Musical Expressions of Astronomy and Cosmology

COSMOPHONIA : MUSICAL EXPRESSIONS OF ASTRONOMY AND COSMOLOGY

Elaine diFalco, B.M.

Thesis Prepared for the Degree of

MASTER OF ARTS

UNIVERSITY OF NORTH TEXAS

August 2018

APPROVED:

Joseph Klein, Major Professor and Chair of the Division of Composition Studies Martin Back, Committee Member David Stout, Committee Member Jon Nelson, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond: Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School

diFalco, Elaine. “Cosmophonia”: Musical Expressions of Astronomy and

Cosmology. Master of Arts (Music), August 2018, 113 pp., 22 figures, 3 musical scores, bibliography, 82 titles.

Astronomy and music are both fundamental to cultural identity in the form of various musical styles and calendrical systems. However, since both are governed by incontrovertible laws of physics and therefore precede cultural interpretation, they are potentially useful for insight into the common ground of a shared humanity. This paper discusses three compositions inspired by different aspects of astronomy: Solstitium e

Equinoctium, a site-specific composition for four voices and metal pipes involving an

inclusive communal musical ritual and sonic meditation; Helios, a short symphonic work

inspired by helioseismology; and Perspectives, a piece for soprano and percussion

based on a logarithmic map of the universe.

Elaine diFalco

ACKNOWLEDGEMENTS

During my time at University of North Texas I have had to negotiate many steep learning curves. These would not have been as approachable without the invaluable encouragement and guidance from my professors. In particular, I thank David Stout who has generously taught me about time-based visual aesthetics and intermedia art, and has opened up many avenues for me in my professional development, Martin Back for all his help and guidance in intermedia and video art that goes far beyond clinical approach, Joseph Klein for his advice as a composer and conductor in navigating the many obstacles I faced in developing my compositions, Kirsten Broberg for her endless assurances and advice as I struggled with Helios, and Jon Nelson and Panaiotis

Kokoras for introducing me to acousmatic music.

Thanks also to Tim Larson for helping me understand helioseismology. Thanks goes to Ron DiIulio, Preston Starr, and Ryan Bennett for opening the doors to the

Astronomy Department and the Sky Theater Planetarium to me. Much appreciation goes to J. Richard Gott for letting me use his beautiful graphic.

Thanks also to family and friends that provided immeasurable support in a variety of ways to the pursuit of this degree: Kevin Walczyk, Diane Baxter, Beverly Morrison,

Jeff Mince, Monica and Theresa, Mimi Kearns, Sherri Drummond, Kayre Axe, Greg

Sherman, Ginger McKay, Julia DeMarines, Jane Rigler, Janet Feder, Fred Chalenor,

Henry Franzoni, Diane Kintrea, Kelly Ricks, Stephanie Gooding, Marco Nardelli, Mike

Johnson, Mark Harris, Farrell Lowe, Dave Willey, Peter Erskine, Bruce Odland, Mark

Fuller, Jeremiah Moore, Sammi Wade, Elaine Urie, Heather Zadra, and Maury Sankey.

iii

TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ...... iii

LIST OF FIGURES ...... v

PART I. CRITICAL ESSAY ...... 1 Chapter 1. Introduction: Mutual Origins and Cultural Crossroads ...... 2 Chapter 2. Solstitium e Aequinoctium ...... 10 Chapter 3. Helios ...... 21 Chapter 4. Perspectives ...... 30 Chapter 5. Moving Forward ...... 36 Bibliography ...... 39

PART II. MUSICAL SCORES ...... 45 Solstitium e Aequinoctium ...... 46 Performance Notes ...... 48 Program Notes ...... 49 Set-Up Instructions for the Tank ...... 50 Score ...... 51 I. Time Out of Mind ...... 51 II. Between Dualities ...... 65 III. Now Rise ...... 71 Helios ...... 75 Instrumentation ...... 76 Program and Analysis Notes ...... 77 Dedication ...... 78 Acknowledgements ...... 78 Performance Notes ...... 79 Score ...... 80 Perspectives ...... 104 Notes ...... 105 Score ...... 108

LIST OF FIGURES

Page

Figure 1.1: Image from the thirteenth-century book of polyphony, Magnus liber organi illustrating Boethius’s stratified Music of the Spheres. The uppermost image depicts musica mundana...... 5

Figure 1.2: Johannes Kepler’s planetary scales from Harmonices mundi, 1619...... 6

Figure 1.3: A time-lapse view of circumpolar stars over Pueblo Bonita at Chaco Culture National Historic Park, New Mexico...... 7

Figure 1.4: Charles Ross’s Star Axis...... 8

Figure 1.5: James Turrell’s Roden Crater...... 9

Figure 2.1: Peter Erskine’s proto-prism casting a spectrum on the interior wall of the Tank...... 10

Figure 2.2: Permutations of the gamelan set class (0257) and where those permutations have common tones with the pitch class set of the gamelan...... 17

Figure 2.3: Permutations of the gamelan set class (0137) and where those permutations have common tones with the pitch class set of the gamelan...... 17

Figure 2.4: Permutations of the gamelan set class (0146) and where those permutations have common tones with the pitch class set of the gamelan...... 18

Figure 2.5: Distilled set class comparisons down to limited materials. The set classes actually utilized are indicated by red...... 18

Figure 3.1: Graphic analysis of Messmer’s audio file of the solar flare of November 23rd, 1998...... 24

Figure 3.2: The thematic scale derived from Messmer’s flare shown in Fig. 3.1...... 24

Figure 3.3: Generalization of how Messmer’s flare is orchestrated in measures 30, 48, 62, 70, and 108...... 24

Figure 3.4: A graphic analysis of another moment from Messmer’s flare from November 23rd, 1998, orchestrated in measures 45, 67, and 103...... 26

Figure 3.5: Graphic analysis of the solar flare from November 4th, 2003 orchestrated in measures 31 to 46 in the strings...... 27

Figure 3.6: Thematic figure played in the harp, derived from Messmer’s flare of November...... 28

Figure 3.7: Horns augmenting the theme. This occurs from measures 72 through 96. . 28

Figure 4.1: Logarithmic Map of the Universe by J. Richard Gott et al...... 31

Figure 4.2: How the x- and y-axes are delineated for the percussion where x is time and y is pitch. The red dashed lines indicate where the measures are divided in the music...... 32

Figure 4.3: How the x- and y-axes are delineated for the soprano where x is pitch and y is time. The red dashes show where the measures are divided in the music. The solid red lines divided the pitches...... 32

Figure 4.4: Graphic representation of rubber ball mallets on tam-tam to correlate with the filament-like web of distant galaxies...... 34

Figure 4.5: Graphic stippling to represent activity on the sizzle cymbal to correlate with various objects such asteroids...... 34

PART I

CRITICAL ESSAY

1 Chapter 1

Introduction: Mutual Origins and Cultural Crossroads

For two millennia, from the time of Pythagoras in the sixth century BCE to the

dawn of the scientific revolution, music and astronomy were considered intrinsically

linked. It was believed that since divine immutable laws mandated the perfect circular

motions of heavenly bodies, the same laws inherently governed acoustics (such as the

various intervals of pitch frequencies along the length of a string) because they behave

in mathematically perfect ratios. Over centuries, this idea developed into what was called Music of the Spheres. Though this is a story from Western culture, it suggests something extending beyond cultural subjectivity: both the principles of sound and the motions of celestial objects behave according to incontrovertible laws of physics. They

exist regardless of anthropic perception yet humanity has perceived and utilized both

phenomena in ways that are explicitly foundational to cultural identity. Just as the wide

variation in calendrical systems reflects how different cultures creatively delineate

celestial patterns and cycles, music reflects how different cultures have developed

distinct methods to shape sound.

Enculturated or religious predispositions of diverse peoples can make the

acceptance of opposing perspectives seem perilously irreconcilable in some instances.

Finding relatable areas of mutual interest requires that we look to what is fundamental

among all people if we are to instill empathy into our exchanges for the sake of peace.

Significantly, both music and astronomy provoke a sense of profundity in the human

spirit. Perhaps by creating musical compositions that point our attention to these

elemental topics, we can elicit visceral insight into our shared humanity.

2 It is not difficult to imagine how astronomy might have played such an essential role in the shaping of early civilizations. Recognizing the correlation between celestial cycles and the repetition of seasonal patterns of weather for agriculture and animal migrations was necessary for survival. Developing calendars to anticipate such natural cyclic sequences provided a reliable sense of structure and order to an otherwise chaotic and wild existence. Beyond mapping the timing of seasons, calendars also provided societal organization with political, social, and religious holidays.

The ways in which the cosmos has been construed have varied greatly.

Correlating the motions of the sun, moon, and stars with the natural cycles of local climates on earth was different depending on geographic location. Likewise, cultural disparities reflect variations in how time was measured and divided. Some calendars emphasized the patterns of the sun, others the moon, and some were combinations of both. Though the Gregorian calendar is the most widely used, many different calendars are utilized throughout the world today. Despite such variations, we all experience some cognition of time relatable to periodicities of celestial objects regardless of when or where we live.

Just as there have been different interpretations of the heavens, our interactions and expressive experimentations with sound have resulted in the many styles of music that have evolved among various cultures over millennia. We have physiological responses to qualities of timbre, amplitude, and periodicities of rhythm and pitch. The soundscape of our environment orients us to a sense of place.1 Musical styles prompt a

1 R. Murray Schafer, The Tuning of the World: A Pioneering Exploration into the Past History and Present State of the Most Neglected Aspect of our Environment: The Soundscape (New York: A.A. Knopf, 1977).

representative sense of cultural, familial, or tribal belonging with which we might or

might not identify ourselves. Regardless of how anyone might define music, sound, or

noise, aural stimulus can affect one’s psychological state of mind. Though responses

vary depending on the individual, everyone responds to some degree to the

mechanotransduction of acoustic vibrations on the inner ear and/or bodily absorption of

sound.

In our modern society most people have seemingly become inured to the

constant barrage of urban industrial sounds. Music is often playing in public spaces and

its ubiquity might be seen as an indicator that silence is somehow undesirable.

Likewise, reliance upon technology to tell us the date and time of day divorces our

senses from the lunar and solar patterns that time and seasons are predicated upon.

Our lack of concern with the Earth’s orbit around the Sun, and our habituation to almost

constant sound is a phenomenon of the modern world. It takes effort to imagine a

quieter, pre-fossil-fueled civilization where the general population lived in greater

harmony with natural cycles. It is also difficult to imagine that for two thousand years a

correlation between music and astronomy was the prevalent assumption and this belief

played a significant role in the development of our understanding of the universe,

particularly in the West.

In the century following Pythagoras, Plato proposed that a singing siren sat upon

each planet and together they resonated in a cosmic harmony. One thousand years

later, Boethius, believed to be the last Roman writer who understood Greek,2 went

2 Ian Johnston, Measured Tones: The Interplay of Physics and Music, 3rd ed. (Boca Raton, FL: CRC Press, 2009), 14.

further to clarify three distinct types of harmony: musica instrumentalis, what we would

consider the common practice of singing and playing music, musica humana, the

harmony within the human spirit, and musica mundana, the harmony of the cosmos,

commonly referred to as Music of the Spheres.

Figure 1.1: Image from the thirteenth-century book of polyphony, Magnus liber organi illustrating Boethius’s stratified Music of the Spheres. The uppermost image depicts musica mundana.3

These ideas permeated Western philosophical thinking throughout the following

centuries until the dawn of the scientific revolution. When Johannes Kepler (1575 –

1630 CE) developed his three laws of planetary motion, he broke from the long held

belief that the planets move in perfect circular motion. He was also one of the first

outspoken proponents of a heliocentric solar system as proposed by Nicolaus

Copernicus in 1543. In his Harmonices mundi published in 1619, Kepler prescribed

3 Magnus Liber Organi, Biblioteca Medicea-Laurenziana, MS Pluteus 29.1, 13th century, accessed March 30th, 2018, http://imslp.org/wiki/Magnus_Liber_Organi_(Various).

musical scales to the planets’ orbits where the more eccentric the ellipse, the wider the ambitus of their scale. However, this was the last historical vestige of the Pythagorean idea that the laws that govern music also govern the stars as the centuries following

Kepler scientific inquiry became increasingly dissociated from the arts.

Figure 1.2: Johannes Kepler’s planetary scales from Harmonices mundi, 1619.4

As mentioned earlier, an imaginative or reverent interpretation of the cyclical

patterns of celestial bodies is not limited to Western culture. The Mayans associated

Venus with Quetzalcoatl, their god of rain as they observed its absence was longest

during the rainy season and shortest when the land was arid.5 In Egypt, the appearance

of Sirius in the dawn sky occurred on the first day of the month of Thoth (approximately

August 29th in the Gregorian calendar) and marked the beginning of the Nile’s vital

flooding season and the beginning of the Egyptian year.6

4 Kepler, Johannes, Harmonices mundi. Lincii Austriae : sumptibus Godofredi Tampachii excudebat Ionness Plancus,1619. Smithsonian Libraries, accessed March 30th, 2018, https://archive.org/details/ioanniskepplerih00kepl. 5 Anthony Aveni, Conversing with the Planets: How Science and Myth Invented the Cosmos (New York: Kodansha America, Inc., 1992), 5. 6 David Ewing Duncan, Calendar: Humanity’s Epic Struggle to Determine a True and Accurate Year (New York: Avon Books, 1998), 17.

So in tune with the cosmos were some early civilizations that they erected monumental edifices for worshipful observation. Stonehenge in southern England and the Mayan temples in the Yucatan Peninsula are famous examples. Before the arrival of

European settlers, the people of Chaco Canyon in Northwestern New Mexico also constructed a complex of structures that align precisely with solstices and equinoxes. In

Egypt, obelisks were erected so Sirius would appear at their tip from precise observation points on the ground.

Figure 1.3: A time-lapse view of circumpolar stars over Pueblo Bonita at Chaco Culture National Historic Park, New Mexico.7

The committed undertaking of designing and raising immense structures to

observe and revere the repeated patterns of the sky in different locations across the

globe by different early civilizations indicates astronomy’s importance to the

development of sophisticated societies. Today, it still remains a fundamental interest for

humanity. We continue to peer into the sky – or paradoxically into the world of

subatomic particles – to understand how the universe works and what our place is

within it. Whether we build tools to be launched into space, observatories to house high-

7 National Park Service, “Chaco Culture National Historic Park, Photo Gallery, Pueblo Bonita,” accessed March 30, 2018, https://www.nps.gov/media/photo/gallery.htm?id=9DD0CCC0-155D-451F- 672BC96BA092D2B7.

tech telescopes, or colossal particle accelerators, design and architecture are the

enduring methods we use to continue our quest to understand the universe in which we

live. However, today many such structures are restricted to the select few scientists

granted access to them and not generally open to the public. No longer are such sites

raised to bring people together to venerate the sky’s cycles and the Earth’s position

within its orbit around the Sun.

There are some exceptions such as Star Axis, designed by artist Charles Ross. It

is a concrete structure in New Mexico that is oriented to the Earth’s northern axis. Over

the course of 26,000 years, it will slowly move away from and back to Polaris with

precession (the Earth’s tilted wobbling axis). However, this site’s precise location is not

generally known and is not yet open to the public. Similarly, Roden Crater is a naked-

eye observatory designed by artist James Turrell that has been built into a dead volcano

in Arizona. Star Axis is slated to open in the year 2020. Roden Crater’s estimate for

public opening has not yet been announced.

Figure 1.4: Charles Ross’s Star Axis.8

8 Land Light Foundation, “Star Axis, Star Tunnel,” accessed March 30, 2018, https://www.staraxis.org/star-tunnel.

Figure 1.5: James Turrell’s Roden Crater.9

Though not originally designed to observe astronomical phenomena, the Tank:

Center for Sonic Arts in Northwestern Colorado is a publicly accessible structure that holds some significance to solstices and equinoxes. It is also an acoustically remarkable site and therefore a perfect place for modern rituals for people of diverse backgrounds to focus on the common interest of astronomy from their collective heritages in a rich sonic environment. The first and primary composition discussed was composed specifically for the Tank and its astronomical and acoustical characteristics.

9 Skystone Foundation, “Roden Crater, South Space, Photo: Flynn Architecture and Design,” accessed March 30, 2018, http://rodencrater.com/spaces/south-space/.

Chapter 2

Solstitium e Aequinoctium

Located in remote town in Northwestern Colorado called Rangely, the Tank:

Center for Sonic Arts is an empty water cistern that resonates like a bell with a

significant natural acoustical reverberation of approximately forty seconds. A cylindrical

steel structure, it stands sixty feet tall with a forty-foot diameter. Its shadow along the ground moves like that of an enormous sundial. Peter Erskine, an internationally established artist who specializes in spectral light is slated to install a prism in the ceiling of the Tank. It will cast a vibrant rainbow that will move along the interior wall as the Earth rotates. The points of solstices and equinoxes will be marked on the wall accordingly.

Figure 2.1: Peter Erskine’s proto-prism casting a spectrum on the interior wall of the Tank.10

10 Photo by Peter Erskine, June 2016.

10 In recent years the Tank has been developed into a nonprofit arts organization initiated by a group of primarily Denver-based sound artists that have been experimenting in it since 1976. Until 2016, the only portal in and out of the Tank was a valve hole a mere eighteen inches in diameter. This limited the size of instruments and recording equipment that could be brought inside. However, now there is a large door that opens to a wooden deck and an adjacent shipping container that has been outfitted into a recording studio. There was also a large pipe that spanned the diameter of the floor about a foot above the ground. An obvious tripping hazard, public safety code required its removal. It has since been cut into six individual pipes. The lengths were determined by just intonation mathematics for cutting tubular wind chimes. These tubes produce pitches that resonate harmoniously with the natural frequency of the Tank and are referred to as the Tank ‘gamelan’ in reference to the Indonesian orchestra instruments that are created to be in tune with each other.

However, the Tank is not the first reverberant space to be transformed into an arts center. The Dan Harpole Cistern at Fort Worden State Park in Port Townsend,

Washington is approximately two hundred feet in diameter and fourteen feet underground with a natural reverberation of forty-five seconds. During World War II, it held up to two million gallons of water but was drained in the 1950s.11 It is the site

where pioneering composer Pauline Oliveros (to whom Solstitium e Aequinoctium is

11 Centrum Foundation, “Dan Harpole Cistern at Fort Worden State Park,” accessed May 18, 2018, http://centrum.org/dan-harpole-cistern-at-fort-worden-state-park/.

11 dedicated) recorded her seminal Deep Listening CD with Stuart Dempster and Panaiotis in the autumn of 1988.1213

Under the moniker of Deep Listening, Oliveros developed her unique form of

composition called ‘Sonic Meditations’ (discussed further in a moment) into a certifiable

discipline through Rensselaer Polytechnic Institute where she taught for many years.14

There is a substantial influence of Eastern philosophy in Deep Listening practice. The

primary aim is to develop acute focus and attention to sound and proprioceptive

awareness, often in the context of playful interactions with others in various

environments. These practices are calming, balancing, and physiologically therapeutic.

Sonic Meditations are a prose form of composition Oliveros began to develop in

the 1970s. They are eloquently worded instructions to prompt a method of producing

sound while listening attentively and interacting with other sounds produced with others

or with one’s environment. She wanted to provide a means for non-musically educated

individuals to discover that they could inherently play with sound creatively and

collaboratively without the constraints of traditional disciplines, and to incite trained

musicians to listen more attentively.15 Sonic Meditations are an effective way to bring

people who might otherwise not think themselves musically inclined to engage with

others in sound. She was one of the first people to contribute to the effort to establish

the Tank as a nonprofit organization. Her support of the Tank, her Deep Listening CD,

12 Pauline Oliveros, Stuart Dempster, Panaiotis, Deep Listening, New Albion Records NA 022, 1989, compact disc. 13 Oliveros, Pauline, Deep Listening: A Composer’s Sound Practice (Lincoln, NE: iUniverse, 2005), xi. 14 I was in the Deep Listening Certification Program (an online course via Rensselaer Polytechnic Institute) when I composed this piece. 15 Ibid., xvii.

12 certification program, and especially the communal aspects of her Sonic Meditations greatly influenced the ideas behind Solstitium e Aequinoctium.

The establishing of the Tank into the entity it is today is a testament to its implication as a transcultural site. Rangely is a small oil industry town. Its local population is primarily conservative. The musicians who founded the Tank as a nonprofit, a group of liberal artists, have efficaciously incorporated the town’s officials and residents into the project by being sensitive to the community’s concerns.

Throughout the process, they held meetings with the townspeople to discuss plans, answer questions, and seek alliances for the mutual benefit of all involved parties.

Working together, they transformed the Tank into a unique public space and many of the Tank’s most ardent supporters are Rangely residents. As a result, the organization helps generate revenue for the community through events that bring both domestic and international artists there to perform or record. The Tank successfully draws together people of such contrasting viewpoints because its remarkable reverberant quality has an introspective psychological effect to anyone who pauses to listen to its resonance.

The way people respond to the Tank’s sound is not dependent upon worldview as it is a primal human reaction that is experienced. The meaning any individual might ascribe to it is secondary, but there is a consensus that it is emotionally moving for the careful listener to play with sound in the Tank.

As mentioned earlier, Solstitium e Aequinoctium – especially the first and last

movements – is directly inspired by the meditative and inclusive characteristics of Sonic

Meditations. Though it is not in prose form the way Oliveros composed her pieces, the

ideas are implied by the instruction in the performance notes. A site-specific

13 composition, this piece is intended for the Tank and requires five musicians: four vocalists to move, chant, and sing, and a percussionist to play the gamelan and conduct tempo and cues. It is also designed to incorporate any audience members willing to participate in the processional of the final movement after they have had time to absorb the piece’s compassionate connotations. The inclusion of audience members is also a result of having personally spent time in the Tank witnessing that it naturally inspires people to play with sound, regardless of whether or not they are musicians. It becomes evident that the more astute are inclined to listen and respond in an appropriately sensitive manner while others create such aural clutter that they take up all the space.

All but the shyest of people cannot resist playing with sound when they enter. By offering a formal opportunity and simple structure for audience members to freely participate in an organized composition, it emphasizes the communal intention of the piece. It will provide an occasion to bring people together in an all-inclusive ritual based on cosmic time and physical sound by creating an atmospheric setting for respectful listening and sonic interaction.

The first movement is titled Time Out of Mind and requires that the steel floor be demarcated with sixty small magnets to indicate where the chanters are to step. The pattern is that of a simple clock, where each step is a second with the twelve, three, six, and nine locations corresponding to the cardinal directions (twelve is aligned to the north). The tempo is set to sixty beats per minute. This is deliberately based on the

Babylonian sexigesimal system of measuring time that was determined by the apparent motion of the Sun, Moon, and stars along their elliptical paths across the celestial sphere. Therefore, by stepping at this tempo along a circle that is set to the planet’s

14 axial orientation, the chanters are given a framework to consider these ancient aspects of our terrestrial perspective of time and the cosmos.

At four beats per measure for sixty bars, the chanters step clockwise, one step per second, starting from the four cardinal directions. Chanters originating at east, south, and west each have repeating patterns of different lengths; east is three measures long, south is four, and west is five, all factors of sixty. A specific gamelan pipe strikes the downbeat at the top of their individual patterns aurally defining a polymetric cycle that contains 240 beats (or seconds) to complete one cycle. This is exactly four minutes in duration. These three chanters are to choose a mantra, prayer, or some other text of their choice to customize their meditation to suit their personal religion or philosophy. The only prerequisite is that it must focus on compassion. Since each chanter has a different pattern to which they must conform their text, PDF files are provided, which they can print and inscribe to their own taste and needs. The north chanter, whose pattern is six measures long, serves as a sort of conceptual anchor by reciting Om mani padme hum, a Sanskrit mantra that distills the meanings of the six pārāmitās (specific concepts that purify the mind) into six simple syllables. Though this is drawn from a specific spiritual practice, it is representational of the overarching concept of the piece and sets the precedent for focusing on compassion. It also has a defined rhythmic figure of eighth-note triplets against the quarter to help stabilize the tempo of the other chanters who will likely have more freely interpreted rhythms to fit their custom chants into their parts. The gamelan percussionist positioned at the center of the Tank, facing north, visually conducts the tempo since the triplet feel of the north chanter will likely experience latency issues as it sonically travels across the Tank.

Before the piece begins, the intermittent striking of the lowest-pitched gamelan pipe sets the ambience while the audience enters, receives program notes, and settles along the wall. The piece is to commence exactly four minutes before noon on a solstice or equinox coinciding with the spectrum cast by Erskine’s prism moving along the wall and arriving at the noon demarcation precisely when the polymetric cycle has run its course. Having stepped in a circular processional four times around the Tank, the chanters then move to the center and stand in front of the gamelan for the second movement.

Between Dualities is inspired by the twentieth-century set theory compositional technique, but composed with the expectation that there will be minimal time for rehearsal and performed primarily by local amateur (yet skilled) musicians. It is predicated upon three pitch class sets: one is the set for the gamelan’s four lowest pipes Ab, Bb, Db, and Eb, or (0257), while the other two sets (0137) and (0146) were chosen for their unique quality as all-interval tetrachords. 16 Care was taken to ensure

that any given entry note may be easily discerned either by directly referencing it from

another part or anticipating intervals that are not unreasonably difficult to hear internally;

in other words, avoiding tritones, sixths, and sevenths whenever possible. The baritone

part was originally composed for Tank founder Bruce Odland whose vocal range

extends to E2. It is anticipated that most singers in this role will sing an octave higher.

There is no set tempo or strict meter for this movement as it is expected that the singers will enter when they internally hear their entrance interval, taking care to do so

16 For more information about set theory refer to: Joseph N. Straus, Introduction to Post-Tonal Theory, 4th ed. New York: W.W. Norton and Company, 2016.

16 before the droning vocalists run out of breath, so they can collectively create a chord.

The chords themselves were determined through a series of comparative calculations of the three set classes to identify common tones with the gamelan when rotating through all permutations of the pitch class sets of the non-gamelan set classes. (The pitch class

set for the four lowest pipes of the gamelan is [8T13].)

Figure 2.2: Permutations of the gamelan set class (0257) and where those permutations have common tones with the pitch class set of the gamelan.

Figure 2.3: Permutations of the gamelan set class (0137) and where those permutations have common tones with the pitch class set of the gamelan.

Figure 2.4: Permutations of the gamelan set class (0146) and where those permutations have common tones with the pitch class set of the gamelan.

These calculations include the search for the multi-tone relationships of the all-

interval set classes with the gamelan in order to concentrate the materials down to

fewer tetrachords. This created a palette with several options of intervals that are easier

to hear in linear motion for the various voices while moving between primary,

secondary, and tertiary tetrachords. Only a small selection of the pitch class sets were

incorporated into this movement, but having such a variety of options allowed for

flexibility when looking for intervals that are more easily executed as voice leading

through nontraditional harmonies.

Figure 2.5: Distilled set class comparisons down to limited materials. The set classes actually utilized are indicated by red.

This movement is intended for liberal interpretation. It is expected that despite a century of the expanded and liberated tonal practices following the Second Viennese

School, the average Western ear is still accustomed to the traditional harmonic practices of the preceding centuries. The methods used to compose this movement are a point of departure for a more abstruse approach to singing harmonies. Anticipating the difficulty of entrances, utilizing the intervals that are easier to hear to create a sense of stability and confidence for the singers minimizes the chance of inaccuracy.

The final chord of Between Dualities is succeeded by several strikes on the gamelan as the chanters return to their cardinal points to prepare to step in time of the third movement. After the ethereal qualities of the first two movements, Now Rise provides an anchoring ostinato that supports a simple melody. This movement is inspired by the final 113 measures of Morton Feldman’s Rothko Chapel, composed for an interfaith meditational space in Houston, Texas.17 Both are composed for specific sites that serve similar functions. However, Now Rise is the movement that obscures the formality of a performative setting. As mentioned earlier, the audience is invited to stand up and join the processional and make sound after each singer has sung the melody once. The inclusivity and playfulness of this movement further establishes the predication that humans are social, and that participation in communal activities elicits a sense of belonging. Following the ritualistic ambience of the previous movements, the participatory transcultural setting emphasizes the cosmologic time that all life on the planet experiences.

17 To compare the melodies and ostinatos, please refer to: Morton Feldman, Rothko Chapel. (New York: Universal Edition, Inc., 1973), 32 – 39.

This composition sets our focus on the phenomenon of solstices and equinoxes.

It brings our awareness to how they indicate the extremities and central points of the

Sun along its ecliptic path in the sky. This is evident as a common element in the ancient origin of many of the world’s calendars. Humans have long recognized the

Sun’s role in sustaining life on Earth and how the seasons correlate to the patterns of its cyclical motion. However, the full breadth of its impact on our planet has only recently begun to be understood. The next piece in the Cosmographic collection is inspired by what we are discovering about our star through modern science.

Chapter 3

Helios

The Sun and Moon are the celestial orbs that dominate our sky and were long

considered a tandem pair. However, reverence of the Sun’s role in providing the energy

to sustain life on Earth has resulted in a general supremacy of its rank. Cultures of

Central and South America believed them to be husband and wife, the Sun being the

predominant male with its much brighter luminosity than that of the Moon. It was

considered to be the stronger right eye of the Egyptian god, Ra, and the Moon was the

weaker left eye.

Bengalis consider the Sun to be docile and kind-tempered.18 This is plausible as

mild sunny weather brings to mind an idyllic day. Conversely, modern science has

revealed that the Sun is not placid, but rather a dynamic, violently churning, dense body

of superheated plasma that erupts in what are called coronal mass ejections (CME),

flares of plasma that exceed the Sun’s escape velocity. When a blast is aimed toward

Earth, a titanic wave of charged particles hits our magnetosphere and has the power to

immeasurably damage the International Space Station, our satellites, and our electrical

energy infrastructures. Understanding and predicting the Sun’s behavior and activity is a

necessity for all humanity, as its destructive potential will not heed the national borders

we draw between ourselves.

In the last century, we have begun to extend our understanding below the Sun’s

surface to detect the restless activity that animates our star – which includes the energy

18 Richard Cohen, Chasing the Sun: The Epic Story of the Star that Gives Us Life (New York: Random House, Inc., 2010), 6.

21 of acoustic waves. (It is a poignant coincidence that acoustical physics are such an intrinsic part of our most prominent celestial object when so much of Western philosophical history connected the cosmos to sound.) The earliest notion that acoustic waves might be present in the Sun was in the 1940s when scientists Ludwig Biermann and Martin Schwarzschild proposed that acoustic energy was behind the temperature fluctuations occurring in the honeycomb-like convection cells called ‘granules’ on the

Sun’s surface.19 However, this notion officially began to gain momentum in the 1950s

when Bob Leighton, a physicist from the California Institute of Technology, with the

assistance of graduate student Bob Noyes, began studying surface measurements of

magnetic fields at the Mount Wilson Observatory. Leighton developed a method of

examining the Doppler shifts of Fraunhofer lines in the solar atmosphere to learn more

about the lifespan of granules on the Sun’s surface.20 He discovered that the shifts were

oscillating with a periodicity of approximately five minutes. Further studies by Leighton

and others began to incorporate and eventually confirm the suspicion that these

oscillations were acoustic waves.21 A new field of heliophysics was being established,

although the term ‘helioseismology’ did not appear in literature until 1979.22

The Sun rotates faster at the equator than at the polar regions, a phenomenon

called ‘differential rotation.’ By applying the mathematics of spherical harmonics and

fluid dynamics we are able to determine more about its internal structure. It is ringing

19 William J. Chaplin, Music of the Sun: The Story of Helioseismology (Oxford: Oneworld Publications, 2006), 57. 20 For more on Fraunhofer lines see https://www.britannica.com/science/Fraunhofer-lines. 21 Ibid., 57 - 60. 22 Ibid., 5.

22 like a complex bell, with about a million resonant modes.23 During his tenure at Stanford

University, Alexander Kosovichev generated sonifications of helioseismic data by

speeding the protracted periodicities up to audible frequencies.24

Helios is an orchestral composition inspired by helioseismic phenomena, an

imagined sonic journey into and through the Sun from the farthest reaches of the

heliosphere. It borrows from twentieth-century techniques such as spectralism through

the use of natural harmonics to characterize solar winds while simultaneously

symbolizing the foundational acoustic phenomena of helioseismology. Micropolyphony

generates sound mass textures to represent the freneticism of roiling plasma. Its overall

dynamic arc proceeds in a swell from almost inaudible to triple fortissimo and fades

back to a dissipating whisper. The macro structure is based on three successive

harmonic series: F, C, and C# derived from the initials of Frederick Charles Chalenor, a

composer and bassist from the Pacific Northwest to whom the piece is dedicated.

As with Solstitium e Aequinoctium, the tempo for Helios is set so the quarter note

equals sixty beats per minute, or one beat per second. Its duration is approximately

eight minutes to simulate the time it takes for a photon that leaves the Sun’s surface to

reach the Earth. (The exact time is 8’22”.) Thematic material is derived from the pitches

of a solar flare recorded on November 23rd, 1998 by Peter Messmer et al. at the

23 The term ‘modes’ here refers to the various complex eigenfrequencies in the Sun. 24 To listen to Kosovichev’s sonifications of helioseismic data, go to: http://quake.stanford.edu/~sasha/SOUNDS/sounds.html.

Institute of Astronomy in Switzerland.25 Another flare recorded by Don Gurnett et al. at

the University of Iowa on November 4th, 2003 is also used in this piece.26 (See Fig. 3.5)

Figure 3.1: Graphic analysis of Messmer’s audio file of the solar flare of November 23rd, 1998.

Figure 3.2: The thematic scale derived from Messmer’s flare shown in Fig. 3.1.

Figure 3.3: Generalization of how Messmer’s flare is orchestrated in measures 30, 48, 62, 70, and 108.

25 Astrosurf, “Luxorion, Audio and Sounds Files, Solar Activity,” accessed February 13, 2017, http://www.astrosurf.com/luxorion/Radio/solar-burst-type3-23nov98-messmer.wav. 26 Astrosurf, “Luxorion, Audio and Sounds Files, Solar Activity,” accessed February 13, 2017, http://www.astrosurf.com/luxorion/Documents/solar-burst-4nov03-type3-uiowa.wav.

The pitches of the flare recordings were discerned using the Sinusoidal Partial

Editing Analysis and Resynthesis (SPEAR) software developed by Michael Klingbeil.

This program generates pitch and temporal-based graphics that are easily interpreted using the positive xy-plane (first quadrant of the Cartesian coordinate system), where y is Hertz frequency and x is time. Hovering the cursor over a line will display the Hertz, pitch class, and octave for that particular moment of the tone. Amplitude is indicated by gradated shade intensities of lines; louder tones are darker than quieter tones. SPEAR is helpful in analyzing complex sounds like those of solar flares or sonifications of helioseismic data. However, this piece was not composed as a clinical conveyance of data, but rather as an aesthetic and conceptual interpretation of these phenomena.

As mentioned above, the dedicatee’s initials provide the foundation of the structure. Taking inventory of the available natural harmonics of the three fundamentals for various instruments in the orchestra (primarily the flutes and strings) was a requisite precompositional task. Not all instruments conveniently produce natural harmonics within the three series used in the piece. Therefore, not all the tones within each series are present. Artificial harmonics such as those available on strings were not desired.

Some license was taken with regards to the accuracy of the pitches. For example, the seventh, eleventh, and fourteenth partials in the harmonic series are significantly flatter and the thirteenth is sharper to the ear accustomed to equal temperament. For the sake of leniency and convenience, these details were not strictly observed but accommodated whenever possible.

Helios is divided into three sections that blend into each other through slow transitions from one harmonic series to the next. The first three minutes are built on the

F harmonic series conceptually representing the solar winds of the farthest reaches of the heliopause, where the Sun’s influence exhausts to interstellar space. Staggered entrances and releases deliberately obscure the beat across all the instruments.

However, the tempo of sixty beats per measure and 4/4 meter are simple and easy to follow. Almost imperceptible sound is achieved by wind instruments, the players blowing air through their instruments without producing pitch. Similarly, the strings play col legno tratto, almost undetectably suggesting harmonics. Gradually, the instruments begin to introduce pitch at extremely low volume, playing only the natural harmonics up to the sixteenth partial. The fundamental does not appear until over a minute into the piece.

Fragmented thematic material is introduced by the harp and vibraphone.

Musically interpreted solar flares (described below) also sporadically interrupt the the stasis pockmarking the seemingly stagnant background of shifting partials. For example, an orchestrated rendering of the solar flare from November 4th, 2003 can be

found in measures 31 to 46 as a series of downward glissandos on the strings. Two

distinct moments of the flare from November 23rd, 1998 appear throughout the piece. In

addition to the moment of the flare from which the thematic scale is derived (see Fig.

3.1 – 3.3), another instance of the same flare (sounding much like a swelling cluster

chord), manifests itself in various moments.

Figure 3.4: A graphic analysis of another moment from Messmer’s flare from November 23rd, 1998, orchestrated in measures 45, 67, and 103. 26

Figure 3.5: Graphic analysis of the solar flare from November 4th, 2003 orchestrated in measures 31 to 46 in the strings.

Nearing the third minute of the work, the series begins to shift from F to C. Over

the course of twenty seconds, it first appears in the high strings moving down from the

fifteenth partial finally reaching the fundamental in the bass before the flutes begin to

make the transition. In the first three minutes of Helios, the flutes had moved down the F

series from the sixteenth partial to the sixth (C5). This happens to be the eighth partial

in the new series. Pivoting on this common tone, the flutes begin climbing back up the

partials of C, building tension by incrementally rising in pitch and volume. Subtle

changes of rhythmic subdivisions in the timpani and basses increase the sense of

activity as well.

Representationally, we are nearing the Sun at this point. The trumpets introduce short bursts of rhythmically ambiguous staccato hits. These foreshadow the activity that gradually overtakes the texture in a sound mass of micropolyphony as we finally dive into the scouring soup of plasma (during minutes four through six). While the basses fluctuate in microtones surrounding the fundamental and third partial, all other strings are divisi, alternately assigned either pizzicato or tremolo in random, mostly odd subdivisions of the beat. They are all independent of each other to continuing to

27 obscure the simple quarter note tempo maintained by the conductor throughout. While the freneticism mounts in the strings, trumpets and flutes, the low brass and horns augment the durational values and overlap the notes of the melodic theme heard previously only in the harp. These slower moving tones stabilize the cluttered sonic space.

Figure 3.6: Thematic figure played in the harp, derived from Messmer’s flare of November.

Figure 3.7: Horns augmenting the theme. This occurs from measures 72 through 96.

One by one, the strings return to sustaining harmonics for the last two minutes of

the piece, this time on the C# series. Unhurriedly returning to silence, the harp and

vibraphone resume their minimal interjections. Two more flares interrupt the strings and

flutes as they climb up the final harmonic series. Eventually, all instruments return to

almost indiscernible sound, completing the journey through the heliosphere.

Solstitium a Aequinoctium draws from humanity’s ancient practices of observations of solstices and equinoxes. Helios focuses exclusively on our star, the

Sun. Beyond the solar system, the vastness of interstellar space stretches into

28 distances too large to easily comprehend. Estimating the size of the universe is an endeavor that has engaged inquisitive thinkers for generations. Perspectives, the final

composition discussed, examines the entirety of the observable universe from our

terrestrial perspective. Perhaps, it is this unfathomable and unreachable magnitude that

stimulates our sense of profundity and challenges us to examine the nature of our

existence within this indifferent expanse.

Chapter 4

Perspectives

Cosmology is the inquiry into the origin and eventual fate of the universe.

Examining matter from the very large to the very small, cosmology is the ultimate quest

to understand the nature of all existence. Looking outward toward the celestial realm to

reflect inward is both a dichotomy and a metaphor. It implies different viewpoints. In

fact, exploring a range of vantage points helps us to piece together a broader

understanding of the laws of nature. Perspectives explores this idea in a variety of

ways.

A hand-drawn score for soprano voice (doubling on sizzle cymbal) and

percussion (marimba, vibraphone, crotales, and tam-tam), Perspectives is a

composition based on a logarithmic map of the universe created by J. Richard Gott, a

professor of astrophysics at Princeton University, and Mario Juric et al. It was published

in the Astrophysical Journal in 2005 with an accompanying scientific article. The map

itself gives a holistic perspective of the observable universe. A geocentric point of view,

the map begins from our terrestrial viewpoint. The objects on the map were chosen to

be included because they are “famous” to us here on Earth.27 Also, using a conformal

logarithmic scale allows for a magnified inclusion of near-Earth celestial objects, which are “inconsequential” in the context of the universe, but are nevertheless important from our point of view.28

27 J. Richard Gott, Mario Juric, David Schlegel, Fiona Hoyle, Michael Vogeley, Max Tegmark, Neta Bahcall, and Jon Brinkmann, “A Map of the Universe,” Astrophysical Journal, Volume 624 (May, 2005): 465. 28 Ibid., 466.

30 The map depicts the universe at the exact instant of August 12th, 2003 at 04:48

Universal Time. This moment was chosen because of the position of the Sun and Moon

as well as Earth’s proximity to Mars.29 A logarithmic scale of distance transitioning from

kilometers to megaparsecs represents the expanse of the observable universe so its

entirety can fit onto six pages.30

Figure 4.1: Logarithmic Map of the Universe by J. Richard Gott et al.31

By dividing the map into x- and y-axes where the x-axis is the expanse of the

universe and the y-axis is the circumference of the Earth, the musicians are assigned

the pitch versus temporal coordinates in opposing fashion. The soprano’s vocal range is

oriented along the x-axis; therefore, the higher the note, the farther in space is the

mapped object. Varying timbres of five different percussion instruments allow for a

reasonably broad palette to represent different types of celestial objects. Pitches for the

vibraphone, crotales, and marimba are oriented along the y-axis. Therefore, they are

not determined by their distance from Earth, but by their position in the sky.

The score is six pages long (excluding the prefatory pages), every page representing one minute consisting of six measures, each ten seconds long. For the

29 J. Richard Gott, Mario Juric, David Schlegel, Fiona Hoyle, Michael Vogeley, Max Tegmark, Neta Bahcall, and Jon Brinkmann, “A Map of the Universe,” Astrophysical Journal, Volume 624 (May, 2005): 481. 30 J. Richard Gott, and Mario Juric, “Logarithmic Maps of the Universe,” updated 2006, accessed September 29, 2016, http://www.astro.princeton.edu/universe/ 31 To view the map in detail, please refer to: https://www.astro.princeton.edu/universe/.

31 percussionist, every page exemplifies a discrete category of distance measurement. For example, the first minute represents the portion of the map designating kilometers, the second is Astronomical Units, the third is parsecs, and so on. As mentioned earlier, measures for the percussionist are divided along the x-axis. Conversely, the measures for the soprano are divided along equal segments of the y-axis. Every measure represents forty minutes of Earth’s rotation, or 1,113 kilometers along the equator.

Figure 4.2: How the x- and y-axes are delineated for the percussion where x is time and y is pitch. The red dashed lines indicate where the measures are divided in the music.

Contrasting the axes was a musical choice; the section of the map depicting the

Oort cloud is a lengthy expanse devoid of objects (even though, of course, this space is thought to be populated with comets). Had the time values for both soprano and percussion been assigned to the x-axis, there would have been approximately forty seconds of silence in the middle of the piece. By juxtaposing the temporal assignments, the soprano is fortuitously allowed an occasion to solo. It highlights the isolated human voice while conveying the lyric: “watching sightless,” dramatizing a sense of solitude and vulnerability within the vastness of space.

The text is a poem by Beverly Jean Morrison and was written specifically for this composition after the music was composed. An astronomy and science enthusiast, as well as a writer with a degree in creative writing, she was the appropriate candidate to contribute the text. In addition to intimately understanding the topic, she was given detailed directions and information about the number of syllables, dynamics, and apex moments. She knew which syllables represent planets and other important celestial objects. Each line of the following text represents the text for each page of music respectively:

The view from here, the great eye of the universe upon us watching sightless As we reach out across the vastness and find there A never-ending stream of stars and dust, whose end is our beginning. This view between singularities unbounds us and makes us one32

Graphic notation is used to suggest sonic textures for more splayed data such as

asteroids, the Kuiper Belt, or the filament-like galaxies of the Sloan Great Wall.

32 Morrison, Beverly. “Perspectives.” 2016. Personal communication.

Superball mallets on the tam-tam are indicated by the splatter of thick undulating lines that give way to wire brushes represented by wavy parallel lines with intermittent spikes.

Fluctuations of activity for the sizzle cymbal are illustrated by the use of stippling in varying densities. Though a more traditional notation could have been used, this was determined to be a more effective approach, as the reader can intuit what is required from the graphics, allowing room for various interpretations.

Figure 4.4: Graphic representation of rubber ball mallets on tam-tam to correlate with the filament-like web of distant galaxies.

Figure 4.5: Graphic stippling to represent activity on the sizzle cymbal to correlate with various objects such asteroids.

A subtler notion of the ‘perspective’ theme is the correlation between the role that

time plays in the field of cosmology and how it unfolds in the manner of temporal

perception for the musicians when performing the piece. Both musicians read from the same score so they can see how their parts relate. They also use a digital clock to track the passage of seconds, and each measure has the seconds delineated to help them align with each other. Despite these tools, however, there is still a sense of nebulousness with which the musician can play.

Perspectives is not unique in the Cosmographic collection in this way. In fact, time is explicit yet often obfuscated in all three compositions. Solstitium e Aequinoctium

has passages of metered as well as unmeasured music. Though a quarter-note beat is

maintained throughout Helios, all entrances are staggered often in odd subdivisions of

the beat and all parts are individualized and unsynchronized to obscure the pulse that

holds them together. Time is an essential component in our understanding of the

cosmos. We continue to develop technologies and methods to get increasingly exacting

measurements of time. Yet how time is subjectively perceived has a fascinatingly

illusory quality that is worth further exploration for a composer building a body of works

with a cosmological and astronomical theme.

Chapter 5

Moving Forward

Creating a thematically-related collection of compositions in disparate styles

yielded results that point to how these pieces can be improved and how these ideas

might be further developed. The primary challenge has been determining how to create

something appropriately expressive for scientific data and related materials without

sounding clinical. As with any nascent effort with an artistic aim, ideas for improvement

have become evident.

Determining the exact pitches of the gamelan has proven a difficult task. One of the reasons only the four lowest pipes were referenced in Between Dualities is because

they were the only pipes played in the sole recording that was available to me until quite

recently. They produce complex tones: depending on where they are struck, and what

kind of mallet is used to strike them, different tones become more prevalent, making

their fundamentals illusive to ascertain from audio recordings. Since the Tank resonates

somewhere around an Eb fundamental, and the pipes were cut to lengths to resonate

with the Tank, I mistakenly assumed the lowest pipe is Eb, but it is in fact Ab. Careful

rethinking of the treatment of the gamelan will need to be applied and the scores

updated.

A customized notation should be devised to accommodate the gamelan as well.

For example, they are simple pipes nestled in cradles. They are not marked in any way

and their sequence is made obvious by their lengths. Since there are only six, a

numbering scheme on a staff of 4 lines (with ledger lines on either side to indicate the

36 highest and lowest pipes) might be the most intuitive way for the player to identify the correct pipe.

The architectural connection made between the Tank and archaeoastronomical sites can be emphasized by the addition of another movement referencing Guillaume

Dufay’s Nuper rosarum flores. Though that piece is overtly Christian and was composed for a cathedral (rather than an openly meditative space like Rothko Chapel), its beauty does not require theological subscription to be appreciated. It would be an excellent compositional exercise to practice this specific fifteenth-century technique of composition using a cantus firmus. To make it aurally related to the other movements, the pitch classes from the gamelan should be carefully incorporated in some way. It would be more demanding, but more rewarding for the vocalists. Creating something sonorous and deeply rooted in early harmonic practices would enhance the quality of the work, as the other three movements are fairly modern.

Thinking beyond Solstitium e Aequinoctium, the sonic meditative and stepping components of Time Out of Mind can be expanded upon. For example, the interlocking gears of clocks can provide interesting patterns for movement compositions. Orreries such as the Antikythera mechanism found in a shipwreck off the coast of the Greek island of its namesake, could serve as an excellent source of stepping meditation compositions. Interlocking gears with numbered cogs that relate to astronomical patterns could provide an interesting point of departure for harmonies and rhythmic patterns while remaining rooted in the Cosmophonia theme.

After the opportunity to have an orchestra reading, it is clear there are many ways that Helios could be improved. First, it should be expanded to the exact duration

37 of 8’22” to make it the proper time it takes for a photon to reach the Earth. The harp,

which has a thematically important role, should be amplified. It might be interesting to

add electronics to this work as well.

On Gott’s logarithmic map website, he has made the image available as a

downloadable vector graphic. This could feasibly be animated to accompany a

recording of Perspectives by illuminating the stars that are represented by sounds as

they unfold in time. Ultimately, such an animation could be projected onto a planetarium

dome screen. With ready-made audiences of astronomy enthusiasts, planetariums are

the ideal venue to create visual components for the current and future additions of the

Cosmophonic collection. In so doing, it can potentially be the stitch that sews back

together the connection between music and astronomy in our culture.

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Robertson, William. Sound. Arlington, VA: NSTA Press, 2003.

Ruff, Willie, “The Kepler Project.” Last modified 2015. Accessed July 29, 2016. http://www.willieruff.com/harmony-of-the-world.html.

Schafer, R. Murray. The Tuning of the World: A Pioneering Exploration into the Past History and Present State of the Most Neglected Aspect of our Environment: The Soundscape. New York: A.A. Knopf, 1977.

Skystone Foundation. “Roden Crater.” James Turrell. Last modified 2018. Accessed March 30, 2018. www.rodencrater.com.

Smirnov, V.A. “Music Theory and the Harmony Method in J. Kepler’s Work The Harmony of the Universe.” Astronomical and Astrophysical Transactions 18, (1998): 521-532.

Sobel, Dava. “Field Notes: Searching Heaven and Earth for the Real Johannes Kepler.” Discover 29, no. 11, (November, 2008): 22-23.

Stanford University. “Stanford SOLAR Center.” Last modified 2017. Accessed February 11, 2017. http://solar-center.stanford.edu/index.html.

Straus, Joseph N. Introduction to Post-Tonal Theory, 4th ed. New York: W.W. Norton and Company, 2016.

Tank Sounds. “The Tank: Center for Sonic Arts.” Last modified 2018. Accessed June 21, 2016. https://tanksounds.org/the-tank/.

Thompson, Richard L. Mysteries of the Sacred Universe: Cosmology of the Bhagavata Purana. Alachua, FL: Govardhan Hill Publishing, 2000.

Van Dyke, Ruth M. The Chaco Experience: Landscape and Ideology at the Center Place. Santa Fe, NM: A School for Advanced Research Scholar Book, 2008.

Vivian, Gordon R. The Three-C Site, An Early Pueblo II Ruin in Chaco Canyon, New Mexico. Albuquerque: University of New Mexico Press, 1965.

Vivian, R. Gwinn, Dulce N. Dodgen and Gayle H. Hartman. Wooden Ritual Artifacts from Chaco Canyon: The Chetro Ketl Collection. Tucson, AZ: The University of Arizona Press, 1978.

Von Gunden, Heidi. The Music of Pauline Oliveros. Metuchen, NJ: The Scarecrow Press, 1983.

Walker, D. P. “Kepler’s Celestial Music.” Journal of the Warburg and Courtland Institutes 30, (1967): 228-250.

Walker, William H., and Kathryn R. Venzor, ed. Contemporary Archaeologies of the Southwest. Boulder, CO: University Press of Colorado, 2011.

Windes, Thomas C. Stone Circles of Chaco Canyon, Northwestern New Mexico. Albuquerque: NPS, US Dept. of the Interior, 1978.

PART II

MUSICAL SCORES

45 Solstitium e Aequinoctium

ONLY

W E

REVIEWS

Composed by Elaine diFalco © Cosmophonia FOR 2018

46 Solstitium e Aequinoctium In loving memory of Pauline Oliveros

For Four Voices and Tank Gamelan Soprano, alto, tenor, and baritone voices are desired, but it is acceptable to transpose the parts as neededONLY

Designed for Performance Preferably on Solstices or Equinoxes at The Tank: Center for Sonic Arts in Rangely, Colorado

REVIEW

FOR © Cosmophonia 2018

47 Performance Notes

This piece is designed for performance on either a solstice or equinox. Due to the likelihood of extreme temperatures on solstices, equinoxes would make for more comfortable conditions in the Tank. Though conceived for the Tank, Time Out of Mind can be performed in other locations at any time of year with the Tank gamelan replaced by bells held by the chanters to mark their patterns as they step in procession.

Be sure to allow ample time beforehand to place the magnets on the floor and move the gamelan in place as specified in the setup instructions. Time Out of Mind: The chanters/singers for East, South and West are to select a prayer, chant, or mantra of their choice to fit within the space of their pattern. PDF files are provided so chanters may print charts and write in their own text so long as it focuses on compassion. North will chant the Sanskrit mantra of Avalokitesvara ‘Om mani padme hum’ in triplets per second to set the precedent that all the chosen prayers should be focused on compassion. ONLY This piece is to begin exactly four minutes before high noon, at precisely 60 beats per minute. This will coincide with the movement along the wall of the spectrum cast by Peter Erskine’s prism in the ceiling of the Tank so that the downbeat of the second movement occurs when his spectrum aligns at the noon demarcation.

The gamelan player is responsible for keeping and conducting a visual sense of time for the chanters. As the audience enters and the chanters take their places at the cardinal points, the lowest gamelan pipe is struck intermittently to set the ambience, being sure to begin at exactly 11:56 a.m.

Standing outside of the circle, the chanters wait for the gamelan player to conduct the cue to begin. They step onto their cardinal point on the downbeat and begin a procession of one step per beat (i.e. per second) clockwise along the magnets on the floor while chanting. The pattern will take them around the circle four times, once per minute.

Between Dualities: This movement is predicated on analyses of the set class of the pitches of the four lowest gamelan pipes. All chanters should move from the cardinal points and stand in a tight semi-circle in front of the gamelan pipes. When finished, move backREVIEW to the cardinal points to begin the procession for Now Rise.

Now Rise: After each chanter has sung the melody once, they begin to encourage the audience to join the procession and improvise freely with the chanters. They will be informed of this in their programs. The chanters should begin to riff on the melodic theme, but maintain the form by rotating the melody and exhaling in the designated moments. The gamelan plays the ostinato throughout. Conclude when it feels appropriate. FOR © Cosmophonia 2018

48 Solstitium e Aequinoctium In Loving Memory of Pauline Oliveros

Composed by Elaine diFalco

W E ONLY

Program Notes Solstitium e Aequinoctium is a ritual, sonic meditation, and musical composition for the caretakers, friends, and visitors of the Tank: Center for Sonic Arts in Rangely, Colorado. People of diverse backgrounds and worldviews come together in the Tank and find a shared interest in the phenomenon of the visceral and psychological affect of its magnificent acoustic character. The ritualistic and communal aspects of this composition are intended to facilitate focus on the connection we share of how we experience time by observing the cycles of our planet on its orbit around the Sun. There are moments where time is measured using the ancient Babylonian sexigesimal system of quantifying time. There are also momentsREVIEW where time is unmeasured and the space is pregnant with possibility for the musicians. In the final movement, the audience is encouraged and invited to join the playful procession around the Tank to instill a sense of holistic community. By creating a structure where all are invited to participate if they so desire, it may incite people to place their sounds with care as they listen to the collective group and find their voice within it.

FOR © Cosmophonia 2018

49 Solstitium e Aequinoctium Setup instructions for the Tank N

5 ft

1ft 6in

15 ft ONLY W E

S 1. Locate the cardinal points and place the appropriate magnets exactly 5 feet from the wall. (ThisREVIEW should be 15 feet from the center.) 2. Secure one end of a 15 foot cord from the center of the tank (directly under the hanging microphone cable). Stretch the cord to one of the cardinal points.

3. Pivoting from the center, swing the cord approx. 1 foot 6 inches away from the cardinal point and place a magnet on the floor. Repeat all the way around until all 60 steps are marked, making sure that there is a large magnet every 5 steps like the face of a clock. FOR4. Place the gamelan pipes in the center of the Tank. the player faces north. © Cosmophonia 2018

50 Time Out of Mind In loving memory of Pauline Oliveros From Solstitium e Aequinoctium Setup Instructions For locations other than the Tank: Center for Sonic Arts N

ONLY W E

1. Determine the location for the center of your circle and the length of its radius. Cut a rope or string to the length of the radius. 2.locate the cardinalREVIEW directions and place markers at the perimeter of the circle.

3. Determine distance between steps: 2r · sin(6÷2) where ‘r’ is your radius.

4. Secure one end of the string from the center point and stretch the string to one of the cardinal points.

5. Pivoting from the center, swing the string the distance calculated from step 3 clockwise away from the cardinal point and mark the ground. Repeat all the way around until all 60 steps are marked, making sure that there is a larger mark FORevery 5 steps like the face of a clock. © Cosmophonia 2018

51 Time out of Mind N

ONLY

W E

REVIEW S North, 6 Measure Pattern Spatial view These concentric spirals show where people are East, 3 Measure Pattern physically located when their respective patterns repeat. They will hear a strike on a gamelan pipe assigned to their pattern at South, 4 Measure Pattern those moments. FOR West, 5 Measure Pattern

52 Time out of Mind Composed by Elaine diFalco

ONLY

REVIEW

North, 6 Measure Pattern Polymetric view These concentric spirals show the overlap of East, 3 Measure Pattern different patterns and when they have gamelan strikes on the same beat. The spikes along the circumference perimeter indicate the South, 4 Measure Pattern delineation of the measures. FOR West, 5 Measure Pattern © Cosmophonia 2018

53 In loving memory of Pauline Oliveros North Solstitium e Equinoctium I. Time Out of Mind

Elaine diFalco q = 60 Whisper, with slight tone 3 3 3 3 /U ∑ ™ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Om mani padme hum om mani padme hum ppp

3 3 3 3 3 3 3 ONLY3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

East 5 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

7 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

South 9 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om ma - ni padme REVIEWhum om mani padme hum om ma - ni padme hum om mani padme hum

11 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

West 13 3 3 3 3 3 3 3 3 FOR/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

54 2 North

15 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

North 17 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

East 19 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme humONLY om mani padme hum

21 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

South 23 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

25 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme REVIEWhum om mani padme hum om mani padme hum om mani padme hum West 27 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

29 3 3 3 3 3 3 3 3 FOR/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

55 North 3 North 31 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

33 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

East 35 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum omONLY mani padme hum

37 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

South 39 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

41 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme humREVIEW om mani padme hum om mani padme hum om mani padme hum West 43 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

45 3 3 3 3 3 3 3 3 FOR/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

56 4 North North 47 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

East 49 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

51 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme humONLY om mani padme hum South 53 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

55 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ - ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

West 57 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme REVIEWhum om mani padme hum om mani padme hum om mani padme hum

59 3 3 3 3 3 3 3 3 / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum om mani padme hum om mani padme hum

Go immediately to II; the first downbeat is noon 61 3 3 3 3 FOR/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ om mani padme hum om mani padme hum

57 South In loving memory of Pauline Oliveros Solstitium e Equinoctium I. Time Out of Mind

Elaine diFalco

q = 60 Whisper, with slight tone /U ∑ ™ - ??????? ppp 4 West / ???????? - ONLY??? 7 North / ????????????

10 / - ???????????

13 East / ???? - ???????

16 South / ???????? - ???

19 REVIEW West / ????????????

22 North / - ???????????

25 FOR/ ???? - ???????

58 2 South 28 East / ???????? - ???

31 South / ????????????

34 West / - ???????????

37 North / ??? ? - ??????ONLY?

40 / ???????? - ???

43 East / ????????????

46 South / - ???????????

49 West / ???? - ???????

52 REVIEW North / ???????? - ???

55 / ??? ? ????????

Go immediately to II; the 58 first downbeat is noon East FOR/ - ???????????????

59 South In loving memory of Pauline Oliveros Solstitium e Equinoctium I. Time Out of Mind

Elaine diFalco

q = 60 Whisper, with slight tone /U ∑ ™ - ??????? ppp 4 West / ???????? - ONLY??? 7 North / ????????????

10 / - ???????????

13 East / ???? - ???????

16 South / ???????? - ???

19 REVIEW West / ????????????

22 North / - ???????????

25 FOR/ ???? - ???????

60 2 South 28 East / ???????? - ???

31 South / ????????????

34 West / - ???????????

37 North / ??? ? - ??????ONLY? 40 / ???????? - ???

43 East / ????????????

46 South / - ???????????

49 West / ???? - ???????

52 REVIEW North / ???????? - ???

55 / ??? ? ????????

Go immediately to II; the 58 first downbeat is noon East FOR/ - ???????????????

61 West In loving memory of Pauline Oliveros Solstitium e Equinoctium I. Time Out of Mind

Elaine diFalco

q = 60 Whisper, with slight tone. /U ∑ ™ - ??????????? ppp

5 North / ???????? - ONLY???

8 East / ????????????

11 South / ???? - ???????

14 / ????????????

17 West - / ???????????REVIEW 20 North / ???????? - ???

23 East / ????????????

26 South FOR/ ???? - ???????

62 2 West 29 / ????????????

West 32 / - ???????????

35 North / ???????? - ???

38 East / ????????????ONLY 41 South / ???? - ???????

44 / ????????????

47 West / - ???????????

50 North / ???????? - ???

53 REVIEW East / ??????????? ?

56 South / ???? - ???????

Go immediately to II; the 59 first downbeat is noon FOR/ ????????????

63 Gamelan In loving memory of Pauline Oliveros TANK Solstice I. Time Out of Mind

Elaine diFalco Repeat intermittently Cue tempo and while audience settles start exactly and the singers situate 11;56 a.m. (4 min. at cardinal positions. before noon on Improvise as desired. solstice.) U q = 60 2 ? wb ™ wb mp 5 ONLY ? wb ∑ wb ∑ wb wb wb wb wb wb bw

15 2 2 ? wb ∑ ∑ wb b wwb wb b w wb

26 ? wb ∑ wb ∑ ∑ wb bw wb wb b wwb wb

36 2 ? ∑ wb wb ∑ ∑ wb wb bREVIEWw wb b w wb 47 2 ? wb ∑ wb b wwb bw wb wb Go immediately to II, striking the downbeat at noon. 55 2 ? ∑ wb FOR wb wb wb

64 II. Between Dualities

Elaine diFalco In free time, but don't enter so late the A longest held notes run out of breath ° Reverently, with a calm heart Soprano & ∑ ∑ ∑

Alto & ∑ ∑ ∑

Tenor & ∑ ∑ ∑ wb ‹ AH mp ? ∑ ∑ ∑ Baritone ¢ wb ONLYw AH Free time Summoning reverently °? UUUwb wb wb Gamelan ¢ ﬀf ﬀ f

6 ° [2368] (0146) [1248] (0137) U  S & ˙# ˙ ˙b ˙b w AH U pp A & œ ˙# ™ p AH U U w REVIEW˙b w T & ‹ ? U U B ¢ w wb w  °? FORGam. ¢

65 12 B  2 ° [TE24] (0257) UU U S & w w w ˙ w AH NN MM mp pp mp UU U A & ˙ w w w ˙b w AH NN MM mp pp mp UU U wb w wb w T & w w ‹ AH NN mp pp mp MM ? UU U B < > ¢ w w w w w n w ONLYw w MM AH NN mp mp pp ° U  ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ Gam. ¢ wb mp

ALL VOICES: Whisper Gradually intersperse brief quietly for the universal moments of hummed healing of all victims and sustained tones, eventually Gamelan cues 18 C an end to all violence. overtaking the texture. tempo ° Rubato, approx. q=60 S & ???????????????????????? ppp

A & ???????????????????????? ppp REVIEW T & ???????????????????????? ‹ ? B ¢ ????????????????????????

Conduct and cue tempo °? Rubato, approx. q=60 FORGam. ¢ wb wb wb wb wb wb ppp

66 3 Hum whatever sustained tone you wish and end promptly on the fourth beat of final bar of C. 24 ° a tempo  S & ???????????? Y pp ﬀ AH

A & ??????????? ? Y pp ﬀ AH

T & ???????????? Y

‹ pp ff AH ? Y B ¢ ???????????? pp ONLYff AH  °? a tempo Gam. ¢ wb wb wb wb pp mf ff

D °28 S & ∑ ∑ ∑ ∑ ∑

A & ∑ ∑ ∑ ∑ ∑

T & ∑ ∑ ∑ ∑ ∑ ‹ REVIEW ? ∑ ∑ ∑ ∑ ∑ B ¢

°? UUUUU FORGam. ¢ wb wb wb wb wb ﬀf pp

67 E 4 °33 [E146] (0257) S &

A &

U T & w# w w# ‹ AH NN mp pp ? U B ¢ w w w w w AH NN mp pp ONLY °? Gam. ¢

°38 U S & wn w MM U pp U A & œ# ˙™ w# w NN MM pp U U T &<#>w REVIEWw w# w

‹ MM ? U U B ¢ w w w w MM

°? FORGam. ¢

68 5 F [2368] (0146) °42 U U S & ˙ wb ˙# ˙b ˙ wb AH AH ppp mpU A & w AH mpU T & wb w ‹ Ah mp U ? wb w w B ¢ AH mp ONLY °? U Gam. ¢ wb pp

G °49 U [5680] (0137) U S & wb w wb w NN OO ppp U U U A & ˙™ w w œb wb w NN OO OO U ppp U U T & wbREVIEW w wb w w wb w ‹ NN OO OO ppp U U U ? wb w B ¢ w w w w w w NN OO OO ppp °? U FORGam. ¢ wb pp

69 6 58 ° [458T] (0146) Gamelan cues downbeat U S & w w NN U ppp U A & ˙™ w œb wb w AH NN pp U ppp U T & ˙ w w w w ‹ AH NN pp ppp ? U U B ¢ wb w w wb w AH NN pp pppONLY

Cue °? U downbeat U Gam. ¢ wb wb p mp

H °65 q = 60 S &

A &

T & REVIEW ‹ ? B ¢

Approx. q = 60 Very Rubato; gradually leading into III ° q = 60 ? wb ˙b œb œb FORGam. ¢ wb wb wb wb ˙b œb œb mp p ppp mp

70 III. Now Rise

Elaine diFalco

q = 60 Begin stepping clockwise Exhale Loudly, ° as before no tone Gently waking bb b ∑ ÓŒ‰ ¿ ¿ŒÓ ™ ∑ œ œ œ œ Soprano & b b J œ ff mp Ah bb b ∑ ÓŒ‰ ¿ ¿ŒÓ ™ ∑ ∑ Alto & b b J ff bb b ∑ ÓŒ‰ ¿ ¿ŒÓ ™ ∑ ∑ Tenor & b b J ff ? b b ∑ ÓŒ‰ ¿ ¿ŒÓ ™ ∑ONLY ∑ Baritone ¢ b b b J ff ° q = 60 Gently waking ? b b œ œ œ œ œ œ ™ œ œ œ œ œ Gamelan ¢ b b b œ œ œ œ œ œ ™ œ œ œ mp

°6 bbbb œ œ ‰ j œ™ j S & b œ œ œ œ œ w œ œ œ œ w

b b A &b b b ∑ ∑ ∑ ∑

b b REVIEW T &b b b ∑ ∑ ∑ ∑

? b b ∑ ∑ ∑ ∑ B ¢ b b b ° œ œ ? b b œ œ œ œ œ œ œ œ œ œ œ FORGam. ¢ b b b œ œ œ

71 2 10 Exhale loudly, ° no tone bb b ÓŒ‰ ¿ ¿ŒÓ ∑ ∑ ∑ S & b b J ff œ bbbb ÓŒ‰ ¿ ¿ŒÓ ∑ œ œ œ œ œ œ A & b J œ œ œ œ œ Ah ff mp bb b ÓŒ‰ ¿ ¿ŒÓ ∑ ∑ ∑ T & b b J ff

? b b ÓŒ‰ ¿ ¿ŒÓ ∑ ∑ ∑ B ¢ b b b J ﬀ ONLY ° œ ? b b œ œ œ œ œ œ œ œ œ œ œ œ œ Gam. ¢ b b b œ œ œ œ œ œ

15 ° b b œn w S &b b b ∑ ∑ ∑ ÓŒ‰ J

p Oo bbbb ‰ j œ™ j ÓŒ‰ œn w A & b w œ œ œ œ w J Oo REVIEW p bb b ∑ ∑ ∑ ÓŒ‰œ w T & b b J Oo p ? b b ∑ ∑ ∑ ÓŒ‰ œ w B ¢ b b b J Oo ° œ œ p ? b b œ œ œ œ œ œ œ œ œ œ œ œ œ FORGam. ¢ b b b œ œ œ œ œ

72 3 20 Exhale loudly, ° no tone bb b ˙ œ™ ¿ ¿ŒÓ ∑ ∑ ∑ S & b b J ff bb b ˙ œ™ ¿ ¿ŒÓ ∑ ∑ ∑ A & b b J ff œ bbbb ˙ œ™ ¿ ¿ŒÓ ∑ œ œ œ œ œ œ T & b J œ œ œ œ œ Ah ff mp ? b b ˙ œ™ ¿ ¿ŒÓ ∑ ∑ ∑ B ¢ b b b J ff ONLY ° œ œ ? b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ Gam. ¢ b b b œ œ œ œ

25 Exhale loudly, ° no tone bb b ∑ ∑ ∑ ÓŒ‰ ¿ ¿ŒÓ ∑ S & b b J

ﬀ bb b ∑ ∑ ∑ ÓŒ‰ ¿ ¿ŒÓ ∑ A & b b J

ff bbbb ‰ j œ™ j ÓŒ‰ ¿ ¿ŒÓ ∑ T & b w REVIEWœ œ œ œ w J ff ? b b ∑ ∑ ∑ ÓŒ‰ ¿ ¿ŒÓ ∑ B ¢ b b b J ff ° œ œ ? b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ FORGam. ¢ b b b œ œ œ œ œ œ

73 4 31 ° b b S &b b b ∑ ∑ ∑ ∑ b b A &b b b ∑ ∑ ∑ ∑

b b T &b b b ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ™ ? b b œ œ œ œ œ w ‰ œ œ œ œ B ¢ b b b J J Ah mp ° œ ? b b œ œ œ œ œ œ œ œ ONLYœ œ Gam. ¢ b b b œ œ œ œ œ

On repeats, invite audience to join procession. Begin improvising on the theme, maintaining original order and form, always placing exhalations and chords in the proper place. Repeat playfully as desired. 35 Exhale loudly, ° ™ no tone bb b ∑ ÓŒ‰ œn w ˙ œ ¿ ¿ŒÓ ™ S & b b J J Oo p ff bb b ∑ ÓŒ‰ œn w ˙ œ™ ¿ ¿ŒÓ ™ A & b b J J Oo ff p bb b ∑ ÓŒ‰œ w ˙ œ™ ¿ ¿ŒÓ ™ T & b b REVIEWJ J Oo p ff ™ ? b b w ÓŒ‰ œ w ˙ œ ¿ ¿ŒÓ ™ B ¢ b b b J J p Oo ff

Repeat playfully as long as desired ° œ ? b b œ œ œ œ œ œ œ œ œ œ œ œ ™ FORGam. ¢ b b b œ œ œ œ œ œ œ ™

74 ONLY

REVIEW

FOR

75 Helios

Elaine diFalco

Instrumentation

Flute (3) Oboe (1) Bb Clarinet (2) Bb Bass Clarinet (1) Bassoon (2) F Horn (4) ONLY Bb Trumpet (2) Trombone (2) Bass Trombone (1) Tuba (1) Timpani (1) Vibraphone (1) Harp (1) Violin I (5) Violin II (5) Viola (4) Violoncello (5) Contrabass (3)

Duration REVIEWApprox. 8 min.

University of North Texas

2017 FOR

76 Program and analysis Notes

This piece was inspired by the science of helioseismology, the study of acoustic waves that propagate and reverberate within the Sun. The tempo is set to sixty beats per minute, appropriate for the sexagesimal system that governs the quantification of time based on the motion of the Sun’s daily path across our sky. At approximately eight minutes duration, the time it takes to perform this piece is roughly the time it takes for a photon that escapes the Sun’s surface to reach the Earth after having spent several thousand years journeying from its origination of nuclear fusion deep within the Sun’s core. The use of natural harmonics is employed throughout much of the instrumentation to represent the phenomenon of acoustical heliophysics and the aesthetics of solar wind. As if moving through the Sun, micropolyphonic* texture (from measures 56 – 100) replicates the millions of oscillating modes that proliferate throughout our star. This section is inspired by the sonifications created by Alexander Kosovichev at Stanford University of helioseismic data from the Michelson Doppler Imager onboard the SOHO spacecraft. ONLY

The scale of the thematic material is derived from the pitches of a type III solar flare recorded on November 23, 1998 by Peter Messmer et al at the Institute of Astronomy in Switzerland. An orchestrated interpretation of this flare can be heard in measures 30, 41, 48, 62, 70, and 108. Another sound from the same flare is orchestrated with minor variation at measures 45, 67, and 103. Measures 31 – 36 feature an orchestrated interpretation in the string section of another type III solar flare recorded by Don Gurnett et al at the University of Iowa on November 4, 2003 using the Radio and Plasma Wave Science instrument onboard the Cassini spaceprobe. In order to interpret and appropriate the material referenced above, I used the software program SPEAR created by Michael Klingbeil to analyze the frequency spectrum and other properties of the audio files. REVIEW

FOR* A term borrowed from György Ligeti. ii

77 Dedication

This piece is lovingly dedicated to Frederick Charles Chalenor, an exceptional composer and bassist. He has been the most musically influential person in my life, my mentor, collaborator, and dear musical brother. I would not be the musician I am today without his immeasurable impact and unwavering gentle encouragement to experiment with sound, and musically challenge and trust my intuitions. His initials provide the fundamentals for the harmonic series that gives this piece its form. The first three minutes are based on F, minutes three through five are based on C, and minutes six and seven are based on C#. The Sun, though it shines in a manner that we sense as eternal, is indeed ephemeral from the perspective of cosmic time. It will eventually exhaust itself and its existence, as we know it, will end long after our species has likely run its course. May this piece remind us of how fortunate we are to witness and explore life and to have an opportunity to know and express love whenever and wherever we can. Life is fleeting but love touches our senses in a way that feels as eternal and reliable as the Sun. ONLY Acknowledgements

I would like to give a special thanks to the helioseismology team at Stanford University. In particular, Tim Larson for his enthusiasm and time helping me understand helioseismology and providing an enormous amount of sonification files that will surely come to great use in future projects. Thanks also to Phil Scherrer for forwarding my initial inquiry around to the folks in the department. Thanks also to Alexander Kosovichev for kindly responding to my email with encouragement and permission to use his files for this project. Thank you to Dr. Joseph Klein for giving his excellent advice from a composer and conductor’s perspective. A very special thanks goes to Dr. Kirstin Broberg for the world-class expert instruction, and most importantly, for providing a safe space for this daunting process. I would also like to acknowledge Dr. Kevin Walczyk who kindly gave me a copy of the score for his Symphony No. 2, Epitaphs Unwritten (nominated for a Pulitzer Prize) from which I borrowed his approach to these opening pages. In fact, my performance notes regarding multiple sonorities and angled beams are almost verbatim. REVIEWLike Fred, his influence and guidance in my musical development continues to inspire and motivate me and will surely always continue to do so. Finally, a very warm embrace and heartfelt thanks to Diane Kintrea for being such a beautiful soul. FOR iii

78 Performance Notes

Multiple Sonorities: Multiple sonorities, or double stops, based on natural harmonics are required in the flute section. Traditional fingerings are used for all multiple sonorities. The diamond notehead represents the sounding pitch and the traditional notehead represents the fingering. Please refer to Robert Dick’s The Other Flute: A Performance Manual of Contemporary Techniques, 2nd edition (Multiple Breath Company, 1989). [Note: I have reversed the diamond versus traditional notehead from Dick’s notation.]

ONLY

Sempre: Both the harp and vibraphone are to let all notes sustain throughout without exception. This is indicated at the first measure of almost every page as a courtesy except on a few pages where it would crowd the notation.

Natural String Harmonics: All of the harmonics notated for the strings are natural rather than artificial harmonics. A diamond indicates finger location (the exact string is specified in the parts) and a round note with a circle above it indicates sounding pitch.† REVIEW

Angled Beams: Angled beams are used to indicate a gradual speeding up of successive pitches within the notated duration.

FOR† Borrowed from Cliff Colnot’s treatise on string harmonics. iv

79 Dedicated with love to Fred Chalenor

q = 60 Helios Whispery, ethereal Elaine diFalco 2017 no pitch ° ™ ™ Flute & ~ O Œ ~ O Œ ~ ppp

no pitch Flute 2 & ∑ Œ O O ~ Œ O O ~

3 ppp 3 no pitch Flute 3 & ∑ ∑ ŒŒ O O ~ OŒ O O

3 ppp 3 no mouthpiece no pitch Oboe & ∑ Ó O O ~ OŒ O O ~

3 ppp 3 no pitch Bb Clarinet 1 & ∑ ∑ Œ O O ~ Œ O O

3 3 ppp no pitch

Bb Clarinet 2 & ∑ ∑ ∑ Ó O ~ ppp ? no pitch Bb Bass Clarinet ∑ ∑ ∑ ∑ Ó Ó O

3 ppp no pitch ? Bassoon 1 ∑ ∑ Ó ~ ~ Ó ~ 3 ppp 3

no pitch ? ∑ ∑ ∑ Ó ~ ~ Bassoon 2 ¢ 3 ppp

° no pitch Horn in F 1 & ∑ ∑ Œ O O ~ Œ O O

3 ppp 3 no pitch ™ Horn in F 3 & ∑ ∑ ∑ ~ O Œ ppp

no pitch Horn in F 2 & ∑ ∑ Ó ŒŒ O ~ O OŒ O

3 3 ppp no pitch Horn in F 4 & ∑ ∑ ∑ ŒŒŒ O ~

3 ppp no pitch ∑ ∑ ∑ Œ‰ O O ~ Trumpet in Bb 1 & J ppp

no pitch ™ Trumpet in Bb 2 & ∑ ∑ ∑ ∑ Œ O ppp

no pitch ? ∑ ‰ O O O O™ O ‰‰ O O O O™ O ‰ Tenor Trombone 1 J J J ONLYJ ppp

no pitch ? ∑ ∑ ‰ O O O O™ O ‰‰ O O O Tenor Trombone 2 J J J ppp

no pitch ? ∑ ∑ Œ™ O O ~ ~ Bass Trombone J ppp

no pitch ? ∑ ∑ ∑ Ó Œ™ O ~ Tuba ¢ J ppp

° @A ? ∑ ∑ ∑ ∑ ∑ Timpani ¢

arco ° sempre L.V. ∑ ∑ ∑ ∑ Ó w Vibraphone {& 3 pp mf

l.v. sempre L.V. & ∑ ∑ ∑ ∑ œ ŒÓ Harp mf {? ∑ ∑ ∑ ∑ ∑ MMLOLMLL

q = 60 col legno tratto ° ~ ~ ~ Violin I a & ∑ ∑ ppp œcolo legno tratto˙o ™ wo wo

Violin I b & ∑ ∑ ‰ REVIEW3 ppp col legno tratto O O ~ ~ Violin I c & ∑ ∑ Œ‰ 3 ppp col legno tratto œo ˙o wo wo J Violin I d & ∑ ∑ Œ‰‰ 3 ppp col legno tratto 3 Violin I e & ∑ ∑ Ó ‰ O O ~ ~ ppp

3 j col legno tratto Violin II a & ∑ ∑ Ó ‰‰ O O ~ ~ ppp

col legno tratto ∑ ∑ Ó Œ‰ 3 Violin II b & O ~ ~ FOR ppp col legno tratto ∑ ∑ ∑ ‰ 3 Violin II c & O O™ ~ ppp col legno tratto Bœ ˙™ w Violin II d & ∑ ∑ ∑ ‰‰ J 3 ppp col legno tratto Bœ ˙ w Violin II e & ∑ ∑ ∑ Œ‰‰ J 3 ppp col legno tratto O O ~ Viola a B ∑ ∑ ∑ Ó ‰ 3 ppp col legno tratto o 3 w Viola b B ∑ ∑ ∑ & Ó Œ‰ O ppp col legno tratto B ∑ ∑ ∑ ∑ ‰ 3 Viola c O O™ ppp colo legno otratto B ∑ ∑ ∑ ∑ Œ‰ œ ˙ Viola d ¢ 3 ppp

1 2 3 4 5

80 no~ pitch Opitch™ ~ O ™ 2 6 (no pitch) ° ™ Fl. & O Œ wb ˙b ™ Œ w ˙™ Œ ppp noO pitch O pitch~ O O (no pitch) ~ Fl. 2 & Œ O O ‰‰ ˙b ˙ w Œ ˙ ˙

3 ppp 3 ppp 3 noO pitch O ~ pitch (no pitch) Fl. 3 & ~ OŒ O O ~ OŒ œb ˙ w

ppp 3 3 ppp (no pitch) Ob. & OŒ O O ~ OŒ O O ~ OŒ O O

3 3 3 ppp (no pitch) Cl. 1 & ~ Œ O O ~ Œ O O ~

ppp 3 3

(no pitch) Cl. 2 & OŒ O ~ OŒ O ~ OŒ O ppp

(no pitch) ? B. Cl. ~ O Ó O ~ O Ó O ~

ppp 3 3

(no pitch) ? Bsn. 1 ~ Ó ~ ~ Ó ~ ~ ppp 3 3

(no pitch) ? O Ó O ~ O Ó O ~ O Ó O Bsn. 2 ¢ 3 3 3 ppp

° (no pitch) Hn. 1 & ~ Œ O O ~ Œ O O ~

ppp 3 3

(no pitch) ™ ™ Hn. 3 & ~ O Œ ~ O Œ ~ ppp

(no pitch) Hn. 2 & O OŒ O ~ O OŒ O ~ O OŒ O

ppp 3 3 3

(no pitch) O ‰‰ O O ~ O ‰‰ O O ~ O ‰‰ O O Hn. 4 & J J J ppp 3 3 3

(no pitch) O‰ O O ~ O‰ O O ~ O‰ O O Tpt. 1 & J J J ppp

(no pitch) ™ ™ Tpt. 2 & ~ Œ O ~ Œ O ~ ppp

(no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 1 J J J J J ppp

(no pitch) ONLY ? O™ O ‰‰ O O O O™ O ‰‰ O O O O™ O ‰ Tbn. 2 J J J J J ppp

(no pitch) ? O Œ O O ~ O Œ O O ~ O Œ O O B. Tbn. J J J J J J ppp

(no pitch) ? O Œ™ O ~ O Œ™ O ~ O Œ™ O Tba. ¢ J J J ppp

° ? ∑ ∑ ∑ ∑ ∑ Timp. ¢

(arco) ° sempre L.V. sim.j j ˙ ˙ œ Vib. & ∑ Œ j ‰‰ ‰Œ J ‰ { ˙™ œ œb ˙ œ œ

pp mf L.V. sempre œ & ∑ ∑ ∑ Œ Ó ∑

Hp. œ œb 3 œ {? ∑ ‰ Ó™ Œ Œ ∑ Œ‰ œ Œ MMLOLMLL 3 3 mf

(col legno tratto) ° ~ ~ ~ ~ ~ Vln. I a & ppp (col legno tratto) wo wo wo wo wo

Vln. I b & ppp (col legno tratto) REVIEW ~ ~ ~ ~ ~ Vln. I c & ppp o o o o o w (col legno tratto) w w w w Vln. I d & ppp (col legno tratto)

Vln. I e & ~ ~ ~ ~ ~ ppp

(col legno tratto) Vln. II a & ~ ~ ~ ~ ~ ppp

(col legno tratto) Vln. II b & ~ ~ ~ ~ ~ ppp FOR (col legno tratto) Vln. II c & ~ ~ ~ ~ ~ ppp (col legno tratto) w w w w w Vln. II d & ppp

(col legno tratto) w w w w w Vln. II e & ppp (col legno tratto) ~ ~ ~ ~ ~ Vla. a B ppp o (col legno tratto) o o o o w w w w w Vla. b & ppp

(col legno tratto) B Vla. c ~ ~ ~ ~ ~ ppp o (col legno tratto) o o o o B w w w w w Vla. d ¢ ppp

6 7 8 9 10

81 A ~ O ™ ™ 11 ~ O ~ 3 ° Œ ™ Œ Fl. & wb ˙b ™ w ˙ w ppp ~ O O ~ O O ~ Œ ‰‰ Fl. 2 & w ˙b ˙ w ˙ ˙ w ppp 3 3 O O O ~ O O O ~ O O O Œ Œ Œ Fl. 3 &œ œ ˙ w œ œb ˙ w œ œb ˙ 3 ppp 3 3

(no pitch) Ob. & OŒ O O ~ OŒ O O ~ OŒ O O

3 ppp 3 3

(no pitch) Cl. 1 & Œ O O ~ Œ O O ~ ~

3 3 ppp (no pitch) Cl. 2 & ~ OŒ O ~ OŒ O ~ ppp

? (no pitch) B. Cl. O Ó O ~ O Ó O ~ O Ó O

3 ppp 3 3 ? (no pitch) Bsn. 1 Ó ~ ~ Ó ~ ~ Ó ~ 3 3 3 ppp

(no pitch) ? ~ OÓ O ~ O Ó O ~ Bsn. 2 ¢ ppp 3 3

° (no pitch) Hn. 1 & Œ O O ~ Œ O O ~ Œ O O

ppp 3 3 3 (no pitch) ™ ™ ™ Hn. 3 & O Œ ~ O Œ ~ O Œ ppp

(no pitch) Hn. 2 & O OŒ O ~ O OŒ O ~ O OŒ O

ppp 3 3 3

(no pitch) O ‰‰ O O ~ O ‰‰ O O ~ O ‰‰ O O Hn. 4 & J J J ppp 3 3 3

(no pitch) ~ O‰ O O ~ O‰ O O ~ Tpt. 1 & J J ppp

(no pitch) ™ ™ ™ Tpt. 2 & Œ O ~ Œ O ~ Œ O ppp

(no pitch) ? O™ O ‰‰ O O O O™ O ‰‰ O O O O™ O ‰ Tbn. 1 J J J J J ppp ONLY (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 2 J J J J J ppp

(no pitch) ? ~ O Œ O O ~ O Œ O O ~ B. Tbn. J J J J ppp

(no pitch) ? O Œ™ O ~ O Œ™ O ~ O Œ™ O Tba. ¢ J J J ppp

° 32" C ? ∑ ∑ Ó æ æ æ Timp. ¢ ˙æ wæ wæ ppp

° sempre L.V. soft mallets 3 sim. arco œb œ w Vib. & j ‰ŒÓ Œ Œ ŒÓ ∑ Ó { ˙ œ œ mp 3 p mf

L.V. sempre 3 ∑ Ó Œ œb Œ œ ŒÓ ∑ ∑ & œ Hp. mf œ œ {? ∑ ∑ ∑ ŒŒŒ Œ‰ œ Ó™ MMLOLMLL 3 3 mf A (col legno tratto) sul ponticello ° ~ ~ ~ O ~ Vln. I a & Ó ppp (col legno tratto) ppp pp wo wo wo ˙o ™ œo ˙o sul ponticello ŒŒ‰ J Vln. I b & REVIEW ppp ppp (col legno tratto) ~ ~ ~ ~ sul ponticello O O Vln. I c & Ó ‰ ppp 3 ppp o o o o o sul ponticello o w (col legno tratto) w w w œ œ Vln. I d & ŒŒ‰ ppp 3 ppp (col legno tratto)

Vln. I e & ~ ~ ~ ~ ~ ppp

(col legno tratto) Vln. II a & ~ ~ ~ ~ ~ ppp

(col legno tratto) Vln. II b & ~ FOR~ ~ ~ ~ ppp (col legno tratto) Vln. II c & ~ ~ ~ ~ ~ ppp (col legno tratto) w w w w w Vln. II d & ppp

(col legno tratto) w w w w w Vln. II e & ppp (col legno tratto) ~ ~ ~ ~ ~ Vla. a B ppp

o (col legno tratto) o o o o w w w w w Vla. b & ppp

(col legno tratto) B Vla. c ~ ~ ~ ~ ~ ppp o (col legno tratto) o o o o B w w w w w Vla. d ¢ ppp 11 12 13 14 15

82 O ™ ~ O ™ #~ O ™ 4 °16 Œ Œ ™ Œ Fl. & ˙™ w ˙™ w# ˙ ppp ppp pp O O ~ O O ~ #O O Œ Œ Œ Fl. 2 & ˙ ˙ w ˙ ˙ w ˙# ˙ 3 3 ppp pp 3 ~ O O O ~ O O O ~ Œ Œ Fl. 3 &w œ œ ˙ w œ œ ˙ w ppp 3 ppp pp 3 (no pitch) insert mouthpiece Ob. & ~ ∑ ∑ ∑ ∑ ppp ord. B˙ ˙ w B˙ ˙ w B˙ ˙ Cl. 1 & Œ Œ Œ 3 N pp 3 3 (no pitch) ord. Bb˙ w œ Bb˙ w Cl. 2 & OŒ O OŒ Œ ppp N pp (no pitch) ? B. Cl. ~ O Ó O ~ OÓ O ~ ppp 3 3 ppp pp (no pitch) ? Bsn. 1 ~ Ó ~ ~ Ó ~ ~ ppp 3 3 ppp pp (no pitch) ? O Ó O ~ O Ó O ~ OÓ O Bsn. 2 ¢ 3 3 3 ppp pp ° (no pitch) Hn. 1 & ~ Œ O O ~ Œ O O ~ ppp 3 ppp pp 3 (no pitch) ™ ™ Hn. 3 & ~ O Œ ~ O Œ ~ ppp ppp pp (no pitch) Hn. 2 & ~ O OŒ O ~ O OŒ O ~ ppp 3 ppp pp 3 (no pitch) ~ O ‰‰ O O ~ O ‰‰ O O ~ Hn. 4 & J J ppp 3 ppp pp 3 (no pitch) ord. con sordino œ. . O‰ O O ~ O‰ O O O Ó ‰‰ J ‰ œ. ‰Œ œb ‰ Tpt. 1 & J J J J ppp pp pp 5 (no pitch) ™ ™ ™ Tpt. 2 & ~ Œ O ~ Œ O O Œ ppp ppp pp (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 1 J J J J J ppp ppp pp (no pitch) ? O™ O ‰‰ O O O O™ O ‰‰ O O O O™ O ‰ Tbn. 2 J J J J J ppp ppp pp (no pitch) ONLY ? O Œ O O ~ O Œ O O ~ O Œ O O B. Tbn. J J J J J J ppp ppp pp (no pitch) ? ~ O Œ™ O ~ O Œ™ O ~ Tba. ¢ J J ppp ppp pp

° (C) ? æ æ æ æ æ Timp. ¢ wæ wæ wæ wæ wæ ppp ° sempre sim. L.V.œ w œ soft mallets 5 œ J ‰Œ J ‰ŒÓ Œ‰ Œ ∑ ∑ Vib. {& œ 3 œ mp p mf mp

L.V. sempre œ bœ œ œb œb œ & Œ Ó Ó Œ‰ J ∑ ∑ Œ Œ Hp. mf {? ∑ Œ‰ œ ‰ œb ‰ ∑ ∑ ∑ MMLOLMLL mf 3

(sul ponticello) ° ~ ~ ~ ~ ~ Vln. I a & pp (sul ponticello) wo wo wo wo wo

Vln. I b & pp (sul ponticello) ~ ~ ~ ~ ~ Vln. I c & pp (sul ponticello) wo wo REVIEWwo wo wo Vln. I d & ppp pp sul ponticello 3 j Vln. I e & ‰‰ O O™ ~ ~ ~ ~ ppp pp sul ponticello 3 Vln. II a & Œ‰ O O ~ ~ ~ ~

ppp pp (col legno tratto) sul ponticello 3 Vln. II b & ‰‰ j O O O ~ ~ ~ ~ ppp ppp pp (col legno tratto) sul ponticello Vln. II c & Œ O O O O™ ~ ~ ~ ppp ppp pp (col˙ legno tratto)FORBsulœ ponticello˙™ w w w Vln. II d & Ó ‰ ppp 3 ppp pp (col legno tratto) ˙ ™ sul ponticello Bœ ˙ w w w Vln. II e & ŒŒ‰‰ J ppp 3 ppp pp (col legno tratto) ~ sul ponticello O O ~ ~ ~ Vla. a B Ó ‰ ppp 3 ppp pp (colo legno tratto) o o o o o w œ Ó sul ponticello ‰‰ œ w w w Vla. b & J ppp 3 ppp pp (col legno tratto) B Ó sul ponticello ‰‰3 j Vla. c ~ O O O™ ~ ~ ppp ppp pp (col legno tratto) o o sul ponticello o o o o Vla. d B w ˙™ ŒŒ‰ œ ˙ w w ppp 3 ppp pp 3 o o ? sul ponticello o Vc. 1 ∑ ∑ ∑ & ‰ œ ˙™ w ppp pp 3 o o ? sul ponticello j Vc. 2 ¢ ∑ ∑ ∑ ∑ & Œ‰‰ œ ˙ ppp 16 17 18 19 20

83 #~ O ™ ™ 5 °21 #~ O µ~ Fl. & Œ Œ w# ˙™ #w ˙™ µw pp <#>~ #O O ~ µO O ~ Œ Œ Fl. 2 & <#>w ˙# ˙ w µ˙ ˙ w pp 3 3 O #O O ~ O #O O ~ O µO O Fl. 3 & Œ œ ˙ w Œ Œ œ œ œ# ˙ w œ µœ ˙ 3 3 pp 3 œ œ œ™ œ œb ord. J œb ˙ Ob. & ∑ ∑ Œ‰ Ó ∑ p mp 3 pp w B˙ ˙ w B˙ ˙ w

Cl. 1 & Œ Œ pp 3 3 œ Bb˙ w œ Bb˙ w œ Bb˙ Cl. 2 & Œ Œ Œ pp (no pitch) ? B. Cl. ~ OÓ O ~ OÓ O ~

pp 3 3 (no pitch) ord. ? ~ ~ ∑ ∑ ‰ j Bsn. 1 œ ˙™ pp pp (no pitch) ord. ? ~ ∑ ∑ ‰ j Bsn. 2 ¢ œ ˙™ w pp pp ° (no pitch) Hn. 1 & Œ O O ~ Œ O O ~ Œ O O

3 pp 3 3 (no pitch) ™ ™ ™ Hn. 3 & O Œ ~ O Œ ~ O Œ pp (no pitch) Hn. 2 & O OŒ O ~ O OŒ O ~ O OŒ O

pp 3 3 3 (no pitch) O ‰Œ O ~ O ‰‰ O O ~ O ‰‰ O O Hn. 4 & J J J pp 3 3 sans sordino no pitch ord. ‰ O O™ O‰ O O ~ O‰ O O O™ Œ Tpt. 1 & J J J pp (no pitch) ord. ™ ™ ™ Tpt. 2 & Œ O ~ Œ O ~ O Œ pp (no pitch) ? O™ O ‰‰ O O O O™ O ‰‰ O O O O Ó Tbn. 1 J J J J pp (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 2 J J J J J pp (no pitch) ? ~ O Œ O O ~ O Œ O O ~ B. Tbn. J J J J pp (no pitch) ? O Œ™ O ~ O Œ™ O ~ O Œ™ O Tba. ¢ J J J pp ONLY ° C R C R C R C ? æ æ æ æ æ Timp. ¢ wæ wæ wæ wæ wæ ppp gliss. sempre ° L.V. sempre j ™ Vib. & ∑ ‰ Ó ∑ ∑ ∑ { œ mf L.V. sempre œ œ bœ œb œb œ œ œb & œb Ó ∑ ∑ ∑ Ó Œ‰ J Hp. MLLOLMLL 5 {? ∑ ∑ ∑ ∑ Œ‰ œ ‰ œb ‰ ﬀ mf 3 f

(sul ponticello) ° ~ ~ ~ ~ ~ Vln. I a & pp (sul ponticello) wo wo wo wo wo

Vln. I b & pp (sul ponticello) ~ ~ ~ ~ ~ Vln. I c & pp (sul ponticello) wo wo wo wo wo Vln. I d & pp (sul ponticello)

Vln. I e & ~ ~ ~ ~ ~ pp (sul ponticello)

Vln. II a & ~ ~ ~ ~ ~ pp (sul ponticello) REVIEW Vln. II b & ~ ~ ~ ~ ~ pp (sul ponticello) Vln. II c & ~ ~ ~ ~ ~ pp (sul ponticello) w w w w w Vln. II d & pp (sul ponticello) w w w w w Vln. II e & pp (sul ponticello) ~ ~ ~ ~ ~ Vla. a B pp o (sul ponticello) o o o o w w w w w Vla. b & pp (sul ponticello)FOR B Vla. c ~ ~ ~ ~ ~ pp o (sul ponticello) o o o o Vla. d B w w w w w pp o (sul ponticello) o o o o Vc. 1 & w w w w w pp o (sul ponticello) o o o o Vc. 2 & w w w w w pp O O ~ ~ ~ ~ ? sul ponticello Vc. 3 Ó ‰ pp 3 sul ponticello ? ∑ Ó Œ‰‰3 j Vc. 4 O ~ ~ ~ pp sul ponticello ? ∑ ∑ Ó ‰‰3 j Vc. 5 & œ œ w w pp sul ponticello ? œ w Cb. 1 ∑ ∑ ∑ Ó Œ‰ pp 3 sul ponticello ? ∑ ∑ ∑ ∑ Ó Œ‰‰3 j Cb. 2 ¢ œ pp 21 22 23 24 25

84 6 26 <µ>O ™ ~ ~ O ™ ° p Œ Œ Ó Fl. & <µ>˙™ wn w ˙™ œ œ œ# œ pp pp #O O ~ O O ~ mp f (poss.) Œ Œ ™ œ Ó Fl. 2 & #˙ ˙ w ˙ ˙ w œ œ pp p 3 mp f (poss.) 3 <µ>~ O #O O ~ ~ Fl. 3 & Œ œ# œ Ó <µ>w œ #œ ˙ w w œn ™ œ# œ pp mp f (poss.) 3 pp p

Ob. & ∑ ∑ ∑ ∑ ∑ B˙ ˙ w B˙ ˙ w Cl. 1 & Œ Œ ‰ œ œ œb Ó 3 pp p 3 w œ Bb˙ w œ p mp Cl. 2 & Œ Ó Œ œ Ó œ œb ™ pp pp p p mp ? ˙ w ˙ ˙ w ˙ ˙ B. Cl. O Ó Ó Ó 3 pp p 3 3 ? Œ‰ j Œ Bsn. 1 w ˙™ œ ˙™ w ˙™ pp pp ? Œ‰ j p Œ‰ j Bsn. 2 ¢ ˙™ œ ˙™ w ˙™ œ ˙™ pp pp p ° (no pitch) Hn. 1 & ~ Œ O O ~ Œ O O ~ pp 3 pp p 3 (no pitch) ™ ™ Hn. 3 & ~ O Œ ~ O Œ ~ pp pp p (no pitch) Hn. 2 & ~ O OŒ O ~ O OŒ O ~ pp 3 pp p 3 (no pitch) ~ O ‰‰ O O ~ O ‰‰ O O ~ Hn. 4 & J J pp 3 pp p 3 con sordino. . sans sord. no pitch ‰ œ ‰‰ œ. ‰ œ ‰Œ‰ O O™ ~ O‰ O O ~ Tpt. 1 & J J J J J mp 5 pp p œ.con sordino . . . sans sord. no pitch ‰ œ. ‰ œb ‰ œ ‰ œ. ‰ œn ‰Œ O™ ~ O™ ŒŒ O™ Tpt. 2 & J J J J J J mp 3 3 pp p (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 1 J J J J J pp p (no pitch) ? O™ O ‰‰ O O O O™ O ‰‰ O O O O™ O ‰ Tbn. 2 J J J J J pp pp p (no pitch) ? O Œ O O ~ O Œ O O ~ O Œ O O B. Tbn. J J J J J J pp pp p (no pitch) ? ~ O Œ™ O ~ O Œ™ O ~ Tba. ¢ J J pp pp p ° R C R C R C R C R C ? æ æ æ æ æ Timp. ¢ wæ µwæ wnæ Bwæ µwæ ppp

° sempre L.V. soft mallets arco sim.j ONLY ™ Vib. & ∑ j ‰ Œ Ó Œ œ Ó ∑ { w œ œ mf mp f L.V. sempre œ œ œb œb œ œ & ∑ ∑ œb Ó ∑ ∑ Hp. 5 ? ∑ ∑ Ó Œ œb ∑ ∑ { œ MLLOLMLL mf ﬀ

(sul ponticello) ° ~ ~ ~ ~ ~ Vln. I a & pp (sul ponticello) wo wo wo wo wo

Vln. I b & pp (sul ponticello) ~ ~ ~ ~ ~ Vln. I c & pp (sul ponticello) wo wo wo wo wo Vln. I d & pp (sul ponticello)

Vln. I e & ~ ~ ~ ~ ~ pp (sul ponticello) Vln. II a & ~ ~ ~ ~ ~ pp (sul ponticello) Vln. II b & ~ ~ ~ ~ ~ pp (sul ponticello) Vln. II c & REVIEW ~ ~ ~ ~ ~ pp (sul ponticello) w w w w w Vln. II d & pp

(sul ponticello) w w w w w Vln. II e & pp (sul ponticello) ~ ~ ~ ~ ~ Vla. a B pp (sulo ponticello) o o o o w w w w w Vla. b & pp (sul ponticello) Vla. c B ~ ~ ~ ~ ~ pp FOR (sulo ponticello) o o o o Vla. d B w w w w w pp (sulo ponticello) o o o o Vc. 1 & w w w w w pp (sulo ponticello) o o o o Vc. 2 & w w w w w pp

(sul ponticello) ~ ~ ~ ~ ~ ? Vc. 3 pp ? (sul ponticello) Vc. 4 ~ ~ ~ ~ ~ pp (sul ponticello) Vc. 5 & w w w w w pp (sul ponticello) sul tasto sul pont. sul tasto sul pont. ? w w w w w Cb. 1 pp ? (sul ponticello) sul tasto sul pont. sul tasto sul pont. Cb. 2 ¢ w w w w w pp 26 27 28 29 30

85 B 31 ~ ™ 7 ° O #w O ™ n~ Œ Œ Fl. & w ˙™ w# ˙™ wn p O ™ ~ #O O ~ nO O Œ ‰‰ Œ Fl. 2 & ˙™ w ˙# ˙ w ˙n ˙ p 3 3 ~ O O O ~ O #O O ~ Fl. 3 & Œ Œ w# œ œ ˙ w œ œ# ˙ w p 3 3 Ob. & ∑ ∑ ∑ ∑ ∑ Bw B˙ ˙ w B˙ ˙ w

Cl. 1 & Œ Œ 3 3 Bbpw w œ Bb˙ w œ Bb˙ Cl. 2 & Œ Œ p ? w ˙ ˙ w ˙ ˙ w B. Cl. Ó Ó 3 p 3 ? ‰ j Œ‰ j Bsn. 1 œ ˙™ w ˙™ œ ˙™ w p ? Œ ‰ j Œ Bsn. 2 ¢ w ˙™ œ ˙™ w ˙™ p ° (no pitch) Hn. 1 & Œ O O ~ Œ O O ~ Œ O O

3 p 3 3 (no pitch) ™ ™ ™ Hn. 3 & O Œ ~ O Œ ~ O Œ p (no pitch) Hn. 2 & O OŒ O ~ O OŒ O ~ O OŒ O

p 3 3 3 (no pitch) O ‰‰ O O ~ O ‰‰ O O ~ O ‰‰ O O Hn. 4 & J J J p 3 3 3 ord. con sordino p (no pitch) œ. . . . sans sordino no pitch O™ Œ J ‰ œ. ‰ œb ‰ œ ‰ œ. œn Œ‰ O O ~ O‰ O O Tpt. 1 & J J J J J p mp 5 p ord. (no pitch) con. sordino . œ. . sans sordino no pitch O™ Œ œ ‰ œ. ‰ œ ‰ ‰ œ. ‰ œb ‰Œ O™ ~ ~ Tpt. 2 & J J J J J J p mp 3 3 p (no pitch) ? O™ Œ‰ O O O O™ O ‰‰ O O O O™ O ‰ Tbn. 1 J J J J p (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 2 J J J J J p (no pitch) ? ~ O Œ O O ~ O Œ O O ~ B. Tbn. J J J J p (no pitch) ? O Œ™ O ~ O Œ™ O ~ O Œ™ O Tba. ¢ J J J p ° R C R C R C R C R C ? æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˙n æ µ˙æ ˙n æ µ˙æ ˙n æ B˙æ ˙n æ µ˙æ ˙n æ B˙æ ppp mp L.V. ° sempre sim.œ 5 5 5 j ∑ Ó œ œ œ œ œ Ó œ ‰ œ ‰ œ ‰ j ‰ j ‰ j ‰ j ‰ ‰ Vib. & œb ONLYœ œb j œ œb œb { œ œ œ 3 3 mf p ﬀ L.V. sempre œb j j j j j œb & j ‰ J‰Œ œb ‰‰ œb ‰ œb ‰‰ œb ‰‰ œb œb ‰ ‰ j œ J œb œ Hp. f œb œb œb œb œb gliss. ad lib. {? Œ‰ j j ‰‰ J Œ‰ œ œb ‰ R ≈ œ œ ≈ R ‰ œb œ ‰Œ œ œb J J J J MLLOLMLL f wb mp ﬀ B ˙ (sul ponticello) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ~~ O arco ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙# ~~~~~~~~~~~~~~~~~~~~ ~ ~ ° J ~ œ ~~~~~~~~~~~~~~~ œ Vln. I a & Œ ‰ J ‰ pp 5 p cresc. ------mp 3 cresc. ------mf p œo œ œ œ wo wo (sul ponticello) ~~~~~~~~~~~~~~ ~~~~~~ œ ~~ œ arco ~~~~~~~~ œ ~~~ œ ~~~~~ ~~~~~~ œ# j Œ‰ J ~~œ ~~~~~~~~ œ ‰‰ ~~~~~~~~~~~ œ~~~~~ œ# ~~~~ j ‰ Vln. I b & J J ~~ œ ~œ ~~~~~~ œ 3 3 3 3 pp p cresc. - - œ ------mp cresc. ------3 - - - - mf p (sul ponticello) ~~~~~~~~~ ˙# ~~~~~~~~~~~~~ arco œ ~~~~~~~ ~~~~~~~~~~~~~~~~~~~~ œ ~~~~ ˙# ~~~~~~~~~~~~~~~~~ O™ ‰ ~~~~~~~~ œ ~~~~~~~~~~~~~~~~~~~~~~~ œ ~~~~~~~~~~~~œ ‰Œ ~ ~ Vln. I c & J J J 3 5 pp p 5 cresc. ------mp cresc. ------mf p (sul ponticello) arco œ œ ~~~~~ o o o ~~~~~~~~~~~~~~~~~~~ œ œ ~~~~~~ o o w ˙ œ J ~~ œ J ~~~~~~~~ œ œ# ~~~~ j wn w Vln. I d & J ‰ J ‰ J ‰ J œ ‰ p 3 3 3 pp cresc. ------mp cresc. ------mf p (sul ponticello) arco ˙~~~ 5 5 ‰ ~~~~~~~~~~~~~~~~~~~~~~~ œ ~~ j ˙~ ‰‰ ‰Œ Vln. I e & ~ ~ O ~~~~~~~~~~~~~~ œ ~~~~~ ~~~~~~~~~~~~~ j ˙# ~~~ j ~~~~~~~~~~ œ ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ pp 5 œ ~~~~ œn ˙# ~~~~~~ œ ˙™~~ p cresc. ------mp arco ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™~~~~~ cresc. ------mf ~~~ œ™ J ~~~~~~~~~~~~~~~~~~~ œ# ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ# Vln. II a & Œ J‰ J ‰ ~ ~ 3 p p cresc. ------mp cresc. ------mf p œ œ ~~~~~~~ œ œ ~~ (sul ponticello) arco ~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ œ ~~~~ J ~ œ ~~~~~~~ œ ~~~~~~~~~œ ~ j œ# œ~~~~~~ j3 œ# j Vln. II b & Œ J J ~~~~~~~~~~~~~ œ ~~~~~~~ ~~~~~~~~~ œ ‰ ~ ~~~~~~œ On ~ 3 3 3 3 pp p cresc. ------mf p (sul ponticello) arco ˙# ~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ˙ ~~~~~~~~~~~~~~~~~~ œ ~~~~~~~~~~~~~~~ ˙5~~~~~~~~~~ j ™ Vln. II c & ‰ J ‰ ~~~~~~~~~~~~ j ‰ Œ ~~~~~~~~~~~~~~ ‰ ˙ ~~~~~~~~~~~~~ j ‰ ~ O ~~~~~~~~~~ œ ~~~~ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ# REVIEW5 5 pp p cresc. ------mf arco œ w w œ ~~~~~~~ j œ# ~~ 3 3 B˙ (sul ponticello) ‰ ~ œ ~~~~~~~~ ~~~~~~~~~ œ j œ ‰Œ Vln. II d & ~~~~~~~~ œ ~~~~~~~~~~~ ~~~~~~~~ œ# j œ# ~ j ~~~ œn ~~~~~~~~~~~~~ ~~~~~~~~~ œ pp p 3 3 ~~~ œ p cresc. ------mf (sul ponticello) œ# ˙ ~~~~~~~~~ œn ˙™ ~ arco ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ w œ ~~~~~~~~~ œ J ~~~~~~~~~~ œ# ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ# Bw Vln. II e & Œ J‰‰ J‰ J ‰ pp 3 p 5 p ˙# ˙ ~~~~~~~~~ œ cresc.˙™ ~~~ ~-~ ------mp ------mf arco ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ# ˙ ~~~~~~~~ ~ ~ B Œ J‰‰ J ~ ~~~~~~~~~~~~~~~~~~~~~~~~~ œ ‰ Vla. a J p 3 cresc. ------5 ------mf p (sul ponticello) arco o o œ 3 o w ˙ ‰ ~~~~~~~~~~~~~ œ ‰‰ œ œ ~~~~~~~~~ j œ j ‰ ‰ 3 ‰‰ 3 ‰ wn Vla. b & J ~~~~~ œ ~~~~~~~~ œ# j j ~~œ ~~~~~~~~ œ# ~~~ pp p 3 3 ~œ ~~~~~~ œ (sul ponticello) cresc. ------œ -~ ------mf p arco ~~~~~~ œ œ# ~~~~ j Vla. c B ‰ ‰‰ ~~~~~~~ œ ‰‰ œ# ~~~~ j ‰Œ ~ ~ O J ~~~~~~ œ œ# œ ~~~~~~~~~~~~~ O 3 3 ~~~ œn pp p 3 cresc. ------˙# ------mf p (sul ponticello) arco ~~~~~~~~~~~~~~~ o FORo o ~~~~~~~~~ œ œ™~~~~~~~ j 5 ~~ ˙ Vla. d B w w w Œ J ~~~~~~~~ ‰ ~~~~~~~~ ŒŒ ~~ œ ~~~~~~~~~~~~~~~~~ j 3 5 œ pp arco p cresc. ------mf (sul ponticello) 3 o o o 5 3 ˙ ~~~~~~~~ j ‰ Œ Œ ‰ŒŒŒ? ~~~~~~~~~~~~~~~~~~~ œ ‰‰ Vc. 1 & w ˙™~~~~~~~~~~~~~~~~~ ˙# j & œ ˙™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ~~~~~~~~~~~~~~~~~ J pp ~~~~~ œ 5 p cresc. ------mf p (sul ponticello) o arco o 3 3 œ 3 j o ‰ ‰‰ ? ‰ ~~~~~~~ œ~~ ‰ œ# ~~ j ‰‰‰ Vc. 2 & w œ œ~~~ j ~~~~~ œ ~~~~~~~~~ œ œ# œ™ ~~~~~~~~~~~ j& w ~~~~~~~~~ œ œ~~~~~~~~~~~ ~~~~~~~~~~~~ œ pp ~~~~~~~ œ 3 3 p p cresc. ------mf (sul ponticello) arco˙™ ~~~~~~ ˙# ~ ~ O ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ~~~~~~~~~~~~~~~~~~~~~~ ˙# ~~~~~~~ ? J ‰Œ‰ ~~~~~ œ ‰‰ ~~~~~~~~~~~~~~~~~~ œ ‰Œ Vc. 3 J J 5 5 5 pp p cresc. ------œ- - œ ------mf (sul ponticello) arco ~~~~~~~~~~~~~~ œ œ~~~~ ? j ‰ J ~~ œ ‰ J ~~~~~~~~~~~ œ œ# ~~~~ j ‰ Vc. 4 ~ ~ ~ O O J J ~~~~ œ 3 3 3 pp p cresc. ------mf (sul ponticello) arco ?‰ ˙# ~~~~~~~~~~~~~~~~~~~~~~~~ œ œ j 5 5 3‰ ˙ ~~ Vc. 5 & w w œ ~~ ~~~~~~~~~~~~~~ ~~~~~~ œ ˙# ~~~~~~~~~~~~~~~~~~~~~~ j j ~~~~~~~~~~~~~~~~ ~~ œn ~~~~~ œ ~~~~~~~~~~~~~~~ œ ˙# ~~~~~~~~~~~~~~~~~~~~~~~ pp 5 ~ œn p cresc. ------mf cresc. sul tasto sul pont. arco 3 ? w w ˙™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ‰ŒŒ ˙# ~~~~~~~~~~~~~~~~~~~~~~~~~ j ‰Œ Cb. 1 J œ ~~~~~~~~~~~~~~~ œ ˙# ˙ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pp 5 3 p cresc. ------mf ? sul tasto sul pont. sul tasto ord. œ ~~~~~ j œ j 3 œ Cb. 2 Œ‰ ~~~~~ œ ‰‰ ~~~~~~~~ ‰‰ œ j ‰‰ ~~~~~~ w w w ~ œ ~~~~~~~ œ p 3 3 3 pp cresc. ------mf ? ∑ ∑ ∑ ∑ arco Cb. 3 ¢ w p 31 32 33 34 35

86 8 36 ° O ™ ~ O™ #~ ˙™ Fl. & Œ Œ Œ ˙™ w ˙™ #w ˙™ p 3 3 ~ O O ~ O# O ~ Fl. 2 & Œ Œ w ˙ ˙ w #˙ ˙ w p 3 O nO O ~ O O O ~ O O# O Fl. 3 & Œ Œ Œ œ œn ˙ w œ œ ˙ w œ #œ ˙ p 3 3 œ œb œb œ ˙ ˙ Ob. & ∑ ∑ Œ Ó ∑ p mp p B˙ ˙ w B˙ ˙ w B˙ ˙

Cl. 1 & Œ Œ Œ 3 p 3 3 w w œ Bb˙ w œ Bb˙ Cl. 2 & Œ Œ p ? ˙ ˙ w ˙ ˙ w ˙ ˙ B. Cl. Ó Ó Ó 3 p 3 3 ? Œ‰ j Œ‰ j Bsn. 1 ˙™ œ ˙™ w ˙™ œ ˙™ p ? ‰ j Œ ‰ j Bsn. 2 ¢ œ ˙™ w ˙™ œ ˙™ w p ° (no pitch) Hn. 1 & ~ Œ O O ~ Œ O O ~

p 3 3 (no pitch) ™ ™ Hn. 3 & ~ O Œ ~ O Œ ~ pp (no pitch) ord. 3 Hn. 2 & ~ O OŒ O ~ ~ O OŒ œ p 3 pp (no pitch) ~ O ‰‰ O O ~ O ‰‰ O O ~ Hn. 4 & J J p 3 3 (no pitch) ord. conœ. sordino . . . ~ O‰ O O ~ O™ Œ œ. œb ‰ œ ‰ œ. ‰ œn ‰ Tpt. 1 & J J J J p mp 5 (no pitch) ord. con. sordino . œ. . Œ O™ ~ Œ O™ O™ Œ œ ‰ œ. ‰ œ ‰ ‰ œ. ‰ œb ‰ Tpt. 2 & J J J J J J p mp 3 3 (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 1 J J J J J p (no pitch) ? O™ O ‰‰ O O O O™ O ‰ ‰ O O O O™ O ‰ Tbn. 2 J J J J J p p (no pitch) ? O Œ O O ~ O Œ O O ~ O Œ O O B. Tbn. J J J J J J p (no pitch) ? ~ O Œ™ O ~ O Œ™ O ~ Tba. ¢ J J p

R C R C R C R C R C R C R ° 3 3 3 ? æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˙n æ µ˙æ ˙n æ B˙æ ˙n æ µ˙æ ˙n æ B˙æ ONLY˙n æ µ˙æ ˙n æ B˙æ ˙n æ mp L.V. sim. œ ™ j Vib. & ŒÓ Œ Ó ∑ ∑ ∑ { œ ff mp L.V. sempre œ œb 7 bœ œ œb œb ŒÓ ∑ Ó œb œ œ œb œ œb ∑ Ó Œ‰ & œ œb œ œ J Hp. ff 3 3 {? ∑ ∑ ∑ ∑ Œ‰ œ ‰ œb ‰ ff MLLOLMLL mf 3 mf

° ~ ~ ~ ~ ~ Vln. I a & pwo wo wo wo wo

Vln. I b & p

~ ~ ~ ~ ~ Vln. I c & p wo wo wo wo wo Vln. I d & p

Vln. I e & ~ ~ ~ ~ ~ p

Vln. II a & ~ ~ ~ ~ ~ p

Vln. II b & ~ ~ ~ ~ ~ p REVIEW Vln. II c & ~ ~ ~ ~ ~ p w w w w w Vln. II d & p w w w w w Vln. II e & p ~ ~ ~ ~ ~ Vla. a B p o o o o o w w w w w Vla. b & p B Vla. c ~ ~ ~ ~ ~ p o FORo o o o Vla. d B w w w w w p o o o o o Vc. 1 & w w w w w p o o o o o Vc. 2 & w w w w w p ~ ~ ~ ~ ~ ? Vc. 3 p ? Vc. 4 n~ ~ ~ ~ ~ p w w w w ? Vc. 5 ~ ‰ ~~~ ˙™ ~~~~~~~~~~~~~~~~~~~~~~~ j ~~~~~~~~~~~~~~~~~~~~~~~~~~ œ p ff sul pont. sul tasto sul pont. sul tasto ? j ‰Œ ˙ µw wn Bw wn Cb. 1 ~~~ œ ff p sul pont. gliss. sempre sul tasto sul pont. sul tasto ? j ‰ Œ Cb. 2 ~~~ ˙ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ w Bw wn µw ff p ? Cb. 3 ¢ w µw wn Bw wn p 36 37 38 39 40

87 41 C ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 9 ° f.t. ~ O™ Œ ~ O™ ŒŒ ‰ œ# œ Œ Fl. & w ˙™ w ˙™ p 3 p mp mp mf (poss.) mp 3 3 f.t. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ O O ~ Œ O O ~ ‰ ≈ œ ˙™ Fl. 2 & ˙ ˙ w ˙ ˙ w J p 3 p mp mp mf (poss.) mp >~< O 3 3 f.t. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ # Œ O O ~ O Œ O O ‰ œ# ˙ œ ‰ Fl. 3 & <#>w œ œ ˙ w œ œ ˙ J J p mp mf (poss.) mp p mp Ob. & ∑ ∑ ∑ ∑ ∑ w ˙ ˙ w B˙ œ™ ˙™ Cl. 1 & Œ Œ ‰ Œ p 3 p mp 3 pp mp pp w œ Bb˙ w ˙™ Œ Œ ≈ œ œ™ œ™ ‰ Cl. 2 & R p p mp pp mp pp ˙ w ˙ ? w ˙ ˙ w B. Cl. Ó Ó p 3 3 p mp ? Bsn. 1 Œ‰ j Œ w ˙™ œ ˙™ w ˙™ p p mp ? Œ‰ j Œ‰ Bsn. 2 ¢ j ˙™ œ ˙™ w ˙™ œ ˙™ p p mp (no pitch) ° 3 3 ~ Hn. 1 & Œ ˙ ˙ w Œ ˙ ˙ w p pp pp p (no pitch) O™ Œ ~ O™ Œ 3Œ Hn. 3 & w ˙ œ œ p pp p Œ3 3Œ Hn. 2 & w ˙ œ œ w ˙ œ œ w pp ord. pp Œ‰ 3 j ‰‰ 3 j ‰‰ 3 Hn. 4 & œ ˙ w œ œ ˙ w œ œ ˙ pp (con sord.) œ ˙ w œ. pp . . . w p Œ‰ ‰ œ. œb œ ‰ œ. œn ‰‰ œb ˙ œ ‰ Tpt. 1 & J J J J J pp mp pp 3 (con sord.) . . . . pp mpr pp w ˙™ Œ œ ‰ œ. ‰ œ œ œ. ‰ œb ‰Œ ˙™ œ ≈ ‰ Œ Tpt. 2 & J J J œ œ™ œ pp 5 pp pp (no pitch) mp pp mp ? O™ O ‰‰ O O O O™ O ‰‰ O O O O™ O ‰ Tbn. 1 J J J J J p (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 2 J J J J J p (no pitch) ? ~ O Œ O O ~ O Œ O O ~ B. Tbn. J J J J p (no pitch) ? O Œ™ O ~ O Œ™ O ~ O Œ™ O Tba. ¢ J J J p

C R C R C R C R C R C R C R C ° 3 3 3 3 3 ? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ µ˙æ ˙n æ B˙æ ˙n æ µ˙æ ˙n æ B˙æ ˙n æ µ˙æ ˙n æ B˙æ ˙n æ µ˙æ ˙n æ B˙æ mp bœ ONLY (arco) ° sempre ∑ Ó Œ‰ œb ∑ ∑ ∑ Vib. {& J mf

L.V. sempre bœ œ œb œ œ œb & ∑ ∑ ŒŒ œ Œ J ‰Ó Œ‰ J Hp. ? Ó Œ ∑ œ Œ Ó ∑ Œ ‰ œ ‰ ‰ { œb œ œb MLLOLMLL f 3 C ° ‰ œ# œ Œ Vln. I a & ~ ~ ~ ~ O 3 pp mp pp p mp ‰ O O™ ~ ~ ~ O ≈ œ ˙™ Vln. I b & J J 3 3 p mp pp mp pp œo ˙o wo wo wo œo O ‰ œ# ˙ œ ‰ Vln. I c & J 3 po p mp pp mp pp œ 3 ™ ™™ ‰‰ j ≈ ≈ œ œ œ ≈ Vln. I d & O O ~ ~ ~ R p 3 pp mp pp p mp œo œo wo wo wo ‰ ≈ œ# œ™ œ™ ‰ Vln. I e & O J 3 p p 3 mp pp mp pp ‰‰3 j ˙™ Œ Vln. II a & O O O ~ ~ ~ p pp mp pp p mp Œ O ~ ~ ~ ≈ œ œ™ œ™ ‰ Vln. II b & œ œ œ# œ R p mp pp pp mp mf mp wo wo wo ™ œ Ó ‰‰ œb ˙ œ ‰ Vln. II c & œ œ REVIEW J J mp mf p mp 3 pp mp pp 3 r œ# œ Ó ‰‰ j ≈ œ œ™ œ™ ‰ Vln. II d & œ™ œ# œ O O™ ~ ~ pp mp pp mp mf p mp ‰ œb Ó Œ‰‰ On O ~ ~ O ‰ 3 Œ Vln. II e & œ œ J œ# œ 3 pp mp pp mp mf p mp O 3 Vla. a B ‰ O O ~ ~ ~ ~ p o ˙ Vla. b & Œ‰B O ~ ~ ~ ~

p 3 B j 3 Vla. c O O O™ ~ ~ ~ ~ p o œo ˙o wo wo wo wo Vla. d B œFOR ‰ p 3 o o o o o Vc. 1 & w w w w ˙™ Œ p p o o o o o o o ‰‰ œ ˙ w w w Vc. 2 & w œ J p 3 ~ O o o o o o ? œ œ w w w Vc. 3 ‰ p 3 3 j ? ‰‰ O ~ ~ Vc. 4 ~ ~ O™ p w w w ˙ ? ‰‰ O O ~ Vc. 5 J p 3 sul tasto sul pont. sul ponticello sul tasto sul pont. œ w ˙ µ˙ ? µw wn B˙ Cb. 1 Œ‰ p 3 sul ponticello sul tasto sul pont. sul tasto sul pont. ? ‰‰ œ ˙ µ˙ Cb. 2 wn Bw wn µ˙ ™ J 3 p ? ˙ µ˙ Cb. 3 ¢ µw wn Bw wn p 41 42 43 44 45

88 10 46 ™ ° ~ ~ O™ ˙ ~ Fl. & Œ Œ w w ˙™ w mp mf (poss.) mp 3 3 O O ~ ~ O O Fl. 2 & Œ Œ ˙ œ Œ Œ ˙ ˙ w w ˙ ˙ mp 3 mp 3 3 mf (poss.) œ ˙ 3 O O ~ O™ O O Fl. 3 & ŒŒ ‰ŒÓ Ó ŒŒ œ ˙ w œ™ œ ˙ 3 mp mf (poss.) mp œb œn œ œ ˙b ˙ Ob. & ∑ Œ Ó ∑ ∑ p mp p Bb˙ ˙ w ˙ ˙ w B˙ ˙ Cl. 1 & Œ Œ Œ 3 mp 3 3 Bbw w œ ˙ w œ B˙ Cl. 2 & Œ Œ mp ? ˙ 3 3 B. Cl. Ó ˙ w ˙ Ó ˙ w ˙ Ó ˙ 3 mp ? Bsn. 1 ‰ j Œ‰ j œ ˙™ w ˙™ œ ˙™ w mp ? Œ‰ Œ Bsn. 2 ¢ j w ˙™ œ ˙™ w ˙™ mp ° 3 3 3 Hn. 1 & Œ ˙ ˙ w Œ ˙ ˙ w Œ ˙ ˙ p Œ3 Œ 3 Hn. 3 & w ˙ œ œ w ˙ œ œ w p p 3 3 3 Hn. 2 & Œ Œ Œ ˙ œ œ w ˙ œ œ w ˙ œ œ p 3 3 Hn. 4 & j ‰‰ j ‰‰ w œ œ ˙ w œ œ ˙ w p (con sord.) w œ œ ˙ w ˙™ œ. . . . ‰ Œ ‰ œ. ‰ œb œ œ. ‰ œn ‰ Tpt. 1 & J J J J pp pp p mp 5 (con sord.) . . œ. . Œ ˙™ w Œ ˙™ w ‰ œ œ. ‰ œ ‰ ‰ œ. ‰ œb ‰ Tpt. 2 & J J J J 3 pp pp p mp 3 (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 1 J J J J J p (no pitch) ? O™ O ‰‰ O O O O™ O ‰‰ O O O O™ O ‰ Tbn. 2 J J J J J p (no pitch) ? O Œ O O ~ O Œ O O ~ O Œ O O B. Tbn. J J J J J J p (no pitch) ? ~ O Œ™ O ~ O Œ™ O ~ Tba. ¢ J J p 28" C R C R C R C R C R C R C R C 3 3 3 3 3 °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˙ µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n ONLYB˙ ˙n µ˙ ˙n mp L.V. ° sempre arco ˙ ˙ œ soft mallets L.V. sim. œ Ó J ‰ŒÓ Œ œ Œ‰ Ó™ ∑ Vib. {& œ p mf 3 mp 3 L.V. sempre & ∑ ∑ ∑ ∑ ∑ Hp. ? Ó Œ œb ∑ ∑ ∑ ∑ { œ MLLOLMLL f

° Œ Vln. I a & ~ ~ œ œ œ# œ O ~ ~ mp mp mp mf ~ ~ ™ œ Œ ‰ O ~ ~ Vln. I b & œ œ mpo o mp mf 3 o o o w w mp œ w w J Vln. I c & œ# œ Œ ‰ ‰ œ™ œ# œ mp 3 mp mf mp ‰ œb Ó Vln. I d & ~ ~ œ œ ~ ~ mp mp mf mp wo wo wo wo wo Vln. I e & mp

Vln. II a & ~ ~ ~ ~ ~ mp

Vln. II b & ~ ~ ~ ~ ~ mp wn o wo REVIEWwo wo wo Vln. II c & mp

Vln. II d & ~ ~ ~ ~ ~ mp

Vln. II e & ~ ~ ~ ~ ~ mp

Vla. a B ~ ~ ~ ~ ~ p p mp Vla. b B ~ ~ ~ ~ ~ p p mp Vla. c B ~ ~ ~ ~ ~ p p mp wo wo wo wo wo B FOR Vla. d p p mp wo wo wo wo wo Vc. 1 & p p mp wo wo wo wo wo Vc. 2 & p p o o o o o mp ? w w w w w Vc. 3

p p mp ? Vc. 4 ~ ~ ~ ~ ~ p p mp ? Vc. 5 ~ ~ ~ ~ ~ p p mp sul tasto sul pont. sul tasto sul pont. ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n ? Cb. 1 p p 3 sul tasto sul pont. sul tasto sul pont. sul tasto (gliss. sempre) ? ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n Cb. 2 p p 3 ? 3 Cb. 3 ¢ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n (gliss. sempre) p p 46 47 48 49 50

89 51 11 ° ~ O™ ~ O™ #~ Fl. & Œ Œ w ˙™ w ˙™ #w mp

3 3 ~ ~ O O ~ O# O Fl. 2 & Œ Œ w w ˙ ˙ w #˙ ˙ mp 3 3 3 ~ O O O O O# O ~ On O# O Fl. 3 & Œ Œ Œ w œ œ ˙ œ #œ ˙ w nœ #œ ˙ mp œb ˙b ˙ œ œ™ ˙ Ob. & ∑ Ó Ó ∑ p mp p w ˙ ˙ w ˙ ˙ w Cl. 1 & Œ Œ mp 3 3 w œ ˙ w œ ˙ w Cl. 2 & Œ Œ mp ? 3 3 3 B. Cl. w ˙ Ó ˙ ˙ Œ ˙ w ˙ Ó ˙ mp ? Bsn. 1 Œ‰ j Œ‰ j ˙™ œ ˙™ w ˙™ œ ˙™ mp ? ‰ Œ ‰ Bsn. 2 ¢ j j œ ˙™ w ˙™ œ ˙™ w mp ° 3 3 Hn. 1 & w Œ ˙ ˙ w Œ ˙ ˙ w p Œ3 Œ3 Œ3 Hn. 3 & ˙ œ œ w ˙ œ œ w ˙ œ œ p 3 3 Hn. 2 & Œ Œ w ˙ œ œ w ˙ œ œ w p 3 3 3 Hn. 4 & j ‰‰ j ‰‰ j ‰‰ œ œ ˙ w œ œ ˙ w œ œ ˙ p (con sord.) œ. . . . œ. . ∑ ∑ ∑ ‰ œ. ‰ œb œ ‰ œ. ‰ œn ‰ œ. œb ∑ Tpt. 1 & J J mp 7 7 (con sord.) . . œ. ∑ ∑ ∑ œ ‰ œ. ‰ œb œ. ‰ ∑ Tpt. 2 & J J J mp (no pitch) ? O™ O ‰‰ O O O O™ O ‰ ‰ O O O O™ O ‰ Tbn. 1 J J J J J p (no pitch) ? ‰ O O O O™ O ‰‰ O O O O™ O ‰‰ O O O Tbn. 2 J J J J J p (no pitch) ? ~ O Œ O O ~ O Œ O O ~ B. Tbn. J J J J p (no pitch) ? O Œ™ O ~ O Œ™ O ~ O Œ™ O Tba. ¢ J J J p R C R C R C R C R C R C R C R 3 3 3 3 3 °? æ æ æ æ æ æ æ æ æ æ ONLYæ æ æ æ æ Timp. ¢ B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ mp

° sempre soft mallets L.V. sim. ™ j ™ œ Vib. & ∑ Œ Ó ∑ ∑ Œ œ Ó { œ J mf L.V. sempre œ œ œb 7 œb œb œ œ œb 3 3 œ œb Ó ∑ Ó œb œ œ œb œ œb Ó Œ Œ‰ œb Ó™ & œ œb œ œ œb œ 5 Hp. MLLOLMLL 3 3 mf ? Ó Œ œb ∑ ∑ ∑ ∑ { œ mf ﬀ mf ﬀ

° ˙™ ‰ j j ‰ Œ Œ Vln. I a & ~ œ œ œ O ~ O™ mp mf mp ~ O ˙ œ™ ‰ j ≈ ≈ j™ j ‰‰ O ~ ~ Vln. I b & œ# ™ œ# œ J mp mp o o 3 mf ˙ o o o w ˙ œ j ˙ w w Vln. I c & ≈ œ# ™ Œ mp 3 mf mp

Vln. I d & ‰ œ ‰ ‰ ~ ~ O™ ~ ~ mp mp wo ˙o œo wo wo œ# ™ ‰Œ‰ j j ‰ ‰ J Vln. I e & œn œ mp mf mp ‰ œ œ ‰ j Vln. II a & ~ O O O™ ~ ~ mp mp 3 mf œ œ œ ™ Vln. II b & ~ O Œ J J ‰ O ~ ~ mp 3 mp mf wo wo REVIEWwo wo wo Vln. II c & mp

Vln. II d & ~ ~ ~ ~ ~ mp

Vln. II e & ~ ~ ~ ~ ~ mp

Vla. a B ~ ~ ~ ~ ~ mp

Vla. b B ~ ~ ~ ~ ~ mp

Vla. c B ~ ~ ~ ~ ~ mp wo FORwo wo wo wo Vla. d B mp wo wo wo wo wo Vc. 1 & mp wo wo wo wo wo Vc. 2 & mp o o o o o ? w w w w w Vc. 3 mp ? Vc. 4 ~ ~ ~ ~ ~ mp ? Vc. 5 ~ ~ ~ ~ ~ mp sulµ˙ tasto ˙n B˙ sul˙n pont. µ˙ ˙n Bsul˙ tasto ˙n µ˙ sul˙n pont. B˙ ˙n µsul˙ tasto ˙n B˙ ? Cb. 1 mp 3 3 3 3 3 sul tasto sul pont. sul tasto sul pont. ? µsul˙ pont. (gliss. sempre˙n ) B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ Cb. 2 3 3 3 3 3 mp ? 3 3 3 3 3 Cb. 3 ¢ µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ (gliss. sempre) mp 51 52 53 54 55

90 D 12 Slight stirring °56 <#>O™ #~ O ™ ~ O ™ Œ Œ Œ Fl. &<#>˙™ w# ˙™ w ˙™ mp mp f (poss.) #>~< #O O ~ O O ~ Œ Œ Fl. 2 &<#>w ˙# ˙ w ˙ ˙ w mp 3 mp f (poss.) 3 #>~< O #O O ~ O O O ~ Œ Œ Fl. 3 &<#>w œ œ# ˙ w œ œ ˙ w mp 3 mp f (poss.) 3 Ob. & ∑ ∑ ∑ ∑ ∑

˙ ˙ w 3 Cl. 1 & Œ Œ Bb˙ ˙ w Œ ˙ ˙

3 mp 3 mp mf œ ˙ w œ Cl. 2 & Œ Œ Bb˙ w œ Œ ˙

mp mp mf ? 3 3 B. Cl. w ˙ Ó ˙ w ˙ Ó ˙ w

mp mp mf ? Bsn. 1 Œ‰ j Œ w ˙™ œ ˙™ w ˙™ mp mp mf (poss.) ? Œ‰ Œ‰ Bsn. 2 ¢ j j ˙™ œ ˙™ w ˙™ œ ˙™ mp mp mf (poss.) ° 3 3 3 Hn. 1 & Œ ˙ ˙ w Œ ˙ ˙ w Œ ˙ ˙ p mp mf Œ3 Œ3 Hn. 3 & w ˙ œ œ w ˙ œ œ w p mp mf 3 3 3 Hn. 2 & Œ Œ Œ ˙ œ œ w ˙ œ œ w ˙ œ œ p mp mf mf (poss.) 3 3 Hn. 4 & j ‰‰ j ‰‰ w œ œ ˙ w œ œ ˙ w

mp mf (poss.) (con sord.) œ. . . . œ...... œ. . . . œ. . . . . ∑ Ó œ. œb ‰ œ œ. œn ‰ ‰ œ. œb œ ‰ œ. ‰ œb œ œ. œn ‰ œ. œb œ ‰ œ. œn œ. ‰ œb œ œ. ‰ œn ‰ œ œ. Tpt. 1 & J J J J J J 5 5 5 7 7 5 5 (con sord.) mp mf Tpt. 2 & ∑ ∑ ∑ ∑ ∑

(no pitch) ? ‰ O O O O™ O ‰ ∑ ∑ ∑ Tbn. 1 J J p (no pitch) ? O™ O ‰‰ O O O O™ O ‰ ∑ ∑ Tbn. 2 J J J p mp (no pitch) ? O Œ O O ~ ∑ ∑ ∑ B. Tbn. J J p mp (no pitch) ? ~ ∑ ∑ ∑ ∑ Tba. ¢ p C R C R C R C R C R C R C R C 3 3 3 3 ONLY3 °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n mp bœ ° sempre (soft mallets) L.V. ∑ ∑ ∑ Ó Œ‰ œb ∑ Vib. {& J mf bœ bœ L.V. sempre œb œb & Ó Œ‰ J ∑ ∑ Ó Œ‰ J ∑ Hp. MLLOLMLL {? Œ‰ œ ‰ œb ‰Ó œ Œ ∑ Œ‰ œ ‰ œb ‰Ó œ Œ œ œ 3 3 D f pizz. œ œ œ# œ œn œ œ# œ# œn œ œ# œ# œn œn œ# œ œn œn œ# œ# œn œ œ# œ# œn œn œ# œ œn œn ° J J J J J J J J J J J J J J J J J J Vln. I a & ‰ ‰ ‰ ‰ ‰ ‰Œ ‰ ‰ ‰Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 5 7 5 5 5 5 3 mp œ# œ œ œn œ œ# œ# œ œn œn œ# œ# œn œ# œn œ# œn æ œ# œn æ œ# æ œn œ# œn œ# ™ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I b & O Œ Œ Œ J‰ J‰ ‰ J‰ æ æ æ ‰ J mp mp 3 3 7 5 5 o o œ# œ œn œ œ œ œ# w ˙™ pizz. œ# œn œ# œ œn œ# œn œ# œ# œn œ# œn J J J J J J J J J J J J J J J J J J J Vln. I c & Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ mp mp 3 3 œ 3 œ 3 œ œ# 7 œ æ œ œ# æ œn æ æ œ# œn æ œ# Œ æ æ æ æ æ æ æ æ æ æ æ Vln. I d & ~ ~ O™ mp 5 3 3 mp o o o o œ# œ# œn œ œ# œ œn w w w ˙™ pizz. J J Vln. I e & Œ ‰ ‰ ‰ mp mp 5 5 Œ Vln. II a & ~ ~ ~ ~ O™ mp ~ ~ ~ ~ ~ Vln. II b & REVIEW mpwo wo wo wo wo Vln. II c & mp

Vln. II d & ~ ~ ~ ~ ~ mp

Vln. II e & ~ ~ ~ ~ ~ mp

Vla. a B ~ ~ ~ ~ ~ mp

Vla. b B ~ ~ ~ ~ ~

Vla. c B ~ ~ ~ ~ ~ mp FOR wo wo wo wo wo Vla. d B mp wo wo wo wo wo Vc. 1 & mp wo wo wo wo wo Vc. 2 & mp o o o o o ? w w w w w Vc. 3 mp ? Vc. 4 ~ ~ ~ ~ ~ mp ? ~ ~ ~ ~ ~ Vc. 5 mp sul pont. µ Bsul tasto µ sul pont. B µsul tasto B sul pont. µ ? ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n Cb. 1 mp 3 3 3 3 3 sul pont. sul tasto sul pont. sul tasto ? sul˙n tasto µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n Cb. 2 3 3 3 3 3 ? 3 3 3 3 3 Cb. 3 ¢ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n mp 56 57 58 59 60

91 ™ ™ 13 °61 ~ O ~ ~ O Fl. & Œ Œ w ˙™ w w ˙™ f (poss.) O O ~ O O ~ O ™ Fl. 2 & Œ Œ Œ ˙ ˙ w ˙ ˙ w ˙™ 3 O 3 f (poss.) O O ~ O O O ~ O ™ Fl. 3 & Œ Œ Œ œ œ ˙ w œ œ ˙ w ˙™

3 f (poss.) 3 œ œ œb œb œ œ Ob. & œ ˙ ˙ Ó ∑ ∑ ∑ 5 mp f p Ó ∑ ∑ ∑ Cl. 1 & w œ œ œ# œ mf mp f ™ œ Ó ∑ ∑ ∑ Cl. 2 & w œ œ mf mp f œ ™ œ# œ œ# ? œ B. Cl. ˙ Ó Ó ∑ ∑ ∑ mf mp f ? Bsn. 1 ‰ j Œ ∑ ∑ œ ˙™ w ˙™ mf (poss.) p ? ∑ ∑ ∑ Bsn. 2 ¢ w w p mf (poss.) ° 3 Œ Œ ∑ Hn. 1 & w ˙ ˙ ˙™ w mf 3 3 Hn. 3 & Œ Ó ŒŒ ∑ ˙ œ œ w ˙ œ ˙ mf

Hn. 2 & ∑ Ó Œ ˙ ˙ Ó

w w 3 mf ‰‰ 3 ∑ ∑ Hn. 4 & j w# œ œ ˙ w mf (poss.) (con. sord.) ...... œb ‰ œ œ. œn ‰ œ ‰ œ. œb ‰ œ œ. œn œ ‰ œ. œb œ œ. ‰ œn œ œ. œb œ œ. ‰ œn œ œ. œb ‰ œ œ. œn œ ‰ œ. ‰ œb œ œ. œn ‰ œ ‰ œ. œb œ ‰ œ. ‰ œn œ ‰ œ. œb œ œ. ‰ œn Tpt. 1 & J J J J J J J J 5 7 7 5 mf 5 7 7 7 5 7 (con. sord.) . œ. . . . œ. œ ‰ œ. ‰Œ œ ‰ ‰ œ. ‰Œ ∑ ‰ œb œ œ. œn ‰ œ. ∑ ∑ Tpt. 2 & J J J J J J J mf 7 ? Tbn. 1 ∑ Ó ˙ ˙™ ŒÓ ˙ ˙™ Œ mf ? 3 3 Tbn. 2 ∑ ∑ Ó Œ ˙ w Ó Œ ˙ mf ? B. Tbn. ∑ Ó ŒÓ Œ ˙ ˙™ ˙ ˙™ mf ? ∑ ∑ Ó Œ 3 Ó Œ 3 Tba. ¢ mf ˙ w ˙ R C R C R C R C R C R ONLYC R C R 3 3 3 3 3 °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ mp

° sempre (soft mallets) ∑ ∑ ∑ ∑ ∑ Vib. {& bœ L.V. sempre œb & ∑ ∑ Ó Œ‰ J ∑ ∑ Hp. {? ∑ ∑ Œ‰ œ ‰ œb ‰Ó œ Œ ∑ œ MLLOLMLL 3 ﬀ œ# œn œ# œn œ# œn œ# (pizz.) œ# œn œ œ# œ# œn œ# œ œn œn œ# œn œ œ# œ# œ œ# œ œn œ# œ œn œn œ# œn œ œ# œ# œn œ# œn œ œn œ# œ# œn ° J J R R J R R R J Vln. I a & ‰‰ ‰ ‰ ‰ ‰ ‰ ≈ ≈ ‰ ‰ ‰‰‰ ≈ ≈ ≈ ≈ ≈ ‰‰ ‰ ‰ ‰ mp œ 7 œ# œn 3 œ 7 œn œ# 7 œ œ# œn 7 œ œn œ# œ œ# œn 7 œ œn œ 7 œn œ# œn œ# œn œ# æ œn œ# œn æ œ# æ œn œ# œn æ œ œ# æ œn œ# œn æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ Vln. I b & Œ Œ ‰ J ‰ ‰ æ æ æ ‰ ‰ ‰ J ‰ æ æ ‰ ‰ J mp 7 3 5 5 5 7 3 7 5 œn (pizz.)œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œ œ# œn œ œ# œn œn œn œ# J J J J J J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 7 3 7 3 7 3 7 7 3 mpœ# œn œ œn œ# œ œ# œn œ œn œ# œ œ# œn œ œn œ# œn œ# œn œ# œn œ# æ œn œ# œn œ# œn œ# œn œ# æ œn œ# œn æ æ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I d & æ æ æ ‰ æ æ æ ‰ Œ Œ æ æ æ æ æ æ æ æ ‰ J‰ ‰ J mp 3 5 3 5 7 5 5 œn (pizz.)œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn J J J J J J J J J J J J J Vln. I e & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ mp 5 5 5 5 7 3 7 3 œ œ œ# œ œn œ œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# Vln. II a & æ æ æ æ ‰ æ ‰ æ æ æ Œ æ Œ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 7 mp 7 3 7 pizz. O™ Œ œ ‰ œ ‰ œ# ‰ œ ‰ œn ‰ œ ‰ œ# ‰ œ# œn ‰ œ œ# ‰ œ# œn ‰ œn ‰ œ# ‰‰ œ ‰ œn œn ‰ œ# œ# ‰ œn ‰ œ ‰ œ# œ# ‰ œn œn ‰ œ# œ ‰ œn ‰ œn ‰ Vln. II b & J J J REVIEWJ J J J J J J J J J J J J J J J J mp mp 7 7 3 7 3 7 3 wo ˙o ™ œ# œ# œn œ œ# œ œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn Vln. II c & Œ æ ‰ æ ‰ æ æ ‰ ‰ æ ‰ æ æ æ ‰ æ æ ‰ æ æ æ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ mp 3 mp 7 3 7 7 3 pizz. œ# œ œn œ œ# Œ œ# ‰ œn ‰ œ# œ ‰ J ‰ œn ‰‰ œ# ‰ œn ‰ œ# J ‰ œ# ‰ œn ‰ Vln. II d & ~ ~ O™ J J J J J J J mp 7 3 7 3 mp ™ œ œn œ# œ œn œ œ# œ# Vln. II e & ~ ~ ~ O Œ æ æ æ æ æ æ æ æ mp mp

Vla. a B ~ ~ ~ ~ O™ Œ mp

Vla. b B ~ ~ ~ ~ ~ mp

Vla. c B ~ ~ ~ ~ ~ mp FOR wo wo wo wo wo Vla. d B mp wo wo wo wo wo Vc. 1 & mp wo wo wo wo wo Vc. 2 & mp o o o o o ? w w w w w Vc. 3 mp ? Vc. 4 ~ ~ ~ ~ ~ mp ? ~ ~ ~ ~ ~ Vc. 5 mp B sul tasto µ sul pont. B µsul tasto B sul pont. µ Bsul tasto µ ? ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ ˙n ˙ Cb. 1 mp 3 3 3 3 3 sul tasto sul pont. sul tasto sul pont. ? Bsul˙ pont. ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ Cb. 2 mp 3 3 3 3 3 ? 3 3 3 3 3 Cb. 3 ¢ B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ ˙n B˙ ˙n µ˙ mp 61 62 63 64 65

92 With commotion 66 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 14 ° f.t. œ# œ Fl. & ∑ Œ‰ Œ ∑ ∑ ∑ 3 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍf (poss.) f.t.œ ˙™ Fl. 2 & ∑ ‰ ≈ J ∑ ∑ ∑ 3 f (poss.) f.t. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ# ˙ œ Fl. 3 & ∑ ‰ J J ‰ ∑ ∑ ∑ f (poss.)

Ob. & ∑ ∑ ∑ ∑ ∑ œb ˙™ ∑ ˙™ ŒÓ Œ‰ J Œ Ó Cl. 1 & œ œ œ# œ mp mf mp mf mp mp f ™ ∑ ≈ œ œ™ œ™ ‰Ó Œ‰ œb ˙ Œ ™ œ Ó Cl. 2 & R J œ œ mp mf mp ˙™ mf mp mp f ? œ ˙™ œ# œ œ# œ B. Cl. ∑ ŒÓ Œ‰ J Œ œ™ Ó mp mf mp mf mp mp f œ œ™ œ™™ ? R œ œ œ œ œb Bsn. 1 ∑ ≈ ≈ ≈ Œ ‰ J œb ™ ∑ ‰ Ó 3 mp mf mp 3 mf mp f œ# œ™ œ™ œ ? ∑ ≈ J ‰Œ‰ œ œ ∑ œb ™ Ó Bsn. 2 ¢ J œb ™ œ 3 mp mf mp 3 mp f mf ° Hn. 1 & ∑ ∑ ∑ ∑ ∑

Hn. 3 & ∑ ∑ ∑ ∑ ∑

Hn. 2 & ∑ ∑ ∑ ∑ ∑

Hn. 4 & ∑ ∑ ∑ ∑ ∑

. (con sord.). œ. . . . œ. . . . œ. . . . œ. . . . œ. . . . œ. . . . œ. . . . œ. œ ‰ œ. œb œ. ‰ œn œ ‰ œ. ‰ œb œ. ‰ œn ‰ œ œ. œb ‰ œ. ‰ œn œ œ. œb ‰ œ. œn œ ‰ œ. œb œ. œn œ ‰ œ. œb œ. ‰ œn œ œ. œb ‰ œ. ‰ œn ‰ œ œ. œb ‰ Tpt. 1 & J J J J J J J J 5 5 mf 7 5 7 7 7 7 7 5 (con sord.) . . . . œb. œ œ. œn. œ œ. œ œ. œb. œ œ. œn. Tpt. 2 & ‰ J J ‰ ∑ ∑ ‰ J J ‰ ∑ mf ? Tbn. 1 Ó ˙ ˙™ ŒÓ ˙ ˙™ ŒÓ ˙ mf ? 3 3 Tbn. 2 w Ó Œ ˙ w Ó Œ ˙ w mf ? B. Tbn. Ó ŒÓ ŒÓ ˙ ˙™ ˙ ˙™ ˙ mf ? Ó Œ 3 Ó Œ 3 Tba. ¢ w mf ˙ w ˙ w C R C R C R C R C R C R C R C 3 3 3 3 3 °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˙n µ˙ ˙n µ˙ ˙n µ˙ ˙n µ˙ ˙n µ˙ ˙n ONLYµ˙ ˙ ˙n µ˙ mp mf bœ ° sempre (soft mallets) L.V. ∑ ∑ Ó Œ‰ œb ∑ ∑ Vib. {& J ﬀ bœ L.V. sempre œb & ∑ ∑ Ó Œ‰ J ∑ ∑ Hp. {? ∑ ∑ Œ‰ œ ‰ œb ‰Ó œ Œ ∑ œ MLLOLMLL 3 ﬀ (pizz.)œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œ œn œ œ# œ# œn œ œ# œ# œn œn œ# œn œ œn œ# œ# œ# œn ° J J J J J R J J R R R J Vln. I a & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ≈ ‰ ‰ ‰ ‰ ≈ ≈ ≈ ≈ ≈ ‰‰ ‰ ‰ ‰ 7 3 7 7 7 7 7 mp œ œ œ œ œ# œ œ# œn œ œn œ# œ mp œ# œn œ mf œn œ# œ œ œ# œn æ œ# œn æ œ œ# œn æ œ# æ œn œ# æ œn æ œ# œn œ# œn œ# œn æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I b & J‰ ‰ æ æ ‰ J‰ ‰ ‰ æ æ æ ‰ ‰ J‰ Œ Œ mp 5 7 3 7 5 5 5 3 7 mp mf (pizz.)œn œ# œ œn œ# œ œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œ œ# œn œ œ# œn œn œn œ# J J J J J J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ mp 7 3 7 3 7 3 mp 7 mf 7 3 œ# œ œ œn œ# œ œ# œn œ œ œ# œ œ# œn œ œn œ# œ œ# œn æ œ# œn œ# œn œ# œn œ# œn æ œ# œn œ# æ œn œ# œn æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æ æ Vln. I d & J‰ ‰ J‰ æ æ æ æ æ æ æ æ Œ Œ ‰ æ æ æ ‰ æ æ æ 5 5 7 5 3 5 3 mp mp mf (pizz.)œ œ œ œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn J J J J J J J J J J J J J Vln. I e & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 3 7 3 7 5 5 5 5 mp mp mf œ# œ œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ œ œ# œn œn Vln. II a & æ Œ æ Œ æ æ æ ‰ æ ‰ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ 7 mp 7 3 7 (pizz.)œ# œn œ# œn œ# mp œn mf ‰Œ œ# ‰ œn ‰ œ ‰Œ œ# ‰ œ# œn œ# œ œn œn œ# œn ‰ œ ‰ œ# œ# ‰ œn œ# œ ‰ œn œn ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œ# ‰ œn œ# œ œn ‰ œ ‰ Vln. II b & J J J J J J J J J J J J J 7 7 5 mp REVIEW5 5 3 7 mp mf œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# Vln. II c & æ æ æ æ æ ‰ æ ‰ æ æ æ ‰ æ ‰ æ æ ‰ ‰ æ æ ‰ æ æ ‰‰ æ ‰ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ 7 7 3 3 mp 7 3 7 3 7 (pizz.) œn œ# œn œ# œn mp œ mf œ# œ œ# ‰ œn ‰ œn œ# ‰ œ ‰ œn ‰ œ# ‰ ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œn ‰ œn ‰ œ# œ ‰ œn œ# ‰ ‰ œ# ‰ œn ‰ œ œ# œn œn ‰ œ# œ ‰ œn œ# ‰ ‰ œ# ‰ œn ‰ œ œ# ‰ œn Vln. II d & J J J J J J J J J J J J J J J J J J J J J 7 3 7 7 3 5 7 3 7 mp mp œn œn œ# œ œn œ œ# œ# œn œ œ# œ# œn œn œ# œ œn œn œ# œ# œn œ œ# œ# œn œn œ# œ œn œn œ# œ# œn œ œ# œ# œn œn œ# Vln. II e & ‰ æ ‰ æ ‰ æ ‰ æ ‰ ‰ æ æ æ æ æ ‰ ‰ æ æ æ ‰ æ ‰ æ æ æJ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ mp 3 3 7 7 7 7 7 pizz. mp mf B œ ‰ œ œ# œ ‰ œn ‰ œ œ# œ# œn ‰ œ œ# œ# ‰ œn œn œ# ‰ œ ‰ œn œn œ# ‰ œ# œn œ ‰ œ# ‰ œ# œn œn ‰ œ# œ œn ‰ œn œ# ‰ œ# ‰‰ œn ‰Œ Vla. a J J J J J J J J J J mp 5 5 5 5 5 5 7 3 mp B O™ Œ‰ œ œ œ# ‰ œ œn œ œ# ‰ œ# œn œ ‰ œ# ‰ œ# œn œn œ# ‰ œ œn œn ‰ œ# œ œ# ‰ œ ‰ œn œ# œn ‰ œ# Vla. b æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æJ æ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æJ mp mp mp 5 5 5 5 mp mf B Œ œ# pizz.‰ œ# ‰ œn ‰ œ ‰ œ# œ ‰ œn œn œ# œ ‰ œn ‰ œ# œ# œ# ‰ œn œ ‰ œ# œn ‰‰ œn ‰ œn œ# Vla. c ~ O™ J J J J J J J J mp 3 7 5 o FORo mpo 5 5 mp 5 w w ˙™ B Œ œ ‰ œ œ# œ ‰ œn ‰ œ œ# œ# œn œ œ# ‰ œ# œn ‰ œn œ# Vla. d æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æJ æ æ æ æ mp 3 mp 5 5 7 o o o o pizz. j w w w ˙™ Œ ? œ ‰ œ œ ‰ Vc. 1 & œ œ# œn J mp mp o o o o o w w w w ˙™ ? Vc. 2 & Œ mp o o o o o ? w w w w w Vc. 3 mp ? Vc. 4 ~ ~ ~ ~ ~ mp ? Vc. 5 ~ ~ ~ ~ ~ mp sulœn pont. œ œ œ sulœ tasto œ œ œ œsul pont. œ œ œ sulœ tasto œ œ œ œsul pont. œ œ œ ? Cb. 1 mp sul tasto sul pont. sul tasto sul pont. sul tasto ? œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ Cb. 2 mp ? Cb. 3 ¢ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ mp 66 67 68 69 70

93 œ# . . . œn . œ. . . œ# . . . . . œn . . œ# . . . œn . . . . œ# . 71 œ# ..œn œ œ# . œ# œ# . œ œn . œn œ# ..œn œ œ# . œ# œ œ œn ..œ# œ œn . œ. œ œ# œ..œ# œn œ œn . œ# œ# ..œn 15 ° J J J J J J J J J J J Fl. & ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ≈ ≈ ‰ ‰‰‰ ‰ ≈ ≈ ‰ ‰ ‰ ‰ 7 3 .7 . 7 . . 7 . . . . 7 . . 7 ff œ. œ œ# . œ. œ# œn ..œ# œ œn ..œ# œn œ# . œn . œ œ# . œn . œ# œn . œ# . œ œn . œ# . œn œ..œ# œ œn . œn . œ œ# . œn . J J J J J J J J J J J J Fl. 2 & ‰‰ŒÓ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ff 5 3 5. . 5 . 7 . 3 . 7. . 5 œ. œ# . œ œ# . œn . œ œ# . œn . œ# œn ..œ# œ œn . œ# . œ œ# ..œn œ œ# . œn . œn œn ..œ# J J J J J J J J J J J J J J J Fl. 3 & ‰‰ŒÓ ‰‰ŒÓ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ff 7 3 7 7 3

Ob. & ∑ ∑ ∑ ∑ ∑

Cl. 1 & ∑ ∑ ∑ ∑ ∑

Cl. 2 & ∑ ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑ ∑

? Bsn. 1 ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ Bsn. 2 ¢

° Hn. 1 & ∑ Œ‰ j ∑ Ó w œ ˙ ˙ f ∑ Ó Œ ˙ ˙ Ó Ó Œ 3 ŒŒ3 Œ Hn. 3 & ˙# œ# œ

f 3 3 3 Hn. 2 & ∑ ŒŒ ‰ j ŒÓ ŒŒ Œ œ ˙ œ ˙ ˙ f œ# œ ∑ ∑ Ó Œ 3 Ó Hn. 4 & w# ˙n ˙ f (con. sord.) ...... œ ‰ œ. œb œ œ. ‰ œn œ ‰ œ. ‰ œb œ œ. ‰ œn ‰ œ œ. œb œ ‰ œ. ‰ œn œ œ. œb ‰ œ œ. œn œ ‰ œ. œb œ œ. œn œ ‰ œ. œb œ œ. ‰ œn œ œ. œb ‰ œ œ. ‰ œn ‰ œ œ. œb ‰ œ Tpt. 1 & J J J J J J J J 5 5 mf 7 5 7 7 7 7 7 5 (con sord.) œ. . . . œ. . . . œ. . . . œ. ∑ œ. ‰ œb ‰ œ œ. œn ‰ ‰ œ. œb œ œ. œn ‰ ∑ ‰ œ. œb œ œ. œn ‰ Tpt. 2 & J J J J J J mf 5 5 ? Tbn. 1 ˙™ ŒÓ ˙ ˙™ ŒÓ ˙ ˙™ Œ mf ? 3 3 3 Tbn. 2 Ó Œ ˙ w Ó Œ ˙ w Ó Œ ˙ mf ? B. Tbn. ŒÓ ŒÓ Œ ˙™ ˙ ˙™ ˙ ˙™ mf ? Ó Œ 3 Ó Œ 3 Ó Œ 3 Tba. ¢ mf ˙ w ˙ w ˙ 32" ° Ræ Cæ Ræ Cæ Ræ Cæ Ræ Cæ R C R C R C R C R C R C ? œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ æ æ æ æ æ æ æ æ Timp. ¢ œæ Bœ œn Bœ œn Bœ œn Bœ æ æ æ æ mf œ µœ œn µœ f ° sempre (soft mallets) ∑ ∑ ∑ ∑ ∑ Vib. {& ONLY

L.V. sempre & ∑ ∑ ∑ ∑ ∑ Hp. {? ∑ ∑ ∑ ∑ ∑ MLLOLMLL

(pizz.)œ œ# œ# œ# œn œ œn œ# œn œn œ# œ# œ œn œ# œ# œn œn œ œ œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ ° J R R R J J R J J J J J Vln. I a & ‰ ‰ ‰ ‰‰ ≈ ≈ ‰ ≈ ‰ ‰ ‰ ‰ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 7 7 7 7 7 3 7 mf mf f f ff œ œ# œ œ œn œ# œ œ# œn œ œn œ# œ œ# œn œ œn œ œ œ# œn œ# œn œ# æ œn œ# œn æ œ# æ œn œ# œn æ œ œ# æ œn œ# œn æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ Vln. I b & Œ Œ ‰ J ‰ ‰ æ æ æ ‰ ‰ ‰ J ‰ æ æ ‰ ‰ J 7 3 5 5 5 7 3 7 f 5 mf mf f (pizz.)œ# œn œ œ œ# œ œn œ# œ# œ# œn œ œ# œn œ œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn J J J J J J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 3 7 7 3 7 3 7 3 7 mf mf f f ff œ# œ œ œn œ# œ œ# œn œ œn œ# œ œ# œn œ œn œ# œ œ# œn œ# œn œ# æ œn œ# œn œ# œn œ# œn œ# æ œn œ# œn æ æ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I d & æ æ æ ‰ æ æ æ ‰ Œ Œ æ æ æ æ æ æ æ æ ‰ J‰ ‰ J 3 5 3 5 7 5 f 5 mf mf f (pizz.)œ œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn J J J J J J J J J J J J J Vln. I e & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ 5 5 5 5 7 3 7 3 mf f ff mf f œ œ œ# œ œn œ œ# œ œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# Vln. II a & æ æ æ æ ‰ æ ‰ æ æ æ Œ æ Œ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 7 3 7 mf 7 mf (pizz.) œ œ# œn f œ# œn œ# ‰ œ# ‰ œ œ œ# œn ‰ œ ‰ œ# œ ‰ œn ‰ œ# ‰ ‰ œn œn ‰ œ œ# œn ‰ œ# œ# ‰ œ ‰ œn œ# œn œn œ œ# œn œ# œ# ‰Œ œ ‰ œn ‰ œ# ‰Œ ‰ Vln. II b & J J J J J J J J J J J J J 5 3 mf 7 7 5 5 7 mf f œ# œ œ œ# œn œ œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# Vln. II c & æ æ ‰ æ Œ æ æ ‰ æ æ ‰ ‰ æ æ ‰ æ ‰ æ æ æ ‰ æ ‰ æ æ æ æ æ æ æ æ æJ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ 3 3 3 7 3 7 7 mf 7 7 mf (pizz.) REVIEWf œ# œ ‰ œ# œ ‰ œn œ# ‰ œn ‰ œ# ‰ œn ‰ œ œ# ‰ œn œ œn œ# œ ‰ œn œ# ‰ œ# ‰ œ# ‰ œn ‰ œ œ# ‰ œn œn œn ‰ œ# ‰ œ ‰ œn ‰ œ# ‰ œ# ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œn ‰ œn œn ‰ œ# œ Vln. II d & J J J J J J J J J J J J J J J J J J J J J 7 3 7 5 3 7 7 3 7 mf mf f œ# œn œ œ# œ# œ œn œ# œ# œn œn œ œ# œn œn œ# œ# œ œn œ# œ# œn œn œ œ# œn œn œ# œ# œ œn œ# œ# œn œn œ œ# œn œn Vln. II e & æ æ ‰ æ ‰ æ æ æ ‰ ‰ æ æ æ æ æ ‰ ‰ æ ‰ æ ‰ æ ‰ æ ‰ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æJ 3 3 mf 7 7 7 7 7 (pizz.) mf f B ‰‰ œ ‰Œ œ# ‰ œ# œ ‰ œn œ œ# ‰ œn œn œ# ‰ œ# ‰ œ œn œ# ‰ œ# œn œn ‰ œ ‰ œ# œn œn ‰ œ# œ# œ ‰ œn œ# œ# œn ‰ œn ‰ œ œ# œn ‰ œn Vla. a J J J J J J J J J J 3 7 5 5 5 5 5 5 mf mf f B œn œ ‰ œ# ‰ œn œ# œn ‰ œ# œ ‰ œn œ# œn ‰ œ# ‰ œn œ ‰ œ# ‰ œn œ# œn ‰ œ# œ œn œ# œn œ# œn ‰ œ œ# ‰ œn œ# œn ‰ œ# ‰ œ ‰ œn œ# Vla. b æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ mf J J J J J J J J 5 5 5 5 5 5 3 7 (pizz.) mf f B ‰ œ œ# œ# œ# ‰ œ œn œ œ# ‰ œn ‰ œn œn œ# ‰ œ œn œ# ‰ œ# ‰ œ# œn œ ‰ œ# œn ‰ œn ‰ œn ‰ œ# ‰ œ œn ‰ œ# œ# œ# ‰ œn ‰Œ œ ‰Œ œ# ‰ œn ‰ Vla. c J J J J J J J J J J J J J J J 5 5 5 5 3 7 mf mf f 7 B œ œn ‰ œn ‰ œ# œ# œn ‰ œ œ# ‰ œ# œn œn ‰ œ# ‰ œ œn œn ‰ œ# œ# œn ‰ œ œ# œ# œn œn œ# ‰ œ œn ‰ œn œ# œ# œn œ œ# ‰ œ# œn ‰ œn œ# Vla. d æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æJ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ 5 5 5 3 7 3 mp FOR5 7 mp mf mf f (pizz.) j j j j 5 j j 7 ? œ# œ# ‰ œn œ ‰ œ# œ# œn œn ‰ œ# œ ‰ œn œn œ œ# ‰ œn œ ‰‰ œ# œ# œ# œn œ# œ œn œ# œn ‰ œ# ‰ œn œ œ# ‰ œn œ# ‰ œn ‰ œ# ‰ œ ‰ œn œ# œn œ# œn Vc. 1 J J J J mp mf 7 3 7 mf 5 f æj æ 7 æ æ æj æ æ æ æ æ 7 æ æj 7 æ æ ? ‰ œn œ ‰ æ œ œ# ‰ œ ‰ æ œ# Œ œn æ Œ æ ‰ œ œn œ# ‰ æ æ œæ æ ‰ œ# œn ‰ æ æ Œ œ Œ æ œn ‰ œ# œ ‰ æ œ# ‰ œn ‰ æ æ ‰ Vc. 2 œ œ# œn œn œ# æ œn æ œ# œn œ# œn œ# œn æ æ œ# œn æ œ œ# œn œ# æ œn œ# æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æJ 7 mp 7 7 7 7 mf mf f o ™ pizz. j j j j j 3 j 7j j j ? ˙ Œ œ# ‰ œ# ‰ œn ‰Œ œ ‰ œ# ‰ œ# ‰ œn ‰ œn ‰ œ# ‰ œ ‰ œn ‰ œn ‰ œ ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œ# ‰ œ# œn œ# œ œn œn Vc. 3 J J J J J J J J J mp 5 3 mf f mp mf æ æ æ æ æ æ 7 æ æ ? Œ œ æ Œ æ ŒŒ œ æ Œ œ œ# æ æ œ æ œ# œn æ æ Vc. 4 ~ O™ æ œ œ# æ œn æ œ# œn æ œ# æ œn œ# æ æ æ æ æ æ æ mp 7 5 mf mp mf f pizz. j j j j 3 j ? ~ ~ ~ œ# ‰ œ# ‰ œn ‰Œ œ ‰ œ# ‰ œ ‰ œn ‰ œn ‰ œ# ‰Œ Vc. 5 J J J J 5 3 mp mp mf sul tasto sul pont. sul tasto sul pont. sul tasto ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Cb. 1 mp mp mf sul tasto sul pont. ? sulœn pont. Bœ œn µœ sulœn tasto Bœ œn µœ sulœn pont. Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ Cb. 2 mp mp mf ? Cb. 3 ¢ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ mp mp mf 71 72 73 74 75

94 E Frenetic, chaotic . . œn . . . œ# . . . œn ...... œ# . . . œn . . . . œ# . 16 76 œ œ# . œn œn ..œ# œ œn . œ# œ# ..œn œ œ# . œn œn ..œ# œ œ# œ# . œn . œ œ# . œn œ œn . œ. œ œ# œ..œ# œn œ œn . œ# œ# ..œn ° J J J J J J J J J J J Fl. & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ≈ ≈ ‰ ‰ ‰ ‰ ≈ ≈ ‰ ‰ ‰ ‰ 7 . . 3 . 7 . .7 . . 7 . . . 7 . 7. ffœ..œ# œ œ. œn . œ œ# ..œn œ œ# . œ. œ œ# ..œn œ# œn . œ# . œ œn ..œ# œn œ# . œn . œ œ# ..œn œ# œn . œ# . œ œn . œ# . œn œ# . œn . œ J J J J J J J J J J J J J J J J J Fl. 2 & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰‰‰ ‰ ‰ ‰ ‰‰‰ 5. . 7 . 3 . 7 . 5. . 5 . 5 . 3 . . 7 . ffœn ..œ# œ œn . œ# . œ œ# ..œn œ œ# . œn . œ# œn ..œ# œ œn . œ# . œn œ# . œn . œ œ# . œn . œ# œn ..œ# œ œn . œ# . œ œ# ..œn œ œ# . œn . œn œn ..œ# J J J J J J J J J J J J J J J J J J J J J J J J Fl. 3 & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ff 7 3 7 3 7 3 7 7 3

Ob. & ∑ ∑ ∑ ∑ ∑

Cl. 1 & ∑ ∑ ∑ ∑ ∑

Cl. 2 & ∑ ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑ ∑

? Bsn. 1 ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ Bsn. 2 ¢

° Hn. 1 & ∑ ŒŒ œ ˙ Œ‰ j ∑ Ó œ ˙ ˙ 3 ff ∑ ‰ j ŒÓ Œ 3 ŒŒ3 Œ Hn. 3 & w œ ˙ ˙# œ# œ ff 3 3 Hn. 2 & ∑ Ó Œ Ó Ó ŒŒ Œ ˙ ˙ œ# œ ˙ ff ∑ ∑ Ó Œ 3 Ó Hn. 4 & w# ˙n ˙ ff (con. sord.) ...... œb ‰ œ œ. œn ‰ œ ‰ œ. œb ‰ œ œ. œn œ ‰ œ. œb œ œ. ‰ œn œ œ. œb œ œ. ‰ œn œ œ. œb ‰ œ œ. œn œ ‰ œ. ‰ œb œ œ. œn ‰ œ ‰ œ. œb œ ‰ œ. ‰ œn œ ‰ œ. œb œ œ. ‰ œn Tpt. 1 & J J J J J J J J 5 7 7 5 5 mf 5 7 7 7 7 (con sord.)...... ff ...... œ. œb œ ‰ œ. œ œ œ. ‰ œb œ œ. œn ‰‰ œ œ. œb œ œ. œn ‰ œ œ. œb ‰ œ œ. œn œ ‰ œn. œb œ œ. ‰ œn œ œ. ‰ œb œ œ. œn ‰ œ œ. œb œ ‰ œ. œn œ ‰ œ. œb œ œ. ‰ œn œ œ. œb ‰ Tpt. 2 & J J J J J J 7 7 7 7 7 7 7 7 mf ff ? ˙ w Tbn. 1 Ó ˙ Ó Œ ∑ ∑ mf 3 f ? 3 œ ˙ Tbn. 2 w ŒŒ œ ˙ ŒŒ ∑ ∑

mf 3 f ? j B. Tbn. Ó ‰ j ‰ w j ‰ ˙™ œ ‰ ™ ˙™ œ ˙™ œ œ f mf ? Tba. j ‰ j ‰ j ‰ ¢ w# ™ w ˙™ œ ˙™ œ ˙ œ mf f C C C C R C R C R C C R C R R C R R C R C R C R R °? R 3 3 3 3 3 3 Timp. ¢ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ œn æ œ# æ œn æ œ# æ œn æ œ# æ œn æ œ# æ œn æ œ# æ œn æ œ# æ f ﬀf ° sempre (soft mallets) ONLY ∑ ∑ ∑ ∑ ∑ Vib. {&

L.V. sempre & ∑ ∑ ∑ ∑ ∑ Hp. {? ∑ ∑ ∑ ∑ ∑ MLLOLMLL E (pizz.)œ œ# œ œ œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œ œn œ œ# œ# œn œ œ# œ# œn œn œ# œn œ œn œ# œ# œ# œn ° J J J J J R J J R R R J Vln. I a & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ≈ ‰ ‰ ‰ ‰ ≈ ‰ ≈ ≈ ‰‰ ‰ ‰ ‰ 7 3 7 7 7 7 7 fff (poss.) ff œ œ œ œ œ# œ œ# œn œff œn œ# œ œ# œn œ œn œ# œ œ œ# œn æ œ# œn æ œ œ# œn æ œ# æ œn œ# œn æ œ# œn œ# œn œ# œn æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I b & J‰ ‰ æ æ ‰ J‰ ‰ ‰ æ æ æ ‰ ‰ J‰ Œ Œ 5 7 3 7 5 5 5 3 7 ff ff fff (pizz.)œ œ# œ œn œ# œ œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œ œ# œn œ œ# œn œn œn œ# J J J J J J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 7 3 7 3 7 3 7 7 3 ff œ# œ œ œn œ# œ œ# ffœn œ fff (poss.) œ œ# œ œ# œn œ œn œ# œ œ# œn æ œ# œn œ# œn œ# œn œ# œn æ œ# œn œ# œn œ# œn æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æ æ Vln. I d & J‰ ‰ J‰ æ æ æ æ æ æ æ æ Œ Œ ‰ æ æ æ ‰ æ æ æ 5 5 7 5 3 5 3 ff ff fff œ(pizz.) œ œ œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn J J J J J J J J J J J J J Vln. I e & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 3 7 3 7 5 5 5 5 ff ff fff (poss.) œ# œ œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ œ œ# œn œn Vln. II a & æ Œ æ Œ æ æ æ ‰ æ ‰ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ 7 3 7 ff ff 7 (pizz.) fff œ# ‰Œ œ# ‰ œn ‰ œ ‰Œ œ# ‰ œ# œn œn œ# œ œn œn œ# œ# œn ‰ œ ‰ œ# œ# œn ‰ œn œ# œ ‰ œn œn ‰ œ# œ# ‰ œn ‰ œ ‰ œ# ‰ œ# œn ‰ œn œ# œ œn ‰ œ ‰ Vln. II b & J J J J J J J J J J J J J 7 5 7 7 5 f ff 5 ff 3 fff (poss.) œ# œ# œ# œn œ œ# œn œn œn ‰ œ# œ ‰ œn œ# œ# œ# œn œ ‰ œ# œn ‰ œn œn œ# œ ‰ œn ‰ œ# œ# ‰ œ# œn œ œ# œn ‰‰ œn œn ‰ œ# œ œn œ# Vln. II c & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ 3 7 7 REVIEW3 7 3 3 7 f 7 (pizz.) ff ff fff œ œ# ‰ œ œ ‰ œn œ# ‰ œ ‰ œn ‰ œ# ‰ œ# ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œn ‰ œn œn ‰ œ# œ ‰ œn œ# ‰ œ# ‰ œ# ‰ œn ‰ œ œ# œn œn œn ‰ œ# œ ‰ œn œ# ‰ œ ‰ œ# ‰ œn ‰ œ œ# ‰ œn œ# Vln. II d & J J J J J J J J J J J J J J J J J J J J J 7 3 7 7 3 5 7 3 7 f ff ff fff (poss.) œ œ œ# œ œn œ œ# œ# œn œ œ# œ# œn œn œ# œ œn œn œ# œ# œn œ œ# œ# œn œn œ# œ œn œn œ# œ# œn œ œ# œ# œn œn œ# Vln. II e & ‰ æ ‰ æ æ ‰ æ ‰ æ ‰ ‰ æ æ æ æ æ ‰ ‰ æ æ æ ‰ æ ‰ æ æ æJ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ 3 3 f 7 7 7 7 7 (pizz.) ff ff fff B œ ‰ œ œ# œ ‰ œn ‰ œ œ# œ# œn ‰ œ œ# œ# ‰ œn œn œ# ‰ œ ‰ œn œn œ# ‰ œ# œn œ ‰ œ# ‰ œ# œn œn ‰ œ# œ œn ‰ œn œ# ‰ œ# ‰‰ œn ‰Œ Vla. a J J J J J J J J J J 5 f 5 ff 5 5 5 5 7 3 ff fff (poss.) B œ# œ ‰ œ ‰ œ# ‰ œn œ# œn ‰ œ# œ ‰ œn œ# œn œ# œn œ œ# ‰ œn œ# œn ‰ œ# ‰ œ œn ‰ œ# ‰ œn œ# œn ‰ œ œ# ‰ œn œ# œn ‰ œ# ‰ œ œn Vla. b æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æJ æJ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æJ æJ æ æ æ æJ æ æ f 5 5 7 3 5 ff 5 fff 5 5 (pizz.) ff B œ ‰ œ# ‰Œ œ ‰Œ œn ‰ œ# ‰ œ# œ# ‰ œn œ ‰ œ# œn ‰ œn ‰ œn ‰ œ# ‰ œ œn œ# ‰ œ# ‰ œ# œn œ ‰ œ# œn œn ‰ œn ‰ œ# œ œn œ# ‰ œ# œ# œ œ ‰ Vla. c J J J J J J J J J J J J J J J 7 5 f 7 3 5 5 5 f ff ff fff (poss.) B œ# œn ‰ œ œ# ‰ œ# œ œn œ# œ# œn ‰ œn œ ‰ œ# œn œn œ# œ# œ ‰ œn œ# œ# ‰ œn œn œ ‰ œ# ‰ œn œn œ# ‰ œ# œ ‰ œn œ# œ# ‰ œn ‰ œn œ Vla. d æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æJ æJ æ æ æ æJ æ æ 3 f FOR7 7 3 f 5 5 5 5 ff (pizz.) f fff 7 j j 5 j j j j ? œ œ# œ œ# œn ‰ œ œ# ‰ œn ‰ œ# ‰ œn ‰ œ# œ œn ‰ œ# ‰ œn œ# œn œ œ# œn œ# œ# œ# ‰‰ œ œn ‰ œ# œn œn œn ‰ œ œ# ‰ œn œ œ# œ# ‰ œ œn ‰ œ# œ# Vc. 1 J J J J 3 7 f 5 7 f f ff fff æ æ 7 æj æ 7 æ æ æ æ æ æj æ æ 7 æ æj ? ‰ æ æ ‰ œ ‰ œ# æ ‰ œ œ# ‰ œn æ Œ œ Œ æ æ ‰ œ œ# ‰ æ œæ æ æ ‰ œ# œn œ ‰ æ Œ æ œn Œ œ# æ ‰ œ ‰ œ# œn æ ‰ œ œn ‰ Vc. 2 œ# œn æ œ# œn œ# œn æ œ œ# æ œn œ# œn œ# œn œ# æ œn æ œ# œn œ œ# œn æJ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ f 7 7 7 7 f ff 7 ff (pizz.) j j j j j j j j j j j ? œn œ# ‰ œn œ œ# ‰ œ# œ# ‰ œn ‰ œ# ‰ œ ‰ œn ‰ œn ‰Œ œn ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œ# ‰ œ# œn ‰ œ# œ œn ‰ œn œn ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œ# ‰ Vc. 3 J J J J J J J J J J J f 7 3 3 f fff 3 3 ? 7 æ 5 æ Œ ‰ j æ æ ‰ j 7 æ Œ Œ Œ 7 Œ Vc. 4 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ œæ æ œn æ œ# æ æ œæ æ œ# æ œn æ æ œæ æ œn œ# æ æ œæ æ œ# æ œn æ œæ æ æ f œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# f fff (pizz.) 3 3 7 5 5 ? j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j ‰ j j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰Œ j ‰ j ‰ j ‰ j ‰Œ j ‰ Vc. 5 œ œ# œ œ œn œ# œn œ œ# œ# œ œ œ mf œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# fff sul pont. sul tasto sul pont.B µ B sul tastoµ µ µ sul pont. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œn œ œn œ œn œ œn œ œn œ# œn œ# œn œ# œn œ# Cb. 1 3 3 3 3 3 3 7 7 mf fff sul tasto sul pont. sul tasto sul pont. sul tasto ? œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn µœ œn µœ œn œ# œn œ# œn œ# œn œ# Cb. 2 3 3 3 3 3 3 7 7 mf fff ? 3 3 3 3 3 3 7 7 Cb. 3 ¢ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn Bœ œn µœ œn µœ œn µœ œn œ# œn œ# œn œ# œn œ# mf mf fff 76 77 78 79 80

95 . . œn . . . œ# . . . œn ...... œ# . . . œn . . . . œ# . 81 œ œ# . œn œn ..œ# œ œn . œ# œ# ..œn œ œ# . œn œn ..œ# œ œ# œ# . œn . œ œ# . œn œ œn . œ. œ œ# œ..œ# œn œ œn . œ# œ# ..œn 17 ° J J J J J J J J J J J Fl. & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ≈ ≈ ‰ ‰ ‰ ‰ ≈ ≈ ‰ ‰ ‰ ‰ 7 . . 3 . 7 . 7. . . 7 . . . 7 . 7. ffœ..œ# œ œn . œn . œ œ# ..œn œ œ# . œ. œ œ# ..œn œ# œn . œ# . œ œn ..œ# œn œ# . œn . œ œ# ..œn œ# œn . œ# . œ œn . œ# . œn œ# . œn . œ J J J J J J J J J J J J J J J J J Fl. 2 & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰‰‰ ‰ ‰ ‰ ‰‰‰ 5 . . 7 . 3 . 7 . 5 . . 5 . 5 . 3 . . 7 . ff œn ..œ# œ œn . œ# . œ œ# ..œn œ œ# . œn . œ# œn ..œ# œ œn . œ# . œn œ# . œn . œ œ# . œn . œ# œn ..œ# œ œn . œ# . œ œ# ..œn œ œ# . œn . œn œn ..œ# J J J J J J J J J J J J J J J J J J J J J J J J Fl. 3 & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ff 7 3 7 3 7 3 7 7 3

Ob. & ∑ ∑ ∑ ∑ ∑

Cl. 1 & ∑ ∑ ∑ ∑ ∑

Cl. 2 & ∑ ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑ ∑

? Bsn. 1 ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ Bsn. 2 ¢

° Œ‰ j ∑ Ó Hn. 1 & w œ ˙ ˙ w ff f 3 3 Hn. 3 & Ó Œ ˙ ˙ Ó Ó Œ ŒŒ œ# œ Œ ∑ ˙ f 3 ff 3 3 3 Hn. 2 & ŒŒ ‰ j ŒÓ ŒŒ Œ ŒŒ œ ˙ œ ˙ œ œ ˙ œ# ˙ f ff ∑ Ó Œ 3 Ó Ó Œ 3 Hn. 4 & ˙# w# ˙# ˙ ff (con. sord.) ...... f...... œb ‰ œ œ. œn ‰ œ ‰ œ. œb ‰ œ œ. œn œ ‰ œ. œb œ œ. ‰ œn œ œ. œb œ œ. ‰ œn œ œ. œb ‰ œ œ. œn œ ‰ œ. ‰ œb œ œ. œn ‰ œ ‰ œ. œb œ ‰ œ. ‰ œn œ ‰ œ. œb œ œ. ‰ œn Tpt. 1 & J J J J J J J J 5 5 7 7 7 7 5 5 ff 7 7 (con. sord.)...... mf ...... œ œ. œn ‰ œ œ. œb œ ‰ œ. œ œ œ. ‰‰ œb œ œ. œn œ œ. ‰ œb œ œ. ‰ œn œ œ. œb ‰ œ œ. œn œ ‰‰ œ. œb œ œ. œn œ ‰ œ. œb œ ‰ œ. œn œ œ. ‰ œb œ œ. œn ‰ Tpt. 2 & J J J J J J J 7 7 7 7 7 7 ff mf ? ˙ w ˙ Tbn. 1 Ó Œ ∑ ∑ Ó Œ 3 ff 3 f ? 3 œ ˙ 3 Tbn. 2 ŒŒ œ ˙ ŒŒ ∑ ∑ ŒŒ œ ˙ ff 3 f j ? j ‰ j ‰ ˙™ œ ‰ j ‰ B. Tbn. ˙™ œ w ˙™ œ ˙™ œ ff f ? ‰ ‰ ‰ ‰ Tba. ¢ j j j j w# ˙™ œ ˙™ œ f ˙™ œ ˙™ œ ff R C R C R C R C R C R C R C R C R C R C R C R R C °? 3 3 3 3 3 3 C Timp. ¢ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ œn æ œ# æ œn æ œ# æ œn æ œ# æ œn æ œ# æ œn æ œ# æ œn æ œ# æ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ œn æ µœæ fff ff (soft mallets) ∑ ∑ ∑ ∑ ∑ Vib. {& ONLY ° sempre L.V. sempre & ∑ ∑ ∑ ∑ ∑ Hp. {? ∑ ∑ ∑ ∑ ∑ MLLOLMLL

(pizz.)œ œ# œ# œ# œn œ œn œ# œn œn œ# œ# œ œn œ# œ# œn œn œ œ œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ ° J R R R J J R J J J J J Vln. I a & ‰ ‰ ‰ ‰‰ ≈ ≈ ‰ ≈ ‰ ‰ ‰ ‰ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 7 7 7 7 7 3 7 fff fff ff ff f œ œ# œ œ œn œ# œ œ# œn œ œn œ# œ œ# œn œ œn œ œ œ# œn œ# œn œ# æ œn œ# œn æ œ# æ œn œ# œn æ œ œ# æ œn œ# œn æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ Vln. I b & Œ Œ ‰ J ‰ ‰ æ æ æ ‰ ‰ ‰ J ‰ æ æ ‰ ‰ J 7 3 5 5 5 7 3 7 5 fff fff ff ff f (pizz.)œ# œn œ œ œ# œ œn œ# œ# œ# œn œ œ# œn œ œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn J J J J J J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 3 7 7 3 7 ff 3 7 f 3 7 fff œ# œ œ fff œn œ# œ œ# œn ff œ œn œ# œ œ# œn œ œn œ# œ œ# œn œ# œn œ# æ œn œ# œn œ# œn œ# œn œ# æ œn œ# œn æ æ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I d & æ æ æ ‰ æ æ æ ‰ Œ Œ æ æ æ æ æ æ æ æ ‰ J‰ ‰ J 3 5 3 5 7 5 5 fff fff ff ff f (pizz.)œ œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn J J J J J J J J J J J J J Vln. I e & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ 5 5 5 5 7 3 7 3 fff fff ff ff f œ œ œ# œ œn œ œ# œ œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# Vln. II a & æ æ æ æ ‰ æ ‰ æ æ æ Œ æ Œ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 7 fff 7 3 7 (pizz.) œ œ# œn ff œ# ff œn f œ# ‰ œ# ‰ œ œ œ# œn ‰ œ ‰ œ# œ ‰ œn ‰ œ# ‰ ‰ œn œn ‰ œ œ# œn ‰ œ# œ# ‰ œ ‰ œn œ# œn œn œ œ# œn œ# œ# ‰Œ œ ‰ œn ‰ œ# ‰Œ ‰ Vln. II b & J J J J J J J J J J J J J 5 3 7 fff 7 5 5 7 ff ff f œ# œ œ œ# œn œ œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# Vln. II c & æ æ ‰ æ Œ æ æ ‰ æ æ ‰ ‰ æ æ ‰ æ ‰ æ æ æ ‰ æ ‰ æ æ æ æ æ æ æ æ æJ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ 3 3 3 7 3 7 7 fff 7 ff 7 (pizz.)œ# œn REVIEWœ ff œ# f œn œ# œn œ ‰ œ# œ ‰ œn œ# ‰ ‰ œ# ‰ œn ‰ œ œ# ‰ œn œn œ# œ ‰ œn œ# ‰ ‰ œ# ‰ œn ‰ œ œ# ‰ œn œn ‰ œ# ‰ œ ‰ œn ‰ œ# ‰ ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œn ‰ œn ‰ œ# œ Vln. II d & J J J J J J J J J J J J J J J J J J J J J 7 3 7 5 3 7 7 3 7 fff ff ff f œ# œn œ œ# œ# œ œn œ# œ# œn œn œ œ# œn œn œ# œ# œ œn œ# œ# œn œn œ œ# œn œn œ# œ# œ œn œ# œ# œn œn œ œ# œn œn Vln. II e & æ æ ‰ æ ‰ æ æ æ ‰ ‰ æ æ æ æ æ ‰ ‰ æ ‰ æ ‰ æ ‰ æ ‰ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æJ 3 3 7 7 7 7 fff ff ff f 7 (pizz.) B ‰‰ œ ‰Œ œ# ‰ œ# œ ‰ œn œ œ# ‰ œn œn œ# ‰ œ# ‰ œ œn œ# ‰ œ# œn œn ‰ œ ‰ œ# œn œn ‰ œ# œ# œ ‰ œn œ# œ# œn ‰ œn ‰ œ œ# œn ‰ œn Vla. a J J J J J J J J J J 3 7 5 5 5 5 ff f 5 5 fff ff B œ œ ‰ œ# ‰ œ œ# œn ‰ œ# œ ‰ œn œ# œn ‰ œ# ‰ œn œ ‰ œ# ‰ œn œ# œn ‰ œ# œ œn œ# œn œ# œn ‰ œ œ# ‰ œn œ# œn ‰ œ# ‰ œ ‰ œn œ# Vla. b æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æJ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æJ æJ æJ æ æ 5 5 5 5 5 5 3 7 fff ff ff f (pizz.) B ‰ œ œ# œ# œ# ‰ œ œn œ œ# ‰ œn ‰ œn œn œ# ‰ œ œn œ# ‰ œ# ‰ œ# œn œ ‰ œ# œn ‰ œn ‰ œn ‰ œ# ‰ œ œn ‰ œ# œ# œ# ‰ œn ‰Œ œ ‰Œ œ# ‰ œn ‰ Vla. c J J J J J J J J J J J J J J J fff 5 5 5 5 3 7 7 ff ff f B œ œ ‰ œ ‰ œ# œ# œn ‰ œ œ# ‰ œ# œn œn ‰ œ# ‰ œ œn œn ‰ œ# œ# œn ‰ œ œ# œ# œn œn œ# ‰ œ œn ‰ œn œ# œ# œn œ œ# ‰ œ# œn ‰ œn œ# Vla. d æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æJ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ 5 3 3 fff FOR5 ff 5 5 ff f 7 7 (pizz.) j j j j 5 j j 7 ? œ# œ# ‰ œn œ ‰ œ# œ# œn œn ‰ œ# œ ‰ œn œn œ œ# ‰ œn œ ‰‰ œ# œ# œ# œn œ# œ œn œ# œn ‰ œ# ‰ œn œ œ# ‰ œn œ# ‰ œn ‰ œ# ‰ œ ‰ œn œ# œn œ# œn Vc. 1 J J J J fff 7 3 f ff 7 ff 5 f æj æ 7 æ æ æj æ æ æ æ æ 7 æ æj 7 æ æ ? ‰ œ œ ‰ æ œ œ# ‰ œ ‰ æ œ# Œ œn æ Œ æ ‰ œ œn œ# ‰ æ æ œæ æ ‰ œ# œn ‰ æ æ Œ œ Œ æ œn ‰ œ# œ ‰ æ œ# ‰ œn ‰ æ æ ‰ Vc. 2 œ œ# œn œ œ# æ œn æ œ# œn œ# œn œ# œn æ æ œ# œn æ œ œ# œn œ# æ œn œ# & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æJ 7 7 7 7 7 fff fff ff ff mf (pizz.) arco j j j7 j j3 j j j j o ™ ? œn œn œ œ# œn œ# ‰ œ# œ# ‰ œ ‰ œn ‰ œ# ‰ œn ‰ œn ‰ œn ‰ œ ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œ# ‰ œ ‰Œ œn ‰ œ# ‰ œ# ‰Œ ˙ Vc. 3 J J J J J J J J J fff ff 3 5 mp ff mf æ æ 7 æ æ æ æ æ æ ? æ æ œ œ# æ œ æ æ œ# œn Œ æ œ ŒŒ æ Œ æ œn Œ Vc. 4 œ# œn æ œ# æ œn œ# æ œn æ œ# œn æ O™ ~ æ æ æ æ æ æ æ mp fff 5 7 fff mf (pizz.) arco j 3 j j 5 j j ? ‰‰ œ# ‰ œn ‰ œ ‰ œ ‰ œ# ‰ œ ‰Œ œn ‰ œ# ‰Œ ~ ~ ~ Vc. 5 J J J 3 mf mp fff sul tasto sul pont. sul tasto µ µ µ sul pont.µ µ µ sul tasto µ µ µ ? œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn œ œn œ œn œ œn œ œn œ œn œ œn œ œn œ œn œ Cb. 1 7 7 3 3 3 3 3 3 fff fff mf sul tasto sul pont. sul tasto sul pont. ? sulœn pont.œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ Cb. 2 fff 7 7 fff 3 3 3 mf 3 3 3 ? 7 7 3 3 3 3 3 3 Cb. 3 ¢ œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn œ# œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ fff fff mf mf 81 82 83 84 85

96 the storm breaks œ# . . . œn ..œ . . œ# . . . . . œn . . œ# . . . œn . . . . œ# . 18 86 œ# . œn . œ œ# . œ# œ. œ œn . œn œ# ..œn œ œ# . œ# œ œ œn ..œ# œ œn . œ. œ œ# œ. œ# . œn œ œn . œ# œ# ..œn ° J J J J J J J J J J J Fl. & ‰ ‰ ‰ ‰ ≈ ≈ ‰ Œ‰ ‰ ≈ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰‰ .7 . 7 . . . . 7 . . . 7 . 7 3 7 ffœ. œ œ# . œn . œ# œn . œ# . œ œn ..œ# œn œ# . œn . œ œ# . œn . œ# œn ..œ# œ œn . œ# . œn œ..œ# œ œn . œn . œ œ# . œn . J J J J J J J J J J J J Fl. 2 & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ∑ ff 5 . 7. . 3 . 7 . 5 . 5 . 3 5 œn . œ# . œ œ# ..œn œ œ# . œn . œ# œn ..œ# œ œn . œ# . œ œ# ..œn œ œ# . œn . œn œn ..œ# J J J J J J J J J J J J J J J Fl. 3 & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ∑ ∑ ff 3 7 7 3 7

Ob. & ∑ ∑ ∑ ∑ ∑

Cl. 1 & ∑ ∑ ∑ ∑ ∑

Cl. 2 & ∑ ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑ ∑

? Bsn. 1 ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ Bsn. 2 ¢

° 3 Hn. 1 & Œ‰ j Ó ˙# Œ ˙ Ó w Œ‰ j œ ˙ œ ˙ f 3 3 Hn. 3 & w Ó Œ ˙# ŒŒ œ# œ ŒÓ Œ ˙ ˙ Ó

f 3 3 3 Hn. 2 & ‰ j ŒÓ ŒŒ œ# œ Œ ŒŒ ‰ j Œ œn ˙ ˙ œ ˙ œ ˙ f

Hn. 4 & Ó ∑ ˙ Ó ∑ ˙ w# f .(con sord.). . œ. . . . œ. . . . œ. . . . œ. . . . œ. . . . œ. . . . œ. . . . œb ‰ œ œ. œn ‰ ‰ œ. œb ‰ œ œ. œn ‰ œ. œb œ œ. ‰ œn œ. œb œ œ. ‰ œn œ. œb ‰ œ œ. œn ‰ œ. ‰ œb œ œ. œn ‰ ‰ œ. œb œ ‰ œ. ‰ œn ‰ œ. œb œ œ. ‰ œn Tpt. 1 & J J J J J J J J 5 5 7 7 5 5 mf 7 7 7 (con sord.) . . 7 . œ...... œ. ∑ œ. œb œ ‰ œ. œn œ. ‰ œb œ œ. œn ‰ ∑ ∑ ‰ œ. œb œ œ. œn ‰ Tpt. 2 & J J J 7 mf 7 ? w Tbn. 1 ∑ ∑ ˙# ™ ŒÓ ˙# f mf ? œ ˙ 3 Tbn. 2 ŒŒ ∑ ∑ Ó Œ ˙# w

3 f mf ? j B. Tbn. w j ‰ ˙™ œ ‰ ŒÓ ˙™ œ ˙# ™ ˙# f f mf ? ‰ ‰Ó Œ 3 Tba. ¢ j j w# ˙™ œ ˙# w ˙™ œ f mf R C R C R C R C R C R C Ræ Cæ Ræ Cæ Ræ Cæ Ræ Cæ °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ æ æ æ æ Bœæ œn æ Bœæ œn æ Bœæ œn æ Bœæ œn æ œ µœ œn µœ œn µœ œn µœ œn æ µœæ œn æ µœæ ONLY ﬀ f ° sempre (soft mallets) ∑ ∑ ∑ ∑ ∑ Vib. {&

L.V. sempre & ∑ ∑ ∑ ∑ ∑ Hp. {? ∑ ∑ ∑ ∑ ∑ MLLOLMLL

(pizz.)œ œ# œ œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œ œn œ œ# œ# œn œ œ# œ# œn œn œ# œn œ œn œ# œ# œ# œn ° J J J J J R J J R R R J Vln. I a & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ≈ ‰ ‰ ‰ ‰ ≈ ≈ ≈ ≈ ≈ ‰‰ ‰ ‰ ‰ f 7 3 7 7 f 7 mf 7 7 œ œ œ œ œ# œ œ# œn œ œn œ# œ œ# œn œ œn œ# œ œ œ# œn æ œ# œn æ œ œ# œn æ œ# æ œn œ# æ œn æ œ# œn œ# œn œ# œn æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I b & J‰ ‰ æ æ ‰ J‰ ‰ ‰ æ æ æ ‰ ‰ J‰ Œ Œ 5 7 3 7 5 5 5 3 7 f f mf œ(pizz.)œ# œ œn œ# œ œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œ œ# œn œ œ# œn œn œn œ# J J J J J J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 7 3 7 3 7 3 7 7 3 f œ# œ œ œn œ# œ œ# œn f œ mf œ œ# œ œ# œn œ œn œ# œ œ# œn æ œ# œn œ# œn œ# œn œ# œn æ œ# œn œ# æ œn œ# œn æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æ æ Vln. I d & J‰ ‰ J‰ æ æ æ æ æ æ æ æ Œ Œ ‰ æ æ æ ‰ æ æ æ 5 5 7 5 3 5 3 f f mf œ(pizz.) œ œ œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn J J J J J J J J J J J J J Vln. I e & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ f 3 7 3 7 5 5 5 5 f mf œ# œ œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ œ œ# œn œn Vln. II a & æ Œ æ Œ æ æ æ ‰ æ ‰ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ 7 f 7 3 7 f mf (pizz.)œ# œn œ# œn œ# œn ‰Œ œ# ‰ œn ‰ œ ‰Œ œ# ‰ œ# œn œ# œ œn œn œ# œn ‰ œ ‰ œ# œ# ‰ œn œ# œ ‰ œn œn ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œ# ‰ œn œ# œ œn ‰ œ ‰ Vln. II b & J J J J J J J J J J J J J 7 7 5 f f 5 5 3 7 œ# œn œ# mf œn œ# œn œ# æ œ# œn œ œ# œn œn ‰ œ# œ REVIEW‰ œn œ# æ œ# œn œ ‰ œ# œn ‰ æ œn œ# œ ‰ œn ‰ œ# ‰ œ# œn œ œ# œn ‰‰ œn ‰ œ# œ œn œ# Vln. II c & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ æJ æ æ æJ æ æ æ 7 7 3 3 f 7 3 7 3 7 (pizz.) œ œ# mf œn œ# œn œ mf œ# œ œ# ‰ œ ‰ œn œ# ‰ œ ‰ œn ‰ œ# ‰ ‰ œ# ‰ œn ‰ œ ‰ œ# ‰ œn ‰ œn ‰ œ# œ ‰ œn œ# ‰ ‰ œ# ‰ œn ‰ œ œ# œn œn ‰ œ# œ ‰ œn œ# ‰ ‰ œ# ‰ œn ‰ œ œ# ‰ œn Vln. II d & J J J J J J J J J J J J J J J J J J J J J f 7 3 7 7 3 5 7 3 7 f mf mf œ œ œ# œ œn œ œ# œ# œn œ œ# œ# œn œn œ# œ œn œn œ# œ# œn œ œ# œ# œn œn œ# œ œn œn œ# œ# œn œ œ# œ# œn œn œ# Vln. II e & ‰ æ ‰ æ ‰ æ ‰ æ ‰ ‰ æ æ æ æ æ ‰ ‰ æ æ æ ‰ æ ‰ æ æ æJ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æJ æ æ æ f 3 3 7 7 7 7 7 (pizz.) mf mf mp B œ ‰ œ œ# œ ‰ œn ‰ œ œ# œ# œn ‰ œ œ# œ# ‰ œn œn œ# ‰ œ ‰ œn œn œ# ‰ œ# œn œ ‰ œ# ‰ œ# œn œn ‰ œ# œ œn ‰ œn œ# ‰ œ# ‰‰ œn ‰Œ Vla. a J J J J J J J J J J 5 5 f f mf 5 5 5 5 7 3 mf mp B œ# ‰ œ œ# œn ‰ œ ‰ œ# œn œ# ‰ œn œ œ ‰ œ# œn œn œ# ‰ œ# ‰ œ œn œ# ‰ œ# œn œn œ ‰ œ# œn œn ‰Œ O™ Vla. b æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æJ æ æ æJ æ æ æ æ æJ æ æ æ æJ æ æ æJ æ æ æJ 5 5 5 5 f mf mf mp (pizz.) arco B œ# œn ‰ œ ‰‰ œ œ# ‰ œ œn ‰ œ# œ# œ# ‰ œn ‰ œ œ# œn œn ‰ œn œ# ‰ œ œn ‰ œ# ‰ œ# ‰Œ Vla. c J J J J J J J J O™ ~ 5 5 5 5 7 3 mp f f mp FOR ˙o ™ wo wo œ œ# œ œ# œn œ œn Vla. d B œ# œn ‰ æ æ ‰ œ# æ œn œ# æ æ ‰ œn ‰ œ# œn ‰ æ Œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ J J mp 3 5 5 f 7 arco o o o o ? ‰(pizz.)œn œ ‰ j œ Œ ˙™ w w w Vc. 1 J œ œ# œn & mf mp wno wo wo wo wo Vc. 2 & mp o o o o o ? w w w w w Vc. 3 mp ? Vc. 4 ~ ~ ~ ~ ~ mp ? ~ ~ ~ ~ ~ Vc. 5 mp mp p sulœn pont. µœ œn µœ sulœn tasto µœ œn µœ sulœn pont. µœ œn µœ sulœ# tasto ˜œ œ# œn sul˙# ™ pont. ? œ# Cb. 1 ‰ mf mf 3 pp pp sul tasto sul pont. sul tasto ? œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ ˙n ™ sul ponticello 3 j 3 Cb. 2 ‰‰ œ# ˙# ˙# µ˙ mf mp pp sul ponticello ? 3 3 Cb. 3 ¢ œn µœ œn µœ œn µœ œn µœ œn µœ œn µœ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ mp pp 86 87 88 89 90

97 19 °91 ∑ ∑ ∑ ∑ Œ O# ™ Fl. & #˙™ mp

Fl. 2 & ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ #~ Fl. 3 & #w mp

Ob. & ∑ ∑ ∑ ∑ ∑

Cl. 1 & ∑ ∑ ∑ ∑ ∑

Cl. 2 & ∑ ∑ ∑ ∑ ∑

? B. Cl. ∑ ∑ ∑ ∑ ∑

? Bsn. 1 ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ Bsn. 2 ¢

° Hn. 1 & ∑ Ó Œ‰ j Ó ˙# ˙ w œ ˙ mf Ó Œ 3 ŒŒ3 Œ ∑ w Ó Œ 3 Hn. 3 & ˙# œ# œ ˙# mf Ó ŒŒ3 Œ ŒŒ 3 ‰ j ŒÓ ŒŒ3 Hn. 2 & œ# œ# œ ˙ œ# ˙ œn ˙ mf 3 3 Hn. 4 & Ó Œ Ó Ó Œ Ó ∑ ˙n ˙ ˙ ˙ mf (con. sord.) ...... œb ‰ œ œ. œn ‰ œ ‰ œ. œb ‰ œ œ. œn œ ‰ œ. œb œ œ. ‰ œn œ œ. œb œ œ. ‰ œn œ œ. œb ‰ œ œ. œn œ ‰ œ. ‰ œb œ œ. œn ‰ œ ‰ œ. œb œ ‰ œ. ‰ œn œ ‰ œ. œb œ œ. ‰ œn Tpt. 1 & J J J J J J J J 5 5 7 7 5 5 mf 7 7 7 (con sord.) 7 . . . œ. . . . ∑ ∑ ‰ œ. œb œ œ. œn ‰ ∑ ‰‰ œ. ‰ œb ‰ œ ‰Œ œ. ‰ œn ‰ Tpt. 2 & J J J J J J J mf 7 ? Tbn. 1 <#>˙ ™ ŒÓ ˙# w ∑ ∑ mf ? 3 3 Tbn. 2 Ó Œ ˙# w Ó Œ ˙# w ∑ mf ? B. Tbn. ŒÓ ∑ ∑ <#>˙™ ˙# w mf ? Ó Œ 3 Ó Œ 3 ∑ Tba. ¢ mf ˙# w ˙# w

R C R C R C R C R C R C R C R 3 3 3 3 3 °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ <µ>˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ f mf ° sempre L.V. ONLY ™ j Vib. & Œ Ó ∑ ∑ ∑ ∑ { œ ﬀ bœ L.V. sempre œ œb 7 ∑ Ó œb œb œ œ œb œ ∑ Ó Œ‰ œb ∑ & œ œb œ œb œ J Hp. 3 3 {? ∑ ∑ ∑ Œ‰ œ ‰ œb ‰ ∑ ﬀ MLLOLMLL mf 3 mf œ# œn œ# œn œ# œn œ# (pizz.) œ# œn œ œ# œ# œn œ# œ œn œn œ# œn œ œ# œ# œ œ# œ œn œ# œ œn œn œ# œn œ œ# œ# œn œ# œn œ œn œ# œ# œn ° J J J J J R R J R R R J Vln. I a & ‰‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ≈ ≈ ‰ ‰ ‰‰‰ ≈ ≈ ≈ ≈ ≈ ‰‰ ‰ ‰ ‰ 7 3 7 7 7 7 7 mf mp mp p œ œn œ œ œ# mf œ œ# œn œ œn œ# œ œ# œn œ œn œ# œ œ œ# œn æ œ# œn æ œ œ# œn æ œ# æ œn œ# œn æ œ# œn œ# œn œ# œn æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æJ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I b & J‰ ‰ æ æ ‰ J‰ ‰ ‰ æ æ æ ‰ ‰ J‰ Œ Œ 5 7 3 7 5 5 5 3 7 mf mp mp p œn (pizz.)œ# œ œn œ# œ œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œ œ# œn œ œ# œn œn œn œ# J J J J J J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 7 3 7 3 7 3 mp 7 p 7 3 mfœ# œ œ œn œ# œ œ# mp œn œ œn œ# œ œ# œn œ œn œ# œ œ# œn œ# œn œ# æ œn œ# œn œ# œn œ# œn œ# æ œn œ# œn æ æ æ æ æ æ æJ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I d & æ æ æ ‰ æ æ æ ‰ Œ Œ æ æ æ æ æ æ æ æ ‰ J‰ ‰ J 3 5 3 5 7 5 5 mf mp mp p œn(pizz.) œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn J J J J J J J J J J J J J Vln. I e & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ 5 5 5 5 7 3 7 3 mf mf mp mp p œ# œ œ œ œ# œn œn œ œ œ# œ œn œ œ# œ œ# œ œn œ# œn œ# œn œ œ# œn œ# œn œ# œ œn œ# œn œ# œn œ Vln. II a & æ æ æ æ æ æ æ æ ‰ æ ‰ æ æ æ Œ æ Œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ mf 7 7 3 7 mp 7 mp p (pizz.) arco œ ‰ œ ‰ œ# ‰ œ ‰ œn ‰ œn ‰ œ# ‰ œ# œn ‰ œ œ# ‰ œ# œn ‰ œn ‰ œ# ‰‰ œ ‰ œn œn ‰ œ# œ# ‰ œn ‰ œ ‰ œ# œ# ‰ œn œn ‰ œ# œ ‰ œn ‰Œ ~ Vln. II b & J J J J J J J J J J J J J J J J J J J 7 3 7 mf mp 7 3 7 3 mp p wo wo œ# œ# œn œ œ# œn œn œn œ# œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ Vln. II c & æ ‰ æ ‰ æ æ ‰ ‰ æ ‰ æ æ æ ‰ æ æ ‰ æ Œ æ æ æ æ æ æ æ æ æ æ æ REVIEWæJ æ æ æ æ æ æ æ æ æ æ J J J 7 3 7 3 7 3 mp mp p (pizz.) arco œn ‰ œ# ‰ œ ‰ œn ‰ œ# œn ‰ œ# ‰ œn ‰ œ ‰Œ œ# ‰ œ# œn ‰‰‰ Vln. II d & J J J J J J J J n~ ~ ~ 3 7 3 7 mp mp p œ œn œn œ# œ# œn ~ ~ ~ ~ Vln. II e & æ æ ‰‰ æ ‰ ‰ æ æ æ æ æ æJ 3 7 mp p arco Vla. a B ~ ~ ~ ~ ~ mp mp p

Vla. b B ~ ~ ~ ~ ~ mp mp p B Vla. c ~ ~ ~ ~ ~ mp mp p wo FORwo wo wo œo sulO# ponticelloO Vla. d B & ‰ mp mp p pp 3 o o o o sul ponticello w w w w ? ‰ 3 Vc. 1 & O O™ mp mp p pp o o o o sul ponticello w w w œ ‰‰ O# O ~ Vc. 2 & J mp mp p 3 pp o o o sulo ponticelloo o o ? w w ˙ œ# œ w w Vc. 3 &‰ 3 mp p pp sul ponticello ? ‰‰ O# ~ ~ ~ Vc. 4 ~ O™ J 3 p sul ponticello pp ? O™ 3 j Vc. 5 ‰‰ O ~ ~ ~ ~ p pp (sul ponticello) sul tasto sul pont. sul tasto sul pont. ? <#>˙ µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ Cb. 1 pp 3 3 sul tasto sul pont. sul tasto sul pont. sul tasto ? 3 3 Cb. 2 ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ pp (sul ponticello) ? 3 3 Cb. 3 ¢ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ pp 91 92 93 94 95

98 20 °96 O# ™ ~ #>~< Œ O# ™ ~ Œ Fl. &<#>w #˙™ w #˙™ w p 3 3 #~ #~ O O Œ #~ O O Œ Fl. 2 & #w ˙ ˙ #w ˙ ˙ #w mp p 3 3 O# ~ O O O <#>O O Œ O# ~ O O Œ Œ Fl. 3 &<#>˙ œ #œ w ˙ œ #œ w ˙ œ œ p 3

Ob. & ∑ ∑ ∑ ∑ ∑ wb ˙™ µw ˙™ Bw Cl. 1 & Œ Œ p µ˙ w œ B˙ w œ ˙ Cl. 2 & Ó Œ Œ p (no pitch) ? B. Cl. ~ OÓ O ~ OÓ O ~

p 3 3 ? no pitch Bsn. 1 ∑ ∑ ∑ Ó ~ ~ 3 p no pitch ? ∑ ∑ ∑ ÓÓ O ~ Bsn. 2 ¢ 3 p no pitch ° 3 Hn. 1 & Œ ˙# Ó Œ O O ~ Œ O O ~ mf 3 p 3 no pitch 3 ~ ~ Hn. 3 & ŒŒ œn œ ŒŒŒ O O OŒ O O mf 3 3 no pitch p Œ ~ OŒ O O ~ OŒ O O Hn. 2 & <#>œ ˙ mf p 3 3 no pitch Ó ~ O O‰‰ O ~ O O‰‰ O Hn. 4 & ˙ J J mf p . (con sord.)...... 3 ...... 3 œb ‰ œ œ. œn ‰ œ ‰ œ. œb ‰ œ œ. œn œ ‰ œ. œb œ œ. ‰ œn œ œ. ∑ œ. ‰ œb œ œ. œn ‰ œ ‰ œ. œb œ ∑ Tpt. 1 & J J J J J 5 7 5 mf 5 7 mp p 7 sans sordino no pitch ™ ™ Tpt. 2 & Œ O ~ ~ O Œ ~ p no pitch ? ™ ™ ™ ™ ™ Tbn. 1 O O ‰‰ O O O O ‰ ‰ O O O O ‰ p ? no pitch ™ ™ ™ ™ ™ Tbn. 2 ‰ O O O O ‰‰ O O O O ‰‰ O O p no pitch ? ~ O O ‰‰ O ~ O O ‰‰ O ~ B. Tbn. J J J J p no pitch ? Ó O ~ O ‰Œ O ~ O ‰Œ O Tba. ¢ J J p C R C R C R C R C R C R C R C 3 3 3 3 3 °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# mf mp ° sempre (soft mallets) L.V. sim.œ ∑ Œ™ j Ó ∑ ∑ Œ™ œ Ó Vib. & œ { œ ONLYJ mf L.V. sempre mf œ œb 7 œ œb œb 3 3 œ œ œb Ó ∑ Ó œ œb œb œ œ œb œ Ó Œ Œ‰ œ Ó™ & œ œb œ œb œ œb œ 5 Hp. MLLOLMLL 3 3 mf ? Ó Œ ∑ ∑ ∑ ∑ { œb œ mf ﬀ mf ﬀ (pizz.)œ œ# œn œn œn œ# œ œn œ œ# œ# œn œ œ# œn œn œ# œ œ œn œ# œ# œ# œn œ œ# œn œn œn œ# œ œn œ# ° J J J J J J J J J J J J J J J Vln. I a & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ ‰ ‰ ‰Œ ‰ ‰ ‰ ‰ ‰Œ p 3 5 5 5 7 7 p 7 pp 5 œ# œ œn œn œ œ# œ# œ œn œn œ# œ# œn œ# œn œ# œn æ œ# œn æ œ# æ œn œ# œn œ# æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln. I b & Œ Œ J‰ J‰ ‰ J‰ æ æ æ ‰ J ~ p 3 3 7 p pp 5 5 (pizz.) arco œ# œ# œn œ œ# œ œn œn œ# œ œn œ# œ œ# œn œ œ# œn œ# wo wo J J J J J J J J J J J J J J J J J J J Vln. I c & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 3 3 3 3 7 p p pp œn œ œ# œ œn œ œ# œ# œn œ œ# æ æ æ æ æ æ æ æ æ æ æ Vln. I d & n~ ~ ~ 5 3 3 p pp (pizz.) œ# œ# œn œ œ# œ arcoo o o o J J J w w w w Vln. I e & ‰ ‰ ‰ ‰ 5 5 p pp

Vln. II a & ~ ~ ~ ~ ~ p p pp ™ Vln. II b & ~ ~ ~ ~ O Œ p p pp o o o o sul ponticello w w w ˙™ œo wo Vln. II c & ‰ p p REVIEWpp sul ponticello 3 pp 3 ‰ O O ~ ~ Vln. II d & ~ ~ O p pp p pp sul ponticello 3 Vln. II e & ~ ~ ‰ O O™ ~ ~ p pp sulO ponticelloO ~ pp ~ ~ Vla. a B ~ O ‰ 3 p pp pp sul ponticello O ~ ~ ~ ~ ™ Vla. b B O ‰ 3 p pp sul ponticello o o o B j3 O O™ ~ ~ ~ ~ Vla. c O pp (sul ponticello) #>~< ~ ~ ~ ~ Vla. d & FOR pp (sul ponticello) ? Vc. 1 ~ ~ ~ ~ ~ pp (sul ponticello) #>~< ~ ~ ~ ~ Vc. 2 & pp (sul ponticello) <#>wo wo wo wo wo Vc. 3 & pp (sul ponticello) ? #>~< ~ ~ ~ ~ Vc. 4 pp ? (sul ponticello) Vc. 5 ~ ~ ~ ~ ~ pp sul tasto sul pont. sul pont. col legno tratto ? ˙# µ˙ ˙# ˜˙ sul˙# tasto µ˙ ˙# ˜˙ ˙# œ Cb. 1 Œ‰ pp 3 col legno tratto sul ponticello sul tasto sul pont. sul tasto ? 3 j Cb. 2 ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# Œ‰‰ œ ˙ ˜˙ pp col legno tratto ? (sul ponticello) Cb. 3 ¢ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ pp 96 97 98 99 100

99 F Whispery, ethereal 101 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ O ™ 21 ° O ™ ~ f.t. œ# œ ~ Œ Œ ‰ Œ Œ Fl. & ˙™ w w ˙™ 3 p f (poss.) p 3 f.t. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ~ O O <#>O O ~ œ ˙ Fl. 2 & Œ ‰ ≈ J Œ Œ <#>˙ ˙ w w ˙ ˙ 3 f (poss.) p p 3 ~ O O O f.t. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ O O O ~ Œ ‰ œ# ˙ œ ‰ Œ Fl. 3 & w ˙ œ œ J J ˙ œ œ w p f (poss.) 3 p 3 Ob. & ∑ ∑ ∑ ∑ ∑ w ˙™ w# ˙™ ˙™ Cl. 1 & Œ Œ Œ p mp mf mp pp w w no pitch ≈ œ œ™ œ™ ‰Ó O OŒ O Cl. 2 & R p p (no pitch) ˙™ mp mf mp no pitch ? ™ B. Cl. ~ O Œ ŒÓÓ O ~ p mp mf mp œ œ™ œ™™ 3 p ? (no pitch) R no pitch Bsn. 1 Ó ~ ~ ≈ ≈ ≈ ~ Ó ~ 3 p 3 mp mf mp p 3 (no pitch) œ# œ™ œ™ no pitch ? OÓ O ~ ≈ J ‰ ~ OÓ O Bsn. 2 ¢ 3 mp mf mp p 3 p 3 ° Hn. 1 & Œ O O ~ Œ O O ~ Œ O O

3 p 3 3 Hn. 3 & OŒ O O ~ O Œ O O ~ OŒ O O

3 p 3 3 Hn. 2 & ~ OŒ O O ~ OŒ O O ~

p 3 3 ~ O O‰‰ O ~ O O‰‰ O ~ Hn. 4 & J J p 3 3 œ.(con sord.) . sans sordino no pitch ‰Œ œ. ‰ œb ‰Œ ~ ~ O™ Œ ~ Tpt. 1 & J J J p 5 p (no™ pitch) ™ ™ Tpt. 2 & O Œ ~ O Œ ~ O Œ p ? ™ ™ ™ ™ ™ Tbn. 1 ‰ O O O O ‰‰ O O O O ‰‰ O O p ? ™ ™ ™ ™ ™ Tbn. 2 O O ‰‰ O O O O ‰‰ O O O O ‰ p ? O O ‰‰ O ~ O O ‰‰ O ~ O O ‰‰ O B. Tbn. J J J J J J p ? ~ O ‰Œ O ~ O ‰Œ O ~ Tba. ¢ J J p R C R C R C R C R C R C R C R 3 3 3 3 3 °? æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ mp ppp bœ ° sempre (soft mallets) L.V. (arco) ∑ ∑ ∑ Ó Œ‰ œb ∑ Vib. {& J ONLYmf bœ bœ L.V. sempre œb œb & Ó Œ‰ J ∑ ∑ Ó Œ‰ J ∑ Hp. {? Œ‰ œ ‰ œb ‰Ó œ Œ ∑ Œ‰ œ ‰ œb ‰Ó œ Œ œ œ 3 3 F MLLOLMLL f sul ponticelloo o ™ ° arco œ# ˙ ‰ Vln. I a & ~ ~ ~ ~ pp 3 pp sul ponticelloO# O ~ Vln. I b & ~ ~ ~ O ‰ 3 pp pp sul ponticelloo o o wo wo wo œ# ˙™ w Vln. I c & ‰ pp 3 pp sul ponticelloO# O ~ ~ Vln. I d & ‰ ~ ~ O 3 pp pp o o o o o wo sul ponticello œ ˙™ w w w Vln. I e & ‰ pp 3 pp sul ponticello ™ Vln. II a & ‰ O O ~ ~ ~ ~

pp 3 (sul ponticello) Vln. II b & ~ ~ ~ ~ ~ pp (sul ponticello) wo wo wo wo wo Vln. II c & pp (sul ponticello) Vln. II d & ~ ~ REVIEW~ ~ ~ pp (sul ponticello) Vln. II e & ~ ~ ~ ~ ~ pp (sul ponticello_ ~ ~ ~ ~ ~ Vla. a B pp (sul ponticello) ~ ~ ~ ~ ~ Vla. b B pp (sul ponticello) ~o ~ ~ ~ O™ Vla. c B Œ pp

(sul ponticello) col legno tratto #>~< ~ ~ ~ O# O Vla. d & Œ‰ pp FOR 3 ppp (sul ponticello) col legno tratto ? Œ‰ 3 Vc. 1 ~ ~ ~ O™ O O™ pp ppp (sul ponticello) col legno tratto #>~< ~ ~ Œ‰‰ O# O ~ Vc. 2 & J pp 3 ppp (sul ponticello) col legno tratto <#>wo wo œo œ#o œo wo wo Vc. 3 & Œ‰& pp 3 ppp

(sul ponticello) col legno tratto ? #>~< O O# ~ ~ ~ Vc. 4 Œ‰‰ J pp 3 ppp (sul ponticello) col legno tratto ? 3 j Vc. 5 O Œ‰‰ O ~ ~ ~ ~ pp ppp (col legno tratto) ? <#>˙ ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ Cb. 1 pp pp ppp (col legno tratto) ? Cb. 2 ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ pp ppp (col legno tratto) ? Cb. 3 ¢ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ ˙# µ˙ ˙# ˜˙ pp pp ppp 101 102 103 104 105

100 22 106 ~ ™ ~ ™ ~ ° O #O Œ Œ Fl. & w ˙™ w ˙# ™ w p~ O ™ ~ O ™ p #~ pp Œ Œ Fl. 2 & w ˙™ w ˙™ w# p p pp O O O ~ O O #O ~ O O #O Œ Œ Œ Fl. 3 & ˙ œ œ w ˙ œ œ# w ˙ œ #œ p 3 p pp 3 3 œ œ œ™ œ J œb œb ˙ Ob. & Œ‰ Ó ∑ ∑ ∑ p mp 3 pp (no pitch) no pitch ~ O™ Œ Ó ~ ~ Cl. 1 & œ œ œ# œ p p (no pitch) p mp no pitch ~ O™ Œ ™ œ Ó Ó O ~ Cl. 2 & œ œ p p mp p (no pitch) no pitch ? ™ œ# œ œ# œ B. Cl. OÓ O O Œ œ™ Ó ~ OÓ O p mp p p 3 3 (no pitch) no pitch ? ™ œ œ œb Bsn. 1 ~ O Œ‰ Ó Ó ~ ~ p p mp 3 p (no pitch) œ no pitch ? ~ O™ Œ œb ™ Ó ÓÓ O ~ Bsn. 2 ¢ œ p p mp 3 p ° (no pitch) Hn. 1 & ~ Œ O O ~ Œ O O ~

p 3 3 (no pitch) Hn. 3 & ~ OŒ O O ~ OŒ O O ~

p 3 3 (no pitch) Hn. 2 & OŒ O O ~ OŒ O O ~ OŒ O O

3 p 3 3 (no pitch) O O‰‰ O ~ O O‰‰ O ~ O O‰‰ O Hn. 4 & J J J p (no pitch) 3 3 3 ™ ™ ™ Tpt. 1 & O Œ ~ O Œ ~ O Œ p (no pitch) ™ ™ Tpt. 2 & ~ O Œ ~ O Œ ~ p (no pitch) ? ™ ™ ™ ™ Tbn. 1 O O ‰‰ O O O O ‰‰ O O ~ p ? (no pitch) ™ ™ ™ ™ ™ Tbn. 2 ‰ O O O O ‰‰ O O O O ‰‰ O O p (no pitch) ? ~ O O ‰‰ O ~ O O ‰‰ O ~ B. Tbn. J J J J p p (no pitch) ? O ‰Œ O ~ O ‰Œ O ~ ~ Tba. ¢ J J p C R C R C R C R C R °? æ æ æ æ æ æ æ æ æ æ Timp. ¢ ˙# ˜˙ ˙# ˜˙ ˙# ˜˙ ˙# ˜˙ ˙# ˜˙ ppp (gliss. sempre)

° sempre arco L.V. sim. ONLY˙ œ œ j j Vib. & ∑ Œ j ‰‰ ‰Œ J ‰Œ { ˙™ œ œb ˙ œ œ pp mf L.V. sempre œ & ∑ ∑ ∑ Œ Ó ∑

Hp. œ œb 3 œ {? ∑ ‰ Ó™ Œ Œ ∑ Œ‰ œ Œ MMLOLMLL 3 3 mf (sul ponticello) < > o o o o o ° # w w w w w Vln. I a & pp (sul ponticello) #>~< ~ ~ ~ ~ Vln. I b & pp (sul ponticello) <#>wo wo wo wo wo Vln. I c & pp (sul ponticello) #>~< ~ ~ ~ ~ Vln. I d & pp (sul ponticello) wo wo wo wo wo Vln. I e & pp (sul ponticello) Vln. II a & ~ ~ ~ ~ ~ pp (sul ponticello) ™ Vln. II b & ~ ~ ~ ~ O Œ pp (sul ponticello) col legno tratto wo wo wo wo ˙o œo Vln. II c REVIEW Œ‰ & pp col legno tratto 3 ppp (sul ponticello) 3 Vln. II d & ~ ~ ~ ~ O Œ‰ O O pp col legno tratto ppp (sul ponticello) 3 Vln. II e & ~ ~ O™ Œ‰ O O™ ~ pp ppp (sul ponticello) ~ ~ O colO legno trattoO ~ ~ Vla. a B Œ ‰ pp 3 ppp (sul ponticello) ~ O col legnoO tratto ~ ~ ~ Vla. b B Œ‰ pp 3 ppp col legno tratto O O™ ~ ~ ~ ~ Vla. c B ‰

3 ppp #>~< ~ ~ ~ ~ (col legnoFOR tratto) Vla. d & ppp (col legno tratto) ? Vc. 1 ~ ~ ~ ~ ~ ppp (col legno tratto) #>~< ~ ~ ~ ~ Vc. 2 & ppp (col legno tratto) <#>wo wo wo wo wo Vc. 3 &

ppp(col legno tratto) ? #>~< ~ ~ ~ ~ Vc. 4 ppp ? (col legno tratto) Vc. 5 ~ ~ ~ ~ ~ ppp (col legno tratto) ? w# µw w# ˜w w# Cb. 1 ppp (col legno tratto) ? Cb. 2 w# ˜w w# µw w# ppp (col legno tratto) ? Cb. 3 ¢ w# µw w# ˜w w# ppp 106 107 108 109 110

101 pitch no pitch 111 #O ™ ~ #O ™ ~ no pitch 23 ° ™ Fl. & Œ Œ Œ O #˙™ w #˙™ w pitch no pitch p pp <#>O ™ #~ O O no pitch ~ Fl. 2 & <#>˙™ Œ w# ˙ ˙ Œ O O Œ p pp 3 3 pitch no pitch <#>~ O O no pitch Fl. 3 & Œ O ~ O OŒ O ~ <#>w ˙ œ 3 pp 3 p remove mouthpiece no pitch œb œ œb œ ˙ ˙ Ob. & Œ Ó ∑ ~ ~ p mp p p (no pitch) ™ Cl. 1 & ~ O Œ ~ ~ Œ O O

p 3 (no pitch) Cl. 2 & OŒ O OŒ O ~ OŒ O ~ p (no pitch) ? B. Cl. ~ OÓ O ~ OÓ O ~

p 3 3 ? (no pitch) Bsn. 1 Ó ~ ~ Ó ~ ~ Ó ~ 3 p 3 3 (no pitch) ? O Ó O ~ OÓ O ~ O Ó O Bsn. 2 ¢ 3 p 3 3 ° (no pitch) Hn. 1 & Œ O O ~ Œ O O ~ Œ O O

3 p 3 3 (no pitch) Hn. 3 & OŒ O O ~ OŒ O O ~ ~

3 3 (no pitch) p Hn. 2 & OŒ O O ~ OŒ O O ~ OŒ O O

3 p 3 3 (no pitch) O O‰‰ O ~ O O‰‰ O ~ O O‰‰ O Hn. 4 & J J J 3 p 3 3 (no pitch) ™ ™ Tpt. 1 & ~ O Œ ~ O Œ ~ p (no™ pitch) ™ ™ Tpt. 2 & O Œ ~ O Œ ~ O Œ p ? (no pitch) ™ ™ ™ ™ ™ Tbn. 1 O O ‰‰ O O O O ‰‰ O O O O ‰ p ? (no pitch) ™ ™ ™ ™ ™ Tbn. 2 ‰ O O O O ‰‰ O O O O ‰‰ O O p (no pitch) ? ~ O O ‰‰ O ~ O O ‰‰ O ~ B. Tbn. J J J J p (no pitch) ? O ‰Œ O ~ O ‰Œ O ~ O ‰Œ O Tba. ¢ J J J p

C R C R C °? æ æ æ æ æ Timp. ¢ w# ˜w w# ˜w w# ppp

(arco) ° sempre sim. L.V. soft mallets 3 ONLYarco œb œ w Vib. & j ‰ŒÓ Œ Œ ŒÓ ∑ Ó { ˙ œ œ mp 3 p mp

L.V. sempre 3 ∑ Ó Œ œb Œ œ ŒÓ ∑ ∑ & œ Hp. mf œ œ {? ∑ ∑ ∑ ŒŒŒ Œ‰ œ Ó™ MMLOLMLL 3 3 mf (sul ponticello) o o o o o ™ ° <#>w w w w ˙ Vln. I a & Œ (sul ponticello) pp ppp pp#>~< ~ ~ ~ O col legnoO#o trattoOo

Vln. I b & Œ‰ pp (sul ponticello) pp ppp ppp 3 <#>wo wo ˙o ™ col legnoœ# o tratto˙o ™ wo

Vln. I c & Œ‰ pp (sul ponticello) pp ppp 3 ppp #>~< ~ O col legnoO# tratto O ~ ~

Vln. I d & Œ‰ pp pp ppp 3 ppp (sul ponticello) wo ˙o ™ col legnoœo tratto ˙o ™ wo wo Vln. I e & Œ‰ pp ppp 3 ppp (sul ponticello) col legno tratto ™ ™ Vln. II a & O Œ‰ O O ~ ~ ~ pp 3 ppp col legno tratto

Vln. II b & ~ ~ ~ ~ ~ ppp (col legno tratto) wo wo wo wo wo Vln. II c & REVIEW ppp (co legno tratto) Vln. II d & ~ ~ ~ ~ ~ ppp (col legno tratto) Vln. II e & ~ ~ ~ ~ ~ ppp (col legno tratto) ~ ~ ~ ~ ~ Vla. a B ppp (col legno tratto) ~ ~ ~ ~ ~ Vla. b B ppp (col legno tratto) ~ ~ ~o ~ ~o Vla. c B ppp (col legno tratto) #>~< FOR~ ~ ~ ~ Vla. d & ppp

(col legno tratto) ? Vc. 1 ~ ~ ~ ~ ~ ppp (col legno tratto) #>~< ~ ~ ~ ~ Vc. 2 & ppp (col legno tratto) <#>wo wo wo wo wo Vc. 3 & ppp (col legno tratto) ? #>~< ~ ~ ~ ~ Vc. 4 ppp ? (col legno tratto) Vc. 5 ~ ~ ~ ~ ~ ppp (col legno tratto) ? µw w# ˜w w# µw Cb. 1 ppp (col legno tratto) ? Cb. 2 ˜w w# µw w# ˜˙ ™ Œ ppp (col legno tratto) ? Ó Cb. 3 ¢ µw w# ˜w w# µ˙ ppp 111 112 113 114 115

102 24 116 (no pitch) ° ™ Fl. & ~ ~ O Œ ~ ~ ~ p (no pitch) ™ ™ Fl. 2 & ~ O Œ ~ O Œ ∑ ∑ p (no pitch) Fl. 3 & ~ OŒ O O ~ O Ó ∑ ∑

p 3 (no pitch) Ob. & OŒ O O ~ ~ OŒÓ ∑ ∑

3 p (no pitch) Cl. 1 & ~ ~ ~ ∑ ∑ ∑ p (no pitch) ™ Cl. 2 & OŒ O ~ O Œ ∑ ∑ ∑ p ? (no pitch) B. Cl. O Ó O ~ O Ó ∑ ∑ ∑

p 3 ? (no pitch) Bsn. 1 ~ ~ ∑ ∑ ∑ ∑ p (no pitch) ? ~ O™ Œ ∑ ∑ ∑ ∑ Bsn. 2 ¢ p ° (no pitch) Hn. 1 & ~ Œ O O ~ ∑ ∑ ∑

p 3 (no pitch) ™ Hn. 3 & OŒ O O ~ O Œ ∑ ∑ ∑

p 3 (no pitch) Hn. 2 & ~ ~ O Ó ∑ ∑ ∑ p (no pitch) Hn. 4 & ~ ~ OŒÓ ∑ ∑ ∑ p (no pitch) ™ Tpt. 1 & ~ O Œ ∑ ∑ ∑ ∑ p (no pitch) Tpt. 2 & ~ O Ó ∑ ∑ ∑ ∑ p (no pitch) ? ™ ™ Tbn. 1 ‰ O O O Œ ∑ ∑ ∑ ∑ p (no pitch) ? ™ Tbn. 2 O O ‰ ∑ ∑ ∑ ∑ ∑ p (no pitch) ? O O ‰Œ ∑ ∑ ∑ ∑ ∑ B. Tbn. J p (no pitch) ? ~ ~ ∑ ∑ ∑ ∑ Tba. ¢ p ° Ræ Cæ Ræ Cæ Ræ ? æ æ æ æ æ ∑ Timp. ¢ ˜w w# ˜w w# ˜w ppp ONLY L.V. L.V. œ arco ‰ŒÓ ∑ ∑ Ó w œ ‰ŒÓ ∑ Vib. {& J J mp 3 pp mp

L.V. sempre œ & ∑ ∑ ∑ ŒÓ ∑ ∑ Hp. mf {? ∑ ∑ ∑ ∑ ∑ ∑ MMLOLMLL

col legno tratto ™ ~ ~ ~ ~ ~ ° O# O Vln. I a & ‰ 3 ppp N ppp (col legno tratto) #>~< o ~o ~o ~o Oo ™ Vln. I b & Œ ∑ ppp ppp N (col legno tratto) <#>wo wo wo wo ˙o Vln. I c & Ó ∑ ppp ppp N (col legno tratto) #>~< ~ ~ ~ O Vln. I d & ŒÓ ∑ ppp ppp N (col legno tratto) wo wo wo ˙o ™ Vln. I e & Œ ∑ ∑ ppp ppp N (col legno tratto) Vln. II a & ~ ~ ~ O Ó ∑ ∑ ppp ppp N (col legno tratto) ~ ~ REVIEW~ OŒÓ ∑ ∑ Vln. II b & ppp ppp N (col legno tratto) wo wo wo Vln. II c & ∑ ∑ ∑ ppp ppp N (col legno tratto) Vln. II d & ~ ~ O™ Œ ∑ ∑ ∑

ppp ppp N (col legno tratto) Vln. II e & ~ ~ O Ó ∑ ∑ ∑ ppp N (col legno tratto) ~ ~ O Vla. a B ŒÓ ∑ ∑ ∑ ppp N (col legno tratto) ~ ~ B ∑ ∑ ∑ ∑ Vla. b FOR ppp N (col legno tratto) ~o Oo ™ Vla. c B Œ ∑ ∑ ∑ ∑ ppp N (col legno tratto) #>~< O Vla. d & Ó ∑ ∑ ∑ ∑ ppp N

(col legno tratto) ? Vc. 1 ~ O ŒÓ ∑ ∑ ∑ ∑ ppp N (col legno tratto) #>~< Vc. 2 & ∑ ∑ ∑ ∑ ∑ ppp N <#>(col˙o ™ legno tratto) Vc. 3 & Œ ∑ ∑ ∑ ∑ ∑ ppp N (col legno tratto) ? <#>O Vc. 4 Ó ∑ ∑ ∑ ∑ ∑ ppp (col legno tratto) ? Vc. 5 O ŒÓ ∑ ∑ ∑ ∑ ∑ ppp ? ∑ ∑ ∑ ∑ ∑ ∑ Cb. 3 ¢ 116 117 118 119 120 121

103 ONLY

REVIEW

FOR

104 ONLY

REVIEW

FOR

105 ONLY

REVIEW

FOR

106 ONLY

REVIEW

FOR

107 ONLY

REVIEW

FOR

108 ONLY

REVIEW

FOR

109 ONLY

REVIEW

FOR

110 ONLY

REVIEW

FOR

111 ONLY

REVIEW

FOR

112 9 s'oo''

C.l"'o+.

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