TEXT AND STRUCTURE IN SCHOENBERG’S OP.

50,
AND
AN ORIGINAL COMPOSITION, SYMPHONY #1

A Dissertation

Submitted to the Graduate Faculty of the

Louisiana State University and
Agricultural and Mechanical College
in partial fulfillment of the
requirements for the degree of
Doctor of Philosophy

in

The School of Music

by
Thomas Michael Couvillon, Jr.
B.M., Loyola University-New Orleans, 1990
M.M., Louisiana State University and Agricultural and Mechanical College,
1994
December 2002
 ACKNOWLEDGEMENTS

I would like to thank the members of my committee for their assistance,

suggestions and encouragement, especially my major professor, Dr. Dinos

Constantinides, for his great patience and support for my professional

development, and my minor professor, Dr. Jeffrey Perry, for his dedicated

support, mentoring and friendship. I am also grateful to Dr. Stephen David

Beck for sharing his expertise in electro-acoustic music and for inspiring me to

always seek precision in my discourse. I would also like to thank Dr. William

Grimes for his timely assistance.

I would like to thank all the dedicated professors whom I had the

pleasure to work with during my time at Louisiana State, especially Dr.

Matthew Brown, Dr. Jan Herlinger, Dr. Richard Kaplan, and Dr. David Smyth.

I am also grateful to the teachers that I worked with at Loyola University,

including Dr. William Horne, Dr. Sylvia Pengilly, Dr. Stephen Dankner, Mr.

Sanford Hinderlie, Dr. Patrick McCarty, and Mr. H. Jac McCracken. My thanks

also to the two people who first awakened my interest in music, my brother-in-

law, Brett Needham and Ms. Virginia Smith, my first music theory teacher.

I have the deepest gratitude for my entire loving family who were

untiring in their love and support. Thanks to Dominique, for her joie de vivre,

and to my daughter, Leah, just for being herself. Finally I would like to thank

God for instilling in me a deep love for the beauty of music that has provided

me with so much strength and peace in my life.

ii
 TABLE OF CONTENTS

ACKNOWLEDGMENTS.......................................................................................... ii

PERFORMANCE NOTES........................................................................................ iv

ABSTRACT .................................................................................................. v

PART ONE TEXT AND STRUCTURE IN SCHOENBERG’S OP. 50...................1

I. INTRODUCTION................................................................................2

II. DREIMAL TAUSEND JAHRE, OP. 50A ..........................................11

III. DE PROFUNDIS, OP. 50B ................................................................40

IV. MODERN PSALM, OP. 50C .............................................................63

V. CONCLUSION ..................................................................................85

PART TWO AN ORIGINAL COMPOSITION, SYMPHONY #1 .......................92

I. OVERTURE........................................................................................93

II. SCHERZO ........................................................................................117

III. ADAGIO ..........................................................................................142

IV. FINALE ............................................................................................154

REFERENCES .........................................................................................................183

LETTERS OF PERMISSION ..................................................................................185

VITA ........................................................................................................................188

iii
 PERFORMANCE NOTES

All instruments in the score, with the exception of octave transposing

instruments, appear at concert pitch. It is recommended that the vocal soloist

sit on the side of the stage during the first three movements. The text used in

the fourth movement is from the Sara Teasdale poem, “A Seagull in the City.”

Symphony #1 is scored for the following instrumentation: 2 flutes, 2 oboes (one

doubling on English horn), 2 Bb clarinets, 2 bassoons, 4 horns in F, 3 Bb

trumpets, 3 trombones (2 tenor, 1 bass), tuba, timpani, percussion (bass drum,

tenor drum, snare drum, suspended cymbal, triangle, wood block, crotales,

marimba, and xylophone), baritone voice, and strings (minimum recommended

8/8/6/4/3) . The approximate duration of the work is 21’30” (I. 7’, II. 3’45”, III.

4’, IV. 6’45”).

iv
 ABSTRACT

Part One of this document provides an analytical study of Schoenberg’s

final opus, Op. 50, three religious choral works written in the serial style:

Driemal Tausend Jahre, Op. 50a (1949), De Profundis, Op. 50b (1950), and Modern

Psalm, Op. 50c (1951). This study is divided into five chapters: an introduction,

a conclusion, and a chapter of analysis for each of the three pieces. Analysis of

these pieces reveals three significant conclusions: 1) Schoenberg consistently

incorporates areas of relative consonance and pitch emphasis into his serial

structures; 2) these areas of pitch emphasis, together with other musical devices

are used to illuminate the text setting; and 3) the three works of Op. 50

represent a unified artistic endeavor on a par with Schoenberg’s other large-

scale religious works, die Jakobsleiter and Moses und Aron.

Part Two of this document is an original composition, Symphony #1, for

orchestra with a vocal soloist (baritone). The work consists of four movements,

which loosely follow the traditional symphonic model: Overture, Scherzo,

Adagio, and Finale. In the tradition of Mahler, a vocal soloist is included in the

final movement. The text for this movement is drawn from a Sara Teasdale

poem “A Seagull in the City.” The primary musical material for all four

movements is drawn from two motivic sets (m2+m3) and (M2+m3). A non-

literal or hidden program is used to generate elements of the overall form.

Musical ideas drawn from the (m2+m3) set correspond to areas of greater

tension in the program, while ideas drawn from the (M2+m3) set are used in

places of lessening tension. Symphony #1 is generally lyrical in character and is

v
scored for a medium sized orchestra (woodwinds-2/2/2/2, brass-4/3/3/1,

percussion, and strings).

The two parts of this dissertation are unified by a common artistic

heritage in the German Romantic tradition and also through such musical

elements as the use of the (m2+m3) motivic set, which appeared frequently in

the music of Schoenberg and his school.

vi
PART ONE TEXT AND STRUCTURE IN SCHOENBERG’S OP. 50

1
 I. INTRODUCTION

Arnold Schoenberg is a major figure in the history of twentieth century

music, but in many ways he remains an enigmatic figure. A great innovator

who nonetheless expressed a deep commitment to musical tradition,

Schoenberg’s life and works embody a number of seemingly contradictory

elements. He was famous for developing a highly systematic method of

composition which promised unprecedented compositional control, yet he

believed in a form of divine inspiration. He was a pioneer of modernism who

maintained a strong, if often despairing, connection with religious belief

throughout his life.

Schoenberg’s musical innovations have generally been considered his

greatest contribution to Western art music.1 His foray into the realm of

“atonality” in 1908-1909 and his introduction of the “Method of Composition

Using Twelve Tones” in 1923 are both considered important landmarks in the

history of musical thought. This emphasis on Schoenberg as innovator tends to

overshadow the more traditional aspects of his music, and has had a distorting

effect on the study and performance of his music.

In the period after the Second World War, a group of young composers

led by Pierre Boulez challenged Schoenberg’s position as the great musical

innovator, idolizing instead his pupil Anton Webern. Musical culture in the

two decades following the death of Arnold Schoenberg in 1951 was dominated

by this school of ultra-modernism, the views of which shaped the appreciation

of Schoenberg’s music. Schoenberg’s atonal and early serial works were

1
Watkins, Glenn, Soundings: Music in the Twentieth Century (New York:
Macmillian, 1988), 24.

2
accepted into the musical canon based on their status as great innovations.

Several works that Schoenberg composed in the 1930’s, such as the Variations

for Orchestra, Op. 31 (1932), and the String Quartet no. 4, Op. 37 (1936) are also

widely studied, mainly as examples of Schoenberg’s mature serial technique. 2

Schoenberg’s later works, on the other hand, were not needed as stepping-

stones on the path to the “New Music”. Boulez, in his article “Schoenberg is

Dead,” went even further, condemning all of Schoenberg’s American works:

How could we, without weakness, relate ourselves to an oeuvre manifesting

such contradictions? If only it manifested them within a rigorous technique,
the only safeguard! But what are we to think of Schoenberg’s American period,
during which the greatest disarray and the most deplorable demagnetization
appeared? How could we, unless with a supplementary -- and superfluous --
measure, judge the lack of comprehension and cohesion, that reevaluation of
polarizing functions, even of tonal functions? Rigorous writing was abandoned
in those works. In them we see appearing again the octave intervals, the false
cadences, the exact canons at the octave. Such an attitude attests to maximum
incoherence -- a paroxysm in the absurdity of Schoenberg’s incompatibilities.
Ought one not to have pressed forward to a new methodology of the musical
language instead of trying to reconstitute the old one? So monstrous an
uncomprehending deviation leaves us perplexed: in the Schoenberg “case” a
ruinous “catastrophe” occurred which doubtless will remain cautionary.3

The only work of Schoenberg’s final years that received much public

notice was A Survivor from Warsaw, Op. 46 (1947), a piece that has been

acclaimed more for its raw dramatic value that for the subtleties of its

construction. This exclusion of Schoenberg’s late works from the mainstream of

musical thought is primarily due to the fact that they embody many of the more

conservative and traditional aspects of Schoenberg’s compositional output, an

intense lyricism and overt references to tonality. In addition, there is a

preponderance of religious themes, which may have proved unpalatable to

adherents of the modernist aesthetic like Boulez, who was overtly antagonistic

2
Haimo, Ethan, “The Mature Twelve-tone Method,” in The Arnold Schoenberg
Companion, ed. Walter B. Bailey (London: Greenwood Press, 1998), 129.
3
Boulez, Pierre, “Schoenberg is Dead,” Score, February 1952, 6: 18-22.

3
to religion as to other institutions and systems of thought based on tradition.

Schoenberg’s final three works, Dreimal Tausend Jahre, Op. 50a, De Profundis, Op.

50b and Modern Psalm, Op. 50c, have been given significantly less scholarly

attention than his earlier compositions. The final work of a prominent

composer has traditionally been given a respect that borders on reverence,

especially in the German Romantic tradition, to which Schoenberg believed he

was a successor. In his 1947 essay “Brahms the Progressive”, Schoenberg had

the following to say about the final work of a “Great” composer:

If a man who knows that he will die soon makes his account with earth
and with heaven, prepares his soul for the departure, and balances what he
leaves with what he will receive, he might desire to incorporate a word -- a part
of the wisdom he has acquired -- into the knowledge of mankind, if he is one of
the Great. One might doubt about the sense of life if it then would be a mere
accident that such a work, a life-terminating work, would not represent more
than just another opus. Or is one entitled to assume that a message from a man
who is already half on the other side progresses to the uttermost limit of the
still expressible? Is one not entitled to expect therefrom perfection of an extra-
ordinary degree, because mastership, a heavenly gift, which cannot be acquired
by the most painstaking assiduity and exercise, manifests itself only once, only
one single time in its full entirety, when a message of such importance has to be
formulated?4

Schoenberg, it must be assumed, intended the works of his Op. 50 to be

the final statement of his personal beliefs, and the final step of his musical

journey as a composer. It is clear that consideration of this musical and

personal legacy is essential in order to gain a complete and unbiased

understanding of Schoenberg, both as a composer and as a historical figure.

It is interesting to trace the genesis of Op. 50. Beginning with the

composition of A Survivor from Warsaw in 1947, Schoenberg composed mainly

on Jewish themes. On April 20, 1949, less than a month after the completion of

the Phantasy for violin, Op. 47, Schoenberg completed a short four-part a capella

4
Schoenberg, Arnold, Style and Idea, ed. Leonard Stein, trans. Leo Black (Los
Angeles: University of California Press, 1975), 438.

4
work entitled Dreimal Tausend Jahre. The text, written by his friend Dagobert D.

Runes, was inspired by the creation of the state of Israel.5 The work was

originally labeled Op. 49b, a grouping that placed it with the tonal Three

Folksongs, Op. 49 (1948). The brief duration of Dreimal Tausend Jahre may have

prompted this initial labeling. At any rate, the Op. 49b label seems to indicate

that Schoenberg had not formulated any plans for a final large-scale religious

work in early 1949. Dreimal Tausend Jahre was first published in the Swedish

periodical Prisma, and was premiered shortly after by a Swedish chamber

choir.6

During the spring of 1949 Schoenberg was working on another piece that

dealt with the recent foundation of the Jewish state, Israel Exists Again.

Schoenberg worked on this piece, scored for chorus and chamber orchestra,

from March to June, then abandoned it.7 Schoenberg completed the second

work of what was to become Op. 50 in June 1950. De Profundis, Op. 50b, a six-

part a capella setting of Psalm 130 in Hebrew, was composed for inclusion in an

Anthology of Jewish Music at the request of the collection’s editor Chemjo

Vinaver.8 It was around this time that Schoenberg changed the designation of

Dreimal Tausend Jahre from Op. 49b to Op. 50a.9

5
André, Naomi, “Returning to a Homeland,” in Political and Religious Ideas in the
Works of Arnold Schoenberg, ed. Charlotte Cross and Russell Berman (New York:
Garland Publishing, 2000), 271.
6
Reich, Willi, Schoenberg: A Critical Biography (New York: Praeger), 230.
7
Stuckenschmidt, Hans, Schoenberg: His Life, World and Work, trans. Humphrey
Searle (NewYork: Schirmer, 1978), 499-502.
8
Reich, 230.
9
Rufer, Josef, The Works of Arnold Schoenberg: A Catalogue of his Compositions,
Writings and Paintings, trans. Dika Newlin (London: Faber and Faber, 1962), 75-
76.

5
 On October 2, 1950, Schoenberg began to work on his final composition,

Modern Psalm, Op. 50c, for narrator, chorus, and chamber orchestra. This piece

shares two common traits with the fragmentary Israel Exists Again of the

previous year: almost identical performing forces and the same opening pitch

material, a C-Eb-E trichord.10 It seems possible that the later work is the

realization of a musical gesture that had its genesis in the earlier work. Modern

Psalm is a partial setting of the first of a series of “Psalms, Prayers, and other

Conversations with and about God” that Schoenberg worked on throughout

the final year of his life. Alexander Ringer referred to these writings (fifteen

complete texts and one fragment) as Schoenberg’s “Literary Last Will and

Testament.”11 The process that started with the composition of a short choral

work, therefore, developed gradually into a major religious and musical

testament.

The fundamental issue that arises in attempting to evaluate Schoenberg’s

Op. 50 is the choice of an analytical approach. A study of the citations related

to Schoenberg’s Op. 50 in the literature reveals three avenues of research: an

analytical approach that deals purely with issues of musical structure, a

historical/religious approach that deals mainly with extra-musical issues, and a

performance-based approach that deals with the works primarily as pieces of

choral literature.

The most influential analytical study of Dreimal Tausend Jahre, Op. 50a, is

a short article by Claudio Spies in the liner notes of The Music of Arnold

10
Schoenberg, Arnold, Chorwerk II: Kritischer Bericht, Series B, vol. 19 of
Sämtliche Werke, ed. Christian Martin Schmidt (Mainz: B. Schott’s Söhne, 1977)
137.
11
Ringer, Alexander, Arnold Schoenberg: The Composer as Jew (Oxford:
Clarendon Press, 1990), 176.

6
Schoenberg.12 Spies points out some interesting surface features, such as pitch

palindromes, that play an important role in the piece. His reading of the series,

however, is strongly suspect because it relies on a “subsidiary ordering” of the

row to explain large portions of the piece.

The first significant analytical study of De Profundis, Op. 50b is found in

George Rochberg’s 1959 article “The Harmonic Tendency of the Hexachord.”13

The article explores certain properties inherent in the row that lend themselves

to the creation of areas of harmonic emphasis. To illustrate his point, Rochberg

finds a passage in the music that contains a quasi-tonal progression that results

from combining two transformations of the original hexachord. Rochberg does

not provide any additional analysis of the piece, but he does assert that the

serial procedures in this work are loosely applied and use a hexachord as its

source material instead of a complete series.

A more detailed analysis of Op. 50b is provided by Robert Suderberg, a

student of George Rochberg, in his 1966 dissertation, Tonal Cohesion in

Schoenberg’s Twelve-tone Music.14 Suderberg’s dissertation focuses on

Schoenberg’s use of a variety of intervals to create pitch emphasis. Suderberg

traces patterns of harmonic emphasis created this way throughout De Profundis.

He affirms Rochberg’s views about the looseness of Schoenberg’s use of serial

procedure in this work.

12
Spies, Claudio, “Dreimal tausend Jahre, op. 50a,” in “Articles, Pictures, Texts
and a Recording of Schoenberg’s Voice,” liner notes for The Music of Schoenberg,
vol. 3, Colombia Records M2l 309/M25 709 (1963), 44-48.
13
Rochberg, George. “The Harmonic Tendency of the Hexachord” in Journal of
Music Theory 3 (November 1959): 208-230.
14
Suderberg, Robert Charles. Tonal Cohesion in Schoenberg’s Twelve-tone Music:
University of Pennsylvania (diss.), 1966, p. 258.

7
 Modern Psalm, Op. 50c, has, until recently, not been the subject of a

published analysis. This is most likely due to the fact that the work was left

incomplete at Schoenberg’s death. A summary of the serial procedures and

some brief analytical commentary is given for all three pieces of Op. 50 in

Robert Specht’s 1976 dissertation Relationships between Text and Music in the

Choral Works of Arnold Schoenberg.15 Specht’s work is not primarily analytical in

its orientation; it provides information primarily about text setting issues,

giving only the basics about the serial techniques used. It focuses on the Op. 50

mainly in its relationship to the choral literature. Mark P. Risinger, in his 2000

article, focuses on Schoenberg’s inability to complete major religious works.16

The article provides some interesting insights, but the analysis provided is

rather superficial.

Schoenberg’s religious beliefs and their relationship to his musical

output have been the subject of a significant amount of scholarly writing. As

Risinger and several others have noted, Schoenberg seemed unable to finish his

large-scale religious works. The most famous example cited is the third act of

Moses und Aron, which exists as a libretto but was never set to music. Willi

Reich, in his biography of Schoenberg, notes the similarity in spiritual imagery

between the final act of Moses und Aron, the ending of the second scene of Die

Jakobsleiter, and the text of the Modern Psalm.17 Reich also notes that all three

works were left incomplete. Alexander Ringer, in his article “Faith and

15
Specht, Robert, Relationships Between Text and Music in the Choral Works of
Arnold Schoenberg Case Western Reserve University (diss.) 1976, 369-90.
16
Risinger, Mark P. “Schoenberg’s Modern Psalm, and the Unattainable
Ending.” in Political and Religious Ideas in the Works of Arnold Schoenberg. (New
York: Garland Publishing) 2000, 289-306.
17
Reich, 233.

8
Symbol,” notes that Schoenberg consciously collected his final three works into

a single opus, to give them added weight as a unit and to place them on a par

with his earlier large religious compositions Moses und Aron and Die Jakobsleiter.

Ringer had the following to say about the endings of these three works.

Each of these breaks off with the protagonist in a prayer-stance, manifestly

unable to find fulfillment through prayer. In all three, moreover, a single
melodic strain endures to the last, as if such solitary prayer obviated the
necessity for any harmonic or polyphonic enhancement. In the last completed
measures of the oratorio, in an inconclusive two-dimensional soprano solo, the
soul dissolves almost physically into the heavens, ascending ever higher on the
ladder of prayer. In the opera, the last completed act ends with a rising string
melody that settles on a sustained middle F# only as Moses sinks to the
ground, destroyed by his inability to make verbal sense of the prophetic visions
that had shaken him to his innermost depths: O Wort, du Wort, das mir fehlt.
And the last scored phrase of “A Modern Psalm” remains hauntingly
suspended in musical time and space on the words “and yet I pray”, a choral
soprano line lost, as it were, in eternity.18

Ringer’s argument in his essay is that these large-scale religious works

are imbued with elements of numerology and religious mysticism. His main

contention is that Schoenberg made a symbolic connection between the number

six, the numerus perfectus, and divinity. He notes that Schoenberg’s series for

Op. 50c is constructed from a hexachord and its transposed retrograde, which

combine to make a variety of different orderings of the same six note collection.

While it can be argued that such a procedure might arise naturally from

Schoenberg’s usual method of hexachord-based row construction, the

fundamental idea of the article, that Schoenberg included elements of symbolic

importance into the music of Op. 50, is certainly worthy of examination.

Many interesting avenues of inquiry into the nature of Schoenberg’s Op.

50 have been opened in the writings surveyed here, but there has never been a

comprehensive study of these works. It is the purpose of this dissertation to

18
Ringer, 176-77.

9
provide an analytical study of Schoenberg’s Op. 50 that will draw relationships

between the musical structure and the extra-musical elements such as the text,

and Schoenberg’s religious beliefs. This analysis will focus on the following

elements: musical structure, patterns of pitch emphasis, text/music

relationships, and the possible influence of Schoenberg’s religious beliefs on the

structure of the music. The three chapters that comprise the body of the paper

will examine these issues in each of the works of Op. 50 individually. The final

chapter will discuss the findings of the earlier chapters, draw connections

between the works of the Op. 50, compare these findings to other writings

about Schoenberg’s later works.

10
 II. DREIMAL TAUSEND JAHRE, OP. 50A

Schoenberg took the text for Dreimal Tausend Jahre from the poem "Gottes

Wiederkehr" (God's Return) by Dagobert D. Runes. The poem had been written

the year before and was most likely inspired by the creation of the state of

Israel. Schoenberg made a number of changes to the text in order to make the

overall tone of the poem more emphatic.1 The poem, which moves from a

mood of despair to one of rejoicing, is laid out in three stanzas. The first stanza

laments the long separation of the people of Israel from the Temple. The

second stanza speaks of the land beyond the Jordan becoming "a new

shoreland", invigorated and green. The final stanza describes how the hills are

softly ringing with the news of God's Return. Schoenberg effectively conveys

this journey from despair into salvation in his musical setting through a variety

of techniques: serial structures, rhythmic usage, texture, word painting, and

pitch emphasis. Dreimal Tausend Jahre is an effective composition because

Schoenberg is able to convey clearly the changes of mood in the poetry in every

aspect of the music.

The brevity of Dreimal Tausend Jahre belies the subtleties of its

construction. Each of three different scholars gives a different pitch series for

the piece; the lack of agreement seems to stem from the different criteria each

analyst has for determining what passage in the score reveals the row. As I will

show, the actual source row is constructed as shown in Example 2.1.

1
Robert John Specht, Jr. Relationships between Text and Music in the Choral Works of Arnold
Schoenberg. (diss.), Case Western Reserve University, 1976. 355-57.

11
 Example 2.1
Row Permutations for Dreimal Tausend Jahre , Op. 50a Source Row

I0 I2 I11 I9 I10 I4 I3 I7 I5 I6 I8 I1
P0 G A F# E F B Bb D C Db Eb Ab R0
P10 F G E D Eb A Ab C Bb B Db F# R10
P1 Ab Bb G F F# C B Eb Db D E A R1
P3 Bb C A G Ab D Db F Eb E F# B R3
P2 A B Ab F# G Db C E D Eb F Bb R2
P8 Eb F D C Db G F# Bb Ab A B E R8
P9 E F# Eb Db D Ab G B A Bb C F R9
P5 C D B A Bb E Eb G F F# Ab Db R5
P7 D E Db B C F# F A G Ab Bb Eb R7
P6 Db Eb C Bb B F E Ab F# G A D R6
P4 B Db Bb Ab A Eb D F# E F G C R4
P11 F# Ab F Eb E Bb A Db B C D G R11
RI0 RI2 RI11 RI9 RI10 RI4 RI3 RI7 RI5 RI6 RI8 RI1

Claudio Spies draws his row from the first four bars of the soprano part

(Example 2.2).2 His reasoning seems to be that an aggregate that is stated

thematically at the beginning of the composition must reveal the row.

Schoenberg, as I will show, consistently interchanges hexachords from different

row forms that have the same pitch content but different orderings. The second

hexachord of Spies' row (soprano, mm. 3-4) is an inversion of the first at T5,

which greatly limits the compositional usefulness of the row, due to the fact

that the hexachords in the P0 and I5 forms of Spies’ row that share the same

2
Claudio Spies, "Dreimal Tausend Jahre, Op. 50a," in notes for The Music of Arnold Schoenberg,
vol. 3 (Colombia Records M2s 709, 1965), p. 44-46.

12
pitch content would also have the same ordering. In fact, Spies asserts that the

entire piece is drawn from only one row form. In order to analyze the

remainder of the work Spies relies on a "subsidiary" ordering scheme in which

the two hexachords of the row are each consistently reordered using a 2-5-1-3-4-

6 ordering pattern. The arbitrary character of this solution greatly compromises

Spies' analysis.

Example 2.2
Source Row Form for Dreimal Tausend Jahre, Op. 50a Proposed by Claudio Spies

& nw nw #w nw nw nw nw bw bw bw nw bw
Clytus Gottwald, on the other hand, asserts that the prime form of the

row appears in the alto part in mm. 5-7 (Example 2.3).3 The benefit of this

reading is that it allows analysis of the entire piece to be drawn from a single

row that is explicitly stated in the music. The pitch material of the entire piece,

in Gottwald's analysis, can be drawn from a combinatorial pair of row forms, P0

and I9.

The major problem with Gottwald's choice of a prime row form is that

the construction of the piece does not flow naturally from it. An examination of

the music reveals that the most prominent hexachord of the piece is G-A-F#-E-

F-B. This hexachord appears in the soprano as the principal melody in mm. 1-2,

and the first four notes of this hexachord return as a quasi-ostinato in mm. 17-

21. In Gottwald's series this hexachord is the first hexachord of RI9. Since

Schoenberg tends to treat the row as a motive, as opposed to a collection of

3
Clytus Gottwald, "Dreimal Tausend Jahre, op. 50a und Psalm 130, op. 50b für gemischten Chor a
capella" in Arnold Schönberg: Chorus Music. (Sony Classical S2K 44571), pp. 21-22.

13
pitch and interval classes, it seems logical to assume that the most prominent

thematic material of the piece should be closely related to the unaltered or

prime form of the row. 4 Gottwald's P0 lacks a strong motivic connection to the

music and is therefore unconvincing.

Example 2.3
Row Form Proposed by Clytus Gottwald in his Analysis of Op. 50a

& nw #w nw nw nw bw nw nw bw bw bw
nw
Robert Specht proposes a row that combines the best properties of the

rows given by Spies and Gottwald (Example 2.4). Specht, like Spies, begins his

row with the more motivically significant G-A-F#-E-F-B hexachord, but his row

uses a second hexachord ordering that corresponds to Spies' "subsidiary"

ordering pattern.5 The resulting row is identical to Gottwald's RI5 row form.

Therefore Specht's row, like Gottwald's, can explain the serial structure of the

entire piece from a single pair of combinatorially related row forms, which for

Specht are P0 and I5. This pairing is even more common in Schoenberg's serial

works than the P0/I9 pairing discovered in the piece by Gottwald. Spies' row

can also be derived from the initial hexachords of the P0 and I5 forms of Specht's

row.

4
Stein, Erwin, Ed. Arnold Schoenberg Letters. Faber and Faber: London. p. 248. Schoenberg
describes the row as a “unifying succession of tones which should function at least like a
motive.”
5
Specht, p. 360.

14
 The only disadvantage of Specht's row is that the whole of the prime

form of the row is never stated explicitly in the piece. The only complete linear

statements of row forms in the piece are RI5 (mm. 5-7, alto), R0 (mm. 5-8,

soprano), and I5 (mm. 9-11, soprano). As I will show, the lack of an explicit

appearance of Specht's row in the music does not disqualify it, especially since

it is the only one of the three proposed rows that facilitates an analysis of the

entire piece and is convincing as the source of all the piece’s motives.

Example 2.4
Row Form Proposed by Robert Specht in his Analysis of Op. 50a

& nw nw #w nw nw nw bw nw nw bw bw bw

Fortunately, Schoenberg's original sketches definitively resolve the

dispute about which series was used to create Dreimal Tausend Jahre.6 There are

three relevant sketches in the collected works. The first sketch (Example 2.5)

corresponds to the first hexachord of Specht's P0 together with its inversion at

the interval of a fifth below (which is the first hexachord of Specht's I5). The

two hexachords form an aggregate. This sketch, if taken by itself, is strong

evidence for Spies' reading of the row.

6
Arnold Schoenberg: Complete Works, Series B, vol. 19, 96-97.

15
 Example 2.5

Schoenberg, Row Sketch #1 for Dreimal Tausend Jahre

& nœ nœ #œ nœ nœ nœ

& nœ bœ bœ nœ
bœ bœ
The second sketch (Example 2.6) shows, however, that Schoenberg was

searching for another ordering of the second hexachord of his series. The

second sketch is essentially a reordering of the two hexachords in the first

sketch; the inverted (lower) hexachord of the second sketch forms an aggregate

with the upper hexachord of the first sketch. Although the bottom hexachord

ordering found in this sketch is not found in the row Schoenberg eventually

decided upon, this hexachord does begin with a (0257) tetrachord, a segment of

the circle of fifths, Eb-Bb-Db-Ab. This is the largest such segment that can be

drawn out of the six pitch classes remaining after the formation of the first

hexachord of the piece. Schoenberg seems to have been experimenting with the

idea of incorporating sonorities based around perfect fifths into this piece at an

early stage. As we shall see later, such sonorities are of central importance to

the composition’s sound world.

16
 Example 2.6
Schoenberg, Row Sketch #2 for Dreimal Tausend Jahre

nœ nœ #œ nœ nœ nœ
& bœ bœ nœ nœ
bœ bœ

The third sketch (Example 2.7) has Schoenberg's final version of the

series in the upper voice. The row in this sketch matches the one given by

Specht. The ordering of the second hexachord in the final row differs from the

version in the second sketch in that it contains only a three-note circle of fifths

segment, Db-Eb-Ab. Schoenberg's final decision to use this ordering for the

second hexachord might be based on the fact that it divides more easily into

two distinct trichords, one drawn from a segment of the circle of fifths and the

other drawn from a segment of the whole tone collection. Another possible

reason for Schoenberg's reordering of the second hexachord was to de-

emphasize the interval of the tritone, prominently positioned at the end of the

first hexachord, in order to create a greater sense of contrast between the two

hexachords. In Schoenberg's final version of the row the tritone at the end of

the first hexachord starkly contrasts with the P4/P5 at the end of the second

hexachord.

17
 Example 2.7
Schoenberg, Row Sketch #3 for Dreimal Tausend Jahre

& n œ n œ b # œœ #n œœ nn œœ n œ bœ nœ nœ bœ bœ bœ
n œ bœ # b œœœ

One feature held in common between the two hexachords of this row is

the inclusion of diatonic subsets. The first hexachord has a close kinship to the

pitch collection that defines G major. The first tetrachord, G-A-F#-E, is a subset

of the G major collection, and allows for the composition of melodic fragments

in the piece that emphasize G. The remaining F-B dyad could be used to imply

a tonicization of the subdominant, C, which is also the initial pitch of the I5 row

form. The last four notes of the second hexachord, C-Db-Eb-Ab, are a subset of

the Ab major collection. In particular, the Eb/Ab dyad strengthens the

possibility of emphasizing Ab.

Dreimal Tausend Jahre may thus be seen as constructed entirely from a

single pair of combinatorially related row forms, P0 and I5(Example 2.8).

Schoenberg treats the four hexachords drawn from these rows as separate units,

used in either their prime or retrograde forms. For this reason, it is useful in

most cases to label each of these hexachord separately (P0A, P0B, I5A, I5B). The

serial structure of the piece can most clearly be understood by tracing the

appearance of these hexachords and their method of presentation.

18
 Example 2.8
Source Forms Used for Dreimal Tausend Jahre

P0 A B

& nw nw #w nw nw nw bw nw nw bw bw bw
A B
bw nw
I5

& nw bw bw #w nw nw nw #w nw nw

There are two principal ways in which Schoenberg presents these

component hexachords. When a hexachord is presented melodically in a single

voice, I call this a linear presentation. Schoenberg may also divide a hexachord

between two or three simultaneous voices, creating what I refer to a vertical

presentation. Two- and three-voice vertical presentations will be distinguished

by the labels (2v., 3v.).

There are two important varieties of linear presentation used in Dreimal

Tausend Jahre, one of which is the immediate repetition of a hexachord in

reverse order, which I will term a palindromic presentation. Non-palindromic

linear statements of hexachords will be referred to as direct presentations. Both

vertical and linear (direct and palindromic) presentations may also appear with

certain unsystematic pitch reorderings; I will refer to these as modified

presentations. The majority of these modifications involve displacing or

omitting certain pitch classes.

19
 Example 2.9
Hexachord Presentation Table

m. 1 3 5 6 7 8 9 10 11
P A(p) I A(p) PB PA IA IB I B(2v)
0 5 0 0 5 5 5

P B(p) I B(m) IB IA I A(3v) P B(3v) P B(3v) I A(2v)

0 5 5 5 5 0 0 5

I B(p) I B(p) P B(2v) P A(2v)

5 5 0 0

P B(m) P B(p)
0 0

13 14 15 16 17 18 19 20 21 22 24
P A(2v) I A(2v) P A(3v) P A(3v) IA P B(2v)
0 5 0 0 5 0
(m) PB (m) (m) (m) (2v) (m)
0
I A(3v)
5
I A(p) IB I A(2v) P A(2v) P B(2v) (m) IA IA
5 5 5 0 0 5 5

P A(p) P B(2v) P A(p) P B(m)

0 0 0 0

Example 2.9 displays the scheme of hexachord presentation in this piece.

Linear (d-direct, p-palindromic) and vertical (2v., 3v.) are labeled; modified

presentations are marked with an m.

The piece can be divided into three sections, each of which sets a stanza

of the text. The stanza breaks are marked by thick vertical lines in Ex. 2.9. The

first stanza takes up four measures of music (mm. 1-4), the second eight

measures (mm. 5-12), and the third thirteen measures (mm. 13-25). Schoenberg

varies the method of hexachord presentation in each stanza as a means of

conveying the meaning of the text and creating musical contrast. In addition to

hexachord voicing and presentation, the use of rhythm, texture and density also

support the text setting and reveal Schoenberg's understanding of and

sympathy with the structure and themes of Runes' poem.

20
 Linear hexachord presentations are used exclusively in the first stanza

(Example 2.10), which consists of a pair of two-bar phrases. In each phrase, one

hexachord is presented in each voice. The opening phrase (mm. 1-2) is set

using a palindromic presentation of P0A in the soprano, a modified palindromic

statement of P0B in the alto, and a modified palindromic presentation of I5B in

the tenor. The bass has a modified direct presentation of P0B. Schoenberg, in

order to avoid pitch doubling between the two different versions of P0B, leaves

out the Bb in the alto and slows down the statement of the row in the bass by

anticipating the arrival of the Ab.

The second phrase (mm. 3-4) has a very similar construction to the first.

Three voices have palindromic hexachord presentations: soprano (I5A), tenor

(I5B), and bass (P0B), while the alto has a modified direct statement of I5B with

its last pitch class presented early. I5A, absent in the first phrase, makes its

dramatic appearance in the soprano part at m. 3. It is significant that both of

the unmodified presentations in this section occur in the soprano part, giving it

additional importance.

Specht suggests that Schoenberg uses palindromes, particularly in the

first stanza, as a musical depiction of the longing for God's return.7 An

additional consequence of their use is that each of the two phrases in mm. 1-4

are melodically and harmonically static since the end of each phrase is nearly

identical to its beginning. The one non-palindromic statement in each phrase

might be thought of metaphorically as "struggling" against the other voices.

7
Specht, p. 360.

21
This conflict between motion and immobility is an effective musical depiction

of the despair conveyed in the text.

Example 2.10
Schoenberg, Op. 50a, mm. 1-4

P0A(p) I5A(p)
j j nœ . bœ bœ bœ nœ . j nœ . bœ bœ bœ n˙ .
& 64 œ . n œ # œ n œ n œ . nœ œ
J nœ n œ # œ . œ ˙. J bœ œ J
Drei - mal tau-send Jah - re seit ich dich ge - sehn, Tem - pel in Je - ru - sa - lem, Tem - pel mei - ner Wehn!

P0B(p) I5B(m)
6 j j
& 4 n˙ b œ b œ œ . b œj b œ . œ bœ nœ œ n˙ n œ œ œ n œ œ ‰ n œ n œ #˙ nœ œ n˙
nœ nœ œ
Drei - mal tau-send Jah - re seit ich dich ge - sehn, Tem - pel in Je - ru - sa-lem, Tem - pel mei - ner Wehn!
I5B(p) I5B(p)
6 j j nœ œ nœ
V 4 nœ nœ nœ . #œ œ nœ #œ nœ œ nœ ˙ nœ nœ nœ #œ . nœ œ nœ œ #œ œ n˙
Drei - mal tau - send Jah - re seit ich dich ge - sehn, Tem - pel in Je - ru - sa - lem, Tem - pel mei - ner Wehn!
P0A(m) P0B(p)
? 64 b œ œ œ . b Jœ œ j bœ œ b˙ bœ nœ œ . j j
œ ‰n œ œ b˙ œ œ. œ b œ b œ bœ b œ n œ . nœ ˙ bœ
J
Drei-mal tau - send Jah - re seit ich dich ge - sehn, Tem - pel in Je - ru - sa - lem, Tem - pel mei - ner Wehn!

The mood of despair in the first stanza is also conveyed in Schoenberg's

use of rhythm and texture. The texture is uniformly thick, and each of the four

voices sings throughout with great rhythmic and melodic independence,

creating a feeling of heterophony. There is an attack on every eighth note of the

first measure and a half of each phrase, and there is a correspondingly rapid

shift in the number of different vertical sonorities present. This hectic motion

slows somewhat at the melodic cadence point (beat 4 of mm. 2 & 4) of each

phrase. The overall effect is of a mournfully intense soprano melody struggling

to emerge from a heterophonous turmoil of harmonies and rhythms. The

melodic emphasis on G in the first phrase and C in the second both contrasts

with the pervasive dissonance within each phrase and establishes the

importance of these two pitch classes in the work as a whole.

A few moments of relative consonance do occur within the jumble of

motion that characterizes the first section. These points of stability occur near

22
the beginnings and ends of phrases; in such places, Schoenberg tends to

introduce triads with added seconds and fourths and minor seventh chords.

When the tenor moves from A to F on the second beat of the first m., a minor

seventh chord built on G results. The second phrase begins with a sonority that

could best be described as an F major chord with a Bb in the bass. The

sonorities at the cadence points of both phrases are triads with added notes.

The two sonorities also belong to the same set class (0247). Schoenberg

masterfully conveys the anguish of the text by moving to more dissonant

sonorities on the two beats following each cadence point (beats 5-6 of mm. 4

and 6) so that both phrases end with a high degree of dissonance (Example

2.11).

Example 2.11
Op. 50a, m. 2, beats 4-6 & m. 6, beats 4-6
(0247) (0136) (0127) (0247) (0136) (0127)

& ˙œ . ˙.
˙ œ n˙

? b ˙œ nœ œ˙ ˙
b˙ bœ

The brightening text of the second stanza is drastically different in mood

from the darkness of the text in the first stanza. The poetry, which on one level

describes the beauty of the promised land, also contains the imagery of the

countryside becoming green, perhaps a reference to the Negev Desert irrigation

project begun in the 1940's, and also a metaphor for the blooming of new hope

and new possibilities. The change of mood in the second stanza is clearly

23
delineated by a change in hexachord selection and presentation. Palindromic

presentations are entirely absent from the second section, allowing a sense of

forward motion. Schoenberg uses only unmodified presentations in the second

section, a clarity of hexachordal unfolding that suggests a feeling of lightness

and motion.

The second section also contains the only complete linear statements of

row forms in the piece. It is interesting to note that Schoenberg presents three

of his four chosen row forms for the piece (R0, I5, RI5) but fails to state P0

unambiguously. The absence of the prime form of the row may be symbolic of

the poem’s announced, but still unfulfilled, return of God.

The second section also contains a shift from linear to vertical

presentation of the hexachords. In mm. 5-7 (Example 2.12), the linear row

statements in the soprano and alto are accompanied by two-voice presentations

in the tenor and bass. In mm. 8-10 the linear row statement in the soprano is

accompanied using three voice presentations. Linear hexachord presentation

disappears entirely in the final two measures, which are set using a pair of two-

voice presentations. The shift toward vertical voicing found in the second

stanza suggests the increasing importance of the harmonic element as this point

in the piece. Schoenberg uses the relative consonance and stability created by

this shift in voicing as a musical embodiment of the "new shoreland".

24
 Example 2.12
Op. 50a, mm. 5-7

P0B(r) P0A(r)
bœ b˙ œ bœ œ nœ œ bœ b˙ œ œ œ
& Ó Œ Œ bœ . J bœ nœ
Und ihr Jor - dan - wel - len, sil - bern Wü - sten band,

I5B(r) I5A(r)

& Œ nœ nœ #œ j
nœ nœ ˙ #œ #˙ nœ nœ . bœ bœ bœ n˙
Und ihr Jor - dan - wel - len, sil - bern Wü - sten band,
P B(2v)(r)
b œ 0. œ œ. P0A(2v)(r)
nœ nœ n˙
V J nœ ˙ œ b˙ Œ Œ Œ
J #œ ˙
Und ihr Jor - dan - wel - len, sil - bern Wü - sten band,

? bœ . bœ ˙ n˙ n˙ Œ nœ œ œ. nœ ˙
J nœ œ nœ œ J
Und ihr Jor - dan - wel - len, sil - bern Wü - sten band,

Schoenberg’s selection of hexachords also helps to create a new mood in

the second stanza. The first stanza is dominated by the thematic statement of

the first (A) hexachord of both P0 and I5. The second stanza emphasizes the

second (B) hexachord of P0 and I5, whose prominent opening P4/P5, realized as

ascending intervals, helps to convey a lighter mood. All of the hexachords at

the opening of the second stanza are B forms (the soprano and alto statements

occur as presentations of R0 and RI5). In addition, all three hexachords are also

presented in retrograde so that their most prominent feature, the circle of fifths

segment, is heard first. It is evident that Schoenberg considers this (027)

trichord to be important because throughout the piece he uses retrograde

orderings almost exclusively to set linear presentations of the B hexachord. The

B hexachord ordering is also found very prominently in the lower voices in

mm. 9-10. I5B and P0B are set using three-voice presentations that allow

Schoenberg to accompany the soprano melody entirely with whole tone and

perfect fifth based sonorities. On the downbeat of m. 10, where the phrase

25
setting the words "neues Uferland" (new shoreland) begins, the soprano drops

out so that the phrase begins with an unobscured (027) sonority. The

connection between this trichord and the idea of a new shoreland is confirmed

in mm. 11-12 where a (027) trichord is used to set the same text in the soprano.

The top two voices in mm. 11-12 are set using a two-voice presentation of I5B, so

that the stanza ends as it began, with a prominent setting of a B hexachord.

As he did in the first section, Schoenberg, carefully controls the

appearance of relatively consonant vertical sonorities at the beginnings and

ends of phrases to embody the meaning of the text in the second section. The

stanza begins with some relatively consonant sonorities, an Ab minor chord in

second inversion followed by a root position Db minor chord. The first phrase

of the stanza follows the pattern of consonance and dissonance established in

the first stanza, in which each phrase begins and ends with more consonant

sonorities. The phrase closes on the final beat of m. 7 with a sonority that can

be described as a C major chord in second inversion. The next phrase (Example

2.13) breaks this pattern by beginning with an unmistakably dissonant sonority,

a tritone spread over two and a half octaves between the bass and soprano.

Schoenberg uses a motion from dissonance to consonance in this phrase to

musically embody the concept of gardens becoming green. The phrase begins

in m. 8 with an exposed tritone sonority that is especially striking because of its

wide spacing (it also contains the highest note of the piece). Measure. 8 also

contains two other prominent tritones: A-Eb (soprano/bass) and D-Ab

(alto/tenor). P0A and I5A are used in this measure as the source of these

tritones. The phrase becomes progressively more consonant and ends with a

26
beautiful (0247) sonority that can be described as a B minor chord with an E in

the bass.

Example 2.13
Op. 50a, mm. 8-9
(0247)
#˙ Œ j œ bœ bœ
& œ œ. œ b˙ nœ
Gär - ten und Ge - län - de grü - nen,

& Œ bœ .
j
œ nœ œ ˙ œ nœ ˙ œ #˙
Gär - ten und Ge - län - de grü - nen,

V Œ bœ . œ nœ
J bœ œ ˙ œ œ œ ˙
Gär - ten und Ge - län - de grü - nen,

? n˙ bœ Œ œ œ
˙ nœ ˙ œ
Gär - ten und Ge - län - de grü - nen,

The final three bars of the stanza contain two settings of the text "neues

Uferland" (Example 2.14). These phrases function as an antecedent/consequent

pair that encompasses a motion from consonance toward dissonance and back

again.8 The first phrase begins with (0247) sonorities (m.10, b. 2&4) and

cadences on a (0246) sonority on the downbeat of m. 11. The second phrase is

elided to the first; and where the second verse starts (m. 11, b. 3) a (0123)

sonority is created. The second phrase ends with a motion from a (0246) (m. 12,

b. 3) to a (0358), which can in this be described as a half-diminished chord built

on Ab.

8
The relative dissonance of a set is determined here, for purposes of
comparison, by the number of dissonant interval classes (i.c. 1, i.c. 2, i.c. 6) in its
interval vector.

27
 Example 2.14
Op. 50a, mm. 10-12

(0247) (0246) (0358)

U
(0247) (0246) (0123)
j nœ œ.
Rit.

& Œ #œ n œ nœ . œ #œ nœ n ˙ Œ Œ nœ œ nœ ˙
J
j U
neu - es U - fer - land, neu - es U - fer - land.

& #˙ œ #˙ #œ #˙ . Œ nœ nœ œ. #œ w
U
neu - es U - fer - land, neu - es U - fer - land.

œ #˙ nœ n˙ bœ . bœ œ . œ w
V n˙ J J
U
neu - es U - fer - land, neu - es U - fer - land.

? b˙ j
nœ n˙ . œ. bœ œ œ bœ w
n˙ œ
neu - es U - fer - land, neu - es U - fer - land.

The use of texture and rhythm also supports the lighter mood of the

stanza. At the beginning of m. 5 the texture thins briefly to two voices. Similar

breaks in the texture occur in mm. 6, 8, and 11. These breaks contribute to the

feeling of lightness. The overall rhythmic scheme of the second stanza moves

from activity to greater relaxation, which can be seen as a musical embodiment

of attainment of the restful safety of the new land. Beginning in m. 5, the

rhythmic independence of the voices begins to break down, with voices

frequently paired rhythmically. The overall rhythmic activity of the second

stanza becomes even simpler in m. 10 where the three lower voices provide a

homorhythmic accompaniment to the soprano melody. The rhythmic motion

of the piece is stopped entirely by the lengthening note values and fermatas in

m. 12.

The final stanza of the poetry, which speaks of the hills softly ringing

with songs announcing God's return, assumes a more urgent and active tone

that the first two stanzas, which are more descriptive. Schoenberg makes three

28
alterations in the original text to accentuate this change of tone.9 Two of the

changes involve substituting more active verbs: klingen (ring) in the place of

rauschten (rustle), and Künden (announce) instead of flüsternd (whispering).

Schoenberg also changes the words alt verschollnen (old forgotten) to

allverschollnen (completely forgotten). This special emphasis on the word

forgotten, reminiscent of the "forgotten creed" of A Survivor from Warsaw,

seems related to Schoenberg's re-conversion to Judaism, which he considered a

reaffirmation of the forgotten faith of his ancestors.

A number of serial and non-serial techniques are used to effectively

portray the mood and meaning of the text in the third stanza. As in stanza two,

Schoenberg uses changes in hexachord selection, voicing and presentation to

articulate a new musical idea. Hexachords with the A ordering are

predominant at the beginning of stanza three (Example 2.15), with the first non-

retrograde linear statement of P0A since m. 1 set in the bass, I5A set in the tenor,

and P0A set in the soprano and alto. The B hexachord form is used in all the

voices in m. 15 and then is completely absent until the last two bars of the piece,

where there is a partial statement of P0B in the bass and a modified statement of

I5B in the tenor and soprano. Specht suggests a connection between the use of

P0 and the idea of God.10 Internal evidence suggests, rather, that linear

statements of the A hexachord ordering (especially P0A) are musical depictions

of prayer. The mournful prayers sung by the sopranos in the first stanza, in this

9
Specht. pp. 355-356.
10
Specht. p. 362.

29
view, return in stanza three as the joyful songs of praise that echo through the

hills.

Example 2.15
Op. 50a, mm. 13-15
P A (2v)(m)
∏0 P0B (r)
bœ œ . bœ bœ . œ nœ .
& n œ œ œ œ œ nœ n œ n œ # œ n œ œ # œ n œ œ Œ Œ bœ J J bœ Œ
J
Œ
Und man hört es klin - gen lei - se von den Ber - gen her, Dei - ne all - ver - scholl - nen Lei - der,

I5B (r)
∏ j
j
& n œ nœ # œ œ n œ n œ œ œ œ œ œ n œ # œ n œ Œ Œ Œ nœ nœ œ œ #œ œ . œ nœ . œ Œ
Und man hört es klin - gen lei - se von den Ber - gen her, Dei - ne all - ver - scholl - nen Lei - der,

I5A (p) P0B(2v)

π
bœ . bœ nœ . j bœ Œ bœ . bœ œ .
V œ bœ J bœ œ œ nœ œ bœ . bœ n˙
J
ΠJ
nœ
J
Und man hört es klin - gen lei - se von den Ber - gen her, Dei - ne all - ver -
P0A (p)
? Œ
π
nœ nœ #œ . nœ nœ .
nœ œ. œ œ #œ . nœ œ b œ . n Jœ œ . b Jœ œ
J
J J nœ J Œ
Und man hört es klin - gen lei - se von den Ber - gen her, Dei - ne all - ver - scholl -

One of the most apparent changes between the second stanza and the

third can be found in the area of hexachord presentation. Palindromic

presentation, absent in the second stanza, returns in the third stanza. In mm.

13-14 palindromic presentation occurs in both the bass and the tenor. There are

also a number of palindromic fragments in the soprano and alto voices in m. 13.

A fourth pitch palindromic segment occurs in the bass in mm. 19-20, and in the

soprano in mm. 20-21. A complete palindromic presentation of P0A can be

found in the tenor in mm. 20-23. Pitch palindromes, which were associated

with the longing pleas in stanza one, serve now as a musical depiction of God's

announced return.

Linear and vertical hexachord presentations are also used in this section

to underscore the meaning of the text. The third stanza, like the second, begins

30
with two linear hexachord presentations accompanied by a two-voice

presentation. This pattern is repeated in m. 14-15, with the linear presentations

moving to the upper two voices and the two-voice presentation moving to the

lower two voices. Measures 16-17 consist entirely of two-voice presentations.

On the last two beats of m. 17 a method of hexachord voicing that has not been

seen before in this piece appears. At this point the soprano voice has a linear

presentation of the first four notes of P0A. The remaining tritone dyad is set in

the alto and tenor, below the first note of the soprano. The resulting sonority on

the last two beats of m. 17 (Example 2.16) can be thought of as a G major-minor

seventh with the fifth omitted. This new voicing is used to set the text künden

Gottes wiederkehr (announcing God's return). Specht suggests that the use of the

major-minor seventh sonority here recalls its traditional function in tonal music

of "announcing" the arrival of the tonic.11 This special voicing appears three

more times in the next four measures, twice using P0A (soprano, alto/tenor)

and once using I5A (bass, alto/tenor).

11
Specht, p. 367.

31
 Example 2.16
Op. 50a, mm. 17-19
P0A (2v)(m) P0A (2v)(m)
j
& œ #œ. # œ. Ó n˙ œ œ #˙ . nœ œ. œ #œ n˙ Œ
. œ.
scholl - nen Lei - der kün - den Got - tes Wei - der - kehr,

P0B (2v) I5A (2v)(m)

j j j
& n˙ nœ n˙ bœ . b œ œ. bœ ˙ nœ . œ œ. j nœ
b œ. bœ. œ œ
Lei - der kün - den Got - tes Wei - der - kehr, Got - tes Wei - der - kehr, kün -

#˙ ˙ n˙ nœ . œ œ. bœ ˙ j
nœ . œ nœ
V J J J #œ . nœ œ
(kün - ) den Got - tes Wei - der - kehr, Got - tes Wei - der - kehr, kün -

? nœ œ nœ œ. bœ bœ
Ó Ó ∑ Ó Œ J
(kün - ) den, kün - den

The last five measures of the piece contain linear statements of P0A and

I5A accompanied by two-voice presentations. The only discrepancy in the

voicing pattern comes in the last two measures. There is a three-note segment

of P0B in the bass (Example 2.17). Specht suggests that the use of an incomplete

hexachord here is a musical depiction of the incomplete nature of God's

return.12 The source of the music in the soprano and tenor parts in the last two

measures cannot clearly be identified, although the B-E dyad present in each

voice strongly suggests P0B. This ambiguity of construction supports Specht's

contention and, together with other factors such as the progressive truncation

of the text of the last line, gives the impression that the music is fading out

before it reaches its ultimate goal.

12
Specht, p. 352-54.

32
 Example 2.17
Op. 50a, mm. 22-25

I5A (2v)(m) I5B (2v)(m)

& Œ œ b˙ œ b˙ œ nœ œ ˙. œ Œ Œ
n˙ ˙. œ nœ nœ
Got - tes Wie - der - kehr, Got - tes Wie - der - kehr.

I5A
j
& bœ ‰ Œ Œ Œ bœ bœ ˙. œ n˙ Œ Œ
˙ bœ b˙ . ˙. œ
kehr, kün - den Got - tes Wie - der - kehr.

P0A (r)
j j j
V n Jœ ‰ œ . nœ œ nœ . #œ n˙ nœ ˙. œ nœ #œ œ. nœ nœ n˙ . œ Œ Œ
kehr, kün - den Got - tes Wie - der - kehr, Got - tes Wie - der - kehr.

P0B (m)
? nœ b˙ œ b˙ œ n˙ Œ Œ bœ . nœ œ
˙. œ J ˙. œ Œ Œ
Got - tes Wie - der - kehr, Wie - der - kehr.

One of the most unique features of Dreimal Tausend Jahre is that there are

strong indications of a clearly audible pattern of pitch emphasis that coincides

with the sectional divisions of the setting. These areas of pitch emphasis are

made possible by three things: the presence of aurally identifiable four note

diatonic subsets in three of the four hexachords used in the piece, the motivic

use of the interval class 5 (P4/P5), and the use of relatively consonant sonorities

at points of tonal emphasis. The first two of these elements are inherent

possibilities of the serial construction.

The P0A hexachord begins with a four-note subset that could be used to

compose a 1ˆ − 2ˆ −7ˆ − 6ˆ melodic fragment in G major (Example 2.18). The P0B

hexachord, when used in retrograde form, begins with a four-note subset that

suggests a 1ˆ − 5ˆ − 4ˆ − 3ˆ melodic fragment in Ab major. A 5ˆ −1ˆ − 2ˆ − 3ˆ melodic

fragment in E minor is suggested by the first four notes of the retrograde form

of I5B. These three fragments, when used melodically, are effective in creating

pitch emphasis because they contain either an implied fifth scale degree or an

33
implied leading tone. The I5A hexachord does not meet these conditions in

either its prime or retrograde form. There are three prominent occurrences of

interval class 5 that can be generated from Schoenberg's four hexachords. The

P0B and I5B hexachords both contain this interval between their last two notes.

The first note of the P0A and the I5A hexachords are also related by interval

class 5. The i.c. 5 dyads generated by these relationships are Ab-Eb, B-E, and G-

C.

Example 2.18
Op. 50a, Diatonic Subsets in P0 and I5

P0 Ab Major

bw nw nw bw bw bw
G Major

& nw nw #w nw nw nw
I5 E Minor
n w b w bw bw nw nw nw nw #w nw nw
& #w

The overall pattern of pitch emphasis supports the overall scheme of

statement, departure and return, which is made most audible through the use

of the palindromic statements P0A in the first and third section of the work. In

the area of pitch emphasis the first and third section focus primarily on

emphasizing the pitches G and C, while the second stanza focuses on

emphasizing Ab, and to a much lesser extent E. These areas of pitch emphasis

manifest themselves most prominently in the outer voices, and primarily at the

start and end of phrases.

34
 Example 2.19
Areas of Pitch Emphasis in Dreimal Tausend Jahre, mm. 1-12

Stanza 1 Stanza 2

5 9 12
bœ nœ nœ
m. 1 2 3 4 8 11

& w w w w bœ J œœ
nœ nœ
? bœ bw œ
bw bœ bœ nœ œ
œ œ bw
nœ œ bw

The palindromic statements of P0A in the soprano in mm. 1-2 and I5B in

mm. 3-4 create an emphasis on G in the first two bars and of C in the second

two bars (Example 2.19). The G is emphasized through the use of the diatonic

fragment inherent in P0, while the P4 leap in the soprano from m. 2 to m. 3

creates an emphasis on C. The emphasized pitches are supported by relatively

consonant sonorities at the beginning and end of each phrase. Tension is

created by the conflict of this G/C emphasis in the soprano against a less clearly

stated emphasis of Ab in the bass. The use of P0B in the bass throughout mm. 1-

4 contributes greatly to this Ab emphasis, which is most clearly heard in the

4ˆ − 5ˆ −1ˆ motion in m. 2. The interpolation of the Ab (approached by the leap of a

seventh) in m. also helps to strengthen Ab. The Bb in the bass, which begins and

ends the first section, is also related by i.c. 5 to the Eb in the bass at the opening

of the second section in m. 5.

In the second section the emphasis on Ab moves from the bass to the

highest sounding voice, and its prominence is now uncontested. In m. 5 the

tenor is scored above the alto and in the extreme upper range, giving the Ab a

considerable prominence. This Ab is then passed to the soprano in the same

35
register. Ab emphasis is also strengthened in m. 5 by the use of the harmonic

Ab/Eb dyad (ten./bass) and the melodic Ab/Eb dyad in the soprano. In

addition, triadic sonorities diatonic to Ab minor occur in the first four beats of

m. 5.

The G/C dyad makes an appearance at the first cadence point at the end

of m. 7, this time in the bass. The first phrase ends with a G in the bass which

descends directly to C at the beginning of the next measure. This G/C motion

is echoed in the ascending G/C motion in the soprano part over the bar line of

m. 9. The second phrase cadences in m. 9 on a consonant sonority with E in the

bass. The E-B dyad occurs harmonically at this point (tenor/bass) and is

echoed melodically by the soprano in mm. 11 (which at this point is an inner

voice) and 12. The bass note at the cadence in m. 11 is C, but by the final

cadence of the section in m. 12, the Ab has returned to the bass. It is possible to

view the bass motion of the second stanza as an elaboration of the P5 descent

between the opening Eb in m. 5 and the Ab in m. 12 through a series of

descending thirds.

In the final stanza the G/C dyad returns to prominence, starting in m. 13

in the lower voices (Example 2.20). The palindromic statements of I5A and P0A

in the tenor and bass parts in mm. 13-14 create a strong emphasis on these two

pitches. In the last two beats of m. 17 the pitch G returns to the soprano line,

while the bass line emphasis remains on C for the rest of the work. It is an

indication of the subtlety of Schoenberg's setting that the appearance of the G in

the soprano (m. 17, beat 5) and the C in the bass (m. 19, beat 4) occurs first in

36
inner voices and then emerge into prominence. The pitches G/C are

emphasized in the last eight measures primarily through their presence at the

beginning and ending of palindromic segments. The pitch C is the bass note of

the consonant cadential sonority in m. 23, and G and C are in the outer voices at

the final cadence.

Example 2.20
Areas of Pitch Emphasis in Dreimal Tausend Jahre, mm. 13-25

Stanza 3

13 14 15 16 17 21 23 25
bœ
19

& œ bœ w w bœ w
œ œœ bœ œ
?w bœ w bœ
œ œ w

The conflict between Ab and G, characterized by the vertical G/Ab dyad

(soprano/bass) at the end of m. 2, has been resolved into a more harmonious

linear relationship in the final section. The G/Ab connection first appears in the

soprano part in m. 14 between the end of one phrase and the beginning of

another. This same G/Ab phrase link also appears in the bass voice across the

bar line to m. 15. The bass and tenor in m. 15-16 have a beautiful duet

(reminiscent of a series of suspensions) that emphasizes Ab. In the second half

of m. 16 the bass moves from outlining the pitches Ab-C to outlining G-B, thus

creating a slightly larger scale G/Ab connection. The pitch Ab emerges from the

texture again on the last beat of m. 21. The soprano drops out and a sonority

identical to the Ab minor triad found in m. 5 (this time with the alto on top)

appears. The juxtaposition of G and Ab is also clearly heard here. The pitch Ab

37
makes its last prominent appearance in the final sonority of the piece where, in

a symbolic statement on the inconclusiveness of God's return, it is again placed

vertically against the G.

Example 2.21
Essential Patterns of Pitch Emphasis in Dreimal Tausend Jahre

Stanza 1 Stanza 2 Stanza 3

& w w bw w bœ w

? w
bw bw w

It is possible to draw parallels between Schoenberg’s use of pitch

emphasis and the references to God in the text. The G/C pitch emphasis in the

first and third stanzas (Example 2.21) corresponds to the poem’s references to

God. The longing prayers evoked in the first stanza of Dreimal Tausend Jahre are

embodied in Schoenberg’s setting by a soprano melody constructed from the

initial hexachord of P0 and I5. P0A consists of a four-note diatonic subset of the

G major collection and a tritone dyad that “resolves” to the inital C of I5A

(Example 2.22). Schoenberg makes explicit use of this relation in his setting of

the final stanza, where an implied dominant built on G is used three times to

embody the long forgotten songs that announce God’s return. The harmonic

goal of these sonorities is the C minor seventh chord that occurs on the second

half of m. 23.

38
 Example 2.22
Pitch Emphasis Created by P0A and I5A Hexachords, Op. 50a
P0A Tritone I5A

nw bw bw bw nw bw
G Major

& nw nw #w nw nw nw

Ab pitch emphasis, which is in conflict with the G/C emphasis in the first

stanza, predominates in the second stanza, where the divine is not mentioned

directly. In the final stanza the Ab
emphasis is greatly reduced, remaining only

as a reminder that true unity with the divine can never be attained.

39
 III. DE PROFUNDIS, OP. 50B

There are many points of similarity between De Profundis and Dreimal

Tausend Jahre that justify their being included within a single opus number.

They are both a capella religious choral works that deal with the concepts of

prayer and redemption. The two works also feature sonorities and progressions

that make reference to tonal practices. The works diverge mainly in focus and

scope. Dreimal Tausend Jahre, due to its brevity and its more subdued mood,

takes a more introspective approach to its subject matter. The De Profundis,

with its greater length, wide dynamic range and contrasting vocal textures, is

much more expansive in its musical gestures and extroverted in its statement of

faith. This distinction can also be seen in the texts that Schoenberg chose for

each work. Dreimal Tausend Jahre sets a poem written by Schoenberg’s friend

Dagobert D. Runes, while the De Profundis is a setting of a biblical psalm in

Hebrew, dedicated to the State of Israel. The biblical text and the unfamiliar

language are both consistent with the more extroverted gestures found in De

Profundis.

The text of the De Profundis, Psalm 130, can be categorized as a psalm of

ascent.1 This type of psalm is traditionally associated with religious pilgrimage.

Psalms of Ascent were sung by travelers to Jerusalem. This choice of text seems

particularly appropriate for a piece dedicated to the recreation of the Jewish

State.

1
Samuel Terrien, The Psalms and Their Meaning Today (New York: Bobbs-
Merrill, 1952), 181.

40
1. Out of the depths have I cried unto thee, O Lord.
2. Lord, hear my voice: let thine ears be attentive to the voice of my
supplications.
3. If thou shouldest mark iniquities, Lord, O Lord, who shall stand?
4. But with thee there is forgiveness, that thou mayest be feared.
5. I wait for the Lord, my soul waiteth, and in his word do I hope.
6. My soul waiteth for the Lord more than they that watch, for the
morning: they that watch for the morning.
7. Let Israel hope in the Lord: for with the Lord there is mercy, and with
him plenteous redemption.
8. And he shall redeem Israel from all their iniquities.2

Psalm 130 portrays a spiritual journey from individual anguish to

national redemption. This psalm is comprised of eight lines which are grouped

into four two-line strophes.3 The first strophe is the psalmist’s plea to the Lord

for prayers to be answered. The next strophe contrasts the unworthiness of

humanity with the great forgiveness of God. The third strophe speaks of the

psalmist’s great faith in the Lord. The final strophe is an appeal for the nation

to share the faith of the psalmist in order to receive the promised salvation.

Robert Specht divides the structure of the text into three sections instead

of four. He labels the first three lines as being “concerned with the negative

aspects of the speaker’s condition and his need for God.” The next three lines

deal with hopefulness, and the final two lines are an appeal to the nation. The

three part reading of the text follows the change of mood, while the four part

division more closely mirrors the themes of the four strophes: supplication,

unworthiness, waiting, and redemption.

Schoenberg’s musical setting embodies this journey from despair to

salvation using a wide variety of techniques. The common element that drives

2
Specht, p. 476.
3
Terrien, 181-82.

41
and unifies the musical setting is the use of contrast: loud vs. soft dynamics,

spoken vs. sung declamation, consonant vs. dissonant harmonies, and

horizontal vs. vertical structures. This emphasis on contrast can be seen in

Schoenberg’s row design in which the consonant major third is clearly

contrasted with the dissonant tritone.

The use of contrast, in addition to being musically effective as a

structural device, directly mirrors the many contrasts found in the text: despair

vs. hopefulness, individual vs. community, and humanity vs. divinity.

Schoenberg’s musical setting is effective because the tension created by the

various contrasting musical elements is resolved over the course of a “musical

journey” necessitated by the composer’s choice of pitch materials and textures.

This musical journey parallels the spiritual journey found in the text.

This analysis will begin with a study of the construction and harmonic

implications of Schoenberg’s row. A section-by-section analysis dealing with

the elements of row selection, pitch emphasis, musical texture and timbre will

follow. The final part of the analysis will summarize and draw larger-scale

connections.

An analysis of the inherent structures and harmonic possibilities of the

row of this work is a necessary starting place in a discussion of the piece as a

whole. Both hexachords of the row are constructed of three dyadic units, two

based on major thirds and one based on the tritone (Example 3.1).

42
 Example 3.1
Source Row for De Profundis

& bw nw #w nw nw bw nw nw nw #w nw bw
i.c. 6 i.c. 4 i.c. 4 i.c. 4 i.c. 6 i.c. 4

Were the tritone dyad in each hexachord presented in a tonal context, it

could resolve to either of the major third dyads in the same hexachord

(Example 3.2). It seems clear that Schoenberg designed his row to maximize

possible tonal implications.

Example 3.2
Tonal Implications of Source Row for De Profundis
E major Bb

Major Db Major

b ww b ww
G Major

& # ww # ww b ww b ww # ww ww

Another important feature of the series is that in sixteen of the forty-

eight possible row forms the pitch class content of each of the two hexachords

remains invariant. In addition, the pitch class content of the three dyads within

each hexachord of these sixteen row forms remains invariant. Because of this

property of invariance it is useful to group the hexachords from these sixteen

row forms into two groups. The hexachords that contain the same pitch

collection as the first hexachord of P0 will thus be labeled Hexachord 1, with

those having the complementary collection being labeled Hexachord 2

(Example 3.3). To a large extent, Schoenberg uses the hexachords drawn from

these sixteen row forms as independent compositional units. This hexachordal

method of presentation gives him the ability to freely order the three dyads

within each hexachord while staying within the bounds of his serial method.

43
 Example 3.3
Sixteen Row Forms used in De Profundis (Symmetrical forms are in bold type)
Hexachord 1 Hexachord 2

P0 Eb A G# E D Bb G B C F# F Db R0

P6 A Eb D Bb G# E Db F F# C B G R6

I0 Eb A Bb D E G# B G F# C Db F RI0

I6 A Eb E G# Bb D F Db C F# G B RI6

R3 E G# A Eb D Bb Db F G B C F# P3

R9 Bb D Eb A G# E G B Db F F# C P9

RI3 G# E Eb A Bb D B G F Db C F# I3

RI9 D Bb A Eb E G# F Db B G F# C I9

Scholars have taken a number of differing approaches to analyzing the

serial structure of this work. George Rochberg, in his discussion of the work,

asserts that the fundamental structural unit in the piece is the hexachord, not

any given twelve-tone row. 4 Robert Suderberg posits a row that is identical to

the one found in Schoenberg’s sketches as the basis of his analysis, but he

claims that no row is literally present in the music and that hexachordal

analysis will yield the same results as twelve tone analysis. Robert Specht

claims that the pitch structure of the piece can be drawn entirely from the

primary form of the row and its combinatorial inversion, I3. Rochberg’s

4
Rochberg, George. “The Harmonic Tendency of the Hexachord” in Journal of Music Theory 3
(November 1959): 208-230.

44
analysis of the row has some merit, given the importance of the hexachord as a

compositional unit in the piece, but it is directly contradicted by the presence of

the P0 and I3 forms of the row in Schoenberg’s sketches. Specht and Suderberg’s

analyses, while acknowledging the existence of row, postulate widespread

reordering of the row in the piece, which makes their analyses less than

satisfying. As I will show, the specific ordering of Schoenberg’s row is

important and it is not necessary to posit widespread reordering of the row to

analyze the piece.

There are many aspects of Schoenberg’s row that allow references to be

made to the harmonic practices of tonal music. The row design allows for

certain pitch classes to be given special emphasis. By placing the tritone dyad

in differing relationships with the major third dyads it becomes possible to

place harmonic emphasis on the implied root of any of the latter: G, Bb, Db, and

E, each of which can function as harmonic goals in a symmetrical structure of

minor thirds.

George Rochberg postulates a harmonic progression, drawn from the

voice leading in m. 48, which consists of two major/minor (0347) “tonic” chords

built on G and C# respectively, which are linked by a fully diminished seventh

chord (0369) which forms their chromatic complement. This progression can be

generated from the row by combining the first hexachord of R3 and the first

hexachord of RI0, with each of the hexachords arranged with the tritone in the

center and stacked on top of each other (Example 3.4). Although the

chromaticism and implied tritone root relationship between the boundary

chords in this progression make it unconvincing in a purely tonal context, the

45
ear does recognize the relative stability of the boundary chords and the sense of

harmonic motion between them. Thus the construction of the series, and this

progression drawn from it, allow Schoenberg a way to create contrasting areas

of harmonic motion and stability in the composition.

Example 3.4
Op. 50b, m. 48 and Rochberg’s Progression

& 64 b Œ˙ . n œ b œ œ b ˙ n œ
(alto)

& # ww b n ww bw
(Tenor) n˙ nw
(Baritone) ‰ j
? 64 # ˙ n. œ œ # œ n œ˙ n œ n œŒ ? # # ww n # ww
nw
nw
(Bass)
(0347) (0369) (0347)

Rochberg’s progression illustrates how the ordering of the dyads within

the hexachords allows Schoenberg to use serial structures to guide the

harmonic activity of the piece. The strongest sense of harmonic motion comes

when the tritone dyad is placed in the center as in the second hexachord of P0

(Example 3.5). When the tritone dyad is in the central position this will be

referred to as a symmetrical presentation of the hexachord. When the tritone

dyad is at the beginning or end of a hexachord, as in the first hexachord of P0,

the three dyads are not able to function as a single harmonic unit and the

tritone relationship between the two major third dyads is not smoothed over by

the implicit half step linear motion from one i.c. 4 dyad to another. This

ordering will be referred to as a non-symmetrical presentation of the hexachord.

The distinction between symmetrical and non-symmetrical ordering is clearly

46
audible and is an important consideration in studying the pattern of row

presentations in the piece.

Example 3.5
Op. 50b, Symmetrical and Non-Symmetrical Hexachord Orderings
P0A non-symmetrical P0B symmetrical

& bw nw #w nw nw bw nw nw nw #w nw bw
i.c. 6 i.c. 4 i.c. 4 i.c. 4 i.c. 6 i.c. 4

Schoenberg’s choice of row and his ordering of the component dyads

within each hexachord give him the opportunity to create areas of harmonic

contrast and pitch centricity in this work in many ways. At the most

fundamental level this can be seen in the use of the consonant major third and

the dissonant tritone as the building blocks of the series. The use of the

progression formed by superimposing the symmetrical ordering of Hexachords

1 and 2 makes possible two different levels of contrast: first, between the

major/minor chords and the less consonant (0369) sonorities, and second,

between points of harmonic arrival and clear pitch-center emphasis and less

stable areas that lead to them.

Tonal allusions aside, the large-scale formal structure of De Profundis is

not created by harmonic motion but by the non-pitch elements of dynamics and

texture. The serial structures are incorporated within and support the large-

scale structure of the piece, as articulated by these and other non-pitch

elements. The form of De Profundis can be described as a series of five textural

and dynamic crescendos (Example 3.6).

47
 Example 3.6
Op. 50b, Texture/Dynamic Crescendos

p ƒ π f p fπ ƒ p ƒ
m. 1 m. 7 m. 17 m.28 (m. 38) m. 42 m. 55

The first section (m. 1-6), which sets the initial line of the text, opens up a

sonic space that is progressively filled and elaborated in the next four sections,

which build steadily in intensity until the climactic closing gesture. The six bars

of the opening section introduce all of the contrasting elements that are

developed in the rest of the work. In addition, the harmonic scheme of the

work is also foreshadowed in the first section.

The first phrase opens up a sonic space by introducing many contrasting

elements (Example 3.7). The linear presentation of the Eb/A tritone in m. 1 is

followed by the vertical presentation of the major thirds E-G# and Bb-D in mm.

2 and 3 respectively. A contrast between horizontal and vertical presentation

can be seen by comparing how the two hexachords of the row are presented. In

mm. 1-3 the first hexachord of P0, which is ordered non-symmetrically, is set

using a series of linear segments of the row. The second hexachord of P0, which

unlike the first hexachord uses the symmetrical ordering, is set in mm. 4-6 with

each of its three dyads presented together as vertical sonorities. A wide

registral and dynamic space is opened up by the contrast between the

fortissimo setting of the word “Adonai” (Lord) in m. 4 and the music that

proceeds it. This gesture is a musical depiction of the cry to the Lord found in

the text.

48
 Example 3.7
Op. 50b, mm. 1-6
q»∞§ ƒH.
4 ∑ ∑ ∑ Ó Œ nœ œ nw ˙ U
Ó
Soprano &4
pH 3 p A-DO NAI
ƒ
4Œ
3
nœ nœ. 3 U
Ó Œ ‰n œ œ œ n œ ‰ Œ Ó   ‰   ‰   Œ Ó
3
Mezzo-Soprano & 4 b ˙ œn œ œ œœ# ˙ bœ nœ #œ J J J
SHIR HA-MA - A-LOT
p
MIMA'A MA KIM
π 3 p KE-RA-TI-CHA A - DO - NAI
ƒ
r U
4 ‰. ‰n œ œ œ # œjŒ Ó   ‰   ‰   Œ Ó
3 3
∑ Œ ‰ j         Œ Œ
3
Alto &4 nœ nœ bœ nœ nœ bœ J J
SHIR HA - MA - A - LOT MI-MA'A-MA-KIM KE-RA-TI - CHA A - DO - NAI
π pH ƒ
˙ UÓ
3
4 ‰ . n Rœ œ n œ b œ n œ n œ n œ Jœ Œ b œ .œ b w
3

V4 ∑ Œ ‰   ≈        ‰ Ó
J J
Tenor

ƒ
SHIR HA-MA-A-LOT MI-MA'A-MA - KIM KE-RA - TI - CHA A-DO - NAI
π U
? 44 ∑ Œ ‰   ≈        ‰ Œ         ‰     
3 3
 Œ Ó Ó  ‰   ‰   Œ Ó
J J J J J
Baritone

3
SHIR HA-MA-A-LOT MI-MA'A-MA-KIM KE-RA - TI - CHA A - DO - NAI
π ƒ U
?4 ∑ Œ ‰   ≈        ‰ Œ         ‰     
3 3
 Œ Ó Ó J  ‰ J  ‰   Œ Ó
Bass 4 J J J
3
SHIR HA-MA-A-LOT MI-MA'A-MA-KIM KE-RA - TI - CHA A - DO - NAI

The pattern of pitch emphasis found throughout the piece is also

established in the first section. Each of the four major third dyads found in the

row is set as a vertical sonority (E/G#, m. 2, Bb/D, m. 3, G/B and Db/F, m. 4).

These points of harmonic stability are prominently placed at the beginning and

ending of each phrase. The two tritone dyads in the row also support the

establishment of this pattern of pitch emphasis by resolving in mm. 2 and 4 to

the E/G# and Db/F dyads respectively. Schoenberg’s prominent setting of the

Db/F dyad in m. 4 establishes Db as the most important of the structural pitches

of the first section, with G, Bb and E playing lesser roles. This emphasis on Db is

immediately confirmed by the tritone resolutions to Db in the women’s and

men’s voices in m. 7.

Another contrast brought out in these opening bars is between sung tone

and unpitched chanting. Robert Specht postulated that this unusual unpitched

chanting might represent a spoken response to a sung prayer as is found in the

49
Jewish liturgy known as “davening.”5 This chanting is generally marked at a

lower dynamic level that the sung parts and is used throughout the piece as a

backdrop to the greater intensity of the singing voices.

The second section, which sets the second and third lines of the text, is

defined by a texture/dynamic crescendo that spans from m. 7 to m. 17. The

row presentation in this section is characterized by an alternation between two-

voice horizontal presentation of the hexachords in m. 7 and m. 17 and the linear

presentations found in mm. 8-16. The musical gestures in the first two sections

are presented by pairs of voices grouped together. The single exception occurs

when the bass enters in m.15 with a statement of P0A that leads directly into the

four voice progression in m. 17 that emphasizes Db (Example 3.8). This sudden

movement to a dynamically emphasized Db sonority is reminiscent of the

gesture in m. 6 that marks the end of the opening section.

The harmonic emphasis on Db found in m. 7 returns in m. 17 where a

root position Db triad on the downbeat gives consonant support for the G# in

the first soprano. A Db major/minor triad also appears on beat 3. Hexachords

with the symmetrical ordering are at work here, facilitating a harmonic

movement from Db to G by the end of the measure. This movement between

Db and G, which occurred in a two-voice texture in m. 4, occurs here in a four-

voice texture. The harmonic progression revealed here, created by stacking a

5
Unpitched chanting of this type also plays an important role in A Survivor from
Warsaw.

50
pair of symmetrically ordered complementary hexachords, is a variant of the

one proposed by Rochberg.

Example 3.8
Op. 50b, mm. 15-17
rit.
F 3 f
4   #œ nœ #œ nœ
Soprano & 4 nœ œ nœ œ œ Œ Ó       Ó
3
NAI MI YA - A - MOD MI YA - A - MOD MI YA - A-MOD

F 3   f 3
4 ∑ Ó       Œ ‰ nœ bœ bœ nœ nœ
3
Mezzo-Soprano &4 J
MI YA - A - MOD MI YA - A - MOD

F 3 f 3
4 Œ Ó Ó Ó
Alto &4         nœ bœ œ
bœ
MOD MI YA - A - MOD nœ
f
H
nœ bœnœ
3 >
MI YA - A-MOD
b˙
4
Tenor V 4 J  ≈    
R J
‰         ‰       
J
Œ nœ nœ

f b >˙S
MI YA - A-MOD MI
NOT TISH - MOR YA A - DO - NAI MI YA - A - MOD
3 H
bœ H 3
? 44 ≈ b œ œ n œ œ Ó Œ nœ œ nœ bœ œ œ bœ bœ
Baritone
nœ bœ nœ
b >˙S
YA - A - MOD MI YA - A - MOD
MI MI YA - A-MOD

p 3 3 f H 3
? 4 ‰ bœ œ nœ œ nœ bœ bœ nœ H
œ nœ bœ œ œ bœ bœ
Bass 4 J nœ œ œ #œ nœ bœ nœ
IM A - VO - NOT TISH - MOR YA A - DO - MI YA - A - MOD MI MI YA - A-MOD

Db M/m G M/m

Schoenberg uses a number of methods to musically depict the meaning

of the text in this section. The most important gesture in the setting of the third

line, which asks the Lord to be attentive to the voice of the psalmist, is a duet

between the first soprano and the tenor in measures 8-12. The melodic gestures

of this duet are characterized by the extensive repetition of a two-note half-step

motive that is very plaintive in character. Another correlation between the text

and the music is the abundance of consonant sonorities in these measures. In

m. 9, a C major/minor sonority is implied by the alternation of E and Eb in the

tenor against G and C in the soprano. In m. 11, a Bb major/minor sonority is

created in a similar way. These cononances are used to musically depict the

supplications found in the second line of the text. Consonant sonorities and

51
areas of pitch emphasis seem to be used throughout the work to symbolize

hope or prayer. The third line, “If thou shouldest mark iniquities, Lord, O

Lord, who shall stand?,” is set in mm.13-15 using imitative counterpoint, a style

that Schoenberg seems to use to depict God’s divine justice. P0A is stated

thematically in the alto in m.13, accompanied by another theme in the second

soprano. Schoenberg marks the second soprano part as a Hauptstimme,

suggesting that it is equal in importance to the alto melody. Starting in the

second half of m. 13, these two voices are imitated, in inversion, by the first

soprano and the baritone. At the point where each pair of voices enter, the

interval of a compound perfect fifth is created (alto, second soprano -Eb/Bb,

baritone, first soprano -B/F#). Schoenberg seems to use consonant perfect

intervals to depict the psalmist’s hope that the Lord will be attentive to the

pleas of his people. The setting of the third line continues in the bass in m. 15

and suddenly explodes to a forte four-voice texture in mm. 16-17. This

dynamic figure, taken together with the return of the pitch emphasis on Db at

this point recalls the cry to the Lord in the first section. The second section can

be seen to musically embody the contrast between the justice of the Lord and

humanity’s unworthiness. Schoenberg emphasizes this contrast by using non-

symmetrical hexachord presentations in mm.14-16 and symmetrical

presentations in m. 17.

The third texture/dynamic crescendo, which sets the fourth and fifth

lines of the text, also uses the contrast between two-voice vertical hexachord

presentations and horizontal presentations to convey the meaning of the text.

The first part of the fourth line, “but with the lord there is forgiveness”, is set in

52
mm. 18-19 using two-voice presentations. All four major third dyads are

brought together and stated as vertical sonorities (in a passage marked dolce) to

emphasize the forgiveness of the Lord. The imitative contrapuntal texture

returns in mm. 20-22 to set the text “that thou mayest be revered,” creating

another musical reference to God’s divine justice. Robert Suderberg points out

that the fully diminished seventh chord created by the final note of each of the

paired voices in m. 19 resolves, in the correct register to a Db major/minor

sonority on the third beat of measure 20 (Example 3.7).6

Example 3.7
Essential Voice-Leading, mm. 19-20

n # ww nw
& #w

nw bw
? #w nw

This progression helps to link the two parts of the fourth line, and it also

foreshadows the strong emphasis on Db that characterizes the setting of the fifth

line.

The hopeful tone of line five coincides with the increased use of

consonant sonorities and areas of pitch emphasis in the music. A fully

diminished seventh chord resolves to a Db major/minor chord on the fourth

beat of measure 23, which is immediately followed by a G major/minor chord

6
Suderberg, Robert Charles. Tonal Cohesion in Schoenberg’s Twelve-tone Music:
University of Pennsylvania (diss.), 1966, p. 258.

53
in the next measure. Measures 25-26 contain a progression from a major/minor

chord based on G that moves through an F#-A-C-Eb fully diminished sonority

at the end of m. 25 to a Db major/minor sonority on the third beat of m. 26. The

two bass parts in m.26 are not a part of the progression in the upper voices. At

the point of arrival on Db they sing the pitches B and G, obscuring the motion in

the upper voices. The delayed arrival of bass support for the Db emphasis

finally occurs in m. 27. This obscuring of the progression and delayed arrival in

the bass could be symbolic of the “waiting” expressed in the text. The forte

arrival of Db emphasis in m. 27 marks the climax of the third texture/density

crescendo.

The texture at the beginning of the fourth section changes from singing

in all six voices to unpitched chanting, which helps to smooth the transition

between the dynamic climax in m. 27 and the pianissimos of m. 29. The fourth

density/texture crescendo (mm. 29-41) sets lines six and seven of the text which

deal with hopeful expectation. The setting of line six follows the same soft to

loud pattern that was used in the setting of line three. The voices enter

pianissimo in a four-voice texture that makes use of the repetitive half-step

motive, first seen in mm. 9-10, that seems to be associated with waiting. It is

possible, moreover, to draw a Db major/minor sonority out of the texture at this

point by treating one note from each half-step motive as a neighbor tone. This

area of pitch emphasis can be seen as a musical depiction of hopefulness. The

second part of line six, which sets the text “more than they that watch for the

morning,” is set very emphatically beginning in the second half of m. 31 using

54
voices that are paired in rhythmic unison. This passage begins with Db and F in

the tenor and baritone voices, but then places no further emphasis on the Db/F

dyad, either as the resolution of a tritone or through metric emphasis. The lack

of a Db emphasis, which was present at the climax of the first three

texture/density crescendos, seems to rob this forte passage of any sense of

closure and leaves the listener waiting for the “real” climax to the fourth

crescendo.

An emphatic arrival on Db finally occurs in the setting of the seventh

line, which begins in m. 34. A new texture appears at this point: a solo bass

voice. The use of the solo texture here may be symbolic of the lone psalmist

exhorting the nation to share his hope in the Lord. At the climax of this solo in

measure 36, where the bass reaches a high Db on the last syllable of the word

“Adonai” (Lord), a solo soprano enters on F5. The two voices together create

the same Db-F tenth that was used to set the same word in measure five. The

word “Adonai” is sung again by a solo quartet in measure 37 to an F#-A-C-Eb

fully diminished sonority resolving to a Db major/minor sonority, a climactic

gesture that continues through m. 38 where the soprano solo reaches a high Bb

accompanied by the five lower voices in block sonorities.

The fifth section begins in m. 42 and sets the final line of the text. The

mood of the final texture/dynamic crescendo moves gradually from quiet,

joyful anticipation to overt exultation. The sense of anticipation in mm. 42-45 is

most clearly embodied by a descending half-step motive that begins in the

soprano parts as A-G# in m. 42, is inverted to B-C in the next measure (first

55
soprano, alto), changes in measure 44 to E-Eb, and then is echoed at that pitch

level by the tenor in mm. 45 and 48. The pitch emphasis on Db that might be

expected to set such a hopeful text is submerged in this passage, being apparent

only in the Db bass note in m. 42 and the Db/F dyad found in the first soprano

in m. 43.

In m. 46 there is a shift in the texture, from three- and four-voice

presentations to two-voice vertical presentations in the form of a baritone/bass

duet. The emphasis on Db also returns at this point. The final sonority in m. 45,

an Ab dominant seventh chord over a A§ in the bass, creates a harmonic

connection between this section and the previous one. If the A is reinterpreted

as a Bbb, an inverted dominant ninth is briefly created (Example 3.9).

Example 3.9
mm. 45-48

& 46 Œ ‰ n œj œ b œ œ
(C#, m. 49 sop.)
Soprano
nœ Œ ∑ ∑ ∑
A - VO - NO - TAV

Mezzo-Soprano & 46 b ˙ ‰ . b œr œ œ œ œ œj ‰ ∑ ∑ ∑
EL MI - KOL A - VO - NO - TAV
p
r cresc. poco a poco
Alto & 46 ‰ j Œ Œ ∑ Ó Œ Ó ‰. bœ b˙. œ b˙
MI - KOL A - VO - NO - TAV VE - HU YIF -
pH
n œ œ .. bœ ˙ Œ nœ bœ n˙
cresc. poco a poco

Tenor V 46 ‰ J R Œ ∑ ∑ nœ

# œp # ˙ .
A - VO - NO - TAV VE - HU
œ n˙
? 46 ‰ b Jœ œ .. bœ ˙ b˙. œ n˙
‰ n Jœ œ # œ œ n œ Œ
cresc. poco a poco

Baritone R ‰ J
A - VO - NO - TAV VE - HU YIF - DEH ET YIS - RA - EL
pH
? 46 ‰ n œ œ .. r Œ Œ Œ nœ nœ #˙ #œ
J nœ ˙ nœ #œ n˙ nœ #˙. n˙ nœ
Bass

A - VO - NO - TAV VE - HU YIF - DEH ET YIS - RA -

9
Db: Vb (inverted) I6 Vb
9 I/i

All the active tones in this chord seem to find resolution in the passage that

follows: the Eb in the tenor moves down by step to the C# (Db) in the baritone,

56
the Gb in the second soprano resolves to the F in the bass , the Ab
in the baritone

moves to A§
in m. 47, the A§ is resolved by the prominent G# (Ab) in the bass in

m. 47, and the C in the first soprano is resolved by the return of C# (Db) in the

upper register in m. 49.

An unobscured statement of Rochberg’s progression finally occurs in m.

48, with the Db major/minor sonority clearly stated in root position for the first

time. This point is the harmonic goal of all the music that came before it, and at

this point the dynamic ascent to the final climax begins.

The texture of a soprano duet above block sonorities, first seen in mm.

42-45, returns in m. 50, climaxing in m. 52 with the first sopranos singing a high

B against unison shouting. The unpitched chanting, first heard in m. 2, which

had been gradually displaced by the increasing intensity reflected in the sung

tone, returns here in full force to remind the listener of its contrasting role. All

six voices finally join together as a unit in the last two measures to set the first

half of the last line: “And he shall redeem Israel.”

This stunning affirmation is the culmination of a textural and dynamic

journey that began with the opening tritone motive. Emphases on Db and G are

present in the Db-Ab and G-D boundary notes of the first and second sonorities

of the final phrase (Example 3.10). It was noted in the analysis of Dreimal

Tausend Jahre that Schoenberg is able to achieve an intense dramatic effect by

reversing the paradigm of “dissonance resolving to consonance” normally seen

at cadential points. The compound perfect fifth interval between the outer

voices in the first two sonorities changes in the final two sonorities to a

57
compound minor second. This sense of incompleteness in the final cadence

was also seen in Dreimal Tausend Jahre and might be symbolic of the unfinished

nature of both Schoenberg’s religious journey and the redemption of Israel.

Example 3.10
mm. 54-55

i.c. 6 i.c. 6

ƒ S
#œ œ. nœ œ œ n˙. n œ.
& 46 ‰ J nœ œ. J J ‰ Œ Œ
Soprano
J
VE - HU YIF - DEH ET YIS - RA - EL
S
6
ƒ
#œ œ. nœ œ œ n˙. b œ.
&4 ‰ J bœ œ. J J ‰ Œ Œ
J
Mezzo-Soprano

VE - HU YIF - DEH ET YIS - RA - EL

ƒ S
j j
Alto & 46 ‰ nœ œ. nœ
j
œ.
nœ
J
œ œ n˙. b œ. ‰ Œ Œ
VE - HU YIF - DEH ET YIS - RA - EL

# œƒ œ. nœ œ nœ n˙ œ . b œ œ. S
Tenor V 46 Œ ‰ J J ‰ J J ‰ Œ Œ

œ . b œ œ.
VE - HU YIF - DEH ET YIS - RA - EL
S
? 46 Œ n œƒ œ. nœ œ nœ
J
n˙
J ‰
Baritone ‰ J J ‰ Œ Œ
VE - HU YIF - DEH ET YIS - RA - EL

? 46 Œ
ƒ
nœ œ bœ b˙ œ . n œ œS
‰ bœ œ. J ‰ J J ‰ Œ Œ
J
Bass

VE - HU YIF - DEH ET YIS - RA - EL

i.c. 6 i.c. 6

Schoenberg uses the six invariant dyads motivically throughout the

composition. Two of these dyads, Db/F and A/Eb, are given special treatment

and seem to achieve a symbolic importance in the piece. It has been noted

earlier that the Db/F dyad has been repeatedly used to set the word “Adonai”

(Lord), and has also been associated with the concepts of hopefulness and

prayer. The A/Eb (in German notation A/S) dyad, which is well known as a

musical cipher for Schoenberg’s name, seems in this piece to be symbolic of

Schoenberg as psalmist and, in a larger sense, of humanity. It is useful to

examine the use of these two symbolic elements in the music.

58
 This symbolic analysis supports the view of the first section of the piece

(mm. 1-6) as a microcosm of the entire piece. The first section begins with the

A/S dyad and reaches upward, in a representation of the spiritual journey of

the nation, toward the Db/F dyad at the end of m. 4. The A/Eb dyad is

prominently placed in the setting of the third line of the text (alto in m. 13 and

bass in m. 15), which deals with humanity’s inability to stand before God’s

judgment. These statements of the A/S dyad are, as in the first section, placed

before and below the prominent Db/F dyads in m. 17. This same pattern is

repeated more forcefully in the next section, where the A/S dyad in m. 23

(tenor and first soprano) begins a phrase that culminates in a strong Db

emphasis. The setting of line six, which involves waiting faithfully for the Lord,

ends with two prominent vertical settings of the Schoenberg dyad in m. 33.

This gesture is followed immediately by the emphatic Db/F dyad setting the

word “Adonai” in m. 36. It is interesting to note the first appearance of the text

“for with him there is mercy and forgiveness” in m. 36 starts with the

Schoenberg dyad, showing that humanity is the object of this forgiveness. The

Schoenberg dyad appears prominently in m. 42 (alto and first soprano) where

the setting of the final line of the text begins. A new element is added at this

point. The A§ in the soprano resolves downward to G# in a motivic gesture

that dominates this section of the music. This resolution seems to be symbolic

of the promise of redemption being expressed in the text. In m. 48, where the

Db emphasis is given its purest expression, the A/S dyad occurs in the tenor as

an integral part of the progression. It is significant to note that Schoenberg

59
places a Hauptstimme indication above the tenor part at this point. This

interweaving of the Db/F and A/S motives signals the completion of the

spiritual journey that was set in motion in the first six measures of the piece.

After examining the overall formal design of the piece it is useful to

reconsider the progression drawn from m. 48 by George Rochberg. This

progression is built entirely from half-step motions and has many symmetrical

qualities. There are, however, two asymmetrical qualities to this progression.

The first chord, built on C#, is, if one considers it as triad with both a major and

minor third, in root position, while the final G major/minor chord is in first

inversion. The second chord also contains a dissonance between an upper voice

and the bass while the first chord doesn’t. It seems logical to conclude that the

C# is more strongly emphasized in this progression than the G. This closely

mirrors the harmonic construction of the piece. Throughout the setting, the

pitch C# is given primary emphasis, while the pitch G is given secondary

emphasis. Thus Rochberg’s progression can be seen to be a microcosm of the

harmonic functioning of the piece as a whole.

Schoenberg, in this piece, seems to have developed a system in which the

harmonic motion and voice leading of the tonal system can be transferred into

the atonal medium in a way that is very effective and strikingly different than

the references to tonality found in the serial music of other composers, for

instance Alban Berg. The use of the technique of dyadic invariance and the

establishment of patterns of pitch emphasis creates the possibility of harmonic

motion. The selective use of hexachord presentation allows for the creation of

areas of greater harmonic flux, an integral part of a formal structure that is

60
primarily articulated by the use of texture and dynamics. The emphatic Db

emphases that occur in measures 5, 17, 27, and 36 act as structural pillars that

support and articulate the formal divisions of the piece. They also foreshadow

the clear Db emphasis in m. 48 that signals the beginning of the final climax. In

this way Schoenberg integrates pitch emphasis into the variety of motivic

elements used to create the structure of De Profundis.

The relationship between pitch emphasis and divinity, seen earlier in

Dreimal Tausend Jahre, is also apparent in De Profundis. The Db-F dyad is

repeatedly associated with the word “Adonai” (Lord), thus creating a

connection between the consonant third and the divine. The opening gesture of

the piece, in which the supplicant cries out to the Lord, is set using an A-Eb

tritone dyad, Schoenberg’s musical anagram. The tritone dyads, which as a

part of the quasi-tonal “Rochberg” progression move to a Db major/minor

chord, are symbolic of Schoenberg’s (and humanity’s) quest to reach God

through prayer.

The entire formal structure of De Profundis seems to grow organically

from the major third and tritone dyads, initial “seeds” that Schoenberg uses to

create his row. The smallest form generating motivic unit this work is the dyad.

Study of the relationship between text and row usage reveals that the tritone

dyad represents humanity while the major third dyad represents divinity. On a

slightly larger scale, the first hexachord of P0, which is dominated by the A/S

tritone dyad, also represents humanity, while the second hexachord of P0, with

its harmonic movement toward Db, evokes divinity. All of these elements are

61
incorporated into the first texture/dynamic crescendo, which is progressively

modeled, extended and elaborated in a process that generates the remainder of

the work. The harmonic design of the piece can be seen as progressive

variations on the “Rochberg” progression which reach their purest form in m.

48. Schoenberg’s use of contrasting elements as formal generators fits in closely

with the themes of the text, which makes for an extremely effective musical

setting.

62
 IV. MODERN PSALM, OP. 50C

The third work in the Op. 50 set, Modern Psalm, Op. 50c is scored for narrator,

mixed chorus and orchestra. The text is the first of a series of fifteen “Psalms,

prayers and other conversations with and about God” written by Schoenberg in

the final year of his life. 1 Schoenberg set three-fourths of the text to music in 86

measures before leaving the work apparently incomplete at his death. There

are many similarities between the Modern Psalm and the two earlier works of

the Op. 50. All three pieces are religious choral works that utilize the twelve-

tone technique, and incorporate within their serial structures references to

elements of tonal music.

Schoenberg’s text for Modern Psalm envisions prayer as a sacred gift that

can bridge the vast gulf between the insignificance of humanity and the

inexpressible greatness of God. A close thematic relationship exists between

the texts of De Profundis and Modern Psalm. This can be seen by the fact that

Schoenberg’s original impulse was to designate the text of the Modern Psalm as

Psalm 131, as if it were a natural continuation to the biblical psalm (no. 130) that

he had just finished setting.

There is an abundance of evidence that Schoenberg intended Op. 50c to

be the culmination of the textual and musical ideas expressed in the earlier two

pieces. The scope of Schoenberg’s plans to set fifteen or more psalms, together

with the larger performing forces and expansive musical gestures used in

Modern Psalm suggest that it was intended to be the first part of a major and

comprehensive work. The idea that Op. 50c is part of a set of related works is
1
Stuckenschmidt, H. H. Schoenberg: His Life, World and Work., 517.

63
supported not only by the musical and textual similarities, but by the fact that

Schoenberg himself placed the Modern Psalm in his catalogue of works with that

opus number.2

It is significant that Schoenberg made the decision to assign Modern

Psalm an opus number and record it in the list of his works even before it was

complete. It even suggests that Schoenberg may have intended to leave the

work incomplete at his death, and assigned it an opus number to indicate its

symbolic completeness even despite its musical incompleteness. Alexander

Ringer, in his study of the religious aspects of Schoenberg’s life, claims that the

Op. 50c was “fated” never to be completed.3 He notes that Schoenberg was

never able to finish a major religious work. His two other sustantial efforts,

Moses und Aron and Die Jakobsleiter, were laid aside by Schoenberg for many

years, as if he could not find a way to complete them. The theme of the

incapacity of humanity to express the true grandeur of God is contained within

all of these works. It is possible that given Schoenberg’s use of silence to

express the inexpressible, that these works are, in some sense, complete.

An examination of Schoenberg’s partial setting of the Modern Psalm will

reveal several factors which support the contention that the work can be

analyzed as a complete entity, all of which address a curious dialectic present in

the work between completeness and incompleteness. There is a progressive

slowing of the rate of the text setting. This drawn out incompleteness in the

text setting is contrasted with a curious symmetry and sense of closure found in

2
Rufer, Joseph. The Works of Arnold Schoenberg: A Catalogue of his Compositions,
Writings and Paintings. pp. 76-77.
3
Ringer, Alexander L. Arnold Schoenberg: The Composer as Jew. p. 39.

64
the existing portion of the musical setting, as if the music found its natural

conclusion before the setting of the text was complete. Schoenberg heightens

this effect by bringing back a fragment of the text stated earlier at the end of the

setting. There is also a tension between motion and stability in Schoenberg’s

incorporation of tonal elements into his serial structures, a synthesis that is

achieved by using inherently symmetrical structures designed to create areas of

tonal emphasis. All of these elements combine to suggest that Modern Psalm

could be, at one and the same time, physically incomplete and symbolically

complete. The following analysis of Modern Psalm is divided into three sections:

the first will deal with the structure and meaning of the text, the second with

the construction of Schoenberg’s row and his use of serial procedure, and the

third will be a section-by-section analysis of the setting.

The text to Modern Psalm addresses the issue of the meaning of prayer.

The greatness of God seems to make the prayer of any human individual

insignificant, but Schoenberg resolves to pray anyway, extolling prayer as

divine gift that creates a bond between God and humanity. It is clear from

Schoenberg’s manuscript that he divided his text into seven paragraphs.4 Each

of the first three paragraphs consists of a single sentence, the fourth consists of

two sentences, the fifth and sixth of one sentence apiece, and the seventh

paragraph of two sentences.

The narrative scheme of the text can be described as follows: statement,

questioning, elaboration of questioning, reply, and elaboration of reply. The

first paragraph establishes the universality of prayer. The second and third

4
Arnold Schoenberg, Modern Psalmen von Arnold Schönberg, ed. Rudolf Kolisch
(Mainz: B. Schott’s Söhne, 1957).

65
paragraphs question, respectively, the usefulness of the prayers of humanity,

and of Schoenberg the individual. The fourth paragraph expands upon the

motivation behind the questions, namely the overwhelming majesty of God.

Paragraphs five and six reply to the questions posed in paragraphs two and

three, giving a universal and an individual answer, respectively. Paragraph

seven elaborates on the motivation behind the reply, the importance and

usefulness of prayer as a divine link. Schoenberg’s setting stops after the fifth

paragraph.

This narrative scheme is made clear by Schoenberg’s use of grammar

and word repetition. The first and seventh paragraphs are linked by the use of

the invocation “O, du mein Gott” (O, you my God). The three paragraphs that

question the usefulness of prayer are linked by an alliterative relationship

between their inital word “was”(what), “wer”(who), and “wenn” (if). Repetition

of the word “trotzdem” (yet) helps to link paragraph five and six, which both

reply to the questioning.

The row that Schoenberg uses for Op. 50c is unusual in the fact that it

can be derived from a set smaller than a hexachord, in this case from four (014)

trichords (Example 4.1), a level of self-derivation more commonly associated

with Webern’s serial music. The row is also unusual because, while composing

his setting of the text, Schoenberg wrote a one page theoretical paper about the

properties of this row entitled Die Wunder-Reihe (The Miracle Set). The feature

of this row that interested Schoenberg was the fact that an aggregate could be

formed by combining the original hexachord not only with its inversion at T5

66
but with its retrograde at T10 , making it second order combinatorial.5

Schoenberg was very interested in having the ability to mix and match

hexachords from different row forms in order to have a variety of hexachord

orderings which share a similar interval content.

Example 4.1
P0 Row Form from Modern Psalm

P0 (014) (014) (014) (014)

nw #w nw bw nw
& bw bw nw nw n w #w b w

Specht believes that this essay is proof that Schoenberg conceived the

row as a theoretical construct independent of a musical composition.6 It is more

likely that Schoenberg was searching for a row to use in his setting of Modern

Psalm and the theoretical article was a side effect of this process. There are

several factors which support this view. Schoenberg wrote the article in

October 1950, after writing the text of the psalm, which was completed on

September 23 of that year. 7 The interest Schoenberg shows in the article in

mixing and matching hexachords from different row forms is very similar to

the compositional technique that he used in De Profundis. In addition, the fact

that Schoenberg adopted triadic derivation of his row indicates that he was

planning to use this row to create a serial piece with tonal implications in a

manner similar to the other two pieces of Op. 50. These factors clearly show

5
Straus, Joseph. Introduction to Post-Tonal Theory, 154-55.
6
Specht, Robert. Relationships Between Text and Music in the Choral works of
Arnold Schoenberg. 395.
7
Arnold Schönberg, Chorwerke II: Kritischer Bericht, Series B, vol. 19 of Sämtliche
Werke, ed. Christian Martin Schmidt (Mainz: Schott’s Söhne, 1977), 114.

67
that the “miracle set” was not an abstract theoretical concept but a tool which

allowed Schoenberg to continue many of the same compositional procedures he

had explored in the previous two compositions. The fact that Schoenberg took

the unusual step of writing a theoretical paper about the source set of Op. 50c

seems to indicate that he considered Modern Psalm a new and important step in

his compositional journey.

In De Profundis, Schoenberg used a row which allowed him to freely

combine a series of hexachords all of which contain a set of pitch class invariant

dyads. The row used in Modern Psalm also allows him to interchange a number

of hexachords with identical pitch-class content and different ordering; in

addition, the interval content of the pair of trichords contained within each

hexachord remains constant. These trichords all belong to the set class (014)

(Example 4.2).

Example 4.2
Row Forms Used in Modern Psalm

Hexachord Group 1 Hexachord Group 2

P0/R2 E D# C Ab B G F A F# Bb C# D R0/P2

P4/R6 Ab G E C D# B A C# Bb D F F# R4/P6

P8/R10 C B Ab E G Eb C# F D F# A Bb R8/P10

RI1/I3 G G# B Eb C E D Bb C# A F# F I1/RI3

RI5/I7 B C Eb G E Ab F# D F C# Bb A I5/RI7

RI9/I11 D# E G B G# C A# F# A F D C# I9/RI11

68
 An examination of the 48 permutations of the row used in Modern Psalm

reveals that the 24 row forms listed above share hexachords with the same pitch

content. Hexachords that share the same pitch content will be said to belong to

the same hexachord group. Modern Psalm, like De Profundis and Dreimal

Tausend Jahre, is constructed entirely from a pair of complementary hexachord

groups. Since, as was noted earlier, P0 and R2 are identical, the number of

different row orderings possible is essentially reduced to 12. Schoenberg’s

article focuses on the fact that any of the six orderings of Hexachord Group 1

(and their retrogrades) can be combined with any of the six orderings of

Hexachord Group 2 (and their retrogrades) to create an aggregate.

Schoenberg’s tendency in Op. 50b to freely retrograde individual hexachords is

thus incorporated into the serial structure of Op. 50c.

Another feature which Modern Psalm shares with the other works of Op.

50 is the tonal implications that are inherent in the construction of the row. Six

triads (three major, three minor) can be generated from each of the hexachord

groups of Schoenberg’s row (Example 3.3). It is interesting to note that the

roots of the chords generated from each hexachord group combine to create an

augmented triad (048), and that the chord roots generated by combining both

hexachord groups form a whole tone scale.

Example 3.3
Triads Generated from Op. 50b Hexachord Groups

b www b b www
Hexachord 1 Hexachord 29
b www
b b b b www
& ww b www # www www & # www www # # # www #
# www
w
(048) (048)
WT0

69
 Each hexachord can also be heard as a triad with both a major and minor

third, the leading tone, and the lowered 6th scale degree (Example 4.4).

Example 4.4
Tonal Implications of the Hexachord

P0A
b w bœ
& n œ b n b www

A hexachord can also be verticalized as a major/minor chord with a M7

and an added sixth, or as a polychordal structure consisting of a major chord

and a minor chord whose roots are separated by the interval of a major third.

Example 4.5
Vertical Hexachord Structures

n n www
P0A
bw
& n b b n wwww
bw b b www
Extended Tertian Chord PolyChord

In addition to the row’s tonal implications, it is important to note its

many symmetrical qualities. Both hexachords of the row belong to the

symmetrical set class (014589). The symmetrical quality of this hexachord

weakens its ability to create large scale areas of tonal emphasis, since any of the

three half steps present can be interpreted as a motion from leading tone to

tonic, depending on the context. A number of important symmetrical subsets,

such as (0145), (0347), and (048), can also be drawn from each hexachord.

Mapping the two hexachord groups on a pitch wheel (Example 4.6) reveals

70
that they form an interlocking pattern that can be bisected by three different

axes of symmetry (Example 4.6).

Example 4.6
Axes of Symmetry

Hexachord 1
Hexachord 2
Axis 1
C
B C#

A# D
Axis 2

A Eb

G# E

G F
Axis 3
F#

Modern Psalm differs from the other works of the Op. 50 in that, though

the sectional divisions are related to the layout of the text, there is not a direct

correlation between the setting of the various paragraphs of the text and the

layout of the musical sections. This incongruity is caused primarily by the fact

that most of the text is stated twice, once by the narrator and once by the

chorus. Musical structures in Modern Psalm are articulated, as they were in De

Profundis, primarily through climactic gestures. The existing music can be

divided into five sections. The first section is thirteen measures in length and

sets the first line of text, which is stated by both the narrator and the chorus.

The second section takes up nineteen measures and includes the statement of

71
the second line by the chorus and the second through fourth lines by the

narrator. The third section is eighteen measures in duration and sets the fourth

line of the text in the chorus. The fifth and sixth lines of the narrator’s part are

given in section four, which is nineteen measures long. The final section is

thirteen measures in length and includes the fifth line of the text in the chorus

(Example 4.7).

Example 4.7
Text Setting Comparison Graph
13 m. 5 m. 32 m. 36 m.

Line 1 Line 2 Lines 3 & 4 Lines 5 & 6 (Unfinished)

Section 1 Section 2 Section 3 Section 4 Section 5

13 m. 19 m. 18 m. 19 m. 13 m.

An interesting relationship emerges by comparing the length of the

musical sections with the time that is taken to set each line of the text. The

musical sections form a regular pattern that is symmetrical in design: 13, 19, 18,

19 and 13 measures respectively. Conversely the text setting follows an

expanding pattern: line 1 is set in 13 measures, line 2 in 5 measures, lines 3 and

4 in 32 measures, and lines 5 and 6 are not complete when the setting ends after

an additional 36 measures. This slowing of the declamatory rhythm, easily

measured against the relative stability of the musical sections, gives the

impression that the setting will never reach a conclusion. This impression is

strengthed by the fact that, in the last four measures, the chorus begins to repeat

the fifth line, instead of moving onward to the sixth line.

Schoenberg uses the orchestra in Modern Psalm for three main purposes:

1) to give pitch and intonation support by doubling the choir, 2) to support the

72
dialogue between narrator and the chorus with accompanying figures, and 3) to

function independently as a third voice.

The first section of the music (mm. 1-13) is, like the first section of De

Profundis, both an invocation of God and an exposition of the component

hexachords of the prime form of the row. Measures 1-8 use P0A exclusively,

while P0B figures prominently in mm. 9-13. The piece begins with a setting of

the text “O, Du mein Gott!” in the women’s voices, on the first trichord of P0A

(E, D#, C), accompanied by a staccato gesture in the men’s voices on the second

trichord of P0A (A, B, G#). Schoenberg sets this gesture with the only

homophonic choral texture in the entire work. The narrator’s statement follows

the chorus in rhythmic imitation. The text that begins the second part of the

first paragraph, Alle Vólker preisen dich . . . (All people praise you) is set with

one-voice presentations of P0A. The women’s voices enter in m. 3 in a

rhythmically varied stretto pattern, which seems to portray the multitude of

people giving praise referred to in the text. The alto finishes its setting of the

first line in mm. 5-8 by moving back through P0A, thus creating a palindromic

presentation. The initial statement of P0A is completed in m. 8 where it is

verticalized as a six-voice sonority in the vocal and instrumental parts.

P0B appears for the first time in the soprano in mm. 9-10, followed by a

palindromic statement of P0B in the basses, which is accompanied by a

palindromic statement of I5B in the tenor. Five of the six pitch-classes of P0B

appear vertically in m. 12. The missing pitch-class, Gb, appears unaccompanied

in m.13, and the entire hexachord is verticalized at the beginning of the next

section in m. 14.

73
 The opening section manages to emphasize all six of the pitches given in

example 3 that are available for emphasis. The opening gesture in mm. 1-2

gives special emphasis to the pitch class C, due to its constant repetition and as

the implied root of a C-Eb/E-(G) sonority that is implied. In. mm. 3-7 Ab is

emphasized according to the model seen in example 4, in which the non-triadic

members of the hexachord, E (Fb) and G, are treated like the minor form of the

sixth scale degree and the leading tone respectively. It is also possible to hear

the first seven measures in relation to C: I/i (mm.1-2)-
bVI/bvi (mm.3-5)-V

(m.6)-
bVI (m. 6)-I/i (m. 7). In m. 8 the verticalized hexachord is presented as a

polychordal structure, with an Ab major triad in the lower register and an E

minor triad in the upper register. Of the three pitches (C, E, G#) C is the most

emphasized.

The most strongly emphasized pitch in mm. 9-13, as might be expected

from the prominent statements of P0B, is Gb. This emphasis can be seen in the

Gb major triads outlined in the soprano in m. 9 and the bass in m. 10. A Gb

major triad (with an added b 6√) is also present in the woodwinds on the last beat

of mm. 9 and 10. The pitch D is given emphasis by the C#-D melodic motion in

m. 10 (soprano) and m. 11 (bass). In addition, a clear statement of a D minor

triad appears in the first half of m. 10. The pitch Bb is slightly emphasized in

the second part of m. 12, where the prominence of the pitches Bb, Db, and F in

the sonority at this point suggests an emphasis on Bb. The emphasis on C is

also still evident in mm. 9-11 in the statement of I5B in the tenor, and the C-Eb-

74
G-B sonority in the high strings in m. 11. The first section seems to establish a

system of pitch hierarchy based around the whole tone collection C-D-E-F#-G#-

A#, with the tritone related pitches C and F# being the most important.

Schoenberg’s tendency in the Op. 50 to use sonorities that can be thought

of as triads with added pitches, seen especially in Dreimal Tausend Jahre, occurs

here also. A number of sonorities of this type, which belong to set class (0148),

can be found in the first section. The first occurs in the strings and winds on the

second beat of m. 6 (Ab-C-Eb-E). This is a verticalization of the first four notes

of P0A, which figures prominently in the melody at this point. Another

prominent (0148) set can be heard in the clarinet part on the third beat of mm. 9

and 10 (Gb-Bb-Db-D). A final example is the (C-Eb-G-B) sonority present in the

violin parts in m. 11. This set is inversionally related to the two previous

examples.

The second section (mm. 14-32) does not contain the large areas of clear

pitch emphasis that characterized the first section. The two notable exceptions

are mm. 16-18, where a palindromic canon on I5B creates a C emphasis, and

mm. 30-32, where a fortissimo statement of R0A creates an emphasis on D. This

might be explained by the fact that the second section sets lines two through

four, which question the importance of prayer. This makes sense if, as was

noted in the previous chapter, Schoenberg is making a connection between

pitch emphasis and the concept of prayer. The second paragraph of the text is

set in mm. 14-18, with the narrator stating the text first, followed by the choir.

The third paragraph, which contains an even more pointed question than the

second, begins with the injunction “Wer bin ich(?)” (Who am I(?)), stated by the

75
narrator in m. 18 and then repeated at a higher level of inflection over an

energetic punctuation by the chorus. This choral gesture sets a (014) trichord in

each voice, which creates, on the last beat of m. 19, the fifth-based sonority Eb-

Bb-G#-F (0257). At this point the voices drop out, and the remainder of the text

of this section is spoken by the narrator. It is probably symbolic that the chorus

never sings the remainder of the third paragraph. It is as if Schoenberg

becomes the narrator at this point and reproaches himself.

One of the things that contributes to the lack of tonal emphasis in this

section are the passages, such as the one in mm. 20-24, where Schoenberg

focuses on the (014) trichord, thus diminishing the importance of the imbedded

triads in each hexachord. Schoenberg uses this effect throughout the piece to

create a sense of harmonic flux.

In the second and fourth sections, where the narrator states text that is

later sung by the choir, Schoenberg anticipates the thematic material of the

upcoming choral section in the accompaniment. This technique first occurs in

mm. 24-25, with two canons in inversion between the woodwinds and the

strings.

Robert Specht claims that Schoenberg “does not seem to inflect single

words or other details of the text.” In addition to those already mentioned,

mm. 26-32 provide three additional examples of text painting. Tremolos are

used in mm. 26-27 to represent the “Unvorstellbaren” (unimaginable) God of the

text, who should not be literally represented. It is possible that the use of two

melodic gestures in parallel augmented triads, generated by superimposing

one-voice statements of hexachords related by T4 (P0A, P4A, P8,A/RI3A, RI7A,

76
RI11A), is used here by Schoenberg to represent the inability to make a claim

against God; relating it to the impossibility of assigning a root to an augmented

triad. A more likely example of text painting is the use of the violent melodic

gesture in the upper voices in mm. 30-32 to accompany the text “der mein

heißestes Gebet erfüllen oder nicht beachten wird” (who will grant or disregard my

most fervent prayer). This violent musical gesture is similar to many found in

A Survivor from Warsaw, suggesting the idea that this line of the text was

influenced in some way by Schoenberg’s impressions of the Holocaust, an event

that was horrible enough to test the faith of any rational person. This climactic

gesture leads to the end of the section marked by the fermata in m. 32.

The third section begins softly in m. 33 with the tenors and basses

entering with a canon in inversion that was forshadowed in the instrumental

parts in m. 24 (Example 4.8). The voices are doubled by the celli in divisi, and

echoed by the horn and the bass clarinet at the interval of two eighth notes. The

ascending melody in the tenor, a setting of I9A, conveys the impression of a

pitch emphasis on D, while the descending melody, which sets P4A, gives the

impression of being in C. This C/D emphasis was also present at the end of the

previous section, where the D centered melody in the upper voice occurs over a

sustained C in the lowest voice in mm. 31-32. The C/D balance between the

tenor and the bass continues in mm. 34-37, with the line bearing an emphasis on

C switching to the tenor in m. 35. This shift is achieved smoothly by the

chromatic motion Bb-Cb-C that is formed by the last notes of the tenor and bass

parts in the previous measure moving to the C in the tenor in m. 35.

77
 Example 4.8
m. 33
p
9 # œ œ nœ. œ j
Tenor V8 ‰ nœ Œ.
Wenn ich Gott sa - ge

p nœ
Bass
? 98 Œ . ‰ bœ œ nœ. œ J
Wenn ich Gott sa - ge

The alto and soprano parts enter the canon in m. 38, using I11A and P10A

respectively. The alto’s ascending entry (dux), this time in the alto has moved

up a major ninth from its previous statement, creating an emphasis on E. The

descending entry (comes), in the soprano, has moved up a compound tritone,

creating an emphasis on F#. Schoenberg uses this whole step relationship

between simultaneous areas of pitch emphasis throughout the piece (C/D,

E/F#). This is a logical strategy for Schoenberg, since there is a whole step

relationship built into the structure of the row (P0 = R2).

It is possible to view Schoenberg’s use of pitch emphasis in these

passages in relation to the pitch wheel in Example 4.9, with its threefold axes of

symmetry. Each hexachord group contains three half step dyads separated by a

major third, with the two hexachord groups interlocking to create an aggregate.

When, in the context of the music, one half step dyad of a hexachord is primary

(as in the formula leading tone-to-tonic), it causes a weighting or an alignment

on that dyad. Schoenberg’s tendency to emphasize dyads that are separated by

a whole step creates a symmetrical alignment around one of the three possible

axes. The emphasis patterns C/D and F#/G# would align along axis 1, D/E

78
and G#/A# around axis 2, and E/F# and Bb/C around axis 3. Seen in this

context, the tenor/bass entry of m. 33 aligns around axis 1, and the

alto/soprano entry of m. 38 aligns around axis 3.

Example 4.9
Pitch Wheel Emphasis Pattens

The vocal counterpoint increases gradually in rhythmic activity until m.

45, where the voices drop out and an agitated orchestral interlude begins. This

disturbance occurs at the same point in the text as in the previous section (mm.

14-32). The violin melody in mm. 45-46 centers around D. The lowest voice in

the texture shifts from D in m. 45 to C in the next measure, creating a C/D

relationship (axis 1). The upper part in mm. 47-49 switches to an emphasis on

Gb, while the lower voice switches to an emphasis on E, creating a E/F#

relationship (axis 3). Section 3 closes with an intense trombone solo that returns

to D emphasis.

79
 The fourth section, like the third, begins softly after a violent orchestral

passage, with the narrator speaking paragraph five, which begins “und trotzdem

bete ich”(and yet I pray). The figuration in the bass clarinet and second violin in

mm. 51-53 clearly emphasizes F#. The clarinet enters on the last beat of m. 51

with a sustained lyrical three note gesture E-C-Ab (048), the first in a series of

lyrical gestures that embody the lighter mood of this section. It is significant,

however, that Schoenberg uses an augmented triad here, as if to point out that

he prays despite God’s inaccessibility. A prominent augmented triad also

appears in the violins in mm. 69-70 (F-A-C#), at the high of the climactic gesture

that closes the fourth section, perhaps with the same symbolic purpose.

The lyrical gestures which pervade this section appear in pairs of

melodic hexachord statements that share the same hexachord group. In mm.

53-55 two of these pairs are present. The piccolo and the trumpet state

hexachords from Group 1 that emphasize C, while the Bb and Eb clarinets

unfold hexachords from Group 2 that emphasize D.

In m. 57-59, the rhythmic activity diminishes and the flute enters with an

ascending gesture whose dotted rhythm that anticipates the rhythm of the

choral setting of the text “Erfüllungen” (Fulfillment). This gesture is imitated in

the trumpet in mm. 58-59, and together the two voices create an emphasis on

Bb. The violins in m. 59 have a sustained sonority that centers on C, thus

creating a Bb/C relationship (axis 3).

The lyrical gesture (with a sixteenth-note triplet interpolated in it) is

taken up by the lower instruments in mm.59-63. In mm. 64-69, Schoenberg

again switches to the technique of isolating the (014) trichord, in a passage that

80
builds to the climax of the section. The motive, two sixteenth notes followed by

a sustained note, is a transformation of the lyrical motive.

In m. 70, the climax of the section is reached. The second hexachord

group is divided into augmented triads, F-A-C# in the violins, and D-F#-A#

expressed as tremoli in the upper woodwinds. The first hexachord group is

expressed as a punctuating chord that can best be described as a C

major/minor sonority with added b6 and M7. This dual interpretation of the

same hexachordal set as both symmetrical and pitch-referencing embodies the

conflict between doubt and prayer that in the theme of the text. In mm. 71-72

the violins sustain a high D, while the winds and lower strings articulate two

gestures, one descending and the other ascending to create a D/E compound

second sonority at the cadence.

The choral parts enter in mm. 73-77 with two new melodic ideas, the

soprano and tenor melodies characterized by dotted rhythmic figure first seen

in the flute in mm. 57-59, and the alto and bass melodies characterized by triplet

figures. In m. 73, G#-E-C augmented triad figure in the soprano echoes the

augmented triad figure found in the flute in mm. 51-52.

While the voices move forward with new material, the violin descant

seems to be recapitulating earlier material, first with a statement of R0A in m. 73

and more importantly with a statement of P0A in mm. 76-77 that is a varied

rhythmic diminution of the music that was used to set the text “alle Völker

preisen dich” (all people praise you) in mm. 3-5.

In mm. 78-80 rhythmic activity drops off dramatically as the voices sing

the words “Wunder” (miracles) and “Erfüllungen” (fulfillment), a musical

81
depiction of restfulness (Example 4.10). On the second beat of m. 79 the choral

parts coalesce briefly on a Gb-Bb-D (048) augmented triad sonority, perhaps as a

symbolic depiction of the impossibility of achieving fulfillment. The

“fulfillment” motive is used in the lower instruments in mm. 81-82 as a bridge

to the last gesture of the music.

Example 4.10
mm. 78-80
p π
4 ‰ n œj# ˙ nœ n˙ Œ ‰b œ n œ . b œj œ Œ
Soprano &4 J
und Wun - der: Er - fül - lung - en

4
& 4 # œ n œ ‰n œ n œ . bJœ b ˙ .
3

Alto Œ ∑
πo
Wun-der: Er - fül-lung - en
πo
bœ n˙ œb œ œ Jœ # œ
n
4 Œ ‰ J ‰ œ nœ ˙ Œ
Tenor V4
und Wun - der: Er - fül - lung - en

π
? 44 Œ ‰b Jœ ˙ ˙ bœ nœ ‰ ∑
Bass
J
Er - fül - lung - en

The last four measure of the music are dominated by the imitative entry

of a theme setting the works “und trotzdem bete ich” (and yet I pray) in each of

the four voices. Each entry clearly emphasizes a given pitch. In m. 83 the alto

accompanied by the bass states I3A, and emphasizes C. In the next measure the

tenor (with the violins) states I5A, centering on D. In m. 86, the tenors

accompanied by the double basses unfold I7A, and emphasizes E. In the last

82
measure the unaccompanied soprano repeats the alto statement of I3A an octave

higher, with its corresponding emphasis on C. The music thus stops in m. 86 as

it began, by emphasizing the pitch-class C.

Areas of clear pitch emphasis in Modern Psalm are less pronounced that

in De Profundis. This seems to correspond to the difference in tone between the

surety and passion of the biblical psalm and the more doubtful and

introspective text of Schoenberg's "modern" psalm. The association between

pitch emphasis and divinity, however, is still present in this work. The first two

lines, which deal with prayer, emphasize C. The setting of the text "Wunder:

Erfüllungen" ( Miricles: Fulfillment) in mm.78-80, emphasizes D. The final four

repetitions of the text "Und trotzdem bete ich" (and yet I pray) in mm. 83-86 begin

and end with pitch emphasis on C.

The striking setting in mm. 78-80 of the word “Erfüllungen” (fulfillment)

seems to be the place where the musical setting loses its forward drive. The

return of areas of clear pitch emphasis in mm. 83-86 certainly serves to release

the harmonic tension that was created in the intervening three sections.

Another sign of the sense of recapitulation achieved in the closing measures is

the punctuations found in the violins and the winds in mm. 82 and 83. The

violins in m. 82 play a punctuating sonority that sets the first trichord of P0A (E-

D#-C) as it was voiced in the opening acclamation, only an octave higher. The

second trichord of P0A is played melodically in the clarinet. A similar texture

sets P0B in m. 83. This clear exposion of the hexachords of P0 is another link

between the opening and the final measures.

83
 V. CONCLUSION

One of the most striking features found in each of the three pieces of Op.

50 is Schoenberg’s use of consonant sonorities and areas of pitch emphasis.

Ethan Haimo, in his article on Schoenberg’s late works, notes his “interest and

willingness to make explicit triadic and tonal references, suggesting some kind

of reconciliation between serialism and tonality.”1 The argument that

Schoenberg was trying to reintroduce consonance and pitch emphasis into his

twelve-tone music is supported by the development of his serial technique seen

in Op. 50. In each of the works of Op.50, Schoenberg takes a progressively

more systematic approach to the inclusion of elements of tonality into his serial

style.

In Dreimal Tausend Jahre, Op. 50a, Schoenberg’s incorporates pitch

emphasis in a direct and uncomplicated way through the use of diatonic

subsets contained within a single combinatorial pair of row forms, P0 and I5.

Example 5.1
Source Row Forms for Dreimal Tausend Jahre

P0 Ab Major

bw nw nw bw bw bw
G Major

& nw nw #w nw nw nw
I5 E Minor
n w b w b w bw nw
& #w nw nw nw #w nw nw

1
Haimo, Ethan. “The Late Twelve-tone Compositions” in The Arnold Schoenberg
Companion (London: Greenwood Press, 1998), 158.

85
In De Profundis, Op. 50c, pitch emphasis is created by the relationship between

the tritone dyads and major third dyads within the source row form. The row

for De Profundis is all combinatorial, with the result that sixteen different row

forms keep these dyads invariant.

Example 5.2
Row Forms used in De Profundis
Hexachord 1 Hexachord 2

P0 Eb A G# E D Bb G B C F# F Db R0

P6 A Eb D Bb G# E Db F F# C B G R6

I0 Eb A Bb D E G# B G F# C Db F RI0

I6 A Eb E G# Bb D F Db C F# G B RI6

R3 E G# A Eb D Bb Db F G B C F# P3

R9 Bb D Eb A G# E G B Db F F# C P9

RI3 G# E Eb A Bb D B G F Db C F# I3

RI9 D Bb A Eb E G# F Db B G F# C I9

Schoenberg’s method of creating pitch emphasis in Modern Psalm, Op.

50c, is similar in many ways to the method he used in De Profundis. The row for

Op. 50c is constructed from (014) trichords, which makes the minor second, the

minor third and the major third the most prominent intervals used in the piece.

Schoenberg uses the minor seconds present in the row as quasi-leading tones

that create area of pitch emphasis that focus on the bottom notes of the third

dyads. The source row form for Modern Psalm, like that of De Profundis, is also

86
all combinatorial, which allows Schoenberg to make use of twenty-four related

row forms where the content of the hexachords remain invariant.

Example 5.3
P0 Row Form from Modern Psalm

P0
nw #w nw bw bw n w b w bw nw
& nw nw #w

Another interesting aspect of pitch emphasis found in Op. 50 is that it

occurs in symmetrical patterns. David Lewin notes that Schoenberg had an

interest in symmetrically based tonal structures that dates back to

Harmonielehre, and that this technique of inversional balance can also be seen to

affect set relationships in Schoenberg's twelve-tone compositions.2 In Dreimal

Tausend Jahre, the pitch emphasis pattern consists of two perfect fifths separated

by a half step, G-C-Ab-Eb. The pattern in De Profundis is based around the

lower notes of the major third dyads, which form a series of minor thirds, G-Bb-

Db-E. Modern Psalm has three axes of symmetry which are each separated by a

major third.

In a 1947 letter to René Liebowitz, Schoenberg addressed the issue of

incorporating consonances and tonal references into serial music:

Under the term of loosening the ‘rigor’ of the treatment of the twelve tones you
mean probably the occasional doubling of octaves, occurrence of tonal triads
and hints of tonalities. Many of the restrictions observable in my first works in
this style, and what you call ‘pure’, derived more theoretically than
spontaneously from a probably instinctive desire to bring out sharply the
difference of this style with preceding music. [ . . . . . ] As regards hints of a

2
Lewin, David. "Inversional Balance as an Organizing Force in Schoenberg's
Music and Thought." Perspectives of New Music 1968, 6(2): 1-21.

87
 tonality and intermixing of consonant triads one must remember that the main
purpose of 12-tone composition is: production of coherence through the use of
a unifying succession of tones which should function at least like a motive.
Thus the organizational efficiency of the harmony should be replaced. It was
not my purpose to write dissonant music, but to include dissonance in a logical
manner without reference to the treatment of the classics: because such a
treatment is impossible.

Schoenberg seems to be implying that a true “emancipation of dissonance”

would allow consonance and dissonance to be treated equally within the

overarching coherence of the serial structure. Thus, he may have seen the

increased use of consonance and elements of tonality in Op.50 as the final step

in his serial odyssey, a sign that his twelve-tone method was fully developed.

Another explanation may be that the attempt to incorporate tonality into the

serial system, a fundamentally impossible task, is a symbolic depiction of the

equally impossible attempt of humanity to reach God.

Peter Gradenwitz notes that, while many composers turn to religious

composition at the end of their careers, Schoenberg's final opus should be seen

as the culmination of a lifetime's effort to find God through music.3 Two

themes pervade Schoenberg’s religious compositions; the incomprehensible

grandeur of God and the importance of prayer as a means of approaching the

divine. One of the most striking example of the importance Schoenberg placed

on prayer can be seen in A Survivor from Warsaw, where it is a prayer that

achieves the symbolic victory over the forces of darkness. All three works of

Op. 50 share this focus on the importance of prayer. In Dreimal Tausend Jahre,

the sorrowful lamentations expressed in the opening section are transformed

into prayers of thanksgiving. The text of De Proundis expresses the psalmist’s

belief that prayer and faithfulness will assure salvation, despite humanity’s

3
Gradenwitz, Peter. “The Religious Works of Arnold Schoenberg.” Music
Review. February 1960, 21(1): 19-29.

88
unworthiness. The text of the Modern Psalm addresses the issue of prayer

directly, envisioning prayer as a sacred gift that can bridge the vast gulf

between the insignificance of humanity and the inexpressible greatness of God.

The inability of humanity to express the grandeur of God, one of the

most fundamental ideas expressed in Moses und Aron, is also a central theme in

Modern Psalm. The texts of Dreimal Tausend Jahre and De Profundis focus on

expectation and the promises of a deity who is not observably present. This

spiritual longing resonates well with the text that Schoenberg wrote for the final

piece.

One of the most daunting obstacles to accepting the concept that

Schoenberg’s Op. 50 is a musically unified whole is the question: why was

Modern Psalm left incomplete? The most common reason that composers leave

their final works incomplete is simple: death interrupts the compositional

process. Malcolm MacDonald, in his biography of Schoenberg casts doubt on

this simple explanation:

Here, again, the incompleteness is somehow artistically satisfying, its open-

endedness expressing the yearning, rather that the achievement. Perhaps
Schoenberg sensed this, for in the last months of his life he made no attempt to
4
return to the unfinished score.

Mark P. Risinger, goes even further, making the claim that Schoenberg

made a conscious decision to end the piece because he was unable write music

that could express the “divine union” described in the final lines of the text. 5

Risinger cites as additional evidence the progressive slowing of the text setting

4
MacDonald, Malcolm. Schoenberg. (London: J. M. Dent) 1976, 216.
5
Risinger, Mark P. “Schoenberg’s Modern Psalm, and the Unattainable Ending.”
in Political and Religious Ideas in the Works of Arnold Schoenberg. (New York:
Garland Publishing) 2000, 289-306.

89
and the C minor pitch emphasis that is present at both the beginning and

ending of Modern Psalm.

There are a number of reasons why Schoenberg left Modern Psalm

incomplete. Schoenberg’s inability to complete large-scale religious works and

his idea of an unrepresentable God are well established. The question arises,

therefore: could Schoenberg have harbored any illusions from the beginning

that he could finish a work that addressed such an issue? There is also an

abundance of evidence in the music of Op. 50 that Schoenberg created a

symbolic ending for Modern Psalm. In addition to the “rounding off” and return

to C emphasis noted by Risinger, the sense of completeness in Op. 50c is

strengthened by the symmetry of the sectional divisions in the music (see p. 59).

It is interesting to note that C minor is also given strong emphasis in the first

work of Op. 50, Dreimal Tausend Jahre, which suggests that this gesture toward

harmonic closure was intended from the conception of Op. 50c. Further

evidence of Schoenberg’s premeditation concerning a gesture toward a C

emphasis is evident from the fact that Israel Exists Again, the unfinished

fragment noted earlier as a possible precursor to Modern Psalm (p. 4), also

begins with a strong emphasis on C. Schoenberg uses pitch emphasis in Op. 50

both to symbolize divinity and to provide a sense of harmonic closure that

spans all three works.

Risinger notes that the ending of Modern Psalm seems to embody the

combination of contradictory elements, a gesture that moves towards closure,

yet retains a sense of continued searching. Examples of this type of gesture,

where a consonant point of arrival is undermined by an immediate motion

away, can be found in each of the works of Op. 50, a feature that acts to unify

90
the three pieces. This can be seen on the smallest scale in the cadential gestures

of the first two phrases of Dreimal Tausend Jahre, which begin on points of

relative consonance the move away into greater dissonace (see p. 19). The same

type of gesture appears, in a larger context, at the end of Op. 50a, where the

symbolic arrival on the C minor seventh chord in the second half of m. 23 is

transformed into the more ambiguous symmetrical final sonority, C-Ab-B-G

(0145). The point of symbolic arrival in De Profundis occurs in m. 48, where, at

the culmination of an intensely lyrical passage, the “Rochberg” progression is

given its clearest statement. This gesture also begins the final texture/density

crescendo, which culminates in a final dissonant shout of affirmation. The

point of symbolic arrival in Modern Psalm can be found in m. 80, where the choir

cadences on a D-F# dyad after singing the text "Wunder: Erfüllungen" ( Miracles:

Fulfillment). Schoenberg, as Risinging notes, can go no further after this

symbolic arrival, so he turns back to an earlier line of the text and leaves the

piece with an ending that is both complete and incomplete at the same time.

Schoenberg stated in “Brahms the Progressive” that the final work of a

“great” composer should reach for “the uttermost limit of the still expressible.”

Schoenberg’s Op. 50 should be seen as an artistic and personal last testament, a

work that reaches for the unreachable: a reconciliation between serialism and

tonality, an expression of the inexpressible grandeur of God, and a symbolic

union between humanity and the divine. Schoenberg was faced with many

challenges at the close of his life: poor health, difficult finances, and artistic

isolation. The great faith and optimism expressed in his final opus is a fitting

ending to a distinguished career.

91
PART TWO AN ORIGINAL COMPOSITION, SYMPHONY #1

92
 I. OVERTURE
q»∞§
˙. œ œ œ bœ œ bœ
˙. b œœ ˙˙ # ˙˙ œœ 5
4
a2

&4 ‰ Œ Ó ∑ Œ ‰
Flute 1&2
J 3
3

f p P
˙. bœ ˙ j œ œ œ bœ œ bœ
& 44 # ˙ .
a2

n œ ˙ ˙ œ ‰ Œ Ó ∑ Œ ‰
Oboe 1&2
J 3
3

f p P

& 44 # ˙ .
a2 3

Bb Clarinet 1&2 n œœ ˙˙ b˙
j
œ ‰ Œ Ó ∑ Œ ‰ œ œ œ bœ œ bœ
˙. ˙ œp
f P 3 # a2œ .
œ ˙ b˙ œ 1. œ #˙
? 4 b ˙˙ .. ˙ œ ‰ œ œ bœ œ . bœ œ . œ œ #œ œ
œ
3

Bassoon 1&2 4 nœ ˙ J bœ nœ œ bœ #œ J
f p 5 P

& 44
1.
∑ ∑ ∑ ∑ j
Horn in F 1&2
#˙ #œ . œ
P
#˙
3.
œ. nœ
& 44 ∑ ∑ ∑ ∑ ?
Horn in F 3&4 J
P

Bb Trumpet 1 & 44 ∑ ∑ ∑ ∑ ∑

Bb Trumpet 2&3 & 44 ∑ ∑ ∑ ∑ ∑

œ ˙ b˙ œ
? 4 b ˙˙ .. nœ ˙ ˙ œ ‰ Œ Ó ∑ ∑
Trombone 1&2 4 J
f p

?4
3.

4 ˙. #œ ˙ j‰ Œ Ó ∑ ∑
˙ œ
Trombone 3/Tuba

f p
?4
timp.

4 ∑ Ó ˙ œ œœœ Ó ∑ ∑
Percussion 1
æ æ
p
f
œ Œ Ó
tgl.

÷ 44 œœœ Œ ‰ œœœ Œ ∑ ∑ ∑
Ó ‰
Percussion 2

t.d.
F p
œ.
marimba

4 œ.
Percussion 3 &4 f ‰ Ó ∑ ∑ ∑ ∑
q»∞§
œ.
œ. ‰ Ó
5

Violin 1
4
&4 ∑ ∑ ∑ ∑
f
œ.
Violin 2 & 44 # œ . ‰ Ó ∑ ∑ ∑ ∑
f
#œ . œ œ b œ- œ . b œ- œ œ œ #˙ j
Viola B 44 œ . ‰ Ó ∑ Œ . bœ nœ œ bœ #œ œ œ #œ #œ . œ
f p 3
5
P
?4 bœ œ œ. j
Cello 4 ˙. #œ ˙ ˙ ˙ ˙ œ . bœ œ nœ œ œ #˙ nœ
f p P
t 4 ˙. #œ ˙ ˙ bœ œ œ. j
Double Bass 4 ˙ ˙ œ . bœ œ nœ œ œ #˙ nœ
f p P

93
 j
10

b˙ nœ nœ bœ . œ œ . œ œ .. # œ wœ œ3 œ ˙
Fl. 1&2 & J ‰ ∑ Ó ‰ J J
F F f 3

b˙ # œ œ # œ # ˙œ
bœ nœ œ . # œJ œ . ‰
Ob. 1&2 & ∑ ∑ Œ 3
Jœ œ
F f 3 3

#œ œ #œ ˙
#œ œ nœ œ
Cl. 1&2 & b˙ œ nœ b œ . œJ œ . ‰ ∑ ∑ Œ
3
F f 3

œ #œ #œ nœ
? œ ˙ œ. ‰ ˙.
a2

Bn. 1&2 ∑ ∑ Œ
3
F f

& 3 ‰ ∑ ∑ ∑
œ œ #œ #œ nœ
Hn. 1&2

˙ œ.
F
? œ bœ #œ œ nœ ˙ œ. ‰
3

Hn. 3&4
∑ ∑ & ∑
F

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

timp.
? ∑ ∑ œ. œ œ œ ‰ Œ ∑ ∑
Perc. 1
æ J
p
b.d. 3

Perc. 2 ÷ Ó œ œ œ æ̇ œæ. ‰ ∑ ∑ ∑
P F

Perc. 3 & ∑ ∑ ∑ ∑ ∑

œ . #œ w
10

∑ ∑ ˙. œ b œ œ . # œ- œ œ b œ œ n œ
Vln. 1 &
sub. p f
œ #œ #œ œ nœ
∑ ∑ ∑ Œ œ . #œ œ œ #œ
Vln. 2 & œ œ bœ œ nœ
f 3 3

j œ.
3

B œ œ #œ #œ nœ ˙ œ. ‰ ∑ ∑ 3

œ œ bœ œ œ
Vla.

F f
?
3

œ bœ #œ œ nœ ‰ Ó ‰ œ. œ #œ bœ ˙
3
.
˙ œ. œ œ bœ ˙
Vnc.

F p
f
t œ œ bœ œ œ
3

œ bœ #œ œ nœ ‰ j œ #œ bœ ˙ J œ.
˙ œ. ˙ œ œ.
D.B.

F sub. p f
3

94
 # œœ .. œœ œœ # œœ ˙˙ .. œœ œœ ˙
1.
#˙
˙˙ œœ ‰ Œ
Fl. 1&2 & J J
f p
P
œ
1.

# œ .. j ˙ #œ
& œ # œœ œœ b œœ ˙˙ .. œœ b œœ ˙˙ œœ ‰ Œ
J
Ob. 1&2

P f p
b œœ .. b œœ œœ b œœ ˙˙ .. œœ b b œœ ˙˙ œœ ‰ Œ 1.

& J w
Jf
Cl. 1&2

P p
j 2.
# œ ‰
? œ œ œ œ # œ œœ . œ œ . œ œ # œ œœ œœ ## œœ # œ œ j‰ Œ
J œ. œ . bœ œ
3
Bn. 1&2 ˙ . œ œ #œ œ œœœœ œ
P f
bœ œ . P
3
a2

Hn. 1&2 & Ó #˙ ˙. œ #œ ˙ œ ‰ Œ

J
∑
F P f
‰ n œj ˙
a2

Hn. 3&4 & Œ ˙. œ bœ ˙ œ ‰ Œ

J
∑
F P f
˙. ˙. œ #œ ˙ œ ‰ Œ
Tpt. 1 & Œ J ∑
F P f
‰ 3‰ œj œ ˙ . œœ ˙˙ œœ ‰ Œ
& Ó œ œ ˙. œœ ∑
P ‰3 f Jj
Tpt. 2&3

œ ˙ fœ ‰ Œ
P bœ ˙. œ
? Ó Œ œ œ œ #œ œ . œ #œ œ #œ #œ
œ
b œ # œ œ nœ . œ œ j‰ Œ
3
Tbn. 1&2 œ œ. œ œœœœ œ
f 3 P
#œ
? ‰ œ œ œ #œ œ . œ nœ . œ œ #œ œ œ #œ œ
3. a2

j‰ Œ
3
Tbn. 3/Tba. œ. ˙ œ . bœ #œ œ œœœœ œ
P f 3
P
? ∑ ∑ ∑ œœœœ œ ‰ Œ
Perc. 1
æ J
P 3

Perc. 2 ÷ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑

œ 3 œ #œ œ œ bœ
bœ . ˙ œ #œ œ œ œ#œ nœ#œ
& J œ œ œ # œ œ. œ œ #œ œ œ #œ #œ œ
œ . b œ- # œ
Vln. 1

P b œ- n œ . - P 3 3
5

f 3 œ #œ œ œ bœ
œ #œ œ œ œ#œ nœ#œ
Vln. 2 & œJ b œ . ˙ # œ œ œ œ # œ œ. œ œ #œ œ œ #œ #œ œ
P œ . b -œ b -œ n œ . - P
3 3
5
f œ #œ œ œ bœ
# œ
œ
B J œ. œ œ œ # œ œ . b -œ n œ . œ- œ # œ œ œ # œ œ # œ œ œ œ#œ nœ#œ
Vla. ˙ œ . b œ- # œ œ 3
P
3
f 3 P 5

#œ
? j œ œ œ # œ œ . -œ n œ . œ œ # œ œ œ # œ œ j
œ . b œ- # œ j œ
3
Vnc.
œ œ. ˙ - œ œœœœ œ œ
P f 3 P
œ . # œ œ œ # œ # œ j
t j œ œ œ #œ -œ n œ . -œ œ œ
œ œ. ˙ œ . b œ- # œ j œ
3

œ œœœœ œ œ
D.B.

P f 3 P

95
 ˙
15
˙ ˙ ˙ œ ˙
a2
œ œ œ œ #œ œ b˙ . œ œ
Fl. 1&2 & ˙
3
F
3
f
˙. #œ ˙. #œ ˙
a2
3 3

Ob. 1&2 & #˙ ˙ œ œ œ œ #œ œ b˙ . œ œ

F f
˙. ˙.
a2
œ 3 3

Cl. 1&2 &œ b˙ . bœ ˙ œ œ œ œ #œ œ b˙ . œ œ

F b˙ . œ œ
a2 f
? j
œ bœ .
3
∑ ∑ ∑
3
Bn. 1&2 œœœ˙ œ #œ œ b˙
F f

& ∑ ∑ ∑ 3 3
j
œ bœ .
Hn. 1&2

œœœ˙ œ #œ œ b˙
F f
& ∑ ∑ ∑ 3 3
j
œ bœ .
Hn. 3&4

œœœ˙ œ #œ œ b˙
F f
Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

œ œ . œ nœ bœ #œ œ #œ
1. 5

#œ œ œ nœ #œ nœ #œ j
a2
? œ #œ nœ œ œ œ .
3

œ bœ .
3 3

Tbn. 1&2
J œ J œ # œ œœœ˙ œ #œ œ b˙
3
3 3
F f
? j
3.
j œ bœ .
5 +tuba 3 3

œ # œ n œ œ œj œ .
3

œ œ . œ nœ bœ #œ œ #œ nœ #œ œ œ œ ˙ œ #œ œ b˙
3

#œ œ œ nœ #œ nœ #œ
3
Tbn. 3/Tba.

œ œ #œ œ œ œ ˙ œ #œ œ b˙ œ bœ .
3
F f
? ∑ ∑ ∑
3 3
∑
Perc. 1
œ œ œ æ̇ œ œœ
F
œtgl.
Perc. 2 ÷ ∑ ∑ ∑ Œ Ó ∑
F

Perc. 3 & ∑ ∑ ∑ ∑ ∑

˙
15

#˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ #œ œ b˙ . œ œ
Vln. 1 & 3
f
3
p F
œ ˙ œ ˙. œ ˙. œ
3 3

Vln. 2 & ˙ œ œ œ œ #œ œ b˙ . œ œ
p F
f
.
w œ #˙ œ #˙ . ˙ œ 3

Vla. B œ œ œ #œ œ b˙ . œ œ
p F 3 f
œ œ . œ nœ bœ #œ œ #œ
5
? œ #œ nœ œ œ œ . #œ œ œ nœ #œ nœ #œ j
3

œ bœ .
3 3

Vnc.
J œ J œ # œ œ œ œ˙ œ #œ œ b˙
3
3 3
F f
œ œ . œ nœ bœ #œ œ #œ
5

t œ #œ nœ œ œ œ . #œ œ œ nœ #œ nœ #œ j
3

œ bœ .
3 3
D.B.
J œ J œ # œ œœœ˙ œ #œ œ b˙
F f
3 3
3

96
 #œ œ œ bœ #œ . œ w w œ ˙.
#œ . œ #œ
20

.
Fl. 1&2 & ‰ # œJ ˙
ƒ Ï sub. p
œ œ bœ #œ . œ w #w œ ˙.
Ob. 1&2 & #œ . œ #œ #œ ‰ œJ ˙ .
ƒ Ï sub. p

œ œ bœ #œ . œ w #w œ ‰ Œ Œ
& # œ . œ # œ ## œœ œ œ b œ œ . œ w w œ
J b b œœ
Cl. 1&2

#œ . œ #œ ƒ Ï p
? œ œ j j
b œœ
3
œ #˙ #œ œ œ. w œ ‰ Œ Œ
Bn. 1&2
œ bœ œ #œ œ œ. w œ
ƒ Ï p
3

œ # œ œ œœ j
& œ œ Ó n b ww œœ ‰ Œ Ó
Hn. 1&2
œ #˙ J
ƒ 3 Ï

Ó Œ
3
j
Hn. 3&4 & œ œ œ #˙ œ #œ œ b ww œœ ‰ Œ Ó
ƒJ Ï
3
œ 3# œ ˙
& ∑ Œ J #w œ ‰ Œ Ó
Tpt. 1
J
ƒ 3 Ï
œ # œ œ ˙˙
& ∑ Œ b ww œœ ‰ Œ Ó
Tpt. 2&3
J
ƒ 3
Ï
? œ œ œ j
œ œ.
3
#˙ w œ ‰ Œ Ó
Tbn. 1&2
#œ bœ œ #œ J
ƒ Ï
? œ œ œ j j
œ œ.
3
#˙ #œ w œ ‰ Œ Ó
Tbn. 3/Tba.
œ œ œ #˙ # œ bb œœ œ # œ œ #œ . w œ
ƒ #œ œ Ï

? ∑ ∑ œ œ œ œ œ œ œ ‰ Œ Ó
3 3
Perc. 1
J
ƒ
j
dead shot

wæ
s.d.
÷ ∑ ∑ œ ‰ Œ Ó œœœ
Ó ‰
Perc. 2

F ƒ t.d. p
#œ . œ ˙
marimba b.d.

& Ó ‰ œJ Ó j
œ œ œ œ œ œ œ ‰ Œ Ó
3 3
Perc. 3 ÷ &
ƒ ƒ
œ w
#œ œ œ bœ #œ . w œ
# œ . œ- # œ
20

Vln. 1 & J ‰ Œ Ó
ƒ Ï
œ œ bœ #œ . œ w #w œ ‰ Œ Ó
Vln. 2 & # œ . œ- # œ # œ J
ƒ Ï
œ w w œ
B #œ . œ #œ #œ œ œ bœ #œ . J ‰ Œ Ó
Vla.
-
ƒ Ï
? œ œ œ
3
#˙ j‰ Œ Ó
Vnc.
#œ bœ œ #œ j
œ œ. w œ
ƒ Ï
t œ œ œ
3
j
#˙
#œ bœ œ #œ œ œ. w œ ‰ Œ Ó
D.B.
J
ƒ Ï

97
 œ bœ ˙ œ #œ ˙
25
poco rit. Faster q»•º
œ
Fl. 1&2 & bœ ˙ œ œ ˙ ‰ bœ .
b œ.
˙ #˙
˙ n ˙
j
œœ .. n œœ ˙˙
j
œœ ‰ Œ Ó
34 ∑
π
œ œ ˙ œ œ ˙ œ œ œJ 3 œ . œ œ œ
&œ œ ˙ Œ œ ˙
1.

œ #œ ˙ ‰ n b œœ .. ˙˙ Ó Ó J 4 œ
Ob. 1&2
J
π π P

‰ j Ó 34
Cl. 1&2 &˙ n˙ œ b b ˙˙ j j‰ Œ Ó ∑
˙ #˙ œ # œœ ˙˙ œœ .. bœ œ œœ œœ
œ œ
˙ œ ˙
π j
?˙
˙ ‰ œj ˙ Ó b œœ .
. #œ œ # œ œj ‰ Œ Ó 34 ∑
Bn. 1&2 ˙ œ b˙ œ œ# œ œ
œ ˙
π

Hn. 1&2 & ∑ ∑ ∑ ∑ ∑ 34 ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ? 34 4.˙ .

π

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ 34 ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ 34 ∑

? ∑ ∑ ∑ ∑ ∑ 3 ∑
Tbn. 1&2 4

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ 34 ∑

timp.
? ∑ ∑ ∑ ∑ ∑ 34 ˙ .
Perc. 1
æ
π
3œ Œ Œ
tgl.

÷ œ ‰ œœœ Œ ‰ œœœ Œ œœœ ˙ Ó ∑ ∑ 4

æ
Perc. 2

n π

Perc. 3 & ∑ ∑ ∑ ∑ ∑ 34 ∑

25 poco rit. Faster q»•º

Vln. 1 & ∑ ∑ ∑ ∑ ∑ 34 ∑

∑ ∑ ∑ ∑ ∑ 3 ∑
Vln. 2 & 4

Vla. B ∑ ∑ ∑ ∑ ∑ 34 ∑

Vnc.
? ∑ ∑ ∑ ∑ ∑ 34 ∑

D.B.
t ∑ ∑ ∑ ∑ ∑ 34 ˙ .
π

98
 30 35

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

non legato

œ bœ ˙ ˙ œ œ.
Ob. 1&2 &˙ œ b˙ ‰ Œ ∑ ∑
œ. bœ bœ
œ œ b œ b œJ œ . œbœ œ œ œ œ
1.

Cl. 1&2 & ∑ ∑ ∑ J J J bœ . bœ

P 3 F
bœ
j bœ œ œ bœ
1.
? ∑ ∑ ∑ ∑ ∑ œ œ b œJ œ.
Bn. 1&2 J
F 3

Hn. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ˙. ˙. ˙. œ. ‰ Œ ∑ ∑ ∑

œ œ œ œJ œ. œ œ œœ ˙
non legato

œ bœ ˙ ˙ œ œ.
Tpt. 1 & J J œ b˙ ‰Œ
P F
con sord.

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ˙. ˙. ˙. œ. ‰ Œ ∑ ∑ ∑
Perc. 1
æ æ æ æ

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
30

j
pizz.

Œ œj ‰ Œ ‰ œ œj ‰ Œ
35

Œ œ b œ b œ œ ‰ Œ b œj ‰ œj ‰
&Œ œ ‰Œ Œ j‰ j‰ Œ Œ
J œ bœ œ bœ œ J
Vln. 1

p
F
3

jpizz.

Œ œj ‰ Œ ‰ œ œj ‰ Œ Œ œ b œ b œ œ ‰ Œ b œj ‰ œj ‰
&Œ œ ‰Œ Œ j‰ j‰ Œ Œ
J œ bœ œ bœ œ J
Vln. 2

p
F 3

B Œ œj ‰ Œ Œ œj ‰ Œ ‰ œ œj ‰ Œ
pizz.
Œ j‰ j‰ Œ Œ Œ œ bœ bœ œ ‰ Œ j ‰ j
œ ‰
J œ bœ J bœ
Vla.

p œ bœ œ
F 3
œ œ bœ bœ œ
? Œ œJ ‰ Œ Œ œJ ‰ Œ ‰ J œJ ‰ Œ Œ œj ‰ b œ ‰ œ b œ œ Œ œ ‰
pizz.

Œ Œ J ‰ Œ bœ ‰
Vnc.
J 3 J J
p F

D.B.
t ˙. ˙. ˙. œ. ‰ Œ ∑ ∑ ∑

99
 bœ bœ œ nœ
40

œbœ œ œ bœ
œ
bœ œ bœ œ œ œ bœ œ bœ bœ œ
#œ œ nœ #œ nœ œ #œ nœ
Fl. 1&2 &
1.
‰ ‰ bœ 3
J J ‰
F 5 f
bœ œ bœ bœ b˙ bœ bœ .
Ob. 1&2 & ∑ ∑ J J ‰ Œ
f
bœ b˙
non legato
b˙ bœ bœ . bœ œ bœ bœ
Cl. 1&2 & ‰ Œ ∑ J J
P
bœ
? œJ œ . bœ bœ bœ . bœ bœ bœ
non legato

bœ bœ b˙ ˙. bœ bœ J J
Bn. 1&2
J 3
f

Hn. 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑

Œ ≈ b œ b œ b œ œj ‰ Œ j
40

Vln. 1 & Œ ≈ b œ œ b œ œj ‰ Œ Œ j
bœ ‰
j
œ ‰ ‰ b œj j ‰ Œ bœ ‰
f bœ

Vln. 2 & Œ ≈ b œ œ b œ œj ‰ Œ Œ j
bœ ‰
j
œ ‰ ‰ b œj j ‰ Œ ≈ b œ b œ b œ œj ‰ Œ Œ j
bœ ‰
f bœ

B Œ ≈ œ b œ œj ‰ Œ Œ j ‰ œ ‰ ‰ b œJ b œj ‰ Œ ≈ b œ b œ b œ œj ‰ Œ Œ j
Vla.
bœ bœ J bœ ‰
f
bœ bœ
? Œ ≈ b œ œ b œ œJ ‰ Œ Œ bœ ‰ œ
J ‰ ‰ J b œJ ‰ Œ ≈ b œ b œ œJ ‰ Œ Œ bœ ‰
J
Vnc.
J
f

D.B.
t ∑ ∑ ∑ ∑ ∑

100
 bœ œ bœ œ œ œ œ bœ œ bœ ˙.
45

˙.
bœ b˙ . ˙. b˙ .
Fl. 1&2 & ‰
5 F p
bœ bœ bœ bœ b˙ bœ œ œ bœ
& ∑ J J œ bœ bœ b˙ .
Ob. 1&2
b˙ .
f F p
b˙ bœ bœ œ bœ bœ bœ . bœ œ
œ.
Cl. 1&2 & ‰ Œ J J J bœ b˙ bœ œ œ bœ œ bœ bœ
F p
bœ b˙
? œ. bœ b˙ bœ ˙. b˙ . b˙ .
Bn. 1&2
J bœ b˙ .
F p

∑ ∑ ∑ ∑ Œ
Hn. 1&2 & b ˙ b œ bb œœ bœ˙ . œ b œ b œ˙ . b œ
p bœ
? Œ
3. non legato
œ. bœ ˙. b˙ . b˙
bœ b˙ bœ b˙ . b˙ .
Hn. 3&4
J
F P p

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

j j j‰ ‰ j ‰ 45

& b œ ‰ ‰ b œ b œj ‰ Œ j‰ j‰ ∑ ∑ ∑ ∑
Vln. 1
bœ bœ bœ b œ b œj
F
j j j‰ j‰
j‰ ‰ j ‰ Œ ‰ j‰ ˙.
arco
b˙ .
Vln. 2 & b œ ‰ ‰ b œ b œj ‰ Œ
bœ bœ bœ b œ b œj j
bœ bœ b˙ .
F p
Œ
arco
bœ bœ bœ b ˙ b œ bb œœ
Œ b œ ‰ b œJ ‰ J ‰ ‰ b œJ b œj ‰ Œ b œ ‰ b œJ ‰ bœ˙ . œ b œ
div.

B J ‰ ‰ J bœ ‰ b ˙œ . b œ b œ
Vla.
J J J
F p
bœ bœ bœ bœ bœ bœ bœ
Vnc.
? b œJ ‰ ‰ J J ‰ Œ J ‰ J ‰ b œJ ‰ ‰ J œJ ‰ Œ J ‰ J ‰
arco
Œ Œ bœ b˙ . b˙ .
F p

D.B.
t ∑ ∑ ∑ ∑ ∑ ∑ ∑

101
 ≈ œ œ œ œj ‰ Ó ≈ œ œ œ œj ‰ Ó
1.
50

b˙ . 44 œ ‰ Œ Ó œœœœ œœœœ
& J J ‰ J ‰
Ó ≈ Ó ≈
Fl. 1&2

π P
b˙ .
2.

& 44 œ ‰ Œ Ó Ó Œ ≈œœœ œ ‰ Œ
1.
Œ ≈œœœ
Ob. 1&2
J J
π P
44 j ‰ Œ
1.

& b˙ . œ Ó Œ ≈ ‰ Œ Œ ≈ j ‰ Œ
Cl. 1&2

œ œ œ œj œœœœ
π P

Bn. 1&2
? b˙ . 44 œJ ‰ Œ Ó ∑ ∑
π

& ˙. 44 j ‰ Œ Ó ∑ ∑
Hn. 1&2

b˙. œœ
J
π
? 44 w2. ˙ ˙. Ó Ów Œ œ
Hn. 3&4 b˙ .
π p Œ 4. p

& ∑ 44 ∑ ∑ ˙ œ. œ
Tpt. 1
J
F
(con sord.)
2.
44 ˙ œ œ. j
Tpt. 2&3 & Œ Œ œ œ. J œ #œ œ œ #˙ . œ
con sord. F
? ∑ 4 ∑ ∑ ∑
Tbn. 1&2 4

Tbn. 3/Tba.
? ∑ 44 ∑ ∑ ∑

Perc. 1
? ∑ 44 ∑ ∑ ∑

÷ ∑ 4 ∑ ∑ ∑
Perc. 2 4

44 ‰
marimba

Perc. 3 & ∑ j‰ Ó ‰ j ‰ Ó ‰ j ‰ Ó
p œ œ œ œœœ œœœ
50

Vln. 1 & ∑ 44 ∑ ∑ ∑

4 œj ‰ Œ Ó ∑ ∑
Vln. 2 & b˙ . 4
π

Vla. B b ˙˙ .. 44 œœj ‰ Œ Ó ∑ ∑
J
π
? 44 j ‰ Œ Ó ∑ ∑
Vnc. b˙ . œ
π

D.B.
t ∑ 44 w w w
π

102
 3 3 3

≈ œ œ œ œj ‰ Ó ‰ œ œ œj ‰ Ó 55 ‰ œ œ œj ‰ Ó ‰ œ œ œj ‰ Ó
& œœœœ œœœ œœœ œœœ
Fl. 1&2
Ó ≈ J ‰ Ó ‰ J ‰ Ó ‰ J ‰ Ó ‰ J ‰
3 3 3

& œJ ‰ Œ Œ ≈œœœ œ ‰ Œ Œ ≈œœœ œ ‰ Œ Œ ≈œœœ œ ‰ Œ Œ œœœ

Ob. 1&2
J J J
3

&Œ ≈ j ‰ Œ Œ ≈ j‰ Œ Œ ≈ j‰ Œ Œ 3
j‰ Œ
œœœœ œœœœ œœœœ œ œœ
Cl. 1&2
œ

Bn. 1&2
? ∑ ∑ ∑ ∑

Hn. 1&2 & ∑ ∑ ∑ ∑

Hn. 3&4
?w ˙ ˙. Ó wÓ Œ œ w
Œ
j j
& œ. œ # œj œ œ #˙ . œ œ #œ
˙ œ
#˙ #œ
Tpt. 1

3.

Tpt. 2&3 &œ #œ #˙ œ ˙ #œ

˙ œ #˙ ˙ œ
j
œ2.. œ œ œ œ œ. œ œ #œ œ # ˙˙ . œ. œ
1.

?
con sord.
∑ J J J œ
Tbn. 1&2

F
J
3

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑

‰ œ œ œj ‰ Ó ‰ œ œ œj ‰ Ó ‰ œ œ œj ‰ Ó
t.d.

Perc. 2 ÷ ∑
p

Perc. 3 &‰ j ‰ Ó ∑ ∑ ∑
œœœ
55

Vln. 1 & ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑

Vnc.
? ∑ ∑ ∑ ∑

D.B.
tw w w w

103
 j j j j
3

‰ œ œ œj ‰ Ó
rit. Tempo I
‰ œ œ ‰ Ó ‰ œ œ ‰ Ó
60

1. ˙ œ œ œ ˙ œ œ
non legato

& œ œœ œ œ œ J J
Ó ‰ J ‰ Ó p ‰ J J ‰ Ó ‰ ‰ J ‰ π
Fl. 1&2

3
2. non legato
Ó
1.
Œ œ
& œJ ‰ Œ Œ ‰œ œ œ ‰ Œ Œ œ œ œ ‰ Œ Œ ‰ ‰ Ó ˙ œ
œ œ J˙
Ob. 1&2
J J π J
2.
3
p

& Œ ‰ j ‰ Œ Œ ‰ Œ Œ ‰ j j ∑ ∑
3
Cl. 1&2
œœ œ œ œ œj œ œ ‰ Œ
p

Bn. 1&2
? ∑ ∑ ∑ ∑ ∑

œ b œ œ . b œj
1.

Hn. 1&2 & ∑ ∑ ∑ Ó ˙

p

? ˙ Ó Ów Œ j
Hn. 3&4 ˙. œ w œ ‰ Œ Ó ∑
Œ

& #˙ . #œ ˙. œ ˙ ˙ œ ‰ Œ Ó ∑
Tpt. 1
J
p

& œ j‰ Œ Ó ∑
#˙ . w w œ
Tpt. 2&3

p
j j j
Tbn. 1&2
? œw. œ œ #œ œ œ ## wœ œ ˙ ww œœ ‰ Œ Ó ∑
p

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ‰ œ œ œj ‰ Ó ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑
rit. Tempo I
60

Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

˙ œ bœ œ . bœ
unis.

Vla. B ∑ ∑ ∑ Ó J
p
? ∑ ∑ ∑ w
Vnc. w
p
t w w w
D.B.
w w
p

104
 65

œ œ œ œ œ œ œ œ œ œa2 œ œ
œ œ ‰ œJ œ œ J œ J 34 J œ J
Fl. 1&2 &

œ . œj œ œ œ œ œ œ j œ œ
P
j œj ‰
œœ œ. œ œ
34 œ . œ œ
&œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
‰ J Jœ J
Ob. 1&2

J J
j P
j œ ˙ œ 34 œ œ œ œ
1. non legato
˙ œ œ œ œ
Cl. 1&2 &Ó ˙ œ œ œ ˙ œ
œœ œ œ. œ
J J J
P
Bn. 1&2
? ∑ ∑ ∑ 34 ∑

Hn. 1&2 & ˙. Œ ∑ ∑ 34 ∑

Hn. 3&4
? ∑ ∑ ∑ 34 ∑

Tpt. 1 & ∑ ∑ ∑ 34 ∑

Tpt. 2&3 & ∑ ∑ ∑ 34 ∑

? ∑ ∑ ∑ 3 ∑
Tbn. 1&2 4

Tbn. 3/Tba.
? ∑ ∑ ∑ 34 ∑

Perc. 1
? ∑ ∑ ∑ 34 ∑

÷ ∑ ∑ ∑ 3 ∑
Perc. 2 4
˙.
Perc. 3 & ∑ ∑ ∑ 34 ˙ .
F
œ #œ ˙ .
65

œ œ œ œ œ #œ œ
arco

Vln. 1 & ∑ ∑ Ó 34
F
5
P
5
œ bœ #œ œ #œ #œ 3 ˙.
&Ó Œ œ œ œ bœ œ #˙
4
3

bœ nœ œ bœ #œ œ œ œ nœ œ œ œ #œ
Vln. 2

P
5 F
p
B ˙. bœ nœ œ bœ #œ œ œ œ nœ œ œ œ #œ œ œ w 34 ˙ .
Vla.

p
5
P F
œ #œ ˙ .
3

? œ . bœ bœ nœ œ œ #œ œ œ #œ œ . nœ œ #œ œ œ œ nœ œ œ œ #œ œ 34
Vnc.
J J
5
F
P3 bœ ˙.
t œ . bœ bœ nœ œ œ #œ œ œ #œ œ
. nœ œ bœ œ œ œ œ nœ œ œ bœ nœ œ 34
D.B.
J J
P 3
5
F

105
 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
70

œ œ œ œ œ œ œ œ œ
Fl. 1&2 &J J ‰ J œ œ œ œ œ œ œ œ
3
F3
j j j j
œ œ œj œ j œ œœ œj œ œ
3
œ œ œœ œ œ œ œ
œ
œ œœ
œ œ œ œ
œ œ‰ œ œ œ
œ œ
& œ œ œ œ œ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ
J œ
Ob. 1&2
J F
j j j j
3
j j j j œ œ ‰ œj œ œ
3

œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œœ . œ œ œ œ œ œ œ
œ œ J ‰ œ œ œ œ œ œ œ œ œ œ œ
Cl. 1&2
œ œ œ
F
Bn. 1&2
? ∑ ∑ ∑ ∑ ∑

Hn. 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

cresc. poco a poco

Perc. 1
? ∑ ∑ ∑ œ œ œ œ œ œ
p

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑
œ bœ œ nœ ˙.
˙ bœ œ . # -œ œ œ
#œ nœ 70 œ
œ #œ
Vln. 1 &
f P
œ bœ œ nœ ˙. #œ
Vln. 2 & ∑ œ . # -œ œ œ
#œ #œ bœ œ
f P
3
œ œ œ
Vla. B ∑ ∑ #œ œ œ #œ #œ
œ #œ œ
f P
?
3

Vnc.
˙. œ #œ bœ œ #œ œ œ #œ #œ œ . œ #œ œ
œ œ #œ #œ
. œ #œ #œ œ œ #œ
f
t
3

D.B.
˙. œ #œ bœ œ #œ œ œ #œ #œ œ . œ #œ œ
œ œ #œ
#œ . œ #œ #œ œ œ #œ
f

106
 œœœ œœœœœ œœ œœœœœ
œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œœ œœœ œœ
Fl. 1&2 & ‰ œ 3
œ 3
3 3
3 3

œ œœ œ œ œ œ Œ œ œ 3 œ
3

œ œ œ œ œ œ œ œœ œ œœ œœ œ œ
3 3
œ 3œ œ œ 3 œ œœ œœ œœ œ 3 œ
3

Ob. 1&2 &œœ Œ œœ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ œœ œ œœ œœ œ
3
j
3
j
3

œ œ œ œ œ œœ œ œ œ œ œ œ
3 3
œ œ 3œ œ œ œ œ
3
œ œœ œœ œœ œœ œ
& œœ œ œ œ œœ œ œ œ œ œ
3 3
œ
œ œ œ ‰ J œ œ œ œ
Cl. 1&2
œ œ œ œ œ œ
? ∑ ∑
a2
œ
Bn. 1&2
œ œ #œ œ œ bœ #œ . œ œ #œ œ œ
#œ .
f

Hn. 1&2 & ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ Œ Œ œ
f
a2

Tpt. 2&3 & ∑ ∑ ∑ Œ Œ œ

f
œ bœ œ
œ œ œ #œ œ œ
a2

Tbn. 1&2
? ∑ ∑ #œ . œ œ #œ #œ .
f
?
a2

∑ ∑ œ bœ œ œ œ
œ œ #œ œ œ œ #œ
Tbn. 3/Tba.

#œ . #œ .
f
Perc. 1
?œ œ œ œ œ œ œ œ œ œ œ œ
cresc. poco a poco
3 3 3 3 3 3 3 3

Perc. 2 ÷ ‰œ œ œ œœ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ
p
#œ œ #œ nœ #œ nœ
marimba
bœ bœ œ œ bœ œ
Perc. 3 & ∑ ∑ ‰ ‰
3 3
3 3
P
#œ œ #œ nœ #œ nœ bœ bœ œ œ bœ œ
Vln. 1 & œ . bœ #œ
œ œ œ #œ œ. œ #œ #œ œ œ #œ ‰ ‰
3
f
3 3
3
P
#œ œ #œ nœ #œ nœ bœ bœ œ œ bœ œ
& ‰ ‰
œ . bœ #œ œ
œ œ #œ œ #œ #œ œ œ #œ
Vln. 2
œ. 3 3

f P 3 3

œ #œ nœ #œ nœ bœ bœ œ œ bœ œ
Vla. B œ . bœ #œ œ œ œ #œ œ. œ #œ #œ œ œ #œ ‰ #œ ‰
f 3 3
P 3 3

œ bœ œ
Vnc.
? ‰ œ œ #œ bœ œ bœ ‰ #œ œ #œ nœ œ bœ #œ . œ œ #œ œ #œ . œ œ #œ œ œ

P3 3 3 3

œ bœ œ
D.B.
t ‰ œ œ #œ bœ œ bœ ‰ #œ œ #œ nœ œ bœ #œ . œ œ #œ œ #œ . œ œ #œ œ œ
3
P3 3 3

107
 75
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
Fl. 1&2 & Œ
3 f
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ
œ œ œ œ œ
œ œ œ
œ œ
œœ œœ œ œœ œœ œ
Ob. 1&2 & œ œ Œ
œ œ œ œ œ
f
œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ #œ œ œœ œœ œ
3
œ œ œ
3

œ œ œ œ œ œ #œ œ œ œ œœ œ œ œ œ
3

& œ œ œ
œ œ œ œ œ
œ œ œ
œ œ œ œ 3 ‰
Cl. 1&2

f j
?
3 3

Bn. 1&2 ∑ ∑ œ #œ nœ œ. œ
ƒ
a2
œ #œ nœ œ. œ
Hn. 1&2 & ∑ ∑ ? J
ƒ 3

a2
œ #œ nœ œ. œ
Hn. 3&4
? ∑ ∑ J
ƒ 3

œ œ #œ #œ #œ #œ
3
œ œ nœ nœ œ ˙
& œ œ # œ œJ # œ #œ
3

Tpt. 1
J
5 P
œ œ œ nœ œ
œ #œ #œ #œ #œ œ
3

& œ œ # œ œJ # œ ˙
3

J nœ œ
P˙ .
Tpt. 2&3

5
a2
œ #œ nœ œ. œ
Tbn. 1&2
? ∑ ∑ J
ƒ 3

? ∑ ∑
3 j
Tbn. 3/Tba. œ #œ nœ œ. œ
œ
ƒ #œ nœ œ. œ

Perc. 1
? œ œ œ œ œ œ œ œ œ
f
3 3 3 3 3 3

Perc. 2 ÷ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ
f

Perc. 3 & ∑ ∑ ∑

œ œ nœ nœ œ œœœœ œœœœœœ
œ œ #œ #œ #œ #œ œœœœœœ
75

œ œ # œ œJ # œ J
œœ
Vln. 1 & 5
f
3 3 6 6 6

œ œ # œ œJ # œ œ œ #œ #œ #œ #œ œœœœ
œ œ œ œ œœœœœœœ
Vln. 2 & J œ œœœœœ œœ
3 3
5
f 6 6 6
œ œ œ œ
3 3
B #œ œ #œ œ œ #œ nœ œ. œ
Vla.
J
ƒ
œ œ #œ nœ œ. œ
? #œ œ #œ bœ
œ J
Vnc.
#œ #œ
ƒ 3

œ œ
3

œ œ #œ nœ œ. œ
t #œ nœ œ œ J
D.B.
#œ
3 ƒ 3

108
 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 80
œ œ œ œ œ œ œ œ #œ
œ œ œ œ œ œ œ œ œ œ œ œ
Fl. 1&2 & 44
5

5
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ
œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ # œ 44
Ob. 1&2 & œ œ œ œ
œ œ # œ œ œ œœ œ œ œ œ œ œ œ # œ œ œ œœ œ œ œ œ œ œ œ # œ œ œ œœ œ œ œ œ œ # œ
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ 44
Cl. 1&2 & # œ œ œ œœ œ #œ œ œ œ œœ œ #œ œ œ œ œœ œ #œ
œ
5

? œ #œ œ nœ #œ 44
5

#œ . œ œ
3

Bn. 1&2 #œ œ œ nœ 3

#œ œ nœ J œ #œ #œ
3
œ
œ œ #œ œ nœ #œ
?
œ #œ œ œ nœ #œ œ nœ #œ . J œ #œ #œ 44
Hn. 1&2
3
œ
3
3

œ œ #œ œ nœ #œ 5
?
œ #œ œ œ nœ #œ œ nœ #œ . J œ #œ
œ # œ 44
Hn. 3&4
3
3
3
5

˙. œ 44
Tpt. 1 & ˙. ˙

˙ ˙ 44
Tpt. 2&3 & ˙œ . #˙ œ˙
#œ ˙.
œ

œ #œ œ œ nœ #œ . œ œ #œ œ nœ #œ
? #œ œ nœ œ #œ
Tbn. 1&2
J
3
œ # œ 44
3
3
5
j
3

? œ #œ œ nœ #œ 44
3 5
. œ œ
#œ œ œ nœ # œ œ n œ ## œœ .
3
Tbn. 3/Tba.

œ #œ œ œ nœ œ œ #œ œ nœ #œ œ #œ nœ #œ
#œ œ nœ œ #œ #œ
œ
Perc. 1
? œ œ œ œ œ œ œ œ œ 44

4
3 3 3 3 3 3

Perc. 2 ÷ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ 4

Perc. 3 & ∑ ∑ ∑ ÷ 44

œœ œœœœœœ œœ œœœœ œœœœœœ œœœœœœ œ

œœ œœœœœœ œœœœœœ œœ œœœœ œœœ œ œ œ
80

Vln. 1 & 44
6 6 6 6 6 6 6 6 5

œœœœœœœœœ œœœœ œœœœœ œœœœœœœœœœ œœœœœœœœœ œ œ œ œ 4

Vln. 2 & œœ œœœ œœ œ œœ œœ 4
6 6 6 6 6 6 6 6 5

#œ œ nœ #œ
3 5
œ œ 44
B œ #œ œ œ nœ #œ œ nœ #œ .
3
Vla.
J œ #œ #œ
œ
#œ œ nœ #œ
3
œ œ
?
œ #œ œ œ nœ #œ œ nœ #œ . J œ #œ #œ
œ 44
Vnc.
3
3
3

œ œ #œ œ nœ #œ 5
t
œ #œ œ œ nœ #œ œ nœ #œ . J œ #œ #œ 4
œ 4
D.B.
3
3
3
5

109
 w>œ œ3 œ ˙ ˙˙ œœ œœ3 œœ œœ œœ3 œœ œœ œœ3 œœ œ ˙.
#œ ˙ .
& 44 J ‰ J
>
Fl. 1&2
3 ƒ Ï Ï sub. p
œ œ #œ œ ˙.
˙œ œ œ ˙˙ œœ œœ3 œœ œœ 3œœ œœ œœ œœ3 œœ
Ob. 1&2 & 44 Π3
J ‰ œJ ˙ .
3 p3 ƒ Ï Ï sub. p
œ œ # œ ˙œ b œ œ b ˙˙ œœ œœ3 œœ b œœ œœ œœ œœ œœ œœ
3 3

œ
Cl. 1&2 & 44 Π3
Ó Œ b œœ
p 3
ƒ Ï p
?4 j‰ Œ
3
j 3 3
œœ
Ó œ œ. œ œ œ œ œ œ Ó
# œ œ œ ## œ
4 œ œ Œ
œ œ. œ œ œ œ œ œ
Bn. 1&2

p
ƒ Ï
3

?4 œ ‰ Œ œ # œ œœ
3 3

4 J Ó Ó œœ # # œœ œœ œœ œœ œœ ∑
Hn. 1&2 & J #œ
ƒ 3 Ï
?4 œ ‰ Œ
3 3 3
Ó Ó Œ ∑ ?
4 J & œ œ bœ œœ b œœ œœ œœ œœ œœ
J
Hn. 3&4

ƒ 3 Ï
œ3œ ˙ œ œ œ œ œ œ
Tpt. 1 & 44 ∑ Œ J ∑
ƒ 3
Ï 3 3

œ # œ # œ ˙˙ œœ #3œœ œœ œœ 3œœ œœ
Tpt. 2&3 & 44 ∑ Œ ∑
ƒ 3 Ï

?4 œ ‰ Œ
3

4 J Ó
#œ œ œ #œ œ œ. œ œ œ œ œ œ ∑
Tbn. 1&2
J
ƒ Ï 3 3

?4 j‰ Œ
3
j 3 3

4 œ Ó # œ œ œ ## œœ œ œ. œ œ œ œ œ œ ∑
nœ œ . œ œ œ œ œ œ
Tbn. 3/Tba.

ƒ #œ
œ œ
œ Ï
?4 œ ‰ Œ Ó ∑ œ œ œ œ œ œ œ ‰ Œ Ó
Perc. 1 4 J J
ƒ3 3

j dead shot
÷ 44 œj ‰ Œ wæ
s.d.
Ó ∑ œ ‰ Œ Ó œœœ
Ó ‰
Perc. 2

F ƒ
b.d. b.d.
t.d.
p
÷ 44 œj ‰ Œ Ó ∑ j
œ œ œ œ œ œ œ ‰ Œ Ó
3 3
Perc. 3 &
f ƒ
˙ œ œ œ œ œ œ ˙ œ œ œ œ ≥œ ≥œ ≥œ ≥œ ≥œ
Vln. 1 & 44 3 3 3 3 3
∑
fp ƒ Ï
˙ œ œ #œ 3 ≥ ≥ ≥ ≥ ≥
Vln. 2 & 44 œ œ bœ ˙ œ œ œ œ œ œ œ œ œ ∑
fp 3 ƒ 3
Ï 3 3

≥ ≥ ≥ ≥ ≥
B 44 ˙ œ œ #œ œ bœ
3

œ
3
∑
Vla.
˙ œ œ œ œ œ œ œ œ œ
fp 3 ƒ Ï 3 3

?4 ˙ œ ≥œ ≥œ ≥œ ≥œ ≥œ
3
œ œ œ œ œ œ œ œ.
Vnc. 4 #œ œ œ #œ J
∑
fp 3 3 ƒ Ï 3 3

œ ≥œ ≥œ ≥œ ≥œ ≥œ
3
t4 œ #œ œ œ. ∑
4 ˙ œ œ œ œ œ œ #œ œ
3 3
D.B.
J
fp ƒ Ï 3 3

110
 85

œ œ ˙ œ #œ ˙
œ bœ ˙ œ œ ˙ j j 90

& ‰ œ .. w œ œ. ˙˙ œœ ‰ Œ ∑
Fl. 1&2
bœ w n# ˙w
π
œœ œ ˙ œ œ ˙
Ob. 1&2 & œ ˙ œ #œ ˙ ‰ n œœ .. ww ∑ ∑ ∑
π

& ˙˙ ‰ j ∑ ∑ ∑
Cl. 1&2
n˙ œ b ˙˙
#˙ œ # œœ ww
π
? ˙˙ ˙ œ ˙˙
˙ œ ‰ œj ww ∑ ∑ ∑
œ
Bn. 1&2

Hn. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

÷ œ ‰ œœœ Œ ‰ œœœ Œ œœœ ˙ Ó ∑ ∑ ∑

æ
Perc. 2

n
marimba

Perc. 3 & ∑ ∑ ∑ ∑ Ó ‰ j‰ Œ Œ ‰
πœœœ œœœ œœ
85
90

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ Œ ˙. w
∏

Vla. B ∑ ∑ ∑ ∑ ∑ ∑

Vnc.
? ∑ ∑ ∑ ∑ ∑ ∑

D.B.
t ∑ ∑ ∑ ∑ ∑ ∑

111
 ˙˙
˙
95

#œ
œ . œJ œ
1.

Fl. 1&2 & ∑ ∑ ∑ ∑

p F
j # ˙˙
1.

Ob. 1&2 & ∑ ∑ ∑ œ . # œj œj œ . ˙ œ ‰Œ Ó

p F

∑ Ó Œ
1.
j j ˙˙
Cl. 1&2 & j j œ ˙ œ ‰Œ ∑ Ó
#œ œ œ œ œ. F
p ˙
? œ . #œ œ .
œ
1.

∑ ˙ œ ‰ Œ ∑ ∑ Ó ˙
Bn. 1&2
J J J
p F
1. con sord.

∑ ∑ ∑ ∑ ∑ Ó ‰ œ œ œj ‰
3
Hn. 1&2 &
p

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & j‰ Œ Ó ∑ ∑ ∑ ∑ ∑
œ
œ
95

˙ ˙ w
˙ w #˙ .
Vln. 1 &Ó Œ œ ˙
π F
#˙ œ ˙ œ œ. ˙
Vln. 2 &w w w œ œ ˙ J
π F
#œ œ œ ˙
3

˙ ˙ ˙ œ œ ˙
Vla. BŒ ‰ # œJ ˙ w ˙
π
3 F

? ˙
Vnc. w w w ˙. #œ ˙. œ ˙
π F
t ∑ ˙
D.B.
w w ˙. #œ ˙. œ ˙
F
π

112
 œœ
Œ œœ œœ # œœ œœ œœ
100

Fl. 1&2 &J ‰ Œ Ó ∑ Ó œœ Œ ∑

p 3

œœ 3

Ob. 1&2 &J ‰ Œ Ó ∑ Ó Œ # œœ œœ # œœ # œœ œœ

# œœ
Œ ∑
p
œ
Cl. 1&2 & œJ ‰ Œ Ó ∑ ∑ ∑ ∑
p
œ œ œ œ.
?œ ‰ Œ Ó ∑ ∑ Ó Œ ‰ œ œ œ. ‰ Ó
Bn. 1&2
J
p 3

∑ Œ ‰ # œ œ œj ‰ Œ ∑ Œ
3
‰ œ œ œ. ‰ ‰œœœ
3
j
œ ‰ Œ
3
Hn. 1&2 &

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑
2. con sord.
œ ˙ j
Tpt. 2&3 &˙ œ. J ˙ œ œ œ ˙ œ ‰ Œ Ó ∑
P p

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

? #œ œ w
3. con sord.
∑ ∑ œ
Tbn. 3/Tba.
#˙ . œ œ
p F

? ∑ ∑ ∑ ∑ w
Perc. 1 æ
F

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 &Œ ‰ œ œ œj ‰ Œ œœœ Œ ‰ œ œ œj ‰ ∑ ∑ ∑

P
œ œ ˙.
Œ Ó #œ œ
100
œ
Vln. 1 & Ó Œ œ œ w
p F
œ #œ w ˙. œ œ
Vln. 2 & Œ Œ œ œ #œ w
p F
w w ˙. œ œ œ #œ œ w
Vla. B
p F
˙. œ œ #œ œ œ w
Vnc.
?œ Œ Ó ∑
p F
œ #œ œ w
tœ #˙ . œ œ
D.B. Œ Ó ∑
p F

113
 105
1.
œ ˙ œ. œ w œ
Fl. 1&2 & ∑ Ó Œ J Œ Ó ∑
P
1.

Ob. 1&2 &Ó Œ œ ˙ œ . œJ w œ Œ Ó ∑ ∑

P
1.
œ ˙ œ. œ w œ
Cl. 1&2 & ∑ Ó Œ J Œ Ó ∑
P
œ ˙ œ
? Œ œ ˙ œ. œ w
1.

Bn. 1&2 ∑ ∑ Ó J
P

‰ œ œ œ . ‰ ‰ œ œ œ œj ‰ Œ j
3
3 3 3 3 3 3 3 3 3

Hn. 1&2 & Œ ‰œœœ. ‰ Œ ‰œœœ œ ‰Œ ‰œ œœœœœ. ‰ ‰œ œ œ œ œ œ œ œ œ #œ œ

? ‰ œ œ œ œJ ‰ Œ . œœ. œ ‰ œ œ œ #œ œ œ œ œ
‰ œ #œ
œ œ ‰Œ Œ ‰œœœ ‰œ ‰ Œ ‰œœœœœœ
3. con sord.

Hn. 3&4 J ‰ Œ J ‰
3 3 3 3 3 3
p
3 3 3

con sord.

Tpt. 1 &Ó Œ œ ˙ œ . œJ w œ Œ Ó Ó Œ œ ˙ œ. œ
J
P P
3. con sord. a2

& ∑ Ó Œ j‰ Œ Œ ‰ j j‰ Œ Œ j‰ Œ Œ œ ˙ œ. œ
Tpt. 2&3

œœ œ œ œ œœ œ J
P
p
? œ ˙ œ . œJ ˙ œ œ w
1.

Tbn. 1&2
∑ ∑ Ó Œ
P
3.

Tbn. 3/Tba.
?œ Œ Ó Ó Œ œ œ œj ‰ Œ Œ ‰ œj œj ‰ Œ Œ œ œ œj ‰ Œ Ó ∑
p p

?œ Œ Ó ∑ ∑ ∑ ∑ ∑
Perc. 1 æ
p
b.d.

Œ œ œ œj ‰ Œ Œ ‰ œj œj ‰ Œ ‰ œ œ œ œ œ
3
÷ ∑ ∑ ∑ Ó
3
Perc. 2

p p

Perc. 3 & ∑ Ó Œ j‰ Œ Œ ‰ j j‰ Œ Œ j‰ Œ Ó ∑
œœ œ œ œ œœ œ
p 105

Vln. 1 &w w ˙. #œ ˙ ˙ ˙ ˙ w 3
#˙
π P
3

Vln. 2 &w #w #˙ . œ ˙ ˙ #w #˙ w
π P
˙. #œ ˙ #˙ w #w
Vla. Bw #w
π P
w ˙
Vnc.
? B ? ∑ ∑ ∑ ∑ Ó
P
w ˙
D.B.
t ∑ ∑ ∑ ∑ Ó
P

114
 œ œ #œ
110

1. #œ ˙ #œ . #œ #œ . #œ #œ #œ
Fl. 1&2 & ∑ Ó Œ J J J J #œ œ. ‰
f P
1.

Ob. 1&2 & ∑ ∑ ∑ ∑ Ó Œ nœ

P

Cl. 1&2 & ∑ ∑ ∑ ∑ ∑

Bn. 1&2
? œ Œ Ó ∑ ∑ ∑ ∑

Hn. 1&2 & œ Œ Ó ∑ ∑ ∑ ∑

F

Hn. 3&4
? œ Œ Ó ∑ ∑ ∑ ∑
F
#œ w œ
Tpt. 1 & œ œ œ Œ Ó ∑ ∑
f
œœ b b ww œœ
Tpt. 2&3 & œ œœ # œœ Œ Ó ∑ ∑
f
Tbn. 1&2
? œ Œ Ó ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑
t.d.

Perc. 2 ÷ œ Œ Ó ∑ œœœ Œ Œ ‰ œ œ œj ‰ ‰ œ œ œj ‰ Œ ∑
F p

Perc. 3 & ∑ ∑ ∑ ∑ ∑

œ w œ #˙ .
110

œ #œ œ #˙ . #œ ˙ b˙
Vln. 1 &
f
œ #œ œ #w œ ˙. #˙ .
Vln. 2 & œ #œ ˙ ˙
f
#œ w œ
nœ œ œ ˙. #˙ . #œ ˙ ˙
Vla. B
f
œ œ #œ
Vnc.
? œ #w w w œ ˙ #œ
f
œ œ #œ
t œ #w w w œ ˙
D.B.
#œ
f

115
 115
˙. œ
Fl. 1&2 &Ó ∑ ∑ Œ J ‰ Œ Ó
π
j œ Œ ∑ Œ ˙. œ ‰ Œ Ó
Ob. 1&2 & œ. œ œ ˙.
J
p π
œ w œ ‰ Œ
1.

& ∑ Œ œ œ. j ˙ J Ó
Cl. 1&2
œ œ
p π
? ∑ ∑ ∑ Œ ˙. œ ‰ Œ Ó
Bn. 1&2
J
π

Hn. 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

timp.
? ∑ ∑ Œ ‰ œœœ Œ ‰ œœœ ‰ Œ œœœ ∑
Perc. 1
J
π

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑
115

#w w w œ ‰ Œ
Vln. 1 &w J Ó
P π

&w #w w w œ ‰ Œ Ó
Vln. 2

P
J
π
w w w w œ
Vla. B J ‰ Œ Ó
P π

?w w w w œ ‰ Œ Ó
Vnc.
J
P π
t j‰ Œ Ó
D.B. w w w w œ
P π

116
 II. SCHERZO
©»¡™º 5

Flute 1&2 & 34 ∑ ∑ ∑ ∑ ∑ ∑

Oboe 1&2 & 34 ∑ ∑ ∑ ∑ ∑ ∑

Bb Clarinet 1&2 & 34 ∑ ∑ ∑ ∑ ∑ ∑

œ. . b œ #œ œ #œ œ œ #œ œ
‰ œ œ #œ œ #œ ‰ J #œ œ ‰ ‰ œ œ #œ #œ #œ œ bœ .
1.
?3 ∑ ∑ J
Bassoon 1&2 4 J
p

Horn in F 1&2 & 34 ∑ ∑ ∑ ∑ ∑ ∑

Horn in F 3&4 & 34 ∑ ∑ ∑ ∑ ∑ ∑

Bb Trumpet 1 & 34 ∑ ∑ ∑ ∑ ∑ ∑

Bb Trumpet 2&3 & 34 ∑ ∑ ∑ ∑ ∑ ∑

?3 ∑ ∑ ∑ ∑ ∑ ∑
Trombone 1&2 4

?3 ∑ ∑ ∑ ∑ ∑ ∑
Trombone 3/Tuba 4

?3 ∑ ∑ ∑ ∑ ∑ ∑
Percussion 1 4

Percussion 2 ÷ 34 ∑ ∑ ∑ ∑ ∑ ∑
marimba
j
Percussion 3 & 34 œ ‰ Œ Œ j‰ Œ Œ ∑ ∑ ∑ ∑
F œ
©»¡™º P 5
j
pizz.
3
&4œ ‰ Œ Œ
Violin 1 j‰ Œ Œ ∑ ∑ ∑ ∑
F œ
P
j
pizz.

Violin 2 & 34 œ ‰ Œ Œ j‰ Œ Œ ∑ ∑ ∑ ∑
F œ
P
B 34 œj ‰ Œ Œ j
pizz.

Viola œ ‰ Œ Œ ∑ ∑ ∑ ∑
F P
?3 œ ‰ Œ Œ ‰ œj œj ‰
pizz.

4J j
œ ‰ Œ Œ
j
œ ‰ Œ Œ j
œ ‰ Œ Œ Œ Œ ‰ # œ œj ‰
Cello

F
J
P p

‰ œj œj ‰
pizz.

t3 œ ‰ Œ Œ j j j Œ ‰ # œ œj ‰
Double Bass 4J œ ‰ Œ Œ œ ‰ Œ Œ œ ‰ Œ Œ Œ
J
F P p

117
 10

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑

. œ œ œ œ #œ j
‰ b œ œ b œ œ. b œ œ ‰ # œJ
1.

& ∑ œ œ ‰ ‰ œ bœ œ œ #œ bœ #œ . #œ
Cl. 1&2
œ J
P
. . .
? # œ œ b œ # œ. œ # œ œ # œ . Œ
.
‰ œ.j œ. œ
œ œ œ b œ b œ. b œ.
Bn. 1&2 œ. ˙ œ. b œ. J
P p

Horn 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑

10

Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

B ∑ j
œ ‰ Œ Œ j
œ ‰ Œ Œ ‰ œj œ ‰ Œ Œ ‰ #œ j
œ ‰
Vla.
J J
P
? ∑ ∑ ∑ j j
Vnc. bœ ‰ Œ Œ bœ ‰ Œ Œ
P
œ #œ
D.B.
t ∑ œ ‰
J Œ Œ œ ‰ Œ
J Œ ‰ œJ J ‰ Œ Œ ‰ J œ ‰
J
P

118
 15

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑

# œ. œ #œ œ #œ œ œ
‰ # œ # œ n œ. œ b œ œ
1.

Ob. 1&2 & ∑ ∑ ∑ ‰ J nœ

F
œ. œ. # œ. œ. b œ j ‰ Œ Œ ∑ ∑
Cl. 1&2 & #œ œ œ . b œ œ b œ # œj
F P
bœ . œ
? bœ bœ .
œ b œ. œ .œ œ. œ œ #œ j ‰ Œ
#œ Œ j
# œ. ‰ Œ Œ j
# œ. ‰ Ó
Bn. 1&2
J bœ
F

Horn 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑
timp.

? ∑ ∑ ∑ j j
Perc. 1 #œ ‰ Œ Œ #œ ‰ Œ Œ
F

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ? ‰ œ # œ œ œj ‰ ∑ & ∑
Perc. 3
J
p F
15

Vln. 1 & ∑ ∑ ∑ ∑ ∑

∑ ∑ j‰ Œ Œ j j
Vln. 2 & #œ œ ‰ Œ Œ œ ‰ Œ Œ
p F

B ∑ ∑ ‰ j ‰ ∑ ∑
Vla.
œ # œ œ œj
p F
? ‰ œj b œ ‰ Œ ∑ ‰ œ # œ œ œj ‰ Œ ‰ # œJ œj ‰ ∑
Vnc.
J J
p F

t ∑ ∑ j j j
D.B. #œ ‰ Œ Œ #œ ‰ Œ Œ #œ ‰ Œ Œ
p
F

119
 # œ œ. b œ. œ b œ œ #œ bœ #œ œ œ
œ bœ
20 1.

Fl. 1&2 & ∑ ∑ ∑ ‰ bœ ‰ J

f
bœ œ. # œ œ. # œ. œ. œ. # œ
Ob. 1&2 & b œJ ‰ ‰ b œ œ œ œ # œ J œ #œ œ . #œ . ˙ Œ
f P
. œ . bœ bœ
& ‰ b œj œ. b œ. # œ n œ b œ b œ b œ œ. j #œ œ. œj ‰ Ó
Cl. 1&2
. . .
j
œ œ œ
œ œ b œ. b œ. œ.
œ. .
P F P
? # œj ‰ Œ j . œ. .
. Œ # œ. ‰ Œ Œ ∑ ‰ # œ. # œJ ‰ Œ Œ ‰ J # œJ ‰
Bn. 1&2
J
f

Horn 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ œ ‰ Œ Œ œ ‰ Œ Œ
Perc. 1 J J
f

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑

j j
20

Vln. 1 & ∑ ∑ ∑ œ ‰ Œ Œ œ ‰ Œ Œ
f
j ‰ # œJ j
Vln. 2 & ‰ œ œJ ‰ Œ Œ œ ‰ ∑ Œ Œ bœ
J
‰ Œ Œ bœ ‰
J

B Œ Œ j j ‰ œ b œJ ‰ ‰ # œJ œ
bœ ‰ Œ Œ bœ ‰ Œ Œ Œ Œ ‰ Œ
Vla.
J J
F f
? # œj ‰ Œ j ‰ # œ # œJ ‰ Œ œ #œ ‰
Œ #œ ‰ Œ Œ ∑ Œ ‰ J J
Vnc.
J
f
œ #œ
t ‰ œJ J ‰ Œ Œ ‰ J
œ ‰
J ∑ œ ‰ Œ Œ œ ‰ Œ Œ
D.B. J J
f

120
 œ b œ. # œ. œ. b œ. n œ
25
bœ bœ bœ bœ œ œ. œ #œ bœ . j j
Fl. 1&2 & J ‰ ‰ bœ œ J œ œ œ ‰ Œ Œ
F
j . .
& ‰ b œ. b œ b œ # œ. n œ. j b œ œ n œ. œ. j .
œ. b œ j
bœ bœ œ œ œ. # œ. b œ. œ. ‰ Œ Œ
Ob. 1&2 œ œ b œ. œ . # œ
F f F

∑ j ‰ # œj j ‰ Œ ‰ # œj œ.j ‰
b œ. ‰ Œ Œ
& Œ ∑
. œ. .
Cl. 1&2

f
. . œ. .
? œ. ‰ Œ Œ œ. ‰ Œ Œ ‰ # œJ œJ ‰ Œ Œ ‰ J # œJ ‰ j
Bn. 1&2
J J œ. ‰ Œ Œ

Horn 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑

œ
tgl.

Perc. 2 ÷ ∑ ∑ ∑ ∑ Œ Œ
F

Perc. 3 & ∑ ∑ ∑ ∑ ∑

j j bœ #œ œ bœ nœ
j
25

Vln. 1 & ‰ œ œJ ‰ Œ Œ ‰ # œJ œ ‰ ∑ œ ‰ Œ Œ œ #œ
f

& Œ Œ ‰ œ bœ ‰ Œ
J Œ ‰ # œJ œ ‰ Œ ∑ ∑
Vln. 2
J J

B Œ Œ #œ ‰ Œ Œ #œ ‰ Œ Œ ‰ # œ # œJ ‰ Œ Œ ∑
Vla.
J J J
œ œ
? œ ‰ Œ Œ œ ‰ Œ Œ ‰ # œJ J ‰ Œ Œ ‰ J # œJ ‰ ∑
Vnc.
J J
œ bœ
t ‰ œJ J ‰ Œ Œ ‰ J
œ ‰
J ∑ œ ‰ Œ Œ œ ‰ Œ Œ
D.B. J J

121
 œ. j
30

Fl. 1&2 & J ‰ Œ Œ œ. ‰ Œ Œ ∑ ∑ ∑ ∑

F P
œ. j
Ob. 1&2 & J ‰ Œ Œ œ. ‰ Œ Œ ∑ ∑ ∑ ∑
F P
j
Cl. 1&2 & œ. ‰ Œ Œ j‰ Œ Œ j‰ Œ Œ ∑ ∑ ∑
F œ. œ.
P p
? œ. ‰ Œ Œ j j
œ. ‰ Œ Œ œ. ‰ Œ Œ
Bn. 1&2 J ∑ ∑ ∑
F P p

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑

j
secco

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ œ. ‰ Œ Œ
F
j
a2 secco

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ œ. ‰ Œ Œ

F
œ. ‰ Œ
secco
a2
? ∑ ∑ ∑ ∑ ∑ Œ
Tbn. 1&2 J
F
secco
? ∑ ∑ ∑ ∑ ∑ j
Tbn. 3/Tba.
œ ‰ Œ Œ
F œ.
? ∑ ∑ ∑ ∑ ∑ œ. ‰ Œ Œ
Perc. 1 J
f

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ # œ œ œ œ œ œ # # œœ œ œœ œ œœ œ # # œœ œ œœ œ Œ ∑
Perc. 3
œ œ œ œ œ
F π

bœ œ bœ œ œ bœ . œ œ œ #œ œ œ œ œ œ # œ œ œ œ œ œ # œ œ œ œ Œ ‰ œ œ œ. # œ b œ œ
30 arco

Vln. 1 & J œ b œJ . #œ
F π f
j j
arco

& œ œ bœ œ bœ bœ œ œ œ œ œ œ bœ bœ bœ . œ œ œ b œ œ œ œ œ œ b œ œ œ œ Œ ‰ œ œ œ. # œ b œ œ
. #œ
Vln. 2

F π f
f
œ œ #œ œ bœ ‰ b œj œ œ œ œ
arco

B Œ Œ # œ# œ œ œ œ œ # œ# œ œ œ Œ ‰ œ œ œ b œ œ
Vla.
#œ œ œ œ . # œ. #œ
f F π f
œ.
? œ# œ œ œ œ œ œ # œ œ œ Œ ‰ œ œ # œ. b œ œ # œ
arco

∑ Œ œ #œ œ œ #œ œ#œ œ œ ‰ œ
Vnc.
J
F π f
.
t # œ œ b œ n œ œ # œ # œ œ œ œ œ œ # œ œ œ œ Œ ‰ œ œ œ # œ. b œ œ # œ
arco

D.B. ∑ ∑ bœ
f
F π

122
 35 a2
j œ. . œ #œ #œ #œ .
œ
nœ œ
J
Fl. 1&2 & ∑ ∑ ∑ ‰ œ.
f
. œ #œ #œ #œ . nœ œ
‰ œ.j œ. œ
a2

Ob. 1&2 & ∑ ∑ ∑ J

f
a2

& ∑ ∑ ∑ ‰ j œ œ #œ #œ #œ . nœ œ
J
œ. œ. .
Cl. 1&2

f
œ #œ #œ . nœ œ
a2
? ∑ ∑ ∑ ‰ œj œ. œ. # œ J
.
Bn. 1&2

Horn 1&2 & ∑ ∑ ∑ ∑ Œ #˙

P
∑ ∑ ∑ ∑ ? Œ
Hn. 3&4 &

j j j Œ j ‰ œj œ ‰ Œ
Tpt. 1 & œ. ‰ Œ Œ
œ. ‰ ‰ œ. # œ. ‰ ‰ # œj Œ ∑
J
. f
j Πj
j
& œ. ‰ Œ Œ j j ‰ œj œ ‰ Œ
Tpt. 2&3
œ. ‰ ‰ œ. # œ. ‰ ‰ # œj Œ ∑
œ
. fœ
œ. . # .
œ œ
? œ. ‰ Œ Œ œ ‰ ‰ œJ Œ .
#œ ‰ ‰ #œ Œ ∑ ‰ œœ œ ‰ Œ
J J J J J
Tbn. 1&2

fJ
j j
? j‰ Œ
œ Œ œ ‰ ‰ œj Œ j ‰ ‰ #œ Œ ∑ ‰ œj œj ‰ Œ
Tbn. 3/Tba.
œ. . # œ. # œ.
œ. fœ œ

? œ. ‰ Œ Œ ∑ ∑ ∑ ∑
Perc. 1 J

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑

œ œ # œ œ # œ œ b œ œ 35 œ œ b œ œ œ ≤ ≥
#œ œ #œ œ œ œ
# œ #œ œ œ œ#œ œ #œ œ #œ œ œ œ œ ‰ ‰ œ œ # œ # œ≤ # œ-
Vln. 1 &‰ J 3 3 3 J J J
F
3
P F
#œ œ #œ œ œ œ #œ œ œ #œ œ #œ œ bœ œ
3

&‰ J œ b œ œ j j j
Vln. 2
3
#œ œ œ œ œ œ
œ#œ #œ œ #œ œ œ œ œ ‰ ‰ œ œ # œ # œ # œ-
P F
3
3
F
B ‰ #œ œ #œ œ œ œ #œ œ j #œ
œ œ bœ œ J #œ
œ
#œ œ #œ œ J œ #œ œ œ œ ‰ ‰ œ
Vla.
J J œ J J J œ#œ#œ #œ
F P F -
#œ œ #œ œ œ #œ 33

?‰ J œ œ j #œ
œ œ bœ œ J #œ
j
# œ œ # œ œ œJ œ j
œ #œ #œ œ ‰ ‰ œ œ # œ # œ # œ-
Vnc.
J œ J
F P F
#œ œ #œ œ œ #œ 3

t‰ J #œ œ j #œ
œ œ bœ œ J œ
j
# œ œ # œ œ œJ œ j
œ #œ #œ œ ‰ ‰ œ œ # œ # œ # œ-
D.B.
J œ J
F P F

123
 œ . 40 b œ . œ . œ.
#œ œ n œ œ. b œ. œ œ. œ # œ. # œ. œ b œ. 1.˙ #˙ .
Fl. 1&2 & J #œ ‰ bœ J‰ ˙.
ƒ F p
#œ œ n œ œ. b œ. œ . b œ . œ œ. b œ. #1.œ
& J #œ ‰ bœ œ œ. œ # œ. # œ œ. J‰ œ œ. #œ œ
J
œ. #œ œ
Ob. 1&2
. J
ƒ F p
1.

& # œj # œ œ n œ œ. b œ. ‰ œ bœ . œ b œ. ‰ # œ # œ ˙ bœ œ ˙
Cl. 1&2
bœ b œ œ. n œ. # œ. # œ œ. œ. J
ƒ . F p
. b œ . œ œ. b œ. 1.˙
? #œ #œ œ n œ œ b œ. ‰ bœ œ .
b œ œ. n œ # œ. # œ œ. J‰ #˙ . ˙.
Bn. 1&2
J
ƒ
. F p

& Œ˙ ˙ # ˙œ .. ‰ Œ ∑ ∑
œ #œ . ˙œ. . #œ . b# œœ ..
Horn 1&2

fΠP
#œ #œ
? ˙. # ˙˙ . bœ ˙œ . ˙ ## œœ .. ‰ Œ ∑ ∑
Hn. 3&4 &
f P

‰ # œJ j œ ‰ Œ j
Tpt. 1 & Œ œ ‰ J Œ œ ‰ Œ Œ ∑ ∑ ∑

j j
‰ #œ j œ ‰ Œ j
Tpt. 2&3 & Œ #œ
œ ‰ œ Œ œ ‰ Œ Œ ∑ ∑ ∑
œ œ
#œ œ ‰ œ œ ‰ Œ
? Œ ‰ #œ œ ‰ Œ Œ Œ ∑ ∑ ∑
Tbn. 1&2
J œ J œ
J J
? Πj j
‰ # œ œj ‰ œ ‰ Œ Œ j
œ ‰ Œ Œ ∑ ∑ ∑
œ
Tbn. 3/Tba.
#œ œ œ

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑

≥ b ≤œ . œ # œ. œ. b œ. # œ. œ - 40# œ. # œ. n œ. # œ. n œ œ # œ- œ. œ. # œ. œ. b œ . . .
œ J #œ œ # œ œ œ œ≤. œ œ. œ œ. # œ. # œ. œ. œ. œ. œ.
Vln. 1 &
3
f ƒ p
≥ ≤
œ # œ. œ. b œ # œ œ # œ. n œ œ # œ- œ. œ. # œ. œ. b œ
3
# œ≤. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ.
Vln. 2 & œ bœ . J . . # œ œ- # œ. # œ. n œ. #œ œ œ.
f ƒ.
. n œ. # œ. n œ œ # œ- œ œ. # œ. œ. b œ p
≥ ≤ œ # .
œ # œ # œ œ # œ. # œ≤. œ. œ. œ. œ. # œ. # œ. œ. œ. œ. œ.
B œ bœ . œ # œ. œ b œ. # œ œ # œ -
Vla.
J . . 3
f ƒ
≥ ≤ œ # œ. œ. b œ. . œ - # œ. # œ. n œ. # œ. n œ œ # œ- œ. œ. # œ. œ. b œ . ≤. . œ. . œ. . # œ. . œ. . œ.p
Vnc.
? œ bœ . J #œ #œ œ #œ œ œ b œ œ œ œ œ œ
f ƒ 3

≥ ≤ œ # œ. œ. b œ. . œ - # œ. # œ. n œ. # œ. n œ œ # œ- œ. œ. # œ. . b œ p
t œ bœ . J #œ #œ œ œ # œ œ # œ. œ≤. œ. œ. œ. œ.
œ. # œ. œ. œ. œ. œ.
D.B.

f ƒ 3
p

124
 45

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Ob. 1&2 & b˙ . ∑ ∑ ∑ ∑ ∑

& œ. j ‰ Œ ∑ ∑ ∑
Cl. 1&2 #œ œ #˙ . œ.
π
? #˙ . ‰ Œ ∑ ∑ ∑
Bn. 1&2 ˙. œ.
π

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ˙ œ œ ˙ b˙ #œ
P F
2.

& ∑ ∑ ∑ œ #œ œ ˙ #œ œ
Tpt. 2&3
#œ #œ
P F
b˙
1.

? ∑ ∑ ∑ œ œ ˙ #œ œ œ
Tbn. 1&2

P F
? œ
3.
∑ ∑ ∑ œ œ œ #œ #œ œ
Tbn. 3/Tba.
˙
P F

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑

45

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Vln. 2 & b œ. œ. œ. œ. œ. œ. ∑ ∑ ∑ ∑ ∑
π
pizz.

Vla. B # œ. # œ. œ. œ. œ. œ. # œ. # œ. œ. œ. Œ ∑ Œ j
œ ‰ œ œ ‰ œj ‰ œj ‰ œj # œj ‰ œj ‰ œj ‰
π p

‰ œj Œ j j j ‰ b œj ‰ œj ‰ j
pizz.
? # œ. œ. œ. œ. œ. œ. #œ œ œ #œ j
Vnc. œ. . œ. . œ. . œ. . œ. ‰. Œ œ bœ œ ‰ œ ‰ #œ ‰ œ
π p
t œ #œ #œ œ
œ. # œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. ˙ œ œ œ
D.B.

P F
π

125
 50 55

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Cl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

‰ ‰ b œj ‰ œj ‰
1.

?
2.

∑ ∑ ‰. j ‰. j ‰. j ‰. j ‰. j ‰. j . j . . . . .
œ œ.
p .
œ. œ. œ. œ. œ #œ œ b œ. œ ‰. œJ ‰. b œJ
Bn. 1&2

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ b˙ bœ
Tpt. 1 & ˙ œ ˙ bœ ˙.
P P

& #œ œ œ j ∑ ∑ ˙ bœ
Tpt. 2&3
#œ ˙ œ. bœ œ
P P
bœ œ bœ
Tbn. 1&2
? ˙ œ œ œ œ ˙. ∑ ∑
P P
? ∑ ∑ b˙ bœ
˙ œ ˙ œ ˙. bœ
b˙
Tbn. 3/Tba.

P P

Perc. 1
? ∑ ∑ Œ ‰ œœœ ∑ ∑ ∑
p

‰ œ œ œj œ j j
t.d.

Perc. 2 ÷ ∑ ∑ ∑ œ œ ‰ Œ Œ ∑
π

Perc. 3 & ∑ ∑ ‰ j‰ Œ ∑ ∑ ∑
p œœœ
50 55

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

pizz.

∑ ∑ Œ j‰ Œ Œ j‰ Œ Œ j‰ Œ Œ j
Vln. 2 &
œ bœ ‰ Œ
p
œ œ
B œj ‰ œj ‰ Œ ‰ œj Œ j
œ ‰ Œ
j j
œ ‰ œ ‰ Œ
j j
œ ‰ œ ‰ Œ ‰ œj j ‰ Œ j‰
œ œ bœ œ
Vla.

? ‰ # œj ‰ # œ œ Œ j
œ ‰ œ b œ ‰ œj ‰ œj ‰ œj ‰ œj Œ ‰ j Œ ‰ j j‰ ‰ œj ‰ œj ‰ b œj
Vnc.
J œ œ #œ œ

t ‰ œJ Œ ‰ œJ Ó
pizz. arco

˙ œ ˙ œ ˙. Œ bœ
b˙
D.B.

P P

126
 60

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

2.

Cl. 1&2 & ∑ ∑ ∑ ∑ ∑ Œ j‰ Œ

p b œ.
j
? ‰. b œ. j# ‰œ.
j
œ. ‰. œ.
j œ. ‰. b œ. j ‰. j j j j
œ. ‰. œ. ‰. œj ‰. œ.j ‰. œ. ‰. œj ‰. b œj ‰. ‰. b œ. ‰. b œ. j ‰. œ.
j
b œ.
j‰ Œ j
œ. ‰
b œ ‰. œ œ œ #œ #œ . œ œ #œ . œ . bœ bœ œ œ . . .
J J ‰. J ‰. ‰. J ‰. J ‰. J ‰. J ‰. J ‰. J ‰. J ‰. J ‰. J J ‰. J ‰. J ‰. ‰ b œJ ‰ œJ ‰ œJ
Bn. 1&2

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑

b˙ ˙ ˙.
Tpt. 1 & œ œ ˙ bœ œ b˙ ˙.
F P

& œ ˙ œ œ #œ œ œ bœ
Tpt. 2&3
bœ œ bœ ˙. ˙.
F P
˙ bœ œ bœ œ œ bœ œ œ ˙. b˙ .
? œ œ
Tbn. 1&2

F P
? ˙ œ ˙ #œ ˙ bœ ˙. œ b˙ ˙.
Tbn. 3/Tba.
˙ œ ˙ bœ ˙. œ b˙ ˙.
#œ ˙
F P

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ‰ b œ œ œJ ‰ Œ
p

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑ Œ ‰
p
bœ œ œ
60

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

& Œ ‰ jŒ j‰ Œ j‰ j‰ Œ j‰ j‰ Œ j
bœ ‰ ‰ jŒ ‰ b œj Œ ‰ b œj Œ
œ
Vln. 2

œ œ œ œ œ bœ

‰ œj Œ j
B ‰ jŒ
bœ bœ ‰ ‰ j ‰ j ‰ j Œ ‰ j‰ jŒ j ‰ ‰ b œj Œ ‰ b œj Œ ‰ œj
bœ
Vla.
#œ #œ œ #œ œ
? b œj ‰ # œj ‰ œj ‰ ‰ œ ‰ œ Œ Œ œ ‰ ‰ # œj Œ œ ‰ ‰ b œj Œ bœ ‰ œ ‰ j ‰ j ‰ j ‰
Vnc.
J J J J J J bœ œ œ

t
D.B.
˙ œ ˙ #œ ˙ bœ ˙. œ b˙ ˙.
F P

127
 65

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

j j
1.

& Œ j‰ ‰ b œj œ . j
œ bœ j‰ Œ ‰ œj œj ‰ Œ j‰ Œ ‰ œj œj ‰ Œ œ ‰ bœ ‰
Cl. 1&2
œ. œ
b œ. œ. œ. œ. œ. œ. œ. b œ.
j‰ Œ j P
œ. ‰ Œ j j j‰ Œ j Œ . ‰ œj
? b œ. . . ∑ . œ. b œ Œœ. Œ
. œ. ‰œ. Œ
. œ. ‰. œ. b œ.
œ. ‰. .
‰ b œJ ‰ œJ Œ œ. œ Œ . J ‰ ‰ œJ ‰ J ‰ œJ ‰ b œJ Œ ‰ J ‰ b œJ ‰ œJ Œ
Bn. 1&2

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ˙ b˙ bœ ˙ bœ
Tpt. 1 & œ œ ˙
F
a2

& ∑ ∑ œ œ œ œ œ œ œ bœ
Tpt. 2&3

F
œ œ bœ œ
œ
a2
bœ œ œ bœ bœ bœ bœ
? ∑ ∑ œ œ œ œ
Tbn. 1&2

? ∑ ∑ ˙ bœ ˙
Tbn. 3/Tba.
˙ œ œ ˙ b˙ œ
œ œ ˙ b˙ bœ ˙ œ
F

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ‰ œ œ œj œ j j
œ œ ‰ Œ Œ ∑ ∑ ∑ ∑
π

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑

65

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

j ‰ b œj Œ
Vln. 2 & Œ bœ ‰ Œ Œ ∑ j‰ Œ Œ Œ ‰ jŒ Œ Œ j‰
œP œ bœ

B b œj ‰ Œ j j
œ ‰ bœ ‰ Œ ‰ j Œ j ‰ ‰ œj Œ j‰ j‰ j‰ Œ j j j
œ ‰ œ ‰ œ ‰ Œ
Vla.
bœ P
œ œ œ œ

? ‰ jŒ ‰ j Œ Œ j‰ œ ‰ b œj œj ‰ ‰ œj ‰ œj ‰ œj ‰ b œj œ ‰ ‰ b œj ‰ b œj ‰ œj ‰ œJ
Vnc.
bœ œ bœ œ J
P
pizz.

‰ b œJ Œ ‰ b œJ œJ ‰ Œ
arco
t Œ bœ ˙
D.B.
˙ œ œ ˙ b˙ œ
F

128
 ˙.
a2
70

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

P
œœ
a2

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰J

P
j j j j j j
& bœ ‰ ‰ j
œ Œ Œ ‰ œ œj ‰ Œ ‰ œ œj ‰ Œ ‰ œ œj ‰ Œ ‰ œ œj ‰ Œ ‰ œ j‰ j
œ ‰Œ Œ
Cl. 1&2
b œ. œ. œ œ. œ œ. œ œ. œ œ
p . œ. œ.
œ. . . . .
j j
? ‰ œ. œŒ. j‰
# œ. œ.
j
œ. ‰.
j‰ ‰ j
œ. . œ.
j
œ. ‰.
j‰ ‰ j
œ. . œ.
j
œ. ‰.
j‰ ‰ j
œ. . œ.
j
œ. ‰.
j‰ ‰ j
œ . œ
j
œ. ‰.
j
œ. ‰ ‰. œ.
j œ ‰Œ Œ
Œ J ‰ ‰ ‰ œJ Œ œJ ‰ ‰ œJ Œ œJ ‰ ‰ œJ Œ œJ ‰ ‰ œJ Œ. œJ ‰. ‰ œJ Œ J ‰ œ œ.
Bn. 1&2

J p

& ∑ ∑ ∑ ∑ Œ ‰ œj œ ˙˙ ..
j
œœ ‰ Œ Œ
Horn 1&2
œ œ
P p
œ œ ˙˙ .. œœ
Hn. 3&4 & ∑ ∑ ∑ ∑ ? Œ ‰ œJ œ J‰Œ Œ
P p

˙. ˙. ˙ œ œ œ. j j j
Tpt. 1 & œ œ œ. œ œ œ ‰ ‰ Œ. ∑
f P
j j‰ ‰ Œ. ∑
Tpt. 2&3 & œ œ œ œ. œ œ œ œ œ ˙. ˙. œ
f P
œ #œ œ bœ œ œ œ.
? œ œ œ. œ œ œ. J
œ œ
J
œ
J ‰ ‰ Œ. ∑
Tbn. 1&2 J
f P

? j j j‰ ‰ Œ.
œ œ œ. œ œ ∑
Tbn. 3/Tba.
˙. œ. ˙. ˙. œ
˙. f
˙. ˙. ˙. ˙. œ
P
? ∑ œ- œ œ- œ œ- œ œ- œ œ- œ œ- œ œ Œ ‰ œœ œJ ‰ Œ Œ ∑
Perc. 1 J J J J J J
F P p
œ
tgl.

÷ ∑ j j j j j
Perc. 2 œ. œ œ œ. œ œ œ. œ œ œ ‰ Œ Œ œ ‰ Œ Œ Œ Œ
P p π P

Perc. 3 & ∑ Œ ‰ j‰ Œ Œ ∑
œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œœ œ
F P p
70

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

& j‰ Œ Œ ‰ j‰ j Œ
œ
‰ j‰ j Œ ‰ j‰ j Œ ‰ j‰ j Œ ‰ j‰ j Œ j‰ Œ Œ
œ œ œ œ œ œ œ œ
Vln. 2
bœ
P œ p
œ
B ‰ œj ‰ œj Œ j ‰ j ‰ ‰ j j ‰ ‰ ‰ j j ‰ j ‰ ‰ j j ‰ j ‰ ‰ j j ‰ j ‰ ‰ j œj ‰ Œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vla.

P J p
? Πj
Vnc. œ ‰ # œ œ ‰ œj Œ œj ‰ ‰ œj Œ œj ‰ ‰ œj Œ œj ‰ ‰ œj Œ œj ‰ ‰ œj Œ œj ‰ œj ‰ Œ Œ
P p

t œ œ j j .
D.B.
˙. œ. J
œ. œ œ ˙. ˙. œ ‰ ‰ Œ ∑
f P

129
 75
œ. œœ œœ œœ .. œœ œœ œœ . j j
a2 80
. œ œ
Fl. 1&2 & J J œ œ ˙. ˙. œ ‰ Œ Œ ∑ ∑
F p
œ œœ œœ
Ob. 1&2 & b œœ œœ œœ œœ b œ œ
œ œ œœ .. j
œœ œœ ˙˙ ..
j
œœ ‰ Œ Œ ∑ ∑
F p

Cl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

75 80

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ˙. ˙ œ
p

Vln. 2 & ∑ Œ œ œ j‰ j‰ Œ Œ ∑ ∑ j‰ Œ Œ ∑ ∑
œ œF œp
j j j
Vla. B Œ ‰ jŒ
œ œœœ ‰Œ œ ‰ Œ Œ ∑ ∑ œ ‰ Œ Œ ∑ ∑
p
F
œ œ
?Œ ‰œ ‰ J ‰ J œ œ œj ‰ Œ Œ œj ‰ Œ Œ ∑ ∑ ∑ ∑
Vnc.
Jœ œ
F p
œ œ œ‰Œ œ
‰ J œJ ‰ Œ Œ œj ‰ Œ Œ
pizz.
tÓ ∑ ∑ ∑ ∑
D.B. J
F p

130
 85 90

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

1.

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ j‰ Œ Œ
œ.
Cl. 1&2

P
œ. ‰ Œ œ œ
Œ Œ Œ œ ‰ œœJ ‰ Œ
1.
? ∑ ∑ ‰ œœœ ‰ Œ ∑ Œ Œ
Bn. 1&2
J J
p P

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j œ œ œ
Perc. 3 & ∑ ? œ. ‰ Œ Œ ∑ ∑ ‰ œJ ‰ Œ Œ œ ∑ Œ ‰ # œJ œ
P p

œ bœ bœ .
85

œ œ. œ œ œ œ œ œ œœœ œ
90

Vln. 1 &œ œ œ J J ˙ ˙. ˙.
P p
arco
œœ œ œ œ œ. œ œ œ œ œ œ
Vln. 2 & ∑
˙. ˙ œ œ œ œ œ bœ . J J
p P
arco
œ. œ œ
Vla. B ∑ ∑ ∑ ∑ ˙. ˙ œ œ œ œ œ J
p P
˙.
arco

Vnc.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
p

D.B.
t ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

131
 95

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

j j
1.

Ob. 1&2 & ∑ ∑ ∑ œ. ‰ ‰ œ œ œ ‰ ∑ œ œ Œ ∑

P F

& ‰ œ œj ‰ Œ œ œ
Œ Œ ‰
œœœ
j‰ ∑ ‰ j‰ Œ ∑ Œ
œ bœ œ œ œ œ
Cl. 1&2
bœ
p P F
?Œ ‰ bœ œ Œ Œ œ. ‰
œ Œ Œ ∑ J Œ Œ Œ Œ œ œ Œ Œ
Bn. 1&2
J œ
p P F

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ
Perc. 3
? ∑ Œ ∑ ∑ ∑ ∑ ∑

j œ œ œ ˙. ˙ œ 95
œ œ œ œ j
Vln. 1 & œ. œ œ bœ . œ œ œ œ œ
P F
œ ˙ œ œ œ œ
œ œ œ œ œ
Vln. 2 &œ ˙ ˙. ˙. œ. J
p F
œ bœ œ. œ œ
B œ J œ œ œ œ œ œ
Vla. œ ˙ ˙. ˙. œ. J
p
˙ bœ œ bœ œ œ j j œ ˙
? œ. œ œ œ œ bœ œ œ œ œ œ
Vnc. œ œ.
P F
t ∑ ∑
arco
œ. œ œ œ œ bœ
D.B.
˙. ˙ œ œ œ œ œ J
P F

132
 100 105

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j
& j‰ Œ Œ ∑ œ. œ œ ∑ ∑ ∑ ∑ Œ Œ ‰ œœ
œ.
Ob. 1&2

∑ j
Cl. 1&2 & œ. ‰ Œ Œ
œ. j
œ œ
∑ ∑ ∑ ∑ ∑
P p
œœ .. œœ œœ
?‰ œ œ œJ ‰ Œ ∑ ∑ j J
œ. ‰ Œ Œ
Bn. 1&2
∑ ∑ ∑
p P F

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j j
t.d.

Perc. 2 ÷ ∑ ∑ ∑ ∑ œ. œ œ Œ œ œ œ. œ œ Œ œ œ
P
œœ .. œœ œœ
œ œ œ œ œ
Perc. 3
? ∑ Œ ∑ Œ J ∑ ∑ ∑
P F
105
˙100
˙. ˙. ˙. ˙. ˙ œ
Vln. 1 & œ. j
œ œ œ œ œ œ œ
p F
œ ˙ œ. œ œ ˙. œ œ œ. œ œ ˙˙ ..
div.
˙˙ .. ˙˙ # # œœ
Vln. 2 & J œ J
p F
˙. œœ .. œœ œœ ˙˙ .. ˙˙ .. ˙˙ b b œœ
œ œ
div.

Bœ œ œ œ. œ œ œ J
Vla.
J F
F p
˙. ˙. œ œ œ œœ ..
div. œœ œœ ˙
tutti

? œ. œ œ J œ. œ œ
Vnc. J œ œ œ œ œ J
p F f
œ. œ œ œ
t J œ œ œ œ œ œ œ œ œ. œ œ
D.B. ˙ ˙. ˙. ˙ œ J
p F f

133
 110

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

& œ œ Œ Œ Œ ‰ œ œ œ bœ Œ Œ Œ ‰ œ œ œj ‰ ‰ œ œ œj ‰ ‰ œ œ œj ‰ ‰ œ œ
‰ œ œ œ bœ Œ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœœ ‰
Ob. 1&2

P ΠΠF J J J
j ∑ ∑ ∑ Œ Œ Œ ‰ ‰ œ
Cl. 1&2 & b b œœ .. b b œœ œœ œ œ œ œ œ œ‰ œ œ‰ œ œ œœ
F f
F J
œ Œ Œ œ œj ‰ Œ œ Œ ‰ j œ
? ∑ œ Œ œ œ œ œ œ œ œ œ œ œ œ
Bn. 1&2
œ Œ Œ œ Œ œ œ Œ œ Œ œ ‰ Œ
P J
F
1.

& ∑ ˙. œ. j œ ˙ œ ˙œ.
Horn 1&2
œ œ œ œ ˙
P f 2.

j
3.

& ∑ ˙. œ. j œ œ. œ œ œ
Hn. 3&4
œ œ œ œ œ œ
P f 4.

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

? ∑ œ œ œ ˙. ˙. œ œ œ ˙.
Perc. 1
æ æ æ
p

÷ j j
Perc. 2 œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
p
œ
? ∑ Œ œ œ ∑ ∑ ‰ œ œ œ œ œœœ œœœ œ œ œ
Perc. 3
J 3
F P 3 3
œ
œ œ œ
110
˙. ˙. ˙. ˙. ˙. œ
Vln. 1 &
P
˙˙ .. ˙˙ .. ˙˙ # œœ ˙˙ .. œœ # œœ- œœ- n ˙˙ ..
Vln. 2 &
P
˙˙ .. b b ˙˙ .. ˙˙ b n œœ ˙˙ .. œœ b œœ- œœ- ˙˙ ..
Vla. B
P

? œ œ bœ ˙. œ ˙.
Vnc.
˙. ˙. œ œ œ œ
P

t œ œ bœ ˙. œ ˙.
D.B.
˙. ˙. œ œ œ œ
P

134
 115

˙.
a2
˙ œ œ. œ œ œ œ
∑ œ œ. j
Fl. 1&2 & J œ œ
p P p
j .j
œœ j ‰ ‰ œœ j‰ ‰ œœ j j
1.

& œ ‰œ ‰œ ‰ ‰œ œ œ œ ‰ œ‰ œ œ œ œ œ œ ‰ Œ Œ ∑ ∑ Œ œ. ‰ ‰ œ.
‰ œ
Ob. 1&2

J J Jp
j‰ ‰ j .j 1.

Cl. 1&2 & œœ œ œ œ‰ œ ‰œ œ œœ œœ œœ ‰œ œ‰ ‰œ œ œ‰ œ œœ œœ œ ‰ Œ Œ Œ ‰ jŒ Œ j‰ Œ ‰ œ.

j ‰ j Œ
œ.
J J J œ.
p œ. œ.
Œ ‰ j œ œ Œœ ‰ j œ œ j . . œ. œ. œ.
?œ œ œ ‰ Œ Œ œ. Œ ‰ œ. œJ ‰ ‰ œJ ‰ J ‰ J
1.

œ œ œ j
Bn. 1&2
œ ‰ Œ œ ‰ ‰ œ œ. œ. ‰ ‰ J J
J J J p

j
Horn 1&2 & ˙˙ .. ˙˙ .. œœ ‰ Œ Œ ∑ ∑ ∑
ƒ JP
& ˙. j‰ Œ Œ ∑ ∑ ∑
˙˙ .. œœ
Hn. 3&4

˙.
ƒ JP
Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

? ˙. ˙. œ ‰ Œ Œ ∑ ∑ ∑
Perc. 1
æ æ J
F π

‰ œ œ œj ‰ Œ
wood block

Perc. 2 ÷ œ Œ Œ ∑ ∑ ∑ ∑
F p
œ œ
?œœœ œœœ œ œ œœœ œœœœ œ œ ‰ Œ Œ Œ Œ ‰ œ œ œJ ‰ Œ Œ ∑
Perc. 3 J
f 3 p
œP
3 3

˙. ˙.
3 3 3

115

Vln. 1 & J ‰ Œ Œ ∑ ∑ ∑
f P unis.
˙˙ .. ˙˙ .. œœ j
pizz.
œ ‰
Vln. 2 & J ‰ Œ Œ ∑ ∑ œ ‰ Œ J
f P p
˙˙ .. ˙˙ .. œœ
unis.
pizz.
j œ
Vla. B J ‰ Œ Œ ∑ œ ‰ ‰ œJ Œ J ‰ Œ Œ
f P p
? ˙. ˙. œ ‰ Œ Œ ∑ ∑ ∑
Vnc. J
f P
t ˙. ˙. œ ‰ Œ Œ ∑ ∑ ∑
D.B. J
f P

135
 120

&˙ œ œ. j j‰ Œ Œ ∑ ∑ ∑
Fl. 1&2
œ œ ˙. œ
π
. œ.
Ob. 1&2 &œ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑

.
Cl. 1&2 & œJ ‰ œj ‰ œ.
‰ j Œ ‰ j ∑ j‰ Œ Œ ∑
. œ. œ. ˙. ˙. œ
œ. œ. π
œ.
? ‰ J ‰ œ. J‰ ‰ œ. j j j
œ. ‰ œ œ.
Œ
œ. ‰ Œ œ ‰ Œ Œ
J ∑
Bn. 1&2
J ˙π. ˙.
.

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ˙2.. ˙. œ ‰ Œ Œ ∑
Tbn. 1&2 J
π

?
3.

∑ ∑ ∑ j
œ ‰ Œ Œ
∑
Tbn. 3/Tba.
˙π. ˙.

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ‰ œ œ œj ‰ Œ ∑ ∑ ∑ ∑ ∑

Perc. 3
? ∑ ∑ & ‰ œ œ œj ‰ Œ ∑ ∑ ∑ ∑

pizz.
œ ‰ Œ j
120
j œ j
Vln. 1 &Œ J œ ‰ Œ Œ œ ‰ Œ Œ ∑ J ‰ Œ Œ œ ‰ Œ Œ ∑
p p

œ ‰ Œ œ j
Vln. 2 &Œ J ∑ ∑ ∑ J ‰ Œ Œ œ ‰ Œ Œ ∑
p
œ
J ‰ Œ Œ œ
B ∑ ∑ ∑ ∑ J ‰ Œ Œ ‰ œ œ œ Œ
Vla.

p J
π

‰ œj œ œ Œ
pizz.

Vnc.
? ∑ ∑ Œ ‰ œ œ œJ ‰ ∑ ∑ œ ‰ Œ Œ
J
p p π
œœ .
‰ œ J ‰ œJ ‰ ‰ œj œ œ Œ
pizz.

D.B.
t ∑ ∑ ∑ ∑ ∑
p π

136
 >œ
>a2œ >œ >œ >œ œb œ # œ. œ. b œ. . œ
125
∑ ‰ J J ‰ Œ J
130
#œ #œ œ œ
Fl. 1&2 & J ‰ Œ Œ J ‰Œ Œ Œ ‰ ‰
f
>œ >œ > > >œ
& ∑ œ ‰ Œ Œ œ ‰Œ Œ ‰ œj œ ‰ Œ Œ ‰ œb œ J ‰ # œ. œ. b œ. # œ œ #œ œ œ
Ob. 1&2
J J J .
>
f
>œ >œ >œ >œ bœ œ œ . .
# œ œ. b œ # œ.
œ œ #œ œ œ
& ∑ œ ‰ Œ Œ œ ‰Œ Œ ‰ œ œ ‰ Œ Œ ‰ œb œ J ‰ # œ œ b œ # œ œ #œ œ œ
J J
Cl. 1&2
J J
>fj >j >œ
? œ ‰ Œ œ ‰Œ >œ >œ œb œ œ # >œ
∑ œ
Œ
œ
Œ ‰ œ œ ‰ Œ Œ ‰ œb œ J ‰ # œ ‰ Œ Œ
J J J
Bn. 1&2

f
>j >j > >j >
‰ œj œ ‰ Œ ‰ b œ œj ‰ j ‰ Œ
a2

∑ ?
& œ ‰ Œ Œ œ ‰Œ Œ Œ Œ
œ œ œ > #œ
Horn 1&2

œf œ
>j >j > >j
‰ œj œ ‰ Œ ‰ b œ œj ‰ j ‰ Œ Œ ?
a2

& ∑ œ ‰ Œ Œ œ ‰Œ Œ Œ
œ œ œ > #œ
Hn. 3&4

œ œ >
f
‰ œ œ œ. # œ b œ œ ‰ J# œ œ # œ œ # œ. œ. b œ œ
& ∑ œ œ # œ # œ œj ‰ ‰ œ œ # œ # œ œ b œ . J . # œ. # œ œ
. # œ # œ
Tpt. 1

f ƒ

‰ œ œ œ. # œ b œ œ ‰ # œJ œ # œ œ œ # œ # œ œj ‰ ‰ œ œ # œ œ # œ. œ. b œ œ
a2

Tpt. 2&3 & ∑

. # œ # œ # œ œ bœ . J . # œ. # œ œ
f ƒ

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

? ∑ œ ‰ Œ Œ œ ‰Œ Œ ∑ ∑ ∑
Perc. 1 J J
f
b.d.
÷ ∑ j j
Perc. 2 œ ‰ Œ Œ œ ‰Œ Œ ∑ ∑ ∑
F

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑
>œ 130
>œarco >œ >œ >œ œb œ # œ. œ. b œ. # œ. œ
#œ œ œ
125

Vln. 1 & ∑ J ‰ Œ Œ J ‰Œ Œ ‰ J J ‰ Œ Œ ‰ J ‰
f
>arco >j > > >œ
& ∑ j
œ ‰ Œ Œ œ ‰Œ Œ ‰ œj œ ‰ Œ Œ ‰ œb œ J ‰ # œ. œ. b œ. # œ œ
J . #œ œ œ
Vln. 2

f >œ
>œ
arco
>œ >œ >œ œb œ # œ. œ. b œ. # œ. œ
Vla. B ∑ J ‰ Œ Œ J ‰Œ Œ ‰ J J ‰ Œ Œ ‰ J ‰ #œ œ œ
f
>œ
>œ
arco
>œ > >œ œb œ # >œ
? j‰ Œ Œ
J ‰ Œ Œ J ‰Œ Œ ‰ œJ J ‰ Œ Œ ‰ J ‰ J ‰ Œ Œ
Vnc.
œ f
>œ
>œ
arco
>œ > >œ œb œ # >œ
D.B.
t j‰ Œ Œ
œ J ‰ Œ Œ J ‰Œ Œ ‰ œJ J ‰ Œ Œ ‰ J ‰ J ‰ Œ Œ
f

137
 œ œ bœ b˙ .
135

œ bœ bœ ≈ Œ ˙. b ˙˙ .. ˙˙ ..
1.

Fl. 1&2 &

sub p P F
div.

& œ bœ bœ ≈ Œ œ œ bœ ∑ ∑ ∑ ˙. ˙
Œ
Ob. 1&2

F
œ bœ bœ œ œ bb œœ b ˙ . œ ˙œ .. b œ œ b ˙˙ ..
1.
˙
Cl. 1&2 & œ bœ bœ ≈ Œ œ œ J
p P F
j
sub

? b >j ‰ >j
div.
b œ œœ
Bn. 1&2 œ Œ Œ bœ ‰ Œ Œ ∑ ∑ Œ ‰
bœ bœ Œ Œ F
b . . bœ
œ #œ œœ # œ œ. œ. # œ. œ. b œ œ
œ œ œ œœœ œ œ # œ œj œ bœ œ bœ #œ .
? ‰ bœ
a2

œ ‰ #œ œ œ œ #œ J ‰ ‰ œ #œ J #œ
Horn 1&2
J
ƒ
.
œ b œ œ. b œ œ #œ œœœ œ œ # œ œj œ bœ œ #œ bœ #œ . # œ œ. œ. # œ. œ. b œ œ
? ‰ bœ
a2

œ ‰ #œ œœœ œ œ #œ J ‰ ‰ œ J #œ
Hn. 3&4
J
ƒ

œ œœ
Tpt. 1 & #œ . j
œ œ j‰ Œ Œ ∑ ∑ Œ Œ
F
œ bœ P
p

j ‰ Œ Œ ∑ ∑ Œ Œ œ œœ
Tpt. 2&3 & #œ . œ œ œ b œj
F P
b œ. bœ œ
p
#œ œœ j # œ œ. œ. # œ. œ. b œ œ
? ‰ b œ œ œ. œ œ œ œ œ #œ œ ‰ ‰ œ bœ œ œ #œ bœ #œ .
a2

œ ‰ #œ J #œ
a2

Tbn. 1&2
J œ œ œ #œ J
f ƒ
œ b œ. œ. b œ œ
? ‰ bœ œ œ œ œ #œ j ‰ ‰ œ
3.

# œ œ. œ. # œ. œ b œ œ
a2
œ ‰ #œ œ œ bœ œ œ #œ bœ #œ .
Tbn. 3/Tba.
J J . #œ
f ƒ

Perc. 1
? b œj ‰ Œ Œ j
bœ ‰ Œ Œ ∑ ∑ ∑
F

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

>j j
Perc. 3 & bœ ‰ Œ Œ bœ ‰ Œ Œ ∑ ∑ ∑
bœ bœ
F p
œ bœ bœ ≈ Œ Œ ∑ ∑ ∑
135
∑
Vln. 1 &

Vln. 2 & œ bœ bœ ≈ Œ Œ ∑ ∑ ∑ ∑

bœ bœ
Vla. B œ ≈ Œ Œ ∑ ∑ ∑ ∑

≤ ≤
? b >œj ‰ Œ Œ
>j
bœ ‰ Œ Œ Œ ‰ œ bœ œ #œ . # œ œ. œ. # œ. œ b œ œ
œ # œ- b œ J . #œ
Vnc.

f ƒ
≤ ≤
t b >œj ‰ Œ Œ
>j
bœ ‰ Œ Œ Œ ‰ œ bœ œ #œ . # œ œ. œ. # œ. œ b œ œ
œ # -œ b œ J . #œ
D.B.

f ƒ

138
 . .
œa2. œ # œ œ œ b œ œ. b œ # œ. œ # œ œ # œ. œ. # œ. . # œ 140œ
œœ J ‰ Œ
Fl. 1&2 &
œœ
œ ‰ œ J œ œ Œ
f p f f
P
œ #œ œ
œ. j b œ. œ. b œ # œ œ # œ. œ. # œ. œ. œœ
a2
œœ J ‰ Ó
Ob. 1&2 & œ. œ ‰ œ œ #œ œ œ . # œ. œ
f p f P f
. . œ #œ œ
œ. œ # œ œ œ # œ œ. b œ # œ. œ # œ œ # œ. œ.a2 # œ.
Cl. 1&2 & œ.
œœ
œ ‰ œœ œ #œ œ œ #œ œ bœ #œ œ #œ œ #œ œ. œ œ J ‰ Ó
f p J f
f P
? ˙.
a2
. œ. œ b œ œ œ. b œ. œ. œ. b œ œ # œ œJ
Bn. 1&2
∑ b œ. œ. b œ ‰ Œ ‰
f p P P f œ #œ
p
. œ œ
. œ. b œ œ œ. b œ. œ. œ b œ # œ
2.
?œ ‰ Œ J ‰ Œ
Horn 1&2 J Œ ∑ b œ. œ. b œ œ ‰ œ #œ
P f p
P
. œ œ
. . b œ œ œ. b œ. œ. œ b œ # œ
4.

?œ ‰ Œ Œ ∑ b œ. œ. b œ œ œ J ‰ Œ ‰ œ #œ
Hn. 3&4 J
P f p
P
œ. # œ. œ. œ. # œ
Tpt. 1 & œ # œ œJ œ j
œ #œ œ œ œ ‰ Œ
J ‰ œ œ œ œ ‰ œ #œ œ œ ‰ œœœ
œ œœœ

f P P
œ. # œ. œ. œ. œ œ
& #œ œ #œ œ j
œ # œ œ œ œJ ‰ Œ ‰ œœ œœ œœ œ ‰ œœ ## œœ œœ œ Œ ‰ œœœ œ
Tpt. 2&3
J œ
f P P
. . . .
œ b œ œ # œ œ
. œ œ b œ œ œ. b œ œ
2.
?œ ‰ Œ Œ œ. œ œ œ b œ J ‰ Œ ‰ œ #œ
Tbn. 1&2 J J b œ. .
P P f p
a2
? j‰ Œ
tba.

œ Œ j bœ b œ œ œ b œ. œ. œ. b œ œ # œ œJ ‰ Œ ‰
œ. œ œœ b œ. œ. b œ. œ. œ
Tbn. 3/Tba.

P . f
œ #œ
P p
? ∑ ∑ ∑ ∑ ˙.
Perc. 1
æ
p
t.d.

Perc. 2 ÷ ∑ ∑ ∑ ∑ ‰ œ œ œj ‰ Œ
p

& ∑ ∑ ∑ ∑ Œ Œ ‰
Perc. 3
œ #œ
p
140

bœ œ. # œ≤. œ œ # œ j j
& b œ œ -œ # œ. œ. œ. b œ. œ n œ . . œ # œ- œ œ œ # œ œ# œ
œ. œ. b œ. œ.
Vln. 1
˙.
f p
P
œ. # œ≤. œ œ j
Vln. 2 & œ. b œ œ -œ # œ. œ. œ. b œ. œ b œ n œ . . # œ œ # œ- œ œ j
œ # œ œ# œ ˙.
œ. œ. b œ. f p
œ. # œ≤. œ. œ. # œ - œ
œ. œ. b œ. œ b œ n œ
P
B œ œ. b œ. œ. b œ œ -œ # œ. œ #œ J œ œ # œ œ# œ ˙.
Vla.
. J
P f p
≤ . œ - ˙.
? œ≤ b œ œ b œ œ -œ # œ. œ. œ. b œ. œ b œ n œ b œ œ b œ. œ. œ b œ -œ œ. b œ. œ. œ b œ # œ
Vnc.
œ. . . . . . p
P f
≤ . ≤ . œ - ˙.
t œ b œ œ b œ œ -œ # œ. œ. œ. b œ œ b œ n œ b œ œ b œ. œ. œ b œ -œ œ. b œ. œ. œ b œ # œ
D.B.
œ. . . . . .
f p
P

139
 &Œ œœœ œ ≈ Œ œœœ œ ≈ Œ œœœ œ ≈ Œ œ œ œ ≈ Œ
Fl. 1&2
R R R
F
œœœ œ ≈ Œ œœœ œ ≈ Œ œœœ œ ≈ Œ œ œ œ ≈ Œ
Ob. 1&2 &ΠR R R
F

Cl. 1&2 &Œ œœœ œ

r≈ Œ
œœœ œ
r≈ Œ
œœœ œ
r≈ Œ
œ œ œ
≈ Œ
F
? j j
Bn. 1&2 j‰ Œ ‰ j‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ Œ
œ œ #œ œ œ #œ œ œ #œ œ
P F
œ #œ œ œ #œ œ œ #œ
?œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ
Horn 1&2
J J J F
J
P f
œ #œ œ œ #œ œ œ #œ
?œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ
Hn. 3&4
J J J J
P F
f
œ œ œ œ œ œ œ œ œ œ bœ œ œœ œ œ œ œ œ œ œ œ
Tpt. 1 & œ ‰ ‰ œœœ œœ œ ‰
F

œ ‰œ œ œ œ œ œœœ œ œ bœ ‰ œ œœ œœ b œ œ œ œ œ bœ bœ ‰ œ œ œ œ œ #œ
Tpt. 2&3 & ‰œb œ œœ œ œ œ œ
œœœ œ ‰ œ œ œ œ œœœ ‰ œ œ œ œ œ œ
bœ œ bœ œ
F
œ #œ œ œ #œ œ œ #œ
?œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ
Tbn. 1&2
J J J J
P F f
? j j
Tbn. 3/Tba. j‰ Œ ‰ j‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ œ ‰ Œ ‰ œ #œ
œ œ #œ œ œ #œ œ œ #œ œ œ #œ
P F f
? ˙. ˙. ˙. œ œ œ
3
œ
Perc. 1
æ æ æ æ
F

÷ ‰ œ œ œj ‰ ‰ œ œ œj ‰ ‰ œ œ œj ‰
3

Perc. 2 Œ Œ Œ ‰ œ œ œ œ œ
F

œ #œ
Perc. 3 & œj ‰ Œ ‰
œ #œ œ
j‰ Œ ‰
œ #œ œ
j‰ Œ ‰
œ #œ œ
j ‰ Œ ‰
P F f
div.
3
Vln. 1 & ˙˙ . ˙˙ .. ˙˙ .. œœ œœ œœ œœ
.
F
div.
3
Vln. 2 &˙
œ b ˙˙ .. ˙˙ .. œœ œœ b œœ œœ
F
div.
B ˙. œ.
3
j ˙˙ .. œœ œœ œœ œœ
Vla.
œ œ
F
˙. ˙. œ div.

Vnc.
? ˙œ œ œœ œœ œœ3 œœ
F
˙. ˙. ˙. œ œ œ
3
œ
D.B.
t
F

140
 . œ bœ >œ
#œ #œ #œ n œ. œ #œ
145

Fl. 1&2 &‰ J ‰ Œ Œ ∑

f ƒ
. œ bœ >œ
Ob. 1&2 &‰ #œ #œ #œ n œ. œ #œ
J ‰ Œ Œ ∑
ƒ
f . œ bœ >œ
# œ # œ ## œœ n œ. œ #œ
œ #œ œ bœ œ
Cl. 1&2 &‰ #œ #œ nœ J ‰ Œ Œ ∑
f ƒ
. œ bœ >œ
?‰ # œ # œ ## œœ n œ. œ #œ
œ #œ œ bœ œ
Bn. 1&2 #œ #œ nœ J ‰ Œ Œ ∑
ƒ
f
œ >œ
?œ ‰ Œ Œ ‰ Œ Œ ∑
Horn 1&2
J J
ƒ
œ >œ
?œ ‰ Œ Œ ‰ Œ Œ ∑
Hn. 3&4
J J
ƒ

œ >j
Tpt. 1 &J ‰ Œ Œ œ ‰ Œ Œ ∑
f ƒ
j >j
œ ‰ Œ Œ ‰ Ó ∑
Tpt. 2&3 &œ œ
f œ
ƒ
œ >œ
?œ ‰ Œ Œ ‰ Œ Œ ∑
Tbn. 1&2
J J
ƒ

? œj ‰ Œ Œ
>j
‰ Œ Œ ∑
Tbn. 3/Tba.
œ œ
ƒ

?œ ‰ Œ Œ œ ‰ Œ Œ ∑
Perc. 1
J J
f ƒ

÷ œj
b.d.
‰ Œ Œ j ‰ Œ Œ ∑
Perc. 2 œ
f ƒ

œ ‰ Œ Œ j ‰ Œ Œ ∑
Perc. 3 &J œ
ƒ
145 #œ #œ œ bœ >œ
J
tutti pizz.

Vln. 1 & œj ‰ Œ ‰ Œ Œ j ‰ Œ Œ
f
ƒ œπ
tutti
#œ #œ œ bœ >œ pizz.

Vln. 2 & œj ‰ Œ J ‰ Œ Œ j ‰ Œ Œ
f ƒ œπ
tutti
#œ #œ œ bœ >œ j
pizz.

B j ‰ Œ J ‰ Œ Œ œ ‰ Œ Œ
œ
Vla.

ƒ π
f
?œ
tutti
#œ #œ œ bœ >œ œ
pizz.

‰ Œ J ‰ Œ Œ J ‰ Œ Œ
Vnc.
J ƒ π
f
œ >œ
tJ #œ #œ œ bœ œ
pizz.

D.B. ‰ Œ J ‰ Œ Œ J ‰ Œ Œ
f ƒ π

141
 III. ADAGIO
q»§º
.œa2 ‰ Œ Œ ‰ # œ. œ.j ‰ Œ
5
4
1.

&4 J Ó ∑ ∑ ∑
Flute 1&2
J
π π

& 44
2. English Horn
∑ ∑ j j‰ Œ j œ
œ œ #œ œ
Oboe 1&2
˙ œ œ. ˙ œ œ.
P
j
& 44 œ ‰ Œ ‰ # œj œj ‰
1.

Ó ∑ ∑ ∑ Œ # œ- . .
Bb Clarinet 1&2
œ
π. π
?4 ∑ j
Bassoon 1&2 4 #œ ‰ Œ Ó ∑ ∑ ∑
# œ.
π

Horn in F 1&2 & 44 ∑ ∑ ∑ ∑ ∑

?4 ∑ ∑ ∑ ∑ ∑
Horn in F 3&4 4

Bb Trumpet 1 & 44 ∑ ∑ ∑ ∑ ∑

Bb Trumpet 2&3 & 44 ∑ ∑ ∑ ∑ ∑

?4 ∑ ∑ ∑ ∑ ∑
Trombone 1&2 4

?4 ∑ ∑ ∑ ∑ ∑
Trombone 3/Tuba 4
timpani
?4 Ó Œ ‰ # œ œ # wæ j
Percussion 1 4 #œ ‰ Œ Ó ∑ ∑
π F π

÷ 44 ¿
triangle

Percussion 2 Œ Ó ∑ ∑ ∑ ∑

marimba j j
Percussion 3 & 44 Œ ‰ # œJ œ # œ œ. # # œœæœœ ˙˙æ˙˙ # # œœœœ ‰ Œ Ó ∑ ∑
F π
q»§º π
# œ≤ ˙ œ. # ≥œ ˙ œ 5
4
&4 Œ ‰ J J J ‰ Œ Ó Œ ‰ #œ ˙ ˙ ˙
Violin 1
π
J
π F π
≤ ≥
Violin 2 & 44 w œ. œ ˙
J
œ ‰ Œ Ó
J
Ó ˙ œ #˙ œ
π F π π
˙≤ œ. ≥œ ˙ œ .
Viola B 44 Ó J J ‰ Œ Ó ∑ Ó ‰ #œ
π F π π
≤ # ≥œ ˙
Cello
?4 Ó
4 Œ #œ œ.
J
œ ‰ Œ Ó
J ∑
π F π #w
π
t4 ≥ j j j
pizz.

Double Bass 4 ∑ #w œ ‰ Œ #˙ ˙ œ ‰ Œ #œ ‰ Œ Ó
P F π π

142
 10

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

[E. H.]

& œ j j‰ Œ Ó #œ œ œ #œ œ. j Œ j
œ œ œ œ. œ
œ N˙
Ob. 1&2

œ œ œ. œ œ œ #œ œ F
œ.
F p
Cl. 1&2 & ∑ ∑ Ó j‰ j‰ ∑ ∑ ∑
œ. œ.
π
Œ # œ. j ‰ Ó
1.

Bn. 1&2
? ∑ ∑ ∑ ∑ ∑
π

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & Ó Œ #œ Œ œ œ #œ Œ ∑ ∑ Ó Œ œ ∑
π F

j 10
j
Vln. 1 & œ ‰ Œ Œ #œ œ. œ ˙
J
œ ‰Œ Ó
J
∑ Ó Œ œ ˙ œ ‰Œ
F p

j
Vln. 2 & ˙ œ ‰Œ ∑ Ó Œ
œ ˙ œ
j‰ Œ ∑ ∑

˙ œ ‰ Œ œj ‰ œj ‰ Œ ‰ Ó
pizz.

B #˙ œ ˙. ∑ ∑
Vla.
J j
#œ
#˙ ˙ ˙ ˙ œ ‰Œ
?
Vnc. j‰ Œ Ó Ó J ∑ Œ #˙ œœ
œ F
j j # œpizz. œ
D.B.
t # warco. œ ‰Œ Ó ∑ Œ #˙ . œ‰Œ Ó Œ J‰ Œ ‰J
F

143
 œ . #œ ˙
15
#˙ œ
& ∑ ∑ Ó #˙ œ . #œ ˙ œ ‰Œ Ó ∑
Fl. 1&2
J J
π F f
j
[E. H.]

& #œ . ‰ j‰ Œ ∑ ∑ ∑
Ob. 1&2

œ- # œ- œ . Nœ ˙ #˙ œ
F p
j j j
& ∑ ∑ Œ ‰ œ ˙ œ œœ .. œœ ˙˙ œœ ‰ Œ Ó ∑
Ó #œ œ
Cl. 1&2

π F f
j j j
? œ œ. œ ˙ œ ‰Œ Ó
∑ ∑ Ó Œ ‰ #w œ ∑
Jf
Bn. 1&2
π F

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ Ó ˙˙

F

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ Ó # ˙˙
F

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ˙˙ .. # œœ ˙˙ # ˙˙
F f

?
3.

∑ ∑ ∑ ∑
˙
Tbn. 3/Tba.

#˙ . #œ ˙
F f
? ∑ ∑ ∑ ∑ ∑ Ó
Perc. 1
æ̇
F
t.d.

÷ ∑ ∑ ∑ Ó ‰ œœœ ‰ ∑ ∑
Perc. 2
J
F

& Ó œ. ‰ Ó ∑ ∑ ∑ ∑
œ #œ
Perc. 3

p F
œ . #œ ˙
15
#˙ œ #˙ œ ˙ œ #œ
Vln. 1 & ∑ ∑ Ó J J‰Œ
π F f f
arco.

& Ó j‰ j‰ j‰ Œ Ó Œ ‰ œ ˙ œ. œ ˙ œ ‰Œ Ó ∑
œ # œ œF J J J
Vln. 2

p π F f

B ∑ ∑
arco.
#˙ œ œ œ œ. œ ˙ œ ‰Œ ˙ œ ˙ œ
Vla.
J J
π F f f

? œ. j j‰ Œ Ó Ó Œ ‰ œJ œ. œ ˙ œ ‰Œ Ó ∑
Vnc.
#œ ˙ œ J J
π p F f

t Œ ‰ #œ Ó ∑ ∑
arco.
j
D.B. J #w œ ‰Œ Ó ∑
p F f

144
 1. 20

œ #œ œ ˙ nœ ˙ œ ‰ Œ
Fl. 1&2 & #˙ œ œ.
J
#˙ œ ‰ Œ
J
Œ #˙ œ J ∑
P F p

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

1.

& ∑ ∑ ∑ ∑ Œ œ b˙ œ bœ
Cl. 1&2
˙
π P
1.
œ b˙ œ bœ
? ∑ ∑ ∑ ∑ B Œ ˙
Bn. 1&2

π P

Horn 1&2 & œ. ‰ Ó ∑ ∑ ∑ ∑ ∑

œ.
p

Hn. 3&4
? œœ .. ‰ Ó ∑ ∑ ∑ ∑ ∑
p

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? œœ .. ‰ Ó ∑ ∑ ∑ ∑ ∑
p
? ‰ Ó ∑ ∑ ∑ ∑ ∑
œ.
Tbn. 3/Tba.

? j‰ Ó ∑ ∑ ∑ ∑ ∑
œæ œ
Perc. 1

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑ ∑

œ. 20
˙
solo
œ œ œ œ ˙. œ
Vln. 1 & ‰ Ó ∑ ∑ ∑
p P F
pizz.

& ∑ ∑ ∑ ∑ ‰ j j‰ Ó ‰ j b œj ‰ Ó
Vln. 2
œ #œ œ
P

B œ ˙ œ ˙ œ-
solo

œ- #˙ # œ . œj ˙ j‰ Œ ∑ ∑
œ
Vla.

p P

Vnc.
? ∑ ∑ ∑ ∑ ∑ ∑

D.B.
t ∑ ∑ ∑ ∑ ∑ ∑

145
 bœ . ˙ ˙
˙ œ œ œ bœ bœ bœ œ œ œ œ bœ bœ œ
25

b˙ . œ nœ bœ
Fl. 1&2 & J‰ J J J
F f

Ob. 1&2 & ∑ ∑ ∑ ∑ Ó

j
Cl. 1&2 & ˙ œ ‰Œ ∑ ∑ ∑ ∑

Bn. 1&2
B ˙ œ
J ‰Œ ∑ ? ∑ ∑ ∑

j j
& ‰ œœ .. œœ œœ ˙˙ œœ ‰ œœ b ˙˙ œœ ‰ Œ b ˙˙ ..
b b ˙˙ .. œœ œœ
Horn 1&2

p P
b˙ . b b ˙˙ œœ œœ b b ˙˙ œœ
? Œ ˙.
b b ˙˙ .. œœ œœ b ˙˙ ..
Hn. 3&4 J‰ J ‰ Œ
p P

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

? Ó
3.

Tbn. 3/Tba.
˙ w œ ˙. œ ˙. w
p P Œ P ˙.
? Ó
Perc. 1
œæ. œœ wæ ˙æ. œæ œ œ wæ œæ œ œ ˙æ.
p P
triangle

Perc. 2 ÷ ¿ Œ Ó ∑ ∑ ∑ ∑
P

Perc. 3 & Œ ‰ b œj œj ‰ Œ Œ ‰ b œj j ‰ Œ
œ
Œ ‰ j bœ
œ
Œ bœ œ
Ó Œ j‰
bœ
bœ bœ p
P F
b˙ œ 25

Vln. 1 & J ‰Œ ∑ ∑ ∑ ∑
p

& Œ ‰ b œj œj ‰ Œ Œ ‰ b œj j ‰ Œ Œ ‰ j b œj ‰ j ‰ Œ j ‰ j ‰ j‰ Ó Œ j‰
œ œ bœ bœ œ bœ
Vln. 2
bœ p
F

B ‰ œœ .. œœ .. œœ œœ ˙˙ .. œœ œœ œœ b ˙˙ œ œœ b b œœ œœ b ˙˙ ..
b b ˙˙ ..
divisi

œ ‰ Œ œœ
Vla.
æ æ æ æ æ æJ æ
P divisi F
b˙ œœ œœ œœ b b ˙˙ .. œœ œœ œœ b b ˙˙ œœ
? Œ b æ˙ æ æJ ‰ Œ b ˙˙ .. œœ œœ b œœ œœ b ˙˙ ..
Vnc. æ æ æ æ
P F

t Ó
bow freely

D.B.
˙ w ˙. œ œœ w w
P F

146
 œ 30

&J ‰ Œ
poco rit. a tempo

Fl. 1&2 Ó ∑ ∑ ∑ ∑
p
˙1. Oboe œ bœ . ˙ œ ‰ #œ œ. j j
Ob. 1&2 & J J œ ˙ #w œ ‰ Œ Ó
F P p

Cl. 1&2 & ∑ ∑ ∑ ∑ ∑

Bn. 1&2
? ∑ ∑ ∑ ∑ ∑

Horn 1&2 & œœj ‰ Œ Ó ∑ ∑ ∑ ∑

p
? œœ ‰ Œ Ó ∑ ∑ ∑ ∑
Hn. 3&4
J
p

Tpt. 1 & ∑ ∑ ∑ ∑ Ó Œ #œ
P

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

-
? ∑ ‰ b œœ œœ œœ b b ˙˙ œœ ‰ Œ Ó ∑ ∑
J
Tbn. 1&2

? j‰ Œ Ó ‰ œ- œ œ b ˙ j
Tbn. 3/Tba.
œp œ ‰ Œ Ó ∑ ∑
π
œ
J
? j‰ Œ Ó ∑ ∑ ∑ ∑
Perc. 1
œ
p

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 &Ó Œ bœ œ œ ∑ ∑ ∑ ∑
30
poco rit. a tempo

∑ ∑ ∑ Ó j
Vln. 1 & ˙ œ ‰ Œ ˙
p
arco.

& ∑ ∑ j‰ Œ ‰ jŒ Œ ‰ j Œ ‰ j
#œ
Vln. 2

œ œ ˙ œ ˙
unis. p

B œœ ‰ ‰ b œj œj ‰ Œ ‰ œj Œ
pizz. arco.

∑ #œ ‰ Œ ‰ #œ . ˙ ‰ #œ . ˙
Vla.
J J p
p unis.
? œœ ‰ ‰ pizz.j j ‰ Œ j
arco.

Vnc.
J bœ œ Ó bœ ‰ Œ ∑ Œ #˙ . Œ #˙ .
p p

t j‰ Œ Ó ∑ ∑ ∑ #w
D.B.
œp p

147
 35
a2

Fl. 1&2 & ∑ ∑ Ó ‰ œj # œ œ œ #œ ˙ .

P F

Ob. 1&2 & ∑ ∑ ∑ ∑

∑ ∑ ∑ #˙ œ œ œ œ
& œ
Œ ‰ #œ œ #œ
Cl. 1&2

F J
? ∑ ∑ ∑ ‰ œj œ # œ ˙
˙. ‰ œœ
Bn. 1&2

F
#œ .
# œ œ œJ
1.

∑ ∑ ∑ ? Œ
Horn 1&2 &
F

? ˙˙ . œœ
Hn. 3&4 ∑ ∑ ∑ . ‰ œœ
P

œ ‰ ‰ œ œ #œ œ œ œ #˙ œ ‰ Œ
Tpt. 1 & ˙ œ œ.
J
#˙
J J J œ J
F

Tpt. 2&3 & ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑

t.d.
÷ Œ ‰ œœœ ‰ Œ Œ ‰ œœ œ ‰ Œ Œ ‰ œœ œ ‰ Œ Œ ‰ œœœ ‰ ‰ œœ
Perc. 2
J J J J
P F

Perc. 3 & ∑ ∑ ∑ ∑
35

j œ #œ ˙ .
& œj ‰ Œ # -œ Ó ‰ œj # œ œ œ ‰ Œ ‰ œj # œ œ
-œ
Vln. 1

Vln. 2 & Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j œ œ #œ
#œ
œ ˙ œ ˙ œ ˙
F
≤ j .
Vla. B ‰ #œ . ˙ ‰ #œ . ˙ ‰ #œ . ˙ Œ #œ œ œ #œ
F

Vnc.
? Œ #˙ . Œ #˙ . Œ #˙ . ‰ œj œ # œ ˙
F

D.B.
t #w #w #w w
F

148
 40

Fl. 1&2 & ‰ # œJ ˙ . #œ ˙ œ œ #˙ Œ ∑

P
œ ˙ œ #œ #œ
‰ œJ # œ
1.

Ob. 1&2 & ∑ œ œ #œ œ #˙ .

F
j j
˙ œ #œ . ˙ œ j
‰ œ # œœ # œ œ #˙ œ ‰
2.

& œ Œ ‰ j #œ
Œ ‰ #œ œ #œ Œ ‰ #œ œ Œ ‰ #œ #œ #œ #œ #œ #œ #œ
Cl. 1&2

J J J
?‰ j j
Bn. 1&2
˙. œ œ #œ ˙ ‰ #œ œ
‰ œ œ #œ ˙
˙.
‰ j#œ
‰ œ œ # ˙ .# œ # œ ˙
‰ j #œ
‰ # œ œ # ˙ .# œ # œ ˙ Œ
p
#œ . œ œ #œ .
?Œ # œ œ œJ Œ #œ J Œ #œ #œ #œ #œ . Œ # œ # œ # œJ
#œ .
Horn 1&2 J

Hn. 3&4
? ˙˙ .. œ œ ˙.
‰ #œ œ ˙ . ‰ œœ œœ # # ˙˙ .. ‰ # œ œ # # ˙˙ .. Œ
p
#œ . œ œ œ œ #˙ œ ‰ Œ j
Tpt. 1 &‰ J #˙ œ ‰ Œ ∑
F p

Tpt. 2&3 & ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ ∑ ∑

÷ œ ‰ ‰ œœœ ‰ ‰ œ œ œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ Œ ‰ œœœ ‰ ∑

Perc. 2
J J J J J J
#œ
Perc. 3 & ∑ ∑ ∑ Ó Œ
f

≤
œ #œ #œ
40

Vln. 1 & œ #œ ˙ . #œ ˙ œ œ #˙ œ œ . #œ œ

&Œ ‰ j œ œ #œ Œ ‰ j œ œ #œ Œ ‰ j #œ
#œ
Œ ‰ j #œ
#œ #œ #œ #œ #œ #œ #œ
Vln. 2

≤ j#œ . ≤ ≤ ≤
BŒ #œ œ œ Œ # œ œ œj # œ . Œ j . Œ j .
#œ #œ #œ #œ #œ #œ #œ #œ
Vla.

? ‰ œj œ # œ ˙ ‰ œj œ # œ ˙ ‰ j#œ #œ ‰ j #œ #œ
Vnc.
#œ ˙ #œ ˙

t ˙. œ #œ ˙. #˙ . œ #œ #˙ .
D.B.
œ #œ

149
 œ œ. #œ œ .
œ œ œ œ #œ œ œ #œ
45 a2

& ∑ ∑ ∑ ∑ #œ . J
J
Fl. 1&2

F 3
f

Ob. 1&2 & œj ‰ Œ Ó ∑ #˙ œ œ . #w

J
œ ‰ Œ
J
Ó ∑
p P F

& œj ‰ Œ Ó ∑ ∑ ∑ Ó #˙ œ
Cl. 1&2
œœ ## œœ œœ œœœ # œœ Œ œ œ œ
p F f# œ œ
œœ # œ œ
33

œ œ. f
3

? ∑ ∑ ∑ ∑ Œ # œ # ˙œ ‰ Œ œ œ # œ # œœ œ
Bn. 1&2
#œ Œ œ
F f
? œJ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
Horn 1&2 &
p

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ œ #œ
f
a2

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ œ #œ

# # ˙˙ ..
3
? ∑ ∑ ∑ ∑ # œœ ˙˙
Tbn. 1&2
#œ œ œ #œ œ
F 3

?
3.
∑ ∑ ∑ ∑ œ œ
Tbn. 3/Tba.
#˙ . œ ˙ œ
F œ

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑ ∑

#œ nœ #œ œ œ
Perc. 3 &Ó Œ Œ Ó ∑ ∑ Ó ‰ œœ œ J‰Œ Ó
F 3
f

˙. #œ n˙ œ œ. #œ œ .
˙ œ œ œ œ #œ œ œ #œ
45

& #˙ œ œ . #w œ. J
Vln. 1
J J
f P F 3 f

j j #˙
Vln. 2 & œ. œ #˙ œ. ‰ Ó ∑ Ó #˙ œ œ. œ #œ œ œ œ œ
f p P F f

B œ œ #˙ . œ. ‰ Ó ∑ Œ ˙. œ œ œ #œ œ œ œ #œ œ #œ #œ œ œ
œ œ
#œ #œ
Vla.

f p P f
F
3 3

œ œ. #œ œ
?w œ. ‰ Ó ∑ ‰#œ . œ #œ #œ ‰ œ #œ #œ œ œ
#œ œœ
Vnc.

#œ
3
f p P F f
D.B.
tw œ. ‰ Ó ∑ ‰#œ . œ #œ #˙ . œ ˙ œ œ
f p P F f

150
 œ. #œ #˙ œ #œ #œ œ œ œ1. # œ
50
J Ó Œ œ œ J œ œ
Fl. 1&2 & J J J œ.
ƒ f P

Ob. 1&2 & ∑ ∑ ∑ ∑

œ # œ œ # œ # œ œ œ œj ‰ # œj # œ j
1.

& ˙œ ˙ #œ . œ ‰
Ó ‰ # œj # œ œ
œ œ œ # œ # œ ˙œ œ œ œ. œ
J #œ #œ œ . F ‰
Cl. 1&2

ƒ œp P
J œ œ
Œ ƒ j
? # œ # œœ œ œ #œ #œ . œ #˙
1.

œ #œ œ . œ ˙ œ ‰ Œ ∑ #œ #œ œ
Bn. 1&2
#œ œ
J P
ƒ P
a2

Horn 1&2 & Ó ‰ j

#œ #œ . œ ˙ j‰ ∑
œ #œ #œ œ #œ ˙ œ
f p
P
‰ # œJ # œ . œ # ˙ œ œ #œ œ #œ j
a2

Hn. 3&4
? Ó ˙ œ ‰ ∑
f P p

& œ. #œ #˙ ∑ ∑ ∑
Tpt. 1
J
ƒ P
j
Tpt. 2&3 & # œœ .. # œœ # # ˙˙ ∑ ∑ ∑
ƒ P

Tbn. 1&2
? #˙ œ # # œœ # œœ .. œœ # ˙˙ œœ ‰ Œ ∑ ∑
ƒ f
J
P
? j‰ Œ ∑ ∑
Tbn. 3/Tba.
#˙ œ #œ œ . œ ˙ œ
#˙ œ #œ œ . œ ˙ œ
ƒ f P
Perc. 1
? ∑ ∑ ∑ ∑

sus. cym.

÷ ˙ œ ‰ Œ ∑ ∑ ∑
Perc. 2
æ J
F f

Perc. 3 & ∑ ∑ ∑ ∑

œ. #œ #˙ ≤ œ #œ #œ œ œ œ #œ œ
50
J Ó Œ œ œ J œ œ
Vln. 1 & J J J .
ƒ P f P

#œ . ‰ # œj j
& ˙ ‰ Ó #œ #œ œ œ œ # œ # œ œj œ œ . œ-
œ #œ œ œ
Vln. 2

ƒ P
F
#œ œ P
˙ œ
Vla. B œ J ‰ œ œ
#œ #œ œ œ œ œ œ #œ œ ˙ œ œ œ #œ
#œ œ
ƒ P F P
œ œ.
? #œ #œ ‰ œ #œ #œ œ ˙
j
œ ‰ ∑
Vnc.
#œ
P œ #œ #œ œ #œ
ƒ P p
t j
D.B.
#˙ œ #œ œ . œ ˙ œ #œ #œ œ #œ ˙ œ ‰ ∑
ƒ f P p

151
 ˙ œ
55
j
Fl. 1&2 & J ‰ Œ Ó ‰ # œœ œœ œœ ˙˙ # # ˙˙ ww œœ ‰ Œ Ó ∑
p P F f P
2. English Horn
Ob. 1&2 & ∑ ∑ ∑ ∑ j j‰ Œ
˙ œ œ. ˙ œ
P
j
&˙ œ ‰ Œ Ó ‰ #œ œ œ ˙˙ # # ˙˙ j‰ Œ Ó ∑
# œ œ œ ww # œœ
Cl. 1&2

p P F f p
?˙ j j j
œ ‰ œ ‰ Œ #œ ‰ Œ ‰ #œ œ #˙ ˙ w œ ‰Œ Ó ∑
Bn. 1&2
J œ. # œ. #œ œ #˙ ˙ w œ
p
F f p

& ∑ Œ ‰ j‰ Œ Ó ∑
# # œœ œœ ˙˙ ˙˙ # # ˙˙ ww œœ
Horn 1&2

P F f p
? ∑ Œ ‰ # # œœ œœ ˙˙ ˙˙ # # ˙˙ ww œœ ‰ Œ Ó ∑
Jp
Hn. 3&4

P F f

& ∑ ∑ Ó Œ ‰ #œ œ #w œ ‰Œ Ó ∑
Tpt. 1
J
f p

∑ ∑ Ó Œ ‰ # # œœ œœ # # ww j
Tpt. 2&3 & œœ ‰ Œ Ó ∑
f p

? ∑ ∑ ∑ # # ww œœ ‰ Œ Ó ∑
J
Tbn. 1&2

f p
? ∑ ∑ ∑ j‰ Œ Ó ∑
# # ww œœ
Tbn. 3/Tba.

f p
? j
Perc. 1 ∑ Ó Œ ‰ # œ œ # wæ wæ #œ ‰ Œ Ó # wæ
F f p π
t.d.

÷ Ó ‰ œœœ ‰ ∑ ∑ ∑ ∑ ∑
Perc. 2
J
p

&Ó ‰ # # # œœœ ... Ó ‰ # # œœœ œœœ œœœ Ó # # œœ Œ ∑ ∑ ∑

Perc. 3
# œ
p P f

˙ œ #œ . > 55

& J ˙ œ œ. ˙ #˙ w œ ‰Œ Ó ∑
Vln. 1
J f
J
p P p
j j j
Vln. 2 &˙ œ #œ . #˙ œ >œ . ˙ #˙ w œ ‰Œ Ó ∑
p P f p

B j j
Vla.
˙
j
œ #œ . #˙ œ >œ . w #w œ ‰Œ Ó ∑
p P f p
j
arco.

?Œ ‰œœ
pizz.

JJ ‰ œ ‰ Œ #œ ‰ Œ ‰ #œ œ #˙ ˙ w œ ‰Œ Ó ∑
Vnc.
J J F p
p f

tŒ ‰œ œ
pizz.
‰ œ ‰ Œ #œ ‰ Œ
arco.

‰ #œ œ #˙ j bow freely

JJ J ˙ w œ ‰Œ Ó #w
J
D.B.

p F f p π

152
 60
#˙ . œœ
& ∑ ∑ ∑ Œ # ˙. ‰ Œ Ó
Fl. 1&2
J
p π

& j j j‰ j j‰ Œ Ó
Ob. 1&2
œ. œ œ œ œ . #œ œ œ œ. #œ ˙ w œ
F p π

∑ ∑ ∑ Ó j
Cl. 1&2 & # # ˙˙ œœ ‰ Œ Ó
p π
? ∑ ∑ Ó Œ #œ j
Bn. 1&2 w œ ‰ Œ Œ
#œ w œ
p π

Horn 1&2 & ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑

? wæ j
Perc. 1 ˙. #œ œ œ #œ ‰ Œ Ó ∑ ∑

Perc. 2 ÷ ∑ ∑ ∑ ∑ ∑

Perc. 3 & ∑ ∑ ∑ ∑ ∑

60

& ∑ ∑ ∑ ∑ j‰
#˙ . œ
Vln. 1

Vln. 2 & ∑ ∑ ∑ ∑ j‰
#˙ . œ
π
B ∑ ∑ ∑ ∑ j‰
Vla.
#˙ . œ
π

? j
pizz.
j
arco.
j
∑ ∑ ∑ #œ ‰ Œ ‰ œ Œ .
Vnc.
p
# # ˙˙ . œœ ‰
π
#œ œ
pizz.

tw j J ‰ Œ ‰ J Œ
arco.
j
D.B. w œ ‰ Œ Ó #˙ . œ ‰
p π

153
 IV. FINALE
q»¶º
# a2œ œ œ #œ
Flute 1&2 & 44 ∑ ∑ Ó J
f

& 44 j
a2

Oboe 1&2 ∑ ∑ Ó #œ œ œ #œ
f
4 ∑ ∑ ∑
Bb Clarinet 1&2 &4

? 44 œ .
a2
j œ. j œ bœ œ œ œ
œ #œ œ œ #œ . œ
Bassoon 1&2
œ. œ #œ . œ bœ œ œ œ œ
F J
a2 con sord.

& 44 œ . j ‰ Œ j
3

j
3
œ œ œ 3
j #œ œ
œ œ œ bœ œ œ œ #œ œ œ bœ nœ #œ nœ
Horn in F 1&2

F
œ f
œ œ œ #œ œ
œ.
a2 con sord.
œ œ œ bœ œ œ œ #œ œ 3
œ bœ nœ œ #œ nœ
Horn in F 3&4
? 44 J J J ‰ Œ J
3
F
3
f
con sord.

œ #œ œ
& 44 œ œ bœ nœ nœ œ #œ J
Bb Trumpet 1 ∑ ∑ œ nœ
F
a2 con sord.
#œ
Bb Trumpet 2&3
4
&4 ∑ ∑ œ œ bœ nœ nœ œ œ #œ J œ œ nœ
F
con sord.
œ bœ nœ œ #œ œ
? 44 ∑ Ó Œ ‰ bœ nœ œ #œ œ
Trombone 1&2
œ
J
3. con sord. F
? 4 œ.
a2
j j
4 œ #œ œ œ. j œ bœ œ œ œ
œ #œ . œ
Trombone 3/Tuba

? 44 œœ Œ Ó Œ ‰ j ‰ Œ Œ
Percussion 1 œœ œœ œœ œœ œœ œœ œœ œœ
F f

? 44 œœ œ œ œ œ œ œ œ œ
marimba

Œ Ó œ Œ ‰ œ ‰ œ œ œ Œ Œ œ œ œ
J
Percussion 2

F
f
B. D.

Percussion 3 ÷ 44 œ Œ Ó œ Œ Ó œ Œ Œ œ
F f

?4 ∑ ∑ ∑
Baritone 4
q»¶º
#œ œ #œ
4 j œ œ bœ nœ nœ œ œ #œ J œ
3 3

& 4 œ. j œ œ bœ œ bœ nœ œ bœ
3

œ œ œ bœ œ œ œ #œ œ
Violin 1

F f
œ #œ œ œ #œ
& 44 œ . j œ œ bœ nœ nœ œ #œ J
3 3

j œ œ bœ œ bœ nœ œ bœ
3
Violin 2
œ œ œ bœ œ œ œ #œ œ
f
F #œ œ #œ
j œ œ bœ œ bœ nœ œ bœ œ œ bœ nœ nœ œ œ #œ J œ
Viola B 44 œ . œ œ œ bœ œ œ œ #œ œ J
3 f
F 3
3

? 44 œ . j œ. œ #œ . œ bœ œ œ œ œ
Cello œ #œ œ J J
F

t 4 œ. j œ. œ #œ . œ bœ œ œ œ œ
Double Bass 4 œ #œ œ J J
F

154
 #œ œ œ bœ œ œ
5

œ n œ# œ œ œ #œ œ #œ œ œ nœ œ œ œ œ #œ
# œ œ b œ n œ œ b œ b œj ‰ œœ #œ #œ œ œ
Fl. 1&2 & 5 3
‰ #œ œ
3 5
3
ƒ 3 F 3

#œ œ œ bœ œ œ œ #œ nœ bœ nœ œ
3 3
j œ #œ
3 a2

& œ n œ# œ œ œ #œ œ #œ œ œ nœ œ œ #œ œ nœ bœ nœ bœ bœ ‰ ‰ #œ #œ nœ œ
3

#œ œ œ œ
Ob. 1&2

3 5ƒ 3 F 5

œ # œ œ # n œ œ œ # œ œœ œ b œ œ œ b œ n œ b œ n œ œ b œ b œj ‰
3

œ #œ
3 5 3

&Ó ‰ #œ #œ nœ œ #œ
3
Cl. 1&2 œ
œ #œ œ #œ nœ œ œ #œ œ b œ œ œ œ # œ n œœ b œ œ #œ œ œ œ
ƒ F
j
3 5
3

? ‰ œ #œ œ #œ bœ nœ bœ bœ nœ
3
j j
3

Bn. 1&2
œ # œ b œ n œ bœ bœ nœ œ bœ œ . œ œ œ œ. œ ˙
œ #œ ƒ F
f 3

‰ ‰ ‰ ‰ ‰ œ # ˙˙ ∑
3
& j j
3 5

#œ œ #œ nœ œ # œ n œ œ œ œ J
Horn 1&2
œ œ F 3
#œ œ #œ nœ œ #œ nœ œ œ
? œJ ‰ ‰ œ œ ‰ Œ ‰ œ œ œ œœ ‰ Œ Ó
Hn. 3&4
3 5
J Œ ‰ J J
F
œ œ bœ œ œ
3

‰ ‰ # œ œ # œ n œ œ # œ n œ œ œ œ ‰ œJ ˙ . b œ œ œ # œ # œ œj
5

Tpt. 1 & œJ ‰
P f 3
3 P
3
œœ b œœ n b œœ œ œ3 b œ
3

‰ ‰ #œ œ #œ nœ œ #œ nœ œ œ œ j ‰ b˙ . œ j
5

& œJ ˙ œ #œ œ œ œ# œ œ œ ‰
Tpt. 2&3
œ ‰ œ œ œ
f 3
œ œ œ œ b œœ œœ œ b œ œ 3 PJ
œ j
3

œ œ bœ œ
? ‰ œ œ œ œœ œ œ œœ œ b œ œ b œ Ó ‰ ‰ J b œ n œ œ # œœ b œœ œœ œ # œ œœ œ
œ ‰
Tbn. 1&2
bœ
J 3
F f J
3
f 3 3 P
?‰ 3 3
j
3
j j j ‰
Tbn. 3/Tba.

œ #œ œ #œ bœ nœ bœ bœ nœ œ bœ œ. œ œ œ œ. œ œ œ
f bœ œ. œ œ œ œ. œ œ œ
ƒ P
Perc. 1
?Œ ‰ œœj œœ œ.
œœ œœ œœ œœ œœ æ
œ œ
æJ æ
œ
æ
œ.
æ
œ œ
æJ æ
œ
æ
ƒ P
?Œ œ œ œ œ œ œ œ œ.
‰ œ œ œ œ œ œ œ æ ‰ Ó & ∑
J
Perc. 2

÷ Ó j j Œ Ó Ó
Perc. 3
œ œ œ œ ˙æ
ƒ F
5

Bar.
? ∑ ∑ ∑
#œ œ . œ œ bœ œ œ
5

#˙
œ n œ# œ œ œ #œ œ #œ œ œ nœ œ œ
Vln. 1 & J
5
3
ƒ
3
#œ œ . œ œ bœ œ #˙ œ
œ n œ# œ œ œ #œ œ #œ œ œ nœ œ œ
Vln. 2 & J
3 5
3 ƒ
œ n œ# œ œ 3
#œ œ .
5
œ œ œ œ. œ ˙
Vla. B œ #œ œ #œ œ #œ nœ œ œ J J
3 ƒ

#œ bœ nœ bœ bœ nœ
3 3
?œ œ #œ œ j j
Vnc.
J œ bœ œ. œ œ œ œ. œ ˙
f 3 ƒ

#œ bœ nœ bœ bœ nœ
3 3
tœ œ #œ œ j j
D.B.
J œ bœ œ. œ œ œ œ. œ ˙
f 3
ƒ

155
 œ . #œ ˙ œ #œ œ #œ nœ œ ˙ œ
10

Fl. 1&2 & J J‰ ∑ ∑ ∑ ∑

f P
œ . #œ ˙ œ ‰Œ Ó œ œ œ œJ œ .
1.

& J J Ó ‰ œ. ˙ œ œ. ˙ œ‰ Œ ‰#œ œ œ
J J J
Ob. 1&2

f P F
P
œ . #œ ˙ j
œ ‰Œ Ó ∑ ∑ ∑ ∑ ∑
Cl. 1&2 & œ . #œ ˙ œ
f
J P
? j j
Bn. 1&2
˙ œ #œ . ˙ œ ‰ Œ ∑ ∑ ∑ ∑ ∑
f ˙ œ
P

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

œœœ Œ ‰ œœ œ Œ Ó
1.

? Ó
∑ ∑ ∑ ∑ Ó ‰
Ó ‰ œœœ Ó Œ ‰œœ
Tbn. 1&2

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

?˙ œ #œ . j
œ ‰ Œ ∑ ∑ ∑ ∑ ∑
Perc. 1 æ æJ æ ˙æ

& ∑ ∑ ∑ ∑ Œ j‰ Œ Ó ∑
˙æ.
Perc. 2

P
œ
p

Perc. 3 ÷ œ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
p
10

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ . #œ ˙ œ #œ œ #œ nœ œ ˙ œ 10

Vln. 1 & J J‰ ∑ ∑ ∑ ∑
F P
œ . #œ ˙ œ #œ œ #œ nœ œ ˙ œ pizz
& J J ‰ j‰ Œ Ó j‰ Œ Ó j‰ Œ Ó Ó j‰ Œ
#œ
Vln. 2

F P œ œ œ
p
˙ œ Œ
divisi
Ó j
B J #œ . ˙ . œ œ #˙ . œ # ˙ .# ˙ ˙œ # œ # ˙˙
. J
œœ # ˙ .œ œ
. . œ ˙œ . œ œ˙ œ .
J J J
Vla.

F p
divisi
j j
? j j ˙. œ w˙ œ œ. ˙w. œ ˙ ˙ œ #œ œ . œ
Vnc.
˙ œ #œ . ˙ . œ ‰ ∑ #˙ . œ ˙ ˙
F P p

t j œ
pizz
j j j
j œ ‰Œ Ó J‰Œ Ó #œ ‰ Œ Ó œ ‰Œ Ó Ó œ ‰Œ
D.B.
˙ œ #œ . w
F P p

156
 15

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

#˙ œ œ. #˙ œ ‰Œ ∑ ∑ ∑ ∑
Ob. 1&2 & J J
p
j j
1.

& Ó ‰ . nœ œ . œ. ‰ Ó
Cl. 1&2
œ #˙ œ ‰ Œ #œ . œ œ œ ˙
J
∑
P p

Bn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

j
? ‰œ œ œ œ Ó
Œ ‰ œœœ
œœœ Ó
Œ Ó ‰ œœœ ˙
œœ˙ ˙
œ œœœ
œ œœœ ‰ ∑ ∑
Œ ‰ Œ ‰
Tbn. 1&2
J

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ j
Perc. 1 ˙æ. œ ‰ ∑ ∑
p
xylophone

∑ ∑ ∑ ‰ œ
& j‰ ∑ Œ ˙
œ œ ˙æ
Perc. 2
œ
p P

Perc. 3 ÷ ∑ ∑ ∑ ∑ ∑ ∑
P
15
œ œ. œ œ œ
Bar.
? ∑ ∑ ∑ ∑ Ó Œ ‰J J
A Bird -

15

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

& Ó ‰ œj Œ j
Vln. 2
#œ ‰ Œ Ó
œ
j‰ Œ Ó Ó Œ
œ
j‰ ∑ ∑

j j Œ œj ‰ Ó
pizz

B œœ . # œ œ œ˙ œ . j unis.
j
ww # ˙˙ œœ ‰ Œ Ó Œ œ ‰ Ó œ‰Œ
J
Vla.

j j j pizz

? ˙ œ . #œ #˙ œ #œ . ˙˙ œœ ‰ Œ Ó j j Œ œj ‰ Ó
unis.

Vnc.
œ œ. œ œ #œ œ œ œ. Œ œ ‰ Ó œ‰Œ
J J J
t Πj j j
D.B.
œ ‰ Ó #œ
j‰ Œ Ó œ ‰ Œ Ó Ó Œ œ ‰ ∑ ∑

157
 ©»¡¡º 25
j
˙ ˙. œ œ. œ ˙. ˙. œ ‰ ˙
1.
20

& ∑ ∑ Ó 34 J ˙ œ œ. œ ˙.
ΠJ
Fl. 1&2

p F F

Ob. 1&2 & ∑ ∑ ∑ 34 ∑ ∑ ∑ ∑ ∑

œ ‰ Œ 34
1.

& ∑ Ó Œ ‰œ ˙ ∑ ∑ ∑ ∑ ∑
J J
Cl. 1&2

p
? ˙
1.
œ. 34
Bn. 1&2 ∑ Ó ‰ Ó ∑ ∑ ∑ ∑ ∑
p

Horn 1&2 & ∑ ∑ ∑ 34 ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ 34 ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ 34 ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ 3 ∑ ∑ ∑ ∑ ∑
Tpt. 2&3 & 4

Tbn. 1&2
? ∑ ∑ ∑ 34 ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ 3 ∑ ∑ ∑ ∑ ∑
Tbn. 3/Tba. 4

? ∑ ∑ j 34
Perc. 1 ˙æ œ ‰ ∑ ∑ ∑ ∑ œ Œ Œ
P P

œ 34 Œ ‰
Perc. 2 & œ ˙ Œ ∑ Œ ‰ œœœ ‰
J
∑ ∑ ∑ ∑
œœœ
˙crotales wood block

Perc. 3 ÷ ∑ ∑ ∑ &
34 Œ ÷ ∑ Œ Œ ‰ œœ œ Œ Œ ∑
20 P

? œ. #œ œ Œ
25

∑ ∑ 3 ∑ ∑ ∑ ∑ ∑
Bar. J 4
©»¡¡º
j 20 pizz
œ 25

& ‰ œ œJ ‰ Ó j‰ Œ œ‰Œ Ó J ‰ Œ 34 ∑ ∑ ∑ ∑ ∑
J
Vln. 1
œ P
j 34
Vln. 2 & ‰ œ œJ ‰ Ó Ó Œ ‰œ
J
∑ ∑ ∑ ∑ ∑ ∑
divisi unis.

j j
arco pizz

B ∑ 34 œ
Vla. œœ .. œœ ˙˙ œœ ‰ Œ Ó ∑ ∑ œ ‰œ ‰ œ Œ Œ œ œ
p F

? j œ 34 œ Œ
Vnc. ∑ œ ‰Œ J‰Œ ∑ Œ œ Œ Œ œ Œ Œ ∑ œ œ œ
P F

t ∑ ∑ ∑ 3 œ Œ Œ ∑ œ Œ Œ ∑ ∑
D.B. 4
P F

158
 œ #œ #œ
30
œ œ #œ # ˙œ. ˙˙ .. œœ ‰ Œ Œ 35

& ˙. œ #œ #œ œ #œ ∑ ∑ ∑
J‰ J
Fl. 1&2

j
1.

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ˙. œ œ. œ # ˙œ . # œ œ

F F

Cl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j
œ œ. œ ‰ œ #œ
1.

? ˙ œ ˙. ˙. # ˙œ. œ # œ
∑ ∑ Œ J œ ˙.
Œ ˙ œ œ. J
Bn. 1&2

F F

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ ∑ Œ œ Œ ∑ Œ œ Œ ∑ ∑ ∑
F
xylophone

Perc. 2 &‰ Œ ∑ ∑ Œ
œ. j Œ Œ ∑ ∑ ∑
œœœ œ œ
F
t.d.

Perc. 3 ÷ ∑ ∑ ‰ œœœ Œ ∑ ∑ Œ Œ ‰ œœ œ Œ Œ ∑
F
30 35

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

30

∑ ∑ #œ ‰ œ ‰ #œ Œ Œ ∑ ∑
35

∑
& j j
œ œ œ œ
Vln. 1

& ∑ Œ #œ #œ œ œ #œ œ Œ Œ ∑ ∑ ‰ œ ‰ œj ‰ # œj ‰ # œj œ Œ
J
Vln. 2

Bœ Œ Œ ∑ ∑ Œ œ ‰ œj œ Œ Œ ∑ œ œ #œ ‰ ‰
Vla.
#œ œ

?œ Œ Œ ∑ ∑ ∑ j j ∑ œ œ #œ Œ Œ
Vnc.
œ œ œ œ œ

tœ Œ Œ ∑ ∑ ∑ j j Œ œ ‰ œ œ Œ Œ Œ Œ
D.B.
œ œ œ œ J œ

159
 ˙.
40

˙. ˙ #˙ . œ . #˙ . œ #˙
˙
1.
œ œ. œ œ œ ˙. œ # ˙ ˙.
& ΠJ J
Œ
Fl. 1&2

œœ #œ
# œœ # œœ œ # œœ # ˙œ œ ˙œ # œ # œ ˙˙ #œ # œœ # œœ # œœ
Ob. 1&2 & œ˙ # œ œ # œœ # œœ # œœ œ

œœ
∑ ∑ ∑ ˙. œ #œ #œ œ œ # œœ # œœ # # œœ
& Œ ˙ œ œ œ # œ .. J
Cl. 1&2
œ.
J
? ˙˙ .. ˙˙ .. ˙. ˙. #˙ .
˙. #˙ . #˙ œ ˙ œ
#˙ . ˙
Bn. 1&2
œ ˙ #œ
a2 senza sord.

& ∑ ∑ ∑ ∑ Œ j
œ œ
Horn 1&2
˙ œ. ˙.
F
˙ œ. œ œ
a2 senza sord.

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ Œ J
F
senza sord.

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ #œ #œ œ
F
a2 senza sord.

& ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 2&3
œ # œœ # œœ
F
? #˙ .
2. senza sord.
˙. # ˙˙ ..
senza sord.
˙˙ . # ˙˙ .. ˙ œœ ˙˙
Tbn. 1&2
. #˙ # # œœ
3. senza sord. a2
? ˙. ˙.
Tbn. 3/Tba.
˙. #˙ . #˙ . ˙ œœ ˙˙ œ
#œ

Perc. 1
? Œ ˙æ ˙æ. ∑ ∑ ∑ ∑ ∑

& j j j j ∑ ˙. œ #œ #œ œ œ. j
œ œ
#œ œ
œ œ
Perc. 2
œ œ œ œ œ œ

Perc. 3 ÷ Œ Œ ‰ œœ œ Œ ‰ œœ œ Œ Œ Œ Œ ‰ œœ œ Œ Œ Œ ‰ œœœ ∑

40

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

j j 40
j j j
Vln. 1 & j j ∑ œ œ œJ œ œ œ œ œ
J œ œ œ œ
J œ œ œ œ
J œ œ œ œ
J
œ œ œ œ f

Vln. 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
f
#œ œ
j #œ . J #œ #œ
arco

B #œ Œ Œ ‰ # œ ‰ œ ‰ œJ ∑ Œ ˙ œ. œ œ œ
J J
Vla.

f
œ
? jœ œ œ
œ
j
œ œ œ œ œ Œ
œ ‰ œ ‰ œ ‰ œ ‰ # œJ ‰ # œj ‰ œJ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œj ‰ J
Vnc.
J J J J J J J J J
f
t jœ œ œ j œ
D.B.
œ J œ œ œ œ
J œ Œ œ #œ
œ
œ #œ #œ œ œ
#œ
œ
œ œ
f

160
 ˙. ˙.
45
œ
˙. ˙. œ a2
œœœ œœœ
& J ‰ Œ Œ Œ ‰ J ‰ Œ ‰ J ‰ ∑ Œ Œ
2.

Fl. 1&2
œ
f F P P
# œœ # # œœ . œœ # ˙˙ .. œœ 2.
. J ‰ Œ Œ ∑ ∑ Œ
Ob. 1&2 & J ˙ œ œ œ
f P
# ˙˙ # œœ # ˙˙ .. œœ ‰ Œ Œ
2.

Cl. 1&2 & J ∑ Œ Œ œ #œ œ Œ œ ˙ œ

f P

? ˙. j
a2

Bn. 1&2 ˙. œ ‰ Œ Œ ∑ ∑ Œ ‰ œ. œ b˙
˙. ˙. œ P
f
j j ‰ ‰ œ. j
Horn 1&2 & œœ œ # ˙˙ . œ ‰ Œ Œ ‰ œ.
œ. œœ œ. œœ ‰ ∑ ∑
œ #œ . œ
f
œ œ œ ˙˙ .. œœ œœ .. œœ œœ . œœ
Hn. 3&4
? #œ J ‰ Œ Œ ‰ J ‰ ‰ . J ‰ ∑ ∑
f F P

j
& #œ #œ . œ ˙ œ œ œ ‰ Œ Œ ∑ ∑ ∑ ∑
J
Tpt. 1

j
Tpt. 2&3 & # ˙œ œ œ # ˙˙ .. œœ ‰ Œ Œ ∑ ∑ ∑ ∑
f J
j
? ˙˙ .. ˙.
˙.
œ #œ œ
œ ‰ Œ ‰ #œ œ Œ Œ
œ Œ Œ ∑ ∑
Tbn. 1&2
œ
f
J F P
? ˙. j œ
Tbn. 3/Tba. ˙. œ ‰ Œ ‰ # œj œ Œ Œ œ Œ Œ ∑ ∑
˙. ˙. œ F P
f
? œj ‰ ‰ # œ ‰ ‰ j j œ œ œ
Perc. 1
J œ ‰ ‰ # œJ ‰ ‰ œ ‰ Œ Œ ∑ ∑ Œ Œ Œ
f P

Perc. 2 & ‰ œœœ œ #œ ‰ œœœ œ #œ œ ‰ Œ Œ

J
∑ ∑ ∑ ∑
f
t.d.

÷ ‰ œœœ œ œ ‰ œœœ œ œ œ ‰ Œ Œ ∑ ∑ ∑ ∑
J
Perc. 3

F P
?
45
œ #œ œ Œ œ ˙ œ
Bar. ∑ ∑ ∑ ∑ Œ Œ
On le - vel and il -
45

& œJ ‰ ‰ # œj ‰ ‰ j ‰ ‰ # œj Œ
arco

Vln. 1 j‰ Œ Œ ∑ ∑ ∑ Œ Œ œ
œ œ P
arco

Vln. 2 & œJ ‰ ‰ # œj ‰ ‰ j ‰ ‰ # œj Œ j‰ Œ Œ ∑ ∑ ∑ Œ Œ œ
œ œ P
œ j
pizz
j
Vla. B J ‰ Œ Œ œ ‰ ‰ # œj ‰ ‰ œ ‰ Œ # œj ‰ œj ‰ Œ Œ ∑ ∑ ∑
F
? œJ ‰ ‰ # œ ‰ ‰ j
œ ‰ ‰ # œj Œ
j
œ ‰ Œ # œj ‰ œj ‰ Œ Œ j ‰ œj Œ j j
Vnc.
J œ ‰ Œ Œ Œ œ ‰ bœ ‰ Œ
F P
t œJ ‰ ‰ # œ ‰ ‰ j
œ ‰ ‰ # œj Œ
j
œ ‰ Œ # œj ‰ œj ‰ Œ Œ j ‰ œj Œ j j
D.B.
J œ ‰ Œ Œ Œ œ ‰ bœ ‰ Œ
F P

161
 œ ˙. ˙
j # œ œ œJ œ
50 1. 55

Fl. 1&2 &˙ #œ œ œ . #œ ˙. #˙ . J

F F
j
1.
j j #œ . œ œ
Ob. 1&2 & œ. #œ œ n˙ . #œ #œ #œ #œ #œ J #œ ‰ Œ Œ
J
∑ ∑
F F b œ bœ bœ
b œ1. b œ b œ b œ
& œ. j J ‰ Œ Œ ∑ ∑
Cl. 1&2
œ œ b˙ . b˙ .
F F
? j
œ ‰ Œ Œ
Bn. 1&2
œ. bœ . ∑ ∑ ∑ ∑ ∑
F

∑ ∑ ∑ j
Horn 1&2 & # ˙˙ .. œœ ‰ Œ Œ ˙˙ .. ˙˙ ..
p
? ∑ ∑ ∑ # # ˙˙ .. œœ ‰ Œ Œ ˙˙ .. ˙˙ ..
Hn. 3&4
J
p

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ #˙ . #œ ‰ Œ Œ ∑ ∑
Perc. 1
æ J
F P
# œ. œ. # œ. .
marimba
œ # œ. # œ. ‰ Œ Œ
Perc. 2 & ‰ œœœ #œ œ œ . # œj # ˙æ.
?
# œ. J ∑ ∑
P F P

Perc. 3 ÷ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F
P
˙
50
#œ œ œ . #œ #˙ . #˙ . œ 55
˙
Bar.
? J œ Œ ‰ J Œ ∑
lu - mined wings, You fly
50
j 55 pizz

Vln. 1 &˙ #œ œ œ . #œ œ #œ #œ œ
#œ ˙. œ
j‰ Œ Œ œ œ œj ‰ Œ ∑
F P
pizz
j ‰ œj œ
divisi

Œ Œ j‰ Œ Œ j‰ Œ Œ
unis.
Vln. 2 & œœ .. # œœ œœ b n ˙˙ .. œ œ
F #œ ˙. œ œ
P pizz
arco
Vla. B ∑ ∑ Œ j‰ Œ Œ ∑ œ œ œ ‰
#˙ ˙. œ œ
P
? j‰ ‰ j Œ ‰ œj œ œ
arco
j
Vnc.
œ bœ œ ‰ Œ Œ ‰ j
#œ ˙ ˙. œ
j‰ Œ Œ ∑ Œ
F P F

t j‰ ‰ j Œ j ‰ œj œ œ
arco

D.B.
œ bœ œ ‰ Œ Œ ‰ j
#œ ˙ ˙. œ
j‰ Œ Œ ∑ Œ
F P F

162
 ˙˙ œœ
rit. a tempo

#˙ . 44 J‰ Œ 34
60

Fl. 1&2 & # ˙. ∑ ∑ ∑ ∑

F
˙ œœ
Ob. 1&2 & # ˙˙ .. 44 ˙ J‰ Œ ∑ 34 ∑ ∑ ∑
F

4 j‰ Œ Ó 3 ‰
1.

& ˙. 4 œ ‰ j 4 jbœ bœ bœ ∑ ∑
œ.
Cl. 1&2
˙. œ œ. b œ. œ. œ. b œ. b œ b œ b œ . . .
. .
.œ b œ. . b œ.
F
? # # ˙˙ .. 44 œœ ‰ Œ Ó
P
. b œ. œ. b œ. 34 ‰ b œ. b œ. b œ. b œ
‰ œJ
1. a2

J . œ. ∑ Œ Œ
J b >œ
Bn. 1&2

F P
f

Horn 1&2 & # œœj ‰ Œ Œ 44 ∑ ∑ 34 ∑ ∑ ∑

F
? # œœ ‰ Œ Œ 44 ∑ ∑ 34 ∑ ∑ ∑
Hn. 3&4
J
F
b˙ 34 ˙
con sord.

Tpt. 1 & ∑ 44 ∑ b˙ Œ b˙ œ œ ˙.
p
P
4 3 ˙
2. con sord.

& ∑ 4 ∑ b˙ b˙ 4 Œ ‰ jbœ œ ∑
Tpt. 2&3
b œ. . b œ. . b œ
P .p
bœ
con sord.

b˙ bœ ˙ b˙ œ œ ˙
? ∑ 44 ∑ b˙ 34 Œ Œ
Tbn. 1&2
b˙ b˙ . œ n˙ ˙
P p
3. con sord.
? ∑ 4 ∑ ∑ 3 ∑ ∑ Œ Œ
Tbn. 3/Tba. 4 4 bœ
b >œ
? 44 34 >f
∑ ∑ ∑ ∑ ∑ Œ Œ bœ
Perc. 1
æ
f

Perc. 2
? ∑ 44 ∑ ∑ 34 ∑ ∑ ∑

÷ ∑ 44 ∑ ∑ 34 Œ Œ Œ ‰ œj œ œ œæ
Perc. 3
œ œ >
f F P f
œ œ œ œ œ bœ
60

bœ ˙ P
? #œ #œ #œ #œ œ œ œ 4 J b˙ 3 bœ b˙ œ œ ˙
3

Bar. 4 ‰ 4 Œ
high o - ver our dis - con - tent,
rit. a tempo

4 œ
arco 60

∑ œ œ œ ‰ ∑ 3 ∑ ∑ ∑
Vln. 1 & 4 J 4
F

Vln. 2 & ∑ 44 ∑ ∑ 34 ∑ ∑ ∑
arco

B ∑ 44 œ œ œ œ ‰ ∑ 34 ∑ ∑ ∑
Vla.
J
F

? 44 j ‰ Œ Ó b˙ 34
Vnc.
#˙ . œ b˙ b˙ . œ ˙ ˙ b >œ
f P f
p
pizz

t 4 j‰ Œ Ó 3
arco

4 œ bœ Œ bœ Œ 4 bœ Œ Œ Œ
D.B.
#˙ . ˙ ˙ b >œ
f P p f

163
 65 70

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

‰ b œ œ œj ‰ Œ
1.

∑ ∑ ∑ ∑ Œ Œ ‰ j
bœ œ bœ ‰ Œ Œ
Cl. 1&2 & ∑ ∑
P
1.
? ∑ ∑ ∑ ∑ ‰bœ œ œ ‰ Œ ∑ Œ ‰ b œ œ œj ‰ ∑
Bn. 1&2
˙. J
p P

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ b˙ . ˙ œœ
Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ Œ œ. J
P

b -œ . -œ œ b ˙ . ˙. n˙
2.

& ∑ ∑ ∑ Œ ∑ ∑
Tpt. 2&3
J
P
1.
˙ œ œ #œ œ. œ œ œ b˙
Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ Œ J
P

?
3.
bœ Œ Œ bœ Œ Œ ∑ bœ ‰bœ ‰ bœ Œ Œ ∑ œ Œ Œ bœ Œ Œ
˙.
Tbn. 3/Tba.

P
˙.
p
? ˙. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1
æ
p

?
marimba

Perc. 2 ∑ bœ Œ Œ bœ Œ Œ ∑ bœ ‰bœ ‰ bœ Œ Œ ∑ œ Œ Œ & ∑

P

Perc. 3 ÷ ˙æ. ˙æ. ˙æ. ˙æ. ˙æ. ˙æ. ˙æ. ˙æ. ˙æ.
p
65 70

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

65 70

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b˙ . ˙
Vln. 2 & ∑ ∑ ∑ ∑ ∑ ∑ Œ œ . œJ œœ
P
≤ œ œ œ bœ b -œ . -œ œ b ˙ . ˙. n˙
Vla. B b˙ . ˙ J Œ ∑ ∑
P
˙ œ œ #œ œ. œ œ œ b˙
? Œ ∑ ∑ ∑ ∑ Œ J
˙
Vnc.

p P
œ
pizz
bœ Œ Œ
t Œ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ
˙
D.B.

p P

164
 75

Fl. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

˙.
1.
œ bœ œ bœ bœ bœ œ. nœ
Ob. 1&2 & ∑ ∑ ∑ J J J
F

& Œ ‰ œ œ œj ‰ ‰ n œ œ œj ‰ Œ ‰ b œ b œ œj ‰ Œ
a2

∑ Œ ‰ bœ œ œ ‰ ‰ j‰ Œ
Cl. 1&2
J bœ bœ œ
F
bœ œ œ
a2

? Œ Œ ‰ œ œ œJ ‰ Œ Œ ‰ J ‰ Œ Œ ‰ bœ œ œ ‰ Œ ‰ œ b œ œJ ‰ Œ ‰ b œ œ œj ‰
Bn. 1&2
J
F

‰ b œ b œ œj ‰ Œ
a2

& ∑ ‰ j j j j‰ Œ Œ ‰ b œ œj ‰ Œ ‰ n œ œ œj ‰ Œ
bœ
Horn 1&2

bœ bœ œ nœ bœ F
F
bœ bœ
‰ œJ J œ n œJ J ‰ Œ
b
a2
? ∑ Œ Œ ‰ bœ œ œ ‰ Œ ‰ œ b œ œJ ‰ Œ ‰ b œ œ œj ‰
Hn. 3&4
J
F F
b˙ . œ b œJ b œ œ ˙. bœ b˙ œ. bœ œ ˙ œ
Tpt. 1 & bœ J J
F

j b˙ . j b˙ œ œ jbœ j œ
Tpt. 2&3 & œ. œ bœ b œ- . œ- œ bœ
œ
œ b˙
P F
œ. bœ œ
? ˙. bœ nœ bœ œ bœ œ -œ . b -œ œ
Tbn. 1&2 œ œ b œJ J J b˙ J
F

? ‰ ‰ Œ j
Tbn. 3/Tba.
œ bœ bœ œ bœ œ
b˙ ˙ b˙ b˙ . œ.
F

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 & ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 ÷ ˙æ. ˙æ. ˙æ. ˙æ. ˙æ. ˙æ.

P
75

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑

75
˙. œ bœ œ bœ bœ bœ œ. nœ
Vln. 1 & ∑ ∑ ∑ J J J
F

b˙ . œ bœ b˙ œ. œ
Vln. 2 & b œ J b œ œJ ˙. bœ bœ œ
J
˙
F
b˙ . b˙ œ œ œ
B œ. œ bœ b œ- . œ- œ bœ
œ
bœ œ b˙
Vla.
J J J J
P F
œ. bœ œ œ
? ˙. bœ nœ bœ œ bœ œ. bœ œ
Vnc. œ œ b œJ J J b˙ J
F

t œ ‰ bœ ‰ Œ bœ œ bœ œ
D.B. b˙ ˙ b˙ b˙ . œ. J
F

165
 bœ bœ bœ
b œ- . n œ- œ œ. œ œœ bœ œ œ nœ #œ œ
a2 80
#œ #œ bœ
∑ J J bœ œ nœ
Fl. 1&2 & 3
f
b œ- . n œ- œ
3

œ bœ nœ bœ bœ
a2
œ bœ b œ b œ- œ- b œ- œ b œ- .
J œ bœ J J bœ bœ bœ œ œ
Ob. 1&2 & J bœ
f

bœ bœ œ ‰ ‰ bœ œ œ bœ œ bœ bœ œ œ
& ‰ J Œ bœ œ œ ‰ Œ ‰ bœ bœ œ œ œ bœ ∑ ‰ bœ œ œ ‰ Œ
J J J
Cl. 1&2

f
bœ bœ ‰ œ bœ
? Œ ‰ b œ b œ b œ œj ‰ œ bb œœ b œ ‰ Œ ‰ b œ œ b ˙ .
a2

‰ j‰ Œ Œ bœ
Bn. 1&2
bœ bœ œ J ˙
f

& ‰ b œ b œ œj ‰ Œ ∑ ∑
œ bœ b˙
Horn 1&2
b˙ œ bœ b˙ œ
f
? Œ b˙ œ bœ b˙ œ bœ b˙ œ
‰ bœ bœ œ ‰ ∑ ∑
Hn. 3&4
J f

bœ bœ . bœ bœ œ œ #œ nœ ˙ bœ b˙ bœ
Tpt. 1 & J b˙ . ˙ bœ
f

œ bœ -œ b -œ - b -œ œ b -œ .
œ bœ œ . œ bœ J
Tpt. 2&3 & bœ bœ . nœ
J J bœ J J bœ bœ bœ bœ
f
bœ bœ bœ bœ œ nœ œ b˙ bœ bœ nœ bœ œ. bœ bœ
Tbn. 1&2
? ˙ bœ œ J
f bœ bœ
? Œ Œ ‰ b œ b œ b œ œj ‰ ‰ œ œ b œj ‰ Œ ‰ b œ œ b ˙ . bœ
Tbn. 3/Tba.
˙ œ ˙. b˙ . b˙ bœ ˙
f
b˙ . ˙ bœ

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

‰ bœ œ œ bœ œ bœ bœ œ œ
& ∑ bœ œ œ ‰ Œ ‰ bœ bœ œ J ‰ Œ Œ ∑ ‰ bœ œ œ ‰ Œ
J J
Perc. 2

÷ j 3
Perc. 3
˙æ. ˙æ. œ. œ œœ œ œ œ œ ˙æ. ˙æ.
F
80

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑

b œ- . n œ- œ œ. œ œ bœ bœ bœ bœ œ œ nœ #œ œ
œ bœ nœ bœ bœ 80
œ #œ #œ bœ
J J bœ œ nœ
Vln. 1 & 3
f 3

œ bœ b œ b œ- œ- b œ- œ b œ- .
bœ bœ . bœ bœ œ œ #œ nœ œ bœ J J bœ bœ bœ œ œ bœ
Vln. 2 & J J
f
œ bœ œ- b œ- b œ- b œ- œ b œ- .
bœ bœ . nœ œ bœ œ . bœ œ bœ bœ bœ bœ
Vla. B J J J J J
f
bœ bœ bœ bœ œ nœ œ b˙ bœ bœ nœ bœ œ. bœ bœ
Vnc.
? ˙ bœ œ J
f

t ˙ œ ˙. b˙ . b˙ bœ b˙ .
D.B.
˙ bœ
f

166
 85

bœ œ b˙ . ˙. œ bœ bœ
œ bœ œ œ œ
90

& bœ bœ œ . bœ œ œ‰Œ Œ ∑ ∑
J J
Fl. 1&2

P
œ bœ ˙
Ob. 1&2 & bœ œ bœ bœ œ bœ ˙. œ bœ bœ œ . b œJ œ œ‰Œ Œ
J
∑ ∑
3 P
bœ œ œ
& ‰ b œ œ œJ ‰ Œ ∑ ∑ ∑ ∑ ∑ b˙ . b˙ b œ˙ . b ˙
Œ
Cl. 1&2

p
œ œ œ. œ œ
? bœ j j j ‰J J
Bn. 1&2 œ. bœ bœ bœ . bœ b˙ . ˙. œ ‰Œ Œ ∑ Œ
P p

& j‰ Œ Œ ∑ ∑ ∑
œbœ b˙ .
Horn 1&2
b˙ œ bœ b˙ ˙. œ
P
? b˙ œ bœ b˙ œbœ b˙ . ˙. œ
Hn. 3&4 J‰Œ Œ ∑ ∑ ∑
P
j j
&
bœ œ. bœ bœ bœ . bœ ˙ bœ ˙. œ ‰Œ Œ ∑ ∑ ∑
J
Tpt. 1

P
j bœ œ ˙ j
Tpt. 2&3 & bœ .
- œ- œ b˙ ˙. œ ‰Œ Œ ∑ ∑ ∑
P

? bœ bœ . bœ ˙. ˙. ˙. œ ‰Œ Œ
J ∑ ∑ ∑
Tbn. 1&2
J
P

? bœ j j j j
Tbn. 3/Tba. œ. bœ bœ bœ . bœ b˙ . ˙. œ ‰Œ Œ b˙ . œ. bœ œ ˙.
bœ œ. bœ b œ b œ . bœ b˙ . ˙. œ
P
? ∑ ∑ j
Perc. 1 b ˙æ. ˙æ. bœ ‰ Œ Œ ∑ ∑ ∑
F p
bœ œ œ marimba
bœ bœ bœ . bœ œ bœ . œ
Perc. 2 & ‰ b œ œ œJ ‰ Œ ∑ ∑ ∑ ∑ ? Œ Œ œ J J
P

÷ j j
Perc. 3
˙æ. œ œ . œ ˙æ. ˙æ. œ ‰Œ Œ ∑ ∑ ∑
p
P
bœ bœ bœ . bœ œ bœ . œ
90
85

Bar.
? ∑ ∑ ∑ ∑ ∑ Œ Œ œ J J
You cir -

œ
85

bœ œ bœ œ œ b˙ . ˙. œ bœ bœ 90 pizz

Vln. 1 & bœ bœ œ œ . bœ œ
J
œ‰Œ Œ
J
∑ œ bœ
P bœ
œ bœ ˙ pizz

& bœ œ bœ bœ œ bœ ˙. œ bœ bœ
œ . b œj œ j‰ Œ Œ Œ Œ ‰ j j ‰
œ bœ bœ
Vln. 2

3 œ bœ
P
- œ- œ b˙ bœ œ ˙ j
B bœ . Œ bœ
pizz

Vla. J b˙ . œ ‰Œ Œ ∑ Œ œ bœ Œ
P
? bœ bœ . bœ ˙. œ bœ bœ ˙ œ œ bœ j
Vnc.
J œ b˙ . œ. bœ œ ˙.
P

t bœ j j j
D.B. œ. bœ bœ bœ . bœ b˙ . ˙. œ ‰Œ Œ ∑ ∑ ∑
P

167
 95

Fl. 1&2 & ∑ 44 ∑ ∑ 34 ∑ 44 ∑ ∑ 34 ∑ 44

Ob. 1&2 & ∑ 44 ∑ ∑ 34 ∑ 44 ∑ ∑ 34 ∑ 44

4 bw 3 4 Ó 3 4
a2

Cl. 1&2 & b œ˙ . œ ˙ 4 œ ˙. b ˙˙ .. Œ 4 ∑ 4 4 4

b˙ w> #˙ .
œ. bœ œ ˙ œ bœ . b˙ . P F p
? J 44 J 34 44 34 44
a2
Œ ∑ bw
Bn. 1&2
w> #˙ .
P F p

Horn 1&2 & ∑ 44 ∑ ∑ 34 ∑ 44 ∑ ∑ 34 ∑ 44

Hn. 3&4
? ∑ 44 ∑ ∑ 34 ∑ 44 ∑ ∑ 34 ∑ 44

Tpt. 1 & ∑ 44 ∑ ∑ 34 ∑ 44 ∑ ∑ 34 ∑ 44

∑ 4 ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 4
Tpt. 2&3 & 4 4 4 4 4

Tbn. 1&2
? ∑ 44 ∑ ∑ 34 ∑ 44 Ó b˙ w> 34 # ˙ . 44
F p

? ˙ 4 ˙ 3 4 3 4
Tbn. 3/Tba.
œ 4 b˙ ˙ ˙ 4 ˙. 4 b˙ . œ w> 4 #˙ . 4
F p

Perc. 1
? ∑ 44 ∑ ∑ 34 ∑ 44 ∑ ∑ 34 ∑ 44

œ œ
? bœ . ‰ Œ 44 œ Œ œ Œ b b ˙˙ Œ œ 34 -œ . b -œ œ 44 œ Œ Ó >w 34 # ˙ . 44
Perc. 2
J æ æ
F p

Perc. 3 ÷ ∑ 44 ∑ ∑ 34 ∑ 44 ∑ ∑ 34 ∑ 44

nœ ˙
? bœ . b˙ 3 -œ . b -œ
95

‰ Œ 4 œ Œ œ œ 4 w ∑ 3 ∑ 4
Bar. 4 4 J 4 4 4
cle in the cold un - co - lored sky;

95

∑ 4 ‰ ‰ ‰ œj b œ Ó 3 ∑ 4 ∑ ∑ 3 ∑ 4
Vln. 1 & 4 œ bœ 4 4 4 4
bœ

& ∑ 44 Œ ‰ j Ó 34 ∑ 44 ∑ ∑ 34 ∑ 44
œ bœ œ bœ bœ
Vln. 2

Vla. B œ. bœ bœ
J
44 ∑ ∑ 34 ∑ 44 Ó b˙ w>
34
#˙ .
44
P F p
? ˙ 44 ˙ b˙ ˙ 34 44 34 44
Vnc.
œ ˙ ˙. bw w> #˙ .
F p
t ∑ 4 ∑ ∑ 3 ∑ 4 3 4
D.B. 4 4 4 bw w> 4 #˙ . 4
F p

168
 ˙ #˙ w ˙ œ ww œœ
b œœ .. b œœJ # w 54 ˙ .
100

Fl. 1&2 & 44 ∑ ∑ Ó 44

P F f
œ bw ˙w. ˙ œ ww œœ
Ob. 1&2 & 44 ∑ ∑ Ó b b œœ .. b œJ b w 45 44
P F f

4 bœ œ . b œj œ Œ œ #œ œ œ œ œ œ œ œ 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
Cl. 1&2 & 4 Œ bœ œ œ n œ bb ˙˙ b œ œ . bœ œ # œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œJ œ œJ œ œœ œ œœ œ œœ œJ œœ œJ 4
bœ œ œ nœ f
P F 3

? 44 45 # ˙ 44
Bn. 1&2
w bw nw w ˙. w œ
P F f

& 44 45 44
a2
∑ ∑ ∑ w œ
#œ ˙
Horn 1&2
˙. ˙. f
F
˙a2. #œ ˙. ˙ w œ
Hn. 3&4
? 44 ∑ ∑ ∑ 45 44
F f

Tpt. 1 & 44 ∑ ∑ ∑ ∑ 45 ∑ ∑ 44

4 ∑ ∑ ∑ ∑ 5 ∑ ∑ 4
Tpt. 2&3 &4 4 4

Tbn. 1&2
? 44 w ∑ ∑ ∑ 45 ∑ ∑ 44

?4 ∑ ∑ ∑ 5 ∑ ∑ 4
Tbn. 3/Tba. 4w 4 4

Perc. 1
? 44 ∑ ∑ ∑ ∑ 45 ∑ ∑ 44

Perc. 2
? 44 ∑ ∑ ∑ ∑ 45 ∑ ∑ 44

Perc. 3 ÷ 44 ∑ ∑ ∑ ∑ 45 ∑ ∑ 44
F f
P bœ œ . bœ œ n -œ . -œ œ # -œ
œ nœ b˙ 5 w œ œ
100

? 4 Œ bœ œ J Œ J œ œ ˙ 4
Bar. 4 4 4
the mea - ger sun - light lays on your wings its oi - ly flakes of

5 wæ
100
4
& 4 Œ b œ œj b œ . b wæ b wæ wæ 4
œ wæ œ 4
4
Vln. 1
æ æ
p P F f

Vln. 2 & 44 Œ b ˙ œ wæ wæ # wæ 45 ˙æ. ˙æ wæ œæ 44

p P F f

B 44 Œ b ˙ œ b wæ b wæ wæ
45 wæ
# wæ œ œ 44
Vla.
æ æ
P F f

? 44 45 # ˙æ 4
Vnc.
w bw nw w ˙æ. w œæ 4
æP æ æF æf
t4 5 4
D.B. 4w bw nw w 4 # ˙æ ˙æ. w œæ 4
æP æ æF æf

169
 q»¶º
105

b œœ b œ œ . œ -
b œ bœ . bœ œœ # œœ- ..
110

& 44 b ˙˙ ˙˙ œœ ‰ Œ G. P.
∑ ∑ ∑ ∑
J J
Fl. 1&2

p J
b œœ b œœ œœ .. b œœj b b ˙˙ œœj œœ .. j
& 44
G. P.
Ob. 1&2
- - n ˙˙ œœ ‰ Œ ∑ ∑ ∑ ∑
p
4 j j j j
1.
G. P.
Cl. 1&2 & 4 b œœ b b œœ œœ œœ œœ œœ # ˙˙ œœ # œœ .. n ˙˙ œœ ‰ Œ ∑ ∑ Ó ‰ j‰ ∑
- - p
π
œœœ
? 44 b w j j G. P.
Bn. 1&2 n ˙- œ œ. ˙ œ‰Œ ∑ ∑ ∑ ∑

j j
& 44 ˙ . b ˙
G. P.
Horn 1&2 œœ # # ˙-˙ œœ œ-œ .. n n ˙˙ œœ ‰ Œ ∑ ∑ ∑ ∑
Πp
Œ œ ˙- œ # œ- . ˙ œ
? 44 ˙ . b ˙ œ #˙ œ œ . n˙ œ‰Œ ∑ ∑ ∑
G. P.
∑
Hn. 3&4
J J
p

& 44
G. P.
Tpt. 1 ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 ∑ ∑ ∑ ∑ ∑ ∑
G. P.
∑
Tpt. 2&3 &4

Tbn. 1&2
? 44 ∑ ∑ ∑ ∑ ∑ ∑
G. P.
∑

?4 ∑ ∑ ∑ ∑ ∑ ∑
G. P.
∑
Tbn. 3/Tba. 4

? 44 ∑ ∑ ∑ wæ wæ œ ‰Œ Ó
G. P.
∑
J
Perc. 1

Perc. 2
? 44 ∑ ∑ ∑ ∑ ∑ ∑
G. P.
∑
wood block

÷ 44 ‰ œ œ œj ‰ Œ Ó
G. P.
Perc. 3 ∑ ∑ ∑ Ó Œ ∑ ∑
π
105 110
? 4 nw ∑ ∑ ∑ ∑ ∑
G. P.
∑
Bar. 4
gold.
q»¶º
j j
105 110
4 j ‰ Œ ‰ œj Œ œj ‰ Œ Œ
pizz
G. P.
Vln. 1 & 4 bw #˙ œ œ. n˙ œ ‰ Œ Ó œ
j‰ Œ
œ œ
j‰ ∑
P p
j
& 44 w j j
œ ‰ Œ w· w· œ‚ ‰ Œ Ó
G. P.
Vln. 2
#˙ œ œ. n˙ ∑
P

œ‰Œ · · ‚ Œ Ó
sul D

B 44 b w ˙ œ #œ . ˙
G. P.
J ∑
Vla.
J J
P
· · ‚
sul A

? 44 b w j j JŒ Ó G. P.
Vnc. n˙ œ œ. ˙ œ‰Œ ∑
P
œpizz œ œ œ œ
t 4 bw j j J‰Œ J‰Œ ‰JŒ J‰Œ Œ J‰ G. P.
D.B. 4 n˙ œ œ. ˙ œ‰Œ Ó ∑
p

170
 -
œ # œ œ # œ- . œ- . # œ- #>œ . >œ ˙
115

#œ œ
q»¶º œ œ bœ nœ nœ œ œ #œ
Fl. 1&2 & ∑ ∑ J J J J
f ƒ
#œ
-
œ # œ œJ # œ- . œ- . # œ- #>œ . >œ ˙
Ob. 1&2 & ∑ ∑ œ œ bœ nœ nœ œ œ #œ J œ J J
f ƒ
#œ j > >
a2

& ∑ ∑ œ œ bœ nœ nœ œ œ #œ J œ œ n œ œ- . œ . # œ- # œ . œJ ˙
J # œ- -
Cl. 1&2

f ƒ
? œ . œj
a2

j
Bn. 1&2
#œ œ œ. j
œ #œ . œ bœ œ œ œœ b >œ œ #œ #œ
f
ƒ >œ œ # œ n >˙ œ >œ
a2 con sord.
j œ j
j ‰ Œ
3

& œ. j j
œ #œ œ œ # œ n œ œj j
3 3

œ œ œ œ bœ nœ #œ œ #>œ . >œ ˙
Horn 1&2

f
œ œ œ b œ œ ƒ - # œ- . œ- . # œ-
œ
œ . œ œ œ bœ œ œ œ #œ œ 3 œ œ
a2 con sord. œ bœ nœ œ
#œ œ # œ n œ œ- # œ- œ- . # œ- #>œ . >œ ˙
Hn. 3&4
? J J
3
J ‰ Œ J J . J J
3
f ƒ
œ #œ œ œ n œ œ- # œ . œ . j > >
jœ bœ œ œ bœ nœ nœ œ #œ J # œ- # œ . œJ ˙
3 3

& œ. j
3
bœ
œ œ œ bœ œ œ œ #œ œ œ bœ œ nœ œ J - -
Tpt. 1

f ƒ
a2
j œ #œ #œ œ œ n œ œ- # œ . j > >
œ œbœ œbœnœ œ bœ œ œ bœ nœ nœ œ # œ- # œ . œJ ˙
3 3

& œ. j
3
J œ- .
œ œ œ bœ œ œ œ #œ œ J -
Tpt. 2&3

f ƒ
œ b œ n œ œ #œ œ b >œ >œ œ œ #œ #œ n >˙ >œ >œ
? œ . œj
a2
œ #œ . b œ n œ œ #œ œ bœ œ œ œ #œ #œ n˙ œ œ
Tbn. 1&2
#œ œ œ. J œ
f J ƒ
3. con sord.

? œ . œj
a2
j
Tbn. 3/Tba.
#œ œ œ. j
œ #œ . œ bœ œ œ œœ b >œ œ #œ #œ
f
ƒ >œ œ # œ n >˙ œ >œ

? œœ Œ Ó œœ Œ ‰ œœj ‰ œœ œœ œœ Œ Œ œœ œœ œœ ∑ n˙ œ œ
>f > >
Perc. 1

f f
œ #œ œ œ # œ œJ # œ . œ . # œ #>œ . >œ ˙
Perc. 2
? ∑ ∑ & bœ œ bœ nœ nœ œ #œ J J J
f ƒ
B. D.

Perc. 3 ÷ œ Œ Ó œ Œ Ó œ Œ Œ œ ∑ ∑
f
115

Bar.
? ∑ ∑ ∑ ∑ ∑

q»¶º -
œ # œ œJ # œ- . œ- . # œ- #>œ . >œ ˙
115

#œ
jœ bœ œ œ bœ nœ nœ œ œ #œ J œ J J
3 3

& œ. j
3
bœ
œ œ œ bœ œ œ œ #œ œ œ bœ œ nœ œ
Vln. 1

f ƒ
-
œ # œ œJ # œ- . œ- . # œ- #>œ . >œ ˙
œ #œ œ
j œ œ bœ nœ nœ œ #œ J J J
3 3

& œ. j œ œ œ #œ œ œ œbœ œbœnœ œ bœ

3
Vln. 2
œ œ œ b œ - > >
#œ . œ ˙
œ # œ œ # œ- . œ- . # œ-
f ƒ
#œ
bœ œ œ bœ nœ nœ œ œ #œ J œ
B œ . œj œ œ b œ œ œ œ # œ œ œJ œ b œ œ n œ œ
bœ J J J
Vla.

f 3
3 3 ƒ

? œ . œj œ. œ #œ . œ bœ œ œ œœ b >œ >œ œ
Vnc.
#œ œ J J œ #œ #œ n˙
>
œ œ
> >
f ƒ
t œ . œj
œ
œ. œ #œ . œ
J
bœ œ œ œœ b >œ >œ œ œ # œ # œ n˙ œ œ
D.B.
#œ J > > >
f ƒ

171
 ©»¡¡º 120

Fl. 1&2 & # œ . œJ œ œ Ó Œ #œ œ œ ‰ Œ

J
Œ ‰ #œ œ #œ ‰ Œ
J
Ó ∑ ∑
f
2. Take English Horn

Ob. 1&2 & # œ . œJ œ œ ∑ ∑ ∑ ∑ ∑

f
1.

Cl. 1&2 & # œ . œJ œ œ ∑ ∑ ∑ ∑ Ó

# >œ œ # œ >œ
Œ
f
P
Bn. 1&2
? n œ . œj œ œ ∑ ∑ ∑ ∑ ∑
f

& #œ . j j j Ó Œ j‰ Œ Œ ‰
œ œ œ n˙ œ #œ # œ- . œ- œ œ #œ œ #œ œœ
Horn 1&2

f
# œ- . œ- œ # œ
F P
#œ . œ œ œ ˙ œ #œ # -œ . -œ œ j
Hn. 3&4
? J J #œ # œ- . œ- œ œ Ó Œ # œ œ # œj ‰ Œ Œ ‰ œœ
f F P

& # œ . œj œ œ Ó Œ j‰ Œ Œ ‰ j‰ Œ Œ ∑ ∑
#œ œ #œ œ œ #œ
Tpt. 1

f P

& # œ . œj œ œ Ó Œ j‰ Œ Œ ‰ j‰ Œ Œ ∑ ∑
#œ œ #œ œ œ #œ
Tpt. 2&3

f P
? n œ . œj œ œ
a2

- - - ∑ ∑ ∑ #œ . #œ #˙ # # œœ .. œœ œœ .. ‰
J J
Tbn. 1&2

f P

? n œ . œj œ œ
3.
˙ œ #œ # -œ . -œ œ j j j
Tbn. 3/Tba.
- - - J #œ #œ . œ œ . ‰ #œ . œ œ . ‰ #œ . œ œ. ‰
f F P #œ . œ œ. #œ . œ œ . #œ . œ œ.

Perc. 1
? n œ . œj œ œ ∑ ∑ ∑ ∑ Ó Œ #œ
F

∑ ∑ ∑ Œ Œ Œ ∑ ∑ ?
Perc. 2 & # >œ œ # œ >œ
F
Perc. 3 ÷ ∑ ∑ ∑ ∑ ∑ ∑

120

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑

©»¡¡º
- - -
120

Vln. 1 & # œ . œJ œ œ #w
∑ ∑ ∑ ∑
f F
- - -œ
Vln. 2 & # œ . œJ œ #w
∑ ∑ ∑ ∑
f F
# -œ . -œ œ -œ
j
B J n˙ œ #œ # œ- . œ- œ # œ j j j
Vla.

f # œ- . œ- œ œ #œ . #œ #˙ #œ . #œ œ œ œ œ
F P
n -œ . -œ œ -œ ˙ œ #œ # -œ . -œ œ j j j
Vnc.
? J J #œ # œ- . œ- œ œ # œ- . œ- œ # œ # œ- . œ- œ œ
f F P
n -œ . -œ œ -œ
D.B.
t J ∑ ∑ ∑ ∑ ∑
f

172
 1.
125

& ∑ Œ #œ œ #œ œ Ó j ‰ j ‰ #œ . j ‰
> > # # œœ- .. œœ- œœ .. # # œœ- .. œœ- œœ .. # œ- . œœ- œœ ..
Fl. 1&2

P P
2. English Horn
Ob. 1&2 & ∑ ∑ ∑ Œ j ‰
# œ- œ- œ- #˙ . œ
P
& ∑ ∑ ∑ ∑ Ó Œ
# >œ œ # œ >œ
Cl. 1&2

P
? # # œœ .. œœ œœ .. . . .
‰ # # œœ .. œœ œœ .. ‰ # # œœ .. œœ œœ .. Œ # œ # œ. œ œ. œJ
a2

‰ ∑ ‰
J J J
Bn. 1&2

P P

Horn 1&2 & # œj ‰ Œ Œ ∑ ∑ ∑ ∑

? # œj ‰ Œ - œ- œ-
4.

Œ ∑ ∑ Œ #œ #˙ . œ ‰
Hn. 3&4
J
P

& # œj ‰ Œ Œ j j‰ Œ Œ ‰ j j‰ Œ Ó ∑ ∑
Tpt. 1
œ #œ œ #œ
p

& # œj ‰ Œ Œ j j‰ Œ Œ ‰ j j‰ Œ Ó ∑ ∑
Tpt. 2&3
œ #œ œ #œ
p
? # # œœ .. œœ œœ .. ‰ ∑ ∑ ∑ ∑
J
Tbn. 1&2

? #œ . j ‰ ∑ ∑ ∑ ∑
Tbn. 3/Tba. œ œ.
#œ . œ œ.

Perc. 1
? #œ . ‰ Ó ∑ ∑ ∑ Ó Œ #œ
P

Perc. 2
? Œ # œ œ œj ‰ Œ Ó ‰ # œ œ œj ‰ Œ # œ œ œj ‰ Œ Ó ‰ # œ œ œj ‰ ∑
P
j
t.d.

Perc. 3 ÷ ∑ ∑ ∑ ∑ Œ œ œ œ ‰Œ
p
P
- œ- œ- #˙ .
125
? ∑ ∑ ∑ Œ #œ œ ‰
Bar.
J
A - bove our noise,

‰ œJ # œ ‰ Œ œ
125 pizz

& ∑ ∑ #œ ‰ Œ Œ Ó #œ ‰ Œ Œ ‰ J
Vln. 1
J J J
p
pizz

& ∑ ∑ j‰ Œ Œ ‰ œj j ‰ Œ Ó j‰ Œ Œ ‰ œ
j
#œ #œ #œ
Vln. 2

B #œ œ
#œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ
Vla.

? j œ j œ j œ j œ j œ
Vnc.
# œ- . œ- œ # œ- . œ- œ # œ- . œ- œ # œ- . œ- œ # œ- . œ- œ

t #˙ . #˙ . #˙ . #˙ . #˙ .
D.B.

P
#œ #œ #œ #œ #œ

173
 130

& # # œœ .. j j ‰ #œ . j ‰ j ‰ j ‰
Fl. 1&2
œœ œœ # # œœ- # # œœ- .. œœ œœ .. # œ- . œœ- œœ .. # # œœ- .. œœ- œœ .. # # œœ- .. œœ- œœ ..
- - -
[E. H.]
Ob. 1&2 & ∑ ∑ Œ j‰ Œ
œ- # œ- œ- #˙ . œ œ- # œ- œ-

Cl. 1&2 & ∑ ∑ ∑ ∑ ∑

. . . # œ. # œ. œ. œ. œ. ‰ Œ
Bn. 1&2
? ∑ Œ # œ # œ. œ œ. œJ ‰ ∑ J ∑

Horn 1&2 & ∑ ∑ ∑ ∑ Œ

œ- # œ- œ-
? ∑ ∑ Œ œ- # œ- œ- #˙ . œ ‰ Œ œ- # œ- œ-
Hn. 3&4
J

Tpt. 1 & ∑ ∑ ∑ ∑ ∑

a2

& ∑ ∑ ∑ Œ j‰ Œ Ó ‰ j‰
#œ œ œ #œ œ œ
Tpt. 2&3

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑

?
3.
∑ Ó Œ œ. ‰ Ó ∑ ∑
Tbn. 3/Tba.
#œ
P

Perc. 1
? #œ . ‰ Ó ∑ ∑ ∑ ∑

# œ # œ >œ œ œ >œ
Perc. 2
? ∑ ∑ ∑ Ó ∑
P

Perc. 3 ÷ Ó ‰ œ œ œj ‰ Œ j
œ œ œ ‰Œ Ó ‰ œ œ œj ‰ ∑ ∑

? ∑ ∑
130

œ- # œ- œ- #˙ . œ ‰ œ- # œ- œ-
Bar. Œ J Œ
our bro - ken loves, A - bove our

‰ œJ
130

Vln. 1 & # œJ ‰ Œ Ó Ó #œ ‰ Œ
J
Ó Œ #œ ‰ Œ
J
Ó ∑

& # œj ‰ Œ Ó Ó j‰ Œ Ó Œ ‰ œj j ‰ Œ Ó ∑
#œ #œ
Vln. 2

B #œ œ œ #œ
#œ œ œ #œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ
Vla.

? j j j j j
Vnc.
# œ- . œ- œ # œ # œ- . œ- œ œ # œ- . œ- œ œ # œ- . œ- œ œ # œ- . œ- œ œ

t #˙ . ˙. ˙. ˙. ˙.
D.B.
#œ #œ #œ #œ #œ

174
 135

& # ˙˙ j ‰ j ‰ ∑
˙˙ # ˙˙ ˙˙ # # œœ- .. œœ œœ .. # # œœ- .. œœ- œœ ..
Fl. 1&2

-
[E. H.] 2. take oboe 1. Oboe

& Œ Œ j Ó ‰ #œ . #˙ . œ
Ob. 1&2
œ ˙ #œ œ œ bœ . œ ˙
F
a2

& j j j j ∑ Œ Ó j j
# >œ œ # œ >œ
Cl. 1&2

œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ
F
? ∑ ∑ Œ # œ. # œ. œ. œ. œ. ‰ j
Bn. 1&2
J #œ . œ œ œ #˙ œ œ

2.

& Œ Œ j ∑ ∑
˙ #œ œ
Horn 1&2
œ œ bœ . œ ˙
F
? œ ˙ œ œ Œ Œ œ œ. bœ ˙ ∑ ∑
Hn. 3&4
J
F

& ∑ ∑ ∑ Ó ‰
#˙ .
Tpt. 1

#œ . œ
F
Tpt. 2&3 & Œ # œ œ œj ‰ Œ Ó ‰
#œ œ œ
j‰ ∑ ∑ ∑

# a2œ œ œ #œ œ œ
Tbn. 1&2
? ∑ ∑ Ó J ‰ Œ ‰ J ‰ Œ ∑
F

? Ó Œ ‰ Ó ∑ Ó ‰ #˙ . œ
Tbn. 3/Tba.
œ œ. #œ .
F

Perc. 1
? ∑ ∑ ∑ ∑ ∑

? œ #œ œ œ œ œ œ #œ œ œ œ œ ∑ ∑ ∑
Perc. 2
J J J J

Perc. 3 ÷ ∑ ∑ ∑ ∑ ∑
F
˙ #œ #œ F #˙ .
? œ œ bœ . œ
135

Œ Œ œ ˙ Ó ‰ #œ .
Bar. J
Bar - ter you move, you move in

œ ‰ Œ
135
arco

& Ó œ ‰ Œ #œ ‰ Œ J Ó Œ ‰ #œ #œ ‰ Œ Ó Ó ˙
Vln. 1
J J J J

j
arco

Vln. 2 & Ó j ‰ Œ # œj ‰ Œ œ ‰ Œ Ó Œ ‰ j j ‰ Œ
#œ #œ
Ó Œ #˙ .
œ

B j j j j #œ #œ œ œ œ œ œ œ j j
Vla.
œ #œ œ œ œ œ œ #œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ

? j j
Vnc.
˙ œ œ ˙ œ œ # œ- . œ- œ # œ # œ- . œ- œ œ #˙ œ œ

t #œ #˙ . #˙ . ˙.
D.B.
˙. œ ˙. #œ #œ #œ

175
 # œœ œœ œœ ..
140
# ˙˙ . œ
œ
. rit.

Fl. 1&2 & ∑ Œ J J ‰ ∑ ∑

P F

& #œ œ Ó
.
Œ # œœ œœJ œœ . # # ˙˙ .. œœ
‰ ∑ ∑
Ob. 1&2
J
P F
1.

& Œ Œ ∑ ∑ Ó ‰ j‰ ∑
#œ œ œ
Cl. 1&2

# œ-œ œ-œ p
˙. œ #˙ . œ
? œ Œ œ Œ J ‰ ∑ ∑
- -
Bn. 1&2

1. a2

& ∑ ˙. j‰ j‰ Œ Œ ‰ œj j ‰ Œ Ó
œ #˙ . œ #œ #œ
Horn 1&2

F p
# a2œ œ #œ
Hn. 3&4
? ∑ ∑ ∑ J ‰ Œ Œ ‰ J J ‰ Œ Ó
p

& Ó ∑ Ó ‰ j‰ ∑ ∑
#œ œ œ
Tpt. 1

#œ œ

& ∑ ∑ Ó ‰ j‰ ∑ ∑
#œ œ œ
Tpt. 2&3

? ∑ ∑ # œœ .. œœ œœ .. ‰ # œœ .. œœ œœ .. ‰ ∑
Tbn. 1&2
J J
P

? j j
Tbn. 3/Tba.
#œ œ Ó ∑
# # œœ .. œœ œœ .
.
‰
# # œœ .. œœ œœ .
.
‰ ∑
P

Perc. 1
? ∑ ∑ ∑ ∑ ∑

#œ œ œ
Perc. 2
? ∑ ∑ ∑ Ó ‰ J ‰ ∑ &
P

Perc. 3 ÷ ∑ ∑ ∑ ∑ Ó ‰ œ œ œj ‰
p
˙. œ #˙ . œ
? #œ œ Œ nœ #œ
140

Bar.
J ‰ ∑ ∑
lone - ly and se - rene de - light.
rit.
- j j j
140

Vln. 1 & # œ- Œ œ Œ ∑ # œ- . œ- ˙ # œ- . œ- ˙ # œ- . œ- ˙
F P

& # œ- Œ œ- Œ ∑ j j j
Vln. 2
œ- . œ- ˙ œ- . œ- ˙ œ- . œ- ˙
F P

B Œ Œ ∑ j j j j
Vla.
œ- œ- #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ
F P
? œ Œ œ Œ ∑ j œ œ œ
Vnc.
- - # œ- . œ- œ #˙ œ #˙ œ
F P

t #˙ . #˙ . #˙ .
D.B.
œ- Œ œ- Œ ∑ #œ #œ #œ
F P

176
 q»¶º 145 1.
j‰ Œ j j
& ∑ ∑ Ó Œ ‰ j j œ œ œ œÓ œ œ œ œ œ ˙
.
œ œ #œ œ J J J ‰Œ Ó
Fl. 1&2

Ob. 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

1.

Cl. 1&2 & ∑ Œ j j j‰ Œ Ó Ó ‰ j j

œœ œ œœ ˙ œ œ œ œ #œ œ #œ nœ . œ œ #œ
π p
? ∑
1.
j j Œ # œj ‰ Œ œj ‰ j
Bn. 1&2
œ ‰Œ œ ‰Œ Ó ˙ œ œ. œ œ
j
œ œ.
π p #˙

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ Œ
Perc. 1
œ œ Œ ∑ ∑
p

œ œ
Perc. 2 & Œ #œ Œ œ œ Œ Ó ∑ ∑ ? Œ Œ Ó Œ #œ
p p
B. D.

Perc. 3 ÷ ∑ ∑ ∑ ∑ ∑ Œ œ Œ œ
p
P
œ œ . #œ œ œ œ œ #œ nœ .
Œ ‰ # œJ œ œ #œ
145
? ∑ ∑ Ó Œ ‰ J J
Bar.
J
The tears that could not fall for my own
q»¶º
j 145

Vln. 1 & #w ˙ œ ‰Œ ∑ ∑ ∑ ∑
p
j
Vln. 2 & ∑ Œ ˙· .. w· œ‚ ‰ Œ Ó ∑ ∑
p

j ·sul. D · ‚ ‰Œ
Vla. B #˙ . œ ‰ Œ J Ó ∑ ∑
p

j ·sul. A · ‚
? #˙ . œ Œ J‰Œ j j
Vnc.
˙ œ œ. œ œ œ œ.
p p #˙
œ ‰ œJ ‰ Œ œ œ
arco

t #˙ . Œ # œJ ‰ Œ J ‰ Œ ‰ # œj
pizz

D.B.
J J‰Œ ∑ ∑ Ó
p p

177
 ©»¡¡º
150 # ˙1. œ œ #˙ œ #˙ . 155

Fl. 1&2 & #˙ . Œ ∑ ∑ Œ Œ 34 ∑

P F

# œ . œJ # œ . œj œ œ
1.
34 ˙ .
1.

Ob. 1&2 & Ó #˙ . Œ ∑ ∑ Ó #˙

p P

j Œ ∑ ∑ ∑ ∑ ∑ 3 ∑
Cl. 1&2 & #œ œ 4
œ.
j
a2
? ∑ ∑ ∑ ∑ 34 ∑
Bn. 1&2
œ- . œ ˙ #w
œ- ˙ #w
p P

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ 34 ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑ 34 ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ 34 ∑

∑ ∑ ∑ ∑ ∑ ∑ 3 ∑
Tpt. 2&3 & 4
j j j
‰ œj # œœ .. # œœ œ˙ . œ # œœ .. # œœ œ˙ œ # # ˙˙ œœ œœ ..
? ∑ Ó Œ œ b ˙œ .. œ ˙ J J J
34 ∑
PΠJ
Tbn. 1&2

? j j j 3 #œ Œ Œ
∑ ∑ j œ. œ ˙ œ. œ ˙ #˙ œ œ. 4
Tbn. 3/Tba.
#œ . œ ˙
#w ˙. bœ w #˙ œ œ. #œ
P F
? ∑ 34
Perc. 1
œ Œ œ Œ ∑ ∑ ∑ ∑ ∑
p

Perc. 2
? œ . # œæj œæ Œ ∑ ∑ ∑ ∑ ∑ 34 ∑

÷ ∑ ∑ ∑ ∑ ∑ 34 # ˙crotales Œ
Perc. 3
w
P
f
F œ . #œ œ . œ œ . #œ œ œ #˙ œ
? œ . # œj œ Œ
155

˙.
150

Bar. Ó Œ nœ ‰ œJ J J J J ‰ Œ 34 ∑
©»¡¡º
sor - row have blessed have blessed the eyes that lift to watch your flight.
155

Œ ‰ # -œ œ -œ # -œ . -œ ˙ -œ . -œ ˙ # -˙ œ -œ .
150

∑ ∑ 3 ∑
Vln. 1 & J J J J 4
p P F

& ∑ ∑ Œ ‰ # œj œ œ # œ- .
j
œ- ˙
j
# œ- . œ- ˙ # ˙-
j
œ œ- .
34 ∑
Vln. 2
- -
p P F
-œ . -œ ˙ -œ . -œ ˙
B ∑ ∑ Œ ‰ # -œ œ œ- J J
# -˙ œ œ- . 34 ∑
Vla.
J J
p P F
? ∑ j 34 ∑
Vnc.
œ- . œ- ˙ #w ˙. bœ w #w
p P F
pizz

t ˙. 3 #œ Œ Œ
D.B.
œ œ Œ Ó ∑ ∑ ∑ ∑ 4
p

178
 œ œ. œ #œ #œ #œ œ #œ #˙ .
œ #˙ . ˙.
160
# ˙1. œ
Fl. 1&2 & ∑ Œ J J‰ J‰Œ Œ
P

œ. œ #œ #œ j
Ob. 1&2 & œ œ #˙ .
J
˙. œ ‰ ˙
J
#œ œ #œ #˙ . ˙. œ‰Œ Œ

Œ #œ #œ # œ
1.

∑ ∑ ∑ ∑ ∑ œ #œ #œ Œ Œ ∑
Cl. 1&2 &
P
# ˙1. œ œ . œ #˙ .
? ∑ ∑ ∑ ∑ ∑ ∑ Œ J #˙
Œ
Bn. 1&2

P P

Horn 1&2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1&2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1
? ∑ #œ Œ Œ ∑ ∑ ∑ ∑ Œ #œ Œ ∑ Œ #œ Œ
P F

Perc. 2
? ∑ ∑ ∑ ‰#œ œ œ Œ ∑ ∑ ∑ ‰#œ œ œ Œ ∑
P F
wood block

Perc. 3 ÷ ∑ Œ Œ ‰ œœ œ Œ Œ ∑ ∑ ∑ ‰ œœœ Œ ∑ ∑
F
160

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

160

Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ Œ #˙ œ œ . œj # ˙ .
P

Vnc.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ #˙
P

D.B.
t ∑ #œ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑

179
 œ #˙ . #˙
170
# ˙œ . œ . #˙ .
165 #˙ œ œ. œ # ˙.
& ∑ ∑ ∑ Œ J J
ΠF
Fl. 1&2

œ . œ #˙ . #œ œ #œ
# # œœ # œœ œ # œœ # ˙œ œ # ˙œ # œ # œœ
œ˙ # œ # œœ ˙˙
1.

Ob. 1&2 & #˙ . œ

J #œ
# # œœ
F F
œ #œ œ œ œ #œ œ œ œ #œ œ œ
& ∑ ∑ ∑ ∑ ∑ œ # œ œJ œ œ # œ œJ œ œ # œ œJ œ
J J J
Cl. 1&2

j f
˙. œ ‰ œ #œ # œ˙ . œ # œ # ˙˙ . ˙˙ . ˙. #˙ .
? œ œ œ #˙ . . . ˙. #˙ .
Bn. 1&2
. J # ˙. #˙ .
F

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ
#˙
Horn 1&2

Hn. 3&4
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ #˙ . œ #œ #œ
F
a2

& ∑ ∑ ∑ ∑ ∑ ∑ Œ
Tpt. 2&3
#˙ œ. œ œj
F
.
# ˙˙ .. # # ˙˙ . # ˙˙ ..
a2

Tbn. 1&2
? ∑ ∑ ∑ #˙ . ˙.
F
a2
? ∑ ∑ ∑ #˙ . ˙. ˙.
Tbn. 3/Tba.
#˙ . #˙ .
F

Perc. 1
? ∑ Œ #œ Œ ∑ ∑ ∑ ∑ ∑ ∑

œ #œ œ œ œ #œ œ œ œ #œ œ œ
? ∑ ∑ ‰#œ œ œ Œ ∑ ∑ & œ # œ œJ œ œ # œ œJ œ œ # œ œJ œ
J J J
Perc. 2

f
t.d.

Perc. 3 ÷ Œ Œ ‰ œœ œ Œ Œ ∑ Œ Œ ‰ œœ œ Œ ‰ œœ œ Œ Œ Œ Œ ‰ œœ œ Œ Œ

165 170

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ #˙ .
170
#˙ . #˙ .
165 #˙ œ œ.
Vln. 1 & ∑ ∑ ∑ Œ J
F
œ #˙ œ œ. œ #˙ .
œ . œ #˙ . œ #œ œ #œ #œ #œ J
Vln. 2 & #˙ . œ
J
P F
- -œ -œ -œ -œ -œ -œ -œ - - -
j j # œJ J J # œJ œ œ
-œ # -œ -œ -œ -œ
B ˙. œ ‰ œ #œ #˙ . œ # -œ œ- -œ J J J J
J
Vla.

F
# -œ -œ -œ -œ -œ -œ -œ -œ # -œ œ- œ- œ- # -œ -œ -œ -œ
? œ œ. œ #˙ . œ œ # œ # œj œ œ œj J J J J J J J J
Vnc.
J - - - -
F
# ˙arco. ˙. ˙. #˙ . #˙ .
D.B.
t ∑ ∑ ∑
F

180
 175

œ #˙ #˙ . ˙. ˙. œ
œ # ˙ #˙ . ˙. ˙. œ -œ . -œ #˙ .
Fl. 1&2 & J ‰ J
ƒ f
# œœ . - -œ # ˙ .
# œœ #œ
# œ
# œœ # # œœ # œœ # # œœ .. # œœ # # ˙˙ . œœ
# œœ .. œ # ˙.
Ob. 1&2 & # œœ J J ‰ J
ƒ f
œ #œ œ œ œ #œ œ œ #œ œ œ #œ œ œ
œ œ œ j
Cl. 1&2 & œJ # œ J œ œ #œ
J J ‰ #œ œ œ Œ ‰ #œ œ œ Œ ‰ ‰ # œœ ..
-
œœ # # ˙˙ ..
-
ƒ f
? #˙ œ ˙ j
œ #˙ . ˙. œ ‰ Œ Œ ∑
# ˙ œ ˙
Bn. 1&2
#œ #˙ . ˙. œ
ƒ
j
& œ. ˙. œ ‰ . j
j
œ œ #˙ . œ œœ # œ ##˙ . œ # œ- œ- # ˙ .
Horn 1&2

#œ ƒ
#œ œ œ # # ˙˙ .. œœ # -œ . -œ # ˙ .
? Œ
#˙ œ. œ œ #œ
Hn. 3&4 J J ‰ J
F ƒ f

#œ #œ #œ #˙ #œ #˙ . œ
Tpt. 1 & #œ œ. J œ J ∑
ƒ

j # ˙œ œ œ # # ˙˙ .. œœ
Tpt. 2&3 & #œ . ## œœ . # œ # œœ # # œœ # œœ #œ . J J
∑
ƒ
#˙ . ˙. œ
? # ˙˙ œœ ˙˙
# # œœ #˙ . ˙. œ ‰ Œ Œ ∑
J
Tbn. 1&2

? j
#˙ œ ˙ œ #˙ . ˙. œ ‰ Œ Œ ∑
œ ˙
Tbn. 3/Tba.
#œ #˙ . ˙. œ
ƒ

Perc. 1
? ∑ ∑ ∑ ∑ ∑ ∑

œ #œ œ œ œ #œ œ œ #œ œ œ #œ œ œ
œ œ œ
Perc. 2 & œJ # œ J œ œ #œ
J J ‰ #œ œ œ Œ ‰ #œ œ œ Œ ∑ ∑
ƒ

Perc. 3 ÷ Œ ‰ œœ œ ∑ ∑ ∑ ∑ ∑

175

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑
œ #˙ #˙ . ˙. ˙. œ
175

Vln. 1 & J ‰ Œ Œ ∑
ƒ
œ #˙ #˙ . ˙. ˙. œ
Vln. 2 & J ‰ Œ Œ ∑
ƒ
- - -œ œ- -œ œ -œ -œ # œ- -
B # œJ œ J J J
œ # œ- œ- œ- œ- # œ- œ- œ- œ- # œ ‰ œ- . œ- #˙ .
J J J J J J
Vla.

ƒ f
- œ-
? # -œ -œ -œ œ- -œ œ œ- œ- # œ- -œ j j j j j ‰ #œ . J
#˙ .
Vnc.
J J J J # œ- œ- œ- œ- # œ- œ- œ- œ- # œ
ƒ f

t #˙ œ ˙ #œ j
D.B. #˙ . ˙. œ ‰ Œ Œ ∑
ƒ

181
 œ j 180
rit.

& J ‰ œ-œ .. œ-œ # # ˙˙ .. œœ ..

a2
‰ Œ j ‰ Œ Œ
#˙ . ˙. œ
Fl. 1&2

F
P π
œœ
Ob. 1&2 & J ‰ Œ Œ ∑ ∑ ∑ ∑ ∑

j j
a2

& œœ ‰ n # œœ .. œ-œ # # ˙˙ .. œœ .. ‰ Œ
#˙ . ˙. œ
j ‰ Œ Œ
-
Cl. 1&2

F P π
# ˙a2. ˙. œ
Bn. 1&2
? ∑ ∑ ∑ J ‰ Œ Œ
P π

1. con sord.

& œj ∑ ∑ j ‰ Œ Œ
#˙ . ˙. œ
Horn 1&2

P π
œ
Hn. 3&4
?J ∑ ∑ ∑ ∑ ∑

Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. 2&3 & ∑ ∑ ∑ ∑ ∑ ∑

# 1.˙ .con sord. ˙. œ

Tbn. 1&2
? ∑ ∑ ∑ J ‰ Œ Œ
P π

Tbn. 3/Tba.
? ∑ ∑ ∑ ∑ ∑ ∑

? j
Perc. 1 ∑ ∑ ∑ # ˙æ. ˙æ. #œ ‰ Œ Œ
P π

Perc. 2 & ∑ ∑ ∑ ∑ ∑ ∑

Perc. 3 ÷ ∑ ∑ ∑ ∑ ∑ ∑

180

Bar.
? ∑ ∑ ∑ ∑ ∑ ∑
rit.
j
divisi
180

œ-œ .. œ-œ # # ˙˙ .. œœ ..
unis.

Vln. 1 &Œ ‰ Œ
# ˙P. ˙. œ
j ‰ Œ Œ
F π
unis.
divisi
j
pizz

Vln. 2 &Œ # œ-œ .. œ-œ # # ˙˙ .. œœ .. ‰ Œ

#œ
j ‰ Œ Œ
#œ
j ‰ Œ Œ
#œ
j ‰ Œ Œ
F P π

# œ- . œ- #˙ . œ.
pizz
BŒ ‰ Œ j ‰ Œ Œ j ‰ Œ Œ j ‰ Œ Œ
J
Vla.

F
# œP #œ # œπ
j j j j
pizz

Vnc.
?Œ # œ- . œ- #˙ . œ. ‰ Œ #œ ‰ Œ Œ #œ ‰ Œ Œ #œ ‰ Œ Œ
F P π

j
pizz

D.B.
t ∑ ∑ ∑ ∑ ∑ #œ ‰ Œ Œ
π

182
 REFERENCES

Boulez, Pierre. “Schoenberg is Dead.” Score 6 (February 1952): 18-22.

Clytus Gottwald. "Dreimal Tausend Jahre, op. 50a und Psalm 130, op. 50b für
gemischten Chor a capella" in Arnold Schönberg: Chorus Music. Sony
Classical S2K 44571.

Gradenwitz, Peter. “The Religious Works of Arnold Schoenberg.” Music

Review 21. no. 1 (February 1960): 19-29.

Haimo, Ethan. “The Mature Twelve-tone Method.” in The Arnold

Schoenberg Companion, ed. Walter B. Bailey (London: Greenwood
Press, 1998), 129-55.

_ _ _ _ . “The Late Twelve-tone Compositions.” in The Arnold Schoenberg

Companion (London: Greenwood Press, 1998), 158-75.

Lewin, David. "Inversional Balance as an Organizing Force in Schoenberg's

Music and Thought." Perspectives of New Music 6, no. 1 (1968): 1-21.

MacDonald, Malcolm. Schoenberg. London: J. M. Dent, 1976.

André, Naomi. “Returning to a Homeland.” in Political and Religious Ideas

in the Works of Arnold Schoenberg, ed. Charlotte Cross and Russell
Berman (New York: Garland Publishing, 2000), 271-88.

Reich, Willi. Schoenberg: A Critical Biography. New York: Praeger, 1981.

Ringer, Alexander. Arnold Schoenberg: The Composer as Jew. Oxford:

Clarendon Press, 1990.

Risinger, Mark P. “Schoenberg’s Modern Psalm, and the Unattainable

Ending.” in Political and Religious Ideas in the Works of Arnold
Schoenberg, (New York: Garland Publishing 2000), 289-306.

Rochberg, George. “The Harmonic Tendency of the Hexachord.” in Journal of

Music Theory 3 (November 1959): 208-230.

Rufer, Josef. The Works of Arnold Schoenberg: A Catalogue of his

Compositions, Writings and Paintings. Translated by. Dika Newlin.
London: Faber and Faber, 1962.

Schoenberg, Arnold. Modern Psalmen von Arnold Schönberg, ed. Rudolf

Kolisch. Mainz: B. Schott’s Söhne, 1957.

183
Schoenberg, Arnold. Chorwerk II: Kritischer Bericht, Series B, vol. 19 of
Sämtliche Werke, ed. Christian Martin Schmidt. Mainz: B. Schott’s
Söhne, 1977.

Schoenberg, Arnold. Style and Idea. ed. Leonard Stein, trans. Leo Black, Los
Angeles: University of California Press, 1975.

Specht, Robert. “Relationships Between Text and Music in the Choral Works
of Arnold Schoenberg.” Ph.D. dissertation, Case Western Reserve
University, 1976.

Spies, Claudio. “Dreimal Tausend Jahre, op. 50a,” in “Articles, Pictures, Texts
and a Recording of Schoenberg’s Voice,” liner notes for The Music of
Schoenberg, vol. 3, Colombia Records M2l 309/M25 709, 44-48.

Stein, Erwin, Ed. Arnold Schoenberg Letters. Faber and Faber: London, 1966.

Straus, Joseph N. Introduction to Post-Tonal Theory. Prentice-Hall:

Englewood Cliffs, New Jersey, 2000.

Stuckenschmidt, H. H. Schoenberg: His Life, World and Work. New York:

Schirmer, 1978.

Suderberg, Robert Charles. “Tonal Cohesion in Schoenberg’s Twelve-tone

Music.” Ph.D. dissertation, University of Pennsylvania, 1966.

Samuel Terrien. The Psalms and Their Meaning Today. New York: Bobbs-
Merrill, 1952.

Teasdale, Sara. Mirror of the Heart: poems of Sara Teasdale. New York:
Macmillian, 1984.

Watkins, Glenn. Soundings: Music in the Twentieth Century. New York:

Macmillan, 1988.

184
LETTERS OF PERMISSION

185
186
187
 VITA

Thomas Michael Couvillon, Jr., a native of Baton Rouge, Louisiana, spent

much of his childhood and attended high school in Houston, Texas. He

earned his Bachelor of Music degree in theory and composition from Loyola

University-New Orleans and his Master of Music in composition from

Louisiana State University. He has taught composition and music theory at

Nicholls State University, Tulane University, Arizona State University, and

Sam Houston State University. In addition to teaching and composing, he is

active as a church musician and is an avid hiker and cyclist. He will receive

the degree of Doctor of Philosophy on December 20, 2002.

188