Kammerkonzert No.2

kammerkonzert no.2

for 12 instruments

Jug K. Marković

written for Ensemble Intercontemporain and ManiFeste-2018/19 Academy, Ircam

Instrumentation

Flute Oboe Clarinet in B-flat Bass Clarinet Bassoon Vibraphone Piano 2 Violins Viola Violoncello

Contrabass (5 strings)

duration: 12’

Score is in C

disposition of the instruments

pno vib

cl vla

vln 1 bcl

bsn vln 2

vcl ob fl cb

cond

symbols and notation

General:

- Prolonged sound

- Prolonged sound – without re-attacking. Small stems without noteheads are only for counting and orientation within a bar. Sound result is the same as if was written with two notes connected with a ligatura (slur).

µ - quarter tone sharp o - al niente

B - quarter tone flat o - dal niente 1 ˜ - three quarter tones sharp J - highest possible note

- slightly lower - slightly higher

mordent inverted mordent

Clarinets:

Loud free spectral multiphonic, sounding approximately within the indicated rage. To be produced with normal fingering of the written fundamental. Choose more aggressive and honky sounds. Avoid consonant sonorities. The fundamental note should also be heard as much as possible (depending on the context).

- overblow

Gradual overblowing where spectral multiphonic is getting richer in sound content and volume (and vice versa)

- growl very aggressively while playing resulting in a very strong and harsh distortion of the sound

Loud, free spectral multiphonic sweeps upwards, on given fundamental (normal fingering). e.g. – overblown multiphonic glissandos

- Start a tone with a soft breath attack, make a very strong crescendo and and finally stop the tone with a very abrupt release by the tongue. E.g. opposite of producing a tone by the conventional method. p.b./ l.b. - pitch bend / lip bend

Bassoon:

BT – Berio tremolo; a tremolo between two notes in extremely different registers (one very low and the other high). In such cases the result should be the overtone spectrum of the lower note.

RN – rolling note; obtained by a stronger lip pressure on the reed. The stronger the pressure, the more the note rolls.

Gradual overblowing where spectral multiphonic is slowly getting richer in sound and volume (and vice versa)

Vibraphone:

Pitch bend - rest the hard mallet on a nodal point of a bar before striking the bar with a “normal” mallet. After striking a tone press the hard mallet into the bar and drag.

Harmonics - touch with a fingertip, or a mallet head, on the center of the bar (equidistant between the nodal points of the bar). Then, strike the bar directly on a nodal point.

Additional accessories required:

1.Bow - for bowing the instrument / also marked with arco

2.Nylon / Fishing line that is heavily rosined. The percussionist will be asked to bow the series of strings at the back of the piano (inside) with a nylon line.

Piano:

Accessories required:

1. Superball (rubber ball) attached to a stick. The pianist should have 2 superball sticks ready. One with a whole/round ball and one with half ball / half sphere /ball cut in half.

2. Nylon / Fishing lines which are heavily rosined. The pianist will be asked to bow one or series of strings at the back of the piano (inside) with a nylon line. The nylon should be heavily rosined in advance.

3. Plectrum or a metal coin

4. Very soft mallet – for giving impuls to the lowest strings inside the piano

Rub the indicated string inside the piano with a superball (rubber ball) that is attached to a stick.

Swiftly/fastly scrape the indicated string with a plectrum or a metal coin.

Bow the indicated string/s with a nylon/fishing line. The nylon should be heavily rosined.

attack the indicated strings with a very soft mallet

Lightly touch the indicated string inside the piano thus producing a harmonic when pressing the key. In this case touch the string on the spot for producing the 4th partial of the low C string.

- signifies that the adjacent two notes (an interval of a second) should be played with thumb - signifies that the two keys written as an enharmonic third interval but sounding as a second (two adjacent notes) should be played with a thumb.

Strings:

Positions of the bow:

SP – sul ponticello (next to the bridge) MSP – molto sul ponticello (very high on the bridge) ST – sul tasto (next to the fingerboard) AST – alto sul tasto (high on the fingerboard) O – ordinario (normale) (MSP) (AST) (O)… – in brackets – reminder what has been so far - gradual bow displacement from one position to another. Applies to any combination of the positions of a bow

- sub ponticello – play below the bridge on the indicated string.

Pressures of the bow:

- normal bow pressure

- medium overpressure

- hard overpressure (but with pitches present to some small extent). This is NOT a complete toneless scratch. There should be some sonority present in the prevailing noise.

- gradual progression from normal to hard bow pressure (and vice versa)

ú Ö - another symbol for exaggerated pressure of the bow (overpressure)with the indicated bow stroke gip – gradually increase the pressure of the bow grp – gradually release the pressure of the bow

- graphic representation of a prolonged sound with very exaggerated bow pressure

¯¯¯¯¯¯¯¯¯¯¯¯ - graphic representation of a double stop with very exaggerated bow pressure

¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍ - graphic representation of a gradual release of the pressure of the bow.

place the finger of the left hand just behind the bow / e.g. between the bow and the bridge. At the same time play with a medium overpressure of the bow. The result should be a multiphonic with both overtones and open string sounding.

Kammerkonzert no.2 (for 12 instruments)

written for Ensemble Intercontemporain and ManiFeste-2018 Academy , Ircam Risoluto q = 60 Jug K. Marković ° 2 5 (b.1987) Flute & 4 ∑ 16 ∑ ∑ ∑

2 5 Oboe & 4 ∑ 16 ∑ ∑ ∑

2 5 Clarinet in Bb & 4 ∑ 16 ∑ ∑ ∑

? 2 5 Bass Clarinet 4 ∑ 16 ∑ ∑ ∑ in Bb

? 2 ∑ 5 ∑ ∑ ∑ Bassoon ¢ 4 16

Motor ON (medium speed) 3 bœ œœ #œ œ œj nœ con forza œ bœ™ œ œ #œœ 2 ® ™ ‰ 5 bœ ≈ bœ™ ≈ Vibraphone {& 4 #œ œ 16 œ #œœ™ œ R 3 œ œ™ # œ ™ bœ™ fff œ œ ™ col Ped. sempre 3 “” œœ œœ “” # œ ##œœ œ ##œœ3 n nœœ con forza # # œœ œœ #œœ œœ n œœ # nœœ œœ œœ œœ #œ  2 ®n#œœ œœ œœ 5 ÆJ œ œœ œœ & 4 œœ œœ œœ 16 b#œœ œœ ##œœ ™ œ œ œœ ## bœœ™ ≈ # œ ™ fff # #œœ # nœœ Piano # œj 3 # # œœ n‹ œ n# œœ nbœœ #nœœ œœ #œ ? 2 ##œœ nœœ 1 5 nbœœ œœ ? j ÆJ { 4 16 & bœœ & œœ œœ œœ bœœ ##œœ bœ™ œ ###œœ bbœœ œœ bb œœ bb œ™ œ “‘ col Ped. ° 2 5 Violin 1 & 4 ∑ 16 ∑ ∑ ∑

2 5 Violin 2 & 4 ∑ 16 ∑ ∑ ∑

2 5 Viola B 4 ∑ 16 ∑ ∑ ∑

? 2 5 Violoncello 4 ∑ 16 ∑ ∑ ∑

? 2 ∑ 5 ∑ ∑ ∑ Contrabass ¢ 4 16 2 1 5 ° 3 4 Fl. &8 ∑ 4 ∑ ∑ ∑ ∑

3 4 Ob. &8 ∑ 4 ∑ ∑ ∑ ∑

3 4 Cl. &8 ∑ 4 ∑ ∑ ∑ ∑

? 3 ∑ 4 ∑ Ó B. Cl. 8 4 œ œ p o

? 3 ∑ 4 ∑ Ó Œ Bsn. ¢ 8 4 œ o p j bbœ l.v. 3 bœ 4 ‰ Œ Ó ∑ ∑ ∑ Vib. {&8 œ ##œœ 4 nœœ œœ œœ œ œ b œ Æ œ ” “ bœ bbœ l.v. 3 œ œœ j 4 &8 #œœ œœ 4 J ‰ Œ Ó ∑ ∑ ∑ 3 bnbbœœ #œœ 1 Pno.  j sfffz 3 ? ‰ 4 j ‰ Œ Ó ∑ ∑ ∑ {&8 œœ œœ n bbœœ 4 bœœ œœ n œ 1 œœ #œ w b#œœ 1 “‘ M@SP O M@SP O M@SP Öœ Öœ grp @? Ö ¯¯¯¯¯¯¯¯ œ œ œ ° œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍ ¯¯¯¯ 3 4 œ œ œ Vln. 1 &8 ∑ 4 fff con forza sffz 3 sffz MSP MSP @ O @ Öœ Öœ grp 3 4 œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍ Vln. 2 &8 ∑ 4 ¯ œ con forza J fff 3 sffz M@SP M@SP #Öœ O #Öœ grp ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ #œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 3 4 œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ Vla. B 8 ∑ 4 ∑ fff con forza sffz

MSP O MSP O @ @ grp @? bÖœ ¯¯ œ Ö œ ? 3 4b œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍ œ Vc. 8 ∑ 4 œ¯¯¯¯¯¯¯¯¯¯¯¯ fff con forza sffz

MSP MSP O @ @ œ Ö ? 3 4 Ö ¯¯¯¯¯¯¯ œ œ Cb. 8 ∑ 4 œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢ œ¯¯¯¯¯¯ J fff con forza 3sffz 3

2 Winds: take breath imperceptibly if necessary 10 before crescendo reaches mezzo-forte dynamics ° ™ µœ Fl. & ∑ ∑ Ó ,

™ Ob. & ∑ ∑ Ó #œ ,

3 Cl. & ∑ ∑ Œ j µœ ,

? B. Cl. Œ bœ p o , p

? ∑ Bsn. ¢ œ , p

∑ ∑ ∑ ∑ ∑ Vib. {&

& ∑ ∑ ∑ ∑ ∑ Pno. {? ∑ ∑ ∑ ∑ ∑

O MSP grp @? @ O Ösul A grp ? ° ¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ œ ¯¯¯¯¯¯¯ÍÍÍÍÍÍÍ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍ Vln. 1 & œ œ œ 3 o sffz sul D MSP @O? @ O Öœ sul A grp ? œ ¯¯¯¯¯¯¯¯¯¯¯¯¯ Vln. 2 & œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍ œ Œ Ó œ sffz sul D o MSP @ O O #Öœ grp ? @? ¯¯¯¯ œ ¯¯¯ÍÍÍ œ #œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍ B œ J œ Œ Vla. o sffz MSP MSP O @ O grp grp @ ? œ Ö ? ? #Öœ Í œ Vc. # œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍ mf sffz 3 sffz MSP O O @ grp ? grp @? œ Öœ ? ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍ œ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍ Cb. ¢ sffz mf 4 3 15 ° 3 5 Fl. & 4 8 ∑ fff

3 5 Ob. & 4 8 ∑ fff

3 5 Cl. & 4 8 ∑

fff ? 3 5 B. Cl. 4 8 ∑ fff

? 3 5 ∑ Bsn. ¢ 4 8 fff

™ 3 b œ #nœ™ œ 5 bnœœ j5 3 œ j 5 œ j Vib. & ∑ 4 #œ ≈ b œŒ 8 ≈ œ ‰  j { #œ™ #bœœn#œœ nœœ #œ nœ œ™ œ ##œœ™ œ##œ fffcol Ped. sempre ” “ œ 5 ##œœ n œ nœœ #n œœ # œ œœ 3 œ n œ 3 #œœ œ œ #œœœœ 5 ÆJ & ∑ 4 bn œœ Œ # nœœœœ bœœœœbn œœœœ 8 ≈ ≈ ÆJ b œœœœ œ œ fff Pno. œ n## œœ nnœœ #œœ nnœnœœ ‹ bbœœ ? 3 # œ nbœœ nbœœ 5 ‹‹#œœ 1 ? { ∑ 4 8 ≈ bœœ & w ≈ n œ ≈ bœœ ###œœ 1 n# œ b œœ 3 n nœœ “‘ col Ped.

° 3 5 Vln. 1 & ∑ 4 ∑ 8 ∑

3 5 Vln. 2 & ∑ 4 ∑ 8 ∑

3 5 Vla. B ∑ 4 ∑ 8 ∑

MSP #œ ? #œ 3 5 Vc. 4 ∑ 8 ∑ fff

MSP œ œ ? 3 ∑ 5 ∑ Cb. ¢ 4 8 fff 5 4 18 #œ ° 3 3 4 Fl. & 4 ∑ 8 ∑ 4 pp

3 3 4 µœ Ob. & 4 ∑ 8 ∑ 4 p

3 3 4 Cl. & 4 ∑ 8 ∑ 4 ∑

? 3 3 4 B. Cl. 4 ∑ 8 ∑ 4 œ p ? 3 ∑ 3 ∑ 4 ∑ Bsn. ¢ 4 8 4

™ #œ™ b œ n#œœ #œ 3 ™ b#œœ r 3 bœ 4# œ Vib. & 4 ‰ œ J ≈ ≈ ≈ R 8 b œ ‰ 4 Œ Ó { œ R n bœœ  œ ÆJ n # œœ nœœ œœ œœ œ œ r r sfffz #œ œ “” ™ 3 # œ œ ###œœ #n#œœ™ b œ nn#œœ œœ # œ b∫ ∫œœ œœ™ nœ™ bbb œœ 3 3 3 b œœ œœ™ n#œœ 1 ‰ 3 bœœ œœ j 4 Ó™ & 4 œ ™ J w n œ œ # nœœœœ 8 #œœ œ b œ 4 R # œ œ b n œœœœ R 3 b œœ J b n œœœœ 3 # #œœ 1 n œ sfffz Pno.  nnn œœ  3 ? j ÆJ #nœœ bn#œœ 3 ? j 4 ™ {& 4 #bœœ œœ ≈b œœ n œ ‰ & 8 #œœ œœ bbœœ 4 Ó ‹‹ œœ 1œœ n nœœ™ ‹ œ œ 1 œ 1 #œ #œ w œ b b œœ™ #œ œ w #œœw bb œœ ‘œ ™ nœ “ 3 “‘

M@SP Öœ ¯¯¯ ° 3 3 4 œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vln. 1 & 4 ∑ 8 ∑ 4 fff

MSP #Ö@œ 3 3 4 œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vln. 2 & 4 ∑ 8 ∑ 4 fff

M@SP 3 3 4 #Öœ Vla. B 4 ∑ 8 ∑ 4# œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ fff M@SP Öœ ? 3 3 4 œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vc. 4 ∑ 8 ∑ 4 fff

M@SP ? 3 ∑ 3 ∑ 4 Ö Cb. ¢ 4 8 4 #œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ fff 6 5 °21 Fl. & Ó ∑ ∑ ∑ ∑ o

™ µœ Ob. & Ó ∑ ∑ ∑ Œ Œ Œ ‰ o ,

∑ ∑ ∑ ∑ Œ Œ Œ 3 j Cl. & #œ ,

? Œ Œ Œ B. Cl. bœ o œ o mp o , ? Bsn. Ó Œ Œ µœ ¢ #œ œ o p p o ,

∑ ∑ ∑ ∑ ∑ Vib. {&

& ∑ ∑ ∑ ∑ ∑ Pno. {? ∑ ∑ ∑ ∑ ∑

(MSP) O MSP O MSP @ @ grp @ Öœ grp @? Öœ ? #Öœ grp ° ¯¯¯¯¯¯¯ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍ œ ¯¯¯¯¯ œ ¯¯¯¯ œ œ ÍÍÍÍÍÍÍÍÍÍ œ ¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍ #œ ¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍ Vln. 1 & œ œ sffz sffz sffz

(MSP) @ O MSP O MSP Ö grp @? @ grp ? Ö@ œ œ œÖœ # œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍ œ #œ¯¯¯¯¯ Vln. 2 & œ œ J œ J 3 3 sffz sffz mf sffz (MSP) MSP grp @? @ grp @O? grp ? @ #œ Öœ #œ Öœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍ #œ nœ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vla. B¯¯¯¯¯¯ #œ 3 sffz sffz

(MSP) O MSP O @ grp @? @ grp ? MSP #œ Ö œ Ö @ ¯¯ œ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍ œ #œ Ö ? J œ œ ¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍ #œ #œ Vc. R œ¯¯¯¯¯¯¯¯¯ # œ¯¯¯¯¯¯¯¯¯¯¯¯ 3 5 sffz sffz sffz

O MSP MSP O O grp @? @ grp ? @ grp Öj œ Ö ? œ #œ ÍÍÍÍÍÍÍÍÍ œ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍ Cb. ¢ ¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ #œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ 3 3 sffz sffz 7 6 mn œ œ # °26 œ M Œ 6 5 Œ ≈ ≈ ‰ ≈ œ Fl. & 4 8 J , fff 3 f n 3 Mœ b mb m 6 5 œ J œ Ob. & 4 8 ‰ J ‰ ‰ ‰ R fff 3 5 gradually overblow f overblow # b and create a rich spectral multiphonic ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ m with present fundamental pitch Ÿ~~~~~~~~~~ bœ 6 5 j J Cl. & 4 8 ‰ ‰ #œ ‰ ‰ fff f 3 ? 6 5 B. Cl. 4 8 ∑

fff ? 6 5 ∑ Bsn. ¢ 4 8 fff j j 3 œ #œ ##œœ #œ bœœ ∑ 6 ∑ 5 j ‰ ÆJ ≈ #œ ® r Vib. {& 4 8 œ ##œ ™ œœ bœ œ J b nœœ™ fff œ col Ped. sempre ™ ÆJ 3 “”œ ##œœ b œ œœ bbb œœ > bœœ 1 ∑ 6 ∑ 5 ‰ Œ ÆJ w & 4 8 # #œ œ ™ 3 b œœ œœ™ Pno. fff nbœœ j b œœ ##n bœœ j ? ∑ 6 ∑ 5 ≈ # œ ‰ ##œœ 1 ? nœ { 4 8 bœ & w #n œœ J nœ bnœœ “‘ 3 3 col Ped. O MSP O ? @ grp Öœ ? ° ÍÍ œ œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯6ÍÍÍÍÍÍÍÍÍÍÍ œ 5 Vln. 1 & œ 4 œ Œ Œ 8 ∑ o mf sffz

grp O? ¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍ 6 œ 5 Vln. 2 & 4 œ Œ ∑ 8 ∑ o

O MSP grp ? œ œ ¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍ 6 5 Vla. B 4 8 ∑ mp fff

O grp MSP ? œ ? 6 œ 5 Vc. ¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍ 4 8 ∑ mf fff

? M@SP O? MSP œ Ö #œ ? œ #œ¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍ 6 #œ 5 Cb. # œ 4 8 ∑ ¢ R 5 mp fff sffz 8 n 7 m# #mœ 29 #œ µœslow. vib. ° J J 4 J Fl. & ‰ ‰ ‰ ‰ ≈ 4 ‰ p 3 n 5 o #mœ b œ œŸ~~~~~~~~~~~ #œ slow. vib. J 4 J Ob. & R ≈ ‰ ‰ ≈ J ≈ 4 ‰ o 3 n p Mœ mb #œnœ œbœœ j J 4 #œ p.b. Cl. & Œ nœ ‰ ≈ R 4 ∑ ‰ J 3 o p ? 4 B. Cl. ∑ 4 œ p

? ∑ 4 Ó™ Bsn. ¢ 4 œ o p

bb nœœ 6 ##œœ #œ b œ r nn œœ r 4 # œ ™ Vib. & j ≈ ≈ ≈ n#œ R ® 4 Ó ∑ { ™ R # nœœ nnœœ™ œ ##bœœ™ b œœ R nœ œ ” 5 #œ “ b n œ ##nœ ## #œœ b b œœ bnbœœ 4##œœ & ‰™ ≈ nœ 4 Ó™ ∑ Pno. n œ n n œœ™ sfffz # nœœ #bœœ n œ n n nnœœ™ ? j ‹b n œœ 1 nn œ ≈? 4 Ó™ ∑ { œ ™ w & ## #œœ 4 nœœ # #œœ™ 1 # # œœ™w ###œœ 5 “‘

MSP O MSP O @ grp @? @ #Öœ Öœ grp ? ° #œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍ œ ¯¯¯¯¯¯¯¯¯ÍÍÍÍ 4 œ œ Vln. 1 & ∑ 4 fff sffz

MSP O MSP O MSP @ grp @ grp @ Öœ @? Öœ ? Öœ œ¯¯¯¯¯¯¯ œ ¯¯¯ œ 4 ¯¯ÍÍÍÍÍ œ œ ¯¯¯¯¯ÍÍÍÍÍÍ œ ¯¯ Vln. 2 & ∑ 4 œ fff sffz sffz

MSP O M@SP O MSP @ grp @? grp ? @ Ö #œ Ö œ nÖœ B ∑ 4 œ ¯¯¯¯¯¯¯¯ÍÍÍÍÍÍ œ #œ ¯¯¯¯¯ÍÍÍÍÍÍ œ nœ Vla. 4 #œ¯¯¯¯¯¯¯ # œ¯¯ J fff 3 sffz sffz MSP O MSP grp ? œ @ @ Ö Öœ ¯¯¯¯ÍÍÍÍÍÍ œ œ ? 4 œ¯¯¯¯¯¯ œ¯¯¯¯¯¯¯ÍÍÍÍÍÍ Vc. ∑ 4 R 5 fff sffz

MSP MSP O @ grp @ grp @? Ö ? ∑ 4 Ö 3 Cb. ¢ 4 œ bœ ¯¯¯¯¯ œ¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍ œ ¯¯ sffz fff 9

32 bœ ° 6 Fl. & ∑ ∑ Œ Œ ‰ J 4 o fff µœ 6 Ob. & ∑ ∑ ‰ 4

3 o fff ÍÍÍÍÍÍÍÍÍÍÍÍ #œ 3 6 Cl. & Œ Œ 4 œ mp pp o o fff gradually overblow and create a rich spectral multiphonic ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ? Œ Œ with present fundamental pitch 6 B. Cl. œ 4 o o fff ? Bœ 6 Bsn. ≈ 4 ¢ R o o fff

∑ ∑ ∑ 6 ∑ Vib. {& 4

6 & ∑ ∑ ∑ 4 ∑ Pno. 6 {? ∑ ∑ ∑ 4 ∑

M@SP O M@SP O M@SP O AST MSP Ö grp ? grp ? grp ? 3 Öœ Ö œ œ #œ œ ¯¯¯ œ nœ ° ¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍ œ ¯¯¯¯¯¯¯ÍÍÍÍÍ ¯¯ œ œ œ #œ œ œ nœ ¯¯¯¯ÍÍÍÍÍ 6 Vln. 1 & œ 4 sffz poco sffz poco sffz mp fff

O M@SP O M@SP O AST MSP grp ? j #Öœ™ grp ? Öœ grp ? œ œ ™¯¯¯¯¯¯¯ÍÍÍÍÍÍ œ ¯ œ œ ¯¯¯¯ÍÍÍÍÍÍ #œ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍ 6 Vln. 2 & œ J J œ 4 5 3 mp poco sffz poco sffz fff

O MSP O MSP O MSP @ grp @ grp œ grp ? œ Ö ? œ Ö ? Í œ ¯¯¯ÍÍÍÍÍÍ œ #œ ¯¯¯¯¯¯¯ÍÍÍÍ œ ¯¯¯¯¯¯¯ÍÍÍÍ œ bœ¯¯¯¯¯¯¯¯¯¯¯¯ J œ¯¯¯¯¯¯ 6 Vla. B 4 3 poco sffz poco sffz mp fff

O M@SP O M@SP O MSP O M@SP AST MSP ? œ Ö grp ? Ö grp ? @ Ö grp ? œ œ Ö grp ? 3 œ œ ¯¯¯ÍÍÍÍ œ œ Í #œ bœ ? œ¯¯¯ ¯¯¯¯¯¯¯¯ÍÍÍÍÍ œ œ ÍÍÍÍÍ bœ 6 nœ Vc. R œ #œ¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍ #œ œ¯¯4¯¯¯¯¯ÍÍÍÍ 5 poco mp fff sffz poco sffz sffz poco sffz

O M@SP O MSP O M@SP AST MSP grp ? @ grp ? ? Ö Ö ?œ Ö œ ? œ œ œ œ™ bœ 6 œ Cb. ¢ ¯¯¯ÍÍ œ œ¯¯¯¯¯¯¯¯ÍÍÍ œ œ™¯¯¯ÍÍÍÍ œ b œ¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4 mf fff sffz poco sffz sffz 10 8 9 #œ 36 ° 7 2 4 Fl. &16 ∑ 4 ∑ 4 ff

œ œ Om1 #œ œ œ œ œbœ œœ œ 3 Bœ 7 2 œ œnœ œ œ œœ 4 Ob. &16 ‰ 4 œ ‰ 4 Ó Œ µœ J 3 11 f 3 ff sempre spectral œ bœ œ œ œ multiphonic 7 ‰ 2 œ œnœ œbœ ‰ 4 on given fundamental Cl. &16 4 bœ œ œœœœ 4 œbœ ff sempre 3 10 œ 3 f spectral æG multiphonic ? 7 ∑ 2 ∑ 4 æ on given fundamental B. Cl. 16 4 4 bœ ff sempre

? 7 ∑ 2 ∑ 4 ∑ Bsn. ¢ 16 4 4

œ 3 5 > œ n œ #œ œ 7 ™ œ#œnœœ##œnœœ 2 nœœ #œ nœ œ 4 Vib. &16 ≈ œ ≈ 4 ‰ ÆJ ‰ # œ 4 œ Œ Ó { œ # œ #œ #œ œ fff œ œ n œ J sfffz col Ped. sempre > “”œœ œœ ##œœ bb bœœ n 6œœ œ œ 3 b œœ b n œ #nnœœ 7 J ≈ œœ 2 ≈ bœ ≈ nœ b#nœœ ≈ 4 Œ Ó &16 nœ 4 R nœ 4 fff Pno. sfffz ? 7 j ? 2 n œ 4 { 16 n œ & bœ œ ™ 4 ≈ n œ ≈ 4 Œ Ó œ # n œœ œœ™ #œœ n b bœœ ### œœ b œ bbbœœ # #œ œ ™ bn œœ b b œœ nœ ∫b œœ “‘ “‘> col Ped. sempre #œ ° 7 2 O œ 4 Vln. 1 &16 ∑ 4 Œ 4 Œ Œ Ó f

O 1 7 2 Sul A 4 Vln. 2 &16 ∑ 4 Œ œ 4 Œ Œ Ó f

7 2 4 sub. pont. (below the bridge) Vla. B 16 ∑ 4 ∑ 4 ¿ ff sub. pont. ? 7 ∑ 2 ∑ 4 (below the bridge) Vc. 16 4 4 ¿ ff @O? ? 7 ∑ 2 ∑ 4 Cb. ¢ 16 4 4 œ fff 11 #œ 39 J J ° ™ Fl. & ‰ Œ Ó ‰ Ó " o" " , " ff " o" j Om2 Jœ Om1 œ Bœ ‰ ‰ Œ µœ ‰ ‰ Ob. & J œ 3 3 Clm2 Clmj 3 Cjlm1 j j œ j #œ™ Jœ j e™ Cl. & r ‰ ‰ ‰ Œ ≈ bœ™ ™ ‰. Jœ µœ œ

? ‰ Œ B. Cl. bœ ‰ œ bœ 3 bnœBm2 Bœm1 #œ ? Œ Œbœœ Œ Bœ Œ Bsn. ¢ # œ nœ 3 3 3 Œ ff sempre

∑ ∑ ∑ ∑ Vib. {&

& ∑ ∑ ∑ ∑ Pno. {? ∑ ∑ ∑ ∑

MSP sempre œ #œ #œ™ gliss. ° æ µœ™ 3 r ∑ Œ ‰™ æ Ó ≈æJ ‰ Œ Œ ≈ ‰ ≈ æj æ ‰™ Œ ≈ æJ Vln. 1 & J æJ æ æ 5 3 µœgliss. f f f f f MSP sempre ™ Bœ œ 3 ∑ Ó Œ 3æ Œ ‰™ æ æ ‰ ‰ 3 Œ ®æ ‰ Œ æ Œ Œ Vln. 2 & æ æ æJ æ æR µœ œ R #œæ f f f f f

MSP sempre æj 5 æj Vla. B Œ Ó ∑ ∑ ‰ æ Œ ‰ æ Œ #œ œ™ p f f ? Vc. Œ Ó ∑ ∑ ∑ p ? (?O) ? j ‰ Œ Ó™ j ‰ Ó Cb. ¢ œ o o fff o 12 10 #œ Fœlz. 43 æ ° ™ æJ Fl. & Œ Ó ‰ " o" ff " o" " o" ff JOœm2 JOœm3 œ Ob. & œ ‰ J ‰ Ó J j mp r bCœlm4 Clm2 ™ e ™ ™ #œe Cl. & ‰ Œ ≈‰ Kœ ™ µœ bœ J J 5 3 8#vaœ 16œ @¿ÍÍ e e ad lib. multiphonic trill ? ‰™ Kœ ‰ œ Eb C# ™ ™ ‰ B. Cl. J R O R mp f mp J F 5 f Bmœ3 Bœm1 bœœ BT ˙™ #œ ? Œbœœ ‰ ‰ Bsn. ¢ J œ œ 3 b˙™ J mf

Motor OFF col ped. sempre unmeasured and very fast repetitions sempre ∑ Œ œ Vib. {& æ æ æ æ æ æ æ æ æ æ æ o ff mp

unmeasured and very fast repetitions sempre ∑ ∑ mæano destra & œæ æ æ æ æ pp f Pno. ? col ped. sempre bœ æ æ æ æ æ { ∑ ∑ Œ Œ æ æ æ æ æ æ p mano sinistra f

3 œ µœ r 3 #œ ° æ æj æ œ æ œ™ Œ æj‰ Œ æ ‰ æ æ‰™ r≈™æ æ ‰ ‰ æj ‰ æJ ‰™ æ ‰ jŒ æ ‰ ∑ Vln. 1 & æ #œ æ æ æR æ æJ æ æJ œ ™ R Bœ B æ f f f nœ 3 f f f œ f f mf mf nœ™ œ 3 Bœ 3 æ œ æ µœ 5 ™ ™ æ æj æ j #œ Vln. 2 & Œ µœ Œ ≈æ ≈Œ j ≈‰ J Œ ‰æ ‰ bœ ‰ R≈ æ ≈≈æ ≈ ≈ æ ≈Œ æ Ó æJ æ æ æ œ J æ æJ 5 æJ œ f f #œ™ 3 f f f mf f f f f mf

s. µœ lis œ™ œ œg™ r æ æ ™ æ r æ æ æ æ 3 Bœ 3 #œ 3 æJ ™ æ æ ™ æJ æJ æj ™ æR æR æj æ j #œ r æ œ Vla. B ‰ ‰ æ ‰ ≈ Œ ‰ Œ ≈ æ ≈‰ ‰ ≈ æ ‰ æ ≈ æ Œ æ æ ≈‰ æ® æR ®Œ æ Œ µœ bœ µœ J œæ™ æ æ œæ™ æ 5 f 3 3 f f f f f f f f f f f f

MSP sempre j 3 5 j œ j5 #3œ ? æ j Bœ gliss. æ ™ æ æ ™ æ ™ j Vc. ∑ ‰ æ Œ ≈ æ Œ ‰ ® æj ‰ æ ‰ æ æ ‰ æ ‰ ≈ æ ‰æ ‰ #œ œæ™ æ æ™™ œ™ R R µœ œæ™ æJ f œ f f f f f f f f

? Œ Ó™ ‰ j Cb. ¢ œ œ o fff o o fff 11 13

°47 Fl. & ∑ ∑ ∑ " o"

Ob. & ∑ ∑ ∑ ∑ j spectral multiphonic sweeps j j æ G j æ æ æ æ æ æ æÍÍ r 3 ™ ÍÍÍÍÍÍÍÍÍÍÍ æ æ æ æ æ ÍÍÍÍæÍÍÍÍÍÍÍÍÍÍÍÍÍ æ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ @¿™ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ¿ÍÍÍæÍÍÍÍÍÍÍÍÍÍÍÍ @¿ÍÍÍÍÍÍÍÍ æ @¿ÍÍÍÍÍÍÍÍ @ @¿ Í Cl. & ‰ ≈ ≈ ‰ ‰ ≈ #O ™ #O™ O O f pocco 3 pocco O æ spectral multiphonic sweeps æ æ æ ÍÍ æ æ ÍÍÍÍÍÍÍÍÍÍÍ æ æ æ ÍÍÍÍÍÍÍÍÍÍÍ Gæ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ æ ÍæÍÍÍÍÍÍÍÍÍÍ æ æ ÍÍÍÍÍÍÍÍÍ @¿™ÍÍÍÍÍÍÍÍÍÍ æ Í @¿ÍÍÍÍÍÍÍÍ ¿ÍÍÍÍÍÍÍÍÍ @¿ÍÍÍÍÍÍÍÍ ? @ B. Cl. ‰ ‰ ≈nO™ Œ #O O æ æ æ æ æ æ æ O J 3 pocco J pocco

? Ó ∑ ∑ ∑ Bsn. ¢ mp

Œ æ æ æ æ æ æ æ æ æ Vib. {& æ æ æ æ æ æ æ æ œæ æ æ æ ff pp f o

? & æ æ æ æ æ æ æ æ æ œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Pno. mp f mp f ? æ æ æ { æ æ æ æ æ mp f mp bœ mf pp

(MSP) @ grp @? @ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ Ö ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ö ÍgÍliÍsÍs.ÍÍÍÍÍÍÍÍÍÍ @ ÍÍÍÍÍÍÍÍÍÍÍÍÍ œÍÍÍÍÍÍÍÍÍÍ ° œÍÍÍÍÍÍÍÍÍÍ ÖœÍÍÍÍÍÍÍÍÍ Œ Œ ‰ ‰ Œ œ Vln. 1 & œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍJÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ sffz mf 3 3 sffz sffz

Vln. 2 & ∑ ∑ ∑ ∑

(MSP) @? @ ÍÍÍÍÍÍ @ ÍÍÍÍ @ grp ÍÍ @ Ö ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ #ÖœÍÍÍÍÍÍÍÍÍÍÍ Ö ÍÍÍÍÍÍÍÍÍÍÍ #Öœ ÍÍÍÍÍ B æj ≈ Ó™ ≈ œ™ÍÍÍÍÍÍ ‰ ‰ œÍÍÍÍÍ ‰ ÍÍÍ Vla. æ & J J œ ÍÍÍÍÍ œ nœ™ ÍÍÍÍÍÍÍÍÍÍÍÍÍ J ÍÍÍÍÍÍÍÍ mf sffz sffz J sffz mf sffz

#œ 3 ? æ µœ æ Vc. ≈ æ ≈ ‰ Œ µ Œ ∑ ∑ ∑ J æJ œ mf mf mf

? ∑ ∑ ∑ Cb. ¢ o 14 12 °51 Bœ Fl. & ∑ Ó ∑ mp o µœ Ob. & ∑ Ó ∑ mp o

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ æ ™ ™ Cl. & æ ‰ Ó ∑ ∑

molto possibile R ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ? æ ™ ™ B. Cl. æ ‰ Ó ∑ ∑

molto R possibile RN ? ∑ M Œ Œ Œ Bsn. ¢ O p bOÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ fff p

arcœo (arco) Ó Œ ‰™ Ó™ ∑ Œ œ Vib. {& R ff œ f

? Ó ∑ ∑ ∑ æ æ Pno. o ? > play the repetitions fastly but very gently { j æj æ æ æ æ bœ æ æ æ simile “‘ œ sffz p @ sub. ÍÍÍÍ Ö grp @? ÍÍÍÍÍÍ #œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ° ™ ™ Vln. 1 &ÍÍÍÍÍ ‰ œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ‰ Ó ∑ ∑ J R sffz molto fff possibile O@ (O) MST Ö @? Vln. 2 & ∑ Œ bœÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ fff p @? ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™ ™ MSP Vla. & ‰ Ó ∑ B ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ molto o mf fff R possibile (O) MSP @O? ( @ ? )sul G œ gliss. ( @ ? ) ? ∑ œ œ gliss. œ œ gliss. Vc. œ œ œ œ µœ œ µ œ 3 fff sffz sffz sul C mp

@O? bœ gliss. ( @ œ ? )sul D gliss. ( @ ? ) ? ∑ œ œ œ œ™ #œ gliss. Cb. ¢ œ J œ™ # œ 3 sul A fff sffz poco sffz 15

°55 Fl. & ∑ ∑ ∑ ∑

µœ ˙™ œ œbœ Ob. & ∑ ∑ Ó Œ o pp 3

œ ˙™ œ œbœ Cl. & ∑ ∑ Ó Œ o pp 3

Vibrato molto (slow and strong vib.) ÍÍÍÍÍÍÍ¯¯ÍÍÍÍÍÍ ? Œ 3Œ B. Cl. œ o mp sempre mp ˙™ ? w RN Bsn. ¢ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍb˙™ bw bOÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ mp pp p mf p

close the discs Œ™ ‰ Œ ‰ œ ‰ Ó™ ‰ ‰ Ó Vib. {& j j j œ J J j f œ mp mf mf ¡ ¡ ? ∑ ∑ Œ Œ Œ ‚‚ ‚ Pno. £A {? ∑ mf ∑ ∑ :“; col ped. sempre o

° Vln. 1 & ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑

AST MSP AST Vla. B mp sempre

O MSP AST O MSP AST ( @ ? ) ? @? ? 3 3 æ 3 æ ? j j æ æ Vc. œ µœ œ œ œ œ œ Bœ œ

œ µ œ œ Bœ œ œ œ

sffz ë ë ë ê sfz mp sfz mp ê mf ê mp

MSP O MSP AST MSP ? @? ? @? ? 3 æ æ æ 3 æj ? œ œ æ æ æ æ Cb. œ œ bœ™ œ œ œ µœ œ œ µœ ¢ œ™ œ œ œ µœ œ œ µ œ

ë sfz ë mp sffz mf sffz ê mp mp sffz mp 16 13 FBœm3 59 Fm1 #Fœm2 K l œ ° #œ bœ œ Fl. & Bœ ‰ Œ b œ ‰ ‰ Lœ J J J p mp pp p mp pp n p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w œ ˙ œ Ob. & ∑ ∑ mp o b pp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w œ bœ œ Bœ Cl. & ∑ ∑ mp pp o ? ™ B. Cl. Œ ‰ j r ‰ j ‰ j ‰ œ p.b. œ p.b. Bœ bœ #œ µœ Bœ µœ nœ Bœ œ‰ pp molto  @ molto  @  @  @  b œœ # œ Bm4 take breath when necessary µ œ ? nœœ during p dynamics Bsn. ¢ ™ ™ ë pp mf pp ëmf pp ë mf p ë

m>allets arco (arco sempre)j bO ##œ O O Vib. & Œ Œ Œ Ó ‰ Œ Œ ‰ j { bœ mp œ œ mf mp mf ¡ ? £A Ó ∑ ‚ Œ Pno. f p mf ? ∑ ∑ Use the round superball to rub along the low string which is { adjacent to the iron frame inside the piano. While rubing the string, rub also along the frame producing an additional sound. It does not have to be the precicely note "A" as written as the position of the frame might diﬀer from piano to piano.

MSP ˜ ° #œ œ Vln. 1 & Œ ‰ J J ‰ ∑ Œ ‰ ∑ o p o o p o3

MSP B Œ ‰ µœ ‰ ∑ Œ œ ‰ ∑ Vln. 2 & J J o p o o p o3 abruptly stop the cresc. and dampen the string suddenly O with another ﬁnger ™ Vla. B Œ ‰ j r ‰ j ‰ j ‰ Œ œ #œ œ œ bœ nœ #œ nœ bœ œ p molto  p molto    

(AST) MSP Œ . O @? ? harmonic gliss. @? ? > æ 3 æ j bœ Vc. µœ œ O™ œ bœ µ œ œ O™ œ

mf mp ë mp sffz ê mf

O MSP AST O ? 3 æ gip j œæ œ æ Cb. ¢ œ œ œ æ œ œ œ

ë ë sfz ê mp sfz mp mf 17 14 b Ÿ~~~~~~~~~~~~~~~~~ °63 ˙ œ œœœbœœbœœ ˙ Fl. & ‰ Ó Ó J o 3 mf p mf if possible to pp

Ob. & ∑ ∑ ∑ ∑ n ~~~~~~~~~~~~~~~~~ ˙ œ œœœ œœ œœŸ ˙ Cl. & ∑ ∑ Ó

3 o mf take breath when necessary during p dynamics ? B. Cl. #œ #œ

3 œ

3 3 3 ê p 3 3

ë ê sffz ê 3 sffz ê

p sffz ê mp ê ê fff ê sffz ê p

Bm5 ˜ œBm6 µœ ˜œ ? #œ 3 3 3 3 3 œ Bsn. ¢ œ ˜œ

ê êsffz ê 3 ê sffz p sffz p ê p ê sffz ê mp ê fff ê

O O mallets Œ Œ j ‰ Œ æ æ æ æ æ æ æ æ æ Ó Vib. {& œ œæ æ æ æ æ æ æ æ æ

o ë o f sffz ê

¡ ? Œ Œ ‚ j ‰ Ó ∑ p mf Pno. ordinario mf ‰ ‰ 3 > {? ∑ ∑ ∑ Œ Œ ‰ j Œ œ repetitions fastly æœ æ Bœ and softly “‘ æ p æ ° J J Vln. 1 & ‰ ‰ ‰ ∑ ∑ ∑ o p o 3 #œ J J Vln. 2 & ‰ ‰ ‰ ∑ ∑ ∑ o p o 3

Vla. B ∑ ∑ ∑ ∑

MSP O ? @M?SP ? AST MSP 3 >- @? ? j 3 3 3 Vc. Bœ œ œ œ

Bœ œ œ œ

mp ê ê >- sfz ê

sfz ê mp ê ê sffz ê mp

MSP harmonic gliss. O MSP O MSP @? ? @? ? @? ? O ? > 3 > œ Cb. ¢ gliss. œ O œ œ œ œ O œ #œ œ œ œ œ

mf mp mp ê ê ê mf sffz ê mp sffz ê p sffz ê 18 15 <Ÿ>~~~~~~~~~~~~~~~~~~~~~~ KFœm5 °67 b˙™ Fnœm4 Lœ Fl. & Œ œ o pp mp pp mf g1 G# Om5 Om4 K œ Kœ #œ Bb œ œ Ob. & Œ Œ J 3 p mp 3 mf p <Ÿ>~~~~~~~~~~~~~~~~~~~~~~ ˙™ Cl. & Œ ∑ ∑ ∑ o

? j 3 B. Cl. ™ ™

êsfz p ê p ê ê ê ê ê sfz sfz ê ê ê ê sfz ê sfz ê ê sfz ê ê ê sfz sfz sfz ê

? j 3 ™ ™ Bsn. ¢

ê ê ê ê ê ê ê ê sfz ê ê ê ê ê sfz sfz sfz sfz ê p sfz sfz sfz ê ê sfz ê p ê

Motor ON a#rOco mallets (no.5) æ Œ Œ ‰ Œ œæ Vib. {& #œ J o mf mf ¡ ? £A p mf ∑ ‚ Œ ∑ Pno. col ped. sempre ? > > > > > > 3 > > > { j ‰ ‰ j Œ j ‰ Œ j ‰ Œ ‰ j Œ ‰ j Œ ‰ Œ j ‰ ‰™ j ‰™ mf ≈œ œ œ œ ≈œ œ™ œ œ™ œ œ œ œ æ œ œ œ œ œ œ æ æ ≈ æ æ æ æ ≈ æ æ æ ≈ æ æ æJ ≈ æ æ æJ ‰ æ æ ≈ æ æ æ ≈ æ p æ æ æJ æJ J æR æR æJ æR R æ :“; R R 3

ST #œ MSPO ° ™ œO Vln. 1 & Ó Œ Œ Ó Ó œ 3 o mp o o SµTœ Bœ Vln. 2 & ∑ Œ Œ 3 o mp pp mp @? @? @? simile B j ‰ ‰ j Œ j ‰ Œ j ‰ Œ ‰ j Œ ‰ j Œ ‰ j ‰ Œ j ‰ ‰™ j ‰™ Vla. œ œ œ œ œ œ œ œ œ sfz sfz sfz 3

MSP-O MSP-O MSP-O > MSP-O MSP-O MSP-O MSP-O MSP-O 3 ? > > > > > j > > > Vc. œ µœ µ ™ #œ œ ™ œ bœ œ œ œ µœ œ #œ œ œ œ

œ œ bœ œ œ œ µœ #œ œ œ #œ

ê ê ê sffz mp ê ê ê ê ê ê ê ê ê ê ê ê ê ê

MSP-O MSP-O MSP-O > M>SP-O M>SP-O M>SP-O M>SP-O M>SP-O > > > ? j 3 Cb. ¢ #œ œ œ œ ™ œ #œ ™

# œ œ #œ œ œ œ œ œ œ

ê ê ê ê ê sffz ê mp ê ê ê ê ê ê ê ê ê ê ê 19 16 n Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ °71 ˙™ œ #œ œ ˙™ ˙ #˙ Fl. & Œ pp o 3 mf pp o n Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B˙™ œ #œ œ ˙™ ˙ #˙ Ob. & ‰ Ó Œ J o p o 3 mf pp

Clm5 bœ Cµœlm6 Œ Œ e Œ Ó Ó Cl. & Kœ œ pp ff pp ? B. Cl. Œ Ó ∑ ê ff o bnœ bœ b Bœmœ4 Bm2 #œ Bm7 œ # œ µ œ ? Bœ Bœ nœœ Œ Bsn. ¢ # œ J

ê ê3 > ê o ê ff ê ff ff aOrco swith motor swith motor to no.3 to no.1 Œ Œ ‰ œ ∑ Vib. {& J o mf

£A ? ∑ ∑ Œ Œ ‚

¡ mf Pno. poco> sfz {? Ó j ‰ Œ ∑ ∑ ∑ œ æ æ Ó :“;æ æ #œ ° J Vln. 1 & Œ Œ ‰ mf o 3o pp BMOSP µœ µœ J Vln. 2 & Œ Œ ‰ o mf o 3o pp MSPµµœO ™ Vla. & Œ ‰ R Ó o mf pp o

MSP O > MSP O ? gliss. bœO œ Vc. Œ

ê Œ mf o ê mp @? ? @ @? 3 > > 3 ? > j j Cb. ¢

ê ê ê ê ê ê ê p mf ê p 20 17 Fm6 Fm4 Kœ Fm7 °75 œ Kœ œ ‰ Œ Œ ≈ ‰ œ Kœ Fl. & J œ J J R 3 mp pp pp p pp p

#Oœm6 Onœm7 œ ‰ Œ Œ ≈ Bœ ‰ bœ Ob. & J lœ J R 3 mp pp pp mp pp

Clm8 Cœlm7 ‰ œ Cl. & lœ œ mp 3 pp 3 pp mp p p ? B. Cl. ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ Bsn. ¢

O Motor OFF O Œ Ó Œ Ó Vib. {& œ œ p p

ppp p £A ? Ó Œ sfumato 3 3

bœœ simile Pno. “‘ ? Softly give the impuls to the string with a mallet { (like playing the percussion instrument) ∑ The exact rythm is not supposed to be heard, col Ped sempre but only a very muﬄed low frequency cloud of sound. (do not change or lift the pedal until bar 96)

#œ ° Vln. 1 & ∑ ∑ o #œ

Vln. 2 & ∑ ∑ o sub. pont. below the bridge, on the wrapping 3 3 with noise sempre Vla. B j j

¿ > >

o ê ê mf ê p mf ê p mp sub. pont. below the bridge, on the wrapping ? 3 3 with noise sempre Vc. j j

¿ > > >

o ê p ê mf ê mp mp mf ê p

@ @? @ @? @ @? @ @? 3 > >3 ? j3> j > Cb. ¢

o ê ê ê p ê p ê mf ê mp ê ê

o 21 18 e Pochiss. Più mosso q. = 45 (q = 68/e = 136) Fm8 œ™ Fm4 œ œ œ™ œ™ œ™ °79 œ e = e œ œ œ œ J kœ™ J 15 Fl. & J œ 8 5 3 p gentile mp pp mp pp p pp e cantabile sempre

Om8 Bœ™ # Oœm6 nœ™ œ™ œ™ Bœ œ œ œ œ œ œ J œ™ œ 15 Ob. & J l 8 5 p gentile pp mp p pp e cantabile sempre r µœ Clm6 œ œ™ œ™ 15 J Cl. & ™ 8 ™ ™ J œ pp p mp pp mp p ? 15 B. Cl. ∑ ∑ ∑ 8 ∑

? ∑ ∑ ∑ 15 ∑ Bsn. ¢ 8

(arco) l.v. ∑ ∑ 15 j Ó™ ∑ Vib. {& œ 8 col ped. pp mf

15 ? 8 ∑ l.v. Pno. 15 {? ∑ ∑ ∑ 8 ∑

sub. pont. ﬂautando ° 3 gently play on the indicated strin1g5 behind the bridge Vln. 1 & ∑ Œ Œ Œ ¿ 8 o p pp

ﬂautando Ó™ sub. pont. gently play on the indicated string behind the bridge15 Vln. 2 & ¿ 8 o p pp

gradually displace the bow from the wrapping of the string to the part without wrapping e.g. from noise to a very high deﬁnite pitch (stay sub. pont sempre) ﬂautando 15 Vla. B 8 p pp

gradually displace the bow from the wrapping of the string to the part without wrapping e.g. from noise to a very high deﬁnite pitch (stay sub. pont sempre) ? ﬂautando 1 g5entile sempre Vc. 8

p pp

gradually move the bow across the bridge to sub pont. ? simultaneously release the pressure until you reach high and fragi1le5 deﬁnite pitch) ﬂautando gentile sempre Cb. ¢ 8 ¿ Œ pp p 22

> > > > > œ 83 œ œ œ œ™ œ™ œ œ œ œ œ œ™ > µ œ œ µœ™ œ™ œ™ nœ œ œ œ œ™ œ™ œ™ ° 11 J 9 œ J 14 œ œ œ 15nœ Fl. & 8 ‰ 8 8 8

> ™ > œµœ™ œ™ œ > œ œ œ > œµœ œ œ ™ ™ ™ > > ™ ™ ™ 11 œ œ J 9 œ œ œ J 14 œ œ œ œ 15 œ œ œ œ œ œ œ œ œ Ob. & 8 ‰ 8 8 8

> > ™ ™ > œ œ œ™ > > œbœ™ œ™ œ™ >µ µœnœ nœ œ œ™ œ™ œ™ 11 œ œ œ œ œ œ 9 œµœ œ J 14 œ œ œ œ 15µœ œ Cl. & 8 J ‰ 8 8 8 gentile e cantabile sempre ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ ? 11 Œ™ Œ™ ‰ Œ 9 Œ™ ‰ Œ™ 14 Œ Œ™ ™ ™ 15 Œ™ Œ™ ™ ™ ™ B. Cl. 8 œ 8 œ 8 œ™ 8 œ p o o p o p o p o

? 11 Œ™ Œ™ ‰ j Œ ‰ 9 Œ™ Œ Œ™ 14 Œ Œ ‰ j Œ Ó Œ 15 ∑ Bsn. ¢ 8 œ 8 j 8 œ 8 >. œ. >. p sempre >

hard mallets >O 11 ∑ 9 ∑ 14 ∑ 15 Œ™ Œ Œ™ Œ™ Œ™ Vib. {& 8 8 8 8 œ col ped. sempre J mf approx. ≈11th Partial ≈13oth ≈6th sounding result >o µ> o 11 ∑ 9µœ 14 œ 15 & 8 8 8 8 #>œ f Pno. 11 9 14 ™ 15 ™ {? 8 ∑ 8 ∑ 8 ‰ ∑ 8 Œ ∑ indicated string O O #O J J col ped. sempre J

° 11 9 14 15 Vln. 1 & 8 8 8 8 molto gentile sempre

11 9 14 15 Vln. 2 & 8 8 8 8 molto gentile sempre

11 9 14 15 Vla. B 8 8 8 8 molto gentile sempre

? 11 9 14 15 Vc. 8 8 8 8 molto gentile sempre gently change the string behind the bridge (sul A) ? 11 9 14 15 Cb. ¢ 8 8 8 8 ™ ™ ¿™ ™ ™ molto gentile sempre sempre ﬂautando e gentile 23 19 -. µœ™ œ™ > . > œ > -. ™ 87 œ œ œ œ œ œ œ œ. µœ œ™ œ™ œ™ œ œ nœ œ ˙ œBœ œ œµœnœnœ œ œ ° 10 J 16 œ J 10 J 12 J Fl. & 8 ‰ 8 8 ‰ 8

-. . > ™ ™ ™ > œ œ œ œ™ œ™ > . œ œ œ œBœ œ œ œ µœ œBœnœ œ ˙ œ œ -. œ œ™ 10 J 16 œ œ J 10 12 œ œ œµœ œ Ob. & 8 ‰ 8 8 ‰ J 8 J

- -. œ œ™ œ™ > . œ œ. >œ œ™ œ™ œ™ > œ ˙ œ œ œ. œ œ™ 10 nœ œ 16 œ œ œµœ 10 œnœ œ œ 12 œ œ œ œ J Cl. & 8 ‰ J 8 J 8 ‰ J 8

Œ Œ Œ Œ. . . ÍÍÍÍÍÍ ? 10 Ó 16 Ó™ 10 Ó Ó 12 Œ™ Œ™ ‰ B. Cl. 8 œ 8 œ ™ ™ 8 œ 8 œ...... >. . . . . o o > o p o p p p

? 10 Ó j ‰Ó 16 Ó™ j Œ™ Œ™ Œ™ 10 Ó j ‰ Ó 12 Œ™ Œ™ ‰ ‰ Œ™ Bsn. ¢ 8 œ 8 œ 8 œ 8 j >. >. >. œ >.

>O 10 ∑ 16 Ú 10 ∑ 12 Œ Ó™ Œ™ Vib. {& 8 8 8 8 œ J mf

≈7th ≈5th ≈6th ≈7oth >o >o o > 10 ‰B 16 10 ‰ > 123#œ & 8 œ 83#œ 8 œ 8 Pno. 10 16 ™ 10 12 {? 8 ‰ ∑ 8 ‰ Œ ∑ 8 ‰ ∑ 8 ‰ Œ ∑ O #O O J O J J J

° 10 16 10 12 Vln. 1 & 8 8 8 8

10 16 10 12 Vln. 2 & 8 8 8 8

gently change the string behind the bridge (sul G) B 10 16 10 12 Vla. 8 8 8 8 ™ ™ j ¿ ™

gently change the string sempre ﬂautando behind the bridge (sul D) e gentile ? 10 16 ™ ™ 10 12 Vc. 8 8 ¿ 8 8 sempre ﬂautando e gentile sul D j sul G ? 10 16 ¿ ™ ™ 10 12 ™ ™ ¿ ™ Cb. ¢ 8 8 8 8 24 20 - > -. 91 œ - - œ œ™ >œ w œ ° 16 œ ˙™ ˙™ 7 œ œ 10 J 4 Fl. & 8 Œ 8 ‰ J 8 ‰ 4 n - > -. > Ÿ~~~~~~~~~~~~ œ- œ -™ ™ œBœnœ™ œ µw <µ>œ n˙™ 16 #˙ ˙ 7 nœ J 10 J 4 Ob. & 8 Œ 8 ‰ 8 ‰ 4 f - - - ˙™ ˙™ > -. µ œ™ >œ µw <µ>œ 16 œ œ 7 œ œ œ 10 J 4 Cl. & 8 Œ 8 ‰ J 8 ‰ 4

Œ Œ Œ ÍÍÍÍ¯¯ÍÍÍÍ ? 16 ÍÍÍÍÍÍÍÍÍÍ 7 10 ‰ 4 B. Cl. 8 Ó 8 ∑ 8 ‰ 4 Œ #œ œ bœ o p o ...... p o p f p ÍÍÍÍÍÍÍÍÍ ? 16 7 10 ÍÍÍ¯¯ÍÍÍÍÍ 4 ÍÍÍ Bsn. 8 Ú 8 ∑ 8 ‰ 4 ¢ œ j œ p mf p fff >O 16 7 ™ 10 4 Vib. & 8 Ú 8 Œ ‰ œ Œ 8 ∑ 4 ∑ ∑ { J

≈3rd ≈4th ≈4th 16 o 7 o 10 >o 4 & 8 Œ 8 ‰ > ? 8 ‰ œ 4 ∑ ∑ >œ #œ Pno. 16 7 10 4 {? 8 Œ ‰ Ó ∑ 8 ‰ ‰ Ó 8 ‰ ∑ 4 ∑ ∑ O #O J J ff O J

sub. pont sul E ° 16 Œ Œ ¿ 7 10 4 Vln. 1 & 8 8 8 4 sempre ﬂautando sub. pont sul A e gentile

sub. pont sul A 16 7 10 j 4 Vln. 2 & 8 8 8 ‰ ¿ 4 sub. pont sul D

16 7 10 4 Vla. B 8 8 8 4 o

sul A ? 16 ¿ 7 10 4 ™ suœl C Vc. 8 8 8 4 Ó œ o œ sempre ﬂautando p e gentile fff sœul A ? 16 7 10 ™ 4 œ Cb. 8 8 8 Ó 4 ¢ o œ p fff 25 21 Tempo primo q = 60 p.b. 96 œ ° 9 ™ 6 Fl. & 8 ‰ Ó 4 ∑ o ˙™ 9 6 Ob. & Œ 8 ∑ 4 ∑ o

p.b. 9 œ ™ 6 Cl. & 8 ‰ Ó 4 ∑ o > slap r 4 ? ‰™ Œ ≈ ‰ ‰™ 9 Œ >4 ‰ Œ j ‰ Œ™ 6 ∑ B. Cl. r b4 R 8 4 4 > J >4 fff > 3 æ 3 ? ‰ j æ æ æ æ 9 æ œ 6 Œ Ó™ Bsn. æ æ bœæ 8 æ æ 4 ¢ œ æ æ æ æ æ æJ æ æ pp pp ff ff pp ff pp mp o > > sforzatissimo sempre b>œ œ œ > 3r #>œ Œ Œ ≈ r ‰ r ‰™ 9 ‰ œ ‰ Œ ≈≈ R ‰ R ‰ ‰ 6 R ‰™ Œ Œ Ó™ Vib. {& 8 œ R 4 bœ œ R > fff > > 5 ” col ped. sempre 3 “ n>œ #>œ > œ > #œ ? 9 œ R ™ R ™ 6 R ™ ™ ∑ & 8 ‰ R ≈ ‰ ‰ ‰ 4 ‰ Œ Œ Ó sforzatissimo sempre >œ Pno. fff > r > ? ™ bœ ™ 9 œ ™ 6 { r ‰ ≈ r ‰ ≈ R ‰ œ ‰ 8 ‰ R ‰ & R ‰ 4 ∑ œ > bœ 5 3 “‘ > > col ped. sempre 1 1 MSP O gliss. ≤ ≥ ≤ ≥ ≤ ≥ etc. ° 9 œ 6 æ æ Vln. 1 & 8 Œ Œ œ 4 æ J o J fpp ff ffff start a fast accelerating gliss 1 MSP start very 1 3 slow gliss O gliss. j ≤ ≥ ≤ ≥≤ etc. 9 Œ œ 6 æ æ Vln. 2 & 8 #œ 4 æ J o sffpp mp ff ffff 1 start very 1 O gliss. » » MSjP slow gliss j ≤ ≥ ≤ ≥ ≤ etc. B j ‰ ≈ j ≈Œ ‰ µœ 9 6 æ æ Vla. µ œ 8 4 æ J œ >œ > sffpp mp ff ffff sfffz sfffz 1 start very O 1 » MSP slow gliss ≥ ≥ etc. gliss. ? ‰ ≈ r j 9 j 6 ≤ ≤ ≤ æ Vc. j bœ 8 4 æ J œ œ æ > sffpp mp ff ffff sfffz start a fast j start a very accelerating gliss æ æ O ≤ ≥ etc. æ æ1 slow gliss ≥ ≤ ≥ ? MSP 9 6 ≤ Cb. 8 j 4 ¢ œ gliss. mp sffpp ff ffff 26 22 Bœ 99 ° 4 9 R Fl. & 4 ∑ ∑ Ó Œ ≈ 16 non cresc. 3 p

5 œ 4 r 3 œ 9 Ob. & 4 ∑ Ó Œ Œ bœ J 16 R J p non cresc. 3 fff 4 3 9 œ p.b. Bœ Cl. & 4 j ‰ Œ Ó Œ Œ ‰ µœ 16 µœ J 4 p non cresc. slap > r >4 œ ? 4 > j J >4 3 9 B. Cl. 4 j ‰ ‰ 4 ‰ ‰ ‰ ≈ 4 Œ ‰ Œ Œ Œ r≈Œ Ó 16 Œ ≈ 4 J 4 > R 4 > 5 > p slap > 3 fff æ æ j3nœ ? 4 æ æ æ æ 9 Bsn. 4 æ æ æ œ 16 ∑ ¢ æ æ œ æ ™ bœ #œ o pp ff pp ff pp mf pp mp > >œ > > 3 5 œ œ > œ 5 r >œ 3 r 3 > R #œ 4 Œ Œ ≈ ‰ ‰ ≈bœ ≈ ‰™ r ‰ ≈‰ r ≈‰ Œ bœ Œ r≈≈œ‰ ‰ R ≈≈ ≈‰ 9 ‰ R ≈≈ R ≈‰ R ≈ Vib. {& 4 r r œ R œ > œ R 16 fff œ œ > > 3 3 > > > col ped. sempre #>œ > >œ >œ œ 4 > 3 r R 9 r & 4 ∑ ‰™ r Œ #œ ‰™ Œ R ≈ Œ ≈Œ ‰ R ≈‰™ 16 ‰ R ‰ ‰™ œ R œ œ > 3 > > Pno. fff > ? 4 ™ 3 œ ™ r 9 { 4 r ‰ r ‰ ‰ ‰ R ‰ ‰ œ ∑ ∑ 16 ∑ #œ > œ > 5 “>‘ col ped. sempre

MSP ° 4 3#œ 9 Vln. 1 & 4 ∑ ∑ Œ œ 16 J sffpp mp MSP 5 r 4 ∑ Œ Œ Œ µœ 9 Vln. 2 & 4 µ œ 16 sffpp mp

MSP start a 5» r slow gliss B 4 Œ Œ ‰ j ≈ ‰ ≈ µœ 9 Vla. 4 œ µ œ 16 sfffz sffpp mp

MSP start a very ? 4 » 3 slow gliss 9 Vc. 4 ‰ ‰ j ‰ bœ 16 Bœ œ b œ Bœ sffpp mp sfffz start a very ? 4 MSP slow gliss 9 Cb. ¢ 4 œ 16 œ sffpp mp 27 23 3œ p.b. 103 5#œ™ p.b. ° 4 J 6 #œ 4 J Fl. & 4 ‰ 4 Ó ≈ ‰ Œ Œ 4 ‰ ‰ mp p pp œ œ 3œ 3bœ J 4 6 ™ 5 3 œ 4 bœ Ob. & 4 Œ Œ 4 Ó Œ ‰ œ J J 4 J 3 3 pp p mf mp pp 5 slap 5 r 3> l.b. 5œ 4 Ó 6 > ‰ ≈‰ ‰ ‰ Œ ≈œ 4 #œ ≈ Cl. & 4 4 j j #>4 4 #4 p pp 4 > p p.b. bœ fff nœ j > 3j 3 > ? 4 ∑ 6 j ‰ ≈ ‰ #4‰ ‰ ‰ 4 ‰ ‰ ‰ j‰ 4 ‰ ‰ 4‰ ‰ Œ B. Cl. 4 4 4 r R 4 J pp 4 > #4 > 4 slap > > 5 > 3 p fff 5 3œ ? 4 6 æ æ æ 4 ∑ Œ æ æ œæ™ æ Œ Bsn. ¢ 4 æ 4 æ æ 4 œæ æ æ æ ™ #œ æ > o p ê fff pp ff pp mf p > > œ > > > œ #œû 5 r > œ bœ >œ 4 R ‰™Ó™ ∑ 6 ‰™ r‰ ‰ r ‰ R ‰ ‰ ‰ ≈œû≈≈ û‰ 4 ‰ ‰ ‰J ‰ ≈ û ‰ ≈>œ ‰ Vib. {& 4 4 #œ œ J J 4 R J û œû >û >û J fff > 5 3 3 3 3 5 pitch bend each note with another mallet 3 “” col ped. sempre “” #>œ r >œ >œ >œ œ œ b>œ 4 R ™ ™ 6 > œ 4 R R R & 4 ‰Ó ∑ 4 ‰ œ ‰ 4 ≈ R ‰ ‰ ≈‰ ‰ ÆJ > 5 3 Pno. col ped. sempre > 3 sfffz >œ #œ > >œ ? 4 6 r ™ 4 j { 4 ∑ ∑ 4 ‰ R ‰ r ‰ ‰ R ≈‰ ≈nœŒ 4 nœ ‰ R ≈‰ #œ #œ R > “‘> > 3 1 1 (MSP) O gliss. 3 ≤ ≥ ≤ ≥ ° ≤ ≥ ≤ ≥ ≤ µ œ 4 æ 6 ∑ Œ Œ µœ 4 Vln. 1 & 4 æ æ 4 4

ff ffff sffpp 1 1 (MSP) O ≤ ≥ ≤ gliss. 3œ 4 ≤ ≥ ≤ ≥ ≤ æ 6 Ó™ ‰ ‰ œ 4 Vln. 2 & 4 æ æ 4 J 4 sffpp ff ffff 1 1 O (MSP) ≥ ≤ gliss. 5 3µœ ≤ B 4 ≤ ≥ ≤ ≥ ≤ æ 6 ‰ ‰ j≈‰ ‰ ‰µœ 4 Vla. 4 æ æ 4 #œ J 4 ff ffff 1 sffpp 1 O (MSP) gliss. 3» ≤ ≥ ≤ ? 4 ≤ ≥ ≤ ≥ ≤ æ 6 ‰ ‰ œ 4 Vc. 4 æ æ 4 j œ 4 œ sffpp ff ffff sfffz 1 start a very ≤ ≥ ≤ ≥ O (MrSP) slow gliss ? 4 ≤ ≥ ≤ ≥ ≤ gliss. 6 j 4 Cb. 4 æ 4 ≈œ 4 ¢ æ æ sffpp ff ffff 28 24 #œ #œ °107 J Fl. & ‰ Œ mp f p o œ J Ob. & ‰ ‰ Œ 5 mf mf f p o bœ bœ Cl. & mf f p pp ? bœ B. Cl. & J ‰ Œ mp f p o

? ∑ Bsn. ¢ œ f pp o

>œ >œ Motor ON, no.5 (fast) > û >œ very soft mallets presto The sound should be very muﬄed always, sfumato œû R R Vib. & ‰ ‰ ‰ ‰ R ≈ ≈ ‰ Œ Œ Œ { J œbœœbœ#œœœœ bœœœ#œbœœœœœœœœœœœœœœœœœœœœœœœœœœœœ 3 ” ppp p “ >œ col Ped sempre b>œ #œ & Œ ‰ R ≈ J ≈ ‰ Œ ∑ ∑ > 5 Pno. >œ bœ fffff {& ‰ R ‰ ≈ R ≈ Ó ? Œ Ó ∑ œ œ hold the pedal until the sound completely fades out 1 O 1 ≤ ≥ gliss. ° æ O Vln. 1 & æ Œ Œ bœ ff ffff , 1 mp 1 O ≥ ≤ ≥ gliss. æ Œ Œ bOœ Vln. 2 & æ b œ ff ffff , 1 mp O 1 O ≥ ≤ ≥ gliss. 3 Vla. B æ ∑ Œ bœ æ , ff ffff 1 1 O O ≥ ≤ ≥ gliss. bœ ? ∑ Ó ‰ b œ Vc. æ J ff ffff , 1 O ? ≤ ≥ ≤ gliss. Œ O Cb. ¢ æ æ œ pp ff ffff ff pp 29

°110 Fl. & Œ ‰ Bœ ‰ Œ Œ ‰ Bœ Œ bœ J J J , mp o , mp o pp

∑ ∑ ∑ Ob. & bœ pp

3 Cl. & Ó Œ Œ j Œ ∑ Bœ , mp o bœ ? B. Cl. & ∑ ∑ ∑ pp

? ∑ Ó Œ ‰ 3 Bsn. ¢ bœ pp mp o simile, quasi improvisando (repeat the model; with slight variations) Vib. {&

& ∑ ∑ ∑ ∑ Pno. {? ∑ ∑ ∑ ∑

° œ Vln. 1 & Bœ bœ Bœ

mf mp p mf mp

MSP AST MSP Vln. 2 &

MSP O AST MSP 3 j Vla. B Bœ bœ Bœ nœ µœ mp mf mp mf p f

? MSP AST MSP Vc.

MSP ? Œ Œ bœ bœ Cb. ¢ J 3 3 , mp 30 25 °114 Œ ‰ µœ Œ ‰ nœ Fl. & J J , o pp mp o mp mp j Ob. & Œ Ó Ó Œ ‰ œ pp mp o mp

p.b. œ #œ Cl. & ∑ Œ ∑ mp o

? Œ Ó Ó Œ ‰ œ B. Cl. J mp o pp mp

? ∑ Œ ∑ Bsn. ¢ œ mp o

simile Vib. & bœ œ bœ { œbœ#œœœœœœ œ œbœœœœœnœbœnœœœbœbœœœbœ œœœœ œnœœbœœnœœbœœœœnœ sempre sfumato, p e col ped.

& ∑ ∑ ∑ ∑ Pno. {? ∑ ∑ ∑ ∑

° œ µœ bœ ne µœ Vln. 1 & nœ f mp f mp mf p mf

O e 3 Vln. 2 & œ œ Œ Œ œ f mp p

O 3 j Vla. B œ µœ bœ œ p f mp mf p

O MSP AST ? œ Vc. œ µœ

f mp mf sempre sul D

O MSP AST ? œ Cb. ¢ µœ e sempre sul A f 31 26 °118 #w œ #œ œœ œ œ œ ˙ Fl. & ∑ o f ff 3 ˜w œ˜œ œœ œ œ œ ˙ Ob. & ∑

o f ff 3

3 Cl. & µœ p.b. nœ ˜w œ˜œ œœ œ œ œ ˙ p mf f ff

? B. Cl. ∑ o œ f ff mp ? Bsn. nœ bœ µœ ¢ æ æ æ æ æ æ æ æ œ pp mf ff mp fff

In the same manner, slowly and ad lib. j j transpose the model upwards. # œ l.v. sempre normal (harder) mallets #œ #œ #œ ‰ Œ Ó Ó ‰Œ Vib. {& > #œ ff > Continuously hit the lowest two strings with a soft mallet. The attacks should not be heard. ⁄A The eﬀect should be like a subwoofer continuous background ⁄A ? Ó b œ œ l.v. sempre ‘ Pno. “‘pp ” f ” “ {? ∑ ∑ ∑ Ó j ‰Œ ff bœœ col Ped. sempre º “‘>

con forza sempre ° #œ #w œ #œ œœ œ œ œ ˙ Vln. 1 & 3 f fff

con forza sempre 3 bœ ˜w œ ˜œ œœ œ œ œ ˙ Vln. 2 & bœ ˜ w œ˜ œ œœ œ œ œ ˙ mf f fff con forza sempre 3 Vla. B #w œ #œ œœ œ œ œ ˙ µœ nœ # w œ #œ œœ œ œ œ ˙ mf f fff

con forza sempre MSP O ? bœ 3 Vc. #w œ #œ œœ œ œ œ ˙

f fff con forza sempre MSP O ? #w œ 3 Cb. ¢ œ #œ œœ œ œ œ ˙ f fff 32 27 122 ™ > ™ œ ° œ #œ œ œ œ œ œ œ 5 œ œ #œ œ œ œ 3 n˙ 4 Fl. & ‰ 8 J 4 4 3

> œ ˜œ œ œ œ œ œ ‰ œ™ 5 œ œ ˜œ œ œ œ 3 #˙™ 4 œ Ob. & 8 J 4 4 3

3 ‰ 5 j 3 4bœ Cl. & ™ 8 4 #˙™ 4 œ ˜œ œ œ œ œ œ œ œ œ ˜œ œ œ >œ j ? 5 3 4 B. Cl. Ó ‰ 8 j 4 Œ Œ 4 œ bœ fff fff ? 5 Œ Œ j 3 4 Bsn. ¢ 8 #œ 4 4 > #œ œ fff fff

j bow the indicated strings #œ Go to the back side of the piano. Œ Œ ‰ Œ 5 ∑ 3 ∑ ?in4side the pia∑no Vib. {& 8 4 4 #>œ n>œ ⁄A > ? 5 3 nœ 4 Œ ‰ 8 ‰ Œ & 4 Ó 4 Œ Ó Pno. :“; ff j 5 3 4 {? Ó ‰ Œ 8 ∑ 4 Ó 4 Œ Ó b œ #œ bœ º >œ #œ ff “‘ > b>œ SP #œ œ œ œ œ œ œ™ œ œ #œ œ œ >œ- n ˙™ ˙™ œ ° 5 3 #˙™ 4 æ Vln. 1 & ≈ ‰ 8 J 4 4 3 very fast tremolo SæP 3 j ™ ™ æ ˜œ œ œ œ œ œ œ™ 5 œ œ ˜œ œ œ œ 3 #˙ 4 n˙ œ Vln. 2 & ≈˜ œ œ œ œ œ œ ‰ œ™ 8 œ œ˜ œ œ œ œ 4n ˙™ 4 >- ˙™ œ very fast tremolo

SP B ≈ 3 ‰ 5 j 3 4 ˙™ œ Vla. #œ œ œ œ œ œ œ™ 8 œ œ #œ œ œ œ 4 n˙™ 4b˙™ æœ # œ œ œ œ œ œ œ™ œ œ # œ œ œ -œ # ˙™ æ > very fast tremolo

3 j SæP ? ≈ ‰ 5 3 4 ™ æ Vc. #œ œ œ œ œ œ œ™ 8 œ œ #œ œ œ -œ 4 n˙™ 4b˙ œ > very fast tremolo

3 j SæP ? ≈ ‰ 5 3 4 ™ æ Cb. ¢ #œ œ œ œ œ œ œ™ 8 œ œ #œ œ œ -œ 4 #˙™ 4b˙ œ > very fast tremolo 33 œ 126 #œ ° J J Fl. & Œ ‰ p p f p 3 p f pp

j 3 j Ob. & Œ ‰ µœ Œ µœ mp p ff p mp f 3 œ

Cl. & Œ Œ Œ ‰ p p f ÍÍÍÍÍÍÍÍ¯¯¯¯¯¯ÍÍÍÍÍÍÍ ? Œ Œ B. Cl. œ p ff ÍÍÍÍÍÍÍÍÍ¯¯¯¯¯ÍÍÍÍÍ ? Ó Bsn. ¢ œ p ff

Piano emphasize the overtones strings overtones ?  Mostly fundamentals should sound Perc. bœœ { “‘ f Pianist and Percussionist: Bow the series of indicated strings inside the piano, with a heavily rosined nylon/ﬁshing line. Try to maintain a continuous sound. try to emphasize ad lib. overtones & Change the bowing direction as imperceptibly as possible. Pno. ?  overtones { f ‘bœ “ Hold the pedal the entire time

Tutti archi: Every new attack should be played sffz and agressively @? @ ? @? ? @ @? O ≥ ≥ ≤ œ œ bœ µœ œ œ™ #œ µœ≥ œ≤ ≥ ° J Vln. 1 & œ œ œ™ j œ œ œ > œ œ nœj 3 œ œ ff sempre sffz 5 > 5

O sul A sempre ≥ @ ? 3 ? ? 3 j @? @? j 3 #œ œ œ œ µœ™ #œ #œ Vln. 2 & j œ ™ œ œ œ œ ff sempre sffz >

O @? ≥ 3≥ ? @ @? @? ? sul G j ≤ ≥ ≥ Bbœ™ œ œ ≤ B bœ œ œ bœ œ œ j œ Vla. J œ J sffz sul G, simile come prima œ ff sempre gliss. sul G sempre 3> @? @ @? ? sul A @? AST sul D (SP) MSP ≥ MSP ≥ ? µœ œ Vc. bœ œ ff sempre gliss. sul G sffz gliss. sul D @ sul G @? @ ? @? SP MSP ≥ ? (SP) MSP AST 3 3 Cb. ¢ bœ Bœ œ bœ ff sempre sul E sffz 34 28 bisb. accel. œ sÍlÍoÍwÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍfÍaÍstÍÍÍÍ °130 Bœ Fl. & Œ Œ Œ p f pp p mf f

3#œ µœ™ #œ Ob. & J Œ µœ pp ff pp p ff mp mf bisb. slow ÍÍÍÍÍÍÍaÍcÍcÍelÍ.Í Œ ‰3 Œ µœ Cl. & µœ p p mf p ff pp ÍÍÍÍÍÍÍ¯¯¯ÍÍÍÍÍ ÍÍÍÍ¯¯¯ÍÍÍÍÍ ? Œ Œ B. Cl. œ œ p ff p ff ÍÍ ÍÍÍÍÍÍ¯¯¯¯ÍÍÍ ? Ó Œ Œ Bsn. ¢ œ œ p p ff p

? Perc. {

During next 3 bars change the pressure, bowing angle, part of the string etc. in order to get rich, complex and morﬁng sonorities. ? Pno. {

? @? ? ? @? ? @? ? @? @≥ ≤ bœ ™ Bœ™5 #œ µœ 5 œ ≥ µœ œ3 œ Bœ Bœ >> ° > > Vln. 1 & œ > œ> œ™ > œ œ œ œ œ œ >j œ j œ œœ œ J ™ œj œj œj œ œ œ œ œ nœ œ œ œœ œ œ œ œ > œ œ> œ œ œ 3 > > >

@ ? @? ? @? @ ? @? > #œ ≤ ≥ ≤ µœ #œ œ #œ œ > #œ #œ > > > > #œ > Vln. 2 & j j nœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ >œ œ œ J œ 3 3 3 ? @? ? @? O sul D MSP SP O MSP 3 r 5 ≥ ≤ r 5 ≥ sul A œ j µœ µœ B µœ µœ j j µ œ Vla. œj œ œ œ œ œ œ œ œ œ > sul G > > sul D ? @? @? @ @? ? O MSP SP O MSP 3 5 O o sul D ≥ 3 j bœ ™ > > ? bœ µœ bœ nœ >œœ µœ œ ≤j >> #œœ Vc. œ œ œœœ ™ œœ œ œ J œœ œ

? @? ? @? ? @ @? AST MSP O MSP O MSP ≥ ≤ ≥ 3 sul E gliss. sul E 3 ? j j Cb. bœ œ bœ bœœ œ œ™ œ ¢ µœ µœ œ sul E sul A 35 29 bisb. accel. bisb. ÍÍÍÍÍÍ œ ÍsÍloÍÍwÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍfÍaÍsÍtÍÍÍÍÍÍÍÍÍÍÍ fÍaÍsÍtÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ °134 #œ Fl. & Œ Œ ‰ p 3 ff mf f ff fff bisb. bisb. slow accel. fast fastÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ µœ œ Ob. & ‰ J J ‰ f ff pp ff pp fff p

bisb. accel. bisb. fast sÍlÍoÍwÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ fast fast ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍj œ ÍÍÍÍÍÍÍÍÍ œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Cl. & ‰ Œ Œ ‰ f ff 3 fff 3 p f fff G ÍÍÍ ÍÍÍÍÍÍÍÍ¯¯¯¯¯ÍÍÍÍ ? Œ Œ Œ B. Cl. œ œ p fff p ÍÍÍÍÍÍÍ¯¯¯ÍÍÍÍ ÍÍÍÍÍÍÍÍ¯¯¯¯¯¯ÍÍÍÍÍÍÍÍ ? Œ Œ Bsn. ¢ bœ ff p fff ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ? 3 3 5 Perc. { Perc: During next 5 bars change the bowing direction as indicated. Also change the pressure, bowing angle, part of the string etc. in order to get rich, complex and always evolving sonorities. ?  Pno. { Change to A string ‘œ “ ff ? @? mp µœ3 œ ? @? ? @? ? @? > µœ µœ3> > ≥ ≥ ° > > #œ G #œ > nœ ≤ ≥ > j > j Vln. 1 & j œ œ œ œ œ œ œ jnœ œœ œ œ œ œ ≤ ≥ œ≤ œ œ œ œ œ œ œj œ œ œœ œ œœœ œ œ > œ nœ œ > œœ > >>> 3 @? @? ? @? ? ≥ ? ≤ œ MSP O MSP O SP ≤ ≤ ≥ ≤ G œ µœ ˜œ> >> µœ ≤ ≥ >> >> µœ ≥ Vln. 2 & œ œµ œ nœœµ œ ≥j nœ≤ œ ≥ ≤ µœ≥ œœ œ œ œ œ œ œœ œ œ≥ œ œ œ œ œ œ œ œ œ œ J œ œ > > > > > > > 3 3 @ ? @?@ @? ? @? µœ O Bœ MSPµœ ≤ ≥ ABœST MµSPœ nœµ œ Bœ nœµœ ≥ ≤ Bœ œµœ Vla. B J j j J œ >œ œ >œ œ œ Jœ >œ >œ n>œ >œ >œ n>œ 3 3 3 3 @ @? ? @ @? @ @? ? @? MSP SP O MSP SP O MSP SP O sul A > œ >nœ bœ Bœ #œ ? >œ > >œ > > #œœnœ œ>>#œœnœ #œ>œnœ Vc. >œœ œœœ œ œœœ œ sul D œœ œ @? @ ?@? @ ?@? ?@? ? MSP O MSP O MSP O MSP sul A ≥ ≥ ≥ ≥ AST ? j e sul D Cb. ¢ bœ œ bœ bœ œ sul E 5 sul A 3 mp 36 30 138 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ µœ µœ ° J ™ Fl. & ‰ Œ Œ Ó pp o f o f

bisb. accel. rit. sµlœowÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍfÍaÍsÍtÍÍÍÍÍÍÍÍÍÍÍÍÍÍslÍoÍwÍÍÍÍÍ µœ Ob. & ‰ J Œ Ó Ó p f pp o f

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ µœ take breath when necessary, imperceptibly Cl. & J ‰ Œ Œ pp o f

ÍÍÍÍÍÍÍÍ¯¯¯¯ÍÍÍÍÍ ? Ó™ ∑ B. Cl. œ p f p mf ÍÍÍÍÍÍ¯¯¯ÍÍÍÍ ? Œ Œ Ó™ Ó Bsn. ¢ œ œ pp mp p f

Go back to the vibraphone ? ∑ Perc. {

? ∑ Pno. { l.v. (hold the pedal) p @ @? ? ° œ≥MSP ≤ ≥ ≤ ≥ #œ≥ O œ œ #œ Vln. 1 & œ

5 ff sempre ? µœ O µœ œ #œ µ œ µœ Vln. 2 & ff sempre ? Oœ MSP O œ Vla. B ff sempre ? MSP O µœ ? Vc. ff sempre

O ? MSP œ sul A œsul G Cb. ¢ ff ff sempre (sul D) 37 31 32 143 µ µ ° œ 3 4 œ Fl. & Œ Ó 4 Œ ∑ 4 o f o f µœ µœ ™ 3 4 Ob. & Ó 4 4 Œ o f o f

3 4 Cl. & 4 4

? ∑ 3 4 B. Cl. œ 4 œ 4 œ p p p f f ff sempre

? Ó Ó 3 Œ ∑ 4 Bsn. ¢ œ 4 4 œ p f ff sempre

Motor ON p 3 (medium speed) 4 ffff æ Vib. & ∑ ∑ ∑ 4 ∑ ∑ 4 Œ æ { >œ ˙ sempre col ped.

3 4 pp & ∑ ∑ ∑ 4 ∑ ∑ ? 4 œ Œ >œ ˙ l.v. Pno. 3 4 ffff {? ∑ ∑ ∑ 4 ∑ ∑ 4 Œ œ >œ ˙ sempre col ped.

œ Bœ ° 3 4 Vln. 1 & 4 4

œ bœ 3 4 Vln. 2 & 4 4

3 4 Vla. B 4 4

? 3 4 Vc. 4 4

? 3 4 Cb. ¢ 4 4 œ >- 38 33 149 µ ° µœ œ Fl. & Œ Œ ∑ o o cresc. ff ff il più possibile µ Bœ œ µœ Ob. & Œ ∑ o f o ff p cresc. molto fff possibile µœ Œ ‰ µœ ∑ Cl. & J o ff cresc. mf ff il più possibile

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ? ‰ j ‰ 3‰ j ∑ B. Cl. œ j œ j j œ cresc. 3 Œ f il più possibile ffff

5 ÍÍÍÍÍÍÍÍÍÍÍÍ ? ‰5 j ‰ j ÍÍÍ ∑ Bsn. ¢ œ j œ™ j œ™ cresc. il più possibile ffff

fff æ æ æ æ Vib. & æ æ æ æ w { w w w w w tremolo as fast as possible always sempre tutta forza

? fff w w w w w Pno. {? w w w sempre tutta forza w w tremolo as fast as possible always vib. vib. molto ampio ° ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vln. 1 & cresc. il più possibile ffff

vib. vib. molto ampio ÍÍÍÍÍÍÍÍÍÍ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vln. 2 & cresc. il più possibile ffff

vib. vib. molto ampio ÍÍÍÍÍÍÍÍÍÍÍ¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯ ÍÍÍÍÍÍÍÍÍÍÍ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vla. B ∑ cresc. il più possibile

ÍvÍiÍbÍ.ÍÍÍÍÍÍÍÍ¯¯¯¯¯¯¯¯v¯ib¯¯. m¯¯o¯lt¯o ¯a¯m¯p¯i¯o¯¯ ? Vc. ∑ cresc. il più possibile

? Ó Cb. ¢ œ cresc. il più possibile p 39

°154 Fl. & ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑

Cl. & ∑ ∑ ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ¢

Vib. & w w w w w w { w w w w w w hold the pedal the entire time ? w w w w w w Pno. {? w w w w w w hold the pedal the entire time

non. vib. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ bœ nœ œ ° Vln. 1 & mp mf ff

non. vib. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Bœ nœ œ

Vln. 2 & mp mf ff

œ bœ nœ œ Vla. B ∑ ∑ & p mf ff

Ad. lib change the direction of the bow. Avoid regular rythms. MSP ≥ ≥ ≤ O ? Œ Œ ≤ ≤ ≤ Vc. œ p fff

Ad. lib change the direction of the bow. Avoid regular rythms. sul C ? MSP ≤ ≥ ≤ ≥ ≤ ≤ O Cb. ¢ œ fff 40 34 ˜œ °160 ˜œ Fl. & ∑ ∑ Ó ‰ 3 ff pp p ˜œ ˜œ Ob. & J ‰ Œ Ó ∑ ‰ 3 ff p ˜œ

Cl. & ∑ ∑ ∑ ≈ p ff pp

G ? Gæ æj B. Cl. æ Œ Œ ‰ æ Ó œ œ æ æ æ æ æ æ æ æ ff ff w ? Œ 3 Œ ∑ BT Bsn. ¢ æ æ æ æ æ æ æ œ œæ æ æ æ æ æ æ bw ff fff p

sempre tutta forza n˙ ˙ ˙ ˙ w w bw #w bw #w b˙ #˙ ˙ ˙ Vib. {& the pedal should be pressed the entire time

? w w w w w Pno. {? “‘w “‘w “‘w “‘w “‘w

#œ #œ ° Vln. 1 & Ó ∑ ∑ fff mf pp #œ #œ

Vln. 2 & Ó ∑ ∑ fff mf pp

˜œ #œ Vla. & Ó ∑ ∑ fff mf pp @? ? @? ? @? ? MSP O MSP O MSP O ? ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≥ Vc. r œ œ œ j œ œ™ œ œ œ œ œ œ fff sempre 3 3 5 3 5 @? ? @? ? @? ? @? MSP O MSP O MSP O MSP O ? ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ Cb. ¢ j j œ œ œ œ œ œ œ œ œ 5 3 3 3 5 fff sempre 41 35

°165 Fl. & ∑

ff pp

Ob. & ∑ ff pp

Cl. & ∑ ∑

Presto improvisando. Play fastly and freely. Ovrblw. ÍÍÍÍÍÍÍÍÍ ÍÍ ÍÍÍÍÍÍÍÍÍÍÍ tr 1 ? tr 2 bœ œ œ œ œnœ bœ B. Cl. ∑ Œ œnœbœnœ œbœ œbœnœ œ œ œnœbœ œ œ œ

p f

? w w Bsn. ¢ bw bw ff œœ nœ nœ nœ nœ nœ nœnœ #œ bœ#œnœ #œnœ #œnœ bœnœ#œnœ bœnœ #œnœ #œ bœnœ#œbœ bœ#œnœ nœ nœ nœ nœ nœ #œ#œ#œ #œœ nœ #œ#œ#œ #œ#œ#œ #œ nœ Vib. {& nœ#œ nœ #œ nœ #œ nœnœ nœ#œnœ nœ presto Vib: Quasi ad lib. Play fastly and freely. Col ped. sempre. ff It is not necessary to play rythmically precise and even, Minor ad hoc modiﬁcation can be made in order to make playing easier. ? ∑ ∑

Pno. sffffz l.v. {? Œ Ó ∑ œ “‘ ˜œ ° Vln. 1 & pp mp

˜œ Vln. 2 & pp mp

Vla. & ∑ ∑

+ Multiphonic: by puting the left hand ﬁnger between the bow and the bridge ? M Vc. œ con forza e fortissimo sempre Multiphonic: + by puting the left hand ﬁnger between the bow and the bridge ? M Cb. ¢ œ con forza e fortissimo sempre 42

slow and heavy vibrato ˜nœon. vib. °167 Fl. & Ó Œ pp f ˜nœon. vib. slow and heavy lip vibrato

Ob. & Ó Œ pp f ˜œ

Cl. & ∑ Ó Œ ff

ÍÍÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍ Ovrblw. ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ tr 1 ? bœ œ bœ tr 2 œ œ bœ œ œ œ nœœ bœ œ œ nœ œbœ œ œ œ Ó ‰ nœ œ œbœ œnœ œ nœ œ B. Cl. nœ bœ nœ improv. simile pp p BT œ ˙ œ œ ˙™ ? Œ ‰ Bsn. ¢ #œ ˙ #œ œ ˙™

p f fff

nœ nœ nœ #œ nœ nœbœ nœnœnœ nœnœnœ nœ nœ nœ nœ #œ #œ #œ#œ#œ nœ #œ #œ#œ#œ #œ #œ #œ #œ #œ #œ Vib. & nœ #œ #œ bœnœ #œ #œ #œ { #œ nœnœ nœ nœ nœ nœnœnœ nœnœnœ nœnœnœ nœ #œnœœ nœnœ #œnœ

? ∑ ∑

Pno. fff {? ∑ Ó Œ œ “‘ ˜œ ° Vln. 1 &

mf pp ˜œ

Vln. 2 &

mf pp

Vla. & ∑ ∑

? Vc.

+ ? M Cb. ¢ œ 43 36 °169 Fl. & Ó ∑ pp

Ob. & Ó ∑ pp

Ovrblw. ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍ B§tr Ó Bbtr Cl. & œ bœ œ bœ œ œ œ bœnœbœ œ œ œnœbœ œ œ œ nœ œbœ œ œ œ œ œ œ nœ bœ œnœ nœ pp p

ÍÍÍÍÍÍÍÍÍÍ ÍÍÍ ÍÍÍÍÍÍ ÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ ? bœ bœ bœ bœ œ bœ œbœ œbœ œnœ œbœ œnœ œnœ œ bœ œnœ œbœ œ Ó B. Cl. œbœnœ œ œ œ œ œnœbœ improv. simile ff pp ˙ œ ˙™ œ ? Œ ‰ Bsn. ¢ ˙ œ ˙™ œ p p ff

nœ nœ nœ nœ nœ nœnœ nœ #œ#œ #œ#œnœ nœ nœnœnœ nœ bœnœ#œnœ bœnœ #œnœ #œ bœnœ#œbœ #œ #œ#œ #œ nœ nœ#œ nœ #œ #œ#œ#œ #œ#œ#œ #œ#œ nœ #œ#œ#œ nœ nœ Vib. {& nœ#œ nœ #œ #œ nœ nœ#œ nœ #œ

? ∑ ∑

Pno. {? ∑ ∑

° Vln. 1 & mf pp

Vln. 2 & mf pp

Vla. & ∑ ∑

+ ? M Vc. œ

? Cb. ¢ 44 37 Bœ 171 ° ™ Fl. & ∑ Ó ff µœ ™ Ob. & ∑ Ó ff

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍÍ

Cl. & Œ œ œ bœ œ improvisando simile pp ff

G Ovrblw.ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ tr 1 ? tr 2 Œ ‰ bœ œnœ œbœ œ œ œbœ œ œ œbœ œnœ œbœ œnœ œnœ œ bœnœbœ œ œ œ œnœ œbœ œ B. Cl. œ œbœ œ œ œnœbœ œ œ improvisando simile p ff w ™ ? Œ ˙ Bsn. ¢ w #˙™ p p nœ œ #œ #œ nœ #œ nœ bœ nœ nœ nœ nœ nœ repeat the "model" from the beginning Vib. {& l.v.

? ∑ ∑

Pno. fff {? ∑ Ó™ œ “‘

° ™ sub. pont.¿ÍÍÍÍÍÍÍÍÍÍ Vln. 1 & ∑ Ó ¿ÍÍÍÍÍÍÍÍÍÍ

sub. pont. ∑ Ó™ ¿ Vln. 2 & ¿ÍÍÍÍÍÍÍÍÍÍ ff

sub. pont. ∑ Ó™ ¿ÍÍÍÍÍÍÍÍÍÍ Vla. & B ¿ ÍÍÍÍÍÍÍÍÍ ff

? Vc. Œ

? Œ Cb. ¢ 45

slow and heavy vibrato °173 Fl. & Ó pp

slow and heavy lip vibrato

Ob. & Ó pp

G Ovrblw. ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍ ÍÍ ÍÍÍ B§tr Bbtr Cl. & Œ bœ Bbœ nœœœœœœ bœ bœ nœ nœ bœ œ nœ œ bœ #œ nœœ nœœnœ œnœ œ nœ Bœ Bœ œ nœ bœ nœ œ #œ nœ nœ #œ nœ #œ #œ improvisando p fff simile ÍÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍ GÍÍÍÍ ? Œ Œ bœ B. Cl. bœ œnœ bœBœ œnœbœnœœ#œ mp p

˙ ˙ ˙ ? ˙ Bsn. ¢ #˙ ˙ ˙ b˙ fff mp

Motor no.5 ∑ ∑ Vib. {& Close the discs Hold the pedal until the sounds completely fades

? ∑ ∑

Pno. Hold the pedal until the sounds completely fades {? ∑ ∑

Violins and Viola: change the bow direction ad lib. with medium speed, in order to maintain the uninterupted, agressive and forcefull noise sound ° ÍÍÍ≤ÍÍÍÍÍÍÍÍÍÍÍ≥ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ≤ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ≥ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vln. 1 &ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ sempre con forza ed aggressivo

≥ ≤ ≥ ≤ Vln. 2 &ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ sempre con forza ed aggressivo ≥ ≤ ≥ ≤ BÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vla. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ sempre con forza ed aggressivo slowly displace the bow sub. pont. towards the wrapping of the string ? Œ Œ Œ 3 Vc. ¿ mp slowly displace the bow towards the wrapping of the string ? ∑ Œ Œ 3 Cb. ¢ ¿ sub. pont. mp 46 stop very suddenly 38 e e e ee e e ee e be eeeeee e e e eeeee e °175 e e ∑ Œ Fl. & O O #O O nO OO O#OO O ff ffff cresc. ed agressivo fast repetitions of ad lib. flexible, possibile dissonant, honky multiphonic M ∑ M flz. Ob. & ¿ ¿ mp ffff cresc. ed agressivo possibile +flz. ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍ ÍÍÍÍÍÍÍÍÍ G ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

Œ simile Cl. & œ œ œ œ œœ œ bœ œnœœœ œœ œnœ BœBœbœ nœ œ œ bœ nœbœœ œ œnœbœnœ œ#œœœnœ#œœ nœ#œnœ #œ #œ mp fff cresc. ed agressivo ffff possibile +ﬂz. G ÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍ ÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ? bœ œnœœœ bœœ bœ œnœnœnœ B. Cl. œœœ œœ œ#œnœ œœ œbœBœ œnœbœnœœ#œnœnœ nœ#œœ nœ#œnœ #œ improvisando simile cresc. ed aggressivo ffff fff possibile ˙ +ﬂz. w w ? Ó Bsn. ¢ #˙ #w #w cresc. ed aggressivo f ff fff possibile ffff

Motor OFF arco ∑ ∑ Ó œ Vib. {& (discs still closed) p ? ∑ ∑ ∑ Pno. £A {? ∑ ∑ Œ “‘b‚‚ p ° ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vln. 1 &ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ cresc. ed aggressivo possibile

Vln. 2 &ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ cresc. ed aggressivo possibile BÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vla. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ cresc. ed aggressivo possibile Vcl. and Cbs. freely and very slowly move the bow towards the tailpiece and back towards the bridge (always stay on the wrapping) b≥ow the wrapping ≥ Change the bow direction ad lib. with medium speed, ? ≤ in order to maintain the uninterupted, agressive and forcefull noise sound Vc. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ fff sempre con forza ed aggressivo cresc. ed aggressivo possibile ≥ ≤ ≥ ? bow the wrapping Cb. ¢ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ fff sempre con forza ed aggressivo cresc. ed aggressivo possibile stop very suddenly 47 39 °178 Fl. & ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑

Cl. & ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ Bsn. ¢

pitch bend pitch bend Vib. & ‰ Œ Ó Œ { J l.v. hold the ped. œ f p

? ∑ ∑ ∑ ∑ /

Pno. slide freely from ﬁrst to second pair of strings {? (by sliding sowly over b string) Œ ∑ b‚‚ hold the ped. "f " "f " until the end

° Vln. 1 & ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑

slowly bow the tailpiece Vla. B ∑ ∑ / œ p "f "

col legno ? ∑ ∑ Œ Œ Œ ® Œ Vc. œ œ™ œ™ ...... œ. . . mf

MSP O ? Œ Œ 3 Œ Ó Cb. ¢ / bœ œ p mf ppp 48 40 °182 mostly air ∑ ∑ ‰ j ∑ Fl. & O pp mf

Ob. & ∑ ∑ ∑ ∑

Cl. & ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ Bsn. ¢

Œ ∑ ∑ ∑ Vib. {& hold the ped. mp until the sound completely fades

£A / œ ∑ ∑ "f " Pno. ? { Slowly and with high pressure rub any ﬂat wooden surface of the piano with a superball∑. ∑ Superball should be a round whole one (not the cut in half). The result should be a whale like sound. Choose the surface the gives the most sonorous result.

O MSP O ˜O n O ° ˜ œ nœ Vln. 1 & ‰ J ∑ ∑

ë ppp mp ê ppp

#O MSP O ‰ # œ ∑ ∑ Vln. 2 & J

ë ppp mp ê ppp

sub. pont. ﬂautando B Œ Œ Œ ‰ j æ Œ Ó ∑ ∑ Vla. ¿ o mp o slowly bow the tailpiece (aim at low frequencies) ? Œ Œ j ‰ Œ Vc. ∑ / œ Ó p "f "

slowly bow the tailpiece (aim at low frequencies) Ó œ Œ Cb. ¢ / ∑ p "f " May - December 2018 Belgrade