svanoe erika kirsten

El Salón México by Aaron Copland: A Study and Comparison of the Orchestral Score

and Two Transcriptions for Band

D.M.A. Document

Presented in Partial Fulfillment of the Requirements for the

Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University

By

Erika Kirsten Svanoe, M.M.

Graduate Program in Music

The Ohio State University

2009

DMA Document Committee:

Russel Mikkelson, Advisor

Hilary Apfelstadt

Richard Blatti

Daryl Kinney

Copyright by

Erika Kirsten Svanoe

2009

ii

Abstract

Aaron Copland completed the orchestral score to El Salón México in 1936

marking a turning point in his career. The piece received more performances in the year

following its completion than any of his previous orchestral works. It was well received

by both critics and audiences due to his focus on melody and shift in thinking towards

using the “simplest possible means” to make the music more accessible to the listener.

Mark Hindsley completed a band arrangement of El Salón México in 1966 that

included numerous changes to the meter and rhythmic notation found in Copland’s

orchestral score. The author conducted a comparative analysis of Copland’s published

orchestral score, the El Salón México manuscript materials, Bernstein’s arrangements for

piano, and Hindsley’s transcription for band. This investigation sought to determine why

Hindsley chose to include metric alterations that differ from the orchestral score, and how

he decided what meters would be appropriate.

The study of Copland’s manuscript materials of El Salón México revealed that

Copland simplified the meter and rhythmic notation after the composition was complete.

These rhythmic alterations were completed during the orchestration process in an effort

to make the piece more performable. Much of Copland’s original conception of rhythmic

notation, that appears in his manuscript sketches, also appear in Bernstein’s piano

arrangements. In addition, many of the alterations Hindsley utilized were similar to the

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metric and rhythmic notation in Bernstein’s arrangements. In some sections of the music,

Bernstein’s and Hindsley’s notation more closely match Copland’s original conception of

rhythmic notation than the orchestral score.

The comparative analysis also revealed Hindsley’s scoring techniques, including

heavy doubling, unnecessary changing of wind instrument timbres and numerous changes

to meter and beaming. The author created a new arrangement for band that restores all the

orchestral meters and modernizes the instrumentation and orchestration. The intent was to

provide today’s conductors the option of using a transcription more closely related to the

published orchestral score.

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Dedication

Dedicated to my husband and closest friend Erik Evensen.

v

Acknowledgements

I would like to thank my teachers at the Ohio State University for their help and

guidance in completing this project, including my committee members Hilary Apfelstadt,

Daryl Kinney, Richard Blatti, and especially my advisor Russel Mikkelson who proposed

the idea for project and guided the work throughout the process. I would also like to

thank him and the Ohio State University Wind Symphony for their preparation of my

arrangement that resulted in a wonderful performance.

Thank you to Philip McCarthy from Boosey & Hawkes, and James Kendrick and

Jessica Rauch from the Aaron Copland Fund for Music for assisting with the various

permissions needed to complete this project.

I would also like to thank the librarians at the Library of Congress for their

assistance, particularly Loras Schissel for mailing a copy of a necessary manuscript.

Finally, I’d like to thank my family for all of their support the past three years. I

need to give a special thank you to my husband Erik Evensen, who has been my greatest

supporter.

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Vita

January 26, 1976................... Born, Janesville, WI, USA 1999...................................... B.M.E. University of Wisconsin – Eau Claire 1999-2001............................. Music Educator, Mukwonago, WI 2001-2003............................. Graduate Assistant, Oklahoma State University 2003...................................... M.M. Wind Conducting, Oklahoma State University 2003-2006............................. Lecturer, University of New Hampshire 2006-2009............................. Doctoral Conducting Associate, Ohio State University 2009-present ......................... Director of Bands, Bemidji State University

Field of Study

Major Field: Music

vii

Table of Contents

Abstract ......................................................................................................................ii

Dedication ..................................................................................................................iv

Acknowledgements......................................................................................................v

Vita .........................................................................................................................vi

List of Figures..............................................................................................................viii

List of Photos ..............................................................................................................xii

List of Tables...............................................................................................................xiii

Chapter 1: Introduction and Procedures .......................................................................1 Chapter 2: El Salón México for Orchestra ....................................................................17

Chapter 3: The Mark Hindsley Arrangement for Band ................................................45

Chapter 4: The Erika Svanoe Arrangement for Band....................................................82

Chapter 5: Conclusions and Suggestions for further Research ......................................92 Bibliography................................................................................................................100 Appendix A: Copland’s “Suggested revisions on band arrangement” ...........................103 Appendix B: El Salón México for Band arranged by Erika Svanoe...............................105

viii

List of Figures

Figure 2.1: Folksong material used in El Salón México ................................................23

Figure 2.2: Copland, El Salón México, melodic material, mm. 8-13 .............................23

Figure 2.3: Copland, El Salón México, mm. 23-26, Trumpet ........................................24

Figure 2.4: Copland, El Salón México, mm. 39-44, Bassoon 1 .....................................24

Figure 2.5: Copland, El Salón México, mm. 61-64, Violin 1, 2, Viola (compressed).....25

Figure 2.6: Copland, El Salón México, mm.76-81, Violin 1..........................................25

Figure 2.7: Copland, El Salón México, mm.106-110, Clarinet 1 ...................................26

Figure 2.8: Copland, El Salón México, mm. 135-139, Violin 1.....................................26

Figure 2.9: Copland, El Salón México, mm. 185-190, Clarinet 1 ..................................27

Figure 2.10: Copland, El Salón México, mm. 256-260, English Horn...........................27

Figure 2.11: Copland, El Salón México, mm.211-214, Clarinet 1 .................................28

Figure 2.12: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm.1-3..........32

Figure 2.13: Copland/Bernstein, El Salón México for Two Pianos, Rhythmic notation,

mm. 1-3 .......................................................................................................................32

Figure 2.14: Copland, El Salón México, Rhythmic notation, mm. 1-5...........................32

Figure 2.15: Copland, El Salón México, mm. 124-128, Violin 1...................................33

Figure 2.16: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.15

....................................................................................................................................33

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Figure 2.17: Copland, El Salón México, mm. 160-168 (compressed) ...........................34

Figure 2.18: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.17

....................................................................................................................................34

Figure 2.19: Copland, El Salón México, mm.130-135, Strings......................................35

Figure 2.20: Example of revised rhythmic notation in Symphonic Ode .........................37

Figure 3.1: Hindsley Orchestration Chart .....................................................................51

Figure 3.2: Copland/Hindsley, El Salón México for Band, mm. 40-44. Bassoons,

Contrabassoon, Alto and Tenor Saxophones ................................................................53

Figure 3.3: Copland, El Salón México, mm. 247-251, Strings.......................................54

Figure 3.4: Copland/Hindsley, El Salón México for Band, mm. 247-251, Clarinets ......54

Figure 3.5: Copland, El Salón México, mm. 61-64, Strings ..........................................55

Figure 3.6: Copland/Hindsley, El Salón México for Band, mm. 61-64, Clarinets,

Cornets ........................................................................................................................55

Figure 3.7: Copland, El Salón México, mm. 73-80, Strings ..........................................56

Figure 3.8: Copland/Hindsley, El Salón México for Band, mm. 73-80, Flutes, Clarinets,

Cornets ........................................................................................................................56

Figure 3.9: Copland, El Salón México, mm. 1-4, Trumpets ..........................................57

Figure 3.10: Copland/Hindsley, El Salón México for Band, mm. 1-4, Cornets,

Trumpets .....................................................................................................................57

Figure 3.11: Copland, El Salón México, mm. 20-25, Bass Clarinet, Bassoons,

Trombone 1 .................................................................................................................59

x

Figure 3.12: Copland/Hindsley, El Salón México for Band, mm. 20-25, Bassoons,

Saxophones..................................................................................................................59

Figure 3.13: Copland, El Salón México, mm. 221-226 .................................................61

Figure 3.14: Copland/Hindsley, El Salón México for Band, mm. 221-226....................62

Figure 3.15: Copland/Hindsley, El Salón México for Band, 1st Version Manuscript

(ARCO 28-D) mm. 73-80 ............................................................................................63

Figure 3.16: Copland, El Salón México, mm. 73-80 ....................................................65

Figure 3.17: Copland/Hindsley, El Salón México for Band, mm. 73-80 .......................66

Figure 3.18: Copland, El Salón México, mm. 372-375, Viola.......................................69

Figure 3.19: Copland/Hindsley, El Salón México for Band, mm. 373-377,

Clarinet 2, 3 .................................................................................................................69

Figure 3.20: Copland, El Salón México, mm. 377-379, Violin 2, Viola .......................70


Clarinet 2, 3 .................................................................................................................70

Figure 3.22: Copland, El Salón México, mm. 14-15, Trumpets.....................................71

Figure 3.23: Copland/Hindsley, El Salón México for Band, mm. 14-15, Cornets,

Trumpets .....................................................................................................................71

Figure 3.24: Copland, El Salón México, mm. 316-319, Trumpet 1, 2............................72

Figure 3.25: Copland/Hindsley, El Salón México for Band, mm. 316-319, Trumpet 1..72

Figure 3.26: Copland, El Salón México, mm. 324-326, Horns ......................................73

Figure 3.27: Copland/Hindsley, El Salón México for Band, mm. 324-326, Horns.........73

Figure 3.28: Copland, El Salón México, mm. 252-256, Violins ...................................75

xi


Clarinets 1, 2................................................................................................................75

Figure 3.30: Copland, El Salón México, mm. 257-258, Viola.......................................76

Figure 3.31: Copland/Hindsley, El Salón México for Band, mm. 257-258, Clarinet 1...76

Figure 3.32: Copland, El Salón México, mm. 10, melodic material...............................77

Figure 3.33: Copland/Hindsley, El Salón México for Band, m. 10, melodic material ....77

Figure 3.34: Comparison of rhythmic notation for music corresponding with orchestral

mm. 156-172 in the Piano Sketch (ARCO 28-A), Bernstein arrangement for solo piano,

and Hindsley’s arrangement for band...........................................................................78

Figure 3.35: Copland, El Salón México, mm. 59, Bassoon ..........................................80

Figure 3.36: Copland/Hindsley, El Salón México for Band, m. 59, Bassoon .................80

Figure 3.37: Copland, El Salón México, m.313, Trumpet 1 in C...................................80

Figure 3.38: Copland/Hindsley, El Salón México for Band, m. 313, Trumpet (displayed in

concert pitch) ...............................................................................................................80

Figure 3.39: Copland, El Salón México, mm. 160-161, melodic material in Trombone 1, 2, Violin 1, Viola ...................................................................................81 Figure 3.40: Copland/Hindsley, El Salón México for Band, mm. 160-161, melodic

material in Horn 2, 4, Trombone 1, 2 ...........................................................................81

xii

List of Photos

Photo 2.1: ARCO 28.1, Music corresponding to published orchestral score m. 321......40

Photo 2.2: ARCO 28-A, Music corresponding to published orchestral score m. 321.....41

Photo 2.3: ARCO 28, Music corresponding to published orchestral score m. 378.........42

Photo 2.4: ARCO 28a copy 2, mm. 24-25, Bass Clarinet, Bassoons, Trumpet in C,

Trombone ....................................................................................................................43

Photo 2.5: ARCO 28-A, Music corresponding to published orchestral score

mm. 24-25 ...................................................................................................................44

xiii

List of Tables

Table 2.1: Summary of published scores and manuscripts ............................................31

Table 3.1: Comparison of Instrumentation between Copland Orchestral Score and

Hindsley Band Score....................................................................................................49

Table 4.1: Comparison of Instrumentation between Copland Orchestral Score, Hindsley

Band Score, and Svanoe Band Score............................................................................85

1

Chapter 1: Introduction and Procedures

Background

Transcriptions and arrangements of works from other mediums hold an important

place in the literature of the wind band. For much of the band’s history, a large part of the

available literature included orchestral transcriptions. While there has been an enormous

increase in the percentage of original compositions for band in the past several decades,

quality transcriptions of significant works from other mediums continue to add depth and

variety to the literature as a whole.

When a conductor is faced with the task of performing an arrangement or

transcription, it is important to refer to the original version during score study and

preparation. If the arranger of the new version has made changes that may affect the

performance of the piece, it is vital to know what these alterations are, and if they are

appropriate. In some cases, changes in an arrangement may not accurately reflect the

original composer’s intentions, while other changes are appropriate due to the difference

in medium.

One such band transcription that deserves a thorough comparative analysis and

evaluation is Mark Hindsley’s arrangement of Aaron Copland’s El Salón México. While

it is considered to be one of Copland’s lighter orchestral works, it is an important piece

because of its place in his compositional output as a whole. It was one of the first works

that represented a conscious shift in Copland’s compositional style towards using what he

2

called the “simplest possible terms.” Copland’s perception that the majority of concert

audiences were apathetic towards any music but the established classics was responsible

for this shift in thinking. As the audience for new music continued to decrease, Copland

experimented with music he thought would appeal to a wider audience.1 El Salón México

was the first successful piece in this new style and helped Copland gain widespread

popularity.2

Hindsley’s band arrangement is significant not only because of Copland’s status

as one of America’s premiere composers, but because of its widespread use by bands. It

has appeared on several state high school contest lists including Texas, Florida, Arkansas,

and Virginia and was recorded by both the University of Illinois and the Cincinnati

Conservatory.3 It also appears regularly on collegiate band programs.4

However, Hindsley made several editorial decisions, particularly regarding meter,

which differ significantly from the score of the orchestral work. One purpose of this

study is to compare Aaron Copland’s El Salón México for orchestra with Mark

Hindsley’s transcription for band and to evaluate the editorial changes made in the band

version. Finally, a new arrangement of El Salón México for band was created in which all

of Copland’s orchestral meters were restored.

Aaron Copland

Aaron Copland (1900-1990) is one of the most significant American composers

of the 20th century. He won the Pulitzer Prize and the New York Music Critics’ Circle

1 Copland, “Composer from Brooklyn,” xxvi. 2 Berger, Aaron Copland, 30. 3 Shattingermusic.com 4 CBDNA Report

3

Award for Appalachian Spring and his film scores earned him four Academy Award

nominations and one win for The Heiress in 1949. He was elected to the American

Academy of Arts and Letters in 1954, received the Academy’s Gold Medal in 1956, and

served as the Academy’s president in 1971. Other awards included a MacDowell Medal

in 1961, a Presidential Medal of Freedom in 1964, a Kennedy Center Honor in 1979, a

Medal of the Arts in 1986, and a Congressional Gold Medal in 1986, as well as several

honorary doctorates.5

While Copland’s music has been acknowledged by prestigious awards, it is also

recognized by much of the American populous because of its infiltration into popular

culture. His music has been used to promote the Olympics, the armed forces and the

United States beef industry, because “when it comes to music that summons up images of

America in the minds of American listeners, Copland is unique… in each case the

promoters have wanted to tap into deep-seated feelings that, somehow, this music evokes

like almost nothing else.”6

The youngest of five children, Aaron Copland was born on November 14, 1900 in

Brooklyn, New York to his parents Harris and Sarah Copland. Throughout his youth

Copland studied piano, theory, and composition with various teachers and supplemented

his education by attending recitals and concerts. In 1921 he traveled to Paris where he

studied composition with Nadia Boulanger, his most influential teacher. While studying

with Boulanger Copland produced his first orchestral score, Grohg, which he completed

upon his return to the United States in 1924. In addition, Boulanger arranged for two

5 Howard Pollack. "Copland, Aaron." In Grove Music Online. 6 Burr, “Copland, the West and American Identity,” 22.

4

performances of Copland’s organ concerto to be performed by both the New York and

Boston Symphony Orchestras with herself as soloist. The performance of the Organ

Symphony under the baton of Sergey Koussevitzky initiated an important relationship for

Copland. Koussevitzky became one of Copland’s greatest collaborators and champions.7

Upon Copland’s return the United States, he felt the need to compose modern

music that was identifiably American. He began to incorporate jazz into his symphonic

works such as Music for Theatre (1925) and the Piano Concerto (1926).8 While Copland

had the support of Koussevitzky and several other musicians, critics, and artists, much of

the press regarded his music with skepticism. His Piano Concerto, performed by the

Boston Symphony Orchestra with himself as pianist, had a particularly unfavorable

reception.9 Olin Downs of the New York Times wrote “It progresses by fits and

starts…confirming [the listener’s] suspicions that Mr. Copland needs a firmer hold of

principles of musical structure… Here is a young man who can surely not remain content

with the praise of partisans or knowledge of his own artistic shortcomings.”10 Public

audiences had similar reactions. At a performance of the Piano Concerto in Mexico there

were so many hisses from the audience during the performance that Copland looked to

the conductor, Carlos Chávez, for a sign of whether to continue the performance.11

Copland’s compositional activity decreased in the late 1920s. He entered a self-

reflective period in which he considered his own compositional path, as well as the path

of American music. In his 1939 essay “Composer from Brooklyn” he stated:

7 Howard Pollack. "Copland, Aaron." In Grove Music Online. 8 Crist, Music for the Common Man, 42. 9 Pollack, “Copland, Aaron." In Grove Music Online. 10 Berger, Aaron Copland, 24. 11 Copland and Perlis, Copland, 216.

5

I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old “special” public of the modern-music concerts had fallen away, and the conventional concert public continued apathetic of indifferent to anything but the established classics. It seemed to me that we composers were in danger of working in a vacuum. Moreover, an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.12 It was El Salón México that “developed and heralded his new style.”13 It

embodied Copland’s new tendency toward “imposed simplicity.”14 For the untrained

listener the use of folksongs and programmatic title helped bridge the gap from absolute

music. It was accessible for audiences who did not have musical training or the ability to

perceive formal structures. The piece was immediately popular receiving more

performances than any of his other orchestral works and brought Copland’s new

compositional style to the attention of the public. El Salón México established Copland as

a “successful” composer and was directly responsible for his publishing contract with

Boosey & Hawkes. Impressive honors would soon follow, including a commission from

the Columbia Broadcasting System for Music for Radio (1937), election to the National

Institue of Arts and Letters in 1942, and the 1945 Pulitzer Prize in music for Appalachian

Spring.15

In the decade that followed 1935, Copland did not entirely abandon writing in his

more abstract style, though most of his efforts had some element of functionality, such as

An Outdoor Overture (1939), composed for students, or included external matter that

12 Copland “Composer from Brooklyn,” xxvi. 13 Berger, Aaron Copland, 30. 14 Copland, “Composer from Brooklyn”, xxvi. 15 Berger, Aaron Copland, 30-31.

6

gave the piece an element of being programmatic, such as Appalachian Spring (1944).

Many of Copland’s most popular and well-known works are from this time span,

including Fanfare for the Common Man (1942) and Rodeo (1942). Pieces such as his

Piano Sonata (1941) and Sonata for Violin and Piano (1943) are representative of his

more abstract style during this time period. However, it was not until he composed his

Third Symphony (1946) that he composed for the orchestra without programmatic

elements.16

Copland commented on what was perceived as an abandonment of his more

complex music in his 1967 addition to “Composer from Brooklyn.”

The assertion that I wished “to see if I couldn’t say what I had to say in the simplest possible terms” and the mention of “an imposed simplicity” were taken to mean that I had renounced my more complex and “difficult” music… these remarks of mine emphasized a point of view which, although appropriate at the time of writing…seems to me to constitute an oversimplification of my aims and intentions, especially when applied to a consideration of my subsequent work and of my work as a whole.17

While the ten years that followed El Salón México seemed to focus on Copland’s

new accessible style, he later felt that there was no disparity between his two

compositional styles, the simple and the complex. Rather, he adapted his technique to the

materials with which he chose to work.

[There is] a continuing discussion concerning the apparent dichotomy between my “serious” and my “popular” works. I can only say that those commentators who would like to split me down the middle into two because I take into account with each new piece the purpose for which it is intended and the nature of the musical materials with which I begin to work. Musical ideas engender pieces, and the ideas by their character dictate the nature of the composition to be written.18

16 Berger, Aaron Copland, 32. 17 Copland, “Composer from Brooklyn,” xxvi-xxvii. 18 Ibid., xxxii.

7

By the late 1940s Copland was widely regarded as the leading American

composer of his time. While he had lived in Manhattan for many years, he moved to

Ossining, New York in 1952. Through the 1950s he continued to lecture, teach and write

and in 1958 began a 20-year international conducting career, presenting both this own

works and the music of over 80 other composers. In 1961 Copland moved into a larger

home located near Peekskill, New York where he lived until his death. He did not

compose much after 1972 and began to suffer short-term memory lapses in the mid-

1970s. After being diagnosed with Alzheimer’s he was under medical supervision by the

mid-1980s. He died of respiratory failure on December 2, 1990.19

El Salón México

During a visit to Mexico in the autumn of 1932, Copland conceived of writing a

piece based on Mexican themes. From the beginning, he connected the piece with a

popular dance hall in Mexico City called Salón México. He realized he did not want to

attempt to reflect the profound, historical side of Mexico since he felt he did not truly

know the country. Instead he wanted to reflect this tourist “hot spot” where he also felt a

close connection with the Mexican people.

While the work references several Mexican folk songs, Copland transforms the

melodies into his own musical language. He said “It wasn’t the music that I heard, but the

spirit that I felt there, which attracted me. Something of that spirit is what I hope to have

put into my music.” The work was completed in 1936 and premiered by Carlos Chávez

and the Orquesta Sinfónica de México the summer of the following year.

19 Pollack, “Copland, Aaron.” In Grove Music Online.

8

El Salón México is a significant work in Copland’s compositional output for

several reasons. First, this piece came at a time when Copland was beginning a shift in

thinking toward trying to say things in the “simplest possible terms.” The works that

followed the Symphonic Ode (1929), the composition that marks the culmination of

Copland’s austere writing up to that point, gradually evolved towards a generally more

accessible aesthetic. Copland’s focus on melody and the use of Mexican folksongs in El

Salón México were important elements that helped Copland write in a more accessible

style, as well as attain wider audience appeal of his music.

Second, this was Copland’s first work to utilize borrowed folk tunes, a tool he

would use throughout his career. While some of the material he borrowed is a direct

quotation, his treatment of folksongs more often employs a transformation of the

materials, making them a part of Copland’s compositional language, deftly retaining the

spirit and character of the tunes. Copland’s motive for turning to these melodies was “an

aspect of his campaign to achieve a simple style and a content that would engage the

interest of a wider audience.”20

Third, due to greater interest in his music, Copland became enormously

successful. El Salón México introduced the composer to a larger audience and earned him

popular acclaim. Compared to Statements and the Short Symphony, which received

hardly any performances, by 1938 El Salón México had been performed by 21 orchestras.

Also, it was at the 1938 European premier of this work that Copland met Benjamin

Britten, who in turn introduced Copland to his publisher Boosey & Hawkes. El Salón

20 Berger, Aaron Copland, 57.

9

México, along with Music for Radio, were the first works to be published by the London

firm.

El Salón México clearly marks a compositional turning point for Copland in

several ways. His conscious efforts to appeal to a wider audience, use of folksong

materials, and the success that followed the premiere all contribute to the fact that this

work was an important milestone in Copland’s compositional output. Several

arrangements of the piece were created. Leonard Bernstein arranged both the solo piano

and two piano versions in 1941 and 1943 respectively. A truncated version titled

“Fantasia Mexicana” dated 1952 was adapted and orchestrated by Johnny Green for the

MGM motion picture Fiesta. Arturo Toscanini wrote an unpublished arrangement for

piano, possibly for his own study of the orchestral score.21 Mark Hindsley completed his

arrangement for concert band in 1966.

While Copland created several band arrangements of his own works, as well as

composing Emblems (1964) for band, he did not create a band version of El Salón

México. His first transcription for band was An Outdoor Overture (1938), originally

composed for high school orchestra. The band transcription was completed at the request

of Edwin Franko Goldman and was premiered by the Goldman Band in 1942. The other

transcriptions Copland completed for band include Variations on a Shaker Melody

(1956), Preamble for a Solemn Occasion (1949), Inaugural Fanfare (1977), and Red

Pony Suite (1948).22

21 Since the Toscanini is an unpublished reduction of the published orchestral score and the Green is a truncated version of the orchestral score, these two versions did not factor into this study. 22 Briskey, “The Symphonic Band Repertoire of Aaron Copland,” 38-42.

10

Mark Hindsley (1905-1999) created the band arrangement of El Salón México in

1966. Hindlsey was the Director of Bands at the University of Illinois from 1948 until he

retired in 1970. He completed dozens of arrangements for band, most of which are self-

published and still available from his son, Roger Hindsley, who currently distributes his

music.23 The only band arrangement of Hindsley’s that is not currently self-published is

El Salón México, published by Boosey & Hawkes. According to a 1982 survey by Earle

Gregory, it was (and likely still is) one of Hindsley’s most often played transcriptions.

The distribution capabilities of Boosey & Hawkes certainly contribute to its availability

and popularity.24

Review of Related Research

The majority of literature regarding El Salón México relates to the background

story of the composition or how the work fits into Copland’s compositional output as a

whole. There is no in-depth analysis of the work to date. This lack of analytical research

is also noted by Leo Philip Fishman in his recent dissertation “Theoretical Issues and

Presumptions in the Early Music of Aaron Copland” (2007). Fishman states that “there

has been a dearth of useful research concentrating on theoretical aspects of his music

while there has been a great deal of work on contextualizing Copland as a way to explain

his oeuvre."25 Fishman’s study concentrates on four early works of Copland’s, none of

which is El Salón México.

23 www.hindsleytranscriptions.com 24 Gregory, “Mark H. Hindsley: The Illinois Years,” 162-3. 25 Fishman, “Theoretical Issues and Presumptions in the Music of Aaron Copland,” vi.

11

The most relevant literature that addresses questions posed by this study is either

limited in scope or tangential to the topic. Only two limited analyses of the orchestral El

Salón México were discovered. No literature could be found regarding Hindsley’s band

transcription. Topics that were considered tangential but supportive to the study include

studies of the piano arrangements of El Salón México by Leonard Bernstein, Mark

Hindsley’s other arrangements for band, and Copland’s use of metric and rhythmic

notation in other works. The most relevant literature within these topics is summarized

here.

The best information that could be considered an analysis of El Salón México is

by Gerald Abraham. When Boosey & Hawkes published the miniature score of El Salón,

it was traditional for analytical notes to be included. The four-page insert gives a brief

summary of the story of the Mexican dance hall and Copland’s inspiration for writing the

piece. Most of the information outlines Copland’s use and alteration of Mexican

folksongs and where they appear in various guises throughout the piece. Abraham

outlines his interpretation of the form, which is debatable but certainly workable version

of the formal structure. The notes are of high quality and give an excellent summary of

the work, but are very limited in scope.26

“A Comparison and Analysis of Aaron Copland's El Salón México for Orchestra,

Piano Solo, and Two Piano Four Hands” by Richard Glazier gives a brief analysis of the

orchestral version and documents some of the differences between it and the piano

arrangements by Leonard Bernstein. Most of the analysis is drawn from Gerald

Abraham’s notes published in the miniature score, though Glazier additionally illustrates

26 Abraham, “Aaron Copland: El Salón México.”

12

Copland’s use of polyrhythm and polytonality. In comparing the rhythmic notation of the

orchestral and piano versions and reading Copland’s essay “On the notation of rhythm,”

Glazier recognizes that Copland simplified the meter in the orchestral version. Some of

the other rhythmic notation that appears in the piano versions he credits to Bernstein, but

in some cases this notation originally appears in Copland’s hand in the manuscript

materials. It is clear that Copland’s manuscripts of El Salón México were not examined as

part of this study. Glazier’s purpose is to document some of the differences in the piano

versions and defend them as artistic additions to piano literature.27

Research regarding Copland’s practice of rewriting rhythmic notation in his

orchestral works includes “The Compositional History of Aaron Copland’s Symphonic

Ode” by Elizabeth Bergman Crist. She constructs the history of the composition through

existing manuscript materials and correspondence. Crist demonstrates the process and

circumstances that led to Copland’s rebarring of the Symphonic Ode, and substantiates

that Koussevitzky was largely responsible for initiating these changes. The article also

provides evidence that Copland preferred his original rhythmic notation. This was

discovered through his restoration of the original notation in the revised 1955 edition.28

Research regarding Mark Hindsley’s band transcriptions was done by Earle

Suydam Gregory and documented in his dissertation “Mark H. Hindsley: The Illinois

Years.” It documents the professional activities of Hindsley with emphasis on his

research into the construction of instruments, his contributions to the University of

Illinois band building, and his contributions to band literature through transcriptions.

27 Glazier, “A Comparison and Analysis of Aaron Copland's El Salon Mexico.” 28 Crist, “The Compositional History of Aaron Copland’s Symphonic Ode.”

13

This includes a study of the scoring practices of Hindsley by examining a sample of his

orchestral transcriptions for band and an analysis of how each instrument was utilized.

The research confirms and expands much of Hindsley’s own writings in Hindsley On

Bands.29

Procedures and Purpose of the Study

I first became familiar with El Salón México when I was playing clarinet on Suite

from Billy the Kid with a youth orchestra. It was at this time I became interested in

Copland’s other works for orchestra. I did not formally study the piece until I was asked

to conduct Mark Hindsley’s band transcription for an audition at the Ohio State

University. During the course of my study, I learned that there were several places in

Hindsley’s score where the meters published in the band arrangement differ from the

meters in Copland’s original orchestral score. These discrepancies led me to several

questions. What is happening in the original orchestral score that may have initiated the

meter changes in the band score? What are all of the meter changes that Hindsley

utilized? Why did the arranger choose to use different meters and how were the meters

chosen? Do other arrangements of El Salón México also alter the meter? Did Copland

approve of the changes Hindsley made? Is a new band arrangement of El Salón México

with the orchestral meters restored warranted? These are the questions that led me to

develop this study in the manner that follows.

At the start of this process, I determined that a new band arrangement of El Salón

México was warranted and could be an important addition to band literature. The

changing of meters and beaming in arrangements, such as the Hindsley arrangement, can

29 Gregory, “Mark H. Hindsley: The Illinois Years.”

14

pose difficulties for musicians. In the case of El Salón México, many college wind

players learn the piece in the band arrangement, but then must relearn the different meters

when called upon to play the original orchestral version. Regardless of whether changing

the original meters for an arrangement is an improvement or not, the relearning of music

in different meters is a difficult task for both conductors and players. Since it is highly

unlikely that a different edition of the orchestral version of El Salón México will be

available, I felt it was important that band directors have an arrangement in which the

meters of the orchestral version were maintained.

In addition, Hindsley’s arrangement was conceived for a large band with over 90

musicians. College bands of this size were much more common in the 1960s than they

are today. Today’s collegiate bands use a smaller number of musicians, more in line with

a wind ensemble instrumentation. This trend gained acceptance at many colleges and

universities in the 1970s.30 Even the majority of today’s large concert bands are

significantly smaller than Hindsley’s model. The new band arrangement of El Salón

México was created both to restore the orchestral meters and modernize the

instrumentation.

I felt many of the questions posed could be answered by doing a comparative

analysis between Copland’s orchestral score and Hindsley’s band arrangement. This was

completed in two stages. First, I completed an overall study of the orchestral work, with

special consideration for rhythm and meter. Second, I compared several aspects of the

Hindsley band arrangement to the orchestral score. These aspects included

instrumentation, meter, beaming, key signatures, and overall scoring.

30 Battisti, Winds of Change, 68.

15

Since a dialogue with either the composer or arranger was impossible, I decided

to review all of the relevant sketches, manuscripts, and correspondence between Copland

and Hindsley. To accomplish this I visited the Library of Congress and examined all of

the materials relating to El Salón México. It was my premise that an examination of

Copland’s sketches and original manuscripts would lead to a deeper understanding of the

work and its compositional process, as well as confirm possible errata found during the

analysis. To discover any possible contact between Hindsley and Copland, I also

searched for and examined correspondence relating to the band arrangement.

Chapter Two examines Copland’s orchestral score of El Salón México. This

includes a background of its creation and how it fits into a shift in thinking at this point in

Copland’s compositional output. It includes a brief formal analysis noting thematic

development and use of folksong. The use of meter, beaming, and rhythm is also

examined in depth.

Chapter Three discusses Hindsley’s arrangement of El Salón México for band.

This will include changes made by Hindsley in the band arrangement pertaining to

instrumentation, meter, beaming, key signatures, and overall scoring. All metric

alterations in the Hindsley are documented and cataloged according to the type of

alteration made, and the origins of these alterations are explored. The publication history,

relevant correspondence, revisions to the original band manuscript and errata are also be

examined.

Chapter Four compares the new arrangement for band, created by myself, to the

Mark Hindsley band arrangement and Copland’s original orchestral score. It includes a

discussion of the decision making process regarding instrumentation, use of key

16

signatures, overall scoring, meters, and beaming. It also documents changes made due to

errata found in both the Hindsley band arrangement, as well as the original orchestral

score.

Chapter Five presents a summary of the findings of the study and provides

suggestions for further research.

Description of Appendices

Appendix A: Copland, “Suggested Revisions on band arrangement of El Salón México”

Appendix B: Full score of El Salón México for band arranged by Erika Svanoe

17

CHAPTER 2: El Salón México for Orchestra

In 1935 Copland organized a series of “one-man concerts” featuring the works of

one living composer on each program. In observing the audiences at this series Copland

stated “As I looked around at the all-too-familiar small group at these concerts, I knew

that I wanted to see a larger and more varied audience for contemporary music.”31 At this

time Copland was finishing El Salón México in which he said he was experimenting with

a different style of writing. He was not rejecting one kind of music for another, but felt it

was time to try something new.32

Copland considered the first version of the Symphonic Ode from 1929 to be the

piece that marked the end of his most austere and complex compositions. The move

toward a simpler style was a gradual transition in the works that followed.

In retrospect it seems to me that the Ode marks the end of a certain period in my development as a composer. The works that follow it are no longer so grandly conceived. The Piano Variations (1930), the Short Symphony (1933), the Statements for Orchestra (1935) are more spare in sonority, more lean in texture. They are still comparatively difficult to perform and difficult for an audience to comprehend.33

El Salón México was first conceived while Copland was simultaneously working

on two other works in the fall of 1932 in Mexico: Short Symphony and Statements.

“These three works and their combined compositional histories document Copland’s

31 Copland and Perlis, Copland, 244. 32 Copland and Perlis, Copland, 245. 33 Copland, “Composer in Brooklyn,” xxvi.

18

refinement of a simplified musical idiom that emphasizes aural accessibility and draws on

the melodic resources of traditional tunes.”34 It is El Salón México and its position in

Copland’s compositional output as one of the first of several works to simplify his

musical language that makes it particularly significant.

Short Symphony is composed in a similar vein as Copland’s earlier works, such as

the Piano Variations, which focuses on structural unity and uses a dissonant avant-guard

style. Statements still utilizes this type of style, but focuses less on formal structure and is

more episodic. Copland also hoped that the suggestive movement titles, such as

“Militant” and “Cryptic,” would make the piece more palatable to the listening audience.

El Salón México also uses an episodic form, but focuses more on melody than these other

works.35 The reason for this shift toward melody comes primarily from the materials

Copland chose to work with, which were inspired by the music he heard during his trip to

Mexico in 1932.

For several years prior to his trip, Copland had promised Carlos Chávez that he

would visit Mexico. When Chávez promised him an all-Copland program by the

Conservatorio Nacional de México, he felt the time had come. He left New York on

August 24, accompanied by Victor Kraft, and arrived in Laredo September 2, the

morning of the concert. Copland remained in Mexico for five months.

During Copland’s visit, Chávez took him to a dance hall in Mexico City called El

Salón México, known to the locals as “El Marro” or the policeman’s nightstick. It was a

popular place for tourists who wanted a taste of how the local lower class sought

34 Crist, Music for the Common Man, 43. 35 Crist, Music for the Common Man, 43-4.

19

entertainment.36 The atmosphere of the place made an impression on Copland and he

came away with the idea to create El Salón México.

El Salón México had been ‘in the works’ since my first trip to Mexico in 1932 when I came away from that colorful dance hall in Mexico City with Chávez. I had read about the hall for the first time in a guidebook about tourist entertainment: ‘Harlem type night-club for the peepul, grand Cuban orchestra, Salón México. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.’ A sign on a wall of the dance hall read: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.’ A guard, stationed at the bottom of the steps leading to the three halls, would nonchalantly frisk you as you started up the stairs to be sure you had checked all your ‘artillery’ at the door and to collect the 1 peso charged for admittance to any of the three halls. When the dance hall closed at 5:00 A.M., it hardly seemed worthwhile to some of the overalled patrons to travel all the way home, so they curled themselves up on the chair around the walls for a quick two-hour snooze before going to a seven o’clock job in the morning.37

Copland did not want to try to translate the profound side of Mexico into a

musical work. He felt he did not know the country well enough to attempt this. Rather he

wanted to reflect the spirit of the dance hall and his experiences he had there with the

Mexican people as a tourist. The “people” were reflected in Copland’s use of traditional

folksongs. Copland stated “I began (as I often did) by collecting musical themes or tunes

out of which a composition might eventually emerge. It seemed natural to use popular

Mexican melodies for thematic material…My purpose was not merely to quote literally

but to heighten without in any way falsifying the natural simplicity of Mexican tunes.”38

Having the piece sound “Mexican” was a concern of Copland’s. He wrote to

Chávez expressing his concern “I am terribly afraid of what you will say of the ‘Salón

México’-perhaps it is not Mexican at all, and I would feel so foolish. But in America del

36 Crist, Music for the Common Man, 51. 37 Copland and Perlis, Copland, 245. 38 Ibid., 245.

20

Norte it may sound Mexican!”39 He wrote again to Chávez in 1935: “What it would

sound like in Mexico I can’t imagine, but everyone here for whom I have played it seems

to think it is very gay and amusing.”40 Once Chávez heard Copland perform the piano

version, he agreed to conduct it once the orchestration was complete. The premiere took

place on August 27, 1937 in Mexico City with Orquesta Sinfónica de México at the

Palacio de Bellas Artes. The music was well received by the musicians and public with

newspapers stating the piece could be taken as Mexican music.

The piece was immediately popular. Twenty-one orchestras had performed the

piece by 1938.41 The first American performance was conducted by Koussevitzky with

the Boston Symphony Orchestra on October 14, 1938. Another significant performance

was at the 1938 International Society for Contemporary Music concert in London where

Copland met Benjamin Britten, who was responsible for introducing Copland to the

publishing firm Boosey & Hawkes. In a letter to Ralph Hawkes Britten wrote “I’m

fearfully anxious for you to cash in on Aaron Copland – the American composer – now

without a publisher since Cos Cob Press gave up. His El Salón México was the brightest

thing of the festival…. I feel he’s a winner somehow.”42

Ralph Hawkes wrote to Copland August 12, 1938 expressing an interest in

publishing El Salón México.43 Negotiations by written correspondence ensued and

Copland eventually convinced the firm to publish Music for Radio as well. It was

39 Ibid., 246. 40 Ibid., 246. 41 Crist, Music for the Common Man, 43-4. 42 Mitchell and Reed, eds., Letters from a Life, 566. 43 Ralph Hawkes to Aaron Copland, 12 August 1938, Aaron Copland Collection, Library of Congress.

21

Hawkes who suggested that more performances of El Salón México would be possible if

the instrumentation was slightly reduced and suggested that having a second version of

the piece available with smaller instrumentation.44

Instrumentation:

The full instrumentation for El Salón México is as follows:

Piccolo 2 Flutes 2 Oboes English horn Clarinet in E-flat 2 Clarinets in B-flat Bass Clarinet in B-flat 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in C 3 Trombones Tuba Timpani Percussion Piano Strings (Violins, Violas, Cellos, Contrabasses) The percussion part calls for multiple instruments: xylophone, suspended cymbal,

gourd, temple blocks, wood block, bass drum, snare drum, and tambour de Provence,

which Copland describes as a long drum with a dull sound. The gourd was the only

Mexican percussion instrument that he included in the piece. This may have been for the

best, since several orchestras of the time had a difficulty acquiring a proper gourd for

performances.

Some of the wind instruments were marked in the score as “not essential to

performance.” At the request of Ralph Hawkes, and likely seeing the opportunity for

44 Ralph Hawkes to Aaron Copland, 20 September 1938, Copland Collection.

22

more performances with a reduced instrumentation, Copland created an alternate scoring

to accommodate this request, eliminating the need for the English Horn, Clarinet in E-

flat, Bass Clarinet, Contrabassoon, and Trumpet 3.

Folksong Materials and Form

Copland used several Mexican folk songs, found in published collections, as the

basis for many of the melodies in El Salón México. Two of the songs, “El Palo Verde”

and “La Jesuita” were found in Cancionero Mexicano edited by Frances Toor. “El

Mosco” and “La Malacate,” an indigenous dance tune, were found in El Folklore y la

Música Mexicana by Rubén M. Campos. These melodies are not usually used in their

original form, but rather Copland derived new melodic material from them.45

An excellent summary of Copland’s use of these folk songs comes from

musicologist Gerald Abraham. When Boosey & Hawkes published the miniature score, it

was customary to provide analytical notes about the music. The publisher asked Abraham

to write the notes for El Salón México.46 The four-page insert includes excerpts of the

original folksong material and documents Copland’s alteration of these melodies into the

thematic material used in the piece.

Abraham notes the three most utilized melodies as “El Palo Verde,” La Jesusita,”

and “El Mosco.” He describes the form of the piece as a “subtilised and elaborated

ternary from, with a long introduction.”47 Abraham illustrates Copland’s alteration of

each of the folksongs, as well as documents where material derived from each folksong

appears in the piece.

45 Lee, Masterworks of 20th -Century Music, 119. 46 Dickenson, “Copland’s Earlier British Connections,” 169-70. 47 Abraham, “Aaron Copland: El Salón México.”

23

Figure 2.1: Folksong material used in El Salón México48

EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

The melodic material from the opening is derived from the first strain of “El

Palo Verde”

Figure 2.2: Copland, El Salón México, melodic material, mm. 8-13


48 Abraham, “Aaron Copland: El Salón México.”

24

Beginning in measure 23, the trumpet solo is based on “La Jesusita”

Figure 2.3: Copland, El Salón México, mm. 23-26, Trumpet


The duet between bassoon and bass clarinet starting at measure 39 is a rhythmically

altered version of “El Mosco.”

Figure 2.4: Copland, El Salón México, mm. 39-44, Bassoon 1


25

At measure 61, the strings have material modified from the second strain of “El Palo

Verde” This same material also appears twice more during the piece beginning at

measures 145 and 353.

Figure 2.5: Copland, El Salón México, mm. 61-64, Violin 1, 2, Viola (compressed)


The melody in the strings beginning at measure 76 is derived partly from the second

strain of “El Mosco.” This theme concludes the section that Abraham labels as the

introduction.

Figure 2.6: Copland, El Salón México, mm.76-81, Violin 1


The Allegro Vivace begins at measure 103 and marks the start of what Abraham

calls the first section of the ternary form. It begins with material related to the opening

measures illustrated above in Figure 2.2. This is followed by a theme derived from both

26

the altered material from “El Palo Verde” at the beginning of the piece, and the second

strain of “El Mosco.”

Figure 2.7: Copland, El Salón México, mm.106-110, Clarinet 1


New material is added to the beginning of the previous theme at measure 135 but is very

similar.

Figure 2.8: Copland, El Salón México, mm. 135-139, Violin 1


27

The material from Figure 2.5 returns at measure 145 and is followed by a variant

of Figure 2.2 from measures 175-182. This concludes the Allegro Vivace section and

what Abraham labels the first large section of a ternary form. The second section of this

form begins at measure 183 at the tempo change marked “Moderato molto (rubato).” The

clarinet solo that follows (Fig. 2.9) is a version of Figure 2.7. Abraham states this version

“recurs several times in the section as a species of refrain, holding it together.” One such

reiteration is a rhythmic variant in the English horn at measure 256. (Fig. 2.10)

Figure 2.9: Copland, El Salón México, mm. 185-190, Clarinet 1

Figure 2.10: Copland, El Salón México, mm. 256-260, English horn


28

At measure 211, melodic material in the solo clarinet is derived from “La Jesusita” and is

then restated in the strings.

Figure 2.11: Copland, El Salón México, mm.211-214, Clarinet 1


Abraham describes the remainder of the middle section consisting of rhythmic

development of this tune and material from the first section. Copland writes of the section

“before the final climax I present the folk tunes simultaneously in their original keys and

rhythms. The result is a kind of polytonality that achieves the frenetic whirl I had in mind

before the end, when all is resolved with a plain unadorned triad.”49

The return of the main section occurs at measure 324. The material is very similar

to what had been heard previously but with slightly altered keys. The piece ends with the

fanfare-like material from the opening measures.50

Manuscript materials and changes in rhythmic notation

Copland himself noted that orchestras had a difficult time performing El Salón

México. “El Salón was not easy to perform; it presented rhythmic intricacies for the

49 Copland and Perlis, Copland, 246. 50 Abraham, “Aaron Copland: El Salón México.”

29

conductor and the players.”51 There are many places in the orchestral version where

eighth notes are beamed over a barline, dotted barlines and brackets are used to indicate

an alteration of normal rhythmic stress, and more than one time signature is often

indicated or simply implied by the placement of accents. The need for this kind of

rhythmic notation can be observed upon examination of the manuscript materials in the

Aaron Copland Collection cataloged at the Library of Congress.

Description of the manuscript materials

The initial “Sketches” of El Salón México are cataloged at the Library of

Congress in the Aaron Copland Collection as ARCO 28.2. It appears that Copland began

his initial sketches of in March of 1933, which is the earliest date noted on the

manuscript. These sketches are in pencil, do not always follow the progression of the

piece, and have large sections crossed out. They illustrate a working out of melodic

material and experimentation with different meters.

The “Piano Sketch” (ARCO 28-A) is dated 1934 on the front cover. The date at

the end of the manuscript notes it was completed in July, 1934. The Piano Sketch is a 21-

page manuscript that uses between two and four staves and progresses through the piece

from beginning to end. Revisions were still being made as some sections are crossed out,

but then continue on sequentially with revised material. Copland wrote most of the Piano

Sketch initially in pen and his original, more complex concept of the meter and beaming

appear in pen. Many of the meters and beaming that appear in Leonard Bernstein’s piano

arrangements appear in the Piano Sketch. There are also marks in lead and blue pencil

throughout this manuscript. Many of the pencil markings indicate instruments for

51 Copland and Perlis, Copland, 247.

30

orchestration or possible changes to the choice in meter. While the pencil indications of

meter do not match the meters of the final published orchestral version exactly, they are

certainly less complicated than the original metric indications that appear in pen and are a

step closer to what was published in the orchestral score.

There are three orchestral manuscript scores cataloged at the Library of Congress.

One is cataloged as the “Rough Orchestral Score” (ARCO 28.3) and notes “began Aug.

9, 1934.” The manuscript is in pencil, but is incomplete and only four pages in length.

The second “Full Score (Draft)” (ARCO 28.1) is a complete draft in pencil, but has no

date indicated. The final “Full Score” (ARCO 28) is complete and mostly completed in

ink with some red and blue pencil marks indicating rehearsal numbers and time

signatures respectively. The date on the front cover is 1936.52

There are several arrangements and other works that are significant to the study of

changes in rhythmic notation in El Salón México beyond the manuscript materials. These

include Bernstein’s and Hindsley’s various arrangements of the work, as well as

Copland’s 1929 and 1955 versions of the Symphonic Ode for orchestra, which is

discussed later in this chapter. The table below summarizes all relevant documents in

chronological order.

52 El Salón México manuscripts. Aaron Copland Collection. Library of Congress.

31

Table 2.1: Summary of published scores and manuscripts

Changes in Rhythmic Notation

One of the reasons for the “rhythmic intricacies” that Copland mentioned is that

he originally conceived of groupings of eighth notes in groups of twos and threes that

would call for shifting irregular time signatures.53 In the Piano Sketch these groupings

occur starting on the beat. While time signatures do not appear in ink on the Piano Sketch

manuscript for the measures in the figure below, the groupings and barlines appear to be

the same as Leonard Bernstein’s arrangement for two pianos with the appropriate time

signatures added. The one change in rhythm between the two examples is the eighth rest

that appears at the end of the third measure. However, this rest does appear in the

orchestral version. 53 “Irregular” time signatures are defined for the purposes of this study as meters that have uneven groupings of eighth notes. For example, a time signature of 7/8 could have an eighth note grouping of 2+2+3. This would be defined as “irregular.” Other meters that would be included in this definition would be 5/8, 8/8, and 10/8. These irregular meters are considered “shifting” when the time signatures rapidly change from measure to measure. If a regular meter (3/4, 4/4) appears during a string of irregular meters, the term “shifting irregular meters” still applies because the effect as a whole is a succession of changes between groups of 2 and 3 eighth notes.

Year Document name Composer/Arranger Other information

1929 Symphonic Ode (for orchestra) Copland withdrawn, revised in 1955

1933 "Sketches" El Salón México Copland ARCO 28.2 manuscript

1934 "Piano Sketch" El Salón México Copland ARCO 28-A manuscript

1934 "Rough Orchestral Score" El Salón México Copland ARCO 28.3 manuscript

c.1934 "Full Score (Draft)" El Salón México Copland ARCO 28.1 manuscript

1936 "Full Score" El Salón México Copland ARCO 28 manuscript

1939 El Salón México (for orchestra) Copland published

1941 El Salón México (for piano solo) Copland/Bernstein published

1943 El Salón México (for two pianos) Copland/Bernstein published

1955 Revised Symphonic Ode (for orchestra) Copland published

1966 "1st Version manusciript" El Salón México (for band) Copland/Hindsley ARCO 28-D manuscript

1972 El Salón México (for band) Copland/Hindsley published

32

Figure 2.12: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm.1-3

Figure 2.13: Copland/Bernstein, El Salón México for Two Pianos, Rhythmic notation, mm. 1-3

Figure 2.14: Copland, El Salón México, Rhythmic notation, mm. 1-5


As the previous examples illustrate, there were drastic changes in meter between

the Piano Sketch and the final orchestral version. These kinds of alterations to meter

occur throughout the orchestral version and are particularly prevalent during sections

with faster tempi, which tend to be more rhythmic. In most cases, the meters are changed

from shifting irregular meters to a more constant regular meter of 3/4 or 4/4. This forces

rhythms that originally occurred on the beat to be played as syncopations.

33

Figure 2.15: Copland, El Salón México, mm. 124-128, Violin 1

Figure 2.16: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.15 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

34

Copland would sometimes indicate what the original eighth-note groupings were

in the orchestral score by beaming those notes together. Sometimes these groups are

beamed over the barline. Copland also used dashed barlines to imply the feel of a

downbeat that occurred in the Piano Sketch, but was no longer there when the orchestral

meter had been altered.

Figure 2.17: Copland, El Salón México, mm. 160-168 (compressed)

Figure 2.18: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.17 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

35

Perhaps the most extreme case of simplification of meter occurs at measure 133

where Copland inserts a dotted barline and a key signature change in the middle of a

measure. This accommodation allows the music to remain in common time.

Figure 2.19: Copland, El Salón México, mm.130-135, Strings


The previous examples illustrate the typical changes to meter that Copland made

between the Piano Sketch and the final orchestral score. Generally the meter is simplified

while the rhythmic value of notes remains the same. This was not the first time that

Copland made these types of metric alterations when creating an orchestral score.

Evidence provided by Elizabeth Crist in “The Compositional History of Aaron Copland’s

Symphonic Ode” reveals the rhythmic revisions of that work were done for the purpose of

making the music more performable by orchestral conductors and musicians at the time

of the premiere.

36

In her article, Crist outlines the compositional history of the Symphonic Ode

beginning with the initial sketches, through Copland’s final revisions from 1955. This

history includes the manuscript materials as well as correspondence regarding the piece.

The manuscript sketch of the Symphonic Ode included many sections with shifting

irregular meters, as did the initial orchestral score. Koussevitzky was to conduct the

premiere on February 22, 1930 but in rehearsal both he and the musicians had difficulty

with the rhythms. He informed Copland that the Ode could not be performed as written.

Copland scoffed at this idea but at Koussevitzky’s invitation, conducted the piece at a

rehearsal himself. In a letter to Israel Citkowitz Copland described the experience:

I finally heard the “Ode!” I conducted it myself one morning at a rehearsal in Boston while Koussevitzky listened from the auditorium. I only really heard the slow parts, the fast parts were ruined by being played too slow. The end sounds gloriously. It was a revealing experience. The upshot was that I have for all time given up trying to make music look on paper what it actually sounds like. Applied to the “Ode” this means that I must completely rewrite the barring of the fast parts throughout.54

To revise the Symphonic Ode, Copland returned to his original ink score and

altered the rhythmic notation in several sections of the music creating a new score for

Koussevitzky. Most of the changes “rewrite unusual meters (7/8, 9/8, 10/8) in smaller

units (3/4 or 4/4), which suggests that Copland was concerned with making the score

easier for Koussevitzky to conduct, not necessarily for the player to read.”55 Crist gives

the following examples of the kind of revised notation Copland used.

54 Copland to Israel Citkowitz, 29 May 1930, Copland Collection, as quoted in Crist, “The Compositional History of the Symphonic Ode,” 261. 55 Crist, “The Compositional History of the Symphonic Ode,” 262.

37

Figure 2.20: Example of revised rhythmic notation in Symphonic Ode56

The parallels in compositional process between the Symphonic Ode and El Salón

México regarding rhythmic notation are numerous. In both cases, the rhythmic notation

was conceived with shifting irregular meters, but later changed to more simple meters. In

the manuscript materials of both works, the revision of meter was notated in blue pencil

over the original meters. The alterations that Copland made in the Ode as documented by

Crist in Figure 2.20 bear a striking resemblance to alterations made to El Salón. Evidence

provided by the El Salón manuscript materials, the previous alteration of metric notation

in the Symphonic Ode, along with the fact that Copland allowed the Bernstein piano

arrangements to be published with the irregular meters in tact, suggests that the metric

changes in El Salón were made during the process of orchestration and were for a

practical, not necessarily musical, purpose.

This is further evidenced by the timeline of these two compositions. The

experience with Koussevitzky and the reworking of the Symphonic Ode were likely still

fresh in Copland’s mind at the time he was working on El Salón. Copland worked on the

rhythmic revisions to the Ode during the summer of 1930, and a set of parts soon after.

The premier took place with the Boston Symphony Orchestra on February 19, 1932, with

56 Ibid.

38

a repeat performance on March 3 in New York. Copland heard the work again during his

1932 visit to Mexico in a performance conduced by Chávez on November 18 with the

Orquesta Sinfónica. He began work on the Sketches for El Salón a few months later in

1933.

Finally, Copland confirms the rebarring of El Salón México in his essay “Shop

Talk: On the Notation of Rhythm” from his book Copland on Music (1960). He

discusses the practicality of rewriting rhythms to more simple meters, in particular for

conductors and orchestras. After showing an example of shifting irregular meters he

writes “Here you have the by-now-familiar groups of unequal metrical units that strike

terror in the hearts of performers, particularly conductors–who know in advance the

struggles in store for them when these rhythmic complexes are brought to rehearsal.”57 At

the time the essay was written in 1960, he implies that more modern, progressive

conductors and musicians are more capable or willing to negotiate the complex rhythmic

notation and in some cases prefer it. He also states his opinion that “composers would do

well to notate their music so that, as far as possible, it looks the way it sounds. If

however, more than one player is involved, and especially in the case of orchestral works,

a rearrangement of rhythmic barring may be necessary. The more rhythmically

sophisticated conductors will not think so, but performances are more likely to

materialize.” In the final footnote he cites El Salón México as an example of such a

rearrangement of barring.

57 Copland, Copland on Music, 274.

39

Errata

One of the initial reasons the manuscript materials were examined was to confirm

possible errata that appear in the published orchestral score. Two significant suspected

errata were discovered during the process of studying the orchestral score. A third error

was discovered due to a pencil indication in one of Copland’s personal copies of the

published orchestral score. While other minor discrepancies of beaming or articulations

appear between the score and manuscripts, these three pitch discrepancies were most

significant. Investigation into these errata turned up varying degrees of evidence in favor

of changing the pitches that appear in the published orchestral score. It should be noted

that this is not a comprehensive list of errata.

The first suspected error appears in the orchestral score at measure 321 in the

cello. The second eighth note in the measure is published as an E. However, this pitch

changes a well established ostinato figure that has been occurring for the previous eleven

measures. The E is also dissonant with the D written in the upper strings. Changing the

cello’s E to a D solves both of these issues.

40

The evidence supporting the change to a D is somewhat mixed. An E clearly

appears in the Full Score manuscript (ARCO 28). In the Full Score-Draft manuscript

(ARCO 28.1) this pitch also appears as an E but it looks like this passage was hastily

written in by Copland in pen after completing his pencil indications. (Photo 2.1) Most of

the ostinato figure was indicated by a shorthand “c” mark in previous measures.

Photo 2.1: ARCO 28.1 (Full Score-Draft), Music corresponding to published orchestral score m. 321 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

41

However, clearer evidence that the note in question should be a D appears in the

Piano Sketch (ARCO 28-A). (See Photo 2.2) It is likely that Copland miscopied this

passage in both orchestral manuscripts. This note is also published as a D in the Bernstein

piano arrangements. It is likely that D is the correct pitch in this passage and the

published E in the orchestral score is incorrect.

Photo 2.2: ARCO 28-A (Piano Sketch), Music corresponding to published orchestral score m. 321 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

42

The second significant errata discovered in the orchestral score occurs at measure

378 in the cello and double bass. The third note in the measure appears as a G-sharp in

the published score, but should clearly be a B as indicated in the Full Score manuscript.

(Photo 2.3)

Photo 2.3: ARCO 28 (Full Score), Music corresponding to published orchestral score m. 378 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

43

The third errata was discovered because of a pencil indication in one of Copland’s

personal copies of the published orchestral score. (Photo 2.4)

Photo 2.4: ARCO 28a copy 2 (Published Score), mm. 24-25, Bass Clarinet, Bassoons, Trumpet in C, Trombone EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

44

After comparing the chords that appear in the Piano Sketch (ARCO 28-A) with

the published orchestral score, it is clear the penciled indication of A-sharp in Bassoon 2

shown above is correct. When the chords were broken into the separate voices, the A-

sharp was not carried through the measure and was also changed earlier in the measure to

the enharmonic B-flat, which also complicated the transfer of pitches to the orchestral

score. The correct pitches appear in the Piano Sketch (Photo 2.5) and the Bernstein piano

arrangements.

Photo 2.5: ARCO 28-A (Piano Sketch), Music corresponding to published orchestral score mm. 24-25 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

45

Chapter 3: The Mark Hindsley Arrangement for Band

Mark Hindsley completed his arrangement of El Salón México for concert band

on May 11, 1966 as noted at the bottom of his manuscript score. Below that is written

“Chapala, Jalisco, Mexico” which is located approximately 30 miles south of Guadalajara

on Lake Chapala.58 It is unclear if the manuscript was actually completed in Mexico since

classes were in session at the University of Illinois until Saturday, May 28th.59

The premier performance of the arrangement was likely on Thursday, March 16,

1967 with Hindsley conducting the 121-member University of Illinois Concert Band. A

second performance of the program, which included Pictures at an Exhibition, Music for

the Royal Fireworks, and The Sorecer’s Apprentice, took place the following evening.

Regarding the performance of El Salón México, Diana Henry, who wrote a review of the

performance for the News Gazette, noted “Only Mark Hindsley’s superb baton could lead

the 121 band members through the intricate tempo changes and off-beat accents. In the

number’s slightly over 400 bars, the meter changes 150 times, in addition to 64 changes

from or to double or triple figures.”60

58 Copland, “El Salón México for band,” arr. Mark Hindsley, MS score, 1966, Aaron Copland Collection, Library of Congress. 59 Linda Stahnke Stepp (Archival Operations and Reference Specialist University Archives, UIL) to Erika Svanoe, email, 4 March 2009. Referring to University of Illinois Staff Directory for 1965-66. 60 Henry, Diana, News Gazette, March 19, 1967 reprinted in Mark Hindsley, My Bands and I.

46

It appears that Hindsley mailed his manuscript score along with a recording of a

performance to Boosey & Hawkes in late August of 1967. A note on the cover of the

manuscript reads “To Aaron Copland and Boosey-Hawkes with admiration and thanks.

Mark Hindsley 8-26-67.”61 Stuart Pope, who was a managing director at Boosey &

Hawkes and one of Copland’s contacts, mailed the score and recording to Copland from

Boosey & Hawkes on December 7, 1967. He included a note mentioning it was done

with permission, and described Hindsley’s status as an “important man in the field.”62

Copland appears to have had a positive first impression of the arrangement as he noted in

the margin of the letter “[arrangement] good – I would not object to publication.”63 This

is echoed in a letter from Stuart Pope two weeks later stating “I am glad you like the

Mark Hindsley arrangement of El Salón México. I would think publication of it to be

commercially sensible.”64

While Copland approved of the arrangement and Boosey & Hawkes decided to

publish it, it took several years for the project to be completed. Hindsley had prepared a

score and set of parts with Copland’s suggested revisions by June 18th, 1969. The revised

score was sent to Copland on June 24, 1969 with a note from Stuart Pope regarding the

date of publication stating “I am sure you have a mental, if not a written note, of the date

of the assignment and will be knocking on my door in 12 months if this band

61 Hindsley to Copland and Boosey & Hawkes, note on presumed cover of manuscript score, Box 99, Copland Collection. 62 Stuart Pope to Aaron Copland, 7 December 1967, Copland Collection. 63 MS note by Copland, written in margin of Pope to Copland, 7 December 1967, Copland Collection. 64 Stuart Pope to Aaron Copland, 20 December 1967, Copland Collection.

47

transcription is not in print.”65 It appears, however, that a twelve-month estimate was

optimistic since the copyright date of the band arrangement is 1972 and Copland did not

receive his published copies until December of that year.66

Copland recommended minor revisions to Hindsley’s manuscript. His initial

concerns were that the accompaniment from rehearsal eight to eleven was too

consistently the same and that the use of cup mutes at rehearsal 19 in the cornets was “too

sentimental.”67 Copland presumably mailed the manuscript back to Pope and passed

along these two concerns. Hindsley responded in a letter to Stuart Pope that he would be

“glad to accede to Mr. Copland’s wishes in the two instances you mention, and would

particularly welcome specific solutions.” Hindsley continued by suggesting minor

changes to these sections including straight mutes in the cornet or use of saxophones at

rehearsal 19 and asked Copland to advise further.68

Pope mailed the manuscript and recording back to Copland along with a copy of

Hindsley’s letter asking for Copland’s suggestions.69 Copland presumably listened to the

arrangement a second time and replied with a more detailed list of suggested revisions as

well as suggested solutions to the scoring on his previous comments, all of which

Hindsley incorporated into the final version of the band arrangement. Copland also

65 Stuart Pope to Aaron Copland, 24 June 1969, Copland Collection. 66 John Owen Ward to Aaron Copland, 22 December 1972, Copland Collection. 67 Copland, MS note cataloged with Pope to Copland, 20 December 1967, Copland Collection. 68 Mark Hindsley to Stuart Pope, 21 November 1968, Copland Collection. 69 Stuart Pope to Aaron Copland, 26 November 1968, Copland Collection.

48

cleared up his intentions with the use of the “Tambour de Provence” which should be a

“long drum with a dullish sound.”70 Hindsley had initially mistaken this for tambourine.

What is notably missing from these suggested revisions is any mention of the

numerous changes of meter and beaming that Hindsley utilized. While the Hindsley

transcription incorporated changes from the orchestral score in meter, beaming, key

signatures, and instrumentation, Copland approved of publishing the arrangement after

listening to it for the first time. Subsequently, he had only minor suggestions for revisions

after hearing the arrangement for the second time, with no mention of the changes of

meter. He also had a copy of Hindsley’s manuscript while listening to the arrangement.

From this it can be inferred that Copland was content to send the piece to be published

with the meters as they were.71

Instrumentation

While the change in medium from orchestra to band demands changes to the

instrumentation, Hindsley retained as many instruments as possible from the original

version, even when these instruments were less common in the typical band

instrumentation of the time. These include the English horn, contrabassoon, piano, and

contrabasses as seen in the table below.

70 Copland, TS “Suggested revisions on band arrangement of El Salon Mexico by Mark Hindsley,” initialed A.C., undated, Copland Collection. 71 It is interesting to note that it appears from markings in one of Copland’s published copies of the Hindsley that he may have also conducted the band arrangement at some point. It seems that he questioned the 6+2/8 meter marking, and ultimately decided to conduct those measures in four. At rehearsal 16 where major changes in the meter appear Copland noted “Watch out! Changed” in the margin and clearly marked all of Hindsley’s meters in red throughout the score.

49

Table 3.1: Comparison of Instrumentation between Copland Orchestral Score and Hindsley Band Score The timpani, percussion, and piano parts are exactly the same in the Hindsley as

they are in the orchestral original, except for the changes in meter and beaming that occur

throughout the piece. No additional percussion instruments are added that do not appear

Copland Orchestral Score Hindsley Band Score

Piccolo Piccolo

2 Flutes Flutes 1, 2

2 Oboes Oboes 1, 2

English Horn English Horn

Clarinet in Eb Clarinet in Eb

2 Clarinets in Bb Clarinets in Bb 1, 2, 3

Bass Clarinet Bass Clarinet

Eb Contrabass Clarinet

2 Bassoons Bassoons 1, 2

Contrabassoon Contrabassoon

Alto Saxophone 1, 2

Tenor Saxophone

Baritone Saxophone

Bb Cornets 1, 2, 3

3 Trumpets in C Bb Trumpets 1, 2

4 Horns in F Horns in F 1, 2, 3, 4

3 Trombones Trombones 1, 2, 3

Baritones

Tuba Tubas

Timpani Timpani

Percussion Percussion 1, 2

Piano Piano

Violins 1, 2

Violas

Cellos

Contrabasses Contrabasses

50

in the orchestral version. The contrabasses are scored almost identically to their

orchestral part, but sometimes also cover a cello line, particularly in places where

pizzicato is needed.

Hindsley maintains the same number of parts for many of the winds, such as two

parts for flute, oboe, and bassoon, four horn parts, and three trombone parts. As is

common in concert bands, however, the intention is that there would be multiple players

on almost every wind part. The band size that Hindsley typically had in mind when

creating an orchestral transcription had a total of 92 musicians. This correlated to what he

considered to be a basic symphony orchestra of 90 musicians. He also made a distinction

of the roles of instruments whether they were part of a “homogenous choir” or a “color

instrument.”

51

Figure 3.1: Hindsley Orchestration Chart72

This example illustrates the amount of doubling that Hindsley had in mind while

creating his arrangement of El Salón México. It should also be noted that the size of the

band that played the arrangement at the premiere had 121 members or what Hindsley

refers to as the “large” or “maximum” band.73 While Hindsley’s arrangements are

playable by smaller groups, they were conceived for a band that is considerably larger

than most modern college bands that currently exist.

72 Hindsley, Hindsley on Bands, 146. 73 Hindsley, Hindsley on Bands, 154-5.

52

Overall Scoring

During the process of scoring an arrangement for band from an orchestral score,

many of an arranger’s decisions will fall into two categories: timbre and doubling.

Decisions that fall into the timbre category include whether to retain or change

instruments during solos when the orchestral instrument is available in the band

instrumentation. Decisions that fall into the doubling category include when to double

wind lines that were originally intended for one player, and how thickly the music should

be scored. Sometimes considerations for timbre and doubling will overlap. Timbre is an

important consideration when making a substitution for the string section. However,

since these parts were usually written for a large body of players performing the same

line, the amount of doubling to employ should also be considered.

53

Timbre Considerations

Throughout the score Hindsley usually chose to maintain solo wind instrument

timbres where possible from the orchestral score. For example, the trumpet solo at

measure 23 is retained in the trumpet part (not cornet). Important solo lines in flute, oboe,

English horn, bassoon, Eb clarinet, and Bb clarinet are all maintained in the band

arrangement. The one major exception occurs at measure 40. This duet, originally for

bassoon and bass clarinet, is scored by Hindsley for bassoon and tenor saxophone.

Figure 3.2: Copland/Hindsley, El Salón México for Band, mm. 40-44. Bassoons, Contrabassoon, Alto and Tenor Saxophones EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission. Many of the decisions Hindsley made concerned the re-orchestration of the string

parts. The violin and viola parts are usually transferred to clarinets, cornets, flutes, or a

combination of the three depending on musical context. In passages requiring musical

agility the clarinets are often used. Cornets are often used in combination with clarinets,

and flutes are used when the range of the line was too high to be comfortably played by

other instruments.

54

Figure 3.3: Copland, El Salón México, mm. 247-251, Strings

Figure 3.4: Copland/Hindsley, El Salón México for Band, mm. 247-251, Clarinets


55


Figure 3.6: Copland/Hindsley, El Salón México for Band, mm. 61-64, Clarinets, Cornets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

56


Figure 3.8: Copland/Hindsley, El Salón México for Band, mm. 73-80, Flutes, Clarinets, Cornets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission. The low strings are also scored depending on musical context. The horns and low

brass are utilized in sections where either the dynamic is loud or the scoring is thick, or

where a change in timbre is appropriate. Two examples in which the brass are used to

accommodate a change in timbre begin at measure 73 and again at measure 268. In more

thinly scored sections the saxophones, bass clarinet and contrabass clarinet are often

57

assigned to play the middle or low string parts. The low clarinets often double the double

bass when playing pizzicato.

Hindsley is also specific regarding the use of trumpets versus cornets. In most

cases the orchestral C trumpet parts are written for Bb trumpet and the cornets are used to

cover the string parts, demonstrating a choice to utilize the contrast between cylindrical

and conical bores. Third cornet is used to cover the orchestral third trumpet part when

necessary.

Figure 3.9: Copland, El Salón México, mm. 1-4, Trumpets

Figure 3.10: Copland/Hindsley, El Salón México for Band, mm. 1-4, Cornets, Trumpets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

58

Doubling considerations

The comparison of thickness of scoring between the Copland orchestral score and

the Hindsley band score was categorized by the author into three areas: thin instrument

scoring, moderate scoring, and full scoring. Categories were defined by the number of

players utilized in Copland’s orchestral score. Thin scoring was defined as areas where

one player per part scoring is used. In these sections Hindsley often retained one player

per part in the band arrangement. Full scoring is defined as where all or most instruments

are being utilized. Moderate scoring was defined as sections of music that use more than

one player per part but a significant portion of the ensemble is not playing. It is most

often in these moderately scored sections that Hindsley utilizes more doubling of parts

and the scoring seems to be thicker in the band score than in the orchestral score. The

rescoring of the strings in particular seems to be where much of this doubling occurs.

There are a several places in the orchestral score where a thin texture is utilized.

In these situations, Hindsley generally maintains the thin texture. For example between

measures 103 and 112, the band arrangement sounds identical to the original orchestral

score since the writing is exclusively for winds and piano. Here Hindsley is careful to

write “solo” on all of the wind parts to match the one on a part playing in the orchestra.

The thin texture of the orchestral version is maintained and the instrumentation is

basically identical.

59

Hindsley uses a slightly different approach from measures 20 through 32. He also

marks all instruments as “solo,” but substitutes tenor and baritone saxophones for

Copland’s original choice of trombone and bass clarinet. Here the thin scoring is

maintained, but Hindsley chose to change the timbre of this section from the original

since trombone and bass clarinet were available in his instrumentation.

Figure 3.11: Copland, El Salón México, mm. 20-25, Bass Clarinet, Bassoons, Trombone 1

Figure 3.12: Copland/Hindsley, El Salón México for Band, mm. 20-25, Bassoons, Saxophones EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

60

There are only a few places in the orchestral score where Copland uses full

scoring. The two large sections in the orchestral version that are scored the thickest are

from measures 134-182 and 353-402. Hindsley does conserve the use of full scoring in

the band arrangement to coincide with the corresponding measures of the orchestral

score. This helps preserve the architecture and pacing of dynamics in the original

orchestral score.

The areas of the orchestral score that are defined as moderate scoring seem to be

where more doubling of parts occurs. In most cases it is an issue when transferring the

string parts to the winds. Often Hindsley would use a timbre of a combination of brass

and clarinets as a substitute for the strings. While this combination helps to differentiate

the string parts, the fact that it is scored for many wind players creates a feeling of

heaviness in stark contrast to the transparent sound of a string section.

61

A section where moderate scoring is used and considerations involving both

doubling and timbre intersect is from measures 221-226. Here Copland uses moderate

scoring that utilizes only first violins, violas, cellos, and a few winds. Hindsley scored

these bars more thickly using first and second clarinets, muted first cornets, and muted

first trombones to cover the violin and viola lines. The cellos are covered by low

clarinets, third trombones, and string bass. This is an example of how Hindsley uses

doubling of brass and clarinets to substitute for the strings. As a result, the scoring in the

band version is significantly thicker than in the orchestral. However, using a brass and

clarinet timbre as a substitute for strings does allow Hindsley to maintain the timbre of

clarinet interjection in measure 226.

Figure 3.13: Copland, El Salón México, mm. 221-226


62

Figure 3.14: Copland/Hindsley, El Salón México for Band, mm. 221-226


Another section of the orchestral score that uses moderate scoring is from

measures 73-99. This is another place where the band score is scored more thickly than

the orchestral score due to doubling. This is also a section about which Copland

expressed concern when listening to Hindsley’s first version of the arrangement. In

Copland’s first hand written notes regarding this section he stated “the [accompaniment]

in [clarinets, saxophones, and horns] is too consistently the same.”

63

Figure 3.15: Copland/Hindsley, El Salón México for Band, 1st Version Manuscript (ARCO 28-D) mm. 73-80 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

64

Hindsley responded by suggesting “the trombones take over the rhythmic

movement in the accompaniment with the horns sustaining throughout as in the orchestral

score.”74 Copland replied with a list of suggested revisions.75 (See Appendix A) He

addressed this section of the arrangement by stating “Perhaps one could lighten the

accompaniment by alternating the [horns and trombones] in both the notes that are

repeated and notes that are held for possibly 4 to 6 measures at a time.” Hindsley did

incorporate this suggestion into the final draft. However, Copland seems to be

responding, at least partially, to the thickness of the scoring in this section suggesting it

needed to be “lightened.” Hindsley did not decrease the number of players between

versions. He actually needed to add a third trombone part in order to facilitate Copland’s

suggestions. It is also interesting that Copland’s first thought about this section was that it

was “too consistently the same” since the orchestral scoring of the accompaniment is

very consistent though this section.

74 Mark Hindsley to Stuart Pope, 21 November 1968, Copland Collection 75 Copland, TS “Suggested revisions on band arrangement of El Salon Mexico by Mark Hindsley,” initialed A.C., undated, Copland Collection.

65

Figure 3.16: Copland, El Salón México, mm. 73-80


66

Figure 3.17: Copland/Hindsley, El Salón México for Band, mm. 73-80


67

Copland made another comment in his list of suggested revisions regarding the

sound being too “weighty”. At both measure 26 and measure 33 he suggested “some

substitute for the two [trombones] which seem rather weighty to me at that spot. (perhaps

sax?)”76 Hindsley had originally scored the pizzicato string chords for flutes, clarinets and

trombones. In the published band arrangement the chord has been redistributed to only

flutes and clarinets. This is another example of Copland’s responding to scoring that

sounded too heavy, in this case due to instrument choice.

Some of Hindsley’s thinking behind the amount of doubling used in these sections

that use moderate scoring can be gleaned from his own writings. In his essay “Scoring for

the Concert Band” he lays out a general set of principles for creating a band arrangement

from an orchestral score. In writing about omitting instruments to secure a proper

dynamic balance he wrote “in doing so we are again sacrificing body and texture of tone

and moving toward a chamber sound, which is undesirable yet sometimes necessary to

approach the ultimate dynamic delicacy of the strings.”77 The number of players covering

the string parts was also a concern for Hindsley; “For the sake of body and texture it is

almost axiomatic that the same number of players should be utilized as are playing the

string parts, but often this goal cannot quite be reached.”78

From these two statements and the evidence provided by the band score, it is clear

that Hindsley was concerned about having a texture of many instruments playing when

substituting for the string section. Using a “chamber sound” where the numbers of

76 Copland, TS “Suggested revisions on band arrangement of El Salon Mexico by Mark Hindsley,” initialed A.C., undated, Copland Collection. 77 Hindsley, Hindsley on Bands, 147. 78 Ibid.

68

players is smaller was “undesirable” because it did not have the texture of many

instruments playing the same line. In these instances, Hindsley generally seems to be

more concerned with texture of multiple players rather than trying to best replicate the

timbre of the string section.

Alteration of music for playability

Besides the necessary changes in instrumentation and scoring that Hindsley

incorporated into his arrangement for band, there are several other alterations that he

undertook. These changes include the use of accidentals as opposed to key signatures, the

alteration of meters and beaming, and the rewriting or rescoring of certain passages.

Unlike the changes in instrumentation and scoring which are necessary when creating an

arrangement for band from an orchestral score, these kinds changes were not strictly

needed. In these situations, Hindsley made a decision to alter a component that could

have been left as it appears in the orchestral score. Based on the kinds of alterations he

made, it can be surmised that these changes were made for ease of reading and

performing.

Key Signatures

Hindsley maintained pitch level/key of the orchestral version and did not

transpose the band arrangement up or down by any interval. Though the Hindsley

arrangement and the Copland orchestral score are both transposed, there is a significant

difference between the two in their use of key signatures. Copland uses several traditional

key signatures, in which transposing instruments use a transposed key signature. In

addition, at times he cancels all key signatures to C major using an “open” or “pseudo C”

key. In addition, horns, and timpani are always written with a key signature of no sharps

69

and no flats. Accidentals are utilized throughout the piece in those instruments, a typical

means of writing in orchestral works. Hindsley uses an “open” key for all instruments,

utilizing accidentals throughout the score. This is likely done for readability. The key

signatures that appear in the orchestral score include G major, A major, and F-sharp

major. Sharp key signatures can often pose difficulties for bands. Hindsley likely thought

the parts would be more easily played by using accidentals throughout the band score.

Rewriting

There are two kinds of rewriting that Hindsley incorporated into his arrangement

for band. The first occurs when the string parts are so idiomatic for the instrument it is

nearly impossible for those parts to be played on a wind instrument. An example of this

kind of string writing occurs in the violins and violas in measures 364-379. Hindsley

dealt with this using two different techniques. First, he split the part among two

instruments.

Figure 3.18: Copland, El Salón México, mm. 372-375, Viola

Figure 3.19: Copland/Hindsley, El Salón México for Band, mm. 373-377, Clarinet 2, 3 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

70

The second option was to rewrite the part to be more playable on a wind instrument,

while still keeping the spirit of the original line.

Figure 3.20: Copland, El Salón México, mm. 377-379, Violin 2, Viola

Figure 3.21: Copland/Hindsley, El Salón México for Band, mm. 380-382, Clarinet 2, 3 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

71

The second kind of rewriting or rescoring occurs when an orchestral wind part is

sufficiently difficult or high in the range that Hindsley reworked the passage. One

example occurs at measure 14 where Hindsley covers the orchestral first trumpet part in

the upper woodwinds.

Figure 3.22: Copland, El Salón México, mm. 14-15, Trumpets

Figure 3.23: Copland/Hindsley, El Salón México for Band, mm. 14-15, Cornets, Trumpets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

72

Another example of eliminating a part from the trumpet occurs at measure 316. In

the orchestral score the second trumpet accentuates certain pitches in the first trumpet

solo by doubling some the notes. Hindsley eliminates this orchestral second trumpet part

entirely.

Figure 3.24: Copland, El Salón México, mm. 316-319, Trumpet 1, 2

Figure 3.25: Copland/Hindsley, El Salón México for Band, mm. 316-319, Trumpet 1


73

Hindsley also rescores portions of lines if they become high in an instrument’s

tessitura. For example, the horn parts in Hindsley’s arrangement at measures 324-326

have the highest notes eliminated. This line, which also occurs in the upper strings, is

scored by Hindsley in the clarinet, alto saxophones, and first cornet. Only these

instruments cover the highest pitches of the motive

Figure 3.26: Copland, El Salón México, mm. 324-326, Horns

Figure 3.27: Copland/Hindsley, El Salón México for Band, mm. 324-326, Horns


In all of the examples above, Hindsley made an effort to make the parts more

playable or reduce the chances of missed pitches in the brass.

Meters and Beaming

Hindsley made some significant changes to both the meter and beaming in the

band arrangement when compared to Copland’s orchestral score. Many of the rhythmic

complexities inherent to the orchestral work stem from the re-beaming and changing of

meters that Copland himself undertook during the compositional process from the early

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piano sketch to the full orchestral score as discussed in Chapter 2. There are several

places in the orchestral score that have eighth note beaming across barlines, use an

extraordinary amount of syncopation, or appear to have two implied meters sounding

simultaneously. Hindsley chose to alter some of the meters and beaming in what was

likely an effort to clarify the rhythmic groupings and make the piece easier to read and

perform. These alterations can be categorized into one of three groups: a change of

beaming to match the meter, a change of meter to match the beaming, or a combination

of changing both meter and beaming.

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Changing beaming to match the meter

When two meters are implied simultaneously, Hindsley often alters the beaming

to a more typical grouping that fits with the meter. For example, at measure 247 the

violins are playing an eighth note pattern and several beams go across the barline.

Hindsley edited the beaming to reflect more traditional groups of three eighth notes in 6/8

time.

Figure 3.28: Copland, El Salón México, mm. 252-256, Violins

Figure 3.29: Copland/Hindsley, El Salón México for Band, mm. 252-256, Clarinets 1, 2 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

76

A second example occurs at measure 257 where the meter is 4/4. (Copland does

notate (6+2/8) as a secondary meter in the orchestral score.) Hindsley retains the 4/4

meter but alters the beaming in all parts to four groups of 2 eighth notes. However, he

attempts to show the groupings from the orchestral score through the use of broken

barlines. It is also important to note that Hindsley used only the 4/4 meter marking and

chose to leave out the (6+2/8) marking entirely, likely for the sake of clarity.

Figure 3.30: Copland, El Salón México, mm. 257-258, Viola

Figure 3.31: Copland/Hindsley, El Salón México for Band, mm. 257-258, Clarinet 1


77

Changing of meter to match the beaming

There are several instances in which Hindsley edited the meter. In each case, the

beaming in the orchestral score implies a different meter. Some of these changes are

minor and isolated. For example, there are places where Hindsley changes a 3/4 meter

from the orchestral score to a 6/8 meter in the band score due to eighth note groupings.

These changes occur in the band score at measures 10, 180, 186, 189, 194, and 394.

Figure 3.32: Copland, El Salón México, mm. 10, melodic material

Figure 3.33: Copland/Hindsley, El Salón México for Band, m. 10, melodic material


In comparison with the orchestral score, there are major changes to the meter in

Hindsley’s arrangement. These occur in two large, related sections. The first occurs from

measure 156 through 172, and the second from 364 through 390.

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It is unclear exactly why Hindsley chose to alter the meters in these sections,

though the prevalence of syncopation and non-traditional beaming may have been a

contributing factor. It is also unclear how the decision to change these meters was made.

The beaming suggests specific eighth note groupings, but the number of macrobeats in

each measure would most certainly be alterable. The meters Hindsley chooses, however,

bear a striking resemblance to the meters Bernstein utilized in his piano arrangements,

which in turn are very similar to Copland’s manuscript Piano Sketch.

Figure 3.34: Comparison of rhythmic notation for music corresponding with orchestral mm. 156-172 in the Piano Sketch (ARCO 28-A), Bernstein arrangement for solo piano, and Hindsley’s arrangement for band

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With the exception of the sections listed above, Hindsley utilizes Copland’s

orchestral meters for the majority of the remainder of the piece. In general, it appears that

Hindsley used the orchestral meters for the majority of the piece and made changes only

in the most syncopated sections. There are two potential reasons for these alterations.

First, Hindsley may have thought the shifting irregular meters were easier to read than the

syncopated rhythmic notation. In Earl Gregory’s dissertation about Hindsley he writes

“Selection of the proper meter signature for a composition, Hindsley notes, is related to

the notation which is most likely to be error free.”79 The second reason could be

Hindsley’s preference for music to “…LOOK as close to what it is going to sound like as

[it] possibly can.”80 The changes he made to the meter certainly reflect this preference as

well.

Combination of alterations to beaming and meter

Hindsley was also confronted with choosing one meter over another. There are

several places in the orchestral score in which Copland utilizes multiple time signatures.

One example occurs at measure 305 where Copland writes C (6+2/8). Another is found at

measure 274, where several instruments are marked in 3/4 but others stay in 6/8. In these

situations Hindsley chose one meter and made the beaming match the chosen meter. This

was likely done to increase clarity and readability.

Errata

Three significant errata were discovered through discrepancies between the

published orchestral score of El Salón México and Hindsley’s band arrangement. All of

79 Gregory, “Mark H. Hindsley: The Illinois Years,” 184. 80 Ibid.

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these items appear as errors in Hindsley’s manuscript as well. The first is an incorrect

rhythm at measure 59 in Bassoon 1.

Figure 3.35: Copland, El Salón México, mm. 59, Bassoon

Figure 3.36: Copland/Hindsley, El Salón México for Band, m. 59, Bassoon

The second errata is in the trumpet part at measure 313. The pitches at the

beginning of the measure are incorrect.

Figure 3.37: Copland, El Salón México, m.313, Trumpet 1 in C

Figure 3.38: Copland/Hindsley, El Salón México for Band, m. 313, Trumpet (displayed in concert pitch)

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The third discrepancy found between the orchestral score and the Hindsley

arrangement is from measure 160-161. The pitches F, A, E that appear in first violin do

not appear in the proper octave in the band score.

Figure 3.39: Copland, El Salón México, mm. 160-161, melodic material in Trombone 1, 2, Violin 1, Viola

Figure 3.40: Copland/Hindsley, El Salón México for Band, mm. 160-161, melodic material in Horn 2, 4, Trombone 1, 2 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.

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Chapter 4: The Erika Svanoe Arrangement for Band

Early in the process of comparing the Hindsley band arrangement to the Copland

orchestral score of El Salón México, I determined that a new band arrangement of the

work was warranted for a number of reasons. The primary justification for the new

arrangement was the restoration of the orchestral meters. I thought it was important to

give wind conductors an option that would allow them and their musicians an opportunity

to perform the piece with the orchestral meters in tact. Often wind players learn El Salón

México by playing the Hindsley arrangement, but then need to relearn different meters if

they perform the orchestral version.

The meters Hindsley chose to alter are very close to the meters that Copland

himself used in his Piano Sketch. We also know that Copland personally approved of the

Hindsley arrangement and contributed to editorial process from Hindsley’s initial draft to

the published band arrangement. These two factors validate and legitimize Hindsley’s

decision to alter the meter from the orchestral score.

As discussed in Chapter 2, it is clear that Copland changed the notation of the

rhythm in the orchestral version to make the piece more performable by orchestral

conductors and musicians. In some sections of Hindsley’s band arrangement the meters

could be considered a closer representation of Copland’s original rhythmic intent than the

orchestral score. In other sections of the band arrangement, however, it is clear that

Hindsley eliminated some of the eighth note beaming that indicates these irregular

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groupings of eighth notes giving the conductor no indications of Copland’s rhythmic

intentions. One purpose of the new arrangement was to restore all rhythmic indications of

the orchestral score.

A second justification of the new arrangement was the modernization of scoring

practices and instrumentation. This work is of sufficient difficulty that it is generally

performed by bands at colleges and universities. However, the size of many of these

bands has decreased as a result of moving to a wind ensemble or wind symphony format.

The average size of college bands has certainly decreased since 1966 when the Hindsley

arrangement was first written. Additionally, more modern trends of orchestration for

band typically utilize thinner scoring than earlier transcriptions. This new arrangement

attempts to reflect these modern scoring practices, as well as provide an instrumentation

that is playable by more modern collegiate ensembles.

Instrumentation

There were several specific changes to the instrumentation of the Hindsley and

Copland that were incorporated in the new arrangement. First, the number of double reed

players was decreased. Copland calls for two oboes, English horn, two bassoons, and

contrabassoon. I decided to decrease this to two oboes with 2nd doubling English horn

and two bassoons with 2nd doubling contrabassoon. I did this to make the arrangement

more playable by smaller schools that may not have as many double reed players. While

Copland does have the three oboe/English horn players or the three bassoonists playing at

the same time in the orchestral score, these moments are during thickly scored sections

where an instrument substitute in an arrangement for winds would not affect the color

adversely. The English horn and contrabassoon could not be eliminated entirely,

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however, because of important solo moments in the orchestral score. In this case,

Hindsley also utilized doubling of English horn and contrabassoon in the 2nd oboe and 2nd

bassoon parts so that bands with fewer double reed players could successfully perform

his arrangement.

I decided to eliminate the Eb Contrabass Clarinet that Hindsley utilized for

practical reasons. In the Hindsley arrangement this part is used to bolster the sound of the

double bass and perhaps to blend with the clarinet section when they cover the upper

string parts. I felt this was unnecessary and it does not appear in Copland’s orchestral

score.

I also decreased the number of cornet and trumpet parts utilized by Hindsley. The

practice of scoring of both cornet and trumpet parts in band scores has become outdated.

Most modern bands perform both cornet and trumpet parts on trumpet. Considering that

Hindsley specifically wanted a conical brass sound for the strings that contrasts with the

cylindrical color of the trumpet, modern practice dilutes the effectiveness of Hindsley’s

scoring. I also wanted to maintain the integrity of the original trumpet parts as much as

possible, which included having them play fewer string parts than in the Hindsley. The

new arrangement is scored with three trumpets in B-flat. I considered scoring for

trumpets in C, as in the orchestral score, but decided against it for practical purposes

since more bands will likely have musicians comfortable playing on B-flat trumpets.

The timpani, percussion, piano, and double bass were all retained and treated in

much the same manner as the Hindsley. No additional percussion were added to the new

arrangement, and these parts appear exactly the same as they do in the orchestral score.

The division of instruments in Percussion 1 and 2 works well in the Hindsley and was

85

retained. The double bass does cover cello lines when the range is appropriate, especially

when pizzicato is utilized. A summary of the instrumentation of the three pieces is in the

table below:

Table 4.1: Comparison of Instrumentation between Copland Orchestral Score, Hindsley Band Score, and Svanoe Band Score Overall Scoring

Many of my own decisions regarding scoring are in line with Hindsley’s

decisions. As mentioned, the percussion, piano and double bass are treated in similar

Copland Orchestral Score Svanoe Band Score Hindsley Band Score

Piccolo Piccolo Piccolo

2 Flutes Flutes 1, 2 Flutes 1, 2

2 Oboes Oboes 1, 2 (2nd doubles English horn) Oboes 1, 2

English Horn English Horn (doubled by 2nd Oboe) English Horn

Clarinet in Eb Clarinet in Eb Clarinet in Eb

2 Clarinets in Bb Clarinets in Bb 1, 2, 3 Clarinets in Bb 1, 2, 3

Bass Clarinet Bass Clarinet Bass Clarinet

Eb Contrabass Clarinet

2 Bassoons Bassoons 1, 2 (2nd doubles Contrabassoon) Bassoons 1, 2

Contrabassoon Contrabassoon (doubled by 2nd bassoon) Contrabassoon

Alto Saxophone 1, 2 Alto Saxophone 1, 2

Tenor Saxophone Tenor Saxophone

Baritone Saxophone Baritone Saxophone

Bb Cornets 1, 2, 3

3 Trumpets in C Bb Trumpets 1, 2, 3 Bb Trumpets 1, 2

4 Horns in F Horns in F 1, 2, 3, 4 Horns in F 1, 2, 3, 4

3 Trombones Trombones 1, 2, 3 Trombones 1, 2, 3

Euphoniums Baritones

Tuba Tubas Tubas

Timpani Timpani Timpani

Percussion Percussion 1, 2 Percussion 1, 2

Piano Piano Piano

Violins 1, 2

Violas

Cellos

Contrabasses Contrabasses Contrabasses

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ways and are very close to what appears in the orchestral score. In addition, the thickness

of scoring that appears in the orchestral score from thin to moderate to full is generally

reflected in both arrangements. Hindsley’s use of brass for significant changes in timbre

at measure 73 and measure 268 are so effective in the overall scope of the work that this

concept was borrowed in the new arrangement for band.

There are some significant differences, however, between the new arrangement

for band and Hindsley’s arrangement with regards to scoring. These differences typically

fall into two categories: timbre and doubling. Often the considerations for these two areas

overlap, particularly when rescoring the string parts. In general, I attempted to make the

new arrangement sound more like the orchestral version.

Timbre and Doubling Considerations

There are two places in the Hindsley arrangement where saxophone is used as a

replacement for an orchestral wind instrument and the change in timbre is significant.

The first is from measures 20-25 and the second is from measures 40-44 (Figures 3.11

and 3.2 respectively). In the new arrangement the original orchestral wind instruments

were maintained keeping the timbre as close to the orchestral version as possible. (See

Appendix B pages 109 and 112)

The new arrangement does not have cornets available in the instrumentation

because today’s bands typically do not use them in modern practice. Since the color

contrast between cornet and trumpet that Hindsley intends as part of his arrangement is

often negated by modern performances, I had to utilize the contrast between woodwinds

and brass more often. As a general rule, the trumpets and other brass instruments usually

covered the orchestral brass parts, and were only given material from the strings when a

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overall change in timbre is called for, when full scoring is utilized in the orchestral score,

or no other workable substitution is evident.

One reason for the reduction of the use of brass in the new arrangement was to

use the brass section more sparingly as Copland did in the orchestral version.

Furthermore, while Hindsley’s practice of using both cornets and clarinets as a substitute

for the string section creates the texture of a large number of string players, the timbre of

this combination has a weight and heaviness to it that is uncharacteristic of stringed

instruments. Copland made comments in his suggested revisions that imply he felt this

way as well. I relied more on the woodwind timbres of the clarinet, saxophone, flute, and

bassoon sections as substitutes for the strings. This maintained some of the texture of a

section of instruments, while also maintaining a lighter, more transparent timbre. This

concept is also in line with more modern practices of thinner scoring.

One example of thinner scoring occurs from measures 73-99. In the Hindsley

arrangement there is a large amount of doubling of the string parts, some of which is

assigned to the brass. (See Figures 3.7 and 3.8) In the new arrangement, fewer players are

used to cover the string parts creating a more transparent sound. The violin melody is

covered by flutes, clarinets, and alto saxophone instead of flutes, clarinets, and cornets.

The intention is to create a lighter, more transparent sound more reflective of the timbre

of a violin section. I did decide to use brass instruments to cover the lower string parts

because the overall change in timbre at this point in the piece is effective in the Hindsley.

However, instead of using the full section of both trombones and horns that appears in the

Hindsley arrangement, I only used two horns and euphonium to cover the chords in the

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lower strings. Two trombones cover the two orchestral horn parts. The overall scoring is

significantly thinner in the new arrangement. (See Appendix B p.116-119)

A second example of thinner scoring in the new arrangement occurs at measures

221-226. In the Hindsley, the string parts are covered by a combination of clarinets and

brass. (See Figures 3.13 and 3.14) In the new arrangement only clarinets and baritone

saxophone are used as substitutes for the string section, and the double bass part is

retained from the original orchestral score. This decision makes the interjection of the

clarinets in the orchestral score at measure 226 ineffective, however, since a change in

timbre is no longer possible. As a solution, two solo trumpets were used to cover the

clarinet interjection that occurs in the orchestral score. In this case, the change in timbre

and thinner scoring were prioritized over the retention of the exact timbre of the

orchestral score. (Appendix B p.135-136)

Both of the above examples were places in the orchestral score that I categorized

as Copland using “moderate scoring.” As discussed in Chapter 3, it is in these areas of the

Hindsley transcription that I felt the amount of doubling and use of brass was the most

excessive. The use of less doubling and more woodwind timbres in the new arrangement

as illustrated above was very typical in these moderately scored portions of the orchestral

score.

Restoration or Retention of Other Alterations by Hindsley

Beyond the necessary changes in instrumentation and scoring that Hindsley

utilized, there are several other alterations that Hindsley incorporated to make the music

more accessible for performance. These changes include the use of accidentals instead of

key signatures, the alteration of meters and beaming, and the rewriting of some passages.

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I evaluated the necessity of each of these alterations and in most cases restored what

appears in the orchestral score. In these situations, Hindsley’s priorities seem to reflect

accessibility of performance, while my priorities were to retain as much of the orchestral

writing as possible.

Key Signatures

As discussed in Chapter 3, Hindsley approached key signatures differently than

Copland by utilizing a transposed score with no key signatures (or open score)

throughout the entire work. Copland combined that approach in some sections with the

use of transposed key signatures in other sections. I was unsure how to proceed since I

was not sure why Copland decided to switch back and forth. I wondered if this was a

convention that he utilized in just his orchestral music, or if this was something he

discontinued later in his career. I decided to refer to Copland’s one original work for

band, Emblems (1964), to see how he treated key signatures in that work. I discovered

that key signatures in Emblems are treated in the same way as they are in the orchestral El

Salón México. Therefore, I retained all of the key changes and use of accidentals that

appear in the orchestral score.

Rewriting

Hindsley utilized two kinds of rewriting in his arrangement. The first is the

alteration of string parts that are so idiomatic to the instrument they are nearly impossible

to play on any wind instrument. This type of writing appears in the orchestral score from

measures 372-379. (See Figures 3.18 and 3.20) In this case, I thought the alterations that

Hindsley utilized were necessary due to the impossibility of accurate performance. I

borrowed Hindsley’s rewritten parts and incorporated them into the new arrangement.

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The second kind of rewriting Hindsley used occurs when an orchestral wind part

is sufficiently difficult or high in the range that the passage was reworked. (See Figures

3.22 through 3.27) I felt that all of these alterations were unnecessary and without

exception sought to retain the integrity of the orchestral wind parts. This makes the new

arrangement more difficult to perform but more accurately maintains Copland’s original

scoring and the integrity of the melodic line.

Meters and Beaming

The primary reason for doing a new arrangement of El Salón México was to

restore the orchestral meters into an arrangement for band. As I examined the use of

beaming and eighth note grouping in the orchestral score, I discovered that this was an

integral part of how the piece works rhythmically. This is logical considering that

Copland originally conceived of the music using mixed meters and then reworked the

meter for the orchestral score. I felt it was necessary to duplicate the meters and the

eighth note beaming to provide the conductor as much information as possible about the

orchestral score. While some beaming of eighth notes across bar lines makes the music

less readable, the retention of beaming is meant to inform conductors and players of

Copland’s original rhythmic intent and increase the feeling of the original grouping

during performance. Additionally, Copland also occasionally utilized brackets and dotted

bar lines in the orchestral score to show a rhythmic stress that was outside the confines of

the meter. (See Figures 2.9 and 2.17) All of these brackets and dotted bar lines were

retained in the new arrangement.

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Corrected Errata

As detailed in the previous chapter, there are three significant errata which were

discovered as discrepancies between the published orchestral score of El Salón México

and Hindsley’s band arrangement: the rhythm of Bassoon 1 at measure 59, the pitches of

Trumpet 1 at measure 113, and the missing pitches from violin 1 in measures 160-161.

All of these were corrected in the new arrangement to match the orchestral score.

Additionally, as discussed at the end of Chapter 2, there are three significant pitch

errors that were discovered in the published orchestral score. These errors occur in the

second bassoon at measure 24, the cello at measure 321, and the cello and double bass at

measure 378. These errors are corrected in the new arrangement for band based on

evidence provided by the manuscript materials and the Bernstein piano arrangements.

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Chapter 5: Conclusions and Suggestions for Further Research

El Salón México is an important piece in Copland’s compositional output because

it represents a significant shift in thinking at this point in his career. Copland wanted to

expand the audience for modern music and was experimenting with musical composition

using the simplest possible means. El Salón México is the first of several works that

appealed to a much wider audience and gained Copland popular and critical acclaim. One

reason for this was his use of borrowed Mexican folksongs and the shift of focus towards

melody and away from absolute music and formal structures.

El Salón brought Copland widespread recognition. In terms of numbers of

performances this was easily Copland’s most successful orchestral work up to this point.

While the appeal of piece based on melody and its use of Mexican folksongs certainly

contributed to its popularity, it is likely the practical steps Copland took to make the work

more performable for conductors and orchestral musicians also contributed to the greater

number of performances. The changes in rhythmic notation from shifting irregular meters

to regular simple meters, as well as the option for using a reduced instrumentation made

the work much more accessible for orchestras of the time.

The changes in rhythmic notation lead to a new question: if Copland had

orchestrated El Salón México later in his career, would he have reworked the rhythmic

notation so extensively? It is the opinion of the author that it is likely Copland would

have made fewer changes to the metric notation in this scenario. First, the Symphonic

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Ode was revised in 1955 with many of the original meters restored that Copland had

changed for Koussevitzky in 1930. Copland eventually withdrew the 1929 version

completely from his list of repertoire replacing it with the 1955 version. Second, Copland

notes his preference for the music to “look like it sounds” in his essay “On the Notation

of Rhythm.” Finally, Copland approved of Hindsley’s meter decisions in the band

arrangement of El Salón México. While it is impossible to form a definitive answer to this

question, evidence suggests that Copland would have preferred fewer changes to his

original rhythmic notation.

At first glance, when comparing Hindsley’s band arrangement of El Salón México

to the orchestral score, it originally appeared to have many changes in meter that might

be questionable since they did not reflect the composer’s intentions. However, evidence

discussed in the previous chapters suggests that in terms of rhythmic notation, in some

sections, the Hindsley arrangement could be considered a better representation of

Copland’s original rhythmic conception than the orchestral score. Ironically, much like

Copland’s own rhythmic revisions, this was likely done for practical purposes. Musicians

in the 1960s were more adept at dealing with shifting irregular meters than musicians in

the 1930s. From the time of the 1929 Symphonic Ode, musicians would have had thirty-

five more years of exposure to music that included this kind of writing by composers

such as Stravinsky. Even collegiate musicians (or perhaps especially) would have been

more familiar and open to reading this kind of rhythmic notation. In fact, it is very

possible that Hindsley thought using shifting irregular meters that matched the rhythmic

stress of the music would be easier for his musicians to perform than the complicated

syncopations of the orchestral version.

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This seems to be congruent with the fact that many of Hindsley’s decisions in

creating the band arrangement seem to be practical in nature. The reduction of double

reed players needed, the grouping of eighth notes to match the meter through the score,

the thicker scoring in many sections, and the use of accidentals instead of key signatures

all point to Hindsley’s desire for a playable and readable arrangement. It is unknown how

much Hindsley knew about Copland’s own revisions to rhythmic notation, but it would

seem that Hindsley at the very least referred to the published Bernstein piano

arrangements. It is the author’s opinion that in some rhythmically complex sections,

Hindsley referred to the piano arrangements and used those metric and rhythmic

notations instead. His justification of these changes were likely practical, but also had a

musical impetus. In an interview with Hindsley he said music should “…LOOK as close

to what it is going to sound like as [it] possibly can.”81 This particular quotation suggests

that Hindsley may have read Copland’s “On the Notation of Rhythm.” Regardless of

whether this was Hindsley’s informed intention or simply coincidence, this notation is

closer to Copland’s original conception of the meter and is one of the strengths of

Hindsley’s arrangement.

One purpose of this project was to create a second band arrangement of El Salón

México that would provide conductors a second choice of what version to program with

their band. Both band arrangements have different strengths and intentions that

conductors should consider when making this decision. In the case of rhythmic notation,

both the Hindsley arrangement and the Svanoe arrangement have relative strengths and

weaknesses. While Hindsley did use Copland’s original intentions of rhythmic notation

81 Gregory, “Mark H. Hindsley: The Illinois Years,”184.

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for certain sections of his arrangement, he also simplified several indications that would

inform a conductor or players about these intentions in other sections of the piece. Much

of the beaming and irregular grouping of eighth notes that occurs in the orchestral score

is simplified by Hindsley to match the meter. Musicians looking at these sections of the

music would have no idea what these irregular groupings are, and their intended effect

would be lost. The author’s arrangement restores these groupings to the way they appear

in the orchestral score. It should also be noted that Hindsley’s simplified beaming is

easier to read than the author’s.

It is the author’s opinion that the other relative weakness of the Hindsley is its

heavy scoring during some sections of the piece. Some of Hindsley’s choices for scoring

may reflect a desire to keep more members of the band involved in playing the piece

more of the time. This was particularly evident when replacing orchestral wind parts into

the saxophones, or using a combination of brass and clarinets to play string parts. The

original orchestral version has a certain transparency, however, that comes with the use

of the string section in particular. The use of brass often makes these string parts heavy or

more prominent than they sound when played by strings in the orchestral version. The

author’s arrangement attempts to keep more of this transparency in tact by using more

woodwind timbres and less doubling when transferring the string parts to the band

arrangement.

Regarding the relative difficulty of the arrangements, the author’s is likely more

difficult. Both arrangements are certainly challenging because of the rhythmic intricacies

inherent in the music, as well as the need for strong soloists on several parts. Yet the

slightly thicker scoring, simplification of eighth note grouping, and use of shifting

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irregular meters as opposed to syncopated simple meters make the Hindsley slightly more

performable by bands today.

The idea that more complex meters are easier to perform by modern bands may be

counterintuitive. Performance of shifting irregular meters was very difficult for musicians

in the 1930s. There is so much of this type of rhythmic writing in modern band literature

that it is the author’s opinion that these kinds of rhythms are easier to perform by modern

bands. Because of Hindsley’s modifications, his arrangement would be a good choice for

conductors with larger or relatively less experienced bands. Advanced high school or

young collegiate bands would likely have more success performing Hindsley’s

arrangement.

However, the author’s use of replicating the meters and beaming in the orchestral

score has two benefits. First, musicians who may play or conduct the orchestral version

during their careers will not need to relearn different meters. Second, replication of eighth

note groupings that appear in the orchestral score provide the conductor and players an

idea of what Copland’s original intentions were throughout the entire score, not just in

selected sections of the music. The author’s arrangement is a good choice for conductors

who have musicians who may play in orchestras, or are able to apply the rhythmic

subtleties the beaming implies. It also replicates the transparency of the orchestral version

more successfully. It is likely a better choice for smaller, more advanced bands such as

advanced college wind ensembles.

Finally, the Hindsley arrangement has the advantage of being approved by the

composer. Copland listened to a recording of the arrangement with a score in hand on at

least two occasions. He also made minor corrections and suggestions for scoring in some

97

sections. While the composer cannot approve the author’s arrangement, it was completed

with the intention of restoring his rhythmic intricacies and modernizing the

instrumentation for both artistic and practical purposes.

Suggestions for further research

Evidence provided by Copland’s reworking of the Symphonic Ode in 1955 and

statements regarding the notation of rhythm suggest that he was less willing to alter the

rhythmic notation in his orchestral works later in his career. While El Salón México

includes many of these rhythmic alterations, it is a relatively early work. It would be

interesting to note how Copland’s rhythmic notation evolved throughout his career with

regard for pieces written for large ensembles. It would be interesting to compare the

manuscript sketches to published scores for selected works at different points in

Copland’s career to see if he became less inclined to change metric notation or if his

sketches or if his writing evolved to include more writing directly as syncopated rhythms.

Another topic of interest would be if Copland’s rhythmic notation for large

ensemble requiring a conductor was significantly different than his writing for chamber

ensembles or soloists. Did Copland’s experience with Koussevitzky and Symphonic Ode

also shape his rhythmic notation for groups that had no need for a conductor? Or did he

make these kinds of adjustments for chamber ensembles as well?

Another area of research could include the perception of differences in rhythmic

notation to the listener. Copland wanted to make music look like it sounds on the page.

Does the music actually sound different if it looks different? With some or all visual cues

removed, including score, conductor, or the movement of musicians, can a trained

listener perceive the changes rhythmic notation? Does isolating some of the visual cues,

98

such as watching a score, or watching a conductor change a listener’s perspective on how

the music sounds?

Another question that arises is if orchestral conductors make adjustments in how

they conduct El Salón México. Has anyone altered the meter back to Copland’s original

intentions? An interesting project would be to compile all the available information from

the manuscript materials and various piano arrangements and create a new orchestral

score of El Salón México that would change the rhythmic notation back to what

Copland’s original intentions were. Modern conductors and orchestras are much more

capable of performing complex rhythms, and the change in the sound of the performance

could be significantly different.

This study found that Copland made significant changes to the meter and

rhythmic notation of El Salón México during the process of orchestration. Evidence

suggests that these changes, along with the option for reduced instrumentation, made the

work playable by more orchestras. This, along with the use of folk songs, contributed

both to Copland’s popularity with audiences and critics, and to the rise of his stature as

one of America’s foremost composers.

While Hindsley altered the meters and rhythmic notation in his transcription for

band, he likely did so by referring to Bernstein’s arrangements for piano. This restored

some of the rhythmic notation, as Copland originally conceived it, from his early

sketches. While both Hindsley’s and the author’s transcriptions have relative strengths,

the author’s arrangement was completed with the intention of providing today’s band

conductor the option of choosing another version for performance. Having a second

version is valuable because it is the work of one of America’s most important composers

99

and makes an important contribution to the repertoire of both the orchestra and the band.

While the piece was born from humble folk materials, the work itself is of high artistic

quality. Regarding El Salón México Copland stated, “As I see it, music that is born

complex is not inherently better or worse than music that is born simple.”82

82 Copland and Perlis, Copland, 248.

100

Bibliography

Abraham, Gerald. “Aaron Copland: El Salón México.” In El Salón México, by Aaron Copland, pocket score ed. London: Boosey & Hawkes, 1939. Battisti, Frank. The Winds of Change. Galesville, MD: Meredith Music, 2002. Berger, Arthur. Aaron Copland. Westport, CT: Greenwood Press, 1971. Briskey, Eddie. “The Symphonic Band Repertoire of Aaron Copland: An Overview of Original Works and Arrangements for Band.” Journal of the World Association for Symphonic Bands and Ensembles 14 (2007): 38-43. Burr, Jessica. “Copland, the West and American Identity.” In Copland Connotations: Studies and Interviews, edited by Peter Dickenson, 22-8. Rochester, NY: Boydell Press, 2002. College Band Directors National Association. “CBDNA Report,” Spring 1997-Fall 2008. http://www.cbdna.org/cgi-bin/report.pl (accessed February 17, 2009). Copland, Aaron. “Composer from Brooklyn: An Autobiographical Sketch.” Reprinted in

Aaron Copland: A Reader; Selected Writings 1923-1972, edited by Richard Kostelanetz, xix-xxxii, New York: Routledge, 2004.

———. Copland on Music. Garden City, NY: Doubleday, 1960. ———. El Salón México. London: Boosey & Hawkes, 1939. ———. El Salón México. Arranged for Two Pianos by Leonard Bernstein. London: Boosey & Hawkes, 1943. ———. El Salón México. Arranged for Piano Solo by Leonard Bernstein. London: Boosey & Hawkes, 1941. ———. El Salón México. Transcribed for Band by Mark H. Hindsley. New York: Boosey & Hawkes, 1972. ———. El Salón México Manuscripts. Aaron Copland Collection. Library of Congress.

101

———. Emblems. New York: Boosey & Hawkes, 1964. Copland, Aaron, and Boosey & Hawkes, Correspondence, Aaron Copland Collection, Library of Congress. Copland, Aaron, and Vivian Perlis. Copland: 1900 Through 1942. New York: St. Martin’s/Marek, 1984. Crist, Elizabeth. “The Compositional History of Aaron Copland's Symphonic Ode.” American Music 18, no. 3 (Autumn, 2000): 257-77. ———. Music for the Common Man: Aaron Copland During the Depression and War. New York: Oxford University Press, 2005. Dickenson, Peter. “Copland’s Earlier British Connections.” In Copland Connotations: Studies and Interviews, edited by Peter Dickenson, 165-74. Rochester, NY: Boydell Press, 2002. Fishman, Leo Philip. “Theoretical issues and presumptions in the early music of Aaron Copland.” Ph.D. diss., University of California, Santa Barbara, 2007, In Dissertations & Theses: A&I [database on-line]; available from http://www.proquest.com.proxy.lib.ohio-state.edu (publication number AAT 3272823; accessed February 2, 2009). Glazier, Richard. “A Comparison and Analysis of Aaron Copland's El Salon Mexico for Orchestra, Piano Solo, and Two Piano Four Hands” D.M.A. diss., Cleveland Institute of Music, 1990. Gregory, Earle Suydam. “Mark H. Hindsley: The Illinois Years.” Educat.D. diss., University of Illinois at Urbana-Champaign, 1982, In Dissertations & Theses @ CIC Institutions [database on-line]; available from http://www.proquest.com.proxy.lib.ohio-state.edu (publication number AAT 8218477; accessed March 6, 2009). Henry, Diana, News Gazette, March 19, 1967 reprinted in Mark Hindsley, My Bands and I: A Love Story, 45 Years of Concert and Marching Band History…. [Urbana- Champaign, IL?]: Self-published, 1984. Hindsley, Mark. My Bands and I: A Love Story, 45 Years of Concert and Marching Band History…. [Urbana-Champaign, IL?]: Self-published, 1984. ———. Hindsley On Bands (The Gospel According to Mark). [Urbana-Champaign, IL?]: Self-published, 1979.

102

Hindsley, Robert. Transcriptions by Dr. Mark H. Hindsley. Hindsley Transcriptions Ltd. http://www.hindsleytranscriptions.com/index.html (accessed February 22, 2009). Lee, Douglas A. Masterworks of 20th-century Music : The Modern Repertory of the Symphony Orchestra. New York: Routledge, 2002. Mitchell, Donald and Philip Reed, eds. Letters from a Life: Selected Letters and Diaries of Benjamin Britten, vol. 1, 1923-39. London, Faber & Faber, 1991. Pollack, Howard. "Copland, Aaron." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/06422 (accessed February 15, 2009). Shattinger Music Company. Wind Band Catalog. Shattinger Music Company. http://www.shattingermusic.com/Departments/Wind_Band/WBItems.aspx (accessed February 22, 2009).

103

Appendix A

List of suggested revisions to the band arrangement of El Salón México by Mark

Hindsley. Typescript by Aaron Copland. Initialed A.C.

105

Appendix B

El Salón México by Aaron Copland, transcribed for band by Erika Svanoe.


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POPULAR TYPE DANCE HALLIN MEXICO CITY

ERIKA SVANOE

To Victor Kraft

106

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Fl. 1,2

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Perc. 2

Pno.

Ÿ~~~~~~~~~~~~~~

w

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>

‰J

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‰

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20

CYM. (With brush)

p

p

p

p

p

con sord.solo

soli

soli

w

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21

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22

Œ ˙ Œ

Œ˙#

Œ

Ó ‰

j

œ œœ

Œ˙n

Œ

Œ ˙ Œ

23

p

Solo (ad lib.)

œn

>

‰

J

œn-

J

œ ‰

œ- œ#

-

œ

>

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œ-

J

œ

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œ-

œ>

‰J

œ-

J

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œ#- œ#

-

œ œœ

œœ

œœ

œœ

œœ

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7

24

P

P

P

j

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‰ Œ Ó

j

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‰ Œ Ó

j

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J

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J

œj

œœ

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25

rit.

109

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ã

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43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

Ÿ~~~~~~~~

ÓJ

œ

œ‰ Œ

U

U

U

U

U

Ó œ

>

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

U

ÓJ

œ‰ Œ

u

Ó j

œ

‰ Œ

U

Ó j

œ

‰ Œ

U

Ó Ó

U

Ó Ó

U

Ó Ó

U

U

U

U

œœ

œ J

œ>

‰

U

U

U

U

Ó Ó

U

U

U

U

U

U

U

U

U

26

U

rit.f

f

f

f

(short)Solo Cadenza (ad lib.)

others

w

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>

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.œ

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>

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.œ

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œ

>

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.œ

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œ ‰

J

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27

3

3

3

F

F

F

p

w

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28

‰

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29

F

F

Solo (ad lib.)

‰

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j

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j

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7

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30

j

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j

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j

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J

œ j

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,

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31

to contrabassoon

rit.

œœ

œj

œ

œ

J

œ

32

Solo Cadenza (ad lib.)

J

œ

œ‰ Œ Ó

U

U

U

U

U

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>

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 ˙

U

65

J

œ ‰ Œ Ó

j

œ

‰ Œ Ó

U

j

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‰ Œ Ó

U

U

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U

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33

U?

f

f

f

f

rit.

(short)

110

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ã

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43

43

43

44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

° * °

.˙

.œ

.œ

œ

Œ Œ

.œ

.œ

34

4

pizz.

Piu mosso {q = c 120}


4

4 Piu mosso {q = c 120}

solo

(Timp.)

.˙

œ

œ

œ

œ

œ

œ

35œ

œ

œ

.˙

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Œ Œ

.œ

.œ

œ

Œ Œ

36

œ

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œ

œ

œ

37

œ

Œ Œ

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.œ

38

Œ Œ ‰

J

œ

Œ Œ ‰

J

œ

œ

œ

œ

39œ

œ

œ

p

solo

(Bsn.1)

111

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44

44

44

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

* ° * ° *

œ.

œ. œ

.

œ-

j

œ œ-

‰

œ.

œ.

œ. œ

-

J

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40

p

solo

espress.

espress.

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‰

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-

‰

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‰

J

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‰

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41

contrabassoon

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‰

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J

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‰

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‰

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J

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‰

42

j

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‰ Œ Ó

J

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j

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43.œ

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5

5

5

p

p

w

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44

p

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45

Œ

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p

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Œ Ó

46

p

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47

œ-

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j

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‰

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J

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‰

48

112

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43

43

43

44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

° *

j

œ<

Œ . Œ

J

œ¯

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œ

j

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‰ Œ Œ

.œ

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49.œ

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50

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œ ‰J

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J

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51

6

6

6

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‰

j

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‰

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Ó

52

œ-

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J

œ œ-

‰

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œ. œ

-

J

œ œ-

‰

j

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‰ Œ ‰

œ-

‰

œ ‰

J

œ

J

œ ‰ Œ

53

J

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œ ‰j

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J

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œ ‰

j

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j

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.œ

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54

œ.

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J

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‰

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-

J

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‰

Ó ‰

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55

œ.

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j

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‰ Œ ‰

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‰

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56

113

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ã

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86

86

86

43

43

43

86

86

86

43

43

43

86

86

86

43

43

43

86

86

86

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

° *

œ-

œ.œ-

J

œ œ-

‰

œ-

œ. œ

-

J

œ œ-

‰

œŒ ‰

œ-

‰

œ‰

J

œ

J

œ‰ Œ

57

œ-

œ.

œ-

j

œ œ-

‰

œ-

œ.

œ-

j

œ œ-

‰

œ-

‰

J

œ-

J

œ

œ-

‰

œ ‰

J

œ

J

œ

œ

‰

58

j

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‰ ‰ Œ .

J

œ¯

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œ

j

œ<

‰ ‰ Œ ‰

œ

Œ Œ

.œ

.œ

59.œ

.œ

p

p

to bassoon

.˙

œ

œ

œ

60

tutti

œ.

œ.

œ.

œ.

œ.

œ.

.œ

.œ

œ

Œ Œ

61

7

7

7

p

p

{q = 144}

{q. = 96}

{q = 144}

{q. = 96}

{q = 144}

{q. = 96}

œ.

œ.

J

œ.

‰J

œ.

‰

œ. œ

. J

œ.

‰

J

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‰

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œ.

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‰

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.

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62

p

p

p

rit.

rit.

rit.

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œ.

œ.

œ. œ

.

.œ

.œ

63

a tempo

a tempo

a tempo

œ.

œ.

J

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‰

J

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‰

œ. œ

.

j

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.

œ.

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œ

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64

rit.

rit.

rit.

114

&

&

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&

&

&

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&

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B

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ã

ã

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#

#

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#

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#

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#

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86

86

86

43

43

43

86

86

86

43

43

43

86

86

86

43

43

43

86

86

86

43

43

43

86

86

86

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ.

œ.

œ.

œ.

œ.

œ.

.œ

.œ

65

a tempo

a tempo

a tempo

œ.

œ.

J

œ.

‰J

œ.

‰

œ. œ

. J

œ.

‰

J

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œ.

œ

œ

œ

66

rit.

rit.

rit.

œ.

œ.

œ.

œ.

œ. œ

.

.œ

.œ

67

a tempo

a tempo

a tempo

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œ.

J

œ.

‰

J

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‰

œ. œ

.

j

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‰j

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‰

œ.

œ.

j

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‰ j

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‰

œ. œ

.

œ.

œ

œ

œ

68

rit.

rit.

rit.

J

œ>

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œœ œ œ œ œ

œœ œ œ œ œ

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.œ

.œ

69

a tempo

a tempo

a tempo

.˙

œ œ œ œ œ œ

œ œ œ œ œ œ

œœ

œ

œ

œ

œ

70

.˙

œ œ œ œ œ œ

œœ

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œ œ

.œ.œ

.œ

.œ

71

div.

˙ Œ

œ œ œ œ œ œ

œœ

œ œœ

œ œœ

œ

œœ.

œ.

œŒ Œ

72

115

&

&

&

&

&

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B

?

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ã

ã

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#

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#

#

#

#

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#

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86

86

86

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

.˙

.˙

.˙

œœ

-----------------------------œœ

-----------------------------œœ

-----------------------------œœ

-----------------------------œœ

-----------------------------

2

œ.

‰ Œ ‰

œ-

œ-

œ-

œ-

œ-

2

œœ-

œœ-

œœ-

œœ-

œœ-

2

.

.˙˙

œ-

œ-

œ-

œ-

œ-

2

73

8

8

8

One player

One player

Gradually a trifle slower



p

p

p

p

p

p

p

p

div.

1st

2nd

.˙

.˙

.˙

œœ

-----------------------------œœ

-----------------------------œœ

-----------------------------œœ

-----------------------------œœ

-----------------------------œœ

-----------------------------

œ-

œ-

œ-

œ-

œ-

œ-

œœ-

œœ-

œœ-

œœ-

œœ-

œœ-

.

.˙˙

œ-

œ-

œ-

œ-

œ-

œ-

74

(imperceptibly)

(imperceptibly)

(imperceptibly)

.˙

.˙

.˙

œœ

œœ

œœ

œœ

œœ

2

œ œ œ œ œ

2

œœ

œœ

œœ

œœ

œœ

2

.

.˙˙

œ œ œ œ œ

2

75

sim.

sim.

sim.

sim.

Œ . ‰

j

œ

œ

2

.˙

.˙

.˙

Œ ‰ ‰ j

œ

2

Œ ‰ ‰ j

œ

2

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œœ

œœ

œœ

œœ

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J

œ

2

œ œ œ œ œ œ

œœ

œœ

œœ

œœ

œœ

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.

.˙˙

œ œ œ œ œ œ

76

p

p

p

p

1st

carefree, with a naive and pure expression

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œ

œ

œ

œ

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œ

œ

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2

.˙

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.˙

œ œ œ œ œ

2

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2

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2

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2

j

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2

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77

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sim.

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80

116

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Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

.

.

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81

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82

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85

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87

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88

117

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Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

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2

89

One player

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90

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91

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92

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94

10

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118

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44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

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96

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97

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98

Hard Sticks

p

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99

tutti

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molto cresc.

molto cresc.

molto cresc.

p molto cresc.

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100

F

F

F

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cresc.

cresc.

molto cresc.p

p molto cresc.

tutti

tutti

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101

F

F

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102

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44

44

44

83

83

83

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

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J

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J

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103

11

solo

solo

solo



11

11 Allegro vivace q = 168

p

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F

F

{e= e}

{e= e}

{e= e}

(Bsn.1)

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104

solo

F

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105

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106

solo

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107

3rd

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108

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109

solo

2nd solop

p

p

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110

120

&

&

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B

B

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83

83

83

42

42

42

44

44

44

83

83

83

44

44

44

83

83

83

44

44

44

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ-

J

œ.

œ-

J

œ.

œ-

J

œ.

œ-

J

œ.

111

œ-

œ-

œ-

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112

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œ

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j

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j

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j

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j

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j

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113

12

12

12

F

F

p

p

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114

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>

œ œ œ

j

œ

>

œ

>

j

œ

œ

>œn

œbœ>

J

œ œ>

J

œ

œ

>œn

œbœ>

J

œ œ>

J

œ

œ

>

œ œ œ

>

j

œ œ

>

j

œ

115

œ

>

œ œ œ

>

j

œ œ

>

j

œ

P

f

f

œ>

œ œ

œ

>

œ œ

œb>

œ œ

B

œb>

œ œ

B

œ

>

œ œ

116

œ

>

œ œ

Œ

œ-

j

œ.

œn-

j

œ-

œ œ

J

œ œ

J

œ

œn œ

J

œ œ

J

œ

œn>

œ-

J

œ. œ

-

J

œ-

œn>

Œ Ó

œ œ

J

œ œ

J

œ

117

œb œ

J

œ œ

J

œ

F

F

to contrabassoon

Ó œ-

œ-

Ó œb-

œ-

œ œ.

œn- œ

>

œ

>

œ œ œ œ-

œ-

œ œn œ œ-

œ-

œ œ. œn

-

œ> œ

>

Ó œ

>œn>

Óœ> œn

>

œ œ œ œ œ

118

œ œb œ œ œ

F

F

F

F

F

F

F

tutti

121

&

&

&

&

&

&

&

&

&

B

B

&

&

&

&

&

&

&

?

?

?

?

?

?

ã

ã

&

&

#

#

#

#

##

##

##

#

##

#

##

#

##

#

#

#

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#

##

#

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#

#

#

#

#

#

#

#

43

43

43

44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ-

œ-

œ.

œ>

œ-

œ-

œ. œ

>

œn>

œ-

œ.

œ

>

œ-

œ-

œ. œ

>

œ-

œ-

œ. œ

>

œb>

œ-

œ.

œ>

œn>

œ-

œ.

œ>

œn>

œ-

œ.

œ>

œœ œœ œœœœ

119

œœ œœ œœœœ

p

œ œ.

œ>

Ó

œ œ.

œ>

Ó

œ œ.

œn>

œ-

œ. œ

>

œ œ.

œ> œ

-œ. œ

>

œ œ.

œ> œ

-œ. œ

>

œ œ. œb

>œ-

œ. œ

>

œ œ. œn

>œ-

œ. œ

>

œ œ. œn

>œ-

œ. œ

>

Ó

œ-

œ. œ

>

Óœ-

œ. œ

>

œœ œœ œœœœ œœ

œœ

120

œœ œœ œœœœ œœ

œœ

p

p

Ó Œœ-

Ó Œœ-

J

œ œ- j

œ.

œn>

œ-

J

œ œ-

J

œ.

œ>

œ-

J

œ œ-

J

œ.

œ>

œ-

J

œ œ-

J

œ. œb

>œ-

J

œ œ-

J

œ. œn

>œ-

J

œ œ-

J

œ. œn

>œ-

J

œ œ-

J

œ.

œ>

œ-

J

œ œ-

J

œ.

œ>

œ-

J

œœ œœ

J

œœ œœ œœ

121

J

œœ œœ

J

œœ œœ œœ

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

.œ>

œ. œ

>œ œ

>œ œ

.œ>

œ. œb

>œ œ

>œ œ

. œ>

œ. œn

>œ œ

>œ œ

. œ>

œ. œn

>œ œ

>œ œ

. œ>

œœœœ œœ œœ œœ œœ œœ

122

œœœœ œœ œœ œœ œœ œœ

œ>

Œ Ó

œ>

Œ Ó

œ

>

œ. œn

>

J

œ œ

> j

œ.

œ>

œ. œ

>

J

œ œ>

J

œ.

œ>

œ. œ

>

J

œ œ>

J

œ.

œ>

œ. œb

>

J

œ œ>

J

œ.

œ>

œ. œn

>

J

œ œ>

J

œ.

œ>

œ. œn

>

J

œ œ>

J

œ.

œ>

œ. œ

>

J

œ œ>

J

œ.

œ>

œ. œ

>

J

œ œ>

J

œ.

œœœœ œœ

J

œœ œœ

J

œœ

123

œœœœ œœ

J

œœ œœ

J

œœ

œ-

œ-

J

œ. œ

-

J

œ-

œ-

œ-

J

œ. œ

-

J

œ-

œ-

œn-

J

œ. œ

-

J

œ-

œ-

œ-

J

œ. œ

-

J

œn-

œœ-

œœ-

J

œœ.

œœ-

J

œœ-

J

œ

‰ Œ Ó

J

œ

‰ Œ Ó

œ

-

œ

- j

œ

.

œ

- j

œ

-

œ-

œ-

J

œ.

œ-

J

œ-

œ œ

J

œ.

œ

J

œ

œœœ

Œ Ó

124

œ

œœŒ Ó

13

13

13

WOOD BLOCK

f

f

f

f

f

F

F

1st

3rd

p (Wood block)

œ œ. œ

-

œ- œ

. œ-

œ œ. œ

-

œ- œ

. œ-

œ œn. œ

-œ- œ

. œ-

œ œ. œn

-œ- œ

. œ-

œœ œœ.

œœ-

œœ-

œœ.

œœ-

œ œ

.

œ

-

œ

-

œ

.

œ

-

œ œ.

œ-

œ-

œ.

œ-

‰

J

œ.

œ œ œ.

œ

125

122

&

&

&

&

&

&

&

&

&

B

B

&

&

&

&

&

&

&

?

?

?

?

?

?

ã

ã

&

&

#

#

#

#

##

##

##

#

##

#

##

#

##

#

#

#

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#

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#

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#

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#

#

#

#

#

#

#

#

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

J

œœ-

œ-

œ-

J

œn.

J

œœ-

œ-

œ-

J

œn.

J

œœ-

œn-

œ-

J

œ.

J

œœ-

œ-

œ-

J

œ.

J

œœ œœ-

œœ-

œœ-

J

œœ.

j

œ œ

-

œ

-

œ

- j

œ

.

J

œ œ-

œ-

œ-

J

œ.

‰ œ œ œ

J

œ.

126

œ- œ

-

J

œ.

œ-

J

œ-

œ- œ

-

J

œ.

œ-

J

œ-

œ- œ

-

J

œ. œ

-

J

œn-

œ-

œ-

J

œ. œn

-

J

œ-

œœ-

œœ-

J

œœ.

œœ-

J

œœ-

œ

-Œ Ó

Œ

œ

-J

œ

.

œ

-J

œ

-

œ

-Œ Ó

Œ

œ

-J

œ

.

œ

-J

œ

-

œ œ

J

œ.

œ

J

œ

127

F

F

2nd

4th

œœ.

œn- œ

-

œ-

œœ.

œn- œ

-œ-

œœ.

œ- œ

-

œ-

œœ.

œ- œ

-

œ-

œœ œœ.

œœ-

œœ-

œœ-

œ œ

.

œ

-

œ

-

œ

-

œ œ

.

œ

-

œ

-

œ

-

‰

J

œ.

œ œ œ

128

œ- œ

. œ-

J

œœ-

J

œ.

œ- œ

. œ-

J

œœ-

J

œ.

œ- œ

. œ-

J

œœ-

J

œ.

œ- œ

. œn-

J

œœ-

J

œ.

œœ-

œœ.

œœ-

J

œœ œœ-

J

œœ.

œ

-

œ

.

œ

-J

œ œ

-J

œ

.

œ

-

œ

.

œ

-J

œ œ

-J

œ

.

œ œ œ ‰ œ

J

œ.

129

œ- œn

-

œ-

œ-

œ- œn

-

œ-

œ-

œn- œ

-

œ-

œ-

œ- œ

-

œn-

œ-

œ-

œn-

œ-

œ-

&

œœ-

œœ-

œœ-

œœ-

œ

-

œ

-

œ

-

œ

-

œ

-

œ

-

œ

-

œ

-

œ œ œ œ

130

(Fl.)

J

œ.

œ-

œ-

œ-

J

œ-

J

œ.

œ-

œ-

œ-

J

œ-

J

œ.

œ-

œ-

œn-

J

œ-

J

œ.

œ-

œ-

œ-

J

œ-

J

œ.

œ-

œ-

œ-

J

œ-

J

œœ.

œœ-

œœ-

œœ-

J

œœ-

Ó ‰œ

- j

œ

-

J

œ

.

œ

-J

œ

-J

œ

‰ Œ

Ó ‰

œ

- j

œ

-

J

œ

.

œ

-J

œ

-J

œ

‰ Œ

J

œ.

œ

J

œ ‰ œ

J

œ

131

œ œ.

œ-

œ-

œ.

œn-

œ œ.

œ-

œ-

œ.

œn-

œ œ. œ

-œn-

œ.

œ-

œ œ. œn

-œ-

œ.

œ-

œ œ.

œ-

œ-

œ.

œn-

œœ œœ.

œœ-

œœ-

œœ.

œœ-

œ œ

.

œ

-

œ

-

œ

.

œ

-

œ œ

.

œ

-

œ

-

œ

.

œ

-

‰

J

œ.

œ œ œ.

œ

132

123

&

&

&

&

&

&

&

&

&

B

&

&

&

&

&

&

&

&

?

?

?

?

?

?

ã

ã

&

&

#

#

#

#

##

##

##

#

##

#

##

#

##

#

#

#

##

##

##

#

##

##

##

#

##

#

##

##

#

#

#

#

#

#

#

#

n

bb

bb

n

bb

bb

n

bb

bb

n

bb

bb

nn

nn

b

nn

n

bb

nn

n

bb

nn

n

bb

nn

n

bb

n

bb

bb

n

bb

bb

nn

nn

b

nn

n

bb

nn

nn

b

nn

n

bb

nn

n

bb

nnb

b

b

nnb

b

b

n

bb

bb

n

bb

bb

n

bb

bb

n

bb

bb

n

bb

bb

n

bb

bb

n

bb

bb

n

bb

bb

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

J

œœ-

J

œ.

Ó

Ó

Ó

J

œœ- j

œ.

Ó

J

œ œ- j

œ.

J

œ œ-

j

œ.

Ó

Ó?

J

œœ-

J

œ.?

J

œœ œœ-

J

œœ.

Ó

Ó

Ó

Ó

J

œ œ-

J

œ.

J

œ œ-

J

œ.

Ó

Ó

Ó

Ó

Ó

Ó

‰ œ

J

œ.

Ó

Ó

133

Ó

j

œ

>

Œ ‰

Ó

Ó

Ó

j

œ

>

Œ ‰

Ó

j

œ

>

Œ ‰

j

œ

>

Œ ‰

œ

>

œ

>

œ

>

œ

>

œ>

œ

>

J

œn

‰ Œ

Ó

œ

>

œ

>

œ-

œ-

œœ

-œœ

-

J

œb>

‰ Œ

j

œ‰ Œ

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

J

œ>

‰ Œ

Ó

Ó

Ó

arco

f

f

f

f

f

f

f

f

f

f

tutti

a2

contrabassoon

tutti

‰

œ

>

j

œ

>

j

œœ>

‰

Ó Œ ‰j

œ

>

Ó Œ ‰ j

œ

>

Ó Œ ‰ j

œ>

‰ œ

>

J

œ>

J

œ

œ>

‰

Ó Œ ‰ j

œ

>

J

œ.

œ-

œ-

œ-

J

œ-

J

œœ

.œœ

-œœ

-œœ

-

J

œœ

-

‰ œ

>J

œ>

J

œ

œ>

‰

‰ œ

>J

œ>

J

œ

œ>

‰

Ó Œ ‰ j

œ

>

Ó Œ ‰ j

œ

>

Ó Œ ‰ j

œ

>

Ó Œ ‰ j

œ

>

134

14

a2

a2

14

14

f

f

f

f

Ó

œ

>

œ

>

Ó

œ

>

œ

>

Ó

œ>

œ

>

œœ

>

Ó

œœ

>

Ó

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>

Ó

Ó œ

>œ>

œœ

>

Ó

œ œ.

œ-

œ-

œ-

œœ

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Ó œ

>

œ>

Ó œ

>

œ>

œœ

>

Ó

œœ

>

Ó

œœ

>

Ó

œœ

>

Ó

135

f

f

f

œ>

œ>

œ œ>

œ.

œ.

œ>

œ>

œ œ>

œ.

œ.

œ>

œ>

œ œ>

œ.

œ.

Œ

œ

>

‰ j

œ

>

j

œ

‰

Œ

œ

>

‰j

œ

>

j

œ‰

Œ

œ>

‰j

œ

>

j

œ‰

œ>

œ>

œ œ> œ.

œ.

Œ

œ

>

‰j

œ

>

j

œ‰

œ-

œ-

J

œ.

œ-

‰

œœ

-œœ

-

J

œœ

.œœ

-

‰

œ>

œ>

‰ J

œ>

Œ

œ>

œ>

‰ J

œ>

Œ

Œœ

>

‰j

œ

>

j

œ‰

Œ

œ

>

‰j

œ

>

j

œ‰

Œ

œ

>

‰j

œ

>

j

œ‰

Œ

œ

>

‰j

œ

>

j

œ‰

136

S

S

S

S

Ó Œ ‰ J

œ

œ

>

Ó Œ ‰ J

œ>

Ó Œ ‰ J

œ>

Ó Œ ‰ J

œ>

œ>

œ.

œ.

œ>

J

œœ>

J

œ>

œ>

œ.

œ. œ

>

J

œ œ>

J

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œ>

œ.

œ. œ

>

J

œ œ

>

J

œ

>

œ

>

‰j

œ

>

j

œœ

>

‰

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‰ j

œ

>

j

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>

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‰ j

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>

j

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‰

œ> œ.

œ.

œ>

J

œ œ>

‰

œ>

‰ j

œ

>

j

œœ

>

‰

œ>

‰J

œ>

J

œœ>

‰

œœ

>

‰

J

œ

œ

>

J

œ

œœœ

>

‰

J

œ>

‰ Œ Ó

J

œ>

‰ Œ Ó

œ>

Œ Ó

Œ ‰

J

œ>

J

œ

œ

>

‰

œ>

‰

J

œ>

J

œ

œ

>

‰

Œ ‰ j

œ

>

j

œ

œ

>

‰

œ>

‰ j

œ

>

j

œœ

>

‰

Ó ‰

œ

>

‰

137

S

S

S

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

f

S

J

œ

œ

œ

œ

>

J

œ

œ

.œ

œ

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. œ

œ

>

J

œ œ>

J

œ.

œ>

œ. œ

>

J

œ œ>

J

œ.

œ>

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>

J

œ œ>

J

œ.

œ>

œ. œ

>

J

œ œ>

J

œ.

œ>

œ. œ

>

J

œ œ>

J

œ.

œ>

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>

J

œ œ

>

J

œ.

œ

>

œ.

œ

>

‰

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>

‰œ

>

Œ

‰œ

>

‰ œ>

Œ

‰œ

>

‰ œ>

Œ

‰œ

>

‰ œ>

Œ

‰

œ>

J

œ.

œ>

œ. œ

>

‰

œ

œ

>

J

œ

œ

.œ

œ

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. œ

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>

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>

‰ œ>

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>

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Œ

‰

œ

>

‰

œ

>

Œ

‰œ

>

‰ œ>

Œ

‰œ

>

‰ Ó

138

J

œ

œ

œ

œ

>

J

œœ

.

œœ

>

œœ

>

J

œ œ>

J

œ.

œ>

œ

>

J

œ œ>

J

œ.

œ>

œ

>

J

œ œ>

J

œ.

œ

>

œ

>

J

œ œ>

J

œ.

œ>

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J

œ œ>

J

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œ>

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>

J

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>

J

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œ

>œ>

‰

œ

>

‰

œ

>

œ

>

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>

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>

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>

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‰

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>

œ

>

J

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>

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.

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œ

>

œ

>

‰

œ

>

‰ Ó

‰œ

>

‰

œ

>

œ

>

Ó

œ

>

œ

>

139

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

124

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

?

?

?

?

?

?

ã

ã

&

&

bb

bb

bb

bb

bb

bb

bb

bb

b

bb

bb

bb

bb

bb

bb

bb

bb

b

bb

b

bb

bb

bb

b

bb

b

bb

bb

bb

bb

bb

bb

bb

bb

bb

bb

bb

bb

bb

bb

bb

bb

43

43

43

42

42

42

nn

nn

nn

nn

nn

nn

nn

nn

n

nn

nn

nn

nn

nn

nn

nn

nn

n

nn

n

nn

nn

nn

n

nn

n

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

86

86

86

43

43

43

83

83

83

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œœ

>œœ

>

J

œœ

. œ

œ

>

J

œœ

>

œ>

œ>

J

œ. œ

>

J

œ>

œ>

œ>

J

œ.

œ>

J

œ>

œ

>

œ

>

J

œ.

œ>

J

œ

>

œ>

œ>

J

œ. œ

>

J

œ>

œ>

œ>

J

œ œ>

J

œ>

œ>

œ>

J

œ œ>

J

œ>

œ

>

œ

>

j

œ œ

>

j

œ

>

œ

>œ

>

Œ ‰ j

œ

>

œ>

œ

>

Œ ‰j

œ

>

œ>

œ

>

Œ ‰j

œ

>

œ>

œ

>

Œ ‰j

œ

>

œ>

Œ Œ ‰j

œ

>

Ó Œ ‰j

œ

>

œ>

Œ Œ ‰j

œ

>

œ>

œ

>

Œ ‰j

œ

>

140

ƒ

J

œœ

‰ Œ Œ

œœ

. œ

œ

>

J

œ‰ Œ Œ

œ. œ

>

J

œ‰ Œ Œ

œ.

œ>

J

œ ‰ Œ Œ œ.

œ>

J

œ

‰ Œ Œ

œ. œ

>

œ

œœ>

œ>

œ œ>

œ

œœ>

œ>

œ œ>

œ

œœ>

œ>

œ œ

>

œœ

> œ

>

‰ j

œ

>

œœ>

œ

>

‰j

œ

>

œœ>

œ>

‰j

œ

>

œœ>

œ

>

‰j

œ

>

‰J

œ. œ

>

œ>

Œ

‰

j

œœ.

œœ

>œœ

>

Œ

œŒ Œ ‰

j

œ

>

œ

Œ Œ ‰j

œ

>

œŒ Œ ‰

j

œ

>

œœ>

œ

>

‰j

œ

>

141

œ

œœœ

. 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

>

j

œ

‰ œ

œ

‰ j

œ

j

œ‰

œ

œ

‰j

œ

j

œ‰

œ

œ

‰j

œ

j

œ‰

œ

œ

‰j

œ

j

œ‰

œ

œ‰

j

œ

j

œ

‰ Œ Œ ‰j

œ

j

œ‰

œ

œ

‰j

œ

Œœ

œ

Œ

j

œ‰

œ

œ

‰j

œ

142

marc.

marc.

marc.

marc.

marc.

marc.

marc.

marc.

marc.

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>

Œœœ

>œœ

>

œ

œœ

œ

Œ Œ

œ

œ

œ

Œœ

œ

œ

œ

œ

143

J

œœ

. œ

œ

>

J

œœ

.

J

œ. œ

>

J

œ.

J

œ.

œ>

J

œ.

J

œ.

œ>

J

œ.

J

œ. œ

>

J

œ.

J

œ. œ

>

J

œ.

J

œ. œ

>

J

œ.

j

œ.

œ

>

j

œ.

‰

œ

‰

‰

œ

‰

‰

œ

‰

‰

œ

‰

J

œ. œ

>

J

œ.

j

œœ.

œ

œ

> j

œœ.

‰œ

‰

‰

œ

‰

‰

œ

‰

‰

œ

‰

144

J

œœ

‰ ‰ Œ .

J

œ ‰ ‰ Œ .

J

œ ‰ ‰ Œ .

j

œ‰ ‰ Œ .

J

œ

‰ ‰ Œ .

J

œ#

‰ ‰ Œ .

J

œ

‰ ‰ Œ .

J

œ#

‰ ‰ Œ .

j

œ

>

‰ ‰ Œ ‰

j

œ

>

‰ ‰ Œ ‰

j

œ

>

‰ ‰ Œ ‰

j

œ

>

‰ ‰ Œ ‰

J

œ>

‰ ‰

œ#>

œ œ

j

œ

> ‰ ‰

œ

>

œ œœ#

>

œœ

J

œ#

> ‰ ‰

Œ ‰œ

>

œ œ

œ

>

œ œ œ

>

œ œ

Œ ‰

œ

>

œ œ

Ó .

j

œ

>

œ

>

œ œœ

>

œ œ

J

œ

> ‰ ‰

J

œ>

‰ ‰ Œ ‰

J

œ>

‰ ‰ Œ ‰

j

œ

>

‰ ‰ Œ ‰

œ

>

œ œ œ

>

œ œ

Ó .

145

15

15

15

S.D.

B.D.

f

f

ƒ

ƒ

f

f

œ>

œ>

J

œ>

‰ J

œ>

‰

œœ

>

œœ

>J

œœ

>

‰

J

œœ

>

‰

œ

>

œ

> j

œ

>

‰

j

œ

>

‰

œ

>

œ

>

J

œ

>‰

J

œ

>‰

œ

>

œ

> j

œ

>

‰j

œ

>

‰

œ

>

œ

>

J

œ

>‰

J

œ

>‰

œ

>

œ

>j

œ

>

‰

j

œ

>

‰œ

>

œ

>

J

œ

> ‰

J

œ

> ‰

œ>

œ>

J

œ>

‰

J

œ>

‰

œ

>

œ

>j

œ

>

‰ j

œ

>

‰

Ó .

146

GOURD

f

rit.

rit.

rit.

125

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

?

?

?

?

?

?

ã

ã

&

&

83

83

83

86

86

86

43

43

43

83

83

83

86

86

86

43

43

43

83

83

83

86

86

86

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œœ

>

‰

Œ .

œ

>

147

Sf

Sf

a tempo

a tempo

a tempo

Œ ‰œ>

œ œ#

Œ ‰

œ

>

œ œœ

>

œœ#

J

œ

> ‰ ‰

Œ ‰œ

>

œ œ

œ

>

œ œ œ

>

œ œ

Œ ‰

œ

>

œ œ

Ó .

Œ ‰ œ

>

œ œœ

>

œ œ

J

œ

> ‰ ‰

œ

>

œ œ œ

>

œ œ

Ó .

148

œ>

œ>

J

œ#>

‰ J

œ>

‰

œœ#

>

œœ

> J

œœ

>

‰

J

œœ

>

‰

œ

>

œ

> j

œ

>

‰

j

œ

>

‰

œ

>

œ

>

J

œ

>

‰ J

œ

>

‰

œ

>

œ

> j

œ

>

‰ j

œ

>

‰

œ

>

œ

>

J

œ

>

‰ J

œ

>

‰

œ

>

œ

>j

œ

>

‰

j

œ

>

‰œ

>

œ

>

J

œ

> ‰

J

œ

> ‰

œ>

œ>

J

œ>

‰

J

œ>

‰

œ

>

œ

>j

œ

>

‰ j

œ

>

‰

Ó .

149

rit.

rit.

rit.

œœ

>

‰

Œ .

œ

>

150

a tempo

a tempo

a tempo

Sf

Sf

œœ> 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 œœ#

>

œœ

J

œ#

> ‰ ‰

Œ ‰œ

>

œ œ

œ

>

œ œ œ

>

œ œ

Œ ‰

œ

>

œ œ

Ó .

Œ ‰ œ

>

œ œœ

>

œ œ

J

œ

> ‰ ‰

œ

>

œ œ œ

>

œ œ

Ó .

151

ƒ

ƒ

ƒ

ƒ

ƒ

œ

œ

>œ

œ

>

J

œ

œ

>

‰

J

œ

œ

>

‰

œ>

œ>

J

œ>

‰ J

œ>

œ>

œ>

J

œ>

‰J

œ>

œ>

œ>

J

œ>

‰J

œ>

‰

œ> œ

>

J

œ>

‰J

œ>

‰

œ>

œ>

J

œ>

‰J

œ>

‰

œ>

œ>

J

œ>

‰J

œ>

‰

œ>

œ>

J

œ>

‰ J

œ>

‰

œœ

>

œœ

>J

œœ

>

‰

J

œœ

>

‰

œ

>

œ

> j

œ

>

‰

j

œ

>

‰

œ

>

œ

>

J

œ

>‰

J

œ

>‰

œ

>

œ

> j

œ

>

‰j

œ

>

‰

œ

>

œ

>

J

œ

>‰

J

œ

>‰

œ

>

œ

>j

œ

>

‰

j

œ

>

‰œ

>

œ

>

J

œ

> ‰

J

œ

> ‰

œ>

œ>

J

œ>

‰

J

œ>

‰

œ

>

œ

>j

œ

>

‰ j

œ

>

‰

Ó .

152

ƒ

ƒ

rit.

rit.

rit.

œœ

>

‰

Œ .

œ

>

153

a tempo

a tempo

a tempo

Sf

Sf

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#

J

œ

> ‰ ‰

Œ ‰œ

>

œ œ

œ

>

œ œ œ

>

œ œ

Œ ‰

œ

>

œ œ

Ó .

Œ ‰ œ

>

œ œœ

>

œ œ

J

œ

> ‰ ‰

œ

>

œ œ œ

>

œ œ

Ó .

154

126

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

?

?

?

?

?

?

ã

ã

&

&

43

43

43

44

44

44

83

83

83

44

44

44

83

83

83

44

44

44

83

83

83

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

œ

>œ

œ

>

J

œ

œ

>

‰

J

œ

œ

>

‰

œ>

œ>

J

œ>

‰ J

œ>

œ>

œ>

J

œ>

‰J

œ>

œ>

œ>

J

œ#>

‰J

œ>

‰

œ#> œ

>

J

œ>

‰J

œ>

‰

œ>

œ>

J

œ>

‰J

œ>

‰

œ>

œ>

J

œ>

‰J

œ>

‰

œ>

œ>

J

œ#>

‰ J

œ>

‰

œœ#

>

œœ

> J

œœ

>

‰

J

œœ

>

‰

œ

>

œ

> j

œ

>

‰

j

œ

>

‰

œ

>

œ

>

J

œ

>

‰ J

œ

>

‰

œ

>

œ

> j

œ

>

‰ j

œ

>

‰

œ

>

œ

>

J

œ

>

‰ J

œ

>

‰

œ

>

œ

>j

œ

>

‰

j

œ

>

‰œ

>

œ

>

J

œ

> ‰

J

œ

> ‰

œ>

œ>

J

œ>

‰

J

œ>

‰

œ

>

œ

>j

œ

>

‰ j

œ

>

‰

Ó .

155

rit.

rit.

rit.

J

œœ>

‰ Œ ŒJ

œœ>

‰

J

œ>

‰ Œ Œ J

œ>

‰

J

œ>

‰ Œ Œ J

œ>

‰

J

œ>

‰ Œ ŒJ

œ>

‰

J

œ>

‰ Œ ŒJ

œ>

‰

œ#>

œ œ œ œ œœ>

œ

J

œ>

‰ Œ Œ J

œ>

‰

J

œ>

‰ Œ ŒJ

œ>

‰

œ#

>

Œ Œ

œ

>

œ

>

Œ Œ œ

>

œ

>

Œ Œ œ

>

œ#>

œ œ œ œ œœ>

œ

œ#

>

Œ Œ œ

>

J

œ>

‰ Œ Œ J

œ>

‰

œœ

#>

œ œ œ œ œœœ>

œ

œ

>

Œ Œ œ

>

œ

>

Œ Œ

œ

>

œ

>

Œ Œ œ

>

J

œ>

‰ Œ Œ J

œ>

‰&

J

œ>

‰ Œ Œ

J

œ>

‰

156

16

16

16

XYLOPHONE

CYM. (Hard stick)

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

f

f

J

œœ>

‰ ‰

J

œ>

‰ ‰

J

œ>

‰ ‰

J

œ>

‰ ‰

J

œ>

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œ#>

œ œ

J

œ>

‰ ‰

J

œ>

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œ

>

‰

œ>

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œ>

‰

œ#>

œ œ

œ>

‰

J

œ>

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œœ

#>

œ œ

œ>

‰

œ

>

‰

œ>

‰

J

œ>

‰ ‰

J

œ>

‰ ‰

157

J

œœ>

‰ Œ ŒJ

œœ>

‰

J

œ>

‰ Œ Œ J

œ>

‰

J

œ>

‰ Œ Œ J

œ>

‰

J

œ>

‰ Œ ŒJ

œ>

‰

J

œ>

‰ Œ ŒJ

œ>

‰

œ#>

œ œ œ œ œœ>

œ

J

œ>

‰ Œ Œ J

œ>

‰

J

œ>

‰ Œ ŒJ

œ>

‰

œ#

>

Œ Œ

œ

>

œ

>

Œ Œ œ

>

œ

>

Œ Œ œ

>

œ#>

œ œ œ œ œœ>

œ

œ#

>

Œ Œ œ

>

J

œ>

‰ Œ Œ J

œ>

‰

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#>

œ œ œ œ œœœ>

œ

œ

>

Œ Œ œ

>

œ

>

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>

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>

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>

J

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‰ Œ Œ J

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J

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‰ Œ Œ

J

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‰

158

J

œœ>

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J

œ>

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J

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J

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J

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>

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J

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#>

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œ>

œ

>

œ>

J

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‰ ‰

J

œ>

‰ ‰

159

J

œœ>

‰ Œ ŒJ

œœ>

‰

J

œ>

‰ Œ Œ J

œ>

‰

J

œ>

‰ Œ Œ J

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J

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J

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>

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>

J

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J

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>

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>

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>

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œ

Œ ‰j

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>

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>

Œ Ó

J

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‰ Œ Œ J

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œ

Œ ‰J

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>

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>

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>

Œ Ó

J

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‰ Œ Ó

J

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‰ Œ Ó

160

f

f

f

f

J

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‰ ‰

J

œ>

‰ ‰

J

œ>

‰ ‰

J

œ>

‰ ‰

J

œ>

‰ ‰

.œ#>

œ#>

œ œ

J

œ>

‰ ‰

œ#>

œ œ

.œ#>

J

œ>

‰ ‰

œœ

#>

œ œ

.œ>

.œ>

ã

161

127

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

?

?

?

?

?

?

ã

ã

&

&

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ>

œ œ>

œ œ>

œ œ

œ>

œ œ>

œ œ>

œ œ

œ>

œ œ>

œ œ>

œ œ

œ#

>

œ

>

Œ

œ>

œ œ>

œ œ>

œ

Œ œ

œ

>

œ

œ

>

Œ œ

œ

>

œ

œ

>

œ

>

œ

>

Œ

œ

>

œ

>

Œ

œ

>

œ

>

Œ

162

f

f

f

f

f

f

œ œ œ œ œ œ œ

œ>

œ œ>

œ œ>

œ œ

Œ ‰

œ#

>

j

œ

>

Œ ‰œ

>J

œ

>

Œ ‰œ

>J

œ

>

œ>

œ œ>

œ œ>

œ œ

Œ ‰œ#

>J

œ

>

‰J

œ>

‰J

œ>

‰J

œ>

j

œ

œœ

œ

>

‰ Œ

j

œ

œœ

œ

>

‰ Œ

Œ ‰œ

>J

œ

>

Œ ‰

œ

>

j

œ

>

Œ ‰œ

>J

œ

>

Œ ‰œ

>J

œ

>

163

f

f

f

f

f

f

f

f

J

œœ>

‰J

œœ>

‰

Œ J

œ>

‰ J

œ>

‰

Œ J

œ>

‰ J

œ>

‰

ŒJ

œ>

‰J

œ>

‰

ŒJ

œ>

‰J

œ>

‰

Œœ

>

œ

>

œ#>

œœ>

œ œ

ŒJ

œ>

‰J

œ>

‰

j

œ

‰ Œ Œ

J

œ ‰ Œ Œ

J

œ ‰ Œ Œ

œ#>

œœ>

œ œ

Œœ

>

œ

>

J

œ ‰ Œ Œ

Œ

œ#>

œœ>

œ œ

ŒJ

œ

œ‰

J

œ

œ‰

Œœ> œ

>

Œœ> œ

>

J

œ ‰ Œ Œ

j

œ

‰ Œ Œ

J

œ ‰ Œ Œ

164

17

17

17

‰ œ>

œ œ>

œ œ

‰ œ>

œ œ>

œ œ

J

œœ#>

œ>

J

œ

œ>

œ œ>

œ œ

Œ ‰

œ#

‰

Œ ‰œ

‰

Œ ‰œ

‰

œ>

œ œ>

œ œ

J

œ

œ#>

œ>

J

œ

Œ ‰œ#

‰

œ#>

œ œ œ œ

‰J

œ

œŒ Œ

J

œ

œ>

œ>

J

œ

J

œœ>

œ>

J

œ

Œ ‰œ

‰

Œ ‰

œ

‰

Œ ‰œ

‰

Œ ‰œ

‰

165

marc.

marc. sempre

marc. sempre

marc.

marc.

marc.

marc. sempre

œ>

œ œ œ>

œ œ

J

œ>

‰ ‰

J

œ>

Œ

œ>

œ# 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>

œ# œœ>

œ œ

œ ‰œ

‰

J

œ>

‰ Œ Œ

œ>

œ œ œ>

œ œ

J

œ>

‰ ‰J

œ>

‰ ‰

J

œ>

‰ ‰J

œ>

‰ ‰

œ ‰œ

‰

œ

‰œ

‰

œ ‰œ

‰

œ ‰œ

‰

166

2nd

S.D.

f œ

>

œ œ

>

œ œ

>

œ

Œ Œ

œ

Œ Œ œ>

J

œ>

‰ Œ Œ

œ>

œ œ>

œ œ>

œ

Œ Œ

œ>

œ>

œœ>

œ>

œœ>

Œ Œœ>

œ#œ

œ

œœ

œ

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œ

œ>

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Œ

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Œ

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œ

œ>

œœ>

J

œ>

‰ Œ œ

>

œ

œ

>œ

œ

œ

œ

>œ

œ

œ

œ

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œ

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œ

œ

œ

>œ

œ

œ

œ

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œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

Œ Œœ

>

@

167

f

f

f

f

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

S.D.

œ

>

œ œ œ

>

œ œœ

J

œ œ

J

œ

œ>

J

œ. œ

> j

œ.

œ>

œ œ œ>

œ œ

œ>

J

œ.

œ#>

J

œ#.

œ>

J

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œ#>

J

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J

œ.

œ>

J

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J

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œ>

J

œ.

œ#

‰

œ

‰

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œ#‰ œ ‰

œ>

J

œ.

œ#>

J

œ.

œ

>

J

œ.

œ

>

j

œ.

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

‰

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œ‰ œ ‰

œ

>

@

j

œ

.

œ

>

@

j

œ

.

168

128

&

&

&

&

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B

?

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?

?

ã

ã

&

&

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

>

œ œ

>

œ œ œ

>

œœœ œ

œ

œ> œ

>œ.

œ>

œ>

œ œ>

œ œ œ>

œ

J

œ>

‰ Œ Œ

œ>

œ>

œ. œ

>

œ>

œ>

œ. œ

>

œ>

œ>

œ. œ

>

œ

>œ>

œ. œ

>

œ

> œ

>

‰ j

œ#

>

œ>

œ

>

‰j

œ

>

œ>

œ>

‰j

œ

>

œ>

œ

>

‰j

œ#

>

œ>

œ

>

œ.œ>

œ

>

œ

>

œ

.

œ

>

Œ œ œ

œ

œ

œ

>œ

œ

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

>

‰j

œ

>

œ

>œ

>

‰j

œ

>

œ>

œ

>

‰j

œ

>

œŒ ‰

j

œ

œ

>

@ œ

>

@ œ

.

œ

>

@

169

1st

œ

>

œ œ œ

>

œ

J

œœ

J

œœ

J

œœ>

J

œ.

œ>

œ>

œ œ œ>

œ

‰ œ>

œ œ œ>

œ

J

œœ>

J

œ. œ

>

J

œœ>

J

œ. œ

>

J

œœ>

J

œ. œ

>

J

œ

œ>

J

œ. œ

>

j

œœ

>

‰ œ

>

j

œœ

>

‰œ>

j

œœ

>

‰œ>

j

œœ

>

‰œ>

J

œ‰ Œ Œ

j

œ

‰ Œ Œ

J

œ

‰ Œ Œ

œ

œ

>œ

œ

œ

œ

œ

œ

>œ

œ

œ

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œ

œ

œ

œ

>œ

œ

J

œ

‰ Œ Œ

Œ Œœ>

j

œœ

>

‰œ>

j

œœ

>

‰œ

>

j

œœ

>

‰œ>

j

œœ ‰

œ

j

œ@

œ

>

@

j

œ

.

œ

>

@

170

œ

>

œ œ œ

>

œ œ

œ

J

œ

œ

J

œ

œ>

J

œ.

œ>

J

œ.

œ>

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œ œ

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J

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J

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>

J

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J

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J

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j

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j

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@

j

œ

.

171

B.D.

j

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>

‰ Œ Œ

J

œ#

J

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J

œ>

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J

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J

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J

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J

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J

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j

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>

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J

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>

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J

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œ

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>

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J

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J

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>

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J

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J

œ

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#

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œ

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+

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œ

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+

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>

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>

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j

œ#

>

‰ Œ Œ

J

œ#

>

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j

œ

>

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J

œ

>

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172

a2

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

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S

Sf

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J

œ>

Œ Œ ‰J

œ#>

Œ Œ ‰

J

œ#>

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œ#>

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J

œœ#>

J

œ>

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>

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J

œ>

J

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J

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J

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J

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J

œ#œ#>

J

œ>

J

œ#>

‰ Œ Œ

J

œ ‰ Œ Œ

Œ Œ ‰J

œ#>

173

Œ Œ ‰

J

œ#>

18

18

18

ƒ

ƒ

ƒ

sempre ff

sempre ff

sempre ff

sempre ff

sempre ff

sempre ff

sempre ff

sempre ff

sempre ff

J

œ œ#>

J

œ˘

Œ

J

œ œ#>

J

œ˘

Œ

J

œ œ#>

J

œ

˘

Œ

J

œ œ#>

J

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Œ

J

œ œ#>

J

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Œ

J

œ œ#>

J

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Œ

J

œ œ#>

J

œ˘

Œ

J

œ œ#>

J

œ˘

Œ

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œ

>

+

o

œ

>

o

Œ ŒJ

œ

>

‰

Œ Œj

œœ

#

>

‰

+

Œ ŒJ

œœ#>

‰

Œ Œ J

œ>

‰

Œ Œj

œ#

>

‰

Œ Œj

œ#

>

‰

Œ Œj

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>

‰

Œ Œ

J

œ

>

‰

J

œ œ#>

J

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Œ

174J

œ œ#>

J

œ

˘

Œ

S

S

S

S

S

S

S

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129

&

&

&

&

&

&

&

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&

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B

?

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?

?

ã

ã

&

&

42

42

42

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

Œ Œ œ#>

œ

Œ Œ Œ

Œ Œ Œ

Œ Œ Œ

Œ Œœ#> œ#

Œ Œ

œ#

>

œ#

Œ ŒJ

œ#‰

Œ ŒJ

œ#>

‰

Œ Œ J

œ# >

‰

Œ Œ œ#

>œ#

Œ ŒJ

œ#>

‰

˙

Œ

175

J

œœ#>

œ>

J

œ˘

Œ ‰

œ#>

J

œ˘

Œ ‰ œ#>

J

œ

˘

Œ ‰

œ#>

J

œ˘

J

œœ#>

œ>

J

œ˘

J

œœ#>

œ>

J

œ˘

Œ ‰œ#>

J

œ˘

Œ Œ Œ

Œ Œ Œ

J

œ#œ#>

œ>

J

œ˘

Œ Œ Œ

‰

œ#>

œ#>

J

œ˘

176

‰ œ#>

œ#>

J

œ

˘

œ#

>

+

o

œ

>

o

˙

J

œ

>

‰ Œ Œ

J

œ

>

‰

+

Œ Œ

J

œœ#>

‰ Œ Œ

j

œ#

>

‰ Œ Œ

j

œ#

>

‰ Œ Œ

j

œ#

>

‰ Œ Œ

j

œ#

>

‰ Œ Œ

J

œ

>

‰ Œ Œ

177

S

S

S

S

S

S

S

S

Œ Œ œ#>

œ

Œ Œ Œ

Œ Œ Œ

Œ Œ Œ

Œ Œœ#> œ#

Œ Œ

œ#

>

œ#

Œ ŒJ

œ#‰

Œ ŒJ

œ#>

‰

Œ Œ J

œ# >

‰

Œ Œ œ#

>œ#

Œ ŒJ

œ#>

‰

˙

Œ

178

J

œœ#>

œ>

J

œ˘

Œ ‰

œ#>

J

œ˘

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J

œ

˘

Œ ‰

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J

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J

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J

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J

œ#˘

J

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œ>

J

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J

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179

‰ œ#>

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J

œ

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œ#>

œ œ œ>

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œ#>

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œ#>

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œ#>

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œ œ œ>

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œ œ œ>

œ# œ#

J

œ#>

‰ ‰J

œ>

‰ ‰

180J

œ#>

‰ ‰

J

œ>

‰ ‰

ƒ

œ>

œœ>

œ>

œ>

œœ>

œ>

œ

>

œœ>

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>

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œ>

œ#>

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œ>

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œ

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œ

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>

181

œ

>

œœ>

œ>

ƒ

rit.

rit.

rit.

Œ

œœ

#>

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œ>

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>

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Œ

œ

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>

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œ

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>

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>

œ

>

œ>

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>

œ

>

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>

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

182

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

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Ï

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Ï

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rit. molto

rit. molto

rit. molto

130

&

&

&

&

&

&

&

&

&

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&

&

&

&

&

&

&

B

?

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ã

ã

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&

42

42

42

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

>

Œ

œ

>

Œ

œ

>

Œ

183

19

19

19

Ï

Ï

Ï

Moderato molto

Moderato molto

Moderato molto

(rubato)

(rubato)

(rubato)

to English Horn

‰j

œ#

œœ

##

œœ

184

pespress.

solo

to bassoon

Œ

œbœb

œ

Œ Œ

185

espress.solo

freely

p

p

solo

.œb .œ

186

˙b

U

œ

187

(short)

œb ˙

188

.œb .œb

189

.˙

œ#

>œ#- œ#

-

190

poco accel.

poco accel.

poco accel.

solo

p

.˙

‰

j

œ#

œœ

##

œœ

191

œ

,

œbœb

œ

Œ Œ

192

20

20

20

˙

U

œb

193

(short)

131

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

B

?

?

?

?

?

ã

ã

&

&

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

.œb.œb

194

.˙

‰j

œ#

œœ

##

œœ

195

Œ

œbœb

˙

j

œ

‰

196

Œ

œ œb œb œ

Œ

œb œb œ œ

.˙b

Œ

œ œbœb

œ

&

197

solo

solo

rit.

rit.

rit.

p

p

freely

freely

(Fl.)

œ .œb J

œb

œb .œ

J

œ

˙

J

œ ‰

Œ Œ

œb

œ.œb J

œb

Œ Œœb

198

tutti

.œb

J

œbœ

.œb

J

œœ

Œ Œœ

Œ

œb œ

Œ

˙b

.˙b

.œb

J

œb

œ

.˙b

199

21

21

21

a tempo

a tempo

a tempo

tutti

œ œb œb

œ œ œb

.˙

.˙

.˙

œ

Œ

œb

œœb

œb

œ Œœb

200

p

˙

œb

˙b

œ

Œ Œœ

Œ Œ

œ

Œ

œb œb

œ˙b

B

˙

Œ?

Œœ

œb

.˙b

201

p

p

p

p

1st solo

.˙

.˙b

.˙

.˙

.˙

˙

œb

Œ

œb œb

Œ

œ œb

.˙

œ Œ Œ

202

p

p espress.

espress.Bassoon

.˙

.˙

œbœ

œb

œœ

œœb

œ

œb

.˙

˙

œ

.˙

.˙

œbœ

œ

œœ

Œ

œbœ

œ

.˙

203

132

&

&

&

&

&

&

&

&

&

B

?

&

&

&

&

&

&

&

B

?

?

?

?

?

ã

ã

&

&

##

##

##

##

##

#

#

##

##

#

#

##

##

#

#

bb

b

bb

bb

bb

bb

bb

bb

bb

bb

##

##

##

##

##

#

#

bb

b

bb

bb

bb

b

bb

bb

bb

bb

bb

bb

b

bb

bb

b

#

##

##

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

Œ Œ

œ

Œœb

Œ Œ

œ

œ

œœ

œb

œœb

œ

œœ

˙

Œ

˙b œ

˙

Œ?

˙

Œ

œ

œœ

œ

œœb

œ

œœ

œ

Œ Œ

˙b

œb

204

English Hornp

p

œ œb œ œ œ

œb œb œ œ œ

œŒ Œ

œb Œ Œ

Œ

˙

.˙

Œ

˙

œŒ Œœ

Œ Œ

œb Œ Œ

205

œb .œbj

œb

œb .œbj

œ

Œ

˙

.˙b

Œ

˙b

Œ Œ ‰

J

œœ

206

.œb j

œb

œb

.œb j

œ

œ

Œ

˙b

.˙

Œ˙b

.

.œœb

J

œœ

œœ

b

Œ Œœb

207

œ œ œb

œ œb œb

˙œ

˙bœ

œœ œ

œ œœb

œ œb œ

208

œœ#

œœ œ

œ œœ

# œœ

œ Œ Œ

œ# Œ Œ

Œ

˙

.˙

˙Œ

˙˙

##

J

œœ

‰

Œ

œ œ#

Œ

˙

.˙

209

to Oboe

F

p

meno mosso

meno mosso

meno mosso

subito pp

subito pp

subito pp

p

subito pp

œœ# .

.œœ

#

J

œœ

.˙

.˙

.˙#

.˙

˙œ

210

F

F

133

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

B

?

?

?

?

?

ã

ã

&

&

##

##

##

##

##

#

#

##

##

#

#

##

##

#

#

bb

b

bb

bb

bb

bb

bb

bb

bb

bb

##

##

##

##

##

#

#

bb

b

bb

bb

bb

b

bb

bb

bb

bb

bb

bb

b

bb

bb

b

#

##

##

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

44

44

44

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

w

w

œœ

œœ

œœ

œœ

œœ

œœ

w

Œ .˙

œ

œ

œœ

211

22

solo

22

22

Fpp

Fpp

pizz.

p simply

p

p

(Clr. Solo)




w

w

J

œœ

J

œœ

œœ

˙œ

œ

w

˙ ˙

œŒ

œ

œ

212

˙

˙ Ó

œœ

œœ

œ œ œœ

œ

œœ

œ

œ ˙ œ

˙ ˙

Œœ

œ

œ

213

‰ œœ

œœ

œœ

œ

‰ œœ

œœ

œœ

œ

˙

J

œ

‰ Œ

œœ

œœ

.˙ œ

œ .˙

Œ

œ

œœ

214

p

p simply

simply

œœ

œœ

J

œœ

J

œ

œœ

œœ

J

œœ

J

œ

œ

œ

˙

˙ ˙

w

œ

œœ

Œ

215

œœ

œœ

œœ

œ

œœ

œœ

œœ

œ

œ

˙

œ

.˙ œ

w

œ

œ Œœ

216

œ œ œœ œ

Œ

œ œ œœ œ

Œ

Ó ‰œ. œ

. œ.

œœ ˙

Ó Œ œ.

œ .˙

.˙ Œ

œ

œÓ

Ó ‰

J

œ œ œ

217

GOURD

p

p

134

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

B

?

?

?

?

?

ã

ã

&

&

##

##

##

##

##

#

#

##

##

#

#

##

##

#

#

bb

b

bb

bb

bb

bb

bb

bb

bb

bb

##

##

##

##

##

#

#

bb

b

bb

bb

bb

b

bb

bb

bb

bb

bb

bb

b

bb

bb

b

#

##

##

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

43

43

43

44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œb.

œ. œ

.œ. œ

.

œ.

œ.

œ.

œ.

œ œ œ œ œ œ

218

œ¯

œ. œ

.œ.

œ.

œ.

Œ Œ

Œ

œ.

œ.

œ œ œ œ œ

219

p

œ. œ

. œ.

œ.

œ.

œ.

œ.

œ. œ

.

œ œ œ œ œ œ

220

.œ‰ Œ

Œ ‰ j

œ œ œ

Œ Œ

œ

˙

Œ

œ

Œ Œ

Œ ˙

Œ Œ œ

œ Œ Œ

221

pizz.

P

p

p

p

tutti

j

œn œj

œœ œ œ œ œ œ

.˙

œ

œ .˙

œ

œ

Œ œ

222

23

23

23

(Gourd)

œ

j

œ

‰

œ œ œ œ œn œ

œ œœ

œ œ œ œ œ œ

.˙œ

Œ .˙

œ

œ

Œ œ

223

P

j

œn œ

‰

œ œ œ œ œ œ

j

œ œ

j

œœ œ œ œ œ œ

.˙

œ

œ .˙

œ

œ

Œ œ

224

Œ ‰j

œ.œ ‰

Ó .œ ‰

œ

j

œ

‰ Ó

œ

j

œ

‰ Œ ‰j

œ

.˙œ

Œ .˙

œŒ Œ œ

225

Oboe

p

p

rit. molto

rit. molto

rit. molto

135

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

B

?

?

?

?

?

ã

ã

&

&

##

##

##

##

##

#

#

##

##

#

#

##

##

#

#

bb

b

bb

bb

bb

bb

bb

bb

bb

bb

##

##

##

##

##

#

#

bb

b

bb

bb

bb

b

bb

bb

bb

bb

bb

bb

b

bb

bb

b

#

##

##

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

43

43

43

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

Ó ‰ œœ

œ

Ó Œ ‰j

œ

.œ

‰ Ó

.œ

‰ Ó

.˙œ

œ .˙

Œ ‰

j

œ.œ

‰

Ó .œ ‰

œŒ Œ œ

226

solo

solo

p

œœ

œœ

œœ

œ œ œ œ œ

œ œ œ œ œ

œ

Œ Œ

œ Œ Œ

œŒ Œ

227

p espress.

espress.

Molto Moderato {q = 92}



.˙

œ˙

œ˙

Œ Œœ-

Œ Œ œ-

Œ Œœ-

œ.

œ.

œ.

Œ

˙

Œ Œ

œœ

Œ Œ œ

.˙

œœ

œ

œ

Œ Œ

228

1st

solo

solo

solo

one player -optional div.

(pizz.)

.˙

˙œ

˙œ

.˙-

.˙-

.˙-

œ.

œ.

œ.

.˙

œœ ˙

˙ œ

.˙

œœ

œ

œ

Œ Œ

229

.˙

.˙

Œœ œ

-

Œ œ œ-

Œœ œ

-

œ.

œ.

œ.

.˙

Œ

œœ

œœ

˙ œ

.˙

œœ

œ

œ

Œ Œ

230

espress.

espress.

espress.

p

p

p

˙œ

˙œ

.˙

.˙

˙œ

œ.

œ.

œ.

.˙

œœ œ

œ

Ó

œœ

˙ œ

.˙

œœ

œ

œ

Œ Œ

231

œœ œ

œœ œ

œŒ Œ

œ Œ Œ

œœ œ

œ.

œ.

œ.

Œ

˙

œœ œ

œœ

œ

œ

œ

œ

˙ œ

œ

Œ Œ

.˙

œœ

œ

œ

Œ Œ

232

œ˙

œ˙

œ˙

œ.

œ.

œ.

.˙

œ˙œ

œ œœ œ

˙ œ

.˙

œœ

œ

œ

Œ Œ

233

Œ Œ œœ-

J

œ ‰ Œ Œ

j

œ‰ Œ Œ

œ-

œ-

œ-

œ.

œ.

œ.

.˙

œ œ œœ

œœ

œ

œ

œ

˙ œ

.˙

œœ

œ

œ

Œ Œ

234

24

solo24

24

p espress.

136

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

B

?

?

?

?

?

ã

ã

&

&

##

##

##

##

##

#

#

##

##

#

#

##

##

#

#

bb

b

bb

bb

bb

bb

bb

bb

bb

bb

##

##

##

##

##

#

#

bb

b

bb

bb

bb

b

bb

bb

bb

bb

bb

bb

b

bb

bb

b

#

##

##

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

##

##

#

#

42

42

42

43

43

43

nn

nn

nn

nn

nn

n

n

nn

nn

n

n

nn

nn

n

n

nn

n

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

nn

n

n

nn

n

nn

nn

nn

n

nn

nn

nn

nn

nn

nn

n

nn

nn

n

n

nn

nn

n

nn

nn

n

n

nn

nn

n

n

nn

nn

n

n

nn

nn

n

n

nn

nn

n

n

nn

nn

n

n

nn

nn

n

n

42

42

42

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

˙˙

˙ œ-

œ.

œ.

œ.

.˙

˙ œœ

œ œœ

œ

˙ œ

.˙

œœ

œ

œ

Œ Œ

235

Œœ-

œ

Œœ-

œ

œ-- œ

-

œ

œ.

œ.

œ.

Œ

˙

œœ

œœ

œ

œ

œœ

œ

˙ œ

.˙œ Œ Œ

œœ

œ

œ

Œ Œ

236

p

p

espress.

espress.

tutti

tutti

Œ Œ œœ

˙Œ

˙ Œ

œœ-

œ-

œ.

œ.

œ.

.˙

œœ œ

œJ

œœ

J

œ

˙ œ

.˙

œœ

œ

œ

Œ Œ

237

œœ œ

œ

œ œ

œ.

œ.

˙

œ œ

J

œ œ

J

œ

˙

˙

œœ

œ

Œ

238

œœ œ

œ œœ

œ œ œ

œ.

œ.

œ.

.˙

œ œ œ

J

œ œ œ

J

œ

.˙

œ ˙

œ

œœ

Œ

œ

Œ

239

.

.˙˙

œ œ œ

œ#œ

œœ

œœ

œ# œ œ

œ.

œ. œ

.

.˙

.˙

.˙

œ

œœ

œ

œœ

240

2nd

p

p

p

p

con sord.

tutti

.

.˙˙

.˙

œ#œ ˙

.˙#

œ.

œ.

œ.

.˙

.˙

Œœ œ œ# œ

Œ œ# œ œ œ

œ ˙

œ

œ

œ

œ

œ

œ

241

con sord.

p

p

espress.

espress.

œ œ œœ

œœ

œœ

œ

œ.

œ.

œ.

œ˙#

œ#˙

œ ˙

œ

œ

œ

œ

œ

œ

242

137

&

&

&

&

&

&

&

&

&

?

?

&

&

&

&

&

&

&

B

?

?

?

?

?

ã

ã

&

&

42

42

42

86

86

86

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

˙

˙

Œœ-

Œ œ#-

Œ œ#œ

œ.

œ

œ

˙

˙

œ œ

œ

Œ

œŒ

243

œ

‰ Œ .

œ

‰ Œ .

œ-

J

œ-

J

œ œ-

œ#-

J

œ-

J

œ œ-

œ#œ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ ‰ Œ ‰

œ ‰ Œ ‰

.˙

244

{q= q.}

{q= q.}

{q= q.}

Œ ‰ ‰œ

œ

Œ ‰ ‰ œœ

œ-

‰ Œ ‰

œ#-

‰ Œ ‰

œ#j

œ Œ ‰

œ

j

œ

Œ ‰

Œ ‰

œ

œ

œ

.œ

j

œ

‰ ‰

245

p

p

p

œ j

œœ j

œ

œj

œœ

j

œ

œ# j

œ

œ j

œ

œj

œœ#

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246

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p




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c

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

.˙

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c

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86

86

86

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

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p

p

p

pma marc.

ma marc.

ma marc.

poco marc.

{e= e}

{e= e}

{e= e}

mark the accents!

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CHINESE BLOCKS

140

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ã

ã

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&

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

œ

j

œ

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high

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268

27

pizz.

27

27

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269

con sord.

con sord.P

P

F

Solo, with humor

J

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270

F

141

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42

42

42

86

86

86

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

J

œ.

œb œ œ. œb

.

Œ . j

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>

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>

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j

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b

b>

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>

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J

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J

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271

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.

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272

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273

J

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274

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p

no accent

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275

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276

gliss.

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277

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

142

&

&

&

&

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&

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ã

ã

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86

86

86

44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ#>

œ

œ

œ

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œ.

œ.

j

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278

28

28

28

p

p

p

p

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.

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279

Œ . ‰œœ

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p non legato

p non legato

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280

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6+28

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6+28

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6+28

6+28

6+28

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6+28

P marc.

œ œ. œ

-

J

œ.

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J

œ-

J

œ

‰. Œ- ‰.

œb-

J

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œ>

œ

œ

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>

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‰J

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J

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.

J

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œ>

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j

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143

&

&

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&

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?

?

?

ã

ã

&

?

86

86

86

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

J

œ‰ Œ

œ-

œb.

œ.

œ>

œ œb.

œ- œ

.œ- œ

.œ. œ

>

œ>

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œ>

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>

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.œ

j

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œ J

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>

Œ

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>

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˙b-

œ œ.

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˙b-

œ>

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œ

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j

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>

‰

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j

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>

œ

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>

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286œ>

œ

œ J

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>

Œ

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>

œ

solo

P

P

P

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.˙Œ

Ó Œ

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j

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>

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>

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œ

>

œ

œ

>

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œ

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>

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>

œ

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j

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287

j

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>

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P

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.

œ. œb

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œ.

j

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>

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.˙

288

29

29

29

P

P

P

P

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j

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289

CHINESE BLOCKS

P

non legato

non legato

non legato

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P

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j

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œ. œb

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J

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J

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290

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j

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291

to Oboe

Œ ‰

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>

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>

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>

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292

pizz.

GOURD

F

F

F

F

F

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F

f

Solo, with humor

144

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ã

ã

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?

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

J

œ.

œb œ. œ

. œb.

Œ . j

œ

>

‰ ‰

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œb

>

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>

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J

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œ

b

b>

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>

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#

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>

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J

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J

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293

P

P

J

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œb œ œ. œb

.

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>

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>

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>

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j

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>

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J

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294

F

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.

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>

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b>

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>

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295

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>

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296

30

30

30

F

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>

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297

F

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‰

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J

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‰

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298

F

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299

Œ .

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œn. œb

.

J

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Œ .

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.

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J

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300

F

145

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&

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ã

ã

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##

#

c

c

c

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

J

œ.

œœb.

œn. œb

.

J

œ.

œœb.

œn. œb

.

J

œb.

œb œ. œ

. œb.

‰ œœ#

œ

œ#

œ

‰ œ

œ

œœ

œ

œ

>

œ

œ

œ

>œ

œ

œ.

‰ Œ ‰

.œ

>

.œ

>

j

œ

‰ ‰

J

œ ‰ ‰

J

œ ‰ ‰J

œ

‰ ‰

J

œ.

‰ ‰ Œ ‰

301

F

F

F

F

F

J

œ.

œœb.

œn. œb

.

J

œ.

œœb.

œn. œb

.

J

œb.

œb œ. œ

. œb.

œ

œœ#

œ

œ

œ

œ#œ

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œ

œ

>

œ

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>

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>

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>

j

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>

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>

j

œ

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‰ ‰

J

œ

œ‰ œ ‰ ‰

J

œ

302

œ.

œ. œb

.œn.

œ. œb

.

œ.

œ. œb

.œn.

œ. œb

.

œb.

œb. œ

. œ.

œ. œ

.

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>

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J

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ŒJ

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J

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303

J

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.

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.

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.

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.

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J

œ ‰ ‰ j

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‰J

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304

Oboe

f

f

f

f

J

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J

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¯œ-

J

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>

305

31

senza sord.

31

31

6+28

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6+28

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6+28

6+28

6+28

6+28

6+28

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f

f

f

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f

f

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6+28

f

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306

œ œ¯

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J

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œ

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>

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>

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307

stacc. sempre

146

&

&

&

&

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&

&

&

&

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&

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ã

ã

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##

#

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

w

w

w

w

œ# œ# œ œ œ œ œ œ

œ œ œ# œ œ œ œ œ

œ

>

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œ

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>

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>

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œ

>

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‰ œ

>

œ œ œ œ œ œ œ œ

308

TAMBOUR DE PROVENCE

f

f

f

f

stacc. sempre

stacc. sempre

tutti

w

w

w

w


œ œ œ œ œ œ œ# œ

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309

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310

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311

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Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

w

w

w

w



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>

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312

w

w

w

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313

Picc. and Fl.1

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314

32

Fl. 232

32

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315

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316

div.

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317

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nn

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44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

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w



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318

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319

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320

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322

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323

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44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

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324

33

Fl. 1,2 33

33

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43

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44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

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>

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44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ> œb

œbœ>

J

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J

œ.

Œ ‰ J

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J

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J

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>

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J

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337J

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Fl. 1

P

P

P

P

P

P

Picc. and Fl. 2

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J

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J

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338

con sord.

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339

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solo

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152

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83

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42

42

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83

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44

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83

83

44

44

44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

Ó

œ. œb

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-

œ>

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J

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œ>

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J

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>

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J

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343

œœb>

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J

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con sord.

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F

F

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344

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347

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Fl. 1

f

f

f

f

f

f

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348

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wb>

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J

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J

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349

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350

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153

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83

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86

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43

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83

83

83

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

œ

>

œbœb

œ

>J

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J

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J

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J

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wb

wb

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>

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wb

wb

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J

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J

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J

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>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

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J

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J

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J

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J

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351

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>

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>

j

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>

j

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a2senza sord.

f

f

f

f

f

f

f

senza sord.

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352

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353

j

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36

36

S.D.

B.D.

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354

GOURD

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rit.

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rit.

senza sord.

senza sord.

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355

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solo

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a tempo

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356

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154

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44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

&

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358

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a tempo

a tempo

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359

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362

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37

con sord.

con sord.

Fl.2 div.

37

37

CYM. (Hard stick)

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44

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

J

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368

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369

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nn

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85

85

85

Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

Pno.

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>

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J

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Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

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B. Tbn.

Euph.

Tuba

D.B.

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Fl. 1,2

Picc.

Ob. 1

Ob. 2

Eb Cl.

Cl. 1

Cl. 2

Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

A. Sx. 1,2

T. Sx.

B. Sx.

Tpt. 1

Tpt. 2,3

Hn. 1,2

Hn. 3,4

Tbn. 1,2

B. Tbn.

Euph.

Tuba

D.B.

Timp.

Perc. 1

Perc. 2

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secco

secco(with 2 hard sticks)con tutta forza

con tutta forza

160

svanoe erika kirsten

Documents

tambour de provence

el palo verde

el saln mxico

dotted bar lines

coplands personal copies

coplands original conception

el salon mexico

rough orchestral score