FAITHFUL TO MY LAND
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE
DOCTOR OF ARTS IN MUSIC
WITH A PRIMARY EMPHASIS IN MUSIC THEORY AND COMPOSITION
AND A SECONDARY AREA IN CONDUCTING
BY
WIBOON TRAKULHUN
DISSERTATION CO-CHAIRS:
DR. ELEANOR TRAWICK DR. KEITH KOTHMAN
BALL STATE UNIVERSITY
MUNCIE, INDIANA
MAY 2011
FAITHFUL TO MY LAND
A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC BY WIBOON TRAKULHUN
APPROVED BY:
______Date ______Dr. Eleanor Trawick Chairperson
______Date ______Dr. Keith Kothman Co-Chairperson
______Date ______Dr. Duane Karna Member
______Date ______Dr. James Helton Member
______Date ______Dr. Lisa Huffman Member
______Date ______Dr. Robert Morris Dean of Graduate School
Ball State University
Muncie, Indiana
May 2011
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ACKNOWLEDGMENTS
I would like to express my most sincere gratitude to Dr. Eleanor Trawick, my doctoral committee chair and advisor, for her guidance in the preparation of this dissertation and her very generous support in my studies during the past years. It is difficult to fully convey in words the level of gratitude for her enthusiasm and for the countless times she devoted to the severe task of reading this dissertation. Her patience, advice, and encouragement have contributed immeasurably to my composition, dissertation, and education.
I would also like to acknowledge and appreciate Dr. Keith Kothman, my doctoral committee co-chair, for his instruction and support of my composition. This piece would not have been accomplished if not for his invaluable suggestions. Special consideration is extended to Dr. Duane Karna, a member of my doctoral committee, who provides me with his emotional support and thoughtfulness in my education in conducting. I would also like to thank Dr. James Helton and Dr. Lisa Huffman, the members of my DA committee, for their generosity and help.
Finally, my deepest appreciation and gratitude are also extended to my composition professors, Dr. Jody Nagel and Dr. Vera Stanojevic, for their encouragement and valuable suggestions to improve my composition skill, and every professor in the School of Music for his/her generosity and consistent help to me.
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ABSTRACT
DISSERTATION: Faithful to My Land
STUDENT: Wiboon Trakulhun
DEGREE: Doctor of Arts in Music
COLLEGE: School of Music, College of Fine Arts
DATE: May 2011
PAGES: 127
Faithful to My Land is a composition for orchestra in three continuous movements that reveals my deep admiration for my country, Thailand. This composition expresses my belief in the nation of Thailand, its religion, and its constitutional monarchy. The main materials of each movement refer to source ideas that relate to these three institutions of my country. This composition, which is around fourteen minutes in length, is globally organized within a tonal framework; both diatonic and chromatic notes are employed. The music does not embody traditional common practice but neo-tonality. This composition integrates various musical styles—neoclassicism, nationalism, and minimalism.
The first movement refers to the Thai national anthem. This movement mainly grows from a subject, a countersubject, and two main motives. The music of the movement is largely tonal. The main materials are pervasive throughout the movement, and it is thus largely homogeneous, with little thematic contrast. The entire movement continues with a driving rhythm in various alternations. The near-continuous sixteenth notes in the viola and other string parts contribute to this energy and rhythmic drive and reinforce the orchestral color.
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The second movement deals with the two religions—Buddhism and Christianity— that are prevalent in Thailand. The music of this movement derives from the three main sources: Miserere mei, Deus by Josquin des Prez, a specially constructed “Buddha motive,” and an anonymous Buddhist prayer. Some compositional techniques derive from the Renaissance period. The movement also employs number symbolism relating to significant numbers in the Buddhist and Christian traditions.
The third movement alludes to the constitutional monarchy with high respect. The music of the last movement is based on a twelve-note compositional idea, but it is not truly serial: a twelve-tone row with its developments—retrograde and inversion—occurs in some local areas. The last movement concludes with an epilogue, which derives from the significant materials presented in all three movements.
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TABLE OF CONTENTS
Page
CHAPTER 1: INTRODUCTION …………………………………………. 1
CHAPTER 2: REVIEW OF COMPARABLE WORKS …………………. 3
CHAPTER 3: METHODOLOGY ……………………………………….... 17
CHAPTER 4: THE FIRST MOVEMENT ………………………………… 23
CHAPTER 5: THE SECOND MOVEMENT ……………………………... 28
CHAPTER 6: THE THIRD MOVEMENT ……………………………….. 34
CHAPTER 7: CONCLUSION …………………………………………….. 39
APPENDIX ………………………………………………………………… 41
BIBLIOGRAPHY ………………………………………………………….. 43
FAITHFUL TO MY LAND: TITLE PAGE ……………………………….. 46
INSTRUMENTATION ……………………………………………………. 47
FAITHFUL TO MY LAND: SCORE ……………………………………… 48
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CHAPTER 1
INTRODUCTION
This dissertation is an orchestra composition in three continuous movements that reveals my deep admiration for my country, Thailand. Since the beginning of the twenty- first century, my country has confronted many problems––political discord, religious disputes, and royal decline. Thailand has been a democratic country for more than seventy-five years. Throughout the country’s history, the Thai people have had great faith in both our religion and our royalty. Regretfully, the three institutions are being simultaneously challenged within the community’s belief at this time. This historical moment, along with my intense love for my country, are the inspiration for composing
Faithful to My Land, which mirrors my belief in nation, religion, and the constitutional monarchy.
This composition is globally organized within a tonal framework; both diatonic and chromatic notes are employed. However, tonality and modality are constructed explicitly in each area by using local tonal organization or tone centers throughout the composition. The main materials of each movement refer to source ideas that relate to the three crucial institutions of my country. These materials are transformed and modified in an effort to serve the local and global organization, both melodic and harmonic, of each movement of the piece. 2
The first movement refers to the nation. Thailand is a country where people with various ancestry and ethnicity coexist. Some people descend from original Thai ancestors. Some emigrated from other countries many generations ago. Previously,
Thailand has been a land where people have existed together in peace, but now the political deadlock affects the overall development of the country. For this movement, the main source material is from some portions of the Thai national anthem.
The second movement deals with the main Thai religion, Buddhism. There are many religions––Buddhism, Christianity, Islam, Hindu, etc.––that people in my country have a freedom to believe in. Every religion has independent freedom to propagate their beliefs in Thailand. However, Buddhism is the principal religion of Thailand in which most people have faith. For the second movement, the name Buddha is transformed into musical notes, and this motive constitutes the main thematic material.
The third movement alludes to the royal institution with high respect. Siam, as
Thailand used to be called, had been governed by absolute monarchy for more than seven hundred years. In 1932, Thailand replaced the absolute monarchy with a constitutional monarchy. The Thai people, however, continue to revere the royal institution. The last movement is composed with high respect; the principal material is from some portions of the Thai royal anthem.
Finally, I wish that, with great concentration and deliberation, I will succeed in leaving a positive impression on those who hear the piece. I hope that composers, conductors, performers, singers, educators, learners, and audiences, who are interested in any aspect of music, are able to touch the pleasure and beauty of the work, understand the components of the composition, and eventually perceive the significance and conviction of the piece.
CHAPTER 2
REVIEW OF COMPARABLE WORKS
During the first half of the twentieth century, modern orchestral works employ many musical styles—impressionism, expressionism, nationalism, neoclassicism, neoromanticism, serialism, and aleatory or chance music. During the second half of the twentieth century, minimalism was a new musical style that came out first in the United
States in the 1960s. “Minimalism emerged as an effective alternative to the rigors of serialism and the randomness of indeterminate, or chance, music.”1 The composers
LaMonte Young, Terry Riley, Philip Glass, and Steve Reich made up the first generation of this style. Their works were mostly composed for solo instruments, duets, and small ensembles. John Adams’s well-known Nixon in China (1972) is an early minimalist opera. Its music is characterized by stasis and repetition of the melodic passages. Most of
Adams’s works are composed for classical instrumentation, including full orchestra.
Meanwhile in Eastern Europe, particularly, Polish composers Witold Lutosławski
(1913–94), Krzysztof Penderecki (b. 1933), and Henryk Mikolaj Gorecki (1933–2010),
Hungarian composer György Sándor Ligeti (1923–2006), and Estonian composer Arvo
Pärt (b. 1935), were affected by and also reacted against the avant-garde music of
Western Europe and the United States. Their compositions are more textural music,
1 Douglas Lee, Masterworks of 20th-Century Music (New York: Routledge, 2002), 1. 4 which takes more advantage of the density, intensity, dynamics, range (width between lowest and highest pitches), and the timbre of the instruments or voices. Penderecki’s
Threnody for the Victim of Hiroshima (1960) was composed for fifty-two string instruments. It challenges the abilities of performers, using them to produce the highest pitches on their instruments, to bow behind the bridge, to play quarter-tones, and to create sound masses and tone clusters in the ensemble.
Minimalist and related music also spread into Eastern Europe. Górecki’s
Symphony No. 3 “Symphony of Sorrowful Songs,” opus 36, for soprano and orchestra
(1976) is influenced by minimalism and nationalism. Beyond the minimalist style, the piece refers to many facets of his heritage related to religion, folk culture, and ancient chant.2 Pärt’s Te Deum for chorus, prepared piano, aeolian harp (or wind harp), and string orchestra (1984) employs his compositional style, tintinnabuli, which is often described as a compositional technique of minimalist music.
From the last decade of the twentieth century until the first decade of the twenty- first century, many composers wrote orchestral works that were more popular in order to communicate more easily to their audiences, especially American composers, such as
Christopher Rouse, Jennifer Higdon, Gregory Hutter, Michael Daugherty and John
Adams. Their works sometimes reflect original American music styles, such as jazz and/or rock in some ways as well as integrating classical compositional manners. They frequently use orchestral tuttis or large groups of instruments throughout almost the entire piece. In the rapid pieces and/or movements, the rhythmic pattern and power of the
2 Josiah Fisk, “The New Simplicity: The Music of Gorecki, Tavener and Part,” The Hudson Review 47, no. 3 (Autumn 1994): 399. 5 orchestra are mostly aggressive, including short melodic fragments. In the slower pieces and/or movements, however, the melody is more impressive like a neo-romantic idiom.
Christopher Rouse’s Symphony No. 2 (1994) is very aggressive. An articulation of staccato is pervasive throughout the composition. The piece integrates various augmented and diminished chords, including parallel harmonies, to create twelve-note aggregates.
John Adams’s Lollapalooza (1995) employs rhythmic syncopation; the main motive that is introduced at the beginning continues throughout the piece. Another work by Adams,
Slonimsky’s Earbox for Orchestra (1996), features an abundance of small motives and arpeggios, including polyrhythmic figures, to create richly textural music in the orchestra.
This composition is similar to Stravinsky’s sounds. Jennifer Higdon’s Blue Cathedral
(1999) is more delicate and produces an atmosphere of floating sound, joined with impressive solos. Gregory Hutter’s Still Life (2004) was composed for oboe and string orchestra. The music is very sweet and impresses with the color of the harmony and melody by using traditional musical manners. The music has neo-romantic sensibilities as well.
In the past twenty years, European composers have continued to write more texturally and spectrally based orchestral music than their American counterparts.
Actually, spectral music or “instrumental synthesis”3 was composed since the 1970s mainly in Europe, especially in France and Germany. The music employs “the acoustic properties of sound itself (or sound spectra) as the basis of its compositional material.”4
European composers often employ a wider range of orchestral dynamics than do
3 The term was used by French composer Gerard Grisey (1946–98), cited in Julian Anderson, Spectral Music, http://www.oxfordmusiconline.com (accessed March 17, 2011). 4 Julian Anderson, Spectral Music, http://www.oxfordmusiconline.com (accessed March 17, 2011). 6
American composers. This contrast is due in part to European composers’ tendency to take advantage of the timbres of individual instruments and small groups of players—as opposed to American composers, who favor the use of orchestral tuttis. European composers perhaps wish their audiences to pursue meaning in their compositional ideas and music more than American composers.
Orchestral pieces by British composer George Benjamin, Sudden Time (1993),
Palimpsest I (1999), and Palimpsest II (2002), employ different compositional techniques in each work. His pieces are characterized as textural music because they used more complex instrumental techniques. Two orchestral works by French composer Marc-
André Dalbavie, Color (2001) and Ciaccona (2002), are very mysterious with the longer held notes and more repetition. Some local areas of these two pieces reveal the sensuous delight of French impressionist music. Matthias Pintscher, a German composer, composed a concerto, Reflections for Narcissus (2005) for cello and orchestra. The composition is more energetic and has more expression of each melodic line, especially the cello solo, which is mixed between the Romantic and modern sensibilities.
In addition to the orchestral works mentioned above, there are several others from the twentieth century that inspired and informed particular aspects of my new composition. The initial conception of the composition relies on a tonal framework, which deals both with quotation and with translation of letters into musical notes. As introduced above, the first and the third movements quote from two anthems of my homeland. Faithful to My Land uses components of these anthems in order to create a new composition for a symphony orchestra. The second movement uses a technique of translating letters into musical notes. This technique has been used by many composers 7 throughout history as a way of honoring a person or referring to something outside the music. Furthermore, this composition is influenced by many composers, both Western and Eastern, who embody their own specific style by integrating both cultures.
Therefore, with the precompositional decisions about the boundaries of the compositional techniques I designed to use, it is necessary to review some works of other composers. Many more compositions could be examined, but the proposed study will use these sources to gain some ideas for composing my own new piece. The following review is brief to fit the scope of the project. There are four main concerns of mine in composing this work. First, composers (both Eastern and Western) use materials that relate to their own nations: local instruments, folk tunes, anthems, or even a sonority that reflects the atmosphere of their own nations. Second, Asian composers who compose major works for large ensembles integrating traditional Eastern and Western music will be an important model for this project. Third, composers employ a variety of translation techniques that allow them to honor someone or something through their music. Finally, I also take as models composers’ orchestral works that employ a Classical or modified
Classical orchestra.
Igor Stravinsky’s Petrushka (1911) employs a number of Russian folk tunes and uses other elements from his own country. Douglas Lee writes, “More subtle and significant were quotations from Rimsky-Korsakov, Tchaikovsky, a popular Parisian song by Émile Spencer (La jambe en bois), and other musical references familiar at the time. A number of Russian folk tunes appear in part, if not in their entirety.”5 Lee continues:
5 Lee, 419. 8
In Petruskha, the music overwhelms the dance. This may derive from the original conception of the score as a concert piece for piano and orchestra to which choreography was added. But more important, it grows from the significant incorporation of Russian folk tunes and other materials current at the time, all carrying their attendant connotations and cast in the most imaginative orchestral setting. The work was successful as an artistic endeavor drawing on many sources, in the process setting a new standard for ballet as an art form equal to drama and opera.6
Claude Debussy was a French composer who quoted both his own national anthem and those of other countries. One of the Préludes from Book II (1912–13), Feux d’artifice (Fireworks), contains “a quotation from the Marseillaise, the French national anthem, sounding de très loin (from far away).”7 The third movement of the Cello Sonata
(1915) uses motivic variation based on a Lutheran hymn “and hidden quotes of the
French anthem, La Marseillaise.”8 Moreover, En blanc et noir (1915) for two pianos employs both the French national anthem and a folk tune.9
Besides quoting the French anthem, another Prélude in Book II, Hommage à S.
Pickwick Esq. P.P.M.P.C. (Homage to S. Pickwick), “quot[es] the first line of the British national anthem God Save Our Gracious King in the lowest strand of the piano texture.”10
Berceuse héroïque (1914), which was first composed for King Albert’s book and was dedicated later to the King of Belgium, employs several measures that are drawn from the
Belgian national anthem. The Berceuse héroïque was originally for piano before Debussy
6 Ibid., 421. 7 Siglind Bruhn, Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Debussy, Ravel, and Messiaen (Stuyvesant, NY: Pendragon Press, 1997), 16. 8 Janelle Suzanne Ragno, “The Lutheran Hymn Ein’ feste Burg in Claude Debussy’s Cello Sonata (1915): Motivic Variation and Structure” (D.M.A. diss., University of Texas at Austin, 2006), i. 9 Marianne Wheeldon, Debussy’s Late Style (Bloomington: Indiana University Press, 2009), 47–53. 10 Bruhn, 121. 9 later orchestrated it for the occasion of the Concerts Colonne-Lamoureux.11
The English composer Ralph Vaughan Williams employed quotation in A London
Symphony (1913), dedicated to the place where he lived. Vaughan Williams’s work incorporates a signature London sound, the Westminster chimes. Michael Kennedy writes:
He had already made some sketches for a symphonic poem about London, a city he loved and where, since his marriage to Adeline Fisher in 1897, he had lived. … All composers are children of their time and Vaughan Williams was no exception. The folk-song revival is imprinted on this symphony in various ways, that is obvious. … Writing a programme note in 1920 Vaughan Williams suggested that a better title might have been ‘Symphony by Londoner.’12
Besides composers from the West, there are many excellent Asian composers in the twentieth and twenty-first centuries who use their own countries’ materials as sources and as inspirations for their compositions. I will briefly examine representative works by four Asian composers––Chinary Ung, Toru Takemitsu, Chen Yi, and Tan Dun––focusing on the issue of combinations of cultures. They have composed many orchestral works, as well as compositions for other kinds of ensembles, and for solo instruments, furthered by their own motherlands’ elements. They represent the successful integration of the music of Eastern and Western traditions. Eventually, the results of these endeavors are musical styles that are unique and individual within each composer’s oeuvre.
11 Jane F. Fulcher, “Speaking the Truth to power: The Dialogic Element in Debussy’s Wartime Compostitions,” in Debussy and His World, ed. Jane F. Fulcher (Princeton: Princeton University Press, 2001), 214. 12 Ralph Vaughan Williams, A London Symphony, Centenary ed., intro. Michael Kennedy (New York: Galaxy Music, 1972), v. 10
The Cambodian-American composer Chinary Ung accomplishes the integration of the music of Asia, especially his native land, and Western music in his composition.
Ung himself describes, “if East is yellow and West is blue, then my music is green.”13
Grand Spiral: Desert Flowers Bloom (1992) is combination of both the traditional
Eastern and Western music cultures. John Kays writes, “Ung has not ventured into symphonic-style compositions since writing Grand Spiral. This doesn’t reflect on his ability to create large works; it speaks volumes about his philosophy, ‘to explore my inner rhythms and feelings before I say (something) directly.’ Grand Spiral was dedicated by Ung to the Cambodian people.”14
Japanese composer Toru Takemitsu represents the spirituality of the Japanese associated with the musical techniques of traditional Western art. “Takemitsu blends the music of the East with that of the West … Takemitsu’s music is a synthesis of Eastern (or
Japanese) traditions with Western contemporary music.”15 Yoko Nakatani’s dissertation explains:
The use of Japanese traditional instruments, biwa and shakuhachi, with orchestra had never been attempted until Toru Takemitsu (1930–96) composed November Steps (1967) and Autumn (1973). This instrumentation presented a challenge for Takemitsu because combining the two worlds, East and West was not his intention. In other words, he believed that they were too disparate to be blended but that coexistence was however possible. … but Takemitsu succeeded in finding a way to embrace two different cultures in his compositions. Takemitsu made a major contribution to the world of music through his successes with November Steps and Autumn.16
13 John Kays, “The Work of Cambodian-American Composer Chinary Ung,” www.newworldrecords.org/linernotes/ 80619.pdf (accessed Octorber 1, 2010), 1. 14 Ibid., 3. 15 James Siddons, Toru Takemitsu: A Bio-Bibliography (Westport: Greenwood Press, 2001), 12. 16 Yoko Nakatani, “November Steps and Autumn: A Comparative Analysis of Two Orchestra Works by Toru Takemitsu” (Ph.D. diss., Brandeis University, 2005), v. 11
Takemitsu himself expresses his care in the integration of traditional Eastern and
Western musical art:
What I and my fellow composers are not doing is simply, in a facile way, adapting Japanese tradition to Western form. What we’re trying to do is to study very deeply, and very carefully, the essence of traditional music, to explore unknown worlds, and to recreate, or reelucidate, in new, modern forms, what we’ve learned from our traditions.17
Hideaki Onishi’s dissertation portrays an inspiration for the orchestral “garden series” of Takemitsu, Dream/Window (1985), Fantasma/Cantos (1991), and Spirit
Garden (1994), as the Japanese garden that he mentions as a source of his major thematic work.18 From me flows what you call Time (1990) makes use of both Eastern and Western influences, and further evolves a formal plan for the piece by transposing the main melodic idea, introducing percussion cadenzas, and leaving some improvisations for the performers themselves.19
Dana Richard Wilson’s dissertation focusing on Takemitsu’s orchestra work
Choral Island (1962) and various chamber works explains, “the role of texture in the chamber works is similar to that in the orchestral works … The dramatic thrust of the orchestral works appears to be missing, however, while the aesthetic of certain traditional
Japanese musics prevails.”20
17 Toru Takemitsu, “Contemporary Music in Japan,” Perspectives of New Music 27, no. 2 (1989): 203. 18 Hideaki Onishi, “Toru Takemitsu’s Japanese Gardens: An Application of Superset/Subset Networks to the Analysis of Three Orchestral Compositions” (Ph.D. diss., University of Washington, 2004). 19 Louis Conti, “Color Variation: An Analysis of Takemitsu’s From Me Flows What You Call Time” (Ph.D. diss., New York University, 2010), vi. 20 Dana Richard Wilson, “The Role of Texture in Selected Works of Toru Takemitsu” (Ph.D. diss., University of Rochester, 1982). vii. 12
Chen Yi, a Chinese composer now living in the U.S., composed Momentum for
Orchestra (1997). She describes, “… the gesture of the exaggerated dancing lines in
Chinese calligraphy … made such a deep impression on me that I wanted to translate it into music …”21 In Momentum, Chen Yi creates her own musical vocabularies, which display a fusion of the Eastern and Western in the past and present. Chen Yi approaches traditional Chinese manners by arranging phrases of different lengths in such a way as to create and emphasize the musical climax. Her music includes melodic figures derived from the Beijing opera within the manners of traditional Western music, especially the orchestration of Romantic and twentieth-century styles.22 Frederick Lau states that the use of Chinese elements also appears in Piano Concerto (1992), The Points for Pipa (1991), and As in a Dream (1988), two songs for soprano, violin, and cello.23
Another Chinese composer, Tan Dun, composed Symphony 1997: Heaven, Earth and Mankind in ten movements by not only using the technique of quoting preexistent folk tunes, but also including ancient Chinese instruments and the Western orchestra within the framework of a large-scale symphony.24 Lee Alexander Steward’s study focusing on an opera work states that Tan Dun’s Marco Polo (premiered 1996) is “rooted in and yet breaks the mold of traditional Beijing opera and of traditional Western
21 Cited in Jiang Liu, “An Analysis of Chen Yi’s Orchestral Work Momentum” (D.M.A. diss., University of Nebraska, 2005), 10. 22 Jiang Liu, “An Analysis of Chen Yi’s Orchestral Work Momentum” (D.M.A. diss., University of Nebraska, 2005), 10–14. 23 Frederick Lau, “Fusion or Fission: The Paradox and Politics of Contemporary Chinese Avant- Garde Music,” in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau, 22–39 (Middletown: Wesleyan University, 2004). 24 Yayoi Uno Everett, “Interculture Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy,” in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau (Middletown: Wesleyan University Press, 2004), 19. 13
Romantic opera composition and combines the vocal and theatrical styles and instrumentation of both into a unique union.”25 Steward continues:
Tan’s compositions all have Eastern sounds including Beijing opera and Chinese folk music and incorporate various Western techniques. He bridges East and West and enhances and combines the emotional possibilities of both traditions in his music. Tan’s opera creates a unique fusion of the two starkly contrasting cultures. One world is lost in the other and is as interdependent in sound as are the Eastern and Western hemispheres in the 21st Century.26
The achievement of integration between Eastern and Western musical art is reflected in these composers’ music. Traditional Eastern music is deliberately introduced by various means into Western music. The result is colorful and distinctive music in which the original voice of the composer can be clearly heard.
The practice of translating letters of the alphabet into notes for a theme usually serves to honor someone. The best known of such themes is probably B-A-C-H (Bb-A-C-
B), which was employed by J.S. Bach himself and which has subsequently appeared in many other composers’ works. A published catalogue for the 1985 exhibition 300 Jahre
Johann Sebastian Bach lists about four hundred works by at least three hundred composers that are related to Bach, especially the B-A-C-H motif.27 Many composers in the twentieth century, such as Arnold Schoenberg and Arvo Pärt, have used Bach- inspired elements.
25 Lee Alexander Steward, “A Discussion of Tan Dun’s Opera, Marco Polo” (D.M.A. diss., University of Miami, 2002), i. 26 Ibid., 5–6. 27 Cited in Shu-Ting Yang, “Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’s Bachianas Brasileiras No. 4” (D.M.A. diss., University of Cincinnati, 2007), 7. 14
Variations for Orchestra Op. 31 (1926) by Schoenberg is an excellent example of the use of the B-A-C-H motive within atonal music. The twelve-tone piece comprises an introduction section, nine variations, and a closing finale. Marija Benić Zovko asserts that:
The B A C H motif is made up of various combinations of a row, or several rows. The last section of the Finale shows that its diastematic structure is related to that of the row: tones 2 3 4 5 of the antecedent, when permutated, create the B A C H motif (or one of its transpositions). It shows the extent to which the developing variation technique can transform the row content, providing it with new meanings and contexts.28
Arvo Pärt, an Estonian composer, composed Collage über B-A-C-H for oboe and strings in 1964. “The first appearance of a reference to Bach, although this is only explicit in the work called Collage, which is both based on the B-A-C-H motif and also quotes actual music by Bach. But the B-A-C-H motif, variously transposed and inverted, can also be traced in several other works, suggesting a potential link between them.”29
The inspiration for using the B-A-C-H motif has various reasons and depends on each composer. The use of the motif has very different approaches, relying on each composer’s style as well. Other composers, Krzysztof Penderecki’s St Luke Passion
(1966), Charles Ives’s Three-Page Sonata (1949), and Anton Webern’s String Quartet,
Op. 28 (1938), are also inspired by the B-A-C-H motif. Even, Bach himself also marked his signature in a number of his works, such as the Art of Fugue and Vom Himmel hoch da komm’ich her.
28 Marija Benić Zovko, “Twelve-Tone Technique and Its Forms: Variation Techniques of Arnold Schoenberg’s Variations for Orchestra Op. 31,” International Review of the Aesthetics and Sociology of Music 38, no. 1 (2007): 50. 29 Paul Hillier, Arvo Pärt (New York: Oxford University Press, 1997), 47. 15
The composers’ works reviewed above relate to the two initial conceptions of mine. First, in regard to the issue of quotation, both Eastern and Western composers brought up their own traditional materials from their individual homeland, such as folk tunes, song tunes, national anthems, and traditional musical instruments. Second, concerning translation technique, many composers honor Bach by translating Bach’s name to the notes of the motive.
The various ways these composers manipulate their components is similar to my purpose in this project. When composers quote folk tunes and/or anthems, they do not usually employ the entire melodies. They deliberately make a selection of some portions from them. Then they adapt and transform the materials to be appropriate for their works.
When composers mention their cultures, they shape the characteristics of their traditional music to create some significant meanings from them. Some composers deal with their traditional musical instruments, although this dissertation will not. These composers perfectly integrate two traditional music cultures into their own music. Eventually, the results of these endeavors are beautiful and colorful art music. The wonderful characteristics of music are unique with an individual’s own style.
Faithful to My Land is composed for an orchestra. Therefore, the orchestra setting and learning from other composers’ styles also furthers my project. Sergei Prokofiev’s
Symphony No. 1 in D, Op. 25, Classical Symphony (1916) follows the traditional outlines of a classical symphony. It opens with theme that is an ascending rush, with a crescendo, through the tonic chord, and especially the score pursues an outline of a classical orchestra.30
Stravinsky’s Pulcinella (1920) uses an ensemble setting similar to “an eighteenth-century
30 Lee, 270. 16 concerto grosso,”31 and the “recycled tonal materials are transformed” to appropriate a new stylistic framework at the time.32 Dmitri Shostakovich’s Symphony No. 5 in D minor,
Op. 47 (1937) is “a work of obvious artistic conviction, expressive power, and technical accomplishment.”33 Vaughan Williams’s A London Symphony, with its huge orchestra, features an abundance of thematic material more than defined harmonic operations or structural designs, including the sequence of the basic motto.34
The works of these composers provide models that deal with a classical orchestra setting, symbolism, thematic and motivic transformation, tonality, and related compositional tools. The orchestral settings and the stylistic characteristics of each composer are appropriate to the purpose of my work. The score of each piece provides program notes explaining the piece and the detail of performance setting for the ensemble that can support the organization of this work. All of these composers and their works provide some examples furthering my new composition. Additionally, examination of other modern works is equally necessary for perceiving other composers’ ideas and concepts. However, this dissertation will apply and adapt their ideas and concepts to compose a new composition in my own style.
31 Ibid., 424. 32 Robert P. Morgan, Twentieth-Century Music (New York: Norton & Company, 1991), 410. 33 Ibid., 248. 34 Lee, 436–38.
CHAPTER 3
METHODOLOGY
Faithful to My Land is an orchestral work in three movements––the number of the colors of Thailand’s flag. The flag employs the colors of red, white, and blue that reflect the three main institutions. The red is for the nation, the white is for the religion, and the blue is for the monarch. The formal structure of each movement grew out of my compositional process. This composition is about fourteen minutes in length. The texture of this piece comprises both Eastern and Western aspects. Homophony, monophony, and polyphony belong to traditional Western music, and heterophony belongs to the Eastern tradition. Even though this composition is organized on the tonal system, the harmonic language does not follow common-practice traditions.
Furthermore, the orchestral forces for this composition are similar to the classical orchestra that consists of two flutes (the second doubling on piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, two trombones, a bass trombone, timpani, other percussion, and strings. This orchestra is large enough to afford me a wide variety of registers, sounds, textures, and tone colors. Each instrument has a distinctive color and offers its own special percussive effects. Combinations of instruments will allow a particularly wide variety of dynamics, textures, timbres, and power of sound.
18
The main materials of each of the three movements are, as mentioned above, the two anthems and the letters of the name Buddha, all of which relate to the patriotic programme of the composition. However, the entire anthem melodies do not appear in this work. This composition employs some portions of them. The selected parts are transformed and modified in an effort to support the local and global organization, both melodic and harmonic, of each movement of the piece. The manipulation of musical components and the instrumentation are carefully designed in this composition.
Movement I
The first movement employs quoted fragments from the Thai national anthem
(see Appendix). This movement deals with some portions of the anthem, particularly in the sensibility of rhythmic and melodic patterns. The initial conception for this movement, for example, is to bring up a rhythmic pattern of a dotted eighth and a sixteenth note (shown in Example 1). This rhythm pattern is pervasive throughout the anthem. This movement employs the motive in various manners, such as staccato, marcato, retrograde, and so forth.
Example 1: Rhythmic pattern
!! ! !! !
19
Other concepts deal with melodic patterns and structural pitches of some portions of the anthem. At this moment, pre-composition will demonstrate some conception of the ideas. First, a melodic pattern will quote the first few notes of the anthem, such as the notes G, C, E, and G´, as its main motif, but with different rhythm patterns. In addition, the main motif may be transposed to another tone center, or the internal intervals may change while the spanning G–G´ remains the same. Second, the original melody in the first four measures is transformed from the major mode to the Phrygian mode, including reforming its rhythmic pattern. Third, concerning structural pitches, the first two measures are reduced to principal structural pitches (shown in Example 2). This structure will be a main element as well.
Example 2: Principal structural pitches
original ! # " " "! " "! " "! " $ " "! structural pitches ! " " " " "
The group of the structural pitches will be treated in various ways, such as transposition to another tone center, manipulation of the rhythmic pattern, and so on.
Moreover, the interval structure of this group of notes implies a subset of this pentatonic scale that this work will use as an element for serving the traditional Eastern sound.
Finally, an ascending melody, especially the dotted eighth and sixteenth notes from the 20 fourth beat of m. 12 through the first two beats of m. 14 (see Appendix), is very vigorous and energetic and could be appropriate for the brass section, for example, in the sense of moving forward and driving with aggressive power to a climax.
Movement II
The second movement employs a technique of translation that employs the name
Buddha as a symbol of this movement. This work takes all six letters of the name and translates them into six musical notes by using the methods of German musical nomenclature, Latin solmization (Ut-Re-Mi), and English letter names. Thus, the name
Buddha is translated into the pitch motive Bb-C-D-D-B-A (shown in Example 3).
Example 3: Buddha motive
#" " " " $" " !
This group of notes, the Buddha motive (with respect), pervades the second movement of this dissertation. The initial conception in this movement is to treat the motive as a cantus firmus, thus making a connection with the sacred music of the
Western culture in the Renaissance era. The movement references a preexisting melody from the Renaissance as well. The movement thus employs two cantus firmi. However, the movement does not always employ the complete Buddha motive. Some local areas of 21 the movement or some instrumental parts take only some notes of the motive.
Furthermore, the motive does not need to be in sequence every time.
Movement III
This movement is based on new material and is a separate, independent movement; it ends with an epilogue that refers to all three movements. The final movement employs the quotation technique as well, but makes use of the Thai royal anthem, which is provided in the Appendix. As in the first movement, the complete melody of the royal anthem does not come into view in this movement or the whole piece. This movement also deals with some portions of the anthem, both rhythmic and melodic patterns. The initial conception for the movement, for example, is to bring up the motives of mm. 1-2 and mm. 5-6 of the anthem to employ the technique of retrograde, but to disregard the notes’ values (shown in Example 4). Other rhythmic patterns for the new motives also appear.
Example 4: Retrograded motives
mm. 1-2 mm. 5-6 ! "#! $ % % % % $ % & % % % % % % %%% $ % & retrograde #! ' ' " ! $ % % % % $ $ %%%%% % $
22
Other transformations of the anthem are more abstract and thus less audible. First, the group of melodic pitches in mm. 15-16 (shown in Example 5 with brackets) is established to be a fundamental chord, and other chords will be built by considering the relevance of the interval of this chord. Second, the notes in m. 21 will be developed to be a motive. The new motive still maintains the outline of step-skip-step in the opposite directions of the group of these notes, but uses various rhythmic patterns.
Example 5: A harmony and a motive
mm. 15-16 m .21 $ % #! # # # $ !" #! # # # # # & # # #! #
# " # ## # ! # #
Epilogue
The epilogue is the last section of the third movement. It is a short section, around one minute or less. The main idea of the section is to bring out the significant elements of each of the three movements to make a recapitulation of all of them at the same time. The purpose is to remind the audience of where all of the components are from. Therefore, the two anthems will probably appear as longer melodies, though still not both entire melodies. Furthermore, the last chord of the composition is the notes Bb, F, and C (two perfect fifths) that these notes are the main key centers of the original materials, the anthems and the name Buddha.
CHAPTER 4
THE FIRST MOVEMENT
The first movement refers to the Thai national anthem. This movement grows from a main arpeggio motive, a main subject, and a countersubject, (see examples on the following pages). The movement develops and varies these materials simultaneously in many different ways. The main arpeggio motive contains the principal structural pitches
(shown in Example 2 on page 19) of the national anthem. Another motive is the first four notes of the arpeggio (pick up notes) of the anthem (also see example 2, original). They are subjected to inversion and retrograde, the rhythms are altered and they are changed in dynamics, register, articulation, and instrumentation. All of these materials are pervasive throughout the movement. Therefore, the formal structure comes not from thematic contrast, but mostly from contrasts in texture between different sections. The movement comprises three main sections—A, B, and A´—with an introduction and a closing section.
The first movement is around four and a half minutes in length. Its motives and musical ideas are made up of several meaningful intervals: major and minor seconds, the perfect fourth and fifth, and the tritone. Some melodic figures, harmonic materials, and rhythmic ideas are used not only in the first movement, but in the rest of the piece as well. Additionally, some musical characteristics of this movement will recur in the epilogue of the third movement. 24
The texture of this movement is a combination of homophony and rhythmic heterophony. The entire movement features a continuous driving rhythm with various alterations. The near-continuous sixteenth notes in the viola and other string parts contribute to this energy and rhythmic drive and reinforce the orchestral color. The driving sixteenth notes principally reflect the tonal centers in each local area in this movement. However, the repetitive viola also moves to other pitches. Other tonal centers in some local areas are revealed by other features, such as an auxiliary motion on the low instruments in the introduction. The movement is essentially organized around the main tone center, E.
The movement begins with an Allegro con brio introduction in mm. 1–18. Some portions of this introduction and its primary idea recur in the middle and at the end of the movement. The introduction employs rhythmic heterophony and an extremely wide register in the orchestra. Measures 1–6 increase the dynamic from piano to fortissimo in the whole orchestra to reach the notes E in different registers. These opening measures are based on the E Phrygian scale, with the raised note D# for creating a leading tone.
The first time the main arpeggio motive occurs is in mm. 9–10 in the low strings
(shown in Example 6 on the following page). The strings’ tremolo in mm. 9–12 and mm.
14–16 move around an E minor triad adding the note C, also considered as a C major- major 7th chord. Meanwhile, the brasses play the E minor triad with the longer held notes in mm. 10–12, but change their character in mm. 14–16. The woodwinds play staccato on the same triad. They also increase the dynamic from mezzo piano to fortissimo that leads to a C major-major 7th chord bass on B in m. 13. The orchestra continues the same idea in mm. 14–17 (but louder) to reach the same chord again in m. 18. 25
Example 6: The main arpeggio motive
mm. 9-10 Vc. & Cb. ) # ! $ % % & " * % $ " & & & " &' mp mf(
The energy of the introduction leads to section A (mm. 19–45), which basically grows from the two motives with their transformations and the main subject. The viola continues moving throughout this section. The first time the main subject emerges, however, is in mm. 26–31 on the low strings (the cello and double bass), doubled in the bassoons and the first violins, then imitated by the first horn (shown in Example 7).
Additionally, the first trumpet plays staccato doubling the viola during these measures.
Example 7: The main subject
mm. 26-31 I. (' ((' ) & Hn. I &&' & & )! & " ! # # # $ % * + mf 3 mf arco (Vc. & Cb.) - - - Vc. & Cb. " ! + % & + % & + % % - ! & & &!& ) & & , & + % $ # &, & , ) mf$ mp
The main arpeggio motive during mm. 34–42 is expanded into the entire orchestra with the energy of repetitive sixteenth notes. It is played antiphonally between the whole string section and the woodwinds, supported with the brasses, timpani, and percussion.
Moreover, the arpeggio motive is played by the whole orchestra during mm. 43–45. 26
Besides the large aspect of the arpeggio motive, the orchestral color is provided with a dynamic increasing to fortissimo.
Section B consists of mm. 46–81. It begins with a two-beat measure of rest. The tempo is slower and pesante. The timpani, tam-tam, and bass drum support the power of the orchestra. This section continues from the previous section with the timpani playing the arpeggio motive on E minor triad at fortissimo followed by the monophonic texture of the main subject on the whole strings. The section switches back and forth between the main subject and the perfect fourth and fifth of the countersubject (shown in Example 8) in various tone centers.
Example 8: The countersubject
mm. 51-54
Tpts. ! $ & % " ! # % # ' ( ) # ff$ fff f
Tbns. $# & % * ! # % ' ( ) # $ fff f " ff
Actually, the first time the countersubject is introduced is in mm. 21–22 in the unison of the first and second horns. Furthermore, a variation of the countersubject during mm. 58–64 moves within the key of F#m against the repetition of the viola on the note B. Another variation during mm. 67–77, which is developed from the pentatonic collection of the principal structural pitches, plays on the flutes and the xylophone. This 27 section concludes with imitation between the cello and the double bass pizzicati, punctuated by accented chords in the violins.
The A´ section comprises mm. 82–125. The tempo is the same as that of section
A. The viola continues almost throughout the section. However, because the introduction interrupts this section, the orchestration needs to be manipulated to create some musical figures to be in accordance with the idea of the introduction. Especially during mm. 98–
100, the music is creating obvious bitonality of the tone centers E and F on the low instruments supported by the open fifths E-B and F-C in the woodwinds.
After that, mm. 126–27 are interrupted by a slower tempo. The first horn plays a solo melody accompanied by the low strings’ tremolo. The melody imitates the first two measures of the anthem but transposed from C major to E minor. This passage leads to the closing section during mm. 128–37. The closing section concludes as it began with the introduction idea. Moreover, the movement ends with an attacca indication that the music should immediately continue to the second movement.
CHAPTER 5
THE SECOND MOVEMENT
Buddhism is the principal religion of Thailand in which most people have faith.
Thai people have a freedom to believe in other religions as well. Muslims are the second largest religious group and Christians are the third largest religious group in Thailand.
The main idea of the second movement employs materials referring to both Buddhism and
Christianity. The second movement is the longest movement, around five minutes in length. The movement can be divided into a binary form, A and A´, with a codetta. The tempo of the movement is an Adagio sereno.
Beyond the Buddha motive (Bb-C-D-D-B-A, shown in Example 3 on page 20), this movement quotes two other preexisting melodies: a devotional motet by Josquin des
Prez, Miserere mei, Deus and an anonymous Buddhist prayer (shown in Examples 9–10 on the following page). Miserere mei, Deus (Have mercy upon me, O God) was composed for Duke Ercole I d’Este of Ferrara around 1503.1 Patrick Macey writes:
Continuing with other important musical material in the motet, Josquin generates four distinct and unadorned melodic motifs ... The first, motif A, is the plaintive semitone that opens the work; this forms the essential element of the repeated- note introductory subject which the first tenor subsequently takes over as the soggetto ostinato. The expressive inflection of the ascending semitone effectively highlights the most important word, Deus.2
1 Patrick Macey, “Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets,” in The Josquin Componion, ed. Richard Sherr (Oxford: Oxford University Press, 2000), 487. 2 Ibid., 495. 29
Example 9: Josquin des Prez, Miserere mei, Deus, mm. 7–113
Soprano " ! #! $ # # # # % % Mi - se - re - re me - i de - us
Example 10: Anonymous melody, Buddhist Prayer
! " !$# %! # # %! # & %! Bud - dhang Sa - ra - nang Kat - cha - mi Dham - mang Sa - ra - nang Kat - cha - mi Sang - ghang Sa - ra - nang Kat - cha - mi
The two original melodies, Miserere mei, Deus and Buddhist prayer, are certainly similar with the repeated notes and the minor seconds, except the perfect fourth at beginning of the Buddhist prayer. These two melodies are the main materials of each section. Therefore, the formal structure of this movement could be considered as section
A and A´ rather than section A and B.
The movement also employs number symbolism relating to significant numbers in the Buddhist and Christian traditions. The six notes of Buddha motive stand for Prince
Siddhartha Gautama’s six-year search for enlightenment. The prince left his palace to seek Dharma, the right path to awakening, at the age of twenty-nine. He attained enlightenment when he was thirty-five years old. Jesus Christ died on the cross around thirty-three or thirty-five years of ages. The climax of this movement occurs in m. 35.
3 Edward E. Lowinsky, ed., Monuments of Renaissance Music: The Medici Codex of 1518, Vol 4, (Chicago: University of Chicago Press, 1968), 270. 30
Finally, Buddha passed away in peace at the age of eighty years. The end of section A´ is m. 80. Moreover, this movement employs the number three, which relates to both religions. The foundations of Buddhist tradition and practice are the Three Gems—the
Buddha, the Dharma (the teachings of the Buddha), and the Sangha (the Buddhist community). The Christian doctrine of the Trinity believes in the union of three divine persons—the Father, Son, and Holy Spirit. The composition techniques in this movement—free counterpoint, paired duet, point of imitation, variations, and repetition
—in each local area are used three times. Thus, the music is determined by relating to these numbers (3, 6, 33–35, and 80).
The composition’s techniques, such as free counterpoint, paired duet, and point of imitation are manipulated for this movement. They were developed in the Renaissance period. Free counterpoint is the relationship between two or more parts that are independent in contour and rhythmic figure and are also less strictly constrained than imitative counterpoint; the harmonies are produced by the individual lines and are not functional. Paired duet refers to a texture that employs two contrasting pairs of voices
(parts). Finally, point of imitation is a short melodic figure used as a subject for imitation.
The music in this movement grows from the only intervals in the two subjects, a minor second and a perfect fourth, supplemented by the perfect fifth (inversion of P4) and the tritone (m2 + P4). Furthermore, the variations of the two subjects and other melodic figures principally move by very small intervals, such as minor seconds. Their harmonies and other accompaniments mostly use these intervals. The Renaissance composition techniques and these intervals are used throughout the movement. 31
Section A comprises mm. 1–35. The Buddha motive is divided into two groups of three notes played by the strings, as at the beginning of the movement. The first three notes of the motive are in mm. 1–3, and the last three notes are in mm 4–5 (shown in
Example 11). The motive continues as a background throughout this section but with various alterations.
Example 11: The Buddha motive at the beginning of the movement
mm. 1-7 div. Vln. I ! # ! " " " $" " %" " pp" " " $" " %" " div.
Vln. II # ! " " " " " " " pp%" " " " " " " div. # ) ) *# * " " " Vla. & ' ' ( * " " " pp + # * ) *# %* " " " Vc. , ' ( - + " pp
# %* " " * $) ) * %* /* %) * ) /*%* Cb. , ( - . + # # + " pp
The subject, Miserere mei, Deus, emerges in mm. 6–10 in the first horn followed by its two variations (mm. 10–14 in the first bassoon and mm. 14–18 in the first violins).
The first three appearances of the subject are accompanied by various instruments in free counterpoint. Then, the statements of the subject are further developed and they employ 32 the technique of paired duet three times between the subject’s variations and their countersubjects during mm. 18–32. Additionally, the tone centers of the subject and its five variations are each note of the Buddha motive in order. The section concludes with a climax for the entire orchestra. The harmonic progression is built gradually from m. 33 until the fermata on the first two beats of m. 35. The climax is created by a harsh dissonance consisting of two tritones and two minor seconds (the notes B, C, F and F#).
After that, the tension is released by using the Buddha motive that leads to the notes Bb in different registers on the third beat in the same measure. This point is the beginning of the A´ section.
The A´ section takes up mm. 35–80. This section begins with a little variation from the preexisting Buddhist prayer. The subject of this section is introduced in mm.
36–39 in the strings. The Buddha motive is also a background of this section, but not of the entire section. The timpani’s tremolo, however, plays on the note Bb for almost the whole section. The music begins to play the subject, Buddhist Prayer, in a Buddhist chant-like manner. Then, the subject is developed three times. Measures 40–47 use a double canon at the octave in the strings and the woodwinds followed by a point of imitation in mm. 48–52 in the flute, oboe, and the solo violin. In the second variation, the solo violin continues and accompanies the woodwinds in mm. 54–59. The third variation employs a duet between the cello and the double bass in mm. 60–68. After that, the
Buddhist prayer recurs three times at the end of the section. The section concludes in the low register and at a softer volume in mm. 79–80 with a cadence using parallel harmonies of B and Bb major triads. 33
Finally, mm. 81–89 is the codetta. The movement ends with the strings growing softer and playing in a very gentle texture and with wide intervals, both major and minor sevenths, including a perfect fourth. The conclusion employs the notes of the Buddha motive and ends with an attacca indication that the music should immediately continue to the final movement.
CHAPTER 6
THE THIRD MOVEMENT
The third movement refers to the royal anthem. This movement principally grows from a few main elements (see examples on the following pages) that are developed from the retrograded motives from the anthem and another motive also derived from the royal anthem (see examples 4 and 5 on pages 21–22). Among the musical components and ideas of the final movement are significant intervals: the tritone and the major third.
Additionally, the meaningful harmonies are augmented triads, diminished seventh chords,
French augmented sixth chords, and others. The chords used in this movement convey either or both of the two intervals. The texture is mostly homophony with the power of the full orchestra. This movement consists of three main sections—A, B and A´—with an epilogue. The epilogue derives from the main materials presented in all three movements.
The music of the last movement, which is around three and three quarters minutes in length, is based on a twelve-note compositional idea, but the music is not serial. A few measures employ a twelve-note row with its retrograde and inversion. The tone centers in each local area are revealed by the lowest pitch, a pedal note, or an ostinato of a motive.
The compositional techniques employ portamento of the trombones and the strings, parallel harmony, ostinato, and arpeggio. The third movement is essentially organized around the main tone center, F. 35
Section A consists of mm. 1–38. The movement begins with a Moderato con energico. The music is established by a tritone on the trombones supported by the double bass and timpani in m. 1, and a descending motive on the trombones and timpani in m. 2–
3 (shown in Example 12). Furthermore, grace notes are used to indicate quick portamenti in the trombone and string parts. The music gradually expands until it completes a twelve- note aggregate in m. 14. Section A principally employs variations of the descending motive in various alterations and significant chords that mostly contain one or two tritones.
Example 12: A tritone and a descending motive at the beginning of the last movement
mm. 1-4 a2 3 3 3 * 3 %* %* % %* %* % %* %* % % Tbn. I&II ! " * * * # ! ' )& & !)& & & & & & $' $# &$$# * * &* & & & +& +$ $# & & & ( % % % $# & # # ff f ff % ffmp% % % ffmp% 3 3 3 3 Timp. !, ! &$& %& %& " ! % % & - & & & & ! & & & & & & & & & $# " (% &% 3 % % % % % % % % % % % % $# ffmp% ff% ffmp% * Cb. , ! % " % ! % % % $'(% ! $% % $%# &% &% & % # $%# ffmp% % ff ffmp%
* Grace notes are used to indicate quick portamenti in Trombone and String parts.
The first time the twelve-tone row occurs is in the cello’s pizzicato in m. 20 (shown in Example 13 on the following page). The meaningful intervals of the row are the tritone and major and minor seconds. The row is not used for creating a serial composition. It is represented as a summary of the previous musical elements—intervals, triplets, and the 36 descending motive—and the contour derived from a part of the royal anthem. The row, however, is developed by using canons of its retrograde and inversion in mm. 25–26.
Example 13: A twelve-tone row
m. 20 pizz. $ %# # $ &# $ $ &# Vc. !" ! # # %# # &# # # ! 3 '# 3 3 3 pizz. %$# $ 3 $ Cb. " ! ( # &# * # # ! ) ( # ) ( # ) ( ) ) " 3 ( 3 $ ( 3
The B section comprises mm. 39–57. This section is softer than the A section, which plays fortissimo almost throughout the section. The first subject of the section is in mm. 39–42 in the flute. There are six melodic fragments played by the woodwinds in this section. All of them are transformations of the descending motive. The accompaniment of the section employs imitation between the bassoons’ staccato and the strings’ pizzicati, punctuated by accented chords on the horns and the strings.
Section A´ takes up mm. 58–74. The music of this section employs the same idea and texture as those of section A, but shorter and with altered orchestration. The end of the section in mm. 73–74 is in parallel harmony of augmented triads in the whole orchestra with antiphonal treatment of the wind and the string sections. Actually the parallel harmony emerges before this area, but not for the entire orchestra. The parallel augmented triads lead to the last section of the composition. 37
Example 14: The beginning of the Epilogue
mm. 75-79
Hn. I&II ! ! " " # $ % mf%
Hn. III&IV & " " # $ % " mf
Vln. I ! ( ( ( ( ! " ' % ' % mf'# % '# %
Vln. II ! mf% % subito% % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % ( ( ( ( Vla. ) " '# % '# % mf'# % '# % , Vc. & %*% %+ % % % % % % % % % % " " *%*% *%- 5 mf subito mf f , Cb. & %*% %+ " " *%*% *%- . # " 5 mf f
Hn. I&II ! ! */ * / / p , , Hn. III&IV & **/ / " p
Vln. I ! ( 1 ! */ * / / p ,0 / Vln. II ! % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % ( 1 Vla. ) **/ / p ,0 / Vc. & % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % %
Cb. & *% % % % % % % % % % % % % % % % *% % % % % % % % % % % % % % % % " mf 38
The epilogue consists of mm. 75–99. The section employs the main materials presented in all three movements. It begins with the repetitive sixteenth notes, the main arpeggio motive, and the countersubject of the first movement, including the Buddhist prayer of the second movement (shown in Example 14 on the previous page), all presented simultaneously.
At the end of the epilogue is a codetta. The tempo is ritenuto in mm. 88–89 and
Andante in mm. 90–99. The music is very gentle with pianissimo and softer. The codetta employs the longer held notes of the perfect fifths (Bb-F-C) by the strings until the music’s gradual niente with the fermata mark.
CHAPTER 7
CONCLUSION
Faithful to My Land, which is around fourteen minutes in length, is composed for an orchestra in three continuous movements—each movement is connected to the next by an attacca indication in between. The main materials of each movement are manipulated from source ideas that relate to the three crucial institutions of my country. This composition is globally organized within a tonal framework; both diatonic and chromatic notes are employed, including a twelve-tone compositional idea. However, tonality and modality are constructed explicitly in each area by using local tonal organization or tone centers throughout the composition. The most significant intervals in the composition as a whole are major and minor seconds, the perfect fourth and fifth, and the tritone. The global and local harmonic framework of this piece is the result of these intervals and the relationship of all subsequent tonal areas.
The composition’s subjects, countersubjects, motives, and melodic and harmonic fragments do not directly quote the source melodies. The original sources are transformed and modified in various alterations. The use of those sources is deliberately considered on their significant intervals, melodic contours, and rhythmic patterns. The main materials of each movement, however, maintain and relate to each original source quoted.
40
The composition follows a more eclectic approach of construction by using neo- tonal practice, classical treatments, and a twelve-tone compositional idea. The harmonic passages, however, do not necessarily embody traditional progressions. The pre-existing melodies and compositional techniques of the Renaissance period provide a means of creating melodic relationships. The twelve-tone material employed in some local areas serves as a melodic source, and its treatment is not serial.
The end of the composition employs an epilogue, which derives from the significant materials presented in all three movements. The structure of the epilogue symbolizes the unity of my country, which is constituted by three crucial institutions— nation, religion, and the constitutional monarchy. Therefore, I composed Faithful to My
Land in order to honor these beliefs. Eventually, I hope this unity will be eternal together with my country.
Appendix
THAI NATIONAL ANTHEM
Phra Chen-Duriyang (1883–1968)
1 ! " ! $ # # #! ##! ##! # % # #! # #! # # # #! ## #! ##! #! # % #!
5 # # # #! # #! # # % & ' # " # # ! # #! %! #! # # ! # #!
9
& " # # # # #! # % # ( $ # % #! # % #! # # #! # # #! #
13 # # % # # # # #! # #! # % # " # # #! # ! ) ( * ! # #! # #! ) (
W.L. Reed and M.J. Bristow, National Anthems of the World, 9th ed. (New York: Cassell Publishers Limited, 1997), 524–25.
42
THAI ROYAL ANTHEM Sanrasoen Phra Barami
HUVITZEN
#! & ' & " ! $ % % % % $ % %! % % % % % $ %
5 ' % % % "# % % % % % % % % % $ % & %! % % % % % $ %
9 % % % % ' "# ! ( % $ % & %! % % % % % % $ % &
13 ' ' $ %! % "# %! % % % % $ % & %! % % % % % (
17 $ % % % %!% % %% $ % ' "# % $! $ $ % % % % % %! % $ % &
Martin Shaw and Henry Coleman, National Anthems of the World, 2nd ed. (New York: Pitman Publishing Corporation, 1963), 342–43. Bibliography
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Anderson, Julian. “Spectral Music.” www.oxfordmusiconline.com (accessed March 17, 2011).
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–––––. Renaissance Music. New York: W.W. Norton & Company, 1998.
Bruhn, Siglind. Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Debussy, Ravel, and Messiaen. Stuyvesant, NY: Pendragon Press, 1997.
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44
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45
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FAITHFUL TO MY LAND FOR ORCHESTRA
FULL SCORE
WIBOON TRAKULHUN MARCH 2011
INSTRUMENTATION
2 Flutes (2nd doubling Piccolo) 2 Oboes 2 Clarinets in Bb 2 Bassoons 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani (5) Percussion (2 players) Marimba, Xylophone, Crotales, Bass Drum, Snare Drum, Tam-Tam, Cymbals, Suspended Cymbal, Tambourine
12 First Violins 10 Second Violins 8 Violas 6 Violoncellos 4 Contrabasses
Score in C Duration: ca. 14 minutes
Score in C
Faithful to My Land I. WIBOON TRAKULHUN
Picc. Allegro Con Brio q = 126 Fl. I. Flutes I&II mf cresc. ff f I. a2 Oboes I&II mf cresc. ff I. a2 Clarinets in Bb I&II mf cresc. ff I. Bassoons I&II simile mp cresc. ff a2 Horns in F I&II f ff Horns in F III&IV ff Trumpet in C I ff f a2 Trumpet in C II&III ff a2 staccato Trombone I&II mp cresc. ff B. Tbn staccato Bass Trombone & Tuba p cresc. ff 5 Timpani p f ff Percussion I
Percussion II Violin I ff mp cresc. Violin II mp cresc. ff détaché Viola mp cresc. ff détaché Violoncello mp cresc. détaché ff Contrabass p cresc. ff 49
I. 7 3 Fl. I&II mp 3 3 3
I. 5 Ob. I&II 5 5 mp
I. 3 Cl. I&II mp 3 3 3
a2 3 3 3 Bsn. I&II mp mf mp
Hn. I&II p mp Hn. III&IV p mp
Tpt. I
a2 Tpt. II&III p mp
a2 Tbn. I&II p mp
a2 B. Tbn. & Tba. p mp
3 Timp. mf
Perc. I
Perc. II
div. Vln. I p cresc. mp
Vln. II p cresc. mp Vla. p cresc. mp pizz. 3 3 3 Vc. mp mf mp
pizz. 3 Cb. mp mf mp 50
I. e = e Fl. II. 5 3 I. 11 7 Fl. I&II 5 ff mf mf 3 5 f II. 3 3 3 3 3 I. 3 Ob. I&II 3 3 ff f I. Cl. I&II 3 3 3 3 3 3 3 3 f ff mf I. stacc. 3 Bsn. I&II 3 3 3 3 f ff f Hn. I&II ff f mf f f Hn. III&IV f mf f ff f
5 Tpt. I mf f ff f
Tpt. II&III f mf f ff f Tbn. I&II f mf f ff f
B. Tbn. stacc. B. Tbn. & Tba. f mf f f ff 3 3 5 Timp. f ff Perc. I
Perc. II 3 7 unis. Vln. I mf f 5 f 3 ff non div. 3 Vln. II cresc. f f ff non div. 3 Vla. cresc. arco and div. f f non div. ff 3 Vc. 3 mf f 3 ff arco détaché 3 Cb. 3 f ff f 51
e = e I. 5 II. 14 3 7 Fl. I&II mf 3 3 3 5 f 3 5
II. I. II. 3 5 3 Ob. I&II 5 5 mf 3 3
Cl. I&II 3 3 3 3 3 3 3 3 3 3 3 3 3
a2 3 3 3 3 Bsn. I&II 3 Hn. I&II mf f mf f Hn. III&IV mf f mf f Tpt. I a2 Tpt. II&III mf f mf f a2 Tbn. I&II mf f mf f a2 B. Tbn. & Tba. mf f mf f
3 3 Timp. mf f
Perc. I
Perc. II div. 7 Vln. I 5
Vln. II
Vla. arco and div. pizz. 3 3 3 3 3 Vc. f pizz. 3 3 Cb. 3 52
3 17 I. Fl. I&II ff mf 5 5 f I. 3 3 3 3 Ob. I&II mf I. Cl. I&II 3 3 f ff mf Bsn. I&II 3 3 3 ff Hn. I&II ff 3 Hn. III&IV ff 3 5 5 Tpt. I f ff 3 mf f 3 Tpt. II&III ff Tbn. I&II f ff
B. Tbn. & Tba. f ff 3 5 Timp. ff ff Perc. I
Perc. II 3 unis. Vln. I 5 5 mf f p ff 3 non div. 3 Vln. II 5 5 f ff mf non div. 3 non div. Vla. ff mf p non div. pizz. Vc. mf p ff 3 f ff arco pizz. Cb. p ff 53
21 Fl. I&II
Ob. I&II
I. 5 Cl. I&II mp
Bsn. I&II
a2 Hn. I&II p mp p mf
Hn. III&IV
Tpt. I 5 5 mf 3 5 Tpt. II&III mp mf mf
Tbn. I&II
B. Tbn. B. Tbn. & Tba. mp
Timp. mp
Perc. I
Perc. II
Vln. I 5 3 mf 5
5 5 Vln. II cresc. p mf 3
Vla. cresc. mp
Vc. mp
Cb. mp 54
25 I. Fl. I&II mp I. Ob. I&II mp
Cl. I&II a2 Bsn. I&II mf
I. Hn. I&II mp mf 3 a2 Hn. III&IV mp mf mp mf mp
Tpt. I mp mf
3 3 Tpt. II&III mf a2 Tbn. I&II mp mf mp mf mp B. Tbn. & Tba. 3 3 mf
3 3 Timp. mf
Perc. I
Perc. II
Vln. I p mp mf
Vln. II mp mf
Vla. mf.
arco Vc. mf mf arco Cb. mf mp 55
30 I. 5 5 Fl. I&II mf
5 I. Ob. I&II 6 mf mp I. 3 Cl. I&II mf p
Bsn. I&II
Hn. I&II
III. 3 Hn. III&IV 3 mf mf f mp
Tpt. I
3 Tpt. II&III 3 3 Tbn. I&II mf B. Tbn. & Tba. 3 3
3 Timp. Perc. I
Perc. II
6 div. 6 Vln. I mf 5 3
Vln. II
Vla.
5 Vc. mf 5 Cb. mf 56
33 Fl. I&II mp 3
Ob. I&II
simile 3 3 3 3 3 3 3 3 Cl. I&II 5 5 simile 5 5 5 5 5 5 Bsn. I&II mf
Hn. I&II mf Hn. III&IV mf Tpt. I mf Tpt. II&III mf I. Tbn. I&II mf
B. Tbn. & Tba.
Timp. p
Perc. I
Marimba Perc. II mp 3 Vln. I Vln. II mf 5
Vla. mp subito pizz. and div. Vc. mf
Cb. mp 57
35 Fl. I&II mf mf
Ob. I&II mf
3 3 3 3 3 3 3 3 Cl. I&II 5 5 5 5 5 5 5 5 a2 Bsn. I&II
Hn. I&II Hn. III&IV Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
unis. Vln. I mf
pizz. arco Vln. II mf mf cresc. div. Vla. cresc. mf cresc. arco and unis. Vc. mp cresc. mf cresc.
Cb. cresc. mf cresc. 58
37 a2 Fl. I&II f f a2 Ob. I&II f mf f I. a2 Cl. I&II p cresc. mf f
I. Bsn. I&II p mp mf f
a2 Hn. I&II mf f a2 Hn. III&IV mf f Tpt. I f f II. Tpt. II&III f a2 Tbn. I&II mp f B. Tbn. B. Tbn. & Tba. p cresc. f
Timp. Xylophone Perc. I f
Perc. II
Vln. I mp f mp f
Vln. II f
Vla. f mp subito Vc. f 5 f Cb. 5 f f 59
40 Fl. I&II
Ob. I&II
II. I. Cl. I&II subito p pp p p pp Bsn. I&II p pp
I. Hn. I&II p pp p pp Hn. III&IV p pp
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp. Perc. I p cresc. f
Perc. II
Vln. I p cresc. f
Vln. II mf f
Vla. mf f p subito
Vc. mp cresc. f
Cb. p cresc. f 60
43 a2 Fl. I&II f ff a2 Ob. I&II f mf ff a2 Cl. I&II cresc. mf f ff I. Bsn. I&II p mp mf f ff
a2 Hn. I&II mf f ff a2 Hn. III&IV mf f ff Tpt. I ff f a2 Tpt. II&III f ff a2 Tbn. I&II mp f ff a2 B. Tbn. & Tba. ff p cresc. f
Timp. f ff Cymbals Perc. I ff Suspended Perc. II p cresc. ff
non div. Vln. I p cresc. ff mf f non div. Vln. II mf f ff Vla. cresc. mf f ff non div. Vc. mp cresc. f ff
Cb. p cresc. f ff 61
Pesante q = 104 46 Fl. I&II
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
l.v. Timp. ff
Perc. I
Bass Drum Perc. II ff
Vln. I ff Vln. II ff
unis. Vla. ff
Vc. ff Cb. ff 62
51 I. Fl. I&II f ff mf f
Ob. I&II
Cl. I&II ff
Bsn. I&II ff f
Hn. I&II ff Hn. III&IV ff
Tpt. I ff fff f a2 Tpt. II&III ff fff f
a2 Tbn. I&II ff fff f
B. Tbn. B. Tbn. & Tba. ff fff f f
Timp. ff Tam-Tam Perc. I ff
Perc. II ff
Vln. I
Vln. II
Vla. ff Vc. ff f
Cb. f 63
55 a2 Fl. I&II mf f mf Ob. I&II mf
Cl. I&II mf a2 Bsn. I&II mf f mf mf p Hn. I&II mf Hn. III&IV mf
Tpt. I mf f mf
Tpt. II&III mf f mf
Tbn. I&II mf f mf
B. Tbn. B. Tbn. & Tba. mf f mf mf p
Timp. mf
Perc. I
Perc. II mf
Vln. I mf
Vln. II mf Vla. mp mf 3 Vc. mf p mp mf f 5 3 Cb. mf p 5 mp f 64
I. 59 ( ) # Fl. I&II mp p Ob. I&II mp
I. 5 Cl. I&II mp Bsn. I&II
Hn. I&II mp
Hn. III&IV mp
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba. mp
Timp. mp
Xyl. Perc. I 5 mp
Perc. II
5 Vln. I mp Vln. II mp 5 Vla.
pizz. arco Vc. mp mp pizz. arco Cb. mp mp 65
63 Fl. I&II mf mp 5 I. Ob. I&II mp
Cl. I&II mf I. Bsn. I&II mf mp
a2 Hn. I&II
a2 Hn. III&IV
Tpt. I mp
Tpt. II&III mf Tbn. I&II mf
B. Tbn. & Tba. mp
Timp. mf 5 Perc. I mf
Perc. II
5 Vln. I mf 5 Vln. II mf Vla. mf Vc. mf mp Cb. mp 66
II. flutter 67 I. flutter Fl. I&II 3 3 3 3 3 3 3 3 3 3 3 3 pp p pp p pp p pp
Ob. I&II
I. Cl. I&II mf
Bsn. I&II p pp
Hn. I&II
Hn. III&IV
Tpt. I mf a2 Tpt. II&III mf
Tbn. I&II
B. Tbn. & Tba. p pp
Timp.
Perc. I p
Perc. II
div. Vln. I pp mf gliss. Vln. II p
Vla. pp mf
5 pizz. 3 3 3 Vc. p pp p
pizz. 3 Cb. p pp 5 p 67
I. 72 Fl. I&II mf 3 3 3 3 3 3 p p
Ob. I&II
Cl. I&II
Bsn. I&II mf Hn. I&II mf Hn. III&IV mf
Tpt. I
Tpt. II&III I. Tbn. I&II mf
B. Tbn. & Tba.
Timp. mf mp Perc. I p mf 3 3 3 3 3 3 p Sus. Perc. II mf mf
non div. Vln. I p mf mp non div.
Vln. II mf mp
Vla. p mf arco Vc. mf arco Cb. mf 68
77 Fl. I&II mp 3 3 3 3 p pp p pp
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II mp
Hn. III&IV mp
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp. mp
Perc. I mp
Perc. II
Vln. I Vln. II Vla. p
pizz. 3 3 3 3 3 3 3 3 3 3 3 3 Vc. 3 3 3 3 mp
pizz. 3 3 3 3 Cb. 3 3 3 3 mp 69
Con Brio q = 126 82 I. Fl. I&II p
Ob. I&II
Cl. I&II
Bsn. I&II
I. Hn. I&II p Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I p
Vln. II p cresc.
Vla. cresc.
Vc. p mp
Cb. p mp 70
Fl I. (§) Picc. 86 Fl. I&II mp p 3 I. Ob. I&II 5 mp mf 5 3 5 Cl. I&II mp mf 5 3 Bsn. I&II 3 mp mf 3
Hn. I&II mf Hn. III&IV mp mf Tpt. I 3 mp mf mf
Tpt. II&III
Tbn. I&II
B. Tbn. B. Tbn. & Tba. mp
Timp. mp
Perc. I
Perc. II
Vln. I 5 3 mp p mp mf 5 5 5 Vln. II mf 3 mp mf
Vla. mp mf. arco Vc. 3 3 mf 3 arco Cb. 3 3 mf 3 71
90 Fl. I&II
Ob. I&II
Cl. I&II mf mf f Bsn. I&II 3
a2 Hn. I&II f mf mf 3 3 3
3 Hn. III&IV mf f mf Tpt. I 3 3 Tpt. II&III 3 mf Tbn. I&II 3 3 mf 3 3 B. Tbn. & Tba. 3 3 mf
3 Timp. mf 3
Perc. I
Perc. II
div. Vln. I mf 3 Vln. II
Vla.
Vc. 3 Cb. 3 72
Fl. Picc. 94 Fl. I. 5 Fl. I&II 5 mf ff 5 I. Ob. I&II 6 mf 5 mp ff I. Cl. I&II mf ff I. Bsn. I&II mf ff
I. Hn. I&II mf ff mf 3 III. Hn. III&IV mf mf ff mf f mf 6 Tpt. I ff mf mf 3 Tpt. II&III ff mf 3 Tbn. I&II mf ff 3 B. Tbn. stacc. B. Tbn. & Tba. ff f
Timp. ff 3 mp
Perc. I
Perc. II
6 6 Vln. I ff 5 3 Vln. II ff Vla. ff
Vc. mf ff détaché Cb. mf ff mp subito 73
(only Fl. oct. above) ff 3 3 3 3 3 3 Fl. 98 stacc. mf Fl. I&II Picc. 6 3 legato 3 5 5 5 5 5 mf 6 6 mf ff I. Ob. I&II ff
mf 3 3 3 3 3 3 3 3 3 3 I. stacc. Cl. I&II mf 3 5 5 5 5 5 5 5 5 5 II. legato 3 stacc. Bsn. I&II ff 3 a2 Hn. I&II ff ff f Hn. III&IV ff Tpt. I ff flutter Tpt. II&III ff I. 3 II. stacc. Tbn. I&II ff B. Tbn. & Tba. ff Timp. ff
Perc. I
Perc. II unis. Vln. I 3 3 ff Vln. II 3 ff Vla. ff détaché Vc. ff
Cb. ff 74
5 101 I. Fl. I&II ff mp mf f
a2 3 Ob. I&II f ff mp a2 a2 3 Cl. I&II ff mp cresc. stacc. Bsn. I&II p cresc. ff 3 a2 Hn. I&II f ff mp 3 a2 stacc. a2 Hn. III&IV ff mp cresc.
5 Tpt. I f ff a2 Tpt. II&III stacc. ff stacc. a2 Tbn. I&II mp cresc. stacc. B. Tbn. stacc. B. Tbn. & Tba. mp cresc. 5 Timp. ff mp cresc.
Perc. I
Perc. II Vln. I p subito cresc. Vln. II mp cresc. pizz. div. 3 Vla. mp cresc. stacc. détaché Vc. mp cresc. stacc. détaché Cb. p subito cresc. 75
104 7 I. Fl. I&II f f 5 ff 7 I. I. 5 Ob. I&II f f 5 ff
3 3 Cl. I&II f ff mp legato 5 Bsn. I&II ff
a2 Hn. I&II f ff mp mf mp 3 Hn. III&IV ff mp mf mp 3 f 6 3 3 Tpt. I ff mf f mp 3 Tpt. II&III mf ff mp 3 Tbn. I&II ff B. Tbn. & Tba. ff 5 Timp. f ff Perc. I
Perc. II div. mp cresc. Vln. I 6 f f ff mf f div. 5 Vln. II f ff ff arco non div. Vla. f f ff Vc. ff Cb. ff 76
107 7 Fl. I&II 5 Ob. I&II 3 3 3 3 3 3 3 3 Cl. I&II 5 5 5 5 cresc. 5 5 mf 5 5 Bsn. I&II f
II. Hn. I&II mf f f cresc. IV. Hn. III&IV mf f cresc. Tpt. I mfp f f Tpt. II&III mfp f Tbn. I&II mfp f cresc.
B. Tbn. & Tba. f cresc.
Timp. mp cresc.
Perc. I Sus. Perc. II mp cresc.
7 Vln. I f 5 ff Vln. II f Vla. cresc. arco and div.
pizz. 3 3 3 3 3 Vc. f arco pizz. 3 3 Cb. 3 f 77
109 a2 Fl. I&II ff 5 7 a2 7 Ob. I&II ff 5
a2 5 7 Cl. I&II marcato ff 5 a2 7 Bsn. I&II marcato ff a2 Hn. I&II ffp ff marcato a2 Hn. III&IV ffp ff Tpt. I 5 ffp ff marcato 7 7 a2 Tpt. II&III ffp ff 7 a2 flutter Tbn. I&II ffp ff marcato flutter a2 B. Tbn. & Tba. ffp ff marcato
5 Timp. ffp ff marcato Cym. Perc. I ff
Perc. II p ff
unis. Vln. I 5 5 marcato unis. 5 Vln. II ff 5 marcato Vla. ff unis. 5 div. unis. Vc. 5 ff marcato 5 Cb. ff 5 marcato 78
113 I. Fl. I&II mf 5 I. Ob. I&II mf 3
Cl. I&II
a2 Bsn. I&II mf
Hn. I&II mf Hn. III&IV mf Tpt. I mf Tpt. II&III mf
Tbn. I&II mf
B. Tbn. & Tba.
Timp. p
Perc. I Mar. Perc. II mp
Vln. I mf mf pizz. Vln. II mf
Vla. mp subito cresc.
pizz. and div. arco Vc. mp cresc. mf Cb. mp cresc. 79
116 Fl. I&II f
Ob. I&II f
Cl. I&II
Bsn. I&II
I. Hn. I&II p Hn. III&IV Tpt. I f Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I f arco Vln. II mf cresc. f div. Vla. mf cresc. f
Vc. f
Cb. f 80
(only Fl. oct. above)
Fl. p 3 3 3 3 3 3 3 118 stacc. Fl. I&II Picc. p legato 3 5 5 5 5 5 5
Ob. I&II
p 3 3 3 3 3 3 3 I. stacc. Cl. I&II p 3 II. legato 5 5 5 5 5 5
Bsn. I&II
a2 Hn. I&II cresc. mf f a2 Hn. III&IV mf f
Tpt. I f I. Tpt. II&III f I. Tbn. I&II p mp mf f B. Tbn. B. Tbn. & Tba. p mp mf f
Timp. Xyl. Perc. I f
Perc. II
Vln. I f Vln. II f
Vla. Vc. 5 f f Cb. 5 f 81
3 3 3 3 3 3 3 3 120 Fl. I&II 5 5 5 5 5 5 5 5 II. Ob. I&II p 3 3 3 3 3 3 3 3 Cl. I&II 5 5 5 5 5 5 5 5
a2 Bsn. I&II f
a2 Hn. I&II f
Hn. III&IV
Tpt. I mp mp p Tpt. II&III mp p Tbn. I&II
B. Tbn. & Tba.
Timp. Perc. I f
Perc. II
Vln. I f
Vln. II f
Vla.
Vc. f
Cb. f 82
3 3 122 Fl. I&II 5 5
Ob. I&II p
3 3 I. Cl. I&II f 5 5
I. Bsn. I&II f
Hn. I&II
Hn. III&IV
Tpt. I p
Tpt. II&III
a2 Tbn. I&II mf
B. Tbn. & Tba. mp cresc.
Timp. Perc. I
Sus. Perc. II mp cresc.
Vln. I f
Vln. II
Vla. f
Vc. f
Cb. f 83
q = 96 124 a2 Fl. I&II f ff a2 Ob. I&II f ff a2 Cl. I&II f ff Bsn. I&II ff
a2 I. Solo ed. espress. Hn. I&II mf f ff p rubato a2 Hn. III&IV mf f ff Tpt. I ff f a2 Tpt. II&III f ff Tbn. I&II f ff
B. Tbn. & Tba. f ff
Timp. f ff Cym. Perc. I ff Perc. II ff non div. Vln. I ff non div. Vln. II f ff Vla. ff non div. Vc. p subito ff Cb. ff p subito 84
A Tempo q = 126 128 Fl. I. Fl. I&II mf cresc.
Ob. I&II
I. Cl. I&II mf cresc.
I. Bsn. I&II mp cresc. simile
Hn. I&II
Hn. III&IV
Tpt. I
Tpt. II&III
a2 stacc. Tbn. I&II mp cresc. Tba. B. Tbn. & Tba. p cresc. simile
Timp. p cresc.
Perc. I
Perc. II
Vln. I mp cresc.
Vln. II mp cresc. unis. détaché Vla. mp cresc. détaché Vc. mp cresc. détaché Cb. cresc. 85
Picc. I. 132 3 Fl. I&II ff mp 3 3 3 mf I. a2 I. 5 Ob. I&II mf cresc. ff 5 5 f a2 I. 3 Cl. I&II mp 3 3 3 ff a2 3 3 3 Bsn. I&II ff f
a2 Hn. I&II f ff mp mf Hn. III&IV mp mf Tpt. I ff f a2 Tpt. II&III mp mf a2 Tbn. I&II ff mp mf a2 B. Tbn. & Tba. mp mf ff
3 Timp. f f ff Perc. I
Perc. II
div. Vln. I ff f Vln. II ff f Vla. ff f pizz. 3 3 3 Vc. f ff pizz. 3 Cb. f ff 86
I. Fl. II. 5 3 135 7 Fl. I&II 5 ff f 3 5
II. 3 3 3 3 3 3 Ob. I&II 3 3 ff Cl. I&II 3 3 3 3 3 3 f ff 3 Bsn. I&II 3 3 3 3 f ff Hn. I&II f mf f ff Hn. III&IV f mf f ff
5 Tpt. I mf f ff Tpt. II&III f mf f ff Tbn. I&II f mf f ff B. Tbn. & Tba. f mf f ff
3 3 5 Timp. ff
Perc. I
Perc. II 3 7 Vln. I 5 3 ff non div. 3 Vln. II cresc. ff non div. 3 Vla. cresc. arco and div. ff 3 non div. 3 Vc. 3 ff arco 3 Cb. 3 ff attacca II.
Adagio Sereno q = 72
Flutes I&II
Oboes I&II
Clarinets in Bb I&II
Bassoons I&II Miserere mei, Deus I. con sord. Horns in F I&II pp espress.
Horns in F III&IV
Trumpet in C I
Trumpet in C II&III
Trombone I&II
Bass Trombone & Tuba
Timpani
Percussion I
Percussion II
div. Violin I pp div. Violin II pp div. Viola pp
Violoncello pp
Contrabass pp 88
8 Fl. I&II
Ob. I&II
Cl. I&II
I. Bsn. I&II pp espress. ppp
a2 con sord. Hn. I&II ppp pp ppp con sord. III. Hn. III&IV pp
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
unis. Vln. I pp espress. 3
Vln. II div. a3 Vla. pp cresc.
Vc.
Cb. cresc. 89
16 I. Fl. I&II espress. p 3 3
Ob. I&II
I. 3 3 Cl. I&II p espress.
Bsn. I&II
I. Hn. I&II p pp
Hn. III&IV p pp
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I p pp
unis. Vln. II p pp
unis. 2 stands Vla. p pp
half Vc. p pp pp
half Cb. p pp 90
22 Fl. I&II pp
I. Ob. I&II pp p espress. 3
3 3 3 Cl. I&II pp p espress. I. Bsn. I&II 3 3 pp p espress.
a2 senza sord. I. Hn. I&II p cresc.
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
half Vln. I n p
2 soli Vln. II p 3 pp
Vla. cresc.
tutti Vc. p
Cb. 91
6 29 I. Fl. I&II espress. mp p mfp fmp ff Ob. I&II mp mfp fmp ff Cl. I&II mp mfp fmp pp ff Bsn. I&II mp p mp mfp fmp ff Hn. I&II pp p mp mfp fmp ff senza sord. a2 Hn. III&IV p mp mfp fmp ff Tpt. I fmp ff Tpt. II&III mp mfp fmp ff Tbn. I&II mp mfp fmp ff B. Tbn. & Tba. mp mfp fmp ff Timp. pp fmp ff Crotales with brass mallets Perc. I ff 6 Xylophone Perc. II f ff tutti div. unis. Vln. I mp p mp mfp fmp ff f div. tutti unis. Vln. II p mp mfp mp fmp ff f tutti Vla. mp p mp mfp fmp ff f Vc. pp mp p mp f mfp fmp ff tutti Cb. mp mp p mfp fmp ff f 92
36 I. Fl. I&II p mp
Ob. I&II
I. Cl. I&II p mp
Bsn. I&II
Hn. I&II f mf p
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp. p pp
Perc. I
Perc. II
half Vln. I pp tranquillo
Vln. II p mp pp Vla. pp mf p Vc. p pp mf p mp Cb. mf p pp 93
44 I. Fl. I&II p p 3 I. Ob. I&II p ppp p 3 I. Cl. I&II p p ppp pp tranquillo
I. Bsn. I&II p ppp pp tranquillo
a2 con sord. pp I. ppp II. Hn. I&II p pp ppp
a2 con sord. pp III. ppp III. IV. Hn. III&IV p pp ppp
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp. ppp p
Perc. I
Perc. II
p tutti n I. solo 3 3 Vln. I pp p ppp sul D pp 3 div. 2 soli espress. ed rubato Vln. II p p p 3 pp ppp Vla. p pp p ppp Vc. p pp p ppp Cb. p ppp pp p pp 94
53 Fl. I&II
Ob. I&II
3 3 3 3 3 Cl. I&II ppp
3 3 Bsn. I&II ppp
Hn. I&II
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
pp sul D 3 3 Vln. I 3 3 3 3
Vln. II
Vla.
Vc. p tranquillo
Cb. p tranquillo 95
60 Fl. I&II p
Ob. I&II
3 3 3 3 3 3 3 3 3 Cl. I&II pp
3 3 Bsn. I&II pp
pp Hn. I&II pp pp Hn. III&IV pp
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp. pp
Perc. I
Perc. II
half Vln. I pp tranquillo
Vln. II
Vla.
Vc.
Cb. 96
67 3 I. Fl. I&II pp f
Ob. I&II I. Cl. I&II ppp f I. Bsn. I&II pp ppp
ppp a2 senza sord. I. Hn. I&II ppp f ppp Hn. III&IV ppp Tpt. I mf mp f II. Tpt. II&III f I. Tbn. I&II f Tba. B. Tbn. & Tba. f
3 Timp. p mp p f mf Cym. Sus. Perc. I p mp p f B.D. Perc. II mf f
tutti & slow vibrato Vln. I mf mp f tutti & slow vibrato Vln. II mf mp f slow vibrato Vla. mp mf f slow vibrato Vc. mp p mp mf f slow vibrato Cb. mp p f 97
76 Fl. I&II mf p
Ob. I&II
Cl. I&II mf p
Bsn. I&II
Hn. I&II mf p p pp
a2 senza sord. III. Hn. III&IV p pp Tpt. I mf p
Tpt. II&III mf p
Tbn. I&II mf p B. Tbn. & Tba. mf p
Timp. mf p ppp
Perc. I
Perc. II
half Vln. I mf p mp n pp
Vln. II p mf mp p pp div. Vla. mf p mp p pp Vc. p p pp mf mp Cb. mf p mp p pp 98
82 Fl. I&II
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I ppp
Vln. II pp ppp
unis. Vla. pp ppp
Vc. pp ppp
Cb. ppp
attacca III.
Moderato con Energico q = 108 Flutes I&II
Oboes I&II
Clarinets in Bb I&II
Bassoons I&II
Horns in F I&II
Horns in F III&IV
Trumpet in C I
Trumpet in C II&III
a2 3 3 3 * 3 Trombone I&II ff f ff ffmp ffmp ff
Bass Trombone & Tuba
3 3 3 3 Timpani 3 ffmp ff ffmp ff metal handle (scrape) Cym. Percussion I ff ff Tambourine & Snare (Rim Shot) Percussion II ff
tutti Violin I
Violin II
Viola
Violoncello
* Contrabass ffmp ff ffmp ff
* Grace notes are used to indicate quick portamenti in Trombone and String parts. 100
6 Fl. I&II ff Ob. I&II ff Cl. I&II ff
Bsn. I&II
Hn. I&II ff
Hn. III&IV ff Tpt. I ff ff 3 3 II. Tpt. II&III ff ff 3 3 a2 3 3 3 3 Tbn. I&II ffmp ff ffmp ff f ff B. Tbn. a2 B. Tbn. & Tba. ff 3 3 3 ffmp ff 3 3 3 3 Timp. 3 ffmp ff ffmp ff Perc. I ff Perc. II
Vln. I
Vln. II
Vla. div. 3 non div. 3 Vc. 3 ff ffmp ff Cb. 3 ffmp ffmp ff 3 ff 101
11 Fl. I&II
Ob. I&II
I. Cl. I&II f Bsn. I&II f 3 3
I. Hn. I&II 3 ff f 3 3 3 III. Hn. III&IV f Tpt. I 3 Tpt. II&III 3
Tbn. I&II ffmf ff ffmf ff
B. Tbn. & Tba. f 3 Timp. Tam-Tam Perc. I ff Perc. II non div. Vln. I ff non div. Vln. II ff non div. Vla. ff Vc. ff Cb. ff 102
16 I. I. Fl. I&II f 3 I. 3 3 3 Ob. I&II f
Cl. I&II
I. Bsn. I&II 3 3 3 3
Hn. I&II 3 3 3 f Hn. III&IV
Tpt. I f
Tpt. II&III f Tbn. I&II f B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I f Vln. II pizz. f arco Vla. 3 3 f 3 Vc. f
Cb. f 103
Fl. Picc. 3 Picc. 20 Fl. I&II f 3 ff f 3 3 3 Ob. I&II 3 3 3 Cl. I&II 3 3 3 Bsn. I&II 3 3 3
3 3 Hn. I&II 3 3 3 Hn. III&IV Tpt. I 3 3 3
Tpt. II&III 3 3 3
a2 3 3 3 Tbn. I&II B. Tbn. & Tba.
3 Timp. f
Perc. I
Perc. II
simile Vln. I simile Vln. II div. simile Vla. arco pizz. simile Vc. 3 3 3 3 pizz. arco 3 simile Cb. 3 3 3 104
e = e e = e 23 Fl. I&II 3 3 3 3 Ob. I&II 3 3 3 3
I. 3 3 3 3 Cl. I&II 3 3 3 3 mp I. 3 Bsn. I&II 3 3 3 3 3 mp
3 3 3 3 Hn. I&II
3 3 3 3 Hn. III&IV Tpt. I 3 3 3 3
Tpt. II&III 3 3 3 3
3 3 3 3 Tbn. I&II B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I pizz. 3 3 3 Vln. II mp 3
Vla.
Vc.
Cb. 105
Fl I.&II Picc. 3 26 Fl. I&II mp 3 f f
I. 3 3 3 3 Ob. I&II mp f 3 Cl. I&II f a2 Bsn. I&II 3 f
a2 Hn. I&II f 3 3 Hn. III&IV f Tpt. I f 3 3
Tpt. II&III f 3 3 non portamenti 3 3 Tbn. I&II f
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II f
simile Vln. I f arco simile Vln. II f simile Vla. f simile Vc. f simile Cb. f 106
29 Fl. I&II Ob. I&II Cl. I&II Bsn. I&II
Hn. I&II
3 3 Hn. III&IV Tpt. I 3 3 Tpt. II&III 3 3 port. a2 3 3 Tbn. I&II 3 B.Tbn port. port. 3 3 3 B. Tbn. & Tba. f Tba. stacc. 3 3 3
Timp. f Cym. Perc. I f Perc. II
Vln. I
Vln. II
Vla. Vc.
Cb. 107
a2 33 Fl. I&II ff a2 Ob. I&II ff a2 Cl. I&II ff Bsn. I&II
Hn. I&II
3 3 Hn. III&IV Tpt. I 3 3 ff
Tpt. II&III 3 3 ff
Tbn. I&II
B. Tbn. & Tba.
Timp. ff
Perc. I
Perc. II ff
non div. Vln. I ff non div. Vln. II ff non div. Vla. ff non div. Vc. ff Cb. ff 108
= = e e e e I. Solo 37 Fl. I&II p espress. 3 3 pp
I. Solo Ob. I&II 3 3 espress. pp p Cl. I&II 3 3 pp
Bsn. I&II p
Hn. I&II
3 3 Hn. III&IV f pp 3 3 Tpt. I pp
3 3 Tpt. II&III pp
3 3 Tbn. I&II f pp
B. Tbn. 3 3 B. Tbn. & Tba. f pp
Timp.
Perc. I
Perc. II
Vln. I pizz. Vln. II p pizz. 3 Vla. p 3 pizz. 3 3 Vc. p
Cb. 109
43 Fl. I&II
I. Solo Ob. I&II 3 pp p espress. I. Solo Cl. I&II p espress. pp I. Bsn. I&II
Hn. I&II
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I mp
arco pizz. 3 arco Vln. II p p mp mp arco arco pizz. 3 3 Vla. mp p p mp arco arco pizz. Vc. 3 mp p mp Cb. mp 110
49 Fl. I&II
Ob. I&II pp
Cl. I&II
I. Solo 3 3 3 Bsn. I&II p espress.
3 3 Hn. I&II pp ppp p
Hn. III&IV 3 pp 3 ppp p
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I p pizz. arco Vln. II p p 3 pizz. Vla. p pizz. Vc. p pizz. 3 3 Cb. p 111
54 I. Solo Fl. I&II p espress. mf ff Ob. I&II ff Cl. I&II ff 3 Bsn. I&II p ff pp
Hn. I&II ff Hn. III&IV ff
Tpt. I ff
Tpt. II&III ff port. Tbn. I&II fmf ff B. Tbn. & Tba.
Timp. ppp ff Sus. Perc. I ppp ff Perc. II ff
divisi a3 Vln. I pp mp ff divisi a3 Vln. II p f ff arco & divisi Vla. p f ff arco & divisi Vc. pp mf ff arco Cb. pp ff 112
Marcato 59 Fl. I&II ff 3 3 3 3 Ob. I&II ff f ff Cl. I&II ff f ff 3 3 3 3 Bsn. I&II ff
3 3 3 3 Hn. I&II ff Hn. III&IV ff 3 3 3 3 Tpt. I ff 3 3 3 3 Tpt. II&III ff f ff
Tbn. I&II ff f ff ffmp 3 3 3 3 B. Tbn. & Tba. ff 3 3 3 3 Timp. 3 ffmp ff Perc. I ff
Perc. II ff
a2 Vln. I ff 3 3 3 3 mp Vln. II 3 3 3 3 mp ff Vla. mp ff 3 3 3 3 Vc. 3 3 3 3 mp ff 3 3 3 3 Cb. mp ff 113
64 Fl. I&II 3 Ob. I&II ff f ff ffmp ff Cl. I&II ff f ff ffmp ff 3 Bsn. I&II
3 Hn. I&II Hn. III&IV 3 Tpt. I 3 Tpt. II&III ff f ff ffmp ff Tbn. I&II ff f ff ffmp ff ffmp 3 B. Tbn. & Tba. 3 Timp. 3 ffmp ff ffmp ff Tam-Tam Perc. I ff ff Tamb. B.D. & Rim Perc. II ff ff a2 a3 Vln. I ff 3 ffmp a2 a3 a2 a3 Vln. II 3 ffmp ff Vla. 3 ffmp ff Vc. 3 ffmp ff 3 Cb. ffmp ff 114
68 Fl. I&II 3 3 3 Ob. I&II ffmp ff Cl. I&II ffmp ff 3 3 3 Bsn. I&II
3 3 3 Hn. I&II Hn. III&IV 3 3 3 Tpt. I 3 3 3 3 II. Tpt. II&III 3 ffmp ff Tbn. I&II ffmf ff ffmf ff ffmp ff 3 3 3 B. Tbn. & Tba. 3 3 3 Timp. ffmp ff Tam-Tam Perc. I ff Tamb. B.D. & Rim Perc. II non div. Vln. I 3 3 3 non div. a2 Vln. II 3 3 3 Vla. 3 3 3 non div. Vc. 3 3 3 3 3 3 Cb. 115
72 Fl. I&II 3 3 3 3 3 3 Ob. I&II 3 3 3 3 3 3
Cl. I&II 3 3 3 3 3 3 Bsn. I&II 3 3 3 3 3 3
I. 3 3 3 3 3 3 Hn. I&II 3 3 3 3 3 3 3 Hn. III&IV Tpt. I 3 3 3 3 3 3 3
Tpt. II&III 3 3 3 3 3 3 3
3 3 3 3 3 3 Tbn. I&II 3 3 3 3 3 3 B. Tbn. & Tba.
3 3 Timp. 3 Tam-Tam 3 Perc. I
Perc. II
3 Vln. I 3 3 3 3 3 Vln. II 3 3 non div. 3 3 Vla. 3 3 3 Vc. 3 3 3 3 Cb. 3 3 3 116
Epilogue 75 Fl. I&II
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II mf
Hn. III&IV mf
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn. & Tba.
Timp.
Perc. I
Perc. II
Vln. I mf
Vln. II mf subito Vla. mf Vc. 5 mf subito mf f Cb. 5 mf f 117
78 I. Fl. I&II mf
Ob. I&II
I. Cl. I&II mf f
Bsn. I&II
Hn. I&II p Hn. III&IV p
Tpt. I mf f a2 Tpt. II&III f mf
Tbn. I&II
B. Tbn. & Tba.
Timp. mf
Perc. I
Perc. II
Vln. I p mf
Vln. II
Vla. p mf
Vc.
Cb. mf 118
(only Fl. oct. above)
Fl. 3 3 3 82 stacc. pp Fl. I&II mp Picc. pp legato 3 5 5
Ob. I&II mp 3 3 3 I. stacc. pp Cl. I&II mp II. legato pp 3 5 5 mp I. Bsn. I&II mf mp
Hn. I&II mp Hn. III&IV mp
Tpt. I mp
Tpt. II&III mp
Tbn. I&II mp B. Tbn. & Tba. mf
Timp. mp
Perc. I
Perc. II
Vln. I mp
Vln. II mp
Vla. mp
Vc. mp Cb. mp 119
3 3 3 3 3 3 3 3 85 Fl. I&II 5 5 5 5 5 5 5 5 5 5 5 5 ppp Ob. I&II mp 3 3 p 3 3 3 3 3 3 3 3 3 3 Cl. I&II 5 5 5 5 5 5 5 5 5 5 5 5 ppp
Bsn. I&II p
Hn. I&II p mp Hn. III&IV p mp
Tpt. I
Tpt. II&III mp mf p
Tbn. I&II
B. Tbn. & Tba.
Timp. mp p
Perc. I
Perc. II
Vln. I p mp 3 3 Vln. II Vla. mp
Vc. 3 3
Cb. 3 3 120
Rit. ------Andante q = 92 88 I. Fl. I&II pp
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II ppp pp Hn. III&IV
Tpt. I
Tpt. II&III
I. Tbn. I&II pp
B. Tbn. & Tba.
Timp. ppp Mar. (soft mallets) l.v. l.v. Perc. I pp Perc. II
Vln. I
Vln. II p pp
Vla. p pp
Vc. p 5 pp
Cb. p 5 pp 121
93 Fl. I&II ppp
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II
Hn. III&IV pp ppp
Tpt. I
Tpt. II&III
Tbn. I&II ppp
B. Tbn. & Tba.
l.v. Timp. pppp l.v. l.v. Perc. I ppp Perc. II
Vln. I pp ppp ppp n
Vln. II ppp n Vla. ppp n
Vc. ppp n
Cb. ppp n