UNIVERSITY of CALIFORNIA, SAN DIEGO AERIALITY Music For

UNIVERSITY OF CALIFORNIA, SAN DIEGO

AERIALITY Music for orchestra

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

Music

Anna S Thorvaldsdottir

Committee in charge:

Professor Rand Steiger, Chair Professor Lei Liang Professor Rebecca Jo Plant Professor Steven Schick Professor Yolande Snaith

2011

Anna S Thorvaldsdottir, 2011

The Dissertation of Anna S Thorvaldsdottir is approved, and it is acceptable in quality and form for publication on microfilm and electronically:

______

Chair

University of California, San Diego

2011

! iii! DEDICATION

To my husband Hrafn Ásgeirsson – thank you for more than I can ever express.

I would like to dedicate my graduate studies, and this dissertation, to my grandmother V.

Anna Gu!mundsdóttir, born February 9th 1925. To a woman of great intellect who relentlessly continues her self-educated search for knowledge, inspired by literature and life.

For all my wonderful family and friends.

! iv! TABLE OF CONTENTS

Signature page………………………………………………….………………… iii

Dedication…………………………………………....…………………………... iv

Table of contents…………………………………………………………………. v

List of Illustrations………………………………………………………………... vi

Vita…...…………………………………………………………………………... vii

Abstract…………………………………………………………………………... viii

Introduction.……………………………………………………………………… 1

AERIALITY……………………………………………………………………… 16

Program notes.……………………………………………………………………. 46

! v! LIST OF ILLUSTRATIONS

Illustration 1: Fundamental pitches.……………………………………………… 9

Illustration 2: Fundamental harmony..…………………………………………… 10

Illustration 3: Sections…………....……………………………………………… 11

! vi! VITA

2004 Bachelor of Arts, Iceland Academy of the Arts

2007-2010 Teaching Assistant, Department of Music University of California, San Diego

2008 Master of Arts, University of California, San Diego

2011 Associate in Music, University of California, San Diego

2011 Doctor of Philosophy, University of California, San Diego

DISCOGRAPHY

Roto con moto, Njuton Ensemble, released by Bad Taste Records in 2007 (SMK60). Aton for a small ensemble.

Heyr mig mín sál, Hymnodia chamber choir, released by the Iceland Music Information Centre in 2009 (ITM908). Heyr !ú oss himnum á and Heyr mig mín sál, for choir.

Ljósi" !itt l#si mér, Mótettukór Hallgrímskirkju choir, released by Mótettukór Hallgrímskirkju in 2009 (MHCD015). Heyr !ú oss himnum á for choir.

Rhíz$ma, Anna Thorvaldsdottir, released by Innova Recordings in 2011 (innova810). Dreaming for orchestra, Hrim and Streaming Arhythmia for chamber orchestra and Hidden for percussionist on grand piano. Performed by the Iceland Symphony Orchestra, the CAPUT Ensemble, and percussionist Justin DeHart.

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ABSTRACT OF THE DISSERTATION

AERIALITY Music for orchestra

Anna S Thorvaldsdottir

Doctor of Philosophy in Music

University of California, San Diego, 2011

Professor Rand Steiger, Chair

As a composer, my primary objective is to write music over words. I prefer to express myself in sounds rather than prose, which is why the piece AERIALITY, written for a large orchestra in 2010/2011, constitutes the primary content of this Dissertation. As the focus is on the music itself, via the music score, the amount of written text is minimal.

! viii! orchestra, the music notation had to be reduced considerably in size to fit the format of the Dissertation.) The music is written for a large orchestra of 41 individual parts that are at times divided even further within instrumental sections. The music features layers of sound structures and moments of lyrical emphasis. Quartertones are used as a device to construct walls of sounds beyond the chromatic scale in order to achieve a massive sound structure. The final section of the dissertation presents the program notes that are written to accompany the work for performance.

AERIALITY is the seventh piece I write for orchestra, and it distinctly reveals my passion to search for sound-worlds that are produced by a large instrumental force. It presents layers of internally related materials, often within a chromatic and quartertone setting that is constructed around a harmonic progression that the music flows through from beginning to end. This progression is presented both in the form of collective orchestral efforts going through the same materials as well as in layered entities of smaller instrumental alliances to create a conjuration of a musical atmosphere that does not dwell within a single melodic sphere but rather travels between the various sonic fields that are inspired by the visual indication that the title suggests.

! ix! !

INTRODUCTION

! 1! ! 2!

As a composer, my primary objective is to write music over words. I prefer to express myself in sounds rather than prose, which is why I have chosen to let the piece

AERIALITY, written for a large orchestra in 2010/2011, constitute the primary content of this Dissertation. As the focus will be on the music itself, via the music score, the amount of written text will be minimal.

The introduction to the Dissertation is an introduction to AERIALITY, describing the inspiration for the piece and the conceptual approach to the music. The main section of the Dissertation presents the music score. (Since the work is written for a large orchestra, the music notation had to be reduced considerably in size to fit the format of the Dissertation.) The final section of the dissertation presents the program notes, written to accompany the work for performance.

The title ‘AERIALITY’ is not to be understood as indicating insubstantiality, but rather as the state of gliding through the air with nothing or little to hold on to, similar to flying. The title draws its essence from various aspects of the meaning of the word

‘aerial’ and refers to the visual perspective – and inspiration – that such a view provides.

‘AERIALITY’ is also a play with words, combining the words ‘aerial’ and ‘reality’, so as to suggest two different worlds; the sky – the untouchable – or aerial, and the ground, reality.

ON NATURE AND INSPIRATION

Nature provides me with my greatest inspiration when it comes to writing music.

These inspirations – and the internal listening that results from them – provide me with ! 3! musical concepts that motivate me to portray these visualizations in music. Of course, this particular approach is not present in the same way in all my music, but I do find this to be a pattern in my creative process. Landscapes and various other portraits from nature have for a long time nurtured my creative imagination and they seem to have different ways of inspiring me for every new piece I write.

In my music, inspiration from nature nurtures my sense of proportion and natural flow. I use this inspiration as a tool to listen and search for my music. I listen to nature, not only to natural elements that present sounds, but to everything around me. Generally,

I do not find it desirable to try to imitate the actual sounds heard in nature. The listening is in the form of hearing what the visualization presents me with. I look at the sky, I see the moon aligned with a very bright star. Instantly I hear the harmony of this image – it is still, but moving slightly as the light from the star pulsates ever so lightly, changing the image, and therefore also the sound. I look at a mountain – from a distance it looks very still, as if it were a substance of a single color. I listen, and as I move closer the details become clearer. From there I can choose how to listen. I can listen to the entire image or pick out parts of it to concentrate on.

I notice how in nature everything acts together. However rigorously structured it may be, it presents all the different components that together create the massive force that it is. As I stand at the waters edge with my feet in the sand, I notice the way the water naturally flows in and draws back. This looks so peaceful, yet strong and steady. I look for ways to interpret this in music. I know the ocean is endlessly deep, but all I can see is ! 4! the surface, which sometimes is very rough and moving even though it may be absolutely still and peaceful down under, or vice versa. How can I reflect the waves of the sea in the music in a poetic and interesting way? How does a mountain turn into music?

My wish is to portray an alternative world through music, different from the one we live in. It seems as if I strive to project the fantasy that I frequently enter when listening to the sounds around me.

Initially I listen for the structure of the piece inside the mind. It varies from one piece to the next what form this listening takes, and also how much time it takes until the piece has formed a structure. This stage of composing is often referred to as a pre- compositional process, but to me this stage is one of the most important ones in the whole process of composing. This is where the ideas behind the piece, its structure and form, are largely determined and where the piece takes its initial form. This initial notion of the piece is then defined and developed throughout the entire compositional process.

An emotional and/or conceptual approach can be helpful when it comes to writing music. In my case the music starts as a strong sensation but then turns into a world of its own with its own means of communication and its own meaning. The sensation becomes the source of the music and thus the concept behind the piece. I sense the piece before I start to write it down on paper, get to know the atmosphere inside it, make the themes and other musical material and think of possible developments.

The conceptual thinking in my compositions is not to try and turn emotions or ideas into music. The conception consists in making an atmosphere that indicates certain ! 5! emotions. That way, in each piece, I go through a certain process that includes brainstorming on various ideas and feelings that have nothing to do with music. This process is directly connected to the music, although in different ways than the methods of writing and developing the music material are connected to it.

INSPIRATIONS AND NEW DIRECTIONS

I have usually been inspired by the horizontal viewpoint of nature – the view as seen from the ground. The inspiration behind AERIALITY however is somewhat different.

Rather than limiting the sensational “experience” to the scenery as visualized from the ground, and to a linear overlook, I further imagined the landscape as seen from above. By imagining this visualization, the view inevitably changes rather drastically. The dimensionality of the various objects in the landscape, and therefore in the sonic perception, changes – seen from the ground, the visual field is quite different than if seen from above. This is what I strive to put into a musical context, by imagining and portraying alternative projections of the same material.

To take an example, material that is presented as a lyrical line in one instrument or two later becomes a sustained layer of all the pitches from that particular line – as if seen from above rather than from a horizontal point of view. Or a single sound is extracted from its primary source, such as an airy attack in the brass, which is a fundamental part of all tones performed on brass instruments. By extracting it and playing it as a single entity, the focus is drawn to a smaller component within the sound – within the landscape. The same goes for the use of quartertones, where the sense of pitch is blurred to gain an even better sense of the mass of the whole rather than individual ! 6! elements within the entire image. The quartertones are used to “fill in the gaps” between the traditional pitches in order to reveal a more detailed presentation of the view.

Another important objective in this piece is that I wanted to search for ways in which I could allow myself to let go of some of the devices that I tend to hold on to when

I write music. I wanted to provide myself with a set of wings to fly more freely by letting go of certain “anchors” that I tend to cling to in the creational process. This is not to be understood in such a way that I wanted to liberate myself from my musical aesthetics and the characteristics that my music embodies – quite the contrary – but I wanted to push myself further than I have done before in using, and exploring, particular types of sound materials. In my previous pieces I have usually relied on droning sustained materials to provide a foundation for various types of lyrical materials, but in AERIALITY I wanted to bring this sustained sound-world into the foreground, without the sense of a fundamental pitch.

My musical aesthetics frequently motivate me to write long passages of layered harmonies and materials that often resolve into some sort of melodic field that serves as a

“destination point”. These melodic releases vary in emphasis from one piece to the next and take various forms, from being a single measure of briefly blooming pitch emphasis, to being longer lyrical lines that can last as long as several minutes, underlined with a strong harmonic foundation that supports the melody. This musical characteristic serves both my aesthetics as well as my desire to generate a momentum in the music. In order for these moments of melodic release to serve their purpose in any given piece, the ! 7! surrounding materials need to generate some sort of contrast, allowing the melodic material to be recognized as “release”.

In AERIALITLY, the sense of “importance” attached to the notion of melodic release is significantly different from my previous works for orchestra, as these melodic characteristics are somewhat overpowered by layers of sound materials. For this reason,

AERIALITY can in some sense be said to be on the border of symphonic music and sound-art. Although lyrical material has its place in this work, the proportion of layered sustained material versus melodic material is different from most of my previous pieces.

The piece flows for the most part as a unified orchestral effort, through fields of harmony and quartertones, and the layered, somewhat droning, effects have a stronger presence in the music than the melodic material. However, lyrical moments give rise to the sense of more traditional orchestral music only to remind us of the medium with which we are presented. The droning effect, which is almost noisy at times, is never too far away, though, and it reappears to take the listener back into the stream of a layered sound- world. This chromatic, droning sound-mass leaves the listener with no or little sense of direction – a sense of flying without a line to hold on to – by abandoning the somewhat

“more balanced” proportions of sound-materials and lyrical materials, thereby leaving more room for the sound-mass. I think that this in fact gives the very short lyrical event an even stronger presence in the work.

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OPENING

The musical representation of the conceptual notion behind the piece starts “on the ground”. Beginning with a horizontal view of the landscape, the attention is brought to how the visual representation of objects located at various distances can – from that perspective – be naturally thought of as linear in form. Initially, the ground is represented by a percussive attack in lower brass, strings, piano, and percussion on low F# which immediately releases f# in upper octaves in the other voices that sustain and dominate the harmonic field. More pitches from the harmonic series of F# begin to appear as a rising and falling shapes of landscapes, presented in selected instruments such as piano, violins and flutes. These textures indicate the horizon that is presented over the sustained F# that still remains the fundamental ground. The attacks are presented a few times over the first

22 measures on F# – varying subtly in instrumentation and dynamics each time – in order to further establish the ground. In m. 22 the final attack occurs but now on E, F, F# and

G. As more pitches are added to the texture, the fundamental moves from F# to a chromatic field of the surrounding pitches.

HARMONIC PROGRESSION

The fundamental harmonic emphasis of the entire piece moves through a chromatic sphere from F# to C from beginning to the end. Following is a representation of the harmonic chart, demonstrating the order in which pitches are introduced into the harmonic field:

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Illustration 1: Fundamental pitches

As a new pitch enters the harmonic texture, it layers with the previous pitches, creating a harmony that is simultaneously chromatic and, as more pitches enter, overlapping into other chord progressions. The following two images show a) how the pitches overlap in the harmonic foundation – i.e. how the pitches enter and exit and contribute to the structure of the fundamental harmonies throughout the work, and b) the fundamental sections of the piece, relative to the harmonic progression:

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C ------

------B ------

Bb ------

A ------

G# ------

G ------

F# ------

F ------

E ------

Eb ------

D ------

Db ------Db ------

------C ------

Illustration 2: Fundamental harmony

! 11! b)

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C ------

------B ------.)/+!#00!

Bb ------

A ------#*+%,%-!

G# ------

G ------

F# ------

F ------

E ------

Eb ------

D ------

Db ------Db ------

------C ------

Illustration 3: Sections

! The harmonic chart provides an overlap of two perfect fifths, D-A, and Eb-Bb.

This is the set of fifths that becomes the central harmonic panel of AERIALITY, and the fundamentals that contribute to the notion of “take off” in the music.

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TAKE OFF

The “take off” refers to the idea of the attention being slowly taken upwards from the ground, in order to get an alternate look over the same landscape. Visually conceived, this presents a new view over the entire field of the music material, which now moves to a scene that is constituted by colorful masses rather than linear (horizontal) forms.

Through orchestration, the harmony grows thicker with the use of the fundamental pitches, as the fifths, D-A and Eb-Bb, and their harmonic series’, are used as a tool to get the music to take flight at mm. 40-48. As the view changes, the harmony and layers of rhythms represent the new perspective. The notion of flying brings a sparser texture to the music and the different layers alternate between merging and separating.

Instead of facing in one direction at a time – on the ground – the view now presents a larger representation of the same scenery.

At this point, choosing a focus point becomes important. Do you keep the entire image in view, or do you concentrate on a particular element within the visual field? Do you listen to the entire mass, or concentrate on extracted parts of it?

SOUND-MASS

This part of the work brings a more sustained texture of material – a droning sensation of pitches – which right at the point of take off is supported by the alternating fifths of D-A and Eb–Bb. Earlier in the music, the horizontal landscape was represented with pitch material moving upwards and downwards in a linear fashion. Here, the ! 13! droning textures become denser and the orchestra begins to move together into an ocean of sound.

In m. 54 selected strings start to play slow glissandos between half tones and quartertones and more strings gradually enter this texture. In m. 61 low woodwinds and low strings signal the “entrance” to the orchestra drone – i.e. the sound-mass – with chromatic quintuplets, on Db, D, Eb and Ab, A, Bb and B. Here, the collective effort of all the instruments in the orchestra, except for percussion, start to contribute to a massive chromatic drone. As a sort of layered juxtaposition to the droning sensation, the percussion provides rhythmic non-resonating metallic sounds, of metal plates and hi hats, that breathe in and out of focus.

In m. 71, the ultimate sound-wall is achieved. Here, all the instruments, except percussion, have settled on designated pitches that throughout the orchestra range from a low C to f, in a chromatic setup with quartertones, with a non-salient Db fundamental.

Each string voice is divided into two separate parts, with each section already divided into three and four voices. This results in a total of 34 pitches in the string sections alone.

The entire sound-wall becomes a combination of 53 voices playing 46 pitches over the range of two and a half octaves.

LYRICAL FIELD

The chromatic mass is sustained over a long fermata in a measure of 4/2, the total duration of which is up to the conductor’s interpretation. This clutter of sound is released into a harmony on Db that passes into a lyrical field over the Db fundamental in m. 76. ! 14!

This is the first, and only, point in the piece at which a melody is in the foreground. This is also the largest sense of resolution, or relief even, appearing in the work, as the music transforms into a lyrical sphere after a massive, chromatic wall of droning sound. This brief lyrical field almost immediately fades out at the peak of its own urgency, only to remain a shadow. This release can be likened to clouds clearing up in the sky, revealing the beauty that lies behind the mass.

The lyrical passage occurs over the course of six measures, and the music then moves back to a flowing sensation of sounds that have now taken the form of sustained pitches combined with layers of rhythms that through combined efforts create a moving stream.

TRANSITIONING TO C

After the lyrical emphasis, the harmony briefly settles on a harmony from a C fundamental in m. 81. This is a sneak peak of the final destination, C. The pitches B and

Db are emphasized from mm. 85-92 to serve as leading tones to the C, which in m. 93 becomes the fundamental – and sole – pitch, as all the instruments play unisono in octaves. The final quintuplets, and the triplet, from mm. 97-104, which contain a quartertone sharp and a quartertone flat from C, serve as the final echoes of a fundamental, and can be said to refer to the attacks at the beginning of the piece.

The work ends on sustained C with quartertone additions that fade out into a mist of airy sounds from the back sections of the strings playing without pitches.

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AERIALITY

The metaphorical presentation of the fundamental notion of this piece is an important part of the creational process of the music. Of course it is in no way essential for the listener to know the conceptual facts about the fundamental ideas behind the process of the piece, but it gives an insight into a process that is usually entirely hidden to those who listen.

AERIALITY

! 16! ! 17!

AERIALITY SCORE IN C Instrumentation:

Timpani Harp 2 Flutes Percussion I: Piano 1 Alto Flute cymbal 1 Oboe hi-hat Violin I desk 1 1 Cor Anglais 1 metal plate Violin I desk 2 & 3 Plays oboe in mm. 12-14 big almglocken - D Violin I desk 4 & 5 2 Clarinets big tom tom Violin I desk 6 & 7 1 Bass Clarinet bass drum 2 Bassoons 1 bow Violin II desk 1 1 Contra bassoon Percussion II: Violin II desk 2 & 3 cymbal Violin II desk 4 & 5 4 Horns hi-hat Violin II desk 6 & 7 2 Trumpets 1 metal plate 2 Trombones big almglocken - B Viola desk 1 1 Tuba big tom tom Viola desk 2 & 3 bass drum Viola desk 4 & 5 1 big gong – low C 1 bow Cello desk 1 Percussion III: Cello desk 2 & 3 big tam tam Cello desk 4 & 5 marimba 1 big gong – low F# Double bass desk 1 1 bow Double bass desk 2 & 3 Double bass desk 4 & 5

Performance notes:

Time signatures are written for convenience only. First beats of bars should generally not be given more emphasis than other beats – keep in natural flow from one note/sound to the next.

* “When you see a long sustained pitch, think of it as a fragile flower that you have to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquility with the necessary amount of concentration needed to perform the task” (~Anna~) *

Techniques for all instruments:

: Former effect/sound/technique/indication gradually becomes the following one.

: All glissandos should be played throughout the duration of the note value it is written by. For example : slow glissando that starts at the beginning of the note and glissandos throughout the

four beats of the note value. Similar with : faster glissando (depending on the destination of the following pitch).

Accidentals apply to one measure at a time.

Quarter tones:

Woodwinds: Brass:

When notes are slurred through an extended period of time - breathe where necessary - not When notes are slurred throughout an extended period of time - breathe where necessary - not synchronized between instruments. synchronized.

Bass clarinet in score is written in the sounding octave. Note heads:

Note heads:

Wind/air sounds – no pitch sounding.

: Wind/air sounds, no pitches sounding - the notehead is placed on the middle line of the staff, but should not represent that pitch. Tongue flick on air, written in rhythmic patterns – (as a controlled flutter).

: Play with flutter tongue.

: Play on air. The various positions produce a slight changes of color to the air sound.

: Play with flutter tongue. : Rhythmic tongue flutter, also appears on air

! 18!

Percussion:

Mallets: Never stop resonance of instruments, or dampen unless otherwise indicated.

: big soft mallet (gong/bass drum mallet) : regular hard mallet : wire brush Percussion setup on staves is as follows:

Percussion I & II : super ball : soft yarn : hard yarn : drum/snare mallet

: bow

When indicated to play with hands or wire brush (for example in circular strokes) it refers to playing simultaneously with both hands or two wire-brushes, unless otherwise indicated or simultaneous Hi hat abbreviated HH. Metal plates abbreviated MP. indication of another mallet.

Hi hats are to be closed throughout the piece.

Percussion III Tam tam material is written on a single line staff. : Sustained back and forth tremolo strokes on cymbal. Also indicated on tam tam in percussion Marimba has a designated staff. III.

Gongs have a designated staff. : When written with regular mallets, refers to playing quick whirl rather than rhythmic 32nd Techniques: notes. When written with wire-brush on tam tam or cymbal, play as indicated, e.g. in sustained tremolo strokes back and forth over the instrument. Never stop resonance of instruments unless otherwise indicated.

Strings: String sections:

Harp: Double basses need to have pitch extension down to C or tune the E string down to C Never stop resonance of instrument, or dampen, unless otherwise indicated. When notes are slurred throughout an extended period of time - change bow where necessary - not In glissando phrases: small noteheads that are written in beginning and end of glissando phrases synchronized. merely indicate the start and finish of glissandos but should not be played. No vibrato unless otherwise indicated. Where asked to “mute strings with other arm and gliss. on stopped strings”: place arm over strings and press to mute, then glissando over the muted strings as written. Note heads and effects:

Piano: Where there are written effects, the string/-s that the particular effect should be played on is indicated Pedal is held pressed over large portions of the piece as written. with a small regular note head, below the effect note head (that refers to way of playing). Effect note heads are written around approximate pitch areas and are not to suggest specific pitches but sounds.

: Place left hand (not only one finger) lightly on indicated string, around given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an un-pitched wind sound. This note head is written with a small note head below that indicates the open string where the

: Right hand should be placed inside the piano pressing on the base of the written technique should be played. When this note head is indicated with a , move hand up or string with finger and released on the attack of the note in left hand. Produces a percussive attack that down the string as indicated (this will produce various harmonic colors in the wind sound as hand is let to resonate with the pedal held pressed. glissandos over the string/s). An example of this, taken from cello part:

When noteheads, like the ones above, are indicated with ord., it refers to playing ordinary on the written effect and serves e.g. to take back sul pont. etc.

nd : Three tremolo lines refer to playing quick tremolo notes rather than rhythmic 32 notes.

Note-values without noteheads are written as reference through glissando or other effects - they are never written for a longer note value than a .

In mm. 85-92 the 32nd notes and tuplets indicated with: “sul pont. very light bow pressure airy effect with very vague pitches Avoid open strings” in this section it is not necessary to synchronize the rhythms within the instrumental sections, this should produce an airy fluttering effect.

The quintuplets and triplets in mm. 97-102 should be rhythmically synchronized.

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AERIALITY Anna Thorvaldsdottir = 40 q gliss. #˙™ w ˙™ œ Flute 1 ° &4 Œ pp p pp 4 gliss. Flute 2 #œ ˙ ˙™ œ ˜œ #œ œ &4 Œ ‰™ ‰ Œ 4 pp pp ppp Alto Flute Ó gliss. ‰™ Œ &4 #˙ ˙ ˙ ˙ ˜œ 4 p mp pp #œ œ ˙ ˙ Oboe Ó ‰ ∑ &4 pp 4 p pp o Cor Anglais #œ™ œ ˙ œ œ &4 Ó™ ≈ Ó™ 4 pp p pp o #œ ˙ œ #˙ œ Clarinet in Bb 1 &4 Ó™ ‰™ Œ Œ 4 pp o o pp Clarinet in Bb 2 &4 ∑ ≈ #œ ˙ œ ˙ pp™ ™ ™ Bass Clarinet 4 o in Bb ? ∑ ‰™ 4 #œ ˙ w 4 pp ™ ? 4 ∑ Œ ‰ #œ ˙ ˙ Ó Bassoon 1.2 4 pp p o ? 4 ∑ Ó ≈ #ppœ™ œ œ ˙ œ 4 p pp o Contrabassoon 1 ? ∑ Ó™ ‰ Œ ¢ 4 #œ ˙ œ 4 pp o

soft mute + + ° ‰ ∑ &4 #œ ˙™ gliss. pp o 4 #pp˙ ˜˙ soft mute + + Œ ‰ Œ ‰ + &4 gliss. Horn in F 1–4 4 #œ ˙ ˙™ #œ ˙ µœ pp ppp pp soft mute o + + ‰ ∑ &4 #œ ˙™ gliss. pp o 4 #pp˙™ ˜œ soft mute + + + Œ ≈ Ó ‰ &4 gliss. 4 #ppœ™ ˙ ˙ #ppœ œ µ˙ o soft mute ∑ Ó ‰ &4 ™ #œ ˙™ œ Trumpet in C 1.2 4 pp soft mute & ∑ ∑ #˙ ˙ 4 gliss. 4 soft mute o pp Trombone 1 ? 4 ‰™ #œ ˙ œ œ ˜˙ œ ∑ ppp o 4 soft mute gliss. Trombone 2 ? 4 ‰™ #œ ˙™ ˙ µ˙ œ Ó™ 4 ppp o Tuba ? Ó ∑ ¢ 4#œ ˙™ ˙ 4 mf>- pp o

Timpani °? ‰ Ó™ ∑ ∑ ¢ 4#œ 4 mf A! §A Hi hat – on edge œ œ œ œ œ œ œ œ œ œ Percussion 1 ° ‰ æ æ Ó ‰ œ œ œ ‰ / 4 œæ ˙æ™ æ æ mute skin with pp pp p o p mp p 4 A!other hand o §A Hi hat œ œ œ œ œ œ œ œ œ œ œ œ œ Percussion 2 ‰ Ó™ Ó™ ‰ ® ≈ Ó / 4 œ 3 5 4 f p mp pp o Percussion 3 ° 4 A! ∑ ∑ ∑ Gongs ? 4 ‰ Ó ‰ æ Œ 4#œ œæ wæ ˙æ 4 f pp ™ o Marimba ? 4 ∑ ∑ ∑ ¢ 4 &4 ∑ ∑ ∑ Harp 4 ? 4 ∑ ∑ ∑ Right hand-INSIDE THE PIANO: 4 press the base of the string with finger and release on attack of F# in left hand. ? ® ‰™ Ó™ ∑ ∑ 4#¿ Piano 4 “‘ ? 4 ‰™ Ó™ ∑ ∑ 4#œ “‘fff ° q = 40 sul pont. O O Violin I ° gliss. #œ ˙™ desk 1 & ® O™™ O™ O O #e ® 4 #ppœ™™ p˙™ ˙ ˙ pp 4 O sul pont. O O O gliss. Violin I #œ™ ˙™ w~ œ ˙™ desk 2 & 3 &4 ≈ 4 pp Violin I desk 4 & 5 &4 ‰ #œO ˙O™ w~ w~ 4 pp ™ Violin I #˙™ w w desk 6 & 7 &4 Œ 4 sul pont. ppp Violin II gliss. #œO desk 1 ® O™™ O™ O™ O O™ &4 #œ ˙p ˙ œ ˙ pp™™ ™ ™ ord. ™ 4 sul pont. O O O gliss. Violin II #œ™ ˙™ ˙™ desk 2 & 3 ≈ # ® O O™ O ‰ &4 e #œ ˙™ œ pp pp o Violin II 4 desk 4 & 5 &4 ‰™ #œO ˙O™ w~ w~ 4 pp ™ Violin II desk 6 &7 & Œ ‰ 4 #pppœ ˙ w w 4 gliss. Viola O ™™ O ™ O ™ O O ™ #œ™™ ˙™ ˙™ œ ˙™ desk 1 B 4 ® #e ® ‰™ pp p 4 gliss. Viola #œ ˙ w ˙ ˙ desk 2 & 3 B ‰ ™ 4 ppp Viola 4 desk 4 & 5 B Œ 4 #˙™ w w 4 pizz. ppp arco Violoncello ? #œ… gliss. # ? desk 1 4 ‰ Œ &#˙O w~ œO #˙O e ® ‰ 4 ff pp Violoncello ? #œO œO ˙O gliss. ? desk 2 & 3 ‰™ ® ≈ & ‰™ ‰™ 4#˙ œ pp e #œ œ œ œ 4 f- ppp pp p pp Violoncello ~ O O desk 4 & 5 ? ≈ Œ #w ˙ œ Œ 4#œ œ œ pp f- pp ™ o 4 arcoo pizz. gliss. O Double Bass ? #œ… œO œO ˙O ™ e #œO ˙O desk 1 4 ‰ Œ ‰ ‰ Œ ff pp #œ œ 4 p mp > gliss. Double Bass ? #œ- ˙™ œ #˙O ™ œO ˙O desk 2 4 ‰ #e ® ‰™ f ppp o p 4 pizz. arco Double Bass ? …#œ #œ ˙ w ˙ desk 3 & 4 4 ‰ ‰ Ó ¢ 4 ff ppp o Copyright © Anna Thorvaldsdottir ! 20!

4 œ bœ nœ œ #˙ ˙ ˜œ #œ œ œ bœ œ nœ œ #œ #œ nœ œ Fl. 1 ° & ≈ ® Ó o pp 7 5 #œ œ œ o # ˙ Fl. 2 < > ‰ Ó™ & pp A. Fl. Œ ‰ æ ‰ Ó™ & æ æ #ppœ ˙ œ Ob. & Ó ‰™ œ œ ˙ Ó p mp o C. A. & Ó ‰ #œ œ ˙ Ó p mp o Cl. 1 <#>œ & Œ ≈ œ™ œ ˙ Ó o p mp o Cl. 2 & Ó ≈ œ™ œ ˙ Ó p mp o B. Cl. ? Œ ≈ <#>˙™ #pœ™ ˙™ #˙ #˙™ œ ? Ó Bsn. pp o ? Œ ‰™ #œ ˙ w pp Cbsn. ? Œ ‰ ‰ Ó™ ‰™ ¢ #œ œ œ #œ p mp p pp

+ o + ° Ó & ‰ ≈ ™ œ œ™ œ œ pp <˜>œ p mp p + o o o + ‰ ≈ Ó™ & #œ œ œ #œ Hn. ™ pp <µ>œ p mp p + o o o + + & ‰™ ≈ Œ ‰™ œ™ œ œ #œ ˙ <˜>œ p mp p o p + o o + + & ‰™ ≈ Œ ≈ œ™ œ œ <µ>œ p mp p #œ™ ˙ o o mp ‰ Ó™ ‰™ Œ & <#>œ œ œ œ C Tpt. o pp p o Ó ‰ Œ & <#>˙ o #œ œ œ pp p o Tbn. 1 ? #-˙ œ ‰™ Œ Œ #˙™ f pp pp Tbn. 2 ? ‰™ Œ Œ #˙ œ #pp˙™ f- pp Tba. ? ¢ #œ ˙ œ ˙™ œ f- mf pp ppp

Timp. °? ‰ ‰ ≈ ‰ ≈ æ gliss.æ ‰ æ æ gliss. #œ mpœ œ ppœ #œæ æ æ #œæ æ ¢ mf p ™ p ™ æ ™ wire brush# inœ sustained back and forth tremolo strokes on cymbal !A •A Perc. 1 ° / ‰ Ó ≈ ‰ ‰ œ œ œ ‰ fœ mfœ™ œ æp æ æ æ æ æsim. A! •A wire brush in sustained back and forth tremolo strokes on cymbal !A •A Perc. 2 / ‰ Œ ‰ Œ ˙ ≈ œ fœ mfœ æp mpœ™ æp Gong °? ‰ Ó™ ∑ #œ mf Mar. ? Œ æ æ æ ¢ #p˙™ ˙™ œ Small noteheads written in beginning and end in glissando phrases merely indicate the start # gliss. and finish of glissandos but should not be played e gliss. #e gliss. #e gliss. & gliss. ™ # gliss. gliss. # Hp. MNMOMNMN gliss. e™ e™ Œ ™ gliss. Ó #e ™ gliss. ? #e #e # #e™ e # pp e o 5 sim. 5 5 5 #œ œ œ #œ #œ nœ nœ 5 #œ bœ œ nœ œ #œ œ #œ nœ nœ #œ œ nœ nœ bœ œ œ bœ œ bœ 5 bœ œ nœ bœ ? ® ‰™ Œ & #¿ Pno. 5 5 ‰ “‘ 5 5 œ bœ 5 œ œ #œ œ bœ #œ nœ nœ bœ œ #œ nœ nœ œ nœ bœ œ œ œ nœ ≈ ? ‰™ Œ & #œ ppp ‘ “ fff ° ø still s. p. tip of bow gliss. # #œ nœ œ œ œ œ œ O >O- O O O O e œ bœ œ œ nœ Vln. I ° <#>œ™ #œ œ œ œ ˙ desk 1 & ≈ æ æ ≈™ mp pp æ æ ord., tip of bow tip, s. p. #œ ˙™ œ #œ nœ œ œ œ bœ œ nœ œ bœ œ #œ œ œ #œ #œ nœ nœ #œ œ #œ œ Vln. I æ æ æ desk 2 & 3 æ æ æ & pp æ 5 æ > Vln. I #œ- œ™ ˙ w desk 4 & 5 O™ ≈ & <#>œ™ mp pp o Vln. I <#>œ desk 6 & 7 & ‰ #œO œO ˙O w~ o ord., tip of bow mp>- pp #œ ˙ w O ™ Vln. II <#>œ æ æ desk 1 & ≈ æ æ

tip of bow 5 5 s.p. gliss. #œ ˙™ œ Vln. II œ œ œ œ #œ #œ #œ nœ œ æ æ æ desk 2 & 3 & ≈ #œ œ œ œ nœ œ œ œ œ œ #œ œ æ æ æ pp œ œ œ Vln. II desk 4 & 5 & O Ó <#>˙ #ppw o Vln. II gliss. desk 6 & 7 # ® ‰ ∑ & #˙™ e ™ sul pont, tip of bow nœ #œ nœ #œ œ œ nœ#œ Vla. #œ œ œ œ œ bœ œ œ œ nœ #œ œ #œ nœ œ nœ #œ nœ œ œ #œ #œ œ œ nœ nœ #œ œ #œ #œ nœ #œ nœ #œ œ nœ œ nœ #œ œ œ desk 1 B ‰ æ æ æ æ 5 æ æ 5 5 pp sul pont, ppp pp 5 5 5 7 tip of bow nœ gliss. nœ #œ œ nœ bœ nœ œ œbœ œ nœ œ œ œ bœ Vla. #œ œ œ œ œ #œ™™ œ œ œ bœ œ nœ nœ œ œ #œ œ #œ nœ œ œ œ nœ œ desk 2 & 3 B #e ® ≈ ≈ æ æ nœ æpp sul pont., tip of bow æ æ 7 5 5 æ æ æ ppp pp ppp œ #œ nœ Vla. #œ œ œ œ œ bœ œ desk 4 & 5 B ® ≈ ® ‰ Ó #œ œ œ tip of bow. #p˙ >- - 5 f mp pp ppp pp ppp #O ™ Vc. ? # ˙™ desk 1 ‰™ æ #˙ œ œ œ œ pæ ff p tip of bow. pizz. arco o Vc. … O O desk 2 & 3 ? ‰ Œ ‰™ #œ œ #œ œ œ ˙ æ æ ff mf mp o p Vc. ? desk 4 & 5 #˙ ˙ w ff- p tip of bow. senza tip of bow Db. O O desk 1 ? Œ #˙ œ ≈ æ > #-˙ œ æ æ #œ œ ff p o p mp mp pizz. arco Db. desk 2 ? … ‰ #œ œ ˙ œ #œ ˙ ff mf> mp mf> mp Db. >- desk 3 & 4 ? #œ ˙ ¢ #œ w f mp pp ! 21!

6 #œ œ œ bœ nœ #œ œ nœ œ œ nœ œ œ œ #œ œ œ Fl. 1 ° #œ œ & Ó ‰™ ® Œ ‰ ≈ ‰ Œ pp ppp pp 5 7 #œ nœ œ œ nœ nœ #œ œ #œ #œ nœ œ œ Fl. 2 & Ó™ ‰ ® Ó™ pp 5 5

A. Fl. gliss. & Ó #˙ ˙ œ pp ™ ˜

Ob. œ œ œ œ #œ & ∑ Ó ‰ #œ œ #œ ® ‰ pp 5 C. A. & ∑ Ó™ ‰™ œ œ pp Cl. 1 Œ gliss. & #˙™ ˙ ˜˙ mf mp Cl. 2 Œ gliss. & #˙™ #˙ µ˙ mf mp B. Cl. ? ‰™ #œ w # ˙ < > ™ o p

? ∑ ∑ Bsn. ? <#>œ Ó™ ∑ o Cbsn. ? Œ ¢ <#>˙™ œ ˙ #pœ p pp o

+ + ° Œ & w ˙™ o + + & Œ Hn. <#>w ˙™ o + + + + & ‰ # ˙ ˙ < > o #pœ ˙™ + + &

<#>pw w

& ∑ ∑ C Tpt. & ∑ ∑

Tbn. 1 ? <#>w w

Tbn. 2 ? gliss. <#>w ˙ ˜˙ Tba. ? Ó ¢ <#>˙ o #w

Timp. °? Œ ≈ Ó gliss.æ æ æ gliss. æ æ ™ ¢ æ #œ™ #œ™ æ æ #œæ !A •A sim. !A Perc. 1 ° ‰ œ œ ‰ ‰ ‰ ‰ Ó / œ æ œ œ œ æpp æ pp mf mp !A •A !A Perc. 2 œ ‰ ‰ œ œ ˙ Œ ‰ / æ œ æ æ æ œ æ p æpp æ æ o p •A æ wire brush in sustained back and forth tremolo strokes on tam tam Perc. 3 ° Œ ˙æ™ ∑ pp Mar. ? æ Ó™ ∑ ¢ <#>œæ o bœ nœ bœ nœ œ bœ œ nœ bœ œ bœ œ œ nœ œ 5 œ œ #œ 5 œ #œ nœ 5 nœ & 5 5 ‰ ≈™ Pno. Œ 5 ‰ Œ ‰ ® #œ œ #œ 5 nœ bœ ≈™ 5 5 #œ œ œ œ bœ œ œ bœ œ #œ œ &

œ œ #œ œ #œ #œ nœ œ nœ #œ œ œ œ #˙™ ˙ œ œ bœ œ œ nœ bœ œ œ #œ #œ nœ nœ Vln. I ° æ æ desk 1 & æ æ æ 5 7 æ 5 œ œ œ #œ œ nœ <#>˙™ #œ nœ nœ œ bœ nœ œ nœ œ œ œ #œ #œ nœ #œ œ bœ nœ œ nœ bœ œ œ nœ œ Vln. I æ œ nœ desk 2 & 3 & æ ‰ ® ‰™ 5 7 Vln. I <#>w ˙ desk 4 & 5 & Ó o Vln. I desk 6 & 7 & <#>w~ w~

# œ gliss. < > #˙™ œ œ œ œ œ nœ œ #œ œ Vln. II æ æ nœ #œ œ œ æ desk 1 & æ æ ≈ æ æ gliss. œ Vln. II #œ ˙™ ˙ œ nœ #œ œ #œ #œ nœ nœ #œ œ #œ desk 2 & 3 & æ æ æ æ ≈ æ æ æ æ æ æ æ 5 7 æ Vln. II desk 4 & 5 & <#>w w Vln. II desk 6 & 7 & #w w p

gliss. # ˙ œ #˙™ œ™ nœ œ Vla. < > ™ æ desk 1 B æ æ æ æ æ æ gliss. #œ Vla. #œ œ bœ nœ #œ ˙ ˙ desk 2 & 3 B ™ ™ æ æ æ æ æ æ æ Vla. desk 4 & 5 B æ <#>w ˙™ #œæ

#O gliss. #˙O ##œO gliss. Vc. # œ #œ #˙™ ?< > æ æ desk 1 æ æ æ æ æ æ

Vc. ? # ˙O gliss. #O #O #œ #œ desk 2 & 3 < > # ˙ œ Œ ‰ æ æ æ æ æ æ o æp æ Vc. O ™ O desk 4 & 5 ? #˙™ œ Œ # œ æ æ #˙æ < > æ æ o p s.p. Db. desk 1 ? <#>˙ ˙ ˙ ˙ p Db. ? desk 2 æ <#>pw œ #˙™ Db. ? desk 3 & 4 # ˙ #˙ w ¢ < > p ! 22!

8 #œ w œnœ Fl. 1 ° œ œ#œ œ & Ó ≈ #œ Œ Ó™ p 5 œ œ œ œ œ #œ Fl. 2 œ nœ #œ #œ œ œ#œ & Œ ≈™ Ó ≈ #œ œ œ œ ≈™ ‰ Ó ∑ 5 7 5 A. Fl. gliss. Ó &<˜>˙™ #œ w ˙ œ Ob. #œ œ œnœ œ #œ nœ œ#œ #œ œœnœ & Ó™ ≈ œ #œ nœ œ#œ ≈ ‰ Ó™ Ó ‰™ ≈ 7 pp 7 C. A. œ#œ & bœœœ #œ≈ ‰ Ó™ Œ ‰ œ œ #œ œ #œ nœ ‰ Œ Œ ‰™ nœ œ œ ® ‰ Œ œ pp œ œ pp œ nœ œ #œ œ Cl. 1 gliss. Œ #œ œ nœ ® Œ ‰™ #œœ &<˜>˙™ #œ w 5 5 p o pp Cl. 2 gliss. Ó œ ≈™ ≈ nœ#œœ œ & <µ>˙™ #œ w #œ #œ œ#œœ nœœ p o pp B. Cl. ? <#>˙ Ó ∑ Ó™ #mpœ ? ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑

Cbsn. ? Ó ∑ ¢ <#>w ˙

+ + + ° & #w ˙ ˙ ∑ ppp o + + + o & #w ˙ ˙ Ó #˙ Hn. ppp o pp + + + & <#>w w w + + + + o & ‰ # w w œ œ #˙ < > pp

& ∑ ∑ ∑ C Tpt. & ∑ ∑ ∑ senza mute Tbn. 1 ? gliss. ® ‰ Œ ‰ <#>w ˙ ˙ ™ æ æ senzae mute #pœ œ Tbn. 2 ? gliss. Œ æ æ <˜>œ ˙™ #˙™ #p˙ ˙

Tba. ? gliss. ‰ ¢ <#>w ˙ µ˙ œ #˙™ pp

Timp. °? ∑ ∑ ∑ ¢

Perc. 1 ° / ∑ ∑ ∑

Perc. 2 / ∑ ∑ ∑

Perc. 3 æ æ Œ ¢° œ ˙ ∑ ∑ œ o œnœ nœ œ bœ bœ nœ bœ nœbœ bœ œ bœ ? & Ó ∑ ≈™ ≈™ ≈™ Pno. ‰ ‰ œ#œ nœ bœ œ bœ ® ≈ œ œ bœ œ #œ ? & œ bœ nœ ∑ o

#œ œ ord., senza tip of bow nœ œ gliss. gliss. Vln. I ° æ œ nœ#œ#œnœ#œ œ#œ œnœ nœ#œ œnœ œ #˙™ ˜œ ˙™ #œ desk 1 æ ≈ ‰ ≈ & æ æ ord., senzaæ tip of bow 5 5 7 œ#œ #˙™ ˙ gliss. Vln. I nœ#œ #œ æ æ #˙ µw desk 2 & 3 & ‰ æ æ æ æ 5 æ æ

Vln. I desk 4 & 5 & #pw w w

Vln. I desk 6 & 7 O Ó æ & <#>˙ #w ˙ #˙æ o p ord., senza tip of bow œ œ œ bœ œ œ Vln. II œnœ#œ œ #œ#œnœ nœ#œœ œ œ œ œ œ nœ#œ œ#œ #œœ œ œ nœ#œnœ œ nœ#œœ œ œ œ œ œ œ#œnœ #œ œ desk 1 ≈™ ≈ ‰ ‰™ ‰ ‰™ ≈ ≈ ≈ & æ æ æ æ æ æ æ 5 7 5 æ æ 5 7 æ 5 æ ord., senza tip of bow œ œ œ œ œbœ nœ Vln. II <#>œ œ nœ#œ œ œ œ œ œ nœ #œ œ#œ #œ nœ nœ#œœbœnœ #œ nœ œ œ nœ bœ œnœ œ#œ #œ nœ œ œ #œ nœ#œœ#œ#œnœ nœ#œ œ œ œ desk 2 & 3 & æ æ ‰ ≈ œ ≈™ æ ≈ ≈ æ æ æ æ 7 æ æ æ æ æ 5 æ 5 7 æ Vln. II æ æ desk 4 & 5 & # œ #˙æ #œæ ˙ w < > p ™ ™ Vln. II desk 6 & 7 & # w #˙æ œ w < > ™ ord., senza tip of bow œ œ œ Vla. œ œ œ #œ nœ œ #œ œ œ œ bœ œ #œ œ œ#œ nœ œ ˙ œ nœ #œ œ #œ #œ œ #œ nœ nœ œ bœ œ nœ œ œ œ#œ #œnœ æ œ#œ #œ #œ desk 1 B æ œ ® æ ≈ æ ‰ ® æ ® æ æ æ æ æ æ 5 æ æ ord., senza æ æ 7 æ tip of bow œ Vla. <#>˙ œ #œ œ œ œ œ bœ œ#œ#œnœ#œnœnœ #œ œ œ™ œ nœ#œœ#œ#œnœ nœ#œœ #œ œ œ œ œ #œ œ #œ nœ œ œœbœ œ desk 2 & 3 B æ æ ≈ ® ≈ ≈ œ æ 5 æ æ æ æ æ æ 7 æ æ æ 5 7 æ æ æ æ Vla. desk 4 & 5 B æ æ æ <#>˙æ #˙ ˙™ #œæ ˙æ ord., senza #˙ s.p. still tip of bow tip of bow œ œ œ œ œ#œ œ Vc. <#>œ œ œ œ œ œ œnœ #œ #œ œ nœ bœœnœœ#œ œnœ#œ œnœ#œ #œ œ œ œ œ œnœ #œ™ #œ desk 1 ? æ ≈ œ #œ œ æ æ ≈ æ ® ® æ nœ #œ œ æ æ æ æ æ æ æ æ æ æ pp 5 7 æ 5 ord., senza tip of bow tip of bow Vc. œ œ œ œ œ œ œ#œ #œnœœnœ œ œ desk 2 & 3 ? <#>˙™ ≈ nœ #œ œ ® ≈ #œ #œ #œ™ #œ nœ œbœœ#œ œ ≈ #œ nœ#œ #œnœ≈ ‰ #œ™ #œ nœ œbœ œnœœ æ æ æ æ æ œ æ pp æ æ æ æ 5 7 æ ætip of bow æ 5 æ æ 5 7 ord. Vc. desk 4 & 5 ? æ ≈ æ # wæ œæ nœ#œ œ#œ#œnœœnœ#œ #œæ ˙æ wæ < > pp œ tip of bow Db. œ#œ#œnœœnœ œ œ œ#œ#œ desk 1 ? nœ#œ #œœ≈ nœ#œ nœ œ ≈ # ˙ #˙æ ˙æ #œæ œ #˙æ < > pp 5 7 ™ 5 tip of bow æ s.p. æ Db. ? #œ nœ œ œ œ #œ æ #œnœ œ œ œ œ nœ#œ œ#œ#œnœœnœ#œ desk 2 æ æ ≈ œbœ œ ≈ æ nœ bœ œ œ nœ ® æ œ≈ ‰ <#>wæ œæ pp #œ œ #œæ œ 5 æ æ 5 7 s.p. æ æord. Db. ? desk 3 & 4 æ æ æ æ ¢ <#>˙ #˙æ œæ ˙æ™ ˙æ #˙ ! 23!

11 # ˙ nœ#œ nœ < > ™ œ œ œ#œ œ œ Fl. 1 ° #œ œ & Œ Ó ‰™ Ó™ pp o pp œ Fl. 2 & ≈ #œ ˙ œ ‰ Œ ‰™ œ œ#œ œ#œ nœ#œ ® Œ Ó™ ‰ p ™ pp œ œ pp o 5

A. Fl. & ‰ #œ ˙ œ ‰ ≈ œ œ œ œ#œ ® Œ ‰ ® nœ œ œ œ#œ ‰ Ó™ p ™ pp #œ œ œ o #˙ Ob. Œ ‰™ bœ#œ nœ œ ‰ Œ ∑ ≈ #œ nœ œ ≈ Œ & œ#œ #œ pp CHANGE TO OBOE 5 #œ ˙ C. A. œ œ œ œ#œ Œ ≈ œ#œ œ ® Ó œ œ œ ≈™ Ó™ ‰ #œ nœ ‰ & #œ nœ #œ pp 5 5 nœ#œ œ œ œ nœ #œ œ Cl. 1 œ ® Œ ≈™ nœ#œ œ œ Œ ‰ bœ#œ nœ œ ‰™ Ó ‰™ œ œ nœ #œ ® ‰ ‰ & nœ œ#œ#œ #œ pp 5 nœ œ Cl. 2 œ#œ œ œ nœ nœ#œ œ nœ #œ & ‰™ ® ‰ Œ #œ œ œ#œ ‰™ Ó™ Œ œ ‰ Œ #œ œ#œ œ pp B. Cl. ? ∑ <#>w w ? ‰™ ∑ ∑ #œ ˙ Bsn. - ™ mf> p o ? ‰™ Œ ∑ ∑ #-œ ˙ mf> p o Cbsn. ? ‰™ Œ ¢ #œ ˙™ w ˙™ mf>- p pp o

o ° & #œ œ ˙ Œ ∑ ∑ f- p o ∑ ∑ & <#>˙ ˙ Hn. mf p o o & Œ ∑ ∑ #œ œ ˙ f- p o & ∑ ∑ # ˙ ˙ < >mf senza mute p o & #œ œ Ó™ ∑ ∑ C Tpt. f- p ™ senza mute o Ó™ ∑ ∑ & #œ œ™ f- p o Tbn. 1 ? æ æ <#>wæ ˙æ ˙ w ord. Tbn. 2 ? æ æ <#>˙æ™ œ w ˙ #˙æ mf p Tba. ? Ó ¢ <#>w w ˙ mp p o

Timp. °? ≈ Ó™ ∑ ∑ #œ œ ¢ f mf A⁄ §A in big circular strokes on skin - both hands Perc. 1 ° / ‰™ œ ‰ Ó™ mf mpœ ˙ w œ mf p A! ®on skin - sustain sim. o Perc. 2 Ó Œ / œ œ™ ˙™ œ œ ˙™ f mp mf p p o – Mar. °? ‰ Ó ¢ #œ ˙ œ w ˙ mf p o 5 ? ® ‰™ Ó™ ∑ & #œ #¿ Right hand-INSIDE THE PIANO: 5 œ Pno. press the base of the string with finger and release “‘ on attack of F# in left hand. Ó™ œ #œ œ ? ‰™ Ó™ ∑ #œ œ œ #œ œ #œ ppp ‘ “ fff °

gliss. gliss. O Vln. I ° <#>˙ µ˙ #w ˙ #˙ desk 1 & æ p æ gliss. gliss. gliss. s.p. œ#œ œ#œ Vln. I œ #˙ œ ˙ #˙ œ œ #œO œO œO œ œ desk 2 & 3 <µ> ˜ & p æ æ æ æ æ æ pp 6

Vln. I desk 4 & 5 æ æ & <#>œ #˙æ™ œæ #˙™ w

Vln. I desk 6 & 7 æ & <#>˙æ #˙ w w s.p.#œ œ œ nœ ord. O O O œ œ œ #œ nœ Vln. II <#>œ ˙™ w~ œ œ œ #œ #œ gliss. desk 1 & æ æ æ æ æ ≈ #œO æ æ æ æ æ p s.p. pp 5 gliss. #˙ w œ nœ#œ œ œ œ œ #œ œnœ#œ œ œ œ#œ œ œ Vln. II <#>˙ æ æ œ nœ œ#œ œ œ œ #œ œ œ desk 2 & 3 & æ æ æ #œ œ nœ œ œ ‰ æ pp 5 5 #œ æ 5 5

Vln. II gliss. gliss. gliss. desk 4 & 5 æ æ æ æ & <#>˙™ #œæ #˙ ˙æ ˜˙æ µ˙æ

Vln. II gliss. desk 6 & 7 æ æ & <#>w œ #˙æ œ ˙ #˙æ 9 s.p. gliss. #˙ w œ œ #œ nœ Vla. # ˙ æ æ nœ#œ nœ œ #œ œ œ œ œ #œ bœ desk 1 B < > æ æ ≈ œ œ#œ œ œ nœ bœ #œ œ œ œ œ æ p #œ œ œ œ nœ œ æ 9 9 s.p. pp 5 Vla. #˙ gliss. œ œ nœ desk 2 & 3 B æ æ æ æ ® œ #œ #œ æ #p˙ w ˙™ #ppœ

Vla. gliss. desk 4 & 5 B æ æ gliss. æ gliss. æ gliss. <#>w #˙æ ˜˙æ µ˙æ ˜˙æ pizz. arco ord. gliss. gliss. gliss. Vc. <#>œ … gliss. desk 1 ? ≈ ‰ #œ ˙ ˙ µ˙ ˜˙ µ˙ æ æ æ æ æ æ #œ æp æ æ æ æ æ ff pizz. arco ord. Vc. œ … desk 2 & 3 ? ® ‰ gliss. gliss. gliss. gliss. #œ ˙æ ˙æ ˙æ ˙æ ˙æ ff p ™ ˜ µ ˜ pizz. arco ord. Vc. … desk 4 & 5 ? æ ≈ gliss. gliss. gliss. gliss. gliss. # œæ #œ ˙æ ˙æ ˙æ ˙ ˙ < > ff p ™ ˜ µ ˜ µ pizz. arco ord. gliss. gliss. Db. … desk 1 ? ≈ #œ ˙™ ˜w ˙™ µœ #œ p f pizz. arco ord. Db. … desk 2 ? ≈ gliss. gliss. #œ œ ˙ w ˙ #˙ f p ™ µ gliss. gliss. gliss. Db. desk 3 & 4 ? Œ #˙ ˜˙ µ˙ ¢ #œ- ˙™ œ æ æ æ f> ppp o p ! 24!

14 ˙ œ Fl. 1 ° & Œ ∑ o ˙ œ œ Fl. 2 & ‰ ∑ o A. Fl. & ∑ ∑ <#>œ œ Ob. & Ó ∑ o <#>œ œ CHANGE BACK TO COR ANGLAIS C. A. & ‰ Ó ∑ o œ œ œ Cl. 1 & ‰ Œ ∑ o ˙ Cl. 2 & Ó ∑ o B. Cl. ? ∑ ∑

? ∑ ∑ Bsn. ? ∑ Ó™ ‰ #œ #œ #pœ œ 5

Cbsn. ? ∑ Ó™ #œ nœ œ œ ¢ p œ œ #œ nœ œ

° & ∑ Ó #p˙ & ∑ Œ Hn. #p˙™ & ∑ Ó #pp˙ & ∑ Œ #pp˙™

& ∑ Œ ‰ #œ ˙ C Tpt. pp & ∑ ‰ #œ ˙ œ pp mp

Tbn. 1 ? ‰ gliss. <#>˙ œ #œ ˙ #˙

Tbn. 2 ? gliss. æ ‰ #œ <#>˙æ™ senza mute #œ ˙™ Tba. ? Ó ‰ æ æ ∑ ¢ #œæ œæ p mf o

Timp. °? ∑ ∑ ¢

Perc. 1 ° / ∑ ∑

Perc. 2 / ∑ ∑ Perc. 3 ° ¢ ∑ ∑ gliss. gliss. gliss. b & ∑ e™ Ó™ #e be e Hp. gliss. gliss. gliss. be gliss. gliss. e ? ™™ gliss. #e ™ gliss. ∑ #œ mp ppe be e e nœ bœ nœ 5 bœ œ 5 5 #œ nœ#œ nœ œ nœ nœ bœ 5 œ nœ bœ #œ œ 5 nœ #œ nœ 5 bœ & nœ bœ œ nœ bœ nœ œ nœ #œ nœ bœ bœ nœ nœ bœ

Pno. ≈™ ‰ Œ ‰ 5 5 5 5 5 5 #œ 5 nœ œ ? œ œ #œ œ #œ œ œ œ #œ œ #œ œ œ & bœ œ œ œ #œ

s.p. œ #œ œ œ œ œnœ#œ œ œnœ#œ œ œ œ nœ Vln. I ° #w~ œ œ #œ œ œ nœ œ œ #œ œ œ nœ œ œ œ œ #œ nœ œ desk 1 #œ ‰ #œ #œ œ œ ‰ & æ œ #œ 7 7 pp 7 7 7 7 œ œ #œ œ œ œ œ œ œ nœ œnœ#œ œ œ #œ œ nœ#œ œnœ#œ œ œ #œ œ #œ œnœ #œ œ œ œnœ Vln. I œ œ œ œ #œ œ œ œ #œ œ #œ nœ nœ #œ nœ #œ nœ nœ nœ#œ œ nœ nœ œ nœ œ œ #œ œ nœ œ nœ œ œ #œ œ nœ desk 2 & 3 & ‰ œ œ#œ œ œ œ œ bœ œ #œ ‰ œ nœ œ 6 6 6 6 6 6 6 6 6 6 6 6 6 6

Vln. I gliss. gliss. desk 4 & 5 æ æ & <#>w ˙æ ˜˙æ

Vln. I gliss. gliss. gliss. desk 6 & 7 æ æ æ & <#>˙ #˙æ ˜˙æ µ˙æ

Vln. II gliss. gliss. gliss. desk 1 O gliss. O O O & <#>˙ ˜µ˙ µB˙™ ˜µœ ord.

Vln. II gliss. gliss. gliss. desk 2 & 3 & #˙O™ BœO B˙O µ˙O p ™ µ ˜

Vln. II gliss. gliss. desk 4 & 5 æ æ & ˜˙æ µ˙æ #w

Vln. II gliss. gliss. gliss. gliss. desk 6 & 7 æ æ æ æ & µ˙æ ˜˙æ µ˙æ ˜˙æ 9 ord. gliss. gliss. Vla. nœ #œ #œO #˙O µ ˙O ™ B œO desk 1 B #œ œ ≈ ˜ ™ µ nœ #œ œ

œ #œ œ œ #œ œ Vla. #œ œ œ œ nœ œ œ œ œ #œ #œ desk 2 & 3 B nœ #œ œ ‰ nœ œ ‰ ‰ Œ ® #œ nœ œ Œ bœ nœ œ ‰ #œ œ #œ

Vla. gliss. desk 4 & 5 B æ gliss. æ æ gliss. æ gliss. æ µ˙æ™ ˜˙æ µ˙æ gliss. Vc. gliss. gliss. gliss. desk 1 ? ˜˙™ µ˙ ˜˙ æ æ æ æ Vc. ? desk 2 & 3 æ gliss. æ gliss. æ gliss. æ µ˙æ ˜˙æ µ˙æ™ ˜œæ Vc. desk 4 & 5 ? gliss. gliss. gliss. ˜˙ µ˙ ˜œ ˙ gliss. gliss. Db. desk 1 ? <µ>˙ #˙ ˙ µ˙

Db. desk 2 ? gliss. gliss. <#>˙™ ˜œ ˙™ œ gliss. gliss. gliss. Db. gliss. desk 3 & 4 ? ˜˙ µ˙ ˜˙ µ˙ ¢ æ æ æ æ ! 25!

16 œ nœbœ Fl. 1 ° #œ nœ œ #œ œ œ #œ œ nœ #œ œ bœ bœ & Ó™ ‰ œ nœ #œ œ #œ œ œ œ #œ ≈ Ó p 5 6 7 5 œ #œ œ œ Fl. 2 œ#œ œ nœ #œ #œ œ œ nœ & Ó™ ≈ #œ œ œ œ œ #œ nœ Ó™ p 7 5 6 5 5 9

A. Fl. Ó™ #œ œ œ Ó & p #œ œ œ œ nœ #œ œ œ bœ œ œ œ nœ #œ Ob. #œ œ nœ #œ œ nœ & Ó ‰™ #œ œ œ œ bœ œ ® ‰™ Ó™ p 9 6

C. A. & Ó ‰ œ #œ nœ ∑ œ #œ œ #œ œ nœ œ œ p #œ #œ œ 5 Cl. 1 nœ #œ & Ó #œ nœ #œ œ œ ‰™ ‰ p œ œ #œ œ #œ ˙ œ œ œ #œ nœ #œ œ œ p 5 6 5 5 Cl. 2 #œ nœ & Œ ‰ œ #œ œ œ œ bœ œ œ #œ ≈ Œ œ œ œ œ œ #œ nœ #œ p #œ œ #œ nœ #p˙™ 5 5 B. Cl. ? œ #œ nœ œbœ œ ‰™ œ #œ œ œ œ œ œ #œ œ œ ≈ ‰ p œ œ œ #œ #œ nœ œ #œ 6 #œ œ™ ˙™ 9 mf- mp p 9 ? #œ nœ nœ #œ œ nœ œ #œ #œ œ #œ nœ bœ œ nœ œ œ bœ œ bœ œ ≈ Œ Ó™ p œ #œ œ œ p Bsn. 5 6 #œ œnœ#œ ? œ #œ nœ nœ #œ nœ œ#œ#œ œ#œ œ œ #œ nœ bœ nœ œ nœ œ ‰ Œ Ó ‰ nœ #œ 6 #œ œ 5 9 p Cbsn. œ œ œ ? #œ œ nœ #œ #œ bœ œ Ó ¢ #œ œ œ bœ œ œ #œ nœ #œ œ ˙ mf- mp™ p ™ 5

° Ó™ & gliss. <#>˙ µ˙ œ o & Œ Hn. # w œ ˙ < > o & gliss. Ó™ <#>˙ µ˙ œ o Œ & # w œ ˙ < > o ∑ & <#>˙ ˙ C Tpt. mp pp o Œ ∑ & <#>œ ˙ pp o Tbn. 1 ? Œ ≈ #œ œ™ œ œ œ œ™ œ <#>˙™ o mf- mp pp mf- p mf- Tbn. 2 ? Œ ≈ <#>˙™ #œ œ œ œ œ œ œ o mf- mp™ pp mf- p ™ mf- Tba. ? ∑ ≈ ¢ #-œ œ œ™ -œ #œ œ™ œ mf p mf mf- mp pp

Timp. °? ∑ ‰ Œ ≈ ≈ ‰™ #œ œ œ ¢ mf mf mf ⁄A Perc. 1 ° / ∑ œ ‰ Œ ≈ œ ≈ ‰™ œ mf ⁄A mp p Perc. 2 / ∑ œ ‰ Ó™ mf Perc. 3 ¢° ∑ ∑ be œ œbœ œ œbœ œ œ bœ œ œ bœ œ œ bœ gliss. ™ & ‰ Œ pp Hp. Ó™ #œ œ #œ œ#œ œ #œ œ #œ œ #œ gliss. gliss. ? #e & pp e™ 7 7 6 6 5 ? #œ nœ œ 6 #œnœnœ œ œ & œ nœ nœnœ nœnœ#œ bœ œ #œnœ œ œ œ#œ nœ œ #œnœ œ nœ œ#œ nœ œ #œ nœ œ nœ œ #œ nœ œ #œ Pno. Œ bœ œ ® ? œbœ œ œ & nœ bœ œ œ #œ nœ œ œnœ nœ œ œ œ œ 7 #œ 7 œ nœnœ œ œ œ œ œ œ œ œ œ œ œ 7 7 œ 7 œ#œ 7 nœ 7 œ#œ 7 nœ 7 œ#œ 5 5 nœ “‘

nœ#œ œ œ nœ#œ œ nœ #œ œ nœ #œ œ nœ #œ œ œ nœ #œ œ œ œ œnœ œ œnœ#œ œ œ œ nœ#œ œ œ œ nœ#œ œ œ œ nœ#œ œ œ Vln. I ° œ nœ#œ œ œ nœ œ œnœ#œ œ nœ #œ œ nœ #œ ‰ œ nœ#œ desk 1 œnœ#œ #œ œ œ œnœ#œ ‰ œ nœ#œ œnœ #œ Œ œnœ#œ & 7 œ#œ 7 7 7 7 7 6 7 7 7 7 6 7 7 #œ œ nœ #œ nœ #œ nœ #œ nœ #œ nœ#œ#œ œ nœnœ œ #œ #œ œ nœ #œ œ œ nœ #œ œ œ nœ #œ œ œ Vln. I œ œ#œ #œ nœ œ nœ œ œ #œ #œ œ œ œ œ œ œ œ œ œ desk 2 & 3 nœ œ bœ ‰ ‰ nœ œ œ nœ œ bœ ‰ nœ œ œ nœ œ nœ nœ œ œ nœ œ œ & œ #œ œ 6 6 œ œ 6 6 6 6 6 6 6 6 6 s.p. œ œnœ œ #œ bœ œ œ nœ #œ #œ Vln. I gliss. nœ #œ #œ œ œ œ desk 4 & 5 æ æ Œ ‰ œ œ#œ ‰ œ nœ nœ & ˙æ ˙æ œ 6 µ ˜ 6 6 o pp 6 s.p. Vln. I œ #œ œ #œ desk 6 & 7 & #w ˙ Œ ‰ o pp s.p. nœ œ #œ nœ #œ #œ nœ #œ œ nœ #œ œ Vln. II œ œ bœ œ œ œ œ œ œ œ œ œ gliss. œ #œ nœ #œ nœ#œ œ #œ nœ œ œ œ nœ œ œ œ desk 1 & µ˙O #nœO #œO ≈ œ œ œ nœ œ œ œ œ ‰ <˜> 6 pp 6 6 6 6 6 6 6 5 s.p. Vln. II gliss. œ #œ œ œ nœ #œ nœ #œ œ œ nœ #œ nœ desk 2 & 3 & B˙O™ µœO µœO™ ≈ #œ œ nœ œ œ œ ‰ œ œ œ µ ™ ˜ ™ œ 5 œ 5 œ 5 5 pp s.p. #œ œ #œ Vln. II œ #œ #œ œ #œ œ œ desk 4 & 5 Œ œ œ ‰ nœ #œ & <#>˙ ˙ œ œ œ o pp 6 6 Vln. II desk 6 & 7 Œ & #w ˙™ s.p. o gliss. œ #œ œ œ œ œ Vla. B ˙O µ ˙O µœO #œ œ nœ œ œ œ œ œ œ desk 1 B <µ> ˜ œ #œ œ nœ #œ œ ‰ œ #œ œ pp œ nœ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ Vla. nœ #œ nœ #œ œ œ nœ œ œ œ œ nœ #œ œ #œ œ nœ #œ œ œ œ #œ œ œ œ desk 2 & 3 B nœ bœ nœ nœ ‰ œ ‰ œ ‰ œ ‰ s.p. œ œ œ œ #œ Vla. œ #œ#œ œ desk 4 & 5 B æ gliss. ‰™ Ó™ œ œ œ ˜˙™ µœ pp 6 o s.p. 9 9 9 6 9 gliss. Vc. desk 1 ? µ˙™ #e ® ‰ #œ nœ œ #œ nœ œ #œ nœ œ #œ nœ œ æ ™ #œ nœ bœ œ œ #œ nœ œ œ œ #œ nœ œ œ œ #œ nœ œ œ œ æ pp #œ œ pizz. œ œ Vc. … desk 2 & 3 ? gliss. Œ ≈ ≈ Œ ˙æ #œ œ #œ <˜> ™ ff Vc. o desk 4 & 5 ? gliss. #˙™ #˙ ppp˙ f>- pizz. gliss. Db. … … desk 1 ? <µ>˙™ #œ #œ œ œ ‰ ≈ ≈ ‰™ #œ œ f mp arco ff pizz. Db. … desk 2 ? gliss. ‰ œ #˙ #œ ˙ <˜> ™ ff mp™ gliss. Db. desk 3 & 4 ? ˜˙ µœ ≈ ¢ æ #œ œ #-œ ˙™ f> p ! 26!

18 #œ ˙™ Fl. 1 ° ∑ ∑ ‰ & pp #˙ Fl. 2 ∑ ∑ ™ Œ & p A. Fl. & ∑ Œ #˙ ˙ Ó p ™ o œ Ob. #˙ ˙ nœ#œ#œ œ œ & Ó Ó ‰™ œ#œ ‰ Ó p pp 5 o 6 C. A. Œ Œ Ó ‰ #œ œ œ ‰™ & #˙™ œ ˙ pp #œ œ nœ bœ p o Cl. 1 & #˙ ˙ Ó Œ <#>˙ o #p˙™ Cl. 2 Œ Ó & #p˙ <#>w ˙ œ o B. Cl. ? ‰ Ó™ <#>w œ #œ ˙™ #pœ mf- p o ? <#>˙ ˙ ‰™ ‰ #œ œ ˙ œ #œ ˙ Bsn. o mf- p pp p ? Œ ‰™ ‰ # ˙ #œ ˙ ˙ #œ œ < > ™ o mf- p ™ Cbsn. ? Œ ‰™ Œ Œ ¢ <#>˙™ #œ ˙ #˙™ o mf- p o p

° & ∑ Ó™ ‰ #œ ˙ Ó pp & ∑ Ó Ó Hn. #pp˙ ˙

& ∑ Ó™ ‰ #œ ˙ Ó pp & ∑ Ó Ó

#pp˙ ˙ & ∑ ∑ Œ #˙ C Tpt. pp™ & ∑ Ó™ pp#œ w

#œ ˙™ œ Tbn. 1 ? Œ ‰ Ó #œ pp <#>œ™ #œ ˙ pp p mp- p o o Tbn. 2 ? Œ #œ ˙™ œ Ó <#>œ™ #œ œ p #˙ p mp- pp o o pp Tba. ? Œ ¢ <#>pœ™ #mp-œ p˙ w w

Timp. °? ‰™ Ó ≈ ≈ ‰™ Ó™ ∑ ¢ #œ mpœ #œ mf p ªA circ. strokes on skin Perc. 1 ° ∑ / ∑ Ó ˙ mp

Perc. 2 / ∑ ∑ ∑ Perc. 3 ° ¢ ∑ ∑ ∑ œ œ bœ œ œ bœ œ œ bœ

& ∑ ∑ Hp. œ #œ œ Œ ‰ #œ œ Œ & ∑ ∑

9 5 o ? ∑ ∑ œ #œ œ œ ® Pno. œ œ œ #œ œ

? Ó ∑ ∑ œ 5œ œ #œ nœ œ nœ o <“>

nœ #œ œ nœ #œ œ nœ #œ œ nœ #œ œ ord. œ nœ#œ œ œ œnœ#œ œ œ œnœ#œ œ œ œ nœ#œ œ œ Vln. I ° œnœ#œ œ nœ #œ œ nœ#œ œnœ#œ ‰ ˙™ w desk 1 œnœ #œ œnœ #œ ‰ œnœ #œ œnœ#œ & 7 7 7 pp 7 7 7 7 7 o #œ œ nœ #œ œ œ nœ #œ œ œ nœ #œ #œ œnœ #œ ord. Vln. I œ #œ #œ œ #œ œ œ œ nœ#œ œ œ œ nœ #œ œ #œ #œ œ#œ #œ ˙ w desk 2 & 3 nœ œ œ ‰ nœ œ nœ nœ œ œ ‰ nœ œ œ ‰ & 6 6 6 6 6 6 6 6 pp o ord. bœ nœ #œ #œ œ nœ #œ œ Vln. I #œ œ #œ œ œ œ œ œ œ œ n˙ ˙™ #œ desk 4 & 5 & Œ œ œ nœ ‰ œ nœ nœ ‰ Ó 6 6 pp 6 6 o ord. œ œ #œ œ œ œ œ œ œ Vln. I œ #œ œ #œ œ œ œ œ œ #œ w desk 6 & 7 & ‰ œ Œ œ Ó™ o p ord. œ bœ nœ #œ #œ œ œ nœ #œ œ œ bœ Vln. II #œ œ #œ œ œ œ œ œ œ œ œ œ #œ ˙™ desk 1 & ‰ œ œ nœ ‰ œ nœ nœ ‰ œ œ nœ ≈™ ‰ Ó™ ‰ 6 6 p 6 6 6 6 5 o ord. Vln. II œ nœ #œ œ nœ #œ œ nœ #œ desk 2 & 3 #œ œ ‰ ‰ œ nœ #œ œ ‰ œ nœ #œ œ ∑ Œ & œ #œ œ œ œ œ #˙™ 5 5 5 p 5 o ord. nœ #œ œ œ œ #œ Vln. II nœ œ œ œ œ œ œ #œ œ #œ œ œ œ œ desk 4 & 5 & ‰ Œ ‰ ‰ Ó™ Ó #˙ #œ œ p ord. s.p. œ #œ #œ œ nœ #œ œ œ o Vln. II œ œ #œ #œ nœ œ œ œ desk 6 & 7 & œ œ œ Œ nœ nœ œ Œ ∑ Ó™ #œ p pp 6 6 6 6 o ord. senza œ #œ œ œ œ œ œ#œ œ œ sul pont. Vla. #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ desk 1 B ‰ œ #œ œ nœ #œ œ nœ #œ œ ‰ ‰ œ #œ œ nœ#œ œ ‰ ‰ #œ ˙™ œ o p œ #œ œ œ œ œ œ #œ ord. senza sul pont. Vla. #œ œ œ œ œ œ œ œ œ #œ œ œ desk 2 & 3 B œ #œ œ nœ #œ œ Œ œ œ œ nœ #œ œ ‰ gliss. gliss. #œ ˙ ˙ ˙ o p ˜ œ œ œ œ #œ ord.. Vla. œ #œ #œ œ desk 4 & 5 B Œ ‰ œ œ ‰ Œ ∑ Ó™ œ 6 #œ 9 p 6 o ord. Vc. ? #œ nœ desk 1 œ #œ nœ bœ œ æ æ gliss. gliss. œ #œ p˙æ ˙æ #œ ˙ arco sul pont. ™ ™ µ ™ 5 5 5 5 5 5 5 5 ord. Vc. ? #œ nœ #œ nœ #œ nœ #œ nœ desk 2 & 3 ® œ #œ nœ ® œ #œ nœ ® œ #œ nœ ® œ #œ nœ ≈ æ æ æ gliss. æ pp bœ œ œ œ œ œ œ œ œ œ œ œ æ æ æ æ #œ #œ #œ #œ œ #œ #pœ ˙™ ˙ ˜˙ sul pont. 5 5 5 5 5 o ord. Vc. ? #œ nœ #œ nœ #œ nœ desk 4 & 5 ‰ ® œ #œ nœ bœ œ ® œ #œ nœ œ œ ® œ #œ nœ œ œ ‰ Ó œ #œ œ #œ œ #œ #p˙ w pp 5 pizz. arco o Db. … desk 1 ? ‰™ ‰ #œ œ ˙ w w mp f pizz. arco Db. … … desk 2 ? ‰ ≈ ≈ ‰™ ‰ <#>œ™ #œ œ œ fœ #œ œ ˙ w f >- mp mf mp Db. o desk 3 & 4 ? ¢ <#>w œ™ #œ œ ˙ w mf- mp ! 27!

21 gliss. gliss. Fl. 1 ° #˙ #œ #œ nœ Bœ n˙™ œ & ∑ Ó ‰ Ó™ ∑ p gliss. gliss. o Fl. 2 œ œ ˙ B˙ n˙™ & ∑ Ó ‰ Œ ∑ ∑ p o A. Fl. gliss. gliss. gliss. & ∑ Œ #˙ œ n˙ œ n˙ Ó ∑ ∑ p µ gliss. o #œ ˙ œ œ Ob. ∑ Ó ™ µe ® ‰ Ó ∑ ∑ & ™ p ™ o œ w ˙ C. A. & ∑ ≈ ‰ Ó ∑ Ó ˙ œ ˙ p o pp 5 p ™ o Cl. 1 ≈ ‰ ‰™ œ œ œ ‰ gliss. gliss. ≈ Œ Ó Ó™ œ & #œ œ œ p ˙ ˙ µœ #œ œ™ mp œ#œ œ œ p <#>œ #pœ œ ˙™ 6 o Cl. 2 ‰™ ®‰ ‰ Œ ‰ Ó Ó™ ‰ & # ˙ gliss. gliss. œ < > œ bœ p nœ bœ œ#œnœ nœ ˙™ œ pœ œ µœ #˙™ ˙ mp p o o B. Cl. ? œ œ#œ œ ‰™ œ œ#œ œ œ ® ≈ ‰ Œ Ó™ ‰ Ó™ Ó™ ‰™ œ # w œ œ ˙ ˙ œ p < > - mp 9 p mp p ff 5 o , ? ‰ ‰ ∑ Œ ‰ Ó ∑ œ #œ œ #œ œ œ nœ ™ œ œ œ œ œ <#>w f- p ™ mp #œ nœ bœ p mp p Bsn. 6 o , ? ‰ ®‰ ∑ Œ ‰ Ó ∑ nœ œ œ #œ nœ #œ ˙ ˙ <#>w #œ ™ mp nœ œ#œ 5 f- p o p mp o , 7 6 Cbsn. ? ≈ #œ œ œ œ#œ ‰ Ó Ó ≈ œ™ œ ˙ Ó ∑ # w nœ œ œ œ œ p œ œ #œnœ œ #œœnœ #œnœ œ #œœnœ #œ ¢ < > - ™ œ œ œ œ p o f> p o o

soft mute flutter senza mute ° Œ Ó ∑ Ó ∑ & æ æ æ æ ˙ ˙ ˙ #˙æ œæ œæ œæ pp p pp o pp mp pp soft mute o senza mute flutter & Ó æ ‰ ∑ Œ #œ ˙ œ ˙ Œ ∑ æ æ æ æ p mp p Hn. ˙ ˙ œ œ o soft mute pp mp pp flutter o senza mute & Œ Ó ∑ Ó ∑ æ æ æ æ ˙ ˙ ˙ #˙æ œæ œæ œæ pp p pp o pp mp pp soft mute o senza mute Ó flutter ‰ ∑ Œ Œ ∑ & æ æ æ æ œ ˙ œ ˙ ˙æ ˙æ œæ œæ p mp p o pp mp pp o Œ Œ Ó Ó ∑ & <#>˙™ -œ œ™ œ™ œ œ œ ˙™ œ œ™ #œ ˙ C Tpt. f mp pp p pp o pp o Ó Ó Ó Ó ∑ & <#>˙ #œ œ™ n˙ œ ˙ ˙ ˙ o f- mp pp p o pp o Tbn. 1 ? <#>˙™ Œ gliss. gliss. ∑ Œ gliss. gliss. ® ‰™ #œ œ™ œ œ™™ œ Bœ œ nœ ˙ b˙ œ B˙ bœ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. f- p pp p pp o pp ppp Tbn. 2 ? Œ ‰ gliss. gliss. Œ ∑ Œ gliss. ® ‰™ # ˙ nœ œ œ œ ˙ #˙ ˙ œ ˙ nœ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ < > - ™ µ ™ pp B ...... mp f> p pp o ppp Tba. ? ≈ ‰™ ≈ ‰ æ æ Ó ∑ Œ œæ œ ˙™ ˙æ #˙ œ œ œœ œ œ œœ œ œ œœ œ œ œœ ¢ <#>œ œ #œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ™ nppœ™ œ pp ...... f- mp p pp o

•Ain circ. strokes on skin ord. mallets •A in circ. strokes on skin Timp. ° ? ∑ ‰ æ æ gliss. æ Ó gliss. ‰ æ æ ‰ ¢ œ #œæ ˙æ ˙æ w ˙ #œ #˙æ œæ œ f> p mp ™ mf mp f o ⁄A Perc. 1 ° Œ æ æ Ó™ ∑ / ˙™ œ ˙ ˙ ˙™ œ œ ˙æ œæ f mp mf p mp pp mp Aª circ. strokes on skin ⁄A Perc. 2 ‰ Œ æ æ Œ ∑ / ˙™ œ ˙ ˙ ˙ ˙ ˙ œ pœ ˙ mp f mp mf p mp pp o Perc. 3 ° ¢ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ‰ Ó™ ∑ ∑ ∑ ∑ n#œœ Pno.

? ∑ ‰ Ó™ ∑ ∑ ∑ ∑ n#œœ “‘f °

gliss. gliss. gliss. gliss. Vln. I ° ˙ ˙ B˙ µ˙ nœ ˙ ˙ œ #œ w w desk 1 & p gliss. gliss. gliss. Vln. I #œ ˙ œ™™ œ ˙ œ µœ ˙™ #œ œ œ ˙ w w desk 2 & 3 & f mp p p Vln. I <#>˙ #œ œ™™ œ #˙ ˙ w w œ desk 4 & 5 & Œ #˙ w f mp p Vln. I <#>˙ #œ œ™™ œ n˙™ œ #w w ˙ desk 6 & 7 & Œ œ w f mp p gliss. gliss. gliss. gliss. gliss. Vln. II <#>˙ ˙ µ˙™ ˜œ ˙ µœ nœ œ œ #œ ˙ w w desk 1 & gliss. Vln. II #˙ ˙™ œ nœ ˙™ w w desk 2 & 3 & # ˙ #œ œ œ œ nœ™™ nœ < > ™™ f mp p Vln. II nœ w w ˙™ desk 4 & 5 & # ˙ #œ œ œ #˙ ‰ #œ w < > ™™ f mp™ p Vln. II w w ˙™ œ desk 6 & 7 & # ˙ #œ œ œ œ nœ œ ˙ ‰ w < > ™™ f mp™ p gliss. gliss. gliss. Vla. #œ ˙ œ œ ˙ n˙ œ œ #œ ˙ ˙ ˙ desk 1 B ™ ˜ # ˙ œ œ™™ œ œ œ™™ ˙ < > f mp p gliss. gliss. gliss. Vla. #˙ œ œ œ ˙ #œ desk 2 & 3 B gliss. gliss. ‰ œ ˙ ˙™ œ µ˙ #œ #mp˙ np˙ œ œ o p Vla. desk 4 & 5 B Œ œ w # ˙ #œ œ™™ œ œ nœ™ ˙ œ w w ˙ < > f mp p

Vc. ? gliss. gliss. desk 1 ˙ #œ œ œ œ ˙ w œ ˙ #œ ˙™ nœ ˙ n˙ ˜ ™ ff>- mp p Vc. desk 2 & 3 ? gliss. gliss. gliss. gliss. ˜˙ µœ #œ #œ ˙™ #˙ ˙ ˙ #˙ ˙ ˙ œ #˙ œ #œ ff>- p Vc. desk 4 & 5 ? Œ <#>˙ #œ œ™™ œ nœ œ ˙ œ w w ˙™ pw f ff>- mf p o Db. ? gliss. gliss. gliss. gliss. desk 1 #˙ œ œ œ œ ˙ œ œ #˙ ˙ ˙ n˙ œ #œ ˙ nœ ˜ ff>- mf p ™ ™ ™ Db. ? gliss. gliss. desk 2 ˙ œ gliss.b˙ w <#>œ #˙™ #œ mpœ p˙™ œ nw œ ™ ff>- Db. desk 3 & 4 ? gliss. gliss. gliss. ¢ <#>œ #˙™ n-œ ˙™ w w ˙ ˙ #˙ œ œ ff> p ! 28!

27 œ w ˙ œ ˙™ ˙ Fl. 1 ° & ∑ Ó™ ‰ Ó ‰ Ó pp o p o w ˙ Fl. 2 ∑ ∑ Ó ‰ œ ˙™ ˙ Ó & pp ™ o p o A. Fl. & ∑ ∑ Œ ˙ œ Œ Ó Œ Œ pp™ ˙™ œ ˙ o p o œ ˙ œ œ ˙™ ˙™ Ob. & ∑ ∑ ‰™ Œ Œ ‰ Ó™ pp o pp o

C. A. ˙ œ & Œ ∑ Œ ‰ œ ˙ ˙™ Œ Ó Ó™ pp pp ˙™ o o o

Cl. 1 ˙ ˙ œ ˙ œ œ & ∑ Ó™ ™ Ó™ Ó™ ‰ œ o p o p Cl. 2 & Œ ∑ Ó™ ‰™ Ó Ó™ ‰™ ˙ œ pœ w ˙ o o pœ

B. Cl. ? w ˙ Ó Ó™ œ ˙™ œ œ ‰ Ó™ ∑ o p o ? ‰ œ ˙ œ œ Ó™ ∑ w ˙ Ó ∑ Bsn. p mp o p o ? Œ Œ Ó™ ‰ Ó™ ∑ p˙™ œ ˙ o pœ w œ o Cbsn. ? Œ ‰™ Ó ∑ Œ Œ ∑ ¢ œ ˙ ˙ ˙ ˙ p o p ™ ™ o

° ? & Ó™ Ó ∑ Ó™ ‰ & gliss. œ ˙ œ œ œ ˙ ˙ ˙ mp o pp µ o

& Ó™ Ó™ ∑ ∑ gliss. gliss. ˙ œ Hn. ppœ ˙ œ p ™ B ™ o & Ó™ Ó ∑ Ó™ gliss. œ ˙ ˙ ˙ œ ˙ ˙ pp µ o p o

& Ó™ Ó™ ∑ ∑ gliss. gliss. ˙ œ ppœ ˙ œ p ™ B ™ o Ó gliss. gliss. ∑ ∑ & ∑ ™ œ ˙ ˙ nœ Ó™ C Tpt. pp µ o ∑ Ó gliss. gliss. Ó ∑ ∑ & ™ œ ˙ ˙ nœ ™ pp B o Tbn. 1 ? ∑ ∑ Ó Œ ∑ ˙ ˙ µ˙ ˙™ pp o

Tbn. 2 ? ∑ ∑ Ó gliss. Œ ∑ œ œ B˙™ ˙™ pp o

Tba. ? ® ≈ Ó™ ∑ ∑ Ó™ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ ¢ #œ. œ. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. p ™ ...... ™ o pp o

Timp. °? Œ ∑ ∑ ∑ ∑ ∑ # ˙™ ¢ < > o

Perc. 1 ° / ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 / ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 ° ¢ ∑ ∑ ∑ ∑ ∑ ∑

sul pont. gliss. gliss. gliss. gliss. gliss. > gliss. Vln. I ° <#>w #˙ µ˙ ˜˙ µ˙ ˜˙™ #œ w ˙™ œ #œ™ desk 1 æ & pp p mpæ sul pont. ord. gliss. gliss. gliss. gliss. gliss. > gliss. Vln. I w ˙ B˙ µ˙ B˙ µ˙™ nœ ˙ œ e œ™ w desk 2 & 3 & æ pp p mpæ p

Vln. I gliss. gliss. gliss. gliss. gliss. æ œ desk 4 & 5 æ & #pp˙ µ˙ ˜˙ µ˙ ˜˙™ #pœ w w œ #˙

Vln. I gliss. gliss. gliss. gliss. gliss. æ æ bœ desk 6 & 7 æ æ & pp˙ B˙ µ˙ B˙ µ˙™ npœ w ˙™ œ ˙ œ œ sul pont. ord. gliss. gliss. gliss. gliss. gliss. > gliss. Vln. II <#>w #˙ µ˙ ˜˙ µ˙ ˜˙™ #œ ˙™ #œ™ be #w desk 1 & æ pp p mpæ p sul pont. ord. gliss. gliss. gliss. gliss. gliss. gliss. Vln. II w ˙ ˙ ˙ ˙ ˙™ nœ ˙™ œ >œ œ ˙™ desk 2 & 3 B µ B µ e ≈ & p æ pp mpæ p

Vln. II gliss. gliss. gliss. gliss. gliss. #˙ desk 4 & 5 & æ #pp˙ µ˙ ˜˙ µ˙ ˜˙™ #pœ w ˙ #˙ #˙

Vln. II gliss. gliss. gliss. gliss. œ desk 6 & 7 & gliss. æ æ ‰ pp˙ B˙ µ˙ B˙ µ˙™ npœ w w ˙ œ sul pont. ord. gliss. Vla. ˙™ gliss. ˙ w w w >œ ˙ desk 1 B ™ ™ ™ & œ e p mpæ æ sul pont. ord. gliss. > gliss. Vla. <#>˙ ˙ w w w w œ œ œ œ desk 2 & 3 B æ e ≈ mpæ p

gliss. gliss. gliss. Vla. ˙ ˙ ˙ œ æ desk 4 & 5 B B µ B Œ æ pw w w ˙™ œ o sul pont. ord. Vc. desk 1 ? Œ Ó æ gliss. ≈ œ #˙ œ œ ˙ œ #œ ˙™ &˙ w ˙ œæ™™ œ™ ™ o p mp> e p sul pont. ord. gliss. Vc. ˙ w ˙ œ >œ desk 2 & 3 ? ‰ Œ Ó œ œ œ æ <#>˙ n˙ ˙™ œ œ œ mpæ æ p o p æ Vc. desk 4 & 5 ? gliss. gliss. gliss. gliss. ˙ B˙ µ˙ B˙ n˙ ˙ w w w Db. desk 1 ? Œ ˙ w w w ˙ ˙ w œ 3 Db. desk 2 ? gliss. ˙™ œ w w ˙™ œ œ w ˙™ œ -œ -œ -œ

Db. desk 3 & 4 ? gliss. gliss. gliss. gliss. gliss. gliss. gliss. ¢ ˙ B˙ µ˙ B˙ µ˙ B˙ µ˙ n˙ w w

! 29!

33 œ™ ˙™ œ œ ˙ ˙ Fl. 1 ° & ∑ ≈ Ó™ Œ ‰ Ó pp o p o ˙™ ˙ œ ˙ ˙ Fl. 2 & ∑ Œ Ó Œ ‰ Ó pp o p o

A. Fl. & Ó™ ‰™ œ ˙™ œ ∑ Œ ‰ Ó p œ ˙ ˙ o pp o #œ ˙ œ Ob. & ∑ Œ ‰™ Ó™ ∑ Ó ˙ pp o p œ œ œ œ C. A. & ∑ Ó ‰ ‰ Ó ∑ Ó pp o p˙

Cl. 1 & ˙ œ œ œ ∑ ∑ ∑ Ó™ œ mf> p o p

Cl. 2 & Ó™ ∑ ∑ Ó™ ˙™ œ œ œ œ œ > p p mf o

B. Cl. ? œ ˙ œ >œ œ œ ≈ ™ ™ ™ ≈ Ó ∑ ∑ Ó™ œ p mf p o p ? ‰™ Ó ∑ ∑ ∑ œ ˙™ œ œ œ Bsn. p mf> ? Œ ‰ œ ˙ œ ˙ Œ ∑ ∑ ∑ p o Cbsn. ? Ó Œ ∑ ∑ ∑ ˙ ˙™ ¢ o

soft mute ° & ∑ ∑ ∑ ∑

bppw soft mute Ó ∑ ∑ ∑ ‰ & bœ ˙™ Hn. µ˙ pp o soft mute & ∑ ∑ ∑ ∑

bppw soft mute & Ó ∑ ∑ ∑ ‰ bœ ˙ œ ˙ pp B o soft mute & gliss. Œ ∑ Ó™ æ æ æ pp˙ ˙ µ˙™ bœ ˙™ œ C Tpt. o pp o soft mute gliss. Œ ∑ Ó™ æ æ æ & ˙ ˙ ˙™ bœæ ˙æ™ œæ pp B o pp o

Tbn. 1 ? ∑ Œ gliss. gliss. Ó™ ∑ ˙ œ µ˙ n˙ œ p o

Tbn. 2 ? ∑ Ó gliss. gliss. Œ ∑ ˙ ˙ ˙ B˙ nœ p o Tba. ? ∑ Ó™ ‰ œ ˙ ˙ œ ‰ Œ ˙ œ ˙ Œ ¢ p mf pp o

Timp. °? ∑ ∑ ∑ Ó ‰ bœ œ bœ ‰ Ó™ ¢ æ æ f æmp æpp o ® on skin Perc. 1 ° Ó / ∑ ∑ ∑ ‰™ œ œ ˙ ˙ mp f mp o ®on skin Perc. 2 ∑ ∑ / ∑ Ó™ ‰ œ œ ˙ œ mp f mf

Perc. 3 ¢° ∑ ∑ ∑ ∑ ∑

sul pont. ord. ord. gliss. œ œ™ gliss. > Vln. I ° œ œ ˙ >œ œ ˙ ˙ ˙ ˙ œ æ œ ˙ desk 1 & ™ ™ æ æ ≈ ‰™ æ æ e æ 5 æ p æmp p mp p o p sul pont. ord. gliss. œ œ œ Vln. I œ™ bœ œ bœ œ œ æ gliss. œ œ œ >œ #œ ˙ desk 2 & 3 & ™ ≈ œæ ˙ ˙ ™ ‰ æ mp™™ ™ æ æ æ > e p mpæ æ p o p

Vln. I ˙™ œ ˙ ˙ w ˙™ œ ˙ ˙ desk 4 & 5 & æ æ æ æ æ æ æ æ o Vln. I bw œ b˙ æ æ desk 6 & 7 & < > œ w w œ ˙æ œæ æ sul pont. ord. o gliss. œ Vln. II <#>œ ˙ œ œ > æ gliss. æ œ œ œ œ ˙ desk 1 & ™ ≈ #œ œæ œ w ‰ œæ ‰™ ™™ b p mp æ p æ e > æ p o mpæ sul pont. ord. Vln. II œ œ bœ ˙ ˙ æ gliss.æ æ gliss. œ œ bœ œ œ #œ œ ˙ desk 2 & 3 & ‰ œæ æ w œæ e ≈ ≈ mp ™ n > e p mp> p o p Vln. II # œ b˙ bw ˙ b˙ œ b˙ desk 4 & 5 < > œ ˙™ ˙ Œ & æ æ æ æ æ æ o Vln. II œ desk 6 & 7 b˙™ ˙™ Œ æ Ó & w œ ˙æ™ ˙ sul pont. o p o gliss. ord. Vla. œ œ >œ gliss. æ bœ ˙ œ œ œ ˙ desk 1 ™ ˙ w œ™ ≈ æ æ ® ‰™ & æ æ pœ œ mpæ p ˙ œ mpœ æ > 5 p sul pont. ord. > gliss. gliss. Vla. ˙ œ > œ ˙ œ ˙ desk 2 & 3 B œ w ˙™ bœ Œ Œ ≈ ™ æ æ & mp p mpæ p o p Vla. æ æ æ desk 4 & 5 B ˙æ™ œ w ˙ ˙æ œæ ˙™ ˙ Ó sul pont. o ord. gliss. be gliss. Vc. ? œ ˙™ ˙ œ >œ bœ ˙ desk 1 & æ gliss. ‰ ≈ ˙ b˙ œ & Œ R ˙™ œæ™™ p mpæ æ 5 mp> e æ æ p f p sul pont. ord. Vc. ? ˙ œ œ >œ gliss.æ æ desk 2 & 3 æ œ ˙ ˙ œæ œ œ ˙ mpæ ™ mp>™ p b˙ ˙ ˙ æ p f mp

Vc. desk 4 & 5 ? æ æ æ Ó ˙ ˙æ œæ ˙™ œ ˙æ œ ˙™ œ ˙ o sul pont. ord. Db. - - desk 1 ? œ œ œ œ œ ˙ œ™ œ œ œ œ ˙™ ˙ b˙ œ b˙™ æ æ æ æ æ f mp sul pont. ord. Db. ? æ æ æ æ æ æ æ æ desk 2 œæ œæ œ ˙ ˙ œæ œæ œ œ œ œ œæ œæ œ œ œ œæ œæ œ ˙ bœ - - ™ ™ mf p mp p ™ ™ mp

sul pont. ord. Db. desk 3 & 4 ? æ Œ æ æ æ æ ˙æ™ ¢ ˙ œ -œæ -œ œ ˙™ œ œ ˙æ œ ˙ ˙ o mp p ! 30!

> 38 œ œ w bœ w œ ˙™ ˙ ˙ Fl. 1 ° & Ó™ ‰ ‰ Ó™ ∑ 3 4 3 ∑ 4 Ó pp o pp p o mp p 4 4 4 4 > œ ˙ œ™ bœ ˙™ Fl. 2 ˙ ˙ ˙ & ∑ ‰ bœ ˙ œ ∑ ∑ 3 ™ 4 3 ∑ 4 Œ ‰ pp o 4 pp 4 p o4 4 mp p A. Fl. & ∑ Œ Œ b˙ w ˙ œ œ™ ˙ b˙ œ 3 4 ˙ 3 ˙ œ 4 œ ˙™ w pp™ o p mp 4 f p 4 4 4 mp p >œ œ œ ˙ Ob. b˙ ˙ ™ & ˙ œ œ œ ˙™ Œ ∑ 3 Ó œ 4 œ ˙ Œ 3 ∑ 4 Ó™ ‰™ f p o p o 4 pp 4 p o 4 4 mp p #>œ w C. A. & Œ ∑ ∑ 3 Ó œ 4 œ ˙ Œ 3 ∑ 4 Ó™ ‰ ˙ œ œ œ ˙™ pp p o mp p f p o 4 4 4 4 > Cl. 1 œ œ œ œ ˙ & ˙ œ œ œ ˙™ Œ Œ ∑ Ó ‰™ bp˙™ w 3 ˙™ 4 #˙ ˙ 3 4 5 f p o 4 f 4 p o4 4 mp p mp p #>œ œ œ œ œ ˙ œ Cl. 2 & Œ Œ ≈ 3 4 3 ‰™ Ó 4 Œ ‰™ ‰ ˙ œ œ œ ˙™ mp p mp p f p bpœ™ ˙ w 4 ˙™ 4 ˙™ œ 4 œ 4 o f p o B. Cl. ? Œ Œ ‰™ Ó ˙ œ œ œ ˙™ 3 4 ˙ ˙ 3 ˙™ 4 w ˙ bœ ˙ w ˙™ o f p o p mp 4 f 4 p mp 4 4 p ? œ œ œ œ œ œ œ œ Œ b˙™ ˙™ œ Œ b˙™ w 3 ˙™ 4 ˙ Ó 3 ∑ 4 Œ ‰ Bsn. p p mf p pp mp p o 4 4 o 4 4 5 o ? Œ ‰ Ó ‰™ Œ ∑ ‰ œ ˙ œ ˙ Œ bœ ˙ w œ 3 4 3 4 pp™ ™ p bœ w 4 ˙™ 4 ˙™ 4 4 mp p o o p mf p o Cbsn. ? Ó ‰ ≈ Œ ≈ ¢ b˙ w œ 3 4 œ œ 3 ˙ œ 4 œ ˙ œ w p bœ ˙ bw 4 ˙™ 4 œ™ 4 4 pp™ mp p mf p o p mp p

senza mute ° ∑ ∑ Œ ∑ Œ ‰ & 3 4 3 4 œ ˙ œ œ ˙ ˙™ ˙™ pp mp pp w ˙™ œ 4 pp 4 o 4 4 o senza mute ∑ ∑ Œ ∑ ‰™ & bœ 3 4 3 4 œ œ œ œ œ ˙ < > bœ ˙ ˙ œ p mp pp™ Hn. ™ ™ o 4 4 4 4 o pp˙™ ˙™ senza mute o & ∑ ∑ 3 4 Ó 3 Ó ‰™ 4 ˙™ ˙ w ˙™ œ o 4 pp 4 4 œ 4 ˙ œ œ œ ˙™ senza mute o pp mp pp & ∑ ∑ Ó Ó œ b˙ ˙ œ 3 4 3 4 ™ ™ o 4 ˙ 4 ˙ 4 œ 4 ˙ ˙ œ œ œ œ pp™ pp mp p senza mute o ∑ ∑ ∑ ∑ Œ ˙ ˙ Ó ∑ Ó™ œ w & 3 4 3 4 pp C Tpt. pp 4 senza mute 4 o 4 4 ∑ ∑ ∑ ∑ Œ Ó ∑ ∑ w & 3 ˙ 4 ˙ 3 4 pp 4 pp 4 o 4 4 Tbn. 1 ? ∑ Œ ≈ ‰™ œ ˙ ˙™ ˙ ˙ w b˙™ ˙™ œ ˙™ œ 3 ˙™ 4 œ™ pp 3 4 p mp pp 4 4 o 4 4 mp p Tbn. 2 ? ∑ Œ b˙™ ˙™ œ ˙™ œ 3 ˙™ 4 œ ‰ 3 4 p mp pp ˙ œ œ ˙ w w 4 4 o pp mp 4 p 4 Tba. ? ∑ ∑ Ó ‰ ¢ b˙ ˙™ œ 3 ˙™ 4 ˙ ˙ 3 ˙ 4 w œ œ ˙ pp mp pp 4 4 p 4 pp™ 4

Timp. °? ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ ∑ ¢ 4 4 4 4

Perc. 1 ° / ∑ ∑ ∑ ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ ∑ Perc. 2 Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ / ˙ 3 4 3 4 o 4 4 4 4 Perc. 3 ° ¢ ∑ ∑ ∑ ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ ∑

>œ œ œ ˙ #˙ Vln. I w w ˙ ˙ w ˙™ w ˙™ œ œ desk 1 ° ‰ & pp 3 4 3 4 4 f 4 p 4 4 o p pp ppp œ ˙ > Vln. I <#>w w œ #˙™ bw ˙ œ #œ #œ desk 2 & 3 ™ ™ œ ˙™ ˙™ œ Ó ‰ ‰™ & pp 3 4 3 4 ppp 4 f 4 p 4 4 o p pp o œ ˙ Vln. I œ ˙ œ ˙™ ˙™ œ w œ œ œ desk 4 & 5 & Œ ™ ≈ œ w ˙ ˙ ˙ Œ ‰ 3 p ™ 4 3 ™ 4 ppp o p mf p pp mp f o 4 4 4 4 #œ ˙ Vln. I ™ desk 6 & 7 Œ & bœ ˙ ˙ ˙ w w 3 ˙™ 4 œ 3 4 Œ Œ ≈ p p f p ˙™ ˙™ ˙ œ ppp o mf 4 4 4 4 o >œ ˙ w Vln. II w w ˙™ œ w ˙ œ ˙ œ œ desk 1 & ™ Ó Œ ‰ pp 3 p 4 3 4 pp mp 4 f 4 4 o 4 p #œ™™ ˙ Vln. II #w w ˙ #˙ w œ œ œ™ #>œ œ desk 2 & 3 œ ˙™ œ ∑ Œ ‰™ Œ Œ ® & pp 3 4 3 4 mp 4 f p 4 o4 4 p o ppp ˙ œ œ Vln. II œ œ ˙ œ w œ œ œ desk 4 & 5 Œ œ ˙ ˙ ‰ ™ œ w ˙ ˙ ˙ Œ & 3 4 3 ™ 4 pp o p mf p p 4 f p 4 4 4 o Vln. II œ ˙ œ œ desk 6 & 7 Œ ‰ ‰ ‰™ & #œ ˙ #˙ w 3 ˙™ 4 œ 3 4 pp œ ˙ ˙ œ f p œ™ ˙™ ˙™ ˙ œ œ o p mf p 4 4 4 4 o > bœ ˙ œ Vla. w ˙™ œ œ w w ˙™ œ œ ˙ œ œ desk 1 B ≈ Œ ∑ Ó™ &‰™ & pp 3 4 3 4 4 f 4 p o 4 4 p pp Vla. w ˙ œ #w w ˙ œ œ™™ œ œ œ œ™ desk 2 & 3 ™ ™ ≈ B ™ ˙™ ˙™ œ Ó™ & ® ≈B & pp 3 4 3 4 4 f 4 p 4 4 o pp o Vla. #˙ œ œ œ desk 4 & 5 B Œ œ ˙ ˙ ˙ ˙™ 3 4 3 4 Ó & ‰ p mf p œ w ˙™ w ˙™ ˙ pp o 4 f 4 p 4 4 o o > Vc. bw ˙ ? œ œ ˙ œ œ ? desk 1 & < > b˙ ˙ ˙ w ˙™ œ™ ≈ Œ &‰™ ≈ ‰ pp 3 4 ˙™ 3 ˙™ 4 œ 5 mp 4 f 4 p 4 4 o p pp o Vc. ? #œ™ œ œ œ #œ œ ? desk 2 & 3 3 4 3 4 ‰ &≈ Œ w w ˙ b˙ w ˙™ œ œ ˙™ ˙™ œ œ pp o 4 f 4 p 4 4 o Vc. ? desk 4 & 5 Œ b˙ ˙ w 3 ˙™ 4 œ ˙ œ 3 œ ˙ 4 w w bœ ˙ ˙ ˙ p p mf p mp 4 f 4 p mp 4 4 o gliss. Db. gliss. desk 1 ? b˙ ˙ œ ˙ w w < > bœ™ ˙™ œ ˙™ w 3 ˙™ 4 œ ˙ 3 ™ 4 4 f 4 p 4 4 Db. gliss. gliss. gliss. gliss. desk 2 ? w œ ˙ bœ ˙ b˙ w 3 ˙ 4 œ œ ˙™ 3 ˙™ 4 ˙ ˙ µ˙™ Bœ ™ p div. 4 f 4 4 4 Db. ? desk 3 & 4 Œ Œ gliss. gliss. ¢ œ ˙ ˙ ˙ ˙ œ w 3 ˙™ 4 ˙ ˙ 3 ˙ 4 ˙ ˙ ˙ œ gliss. p mf p mp 4 f ™ 4 p 4 mp™ 4 p µ ™ B o o ! 31!

47 ˙ #œ œ ˙ œ œ Fl. 1 ° & ‰ ‰ ∑ o p o œ œ ˙ œ œ œ Fl. 2 & Œ ‰ ‰ ∑ o p o œ œ ˙ œ œ A. Fl. & ‰ ‰ ∑ ˙ o p o ˙ œ œ ˙ œ œ Ob. & ‰ ‰ ∑ o p o C. A. <#>œ œ ˙ ˙ & ‰ ™ Œ ∑ o p œ Cl. 1 & ‰ bœ ˙ œ ‰ Ó™ ∑ o p Cl. 2 & ≈ ∑ ∑ bpœ™ ˙™ B. Cl. ? ‰ Ó™ pœ ˙™ œ w ? Œ ˙ w ˙ ‰ bœ Bsn. p ™ ™ pp ? ‰ ppœ pw w ˙™ Cbsn. ? ‰ Œ ¢ w w œ pp˙

soft mute ° ? & ≈ ≈ Ó ‰ ˙ œ bœ œ ™ œ™ ˙ ˙ pp o soft mute ? & ‰ Œ ‰™ ˙ œ ppœ œ Hn. ™ bw œ o soft mute ? & ≈ ≈ ‰ Œ ‰ bœ œ œ™ œ™ pp œ œ™ œ ˙™ œ œ o soft mute ‰ ?‰ & bppœ œ ˙™ bœ w œ œ o & ˙™ ‰ bœ œ œ ˙ œ Ó™ C Tpt. p mp p ˙ œ ‰ Ó™ & bœ œ ˙™ œ p mp p Tbn. 1 ? ˙ ‰ œ œ œ œ ˙ ˙ œ ‰ p mp p ™ ppœ Tbn. 2 ? Ó ˙ œ œ ˙ ˙ mp p o pp˙ Tba. ? Œ Œ ¢ œ œ ˙ ˙ œ mp p o pp˙™

Timp. °? ∑ ∑ ∑ ¢ ®in slow sustained strokes on skin Perc. 1 ° / ∑ ∑ mp˙™ œ ®in slow sustained strokes on skin Perc. 2 / ∑ ∑ Œ œ ˙ mp mf Perc. 3 ° ¢ ∑ ∑ ∑

∑ ? & œ bœ œ œ œ bœ œ œ œ œ œ œ œ Hp. Ó™ ® ≈ Œ ? & ∑ pœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 9 9 9 9 9 o

? bœ bœ bœ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ Pno. Ó™ ‰™ Ó ? ‰ œ œ bœ œ bœ œ bœ œ œ œ bœ œ bœ œ bœ œ œ œ bœ œ bœ œ bœ œ bœ œ bœ ‘ mp“‘ o “ °

<#>œ œ™ œ œ™ Vln. I desk 1 ° ≈ ‰ œ & #œ w ˙™ o p œ œ œ œ Vln. I desk 2 & 3 & ‰™ #œ ˙ n˙ ˙ œ bœ o p ™ œ œ Vln. I desk 4 & 5 Œ ≈ & œ™ ˙™ œ ˙™ œ™ œ # œ #œ œ o p Vln. I < > desk 6 & 7 Œ ‰ & ‰ ™ œ ˙ œ bœ ˙ œ bœ o p ™ ™ ™ œ œ œ Vln. II desk 1 & ‰™ Ó #w w o pp # œ Vln. II < > desk 2 & 3 & Ó™ ‰ œ ˙ ˙ o pp ™ ™ bœ œ Vln. II ™ desk 4 & 5 ≈ Ó ‰ & ™ ™ œ ˙™ w o pp Vln. II œ desk 6 & 7 ‰ Ó Œ ‰ & ™ bœ ˙ w o pp gliss. Vla. œ œ œ œ b˙ w w desk 1 & ® ≈ B o p Vla. gliss. desk 2 & 3 B œ œ b˙ w w p Vla. desk 4 & 5 & Œ B Œ bp˙™ w ˙™ Vc. œ œ™ bœ ˙ w w desk 1 ? mp p

Vc. desk 2 & 3 ? œ œ bœ™ ˙ w w mp p Vc. desk 4 & 5 ? œ w w ˙div.™ Db. ? ˙ ˙™ desk 1 ˙w ˙ œ ˙ w Db. ? gliss. desk 2 bœ œ nœ ˙ w w Db. ? desk 3 & 4 gliss. ¢ bœ n˙™ w w ! 32!

50 ˙ w œ bœ ˙ ˙ ˙ Fl. 1 ° Ó ‰ & p b˙ ˙™ œ ˙ œ œ ˙ œ bœ Fl. 2 Ó ‰ ‰ & p #œ™ ˙ b˙ œ ˙ œ b˙™ œ A. Fl. & Ó™ ≈ ‰ ‰ p œ ˙ œ ˙ b˙ œ œ ˙ Ob. Ó™ Œ ‰ & p

C. A. & ∑ ∑ ∑ ∑ œ œ ˙ œ bœ ˙ œ œ bœ ˙™ œ œ Cl. 1 Ó ‰ ‰ ‰ & p bœ œ ˙™ œ ˙™ bœ ˙™ œ Cl. 2 Ó ‰™ ‰ ‰ & p ˙™ B. Cl. ? Œ Œ w w ˙™ pp ? b˙ w w w œ ‰ Œ Bsn. pp ? ‰ ‰ œ ˙ w w w œ pp œ œ œ Cbsn. ? Ó Œ ¢ pp w w ˙ o

°? Œ ∑ Ó™ & w ˙™ o œ o ? Œ ∑ Ó™ & w ˙™ Hn. o bœ o ? Œ ∑ Ó™ & w ˙™ o œ o ? bw ˙™ Œ ∑ Ó™ & < > bœ o o & ∑ ∑ ∑ œ ˙ œ C Tpt. o pp p & ∑ ∑ ∑ bœ ˙ œ o pp p bœ ˙ œ Tbn. 1 ? Œ pp p w w ˙™ o o œ ˙ œ Tbn. 2 ? Ó w w ˙ o pp p Tba. ? Œ ∑ ¢ w w ˙™ o

Timp. °? ∑ ∑ ∑ ∑ ¢

Perc. 1 ° / ˙ ˙ ∑ ∑ ∑ mf p o Perc. 2 ∑ ∑ ∑ / œ ˙ Œ p o Perc. 3 ° ¢ ∑ ∑ ∑ ∑ 9 9 9 9 9

? bœ ® bœ ∑ ∑ bœ œ œ bœ bœ œ bœ œ bœ Hp. Œ p œ œ ≈™ Œ œ œ œ œ bœ Œ ? ∑ ∑ œ bœ œ œ bœ œ bœ bœ œ œ bœ œ bœ œ bœ œ bœ œ œ bœ o

? ∑ ∑ ∑ & bœ bœ bœ œ bœ bœ Pno. ‰™ Ó

? ∑ ∑ ∑ & nœ œ œ bœ <“>

Vln. I ° desk 1 & w w w ˙ ˙

Vln. I ˙ desk 2 & 3 & w w w œ ™

Vln. I desk 4 & 5 & w w w œ bœ ˙™

Vln. I desk 6 & 7 & w w w bœ œ bœ ˙ Vln. II desk 1 & <#>œ ˙™ w w w Vln. II desk 2 & 3 & w w w w Vln. II desk 4 & 5 & w w w w

Vln. II desk 6 & 7 b˙™ w w ˙™ & œ bœ Vla. w w w ˙ desk 1 B ˙

Vla. #œ ˙ w w œ desk 2 & 3 B œ ™ bœ ˙ œ

Vla. w w w w desk 4 & 5 B

Vc. ? ˙™ œ œ™ ˙™ gliss. desk 1 œ ˙ ˙ ˙ ˙ Vc. ? b˙ œ desk 2 & 3 < > œ œ ˙ ˙ œ ˙™ w Vc. ? b˙ w ˙ œ desk 4 & 5 œ ™ ™ œ w Db. ? desk 1 b˙ w ˙™ œ w ˙ b ˙ w ˙™ Db. desk 2 ? w w w w Db. desk 3 & 4 ? ¢ w w w w ! 33!

54 œ b˙™ ˙ œ œ ˙ b˙ ˙ bœ œ w Fl. 1 ° & ‰ ‰ ‰ b ˙ < > ˙ œ œ ˙ œ ˙™ ˙ ˙ w Fl. 2 & ‰ bœ ˙ ˙™ œ b˙ ˙ bœ œ ˙™ œ ˙™ bœ A. Fl. & ‰ ‰

b˙™ w ˙™ œ Ob. bœ w œ ˙ & Œ ‰ ™

C. A. bœ w œ œ ˙ ˙ b˙ & ∑ Ó™ ™ p ˙™ bœ œ œ œ ˙ œ Cl. 1 œ ˙ ˙ œ & ‰ ™ bœ ˙™ œ ‰ w ˙ b˙ ˙™ œ ˙™ Cl. 2 bœ ˙™ ‰ & bœ œ bœ ˙™ œ ˙ B. Cl. ? Œ b˙ ˙ o pw ˙ ™ œ ? b˙ œ œ œ œ œ < > ‰ Œ œ w bw œ ‰ ‰ œ ˙ Bsn. p bœ ˙ ˙ ? œ œ Œ ‰ Ó bœ ˙ œ pœ ˙™ œ ™ o p˙ ˙ ˙ ˙ Cbsn. ? ‰ ‰ ‰ ¢ pœ œ ˙™ bœ ˙™ œ œ ˙™

° & ≈ Ó™ ∑ ∑ ∑ ˙ ˙ œ™ pp p pp o & ≈ Ó™ ∑ ∑ ∑

Hn. ˙ ˙ œ™ pp p pp o & ≈ Ó™ ∑ ∑ ∑ ˙ ˙ œ™ pp p pp o & ≈ Ó™ ∑ ∑ ∑ ˙ ˙ œ™ pp p pp o & œ œ ‰ Ó ∑ ∑ ∑ ∑ C Tpt. pp & œ œ ‰ Ó ∑ ∑ ∑ ∑ pp œ œ Tbn. 1 ? ‰ Ó ∑ ∑ ∑ ∑ pp œ œ Tbn. 2 ? ‰ Ó ∑ ∑ ∑ ∑ pp Tba. ? ∑ ∑ ∑ ∑ ∑ ¢

Timp. °? ∑ ∑ ∑ ∑ ∑ ¢ §A Metal Plate Hi Hat MP HH MP HH œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc. 1 ° ∑ ∑ Ó ≈ ® ‰ ‰™ ® ≈ ‰ ‰™ ® ‰™ Ó / pp pp pp p pp Metal o §A Plate Hi Hat MP HH MP œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc. 2 / ∑ ∑ Œ ‰ ‰ Œ ≈ ‰ ® ≈ ≈ ® ‰™ Ó™ ppp pp p pp Perc. 3 ° ¢ ∑ ∑ ∑ ∑ ∑

Vln. I ° œ ˙ œ desk 1 & œ œ œ ˙™ ˙ œ bœ œ w w mp Vln. I bœ b˙ desk 2 & 3 & œ ˙ b˙ w w ˙ ˙ mp

Vln. I desk 4 & 5 & œ ˙ w w b˙™ œ bmp˙™ ˙

Vln. I desk 6 & 7 & bœ Œ w w < > œ ˙™ w ˙™ o p

Vln. II desk 1 w ˙ Ó & w w w o p Vln. II desk 2 & 3 bw w ˙ Ó & w o p w Vln. II desk 4 & 5 ˙ & ™ œ w œ bœ ˙™ w ˙ ˙ mp

Vln. II desk 6 & 7 & gliss. gliss. gliss. gliss. w w w p˙ B˙ œ µ˙ Bœ

Vla. desk 1 B œ œ bœ ˙ œ bmp˙™ œ ˙™ ˙ œ bœ œ w

Vla. gliss. desk 2 & 3 B b˙ ‰ ˙ b˙ œ b˙™ œ œ œ ˙ ˙ b˙ œ œ p mp o Vla. desk 4 & 5 B w ˙ Ó gliss. gliss. gliss. gliss. gliss. b˙ bœ ˙ bœ b˙ o p ™ B B B ™ Vc. ? desk 1 b˙™ œ œ w ˙ b˙ ˙™ œ œ ˙ mp p ™ Vc. ? desk 2 & 3 gliss. gliss. gliss. b˙ ˙™ bœ ˙ ˙ ˙ mpœ œ ˙ pw Vc. gliss. gliss. desk 4 & 5 ? Œ ˙ ˙ w w w ˙™ µ o p

Db. ? gliss. gliss. desk 1 bw ˙ ˙ w ˙ b˙ ˙ ˙ Db. ? desk 2 gliss. gliss. gliss. œ ˙ bœ ˙ œ œ œ w ˙™ œ b˙™ œ Db. desk 3 & 4 ? ¢ gliss. gliss. gliss. gliss. gliss. gliss. gliss. bp˙ B˙ Bb˙™ B˙™ bœ ˙ B˙ Bb˙™

! 34!

59 Winds and brass: Breathe where necessary, not synchronized œ ˙™ œ Fl. 1 ° bœ ˙™ ˙ œ™ ≈ & ‰ bœ w o p Fl. 2 ‰ bœ ˙™ œ ˙™ ˙ œ™ ≈ & œ w o p œ œ œ ˙ œ A. Fl. ‰ bœ ˙ ˙ œ™ ≈ & bœ w o p Ob. ˙ b˙ ˙™ & œ ˙ ‰ œ œ w o p C. A. ˙™ bœ ˙ œ ≈ & ™ œ ˙ œ™ œ w o p

Cl. 1 w œ ≈ & b˙™ ˙ œ™ œ w o p Cl. 2 & ≈ ˙™ œ w ˙ œ™ œ w o p 5 B. Cl. ? ‰ ‰ œ œ œ œ œ ™ œ w ˙™ bœ w œ œ . >. >. >. . p o f> p> 5 ? w bw œ Œ bœ œ œ œ œ ‰ . >. >. >. . #œ w Bsn. o f> p> p 5 ? ‰ Œ œ œ œ œ œ ≈ w bw œ . >. >. >. . #œ w o f> p> p ™ 5 Cbsn. ? Œ bœ œ œ œ œ ≈ œ™ w ¢ ˙ œ bœ w œ . >. >. >. . ™ o f> p> pp

soft mute ° & ∑ ∑ Ó ‰ #ppœ œ w soft mute & ∑ ∑ Ó ‰ Hn. ppœ œ w soft mute & ∑ ∑ Ó ‰

#ppœ œ w soft mute & ∑ ∑ Ó ‰

ppœ œ w

& ∑ ∑ ∑ ∑ C Tpt. & ∑ ∑ ∑ ∑

Tbn. 1 ? ∑ ∑ ∑ ∑

Tbn. 2 ? ∑ ∑ ∑ ∑

Tba. ? ∑ ∑ ∑ ∑ ¢

Timp. °? ∑ ∑ ∑ ∑ ¢ mute skin with §A §A A‹other hand HH HH MP œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc. 1 ° Œ ≈ Œ ‰™ ® ≈ ® ‰™ Ó Ó™ ® ≈ ‰™ ‰ ‰™ ‰ ® / œ™ pp mp pp mp p mp p mute skin with §A A§ ‹A other hand MP MP HH œ œ œ œ œ œ œ œ œ œ œ œ œ œ Perc. 2 / Ó ‰ Œ ® ≈ Ó™ ∑ ‰™ ‰™ ‰™ ≈ œ p mp pp Perc. 3 ° ¢ ∑ ∑ ∑ ∑

Vln. I ° gliss. gliss. gliss. gliss. gliss. gliss. desk 1 & ˙ ˙ B˙ Bb˙ B˙™ Bbœ ˙ B˙ p

Vln. I gliss. gliss. gliss. gliss. gliss. gliss. gliss. desk 2 & 3 & p˙ µ˙ B˙™ µœ B˙ µœ B˙™

Vln. I gliss. desk 4 & 5 & ˙ gliss. gliss. gliss. gliss. gliss. p˙ B˙™ µœ ˙ ˙ µ˙ B˙ Vln. I desk 6 & 7 & w w ˙™ gliss. gliss. bœ ˙ b˙ o p B

Vln. II desk 1 & ‰ gliss. gliss. gliss. ˙™ bœ w œ œ bp˙ Bb˙™ Bœ

Vln. II desk 2 & 3 & gliss. gliss. gliss. gliss. gliss. ˙ ˙ b˙ Bb˙ B˙ Bbœ B˙™

Vln. II desk 4 & 5 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. bp˙™ Bbœ B˙ Bbœ b˙™ B˙™ µœ

Vln. II desk 6 & 7 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. œ µ˙ Bœ ˙ µ˙ B˙™ µœ ˙ b˙

5 Vla. gliss. gliss. desk 1 B ‰ Œ Œ w œ ˙™ œ p˙™ œ bœ. œ. œ. œ. œ. µ f> > > > p> gliss. gliss. 5 Vla. gliss. gliss. desk 2 & 3 B B˙™ µœ B˙ µœ Bœ ‰™ ‰ gliss. gliss. gliss. pœ #œ n˙ œ. œ. œ. œ. œ. f> > > > p> Vla. desk 4 & 5 B gliss. gliss. gliss. gliss. gliss. gliss. gliss. B˙ Bb˙ B˙ Bbœ ˙ B˙ Bb˙™ Bœ

> > Vc. ? . >. >. >. . desk 1 ˙ œ bœ w œ™ œ œ bœ œ œ œ œ ‰ ™ 5 bœ w f p p 5 Vc. ? desk 2 & 3 œ œ ˙ œ bœ œ w œ œ œ bœ. œ. œ. œ. œ. pœ w f> > > > p> gliss. Vc. ? gliss. gliss. gliss. gliss. gliss. gliss. desk 4 & 5 B˙™ µœ B˙ µœ B˙™ n˙ µ˙

> > Db. ? . >. >. >. . desk 1 ˙ bœ w œ™ œ œ œ œ œ œ œ ‰ ™ 5 f p pœ w

Db. >. >. >. >. >. desk 2 ? bœ œ œ œ œ Œ bw p b˙ w œ 5 ˙ œ œ f p

Db. ? desk 3 & 4 gliss. gliss. gliss. gliss. gliss. gliss. gliss. ¢ B˙™ bœ ˙ n˙ b˙ Bœ B˙™ Bbœ ! 35!

ORCHESTRA DRONE: Dynamics should be adjusted to be equal throughout the entire orchestra - a sustained wall of sound where no single voice is more significant than another. This does not apply to percussion - although the resulting soloistic perception of the percussion should not be emphasized.

63 STRINGS: There should be no emphasis on certain pitches or attacks within the moving drone. Fl. 1 ° & œ b˙™ w w w

Fl. 2 & ˙ ˙ w w w

A. Fl. & ˙ œ œ œ w w w

Ob. & ˙™ œ w w w

C. A. & ˙™ œ œ w w w

Cl. 1 & w bw w w

Cl. 2 & w œ œ ˙™ w w

B. Cl. ? w ˙™ œ œ w w

? <#>w w w w Bsn. ? <#>w w œ nœ™ ˙™ w

Cbsn. ? w w œ bœ ˙™ w ¢

° & <#>w œ #˙™ w w

& Hn. w œ œ œ ˙ w w

& <#>w ˙ ˙ w w & w ˙ œ bœ œ w w soft mute & Ó C Tpt. bpp˙ ˙™ œ w ˙ œ bœ soft mute ™ & Ó™ œ ˙ œ œ pp ™ #œ™ w ˙™ soft mute Tbn. 1 ? œ ˙ w ppw w œ™ ™ soft mute Tbn. 2 ? Œ #˙ w pp˙™ w œ ™ soft mute Tba. ? Ó ¢ bœ ˙ w bpp˙ w œ œ

Timp. °? ∑ ∑ ∑ ∑ ¢ mute §A HH MP ‹A HH œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ skin œ œ Perc. 1 ° ® ≈ ≈ ≈ ® ≈ ≈ ≈ ® Ó ‰ Œ ‰™ Œ ‰ ≈ ‰ Œ ‰™ ‰™ / pœ œ œ œ pp mp o mute ‹A skin §A MP MP HH œ œ œ œ œ œ œ œ œ Perc. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / ‰ ≈ ‰™ ® ≈ ® ≈ ‰™ Ó ≈ œ Ó ≈ œ ‰ Œ ® ≈ ‰™ ‰ ™ mf mp p p mp pp wire brush in sustained back p mp mp •A and forth strokes on tam tam Perc. 3 ° Œ æ æ æ æ Œ ¢ ∑ œ ˙ w ˙™ o mp o

Vln. I gliss. desk 1 ° bœ ‰ gliss. gliss. gliss. & B #œ œ ˙ n˙ ˙ gliss. gliss. gliss. o p µ ˙ µ˙ B˙

Vln. I gliss. desk 2 & 3 ˙ gliss. gliss. gliss. gliss. gliss. gliss. gliss. & µ ™ nœ µ˙ Bœ µ˙ Bœ µ˙ Bœ

Vln. I desk 4 & 5 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. µ˙ B˙ µ˙ ˙ µ˙ B˙ œ µ˙ Bœ

Vln. I desk 6 & 7 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. B˙ Bbœ B˙ œ µœ b˙ Bbœ ˙ B˙

Vln. II desk 1 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. Bb˙ bœ ˙ ˙ µ˙ Bœ B˙™

Vln. II desk 2 & 3 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. Bb˙ B˙ b˙ B˙ Bb˙ B˙ Bb˙™ Vln. II desk 4 & 5 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. B˙ µœ B˙™ µ˙ B˙ µ˙ B˙

Vln. II desk 6 & 7 & gliss. gliss. gliss. gliss. gliss. gliss. gliss. B˙ Bb˙ B˙ Bbœ ˙ B˙ Bb˙ B˙

Vla. gliss. gliss. gliss. gliss. gliss. gliss. desk 1 B gliss. gliss. ˙ #œ ˙ n˙ #˙ nœ µ˙ ˙

Vla. desk 2 & 3 B gliss. gliss. gliss. gliss. gliss. #˙™ nœ ˙ #˙ nœ ˙™ gliss. gliss. µ #˙ ˜˙ Vla. desk 4 & 5 B gliss. gliss. gliss. gliss. gliss. gliss. gliss. ˙ Bb˙ B˙ œ ˙ µ˙ B˙™ µœ

Vc. ? gliss. gliss. gliss. desk 1 gliss. gliss. b˙ B˙ ˙ #˙ ˜˙™ µœ µ˙ ˜˙

Vc. ? gliss. gliss. desk 2 & 3 gliss. gliss. gliss. gliss. ˙ œ ˙™ #œ µ˙™ ˜˙™ µœ µ

Vc. ? gliss. gliss. gliss. gliss. gliss. gliss. gliss. desk 4 & 5 ˙ µ˙ B˙ µ˙ œ B˙™ µ˙ B˙

gliss. Db. ? gliss. gliss. gliss. gliss. #œ desk 1 ‰ Œ #˙ ˜œ ˙ µ˙ ˜˙ ˙™ œ o p Db. ? gliss. gliss. gliss. gliss. gliss. desk 2 w ˙ B˙ Bb˙™ B˙™ bœ

Db. ? desk 3 & 4 gliss. gliss. gliss. gliss. gliss. gliss. ¢ ˙ B˙ b˙™ n˙™ bœ b˙ bœ ! 36!

67 Fl. 1 ° & 4 w œ bœ™ ˙™ w w 2 Fl. 2 & 4 w w w w 2 A. Fl. & 4 ˙™ œ bœ w w w 2 Ob. & œ w w w 4 ˙™ 2 C. A. & ˙ œ 4 ™ œ œ w w w 2 Cl. 1 & 4 ˙ œ œ œ w w w 2 Cl. 2 & 4 ˙ ˙ w w w 2 B. Cl. ? 4 w ˙™ œ œ w w 2 ? w ˙ #œ w w 4 Bsn. ™ 2 ? 4 w ˙ œ™ #œ œ w w 2 Cbsn. ? w ˙ œ nœ™ œ w w 4 ¢ 2

° & 4 <#>œ œ #œ ˙ w w w 2 & 4 Hn. œ ˙™ w w w 2 & 4 œ #œ ˙™ w w w 2 & 4 w w w w 2 & 4 C Tpt. w w w w 2 & 4 w w w w 2 Tbn. 1 ? 4 w ˙ ˙ w w 2 Tbn. 2 ? 4 <#>w œ œ œ ˙ w w 2 Tba. ? 4 ¢ w œ b˙™ w w 2

Timp. °? ∑ ∑ ∑ ∑ 4 ¢ §A MP HH 2 MP œ œ œ œ œ œ œ HH œ Perc. 1 ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / ‰™ ≈ ‰ ≈ ‰™ ® ≈ ® ≈ ‰™ Ó™ ‰™ ® ≈ ≈ Œ ® ≈ Œ 4 mf mp mf mp pp p §A o 2 HH HH HH œ MP œ MP Perc. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / ‰™ ‰ ® ® ≈ ≈ ≈ ® ≈ ≈ ≈ ® Œ ∑ ‰™ ‰ ≈ ® ® ‰ 4 p mf mp o pp o 2 •A sustained back and forth strokes on tam tam Perc. 3 ° Œ æ æ æ æ æ æ Œ ¢ ∑ ˙ œ ˙ ˙ ˙ œ 4 o mf p o 2

E quarter sharp div. D# quarter sharp Vln. I gliss. desk 1 ° & gliss. gliss. gliss. gliss. ˙ w 4 µ˙™ Bœ ˙ µ˙ B˙ ˜µ ˙ w D quarter sharp 2 div. C# quarter sharp Vln. I gliss. desk 2 & 3 gliss. gliss. gliss. gliss. gliss. & gliss. 4 ˙ µ˙ B˙ µ˙ #˙ ˙ ˜µww 2 C quarter sharp div. B quarter sharp Vln. I gliss. gliss. desk 4 & 5 gliss. gliss. & gliss. gliss. gliss. gliss. 4 œ µ˙ Bœ ˙ µ˙˙ µ˙ B˙˙ µµww 2 B quarter flat div. A quarter flat Vln. I gliss. gliss. desk 6 & 7 & gliss. gliss. gliss. gliss. gliss. gliss. 4 Bb˙ B˙ Bb˙™ Bœ Bb˙˙™ µœ Bœw B˙™ 2

Bb quarter flat div. Ab quarter flat Vln. II gliss. desk 1 & gliss. gliss. gliss. gliss. 4 b˙ B˙ Bb˙™ Bœ Bb˙˙™ BbBbww 2 div. Vln. II desk 2 & 3 gliss. gliss. gliss. & gliss. gliss. 4 B˙ Bb˙ B˙ Bbœ œ ˙ bœœ ww 2 div. Vln. II gliss. desk 4 & 5 & ˙ gliss. gliss. gliss. gliss. gliss. 4 µ ˙ µ˙ B˙ n˙ b˙ bww 2 div. Vln. II gliss. desk 6 & 7 & gliss. gliss. gliss. gliss. gliss. 4 Bb˙ B˙ Bb˙™ B˙ Bb˙ bww 2

E quarter tone sharp div. D quarter tone sharp Vla. gliss. gliss. gliss. desk 1 B gliss. gliss. 4 µ˙ B˙ µ˙ Bœ ˙gliss. µ˙˙ µµww 2 F quarter tone sharp div. C# quarter tone sharp Vla. desk 2 & 3 B gliss. gliss. gliss. gliss. gliss. w 4 µ˙™ ˜˙™ µœ ˜˙™ ˜µw C quarter tone sharp 2 div. gliss. F# quarter tone sharp Vla. desk 4 & 5 B gliss. gliss. gliss. gliss. gliss. #˙ w 4 <µ>œ B˙™ µ˙ B˙ µw ™ ˜w 2

div. Vc. ? gliss. gliss. gliss. gliss. desk 1 ˙ w Bb˙ B˙ Bb˙™ b˙ µB˙ w 4 div. 2 Vc. ? gliss. gliss. gliss. gliss. gliss. desk 2 & 3 <µ>œ B˙™ µ˙ B˙ µ˙™ gliss. nbœœ ww 4 div. 2 Vc. ? gliss. gliss. gliss. gliss. desk 4 & 5 µ˙ B˙ µ˙ bœ ˙ n˙˙ ww 42 div. gliss. gliss. gliss. gliss. Db. ? ˙ ˙ µ˙™ œ gliss.˙ ˙ w desk 1 µ B ˜ µw 4 div. gliss. 2 Db. gliss. gliss. gliss. gliss. desk 2 ? ˙ µw ˙ n˙ b˙ nœ ˙ ˙ µ w 42 Db. ? desk 3 & 4 gliss. gliss. gliss. gliss. 4 ¢ ˙ n˙ b˙ nœ b˙™ bw 2 ! 37!

71 b˙ Fl. 1 &4 bwW 4 w œ Œ 2 4 o pp ˙ Fl. 2 Œ &4 W 4 w ˙ ˙ pp 2 4 o A. Fl. &4 4 Œ œ 2 bwW 4 w ˙ o pp œ ˙ Ob. &4 W 4 w ˙ Œ ‰ 2 4 o pp C. A. & ≈ 4 W 4 w ˙ œ bœ w 2 4 pp

Cl. 1 & ≈ 4 W 4 w ˙ œ œ 2 4 bw o pp Cl. 2 & ≈ 4 W 4 w w œ 2 4 ppœ ˙ B. Cl. ? ≈ b˙ w 4 W 4 w œ œ 2 4 pp ? ≈ 4 #wW 4 ˙ œ œ œ w Bsn. 2 4 pp ? 4 4 ≈ bœ w 2 # W 4 w ˙ œ p Cbsn. ? 4 W 4 w ˙ Œ bœ w 2 4 o p

&4 4 Ó 2 # W 4 w w ˙ o &4 4 Ó Hn. 2 W 4 w w ˙ o &4 4 Ó 2 # W 4 w w ˙ o &4 4 Ó 2 W 4 w w ˙ o &4 4 Ó ∑ C Tpt. 2 b W 4 w ˙ o &4 4 Œ ∑ 2 W 4 w ˙ o 6 senza mute Tbn. 1 ? ≈ Ó 4 W 4 w œ bpw 2 4 -œ œ. œ. œ. œ. œ. mp f p 6 senza mute Tbn. 2 ? Ó 4 W 4 w œ bœ œ œ œ œ œ œ bw 2 4 - . . . . . p mp f p 6 senza mute Tba. ? Ó 4 b W 4 w œ bœ œ œ œ œ œ bw 2 4 - . . . . . pp mp f p

Timp. ? 42 4 ∑ ∑ ∑ Perc. 1 / 42 4 ∑ ∑ ∑ Perc. 2 / 42 4 ∑ ∑ ∑ Perc. 3 42 4 ∑ ∑ ∑

Vln. I b˙ w desk 1 Œ &4 W 4 w œ 2 W 4 w œ pp Vln. I ˙w desk 2 & 3 &4 4 Œ 2 WW 4 ww pp Vln. I œ w desk 4 & 5 &4 4 Œ 2 WW 4 ww ˙˙ pp

Vln. I bw desk 6 & 7 &4 4 Œ 2 WW 4 ww ˙˙ pp

Vln. II desk 1 & w 4 b W 4 w w 2 b W 4 w w pp

Vln. II desk 2 & 3 &4 4 2 b WW 4 ww bw w Vln. II desk 4 & 5 &4 4 b WW ww ww ww 2 4 pp

Vln. II desk 6 & 7 &4 4 2 b WW 4 ww ww wœ b˙

Vla. desk 1 B Ó 4 WW 4 ww ww ˙˙ 2 4 pp o Vla. desk 2 & 3 B 4 W 4 w w #w 2 W 4 w w w o Vla. desk 4 & 5 B 4 4 2 W 4 w ˙ n˙ w No pitch Vc. ? bw w desk 1 W b w w Ó gliss. 4 W 4 p p 2 4 No pitch s.p. Vc. ? gliss. gliss. desk 2 & 3 4 bWW 4 ww ˙˙ Ó 2 4 p mp o Vc. ? desk 4 & 5 4 WW 4 ww bw bw 2 4 b pw b w Db. ? W ˙ desk 1 4 W 4 ˙ b˙ w w 2 4 p 6 Db. ? W ˙ desk 2 4 W 4 ˙ bpœ bœ n-œ -œ -œ -œ -œ -œ bp˙ bw 2 4 f> > > > > p> 6 Db. ? desk 3 & 4 4 4 b W bw bœ b-œ -œ -œ -œ -œ -œ b˙ bw 2 4 f> > > > > > p p ! 38!

*** LYRICAL FIELD *** with passion

75 w w œ œ œ œ™ bœ ˙ ˙™ ˙ ˙™ ˙ ˙™ ˙ Fl. 1 ° Ó Ó™ Ó ‰ ≈ & 6 5 6 pp 4 4 o o p 4 o4 p o 4 w ˙™ ˙ bœ œ œ ˙ Fl. 2 œ ˙ ˙™ ˙ ˙™ ˙ ˙™ ˙ Œ Ó™ Ó & 6 5 6 pp p 4 4 o o p 4 o4 4 ˙ ˙ œ A. Fl. Ó™ bœ ˙ ˙™ ˙ ˙™ ˙ ˙™ ˙ Œ & w 6 w ˙ 5 6 pp 4 o o p o p w 4 w ˙ œ 4 4 4 Ob. œ ˙ ˙™ ˙ ˙™ ˙ ˙ & 6 Ó 5 Œ Ó 6 ∑ 4 4 o o p 4 o 4 4 C. A. & Ó 6 ∑ ∑ 5 ∑ ∑ ∑ 6 ∑ 4 ˙ o 4 4 4 4 Cl. 1 & Ó 6 ∑ ∑ 5 ∑ ∑ ∑ 6 ∑ 4 ˙ o 4 4 4 4 Cl. 2 & Œ 6 ∑ ∑ 5 ∑ ∑ ∑ 6 ∑ 4 lyrically ˙™ o 4 4 4 4 B. Cl. ? œ œ™ #œ œ™ w 6 w ˙ œ Ó Œ ‰ bœ œ 5 bœ bœ ≈ bœ œ œ œ ˙ œ™ ≈ ≈ bœ™ œ ˙ 6 œ Ó Ó™ 4 p mp p lyrically 4 6 o 4 4 o 4 ? œ Ó™ Ó™ Ó Ó™ Ó ∑ Ó ‰ 6 bœ œ œ œ œ œ bœ 5 bœ bœ ˙ #œ œ™ bœ œ 6 bœ ˙™ 4 Bsn. o 4 ...... p 4 œ œ ˙ 4 pp 4 mp mf p p 6 lyrically o sim. ? bw ˙ Œ Ó ∑ b˙ b˙ Œ Ó™ < > 6 œ œ œ œ œ œ 5 ™ ˙™ œ b˙ n˙™ 6 œ ˙ 4 4 ...... 4 p p 4 o 4 mp mf p o lyrically sim. Cbsn. ? ...... w 6 ˙ Œ bœ œ œ œ œ œ Ó ∑ 5 b˙™ b˙ ˙ œ Œ b˙ n˙ 6 œ ˙ Œ ‰ 4 ¢ ™ p ™ 6 p o œ œ 4 mp mf p 4 4 o pp 4

senza mute 5 6 6 ° & Ó Œ 6 ∑ ∑ 5 ∑ Œ Œ Ó ∑ 6 ∑ 4 bœ. œ. œ. œ. œ. 4 4 bœ. œ. œ. œ. œ. œ. œ. œ. 4 4 mp> ppp p mp p senza mute5 6 6 & Ó Œ 6 ∑ ∑ 5 ∑ Œ Œ Ó ∑ 6 ∑ 4 bœ œ œ œ œ 4 4 4 4 Hn...... œ. œ. œ. œ. œ. œ. œ. œ. mp> ppp p mp p senza mute5 6 6 & Ó Œ 6 ∑ ∑ 5 ∑ Œ Œ Ó ∑ 6 ∑ 4 bœ. œ. œ. œ. œ. 4 4 bœ. œ. œ. œ. œ. œ. œ. œ. 4 4 mp> ppp p mp p senza mute5 6 6 & Ó Œ 6 ∑ ∑ 5 ∑ Œ Œ Ó ∑ 6 ∑ 4 œ. œ. œ. œ. œ. 4 4 œ. œ. œ. œ. œ. œ. œ. œ. 4 4 mp> ppp p mp p senza mute 5 & Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ œ. œ. œ. œ. œ. 6 5 6 4 C Tpt. p> mf p 4 4 4 4 senza mute 5 Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ & bœ œ œ œ œ 6 5 6 4 . . . . . lyrically p> mf p 4 4 sim. sim. 4 4 b˙ Tbn. 1 ? b˙™ ˙™ œ #˙ ˙ b˙™ ˙™ bœ ˙ Œ 6 Œ 5 ˙™ Ó b˙ n˙™ 6 Ó™ 4 < > mp mp mp o 4 lyrically o 4 sim. o sim. 4 o 4 Tbn. 2 ? Œ 6 b˙™ b˙™ œ n˙ ˙ Œ 5 b˙™ b˙ ˙ Ó b˙ n˙ 6 ˙™ Ó™ 4 b œ ˙ mp mp ™ mp ™ < > o 4 o 4 o 4 o 4 Tba. ? 6 Œ Ó™ 5 ∑ ∑ ∑ 6 ∑ 4 ¢ w w ˙ ˙ 4 o 4 4 4

Timp. °? ∑ 6 ∑ ∑ 5 ∑ ∑ ∑ 6 ∑ 4 ¢ 4 4 4 4 Perc. 1 ° / ∑ 46 ∑ ∑ 45 ∑ ∑ ∑ 46 ∑ 4 Perc. 2 / ∑ 46 ∑ ∑ 45 ∑ ∑ ∑ 46 ∑ 4 Perc. 3 ° ¢ ∑ 46 ∑ ∑ 45 ∑ ∑ ∑ 46 ∑ 4

lyrically senza vib. ˙™ Vln. I w w ˙ ˙™ œ bœ ˙ #œ œ™ bœ ˙™ desk 1 ° Ó bœ bœ œ œ ˙ Œ œ b˙ œ ‰ & 6 5 6 pp 4 ppp o mp o ppp 4 4mf senza vib. 4 4 Vln. I w ˙ ˙ ˙ ˙™ œ œ desk 2 & 3 ‰ Œ b˙ ˙ w & 6 5 b˙™ ˙™ ˙ 6 ™ 4 ppp o mp œ b˙ pp 4 4 No pitch 4 s.p. ord. senza s.p. 4 Vln. I w œ ˙ œ ˙ ˙™ ˙ desk 4 & 5 & 6 Œ 5 Œ gliss. gliss.6 ‰ bœ ˙™ 4 ppp bmp˙™ b˙ ? 4 o 4 ˙™ ˙ ˙ p?e e 4 UE o p 4 Vln. I bw ˙ ˙ ˙ ˙ œ œ œ desk 6 & 7 < > ™ ‰ Œ œ ˙ & 6 ppp 5 b˙ ˙ œ œ bœ œ 6 œ ™ 4 o mp™ œ œ ˙ ˙™ œ p 4 No pitch 4 4 o 4 s.p. senza s.p. ord. lyrically Vln. II æ gliss. desk 1 Œ gliss. æ æ ‰ Œ ‰ ≈ & w 6 æ æ æ æ 5 ˙ #œ œ 6 pœ œ ˙™ 4 æ U æ æ bpœ œ b˙™ bœ bœ ™ bœ œ œ œ œ œ b˙ ˙ œ 4 p?e mpE ?e ?pe ?e o 4mf o mf 4 o 4 Vln. II desk 2 & 3 & Œ ≈ bw 6 w ˙ ˙ 5 b˙ b˙ n˙™ ˙ b˙ n˙™ 6 pœ™ œ ˙™ 4 < > ™ ™ mp™ œ o 4 No pitch s.p. 4 ord. senza s.p. 4 4 Vln. II gliss. desk 4 & 5 gliss. Œ & 6 5 6 ‰ œ ˙ ˙ 4 b w ˙ œ b˙ U b˙™ ˙ œ œ œ œ ˙ ˙ œ bœ œ p ™ < > 4 ™ p?e mpE UE o 4 ™ o4 4 No pitch gliss. s.p. ord. senza s.p. Vln. II gliss. desk 6 & 7 Œ ‰ & b ˙ 6 ? 5 6 w 4 b< >˙ bœ ˙ w ˙ ˙ n˙ ˙ b˙ n˙ p ™ < > o ?pe 4 mpe UE o p ™ 4 ™ ™ ™ 4 4 No pitch senza s.p. ord. lyrically lyrically s.p. Vla. æ gliss. b˙ w gliss. b ˙™ ˙™ œ #œ ˙ ˙ bœ bœ nœ œ #œ œ™ bœ œ b˙ n˙™ ™ desk 1 B Œ æ ? æ ‰ 6 ™ b˙™ œ n œ ˙ ˙ Œ 5 œ œ œ Œ 6 4 ?p p? o p e mpe e 4 mf o 4mf mf 4 4 No pitch No pitch senza s.p. s.p. senza s.p. ord. lyrically s.p. ord. lyrically Vla. æ gliss. ægliss. bœ bœ ˙ #œ œ™ bœ œ gliss. b˙ desk 2 & 3 B w œ b˙ ˙ æ U æ ‰ ‰ æ ? æ ‰ b˙ n˙™ ˙™ ™ p 6 bœ ˙ æ 5 æ 6 p 4 ?pe mpE p?e o ?pe mpe ?e mf 4 4mf o No pitch senza s.p. 4 4 No pitch s.p. ord. senza s.p. s.p. ord. Vla. gliss. æ gliss. gliss. æ desk 4 & 5 B gliss. æ Œ æ ? æ ‰ 6 ? æ bœ ˙ œ ˙ 5 ˙™ œ #œ œ™ bœ n˙ æ æ 6 œ 4 bw ˙ mp?e e ?e p mp bœ œ b˙ ?pe e ?e ˙™ ˙ p 4 lyrically 4 o 4No pitch 4 s.p. lyrically s.p. ord. senza s.p. senza s.p. Vc. gliss. gliss. b˙ ? ™ ˙™ œ #œ ˙ ˙ bœ n˙ #œ œ™ gliss. ægliss. desk 1 æ æ ‰ 6b ˙™ b˙™ œ n œ ˙ ˙ bœ 5 bœ bœ œ œ œ ˙ œ b˙ ˙ 6 æ æ æ Œ 4 ? æ p æ ? æ e UE ?e 4 4 o4 UpE mpe UE o 4 ord. senza s.p. o mf lyrically mf No pitch ord. s.p. senza s.p. Vc. ? œ œ #œ ˙ œ œ nœ œ b˙™ b˙ ægliss. desk 2 & 3 bw ˙™ bœ bœ b ˙™ b ˙ n˙™ ˙ b˙ n˙ gliss. æ mp 6 5 n ˙™ ˙ b ˙ n ˙ æ 6 ? æ ˙™ 4 4 4 ?pe 4 mfe UE p 4 mf ord. o lyrically No pitch senza s.p. div. ord. senza s.p. s.p. Vc. ? bœ œ œ #œ ˙ œ bœ œ nœ ˙™ œ gliss. æ gliss. œ b˙ n˙ ˙™ ˙™ desk 4 & 5 bw ˙ bœ ‰ æ æ æ Œ b ˙ n ˙™ ˙™ ˙™ b< >w 6 ˙™ p 5 æ ? æ œ ™ 6 4 < > 4 ™ mf 4mf p?e mpe UE o p mf 4 o4 Db. b˙™ b˙™ b˙ ˙ desk 1 ? Œ ˙™ œ #˙ ˙ Œ ˙ ˙ b˙ n˙ ™ ˙™ 6 5 ™ ˙™ 6 ˙™ ˙™ 4 o 4 mp 4 4 4 Db. desk 2 ? bœ ˙™ b˙ 6 b˙™ b˙™ œ n˙ ˙ 5 n˙™ œ bœ ˙ n˙™ 6 ˙™ ˙™ 4 w 4 mp 4 4 p 4 Db. desk 3 & 4 ? bœ ˙™ bœ ˙™ b˙ 6 b˙™ œ n˙ ˙ 5 ˙™ ˙ b˙ 6 4 ¢ ˙™ mp 4 4 ˙ œ 4 ˙™ ˙™ 4 p ! 39!

82 on air ‚ n‚b‚ Fl. 1 ° b‚ b‚ b‚ &4 ∑ ∑ 4 Ú 4 Ó b‚ b‚ n‚ ‚ n‚ b‚ ‚ n‚ b‚ b‚ n‚ b‚ pp 9 9 4œ 2 4 on air ‚ Fl. 2 ‚ b‚ b‚ b‚ b‚ n‚ b‚ b‚ n‚ &4 ‰™ Ó™ ∑ 4 Ú 4 Œ ‰™ ‚ ‚ b‚ ‚ n‚ b‚ ‚ n‚ o pp 4 2 4 on air œ œ 5 5 5 5 5 A. Fl. ‰™ Ó ∑ Œ ‰ ‚b‚ n‚b‚ n‚ b‚ n‚ b‚ n‚ &4 4 Ú 4 ‚b‚ b‚ ‚ ‚b‚ ‚ ‚ ‚ ‚ ‚ b‚ ‚ ‚ ‚ ‚ 4 o 2 4 pp

Ob. bœbœ nœ bœbœnœ bœ bœ bœ bœ nœ bœ &4 ∑ ∑ 4 Ú 4 Œ bœ œnœ bœ œ nœ bœ œ nœ bœ œ bœ nœ œ œ 4 2 4 ppp 9 9 9 C. A. ‰ &4 ∑ ∑ 4 Ú 4 ™ bœ bœ bœ bœ nœ œ bœ œ bœ bœ œ nœ bœ œ bœ nœ œ bœ nœ œ pppbœ nœ œ bœ bœ nœ 4 2 4 on air 5 5 5 5 5 5 5 Cl. 1 ∑ ∑ ‰ ‚ b‚ n‚ b‚ n‚b‚ n‚b‚ n‚ b‚ n‚ b‚ n‚ &4 4 Ú 4 ‚b‚ b‚ ‚ ‚b‚ ‚ ‚ ‚ ‚ ‚b‚ ‚ ‚ ‚ ‚ ‚ b‚ ‚ ‚b‚ ‚ 4 2 4 pp on air 9 9 9 9 Cl. 2 ∑ ∑ ≈™ ‚ b‚ n‚ b‚ n‚ b‚ b‚ n‚ n‚ b‚ b‚ n‚ &4 4 Ú 4 ‚ ‚ ‚ b‚b‚ n‚ ‚ b‚ b‚ ‚b‚b‚ n‚ ‚ b‚ ‚ ‚ b‚ ‚ b‚b‚ 4 2 4 pp on air B. Cl. ? ‚ ‚ ‚ b‚ ‚ ‚ n‚ b‚ ‚ b‚ n‚ ‚ b‚ n‚ ‚ 4 ∑ ∑ 4 Ú 4 ® b‚ b‚ n‚ ‚ b‚ b‚ b‚ b‚ b‚ n‚ b‚ b‚ b‚ n‚ b‚ ‚ 4 2 4 pp o bœ œ nœ bœ œ nœ bœ œnœ bœ œ bœ nœ ? 4 4 Ó™ ∑ 4 bœ bœ nœ bœbœ nœ bœ bœ bœbœnœ ≈™ Œ w ˙™ œ œ pp 9 9 9 Bsn. 4 2 o 4 o bœ œ œnœ bœ œ œ nœ bœ œ œ nœ bœ œ œ nœbœ œ ? ‰ Ó Ó Ó bœ œ bœ œ bœ ≈ ‰ Œ 4 bœ ˙™ œ nœ ˙™ 4 ˙ 4 pp o 5 5 5 5 5 4 2 4 pp o œ bœ bœ nœ œ œ bœ œ nœ bœ bœ nœ œ bœ nœ bœ nœ œ œ bœ œ Cbsn. ? Œ ‰ ≈™ ‰ Œ ¢ 4 4 pp 4 4 w w 2 w ˙ o 4 o

soft mute 5 5 5 5 5 5 ° & ∑ Ó ‰ ‰ Ó Œ & Ó 4 œ œ 4 ˙ œ œ œ bœ nœ 4bœ nœbœ nœbœ nœbœ nœ 4 ppp 2 bœ œ œbœ œ 4 œbœ œ œ bœ œ œ œ œ œbœ œ o pppœbœ senza mute o soft mute on air & ∑ Ó ‰ ‰ Ó ‰ ‚ ‚ ‚ ‚ ‰ Ó 4 œ œ 4 ˙ œ œ mp 4 Hn. 4 ppp 2 o 4 soft mute 9 9 9 9 senza mute ∑ Ó ‰ ‰ Ó ≈™ Œ ‰ &4 bœ œ 4 ˙ œ œ 4 ppp bœ œ nœ bœ œnœbœ œnœbœ œ bœnœ œ œ nœbœ œ bœnœ œ 4 2 o bœbœ nœ bœ bœnœ bœ bœ 4 bœbœnœ bœ bœ ppp senza mute ppp soft mute on air o ord. & ∑ Ó ‰ ‰ Œ ‰™ ‚ O ‚ Ó 4 4 mp 4 pppœ œ ˙ œ œ bœ 4 2 o 4 pp soft mute senza mute & ∑ ∑ ∑ Œ ‰ bœ nœ œ bœ œ œ nœ bœ bœ bœ nœ bœ ® ‰ Œ ‰ 4 4 bpppœ bœnœ bœ bœ bœ bœ bœ nœ bœ 4 bœ œ C Tpt. œ pp 4 2 on air 4 o ord. &4 ∑ ∑ 4 ∑ ‰ ‚ O™ 4 ‚ ‰ Œ ‰ mp œ œ 4 2 4 pp soft mute senza mute œ œbœ œnœbœ œnœbœ œnœ bœ œ bœ nœ œ Tbn. 1 ? 4 ∑ ∑ 4 Ó™ ‰ œbœbœ bœbœnœ bœbœnœ bœ bœ bœ bœ nœ bœ ® Œ 4 Ó b˙ pp 4 2 ppp 5 9 9 9 4 on air o ord. Tbn. 2 ? 4 ∑ ∑ 4 Ó ‰™ ‚ ‚ O ‚ Œ 4 Ó b˙ 4 2 mp mf o 4 pp soft mute on air 5 5 5 5 Tba. ? ∑ ∑ Œ ‰ ‚ O O Ó ¢ 4 4 œ bœ bœ™ nœ bœ œ 4 pp ™ œ bœ œ œ mp o 4 2 on air 4

Timp. ° ? ∑ ∑ Ú ∑ ¢ 4 4 4 4 2 •A in sustained back and forth tremolo strokes on cymbal 4 •A sim. Perc. 1 ° ∑ ∑ Ó œ ˙ œ Œ Ó œ / 4 4 ™ æ æ æ 4 ™ æ æo æmp æ o æo 4 2 •A in sustained back and forth tremolo strokes on cymbal 4 Perc. 2 ∑ ∑ ∑ Œ œ ˙ œ Ó / 4 4 æ æ 4 æ ™ 4 2 æo æmp 4 æ o Perc. 3 ° ¢ 4 ∑ ∑ 42 Ú 4 ∑

sul pont. very light bow pressure airy effect with very vague pitches 7 Avoid open strings 5 w w W ˙ Vln. I ° œ œ bœbœ œnœ œ desk 1 &4 4 4 ‰ bœ œ œnœ bœ œbœ œnœ œ œbœ 4 2 4 ppp 7 s.p. no pitch Vln. I gliss. desk 2 & 3 w w W ˙ œ ‰ &4 4 4 æ p 4 2 4 ?e sul pont. very light bow pressure airy effect with very vague pitches Avoid open strings 5 Vln. I desk 4 & 5 bw w &4< > 4 W 4 ˙™ ‰ bœ œ nœ 4 2 4 ppp nœbœ Vln. I desk 6 & 7 &4 w w 42 W 4 ˙™ œ ‰ Vln. II desk 1 &4 w w 42 W 4 w Vln. II desk 2 & 3 &4 w w 42 W 4 w Vln. II desk 4 & 5 &4 4 4 4 w w 2 W 4 w Vln. II desk 6 & 7 &4 4 4 4 w w 2 W 4 w Vla. ˙ desk 1 B 4 ˙ w 42 W 4 w Vla. b˙ desk 2 & 3 B 4< > ™ œ w 42 W 4 w Vla. desk 4 & 5 B 4 w w 4 W 4 w 4 ord. 2 4 Vc. ? desk 1 w w W w 4 p 42 4 Vc. ? desk 2 & 3 4 4 4 4 w w 2 W 4 w Vc. ? desk 4 & 5 4 4 4 4 pw w 2 W 4 w Db. ? desk 1 4 w w 4 W 4 w 4 p 2 4 Db. ? desk 2 4 4 4 4 w w 2 W 4 w Db. ? desk 3 & 4 4 4 4 ¢ 4 w w 2 W 4 w ! 40!

STRINGS: sul pont. very light bow pressure tip of bow, AIRY effect with vague pitches - avoid playing open strings Not necessary to synchronize rhythms within sections - chaos effect Written indications for strings when playing 32nd notes is the following: sul pont. very light bow pressure airy effect with very vague pitches Avoid open strings

86 ‚ ‚ b‚ n‚ ‚ ‚ ‚ ‚ ‚ b‚ n‚ ‚ b‚ ‚ ord. Fl. 1 ° b‚ b‚ n‚ b‚ b‚ b‚ n‚ b‚ b‚ n‚ b‚ b‚ n‚ b‚ b‚ b‚ bœ & b‚ n‚ ‚ ‚ n‚ b‚ ‚ ® ‰™ Ó 9 9 p 9 9 o ‚ n‚ b‚ ‚ n‚ b‚ ‚ n‚ b‚ b‚ b‚ n‚ ‚ n‚ b‚ ‚ n‚ ord. Fl. 2 b‚ b‚ n‚ b‚ & ® ≈ Œ Œ ‰ œ ˙ p 5 5 5 o ord. A. Fl. b‚ n‚ b‚ n‚ b‚ n‚ ‰ Ó ‰ & ‚ b‚ ‚ ‚ b‚ ‚ ‚ ‚ ‚ bœ ˙™ o p Ob. bœ bœ nœ bœ bœ & nœ bœ œ ® Ó™ ‰™ nœ ˙™ p 9 o C. A. & ≈™ Ó™ bœ bœ nœ bœ œ w o p 5 ord. Cl. 1 b‚ n‚ ‰ Ó ‰ & ‚ b‚ ‚ ™ 9 nœ w o ppp ord. Cl. 2 ‚ ® ‰™ Ó ‰ & b‚ bœ w o ord. ppp B. Cl. ? Ó™ bœ w ppp ? Ó Bsn. ppp˙ w ? Œ ‰ bœ ˙ w ppp Cbsn. ? Œ n˙™ w ¢ ppp

senza mute ° & ‰ œ ˙ w ord. ppp ™ & Hn. bpppw w & w w & w w

& bw ˙ ˙ C Tpt. < > o & w ˙ ˙

Tbn. 1 ? w ˙ ˙ o Tbn. 2 ? w ˙™ œ senza mute on air Tba. ? Ó O ‚ ‚ ‰ O ¢ mp

Timp. °? Ó™ ‰ œ Ó œ Œ ¢ p p Back and forth tremolo inside the bell ⁄A §A œ Perc. 1 ° ˙ œ / Œ ‰ œ Ó æ mpæ æ mp æ Back and forth tremolo inside the bell æ o o §A ⁄A œ ˙ ˙ Perc. 2 / Œ æ æ æ Œ œ ‰ o mp o mp Mar. °? æ æ æ ‰ œæ ˙æ™ wæ ¢ p

9 9 7 5 5 no pitch Vln. I ° œ gliss. gliss. desk 1 & œ #œ œ nœ œ #œ œ nœ œ œ #œ œ nœ œ bœ œ œ œ ‰ nœ nœ œ nœ bœ œ œ nœ œ œ œ nœ œ #œ œ nœ bœ œ nœ U nœ œ bœ œ bœ ?pe mpE sul pont. very light bow pressure airy effect with very vague pitches Avoid open strings 9 7 ord. 5 Vln. I æ gliss. œ desk 2 & 3 & U æ æ æ œ #œ œ nœ œ œ #œ œ nœ œ bœ œ œ æ æ æ pppbœ œ œ nœ œ œ œ nœ œ #œ œ nœ mpE ?e ?pe ?e œ bœ œ 9 9 7 no pitch s.p. Vln. I gliss. gliss. desk 4 & 5 & #œ nœ nœ bœ œ œ œ œ bœ œ #œ œ nœ bœ œ œ œ bœ nœ nœ œ bœ œ nœ œ bœ bœ U bœ nœ n p mp U ?e Esul pont. very light bow pressure E airy effect with very vague pitches 9 5 9 ord. s.p. Avoid open strings Vln. I gliss. desk 6 & 7 & gliss. bœ œ nœ bœ œ #œ nœ bœ œ bœ ? bœ œ bœ nœ œ œ bœ œ nœ œ bœ bœ nœ œ nœ nœ bœ nœ nœ œ bœ ?pe mpe UE bpppœ nœ bœ nœ sul pont. very light bow pressure 7 airy effect with very vague pitches 9 5 s.p. Avoid open strings no pitch ord. Vln. II nœ #œ gliss. æ æ gliss. desk 1 ‰ bœ bœ nœ œ œ #œ œ æ æ & bœ œ œ œ œ bœ œ œ œ œ œ bœ nœ bœ nœ œ æ ? ? æ bpppœ œ nœ bœ œ nœ nœ œ ?pe mpe sule pont. very light bow pressure ?e airy effect with very vague pitches 9 no pitch s.p. Avoid open strings Vln. II gliss. desk 2 & 3 ‰ gliss. œ bœ & œ ? bœ œ bœ œ nœ œ #œ œ œ nœ p mp ppp œ œ œ bœ bœ ?e sul pont. very light bow pressure e ?e UE airy effect with very vague pitches Avoid open strings 7 5 no pitch s.p. Vln. II gliss. æ gliss. desk 4 & 5 & ‰ œ œ œ œ œ œ œ œ œ æ æ œ bœ œ nœ bœ œ œ bœ œ œ œ bœ œ æ ? æ ppp bœ œ bœ ?pe mpe UE sul pont. very light bow pressure s.p. airy effect with very vague pitches no pitch ord. Avoid open strings 5 Vln. II gliss. æ gliss. desk 6 & 7 æ æ & æ æ ? æ æ æ bœ œ nœ œ œ æ ? æ æ bpppœ œ œ nœ œ bœ ?pe ?e mpe ?e ?pe sul pont. very light bow pressure airy effect with very vague pitches s.p. Avoid open strings 7 no pitch ord. Vla. bœ œ œ bœ æ gliss. bœ œ œ œ bœ œ œ œ gliss. æ desk 1 B œ œ ‰ œ œ nœ bœ bœ nœ œ bœ nœ bœ œ ‰ æ ? æ œ p ppp 9 ?e mpe ?e no pitch s.p. Vla. gliss. gliss. desk 2 & 3 B ‰ ˙ œ ? ™ ?pe mpe UE™ sul pont. very light bow pressure airy effect with very vague pitches Avoid open strings 9 s.p. no pitch æ Vla. œ nœ gliss. æ desk 4 & 5 B ‰™ œ bœ bœ œ nœ œ bœ æ ? ˙ pppœ œ œ bœ œ bœ œ nœ nœ æ ™ bœ ?pe mpe no pitch s.p. Vc. ? gliss. æ gliss. desk 1 w ‰ æ æ æ æ ? æ ?pe sul? pont.e very light bow pressure e ?e airy effect with very vague pitches mp Avoid open strings 7 Vc. bœ nœ œ desk 2 & 3 ? bœ bœ nœ œ œ bœ nœ #œ œ nœ #œ nœ w œ œ œ bœ bœ œ bœ nœ œ bœ nœ œ œ ppp œ œ bœ 5 5 5 no pitch Vc. gliss. gliss. desk 4 & 5 ? ‰ ? w œ œ p ?e sul pont. very light bow pressure e airy effect with very vague pitches Avoid open strings œ Db. ? œ #œ œ œ nœ #œ œ œ bœ desk 1 w ˙ ‰ bœ œ œ nœ bœ nœ 7 ppp 5 no pitch Db. gliss. desk 2 ? ‰ w ˙ œ æ ?pe

Db. desk 3 & 4 ? ‰ ¢ w ˙™ œ ! 41!

88 on air ‚ ‚ Fl. 1 ° bw ˙ n‚ b‚ b‚ & < > ™ ‰ 5 on air mp 9 Fl. 2 w ˙ Œ ‰ ‚ b‚ n‚ & mp‚ ‚ on air

A. Fl. & ‰ ‚ b‚ ‚ n‚ w ˙™ mp Ob. & w w

C. A. & w w

Cl. 1 & w w

Cl. 2 & Ó w ˙ o B. Cl. ? w w ? Bsn. w w ? w w Cbsn. ? ¢ w w

on air ° ...... & Œ ≈ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ® Ó ˙ mp o on air o ord...... & Œ ≈ n‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‰™ Œ Hn. b ˙ mp on air bppœ < > o o ord. & Œ ≈ ‚™ ‚ ‚ ‚ ® ≈ Œ ‰ mp œ ˙ o on air o ord. pp Œ ≈ ‚™ ‚ ‚ ≈™ ‰ & b˙ ˙ mp pp oon air o ord...... & Ó ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ Œ ‰ bœ ˙ C Tpt. mp on air o ord. pp & Œ ‚ ‚™ ≈ Œ ˙™ œ mp pp o on air o ord. Tbn. 1 ? Ó ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‰ bœ ˙™ mp pp on air o ord. Tbn. 2 ? œ Œ ‚ ‚™ ≈ Œ ˙™ o mp o pp Tba. ? O ‚ ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‰™ Ó™ ¢ o

Timp. °? Ó ‰ Œ ∑ ¢ bœ Back and forth tremolo inside the bell p ⁄A §A ˙ ˙ œ ˙ Perc. 1 ° / æ æ ‰ œ æ æ p o mp o p ⁄A Perc. 2 / ∑ ‰™ Œ ≈ œ Œ mpœ p œ Mar. °? ˙æ Ó Ó ¢ æ o bp˙

sim. on air - s.p. 9 7 s.p. 5 ord. s.p. Vln. I ° gliss. desk 1 & œ #œ œ nœ bœ œ nœ œ œ œ gliss. bœ œ œ œ bœ œ bœ œ nœ bœ nœ nœ bœ œ œ ? UE pppnœ bœ œ bœ ?pe mpe ?e sim. on air 5 9 ord. s.p. senza s.p. 7 Vln. I gliss. gliss. bœ desk 2 & 3 & œ bœ œ bœ œ bœ ? ? ppp nœ œ œ œ bœ œ nœ œ bœ œ œ nœ œ œ œ œ œ n ?pe mpe UE pe bœ nœ bœ œ nœ sim. on air senza s.p. 9 5 s.p. Vln. I gliss. æ gliss. desk 4 & 5 & bœ œ æ æ bœ œ bœ nœ œ œ bœ œ nœ œ bœ bœ nœ nœ œ #œ œ œ nœ æ U æ bpppœ nœ nœ bœ œ ?pe mfE UE sim. on air - s.p. 9 7 ord. s.p. 7 Vln. I gliss. gliss. desk 6 & 7 & bœ œ bœ nœ bœ bœ œ nœ œ œ œ œ œ U ppp œ œ nœ œ œ bœ œ œ œ bœ œ œ bœ œ nœ ?pe mpE UE œ bœ nœ sim. on air - s.p. 9 5 5 s.p. Vln. II desk 1 bœ œ æ & æ æ bœ œ nœ œ œ bœ œ bœ nœ œ nœ bœ bœ œ œ bœ nœ bœ œ œ œ æ U ? bœ œ œ œ nœ œ bœ nœ nœ bœ œ nœ bœ œ bœ œ ?p E mfe ppp e 5 ord. s.p. Vln. II bœ gliss. gliss. gliss. desk 2 & 3 & bœ œ nœ nœ bœ œ œ nœ nœ œ #œ œ œ nœ ? ? ™ bœ œ ?pe mpe e UE™

sim. on air - s.p. 5 9 7 s.p. Vln. II bœ gliss. æ æ gliss. desk 4 & 5 & æ œ bœ œ bœ œ bœ æ æ æ æ ppp nœ œ œ œ bœ œ nœ œ bœ bœ œ nœ œ œ œ œ œ æ ? ? UE bœ nœ bœ œ nœ ?pe mpe e 9 9 ord. s.p. Vln. II gliss. gliss. desk 6 & 7 & bœ œ bœ nœ bœ nœ #œ nœ nœ ‰ bœ œ nœ œ bœ bœ nœ nœ œ œ œ bœ œ œ bœ œ œ U nœ œ bœ nœ ?pe mpE ?e sim. on air - s.p. 9 7 ord. Vla. œ nœ gliss. æ gliss. gliss. desk 1 B æ nœ œ bœ œ nœ bœ bœ œ œ œ æ æ ? æ æ pppbœ œ œ nœ œ bœ œ œ œ bœ nœ œ bœ bœ œ bœ œ æ æ æ ?e bœ œ œ ?pe ?e mpe ?e sul pont. very light bow pressure airy effect with very vague pitches Avoid open strings 7 5 5 s.p. ord. æ gliss. Vla. bœ gliss. æ desk 2 & 3 B œ bœ nœ œ bœ bœ nœ œ œ œ œ bœ bœ nœ œ nœ œ æ ? æ æ ppp œ œ œ œ bœ œ nœ œ bœ œ bœ p ?e mpe UE ?pe no pitch sim. on air - s.p. 9 5 æ ord. Vla. æ gliss. œ nœ gliss. desk 4 & 5 B U æ œ bœ nœ œ bœ œ œ nœ bœ bœ œ nœ œ œ æ æ ppp œ bœ œ œ bœ œ œ œ bœ œ æ mp sul pont. very light bow pressure Up ?p E airy effect with very vague pitches E e Avoid open strings 5 9 ord. Vc. æ ? æ œ œ #œ œ nœ #œ nœ bœ œ #œ œ nœ œ gliss. gliss. desk 1 #œ œ œ nœ bœ bœ nœ bœ œ nœ #œ nœ œ nœ œ œ œ œ #œ œ œ bœ œ œ bœ œ bœ œ nœ œ nœ bœ œ œ œ nœ ppp nœ ? ?e 5 5 5 5 ?pe e 5 9 (s.p.) ord. s.p. Vc. no pitch ? nœ nœ gliss. gliss. desk 2 & 3 #œ nœ nœ #œ œ œ nœ nœ #œ #œ œ œ bœ bœ ? æ æ æ bœ nœ p ?e e UE mf?e ?pe sul pont. very light bow pressure airy effect with very vague pitches 5 s.p. Avoid open strings 9 ord. Vc. ? nœ nœ nœ œ #œ gliss. desk 4 & 5 æ æ œ #œ nœ nœ œ #œ œ bœ nœ œ œ œ nœ æ æ ppp œ œ #œ bœ #œ œ bœ bœ UmfE UmpE œ n ?pe sim. on air - s.p. 5 5 9 5 no pitch s.p. Db. ? nœ bœ gliss. gliss. bœ œ œ desk 1 bœ œ #œ œ bœ bœ U æ œ bœ nœ bœ œ œ bœ nœ #œ œ bœ bœ nœ æ ppp nœ œ œ p mp sul pont. very light bow pressure ?e E UairyE effect with very vague pitches 5 Avoid open strings s.p. 5 ord. Db. bœ ? æ gliss. œ nœ œ bœ œ nœ gliss. desk 2 æ bœ œ œ œ bœ nœ œ œ #œ œ U æ ppp œ bœ bœ œ œ nœ nœ #œ bœ bœ æ mfE UmpE 9 ?pe sul pont. very light bow pressure airy effect with very vague pitches sim. on air - s.p. Avoid open strings 9 5 7 ord. s.p. 5 Db. ? œ gliss. gliss. desk 3 & 4 œ œ nœ bœ œ bœ œ bœ nœ #œ œ œ bœ bœ U œ nœ ¢ bœ œ œ bœ œ œ bœ bœ œ nœ bœ nœ œ nœ œ bœ œ œ œ nœ bœ ppp ?pe mpE ?e ppp ! 42!

œ 90 ord. b‚ ‚ ‚n‚b‚ ‚ ‚n‚b‚ ‚ ‚ n‚ b‚ ‚ ‚ n‚b‚ ‚ ‚n‚ 5 Fl. 1 ° b‚ ‚ b‚ ‚ b‚ ‰ Œ Ó™ Ó™ & pp 5 5 5 5 5 pp bœ œ œ œ œ mf> > > > ppp> ‚ n‚b‚ ‚ ord. 5 ˙ Fl. 2 b‚b‚ n‚ b‚ b‚ b‚ b‚ n‚ b‚ b‚ b‚ & b‚ b‚ n‚ ‚ ‚ n‚ b‚ ‚ ‰ Œ Ó™ Ó œ œ œ œ œ pp 9 9 9 pp mf> > > > ppp> ord. 5 A. Fl. b‚ b‚ n‚ ‚ b‚ n‚ ‚ b‚ n‚ b‚ n‚ b‚ b‚ b‚ n‚ ‰ Œ Ó & ‚ ‚ b‚ ‚ ‚ ™ Œ pp œ œ œ œ œ ˙™ pp mf> > > > ppp> Ob. & w w w pp C. A. & w ˙™ ppœ w on air 5 5 5 ord. Cl. 1 & ‰ ‚ ‚b‚ ‚ ‚ n‚ b‚ ‚ ‚ n‚ ‰ Ó ˙ w ‚b‚ b‚ b‚ ‚ pp œ œ mp on air 9o ord. 9 Cl. 2 & Ó ‰ ‚ n‚ b‚ Ó™ ‚ b‚ n‚ b‚ b‚ b‚ n‚ b‚ b‚ œ w mp‚ ‚ pp on air o ord. B. Cl. ? b‚ b‚ ‰ ‚ b‚ ‚ n‚ b‚ n‚ ‚ b‚ n‚ ‚ ‚ b‚ ‚ Œ ‰ œ œ w ˙ œ mp b‚ pp o o ? ∑ ‰ Bsn. ˙ œ œ ˙ ™ o pp ™ ? Œ Ó™ ˙™ o ppœ w Cbsn. ? ˙ ˙ ∑ Œ ¢ o pp˙™

on air ° & ≈ ‚ O ‚ ∑ p pp˙ ˙ œ o o on air ‰ ‚ ‚ ‚ ‚ ‰ Œ & bw ˙ œ Hn. < > p o on air o & ‰ ‚ O ‚ Ó™ w œ p o ono air & ‰ w ˙ ˙ œ O ‚ o p & ˙™ nœ w ˙ Ó C Tpt. o & ˙ œ bœ œ ˙™ Œ ∑ o on air Tbn. 1 ? ˙™ œ w ˙ ‰ ‚ ‚ o p Tbn. 2 ? ˙ b˙ œ b˙™ ˙™ Œ o Tba. ? ∑ ∑ ∑ ¢

Timp. °? ‰ Ó™ ∑ ∑ ¢ bpœ £A mute skin with other hand play on edge of skin ˙ 5 Perc. 1 ° / æ Ó Ó™ œ œ œ œ œ ∑ o mp ppp Perc. 2 ≈ Ó™ ∑ ∑ / ppœ™ Mar. °? Ó ? Ó ¢ æ æ æ w ˙ o ˙æ Mute strings with other arm ord. gliss. remove mute gliss. o gliss. on stopped strings gliss. e gliss. gliss. ™ gliss. gliss. be™ œ œ œ œ œ œ œ œ bœ œbœ œbœ œbœ œbœ œbœ œbœ œbœ œ œ œ œ œ ? b e™ ™ b ™ e Ó™ & e e e Hp. pp œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ∑ Ó ‰ & p bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ∑ ® ≈ p Pno. Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ∑ o ° ord. - senza s.p. - SENZA VIB. sim. on air - s.p. 5 7 œ œ 7 s.p. ord. Vln. I ° œ bœ œ gliss. æ gliss. desk 1 & œ bœ nœ œ œ œnœ bœbœ nœ œ œ œ bœ bœ æ æ æ ‰ pppbœ œ œnœbœ œ œ œnœ bœ œ æ U æ æ ? bœ nœ ?p mp ? Up pp e 9 e E e Esim. on air - s.p. o 5 s.p. 5 n˙ord. - senza s.p. - SENZA VIB. Vln. I gliss. gliss. desk 2 & 3 & bœ œbœ nœ nœ bœ nœ ‰ ‰ œ œ œ œ œ œ #œ œ nœ U œ nœ#œ œ nœbœ nœ pp œnœ nœ bœ œ œ p mp pppœbœ œ œ bœ œ sim. on air 5 ?e 9 E UE senza s.p. 7 ord. - senza s.p. o Vln. I O desk 4 & 5 bœ œ bœ nœ œ ‰ œ w~ & æ pppœ bœ œ bœ œ œ æ æ nœ bœ œ bœ œ nœ œ bœ bœbœ œ nœ œ œ œnœ œ œ æ pp UpE UmpE ord. - senza s.p. ord. s.p. SENZA VIB. Vln. I bœ œ gliss. æ gliss. œ w desk 6 & 7 & bœ nœ nœ bœ bœ æ æ æ æ ≈ ™ œ æ ? æ æ æ ord. - senza s.p. - SENZA VIB. n ? ? pæ p?e mpe e e E pp ord. o w Vln. II gliss. æ gliss.æ desk 1 æ æ æ ‰ & æ æ æ ? ? æ æ pp mp p mp ?e ?e ?e e 9 e UE ?e o sim. on air - s.p. 5 s.p. ord. - senza s.p. Vln. II bœ O ~ desk 2 & 3 ‰ œ bœ œ œ œ bœ œ œ ‰ œ w & ? œ œ œ œ bœ bœ œ bœ æ æ æ ppp œ bœ œ nœ nœ bœ bœ œ nœ æ æ e ?pe ?e ?e pp sim. on air - s.p. 9 oord. - senza s.p. - SENZA VIB. ord. ord. Vln. II desk 4 & 5 bœ œ œ ‰ œ œ w & æ æ ppp bœ œ œ bœ æ æ œ œ nœ nœ œ œ bœ bœ œ œ pp UE mfUE ord. - senza s.p. - SENZA VIB. Vln. II æ gliss. desk 6 & 7 & æ æ gliss. æ æ ≈ æ æ ? æ œ™ œ w ?e UE mfe UE o pp s.p. sim. 7 5 9 ord. - senza s.p. - SENZA VIB. s.p. on air Vla. æ gliss. - s.p. œ œ œ œ œ O O desk 1 B U æ œbœ nœ nœ œ œ bœ nœ nœ ‰ ≈ œ™ œ w~ æ œ œ bœbœnœ bœ bœ œ bœ œ nœ bœ mfE ?mpe ppp 5 pp sim. on air - s.p.9 5 s.p. ord. - senza s.p. - SENZA VIB. Vla. œ nœ bœ nœ desk 2 & 3 B œbœ nœ œ bœ œ œ œ nœ bœ œ œ œ œ œ æ æ æ ‰ ppp œbœ œ bœ œ œ bœ ?mpe ?e ?e pp˙ w s.p. oord. - senza s.p. - SENZA VIB. Vla. æ gliss. desk 4 & 5 B æ æ æ ‰ œ ˙ w ? æ™ æ mpe UE™ ?e pp s.p. o ord. - senza s.p. - SENZA VIB. Vc. ? gliss. æ gliss. ? desk 1 æ ‰ ˙ w æ ? æ pp™ mp™ ? UE™ sim. on air - s.p. e 9 e oord. - senza s.p. - SENZA VIB. Vc. ? œ œ bœ œ œbœ œ œ nœ #œ desk 2 & 3 æ œ œbœ œ œ #œ œ œ nœ œ #œ nœ nœ ‰ œ ˙™ w æ nœ #œ bœ nœ #œ pp ?e ppp 5 5 5 s.p. ord. - senza s.p. - SENZA VIB. Vc. ? gliss. æ gliss. desk 4 & 5 æ æ ? æ ? ord. - senza s.p. e UE e wpp w ord. SENZA VIB. Db. ? gliss. gliss. desk 1 ≈ œ w w U pp ?pe mpE ?e s.p. ord. - senza s.p. - SENZA VIB. Db. ? æ gliss. desk 2 U æ æ œ w w mfE 9 ?mpe ord. - senza s.p. p pp - SENZA VIB. Db. ? bœ desk 3 & 4 œbœnœ bœ œ œ œ bœ ‰ ¢ œ œ œ bœ bœ œ œ nœ œ œ w w p pp ! 43!

93 w w w w Fl. 1 ° & 2 w w w w 4 Fl. 2 & 42 A. Fl. & 2 w w w w 4 Ob. w w w w & 42 C. A. & 2 w w w w 4 Cl. 1 w w w w & 42 Cl. 2 & 2 w w w w 4 B. Cl. ? w w w w 42 ? 2 w w w w Bsn. 4 ? 2 w w w w 4 Cbsn. ? 2 ¢ w w w w 4

° & ∑ ∑ ∑ ∑ 42 & ∑ ∑ ∑ ∑ 2 Hn. 4 & ∑ ∑ ∑ ∑ 42 & ‰ Ó™ ∑ ∑ ∑ 2 ‚ 4 o & ∑ ∑ ∑ ∑ 2 C Tpt. 4 & ∑ ∑ ∑ ∑ 42 Tbn. 1 ? O O O Ó ∑ ∑ 2 mp p o 4 on air Tbn. 2 ? O O O ‚ ‚ ‰ ∑ ∑ 2 p mp p o 4 on air Tba. ? Œ O ‚ ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ≈ ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ≈ ‚ ‚ Ó ∑ ¢ 2 p o 4

Timp. °? ∑ ∑ ∑ ∑ ¢ 2 £Asim. 4 £Aon muted skin !A Perc. 1 ° Ó ‰ ‰ Œ ‰ ® Œ ∑ / ™ ™ œ œ œ œ ™ œ œ œ wæ 2 pp £A pp 4 Perc. 2: PLAY GONG - C - IN MM. 93-96 £A on muted skin sim. Perc. 2 / ∑ ‰™ ® œ œ œ œ œ ‰ Œ ‰™ œ œ œ ® ‰™ Ó™ ∑ 2 pp 4 Perc. 3 ° ∑ ∑ ∑ ∑ 42 Gong ? Ó™ Ó™ Ó ‰ Œ Ó™ 2 mpœ œ œ pœ 4 Mar. ? ¢ æ æ æ æ 2 mpw w w w 4 œ œ œ œ œ œ œ œ œ œ œ œ œ & ∑ ∑ ∑ 2 Hp. œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & ® ‰ ∑ ∑ ∑ 2 o 4

w w w w Vln. I ° desk 1 & 42 w w w w Vln. I desk 2 & 3 & 42 Vln. I w~ w~ w~ w~ desk 4 & 5 & 42 Vln. I w w w w desk 6 & 7 & 42 w w w w Vln. II desk 1 & 42 Vln. II w~ w~ w~ w~ desk 2 & 3 & 42 Vln. II w w w w desk 4 & 5 & 42 Vln. II desk 6 & 7 & 2 w w w w 4

Vla. ~ ~ ~ ~ desk 1 B w w w w 42 Vla. desk 2 & 3 B 2 w w w w 4 Vla. desk 4 & 5 B w w w w 42 Vc. ? desk 1 w w w w 42 Vc. ? desk 2 & 3 w w w w 42 Vc. ? desk 4 & 5 2 w w w w 4

Db. ? desk 1 w w w w 42 Db. ? desk 2 2 w w w w 4 Db. ? desk 3 & 4 2 ¢ w w w w 4 ! 44!

97 ˙ w ˙™ œ œ Fl. 1 ° & Ó™ Ú 2 4 o 4 4 4 ˙ 4 w w ˙ 2 4 Fl. 2 &2 4 Ó 4 Ú 4 4 4 o 2 4 A. Fl. &2 4 4 ∑ 4 4 ˙ 4 w w w 2 ˙ ˙ o 4 Ob. &2 ˙ 4 w ˙™ œ œ Ó™ 4 Ú 4 4 4 o 2 4 C. A. &2 4 4 Ú 4 4 ˙ 4 w w ˙ ˙ o2 4 Cl. 1 &2 ˙ 4 w w ˙ Ó 4 Ú 4 4 4 o 2 4 Cl. 2 &2 4 4 Œ 4 4 ˙ 4 w w w 2 w ˙™ o 4 B. Cl. ? 42 ˙ 4 w w w 42 w ˙ ˙ 4 ? 2 4 4 ∑ 4 Bsn. 4 ˙ 4 w w w 2 ˙ ˙ o 4 ? 2 4 4 Ó™ 4 4 ˙ 4 w w w 2 ˙™ œ œ 4 o Cbsn. ? 2 4 Ó 4 Ú 4 ¢ ˙ w ˙™ œ ˙ 4 4 o 2 4

° &42 ∑ 4 ∑ ∑ ∑ 42 Ú 4 &2 ∑ 4 ∑ ∑ ∑ 4 Ú 4 Hn. 4 4 2 4 &42 ∑ 4 ∑ ∑ ∑ 42 Ú 4 &42 ∑ 4 ∑ ∑ ∑ 42 Ú 4 &2 ∑ 4 ∑ ∑ ∑ 4 Ú 4 C Tpt. 4 4 2 4 &42 ∑ 4 ∑ ∑ ∑ 42 Ú 4 Tbn. 1 ? 42 ∑ 4 ∑ ∑ ∑ 42 Ú 4 Tbn. 2 ? 42 ∑ 4 ∑ ∑ ∑ 42 Ú 4 Tba. ? 2 ∑ 4 ∑ ∑ ∑ 4 Ú 4 ¢ 4 4 2 4

on edge of skin on edge of skin 3 3 Timp. °? ∑ ∑ ∑ Œ œ œ œ Ó Ó™ ‰ œ œ œ ‰ Œ Ó ¢ 2 4 mp pp 4 mp pp 4 4 4 £Aon edge of skin 2 4 3 ⁄A Perc. 1 ° / 2 æ 4 æ æ Œ Œ œ œ œ Ó 4 Œ æ æ 4 ˙ w ˙™ mp pp pp˙™ w 4 4 o 2 in irregular slow circular sustained 4 £Aon edge of skin strokes on cymbal !A 3 •A Perc. 2 ∑ Ó™ æ æ æ æ ‰ ‰ ˙ œ / 2 4 æ æ æ 4 æ œ œ œ p mp 4 ppœ w w ˙™ mp pp 4 4 in irregular circular sustained2 o 4 •A strokes over TAM TAM Perc. 3 ° Ó ˙ ˙™ œ 2 ∑ 4 ∑ ∑ 4 p ∑ 4 4 4 p 2 mp 4 Gong ? 42 ∑ 4 ∑ ∑ ∑ 42 Ú 4 Mar. ? 2 4 Ó™ ∑ ∑ 4 Ú 4 ¢ 4 ˙æ 4 œæ 2 4 o5 3 5 ? &2 ∑ 4 Ó ∑ Œ Ó 4 Ó™ Œ Ó 4 œ œ œ œ œ bœœ œœ œœ œ œ œ œ œ Pno. 4 4 œ œ œ 2 4 f pp mf pp mf ppp 5 3 5 ? &2 ∑ 4 Ó ∑ Œ Ó 4 Ó Œ Œ Ó 4 4 4 œ œ œ œ œ bœœ œœ œœ 2 œ œ œ œ œ 4 “‘f pp “‘mf pp “‘mf ppp °

˙ w w w ˙ ≤ n˙ >œ >œ >œ >œ >œ Vln. I µ desk 1 ° Œ Œ &2 4 4 5 4 4 4 2 o mf p pp 4 œ w ˙™ ˙ w w ˙ œ Vln. I ™ desk 2 & 3 &42 4 42 4 Vln. I ˙O w~ w~ w~ W~ desk 4 & 5 &42 4 42 4 Vln. I ˙ w w w W desk 6 & 7 &2 4 4 4 4 4 2 ≤ 4 ˙ w w w ˙ >œ >œ >œ >œ >œ n˙ Vln. II ™ B ™ desk 1 &2 4 4 5 4 4 4 2 mf p pp 4 Vln. II ˙O w~ w~ w~ W~ desk 2 & 3 &42 4 42 4 Vln. II ˙ w w w W desk 4 & 5 &42 4 42 4 Vln. II desk 6 & 7 &2 4 4 4 4 ˙ 4 w w w 2 W 4 ≤ ≤> > Vla. O > > > > > O ~ ~ O ™ O >O >O >O O O ™ desk 1 B 2 œ Œ 4 Bœ œ œ œ œ Œ nœ w w 4 ˙™ œ œ œ œ œ ˙™ 4 5 pp 5 pp 4 4 f p 2 mf p 4 5 5 Vla. ≤ ≤ desk 2 & 3 B 2 4 4 4 ˙ œ œ œ œ œ pp˙ w w ˙™ œ œ œ œ œ pp˙™ 4 4 f> > > > p> 2 f> > > > p> 4 ≤ Vla. > > > > > desk 4 & 5 B 2 ˙ 4 µœ œ œ œ œ n˙ w w 4 W 4 5 pp 4 4 f p 2 4 5 3 5 Vc. ? ≤ ≤ desk 1 ˙ œ œ œ œ œ n˙ w œ œ œ œ n˙ ˙ œ œ œ œ œ n˙ 2 4 µ > > > µ > 4 ™ µ > > > pp™ 4 4 4 f> p> pp f> pp> pp 2 f> p> 4 5 3 5 Vc. ? ≤ ≤ desk 2 & 3 2 ˙ 4 Bœ œ œ œ œ n˙ w œ Bœ œ œ n˙ 4 ˙™ Bœ œ œ œ œ n˙™ 4 f> > > > p> pp f> > pp> pp f> > > > p> pp 4 4 2 arco 4 3 pizz. Vc. ? « desk 4 & 5 2 4 4 Œ ‰ 4 ˙ œ ˙ œ w œ µœ œ œ n˙ ˙ fœ pw 4 4 f> mp p f> > pp> pp 2 4 pizz. arco 3 Db. ? « desk 1 2 œ œ ‰ 4 œ ‰ ˙™ w œ Bœ œ œ n˙ 4 ˙™ œ œ œ œ ˙ 4 f p > f> mp p 4 4 f> pp> pp 2 4 pizz. arco Db. ? « desk 2 2 ‰ 4 ‰ 4 4 œ œ fœ p˙™ w œ œ œ ˙ ˙™ œ œ ˙ ˙ 4 4 f> mp 2 p f> mp p 4 Db. ? desk 3 & 4 2 4 4 4 ¢ 4 ˙ 4 w w œ œ œ œ œ 2 W 4 f> mp p ! 45!

C§µ fade out - piece finishies on air sounds in strings - no pitch

102 Fl. 1 ° B &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Fl. 2 &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ A. Fl. &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Ob. &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ C. A. &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Cl. 1 &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Cl. 2 &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ B. Cl. ? 4 ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ 4 o 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ Bsn. 4 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Cbsn. ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ ¢ 4 4

° &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ Hn. 4 4 &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ C Tpt. 4 4 &4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Tbn. 1 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Tbn. 2 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑ Tba. ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ ¢ 4 4

Timp. °? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑ ¢ 4 4

Perc. 1 ° æ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ / 4 ˙æ™ 2 4 £A o 4 on edge of skin Perc. 2 œ ∑ ∑ ∑ ∑ ∑ ∑ / 4 Œ ˙æ ˙æ Ó 2 4 o ppp o 4 •A in irregular slow circular sustained strokes over tam tam Perc. 3 ° ˙™ œ 4 ∑ p ∑ ∑ ∑ ∑ ∑ 2 ∑ ¢ 4 pp o 4 5 ? 4 ∑ Ó ∑ ∑ ∑ ∑ ∑ 2 ∑ œ œ œ œ œ Pno. 4 mf ppp 4 5 ? 4 ∑ Ó ∑ ∑ ∑ ∑ ∑ 2 ∑ 4 œ œ œ œ œ 4 “mf‘ ppp

w ˙ gliss. œ œ µw w ˙ Vln. I ° desk 1 &4 Ó ∑ ∑ 2 ∑ 4 o 4 ˙™ w ˙ w œ Vln. I desk 2 & 3 &4 Ó ∑ ∑ ∑ 2 ∑ 4 No pitch - only the airy soundo 4 of the bow on the string Vln. I ~ ~ O ™ desk 4 & 5 & w w ˙™ Œ ∑ ∑ ∑ 4 ™ 2 4 o UpE UE ?e UE™ 4 No pitch - only the airy sound o of the bow on the string Vln. I ≥ desk 6 & 7 & w w œ Ó™ Ó 4 ™ ™ 2 4 o Up E ?e UE™ UE™ ?e UE UE 4 UE gliss. o w ˙ œ w w ˙ Vln. II ™ B desk 1 &4 Ó ∑ ∑ 2 ∑ 4 o 4 Vln. II w~ w~ œO desk 2 & 3 &4 Ó™ ∑ ∑ ∑ ∑ 2 ∑ No pitch - only the airy sound 4 o of the bow on the string 4 Vln. II desk 4 & 5 & w ˙ ˙ Ó Œ ∑ ∑ ∑ 4 ™ ™ 2 4 o UpE ?e UE™ UE™ 4 No pitch - onlyo the airy sound of the bow on the string Vln. II ≥ desk 6 & 7 &4 gliss. Ó 2 w ˙™ œ µw ˙ ˙ ™ ™ 4 o UpE ?e UE™ UE™ ?e 4 UE o 5 Vla. ≤ ~ O desk 1 B 4 w œ Œ Œ ∑ ∑ 2 ∑ µœ œ œ œ œ w w ˙™ 4 f> > > > p> pp o 4 5 Vla. ≤ desk 2 & 3 B Ó™ ∑ ∑ ∑ ∑ 4 w ˙ œ œ œ œ œ w œ 2 4 > > > pp 4 f> p> o No pitch - only the airy sound of the bow on the string Vla. gliss. ≥ desk 4 & 5 B w ˙™ œ w ˙ ˙ 4 B ™ ™ 2 4 o UpE™ ?e UE UE ?e UE™ 4 UE 5 o Vc. ? ≤ desk 1 w ˙ œ œ œ œ œ w w ˙ Œ ∑ ∑ ∑ 4 B > > > ™ 2 4 f> p> pp o 4 ≤ 5 Vc. ? desk 2 & 3 w ˙ œ œ œ œ œ w w w ˙ Ó ∑ ∑ 4 µ > > > pp 2 4 f> p> o 4 No pitch - only the airy sound of the bow on the string Vc. ≥ desk 4 & 5 ? 4 ™ ™ 2 4 w w ˙ UpE ?e UE™ ?e UE™ UE UE UE UE 4 UE o arco No pitch - only the airy sound pizz. of the bow on the string Db. ? « gliss. desk 1 w ˙ ‰ œ µw ˙™ Œ Ó™ ∑ 4 p ™ 2 4 fœ o UpE™ ?e UE UE ?e 4 No pitch - only the airy sound o of the bow on the string ≥ Db. ? gliss. desk 2 4 œ œ Bw ˙™ 2 w ˙ f> p ™ ™ 4 o ?pe UE UE ?e UE™ UE™ ?e 4 UE o No pitch - only the airy sound of the bow on the string Db. ≥ desk 3 & 4 ? ¢ 4 ™ ™ 2 4 w ˙ ˙ w ˙ o UpE ?e UE™ UE™ ?e UE UE 4 UE f> p o !

PROGRAM NOTES

! 46! ! 47!

AERIALITY is a work for a large instrumental force, written in 2010/2011, consisting of vast sound-textures combined – and contrasted with – various forms of lyrical material. The piece was commissioned by the Iceland Symphony Orchestra to be premiered November 24th 2011, conducted by Ilan Volkov in Harpa, the new Concert and

Conference Center in Reykjavik, Iceland. The work constitutes the Dissertation piece for the composer’s PhD defense in Music Composition from the University of California,

San Diego, in the of fall 2011.

AERIALITY refers to the state of gliding through the air with nothing or little to hold on to – as if flying – and the music both portrays the feeling of absolute freedom gained from the lack of attachment and the feeling of unease generated by the same circumstances. The title draws its essence from various aspects of the meaning of the word ‘aerial’ and refers to the visual inspiration that such a view provides. ‘AERIALITY’ is also a play with words, combining the words ‘aerial’ and ‘reality’, so as to suggest two different worlds; “reality”, the ground, and “aerial”, the sky or the untouchable.

AERIALITY can be said to be on the border of symphonic music and sound art.

Parts of the work consist of thick clusters of sounds that form a unity as the instruments of the orchestra stream together to form a single force – a sound-mass. The sense of individual instruments is somewhat blurred and the orchestra becomes a single moving body, albeit at times forming layers of streaming materials that flow between different instrumental groups. These chromatic layers of materials are extended by the use of quartertones to generate vast sonic textures. At what can perhaps be said to be the climax ! 48! in the music, a massive sustained ocean of quartertones slowly accumulates and is then released into a brief lyrical field that almost immediately fades out at the peak of its own urgency, only to remain a shadow.

The piece is in one movement and is approximately 12 minutes in duration.