iridescence diss version - university of texas at austin
TRANSCRIPT
DISCLAIMER:
This document does not meet the current format guidelines of
the Graduate School at The University of Texas at Austin.
It has been published for informational use only.
Copyright
by
Sarah Beth May
2010
The Dissertation Committee for Sarah Beth May certifies that this is the approved version
of the following dissertation:
Concerto for Oboe and Orchestra
Committee:
Bruce Pennycook, Supervisor
Donald Grantham
Russell Pinkston
Yevgeniy Sharlat
Andrew Shea
Concerto for Oboe and Orchestra
by
Sarah Beth May, B.MUSIC; M.MUSIC.
Dissertation
Presented to the Faculty of the Graduate School of
The University of Texas at Austin
in Partial Fulfillment
of the Requirements
for the Degree of
Doctor of Musical Arts
The University of Texas at Austin
May 2010
iv
Acknowledgements
I would like to express my deepest gratitude to my committee chair, Professor Bruce
Pennycook, who has provided me with invaluable assistance and advice throughout the
dissertation process. He has offered innumerable insights and his commitment to
teaching has been both admirable and inspiring. In addition, I would like to thank my
other committee members, Yevgeniy Sharlat, Donald Grantham, Russell Pinkston, and
Andrew Shea for the time that they have devoted to my work and to their disciplines.
In addition, I owe many thanks to my husband, K. Dennis Smith, who has provided me
with constant inspiration and moral support throughout this process, and to my sister,
Heather May, who has been my role model since I was born and has shared her insights
with me as I have undertaken my doctoral studies. I also thank my good friend Rebecca
Vincelette for keeping me on track and encouraging me at the times when I needed it
most. I thank my parents, both of whom, as academics, have served me throughout my
studies as mentors.
Finally, I would like to thank my colleagues at Northwest Vista College. Without their
encouragement and willingness to adjust to my scheduling needs, I could never have
completed my coursework or my dissertation.
v
Concerto for Oboe and Orchestra
Sarah Beth May, DMA
The University of Texas at Austin, 2010
Supervisor: Bruce Pennycook
This dissertation consists of an original piece for oboe and orchestra and an analysis
of that piece. The analysis examines the form and musical components of the oboe
concerto and describes the motivations for the piece’s composition.
vi
Table of Contents
Chapter One: Motivation, overall structure and methods……………………………………………...1
Chapter Two: Description of individual sections within the piece…………………...……………10
Chapter Three: Conclusion……………………………………………………………………………………….…..35
1
Chapter One: Motivation, overall structure and methods
This piece was written for the oboist Amari Pepper Barash to play as a soloist. There is a
need for contemporary oboe concerti and works for oboe and orchestra; compared to
many other soloists, the oboe player lacks a vast repertoire of concerti to choose from.
That is not to say, of course, that contemporary oboe concerti do not exist; very good
pieces have been written for the oboe. These pieces include William Bolcolm’s fairly
traditional Spring Concertino for oboe and orchestra, and John Harbison’s structurally
complex Concerto for Oboe, which includes jazz, baroque, and blues influences.
While this piece could be performed by any oboist, Barash’s particular skills as a soloist
and musical interests were taken into account. Dr. Barash is an avid performer of 20th
and 21st
-Century music and has perfected the art of playing varied and expressive
multiphonics, challenging rhythmic constructions, and can produce timbrally satisfying
pitches across the oboe’s register. In addition, she enjoys musical challenges and is
herself a conductor and composer along with being an accomplished performer. As a
result of these attributes and her expressed interest in premiering a new piece by the
author of this dissertation, an oboe concerto was agreed upon. For the composer, this
choice of instrumentation also provided the opportunity to create varied timbral and
textural combinations.
2
While the following plan was used as a guideline for the piece, it should be noted that
musical and aesthetic considerations also play important roles in the compositional
process. As a result, the plan described below is, at times, followed with less than
complete fidelity, and in some sections of the piece, additional materials are added to
enhance the musicality of the composition.
The number seven plays an important role in this concerto. Many sections are divided
into seven sub-sections, and the number of pitch classes between overlapping sections,
when added together, always equals seven. Seven rhythmic patterns are used
throughout the piece, as shown later in this chapter. The image that originally inspired
this concerto was that of a necklace, with oboe-dominated sections providing the
“strings” tying together seven “beads” of more traditionally structured, orchestra-
dominated sections. In the diagram below, the sections are labeled with upper case
letters, which correspond to rehearsal letters within the score. However, throughout
this paper, these sections will be referred to by number, with the following sections
corresponding to the following numbers:
Opening – 1; A – 2; B – 3; C – 4; D – 5; E – 6; F – 7; G – 8; H – 9; I – 10; J – 11; K – 12; L –
13; M – 14; N – 15
3
The “strings” are represented by the Sections 1,3,5,7,9,11,13 and 15, and the “beads”
are represented by sections 2,4,6,8,10,12, and 14. It should be noted that the “strings”
do not necessarily serve a transitional function – rather, they are more openly
structured and loosely defined than the “beads,” many of which follow fairly traditional
or standardized formats.
Figure 1
4
The numbers within the ovals represent the number of pitch classes used in each
section. As shown on the diagram, the pitch materials from sections 1,2 and 3 are
combined to make up the collection used in section 4; the materials from 5,6 and 7 are
combined to make up the collection used in section 8; and the materials from sections
9,10, and 11 are combined to make up the collection used in section 12. Each of the
sections is dominated by particular interval classes, which correspond in number to the
number of pitches present in that section. These interval classes also played a part in
the generation of the pitch collections used in each section. Each section of the piece
has a particular pitch center or “tonic” and these pitch centers and the overall melodic
contour created by playing them in succession provide some of the motivic and melodic
material for each section of the piece. The pitch centers can be found around the
perimeters of the diagram.
The pitch materials for each section are shown below. Sections 1,2 and 3 all are derived
from Major Collection 1; the opening contains the pitches G and A, which are shown in
italics, along with the bracketed pitches, while section 2 contains only the bracketed
pitches. Section 3 contains the bracketed pitches along with G¯ and A¯, which are
shown in italics. Pitches that serve as pitch centers are in boldface. Section 4 contains
all of the pitches in major collection 1.
The same format is used to show the pitches included in the rest of the sections below.
Pitches are numbered where C = 0.
5
Major Collection 1 (used in sections 1,2, 3 and 4):
5, 7 [0, 1,4, 10, 11,]6,8
In normal order, this entire collection is made up of 0,1,3,6,7,8,9,10,11.
Major Collection 2 (used in sections 5,6,7 and 8):
0,1,4,8 [3, 6, 7] 2,5 ,9,10,
In normal order, this entire collection is made up of 0,1,2,3,4,5,6,7,8,9,10
Major Collection 3 (used in sections 9,10,11 and 12):
0,4, 5, 7, 9, [1, 2] 3, 6, 10, 11
In normal order, this entire collection is made up of 0,1,2,3,4,5,6,7,9,10,11
Major Collection 4 (used in 13, 14, and 15):
0,3,4,5, 8,10 [7] 1, 2, 6, 8, 9, 11
In normal order, this entire collection is made up of 0-11.
Rhythmic patterns also play a very important role in the piece. The following depicts
the series of rhythmic patterns used throughout the piece:
1:
2:
3:
4:
6
5:
6:
7:
Figure 2
It may be noted that with the exception of pattern 6, each of these patterns lasts for a
number of beats equal to that of its place within the list above. Pattern 6 and Pattern 5
both last for five beats. This was the result of an aesthetic choice and an effort to avoid
complete predictability of patterning. In general, these rhythmic patterns were chosen
for their recognizable pulse structures. Some of the rhythmic patterns do relate to each
other; for example, pattern 5 incorporates both pattern 1 and the first beat of pattern 2,
and both patterns 4 and 7 open with quarter note triplets. In this way, relationships can
be found between the rhythms of the sections, but the rhythms do not repeat verbatim.
Within the sections of the piece, the patterns are used as follows:
1: 7; 2: 1; 3: 6; 4: 1,2; 5: 5; 6: 1,2,3; 7: 4; 8: 1,2,3,4; 9: all; 10: 1,2,3,4,5; 11: 3; 12:
1,2,3,4,5,6; 13: 2; 14: 1,2,3,4,5,6,7; 15: 1. As shown, the “string” sections present the
patterns one at a time in reverse order, with the exception of 9, where all patterns are
presented. The “beads” present the patterns in an additive form, starting with just
pattern 1 and ending with all seven patterns. The result of this is that in rhythmic terms
the piece begins and ends by presenting patterns 1 and 7 in close succession, and thus
7
creates a sense of rhythmic recapitulation. The additive structure found in the beads
allows the listener to gradually absorb increasingly complex rhythmic patterns in a way
that simply playing them in succession would prevent.
The materials for the piece were chosen for their abstract, purely musical qualities and
not for any extra-musical or cultural associations. That is to say, in a way similar to the
works of Boulez or Webern, the pitches, for example, were not chosen for their
resemblance to any particular pre-existing music or musical forms with which the
listener might be familiar. However, many of these materials do have associations for
most listeners and are closely tied with particular styles of music or musical sounds. For
example, rhythmic pattern 4 is closely associated with the clave rhythm heard Afro-
Cuban music such as salsa. While this was not the reason for choosing this pattern, this
association was not ignored during the compositional process but was, rather,
embraced and utilized. The same can be said for several of the pitch collections and
some of the other rhythmic patterns. Another clear example can be found in section 11,
where the structure of the pitch collection, with its augmented seconds, might clearly
associate itself with the scale structures or maqams found in some Middle Eastern
music. Because of this association, this section is structured in a way that mirrors, in
very condensed form, many of the structured improvisation forms found in Indian and
Middle Eastern music.
8
Many composers from Claude Debussy to Christopher Rouse have “borrowed” or
appropriated music of other cultures. This act of appropriation is problematic and
uncomfortable at best. However, in this piece, the composer hopes to avoid making
claims about associations or directing the listener’s attention to these associations.
Rather, for most listeners it is hoped that any cross-cultural associations will be heard as
merely associations rather than the substance of the music. By not making claims about
the piece’s possible cross-cultural associations, the composer also leaves the particulars
of the cultural associations to the listener rather than dictating that the piece “is”
Middle Eastern, Afro-Cuban, etc. The listener is free to extrapolate and interpret
contexts onto the piece based on his or her own musical experiences. For example, a
group of music professors heard the section described above as Middle Eastern as a
“blues” section, presumably because their exposure to blues outweighed their exposure
to music from the Middle East.
The durations of sections were included in the pre-compositional plan and were planned
to be symmetrical. However, although durations, along with tempos and orchestration,
were included in the preliminary planning of the piece, these were allowed to develop
and change with some degree of freedom in order to create the most satisfying musical
experience possible. This piece’s ultimate goal is musical enjoyment for performers and
listeners, and flexibility with regard to certain aspects of the piece was mandatory in
order to create a coherent and musical composition.
9
The following elements unify the piece, making connections between the sections: The
rhythmic patterns, which repeat throughout the piece; the similarities between the
opening and closing pitch collections, and the contour created by playing the pitch
centers of each section in succession, which is then used throughout the piece as a
melodic contour:
Figure 2
In addition to these specific similarities, the relationship between the soloist and the
orchestra remains constant throughout the piece. During most of the piece, the oboe
soloist plays freely and is allowed to break out of the structures that constrain the
orchestral accompaniment. The oboe’s idiom remains consistent throughout the piece,
while the orchestral parts take a sort of journey from one musical “place” to another
throughout the piece. This could be seen as a mirror of the piece’s design: the oboe’s
“string” connects the beads, and even runs through the center of each bead during the
sections where the beads occur, holding the necklace together.
10
Chapter Two: description of individual sections within the piece
Within the piece as a whole, each section has its own separate structure, character, and
musical objective. These sections do relate to each other and to the entirety of the
piece, as described in chapter one, but their formal and musical independence vary
largely depending on their length, character, and the nature of the material they
contain. A description of the structure and materials found in each section can be found
below. The sections are labeled as in the previous section, with numbers that
correspond to rehearsal letters within the score.
Section 1
The piece opens with a roughly 42 second soloistic melody presented by the oboe, with
sustaining techniques in the orchestra creating a continuation of the melody in chordal,
suspended form. This section was created with relative freedom, and is to be played in
a fairly free manner as well.
The pitch materials in this section consist of the following scale or pitch collection: G, A,
B-flat, B-natural, C, D-flat, and E-flat. G and A are the dominant pitches. Within this
collection of pitches, pitch selection is treated with freedom; that is, the pitches are not
ordered. The intervals of a major second and perfect fourth are the dominant intervals
in this section; the orchestra sustains whole-tone pitch clusters and the oboe’s line
frequently outlines perfect fourths and major seconds. The rhythmic material is derived
11
from pattern 7. However, rhythmic pattern 7 is also treated fairly freely, with added
held notes, rests, and variations. The soloist plays within the oboe’s most lyrical,
characteristic and comfortable range, and dynamics range from pianissimo to forte.
Section 2
This section of the piece has overlapping sub-sections of various lengths, depending
upon each musical element being discussed. The oboe and orchestral parts are
complementary, but the oboe is allowed more freedom in its treatment of the materials
than the orchestra has. Section 2 contains the pitches B-flat, B-natural, C, D-flat, and E-
flat. These are the pitches shared by sections 1 and 2. The inner voices in the orchestral
part present the following harmonic progression, alternately in order and in retrograde:
Figure 3
After the first forward presentation of this progression, outer voices are added to each
repetition in the following order:
Figure 4
12
The oboe part consists of the pitch class B-flat, which is the central pitch class or tonic
for Section 2.
Section 2 consists of rhythmic pattern 1 in the orchestra, with long tones in the oboe.
As the section progresses, augmentations of rhythmic pattern 1 are added, and
eventually replace the original rhythmic pattern. At the same time, this section has
several orchestrational subsections. These subsections vary in length, with each
respective subsection lasting the following number of beats:
5, 5, 6, 5, 5, 6, 5, 5
The instrument or group of instruments performing the harmonies in the orchestra
changes at the end of each subsection. The changes in orchestration work in
counterpoint to the harmonic sections; that is, the harmonic sections last for lengths of
time that differ from the lengths of time between orchestrational shifts, thus obscuring
the shifting of the harmonies and blurring the boundaries between subsections.
Section 2 opens with a very restricted register and gradually expands; however, the
entirety of the orchestral accompaniment fits within an octave plus a tenth. The oboe
begins within the register of the orchestra but is allowed to soar above the orchestra
approximately 2/3 of the way through the section. The dynamics of the orchestra are
13
limited to the range of pianissimo to mezzo-forte, while the soloist plays dramatic
dynamics.
Section 3
This section is fairly uniform in structure. While it does contain subsections, these
subsections flow smoothly one to the next without breaks or dramatic changes. Three
separate functions can be observed within this section; a drone-like, sustained
atmospheric function, presented by the strings, a rhythmic function, presented by the
woodwinds, brass, and percussion, and a soloistic melodic function, performed by the
oboe soloist.
The pitch materials in this section consist of G-flat, A-flat, B-flat, B-natural, C-natural, D-
flat and E-flat. The intervals highlighted in this section are the Major 2nd
and the Perfect
4th
. The pitch material is structured as follows:
Figure 5
The strings perform a drone, sustaining the sonorities listed above, each of which is built
using a combination of major seconds and perfect fourths. Every 12 beats, the strings’
method of performance or articulation changes slightly. The oboist plays free rhythms,
presenting the pitch collection included in this section in an unordered format. The rest
14
of the ensemble presents rhythmic pattern 6; however, this pattern is presented in an
additive manner, and iterations of the pattern frequently overlap.
Figure 6
The rhythm as presented in beats 60-71 is the entire pattern. The final section removes
the attacks initially presented during the opening of the piece.
As discussed above, different instruments are assigned alternate functions throughout
this section. Overall, the timbre of all the orchestral parts has the effect of a slight
cloudiness or muffledness. The strings in this section inhabit the middle of the string
orchestra’s register. Prior the final 24 beats, the woodwinds and brass remain in their
middle to upper register; during the final two sections the trombones introduce lower
tones. The oboe, in contrast to the restrained registers found in the orchestral parts,
inhabits a fairly wide register and presents wide leaps and angular arpeggiated figures.
Section 4
This section of the piece consists of six sub-sections. The length of each section is, in
order, 13, 14, 15, 16, 17, and 18 beats. This section of the piece is centered on the
pitches G and F-sharp. The pitches included are F-sharp, G, A, B-flat, B-natural, C, D-flat,
15
and E-flat. The emphasized intervals in this section are Major 2nds, Perfect 4ths and
Major 6ths.
The pitches are divided into two separate groupings, and within each section these two
groupings compete and overlap. The groupings are as follows (shown divided by
register; see below):
Figure 7
The rhythm for this section is based upon pattern 2. This rhythm is presented initially in
augmentation; as the section proceeds, the proportion of the augmentation gradually
decreases until, during the final section, the pattern, as originally written, is presented
by the strings and woodwinds. At the same time, an augmented version of pattern 2
continues to be presented by the piano and brass.
The orchestration of this section is largely based upon dynamic and registral
considerations. The full orchestra is employed, but the soloist does not play during this
section. This section of the piece begins with each of the rival pitch collections
inhabiting its own registral space. As the section progresses, each collection gradually
spreads out, until the two collections overlap almost in their entirety. The section
begins with a very quiet dynamic, and gradually increases in volume as it progresses.
16
Section 5
This section is made up of two overlapping musical structures. The string parts are
written in a pseudo-isorhythmic format, with both color and talea based on the cantus
firmus presented by the oboe soloist at the beginning of the section. At the same time,
after the entry of the string players, the oboe soloist presents a separate musical
structure in dialog with individual instrumentalists from the orchestra’s flute, clarinet,
and bassoon sections. The woodwind parts are made up of 34 beat sections, while the
isorhythmic string lines are sectioned based upon the lengths of the individual
presentations of the talea.
The central pitch for this section is E-flat, and the section includes E-flat, E-natural, F-
sharp G, A-flat, C, and D-flat. The melodic material is treated in a modal manner, with
two “modes” included; one that has E-flat as its final and ranges from C to C, and one
that has C as its final and ranges from G to G.
The woodwinds’ materials are also derived from the cantus firmus, which is divided into
six sections, with one section repeated in its transposed mode. Within each section of
the woodwind parts, the pitch materials are limited to those that occur within that
particular subdivision of the cantus firmus. These pitch materials are played unordered,
however, within each section.
17
Figure 8: Color in E-flat mode
Figure 9: Color in C mode
Figure 10: Soloists’ materials by section
The soloists’ parts are free in their rhythms. The orchestra’s rhythmic pattern, or talea,
is a presentation of patterns 1, 2, and 3. The first presentation of this talea is given in 7x
augmentation, the second in 6x augmentation, the third in 5x augmentation, and so on.
The fourth voice presents the talea twice before the next voice enters; the fifth presents
the talea three times before the next voice enters; and the sixth voice presents the talea
four times before the entry of the final voice. Each time a new voice enters, the piano
and chimes usher it in with a flourish ending on that voice’s starting pitch.
The register of each individual string section is restricted and is based on the modes
described above. The entries and ranges begin in the middle register and then gradually
spread. The woodwind soloists occupy the upper register and often cross, creating
beating and a swirling texture. Pitch bends, trills and tremolos occur frequently in the
18
woodwind parts and the lines presented are idiosyncratic, in contrast to the smoothness
of the string writing.
Section 6
Overall, this section is melodically driven. This section follows a popular song format:
Verse (7mm)
Chorus (9 mm)
Verse (7 mm)
Chorus (9 mm)
Bridge (7 mm)
Chorus (9 mm)
This section includes the pitch classes E-flat, E-natural, F-sharp, G, A-flat, C-natural and
D-flat. Major and minor thirds are the central intervals to this section; one of the main
motivators to create a song structure for this section was the dominance of thirds,
which often create or imply triads. A-flat is treated as the tonic, and harmonies are
created using the pitches and intervals listed above to imply Tonic, Pre-dominant and
Dominant functions in the “key” of A-flat.
Figure 11
19
The accompaniment of this section repeats rhythmic pattern 3 throughout, with
augmentations during the choruses and some sections of the orchestra providing more
sustained pitches. The melody, which is presented by individuals from within orchestral
sections in alternation with the oboe soloist, presents free rhythm during the verses,
with rhythmic patterns 1,2, and 3 combined in the chorus. Some variation in rhythmic
structure is allowed as the section progresses.
Section 7
This section is fairly short and fairly free. The central pitch is E-flat, and the pitches
available are E-flat, F-sharp, F-natural, G, A, B-flat, and D. The section consists of a
soloistic oboe passage that is continually thwarted and interrupted by the bass drum
and orchestral players. The rhythm included in this section is pattern 4 and can be
found primarily in the interjections of the bass drum, trombone, tuba and strings. The
piano also interjects, but with rhythmic and pitch material more similar to that found in
the orchestral parts.
20
Section 8
This section is the central section of the piece, represented in the visual image by the
medallion on the necklace. It is divided into seven sub-sections, mirroring the number
of “beads” in the piece as a whole. These parts are roughly, but not exactly, equal; the
number of measures or beats per part is dictated by the rhythmic structure of the
orchestral parts, described in detail below.
The pitch material from this section consists of the combined pitch materials from major
collection 2. Thus, in this section’s entirety, every pitch class is used except for G-
natural. The two pitch centers for this section are A-flat and A-natural. Within the
section, the orchestra moves from A-flat to A-natural through the pitch centers of E-flat
and D-natural. Thus, the progression of key areas is A-flat, E-flat, D-natural, A-natural.
Each key area has its own three or four trichords that function as Tonic, Pre-dominant,
and Dominant. As in tonal harmony, these trichords are built upon the first, second,
fourth and/or fifth scale degrees respectively. The intervals stressed in the previous
sections continue to dictate the structure of these trichords; they are built using minor
seconds, minor thirds and Major thirds (as well as the inversions of these intervals.) The
intervallic structure of the trichords is not consistent across key areas; that is, they are
not simple transpositions of each other, but vary from key area to key area. Each key
area is progressively less firmly established, so that by the end of the section, the
establishment of A-natural is only tentative.
21
Key Area: A-flat
Key Area: E-flat
Key Area: D
Key Area: A
Figure 12
22
None of the trichords involve F-natural. Other pitches are excluded from individual key
areas, as well; in the sections centered around A-flat and A-flat we do not find E-natural,
while in the key area of D, F-sharp, A-sharp, and B-natural are excluded. In A-natural, we
do not find B-natural or C-sharp.
The same pitch materials made up by the trichords also influence the melodic material
in the section whenever such material is present. The actual melodic contour mimics
the melodic contour of the overall piece as created by the progression of pitch centers,
but is then filtered through the pitches available in each section.
Overall piece’s melodic contour:
A-flat:
E-flat:
23
D:
A:
Figure 13: Melodic contours by key area
This section incorporates the first three rhythmic patterns along with the fourth. The
rhythmic structure is what largely drives the entire section, and has been shown below.
The rhythms are what determine the demarcation of new sub-sections, and these sub-
sections are marked below with letters for easy reference.
The section begins with the fourth motive, and the previous three motives are then
introduced in reverse order. Once all have been added, they gradually are removed in
the same order that they appeared, until only the fourth and first rhythmic motives
remain.
The oboe soloist enters approximate two thirds of the way through section G. The
soloist’s line moves about freely, without constriction, not adhering to the overall
24
rhythmic plot, but still includes the same pitches that are included in the pitch collection
for the section as a whole.
The rhythmic plan for section G is depicted below in Figure 14. In this figure, rehearsal
letters indicate the beginnings of sub-sections within section G.
Figure 14, continues on following page
25
Figure 14, continued
The overall registral contour of this section begins moderately constricted in the middle
to lower range of the orchestra, gradually expands, and then ends in an even more
constricted and higher register than it started.
26
Section 9
This section is loosely structured and polyphonic. Each of the instrumental sections is
treated as an individual, with each section, excluding the solo oboe, containing its own
distinct material. The pitches included in this section consist of D, E, G, A, C, and F. D is
the pitch center for this section. This section includes all of the rhythmic patterns. Each
section from the orchestra is assigned one of the patterns and each pattern is
performed the following number of times throughout the section by the orchestra. The
solo oboist performs each of the patterns once.
Pattern 1 – performed by trumpet, horn, trombone: 7 times
Pattern 2 – performed by orchestral oboe and flute: 6 times
Pattern 3 – performed by bassoon, double bass and clarinet: 5 times
Pattern 4: performed by percussionist: 4 times
Pattern 5: performed by violins: 2 times
Pattern 6: performed by cellos: 1 time
Pattern 7: performed by trombone and tuba: 1 time
Each statement of a pattern is assigned its own unique register and dynamic in order to
give the section a multidimensional sound and to avoid perceived aural connections
between the individual parts.
27
Section 10
This section has a cumulative structure. It begins sparsely with few attacks and quiet
dynamics. As it progresses, the amount of activity builds. This section involves D-
natural, and C-sharp, with additional D quarter-tone-flats, used because this is the pitch
that is precisely between D and C-sharp, and fills in the space between this section’s two
pitches.
This section includes patterns 1,2,3,4 and 5. These patterns are performed in order a
total of nine times. However, all the attacks are not heard until the ninth repetition. In
the graphic below, the numbers below the note heads represent the repetition in which
that particular attack is introduced.
Figure 14
The attacks are arranged such that each repetition will fill in the space between the
attacks that occurred in the previous repetition, rather than being added directly before
or after the attacks included in the previous repetition.
The orchestral parts consist of short attacks, including techniques such as pizzicato and
tongue slap in order to facilitate the short and percussive, yet relatively subdued
character of this section. The orchestra is divided up by register into sections made up
28
of two instruments, and each section corresponds to one of the repetitions of the
rhythmic pattern, such that the flutes and violin 1 enter in the first section, followed by
violin 2 and oboes in the second section, followed by clarinets and trumpets in the third
section, followed by violas and horns in the fourth section, followed by cello and
bassoon in the fifth section, followed by double bass and trombone in the sixth section,
followed by Tuba, Double bass and Cello in the seventh section, followed by Violin 1 and
flute in the eighth section, and completed by viola and horn in the ninth section.
At the same time, the solo oboe and vibraphone sustain pitches that are played within
the orchestral section, with the oboe playing extended pitches that correspond with the
presentation of C-quarter-tone-sharp in the orchestra and the vibraphone oboe playing
extended pitches that correspond with the presentation of D and C-sharp in the
orchestra.
The first seven repetitions each present a lower register and the final two repetitions
present additional pitches in the highest and middlemost register. The dynamics are
quiet throughout. It should be noted that this section would be extremely difficult to
perform with great accuracy. However, even a relatively inaccurate performance would
produce an effect very similar to the desired effect.
29
Section 11
This section is structured in a way that resembles an improvisatory exploration of pitch
material and rhythmic pattern over a fairly rigid accompaniment. This section includes
pitches D, E-flat, F-sharp, G-sharp, A-sharp, B, and C-sharp. These pitches are treated
freely in the oboe. The accompaniment presents harmonic structures built from major
seconds and perfect fourths, as follows:
Figure 15
Throughout the section, the double bass and cello play a drone on D, emphasizing D as
the central pitch of the section.
This section begins and ends with free rhythm in the oboe part, but the climax of the
section consists almost entirely of pattern 3 in the solo oboe and percussion parts. The
accompanying parts begin with long, sustained pitches, but toward the middle of the
section the percussion begins repetitions of pattern 3.
The solo oboe begins the section in its lowest register and gradually ascends as the
section continues. Throughout, the drone remains in the low register and
accompanying instruments occupy the upper middle register. The tempo gradually
30
increases as the section goes on, and the dynamics begin mezzo-forte and gradually die
out toward the end of the section.
Section 12
This section contains all 12 pitches, with B and A-sharp serving as central pitches. Major
seconds, perfect fourths, and perfect octaves dominate the section; as a result of these
two factors (that is, the alternate pitch centers and the dominant intervals) the pitches
are divided into two groupings, with each grouping presented as a melody, as shown
below, and also, by stacking the pitches, in order, from the melodies, as a series of
harmonic structures:
Figure 16
This section opens with the violins playing divisi in their highest register; they present
the pitch and rhythmic material in an ethereal, barely discernible way. This material
overlaps into the previous section, while the percussionist enters at the beginning of
section K proper, presenting the rhythmic material for the section on the snare drum at
high volume. After presenting this material once, the percussionist adds the bass drum,
playing the same rhythmic material, but in augmentation. The rhythmic material for
31
Section K includes patterns one through six. Due to the length and complexity of these
patterns and the staggering of the entrances of the violins, the specific rhythms are
fairly indistinct in the violin section.
The brass enter after the second presentation of rhythmic patterns 1-6 in the snare; the
brass presents the same rhythmic material, but with the pitch materials beginning with
B-flat listed above in Figure 16. As the brass instruments enter, the violins cease to play.
Following the brass section’s statement of patterns 1-6, the woodwinds join in, also
presenting all six patterns in order, but using the pitch materials beginning with B-
natural listed above in Figure 16. After one statement including the brass, woodwinds,
and percussion all playing in rhythmic unison, one final statement is presented with the
brass joining the woodwinds’ in their presentation of B-natural centered pitch material,
but with the rhythm in augmentation.
Section 13
This section is structured loosely in a free, song-like fashion. The pitches included in this
section are G, G-sharp, A, B, C-sharp and D. Because the dominant interval in the
section is a tritone, the G/C-sharp and G-sharp/D tritones are emphasized. The
accompaniment includes an opening section with harmonies that function as Tonic,
Dominant, and Predominant, with G as the tonic followed by a second section with
harmonies that have parallel functions to the functions of the harmonies in the first
section but have G-sharp as their tonic.
32
G tonic:
G-sharp tonic:
Figure 17
In this section, the accompaniment presents pattern 2 in an ostinato-like fashion, with
expanded pauses at the end of each repetition of the pattern. Some measures are
expanded two beats, while others are expanded only one; this is the result of the give
and take present in the solo oboe part. The oboe soloist plays a free but simple and
songlike rhythm.
The register of all instruments in this section falls within fairly conventional limits. The
oboist performs in the most lyrical register of the oboe, and the orchestral instruments
are limited to accompaniment patterns played within a three-octave range. The section
begins mezzo-forte and builds to forte.
33
Section 14
This section functions as a solid block without large-scale subsections, although there
are small divisions of a few beats within the section. The most notable element in this
section is the dominance of the pitch G, which is the only pitch included in the section.
This section includes rhythmic patterns 1-7, with pattern 7 performed twice; once at the
beginning and once at the end of the section. These patterns are played by groupings
from within the orchestra; each grouping plays one pattern. The oboe soloist plays a
sustained G throughout the section. The instruments are placed in groups and play
using various techniques, creating dramatic variations in timbre and dynamics.
Throughout the section, the orchestra’s register is widely spread out. The dynamics in
this section are terraced and increase with the first four patterns; the dynamic level
decreases successively with the playing of each of the last four patterns.
Section 15
The final section is played by the oboe and strings only. This section is dominated by the
oboe soloist’s melody. The pitches included in this section are G, A-flat, B-flat, C, D-
sharp, E, and F. The oboe presents a melody based on the melodic contour of the
piece’s pitch centers (the same melodic contour we have encountered throughout
34
several sections of the piece) while the strings present a gradually expanding harmonic
accompaniment.
Oboe melody:
Accompaniment:
Note: the phrase markings indicate groupings that are heard together.
Figure 18
This section presents rhythmic pattern 1 repeatedly; however, as the pattern repeats
the instruments gradually augment the note values. The soloist plays a long, fluid solo
over the accompaniment. A final, sustained G concludes the piece.
35
Chapter Three: Conclusion
This piece offers several new approaches; it introduces the solo oboist in a different way
to other pieces for solo oboe and orchestra, in the sense that the oboe’s more soloistic
or cadenza-like passages are mostly played with the orchestra and are interspersed
throughout the piece, rather than constituting a large section of the overall form. The
idea of the oboe soloist as a structural element serving to give cohesion to a larger piece
contrasts with other, more traditional approaches to the medium.
Because this piece is made up of several sections that differ in character and surface
details, on first listening, it may simply present itself as a fantasy or a series of musical
adventures. This approach to music is not without precedent, but has been largely
abandoned by contemporary composers in favor of large-scale unified structures. One
of the motivating factors behind this approach was a response to the ways that listening
has changed over time as a result of the delivery methods used to convey music. A
majority of the music that is being played at any given time on radio stations and
television networks devoted to music is made up of short, often seemingly
disassociated, selections, and much of the public’s listening time takes place in car
journeys that last somewhere between three and ten minutes. Even during longer
listening sessions, the musical selections are often quite varied and not very lengthy.
One objective for this piece, then, is that it might mirror that listening experience and
provide a similar sense of continual surprise.
36
On the other hand, the piece as a whole does contain materials that unify its varied
sections; some of these materials, such as melodic contour, may require multiple
hearings to become clear to the listener. Thus, it is my hope that some listeners, after
hearing the piece once and finding it entertaining or pleasing, might listen to it several
more times and hear multiple added dimensions, until eventually its underlying
structure may unfold.
38
Conductor’s notes for
Concerto for Oboe and Orchestra
by S. Beth May
Percussion instruments are notated on the score as follows:
Bamboo chime
Wind Chime
Temple Blocks
Snare Drum
Bass Drum
The following symbols are used to indicate extended techniques:
Play a multiphonic that includes the indicated pitch
Smack tone
Quarter tone flat
Quarter tone sharp
Pitch Bend downward
Iridescence For Oboe and Orchestra
s. beth may
40
for Amari Pepper Barash
Copyright © 2009
Piccolo
Flutes
Oboes
Clarinets in Bb
Bassoons
Horns in F
Trumpets in Bb
Trombone
Tuba
Percussion:Bamboo ChimeWind Chime
Temple Blocks (3)Snare DrumBass Drum
Vibraphone/chime
Piano
Solo Oboe
Violin I
Violin II
Viola
Violoncello
Contrabass
q = 72; Freely, without strong pulse
pp
pp
pp
pp
p mf pp mf
pp
q = 72; Freely, without strong pulse
pp
Iridescence For Oboe and Orchestra
s. beth mayAtmospheric
div
3
forlornly
3 3 3
3
41
Fl.
Cl.
Cl. 2
Bsn.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
pp
8
pp
pp
pp
mf
p f p f mf p
3
div.
3
chimel.v.
more hopeful
33
42
Fl.
Cl.
Cl. 2
Bsn.
Bsn. 2
Hn.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
cresc - -
p
A14
cresc - -
p
p
cresc - -
p
mf
mf
pp p
pp
ff
mf
A
mf
ppp
pp
With increasing
intensity
una corda, with pedal
sord 3 ord.
3
3 3 3 3 3
3
43
Cl.
Bsn.
Bsn. 2
Hn.
Tpt.
Tbn.
Tba.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
accelerando - - - q = 9217
f
f
dim - -
f
f
dim - -
ff f
f
accelerando - - - q = 92
f
f p
f p
f p
3 3 3
Straight mute
Straight mute
gliss.
pizz
44
Fl.
Cl.
Cl. 2
Bsn.
Tpt.
Tba.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp
21
pp
pp p
pp
pp
mp
p
p
pp
breath tone
3 3
sotto voce
33
gliss. gliss.
7
arco
45
Fl.
Cl.
Cl. 2
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
n pp
q = 60B25
n
mp
ppp pp ppp
q = 60B
pp ppp pp
ppp pp
breath toneflutter
Mysterious
(B.C.) (W.C.)
sord
wide vibrato; gradually decrease non vib
sord
wide vibrato; gradually decrease
non vib
sord wide vibrato; gradually decrease non vib
46
Fl.
Cl.
Hn.
Tpt.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
pp
30
p
pp
pp
mp
mf
p pp
ppp p
ppp p
pp
div.; breath tone
a 1.
open; smack tone
(T.B.) (W.C.) (B.C.)
building and growing
47
Fl.
Cl.
Hn.
Tpt.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
pp
34
pp
pp
pp
p
cresc - -
mp
pp
pp
ppp
breath tone
flutter
(T.B.)
5 5 6 6 6 6 6 5 5
non vib
non vib
48
Picc.
Fl.
Cl.
Tbn.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
mf
36
pp
pp
f
p
mp
mp p
p
a 2.
open; div.
3
6 6 5 3
con vib
con vib
con vib
con vib
49
Picc.
Fl.
Ob.
Cl.
Hn.
Tbn.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
q = 112
C39
pp pp
pp
pp
mf
mf
n pp
pp
q = 112
C
p pp
mp
pp
pp
Like a giant avalanche
div.
div.
div.
vib
ord
3
3
ord 3
3
sord.
3
sord.
3
50
Fl.
Ob.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
45
p
pp
pp
pp
pp
pp
pp
pp
pp
pp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
whispa mute
3 3
straight mute div. 3
33
3
straight mute33
3
3
3
3
3
3
ord
3
3
3
33
33 3
51
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p mf
49
mf
p
mf
mf
p mf
p
mf
pmf
p mf
mff
pmf
p mf
p mf
p mf
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
div.open
3 3
3
3
3
open
3
3
3
3 3 open3 3
with pedal
3
3
3 3
3
div.
3
3
div.
3
3
3
3
3
3
div.
3
3
3
3
52
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f f
54
f f
ff
f f
ff
f
ff
fff
f
ff
f
f
f
f
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
33
3 33
3
3
3
3
3
3
3
3
53
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
57
ff
ff
ff
f
f
ff
ff
ff
ff
ff
ff
3 3
3
3
3
3 3 3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
33
3
3
3
3
3
simile3
3 3 3
simile
3 3 3
simile3
3 3
simile3 3 3 3
simile3 3 3
54
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
59
3 3
3 3 3 3
3
3
3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 33 3
3
3
33
3 3 33
3
3 33
3 3 3
3 3
3
3
3 3 3
55
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
61
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 33 3
3
3
3
3
3
3
3
3
3 3
3
3
3 3 3
56
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Pno.
Solo Ob.
Cb.
poco rit - - (c. q = 60)
D63
mf
poco rit - - (c. q = 60)D
3
3
Freely; simply
3
3
3
3
3
3
3
3
3
3
3
3
3
sus
57
Cl. 2
Bsn. 2
Vib/chime.
Solo Ob.
Vla.
q = 11268
n
cresc - -
pp p
q = 112
Fl.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vla.
mp f
75
pp
f
p
p pp p
chime
l.v.
3
1.
l.v.
3 5
3 3
58
Fl.
Pno.
Solo Ob.
Vln. I
Vla.
mf
81
mf p mf
mf p
3
59
Fl.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
f p mf
85
f mf
p
mf
mf p f
Fl.
Cl.
Solo Ob.
Vln. I
Vln. II
Vla.
89
mf
p
p
f mf
p
3 5 6 5
l.v.
5
6 5
3 3
5
1.
gliss.
5
33
60
Fl.
Cl.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
f
93
f
f mf
mf f mf
p
p
p mf
3 3
3 3
3
l.v.
3
3 3
61
Fl.
Cl.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
97
f
p mf
f mf
cresc - -
3
33
3 3
62
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vln. II b
Vla.
Vc.
102
mf f
mf
f p
f p
l.v.
5
flutter
div.
3
3
3 3
3
3
63
Fl.
Cl.
Bsn.
Solo Ob.
Vln. I
Vln. II
Vln. II b
Vla.
Vc.
106
mf
f
ff mf f
p
p
mf p
mf
3
3 3
1.
3
5 3
3 3
64
Fl.
Cl.
Bsn.
Solo Ob.
Vln. I
Vln. II
Vln. II b
Vla.
Vc.
f
109
f
mf p
mf
mf
p
mf
3
3 3
3 3
65
Fl.
Cl.
Bsn.
Solo Ob.
Vln. I
Vln. II
Vln. II b
Vla.
Vc.
ff
111
ff
ff
ff
pp
pp
p
p
3 3 3 3
3 3 3
3 3 3
3 3 3 6 3
3
3
66
Fl.
Ob.
Cl.
Bsn.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vln. II b
Vla.
Vc.
Cb.
dim - - mf
113
dim - - mf
dim - - mf
dim - - mf
mf
p
p
p
p
pp
pp p
gliss. gliss.
solo gliss. gliss.
gliss. gliss.
gliss. gliss.
l.v.
5
3 3
3
3
33
67
Cl.
Solo Ob.
Vln. I
Vln. II
Vln. II b
Vla.
Vc.
Cb.
mf
117
mf
pp
pp
pp
pp
p
pp p dim - -
3
3
3 3
3
3
68
Cl.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. I b
Vln. II
Vln. II b
Vla.
Vc.
Cb.
121
f mp
p pp
pp
p dim - -
pp
pp
pp p
l.v.
3
3
3
3 3
3
3
3
3 3 3
69
Solo Ob.
Vln. I
Vln. I b
Vln. II
Vln. II b
Vla.
Vc.
Cb.
p
125
dim - - pp
dim - - pp
pp
pp
Solo Ob.
Vln. I
Vln. I b
Vln. II
Vc.
Cb.
pp
128
dim - - -
dim - - -
33
3
3
3 3 3
3
3
3
70
Tpt.
Solo Ob.
Vln. I
Vln. I b
Vln. II
Vla.
Vc.
Cb.
mf
q = 76E131
np
q = 76E
pp
pp p
p
pp mf
mf
Tpt.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
136
n f
mf p
mf p
mf p
a1.; espr.
Singing
3 3
pizz
pizz
pizz
vibe - motor and pedal on
espr.
71
Cl.
Bsn.
Hn.
Tba.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p p p p
142
p p p p
p p p p
pp pp
mf mf p
mf mf p
mf mf p
mf p mf
mf p mf
a 2.
a 2.
3 3
arco arco
72
Fl.
Ob.
Cl.
Bsn.
Hn.
Tba.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
149
mf p
p mf
p mf
p
p mf p
p mf p
p mf p
p
mf
1.; espr.
3
pizz
pizz
73
Fl.
Ob.
Cl.
Bsn.
Hn.
Tbn.
Vib/chime.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f
156
pp p pp
pp p pp
mf f mf
mf
mf
mf
mf p
3
(vibe)
arco
74
Fl.
Hn.
Tpt.
Tbn.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
162
mp
mf
mp
mp
mp f p pp
mp f p pp
mp f p pp
f
f
3
3
espr; mournful
arco
75
Hn.
Tbn.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p
170
p
f
mf mf
mfmf
mfmf
mf mf
mf mf
less dejected
3 6 33
76
Hn.
Tpt.
Tbn.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mp
q = 108F176
mf
mp
mf
p f mp
q = 108F
p f mp
p f mp
3
with increasing uncertainty
3 3
77
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
ff ff
183
p f
n
n
n
Tbn.
Tba.
Perc.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
f
191
f
mf ff
ff
ff
ff
violent and rude
like an outburst
6 3
crudely3 3 3
crudely
3 3 3
3 3 3
5
insistent
5 6 6
crudely
crudely
crudely
78
Tba.
Perc.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
q = 100; slightly slowerG197
pp
pp ff fp q = 100; slightly slowerG
Tpt.
Tbn.
Perc.
Pno.
mp
204
mp
p cresc -
cresc - -
Dancing
3
3
fl
5
5
harmon mute, stem in
harmon mute, stem in
snares on
3 3 3 3 3
79
Tpt.
Tbn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
209
mf
mf
mf
mp mf
mpmp mf
mp mf
mp mf
mpmf
3 3 3
arco
3 3
3
3
80
Fl.
Ob.
Cl.
Bsn.
Tpt.
Tbn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
214
mf
mf
mf cresc - -
mf
mp mf
mp mf
mf
mp mf
mpmf
a 2.
3
3
3
3
3
3 3
3 3
3
3
81
Fl.
Ob.
Cl.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
218
ff
ff
f
f subp f
f subp f
f subp f
fsubp f
f
3
3
3
3 3 3
3 3 3
3 3 3
3 3 3
3 3
3
arco3 3
3
82
Ob.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f
222
ff
mf
mf
mf
subp mf p
subp mfp
subp mf p
subp mf p
mf
3
3
open
open
3
3
3
3
3
3
83
Fl.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f
225
mf p
ff mf
mf p mf
mf p mf
mf p mf
mf pmf
3
div.
div.
div.
3 3
5
3 3
3
3
3 3
3 3
3
84
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f
229
f
f
f
f
f
f
mf
ff mp f
p mf
p mf
p mf
p mf
3
3
3
3
3 3
3 3
5 3
3 3
3 3
3 3
3 3
85
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
233
mf
mf
mf
mf
mf
mf
p
mf
p
p
p
p
p
3
3
3
3
3
3
5
3
3
3
3
3
86
Cl.
Bsn.
Tbn.
Tba.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mp
238
mp
mp
mp
mf f mp
mp p f
mpp f
mp p f
mp p f
mp p f
3
3
3
6
3
3
3
3 3
3
3
3
3
3
3
87
Fl.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
p
243
p
p
p
p
p
f
pp p pp
pp p pp
pp p pp
pp p pp
3
6 6
3 3
3 3
3 3
3 3
88
Hn.
Tpt.
Tbn.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
mp
248
mp
mp
p
mf
(vibe)
6
3 3
3 3
3
3
89
Fl.
Ob.
Cl.
Hn.
Tpt.
Tbn.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
p
252
p
p
p pp
p pp
p pp
dim - -
dim - - p
dim - -
dim - -
dim - -
3 3
6
3 3 3
3
3 3
3 3 3
90
Cl.
Hn.
Tpt.
Tbn.
Vib/chime.
Vln. I
Vln. II
Vla.
q = 78H257
mp
mp
mp
pp dim - -
pp
q = 78H
pp
pp
Fl.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Vib/chime.
Solo Ob.
Vln. I
Cb.
f
262
mf
mf p
mp
f
n p
f
mf
p
Disconnectedly,
like a conversation full of
non-sequiturs
3
3 3 3
3 3 3 3
3
gliss. gliss.
3
gliss. gliss.
3
3
3
3
div. spic./pizz.
91
Fl.
Ob.
Hn.
Tpt.
Tbn.
Tba.
Perc.
Vib/chime.
Solo Ob.
mp cresc - - ff
267
f
ff
ff
ff
ff
ff
mf p cresc - -
Fl.
Ob.
Bsn.
Tpt.
Perc.
Solo Ob.
Vla.
Vc.
mp
272
mf
mf
p p
mp
f
p
3 3
3
3
3 3 3
(B.D)
3
3
3
3
(snare)
3 3
3
92
Fl.
Ob.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
p poco a poco cresc - -
q = 110
I276
mp
p poco a poco cresc - -
fp n fp n p fp
p poco a poco cresc - -
q = 110
I
p poco a poco cresc - -
Fl.
Ob.
Cl.
Tpt.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
282
mp
pp poco a poco cresc - -
n mp p
p poco a poco cresc - -
tongue slaps3 3
poco a poco cresc - -
key clicks
(vibe)keep pedal down
3
3 3
With percussive attacks throughout section
3 3
pizz
3 3
pizz 3
3
3
3
key clicks
smack tones 3
3
3
3
3
3
3 3
3
(vibe)
pizz
93
Fl.
Ob.
Cl.
Hn.
Tpt.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
286
mp poco a poco cresc - -
mf fp p p fp
mf poco a poco cresc - -
3 33
stopped
3
3 3
33
3
(vibe)
3 33
(vibe)
(vn 1) (vibe)
pizz
94
Fl.
Ob.
Cl.
Bsn.
Tpt.
Tba.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Cb.
290
mp poco a poco cresc
pp
mp fp fp fp
mf poco a poco cresc - -
33
3 3
(vibe)
(vibe)
3 3
(vibe)
3
33
3
3
33
(vibe)
pizz
95
Fl.
Ob.
Cl.
Bsn.
Tpt.
Tba.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
294
mf fp fp f p
33 3
3
(vibe)
3
(vibe)
3 33
3
3
33 3
(vibe)
(oboe)
(oboe)
96
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tba.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
298
fp fp f fp
3 3
3
(vibe)
stopped3
3
3
3
3
3
3 3
(vibe)
(vibe)
(cello)(oboe)
97
Fl.
Ob.
Cl.
Bsn.
Tpt.
Tba.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
301
f f
3
(vibe) 3
3
3
3
3
3
(vibe)
(vibe)
(vibe)
(vibe)
98
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
q = 72J
303
pp
q = 72J
pp
pp
mf
mf
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
accelerando - - 312
p
accelerando - -
p
p
full of anticipation6
Mysterious and tense
arco, sul tasto
arco, sul tasto
arco, sul tasto
arco
arco
7
3
ord
ord
ord
99
Fl.
Cl.
Hn.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p p p p
320
p p p p
p
cresc poco a poco
p mp mp
p mp mp
p mp mp
100
Fl.
Cl.
Hn.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
q = 84 accel - - 327
mf
(cresc) - -
q = 84 accel - -
(B.D.) (snare)
6
6 6
101
Fl.
Cl.
Hn.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mp mp mp
q = 100331
mp mp mp
mp mp
mf
ff f p mp cresc - -
mp mp mp
q = 100
mp mp mp
mp mp mp
Dancing and twirling
102
Fl.
Cl.
Hn.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p p
ritard - - 337
p p
p p
f p mf mp
p
dim - - ritard - -
p
dim - -
p
dim - -
6
103
Fl.
Cl.
Hn.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp
q = 84 ritard - - 342
pp
pp
dim - -
mf mp p
n
q = 84 ritard - -
n
n
dim - - n
dim - - n
Perc.
Solo Ob.
Vln. I
Vln. I b
Vln. II
pp
351
ppp
ppp
ppp
Dying out but yearning
5
3
3
3
33
104
Perc.
Vln. I
Vln. I b
Vln. II
Vln. II b
f
q = 120
K358
q = 120
K
ppp
ppp
Perc.
Vln. I
Vln. I b
Vln. II
Vln. II b
361
(ppp)
(ppp)
(ppp)
(ppp)
33
3
3 3
3
3
3
3 3
33
3
3
33
3
3
105
Perc.
Vln. I
Vln. I b
Vln. II
Vln. II b
364
Hn.
Tpt.
Tbn.
Perc.
Vln. I
Vln. II
Vln. II b
f
367
f
f
3 3
3
3
3
3 3
33
3
33
33
33
3
3
3
106
Picc.
Fl.
Hn.
Tpt.
Tbn.
Tba.
Perc.
ff
370
ff
f
f
f
Picc.
Fl.
Ob.
Cl.
Hn.
Tpt.
Tbn.
Tba.
Perc.
374
ff
ff
f
3
3
33
3
3
3
(B.D.) (snare)
3 3
3
3
3
3
3
3
3
3
3
3
3 3
107
Picc.
Fl.
Ob.
Cl.
Hn.
Tpt.
Tbn.
Perc.
cresc - -
378
cresc - -
cresc - -
mf
mf
mf
33
3
33
3
33 3
33 3
108
Picc.
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
fff pp
q = 66L382
fff pp p p p
fff pp p p p
fff pp p p p
pp f
pp
pp
pp
pp f
mf
pp p pp p pp p
q = 66L
pp p pp p pp p
pp p pp p pp p
pp p pp
mf
Calmly and gently
3 3 3
3 3 3
3 3 3
Calm and tired;molto espr.
pizz
109
Fl.
Ob.
Cl.
Hn.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p p pp cresc - -
389
p pcresc - -
p p mf cresc- -
pp
cresc - -
pp p pp p mp
pp p pp p pp p pp cresc- - mp
pp p pp p pp p pp cresc- - mp
p cresc- - mp
cresc- -
3 3
33 3
3 3 3 3
3 3 3 3
3
110
Fl.
Ob.
Cl.
Bsn.
Hn.
Tba.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
394
mf
mf
pp mf
mf
ff
mf f
mf f
mf f
mf f
f
3 3
3 3
3 3
3 3
33
3
3 3
3
3 3 3
arco
111
Fl.
Ob.
Cl.
Bsn.
Hn.
Tba.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p p
399
p p
f p p
f
pp
pp
mp
f
dim - - p p
dim - - p p
dim - -
p p
dim - - pp p
dim - - pp p
3
3 3
3
3 3
3
(vibe)
3 3
33
3
33 3 3
pizz arco pizz
112
Fl.
Ob.
Cl.
Vib/chime.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p p p p
404
p p p p p
p p p p p
mp
p p p p p
p p p p p
p p p p p
p
p
33
3
3 3
3 3 3
3 3 3 3 3
113
Fl.
Ob.
Cl.
Tpt.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp p pp
q = 73M409
p p
p p
pp
p p
q = 73M
p p
p p
pp
pp
fl.
3
3
3 3
3 3 3
Whispa mute Smack 3
col legno battuto
3
col legno battuto
3
114
Picc.
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc.
Vib/chime.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
414
p mf
mf f
p f
f ff mp
ff
mf mp
ff mp
p
f
ff
mfff
pmf
mf
fmf
3
key click sing "du"
3
sing "du"ord.
3
key click ord. 3
stopped
open, ord.3
whispa mute
3
3
(T.B.)
chime
3
stopped with finger
3 3
pizz
arco
arco
sul pont
ord
115
Fl.
Tpt.
Perc.
Pno.
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp
q = 85�419
pp
p
pp
q = 85�
pp
pp
pp
pp
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
424
mf
p mf
fl.
3
Gently thawing
Whispa mute Smack 3
coldly
sul tasto
sul tasto
sul tasto
col legno battuto
3 col legno battuto
3
33
ord
116
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
428
mf
mf
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
432
dim - -
dim - -
dim - -
dim - -
Solo Ob.
Vln. I
Vln. II
Vla.
Vc.
436
n
n
n
n
a little warmer
3
ord
ord
warmly
3
117