑
∑
∑
œœ œœ## œœ. œœ. œœ## œœ
. œœ œœ## œœ.
œœ## œœ œœ## .œœ.œœ œœ. œœ œœ## œœ
.
œ œ# œ. œ. œ# œ. œ œ# œ.œ œ# œ. œ. œ œ# . œ œ œ# .œ œ# œ. œ. œ œ# . œ œ œ# .
œ œ œ. œ œ œ œ# œ. œ œ#
œœ œœ œœ. œœ œœ œœ œœ## œœ
. œœ œœ##
œ œ œ. œ œ œ œ# œ. œ œ#
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œ œ œ. œ œ œ œ# œ. œ œ#œœbb œœ œœ. œœ œœ œœbb œœnn œœ
. œœbb œœbbœb œ œ. œ œ œb œn œ. œb œb
œ œ# œ œ œ œ# œn œ# œ œbœ œ# œ. œ œ œ# œn œ# . œ œb
œ œ# œ œ œ œ# œn œ# œ œb
œ œ œ. œ œ œ œ# œ. œ œ#
œ œ œ. œ œ œ œ# œ. œ œ#œœbb œœ œœ. œœ œœ œœbb œœnn œœ
. œœbb œœbb
œb œ œ. œ œ œb œn œ. œb œbœ œ# œ. œ œ œb œ œ. œ œb
œ œ# œ. œ œ œb œ œ. œn œb
œ œ# œ. œ œ œb œ œ. œn œb.æp
œ œ œ œ œ œ œ œ œ œ œ œ
œ jœ œ œ œ
œ œ œ. œ œ œ œ# œ. œ œ#
∑∑
∑ &
∑ &
œœ œœ œœ. œœ œœ œœ œœ## œœ
. œœ œœ##
œœbb œœ œœ. œœ œœ œœbb œœnn œœ
. œœbb œœbb
œ œ œ. œ œ œ œ# œ. œ œ#œ œ# œ. œ œ œb œ œ. œ œb
œ œ# œ. œ œ œb œ œ. œ œb
K
K
ƒ
ƒƒƒƒ
ppppp
Jœƒ ‰ ‰ Œ
.
Jœœ˘
ƒ ‰ ‰ Œ.
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .jœflƒ‰ ‰ Œ .
Jœœ˘ƒ‰ ‰ Œ .
Jœƒ ‰ ‰ Œ.
jœflƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .jœflƒ‰ ‰ Œ .
jœflƒ‰ ‰ Œ .
jœflƒ‰ ‰ Œ .
Jœœƒ‰ ‰ Œ .jœflƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .jœflƒ‰ ‰ Œ .
jœflƒ‰ ‰ Œ .
jœf‰ ‰ Œ .
Jœf‰ ‰ Œ .jœf‰ ‰ Œ .
Jœƒ ‰ ‰ Œ.
∑∑
‰œ
F
œ œ œ œ. œ. œ.
‰ œ œ œ œ œ. œ. œ.
Jœœ ‰ ‰ Jœb œb
Jœœ ‰ ‰ jœ œb
Jœ ‰ ‰ Jœb œ
Jœ ‰ ‰ Jœb œbjœ ‰ ‰ jœ œb
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ# œ# . œ œ œ# œ# œ œn œ œ
.œ# œ# . œ œ œ# œ# œ œn œ œœ Jœb Jœ œ
œ jœ jœ œœb Jœ Jœ œœ Jœb Jœ œn
œ jœb jœ œn
61
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
74 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
jœ#œ# œ œ œ œ. œ# . œ.
jœ#œ# œ œ œ œ. œ# . œ.
œ# Jœ Jœ œ
œ# jœ jœ œœ Jœ# œ œ# . œ.œ# Jœ œ œ. œ# .
œ# jœ œ œ. œ# .
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ# œ. œn œ œ. œn œ œ.
œ# œ# œ. œn œ œ. œn œ œ.
œ Jœ Jœ œ
œ# jœn jœ œœ# Jœ Jœ œœ# Jœ Jœ œ
œ# Jœ Jœ œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ œ œ œ œb œ# œ œ# œ œn œ
œb œ œ œ œ œb œ# œ œ# œ œn œ
œ# Jœ# Jœ œ
œ# jœ# jœ œœ jœb jœ œœ Jœ Jœ œ#
œ Jœ Jœ œ#
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ# œ# œ œ# œ œ œ
.œ# œ# œ œ# œ œ œ
œ œ œ œb jœœ œ œn œ# jœœ œ œ œb Jœœ œ œ œ# jœœ œ œn œ# jœ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ# œ œn œb œ œ œ
.œ# œ œn œb œ œ œ
jœ œb œ œ œ
jœ œ œ œb œ
Jœ œ œ# œ œjœ œ œb jœjœ œ œb jœ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ œ œb œ œ œ#> œ œ# œ# œ œn
œ# œ œ œb œ œ œ#> œ œ# œ# œ œn
œ# œ œ œb Jœ
œ œb œb œ Jœbœ œb œ- œ# Jœœ- œ œ# œ# jœnœ- œ œ# œ# jœn
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ# ≈ œ#> œ œ œ ≈ œ
> œ œ œ
œ# œ# ≈ œ#> œ œ œ ≈ œ> œ œ œœb Jœb Jœ œbœb Jœ Jœ œbœb jœ jœ œœ jœ jœ œb
œ jœ jœ œb
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ œb> œ œ œ# œ œ œ œ# œ œ#
‰ œb> œ œ œ# œ œ œ œ# œ œ#
œ Jœ œ œbœ
œ Jœb œ œ# œ
œb Jœ# Jœ œœ Jœ Jœ œb
œ Jœ# Jœ œ#
62
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√)
L
L
82 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ. ‰ œœbbloco
FJœœ œœbb
œ. ‰ œœ Jœœœœbb?
œ#fœ œ œ œ œ. œ œ
œ#fœ œ œ œ œ. œ œœ Jœb Jœ œœ Jœb Jœ œb
œ jœ jœ œb
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœn Jœœb Jœœ œœœœb Jœœb Jœœ œœnn.œb œb œ œ œb œb œ œ œn œ.œb œb œ œ œb œb œ œ œn œœb Jœ Jœ œnœ Jœb Jœ œ
œ jœb jœ œ
∑
∑∑
‰a2 œFœ œ œ œ œ# œ#
∑
‰ œœFœœ œœ œœ œœ œœ## œœ##
∑
∑
∑
∑
∑
∑
∑∑
∑
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∑∑∑
∑∑∑
œ# . œ. œ> œ œ# œ œ œ# œ
œ# . œ. œ> œ œ# œ œ œ# œ &
œ# Jœ Jœ œ#œ# jœ jœ œ#œ Jœ# Jœ œ#œ# Jœ# Jœ œ
œ# jœ# jœ œ#
∑
∑∑
œ œ œ.œ œ# œ# .
œ œ œ.∑
œœ œœ œœ. œœ œœ## œœ## .
œœ œœ œœ.
∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑Glockenspiel
∑∑
œ œ œ œ. œ œ œ. œ œ
œ œ œ œ. œ œ œ. œ œ
œ jœ# jœ œ
œ jœ jœ œœ Jœ# Jœ œœ Jœ Jœ œ
œ Jœ Jœ œ
∑
œœFœœ œœ œœbb
œœ œœ œœ œœ## œœœœbb œœ œœ
∑
œ œ œ œb œ œ œ œ# œ œb œ œ∑
Jœœnn . ‰ ‰ Œ .
∑
∑
∑
∑
∑
∑
∑∑
∑ B
∑∑
∑∑∑
œF
Jœb Jœ œ∑∑
œ œ œ œ œb œb œb œb œn œ# œb œn
œ œ œ œ œb œb œb œb œn œ# œb œn
jœ. ‰ ‰ ‰pizz. œFœ#
jœ. ‰ ‰ ‰pizz.
œF œ#jœ. ‰ ‰ ‰pizz. œ
F œbJœ. ‰ ‰ ‰pizz. œF œbjœ. ‰ ‰ ‰pizz. œF œb
∑
œœ. œœbb . œœ. œœ.œœbb . œœ.
∑
œ. œ. œb . œ. œb . œ.
∑
∑∑
∑
∑
∑
∑
∑
∑∑
Œ . Œ JœœbbÍ
Œ . Œ jœbÍŒ . Œ jœbÍŒ . Œ jœb æ
귷
.˙∑∑
œ œb œ# œ œn œb œn œ œ# œ œb˘
œ œb œ# œ œn œb œn œ œ# œ œbflœ œ# œn jœ ‰ ‰arco
œ œ# œn jœ ‰ ‰arco
œ œ# œn jœ ‰ ‰arco
œ œ# œn jœ ‰ ‰arco
œ œ# œn jœ ‰ ‰arco
∑
jœœ## . ‰ ‰ Œ .∑
Jœ. ‰ ‰ Œ .
∑
Œ . œœFœœ œœ## œœ œœ## œœ
∑
∑
∑
∑
∑
∑
∑∑
..œœ Jœœf‰ ‰ ?
.œ jœf‰ ‰
.œ jœf‰ ‰
.œæ jœæF‰ ‰
∑∑
∑∑∑
∑
∑
œFœb œ. œ Jœb .
œbFœ œb . œ Jœb .
œbFœ œ œb œ œb œ
jœ.œF œ œ#
œ œ# œ œb jœ.
œFœ œ# œ œ# œ œb jœ.
63
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
89 ∑
∑∑
∑∑
Jœœ## .f‰ ‰ Œ .
∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œfœn œb œ œn> œ œb œ> œb œb œb> œb
œœœbbb fl œœœnfl œœœbb fl?
Jœ. ‰ ‰ Œ .jœb . ‰ ‰ Œ .
Jœ# . ‰ ‰ Œ .jœ# . ‰ ‰ Œ .jœ# . ‰ ‰ Œ .
M
M
œ>fœb œb . œ#> œn œn . œ> œ œ.
œ>f
a2 œb œb . œ#> œn œn . œ> œ œ.
œ>fœb œb . œ#> œn
œn . œ> œ œ.
Œ . Œa2 œb>fœb
Œ . Œ œb>f œ
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
jœ. ‰F‰cresc.
Œ Jœ#
‰ œ œ œ# œ# œ œ œ# œ# œ œ
œFœb œ. œ Jœb .
œbFœ œb . œ Jœb .
∑∑∑
fffff
∑
∑∑
œ. œ> œ œ. œ
> œ œ. œ# .
œ.œ> œ œ.
œ> œ œ. œ.
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œnfœ œb œ œb œ œn . œœ. œœœn˘
œ. œb . œn . œjœœfl
œ œb œ œ œb œ œb . ‰ œ#˘
œ œb œ œb œ œ œb . ‰ œflŒ . Œ jœflŒ . Œ jœflŒ . Œ jœfl
∑
∑∑
∑∑
∑∑
∑
∑
∑
.˙a2
p.˙a2
p∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ Jœœœbb˘ ‰ œœœnn ˘ ‰ œœœb˘
‰ jœœbbfl‰ œœfl‰ œœbbfl
‰ Jœ ‰ œ ‰ œb˘
‰ jœfl ‰ œfl ‰ œfl‰ Jœ#˘ ‰ œ ‰ œb˘
‰ Jœb˘ ‰ œ ‰ œ
‰ jœbfl ‰ œfl ‰ œ#fl
∑
∑∑
∑∑
∑∑
∑
∑
∑jœœ## flF‰ ‰ Œ .
jœœflF‰ ‰ Œ .
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ œ# œ œ œ œ. œ. œ.
..œœœ# . œ. œ.
Jœ#˘ ‰ ‰ Œ .jœfl ‰ ‰ Œ .
Jœb˘ ‰ ‰ Œ .œ œ œ#>Pœ œ# œ
œ œ œ#>Pœ œ# œ
∑
∑∑
∑∑
∑∑
∑
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œ œb œ œ œb œb œ# œœ œb œ œ œb œb œ# œ
.œP.œ
.œ#P.œ#
.œP
.œ#
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.œ .œ#
∑
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∑∑∑
4:3
œ œ œ œ4:3
œ# œ œ# œ
4:3
œ œ œ œ4:3
œ# œ œ# œ&
.œ .œ#
.œ .œ
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∑∑∑
∑∑∑
œ œb œ# œ œn œb .œn
œ œb œ# œ œn œb .œn ?
œ œ œ œ œ# œ œ œ# œ
œ# œ# œ œ œb œ œ œn œœ# œ# œn .œœb œ œb .œœb œ œb .œ
64
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&?
&&B??
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
97 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœbb Jœœbb
4:3
œœ œœ## œœœœ
....œœœœbb ...œœœbn
4
œb œ œb œb 4œ œb œ ‰
.œ .œ
4
œ œb œb œ .œb
.œ .œ
.œ .œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœ## Jœœ##
4:3
œœ œœnnœœ œœ##
...œœœ## ....œœœœn#
4œ# œn œ# ‰ .œn.œ# .œ#
4œ œ# œ# ‰ .œ
.œ# .œ
.œ# .œ
N
N
∑
‰œœFœœ## œœ. œœ. œœ œœ œœ.
‰ œF œ# œ. œ.
œ œ œ.‰ œF œ# œ. œ.
œ œ œ.∑
∑∑
∑
œ.Fa2 œ. œ. œ. œ. œ.
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœ Jœœ Jœœ œœ
œ œ œ œ œ œ
œ# . œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.œ# . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.
∑œœ. œœ œœ## œœ.
œœ œœ œœ##
œ. œ œ# œ. œ œ œ#
œ. œ œ# œ. œ œ œ#
∑
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∑
œ. œ. œ. œ. œ. œ.∑
∑
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∑∑
∑
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∑∑∑
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‰ œ# .locoœ. œ. œ. œ# . œ. œ. œ. œ œ#
œ œ œ œ œ œœ. œ# . œ. œ# . œ. œ.
œ. œ. œ. œ# . œ. œ.œ# . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.
∑..˙nn Œ .
n
.˙n Œ .n
.˙n Œ .n
∑
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∑
œ. œ. œ. œ. œ. œ. œ. œ. œb .∑
∑
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∑
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∑∑∑
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‰ œ œ œb œ œ œ œ œb œ œ œ œ# œ œ# œn œ
..˙‰ œ œ œb œ œ œ œ œb œ œ œ œ# œ œ#
œn œ
œ. œ. œ. œ Jœb œœdiv. œœ œœbb .
œ. œ. œ. œb jœ œ œb œ.œ. œ. œ. œb jœb œn œb œ.
œ. œ. œ. œ. œ. œ. œ œ œb .œ. œ. œ. œ. œ. œ. œ œ œb .
∑
∑∑
∑∑
∑∑
∑
œ. œ. œ. œ. œ. œ.∑
∑
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œ# œ œ# . œ. œ œ œ. œ.œ# œ œ# . œ. œ œ œ. œ.
œœnn Jœœ## Jœœ œœ##
œœndiv. jœœ# jœœ œœœ# . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.
∑
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∑
œb . œ. œ. œ. œ. œ.
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ œ# . œ. œ œ œ. œ.œ# œ œ# . œ. œ œ œ. œ.
&
œœ## . œœ. œœ. œœ. œœ. œœ.
œœb . œœ. œœ. œœ. œœ. œœ.œ# . œ. œ. œ. œ. œ.œb . œ. œ. œ. œ. œ.œb . œ. œ. œ. œ. œ.
∑
∑∑
∑∑
∑∑
∑
œn . œ. œ. œ# . œ. œ.
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ œ# œ œ# œ# œ œ œ œ œ œb
œ œ œ# œ œ# œ# œ œ œ œ œ œb
œœ. œœ. œœ. œœbb . œœ. œœ.
œœ# . œœ. œœ. œœ. œœ# . œœ.œ# . œ. œn . œ. œb . œ.œn . œ. œ. œ# . œ. œ.
œn . œ. œ. œ# . œ. œ.
65
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&
&
&&B??
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
105 ∑
œFœ œ# . œ. œ œ œ. œ.
œFœ œ# . œ. œ œ œ. œ.
∑∑
∑∑
∑œ- ‰ œ- jœ œ#
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œb œ œ œ œ# œ# œ œ œ œ œ
œ œb œ œ œ œ# œ# œ œ œ œ œ
œœ œœ œœ## . œœ.cresc.
œœ œœ œœ. œœ.
œ.unis. œ œ# œ
cresc.
œ œ. œ œ œ œœ. œ œb œ
cresc.
œ œ. œ œ œ œœ. jœ-
cresc.
jœ œ#œ. jœ-
cresc.
jœ œ#
∑œb œ œ. œ. œ œ œ. œ.
œb œ œ. œ. œ œ œ. œ.œbFœ œ. œ. œ œ œ. œ.œbFœ œ. œ. œ œ œ. œ.
∑∑
∑
œ- ‰ œb - jœ œ∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ œb œ ≈ œ œ œ œ ≈ œ œ
œb œ œb œ ≈ œ œ œ œ ≈ œ œ
œœbb œœ œœ. œœ.œœ œœ œœ. œœ.
œ# . œ œ œ œ œ. œ œ œ œœ# . œ œ# œ œ œ. œ œ œ œœn . jœb jœ œœn . jœb jœ œ
∑œb œ œb . œb œ œ. œn œb œ.
œb œ œb . œb œ œ. œn œb œ.
œb œ œb . œb œ œ. œn œb œ.
œb œ œb . œb œ œ. œn œb œ.
œœFœœ## œœ.
œœ œœ œœ.œœbb œœ œœ.
œF œ# œ.
œ œ œ. œb œ œ.œF‰ œb - œ œ œ
œF‰ œb - œ œ œ
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ ≈ œb œ œ œ œb œn œb œ œn
œb œ ≈ œb œ œ œ œb œn œb œ œn
œœbb œœ œœbb .œœbb œœ œœ. œœnn œœbb œœ.
œ œ# œ. œ œ œ. œb œ œ.œ œ# œ# . œ# œ œ. œ œ œ.
œ. jœ# œ œ œ
œ. jœ# œ œ œ
∑
Jœ ‰ ‰ Œ Œ
Jœ ‰ ‰ Œ Œ
Jœ ‰ ‰ Œ Œ
Jœ ‰ ‰ Œ Œ
Jœœ## ‰ ‰ Œ Œjœ# ‰ ‰ Œ Œ
Jœb ‰ ‰ Œ Œ
Jœb ‰ ‰ Œ Œ
∑
œœbb .fœœ œœ œœ. œœ œœ ≈ œœ ≈ œœ œœ.
œœb .f œœ œœ œœ. œœ œœ≈ œœ ≈ œœ œœ.
œœbb .fœœ œœ œœ. œœ œœ ≈ œœ ≈ œœ œœ.œb .f œ œ œ. œ œ
≈ œ ≈ œ œ.œ.f
a2 œ œ œ. œ œ ≈ œ ≈ œ œ.
∑∑
∑∑∑
∑∑∑
œb œ œ œ œ# œ# œ œ# œ œ œb œ œ#œ#
œb œ œ œ œ# œ# œ œ# œ œ œb œ œ#œ#
œœ. œœ œœbb œœ œœbb œœ œœbb
œb . œ œ œb œ œb œœb . œ œb œ œb œ œœ# . œ œ œ# œ œ# œ
œ# . œ œ œ# œ œ# œ
O
O
∑
∑∑
∑∑
œa2
Fœ# œ# œ œ œ œn œb œ œb œ œb
œF œ#œ# œ œ œ œn œb œ œb œ œb∑
∑
∑jœœb . ‰ jœœP
..œœjœœbn .‰ jœœP
..œœjœœb . ‰ jœœP
..œœjœb . ‰ jœ
P.œ
Jœn . ‰ JœP.œ
Œ jœbP.œ
∑
.˙b æπ
∑Sus. cymbal
.æπ∑Xylophone
∑∑...˙˙˙bb
.˙ƒ
œœ. œœ œœ œœ. œœ. œœ œœ œœ.
œ. œ œ œ. œ. œ œ œ.œb . œ œ œ. œ. œ œ œ.œb . œ œ œ. œ. œ œ œ.
Jœb . ‰ ‰ Jœ. ‰ ‰
∑
œ# a2
fœ œ# . œ œ# œ# . œ œ#
œ.
œ#fœ œ# . œ œ# œ# . œ œ#
œ.
œ#fœ œ# . œ œ# œ# . œ œ#
œ.
œ#fœ œ# . œ œ# œ# . œ
œ# œ.
Jœb f‰ ‰ Œ .
jœb f‰ ‰ Œ .
œ#f œœ# . œ œ# œ#
. œ œ# œ.
œ#fœ œ# . œ œ# œ#
. œ œ# œ.
∑jœœbflf‰ ‰ Œ .
jœœbflf‰ ‰ Œ .
jœœbflf‰ ‰ Œ .
jœbflf‰ ‰ Œ .
Jœf‰ ‰ Œ .
jœbflf‰ ‰ Œ .∑
.˙bf.˙f.˙fŒ . œ#F œ œ# œ
∑∑...˙˙˙bb
.˙
Jœœ.f‰ ‰ Œ .
jœ.f‰ ‰ Œ .
Jœb .f ‰ ‰ Œ .Jœb .f ‰ ‰ Œ .Jœb .f ‰ ‰ Œ . dim.
∑
Jœ#.‰ ‰ Œ .
Jœ#.‰ ‰ Œ .
Jœ#.‰ ‰ Œ .
Jœ# . ‰ ‰ Œ .
œ#fœ œ# . œ#
dim.
œ# œ. œn œ œ œœ#f œœ# . œ#
dim.
œ# œ. œn œ œ œJœ# . ‰ ‰ Œ .
Jœ# . ‰ ‰ Œ .
Œ . .œ#p∑
∑
∑∑
∑
∑Œ . .œ#p
∑∑∑
œ# œ œ# œ# œ# Jœ ‰ ‰∑∑...˙˙˙bb
.˙
œ#fœdim.
œ# œ# œ# œ œn œ œ œ
œ#fœdim.
œ# œ# œ# œ œn œ œ œœ#fœndim.
œ# œn jœŒ . .œ
FŒ . .œ#F
66
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√)
112 ∑
∑∑
∑∑
œ# œ# œ œ# œ œn œ# œ œ# œ œ œ#œ# œ# œ œ# œ œn œ# œ œ# œ œ œ#
∑
Œ . .œ2. p
jœcresc. poco a poco
œ œ Jœ
∑
∑
∑∑
∑
Œ . .œpjœ œ
cresc. poco a poco
œ jœ
∑∑∑
∑∑∑...˙˙˙bb
.˙
œ# œ# œ œb œ œ œ œb œ œb œ œbœ# œ# œ œ# œ œn œ# œ œ# œ œ œ#jœ œ# .œ.œ .œpjœ
cresc. poco a poco
œ œ Jœ
ππ
∑
≈ œFœ œ œ œ œ œ œ œ œ œ
≈ œFœ œ œ œ œ œ œ œ œ œ
≈ œFœ œ œ œ œ œ œ œ œ œ
≈ œF œœ œ œ œ œ œ œ œ œ
.œ œ ‰π
.œ œ ‰π
∑
.œ1. p jœcresc. poco a pocoœJœ œcresc. poco a poco
œ Jœ.œ .œ
∑
∑
∑∑
.œp Jœ
cresc. poco a poco
œjœ œ
cresc. poco a poco
œ jœ
.œ .œ
∑∑∑
≈ œFœ œ œ œ œ œ œ œ œ œ
∑∑...˙˙˙bb
.˙
.˙n
.˙
.œpjœ
cresc. poco a poco
œjœ
cresc. poco a poco
œ œ jœ.œ .œ
‰œfœ œb
dim.
œ œb œ œ œb œ œb
œfœ œ œb
dim.
œ œb œ œ œb œ œbœfœ œ œb
dim.
œ œb œ œ œb œ œb
Jœf‰ ‰ Œ .
Jœf‰ ‰ Œ .
∑
.œpjœ
cresc. poco a pocoœ
∑
œ jœ .œ.œ .œ
Jœ œ œ Jœb
∑
∑
∑
.œFjœ
cresc. poco a poco
œœ Jœ .œ
.œ .œjœ œ œ jœ#
∑∑∑
Jœ.‰ ‰ Œ .
∑∑...˙˙˙bb
dim..˙
∑
.œpjœ œ
cresc. poco a poco
œ jœ .œ.œ .œ
Jœ œ œ Jœ#
œ œb œ œ œb œ œb œ œ œb œ œb
œ œb œ œ œb œ œb œ œ œb œ œbœ œb œ œ œb œ œb ‰ œ œb
∑∑
.œa2
pjœ
cresc. poco a poco
œ
œ jœ .œ∑
.œ jœ œbJœ œb œ Jœ
.œ .œb
∑
∑
.œa2
Fjœ
cresc. poco a poco
œ
œ jœ .œ.œ Jœ œ#
Jœ œ# œ Jœ
.œ .œ#
∑∑∑
∑∑∑...˙˙˙bb
.˙
.œpjœ
cresc. poco a poco
œ
œ jœ .œ.œ jœ œ#Jœ œ# œ Jœ.œ .œ#
jœ.p‰ ‰ Œ .
œ œb œ œ œb œ jœb .p‰ ‰
œ œb œ œ œb œ jœb .p‰ ‰
∑∑
œ jœ .œ
.œ jœ œb
.œp .œ#cresc. poco a poco
œ jœb .œ.œ .œ#.œn .œ#
∑
∑
œ jœ .œ
.œ jœ œ#œ Jœ# .œ
.œ .œ#
.œ .œ#
∑∑∑
∑∑∑...˙˙˙bb
n.˙
œ jœ .œ
.œ jœ œ#œ jœ# .œ.œ .œ#.œ .œ#
P
P
∑
∑∑
∑
.œp .œ#
.œ# jœ œ#
œ jœ .œ.œ .œ..œœn# ..œœ#
.œ .œ
∑
∑
.œ# jœ œ#
œ jœ .œ.œ .œ#
.œ# .œ
.œ .œ
∑∑∑
∑∑∑
∑
∑
.œ# jœ œ#
œ jœ .œ.œ .œ#.œ# .œ.œ .œ
∑
∑∑
∑
.œcresc. poco a poco
.œ
œ Jœ .œ
.œ# .œ#
.œ2
œ œ#..œœ ..œœ B
2
œ œ2
œ œ#
∑
∑
œ Jœ .œ
.œ# .œ#
.œ .œ
.œ .œ2œ œ
2œ œ#
∑∑∑
∑∑∑
∑
∑
œ Jœ .œ
.œ# .œ#
.œ .œ
.œ .œ
2
œ œ2
œ œ#
∑
∑∑
∑
.œ .œ
.œ# Jœ œ
.œ .œ
2
œb œn2
œ# œ
.œ .œ2
œ œb2
œ œ#
2
œ# œ2
œ# œ
∑
∑.œ# Jœ œ
.œ# Jœ œ
.œ .œ
2
œ œ#2
œ œ#
2
œ# œ2
œ# œ
∑∑∑
∑∑∑
∑
∑
.œ# Jœ œ
.œ .œ
.œ .œ
2
œ œ#2
œ œ#
2
œ# œ2
œ# œ
∑
∑∑
∑
.œb 2œb œnœ Jœ .œ
.œ .œ
2
œ œ œ œ œb.œb 2œb œn
2
œ œ2
œ œ?
2
œ œ œ œ œ#
∑
Œ . 2
œ#F œœ Jœ .œ
œ Jœ .œ.œ#
2
œ# œ
2
œœ
2
œ œ2œ œ œ œ œ#
∑∑∑
∑∑∑
∑
∑
œ Jœ .œ
.œ .œ
.œ#2
œ# œ
2
œ œ2
œ œ
2
œ œ œ œ œ# .
∑
∑∑
∑2
œ# œ2
œ œ.œ .œ
.œ# .œœb œn œ# œ œ œ
2
œœ## œœ2
œœ# œœ#
œ# œ œ# œ œ œ
∑2
œ#cresc. poco a poco
œ2
œ œ.œ .œ.œ .œ
2
œ# œ2
œ œ
2
œ# œ2
œ# œ#
œ# œ œ# œ œ œ
∑∑∑
∑∑∑
∑
∑
.œ .œ
.œ# .œ
2
œ# œ2
œ œ
2
œ# œ2
œ# œ#
œ# œ œ# . œ œ œ.
67
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&&
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
122 ∑
∑∑
∑2
œ œ2
œ œb2
œ# œ#2
œ œ#2
œ œ2œ œ#œ
œ œ# œ œ# œœœn œœ œœ## œœ œœ## œœœœ œ# œ œ# œ2
œF œ2œ
cresc. poco a poco
œ#2
œ œ2
œ# œ#2
œ# œ#2
œ œ#2
œ œ2œ œ#
2
œ œ2
œ# œ#œœ œ# œ œ# œœœ œ# œ œ# œ∑∑∑
∑∑∑
∑
∑
2
œ# œ#2
œ œ#
2
œ œ2
œ œ#
2
œ œ2
œ# œ#&œn
œ œ# œ œ# œ.œnœ œ# œ œ# œ.
∑
2
œa2
Fœ
2
œ œ
2
œFœ
2
œ œ
2
œa2
F œ2
œ œ2œ œ#
2
œ# œ
2
œ œ2
œ œ2œ œ#
2
œ# œ
œ œ# œ œ œ œœœ œœ## œœ
œœ œœ œœ
œ œ# œ œ œ œ2œ œ#
2
œ# œ2
œ œ#2
œ œ
2
œ œ2
œ œ2œ œ#
2
œ# œ
2
œ œ#2
œ œ
œ œ# œ œ œ œ
œ œ# œ œ œ œ
∑∑∑
∑∑∑
∑
∑
2
œ œ2
œ œ
2
œ œ#2
œ# œ
2
œ œ#2
œ œ
œ œ# œ. œ. œ œ
œ œ# œ. œ. œ œ
∑
œ#cresc. poco a poco
œ# œ. œ# œ œ.
œ#cresc. poco a poco
œ# œ. œ# œ œ.
œ#cresc. poco a poco
œ# œ. œ# œ œ.
œ œ œ. œb œ œ# .œ# œ# œ. œ# œ œ.
œ œ œ. œ# œ œ# .œ œ œ# . œ# œ œ# .œœ œ œ#.œ# œ œ#.
œ œ œ# . œ# œ œ# .
œ œ œ. œb œ œ# .œ œ œ. œb œ œ# .œ# œ# œ. œ# œ œ.
œ œ œ. œ# œ œ# .œ œ œ. œ# œ œb .
œ œ œ# . œ# œ œ# .
œ œ œ# . œ# œ œ# .
∑∑Sus. cymbal
(soft mallets)
∑
∑∑∑
∑
∑
œ# œ# œ. œ# œ œ.
œ œ œ. œ# œ œ# .œ œ œ. œ# œ œ# .œ. œ œ# œ# œ œ# .
œ. œ œ# œ# œ œ# .
cresc.
cresc.
œfœ œ# .
cresc.
œ# œ œ# .
œ œ œ# . œ# œ œ# .
œ œ œ# . œ# œ œ# .
œ œ œ# . œ# œ œ# .
œ# œ œ. œ œ œb .
œ œ œ# . œ# œ œ# .
œ# œ œ. œ œ œ# .œ œ œ. œ œ œ# .
œa2 œ œ. œ œ œ# .
œ œ œ. œ œ œ# .
œ# œ œ. œ œ œb .
œ# œ œ. œ œ œb .
œ œ œ# . œ# œ œ# .
œ# œ œ. œ œ œb .
œb œ œ. œ œ œ# .œ œ œ. œ œ œ# .
œ œ œ. œ œ œ# .
.æp.æp
∑
∑∑∑
∑
∑
œ œ œ# . œ# œ œ# .
œ# œ œ. œ œ œ# .
œ# œn œ. œ œ œ# . Bœ œ œ. œ œ œ# .œ œ œ. œ œ œ# .
4
œ œ œ œ4
œ# œ# œ œ#
4
œ œ œ œ4
œ# œ# œ œ#
4
œ œ œ œ4
œ# œ# œ œ#
4
œ œ œ œ4
œ# œ# œ œ#
4
œ œ# œ# œ4
œ œ œ œb
4
œ œ œ œ4
œ# œ# œ œ#
4
œ œ# œ# œ4
œ œ œ œ#
4
œ œb œb œ4
œ œ œ œ#
4
œ œb œb œ4
œ œ œ œ#
4
œ œb œb œ4
œ œ œ œ#4
œ œ# œ# œ4
œ œ œ œb4
œ œ# œ# œ4
œ œ œ œb4
œ œ œ œ4
œ# œ# œ œ#4
œ œ# œ# œ4
œ œ œ œb4
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.
Jœƒ ‰ ‰ Œ .Jœƒ ‰ ‰ Œ
.
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ ‰ ‰ Œ .Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .
jœflƒ‰ ‰ Œ .
Jœƒ‰ ‰ Œ .jœflƒ‰ ‰ Œ .
∑
∑∑∑
œœ>ƒ Jœœ Jœœœœ>
œœ> Jœœ Jœœœœ>
Jœƒ ‰ ‰ Œ .Jœƒ ‰ ‰ Œ .Jœƒ ‰ ‰ Œ
.
Jœƒ‰ ‰ Œ .
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con sord.
con sord.
con sord.
con sord.
con sord.
∑
Jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .
jœ. ‰ ‰ Œ .
jœ.‰ ‰ Œ .
jœ# . ‰ ‰ Œ.
jœ.‰ ‰ Œ .jœ# . ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
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Jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ# ‰ ‰ Œ .
Jœ ‰ ‰ Œ .
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Œ . ‰ œpœb
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Œ . œFœ œ
dim.
œ œ
Œ . œ# œ œ œ œ
.˙
.˙
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68
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&&
&&
&&?
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&
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??
?
÷÷
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&
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
133 ∑
Œ .1. œPœ œb
Œ . œPœœb
∑∑
jœπ‰ ‰ Œ .
∑Jœπ‰ ‰ Œ .
∑
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Œ . œ œ œb . œ. œ
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Jœπ‰ ‰ Œ .
jœπ‰ ‰ Œ .
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Œ œpœb œ œ œ œ œ œ
Œ1. œpœ œ œ# œ œ œ œ
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œ œ œb . œ# œ œ. œn œ œb .
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œbœbœœœœ
‰ œb œ œ œb œ œb œb œ œ œ
‰ œb œ œ œb œ œb œb œ œ œ
.˙
.˙
.˙
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69
&
&&
&&
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&
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√)
◊ ◊
√ √
141 ∑
Œ . ‰a2
Jœ-P‰
Œ . ‰ Jœ-P‰
Jœ œ .œŒ . ‰ jœ# -P
‰
Œ . ‰ jœœ-P‰
Œ . ‰ jœ-P‰
Œ . ‰ Jœ# -P‰
Œ . ‰ Jœœb -P‰
∑
∑
∑
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∑
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∑
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œb œb œb œ œn .œ ?
.˙
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.˙
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.˙
∑
‰ Jœ- ‰ Œ Jœ-
‰ Jœ- ‰ Œ Jœ-
.˙‰ jœ# - ‰ Œ jœ-‰ jœœ- ‰ Œ jœœ-‰ jœ-‰ Œ jœ-
‰ Jœ# - ‰ Œ Jœ-
‰ Jœœb - ‰ Œ Jœœ-
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑
œbœbœœœœ
‰ jœœœœ#bflloco
‰ Œ jœœœœfljœbfl‰ ‰ ‰ jœfl
‰
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‰ œbFœ œb œn∑
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œbœbœœœœ
Œ . ‰ jœœœœ#bflF‰
Œ . jœbfl‰ ‰
œ œnp.˙.˙.˙.˙
∑
‰ Jœ- ‰ Œ1.jJœœ-
‰ Jœ- ‰ Œ Jœ-
.˙
‰ jœ# - ‰ Œ jœ-‰ jœœ- ‰ Œ
1.jJœœ-
‰ jœ-‰ Œ jœ-
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‰ Jœœb - ‰ Œ Jœœ-
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∑
œbœbœœœœ
‰ jœœœœ#bfl‰ Œ jœœœœfl
jœbfl‰ ‰ ‰ jœfl
‰
œ œ#.˙.˙b p.˙.˙
∑
4
œ œb œb œb4
œ œb œ œ∑
∑∑
4
œ œb œb œb4
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∑
œbœbœœœœ
2:3
œb œb2:3
œb œb
2:3
œbloco
œb2:3
œb œb&
œ œ
.˙np
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S
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.˙bœœ Jœœ Jœœ œœ##
œœjœœjœœ œœ##
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œ jœ# jœ œ
.˙n
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.˙
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œ œ œ. œ# œ œ. œ# œ œ# -œ Jœ .œ.˙
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œœF Jœœbb œœœœ œœbb
œœjœœbb œœœœ œœbb
.œ .œn
.œ .œ
.œ .œ#
.˙
.˙
70
&
&&
&&
&&?
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&
&
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?
÷÷
&&?
&
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√) √
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152 ∑
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œœ- jœœ## -
jœœ œœ-œFœ œ. œ. œ œ œ. œ œ
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.œ
T
T
∑
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Fœ œ. œ. œ œ œ. œ.œbFœ œ. œ. œ œ œ. œ.
œFa2œ œb . œ. œ œ œ œ.œFœ œb . œ.
œ œ œ œ.
..˙bp
.pœ.Fœ. œ. œ. œ. œ.
œœ.Fœœ. œœ. œœ. œœ. œœ.
∑
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..˙p ∑∑
∑
∑∑
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jœœ## ‰ ‰ Œ .
jœœ##‰ ‰ Œ .
œb œ œ. œ. œ œ œ. œ.
œ œ œb . œ. œ œ œ œ.œ. œ. œ. œ. œ. œ.œœ.div. œœ. œœ. œœ. œœ. œœ.
œ. œ. œ. œ. œ. œ.
∑
œb œ œ. œ œ œ œ œœb œ œ. œ œ œ œ œ
œ œ œb . œ œ œ œ œ.œ œ œb . œ œ œ œ œ.
..˙
.˙œ. œ. œ. œ. œ. œ.
œœ. œœ. œœ. œœ. œœ. œœ.
∑
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∑
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œb œ œ. œ œ œ œ œ
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œ. œ. œ. œ. œ. œ.
∑
.˙p .˙p.˙#p.˙#p..˙bn.˙b .˙bp..˙#p
∑
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∑
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œ# œ# œ œ œ# œ# œ œn œ œ œ
.˙p.˙#p.˙bp ..˙#p .˙bp
∑
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.œ2
œFœ#
.œ 2œ œ#
œb œ œ œb œ œb - œ-œ jœ jœ œbœ jœb jœ œœunis. jœ jœ œbœ jœ jœ œb
∑
∑∑
∑∑
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∑∑∑
.œn2:3
œb œb
.œn2:3œb œb
œ# jœ jœ œn
œb jœ jœ œœ Jœ Jœ œb
œ œ# œ# œ œb œ
œ œ# œ# œ œb œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
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∑
∑∑
∑
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∑∑∑
∑∑∑
4:3
œ œ œb œ4:3
œb œb œ œ
4:3
œ œ œb œ4:3
œb œb œ œ
.œ .œb
.œ .œb
.œ .œb
.œb .œ
.œb .œ
71
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&&
&&?
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&
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÷÷
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
¤
161 ∑
∑∑
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∑
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.œb œ
fœ œ œ œb
cresc.
œ
.œb œ œ œ œ œb œ
œ œ œb œn œb .œ
.œb - .œ-
.œb .œ
.œ .œ
.œ .œ
cresc.
cresc.
cresc.
cresc.
cresc.
∑
∑∑
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œ# œ œ œ œb œb œb œ œ œb œ œb
œ# œ œ œ œb œb œb œ œ œb œ œb ?
.œ .œ
.œ# .œ#
.œ# .œ
.œ .œ
.œ .œ
∑
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∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
Œ . .œb æp∑∑
∑∑∑
8:6œ œ œb œ œb œ œb œ 8:6œ œb œ œb œ œ œb œ
8:6
œ œ œb œ œb œ œb œ 8:6œ œb œ œb œ œ œb œ
œ# œ œ. œ# œ œ# .
œ œ# œ. œ# œ œn .œ œ œ. œ œ# œ# .œb œ œ. œ œb œ.œb œ œ. œ œb œ.
U
U
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∑
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∑∑
∑∑
∑
œ# .Fa2 œ. œ. œ. œ. œ.
∑
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∑
∑∑
∑
∑∑
.˙bF
∑∑
∑∑∑
.˙bƒ
.˙b
œ œ# œ# . œ. œ œ œ. œ.
œ# œ# œ. œ. œ œ œ. œ.œ. œ. œ. œ# . œ. œ.œ# . œ. œ. œ. œ. œ.œ# . œ. œ. œ. œ. œ.
∑
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∑∑
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∑
œ# . œ. œ. œ. œ# . œœ
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
œ œ# œ# . œ# - œ œ# œ# œ
œ# œ# œ. œ- œ œ# œ œ
œ. œ. œ. œ. œ# . œ
œ# . œ. œ. œ. œ# . œœdiv.
œ# . œ. œ. œ. œ# . œ
ppppp
∑
≈ œFa2 œ œ œ œ œ# œ# œ
≈ œFœœ œ œ œ# œ# œ
≈a2
œFœœ œ œ œ# œ# œ
≈ œFœœ œ œ œ# œ# œ
Œ .a2 œbFœ œ œb œ œb
Œ . œbFœ œb œ œb œ
Œ . œbFœ œ œb œ œb
..œœ ..œœ##
∑
.œa2
p.œb
.œa2
p .œ#∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑ &
.˙
.œ .œ#
.œ .œ#
..œœ ..œœ##
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∑.œn Œ ..œn Œ .
.œn Œ .
.œn Œ .
.œ Œ .
.œ Œ .
.œb Œ .
..œœ Œ .
∑
.˙P.˙Pœba2
Fœ œ œ. œ œ œ. œ.œFœ œb œ. œ œ œ. œ.œœ.Fœœ. œœ. œœ. œœ. œœ.
jœb .F‰ ‰ jœ. ‰ ‰
jœ.F‰ ‰ jœ.
‰ ‰
∑∑∑
∑∑∑
Œ œfœ œ. œ. œ œ
Œ œ œ œ. œ. œ œ
.˙
.˙
.˙
..˙
.˙
72
&
&&
&&
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&
&
&&?
??
?
÷÷
&&?
&
&
&&B??
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(¤)
168 ∑
∑∑
∑∑
∑∑
∑
∑
∑
.˙n
.˙#œn œ# œ# . œ. œ œ œ. œ.œ# œ# œn . œ. œ œ œ. œ.œœ## . œœ. œœ. œœ. œœ. œœ.jœn . ‰ ‰ jœ. ‰ ‰
jœ# .‰ ‰ jœ.
‰ ‰
∑∑Snare drum
∑
∑∑∑
œb . œb œb œb œb œn œn œ# ‰ .œb . œb œb œb œb œn œn œ# ‰ .
.˙#
.˙
.˙#
.˙#unis.
.˙#
f
f
ff
f
ff
∑
∑∑
∑∑
∑∑
∑
∑
∑
œfl œbfl œflœfl œfl
œbflœœ#˘ œœ œœ
œ#fl œflœfl
œœb˘ œœbb ˘ œœbb ˘
œ œ œb˘
œfl œflœbfl
JœF‰ ‰
œF
œ œ
∑
∑∑∑
∑
∑
∑ pizz.senza sord.
∑ pizz.senza sord.
∑ pizz.senza sord.
∑ pizz.senza sord.
∑ pizz.senza sord.
ppppp
cresc.
cresc.
cresc.
cresc.
cresc.
∑
‰ œfœ# œ. œ# . œ# œ œb .
‰ œfœ# œ. œ# . œ# œ œb .
‰ œfœ# œ. œ# . œ# œ œb .
∑œfœ# œ. œ. œ œ œ. œ.
œfœ œ. œ. œ œ œ. œ.
∑
œ.a2
Fœ. œ. œ. œ. œ.
∑
∑
∑
∑∑
∑
∑∑
Jœ ‰ ‰ ‰ Jœ ‰
Jœ ‰ ‰ œ ‰ œ
∑
∑∑∑
‰œƒœ# œ. œ# . œ# œ œb .
‰ œ œ# œ. œ# . œ# œ œb .
œ# œ œ œ# œ œ#
œ# œ œ œ# œ œ#œ œ# œ œ# œ œ
œ œ œ# œ œ# œ
œ œ œ# œ œ# œ
∑
œn œ œ œ œb œb Jœ. ‰ ‰œn œ œ œ œb œb Jœ. ‰ ‰
œn œ œ œ œb œb jœ. ‰ ‰∑
œb œ œn . œ. œ œ œ. œ.
œ œb œb . œ. œ œ œ. œ.
∑œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑∑
∑
∑∑
Jœ ‰ ‰ œ ‰ œ
‰ ‰ Jœ ‰ Jœ ‰∑
∑∑∑
œ œ œ œ œb œb Jœ. ‰ ‰œ œ œ œ œb œb jœ. ‰ ‰
œ œ œ# œ œ# œ
œ œ œ# œ œ# œœ# œ œ# œ œ œ#
œ# œ œ œ# œ œ#
œ# œ œ œ# œ œ#
∑œ# œn œn œ# œ œ Jœ. ‰ ‰œ# œn œn œ# œ œ Jœ. ‰ ‰œ# œn œn œ# œ œ jœ. ‰ ‰
∑œn œ# œ# . œ. Jœn . ‰ ‰œ# œn œn . œ. Jœ. ‰ ‰
∑œ# . œ. œ. Jœ. ‰ ‰
∑
Œ . Œ jœFŒ . Œ jœFŒ . ‰ œœ#˘
fœœ
Œ . ‰ œ#flfœfl
Œ . ‰ œœb˘f
œœbb ˘
Œ . ‰ œfœ
Œ . ‰ œflf œfl‰ ‰ Jœ ‰ Jœ ‰‰ Jœ ‰ ‰ Jœ ‰
∑
∑∑∑
œ# œn œn œ# œ œ Jœ. ‰ ‰œ# œn œn œ# œ œ jœ. ‰ ‰
œ# œ œ œ# œ œ#
œ# œ œ œ# œ œ#œ œ# œ œ# œ œ
&
œ œ œ# œ œ# œ
œ œ œ# œ œ# œ
V
V
∑œ œ œ œ œb œb œ œ œ œb œ# œ#œ œ œ œ œb œb œ œ œ œb œ# œ#
œ œ œ œ œb œb œ œ œ œb œ# œ#∑
œb œb œb œ œ# œn œ œ œb œb œn œnœ œ œ œ œ œb œ# œ# œ œn œb œn
∑
∑
∑
œ jœb jœ œ
œ jœb jœ œJœœ ‰ ‰ Œ .jœfl ‰ ‰ Œ .
Jœœbb˘‰ ‰ Œ .
Jœb˘ ‰ ‰ Œ .jœbfl ‰ ‰ Œ .
‰ Jœ ‰ Jœ ‰ ‰œ ‰ œ ‰ ‰ Jœ
∑
∑∑∑
œ œ œ œ œb œb œ œ œ œb œ# œ#
œ œ œ œ œb œb œ œ œ œb œ# œ#
œ œ œ# œ œ# œ
œ œ œ# œ œ# œ
œ# œ œ# œ œ œ#œ# œ œ œ# œ œ#
œ# œ œ œ# œ œ#
fffff
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∑
œ œn œb œn œ# œn œ œ œb œ# œ œœ œn œb œn œ# œn œ œ œb œ# œ œ
œ œn œb œn œ# œn œ œ œb œ# œ œ∑
œ œb œ# œ# œ œn œb œn œ# œn œ œœ# œ œ œ œb œ# œ œ œn œb œ# œ#Œ . Œ JœFŒ . Œ JœFŒ . Œ JœFœb jœ jœ œ
œb jœ jœ œ∑∑
∑
∑∑
œ ‰ œ ‰ ‰ Jœ
‰ Jœ ‰ ‰ Jœ ‰∑
∑∑∑
œ œ œb œ œ# œn œ œ œb œ# œ œ
œ œ œb œ œ# œn œ œ œb œ# œ œœ# œ œ Œarco œn œœ# œ œ Œarco
œ œœ œ# œ Œarco
œ# œ#Bœ œ œ# Œarco
Jœ-œ œ œ# Œarco
Jœ-
73
&
&&
&&
&&?
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&
&
&&?
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÷÷
&&?
&
&
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83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
ππ
π
π
π
cresc.
cresc.
cresc.
cresc.
cresc.
175 ∑
.˙
.˙
.˙
∑
.˙
.˙‰ jœfl ‰ œfl ‰ œfl‰ jœfl ‰ œfl ‰ œfl‰ jœfl ‰ œfl ‰ œfl.˙
.˙#∑∑
∑
∑∑
‰ Jœ ‰ œ ‰ œ
œ ‰ œ ‰ Jœ ‰∑
∑∑∑
.˙n
.˙n
œ œ œ œ. œ# œ# œ. œ.
œ œ# œ# œ. œ œ œ. œ.
œ œ œ œ. œ œ œ# . œ.
‰ jœ ‰ œ ‰ œ‰ jœ ‰ œ ‰ œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
Jœ ‰ ‰ .œæpJœ ‰ ‰ .œæp
∑
∑∑∑
∑
∑
œ œ œb œ œ œb œ œ
œb œ œ œb œ œ œ œbœ œ œ œ œb œ
œ œb œ œ œb œ
œ œb œ œ œb œ
fffff
f
f
ff
f
ff
∑
∑∑
∑∑
∑∑
∑
∑
∑
œfl œbfl œflœfl œfl
œbflœœ#˘ œœ œœ
œ#fl œflœfl
œœb˘ œœbb ˘ œœbb ˘
œ œ œb˘
œfl œflœbfl
Jœf‰ ‰
œf
œ œ
∑
∑∑∑
∑
∑
.œ#
.œ
.œ
.œn
.œn
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∑œfœ œb . œ. œ œb œ. œ.
œfœ œb . œ. œ œb œ. œ.
œfœ œb . œ. œ œb œ. œ.
œb .fœ. œ œb œ. œ. œ œb
œ.f œ. œb . œ. œb . œ.œ.f œ. œb . œ. œb . œ.œ.fœ. œb . œ. œb . œ.
œf œb . œ. œ. œb . œb .
œf œb . œ. œ. œb . œb .∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
œ œ œb . œ. œ œ# œn . œ.
œb . œ. œ œb œ. œ. œ œbœ. œ. œb . œ. œb œ.œ œb œ. œ œb œb .
œ œb œ. œ œb œb .
fffff
∑.œ
.œ
.œ
.œ
.œ
.œ
.œ
.œn
.œn4:3
œfl œbfl œnflœfl
4:3
œfl œflœbfl œnfl
4:3
œœ#˘ œœ œœ œœb˘
4:3
œ#fl œflœfl œbfl
4:3
œœb˘ œœbb ˘ œœbb ˘ œœn˘
4:3
œ œ œb˘ œb˘4:3
œfl œflœbfl œbfl
Jœ ‰ ‰
4:3
œ œ œ œ
∑
∑∑∑
∑
∑
.œ
.œ
.œ
.œn
.œn
FFFFF
∑
∑∑
∑∑
∑∑
∑
∑
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∑
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∑∑∑
∑∑∑
∑
∑
œb œ œb . œ. œ œb œ. œ.œ œb œ. œ. œ œb œ. œ.œ œb œ. œ. œb œ œ. œ.œb œ œ. œb œ œ.
œb œ œ. œb œ œ.
W
W
ppppp
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
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∑∑∑
∑∑∑
4:3
œ.
f
œb . œ. œ.4:3
œb . œ. œb . œ.
4:3
œ. œb . œ. œ.4:3
œb . œ. œb . œ.
.˙
.˙b
.˙b
.˙
.˙
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
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∑∑∑
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4:3
œ œ œ. œb4:3
œb œ œ œb .
4:3
œ œ œ. œb4:3
œb œ œ œb .
.˙
.˙b
.˙
.˙
.˙
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.˙
.˙
œFœb œ. œ œb œ. œb œ œ.
œ.P œ. œ. œ. œ. œ.œ.Pœ. œ. œ. œ. œ.
œ.Pœ. œ. œ. œ. œ.
œb .Pœ. œ. œ. œ. œ.
74
&
&&
&&
&&?
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&
&
&&?
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÷÷
&&?
&
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√ ¤
√
ppppp
184 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
4:3
œ#Fœ# œ œ
4:3
œb œ œn œ
4:3
œ# œ# œ œ4:3
œb œ œn œ
.œb .œ
.œb .œb
.œ# .œ#
.œ .œ
.œ .œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ œ œ œb œb œ œ œn œb œb œœb œ œ œ œb œb œ œ œn œb œb œ
œb - jœ- jœ œ# -œ- jœ- jœ œ# -œ- jœ- jœ œ# -œ# - jœ- jœ œb -œ# - jœ- jœ œb -
∑
∑∑
∑∑
œa2
F œ#œ. œ œ# œ.
Œ . œF œ#œ.
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ Œ .
.œ Œ .
.˙
.˙#
.˙
.˙
.˙
∑
∑∑
∑∑
œ# œ# œ. œ# œ# œ œ# œ#œ#
œ œ# œ# . œ# œ œ# œ#œ œ#
œFœ# œ. œ œ# œ œ# œ œ#
Œa2 jœb .F œ. œ œbŒ jœb .F œ. œ œb
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ œ œ œb œb œ œ œn œ# œb œnœb œ œ œ œb œb œ œ œn œ# œb œn
.œ œ. œ œ
.œ œ# . œ œ
.œ# œ. œ# œ#
.œ# œ. œ œb
.œ# œ. œ œb
pizz.
pizz.
pizz.
pizz.
pizz.
FFFFF
∑.œF
a2 œ œ# œ# œn
.œF
œ œ# œ# œn
.œFa2 œ œ# œ# œn
œ#F œ# œ œ œ œ
œ œ œ.œ œ œ# œ# œnœ œ œ# œ# œ œ œ œ œ#œ# œ# œ œ œ œ œ œ œ
œ# œ œ œ œ œ œ œb
œ# œ œ œ œ œ œ œb
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ Œ .
.œ Œ .
Œ Jœ# ‰ Jœ# ‰Œ jœ ‰ jœ ‰Œ jœ ‰ Jœ# ‰Œ jœ ‰ jœ# ‰Œ jœ ‰ jœ# ‰
∑œ J
œb œb œ œ#
œ Jœb œb œ œ#
œ Jœb œb œ œ#
‰ œ. œ. œ- jœ œb -œ Jœb œb œ œ#
‰ œ# . œ. œ jœ œ#‰ œ. œ. œ- Jœ œb
-
‰ œœb# . œœ. œœ- Jœœ œœn-
‰ œ# . œ. œ- Jœ œn -
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
‰ jœ# ‰ ‰ jœ# ‰‰ jœ ‰ ‰ jœb ‰‰ jœ# ‰ ‰ jœ ‰‰ Jœ# ‰ ‰ Jœn ‰‰ Jœ# ‰ ‰ Jœn ‰
X
X
∑œn Jœ Jœ œ#
œn Jœ Jœ œ#
œn Jœ Jœ œ#
œ jœ œ jœbœ Jœ Jœ œ#
œ œ# œ. œ œ œb . œ# . œ.œ Jœ œ Jœb
œœn Jœœ ..œœ##œ# Jœ .œ#
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
jœ ‰ ‰ Œ .arco
jœ ‰ ‰ .œb arco
pjœ ‰ ‰ .œarco
pJœ# ‰ ‰ ..œœ#arco div.
pJœ# ‰ ‰ .œ#arco
p
∑œJœbpJœ œb
œJœbp Jœ œb
œJœbp Jœ œb
œ jœbpjœ œ
œ Jœ#pJœ œ#
œn jœnpjœ œb
œ JœbpJœ œ
œœn Jœœ#p Jœœ œœbb
œ jœpjœ œb∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
‰œfœ œ œ œ œ. œ.
œJœb Jœ œb
œœ Jœœb Jœœ œœbœœ Jœœb Jœœ œœbb
œ jœ jœ œb
∑
œ Jœb Jœ œœ Jœb Jœ œ
œ Jœb Jœ œ
œb jœ jœ œœ Jœ# Jœ œn
œ jœ jœ œœb Jœ Jœ œ
œœ Jœœbb Jœœ œœ
œ jœb jœ œ∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑.œ œ- œ œ œb œ œ œ œb œbœ Jœb Jœ œœœb Jœœ Jœœ œœœœ Jœœbb Jœœ œœ
œ jœb jœ œ
75
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
193 ∑
œ# Jœ Jœ œbœ# Jœ Jœ œb
œ# Jœ Jœ œb
œ# jœ# jœ œœ# Jœ Jœ œb
œ# jœ# jœ œœ# Jœ# Jœ œ
œœ##jœœ##jœœ œœnn
œ# jœ# jœ œn∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
.œF œ# œ# œ# .œ# œ- œn œ#‰ œ œ œ œ œ œ. œ.
œœ## jœœ# jœœ œœ#œœ##
jœœ##jœœ œœnn
œ# jœ# jœ œn
∑
œ Jœb Jœ œb
œ Jœb Jœ œb
œ Jœb Jœ œb
œ jœb jœ œœ Jœb Jœ œb
œ jœ jœ œbœ Jœ Jœ œ
œœ Jœœ Jœœ œœ
œ jœ jœ œ∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑ ?
œ Jœb Jœ œb.œ œ- œ œb œ œ œ œ œb œœœjœœbjœœ œœ#
œœ Jœœ Jœœ œœ
œ jœ jœ œ
∑
jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .
jœ ‰ ‰ Œ .
jœn ‰ ‰ Œ .
Jœ# ‰ ‰ Œ .jœœ## ‰ ‰ Œ .
jœ# ‰ ‰ Œ .
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œfœ œ œ œb œb œ œb œ œn œb œœœœ# - J
œœœbnb - Jœœœ œœœ-
jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .
Jœœ ‰ ‰ Œ .jœœ## ‰ ‰ Œ .jœ# ‰ ‰ Œ .
∑
‰ œbFœ œ œ œ œ. œ# .
.œ# .œn
.œ# .œn
.œ# .œn
.œ# .œn
.œ# .œn
.œ# .œn
‰ œbFœ œ œ œ œ. œ# .
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œb Œ .
...œœœbbb Œ . &
∑∑∑∑∑
∑.œn œ# œ# œ .œn
.œ .œ#
.œ .œ#
.œ .œ#
.œ# .œn
.œ# .œn
.œ# .œn
.œn œ# œ# œ .œn
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
Œ .œFœb œ œb œ œ
Œ . œ œb œ œb œ œ
∑∑∑∑∑
Y
Y
F
F
FF
F
FF
∑
Jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .
jœ. ‰ ‰ Œ .
jœ.‰ ‰ Œ .
jœ.‰ ‰ Œ .
jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
∑
œ œ œb œ œn œ.œ œ œ œ œ# œ.œœ œœ## œœ. œœbb . œœbb œœ œœ## œœ.
œ œ œb œ œn œ.œ œ œb œ œb œ.
œb œ œb ‰ œn œb .œb œ œb œ œn œb .
∑∑∑
∑∑∑
.œn Œ œfœ
.œn Œ Jœœb?
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .jœœ.‰ ‰ Œ .
jœ. ‰ ‰ Œ .
Jœn . ‰ ‰ Œ .jœ. ‰ ‰ Œ .
jœ.‰ ‰ Œ .
jœ.F‰ ‰ Œ .
∑∑
∑∑∑
jœ ‰ ‰ œFœ# œ œ œ# œ
Jœœ ‰ ‰ œ œ# œ œ œ# œ&
œfœ œ .œbP
œ#˘fœ œ .œbP
œfœ œ .œbPœ
fœ œ ‰ œn˘ œjœflf‰ ‰ ‰ œnfl œfl
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ#œloco
œ œ œ# œ# œ
.œ# œb œn œ œ œ œ?
.œn .œb
.œn .œ
.œn .œ
œ œb˘ ‰ œ#fl œfl œflœ œb˘ ‰ œ#fl œfl œfl
76
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
201 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ œ œ# œ .œ œ œ# œ
.œ œ œ# œ .œ œ œ# œ
.œ2
œ œ.œ
2
œ# œ.œ2
œ œ#œfl ‰ œfl .œœfl ‰ œfl .œ
∑
∑∑
Œ1. œ.Fœ. œ. œ. œ
Œ . Œ œ.Fœ.
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ œ œ œ. œ œ œ œ œ.œ. œ.
‰ œ. œ.‰
œ# œ.cresc.
œ. œ. œ. œ
.œ œ œ.cresc.
œ..˙
.P
.P
∑
∑∑
.œ œ# . œ. œ. œ. œ
œ. œ. œjœ œb
∑∑
∑
‰ œb .Fœ. œ. œ. .œ
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
.œ œ# . œ. œ. œ. œ
œ. œ. œjœ œ#
œ œb .cresc.
œ. œ. œ. .œjœ œ# .œ
cresc.jœ œ# .œcresc.
∑
∑∑
.œ œ# . œ. œ. œ. œ
œn . œ. œ. œ. œ .œ
∑∑
∑
2
œ œn2
œ œ#
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
.œ œ# . œ. œ. œ. œ
œ. œ. œ. œ. œ .œ2œ œn
2
œ œ#
.œ# .œ
.œ# .œ
fffff
∑
∑∑
œ œb œ œb œ œb
.œ .œb
∑∑
∑œ Jœ# œ. œ. œ. œ. œ
œFœ. œ. œ. œ .œ
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑
œ œb œ œb œ œb
.œ .œbœ Jœb œ. œ. œ. œ. œ
œ. œ. œ. œ. œ .œœ. œ. œ. œ. œ .œ
∑
∑∑
œ. œ. œ. œ. œ œ# œ. œ. œ. œ.
œ œ. œ. œ. œ. œ#
∑∑
∑œ Jœ Jœ œb
œ# Jœ Jœ œ#
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
∑ &
œ. œ. œ. œ. œ œ# œ. œ. œ. œ.
œ œ. œ. œ. œ. œbœ jœ jœ œbœ# Jœ Jœ œ#œ# Jœ Jœ œ#
Z
Z
p
pppp
∑
∑∑
.œb Œ .
.œb Œ .
∑∑
∑.œb Œ .
.œ Œ .
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ œb .Fœ. œ. œ. œ œ œ#
‰ œb . œ. œ. œ. œ œ œ#
.˙b
.œb .œ
.˙b
.˙n
.˙n
∑
œ# .Fœ. œ. œ œ œ .œn
∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œn œœbb
œb
œœbb
œ
œœ œ
.œn ≈ Rœ
œ# .Fœ. œ. œ œ œ .œn
.œ# .œ
.œ# .œ
.œ .œ#
.œ .œ#
FFFFF
∑
.œ# œ œ# œ œ# œ œ
∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
.œn Œ .
.œn Œ .
.œ#pœ œ# œ œ# œ œ
.œ# .œ#
.œ# .œ#œ Jœ Jœ œœ Jœ Jœ œ
77
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√ ¤ ¤
ppppp
210 ∑.œ .œ#
∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
‰ œ.Fœ. œ. œ. œ œ# œ.
‰ œ. œ. œ. œ. œ œ# œ.
.œ .œ#
œ jœ jœ œ#œ# œ œ œ œ œ.œ# .œ.œ# .œ
∑.œp
Jœ ‰ ‰∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ œ œ œ œb œœbb
œb
œœ
œn
œœ
œ
œœ
œbœb œ œ œ œ œb
.œ .œœ# jœ# .œ.œ# .œ#œ# Jœ Jœ œ#
.œ .œ
cresc.
cresc.
cresc.
cresc.
cresc.
∑
Œ .a2 œFœ. œ#˘
cresc.
œ. œ œ.
Œ . œflFœ. œ#fl
cresc.
œ. œfl œ.Œ .a2 œ
Fœ. œ#˘
cresc.
œ. œ œ.
∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœbb
œbJœœ Œ .
.œ# œfl œ. œ#fl œ. œfl œ.
.œ .œ
.œ .œ#
.œ .œb
.œ .œb
FFFFF
∑
œ œ. œ#˘ œ. œ œ.fŒ .
œfl œ. œ#fl œ. œfl œ.fŒ .
œ œ. œ#˘ œ. œ œ.fŒ .
∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
Œ . œ# .fœ. œ œ# œ. œ.
Œ . œ# . œ. œ œ# œ. œ.
œfl œ. œ#fl œ. œfl œ. .œ#pœ œ# œ .œpœ œ œ# .œ
pœ Jœ Jœ œpœ Jœ Jœ œp
AA
AA
cresc.
cresc.
cresc.
cresc.
cresc.
∑
Œ . œ#˘Fœ. œ
cresc.
œ. œ œ.
Œ . œ#˘Fœ. œ
cresc.
œ. œ œ.
Œ . œflFœ. œ#fl
cresc.
œ. œfl œ.Œ . œflF
œ. œ#flcresc.
œ. œfl œ.
Œ . œFœ. œb˘
cresc.
œ. œ œ.
Œ . œflFœ. œbfl
cresc.
œ. œfl œ.∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ# œ. œ. œ. Œ .œ œ# œ. œ. œ. Œ .
.œ œ#˘ œ. œ œ. œ œ.
.œ# œfl œ. œ#fl œ. œfl œ.
.œ# œn˘ œ. œ#˘ œ. œn˘ œ.
œ jœ jœ œœ jœ jœ œ
fffff
∑œ#˘ œ. œ œ. œ#˘ œ. .œ
fœ#˘ œ. œ œ. œ#˘ œ. .œf
œ#˘ œ. œ œ. œ œ. .œ#f
œ#˘ œ. œ œ. œ œ. .œ#f
œfl œ. œbfl œ. œfl œ. .œ# fœfl œ. œbfl œ. œfl œ. .œ#f∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
Œ . œfœb œb œb œn œb
Œ . œ œb œb œb œn œb
œ#˘ œ. œ œ. œ#˘ œ. .œ
œ#˘ œ. œ œ. œ œ. .œ#œfl œ. œ#fl œ. œnfl œ. .œ#.œb .œb.œb .œb
ppppp
FFF
FF
cresc.
cresc.
cresc.
cresc.
cresc.
∑
Œ . œFœ œ œ
cresc.
œ œ
Œ . œflFœ œ œflcresc.
œ œ
Œ . œFœ œ œ#˘
cresc.
œ œ
Œ . œ#flFœ œ œfl
cresc.
œ œ
Œ . œFœ œ œ
cresc.
œ œ
Œ . œFœ œ œ#˘
cresc.
œ œ
Œ . œ#˘Fœ œ œ
cresc.
œ œ
Œ . ‰ œ.F œ.cresc.
∑
Œ .a2 .œpŒ .a2
.œpŒa2 JœF Jœ ‰ ‰
Œ jœflFjœfl‰ ‰
Œa2 JœFjœfl ‰ ‰
Œ JœFjœfl ‰ ‰
Œ jœflFjœfl‰ ‰
Œ JœFjœfl ‰ ‰∑∑
Œ .Xylophone ‰ œFœb œ œ
∑∑
œ#˘ œ#˘ ‰ ‰ œ œ œn œ
œ#˘ œ#˘ ‰ ‰ œ œ œn œ
.œb œbfl œfl œ#fl
.œ# œfl œbfl œfl
.œ œfl œfl œbfl
.œ ‰ œfl œfl.œ ‰ œfl œfl
78
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(¤) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
√
√
217 ∑
œ#˘ œ œ œ œ œ œ#˘ œ œ œ œ œ
œ#fl œ œ œfl œ œ œ#fl œ œ œfl œ œ
œ œ œ œ#˘ œ œ œ œ œ œ œ œ
œ#fl œ œ œfl œ œ œ œ œ œ#˘ œ œ
œ#˘ œ œ œ œ œ œ#˘ œ œ œ œ œ
œ œ œ œ#˘ œ œ œ œ œ œ œ œ
œ#˘ œ œ œ œ œ œ œ œ œ#˘ œ œ
œ# . œ. œ# . œ. œ# . œ.∑
.œ# .œ#
.œ .œ∑∑
∑
∑∑
∑∑∑
œb œ œb œ œn˘ Jœ ‰ ‰∑∑
œb œ œb œ œn˘ Jœ ‰ ‰
œb œ œb œ œn˘ Jœ ‰ ‰
œfl œfl œbfl œfl œbfl œflœbfl œfl œfl œbfl œfl œbflœfl œbfl œfl œbfl œfl œflœ#fl œfl œ#fl œfl œ#fl œflœ#fl œfl œ#fl œfl œ#fl œfl
fffff
FFFF
F
∑.œf
Œ ..œf
Œ ..œf
Œ ..œ#f
Œ ..œf
Œ ..œ#f
Œ ..œf
Œ .
.œf
Œ .
∑
..œœ# ..œœ
.œ .œ#‰ œFœ œ œ œ œ œ.
‰ œFœ œ œ œ œ# œ...œœbp
..œœ#n
.˙p.p∑∑∑
∑∑∑
∑
∑
.œ .œ
.œ .œ#
.œ# .œ
.œ2
œ œ
.œ2
œ œ
cresc.
cresc.
cresc.
cresc.
cresc.
Œ Jœfœb˘ ‰ œ#˘
Œ Jœfœb˘ ‰ œ#˘
Œ jœflfœbfl ‰ œ#fl
Œ . .œFŒ . .œ#FŒ . .œbFŒ . .œbFœ.Fœ. œ.
cresc.
œb . œ. œ. œ. œ. œ. œb . œ. œ.
œ.Fœ. œ.
cresc.
œb . œ. œ. œ. œ. œ. œb . œ. œ.
œ.Fœ. œ.
cresc.
œb . œ. œ. œ. œ. œ. œb . œ. œ.
..œœb ..œœb
.œ .œb
.œb .œ
.œ .œb
.˙ .œb .œb
.œ .œb
.œ .œb∑∑∑
Œ JœFœb˘ ‰ œ#˘
∑∑
œbfœ œ œ œ œb˘ ‰ œ#˘
œb œ œ œ œ œb˘ ‰ œ#˘
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.œb .œbœ œ. œ œb . œ œ. œ œ. œ œb . œ œ.œ œ. œ œb . œ œ. œ œ. œ œb . œ œ.
Jœn˘ ‰ ‰ Œ .
Jœn˘ ‰ ‰ Œ .jœnfl ‰ ‰ Œ .
2
œ œcresc.
2
œ# œ2
œ œcresc.
2
œ# œ2œ œ
cresc.
2
œ# œn2œ œ
cresc.
2
œ# œnœ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.
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œ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.
∑
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∑∑
∑
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Jœ ‰ ‰ Œ .∑∑
Jœ ‰ ‰ ‰ .ƒœ œ# œ
Jœ ‰ ‰ ‰ . œ œ# œ
2
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∑
∑∑
œ# œ œ. œ# œ œ# .
œ œ# œ. œ# œ œ# .
œ œ# œ. œ# œ œ.
œ œ# œ. œ# œ œ.œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œb . œ.
∑
∑
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∑
∑∑
∑∑∑
∑∑∑
œ# œ œ œ# œ œ# .œn
œ# œ œ œ# œ œ# .œn
œ# œ œ. œ# œ œ# .
œ œ# œ. œ# œ œ# .œ œ# œ. œ# œ œ.
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∑
∑∑
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∑∑∑
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.˙
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AB
AB
π
π
dim.
œfœb œ œb œ œ œb œ œb œ œb œ
œfœb œ œb œ œ œb œ œb œ œb œœfœb œ œb œ œ œb œ œb œ œb œ
Jœ ‰ ‰ Œ .
Jœ ‰ ‰ Œ .
jœ ‰ ‰ Œ .jœ ‰ ‰ Œ .
.dim.
.dim.
.dim.
∑
∑.˙f .˙#f.˙
dim.F.˙
dim.F.˙
dim.F.æF
∑∑
∑∑∑
.˙dim.
.˙
œ œb œ œb œ œ œb œ œb œ œb œœb œ œb œ œb œ œ œb œ œb œ œœb œ œb œ œb œ œ œb œ œb œ œ.
dim.
.dim.
79
&
&&
&&
&&?
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&
&
&&?
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?
÷÷
&&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~
(√)
(√)
n
p
p
n
n
224
Jœ.F‰ ‰ Œ .
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cresc.
œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œFœ. œ.
cresc.
œ œ. œ. œ#˘ œ. œ. œ œ. œ.
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cresc.
œfl œ. œ. œ œ. œ. œ#˘ œ. œ.
∑
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cresc.
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cresc.
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œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ#flFœ. œ.
cresc.
œfl œ. œ. œ œ. œ. œ#˘ œ. œ.
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cresc.
œfl œ. œ. œ œ. œ. œ#˘ œ. œ.
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∑
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∑œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
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∑
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cresc.
jœ œb>œ>F
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cresc.
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jœ>cresc.
jœ œb>∑
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œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ œ. œ.œF
Jœcresc.
Jœ œœF
Jœcresc.
Jœ œb
∑œ œ œb œ œb œ œb œ œ œb œ œbœ œ œb œ œb œ œb œ œ œb œ œb
œ œ œb œ œb œ œb œ œ œb œ œb∑
œ œ œb œ œb œ œb œ œ œb œ œbœ œ œb œ œb œ œb œ œ œb œ œb
∑
œ> jœ#> œ œ#>‰
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œ œb œb œ# œ œœFœ œ œ#
cresc.
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œ œ# œ œ# œ œ œ# œ œ# œ œ# œ∑
œ> jœ#> œ œ#> ‰
œ> jœ#> œ œ#> ‰∑
∑∑∑
∑∑∑
∑
∑
œ œ# œ œ# œ œ œ# œ œ# œ œ# œ
œ œ œb œ œb œ œb œ œ œb œ œbœ#> Jœ#
> œ œn> ‰œ> Jœ> œ œ> ‰œ> Jœ#> œ œ# ‰
∑
.˙b
f.˙b
f.fŒ .
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f.˙b
fœFœ#cresc.
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œ œ œ jœ. ‰ ‰
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‰ ‰
∑∑Snare drum
∑
∑∑∑
∑
∑
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œ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.
Œ œ#˘fœ. œ. œ. œ œ. œ. œ.
.˙
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≈ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.
Œ jœ#fl‰ jœfl
‰
∑œF
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œ
∑
∑∑∑
∑
∑
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œflfœ. œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ#fl œ. œ. œ. œfl œ. œ. œ. œ#fl œ œ. œ.œ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.
œ œ.fœ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.
∑
œ#fl œ.sempre crescendo
œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.œ#fl œ.
sempre crescendo
œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.
œnfl œ.sempre crescendo
œ. œ. œ#fl œ. œ. œ. œnfl œ. œ. œ.
œfl œ.sempre crescendo
œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ#fl œ.
sempre crescendo
œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.œnfl œ.
sempre crescendo
œ. œ. œ#fl œ. œ. œ. œnfl œ. œ. œ.œ œ.
sempre crescendo
œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.
œ œ.sempre crescendo
œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.
œ œ.sempre crescendo
œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ.
œ#flf œ. œ. œ.sempre crescendo
œfl œ. œ. œ. œ#fl œ. œ. œ.
œnflf œ.sempre crescendo
œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ#fl œ.
sempre crescendo
œ. œ. œfl œ. œ. œ. œ#fl œ. œ. œ.œfl ≈
sempre crescendo
œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œflœ.sempre crescendo
œ. œ. œ#flœ. œ. œ. œ
flœ. œ. œ.
œflœ.sempre crescendo
œ. œ. œ#flœ. œ. œ. œ
flœ. œ. œ.
œflsempre crescendo
‰ œ#fl‰ jœfl
‰
∑œ œ œ
∑œfœ œbsempre crescendo
œ œb œ œ œb œ œb œ œb∑∑
∑
∑
œfœ œbsempre crescendo
œ œb œ œ œb œ œb œ œbœnfl œ.
sempre crescendo
œ. œ. œbfl œ. œ. œ. œfl œ. œ. œ.œfl œ.sempre crescendo
œ. œ. œ#fl œ. œ. œ. œfl œ. œ. œ.œ œ.sempre crescendo
œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ>
œ œ.sempre crescendo
œ. œ. œ#˘ œ. œ. œ. œ œ. œ. œ>
œ#flfœ. œ. œfl œ.
sempre crescendo
œ. œ œ. œ. œ#˘ œ. œ.
œ#fl œ. œ. œfl œ. œ. œ œ. œ. œ#˘ œ. œ.
œnfl œ. œ. œ#fl œ. œ. œ œ. œ. œ œ. œ.
œ#fl œ œ. œfl œ œ. œ#fl œ. œ. œfl œ œ
œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.œnfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.œ#fl œ œ œfl œ œ œ#fl œfl œ œfl œ œœ œ. œ. œ#˘ œ. œ. œn˘ œ. œ. œ#˘ œ. œ.
œb˘ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.
œ œ. œ. œb˘ œ. œ. œ œ. œ. œ œ. œ.
œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.
œ#fl œ. œ. œfl œ. œ. œfl œ. œ. œ#fl œ. œ.œ#fl œ. œ. œfl œ. œ. œfl œ. œ. œ#fl œ. œ.
œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ œ. œ. œ#˘ œ. œ. œn˘ œ. œ. œ#˘ œ. œ.
œb˘ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.
œ œ. œ. œb˘ œ. œ. œfl œ. œ. œfl œ. œ.
∑.œ .œ .œ .œ
∑
œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.∑∑
∑
∑
œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ œ. œ.œ œ. œ. œb˘ œ. œ. œ œ. œ. œ œ. œ.œ œ. œ. œb˘ œ. œ. œ œ. œ. œ œ. œ.
80
&
&&
&&
&&?
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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
42
42
42
42
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
231 œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ œ. œ.
œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ œ. œ.
œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ#fl œ œ œfl œ œ œ œ œ œ# œ œœ œ. œ. œ œ. œ. œ#˘ œ. œ. œn˘ œ. œ.
œ œ. œ. œb˘ œ. œ. œ œ. œ. œb˘ œ. œ.
œb˘ œ. œ. œ œ. œ. œb˘ œ. œ. œ œ. œ.
œ#fl œ. œ. œfl œ. œ. œfl œ. œ. œ#fl œ. œ.
œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œfl œ. œ.œfl œ. œ. œ#fl œ. œ.. œfl œ. œ. œ#fl œ. œ.œfl œ. œ. œ#fl œ. œ.. œfl œ. œ. œ#fl œ. œ.œ œ. œ. œ œ. œ. œ#˘ œ. œ. œn˘ œ. œ.
œ œ. œ. œb˘ œ. œ. œ œ. œ. œb˘ œ. œ.
œbfl œ. œ. œfl œ. œ. œbfl œ. œ. œfl œ. œ.∑
.œ .œ .œ .œ∑Bass drum
œfl œ. œ. œ#fl œ. œ. œ œ. œ. œ œ. œ.
∑∑
∑
∑
œfl œ. œ. œ#fl œ. œ. œ œ. œ. œ œ. œ.
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œ# œ œ# œ œ# œ œ œ# œ œ# œ œ
œ# œ œ# œ œ# œ œ œ# œ œ# œ œ
œ œ# œ œ# œ œ# œ œ œ# œ œ# œ
œ œ œ# œ œ# œ œ# œ œ œ# œ œ#
œ# œ œ# œ œ œ# œ œ# œ œ œ# œ
œ# œ œ œ# œ œ# œ œ# œ œ œ# œ
œ œ# œ œ œ# œ œ# œ œ# œ œ œ#
œb œ œb œ œ œb œ œb œ œ œb œœ œb œ œ œb œ œb œ œ œb œ œbœb œ œ œb œ œb œ œ œb œ œb œ
œ œ œ# œ œ# œ œ# œ œ œ# œ œ#
œ œ œ# œ œ# œ œ# œ œ œ# œ œ#
œ œ œ# œ œ# œ œ œ# œ œ# œ œ#
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.˙# æpœ œ œ œ œ œ œ œ œ œ œ œ
.æpœ# œ œ# œ œ œ# œ œ# œ œ# œ œ
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∑
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œ# œ œ# œ œ œ# œ œ# œ œ# œ œ
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Ï
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Jœ#˘‰ ‰ Œ J
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Jœ#˘‰ ‰ Œ J
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Jœ ‰ ‰ Œ Jœ#˘
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jœ#fl‰ ‰ Œ jœfljœfl‰ ‰ Œ jœbfljœ#fl‰ ‰ Œ jœflJœ ‰ ‰ Œ Jœ
Jœ ‰ ‰ Œ Jœ
Jœ ‰ ‰ Œ Jœ
Jœ ‰ ‰ Œ Jœ#˘
jœ#fl‰ ‰ Œ jœfljœ#fl‰ ‰ Œ jœfljœ#fl‰ ‰ Œ jœfljœ#ƒ œæp œæ
jœƒJœƒ‰ ‰ Œ Jœjœƒ œæp œæ jœƒJœ#˘Ï ‰ ‰ Œ J
œœb˘
∑∑
∑
∑
Jœ#˘ ‰ ‰ Œ Jœ
Jœ ‰ ‰ Œ Jœ#˘
Jœ#˘ ‰ ‰ Œ Jœ
jœ#fl‰ ‰ Œ jœfljœ#fl‰ ‰ Œ jœfl
AC
AC
Piano Cadenza
Piano Cadenza
e = e
e = e
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ-F
œ# -
œp œb œ#œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ . .œ# œ
œ œb œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# . .œ œ#
œ œb œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
∑
6
≈1. œFœb œ œb œ#
6
œn œ œ œ œ œb∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
˙#
œ œb œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑
Œpizz. œFŒpizz. œF
81
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&
&
&&&??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
238 ∑
˙dim.
∑
∑∑
Œ1.
œp∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œn . .œ œ#
œ œ# œ# œn œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑
œ Œœ Œ
∑
œ Œn
∑
∑∑
˙∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œn œ œ# œn œ
œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
AD
AD
∑
∑∑
∑∑
˙∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ#6
œ œ œ œ œ œ#
œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
∑
∑∑
∑∑
˙∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œn 3œ œ# œn
œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑
Œ œŒ œ
∑
∑∑
∑∑
œ Œ∑
∑
∑
∑
˙1.
p
˙3.
p∑∑
∑
∑∑
∑∑∑
∑∑∑
.œ3
œ œ œ
œ œb œ# œn œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑
œ Œ
œ Œ
∑
∑∑
∑∑
∑∑
∑
∑ B
∑
œ œ
˙∑∑
∑
∑∑
∑∑∑
∑∑∑
œ 3œ œ œ œ3
œ œ œ
œ œb œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
82
&
&&
&&
&&?
B
?
&
&
&&?
??
?
÷÷
&&?
&
&
&&&??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√ √
244 ∑
Œ1.
3
œPœ œ#
∑
∑∑
∑∑
∑
Œ1.
3
œPœ œ#
∑
˙
˙∑∑
∑
∑∑
∑∑∑
∑∑∑
˙
œ œb œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
∑
3
œ œ œb œ œ-∑
∑∑
∑∑
∑
3
œ œ œb œ œ-
∑
˙
˙∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
œ œb œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑ B
Œ œŒ œ
∑
˙b∑
Œ1. œb .F
œ.
∑
∑∑
∑
˙b
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ œ œ œ
œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ œbπŒ œbπŒ œbπ
œb Œœb Œ
∑
˙∑
œb . œ. œ. œ> œ
∑
∑∑
∑
˙
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
dim.
dim.˙dim. ∑
∑
∑
Œ1.
6
≈ œ#Fœ œ# œ œ
∑
˙dim.
∑
∑Œ1. 6≈ œ#F œ œ# œ œ
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ# œ œ# œ
œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙˙˙
∑∑
π
n
n
n
∑
6
œb œb œ œ œ# œ œ#
∑
˙
∑
∑6œb œb œ œ œ# œ œ#
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
∑
œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙˙˙
∑∑
83
&
&&
&&
&&?
B
?
&
&
&&?
??
?
÷÷
&&?
&
&
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
◊
AE
AE
250 ∑
˙
∑
∑Œ œb .
Fœ.
∑
˙∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ# œn œ# œn œb œ œ
œ# œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑∑∑∑∑
∑
∑∑
∑
œb . œb . œn . œ> œb
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ# œn œ# œn œ œb œf
œ# œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ?
∑pizz.
∑pizz.
∑pizz.
∑pizz.
∑pizz.
∑
∑∑
∑˙dim.
∑∑
∑
∑ ?
∑
∑
∑
∑∑
∑
∑∑
∑∑∑Bass drum
∑∑∑œ. œb . œ. œ.
œœœœbb . ‰ œœœœ. Œ
.œbFœ ‰ jœ.œbFœ ‰ jœ.œbF œ‰ jœ
.œbFœ ‰ Jœ.œbFœ ‰ Jœ
π
∑
∑∑
∑˙
∑∑
Œ ‰ jœb>FŒ ‰ jœb>FŒ ‰ jœb>F∑
∑
∑∑
∑
Œ ‰ jœb>FŒ ‰ jœb>FŒ ‰ jœbF∑Œ ‰ jœF∑∑∑
œb œb> œb œ
œœœœbb . ‰ œœœœ. ‰ jœœbb
≈ .jœb fŒ
≈ .jœb fŒ
≈ .jœb fŒ
≈ .Jœb f‰arco jœb>F
≈ .Jœb f‰arco Jœb>F
∑
∑∑
∑∑
∑∑
˙
˙
˙∑
∑
∑∑
∑
˙˙
∑∑∑
∑∑∑
‰ œ œ œ œ œ œ
˙
∑∑∑
˙˙
∑
∑∑
∑∑
∑∑
˙
˙
˙∑
∑
∑∑
∑
˙˙
∑∑∑
∑∑∑
œ œ œb œb œ œ œn
˙
∑∑∑
˙˙
∑
∑∑
∑∑
∑∑
jœπ‰ Œ
jœπ‰ Œ
jœπ‰ Œ
∑
∑
∑∑
∑
jœπ‰ Œjœπ‰ Œ
∑∑∑
∑∑∑
œfœ. œn . œ.
œ œb œ œb œ œb œ œ
∑∑∑
jœπ‰ Œ
Jœπ‰ Œ
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ œ# œ# œ œ
œ# . œ. œ. œ.∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œn . œ# . œ. œn .
œ œ œ œ# œ# œ
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœœb œœœn# œœœ# œœœ##
.œ œn œ œ
∑∑∑∑∑
84
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&?
&&B??
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
AF
AF
260 ∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œœœbb œœœ## œœœ##n œœœn
œ .œ œn œn œn œ#
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
3œœœbbb - œœœ- œœœ##n -3
œn - œn - œn -
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ œ œ œ. œ. œ#œ œ.
œœbb - œœbb - œœnn -∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œ œ œ 3œ œ# œ3
œ# œ œnœœœb - œœœnb - œœœ# -
∑∑∑∑∑
∑
∑∑
∑∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œb œ œ œ 3œ œb œn œ# œ œ œ
œœœ# - œœœbb - œœœbn -
∑∑∑∑∑
∑
œa2
Fœ# . œ. œ. œ# œ œœFœ# . œ. œ. œ# œ œ
œa2
Fœ# . œ. œ. œ# œ œ
∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ> œ œ œ> œ# œ œ> œ# œ
.œ œ œ œ# œ .œ
∑∑∑
.œpizz.
F œ œ œ# œ .œ.œpizz.
Fœ œ œ# œ .œ
∑
œ# œ. œ. œ. œ œ œ
œ# œ. œ. œ. œ œ œ
œ# œ. œ. œ. œ œ œ
∑
∑∑
∑
∑
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ# . œ. œ. œœ# œ#
.œb œb œ œ œ .œb
∑arco
∑arco
∑arco
.œb œb œ œ œ .œ
.œb œb œ œ œ .œ
∑.˙.˙
.˙
∑
œF
a2 œ. œ. œ. œ. œ# œ
∑.œbF
œ œ œ œ .œ
.œbFa2 œ œ œ œ .œ
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ œ œ œ œ# œ
...œœœnb œœœ# œœœ œœœ œœœ ...œœœ
œπœb œ œb
cresc.
œ œ œb œ œb œ œ œbŒ Œ œ
πœ œb
cresc.
Ϸ
.œb œ œ œ œ .œ
.œb œ œ œ œ .œ
85
&
&&
&&
&&?
?
?
&
&
&&?
??
?
÷÷
&&?
&?
&&B??
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
268 ∑
.˙b
.˙b
.˙b
∑
œ œ. œ. œ. œ. œ œ#
∑.œ œ œ œ
fl Œ.œ œ œ œ
fl Œ
∑
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ œ œ œ œ œ#
.œ œ œ œflŒ &
œ œb œ œb œ œ œb œ œb œ œ œbœb œ œ œb œ œb œ œb œ œ œb œŒ Œ œP œb œ œb.œ œ œ œ
fl Œarco
.œ œ œ œfl Œarco
FFFF
F
∑
œ œ. œ# œ# . œn œb œ.
œ œ. œ# œ# . œn œb œ.
œ œ. œ# œ# . œn œb œ.
œFœ. œ# œ# . œn œb œ.
œ œ. œ# œ# . œn œb œ.
œFœ. œ# œ# . œn œb œ.
œ# œ. œ. œ. œ. œ
œ- œ- œ-
œ-Fœ- œ-
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ. œb œb . œ œb œ
œ œ. œb œb . œ œb œ
œ. œ. œ. œ. œ# œ. œ. œ. œ.œb œb . œ. œ. œ. œœ œ# . œ. œ. œ. œ#œ# œ. œ. œ. œ. œ
œ- œ- œ-
AG
AG
cresc.
cresc.
cresc.
cresc.
cresc.
∑
˙#cresc.
œ# œ œ˙#cresc.
œ# œ œ
˙#cresc.
œ# œ œ
˙#cresc.
œ# œ œ˙#cresc.
œ# œ œ
˙#cresc.
œ# œ œœ-cresc.
œ- œ# -œ-cresc.
œ- œ# -œ-cresc.
œ- œ# -∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ# œn œ œ œ#cresc.
œ# œ œ œ œ œ
œ# œ œ œ œ# œ# œ œ œ œ œ
œ œ# . œ. œ. œ. œ
œ. œ. œ. œ. œ œ œ. œ. œ.œ# œ# . œ. œ. œ. œœ œ œ#œ œ œ#
∑
˙ œ œ œ˙ œ œ œ
˙ œ œ œ
˙ œ œ œ˙ œ œ œ
˙ œ œ œ
œ.œ. œ# . œ# . œ.
œ.
œ.œ. œ# . œ# . œ.
œ.
œ.œ. œ# . œ# . œ.
œ.
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œ œ œb œ œb œb œ œ# œ œ œœ œ œb œ
œb œb œ œ# œ œ œ?
œ# . œ. œ. œ. œ œ. œ. œ. œ.œ œ# . œ. œ. œ. œœ œ# . œ. œ. œ. œ
œ œ. œ# . œ# . œ.œ.
œ œ. œ# . œ# . œ.œ.
∑.˙.˙
.˙
.˙
.˙
.˙œ# . œ# . œ. œ. œ. œ. œ. œ. œ. œ.œ# . œ# . œ. œ. œ. œ. œ. œ. œ. œ.œ# . œ# . œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑∑
∑
∑∑
∑∑∑
∑∑∑
œn œb œb œb œ# œn œn œn œn œœ œb
œn œb œb œb œ# œn œn œn œn œœ œb&
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fœ. œ œ. œ
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œb . œ œ. œœ.a2
fœ. œ œ. œ
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F
cresc.
cresc.
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cresc.
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œ.Fœ. œ. œ. œ. œ. œ# . œ. œ. œ.
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Œ Œ . jœb fŒ Œ . jœ
fŒ Œ . jœb f
∑
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jœf‰ Œ Œ
∑∑
∑∑∑
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œb œn œ# œ# œ# œ
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86
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÷÷
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√ ¤
275 ∑.˙#f .˙#f .˙#f.˙#f .˙#f .˙#f.f.f.f
3
œ œ. œb .3
œ œ. œ. 3
œdim.
œ. œ.3
œ œ# . œ.3œb œ. œn .
3
œdim.
œ. œb .
3
œ œ. œb .3
œ œ. œ. 3
œdim.
œ. œ.3
œ œ# . œ.3œb œ. œn .
3
œdim.
œ. œb ...˙F.F.F.æp
∑∑
∑∑∑
œŒ Œ
œ Œ Œ
œ- œ- œ-
œ- œb - œb -
œ# - œ# - œ œ
.˙
.˙
ffff
f
p
p
p
p
∑3œ œ œ-
3
œ œ œ3œ œb œ-
3
œ œ œ3œ œ œ-
3
œ œ œ3œ œ œ-
3
œ œ œb3œ œb œ-
3
œ œ œ3œ œ œ-
3
œ œ œb
3
œb œ œ3
œ œ œ3
œb œ œ
3
œb œ œ3
œ œ œ3
œb œ œ
œ# - œ- œ# -3
œ œ œb ˙3
œb œb œ ˙3
œ œ œb ˙3
œb œb œ ˙∑
∑∑
jœf‰ Œ Œ∑∑
∑∑∑
∑
∑3œ œ œ
3
œ œ œ3œ œb œ
3
œ œ œ3œ œ œ
3
œ œ œb
3
œb œ œ3
œ œ œ3
œb œ œ
3
œb œ œ3
œ œ œ3
œb œ œ
∑œb œb œ œb œ
œb œb œ œb œ
œb œb œ œb œ
œ œ œ œ œbœb œb œ œb œ
œ œ œ œ œb
˙ œ
˙ œ
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∑
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∑∑∑
∑
∑œbƒœb œ œb œ
œb œb œ œb œœ œ œ œ œb
˙ œn
˙ œn
∑
3
œ œ œb ˙
3
œ œ œb ˙
3
œ œ œb ˙
œ ˙b
3
œ œ œb ˙
œ ˙bœ ˙
œ ˙
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Œ . œbfœ œ œ œ œb
Œ . œb œ œ œ œ œb
3
œ œ œb ˙
3
œ œ œb ˙œ ˙#œ ˙œ ˙
ppppp
∑
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∑∑
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∑
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∑
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∑∑∑
œb . œ. œ œ œ. œ. œ œ œb . œ. œ.
œb . œ. œ œ œ. œ. œ œ œb . œ. œ.
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.˙b
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AH
AH
∑
œpœ. œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ.
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œpœ. œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ.
œflpœ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.
∑∑
∑
∑
∑
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∑
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∑
∑∑
∑∑∑
∑∑∑
∑
∑
œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œflFœ.
.œ jœ- œ# œ
.œ# jœ- œ œ#
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∑
Jœ#˘f ‰ Œ Œjœ#flf‰ Œ Œ
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∑∑
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œ# .Fœ. œ œ# œ. œ. œ œ œ. œ. œ
fœ# . œ. œ œ# œ. œ. œ œ œ. œ. œ
.œ#p
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∑
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œ#flPœ. œ. œ. œ œ. œ# . œ. œ œ. œ# . œ.
œflPœ. œ# . œ. œfl œ. œ# . œ. œ œ
. œ. œ.
œflPœ. œ# . œ. œfl œ. œ# . œ. œ œ
. œ. œ.
œPœ. œb . œ. œ œ. œ. œ. œbfl œ. œ. œ.
œflPœ. œb . œ. œfl œ. œ. œ. œbfl œ. œ. œ.∑
∑
∑
∑
∑
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∑Xylophone
∑∑
∑
∑ ?
œ#fl œ. œ. œ. œ œ. œ# . œ. œ œ. œ# .
Fœ.
œfl œ. œ# . œ. œfl œ. œ# . œ. œ œ. œ.Fœ.
œ œ. œb . œ. œfl œ. œ. œ. œbfl œ. œ.Fœ.
œ œ œbœ œ œb
87
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
283 ∑˙f
Œ˙f
Œ
˙#f
Œ˙#f
Œ
˙bf
Œ
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∑
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∑
∑
∑
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∑
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∑∑∑
œFœ œ œ œb cresc.
œ œ œ œ œ œ œn∑∑
œ.Fœ. œ œ œb .
cresc.
œ. œ œ œ. œ. œ œn
œ. œ. œ œ œb . œ. œ œ œ. œ. œ œn
.œp
.œb
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.œb .œ
.œb .œ
cresc.
cresc.
cresc.
cresc.
cresc.
∑
œ#˘Fœ. œ. œ
cresc.
œ. œ. œ#˘ œ. œ. œ œ. œ.
œFœ. œ. œ#˘
cresc.
œ. œ. œ œ. œ. œ#˘ œ. œ.
œœ˘Fœœ. œœ. œœ˘cresc.
œœ. œœ. œœ##˘ œœ. œœ. œœ
˘ œœ. œœ.
œ#flFœ. œ. œfl
cresc.
œ. œ. œ#fl œ. œ. œfl œ. œ.œFœ. œ. œ#˘
cresc.
œ. œ. œ œ. œ. œ#˘ œ. œ.
œ#flFœ. œ. œfl
cresc.
œ. œ. œ#fl œ. œ. œfl œ. œ.‰ jœ#flF
œ.cresc.
œfl œ# . œfl‰ jœflF
œ.cresc.
œ#fl œ. œ#fl∑
∑
∑
∑∑
∑
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œ œ œ œ# œ œ œ œ# œ œ œ œb∑∑
œ. œ. œ œ# œ. œ. œ œ# œ. œ. œ œb
œ. œ. œ œ# œ. œ. œ œ# œ. œ. œ œb
œb˘ œ. œb˘ œ. œ œb .
œ œb . œ œb . œ œ.
œfl œb . œnfl œ. œb˘ œn .
Jœ jœfl œ. œ#fl œ. œ#flJœ jœfl œ. œ#fl œ. œ#fl
∑œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œœ##˘ œœ. œœ. œœ
˘ œœ. œœ. œœ##˘ œœ. œœ. œœ
˘ œœ. œœ.
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œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œ# . œ œ. œ#˘ œ. œ#˘
œ. œ#fl œ. œfl œ# . œfl‰. jœ#flf
œ. œfl œ# . œfl∑
∑
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∑
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œb œ œ œ œb œ œ œn œ œ œ œn
∑∑
œb . œ. œ œ œb . œ. œ œn œ. œ. œ œn
œb . œ. œ œ œb . œ. œ œn œ. œ. œ œn
œ œ# . œn˘ œ# . œ œ# .
œ#fl œn . œ#fl œ. œ#fl œ.œ#˘ œ. œ œ# . œ œ# .
œ. œ#fl œ. œfl œ# . œflœ. œ#fl œ. œfl œ# . œfl
∑œ>ƒœ œ. ‰
œ> œ Jœ.‰
œn>ƒœ œ. ‰ œ> œ Jœ. ‰œœ>ƒœœœœ. ‰ œœ> œœ Jœœ. ‰
œ>ƒœ œ. ‰ œ> œ Jœ. ‰
Jœƒ‰ œ œfl ‰
jœjœflƒ‰œ œfl
‰ jœJœƒ ‰
œ œ ‰ Jœjœ#flƒ‰ œ# œfl ‰ jœjœ#flƒ‰ œ# œfl ‰ jœ
œn>fa2
œ œ. ‰ œ> œjœ. ‰
jœflfa2 ‰ œ œfl ‰
jœœ>f
a2œ œ. ‰ œ> œ Jœ. ‰œ>f œœ. ‰ œ> œ Jœ
. ‰
∑
∑∑
jœ#flf‰ œ# œfl ‰ jœ∑∑
Jœ#˘ƒ‰ Œ Œ∑∑
Jœ#˘ƒ‰ Œ Œ
Jœ#˘ ‰ Œ Œ
œ>ƒœ œ. ‰ œ> œ Jœ. ‰œ>ƒ œœ. ‰ œ> œ Jœ
. ‰Jœƒ ‰
œ œ ‰ Jœjœ#flƒ‰ œ# œfl ‰ jœjœ#flƒ‰ œ# œfl ‰ jœ
∑œ> œ œ. ‰
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œœ> œœœœ. ‰ œœ œœ
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jœfl ‰ œ œfl ‰ Jœ
jœfl‰œ œfl
‰ jœflJœ ‰ œ œ ‰ Jœ
jœ#fl ‰ œ# œfl ‰ jœfljœ#fl ‰ œ# œfl ‰ jœflœ> œ œ. ‰ œ œ
œ œ œ œjœfl ‰ œ œfl ‰ Jœœ> œ œ. ‰ œ œ# œ œ œ œ
œ> œ œ. ‰ œ œœ œ# œ œ
∑
∑∑
jœ#fl ‰ œ# œfl ‰ jœ∑∑
∑∑∑
∑
∑ &
œ> œ œ. ‰ œ œ# œ œ œ œ
œ> œ œ. ‰ œ œœ œ# œ œ
Jœ ‰ œ œ ‰ Jœ
jœ#fl ‰ œ# œfl ‰ jœjœ#fl ‰ œ# œfl ‰ jœ
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∑œFœ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ#˘Fœ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œœ˘Fœœ. œœ. œœ##˘ œœ. œœ. œœ
˘ œœ. œœ. œœbb˘ œœ. œœ.
œFœ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ#˘Fœ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œflFœ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ.Fœ#˘ œ. œ#˘ œ. œ
œ# .Fœfl œ# . œ œ. œ#˘
œ# .Fœfl œ# . œ œ. œ#˘
œ#flFœ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.
œflFœ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œFœ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œFœ. œ. œ#˘ œ. œ. œ œ. œ. œb˘ œ. œ.
∑
∑∑
jœ#fl ‰ Œ Œ∑∑
œfœ œ œ œ œ œ œ# œ œ œ œ#
∑∑
œ.fœ. œ œ œ. œ. œ œ# œ. œ. œ œ#
œ. œ. œ œ œ. œ. œ œ# œ. œ. œ œ#
œ#˘ œn . œ œ. œ#˘ œ.
œ œ# . œn˘ œ# . œ œ# .œ œ# . œ œ# . œ œ.
œ# . œfl œ# . œ œ. œ#˘
œ# . œfl œ# . œ œ. œ#˘
∑œ>ƒœ œ. ‰
œ> œ Jœ.‰
œn>ƒœ œ. ‰ œ> œ Jœ. ‰œœ>ƒœœœœ. ‰ œœ> œœ Jœœ. ‰
œ>ƒœ œ. ‰ œ> œ Jœ. ‰
Jœƒ‰ œ œfl ‰
jœjœflƒ‰œ œfl
‰ jœJœƒ ‰
œ œ ‰ Jœjœ#flƒ‰ œ# œfl ‰ jœjœ#flƒ‰ œ# œfl ‰ jœ
œn>f œœ. ‰ œ> œ
jœ. ‰jœflf‰ œ œfl ‰
jœœ>fœ œ. ‰ œ> œ Jœ. ‰œ>f œœ. ‰ œ> œ Jœ
. ‰
.˙#fa2
.˙#f.˙#fjœ#fl ‰ œ# œfl ‰ jœ
∑∑
œ#ƒ
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Œ Œ
œ# Œ Œ
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. ‰Jœƒ ‰
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88
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÷÷
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42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
√
290 ∑œ> œ œ. ‰
œ œ# œ œ œ œ
œ> œ œ. ‰ œ œ œ œ œ œ
œœ> œœœœ. ‰ œœ œœ
œœ œœ## œœ œœœ œ œ. ‰ œ œ# œ œ œ œ
jœfl ‰ œ œfl ‰ Jœ
jœfl‰œ œfl
‰ jœflJœ ‰ œ œ ‰ Jœ
jœ#fl ‰ œ# œfl ‰ jœfljœ#fl ‰ œ# œfl ‰ jœflœ> œ œ. ‰ œ œ
œ œ œ œjœfl ‰ œ œfl ‰ Jœœ> œ œ. ‰ œ œ# œ œ œ œ
œ> œ œ. ‰ œ œœ œ# œ œ
.˙
.˙
.˙jœ#fl ‰ Œ Œ
∑Snare drum
∑Bass drum
∑∑∑
∑
∑
œ> œ œ. ‰ œ œ# œ œ œ œ
œ> œ œ. ‰ œ œœ œ# œ œ
Jœ ‰ œ œ ‰ Jœ
jœ#fl ‰ œ# œfl ‰ jœjœ#fl ‰ œ# œfl ‰ jœ
AI
AI
cresc.
∑œ.Fœ# . œ.
cresc.
œ œ. œ. œ#˘ œ. œ. œ œ. œ.œ.Fœ. œ.
cresc.
œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.œœ.
Fœœ. œœ.
cresc.
œœ˘ œœ. œœ. œœ##
˘ œœ. œœ. œœ˘ œœ. œœ.
œ# .Fœ# . œ.
cresc.
œ œ. œ. œ#fl œ. œ. œfl œ. œ.œ.Fœ. œ.
cresc.
œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œ# .F œ. œ.cresc.
œ œ. œ. œ#fl œ. œ. œfl œ. œ.‰ œflF
œ. œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.‰ œflF œ.
œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.‰ œflF œ.
œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.œ.F œ. œ.
cresc.
œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.
œ# .F œ. œ.cresc.
œ œ. œ. œ#fl œ. œ. œfl œ. œ.œ.Fœ# . œ.
cresc.
œ œ. œ. œ#fl œ. œ. œfl œ. œ.œ.F œ. œ.cresc.
œfl œ. œ. œ#fl œ. œ. œfl œ. œ.‰ œflF
œ. œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.‰ œflF œ.
œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.‰ œflF œ.
œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.∑
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œ. œ.Fœ œ#
cresc.
œ. œ. œ œ# œ. œ. œ œ#∑∑
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œ. œ. œ œ# œ. œ. œ œ# œ. œ. œ œ#œb˘Fœ. œ œ.
cresc.
œb˘ œ. œ œ. œ œ. œb˘ œ.
œFœ. œb˘ œ.
cresc.
œ œ. œb˘ œ. œ œ. œ œ.
œflFœ. œbfl œ.
cresc.
œnfl œ. œbfl œ. œnfl œ. œfl œ.‰ œflF œ.
œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.‰ œflF œ.
œflcresc.
œ. œ#fl œ. œfl œ. œ#fl œ.
∑œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œœ##˘ œœ. œœ. œœ
˘ œœ. œœ. œœ##˘ œœ. œœ. œœ
˘ œœ. œœ.
œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.
œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.
œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.
œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.
œfl œ. œ. œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ.œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.
œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.
∑.˙
∑
œ# . œ. œ œn œ# . œ. œ œn œ. œ. œ œ
∑∑
œ# . œ. œ œn œ# . œ. œ œn œ. œ. œ œ
œ# . œ. œ œn œ# . œ. œ œn œ. œ. œ œ
œ œ. œb˘ œ. œb˘ œ. œn˘ œ. œ œ. œ œ.
œbfl œ. œfl œ. œbfl œ. œnfl œ. œbfl œ. œnfl œ.œb˘ œ. œn˘ œ. œb˘ œ. œn˘ œ. œ œ. œ#˘ œ.
œfl œ. œ#fl œ. œfl œ. œfl œ. œ#fl œ. œfl œ.œfl œ. œ# œ. œfl œ œ œ œ#fl œ. œfl œ.
∑œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œœ˘ œœ. œœ. œœ##
˘ œœ. œœ. œœ˘ œœ. œœ. œœ##
˘ œœ. œœ.
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œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ. œb˘ œ.
œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ. œb˘ œ.
œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ. œb˘ œ.
œ#fl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.
œfl œ. œ. œfl œ. œ. œ#fl œ. œ. œfl œ. œ.œ œ. œ. œ œ. œ. œ#˘ œ. œ. œ œ. œ.
œ œ. œ. œ#˘ œ. œ. œ œ. œ. œ#˘ œ. œ.
œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ. œb˘ œ.
œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ. œb˘ œ.
œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ. œb˘ œ.
∑
æ.æpœ. œ. œ œ# œ. œ. œ œ# œ. œ. œ œ#
∑∑
œ œ œ œ# œ œ œ œ# œ œ œ œ#
œ œ œ œ# œ œ œ œ# œ œ œ œ#
œn˘ œ. œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ.
œb˘ œ. œn˘ œ. œ œ. œ#˘ œ. œ œ. œ#˘ œ.œ œ. œ#˘ œ. œ œ. œ#˘ œ. œ œ. œ œ.
œ#˘ œ. œ œ. œ œ. œ#˘ œ. œ œ. œ#˘ œ.
œ#˘ œ. œ œ. œ œ. œ# œ. œ œ. œ#˘ œ.
∑œ#>
ƒœ# œ. ‰
œ>
cresc.
œ Jœ.‰
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>cresc.
œ Jœ. ‰œœ##>
ƒœœ##œœ. ‰ œœ>
cresc.
œœ Jœœ. ‰
œ#>ƒœ# œ. ‰ œ>
cresc.
œ Jœ. ‰
Jœ#˘ƒ‰ œ œ#˘
cresc.
‰ jœflœ# >ƒœ# œ ‰ œ>
cresc.
œ Jœ. ‰
Jœƒ‰ œ œ
cresc.
‰ jœflJœƒ‰ œ œ
cresc.
‰ jœflJœƒ‰ œ œ
cresc.
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cresc.
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cresc.œ jœ. ‰
œ# >ƒœ# œ ‰ œ>
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cresc.
œ Jœ. ‰
Jœn˘ƒ‰ œ œ
cresc.
‰ jœflJœn˘ƒ‰ œ œ
cresc.
‰ jœflJœn˘ƒ‰ œ œfl
cresc.
‰ jœflJœf‰ œ œ ‰ jœ
œf
œ œ ‰ œ œ Jœ ‰jœf‰ œ œ ‰ jœ
œ#>ƒœ# œ. ‰ œ> œ Jœ. ‰
∑∑
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œœ. ‰
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jœœ.‰
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cresc.
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cresc.
œ Jœ. ‰Jœƒ‰ œ œ#fl
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cresc.
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‰ jœfl
∑œ#> œ# œ. œ> œ œ.
œ> œ œ. œ> œ œ.
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œ#> œ# œ. œ> œ œ.
œ#˘ œ œ œœ#> œ# œ. œ> œ œ.
œ œ. œ œ.
œ œ. œ œ.œ œ. œ œ.
œ#> œ# œ. œ> œ œ.
œ#> œ# œ. œ> œ œ.œ#> œ# œ. œ> œ œ.
œ#> œ# œ. œ> œ œ.œ œ œ œœ œ œ œ
œfl œ œfl œœcresc.
œ œ œœcresc.
œ œ œ œ œ
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∑∑
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œ#> œ# œ. œ> œ œ.
œ#> œ# œ. œ> œ œ.œ#fl œ œfl œœ œ œ œœ œ œ œ
89
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&&
&&
&&?
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Pic.
Fl.1-2
Fl.3
Ob.1-2
E.H.
Cl.1-2
Cl.3
B.Cl.
Bn.1-2
CBn
Hn.1-2
Hn.3-4
Tp.1-2
Tp.3
Tn.1-2
Tn.3
Tb.
Timp.
Perc.1
Perc.2
Perc.3
Vn.I
Vn.II
Va.
Vc.
S.B.
Hp.
Pno.
(√)
296 ∑œ#> œ# œ. ‰
œ> œ Jœ.‰
œ> œ œ. ‰ œ> œ Jœ. ‰
œœ##> œœ##œœ. ‰ œœ
> œœ Jœœ. ‰
œ#> œ# œ. ‰ œ> œ Jœ. ‰
Jœ#˘ ‰ œ œ ‰ jœflœ#> œ# œ. ‰ œ> œ Jœ. ‰
Jœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœflœ#> œ# œ. ‰ œ> œ Jœ
. ‰
œ#> œ# œ ‰ œ> œjœ. ‰
œ#> œ# œ ‰ œ> œ Jœ. ‰œ#> œ# œ. ‰ œ> œ Jœ
. ‰
Jœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœfljœfl‰ œ œfl
‰ jœflJœ ‰ œ œ ‰ jœœ œ œ ‰ œ œ Jœ ‰jœ ‰ œ œ ‰ jœœ#> œ# œ. ‰ œ> œ Jœ. ‰
∑∑
œœ##> œ# œœ. ‰ œœ> œ J
œœ. ‰
œœ##> œ#œœ.‰ œœ> œ
jœœ.‰
œ# > œ# œ ‰ œ> œ Jœ. ‰œ#> œ# œ. ‰ œ> œ Jœ
. ‰Jœ ‰ œ œ#fl ‰ jœflJœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœfl
∑œ#> œ# œ. œ> œ œ.
œ> œ œ. œ> œ œ.
œœ##> œœ##œœ. œœ> œœœœ.
œ#> œ# œ. œ> œ œ.
œ#˘ œ œ œœ#> œ# œ. œ> œ œ.
œ œ. œ œ.
œ œ. œ œ.œ œ. œ œ.
œ#> œ# œ. œ> œ œ.
œ#> œ# œ. œ> œ œ.œ#> œ# œ. œ> œ œ.
œ#> œ# œ. œ> œ œ.œ œ œ œœ œ œ œ
œfl œ œfl œœ œ œ œœ œ œ œ œ œ
œ œ
œ#> œ# œ. œ> œ œ.
∑∑
œœ## œ# œœ. œœ œ œœ.
œœ## œ# œœ.œœ œ œœ.
œ#> œ# œ. œ> œ œ.
œ#> œ# œ. œ> œ œ.œ#fl œ œfl œœ œ œ œœ œ œ œ
∑œ#> œ# œ œ> œ œ œ> œ œ
œ> œ œ œ> œ œ œ> œ œ
œœ##> œœ##œœ œœ> œœœœ œœ> œœœœ
œ#> œ# œ œ> œ œ œ> œ œ
œ#˘ œ œ œ œ œœ#> œ# œ œ> œ œ œ> œ œ
œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ#> œ# œ. ‰ œ> œ Jœ
. ‰
œ# > œ# œ ‰ œ> œjœ. ‰
œ# > œ# œ ‰ œ> œ Jœ. ‰œ#> œ# œ. ‰ œ> œ Jœ
. ‰
Jœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœfljœfl‰ œ œfl
‰ jœflœ œ œ œ œ œœ œ œ ‰ œ œ Jœ ‰jœ ‰ œ œ ‰ jœœ#> œ# œ. ‰ œ> œ Jœ. ‰
∑∑
œœ##> œ# œœ. ‰ œœ> œ J
œœ. ‰
œœ##> œ#œœ.‰ œœ> œ
jœœ.‰
œ# > œ# œ ‰ œ> œ Jœ. ‰œ#> œ# œ. ‰ œ> œ Jœ
. ‰Jœ ‰ œ œ#fl ‰ jœflJœ ‰ œ œ ‰ jœflJœ ‰ œ œ ‰ jœfl
ƒƒƒ
≈ œƒœ# œ œ# œ œ# œ œ œ# œ œ#
œ#˘ œ œ# œ œ# œ œ# œ œ œ# œ œ#
œ œ œ# œ œ œ# œ œ# œ œ# œ œ
œœ##fl œœ## œœ œœn œœ##œœ œœ## œœ œœ œœ##
œœ œœ##œ#˘ œ œ# œ œ# œ œ# œ œ œ# œ œ#
œ#fl œ œ# œ œ œ# œ œ# œ œ# œ œnœ#˘ œ œ# œ œ# œ œ# œ œ œ# œ œ#
œfl œ œ# œ œ# œ œ# œ œ œ# œ œ#
œfl œ œ# œ œ# œ œ# œ œ œ# œ œ#
œfl œ œ# œ œ# œ œ# œ œ œ# œ œ#
œ#fl œ œ# œ œ# œ œ# œ œn œ#œ œ#
œ#fl œ œ# œ œ œ# œn œ# œ œ# œ œœ#˘ œ# œ œ œ# œ œ# œ œ œ# œn œ#
œnfl œ# œ œ œ# œ œ# œ œ œ# œ œ#
œn> œ#> œ# œb> œ œ>œn> œ#> œ# œb> œ œ>œn> œ#> œ# œb> œ œ>.æ.æ.æœ# œ œ# œ œ# œ œ# œ œ œ# œ œ#
∑∑
œ#> œn œ# œn œ# œ œ# œ œ œ# œ œ#
œ#> œn œ# œn œ# œ œ# œ œ œ# œ œ#
œ# œ œ# œ œ# œ œ# œ œ œ# œ œ#œ# œ# œ œ œ# œ œ# œ œ œ# œ œ#œ œ œ# œ œ œ# œ œ# œ œ# œ œœn œ œ# œ œ# œ œ# œ œ œ# œ œ#œn œ œ# œ œ# œ œ# œ œ œ# œ œ#
ÏÏÏÏÏ
cresc.
cresc.
JœÏ‰ Œ Œ
JœÏ ‰ Œ ŒJœ#˘Ï‰ Œ Œ
Jœœ˘Ï‰ Œ Œ
JœÏ‰ Œ Œ
Jœ#˘Ï‰ Œ Œ
JœÏ‰ Œ Œ
JœÏ‰ Œ œ#
πJœÏ‰ Œ œ#
πJœÏ‰ Œ œ
πJœÏ‰ Œ Œ
Jœ#˘Ï‰ Œ ŒJœÏ‰ Œ Œjœflω Œ Œ
JœÏ‰ ˙bπ
JœÏ‰ ˙bπjœflωπ
.æsubito pJœ ‰ Œ Œ
.æsubito pœƒŒ Œ∑∑
Jœ ‰ Œ œb
Fœ
Jœ ‰ Œ œb œ
Jœ ‰ Œ Œjœfl ‰ Œ Œ
Jœ#˘ ‰ Œ Œ
Jœ ‰ ˙#πJœ ‰ ˙#π
Œ .œ>ƒœ> œ> œ> œ> œ>
Œ .œ>ƒœ> œ> œ> œ> œ>
Œ . œ>ƒœ> œ> œ> œ> œ>
Œ . œ>ƒœ> œ> œ> œ> œ>
Œ . œ>ƒ œ>œ> œ> œ> œ>
Œ . œ#>ƒœ#> œ> œ#> œ> œ>
Œ . œ>ƒœ#> œ> œ> œ> œ>
.˙
.˙
.˙
Œ Œ œ#flƒœ#fl œfl œ#fl
Œ Œ œflƒ œfl œfl œbflŒ . œ
ƒœ œ œ œ œ
Œ . œflƒœfl œflœfl œfl œfl
.˙
.˙
.˙
.æ∑
.æ
Œ . œƒœ œ œ œ œ
∑∑
3
œ œb œ œb œ œb . œ. œ œn˘ œ œ3œ œb œ œb œ œb . œ. œfl œnfl œfl œfl
Œ Œ œƒœ œ œ
Œ Œ œ#flƒœ#fl œfl œ#fl
Œ Œ œƒœ œ œb˘
.˙
.˙
Jœ#˘Ï‰ Œ Œ
Jœ#˘Ï‰ Œ Œ
Jœ#˘Ï‰ Œ Œ
Jœ#˘Ï‰ Œ Œ
jœ#flω Œ Œ
JœÏ‰ Œ Œjœflω Œ Œ
JœÏ‰ Œ Œjœ#flω Œ Œ
Jœ#˘Ï ‰ Œ Œjœflω Œ Œ
jœflω Œ Œ
Jœ#˘Ï‰ Œ Œ
jœ#flω Œ Œ
jœnflω Œ Œjœnflω Œ Œjœnflω Œ Œ
JœÏ‰ Œ Œ
JœÏ‰ Œ Œjœflω Œ Œ
Jœ#˘Ï‰ Œ Œ∑∑
Jœ#˘Ï‰ Œ Œ
jœ#fl‰ Œ Œ
Jœ#˘Ï‰ Œ Œjœnflω Œ Œjœflω Œ Œjœ#flω Œ Œjœ#flω Œ Œ
90
91
PART 2: AN ANALYSIS OF CAMARGO GUARNIERI’S CONCERTO No. 5 PARA PIANO E ORQUESTRA
92
CHAPTER 1. INTRODUCTION
1.1 General Considerations
The second part of this dissertation is an analysis of Camargo Guarnieri’s Concerto No. 5
para Piano e Orquestra with respect to its compositional aspects. Although this analysis utilizes
historical information and analytical tools, its primary focus is the examination of the
compositional forces that led the composer to write this piece. This introductory chapter
contains a general overview of the piece and the description of a system that I devised to classify
the melodic and harmonic entities used by the composer in this particular piece. Moreover, in
order to understand the context in which Guarnieri wrote his fifth piano concerto, it is necessary
to situate him within the history of Brazilian music, especially within Brazilian nationalism,
since he considered himself a nationalistic composer. Therefore, it is necessary to provide a
brief historical background of Guarnieri’s own life and of the musical environment that
surrounded him as well. These two latter aspects are covered in the following section.
1.2 Historical Background
The purposes of this section are: (a) to draw attention to some significant facts in the
history of Brazilian music and (b) to provide information about Guarnieri’s life as a composer
and his role within Brazilian nationalism. These two topics will provide the necessary
background to understand Guarnieri’s compositional views and their connections with Brazilian
cultural life.
The history of European-derived music in Brazil can be traced to as early as 1500, the
very year of the Portuguese arrival and occupation of the new territory. The cultural influence of
the Catholic Church, especially the Jesuits, during the first years in the new land was very strong
in all artistic expressions, including music, which was mainly used as a tool to Christianize the
93
natives. Therefore, music was powerfully connected with religion in the beginning of the
colonial period. This connection, which would endure until the first quarter of the 19th century,
contributed to the establishment of religious folk practices throughout Brazil.1 Important events
of the first century of colonization were the establishment of the first theatre in Rio de Janeiro
(1555) by Father José de Anchieta,2 the creation of the position of mestre-de-capela
(Kapellmeister) in Salvador, the capital of Brazil at that time (1559),3 and the foundation of the
first conservatory in the Americas by Father Manuel da Nóbrega. This institution started
conferring Master of Arts degrees in 1578.4
An important characteristic of the 17th century was the establishment of small charamela
ensembles throughout the country.5 Most of the performers, called “charamelleyros,” were
black slaves, and they performed sacred music from European tradition. Daniel Arce mentions
that at least one composition from that time has survived: an anonymous parody Mass a 4
subtitled sobre o gram Senhora.6 Also important in the 17th century was the period of Dutch
1 Mário de Andrade divides the evolution of Brazilian music in three phases: God, Love,
and Nationalism. The first phase corresponds to the influence of the Jesuits; the second phase, which starts with the Independence (1822), is influenced by secular music, such as Italian opera and modinha (Brazilian sentimental art song from the 18th and 19th centuries); the third phase starts with the Civil Wars in the South. Léa Vinocur Freitag, Momentos de Música Brasileira (São Paulo: Nobel, 1985), 30-31.
2 Daniel Mendonza de Arce, Music in Ibero-America to 1850 – A Historical Survey (Lanham, MD: The Scarecrow Press, Inc., 2001), 78.
3 Ibid., 150.
4 Ibid., 58.
5 Double reed instrument. The word “charamela” means reed in Portuguese.
6 Daniel Mendonza de Arce, op.cit.,151.
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domination of Pernambuco because of the contact with the music of Flemish composers of the
Renaissance, especially Josquin des Préz. 7
In the following century, the important factor that contributed to the increase of musical
activity was the discovery of gold and diamonds in the State of Minas Gerais, in the southeastern
part of Brazil. In this century important composers appear such as Lobo de Mesquista (1746-
1805), who wrote more than three hundred works. The first Brazilian opera, “Felinto Exaltado,”
was staged in Rio de Janeiro on December 1746.8
The next century started with the arrival, in 1808, of the Portuguese royal family in Brazil
to escape the expansion of Napoleon’s Empire in Europe. The most important composer of the
early 19th century was Father José Maurício Nunes Garcia (1767-1830), who wrote
approximately four hundred works, mostly sacred music. After the Brazilian Independence from
Portugal, in 1822, the Italian opera became the center of the musical life in Brazil and Dom
Pedro II, the second emperor of Brazil, created the Imperial Academy of Music and National
Opera. One important composer of the second half of the 19th century was Carlos Gomes, the
internationally celebrated composer of the opera Il Guarani, which premiered in Milan, in 1870.
Gomes is considered to be the first composer to use national elements in his music. His piece for
piano A Cayumba, written in 1857, and based on a black dance, as well as Brasílio Itiberê da
Cunha’s A Sertaneja, written in 1869, are the oldest pieces that employ folk elements. Some
7 Pernambuco, which is a tree whose wood is excellent for making violin bows, is also
the name of a state in the Northeastern part of Brazil.
8 Daniel Mendonza de Arce, op.cit., 226.
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musicologists consider Alberto Nepomuceno (1864-1920) to be the true precursor of nationalism
in Brazil, however.9
In 1922, two years after Nepomuceno’s death, one of the most important events in the
history of Brazilian music took place—the Week of Modern Art, which consisted of a series of
concerts, conferences, and expositions of visual art. This event launched the modernistic
movement that in Brazil was strongly connected with nationalism. Heitor Villa-Lobos (1887-
1959), who was the central musical figure in the early stage of this movement, is regarded as a
composer of the first nationalistic generation, according to musicologist Vasco Mariz. In his
classification of the musical periods in Brazil, Mariz also mentions two more nationalistic
generations: the second generation includes composers such as Lorenzo Fernandez, Jaime Ovale,
and Francisco Mignoni, and the third generation Radamés Gnattali, José Siqueira, Waldemar
Henrique, and Camargo Guarnieri, among others.10
Mozart Camargo Guarnieri was born in Tietê, in the state of São Paulo, Brazil, on
February 1, 1907. 11 His father Miguel Guarnieri, an Italian immigrant barber who could play the
flute, gave him his first musical training. In 1923, his family moved to São Paulo city, the
capital of the state, and Guarnieri started working very hard to survive as a musician. His
excellent piano sight-reading skills made it possible for him to work in music stores as a pianist.
This job was also a good opportunity for him to get acquainted with the classical repertoire
during his free time. At that time he had a very hard life and a very busy schedule. In the
9 Vasco Mariz, História da Música no Brasil, (5a. Ed. Rio de Janeiro: Civilização
Brasileira, 1999), 97.
10 Ibid., 111-216.
11 Ibid., 217-230.
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mornings he worked at the barbershop with his father, in the afternoon he worked at the music
store, in the evening he played background music for silent movies until 11 p.m., and after that
he would play in the nightclubs until 6 a.m. It was this very intense musical life as a performer
that made it possible for him to assimilate very deeply the various genres of Brazilian music.
Parallel to the cultivation of national music, a movement towards twelve-tone music
gradually began in Brazil at this time. The arrival of German composer and educator Hans-
Joachim Koellreutter, in 1937, was crucial to this new tendency. Koellreutter came to Brazil in
order to escape from the Nazi regime. He founded the group Música Viva, which was dedicated
to the study and use of serialism as a compositional technique. In 1944, this group started a
series of radio programs to introduce this type of music to the public. In 1946, they published an
important document called Manifesto de 1946, in which they explained their philosophy and
principles. This document triggered an anti-dodecaphonic campaign promoted by the
nationalistic composers, especially Camargo Guarnieri. In 1950, Guarnieri wrote the Carta
Aberta aos Músicos e Críticos do Brasil (Open Letter to the Musicians and Critics of Brazil), in
which he described the twelve-tone technique as a mechanical means of composition that could
destroy authentic Brazilian music and adversely affect younger generation of composers.
Later, as he used quasi-serial techniques in his fifth piano concerto, he was asked if he
had changed his opinion. He said, “ I am not changing my opinion. I live in the present and my
music is contemporary. You can recognize that this is my music, but its personality is always
connected with the present.”12 Indeed, even though the sonorities of his fifth piano concerto, for
12 Marion Verhaalen, Camargo Guarnieri: Expressões de uma Vida. Trans. by Vera
Sílvia Camargo Guarnieri. (São Paulo: Editora da Universidade de São Paulo/ Imprensa Oficial, 2001), 76. It is interesting to observe that Guarnieri, like other composers, such as Stravinsky, Copland, Barber, etc., adopted serial procedures to his own style.
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example, are far from the tonal-modal sonorities used by other Brazilian nationalistic composers,
they have little connection with the music of other international composers of the same period.
The complexities and angularities found in Guarnieri’s late music seemed to have evolved
naturally from the extensive use of contrapuntal elaborations and textural and timbristic
experimentations. The next section provides a general overview and a historical background for
Guarnieri’s fifth piano concerto.
1.3 General Overview of Guarnieri’s Fifth Concerto for Piano and Orchestra
Guarnieri, who was a fine pianist, wrote ten works for piano and orchestra, including six
piano concertos.13 The Concerto No. 5 para piano e orquestra was commissioned by Jornal do
Brasil to be performed during the II Festival de Música da Guanabara (Second Music Festival
of Guanabara State).14 Guarnieri wrote this twenty-three minute piece in the short period of one
month (January 1970), when he was teaching at the Universidade Federal de Goiânia (Goiânia
Federal University, in the central part of Brazil). The first performance was given in May 1970
by Brazilian pianist, Laís de Souza Brasil, to whom the piece is dedicated. In 1973, a
performance in the U.S.A. was given by the same pianist and with the composer, Guarnieri,
conducting the Chicago Symphony Orchestra.
The fifth concerto is in three movements entitled: Improvisando, Sideral, and Jocoso.
The first movement is in sonata-allegro form, the second in monothematic ABA form, and the
13 In fact, his first symphonic work was the Piano Concerto No.1 (1931), composed thirteen years before his first symphony.
14 Guanabara was the former name of the State of Rio de Janeiro.
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third, an arch form (ABCBA).15 According to Guarnieri, the second movement (slow) was the
first to be written.16 The piece is entirely built upon the gesture shown in Figure 1.1, i.e., an
ascending major seventh, two descending minor seconds, and a descending minor third.17 First
and last notes of this five-note motive form a tritone. This five-note motive is used in both an
ordered and an unordered manner; for example, the first theme of the second thematic group of
the first movement consists of the juxtaposition of two different forms of this motive, each form
having a different order of notes (see Figure 2.13).
Figure 1.1. The generative idea of the concerto
This basic motive is used cyclically, i.e., it is employed in all three movements not only
as a melodic motive but also as the generative structure for the harmonic language. Thus,
sonorities such as major seventh (first interval), minor second (second and third intervals), as
well as quartal harmonies (a perfect fourth is the interval between second and last pitches) derive
15 Marion Verhaalen, op.cit., 232. In the program notes about this piece, Guarnieri
himself mentions that the second movement is monothematic, i.e., built upon only one theme, and is organized in three parts: exposition, development, and recapitulation. Dr. Verhaalen labels these three parts as ABA.
16 Ibid., 230.
17 Figure 2.1 shows how this motive appears for the first time in the piece.
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from this basic motive.18 This five-note motive is enunciated at the very beginning of the
concerto by the orchestra and systematically elaborated by both piano and orchestra throughout
the entire piece, which closes with the opening gesture.
1.4 Classification of the Types of Sonorities Used in This Analysis
Since the harmonic language in this piece is not based on common-practice principles,
the traditional methods of harmonic analysis will not be used. Instead, I will introduce a method
of various types of sonorities, defined here as entities containing two or more harmonic and/or
melodic intervals generated through octave displacement of one of its components, in an
unordered fashion. For this I will consider the following principles:
Principle of Enharmonic Equivalence. According to this principle, enharmonic intervals
will be considered equivalent. Therefore, unlike in conventional tonal music, an augmented
second equals a diminished third, a diminished octave equals a major seventh, and so on.
Principle of Octave Equivalence. According to this principle, C0 equals C1, which equals
C2 and so forth (in this paper, C4 is middle C).
Principle of Inversional Equivalence. This principle is a direct consequence of the
principle of octave equivalence. According to it, the interval created by octave displacement of
one of the components of a given interval is taxonomically equivalent to the interval itself. This
applies also to compound intervals. See in Figure 1.2 that a perfect fifth (P5) equals a perfect
fourth (P4) since the difference between these two intervals only happens through octave
18 I give special attention to the second and the last pitch because they are salient. The
second pitch is salient because it is the highest note. The last note is salient because it is the goal of the five-note motive, when presented melodically. In addition, the second, fourth, and fifth pitches can be interpreted as both an incomplete tertian tetrad (major or minor, G-[B]-D-F) or an incomplete quartal tetrad (D-G-[C]-F).
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displacement of one of the two notes. This principle creates classes of intervals (shown in Table
1.1) that will be used to classify the sonorities in Guarnieri’s piece.
Figure 1.2. Inversional equivalence
Table 1.1. The interval classes
Interval Class Members of the Interval Class m2/M7 m2 M7 M2/m7 M2 m7 m3/M6 m3 M6 M3/m6 M3 m6 P4/P5 P4 P5 A4/d5 Aug4 Dim5
Types of Sonorities.
Figure 1.3. Examples of Type 1 sonority
The Type 1 sonority is a trichord containing the following intervals or their equivalents:
tritone, perfect fourth (or perfect fifth), and major seventh (or minor second). Notice that the
tritone has to be present to characterize this sonority. For example, all the trichords shown in
Figure 1.3 are members of the Type 1 sonority, for the purpose of this analysis. I also mention
that this sonority corresponds to the first, the highest, and the last notes of the five-note motive
(see Figure 1.4).
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Figure 1.4. Intervallic relationship between first, highest, and last notes of the five-note motive
The Type 2a sonority is a trichord containing two consecutive perfect fourths or two
intervals that can be arranged in perfect fourths through octave displacements. For example all
the trichords shown in Figure 1.5 are members of sonority Type 2, which is related to quartal
harmony. As we will see during the analytical process, Guarnieri uses quartal harmony
plentifully. If the entity has more than three perfect fourths, the sonority will be called Type 2b.
Notice that Type 2 does not have a tritone; this is the crucial difference between Types 1 and 2.
Figure 1.5. Examples of Type 2a sonority
Comparing the intervallic relationships of Types 1 and 2 sonorities, one can see that Type
2 can be considered a contraction of Type 1. This contraction shows one of Guarnieri’s
compositional procedures in terms of definition of a harmonic vocabulary for the piece. In
Figure 1.6, one can see that if the C remains as a center of reference, Type 1 is transformed into
Type 2 through the transposition of the other two notes by descending minor second. 19 In other
19 Type 1 can also be transformed into Type 2 by the alteration of only one note. For
example: C-F#-B, which is Type 1, can be transformed into C#-F#-B, which is Type 2, just by raising the first pitch one half step. The transformation by means of two-note alteration was chosen by virtue of its geometrical properties that also allow a simultaneous further connection with Type 3, as shown in Figure 1.6.
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words, the interval C-B (major seventh) is transformed into a minor seventh by the transposition
of B a half-step down (B-Bb) and the tritone C-F# is transformed into a perfect fourth by the
same transpositional operation. Carrying out this process another minor second down will
produce a minor triad (C-A-E), which will be Type 3a sonority. A major triad, also produced by
one further level of contraction, will be Type 3b sonority.
Figure 1.6. Type 1 is transformed into Types 2 and 3
The Type 4 sonority is also derived from the five-note motive. It is an entity consisting of
minor seconds (it can be two, three, four or more notes) or equivalent intervals. An example of
Type 4 sonority is shown in the Figure 1.7.
Figure 1.7. Type 4 sonority
The Type 5 sonority is a tetrachord that consists of a major seventh chord with lowered
fifth (Figure 1.8). As one can observe, the intervals of major seventh, perfect fourth, and the
tritone are also present in the Type 1 sonority. In fact, the diagram in Figure 1.9 shows how Type
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1 (Db, C, and Gb in the example) can be easily transformed into Type 5 (Db,C, F, and G) by the
symmetrical motion of one of its notes (Gb) outward by semitone yielding two notes a minor
second apart (F-G). Type 5 can also be created when a tritone is added to the extremities of a
quartal trichord (Type 2). See in Figure 1.9 that the quartal trichord G-C-F becomes Type 5 with
the addition of Db, which is the tritone of G.
Figure 1.8. Type 5 sonority
Figure 1.9. Type 1 (Db,C,Gb) or Type 2 (G-C-F) are transformed into Type 5 (Db,C,F,G)
To summarize, Type 1 can be built by juxtaposing a perfect fourth and a tritone, Type 2 is
quartal harmony, Type 3 is tertian harmony, Type 4 is a cluster of minor seconds, and Type 5 is a
Type 2 sonority plus a tritone. This last sonority inherits characteristics from the previous
sonorities because it has a tritone, perfect fourths, and a minor second (or major seventh). It also
has a major triadic sound (Type 3), in the manner of a jazz chord.
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CHAPTER 2. FIRST MOVEMENT: “IMPROVISANDO”
2.1 General Considerations
In this chapter, I will discuss three aspects of first movement of Guarnieri’s fifth piano
concerto: (1) the formal structure of this movement, (2) its harmonic language and contrapuntal
devices, and (3) the connection between the title, which means improvising, and the musical
design, i.e., the role of improvisation in its compositional process. Form and harmonic language
will be discussed concurrently in the same section since harmony and counterpoint are essential
formal determinants.
2.2 Formal Design
In this section I will propose a formal design for the first movement of Guarnieri’s fifth
piano concerto. After a brief description of each structural component of the piece, I will
provide a diagram summarizing its form. As I mentioned in the previous chapter (section 1.3),
this movement is written in sonata-allegro form, but the absence of common practice tonality
shifts the dualistic forces that govern this movement from the arena of tonal conflict.
The composer prepares the entrance of the first theme with three short introductory
events, each one with a distinctive character. The first event lasts five measures and introduces
the five-note motive in the low-register instruments of the orchestra. The second event is a free
section, in which the unaccompanied piano performs a sequence of arpeggios built on sonorities
Type 2 and Type 5. The third event consists of canons based on the five-note motive, played by
the brass section and accompanied by suspended cymbal and strings. Let us examine more
closely each of these three events to determine their specific features.
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Figure 2.1. First of three opening events1
The first event of the piece is performed by the entire orchestra with the exception of the
percussion instruments and the piano. Figure 2.1 shows a three-staff reduction of this five-
measure first event and includes a classification of the sonorities. The first staff, a Type 1
sonority, is played by piccolo, flute, oboe, Bb clarinet, first violin, and upper divisi of the second
violin.2 The second staff, a Type 2a sonority, is played by English horn, French horn, lower
divisi of the second violin, and viola. One can see that Type 1 sonority moves into the second
staff as the end of this opening approaches and that Type 2a sonority (quartal harmony) is
completely absent from the last chord. The third staff, which comprises the five-note motive, is
performed by bassoon, contrabassoon, trombones, cello, and string bass. This section starts with
1 Copyright by Ponteio Publishing, Inc., used by permission (see Appendix A). This
copyright notice applies to all excerpts of the piece used in this dissertation. 2 Appendix C contains a simplified table showing the characteristics of the sonorities
used in this analysis.
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ff dynamics and the last chord is played fff, short, and accented ( >). After this orchestral
outburst, in measure five, there is a brief silence indicated by a quarter note fermata, and then the
piano quasi-cadenza makes its first appearance, forming the second of the three opening events.3
Figure 2.2. Second of three opening events: the piano’s first entrance (fifth measure)
Let us examine the internal structure of this piano quasi-cadenza in Guarnieri’s work in
Figure 2.2. It consists entirely of the sonorities Type 2a and Type 5.4 These are played in an
3 The idea of introducing the solo instrument in the very beginning of a piano concerto is
something that has already been tried by classical composers such as Mozart (in his Concerto No. 9 in E-flat major, K271) and Beethoven (in his Concerto No. 5 in E-flat major, Opus 73.) Coincidentally, this work by Beethoven, which is his fifth piano concerto as well, has in its opening certain textural similarities with Guarnieri’s concerto, i.e., an orchestral outburst followed by a piano quasi-cadenza. The difference is that in Beethoven’s concerto the opening statement is clearly established with only one chord, because the piece is tonal, whereas in Guarnieri’s the five-note motive is the archetype that sets the atmosphere for this atonal structure. A more recent example of an early appearance of the piano in this genre is Schoenberg’s piano concerto, which starts with the piano alone.
4 However, the seventh arpeggio of the right hand cannot be classified as Type 5, because
of one of the notes does not belong to this sonority (Bb-D-E-G; the G would have to be replaced by A to create a Type 5 sonority). In order to be certain that this was not a typesetting mistake, I examined another version of the score (the version for two pianos, kindly lent by Dr. Marion
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arpeggiated manner and joined to form a single entity, as indicated by the slur connecting both
sonorities, with the right hand playing the Type 5 sonority and the left hand playing the Type 2a.
This event consists of a sequence of sixteen arpeggiated blocks formed by these two sonorities
transposed a perfect fifth up each time until they reach the block starting with Bb5 (last arpeggio
shown in Figure 2.2). This block is played eight times until the end of the free section. 5
The piano free section as an unmeasured solo (interlude), i.e., the sixteen blocks of
arpeggios occupy one measure only (measure 5). These blocks move smoothly from p to fff, the
tempo gradually increasing (accelerando) to arrive in the chord shown in Figure 2.3. This chord
consists of two minor seconds a perfect fourth apart (B-C-E-F). The minor second and perfect
fourth are intervals derived from the five-note motive. At this point the brass section enters to
play the third and last event before the entrance of the first theme.
Figure 2.3. Last chord of the piano in the second opening event Verhaalen) and called by telephone the pianist Laís de Souza Brasil, to whom the piece was dedicated. The version for two pianos matches with the orchestral version. Ms. Brasil emphasized that the manuscript I have is correct, and that small deviations in patterns were intentional devices used by Guarnieri. (Telephone call made on December 20, 2003).
5 Coincidentally, the number five seems to have some numerological significance in this
piece. Guarnieri’s fifth piano concerto (that opens like Beethoven’s fifth concerto) is built upon a five-note motive, which generates basically five types of sonorities; the orchestra’s first event lasts five measures and the piano plays blocks of arpeggios transposed by a perfect fifth. Even though this is an interesting point, it will not be a subject of study in this paper because I could not find any further numerological connection that would justify a further research.
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Figure 2.4. The third opening event (the brass canon)
The last event of the introductory part of the piece consists of a three-voice canon at the
interval of a perfect fifth played by the brass section and accompanied by suspended cymbal and
upper strings playing the same minor second in three different octaves (E5F5 + E6F6 + E7F7, as
shown in Figure 2.4). These notes of the strings are also present in the last chord of the piano in
the second event, and therefore have the function of interlocking the second event with a brass
canon, which is the third opening event. Figure 2.4 shows the first three measures and the last
two measures of the brass canon. This fifteen-measure canon gradually contracts in a stretto-
like procedure to arrive at a chord that consists of a combination of Types 1 and 2a sonorities.6
Thus, this introductory section concludes with the same sonorities as those presented at the very
opening (the five-note motive and Types 1 and 2a sonorities, even though, unlike the opening,
6 The canon is strict, i.e., only the material shown in Figure 2.4 is used.
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the five-note motive here does not occur simultaneously with the two other sonorities). In the
next measure, the piano enters for the second time, and introduces the first theme of the concerto
unaccompanied.
One could argue that the first theme of the concerto starts at the very beginning of the
piece, when the orchestra states the five-note motive very clearly, which becomes the basis for a
canonic elaboration right after the brief free passage performed by the piano in its first
appearance. In this case, the second entrance of the piano, on measure 21, would be the
restatement of the first theme because it is also based on the five-note motive, as one will see
later in this analysis. This compositional device, i.e., the exposition of the first theme by the
orchestra and subsequently by piano, is called double exposition, and it is a device traditionally
used in the solo concertos of the classical period.
I believe, however, that the five-note motive is introduced simply as a raw material and
does yet not constitute a theme (even though it has clearly defined pitches, rhythms, dynamics,
and articulations). One must remember that this is not classical tonal music and, therefore, in the
first moments of the piece the composer must first establish a new atmosphere, metaphorically
speaking, before themes can be introduced and developed.7 Also, this is neither a twelve-tone
piece nor an integral serial piece, in which thematic material and the series have such a close
connection that the theme is omnipresent. For that reason, the five-note motive works in the first
moment solely as a kind of archetype for this new atmosphere, serving an analogous function to
the introduction or prelude of a work of tonal music (somewhat in the manner of an operatic
prelude of Wagner).
7 There are parallels also in Romantic music; themes take time to crystallize in works
such as Beethoven’s third and ninth symphonies.
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Pursuing this parallel with tonal music, let us briefly examine the opening of Beethoven’s
fifth piano concerto. It starts with an Eb major chord played by the entire orchestra after which
the piano executes a series of arpeggios indicated freely in the score. Thus, in the Beethoven
concerto the entire orchestra has a fermata and the piano plays a quasi-cadenza passage that, as
in Guarnieri’s concerto, occupies one notated measure. Then, in the Beethoven concerto the
entire orchestra interrupts the piano line by playing a subdominant chord (Ab) and afterward the
piano resumes its free passage. The orchestra once more interrupts the piano with a dominant
chord (Bb), after which the piano plays one more time until the orchestra begins the first theme
that is restated later by the piano alone. With this introductory material, Beethoven appears to be
simply establishing clearly the tonality of the piece. Figures 2.5 and 2.6 summarize the opening
textures of both Guarnieri’s and Beethoven’s fifth piano concertos.
Figure 2.5. The opening of Beethoven’s fifth piano concerto
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Figure 2.6. The opening of Guarnieri’s fifth piano concerto
As one can see in the diagrams of Figures 2.5 and 2.6, both composers are introducing
the vocabulary (sonorities) and the syntax (how to interconnect these sonorities) for their work
using their own language, prior to the arrival of the first theme. In the case of Beethoven, the
language was common to a stylistic period, i.e., the tonal system, whereas in the case of
Guarnieri, not only did the work have to be created but also the system itself. In other words,
while Beethoven chose among various harmonic progressions within the tonal vocabulary,
Guarnieri had to create both the vocabulary and a particular syntax to connect the sonorities.
Having decided that measure 21 is where the first theme of Guarnieri’s fifth concerto
appears, with the second entrance of the piano, I will undertake a detailed examination of the
microstructure of the exposition. First, it is necessary to examine all the possible forms in which
the five-note motive may appear. It is important to make this inventory because the five-note
motive is the basic material of the main themes. Table 2.1 shows all forms (original or prime,
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inversion, retrograde, retrograde-inversion, and transposition) of the five-note motive.8 In effect,
the five-note cell and its variances act in a way similar to the twelve-tone system original set.
Table 2.1. The forms of the five-note motive
P0 E D# D C# A# R0 I0 E F F# G A# RI0 P1 F E D# D B R 1 I1 F F# G G# B RI1 P2 F# F E D# C R 2 I2 F# G G# A C RI2 P3 G F# F E C# R 3 I3 G G# A A# C# RI3 P4 G# G F# F D R 4 I4 G# A A# B D RI4 P5 A G# G F# D# R 5 I5 A A# B C D# RI5 P6 A# A G# G E R 6 I6 A# B C C# E RI6 P7 B A# A G# F R 7 I7 B C C# D F RI7 P8 C B A# A F# R 8 I8 C C# D D# F# RI8 P9 C# C B A# G R 9 I9 C# D D# E G RI9 P10 D C# C B G# R 10 I10 D D# E F G# RI10 P11 D# D C# C A R 11 I11 D# E F F# A RI11
The prime form, P0, represents the way the motive was first introduced, i.e., E-D#-D-C#-
A#. P3, for example, stands for the prime form of the five-note motive transposed up a minor
third; RI6 stands for the retrograde-inverted form of the motive transposed by a tritone. Figure
2.7 shows the first four measures of the exposition. From now on, the numbers inside circles
refer to the types of sonorities discussed in section 1.4. The forms inside brackets refer to
unordered presentation of sonorities listed in Table 2.1. For example, P0 is E,D#,D,C#,A#; [P0]
would indicate any order of these five notes, e.g., E,A#,D#,C#,D. As one can see in Figure 2.7,
everything is derived from the five-note motive. Sometimes the motive appears in its complete
form and original ordering. Other times it is unordered (measure 24, [I10]), incomplete, or has
other notes interpolated. The latter type of motivic variation is particularly important in the
8 Obviously a 12x12 matrix cannot be used in this case since the series has only five
notes. Also, a smaller matrix, 5x5 for example, would not reflect the reality of the work because Guarnieri uses all the twelve pitches of the chromatic scale and not only a permutation of five particular notes.
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construction of the first theme—labeled A—because it adds structural variety by the addition of
embellishing notes.
Figure 2.7. Guarnieri, Concerto No. 5, I, mm.21-24, showing the first four measures of the initial presentation of the first theme (A)
Let us examine in detail the two regions in Figure 2.7 indicated with dashed brackets,
which illustrate this process of interpolation. In the right hand of measure 24, the sonority
starting on the third sixteenth note (D#) and ending on the F at the end of the measure has the
same notes of [P1] (F,E,D#,D,B) but with the addition of one extra note (A#). Figure 2.8a shows
the main notes of [P1] in half notes and the extra note as a stemless quarter note. In the left hand,
starting on measure 23, three sonorities can be found: [P6], R10, I6. Figures 2.8b, 2.8c, and 2.8d
illustrate the relationship between these four sonorities, as forms of the five-note motive.
Figure 2.8a. [P1] in measure 24, right hand
Figure 2.8b. [P6] in measures 23-24, left hand
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Figure 2.8c. R10 in measures 23-24, left hand
Figure 2.8d. I6 in measure 24, left hand
Before we continue the microanalysis of the first theme, it is noteworthy to observe that
Guarnieri re-introduces the five-note motive very clearly in measure 21. He then gradually alters
its intelligibility by overlapping its different forms and by increasing the use of incomplete
statements of it that comprise one of the types of sonorities. This characteristic will be even
more prominent in the next three measures that are shown in Figure 2.9.
Figure 2.9. First theme (A) continued – measures 25-27.
As shown in Figure 2.9, this passage consists of the various types of sonorities. Only one
statement of the complete five-note motive occurs but it is unordered and has one note
interpolated (measure 26: [I9] with B as embellishing note). Two other contrapuntal devices are
briefly used in this passage. The first one is a voice exchange involving the pitches Ab and Fb in
measure 25 (indicated with dashed lines in Figure 2.9). The second one is a literal imitation in
measure 26, which is indicated with dashed brackets and an arrow in the same figure. Also,
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notice the contour similarity between the sonority indicated with x (in measure 25, right hand)
and the five-note motive.9
Three more measures of the first theme are shown in Figure 2.10 (measures 28-30). The
first vertical sonority that appears in this passage is Type 2b, consisting of more than three notes
arranged in fourths. The second vertical sonority is a compound of two Type 1 sonorities: F-Bb-
E (right hand) and A-Bb-E (left and right hands). An ostinato—in the lower voice of the left
hand, consisting of Type 4 sonorities—permeates the entire passage and becomes integrated in
the five-note motive in the last two measures. The note with an asterisk in P7’ should be F to
keep the pattern of the five-note motive. However, it seems to me that Guarnieri is using a type
of appoggiatura in the background, i.e., right after P7’ comes [P7] where the pitch is adjusted to
the “correct” value. This procedure is graphically explained in Figure 2.11. [P7] and [I5] have
embellishing notes (C and Db respectively) in the same manner used before (see Figure 2.8).
Figure 2.10. First theme (A) continued – measures 28-30.
9 Both motives start on the lowest note, move upwards to the highest note, and descend
gradually until reach the second-lowest note. The descending line of both motives is chromatic.
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Figure 2.11. Background appoggiatura used in measure 29.
The last five measures of the first theme are shown in Figure 2.12. They consist basically
of the interaction of Type 1 (right hand) and Type 4 sonority (left hand); Type 4 is expressed in
terms of an ascending chromatic scale. The right hand closes with the five-note motive in the
form of [R5].10
Figure 2.12. First theme (A) – measures 31-35.
The second thematic group consists of three themes (B1, B2, and B3). The first one (B1)
has eleven different notes and is also derived from the five-note motive, as one can see in Figure
2.13. Two distinctive characteristic of this theme are its short length (two measures) and its
10 The F# in the piano (right hand, last measure) is the same note with which the oboe
introduces the second thematic group of the concerto.
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rhythmic syncopation. Another interesting aspect of this eleven-note theme is that it is built
upon the chromatic scale lacking only the note D, which is not even present in the
accompaniment.11 Noteworthy is also the number of sonorities used in this short space of two
measures (see Figure 2.13). Notice that the piano shown in Figure 2.12, measure 35, plays two
notes—Bb and F#.
Figure 2.13. The first theme of the second thematic group (B1) – measures 35-36.
After B1 is presented by the woodwinds, the piano plays a brief passage basically built
upon Type 2 sonority (even though Types 1 and 5 sonorities can be found). At this point, the
piano begins its dialogue with the orchestra for the first time (mm.37-41) and then, the second
theme of the second thematic group (B2) is stated by the trombones, in measure 42 (see Figure
11 Perhaps Guarnieri was trying to create an almost dodecaphonic theme but this is a
hypothesis difficult to prove. However, when this theme appears again in the development (measure 56), Guarnieri adds some grace notes and changes the accompaniment to include the pitch missing from before (D), i.e., he uses all twelve notes of the chromatic scale but several pitches are repeated, which may discourage this hypothesis of dodecaphonism. In passing, the only repetition he uses when the theme is presented for the first time consists of consecutive notes, in the very beginning (two F-sharps), which is a procedure allowed in the dodecaphonic technique.
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2.14). This theme is entirely built on the pentatonic scale (Gb-Ab-Bb-Db-Eb) and therefore
consists of a Type 2b sonority (quartal harmony), since the notes of a pentatonic scale can also be
organized in a chain of perfect fourths (Bb-Eb-Ab-Db-Gb). Concomitantly with the presentation
of B2 by the trombones, the piano plays an ornamental ostinato built upon major and minor
seconds in the right hand, whereas the left land, besides complementing the rhythmic structure of
the ostinato, shows Type 1 sonority.12 This type of rhythmic figuration—which appears for the
first time as an accompaniment to B1, as one can see in Figure 2.13—in combination with the
interval of second will appear subsequently several times, as the following examples
demonstrate.13
Figure 2.14. The second theme of the second thematic group (B2) – measures 42-43.
12 Both major and minor seconds are related to the five-note motive. If we take one form
of this motive, for example, G4-F#5-F5-E5-C#5, one can see that the central portion (F#5-F5-E5) is built upon these two intervals.
13 This characteristic seems to reveal some connections with the music of Bartók (as one
can see in “Out of Doors” or in the “Suite,” for example). Another Bartókian connection would be the use of quartal harmony, which abounds in Guarnieri’s concerto.
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This statement of the trombone (Figure 2.14) works as an antecedent or a question that is
answered in the next two measures by the orchestra. Figure 2.15 shows a reduction of this
answer (consequent) made by oboes and English horn and accompanied by strings, bassoon,
contrabassoon, and timpani. Types 2b and 3a sonorities in the violins and viola are extended,
i.e., the cycle of fourths is incomplete, but the essence of quartal harmony still remains, and the
tertian harmony is enriched with added notes.
A closer examination of these two instances of type extension (see Figure 2.15) shows
that in the case of Type 2b’, the first statement in the violins and viola consists of F-Bb-Eb-Db.
As one can see, an Ab is needed to complete the chain of fourths and fully express the Type 2b
sonority. The missing Ab appears in the second statement that does not have Bb. Thus, the
entire measure in the violins and viola section configures the Type 2b sonority, except for the A
natural. In the case of Type 3a’ sonority that happens at the end of measure 45, the extension
happens in terms of added pitches: A-Db-(Eb)-Gb is a Gb minor with an added Eb, and C-Fb-A-
(B) is an A minor with an added B.
In terms of rhythm, the strings plus bassoon, contrabassoon, and timpani use a figuration
similar to the one used by the piano in measures 42-43. The violins restate the ornamental
seconds (major in this case) that are transformed into a minor triad at the end of measure 45.
Viola, cello, contrabass, bassoon, contrabassoon, and timpani complement the rhythmic
figuration with sonorities built upon Type 1 sonority. The viola acts as a connection between
both rhythmic and harmonic ideas because it plays the same rhythmic figuration of the low
instruments and helps the violins build a sonority based on extended quartal harmony, as I
mentioned in the previous paragraph. Another interesting aspect one can observe in Figure 2.15
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is the hierarchical arrangement of sonorities, i.e., the accompaniment is based on Types 1 and 2
from lower to higher register and the solo is based on Type 3 sonority.
Figure 2.15. The consequent of B2 – measures 44-45.
Antecedent and consequent, respectively shown in Figures 2.14 and 2.15, are restated one
major second up from measures 46 to 49, and then in measure 50 the third theme (B3) of the
second thematic group is introduced by muted trumpet and the piano (see Figure 2.16). This
theme is answered, in measure 52, by a blast of strings and woodwinds consisting of Types 1 and
2b sonorities. Another statement of B3 (mm.53-54) is also answered by the same blast, this time
a major second up (m.55). In Figure 2.16 one can observe the ornamental seconds played at the
beginning of B3 by the piano (right hand).
Figure 2.16. B3 – measures 50-51.
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B3, as played by the trumpet, can be analyzed as a mixture of Type 2b (E-D-G-B-(G#)-A)
with tritones (C#-G, B-F)—except for the G# that can be explained as an incomplete neighbor.14
The tritone derives from the five-note motive as it was seen in the previous chapter, in Figure
1.1. Therefore, B3 is also derived from the five-note motive. The piano, besides doubling B3,
plays an accompaniment that consists vertically of the Type 4 sonority, as one can see in Figure
2.17. The right hand upper melodic line of this accompaniment consists of an unordered form of
the five-note motive [P1]15, and the left hand upper melodic line consists of Type 2b sonority.
Notice the background leading tone resolution of Db (left hand, m.50) to D (right hand, m.51),
which are the only two pitches that do not belong to Type 4.
Figure 2.17. The accompaniment of B3 – measures 50-51.
The last ocurrence of B3 followed by the strings and woodwinds blast (measures 53-54)
marks the end of the exposition and the beginning of the development, starting with B1 played by
the piano in measure 56 (Figure 2.18). The orchestral blast and the quasi-cadenza statement of
14 The incomplete neighbor has only one stepwise connection with the main tone whereas
the regular neighbor has two. Incomplete neighbor decorate either the preceding or the following tone. Edward Aldwell and Carl Schachter, Harmony and Voice Leading (New York: Harcourt Brace Jovanovich, 1989), 316.
15 See Table 2.1.
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the piano—in the manner used at the beginning of the exposition—justify the choice of measure
56 as the beginning of the development.
Figure 2.18. The beginning of the development section – measures 56-57.
After the restatement of B1 by the piano alone, there are transformations of the previous
ideas, especially fragments of the five-note motive. These fragments vary from an ostinato built
on minor seconds to an entire chromatic phrase arranged in palindrome16 and interpolated with
other intervals. For example, a transformation of the theme B1 (Figure 2.18, right hand) is shown
by the left hand of the piano in measures 61-63 (Figure 2.19) while the right hand plays an
ostinato figure built on minor seconds (E-F). Notice, in Figure 2.19, that the melodic line on the
left hand starts similarly to B1 and is gradually transformed. Fragments x, y, and z, originally
shows in Figure 2.18, have contour similarity to the ones shown in Figure 2.19 but are modified
in terms of pitch content.17 This contour relationship is enough to reveal aural similarity between
both excerpts.
16 A piece or passage in which the retrograde follows the original (or ‘model’) from
which is derived. Brian Newbould: ‘Palindrome’, Grove Music Online ed. L. Macy (Accessed 22 December 2003), <http://www.grovemusic.com>
17 In terms of contour, fragment x is a horizontal line, fragment y is a descending line
from left to right, and fragment z has the contour “highest note-lowest note-middle note.” The inversion of fragment z (Figure 2.19) has the contour “lowest note-highest note-middle note.”
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Figure 2.19. Transformation of B1 – measures 61-63.
Figure 2.20. Another transformation of B1 – measures 72-75.
Another example of Guarnieri’s developmental technique is shown in Figure 2.20, in
which B1 is even more transformed to achieve a greater degree of similarity with the five-note
motive (see slur). Observe the internal symmetry of this four-bar phrase essentially built upon
minor seconds. This melodic line, introduced by the violins in measure 72, is repeated with
slight variations in the pitch content by the woodwinds (piccolo, flutes, oboes, and clarinets) in
measure 76 and by the strings again in measure 80. Figure 2.20 shows this passage as it is
played by the violins in measures 72-75. The reduction on the bottom staff clarifies the pitch
relations of the melodic line consisting of a palindrome. In this reductive diagram, the black note
heads represent the interpolations added in the melody to create variety.
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In measure 82 the tempo is reduced to poco meno, and the piano plays very softly another
transformation of B1 accompanied by flutes playing minor ninths (see Figure 2.21). This quiet
atmosphere—foreshadowing the one that is going to be heard in the second movement—is
abruptly broken in measure 86 by oboes, clarinets, English horn, bassoons, contrabassoon, the
brass section, timpani, cellos and basses playing a short motive. This motive is very similar to
the main motive of the first movement of Beethoven’s fifth symphony (three repeated notes, here
followed by a descending minor third, rather than major third – m.87). In addition this motive
will become an important rhythmic element in the third movement. Figure 2.21 shows the piano
restatement of B1 followed by this “Beethoven motive.” Notice that, as in Figure 2.21, I added a
reduction line in order to illustrate better the pitch contour of the melodic line played by the right
hand of the piano.
Figure 2.21. Poco meno and the “Beethoven motive” – measures 82-87.
In measure 88 the tempo is reduced to poco meno again, and the unaccompanied piano
restates the previous melodic line with variations in register and added embellishing notes (see
Figure 2.22). In Figure 2.22 I added the pitch letters on the top because of the excessive number
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of ledger lines. The pitches within brackets will be changed in the retrogradation process that
will occur later in the piece (see Figure 2.28). This passage is restated by oboe solo (see Figure
2.23) accompanied by the harp playing the Type 1 sonority, clarinets playing a perfect fourth that
resolves in a major third, and flutes playing the same accompaniment previously used by the
piano. Within this quiet atmosphere (dynamics from pp to p), the piano plays fragments of the
five-note motive (see Figure 2.24)18 in octaves accompanied by first and second violins playing
the Type 5 sonority with an added tritone.
Figure 2.22. Piano excerpt from the development that will be retrograded in the recapitulation – mm.87-92 (compare with Figure 2.28)
Figure 2.23. Oboe excerpt from the development (mm.92-96) that will be retrograded in the recapitulation (compare with Figure 2.27)
18 I did not notate measure 99 as it is in the original manuscript because the rhythmic
values given there seem to be in error. Guarnieri notated it as .. , which produces one extra quarter note. I used the retrograde version of this passage (m.156) as a reference to recreate the measure because even the version for two pianos is not notated correctly. Listening to a recording conducted by the composer, furthermore, one can observe that measure 99 seems to be reduced to 5/4.
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Figure 2.24. Piano excerpt from the development (mm.96-100) that will be retrograded in the recapitulation (compare with Figure 2.26)
In measure 100, the tempo changes again to tempo primo, and the “Beethoven motive” is
restated by brass and woodwinds in ff, breaking the tranquility of the previous passage. Then,
from measures 102 to 106, cello and English horn play complete and incomplete forms of the
five-note motive accompanied by the piano with rhythmic figurations mostly based on seconds
in the right hand, and consisting of Type 1 and Type 2 sonorities on the left hand. After that, the
“Beethoven motive” is restated one more time leading to a climax that indicates the end of the
development and the beginning of the retransitional section (preparing the recapitulation). The
retransition starts with the piano playing an orchestra reduction of the very opening event of the
concerto. In the introduction, after this opening event, the piano played a quasi-cadenza passage
leading to a three-voice canon performed by the brass section. This time, instead of a piano
passage, the three-voice canon, now performed by the double-reeds (oboe, English horn, and
bassoon), is preceded by a short imitative section—based on the five-note motive—performed by
the strings that concludes with a chord built upon Type 1 sonority. The violins also create a
background for the canon, as in the introduction, but now, only with a trill (B-C).
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Figure 2.25. Recapitulation – measures 127-130.
The recapitulation begins (in measure 127) differently from the exposition (shown in
Figure 2.7), with the restatement of the first theme by the piano, accompanied by additional
instruments. Besides the addition of strings and winds, Guarnieri uses a contrapuntal device
called invertible counterpoint that consists of switching the register of the voices, i.e., the higher
voice becomes lower and vice-versa. In this case, the original right hand of the piano moves to
the left hand, and is transposed two octaves down; the original left hand moves to the violoncello
and is performed in pizzicato in its original register. For the right hand of the piano, Guarnieri
creates a new melodic line based on the five-note motive. Interventions of the other instruments
are also based on the five-note motive. Figure 2.25 shows the first four measures of the
recapitulation. Since the sonorities presented in the exposition (Figure 2.7) reappear in the piano
left hand and in the cello, I indicate only the new relations found in the piano right hand and in
the winds. R7’ (second frame in the piano right hand) indicates that one note does not fit the
five-note motive pattern (see Table 2.1); this note (E) is circled. The flutes in the second half of
measure 129 have an interrupted five-note motive (A-G#-G-…)
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From measure 137 to 141 the piano alone starts playing the same material of the
exposition corresponding to measures 31 to 35. A detailed analysis of these measures was
shown in Figure 2.12. In measure 141, the theme B1 is restated in a different orchestration but
keeps the same melodic line and the same harmonic background. Flutes, oboes, and English
horn play the theme while the strings play the accompaniment (B1 is shown in Figure 2.13).
After B1 is restated, the same piano passage that in the exposition connects B1 with B2 is restated
(with some rhythmic variations). However, neither B2 nor B3 reappear in the recapitulation even
though a textural design similar to the one that appears between measures 44 and 45 (see Figure
2.15) appears twice in measures 148 to 152.
Figure 2.26. Piano excerpt (mm.155-159) from the recapitulation that is the retrograde of mm.96-100 (compare with Figure 2.24)
After that, a suspended cymbal roll (three measures long) leads to a poco meno section
that consists of retrograde restatements of previous materials of the development with some
embellishment added: the piano part from measures 155 to 159 (Figure 2.26) is the retrograde of
measures 96 to 100 (Figure 2.24); the oboe from measures 159 to 163 (Figure 2.27) is the
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retrograde of measures 92 to 96 (Figure 2.23); and the piano from measures 163 to 168 (Figure
2.28) is the retrograde of measures 87 to 92 (Figure 2.22). The diagram in Figure 2.29
summarizes these retrograde relationships at the end of the recapitulation.
Figure 2.27. Oboe excerpt (mm.159-163) from the recapitulation that is the retrograde of mm.92-96 (compare with Figure 2.23)
Figure 2.28. Piano excerpt (mm.163-168) from the recapitulation that is the retrograde of mm.87-92 (compare with Figure 2.22)
Figure 2.29. Retrograde relationships at the end of the recapitulation.
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Figure 2.28 adds the pitch letters on the top because of the excessive number of ledger
lines. The pitches within brackets were changed in the retrogradation process, and the pitch
within crotchet is an addition. The passages shown in Figures 2.22 and 2.28 are the ones with
several deviations compared with the others.
Table 2.2. Summary of the formal design of the first movement
Section mm. Comments
1— 4 Orchestral tutti 5 Piano: Free cadenza-like
Intro.
6 — 20 Brass Canon A 21 — 34 First group: First theme (piano) -
A 35—36 Second group: first theme B1
(English horn) 42—49 Second group: second theme B2
(trombone)
EXP. B
50—51 Second group: third theme B3 (piano + trumpet)
56—81 Developing A and B1 82—100 B1 deeply transformed
101—110 Developing A
DEV.
Retrans. 111—126 Based on the introduction A 127—140 First group: first theme
141—142 Second group: first theme 143—152 Material based on the
accompaniment used for theme B2 (mm. 42—49)
152—154 Suspended Cymbal connector
B
155—168 Retrograde of 87—100
RECAP.
Coda 173—190 Canon + sustained chord.
The piano arpeggio in measure 168 leads to an orchestral blast consisting of Types 1 and
2 sonorities. After that the bassoons play a four-measure staccato passage (also built on Types 1
and 2) accompanied by another suspended cymbal roll. The cymbal continues in pianissimo
while violins and violas (con sordino) start a canonic passage built on the five-note motive,
similar to the one played in the opening by the brass section. The movement connects with the
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next one by means of a chord consisting of Type 2 sonority (violas and second violins) and a
tritone (first violins). Over this string background, the harp plays a compound minor third (Eb3-
Gb4), and the bassoons restate a compact form of staccato passage played before. Table 2.2
summarizes the entire formal design of the first movement.
2.3 The Improvisational Factor
In this section I will examine the connection between the title of this movement—
Improvisando, which means “improvising”—and the actual use of improvisation. The idea of
improvisation is related not only to the cadenza-like sections but also to the rhapsodic character
of the movement as a whole. In the very beginning of the first movement, in measure 5, the
composer indicates that the passage is to be played ad libitum. There is also an indication of
accelerando for this passage. The piano plays several passages alone in this movement, but the
same type of freedom is not indicated again. However, even though the solo passages have strict
indication of musical parameters, they still have the flavor of cadenzas, which are sections
traditionally connected with the ideas of freedom and improvisation. Figure 2.30 shows that the
piano plays alone 23% of the time of the first movement. This percentage is normal when
compared to the piano concertos by Beethoven. For example, in Beethoven’s first piano
concerto the piano plays alone 21.8% of the time; in the second and fifth piano concertos these
numbers are 35% and 10.18% respectively. It is noteworthy to mention that in Beethoven’s fifth
concerto (like in Guarnieri’s fifth concerto) there is no cadenza close to the end, rather the solos
are spread throughout the piece.
In Guarnieri’s concerto, the passages that could be associated with the idea of
improvisation are found in the piano part in measures 5, 82-84, 88-91, 97-100, and 156-168.
However, the only passage in which the composer requests some degree of freedom is the one
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that happens in measure 5, as I have mentioned before. In conclusion, the idea of improvisation
in this piece is a metaphor since there are no passages in which the realization is left to the
discretion of the performer. Other passages with similar degrees of quasi-freedom are found in
the second movement, which is the subject of study of the next chapter.
Figure 2.30. Textural distribution in the first movement of Guarnieri’s concerto.
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CHAPTER 3. SECOND MOVEMENT: “SIDERAL”
3.1 General Considerations
In this chapter, I will discuss form, harmony, and counterpoint of the second movement
of Guarnieri’s fifth piano concerto. These three aspects will be analyzed concurrently in the next
section, in the same manner I did for the previous movement. As I mentioned in Chapter 1 (page
98, first line), this movement was written before the first movement. About this movement
Guarnieri wrote:
The second movement, which is monothematic, is constructed with a formal plan of exposition-development-re-exposition. What becomes important is the search for an atmosphere compatible with the designation of Sideral. The theme, which in the first movement had an energetic character, at times violent, now becomes calm, contemplative, involved. It is noted that in the middle of this movement the calm and contemplative character is transformed, becoming aggressive. All happens as if a dark cloud came over quickly, and then disappeared.1
3.2 Formal Design
The second movement, according to Guarnieri’s own words, is built upon a single theme,
which pervades the entire movement. He also mentions two other characteristics: (1) the formal
plan, which consists of exposition, development, and re-exposition, and (2) the division of the
movement into three parts: A-calm, B-aggressive, A-calm. As it happened in the first
movement, the formal demarcations do not depend on tonal contrast, but rather on contrast of
mood.
Section A starts in measure 191 with the violins sustaining a long sound in pianissimo.
In measure 195, the right hand of the piano plays the theme of the movement, which is derived
1 Marion Verhaalen, Camargo Guarnieri: Expressões de uma Vida. Trans. by Vera Sílvia
Camargo Guarnieri. (São Paulo: Editora da Universidade de São Paulo/ Imprensa Oficial, 2001), 232. Dr. Verhaalen sent me by e-mail her translation of the passage. According to her, the original sources of this passage are the program notes of the first performance, which was given on 17 May 1970.
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from the five-note motive introduced in the first movement (see Figure 1.1), whereas the left
hand plays arpeggiated quartal chords (Type 2a sonority), in which the three-note figures
descend in an octatonic scale pattern.2 Observe in Figure 3.1 that the theme begins with the five-
note motive and then gradually dissolves into a Type 4 sonority (chromatic motion) with
embellishing notes.3
Figure 3.1. Guarnieri, Concerto No. 5, II, mm.195-199, the theme of the second movement
In measure 199 a subsidiary motive is introduced. This motive, which will be present in
the entire movement, consists of diatonic quartal chords4 with the upper voices doubled a minor
second lower. Thus, this motive is somewhat derived from sonorities Types 2 and 4, which are
found in the second half of the theme (mm.197-199). Figure 3.2 shows an example of diatonic
quartal chords built on the Phrygian mode, and the types of sonorities generated with this
process. Figure 3.3 shows how the subsidiary motive appears in measures 199-200 (orchestral
reduction and piano).
2 The figures descend in an alternation of half and whole step. The complete descending octatonic scale would be Db-C-Bb-A-G-F#-E-Eb. Guarnieri follows the pattern only until G, which is the next arpeggio (m.199, show in Figure 3.3). However, this arpeggio is not built on perfect fourths like the previous ones.
3 The embellishing notes are: (1) the grace note B4 in measure 196, (2) F4 in measure 197.
Notice also that there are two chromatic lines because Eb5 is missing. 4 Chords consisting of juxtaposed perfect fourths in which all the notes belong to a
diatonic scale. In Figure 3.2 the diatonic scale used is the Phrygian mode.
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Figure 3.2. Types of sonorities created with diatonic quartal chords on the Phrygian mode
Figure 3.3. Subsidiary motive played by English horn, violas, and harp (mm.199-200)
Observe that the piano answers the subsidiary motive with a short motive built on Type 4
sonority (A,Cb, Bb). This dialogue between the piano (playing basically types of sonorities 1,
2a, and 4) and the orchestra (playing the subsidiary motive) continues until the end of section A
in measure 221. Types 3 and 5 sonorities are also employed in section A. Bassoons and flutes
play the Type 3a sonority in measure 205 (Figure 3.4), and the piano plays a variation of Type 5
sonority in measure 209 (while the left hand plays the Type 4 sonority—see Figure 3.5). This
variation consists of substituting the major third (Ab-C) by a minor third (enharmonically, Ab-
B), i.e., instead of Ab-D-G-C (original Type 5), Guarnieri used Ab-D-G-B (the third note of the
tetrad is the whole note). It can also be explained as a combination of Types 1 and 3b sonorities.
In Figure 3.4 beams are used to help with the visualization of the sonorities.
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Figure 3.4. Type 3a sonority played by flutes and bassoons in section A (mm.205-207)
Figure 3.5. Type 5’ sonority played by right hand of the piano in section A (m.209)
Close to the end of section A, there is a canonic dialogue between English horn and oboe.
This dialogue consists of the alternation of a three-note motive of which the last note in each
voice moves in opposite directions. Figure 3.6 shows this canonic dialogue (the last notes of
each motive are beamed together for visualization purposes only). Notice that in its last
appearance the motive is shortened because it reaches the desired pitch earlier (G). The canon is
basically accompanied by piano and bassoon that doubles the piano chromatic line in the bass.
Figure 3.7a shows the canon accompaniment. A quartal chord played by the harp appears briefly
only in measure 216 and is not shown in Figure 3.7a. Figure 3.7b shows a reduction of the
accompaniment disregarding rhythm, octave displacements, and repetitions. From this reduction
one can clearly see that this accompaniment consists of three layers: (1) the melodic line of the
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subsidiary motive arranged in planing (parallel chords beamed), (2) a Type 4 sonority ostinato
(stemless quarter notes), and (3) a chromatic descending bass line, which is a Type 4 sonority.
Figure 3.6. The canonic dialogue between English and Oboe at the end of section A
Figure 3.7a. The accompaniment for the canon
Figure 3.7b. A reduction of the accompaniment for the canon
Guarnieri describes section A as calm and section B as aggressive. I would also add to
Section B a character of agitation. Basically, this section consists of the alternation of these two
moods, which also coincides roughly with textural alternation. Figure 3.8 shows an approximate
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textural plan for section B (mm.222-262). In the graph, the full textural regions have aggressive
character whereas the empty regions can be associated with agitation. The aggressive character
is achieved by the use of dry and marcato articulations, louder dynamics, percussive sounds
(timpani and hand cymbals), and a more full texture. The agitated character is achieved by the
use of fast notes and lighter orchestration. The theme of the movement (shown in Figure 3.1)
appears only in the agitated passages. The graph shown in Figure 3.8 is inspired by the graph
time versus loudness of the audio curve of section B (shown in Figure 3.9).5
Figure 3.8. Textural plan of section B
Figure 3.9. Audio form of section B
As a consequence of the textural design, section B can be divided into five parts: B1
(mm.222-229), B2 (mm.230-234), B3 (mm.235-236), B4 (mm.237-245), and B5 (mm. 246-262).
B1 begins in measure 222 with a homophonic passage played by brass and woodwinds followed
by a long sustained note played by flutes, oboe, English horn, and trumpets, and attacks of
5 This graph was produced using the softwares Cool Edit version 96, by Syntrillium Software Corporation, and Corel Photo Paint version 8.0, by Corel Corporation.
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strings, brass, and timpani. Figure 3.10a shows the first four measures of B1. The sonorities
within rectangles, although not belonging to any of the pre-established five types, are important
because they close the B section. They are also equivalent with each other, considering the
principles introduced in Chapter 1 (section 1.4).6 B1 (mm. 222-229) closes with these same
sonorities in retrograde motion (see Figure 3.10b).
Figure 3.10a. B1 (mm.222-225)
B2 starts with a brief silence in measure 230 and has four layers. The upper layer consists
of the theme played by the English horn one octave down of the original. The middle layer
consists of the harp playing a Type 4 sonority, and the piano playing a combination of Type 2a
and Type 4 sonorities (perfect fourth leaps a compound minor second apart descending
6 If one disregards octave displacements, both sonorities include a minor second, a minor
third, and a major third. Since the interval content is the same for both sonorities, they are equivalent, i.e., they can be related through transposition and/or inversion (this is valid only because the sonority is a trichord; it is possible to find sonorities with four or more notes that have the same interval content and are not related through transpositional and/or inversional operations, e.g.: C-C#-D#G and C-C#-E-F#). Notice that I am considering G2 as passing tone.
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chromatically). The lowest layer consists of the viola playing Type 4 sonority in sextuplets,
which confers the character of intense activity to B2. Figure 3.11 shows the first three measures
of B2.
Figure 3.10b. B1 (mm.226-229)
Figure 3.11. B2 (mm.230-232)
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B3 (mm.235-236) is short and works just as a contrasting link between B2 and B4. It
involves parallel chords (planing) based on the subsidiary motive introduced in measure 199
(Figure 3.3). Figure 3.12 shows an orchestral reduction of B3. Observe that only the upper
melodic line of the subsidiary motive is used here (C#-D#-E). The harmonic content of these
chords is completely different from the one on their original appearance because here they are
produced by the juxtaposition of the motive melodic line at several transpositional levels. These
chords can also be analyzed as Type 1 (Bb-E-A) and Type 3b (E-A-C#) sonorities plus a perfect
fifth (associated of Type 2a sonority).
Figure 3.12. B3
B2 and B4 are very similar, i.e., both have the theme of the movement (shown in Figure
3.1) and the agitated character. However, the orchestration is quite different, and the length of
B4 is twice the length of B2. In B4, the flute plays the theme a fifth above the original, the harp
and strings play ostinato patterns, and the piano, for the first time, plays variations of the
subsidiary motive. The first three measures of B4 are shown in Figure 3.13.
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Figure 3.13. B4 (mm.237-239)
B4, like B2, can be explained as a three-layer texture. The first layer consists of the theme
played by the flute. The second layer consists of ostinato patterns played by the harp in
glissando (observe that the harp pedaling, shown in measure 237, produces an A# minor triad
with minor seventh, therefore associated with Type 3a sonority) and by the strings playing the A
pitch in four octaves with three different colors: first violins play harmonics, second violins
employ bariolage7 to produce the agitated character, and violas play pizzicato. The third layer is
based on the subsidiary motive played by the piano: the left hand plays diatonic quartal chords
7 In the playing of bowed stringed instruments such as the violin, an effect produced by
playing in rapid alternation on two strings, one open and the other stopped, with a resulting contrast in tone color. The pitches played on the two strings may be the same (producing a kind of tremolo). Don Michael Randel, ed., The New Harvard Dictionary of Music (Cambridge, MA: The Belknap Presss of Harvard University Press, 1986), 79.
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and the right hand plays notes mostly a minor second lower than the upper note of the quartal
chords. The material of the left hand belongs entirely to the C diatonic collection8 and the
material of the right hand belongs to the F# natural pentatonic (F#,G#,A#,C#,D#), which is
associated with quartal harmony (Type 2 sonority). This is the first time that the theme of the
movement is played simultaneously with the subsidiary motive.
Figure 3.14a. First half of B5 (mm.246-247)
B5 can be divided into two halves. The first half (eight measures, mm.246-253) is
entirely built on Types 1 and 2 sonorities. It begins with attacks of the orchestra (low strings,
low double reeds, and timpani) consisting of leaps of perfect fourths dialoging with Types 1 and
2 sonorities freely played by the piano. Figure 3.14a shows the first two measures of the first half
of B5. The second half of B5 (eight measures, mm.254-262) begins with the strings playing the
8 C diatonic collection includes all the scales generated with the notes C,D,E,F,G,A,B. I
use the term collection instead of scale because a scale is associated with some type of center, and here there is no clear centricity, i.e., the composer uses the notes pandiatonically.
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same motive used at the beginning of B1 (see Figure 3.10, m.222) followed by brass and
woodwind attacks, and ends with a pointillistic texture employing the same sonority associated
with this motive, i.e., a sonority containing minor second, minor third, and major third.9 Figure
3.14b shows the first two measures and the last four measures of the second half of B5.
Figure 3.14b. Second half of B5 (mm.254-255 and 259-262)
After reading Guarnieri’s own words about this movement in the beginning of this
chapter, one expects that some kind of thematic development will occur in section B. However,
in the two times the theme appears (mm.230-234, 237-245) it contains the original material, i.e.,
the theme is not developed. The idea of development is not so obvious as it should be because it
happens around the theme and not on the theme itself. The theme is the central figure of the
movement, and it is surrounded by several other ideas, three that I consider important: (1) the
9 In mm. 259-260 the three lowest notes of the brass are Db-Bb-D and C-B-Eb. The
interval content of both trichords, disregarding octave displacement, is m2-m3-M3. The same is valid for the melodic sonority played by the woodwinds in mm.260-262.
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quartal harmony accompaniment that appears along with the theme in its first appearance in
measure 195, (2) the subsidiary motive that consists of a melodic fragment accompanied by
diatonic quartal chords (m.199), and (3) the sonority introduced in the beginning of section B
(m.222). These three ideas are derived from the five-note motive because its interval content can
be found in them.10 Because these three ideas develop around the theme, the aural result is
relative development. Metaphorically speaking, when the satellites change, even if the planet is
kept intact, the system (planet plus satellites) changes as a whole. The development of these
elements was described previously in the analysis of the five parts of section B.
The re-exposition begins in measure 263 with the same sustained sound played by the
violins at the beginning of the movement. The piano plays the theme again in measure 267.
Measures 263 to 277 of the re-exposition are very similar to measures 191 to 205 of the
exposition. The differentiation starts in measure 278 when the piano plays a passage derived
from the piano accompaniment of the Oboe-English horn canon in the exposition (see Figure
3.7). This passage leads to another presentation of the theme by oboe and violin (starting in
measure 284, Figure 3.15), which is accompanied by the piano, the harp, and the viola (the
harmonic of harp produces the same pitch of the viola). This accompaniment consists mostly of
ostinato figurations, except for the upper voice of the piano, which is a free countermelody built
on the types of sonorities. Figure 3.15 shows an orchestral reduction of the first measures of this
passage, which ends in measure 294. Then, there is a pointillistic passage entirely built on the
Type 1 sonority that leads to the coda of the movement.
10 The five-note motive contains 3 minor seconds, 2 major seconds, 2 minor thirds, one
perfect fourth, and one tritone. The accompaniment of the theme is built on fourths. The melodic fragment of the subsidiary motive (C#-D#-E) contains one major second, one minor second, and one minor third. The sonority introduced at the beginning of section B (Ab-F-A) contains one minor third, one major third, and one minor second.
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Figure 3.15. The theme played by Oboe and Violin in the re-exposition (mm.283-287)
The piano has the leading role in the coda, which is the slowest part of the movement
(quarter note equals 50). The French horn doubles the piano’s left hand, and the flute and the
vibraphone make short punctuations to reinforce the piano. The material of the piano part
consists of a melodic line inspired by the theme of the movement accompanied by Type 4 chords
on the left hand (this sonority is used from measures 302-313 exclusively on the left hand, and
from measure 316 to the end is used in combination with a sustained note in the right hand). In
measure 311 the five-note motive is played by the piano, and it leads to a sequence of ascending
fast notes built on the Type 4 sonority. These fast notes gradually increase their speed by
shortening the rhythmic values on an arithmetic ratio 4:5:6:7, which is a way of expressing Type
4 rhythmically. The goal of each sequence fragment also increases by half step (these notes are
doubled by the vibraphone).11 Close to the end the clarinet plays a slow melodic fragment built
on the Type 1 sonority and the strings plays the last chord built on Type 1, 2a, and 5 sonorities.
11 The last note of each sequential unit forms a semitonally ascending line.
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Figure 3.16 shows the piano from measures 311 to 320. Table 3.1 summarizes the formal design
of the second movement.
Figure 3.16. An excerpt from the coda (mm. 311-321)
Table 3.1. Summary of the formal design of the second movement
Section mm.
A 190 — 221 B1 222 — 229 B2 230 — 234 B3 235 — 236 B4 237 — 245
B
B5 246 — 262 A’ 263 — 301
coda 302 — 326
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CHAPTER 4. THIRD MOVEMENT: “JOCOSO”
4.1 General Considerations
The last movement of Guarnieri’s Concerto No. 5 para Piano e Orquestra is the subject of
this chapter. Despite the movement’s title, jocoso, which means merry and humorous, this
movement is as dense and angular as the previous ones. However, in this finale, Guarnieri uses
for the first time clear nationalistic elements, including references to a Brazilian popular
composition. Complete chromatic aggregates are also used here for the first time, even though
there is no application of the serial technique.1 The use of nationalistic elements concurrently
with twelve-note statements is interesting because these are two contradictory forces for
Guarnieri, as I mentioned in the first chapter. Form, harmony, and counterpoint will be the main
analytical issues here, with the same approach employed in the previous chapters.
4.2 Formal Design
The third movement is in arch form, ABCBA. Sections A and B present clear
nationalistic elements. According to Guarnieri2, the theme of section A is inspired by choro3,
1 The use of twelve-tone ideas pre-dating the first twelve tone piece (Schoenberg’s
“Piano Suite,” 1923) can be found in several composers such as Strauss (“Also Sprach Zaratrusta,” 1895, in the von der Wissenschaft section), Ives (“Three-Page Sonata,” 1905), or even—with some stretch—in J.S.Bach (WTC Book II, Prelude XVIII, mm.11-12).
2 Marion Verhaalen, Camargo Guarnieri: Expressões de uma Vida. Trans. by Vera Sílvia
Camargo Guarnieri. (São Paulo: Editora da Universidade de São Paulo/ Imprensa Oficial, 2001), 233-234.
3 Generically choro denotes urban instrumental ensemble music, often with one group
member as a soloist. Specifically it refers to an ensemble of chorões (musician serenaders) that developed in Rio de Janeiro around 1870. The originality of the choro of the 1930s and 1940s, for example those of the Velha Guarda band of ‘Pixinguinha’ (Alfredo da Rocha Viana), lies in the typical virtuoso improvisation of instrumental variations and the resulting imaginative
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one of the themes of section B has the character of samba,4 and section C is toccata-like.5 In the
paragraphs that follow these thematic materials will be examined in detail.
Section A is characterized by a series of pointillistic figurations, a percussion ostinato,
and a main theme. It can be divided formally in three main parts: the first part is an introductory
ostinato (mm. 1-12) performed by the percussion section (this ostinato lasts for the entire A
section); the second part consists of the main theme played by the clarinet (mm.13-22); the third
part consists of the piano restatement and development of this main theme (23-44). The
unaccompanied percussion ostinato of the introduction is the first nationalistic element, since
folk and popular music of Brazil are strongly recognized by the use of percussion in this manner.
Huge ensembles of percussion are largely used during the carnival festivities in Brazil. The
instrumentation itself has also Brazilian connections, such as the use of pandeiro (tambourine)
and agogô (cowbell), which are very popular percussion instruments in Brazil. Another
nationalistic element to be noticed after measure 13 is the use of percussion as a background
ostinato for melodic events (see Figure 4.3), in the same manner it happens in the escolas de
counterpoint. Gerard Béhague: ‘Choro’, Grove Music Online ed. L. Macy (Accessed 12 January 2004), <http://www.grovemusic.com>
4 An Afro-Brazilian couple-dance and popular musical form. Originally ‘samba’ was a
generic term designating, along with batuque, the choreography of certain circle-dances imported to America from Angola and the Congo. Mostly in binary metre, samba melodies and accompaniments are highly syncopated: a semiquaver–quaver–semiquaver figure is particularly characteristic. The dance gradually became urbanized by the late 19th century and urban versions differ substantially from rural folk sambas, but both feature responsorial singing between a soloist and chorus who sing alternating stanzas and refrain. Gerard Béhague: ‘Samba’, Grove Music Online ed. L. Macy (Accessed 12 January 2004), <http://www.grovemusic.com>
5 A piece intended primarily as a display of manual dexterity, often free in form and
almost always for a solo keyboard instrument. John Caldwell: ‘Toccata’, Grove Music Online ed. L. Macy (Accessed 12 January 2004), <http://www.grovemusic.com>
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samba.6 Figure 4.1 shows the first six measures of the percussion ostinato. Observe that the
tambourine has a period of three measures, the snare drum has a period of three measures as
well, but it enters one measure after the tambourine. There are two cowbells. The one with the
highest pitch has a one-measure period, and the one of the lowest pitch has a two-measure
period. The rhythmic figuration of the “Beethoven motive” (see Figure 2.21) is also restated
here by tambourine (starting in m.1) and snare drum (starting in m.2). The percussion ostinato
ends in the downbeat of measure 44, which is the beginning of a new section.
Figure 4.1. Opening of the third movement –percussion ostinato
In measure 13 the first theme of the third movement (theme A) is introduced. It consists
of a melodic line that, according to Guarnieri, is inspired by choro.7 Figure 4.2 shows the first
four measures of “Espinha de Bacalhau,” which is the first choro written by Brazilian clarinetist,
6 Literally translated, schools of samba. They are private musical associations that
organize the carnival festivities in Brazil. Every year each school has to present a new song called samba-enredo. This song is accompanied during the parades by a battery of percussion (approximately 400 musicians) and instruments such as guitars and cavaquinhos (a small ukulele-like guitar).
7 The use of choro in Guarnieri’s early pieces was an influence of Villa-Lobos, who
always used the word in the plural—choros. Later, Guarnieri adopted sometimes the term to replace the word “concerto,” such as in the “Choro para Violino e Orquestra (1951)” or in the “Choro para Clarineta e Orquestra (1956).” Here, however, he is referring to the influence of this genre of popular music in the character of the melodic line shown in Figure 4.3.
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composer, and conductor Severino Araújo.8 It is a very popular choro in Brazil composed in
1936 and recorded many times by several ensembles of choro. Notice the contour similarity
between the beginning of the third movement of Guarnieri’s fifth concerto (shown in Figure 4.3)
and the beginning of “Espinha de Bacalhau.” This similarity goes beyond a simple contour line
though, since the pitch material of Guarnieri’s five-note motive introduced in the first movement
can be found in the second measure of “Espinha de Bacalhau.” I believe it is a coincidence, even
though the fact that this melody is given to the clarinet (Araújo’s instrument) could characterize
a tribute that Guarnieri made to this renowned composer.
Figure 4.2. The first four measures of Severino Araújo’s “Espinha de Bacalhau”9
Figure 4.3. Guarnieri, Fifth Piano Concerto, Third movement – theme A, clarinet (mm.13-23)
8 Severino Araújo was born in the state of Pernambuco (Brazil) in 1917. He studied clarinet with his father (a band conductor) and still conducts the oldest pop orchestra in Brazil, the Orquestra Tabajara, which is active since 1934. The literal translation of “Espinha de Bacalhau” is codfish’s spine, which is an oxymoron because this Norwegian fish is sold in Brazil with no spines.
9 Copyright by Edições Euterpe, Ltda., used by permission (see Appendix B).
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This melody played by the clarinet is accompanied by melodic fragments played by
piccolo, oboe, English horn, and bassoon (the percussion ostinato introduced in the beginning of
the movement is also present). Figure 4.3 shows the clarinet’s entire melody. It starts with the
five-note motive, and after an incomplete statement of this motive it introduces a sequential
pattern (labeled a1, a2, a3, a4, a5, and a6), which can be internally divided into two parts. The first
part has no relation with the five-note motive, except for the direction and size of its opening
interval (minor seventh), which has some similarity with the first interval of the five-note motive.
The second part is built on the Type 4 sonority. The first part of this pattern is shortened until it
disappears and the second part is kept intact. Table 4.1 shows the pitch content of both parts.
Notes within squares deviate from the pattern, even though the sonorities of a1, a2, and a3 are the
same.10 Notes within grayed squares are juxtaposed. The patterns descend according to the
whole-tone scale, as indicated with squares in Figure 4.3 and also in the first column of Table
4.1.
Table 4.1. The clarinet sequence
10 It is easy to see that a3 equals a2 transposed a major second down. The relation
between a1 and a2 is more complex. The inversion of a1, excluding the repeated note, is C#-D#-G-E-C. This sonority when transposed by a major third down produces A-B-D#-C-G#, which is the pitch content of a2. Therefore they belong to the same sonority and the deviation is just a variation. Guarnieri repeats the same variation later when the piano plays the theme A (m.26).
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Figure 4.4a. The English horn figurations
Figure 4.4b. The bassoon figurations
Figure 4.4c. Comparison between the bassoon’s sonority and Type 1 sonority
As I mentioned, besides the percussion ostinato, some woodwind instruments play
simultaneously with the clarinet’s melodic line. Their material consists basically of short
figurations. The piccolo doubles all the Type 4 sonorities fragments shown in Figure 4.3.11
Consequently, the piccolo fragments also descend following a pattern that belongs to the whole-
tone scale (D#-C#- B-A-G-Eb-B) lacking one note (F). The English horn plays a figuration built
on Type 1 sonority (Figure 4.4a) and also includes the sonority played by the bassoon (labeled
B.S. in Figure 4.4a).12 Each fragment of the English horn figuration is separated by a silence of
11 The note A with an asterisk in measure 20 is notated Bb in the clarinet part, and A
natural in the piccolo part (in the orchestral score). In the version for two pianos it appears as A natural. I chose A natural because it agrees with the piccolo doubling.
12 The inversion of F-C-C# is F-Bb-A, which equals F#-B-Bb (the bassoon sonority)
when transposed a minor second up. It is noteworthy to mention some disagreements between the orchestral and two-piano versions with respect to the first cell of the English horn ostinato.
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seven quarter notes. The second fragment is an all-Type 1 sonority, which means that all four
possible unordered trichords created with these four notes belong to Type 1 sonority (F#-C-F,
F#-C-B, F#-F-B, and C-F-B). The bassoon plays a figuration built on a type of sonority very
similar to Type 1. Its cells are separated one to another by a quarter-note silence. Figure 4.4b
shows the bassoon figurations and Figure 4.4c shows how this sonority deviates from Type 1 by
the changing of one note (F for Gb).
In measure 23 the piano reintroduces theme A one octave higher in the right hand
whereas the left hand reproduces a combination of English horn and bassoon figurations
previously played in measures 13-22 (see Figure 4.5 and compare it with Figures 4.4a and 4.4b).
For the first three measures, the melodic line of the piano is the same one played by the clarinet
in measures 23-25. After measure 26 the melody is compressed by the elimination of rests but
preserves the same notes (compare it with Figure 4.3) and theme A concludes in the downbeat of
measure 32. The percussion ostinato (not shown in Figure 4.5) continues and another group of
figurations is added consisting of oboe, English horn, bassoon, contrabassoon, viola, violoncello,
and string bass. Figure 4.5 shows ten measures of the theme A played by the piano and an
orchestral reduction. The orchestral figuration in measure 23 consists of one form of the five-
note motive with one interpolated note (circled C).13 The same motive appears in measure 28
without the interpolated note. In measure 25 the orchestra plays sonorities entirely built from
Type 1 sonority. The sonority in the third quarter note of measure 25 is an all-Type 1 sonority
The notes shown in Figure 4.4a come from the two-piano version because it matches with the same material restated later by the piano in both versions (starting in measure 23).
13 The forms of the five-note motive are shown in Table 2.1 (Chapter 2).
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(like the English horn fragment shown in Figure 4.4a).14 In measure 26, English horn and cello
play an arpeggio built on Type 2 sonority.
Figure 4.5. Section A (mm.23-32)
In measure 32, after the entire re-exposition of theme A, the right hand of the piano
continues briefly with the same material (ascending minor seventh plus chromatic descending)
and then plays a melodic line that reintroduces the five-note motive (P5 and P3) plus Type 1, 3,
and 4 sonorities. This melodic line dissolves into a Type 2b sonority phrase that closes section
14 The four-note sonority C-G-Db-Gb produces four unordered trichords: C-G-Db, C-G-Gb, C-Db-Gb, and G-Db-Gb. They all belong to Type 1 sonority.
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A, in the downbeat of measure 44.15 Simultaneously, the left hand of the piano continues with
the same patterns (shown in Figure 4.5) as well as percussion, oboe, English horn, bassoon,
contrabassoon, viola, cello, and string bass. In measure 35 a sequential pattern played by flute
and clarinet is added (the last statement of this pattern, in measure 39, presents some small
deviations). Figure 4.6 shows the melodic line played by the right hand of the piano and the
sequential patterns played by flute and clarinet from measures 32 to the downbeat of 44.
Figure 4.6. Section A, flute, clarinet, and the piano’s right hand (mm.32-44)
In measure 44 the percussion ostinato stops and section B begins. According to
Guarnieri this section is inspired by samba. The first theme (labeled B1) played by trumpets and
trombones shows some traces of the type of syncopation found in samba (see footnote 4). B1
consists of the juxtaposition of two major thirds a minor ninth apart (Eb-G in the trombones, E-
15 The entire phrase uses notes of the collection G-C-F-Bb-Eb-Ab-Db, which consists of notes arranged in ascending perfect fourths (Type 2 sonority).
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Ab in the trumpets). In Figure 4.7, one can see that immediately after B1 (samba) the composer
introduces, for the first time in the piece, a complete twelve-note theme (labeled B2). This theme
is played by flutes (piccolo enters in measure 46 doubling the flutes), oboes, English horn, and
clarinets (in mm.45-46), and is accompanied by the entire brass section plus violins and violas
playing juxtaposed major thirds. B2 is then imitated by the piano (in mm.47-48), while harp,
violins and violas (both in pizzicato) play a Type 2a sonority fragment (see measure 47). Figure
4.8a shows the internal structure of the twelve-note theme. One can see that it is abundant in
Type 1 sonority. Figure 4.8b shows the unordered forms of the five-note motive found within the
twelve-note theme: [R1], [I2], and [P0] (Table 2.1 shows the forms of the five-note motive).
Figure 4.7. Section B (mm.44-48) – themes B1 and B2
Figure 4.8a. The internal structure of the twelve-note theme B2
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Figure 4.8b. The unordered forms of the five-note motive within the twelve-note theme B2
In measure 48, trumpets and trombones play B1 transposed a tritone up. Piccolo, flutes,
oboes, English horn, and clarinets play the twelve-note theme (B2) in its retrograde form. As
before, the piano imitates the woodwinds statement but this time it omits the first note and
repeats one of the notes (last note, Bb). Figure 4.9 shows section B from measures 48 to 52.
Figure 4.9. Section B (mm.48-52) – themes B1 and B2 restated
In measures 52-53 the brass section plays B1 one more time and, after a short fragment
played by flutes, oboe, and clarinets, another theme is introduced in measure 54. This theme,
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played by the piano in style brisé16 and labeled B3, is basically built on Type 4 sonority, i.e., it
consists of a conglomerate of minor seconds (or compound minor seconds), even though other
sonorities are present, as one can see in Figure 4.10. The accompaniment essentially made by
woodwinds and strings is pointillistic and consists of types of sonority 1, 2a and 4. Figure 4.10
shows section B from measures 54 to 58.
Figure 4.10. Section B (mm.54-58) – theme B3
In measure 59, the orchestra repeats the same figuration of eighth notes shown in
measure 58 (but transposed), and the piano, after a short pause, continues to play B3. Notice in
Figure 4.11 that the first four notes of the piano, in measure 59, belong to an all-Type 1 sonority
(a similar sonority is used in the first section: see Figure 4.4a). The same sonority is also found
in measure 60, second beat (A,D,Eb,Ab). This continuation of B3 consists predominantly of
16 A term used to denote the use of a broken, arpeggiated texture in music for plucked
stringed instruments, particularly the lute, keyboard, or viol. David Ledbetter: ‘Style Brisé’, Grove Music Online ed. L. Macy (Accessed 10 February 2004), <http://www.grovemusic.com>
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major sevenths (notes inside ellipses in Figure 4.11) and perfect fourths (notes inside rectangles
in Figure 4.11), which are two intervals derived from the five-note motive (see Figure 1.1). The
orchestra’s accompaniment consists basically of Type 5 sonority played by the woodwind
section. Figure 4.11 shows four measures of B3’s continuation.
Figure 4.11. Section B (mm.59-62) – continuation of B3
Figure 4.12. Section B (mm.67-70) – theme B4
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Figure 4.13. Section B (mm.70-76) – variation of theme B4 by the piano
B3 ends in measure 67. From measures 67 to 70, the orchestra introduces another theme
for section B. This theme, labeled B4, is characterized by the extensive use of grace notes.
Figure 4.12 shows B4 played by the piccolo and accompanied by the harp (which plays an all-
Type 1 sonority) and violins in pizzicato (which alternates between Type 5 and all-Type 1
sonorities).17 B4 is basically built upon Types 4 and 5 sonorities (disregarding the grace notes).
From measures 70 to 73, the piano plays a variation of B4 and then restates the beginning of B3,
17 In Figure 4.12 the second chord of the violins is better visualized as a Type 5 sonority
when inverted. Thus, F#-B-E-Bb inverted around F# becomes F#-C#-G#-D, which is clearly a Type 5 sonority.
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transposed a major second up (see measures 73-76 in Figure 4.13 and compare with Figure 4.10).
The five types of sonorities appear in the measures shown in Figure 4.13. The block of three
juxtaposed major thirds (chord within ellipse), which is B1’s sonority (see Figure 4.7), is also
present in this passage.
Figure 4.14. Section B (mm.76-79) – variation of theme B4 by oboes and flutes
Figure 4.15. Section B (mm.80-85) – variation of theme B4 by the piano
In measure 76, flutes and oboes play another variation of B4 accompanied by violins and
violas playing Type 1 sonority in pizzicato (see Figure 4.14). This passage is followed by the
piano (measure 80) playing a variation of B4 in the right hand, without the grace notes, while the
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left hand plays arpeggios based on Type 1 sonority. The lowest notes of these arpeggios yield a
melodic line that is doubled by bassoon and harp (the same orchestrational procedure will be
used to close section B, as one will see later), simultaneously with a flute trill. Notice that, B4 is
always stated with a slight different content each time. However, except for its last appearance,
it maintains its main characteristic, which is the use of grace notes. It seems that the adorned
character produced by the grace notes is transferred, in its last appearance, to the flute trill that
lasts until measure 84 along with the piano. Figure 4.15 shows the B section from measures 80 to
85.
Figure 4.16. Closing of section B (mm.101-104)
From measure 85 to 89 there is another restatement of B1 by trumpets and trombones.
From measures 89 to 100 B3 is restated two times by the piano: first in triplets (mm.89-43) and
then in sixteenth notes (mm.93-100). This increasing of rhythmic activity, which started with
eight notes (in measure 54) and then moves to triplets and sixteenth notes, follows the arithmetic
progression 2:3:4.18 This is the same progression found in the pitch content of Type 4 sonority
18 It is necessary to distinguish between arithmetic and geometric progression.
Arithmetic progression exists when a number is changed by addition. Geometric progression
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(1:2:3), which abounds in B3 (see Figure 4.10). Finally, from measures 101 to 104, the piano
closes section B with arpeggios of sixteenth notes built on Type 2a and on a variation of Type 5
sonorities. This variation consists of replacing the major seventh by a minor seventh. The piano
is accompanied by short attacks of strings, brass, and woodwinds, and by a melodic line that
doubles alternately the highest and the lowest notes of the piano arpeggios. This line starts in the
flutes and then moves to the clarinets. It is also doubled by the harp. Figure 4.16 shows a
detailed analysis of the sonorities within this passage.
In measure 104 the orchestra plays a bridge that connects sections B and C. This bridge
begins with violins’ and violas’ upward glissandos simultaneously with descending chromatic
lines played by bassoon, contrabassoon, cello, and string bass. Flutes, oboes, clarinets, English
horn, and bassoon play descending parallel lines (a tritone apart one to another) based on Type 2
sonority answering the strings’ glissandi, which are repeated in measures 108-109. Figure 4.17
shows the three four measures of the bridge.19
Figure 4.17. Bridge between sections B and C (mm.104-108) exists when a number is changed by multiplication. The geometric progression of the Type 4 sonority (1:2:3) would produce 2:4:6 and not 2:3:4.
19 In measure 106 of Figure 4.17 the notes with asterisks are indicated as Db and Bb in
the orchestral score. I am using the notes from the two pianos version because they maintain the intervallic pattern of parallel tritones between the lines.
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Figure 4.18. Section C (mm.110-116)
Section C, which is toccata-like according to Guarnieri, begins in measure 110 with
figurations built on intervals of minor ninths played by both hands of the piano, also in style
brisé, as it happened in section B. The lowest note of the right hand and the highest note of the
left hand of the piano figurations produce a melodic line that consists of twelve distinct notes
successively repeated an octave lower (theme C). This line, which is played by flute and the
harp, is not related to the twelve-note motive of section B (theme B2). Moreover, these two
twelve-note themes are the central difference between sections B and C since the foreground of
both sections is very similar, i.e., the style brisé and the increasing rhythmic activity in the piano
figurations are clearly present in both sections. Theme C is also doubled by the highest note of
perfect major triads played by the violas in tremolo sul ponticello and by first bassoon and
clarinets. This is the first time in the piece that these antagonist forces—a twelve-note melodic
line and major triads—are put side by side. It is even possible to find tonic-dominant
relationships among these triads in terms of proximity, but it would not be consistent with the
atonal context, which is clearly perceived by the ear. Figure 4.18 shows the first seven measures
of section C.
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Figure 4.19. Section C (mm.116-119)
Figure 4.20. Section C (mm.119-124)
The piano is interrupted in measure 116 by a motive that rhythmically resembles B1 (see
Figure 4.7) but is entirely built on Type 4 sonority. This motive, shown in Figure 4.19, is played
alternately by violins, xylophone, trumpets, and trombones. After this motive, the groups of two
eight notes of the piano figurations are almost entirely restated in retrograde direction producing
the retrograde form of the twelve-note theme C (Table 4.2 has a 12x12 matrix of C). However,
there are some variations: 1) the major triads played by violas, first bassoon, and clarinets are
spaced more openly; 2) the note A is omitted; 3) There are some differences in the left hand of
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the piano (compare measures 114-115 in Figure 4.18 with measures 119-120 in Figure 4.20). In
measure 125, brass, violins, and contrabassoon restate a fragment similar to the motive that
previously interrupted the piano figurations (mm. 116-119).
Table 4.2. 12x12 matrix of C
I0 I7 I6 I1 I11 I4 I2 I3 I9 I10 I5 I8 P0 C# G# G D C F Eb E Bb B F# A P5 F# C# C G F Bb G# A Eb E B D P6 G D C# G# F# B A Bb E F C Eb P11 C G F# C# B E D Eb A Bb F G# P1 D A G# Eb C# F# E F B C G Bb P8 A E Eb Bb G# C# B C F# G D F P10 B F# F C Bb Eb C# D G# A E G P9 Bb F E B A D C C# G G# Eb F# P3 E B Bb F Eb G# F# G C# D A C P2 Eb Bb A E D G F F# C C# G# B P7 G# Eb D A G C Bb B F F# C# E P4 F C B F# E A G G# D Eb Bb C#
Figure 4.21. Section C (mm.127-132)
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In measure 127, the piano plays a variation of the previous material. This variation
occurs in the rhythm and in the pitch material of the arpeggios. The rhythmic activity increases
to triplets, in the same manner it happened with B3. The pitch material of the arpeggios is
organized in a way that the melodic line produced by the lowest note of the right hand and the
highest note of the left hand is the inversion of the twelve-note theme C, which was introduced in
the beginning of the section by the same procedure. There is however the omission of one note
(Eb). See the column I0 in Table 4.2 and compare it with the bassoon line in Figure 4.21. Notice
that, according to this table, in measure 131 there should be an Eb right after E. The melodic line
here is played by the bassoons and cellos in pizzicato and is accompanied by the harp playing
chords built on perfect fifths (Type 2a sonority), in contrast with the tertian harmony played
before (mm. 110-124).
Figure 4.22. Section C (mm.136-141)
In measure 132 another interruption of the piano occurs. It consists of short attacks
played by brass, violins, and violas. In measure 136, the piano resumes but with the rhythmic
activity increased to sixteenth notes (thus, following the same arithmetic proportion 2:3:4 used in
the closing of section B). The arpeggios also change the pitch organization in order to yield a
melodic line that is the retrograde of the previous statement (or the retrograde inversion of theme
C). In this form of the twelve-note motive the first note (F) is omitted (see Table 4.2). This
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omitted note appears as the last note of the piano in left hand (written enharmonically as E#).
This last presentation of C is performed only by triangle, snare drum, vibraphone, and piano.
The vibraphone plays the melodic line and the piano plays the arpeggios in sixteenth notes. With
these four presentations of C Guarnieri presented a twelve-note row in its four forms (P0, R0, I0,
and RI0).
Figure 4.23. Bridge between sections C and B (mm.141-147)
In measure 141, the same material of the bridge used previously to connect sections B
and C is restated (compare with Figure 4.17). This time, the violins’ and violas’ glissandos
move downward, the chromatic lines played by the low double reeds and the low strings move
upward, and the sonorities of the glissandos are modified (for example, the first chord of the
violins and violas in measure 141 is a Type 5 sonority with an added B). This retrograde
arrangement indicates that section B will be re-exposed. Indeed, in measure 144 the piano plays
a variation of B1, and piccolo, flutes, oboes, and clarinets answer with an incomplete statement
of B2 (twelve-note motive of section B with the first note E omitted). The piano plays B1 again
and once more the woodwinds answer with the retrograde of B2. Then, the piano plays B1 for the
last time and after that starts playing B3, which has the same proportion and similar orchestration
to the first time B3 was played, but it is transposed one half step up. The piano part from
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measure 159 to measure 166 is identical to the piano part from measure 59 to 66, with a small
difference in meter close to its end (examine again Figures 4.7 to 4.16, which contain the
materials of section B). Then, two more measures are added using the same type of figuration
but descending abruptly towards the low register and in measure 170 the entire orchestra and the
piano starts a bridge leading to the re-exposition of section A. This bridge consists of short
attacks of a chord based on the B1 sonority (E-G#-Eb-G) played by the orchestra whereas the
piano plays a sequence built on Types 2a and 1 sonorities that ascends in perfect fifths in the
right hand, and an ascending sequence (also in perfect fifths) based on an incomplete statement
of the five-note motive in the left hand (Figure 4.24 shows the bridges that connects section B to
section A). This incomplete statement consists of extending the chromatic descending line and
omitting the minor third (see the five-note motive in Figure 1.1).
Figure 4.24. Bridge between sections B and A (mm.170-175)
Section A re-starts in measure 176. As I mentioned before, section A was originally
divided into three main parts. In its recapitulation only the second and the third parts are used,
i.e., the reprise of section A starts with theme A played by the clarinet. The percussion ostinato
is also present in the recapitulation of section A. These two parts of A are almost literally
recapitulated. The small differences can be found basically in the orchestration of the first part,
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which is slightly denser, and in the connection between the parts. The differences in
orchestration in the first part are: 1) the clarinet theme is doubled by one flute; 2) contrabassoon,
cellos, and string basses double the lowest note of the bassoon; 3) oboe and trumpet double the
piccolo (the trumpet doubles only the two first fragments); 4) the cowbell of the percussion
ostinato plays a different rhythm; and 5) the piano is present from the very beginning and is used
in the higher register as a percussion instrument playing an ostinato of major seconds (used also
in the first movement: see Figure 2.14) in the right hand and diatonic thirds belonging to the key
of F# major in the rhythm of baião in the left hand, which is another nationalistic association.
The baião is a rhythm of the northeastern part of Brazil that probably appeared in the beginning
of the twentieth century and was popularized nationally in the 1940s by accordionist-singer Luiz
Gonzaga. Figure 4.25a shows the traditional rhythmic figuration of the baião, as it is played by
the zabumba.20 Figure 4.25b shows another conception of the baião, created around the late
1950s or early 1960s, which consists in removing the stroke that occurs on the second beat,
producing more syncopation. Guarnieri is using the rhythm shown in Figure 4.25b but omitting
the first thin stick upbeat. Figure 4.26 shows four measures of the piano ostinato played in the
beginning of the reprise of section A.
Figure 4.25a. The traditional rhythm of baião
20 The zabumba is a double-headed bass drum popular in the north-eastern states of
Brazil. It is played on the top skin with a soft mallet and on the bottom skin with a thin stick. The rhythms shown in Figure 4.25 were transcribed by Larry Crook. Larry Crook, “Brazil: Northeast Area,” in The Garland Encyclopedia of World Music, ed. Dale A Olsen and Daniel E. Sheehy (New York: Publishing Garland, Inc., 1998), V.2, 332.
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Figure 4.25b. A more modern baião
Figure 4.26. The piano part in the reprise of section A – mm. 176-179
The first and second parts of A are not overlapped as it happened in the first time.
Instead, they are connected with an orchestral outburst rhythmically derived from B1. The
recapitulation of the second part is literally identical, i.e., measures 23 to 43 equal to measures
189-209, including the cowbell part, which resumes to its original rhythmic figuration. Figures
4.3 to 4.6 contain the materials of Section A and should be re-examined.
In measure 210 the re-exposition of A ends and the samba theme (B1) is restated, as if it
another re-exposition of section B were about to occur. However the composer is just closing
the movement using previous elements. Trumpets and trombones state B1 two times and the
piano answers not with the twelve-note theme of section B (B2) but with the twelve-note theme C
in its inverted form (The note Bb is repeated at the end). The woodwinds and the strings answer
the piano with a fragment of C and a descending chromatic line. Trumpets and trombones play
B1 transposed a tritone up (as it happened in the first time: see Figures 4.7 and 4.9). The piano
answers with the retrograde inversion of C but with the first note (F) misplaced, i.e., put close to
the end (the note C is repeated at the end). Then, violins and viola play an all-Type 1 sonority
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and the piano starts playing the coda (in measure 222) that begins with a transformation of the
generative idea of the concerto, i.e., the five-note motive introduced in the first movement. This
transformation consists of replacing the first interval, which is a major seventh, by an octave.
This motive is played with full parallel chords (planing) and is accompanied by string glissandos
upwards and ascending chromatic scales played by flute, oboe, English horn, and clarinet. The
woodwind section answers with the retrograde inversion of C with the note F put at the end.
English horn, clarinets, and bassoon start after piccolo, flutes, and oboe producing a type of echo.
Figure 4.27 shows the first six measures of the coda (mm. 222-227).
Figure 4.27. The coda – mm.222-227
The piano restates the transformation of the five-note motive a major second up and the
woodwind answers it with the inversion of C. Then the piano plays a very fast passage built on
Types 1 and 2 sonorities, while violins and viola dialogue with piccolo, flutes, oboes, English
horn, clarinets, and bassoon using the five-note motive a perfect fifth apart. From measures 237-
241 the movement closes with the same opening of the first movement (see Figure 2.1) but this
time the piano integrates the orchestra. Table 4.3 summarizes the formal design of the third
movement.
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Table 4.3. Summary of the formal design of the third movement
Section mm. Comments
1—12 Introduction: Percussion Ostinato 13—23 Theme A (choro): clarinet
A
23—44 Theme A (choro): piano 44—45 B1 (samba) - brass 45—48 B2 (12-tone) – winds and piano 48—49 B1 tritone up - brass 49—52 B2 retrograde – winds and piano 52—53 B1 octave up - brass 54—67 B3 (style brisé)- piano (eight notes) 67—85 B4 (grace notes) – winds and piano 85—89 B1 expanded - brass 89—93 B3 – piano (triplets) 93—100 B3 – piano (sixteenth notes) 101—104 Closing of section B
B
104—110 Bridge between B and C sections (glissandos) 110—116 C (toccata) – flute/harp. Piano (eight notes) 116—119 Interruption based on B1 119—124 C retrograde 125—126 Another interruption based on B1 127—132 C inverted - bassoon/ cello. Piano (triplets) 132—135 Another interruption 136—141 C retrograde inverted– vibraphone. Piano (sixteenth notes)
C
141—144 Same material of the bridge (glissandos) 144—145 Piano plays B1 145—147 Woodwinds play B2 147—148 Piano plays B1 149—152 Woodwinds play B2 152—153 Piano plays B1 154—169 Piano plays B3
B
170—175 Bridge between B and A sections 176—186 Theme A (choro): clarinet 187—188 Orchestral interruption based on B1
A
189—210 Theme A (choro): piano 210—213 B1 – brass 213—215 C inverted – piano 216—219 B1 tritone up – brass
Closing
219—221 C retrograde inverted– piano 222—225 Five note motive – piano 225—227 C retrograde inverted – woodwinds 227—230 Five note motive – piano 230—232 C – woodwinds 232—236 Five note motive – woodwinds/string
Coda
237—241 Same opening of the first movement
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CHAPTER 5. CONCLUSION
“A composer, prior to being an individual, is a social being dependent on factors like time, race, and environment. Eliminating these factors by snobbism or mere intellectual attitude and introducing in the composer’s work alien stimuli in which he or she does not participate as a human being results in an artificial and hybrid work.”
— Camargo Guarnieri, Depoimento.1
In the previous chapters, Camargo Guarnieri’s Concerto No. 5 para Piano e Orquestra
was analyzed in detail with special emphasis on the formal design (macro-structure) and on the
vertical and horizontal sonorities (micro-structure). By its very nature, any analytical procedure
consists of decomposing the analyzed work into small parts and defining certain principles of
equivalence in order to identify unity and variety.2 Thus, this procedure is very useful in terms
of classification of elements, and this is an important issue because it creates simple labels for
complex structures that can be referred to in a more compact way. The purpose of this final
chapter is to recompose the analyzed (literally decomposed) work in order to bring back the
piece as a whole. This reassemblage is in fact a process of synthesis, i.e., the parts will be put
back together but the experience gained with the analysis provides a new level of knowledge
about the piece. This synthesis will be achieved by: 1) situating Guarnieri’s fifth concerto in the
context of his works for piano and orchestra, and in the context of the compositional trends of the
second half of the twentieth century, 2) summarizing the main characteristics of the piece, such
1 Camargo Guarnieri, “Depoimento,” in Camargo Guarnieri: o Tempo e a Música, ed.
Flávio Silva (Rio de Janeiro: FUNARTE, 2001), 15. 2 For example, in the classification of sonorities proposed for the analysis of this piece, a
perfect fourth is equivalent to a perfect fifth. This principle of equivalence is helpful to reduce the amount of sonorities used in the piece, but it also destroys the different nuances between these two intervals.
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as its general form and harmonic vocabulary, and 3) providing additional biographical
information about Guarnieri.
The works for piano and orchestra written by Guarnieri are: Concerto No. 1 para Piano e
Orquestra (1931), Concerto No. 2 para Piano e Orquestra (1946), Variações sobre um Tema
Nordestino (1953), Choro para Piano e Orquestra (1956), Concertino para Piano e Orquestra de
Câmara (1961), Concerto No. 3 para Piano e Orquestra (1964), Seresta para Piano e Orquestra
(1965), Concerto No. 4 para Piano e Orquestra (1968), Concerto No. 5 para Piano e Orquestra
(1970), and Concerto No. 6 para Piano, Orquestra de Cordas e Percussão (1987), written when
he was eighty years old. The fifth piano concerto, written in the short period of one month in the
beginning of 1970, is Guarnieri’s last work for large orchestra and piano. It occupies an
important position within Guarnieri’s works because its harmonic language is clearly syntonized3
with the compositional trends of the second half of the twentieth century, and—at the same
time—it reveals nationalistic influences.
The influence of nationalism in the fifth piano concerto is very subtle and appears in the
surface only in the third movement with the references to Brazilian popular genres including the
allusion to a Brazilian popular choro. However, the nationalism is not intelligible during most of
the piece because Guarnieri’s nationalism does not consist of the literal use of folk elements.
Guarnieri’s compositional output was the result of intense absorption of Brazilian culture,
including literature, poetry, visual arts, folklore, music, and history. As a disciple of Mário de
3 In electricity, it means to be adjusted with the same frequencies, as a receiver and
transmitter. I use the word here as a metaphor. Oxford English Dictionary <http://dictionary.oed.com> (Accessed 3 April 2004).
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Andrade4, the father of Brazilian modernism, Guarnieri learned how to immerse himself within
the complex universe of Brazilian culture and simultaneously build his own personal language.
Guarnieri said, “The folk element must be as integrated in the composer’s work as in his/her own
sensibility.”5 Moreover, the Guarnierian nationalism is, in some ways, expanded towards
universalism. He believed that the musician has the responsibility of enriching the universal
music, which he defines as the summation of the diverse national musics.6
The syntonization with the twentieth century compositional trends appears mostly in the
harmonic vocabulary employed in all three movements. The sonorities used abound in tritones
and minor seconds, and create a quasi-Webernian sound, which was the goal of several
composers worldwide during the same period. For example, Guarnieri uses the Viennese
trichord plentifully.7 The difference between the post-Webernian composers of the northern
hemisphere and Guarnieri is that the latter tried to obtain the Webernian sound by aural
experimentation in contrast with the former that conferred a huge part of the task to highly
4 Mário de Andrade (b São Paulo, 9 Oct 1893; d São Paulo, 25 Feb 1945). Brazilian
writer and musicologist. He was one of the founders of Brazilian ethnomusicology, and very influential in the assertion of musical nationalism in his country in the 1920s and 1930s. He studied at the São Paulo Conservatory where he later taught. He took an active part in the Semana de Arte Moderna (February 1922) whose basic goal was the reform of Brazilian art from academicism into ‘modernismo’. Soon afterwards he began his lifelong investigations into Brazilian folk and popular music which produced a series of outstanding essays. Norman Fraser and Gerard Béhague: ‘Mário de Andrade’, Grove Music Online ed. L. Macy (Accessed 24 February 2004), <http://www.grovemusic.com>
5 Camargo Guarnieri, op.cit., 15. 6 Ibid., 15. 7 The "Viennese trichord” was popular with Schoenberg and his disciples. It consists of a
perfect 4th plus a tritone. Jay Tomlin, “All About Set Theory,” <http://www.jaytomlin.com/music/settheory/help.html > (Accessed 24 February 2004).
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deterministic procedures (total serialization) and mathematical operations. Guarnieri fought
against the application of deterministic procedures in the field of composition, and this included
the fight against Koellreutter and the group Música Viva, as discussed in the first chapter. He
believed that the application of mechanical procedures without the correspondent development
of the ear could create a class of composers able to draw musical symbols with no aural meaning.
Furthermore, one will not find in Guarnieri’s music the use of sound mass in the manner of the
Polish School, serialism in the manner of Babbitt or the disciples of Messiaen, or chance in the
manner of Cage. Even the use of twelve-tone is modest and accomplished without the
preoccupation of applying the traditional postulates of the Second Viennese School. The
rhythmic vocabulary of this concerto is somehow connected with the works of Stravinksy and
especially Bartók. It is well known that both composers were influenced by the folk and popular
genres of their own culture. Bartók also influences Guarnieri’s use of quartal harmony.
Figure 5.1. The five-note motive
Guarnieri’s fifth piano concerto is a cyclic work entirely built on a five-note motive
(Figure 5.1). This motive generates a series of sonorities that are used both vertically (chords)
and horizontally (melodic lines). An important characteristic of this motive is the intervals
created between its salient pitches (first, highest, and last notes). The interval formed between its
first and its highest notes is a major seventh (equivalent to a minor second according to
principles of classification defined in the first chapter), the interval between its highest and its
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last notes is a perfect fourth (equivalent to a perfect fifth), and the interval between its first and
its last notes is a tritone—a Viennese trichord, in fact.
In order to understand and classify Guarnieri’s harmonic vocabulary for this piece, I
categorized five types of sonorities based on principles of octave, enharmonic, and inversional
equivalence (defined in the first chapter). These types of sonorities are: 1) Type 1, which is also
known as the Viennese trichord, consists of a tritone and a perfect fourth, 2) Type 2 is based on
quartal harmony, 3) Type 3 is based on tertian harmony, 4) Type 4 is based on chromaticism, and
5) Type 5 consists of a Type 2 trichord plus a tritone. The Webernian sound is caused especially
by the use of Type 1 sonority. This sonority can be considered the most important sonority of the
piece, because it uses the salient notes of the five-note motive (first, highest, and last pitches).
There are probably some connections between the five-note motive and the choro
“Espinha de Bacalhau” by Severino Araújo, as indicated in the first pages of the fourth chapter.
I believe though that the similarity is coincidental because Guarnieri would have mentioned the
quotation. The unintentional similarity is perhaps a result of the nationalistic mind of Guarnieri
impregnated with the genuine Brazilian folk and popular culture. Furthermore, as I mentioned in
the first chapter, the second movement was the first one to be written, and this movement has no
connection with choro.
Guarnieri’s fifth piano concerto is in three movements. The formal design is very clearly
defined. Even though the piece has an atonal harmonic language, its formal scheme maintains
the same level of intelligibility of a tonal work. The first movement is in sonata allegro form, the
second one is in ABA form, and the third one is in arch form (ABCBA). The five-note motive is
the central idea in all three movements. It is present in the form of melodic line (complete,
incomplete, or transformed) or in the form of the vertical sonorities generated from it. The piece
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makes references to universal masterpieces (Beethoven’s fifth symphony) and to Brazilian folk
and popular genres (choro, samba, and baião).
The analysis of this piece was a great experience for me as a composer. It helped me to
understand better the mind of this genial master, and also gave me the opportunity of a deeper
contact with twentieth-century Brazilian music, especially with Brazilian nationalism. As a
nationalistic composer like Guarnieri, I have been motivated by this analysis towards defining
and refining my own compositional voice. After having this intimate contact with the
compositional mastery of Camargo Guarnieri, I believe that serious composers, theorists, and
musicologists (not only in Brazil) must study his music. His music is attractive for many
reasons: its well-designed formal structure, its rich harmonic language, its creative use of
rhythm, its wonderfully conceived orchestration and textural distribution, and its intelligent and
elegant use of folk and popular elements. His compositions are a great source of musical
knowledge and beauty, and a wonderful example of balance between reason and intuition.
Guarnieri was a very prolific composer. In his last catalogue, published in 2001 by
Flávio Silva, are listed 407 original compositions, 46 arrangements, 1 movie soundtrack, and 81
pieces that the composer disregarded as part of his catalogue, written between 1920 to 1928.8
Guarnieri has 2 one-act operas (“Pedro Malazarte” and “Um Homem Só”), 7 cantatas, 7
symphonies, 6 concertos for piano and orchestra, 7 sonatas for violin and piano, 3 sonatas for
cello and piano, and 3 string quartets. The works for piano include 50 ponteios9 , 20 estudos, and
8 Flávio Silva, “Catálogo das Obras,” in Camargo Guarnieri: o Tempo e a Música, ed.
Flávio Silva (Rio de Janeiro: FUNARTE, 2001), 503-611. 9 In her article about Guarnieri’s piano music, Belkiss Carneiro de Mendonça uses Mário
de Andrade’s definition of ponteio, which is a type of improvised prelude played by guitarists. The word ponteio is also associated with the plucking technique of the guitar. Guarnieri’s
181
8 sonatinas. The works for voice include more than 300 songs, many of them grouped together
in the form of a collection.10
Guarnieri’s international recognition includes the first prize of the Philadelphia Free
Library Fleisher Music Collection, in 1942, for his “Concerto No. 1 para violino e Orquestra,”
and the first prize from the Chamber Music Guild of Washington, DC, in 1944, for his “Quarteto
de Cordas No. 2.” National prizes include the first prize in the “Prêmio Luiz Alberto Penteado
Rezende,” in São Paulo (Brazil), in 1944, for his “Sinfonia No. 1”; the first prize in the “Prêmio
Alexander Levy,” in São Paulo, in 1946, for his “Concerto No. 2 para Piano e Orquestra”; and
the first prize in the “Prêmio Carlos Gomes,” in São Paulo, in 1954, for his “Sinfonia No.3.”
Samuel Barber was one of the judges in this latter contest. Also, in 1957, Guarnieri’s “Choro
para Piano e Orquestra” was awarded the first prize in the “2o. Concurso Latino-Americana”, in
Caracas, Venezuela. In 1943, Joseph Schuster and Leonard Bernstein performed his “Sonata for
cello and piano No.1” in a concert promoted by the American Composers League, in New York.
In 1945, Guarnieri founded chair No. 23 in the “Academia Brasileira de Música.”11
Presently, this chair belongs to Laís de Souza Brasil, the same pianist to whom the “Concerto
No. 5 para Piano e Orquestra” was dedicated.
Mozart Camargo Guarnieri died in 1993.
ponteios are through-composed monothematic miniatures that deeply express Brazilian music. Belkiss Carneiro de Mendonça, “A Obra Pianística,” in Camargo Guarnieri: o Tempo e a Música, ed. Flávio Silva (Rio de Janeiro: FUNARTE, 2001), 402.
10 For example, “Poemas da Negra” consists of 12 songs, “Treze Canções de Amor”
consists of 13 songs, and “Para Acordar Teu Coração” consists of 8 songs. 11 http://www.abmusica.org.br
182
BIBLIOGRAPHY
Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading. New York: Harcourt Brace Jovanovich, 1989.
Appleby, David P. The Music of Brazil. Austin: University of Texas Press, 1983. Aretz, Isabel, Ed. América Latina en su Música. París: UNESCO, 1977. Bailey, Kathryn. The Twelve-note Music of Anton Webern. Cambridge: Cambridge University
Press, 1991. Beethoven, Ludwig van. Complete Piano Concertos. New York: Dover Publications, Inc.,1983. Cope, David. New Directions in Music, 6th Ed. Prospect Height, IL: Waveland Press, Inc., 1998. De Arce, Daniel Mendonza. Music in Ibero-America to 1850 – A Historical Survey. Lanham,
MD: The Scarecrow Press, Inc.: 2001. Finale. Eden Prairie, MN: Coda Music Technology, Inc., 2004. Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973. Freitag, Léa Vinocur. Momentos de Música Brasileira. São Paulo: Nobel, 1985. Guarnieri, Camargo. Concertos para Piano e Orquestra Nos. 3,4,5. Orquestra Sinfônica
Municipal de São Paulo e Orquestra Sinfônica Nacional da Rádio MEC, solista Laís de Souza Brasil. FUNARTE FUN003M/95, 1995. Compact Disc.
Guarnieri, Camargo. “Concerto No. 5 para Piano e Orquestra.” Score (Photocopy). 1970. The
Composer’s Archive, São Paulo, Brazil. Guarnieri, Camargo. “Concerto No. 5 para Piano e Orquestra (Version for Two Pianos).” Score
(Photocopy). 1970. The Composer’s Archive, São Paulo, Brazil. Hindemith, Paul. The Craft of Musical Composition. New York: Associated Music Publishers,
1945. Kiefer, Bruno. História da Música Brasileira: dos Primórdios ao Início do Século XX, 3a. Ed.
Porto Alegre: Editora Movimento, 1982. Marconde, Marcos Antônio, ed. Enciclopédia da Música Brasileira: Erudita, Folclórica e
Popular, 2a. Ed. São Paulo: Art Editora, 1998. S.v. “Copacabana,” V.II, 1228-1229.
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Mascarenhas, Mário, ed. O Melhor da Música Brasileira. Vol. 8. São Paulo: Irmãos Vitale, 1988.
Mariz, Vasco. História da Música no Brasil, 5a. Ed. Rio de Janeiro: Civilização Brasileira, 1999. Neves, José Maria. Música Contemporânea Brasileira. São Paulo: Ricordi Brasileira, 1981. Olsen, Dale A. and Daniel E. Sheehy, editors. The Garland Encyclopedia of World Music. New
York: Garland Publishing, Inc., 1998. S.v. “Brazil: Central and Southern Areas,” “Brazil: Northeast Area,” “Afro-Brazilian Traditions,” V.2, 300-355.
Perle, George. Serial Composition and Atonality, 6th Ed. Berkeley: University of California
Press, 1991. Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and Practice. New York:
W.W. Norton & Company, 1961. Reti, Rudolph. “The Role of Duothematicism in the Evolution of Sonata Form.” The Music
Review, V.17 (1956): 110-119. Rosen, Charles. Sonata Forms. New York: W.W. Norton & Company, 1980. Schechter, John M., editor. Music in Latin American Culture. New York: Schirmer Books, 1999. Silva, Flávio, ed. Camargo Guarnieri: O Tempo e a Música. Rio de Janeiro: FUNARTE, 2001. Slonimsky, Nicolas. Music of Latin America. New York: Thomas Y. Crowel Company, 1945. Straus, Joseph N. Introduction to Post-Tonal Theory, 2nd Ed. Upper Saddle River (NJ): Prentice
Hall, 2000. ______________. Remaking the Past: Musical Modernism and the Influence of the Tonal
tradition. Cambridge, MA: Harvard University Press, 1990. Travassos, Elizabeth. Modernismo e Música Brasileira. Rio de Janeiro: Jorge Zahar Editor,
2000. Verhaalen, Marion. Camargo Guarnieri: Expressões de uma Vida. Translated by Vera Silvia
Camargo Guarnieri. São Paulo: Editora da Universidade de São Paulo/ Imprensa Oficial, 2001.
_______________. “Guarnieri: Brazilian Nationalist.” Clavier, V.16 No. 1 ( Jan. 1977): 18-19. Wisnik, José Miguel. O Coro dos Contrários: a Música em Torno da Semana de 22. São Paulo:
Livraria Duas Cidades, 1983.
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APPENDIX A. LETTER OF PERMISSION I
185
APPENDIX B. LETTER OF PERMISSION II
186
APPENDIX C. TYPES OF SONORITIES
Type of Sonority Interval content Examples Pitch class prime form equivalent
Minor second, perfect fourth, and tritone
C-C#-G C-F#-B C-F-B
C-G-F#
016
1
All Type 1 is a tetrachord containing four Type 1 trichords
C-C#-F#-G#
0167
a Three perfect fourths C-F-Bb C-D-G
027 2
b More than three perfect fourths
C-D-G-A C-F-Bb-G-D
0257, 02479, …
a Minor triad C-E-A 037
3 b Major triad C-E-G 047
4 Three or more minor seconds
C-C#-B-Bb 012, 0123, 01234,…
5
A major triad with diminished fifth and major seventh
C-E-F#-B
0157
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VITA
Liduino José Pitombeira de Oliveira was born in Russas, Ceará, Brazil, in October
1962. He is a candidate for the degree of Doctor of Philosophy at Louisiana State
University, where he studies music composition with Boyd Professor Dinos
Constantinides. He received his Bachelor of Music degree from Universidade Estadual
do Ceará (Brazil), in the Spring of 1996, and his Master of Music degree from Louisiana
State University, in the Summer of 2000. He also studied composition with José Alberto
Kaplan, Vanda Ribeiro Costa, and Tarcísio José de Lima. Performances of his works
have been given by The Berlin Philharmonic Wind Quintet, Louisiana Sinfonietta, LSU
Symphony Orchestra, Poznan Philharmonic Orchestra (Poland), Red Stick Saxophone
Quartet, New York University New Music Trio, and Orquestra Sinfônica do Recife
(Brazil). He received important national and international awards, such as the first prize
in the 1998 Camargo Guarnieri Composition Contest, in Brazil, for his composition
“Suite Guarnieri”; the first prize in the “Sinfonia dos 500 Anos” composition contest, in
Brazil, in 2000, for his composition “Uma Lenda Indígena Brasileira”; and the 2003
MTNA-Shepherd Distinguished Composer of the Year prize, for his composition
“Brazilian Landscapes No.1.” He is a member of the National Association of
Composers, USA, Society of Composers, Inc., American Music Center, College Music
Society, and “Sociedade Brasileira de Música Contemporânea”, Brazil.
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