GALILEO’S EYEGLASS: AN ORCHESTRAL WORK CELEBRATING THE DISCOVERY OF
THE MOONS OF JUPITER AND THE RINGS OF SATURN
Jay Alan Walls, B.M.E., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF PHILOSOPHY
UNIVERSITY OF NORTH TEXAS
August 2011
APPROVED:
Joseph P. Klein, Major Professor and Chair of the Division of Composition Stephen F. Austin, Committee Member Cindy McTee, Committee Member Lynn Eustis, Director of Graduate Programs in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Walls, Jay Alan. Galileo's Eyeglass: An Orchestral Work Celebrating the Discovery of the
Moons of Jupiter and the Rings of Saturn. Doctor of Philosophy (Composition), August 2011,
149 pp., 2 figures, 2 tables, 47 examples, 3 appendices, bibliography, 43 titles.
Galileo's Eyeglass is a celebratory work for full orchestra with standard instrumentation commemorating Galileo Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn in 1610. The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. The work exhibits primarily a
blend of contemporary styles and compositional elements, yet it is rooted in traditional
tonality; furthermore, the piece is interspersed with references to Galileo's life and times,
including quotations of a toccata composed by the scientist's brother, Michelangelo Galilei,
transcribed from lute tablature. Chapter 1 of Part 1 investigates relevant historical threads
extracted from the backdrop of Galileo's life, from reflections on the events that shape the
musical program, to the selection and preparation of the period music composed by Galileo's brother. Chapter 2 discusses specific musical components of Galileo's Eyeglass, including form, musical quotations, motivic and thematic material, harmonic language, orchestration, and notation. Chapter 3 examines the principal philosophical themes behind the composition,
including expressions of victory of a life well lived in spite of many obstacles. Part 2 contains the orchestral score.
Copyright 2011
by
Jay Alan Walls
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ACKNOWLEDGEMENTS
I sincerely thank all of the professors with whom I have studied. Each challenged me in my growth as a composer. In particular, the artistry, wisdom, professionalism, and camaraderie of Joseph Klein and Cindy McTee was invaluable as they mentored me in all aspects of the art of
composition. Stephen Austin, Bernardo Illari, Graham Phipps, and Jeffrey Snider, other teachers of mine who have served on my doctoral committees, have also been instrumental in my development.
I am grateful to Lyle Nordstrom and David Tercero for their aid as I transcribed
Michelangelo Galilei's lute toccata from its original notation. Paul Beier's input on proper
tuning of Galilei's lute was invaluable. Donna Arnold of the University of North Texas Music
Library and James Floyd of the Fine Arts Library at Baylor University provided generous assistance in finding resources. I also thank Lisa Bost‐Sandberg, Jaymee Haefner, and Jonathan
Jackson for their consultation on instrumental parts in Galileo's Eyeglass, and I am indebted to
David Itkin for the use of the UNT Symphony Orchestra, and to Ludwig Carrasco‐Curintzita for conducting the orchestral reading session.
Finally, I recognize the sacrifices of my family. My parents, parents‐in‐law, children, and especially my wife, Alicia, have been most patient and supportive throughout my studies. Alicia often gave me her advice as an orchestra director during the composition and editing processes. This capstone project is truly the result of the help and encouragement of family, mentors, and friends. I am indebted to all.
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TABLE OF CONTENTS
ACKNOWLEDGEMENTS ...... iii
LIST OF EXAMPLES ...... vi
LIST OF FIGURES AND TABLES ...... x
PART I: GALILEO'S EYEGLASS: REFLECTIONS AND EXPLORATIONS ...... 1
Précis ...... 2
Chapter 1: Zephyrs from the Past ...... 4
Program ...... 4
Part 1 ...... 4
Part 2 ...... 5
Part 3 ...... 7
Part 4 ...... 8
Beyond the Program ...... 9
Music and the Galilei Family ...... 10
Galilean Music ...... 12
The Toccata ...... 14
From Lute to Orchestra ...... 18
Chapter 2: Musical Pilasters Examined ...... 21
Formal Structure ...... 21
Quotations ...... 28
Motivic and Thematic Material ...... 40
Harmony ...... 54
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New Wine in Old Wine Skins ...... 54
Harmonic Signposts ...... 56
Orchestration and Notation ...... 78
Chapter 3: A Place in the Universe ...... 93
Appendix A: Program Notes...... 97
Appendix B: Michelangelo Galilei, Toccata VI from Il primo libro d'intavolatura di liuto
...... 100
Appendix C: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcribed
to modern notation ...... 101
Bibliography ...... 103
PART II: GALILEO'S EYEGLASS ...... 107
Instrumentation List ...... 108
Recommended Percussion Setup ...... 109
Score ...... 110
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LIST OF EXAMPLES
Ex. 1. Ascending voices: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto,
transcription in F minor, mm. 41b‐53a...... 17
Ex. 2. Expansion: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription
in F minor, mm. 55b‐59a...... 17
Ex. 3. First toccata quotation: Galileo's Eyeglass, harp, mm. 12‐24...... 30
Ex. 4. Stacked chord members: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto,
m. 1...... 30
Ex. 5. Chorale‐like source of the second quotation: M. Galilei, Toccata VI from Il primo libro
d'intavolatura di liuto, transcription in A minor, mm. 20‐27...... 30
Ex. 6. Second quotation: Galileo's Eyeglass, mm. 64‐72...... 31
Ex. 7. Fourth quotation: Galileo's Eyeglass, mm. 210‐214...... 32
Ex. 8. Source of the third quotation: M. Galilei, Toccata VI from Il primo libro d'intavolatura di
liuto, transcription in A minor, mm. 45‐59; quotations in orchestral score indicated. .... 33
Ex. 9. Link and third quotation: Galileo's Eyeglass, mm. 105‐131; whole‐tone pentachords and
direct quotations indicated...... 34
Ex. 10. Fifth quotation: Galileo's Eyeglass, mm. 234‐245; quotation entrances marked with
asterisks...... 37
Ex. 11. Source of the fifth quotation: M. Galilei, Toccata VI from Il primo libro d'intavolatura di
liuto, transcription in A minor, mm. 41b‐49a...... 38
Ex. 12. Sixth quotation: Galileo's Eyeglass, mm. 279‐283...... 39
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Ex. 13. Source of the sixth quotation: M. Galilei, Toccata VI from Il primo libro d'intavolatura di
liuto, transcription in G minor, mm. 31‐34...... 40
Ex. 14. Jupiter's moons motive: Galileo's Eyeglass, mm. 1‐12, bowed vibraphone...... 40
Ex. 15. Jupiter's moons motive integrated into a lyric melody: Galileo's Eyeglass, mm. 29‐34,
solo violin...... 40
Ex. 16. Oscillating motive: Galileo's Eyeglass, upper woodwinds, m. 31...... 41
Ex. 17. Expanded oscillating motive: Galileo's Eyeglass, woodwinds and upper brass, mm. 37‐
42...... 42
Ex. 18. Theme 1: Galileo's Eyeglass, harp, mm. 12‐24, primary melodic tones circled...... 42
Ex. 19. Minor sixth motive of m. 11: M. Galilei, Toccata VI from Il primo libro d'intavolatura di
liuto, transcription in A minor, mm. 9‐12...... 43
Ex. 20. Minor sixth motive in part 3: Galileo's Eyeglass, mm. 179‐192; motive and motivic
variations indicated by brackets...... 44
Ex. 21. Saturn theme: Galileo's Eyeglass, violin 1, mm. 201‐211...... 45
Ex. 22. Inverted contour of minor sixth motive: Galileo's Eyeglass, piccolo, mm. 119‐124...... 45
Ex. 23. Jupiter theme with minor sixth motive and derivatives indicated: Galileo's Eyeglass,
violin 2, mm. 56b‐66...... 46
Ex. 24. Toccata quotation 2 with modified Jupiter fragment, ecclesiastical motive, and hybrid
oscillating/ecclesiastical motive: Galileo's Eyeglass, mm. 64‐75...... 47
Ex. 25. Closing theme motive: Galileo's Eyeglass, mm. 87‐89, strings; harmonies indicated
without inversions...... 48
Ex. 26. Rings motive: Galileo's Eyeglass, mm. 155‐170...... 49
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Ex. 27. Perfect fifth/rings pattern: Galileo's Eyeglass, mm. 258‐263, cello and double bass. .... 50
Ex. 28. Agitato theme: Galileo's Eyeglass, mm. 272‐278, only strings, trumpet 1, and trombone
1 shown; connections to minor sixth motive and rings motive indicated...... 51
Ex. 29. Combined Jupiter and Saturn themes: Galileo's Eyeglass, mm. 300‐306, horns in F, violin
solo, and strings...... 53
Ex. 30. Development, part 1: Galileo's Eyeglass, mm. 27‐38; whole‐tone and diminished
harmonies with major sevenths indicated...... 59
Ex. 31. Harmonic transition of introduction, part 2: Galileo's Eyeglass, mm. 50‐57a...... 60
Ex. 32. Variation on Jupiter theme, part 2: Galileo's Eyeglass, mm. 78‐85...... 61
Ex. 33. Closing theme motive: Galileo's Eyeglass, mm. 87‐89, strings; harmonies indicated
without inversions...... 62
Ex. 34. End of quotation 3: Galileo's Eyeglass, mm. 125‐131, strings; quotations enclosed in
rectangles, harmonies indicated without inversions...... 63
Ex. 35. Extension to quotation 3: Galileo's Eyeglass, mm. 134‐140...... 64
Ex. 36. Concluding progression, section 1, part 3: Galileo's Eyeglass, mm. 191‐201, strings, harp,
timpani, and brass; harmonic analysis without inversion...... 66
Ex. 37. Saturn theme: Galileo's Eyeglass, mm. 201‐210, strings; harmonic analysis without
inversion...... 68
Ex. 38. Polytonality of the agitato region: Galileo's Eyeglass, mm. 246‐248, woodwinds in C;
roots of major triads and perfect fifths indicated...... 70
Ex. 39. Whole‐tone implications, polytonal construction, and closing theme motive in the first
introduction to the agitato theme: Galileo's Eyeglass, mm. 250‐254, strings...... 71
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Ex. 40. Rings pattern in the second introduction to the agitato theme: Galileo's Eyeglass, mm.
258‐265, strings and bassoon; intervals indicated...... 72
Ex. 41. Whole‐tone clusters, percussion, and residual tones in opening measures: Galileo's
Eyeglass, mm. 1‐8...... 81
Ex. 42. First toccata quotation: Galileo's Eyeglass, harp, mm. 12‐24...... 82
Ex. 43. C diatonic tolling on chimes: Galileo's Eyeglass, mm. 52‐54...... 83
Ex. 44. Background parts of the closing theme, part 2: Galileo's Eyeglass, mm. 94‐104...... 85
Ex. 45. Illusionary device for cyclical effect, extension to quotation 3: Galileo's Eyeglass, mm.
134‐140...... 90
Ex. 46. Piccolo snare drum accompanying a portion of the second statement of the Saturn
theme: Galileo's Eyeglass, mm. 217‐221, brass and snare drum...... 91
Ex. 47. Closing measures, mm. 333‐336, timpani, percussion, and harp...... 92
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LIST OF FIGURES AND TABLES
Fig. 1. Letters representing frets in French tablature...... 18
Fig. 2. Open strings of French tablature with pitches identified in modern staff notation for G
tuning...... 19
Tab. 1. Formal structure of Galileo's Eyeglass...... 26
Tab. 2. Harmonic structure of Galileo's Eyeglass...... 75
x
PART I
GALILEO'S EYEGLASS: REFLECTIONS AND EXPLORATIONS
1
Précis
Galileo's Eyeglass is a celebratory work for full orchestra commemorating Galileo
Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn. Galileo, one of the most influential figures of the seventeenth century, first spied the moons of Jupiter in
January, 1610, through an early telescope of his own construction.1 Later that same year, turning his gaze toward Saturn, he became the first man in history to observe the second largest planet's rings.2 Aspiring to communicate musically certain qualities of the Galilean spirit, I composed this piece as a monument to the exhilaration of human discovery and the victory of a life boldly lived in the face of considerable obstacles.
The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. Its standard instrumentation comprises piccolo, two flutes, two oboes, English horn, two B‐flat clarinets, bass clarinet, two bassoons, contrabassoon, four horns in F, three trumpets in C, two trombones, bass trombone, tuba, timpani, percussion, harp, solo violin (concert master), and the full consort of strings. The percussion instruments include: bass drum, piccolo snare drum, crash cymbals, two suspended cymbals, crotales (with plastic mallets and bow), tam tam (with beater and wood sticks), tambourine, woodblock, shaker, anvil, triangle, chimes (with hammer and plastic mallets), vibraphone (with mallets and bow), glockenspiel, and wind chimes.
1 Stephen Mason affirms Galilei's herculean role in history in "Galileo's Scientific Discoveries, Cosmological Confrontations, and the Aftermath," History of Science 40/4, n. 130 (2002): 377, stating that "Galileo was involved, directly or indirectly with developments in the major movements of the early modern period: the Scientific Revolution, the great geographical discoveries, even the Protestant Reformation." Among the books referenced that recount events and issues pertaining to Galileo, Dava Sobel vividly narrates the discovery of the moons of Jupiter in Galileo's Daughter (New York: Walker Publishing Company, 1999; Penguin Group, 2000), 33. 2 Sobel, Daughter, 39.
2
Galileo's Eyeglass exhibits primarily a blend of contemporary styles and compositional elements, yet it is interspersed throughout with references to Galileo's life and times. During most of the period of the work's composition, in fact, the Italian L'Occhiale di Galileo was the composition's provisional title, but I ultimately opted for Galileo's Eyeglass for maximum
communicability with English speakers. Occhiale, translated spyglass or eyeglass, was a name
Galileo used most frequently in his earliest writings when describing his development and use of this novel and auspicious invention.3
To more fully explore the imprint of Galileo's world on my composition, in the first part of this essay I consider relevant historical threads extracted from the backdrop of Galileo's life, beginning with reflections on the events that shape the musical program, and continuing with a discussion of the selection and preparation of period music composed by the scientist's brother. Next, I discuss specific musical components of Galileo's Eyeglass, including form, musical quotations, motivic and thematic material, harmonic language, orchestration, and notation. I conclude with an examination of the principal philosophical themes that serve as the underpinning of this work inspired by the great scientist's unquenchable spirit.
3 Marjorie Nicolson introduces the reader to the terminology used throughout Europe for telescope in footnote 28, p. 245, of “The Telescope and Imagination,” Modern Philology 32, no. 3 (1935). Beginning on p. 241 of the same article, Nicolson cites conflicting claims of primacy for the invention of the telescope. Mason, p. 385, asserts that it was the Academy of the Linceans, a scientific society in Rome of which Galileo was a member, that coined the term telescope. For an extensive study on the telescope's origins, see Albert Van Helden's The Invention of the Telescope, Transactions of the American Philosophical Society Held at Philadelphia for Promoting Useful Knowledge, v. 67, pt. 4 (Philadelphia: The American Philosophical Society, 1977).
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Chapter 1
Zephyrs from the Past
Program
The four continuous parts of Galileo's Eyeglass are divided programmatically, with the title of each division indicated in the score. Accompanying texts for each part are from Galileo's writings and the Bible. The juxtaposition of Galileo's words with selections from the Bible
evokes the memory of the scientist's famous conflict with church authorities, yet Galileo's words themselves reveal the piety of this man caught in as much a philosophical and political battle as a religious one. Unlike the titles of the parts, these quotations are not included in the musical score, but are given instead in the program notes (Appendix A). If desired, they could be projected on a screen with the titles of the parts in performance.
Part 1
The first of the four parts, "Through a Glass Darkly" (mm. 1‐44), is a reference to the words of the Apostle Paul in I Corinthians 13:12, one of two texts associated with this part.
Prophesying of a coming age of perfection, the apostle concedes that "For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am
known." (KJV) I adopted the imagery of the phrase "through a glass, darkly" as a fitting parallel to Galileo's experience in two ways: 1) the images viewed by the scientist through his rudimentary telescope, though imperfect, still afforded glimpses into secrets soon to be revealed; and 2) the darkness shrouding the minds of many of Galileo's contemporaries regarding the organization of our planetary system was to be challenged, and ultimately banished, as insight into the heavens became clearer with each new discovery. Though not
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included in the program notes, the words of verse 10 of the same passage by Paul are equally apropos: "But when that which is perfect is come, then that which is in part shall be done away." (KJV)
As Galileo studied the universe for scientific truths, he penned the words of the second quotation selected for part 1:
Philosophy is written in this grand book that is continuously open before our eyes (I
speak of the universe), but the book cannot be understood if one does not first learn to
interpret its language, and to comprehend the symbols with which it is written. It is
written in the language of mathematics, and its characters are triangles, circles, and
other geometric figures, without which it is humanly impossible to comprehend a single
word; without these, one wanders vainly in a dark labyrinth.4
Part 2
On the night of 7 January, 1610, Galileo, a professor at the University of Padua at the time, became the first person in history to observe three of the largest moons of Jupiter, then subsequently four.5 Hoping to land a more elite and lucrative appointment in the Florentine court of his former pupil, Cosimo II, he christened the moons Medicean stars in honor of the ruling family of Tuscany.6
4 My translation from the original text of Galileo's "Il saggiatore" (The Assayer), chap. 6, in Opere di Galileo Galilei, ed. Ferdinando Flora, Galileo e gli scienziati del seicento, La Letteratura italiana: storia e testi, v. 34, n. 1 (Milan: R. Ricciardi, 1953), 121. Digital facsimiles of Galileo's autographs, published works, and personal library held in the Biblioteca Nazionale Centrale in Florence can be viewed via the online exhibition Galileo e l'universo dei suoi libri, Stefano Casati, Gianna Megli, and Iolanda Rolfo, eds., accessed 28 January 2011, http://brunelleschi.imss.fi.it/ bibliotecagalileo/indice.html. 5 Nicolson, 245. 6 Peter Machamer concisely recounts these events in "Introduction," in The Cambridge Companion to Galileo, ed. Machamer (Cambridge: Cambridge University Press, 1998), 19‐20. Sobel, Daughter, p. 34, adds that Galileo wanted to name them Cosmian stars, but Cosimo preferred Medicean stars, with one moon named for himself and a moon for each of his three brothers. Sobel continues: "Galileo naturally bowed to this wish, though he was thus
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Apart from the sun and moon, seventeenth‐century astronomy classified the celestial lights into two categories. Dava Sobel explains: "The fixed stars outlined pictures on the night sky and wheeled around the Earth once a day. The wandering stars, or planets—Mercury,
Venus, Mars, Jupiter, and Saturn—moved against the background of the fixed stars in a complex pattern."7 In "Medicea Sidera," the second part of Galileo's Eyeglass (mm. 45‐146), I
sought to memorialize through music the discovery of the four, so‐called wandering stars orbiting Jupiter. The text selected to accompany this part is drawn from Sidereus nuncius
(Starry Messenger), the book Galileo rushed to the press to announce his findings. In its
dedication to the Medici, Galileo wrote:
Behold therefore, four stars reserved for your illustrious name, and not of the common
sort and multitude of the less notable fixed stars, but of the illustrious order of
wandering stars, which, indeed, make their journeys and orbits with a marvelous speed
around the star of Jupiter, the most noble of them all, with mutually different motions,
like children of the same family, while meanwhile all together, in mutual harmony,
complete their great revolutions every twelve years about the center of the world, that
is, about the Sun itself.8
forced to paste small pieces of paper with the necessary correction over the already printed first pages in most of the 550 copies of The Starry Messenger." 7 Sobel, Daughter, p. 31. In his own words, Galileo explains the difference between fixed and wandering stars in Sidereus nuncius, trans. Albert Van Helden (Chicago and London: University of Chicago Press, 1989), 58: "For the planets present entirely smooth and exactly circular globes that appear as little moons, entirely covered with light, while the fixed stars are not seen bounded by circular outlines but rather as pulsating all around with certain bright rays." Van Helden points out that the English word planet derives from the Greek word for wanderer. Ibid., 15, note 31. 8 G. Galilei, Sidereus, 31. The astute reader observes that at the end of this announcement of a monumental discovery, adorned with compliments for the Medici family, Galileo telegraphed his belief in a heliocentric planetary system.
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Part 3
Galileo did receive the reward for which he was hoping and was appointed Chief
Mathematician of the University of Pisa and Philosopher and Mathematician to the Grand Duke.
By September he had resigned his position in Padua and had taken up residence in Florence, where he resumed his celestial observations.9 Two months earlier, he had turned his gaze toward Saturn and observed that it was not perfectly round.10 Not certain of what he had found, but wanting to ensure his place in history for this discovery, he sent an anagram to the
Tuscan ambassador in Prague, Giuliano de' Medici, who summarily delivered the cryptic message to Galileo's northern colleague, Johannes Kepler.11 It read: "smais mr milmep oet ale umibunen ugttauir as."12 Though never correctly deciphered, the letters, when unscrambled, spell out "Altissimum planetam tergeminum observavi," translated, "The most distant planet I
observed to be triple‐bodied."13
Galileo's anagram announcing his observation of Saturn's companions serves as the title for the third part of the composition (mm. 147‐291). The accompanying text from a letter written to the Grand Duke of Tuscany's chief secretary of state is Galileo's expression of the euphoria over his good fortune, and his acknowledgment of the source of such blessings. He
9 Sobel, Daughter, 36‐37. 10 Galileo's first observations of Saturn were in July. Sobel, The Planets (New York: Penguin, 2005), 168. In a letter to Giuliano de' Medici, the Tuscan ambassador in Prague, 13 November 1610, Opere, ed. Flora, 896‐897, Galileo described Saturn as "not a single star, but three together which almost touch each other." (Translation mine.) 11 Anagram sent to Kepler: noted by Noel M. Swerdlow, "Galileo's discoveries with the telescope and their evidence for the Copernican theory," in The Cambridge Companion, 260. In "Galileo's Copernicanism: The science and the rhetoric," in The Cambridge Companion, 223, William Shea states that the anagram was sent through the Tuscan ambassador. Note 5 in Opere, ed. Flora, 888, indicates that Giuliano de' Medici was the ambassador from 1608‐1618. 12 National Aeronautics and Space Administration, "The Real Lord of the Rings," NASA Science: Science News, accessed 31 January 2011, http://science.nasa.gov/science‐news/science‐at‐nasa/2002/12feb_rings/. 13 Translation mine. Galileo revealed the anagram in unscrambled Latin in the letter to Giuliano de' Medici (note 10) and asked the ambassador to share the letter with Kepler and whomever he pleased. Opere, ed. Flora, 896‐ 897.
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wrote, "...I render endless thanks to God that it pleased him to make me alone the first observer of something marvelous, kept hidden for all these centuries."14 Galileo continued to
study Saturn, but an accurate explanation for its unique shape was not given until 1656, when
Christiaan Huygens identified a flat ring encircling the planet.15
Part 4
In the concluding part of Galileo's Eyeglass (mm. 292‐336), the increasing energy and textural expansion of the music mirrors Galileo’s deepening comprehension of the mysteries of the solar system and the vastness of our universe, or world, as he often put it; hence the title of
the closing part: "An Infinite World." The first of two related texts quotes Galileo, elated as he gazes farther into infinity than anyone before had seen with human eyes. Again from Sidereus nuncius: “…you will behold through the telescope a host of other stars, which escape the unassisted sight, so numerous as to be almost beyond belief….”16
As the work draws closer to the final measure, an orchestral jubilee heralds the advent of great scientific discoveries and celebrates the victory of Galileo's inner freedom despite his external confinement. The final text borrows again from the Bible, as I attempt to underscore again the irony of Galileo's conflict with the Roman church because of his quest for truth.
Speaking to Abraham in Genesis 15:5, God himself challenges human comprehension of the cosmos with words that could have as easily been delivered to Galileo as he lifted his telescope to the skies: “Look now toward heaven, and count the stars if you are able to number them.”
14 My translation from a letter to Belisario Vinta, 30 January 1610, in v. 10 of Le Opere di Galileo Galilei, ed. Antonio Favaro (Florence: G. Barbera, 1890‐1909; reprinted 1964‐1966), 280‐281. Vinta's position in the Tuscan court: Nicolson, 245, note 26. 15 Sobel, Planets, 168‐169. Huygens published his findings in Systema Saturnium. 16 G. Galilei, “Sidereus nuncius,” excerpt trans. by Edward Stafford Carlos, in Galileo’s Commandment: An Anthology of Great Science Writing, ed. Edmund Blair Bolles (New York: Freeman, 1997), 101.
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(NKJV) Like Abraham, Galileo's tenacity and vision has inspired generation after generation, in the same way I was moved to take up the pen in his honor.
Beyond the Program
Programs like the one described above, texts, mathematical processes, musical forms, musical quotations, and the like, have served as source material for most of my works. Fugal
Waltz on a Row by Slonimsky for saxophone quartet, to name one, features waltz elements injected into a fugue, all the while utilizing subjects and answers constructed from a tone row with strong harmonic implications created by Nicolas Slonimsky. In addition, popular tunes
from my childhood are hidden within the lines. While I find that processes, programs, preexistent musical structures, and so forth stimulate creativity, I seek to balance such tools and materials with practical intuition. In other words, an inspirational device may serve as a map, but I strive to not allow such mechanisms to drive the composition. Given this philosophy, I knew from the outset that aesthetic boundaries would have to be established for the programmatic elements of Galileo's Eyeglass.
Striking an equilibrium between process and intuition often requires considerable effort.
In my string quartet, Rosa: Tango, for example, the overarching goal was to represent, through music, the interlocking rows and incrementally increasing size of rose petals. After some research, I chose to map to my music Leonardo Fibonacci's famous numerical series, reflected in the pattern of rose petals and many natural phenomena.17 For my artistic biases, this worked surprisingly well with melodies; however, I was not pleased with the results when
17 In the series which bears Fibonacci's name, each number equals the sum of the preceding two (1, 1, 2, 3, 5, 8, 13, 21 ...).
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applying the series to harmonies, rhythms, or other musical parameters. Consequently, I relied on my own instincts for the development of non‐melodic musical elements in the tango.18
In planning this new work for orchestra, the program, which emerged rather quickly, prompted an interest in musically representing celestial shapes, orbital patterns, philosophies or theories extant in Galileo's day, or other elements common to Galileo's experience. A program alone may have proved itself a sufficient muse for any other composition; yet with this
work, conceived as a tribute to the life and accomplishments of such a monumental historical figure, I resolved to find additional links to the science, history, philosophy, and culture of
Galileo. I began my search for this supplemental material among the archives of musical works that the scientist would have likely known or perhaps even played.
Music and the Galilei Family
Galileo was no amateur musician. He learned from his father, Vincenzo Galilei, a music theorist, performer, and composer, and member of the Florentine Camerata.19 This
distinguished array of nobles, philosophers, humanists, poets, and musicians, met first at Count
Giovanni de' Bardi's palace in Florence to discuss and seek to influence science and the arts, with particular emphasis on drama and music. There was considerable interest in restoring to modern music the legendary expressive power of ancient Greek monody. Knowing truly little about Greek musical practice, they inadvertently invented a new art form now known as opera
18 Joseph Schillinger demonstrated how the Fibonnacci series could be applied to melodies in The Schillinger System of Musical Composition, introduction by Jeremy Arden, v. 1 (New York: Carl Fischer, 1941; Harwich Port, Massachusetts: Clock and Rose Press, 2004), 329‐334. In Rosa: Tango, I mapped the series to pitch classes, using the arithmetic operation modulo 12 to wrap numbers beyond 12 back onto the pitch classes of the octave. Alternately, I used the number series to determine the size of melodic intervals of certain lines, once again making octave adjustments when desired. 19 Colin A. Ronan, Galileo (New York: G.P. Putnam's Sons, 1974), 61.
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rather than resuscitating the perceived virtues of ancient music.20 Vincenzo was also the author of Dialogo della musica antica et della moderna, an influential treatise that was quoted more often by Kepler than any other musical source in his studies on harmony, despite their divergent views on systems of tuning and the value of polyphony.21 Thus, Galileo had a first‐ rate teacher who stimulated his philosophical and scientific mind, and from whom he learned to skillfully play keyboards and his favorite instrument, the lute.22
Galileo’s younger brother, Michelangelo, took up the mantle of his father; however comparatively little is known of his life. While respected for his skills on the lute and as a composer, providing for his family of eight children proved to be a struggle.23 His recurrent economic dependence on his brother strained their relationship.24
20 H.F. Cohen, Quantifying Music: The Science of Music at the First Stage of the Scientific Revolution, 1580‐1650, University of Western Ontario Series in Philosophy of Science, Robert E. Butts, ed., v. 23 (Dordrecht, Boston, and Lancaster: D. Reidel Publishing Company, 1984), 78‐79. For a more extensive discussion of V. Galilei's contributions to music, the Camerata, theories pertaining to Greek drama, and early opera, see pp. 260‐278 of Donald Jay Grout and Claude V. Palisca's A History of Western Music, 6th ed. (New York and London: W.W. Norton and Company, 2001). 21 Owen Gingerich, “Kepler, Galilei, and the Harmony of the World,” in Music and science in the age of Galileo, ed. Victor Coelho, University of Western Ontario Series in Philosophy of Science, ed. Robert E. Butts, v. 51 (Dordrecht, Boston, and London: Kluwer Academic Publishing Company, 1992), 53‐54. 22 Studied with father: D.P. Walker, Studies in Musical Science in the Late Renaissance, Studies of the Warburg Institute, ed. J.B. Trapp, v. 37 (London: The Warburg Institute, 1978), 27. Lute favored: Sobel, Daughter, 16. Orlando Cristoforetti, editor of Vincenzo Galilei's Libro d’intavolatura di lauto: Firenze, 1584, Monumenta musicae revocata, no. 11 (Florence: Studio per edizione scelte, 1992), on p. 5 of the introduction, quotes the second edition of the Fronimo (V. Galilei, 1584) in which Galileo's father makes clear his opinion that players of other instruments, such as organists, "have not been able, cannot, nor will ever be able to express the affections of harmony, such as harshness, softness, bitterness, and sweetness, and also the cries, laments, shrieks, weeping, and ultimately calm and furor, with much grace and wonder, as do the excellent lute players,...the principle reason for which music has always been and is so highly prized." (Translation mine.) Douglas Alton Smith quotes Vincenzo Viviani, a scientist as well as Galileo's assistant and early biographer, in the introduction to Michelangelo Galilei's Il primo libro d'intavolatura di liuto (Munich: Tree‐Edition, 1980), I, who asserted that Galileo "surpassed his own father in grace and charm of playing the lute." 23 Skill as performer and composer: Robert Lundberg, “In Tune With the Universe: The Physics and Metaphysics of Galileo’s Lute,” in Music and science, ed. Coelho, 211. 24 Sobel, Daughter, 25‐26, 156‐158.
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Musical talent did not end with Galileo's generation, as three of Michelangelo’s sons became musicians, and Galileo’s eldest, Virginia, also possessed considerable gifts.25 Suor
Maria Celeste, as she was known within the walls of her convent in Arcetri, on the outskirts of
Florence, often taught chant and directed the choir for her sisters of the order of the Poor
Clares.26 As her father put it, Maria Celeste was of a woman "of exquisite mind,” a trait common in the Galilei clan.27
Galilean Music
Among surviving compositions written by members of the Galilei family, I hoped to find a piece by Galileo’s father that could be woven into the fabric of my own music. The core of
Vincenzo's oeuvre is contained in three works: his first book of music for lute, Intavolature de lauto (1563); Fronimo (1568/9; 1584), a dialogue written to teach proper intabulation of vocal works for lute, and containing examples from Vincenzo's own music and that of others; and an unpublished manuscript entitled Libro d'intavolatura di liuto (composed at different times, reorganized in 1584, with some compositions added later), intended to be the first of a ten‐ volume collection of hundreds, or even thousands of pieces for lute.28
25 Michelangelo's musician sons: Claude Chauvel, "Galilei, Michelangnolo," in Grove Music Online, Oxford Music Online, accessed 22 February 2011, http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/40763. 26 Suor Maria Celeste's musical abilities: Sobel, Daughter, 112. This expertly crafted book is a well‐researched narrative of the life of Galileo, woven together with the tender correspondence from his favorite daughter, Virginia. Galileo had two other children. His second child, Livia, was also cloistered at the convent in Arcetri and took on the name Arcangela. Ibid., 60. His son, Vincenzo, went on to become a lawyer. Ibid., 160. Michelangelo Galilei also had a son named Vincenzo, and when Galileo's Vincenzo, out of disdain for the clergy, refused a canonry approved by Pope Urban VIII, Galileo sought to help his brother's family by quietly transferring the pension to Michelangelo's son with the same name. Unfortunately his nephew's comportment caused him no small degree of consternation. Ibid., 156‐158. 27 Ibid., 10. 28 First book: Howard Mayer Brown, “Vincenzo Galilei in Rome: His First Book of Lute Music (1653) and its Cultural Context,” in Music and science, ed. Coelho, 153. Fronimo: Purpose, publication, recordings, transcriptions, etc. found at "Fronimo ‐ Dialogo," The Lute Society of America, Göran Crona and Doug Towne, primary contributors,
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Vincenzo Galilei of the Camerata was a master of contemporary counterpoint, yet even early on he demonstrated a predilection for simplicity, with straightforward declamation of texts and an economy of texture swaying toward homophony. He was convinced that the fabled expressiveness of Greek music, which he sought to rediscover, could only be achieved through the clarity and reserve of traditional Italian song, and not with the more pretentious
tendencies of modern virtuosic performance.29 Howard Mayer Brown, observing that the proverbial apple did not fall far from the tree, maintains that both Galileo and his father
"challenged basic and accepted assumptions about the world around them...." Vincenzo, through his music and musical theories, attempted to "fuse high culture and popular song" and challenged the "preeminence of traditional counterpoint."30
Searching for a period composition that would serve my purposes, I focused on Galileo's father's unpublished collection for lute, the Libro d'Intavolatura,. The lion's share of transcriptions penned on its original 272 pages, now housed in the Biblioteca Nazionale in
Florence, are dances: passamezzi, romanesche, saltarelli, and Gagliarde.31 These pieces are
truly graceful examples of the sixteenth‐century lutenist's art; however, I sought something more sublime, preferably tinged with the ethereal, to better complement the otherworldly tone that I planned to establish in Galileo's Eyeglass, particularly in the opening parts. While perusing Vincenzo's Libro and listening to available recordings, I discovered a recording of lute
accessed 22 February 2011, http://www.cs.dartmouth.edu/~Isa/associated/Galilei/index.html. A digital facsimile of V. Galilei's Fronimo is accessible at Casati, et al., Galileo...libri, http://brunelleschi.imss.fi.it/bibliotecagalileo/ indice.html. Unpublished Libro: Dates on p. 1 of the introduction to Orlando Cristoferetti's edition of V. Galilei's Libro d’intavolatura di lauto: Firenze, 1584, Monumenta musicae revocata, no. 11 (Florence: Studio per edizione scelte, 1992). Vincenzo's ambitions: ibid., p. 3 of introduction. 29 Brown, 158‐159, 162‐163, 171‐173. 30 Ibid., 175. 31 Cristoforetti's introduction to V. Galilei, Libro d’intavolatura...1584, 1.
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music from Michelangelo Galilei's only published collection, Il primo libro d'intavolatura per liuto, in which the toccatas appeared to be particularly suited to my aesthetic interests.32
The Toccata
Michelangelo's book was published in Munich in 1620, where he served in the
Hofkapelle of Duke Maximilian I of Bavaria.33 The collection's toccate, gagliarde, correnti, volte, passemezzi, and saltarelli are divided into suites of twelve tonal groups.34 Like his father,
Michelangelo advocated the early Baroque practice of emancipating dissonance from the rigid musical laws disseminated by the more conservative theorists represented by Zarlino and
Artusi.35 Artusi clearly had these musical Epicureans in mind when he subtitled his treatise of
1600, Imperfections of Modern Music.36 Anticipating the disorientation of some hearers in reaction to his bold, modern sonorities, Michelangelo clarified in the performance notes of his
Libro that "...there are to be found in this work many harsh sounds or dissonances, but one should not think that they are printing errors, for they were meant to be as they are...." He
32 Recording: Michelagnolo Galilei: Primo Libro d'Intavolatura per liuto (1620), Paul Beier, lute, Magnatune.com, 2004, accessed 1 March 2008, streaming audio and downloads: http://magnatune.com/artists/albums/beier‐ galilei/. In a personal letter from the performer, Paul Beier explained that the toccata in F minor (the one I chose use) sounds in E minor on the recording, since the required instrument is so large that it was tuned a semitone lower than the modern standard for the sake of resonance, and "in accordance with historical practice." Extant copies: Many facsimiles and transcriptions state that the only extant copy of Michelangelo's book is the version from its printing in Munich, housed in the British Library; however, the musicologist Dinko Fabris reports that a second, handwritten copy, the Pauer manuscript, has recently surfaced in Krokov, in "Program Notes for Michelagnolo Galilei: Sonate from Il primo libro d'Intavolatura di liuto (1620)," Magnatune.com, accessed 25 February 2011, http://magnatune.com/artists/beier. Facsimile: Michelangelo Galilei, Il primo libro d'intavolatura di liuto, intro. by Douglas Alton Smith (Munich: Tree‐Edition, 1980). 33 Chauvel, Grove Music Online, "Galilei, Michelangnolo." 34 From Ruggero Chiesa's preface in Il primo libro d'intavolatura di liuto: Trascrizione in notazione moderna di Ruggero Chiesa (Milan: Edizioni Suvini Zerboni, 1977), XIV‐XV, notation and keys which favor the guitar. 35 V. Galilei's doctrine on dissonances: Claude V. Palisca "Galilei, Vincenzo," in Grove Music Online, Oxford Music Online, accessed 22 February 2011, http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/10526. 36 Grout and Palisca, A History, 254.
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continued: "...all should be assured that I reviewed the whole book many times in minute
detail, and I am certain that it is most correct...."37
Michelangelo had undoubtedly been taught by his father that, contrary to conventional music theory and "civilized taste," as some considered it, all dissonances that occur due to the expeditious movement of parts were acceptable if gracefully executed.38 As an advocate for what became known as the stile moderno, Vincenzo also condoned deliberate dissonances introduced for the sake of effect, particularly in the case of suspensions. Proving his open‐ mindedness, however, he simultaneously argued that it was possible to write expressively by means of the imaginative and careful selection of consonant harmonies alone. 39
The music of Vincenzo's protégé indeed contains passing dissonances, but the "harsh sounds" to which Michelangelo referred are nothing more than chords uncommon for his time.40 Harmonic complexity and abundant modulations in the younger Galilei's toccatas were, in part, what drew me to them. Michelangelo's harmonic language would not likely jolt today’s listeners like it once did, but these pieces still possess the power to charm us. Ruggero Chiesa asserts that the "profound spirituality" of Michelangelo's toccatas place them "among the most
vital and important creations of the early Italian Baroque."41 The unhurried, contemplative
nature of the toccatas possessed much potential for adaptation, and any one of them would have aided in establishing the impression of timelessness in Galileo's Eyeglass. What is more, it
37 My translation from a facsimile of the composer's comments in M. Galilei, Il Primo Libro, Tree‐Edition. 38 Quoted phrase from Beier, who addresses the question of how M. Galilei's music would have impacted people of his day, http://magnatune.com/artists/beier. 39 V. Galilei's doctrine on dissonances: Palisca, Grove Music Online, "Vincenzo Galilei." Terms such as stile moderno were used to differentiate the new from the old polyphonic practice, the stile antico. In 1605, Monteverdi used the terms prima pratica and seconda pratica. Grout and Palisca, A History, 255. 40 Chiesa's preface, Il primo libro, Suvini Zerboni edition, XIV. 41 Ibid., XIV.
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was clear that fragmenting and transplanting short portions of phrases from one of the toccatas, due their improvisational style, would prove more natural than attempting to lift segments from one of the many dances; thus, I disregarded the remaining works of
Michelangelo's Primo Libro, all dances, on the same grounds that I retreated from Vincenzo's compositions.
From Michelangelo's ten toccatas, half of them in minor keys, I selected the one in F minor on page 28 (original numbering), which opens the suite of the sixth tonal group.42 With
its sober minor key, unexpected modal shifts, and lengthy phrases and groups of phrases eliciting a sense of both expansion and ascension, I deemed it a perfect companion for my composition about star gazing. Furthermore, I was convinced that the increasing momentum expressed in the aforementioned phrases would render them useful as bridges between passages of lighter instrumentation to sections of swelling orchestral forces.
The extended phrases of Ex. 1, below, from the toccata, demonstrate how Michelangelo
Galilei employed imitative counterpoint to shape a delicately expanding and upwardly focused line. The relay of ascending voices is indicated in the parts. Notice also how the contrary motion of the descending bass line in m. 44 intensifies the impression of open space. Just a few measures beyond those of Ex. 1, as the toccata mounts to a climax, energy and space seem to increase simultaneously in the striking harmonic progression transcribed in Ex. 2. In choosing the sixth toccata from Galilei's book, I realized that this excerpt, built on a framework of ascending and descending outer voices, could evoke visions in fertile imaginations, to indulge in a metaphor from astronomy, of the unveiling of a vast, unobstructed sky as large domed doors
42 M. Galilei, Il Primo Libro, Tree‐Edition, 28.
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glide open. In retrospect, this thought appears almost overly sentimental, yet it demonstrates the extent to which music and narrative played symbiotic roles in every aspect of the composition of Galileo's Eyeglass.
Ex. 1. Ascending voices: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription in F minor, mm. 41b‐53a.
Ex. 2. Expansion: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription in F minor, mm. 55b‐59a.
From the outset, the toccata's historical connection to Galileo appealed to me greatly, but better still was the way in which this early seventeenth‐century composition fit so well with my theme on its musical merit alone. The toccata served an important structural purpose by providing greater cohesiveness to my composition. This was accomplished primarily through direct quotation, as well as motivic inspiration. Much like a rondo's refrain, the six direct quotations of the toccata serve to unify, as these fragments surface throughout the 14 minutes of continuous music, helping to hold together my newly‐composed themes. Less apparent, yet
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equally effective, is the way in which short melodic gestures from the toccata spawned ideas for new melodies and harmonies. Both the quotations of the toccata and the organicism of motives drawn from it are discussed in greater detail in the next chapter.
From Lute to Orchestra
The compositions of Michelangelo Galilei's Libro are written in French tablature for ten‐
course lute. (See Appendix B for a facsimile of Toccata VI from the 1620 publication.) The lines of the hexagram represent the six highest strings of the instrument. Stylized letters of the alphabet, a through i, plus k and l (Fig. 1), are placed on the lines to indicate frets, with a representing the open string, b for a semitone up on the first fret, c representing a whole step up on the second fret, and so forth.43 The notation is rather simple to decipher, but I had to be careful to properly identify two unusually‐shaped letters. According to modern Latin‐based
orthography, what looks like r is actually c, and what could be misconstrued to be a large, open g, or an upside down 5, is an h.
Fig. 1. Letters representing frets in French tablature.
Since tablature specifies frets, and not fixed pitches, one piece with this type of notation can serve for different‐sized, transposing instruments as long as the intervals between strings remain constant. Lutes of the time were most commonly tuned in G or A.44 We cannot know
beyond a doubt to which pitch Michelangelo's lute was tuned for these works; however, the composer's introductory comments concerning playing with flats are most logical for an
43 Chiesa's preface, Il primo libro, Suvini Zerboni edition, XV. 44 Richard Partridge, "lute," in The Oxford Companion to Music, ed. Alison Latham, Oxford Music Online, accessed 3 March 2011, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e4101.
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instrument in G.45 Assuming G is correct, this places our toccata in the key of F minor, and the
lines of the hexagram are assigned to strings G‐D‐A‐F‐C‐G, in descending order from G above
middle C.46
The letters a, s (sideways), g, and x are placed below the staff for the remaining four strings, the seventh through tenth courses respectively. These strings are tuned diatonically to
F‐E (or E‐flat)‐D‐C in descending order for a lute in G (Fig. 2). The seventh course was sometimes modified in Galilei's music, suggesting that this string was also over the fingerboard, whereas the eighth through tenth courses were not altered, and are always played open. As for rhythms, they are written above the staff in mensural notation similar to our own and are easily interpreted. 47
Fig. 2. Open strings of French tablature with pitches identified in modern staff notation for G tuning.
After transcribing the toccata to modern grand‐staff notation (Appendix C), I proceeded
to create an arrangement of the piece for string orchestra in order to test the ways in which its
45 See note 47. 46 Partridge, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e4101. 47 Chiesa's preface, Il primo libro, Suvini Zerboni edition, XV. In M. Galilei's instructions at the beginning of his book (ibid., XIII for translation in English), we receive a clue that the lute should be tuned in G rather than A. The composer states that when playing in flats, the tuning of the eighth course (not over the fingerboard) should be adjusted to the pitch of the "d" fret of the fifth string, but an octave lower. If the lute is tuned in G, this makes sense, as it produces an E‐flat. If the lute were tuned in A, the resultant pitch would be E‐natural, the same tuning as the ninth course and an illogical redundancy. Be advised that in his modern staff notation, Chiesa transposes the tuning of the hexagram to E for ease of playing on the guitar.
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contrapuntal lines could be doubled and distributed among strings.48 In this version, I transposed Galilei's work to A minor to gain full advantage of the range of each instrument.
Ultimately, I worked from both the grand‐staff transcription and this setting for strings as sources of quotable material for use in Galileo's Eyeglass, transposing the chosen segments according to the tonality of the measures into which they were inserted.
Throughout Chapter 1, I have demonstrated that in honoring Galileo, a man whose life marks a turning point in human history, my compositional processes were considerably influenced by the story of his accomplishments and the world in which he lived. In the next chapter, after presenting an overview of the work's formal structure, I resume the topic of the toccata, revealing specifically where and how I quoted Michelangelo Galilei's music. Continuing on, I highlight what I consider the other central issues in the construction of Galileo's Eyeglass, including an examination of motivic and thematic material, harmony, orchestration, and notation.
48 This arrangement was performed on a concert by the Durham Middle School Chamber Orchestra in Lewisville, Texas, 1 December 2009.
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Chapter 2
Musical Pilasters Examined
Formal Structure
An examination of the salient musical ingredients of Galileo's Eyeglass is facilitated by
an initial panoramic view of its formal structure. The work does not fit the mold of any standard musical form, but this is not due to capriciousness or striving for modernity. On the
contrary, free forms have been commonly used for centuries. Works guided by a text or program, such as opera preludes and finales, oratorios, symphonic poems, and program symphonies, often take on non‐standard structures. Even in Michelangelo Galilei's epoch, toccatas and fantasias, with their improvisational air, were counted among works more distinguishable by procedure, style, or technique than by any set structure.49 Therefore,
Galileo's Eyeglass, as it narrates the story of the scientist's accomplishments of 1610, is fittingly non‐standard in its form, and contains quotations of another, much older free‐form composition. Table 1 outlines the work, identifying parts, sections, and intervening material, such as links and minor transitions. Despite its unconventional form, I have called upon certain common analytical terms, albeit from a variety of forms, to convey my perception of the function of each component.
As previously stated, Galileo's Eyeglass divides into four parts with no intervening breaks
(Tab. 1). Part 1, the shortest division, attempts to musically recreate the scene of Galileo studying the sky through his telescope. This division initiates the composition with a musically narrative introduction (mm. 1‐12) that employs lightly orchestrated tone clusters to establish
49 The Harvard Dictionary of Music, 4th ed., s.v. "Toccata" and "Fantasia," by Arthur J. Ness, and "Form."
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an ambiance that is tranquil, yet expectant. A quotation from Michelangelo Galilei's toccata follows on the harp (mm. 13‐24), and is so intact as to serve as a theme in its own right.50 After a few measures extending the current section with quotation (mm. 24‐27), a short developmental segment ensues, elided at beginning and end (mm. 27b‐38). The development cultivates material from the introduction and exposes germ motives to be used again later.51
Even the transition (mm. 38‐45) into the next major division of the piece, although brief, contains motivic foreshadowing.
Part 2, commemorating Galileo's discovery of the Medicean Moons of Jupiter, temporarily releases a degree of tension through its cantabile Jupiter theme and consonant harmonies. Its introduction (mm. 45‐56) I have labeled "expository," since, like introductions in many vocal pieces, it provides a preview of the theme to follow. The complete statement of the Jupiter theme comprises section 2 (mm. 57‐66), and is more inclusive in its utilization of the orchestral consort to this point. Overlapping the end of this luxuriant section, the second
toccata quotation emerges with voicing reminiscent of muted ranks of a small organ (mm. 64b‐
72a). Functioning as an episode of dramatic relief at the head of the third section, these measures from the toccata work together with a retransition (mm. 72b‐79) to span the gap
between statements of the principal theme. Apart from this bridge material, and focusing only on appearances of the Jupiter theme in part 2, one could observe that the first iteration (sec. 1) and the third (sec. 4, mm. 78b‐87)—both variations—serve as buttresses on either side of the complete thematic statement (sec. 2).
50 Detailed descriptions of each quotation are given in the next section. 51 Motives and themes to be examined more closely in Motivic and Thematic Material below.
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The two final sections of part 2 proceed gradually, but steadily toward a conclusion of this portion of Galileo's Eyeglass. I have labeled section 5 (mm. 87b‐113, including link) a closing theme, since it presents a new, yet less significant theme, while tracing out its harmonic trajectory toward a concluding cadence in a new key (notwithstanding that the supposed new key is foiled by a deceptive return to the preceding tonal area).52 While the closing theme is
understated here, it returns fortified and more prominent at the conclusion of the work (part
4). Meanwhile, section 6, a lengthy transition (mm. 113‐147) to part 3, contains the quotation from Galilei's toccata that is most distributed throughout the orchestra, followed by an extension prolonging an ascending gesture from Galilei's music, as well as a link to the ensuing part.
Inspired by the discovery of the rings of Saturn, part 3 commences with another musically narrative introduction (mm. 147‐179) that invites us to gaze upward once again into the heavens. Like the introduction to part 1, these measures are inclined toward motivic rather
than thematic exploration as they establish the setting for musical events to come. As the introduction unfolds, it unveils melodic gestures, beginning in m. 180, that more closely resemble the upcoming primary theme with every passing measure; thus this second introductory section progressively assumes a more expository role rather than a narrative one.
After a four‐measure link at the end of the introduction, the Saturn theme makes its first appearance, sublimely played by the violins and reinforced by alternating wind instruments
(mm. 201‐210). An episodic excursion containing the fourth toccata quotation appears in
52 To be specific, section 5 seeks to establish the subdominant key of D major as a new tonal area of this composition, which thus far has dwelt primarily in the key of A minor, but this attempt is thwarted by a perhaps unexpected return to A minor at the beginning of the link in m. 105. Significant harmonic moments are discussed below in Harmony.
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section 3 (mm. 211‐214), and is connected by a link to another, more martial presentation of the Saturn theme, complete with snare drum (mm. 217‐236). A brief reprieve from this more aggressive mood is afforded as quotation 5 emerges from the background (mm. 234‐245). This short section also serves to draw to completion the Saturn theme region, and transitions into the strikingly different second theme area of part 3.
Looking ahead to the table of the formal structure of Galileo's Eyeglass (Tab. 1), it is easy to see that the two longest divisions of this piece are bookended between parts 1 and 4, as the outer parts function as a framework for the central corpus of the composition. Secondly, when comparing the first five sections of part 3 with the sections of part 2, momentarily disregarding the closing theme, we see that the components of both parts function identically.
In order, these sections are: introduction, primary theme, episode, primary theme restated, and transition (minus the closing theme in part 2). I suspect that this similitude of form is not apparent without the aid of analysis, yet this observation is worthy of note, given that it reveals consistent organizational tendencies in parts written at different times. In fact, the order of composition of the parts was 2, 1, 3, 4.
Returning to part 3, a change of mood, as one will recall, was signaled by the last statement of the Saturn theme in section 4. The restless tone is established from the very first
measure of the new thematic area (beginning sec. 6) by means of short, increasingly emphatic syncopations that seem to dart around the orchestra. This new region begins with a twofold introduction (mm. 246‐267), but unlike earlier in part 3, both parts of this introduction are expository, since they introduce musical ingredients that ultimately take full shape in the agitato theme (sec. 7). The second portion of this bipartite introduction (beginning m. 258),
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despite its functional similarity to the former, is clearly distinguishable from the first, being punctuated by a fortissimo staccato in the bassoons and low brass that triggers a motoric pattern in the bassoons and low strings.
After its long introductory section, the agitato theme finally arrives in full orchestration
(sec. 7, mm. 272‐279). While they occur in different places in their respective parts, if we could consider the closing theme of part 2 and the agitato theme of part 3 as functionally equivalent, then the form of parts 2 and 3 would appear all the more similar; however, the agitato theme,
despite its brevity, features too prominently and contrasts too strongly with the Saturn theme to be merely considered a closing theme for part 3. Nonetheless, there are strong melodic and harmonic ties between the closing theme of part 2 and the agitato theme of part 3, to be
examined later. The agitato theme is interrupted almost as soon as it begins with the arrival of
the final quotation from Galilei's toccata in the brass and strings (mm. 279‐283). Quotation 6 serves as a link to the transitional section (mm. 283‐292) that rounds out part 3.
The musical purpose of part 4 is to express the triumph of Galileo's life and to transport the work to a victorious conclusion. This is accomplished by restating themes more boldly than before—even mixing them together. As the introduction to the final section (mm. 292‐297) commences, a feeling of expectancy is generated by a galloping ricochet pattern in the violas, cellos, and double basses, and is echoed by the low brass. Over this backdrop, trumpet 1, oboe
1, and piccolo call out what appears to be a subtle return to the Jupiter theme, but in D minor
(mm. 298‐299), the subdominant of the original key of A minor. Like a deceptive recapitulation in sonata‐form compositions by Haydn or Beethoven, this proves to be a false start and in the
"wrong" key. With the strong entrance of the entire orchestra in m. 300, the true mode of the
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abridged version of the Jupiter theme proves to be unmistakably in A, but now in major rather than minor.53 Overlaying the violin octaves of the Jupiter theme, all four horns play an adaptation of the Saturn theme in resounding unison. A three‐measure link joins this half of the recapitulation to the next, in which the entire orchestra plays the Saturn theme only (mm.
310‐315). The vitality of the music continues without hesitation into section 3 (mm. 316‐325), a
variation on the closing theme of part 2.
Finally, the coda (mm. 326‐336), also based on the closing theme, summons the entire
orchestra to a jubilant conclusion. With trills, tremolos, and arpeggios, embellished with tam‐
tam crescendos, the work surges energetically to the final bar line.
Tab. 1. Formal structure of Galileo's Eyeglass.
Part 1: "Through a Glass Darkly"
Section 1 Introduction (Narrative) mm. 1‐12 Section 2 M. Galilei theme (Quotation 1) mm. 13‐24 Extension mm. 24‐27 Section 3 Development mm. 27b‐38 Transition mm. 38‐45
53 Thwarting expectations provides freshness in the music of Haydn, Beethoven, and many other composers. Two prime examples of such deceptive ploys are: 1)Haydn's Symphony no. 47, movement 1, in which the recapitulation presents itself in G minor, the "wrong" mode of tonic; and 2) the false recapitulation in Beethoven's Symphony no. 3 (Eroica) in which the French horn seems to begin the recapitulation on tonic, as would be expected, but four measures early, and over the "wrong" harmonic background in the violins (implying the dominant). Grout and Palisca observe that this was considered by many to be at be attributed to the composer's misjudgment or even a copyist's mistake. Grout and Palisca, A History, 525.
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Part 2: "Medicea Sidera"
Section 1 Introduction (Expository, Jupiter theme abridged) mm. 45‐56 Section 2 Jupiter theme mm. 57‐66 Section 3 Episode (Quotation 2) mm. 64b‐72a Retransition mm. 72b‐79 Section 4 Jupiter ' (Variation) mm. 78b‐87 Section 5 Closing theme mm. 87b‐104 Link mm. 105‐113 Section 6 Transition (Quotation 3) mm. 113‐131 Extension mm. 132‐140 Link mm. 140‐147
Part 3: "Smais mr milmep oet ale umibunen ugttauir as"
Section 1 Introduction (Narrative) mm. 147‐179 Introduction (Expository) mm. 180‐196 Link mm. 196‐200 Section 2 Saturn theme mm. 201‐210 Section 3 Episode (Quotation 4, same source mm. as Qn. 2) mm. 211‐214 Link mm. 214‐217 Section 4 Saturn theme mm. 217‐236 Section 5 Transition (Quotation 5) mm. 234‐245 Section 6 Introduction (Expository a) mm. 246‐258 Introduction (Expository b) mm. 258‐267 Link mm. 268‐271 Section 7 Agitato theme mm. 272‐279 Link (Quotation 6) mm. 279‐283 Section 8 Transition mm. 283‐292
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Part 4: "An Infinite World"
Section 1 Introduction mm. 292‐297 Link: False Jupiter start (minor) mm. 298‐299 Section 2 Recapitulation (Jupiter & Saturn conflated, major) mm. 300‐306 Link mm. 306‐309 Recapitulation (Saturn theme) mm. 310‐315 Section 3 Closing theme (var. on closing theme of part 2) mm. 316‐325 Section 4 Coda mm. 326‐336
I believe that these details concerning the form of Galileo's Eyeglass clearly illustrate how the piece was shaped by the story behind it. The relatively narrow focus of that narrative, in addition to a common source for quotations and motives facilitated both compositional cohesiveness and an economy of themes. Having examined the formal structure, I continue in the next two sections of this chapter to discuss the specific origins of quotations and motives and how that material was employed.
Quotations
"Through a Glass Darkly," the opening part of Galileo's Eyeglass, begins with a unison serenely played by clarinet, bowed vibraphone (motor on), and harp. As the first 12 measures unfold, unisons become whole‐tone clusters, delicately rising and falling in amplitude, while flutes whisper undulating glissandi, evoking the sound of gentle breezes.54 Percussion contribute with their own subtle interjections, which seem to foretell the auspicious events of that Paduan night in 1610. This was the idyllic setting I had in mind when shaping the first
54 The flute glissandi, to be specific, are chromatic residual tones. I discuss this effect more fully in the section on orchestration and notation.
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direct quotation of Michelangelo Galilei's toccata, and I recognized the possibility that music like that of his brother's primo libro could have mingled with Galileo's scientific thoughts as he gazed into the skies that propitious evening.
While the woodwinds and vibraphone fade into the orchestral texture, the violins enter from niente on harmonics (mm. 11‐12), and the harp expressively plays the first quotation près de la table (Ex. 3) in imitation of how the opening measures of Michelangelo's toccata may have sounded on the lute (from the toccata mm. 1‐10a; see appendix C).55 I approximated certain
seventeenth‐century lute performance practices by writing out stylistic gestures and ornamentation for the harp that typically could have been added to Galilei's musical framework. For example, the initial chord of the toccata is written as an integral unit in its original tablature (Ex. 4); however, since such chords in toccatas of the period were frequently broken, I notated its constituent members as an arpeggiation (Ex. 3, m. 13). The other arpeggios and rolled chords in Ex. 3 were also originally stacked as block units. I assigned them different rhythmic values, even using feathered beams to simulate, to a degree, the improvisational style of toccatas. For the same reason, I indicated tempo fluctuations, and even though the accompanying parts in the orchestra are thinly scored, these modifications must be carefully coordinated by the conductor.
The second direct quotation from Michelangelo Galilei's toccata appears in the second part of my composition, "Medicea Sidera," and constitutes an episode bridging two statements of the primary theme. Before voicing these chorale‐like measures (Ex. 5), I consulted Alban
Berg's Violin Concerto, with its quotations of J.S. Bach's chorale, Es ist genug. In the Adagio of
55 Près de la table, playing the harp close to the sound board, produces a more guitar‐like sound.
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Part II of the concerto (m. 142 ff.), Berg set phrases from the chorale for a choir of just four clarinets, an austere instrumentation recalling the timbre of flutes on a positive organ.56
Ex. 3. First toccata quotation: Galileo's Eyeglass, harp, mm. 12‐24.
Ex. 4. Stacked chord members: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, m. 1.
Ex. 5. Chorale‐like source of the second quotation: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription in A minor, mm. 20‐27.57
56 Although Berg's concerto is completely instrumental, he included the text of Es ist genug (It is enough) above each chorale fragment, laying bare the connection between the text of the borrowed music and his concerto's publicly stated program. The work eulogizes the life and premature demise at age 18 of Manon, the daughter of Berg's friends, Alma Mahler and Walter Gropius. Douglas Jarman details in "Alban Berg, Wilhelm Fliess and the Secret Programme of the Violin Concerto," The Musical Times 124, no. 1682 (1983): 218‐223, how the composer also embedded a secret sub‐program related to details of his own life in the music. Jarman asserts that Berg planned the concerto as a requiem for both Manon Gropius and himself. Ibid., 223. 57 The transcription is shown in A minor, since this and all but the final borrowing from the toccata are orchestrated in A minor.
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I desired to create a similar texture and tone‐color for this quotation drawn from the measures above, but since the lowest contrapuntal line extends beyond the ideal range for bass clarinet, and I was not willing to exceed the standard number of clarinetists, I settled for a slightly more heterogeneous mix (Ex. 6): flute 1 and clarinet 1 play the uppermost line; English horn and clarinet 2 cover the tenor; and the bass line I assigned to horn 1. On a more meticulous note, the ending of this quotation (Ex. 5, m. 27), as with that of the first set of appropriated measures, has been altered slightly. In this case the suspension and third of the chord have been removed so that the quotation fuses effectively with my own music (Ex. 6, m.
71).
Ex. 6. Second quotation: Galileo's Eyeglass, mm. 64‐72.
Momentarily skipping quotation 3, the fourth fragment is borrowed from the same measures of the toccata shown in Ex. 5 (beginning with F‐sharp as a pickup to m. 24b), but it is differently orchestrated (Ex. 7). Like the analogous section in part 2, these measures serve as an episode between two statements of the primary theme. Additionally, as in the previous examples, the ending of this quotation is altered for the sake of elision, with the retention of G‐
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sharp in the oboe instead of the more dramatic and sudden shift to minor in Galilei's original
(Ex. 5, m. 27b).
Ex. 7. Fourth quotation: Galileo's Eyeglass, mm. 210‐214.
Turning back to examine the third musical appropriation from Michelangelo Galilei's toccata, note that the first two measures from the source (Ex. 8) contain a whole‐tone pentachord. Sifting out this line from its context, I employed it as a link, creating a succession of interlocking whole‐tone pentachords (Ex. 9, mm. 107‐113) that leads into the quotation proper. Once again, the Berg violin concerto comes to mind, since its tone row ends with the same whole‐tone tetrachord that begins Bach's chorale.58 At least 32 measures before the integral statement of the chorale in Berg's concerto, the composer highlighted this tetrachord as a means of preparation and transition. I sought to accomplish the same objectives, but on a much smaller scale, through the use of Galilei's pentachord as a link to the complete toccata
58 Some commentators, including Louis Krasner, the violinist for whom Berg wrote his Violin Concerto, maintain that the use of the chorale was an afterthought, and that the likeness between the first four melodic notes rising by whole tone in Es ist genug and the last four notes of the concerto's tone row is purely coincidental; yet Achim Fiedler uncovered evidence suggesting that Berg planned from the outset to quote this whole‐tone gesture in the tone row. See "Is This Enough?: Divine chance or carefully structured programme? Achim Fiedler presents a new twist in the story of the Berg Violin Concerto chorale," The Musical Times 134, no. 1806 (1993): 444‐445.
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excerpt. The whole‐tone pattern also overlaps the quotation proper in the oboe 1 (mm. 116‐
119) and flute 1 (m. 123) parts, and is echoed by a complete whole‐tone scale in violin 1 (m.
123).
Quotation 3 (Ex. 9, mm. 113‐131) appears at the head of a transition that ushers in part
3, and is divided into three segments (noted in Ex. 8), separated by brief interjections from the piccolo, flutes, and horns. These remarks, along with additional musical commentary not directly connected to the toccata (Ex. 9), surface and resurface in alternation with material borrowed from Galilei, flowing in and out with waves of agitation in an otherwise calm setting.
Ex. 8. Source of the third quotation: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription in A minor, mm. 45‐59; quotations in orchestral score indicated.
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Ex. 9. Link and third quotation: Galileo's Eyeglass, mm. 105‐131; whole‐tone pentachords and direct quotations indicated.
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The fifth toccata quotation (Ex. 10) relinquishes some of the energy built up during the last full orchestral statement of the Saturn theme. As the first half of part 3 draws to completion, Galilei's music placidly emerges from the background with the timbre of woodwinds and French horns. For the sake of smooth elision, the entrances and durations of in the woodwinds were altered somewhat from those of the first two measures of the original (Ex.
11). Strings enter and proceed to finish the section on a violin unison, with both straight bow and tremolo mixed. This second portion of the quotation (Ex. 10, beginning m. 238), is extracted from the same measures (Ex. 11, mm. 45‐49) used in mm. 113‐117 of the third
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quotation. The reprieve offered by the fifth quotation is short lived. While the violins sustain the last note of borrowed music, an accelerando ushers in the agitato section.
Ex. 10. Fifth quotation: Galileo's Eyeglass, mm. 234‐245; quotation entrances marked with asterisks.
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Ex. 11. Source of the fifth quotation: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription in A minor, mm. 41b‐49a.
After two lengthy introductions in the agitato thematic region of part 3, followed by the brief appearance of the agitato theme itself, the sixth toccata quotation (Ex. 12) links the preceding theme to a transition leading to part 4. The accompanying percussion in the orchestrated passage continues an energetic, martial tone that is almost anthem‐like. This final quotation is lifted from a segment of Galilei's composition for lute that ascends through a progression of chords, as if climbing rungs on a ladder (Ex. 13). The excerpt is transcribed to G minor, rather than A, to accommodate the harmony of this portion of my own composition. I address the harmonic function of this quotation, voiced for strings and brass, in the section on harmony in order to show how the functional analysis in Galileo's Eyeglass differs from that of its original context.
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Ex. 12. Sixth quotation: Galileo's Eyeglass, mm. 279‐283.
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Ex. 13. Source of the sixth quotation: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription in G minor, mm. 31‐34.
Motivic and Thematic Material
The motives and themes of Galileo's Eyeglass are connected in a variety of ways either to the story of Galileo or to Michelangelo Galilei's toccata. For example, on the first downbeat of the score, the woodwinds, bowed vibraphone, and harp intone the first three pitches of a four‐note motive. This whole‐tone cluster, representing the moons of Jupiter, is at first incomplete, recalling how Galileo did not at first see all four moons through his telescope (Ex.
14). A few measures later, the motive is echoed on solo violin harmonics (mm. 15‐17) and in an ensuing melody played by the solo violin (Ex. 15). This motive appears in other lines as well, such as the violin 1 part (mm. 33‐34).
Ex. 14. Jupiter's moons motive: Galileo's Eyeglass, mm. 1‐12, bowed vibraphone.
Ex. 15. Jupiter's moons motive integrated into a lyric melody: Galileo's Eyeglass, mm. 29‐34, solo violin.
Another simple musical gesture especially common throughout Galileo's Eyeglass is one that seeks to mimic the twinkling of stars by means of oscillating pitches. Its first appearance is
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in the woodwinds (Ex. 16), and it is developed a few measures later (Ex. 17). A similar oscillating figure in duple, rather than triple division of the beat can be observed shortly after the beginning of part 2 in the harp, flutes, and chimes (mm. 48‐54). Another example can be found in m. 144.
As previously mentioned, the first quotation from the toccata serves as the first theme, which is played by the harp in imitation of a lute. Inasmuch as this passage has already been discussed in the section on quotations above, I forego any further comment at this point, but for the sake of compiling a comprehensive list of motives and themes, I present it again here
(Ex. 18) with the primary melodic tones from Michelangelo Galilei's tablature circled.
Ex. 16. Oscillating motive: Galileo's Eyeglass, upper woodwinds, m. 31.
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Ex. 17. Expanded oscillating motive: Galileo's Eyeglass, woodwinds and upper brass, mm. 37‐ 42.
Ex. 18. Theme 1: Galileo's Eyeglass, harp, mm. 12‐24, primary melodic tones circled.
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Aside from choosing portions of the toccata for direct quotation, I combed through
Michelangelo Galilei's piece searching for even the smallest of motives that could spark inspiration and aid cohesiveness. A three‐note fragment in m. 11 stood out as potentially useful (Ex. 19). Like Galileo's insatiable curiosity, the motive's melodic contour, implying a minor sixth resolving to a perfect fifth, seemed to call out a question. Its aural impression of reaching outward, in addition to the haunting nature bestowed on just three tones, made it seem particularly appropriate for thematic development. Despite its brevity, this gesture was the initial inspiration for all the remaining themes.
Ex. 19. Minor sixth motive of m. 11: M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcription in A minor, mm. 9‐12.
Before the entrance of the Saturn theme in part 3, trumpet 1 plays a pitch‐wise
verbatim declaration of the minor sixth motive over a sparse instrumental background (Ex. 20).
Flute 1, piccolo, and glockenspiel echo with their own version of the question—the contour of the original in inversion, and outlining a minor seventh in place of the minor sixth (indicated by
I.C. for "Inverted Contour" in Ex. 20).
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Ex. 20. Minor sixth motive in part 3: Galileo's Eyeglass, mm. 179‐192; motive and motivic variations indicated by brackets.
As stated in the section on formal structure, I labeled this portion of the introduction to part 3 expository, because of the themes it generated out of what might otherwise seem an insignificant line. Just a few measures later in part 3, for example, the Saturn theme, the first theme I sketched out, begins with a perfect fifth to major seventh incipit (Ex. 21). This three‐ tone gesture is related to the minor sixth motive, but was created from the inverted contour of
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that motive. The expository introduction to part 3 is not the first appearance of the inverted contour version of the minor sixth motive: it occurs even earlier and more prominently in the piccolo above the third toccata quotation (Ex. 22). Note how the third and fourth iterations in this excerpt broaden to a major seventh, foreshadowing the Saturn theme.
Ex. 21. Saturn theme: Galileo's Eyeglass, violin 1, mm. 201‐211.
Ex. 22. Inverted contour of minor sixth motive: Galileo's Eyeglass, piccolo, mm. 119‐124.
Although the direct presentation of the minor sixth motive does not occur until the beginning of part 3, its imprint is observable in the themes of part 2. This is because motivic and thematic material was developed with much concern for unity before the construction of the piece began. The Jupiter theme, for example, sinuously played in octaves by violins 1 and 2 in its complete statement (Ex. 23), opens with a phrase member bearing a very strong resemblance to the minor sixth motive. As the phrases develop, the intervals of the motive expand and even invert to create an integral lyric theme.
In the subsequent episode, quotation 2, a modified fragment of the Jupiter theme surfaces in the strings and then dissipates as quickly as it appeared (Ex. 24). With the fluctuating focus between foreground and background material in this passage, I aimed to craft
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the illusion that music was wafting in from ages past, and ebbing and flowing with music of the present. The strings are muted to accentuate that effect.
Ex. 23. Jupiter theme with minor sixth motive and derivatives indicated: Galileo's Eyeglass, violin 2, mm. 56b‐66.
In the same episode, at the end of the toccata quotation, the flutes sound a motive unrelated to the minor sixth gesture, except that both contain perfect fifths. In fact, this new motive features two sets of interlocking, descending thirds played in parallel motion at the distance of a perfect fifth (Ex. 24). I call this the ecclesiastical motive, as it recalls the open fifths of plainsong or even the chiming of bells. I chose to employ this motive or variations of it several times throughout the score (mm. 287‐288, etc.) to evoke the memory of Galileo's conflict with the Roman Church. In its first occurrence (mm. 24‐25), played by chimes and glockenspiel after quotation 1 on the harp, the mirroring part does not enter until the second descending third. In the present example (Ex. 24), the statement of the ecclesiastical motive by the flutes is answered with a consequent phrase on the harp. Before leaving this orchestral excerpt, one should also note the oscillating perfect fifths on the harp, a hybrid of the oscillating and ecclesiastical motives heard as the full orchestra fades and the second Galilei quotation begins.
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Ex. 24. Toccata quotation 2 with modified Jupiter fragment, ecclesiastical motive, and hybrid oscillating/ecclesiastical motive: Galileo's Eyeglass, mm. 64‐75.
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The closing theme to part 2 consists primarily of the harmonic motive illustrated in Ex.
25, which is stated at different pitch levels and in slightly different ways as the theme progresses. Although the resemblance may not be readily apparent, this theme is also connected to the minor sixth motive. Notice in the example below how the harmonic intervals implying an augmented sonority in violin 1 actually open to a minor sixth, which then resolves back to the open fifth. Similar characteristics belonging to the minor sixth motive can be found in many other places in the score, including the harp part in mm. 199‐200, 207‐209, and the woodwinds in m. 246.
Ex. 25. Closing theme motive: Galileo's Eyeglass, mm. 87‐89, strings; harmonies indicated without inversions.
Preceding the expository introduction in part 3, in which the minor sixth motive was brought to the foreground, the narrative introduction employs a device I call the rings motive.
Here a perfect fifth drone, representing the body of the sixth planet from the sun, is flanked on either side by major thirds, representing Saturn's encircling rings (Ex. 26). The constant fifth on
E and B is sustained primarily by the strings, while the thirds, D‐sharp (enharmonically notated
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as E‐flat) and C, are bowed on crotales and vibraphone. The major thirds can also be interpreted as a ring of minor seconds on either side of the perfect fifth, depending on one's aural perception and/or the proximity of the tones of the ring to the octave of the drone.
Ex. 26. Rings motive: Galileo's Eyeglass, mm. 155‐170.
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Later in part 3, as the second introduction paves the way for the agitato theme, I took full advantage of the interchangeability of the major third and semitone rings. Here the double basses and cellos play jeté on a perfect fifth, and like shifting gears of a machine, they jump outward before each bar line of the first two measures, first by a semitone, then by a major third (Ex. 27). To add color to the harmony and instrumentation, bassoons (not in the example) mirror the cellos for a few measures a perfect fifth above. In order to move to a new harmonic center, the pattern of the first two measures is followed by two more measures of descending perfect fifths and semitone rings in alternation. Incidentally, this descending pattern is earlier employed in the link leading to the Saturn theme (mm. 196‐197).
Ex. 27. Perfect fifth/rings pattern: Galileo's Eyeglass, mm. 258‐263, cello and double bass.
Over the perpetual motion of the sequences described above, the brash agitato theme finally arrives (Ex. 28). Although functionally different, this theme is very closely related to the closing theme heard in parts 2 and 4; consequently, it exhibits a relationship to the minor sixth motive as well. As marked in the example, the downward resolution of A to A‐flat over the fundamental tone of D‐flat (Ex. 28) strengthens the impression that it has roots in that same three‐note motive extrapolated from Galilei's toccata. Furthermore, a minor alteration of the harmony here, compared to the closing theme, ties this section to the motoric rings pattern over which the agitato theme soars. To be specific, note in the same example below how the root of the indicated D‐flat triad descends a semitone while the perfect fifth above the root, the
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A‐flat, ascends. This not only causes a major mediant harmony (III) instead of the augmented tonic chord of the closing theme, but the resultant interval of this contrary motion encircles, so to speak, the preceding and following D‐flat major triads with a semitone ring, as in the
accompanying pattern (Ex. 28).
Ex. 28. Agitato theme: Galileo's Eyeglass, mm. 272‐278, only strings, trumpet 1, and trombone 1 shown; connections to minor sixth motive and rings motive indicated.
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At the recapitulation in part 4, the abridged version of the Jupiter theme, as seen in the introduction in part 2, is played by the violins, and joins with a modified fragment of the Saturn theme, played by the horns (Ex. 29). Meanwhile a flurry of activity swirls around in the other instrumental parts (only low strings shown in the example). With the transformation of the
Jupiter theme from minor to major, the two reiterated themes fit together well, and their similarities are all the more apparent. One could even argue that the Saturn theme functions merely as a counter‐melody in this passage.
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Ex. 29. Combined Jupiter and Saturn themes: Galileo's Eyeglass, mm. 300‐306, horns in F, violin solo, and strings.
As outlined in the section on formal structure, a recapitulation of the Saturn theme alone follows the conflated reiteration of the Jupiter and Saturn themes. Next, a variation on the closing theme from part 2 sustains the momentum up to the final section, the coda, which
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also consists primarily of closing theme material. The oscillations between tonic and augmented tonic triads, with all their enhanced vigor, remind us of the rather simple motivic threads coursing through the entire work: just three tones isolated from Michelangelo Galilei's toccata that permeate the majority of motives and themes of Galileo's Eyeglass. As previously asserted and now demonstrated, all parts are connected either through the toccata or through the Galileo narrative.
Harmony
New Wine in Old Wine Skins
The story of Galileo's trial for the heresy of heliocentricism is known even to school children, but what may not be so widely recognized is that the clash of centuries‐old theories
with science and changing practices permeated all areas of life at the time. In music, many tried to find middle ground between tradition, mysticism, and innovation. Johannes Kepler devised one of the most elaborate of such philosophies and made some surprisingly unscientific claims in espousing his doctrines on music theory, acoustics, music of the spheres, and natural phenomena.59
Galileo's father was embroiled in a famous and very public debate with his former teacher, the music theorist, Gioseffo Zarlino, over systems of tuning.60 Specifically, Vincenzo's
59 Walker, 34, and Gingerich, 60, state that Kepler believed that celestial harmonies were inaudible, but real; that the music of the spheres was polyphonic; the harmonies were in just intonation, with consonant thirds and sixths; and that celestial harmonies were derived from geometry, not solely numerical ratios, and should be calculated from the vantage point of the sun. Gingerich, 57, adds that Kepler approximated so many numbers in his attempt to prove that the speed of planetary orbits fits a scale of just intonation, that "surely any intonation could be hammered into such a frame." Concerning his treatise, Harmonice Mundi, Cohen, 34, observes that "Kepler created an intellectual structure of such a logical consistency, imagination, and beauty, that at the end one really regrets that our world is not quite as Kepler describes it." 60 Ronan, 61, tells us that Vincenzo Galilei moved to Venice to study with Zarlino shortly after the master had published his treatise, The Institutes of Harmony.
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experiments were not producing results to support long‐held beliefs concerning the numerology of consonance, now advocated by Zarlino. In the Pythagorean system, the accepted consonant intervals—unison, octave, fifth, and fourth—were those produced by vibrating strings with lengths corresponding to ratios of the whole numbers 1 through 4 (unison
1:1, octave 1:2, fifth 2:3, and fourth 3:4).61 With the more recent addition of thirds and sixths to the list of consonant intervals, theorists struggled to mathematically justify new musical practices, and to settle on a tuning that could accommodate all intervals within the octave.62
Through his experimentation, Vincenzo discovered that consonance and tuning are not limited to the simple ratios as proposed by ancient philosophers.63 He and the Camerata, and later Galileo as well, although enamored with the affective qualities of ancient music, were convinced that modern music must not be bound by inaccurate theories of the past.64 As for modern practice, they advocated a system of tuning in equal temperament that approximated the intervallic adjustments already made by singers.65 Girolamo Mei, scholar and advisor to the
Camerata, counseled Vincenzo that the ear, not tradition nor theory, must determine what is
61 Ibid., 61. 62 Cohen, 79, asserts that Zarlino avoided addressing the problem of how accomplished singers adjust intervals without changing the pitch, and V. Galilei was so polemic in his reaction to Zarlino's arguments that his own words became ambiguous. Cohen cites Palisca's view that the conflict was essentially between Zarlino's love of numbers and Galilei's experimental method. He also presents Walker's somewhat differing opinion that both men essentially agreed with each other, but each had "the desperate wish to contradict the other." 63 Galileo probably learned much about experimentation from his father. Stillman Drake contends in “Music and Philosophy in Early Modern Science,” in Music and science in the age of Galileo, ed. Victor Coelho, 3‐16, University of Western Ontario Series in Philosophy of Science, ed. Robert E. Butts, v. 51 (Dordrecht, Boston, and London: Kluwer Academic Publishing Company, 1992), 15, that if Galileo had not been present at his father's musical experiments, he may not have developed his own study on the motion of pendulums. Furthermore, without a musical background, Galileo probably would not have had the skills to produce first timings so precisely. 64 Galileo's agreement: Walker, 27‐28. 65 For a detailed description of the conflict between the theory and practice of music at the dawn of the Scientific Age, see Cohen, 1‐7 ff.
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consonant.66 Thus, in music and all areas of life, the rapidly changing perspective on the world, due to a wave of new information, created tension that often pushed to the breaking point, as in the case of the Roman church versus Galileo.
In the following section, I demonstrate some of the defining characteristics of my harmonic style in Galileo's Eyeglass. Like Vincenzo Galilei and other musicians of his time, I allow my ear to exert the strongest influence over my music. I could call myself a traditionalist inasmuch as my artistic foundation is built on our Western harmonic heritage, yet I find ways of
accommodating more modern sonorities without tipping the balance beyond what my personal aesthetic will allow. In short, neither modern trends nor historical traditions are sacred to me.
Generally speaking, my music is primarily tonal, but draws freely from modality and non‐ major/minor scales. Strong dissonances are reserved for special effect or musical "spice."
Harmonic Signposts
A few global observations about the work itself sharpen our focus on its main harmonic ingredients. Galileo's Eyeglass is primarily in the key of A, both minor and major modes, and ends in A minor's relative major key of C (see Tab. 2 at the end of this section). Augmented tonic harmonies play a significant role in the various tonal centers throughout the piece. It is not by chance, then, that the whole‐tone scale also features prominently in my work, as it is organically linked to the augmented triad. As previously noted, the whole‐tone gestures and
augmented triads in this piece are part of the same musical family as the minor sixth motive described above. Also linked to the whole‐tone scale are frequent harmonies built on the flatted sixth and seventh scale degrees.
66 Ronan, 61.
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As for harmonies of a less common sort, I employed a scale composed of alternating semitones and minor thirds. Primarily in the agitato thematic region, the rings motive, with its contrapuntal interplay of perfect fifths, major thirds, and semitones, serves an important role.
This thematic area, in fact, introduces a greater degree of dissonance than previously heard in the piece. It was also in these sections that I employed polytonality to generate greater tension, eventually to be released in the triumphant finale.
As with the musical structure, quotations, motives, and themes of Galileo's Eyeglass, the harmonic language is rooted in the Galileo narrative. For example, the minor sixth motive, which spawned great quantities of both motivic and harmonic material, was extracted from music of the scientist's own brother. Additionally, I chose to use harmonic tools that, to me, epitomize certain elements of the narrative, such as the whole‐tone scale or the major‐ third/minor‐second scale to represent the vastness the universe, or flat‐VII triads alternating with the tonic to suggest the musical embodiment of victory. The following section serves to elucidate more fully what I have summarized above.
Section 1, the introduction to part 1, introduces whole‐tone harmony through the
unveiling of clusters that represent the moons of Jupiter. The first tone to sound is an A, and with the advent of the first toccata quotation in A minor (m. 13), the preeminence of A in the opening sections is established. A four‐measure extension implying the dominant connects this first quotation to a whole‐tone/chromatic developmental section (mm. 27b‐38). Although this section begins on A with a reiteration of the whole‐tone cluster (Ex. 30) and ends on a clear E7
(the dominant 7 of A), the intervening measures are more tonally ambiguous, like a typical passage from Wagner's Tristan und Isolde. Within this section, time seems to be temporarily
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suspended in the diminished G‐sharp to G‐natural oscillating motive (m. 31) in the woodwinds, a figure that resolves to the borrowed subdominant major 7. Tension created by an interval of a major seventh added to each of these diminished chords (G‐natural, then F‐sharp) foreshadows the importance of its complementary interval, the semitone, in the upcoming agitato theme region. In the present section, with its hazy tonal center, we also find two nested measures of pentatonic harmony (mm. 37‐38), a rarity in his piece.
After seven measures of transition, including more whole‐tone gestures in the strings
and the oscillating motive in the winds, the introduction to part 2 begins in A minor. The last seven measures of the introduction present a noteworthy harmonic transition. The melody in m. 50 outlines an A‐minor chord that resolves to B‐flat major (Ex. 31). This latter chord
functions here as a Neapolitan, but in part 4, after the final modulation to C major, the B‐flat major harmony functions as flat‐VII, another distinctive borrowed harmony. The G major chord in m. 55, major VII in natural minor, progresses to A‐minor in m. 57 via an augmented German
sixth chord and the dominant triad. Note how the VII is preceded by a borrowed major triad built on the raised VII (written enharmonically as A‐flat). While its function could be explained in different ways, I am inclined to consider this chord a secondary Neapolitan of G.
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Ex. 30. Development, part 1: Galileo's Eyeglass, mm. 27‐38; whole‐tone and diminished harmonies with major sevenths indicated.
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Ex. 31. Harmonic transition of introduction, part 2: Galileo's Eyeglass, mm. 50‐57a.
The first complete statement of the Jupiter theme (mm. 57‐66) occurs in A minor. Its harmony, too, progresses through VII, then VI, before it cadences on V. The focus on the dominant continues throughout the subsequent episode comprising quotation 2. Due to the overlapping of a modified fragment of the Jupiter theme with the quoted material, a few measures of polytonality occur in mm. 67‐69. The retransition that follows modulates from A minor to the supertonic key area of B, modally adjusted to minor.
A variation on the Jupiter theme (mm. 78b‐87), similar harmonically to the abridged theme in the introduction, commences in B minor. Just as the minor sixth melodic motive influenced the harmonic profile of the introduction by producing an augmented triad, the current variation on that theme in section 4 also produces the same. With a B pedal sustaining through m. 81 (Ex. 32), the minor triad is transformed to an augmented triad by lowering the root of the chord from B to B‐flat. As we also see with the augmented triads of the upcoming closing theme, the augmented harmony here returns to its original position, then climbs, like its
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sister melody of the introduction (Ex. 31, m. 50), resolving upward to the Neapolitan of B minor,
C major, the parallel major of A minor.
Ex. 32. Variation on Jupiter theme, part 2: Galileo's Eyeglass, mm. 78‐85.
As previously described, the closing theme beginning in m. 87 in C major, and indeed even the closing theme at its return in part 4, is essentially a harmonic motive characterized by the progression: tonic, augmented tonic, tonic, flat‐seven, tonic. For clarity, I show again here the excerpt of the theme previously presented (Ex. 33). After the first statement of this motive, a modulation in m. 90 ushers in the new tonal area of G major in m. 91 by means of the
Neapolitan triad, A‐flat major. Then in m. 96, while still in G, the subdominant progresses to D major, the dominant. Mm. 98‐104 sustain D major long enough for D to seem like the tonal destination by the time we arrive at the ritardando; however, m. 105 suddenly realigns to A minor, revealing that we have merely passed through a series of temporary key areas, ascending by perfect fifths through C, G, and D, to complete the journey back to A.
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Ex. 33. Closing theme motive: Galileo's Eyeglass, mm. 87‐89, strings; harmonies indicated without inversions.
The link connecting the closing theme to the transition at the end of part 2 has already been highlighted due to its use of interlocking whole‐tone pentachords (mm. 107‐113), and it needs no further elaboration. This chain of whole‐tone pentachords creates a smooth segue to the transitional third toccata quotation in A minor (mm. 113‐131), the first measure of which contains a whole‐tone line. As the quotation continues, my own music (m. 118‐126) latches on to the submediant heard in Galilei’s toccata in the preceding measure (m. 117), and attempts to suspend time momentarily by sustaining chords related to F for an additional nine measures (F min.7, aug. V of F, and F maj.7). All the while, the toccata persists to peek through. The harmony slides back to A minor by the time all strings come together on the toccata in m. 128
(Ex. 34), and an expansive Galilei harmonic progression leads us back to dominant by the end of the quotation in m. 131.
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Ex. 34. End of quotation 3: Galileo's Eyeglass, mm. 125‐131, strings; quotations enclosed in rectangles, harmonies indicated without inversions.
A few measures later, I attempted to create the aural impression of gazing upward into the heavens (mm. 132‐140) to set the stage for the narrative introduction regarding Galileo's discovery of the rings of Saturn in part 3. Extending the three‐note figure of G‐sharp‐A‐B from the last measure of the quotation, measure 131 (example above), I added multiple ascending layers with different scalar patterns and mensurations (Ex. 35). At the distance of a perfect fifth from each other, viola and violin 2 play alternating melodic minor third/minor second intervals, displaying perhaps the most exotic scale of the work. Violin 1 and piccolo play the same mode with a minor third of separation between them. Flutes also play the same scale with a minor
third between. For more contrast, the clarinets play a pattern of melodic tetrachords, each comprising a whole tone with semitones on either side. Underneath all of this hushed activity, the low strings descend by a pattern (beginning m. 131) that roughly suggests a whole‐tone scale (E, C, A‐flat, F‐sharp), landing on F‐sharp with the piccolo sounding the same pitch several octaves above.
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Ex. 35. Extension to quotation 3: Galileo's Eyeglass, mm. 134‐140.
The link joining the extension shown above to part 3 sustains the F‐sharp in the bass, then descends by one more whole tone as E becomes the new pitch center at the beginning of part 3 (m. 147). The harmony of the narrative introduction representing Saturn and its rings (a perfect fifth drone surrounded by two major thirds) has already been sufficiently described.
With the entrance of the solo violin in m. 166, the minor‐third/semitone scale is heard once again, but this time more clearly. The harp takes up the E drone in octaves (m. 179), and with the entrance of the trumpet on the minor‐sixth motive at the beginning of the second half of the introduction (m. 179b), the mode of E reveals itself to be minor with a mournful F‐sharp.
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Two measures of Mixolydian enter in mm. 184‐185, as the bass slips to D with the lingering memory of F‐sharp. E is quickly recovered in m. 186, and with V/V (F‐sharp major), to
iv (A minor), to V (B major), mm. 192‐195 (Ex. 36), a solid descending‐fifths harmonic progression prepares the arrival of E major (m. 196) and the advent of the Saturn theme in section 2. Thus, from the beginning of section 1 of part 3, the piece has progressed from E pitch centricity, to E minor, to E major. Also note in the example (Ex. 36) how the augmented tonic harmony is suggested with the inclusion of C in the treble ostinato for harp (mm. 199‐
200).
In section 2 of part 3, the Saturn theme heralds in E major, the dominant key area of A.
The example below (Ex. 37) demonstrates the increasing reliance on borrowed chords in
Galileo's Eyeglass. Both the flat‐VI and the flat‐VII are important coloristic harmonies in this first Saturn thematic statement. The borrowed chords in mm. 207‐208 are of the more common type found on flatted sixth and seventh scale degrees, while the chord build on the
lowered seventh in m. 203, lacking an F‐sharp, is borrowed from E Phrygian rather than a form
of E minor.
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Ex. 36. Concluding progression, section 1, part 3: Galileo's Eyeglass, mm. 191‐201, strings, harp, timpani, and brass; harmonic analysis without inversion.
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Ex. 37. Saturn theme: Galileo's Eyeglass, mm. 201‐210, strings; harmonic analysis without inversion.
The episode containing quotation 4 (mm. 211‐214) bridges the gap between two statements of the Saturn theme. Beginning in E minor, it offers harmonic diversity to the preceding passage. In the penultimate measure of this borrowing, Michelangelo Galilei wrote a
G‐sharp to form an E major triad, the dominant of his composition when transcribed to A.
Then, surprisingly, he reverts to the G‐natural in the next measure. With my own harmonic objective being to maintain E major as tonic, I retained the G‐sharp; nonetheless, the role of E
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major as tonic begins to weaken at this point. In a link (beginning m. 214) connecting the fourth quotation to the second thematic statement, modal ambiguities (m. 216)—G‐natural and chords borrowed from forms of A minor (C major and B minor triads)—suggest that a transformation is underway. Another harbinger of impending change is the subtle addition of martial percussion instruments and rhythmic patterns that began in the episode. This change of both tone and tonality is confirmed in m. 217 with the second Saturn theme sounding in A major. Thus the preceding E major sonority of the link is retrospectively reinterpreted as the
dominant of A.
The second statement of the Saturn theme (mm. 217‐236) is the first foray of the piece into A major, the parallel key area of the initial A‐minor tonality. The underlying harmony of this thematic iteration is the same as that of the first thematic statement in section 2, including
triads built on the lowered sixth and seventh scale degrees. This second declamation, in reality, is a composite of two sub‐statements of the Saturn theme, and mm. 226‐227 join them together. E major sounds in m. 226, the authentic cadence; but before launching the second
sub‐statement of the theme again in tonic A major, m. 227 interjects C major 7, the major seventh chord built on the lowered third scale degree—yet another modal mixture.
The transition to the agitato thematic region quotes Galilei's toccata again in A minor, helping to transform the mood from that of celebration to a more somber tone. The entrance of the quotation elides with the end of the Saturn theme, which sustains an F major triad (mm.
234‐236), the flat‐VI of A major. The overlapping of music, as before, results again in polytonality.
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The agitato region proper begins in m. 246, as mounting dissonance rapidly increases the degree of musical tension. Apart from tossing motives more quickly about the orchestra with much rhythmic syncopation, the effect of agitation is achieved largely through the use of polytonality. These polytonal cells are constructed from major chords and/or perfect fifths with roots a minor sixth apart. The woodwinds in m. 246 (Ex. 38) exhibit this design, first on beat 2, with a perfect fifth, C and G, over a major triad of E, G‐sharp (enharmonically spelled A‐flat), and B. The same voicing appears again a minor third lower on beat 3. The second and third boxes in the example are composed only of perfect fifths, and are, therefore, more consonant than the sonorities in the first box.
Ex. 38. Polytonality of the agitato region: Galileo's Eyeglass, mm. 246‐248, woodwinds in C; roots of major triads and perfect fifths indicated.
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The polytonality of the first four measures of the first introduction (mm. 246‐249), section 6, undermines the preexistent tonality. With the arrival of a trilled pedal C in the double bass (m. 250) and the descending major triads with roots outlining a C augmented triad, the related whole‐tone scale begins to resurface as the harmony simultaneously pulls toward C
(Ex. 39). Observe in the same example the polytonal construction of accented chords with roots a minor sixth apart in the strings. Also note a variation on the closing theme motive that emerges in m. 254.
Ex. 39. Whole‐tone implications, polytonal construction, and closing theme motive in the first introduction to the agitato theme: Galileo's Eyeglass, mm. 250‐254, strings.
The first four measures of the second introduction of the agitato theme region (mm.
258‐267) exhibit E pitch centricity. As previously discussed, these measures are based on the
Saturn rings motive. Note the perfect fifths between cello and basse that expand in both directions, first by a semitone at the end of m. 258, then by a major third at the end of the next measure. The bassoons sound a perfect fifth above the cellos creating shades of quintal harmony. The descending lines of mm. 260‐261 shift the tonality to C major—not merely a
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return to the mediant of A minor, but harmonic preparation for the triumphant role of the parallel major in the final measures of the work. Observe also in this example the alternate pattern in mm. 264‐265 that descends by semitones while expanding in either voice by major thirds (Ex. 40).
Ex. 40. Rings pattern in the second introduction to the agitato theme: Galileo's Eyeglass, mm. 258‐265, strings and bassoon; intervals indicated.
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As the second introduction to the agitato theme concludes, this section that centered on E, then C major, passes through two measures of augmented and chromatic tension (mm.
266‐267) before connecting with the link to the agitato theme proper. The link (mm. 268‐271), despite B and C in the bass, exhibits pitch centricity first on E, then on F. The welcome arrival of the agitato theme (mm. 272‐279) is in D‐flat major. In relationship to A, this more remote key has been saved for late in the piece, as is common in developmental sections of large orchestral movements. A chromatic descent of a minor sixth from D‐flat in the double bass (m. 275) temporarily shifts the tonal center to F major in m. 276. F major becomes F7 in m. 278, which functions as the dominant of B‐flat, the first chord of the final toccata excerpt.
From its initial B‐flat major chord, quotation 6 (mm. 279‐283), another link, weaves through a series of harmonies that includes two secondary dominants, and ultimately lands on
A major, which is V/V in Galilei's composition, but whose function seems uncertain in my own
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work. The transition that follows (m. 283‐292) attempts to tonicize A major. The closing theme fragment in A major in the woodwinds (mm. 283‐284), together with five of the nine measures of this section in A, strengthen the A‐major feel. However, after an intermediary measure of
the whole‐tone variety (m. 291), the harmonic rhythm stops on D minor for the introduction to
the final part (mm. 292‐297).
With eight measures at the beginning of part 4 in D minor, one could easily be convinced that the tonic has decidedly shifted from A to its subdominant tonal level. I had planned early on to make the best of this moment by including a false recapitulatory start in minor before the return of the combined themes in major. In fulfillment of that plan, the piccolo, oboe, and trumpet 1 sound the first five tones of the Jupiter theme in D minor,
beginning at the anacrusis to m. 298, over a subjugated galloping rhythm that began in the first
measure of part 4 (m. 292). Restating the anacrusis an augmented fifth higher, there is an immediate modulation to A major in m. 300. Reinforced by an orchestral crescendo, it becomes suddenly clear that D was just a temporary stopover, and the true recapitulation is in
A, but now in the more vibrant major than its original minor.
The Jupiter and Saturn themes, as formerly described, are played together in A major at the beginning of the recapitulation. A link (mm. 306‐309), which progresses through flat‐VI,
flat‐VII, iv7, and V, connects this first part of the recapitulation with the second. The latter part
(mm. 310‐315) is also in A major, but comprises the Saturn theme only.
The last two sections of Galileo's Eyeglass contain the glorified reemergence of the closing theme. Harmonically, section 3 (mm. 316‐325) serves to amass energy and shift gradually from A major to C major of the coda. The first step toward C is the subtle
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introduction of a C major 7 chord (m. 316), the flat‐III harmony of A major. Next, the seventh of
C major is lowered to B‐flat in the bass (m. 319), adding still another tone not found in A major.
With the next chord, A‐flat major, it becomes almost undeniable that A major has been
subdued. Finally, with the anacrusis of an A‐flat major chord to a fortissimo C major chord in the strings at m. 326, one can see retrospectively that the bass line trajectory in the preceding measures was hinting at the flat sixth and seventh scale degrees, and the A‐flat major harmony was, in reality, the flat‐VI of C major.
Surveying the overall harmonic plan (Tab. 2) of Galileo's Eyeglass, apart from a few side excursions and non‐major/minor scales, we see that the work migrates from the original tonic key of A minor to its dominant E major, then turns back by a perfect fifth to A major, and finally ascends to the relative key of C major. Even in the coda, ascension, and the musical imagery of reaching beyond the ordinary, seems to continue as the final tonic expands to C augmented over a harmonic landscape of flat‐VI and flat‐VII.
Tab. 2. Harmonic structure of Galileo's Eyeglass.
Part 1: "Through a Glass Darkly"
1 Intro mm. 1‐12 Whole‐tone (W‐T) 2 Theme 1 (Qn. 1) mm. 13‐24 A min. Extension mm. 24‐27 V of A min. (E) 3 Development mm. 27b‐38 W‐T/chromatic section incl. mm. 37‐38 pentatonic (GACDE) Transition mm. 38‐45 Chromaticism ending on E7 (V7 of A)
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Part 2: "Medicea Sidera"
1 Intro (Jupiter abridged) mm. 45‐56 A minor to V via N, sharp‐VII, natural‐VII, and Gr6 2 Jupiter theme mm. 57‐66 A min., cadence on V 3 Episode (Qn. 2) mm. 64b‐72a V (E) of A min., polytonality mm. 67‐69 Retransition mm. 72b‐79 V, modulating to b min. 4 Jupiter ' (Variation) mm. 78b‐87 B min. 5 Closing theme mm. 87b‐104 C maj. to G maj. to D maj. Link mm. 105‐113 A min., W‐T beginning in m. 107 6 Transition (Qn. 3) mm. 113‐131 A min., excursion to VI Extension mm. 132‐140 V of A min. descends by W‐Ts to F‐sharp with layered ascending scales above Link mm. 140‐147 F‐sharp bass descends a W‐T again to E
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Part 3: "Smais mr milmep oet ale umibunen ugttauir as"
1 Intro mm. 147‐179 E centered Intro mm. 180‐196 E min., mm. 184‐185 Mixolydian Link mm. 196‐200 E maj. 2 Saturn theme mm. 201‐210 E maj., incl. flat‐VI and flat‐VII, ending on V 3 Episode (Qn. 4) mm. 211‐214 E min., ending E maj. Link mm. 214‐217 E maj., modal ambiguity in m. 216 with G‐natural and borrowed chords from A min., E maj. reinterpreted as V of A 4 Saturn theme mm. 217‐236 A maj. 5 Transition (Qn. 5) mm. 234‐245 A min. 6 Intro mm. 246‐258 Polytonal, C centered Intro mm. 258‐267 E centered, with C maj. at m. 262, and D+ at m. 266 Link mm. 268‐271 E centered to F centered 7 Agitato theme mm. 272‐279 D‐flat maj., then F maj. at m. 276 Link (Qn. 6) mm. 279‐283 Chord progression from B‐flat maj. to A maj. 8 Transition mm. 283‐292 A maj., with W‐T m. 291
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Part 4: "An Infinite World"
1 Intro mm. 292‐297 D min. Link: False Jupiter start mm. 298‐299 D min. 2 Recapitulation mm. 300‐306 A maj. Link mm. 306‐309 Chord progression: flat‐VI, flat‐VII, iv7, and V in A maj. Recapitulation mm. 310‐315 A maj. 3 Closing theme mm. 316‐325 Harmonic transition: C maj. 7, B‐flat maj./C, A‐flat maj./D maj. 4 Coda mm. 326‐336 C maj.
Orchestration and Notation
Having examined the formal structure, quotations, motives and themes, and harmonic features of Galileo's Eyeglass, this last section of the chapter calls attention to issues of orchestration and notation that I considered while composing the work. As with the preceding section, I mention them in chronological order when possible. Generally speaking, I wanted my orchestration to be animated and rich, and I sought out timbral combinations that evolve with the passage of time. Concerning notation, I chose the simplest solutions possible to aid immediate comprehension in sight‐reading.
Beginning with instrumentation, I chose to write for a standard orchestral consort, with
no soloists other than the concert master, and not exceeding three percussionists and a timpanist. I did, however, call for a few percussion instruments that are less common, such as the anvil and piccolo snare drum, and I requested a few percussive techniques that could present a challenge to less experienced players, such as bowed crotales and vibraphone, and playing on the shaft of the chimes rather than at the head.
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At the time of this writing, the piece has not yet been performed, but it has been read by the University of North Texas Symphony Orchestra. The outcome of that session was both pleasing and informative. One of the most important lessons learned was that, despite the fact that I played percussion in bands and orchestras from middle school through college, I had not sufficiently choreographed the percussion parts. Consequently, after the orchestral reading I mapped out all of the percussion gestures in the music, I decided on an ideal layout for the instruments (see Recommended Percussion Setup in Part 2), and I switched some of the lines from one percussionist to another. There are still a few places in the percussion parts, to be sure, that require advanced planning to execute well, especially from the agitato region through the finale; however, I believe that with appropriate effort, the parts can be performed
with precision.
Concerning timbre, the whole‐tone clusters at the beginning of part 1 are an example of sonorities that evolve. Since the clarinet is very adept at playing crescendos from niente and fading back to silence, I utilized this instrumental feature in tandem with the flutes, bowed
vibraphone, and harp. Also with this combination, I highlighted the natural differences in each
instrument’s attack, sustain, and decay times (Ex. 41). The sound envelope is shaped somewhat by very specific dynamic indications, including staggered crescendos and decrescendos to ensure timbral evolution.
The inclusion of vibraphone in the opening measures presented me with coloristic
choices. From my own experience playing the instrument, I feared that the otherworldly effect
the vibrato can elicit might be cliché for this piece about the universe; therefore, I decided to indicate that the motor should remain off. However, while listening to a new work called
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Double Play by Cindy McTee, I realized how the evolving sound envelope could actually be aided by the activated vibrato. Consequently, I changed my previous opinion and indicated that the motor should be on in the soli sections. Additionally in McTee’s composition, I found the sound combination of plucked harp with the attack of each new tone on the vibraphone to be very effective, so I added harp to the timbral mix at the beginning of Galileo's Eyeglass (Ex. 41).
Other effects on percussion in the opening measures include a tapping rhythm played with wooden sticks on the rim of the tam‐tam (Ex. 41), which results in a hollow, less resonant sound than when played in the ordinary manner. Later in the work (m. 176), I indicate that the chimes should be played with plastic mallets on the shaft to produce the same sort of timbre— a thinner, metallic sound. In the same section, quiet taps on the tam‐tam and whooshes from light brushes on a suspended cymbal, combined with the long, sparsely orchestrated, sonically evolving whole tones, are all meant to evoke the aural image of a quiet night outdoors.
To add to this al fresco ambiance, I called upon the flutes and piccolo to create something similar to wind sounds on their instruments. Not wanting a quick exhalation of air that results from simply blowing through the instrument with the mouth fully over the embouchure hole, the instrumentalists are instead required to lightly play residual‐tone glissandi (Ex. 41). Played softly, residual tones are intentionally unfocused, whisper‐like sounds
that still have a semblance of the pitches fingered. To mimic the sound of gentle breezes, I staggered the entrances, crescendos, and decrescendos. The orchestral reading was again useful to me in two ways: 1) I realized that this effect could be played louder than I had intended; and 2) my original notation gave the players a false impression of the contour of the glissandi. The first issue was easily remedied by marking the gestures with quieter dynamics.
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On the second point, I changed the glissando notation from straight lines to curved, without which the players tended to pause at the top of the arc rather than smoothly continuing over the top and descending gradually on the other side. The x intersecting the lines merely approximates the highest and lowest pitches.
Ex. 41. Whole‐tone clusters, percussion, and residual tones in opening measures: Galileo's Eyeglass, mm. 1‐8.
Wanting to approximate the sound of a lute, I instruct the harpist to play près de la table, near the soundboard, for more of a fretted instrument sound on the first toccata quotation. I also chose to insert ornaments for the sake of authenticity. At first I indicated rolled chords, arpeggios, and turns by inserting the standard musical shorthand in the music; but after consulting with harpist Jaymee Haefner, I realized that these symbols left too much
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latitude for differences of interpretation, and so I renotated the passage with the embellishments written out metrically (Ex. 42). As previously explained, the arpeggios in the example were originally block chords, so I used varied mensuration, including the use of feathered beams, to recreate the improvisational feel of those chords when played in a common seventeenth‐century style. Such specificity helped ensure that the player would not simply strum the chords, as might have otherwise occurred if there were only a wavy line preceding the original chords.
Ex. 42. First toccata quotation: Galileo's Eyeglass, harp, mm. 12‐24.
As another example of the lengths to which I went in order to infuse some vestige of authenticity in Galileo's Eyeglass, I researched the sound of church bells in Padua. Since the introduction to part 1 was inspired by thoughts of Galileo searching the Paduan skies when he discovered the moons of Jupiter, I wanted to incorporate the sound of bells that may have accompanied that experience. It is impossible to know exactly where the scientist’s telescopic observations took place, but it is a good assumption that they were carried out in the garden of
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his home in what is now Via Galilei, within earshot of the famous Basilica of Saint Anthony.67 It is not likely that the bells presently in the towers of the basilica are from Galileo's time; nonetheless, I wrote parts for chimes in my piece based on the C diatonic scale of the current set of bells in the towers. The first such occurrence is on the ecclesiastical motive in mm. 24‐
26. Another instance is in mm. 52‐54, in which the rhythm of the tolling of C and D imitates the dying of a round of ringing (Ex. 43).
Ex. 43. C diatonic tolling on chimes: Galileo's Eyeglass, mm. 52‐54.
The timbral contrast between the entire violin section and a violin soloist has always intrigued and delighted my ears; therefore, I chose to feature in this work, at times, a soloist for the sake of aural diversity, not to mention the sheer sweetness that can be expressed on the solo instrument. Another instrument assigned to a solo for its special affective qualities is the
English horn, used at the introduction to the Jupiter theme (mm. 46‐49). Here the English horn enhances the quiet melancholy mood of this passage with violin harmonics and other light orchestration.
Following the thicker orchestration found later in the Jupiter theme, the main purpose of the closing theme in part 2 is to release much of the collected energy before entering into the subsequent quotation, which is of a contemplative nature. In order to make this
67 There is a tradition asserting that Galileo conducted scientific observations and experiments atop the tower of the Porta Molino in Padua; however, I believe that it is more likely, and Dava Sobel concurs, that his astronomical observations were made from his home. For an engaging article on important places in Galileo's life, see Sobel's "Galileo's Universe," in The New York Times Magazine, 21 November 1999, accessed 30 March 2011, http://query.nytimes.com/gst/fullpage.html?res=9D06E5DE133DF932A15752C1A96F958260&pagewanted=all.
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transformation gradual, I believed that continuous fluidity should be maintained in the background. Once the foreground relinquished much of its fervor, the background could follow suit. My first attempts at creating the right texture were unsuccessful; but then I remembered how Bedřich Smetana sustained a continuous flow throughout the largest portion of his orchestral piece, Vltava (The Moldau), his famous work about the river that traverses
Bohemia.68 After studying his score, I recognized that the effect of flowing currents under the
placid surface of the river was created with long, rising and falling lines composed of many short, swift segments, passed between instrumental groups. By imitating Smetana's technique,
I found the texture I desired (Ex. 44). Incidentally, a practical advantage to passing the melismatic lines from one voice to the next rather quickly in the woodwind and string sections is that the lines became easier to read, and I avoided excessively taxing any one group of instruments. (In the example below, I have removed the middle parts, including the brass
foreground, for the sake of space.)
68 Bedřich Smetana, "Vltava" (The Moldau) in Má vlast (My country) (Prague: Editio Supraphon, 1983).
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Ex. 44. Background parts of the closing theme, part 2: Galileo's Eyeglass, mm. 94‐104.
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From the first days of researching the story behind the events commemorated in
Galileo's Eyeglass, I began grappling with another orchestrational challenge. I wanted to find a way to express in music the geometric figures that Galileo insisted were characters of the language of the universe: triangles, circles, etc. In my experimentation, it was proving difficult to find ways of musically representing geometric shapes in any way pleasing to my musical
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taste; however circles seemed promising. The circular (cyclical) musical device that interested me most was the Shepard scale, due to its illusion of tones rising higher and higher before being recycled at the bottom, similar to the visual effect of an old‐fashioned barber's pole. I recalled that, in his Concerto for Violin and Orchestra ("The Red Violin"), John Corigliano composed several passages very similar in effect to a Shepard scale. As I consulted the score, I observed how he layered multiple ascending lines, one over another, with staggered entrances and varied, but steady rhythmic patterns marked "blurred, liquid."69
As for my own application of this device, I felt that the ascending inner voice at the end of the third quotation (m. 131) was a perfect point to begin an ostinato, upon which I would stack ascending figures similar to those in Corigliano's concerto. The scales used, and the
intervals separating parts in this segment of my piece have already been shown, but in light of the present discussion, I include the example again in order to focus more on the notation and orchestration (Ex. 45). As in Corigliano's concerto, I varied the mensurations from part to part and carried some beams over bar lines to emphasize through notation that the parts must be played very smoothly from bottom to top. After the reading of the work, I reduced the dynamics at least one level, convinced that the passage would communicate more effectively if merely whispered. I also indicated that the strings should play sul tasto to thin the tone even beyond what the dynamics indicate.
69 John Corigliano, Concerto for Violin and Orchestra ("The Red Violin") (New York: G. Schirmer, 2003), 1‐4, 7‐10, etc.
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Ex. 45. Illusionary device for cyclical effect, extension to quotation 3: Galileo's Eyeglass, mm. 134‐140.
Beneath quotation 5, and continuing into the second declamation of the Saturn theme, the work acquires a martial tone with the addition of a snare drum, an allusion to the tribunals
Galileo would face. The snare begins very quietly, and it is marked lontano to lend the impression that the drum is being played at a great distance. To increase the sensation of physical separation between the orchestra and the snare drum, the rhythms on the snare drum are largely independent of those in the orchestra (Ex. 46). To diminish the risk that this part could overpower the rest of the orchestra, I kept the dynamics low, and I specified a piccolo
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snare drum. In the absence of the smaller drum, I would expect the percussionist to do what can be done to create a similar tone color and to compensate dynamically as well.
Ex. 46. Piccolo snare drum accompanying a portion of the second statement of the Saturn theme: Galileo's Eyeglass, mm. 217‐221, brass and snare drum.
While the agitato theme region (mm. 246‐292) offers compositional variety with its quickened pace and rich harmonic language, there are no significant points concerning orchestration or notation in these measures that have not already been addressed. For this reason I skip now to the final measures of Galileo's Eyeglass in order to conclude with a few observations about the coda. By the time we have reached the closing section, all instrumental forces have been called upon to help musically convey sentiments associated with victory. In the last four measures of the piece, I employed a few additional effects in the percussion, timpani, and harp parts to heighten the sense of exhilaration.
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Although the chimes had been used chromatically earlier in the piece, in the final measures of the work, the C diatonic scale was used exclusively in imitation of a jubilant round of all the bells at the plenum of the basilica in Padua (Ex. 47). Following the orchestral reading of the work, I thinned out some of the timpani parts that were initially too active and resulted in a low indistinguishable rumble that muddied the overall texture. For the harp, Jaymee
Haefner brought to my attention multi‐fingered glissandi used by Ravel in his Introduction and
Allegro, a technique that produces more volume than the more common single glissando.70
This, too, I included in the finale (Ex. 47). The ultimate embellishment appears in the last three measures with three tam‐tam crescendos to usher Galileo's Eyeglass to a dramatic final climax
(Ex. 47).
Ex. 47. Closing measures, mm. 333‐336, timpani, percussion, and harp.
70 Specifically, the glissandi in Ravel’s Introduction and Allegro require the use of two fingers in each hand.
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Chapter 3
A Place in the Universe
Having examined the main musical components of Galileo’s Eyeglass, I turn once again to the narrative behind the piece in this last chapter. I cite a few brief details of Galileo's story to make plain the tightrope on which the scientist walked while attempting to remain true to
his convictions, and how by striving for equilibrium he ultimately triumphed. In Galileo's
Eyeglass I sought to embody the Galilean spirit of fortitude, resolve, and integrity, and to inspire not only by the musical harmonies, but also by the underlying message of personal harmony.
From the Biblical story of Joshua 10, when God caused the sun to stand still so that his
people would have more daylight while they fought the armies of the Amorites, there arose the tradition that the sun completes a circuit around an immovable earth each day. Many considered the psalmist’s praise in Psalm 104:5 conclusive proof of this doctrine: "You who laid the foundations of the earth, so that it should not be moved forever." (NKJV) Now, after many generations have acknowledged that the earth moves around the sun, these texts seem rather flimsy evidence. Nevertheless, these passages were enough to convict the heliocentrist,
Galileo, of heresy.
To his friend Benedetto Castelli, Galileo wrote in 1613: "...even though the Scripture cannot err, nonetheless, some of her interpreters and expositors could err at times in varied ways...." He added: "...the Scripture in many places is not only open to, but is absolutely in
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need of explanations different from the apparent meaning of the words...."71 Wisan maintains that Galileo was obsessed with the notion that the church must not promote error concerning the nature of our planetary system, and he embarked on a thorny mission to set the record straight.72
The conflict was not only over which body orbits which. Believing that the heavens were perfect (and symbolism mattered much), it was generally held that all heavenly bodies must be perfectly spherical, must orbit in absolute circular patterns, and must have smooth surfaces. To many doctors of canonical law, then, the years 1609 and 1610 dealt a heavy blow to what they considered truth: first Kepler published his findings that planetary orbits are elliptical, then Galileo observed that the moon's surface is pocked with mountains and valleys.
Finally, Galileo discovered new "wandering stars" circling Jupiter, and the world seemed much
more complicated than before.73
Galileo's case seems to be full of contradictions. How could it be that before becoming
Pope Urban VIII, Maffeo Barberini immortalized Galileo's discoveries in the poem Adulatio perniciosa, and then ordered the Inquisitors to investigate the same man for heresy?74 Wisan admits that, on the surface, such a change of heart is baffling. She argues that the real issue, however, was not Galileo's Copernicanism. After the pope had given Galilei a long leash, allowing him to speak of heliocentricism as a theory rather than as reality, the scientist made the pope's position look foolish in his published Dialogue, a play‐like discussion between three
71 My translation of excerpts of a letter from Galileo in Florence to Don Benedetto Castelli in Pisa, 21 December 1613, Opere, ed. Flora, 988. 72 Winifred Lovell Wisan, "Galileo and God's Creation," Isis 77, no. 3 (1986): 473. 73 Drake, 6. 74 Poem: Nicolson, 255.
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almost‐fictitious characters.75 This was a most inopportune moment for Galileo's fellow
Florentine. The axis of Barberini's world was beginning to tilt in the wrong direction, as he was accused on all sides of not doing enough to bolster the Church's image. Some said he was negotiating with the Protestants, and others charged that he was not friendly toward the
powerful Spanish and Hapsburg rulers. The pope may have been furious for having been betrayed by Galileo, making matters worse after kindnesses shown him.76 From another
perspective, Hammond suggests that the trial for heliocentricism was merely a "smoke‐screen" to avoid charging Galileo with the heresy of atomism, a more serious crime against the church, and an affront to the doctrine of transubstantiation. According to Hammond, Barberini may have saved Galileo's life.77
With all of these delicate situations in play, it is evident that daily living could not have come easily for Galileo, not to mention that he was subject to long illnesses.78 Despite his
physical weaknesses, he had a very strong internal constitution; and still he was able to bend when necessary, as seen from the transcripts of his interrogations. Galileo officially recanted his belief that the earth revolves around the sun, but all evidence suggests that he merely said what was required for survival.
What astonishes me most about Galileo is that, through it all, he never gave up his faith in God. I believe that many would have placed the blame for their troubles elsewhere.
Galileo’s sense of truth was as strong in his religious life as in his scientific convictions.
75 Wisan, 482‐486. 76 Frederick Hammond, in “The Artistic Patronage of the Barberini and the Galileo Affair,” In Music and science in the age of Galileo, ed. Victor Coelho, 67‐89, University of Western Ontario Series in Philosophy of Science, ed. Robert E. Butts, v. 51 (Dordrecht, Boston, and London: Kluwer Academic Publishing Company, 1992), 80‐81. See also Mason, 19, and Sobel, Daughter, 225. 77 Hammond, 81. 78 Sobel, Daughter, 67.
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Undoubtedly, his loving relationship toward his daughter in the convent of San Matteo, near his home in Arcetri, helped sustain his morale and his faith. In essence, Galileo was convinced that he had a purpose to fulfill—a place in the universe—and he discharged his duty honorably.
Remaining true to one's beliefs, and prevailing over many obstacles through
perseverance: this is the message I wish for Galileo's Eyeglass to communicate. Musically speaking, I was true to myself in composing this work. From the lyric melodies, rhythmic and metric variety, and wide‐ranging instrumental colors, to an eclectic harmonic language, the
music was propelled forward by my inner muse—the sounds I desire to hear. Like Galileo, who was driven to know more about the world, I was strongly motivated to learn more about writing for orchestra. Throughout this process of discovery, I have been inspired by the man about whom the piece was written.
Galileo Galilei was by no means perfect. Like his father, he could be cantankerous at times, but despite his imperfections, after four centuries he still teaches by the example of a life well lived. Through Galileo’s successes we learn the joy of discovering the secrets of our universe. Through his trials we learn the importance of discovering one's own place in that universe. Both victories and challenges, Galileo's Eyeglass celebrates the entirety of life.
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Appendix A
Program Notes
Galileo’s Eyeglass by Jay Alan Walls is a celebratory work for orchestra commemorating
Galileo Galilei’s discoveries of moons orbiting Jupiter and the rings of Saturn in 1610. The one‐ movement composition is divided thematically into four parts.
"Through a Glass Darkly"
The title of the opening section evokes the foggy image of Jupiter's four largest moons, which Galileo could just make out through his new, state‐of‐the‐art telescope. Borrowed from the Apostle Paul, the words of the title serve as a fitting description of the clouded vision of the religious establishment that would soon become a lifelong thorn in Galilei’s side as his emerging view of the of the planetary system came into conflict with theirs.
Philosophy is written in this grand book that is continuously open before our eyes (I speak of the universe), but the book cannot be understood if one does not first learn to interpret its language, and to comprehend the symbols with which it is written. It is written in the language of mathematics, and its characters are triangles, circles, and other geometric figures, without which it is humanly impossible to comprehend a single word; without these, one wanders vainly in a dark labyrinth. Galileo, The Assayer
For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known. I Cor. 13:12 (KJV)
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"Medicea Sidera"
Part two, translated Medicean stars, bears the name Galileo gave Jupiter’s moons.
Hoping to gain favor with the Medici family of Florence, the scientist christened them in their honor.
Behold therefore, four stars reserved for your illustrious name, and not of the common sort and multitude of the less notable fixed stars, but of the illustrious order of wandering stars, which, indeed, make their journeys and orbits with a marvelous speed around the star of Jupiter, the most noble of them all, with mutually different motions, like children of the same family, while meanwhile all together, in mutual harmony, complete their great revolutions every twelve years about the center of the world, that is, about the Sun itself.
Galileo, Sidereus nuncius
"Smais mr milmep oet ale umibunen ugttauir as"
Turning his gaze toward Saturn, Galileo observed that it was not perfectly round. Not sure of what he had found, but wanting to make certain his place in history for this discovery, he sent an anagram, the title of part three of Galileo's Eyeglass, to his northern colleague,
Johannes Kepler, to verify his primacy without yet having to explain it. Although never deciphered properly at the time, when unscrambled, the letters spell out “Altissimum planetam tergeminum observavi,” or “The most distant planet I observed to be triple‐bodied.”† Through his early telescope, the rings appeared to be smaller, companion bodies on either side, or bulges around Saturn's waist.
...I render endless thanks to God that it pleased him to make me alone the first observer of something marvelous, kept hidden for all these centuries.
Galileo, Letter to Belisario Vinta
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"An Infinite World"
The final section draws its title from Galileo's description of the vastness of the universe he was just beginning to comprehend. The exuberance of the concluding themes seeks to embody musically the scientist’s thrill of discovery and his victory over a mountain of obstacles.
Despite his conflict with church leaders in Rome, for example, Galilei maintained a constant faith in the Creator.
Look now toward heaven, and count the stars if you are able to number them.
Gen. 15:5 (NKJV)
…you will behold through the telescope a host of other stars, which escape the unassisted sight, so numerous as to be almost beyond belief....
Galileo, Sidereus nuncius
To accentuate the historical and artistic context of Galileo’s momentous life, Walls transcribed and interspersed throughout the composition music originally written for lute by
Galileo’s musician brother, Michelangelo Galilei. The scientist was no amateur musician
himself, as his father, member of an elite group of Florentines who created modern opera, instructed his son in the art of music from a young age.
Galileo’s Eyeglass, the culmination of Walls’ doctoral studies in music at the University of North Texas, is lovingly dedicated to the memory of the composer’s father‐in‐law, John C.
Little, a distinguished professor of science at Abilene Christian University. He was a great scientist, scholar, and teacher in his own right, but an even greater man of faith.
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Appendix B
Michelangelo Galilei, Toccata VI from Il primo libro d'intavolatura di liuto.79
79 M. Galilei, Il primo libro, Tree‐Edition, 28.
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Appendix C
M. Galilei, Toccata VI from Il primo libro d'intavolatura di liuto, transcribed to modern notation.
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102
Bibliography
Galileo and His Writings:
Casati, Stefano, Gianna Megli, and Iolanda Rolfo, eds. Galileo e l'universo dei suoi libri, digital facsimile library. Istituto e Museo di Storia della Scienza. Accessed 28 January 2011. http://brunelleschi.imss.fi.it/bibliotecagalileo/indice.html.
Crona, Göran and Doug Towne, primary contributors. "Fronimo ‐ Dialogo." The Lute Society of America. Accessed 22 February 2011. http://www.cs.dartmouth.edu/~Isa/ associated/Galilei/index.html.
Galilei, Galileo. Le Opere di Galileo Galilei, ed. Antonio Favaro. 20 vols. Florence: G. Barbera, 1890‐1909; reprinted 1964‐1966.
______. Opere di Galileo Galilei, ed. Ferdinando Flora. Galileo e gli scienziati del seicento. La Letteratura italiana: storia e testi. V. 34, n. 1. Milan: R. Ricciardi, 1953.
______. Sidereus nuncius. Translated with introduction, conclusion and notes by Albert Van Helden. Chicago and London: University of Chicago Press, 1989.
______. “Sidereus nuncius.” Excerpt translated by Edward Stafford Carlos. In Galileo’s Commandment: An Anthology of Great Science Writing, ed. Edmund Blair Bolles. New York: Freeman, 1997.
Hammond, Frederick. “The Artistic Patronage of the Barberini and the Galileo Affair.” In Music and science in the age of Galileo, ed. Victor Coelho, 67‐89. University of Western Ontario Series in Philosophy of Science, ed. Robert E. Butts, v. 51. Dordrecht, Boston, and London: Kluwer Academic Publishing Company, 1992.
Machamer, Peter. "Introduction." In The Cambridge Companion to Galileo, ed. Peter Machamer, 1‐26. Cambridge: Cambridge University Press, 1998.
Mason, Stephen. "Galileo's Scientific Discoveries, Cosmological Confrontations, and the Aftermath." History of Science 40/4, n. 130 (2002): 377‐406.
National Aeronautics and Space Administration. "The Real Lord of the Rings." NASA Science: Science News. Accessed 31 January 2011. http://science.nasa.gov/science‐news/ science‐at‐nasa/2002/12feb_rings/.
Nicolson, Marjorie. “The Telescope and Imagination.” Modern Philology 32, no. 3 (1935): 233‐ 260.
Ronan, Colin A. Galileo. New York: G.P. Putnam's Sons, 1974.
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Shea, William. "Galileo's Copernicanism: The science and the rhetoric." In The Cambridge Companion to Galileo, ed. Peter Machamer, 211‐243. Cambridge: Cambridge University Press, 1998.
Sobel, Dava. Galileo’s Daughter. New York: Walker Publishing Company, 1999; Penguin, 2000.
______. "Galileo's Universe." In The New York Times Magazine, 21 November 1999. Accessed 30 March 2011. http://query.nytimes.com/gst/ fullpage.html?res=9D06E5DE133DF932A15752C1A96F958260&pagewanted=all.
______. The Planets. New York: Penguin, 2005.
Swerdlow, Noel M. "Galileo's discoveries with the telescope and their evidence for the Copernican theory." In The Cambridge Companion to Galileo, ed. Peter Machamer, 244‐ 270. Cambridge: Cambridge University Press, 1998.
Van Helden, Albert. The Invention of the Telescope. Transactions of the American Philosophical Society Held at Philadelphia for Promoting Useful knowledge. Vol. 67, part 4. Philadelphia: The American Philosophical Society, 1977.
______. Measuring the Universe: Cosmic Dimensions from Aristarchus to Halley. Chicago: The University of Chicago Press, 1985.
Wisan, Winifred Lovell. "Galileo and God's Creation." Isis 77, no. 3 (1986): 473‐486.
Musicians and Music of the Late Sixteenth and Early Seventeenth Century:
Beier, Paul. "Musician's notes for Michelagnolo Galilei: Sonate from Il primo libro d'Intavolatura di liuto (1620)." Magnatune.com. Accessed 25 February 2011. http://magnatune.com/artists/beier.
Brown, Howard Mayer. “Vincenzo Galilei in Rome: His First Book of Lute Music (1653) and its Cultural Context.” In Music and science in the age of Galileo, ed. Victor Coelho, 153‐184. University of Western Ontario series in philosophy of science, v. 51. Dordrecht, Boston, and London: Kluwer Academic, 1992.
Chauvel, Claude. "Galilei, Michelangnolo." In Grove Music Online. Oxford Music Online. Accessed 22 February 2011. http://www.oxfordmusiconline.com:80/subscriber/ article/grove/music/40763.
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Cohen, H.F. Quantifying Music: The Science of Music at the First Stage of the Scientific Revolution, 1580‐1650. University of Western Ontario Series in Philosophy of Science, Robert E. Butts, ed., v. 23. Dordrecht, Boston, and Lancaster: D. Reidel Publishing Company, 1984.
Drake, Stillman. “Music and Philosophy in Early Modern Science.” In Music and science in the age of Galileo, ed. Victor Coelho, 3‐16. University of Western Ontario Series in Philosophy of Science, ed. Robert E. Butts, v. 51. Dordrecht, Boston, and London: Kluwer Academic Publishing Company, 1992.
Fabris, Dinko. "Program Notes for Michelagnolo Galilei: Sonate from Il primo libro d'Intavolatura di liuto (1620)." Magnatune.com. Accessed 25 February 2011. http://magnatune.com/artists/beier.
Fiedler, Achim. "Is This Enough?: Divine chance or carefully structured programme? Achim Fiedler presents a new twist in the story of the Berg Violin Concerto chorale." The Musical Times 134, no. 1806 (1993): 444‐445.
Gingerich, Owen. “Kepler, Galilei, and the Harmony of the World.” In Music and science in the age of Galileo, ed. Victor Coelho, 45‐63. University of Western Ontario Series in Philosophy of Science, ed. Robert E. Butts, v. 51. Dordrecht, Boston, and London: Kluwer Academic Publishing Company, 1992.
Grout, Donald Jay and Claude V. Palisca. A History of Western Music, 6th ed. New York and London: W.W. Norton and Company, 2001.
Jarman, Douglas. "Alban Berg, Wilhelm Fliess and the Secret Programme of the Violin Concerto." The Musical Times 124, no. 1682 (1983): 218‐223.
Lundberg, Robert. “In Tune With the Universe: The Physics and Metaphysics of Galileo’s Lute.” In Music and science in the age of Galileo, ed. Victor Coelho, 211‐237. University of Western Ontario Series in Philosophy of Science, ed. Robert E. Butts, v. 51. Dordrecht, Boston, and London: Kluwer Academic Publishing Company, 1992.
Palisca, Claude V. "Galilei, Vincenzo." In Grove Music Online. Oxford Music Online. Accessed 22 February 2011. http://www.oxfordmusiconline.com:80/subscriber/article/grove/ music/10526.
Partridge, Richard. "lute." In The Oxford Companion to Music, ed. Alison Latham. Oxford Music Online. Accessed 3 March 2011. http://www.oxfordmusiconline.com/subscriber/ article/opr/t114/e4101.
Walker, D.P. Studies in Musical Science in the Late Renaissance. Studies of the Warburg Institute, ed. J.B. Trapp, v. 37. London: The Warburg Institute, 1978.
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On Music and Compositional Technique:
Schillinger, Joseph. The Schillinger System of Musical Composition. Introduction by Jeremy Arden. 2 vols. New York: Carl Fischer, 1941; Harwich Port, Massachusetts: Clock and Rose Press, 2004.
Musical Works Associated with the History of Galileo:
Galilei, Michelangelo. Il primo libro d'intavolatura di liuto. With an introduction by Douglas Alton Smith. Munich: Tree‐Edition, 1980.
______. Il primo libro d'intavolatura di liuto: Trascrizione in notazione moderna di Ruggero Chiesa, ed. Ruggero Chiesa. Transcriptions principally for guitar and transposed from original keys. Preface in both Italian and English. Milan: Edizioni Suvini Zerboni, 1977.
Galilei, Vincenzo. Libro d’intavolatura di lauto: Firenze, 1584. Monumenta musicae revocata, ed. Orlando Cristoferetti, no. 11. Introduction translated by Hugh Ward‐Perkins. Florence: Studio per edizione scelte, 1992.
Musical Works Consulted for Orchestration Technique:
Berg, Alban. Violinkonzert (Violin Concerto). Vienna: Universal‐Edition, 1936.
Corigliano, John. Concerto for Violin and Orchestra (“The Red Violin”). New York: G. Schirmer, 2003.
Smetana, Bedřich. "Vltava" (The Moldau) in Má vlast (My country). Prague: Editio Supraphon, 1983.
Recordings:
Corigliano, John. Concerto for Violin and Orchestra (“The Red Violin”). Marin Alsop conducts the Baltimore Symphony Orchestra with Joshua Bell, violin. Sony Classical 2876‐88060‐ 2, 2007.
Galilei, Michelangelo. Michelagnolo Galilei: Primo Libro d'Intavolatura per liuto (1620). Paul Beier, lute. Magnatune.com, 2004. Accessed 1 March 2008. Streaming audio and downloads: http://magnatune.com/artists/albums/beier‐galilei/.
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PART II
GALILEO'S EYEGLASS
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Instrumentation List
Piccolo 2 Flutes 2 Oboes English Horn 2 B‐flat Clarinets Bass Clarinet 2 Bassoons Contrabassoon
4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba
Timpani: 32", 28", 25", 23", and 21"
Percussion for 3 Players: Bass Drum, Piccolo Snare Drum, Crash Cymbals, 2 Suspended Cymbals, Crotales (with plastic mallets and bow), Tam Tam (with beater and wood sticks), Tambourine, Woodblock, Shaker, Anvil, Triangle, Chimes (with hammer and plastic mallets), Vibraphone (with mallets and bow), Glockenspiel, and Wind Chimes
Harp
Solo Violin Violins 1 & 2 Violas Violoncellos Double Basses
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Recommended Percussion Setup
(Diagram designed for percussion on stage right with snare downstage or percussion on back of stage with snare closest to stage right. Timpani excluded from diagram.)
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I. Through a glass darkly Galileo's eyeglass Jay Alan Walls In memory of John C. Little Largo liberamente espressivo stringendo q »66 chrom. residual tones ¿ Piccolo 4 ∑ ∑ ∑ Ó Œ ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ 4 ∑ & 4 ¿ ¿ 4 4 chrom. residualP tones ¿ 1 4 ∑ ∑ ∑ ∑ Œ Œ ∑ ∑ ∑ Ó Œ œ w w 2 ∑ 4 ∑ & 4 ¿ ¿ 4 4 Flute P chrom. residual tones p ¿ 2 4 ∑ ∑ Œ ∑ ∑ Ó Œ 2 ∑ 4 ∑ & 4 w w ˙ ¿ ¿ ˙ ˙. œ w ˙. 4 4 π ñ p π p 1 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ Oboe 2 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
English Horn 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
1 4 j 2 4 & 4 w w Ó Œ œ w ˙ œ ‰Œ ∑ ∑ ∑ w w w w 4 œŒ 4 ∑ B Clarinet b ñ π ñ ñ ñ π p 2 4 2 4 & 4 ∑ Ó ˙ w w œŒÓ ∑ ∑ ∑ ∑ Œ ˙. w w 4 ∑ 4 ∑ ñ π ñ p Bass Clarinet 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
1 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ Bassoon 2 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑
Contrabassoon 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑
1 2 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ Horn in F
3 4 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
1 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
Trumpets in C 2 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
3 4 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
1 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ Trombone 2 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑
Bass Trombone 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑
Tuba 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑
4 3 2 4 Gs A B E F Bn - Bf Timpani 4 4 4 ? 4 []ww j 2 4 4 #ww ∑ ∑ ∑ ∑ ∑ Ó Œ‰≈œœ wæ œæ œ ‰Ó ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ crotales (plastic mallets) π ww ñ 1 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ π wood sticks on 3 rim of tam-tam Percussion 2 œœœœj ã 4 ∑ ∑ ∑ ∑ ∑ Œ‰ ‰Œ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ bowed vib. p sus. cymbal bowed vib. (motor med.) brush swoosh (motor med.) 3 4 w w ˙ ŒÓ Ó ‰ É Œ ∑ ∑ ˙ ˙ œ œ w w 2 ∑ 4 ∑ & 4 . bœ w œ ã J & bœ œ 4 4 p p P ñ F ñ P p F ñ solo 4 2 4 & 4 w ∑ ˙. ∑ ∑ ∑ ∑ ∑ ˙ ˙ Œ œ ∑ ∑ 4 œ œœ œ 4 ˙. œ Harp bœ bœpocoœ Près de la table* œ œ œ P F F f (both hands) F ? œ œ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 4 ∑ En OOOPoOOO h Largo liberamente espressivo stringendo q »66 Violin I O O O & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ˙ 42 ˙ 4 w ñ π Violin II 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ 2 4 O & 4 ##œO wO 4 O˙ 4 w ñ π Viola B 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑
Violoncello ? 4 2 4 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑
Double Bass ? 4 2 4 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 Œ ˙. π 1 2 3 4 5 6 7 8 9 10 11 12 13 14 [110] * Harp: in the style of a lute toccata con l'arpa rit. a tempo accel. poco a poco poco rit. a tempo chrom. residual tones ¿ Picc. & ∑ ∑ ∑ ∑ Ó Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¿ ¿ chrom. residual tones chrom. residual tones F ¿ 1 ¿ ¿ & ∑ ∑ ∑ Ó Œ ¿ ŒÓ ∑ ∑ ∑ ∑ ∑ Œ ¿ ¿ Ó Fl. ¿ ¿ F chrom. residualF tones chrom. residual tones ¿ 2 ∑ ∑ ∑ ∑ Œ ŒÓ ∑ ∑ ∑ ∑ ∑ Œ ¿ Ó & ¿ ¿ ¿ ¿ F F 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob.
2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
E. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B Cl. b 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn.
2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn.
3 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ con sord.
Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ˙ p 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tbn.
2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Gs - Gn Timp. ? j ∑ ∑ ∑ ∑ Ó ‰#œœ œ #wæ œ œ œ Ó Œ œ œ ˙æ œ ŒÓ ∑ ∑ ∑ ∑ π p π chimes 1 ˙ œ œ ˙. w & ∑ ∑ ∑ ∑ wood sticks∑ on ∑ ∑ ∑ ∑ Œ ∑ rim of tam-tam 3 p bass drum Perc. 2 œ œ œœj ã ∑ ∑ ∑ ∑ Œ‰ ‰Œ ∑ ∑ ∑ ∑ Ó è Œ œ ˙æ è Ó ∑ P p glockenspiel sus.π cymbal brush swoosh 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ í ‰ É ŒÓ ∑ & . ã J & π p . ˙. œ˙ w w ∑ œœ œ œ ˙ œ œ œ ˙ œ. œ œ œ œ œ œ ŒÓ ∑ ∑ ∑ & œ œ J gw gw g œ œ œ. œ3 Hp. œ œ gw gw poco œ g˙ œ œ gœ. J œ œ R.H. 3 f 3 Gs f f œ œ œ œ œ w œ ? ŒÓ ŒÓ ∑ #œ ŒÓ œ œ Ó œœ ∑ ∑ ∑ pocoœ œ ˙ ˙. w œ w œ 3 ˙ con fl'arpa rit. a tempo accel. poco a poco h poco rit. a tempo O O O O . ˙ œ œ Vln. solo œ ˙ ˙ œ bb˙O. œO nnœO œO O O O ˙ ˙ & Ó Œ œ w w ˙ ˙ w ∑ ∑ ∑ p F Vln. I & wO wO wO wO wO ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ñ Vln. II & wO wO wO wO wO ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ñ Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
one player, stand 1 D.B. ? ∑ ∑ ∑ ∑ Ó Œ w w w w w ˙ w w ˙. 15 16 17 18 19 ñ 20 21 22 23 24ñ 25 P 26 27 ñ [111] rubato
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83
1 œ œ #œ œ œ œ œ #˙ ˙ ˙ 2 4 2 3 & ∑ ∑ Ó Œ 3 3 Ó ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 8 poco Fl. f P 2 œ #œ œ œ œ œ #˙ 2 4 2 3 & ∑ ∑ ∑ 3 3 Ó ∑ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 8 poco F f p soli 1 œ- œ- #œ#œ œ œ œ œ œ œ œ œ œ œ Nw ˙ ∑ Ó ˙ œ ˙. ˙ #œ œ œ #˙ Ó ∑ Ó Œ œ 2 œ œ 4 2 3 & 3 4 4 4 8 Ob. poco P F f p F p 2 ∑ Ó Ó ∑ ∑ 2 ∑ 4 ∑ ∑ 2 ∑ 3 & ˙ w b˙ ˙ poco b˙ 4 4 4 8 π F f p E. Hn. 2 4 2 3 & ∑ Ó b˙ w b˙ Ó ∑ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 8 ˙ poco ˙ π F f p 1 2 4 2 3 & ∑ ∑ ∑ ∑ b˙ ˙ ˙ Ó ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 8 B Cl. b P F P 2 & ∑ ∑ ∑ ∑ Ó ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83 ˙ b˙ ˙ P F P B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83 Bsn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83 chiuso con sord. senza sord. + +3 + 1 + 2 Œ ˙. w w b˙ ˙ b˙ ˙ bÓ˙ ∑ 2 ∑ 4 ∑ Ó Œ 2 3 & 1. 4 4 1.œ 4 #œ œ œ 8 Hn. p con sord. F senza sord.p f 3 4 ∑ bw w ∑ ∑ 2 ∑ 4 ∑ ∑ 2 ∑ 3 & 3. b˙ ˙ ˙ b˙ 4 4 4 8 con sord. p F P con sord. 1 ˙ b˙ w N˙ & Ó ˙ w w ˙ b˙ ˙ Ó ∑ ∑ 42 ∑ 4 42 83 ñ p F P conp sord. P p Tpt. 2 & w ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ˙ b˙ w 42 ˙ 83 ñ conp sord. P p 3 2 4 2 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ˙ b˙ w 4 ˙ 8 p P p 1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83 Tbn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83
B. Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83
Tuba ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83 2 4 2 3 Timp. ? 4 4 4 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83 triangle Perc. 2 ⁄ 2 4 2 3 ã ∑ ∑ ∑ Ó ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 8 F 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ ∑ 42 ∑ 83 √ rolled conventionally œ œ œ œ ##˙ ˙ ˙ 2 4 œ œ œ œ œ œ 2 3 & ∑ ∑ ∑ ∑ g ˙ Ó ∑ 4 ∑ 4 ∑ œ œ œ 4 ˙ 8 Hp. p.n. g poco œ ˙ FçsS g F F ˙ g #˙ ˙ ˙ OOpPpOOO f ? ∑ ∑ ∑ ∑ g ˙ Ó ∑ 2 ∑ 4 ∑ 2 ˙ 3 4 4 œ ŒÓ 4 ˙ 8 rubato #œ œ œ œ œ œ œ Vln. solo œ ˙ œ #œ #œ N˙ w 2 4 2 3 ∑ Ó ˙ œ Œ #œ 3 ∑ ∑ ∑ ∑ & poco 3 4 4 4 8 p f f P div. unis. Vln. I ∑ ∑ #˙ ˙ ˙ œ 2 4 2 3 & ∑ ∑ œ œ œ bw 4 ˙ 4 b˙ b˙ w 4 ˙ 8 π F P div.F p Vln. II 2 4 2 3 & ∑ ∑ ∑ ∑ #˙ n˙ 4 4 4 8 bw bœ ˙ œ œ œ ˙ b˙ w ˙ π œ œ b ˙ w ˙ F Œ p Vla. F B ∑ ∑ ∑ ∑ ˙ ˙ w œœ 42 4 Œ j 42 83 œ #˙ ˙ bœ œ. œ w ˙ π F P F p Vc. ? 2 4 2 3 ∑ ∑ ∑ ∑ 4 4 Œ 4 8 w ˙ ˙ w ˙ #˙ #œ w ˙ π F P F tutti p D.B. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 4 ∑ Œ ˙. 42 ˙ 83 28 29 30 31 32 33 34 35 36 P 37 38 p [112] molto rit. rallentando a tempo II. Medicea sidera Picc. 3 & 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ 1 3 2 4 bœ œ œ œ œ œ 3 4 & 8 ∑ 4 ∑ 4 3 3 ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ Ó Fl. p π P 2 3 œ œ œ œ œ œ œ œ œ œ & 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ Ó π P 1 3 2 4 bœ œ œ œ œ œ #˙ œ œ 3 ˙. ˙. 4 w & 8 ∑ 4 ∑ 4 3 3 4 4 ∑ ∑ ∑ Ó Œ Ob. œ œ p P π F 2 3 2 4 3 4 & 8 ∑ 4 ∑ 4 ˙ b˙ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ p solo E. Hn. 3 2 4 3 4 œ œ & 8 ∑ 4 ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ Ó Œ œ œ œ #œ #w ˙ Ó
3 3 F 1 3 & 8 ∑ 42 ∑ 4 ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ B Cl. œ #œ œ œ œ œ b p 2 3 & 8 ∑ 42 ∑ 4 ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ b˙ ˙ p B. Cl. 3 & 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
1 ? 3 . 8 œ 42 ˙ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ Bsn. P 2 ? 3 2 4 3 4 8 œ. 4 b˙ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ P C. Bn. ? 3 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ + + + aperto 1 2 3 2 4 3 4 . . & 8 œ. 4 œ #œ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ Œ b˙. ˙. Œ Hn. P p 3 ñ 4 3 2 4 3 4 & 8 ∑ 4 ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ Œ ˙. ˙. Œ ˙. ˙. senza sord. p 1 3 ñ & 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
Tpt. 2 3 2 4 3 4 & 8 œ œ œ 4 œ œ œ 4 b˙ ˙ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ J J J 3 poco P f p senza sord. 3 3 ∑ 2 ∑ 4 3 4 Ó ∑ ∑ ∑ ∑ & 8 4 4 ˙ #˙ #˙ œ œ 4 ˙. ˙. 4 ˙ p P π 1 ? 3 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ Tbn. 2 ? 3 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
B. Tbn. ? 3 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
Tuba ? 3 8 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ 3 2 4 3 4 Timp. 8 4 4 4 4 ? 3 ∑ 2 ∑ 4 ∑ ∑ 3 ‰ œ œœœ œ œ œ ˙ 4 ∑ ∑ ∑ ∑ 8 4 4 4 J 3 æ 4 w P chimes 1 & 83 ∑ 42 ∑ 4 ∑ ∑ 43 Œ‰œ. ˙ Œ 4 ∑ ∑ ∑ ∑ ∑ F Perc. 2 3 2 4 3 4 ã 8 ∑ 4 ∑ 4 ∑ vibraphone (no∑ motor) 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ b˙ ˙ 3 3 2 4 b˙ ˙ 3 4 & 8 ∑ 4 ∑ 4 ∑ ˙ ˙ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ P b b˙ ˙ 3 2 4 b˙ 3 4 œ & 8 ∑ 4 ∑ 4 ∑ ˙ 4 ∑ ∑ 4 ∑ ∑ Œ ˙ œ œ œ œ œ œ œ œ ˙ Œ œ Hp. œ Df F b˙ OOOPOOOO P Bf F ? 3 2 4 ˙ 3 4 œ 8 ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 4 ∑ ∑ œ Ó & Œ œ œ œ œ œ œ œ œ œ ˙ œ œ molto rit. rallentando a tempo
Vln. solo & 83 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ Ó Œ œ œ F Vln. I O O O O O & 83 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 Ó ˙ w w w w
unis. div. 2. π Vln. II . - - & 83 ∑ 42 ∑ 4 Ó 43 œ œ œœœ œ œ. œ ˙ 4 w O wO wO wO wO 3 Ó 1. ˙ w w w w b˙ œ nœ œ #˙ p p π Vla. B 3 2 4 Ó b˙ ˙ 3 œ. œ œ ˙. 4 w w w w w 8 œ. 4 œ #œ 4 #˙ 4 J 4 P π Vc. ? 3 2 4 œ œ #œ #œ 3 ˙. œ #˙ 4 w w w #w w ∑ Œ œ 3 8 œ. 4 b˙ 4 3 4 4 P π D.B. ? 83 ∑ 42 ∑ 4 ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ Ó Œ œ 39 40 41 42 43 44 45 46 47 48 49 P [113] stringendo poco rit. liberamente rit. poco a poco Più animato q »68
Picc. & ∑ ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ 1 œ w w œœ #œ œ œ #œ w & 43 ∑ Œ 4 œ œ œ ∑ ∑ ∑ Fl. P π P F p 2 œ œ œ œ œ bw w 3 ∑ Œ œ œ 4 ∑ ∑ ∑ ∑ ∑ & 4 J ‰ 4 P π P F 1 œ #œ œ œ w ˙ Ó 3 ∑ ŒŒ ‰J 4 œ œ œ œ œ #œ w ∑ ∑ ∑ & œ œ 4 4 Ob. F p 2 & ∑ ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
3 E. Hn. 3 4 & ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ œ œ œ œ #œ œ œ œ œ poco F f 1 ∑ ∑ ∑ 3 ∑ Œ œ 4 Œ œ Œ œ Œ œ Ó Œ œ Œ œ & 4 #œœ 4 #œ œ œ #œ #w B Cl. #œ œ œ b P F p P P 2 3 j 4 #œ #œ & ∑ ∑ ∑ 4 ∑ Œ œ œ ‰ 4 ∑ ∑ Œ œŒ Œ #œ Ó Œ œŒ PF P P B. Cl. 3 ∑ 4 & ∑ ∑ ∑ 4 ∑ 4 w #w #˙ ˙ #˙ œ Œ #˙ ˙ F p F œ œ œ œ œ œ 1 ? 3 4 ˙ œ œ ∑ ∑ ∑ ∑ ∑ ˙. œ œ ˙ ˙ œŒ œ 3 4 4 w poco Bsn. F p F F f œ œ œ œ œ œ 2 ? 3 4 œ œ œ ∑ ∑ ∑ 4 ∑ ∑ 4 . ˙ ˙ ˙ œŒ 3 ˙ œ œ w poco F p F F f C. Bn. ? ∑ ∑ ∑ 43 ∑ ∑ 4 ˙ œŒ ˙. œ œ w ˙ ˙ ˙ ˙ F p P 1 2 ∑ Œ 3 ∑ ∑ 4 ‰ j Œ Œ œ Œ Ó Œ Œ œ & . 4 4 #œ œ. œ #˙ ##w œ #œ #œ œ #œ Hn. ˙. w > > > > > p P F 3 P π f 4 ∑ Œ 3 ∑ ∑ 4 ‰ j Œ Œ Œ Ó Œ Œ & 4 4 #œ œ. œ #˙ ##w œ #œ #œ œ #œ ˙. w > >. > > > π f p P F 1 P & ∑ ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
Tpt. 2 & ∑ ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
œ œ 1 ? 3 4 ∑ Œ b˙. w 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ Œ Œ Tbn. P π P 2 œ ? ∑ Œ 3 ∑ ∑ 4 ∑ ∑ ∑ ∑ Œ œ Œ ˙. w 4 4 P π P B. Tbn. ? ∑ Œ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ˙ ˙ b˙. w P π p Tuba ? ∑ Œ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ b˙. w P π 3 4 Timp. ? 43 Bf - Bn 4 j ∑ Œ b˙æ. b˙æ Ó 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ ‰ œœœ œ œ F chimes ñ P 1 ∑ ∑ 3 4 ∑ ∑ ∑ ∑ ∑ & œ œ œ œ œ 4 œ. œ. ˙. 4 F P Perc. 2 3 4 ã ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ œ w 3 j œ œ œ bw œ œ. œ œ œ w ∑ 3 ∑ ∑ 4 ∑ ∑ ‰ ‰ œ œ œ ˙ œ & 4 4 j œ jœ œ œ œ œ œ œ œ Hp. œ œ œ œ œ œ œ f Bn œ œ P œ F œ f œ œ œ œ œ œ œ bw ∑ 3 ∑ ∑ 4 ∑ ∑ ? ‰ œ œ œ ‰ jœ œ œ œ œ œ œ œ & œ œ œ œ 4 4 j œ œ 3 œ œ œ w œ œ œ œ stringendo poco rit. liberamente rit. poco a poco Più animato q »68 œ œ œ œ Vln. solo œbœ #œ œ œ #˙. œ w œ œ w ˙ Œœb œ œ œ 3 œ œ œ œ œ 4 ∑ ∑ ∑ & œ œ 4 3 3 4 f p F f unis. π Vln. I œ œ #œ #˙ nœ œ œ œ w ˙ 3 j 4 œ œ œ œ . œ & Ó bw ˙ Ó 4 ∑ ŒŒ ‰œ 4 #œ œ . œ œ J œ œ œ œ œ #œ ˙ poco unis.P F p F p f F Vln. II Œ 3 4 j & œ w ˙ Ó 4 ∑ 4 œ œ œ #œ #˙ nœ œ œ. œ œ- œ- ˙. ˙ ˙ ˙. œ œ poco œ œ œ P div. F p Funis. f p f F Vla. w ˙ 3 4 ≥ œ œ œ œ œbœ œ œ œ œ. œ B ‰j œ bw ˙ Ó 4 ∑ 4 ‰j œ œ ‰ œ 3 œ œ œ œ- œ- œ b˙. w nw œ œ J œ J P F p F f p P F Vc. ≥ œ ˙ ? ‰ œ- œ- œ- œ w ˙ Ó 3 ∑ 4 ‰ œ œ œ ‰ jœ œbœ œ œ nœ Ó 4 4 j œ œ 3 J b˙. ˙. œ œ w œ œ œ P F p F f p P F D.B. ? 3 4 bw ˙ Ó 4 ∑ ∑ 4 ˙ ˙ œŒ ˙ w ˙. œ œ w ˙ ˙ 50 F 51 p52 53 54 f 55 56 p 57 58 59 [114] rit. Lento accel. rit. poco a poco h »50 ≅ q h Picc. & ∑ ∑ ∑ ∑ ∑ 2 ∑ ∑ ∑ ∑ ∑
1 ˙ œ 2 ˙ œ œ œ œ #œ œ ˙ & ∑ ∑ ∑ ∑ Ó œ #œ #œ œ 2 ˙ ˙ ˙ œ Fl. P P 2 & ∑ ∑ ∑ ∑ ∑ 2 ∑ ∑ ∑ ∑ ∑
1 w & ∑ w w w 2 w w ∑ ∑ ∑ poco Ob. P f ñ 2 ∑ w w w 2 ∑ ∑ ∑ & #pocow 2 w w P f ñ E. Hn. #˙ #˙ ∑ w w w w 2 œŒ˙ ˙ ˙ w Ó ˙ & poco 2 F f P P ˙ œ 1 #œ œ. 2 ˙ œ œ œ #œ #œ #œ ˙ & Œ ‰ ∑ ∑ ∑ Ó #œ #œ #œ œ 2 #˙ #˙ ˙ #œ B Cl. b P p P 2 œ #œ. 2 #˙ #˙ & Œ ‰ ∑ ∑ ∑ ∑ 2 Ó #˙ ˙ ˙ #w Ó ˙ P p B. Cl. ‰ 2 ∑ ∑ ∑ & #œ œ #œ. #w w 2 w #pocow w w F P f ñ 1 w w w ? ∑ #w 2 w w ∑ ∑ ∑ poco 2 Bsn. F f ñ 2 ? ∑ 2 ∑ ∑ ∑ w w 2 w pocow w w P f ñ C. Bn. ? ˙ . ‰ 2 ∑ ∑ ∑ œ w w w w 2 w w P p pocoF ñ 1 f ñ 2 w w #w 2 w w ˙ Œ œ œ‰. w2. ∑ œ ˙ #œ œ & œ #œ. 1. 2 ˙ ˙ ˙ #œ œ Hn. Ó Œ œ #œ #œ œ #˙ . a 2 p p P 3 P 4 w 2 & ‰œœ œ.#œ w #w w #w 2 w w ∑ ∑ ∑ œ #œ œ poco f p f ñ 1 2 & ∑ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œœœ #œ œ œœœ 2 w œŒÓ ∑ ∑ ∑ poco p f ñ Tpt. 2 & ∑ ∑ ∑ ∑ ∑ 2 ∑ ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ ∑ ∑ 2 ∑ ∑ ∑ ∑ ∑ œ œ œ. œ. œ œ. œ œ œ œ œ œ. œ œ œ œ œ. œ œ. œ œ. œ œ 1 ? œ œ. œ œ œ œ œ. œ ˙ œœ 2 w œ Œ ‰ 33 33 2 ŒÓ ∑ ∑ ∑ poco Tbn. P F f œ œ ñ 2 œ œ. . œ œ. œ œ œ œ œ œ. œ œ œ . œ œ. œ . œ ? Œ ‰ œ œ œ. œ œ œ œ œ. œ œ œ #w 2 w œ ŒÓ ∑ ∑ ∑ 3 3 3 2 3 poco P F f ñ B. Tbn. œ œ ? œ œ #œ. œ. œ œ. œ œ œ œ œ . œ. œ œ œ œ. œ œ. œ œ. œ w 2 w œ ‰ 3 œ œ œ œ œ œ. œ ŒÓ ∑ ∑ ∑ 3 3 œ 2 3 poco F P F f Tuba ñ ? ∑ ∑ ∑ ∑ ∑ 2 ∑ ∑ ∑ ∑ ∑
3 3 2 Timp. 2 G - E ? ‰ œ œ œœ Œ Œ Œ œ œ œ œ œ œœ œ œ œ œ œ œ ˙ 2 ∑ ∑ ∑ ∑ ∑ J ˙ œ œ œ œ œ œ œ œæ œ œ œ œ œ œ œ œ œæ œ 3 æ 2 poco æ FpP f F 1 2 & ∑ ∑ ∑ ∑ ∑ 2 ∑ ∑ ∑ ∑ ∑
Perc. 2 2 ã ∑ ∑ ∑ ∑ ∑ 2 glockenspiel∑ ∑ ∑ ∑ ∑ É É 3 2 & ∑ ∑ ∑ ∑ ∑ 2 Œ Œ ∑ ∑ ∑ ∑ P œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ ˙ & œ Œ œ œ Œ œ œ œ œ œ œ œ J 2 Ó ∑ ∑ ∑ Hp. œ œ œ œ cresc. œ œ œ ‰‰ F π œ œ œ f ? œ œ œ œ œ œ œ œ œ 2 œ œ ŒŒ ŒŒ œ ŒÓ ∑ 2 ∑ ∑ ∑ ∑ ∑ œ œ œ œ rit. Lento accel. rit. poco a poco h »50 œ œ. œ ≅ con sord. œ. œ. œ œ ˙ q h w w œ œ bœ Vln. I œ œ œ œ œ #œ œ œ J œ J 2 œ œ œ œ œ œ & œ œ J œ 2 Ó Œ con sord.π P F f ñ div. ñ Vln. II j œ œ. œ ˙ 2 w w œ ˙ & œ. #œ œ. œ œ J 2 Ó œ œ ˙ b˙ ˙ œœŒ œ œ œ œ œ œ œ œ œ J œ œ F f con sord.π P œ. œ ñ ñ Vla. œ œ. #œ œ œ . œ 2 œ ˙ B œ œ œ œ œ œ J œ J œ œ œ œ J ˙ 2 w w Ó œ ˙ b˙ œ Œ F ñ π P ñ œ œ œ œ œ≤ œ œ œ Vc. œ œ œ œ œ œ œ œ œ œ œ #œ œ ˙ 2 œ œ w ? ∑ Œ Œ Œ Œ 2 ∑ ∑ ∑ F f ñ D.B. ? ‰ 2 ∑ ∑ ∑ ˙ œ. w w 2 w wpoco w w F 60 P 61 62 63 f 64 65 66 ñ 67 68 69 [115] rallentando q »108
Picc. œ œ & ∑ ∑ Ó Œ œ œ œ w 46 œŒÓ ∑ ∑ ∑ 4 ∑ ∑ P π œ œ #œ œ œ œ œ œ 1 œ œ œ œ œ œ w œ & œ w ˙ Œ 46 ŒÓ ∑ ∑ 4 ∑ ∑ Fl. ñ P π p 2 #œ œ œ œ œ œ & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ 4 ∑ ∑ solo p 1 œ œ #˙. #œ œ œ & ∑ ∑ ∑ ∑ ∑ 46 ∑ Œ #œ œ bœ œ ŒŒÓ. 4 ∑ ∑ Ob. p p 2 & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ œ bœ œ œ œ œ 4 ∑ ∑ p E. Hn. ˙ œ #w ˙ & #œ Ó ∑ ∑ 46 ∑ ∑ ∑ œ bœ œ œ œ œ 4 ∑ ∑ ñ p 1 œ œ œ b˙. . & œ #w ˙ Ó ∑ ∑ 46 ∑ ∑ ˙ ∑ 4 ∑ ∑ B Cl. b ñ p 2 & ˙ #œ œ #w ˙ Ó ∑ ∑ 46 ∑ ∑ ˙. b˙. ∑ 4 ∑ ∑ ñ p B. Cl. & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 ∑ ∑
#˙. œ #œ 1 ? #˙ œœ œ bœ ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ 4 ∑ Œ Bsn. p P 2 ? ˙. ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ #˙ œ 4 ∑ ∑ p C. Bn. ? ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 ∑ ∑ cuivré
1 ^ 2 & #˙ ˙ w ˙ Ó ∑ ∑ 6 ∑ ∑ ∑ . 4 ˙ Ó ∑ 4 #˙. #n˙ #œ 4 Hn. œ ˙ ñ π v 3 Ç 4 & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 ∑ ∑ con sord. 1 ∑ ∑ ∑ ∑ ∑ 6 ∑ ∑ ∑ ∑ 4 Œ j ‰ & 4 4 œ. œ #˙ ˙ œ œ conp sord. 3 P Tpt. 2 & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 Œ j ‰ œ. œ œœœ œ œ #œ œ œ œ p P 3 & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 ∑ ∑ con sord. œ. œ 1 ? 6 4 œœœ œ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 Œ 3 J ‰ Tbn. conp sord. P 2 ? ∑ ∑ ∑ ∑ ∑ 6 ∑ ∑ ∑ ∑ 4 Œ œ. œ #œœ œ œ #œ œ œ œ ‰ 4 4 3 J conp sord. P B. Tbn. ? 6 4 ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 Œ œ.#œ œœœ œ œ #œ œ œ œ‰ 3 J p P Tuba ? ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 ∑ ∑
6 3 3 4 3 E2 - D2 4 E - G 4 Timp. ? ∑ Œ ˙ œ œ œ œ œ 46 ŒŒÓ. ∑ ∑ ∑ 4 Ó ‰œœœ œ œ œ ˙. ˙æ wæ wæ œ 3 æ p π glockenspiel f 1 ˙. ˙ & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ b . ∑ 4 ∑ ∑ p Perc. 2 ã ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 ∑ ∑ vibraphone (no motor) P p 3 6 ˙ ˙ œ 4 w & ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ ∑ ˙. #˙ œœ 4 w ∑ #˙. # ˙ #œ #w . n# ˙ bisbigliando normale Nœ #˙ #b˙˙. # n ˙ œ g ˙ 6 # ˙. b # ˙˙ gg nœ 4 g #˙ & ∑ ∑ ∑ ∑ Ó Œ œ 4 œ œ œ ˙. ∑ ∑ æ 4 Ó ∑ Hp. œ œ œ œ ˙. æ F opOPppOp p ? ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ ∑ 4 ∑ ∑ Gf En rallentando Dn »108 bœ q œ œ ˙ #œ ˙. œ œ #œ #œ œ œ œ Vln. solo 6 . . 4 & ∑ ∑ ∑ ∑ ∑ 4 Ó ŒŒÓ 4 div. ∑ unis.∑ senza sord. p unis. F P œ.. #œ w œ œ bœ Vln. I #w œ .. & ∑ ∑ ∑ ∑ ∑ 46 ∑ ∑ ∑ Ó. Œ R 4 Œ R senza sord. unis.p div. P unis. Vln. II ∑ ∑ ∑ ∑ ∑ 6 ∑ ∑ ∑ Ó. Œ œ.. #œ 4 w œŒœ œ.. bœ & 4 R 4 R senza sord. p pizz. P Vla. 6 4 Ó œœœ œ B ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 ‰ J #œ œœœ œ #œ Ppizz. arco Vc. ? ∑ ∑ ∑ ∑ ∑ 6 ∑ ∑ ∑ ∑ 4 Ó ‰ œœœ œ 4 4 J #œ ˙. Ppizz. arco D.B. ? ∑ ∑ ∑ ∑ ∑ 6 ∑ ∑ ∑ ∑ 4 Ó ‰ œœœ #œ œ 4 4 J ˙. 70 71 72 73 74 75 76 77 78 79P 80 [116] poco rit. rallentando œ œ #œ œ nœ œ œ #w œ #œ Picc. bœ œ œ w ˙ œœbœ & ∑ Ó ∑ Ó ‰J P f π Ÿ~~~~~~~~~~~~~~~~~~()œ œ œ #w #œ œ œ #œ œ bœ nœ œ œ #œ œ œ bœ 1 œ œ #œ #œ w ˙ œœ & Ó Œ 6 Ó ∑ Ó ‰J Fl. F f π œ œ bœ bœ œ œ ˙ œ #œ œ œ 2 bœ bœ œ œ œ #œ w ˙ & ∑ Ó ∑ ∑ F f π bœ 1 œ œ œœ & ∑ ∑ Ó #œ œ œ #œ œ œ œ w w ∑ Ó ‰J Ob. F f π 2 œœœ & ∑ ∑ ∑ œ œ œ #œ w w ∑ Ó ‰ J F 3 f π E. Hn. œœœ & ∑ ∑ Ó Œ #œ #˙ œ #œ œ Nw Nw N˙. Œ Ó ‰J
F 3 f π 1 ∑ Ó Œ Œ ∑ & œ ˙. #œ #œ œ Nw Nw N˙ B Cl. bœ bœ œ poco #˙ œ . b f f π 2 ∑ Ó Œ Œ ∑ & #˙. #œ #œ poco œ ˙ ˙ w w ˙. f f π B. Cl. & ∑ ∑ ∑ Ó #œ Œ ∑ poco œ w w ˙. f f π œ ˙. #œ #œ œ Nw Nw N˙. 1 ? bœœ œ œ œœ œ œ b˙ œœbœ bœ ˙ œ œ ä˙ 33 3 Œ Œ. poco J Bsn. f f π P 2 ˙. œ ? ∑ œ œ #œ ˙ ˙ w w ˙. Œ ∑ bœ œ poco F f f π C. Bn. ˙ ? ∑ ∑ #˙ œ #œ œ œ w w ˙. Œ Ó chiuso normale apertoF ˙ + + + f P 1 + +j + œ œ œ + o #˙ #˙ œ w w 2 #œ. œ #œ #˙ #˙ œ w w ∑ ∑ & œ. bœ œ œ œ ˙ # ˙ ˙ ˙ ˙ Hn. J chiusop normale f Faperto f p + 3 + + + + +œ + o 4 j #œ #œ #˙ ˙ #˙ w w ∑ ∑ & œ3.. œ œ ˙ a ˙2 senzap sord. f F p 1 ˙ ˙ #˙ w w j & ∑ Ó #œ #œ ˙ ∑ Ó ‰ œœbœ P senza sord. f p Tpt. 2 j œ Œ Ó ˙ ˙ ˙ w w ∑ ∑ & #œ. œ œ #œ #œ #œ p F F f p 3 w w & ∑ Ó #˙ #˙ ˙ ˙ œ œ ∑ ∑ senza sord. P f p 1 > ^ ä ? ∑ ∑ ∑ ∑ Ó Œ œ œ œ w w œ. ‰ ˙ 3 Tbn. senza sord. f 3 p 2 ? ^ ∑ ∑ ∑ ∑ Ó Œ œ œ œ w w œ. ‰ ˙ > â senza sord. f p ^ B. Tbn. ? ∑ ∑ ∑ ∑ Ó Œ ‰ œ œ w w œ. ˙ > p â f ^ Tuba ? ∑ ∑ ∑ ∑ Ó Œ ‰ œ œ w w œ. ˙ > â Bn - Bf f Timp. ? ∑ ∑ ∑ ∑ ∑ ∑ b˙æ. œ œ œæ œ Ó poco> P crash cymbalsf 1 # & ∑ ∑ ã Œ >. & ∑ ∑ ∑ ∑ ∑ suspended cymbal fl.v.
Perc. 2 j Ó Œ œæ œæ Ñ ‰Ó ã ∑ poco ∑ ∑ ∑ ∑ ∑ P f 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ #˙. 33 œ œ œ œ œ ≈ œ œbœ œ œ ≈ œ œ œ œ œ & ∑ ∑ ∑ ˙ œ œ ˙ œbœ œ œ œ œ œ œ œ œ œ ≈ œ œ œbœ œ œ œ œ œ bœ œ Hp. ˙ œ œ ˙ œ œ . J * FçnN A∫fg ˙ œ ˙ L.H.R œ OoOPOpOO f f œ F ? œ œ œ œ ˙ ˙ ∑ Ó Œ œ ∑ ∑ ˙ œ œ œ œ ˙ ∑ ˙ œ œ œ poco rit. rallentando div. unis. div. w w ˙ œ œ bœ bœ œ œ œ bœ bw ˙ ˙ ˙ #˙ w w ˙ œ œ œ œ œ œ œ œ Vln. I # w ˙ œ œ #˙ ˙ J J & Œ poco ‰ ‰
div. F f f π œ w w ˙ bœ Vln. II #˙ œ w w ˙ œ œ bœ bœ œ œ œ œ bw ˙ Œ œ œ ˙ ˙ ˙ ˙ ‰ œ œ œ œ œ ‰ œ œ & œ œ #˙ J J poco f π Farco div. f ˙ w w ˙ œ Vla. œ œ #œ œ œ w w ˙ œ œ bœ bœ œ œ œ bœ B ˙ #œ œ œ ˙ ‰ œ œ œ ‰ œ œ #œ ˙ 3 J J #œ œ œ œ #˙. poco F f f π Vc. ? w b˙. bœ ˙ #˙ #œ poco œ œ œ w w w w ( without extension ) f √ f p D.B. ? w b˙. bœ ˙ poco #˙ œ #œ œ œ w w w w 81 82 f 83 84 f 85 86 p 87 88 * Harp: stem attached to aid in measuring glissando duration [117] Moderato q »78 bœ. œ œ #œ Picc. œ ˙. 3 4 5 4 ∑ ∑ ∑ ∑ Ó Œ‰3 & 4 4 4 4 poco F f bœ. œ œ #œ 1 œ ˙. 3 4 œœbœ 5 bœ œ œœnœ œ œ 4 ˙ œ œ #œ œ œ ∑ Ó ‰ ‰ ŒŒ œ œ #œ œ œ œ œ œ‰3 & poco 4 4 J 4 J 4 œ #œ œ œ poco Fl. f F F f #œ 2 œ œ œ œ œ œ œ 3 4 œœbœ 5 bœ œ œœnœ œ 4 ˙ #œ œ œ #œ œ œ œ œ & ∑ 4 ∑ 4 Ó ‰ J 4 ‰ J 4 ŒŒ Ó œ F poco bœ f 1 . œ ˙. œ œ 3 ∑ 4 Ó ‰ œœbœ 5 bœ œ ‰ œœnœ 4 ˙ ŒŒ Ó Œ‰œ œ #œ & poco 4 4 J 4 J 4 3 Ob. f F 2 . œ œ ˙. 3 ∑ 4 Ó ‰j 5 ‰j 4 ŒŒ ∑ & poco 4 4 œœbœ 4 bœ œ œœnœ œ œ 4 ˙ f F E. Hn. œ. œ ˙. 3 ∑ 4 ∑ 5 ∑ 4 ∑ ∑ & poco 4 4 4 4 f 1 3 4 5 œ 4 & ∑ 4 ∑ 4 Ó Œ #œ 4 #˙ Œ œ 4 #˙ ŒŒ Œ #œ #œ œ œ œ œ B Cl. b P F P 2 ∑ 3 ∑ 4 Ó Œ 5 Œ œ 4 ŒŒ Œ & 4 4 œ 4 ˙ œ 4 ˙ œ #œ œ œ œ œ P F P B. Cl. & ∑ 43 ∑ 4 ∑ 45 ∑ 4 ∑ ∑
œ œ #œ 1 ? œ bœ ˙ 3 4 5 4 #œ œ œ œ œ ‰ 3 4 ∑ 4 ∑ 4 ∑ 4 ∑ ‰ J Bsn. F F 3 œ 2 ? bœ ˙ 3 4 5 4 #œ œ œ œ œ œ œ œ œ œ œ œ Œ‰3 4 ∑ 4 ∑ 4 ∑ 4 ∑ œ œ œ œ 3 3 3 F F C. Bn. ? Œ 43 ∑ 4 ∑ 45 ∑ 4 ∑ ∑ œ poco˙ f 1 Ó ‰j 2 3 bœ 4 5 4 & œ- œ- œ- 4 œ œ œbœ œ 4 œ ˙ Œ 4 ∑ 4 ∑ ∑ ∑ poco œ b œ œ ˙ Hn. F f 3 4 3 4 5 4 & ∑ - 4 œbœ œ œ 4 #œ ˙ Œ 4 ∑ 4 ∑ ∑ Ó Œ œ œ œ œbœ œ œ ˙ poco F f 1 3 4 5 œœœ œ œ 4 ˙ & bœ. œ ˙. 4 ∑ 4 ∑ 4 Ó ‰ J 4 Ó ∑ F p Tpt. 2 & ∑ 43 ∑ 4 ∑ 45 ∑ 4 ∑ ∑
3 & ∑ 43 ∑ 4 ∑ 45 ∑ 4 ∑ ∑ œ #œ 1 ? œ œ œ Œ ˙ 43 ∑ 4 ∑ 45 ∑ 4 ∑ Tbn. F P 2 ? 3 ∑ 4 ∑ 5 ∑ 4 ∑ #˙. Œ œ Œ ˙ 4 4 4 4 F p B. Tbn. ? Œ 43 ∑ 4 ∑ 45 ∑ 4 ∑ ˙. Œ œ ˙ F p Tuba ? Œ 43 ∑ 4 ∑ 45 ∑ 4 ∑ ∑ œ ˙ F 3 4 5 4 G A Bf D F Timp. 4 4 4 w 4 ? ∑ 3 Œ 4 Ó 5 []b ww ∑ 4 ∑ ∑ 4 œ œæ 4 ˙ 4 w 4 p π 1 3 4 5 4 & ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ ∑
triangle Perc. 2 3 4 5 ⁄ 4 ã ∑ 4 ∑ 4 ∑ 4 Ó Œ 4 ∑ ∑ glockenspielF 3 3 4 5 ˙ 4 & ∑ 4 ∑ 4 ∑ 4 Ó Œ 4 ∑ ∑ P ≈ œbœ œ ≈ œ œ œ œ bœ œ œ œ œ œ œ œ œ 3 œ ŒŒ 4 ∑ 5 ∑ 4 ∑ ∑ & . bœ œ œ 4 œ 4 4 4 Hp. J œ bœ œ ? ∑ 43 ∑ 4 ∑ 45 ∑ 4 ∑ ∑ Moderato bœ. . q »78 unis. œ. œ ˙. Vln. I 3 4 5 4 œ œ œ œ œ œ & 4 ∑ 4 ∑ 4 ∑ 4 ‰jœ œ œ #œ œ‰. F P œ poco unis. P f bœ Vln. II œ. œ ˙. œ ˙. 3 ∑ 4 Œ‰ 5 Œ 4 ‰ & 4 4 j 4 4 œ œ œ œ œ F P œ œ œ œ œ œ œ œ œ œ ˙ poco #œ œ. unis.P F f bœ. œ ˙. Vla. œ ˙. 3 4 5 4 B 4 ∑ 4 Œ 4 œ œ œ 4 Œ #œ œ ˙ bœ ˙ œ œ ˙ poco œ œ #œ F P P F f jeté 33 3 ≤ Vc. ? 3 4 j 5 j 4 4 ∑ 4 ‰ . 4 Œ‰ 4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ ˙ œ œ œ œ œ ˙ poco ...... #œ. . P F f jeté 33 3 F P ≤ D.B. ? 3 ∑ 4 5 4 4 4 w 4 œ Œ ˙ 4 œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ poco ...... #œ. . F 89 P 90 P 91 F92 93 f 94 [118] 6 6 #œ œ œ #œ œ œ. œ œ œ œ œ œ Picc. œ œ œ œ œ œ œ #œ œ œ œ œ œ & ‰ Ó œ œ bœ œ œ œ 6 œ œ œ œ œ œ œ œ œ 6 œ #œ œ œ œ f œ œ #w œ #œ œ œ. œ œ œ œ 1 œ œ #œ œ œ œ œ œ & ‰ œ œ œ œ pocoœ #œ Fl. f f #œ œ œ œ œ œ œ 2 œ œ #œ œ . œ œ œ œ œ œ #˙ œ œ œ œ & œ‰Ó œ œ bœ œ œ œ 6 œ œ œ œ œ 6 f bœ w 1 œ œ œ œ œ #œ œ œ œ nœ œ & #œ œ. poco J Ob. f f 2 & ‰jœ œ œ #œ œ œ œ bœ œœœ œ. œ œ poco œ œ œœœ œ œ f f E. Hn. j #œ œ œ & ‰ œ #œ œ œ œ #œ nœ œ œ #w poco #œ nœ f f Nœ 1 Nœ œ w Œ œ #œ œ & #œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ B Cl. œ œ #œ b poco#œ #œ f f 2 œ œ #œ w Œ Ó œ œ œ œ œ œ œ œ œ œ & #œ #œ œ œ œ œ œ œ #œ f B. Cl. #œ & œ œ #œ œ #œ #œ nœ #w 3 3 F 3 f 3 1 ? œ œ œ œ #œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ 3 3 3333 Bsn. œ œ œ œ 3 3 3 f 3 2 ? œ œ œ œ #œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ 3 3 œ œ œ œ 3333 f C. Bn. ? ∑ œ œ poco œ œ œ œ œ œ w
f 1 2 1 Œ œ œ 2 œ œ #wœ œœœ œ. & œ #œ #œ œ #œ #œ œ nœ nœ œ œ Hn.
3 F f 4 & ∑ ∑ ∑
1 œ œ #w & ∑ Ó bœ œ poco f Tpt. 2 w & ∑ Ó Œœb œ poco f 3 & ∑ ∑ ∑
1 ? œ œ œ #œ œ #œ œ nœ #w poco Tbn. f 2 ? ˙. Œ ∑ ∑ P B. Tbn. ? Œ ˙ ˙. ˙ pocow P F f Tuba ? ∑ ˙ ˙ pocow F f Timp. ? ∑ Ó bœæ œ œ ˙ œ œ œ œ œ œ œ œ æ 33 F f
1 & ∑ ∑ ∑ suspended cymbal l.v. Perc. 2 è ã ∑ Ó æ ∑ glockenspiel F f w 3 œ œ œ œ # # ˙ ∑ w & poco poco# f f ∑ ∑ ∑ Hp. & ? ∑ ∑ ∑
œ œ. œ œ œ bœ nœ bœ œ œ œ #w Vln. I œ œ œ œ #œ œ & Œ œ œ #œ f 6 div. Vln. II œ œ œ œ œ #œ œ œ bœ nœ œ œ œ #ww & œ œ #œ œ œ œ œ nœ œ œ œ bœ œ œ #œ œ œ 6 F f Vla. œ #w B œ #œ œ œ œ œ #œ nœ œ œ œ œ œ œ œ. œ œ œ bœ nœ bœ œ œ œ œ œ œ
F 33 f Vc. œ#œ œ œ ? œ œ œ nœ œ œ œ bœ nœ œ œ œ #w œ œ œ œ œ œ œ œ œ 6 bœ ...... 3 3 333 f 3 D.B. ? œ. œ. œ œ œ œ œ œ œ. œ œ. œ. œ. œ œ. œ. œ. œ œ. œ. œ. œ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . . . 3333 ...... #œ. œ œ. œ. œ. œ 95 f 96 97 [119] Picc. r . ∑ ∑ ∑ & œ ‰ ŒÓ F ˙ . œ œ œ œ œ 1 œ œ #œ œ œ œ œ Œ ∑ Œ œ 6 ‰. ∑ & 6 R Fl. F 6 6 F 2 œ #œ œ œaœœœ œ & r ‰. ŒÓ Ó Œ œ bœ œ œNœ ‰. Œ œœ ‰Œ Ó œ œ #œ œ œ #œ R 6 J F F P 1 ˙. #œ Œ ∑ ∑ Ó œ œ œ œ œ & 3 œ Ob. F P 3 2 œ œ & ˙. Œ ∑ ∑ Ó œ #œ œ œ œ P P E. Hn. ˙. Œ ∑ ∑ Ó œ #œ œ œ œ œ & 3 œ 6 F P 6 1 ˙. #œ œ œ œ . & Œ ∑ ∑ œ #œ œ œ œ œ œ œ œ œ r ‰ B Cl. œ 6 œ #œ #œ b F 6 6 œ 6 P 6 6 2 ˙. œ . & Œ œ #œ œ œ œ œ ∑ œ #œ œ œ œ œ œ œ œ œ r ‰ œ œ œ œ #œ œ œ œ œ œ F #œ ˙ œ œ #œ 6 F 6 6 P B. Cl. œ & ˙. Œ œ œ œ ∑ Ó ‰‰ #œ œ œ œ œ œ #œ œ œ œ œ 3 J #œ œ œ F #œ ˙ P F œ 1 ? œ œ œ œ œ œ œ œ œ œ ŒÓ ∑ Ó ‰‰3 J œ œ œ 6 Bsn. œ œ œ œ F P P 2 ? œ œ œ œ œ œ œ ŒÓ ∑ ∑ œ œ œ œ F P C. Bn. ? Œ ∑ ∑ ∑ œ ˙ F p 1 2 ˙. . & Œ ∑ œ. œ œ œ œ. œ ˙. Œ Hn. œ. œ . P 3. 3 - - P p œ œ 4 & Œ #œœ aœ œ w ∑ Ó Œ œ - - - f P P 1 ˙. & Œ ∑ œ. œ œ œ œ. œ ˙. Œ P P p Tpt. 2 ˙. & Œ ∑ œ. œ #œ œ œ. œ #˙. Œ P P p 3 - Œ œ œ œ œ w ∑ ∑ & - f P 1 ¯ ¯ ? ˙. Œ ∑ ∑ Ó Œ œ œ Tbn. P - P 2 œ œ - ¯ ¯ ? Œ œ œ w ∑ Ó Œ œ œ f P P B. Tbn. ? ˙ Œ ∑ ∑ Ó Œ œ œ . < < P P Tuba ? Œ ∑ œ œ ˙. œ œ ˙ œ œ œ < < P P Timp. ? œ œ œ œ œ œ œ œ œ ˙ Ó Ó Œ œ œ œ œ œ œ œ œ œ œ æ æ œ œ P p p P 1 & ∑ ∑ ∑ ∑ triangle Perc. 2 ⁄ ã ∑ ∑ Ó ∑ œ œ P 3 b & ∑ Ó ∑ ∑ P bœ œ œ #œ œ œ & ∑ ‰ œ œ bœ œ œ ∑ ∑ Hp. J Fs An #œ œ œ œ œ bœ œ œ ? ∑ ‰ J ∑ ∑ F f Vln. solo œ œ bœ œ œ & ∑ ‰ J ∑ ∑ F j ˙. œ Vln. I Œ‰bœ œ œ œ œ œ Œ Ó #˙ œ #œ œ Œ ∑ & div. a 3 da leggii F P p F P Vln. II œ˙. œ œ œ Œ ∑ Ó œ œ œ œ œ r ‰. ∑ & #œ œ œ . #œ œ œ ‰ 6 6 F 6 R 6 P œ Vla. œ œ œ œ œ B œ #œ œ œ ‰. r ‰. Ó Œ œ œ r ‰. œ œ #œ R ‰. œ œ œ œ œ ‰Œ Ó 6 R œ œ œ bœ œ œ œ œ œ #œ œ œ #œ œ œ 6 6 J P F P œ œ œ œ #œ œ p Vc. œ œ œbœ œ œ ? ˙. #œ œ œ- œ- œ- œ- œ #œ R ‰. œ #œ R ‰. Ó ∑ œ œ 6 6 6 F P F P D.B. ? œ œ. œ. œ œ. œ. œ œ. œ. œ. œ. œ- œ- œ- œ- œ œ œ œ ˙. Œ ∑
F 98 P 99 100 p 101 [120] rit. a tempo allarg. serenamente
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w Fl. F 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w F 1 & ˙. Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. p 2 & #˙. Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ p œ E. Hn. œ œ ˙ œ & ˙. Œ ∑ ∑ Œ œ œ œ ŒÓ ∑ ∑ ∑ ∑ p p π 1 ∑ ∑ ∑ ∑ ∑ w & ∑ #˙ ˙ #w w B Cl. b p ñ P 2 & ∑ ∑ ∑ ∑ ∑ ∑ w ˙ ˙ w w p ñ P B. Cl. j . œ ∑ & œ ‰Œ Ó ∑ œ J#˙ w w ∑ ∑ ∑ ∑ p ñ œ œ #œ #w 1 #œ œ ? œ‰Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ œ #œ #œ J Bsn. P F 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 1. 1 2 j #w & ∑ ∑ œ. œ œ œ w w ∑ ∑ w bw Hn. p ñ P3. p 3 ^ 4 & Ó ∑ ∑ ∑ ∑ #w ˙. œ #w ˙ w bw Ó Œ P p p π 1 Œ Ó ∑ ∑ ∑ ∑ & Ó œ #w ˙ ∑ ∑ ∑ p π Tpt. 2 & Ó Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ w ˙ p π 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 -. ? ˙ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tbn.
2 - ? #˙. Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Tbn. - ? ˙. Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba ? Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙-.
Fw A E F B Timp. ww ? Œ ∑ ∑ ∑ ∑ [w] ∑ ∑ ∑ ∑ ∑ ˙æ. w p π chimes 1 j & ∑ Œ œ œ. œ w ∑ ∑ ∑ ∑ ∑ ∑ ∑ F P Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ √ œ œ & ∑ ∑ Œ ˙ œ œ œ œ œ ˙ ∑ ∑ ∑ ∑ #œ œ œ ˙ œ œ œ œ œ œ œ ˙ #œ Hp. F P F œ OOOPOppp ? œ œ œ œ ˙ œ ∑ ∑ ∑ Œ œ œ œ œ œ ∑ ∑ ∑ ∑ & #œ #œ œ rit. a tempo allarg. serenamente œ œ Vln. solo #œ #œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & unis. 6 P œ w w Vln. I œ œ #œ œ œ œ w & Œ #œ œ œ œ œ œ #w ∑ ∑ ∑ ∑ ∑ œ œ 6 3 P π p ñ Vln. II #œ w w & Ó œ œ œ œ ∑ ∑ ∑ w ∑ ∑ œ #œ œ œ œ w 6 6 p ñ P π œ œ w ˙ Vla. r #œ #œ B œ #œ œ ‰. Ó ∑ ∑ ∑ Ó Œ œ œ œ œ #œ Ó ∑ œ #œ œ œ P P ñ œ Vc. ? #œœ œ œ œ œ ∑ Œ œœ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6 #œ w F π œ œ D.B. œ œ œ œ ? Œ ˙ œ œ #œ R ‰. Œ œ w ∑ ∑ ∑ ∑ ∑ ∑ ∑
P 102 103 104 π 105 106 107 108 109 110 111 [121] poco rit. accel. Più mosso misterioso q »96 œ b˙ œ œ bw œ Nœ ˙. Picc. œ œ œ œ 2 & ∑ ∑ ∑ Ó Œ #œ #œ œ œ œ œ ŒÓ ∑ Œ ŒŒ 3 4 P f #˙ œ œ œ œ #w #œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ 1 œ J 2 & bw w ∑ Ó Œ #œ #œ œ œ œ œ ŒÓ ‰ 33 4 Fl. P P F f Ff Ç F b˙ œ œ œ bw bœ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 2 œ œ œ ˙ 2 ∑ Ó Œ œ œ œ œ ŒÓ ‰ J 33 & bw w #œ #œ œ 4 P P F f Ff Ç F 1 #w> œ ˙. ˙ œ œ #œ 2 & ∑ ∑ ∑ ∑ Œ 3 ŒÓ ∑ ∑ ∑ 4 Ob. p F π 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
E. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
1 j #œ œ œ œ 2 & bw w ∑ ∑ ∑ Œ œ œ. œ #w œ ŒÓ Œ ∑ Ó Œ 4 B Cl. b F p P p π P 2 2 & ∑ ∑ #œ ŒÓ ∑ ∑ Œ œ œ œ œŒ Ó ∑ 4 bw w œ œ œ œ Fp P π ñ B. Cl. œ œ #œ w œ œ œ #œ 2 & ∑ ∑ ∑ Ó #˙ #w œ œ œ ŒÓ ŒÓ ∑ 4 π p ˙ P π ñ 1 ? Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 Bsn. p 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 con sord. senza sord. chiuso 1 + + + + + + + 2 ∑ ∑ ∑ ∑ Œ œ ŒÓ ∑ ∑ œ 2 & œ1. œ œ œ #œ w œ 1.œ œ œ bœ œ œ 4 Hn. œ P p chiuso f 3 + + + + + + + 4 2 & ∑ ∑ ∑ ∑ 3. ŒÓ ∑ ∑ ∑ ∑ 3.œ œ œ œ 4 w œ œ œ #œ P f 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 Tbn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
B. Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42
Tuba ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 2 Timp. 4 ? ∑ œ ŒÓ ∑ ∑ ∑ ŒÓ ∑ ∑ 2 wæ œ œœœ œ œ wæ œ 4 P p p glockenspiel ê 1 ê ê & ∑ ∑ ∑ ∑ ∑ ∑ bê Ó ∑ Ó ∑ ∑ 42 chimes F F Perc. 2 œj ˙ 2 ã ∑ ∑ ∑ ∑ ∑ & ‰ . ã ∑ ∑ ∑ ∑ ∑ 4 vibraphone (no motor) P 3 œ œ œ œ œ œ 2 & ∑ ∑ ∑ Ó Œ #œ #œ œ œ œ ŒÓ ∑ ∑ ∑ ∑ ∑ 4 œ 5 (√) R.H. F #œ #œ w œ #œ œ œ œ j œ œ œ Œ ˙ œ 2 & Œ #˙. cresc. œ Œ ∑ Œ œ œ Ó ŒŒ5 œ œ œ ˙ ∑ Ó Œ 4 œ œ #œ poco œ. w 5 Hp. f L.H. F Fn Gn An f F Fs F #œ w Œ œ œ œ œ œ œ Ó w œ œ #œ #œ ? œ œ œ œ œ œ œ ˙ 2 w ˙ ˙ ∑ Ó Œ5 œ œ ∑ ∑ & œ 5 4 poco rit. accel. Più mosso misterioso fF w q »96 œ #œ #œ #œ Vln. solo ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ œ 2 & poco 4 f p P b>w w w w Nw Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ æ æ æ æ æ 42 p P Vln. II > 2 & ∑ Œ #w ˙. Œ ∑ ∑ w w w w w 4 œ œ #œ æ æ æ æ æ F π p P Vla. . 2 B ∑ ∑ Œ œ œ œ ˙ Œ ∑ ∑ bwæ wæ wæ wæ wæ 4 > F π p P Vc. ? 2 ∑ ∑ w ˙. Œ ∑ ∑ 4 wæ wæ wæ wæ wæ P π >p P D.B. ? ∑ ∑ ∑ ∑ ∑ ∑ 2 œ œ œ œ wæ wæ wæ æ 4 > w 112 113 114 115 116 117 p 118 119 120 P 121 122 [122] stringendo œ œ œ œ ˙ Picc. 2 œ 4 6 & 4 Œ 4 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 œ œ p œ #œ #œ #œ nœ w 1 2 4 6 & 4 6 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 Fl. p œ œ. œ w 2 4 6 & 42 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 p 1 4 6 & 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 Ob. 2 4 6 & 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8
E. Hn. 4 6 & 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 ˙ œ 1 2 #œ #œ 4 Nœ. #œ œ ˙ 6 & 4 4 J #˙ œ œ œ ˙ Œ ∑ ∑ ∑ ∑ ∑ ∑ 8 B Cl. b F π 2 2 ˙ 4 œ 6 & 4 4 #œ œ œ œ #˙ œ #œ #œ œ œ œ ˙ Œ ∑ ∑ ∑ ∑ ∑ ∑ 8 p F π B. Cl. ˙ 4 #˙ 6 & 42 4 Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 p F 1 ? 4 6 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 Bsn. 2 ? 4 6 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8
C. Bn. ? 4 6 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8
1 + + 2 4 6 & 42 ˙ 4 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 Hn. F 3 + + 4 2 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6 & 4 #˙ 4 w 8 F con sord. senza sord. 1 2 ∑ 4 ∑ Œ‰j j œ œ #œ ˙ œ ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ 6 & 4 4 œ œ. #œ #œ 8 Pcon sord. p Tpt. 2 & 2 ∑ 4 ∑ Ó j bœ nœ ˙ œ ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ 86 4 œ. œ œ œ Pcon sord. p 3 & 2 ∑ 4 ∑ Ó Œ‰j ˙ œ ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ 86 4 œ œ bœ œ œ P p ˙ œ. œ ˙ œ œ ˙ œ. œ w ˙ 1 ? 4 J J 6 42 ∑ 4 ∑ ∑ ∑ ∑ Ó ∑ 8 Tbn. P F p 2 ? 4 6 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8
B. Tbn. ? 4 6 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8
Tuba ? 4 6 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 2 4 6 Timp. 4 4 8 ? 2 ˙ 4 œ ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6 4 æ 4 8 p Fê 1 ê & 42 ∑ 4 Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 86 F chimes Perc. 2 w 2 4 & Œ Œ ˙. ∑ ∑ 6 ã 4 ∑ 4 ∑ ∑ ∑ ∑ ˙. w 8 F 3 & 42 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 86
˙ #œ œ œ œ œ œ #œ œ œ œ œ œ 2 ˙œ #œ 4 6 & 4 4 ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 3 8 Hp. 3 3 f ˙ Gs F f ? 2 4 6 4 ˙ 4 Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ & #œ œ œ œ œ œ #œ œ œ œ œ œ 8 stringendo Vln. solo 2 œ #œ 4 ˙ Nœ. œ œ œ ˙ 6 & 4 4 J ˙ œ œ œ ˙ Œ ∑ ∑ ∑ ∑ ∑ ∑ 8 F p > div. unis. œ #œ œ œ w w w Vln. I 2 æ >œ#œ#œ 4 œ œ œ œ w w w 6 6 æ æ æ Ó Œ œ œ #œ & 4 4 œ œ #œ œ #œ œ 8 F ñ π div. Funis. 3 3 - - Vln. II 2 4 - 6 & 4 ˙ 4 w w Œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ 8 æ æ æ œ œ œ œ ˙ œ œ #œ œ œ œ œ œ œ œ œ œ F ñ π div. F Vla. B 2 æ 4 æ æ Ó Œ #œ œNœ œ œ œ œ œ œ œ œ œ w w w 6 4 ˙ 4 Nw- Nw œ œ œ #œ œ œ œ œ œ w w w 8 F ñ π - - F Vc. ? 2 4 ≥ ˙ œ œ w 6 4 4 æ æ æ Œ œ œ œ œ œ œ œ œ œ #œ œ w ˙. œ 8 ˙æ w- w w F ñ π F D.B. ? 2 4 œ œ 6 4 4 æ æ æ ∑ œ œ œ œ œ œ œ œ #œ œ w w ˙. œ 8 ˙æ w- w w 123 F 124 125 126 ñ 127 π 128 129 130 F 131 132 133 [123] 3 q »58 œ h »k q k œ #œ œ #œ œ #˙. ˙. œ #œ Picc. œ #œ œ œ #œ œ 6 œ œ #œ œ ∑ œ ∑ ∑ 9 . . 6 & 8 ˙. ˙. œ œ #œ 8 Œ Œ Œ 8 p f π π P œ #œ œ bœ œ œ œ œ œ 1 œ #œ œ 6 ∑ Œ. œ œ #œ œ Œ. ∑ ∑ 9 Œ J 6 & 8 ∑ ∑ œ œ #œ ∑ ∑ 8 8 Fl. p ñ P œ œ 2 6 œ œ #œ œ. bœ. 8 ∑ ∑ ∑ Œ. #œ œ œ #œ Œ. ∑ ∑ ∑ ∑ 9 Œ. 6 & #œ œ œ 8 8 p ñ P 1 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 Œ. œ œ œ œ œ œ 86 Ob. p 2 6 j & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 Œ œ bœ. œ. 86 p E. Hn. 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
4 4 4 œ#œ 1 6 œ œ œ #œ œ 9 œ œ œ 6 ∑ ∑ ∑ Œ. œ #œ #œ 4 ∑ ∑ ∑ ∑ Œ. #œ œ œ & 8 œ œ #œ œ 4 8 8 B Cl. #œ œ b #œ œ œ #œ 44 4 p p œ #œ ñ 2 6 œ œ œ #œ œ 9 6 ∑ ∑ ∑ œ #œ #œ 4 Œ‰ ∑ ∑ ∑ ∑ ∑ & 8 œ œ œ #œ œ 4 8 8 #œ œ œ #œ #œ p ñ B. Cl. 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
1 ? 6 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86 Bsn. 2 ? 6 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
C. Bn. ? 6 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
1 2 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86 Hn.
3 4 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
1 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
Tpt. 2 6 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
3 6 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 9 ∑ 6 & 8 con sord. 8 8 > > >. senza sord. œ œ bœ bœ œ. œ. bœ-.bœ-. nœ-. - 1 ? 6 œ. ˙. 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ. 89 Œ. 86 Tbn. conp sord. π senza sord. #>œ œ >œ >œ. œ.#œ. - - Nœ-. 2 ? 6 œ. œ. œ-. ˙. 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ. 89 Œ. 86 p π con sord. senza sord. > B. Tbn. ? 6 #>œ œ >œ œ. œ.#œ. -. - Nœ-. - 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ. #œ œ. œ. 89 ˙. Œ. 86 p π Tuba ? 6 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86 6 9 6 Timp. ? 8 8 8 86 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
1 & 86 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
Perc. 2 & 86 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
3 & 86 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86
#œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ & 86 ∑ ∑ ∑ ∑ ∑ ∑ 89 ∑ 86 Hp. π 6 ? 9 6 & 8 #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ 8 ∑ 8
q »58 k #œ œ œ h » q k œ #œ œ œ Vln. I #œ œ 6 œ œ œ œ #œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ 9 ∑ 6 & 8 #œ œ œ œ #œ œ œ œ sul tasto 8 8
2 2 2 2 ñ Vln. II œ #œ œ 6 ˙. ˙. Œ. œ œ #œ œ ∑ ∑ ∑ ∑ 9 ∑ 6 & 8 œ #œ 2 22 8 8 sul tasto œ œ #œ œ p #œ π 2 unis. 2 2 œ ñ Vla. œ œ #œ 6 ˙. ˙. . œ œ #œ 9 6 B 8 ˙. ˙. sulŒ tasto œ œ #œ 2 22 ∑ ∑ ∑ ∑ 8 ∑ 8 #œ œ œ #œ 2 p π ñ Vc. ? 6 ˙. œ. œ j j 9 6 8 œ b˙. ˙. ˙. œ. œ œ #˙. ˙. ˙. ˙. 8 œ. œ. œ. 8 P D.B. ? j 86 ˙. œ. œ j 89 86 œ b˙. ˙. ˙. œ. œ œ #˙. ˙. ˙. ˙. œ. œ. œ. 134 135 136 137 138 139 140 141 P142 143 144 [124] molto rit. Moderato »112 III. smais mr milmepq oet ale umibunen ugttauir as e» q #œ- œ- œ-. - - #œ œ ˙. ˙. Picc. 6 J #œ œ œ ˙ & 8 46 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F P p - - - -. - -. ˙. ˙. ˙. ˙. ˙. ˙. ˙. 1 6 œ œ œ œ œ œ œ ˙ & 8 46 43 ∑ ∑ ∑ ∑ ∑ Fl. F P ------ñ 2 6 œ œ œ œ. œ œ œ ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. & 8 46 43 ∑ ∑ ∑ ∑ ∑ F P ñ 1 6 6 3 & 8 œ-. œ-. 4 ˙-. ˙-. 4 ˙. ˙. ˙. ˙. ˙. ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. P p ñ 2 6 6 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 8 œ-. œ-. 4 ˙-. ˙-. 4 ˙. ˙. ˙. ˙. ˙. P p ñ E. Hn. 6 & 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 6 #œ- œ- œ-. 6 3 & 8 J 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B Cl. b F 2 6 & 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. 6 & 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 ? 6 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 2 ? 6 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. ? 6 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ chiuso 1 + + + 2 6 ∑ 6 ∑ 3 ŒŒ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 8 4 4 1. #œ œ #˙ #˙. ˙. Hn. F π 3 4 6 & 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 6 & 8 ∑ 46 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ #œ ˙ ˙ œ œ ˙. ˙. P p Tpt. 2 6 & 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 6 & 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 ? 6 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tbn. 2 ? 6 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Tbn. ? 6 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba ? 6 8 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6 6 3 Timp. ? 8 4 4 86 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ bowed crotales ˙ ˙. ˙ 1 & 86 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ
chimes P triangle F Perc. 2 6 6 3 ⁄ & 8 ∑ 4 ∑ 4 ∑ ŒŒ#œ #˙ œ ˙. #˙. ˙. ã ∑ ∑ ∑ ∑ Œ ∑ glockenspiel P π P í õ 3 # . . î. & 86 46 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F p & 86 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hp. ? 86 ∑ 46 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ molto rit. Moderato q »112 b˙. w. e» q ˙. ˙. Vln. I & 86 æ 46 æ 43 æ æ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pdiv. π œ. œ- œ- ˙. œ- ˙- ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. Vln. II 6 œ. œ œ 6 ˙. œ ˙ 3 ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. & 8 J 4 4 P F
Vla. #˙. w. B 86 æ 46 æ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ P p
Vc. ? 6 6 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8 ˙. 4 w. 4 ˙. ˙. ˙. ˙. F P π D.B. ? 86 46 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙. w. ˙. ˙. ˙. ˙. F 145 146 P 147 148 149 150 π 151 152 153 154 155 156 157 158 [125] Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl.
2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob.
2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
E. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ #˙. ˙. ˙. œ œ #œ œ œ #œ ˙ 1 & ∑ ∑ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B Cl. b p F ñ 2 b˙. ˙. ˙. ˙. ˙. ˙ & ∑ ∑ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ p F ñ B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn.
2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
aperto 1 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ j & 1.˙. ˙. œ œ. bœ Hn. π F 3 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tbn.
2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
An - Bn Timp. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b˙. ˙. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ PF Perc. 2 ⁄ fi Ó x fi fi ã Œ ∑ ∑ . ∑ poco . ∑ ∑ . ∑ ∑ ∑ ∑ ∑ F bowed vibraphone (motor off) f P F b˙ ˙ 3 ∑ ∑ ∑ Œ ˙. ˙. ˙. ∑ ∑ b . Œ ∑ & ˙ ˙. ˙. ˙. P F p F p & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hp. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vln. solo . . . . & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j œ œ #œ ˙ œ ˙ œ œ ˙ ˙ ˙ ˙ ∑ div. œ #œ normale P F p ˙. ˙. ˙. ˙. ˙. ˙. ˙. Vln. I ˙. ˙. ˙. ˙. ˙. ˙. ˙. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ p F ñ ˙. ˙. ˙. Vln. II ˙. ˙. ˙. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ p normale Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ˙. ˙. ˙. ˙. ˙. ˙. ∑ ∑ ∑ π F ñ Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ˙. ˙. ˙. ˙. ˙. ˙. ∑ ∑ ∑ π F ñ D.B. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 [126] rallentando Meno mosso q »88
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑ œ 1 œ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ŒŒ Fl. F 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ŒŒœ ˙. ˙. ∑ Ob. p F π 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ŒŒœ ˙. ˙. ∑ p F π E. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑ B Cl. b 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑ Bsn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
1 2 b˙. ˙. ˙. œŒŒ ∑ ∑ ∑ ∑ 2 ∑ 3 ∑ ∑ ∑ œ #˙ & 4 4 #a œ2 Hn. π 3 P 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
1 œ #˙. ˙. œ œ #˙ & ∑ ∑ ∑ ∑ ∑ ŒŒœ 42 J ‰œ 43 œ ˙. ˙. ∑ poco P f p F f π Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑ Tbn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
B. Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
Tuba ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
2 2 B - Fs 2 3 2 2 Timp. F - E 4 4 ? ŒŒœ œ œ œ ŒŒ ∑ Œ œ. j æ æ j‰Œ Œ ∑ 2 ∑ 3 ∑ ∑ ∑ ∑ 3 œ ˙. ˙. œ 4 4 Pwood sticks on p rim of tam-tam ñ 1 œ œ œj œ œ œj œj 2 3 & ∑ ã ‰ ‰‰ ŒŒ‰ ‰Œ Œ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ bass drum P π 2 ˙ ˙ ˙ ˙ ˙ ˙ œj 2 3 Perc. ã æ. æ. æ. æ. æ. æ. ‰Œ Œ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ P chimes (plastic sus. cymbal mallets on shaft) ñ brush swoosh œ œ œ ˙ 3 œ œ œ . É 2 3 & ∑ ∑ ∑ ∑ ∑ ã Œ Œ & 4 ∑ 4 ∑ ∑ ∑ ∑ 3 p P œ ˙. œ œ œ 2 3 œ #˙ & ∑ Œ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ œ œ #˙ Hp. cresc. œ œ œ œ œ œ œ œ œ œ œ œ œ Fn Gn P Fs π ˙. ˙. ˙. ˙ p ˙. F P ? 2 3 œ œ œ œ œ œ œ #˙ ∑ ∑ ∑ ∑ ∑ ˙. ˙. ˙. 4 ˙ 4 ˙. œ œ œ œ œ œ œ ˙. ˙. ˙. ˙ ˙. œ rallentando ◊ Meno mosso q »88 Vln. I 2 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑
Vln. II 2 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ∑ ∑ ∑
Vc. 2 3 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ˙æ. ñ D.B. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ 43 ∑ ˙. ˙. ˙. æ æ æ 174 175 176 177 178 179 180 181 182 183 P 184 185 p 186 ñ [127] rit. œ œ œ œ œ œ œ œ œ œ œ Picc. œ J & Œ ŒŒ ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ ‰ P π F œ ˙. #œ œ #œ w #œ œ œ œ œ œ œ œ œ œ œ œ œ Nœ œ 1 ∑ ∑ 4 ∑ 3 ∑ 4 Ó ‰ & 4 4 4 poco Fl. F f 2 & ∑ ∑ ∑ 4 ∑ 43 ∑ 4 Ó ‰#œœ œ Nw ˙. Œ ∑ poco F f P 1 ∑ ∑ ŒŒœ 4 ˙. ‰ œœ 3 ˙. 4 #w ∑ ∑ ∑ & 4 4 4 poco Ob. P f P 2 4 3 4 & ∑ ∑ ŒŒœ 4 ˙. ‰ œœ 4 œ œ œ 4 #w ∑ ∑ ∑ poco P fP E. Hn. & ∑ ∑ ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ ∑
1 #œœ œ . ∑ ∑ ∑ 4 ∑ 3 ∑ 4 Ó ‰ #w N˙ Œ ∑ & 4 4 4 poco B Cl. b F f P 2 4 3 4 & ∑ ∑ ∑ 4 ∑ 4 ∑ 4 Ó ‰ œœœ w #˙. Œ ∑ poco F f P B. Cl. & ∑ ∑ ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ ∑ Bsn. 2 ? ∑ ∑ ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ ∑
C. Bn. ? ∑ ∑ ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ ∑ 1. a 2 1 j 2 ˙. œ ‰ œ œ bœ 4 œ œ œ œ œ 3 œ˙. 4 bw Œ œ. œœœ ##ww ˙˙.. Œ & J Œ œ œ 4 œbœ œbœœ 4 œ œ 4 w . Hn. poco œ. J poco J f F f P P F π 3 j 4 & ∑ ∑ ∑ 4 ∑ 43 ∑ 4 Œ Œ œ. œœœ ##w ˙. Œ bœ ˙ . J p F P F con sord. π 1 œ #˙ 4 w 3 4 #œ œ œ #œ n˙ & ∑ ˙ œ 4 4 ∑ 4 ∑ ∑ Ó ‰ J Œ F f P conF sord. p Tpt. 2 ∑ ∑ ∑ 4 ∑ 3 ∑ 4 ∑ ∑ Ó ‰ œ œbœ œ b˙ Œ & 4 4 4 J conF sord. p 3 4 3 4 j & ∑ ∑ ∑ 4 ∑ 4 ∑ 4 ∑ ∑ Ó ‰#œ œbœ œ b˙ Œ F p 1 ? #œ ˙ œ. œœœ w ˙. ∑ ∑ ∑ 4 ∑ 43 ∑ 4 Œ Œ J Œ Tbn. p F P F π 2 ? #w ˙. ∑ ∑ ∑ 4 ∑ 43 ∑ 4 Œ #œ ˙ Œ ˙ œ œ Œ pF P F π B. Tbn. ? ∑ ∑ ∑ 4 ∑ 3 ∑ 4 Œ Œ Œ 4 4 4 #œ ˙ ˙ œ œ w ˙. pF P F π Tuba ? ∑ ∑ ∑ 4 ∑ 3 ∑ 4 Œ Œ Œ 4 4 4 #œ ˙ ˙ œ œ w ˙. pF P F π 4 3 3 4 Aw C E F B Timp. 4 4 4 ww ? ∑ 4 3 4 ∑ []w ∑ ∑ ˙æ. ˙æ. 4 wæ 4 œ œ œ œ œ œ œ œ 4 #wæ ñ π F 1 4 3 4 ã ∑ ∑ ∑ 4 ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ bass drum Perc. 2 4 3 4 ˙ ˙ ã ∑ ∑ ∑ 4 ∑ 4 ∑ 4 ∑ Œ . Ó ∑ glockenspiel suspended cymbal F l.v. 3 œ ˙ 4 3 4 èæ & œ ∑ ∑ 4 ∑ 4 ∑ ã 4 & ∑ ∑ ∑ F P F 4 3 4 & ∑ ∑ ∑ 4 ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ Hp.
? ∑ ∑ ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ ∑ rit. œ #w œ 6 œ œ œ œ œ œ œ Vln. I 4 3 œ 4 æ #œœœœœ & ∑ ∑ ∑ 4 ∑ 4 ‰ J 4 6 œœ #œœ Œ 6 œ œ œ œ œ œ #w ˙. π F 6 π œ œ 6 Vln. II œ œ œ bw œ œ #œ 4 3 œ 4 æ œ œœœ ∑ ∑ ∑ ∑ ‰ J 6 œœ Œ & 4 4 4 #œœ œœ œ π F œ œ #œ œ œ w ˙. 6 π Vla. 4 3 4 B ∑ ∑ ∑ 4 ∑ 4 ∑ 4 ∑ Œ‰œ œœ #œ Œ J œ œ œ œ- œ- #w ˙. F π œ Vc. 4 3 4 œœ #œ œ ? ∑ 4 ∑ 4 ∑ 4 ∑ Œ‰J œ œ œœ œ ˙æ. ˙æ. 6 œNœ #w ˙. p ñ F π D.B. ? ∑ ∑ ∑ 4 ∑ 3 ∑ 4 ∑ Ó ‰ œ œ 4 4 4 J w ˙. œ 187 188 189 190 191 192 193 F 194 195 [128] Andantino q »72 œ œ Picc. œ #œ œ #œ œ #œ w ∑ 3 ∑ ∑ ∑ ∑ ‰j & 4 œ œ œ œ œ P π 6 œ bœ œ bœ œ œ bœ œ œ F 1 œ œ #œ œ #œ œ œ ˙ œ œ œ Ó 3 ∑ ∑ ∑ ∑ Œ œ œ œ œ œ & 4 œ œ œ œ 6 Fl. P F π P 2 ∑ œ bœ œ bœ œ œ bœ ˙ Ó 3 ∑ ∑ ∑ ∑ ŒŒ ‰j & 4 œ F π F 1 #˙ & ∑ ∑ ∑ 43 ∑ ∑ ˙ œ ˙. œ poco Ob. P f 2 & ∑ ∑ ∑ 43 ∑ ∑ Œ #˙ ˙. ˙. p P E. Hn. w . & ∑ Ó Œ #œ œ 43 #˙ ˙ Œ Œ ˙ ˙. ˙. p F π p P 1 œ œ œ ∑ Ó 3 Œ œ #œ œ œ #œ & #œ œ œ œ w 4 #˙. ˙ ∑ ∑ œ #œ œ œ B Cl. b P F π P 3 2 3 & ∑ Œ 4 Œ ∑ ∑ ŒŒ #œ œ #˙. w #˙. ˙ œ P F π F B. Cl. 3 & ∑ #w w 4 #˙. ˙ Œ ∑ ∑ ∑ P F π ˙. 1 ? ˙ ˙. ∑ ∑ ∑ 43 ∑ ∑ Œ Bsn. p P 2 ? ∑ ∑ ∑ 43 ∑ ∑ Œ ˙ ˙. ˙. p P C. Bn. ? ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑
1 #œ j 2 Ó #˙ ˙ œ œ œ 3 #˙. œœœ & ∑ Œ #˙. w 4 # ˙. ∑ ∑ ∑ Œ‰œœœ Hn. J p F π P 3 ∑ j 4 ˙ œ œ œ œ 3 . & ∑ 4 ˙ ∑ ∑ ∑ Œ‰œœ4. œ w w ˙. p F π senza sord. P 1 j œ 3 & ∑ Ó Œ‰#œ ˙ œ œ œ 4 #˙. ∑ ∑ ∑ ∑ senza sord. p F π Tpt. 2 & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑
senza sord. 3 & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑ Tbn. 2 ? ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑
B. Tbn. ? ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑
Tuba ? ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑ 3 Timp. ? 4 ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑
triangle 1 ⁄ ⁄ 3 ã ∑ 4 ∑ ∑ ∑ ∑ ∑ F
Perc. 2 3 ã ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑
œ œ bœ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J #œ #œ ˙ 3 #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ & ∑ ‰ ‰J‰ J Ó 4 666 666 ŒŒ ∑ ∑ Hp. G∫sg F f Bn F ? œ œ ? 3 ∑ & œ bœ ˙ Ó 4 ∑ ∑ ∑ ∑ ∑
Andantino q »72 Vln. I #˙ & ∑ ∑ ∑ 43 ∑ ∑ ˙ œ ˙. œ poco P f Vln. II 3 #˙ & ∑ ∑ ∑ 4 ∑ ∑ ˙ œ ˙. œ poco P div. f
Vla. ≤ ≤ #œ B Ó œ œ œ 3 ˙. ˙ Œ Œ œ œ œ œ œ ‰ j #˙ w œ 4 œ #œ #œ œ #œ œ #œ œœœœ œ œ p F f π 3 PF J Vc. ? w 3 #˙. ˙ Œ ˙. w 4 œ œ œ ˙ ˙. œ œ œ œ ˙ p F P F D.B. ? ≤ w w w 43 ˙. ˙. ˙. ˙. ˙. p 196 197 198 F 199 200 P 201 F 202 203 [129] #˙. œ œ œ œ œ Picc. œ œ œ œ œ #œ œ 4 & œ œ œ ˙. ∑ ∑ ŒŒ #œ œ œ œ œ 4 œ œ π p 6 F œ ˙. œ œ œ œ œ œ œ ˙. œ œ œ #œ œ 1 œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ #œ 4 6 ∑ ‰ œ œ 6 œ œ 3 33 & œ #œ œ 3 4 Fl. œ œ p 6 π F œ œ œ œ #˙. 2 #œ œ œ œ œ œ œ œ ˙. ∑ ∑ Œ œ œ #œ œ œ 4 & œ œ œ œ œ #œ œ 6 4 p F π 1 œ œ œ & ˙ Œ ∑ ∑ ŒŒ ‰J œ. œ œ œ œ 4 Ob. J œ #œ œ #œ P f F 2 4 & ˙. #˙. Œ #˙ N˙. ˙. ˙. #˙. 4 p P F π E. Hn. & ˙. ˙. Œ ˙ ˙. #˙. ˙. #˙. 4 p P F π #œ œ #˙. 1 œ #œ #œ œ œ œ #œ œ œ #œ œ j #œ œ œ #œ 4 & œ #˙. ∑ Œ #œ #œ œ œ 3 œ #œ ‰ œ œ 4 B Cl. œ œ 3 b F p F 3 6 π 2 œ . #œ œ œ #˙. œ #œ œ œ #œ #˙ ∑ ŒŒ œ #œ #œ œ #œ J ‰ œ #œ œ œ #œ 4 & œ 3 #œ #œ #œ œ 3 #œ #œ œ 4 3 œ œ œ œ #œ œ œ 6 p F π B. Cl. 4 & ∑ ∑ ∑ #œ œ œ #œ œ œ œ‰Œ Œ ∑ ∑ 4 œ œ #œ 3 J F ˙. ˙. ˙. 1 ? ˙. ˙ ˙. ˙. Œ 4 Bsn. p P F π 2 ? ˙. . ˙. ˙. Œ ˙ ˙. ˙. #˙ 4 p P F π C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
1 œ œ œ œ 2 .. œ .. œ œ œ #˙. ∑ œ.. œ œ.. œ #œ œ œ œ œ œ.. œ œ.. œ #˙ 4 & œ.. œ.. œ œ # ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . 4 Hn. poco .. .. œ œ #œ œ œ œ .. .. œ œ # ˙. p f p 3 4 œ œ œ œ . j 4 & .. .. œ œ ˙ Œ‰#œ œ œ œ.. œ œ.. œ œ œ œ.. œ œ.. œ #˙. 4 -poco- - œ œ œ #œ œ œ œ œ p f p 1 #˙ œ œ œ 4 & Ó œ œ ˙ #œ œ. ‰ ŒŒ‰ œ œ 4 poco pocoJ œ #œ œ #˙. P f f ñ Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
˙. 1 ? #œ N˙. ˙. ˙. ∑ ∑ Ó 4 Tbn. P F π 2 ? 4 ∑ ∑ Ó œ ˙. ˙. ˙. #˙. 4 P F π B. Tbn. ? ∑ ∑ Ó 4 œ ˙. #˙. ˙ œ #˙. P F π Tuba ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 4 Timp. ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
1 4 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
Perc. 2 4 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ##œ 4 & ∑ ∑ ∑ 66 6 66 6 œ ŒŒ 4 Hp. 66 6#œ Gn f Ds Dn ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
Vln. solo #œ & ∑ ∑ ∑ ∑ ∑ ∑ Ó 4 F Vln. I - - œ œ ˙ #˙ œ œ œ. œ œ œ œ 4 & ˙ #œ J œ. J œ #œ œ œ #˙. 4 P f Vln. II ≥ Œ ‰ ‰ œ œ œ œ œ œ 4 & ˙ 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 4 #œ œ #œ œ œ œ œ œ œ poco œ œ œ œ ˙. P P unis. f Vla. B œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ 4 œ œ œ #œ aœ œ œ ‰j#œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ poco œ œ œ œ #˙. P f œ #˙- œ- œ œ. œ œ œ ˙ œ Vc. ? œ œ ˙ #œ œ. 4 œ œ œ J J œ #˙. 4 F f D.B. ? œ 4 ˙. ˙. ˙. ˙. ˙. œ œ ˙. 4 poco œ 204 P 205 206 207 208 f 209 210 [130] Picc. 4 œ #œ œ ˙ & 4 ∑ ∑ ∑ 43 ∑ ∑ œ œ œ œ œ œ œ œ œ Œ P F >œ >œ >œ >œ œ >œ #œ > 1 4 3 œ #œ Nœ #œ œ œ œ œ ˙ & 4 ∑ ∑ ∑ 4 ŒŒ ≈ æ æ æ æ æ æ Œ Fl. F 2 > > > > > > 4 ∑ ∑ ∑ 3 ŒŒ ≈ œ œ œ bœ œ bœ œ ˙. ˙ Œ & 4 4 æ F 1 4 3 & 4 ˙ ˙ ˙ ˙ #œ œ œ œ #œ 4 #˙. ∑ ∑ ∑ Ob. P 2 œ œ ˙ 4 ∑ ∑ ∑ 3 ∑ œ œ #œ œ ˙ œ Œ & 4 4 #œ poco P F f E. Hn. 4 & 4 ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑
1 4 œ #œ #œ œ œ & 4 ∑ ∑ ∑ 43 ‰ J ŒŒ ∑ ∑ B Cl. b P 2 4 3 œ œ œ & 4 ∑ ∑ ∑ 4 ‰ J #œ œ ŒŒ ∑ ∑
P 333 333 B. Cl. 4 3 & 4 ∑ ∑ ∑ 4 ∑ #œ Œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ ˙ P F 1 ? 4 ˙ œ ˙ 4 ∑ ∑ Ó ˙ 43 ˙. ˙. Œ Bsn. P 3 F 2 ? 4 ∑ ∑ ∑ 3 œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ 4 4 333 333 33 œ ˙ P F C. Bn. ? 4 4 ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑
1. 1. a 2 1 2 4 ˙ ˙ #œ œ ˙ ˙ ˙ 3 ˙. ∑ œ #œ œ œ œ œ ˙ & 4 4 œ. gliss.œ Hn. poco F a 2 f 3 P 4 4 ∑ ∑ ∑ 3 ∑ ∑ ŒŒ œ #œ ˙ & 4 4 poco œ. gliss.œ F f 1 4 & 4 ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑
Tpt. 2 4 & 4 ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑
3 333 3 4 & 4 ∑ ∑ ∑ 43 ∑ ∑ Œ œœœ œ #œ œ œ œ œ œ œ œ œ œ œ P F œ œ œ 1 ? 4 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ∑ ∑ ∑ 4 ∑ ∑ 333 Tbn. P F 2 ? 4 œ 4 ∑ ∑ ∑ 43 ∑ ∑ ŒŒ œ œ œ œ œ œ œ œ œ œ œ 333 3 F 333 B. Tbn. ? 4 ∑ ∑ ∑ 3 ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 4 333 33 œ œ œ œ œ œ œ œ œ œ œ œ P F Tuba ? 4 4 ∑ ∑ ∑ 43 ∑ ∑ ∑ ˙. 4 3 3 F Timp. 4 4 ? 4 ∑ ∑ ˙ ˙ 3 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 j Œ 4 4 33 œ œ æ æ 3 J 3 3 3 J 3 3 ˙ triangle π F 1 4 ¡ 3 ã 4 ∑ Ó Œ & ∑ 4 ∑ ∑ ∑ ∑ lontano P piccolo snare Perc. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 4 . ‰. . ‰. . ‰. 43 ≈ ® ® ≈ ® ® 3 3 3 3 æ 3 3 æ 3 π wind chimes p 3 4 x 3 & 4 Œ‰J ™j‰Œ ∑ ∑ 4 ∑ ∑ ∑ ∑ P ˙ œ ˙ œ œ œ œ. #œ. & 4 Œ œ œ œ œ. ∑ 43 ∑ ∑ ∑ ∑ Hp. poco f ? 4 ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑
Vln. solo ˙. œ ˙. & 4 œ œ œ ˙ 43 ˙. ∑ ∑ ∑
Vln. I 4 3 & 4 ˙. Œ ∑ ∑ 4 ∑ ∑ ∑ ∑ ñ Vln. II & 4 Œ ∑ ∑ 43 ∑ ∑ ∑ ∑ ˙. ñ Vla. B 4 Œ ∑ ∑ 43 ∑ ∑ ∑ ∑ ˙.
jeté 3 ñ 333 Vc. ? 4 3 ≤ . . . . . 4 ˙. Œ ∑ ∑ 4 ∑ ∑ œ œ œ œ œ œ œ œ œ œ 3 - - - œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- ñ p 3 P D.B. ? 4 Œ ∑ ∑ 3 ∑ ∑ ŒŒ œ œ 4 ˙. 4 - - œ- ˙. P 211 ñ 212 213 214 215 216 217 [131] Picc. & ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ Fl.
2 & ∑ ∑ ∑ ∑ ∑ ∑
1 œ œ & ∑ ∑ ∑ ∑ ŒŒ œ œ. J Ob. f 2 & ∑ ∑ ∑ ∑ ∑ ∑
E. Hn. & ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑ B Cl. b 2 & ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ ∑ ∑ Bsn.
2 ? ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑
1 2 #˙ . œ #˙ œ œ ˙ & œ ˙ ˙ œ ˙ #œ. gliss.œ œ Hn. F f 3 4 #˙ . œ #˙ œ œ ˙ & œ ˙ ˙ œ ˙ #œ. gliss.œ œ
F gliss. f 1 & ∑ ∑ Ó œ œ œ. œ œ œ ˙ #œ. œ #˙ J F gliss. f Tpt. 2 & ∑ ∑ Ó #˙ œ œ œ. œ œ œ ˙ #œ. œ J 333 33 F 3 3 f 3 œ. œ #œ ˙. & œ œ #œ œ œ œ œ. œ #œ œ œ œ #œ œ œ œ. œ #œ œ œ œ œ œ œ œ œ œ œ œ Nœ œ œ œ poco f #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ˙. 1 ? œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ 33œ 333 333 333 333 3 Tbn. poco P f 2 . ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 33#œ 33 333 3 333 333 3 poco 333 333 333P 333 333 f B. Tbn. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ poco˙. P f Tuba ? œ ˙. ˙. ˙. ˙ œ ˙ œ poco˙ P f Gw A D F B Timp. ? []w ww ∑ ∑ ∑ ∑ ∑ ∑
1 & ∑ ∑ ∑ ∑ ∑ ∑
Perc. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ≈ ® ® ≈ ® ® ≈ ® 3 æ 3 3 æ 3 3 æ 3 æ P p F 3 & ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ Hp. ? ∑ ∑ ∑ ∑ ∑ ∑
jeté 3 333 Vln. I & ∑ ∑ ∑ #œ œ œ. œ œ. œ #œ œ œ œ œ œ œ œ œ œ œ œ œ. œ #œ œ. œ. - œ- - poco...... - - - P jeté f 333 33333 Vln. II ≤ ∑ ∑ ∑ & œ œ œ œ œ œ œ œ œ œ bœ œ #œ œ œ œ œ œ œ œ œ- œ œ- #œ œ œ œ œ œ œ - œ- œ- poco...... - - - jeté ...... - . . . . . 333 333P 333 3 3 div. f 333 Vla. ≤ B ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ-œœ œ œ œ œ œ œ œ œ œ bœ œ œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- ...... - œ- - . . . . . - - poco...... - - - div. 333 333P 333 333P 333 3 3 f Vc. ? #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ- œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ- œ œ- œ œ œ œ œ œ œ -œ- œ- œ œ œ œ œ œ œ œ œ bœ œ ...... œ- ...... - - - ...... - - - ...... - . . . . . poco...... - b œ- - P f D.B. ? œ ˙. ˙. ˙. ˙- œ- ˙- œ- poco˙ 218 219 220 P 221 222 f 223 [132] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ ˙ ˙ Picc. œ #œ #œ œ œ & ∑ ∑ 42 Œ 43 Œ ∑ f œ P 1 #œ œ œ œ œ #˙ œ 2 œ œ œ #œ œ œ œ œ #œ 3 ˙ & ∑ ∑ 4 œ #œ #œ œ œ 4 œ Fl. ƒ f œ 2 œ œ œ #œ œ #œ œ œ ˙ ˙ #œ & ∑ ∑ 42 Œ œ œ œ 43 œ ƒ f 1 œ œ œ 2 ˙ ˙ 3 & œ. J œ œ œ œ 4 4 #˙ Œ #œ œ œ #œ œ œ Ob. ƒ F f 2 2 3 #œ & ∑ ∑ 4 ˙ ˙ 4 ˙ Œ œ œ #œ œ œ F f E. Hn. & ∑ ∑ 42 ˙ ˙ 43 ˙ Œ ∑ F #œ œ œ #œ œ œ #˙ œ 1 2 œ œ #œ #œ œ œ œ œ #œ 3 #˙ & ∑ ∑ 4 #œ #œ #œ œ #œ 4 œ B Cl. b f ƒ œ 2 œ œ #œ #œ œ #œ #œ œ #˙ #˙ #œ & ∑ ∑ 42 Œ œ #œ œ 43 œ ƒ f B. Cl. & ∑ ∑ 42 ∑ ∑ 43 poco˙ . ˙. f #˙. ˙. 1 ? ∑ ∑ 42 ∑ ∑ 43 poco Bsn. f 2 ? ∑ ∑ 42 ∑ ∑ 43 ˙. ˙. poco f C. Bn. ? ∑ ∑ 42 ∑ ∑ 43 poco˙ . ˙. f 1 #œ #˙ 2 œ.˙ ˙ œ œ 2 #˙ 3 ˙ ∑ & œ œ œ œ 4 œ #œ œ #œ 4 ˙ Œ Hn. J ƒ F 3 #œ œ 4 & œ œ.˙ œ ˙ œ 42 #˙ N˙ 43 ˙ Œ ∑ J œ œ œ #œ œ #œ ˙ ƒ F 1 œ œ œ 2 ˙ ˙ 3 ˙ & œ. J œ œ œ œ 4 4 Œ ∑ ƒ F Tpt. 2 œ œ œ 2 ˙ ˙ 3 ˙ & œ. J œ œ œ œ 4 4 Œ ∑
ƒ 3 33 333F 333 3 . & ˙ ˙ œ 42 œ 43 œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ƒ F ˙. ˙ œ 1 ? œ œ 2 #œ œ œ œ œ œ œ œ Nœ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3333 333 33œ 4 4 3 Tbn. ƒ F 2 ˙. ? ˙ œ œ œ 2 œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 4 4 33 3 3 #œ 3 3
3 ƒ 3 3 F 333 333 B. Tbn. ? 2 œ œ œ œ œ 3 4 œ œ œ œ 3 œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙ œ œ œ œ œ œ œ œ œ œ ƒ 333 F Tuba ? 42 43 ˙ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙. ˙. ƒ F
2 3 333 333 Timp. ? ∑ ∑ 24 43 4 ∑ ∑ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F 1 & ∑ ∑ 42 ∑ ∑ 43 ∑ ∑
Perc. 2 œ ®œœœœ œ œ œ œœœœ œ ®œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 3 3 4 3333 4 333 333 æ æ poco f P 3 & ∑ ∑ 42 ∑ ∑ 43 ∑ ∑
& ∑ ∑ 42 ∑ ∑ 43 ∑ ∑ Hp. ? ∑ ∑ 42 ∑ ∑ 43 ∑ ∑
div. 3 333 #˙ œ œ œ œ œ ˙ œ Vln. I ...... 2 œ œ œ œ 3 - - - & œ œ œ œ œ œ œ œ œ- œ- œ- œ œ œ œ œ œ œ œ œ- œ- œ- 4 #˙ Nœ œ œ œ œ œ œ 4 - 33 ...... œ Œ Ó. ƒ f div. 333 333 Vln. II #˙ œ 2 œ œ œ 3 ˙ - - & œ œ œ œ œ œ œ œ œ- œ œ- œ œ œ œ œ œ œ œ œ œ œ 4 ˙ œœœ œ œ œ 4 œ- ...... - ...... - - - - - Œ Ó. 333 333 ƒ f Vla. B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ 42 ˙ ˙ 43 #˙. ∑ œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- ...... - - - #˙ N˙ div. 333 ƒ F 3 unis. 33 œ œ œ #œ œ ≤ Vc. ? ...... - - - 2 #œ #œ œ œ œ Nœ œ. œ. œ. œ- œ- œ- 3 ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 33 Œ #œ œ œ œ œ œ œ œ œ œ œ 3334 4 - - - œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- ...... F jeté F ƒ div. 3 - D.B. ≤ ...... - - - ...... - œ œ- ? ˙ ˙ œ 2 œ- œ œ œ- œ- œ œ œ- œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 3 œ œ œ œ 3 œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ - - œ œ3 333 3 3 224 225 ƒ 226 227 F 228 229 [133] 6 #œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. ˙ œ. Picc. œ œ #œ #œ œ œ œ #˙ 4 œ ŒŒ œ œ œ 66 Œ #œ ‰ œ œ œ & œ #œ #œ 6 4 œ π f œ ˙. . ñ œ œ œ 1 #˙. #˙ œ nœ ˙ #˙ ˙ ˙ œ œ œ & #œ 4 Fl. p π œ œ œ œ 2 ˙. ˙ œ œ ˙ ˙. ˙. ˙. ˙ œ. & #œ 4 ‰ ñ π 1 œ œ œ ˙ #˙ œ Nœ. œ. ˙ œ 4 ˙ œ & #œ #œ œ œ #œ œ nœ ˙ œ 4 Ob. π 2 œ œ œ #˙ œ Nœ. . ˙ œ 4 ˙ œ ˙ & #œ #œ œ œ #œ œ nœ ˙ œ œ 4 π E. Hn. œ #œ œ #œ œ ˙. ˙. 4 ˙ ˙ œ & œ œ #˙ œ ˙ œ 4 Œ ˙ f π #œ #˙. ˙ œ #œ 1 #˙. #˙ #œ nœ #˙ #˙ . ˙ œ œ ˙ & #œ 4 B Cl. b π 2 #˙. ˙ #œ œ #˙ #˙. ˙. ˙ œ & #œ J ‰ 4 4 #˙ œ #œ œ #œ œNœ #œ π B. Cl. 4 & 4 Œ #œ ˙. ˙. ˙. ˙. ˙. ˙. w œ œ #œ π ˙. ˙. #˙. ˙ ñ 1 ? œ ˙. ˙. 4 w 4 Œ œ œ œ œ Bsn. ñ π 2 ? . . . . w #˙ ˙ ˙. ˙. ˙ ˙ 4 ∑ ñ C. Bn. ? ˙. ˙. 4 ∑ ˙. ˙. ˙. ˙. 4 w a 2 1 1. ñ 2 ∑ œ #˙ œ ˙. ˙. 4 ˙ ˙ œ & œ #œ œ ˙ #œ 4 Œ ˙ Hn. #œ #œ F f 3. π 3 4 4 œ & ∑ ∑ ∑ ∑ ∑ ∑ 4 #˙ œ œ œ œNœ #œ p π 1 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑
Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑
333 333 3 & Œ ∑ 4 ∑ ˙ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. w #œ F f ñ 1 ? œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. 4 w ‰ 3 33 333 33 œ ∑ 3 4 Tbn. f ñ 2 ? #˙ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ∑ 3 33 33#œ N˙. ˙. 4 w 3 3 3 3 333 333f ñ B. Tbn. ? 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ∑ ˙ œ ˙ œ œ œ œ ˙. ˙. w f ñ Tuba ? 4 ∑ ˙. ˙. ˙. ˙. ˙. ˙. w f ñ
333 333 4 D - E Timp. . . 4 ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ 4 w ∑ 333 333 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ æ æ æ f ñ 1 4 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑
Perc. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ã ‰ . ∑ 4 ∑ ∑ 3 æ 33æ æ33æ æ 333 333æ glockenspiel 3 3 3 33 F π 3 œ œ œ œ œ œ 4 & ‰ # #œ œ ‰ #œ œ œ œ œ œ œ œ ˙ #˙. ∑ ∑ 4 ∑ ∑ 3 # #œ f & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ Hp. ? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑
unis. #˙. #˙ #œ œ#œ œ nœ nœ œ ˙ #˙ œ ˙. ˙. w œ œ œ œ œ œ œ œ œ œ œ œ ˙ #œ Vln. I œ œ #œ #œ 4 œ œ œ 666 ∑ & œ œ #œ #œ 6 4 Œ 6 unis. ñ œ œ œ Vln. II #˙ #œ œ œ œ œ #œ #˙ œ ˙. ˙. w . œ œ œ #œ #˙ #œ œ œ œ œ œnœ œ nœ ˙ #œ 4 & #œ #œ œ œ 6 6 œ œ #œ œ œ 4 ∑ œ œ 6 6 #œ œ œ œ 6 6 unis. ñ Vla. ≤ ˙. ˙. w B ∑ œ ˙ #˙ œ 4 ˙ #œ #œ œ œ œ #œ 4 Ó f π F ñ unis. - Vc. ? #œ œ. œ. œ. œ œ. œ. œ. œ- #œ- œ- #œ œ. œ. œ. œ œ. œ. œ. - - nœ- ...... -œ- - ...... -œ- œ ˙. ˙. w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ 4 Œ œ œ œ œ 333 333 333 333 f ñ π unis...... - - - ...... - - - ...... - - - ...... - - #œ- ˙. ˙. w D.B. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 Ó œ œ 333 333 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. w 333 333 f 230 231 232 233 234 235 236 ñ 237π [134] accel. Agitato q »112 - Picc. w œ œ. œ bœ & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 Œ Ó 43 ∑ ∑ ∑ œ P P w œ- . œ œ œ œ œ 1 œ #œ œ bœ & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 Œ ŒŒ 43 ŒŒ ŒŒ Fl. P P F P w - œ 2 bœ œ. œ œ #œ œ œ bœ œ & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 Œ ŒŒ 43 ŒŒ ŒŒ P P F P w . . b>œ >œ 1 3 5 œ #œ œ œ 3 œ œ bœœ & ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 Ó Œ 4 ∑ ∑ sub. ∑ Ob. P F p 2 w 3 5 3 > > & ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 Ó Œ œ œ 4 ∑ ∑ œ œ œ œ bœœ ∑ sub. P F p E. Hn. 3 œ 5 #œ #œ 3 & w ∑ ∑ ∑ 4 Ó ˙ œ ˙. œŒŒ 4 Ó Œ 4 ∑ ∑ œ œ œ œ œ ∑ sub.> F p P F >p w #œ- . 1 #œ œ œ œ & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 Œ Ó 43 ŒŒ œ œŒ Œ ∑ B Cl. b P P F 2 #œ- . & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 Œ #œ Ó 43 ŒŒ bœ œ œ bœ NŒŒœ ∑ w P P F B. Cl. & ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑ w œ #œ 1 ? 3 5 3 w ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 Ó Œ 4 ∑ ∑ ∑ ∑ Bsn. P 2 ? ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑
C. Bn. ? ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑
1. 1 > > > 2 w ∑ ∑ ∑ 3 ∑ Ó 5 3 ∑ ∑ ∑ & 4 œ œ œ œ œ œ 4 ˙. ˙ 4 2. œ œ œ œ Hn. œ P F f 3 4 3 ∑ ∑ 5 ∑ 3 & w ∑ ∑ ∑ 4 ∑ ∑ 4 4 ∑ ∑ ∑ ∑ 3 1 3 5 3 & ∑ ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 Ó ŒŒ #œ œ œ 4 œœœ œ ˙. ∑ ∑ F f F Tpt. 2 & ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑
3 & ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑
1 ? ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑ Tbn. 2 ? ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑
B. Tbn. ? ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑
Tuba ? ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑ 3 5 3 wE Af Ef G B Timp. 4 4 4 b w ? ∑ ∑ ∑ Ó Œ œ 3 5 ŒŒÓ 3 []b w ∑ ∑ ∑ ∑ æ 4 ˙æ. ˙æ. ˙æ. ˙æ. 4 œ 4 w p F p crotales (plastic mallets) É É 1 3 5 3 bÖ & ∑ ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ã bass drum strike sus. cymbal PFl.v. with stick Perc. 2 Ñ ã ∑ ∑ ∑ ∑ 43 ∑ Œ ˙ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ Œ Œ p F> glockenspiel É 3 & ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ŒŒ F œ #œœ b œ œœ & ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ Hp. pOOPOoOo F ? ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ∑ ∑ ∑ ∑
accel. Agitato pizz. q »112 div. a 3 da leggii œ bœ Vln. I ≤ #˙ b œ #œ œ œ œ #œ . œ œ ˙ œ . œ 3 5 3 œ & œ œ œ J 4 ˙. ˙. ˙. ˙ Œ 4 ∑ 4 ∑ ∑ ∑ π P F π pizz. f div. ≤ œ œ œ Vln. II #œ œ bœ œ Ó Œ œ 3 æ æ æ æ Œ 5 ∑ 3 ŒŒ œ œ œ b œ œ ∑ & œ œ #œ #w #œ #œ œ œ 4 ˙. ˙. ˙. ˙ 4 4 œ π P f pizz. π P F div. ≤ ≤ bœ œ œ bœ œ œ Vla. w œ œ b œ œ b œ nœ œ œ B Œ œ œ œ œ œ œ œ œ œ 43 ∑ ∑ ∑ ∑ 45 ∑ 43 ŒŒ ∑ P F P f Vc. ? ˙ ˙ 3 5 3 w w w 4 ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ P F sul E Ÿ~~~~~~~~~~~~~~~ D.B. ? 3 5 3 ()b œ w w ˙ Ó ∑ 4 ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ˙. 238 P 239 240 241 242 243 244 245 246 247 248 249 F 250 [135] P f bœ bœ. œ bœ nœ Picc. œ. œ. œ. œ. œbœ 4 2 4 œœ J 3 & œ ŒŒ 4 ∑ 3 J ‰Ó 4 ∑ 4 ∑ Œ ‰Œ ∑ 4 F ƒ œ. œ. bœ. ˘ ˘ ˘ bœ nœ bœ >œ > . . . . œ #œ ˘œ nœ bœ œ 1 œ bœ 4 œ œ œ œ œ J 2 4 œœœ J 3 & œ 4 ŒÓ 3 ‰ 4 ∑ 4 ∑ ‰Œ ∑ 4 Fl. ƒ ƒ ˘œ #˘œ ˘ n˘œ F f 2 > > œ œ bœ œ 4 Nœ œ ŒÓ œ. œ. œ. œ. J ‰ 2 ∑ 4 ∑ œ. #œ. œ. nœ. Ó ∑ 3 & 4 3 4 4 4 ƒ ƒ f 1 #>œ > . . . . ˘ ˘ ∑ 4 œ ŒÓ œ œ œ œ œ #œ ‰Œ 2 ∑ 4 ∑ ∑ ∑ 3 & 4 3 J 4 4 4 Ob. f ƒ 2 4 #>œ > . . . . ˘ ˘ 2 4 3 & ∑ 4 œ ŒÓ œ œ œ œ ‰Œ œœ 4 ∑ 4 ∑ ∑ ∑ 4 3 J f > ƒ E. Hn. 4 œ b>œ bœ. œ. œ. œ. 2 4 3 & ∑ 4 ŒÓ 3 J ‰Ó 4 ∑ 4 ∑ ∑ ∑ 4
f 3 ƒ 1 #œ œ bœ 4 bœ ŒÓ j‰Ó 2 ∑ 4 ∑ ∑ ‰ 3 & 4 bœ bœ œ œ œ 4 4 bœ j 4 B Cl. > > . . . . œ. . #œ œ. nœ #œ œ b F ƒ . . . f 3 P f 2 œ bœ 4 ŒÓ j‰Ó 2 ∑ 4 ∑ ∑ ‰ 3 & bœ 4 bœ œ œ œ œ œ 4 4 œ bœ œ j 4 > > ...... #œ. . nœ #œ. œ. F f 3 ƒ P f B. Cl. 4 j 2 4 œ. bœ. . œ. . . 3 & ∑ 4 bœ bœ ŒÓ bœ œ œ œ ‰Ó 4 ∑ 4 ∑ ∑ #œ nœ #œ œ ‰ 4 > > . . . . J f ƒ P f #>œ > . . . . ˘œ #˘œ ˘ n˘œ 1 ? 4 œ œ œ œ œ œ 2 4 3 ∑ ŒÓ 3 J ‰ ∑ ∑ ∑ Ó œ œ 4 4 4 bœ nœ. œ . . 4 Bsn. f ƒ > ˘ ˘ ˘ ˘ f 2 œ > . . . . œ #œ œ nœ ? 4 bœ bœ œ œ œ J 2 4 3 ∑ 4 ŒÓ 3 ‰ 4 ∑ 4 ∑ ∑ ∑ 4 f ƒ C. Bn. ? ∑ 4 ∑ ∑ 2 ∑ 4 ∑ w œ bœ œ #œ œ 3 4 4 4 . . œ. . bœ nœ. œ . . 4 a 2 3 P > > PF 1 ^ ^ ^ j bœ œ. 2 4 #œ œ ŒÓ œ œ œ œ ‰Ó 2 ∑ 4 Ó bœ ∑ bœ Ó 3 & œ #œ œ 4 N œ œ œ œ œ 4 4 œ œ œ œ. . #œ. œ. 4 Hn. > > > > œ bœ #œ œ > 3 ƒ ƒ 3 bœ œ. 4 ∑ 4 bœ ŒÓ j‰Ó 2 ∑ 4 Ó bœ ∑ bœ Ó 3 & 4 œ ##œ ##œ œ œ œ 4 4 œ œ œ œ. . #œ. œ. 4 > > > > > > œ bœ #œ œ f ƒ ƒ > P F 1 4 #œ >œ >œ >œ >œ >œ 2 4 bœ œ œ. bœ nœ œ #œ 3 & ∑ 4 ŒÓ 3 J ‰Ó 4 ∑ 4 Ó Ó bœœ nœ ∑ 4 f ƒ ƒ f Tpt. 2 > > > > > > ˘ ˘ ˘ ˘ ∑ 4 œ œ ŒÓ œ œ œ œ œ #œ ‰œnœ 2 ∑ 4 Ó œ œ. bœ Ó bœœœ nœ #œ ∑ 3 & 4 3 J 4 4 4 f 3 ƒ ƒ f 3 4 j 2 4 3 & ∑ 4 œ œ ŒÓ œ œ œ œ ‰Ó 4 ∑ 4 ∑ ∑ ∑ 4 > > > > > > f ƒ bœ œ œ. bœ nœ 1 > > > œ bœ œbœ ? ∑ 4 Œ‰œ œ œ œ #œ ∑ 2 ∑ 4 Ó J ‰Œ œ Ó œ œ 3 4 J 4 4 bœ nœ. œ . . 4 Tbn. f ƒ f . 2 ? 4 j 2 4 bœ œ bœ 3 ∑ 4 Œ. œ œ #œ #œ œ ∑ 4 ∑ 4 Ó Ó bœ œbœ ∑ 4 > > > œ f ƒ f B. Tbn. ? 4 . j 2 4 Ó bœ œ . j ‰Œ 3 ∑ 4 Œ œ œ #œ ∑ 4 ∑ 4 œ bœ nœ œ bœ œbœ œ Ó bœ nœ œ œ. œ. 4 > œ #œ . f > > ƒ f Tuba ? ∑ 4 Œ. j ∑ 42 ∑ 4 ∑ 43 œ œ #œ w ˙ #œ œ > #œ œ bœ nœ. œ . . 4 f > > 2 4 P f 3 3 G - E Timp. 4 >œ > > >œ E - Gf 4 4 j j 4 ? œ bœ œ œ 4 œ bœ Ó 2 4 bœ ‰ bœ Œ ˙ 3 bœ œ 4 ‰ j bœ 4 ∑ 4 ∑ Ó Œ b œ ‰b œ 4 3 œ œ œ œ œ œ fl æ > > > f fl F crash cymbalsf P ƒ 1 j 4 x 2 # 4 x x £ x x # 3 ã ∑ 4 > ŒÓ ∑ 4 4 Œ‰ Ó Ó 4 ƒ bass drum ƒ f P f Perc. 2 œj Ñ ‰ Œ 4 Œ ˙. Ó ‰ œ. 2 ˙ 4 ˙ Ó 3 ã > > 4 > > 4 > 4 ∑ ∑ > 4 f ƒ tam-tam woodf sticks on É Ö l.v. rim of tam-tam 3 b É 4 ŒÓ Œ í. 2 Ó 4 Ó œœœœœæ 3 & 4 É ã > 4 4 ∑ ∑ 4 ƒ f √ œ œ # œ 4 2 4 3 & œ b œœ 4 ŒÓ ∑ 4 ∑ 4 ∑ ∑ Ó Œ 4 Hp. œ ƒ oooPoOOO ƒ ? ∑ 4 ∑ ∑ 42 ∑ 4 ∑ ∑ Ó 43 div. a 3 da leggii b˙ div. a 3 da leggii arco unis. unis. arco jeté pizz. ˘ œ. œ. œ. bœ œ œ #œ div. ≥ >œ > ˘ ˘ ˘ ˘ ˘œ œ œ œ œ œ œ bœ bbœ œ bœ nœ œ #œ œ nœ ≥œ #œ Vln. I nœ bœ 4 #œ nœ œ œ œ œ 2 4 b œ œ 3 œ b œ Œ œ ŒÓ œ œ œ œ ‰Œ ‰ 3 Œ Œ ‰ ‰ #œ ŒÓ & 4 3 J 4 4 J J 4 div. a 3 da leggii arco arco unis. unis. f div. a 3 da leggii 3 ƒ jeté pizz. . . . div. ≥ ≥œ Vln. II bœ j ˘ ˘ œ œ œ bœ œ œ #œ bœ bbœ bœ ∑ 4 b œ œ ŒÓ œ œ œ œ ‰Œ œœ 2 ‰ œ œ œ œ œ 4 bœ b œ œ Œ bœ nœ œ #œ œ nœ Œ ‰ ‰ œ ŒÓ 3 & 4 #œ #œ œ œ œ 4 3 4 b œ J J 4 arcof> > fl fl fl fl arcof div. a 3 da leggii ƒ unis. jeté pizz. div. >œ ˘ ˘ ˘ ˘ . . . ≥œ b≥œ Vla. 4 #œ n>œ œ œ œ œ 2 œ œ œ bœ œ 4 œ #œ bœ bœ b œ 3 B ∑ œ ŒÓ œ œ œ œ ‰Œ œ œ ‰ 3 œ Œ bœ nœ œ #œ œ nœ ŒJ‰ ‰ J ŒÓ 4 3 J 4 4 4 div. a 3 da leggii fl fl f f ƒ unis. jeté b>œ > ˘ ˘ ˘ ˘ 3 Vc. b œ œ œ œ œ œ ≤ j ≤ ? ∑ 4 #œ ŒÓ #œ œ œ œ ‰Ó 2 j 4 bœ œ bœ œ œ ‰Œ Ó Ó œ œ 3 4 3 J 4 œ œ œ œ œ œ 4 œ œ bœ œ bœ nœ. œ . . 4 jeté. . . fgliss. ƒ 3 f ~~~~~~~~~~~~~~~~~~~~~~~~ ≤ ≤ D.B. ? 4 j 2 4 œ #œ j 3 ˙. 4 œ ‰‰œ œ #œ #œ œ ∑ 4 œ œ œ œ œbœ 4 bœ bœ bœ œ œ ‰Œ Ó Ó bœ nœ œ #œ œ 4 > œ > > > . . . bœ Nœ . . . 251 ƒ f252 253 ƒ 254 255 256 257f
P Silence instrument at the sign. [136] solo Picc. 3 4 ∑ 3 œ œœ œ. bœ œ. œ 4 w & 4 ∑ ∑ 4 ∑ 4 ‰ J bœ bœ 4 ∑ Ÿ~~~~~~~~~~~~ ƒ ˙ ()œ Ó 1 4 3 4 & 43 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ P Fl. Ÿ~~~~~~~~~~~~~ b˙ ( b œ ) 2 4 3 4 & 43 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ Ó P 1 3 4 3 4 ˘ & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Ó bœ œ Œ ∑ Ob. F ƒ 2 3 4 3 4 & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Ó œ œ Œ ∑ F flƒ E. Hn. 3 4 3 4 & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑
1 3 4 3 4 ˙ b˙ & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ Ó B Cl. b P 2 3 4 3 4 ˙ b˙ & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ Ó
3 3 P B. Cl. 3 ∑ ∑ 4 ∑ nœ 3 bœ 4 bœ & 4 4 bœ. . bœ nœ œœ œ œ bœ 4 bœ œœ œ œ œ œ nœ bœ œœ œ œ œ œ . 4 bœ . œ œ. œ #œ bœ nœ œ ...... bœ #œ. œ nœ. bœ nœ œ F soli ƒ . . . . . #œ N˙. œ ˘ 1 . . . . Nœ œ œ œ ? 3 . #œ. œ. œ. œ. œ. œ. œ #œ. œ. œ. œ. œ. œ. œ. #œ 4 #œ. œ œ. #œ. . . #œ#œ#œ 3 4 4 œ 3 4 œ #œ œ #œ ‰#œ 4 ŒŒ 4 Ó Œ ∑ 3 . . J Bsn. F f P F ƒ ƒ soli #œ N˙. œ 2 . . . Nœ œ ˘ ? 3 #œ. œ. œ. œ. œ. œ. œ. œ #œ. œ. œ. œ. œ. œ. œ. #œ 4 #œ. œ œ. #œ. . . #œ#œ#œ. 3 4 œ œ 3 3 œ #œ œ #œ ‰#œ ŒŒ Ó Œ ∑ 4 4 . . J 4 4 ƒ F f P Fƒ C. Bn. j ? 3 œ. ‰Œ Œ ∑ 4 ∑ Ó Œ‰j 3 œ ‰ŒŒ ∑ 4 ∑ ∑ 4 J 4 œ. 4 . 4 ƒ f 1. 1 ˘ 2 3 4 3 4 & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Ó bœ œ Œ ∑ Hn. 3.Fƒ 3 4 3 4 3 4 & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Ó #œ œ Œ ∑ F flƒ 1 ˘ ˘ 3 ∑ ∑ 4 ∑ ∑ 3 ∑ ∑ 4 Œ œ ‰‰bœ Œ ∑ & 4 4 4 4 J J ƒ Tpt. 2 3 4 3 4 ˘ j & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Œ œ ‰‰œ Œ ∑ J fl ƒ 3 3 4 3 4 j & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Œ œ ‰‰ j Œ ∑ fl bœ ƒ fl ˘ #œ ˘œ 1 j 4 3 4 J J ? 43 œ ‰Œ Œ ∑ 4 ∑ Ó Œ‰j4 j ‰ŒŒ ∑ 4 Œ ‰‰ Œ ∑ . #œ. œ. Tbn. ƒ f ƒ #˘œ ˘ 2 4 3 4 J œ ? 43 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Œ ‰‰JŒ ∑ ƒ ˘ B. Tbn. j 4 3 4 œ ˘œ ? 43 œ ‰Œ Œ ∑ 4 ∑ Ó Œ‰j4 j ‰ŒŒ ∑ 4 ŒJ‰‰J Œ ∑ . #œ. œ. ƒ f ƒ Tuba 4 3 4 ? 43 j ‰Œ Œ ∑ 4 ∑ Ó Œ‰j 4 j ‰ŒŒ ∑ 4 ∑ ∑ œ œ . œ. . 3 ƒ 4 f 3 4 E - G ˘ Ef - Df Timp. 4 ˘ 4 4 ˘ 4 œ ˘ ? 3 Nœ 4 ∑ 3 œ 4 œ 4 J ‰Œ Œ ∑ 4 ∑ 4 J ‰ŒŒ ∑ 4 ŒJ‰‰J Œ ∑ ƒ f f 1 3 4 3 4 ã 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑
piccolo snare Perc. 2 3 4 ˙ 3 œ. 4 ã 4 ∑ ∑ 4 ∑ Œ . 4 ŒŒ ∑ 4 ∑ ∑ æ poco shaker p f 31 j 3 œ ‰Œ Œ 4 Œ x x Œ x x x 3 4 ã 4 fl ∑ 4 ∑ 4 ∑ ∑ 4 ∑ ∑ ƒ F √ bœ œ œ. 3 J 4 3 4 bœ œ œ œ œ ‰Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ 33 ‰ & 4 4 4 4 cresc. Hp. A∫fN F √œ ? 3 4 3 4 œ œ bœ bœ œ œ ? 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ & 3 3 Œ
div. ≥ œ b≥œ bbœ ˙. Vln. I 3 4 3 4 œ b œ & 4 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ŒJ‰‰J ‰ æJ æ Œ ƒ p div. ñ ≥œ ≥ Vln. II #œ œ œ w 3 ∑ ∑ 4 ∑ ∑ 3 ∑ ∑ 4 Œ ‰‰œ ‰ #œ w & 4 4 4 4 J J æJ æ jeté ƒ p P unis. unis. 3 3 div. #≥œ ≥ Vla. œ œ B 3 ∑ ∑ 4 ∑ 3 4 Œ J ‰‰J Œ 4 4 #œ œ œ#œ 4 œ œœ œ œ œ œ œ œ œœ œ œ œ œ #œ 4 œ #œ bœ nœ #œ nœ . . . . œ. œ.. #œ. œ #œ poco...... œ. . bœ. . jeté . . ƒ F 3 3 F 3f 3 Vc. ? 3 #œ 4 3 4 4 œ œ œ œ œ œ œ œ. œ œœ œ œ œ œ . 4 œ œ. œ #œ œ #œ œ œ. œ#œ œœ #œ 4 œ œœ œ œ œ œ #œ Nœ œœ œ œ œ œ œ 4 œ œ bœ bœ œ #œ Nœ œ bœ bœ œ #œ ...... œ. #œ...... œ. #œ...... œ. . œ...... œ. . œ. . ƒ jeté F f 3 3 D.B. ? 3 œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. 4 œ. bœ. œ. bœ. œ œ. bœ. œ. bœ. œ œ 3 œ œœ œ œ œ œ œ œœ œ œ œ œ 4 œ œ 4 3 3 4 . œ bœ œ . . œbœ œ 4 ...... œ ...... bœ 4 . bœ œ bœ nœ . bœ œ bœ nœ ...... œ. . bœ. . œ. . . œ. . bœ. . œ. ƒ 258 259 260 F 261 f 262 263 264 265 [137] Picc. & ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ 43 ∑ ~~~~~~~~~~~~~~ ˙ . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ bœ. œ. œ. œ. œ. œ. œ. nœ. 1 3 4 3 & Ó ∑ 4 3 3 4 ∑ ∑ 4 3 p Fl. ~~~~~~~~~~~~~ F ƒ ˙ 2 ...... 3 œ œ œ œ œ œ œ #œ. œ œ œ œ œ œ œ œ. 4 3 bœ. œ. œ. œ. œ. œ. œ. œ. & Ó ∑ 4 3 3 4 ∑ ∑ 4 3 p solo F ƒ 1 3 œ j bœ 4 3 & ∑ Ó Œ‰j4 œ. œ œ œ. œ œ 4 ˙ Ó ∑ 4 ∑ Ob. œ ƒ 2 ∑ ∑ 3 ∑ Œ‰. œ. œ #œ 4 Ó ∑ 3 ∑ & 4 J . . 4 œ. #œ. œ. #œ. 4 F E. Hn. 3 bœ. . 4 . . 3 & ∑ ∑ 4 ∑ ŒŒœ 4 œ bœ œ bœ œ bœ ∑ 4 ∑ . . . . œ. œ. F 1 ˙ #˙ b˙ n˙ ∑ 3 ∑ ∑ 4 ∑ ∑ 3 ∑ & poco 4 4 4 B Cl. b p f 3 3 3 2 ˙ b˙ #˙ n˙ 3 4 3 & ∑ 4 4 ∑ ∑ 4 poco #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ. bœ œ œ œ œ œ œ nœ p ...... f F 3 3 ƒ 3 B. Cl. 3 4 3 & j ‰Œ Ó ∑ 4 #œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ 4 ∑ ∑ 4 ...... œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ F ƒ . . . . 1 œ œ œ . #œ...... œ. œ. œ. . œ. . nœ. ? ∑ ∑ 3 Œ Œ Œ ‰ J 4 œ œ #œ œ #œ ∑ 3 bœ œ œ 4 œ. œ. 4 4 3 Bsn. f œ. œ. F ƒ 2 3 . 4 . . . . 3 ...... ? ∑ ∑ 4 Œ œ Œ Œ œ ‰ #œ 4 œ bœ œ bœ œ œ bœ ∑ 4 bœ œ œ œ œ œ œ œ . . J . . . œ. 3 . . f œ. œ. F ƒ C. Bn. ? ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ 43 ∑
1 j j 2 3 4 œ 3 bœ. œœbœ & ∑ ∑ 4 ∑ ∑ 4 ∑ Ó Œ‰J 4 b œ. bœ œ œ Hn. a 2 ƒ J 3 j 4 ∑ ∑ 3 ∑ ∑ 4 Ó Œ‰bœ œ. bœ. bœ 3 œ. bœ œ œ & 4 4 J . œ. bœ. œ. œ bœ œ 4 bœ œœbœ . . . J F ƒ 1 3 4 3 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑
Tpt. 2 j ∑ ∑ 3 ∑ ∑ 4 Ó Œ‰œ œ œ. #œ. #œ œ nœ 3 bœ. œœnœ & 4 4 . . #œ. œ.. . #œ. nœ 4 F ƒ 3 3 4 3 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑
1 ? ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ 43 ∑ Tbn.
2 œ bœ ? ∑ ∑ 3 ∑ ∑ 4 ∑ œ bœ œ œ bœ œ 3 bœ œ. œ. œ. œ. œ œ 4 4 4 bœ 3 . . P ƒ B. Tbn. ? ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ 43 ∑
Tuba ? ∑ ∑ 43 ∑ ∑ 4 ∑ ∑ 43 ∑ 3 4 3 Timp. ? 43 4 43 ∑ ∑ 4 ∑ ∑ 4 ∑ Ó Œ bœæ 4 bœ bœ ‰ œ œ œ œ bass drum F ƒ 1 3 ŒŒœ 4 œ ŒŒ œ œ ŒŒ œ 3 Œ ˙ ã ∑ ∑ 4 poco ∑ 4 4 f piccolo snare f ƒ Perc. 2 3 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 ˘œ ã ∑ ∑ 4 ŒŒ ŒŒ 4 > > ‰ > ‰ > > > > ‰ > ‰ > 4 ŒŒ æ æ J æ F chimesf 1 3 4 3 œ œj ã ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ & 4 œ. ƒ √ – – 3 4 3 & Yæ ∑ 4 ∑ ∑ 4 ∑ ∑ 4 ∑ Hp. ƒ Bn Bf 3 4 3 ? Ó ∑ 4 Œ œ Œ Œ œ Œ 4 ∑ ∑ 4 ∑ b˙ œ œ div. a 3 da leggii unis. f . ˘ ˘ bœ bœ. œ œ nœ #œ œ bœ 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 Vln. I J 3 4 J J 3 J & Ó Œ‰ 4 poco Œ Œ 4 ‰‰ Œ ‰‰ Œ 4 ƒ f ƒ div. div. a 3 da leggii unis. > ˘ ˘j Vln. II > ˘ ˘ œ œ œ bœ bœ. œ œ nœ Œ‰ #œ œ bœ œ œ œ œ œ 3 œ œ Œœœ œ œ Œœ#œ 4 œ œ ‰‰œ Œœœ œ œ ‰‰œ Œ œ œœ 3 b œ. œ œ œ & j œ œ #œ 4 #œ œ œ œ #œ œ œ # œ. 4 œ #œ œ J œ 4 J œ #œ pocofl fl . . fl fl . J . . f ƒ f > fl fl ƒ Vla. ≤ œ œ bœ œ bœ œ bœ ˘ ˘ . ˘ ˘ . > ˘ ˘ . . >œ ˘ ˘œ bœ. œœnœ B #œ œ 3 Nœ œ Œ œ #œ. œ œ Œ œ œ. 4 #œ œ ‰‰œ Œ œ bœ œ ‰‰ Œ œ bœ 3 J œ œ 4 poco 4 J J 4 œ. #œ ƒ f ƒ f div. > ˘ ˘ . . unis. œ Nœ bœ œ œ bœ œ ˘ ˘ . . ˘ ˘ . j >œ ˘œ ˘œ œ bœ Vc. œ #œ 3 œ œ œ #œ œ œ œ œ. 4 œ œ œ œ bœ bœ 3 bœ . . . . ? #œ œ #œ 4 Œ Œ 4 œ œ ‰‰œ Œ œ œ ‰‰œ Œ 4 bœ œ œ œ œ œ œ poco J . . J 3 . . ƒ f pizz. > fl fl ƒ œ #œ D.B. #œ œ œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~j ~~~~~~~~~~~~~ ? #œ J 3 4 j ()œ ()b œ 3 ...... œ ‰Œ ∑ Œ Œ Œ Œ ‰ arco . ‰ œ ˙. bœ œ œ œ œ œ œ œ 4 œ œ 4 œ ˙ 4 3 . . 266 267 268ƒ 269 270 271 ƒ 272 [138] bœ bœ œ bœ bœ œ œ œ bœ . Picc. bœ bœ œ œ ∑ 4 ∑ J ‰Œ 3 œ. œœbœ ˙ Œ ∑ 4 ∑ & 4 66 4 J 4 ...... œ. ˘ ˘ ƒ f 1 bœ œ œ œ œ œ œ œ œ bœ bœ bœ Nœ. œ œ bœ ˙ 4 J J œ 3 J 4 & 3 4 ‰‰ Ó Ó Œ 4 Œ ∑ 4 ∑ Fl. bœ f œ bœ bœ œ bœ œ œ 2 ...... ˘ ˘ bœ bœ œ œ. œœœ ˙ bœ œ œ œ œ œ œ . 4 œ ‰‰œ Ó Ó bœ 3 Œ ∑ 4 ∑ & 3 Nœ 4 J J 664 J 4 ƒ f . ˘ ˘ 1 œ 4 #œ œ œ #œ œ N˙. 3 4 & ŒŒ‰J 4 J ‰‰J J J Œ 4 ∑ œœ. œœ œ œ. ‰Œ 4 ∑ Ob. ƒ f 2 ˘ ˘ ŒŒ‰œ. 4 œ ‰‰œ œ. œ b˙. Œ 3 ∑ ∑ ∑ 4 ∑ & J 4 J J J 4 4 ƒ E. Hn. & ∑ 4 ∑ ∑ 43 ∑ ∑ ∑ 4 ∑
1 œœ. œœ & ∑ 4 ∑ ∑ 43 ∑ œ œ‰Œ. 4 ∑ B Cl. b 3 f 2 4 j ‰‰ jÓ ∑ 3 ∑ ‰Œ 4 ∑ & œ 4 bœ œ 4 œœ. œœ œ œ. 4 bœ. œ. œ. œ. œ. œ. œ. . 3 fl fl f B. Cl. & 4 j ‰‰ jÓ ∑ 43 ∑ ∑ ∑ 4 ∑ bœ. œ. œ. œ. œ. œ. œ. bœ œ œ . fl fl 3 3 . ˘ ˘ 1 . œ. œ. œ. . œ. . œ œ œ . . . . . ? bœ œ œ 4 J ‰‰JÓ #œ œ #œ nœ œ. nœ œ. #œ. 3 . bœ. ‰Œ 4 ∑ 3 4 4 œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. 4 Bsn. f 3 2 j j ? bœ. œ. œ. œ. œ. œ. œ 4 œ ‰‰œ Ó bœ œ 3 œ ‰Œ 4 ∑ 3 . Nœ 4 . . œ bœ œ bœ œ bœ 4 4 . fl fl ...... œ. œ. œ. œ. œ. œ. œ. bœ. œ œ. œ. œ. œ œ. f . C. Bn. ? 4 3 œ 4 bœ bœ 4 j ‰‰ jÓ ∑ 4 ∑ œ œ. ‰Œ 4 ∑ b˙ œ. œ. œ. œ. ƒ œ œ ˘fl fl j j ˘j 1 bœ bœ œ 2 bœ. œœ 4 Ó 3 4 & b œ. bœ œ bœ 4 Nœ ‰‰œ ∑ 4 ∑ ∑ ∑ 4 ∑ Hn. J J J ˘fl ˘fl 3 j j j 4 bœ bœ œ & œ. œ bœ 4 N œ ‰‰œ Ó ∑ 43 ∑ ∑ ∑ 4 ∑ bœ. œœ J J solo J fl fl œ 1 #œœ œ œ #œ #œ nœ #œ œ œ #˙. & Œ‰J4 Œ 43 ∑ ∑ ∑ 4 ∑ ƒ Tpt. 2 j 4 ˘ ˘ 3 4 & bœ. œœnœ 4 œ ‰‰œ Ó ∑ 4 ∑ ∑ ∑ 4 œ œ J J pocoœ œ f 3 & ∑ 4 ∑ ∑ 43 ∑ ∑ ∑ 4 ∑ solo bœ œ bœ bœ œ bœ œ œ œ œ ˙. bœ ˙ 1 bœ œ. œ œ . ? Œ‰ 4 Œ 3 ∑ ∑ J 4 Œ J 4 4 4 poco Tbn. ƒ F f 2 j j œ. œœœ ? bœœ . œ. œ 4 œ ‰‰œ Ó ∑ 3 ∑ ∑ J 4 ˙. Œ . Nœ. 4 4 4 poco fl fl F f B. Tbn. ? 4 3 œ. œœbœ 4 œ bœ bœ 4 j ‰‰ jÓ ∑ 4 ∑ ∑ J 4 bœ œ œ bœ œ œ œ œ œ poco ƒ . . . . fl fl F f Tuba ? 4 3 4 bœ bœ 4 j ‰‰ jÓ ∑ 4 ∑ ∑ ∑ 4 ∑ b˙ œ œ ƒ 4 fl fl 3 4 A wC D F B Timp. 4 4 w 4 ? 4 3 []ww 4 bœ bœ ŒŒ 4 Ó Œ‰bœœ b˙. Œ 4 w ∑ ∑ ∑ 4 ∑ æ sus. cymbal brush swoosh ^ 1 j Éj Œ ˙ 4 œ ‰Œ œ. ‰ ˙. Œ 3 4 ‰Œ Ó ã 4 > 4 ∑ ∑ ∑ 4 rim shot F piccolo snare Perc. 2 4 Ó >x ‰ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ œ œ œ ‰ œ œ ã ∑ 4 4 3 3 4 anvil J æ æ æ æ f F P ^ ^ 3 4 xj xj 3 4 & œ ˙ ã 4 ‰‰ Ó ∑ 4 ∑ ∑ ∑ 4 ∑ f ˙ bœ 4 b œ œ bœ œ œ 3 4 & ∑ 4 ∑ bœ bœ œ Œ 4 Œ ∑ ∑ 4 ∑ Hp. œ œ EçnN bœ ƒ ? ∑ 4 ∑ Ó 43 ∑ ∑ ∑ 4 ∑ b˙ unis. div. a 3 da leggii ≥. ≥. - - bœ. œ œ nœ #œ œ œ b˙. j j b œ. œ œ œ œ œ b ˙. ‰ bœ œ. œ œ bbœ ˙ Vln. I J 4 J J J 3 œ-. œ- œ œ ˙ 4 & 4 ‰‰ Œ‰ Œ 4 J Œ ∑ 4 ∑ - - unis. div. a 3 da leggii f . ≥œ. ≥œ. . Vln. II bœ. œ œ nœ #œ œ œ b˙. b œ œ œ œ 4 œ ‰‰œ Œ‰J b ˙ Œ 43 ∑ œ. œœœ bœ œ. ‰Œ 4 ∑ & J J J œ. œ. œ. œb œ œ. f unis. ≥. ≥. div. Vla. bœ. œœnœ œ œ œ b˙. B J 4 J ‰‰J Œ‰J Œ 3 ∑ ‰Œ 4 Ó Œ 4 4 œ. œœœ bœ œ. 4 œ . . œ. F 3 f 3 ≥ ≥ Vc. j j . œ. . nœ. . ? bœ. œ. œ. œ. œ. œ. œ 4 œ ‰‰œ Ó #œ #œ œ. nœ œ. #œ. 3 œ œ œ œ œœœ. bœ. œ œœœœ œ œ œ œ œ bœ 4 œ œ œ 3 . Nœ 4 . . 4 ...... 4 bœ . œ. œ. œ f F ≥ bœ. . . . D.B. ≥ j œ œ bœ œ. bœ. œ. bœ. ≤...... ? bœ 4 ‰‰œ Ó 3 œ œœœ œ œ œ bœ. œ œ œ œ œ bœ 4 ŒÓ bœ 4 j . 4 3 œ œ œ . œ œ œ 4 bœ bœ. œ. œ. œ. œ . . . . . 273 . 274 275 f 276 277 278 F 279 [139] ¯ ¯ Picc. œœœ œ œ œ œ œ œ œ œ¯ ˘œ ˘œ œ¯ œ¯ ¯ ˘ ˘ & ∑ ∑ ∑ Ó ‰ J Ó ∑ Ó Œ ≈ 43 œ œ œ 4 F F ¯ ¯ ¯ > . ¯ #œ œ œ œ #œ œ œ œ œ œ œ. œ œ¯ œ¯ ¯ 1 J J J J œ & ∑ ∑ ∑ Ó ‰ Ó ∑ ∑ ‰ ‰ ‰ ≈. 43 ‰ J ‰J 4 Fl. F ¯ œ œ¯ œ¯ > œ. . œ¯ ¯ ¯ 2 œ œ bœ bœ œ œ œ œ œ œ¯ & ∑ ∑ ∑ Ó ‰ J Ó ∑ ∑ ‰ J ‰ J ‰ J ≈. 43 ‰ J ‰J 4 F ¯ #œ œ¯ œ¯ > œ. . œ¯ ¯ ¯ 1 œœœ œ œ J J #œ œ 3 #œ œ œ¯ 4 & ∑ ∑ ∑ Ó ‰ J Ó ∑ ∑ ‰ ‰ ‰ J ≈. 4 ‰ J ‰ J 4 Ob. F P ¯ #œ œ¯ œ¯ > œ. . œ¯ ¯ ¯ 2 j J #œ œ #œ œ œ¯ & ∑ ∑ ∑ Ó ‰ œœbœ bœ œ Ó ∑ ∑ ‰ J ‰ ‰ J ≈. 43 ‰ J ‰ J 4 F P œ¯ œ¯ ¯ ˘ ˘ ¯ ¯ E. Hn. j œ #œ œ 3 œ #œ œ¯ ˘ ˘ 4 & ∑ ∑ ∑ Ó ‰#œœ œ œ #œ Ó ∑ ∑ 4 œ œ 4 F F ¯ ¯ 1 œ œ ¯ > . . ¯ ¯ ¯ #œœ œ œ #œ J J œ #œ œ œ 3 œ #œ œ œ¯ 4 & ∑ ∑ ∑ Ó ‰ J Ó ∑ ∑ ‰ ‰ ‰J ≈. 4 ‰ J ‰ J 4 B Cl. b F ¯ ¯ > 2 œ œ ¯ . . œ¯ ¯ ¯ j J J œ #œ œ œ 3 #œ œ œ¯ 4 & ∑ ∑ ∑ Ó ‰#œœ œ œ #œ Ó ∑ ∑ ‰ ‰ ‰J ≈. 4 ‰ J ‰ J 4 F B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 4
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 4 Bsn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 4
C. Bn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 4
1. 1 - - - - j 2 & ∑ ˙ ˙ ˙ ˙ Ó Œ‰#œ œ œ œ ∑ ∑ ∑ 43 ∑ 4 ˙ œ œ œ œ Hn. f J- - - - 3 f 4 j 3 4 & ∑ ∑ ∑ ∑ Œ‰3. ∑ ∑ ∑ 4 ∑ 4 œ- œ- œ- œ- f 1 œ œ ˙ ˙ ˙ & ∑ Œ œ Ó ∑ ∑ ∑ ∑ 43 ∑ 4 poco f f Tpt. 2 & œ bœ œ œ ˙ œ œ œ œ #˙ ˙ Ó ∑ ∑ ∑ ∑ 43 ∑ 4 f 3 ∑ Ó œ œ œ œ ˙ ˙ Ó ∑ ∑ ∑ ∑ 3 ∑ 4 & poco 4 4 f f - - 1 ˙ #˙ ˙ bœ œ œ ˙ w ? ∑ Ó ˙ Ó Ó Œ‰J ∑ 3 ∑ 4 poco 4 4 Tbn. f f F P - - 2 ? ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ ˙ w Ó Ó Ó Œ‰J ∑ 43 ∑ 4 f F P B. Tbn. - - ? œ œ ˙ œ. œ Ó Ó œ œ œ w 3 4 œ J œ #œ ˙ ˙ ˙ Œ‰J ˙ ∑ 4 ∑ 4 f F P Tuba ? ∑ ∑ j 3 4 ∑ ∑ Ó Œ‰œ ˙ w ∑ 4 ∑ 4 œ- œ- F P 3 4 33 Timp. ? œ œ œ œœœ œ j 43 4 Œ 3 ˙ 3 œœœ œ ˙ ∑ ∑ ∑ ∑ 3 œ œ œ œ œ œ œ œ œœœ wæ 4 4 poco æ . f P bass drum f triangle 1 ¡ ã Ó Œ œ ∑ ∑ ∑ ∑ ∑ Œ Ó ∑ 43 ∑ 4 P F woodblock with snare sticks Perc. 2 ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œjœ œjœ œjœ œ œ œ œ œ œ œ ã Œ ‰ ‰ Œ ‰ ‰ Ó ‰ 43 ∑ 4 æ 3 æ æ F tam-tam F π 3 Ó Œ œ 3 4 ã poco ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 f j ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ ‰ j‰ j ‰ j 3 ‰j‰ 4 & kœ kœ œ k œ 4 œ kœ j 4 Hp. œ kœ œ kœ œ kœ kœ OOOPOOOO P k ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰kœ ‰ œ ‰kœ ‰ k œ 3 kœ kœ ‰kœ ‰kœ 4 J J J J 4 J J 4
Vln. solo œ œ ˙ ˙ ˙ & Œ bœ œ œ œ œ Ó ∑ ∑ ∑ ∑ 43 ∑ 4 unis. f O Vln. I œ œ ˙ ˙ ˙ œ œO O O O O O & ∑ Œ œ Ó ∑ ∑ ∑ œ œ 43 œ œ œ œO 4 unis. F div. f p Vln. II O 3 4 & Ó ˙ ˙ œ œ ˙œ œ #˙ ˙ Ó ∑ ∑ ∑ œ œO bœO O 4 bœO O O O 4 ˙ ˙ pizz. œ œ œ œ F f œ p Vla. œ œ J œ œ B œ bœ ˙ ˙ ˙ #˙ w w ∑ Œ‰ œ Ó œ Œ 43 Ó œ 4 æ æ æ œ œ œ div. f F unis. pizz. P Vc. æ æ æ ? œ œ ˙ œ˙. œ ˙ ˙ ˙ w w œ œ œ 3 4 œ J œ #œ ˙ ˙ w w Œ ˙ w œ Œ œ 4 ‰ jœ œ Œ 4 æ æ œ- œ f æ F P D.B. ? ∑ ∑ Ó ∑ 3 ∑ 4 ˙æ wæ wæ ˙ w 4 4 ˙- 280 281 282F 283f 284 F 285 286 P 287 288 [140] allarg. Risoluto IV. An infiniteq »88 world - - ¯ #œ œ œ œ ˙ œ bœ- bœ ˙-. Picc. 4 #œ J 3 & 4 ŒŒ ‰Œ Ó 4 ∑ Ó 3 P ƒ- - ¯ F œ bœ bœ œ ˙ œ - bœ ˙-. œ œ 1 4 J 3 & 4 ŒŒ ‰Œ Ó 4 ∑ Ó 3 Fl. p ƒ- œ- œ¯ F - - œ œ œ ˙ œ bœ bœ ˙. 2 4 J 3 & 4 ŒŒ ‰Œ Ó 4 ∑ Ó 3 p ƒ - ¯ F #œ- œ œ - 1 4 œ J 3 œ ˙ œ œ- bœ ˙. & 4 ŒŒ ‰Œ Ó 4 ∑ Ó 3 Ob. p f P F œ- bœ- bœ¯ 2 4 œ J & 4 ŒŒ ‰Œ Ó 43 ∑ ∑ ∑ ∑ p f E. Hn. 4 œ - & 4 ŒÓ Œœœ Ó 43 ∑ ∑ ∑ ∑ P f œ ˙ œ bœ- œ N˙-. 1 4 #œ #œ- œ 3 & 4 ŒÓ Œ Ó 4 ∑ Ó 3 B Cl. b p f P F 2 - - 4 #œ - œ 3 œ ˙ œ bœ œ N˙. & 4 ŒÓ ŒœÓ 4 ∑ Ó 3 p f P F B. Cl. 4 & 4 ∑ ∑ 43 ∑ ∑ ∑ ∑
3 #œ- œ 3 1 ? 4 œ. œ œ. 3 4 J ‰ Œ Ó 4 Œœœ bœ bœ bœ Œ ∑ Bsn. > > > - - œ- ˙. ˙ f 3 3 P 2 - bœ ? 4 ∑ Œ œ Ó 3 Œœ Œ ∑ 4 4 œ bœ bœ bœ > > > - - œ- ˙. ˙ f P C. Bn. ? 4 3 Œ 4 ∑ ∑ 4 #œ ∑ œ œ #œ ˙ ˙ 3 a 2 . f 3 33 P 1 j - œ- 2 4 3 j œ œ œ œ œ & 4 . œ œ. ‰ ∑ 4 Œ a 2 Œ ‰ œ bœ œ œ #œ œœ# œ œ œ J œ Hn. > > - bœ bœ N˙. ˙ > >3 > f ƒ > - - F a 2 a 2 > P 3 œ >œ b>œ - - j - - 4 4 j ? 3 bœ bœ - œ œ œ ‰ ∑ Œ 3 œ ˙. ˙ Œ & ‰ œ bœ œ œ œ & 4 . œ œ. 4 3 œ œ œ œ > > œ 3 ƒ 3 3 3 P > f 3 F 1 4 #œ. œ œ. ‰ Ó Œ‰#œ 3 œ œ œ j ˙ œ œ œ œ œ ∑ & 4 J J 4 - œ œ < œ œ- #œ- . œ œ œ œ < < P f f 3 33 33 Tpt. 2 j 4 œ. bœ œ‰. Ó Œ‰œ 3 j ∑ & 4 J 4 œ- œ bœ œ œ œ bœ œ- ˙. œ œ œ œ œ œ œ œ œ f f < < < - 333 33P 3 4 j 3 & 4 œ œ ‰ Ó Œ‰j 4 j ∑ œ. . œ œ œ bœ œ œ œ bœ- N˙. œ œ œ œ œ f f - < < < bœ- œ œ œ œ P - œ- - - #œ- #œ- - - 1 ? 4 #œ œ œ 3 #œ œ œ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ 4 ∑ Ó 3 4 ŒŒ 3 33 33 33 Tbn. f P - - - - #œ- - - 2 ? 4 œ bœ œ œ 3 œ œ œ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ 4 ∑ Ó 3 4 ŒŒ 3 33 33 33 f P B. Tbn. - - - ? 4 ∑ Ó œ- œ œ- œ- 3 ŒŒ#œ #œ œ- œ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ 4 3 4 3 33 33 33 3 f 3 P Tuba ? 4 œ. œ œ. ‰ Ó 3 Œœ Œ ∑ 4 J œ œ 4 œ bœ bœ bœ - œ- - œ- > > > - - œ- ˙. ˙ 4 f 3 P Timp. ? 4 4 4 ∑ ∑ 43 ∑ ∑ ∑ ∑ bass drum bass drum
1 4 ˙ Ó 3 ˙ ˙ ã 4 > ∑ 4 ∑ . . ∑ piccolof snare F P Perc. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 4 43 ‰ ‰ ŒŒ poco 3333 æ 33 æ 3 æ 3 crashf cymbals Tambourine π 3 4 £ 3 xæ xj xæ xj xæ xj ã 4 Œ > Ó ∑ 4 ∑ Œ . ‰ Œ . ‰ Œ . ‰ f F p
4 ŒÓ ∑ 3 ∑ ∑ ∑ ∑ & 4 œ 4 Hp. g œ g ? g 4 g œ ŒÓ ∑ 43 ∑ ∑ ∑ ∑
allarg. div. a 3 da leggii Risoluto 3 q »88 œ œ #œ Vln. I œ œ bœ bœ œ œ œ œ œ œ œ 4 O œ œ œ 3 œ œ bœ œ . œAœ bœ & 4 ˙ Œ ŒŒ œ 4 R ‰ œ œ œ ˙. ˙. œ ŒŒ f 6 π 6 p œ bœ œ œ #œ Vln. II œ œ œ œ œ œ œ œ œ #œ & 4 Œ œbœ œ Œ œ œ #œ œ ≈ ‰ 43 Œ #œ œ œ œ œ œ ŒŒ O 6 œ œ œ R œ œ ˙. ˙. œ œ div. œ œ π arco f unis. p bœ œ bœ #œ 333 333 333 Vla. 4 œ œ œ œ œ œ œ 3 B 4 Œ bœ œ œ R ‰. ŒÓ 4 ∑ 6 œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ- œ. œ. œ. œ œ. œ. œ. œ- œ- œ- arco f 333 333 333 Vc. ? 4 3 4 w ˙. œ 4 œ #œ #œ œ œ.. œ.. œ.. œ œ. œ.. œ.. œ- œ- œ- œ œ.. œ.. œ.. œ œ. œ.. œ.. œ- œ- œ- œ- œ.. œ.. œ.. œ œ. œ.. œ.. œ- œ- œ- f œ D.B. ? œ #œ ...... - - - ...... - - - - ...... - - - 4 43 œ œ #œ œ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ w ˙. 3 3 3 3 3 3 3 3 3 f 289 290 291 292 293 294 [141] œ bœ œ #œ œ œ œ œ œ Picc. 4 œ ˙. œ œ œ 3 #œ œ œ œ & ∑ ∑ ŒŒœ œ 4 ˙. 6 4 œ œ F ƒ . . œ. . 1 œ œ œ œ . & ŒŒ≈ œ œ ˙ œ ŒŒ4 ∑ ∑ 43 ∑ Fl. F p 2 . . . ŒŒ≈ œ œ œ bœ œ ŒŒ4 ∑ ∑ 3 ∑ & . œ œ. ˙ œ 4 4 F p 1 4 œ ˙. 3 & ∑ ∑ ŒŒœ œ 4 ˙. Œ 4 Œ #œœ œ œ Ob. 3 F f 3 2 & ∑ ∑ ∑ 4 ∑ ∑ 43 Œ œœœ œ f 3 E. Hn. & ∑ ∑ ∑ 4 ∑ ∑ 43 Œ œœœ œ f 1 ∑ ∑ ∑ 4 ‰ j œ œ ˙ 3 Œ #œœ #œ œ & 4 œ #œ ˙ œ 4 3 B Cl. b F f 33 2 ∑ ∑ ∑ 4 ‰ j œ œ ˙ 3 Œ & 4 œ #œ ˙ œ 4 #œ œ œ œ œ œ œ F f 33 B. Cl. & ∑ ∑ ∑ 4 Œ Œ œ.. œ ˙ 43 œ.. œ ˙ > > #œ œ œ œ œœœ œ P> > F f œ œ œ œ >œ.. œ >˙ 1 ? œ œ œ œ ˙ 4 >œ.. œ>˙ 3 œ œ œ œ œ œ œ 3 Œ ∑ 4 Œ Œ 4 Œ 33 Bsn. P p P 33f 2 >.. > >œ.. b>œ ? 4 œ œ ˙ Œ œ 3 ∑ ∑ ∑ 4 Œ bœ 4 œ œ œ œ œœœ œ P F f C. Bn. ? 4 3 ∑ ∑ ∑ 4 ∑ ∑ 4 #œ œ œ f a 2 1 ^ ^ 2 ∑ ∑ 4 ∑ ∑ 3 Œ œ & ˙. 4 4 œ Hn. poco> f a 2ƒ 3 ^ ^ 4 4 3 Œ & ˙. ∑ ∑ 4 ∑ ∑ 4 œ œ ˙poco. > 3f ƒ 1 > > > œ œ œ œ Œ ŒŒ 4 ˙ œ ˙. Œ 3 Œ #œ.. œ œ & œ œ œ œ ˙ œ œ 4 . 4 P 3 p F f Tpt. 2 4 3 & œ œ œ œ Œ ∑ 4 ∑ ∑ 4 Œ œ.. œ œ œ œ œ œ ˙ > > > P p f 33 3 ∑ ∑ ∑ 4 ∑ ∑ 3 Œ & 4 4 #œ œ œ œ œ œ œ >œ.. œ >˙ f 1 ? ˙ 4 >œ.. œ>˙ 3 œ œ œ œ œ œ œ Œ ∑ ∑ 4 Œ Œ 4 Œ 33 Tbn. p P f 2 > > > > ? ˙ Œ ∑ ∑ 4 Œ œ.. œ ˙ Œ œ.. œ ˙ 3 œ œ œ œ œœœ œ 4 4 3 3
p P f 33 B. Tbn. > > >œ.. b>œ ? 4 Œ œ.. œ ˙ Œ œ 3 ˙ Œ ∑ ∑ 4 bœ 4 œ œ œ œ œœœ œ p P f Tuba ? 4 3 ∑ ∑ ∑ 4 ∑ ∑ 4 #œ œ œ f 4 3 wood mallets Timp. 4 4 ? 4 3 œ ∑ ∑ ∑ 4 ‰ œœœ ‰ œ ‰ œ œ.. œ ˙ 4 œ œ œ œæ J J J æ > œ > triangle P P f crash cymbals 1 j xæ ¡ x x ¡ ¡ 4 3 £ ã Œ Œ ‰ ŒŒ4 ∑ ∑ 4 Œ > Œ p π suspended cymbal f Perc. 2 4 œ 3 œ Ñ ã ∑ ∑ ∑ 4 ∑ Ó Œ æ 4 æ Œ F f 3 4 3 ã ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ 3
kœ œ œ 4 3 & ∑ Œ œ kœ kœ ˙. 4 ∑ ∑ 4 ∑ Hp. poco œ g˙. f œ g˙. k œ kœ œ g ? ∑ Œ œ œ kœ g˙. 4 ∑ ∑ 3 ∑ 3 g˙ 4 4 g˙.
div. œ #œ œ ˙ œ Vln. I 4 Œ œ #œ œ 3 ˙ & ∑ ∑ ∑ 4 ∑ Ó œ œ œ œ bœ 4 6 poco 6 f f ƒ Vln. II ∑ ∑ ∑ 4 ∑ Œ 3 & 4 œ 4 ˙ œ poco œ œ bœ œ œ œ- œ- #œ œ 333 333 333 33 3 33f f 3 ƒ #œ Vla. 4 3 œ œ œ œ B 4 4 ‰ œ #œ œ œ œ œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ œ œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ- œ-
33P 3 333 333 33 3 3 3 3 f Vc. ? 4 B 3 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ 4 œ œ œ œ œ œ ...... - œ- œ- ...... - œ- œ- ...... - œ- œ- ...... - œ- œ- ...... - - - - - œ #œ P f D.B...... - - - ...... - - - ...... - - - 4 ...... - - - ...... - - - - - 3 ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 œ 295 P 296 297 298 299 f 300 [142] #œ ˙ Picc. #œ œ œ #œ #œ œ œ œ ∑ ŒŒ#œ œ ˙ & #œ #œ œ œ œ f #œ œ #œ œ œ œ #œ #œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ 1 #œ #œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ #œ œ #œ œ œ œ œ œ & œ #œ œ œ œ #œ œ #œ #œ #œ Fl. ƒ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ 2 œ #œ œ œ #œ œ œ œ #œ œ œ #œ œ œ œ #œ #œ œ #œ œ œ œ & ∑ œ œ #œ œ œ #œ #œ œ œ œ ƒ 1 #œœ #œ œ #œœ #œ œ Œ #œœ œ œ Œ 3 Œ 3 Œ #œœ œ œ Œ #œœ œ œ & 3 3 3 Ob. 3 3 3 2 œœœ œ œœœ œ & Œ œœœ œ Œ 3 Œ 3 Œ œœœ œ Œ œœœ œ 3 3 3 E. Hn. œœ#œ œ œœ#œ œ & Œ œœœ œ Œ 3 Œ 3 Œ œœœ œ Œ œœœ œ
#œ #œ 1 #œœ œ #œœ œ #œœ œ #œœ œ #œœ œ Œ #œ Œ 3 Œ 3 Œ #œ Œ #œ & 3 3 3 B Cl. b 33 3 3 33 33 2 Œ Œ Œ Œ Œ & #œ œ œ œ œ œ œ #œœ #œ œ #œœ #œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ 3 3 33 3333 B. Cl. & #œ œ œ œ œœœ œ ˙ œ #œ œ ˙ œ #œ œ #œ œ œ œ œœœ œ #œ œ œ œ œœœ œ œ œ œ œ œ œ 1 ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ 33 Œ 3 Œ 3 Œ 33 Œ 33 Bsn. 33 3333 2 ? ˙ œ œ œ ˙ œ œ œ œ œ œ œ œœœ œ 3 3 œ œ œ œ œœœ œ œ œ œ œ œœœ œ
C. Bn. ? #œ- œ œ œ œ #œ #œ œ œ - - #œ- #œ- œ #œ- œ œ - #œ #œ œ œ gliss. - - - - #œ- gliss. #œ 1 ^ ^ ^ ^ ^ ^ ^ 2 œ #˙ . #œ œ #˙ œ & œ œ J œ œ ˙ Œ œ œ Hn. gliss. gliss. 3 ^ ^ ^ ^ ^ ^ ^ 4 œ #˙ œ œ. #œ œ ˙ Œ œ œ #˙ œ & J œ œ
1 > > > > > > - - - ä ä ä #>œ.. >œ >œ #œ.. œ œ #œ.. œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ & Œ Œ Œ Œ 3 3 Œ 3 3
Tpt. 2 >.. > > >.. > > > - - - > ä ä ä & Œ œ.. œ œ Œ œ œ œ Œ œ œ œ Œ #œ œ œ œ œ œ œ Œ #œ œ œ œ œ œ œ > > > 3 3 3 3 33 33 33 3 3 3 & Œ Œ #œœ œ Œ #œœ œ Œ œ œ œ œ œ- œ œ- Œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ > - > â â â œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ 1 ? œ œ œ œ œ œ œ œ œ œ œ Œ 33 Œ 3 Œ 3 3333 Tbn. 2 ? ˙ œ #œ œ ˙ œ #œ œ œ œ œ œ œœœ œ 3 3 œ œ œ œ œœœ œ œ œ œ œ œœœ œ 3 3 3 3 3 3
33 3333 B. Tbn. ? ˙ œ œ œ ˙ œ œ œ œ œ œ œ œœœ œ 3 3 œ œ œ œ œœœ œ œ œ œ œ œœœ œ
Tuba ? #œ- œ œ œ œ #œ #œ œ œ - - #œ- #œ- œ #œ- œ œ - #œ #œ œ œ 3 - 3 - - - #œ #œ 3 3 - 3 Timp. ? œ > > > œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ ‰œœ œ œ œ œ œ œ œ œæ œ. œ œ œ œ œ > œ > > > œ > 3 > > > 3 > > œ > > œ > œ > œ > > > > f crash cymbals > 1 £ ã ∑ ∑ ∑ Œ > Œ ∑ suspended cymbal f Perc. 2 œ É ã ∑ ∑ ∑ æ Œ ∑ F f glockenspiel ˙ 3 #œ ã ∑ ∑ ∑ & ˙. ƒ √ 66 bœ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ & ∑ ∑ ŒŒ ‰ œ œ œ œ œ œ 666 Hp. œ bœ œ œ œ 6 F∫fS ƒ Fn ? ∑ ∑ ∑ ∑ ∑ œ √ #œ œ ˙ #œ ˙ Vln. solo & ∑ ∑ ŒŒ ˙ #œ #˙. ƒ #˙ #œ œ ˙ #œ ˙ Vln. I ˙ #œ #˙. #˙ ˙ œ ˙ & #œ œ œ #œ 3 div. 3 f 3 Vln. II œ- - œ- ˙ œ œ #œ œ œ œ œ.. œ œ œ œ & #œ #˙. #˙ œ œ œ œ œ œ.. œ œ œ œ œ œ œ.. œ œ #œ #œ œ. œ. œ. œ œ œ- œ- œ- . . . 3 #œ f #œ #œ Vla. œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ B ‰ œ #œ œ œ œ & ‰ #œ œ œ œ œ ‰ #œ œ œ œ B ‰ œ #œ œ œ œ ‰ œ #œ œ œ œ œ œ œ œ œ œ œ Vc. B #œ œ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ #œ œ œ ? œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ #œ - - div. D.B. #œ œ œ- - - - ? œ - #œ #œ œ- #œ œ- œ- #œ œ #œ- œ œ #œ œ #œ #œ - #œ œ œ #œ 301 302 303 304 305 [143] œ. œ œ œ œ #œ œ ˙ œ Picc. œ œ #œ #œ #˙ & J ∑ ∑ ŒŒ Œ ƒ f œ #œ œ œ ˙ #˙ œ œ œ. œ œ œ 1 J J & ∑ ∑ Œ‰ 3 Fl. f ƒ #œ œ œ œ œ ˙ œ ˙ œ 2 œ. œ œ J & J ∑ ∑ Œ‰ 3 f ƒ 1 . œ. œ ˙ ˙. ˙ #˙ œ œ & œ. œ ˙ œ œ ˙ œ Ob. ƒ 2 ˙ ˙ #œ œ & œ. œ ˙ œ. œ ˙ œ. œ ˙ ˙. œ ƒ E. Hn. . œ. œ ˙ . & œ. œ ˙ œ œ ˙ #˙ ∑ ∑
1 . & Nœ œ ˙ ∑ ∑ ∑ ∑ #œ #œ œ #œ œ œ B Cl. b f 2 ∑ ∑ ∑ ∑ #œ #œ œ #œ œ œ & N˙. f B. Cl. & ∑ ∑ ∑ ˙. ˙. ˙. f 1 . œ #˙. #˙. ? ˙ ∑ ∑ ŒŒ‰J Bsn. f 2 ? ∑ ∑ ŒŒ‰œ ˙. ˙. ˙. J f 3 3 C. Bn. ? ∑ ∑ ŒŒœ ˙ œ œ ˙ œ œ . œ œ N˙ f 1 œ^. œ ˙^ 2 & ∑ ∑ ∑ ∑ ∑ Hn. 3 œ^. œ ˙^ 4 & ∑ ∑ ∑ ∑ ∑
1 . œ #œ œ œ œ ∑ ∑ ŒŒ‰ œ ˙ #œ œ & J œ œ.. œ œ œ f Tpt. 2 ˙ & œ. œ œ ∑ ∑ ŒŒ‰ œ œ.. œ œ #œ œ J œ #œ œ f 333 333 3 j & œ. œ œ ∑ ∑ ŒŒ pocoœ. œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ f f 1 ? ˙. #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 333 33œ 3 Tbn. poco f f 2 ? ˙. ∑ ∑ Œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 33 33#œ poco J 3 3 f f 333 333 B. Tbn. ? ˙. ∑ 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 œ œ F f 3 3 Tuba ? ∑ œ œ N˙. ˙. œ ˙ ˙ œ œ ˙ œ felt mallets 333œ 333 G bAw C D Af F f Timp. >. > w ? œ œ œ [ ww] ∑ ∑ ŒŒ æ J w œæ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F f bass drum 1 ã ∑ ∑ ∑ ∑ Œ œ Œ ∑ f suspended cymbal Perc. 2 œ Ñ ã ∑ ∑ ∑ ∑ ∑ æ Œ crash cymbals f ˙ 3 . £ & ∑ ∑ ∑ ã Œ Œ & ∑ f √ 6 6 ( ) œ #˙ œ #œ#œ œ œ œ œ œ œ œ œ bœ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ bœbœ œ œ œ œ œ & 6 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒŒ Œ Hp. 6 œ #œ 666 6 bœ œ œ œ 666 œ œ FçsS Gs Es 6 Cf Bn Ff En ? ∑ ∑ ∑ ∑ ŒŒ Œ (√œ) . œ œ œ Vln. solo & J ∑ ∑ ∑ ∑ ∑ div. œ œ. œ œ œ œ œ ˙ #˙ œ Vln. I . œ œ œ œ #œ œ œ œ œ ! œ œ œ œ ! ! ! ! œ . . . & J œ! œ œ ! ! ! ! 3 œ‰Ó Ó poco ! ! 3 3 3 ƒ f f div. ƒ 3 œ Vln. II œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ ‰ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ. Ó. œ Ó. #œ. f œ œ œ œ œ œ œ Vla. œ œ œ œ œ œ #˙. œ B œ œ Nœ œ œ ŒŒ ∑ div. - - jeté 333 333 œ œ œ œ œ œ œ œ- œ œ Vc. œ Nœ œ œ ? œ œ œ œ œ œ œ 3 œ ˙. #œ œ. œ. œ. œ œ. œ. œ. œ- - œ- #œ œ. œ. œ. œ œ. œ. œ. œ- - œ- f jeté D.B...... - - - ...... - œ- - ? . ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ N˙. ˙. ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ N˙. ˙. ˙. ˙ œ œ 333 333 306 307 308 309 f 310 311 [144] 6 œ œ œ #œ œ œ œ œ œ Picc. #œ œ œ œ œ aœ #˙ œ œ œ œ œ œ œ œ ŒŒ œ œ œ œ#œ aœ ˙ #œ œ œ œ œ œ œ œ œ œ œ œ & #œ œ 6 66 6 œ œ #œ 6 . ƒ #˙ f #˙ œ nœ ˙ #œ #˙ œ 1 >œ & ŒŒ‰J Fl. ƒ ˙. ˙ œ œ ˙ #œ ˙ œ 2 >œ & ŒŒ‰J ƒ 1 #˙. #˙ œ nœ ˙ #˙ œ >œ & #œ ŒŒ‰J Ob. ƒ 2 ˙. ˙ œ œ ˙ #œ ˙ œ >œ & ŒŒ‰J ƒ E. Hn. > œ #œ œ #œ œ . ŒŒ‰œ & œ œ #˙ œ ˙ J f ƒ >œ 1 #˙ œ & œ #œ œ #œ œ #œ œ #˙ œ ŒŒ‰J B Cl. b ƒ 2 #˙ œ ŒŒ‰j & #œ #œ œ #œ #œ œ œ #˙ œ œ ƒ > 333 333 B. Cl. & ˙. ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. poco ƒ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #˙. #˙ œ 1 ? #œ 333 333 3 œ œ œ œ œ œ œ œ œ œ J 33œ Bsn. 3 3 poco ƒ f 333 2 ? #œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ nœ ˙. ˙ œ 333 33œ œ 3 #œ pocoœ œ œ œ œ œ œ œ œ œ œ 3 ƒ 3 f C. Bn. ? ˙ œ ˙ œ ˙. ˙ œ œ œ ˙ œ œ œ poco a 2 ƒ f 1 #œ 2 ∑ œ #˙ ∑ & œ #œ œ ˙ #œ Hn. poco#œ #œ a 2 f f ƒ 3 #œ 4 ∑ œ ˙ #˙ ∑ & œ #œ œ #œ poco#œ #œ 3 f f ƒ 1 #œ. œ œ œ #˙ œ nœ œ. œ #˙. r j & #œ œ œ œ #œ œ ‰. œ œ. œ #œ 3 œ 3 > > 3 F Tpt. 2 œ œ. #œ ˙ œ #œ. œ ˙. ‰. r j & œ #œ œ œ œ œ œ œ œ œ. œ œ #œ > > 333 333 F 3 & Œ ∑ ‰. r #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ > #œ F ƒ F > 1 ? œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ 3 33 333 33œ ‰. 3 R Tbn. ƒ F 2 ? #˙ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ 3 œ œ œ œ bœ œ 3 3 3 3 333 333 poco 333 333ƒ f B. Tbn. ? œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 ˙ œ ˙ œ œ pocoœ 3 ƒ 3 f Tuba ? ˙ ˙ œ œ œ . . ˙ œ œ œ ˙ ˙poco. f 333 333ƒ A - Bf Timp. ? œœœ œ œ œ œœœ œ œ œ Œ œ œ 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ crash cymbals F P 1 £ £ ã ∑ ∑ Œ Œ Œ Œ ∑ f suspended cymbalƒ bass drum Perc. 2 œæ Ñ Œ ˙ ã ∑ ∑ ∑ poco. glockenspiel 3 3 Fƒ f 3 33 3 œ œ œ ‰ # œ œ œ œ œ ‰ œ œ œ œ œ œ ˙ ˙ ∑ & 3 # # # œ œ . # . f √ #œ œ œ >œ œ œ œ œ #œ œ œ ‰ œ & #œ œ œ œ œ #œ œ œ œ ∑ ∑ œ Hp. ƒ œ œ œ J #œ œ œ #œ œ œ OOOPOOOO ƒ Af œ ? #œ œ œ œ œ œ œ J ‰ œ #œ ∑ ∑ Œ‰J œ > #˙. #˙ #œ œ #œ aœ nœ nœ œ ˙ #˙ œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ ˙ #œ œ ˙. Vln. I ≤ œ œ #œ #œ #˙ Œ œ œ œ 66 6 #œ æ & œ œ #œ #œ 6 poco f 6 unis. ƒ f œ œ œ œ œ œ >œ >˙ Vln. II #˙. #œ #œ œ #˙ œ #œ #œ nœ nœ #˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ #œ ‰. R æ & #œ #œ œ 6 6 œ #œ œ poco œ œ œ 6 6 #œ œ œ 6 ƒ f f 6 >œ >˙ Vla. Nœ ˙ #˙ œ B ∑ œ œ œ #œ ‰. R æ poco#œ #œ poco f f ƒ f Vc...... - #œ- - ...... - - - -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 nœ #œ œ. œ. œ. œ œ. œ. œ. œ œ œ #œ œ. œ. œ. œ œ. œ.. œ. œ œ œ Œ œ œ œ œ 333 333 333 333 poco! ! ! ! ƒ f - - - > . . . > . . . - - D.B. œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ- œ œ. œ. œ. œ œ. œ. œ. œ- œ œ- œ œ. œ. œ. œ œ. œ.. œ. œ- œ #œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 333 333 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 33 33 33 cresc. 3 3 poco 312 313 314 315 ƒ f 316 [145] Ÿ~~~~~()b œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ bœ œ œ œ œ œ b˙. ˙. Picc. œ œ œ œbœ œ œ œ bœ bœ œ œ œ œ œœ œœ œ œ J ‰Œ Œ ŒŒ‰œ œ œbœœœ œœ œ & œœ œ b>œ >œ. ƒ œ œ >œ >œ >œ ˙. > b>œ >œ. > > œ œ bœ œ œ > 1 œ œ œ ˙. œ >œ b>œ œ >œ >œ >œ >œ & ŒŒ ŒŒ ‰J Fl. bœ œ œ œ œ ƒ f > > œ œ œ œ œ œ > > 2 >œ bœ œ. >œ >œ ˙. bœ œ >œ >œ bœ œ. >œ >œ ˙. > >œ > > > R >œ bœ œ œ >œ œ & 66≈ J ŒŒ ‰J f 1 >œ >œ >œ. >œ >œ ˙. >œ >œ >œ >œ. >œ >œ ˙. > > >œ >œ > > > & ŒŒ ‰J ŒŒ ‰œ œ œ œ œ Ob. J f 2 > > > > > > > >œ >. > > j > > & œ œ œ. œ œ ˙. ŒŒ ‰œ œ œ œ œ ˙. ŒŒ ‰œ bœ œ bœ œ œ œ J > > > > > f E. Hn. > b>œ >œ. > > . > > >œ >œ. > > . j > >œ > > & œ œ œ ˙ ŒŒ ‰œ œ œ œ ˙ ŒŒ ‰œ bœ œ œ œ œ J > > > f > b>œ >œ. > > . > > >œ >œ. > > . > > 1 œ œ œ ˙ œ œ œ œ ˙ >œ >œ œ œ >œ >œ >œ & ŒŒ ‰J ŒŒ ‰J B Cl. b f 2 j > > > > bœ . ŒŒ ‰ œ œ. ŒŒ ‰j & œ œ œ œ ˙. œ œ œ œ ˙. œ œ œ œ œ œ œ > > > > > > > > > > > > > > 3 f B. Cl. j & ˙. œ œ œ ˙. ˙. œ œ œ œ b˙. b˙. poco poco ƒ 3 3 f 3 3 ƒ 3 3 f333 333 1 ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 33 bœ 3 nœ 33bœ 33bœ bœ 3 Aœ bœbœ bœbœ Bsn. 3 poco poco 333ƒ 33 f 333 333ƒ 33 f333 333 2 ? œ œ œ œ œ œ œ œ œ œœ œ œ œ œbœ œ œ œ pocoœ œ œ œ œ œ œ œ œ œ bœ œ œœœœ œœœœ œ bœ œ œbœ œ œ œ pocobœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ ƒ f ƒ f C. Bn. ? ˙. ˙. . . . bpoco˙ b˙ b˙ bpoco˙. b˙. ƒ f ƒ f 1 œ œ bœ ˙ ˙ 2 j œ œ b œ j œ œ #œ & ŒŒ‰œ œ œ œ œ œ ˙ Œ ŒŒ‰œ œ œ œ œ œ œ b˙ Œ ∑ œ œ œ œ Hn. J J ƒ ƒ 3 j œ œ bœ ˙ œ œ #œ b˙ 4 & ŒŒ‰œ œ œ œ œ Œ ŒŒ‰j œ œ œ œ œ œ Œ ∑ œ œ œ œ J J ƒ ƒ > 1 r j r >œ b>œ œ >œ >œ >œ >œ & œ bœ œ. œ œ ∑ ‰. œ œ. œ œ bœ œ. œ œ ∑ ‰. bœ œ. > > > > > > > > > > > > > J f F f F f Tpt. 2 ∑ ‰. r j ∑ ‰. r j & œ œ œ. œ œ œ œ. œ œ œ œ. œ œ bœ œ. bœ œ œ œ œ > > > > > > > > > > > > > œ > > > > œ > f F f F > f > 3 & ∑ ‰. r ∑ ‰. r ‰ j ˙. œ ˙ ˙. œ ˙ ˙ bœ > > f > f F f F > 1 ˙. bœ >˙ ˙. bœœ > bœ œ œ bœ bœ œ œ œ ? ∑ ‰. R ∑ ‰. R ‰ J Tbn. f F f F f 2 ? œ. œ œ œ œ œ œ. œœ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œœ œ œ œ œ. œœ œ œ œ œ œ œ œ. œ œ bœbœ œ œ. œ œ bœbœ œ œ >œ 3 3 bœ œ œ Œ 3 3 3 bœ œ œ Œ 3 3 3 3 3 3 3 3 3 3 3 3 poco 3 poco ƒ 3 3 f ƒ 3 3 f B. Tbn. > ? œ. œ œ œ œ œ œ. œœ œ œ œ œ Œ œ. œ œ œ œ œ œ. œœ œ œ œ œ. œœ œ œ œ œ Œ bœ. œ œ œ œ œ bœ. œ œ œ œ œ œ œ 3 3 3 3 bœbœ œ œ œ 3 3 3 3 3 3 bœbœ œ œ œ 3 3 3 3 poco poco ƒ f ƒ f Tuba ? b>œ j ‰ j ‰ j ‰ j ‰ ‰ J ˙. œ œ œ bpoco˙. b˙. bœ œ œ bpoco˙. b˙ f f ƒ 3 ƒ 3 Timp. bœ ? Œœ œ œ œ œ Œ œ bœ œ œ œ œ œ œ œ œ œœœ œ œ œ bœ œ bœ œ œ bœœ œ œ œ œ œ œ œ œ œ f F f F 1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 2 ã ∑ ∑ ˙. ∑ ∑ ˙. ∑ f ƒ
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ √ √> > j b œ œ bœ œ œ bœ œ bœ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ & œ bœ œ œ œ ŒŒ ‰ œ œ bœ œ œ œ ŒŒ ‰ œ b œ œ Hp. bœ œ œ œ A∫ng J œ œ œ œ œ œ œ œ œ œ œ œ œ Ef Af Bn J ? œ bœ œ œ œ œ œ bœ œ œ œ ŒŒ Œ‰J ŒŒ Œ Œ ∑ bœ bœ œ >˙. ˙. ˙ b>˙. ˙. ˙. ˙ . . ˙. ˙ œ ˙. ˙. ˙ b˙ ˙ Vln. I æ æ ‰ J æ æ æ Œ æ æ & poco poco ƒ f ƒ f ˙. ˙ b>œ >˙ ˙. ˙ >œ >˙ ˙. Vln. II æ æ Œ ‰. R æ æ æ Œ ‰. R æ æ & poco poco ƒ f ƒ f > > > > Vla. ˙. ˙ bœ ˙ ˙. ˙ œ ˙ ˙. B æ æ Œ ‰. R æ æ æ Œ ‰. R æ æ poco poco ƒ f ƒ f > > > > > Vc. > > > > > > > > > > > œ bœ œ œ œ bœ œ œ œ œ ? œ œ œ œ œ œ œ œ >œ bœ œ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ! ! b!œ œ !œ œ b!œ œ !œ œ !œ œ ! œ ! œ ! œ ! œ œ œ œ œ Œ ! ! ! ! ! ! ! ! ! ! ! ! ! œ œ bœ Œ ! ! ! ! ! ! ! ! ! ! ! > poco ! > poco ƒ f ƒ f >œ œ. œ. œ. œ œ. œ. œ. œ- œ- œ œ œ- œ- œ- > . . . > . . . - - > . . . > . . . - - - œ- - ...... - - ...... - - D.B. ? bœ œ œ œ œ œ œ œ œ œ bœ œœœœ œœœœ œ bœ œ œ œ b>œ œ œ œ >œ œ œ œ œ œ b>œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œœœœ œœœœ œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ 33 3 33 33 3 poco poco 33 33 317 ƒ 318 f 319 320 ƒ 321 f 322 323 [146] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ ˙. ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Picc. bœ œœ œœ œ œ œœ œœ œ œ œœ & Œ 4 ∑ ∑ 46 ‰ œbœœœœ œœœœœ œœ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ƒ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > b>œ >œ. > > ( b œ ) 1 >œ >œ b>œ. n>œ b>œ 4 œ œ œ œ w 6 w. & œ. J Œ 4 ‰J 4 Fl. ƒ f > > b>œ >œ. > > 2 >œ >œ b>œ. n>œ b>œ 4 œ œ œ œ œ 6 œ œ ˙ ˙ ˙ b˙ & œ. J Œ 4 ‰J J ‰Œ Ó 4 Œ ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > b>œ >œ. > > ( b œ ) 1 > >œ > >œ > 4 œ œ œ œ w 6 w. & œ bœ. J œ. œ Œ 4 ‰J 4 Ob. ƒ f 6 2 4 > > > > > > 6 j & œ j bœ. œ œ Œ 4 ‰ œ œ œ œ. œ œ œ œ œbœ œ œ œbœ. œ œ 4 œ ‰ œ œ b˙ ˙ b˙ > bœ. œ > > > J > œ > > > ˙ > ƒ E. Hn. j > > > 4 > > b>œ >œ. > > >bœ œ >œ. > > 6 b˙ & œ œ. œ bœ. nœ bœ Œ 4 ‰ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰œœ ˙ ˙ b˙ > > J 6 J ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > >œ >œ b>œ >œ. >œ >œ w ( b œ ) w œ œ 1 >œ . >œ >œ. bœ >œ 4 6 & œ J Œ 4 ‰ J 4 J ‰ B Cl. b ƒ f > > > > > > 2 j 4 #œ œ œ œ. œ œ œ 6 #œ œ ˙ ˙ n˙ ˙ & œ. bœ œ Œ 4 ‰ J J ‰Œ Ó 4 Œ >œ œ. >œ > > > ƒ 6 B. Cl. > >œ >œ >œ >˙ 4 j > > 6 j & œ bœ œ Œ 4 ∑ ‰ œœbœ œ œ œ œ œ. œ œ 4 œ œ œ ‰ œ œ œ œ > > > > > > > > > 33ƒ ƒ f 3 >œ >œ > > > 1 > b>œ. > > œ œ œ ? œ bœ Œ 4 ∑ ‰ œœbœ œ œ œ œ œ œ 6 œ Œ œ bœ bœ œ œ bœ œ ˙ 4 J 6 4 Bsn. > ƒ ƒ f 2 ^ ^ ^ > œb>œ. > > ? Œ 4 ∑ ‰ œœbœ œ œ œ œ œ œ œ 6 œ bœ 4 J 6 4 ˙ b˙ bœ bœ œ nœ ˙ > > > >œ ƒ ƒ f C. Bn. ? ^ ^ ^ 4 6 bœ Œ 4 ∑ ∑ 4 ∑ bœ œ bœ œ ˙ ƒ normale > > > > > cuivré > > > > > > > > 1 j œ œ bœ. nœ bœ ^ ^ ^ ^ j 2 bœ bœ œ b œ. œ œ 4 6 bœ œ œ œ œ œ & ‰ bœ œ b œ Œ 4 Œ œ ˙ Œ œ ˙ 4 ‰ œ œ œ œ œ Œ J ˙ ˙ J Hn. > > > > > > f > > ƒ cuivréƒ normale> > > > > > > > > > > > 3 >j œ œ œ. œ œ ^ ^ ^ ^ >j > > > > 4 bœ 4 6 & ‰ bœ œ bœ œ bœ. nœ bœ Œ 4 Œ œ Œ œ ˙ 4 ‰ œ œ œ œ œ Œ b œ œ œ œ ˙ œ ˙ œ œ bœ œ œ œ œ œ œ J > > > > > J f > > > ƒ ƒ > > > > > > bœ >œ > œ >œ 1 > > > > b>œ > b>œ. n>œ b>œ 4 œ^ ^ œ^ ˙^ 6 >œ œ œ œ œ & œ bœ bœ œ œ Œ 4 Œ ˙ Œ 4 ‰J Œ ƒ f ƒ Tpt. 2 > > > > > > > 4 œ^ ^ ˙ 6 >œ >œ >œ >œ >œ & bœ bœ œ œ œ œ. œ œ Œ 4 Œ ˙ Œ œ 4 ‰ J Œ œ > > ƒ f 6 ƒ 3 4 ^ ^ j 6 > > > > & œ œ bœ œ œ bœ. œ œ Œ 4 Œ œ b˙ ‰ œœbœ œ œ œ œbœ. œ œ 4 œ œ œ œ œ œ Œ > bœ > > > > > > > > > > > > > ƒ f ƒ > > > b>œ >œ > b>œ. n>œ b>œ œ^ ˙^ œ^ ˙^ >œ >œ > > > 1 œ œ œ œ Œ œ œ œ ? Œ 4 Œ Œ 46 ‰ J Tbn. ƒ f ƒ > > > > 2 b>œ b>œ >œ œ œ >œ b>˙ œ œ b>œ b>œ >œ ? Œ 4 ∑ ∑ 46 ‰ J Œ ƒ ƒ ^ ^ B. Tbn. ? >œ b>œ >œ >œ ^ 4 6 >œ >œ >œ œ > > bœ Nœ ˙ Œ 4 ∑ ∑ 4 ‰ J ‰ J bœ œ ƒ ƒ Tuba ? ^ ^ ^ 4 œ 6 œ œ bœ bœ bœ Œ 4 ∑ Ó Œ‰œ 4 ˙ b˙ bœ > > > > œ ˙ > > > >œ ƒ ƒ P 4 6 33 3 > > Timp. ? > bœ œ œ 4 . 46 bœ œ œ œ œ bœ œ ˙ Œ 4 Œ œæ bœ ‰ œ ‰ œ œ œ 4 œ œ œ œ œ œ œ bœ œ œ 3 œ œ œ > > 3 æ œ œ æ œ œ f crash cymbals ƒ chimes f œ 1 £ 4 œ >˙ 6 œ œj ˙ b œ ã ∑ ŒŒ> 4 ∑ & Œ b 4 . b b bass drum > ƒ ƒ 2 Perc. 4 Œ ˙ ‰ œ œ ˙ Ó 6 ã ∑ ∑ 4 > > 4 ∑ glockenspiel ƒ œ œ >œ >œ É 3 > > b > & ∑ ∑ 4 ‰J ∑ 46 ∑ ƒ œ œ œ bbœ 4 6 & œ bœ Œ ∑ 4 ∑ ∑ 4 ∑ Hp. œ b œ ? ∑ ∑ 4 ∑ ∑ 46 ∑ ˙. ˙ > > > ˙. ˙ bbœ Nw> w œ >œ bœ œ œ >œ œ œ œ Vln. I œ œ bœ œ œ œ œ œ œ & æ æ ‰. R 4 46 ‰J Œ ƒ f ˙. ˙ div. >œ w> w œ œ œ œ œ œ œ œ Vln. II bœ w w ! ! ! ! ! ! ! ! & æ æ ‰. R 4 46 Œ Œ ƒ div. f ˙ ˙ b>œ Nw> > œ œ bœ œ œ Vla. . œ >œbœ œ œ œbœ. >œ >œ œ œ œ bœ bœ œ œ œ B æ æ ‰. R 4 ‰ œ 6 ‰‰œ œ œ !œ ! ! ! 4 œ œbœ œ œ œ œbœ. œ œ 4 œ !J ! ! J 6 J ƒ unis.b>œ > div. > > w > > f ‰ >j > > Vc. bœ bœ œ œ ≥ ≥œ ^ >bœ œbœ. > > ? ! ! ! ! #œ œ #˙ ‰. R 4 ‰ œœ œ œ œ œ œ 6 ˙ œ œ bœ œ 4 J 6 4 b˙ b œ œ ƒ > > unis. f > > ≥ ≥ ^ D.B. b>œ >œ œ œ ? bœ œ ˙ Œ 4 ∑ Ó Œ‰œ œ 6 ˙ bœ œ œ œbœ 4 4 b˙ bœ œ œ ˙ > > > > 324 ƒ 325 326 327 ƒ 328 [147] rallentando œ œ > bœ >œ >œ œ œ œ œ œ œ œ œ œ œ > > Picc. œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ #œ œ #œaœ #œ œ œ ŒŒ 4 ‰ œ bœ œ œ œ œ 3 œ œ œ 2 & œ 4 œ 4 œ #œ 6 6 4 ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 > bœ >œ œ œ >œ œ ( b œ ) > #>œ 1 œœ œ œ 4 ˙. 3 œ œ #œ #œ 2 & ‰J ŒŒ 4 Œ 4 #œ œ #œ nœ #œ œ œ 4 #œ œ 6 Fl. ƒ ƒ > bœ >œ >œ Ÿ~~~~~~~~~~~~~~~~~~~~( #œ ) ~~~~~~~~~~~~~ 2 œœ œ œ œ œ œ œ œ ˙ #˙ #œ & ‰J ŒŒ 4 Œ ˙ 43 œ 42 ƒ Ÿ~~~~~~~~( b œ ) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. & œ œ œ œ 4 43 42 Ob. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2 œ œ œ œ ˙ ˙ #˙ ( œ ) #œ nœ & œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ 4 œ 43 42
E. Hn. œ œ œ ˙ b˙ ˙ œ œ & œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ 4 œœ ˙ 43 42 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙. ( b œ ) ˙. 1 4 j 3 2 & #œ œ œ œ œ œ œ œ œ œ 4 #œ ‰ 4 4 B Cl. œ œ b 2 #œ ˙ ˙ & 4 j ‰ œ ˙ 43 ˙ œ œ 42 œ œ œ œ œ œ œ œ bœ œ œ œ œ B. Cl. 4 j j 3 2 & œ œ œ œ œ œ œ œ œ œ œ œ 4 ‰ œ œ ‰ œ œ 4 ˙ #œ 4 > > > > > > > >œ >œ >œ >˙ >œ 1 ? œœ> bœ œ œ œ œ œ œ œ 4 ^ 3 2 ‰ J ŒŒ 4 ‰ J Œ 4 4 Bsn. ƒ f 2 ? > ^ œ 4 ˙ 43 42 ˙ ˙ bœ b˙ b˙ bœ > > > > > > > C. Bn. ? >˙ >˙ b>œ > 4 3 2 œ 4 ˙ b˙ 4 b˙ bœ 4 f > > > > > > > > > > > 1 j œ 2 œ 4 œ œ bœ œ œ œ œ 3 bœ œ œ œ œ 2 & ˙ ˙ bb˙œ 4 ‰ œ œ œ œ 4 œ œ œ 4 Hn. ˙ ˙ J f > > > > > > > 3 >j > > > > > > 4 4 ‰ œ œ œ œ 3 œ œ œ 2 & ˙ ˙ ˙ 4 œ œ bœ œ œ œ œ 4 bœ œ œ œ œ œ 4 ˙ ˙ bœ œ J > > > > > f > > > > bœ œ> > œ bœ> 1 j œ œ œ œ œ œ œ œ & ‰ œœbœ œ œ œ œ œ œ œ ‰ bœ œ œ œ œ œ 4 J J 43 œ bœ œ bœ 42 > > > 6 sub. > > f 6 ƒ f Tpt. 2 j > > > > > ‰ bœ œ œ œ œ œ ‰ bœ œ œ œ œ 4 œ œ œ œ œ 3 œ 2 & œœ œ œ bœ œ œ 4 J Jsub. 4 œ bœ 4 > > > > > f 6 ƒ f 3 4 j >œ >œ >œ >œ 3 >œ 2 & ∑ ‰ bœ œ œ œ œ 4 œ J 4 œ 4 œ œ œ sub. œ > f ƒ f > 1 > > > > > > ? ∑ 4 œ œ Œ œ 3 bœ bœ œ 2 4 ‰ J 4 4 Tbn. f 2 ? j > > ∑ 4 ‰ œ œ Œ bœ 43 œ bœ nœ 42 > > > > f B. Tbn. ? 4 3 2 ∑ 4 ‰ j ‰j 4 bœ œ Nœ 4 >œ >œ œ œ > > > f > Tuba ? ŒŒbœ 4 3 2 ˙ œ 4 ˙ b˙ 4 b˙ bœ 4 > > > > > F f 4 3 3 2 Timp. bœ œ œ œ œ œ œ ? ŒÓ Œ 4 œ 43 42 œ œæ 4 œ œ œ œ œ œ bœ œ œ œ 4 33bœæ 4 F œ œ 1 œ œ œ œ œ . bœ œ œ 4 œ œ bœ œ œ 3 œ b n 2 & J b 4 4 b 4
Perc. 2 4 3 2 ã ∑ 4 ∑ 4 ∑ 4 glockenspiel 3 j œ œ œ œ œ œ 4 3 2 & ‰ œœb œ œ ŒŒ 4 ∑ 4 ∑ ã 4 f ∑ 4 ∑ 3 ∑ 2 Hp. & 4 4 4 OOOPOOOO ? ∑ 4 ∑ 43 ∑ 42 rallentando div. unis. > > > œ œ >œ bœ œ œ >œ œ bœ œ >œ œ œ bœ bœ bœ œ œ bœ œ œ bœ œ œ bœ Vln. I œ bœ œ œ 4 œ œ œ œ 3 œ œ 2 & ∑ œ œ bœ bœ œ 4 4 4 pocoœ œ b œ unis. fdiv. f œ œ œ œ œ œ œ œ œ œ œ œ œ > bœ >œ œ œ >œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. II œœ œ œ b œ œ 4 ! ! ! ! ! ! 3 ! ! ! ! ! ! 2 & ‰J ‰ poco 4 4 4 div. a 3 da leggii unis. f f div. bœ >œ >œ Vla. œœ> œ œ œ œ œ œ bœ œ 4 œ ! 3 œ bœ œ nœ bœ 2 B ‰ J ‰ & œ 4 ‰ !j ! œ! œ! bœ 4 bœ bœ œ œ œ 4 poco œ œ œ œ ! ! ! ! ! ! f f > ‰ > > Vc. b˙ j ? œ œ œ b˙ 4 ˙ ^ œ œ 3 bœ œ bœ 2 œ œ ˙ ˙ 4 ˙ b˙ 4 b ˙ b œ 4 > > > D.B. ? ˙ bœ 4 3 2 ˙ œ 4 ˙ b˙ 4 b˙ bœ 4 > > > > f 329 330 331 [148] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( œ ) ä œ >œ œ w w w œ Picc. 2 & 4 J ‰ 4 J ‰Œ Ó ä œ >œ œ w w w w w w œ 1 2 & 4 J ‰ 4 J ‰Œ Ó Fl. > w w w äœ 2 2 #œ #œ œ w w w J & 4 J ‰ 4 ‰Œ Ó Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ b>œ œ ( b œ ) ä 1 2 J w w w œ & 4 ‰ 4 J ‰Œ Ó Ob. ƒ 2 2 >œ œ 4 w w w w w w äœ & 4 œ J ‰ 4 J ‰Œ Ó ƒ E. Hn. > ä 2 œ #œ œ ‰ 4 w w w w w w œ ‰Œ Ó & 4 J 4 J ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ >œ œ w ( b œ ) w w 1 2 J 4 äœ & 4 ‰ 4 J ‰Œ Ó B Cl. b ƒ 2 2 >œ œ 4 w #w w #w w #w äœ & 4 bœ J ‰ 4 J ‰Œ Ó ƒ B. Cl. 2 j 4 j & 4 #œ œ œ ‰ 4 Œ #˙ w w #œ ‰Œ Ó > >. ƒ â > >˙. w w äœ 1 ? 2 bœ œ œ 4 J ‰ 4 Œ J ‰Œ Ó Bsn. ƒ 2 ? 2 4 4 j ‰ 4 Œ j ‰Œ Ó œ œ œ ˙. w w œ ƒ > > â C. Bn. ? 2 4 ^ 4 j ‰ 4 Œ j ‰Œ Ó œ œ œ ˙. w w œ ƒ > â > j >r ä 1 > j 2 2 bœ œ œ œ 4 w œ & 4 œ œ œ ≈ œ 4 w w w œ ‰Œ Ó J J Hn. R > ƒ > > P ƒâ ä 3 > j >r > j 4 2 œ œ œ ≈ œ 4 w w w œ ‰Œ Ó & 4 bœ œ œ œ 4 w w w œ J R > J > > â ƒ P ƒ > ä 1 2 >œ œ >œ 4 w w w œ & 4 œ J ≈ R 4 J ‰Œ Ó ƒ P ƒ Tpt. 2 2 j >œ >w w w äœ & 4 bœ œ œ ≈ 4 J ‰Œ Ó > R ƒ P ƒ 3 2 j > 4 >w ä & 4 #œ œ ≈ bœ 4 w w œ ‰Œ Ó œ > R J P ƒ ƒ > 1 ? 2 bœ bœ œ > ä 4 J ‰ 4 Œ ˙. w w œ ‰Œ Ó Tbn. J ƒ ƒ 2 ? 2 #>œ œ 4 j 4 œ J ‰ 4 Œ ˙. w w œ ‰Œ Ó > â ƒ B. Tbn. ? 2 j 4 4 bœ œ œ ‰ 4 Œ j ‰Œ Ó > ˙. w w œ ƒ > â Tuba ? 2 4 j ‰ 4 Œ j ‰Œ Ó œ œ œ ˙. w w œ ƒ > > â 2 P 4 33 33 3 P Timp. 4 4 j ? 2 œ œ‰ 4 Œ œ œ œ œ œ œ œ œ œ œ æ ‰Œ Ó 4 œ J 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œæ œ ƒ 3 3 3 F 3 ƒ P 3 3 3 3 œ P 1 œ œ œ œ œ œ œ œ œ œ 2 # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 J ‰ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ƒ 3 bass drum P Perc. 2 j 2 Œ œ 4 œ œ œ œ ˙ ˙æ œ œ œ œ œ ‰Œ Ó ã 4 > 4 > > > > > > > > ƒ f ƒ tam-tam P 3 2 Œ œ 4 w Ó ˙æ ˙æ ˙æ ã 4 > 4 ∑ ƒ FƒFFƒƒ √œ √√œ œ √œ √œ √√œ œ œ œ œ œ œ œ œ 2 4 J & 4 ∑ 4 ‰ ŒÓ Hp. ƒ π ? 42 ∑ 4 ∑ œ œ œ œ œ œ œ >œ œ >œ w> w w äœ œ œ œ œ w w w œ Vln. I 2 J 4 J & 4 ≈ R 4 ‰Œ Ó ƒ P ƒ > > > ä bœ bbœ œ œ w w w œ œ ‰Œ Ó Vln. II 2 J 4 J & 4 ≈ R 4 ƒ > > P ƒ Vla. bœ bbœ œ œ w> w w äœ 2 œ œ œ ≈ œ 4 w w w œ ‰ Œ Ó & 4 div. a 3 daJ leggii R 4 J ƒ P ƒ > j œ œ ˙>. w w äœ Vc. 2 bœ bœ œ 4 ˙. w w œ ? 4 bœ œ œ ‰ 4 Œ ˙. w w œ ‰Œ Ó J J ƒ > ^ D.B. ? 2 œ j 4 j 4div. œ œ ‰ 4 Œ ˙. w w œ ‰Œ Ó œ œ œ ˙. w w œ ƒ > 332 333 334 335 â 336 [149] V.4D.2011