UNIVERSITY of CALIFORNIA, SAN DIEGO Dreams of a Young Piano a Dissertation Submitted in Partial Satisfaction of the Requirements

UNIVERSITY OF CALIFORNIA, SAN DIEGO

Dreams of a Young Piano

A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy

Music

Yiheng Yvonne Wu

Committee in charge:

Professor Katharina Rosenberger, Chair Professor Anthony Burr Professor Mark Dresser Professor Rand Steiger Professor Shahrokh Yadegari

2016

Yiheng Yvonne Wu, 2016

The Dissertation of Yiheng Yvonne Wu is approved, and it is acceptable in quality and form for publication on microfilm and electronically:

Chair

University of California, San Diego

2016

iii TABLE OF CONTENTS

Signature Page ...... iii

Table of Contents ...... iv

List of Supplemental Sound Recordings ...... v

List of Examples ...... vi

Vita ...... vii

Abstract of the Dissertation ...... xiv

Introduction ...... 1

Dreams of a Young Piano ...... 22

Performance Notes ...... 23

I ...... 27

II ...... 65

Bibliography ...... 100

iv LIST OF SUPPLEMENTAL SOUND RECORDINGS

Dreams of a Young Piano, movement 1

Dreams of a Young Piano, movement 2

v LIST OF EXAMPLES

Example 1. Arnold Schoenberg: from Sechs kleine Klavierstücke, Op. 19, III. Sehr langsame, mm.1-2...... 3

Example 2. Maurice Ravel: from Pavane pour une infant défunte, mm.67-68...... 5

Example 3. Last Nine Chords, Movement 1, Rehearsal P to end. Chord number and pitch content performed by piano...... 15

vi VITA

EDUCATION

University of California, San Diego Ph.D., Music, 2016 M.A., Music, 2011 Composition studies: Katharina Rosenberger (advisor), Philippe Manoury, Chinary Ung, Lei Liang

Yale University B.A., Music, cum laude, with distinction, 2003 Composition studies: Kathryn Alexander, John Halle, Matthew Suttor

Additional Composition Studies: Richard Carrick (New York City), Steven Takasugi (San Diego), Sophia Serghi (College of William & Mary) Summer Festivals: Chaya Czernowin (Schloss Solitude, Germany), Sydney Hodkinson (Aspen Music School), Michael Czajkowski (Aspen Music School), Henry Kucharzyk (Arraymusic Young Composers Workshop), Marilyn Shrude (Interlochen Arts Camp) Masterclasses: Brian Ferneyhough, Beat Furrer, Christian Wolff Piano Studies: Cynthia Stauffer (San Diego), Anna Grinberg (Yale), Steven Buck (Yale), Naomi Niskala (Yale), Sara Okamoto (New York City), Frank Weinstock (Aspen Music School), Stephen Perry (Interlochen Arts Camp), Christine Williams (Williamsburg, VA)

TEACHING EXPERIENCE

University of California, San Diego, Department of Music Instructor of Record Music Theory and Practice I: Species Counterpoint Fall 2015 Music Theory and Practice III: Classical Form and Analysis Spring 2014 Introduction to Composition Fall 2012

Teaching Assistant Sight-Singing and Dictation (2nd-year Aural Skills) 2011-2012, Spring 2016 Keyboard Skills Winter & Spring 2014 Species Counterpoint Fall 2013 History of Music in Western Culture I, II, and III Winter & Spring 2013, 2010-2011 Basic Musicianship (1st-year Aural Skills) 2009-2010

Self-Employment, San Diego, CA, Brooklyn, NY 2003-2015 Private Piano Instructor

My Music Garden, Jersey City, NJ 2006-2009 Private Piano Instructor

Family Fine Arts Academy, Chula Vista, CA 2004-2005 Private Piano Instructor

vii COMMISSIONS & COMPETITIONS

5th Mivos/Kanter String Quartet Composition Prize, Mivos Quartet 2015 Utterance to be performed in fall 2016, New York, NY Rachel Beetz, flute 2015 commission, Relay/Replay for flute and tape Palimpsest, University of California, San Diego 2014 commission, premiere of Dreams of a Young Piano, first movement Ossia Composition Prize, Honorable Mention, Stills; edges.2014 Rachel Beetz, flute, and Dustin Donahue, percussion 2014 commission, Duo for Flute and Percussion La Jolla Symphony with Steven Schick, conductor, La Jolla, California 2013 Thomas Nee Commission, premiere of Transcriptions of Place Jessica Aszodi, soprano, and Bonnie Whiting, percussion 2012 commission, Four Poems of Li-Young Lee Formosa Composition Competition, Taipei, Taiwan 2005 Third Place Winner; First Place, Audience Vote; performance of “and then one day...” Arraymusic, Young Composers Workshop, Toronto, Ontario 2004 commission and one-month residency, world premiere of Edgy Quartet Timothy Dwight Chamber Orchestra, Yale University 2003 commission, premiere of “and then one day…”

ACADEMIC HONORS & AWARDS

Edward Bouchet Graduate Honor Society, Inducted Member 2015 Erickson Award for Excellence in Graduate Research Exhibited though a Publishable Paper, UC San Diego, Dept. of Music 2013 University of California Institute for Research in the Arts (UCIRA) Mini-Grant 2013 Frieda Daum Urey Endowed Fellowship, UC San Diego 2012-2013 TA Excellence Award for Superior Teaching Performance, UC San Diego, Dept. of Music 2011 Yale Friends of Music grant 2003 John E. Linck III and Alanne Linck Summer Fellowship, Yale University 2002 Robert A. Welch Summer Fellowship, Yale University 2002 Abraham Beekman Cox Prize in Composition, Yale Department of Music 2002 Robert C. Byrd Virginia Scholarship 1999-2003

CONFERENCE PAPERS & TALKS

Midwest Graduate Music Consortium, Annual Meeting, University of Chicago Mar 2016 “Ligeti’s ‘Cooled Expressionism': Text, Body, and Shifting Modes of Musical Affect” Focus on Composition, UC San Diego Jan 2016 “Character-Spaces and Disjunct Transformations” Composer’s Forum, Stanford University Apr 2014 “Recent Work: Threads vs. Fragmentation”

viii Focus, composers’ forum, UC San Diego Apr 2014 “Recent Work: Experiments in Notation” Ligeti Symposium & Festival, Florida State University Oct 2013 “Ligeti’s ‘Cooled Expressionism’: Watching Music from a Distance” Pre-Concert Talk with Steven Schick, Paul Dresher, and Yvonne Wu, La Jolla Symphony Mar 2013 Sommerakademie, Composition Masterclass, Schloss Solitude, Aug 2007 “A Little Too Much: Listening through Noise” Intercollegiate Taiwanese American Student Association East Coast Conference, Yale University, “Careers in the Arts,” panelist Feb 2004

GUEST LECTURES AND JURY PANELS jury panel for Undergraduate Composition Juries, UC San Diego Jun 2015 jury panel for Undergraduate Composition Juries, UC San Diego Jun 2014 “Chaya Czernowin’s Maim and new modes of listening,” UC San Diego May 2014 “Verdi’s operas,” UC San Diego Apr 2014 “Transcriptions of Place: my approaches to orchestral writing,” UC San Diego Jun 2013 jury panel for Undergraduate Composition Juries, UC San Diego Jun 2013 “Karlheinz Stockhausen,” UC San Diego Jun 2012 “Beethoven’s 9th Symphony,” UC San Diego Mar 2011 “16th-Century Italian Madrigals,” UC San Diego Nov 2010 “Reaching Home with Music: A young emigrant’s exploration of Taiwan’s political past,” Taiwanese American Foundation of San Diego Culture & History Lecture Series May 2006

UNIVERSITY SERVICE AND CONCERT CURATION

Focus on Composition Committee, UC San Diego, Department of Music 2011-2012 Elected committee member

First Monday Concert Series, UC San Diego, Department of Music 2011-2012 Curator

Graduate Student Association, UC San Diego 2010 Representative for Department of Music

Yale College Composers Group, Yale University 2000-2003 Co-Founder, Co-Director, Events Organizer

SERVICE AND LEADERSHIP POSITIONS

Department of Music Graduate Student Advocacy 2014 Co-Leader

Lincoln High School Arts Project, San Diego, CA 2010-2011 Co-Leader

UCSD Graduate Student Campus Climate Coalition 2010 Member

StandUp for Kids, San Diego, CA 2004-2006 Director of Development, Leadership Committee

WYSE (Women & Youth Supporting Each Other), New Haven, CT 2002 Mentor

ALPHA, New Haven, CT 1999-2000 Tutor, Mentor

Strong Elementary School, New Haven, CT 1999-2000 Classroom tutor

Yale Taiwanese American Society 2000 Leadership Committee Member

DISCOGRAPHY

New Music from San Diego, Carrier Records 2009 Utterance for string quartet, performed by Ensemble SurPlus

PRESS review of Relay/Replay: Paul Muller, “WasteLAnd Concert in Los Angeles – Study for Eurydice,” www.sequenza21.com, November 8, 2015. profile article: James Chute, “For Wu, Music is Challenge of a Lifetime,” San Diego Tribune, March 8, 2013. on Utterance: Jonathan Gill, “New Music from San Diego, Holland Times, April 2011. on Utterance: Robert Gable, “aworks ordered list :: what i’m really listening to #1,” blog: http://rgable.typepad.com/aworks/aworks-what-im-really-listening-to/, November 15, 2009.

Ariana Falk, “Rhapsody, Symphony, Originality in Blue,” Yale Herald, November 3, 2000. profile article: Kari Richardson, “Student Leader Will Lead Christmas Parade,” Daily Press, December 5, 1998

PROFESSIONAL MEMBERSHIPS

Society of Music Theory

x WORK LIST & PERFORMANCES for ORCHESTRA & CHAMBER ORCHESTRA

Dreams of a Young Piano 2014/2016 for solo piano, two percussionists, and ensemble, 20’ May 2016: premiere of complete work (two movements) Nov 2014: first movement, commission and premiere of by Palimpsest University of California, San Diego, Conrad Prebys Concert Hall

Transcriptions of Place 2012 for orchestra, 10’ Mar 2013: Thomas Nee Commission from La Jolla Symphony; Steven Schick, conductor, La Jolla, California

“and then one day…”, 2003 for two string quartets, double bass, winds, and narrator, 18’ Mar 2005: 2004 Formosa Composition Competition, Finalists Concert Taipei, Taiwan Apr 2003: commissioned and premiered by Timothy Dwight Chamber Players, Mark Seto, conductor, Yale University

Flux for string orchestra, 3’ 1999 Aug 1999: reading at Aspen Music Festival for CHAMBER ENSEMBLE

Duo for Flute and Percussion 2014 for flute and percussion, 16’ May 2014: performed in Flux Aeterna – Inaugural Gala I, San Diego, CA Mar 2014: commissioned & premiered by Rachel Beetz, flute, and Dustin Donahue, percussion, UC San Diego, Conrad Prebys Music Center, Experimental Theater

Four Poems of Li-Young Lee 2012 for soprano and speaking percussionist, 14’ Jan 2013: commissioned & premiered by Jessica Aszodi, soprano, and Bonnie Whiting, percussion UC San Diego, Conrad Prebys Music Center, Recital Hall

Stills; edges. Five small pieces and some number of interludes and moments 2010/rev.2011 for flute/alto fl, clarinet in Bb/bass cl, violin, viola, cello, piano, and percussion, 16’ Dec 2011: performed at UC San Diego Conrad Prebys Concert Hall

To unnamed things 2009 for soprano, double bass and percussion, 9’ Dec 2009: premiered by Tiffany DuMouchelle, soprano, Bonnie Whiting, percussion, and Scott Worthington, double bass, UC San Diego, Conrad Prebys Concert Hall

Agua remota 2008 for clarinet in Bb, viola, and double bass, 10’

Utterance for string quartet, 15’ 2006/07 Fall 2016: to be performed by MIVOS Quartet, New York City, NY 2009: released by Carrier Records on New Music from San Diego Aug 2007: premiered by Ensemble SurPlus, Schloss Solitude, Stuttgart, Germany

Edgy Quartet 2004 for clarinet, trumpet, double bass, percussion, 10’ May 2004: commissioned and premiered by Arraymusic, Toronto Canada

Undulations 2002 for flute/picc, English horn, bassoon, trombone, harp, viola, two percussionists, 20’

"I alone am expressionless," 2000 for string quartet, 8’

Duo for Cello and Clarinet, 10’ 1999 Dec 1999: premiered by Yves Dharamraj, cello, and Daniel Friberg, clarinet New Music Marathon Concert, Yale University

Duet in Magenta 1999 for tenor saxophone and piano, 4’ May 2016: performed by Samuel Dunscombe, bass clarinet, and Todd Moellenberg, piano, UC San Diego Feb 1999: premiered by Niels Bijl, saxophone, and Hans-Erik Dijkstra, piano, College of William & Mary

A Stack of Five Translucent Colored Stencils 1999 for flute, clarinet, violin, cello, and piano, 11’ Aug 1999: premiered at Aspen Music Festival Apr 1999: reading by Continuum, Joel Sachs, conducting College of William & Mary

for SOLO INSTRUMENTS

Untitled for solo harpsichord (in progress) 2017 commission by Justin Murphy-Mancini

Relay/Replay for solo flute 2015 commission by Rachel Beetz Nov 2015: performed at UC San Diego, Conrad Prebys Concert Hall Oct 2015: performed at wasteLAnd Concert Series, ArtShare, Los Angeles, CA Oct 2015: premiered at betalevel, Los Angeles, CA

Carvings, solo for flute and voice 13’ 2010/Rev.2011 May 2016: performed by Michael Matsuno, UC San Diego Mar 2016: performed by Michael Matsuno, University at Buffalo Feb 2011: commissioned & premiered by Carla Rees UC San Diego, Conrad Prebys Experimental Theater

Étude for Cello: bow as breath, 7’ 2010 Jan 2011: recorded by Katinka Kleijn of International Contemporary Ensemble (ICE)

xii Piano Suite for Joanna 2001 for the young musician, 10’ May 2002: premiered by Joanna Wu New Music Marathon Concert 2002, Yale University, Silliman College

Solo for Oboe, 9’ 1999 Dec 1999: premiered by Gary West New Music Marathon Concert 1999, Yale University

Solo for Cello, 4’ 1999 Jul 1999: premiered by Tomoko Fujita, Aspen Music Festival

xiii

ABSTRACT OF THE DISSERTATION

Dreams of a Young Piano

Yiheng Yvonne Wu

Doctor of Philosophy in Music

University of California, San Diego, 2016

Professor Katharina Rosenberger, Chair

Scored for solo piano along with two percussionists and a nine-piece, mixed ensemble, Dreams of a Young Piano is a playful exploration of the piano’s identity. If an anthropomorphized piano had youthful ambitions, they might be to transcend its limitations and to imagine itself with the powers and properties of various other instruments. The work entertains this pipe dream, enacting a metaphorical extension of

xiv the piano in two primary ways: mechanically—shedding its confines as a percussive instrument with fixed tuning—and acoustically—acquiring a larger instrumental body that extends across the entire stage by enlisting the forces of the surrounding ensemble.

The first movement introduces the fantasy instrument, while the second continues to explore its sonic possibilities. Formally, the work demonstrates “disjunct transformation,” where a linear process (e.g. the transformation of the piano into the meta-piano) is segmented and those segments, re-ordered, abbreviated, and amplified.

In the first movement, disruptions to the implied linear transformation seem to themselves exercise influence over the disrupted content.

xv INTRODUCTION

The first movement of Dreams of a Young Piano was written when Aleck Karis invited me to compose a “piano concerto” for Palimpsest at UC San Diego to be programmed along with Lei Liang’s Harp Concerto and Donald Martino’s Triple

Concerto. While I knew I’d avoid the term “concerto” and allusions to the historical form, I was immediately intrigued by the problem of writing for the piano in a chamber music setting. As a pianist, I find that the solo piano is a colorful and versatile instrument, but next to other instruments, it feels more limited. How would I handle the

88 fixed pitches in equal temperament when I so often utilize glissandi and microtonal fingerings in other instruments? Also, next to the inherently more lyrical strings, winds, and brass, the piano often sounds percussive to me. I knew that this piece should not only grapple with these issues but feature them.

Scored for solo piano along with two percussionists and a nine-piece mixed ensemble, Dreams of a Young Piano is a playful exploration of the piano’s identity. If an anthropomorphized piano had youthful ambitions, they might be to transcend its limitations and to imagine itself with the powers and properties of various other instruments. The two-movement work entertains this pipe dream, enacting a metaphorical extension of the piano in two primary ways: mechanically—shedding its confines as a percussive instrument with fixed tuning—and acoustically—acquiring a larger instrumental body that extends across the entire stage by enlisting the forces of the surrounding ensemble.

1 2

I. Motivations: the Primary Goals of Piano Technique

Pianists of the Western classical tradition are fortunate to inherit a large body of solo repertoire. Though essential to the oeuvres of Mozart and Haydn, it wasn’t until the middle of the nineteenth century that the piano completed its physical evolution into the robust, dynamic, and timbrally versatile instrument it is today. For me, nineteenth- century literature from late Beethoven to Ravel epitomizes the expressive capabilities of the instrument, and from the study of this music, pianists acquire two missions that inform every sound they make—to turn the hammered instrument into a singing, lyrical one; and to voice the chords and textures in ways that are timbrally nuanced and can evoke various colors, often inspired by other instruments. In a sense, the pianist is constantly working to turn the piano into something else, to play it despite itself.

The endeavor for lyricism requires not only sensitive touch and great technique but also some smoke and mirrors. Example 1, from Schoenberg’s Sechs kleine

Klavierstücke, Op. 19, demonstrates an extreme case of how pianists must sometimes

“fake it” when it comes to the dynamic capabilities of a hammered instrument. The four hairpin crescendos in the right hand part of measure 1 are simply absurd. Crescendos within single attacks are impossible on the piano, whose sound can only decay after each hammer strike. If one forgives Schonberg’s illogical request, his intention seems simple enough: make one crescendo through the length of measure 1. It seems to follow that the pianist should simply make each note louder than the preceding one. In practice, however, this does not sound musically convincing. With the tempo sehr langsame, the piano’s resonance decays significantly even after a quarter beat and despite the forte 3 dynamic. For continuity, pianists usually follow a long note with a slightly softer dynamic so as to match (or at least compensate for) the long note’s decay. To play the

Example 1. Arnold Schoenberg: from Sechs kleine Klavierstücke, Op. 19, III. Sehr langsame, mm.1-2. right hand G on beat 2 here even as loudly as the chord on beat 1 would sound abrupt and melodically disjunct; to play it more loudly would sound worse. Often, the smoke and mirrors, is provided by an intervening left hand, which can help create the sensation that the right hand is making a crescendo even when it is not. Here, however, the left hand must remain pianissimo, which cannot contribute much to the right hand’s forte.

The decay problem is even worse with the longer note C in the right hand—a dotted quarter note to be followed by a louder B-flat. It is basically impossible to play the B- flat louder without sounding unmusical, and from a brief survey of recordings, performers tend to leave that crescendo out.

Despite the logistical issues, a performer will find a reasonable solution, utilizing careful voicing, borrowing some resonance from the left, perhaps adding some rubato to maintain energy on the long notes, and more. Yet as Schoenberg went out of his way to write four separate crescendos, he intentionally underscores the piano’s expressive limitations and makes a point of asking the piano to be some other 4 instrument.

While not involving smoke and mirrors, the pianist’s second endeavor, for nuanced voicing and timbre, requires complex muscular agility that is not without mystery. A simple fact of piano playing: as for any percussion instrument, the pianist can only control the attack of each note and not its sustain. A more complex twist: how one sustains and releases a note retroactively informs how one made the attack.

Therefore, the nuanced muscular changes during the attack, the sustain, and the release all influence the tone quality. See Example 2, from Ravel’s Pavane pour une infante défunte. To give the right hand octaves in this passage a bell-like quality, the attack requires arm weight applied broadly for richness, slowly for the soft dynamic, but with firm fingertips for clarity. For the eighth-note octaves of m.67, the player integrates the drop, attack, and release into one rounded gesture. Much like striking a real bell—the striker must come away so as not to impede the resonance. To push the key forcefully or to ram into the bottom of the key produces a harsher, more piercing sound without breadth. The quarter-note octaves of m.68 are more difficult than the eighth-note octaves, as the performer must keep the keys depressed while still “releasing” the arm weight to allow for the best resonance. In other words, even though the hammer hit has already occurred, how the player holds the keys still matters.

In m.70, the accented octaves across the two hands signals a change of color.

“Horns!” I tell my student. How is this timbre achieved? Impossible to explain—the student must learn to use her ears. It’s something about a change in the focus of the attack, the speed of the accent, the voicing between the two members of the octave, the 5 shaping of the upward gesture. A bar later, the 3-octave accented notes should perhaps evoke basses, low winds, as well as brass. Such color changes are a great source of excitement for me as a pianist—a single instrument becomes an orchestra.

Example 2. Maurice Ravel: from Pavane pour une infant défunte, mm.67-68.

I begin my discussion with piano technique to demonstrate that, aside from learning notes, the pianist spends a great deal of energy working to transform the piano into something else. For this reason, the process of practicing can be immensely satisfying. Yet, just as a fantasy for the instrument, what if the piano did become a different instrument? What if it could shed some of its physical limitations and extend its capabilities, literally gaining the powers of strings, winds, and brass? What would the piano then do as an even larger, more colorful instrument? And so Dreams of a

Young Piano was born.

II. Influences and Affinities 6

The composer with perhaps the most influence on my musical thinking is Gérard

Grisey, whose Périodes from Les espaces acoustiques likely changed the course of my compositional voice when I first heard it halfway through college. Even fifteen years later, as I re-read Grisey’s writings, I realize how many of his ideas I have incorporated, though there are, of course, important deviations.

Grisey’s music revolves around the core concept that sound and time are essentially linked. A “sound object” cannot exist outside of time; the unfolding of time is required for the understanding of a sound. He writes, “Object and process are analogous. The sound object is only a process which as been contracted, the process nothing more than a dilated sound object.”1 For Grisey, then, the fullest, most intimate investigation of a sound requires time to be slowed down. He says, “As a result of the extreme expansion of time, we arrive at the very heart of sound whose material is revealed by the effect of an inordinate magnification.”2 Here Grisey implies that one metaphorical knob controls two variables: time and proximity—expanded time allows for a closer view of a sound, and contracted time pushes the listener away from the sound’s detail. While my own approach to sound is not so firmly correlated with the scaling of time, and in fact often includes the intentional uncoupling of these variables

(see my discussion on form below), some corollaries to this concept are important in my music.

First, as implied by his term “sound object,” sound, for Grisey, is something

1 Gérard Grisey, “Tempus ex Machina: A composer’s reflection on musical time,” Contemporary Music Review 2, no. 1 (1987): 268-269, DOI: 10.1080/07494468708567060. 2 Gérard Grisey, “Did You Say Spectral?,” Contemporary Music Review 19, part 3 (2000): 1, DOI: 10.1080/07494460000640311. 7 with physical properties—it can be viewed, opened, unfurled, seen up close and far away to reveal different levels of detail.3 It is an object to be investigated.

Moreover, the sound object possesses an “internal dynamism.” He writes, “It is impossible to think of sounds as defined objects which are mutually interchangeable.

They strike me rather as force fields given direction in time. These forces – I purposely use this word and not the word form – are infinitely mobile and fluctuating; they are alive like cells, with a birth, life and death, and above all tend towards a continual transformation of their own energy. There exists no sound which is static, immobile….”

The composer’s exploration of the sound is the endeavor to investigate “the energy that inhabits it.” 4

I am equally motivated by this notion that a composer can “create” a sound entity that then has a life of its own; it becomes my task to understand it. If I were a novelist, I would create characters and then write various scenes and situations not for the novel but for a deeper understanding of the characters’ potentials. As a composer, I find that after I introduce (create) a few initial sound characters, the majority of my process is the attempt to “listen” to them, uncovering the layers of their sonic and behavioral potential, trying to hear what else they need to do.

I also feel an affinity for Grisey’s idea of sounds having an “internal dynamism.” For me, it is not only that sounds consist of inner forces but more importantly that those energies are shared across all of my sound objects. As I listen to

3 Though Pierre Schaeffer coined the term “sound object,” and since there are likely as many definitions as there are composers, I am limiting the term here to the ways that Grisey uses it. 4 Grisey, “Tempus ex Machina,” 268. 8 the sounds, they are fundamentally (though not always apparently) connected to a larger, ongoing vibration. In a sense, all instrumental resonance has the ability to tap into this great vibration, and indeed, the emergence of the meta-piano in Dreams attempts to tap into this. Two of my favorite poets, to whom “listening” is also essential to their processes, echo a similar idea. Li-Young Lee refers to a “hum” that pervades the universe and which his poems attempt to capture.5 W.S. Merwin, in his poem

“Utterance” implies a moment of creative vision as hearing “the echo of everything that has ever been spoken.”6

My tendency towards an abstract, existential oneness is countered by the surface eccentricities of my compositional materials. Like Chaya Czernowin, who has described her music as comprising “living creatures” that “want to do certain things,” I also ascribe behaviors to my materials.7 In the opening section, for example, the piano’s behavior is agitated and angular, with a fast, somewhat erratic energy. The ensemble, in contrast, at Rehearsals A, D, and E of the first movement, is staid, even cold, a behavior that returns in the second movement at Rehearsal F.

While Czernowin is explicitly interested in unknown creatures, one could say that sounds are often personified in my music in a more human way, which resonates with Elliott Carter’s approach.8 In the score of his Quintet for Piano and Winds, he describes a concept that applies to much of his music. “To heighten the dialectic

5 Li-Young Lee, Breaking the Alabaster Jar: Conversations with Li-Young Lee (Rochester, NY: BOA Editions, 2006), 89-90. 6 W.S. Merwin, Migration (Port Townsend, WA: Copper Canyon Press, 2005), 279. 7 Chaya Czernowin, phone interview by Yvonne Wu, July 23, 2013. 8 David Weininger, “Chaya Czernowin wants listeners to feel the effect of her music,” Boston Globe, Oct. 24, 2013, http://www.bostonglobe.com/arts/music/2013/10/24/composer-chaya-czernowin- has-compositions-upcoming-callithumpian-concert/GvELtfcFaFOwCqcdhskj0J/story.html. 9 interplay between the instruments,” he assigns to each a unique “musical vocabulary” and “its own type of expressivity and character.” But the characters are not merely juxtaposed; the interactions among the characters imply a social, human context. He continues, “The interplay of commentary, answer, humorous denial, ironic, supportive or self-effacing were considered as part of the musical thought and expression.”9 Carter goes further, bringing the musician behind the instrument into the picture. “I regard my scores as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble.”10

Social dynamics and implied attitudes that certain characters might have for others, though not forefronted in Dreams, are relevant to its interpretation. Attending to the relative friction between or synergetic connectedness among characters informs my compositional choices, formally as well as locally. Again, Rehearsal A and D of movement 1 are the piano’s first attempts to provoke the ensemble. Both of these instances are relatively violent, rousing gestures, with big accented chords that follow a flurry of energy. In contrast, at Rehearsal E, the piano’s first espressivo line leads into the first extended resonant fragments in the Glockenspiel, crotales, and vibraphone.

Here the ensemble is stirred again, but it is by the sweet entreaties of the vibrating metals.

II. Form and the Meta-Piano

As sectional divisions in Dreams are unambiguous, I will avoid a didactic

9 Elliott Carter, Quintet for Piano and Winds (New York: Boosey & Hawkes, 1994). 10 David Schiff, The Music of Elliott Carter, 2nd ed. (Ithaca: Cornell University Press, 1998), 26. 10 description of the work’s formal layout and instead discuss aspects of the form that are most meaningful to me.

In a nutshell, the first movement shows the piano’s transformation, from a maximally percussive instrument in the opening—where it exchanges short, dry attacks with the two percussion—to the “meta-piano,” which has the entire ensemble on stage resonating as one instrumental body. The second movement continues to explore the capabilities of this new instrument with expanded resources.

The first movement was initially written as a stand-alone work, but after its premiere, I felt it had an introductory function and was compelled to write its continuation. I set out to write the second movement with the restriction that I would only take materials from the first and expand them. Despite that limitation, my brainstorm list of avenues for development immediately grew to an unwieldy length, and I seemed to have two options—either write an hour-long, many-movement work in an attempt to exhaust all the possibilities and address all of the meta-piano’s potential, or take the more modest approach with the realization that a comprehensive demonstration of the meta-piano concept is neither interesting nor necessary. I chose the latter.

Disjunct Transformation

While the concept of the piano’s transformation suggests a simple narrative from condition A to condition B, I avoid a linear progression connecting the two.

Instead, a key formal concept in Dreams, and in much of my work, is what I call 11

Disjunct, or Non-Linear, Transformation. This is especially applicable when, based on the materials in the music, the listener can easily imagine a formal scheme that moves gradually from condition A to B. What is presented instead is a sectionalized form, which might include A and B but where the middle might be cut out, where an insignificant portion of the progression might be magnified, where the segments of that re-ordered progression vary in length. In short, a linear progression has a sort of Cubist technique applied to it (we see two eyes on one side of the face, a disproportionate nose, etc.). This manipulation of a simple formal progression is, I hope, more engaging for the listener as he/she asks, “How did we get here?” and compares the non-linear journey to their own imagination of the simpler one. As the composer, it allows me to dwell on certain aspects of the sounds and materials that, to my ear, require more musical time and attention.

One example of disjunct transformation: the “progression” from piano to meta- piano actually happens twice in the first movement. The meta-piano is attained by

Rehearsal H (m.84-96), after which the piece begins again: Reh. J through M (mm.97-

123) is a transformation of the opening piano/percussion trio material, now with the ensemble, and the second half culminates with even bigger chords from the meta-piano.

The replaying of the entire progression is like a retelling of a story, with each version revealing different details and relationships among the characters.

A second example: after the first, long ensemble chord, at Reh. B (m.20) and forward, the piano/percussion trio seem to continue the material from the opening, but here, their instrumentation has suddenly changed. Their sounds are more diminished, as 12 the marimba and vibraphone have been exchanged for woods and Almglocken (still wood and metal), and the piano’s sprawling figuration is now confined to the top octave of the piano, where the strings are dampened by a sock stuffed with rice. The opening material is now heard through a metaphorical filter.

In movement 2, the non-linear techniques continue and even include passages with multiple materials sounding simultaneously. Reh. F through H (mm.27-47) consists of three layers. The percussion duo leads the section, presenting small waves of light, scurrying material. They maintain a relatively consistent periodicity, with local phrase fragments lasting two to six beats and larger phrase groups lasting 7 to 10 bars.

The piano, bringing with it individuals from Groups 2 and 3, appears sporadically, with irregular phrase-lengths, and with pauses of two to four bars at a time. Its textures, though, seem to come out of the percussion duo. In contrast, the two flutes and one clarinet of Group 1 articulate both a different time scale and harmonic world. The microtonal tunings of partials along with their long sustains refer back to the first movement’s opening ensemble chords. More importantly, their slow articulation of pitches suggests that a slower unfolding of time is occurring alongside the other activity. The periodicity of their appearances is the sloweset of the three layers.

Another passage of multiple layers occurs at the very end of movement 2, Reh.

R to the end (m.131-end). Here, Groups 1 and 2 are independent from the piano, which is supported somewhat by the strings (the bass highlights some important piano pitches). In contrast to Reh. F, the two layers here utilize more similar tempi and periodicities. Still, they almost never align (except at m.135), and the particularities of 13 their rhythms and speeds keep them metrically detached from one another.

Sectionalization and Shifting Perspectives

As discussed above, Grisey couples the “zoom” level on a sound material with temporal scale, while I intentionally decouple them and try to present my materials in varying proportions and levels of zoom. The sectional breaks in my music allow for shifts in the listener’s “perspective” on a given sound. That two highly contrasting characters are presented side by side at the beginning of movement 1 is significant. The opening piano/percussion trio section is 38 seconds long (in the accompanying performance), while the first ensemble chord lasts about 30 seconds. The latter’s nearly static nature and lack of textural detail suggest a distant view of a “sound object.” In contrast, but in almost the same time frame, the opening trio presents too much detail— we feel its high energy, but its busyness seems to intentionally evade our aural gaze.

Disruption and “Transformation by Disruption”

The sectionalization in my work often happens as an unexpected disruption or is the border between two contrasting materials. The listener is suddenly pulled out of a particular soundscape or musical scenario, and at first, he/she might interpret the cuts as simply part of a formal scheme. However, in retrospect, the experience of the whole piece could suggest that the disruptions themselves have an impact on the content of the sections that were disrupted. For example, from the opening of the first movement through Reh. F (m.57), the ensemble disrupts the piano/percussion trio three times (Reh.

A, D, and E). After the first disruption, as discussed above, the abrupt change of 14 instrumentation in the piano/percussion trio at Reh. B seems to be “unexplained” by the music—it simply happens. However, after the second disruption, the trio sounds its first long notes (the vibraphone in m.39 is a pivotal point), and when the trio continues to extend its sounds after the third disruption, the piece begins to suggest that, despite the apparent lack of interaction, the ensemble chords might be exerting influence on the trio. In the other direction, though the ensemble seems aloof in these three first appearances, it shifts at Reh. G (mm.71-77) and then fuses into the meta-piano, which makes its first emergence at Reh. H (mm.84-96). From the vantage point of Reh. H, the preceding process exemplifies “transformations by disruption,” where the shifts themselves instilled some sort of change that were not immediately apparent. The characters were moved by the “experiences” of having been disrupted. Here again, a personification of the materials applies.

III. Highlights of the Harmonic Design

In very broad terms, the harmonic plan of the piece is also subjected to a non- linear model. Some salient sections, though, suggest a simple harmonic trajectory. The opening piano/percussion trio is the most densely chromatic; the accented chords emphasize minor-second clusters. In contrast, the ending of the first movement emphasizes consonant intervals and even grows increasingly triadic. The middle, such as the piano “chorale” at Reh. G, bridges the extremes. Chromaticism still pervades, but here the clusters have opened up to minor 7ths and major 9ths (with fewer major 7ths and minor 9ths), and the open voicing incorporates more consonant intervals. In this way, the beginning, middle, and end outline one large-scale motion, from highly 15 chromatic to highly triadic.

The ending of the first movement, however, moves through a similar transformation—in a shorter amount of time and rather linearly. From Reh. P (m.144) to the end of the movement, the piano sounds its final nine chords, each presented as a rhythmically flexible arpeggio. See Example 3. Chord 1 is a fully chromatic chord, which would have Forte number 8-1—all consecutive semitones from B up to F#.

Chord 9 is very triadic, containing triads of b minor, c# minor, A major, D major, E major, g# diminished. The ensemble, grouped in their three trios, highlight these triads.

The intervening Chords 2 through 8 see the gradual transformation between these extremes.

Example 3. Last Nine Chords, Movement 1, Rehearsal P to end. Chord number and pitch content performed by piano.

In the second movement, much of the pitch content is derived from—and, in certain sections, even limited to—these nine harmonies. The harmonies do not occur in the same order, though, and when they recur, I use particular subsets to emphasize 16 distinct harmonic colors.

For the Ad Lib. piano solo near the beginning of movement 2, for example, almost all pitches are taken from Chord 7 of movement 1’s conclusion. Out of that 8- pitch group, C and D come a little later and are rarer (m.11 and forward), and E is also a special note (ending the first two “phrases”, m.9 and m.10). The most frequently used pitches belong to the bottom of the f# minor scale (F#, G#, A, B, C#). In fact, the only pitch that does not belong to the f# natural minor collection is C-natural, but since I most often couple C-natural with D-natural, the dyad provides a color that contrasts with the f# minor diatonic collection.

Later in the Ad Lib. passage, I introduce pitches outside of Chord 7—A# appears (m.12), and near the end, D# (m.14, second system). Since the pitch content in the piano part is tightly controlled here, these added pitches signal a drift in the harmonic position and indeed accompany more (possible destabilizing) activity from the ensemble.

The pitches of the high piano tremolos in movement 2 mostly come from Chord

3. This section begins at Reh. H (m.48-59) and continues at Reh J (mm.65-68) (with intervening material at Reh. I). Though Chord 3 in the context of movement 1 is relatively chromatic, its reappearance here grows increasingly consonant. By Reh. J, I feature subsets that contain major 2nds, 4ths, 3rds, and 6ths, giving this section a highly contrasting harmonic color compared to the rest of the movement.

While I don’t consider this a spectral piece, I have used some basic pitch 17 techniques employed by Gérard Grisey and Tristain Murail but without linking them to the formal design as either of these composers do. Several appearances of the ensemble include equal-temperament pitches which act as “fundamentals” for the accompanying microtonal pitches based on tunings of specific upper partials. In the opening three ensemble chords in movement 1, I give three different fundamentals at once. The 9- member ensemble is grouped into three trios so that the players can more readily hear each other—each trio sounds one fundamental and two of its partials. I make octave transpositions freely—the fundamental and partials are almost never as far apart from each other as they should be—but, as my goals were simple, the effect is achieved: to give the ensemble a different harmonic sound palette compared to the piano while also creating an “inherent” connection between the two groups—the fundamentals are always generated by the piano.

IV. Extending the Piano: Some Compositional Considerations

As introduced above, the metaphorical extension of the piano and its explorations comprise the primary motivations of the work. I expand the piano’s sonic and mechanical capabilities and extend its physical reach, moving its sounds and energies around the stage. Most of the ideas here are clear upon hearing the piece; others provoke questions, discussed below.

The extension of the piano’s metaphorical sonic capabilities:

• Sustained notes can be lengthened even further. • Sustained sounds can swell (any pianist’s dream)! • One “sound” can split into multiple layers and have independent dynamic 18

shapes. • Sounds can take on various timbres. • Sounds take on more harmonic complexity with ensemble’s microtonal capabilities.

The extension of the piano’s sound in physical space:

• Sounds move from piano via pitch identity or pitch doubling. • Sounds move through the space as energetic waves or bursts.

I owe perhaps the largest debt to Elliott Carter’s Double Concerto, which features solo harpsichord and piano with chamber ensembles that support each soloist.

Carter carefully assembled the ensembles around each keyboard soloist so as to both enhance and complement the latter’s timbral features.11 While the Double Concerto models my concept of a surrounding ensemble that enhances the sounds of a solo piano,

Dreams features the piano’s acquisition of its larger persona as the central issue and not a circumstantial one. In my work, the listener can engage in ongoing interpretive questions about the piano’s identity. How does the piano woo the ensemble? Even after they merge, there are plenty of moments when the piano is just a piano again. The second movement includes several passages where the ensemble is initially subsumed in the piano’s sound but seems to eventually overflow, as if to surpass the meta-piano’s ability to contain it. Indeed, in the conclusion of both movements, the ensemble seems to overpower the piano, which drops out.

A few passages provide, to my ear, important moments for interpreting the piano’s shifting relationship with the ensemble.

In movement 1, mm.39-40, the vibraphone chord is passed on to piano, which

11 For example, the harpsichord’s orchestra includes more brass, highlighting its metallic timbre but also boosting its volume: trombone, horn I, trumpet, and flute. As if to help its thin bass, the lower strings are allied with the harpsichord: contrabass and viola. 19 plays the same pitches. Since this is the first such exchange, an ambiguity arises: is it

“one sound” being passed around, or is it two separate instruments/characters/personalities in agreement? How unified are these bodies at this moment? I enjoy this tension.

A similar tension occurs at movement 1, Reh. G, mm.71-83—the “chorale” with the piano and percussion trio. All the pitches in the vibraphone and

Glockenspiel/chimes are drawn from the piano chords (though with octave transpositions applied freely), but each of the three has a unique, strong melodic line.

Dynamically, the percussion sit just behind the piano, as if in its shadow. Here also, a friction occurs between the individuality of the part and the unity of the three.

In contrast, in movement 1, m.106: the bass clarinet and piano play together in a rare instance of exact unison. This moment suggests a deeper integration of the ensemble with the piano. The latter now has new “arms,” with more timbral potential.

While the categories of piano’s sonic capabilities and its physical reach have blurred boundaries, attending to the sound in physical space raised an important question during my compositional process.

As indicated in my performance notes, I specify the spatial arrangement of the instruments. The piano is centered at the front of the stage, while the percussionists are in the two rear corners. The antiphonal exchange between the percussionists, with the piano in the middle, adds to the high energy of the opening and is, happily, audible in the stereo recording. The large triangle formed by the trio across the performance space initially acts as a skeleton for what later becomes the body of the meta-piano. The ensemble, forming a semi-circle around the piano, radiates from the piano’s body, both 20 symbolically and physically increasing its size by several times. The whole stage acts as the resonating chamber for the meta-piano.

Despite the importance of this stage configuration, the spatial design does not impact the listener’s experience in the way that it does in pieces like Stockhausen’s

Carré or Gruppen, Xenakis’s Persephassa, or in most of Henry Brant’s works, where the ensemble creates an immersive experience by encircling the audience. Still, some simple concepts from these pieces apply to mine. Stockhausen and Xenakis demonstrate that temporally staggering homogeneous material, especially, with staggered crescendo and decrescendo, creates the sensation that a sound is physically moving around a space.12 From Henry Brant, I take his concept called “spill”—if a few spatially separated instruments play the same pitch, it will seem as if the pitch is coming from the entire space between them.13

Carter’s Double Concerto, like Dreams, is spatially configured on stage but not interspersed among the audience, and while spatial issues are not relevant throughout the entire work, there are notable passages when sounds move very palpably. A single harmony is tossed back and forth across the two sides of the stage a few times; later, a long thread of accented notes encircles the stage, accelerating as it goes.

One commonality among most of the above works is that sound not only

“moves” around a space but it does so with high speeds. The most salient moment of

12 see Harley’s discussion. Maria Anna Harley, “Spatially of sound and stream segregation in twentieth century instrumental music,” Organised Sound 3 (1998). 13 Henry Brant, “Space as an Essential Aspect of Musical Composition,” in Contemporary Composers on Contemporary Music, ed. Elliott Schartz and Barney Childs (New York: Holt, Reinhart and Winston, 1967), 232. 21 interaction among the three ensembles in Gruppen is the rapid exchange of short fragments, Xenakis’s Persephassa is a constant state of whirling ecstasy, and Carter’s most explicit passages of motion also reach high speeds. As discussed earlier about

Dreams, the energetic potential of a sound material is a fundamental aspect of its conception—the basic impetus of the piece is that the piano attains an energetic groove with the ensemble, and the latter’s ability to augments its dynamic powers (i.e. the swells) is one of the biggest prizes. Yet as I found myself in the final climactic passages of each movement, I wondered, did my interest in activating the listener’s perception of sound moving in space obligate me to write high-energy music? In other words, “non- spatial” pieces have pitch doublings all the time, and we don’t think of them as “sound traveling.” In order to make the point, then, must the exchanges happen fast?

It is difficult to answer this question, since I establish certain behaviors from the beginning: the piano literally stirs the ensemble through big accented chords. The repetition of the arpeggio figure at the end of movement 1 reinforces the concept that the piano continues to rouse its new forces through the breadth of its gesture. Energy, after all, is a personality trait of the piano, and I listened to its needs.

To counter these high energy passages, the second movement offers some calmer passages. Two of my favorite passages are the opening of the Ad Lib. section and the high piano tremolos at Reh. H and J. Here, the piano does—for moments here and there—fuse with the others. In the relative stillness, they resonate as one body, and the piano relishes its moment of glory as it has become something else. Dreams of a Young Piano in two movements for solo piano, two percussionists, and ensemble

Yiheng Yvonne Wu 2014/2016

22 Dreams of a Young Piano

Performance Notes

General Notes • Score is in C. • Accidentals apply only to the notes they immediately precede, not to the entire measure. • The piece may be performed either as two movements or with movement 1 alone.

Instrumentation Solo Piano (with light preparation as specifed below) Percussion 1 Percussion 2

The remaining nine players form the ensemble, divided into three groups of three. Pitch and musical materials are often related among members of the same group. The groups should not be apparent in the seating arrangement—all nine players should be evenly spaced in a semi-circle (see below).

Group 1: Flute in C 1 Flute in C 2 Clarinet in Bb 1 Group 2: Clarinet in Bb 2/Bass clarinet Horn in F Trumpet in Bb Group 3: Violin Cello Contrabass

23 24

Score

Score Piano Preparation the noise of the hammers. Some pitch may come through so that theœ perceptionœ œ of gestureœ and contour is possible, but the sound should be predominantly woody and percussive. The ãsoundœ œshould not be metallic or “twang”-y. œ œ œ other material, wrapped with felt or soft cloth. The dampening object should be heavy enough to prevent any metallic buzzing. œ œ œ œ œ œ ã ã œœ œ œ œ œ œ œ œ œ Percussion 1: Marimba œ œ œ œ œ ã œ œ œ œ œ œ ãœ œ œ œ 3 metals œ tam-tam Chimes œ œ œ œ œ œ œ ã œ œ œ œ œœ œ œ & ã œ œ 4œ woodsœ bass drum additional instruments in second movement: Score 3 Low/Medium Metals — medium to high resonance; preferably unpitched Medium tam-tam œ œ œ Small bass drum or large tom-tom ã œ œ œ ã œ œ œ œ &

ã ã œ Percussion 2: œ œ œ Vibraphone 2 ãwoodsœ œ 2 woodblocks, , medium-high and medium 5 Almglocken pitches œ œ œ notatedã œ œ Scorew as: œ œ ã & #w ã œ œ œ # ww 5 Almglocken additional instruments in second movement: œ œ œ œ 3 Low/Medium Metals — medium to high resonance; preferablyã unpitched& wã œ œ ã Triangle #w œ œ œ Small-to-medium tam-tam # ww œ œ œ œ ã ã œ œ 3 metals ãœ œ œœœ œ œtriangle œ œ ã œ œ œ œ & œ œ œ œ œã œ œ ã œ œ ãœ tam-tam 5 Almglocken 8

ã ã

ã w ã & #w 16 # ww ã ã

20 ã ã

ã 25

Score

Notation speed up and slow down, respectively, within given total duration & œ œ œ œ œ œ œ œ œ œ Q Q

4 & foreshadowing of the energy at Reh. K, which is of the same material. , Since the breath has a durational value in addition to the durations of the neighboring notes, they should 8 disrupt any sense of regular meter in the Ad Lib. passage. & Cues: The conductor, following the piano solo, cues entrances of the ensemble. From measures 12-14, the conductor gives one cue for each ensemble trio, who then performs their 2 bars independently from the rest. The leader of each trio leads and conducts as necessary. 12 Microtonal pitches There are two categories of microtonal pitches. & B!!!"!!#!$%&'()*+,-./!!!0 accidentals. In such cases, they are to be very slightly 16 mostly for timbral changes. & accompanied by (X, #, +/- #). j k l J K L 20 partials of given fundamentals. Shown with each partial is its fundamental & arrow—shows the equal-tempered pitch from which the number of cents should 24

& a C fundamental (which is played simultaneously by the Clarinet 1. It is 41 cents 28 To aid in tuning, each trio group of the ensemble plays partials of the same & the fundamental, though often in a much higher octave than the fundamental transposed in relation to other partials. 2 63 3 4 2 4 2 4 2 4 & 4 4 4 4 4 4 4 4 poco rit. Slightly Slower 70 G ca. Glock q = 76 b w œ b 2 œ & 4 # œ œ 2 3 Œ 4 3 ‰ Œ Œ 4 œ 4 4 4 p 4 Slower Still ca. molto ritardando . . . . to = 50 H Tempo I 78 q q = 69 - q = 3 #œ- œ 6O.6 O. O. O O œ- 2 4 ‰ œ. . œ. œ & 5 J #œ #œ 4 4 - - p F p F (6) (G,19,-2) L sul G 87 (fund. Cb,) œ œ œ œ œ (fund. Cb,) > # k œo œo œo œo o >œo 9 R 4 Ó Œ 5 & 6 6 poco 16 4 4 P f F f ç p f ç 26 I (Fund.) 1/3 (Fund.) 92 bœ œ O O O O O. O / O. >O O O >O >O Œ œ œ œ œ œ. œ 4+1 3 œ. œ œ œ œ œ Œ & 3 4 J 4 J 4 6 f P f ç p ç p ç Strings f 95Scr. J 6 œ œ >œ œ >œ œ œ œ >œ >œ q = 110 56 2 ord. J con sord. Jœ J œ -œ bœ- œ- 3 5 # 3 4 5 4 Scr.& ? w w œ œ ‰.Œ # Scratchw tone: produced œ with‰.8Œ bow Œfriction;‰ resultant sound4 should be5 mostly scratch4 noise and very4 little 6 P pitch.ç Oftenç accompaniesP overpressure marking,ç ç but sometimes appears independently. all strings dampened w/ LH 8 arco pizz. s.p. IVIV III IV III poco sul tasto 5 F f 100 pizz. p 3P F5 P IV 5 p.s.p. poco sul pont. only a small amountœ-. of timbral distortion;¿ no pitch distortion 2 4 ‰ ‰‰ ‰ ‰ ¿ 3 Œ ‰ 4 Ó ‰¿ ¿ ‰ ¿ Œ Ó 3 4 Q m.s.p.&( = ) (¿ . = ¿36)¿ ¿ poco accel.¿ . . ¿ accel¿ ¿ . . . 117 e 4e q 4 4 5 4 4 œ- - - - timbralsenza sord. and pitch distortionP results.F œ bœ œ œ- 2f arco, poco sul pont. # I ? I pizz. 5 6 IV III IV ‰ IV ‰ III IV II ‰ ‰ III withpizz. slide (poco) œ œ œ œK pizz. 8 8 107 5 #œ. 3 -pizzicato.- #œ The. string- number#œ3. is- given along#œ. with- the approximate pitch, which should #œ œ œ ¿ ¿ F F ¿F ¿ F . œ & 4 ‰ ¿ ¿ ‰ ¿ ‰‰ ¿ ¿ ‰¿ ¿ ‰ Œ Ó Œ ‰ œ Ó 3 4 4 F ß Vln. 124 a tempo q = 54 ? œ. ‰ 5 œ ‰ œ ‰ œ ‰ œ ‰ 4 3 4 > 8 4 G.P. 8 4 #œ #simileœ #œ #œ #œ f

R Bell-like 131 2 3 ? 4 3 5 3 4 ‰ ‰ 3 4 4 4 4 4 œ œ 4 p

S Pno. 137 5 5 #œ. #œ œ ? #œ #œœ œœ # 3 Œ Œ Œ œ 5 & 4 5 #œ #œ 4 #œ œ 4 - . 4 p #œ. F p

sul G 142 o o o œ œ œ ? 5 ‰3 ‰ Œ Œ 4 ‰ Œ 3 & 4 4 œ . . 4 P p p Score in C Dreams of a Young Piano I. Yiheng Yvonne Wu 2014/2016

q = 66 Percussion 1 Wood > > > / ã 4 ‰. œ ŒŒœ Œ œ ŒÓ 1+2 3 ∑ 4 4 3 J 4 4 / 4 ∑ ∑ 1+2 3 ∑ 4 Marimba & 4 f 3 4 4 ? j / 4 ‰. œœ ŒŒœœ Œ œœŒÓ 1+2 3 ∑ 4 4 #> #> #> 4 4 q = 3 66 - - 2/3 ‰ bœ Œ ≈ ‰ b>œ bœ œ œ œb œ / bœ nœ œ ? bbœ œ œ j Œ‰ bœ œ œ œœ œ œ 4 œœ ≈ 7 bœœ bœœ 1+2 3 bœœbœœ 4 4 #œœ ÿ - 3 4 . . 4 Piano ÿ 5 6 ÿ ÿ f ÿ 3 2/3 F ß f bœœ #œœ #œ ? > / # œ 4 ‰ bœœ j Œ ≈ ‰ Œ‰b œ bœœ 1+2 3 #œœ œ 4 4 œ œœ bœœ œ œ 4 œœ bœœ 4 bœœ bœ b œ F bœ. b œ. ÿ ÿ ÿ ÿ ÿ

4 Perc.1 Wood > > > > ã 4 ‰. œ ŒÓ 3 Œ œ Œ 2 ≈ œ Œ œ 4 4 4 4 5 5 R 4 & 4 ∑ 3 ∑ 2 ∑ 4 Mrb. 5 4 4 4 5 4 ? r 4 ‰. bœœ ŒÓ 3 Œ œœ Œ 2 ≈ œœ Œ bœœ 4 4 > 4 # 4 # > 4 5 > > > > > Vib. ≈ ‰ Œ ≈ ‰ & 4 Œ œ Ó 3 œ ‰. ŒŒ 2 œ 4 4 f ≈ œœ ‰ 4 œœ ‰. 4 ≈ œœ ‰ 4 5 >5 3 > 3 > 5 œ - œ ? 4 ‰ ‰. œ ‰ ‰ 3 ≈ ‰ ≈ œ bœœ ≈ 2 Œ‰≈ 4 œœ œœ œœ œœ 5 bœ œ nbœœ bœœ 4 #œœ #œœ #œœ 4 #œœ .ÿ 4 â 4 Pno. ÿ 5 ÿ ÿ3 ÿ ß f 5 > > F ? 4 ‰ ‰. bœœ #œœ ‰ ‰ ‰ 3 ≈ ‰ #œœ ‰ ≈ 2 Œ‰≈ 4 #œ #œ œœ œ 4 7 4 - 4 bœ 4 bœœ bœœ bœœ bœœ bœ. b œ ÿ ÿ ÿ ÿ ÿ â

N.B.: Accidentals apply only to the notes they immediately precede.

27 28

7 Perc.1 Wood > > ã 4 Ó " œ ‰. œ 2 ! 4 ! 4 5 5 4 4 & 4 ! 2 ! 4 Œ " ‰ Ó Mrb. 4 4 4 #œ 5 5 > ? 4 Ó "bœœ ‰. bœœ 2 ! 4 Œ " œœ ‰ Ó 4 > > 4 4 > 5 5 > > > Vib. r 4 Ó ‰ œ ‰ Œ œ 2 ! 4 Œ ‰. œ Ó & œ œ œ 4 ‰ œ ‰ Œ œ 4 4 ‰. œ 5 5 R > > 6 > 3 œ œ bœ nœ ? ‰ " b bœ œ œ œœ ‰ œ bœœ bœ . 4 bœœ " & œ #œ 2 œ bœœ bœ œ bœ "bœ " 4 œœ ‰ Œ œ œ œ " œœ ‰ Œ . bœ 6 #œ b œ bœœ #œ 4 ÿ 5 > 4 4 b œ . Pno. 7 ﬂ â ÿ œ F f ß´ œ bœœ œ bœœ bœ ä œ œ œ bœ. ? œ b œ œœ œ ? . œœ œ b 4 ‰ " bœ 3 & 2 b œ b œ œ 4 ‰ Œ " nœ ‰ 4 bœœ œ 4 bœœ œ œ 4 bœœ œ b œ ﬂ 5 .ÿ

& Œ Ó 5 Œ ‰. œ Œ Ó 4 #œ. #œ #œ Mrb. > > 4 > 4 œ>œ ? œœ. œœ Œ Ó 5 Œ ‰. Œ Ó 4 > > 4 4 5 > Vib. " & Œ ‰ œ Ó 5 ! 4 ‰ œœ " 4 4 5 5 > œ œ œ.´ œ- œ œ ´ b œœ bœ bœ - œ ? # œœ œœ œ bœ œ #œ œ. #œœ œ #œ œ bœœ bœœ Œ " ‰. œœ " # ‰ & ‰ #œ bœœ 5 " " bœœ " ‰ 4 & b œ 6 5 bœ . 2:3 5 b œœ ÿ 4 5 4 Pno. . ß5ÿ ß 5 ß 6 ´ 3 ß bœ b œ. ? ? ? Œ " œœ ‰. œ Œ ‰ b œœ " & 5 œ " œ " #œœ " & ‰. œœ œ 4 œ bœ œœ œ œ œ œ #œ œ b bœœ . 6 4 œ b . b #œ - 4 ÿ ÿ .ÿ 29

A imminently emerging, q = but never quite there 12 (C,9,+4) 50 kœ w w Fl. 1 / & 4 ! 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly (C,13,+41)# j Fl. 2 / œ w w & 4 ! 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly #(Fund.) œ w w B Cl. 1 / b & 4 ! 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly #

(C#,14,-31) K œ w w B Cl. 2 / b & 4 ! 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly con sord. #(Fund.) Hn. / + #œ w w & 4 ! 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly con sord. (C#,19,-2)# B Tpt. / K b œ w w & 4 ! 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly # Vln. / œO wO wO & 4 ! 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly (5) #sul D L o o o Vc. ? / œ w w 4 ! & 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly # (9) sul D œo wo wo Cb. ? / 4 ! & 1+2 3 Œ ‰ 4 poco cresc., 4 4 2/3 4 imperceptibly 5 5 # 2/3 / & 4 Œ ‰ ‰. 1+2 3 Œ ‰ 4 ! ! Mrb. 4 #œ #œ. #œ 4 #œ 4 > 5 > 5 > ç 2/3> / ? 4 œœ Œ ‰ œœ. ‰. œœ 1+2 3 Œ ‰ œœ 4 ! ! 6 4 > >5 > 4 > 4 5 2/3 > > l.v. " Œ Œ ‰. Œ >r > Vib. " / ‰ & 4 #œ #œ #œ 1+2 3 Œ #œ 4 ! ! 4 " œœ Œ ‰. œœ " Œ œœ 4 ‰ œœ 4 5 R ç 6> > 5 > 2/3 > A 6 2/3 3 q = 50 ˘ ##œœ / œ œ # >œ w #œ œ ? œ œ œbœœ œ œ w 4 ‰ œ bœ œb œ 7 1+2 3 7 ‰ œ 4 w ! & 6 bœ 3 bœ bœ 4 bœœ 4 4hold until sound fades completely Pno. cresc. ç F œœ ß ? œ œœ œ œœ / œ œ 4 b œ œ #œ 1+2 3 bœœ œ œ b ‰ bœ 4 w ! œ "bœ œ " œ w 4 4 œ b2/3œ 4 w ﬂ 6 bRH > 30

gradually brighten B Tempo I q = 16 cresc. and brightening 66 seem to w w w ˙ ˙. œ cut off before arriving at "peak" Fl. 1 & 5 4 ‰. Œ Ó ! 2 ! 4 gradually brighten 4 4 4 4 p Fl. 2 w w w ˙ ˙. œ & 5 4 ‰. Œ Ó ! 2 ! 4 gradually brighten 4 4 4 4 p w w w ˙ ˙. œ B Cl. 1 b 5 4 ‰. Œ Ó ! 2 ! 4 & 4 4 4 4 p gradually brighten

to Bass Clarinet B Cl. 2 w w w ˙ ˙. œ b 5 4 ‰. Œ Ó ! 2 ! 4 & 4 4 4 4 p Hn. w w w 5 ˙ ˙. 4 œ ‰. Œ Ó ! 2 ! 4 & 4 4 4 4 p + B Tpt. b w w w 5 ˙ ˙. 4 œ ‰. Œ Ó ! 2 ! 4 & 4 4 4 4 ord. poco sul pontp

Vln. wO wO wO ˙O ˙O. œO & 5 4 ‰. Œ Ó ! 2 ! 4 4 poco sul pont +4 4 4 ord. very slight scratch tonep Vc. wo wo wo ˙o ˙o . œo ? & 5 4 ‰. Œ Ó ! 2 ! 4 4 poco sul pont4 + 4 4 ord. very slight scratch tonep wo wo wo ˙o ˙o . œo Cb. 5 4 ‰. Œ Ó ? ! 2 ! 4 & 4 4 4 4 Leggierop Perc.1 Wood >œ œ œ >œ >œ. œ >œ > œ >œ œ >œ >œ ã ! ! ! 5 ! 4 œ Œ " œ œ œ " œ. Œ ‰ œ œ œ œ œ œ œ "œ ‰ 2 ‰. œ ‰ œ œ 4 4 4 J 3 Q 3 5 6 4 5 5 4 LeggieroP Perc.2 >œ >œ. >œ > > Alm/Wd œ ã ! ! ! 5 ! 4 ‰ œ Œ " œ. Œ œ Œ Œ ‰ œ œ 2 œ œ œ ‰ œ œ œ œ œ " 4 3 6 4 4P 4 Q 4 B Tempo I Leggieroq = 66 # œ.´ ? ! ! ! 5 ! 4 œ ‰. Œ Ó ! 2 ! 4 4 4 œ 4 4 Pno. F ? ! ! ! 5 ! 4 bœ ‰. Œ Ó ! 2 ! 4 4 4 b œœ 4 4 .ÿ 31

23 Perc.1 Wood 4 >œ " œ œ œ " >œ >œ 2 " >œ. ‰. œ >œ 3 œ œ œ ‰ ‰ 4 ! ã 3 4 5 4 5 8 4 Perc.2 >œ. >œ. >œ >œ. > Alm/Wd œ œ ã 4 " œ. ‰. œ œ œ ‰ œ. " œ 2 " œ. œ œ œ ‰ 3 ‰ œ œ œ œ 4 ! 4 6 5 5 4 5 8 3 3 4 top octave dampened $ œ ˘œ ? œ œ #œ nœ œ œ #œ œ 4 ! 2 ! 3 ! & 4 6 Œ ‰ Œ 4 4 8 4 6 Pno. P $ b ˘œ ¯ œ œ œ #œ œ ? 4 ! 2 ! 3 ! & 4 Œ œ "œœ œ Œ œ 5 4 4 8 4 6

C 27 Perc.1 Wood œ œ œ œ œ œ œ >œ œ œ >œ œ œ >œ >œ ã Œ " œ œ œ œ œ œ ‰ œ œ " Ó ‰. œ œ ‰. 2 œ œ œ "Œ 4 œ "œ œ œ " œ 6 5 6 5 5 6 4 5 4 Q 5 p P F f Perc.2 > >œ >œ >œ Alm/Wd œ ã ! ! 2 ‰ œ œ œ " œ œ 4 œ Œ œ " œ 4 3 4 5

($) locoF f œ- - œ- œ œ œ œ œ œ ˘ ˘ œœ. œ #œ œ œ œ œ œ #œ œ œ b bœ œ œ œ œ œ & " Œ Ó 6 6 7 Œ 2 ! 4 " œ ‰ Œ " œ ‰ Œ 3 4 4 Pno. locoF ($) Ó Œ ‰ œ #œ œ ! 2 ! ? 4 "#œ ‰ Œ "#œ ‰ Œ & 3 #œ œ 4 4 ﬂ ﬂ

31 Perc.1 Wood œ œ ˘ œ. > œ œ œ >œ. >œ ã Ó ‰. œ œ œ œ œ œ œ œ ‰. Œ Œ ‰. œ œ 3 œ. œ Œ Œ 6 5 6 6 4 p F F Perc.2 > >œ. >œ Alm/Wd œ œ ã ! Œ ‰. œ œ œ œ ‰ Œ 3 œ. œ Œ Œ 5 Q 4 locoF F $ secco, quasi legato œ $ œ œ œ bœ œ œ œ œ œ ˘œ œ ä œ œ ˘œ œ. b œ œ #œ œ # œ œ œ œ # œ œ œ Œ 5 R 5 ‰ Œ " 6 Œ œ ‰ 3 " # " " & 6 œ 6 5 # #œ 4 5 Pno. f ˘ p F p F P 6 F P F ‰ #œ nœ äœ ? # #œœ # #œœ # #œœ ‰ Œ Œ Ó #œ Œ 3 " #œ " Œ Œ # œ # œ # œ 4 ﬂ 32

D flickering subtly, in the distance 34 (B,13,+41) kœ ˙. w Fl. 1 ! ! ! 8 ‰ 3 4 & 4 4 (B,11,-49)% Kœ ˙. w B Cl. 1 b ! ! ! 8 ‰ 3 4 & 4 4 (G,9,+4)% k B. Cl. œ ˙. w ! ! ! 8 ‰ 3 4 & 4 4 (G,12,+2) con sord. % Hn. k ! ! ! 8 ‰ œ ˙. w 4 & 4 3 4 (B ,5,-14)% b K œ ˙. w Vln. ! ! ! 8 ‰ 3 4 & 4 4 (Bb,17,+5)% kœ ˙. w Vc. ? ! ! ! & 8 ‰ 3 4 4 4 Q % Perc.1 Wood œ œ >œ. >œ >œ ã Œ Œ " œ œ " œ. Œ œ Œ œ Œ Œ 8 ! 4 3 J 4 4 P f & ! ! ! 8 ! 4 Mrb. 4 4

? ! ! ! 8 ! 4 4 4 Perc.2 >œ. >œ Alm/Wd œ ã ‰. œ œ œ œ ‰. Œ " œ. Œ Œ œ Œ Œ 8 ! 4 5 6 4 4 p F f Vib. & ! ! ! 8 ! 4 4D 4 loco œ œ äœ œ´. b bœ b˘œ ? œ œ#œ œ œ#œ ˘œ ? Œ œ #œ ‰ Œ ‰##œ "##œ & œ #œ 8 œ œ ‰ Œ Ó ! 4 & 6 œ œ #œ œ 5 4 3 4 œ6 ‰. fl 6 6 Pno. fl cresc. ‰ f ß5P f œ bœ œ b˘œ ˘ ? Œ #œ œ œ ‰ Œ ‰ " ‰. œ œ 8 œ ‰ Œ Ó ! 4 œ #œ bœ œ #œœ bœœ œ œ 4 3 4 fl fl â .ÿ 33

U Fade out independently after 1-4 s 38 œ q Fl. 1 & 4 ! ! ! 3 4 U Fade out independently after 1-4 s 4 œ q B Cl. 1 b 4 ! ! ! 3 & 4 4 Fade out independently after 1-4 s Uœ q B. Cl. 4 ! ! ! 3 & 4 4 Fade out independently after 1-4 s U q Hn. 4 œ ! ! ! 3 & 4 4 U Fade out independently after 1-4 s œ q Vln. 4 ! ! ! 3 & 4 4 Fade out independently after 1-4 s Uœ q Vc. 4 ! ! ! 3 & 4 4

Perc.1 Wood œœ œ œ ã 4 ! ! ! ‰. œ œ œ Ó 3 4 5 5 4 5 5 5 P F & 4 œ œ Œ rŒ " Œ Ó " Œ Ó ! 3 Mrb. 4 > > b5œ bœ bœ 4 F > 5 > 5 > > > r ? œ œ œ œ œ 4 #œ #œ Œ œ Œ " œ Œ Ó " œ Œ Ó ! 3 4 > > > 4 Perc.2 œ œ Alm/Wd ã 4 ! ! Ó Œ " œ œ œ "œœœŒ Ó 3 6 4secco 4 3 5 l.v. P F Vib. r > 4 ‰ ‰‰. œ Œ Ó ˙ ! ! 3 & #œ #œ Œ ˙ 4 ‰ œ ‰‰. œ œ b˙ 4 F 3 f 6 6 > $ 5 $ 6 3 $. . loco P ˘ ˘ œ œ œ œ œ #œ œ Œ "œ œ œ œ œ œ œ ‰ œ #œ œ Œ Ó œ #œ œ œ ‰ ? bbœ bbœ œ œ > œ œ œ œ 4 Œ " ‰ Œ " & 5 ‰ Ó œœ œœ ˙˙ ww 3 4 Œb œ œ ˙ w fl fl 4 Pno. F P f5 R F f ? b>œ œ ˙ w 4 Œ " bœœ‰ Œ bœœ‰. ! Œ œ œ ˙ w 3 4 fl fl 5 R 4 34

42 Fl. 1 3 ! ! 4 ! ! 5 & 4 4 4

B Cl. 1 b 3 ! ! 4 ! ! 5 & 4 4 4

B. Cl. 3 ! ! 4 ! ! 5 & 4 4 4

B Tpt. b 3 ! ! 4 ! ! 5 & 4 4 4

Vln. 3 ! ! 4 ! ! 5 & 4 4 4

Cb. ? 3 ! ! 4 ! ! 5 4 4 4

l.v. all Glk. 3 ! ! 4 ! Ó Œ ‰ bœ 5 & 4 4 4 5 F & 3 ! œ " #œ #œ 4 ! ! 5 Mrb. 4 > > > 4 4 f >œ >œ >œ ? 3 ! #œ " œ œ 4 ! ! 5 4 5 4 4

Crt.2 3 ! ! 4 ! ! 5 & 3 5 secco 4 ˘ 4 l.v. 4 > l.v. ‰ r Œ . ‰ œ Vib. œ œ œ ‰ ‰. œœ 3 ! bœ œ bœ 4 bbœœ ‰ Ó ! 5 & 4 ‰ œ œ Œ œ ‰. 4 ‰. 4 f 3 R 5 ﬁ > ﬂ espressivo ($) loco œ- ˙ F œ . . œ œ œ bœœ œ œ œ œ œ #œ œ ˙ ? bœ œ œ œ 3 ‰ " " " Œ Œ Œ 4 ‰ 3 b œ & Œ 3 5 & 3 3 œœ 4 5 J 4 3 J ‰ 4 Pno. 3 f F3 Œ j P f #œ- ˙ œbœœ ? œ ˙ ? j œ b Œ #œœ#œ ? 3 ! Œ Œ Œ 4 Œ œ ‰ bœ ‰ 3 & ‰ Œ 5 4 3 J 4 4 35

E Fade out independently after 1-3 s q 46 (Gm,13,+41) k œ w. Uœ Fl. 1 5 Ó Ó ‰ 6 3 4 ! ! & 4 4 4 4 Fade out independently after 1-3 s (Ab,5,-14)% q B Cl. 1 K U b & 5 Ó Ó ‰ œ 6 w. 3 œ 4 ! ! Fade out independently after 1-3 s 4 4 4 4 q % (F,17,+5) U l œ ˙ ˙. œ to Clarinet in Bb B. Cl. & 5 ! 6 ‰ 3 4 ! ! 4 4 4 Fade out independently4 after 1-3 s (F,7,-31) con sord. % q U B Tpt. Jœ ˙ ˙. œ b & 5 ! 6 ‰ 3 4 ! ! 4 4 4 Fade out independently4 after 1-3 s % q (G,19,-2) Lœ ˙ ˙. Uœ Vln. 5 ! 6 ‰ 3 4 ! ! & 4 4 4 4 Fade out independently after 1-3 s % q (G,9,+4) U k œo ˙o ˙o . œo Cb. ? ? 5 ! & 6 ‰ 3 4 ! ! 4 4 4 4 3 % Glk. 5 nœ œ Ó. 6 ! 3 ! 4 ! ! & 4 #œœ œ #œœ 4 4 4 5 5 5

& 5 ! 6 ! 3 " Œ Œ 4 " Œ œ " #œ #œ Œ Ó Mrb. 4 4 4 bœ 4 bœ > > > F 5 > 5 > ß >œ >œ >œ ? ! ! " œ Œ Œ " œ Œ #œ " œ œ Œ Ó 5 6 3 œ 4 œ 5 4 4 4 > 4 > l.v. all 3 Crt.2 5 Œ ‰ œ Œ bœ ‰ œ bœ 6 ! 3 ! 4 ! ! & 3 3 5 4 J 4 4 4 l.v. l.v. ˘ 3 l.v. all l.v. > F ‰ r Œ ‰. ‰ œ Vib. œ œ œ Œ j œœ 5 Œ ‰. bœ ‰œ ‰bœ " 6 ! 3 Œ 4 Ó bœ œ bœ bbœœ ‰ Œ & 3 œ. ˙˙ ‰ œ œ Œ œ . Œ 4 4 4 4 ‰ 3 J b˙ 5 3 R ﬁ E F > ßﬂ F P 5 >œ ˙. œ ˙. 5 ! 6 ! 3 ! 4 Œ r Ó Œ œ ˙. & œœ œœ 3 4 4 4 4 bœ œ J Pno. F f#>œ ˙. ? bœ œ œ ˙. 5 ! 6 ! 3 ! 4 Œ œ œ Ó Œ œ ˙. 3 J 4 4 4 4 5 R 36

= 51 Ç‰ e ritardando . . . . l.v. 3 Glk. fi fi fi Ó Œ ‰ ‰ Œ 3 ‰ 4 ‰ œ. 3 ‰ œ 5 Œ " œ œ 9 & ˙ œ œ bbœœ bœ.. œ œ œ #˙˙ cresc.‰ #œ ‰ #œ 8 œ 8 b œœ. 8 #œœ 8 "#œœ œœ 8 P 3 3 f j l.v. Vib. . Œ œ j j Œ b ˙n˙˙. bœœ Œ Ó 3 ! 4 œœ Ó 3 ! 5 ‰ bœ ‰ Œ 9 & b Œ œ # œ fi œ 3 J 8 8 # œ 8 8 œ 8 P f J f J F Ç‰ = e ritardando . . . . ˙. œ. >œ œ œ. äœ ˙ ˘ ˙. œ. œ œ œ. œ ˙ œœ j - ˙. œ. œ œ œ. œ ˙ #œœ ‰ ‰ ‰ ‰ ‰ œ. ? j ‰ ‰ Œ & 3 J 4 bbœ 3 œ. 5 bœœ 9 8 8 8 8 fl 8 Pno. P f fl > ä -œ ß #˙. œ.#œ œ œ. #œ ˙ j ˘œ bœœ. ? ˙. œ. œ œ œ. œ ˙ 3 œ ‰ ‰ 4 bœœ ‰ ‰ ‰ 3 . 5 j ‰ ‰ Œ 9 #œ J œœ 8 fl 8 8 8 bœ 8 fl

F 57 > q = 84 Glk. fi j 9 Œ œ œ œ. 5 ! 3 ! 4 ! & œ œ. œ.. 8 #œœ œœ. œœ. 4 4 4 ß J > >j Vib. bœ & 9 Œ œœ Œ. Œ. 5 ! 3 ! 4 ! 8 b œ 4 4 4 J F dolce ß cantabile > agitatoq = agitato 84 œ œ œ Œ bœœ œ ? j . . . b bœ . ? bœ œ œ b 9 bœœ ‰ ‰ Œ Œ 5 œœ ‰ " bœœ ‰ " bœœ ‰ & 3 œ 4 œ bœ & 8 4 #œœ 3 . . 4 ‰. bœ 4 œ Pno. fl ÿ ÿ P 3 fl 3 ß f fl œ œ œ f - bœ œ # ? 9 j ‰ ‰ Œ. Œ. 5 ‰. ‰. " ‰ 3 Œ 4 bœœ bœœ bœœ 8 bœœ 4 œ œœ bœœ 4 4 ‰ b œ bœœ bœ. b œ. œ bœœ fl fl ÿ ÿ fl 37

& ! 2 ! 3 ! 4 Ó ‰ bœ Œ 2 ! 4 Mrb. 4 4 4 4 4 F bœ bœœ > > ? bœœ bœœ ! 2 ! 3 ! 4 Ó Œ œ 2 ‰ 3 ‰ 3 4 cantabile, legato 4 4 4 3 4 4 agitato cantabile ------œ - - - bœ - bœ bœ #œ ? ˘ œ bœ œ ‰ œ #œ ‰ & œ œ bœ 2 œ 3 ‰. œ & œ 4 œ #œ bœ 2 œ 4 ‰ #œ œ œ œ ‰. œœ bœœ - œ œ #œ #œ œ œ b œ œ œ œ 4 f #œ 4 fl 4 4 - 4 Pno. - - P - - - P - ‰ bœœ ‰ œ œ œ œ œ œ œ œ #œ œ ? ? Ó Œ œ #œ 2 Œ ‰. 3 ‰. bœœ Œ 4 bœ # Œ # 2 & œ 4 4 4 bœœ 5 4 4 4 bœœ b œ fl fl

poco rit. 66 Glk. b˙˙ 4 ! 2 ! 4 ! 2 ! 4 œ & 4 4 4 4 4 #œ œ F œ & 4 ! 2 ! 4 ! 2 ! 4 ! Mrb. 4 4 4 4 4 œ > > œ " ‰ " ‰ ? bœ œ œœ bœœœ 4 Ó " œb bœœ 2 ! 4 #œ b Ó 2 ! 4 ! 4 3 4 4 " ‰ " ‰ 4 4 3 > > bœ- Vib. #˙ œ œ b œ œ œ b˙˙. & 4 Œ ‰ 2 œ 4 Œ ‰. œ. œ 2 œ 4 Œ 4 œ 4 bœœ 4 œ . œ 4 œ #œ œ 4 F poco rit. - - - agitato ‰ - - - ‰ bœœ - - œ œ œ #œ - bœ œ œ #œ œœ bœ bœœ 4 œbœ bœ # œ bœ 2 bœ 4 œ - 2 œ 4 ‰. œ ‰. Œ & bœ œ œ b œ œœ bœ œ œ œ ‰ œ 4 œ œ 4 4 œ ##œ bœ œ 4 4 bœ bœ Pno. ‰ ‰ - ‰ F - - f fl fl P œ bœ ‰ œ- - œ œ ? œ # œ œ ? œ œ ? œ˘œ œ ? 4 ‰#œ # & bœ 2 4 & bœ #œ #œ œ œbœ & 2 œ œ 4 ‰. ‰. bœ Ó & œ #œ œ bœ œ bœ #œ b œ b œ 4 4 4 - - - ‰ 4 4 fl - 38

G Slightly Slower ca. 71 q = 76 Fl. 1 & Ó ‰ œ œ 2 ˙ 3 œ ‰ Œ Œ ! ! 4 ! 3 ! 3 4 4 4 4 % p % Fl. 2 ! 2 ! 3 ! ! ! 4 ! 3 ! & 4 4 4 4 3 B Cl. 1 b Ó ‰. 2 3 ‰ Œ ! ! 4 ! 3 ! & bœ œ 4 ˙ 4 œ œ 4 4 % p %

B Cl. 2 b & ! 2 ! 3 Œ Œ ‰ Œ Œ 4 ! 3 ! 4 4 bœ ˙. œ 4 4 % p % 3 Hn. ? j ! 2 ! 3 Œ ˙ ˙. ˙. 4 œ Œ Œ Ó 3 ! 4 4 % p 4 % 4 B Tpt. b ! 2 ! 3 ! ! ! 4 ! 3 ! & 4 4 4 4 b˙ w œ Vln. & ! 2 ! 3 ! ! Œ 4 3 ‰ Œ Œ 4 4 % 4 p 4 % bœ w ˙ œ Vc. ? ! 2 ! 3 ! ! Œ Œ 4 3 ‰ 4 4 % 4 p 4 % Cb. ? ! 2 ! 3 ! ! ! 4 ! 3 ! 4 4 4 4

Glk. bœ œ & ! 2 3 œ b 4 Œ œ #œ œ 3 œ œ œ œ #œ #œ 4 œ bœ 4 œ œ pocobœ cresc.œ bœ 4 4 œ P F œ œ Vib. b œ œ b œ œ bœ nœœ œ œ œ bœ œ œ & Ó Œ œ 2 3 œ #œ œ Œ œ 4 b 3 Œ b 4 4 bœ b 4 œ 4 P poco cresc. F b bœ G Slightly Slower ca. q = cantabile, legato 76 - œ bœ œ bœ-œ bœ bœ œ œ œ bœ - bœ œœ œ #œ bœ œ œ œ bœ bœ œ #œ bœ œ œ & œ œ #œ 2 3 œ œ #œ œ #œ œ œ bœ bœ 4 b œ œ #œ 3 œ bœ #œ 4 4 œ œ œ poco cresc. œ 4 œ b œ œ 4 œ œ Pno. œ bœ œ P œ F - - ? œœ bœ œ œ œ œ œ œœ 2 œ 3 œ Œ ! 4 ! 3 Œ œ #œ #œœ & œ œ œ œ bœ œœ b œ œ # œ bœ #œ œ b ‰ 4 - - 4 4 4 - - 39

Slower Still ca. molto ritardando . . . . to = 50 q H Tempo I 78 q = - q = 69 œ- œ œ- œ- 66 Fl. 1 & ! ! ! ! Œ 2 4 ! p 4 F 4 - Fl. 2 ˙ œ #œ & ! ! ! ! Œ 2 4 ! p 4 F 4 - bœ- - œ- B Cl. 1 #œ- œ bœ b & ! ! ! ! 2 4 ! p 4 F 4 - to Bass Clarinet B Cl. 2 #œ b & ! ! ! ! œ Œ 2 œ 4 ! - bœ 4 - 4 p - F senza sord. œ- œ- # Hn. #œ- œ- # ? ! ! ! ! œ 2 & 4 ! - 4 4 senzap sord. F B Tpt. - b ! ! ! ! Œ Œ œ 2 œ #œ 4 ! & 4 4 P F œ- œ- Vln. - b & ! ! ! ! œ 2 4 ! #œ #œ 4 4 - - F Vc. p ? ! ! ! ! Œ œ 2 & 4 ! - -œ 4 bœ -œ 4 p - F Cb. bœ- - ? ! ! ! ! Œ Œ 2 bœ & 4 ! 4 -œ 4 p F l.v. all Chm. #œ œ œ œ œ #œ œ & ! ! Œ œ #œ #œ œ œ bœ œ 2 4 Ó " r Œ cresc. 4 #œ 4 6 #œ P f œ F bœ œ œ bœ œ Vib. #œ #œ œ #œ œ œ bœ Œ Œ œ œ œ Œ #œ œ 2 4 Œ ‰ ‰. ‰ œ. & # ‰ œ 5 5 œ bœ œ 4 b 4 œ cresc. œ Ped. œ molto ritardando . . . . to = 50 f F p q Slower Still ca. H Tempo I - - - - - q = q = - - - œ bell-like 66 - 69 œ œ œ œ œ¯ - - œ- - - œ bœœ bœ œ œœ bœ bœ #œœ œ¯ ¯ # bœ œ # œ œ #œ b œ œ # œ œ # œ œ¯ œ & bœœ œ b œ œ b b œ œ 2 œ #œ 4 #œ¯ œ - œ #œ cresc. - #œ œ 4 #œ 4 Pno. p - - - # - F - œ- bœ- - - f œ- - œ œ - bœ- œ- ¯ œ¯ ? ! # bœœ # œ œ Œ Œ Œ œ 2 4 #œ œ bœ œ bœ œ - - - 4 b- œ 4 œ - freely within w Ped. 40

85 (C,9,+4) (Gm,13,+41) k k œ œ œ œ. œ œ œ œ œ Fl. 1 J R ! ‰. ! Ó ‰ 3 9 4 & 16 4 (C,13,+41) p F (G ,5,-14)P f j m Fl. 2 œ œ œ œ. K ! ‰ J ! Ó " œ œ 9 œ œ œ 4 & 5 R (Fund.) 16 4 (Fund.) p F ˙ œ œ. 3 P f B Cl. 1 b ! J ! Œ Œ j 9 r 4 & #œ ˙ 16 œ œ œ 4 (C#,7,-31) p F (F,17,+5) P f K œ ˙ ˙ B. Cl. lœ œ. œ œ œ œ œ & Ó Œ ! Œ ‰ 3 9 R 4 poco 16 4 (Fund.) p F (F,7,-31) P f Hn. J œ œ. œ œ œ œ œ & Ó #˙ ˙ ˙ ! Œ 9 R 4 poco 16 4 (C#,19,-2)p F (Fund.) P f B Tpt. Kœ œ ˙ ˙ œ œ œ. œ œ œ œ œ b Ó ‰. ! ‰ 9 4 & 5 R poco 16 4 p F (G,19,-2) P f L œ œ ˙ œ œ œ Vln. O. O. O. O O ‰ œ. ˙. œ. œ ˙ ! " 9 R 4 & 5 J 6 poco (9) 16 4 (5) F psul D sul G k o o P o o o of Vc. L o o o . o o œ ˙ ˙ œ œ œ œ ˙ œ œ ˙ R R & Œ " J Ó Œ Œ 5 9 4 poco 16 4 (8) p(9) F P f (Fund.) o o o o o o sul Dk œo ˙o œo . œo ˙o sul G œ. ˙ ˙ œ œ œ Cb. Œ ‰ J Ó Œ ‰ 9 R 4 & 5 poco 16 f 4 p F 6P Chm. œ œ & ‰ 3 Œ Ó Ó Œ ® ®#œ.‰ 3 "œ œ ! 9 ! 4 #œ. 16 4

#œ. œ.. bœ Vib. œ œ & " ® Ó ! Œ "bœ "œ #œ ! 9 ! 4 œ 5 6 Ped. 16 4 6 œ. œ¯ bœ¯ œ¯ ! ! ¯#œ¯ Œ ! 9 ! 4 & œ 16 4 Pno. ¯ ¯ ? ! ! œ Œ ! 9 ! 4 bœ 16 4 freely within H . Ped. 41

(B,11,-49) 90 K œ œ >œ ˙ >œ Fl. 1 " & 4 ! 5 6 4 4 F ç p f ç % (Fund.) > > Fl. 2 œ œ œ ˙ œ & 4 Ó Œ ‰. 5 4 F 4(B,13,+41) ç p f ç % k B Cl. 1 œ >œ ˙ >œ b 4 ! 5 & 4 4 (Bb,17,+5) F ç p f ç % k œ œ >œ ˙ >œ B. Cl. J 4 Ó Œ Œ 3 5 & 4 4 (Fund.) F f ç p f ç % Hn. > > & 4 Ó Œ ‰ bœ. 5 œ œ ˙ œ 4 5 4 (Bb,5,-14) F f ç p f ç % B Tpt. K > b 4 Ó Œ ‰ œ 5 œ œ ˙ œ & 4 3 4 (6) F f ç p f ç % > sul G k œo œo œo >œo ˙o œo Vln. " 4 Ó Œ 6 5 & 4 4 (9) F f ç p f ç % sul G k o o o >o o >o Vc. œ œ œ œ ˙ œ 4 Ó Œ 3 J 5 & 4 4 F (4) f ç p f ç % > œo œo œo ˙o >œo Cb. 4 Ó Œ 5 & 4 4 5 F 6 f ç p f ç % Chm. œ œ . & 4 Œ " b œ " bœ. " œ ‰ 5 ! 4 6 4 f 3 Crt.2 4 Ó ‰ bœ 5 bœ Œ Ó. & 4 œ œ œ 4 œ bœ f Vib. œ & 4 ‰. " Ó 5 ! 4 Ped. œ 6 4 f œ¯ œ¯ œ¯ 4 bœ¯ ‰ Œ 5 ! & 4 œ¯ 4 Pno. f ¯ ¯ ? 4 œ ‰ Œ 5 ! 4 bœ 4 Ped. H E 42

I 1/3 92 (Bb,5,-14) K œ. œ. >œ œ œ >œ >œ Fl. 1 / Ó Œ Œ " 4+1 3 J 4 & 4 4 f P ç p ç p ç1/3 (B ,17,+5) b k œ œ œ >œ œ œ >œ >œ Fl. 2 / . & Ó Œ Œ " 4+1 3 J 4 6 4 4 P ç p ç p ç1/3 (Fund.)f B Cl. 1 / > > > b Ó Œ ‰. bœ œ 4+1 3 œ. œ œ œ œ œ 4 & 4 J 4 f P ç p ç p ç1/3 (E,11,-49) J œ œ œ œ œ >œ œ œ >œ >œ B. Cl. J J / J Ó Œ Œ 3 3 4+1 3 4 & 4 4 (E,13,+41) f P f ç p ç p ç1/3 Hn. k / > > > & Ó ‰. œ œ œ œ 4+1 3 œ œ œ œ œ œ œ 4 5 4 J 4 f (Fund.) 3 P f ç p ç p ç1/3 B Tpt. / b j & Ó Œ ‰ œ œ œ. 4+1 3 œ œ œ œ œ œ œ 4 4 > > > 4 (Fund.) f P f ç p ç p ç Vln. O O O O O. O / O. >O O O >O >O Œ œ œ œ œ œ. œ 4+1 3 œ. œ œ œ œ œ 4 & 3 J 4 1/3J 4 f (5) P f ç p ç p ç sul D > > > Vc. Lœo œo œo . œo œo . œo / œo . œo œo œo œo œo Œ ‰ 3 5 4+1 3 4 & 4 1/3J 4 f (9) P f ç p ç p ç > > > sul D k œo œo œo œo œo . œo œo . œo œo œo œo œo Cb. / Œ ‰. 4+1 3 J 4 & 4 1/3 4 f 5 P f ç p ç p ç Chm. œ / Œ ‰ ® " bœ bœ. Œ 4+1 3 ! 4 & œ. bœ 4 4 3 3 Crt.2 / Ó " bœ ‰ bœ Œ 4+1 3 ! 4 & œ bœ 4 4 œ Vib. œ / & ‰ " bœ Œ Ó 4+1 3 ! 4 Ped. bœ 6 4 4 I œ¯ ¯ ¯ bœ¯ / œ œ¯ bœ ‰ Ó 4+1 3 ! 4 & 4 4 Pno. ¯ bœ¯ / ? ‰ Ó 4+1 3 ! 4 œ 4 4

Ped. H E 43

(B,13,+41) 94 k œ œ œ œ >œ œ >œ œ œ œ >œ œ Fl. 1 . J J J & 4 Ó ‰ 3 5 3 4 4 5 8 4 (B,11,-49) f P ç ç P ç ç Kœ. œ œ œ >œ œ >œ œ œ œ >œ œ Fl. 2 J J J 4 Ó " 3 5 3 4 & 4 8 4 (B,7,-31) f6 P ç ç3 P ç3 ç B Cl. 1 j j j b & 4 Ó " Kœ œ œ œ œ œ œ œ œ 5 œ œ œ œ 4 4 > > 8 > 4 (E,11,-49) f P ç ç P ç ç J œ ˙ œ œ >œ œ >œ œ œ œ >œ œ B. Cl. J J J 4 Œ ‰.. 3 5 3 4 & 4 8 4 (E,13,+41) f P ç ç P ç ç Hn. k > > > & 4 Œ Œ œ ˙ œ œ œ œ œ œ 5 œ œ œ œ 4 4 3 J J 3 8 J 3 J 4 6 (Fund.) f P ç ç3 P ç3 ç B Tpt. b j j j & 4 Œ Œ " œ ˙ œ œ œ œ œ œ 5 œ œ œ œ 4 4 > > 8 > 4 f P ç ç P ç ç (Fund.) bœ œ ˙ œ œ >œ œ >œ œ œ œ >œ œ Vln. J J J 4 Œ " 3 5 3 4 & 6 4 P ç ç P 8 ç ç 4 (Eb,9,+4)f Vc. k œ ˙ œ œ >œ œ >œ œ œ œ >œ œ ? 4 Œ ‰ 3 3 5 3 4 & 4 J 8 J J 4 (Eb,5,-14)f P ç ç3 P ç3 ç Cb. K j j j ? & 4 Œ ‰ K œ· ˙· œ· œ· œ· œ· œ· œ· 5 œ· œ· œ· œ· 4 4 > > 8 > 4 5 f 3 3 P ç ç P ç ç Chm. œ œ & 4 Œ bœ. bœ. nœ ‰ œ Œ Ó 5 ! 4 4 bœ 6 nœ # J 8 4 3

3 bœ bœ bœ Vib. 4 Œ j œ " œ ‰ œ ! 5 ! 4 & #œ 6 4 Ped. œ 8 4

#œ¯ ¯ œ¯ 4 œ bœ¯ œ¯ ¯ Œ ! 5 ! 4 & 4 bœ 8 4 Pno. ¯ œ¯ ? 4 Œ ! 5 ! & 4 4 bœ 8 4 H . Ped. 44

J 97 q = Perc.1 56 Wood œ >œœ œ œœ œ >œ œ œ >œ ã 4 ! Œ " œ œœœœœ œ ‰. œ œ ‰ 5 Ó ‰. œ œ ‰. œ œœ 4 4 6 6 7 6 4 5 6 5 4 F $ œ œ œ œ œ- œ œ #œœ >œ#œ œ. œœ. œ #œ œ œ œ œ œ œ œ œœ œ œœ œ œœœ & 4 Œ ‰ Œ " Œ Ó 5 6 6 7 Ó 4 4 6 3 4 4 Pno. F $ j . . œ >œ œœ#œ œ œ 4 Œ bœœœœ œœŒ œ Ó Œ ‰ œ#œœ 5 Ó # œœ Ó 4 & 3 5 4 3 4 4

pizz. IV arco pizz. IV III IV III 5 100 3 5 poco sul tasto IV 5 œ-. ˘ Vln. ¿ ¿ ¿ ˘ ¿ & 4 ‰ ¿ ‰ ‰ " ‰ ¿ ‰ " 3 Œ " ‰ ¿ 4 Ó ¿ ‰ " " " ¿ " ¿ ‰ ¿ Œ Ó ¿ ¿ 5 4pizz. fl fl fl 4 fl 4 fl fl fl fl fl IIf III fl flIII arco pizz.P F III IV II poco sul tasto II III ˘¿ ˘ ˘¿ ˘ ˘¿ ˘ Vc. ˘¿ ˘ o o ? ˘ ¿ ¿ ˘¿ ˘¿ ˘ ¿ ? 4 ‰. Œ ¿ ‰. & œ œ ‰ 3 Œ ¿ ‰ ‰ " ‰. 4 Œ Œ " ‰ "" ¿ " ‰. Œ Ó 3 3 ¿ 6 3 J 3 6 J ¿ 6 4 J 3 4 4 6 fl fl pizz.f P FII III II III II III I I ˘¿ III ˘ ˘ ˘ ¿ ˘ ˘¿ ˘ ¿ ˘ ˘¿ ˘ ˘ ˘¿ ˘ ˘ ˘ ¿ Cb. ? ¿ ¿ ¿ ¿ ¿ . ¿ ¿ ¿ 4 " ‰ " ‰ ‰ ‰ ‰ " 3 ‰ " " ‰ ‰ 4 Œ ‰ ‰ 3 J " Œ Œ Ó 4 5 5 6 4 5 4 6 Perc.1 f Wood œ œ œ œ ã 4 ! 3 Œ Œ ‰ œ œ 4 œ œ "œ œ ‰ Ó ! 4 4 4 5 6 Perc.2 œ œ œ œ œ œ œ œ Alm/Wd 4 ! 3 ! 4 ! ‰ " ‰ œ " " ã 5 6 œ œ 4 4 4 J3 6 F

104 bright ˘ ˘ Fl. 2 œ #˘œ œ #œ œ œ ! Œ Œ 6 " Œ ‰. 3 " Œ Œ Œ 4 & 5 œ 6 6 4 shadowy 4 7 F 6 B Cl. 1 b & ! ! 3 ‰. Œ 4 4 œ -œ bœ bœ œ nœ bœ œ bœ œ 4 with piano p 6 7 B. Cl. & ! ! 3 Œ Œ " œ œ 4 - #œ 4 -œ. #œ 4 F Perc.2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ Alm/Wd œ 6 Œ Ó Œ Œ 6 œ ‰ œ 3 6 Œ Œ Œ 4 ã œ œ 6 œ œ 6 6 4 4 loco f $ $ . œ œ œ œ œœœ œ œ œ œ œ œœ ? ˘œ œ œ œ œ œ œ œ œ œœ œœ ? ‰ " œ #œœ ‰. Œ Ó & 3 ‰. " 4 & 6 6 5 5 4 7 4 Pno. ß 6 7 F loco f ß f ? ? Ó ‰. " œ ‰ Œ Ó & 3 Œ Œ " 4 & œ. œ œ œ 6 œ #œ # 6 œ #œ - . #œ ﬂ 4 - . #œ 4 - 5 - - - 7 - - 45

107 K - ˘ Fl. 2 œ œ. œ¯˘œ œ & 4 ! ! ! Œ ‰ 6 Œ Œ 4 no pitch 5 slap tongue 6 flutter breath tone F f B. Cl. . & 4 ‰ — Ó ‰ — ‰ Œ ‰ æ æ‰Œ ! 4 — ¿ ¿æ ¿æ ¿æ ¿ #œ f fl % # ß con sord. Hn. + o + o + o ? 4 " ‰ Œ Œ Œ œ ˙ œ ‰. Œ ! ! & #œ 5 R 4 fl ß p con sord. P B Tpt. b 4 ‰. Œ Ó Œ ‰. œ ˙ œ ‰Œ Ó ! & 4 œ fl arco, poco sul pont. IV III IV I pizz.p III IV %II ß 5 3 IV 3 pizz. #œ- œ œ Vln. ˘ ˘ ¿ ¿ ¿ ¿ & 4 ‰ ¿ ¿ ‰ ¿ ‰ ‰ " ¿ " ¿ ‰ ¿ ¿ " ‰Œ Ó ! 4 fl fl fl fl fl arco, spiccato, poco sul pont. IIIfl IIflIII IV IIIF IV arco, poco sul pont. fl fl pizz. 5 III ˘ ˘¿ ˘˘ œ ˙ œ ˘ œ¯ œ. #œ. ˘œ œ #˘œ Vc. ? ˘¿ ˘¿ ¿ ¿ ˘ ¿ 4 Œ ‰ ¿ "" ¿ Œ 3 J J3Œ ‰ ‰Œ Ó ‰. 7 Œ Ó 3 J 3 ¿ 5 3 6 4 fl fl (7) II I II III IIF III I II I III arco, poco sul pont. pizz. F ƒ sul I œo . ˘ ˘ ˘ ˘ ˘ ¿ ˘¿ ¿ ¿ ˘¿ ˘ ˘¿ ˘ ¿ ˘¿ ˘¿ ¿ ˘ ˘ Cb. ? ¿ ¿ R ¿ ¿ & 4 Œ " " " " " 5 " " ! ! 4 6 5 6 F f Perc.1 ˘ Wood œ œœ œ ˘ œ ˘ ã 4 ! ! Ó Œ ‰.œ œ œ œ œ œ Œ Ó 4 5 6 7 P f Perc.2 œ œ ˘ ˘œ >œ œ Alm/Wd œœ œ ã 4 ! ! ! Œ " œ ‰. œ ‰. 4 5 6 6 K F f ß F ˘œ ? 4 #œœ ‰. Œ Ó ! ! & Ó Œ "bœ 4 bœ œ œ Pno. ß 7 ß cresc. F ? 4 " œ ‰ Œ Ó ! ! Ó Œ bœœ #œ œ 4 fl 46

vibrato, widening with each cresc. simile 111 (C,9,+4) k œ- œ œ œ-. œ œ- œ. k œ- œ ˙- Fl. 1 J Ó Œ ‰. 3 "Œ Œ 4 ! Œ 3 & poco 4 4 (C,13,+41) p , , , , p j œ- œ œ- œ œ- œ œ- œ œ- œ j œ- œ. œ- œ œ Fl. 2 J & Ó Œ ‰ 3 ‰ Œ Œ 4 ! ‰ 3Œ poco 4 4 p (Fund.) p p B Cl. 1 ------b & ! Œ œ œ œ œ œ œ œ 3 œ œ ‰Œ 4 ! Œ " œ " ‰ œ œ 3 3 J J3 3 J 4 3 4 3 p poco p p B. Cl. & Ó Œ ‰ Œ Ó 3 ! 4 ! ! bœ œ 4 4 â senza sord. ß F p Hn. & Ó Œ ‰ Œ Ó 3 ! 4 ! ! œ œ 4 4 â senza sord. ß F p B Tpt. b & Ó Œ ‰ Œ Ó 3 ! 4 ! ! bœ œ 4 4 I â III ß F p pizz. ˘ Vln. Œ ‰. œ Ó ! 3 ! 4 ! ! & œ 4 4 pizz. ß Vc. ? Œ ‰. œ Ó ! 3 ! 4 ! ! ﬂ 4 4 pizz. ß Cb. ˘ ? Œ ‰. #œ Ó ! 3 ! 4 ! ! 4 4 ß

Perc.1 Wood ! ! 3 ! 4 ! ! ã 4 4 ˘œ & Œ ‰. œ Ó ! 3 ! 4 ! ! Mrb. 4 4 ß ˘œ ? Œ ‰. #œ Ó ! 3 ! 4 ! ! 4 4 5 3 " ‰ Perc.2 œ œ œ œ œ " r‰ " ‰ œ œ ‰ œ œ. œ Alm/Wd œ. œ œ œ œ œ œ œ Œ 6 "Ó ! 3 ! 4 œ œ œ. .œ œ œ œ ã 5 " œ ‰. Œ Œ 3 4 4 ‰ ‰3 5 R 3 J J f P Vib. ! ! 3 ! 4 ! ! & 4 4 œ œœ œ & b ‰ Œ œ bœ œ " Œ Ó 3 ! 4 ! Ó Œ Œ 6 œ #œ œ #œœ bœœ œœ 4 4 Pno. 3 . â 6 ÿ F ƒ .´ f â œ ? ä ? ‰ ‰ Œ bœœ & bœœ bœ " bœœ œœ Œ Ó 3 ! 4 ! ! & œœ b œ œ bœ 4 4 â F ç 47

116 L soft but warm Fl. 1 ! ! ‰ œ ˙. ˙ œ ‰. Œ & 3 softp but warm P # 3 Fl. 2 & ! ! ‰ " Ó #œ ˙. œ œ. softp but warm P %

B Cl. 1 bœ œ ˙ œ b & œ ‰ Œ Ó ! Ó ‰ ‰ ‰. œ

p P soft but warm# % B. Cl. & Ó Œ ‰. "Œ Ó ! Ó ‰ œ œ œ œ œ > .ÿ p ß F ç soft but warm con sord. + o 3 Hn. & Ó Œ ‰. "Œ Ó ! Ó Œ ‰ bœ œ œ bœ > .ÿ p ß F ç soft but warm con sord. + o B Tpt. b Ó Œ ‰. "Œ Ó ! Ó ‰. & bœ œ bœ bœ œ > . strings dampened ÿ II strum pizz. pizz. III p arco ´ß F ç pizz. IIIIVIII IV bœ. ¿. ¿ ¿ ¿ ¿ Vln. ¿. ¿. ¿. ¿ ¿ ¿ ¿ & Ó Œ "nœ ‰ Ó Œ ‰. Ó " ¿. ‰ ¿. Œ "¿ ¿¿ ¿‰. Œ œ 5 3 3 3 3 ß fl strings dampened% pizz. trem. pizz. arco ß III ¿ ¿ Vc. ? œ . ¿ Ó Œ " ‰ Ó Œ ‰ #œ Ó Œ 3 æJ " Ó Œ ‰ æ #œ. fl æ æ ÿ % trem. pizz. ß ß II arco .´ pizz. strings dampened œ ¿ ¿ ¿ Cb. ? bœ #˘œ Ó Œ " ‰ Ó Œ ‰. ! Œ ‰ 3æ " æ æ 6æ æ Perc.1 ß ß % Wood ! ! Ó Œ "œœœ œ œœœœœœœœ œ œ ‰. œ œ œœœœœ ã 5 5 5 5 5 ˘œ p Ó Œ " ‰ Ó Œ ‰. œ ! ! & bœœ Mrb. ßfl ß #˘œ ? ˘œ # œ Ó Œ " œ ‰ Ó Œ ‰. ! ! 5

Perc.2 " œ œ ‰ Alm/Wd ã Œ Œ Ó ! ! ! 3> l.v.

Vib. ‰bœ ˙. & ! ! œœ ˙˙.. ! ‰# œ ˙. ƒ 3 L > œ œ 6 ´ œ- œ œ >œ. #˘œ >œ - œ œ œ. œ bœ œ #œ # #œ bœ œ œ bœ. 6 Œ œŒ Œ Œ " b œ b ‰ ! Œ Œ & œ # 3 J bright Pno. 6 6 f ß œœ ƒ œ ? #œœ bœœ bœ- œ œ b>œ. #œœ " œ Œ ‰#œœ ‰Œ Œ > œ- " œ ‰ ! Œ Œ & œ #œ œ œ œ œ œ. 6 - . â ﬂ > ÿ 3 J 48

120 œ œ ˙. œ Fl. 1 & Ó ‰ 3 ‰ ! 2 ! 4 % P % 4 4 Fl. 2 Œ ‰. bœ ˙ œ œ ˙. ! 2 ! 4 & 4 4 % P % B Cl. 1 b ˙ œ. œ œ w œ ‰ Œ Ó 2 ! 4 & 4 4 P 3 p 3 % B. Cl. & j j Œ Œ ! 2 ! 4 œ œ œ ˙ ˙ œ 4 4 P % Hn. & " Œ ! 2 ! 4 ˙ ˙ ˙ œ. 4 4 P 3 % B Tpt. b j ‰. ! 2 ! 4 & ˙ œ œ œ ˙. œ 4 4 P % ¿ ¿ Vln. ¿ ¿ & ¿ ¿‰ Œ Ó ! ! 2 ! 4 3 3 4 4 ¿ Vc. ? ‰ Œ Ó ! ! 2 ! 4 æ 4 4 ¿ Cb. ? Œ Œ Ó ! ! 2 ! 4 æJ 3 4 4

Perc.1 Wood œ œ œœ ã œ œ œ œ ‰. Ó ! ! 2 ! 4 5 6 4 4

& ! ! ! 2 ! 4 Mrb. 4 4

? ! ! ! 2 ! 4 4 4

Perc.2 œ œ œ œ œ œ œ Alm/Wd ! Ó " " œ ‰ ‰ Œ Ó 2 ! 4 ã œ œ œ œ 6 6 6 4 4 p F Vib. ! ! ! 2 ! 4 & 4 4 > œ œ ˙. w œbœ œ ´ œ . œ œ bœ ˙. w ? bœ # . œb #œœ œ ? bœ œ œœbœ & œ œ ˙. w & œ ® bœ Œ 2 bœ œ 4 3 J œ 4 4 Pno. 3 6 6 ® œ f œ œ b>œ ˙. w œ œbœ ? œ œ " 2 bœœ 4 œ œ ˙. w œœ œbœ bœ œ bœ 3 . bœœ - 4 4 J F f ÿ F â F 49

M 124 > œ ˘ œ #œ œ #œ. ˙. œ œ #œ nœ œ äœ. œ ˙ œ œ-. ˙ , œ #œ #œ #œ œ Fl. 1 . œ #œ #œ œ #œ œ J œ & 4 " 6 œ R 7 6 6 2 4 7 4 sfffzp p F P F p F p F p ˘ > œ #œ #œ #œ œ > œ. ˙. œ œ œ œ ä - , œ ˘œ œ Fl. 2 œ # œ œ œ #œ œ ˙ œ œ. ˙ œ#œ 4 " # # # R 5 2 & 5 œ 6 J 5 4 6 4 sfffzp p F P Fp F p F p #œ ˘œ œ #œ , œ B Cl. 1 >œ. ˙. œ œ œ œ äœ œ ˙ œ œ-. ˙ bœ œ œ œ œ b œ # œ# n 4 " # 5 # 6 2 & œ #œ œ R J 5 4 6 5 4 sfffzp p FP F p F p F p #>œ. ˙. w ˙ œ œ-. ˙ œ #œ œ B. Cl. 4 " J " 2 & 4 4 senza sord. sfffzp F p F

Hn. & 4 " j " 2 4 œ ˙ w ˙ œ œ ˙ œ œ œ 4 >. . -. senza sord. sfffzp F p F B Tpt. > - b 4 " œ. ˙. w ˙ œ œ. ˙ œ " œ œ 2 & 4 J 4 sfffzp F p F arco >œ. ˙. ˙ œ œ- œ œ- œ >œ ˙ œ œ-. œ äœ. äœ ˙ Vln. & 4 " #œ. ˙. ˙ œ #œ œ #œ œ #œ ˙ œ #œ. œ#œ. #œ ˙ 2 4 J 3 sub. 4 sfffzp arco P p F 3f P F f ƒ p Vc. ? 4 " j 2 bœ. ˙. ˙ œ bœ œ bœ œ bœ ˙ œ bœ. œbœ. bœ sub.˙ 4 > - - > - â 4 arco â sfffzp P p F 3f P F f ƒ p Cb. ? 4 " j 2 4 œ. ˙. ˙ œ œ œ œ œ œ ˙ œ œ. œ œ. œ sub.˙ 4 > - - > - â â sfffzp P p F f P F f ƒ p & 4 " "Œ Ó ! ! ! 2 Mrb. 4 bœ 4 sfffz > ? 4 " œ "Œ Ó ! ! ! 2 4 > 4 > " #œ. ˙ Vib. 4 " œ. ˙. ! ! ! 2 & 4 #œ. ˙. 4 M sfffz > w> w w w ? 4 bww ww ww ww 2 4 4 Pno. sfffz ? 4 bw w w w 2 4 b w w w w 4 > 50

128 ˘ #>œ ˙ œ œ #œ nœ Fl. 1 œ œ œ #œ œ 2 4 " " Ó Ó Œ ‰. œ- 3 & 6 #œ 4 4 6 6 4 ƒ 6 F ˘ f ˙ œ ˘ r r œ Fl. 2 œ œ #œ. # œ #œ- 2 4 "Œ Œ ‰. " " œ œ " Ó ‰. œ " r ‰ 3 & 6 6 #œ œ #œ œ 4 4 - 6 5 4 ƒ r ƒ f # œ F f ˘ #œ- œ œ B Cl. 1 ˙ œ œ œ œ œ #œ œ œ b & 2 4 "Œ " #œ " œ " ‰ Œ Ó ‰. #œ ‰ 3 4 4 6 5 6 6 6 4 ƒ f ƒ F f ˙ ˘œ to Clarinet in B b B. Cl. 2 4 ‰ Œ Ó ! 3 & 4 4 4 ƒ Hn. & 2 4 ‰ Œ Ó ! 3 4 ˙ 4 œ 4 fl ƒ B Tpt. ˘ b 2 ˙ 4 œ ‰ Œ Ó ! 3 & 4 4 4 ƒ ˙ ˘œ Vln. 2 ˙ 4 œ ‰ Œ Ó ! 3 & 4 4 4 ƒ Vc. ? 2 ˙ 4 œ ‰ Œ Ó ! 3 4 4 fl 4 ƒ Cb. ? 2 4 ‰ Œ Ó ! 3 4 ˙ 4 œ 4 fl ƒ & 2 ! 4 ‰. Œ Ó ! 3 Mrb. 4 4 bœ 4 ç> ? 2 ! 4 œ ‰. Œ Ó ! 3 4 4 >> 4 œ #œ . Vib. œ ‰ & 2 ! 4 Œ Ó ! 3 4 4 #œ ‰. 4 ç > loco > $ #œ - #œœ œ > œ. . > . œ. œ ‰ œ œ ? œœ œ œ œ. œ œ. œ. #œ. œ œ œ œ #œ #œ 2 Œ & 4 ‰ ‰. ‰. ‰ " 3 Œ 3 6 6 6 6 4 4 6 4 Pno. ƒ 6 f f (loco) œ #œ ¯ j ? #œ #œ >œ œ #œ œ " ? 2 œ Œ & 4 Ó Œ ‰ œ œ ‰ # œ œ Œ#œ œ ‰ #œ œ Œ 3 4 œ 4 6 3 # œ- œ 4 51

6 N 131 Q. œ œ œ. œ œ Fl. 1 œ œ œ œ # œ # œn #œ nœ & 3 œ #œ "Œ Œ 4 Ó ‰ 3 3 2 œ 4 4 œ #œ 4 8 4 œ 4 f F f P Q f #œ œ œ œ. œ. œ Fl. 2 œ #œ œ & 3 ! 4 Ó " 3 2 n œ # œ 4 4 4 6 8 4 4

6 f P a f Ÿ~~~~~~~~~~~~~~ B Cl. 1 #˙ œ. œ nœ b 3 #œnœ ‰ Œ Œ 4 Ó 3 2 4 & 4 œ #œ 4 8 4 4 f P trem. f - - ~~~~~~~~~~~~~~~~ trem. #œ ˙ œ #œ #œ œ ( ) œ ( ) B Cl. 2 ~~~~~~~~~ b 3 ! 4 Œ ‰. 3 2 œ œ œ 4 & 4 4 8 4 . 4 f P F F P f Hn. 3 ! 4 Œ ‰ œ ˙ 3 œ œ- œ- 2 ˙ 4 & 4 4 8 4 4 f P F F P f B Tpt. #œ. ˙ œ #œ- #œ- ˙ b 3 ! 4 Œ " 3 2 4 & 4 4 8 4 4 f P F F P f ˙. œ œ- œ- ˙ Vln. & 3 ! 4 Œ 3 2 4 4 4 f 8P F F 4 P growing faster f 4 ( ) - Ÿ~œ~~~~~~~~~~~~~~~~~~~~~~~ Vc. ? œ ˙. œ œ ˙ 3 ! 4 Œ3 3 2 4 4 4 J 8 J 4 4 3f P F F P f Cb. j ? 3 ! 4 ‰œ ˙. 3 œ œ 2 ˙ 4 4 4 8 - 4 4 f 3P F F P f j œ. œ 3 ! 4 Ó Œ Œ#œ 3 ‰##œ.##œ ‰ 2 ! 4 & œ 6 Mrb. 4 4 8 4 4 F œ œ. œ ? 3 ! 4 Ó Œ Œ œ 3 ‰ œ. œ ‰ 2 ! 4 4 4 3 J 8 6 4 4

Vib. 3 ! 4 ! 3 ! 2 ! 4 & 4 4 8 4 4 N 5 bell-like 3 ? -œ œ ¯ j #œ-. #œ- œ ¯ ? 3 " œ œ œbœœ & 4 œ¯ œ Œ#œ 3 œ# œ.# œ œ 2 #œ ¯ œ #œ œ œ & 4 & #œ nœ 6 #œ¯ œ œ œ. œ œ œ # œ 4 cresc.#œ 4 - 8 6 J 4 4 Pno. F ƒ ¯ ¯ ¯ ¯ - - - #œ œ #œ œœ œœ œœ. œœ œœ œ œ ? 3 Œ #œœ œ œ 4 œ Œ œ 3 œ œ. œ œ 2 < œ 4 œ 3 6 4 # #œ 4 œ J 8 J 4 #œ 4 freely within H . H Ped. 52

135 œ œ œ œ- œ œ- œ œ- œ œ- >œ #>œ œ œ #œ- . . . #œ œ# Fl. 1 J J J œ & 4 Ó 5 3 3 ‰ 4 Œ ‰ 3 4 4 6 4 4 f P f P f Pf f f f P F > - #œ œ. œ œ. #œ- œ #œ- œ #œ- œ#œ- ˘œ œ œ œ œ Fl. 2 . J J J #œ & 4 Œ ‰ 5 3 3 " œ #œ ‰ 4 Œ ‰ 3 3 4 4 6 4 4 f a P f P f Pf f f P F f Ÿ~~~~~~~~~~~~~~~~ 6 œ œ. œ œ œ œ œ- œ œ- œ œ- œ #œ œ B Cl. 1 #œ œ b J J J œ & 4 Œ Œ 3 5 3 3 ‰ 6 Œ 4 Œ "œ œ œ œ œ 3 4 4 6 4 > - 4 f P f f P F N 6 f P f f F f Ÿ~~~~~~~~ - - - > - B Cl. 2 #œ œ #œ œ œ #œ œ #œ œ#œ œ ˙ œ œ b - œ . & 4 Œ ‰ 3 J 5 bœ Œ 3 J J 3 4 Œ 3 4 4 bœ œbœ 4 4 f P f f f f f f P F Hn. - - - - >œ ˙ œ œ- & 4 Œ "œ. œ. œ 5 œ. œ œ œ œ œ œ œ. œ 4 Œ "# # 3 4 J 4 3 J J 3 4 6 4 f P f f f f f P F B Tpt. - - - - >œ ˙ œ œ- b #œ œ. œ œ. #œ œ #œ œ #œ œ#œ. œ 4 Œ 5 4 Œ 3 J 3 & 4 J 4 3 J J 3 4 4 f trem. P f f f f f P F ~~(~œ~)~~~~~~~~~~~~~~~~~~ œ ˙ œ œ - œ- œ œ œ. œ Vln. ‰. -#œ-œ > #œ œ ˙ œ œ- & 4 5 " ‰ 3 4 ‰ 3 4 4 3 4 4 f P f f 6 f f f P F - - > Vc. ? œ ˙ œ œ œ œ œ œ. œ œ ˙ œ. œ-œ 4 ‰. 5 #œœ œœ" 4 ‰ 3 "bœ 3 5 - 6 4 P 4 f P f f 4 4 3f 3 3 f P f Cb. j j ? 4 ‰ œ ˙ œ œ 5 œ. œ œ œ œ œ œ œ. œ 4 " œ. ˙ œ œ 3 4 4 - - - - 4 > - 4 f P f f f 6 f f P F l.v. " œ #œ Vib. Œ œ ‰# œœ 4 ! 5 Ó #œ Ó 4 Ó Œ œ 3 & Œ " ‰ 4 4 f 6 4 4 - F œœ œœ ¯ - ¯ ? œ œ ? œ ¯ œ. œ¯ #œ œ j . œ¯ #œ #œ. & 4 #œ¯ ‰ #œ 5 # œ Œ Œ "#œ ‰ & #œ œ & 4 œ¯ Œ " 3 4 " 4 6 6 4 4 cresc. Pno. 6 - F f 3 f F " ƒ F œ. œ #œ œ ? < œ‰ j œ ‰ " #œ œ ? #œ Œ "#œ. 4 < 5 œbœ & 4 < 3 4 œ œ < 4 -œ -œ #œ. #-œ œ œ #œ #œ 4 œ œ œ 4 H < E H< < Ped.< Ped.< 53

O 138 œ #œ- œ œ #œ- œ œ w Fl. 1 J œ œ & 3 3 6 ‰ 2 Œ ‰ 3 4 4 6 4 4 f f 6 f f œ œ- œ œ œ- Fl. 2 J œ . #œ œ w & 3 3 6 " #œ ‰ 2 Œ " 4 4 4 6 4 f f f 3 3 f B Cl. 1 b j #œ & 3 œ œ œ ‰ œ - œ 2 Œ œ 4 w 4 - -œ 4 4 f f f œ œ œ œ œ ˙ B Cl. 2 œ œ œ b . œ #œ J & 3 ‰ Œ " 2 Œ " 4 3 4 6 6 4 6 4 f f f Hn. - - 3 œ #œ œ œ #œ œ 2 Œ #œ œ 4 œ œ #œ ˙ & 3 6 4 J 4 3 J 4 3 J f f f B Tpt. œ œ- œ œ œ- œ b #œ œ œ œ #œ ˙ & 3 J 3 6 2 ‰ 4 3 J 4 f f 4 4 6 f œ œ œ w Vln. . œ- œ & 3 œ bœ ‰ Œ " 2 ‰ 3 4 4 œ 6 4 4 f f f 5 - - Vc. ? œ œ œ œ œ 3 ‰ 3 6 2 " 4 4 f f 4 œ œ 4 w 3 6 f 5 Cb. j ? 3 œ œ œ œ œ œ 2 " œ œ 4 w 4 - - 4 4 f 3 6 f f P #œ " #œ Vib. ‰ # œœ Œ # œœ & 3 ‰ œ Œ " œ Œ 2 ! 4 ! 4 3 6 4 4 f O - - ˙ œ œ œ œ œ œ œ¯ œ #˙ œ #œ œ œ #œ œ œ¯ œ # & 3 2 4 Œ ‰ 3 4 6 4 4 Pno. f ƒ œ œ- œ œ œ- œ œ #œ œ ˙ ? œ #œ œ œ #œ œ #œ #œ 3 6 2 < < 4 Œ ‰ & < 3 ˙ 4 4 œ œ 4 H < Ped.< 54

141 ˙. œ œ- œ- œ œ- œ œ-. œ- Fl. 1 . & 3 ‰ Ó Œ ‰ ‰ 3 F p F f f ƒ #œ- #œ- œ #œ- œ #œ-. #œ- Fl. 2 ˙ œ . & J 3 Œ Ó Ó Œ ‰ ‰ 3 F p F f f ƒ

3 B Cl. 1 - b ‰ Œ Œ #œ œ œ ˙. œ- œ. #œ- œ #œ- œ #œ-. ‰ #œ- & œ 3 J 3 J 3 F p F f f ƒ ˙ œ- ˙ œ- œ œ-. œ œ- œ œ- œ œ-. œ- B Cl. 2 b J & Œ Œ 3 " ‰ 3 f p F p F pf f ƒ 3 3 3 Hn. œ j j & Œ Œ . " . ‰ bœ œ -œ ˙ bœ- œ b-œ œ b-œ œ b-œ œ b-œ bœ f p F p F pf f ƒ B Tpt. - - - - - b ˙ œ #œ œ #œ. œ #œ œ #œ œ #œ. #œ & ‰ Œ Ó " ‰ 3 f p F p F pf f ƒ w œ- œ- œ- œ- œ œ- œ œ- œ. Vln. J Œ 3 ‰ ‰ ‰. " & 6 f p f p F p f p ƒ p œ ˙. œ- œ- œ- œ- œ œ- œ œ- œ. Vc. ? " Œ 3 J ‰ ‰ ‰. " œ 6 6 3 f p f p 3 F p f p ƒ p Cb. ? œ œ ‰ Œ Œ j Œ j ‰ ‰ ‰. & " #œ -œ #œ- #œ- #œ- œ #-œ œ #-œ œ. 6 6 f p f p F p f p ƒ p œ œ œ œ œ. œ œ œ œ. . bœ . bœ bœ bœ bœ. bœ bœ bœ bœ. " ‰ Œ Œ " œ ‰ œ " Œ 3 ‰ Œ " ‰ 3 " "5 3 " & bœœ bœœ b b J 6 J Mrb. P f F ƒ œœ œœ œ œ œ œ œ. œ œ œ œ. ? " ‰. Œ Œ " œ ‰ œ " Œ bœ ‰. bœ Œ " bœ ‰ bœ " bœ. "bœ bœ bœ " bœ. 6 6 3 J 6 3 5 3 J cantabile 3 6 3 5 3 3 j j œ œ œ œ œ œ " œ. " œ œ œ " œ. Vib. œ #œ 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 3 œ J 3 bœ bœ bœ bœ bœ bœ bœ bœ bœ #œ 3 Œ ‰. Œ " ‰ 3 . 5 . 3 J 6 3 J 3 cantabileF 3 3 3 ƒ - - f F - - œ - - œ œœ- œœ. œœ- œœ œœ œœ- œœ œ-œ œœ œœ-. œœ œœ- œœ- œ-œ œœ œœ-. ‰ -j #œ ‰ j b œ œ. b œ œ œ b œ œ b œ œ b œ. œ b œ b œ b œ œ b œ. œ œ œ # #œ œ #œœ œœ#œ # œ œ. # œ œ œ # œ œ # œ œ# œ. œ # œ # œ # œ œ # œ. œ œ # # Œ 3 6 3 5 3 & œ ‰# œ 3 J J R J 3 ‰ J 3 3 ‰ ‰ cresc. 5 Pno. 3 3 f 6 F 3 3 ƒ 3 3 F 3 j j r j - Œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. ? j œ j #œ j Œ & #œ œ bœ œ œ œ œ bœ bœ œ. bœ œ œ bœ œ bœ œ bœ. œ bœ bœ bœ œ bœ. œ œ b œ # #œ œ œ œ Ped.------3 ‰ ‰ -3 55

P 144 q = 66 ´ Fl. 1 #˘œ / #œ. Œ " 3+2 3 " ‰ ‰ 4 & #˙. #œ ˙. 4 #œ- ˙ 2/3 4 p P ß p P p ß F p ´ Fl. 2 #œ / #œ. œ- ˙ & Ó ‰ " 3+2 3 " ‰2/3‰ 4 #œ œ fl #œ ˙. 4 4 p P ß p P p ß F p B Cl. 1 / b Ó " 3+2 3 " ‰ ‰ & ˙ œ œ ˙. œ œ ˙ 2/3 4 fl 4 .ÿ - 4 3 p P ß p P p ß F p B Cl. 2 / b & Œ ‰ 3+2 3 ‰ Œ Œ ‰2/3‰ 4 #œ ˙ ˙. œ œ #œ 4 4 .ÿ p P p ß Hn. / & Ó Œ 3+2 3 ‰ Œ Œ ‰ 2/3‰ 4 œ ˙. œ 4 œ œ. 4 p P p ßÿ B Tpt. / b œ & Ó ‰ 3+2 3 ‰ Œ Œ ‰ 2/3‰ 4 œ œ ˙. œ 4 œ .ÿ 4 poco p pizz. IIIPII sim. p arcoß sul tasto poco sul pont IV 2/3 ¿ >¿ ¿ >¿ >¿ ¿ >¿ Vln. >¿ ¿ >¿ ¿ ¿ >¿ ¿ / & ‰ " Œ Œ ¿ ¿ ¿ ¿‰ ¿ ¿ ¿‰ 3+2 3 " ‰ 4 œ ˙ œ œ 3 3 3 3 3 3 3 4 œ. ˙ œ 4 5 5 5 - poco p F fl poco sul pontß fP p sul tasto pizz. arco f IV III IV fIII -. Vc. nœ ˙ œ ¿. ¿. . / œ ˙ œ ? ‰ œ " Ó " ¿. ¿. ¿ ¿. " 3+2 3 " ‰ 4 4 2/3 4 pocop poco sulF pontßpizz. f arco fP p sul tasto ¿ >¿ ¿ ¿ >¿ ¿ o Cb. o o o ? >¿ ¿>¿ >¿ ¿>¿ / -. o o ? Œ Œ œ œ œ œ " Ó " " & 3+2 3 " œ ˙ œ ‰ 4 & sul D 3 J 4 2/3 4 p F ß F f f fP p Perc.1 / Wood œœœœ œ œ œ ã ! ! 3+2 3 Œ ‰. œ œ ‰ 2/3‰ 4 4 6 6 4 / F f & ! Œ ‰ #œ " Ó 3+2 3 ! 4 Mrb. # œ. 4 4 ´ÿ ß œ. / ? ! Œ ‰ œ " Ó 3+2 3 ! 4 4 4 Perc.2 / Alm/Wd œ œ œ ! Ó " œ œ œ œ œ 3+2 3 Œ "œ "œ œ œ ‰. ‰2/3‰ 4 ã 5 P 4 5 4 q = F f (freely) 66 l.v. all $ $ ˘ > ˘ ´. ´ œ œ#œ œ œ œ œ / œœœ œ œ ?bœœ bœœ. Œ " Ó 3+2 3 Œ 6 6 Œ & 4 & #œ¯ 6 2/3 œ¯ #œ¯ 4 4 Pno. P P f f f ´ ´ / œœ#œ ? œ. . ? œ œ #œ Œ ! & 3+2 3 Œ œ#œ Œ œ bœœ 4 < < < bœ b œ œ œ 4 2/3 4 H . < Ped.< F 56

147 œ #œ œ œ .´ Fl. 1 œ œ œ œ #œ #œ 4 Ó ‰. # œ " ‰ Œ 2 Œ Œ 3 J 4 & œ 7 . 6 #œ. œ œ 4 ÿ 4 ß 4 P f p ß Fl. 2 œ #œ .´ & 4 Œ ‰. œ œ #œ ‰ œ ‰ Œ 2 Œ Œ œ 4 œ œ ˙ œ . 3 J 4 5 ÿ 4 4 6 ß P5 F p ß 3 B Cl. 1 œ b œ & 4 Œ ‰ #œ œ - ‰ ‰ ‰ Œ 2 Œ Œ j 4 4 œ œ > œ ˙ œ œ 4 œ 4 œ .ÿ .ÿ P F p5 ß ß B Cl. 2 ´ b 4 ‰. #œ. ‰. 2 ‰. Œ 4 & R . 4 #-œ ˙ œ #œ ˙ 4 œ 4 6 F p 5 ß P F Hn. & 4 Œ " r Œ Œ ‰ 2 4 4 #œ ˙ œ #œ #œ. 4 ˙ 4 - .ÿ 5 P F F3 p ß .´ 3 B Tpt. j œ b & 4 Œ œ ˙ œ R Œ ‰ œ ˙ 2 ˙ 4 - 4 F p ß 4 4 6 P F p œ ´ Vln. #œ. & 4 ‰. ‰. " œ œ #œ ‰ ‰ 2 4 #œ ˙ œ œ #œ œ #œ ˙ 4 - . 5 - 4 4 ÿ F F p ß´ P ß œ-. ˙ œ œ œ. #œ- œ ´ œ- ˙ Vc. ? #œ œ œ œ œ. 4 " "œ ‰ ‰ 2 4 4 6 œ 4 4 F p 6 F ß P f F ß - .´ #œ- - Cb. ? œ ˙ œ œ œ #œ- nœ œ ˙ 4 ‰3 ‰. ‰ ‰ ‰ 2 & 4 4 6 -œ .ÿ 4 4 F 5 F p ß P ß 5 r & 4 ! Ó Œ #œ Œ 2 " #œ ‰. Œ 4 Mrb. 4 œ 4 œ 4 ß fl ß fl ˘œ ˘œ ? 4 ! Ó Œ œ Œ 2 " œ ‰. Œ 4 4 R 5 4 5 4 ˘5 5 ˘ . . Vib. Ó Œ " œ ‰ ‰ œ " & 4 ! œ 2 œ Œ 4 4 " #œ ‰. 4 ‰. #œ " 4 ß 5 ß5 fl fl ´ œ œ. 4 Œ Ó 2 " bœœ "bœ #œœ ‰. 4 & ¯ œ¯ ¯ #œ œ œ œ #œ 4 œ #œ " #œ7 œ #œœ 4 6 4 Pno. 3 ß F F œ ? œ œ #œ œœ œ ? 4 < œ < Œ Ó œ œœ & 2 œ œœ œ ‰ 4 4 œ < < 4 œ œ 4 < H . #œ. Ped. ÿ 57

Q 150 ´ 6 œ. .´ ˘ Fl. 1 #œ œ #œ & 4 Ó " ‰ Œ 5 Œ ‰. Œ ‰. #œ œ #œ 4 ! 4 4 œ œ œ #œ 4 ß 6 ß P ß ˘ œ >œ œ Fl. 2 .´ .´ œ œ œ #œ œ 4 Ó " œ ‰ Œ 5 Œ ‰. œ #œ œ nœ ‰ œ 4 ! & # 5 œ 4 4 5 4 ß 6 ßP f P 6 6 6 f B Cl. 1 #œ b 4 Ó " ‰ Œ 5 Œ ‰. Œ " œ "‰ 4 ! & œ œ œ œ œ 4 #œ 4 œ. # œ #œ fl 4 .ÿ ÿ œ # ß ß P f P f B Cl. 2 .´ b & 4 Ó #˙ 5 ˙. œ ‰. Œ 4 Ó Œ Œ œ #œ 4 4 4 6 P F ß P Hn. & 4 5 ‰. Œ 4 Ó Œ " œ 4 4 #œ 4 œ #œ w ˙. .ÿ P 3 F ß B Tpt. p P b . œ & 4 Œ ˙. 5 ˙. œ ‰ Œ 4 Ó ‰ œ œ 4 4 .ÿ 4 #œ P F ß P 5 ˘œ Vln. #œ. œ œ œ#œ œ nœ ‰ " Ó " œ#œ œ œ & 4 5 . 6 4 #œ œ - 4 w 4 œ œ ÿ 4 5 œ - p ß p F ß ´ #˘œ P œ Vc. w œ œ œ. œ. œ œ œ œ #œ œ ? ‰ " Œ ‰. œ #œ 4 5 6 4 œ œ 4 4 4 œ # p ß p F ß P(4) (4) œ œ œ œ ˘œ Cb. ? . #œ œ & 4 w 5 œ œ œ ‰ " œ & 4 Œ ‰ œ # 4 4 # . 6 4 œ œ o œ p ÿ o freely H E #œ ß p F ß Perc.1 P Wood œ œ œ œ œ œ œ ã 4 ! 5 " œ œ œ œ œ œ œ ‰. Œ Œ 4 ! 4 4 6 6 6 4 3 j F f œ & 4 Ó Œ œ Œ 5 ! 4 ! Mrb. 4 fl 4 4 ß ˘œ ? œ 4 Ó Œ 3 J Œ 5 ! 4 ! 4 4 4 > 3 > l.v. ˘ . " Vib. j ‰ #œ #œ. & 4 Ó œ 5 Œ œ Ó. 4 Ó œ. Œ Œ #œ Œ ‰. #œ "#œ. 4 ß Œ #œ 4 f œ 4 dolce Q 3 J > loco> ß $ # >œ - - fl œ œœ #œ œ 4 ¯ ‰ " œ 5 Ó ‰ œœ ‰ œ 4 œ¯ Œ œ #œ & ¯ #œ 3 #œ #œ œ¯ #œ 4 œ¯ œ #œ¯ 6 4 œ # œ œ 4 œ¯ # #œ¯ œ f $ 6 Pno. f P - - f loco #œ>œ ‰ œ œœ œ‰ Œ ‰ œ œ œ œ ? œ œ œ # ? # œ #œ œ #œ œ œ #œ #œ # 4 ‰ Œ & 5 3 ‰ œ 4 < < Œ #œ & 4 œ < < #œ 4 4 œ < < < H F Ped. H E Ped.< 58

153 #œ œ.´ œ œ œ œ œ. œ œ œ œ >œ Fl. 1 # œ œ # . & ‰ " " œ 3 4 Œ 3 J 3 6 #œ 6 8 4 4 P p Fç F ß 6 f Fl. 2 ´ œ #œ œ #œ œ œ. œ œ > & ‰ œ. #œ œ œ #œ 3 4 ‰ #œ œ œ. 3 œ œ 6 8 4 4 ß f P p Fç F #œ ˙ œ. B Cl. 1 œ b & ‰ œ #œ 3 4 Œ ‰. 3 #œ 5 #œ œ œ œ. #œ 8 4 > 4 . F p Fç F ÿ 3 5 f ß 5 3 B Cl. 2 œ #œ r #œ œ œ œ. œ œ b & œ #œ œ œ 3 4 J j 3 #œ œ œ 8 4 4 #œ . œ f #œ œ -œ p F Hn. - œ 3 4 #œ œ œ. 3 & #œ œ ˙ œ œ 8 œ. 4 œ œ. J 4 f 3 p F B Tpt. j j b & œ 3 4 œ œ œ œ. 3 J 3#œ ˙ œ œ 8 œ. 4 œ - 4 f p F #œ œ œ. ˙. œ œ- Vln. #˙ œ J 3 4 3 3 & 8 4 4 5 f P p F Vc. œ ˙ œ œ. ˙ œ - ? 3 4 & œ œ 3 œ R 8 4 4 sul C f (4) P p F Cb. ? & 3 4 w 3 œ ˙ œ 8 œ. 4 4 œ o o o o P F l.v. all f Crt.1 & Ó ‰ œ #œ 3 œ ‰ ‰ 4 Ó Œ " #œ. 3 œ #œ œ œ 8 J 4 4 f freely F l.v. all 3 F œ #œ Vib. #œ œ œ & Œ ‰ #œ œ #œ Œ 3 ! 4 Œ " œ #œ 3 3 8 4 #œ œ 4 Ped. f #œ F f œ œ œ œ #œ œ- #œ # ? #œ œ œ #œ #œ #œ¯ œ¯ #œ. & Œ œ #œ 3 œ & 4 œ¯ œ¯ # "# œ. 3 œ œ 8 4 œ¯ # 4 Pno. f œ #œ-. ? #œ œ ? #œ # œ. & & 3 œ œ #œ 4 œ < " 3 #-œ #œ œ œ < - F 8 4 œ H . 4 freely,< within 3 beats or less Ped. 59

156 - œ œ œ œ- ˙ œ #œ œ œ œ ˙ œ œ œ Fl. 1 œ œ J 3 " 4 3 " 3 ‰. ‰3 4 & 4 4 4 4 P F P ƒ P p - #œ- ˙ œ œ. œ #œ œ ˙ œ Fl. 2 ˙ J #œ 3 . 4 Œ 3 J Œ 3 œ 3 3 ‰ ‰ 4 & 4 4 #œ œ 4 #œ œ 4 P F P 6 ƒ P p B Cl. 1 - b 3 "#œ. 4 œ œ œ œ. " ‰#œ œ œ œ 3 ‰. 4 & 4 ˙ 4 3 J #œ œ 4 4 œ . #˙ P F P #-œ ˙ œ 5 3 ƒ P p > B Cl. 2 #œ ˙. œ b #œ œ J & 3 ‰ 4 Œ "#œ œ 3Œ 3 ! 4 4 4 œ 4 4 ˙ œ #œ œ #œ p .ÿ p f p ç Hn. ´ 3 ˙ Œ #œ. 4 Œ 3 ‰. 4 & 3 J 4 4 ˙ -œ w 4 ˙ œ 4 p 3ç p f p B Tpt. - b j #œ ˙ œ w œ. & 3 œ œ. " Œ œ. 4 ‰. 3 " Œ Œ 4 4 ÿ 4 4 4 p ç p f 3 p .´ #œ œ. ˙ œ œ- ˙ Vln. œ œ œ #œ œ œ œ-. œ. #œ bœ. ˙ œ œ ˙ J œ œ œ œ œ. œ. œ œ J & 3 3 Œ 4 œ b 3 3 4 3 J œ # 4 ç 4 œ 4 4 p f 3 3 3 P F Vc. .´ j & 3 œ œ œ Œ 4 ‰#œ #œ œ œ 3 œ œ ˙ 4 4 3 J 4 #œ #œ -œ. œ ˙. œ œ 4 œ -œ ˙ 4 #œ P F ç3 p f 3 - #œ œ - Cb. ? j #œ œ ˙ 3 œ œ œ. Œ 4 ‰ œ œ œ œ. œ ˙. œ. 3 3 4 4 ÿ 4 - - 5 4 4 ç p f P F Crt.1 3 Œ ‰ œ " 4 ! ‰ #œ ‰ Ó 3 ! 4 & #œ. #œ 4 4 f 4 4

Vib. #œ 3 ! 4 Œ ‰ œ œ œ #œ ! 3 ! 4 & #œ #œ 4 4Ped. œ 4 4 3 ƒ Œ Ç -q ´ - espressivo #œ 3 #œ #œ œ œ. #œ œ j # œ #œ œ #¯œ ¯ # œ #œ #œ & 3 " #œ 4 ¯ #œ¯ #œ #œ œ 3 #œ ‰ Œ 4 4 J #œ 4 #œ œ¯ œ 4 #œ œ 4 Pno. ´ freely ƒ f F f F œ. - ? œ œœ #œ œ œ #œ œ œ 3 œ# œ 4 < œ œ #œ œ 3 Œ œ Œ Œ 4 3J Q < 4 4 4 3 J 4 œ H . Ped.< 60

R 160 ˙ œ œ- œ ˙. >œ. œ œ. Fl. 1 J 4 3 Œ 2 " 3 4 ! & 4 4 8 4 3 f P ç p F Fl. 2 j & 4 ˙ œ œ œ ˙. œ ‰. 2 "#œ. œ 3 œ. 4 ! 4 - 4 8 4 3 f P ç p F B Cl. 1 b & 4 j ‰ Œ 2 " 3 4 ! 4 4 . 8 . 4 ˙ œ -œ œ ˙ œ #œ œ œ f P ç p F - B Cl. 2 - œ œ œ. œ b œ ˙. œ œ ˙ œ . & 4 Ó Œ Œ 3 J 2 3 ‰ 4 Œ ‰ 4 P f 4 8 P 4 P f

Hn. - ? - & 4 Ó " œ. œ ˙. œ œ 2 œ j œ 3 j ‰‰ 4 Œ ‰ œ œ œ. œ 4 4 3 œ œ œ 8 œ 4 P 3 f P P f B Tpt. œ œ #œ œ œ- œ b 4 Œ œ œ 2 #œ. œ 3 œ"‰‰ 4 Œ "œ. œ œ-. œ & J 6 4 #˙. œ R#œ R 4 8 4 P f P P f w - Vln. w #œ ˙ œ œ œ. œ & 4 Œ Œ œ ˙ 2 œ œ 3 œ. 4 Œ #˙ œ œ 4 3 J 4 8 4 3 p P ƒ P P j 3 #œ œ Vc. œ œ œ œ ? J 4 ‰. Œ ‰ 2 3 4 ‰ Œ Œ 3 & 4 œ #œ ˙ œ #œ 4 œ j #œ. 8 œ. 4 œ p #-œ #œ -œ P F P3 ƒ #œ-. ˙ œ Cb. œ #œ œ œ œ œ œ œ ? 4 ‰ Œ j #œ. 2 3 j 4 ‰. 4 ˙ œ 4 -œ 8 œ 4 P P ƒ P F p arco Crt.1 4 Ó ‰ 2 3 j ‰‰ 4 ! & 4 ˙ ˙ œ œ 4 ˙ 8 œ 4 F f P f P #œ œ #œ Vib. œ œ œ œ # œ & 4 Œ #œ ! 2 ! 3 ! 4 Œ ‰ œ œ 4 Ped. œ 4 8 4 œ #œ R ƒ #œ Ped. ƒ œ œ¯ œ¯ œ- ‰ œ œ # œ¯ œ¯ œ œ œ ##œ œœ ¯ œ¯ 4 Œ Œ ‰ œ 2 3 3 ! 4 œ Œ & #œ¯ ¯ #œ #œ #œ¯ œ¯ #œ¯ 4 #œ #œ 3 4 # œ 8 4 Pno. ƒ P f F ƒ ƒ œ- ? #œ œ 4 < œ Œ Ó Œ ‰ #œ 2 ! 3 ! 4 #œ Œ 4 œ < 4 8 4 œ < Ped.< Ped.< 61

165 œ.´ œ- w œ- œ œ # # # . œ œ Fl. 1 J Œ Œ 3 Œ ‰ 3 5 4 ‰ Œ ‰ & 8 4 ç´ f P f P F f #œ. Fl. 2 J œ- œ w œ- œ œ œ #œ œ œ Œ Œ 3 ‰. # 5 "# . 4 . " ‰. & 8 4 ç f P f P F f B Cl. 1 .´ - œ œ. œ b Œ Œ #œ ‰ #œ œ w 5 œ 4 ‰. ‰ #œ œ œ & 3 J 8 4 3 ç f P f P F f - > œ œ œ. œ œ. B Cl. 2 œ œ œ ˙ œ œ œ œ #œ. œ œ b J 3 J ‰. 3 5 3 J 4 Œ " & 8 4 P çP p f P p F f Hn. > - ? œ œ œ œ œ ‰ Œ ‰ œ ˙ 5 œ œ ‰ & 4 Œ ˙ œ 3 J 3 8 4 P f P çP p f P p B Tpt. > - œ ˙ œ b & œ œ œ œ œ ‰. Œ ‰. œ ˙ 5 œ œ œ ‰. 4 ‰. 3 J 5 8 4 P çP p f P p P f #œ œ œ œ Vln. œ œ- ˙. œ œ œ-. #œ ˙ œ & œ œ ˙. œ œ œ. œ œ œ 5 œ œ ‰ ‰ 4 Œ œ ˙ œ 8 J 4 3 J f P p P f œ œ- œ œ œ œ. œ œ œ œ œ œ Vc. ? œ œ. J œ œ œ œ 5 Œ. & 4 ‰ 3 J 3 8 4 œ ˙ œ f P p P f - 3 Cb. œ ˙. œ œ. ? ‰ 5 4 ‰ œ ˙ 8 œ œ. 4 œ ˙ œ f P p P f mallets Crt.1 & Œ ˙. œ 5 Œ. 4 Ó œ œ #œ #˙. 8 œ 4 f œ #œ œ #œ H P arcof P F p #œ ˙. œ œ Vib. #œ œ Ó Œ ‰ ‰. 5 ! 4 Œ œ #œ & Ped. # œ 8 4 ƒ œ P f P S cantabile ¯ #œœ œ œ-. #œ œ œ œ œ. #œ¯ ‰ #œ #œ -œ ## œœ œ œ #œ # œ¯ & œ - œ Œ ‰ 3 Œ 5 4 ¯ ¯ #œ - # œ - #œ 8 ##œ 4 #œ #œ¯ œ - - poco Pno. f F 3 #œ #œ œ #œ ƒ œ œ- #œ œ œœ œœ ? ? ‰ #œ Œ Œ ‰ #œ Œ œ 5 œ & #œ. 4 œ œ #œ. 8 4 œ < Ped.< 62

169 #œ- w ˙ œ - . ˙ œ œ- œ ˙. œ œ ˙ Fl. 1 J 3 ‰ ‰. Œ ‰ & 3 p f P F f P F- ƒ Fl. 2 - . œ w œ œ #œ- w ˙ œ #œ œ ˙ J J . & J 3 Œ 3 3 Œ Œ ‰ P F f P F ƒ p f B Cl. 1 - b ˙ œ #œ- œ ˙. œ . œ w ˙ œ #w- ‰ 3 ‰ Œ & J 3 6 P F f P F ƒ p f - #œ- ˙ ˙. œ B Cl. 2 œ#œ ˙. w œ œ b & ‰ Ó Œ ‰ ‰. P f ƒ P F f P Hn. & œ œ ˙. w ˙ Ó Œ ‰ - P f ƒ P -œ ˙ w F- f P B Tpt. œ -œ ˙. w ˙ œ #œ ˙ ˙. œ. b & ‰. Œ Œ ‰ "

P f ƒ P F f trem.P sul tasto œ œ œ œ œ œ œ ~(~œ~)~~~~~~~ œ- œ œ- œ œ. œ #œ œ œ #œ #œ #œ #œ #œ #œ #œ œ œ #œ œ Vln. ˙. œ œ œ œ œ ˙ œ ˙. # J J J & ‰ J 3 ‰ Œ 3 3 3 7:4 3 3 sul II 3 (4) p F 3f P p Vc. j œo ‰ j ‰. ‰ · · ·. · · · · · · · · · ·. · · & ˙ œ œ œ #œ œ œ œ#œ œ œ œ œ œ #œ œ 3 J . #-œ œ -œ ˙. œ œ . . p F f P p - - O O. O Cb. ? œ œ œ ˙. œ #œ ˙ ˙ œ ˙. œ ‰ J 3 ‰ Œ œ ˙. 3 #

arco p F f l.v. P p p Crt.1 Œ ‰ Ó w œ ‰ Œ Ó ! & œ ˙ ˙ F f P F f p & ! ! ! ! ! Mrb. æ ? ! ! ! Ó Œ ‰ #œæœ ww l.v. poco arco p Vib. œ ˙. œ #˙. & Ó Œ ‰ Ó Œ ‰œ w Œ F f P F f P f - œ- # œ- - œ œ- œ #œœ œœ œ œ œ #œ #œ #œ # œ # #œ # œ #œ ‰ œ Œ ‰ ‰ Ó ŒŒ 3 J ! Œ ‰ Ó # œ & 3 Pno. ƒ - f 3 F ? #œ œ- œ- ? ‰ œ Œ & ‰ #œ ‰ #œ Ó ŒŒ #œœ ! Œ ‰ œ Ó œ & # œ # œ ##œœ - 3 J - 63

174 ˙ œ #œ- ˙ œ. #œ œ ˙. ˙ œ #œ ˙ Fl. 1 . R & 3 ‰ " Œ " ‰ Œ Œ Œ 5 poco 6 P F p P poco p P #˙. Fl. 2 ˙. #œ- ˙. œ w œ œ. ‰ ‰. # " Ó Œ & poco poco poco P F p P p P B Cl. 1 œ. ˙ b & ˙ œ ‰ œ- œ ˙. Œ œ w ˙ œ ‰ Œ Œ " 3 poco 3 J poco P F p P p P - œ- œ ˙. #œ ˙. ˙ œ B Cl. 2 w œ. b J "Œ Œ 3 Œ ‰. ‰ Œ & poco poco

f 3 P F P P p Hn. ‰ Œ Œ ‰ ‰#œ ˙. ˙ Ó & poco poco #œ- ˙. œ #œ- ˙. œ 3 f P F P P p B Tpt. - - b œ ˙. œ œ . œ. œ ˙ œ & Œ 3 J ‰ " ‰ Œ ‰ Œ poco œ poco˙. ˙.

f P F P(x) trill with dampeningP finger p ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ˙ sul I ˙o wo œo Vln. & Ó Ó ‰ Œ Ó (x) (x) trill with dampening finger p sul I Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~ ˙o . ˙o . Vc. œo ˙o . & Œ Œ ! ! p (x) trill with dampening finger IV Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Cb. o o o ? w w ! & Œ ‰ œ ˙ w p Crt.1 & ! Ó Œ ‰ œ ˙. Œ ! ! P F p & ! ! ! ! ! Mrb. ? æ ww ! ! ! ‰#œæœ ˙æ˙. p poco #œ ˙. Vib. œ & Œ ‰ Œ ‰ ! ! #˙ ˙ œ P F p P F p l.v. cantabile #œ ˙ ˙ # œ œ œ ˙ ˙ w ##œœ œœ œœ# œœ œœ #˙ œ œ ˙ ˙ #œ #w ‰ œ œ œ œ œ ˙˙ œœ ‰ Œ œ & 3 J #œ œ œ Pno. #œ F ‰ œ ˙ ˙ œ œœ œœ ww j Œ #œ œ ˙˙ ˙˙ œœ ? # œ œ w ‰ #œ œ œ œ œ Ó ˙ ˙ # & # ˙ ˙ 3 œ œ (pedal freely) # 64

179 w œ œ Fl. 1 #œ w œ ‰ Ó ! Ó Œ ‰ Œ Ó ! ! & poco p % # w œ #œ w w ˙ œ Fl. 2 J . & ‰ Œ Œ Œ 3 poco ‰ Œ ! ! ! p p % #œ œ w w œ B Cl. 1 w œ. b ˙. w œ & poco " Œ ‰ poco Œ Ó Œ poco ‰ Œ Ó p p % % #

B Cl. 2 œ ˙ ˙. œ b ! ! ! Œ ‰. ‰ ! ! ! & poco

con sord. p % Hn. & Ó Œ œ œ w w œ ‰Œ Ó ! ! ! ! 3 J 3 poco P pcon sord. 3 B Tpt. b ! ! ! Ó ‰œ œ w w œ œ ‰. Ó ! & poco p %

molto sul tasto ˙ w w #œ. ˙ w ˙. Vln. & Ó poco ! ! Œ " Œ P % % poco # sul II œo ˙o wo ˙o . Vc. #œ w w œ Œ ‰3 Œ Ó Œ ‰ Œ Ó ! & poco poco P % p % Cb. ! ? ‰ œ ˙. w œ ‰ Œ Ó ! ! ! ! & poco p % & ! ! ! ! ! ! ! ! Mrb.

? wæw œæœ Œ Ó ! ! ! ! ! ! %

Vib. œ w w & ! Ó Œ ‰ ! ! ! ! p poco % & ! ! ! ! ! ! ! ! Pno. ? ! ! ! ! ! ! ! ! II.

q = (G,7,-31) (Gm,9,+4) 50y ˙. ˙ ˙. œ. K w œ. Flute 1 & 5 3 3 5 ∑ 3 ∑ 4 3 6 ∑ 4 π(Gm,13,+41) 4 8 4 G.P. 8 4 8 4 G.P. k (G,17,+5) ˙. ˙ ˙. œ. y Flute 2 w œ. 5 3 3 5 ∑ 3 ∑ 4 3 6 ∑ & 4 4 8 4 8 4 8 4 (Fund.)π (Fund.) Clarinet in B 1 #˙. ˙ ˙. œ. b 5 3 3 5 ∑ 3 ∑ 4 3 6 ∑ & 4 4 8 4 8 4 w 8 œ. 4 (Bb,19,-2)π flickering subtly (Bb,17,+5) J˙. ˙ ˙. œ. k Clarinet in B 2 w œ. b & 5 3 3 5 ∑ 3 ∑ 4 3 6 ∑ G.P. G.P. con 4sord.π 4 8 4 8 4 8 4 (Fund.) flickering subtly (Fund.) Horn in F 5 b˙. ˙ 3 ˙. 3 œ. 5 ∑ 3 ∑ 4 bw 3 œ. 6 ∑ & 4 4 8 4 8 4 8 4 con sord.π (Bb,7,-31) flickering subtly arco J (Bb,10,-14) Trumpet in B ˙. ˙ ˙. œ. K b w œ. & 5 3 3 5 ∑ 3 ∑ 4 3 6 ∑ 4 π flickering subtly 4 8 4 8 4 8 4 (C,9,+4) (F,19,-2) l . k˙. ˙ ˙. œ. w œ Violin & 5 3 3 5 ∑ 3 ∑ 4 3 6 ∑ 4 4 8 4 G.P. 8 4 8 4 G.P. (C,5,-14)π flickering subtly (F,7,-31) K Cello ˙. ˙ ˙. œ. J ? & 5 3 3 5 ∑ 3 ∑ 4 Jw 3 œ. 6 ∑ 4 πflickering subtly 4 8 4 8 4 8 4 (Fund.) (Fund.) ˙O. ˙O ˙O. œO. Contrabass ? ? 5 3 3 5 ∑ 3 ∑ & 4 bw 3 œ. 6 ∑ 4 π 4 8 4 8 4 8 4

& 5 ∑ 3 ∑ 3 ∑ 5 ∑ 3 ∑ 4 ∑ 3 ∑ 6 ∑ Marimba 4 4 8 4 8 4soft mallets — hide attack8 4 ? 5 ∑ 3 ∑ 3 ∑ 5 ∑ 3 ∑ 4 3 æ 6 ∑ 4 4 8 4 8 4 bwæ 8 œ. 4 soft mallets — hide attack ∏ Vibraphone #˙. ˙ ˙. œ & 5 #˙. ˙ 3 ˙. 3 œ ‰‰ 5 ∑ 3 ∑ 4 ∑ 3 ∑ 6 ∑ 4 æ æ 4 æ 8 æJ 4 8 4 8 4 π hide attack Timpani ? 5 ∑ 3 ∑ 3 ∑ 5 3 4 ∑ 3 ∑ 6 ∑ 4 4 8 4 ˙æ. ˙æ 8 œæ. 4 8 4 ∏

65 66

A AD LIB. ca.126 9 Indistinct, blurrede = but not muddy ? ! Pno. 3 , 2/3 3 , 3 , , ? $ $ r j r #œ #œ #œ #œ #œ œ œ #œ œ #œ œ œ - œ œ #œ œ #œ œ #œ #œ J #œ J J. #œ #œ. " #Half-pedaling throughout J J J

trem. pizz. indistinct articulation 10 sul A #wo Vc. ? ? & æ trem. pizz. sul A indistinct articulation # Cb. ? wæ # ? ! Pno. 3 2/3 3 , 3 , , ? $ $ j œ #œ #œ #œ #œ r #œ œ #œ œ #œ œ œ - œ œ #œ œ #œ œ #œ #œ œ J #œ J J. #œ #œ. p # J J J

ca. trem. pizz. q = 11 indistinct articulation 63 #˙. ˙ cue cut-o! Vln. & 5 æ barely audible 4 cut o! # with violin Vc. ?

cut o! with violin Cb. ?

Solo AD LIB., ca. with subtle brightness in attack q = Timp. ? 63 , œæ œæ æ æ Bœæ nœæ " ? ! Pno. 3 3 2/3 ? j œ. #œ œ . #œ #œ œ. #œ œ #œ œ œ œ #œ œ œ #œ œ #œ œ œ - #œ #œ J. #œ. J #œ J " J J J 67

B 3 Solo AD LIB., ca. , q = 76 , , , , , B. Cl. #œ & œ #œ #œ #œ œ #œ œ #œnœ œ#œ œ œ œ œ . œ#œ #œ œ #œ œ œ #œ arco #œ #œ #œ#œ œ Solo AD LIB., - ca. con sord. 3 q = Vc. 69 - œ ? , œ œ # œ j j œ j J #œ œ. œ œ œ #œ œ distant œ. - œ#œ. Solo AD LIB., ca. - - - < trem. q = pizz. , Cb. 63 ? æ æ æ œ æ. b œ. æ 3 Timp. j ? B j æ nœæ æ œæ æ æ µœæ

? Score in C & TACET Pno. 2/3 Dreams of a Young Piano , , 4" ? #œ r for solo piano, two percussionists, and ensemble Yiheng Yvonne Wu j j œ 2014 œ #œ œ - #œ œ. #œ œ œ œ œ. #œ. J J #œ J. J J J

Flute 1 !"#4 4 & 4 4

(Gm,5,-14) Fl. 1 K 4 Ó œ. œ ‰ Œ Kœ œ. Ó 4 & 3 3 J 4 poco 4 3 Fl. 2 j & 4 Œ Œ #œ œ œ ‰ #œ. œ ‰. 4 4 poco poco 4 B Cl. 1 b & 4 ‰ ‰ Œ Ó 4 4 #œ . œ 4 poco 12 B. Cl. Fl. 1 K & œ & 4 Ó 2 œ œ ‰. 4 4 œ œ #œ 4 4 4 4 3 3 3 p k (Gm,13,+41) Vc. ? ‰ Fl. 2 œ œ #œ j (µ ) 4 Œ ‰ #œ œ œ ‰. 2 4 4 œ œ œ œ œ bœ #œ œ& 4 4 4 4 p (Gm,7,-31) j 3 Cb. ? B Cl. 1 lœ. œ. #œæ b 4 Œ‰ Œ #æ.‰ 2 ‰ 4 4 æ. & 4 4 æ 4 4 3 œ œ œ Timp. p ? j B j µœæ nœæ œæ bœæ µœæ æ æ œæ æ. bœæ æ B Cl. 2 b & 4 Œ œ œ ‰. 3 4 4 3 J 4 4 & #w p œ Pno. Hn. ? , & 4 pÓ ‰ œ œ 3 œ ‰. 4 j #œ 4 #w 4 œ 4 ? j r œ œ #œ œ . œ j p #œ œ #œ . #œ œ œ œ #œ (Fund.) œ #œ J #œ #œ œ J œ #œ p #œ #œ J B Cl.J 2 #œ J J b & 4R ‰ œ œ ‰ Œ œ . 2 œ. ‰ 4 5 4 3 3 J 4 4 4 (C,13,+41) conp sord. P Hn. ? ? 4 Œ ‰ œ œ ‰ & ‰ jœ 2 4 & 5 4 3 4 4 4 con sord.p (C,7,-31) P B Tpt. b 4 Œ ‰. Jœ œ Œ Jœ. œ 2 œ ‰ Œ 4 5 & 4 4 4 4 p P Score in C Dreams of a Young Piano Score in C for solo piano, two percussionists, and ensemble Yiheng Yvonne Wu Dreams of a Young Piano 2014 for solo piano, two percussionists, and ensemble Yiheng Yvonne Wu 2014

Flute 1 4 4 & 4 4 Flute 1 & 4 4 4 (Gm,5,-14) 68 4 Fl. 1 K 4 Ó œ. œ ‰ Œ Kœ œ. Ó 4 & (Gm,5,-14)3 3 J 4 poco 4 Fl. 1 3 K 4 Ó œ. œ ‰ Œ Kœ œ. Ó 4 Fl. 2 & j 3 3 J 4 ŒŒ4 #œ œœ‰ poco#œ œ ‰. 4 4 & 3 . 4 poco poco 4 Fl. 2 j 4 ŒŒœ œœ‰ œ œ ‰. 4 B Cl. 1 & # # . 4 b & 4 ‰ 4 poco ‰ ŒÓpoco 4 4 4!"# 4 B Cl. 1 #œ . œ C poco b &4 ‰ ‰ ŒÓ 4 4 #œ . œ 4 Fl. 1 K poco & 4 Ó 2 œœ‰. 4 4 4 poco 4 4 4 Fl. 1 3 p k (Gm,13,+41) 4 Ó K 2 œœ‰. 4 4 Fl. 2 & 4 poco 4 4 4 4 Œ‰œ œœ‰. 2 (G ,13,+41)4 4 & # 3 p k m 4 poco 4 4 4 Fl. 2 p (Gm,7,-31) 4 Œ‰#œ3 œœ‰. 2 4 4 B Cl. 1 & lœ. œ. b 4 poco 4 4 4 & 4 ‰ p ‰ (G2m,7,-31) ‰ 4 4 4 œ œ œ 3 l4 4 4 B Cl. 1 # poco œ. œ. b p4 ‰ ‰ 2 ‰ 4 4 & 4!"$ 4 4 4 #œ pocoœ œ B Cl. 2 p b & 4 Œ œ œ ‰. 3 4 4 3 J 4 4 B. Cl. 4p Œ œ œ ‰. 3 4 Hn. & 3 J 4 Ó 4 ‰ œ œ 3 4 œ ‰. ? 4 4 & 4 p 4 4 Hn. ? ? 4 Ó p ‰ œ œ 3 œ ‰. & 4 (Fund.)4 4 4 B Cl. 2 p b œ œ œ . œ. & 4 ‰ (Fund.) ‰ Œ 2 ‰ 4 5 4 3 3 J 4 4 4 B. Cl. p P (C,13,+41) &con4 sord.‰ œ œ ‰ Œ œ . 2 œ. ‰ 4 5 Hn. ? 4 3 3jJ 4 ? 4 4 4 Œ‰œ œ ‰ & ‰ œ (C,13,+41) 2 4 & 5 conp sord. P 4 3 4 4 4 Hn. P ? ?con4 sord.Œ‰p (C,7,-31)œ œ ‰ & ‰ jœ 2 4 & 5 B Tpt. 4 J 3 J 4 4 4 b & 4 Œ‰. œ œ Œ Pœ. œ 2 œ ‰ Œ 4 5 4 con sord.p (C,7,-31) 4 4 4 B Tpt. b 4 Œ‰p . Jœ œ PŒ Jœ. œ 2 œ ‰ Œ 4 5 & 4 4 4 4 13 p P Cb. ? æ œæ #æ j j & #œ . #œ #œ Pno. 2/3 3 P , , j œ. ‰ r œ ? œ œ #œ œ . #œ . œ. #œ œ j œ # œ #œ #œ . #œ œ - œ œ #œ œ œ #œ œ #œ - #œ œ J. #œ #œ R J J Score in C Dreams of a Young Piano for solo piano, two percussionists, and ensemble Yiheng Yvonne Wu 2014

Flute 1 4 4 & 4 4

(Gm,5,-14) Fl. 1 K 4 Ó œ. œ ‰ Œ Kœ œ. Ó 4 & 3 3 J 4 poco 4 3 Fl. 2 j & 4 Œ Œ #œ œ œ ‰ #œ. œ ‰. 4 4 poco poco 4 B Cl. 1 b & 4 ‰ ‰ Œ Ó 4 4 #œ . œ 4 poco

Fl. 1 4 Ó K 2 œ œ ‰. 4 4 & 4 4 4 69 4 3 p k (Gm,13,+41) Fl. 2 4 Œ ‰ ‰. 2 4 4 & 4 #œ œ œ 4 4 4 p (Gm,7,-31) 3 B Cl. 1 lœ. œ. 5 b & 4 ‰ ‰ 2 ‰ 4 4 4 œ œ œ 4 4 4 p

B Cl. 2 b & 4 Œ œ œ ‰. 3 4 4 3 J 4 4 p Hn. 4!"$Ó ‰ œ œ 3 œ ‰. ? 4 & 4 4 4 p (Fund.)

B Cl. 2 b & 4 ‰ œ œ ‰ Œ œ . 2 œ. ‰ 4 5 4 3 3 J 4 4 4 (C,13,+41) conp sord. P Hn. ? ? 4 Œ ‰ œ œ ‰ & ‰ jœ 2 4 & 5 4 3 4 4 4 con sord.p (C,7,-31) P B Tpt. b 4 Œ ‰. Jœ œ Œ Jœ. œ 2 œ ‰ Œ 4 5 & 4 4 4 4 p P !"# 2 (4) (5) arco o o sul A œo œo #œ œ. Vln. J & 5 Ó ‰ 3 4 4 4 hold until 4 4 next cue senza sord. p P 3 œ-. U Vc. ? œ œ #œ- œ 5 Œ ‰ œ œ ‰ ‰ #œ œ J œ. 4 4 4 3J #œ. œ œ - 4 4 arco - P p Phold untilp U next cue Cb. ? 5 ‰ B 4 4 4 œ #œ œ œ œ n 4 4 P P- p P p

(Gm,11,-49) 14 Fl. 1 Kœ œ Kœ Kœ œ #œ-. & 4 Œ ‰ Œ ‰. Œ 5 & #œ #œ 4 P 4 Pno. - œ (Gm,13,+41) k cresc.k , œ œ œ œ œ œ j œ œ Fl. 2 Œ ‰ J Œ ‰ ‰. Œ ? œ #œ œ œ œ J #œ&œ4 #œ 3œ 3 œ 5 #œ 4. #œ œ 4 #œ J (Gm,7,-31) P P p 3 œ R #œ lœ œ#œ lœ œ R B Cl. 1 R b J & 4 ‰ #œ Œ 3 Œ Ó ‰ ‰ 5 4 #œ 4 P P p 3 3 3 3 B. Cl. - & 5 ‰œ œ œ #œ nœ 4 œ ‰ ‰ œ 4 - œ œ œ œ œ œ J œ œ œ 4 #œ œ 4 F œ < #œ #œ œ 4 P < - < B Tpt. b 5 J œ. Œ ‰ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & 4 4 3 3 4 P p P

(6) (7) (5) o œo œo o o œo o œo œo #œo œ œ #œo œ œ Vln. J J 4 Œ ‰ 3 3 3 3 4 & 4 4 4 P F Vc. œ œ ? 4 3 œ œ # 4 & 4 poco 4 œ J 3 #œ. 4 3 3 3 F P j 3 œ Cb. ? œ œ j œ #œ œ 4 3 3 #œ j 4 & Œ Œ Œ œ œ œ œ J œ #œ œ. œ #œ œ 4 4 poco - 4 P p 2 (4) (5) arco o o sul A œo œo #œ œ. 2 2 (4) (5) (4) (5) Vln. J & 5 Ó ‰ 3 4 arco arcoo o 4 hold until o o #œ œ o o o o 4 4 sul A œ œ sul A . œ œ #œ œ. 4 p P next cue Vln. 3 - Vln. J 5œ. U Ó ‰ 3 J 4 4 Vc. & & 5 Ó ‰ 3 70 4 4 #œ- œ hold until hold until ? œ œ œ œ 4 4 next cue 4 4 4 4 5 Œ ‰ ‰ ‰ œ œ J œ. 4 next cue 4 3J # senza sord. p P p P 4 #œ. œ œ - 4 3 3 4 arco - œ-. U œ-. U P pVc. Phold untilVc.p #œ- œ - ? U next cue œ œ?œ œ œ œ #œ œ Cb. 5 Œ ‰ 5 Œ ‰ œ ‰œ ‰ #œ œ J ‰ ‰ œ œœ. J œ. 4 4 4 4 ? B 3J 3 # !"#5 ‰œ œ œ œ n4 4#œ. œ œ4J #œ.- œ œ - 4 4 4 4 4 6 #œ arco -arco - 4 - P P 4 p Pholdp untilp Phold untilp 4 P Pp P p U next cue U next cue Cb. ? Cb. ? B (Gm,11,-49) 5 ‰œ 5 ‰ œ œ œ n B 4 4 4 4 4 4 œ #-œ #œ œ œ œ n 4 4 4 4 Fl. 1 Kœ œ Kœ Kœ œ P P Pp P-Pp p P p & 4 Œ ‰ Œ ‰. Œ 5 4 P (Gm,11,-49) (Gm,11,-49) 4 (Gm,13,+41) k k Fl. 1 Fl. 1K K K K K K œ œ œ œ œ œ Œ œ œ ‰ Œ œ œ œ‰. œ œ œ Œ . œ œ Fl. 2 & 4 & 4 Œ ‰ Œ ‰ Œ 5 5 Œ ‰ J Œ ‰ ‰. 4Œ 4 & 4 3 3 4P P 5 4 4 (Gm,13,+41) kœ œ (Gm,13,+41)œ k kœ œ œ k 4 (Gm,7,-31) P P œ œ œ œ œ œ 3 lœ œ Fl. 2 lœ œ Fl. 2 J J . & 4 Œ ‰ 4 Œ 3Œ ‰ ‰ 3 3Œ ‰‰ 3 Œ ‰. Œ 5 5 B Cl. 1 & b J 4 4 4 4 & 4 ‰ #œ Œ 3 Œ Ó ‰ ‰ (Gm,7,-31) P(Gm,7,-31) PP P 5 4 #œ 3 lœ œ 3 lœ œ lœ œ lœ œ 4 P P B Cl. 1 p !"%B Cl. 1 3 b 3 b J J 4 ‰ #œ Œ 3 4 ‰ Œ #œ Œ Ó3 Œ ‰ Ó ‰ ‰ ‰ 5 5 3 & 4 &3 4 B Cl. 2 #œ 4 #œ 4 b 5 ‰œ œœ #œ n-œ 4 œ ‰ ‰ P œ P p p 4 & P3 P œ œ œ œ œ J œ œ 3 3 3 4 - œ œ 4 œ 3 3 4 P #œ F œ < #œ #œ œ 3 3 B. Cl. < B Cl. 2- < bœ œ œ œ #œ œ œ nœ- #œœ n-œ œ œ œ B Tpt. & 5 ‰ & 5 ‰ 4 ‰ ‰ 4 ‰ ‰ 4 4 b 5 J œ. Œ ‰ œ 4 œ œ œ œ4œ œ- œœ œœ œ œ4œ œ œœ-œœœ œœ œ œJ œ4 œ œ J 4œ œ œ œ œ œ 4 4 4 & 3 #œ 3 #œ œ F œ < #œ F#œ œ < œ#œ #œ œ 4 4 P P < - < < - < 4 P p B Tpt. B Tpt. P b J b œ. J œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 5 Œ ‰œ. 4Œ 3 ‰ 4 3 4 4 & 3 3 (7) & (5) (6) 4 4 4 4 4 4 o œo œo o o œo o Pœo œo P p p P P œo œ œ œo œ œ !"$ # # (7) Vln. (6) (6) (7) Œ ‰ J J (5) (5) & 4 3 3 3 3 o o 4 o o o 4 4 o o œ œ o 4 o œo o œo œ oo œ œ o œo o œo œo P F#œ œ #œœo œ #œ œ œœ #œo œ œ Vln. Vln. J J Vc. 4 Œ ‰ 3 3 3J 3 J 4 ? & #œ œ & 4 Œ ‰ 3 3 3 3 4 4 3 œ 4œ 4 44 4 & 4 4 4 poco 4 œ J 3 #œP. P4 F F 3 3 3 Vc. F Vc.P ? 3 #œ œ œ œ j 4 ? 4 3 œ œ 3 œ œ # 4 œ 4 & & Cb. poco 3 œ ? œ œ j œ #œ œ 4 4 poco 4 œ J 4 œ # . J 3 #œ. 4 4 4 3 3 œ j 4 & Œ Œ Œ œ œ œ œ J œ # œ œ 3 œ 3 3 #œ . #œ 3 3 3 F P 4 4 poco 4 3 F P - 3 œ P p j j œ Cb. ? Cb.œ œ j œ #œ œ œ œ œ #œ œ j 4 ? 3 œ j3 #œ j 4 & Œ& Œ Œ Œ Œ Œ œ œ œ œ4 œ Jœ œ œœ 3 J œ. œ œ 3#œ#œ œ. œ œ œ œ 4 # #œ poco # 4 4 4 4 - poco - 4 4 P P p p , œ. w (œ) #œ. , #œ. #œ #œ œ œ #œ- & #œ r #œ #œ #œ 5 Pno. œ œ œ œ 16 , - 3 P . , ‰ œ œ #œ œ ? # œ œ # œ œ œ œ # œ 5 #œ #œ œ #œ 16 œ - œ R œ R #œ J R J

D 5:4 r œ 15 e = 3 126 U 3 U #œ j #œ œ U #œ œ J #œ #œ nœ œ & 5 #œ 6 #œ ‰ 8 #œ 6 #œ #œ #œ œ 8 œ #œ j#œ 5 #œ 5 3 J #œ Pno. œ œ œ œ œ œ œ J œ 16 16 16 3 16 16 16 3 #œ 4 4:3 j F 3 œ U U f #œœ U œ œ œ ? 5 œ # 6 #œ œ 8 œ # œ 6 # œ 8 #œ # œ ‰ 5 œ œ 5 #œ J #œ J #œ œ jJ œ 16 16 œ 16 œ 16 œ #œ 16 16 œ œ 4 3 #œ #œ J 71

Tempo I E 21 (Gm,11,-49) q = Fl. 1 50 K ˙. œ. & 5 ! 3 3 4 ! 3 ! 3 ! 4 4 G.P. 4 " 8 4 4 8 4 (Gm,13,+41) k˙. œ. Fl. 2 & 5 ! 3 3 4 ! 3 ! 3 ! 4 4 4 " 8 4 4 8 4 (Gm,7,-31) l ˙. œ. B Cl. 1 b 5 ! 3 3 4 ! 3 ! 3 ! 4 & 4 4 8 4 4 8 4 (Fund.)" B. Cl. & 5 ! 3 ˙. 3 œ. 4 ! 3 ! 3 ! 4 4 G.P. 4 8 4 4 8 4 "(C,13,+41) Hn. 5 ! 3 j 3 4 ! 3 ! 3 ! 4 & 4 4 ˙. 8 œ. 4 4 8 4 "(C,7,-31) B Tpt. J b & 5 ! 3 ˙. 3 œ. 4 ! 3 ! 3 ! 4 4 4 " 8 4 4 8 4 %(5) l˙o . œo . Vln. & 5 ! 3 3 4 ! 3 ! 3 ! 4 4 G.P. 4 "(9) 8 4 4 8 4 ˙o . œo . Vc. ? ? 5 ! & 3 3 4 ! 3 ! 3 ! 4 4 4 "(Fund.) 8 4 4 8 4

Cb. ˙o . œo . ? 5 ! 3 3 4 ! 3 ! 3 ! 4 4 4 8 4 4 8 4 " Bass Drum Perc.1 ã 5 ! 3 ! 3 ! 4 ! 3 ! 3 ‰ 4 4 4 8 4 4 8 œæ 4 " F Timp. ? 5 ! 3 3 B 4 ! 3 ! 3 ! 4 4 4 n˙æ. 8 æ. ( œ) 4 4 8 4 " 72

F 27 q = Glk. 63 & 4 ! #œ œ ! Perc.1 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 ã 4 ‰ $ $ ‰ ‰ $ œ ‰ ‰ ‰ ‰ ‰. ‰ ‰ 4 3 3 3 3 3 5 5 5 P F p P 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 ã 4 Ó $ $ ‰ ‰ Œ $ 5 $ ‰ ‰ 4 5 5 5 5 3 #œ Vib. œ œ œ & 4 ! ! #œ ! 4 3 F p Timp. ? 4 Bœ ‰ Œ Ó ! ! 4 fl . . ß P F p 3 & j j Ÿ~~~~~~~~~~ Ÿ~~~~ ? œ œ œ œ œ œ œ œ #œ. œ #œ 4 bœœ œ œ ‰ Œ Ó & Ó Œ ‰ $ ‰ Œ ‰ bœ. nœœ 6 6 Pno. 4 fl # . ß 3 p p (loco) #œ #œ ? œ 4 ‰ Œ Ó & ! Ó $ #œ œœ bœœ 4 bœ b œ œ . bœ. P fl (G ,11,-49) 30 m K K K œ œ œ yœ œ œ yœ Kœ yœ œ yœ œ. œ œ. Fl. 1 J J J & Ó Œ Œ 3 3 3 $ Œ veiled " p " l- - l- - ˜ µ Fl. 2 #˙ œ œ œ œ #œ œ œ #œ œ œ œ œ Ó 3 J 3 Œ Ó & veiled " p " con sord. œ œ Vln. #œ œ œ & ! Ó Œ 3 #œ #œ Œ Ó

p con sord. P 6 Vc. #œ #œ #œ #œ- ? ! ! Œ œ œ œ œ Œ Œ 6 5 œ p P Glk. & ! #œ œ œ œ #œ œ #œ r #œ #œ #œ Perc.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 $ . ‰ ‰ 5 $ $ ‰ $ 5 $ ã 3 6 5 5 F p P 5 F p 3 5

Perc.2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ 3 J $ $ Œ 5 œ ‰ ã 3 J œ œ #œ Vib. œ œ œ & #œ #œ œ #œ bœ P F p loco (&) œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ- ˙ œ nœ œ # #œ œ n # # # # œ œ ‰ ‰ ‰. ‰ $ ‰ Œ 3 J ‰ ‰. & 3 3 5 5 5 3 Pno. p loco P & #œ #œ œ œ œ #œ #œ #œ œ #œ œ œ œ œ œ œ œ œ œ #œ & ! ‰ ‰ $ #œ $ ‰ ‰ $. Œ 73

33 œ œ - œ Vln. œ œ #œ œ & 5 #œ ‰ Ó ! ! 5 p P œ œ œ Vc. œ #œ œ œ B ? Œ ‰ #œ œ #œ œ œ #œ Ó ! 3 œ 3 P pizz.f P œ Cb. ? #œ #œ ! œ œ ‰. Ó ! & œ 5 f P Perc.1 œ œ œ œ œ ã ! w ˙ œ ‰ æ æ æ 3 5 # Perc.2 œ œ œ œ œ œ œ œ œ ‰ Œ Ó ! Œ $ $ $ œ ã 3 5 œ TIMP, Fingers 3 œ Timp. ? ! Œ b˙æ Bœæ ‰ bœæ nœæ Bœæ " p P œ œ #œ œ #œ œ #œ #œ ‰ Œ Œ $ $ œ ‰ Ó ! & œ œ 3 3:2 j 5 5 œ Pno. f 3 P #œ #œ œ œ œ ‰ œ Œ Œ ? œ #œ $ Ó ! & #œ 3 œ #œ 3 J # œ 74

G 36

Fl. 1 & ! ! (Fm,11,-49) Fl. 2 K ! Ó Œ œ œ & 3 J " poco B Cl. 1 #œ ˙ b & ! Œ ‰ veiled "

Vln. & senza sord. ! ! hammer pizz. sul C ...... ˜ ˜ . ˜ . . Vc. . œ. . œ. . œ. #œ. #œ . œ. #œ. µœ. œ. µœ. œ. #œ œ. œ #œ B ‰ œ œ œ Œ ? Ó $ œ. œ. µœ. Bœ. $ 5 5

hammer pizz. p P 5 p sul A 6 6 Cb. Ó $ #œ œ œ ˜ œ Bœ µ µ Œ Œ Ó & #œ. . . #œ. . #œ. œ. . #œ. . œ. œ. P

Glk. & ! #œ nœ bœ 5 j #œ Perc.1 œ œ œ œ œ œ œ œ œ œ œ ‰ Œ œ œ ‰ œ œ œ ‰ $ ã 3 5 5 œ œ œ 5 œ œ F 5 5 Perc.2 œ œ œ œ œ œ œ œ œ œ œ œ œ ã $ œ œ ‰ $ ‰ $ œ œ œ ‰ #œ 5 Vib. œ œ œ & œ ! #œ ! bœ F & œ œ œ œ œ œ ! Ó Œ 6 ‰ & 6 Pno. P & #œ. œ. ? ! Ó ‰. $ # ‰ 75

(Fm,7,-31) (subtle intonation adjustments for timbral changes) 38 K œ. ˙ nœ ˙ œ k œ œ œ Fl. 1 J & $ 3 Œ Ó

(subtle intonation adjustments for timbral changes) (-49) Fl. 2 k K k K & œ œ œ. ˙ œ œ ˙ œ œ œ œ ˙ œ Œ 5 J 3 3 J J 3 poco (subtle intonation adjustments for timbral changes) K B Cl. 1 œ ˜œ ˙ œ œ ˙ œ b . & 3 J ‰ Œ ! poco 5 3 B. Cl. œ œ œ & ! ! Œ Œ j œ œ #œ $ #œ œ #œ senza sord. 6 3 p P , Vln. j j µ & ! Œ $#œ œ #O O ˜˜O #O (µ œ) bœ # œ. œ œ # ˙. ( œ ) 6 7 6 p P p arco Vc. µ µ µ ? Œ $ œ œ Kœ œ Bœ œ µ Œ Œ ! & Ó ‰. #œ œ...... œ. bœ. œ œ œ . 3 - p arco p œ- Cb. ? #œ œ¯ #œ & $#œ µœ µ Œ Ó ! Ó œ #œ¯ . œ. . œ. -œ œ p 5 p Glk. ! nœ ! & œ #œ #œ œ 6 5 œ 6 Perc.1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ $ œ œ œ œ ‰.Œ œ ‰ $ œ $ Œ ã œ œ œ œ œ œ œ œ œ œ 3 6 œ œ œ œ œ œ æ 5 p p F P 5 5 5 Perc.2 œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ 3 ‰ Œ $ œ œ $ ‰ $ ‰ Œ Œ $ ã æ æ œ œ 5 5 5 œ œ œ œ Vib. œ #œ nœ #œ & ! #œ œ œ F P p p 5 (&) loco œ œ œ œ ? #œ œ #œ # œ & 6 Œ Œ Ó ! ‰ œ ‰ & œ ‰ #œ œ cresc. Pno. p p P (&) loco #œ #œ. œ œ #œ œ ? $ $ Œ Ó ! #œ œ $ & ‰ #œ œ 3 #œ œ 3 76

slow bend 41 ) #œ ( ˜ œ Fl. 1 & ! ! Œ ‰ slow" bend K œ k- K œ Fl. 2 œ & ! ! ‰. $ " B Cl. 1 b & ! ! ! #œ œ œ #œ bœ B. Cl. J J Œ 3 œ 3 Œ Œ ! Ó Œ Œ & œ 3 J

Hn. " & ! ! !

(timbral alternations with each - ) con sord. B Tpt. - - - - k µ b œ œ œ œ œ œ œ œ. œ . & Ó ‰ 3 5 ‰ Œ !

trem. P F p ( ) col legno battuto o #œo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~o~~~~~ sul G ˙. œ 6 Vln. ‰ & ! Ó Œ Œ B œ œ. " ( ) ﬂ Ÿ~(~œ~)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~œ~~~~~~~~ ß Vc. œ œ œ ˙. #œ. & 3 slow gliss and widen trill interval ‰ Ó ! P œ¯ Cb. #œ ? œ œ œ ‰ Ó ! ! #œ - F Glk. & #œ ! #œ #œ Perc.1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ ‰ ‰ $ $ 3 $ œ œ 3 Œ Ó ã 3 æ œ æ æ æJ æ æ 5 5p 5 f 5 P Perc.2 œ œ œ œ œ ˙ œ œ œ œ œ œ ã $ ‰ æ æ ‰ œ œ œ œ $ ! Vib. œ & #œ ! œ Fingers f P Timp. ? B ! ! ‰ œæ œæ œæ æ steady bend æ œ œ œ #œ # #œ œ # # R œ ‰ Œ 5 ‰ Œ ! ! & 5 5 Pno. œœ œ œœ œ œ œ œ œ ? & Œ #œ ‰. ! ! 77

(Bb,13,+41) j j 44 ( ˜ ) œ œ œ œ œ œ #œ. œ Fl. 1 $ J . & Ó Ó Œ 3 ‰ ‰ 3 (Bb,7,-31) k ˙ œ- J œ œ œ œ- œ œ- œ œ. œ- œ Fl. 2 . . J & ‰ Œ Œ ‰ 3 ‰

(timbral alternations with each - ) B Cl. 1 - - - b & Ó Œ Œ bœ ˙ œ œ. œ œ œ. œ œ Ó 3 J 3 J (G#/F# key trill) " #œ #œ #œ #œ #œ ˙ œ bœ bœ bœ bœ B. Cl. ‰ Œ Ó ! & ˙ œ œ œ œ œ œ œ œ œ œ 3 3 senza sord. Hn. ˘ ˘ > bœ Iœ Œ bœ ‰ bœ œ ‰ ! ? Ó Œ ‰ & 3 œ 6 b- p P P B Tpt. b & ! ! !

6 µ µ µ µ ˘ B˘ ˘ µ . B . µ . B Vln. œ. œ. œ. nœ. œ. œ. œ. nœ. . B. œ œ œ œ. nœ. œ œ œ. œ. œ ˘ œ. #œ. œ. µœ. Œ R ‰ $ œ œ ‰ ‰ ‰.Œ Ó Œ Œ $ œ $$ $ & r 6 6 6 6 6 6 6 bœ. p P p p ß Vc. œ¯ ! ! ? Ó Œ ‰ # & #œ¯ P Cb. ? ! ! !

Perc.1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ $ $ $ ! Œ Œ 3 J $ ‰ ã œ œ œ œ œ 5 p P " P Perc.2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ‰ ‰ ! Œ $ $ 5 ã 6 œ œ 5 5 p P Vib. œ. & ‰. #œ Ó ! ! bœ 6 Timp. ? bœæ ! ! P " & ! ! ! Pno. Indistinct " 3 ? ! ! Ó ‰ $ œ # œ with Ped. œ #œ #œ. 78

trem. 47 H ( ) ~~~~~~~~ œ shadow piano œ. œ Fl. 1 & ‰. Œ Ó ! ! Ó $

" trem.p ( ) shadow piano œ ~ ##œ Fl. 2 & ! ! ! Ó Œ ‰ " B Cl. 1 b & ! ! ! !

3 œ B. Cl. # œ Œ $ œ #œ $ # œ œ ‰ Œ Ó ! ! & #œ # œ œ < œ . 5 œ œ < #œ. ﬂ . bœ. P 3 F 3 ß - Hn. ? bœ œ bœ¯ ? & œ œ œ bœ ‰ Œ Ó ! ! œ 3 œ J bœ - œ #œ ﬂ . F ß B Tpt. b & ! ! ! !

Vln. & ! ! ! !

3 #œ œ- Vc. - œ œ #œ ? œ œ œ #œ œ ‰ œ œ œ ‰ Œ Ó & ! ! 3 œ bœ b . fl . F ß 3 Cb. ? ! bœ œ ‰ Œ Ó ! ! fl . . ß 3 Perc.1 œ œæ ‰ ‰ Œ Ó ! ! ã æ sub.æ æ œ ˙ œ œ. œ. 3 F " F fl Perc.2 œ œ œ œ œ œ ß œ œ ã ‰ œ œ $ æ ! ! ! 3 P Timp. ? ! bœ ‰ Œ Ó ! ! fl . . ß œ œ œ w w œ œ œ œ ##œ

! æ æ 3æJ æ æ & poco cresc. æ æ Pno. P 6 3 3 Fl.v. all p œ- œ. œ- œ #œ ˙ ˙. œ ? $ $ $ $ $ r & Ó ‰ ‰ æ æ æ æ #œ #œ #œ # œ 3 # œ œ œ. - œ œ #œ œ #œ œ . #œ P p 79

trem. trem. ( ( ) 51 ~~~~~ œ ) ~~~~~~~~~~~~~~~~~ # œ ~~~~~~~~~~~~~~~~~~~~~~~~ œ œ #œ #œ nœ œ œ œ œ œ ˙. Fl. 1 ‰ & 6 Œ ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ[ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ œ nœ œ œ œ Fl. 2 ‰. Ó ! ! & trem. trem. ( ) ( ) p " shadow piano œ ~~ œ ~~~~~~~~~~~~~~ œ œ œ œ œ œ ˙ œ B Cl. 1 . œ . . - b Œ J . œ œ & ! Ó 3 5 6 ‰ ‰ Œ

" trem. p F shadow piano ( ) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ. w œ œ B. Cl. Œ $ J & ! Ó 3 Œ Ó " p " Hn. ? ! ! ! & ‰ Ó -œ œ F B Tpt. - b & ! ! ! Ó #˙ trem. normale ( ) ( )( ~~) ~~~~~~~~~~~~~~ F shadow piano œ ~~~~~~~~~~~~~~ œ - #œ œ #œ ˙ #œ œ Vln. & Ó Œ Œ ! Œ ‰ Œ " p " F Vc. & ! ! ! !

Cb. ? ! ! ! !

œ Vib. & ! ! Ó Œ ‰. ! 3 F œ ˙ 3 ˙ œ #œ ˙ ˙ œæ #˙ œ œœ. œœ ww œœ œœ # ? . & æ ‰ & æ æ æ æ æ æ æJ 3 æ æ #œ #œ l.v. Pno. > œ > œ p #œ #œ œ- P ˙ œ ƒ 3 ˙ œ œ ˙ ˙ œ ˙ œ - œ ˙ ? #œ & æ æ $ j & æ æ ‰ Œ ‰ 3 Œ 3 J Ó Œ ‰ 3 æ æ œ # œ #œ # œ. F â 80

trem. ( ) 55 œ ~~~~~~~~~~ #œ- œ ˙ œ. ˘ Fl. 1 J œ- œ ! ! ! Œ Œ 3 3 & 8 4 P f ( ) (accidentals carry through) #œ œ œ œ œ œ #œ Fl. 2 #œ œ œ œ œ œ œ #œ. ! ! ! ‰ 3 5 3 & 8 p F œ œ œ B Cl. 1 #œ . . b J #œ œ œ & ! ! ! Œ 3 œ 3 P 8 F 5 ( # œ ) ˙ œ œ œ. B. Cl. & ! Ó Œ œ ˙ œ ‰. Œ 3 ! œ bœ œ. œ œ #œ œ œ œ bœ œ b œ 8 p P Hn. ! ! ! w 3 œ. & 8 p ﬂutter mute slightly, F mostly closed mmmmmmmm B Tpt. b œ œ œ œ ! ! ! Ó ‰ 3 3 & 8 J trem. trem. p F ( ) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n#œœ ˙. w ˙ ##˙œ w œ. Vln. ‰ 3 & 8 p F Ÿ~( ~)~~~~~~~~~~~~ Vc. Œ #œ˙. ! Ó Œ ‰. œ bœ ˙ 3 œ. & 8 p sul E P p F Cb. œo œo wo œo ? ! & Ó ‰ Œ 3 #˙ 8 œ. p arco F Crt.1 & ! ! ! Œ ‰ #œ ˙ 3 œ. p 8 œœ ˙˙ ww œœ Vib. æ æ æ & ! Œ ‰ æ æ æ æ b˙ œ bbœœ 3 œœ. æ 8 p F w w œ œ w w œ œ ##œœ ˙˙ ww #œœ. & æ æ æ æ æ æ æ 3 æ l.v. 8 Pno. - p P p P œ œ œ ˙ w œ ˙. œ œ-. œ œ ˙ w œ b˙. œ. œ- œ J & ‰ 3 Œ ‰ æ æ æ æ 3 æ 3 æ 8 F 81

I 60 ˘œ # œ ˙ œ Fl. 1 U J ! 4 ‰ Œ Ó ! Œ 3 ‰ & G.P. 4 poco ß P 5 p ˘œ Fl. 2 U œ & ! 4 ‰ Œ Ó ! ‰ #œ œ #œ #œ #œ. œ 4 3 œ ß P 5

B Cl. 1 U #œ b ! 4 ‰ Œ Ó Ó Œ ‰ #œ & poco #œ #œ #œ 4 #œ #œ ˙ œ #œ #œ œ ﬂ ß p P F 3 3 B. Cl. U #œ #œ ! 4 Ó Œ - j j Œ Ó Ó Œ ‰ & G.P. œ œ 4 œ œ œ 3 3 F p Hn. U - ? & ! 4 ‰ j j œ œ Œ Œ ‰ œ œ & ‰. Œ Ó 4 #-œ œ #œ œ J 3 #œ. œ œ senza sord.F - ˘ B Tpt. U #œ b ! 4 ‰ Œ Ó ! ! & 4 ß

Vln. U ˙-. œ j œ œ œ œ œ œ. œ œ ! 4 3 ‰ Œ Ó & G.P. #œ #œ #œ #œ #œ 4 3 5 F p poco wider faster p no vibrato vib. F U Vc. ! 4 bw- w ˙. œ ‰. & 4 F p P " Cb. U & ! 4 #w w œ œ 4 - J 3 œ ˙ F p F l.v. Chm. œ & ! 4 #œ Œ Ó ! ! 4 > ß l.v. Vib. U & ! 4 #œ Œ Ó ! ! 4 # œ > 3 ß œ - U ˘œ & ! 4 #œ ‰. Œ Ó ! #œ #œ #˙ ##œ ‰ Pno. G.P. 4 - $ œ ß ‰ 3 F œ œ - U ? #˘œ #œ ˙ & ! 4 œ ‰. Œ Ó Ó Œ $ Œ ˙ œ $ 4 œ sub.œ < -#œ œœ f 82

J ca. flexible, broad, floating rallentando. . . . h = 64 50 #œ #œ œ nœ œ #œ œ œ #œ œ Fl. 1 œ œ œ # œ œ œ . & ! 2 Ó 6 6 Œ #œ b bœ Œ Ó 3 2 6 6 2 p œ #œ nœ #œ # #œ œ #œ œ #œ Fl. 2 #œ œ #œ #œ w œ œ œ œ œ & 2 Œ ‰ 5 b Ó 3 2 5 5 2 p 3 3 4 B Cl. 1 b & ! 2 ! Ó Ó 3 œ ˙ œ 2 #œ œ #œ b 2 p B. Cl. & 2 ! ! ! 3 w 2 2 P 3 Hn. ! 2 ! Œ ˙ œ b˙ 3 & 3 J #œ. ˙ œ 2 leggiero dolce 2 p ( Ÿ)~~~~~~~~~~~~~~~~~~~~( ~~~) ~~~~~~~~~ ( ) con sord. œ œ ~~~~~~~~~~~~~~~~~~~~(~~)~~~~~ #œœ. œ. ##œ ˙ œ #œ #œ #œœ œ. #œœ ˙ œ Vln. J œ #˙ œ Ó ‰ 2 7:4 7 Œ Œ J 3 j & œ #œ 2 7 2 p - #O¯ O œO œO #O¯ Vc. ? # œ #˙ # œ œO. œO O ! 2 ‰ ‰ Œ Œ 3 Œ ‰ . œ 3 & 2 2 p Cb. Œ ? 2 ! ! ! 3 & ˙. P 2 2 Chm. & ! 2 ! 3 ! ! 3 2 3 2 Œ ˙ #˙ #œ œ ˙ #˙ Œ ˙ Ó Vib. ˙ #˙ #˙ ! 2 Œ 3 3 5 :4 œ 3 & œ œ #˙ # 2 5 2 p ˙æ Œ ##˙. œ ˙ #˙˙ #œæ #˙˙ #˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ & Œ Œ 3 æJ æ 2 æ æ 3 sub. sotto voce æ æ æ æ Pno. 2 p 2 3 p œ ˙ b˙ ? #œ ˙ ˙ #˙ #˙ #˙ #˙ #˙ & 2 æ #˙ #˙ b ˙ 3 ‰ Œ 3 æJ æ æ æ œ ##œœ 2 æ æ æ 2 #œ R > 83

. . . molto. . . K 68 6 q = Fl. 1 #œ #œ #œ 63 / 3 ‰ œ œ J œ œ ‰ Ó 5 ! 2 3 ! 4 ! 7 & 6 6 œ. œ 2 5 8 4 4 8 #œ. #˙ Fl. 2 œ #œ #œ œ / 3 Œ bœ J 5 J 5 ! 2 3 ! 4 ! 7 & 2 œ J 5 8 4 4 8 3 B Cl. 1 / b & 3 Œ 5 ! 2 3 ! 4 ! 7 2 b˙ œ œ ˙ 8 4 4 8

B. Cl. / 3 ! 5 ! 2 3 ! 4 ! 7 & 2 8 4 4 8

Hn. / 3 ˙ œ ‰ 5 ! 2 3 ! 4 ! 7 & 2 œ ˙ 8 4 4 8

5 Vln. #œ œ #œ ˙ œ #œ j˙ / 3 5:4 5 ! 2 3 ! 4 ! 7 j & 2 7 œ œ. œ 8 4 4 8 Vc. O O O O O / ? 3 ˙ œ ˙ ##œ œ Œ & 5 ! 2 3 ! 4 ! 7 2 3 3 8 4 4 8

Cb. / ? 3 ! 5 ! 2 3 ! 4 ! & 7 2 8 4 4 8

3 3 3 Œ Vib. #˙ #˙ œ œ / 3 œ ˙ #˙ ˙ 5 ! 2 3 ! 4 ! 7 & 5 :4 Ó 2 œ œ 8 4 4 8

3 6 6 2/3 6 #˙˙ ˙˙ ˙ ? / & 3 #˙ 5 ‰ Œ ‰ 2 3 4 Œ ‰ Œ $ ‰ 7 2 æ æ æ 8 œ # # œœ 4 œ 4 œ œ # œ 8 Pno. >#œ œœ # œ - œœ #œ œœ #œ œœ nœ # -œ #˙ F / 3 b ˙ ˙æ ˙æ ? 5 ‰ 2 3 ! 4 $ Œ ‰ Œ 7 & ˙ ˙ j j 2 æ 8 œ œ 4 4 œ. 8 $ > - ﬂ #œ-. #-œ 84

(Fm,7,-31) 72 K œ œ. Fl. 1 / 7 ! 5 ! 2 3 ! 4 ! 7 Œ 5 & 8 8 4 4 8 8 (F ,3,+2) P F f m yœ œ. Fl. 2 / & 7 ! 5 ! 2 3 ! 4 ! 7 Œ 5 8 8 4 4 8 P F f 8 B Cl. 1 / b 7 ! 5 ! 2 3 ! 4 ! 7 ! 5 & 8 8 4 4 8 8

B. Cl. / 7 ! 5 ! 2 3 ! 4 ! 7 ! 5 & 8 8 4 4 8 8

Hn. / 7 ! 5 ! 2 3 ! 4 ! 7 ! 5 & 8 8 4 4 8 8

B Tpt. / b 7 ! 5 ! 2 3 ! 4 ! 7 ! 5 & 8 8 4 4 8 8 (Gm,7,-31) senza sord. lœ œ. (Gm,7,-31) lœ œ. Vln. / 7 Œ 5 ! 2 3 ! 4 ! 7 Œ 5 & 8 8 4 4 8 8 (Gm,13,+41)p P (Gm,13,+41)P F f Vc. / 7 Œ k 5 ! 2 3 ! 4 ! 7 Œ k 5 & 8 k œO œO. 8 4 4 8 k œO œO. 8 (Gm,11,-49)p P (Gm,11,-49)P F f Cb. K / K 7 Œ œ œ. 5 ! 2 3 ! 4 ! 7 Œ œ œ. 5 & 8 8 4 4 8 8 p P P F f

6 Perc.1 / ã 7 ! 5 Œ $ ‰ ‰ 2 3 ! 4 Ó ‰ Œ 7 $ Œ Œ Œ. 5 8 8 œshadow piano 4 4 œ 8 œ 8 f œ œ œ Timp. ? > j / 7 ! 5 œ ‰ ‰ œ 2 3 ! 4 $ œ ‰ Œ Ó 7 ! 5 8 8 3 > 4 4 > 8 8 shadow piano f

6 6 6 3 2/3 6 6 ? r / #œ œ œ. 7 r Œ œ œ œ. 5 Œ ‰ 2 3 4 Œ ‰ Œ$ ‰ 7 r Œ R 5 8 # dolce 8 œ # # œœ œ 4 œ œ # œ 8 dolce 8 Pno. œ > œ œœ œ 4 - œœ > œ œœ > œ œœ œ# œ œ 6 P # # # n - 6 F f / ? 7 $ Œ Œ Œ. 5 ‰ $ j 2 3! 4 $ Œ ‰ Œ 7 $ Œ Œ Œ. 5 8 8 œ œ 4 4 œ. 8 8 #œ #œ. > ﬂ #œ #œ ﬂ 85

L 77 K ˙ œ Bäœ Kœ Fl. 1 >œ / œ- œ- #œ . #œ #œ & 5 ‰ #œ Œ 2 3 ! 4 Œ #œ ‰ œ Œ Œ Œ 3 3 3 6 6 8 4 4 F ß 8 f 6 y˙ œ #äœ yœ Fl. 2 >œ / œ- œ- œ . œ & 5 ‰ #œ Œ 2 3 ! 4 Œ #œ ‰ #œ Œ Œ Œ 3 3 8 3 4 6 œ 8 4 F ß f 3 6 6 ˙ œ äœ œ B Cl. 1 œ / œ b . - œ & 5 ‰ #œ Œ 2 3 ! 4 Œ #œ ‰ - Œ Œ Œ 3 3 8 > œ 4 4 œ œ œ 8 f F ß3 B. Cl. / B & 5 Œ $ ‰ ‰ 2 3 ! 4 ! Œ #˙ œ œ #œ 3 8 4 4 â 8 ƒ #œ 2/3 F ß3 fl Hn. / & 5 Œ $ ‰ ‰ 2 3 #œ #œ 4 ! Œ ˙ œ œ œ 3 8 œ 4 - 4 â 8 ƒ fl F 2/3f F ß B Tpt. / b & 5 Œ $ ‰ ‰ 2 3 œ #œ 4 ! ! 3 8 #œ 4 - 4 Scr. 8 ƒ fl F f 6 arco ' pizz. #˙ œ µ>œ Vln. / #œ œ & 5 Œ Œ j 2 3 ! 4 Ó Œ $#œ $ Œ ‰ 3 8 #œ 4 4 6 3 8 f F F ßScr.

3 pizz. arco ' Vc. / 5 Œ Œ j 2 3 ! 4 ! Œ k˙ œ ‰ 3 & œ k ˙ œ #œ 8 4 4 > 8 f F ßScr. arco pizz. ' Cb. / K˙ œ K>œ & 5 Œ Œ j 2 3 ! 4 ! Œ ‰ 3 8 œ 4 4 3 8 f F ß / #˘œ #œ > 5 ! 2 3 ! 4 $ $ Œ Œ ‰ œ œ ‰ ‰ ##œœ Œ Ó 3 & œ 6 Mrb. 8 4 4 #œ 8 f >œ / œ #˘œ #œ #œ ? 5 ! 2 3 ! 4 $ œ $ Œ Œ ‰ œ œ ‰ ‰ Œ Ó 3 8 4 4 6 8

Timp. / ? 5 j ‰ Œ. 2 3 ! 4 ! ! 3 8 œ 4 4 8 6 2/3 6 6 ˘œ #œ- œœ- ˙˙ b >œ ˘ œ # / ? b œ b œ ? 5 ‰ œ Œ & 2 3 4 $ bœ ‰ & ‰ œ Œ $ œ Œ $##œœ ˙˙ œ b œ 3 œ #œ nœ œ 3 #œ œ œ b œœ #œ - œ # 6 Pno. 8 J 4 œ 4 œ œœ œ 8 2/3 fl # f 3 - 6 j œ- ˙ œ>œ œ˘œ # œ bœ / œ œ- ‰. b œ # œ ? $ ‰ œ œ œ #œ r #œ ˙ 5 ‰ 2 3 œœ 4 $ ‰ Œ $ œ ##œ Œ ‰ œ œ 3 3 #œ #œ # 6 6 8 œ fl 4 - 4 œ - 8 - #œ fl #œ - 6 86

abrupt 81 œ cut-o! Fl. 1 & 3 ‰ 5 ! 4 ! 7 ! 8 abrupt f 4 4 8 œ cut-o! Fl. 2 & 3 ‰ 5 ! 4 ! 7 ! 8 abrupt 4 4 8 cut-o! f B Cl. 1 œ b 3 ‰ 5 ! 4 ! 7 ! & 8 4 4 8 abrupt cut-o! f B. Cl. 3 ‰ 5 ! 4 ! 7 ! & 8 œ 4 4 8 abrupt cut-o! f Hn. 3 ‰ 5 ! 4 ! 7 ! & 8 œ 4 4 8 f B Tpt. ˘ b 3 œ. œ¯ œ $ 5 ! 4 ! 7 ! & 8 4 4 8 F ç ' #œ œ µ>œ Vln. 3 $ 5 ! 4 ! 7 ! & 8 4 4 8 ç ' Vc. 3 kœ œ $ 5 ! 4 ! 7 ! & k œ œ #œ 8 > 4 4 8 ç ' Cb. K > 3 œ œ œ $ 5 ! 4 ! 7 ! & 8 4 4 8 ç ˘œ ˘œ & 3 ‰##œ ##œ ‰ 5 ! 4 ! 7 ! Mrb. 8 4 4 8 ƒ ˘œ ˘œ ? 3 ‰ #œ #œ ‰ 5 ! 4 ! 7 ! 8 4 3 - 4 8 3 ‰ #œ œ ‰#œœ œœ œœ j # œ œ #œ œ. œ œ œ & 3 ! 5 Œ Œ œ œ œ œ 4 Œ Œ# œ œ. $ Œ 7 ‰ œ œ œ 8 4 b œ œ ‰ œ œ 4 3 J 8 Pno. 3 œ œ 3 3 6 f 3 - ä ß - f P F -j $ - ˘ F $ œ œ. ‰ œ œbœ ? ! œ ##œ #œ œ #œ #œ œ. œ#œbœ œ Œ Œ œ#œ 3 5 #œ #œ œ œ œ œ œ 4 #œ #œ œœ J #œœ œœ # œ 7 œ 8 4 œ œ $ Ó 4 #œœ Œ 3 ‰. œ 8 ‰ J œ 3 J œ ‰ # n 6 - ﬂ < 3 â F f ﬂ 87

85 #˙. œ µœ Vln. / U 2 3 ! 3 ! 4 $ 3 2 4 & 6 4 4 4 P 4 4 4 ord. sul pont f Vc. / U 2 3 ! 3 ! 4 ˙. #œ 3 2 4 & 4 4 4 3 J 4 4 4 P (9) (10) (11) (12) (13)F(14) ord. sul A J J o o J o o kœo œo œo kœo o œo œo lœo œ nœ œ nœ nœ Cb. / U ? 2 3 ! 3 ! 4 ‰ 3 5 3 3 2 4 & 4 4 4 4 4 4 P F poco 2/3 / œ- q = - #œ ? œœ U 63 bœ œ œ. œ 2 3#œ 3 Œ # Œ Œ & 4 ! 3 ‰ bœ bœ n#œ œ. $ 2 #œœ. œœ ‰ 4 & #œ J 3 œ . œ . œ Pno. 4 - . 4 4 4 4 > 4 F 3 œ- P F f / #œ. U œ- œ ? 2 3 œ# œ œœ. œ . #œ. œ 2/3 3 $ . ‰#œ ‰ Œ 4 ! 3 Œ ‰ œ œ. $ 2 $ œ. œ ‰ 4 4 4 œ . œ 4 4 4 œ. œ 4 88

N 90 q = q = 54 - #œ- œ- - 63 q = 54 Fl. 1 #œ œ #œ- 4 Œ 2 3 ! 3 ! 4 ! 3 & bright 4 f 4 4 8 4 4 #œ- Fl. 2 #œ- - - & 4 Œ œ #œ 2 œ 3 ! 3 ! 4 ! 3 - bright 4 f 4 4 8 4 4 B Cl. 1 - b & 4 Œ 2 œ 3 ! 3 ! 4 ! 3 œ œ œ œ 4 - bright- - 4 - 4 8 4 4 f B. Cl. - 4 Œ 2 œ- œ 3 Œ œ 3 4 ! 3 & œ œ #œ œ b œ œ j 4 - bright- - 4 4 8 œ 4 4 œ - #œ f > f P f F Hn. ? - 4 ! 2 ! 3 Œ $ œ 3 bœ œ & 4 ! 3 & œ œ # J 4 4 4 #œ - - #œ œ 8 4 4 < F B Tpt. f > b & 4 ! 2 ! 3 Œ ‰. œ œ 3 j 4 ! 3 4 4 4 8 œ #œ 4 4 - s.p. p F ord. #œ- œ œ bœ œ B œ œ œ B œ Vln. J & 4 ! 2 ! 3 ! 3 ! 4 ‰ 3 3 3 4 4 4 8 4 s.p. 4 P F 5 ¯ - ‰ #œ µœ tœ µœ. Vc. 4 ! 2 ! 3 ! 3 ! B 4 3 & 4 4 4 8 4 ‰ œ ˙. 4 P f #œ œ œ Cb. r ? 4 ! 2 ! 3 ! 3 ! 4 ‰ œ Bœ 3 4 4 4 8 4 5 fl > 4 P f Chm. œ & 4 Œ œœ ##œ 2 œ œ 3 ! 3 ! 4 ! 3 4 œ 4 œ œ 4 8 4 4 f TAM-TAM, muted attack Perc.1 4 ! 2 ! 3 ! 3 ! 4 w 3 ã æ 4 4 4 8 4 p 4 Perc.2 4 ! 2 ! 3 Œ $ œ œ 3 ! 4 ! 3 ã 4 4 4 œ œ œ œ 8 4 4 F Timp. ? ! ! ! ! 4 2 3 3 4 œæ #œæ ˙æ. 3 4 4 4 6 8 4 > 4 œ > f p 5 #œ œœ #œ œ œ 3 5 #œ # œ #œ œ œ # œ j 4 Œ œ # œ 2 œ œœ 3 ‰. œ #œ œ œ 3 4 Œ. œ #œ œ r r Œ 3 & #œ œœ œ œ # n # j j # œ œ bbœœ œœ 4 4 4 œ œ 8 œ 4 5 4 Pno. f maestoso #œ #œ #œ œ f - fl fl - ˘ ˘ œ œ œ ‰ Œ œ œ #œ #œœ ##œœ ? #œ œ œ #œ œ œ ‰. #œ œ 4 r Œ œ œ 2 ! 3 œ 3 œ œœ 4 R R 5 Œ 3 # œ œ œ #w œœ 4 4 4 # œ 8 œ œ 4 œ 5 4 #ww J > > 89

O 95 q = 63 q = 54 Fl. 1 / 3 ! 3 ! 2 3 ! 2 ! 3 ! 3 ! 7 & 4 8 4 4 4 8 8

Fl. 2 / 3 ! 3 ! 2 3 ! 2 ! 3 ! 3 ! 7 & 4 8 4 4 4 8 8

B Cl. 1 / b 3 ! 3 ! 2 3 ! 2 ! 3 3 7 & 4 8 4 4 8 8 4 bœ œ bœ œ -œ b-œ - - - -œ - -œ -œ B. Cl. / #œ p & 3 ! 3 ! 2 3 œ- 2 ! 3 3 7 4 8 4 2/3 4 4 œ œ bœ #œ -œ œ 8 #œ œ œ 8 p------F 2/3f 3 Hn. / & 3 ! 3 ! 2 3#œ 2 ! 3 j 3 j 7 4 8 4 b-œ 4 4 œ œ -œ œ. -œ 8 œ œ 8 2/3 > F f F 3f f ß B Tpt. / b ! ! ! j j & 3 3 2 3 œ #œ 2 3 bœ œ œ œ. œ 3 œ œ 7 4 8 4 - 4 4 - - 8 > 8 s.p. ord. m.s.p. F f F f f ß #œ #œ #œ. pizz. #œ ˜ Vln. nœ œ œ œ œ œ œ œ. œ œ / œ 3 5 6 3 2 3 $ ‰ 2 $ ‰ Œ 3 ! 3 ! 7 & 2/3 œ 4 8 4 4 f 4 8 8 f F5 f ord. s.p. 2/3 ˘ ˘ ˘ pizz. arco K K 3 nœ œ œ ‰ $ œ œ$ ‰ Vc. / ? j j B 3 3 2 3 2 $ ‰ Œ 3 œ œ œ œ. œ 3 œ œ 7 4 ˙. 8 œ. 4 œ$ ‰ 4 #œ 4 - - 8 > 8 2/3 f f F f f ß m.s.p. p.s.p. F f pizz. #œ- œ #˘œ #˘œ ˜œ µœ arco Cb. ? ˘ µ˘ J / ˙ œ 3 œ œ $ Œ 3 3 2 3 $ ‰ 2 $ ‰ Œ 3 b . 3 . 7 4 5 8 4 2/3 4 #œ 4 8 8 P f P P dampen f Perc.1 / ã 3 ˙. 3 œ. 2 3 ! 2 $ $Œ 3 ! 3 ! 7 4 8 4 4 œ 4 8 8 f > Perc.2 / œ œ ã 3 ! 3 ! 2 3 ! 2 3 ! 3 ! 7 4 8 4 2/3 4 4 8 8 Timp. / f > ? 3 3 2 3µ $ ‰ 2 Œ µ 3 ! 3 ! 7 4 æ æ æ 8 æ æ æ 4 œ 4 œ 4 8 8

5 / 3 ‰ #œ œ r Œ 3 ! 2 3 ! 2 ! 3 3 7 & # œ œ bbœœ #˙. œ. Pno. 4 8 4 4 4 #˙. 8 œ. 8 P ˘ﬂ F - > #œ œ ##œœ / Œ f ? 3 ‰ # œ œ R Œ 3 ! 2 3 ! 2 œ bœ 3 ˙ 3 œ 7 5 ##œ œ . . 4 8 4 4 œ 4 > 8 8 - 90

101 q = q = q = 63 #œ nœ œ bœ 54 - œ > 63 Fl. 1 œ œ œ ˙. œ œ œ. œ œ œ œ ˙ œ œ œ / œ œ œ # . #œ œ & 7 ‰ ‰ 3 4 6 7 1+2 3 ! 5 8 4 6 8 4 8 F F3 f P f ƒ #œ Fl. 2 j#œ nœ - œ > / 7 Œ œ ‰. œ 4 #˙. œ œ œ. œ #œ. œ 7 ˙ œ œ œ 1+2 3 ! 5 & Œ œ 5 8 4 5 8 4 8 3 F f P f 3 ƒ B Cl. 1 #œ œ / b 7 ‰ œ Œ Œ bœ 4 œ 7 1+2 3 ! 5 & # 3 ˙. œ œ œ œ œ œ ˙ œ œ œ 8 œ 4 - #œ #œ 8 > 4 8 F f P f ƒ 2/3

B. Cl. / 7 ! 4 Ó ‰ Ó Œ 7 Œ Œ. 1+2 3 Œ #œ 5 & œ bœ bœ - 8 4 - - - bœ œ 8 œ œ 4 œ 8 F - - #- - f 2/3 Hn. / & 7 ! 4 Ó ‰ Ó Œ 7 Œ Œ. 1+2 3 Œ 5 8 4 bœ œ bœ œ #œ 8 œ 4 œ 8 F ------œ - #œ f 2/3 B Tpt. - - / b bœ bœ - & 7 ! 4 Ó ‰ œ Ó Œ œ bœ 7 œbœ Œ Œ. 1+2 3 Œ œ 5 8 4 - - 8 - - 4 - œ 8 F f arco overpressure normale m.s.p. ord. m.s.p. ord. ' ' ˘ w œ œ œ- œ. >œ œ. ˙ œ. œ¯ Vln. #œ J / 7 Œ ‰. $ ‰ ‰ 4 3 $ 7 1+2 3 $ ‰ ‰ 5 & œ œ 2/3 8 #œ 4 8 4 8 ƒ fl P ç ƒ P overpressure ' normale m.s.p. ord. m.s.p. ord. ' #˘œ œ- Vc. ˘ - > B / œ- ? ? 7 Œ œ ‰. $ ‰ ‰ & 4 #w œ œ œ œ. œ $#œ. 7 ˙ œ. 1+2 3 $ -‰‰ 5 8 4 J 3 8 4 œ 2/3 8 ƒ P ç ƒ P arco m.s.p. ord. m.s.p. ord. overpressure normale ' ' w œ œ œ- œ >œ œ ˙ œ Cb. . . . / ? Œ ‰. $ ‰ ‰ J $ 1+2 3 ! 7 #œ #œ 4 3 7 5 8 fl fl 4 8 4 8 ƒ P ç ƒ P 2/3 Perc.1 / ã 7 ! 4 ! ! 7 ! 1+2 3 ‰. ‰ ‰ 5 8 4 8 4 œ 8 ƒ 2/3 Timp. ? / 7 ! 4 ! ! 7 ! 1+2 3“œ ‰. ‰ ‰ 5 8 4 8 4 ƒ 8 > 2/3 #œ-. w>w ww ˙˙ œœ. / 7 Œ Œ $# œ. ‰ 4 #ww ww 7 ˙˙ œœ. 1+2 3 Œ 5 & œ Pno. 8 4 8 œ œ 8 ¯ f - 2/3 ƒ - w> w> ˙ œ. #œ $ #œ. ‰ w w ˙ œ . / ? 7 Œ œ ‰ #œ. 4 7 1+2 3 Œ #œ œ 5 8 #œ 4 8 - #œ 8 < 91

P q = 106 54 ˘œ ˙. w w Fl. 1 œ 5 Œ ‰ # œ $ ‰ 4 Œ & 8 4 f P F p ¯ ˙. w w Fl. 2 œ #œ 5 Œ ‰. œ ‰ 4 Œ & 8 4 f P F p B Cl. 1 b . œ & 5 Œ ‰ œ ‰ 4 Œ b˙. w w 8 œ b 4 œ < P F p f , , , B. Cl. œ- - œ- # œ bœ œ œ œ #œ œ bœ œ œ œ & 5 ! 4 Œ b œ bœ œ - œ œ bœ bœ œ œ 8 4 poco F F poco , , F Hn. - 5 ! 4 Œ œ bœ œ œ bœ œ œ bœ œ œ œ œ bœ & œ #œ œ œ #œ œ bœ œ poco œ 8 4 poco - poco - - F F - - F , B Tpt. œ- œ- , œ- - b #œ œ bœ œ œ œ œ bœ œ œ & 5 ! 4 Œ #œ œ œ #œ œ bœ bœ bœ - 8 4 - - œ poco poco Scr. poco F F p.s.p. F s.p. m.s.p. ord. Scr. ord. ' ' 3 #˙. ˙. œ. #œ- œ œ- œ #˘œ #˘œ #œ Vln. J 5 µ ‰ Œ. 4 Œ 3 $ Œ & #œ œ 6 8 fl fl fl 4 P ß f Scr.ƒ P p.s.p. s.p. m.s.p. Scr. ord. 3 ord. ' ' #˙. ˙. œ #œ- œ œ- œ #˘œ ˜˘œ #œ œ Vc. ? 5 B ‰ Œ. 4 Œ J 3 $ Œ 3 J œ œ 6 8 fl fl fl 4 P ß Scr. f p.s.p.ƒ P Scr. 3 s.p. m.s.p. ord. ord. ' ' Cb. - - ˘ B˘ ? 5 µ ‰ Œ. 4 Œ ˙. ˙. œ œ œ œ œ œ œ $ Œ ‰. œ #œ œ 5 R 6 8 fl fl fl 4 P ß 3 Perc.1 f ƒ P 5 ‰ Œ. 4 ! ! ! ã 8 œ œ œ 4 fl fl fl ß Œ ˙. Vib. 5 ! 4 #˙. ! ! & #˙. 8 3 4 f # ˙. Timp. ? 5 œ ‰ Œ. 4 ! ! ! 8 fl fl fl 4 ß ˙ . j j ##˙˙. #œ œ Œb ˙˙.. & 5 Œ ‰ # œ œ 4 # ˙. ! ! Pno. 8 4

œ bœœ œœ ? 5 $ #œ # œ # œ œ 4 ! ! 8 œ ‰. J 4 w œ #w 92

110 œ bœ œ œ w ˙ œ œ œ œ œ œ b œ #œ. b b Fl. 1 œ J œ. ‰ Œ Œ 3 6 Œ & 3

f P f 5 ¯ ˘œ Fl. 2 œ #œ- œ œ œ w ˙ œ œ & 5 Œ ‰ < #œ ‰ Œ < ﬂ f P 5 f B Cl. 1 ˘œ b œ œ#œ #œ $ Œ œ w œ œ œ œ œ ‰ Œ & 6 #œ b n #œ #œ œ f P f , B. Cl. bœ - œ bœ œ #œ #œ œ bœ bœ bœ bœ œ œ bœ œ #œ œ Œ & œ bœ œ œ bœ F , œ œ Hn. ? bœ bœ œ bœ ? œ bœ œ œ œ œ bœ œ & & œ œ œ œ œ œ #œ œ œ bœ f - F , , B Tpt. - bœ- œ b bœ bœ bœ œ œ- & œ bœ bœ œ œ œ bœ bœ œ Œ œ bœ bœ œ œ bœ F Scr. ' ' ' ord. w w œ µ˘œ µ˘œ ˘œ #œ Vln. J ‰ $ ‰. Œ Œ 3 & 5 5 Scr. p F f ' ' ord. w w œ #˘œ #˘œ Vc. ? $ ‰ ‰. ‰ œ œ 6 6 F Scr. f p ord. ' Cb. ˘ ? w w œ œ ‰. Œ #˙ 6 F f p œ- - - - - œ- #œ- œ- Œ bœ bbœ œœ- œ bœ Ó ! & fade in bœ œ bœ œ œ œ- #œ as if Pno. " P cut off bœ- - F P bœ bœ- œ- bœ œ ? Œ œ œ œ œ œ bœ bœ œ Ó ! b bœ œ bœ œ œ ------œ 93

113 œ- bœ- œ- œ- - - b œ œ- œ- bœ- œ- #œ Fl. 1 ! Ó Œ ! 5 ! 6 & 8 8 f- œ œ- #œ- œ- œ- bœ- - - Fl. 2 œ bœ bœ- œ- & ! Ó Œ ! 5 ! 6 f 8 8 B Cl. 1 b & ! Ó œ Œ ! 5 ! 6 #œ œ - #œ -œ - -œ b-œ œ bœ b-œ - - 8 8 f - -

B. Cl. & ! Ó Œ ! 5 ! 6 œ #œ -œ œ œ bœ œ 8 8 bœ ------œ b-œ f Hn. bœ bœ œ ? ? ‰ Œ Ó & Ó œ Œ ! 5 ! 6 #œ œ - #œ -œ - -œ b-œ œ bœ b-œ - - 8 8 f - - B Tpt. œ- - - - b & ! Ó œ #œ œ œ bœ œ bœ Œ ! 5 ! 6 - - - - b-œ œ 8 8 f - w ˙ œ con sord. Vln. & ‰. Œ Ó 5 6 #˙ ˙ œ œ bœ œ 8 -œ b-œ œ bœ œ 8 F P " ------con sord. - œ- bœ- œ- Vc. ------œ- bœ- œ b ? w ˙ œ ‰. Œ Ó Œ œ œ- #œ #œ œ bœ œ #œ œ 5 6 8 8 F P " con sord. œ- bœ- œ- - - - #œ ˙ ˙ œ œ œ bœ œ- #œ- Cb. ? w ˙ œ ‰. Œ Œ ‰ 5 6 8 8 F P "

#œ- œ- bœ- œ- œ- ? ‰ œ bœ œ œ bbœ bœ œ ‰ Œ ! ! 5 ! 6 & - œ #œ bœœ œœ Pno. œ bœ #- - - 8 8 f - - - bœ- œ- œ- - - - œ œ bœ b œ œ œ œ- bœ- œ œ ? ‰ œ #œ œ - œ- b œ #œ bœ ‰ Œ ! ! 5 ! 6 bœ bœ 8 8 94

Q poco accel. . . accel . . . (e = e ) ( q. = 36) 118 œ- bœ- - - - œ- bœ- - - - œ- bœ- - - - œ- - - œ- - - œ- - œ œ #œ œ- œ œ #œ œ- œ œ bœ œ- œ #œ bœ- nœ- œ- bœ œ bœ- œ- bœ- #œ œ- - - Fl. 1 6 #œ œ œ- & simile 8 F poco poco - - - - - œ œ- #œ- œ- œ- bœ- œ œ- #œ- œ- œ- bœ- bœ œ- œ- œ œ- œ- œ - œ- - Fl. 2 #œ- œ- - œ- œ- - #œ #œ- bœ- œ- - œ - & 6 #œ œ œ œ bœ œ simile - œ poco poco - - 8 F B Cl. 1 b œ œ œ & 6 œ bœ b bœ œ œ œ œ bœ œ #œ œ #œ œ bœ œ œ œ b - 8 œ #œ œ œ bœ œ œ #œ œ œ bœ œ œ - - - - - b- n- - - - - b------bœ œ œ b------b- - - - b- - b- simile- - - - F poco poco B. Cl. & 6 œ œ œ œ œ œ œ œ #œ - bœ #- œ #œ - - - 8 œ œ œ œ œ œ œ œ œ œ œ - œ b- œ - - - œ - - œ bœ bœ œ b œ bœ œ poco - œ bœ - b œ ------poco ------simile------F œ- œ- #œ- - - - œ- œ- #œ- - - - bœ- œ- - œ- - - œ- œ- Hn. ? œ œ bœ œ œ bœ œ #œ- - œ œ œ- - #œ- #œ- - - œ- 6 œ #œ- œ œ- bœ œ œ- œ- bœ & simile œ œ poco poco - 8 F - - B Tpt. ------œ- - œ- - b œ bœ œ œ- bœ - œ bœ œ œ- bœ - œ bœ œ œ- bœ - œ œ bœ bœ œ- bœ - & 6 œ œ œ bœ nœ œ bœ nœ bœ œ bœ œ simile - - - - œ 8 poco poco - - - - F - senza sord. Vln. - #œ. #œ. . œ. & 6 ! ! ! œ. Œ #œ. 8 œ. - œ. œ-. Fsenza sord. Vc. œ-. œ-. œ-. ? 6 ! ! ! Œ. Œ. œ. 8 œ. #œ. senza sord. F Cb. ? 6 ! ! œ ‰ œ ‰ œ ‰ œ ‰ 8 #œ. - #œ. - #œ. - #œ. - F F F F œ. œ. œ. œ. ? 6 Œ. œ Œ. œ Œ. œ & Œ. Œ. œ Œ. œ # . # . # . œ. œ. #œ . Pno. 8 œ. . F ? œ. 6 œ. œ. œ. #œœ. #œœ. #œœ. 8 #œ. #œ. #œ. #œ. #œ. #œ. 95

trem. ( ) a tempo 124 Ÿ~~~~~ ( ) ~~~~~~ ( ) œ- ( ) #œ #~œ~~~~~~~~ #~œ~~~~~~~~ q = #œ- œ- - #œœ. # œ. # œ. œ. 54 Fl. 1 #œ œ- - & œ 5 Œ Œ Œ Œ 4 ! 3 ! 4 8 simile 4 G.P. 8 4 f Ftrem. f F f ( ) ( ) ( ) ~~~~ (~~) ~~~~~~~ œ~œ~~~~~~~ #~œ~~~~~~~~ œ- - œ œ # . # œ. Fl. 2 #œ œ # . n . & #- œ 5 Œ Œ Œ Œ 4 ! 3 ! 4 œ - œ simile f - b- 8 F f F f 4 8 4 B Cl. 1 - œ- b œ œ œ - œ & #œ œ œ œ œ 5 #œ œ - œ œ - œ œ œ #œ œ œ 4 ! 3 ! 4 ------8 œ œ - - œ - - œ - - - - #œ - 4 8 4 f - - - #-œ - - to Clarinet in B b œ- œ- B. Cl. bœ œ- œ- - œ- bœ- - œ- œ- œ œ - 5 œ- œ #œ- #œ # œ 4 ! 3 ! 4 & œ # #œ - œ #œ œ #œ œ #œ œ # œ - - - 8 # - poco # - poco # simile- - - 4 G.P. 8 4 - - - - Hn. f bœ- - - œ ? œ œ œ ? bœ - ? #œ œ- - ? #œ & #œ - - bœ & 5 œ œ œ œ & œ bœ & bœ - #œ œ & 4 ! 3 ! 4 - - #œ - 8 - - œ œ - b poco - simileœ - œ - 4 8 4 poco- b - - - - f - - -œ

B Tpt. - - œ- - - - œ- - - œ- - œ- b œ bœ #œ œ bœ - œ bœ - œ - & œ #œ 5 bœ œ œ- #œ nœ œ œ 4 ! 3 ! 4 œ simile - - #œ - œ - - œ poco poco - œ f - - 8 - b- 4 8 4 - œ-. œ-. #œ-. œ Vln. ˙- œ #œ j #˙ #œ. #œ. . & Œ # œ 5 Œ Œ Œ Œ 4 ! 3 ! 4 8 4 G.P. 8 4 f - - - #˙- œ. bœ. bœ-. œ. Vc. #˙ bœ bœ. œ b œ. œ œ. ? œ 5 #œ . œ 4 ! 3 ! & 4 f 8 4 8 4 Cb. ? œ. ‰ 5 œ ‰ œ ‰ œ ‰ œ ‰ 4 ! 3 ! & 4 #œ > 8 #œ #œ #œ #œ 4 8 4 f #œ . œ . #˙ #œ. Œ œ. Œ # œ. Œ bœœ. Œ # ˙ 5 Œ # œ. #œ. #œ œ.. # œ. 4 ! 3 ! 4 & #˙˙ œ. # œ. œ. œ Pno. # 8 bœ. bœ. . 4 G.P. 8 4 f ? 5 4 ! 3 ! 4 #œ ˙ 8 #œ œ. #œ œ. #œ œ. #œ œ. 4 8 4 96

R Bell-like

( ) ( ) 131 œ~~~~~~~~~~~ œ- - , œ- œ~~~~~~~~~~~~~~~~ # ˙ # œ œ œ # ˙ #˙- œ œ- œ Fl. 1 J ‰ & 4 3 3 ! 5 $ ‰ Œ 3 4 p P P P 4 p poco 4 P P 4 - ( ~~) ~~~~~~~~~~~~~ #˙ œ- nœ œ œ- #œ. ˙ œ #œ - Fl. 2 J # œ ˙ ˙- œ œ œ & 4 3 3 $ 5 $ ‰ Œ 3 4 4 poco 4 4 p P P P p P P - B Cl. 1 b˙ œ- - œ b #œ œ #˙. œ & 4 3 J 3 ‰ Œ Œ 5 ! 3 4 4 poco 4 4 p P P P p trem. - ( ) ~~~~~~~~~~~~~~~~~~~~~~~~ B Cl. 2 œ œ. ˙ Œ #œ b ˙ ˙ œ 4 Ó Œ ‰ 3 3 $ 5 ‰ Œ Œ 3 & 4 4 4 4 p 3 P Hn. 4 Œ $ œ. œ $ 3 ‰ ‰. Œ 5 ! 3 & # #œ œ œ œ œ œ 4 poco œ 4 œ œ # 4 4 p P- " p B Tpt. - b - - bœ œ & 4 Ó Œ ‰. œ 3 œ œ Œ Œ ! 5 Ó ‰ œ $ ‰ 3 4 4 J 3 4 4 p.s.p. s.p. P ord. " P P o o o ˙- œ- œ- œ œ œ ˙. œ. Vln. J J 4 3 3 ‰. Œ Œ 3 5 ‰ Ó. 3 & 4 4 4 4 p p P p trem.p P p ( ) ~~~~~~~~~~~~~ Vc. ˙ œ #œ - ˙ œ œ ˙ B #O. O & 4 3 ‰ Œ 3 Œ 5 Ó Œ $# œ. œ 3 4 poco 4 poco 4 - 4 p p P Cb. O- O-. O O-. O- & 4 Ó Œ ‰ œ 3 ˙. œ $ 5 Ó Œ $ œ. œ 3 4 3 4 6 #œ ˙ 4 4 p p poco p warm P & 4 ! 3 ! ! 5 ! 3 Pno. 4 4 4 4

? 4 ! 3 ! ! 5 ! 3 4 4 4 4 97

135 œ- œ œ - - - #œ-. Fl. 1 #œ œ #œ œ #œ. œ 3 Œ Œ ‰ 4 6 3 ! ! Œ ‰ & simile 4 4 4 poco F F P - - - - Fl. 2 œ- œ œ #œ œ #œ œ œ-. œ #œ œ œ #œ œ 3 Œ Œ ‰ 4 6 3 ! Œ Œ $ & simile 4 4 4 poco F F œ- œ œ P " P B Cl. 1 œ- œ œ-. œ- œ œ- œ - - b # # n J œ œ œ œ œ œ. 3 Œ Œ ‰ 4 6 ‰. Œ 3 Œ Œ # ‰ $ & simile 4 4 4 3 J 3 F F 6 P P " F - œ- B Cl. 2 - - œ ˙. . b œ œ #œ. œ & 3 Œ Œ ‰ #œ 4 œ #œ. #œ œ 3 Œ Œ Œ Œ $ 4 - 4 - 4 F F P p F Hn. & 3 #˙. 4 ! 3 ! ! ! - 4 F p F 4 4 B Tpt. #˙-. b 3 4 ! 3 ! ! ! & 4 4 4 F p trem. F œ œ ( ) #˙- œ œ œ œ. œ. #œ-. œ # œ ~~~~~~~~~~~~~ , Vln. œ œ #˙ œ J 3 $ 4 Ó 3 3 ‰ Œ & 4 4 # ˙ 4 œ F p P " F - p P " Vc. B œ. ˙ #œ œ ˙. 3 O. 4 Œ $ & 3 Œ Œ 3 J ! 4 ˙. 4 4 3 P F p P p Cb. O ? & 3 œ ‰. Œ Œ 4 ‰ œ ˙ œ ‰ 3 ! ! ! 4 4 poco 4 P Vib. #œ 3 ! 4 ! 3 ! Œ Œ ! & 4 4 4 Freely, independently P #˙. ˙. & 3 #˙. 4 #œ- ˙ 3 œ. ! espressivo dolce Pno. 4 6 4 4 5 F 3 6 P 3 œ. F ? œ #œ ˙ œ. j #œ 3 Œ j œ 4 ##œœ œœ 3 œ- œ $ œ œ #œ. ! #œ œ 5 #œœ œ #œ 4 œ œ 4 œ. 4 5 œ œ F #œ œ - #œ œ - Ped. p > Ped. Ped. - Ped. Ped. 98

140 œ ˙ [~~~~~~~ [~~~~ #˙ œ. . œ œ œ Fl. 1 J 4 Œ 5 Ó Œ 3 3 ‰ ‰ 3 4 & 4 4 4 p " p Fl. 2 ˙ œ œ- œ- ‰ 4 ! 5 Ó Œ ‰ Œ 3 4 & 4 4 J 4 p p B Cl. 1 b ˙ Œ 4 ! 5 ! 4 & 4 4 4 P 3 3 B Cl. 2 ˙. œ b & 4 Œ ‰ œ œ 5 œ œ ‰ Œ Ó. 4 4 - poco 4 4 3 p P Hn. & ‰. j œ 4 ˙ œ ‰ Œ 5 Ó ˙. 4 œ œ œ warm poco 4 4 - 4 P p P B Tpt. #˙-. b & ! 4 ! 5 Ó 4 4 4 warm 4 - P œ œ œ #œ œ œ #œ œ Vln. . . & ! 4 Ó ‰ 3 5 $ ‰ Œ Œ 4 dolce, espressivo 6 4 poco 4 4 P p - - Vc. #œ œ œ #œ œ . & ! 4 Ó ‰ 3 5 J 3 Œ ‰ 3 ‰ Œ Œ 4 dolce 4 (16) poco 4 4 P p sul E o o sul G œ œ œ o o o Cb. ? J œ œ œ ! & 4 Ó ‰. 5 3 ‰ Œ Œ 4 dolce, espressivo 4 poco 4 4 arco P p l.v. Vib. & ! 4 ! 5 Œ ‰ œ ˙ Œ 4 4 4 p 4 #œ ˙ & #œ-. #œ- 4 œ. 5 4 Pno. 4 œ ˙. 4 4 5 5 5 5 œ- œ. ? $ #œ #œœ œœ #œ 4 #œ. œ ˙. 5 ‰. #œ œ œ. 4 œ - 5 œ #œ 5 #œ R 5 œ 4 4 œ - 4 #œ. Ped. Ped. Ped.- 99

143 ( ) ~œ~~#~œ~~~~~~œ~~~ #œ œ Fl. 1 4 ‰ Œ ! ! 3 ! & 4 4 ( ) œ~~~~~~~~~~ Fl. 2 œ- œ œ 4 ‰ ‰ 3 ‰ Œ ! ! 3 ! & 4 4

B Cl. 1 - b #˙. ˙ œ & 4 ! Œ 3 ‰ Œ 3 ! 4 poco 4 P p B Cl. 2 b & 4 ! Œ #˙. œ œ œ œ ‰ 3 ! 4 - œ 4 poco 3 P p Hn. 4 $ Œ ‰ ‰ ! ! 3 ! & 4 œ #œ #œ 4 p P -œ B Tpt. b œ. #œ & 4 $ Œ ‰ 3 ‰ ! ! 3 ! 4 -œ 4 p P œo ˙o . œo lush vibr. Vln. J 4 ! Œ 3 $ 3 Œ Œ & œ ˙. œ 4 P 4 3 p 3 " Vc. O O 4 ! Ó Œ ‰ #œO ˙O œ ##œ œ ‰. 3 ! & 4 # J 4 P p (16) (17) Ÿ(~~~)~~~~~~~~~~~~~~~~~~~~~~~~~ œo ˙o . œo . œo #œo ˙o ˙o . Cb. J & 4 ! ‰ 3 4 poco 4 mallets l.v. P p Vib. 4 Ó Œ ! ! 3 ! & 4 œ 4 œ U 5 œ- œ œ #œ. ˙. ˙. r #œ œ œ œ œ & 4 #œ Œ #œ œ. 3 Pno. 4 5 p 4 3 F U œ #œ œ - - #œ. ˙. ˙. ? 4 œ œ # œ œ œ œ & $ 3 #œ J J3 4 #œ 4 Ped. Ped.- Ped.w " BIBLIOGRAPHY

Books and Periodicals

Brant, Henry. “Space as an Essential Aspect of Musical Composition.” In Contemporary Composers on Contemporary Music, edited by Elliott Schartz and Barney Childs, 222-242. New York: Holt, Reinhart and Winston, 1967.

Grisey, Gérard. “Did You Say Spectral?” Contemporary Music Review 19, part 3 (2000): 1-3. DOI: 10.1080/07494460000640311.

——. “Tempus ex Machina: A composer’s reflection on musical time.” Contemporary Music Review 2, no. 1 (1987): 239-275. DOI: 10.1080/07494468708567060.

Harley, Maria Anna. “Spatially of sound and stream segregation in twentieth century instrumental music.” Organised Sound 3 (1998): 147-166.

Lee, Li-Young. Breaking the Alabaster Jar: Conversations with Li-Young Lee. Rochester, NY: BOA Editions, 2006.

Merwin, W.S. Migration. Port Townsend, WA: Copper Canyon Press, 2005.

Schiff, David. The Music of Elliott Carter. Ithaca: Cornell University Press, 1998.

Weininger, David. “Chaya Czernowin wants listeners to feel the effect of her music.” Boston Globe (Boston, MA), Oct. 24, 2013. http://www.bostonglobe.com/arts/music/2013/10/24/composer-chaya- czernowin- has-compositions-upcoming-callithumpian- concert/GvELtfcFaFOwCqcdhskj0J/story.html.

Scores

Carter, Elliott. Double Concerto. New York: Associated Music Publishers, Inc. 1964.

Carter, Elliott. Quintet for Piano and Winds. New York: Boosey & Hawkes, 1994.

Ravel, Maurice. Mineola: Dover Publications, 1986.

Schoenberg, Arnold. Sechs kleine Klavierstücke. Mainz-Wien: Schott-Universal Edition, 1968.

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