University of Iowa

Iowa Research Online

Theses and Dissertations

Spring 2016

Ingolf Dahl’s Concerto for alto saxophone and wind orchestra: a

revised edition
Carl Thomas Rowles
University of Iowa

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Part of the Music Commons

Copyright © 2016 Carl Thomas Rowles

This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/6262

Recommended Citation
Rowles, Carl Thomas. "Ingolf Dahl’s Concerto for alto saxophone and wind orchestra: a revised edition."
DMA (Doctor of Musical Arts) thesis, University of Iowa, 2016.
https://doi.org/10.17077/etd.sfdxxfx3

Follow this and additional works at: https://ir.uiowa.edu/etd

Part of the Music Commons
  

INGOLF DAHL’S CONCERTO FOR ALTO SAXOPHONE AND WIND ORCHESTRA:

A REVISED EDITION

by

Carl Thomas Rowles

An essay submitted in partial fulfillment

of the requirements for the Doctor of Musical Arts degree
in the Graduate College of
The University of Iowa

May 2016

Essay Supervisor: Professor Richard Mark Heidel

  

Copyright by

CARL THOMAS ROWLES

2016

All Rights Reserved

  

Graduate College
The University of Iowa
Iowa City, Iowa

CERTIFICATE OF APPROVAL

____________________________

D.M.A. ESSAY

_________________

This is to certify that the D.M.A. essay of

Carl Thomas Rowles

has been approved by the Examining Committee for

the thesis requirement for the Doctor of Musical Arts degree
at the May 2016 graduation.

Essay Committee: ____________________________________________

Richard Mark Heidel, Essay Supervisor

____________________________________________
Michael Eckert

____________________________________________
Christine Getz

____________________________________________
William LaRue Jones

____________________________________________
Kevin Kastens


To Mom and Dad

ii



ACKNOWLEDGEMENTS

I am forever grateful to my parents, Roger and Desi Rowles and Joe and Deb

Dodson, for their continued support. Even as I have traveled to and from home, you have

continued to attend concerts and other performances to see my work.

To my advisor, Dr. Richard Mark Heidel–thank you for your mentorship. I

appreciate your dedication to the students and continuing to push us to excel. Your

unwavering standards, knowledge of our profession, and continued pursuit of preparing us

to succeed pushed my abilities far beyond anything of which I had envisioned myself

capable.

I am also grateful for the guidance I have received from Professor Kevin Kastens.

I sincerely appreciate the opportunities I have had to work with the Hawkeye Marching

Band and the Iowa Pep Band, as these are experiences and memories that have shaped my

time at the University of Iowa.

I would like to thank members of the faculty in the School of Music at the

University of Iowa: Professors William LaRue Jones, Christine Getz, and Michael Eckert.

Thank you for serving on my various committees, providing advice, mentorship, and your

passion. You have greatly enhanced my time here at Iowa. I would also like to thank

Kathy Ford, administrative coordinator for the UI Bands. Your hours of service and

passion for what we do never go unnoticed.

I would also like to thank my mentors from Tennessee Technological University,

Professor Joseph Hermann and Dr. Eric Harris. You promised me everything you had and

you helped me grow immensely. You took me from a rural Iowa high school and ignited

my passion for conducting, teaching, and academia.

iii



I would also like to thank many of my former teachers: Dr. Michael Eckert, Jay

Nugent, Becky Greiner, Martin Brenden, David Heupel, and Charles and Virignia Radke.

Your countless hours of mentorship, teaching, leadership, and performance opportunities

shaped me into the musician and teacher I am today.

I also need to thank the University of Southern California Libraries Special

Collections, Andrew Justice, and Christine Morse who retrieved archived documents in

the Ingolf Dahl Collection. Special thanks to Andrew for his numerous trips and pictures

sent to me to aid me in my research.

Thank you to my friends, fellow graduate students, teaching assistants, and

colleagues at the University of Iowa–Rose Bishop, Eric Bush, Yi Chen, Scott Corley,

Kevin Kessler, Ernest Jennings, Steven Riley, Matthew Wanken, and Andrew Veit. You

have been my closest comrades and my support system. I will cherish the memories we’ve

created and I look forward to where our careers go and the many memories to come.

iv



PUBLIC ABSTRACT

Ingolf Dahl composed the Concerto for Alto Saxophone and Wind Orchestra in

1949 at the request of saxophonist Sigurd Rascher. Subsequently, Dahl made revisions to

the work in 1953 and 1959. In the preparation process for all three versions, Dahl was

faced with rapidly approaching deadlines, which led to inconsistent application of

articulation markings, dynamics, and expressive markings. Further, there are

discrepancies between the material that appears in the score and that in the parts. Because

the 1959 version only exists in hand-written manuscript form and has never been

engraved, these issues have gone unresolved.

I have taken the parts that are currently available through Schott Music and

entered them into Finale, Schott’s preferred music notation software. I then compared the

new score to the old and made corrections to the new score. I corrected wrong notes,

removed extra musical material that was probably carried over from a previous version,

and applied dynamics, articulations, and expressive markings to create a consistent, clear,

and specific full score.

TABLE OF CONTENTS

CHAPTER ONE .................................................................................................................. 1

Introduction ............................................................................................................. 1
Purpose of the Study ................................................................................................ 2
Need for the Study ................................................................................................... 2
Primary Source Materials ........................................................................................ 3
Review of Secondary Literature .............................................................................. 5
Methodology and Limitations ................................................................................. 7

CHAPTER TWO ............................................................................................................... 10

Biography of Ingolf Dahl ...................................................................................... 10
Concerto for Alto Saxophone and Wind Orchestra: Historical Perspective ......... 15

CHAPTER THREE ........................................................................................................... 24

Editorial Policies ................................................................................................... 24
Critical Commentary ............................................................................................. 26

CHAPTER FOUR……………………………………………………………………......29
Revised Edition of the Concerto for Alto Saxophone and Wind Orchestra
by Ingolf Dahl........................................................................................................ 29

APPENDIX A: PUBLISHER PERMISSION FOR THE USE OF COPYRIGHTED

MATERIALS .................................................................................................................. 100

APPENDIX B: CRITICAL REPORT: I. RECITATIVE ................................................ 102

APPENDIX C: CRITICAL REPORT: II. ADAGIO (PASSACAGLIA) ....................... 112

APPENDIX D: CRITICAL REPORT: III. RONDO ALLA MARCIA.......................... 122

APPENDIX E: LIST OF HARVEY PITTEL EDITS ..................................................... 148

BIBLIOGRAPHY ........................................................................................................... 151

vi

 1

CHAPTER ONE

Introduction

Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra (1949) is

regarded as one of the best works for wind band and is a staple of the saxophone

repertoire. It was heralded by Henry Cowell as “one of the most important and well-

written band pieces” and a staple in the saxophone repertoire and is one of the earliest

large-scale works to feature this instrument. 1 Sigurd Rascher, a German-American

saxophonist known for his technical prowess and ability to play in the altissimo register,

commissioned the work because of the lack of quality literature for the instrument.

Though the work received positive reviews, it was difficult for ensembles to

program due to its length of approximately 28 minutes and its technical difficulty.

Rascher requested that Dahl recommend cuts and, despite misgivings, Dahl obliged. This

eventually led to Dahl revising the work in 1953. At that time, Dahl reduced the

orchestration from a full concert band to an orchestral wind section, intending one player

per part, and deleted a significant amount of material from the third movement. This

reduced the length to approximately 20 minutes. Still dissatisfied with the overall sound,

Dahl began more revisions in 1957, completing them in 1959. The final version was

subsequently published in 1968 and is currently available through Schott Music.

However, as Dahl made revisions to the work, not all the markings were carried over

from the parts to the score and vice-versa. Today’s performing groups must repeatedly

1
Dahl, quoted in Paul M. Cohen, The Original 1949 Saxophone Concerto of Ingolf Dahl:
A Historical and Comparative Analysis (Teaneck: To the Fore Publishers, 1985), 18.


 2

deal with issues of wrong notes, music missing from the score, the lack of articulation

markings, and inconsistent expressive markings.

Purpose of the Study

The purpose of this study is to create a revised edition of the Concerto for Alto

Saxophone and Wind Orchestra by Ingolf Dahl from the current set of blueprint parts.

For the purposes of this document, only the revised full score will be presented. This

revised edition is being created to provide performing ensembles and conductors with an

accurate score and parts from which to study and perform. There are a number of

inconsistencies in the blueprint parts themselves, as well as between the parts and score.

Most notably, articulation markings are inconsistently applied in the parts and are

frequently missing. Dynamic markings are also not applied consistently among similar

parts. The score itself is difficult to use because parts have been paired on the staves of

the score, regardless of whether or not they have common musical material. The revised

score in print form will make it easier for Schott Music to create study scores to be made

available to conductors, a project that Dahl requested when the version for piano and

saxophone was published in 1968.

Need for the Study

The edition of the Concerto for Alto Saxophone and Wind Orchestra currently

available for rental is still in blueprint form, a practice no longer common for current

publications. A work that is so highly regarded in the wind band world should be

published in a fashion that is representative of its stature.

Not only are manuscript parts more difficult for musicians to read, but also a

number of errors in the parts and score of the Concerto make the rehearsal process

difficult. In his monograph “A Performer’s and Conductor’s Analysis,” Christopher

Rettie addressed issues of mislabeled rehearsal markings in the score, one incorrect note

in the horn line of the score, and the rhythmic placement of the last note.2 Because of the

difficulty of the work, only ensembles of an advanced level are able to perform it, and

rehearsal time for such groups is typically limited. It is imperative that every effort be

made to facilitate a more efficient rehearsal process for musicians undertaking the work.

Primary Source Materials

There are two versions of the Concerto for Alto Saxophone and Wind Orchestra

available for performance. The first is for saxophone and wind orchestra, which exists in

three editions. The first two editions are stored in the archives at the University of

Southern California and the third is available from Schott Music. The first edition,

completed in 1949 and scored for saxophone and full concert band, consists of only a

manuscript score (USC49). The second edition, which was completed in 1953 for solo

saxophone with a 36-piece wind orchestra, consists of a full score and parts (USC53).

The score and parts of the third edition, which is typically performed by today’s

ensembles, were completed in 1959 (SM59).

I used the parts from SM59 to create this revised edition (CTR16) because they

are the most recent parts to reflect the composer’s intent. The parts from USC49 were not

2
Rettie, “A Performer’s and Conductor’s Analysis of Ingolf Dahl's Concerto for Alto
Saxophone and Wind Orchestra,” (DMA diss., Louisiana State University and
Agricultural and Mechanical College, 2006). 58-9.


 4

used because Dahl had made significant changes to the work in 1953 to make it more

programmable for ensembles and more feasible for saxophonists. Dahl wrote to Rascher

urging him to perform the 1953 edition of the work instead of the 1949 edition, noting

that it was still was a piece of great magnitude and seriousness despite reducing it from

28 minutes in length. For the above reason and because of the magnitude of changes in

orchestration between USC49 and USC53, the first edition was not referenced.

Though the parts from SM59 were the primary source, I referenced the score and

parts from USC53 in the creation of CTR16 because the parts have markings in red rink

made by Dahl. It seems that Dahl made revisions to the parts without updating the score,

possibly resulting in SM59 actually containing the same score from USC53 but having

updated parts. With this realization, I gave more weight to the edits in the USC53 parts

than what appears in the SM59 score. It is also possible that, because Dahl did not

publically acknowledge revising the work after 1953, he did not want to create an

updated score, as that would mean acknowledging the existence of further revisions on

the work.

The second version of the Concerto is scored for saxophone and piano (SM72).

Prior to 1972, this version only existed in manuscript form, but was engraved and

republished by European American Music Corporation following Dahl’s death. Harvey

Pittel edited the saxophone part in preparation for the 1972 publication. A list of

discrepancies between his edition and the solo part that appears in the score of SM59 are

listed in Appendix E. 3

3
Ingolf Dahl, Concerto for Alto Saxophone and Wind Orchestra: Version for Saxophone
and Piano, ed. Harvey Pittel, (New York: European American Music Corporation, 1979).


 5

Review of Secondary Literature

The literature concerning Ingolf Dahl and his Concerto for Alto Saxophone and

Wind Orchestra is not extensive. The one biographical dissertation by James Berdahl is

thorough and discusses Dahl’s professional and personal life in great detail.4 Many other

sources, such as the biography in Grove Music Online,5 other dissertations, and recital

documents, cite this scholarship in their biographical entries on Dahl. Berdahl also

catalogued all of Dahl’s compositions. Each entry contains background information on

the work, revisions, premiere information, and a discography. Berdahl’s dissertation is

therefore the most complete biographical source available to provide historical

background on the work.

Halsey Stevens and John Kloecker have also written articles on Dahl’s career and

compositions, though neither contributes much more than what Berdahl already provides.

Stevens discusses the activities of Dahl’s last years, in particular, his death and that of his

wife. Stevens also briefly summarizes Dahl’s contributions as a composer and includes a

brief discussion of compositional periods, which was then expanded upon by Kurt Song

and Gary Maas in their article for Grove Music Online.6 Though this information does

not directly aid in the creation of this edition, it gives perspective to the work as it stands

in Dahl’s oeuvre. Kloecker’s article includes an analysis of Dahl’s only other work for

4
James Nilson Berdahl, “Ingolf Dahl: His Life and Works” (Ph.D. diss., University of
Miami, 1975).
5
Kurt Stone and Gary L. Maas, “Dahl, Ingolf,” Grove Music Online, Oxford Music
Online, Oxford Univeristy Press, accessed December 25, 2015,
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/0
7054.
6
Halsey Stevens, “In Memoriam: Ingolf Dahl (1912-1970),” Perspectives of New Music
9, no. 1 (Autumn-Winter, 1970): 147-148 and Stone and Maas, “Dahl, Ingolf.”


 6

wind band, the Sinfonietta for Concert Band. Although it also includes some biographical

information on Dahl, the article is primarily an analysis of the Sinfonietta.7

The scholarship devoted to the Concerto itself includes analyses for performers

and a dissertation on the history of the work. Paul Cohen’s dissertation provides the most

comprehensive background concerning the commissioning process, the difficulty in

getting the worked premiered, revisions and subsequent performances, and the

publication processes that occurred both during and after Dahl’s life.8 Understanding the

history of the work and its subsequent revisions provides insight as to why there might be

more errors, and of larger nature, in the third movement than the first two.

Christopher Rettie wrote a performer’s and conductor’s analysis of the Concerto.9

As a saxophonist and a conductor, Rettie has conducted and played the work and offers

unique insights into issues particular to both the saxophonist and conductor, including:

technical passages in the solo part, rehearsal concerns for the ensemble, and a structural

analysis of each movement. While this is a valuable resource for the preparation of a

concert performance, Rettie falls short of discussing the extensive amount of errors in the

score and parts of SM59.

A performance guide written by Carla McElhaney concerns itself with the

saxophone and piano version of the Concerto.10 McElhaney argues that this version is not

7
John H. Kloecker, “An Analysis of Ingolf Dahl’s Sinfonietta for Concert Band, in
Journal of Band Research 28, no. 2 (Spring 1993): 37-91.
8
Cohen, The Original 1949 Saxophone Concerto.
9
Rettie, “A Performer’s and Conductor’s Analysis of Ingolf Dahl’s Concerto for Alto
Saxophone and Wind Orchestra.” (DMA monograph, Louisiana State University and
Agricultural and Mechanical College, 2006.)
10
Carla Budzian McElhaney, “The Saxophone and Piano Version of Ingolf Dahl’s
Concerto for Alto Saxophone: A Guide to Performance for the Collaborative Pianist,”
(DMA Treatise, University of Texas at Austin, 1998).


 7

an orchestral reduction like many other versions of concerti with piano accompaniment.

Rather, she shows that it is a re-interpretation of the work while still using the same

musical language. A true orchestral reduction on the piano would be impossible to

perform, so Dahl created this accompaniment specifically for the piano while maintaining

the same musical essence of the accompanying material. The other tenant of

McElhaney’s dissertation is performance advice for the pianist. Though this information

is useful for someone preparing the work for recital performance, it does not provide

information relatable to the version for wind orchestra.

Samuel Barber/s Commando March is a work that has undergone a similar editing

process. Russell Collinsworth created a critical edition full score in which he discussed

the issues that were present in the published score, changes he made to both the score and

parts, and a list of observations of the holograph score, which include annotations by the

composer.11 His dissertation was useful as a model for this project because of the

methodology used and the outline of the final document.

Methodology and Limitations

I contacted Schott Music in December 2015 and obtained permission to use the

Concerto for Alto Saxophone and Wind Orchestra for a music edition project. Schott

Music issued a rental license for the parts and sold me a score. Because of their interest in

publishing this revised performance edition, I asked Schott for specific formatting and

editing policies that had to be followed for future submissions. I was told that because

Schott does not publish many band scores: the only requirements were to format the score

11
Russell Anderson Collinsworth, “A Critical Edition Full Score of Samuel Barber’s
Commando March,” (DMA paper, Arizona State University, 2008.)


 8

for 11x17 inch paper and the parts for 9x12 inch. All other formatting would be left to my

judgment.

I formatted the score to match that of the 1959 version with the exception that

each woodwind and brass part has an individual staff. The rehearsal markings remain as

they appear in the wind, percussion, and solo saxophone parts so that the new score and

the previously published saxophone solo edition can be used together. I entered the first

twelve measures of the first movement into Finale and compared the draft to the currently

licensed score, marking any discrepancies. From these, I developed editorial policies to

cover the general issues of score format, notation, and terminology.

In the Critical Notes, I entered the following: incorrect pitches; inconsistent

application of dynamics, articulations, and expressive markings; and wrong musical

material. These are ordered by measure number, beat in the measure, instruments

affected, the change that was made, and why the change was made. These changes appear

in Appendices B-D.

I entered the remainder of the first movement into Finale and then compared the

draft of the full score to SM59 and marked any differences. I made decisions on the

application of articulation markings, dynamics, and expressive markings on a case-by-

case basis using the markings already given, the context of the music, and my

interpretation of the desired musical effect. Where the revised score differed from SM59,

I used markings that would be most beneficial for the conductor and performers and

would provide the clearest and most specific instruction. I made revisions to the new

score, entering all changes into the Critical Notes, and entered the saxophone solo as it

appears in the published edition. Changes that were more substantial and required

lengthier explanations than would be appropriate for the Critical Notes are entered into a

Critical Commentary. This process was repeated for the second and third movements. I

obtained selected images of the score and parts of the 1949 and 1953 version from the

archives at the University of Southern California and referenced them in solving some of

the discrepancies between the SM59 parts and score. Subsequent drafts were printed and

revised to ensure appropriate spacing of the music, uniformity of dynamics, articulations,

and expressive markings, and general cleanliness of the score.

This study is limited to the creation of a new full score from the existing set of

parts.

 10

CHAPTER TWO

Biography of Ingolf Dahl

Originally named Walter Ingolf Marcus, Ingolf Dahl (1912-1970) was the eldest

of four children of Paul Philip Benjamin Marcus, a well-to-do lawyer from Hamburg,

Germany, and Hilda (Dahl) Marcus. Hilda was from Gothenburg, Sweden, and continued

the Swedish tradition of giving each child one Scandinavian first name. Ingolf was named

Walter Ingolf after the first Norwegian to settle in Iceland, and from his earliest years,

went by his middle name. After his later immigration to the United States, he changed his

name to Ingolf Dahl.12

The Marcus home was a social gathering place for community activities, with

frequent guests including scientists, artists, and educators. 13 It was also the center of

Ingolf Dahl’s early music training. Family members of multiple generations had musical

talent, and all the Marcus children studied piano with Frau Holle. By the age of twelve,

Ingolf already displayed an exceptional musical talent as well as absolute pitch.14

Soon after, he was enrolled as a pupil of Edith Weissmann, a noted pianist,

harpsichordist, and teacher, who proved to be influential in Dahl’s future education. His

studies with Weissmann eventually broadened to include music theory and history, and

he made his public debut in a piano recital at the Musikhalle in Hamburg at the age of

seventeen.15

12
Berdahl, “Ingolf Dahl,” 3.
13
Ibid., 4.
14
Ibid., 5.
15
Ibid., 5-6.


 11

While a student of Herman Schütt, Director of Music at the Lichtwark-Schule,

Dahl was allowed to conduct music programs, many of which included his own

compositions.16 Following graduation, Dahl attended the Hochschule für Musik in

Cologne for three terms. He studied composition with Philip Jarnach, piano with

Mengelbier, music history with Dr. Unger, and conducting with Hermann Abendroth and

Professor Ehrenburg.17

Dahl left Cologne in 1932 to live with his sister in Zurich. He enrolled in the

Zurich Conservatory, where he studied conducting with Dr. Volkmar Andrea, the head of

the Conservatory and Conductor of the Tonhalle Orchestra. He also studied piano with

Walter Frey.18 To support himself while attending the Conservatory, Dahl worked at the

Zurich Stadttheater, starting as the Korrepetitor (opera coach) and working his way up

through the positions of chorus master, assistant conductor, and principal conductor.19

While at the Stadttheater, he participated in some major premieres, including Lulu by

Alban Berg and Mathis der Mahler by Paul Hindemith.20 In addition to working at the

Stadttheater, Dahl was busy composing and concertizing as a pianist. He appeared as a

soloist with orchestras in Zurich, Bern, and Cologne and gave recitals in numerous cities

across Europe.21

The aggressive expansion of the Nazi regime prompted Dahl’s immigration to the

United States in 1939.22 He arrived in Southern California at a time when the region was

16
Ibid., 7.
17
Ibid., 8.
18
Ibid., 9.
19
Ibid., 10.
20
Ibid., 11.
21
Ibid., 12.
22
Ibid., 14.


 12

a musical hub. Dahl collaborated with many musicians and composers, particularly Igor

Stravinsky, Arnold Schoenberg, and Darius Milhaud, and quickly developed a career as a

pianist and composer.23

Dahl made his American conducting debut in May 1939, leading the Continental

Players in Ernst Toch’s setting of Schiller’s William Tell. The following year, he joined

the faculty at Smioloff Bel Canto Studios and Opera Academy, where he taught

repertoire, interpretation, sight-reading, and solfeggio.24 He also conducted the W.P.A.

Orchestra of Southern California and the Los Angeles Oratorio Society. He was the a

capella director of the Los Angeles Choir. Dahl also worked as conductor, pianist, and

arranger for the Edith Lorand Orchestra and served as music director of the Burbank

Grand Opera Company.25 Slowly, Dahl’s reputation as a pianist and accompanist grew.

He became a regular pianist for the McCarthy-Peet String Quartet, violinists Lawrence

Sommers and Miriam Solaviev, and numerous other musicians.26

Central to Dahl’s career in Los Angeles was the “Evenings on the Roof” concert

series. These concerts brought together some of the best composers and musicians in the

Los Angeles area in a less formal environment. Some of Dahl’s works were among the

many that were given their first performances during this series.27 The friendly gathering

of musicians and small audiences became so popular that, by its fourth season in 1942,

23
Benjamin T. Cold, “Analysis of a Recital: A Report on Piet Swerts’ Klonos and Ingolf
Dahl’s Concerto for Alto Saxophone and Wind Orchestra” (Masters Report, Kansas State
University: 2012), 17-18.
24
Berdahl, “Ingolf Dahl,” 15.
25
Ibid.
26
Ibid., 16-17.
27
Ibid., 19.


 13

the series left a studio apartment roof for a larger hall at the Assistant League

Playhouse.28

In 1945, Dahl was appointed to the faculty at the University of Southern

California (USC), a post he held the rest of his life, where he conducted the University

Orchestra, lectured in radio and film music, and taught operatic repertory. His teaching

duties eventually expanded to include orchestration, theory and composition, conducting,

music history and literature. He also became the conductor of the Collegium Musicum.29

Dahl became more active as a conductor after taking the position at USC. He

conducted one of the participating orchestras in the 1945 Christmas Eve show at

Birmingham General Hospital, which was broadcast across the nation. He conducted the

Symphony Orchestra at USC, was conductor for a Music Guild’s presentation of Bach’s

Musical Offering, and was selected as one of four conductors of the Beverly Hills

Philharmonic Society.30 A glowing review by Lawrence Morton described Dahl as an

extraordinary conductor. According to Morton, he “…brings to his work as conductor the

same conscientiousness and full-blown musicality that characterize his work as

composer, pianist, and champion of new music in the community.”31

In February 1970, Dahl and his wife, Etta, left for a one-year sabbatical in

Frutigen, Switzerland. Etta died while there. At the time, Dahl was already under medical

care for a serious respiratory impairment, and following his wife’s death, his health

rapidly deteriorated and he died on August 6.32

28
Ibid., 20.
29
Ibid., 36.
30
Ibid., 42.
31
Lawrence Morton, quoted by Berdahl. 42.
32
Ibid.


 14

Compositional Style

Due in part to his diverse career as a pianist, accompanist, conductor, and

composer, Dahl’s compositional output is limited compared to that of his contemporaries.

Nevertheless, according to Stone and Maas, three distinct compositional periods can be

detected in his style.33 Dahl’s early works, written while he resided in his native

Germany, exhibit the dissonant and polyphonic textures that were typical of German

Expressionists in the 1920s.34 After Dahl moved to the United States, his music exhibited

a more clarified texture, a trend towards diatonicism, and an interest in timbres and

instrumental virtuosity. This shift was likely a result of his extensive collaborations with

Stravinsky.35 Dahl’s third period can be dated to have begunaround 1957. These works

exhibited the use of serial techniques and typically featured larger structures that were

unified by motivic and tonal relationships. These features can be seen in his only other

work for wind band, the Sinfonietta for Concert Band, composed in 1960. Beginning in

1965 with his Aria sinfonica, Dahl’s style exhibited an increasing concentration on leaner

instrumentation and compact forms.36 Halsey Stevens characterized Dahl’s style in this

manner:

It is not easy to describe that style. Rhythmically it is precise, alert,

pertinent, deriving certain characteristics from Stravinsky others from
jazz, but determining its own identity. Its textures are open and
economical, its harmonies clean-cut, suggesting, if not unambiguously
establishing, tonal allegiances. Melody is spontaneous, of wide ambitus;
counterpoints are plastic. Instrumental setting is impeccable, with a keen

33
Stone and Maas, “Dahl, Ingolf.”
34
Ibid.
35
Ibid.
36
Ibid.


 15

ear to the idiomatic capabilities of instruments individually and in

combination.37

Concerto for Alto Saxophone and Wind Orchestra: Historical Perspective

Commissioning

After hearing Dahl’s Music for Brass Instruments and being impressed by the

composer’s work, Sigurd Rascher approached Dahl about writing a piece to feature the

saxophone.38 Rascher not only wanted a large-scale composition that featured the

instrument, but a work that would allow him to demonstrate his technical prowess on the

instrument.39

Dahl accepted the commission, even though it was his first work for a large

ensemble. He was excited by the new challenge, remarking, “Somebody has to write the

big pieces, the symphonic works, if the medium is to be elevated (higher, like symphony

orchestra).”40 Dahl began work on the score during the summer of 1948, but his

performing and teaching schedule prevented him from completing it until the following

year.41 Rascher proposed the idea that the accompaniment should be scored so it could be

performed with either band or orchestra, but Dahl quickly abandoned the idea of the

orchestra, scoring it for full concert band instead.42

The concerto was initially titled Fantasy and was conceived as a one-movement

piece in three sections: recitative, arioso, and allegro. Dahl progressed quickly in his

37
Stevens, “In Memoriam,” 147.
38
Berdahl, “Ingolf Dahl,” 47.
39
Cohen, Original 1949 Saxophone Concerto, 6.
40
Ibid., 95.
41
Berdahl., “Ingolf Dahl,”47-8.
42
Cohen, Original 1949 Saxophone Concerto, 7.


 16

work, finding that as he worked, the piece grew in proportion. He wrote to Rascher, “…I

just about finished the Allegro—it will be about 450 bars long—that is quite a bit, I

realize that, but there is so much musical material in it, that it needs these proportions,”43

Dahl’s enthusiasm for his newly composed saxophone concerto was not matched

by that of his contemporaries. Igor Stravinsky and Aaron Copland voiced their doubts

about writing for the instrument when Dahl showed them drafts of his work. Stravinsky

did not hold the saxophone in high esteem, stating, “I don’t know. To me, a saxophone

always sounds like a pink, slimy worm.”44 In a journal entry, Dahl recounted Copland’s

disbelief that someone would undertake such a project. The entry reads, “…A few days

ago I showed it to Aaron Copland, who shook his head over the foolishness of somebody

who would write a long and substantial piece for (a) an instrument like the Saxophone,

(b) treating the instrument so that very few could play it, (c) accompanying it with a large

array of wind instruments.”45

The premiere scheduled for January 14, 1949, at the University of Michigan,

nonetheless, had to be canceled because the score was still incomplete. By this time, it

was entitled Concerto and in two movements: recitative-adagio and rondo.46 Another

performance, scheduled for May 14, 1949, at the Tri-State Band Festival, was also

canceled. Dahl had completed the score and extracted the parts, but the Festival did not

agree to Dahl’s request for a $50 rental fee. A scheduled performance with the University

of Illinois Concert Band on May 17, 1949, served as the premiere of the Concerto. Mark

43
Ibid., 10.
44
Ibid., 8.
45
Ibid.,17.
46
Ibid.


 17

Hindsley conducted, and Rascher was the soloist.47 Dahl did not attend the premiere, nor

did he hear the work until his first meeting with Rascher in the summer of 1949. Dahl

was on faculty for the Middlebury College Composer’s Conference in Middlebury,

Vermont, when Rascher visited him with recordings of the concerto.48 He was impressed

with the performance and was pleased with the work as a whole. His journal entry after

hearing it read, “…my concerto makes its points—it is a big piece.”49

The work was, in fact, an immediate success. Despite his previous skepticism,

Stravinsky was impressed and considered it one of the best pieces of new music

available. Dahl summarized Stravinsky’s thoughts in a letter to Rascher:

After it was over, he said nothing but just got up and embraced me, with
moist eyes, and in Russian fashion kissed me on both cheeks. He thinks it
is one of the best new things he has heard.50

Henry Cowell echoed Stravinsky’s sentiments. Dahl paraphrased him as stating it was

“one of the most important and well-written band pieces he had seen and he was going to

recommend it to the bandmasters’ association who are meeting this month (March) in

Washington, D.C.”51 The concerto was performed at the 19th annual American

Bandmasters Association convention in Gainesville, Florida, by the University of Florida

band with Harold Bachman conducting and Rascher as soloist.52

47
Berdahl, “Ingolf Dahl,” 132.
48
Ibid., 17.
49
Ibid.
50
Dahl, quoted in Cohen, Original 1949 Saxophone Concerto, 18.
51
Ibid.
52
Ibid.


 18

First Revision

Dahl typically revised his works even years after the piece had been premiered as

he was an uncompromising perfectionist as a composer. It was Rascher, however, who

first suggested to Dahl that he consider cuts to the concerto because there was difficulty

getting the work programmed. It was either too long or too difficult for many school

ensembles.53 Dahl reluctantly first offered a series of short cuts, but later recommended

two larger ones, though still under protest because he felt they removed too much

material. In an undated letter to Rascher, Dahl stated, “…I don’t have to tell you that this

makes a torso out of the piece…We lose some of the best parts, and the grand passacaglia

from the second movement is hopelessly ruined.”54

Dahl eventually began his own revisions of the concerto while on a Guggenheim

Fellowship in Austria in the spring of 1953, but he did not complete the project until after

his return to the United States. According to his journal entries, the revisions did not

progress smoothly, as he seemed to be in a creative paralysis.55 A joint homecoming

concert between the Evenings on the Roof series and the USC School of Music on

January 11, 1954 was most likely the impetus for completing the revisions. The

performance of the concerto with Evenings on the Roof, which Dahl conducted, was the

first given in Los Angeles.56 An ensemble comprised of faculty and students from the

university performed with William Ulyate as the soloist.

In the revised version, Dahl reduced the accompaniment from a full concert band

to a 36-piece wind orchestra with one player per part. He eliminated the baritone and

53
Ibid.
54
Ibid., 19.
55
Ibid., 26.
56
Berdahl, “Ingolf Dahl,” 58.


 19

saxophone voices and this necessitated some rescoring.57 Dahl also divided the opening

movement into two, which were to be played without pause, and he substantially rewrote

the last movement.58

Second Revision

Journal entries from the early months of 1954 indicate that Dahl still was not

satisfied with the recent revisions.59 When he reduced the orchestration from a concert

band to an orchestral wind section, he also eliminated much of the full band sound, which

caused a new problem that proved difficult to remedy. He wrote, “What a welter of

emotion—am terribly depressed about much. Key places don’t seem to come off, and I

don’t know why. Does the movement move too much and too continuously? The ‘Tutti’

setting has still to be solved. The big sonority is not there. I feel like a bloody beginner.

The piece has not moved the players.”60

According to notes in his sketchbook, Dahl considered additional revisions as

early as 1955, but did not begin until the summer of 1957. His active performing and

teaching schedule likely prevented timely completion of the revisions, but a scheduled

performance by the USC Trojan Symphonic Band in the winter of 1959 pushed Dahl to

complete the work.61 In this setting, he eliminated the allegretto from the second

movement and revised the third movement. He also deleted the fourth flute part and

57
Ibid., 132.
58
Ibid., 133.
59
Cohen, Original 1949 Saxophone Concerto, 27.
60
Ibid.
61
Berdahl, “Ingolf Dahl,” 70.


 20

added ossia passages for the solo part.62 The musical material that was cut from the final

version of the third movement was used in the opening third of the second movement and

sections of the third movement of the Sinfonietta for Concerto Band.

Version for Saxophone and Piano

Dahl created a version for piano and saxophone in the late spring and summer of

1959. While most piano accompaniments to concerti are orchestral reductions, Dahl’s

reduced score of the saxophone concerto is not. Dahl re-wrote the same musical material

specifically for the piano. He was adamant about this fact, noting, “This is not a

‘reduction’ of the orchestral score but a re-casting of the music in terms of the piano,

suitable for concert performance.”63

Recording and Publication

The first professional recording of the Concerto was made of the live performance

of the USC Trojan Symphonic Band on December 11, 1959. William Schaeffer

conducted, and Anthony Desiderio, USC Professor of Woodwind Instruments, was the

soloist.64

Dahl had little success in having the work published despite repeated efforts over

several years. Eventually, and with help from Donald Hunsberger, conductor of the

Eastman Wind Ensemble, Dahl reached an agreement with the MCA Symphonic Wind

Ensemble series. MCA published the saxophone and piano setting of the concerto in

62
Ibid., 133.
63
McElhaney, “The Saxophone and Piano Version,” 22.
64
Cohen, Original 1949 Saxophone Concerto, 35.


 21

blueprint form in 1968, and placed the full score and orchestra parts on rental.65 Though

MCA intended to publish the full score and make it available to directors, this never came

to fruition.66 Joseph Boonin Music Company, now part of the European-American Music

Corporation, acquired the publication rights from Dahl’s estate following his death. The

company published the piano version in print form in 1979, but no work was done on the

full score or wind parts.67

Significance of the Work

The Concerto for Alto Saxophone and Wind Orchestra is considered one of the

best works in the wind band literature. Its popularity grew over the first decade following

its composition in 1949. Between 1949 and 1960, the Concerto for Alto Saxophone and

Wind Orchestra was being performed by an extensive list of collegiate and professional

ensembles including the Los Angeles Philharmonic and the Boston Symphony

Orchestra.68 A listing of recent performances on Schott Music’s website shows that the

Concerto still receives regular performance, including nine in each of the years 2014 and

2015.69

In 1978, Acton Ostling Jr. conducted a literature evaluation study in an attempt to

identify works for wind band that were of serious artistic merit. In it, Ostling developed a

set of criteria and a panel of twenty band conductors rated compositions on a five-point

65
McElhaney, “The Saxophone and Piano Version,” 23.
66
Cohen, Original 1949 Saxophone Concerto, 38.
67
Ibid., 39.
68
McElhaney, “The Saxophone and Piano Version,” 22-23.
69
Schott Music. “Concerto for Alto Saxophone and Wind Ensemble.” Schott-Music.com.
http://www.schott-music.com/shop/products/show,262860.html (accessed January 15,
2016).


 22

Likert scale, a psychometric scale commonly involved in research using questionnaires.

In this study, eighteen of the twenty evaluators recognized the Concerto for Alto

Saxophone and Wind Orchestra. It received 92.2% of its maximum possible points,

resulting in an average score of 4.6/5.70 In 1993, Jay Gilbert conducted an updated study

inspired by Ostling’s 1978 dissertation. Both of Dahl’s major works for band, the

Sinfonietta and Concerto, were evaluated as having high artistic merit. Out of the 191

compositions identified as meeting the specific criteria for artistic merit, the Sinfonietta

ranked in the top ten, and the Concerto ranked in the top twenty-five.71 Clifford Towner

conducted an update to the Gilbert study in 2011. Again, panel members rated works on a

five-point Likert scale. Not only did the Concerto receive 98.9% of its possible total

points, averaging a 4.9/5 score,72 but Towner’s study also demonstrated that the Concerto

is viewed more favorably now than when Ostling conducted the first evaluation study in

1978. Table 1 displays Towner’s findings in comparison to the other two studies.

Though the number of panel members remained relatively consistent among the three

studies, the evaluation of the Concerto demonstrated more favorable reception in each

update.

By today’s musical standards, the Concerto ranks among the best compositions in

the wind medium. It is included in the Teaching Music Through Performance in Band series

70
Acton Eric Ostling, Jr., “An Evaluation of Compositions for Wind Band According to
Specific Criteria of Serious Artistic Merit,” (Ph.D. diss., University of Iowa, 1978), 93.
71
Jay Warren Gilbert, “An Evaluation of Compositions for Wind Band According to
Specific Criteria of Serious Artistic Merit: A Replication and Update,” (DM doc.,
Northwestern University, 1993), 150-1.
72
Clifford N. Towner, “An Evaluation of Compositions for Wind Band According to
Specific Criteria of Serious Artistic Merit: A Second Update,” (DMA doc., University of
Nebraska, 2011), 89.


 23

and is listed in Chad Nicholson’s A Guide to the Top 100 Works in Grades IV, V, VI, a

compendium of works selected by some of the most respected wind band conductors.73

Table 1. Towner’s Comparisons of Evaluation Scores

Study No. of Panel Percentage of Max. Possible Avg. Score (out
Members Points of 5)
Ostling (1978) 18 92.2 4.6
Gilbert (1993) 20 94 4.7
Towner (2011) 18 98.9 4.9
Source: Data from Clifford N. Towner, “An Evaluation of Compositions for Wind Band
According to Specific Criteria of Artistic Merit: A Second Update,” (DMA doc.,
University of Nebraska, 2011), table 4.6.

73
Eugene Corporon, Teaching Music Through Performance in Band: Solos with Band
Accompaniment, Edited by Richard Miles (Chicago: GIA Publications, 2011). Chad
Nicholson, Great Music for Wind Band: A Guide to the Top 100 Works in Grades IV, V,
VI. (Galesville: Meredith Music Publications, 2009).


 24

CHAPTER THREE

Editorial Policies

Format of the Score

Titles
The original title was maintained.

Composer Names
Composer names were maintained from the source. The editor’s name was added.

Tempo and Performance Indications

Tempo and performance indications were maintained from the score and parts.

Bar lines
Original bar lines, as they appear in the parts, were maintained. All rehearsal letters are
indicated with a double bar line.

Rehearsal Letters and Measure Numbers

Rehearsal letters were maintained from the parts. Measure numbers have been added to
each measure in the score.

Score Order
The score order has been maintained from the original source.

Braces and Brackets

Braces and Brackets were applied as they appear in modern band scores.

Instrumentation
The instrumentation adheres to that of final, published version. Each instrument is located
on its own stave.

Part Names
Part names have been maintained from the original source. Trombone 3 (Bass) from the
1959 score is “Bass Trombone” in this edition.

Solo Alto Saxophone

Piccolo (Flute 4)
Flute 1
Flute 2
Flute 3
Oboe 1

 25

Oboe 2
English Horn
E-flat Clarinet
B-flat Clarinet 1
B-flat Clarinet 2
B-flat Clarinet 3
Bass Clarinet
Bassoon 1
Bassoon 2
Contrabassoon
Trumpet 1
Trumpet 2
Trumpet 3
Trumpet 4
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F 4
Trombone 1
Trombone 2
Bass Trombone
Tuba 1
Tuba 2
Double Bass (1-2)
Timpani
Percussion

Notation

Clefs, Meters, and Key Signatures

All C-clefs in the original source were changed to G-clef or F-clef without comment. All
other clefs are maintained from the original source. All meters and key signatures are
maintained from the original source.

Rhythmic Units and Rests

Rhythmic indications and rests are maintained from the original source unless otherwise
noted.

Slurs and Ties

Slurs were unified and noted. Tied and slurred notes were updated to current notation
practices without comment.

Triplets and Other Groupettes

Triplets and other groupettes are maintained from the original source.

 26

Articulations
Where discrepancies exist, markings in the parts and score were used as a basis for
application. Musical context was also used and correspondences checked to ensure
consistent application throughout. Parts were adjusted and noted.

Dynamic Symbols
Where dynamic symbols differ, markings in the parts and score were used as a basis for
application. Musical context was also used to determine appropriate application of
dynamics. Parts were adjusted and noted.

Accidentals
In measures with a significant number of accidentals present, courtesy accidentals were
retained from the source. If it did not seem necessary to retain the accidental in a given
measure, they were removed without comment.

Percussion Notation
Percussion notation and terminology was updated to modern practice. Rolls that were
indicated by “tr.” were changed to modern roll notation of three slashes on the stem of
the note and tied to the release. Diamond-shaped note heads were changed to standard
oval shapes. Some articulation markings were added to provide more specific
performance information to the performers where not already done.

One-Per-Part and Solo Designations

The original source uses brackets to indicate one player per part. These were removed
and have been indicated by “1 only” and “a2”. The ending of solo passages was also
indicated by “a2” instead of “Tutti” for a uniform approach to indicate the return of all
players.

Mute Designations
Instructions for muting were maintained from the original source. The placement of
“senza sord.” was changed to immediately follow the muted phrase.

Critical Commentary

Solo E-flat Saxophone

The solo saxophone part is shown as it appears in the published version edited by Harvey
Pittel. The purpose of this study is to create a new conductor score, not to create a new
edition of the solo itself. This edition was chosen because it is the only one available to
soloists and is the edition that comes with the rental set of wind parts. It is important for
both the soloist and conductor to have the same material. Discrepancies between the
currently licensed score and the published saxophone solo are listed in Appendix E.

 27

I. Recitative, m. 8, addition of Field Drum

In the percussion parts, it is written that the field drum should double the snare on its roll
and rim shot. In the score, it is noted that the field drum should play on the after-beat of
three, but it is not indicated to be a rim shot nor is it indicated to double the roll of the
snare drum. There are markings in the percussion parts from 1953 that Dahl added this
doubling in preparation of the 1959 edition but did not update the score.74

II. Adagio, m.97-8, deletion of E-flat Clarinet and Flute

The score indicates this be a Clarinet Soli cadenza. There doesn’t seem to be a logical
explanation for the addition of these timbres if they were not playing the entire phrase.

II. Adagio, mm.108-9, Bass Clarinet – octaves

The score indicates a divisi with an upper octave above what is printed in the part. The
part did not include that octave or instruction for that octave to be played. There is no
benefit to those notes as they are in a weaker register of the instrument so they were not
retained in the new score.

III. Rondo alla Marcia, Horns – key signature

The Horn parts were written without a key signature; accidentals were used throughout.
A key signature was applied to be consistent with the rest of the ensemble and the score.

III. Rondo alla Marcia, [B], [F], [G]

The score and parts were not always specific in the application of articulation markings.
Rehearsal [B] now differs from the other two appearances of this material because the
articulation markings were deliberately applied in a different manner than at [F] and [G].
Because of the staccato marking applied to the woodwind voices in measure 109, I
maintained staccato articulations from 108 until the eighth notes in m.111, which were
specifically marked with accents.

III. Rondo alla Marcia, mm.41-2, Bass Clarinet

The part had the bass clarinet playing in unison octave with the first and second clarinets,
but the score has the bass clarinet doubling the bassoons. In the texture in question, the
bass clarinet does not contribute in a positive manner by doubling the upper line–it does
not penetrate the texture. Rather, it most likely makes the texture less clear by being in
conflict with the bassoons and bass. Furthermore, it is highly unusual for the bass clarinet
to have a more active part than a soprano clarinet part, such as it does here over the third
clarinet.

III. Rondo alla Marcia, mm.214-224

The dynamic markings and dynamic shadings were inconsistently applied throughout this
section. The fp in the flutes and bassoons were changed to match the sfp articulation of
the other parts. Decrescendo markings were applied where not previously done so and

74
Ingolf Dahl, Concerto for Alto Saxophone and Wind Orchestra, percussion part, 1953,
Ingolf Dahl Papers, Box 42, Folder 1: in University of Southern California Libraries
Special Collections, Los Angeles, Califonia.


 28

unified throughout analogous voices based on the duration of their sustain. Further
dynamic markings, pp, were applied if not previously marked and unified in analogous
parts.

III. Rondo alla Marcia, Rehearsal Letter [R] to the end

In the parts, rehearsal letters continue through the alphabet, R-Z. In the 1959 score, the
letters begin again with [B] after the cadenza. The following is the alignment of new/old
rehearsal letters: 75

1959 Parts & 1959 Score

Revised Score
R B
S C
T D
U E
V F
W G
X H
(m.426) L
Z M

III. Rondo alla Marcia, mm. 441-447

In the currently licensed score, the rhythm of these measures is different from the parts
and the notes are lower by either a whole or half step. The 1953 parts match the present
parts, but the 1953 score also matches the present score, indicating that this was an issue
before and was not rectified when published.

There are markings in the second bassoon, second trombone, and bass trombone parts
that indicate the possibility that the rhythm and notes in the parts were once changed for a
performance. In the second bassoon, the rhythm and notes of the score were penciled in
the staff and subsequently erased. The second trombone and bass trombone parts both
have the changed rhythm and notes penciled on a staff line below the ending of the
movement but then scribbled through with either a blue or black ink.

Because the trend of errors seems to stem from not updating the score as parts were
edited, these measures have been left as they appear in the current set of parts.

75
Ingolf Dahl, Concerto for Alto Saxophone and Wind Orchestra, (New York: European
American Music Corporation, 1977).



 29
Score Chapter 4
Concerto for Saxophone and Wind Orchestra
Ingolf Dahl
Recitative Edited by Carl Rowles
Maestoso q = 56-58, - , -. ,- œ- . œ.
b >˙ . œ. œ- bœ b˙ œ œ- bœ b˙ œ bœ œ bœ œ œ n >˙ .
4 Œ Ó Œ
Piccolo &4
ƒ espress.

b >˙ . , œ- . œ- , -. ,- √
bœ b˙ œ œ- bœ b˙ œ bœ œ bœ œ œ n >˙ . œ- . œ.
4 Œ Ó Œ
1 &4
ƒ espress.

b >˙ . , œ- . œ- , -. ,- √
bœ b˙ œ œ- bœ b˙ œ bœ œ bœ œ œ n >˙ . œ- . œ.
4 Œ Ó Œ
Flute 2 &4
ƒ
,- ,- ,-
espress.

b >˙ . œ- ˙ œ- ˙ n >˙ . √
œ. bœ bœ. bœ bœ bœ bœ bœ œ œ œ- . œ.
3 & 44 Œ Ó Œ
ƒ espress.

,- ,- , ,
b >˙ . œ. œ- bœ ˙ bœ. œ- bœ ˙
4
&4 œ- bœ œ bœ œ œ n˙. œ. œ œ #˙ Œ
> >
1
ƒ , , , espress. ,
>
œ- . œ-
Oboe
4
& 4 b˙. bœ ˙ b œ- . œ- bœ ˙ b œ- bœ bœ bœ œ œ Œ
˙ œ. œ œ ˙
>.
2
>
ƒ ,- , , ,
>. œ-
espress.

œ. b˙
4 b˙ bœ b œ- œ bœ #œ œ œ ˙. Œ
&4 n œ- b˙. œ. œ œ ˙
> >
English Horn
ƒ espress.

b >˙ .
,-
œ. œ- bœ ˙
,-
œ. œ- bœ ˙
,-
œ bœ œ œ œ œ- . œ.
4 œ # >˙ . Œ Ó Œ
E b Clarinet &4
ƒ espress.

b >˙ . , œ- . œ- bœ ˙ , œ- . œ- bœ ˙ , œ- bœ œ œ œ œ n >˙ .
4 Œ ∑
1 &4
ƒ espress.

, , - , œ- bœ
˙ bœ. œ- ˙ œ œ œ œ n >˙ .
4 b >˙ . œ- . œ- bœ bœ Œ ∑
B b Clarinet 2 &4
ƒ espress.

>˙ . , œ- . œ- œ , œ ,- œ
bœ bœ bœ œ œ # >˙ .
4 ˙ œ- . œ- ˙ Œ ∑
3 &4
ƒ , , espress.
,
4 bœ bœ œ œ œ œ n˙. Œ Œ œ- . œ.
B b Bass &4 œ œ œ œ bœ œ
œ œ. >œ >œ >œ œ œ. >œ >œ >œ œ œ. >œ > ˙
ƒ >
Clarinet

, , ,
? 44 b œ bœ bœ bœ bœ œ œ œ bœ n >œ Œ Œ œ- . œ.
œ œ. œ œ œ bœ œ œ. œ œ œ bœ œ œ. œ œ œ. œ œ œ. œ œ
> > > > > > > > >> > >>
1

Bassoon
ƒ , , ,
?4
4 bœ œ œ. œ œ œ bœ œ œ. œ œ œ bœ œ œ. Œ Œ œ- . œ.
> > > > > > bœ bœ bœ bœ œ œ œ nœ œ œ. œ œ œ. œ œ
bœ œ > > >> > >>
2
ƒ , , > ,- .
œ. œ
? 44 b œ œ. œ œ œ bœ œ. œ œ œ bœ œ. œ Œ Œ
bœ bœ bœ œ œ œ nœ œ œ. œ œ œ. œ œ
ƒ> > > > > > > > > > > œ bœ > > >> > >>
Contrabassoon

Maestoso q = 56-58
4 ∑ ∑ ∑ ∑ ∑ ∑
Solo E b Alto
Saxophone
&4

, , >˙ . ,> ,- .
> > >œ >œ >œ b œ- > > > >œ >œ >œ > > > > > > œ. œ œ ˙ œ. œ
4 œ bœ œ- . œ nœ œ œ- . bœ œ œ œ bœ œ Œ ∑
& 4 bœ œ œ œ œ œ b >œ >œ >œ >œ b œ >œ >œ >œ b >œ
5 5

œ-
5

œ-
> > > > > >
1
>
ƒ Pesante e marcato , , , ,- .
5 5 5

> # >˙ . œ. œ œ # >˙ œ. œ

4 œ- œ- . b œ- . œ >œ
5

œ œ œ bœ nœ œ œ œ œ œ nœ œ œ bœ bœ œ Œ ∑
5 5

& 4 œ œ œ œ bœ
5 5 5

> > > > > > > > > > œ- n œ >œ >œ >œ b >œ > > > > > œ- b œ >œ >œ b >œ > > > > > >
2

ƒ Pesante e marcato > >

B b Trumpet , œ- . , œ- . >˙ . ,> ,
œ- ˙
4 b >˙ . bœ ˙ œ- bœ ˙
Œ ∑ œ. œ œ œ- . œ.
3 &4
ƒ , , , ,
4 > b œ- . œ- ˙ œ- . b œ- ˙ œ- . œ.
& 4 ˙. œ œ Œ ∑
˙.
œ. œ œ
˙
> >
4

ƒ
, , > , , ,
> b œ- œ- . > - œ- . > > > > > b >œ >œ >œ >œ b >œ b œ œ- bœ
4 > > > > > >œ b >œ >œ >œ œ n >œ n >œ >œ >œ œ œ bœ bœ œ œ bœ
œ œ œ œ >˙ . œ. œ œ >˙ œ- . œ.
& 4 bœ bœ œ œ œ b œ- œ bœ bœ œ œ œ-
5

> > > > >

1

ƒ
5 5 5

, , , , ,
5 5 espress.
Pesante e marcato

> > > b >œ n >œ œ- > > > > > - b œ- . > > > >œ >œ >œ b œ- œ œ- . œ.
& 44 œ œ bœ bœ œ œ b œ- . bœ œ œ œ œ nœ œ- bœ œ bœ bœ bœ bœ œ œ œ. œ œ
n œ >œ >œ >œ b >œ b œ >œ >œ b >œ > n˙. ˙
5 5 5

>œ >œ > > > œ-

> > > >
2

ƒ Pesante e marcato , , , , ,
>œ >œ >œ b œ-
5

>œ b >œ >œ

5 5

œ.
espress.

> > > > > > > œ bœ ˙ > > >œ >œ b >œ b >œ >œ >œ b œ- b >˙ . # >˙
F Horn

4 œ b œ b œ- . œ- bœ bœ
3 & 4 bœ bœ œ œ œ bœ bœ œ œ œ nœ. œ œ œ- . œ.
ƒ
5 5

, , , , ,
5 5 espress.
Pesante e marcato

> > >œ b >œ n >œ œ- œ- . œ- œ ˙ > > > > > >œ b œ-
4
œ œ >œ >œ b >œ b œ œ bœ œ bœ bœ œ œ œ bœ bœ
b œ >œ >œ b >œ >
5

&4 œ
5

n œ- . œ ˙ œ. œ ˙ œ- . œ.
> > œ-
> >. œ >
4

ƒ 5

, b œ-
5 espress.

n >˙ . , >œ b >œ . >œ >˙ , # >˙ ,- .

Pesante e marcato

b >˙ . # >˙ . œ. œ œ œ. œ
?4 Œ ∑
1 4
ƒ ,- , > , , ,
>˙ . bœ >˙ .
>
? 4 b˙.
œ
b œ- œ bœ bœ œ œ bœ b >˙ . œ. œ nœ b >˙ œ- . œ.
Trombone 2 4
ƒ , , , espress.
,- .
? 44 b ˙ . b >œ >˙ . >œ b >œ . >œ >˙ b œ- œ bœ bœ œ œ bœ n >œ œ. œ
œ. œ œ Œ Œ ˙
ƒ> > >> >
Bass
espress.

, , ,
? 4 b >˙ . >
œ œ. œ bœ œ bœ ‰ Ó Œ Œ Œ œ- . œ.
4 b˙. œ bœ J nœ œ œ. œ œ œ. œ œ
> > > > > >> > >>
1

Tuba
ƒ molto sonore , , ,
?4
4 j ‰ Œ Œ œ- . œ.
œ œ bœ bœ bœ bœ œ œ œ nœ œ
>
2
b˙. œ b˙. œ bœ œ. œ œœ œ œœ
>
ƒ molto sonore
> > > > >. > > >. > >
, , ,- .
>œ >œ . >œ >œ >œ . >œ >œ œ. œ
?4
4 bœ œ. œ œ œ bœ œ. œ œ œ bœ œ. œ œ bœ bœ bœ bœ œ œ œ nœ Œ Œ
> > > > > > > > > > >
Double Bass

ƒ
,
?4 æ Œ Œ Œ ∑ Œ Œ œ. œ
4 bœ œ. œ œ b œæ œ. œ œ b œæ œ. œ œ œæ œ. œ œ œ. œ œ
> > > > > > > > > > > > > > >> > >>
Timpani

4 bœ œœ b b œœ œœ b b œœ œœ
Glock. Bass Dr.

&4 b œ ‰ Ó ‰ Ó ‰ Ó ∑ Œ œ. œ œ Œ Œ Œ
>. > >
ã
æ J æ J æ J œ œœ
f> > >
1

Percussion ƒ
4 Tam-Tam ‰ Ó ‰ Ó ∑ ∑ ∑ ∑
ã 4 œ œ
J
œ œ
J
æ æ
2

ƒ
1 2 3 4 5 6

Dahl CONCERTO FOR ALTO SAXOPHONE AND WIND ORCHESTRA

Copyright ©1949 by Schott Music Corporation
Copyright © renewed
All Rights Reserved.
Used by permission of Schott Music Corporation
 30
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#w bœ
˙ œ œ œ œ
tenuto

Picc. & ∑ Œ ‰ J J ‰ Œ ∑ ∑
ƒ
(√)
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ √ ˙ œ bœ œ œ
œ
tenuto

#w ∑ Œ ‰ J J ‰ Œ ∑ ∑
1 &
ƒ
(√)
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ √ ˙ œ
tenuto
bœ œ œ œ
#w ∑ Œ ‰ J J ‰ Œ ∑ ∑
Fl. 2 &
ƒ
(√)
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ œ bœ œ œ
œ
tenuto

#w ∑ Œ ‰ J J ‰ Œ ∑ ∑
3 &
ƒ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ
#˙. ˙ œ œ œ œ
tenuto

1 & Œ ∑ Œ ‰ J J ‰ Œ ∑ ∑
ƒ
Ob.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ
#˙. ˙ œ œ œ œ
tenuto

2 & Œ ∑ Œ ‰ J J ‰ Œ ∑ ∑
ƒ
Ÿ~~~~~~~~~~~~~~~~
œ œ
& Ó #˙ ∑ Œ #˙ ‰ œJ #œ œ ‰ Œ ∑ ∑
tenuto

E. Hn.
J
ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #˙ œ œ
#w tenuto
œ #œ œ
E b Cl. & ∑ Œ ‰ J J ‰ Œ ∑ ∑
ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~
#˙. #œ
tenuto

#˙ œ œ #œ œ
1 & Œ ∑ Œ ‰ J J ‰ Œ ∑ ∑
ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~
#˙.
tenuto

˙ ‰ œJ œ œ œ œ ‰ Œ
B b Cl. 2 & Œ ∑ Œ J ∑ ∑
ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~
#˙.
tenuto

˙ ‰ œJ œ œ œ œ ‰ Œ
3 & Œ ∑ Œ J ∑ ∑
ƒ tenuto

- œ. œ- .
& œ. œ. œ . œ. œ . œ.
∑ Œ ‰ j œ j ‰ Œ ∑ ∑
- - ˙ œ œ œ
B. Cl.

œ
ƒ

b˙ œ œ œ bœ œ
tenuto

? ∑ Œ ‰ J J ‰ Œ ∑ Œ ‰ j j ‰ Œ
b œ- . œ. œ . œ. œ . b œ. œ.
- œ. b œ .
1
- - œ. ƒ F
Bsn. tenuto

? bœ. ∑ Œ ˙ ‰ œ bœ œ œ œ ‰ Œ ∑ Œ ‰ j j ‰ Œ
- œ. œ . œ. œ . J J b œ. œ.
- œ. b œ .
2
- - œ. F
ƒ
- œ. œ- .
? bœ. œ. œ- .
tenuto

œ. b œ . ∑ Œ ‰ œ œ œ ‰ Œ ∑ Œ ‰ j j ‰ Œ
C. Bn.
- œ. ˙ J œ bœ J b œ. œ.
ƒ tenuto F

#w ˙ œ. , œ # œ- œ . œ n˙ 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
[ ]

∑ Ó Œ œ œ œ œ #œ œ œ œ œ œ
[–]
Solo A. Sax &
3 3 3 3 3 3
3 3

ƒ
sempre liberamente cantabile, ed un poco rubato 3 3 sempre cantabile

# œ- . œ. œ- . œ. œ- . œ. œ- . œ. ˙ œ œ œ œ œ j
tenuto

∑ Œ ‰ J J ‰ Œ ∑ Œ ‰ œ. # œj ‰ Œ
1 only

1 & .
ƒ F
# œ- . œ. œ- . œ. œ- . œ. œ- . œ. #˙ œ #œ œ #œ œ
tenuto

2 & ∑ Œ ‰ J J ‰ Œ ∑ ∑
B b Tpt.
ƒ
œ- . œ. œ- . œ. œ- . œ. œ- . œ. #˙ œ œ #œ œ j j
tenuto

∑ Œ ‰ J œ
J ‰ Œ ∑ Œ ‰ œ. # œ ‰ Œ
1 only

3 & .
ƒ tenuto
F
- œ. œ- . œ. œ- . œ. œ- . œ. ˙ ‰ œJ œ œ œ œ ‰ Œ
4 & œ. ∑ Œ J ∑ ∑
ƒ

œ- . œ. œ- . œ. œ- . œ. œ- . œ. ˙ œ œ œ j
‰ #œ œ œ.
tenuto

∑ Œ J ‰ Œ ∑ Œ ‰ œ. ‰ Œ
1 only

1 & J J
ƒ F
œ- . œ. œ- . œ. œ- . œ. œ- . œ. #˙ œ j j j
‰ œJ
tenuto

∑ Œ œ œ œ ‰ Œ ∑ Œ ‰ ‰ Œ
1 only

2 & œ. œ.
F.Hn. ƒ F
- j
& œ. œ. œ- . œ. œ- . œ. œ- . œ. #˙ ‰ œJ œ j j
tenuto

∑ Œ œ œ œ ‰ Œ ∑ Œ ‰ ‰ Œ
1 only

3
œ. œ.
ƒ F
#˙ ‰ œ œ j
tenuto

& œ. ∑ Œ œ œ œ ‰ Œ ∑ ∑
4
- œ. œ- . œ. œ- . œ. œ- . œ. J
ƒ

œ- . œ. œ- . œ. œ- . œ. œ- . œ. b˙ œ œ œ bœ œ œ. œ.
? J J
tenuto

∑ Œ ‰ J J ‰ Œ ∑ Œ ‰ ‰ Œ
1 only

1
ƒ p
-
? œ. œ. œ- . œ. œ- . œ. œ- . œ. œ œ œ ‰ Œ œ. b œ.
bœ J
tenuto

∑ Œ ˙ ‰ œ ∑ Œ ‰ J ‰ Œ
1 only

Tbn. 2
J J
ƒ p
- œ. œ- . œ. œ.
? bœ. œ. œ- . œ. b œ . j œ œ ‰ Œ J
tenuto

∑ Œ ‰ ∑ Œ ‰ J ‰ Œ
1 only

Bass
- œ. ˙ œ œ bœ J
ƒ p

? j j ‰ Œ j j
tenuto

b œ- . ∑ Œ ‰ ∑ Œ ‰ ‰ Œ
1 only

œ. œ . œ. œ . ˙ œ œ bœ œ œ b œ. œ.
- œ. b œ .
1
- - œ. ƒ p
Tb.

? j
tenuto

b œ- . œ. œ . œ. œ . ∑ Œ ‰ j œ œ ‰ Œ ∑ ∑
- œ. b œ .
2
- - œ. ˙ œ œ bœ
ƒ
- œ. œ- .
? bœ. œ. œ- . œ. b œ . ‰ œJ
bœ œ œ ‰ Œ j j
tenuto pizz.

œ. ∑ Œ J ∑ Œ ‰ bœ ‰ Œ
D.B.
- ˙ œ œ
ƒ p

¿
Cym.

? œ. > j j j
œ œ. œ œ. œ œ.
choke

œã Ó ‰ J Œ ? Œ ‰ œ œ œ œ ‰ Œ ∑ Œ ‰ ‰ Œ
Timpani

˙æ J œæ b œ. œ.
>
Timp.
Sf ƒ p
œ. >œ j j
RS Field Dr.

∑ ‰ Œ ∑ Œ œ ‰ Œ ∑ Œ ‰ ‰ Œ
Field Dr. Bass Dr.

1 ã æ
œ œ
æ J œ. œ.
Í ƒ f ƒ F
œ >œ Œ
Perc.

œ.
RS

∑ ‰ ∑ ∑ ∑ ∑
Snare Dr.
2 ã æ
Í ƒ
7 8 9 10 11 12
 31
A
U
Picc. & ∑ ∑ ∑ ∑ Ó Ó ∑

œ- b œ- œ- œ- U
1 & ∑ ∑ ∑ Ó ‰ J J ‰ Œ Ó ∑
p dolce
œ- b œ- œ- œ- U
Fl. 2 & ∑ ∑ ∑ Ó ‰ J J ‰ Œ Ó ∑
p dolce
U
3 & ∑ ∑ ∑ ∑ Ó Ó ∑

U
1 & ∑ ∑ ∑ ∑ Ó Ó ∑
Ob.
U
2 & ∑ ∑ ∑ ∑ Ó Ó ∑

U
E. Hn. & ∑ ∑ ∑ ∑ Ó Ó ∑

U
E b Cl. & ∑ ∑ ∑ ∑ Ó Ó ∑

j - # œ- # œ- U
∑ ∑ ∑ Ó ‰ œ- œ J ‰ Œ Ó ∑
1 only

1 &
p dolce
U
∑ ∑ ∑ Ó ‰ j œ œ- ‰ Œ Ó ∑
1 only

& # œ-
œ- - J
B b Cl. 2

p dolce
∑ ∑ ∑ Ó ‰ œ-j œ- œ- œ- ‰ Œ U
Ó ∑
1 only

3 & J
p dolce
j j U
∑ ∑ ∑ Ó ‰ œ- œ- œ- œ- ‰ ‰ j Ó ∑
1 only

&
œ.
B. Cl.
p dolce

- - - œ- ‰ Œ U
? ∑ ‰ b œj œ œ. Ó ∑ Ó ‰ œJ œ œ J Ó ∑
1
. .
p dolce
Bsn.
U
? ∑ ‰ b œj œ œ. Ó ∑ ∑ Ó Ó ∑
2
. .

. . U
? ∑ ‰ b œj œJ ‰ Ó ∑ ∑ Œ ‰ œJ Ó ∑
C. Bn.
.

œ œ [, ] (,)
œ #œ œ œ œ œ œ œ œ #œ ˙ œ # œ- œ- # œ- œ #œ - - #œ œ œ œ U,
3 3

& 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 ˙ ˙
j
œ œ- œ- # œ- œ- œ- œ œ œJ # œ œ
J
Solo A. Sax
- -
3 3
3 3
p p declamando
dim. sempre

j U
& ∑ ‰ # œj œ œ. Ó ∑ ∑ Œ ‰ œ. Ó ∑
1
. .
p
U
2 & ∑ ∑ ∑ ∑ Ó Ó ∑
B b Tpt.
j U
& ∑ ‰ # œj œ œ. Ó ∑ ∑ Œ ‰ œ. Ó ∑
3
. .
p
U
4 & ∑ ∑ ∑ ∑ Ó Ó ∑

U
& ∑ Œ ‰ œ. Ó ∑ ∑ Œ ‰ œj Ó ∑
1
J .

U
& ∑ Œ ‰ j Ó ∑ ∑ Ó Ó ∑
2
œ.
F.Hn.
U
& ∑ Œ ‰ œ. Ó ∑ ∑ Œ ‰ œj Ó ∑
3
J .

U
& ∑ ‰ # œj œ œ. Ó ∑ ∑ Œ ‰ œj Ó ∑
4
. . .
p

œ. œ. œ. œ. U
1
? ∑ ‰ J Ó ∑ ∑ Œ ‰ J Ó ∑

? ∑ ‰ œ. b œ. œ. Ó ∑ ∑ Œ
b œ. U
‰ J Ó ∑
Tbn. 2 J

œ. œ. b œ. . U
Bass
? ∑ ‰ J Ó ∑ ∑ Œ ‰ œJ Ó ∑

U
? ∑ ‰ b œj œ. Ó ∑ ∑ Œ ‰ b œj Ó ∑
1
. œ. .
Tb.

? U
∑ ∑ ∑ ∑ Œ ‰ j Ó ∑
2
œ.

U
? ∑ ‰ b œj j ‰ Ó ∑ ∑ Œ ‰ j Ó ∑
D.B.
œ œ

U
? ∑ ‰ b œj j ‰ Ó ∑ ∑ Œ ‰ j Ó ∑
Timp.
. œ. œ.

j j U
ã ∑ ‰ œ. œ. ‰ Ó ∑ ∑ Œ ‰ œj Ó ∑
.
1
p
Perc.
U
2 ã ∑ ∑ ∑ ∑ Ó Ó ∑

13 14 15 16 17 18
 32

Picc. & ∑ ∑ ∑ ∑ ∑ ∑

- - œ- ‰ Œ
1 &Ó ‰ œJ œ- # œ J Ó ∑ ∑ ∑ w
p
- - œ- ‰ Œ
Fl. 2 &Ó ‰ œJ œ- # œ J Ó ∑ ∑ ∑ bw
p

3 & ∑ ∑ ∑ ∑ ∑ bw
p

œ- b œ- œ- œ-
1 &Ó ‰ J J ‰ Œ Ó ∑ ∑ ∑ ∑
p dolce
-
Ob.

&Ó ‰ œj œ b œ- œ- ‰ Œ Ó ∑ ∑ ∑ ∑
2
- J
p dolce

‰ œj œ- œ- œ- ‰ Œ
E. Hn. &Ó - J Ó ∑ ∑ ∑ ∑
p dolce

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ w
a2
1 &
p

∑ ∑ ∑ ∑ ∑
a2

B b Cl. 2 & #w
p

∑ ∑ ∑ ∑ ∑
a2

&
w
3

&Ó ‰ œ-j œ- œ- j
œ- ‰ ‰ j Ó ∑ ∑ ∑
a2

œ. w
B. Cl.

- - - œ- ‰ ‰ j Ó
?Ó ‰ œJ œ œ J ∑ ∑ ‰ b œj j ‰ Œ ‰ œ.
j j ‰ Œ Ó
œ. . œ œ.
p .
1

Bsn.

? ∑ ∑ ∑ ∑ ‰ b œj œj ‰ Œ ‰ œ.
j j
œ. ‰ Œ Ó
.
p .
2

.
? ∑ Œ ‰ œJ Ó ∑ ∑ ‰ b œj j ‰ Œ ‰ œ.
j j ‰ Œ Ó
C. Bn.
. œ. œ.
p

,œ œ œ œ œ œ
, , , œ œ œ nœ nœ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ
œ j - - - #œ œ œ œ- œ. œ œ . #œ. #œ #œ œ #œ œ œ #œ œ œ œ œ #œ œ nœ #œ nœ œ #œ œ
& œ œ. œ œ œ œ. œ œ œ œ- J œ . œ œ œ œ #œ œ œ œ
3 3

œ.
[ ] [ ]
œ #œ
Solo A. Sax
- œœ 3 5 3 3 3 3
3 3 3
cresc. 3
3 3 [ ]

∑ Œ
j
‰ œ. Ó ∑ ∑ ‰ œ. œJ. ‰ Œ ‰ œ. œ. ‰ Œ Ó
1 & J J J

∑ ∑ ∑ ∑ ‰ j ‰ Œ ‰ j œ. ‰ Œ Ó
2 & œ. œ.j œ. J
B b Tpt.

∑ Œ
j
‰ œ. Ó ∑ ∑ ‰ œ. œJ. ‰ Œ ‰ œ. œ. ‰ Œ Ó
3 & J J J

4 & ∑ ∑ ∑ ∑ ∑ ∑

& ∑ Œ ‰ œj Ó ∑ ∑ ‰ œ. œ. ‰ Œ ‰ œ. œ. ‰ Œ Ó
1
. J J J J

& ∑ Œ ‰ jÓ ∑ ∑ ‰ j j ‰ Œ ‰ j j
œ. ‰ Œ Ó
2
œ. œ. œ. œ.
F.Hn.

∑ Œ ‰ œj Ó ∑ ∑ ∑
a2
?
& . w
3

& ∑ Œ ‰ jÓ ∑ ∑ ∑ ?
4
œ. w
p

œ. œ. œ. œ. œ.
1
? ∑ Œ ‰ J Ó ∑ ∑ ‰ J J ‰ Œ ‰ J J ‰ Œ Ó

b œ. œ. b œ. œ. b œ.
Tbn. 2
? ∑ Œ ‰ J Ó ∑ ∑ ‰ J J ‰ Œ ‰ J J ‰ Œ Ó

. . œ. œ. b œ.
Bass
? ∑ Œ ‰ œJ Ó ∑ ∑ ‰ œJ J ‰ Œ ‰ J J ‰ Œ Ó

? ∑ Œ ‰ b œj Ó ∑ ∑ ‰ b œj j ‰ Œ ‰ œ.
j j ‰ Œ Ó
1
. . œ. œ.
Tb.

? ∑ Œ ‰ jÓ ∑ ∑ ∑
2
œ. w
p

? ∑ Œ ‰ jÓ ∑ ∑ ‰ b œj j ‰ Œ Œ
arco

D.B.
œ. . œ. wæ
p

? ∑ Œ ‰ jÓ ∑ ∑ ‰ b œj j ‰ Ó ∑
Timp.
œ. . œ.

ã ∑ Œ ‰ œj Ó ∑ ∑ ∑ wæ
.
1
p
Perc.

2 ã ∑ ∑ ∑ ∑ ∑ ∑

19 20 21 22 23 24
 B 33
b >˙ . , œ- . œ- bœ b˙ ,œ bœ œ bœ œ œ bœ œ œ œ
Picc. & ∑ ∑ Œ
ƒ F espress.

b >˙ . , œ- . œ- b œ- b˙ ,œ bœ œ bœ œ œ bœ œ œ œ
1 & œJ ‰ Œ Ó ∑ Œ
ƒ F espress.

b >˙ . , œ- . œ- b œ- b˙ ,œ bœ œ bœ œ œ bœ œ œ œ
Fl. 2 & œJ ‰ Œ Ó ∑ Œ
ƒ F
,
espress.

b >˙ . œ- . œ- bœ ˙ ,b œ bœ bœ bœ œ œ bœ nœ œ œ
3 & œJ ‰ Œ Ó ∑ Œ
ƒ F espress.

,
b >˙ . œ- . œ- bœ ˙ ,œ bœ œ bœ œ œ bœ œ œ œ
1 & ∑ ∑ Œ
ƒ F
,
espress.

,b œ bœ bœ bœ œ bœ nœ œ œ
Ob.
> œ
2 & ∑ ∑ b˙. œ- . œ- bœ ˙ Œ
ƒ F
, ,
espress.

b >˙ . œ- . œ- bœ b˙ , bœ >
∑ ∑
œ œ œ œ œ bœ nœ œ œ bœ
E. Hn. &
ƒ F espress. f
,
b >˙ . œ- . œ- bœ ˙ ,œ bœ œ œ œ œ œ
∑ ∑ œ œ œ Œ
E b Cl. &
ƒ F espress.

b >˙ . , œ- . œ- bœ ˙ ,b œ œ bœ bœ œ œ œ œ bœ œ
1 & œJ ‰ Œ Ó ∑ Œ
ƒ F
,
espress.

˙ ,
j ‰ Œ Ó ∑ b >˙ . œ- . œ- bœ œ bœ œ œ œ œ bœ
B b Cl. 2 & œ œ œ œ Œ
ƒ F
>˙ . , œ- . œ-
espress.

œ ,
‰ Œ Ó ∑ ˙ œ bœ œ œ œ œ bœ œ œ œ Œ
& j
œ
3
ƒ , F , >œ
, ,
espress.

& bœ œ œ œ bœ bœ bœ bœ œ œ
w œ œ œ. œ œ œ œ œ œ. œ œ œ-
B. Cl.
w ƒ > > > > > F f
p
espress.

, ,
, bœ œ bœ bœ
? - bœ bœ œ œ bœ bœ
∑
w bœ œ œ. œ œ œ bœ œ œ. œ œ bœ Œ
> > > > >
1

p ƒ F
, ,
espress.

,
Bsn.

? ∑ ∑
2 bœ œ œ. œ œ
> >
œ
>
bœ œ œ. œ œ
> > b œ- œ bœ œ bœ œ bœ bœ bœ œ Œ
ƒ F b œespress.
, , ,
? w - œ bœ œ bœ bœ bœ œ Œ
∑ bœ œ. œ œ œ bœ œ. œ œ bœ bœ œ bœ
> > > > > > > > >
C. Bn.
p ƒ F espress.

œ- œ œ # œ n œ b œ
œ œ #œ œ
#œ #œ nœ bœ œ œ œ œ œ nœ œ bœ œ œ nœ 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 œ œ œ œ œ œ œ # œ# œ œ œ œ œ œ œ ‰ Ó ∑ ∑ ∑
Solo A. Sax
œ œ œ œ œ œ œ œ œ œ
dim. p più dim. mormorando
∏
,
> > >œ >œ >œ b œ- œ- . > > >œ >œ b >œ œ- , œ bœ œ œ œ œ
a2

∑ ∑ bœ œ nœ bœ œ œ œ Œ
& b œ >œ >œ >œ >œ œ œ b >œ >œ >œ >œ
5 5

œ-
>
1
> F
ƒ
,
5 5 espress.

,
- œ.
œ œ- b œ œ œ bœ œ Œ
a2

∑ ∑ b œ n œ œ œ œ nœ œ bœ bœ œ
5 5

& œ œ - œ œ
œ œ bœ œ nœ œ
5 5

>>>>>>>>>>
œ- n œ >œ >œ b >œ >œ > > > > >
2

, -. > F
B b Tpt.
ƒ œ
espress.

∑ ∑ b >˙ . œ- bœ ˙ Œ ∑ Œ œ bœ œ Œ
3 &
ƒ , F
∑ ∑
>˙ . b œ- . œ- œ ˙
Œ ∑ ∑
4 &
ƒ
, - , ,
> > > > > > > >œ >œ >œ b œ- œ- . >œ b >œ >œ >œ b >œ b œ b œ bœ œ œ œ œ œ œ bœ
>
bœ bœ œ œ œ œ bœ bœ
a2

b œ- œ bœ
5

& ∑ ∑ œ b œ b œ œ
> > > >>
1

ƒ
5 5
F f
, ,
5 espress.

> >œ >œ b >œ n >œ œ- > >œ >œ >œ >œ œ b œ -
œ bœ Œ
a2

∑ ∑ b œ œ n œ b œ b œ- . n œ >œ >œ b >œ >œ b œ œ bœ

5 5

& œ œ œ- bœ bœ œ œ œ
>>>>> >
2

ƒ , F ,
> > > > > > b >œ >œ >œ >œ œ- b œ- . œ-
5 5 espress.

bœ ˙ ,b œ œ œ œ >œ
F.Hn.

? bœ œ œ œ bœ
∑ & bœ bœ œ œ œ œ bœ
w
3

F f
ƒ ,
5
5 espress.

? > > >œ b >œ n >œ œ- œ- . œ- œ ˙ , bœ Œ

∑ œ œ >œ >œ b >œ b œ œ œ œ bœ
5

4
w
&
>> bœ bœ bœ œ œ œ
ƒ 5
F espress.

, b œ- >˙ . ,b œ ,
b >˙ . œ b œ œ >œ
a2

? bœ œ œ œ bœ bœ
1 ∑ ∑
ƒ F espress. f
, ,
b >˙ . b œ- >˙ . ,
bœ b œ
œ œ >œ
a2

? ∑ ∑ bœ bœ bœ œ œ bœ bœ
Tbn. 2
ƒ F f
, ,
espress.

,
? b œ- n >˙ . bœ œ bœ bœ bœ bœ œ œ
bœ bœ œ
a2

∑ b˙. Œ
Bass
w >
p ƒ F espress.

,
>
? œ-
a2

∑ ∑ b˙. b˙. Œ ∑ ∑
>
1

ƒ
Tb. , , ,
?
w w œ bœ œ bœ bœ bœ œ Œ
œ œ bœ bœ œ bœ
2
b˙. œ- bœ œ
> > >. > > F
ƒ espress.

, ,
? æ - œ bœ œ bœ bœ bœ œ Œ
w ˙æ. œæ
j ‰ bœ œ. œ œ œ bœ œ. œ œ bœ bœ œ bœ
> > > > > > > >
D.B.

ƒ F espress.

? ∑ j ‰ Œ Œ j
˙æ. œæ b œæ œ. œ œ b œæ œ. œ œ bœ œ. œ œ œ bœ. œ œ ‰ Ó
> > > > > > >
Timp.

p ƒ F

ã œj b b œœ œœ b b œœ œœ j
Glock.

‰ Œ Ó ∑ ‰ Ó ‰ Ó œ. œ œ ‰ Ó
Bass Dr.
1 &
æ J æ J œ œ. œ œ œ
Perc. ƒ F
ã ∑ ∑ ‰ Ó ‰ Ó ∑ ∑
Tam-Tam
œ œ œ œ
2
æ J æ J
ƒ
25 26 27 28 29 30
 34

Picc. & ∑ ∑ ∑ ∑ ∑ ∑

œ- b œ- b œ- w w w œ
1 & Œ J ‰ Œ Ó ∑
p
œ-
espress. molto dim.

b œ- œ- #w w w œ
Fl. 2 & Œ J ‰ Œ Ó ∑
p
œ- b œ- b œ-
espress. molto dim.

nw w w œ
3 & Œ J ‰ Œ Ó ∑
espress. molto dim. p

œ- b œ- b œ- j
1 & Œ w w w œ ‰ Œ Ó ∑
espress. molto dim. p
Ob.

& Œ b œ- œ- œ- j ‰ Œ Ó ∑
2 #w w w œ
p
b œ-
espress. molto dim.

œ œ- œ- nw w œ
E. Hn. & J ‰ Œ Ó ∑ ∑
espress. molto dim. p

œ- œ- œ- #w w œ
E b Cl. & Œ J ‰ Œ Ó ∑ ∑
p
œ- œ-
espress. molto dim.

œ- nw w w œ
1 & Œ J ‰ Œ Ó ∑
espress. molto dim. p

B b Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑

b œ- œ-
3 & Œ œ- #w w w œ
J ‰ Œ Ó ∑
p
b œ- œ-
espress. molto dim.

œ œ- #œ
& Œ Œ ‰. r Œ ‰. r
B. Cl.
n˙ w œ œ- œ- œ- œ œ. œ- . œ. œ- . œ. œ. œ- . œ.
espress. > molto dim.
F p poco marcato

? ∑ Ó œ- Œ Ó ∑
n˙ w œ œ- œ- œ
>
1

molto dim. F p
Bsn.

? ∑ Ó œ- Œ Ó ∑
n˙ w œ œ- œ- œ
>
2

molto dim. F p
? œ. œ- . œ. œ- . œ. œ. œ- . œ.
∑ Ó n˙ w œ œ- œ- œ- œ Œ ‰. R Œ ‰. R
>
C. Bn.

molto dim. F p poco marcato

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑

œ- œ- r r
1 & ∑ ∑ Œ œ- œ- œ- œ- œ- œ- . œ. Œ ‰. œ. œ- . œ. œ- . œ. Œ ‰. œ. œ- . œ.
f marcato p poco marcato

& ∑ ∑ Œ œ- œ- œ- j ‰ Œ Ó ∑
2
œ- œ- œ- œ- œ
f marcato π
B b Tpt.

œ- œ- œ- j
3 & ∑ ∑ Œ œ- œ- œ- œ- œ ‰ Œ Ó ∑
f marcato π

& ∑ ∑ Œ œ- œ- œ- j ‰ Œ Ó ∑
4
œ- œ- œ- œ- œ
f marcato π

œ œ bœ œ nw w œ œ r
& J ‰ Ó œ- . œ. Œ ‰. œ. œ- . œ. œ- . œ. Œ ‰. œ. œ- . œ.
1
R
espress. molto dim. π p poco marcato

,
& ∑ Ó ˙ œ j ‰ Œ Ó ∑
> ˙. w œ
>
2

molto dim. π
œ
F.Hn.
œ bœ œ #w w œ œ ‰ Ó Œ ‰. r ‰. r
3 & J œ- . œ. œ. œ- . œ. œ- . œ. Œ œ. œ- . œ.
espress. molto dim. π p poco marcato

,
& ∑ Ó j ‰ Œ Ó ∑
4
˙ œ #˙. w œ
> >
molto dim. π

˙. b >˙
, >˙ . œ- . œ. œ. œ- . œ. œ- . œ. œ. œ- . œ.
? n >œ ˙ œ ˙. œ ‰ Œ ‰. R Œ ‰. R
1 J
π
,
molto dim. poco marcato

? ˙. # >œ ˙ >˙ œ # >˙ . ˙. œ œ- . œ. Œ b œ. œ- . œ. œ- . œ. Œ œ. œ- . œ.

Tbn. 2 J ‰ ‰. R ‰. R
π
,
molto dim. poco marcato

? ∑ Ó # œ- . œ. Œ ‰. œ. œ- . œ. # œ- . œ. Œ ‰. œ. œ- . œ.
n˙ œ b˙. œ œ- œ- œ- R R
> >
Bass
molto dim. F π poco marcato

,
? ∑ Ó ‰. r ‰. r
1 n˙
>
œ b˙.
>
œ œ- œ- œ- œ- . œ. Œ œ. œ- . œ. œ- . œ. Œ œ. œ- . œ.
molto dim. F π poco marcato
Tb.

? ∑ Ó ‰. r ‰. r
œ- . œ. Œ œ. œ- . œ. œ- . œ. Œ œ. œ- . œ.
œ-
2
n˙ w œ œ- œ- π
> molto dim. F poco marcato

? >˙ w œ œ- œ- œ- œ. œ Œ œ œ. œ œ. œ œ œ. œ
∑ Ó ‰. Œ ‰.
pizz.

D.B. R R
molto dim. F p poco marcato

? ∑ ∑ ∑ ∑ Œ ‰. r ∑
Timp.
œ- . œ. œ. œ- . œ.
π
∑ Ó Œ Ó ∑ ‰. r
& ˙æ wæ œ œ- . œ. Œ œ. œ- . œ.
>
1
molto dim. π
Perc.

œ- . œ. Œ œ. œ- . œ. œ- . œ. Œ œ. œ- . œ.
Temple Blk (low)

ã ∑ ∑ ∑ ∑ ‰. ‰.
2
R R
p
31 32 33 34 35 36
 35

Picc. & ∑ ∑ ∑ ∑ ∑ ∑

r r r - œ. # œ- .
1 & ∑ œ- . œ. ‰ . œ. œ- . œ. Œ ‰. œ. œ- . œ. œ- . œ. Œ ∑ Œ ‰. œ. œ- . œ. œ . œ. Œ Ó
p marcato

r r r - œ. # œ- .
Fl. 2 & ∑ œ- . œ. ‰ . œ. œ- . œ. Œ ‰. œ. œ- . œ. œ- . œ. Œ ∑ Œ ‰. œ. œ- . œ. œ . œ. Œ Ó
p marcato

r r r - œ. # œ- .
3 & ∑ œ- . œ. ‰ . œ. œ- . œ. Œ ‰. œ. œ- . œ. œ- . œ. Œ ∑ Œ ‰. œ. œ- . œ. œ . œ. Œ Ó
p marcato

1 & ∑ ∑ ∑ ∑ ∑ ∑
Ob.

2 & ∑ ∑ ∑ ∑ ∑ ∑

E. Hn. & ∑ ∑ ∑ ∑ ∑ ∑

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

r r - œ. # œ- . œ. Œ
∑ œ- . œ. ‰ . œ. # œ . œ. Œ ‰. œ. œ- . œ. # œ . œ. Œ ∑ Œ ‰. œ. œ- . œ. œ . Ó
1 only

1 & - - R
p

B b Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑

∑ ‰. r Œ ‰. r Œ ∑ Œ ‰. œ- . œ. Œ Ó
1 only

& œ- . œ. œ. œ . r
œ. œ. œ- . œ. œ. œ- . œ.
3

p - œ- . œ. # œ. œ- .

∑ ‰. r Œ ‰. r Œ ∑ Œ ‰ . # œr œ . œ. Œ Ó
1 only

B. Cl. & œ- . œ. œ. œ- . œ. # œ. œ- . œ. œ- . œ. . - œ. œ- . œ. # œ- .
p

œ- . œ. œ. œ- . œ. œ. œ- . œ. # œ- . œ. œ. œ- . œ. # œ- . œ. œ- . œ.
1
? ∑ ‰. R Œ ‰. R Œ ∑ Œ ‰. R Œ Ó
p
œ- . œ. œ. œ- . œ. œ. œ- . œ. œ- . œ. œ. œ- . œ. œ- . œ. œ- . œ.
Bsn.

2
? ∑ ‰. R Œ ‰. R Œ ∑ Œ ‰. R Œ Ó
p
? r r œ. œ- . œ. b œ- . œ. # œ- . œ. Œ
C. Bn. ∑ œ- . œ. ‰ . œ. b œ- . œ. Œ ‰. œ. œ- . œ. b œ- . œ. Œ ∑ Œ ‰. R Ó
π

#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
3 3

&Œ w ˙
3 [ ]

œ œ œ
3

Solo A. Sax #œ #œ
p dolce 3 3 3 3 3 3 3

1 & ∑ ∑ ∑ ∑ ∑ ∑

2 & ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 & ∑ ∑ ∑ ∑ ∑ ∑

4 & ∑ ∑ ∑ ∑ ∑ ∑

r
1 only

1 & ∑ ∑ ∑ ∑ Œ ‰. œ. œ- . œ. œ- . œ. œ- . œ. Œ Ó
π
1 only

∑ . r ‰. r ‰. r
2 & œ- . œ. ‰ œ. œ- . œ. Œ œ. œ- . œ. œ- . œ. Œ ∑ Œ œ. œ- . œ. œ- . œ. œ. œ
Œ Ó
F.Hn.
π

3 & ∑ ∑ ∑ ∑ ∑ ∑

1 only

& ∑ ‰. r Œ ‰. r Œ ∑ Œ ‰. r Œ Ó
œ. œ- . œ. œ. œ- . œ. œ- . œ. œ. œ- . œ. œ- . œ. œ- . œ.
4
œ- . œ.
π

1
? ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 2
? ∑ ∑ ∑ ∑ ∑ ∑

1 only

? ∑ ∑ ∑ ∑ Œ ‰. r Œ Ó
œ. œ- . œ. b œ- . œ. # œ . œ.
-
Bass
π

1 only

? r r r
∑ œ- . œ. ‰ . œ. b œ- . œ. Œ ‰. œ. œ- . œ. b œ- . œ. Œ ∑ Œ ‰. œ. œ- . œ. b œ- . œ. # œ . œ.
Œ Ó
-
1
p
Tb.

2
? ∑ ∑ ∑ ∑ ∑ ∑

? ∑ œ. œ ‰. œ bœ. œ
Œ ‰. œ œ. œ bœ. œ
Œ ∑ Œ ‰. r Œ Ó
D.B. R R œ œ. œ bœ. œ #œ. œ
p

Timp.
? ∑ ∑ ∑ ∑ ∑ ∑

& ∑ œ- . œ. ‰ ≈ œr œ . œ. Œ ‰ ≈ œr œ . œ. œ- . œ. Œ ∑ Œ ‰. r
œ. œ- . œ. œ- . œ- . œ. Œ Ó
. - . - œ.
1

Perc.

ã ∑ œ- . œ. ‰ ≈ œ. œ- . œ. Œ ‰ ≈ œ. œ- . œ. œ- . œ. Œ ∑ Œ ‰. œ. œ- . œ. œ- . œ. œ- . œ. Œ Ó
T. Bl.
R R R
37 38 39 40 41 42
 36
C Con Moto q=56-58
Picc. & ∑ ∑ ∑ ∑ ∑ ∑

. -. . - . -
1 & ‰ . œR œ œ # œ . œ œ . œ. œ- . œ. œ- . œ. œ- . œ. Œ ∑ ∑ ∑ ∑

. -. . - . -
Fl. 2 & ‰ . œR œ œ # œ . œ œ . œ. œ- . œ. œ- . œ. œ- . œ. Œ ∑ ∑ ∑ ∑

3 & ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ b œ. œ . b œ. œ . œ.
& œ. œ . œ œ. >œ . œ œ œ. œ . ˙ œ œ. >œ . œ œ œ. œ
F >marcato > > > >
1

Ob.

∑ ∑ œ œ œ œ. œ . b œ. b œ. œ.
& œ. œ . œ œ. > . ˙ œ œ. œ. >œ . œ œ œ. œ. œ
F >marcato > > > >
2

∑ ∑ œ. œ .
& œ. œ . œ œ. >œ . œ œ œ. n œ .
>
˙ œ œ. >œ . œ œ œ. œ . œ. œ . œ
F >marcato > >
E. Hn.
>

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

r
& ‰ . # œ. œ- . œ. œ- . œ. œ- . # œ. # œ- . œ. œ- . œ. œ- . œ. Œ
a2

œ. œ. # œ . œ. œ .
œ. >œ . œ œ. >œ . œ œ œ. œ . ˙ œ œ
>.
œ. œ . œ œ > >
œ
1
> >
F marcato
B b Cl. & ‰. r Œ ∑ ∑ ∑ ∑
œ. œ- . œ. œ- . œ. œ- . œ. œ- . œ. œ- . œ. œ- . œ.
2

& ‰ . œr œ . œ # œ- . œ. œ- . # œ # œ . œ œ . œ œ . œ Œ ∑ ∑ ∑ ∑
. - . . - .- .- .
3

a2

& ‰. r 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
B. Cl.

- . - # œ. # œ- . œ. œ- . œ. œ- . œ. p staccatissimo

œ. b >œ . œ. > . œ. >œ . œ. >œ .

? b œ. >œ . œ œ. >œ . œ œ ˙ œ œ œ. b >œ . œ œ œ
1 ∑ ∑
F marcato
œ. >œ . œ
>
œ. œ . œ œ œ. b >œ . ˙ œ œ. >œ . œ. b >œ . œ œ œ. >œ . b œ. >œ .
Bsn.

? ∑ ∑ œ
2
F marcato

j j j
? ∑ Œ Œ Œ œ ‰ b œj ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ bœ
j
œ
j ‰ j
œ ‰ bœ
j ‰ œ ‰ œ ‰ œj ‰ ‰ b œj ‰ œ
j
C. Bn.
œ- . œ. œ- . œ. J J J J
π p staccatissimo

Con Moto q=56-58 [,]

[,]
> >> , - - # 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 ˙
[ ]

& w œ #œ
# œ # >œ >œ # >œ >œ > > > œ
3

˙. ˙ œ # œ
# œ fl fl fl fl fl fl . >>> # œ- # œ- œ-
>.
Solo A. Sax
morendo > fl fl 3

œ. œ- . œ. # œ- . œ. œ- . œ. œ- . œ. œ- . œ. œ- . œ. Œ
1 only

1 & ‰. R ∑ ∑ ∑ ∑
π

r .
œ. œ. œ.
1 only

& ‰ . # œ. œ- . œ. œ- . œ. œ- . # œ. # œ- . œ. œ- . œ. œ- . œ. Œ j ‰ Œ j ‰ Œ ‰ # œj ‰ œJ
a2

Œ ‰ Ó Œ ‰ Œ Œ ‰ Œ
2
œ. œ. J J . J
π p staccatissimo
B b Tpt.

j j j
1 only

& ‰ . œr œ . œ # œ- . œ. œ- . # œ # œ . œ œ . œ œ . œ Œ j ‰
a2

j ‰ Œ j ‰ Œ Œ
œ.
Ó Œ œ. ‰ œ.
j ‰ Œ Œ œ. ‰ œ. ‰ Œ
. - . . - .- .- . œ. œ.
3

π p staccatissimo
& ∑ ∑ j ‰ Œ j ‰ Œ Œ j ‰ Ó Œ j ‰ j ‰ Œ Œ j ‰ j ‰ Œ
œ. œ. œ. œ. œ.
œ œ.
4

p staccatissimo

>˙ . œ >œ > >œ >˙

∑ ∑ ˙ œ
a2

& ˙ ˙ œ
con sord.

> >
1

Sp Sp Sp Sp Sp Sp Sp
>œ >œ >˙
∑ ∑
a2

& ˙ ˙ œ ˙. œ ˙ œ
con sord.

> > > >

2

Sp Sp Sp Sp Sp Sp Sp
>œ >˙
F.Hn.

& ∑ ∑ ˙. œ ˙ œ œ
con sord.

˙ ˙ œ > > >

> >
3

Sp Sp Sp Sp Sp Sp Sp
∑ ∑
con sord. a2

& ˙. œ œ œ
˙ ˙ œ > > ˙
>
œ > >˙
4
> > Sp Sp Sp Sp Sp
Sp Sp

œ œ . œ. œ- . œ. œ- . œ.
1 only . -
œ- . œ. œ- . œ. œ- . œ.
1
? ‰. R Œ ∑ ∑ ∑ ∑
π
-
? ‰ . œR. œ . œ. œ- . œ. œ- . œ. œ. œ œ. œ œ. œ Œ
1 only

Tbn. 2 ∑ ∑ ∑ ∑
π
? ‰. r . j‰ Œ Œ ∑ ∑ ∑ ∑
b œ. œ- œ. # œ . œ œ .
- . - œ. œ- . œ. œ.
Bass

? ‰. r . j j j j
1 only

b œ. œ- œ. # œ . œ œ . œ Œ Œ œ ‰ bœ œ ‰ œ œ ‰ œ bœ j ‰ ‰ œ bœ ‰ œ œ œ œj ‰ b œ ‰ œ
j
1
- . - . œ- . œ. œ- . œ. œ- . œ. J œ œ œ
bœ bœ œ bœ
Tb. p staccatissimo

j
œ b œj ‰ j
1 only

? ∑ ∑ Œ œ ‰ ‰ œ œ Œ j ‰ ‰ Œ
œ
J J œ œ bœ œ œ bœ ‰ œ
œ œ œ
2
œ bœ œ œ
p staccatissimo

. - . œ œ œ œ œ œ œ
? ‰ . b œR œ . œ # œ- . œ. œ- . œ. bœ bœ bœ œ bœ
(sempre pizz.)

œ- . œ. Œ Œ œ œ œ œ œ œ œ
bœ œ œ bœ œ œ bœ œ œ bœ œ
œ- . œ. œ- . œ.
D.B.

? j j j j
∑ ∑ Œ œ ‰ Ó œ ‰ ‰ œ Œ ‰ bœ œ ‰ Œ Œ œ ‰ œ ‰ œ ‰ Œ ‰ œ
Timp.
J J J
p
∑ Œ œ- . œ. œ- . œ. Œ
œ ‰ Œ ‰ Œ Œ ‰ Ó Œ ‰ ‰ Œ Œ ‰ œj œJ ‰ Œ
Wd.Blk.
j j j j j j
1 & œ
J
œœ
J
œœ
J
œœ
J
œœ
J
œœ
J
pS S ß ß ß ß ß
Perc.
Snare Dr.

ã ∑ ∑ œ ‰ Œ
j j
œ ‰ Œ Œ j
œ ‰ Ó Œ j
œ ‰ j
œ ‰ Œ Œ j
œ ‰ œj œ ‰ Œ
J J J J J J J
œ œ œ œ œ œ
T. Bl.

pS S ß ß ß ß ß
43 44 45 46 47 48
 37

Picc. & ∑ ∑ ∑ ∑

& Œ œ- b œ- œ ‰ Œ Ó ∑ ∑
1
œ- J

j
Fl. 2 & Œ # œ- œ- œ- œ ‰ Œ Ó ∑ ∑

3 & ∑ ∑ ∑ ∑

& œj ‰ œ. >œ . b œ. j ‰ Œ Ó ∑ ∑
œ. >œ . œ. œ
>
1

œ. >œ .
Ob.

& œj ‰ œ. >œ . b œ. œ. œ
j ‰ Œ Ó ∑ ∑
>
2

> >
j œ œ >œ œ >œ œ œ ,
& œj ‰
œ. >œ .
œ. ‰ Œ Ó œ œ bœ œ œ œ œ œ- œ œ œ œ- œ œ œ œ- œ œ œ œ-
j j
3 3 3 3

E. Hn.
œ. >œ . œ.
>
œ œ #œ œ œ œ
F ƒ
3
3 3 cresc.
3

j
∑ Œ #œ œ œ œ œ œ ‰ Œ Ó Œ ‰
3

& j
3 3 3 3

œ . œ œ œ œœ >>>>
E b Cl.
# œ œ œ œ œ >œ >œ >œ œ #œ
F , ƒ
>>>>
& œj ‰ #œ œ. >œ . œ. j ‰ œ œœ œœœ œ
3 3

œ œ œ œ œ. œ œ œ œ œ J j j
3 3 3 3 3 3 3

. >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
1

F ƒ
3
cresc.

>>>> ,
∑ Œ œ œœ œœœ œ
3 3

& œ œ œ œ œ. œ œ œ œ œ J j j
3 3 3 3 3 3 3

œ œ œ œ œ œ œ œ- œ œ œ œ- œ œ œ œ- œ œ œ œ-
B b Cl.
>>> #œ #œ œ œ œ
2

F ƒ
3
cresc.

>>>> ,
& Œ j œœ œœœ œ
a2

‰ œ
3 3

œ œ j j
œ œ œ œ œ >œ >œ >œ . œ œ J
3 3 3 3 3 3 3

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
3

p F ƒ
3
cresc.

,
& œ œ #œ œ œ #œ œ œ œ j œ
B. Cl.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J
cresc. ƒ

# œ. >œ . >
œ. œ . œ. œ > > >. - œ- - -
œ
? J
>œ . œ
J œ bœ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ # œ œ œJ
, œ
1 ‰ ‰ Ó ‰ J
F
3 3 3 3 3 3
3 ƒ
> œ. , œ
cresc.

œ. >œ . œ. œ . >œ .
Bsn.

? œ œ œ œ œ œ j
J ‰ J ‰ Œ Ó ‰ œ œ œ œ œ œ œ œ œ œ J
2
J
p staccato cresc. ƒ
? ‰ j j j j j j j j j j j
œ ‰ bœ ‰ œ ‰ œ ‰ bœ œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰
C. Bn.
J J
cresc.

, , 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 # œ œ
œ œ œ #œ #œ œ #œ œ œ œ œ œ. œ #œ œ œ
[ ] [ ]

œœ œ œœœœœ œ œ
5 [ ]

& #œ œ œ œ œ œ
3 3 3

#œ œ > > > > œ # œ flœ flœ fl fl fl fl

Solo A. Sax

fl fl
> >œ
3 3 3 3 3

- - >>> # œ œ œ œ œ œ- œ # œ # œ >œ # œ
3 3 3 3

- - - œ- œ # œ # œ œ œ .
6 3 3

ossia &
# œ- # œ- œ # œ œ
3 3 3 3

a2

& ∑ ∑ ∑ Ó Œ ‰ j
œ
1

ƒ
œ. j œ. j
& Œ J ‰ # œ. ‰ J ‰ ∑ Ó ‰ œ. œ. œ. œ. ‰ ‰ j
œ. œ. œ. œ. œ
2

B b Tpt. p cresc. ƒ
j j j j
& Œ # œ. ‰
œ.
‰ œ. ‰ ∑ Ó ‰
œ. œ. œ. œ.
‰ ‰ j
œ. œ. œ. œ. œ
3

p cresc. ƒ
& Œ j ‰ j ‰ j ‰ ∑ Ó ‰ j ‰ ‰ j
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ
œ. œ.
4

p cresc.
ƒ

œ
Œ Ó ∑ Ó Œ ‰ ‰ ‰ ‰ ‰ j
senza sord.

& œ. œ. œ. œ. œ. œ. œ œ œ
> >
1

p cresc. ƒ
œ Œ Ó ∑ Ó Œ ‰ ‰ ‰ ‰ ‰ j
senza sord.

2 & œ. œ. œ. œ. œ. œ. œ œ œ
p cresc. > > ƒ
F.Hn.

& œ Œ Ó ∑ Ó Œ œ. œ. ‰ ‰ œ. ‰ œ œ ‰ ‰ j
senza sord.

œ. œ. œ. œ
> >
3

p cresc. ƒ
Œ Ó ∑ Ó Œ ‰ ‰ ‰ ‰ ‰ j
senza sord.

4 & œ œ. œ. œ. œ. œ. œ. œ œ œ
p cresc. > > ƒ

? œ
a2

1 ∑ ∑ ∑ Ó Œ ‰ J
ƒ
? œ
a2

Tbn. 2 ∑ ∑ ∑ Ó Œ ‰ J
ƒ
j œ
1 only

? ∑ Œ ‰ œ œ œ œ œ œ œ œ œ œ j ‰
Bass bœ œ œ œ œ œ œ œ œ
p staccato cresc.

? œ j j j œ œ œ œ
‰ bœ œ ‰ œ bœ j ‰ j ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰
œ
1
œ bœ œ œ cresc.
Tb.

? ‰ j ‰ j ‰ j ‰ ‰ œ ‰
œ bœ œ œ bœ œ œ œ œ œ œ œ j ‰ œ œ
œ œ œ œ œ
2
bœ œ œ œcresc. œ

œ
? œ œ
bœ œ œ
œ
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
D.B. bœ œ bœ œ œ œ œ œ
cresc.

? ‰ j j j j j
Timp. œ ‰ bœ ‰ œ ‰ œ ‰ b œ œj ‰ ‰ j
œ Œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œæ œ ‰
cresc.
Field Dr.

& Œ
j
œ ‰ j
œ ‰ j
œ ‰ Œ œ œ. œ. œ Œ œ œ. œ œ. Œ œ œ. œ œ ‰ œ œ ‰ ˙
J J J æ
œ œ œ
1

Perc.
ß ß ß p cresc.

2 ã Œ œ
j
œ
J ‰ œ
j
œ
J ‰ œ
j
œ
J ‰ ∑ ∑ ∑
ß ß ß
49 50 51 52
 D Rubato (declamando) rubato molto
38
accel. rit. a tempo accel. rit.
U
Picc. & ∑ ∑ ∑ Ó Œ ‰ ‰

#œ œ bUœ
& ∑ ∑ Ó Œ ‰ j œ œ œ œ
œ- œ
1

ƒ
bUœ
espress.

∑ ∑ Ó Œ ‰ œ œ œ #œ œ
& j œ
œ- œ
Fl. 2

ƒ
bUœ
espress.

∑ ∑ Ó Œ ‰ œ œ œ #œ œ
& j œ
œ- œ
3

ƒ espress.

#œ œ bUœ
& ∑ ∑ Ó Œ ‰ j œ œ œ œ
œ- œ
1

ƒ
bUœ
Ob. espress.

∑ ∑ Ó Œ ‰ œ œ œ #œ œ
& j œ
œ- œ
2

ƒ
œ œ #œ œ
j œ- # >œ > #œ U
espress.

œ œ œ œ Ó Ó Œ ‰ j œ ‰
& œ. œ œ
3

E. Hn. œ œ œ- œ
espress. espress.

#œ œ nUœ
& j #œ Ó Ó Œ ‰ j #œ œ œ
3
E b Cl.
œ œ œ- #œ nœ #œ #œ œ
.
œespress. #œ > >œ œ- œ
ƒ
nUœ
espress.

j #œ œ œ #œ œ
& œ. œ œ- #œ #œ œ #œ Ó Ó Œ ‰ j œ
3

œ œ œ > œ œ- œ
>
1

ƒ
nUœ
espress.
espress.

œ œ #œ œ
& œ. j œ œ- #œ #œ œ #œ Ó Ó Œ ‰ j œ #œ
3
B b Cl.
œ œ œ > œ œ- œ
>
2

ƒ
nUœ
espress.
espress.

œ œ #œ œ
& œ. j œ œ- #œ œ Ó Ó Œ ‰ j œ #œ
#œ #œ
3

œ œ œ > œ œ- œ
>
3
espress. ƒ
œ
espress.

œ œ- # >œ œ œ #œ
& œ
. œ
J
#œ œ œ
>œ #œ
Ó Ó Œ ‰ œ- œ Œ ‰
U
‰
B. Cl. J
espress. 3 ƒ espress.

œ. œ œ œ- œ œ # >œ >œ œ œ
? J œ U
1 Ó ∑ Ó Œ ‰ ‰
3

œ-
espress.

œ œ œ # >œ >œ œ œ
.
Bsn.

2
? œ J œ œ
Ó ∑ Ó Œ ‰
U
‰
3
espress.

? U
C. Bn. ∑ ∑ ∑ Ó Œ ‰ ‰

Rubato (declamando) rubato molto

# >œ -
accel.
œ #œ œ. #œ œ
rit.
#œ #œ nœ
a tempo
œ œ # œ œ- n œ # œ
accel. rit.
J œ #œ U
Solo A. Sax & ‰ Œ Ó Ó œ œ nœ œ œ bœ œ Œ Ó Œ ‰ ‰
>œ
ƒ
3 3 3 3
3 3 rubato rit.

J
ossia &

#œ œ nUœ
j œ Ó Ó Œ ‰ j #œ œ œ
& œ. œ œ- #œ #œ #œ œ
3

œ œ œ > œ œ- œ
>
1

ƒ
nUœ
espress. espress.

œ œ #œ œ
& œ. j œ œ- #œ #œ œ #œ Ó Ó Œ ‰ j œ #œ
3

œ œ œ > œ œ- œ
>
2

ƒ
nUœ
B b Tpt. espress. espress.

j #œ œ œ #œ œ
& œ. œ œ- #œ #œ œ #œ Ó Ó Œ ‰ j œ
3

œ œ œ > œ œ- œ
>
3

ƒ
nUœ
espress. espress.

œ œ #œ œ
& œ. j œ œ- #œ œ- Ó Ó Œ ‰ j œ #œ
#œ # œ-
3

œ œ œ > œ œ- œ
>
4

ƒ espress.

œ- œ œ
# >œ >
j œ œ j œ #œ U
& œ. œ œ œ œ Ó Ó Œ ‰ J ‰ ‰ ‰
3

1 œ œ œ- œ
espress.
ƒ
œ œ
espress.

œ
j œ œ- œ # >œ >
œ
œ œ Ó Ó Œ ‰ j œ #œ J ‰ ‰
U
‰
& œ.
3

2 œ œ œ- œ
espress.
ƒ
œ œ
espress.

œ- # >œ >
F.Hn.
j œ œ j œ #œ U
& œ. œ œ œ œ Ó Ó Œ ‰ J ‰ ‰ ‰
3

3 œ œ œ- œ
espress.
ƒ
œ œ
espress.

# >œ >
j œ œ œ j œ #œ U
& œ. œ œ œ œ Ó Ó Œ ‰ J ‰ ‰ ‰
3

4 œ œ œ- œ
espress.
ƒ espress.

. œ œ œ- œ # >œ >œ œ œ
1
? œ J œ œ Ó ∑ Ó Œ ‰
U
‰

œ-
3

œ # >œ >œ œ
espress.

œ. œ œ œ œ U
? J œ Ó ∑ Ó Œ ‰ ‰
Tbn. 2
3
espress.

? U
Bass ∑ ∑ ∑ Ó Œ ‰ ‰

? U
1 ∑ ∑ ∑ Ó Œ ‰ ‰

U
Tb.

2
? ∑ ∑ ∑ Ó Œ ‰ ‰

? U
D.B. ∑ ∑ ∑ Ó Œ ‰ ‰

? U
Timp. ∑ ∑ ∑ Ó Œ ‰ ‰

U
1 & œJ ‰ Œ Ó ∑ ∑ Ó Œ ‰ ‰
ƒ
U
Perc.

2 ã ∑ ∑ ∑ Ó Œ ‰ ‰

53 54 55 56
 E 39
A tempo Poco rit. A tempo

Picc. & ∑ ∑ ∑ ∑ ∑

œ- b ˙- . œ- . œ- b œ b˙ œ- . œ-
1 & bœ œ Œ Ó ∑ Ó Œ
p
œ- b ˙- . œ- . œ- b œ ˙ b œ- . œ-
dolce

2 & bœ œ Œ Ó ∑ Ó Œ
p
Fl.
dolce

œ- b ˙- . œ- . œ- b œ b˙ œ- . œ-
3 & bœ œ Œ Ó ∑ Ó Œ
p dolce

- -
& bœ Œ Œ ‰ j bœ j bœ œ bœ - b œ- œ- b œ- b œ
1 œ œ- œ œ œ bœ
œ # œ- œ- œ- ‰ Œ Ó
b œ- b œ- œ- œ- œ- b œ- - -
Œ
b œ- b œ- œ- œ- n œ
Œ
> > p marc. non-staccato
Ob.
j j‰ Œ - œ-
& bœ œ- Œ Œ ‰ œ- bœ œ # œ- œ- œ.
Ó œ œ œ œ- b œ Œ œ œ œ- b œ- Œ
œ œ œ bœ b œ- œ- b œ- b œ- - - - b œ- œ- b œ- b œ- - -
2
> > p marc. non-staccato
œ œ œ- œ > > œ # œ- œ- œ œ œ- œ œ œ
3

Œ Œ ‰ œ œ
& J œ œ œ œ œ ˙. œ- œ. œ œ œ bœ œ œ
>
E. Hn.

molto dim. p dolce fl

un poco rilievo, "dolente"

# œ- -̇ . œ- . œ- œ ˙ n œ- . œ-
E b Cl. & nœ #œ Œ Ó ∑ Ó Œ
p
œ- b ˙- . œ- . œ- b œ ˙ œ- . œ-
dolce

& nœ œ Œ Œ ‰ œ- œ œ # œ- # œ-
j
#œ ‰ Œ Œ
J œ œ œ œ
>
1
> p dolce

& nœ œ Œ Œ ‰ œ- œ
œ œ œ # œ- # œ-
j
#œ ‰ Œ Œ œ- -̇ . œ- . œ- œ ˙ b œ- . œ-
B b Cl. 2
J > œ œ
>
p dolce

& nœ œ Œ Œ ‰ œ- œ œ j œ- -̇ . œ- . œ- œ ˙ œ- . œ-
J œ œ œ œ
# œ- # œ- #œ ‰ Œ Œ
>
3
>
p dolce
œ- nœ >œ >œ œ # œ- # œ- # œ œ œ- œ œ œ
J œ œ œ œ œ
& Ó Œ ‰ œ-
œ- . œ- œ- œ- . œ- œ- œ- . œ- œ- œ-
B. Cl.
molto dim.
3
p dolce

œ- bœ
œ >œ >œ œ # œ- œ- œ œ œ- œ œ œ œ œ b œ
? Ó Œ ‰ J bœ œ-
1
œ- . œ œ- œ- . œ- œ- œ- . œ- œ- œ-
ƒ- p
œ bœ œ # œ-
3

>œ œ- œ œ œ- œ œ œ
molto dim. dolce

œ >œ œ œ bœ
bœ œ-
Bsn.

2
? Ó Œ ‰ J Œ Ó ∑
ƒ molto dim.
3
p
? ∑ ∑ ∑ Œ œ. ‰ œ. ‰ œ. ‰ œ ‰ œ ‰ œ ‰ œ ‰
C. Bn. J J J J J J J
p
A tempo
#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
Poco rit. A tempo
#œ
Solo A. Sax & Œ ≈ #œ œ œ #œ J ‰ Œ Ó ∑ ∑
3 3 3
6

& nœ œ Œ Œ ‰ œ- nœ œ # œ- # œ œ œ- œ œ œ Œ Ó ∑
3

J œ œ œ # œ-
> œ œ œ œ œ-
1
> molto dim.
π
& nœ œ Œ Œ ‰ œ- nœ œ # œ- # œ œ œ- œ œ œ œ œ œ Œ Ó ∑
3

J œ œ œ œ # œ-
> œ-
2
>
B b Tpt.
molto dim.
π
& nœ œ Œ Œ ‰ œ- nœ œ # œ- # œ œ œ- œ œ œ Œ Ó ∑
3

J œ œ œ # œ-
> œ œ œ œ œ-
3
> molto dim.
π
& nœ œ Œ Œ ‰ œ- nœ œ # œ- # œ œ œ- œ œ œ Œ Ó ∑
3

J œ œ œ # œ-
> œ œ œ œ œ-
4
> molto dim.
π

œ- nœ > > œ # œ- œ- œ œ œ- œ œ œ
3

& Ó Œ ‰ J œ œ œ œ œ œ œ œ- œ. œ œ œ bœ œ œ
-̇ . >
1

molto dim. p fl

œ- nœ > >
un poco rilievo, "dolente"

œ # œ- œ- œ œ œ- œ œ œ œ œ œ
3

2 & Ó Œ ‰ J œ œ œ œ œ-
Œ Ó ∑
F.Hn.
molto dim. π
œ- nœ > > œ # œ- œ- œ œ œ- œ œ œ œ œ œ
3

& Ó Œ ‰ J œ œ œ œ Œ ∑
-̇ .
3

molto dim. π
œ- nœ > > œ # œ- œ- œ œ œ- œ œ œ
3

& Ó Œ ‰ J œ œ œ œ œ œ œ
Œ ∑
-̇ .
4

molto dim. π

œ- bœ >œ >œ œ # œ- œ- œ œ œ- œ œ œ œ œ b œ
? Ó J
œ bœ -̇ . b œ- >œ . œ̆ œ œ bœ œ œ
1 Œ ‰
ƒ p
œ-
3

bœ œ # œ- œ- œ œ œ- œ œ œ œ œ b œ
dolce

>œ >œ
molto dim.

œ bœ œ-
un poco rilievo, "dolente"

Tbn. 2
? Ó Œ ‰ J Œ Ó ∑
ƒ molto dim.
3
π

Bass
? ∑ ∑ ∑ ∑ ∑

1
? ∑ ∑ ∑ ∑ ∑
Tb.

?
a2

2 ∑ ∑ ∑ Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
œ. œ. œ. œ. œ. œ. œ.
p

? ∑ ∑ ∑ Œ
pizz.
D.B.
œ. œ œ œ. œ œ œ. œ œ œ
p

? ∑ ∑ ∑ Œ
Timp.
œ. œ œ œ. œ œ œ. œ œ œ
p
œ ˙
Crash Cym.

1 & ∑ ∑ Ó Œ Ó ∑
Perc.
π
∑ ∑ ∑ Œ
Bass Dr.

2 ã œ. œ œ œ. œ œ œ. œ œ œ
π
57 58 59 60 61
 40
poco rit. a tempo

Picc. & ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑

bœ b˙ œ bœ œ bœ œ œ nœ
1 & Œ Ó ∑ ∑ ∑ 42 ∑
π
bœ ˙ bœ bœ bœ bœ œ œ bœ
Fl. 2 & Œ Ó ∑ ∑ ∑ 42 ∑
π
bœ b˙
3 & œ bœ œ bœ œ œ nœ Œ Ó ∑ ∑ ∑ 42 ∑
π

,
-
& b œ œ b œ œ- œ- b œ- b œ Œ Ó nw w ∑ ∑ 42 ∑
3 3

1
- - - œ bœ
π π
Ob.
,
Œ ∑ ∑ ∑ 2 ∑
& 4
b œ- œ- œ- b œ- b œ- œ- œ- #w w
3 3
2
π
,
Œ Ó ∑ ∑ 2 ∑
E. Hn. & œ b œ- . œ- b œ bœ œ ˙ bœ œ w 4
π π

œ ˙
Œ ∑ ∑ ∑ ∑ ∑ 2 ∑
E b Cl. & 4

bœ œ bœ œ œ œ œ nœ
˙ Œ Ó ∑ ∑ ∑ 2 ∑
1 & 4
π

& œ ˙ bœ œ bœ bœ œ œ nœ Œ Ó ∑ ∑ ∑ 42 ∑
B b Cl. 2

π
bœ ˙
& œ bœ œ œ
Œ Ó ∑ ∑ ∑ 42 ∑
œ œ nœ
3

π
,
∑ ∑ 2 ∑
& œ. œ- b œ- 4
œ- . œ- œ- œ. bœ œ b œ- œ œ w
B. Cl.
œ- ˙
π

,
? bœ. œ- b œ w w 42 œ œ ‰
1
œ- . œ- œ- œ. bœ bœ b œ- b œ- bœ ˙ œ w J
π π
œ bœ œ bœ œ
Bsn.

? Ó œ nœ
2 Œ Œ Ó ∑ ∑ ∑ 42 ∑
π dolce

bœ bœ ,
? œ ‰ œ ‰ œ. 2
C. Bn. J J bœ. œ- b œ b œ- b œ- bœ ˙ œ w ∑ ∑ 4 ∑
π
poco rit. a tempo
œ œ œ bœ œ #œ œ , 3
∑ ∑ Ó Œ œ #œ œ œ # œj œ n œ j ‰ Œ Ó ‰ #œ j j 2
Solo A. Sax & #œ œ- œ œ œ œ œ 4 œ œ œ #œ œ
p 3
dolce e lento
3
3 3 rit. poco P p dim.

,
1 & ∑ ∑ w w ∑ ∑ 42 ∑
π
,
∑ ∑ ∑ ∑ 2 ∑
2 & #w w 4
π
B b Tpt.

3 & ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑

∑ ∑ ∑ ∑ ∑ ∑ 2 ∑
4 & 4

,
∑ ∑ 2 ∑
1 & œ b œ- . œ- b œ bœ œ bœ œ bœ œ bœ œ ˙ bœ œ w 4
π
∑ ∑ ∑ ∑ ∑ ∑ 2 ∑
2 & 4
F.Hn.

∑ ∑ ∑ ∑ ∑ ∑ 2 ∑
3 & 4

∑ ∑ ∑ ∑ ∑ ∑ 2 ∑
4 & 4

,
? bœ b œ- . œ- b œ bœ œ bœ œ bœ œ bœ bœ ˙ bœ œ w 2
1 ∑ ∑ 4 ∑
π

Tbn. 2
? ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑

? ∑ ∑ ∑ ∑ ∑ ∑ 2 ∑
Bass 4

? œ- b œ-
42
a2

1 ∑ ∑ ∑ ∑ Ó J ‰ J ‰ ∑ ∑
p
,
Tb.

? ‰ ‰ 2
j j œ. bœ bœ bœ. œ- b œ b œ- bœ ˙ œ w Ó
œ-
j ‰ j ‰ ∑ 4 ∑
b œ-
2

œ. œ. π p b œ-

,
? œ bœ bœ Ó j ‰ b œj ‰ ∑ 42 ∑
arco

bœ bœ bœ. bœ œ w
pizz.
D.B.
œ. œ œ œ. bœ ˙ œ
π p

? j ‰ Œ ∑ ∑ ∑ ∑ ∑ 42 ∑
Timp.
œ. œ œ œ

1 & ∑ ∑ ∑ ∑ ∑ ∑ 42 ∑
Perc.

2 ã œ. œ œ œ. œ œ œ. œ œ Ó ∑ ∑ Ó œ œ ∑ 42 ∑
p
62 63 64 65 66 67 68
 41

II. Adagio (Passacaglia)

Con moto ma calmo q =72-79

9 ∑ 6 ∑ ∑ ∑ ∑
Piccolo &4 4

& 49 ∑ 46 œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
-
1

π
& 49 ∑ 46 œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
-
Flute 2

π
9 ∑ 6 ∑ ∑ ∑ ∑
3 &4 4

9 ∑ 6 ∑ ∑ ∑ ∑
1 &4 4
Oboe
9 ∑ 6 ∑ ∑ ∑ ∑
2 &4 4

9 ∑ 6 ∑ ∑ ∑ ∑
English Horn &4 4

9 ∑ 6 ∑ ∑ ∑ ∑
Clarinet in E b &4 4

9 ∑ 6 # œ- œ- œ-
1 only

&4 4 œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
œ- œ- œ- œ- œ- œ-
1

∏
9 ∑ 6
1 only

B b Clarinet 2 &4 4
œ- # œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
œ- œ- œ- œ- œ- œ-
∏
9 ∑ 6
1 only

&4 4 œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
3

∏
9 6
B b Bass & 4 Ó. Ó. 4 # œ- œ- œ- # œ- œ- œ- œ- œ- œ-
Clarinet
œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ-
π

? 49 Ó . -̇ .
Ó. 46 . -̇ . ˙ Œ
-̇ . -̇ -̇ . -̇ . -̇ . -̇ .
1

Bassoon
π
2
? 49 ∑ 46 ∑ ∑ ∑ ∑

?9 ∑ 6 ∑ Ó- . Œ
4 4
-̇ . -̇ . -̇ . ˙
-̇ .
Contrabassoon

π
Con moto ma calmo q =72-79
9 Œ Œ Ó. 6 ∑ ∑ ∑ ∑
Solo E b Alto & 4 ˙. œ 4
∏
Saxophone

9 ∑ 6 œ ˙ œ œ ˙ ˙. #˙.
4 ˙. ˙.
1 only

&4 œ
con sord.
1 #˙ ˙
∏
2 & 49 ∑ 64 ∑ ∑ ∑ ∑
B b Trumpet
9 ∑ 6 ∑ ∑ ∑ ∑
3 &4 4

4 & 49 ∑ 46 ∑ ∑ ∑ ∑

9 6 ˙. œ ˙ œ œ œ œ
& 4 Ó.
Solo

4 œ œ œ œ œ œ œ œ œ œ œ œ
3

1
˙. ˙. #˙ œ œ œ #œ œ
p molto espress.
F 3

9 ∑ 6 ∑ ∑ ∑ ∑
2 &4 4
F Horn
9 ∑ 6 ∑ ∑ ∑ ∑
3 &4 4

9 ∑ 6 ∑ ∑ ∑ ∑
4 &4 4

-̇ œ- -̇ .
˙. ˙. œ ˙ ˙ œ ˙ œ œ ˙
? 49 46
1 only

∑
con sord.
1
∏
? 49 ˙. ˙ œ ˙ œ œ ˙ ˙. ˙.
∑ 46 ˙ . ˙.
con sord. 1 only
Trombone 2

∏
?9 ∑ 6 ∑ ∑ ∑ ∑
Bass 4 4

?9 ∑ 6 ∑ ∑ ∑ ∑
1 4 4
Tuba
?9 ∑ 6 ∑ ∑ ∑ ∑
2 4 4

œ- œ- œ- œ-
œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
arco

? 49 Ó . Ó. 46 œ œ- œ- œ-
Double Bass
œ- œ- - œ- œ- œ- œ- œ- œ- œ-
π

?9 ∑ 6 ∑ ∑ ∑ ∑
Timpani 4 4

9 ∑ 6 ∑ ∑ ∑ ∑
1 ã 4 4
Percussion

2 ã 49 ∑ 46 ∑ ∑ ∑ ∑

69 70 71 72 73
 42
Picc. & ∑ ∑ ∑ ∑ ∑ ∑

1 & œ- œ- œ- œ- # œ- œ- œ- # œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ œ œ- œ- œ- œ- Œ ∑ ∑
∏ morendo

Fl. 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 ∑ ∑
∏ morendo

3 & ∑ ∑ ∑ ∑ ∑ ∑

1 & ∑ ∑ ∑ ∑ ∑ ∑
Ob.

2 & ∑ ∑ ∑ ∑ ∑ ∑

Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

& œ # œ- œ- œ- œ- # œ- œ- # œ- # œ- œ- œ- œ- œ œ # œ- œ- œ- œ- Œ ∑ ∑
1
- œ- œ- œ- # œ- œ-
∏ morendo

& Œ ∑ ∑
B b Cl. 2
# œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ œ œ œ- œ- œ-
∏ - morendo

& Œ ∑ ∑
3
œ- œ- œ- # œ- # œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ œ œ œ- œ- œ-
# œ- œ-
∏ - morendo

& n œ- œ- œ- Œ ∑ ∑
# œ- œ- œ- n œ- œ- œ- œ- œ- œ- œ- œ-
B. Cl.
# œ- œ- œ- # œ- œ- œ- n œ- œ- œ-
∏ morendo

? # œ- œ- œ- j ‰ Ó. ∑ ∑
1
œ- œ- œ- # œ- œ- œ- # œ- œ- œ- n œ- œ- œ- n ˙- . ˙ œ
morendo
Bsn.

2
? ∑ ∑ ∑ ∑ ∑ ∑

C. Bn.
? ∑ ∑ ∑ ∑ ∑ ∑

œ œ ˙ Ÿ
œ #œ œ. œ œœ œ
& ∑ ∑ ∑ ∑ œ
Solo A. Sax
œ
π espr. dolcissimo

,
& ˙. œ #œ #œ œ œ œ #œ œ #œ œ ˙. œ # ˙- œ ‰ Ó ∑ ∑
1 #œ œ J
morendo ∏

2 & ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 & ∑ ∑ ∑ ∑ ∑ ∑

4 & ∑ ∑ ∑ ∑ ∑ ∑

œ #˙ œ œ œ œ œ #œ œ œ #œ œ œ œ
1 & #œ #˙ œ #œ œ #œ
œ œ œ
œ ˙. ˙
Œ ∑ ∑
f 3
p

2 & ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.

3 & ∑ ∑ ∑ ∑ ∑ ∑

4 & ∑ ∑ ∑ ∑ ∑ ∑

#œ #œ œ ˙. œ -̇ œ
. -̇ ˙. œ œ œ
? ˙ œ J ‰ Ó
senza sord.

1 ∑ ∑
morendo ∏
œ- ˙. ˙. ˙ œ œ œ œ ˙. œ -̇ œ ‰ Ó
senza sord.

Tbn. 2
? #˙ J ∑ ∑
morendo ∏

Bass
? ∑ ∑ ∑ ∑ ∑ ∑

? # ˙- . j ‰ ∑ ∑ ∑
1 only

# ˙- . # ˙- . n ˙- . n ˙- œ
-̇ .
1

Tba.
π

2
? ∑ ∑ ∑ ∑ ∑ ∑

? œ- # œ- # œ- # œ- œ- œ- Œ ∑ ∑
D.B.
œ- œ- # œ- œ- # œ- œ- n œ- œ- œ- n œ- œ- œ- œ- œ- œ- œ- œ-
∏ morendo

Timp.
? ∑ ∑ ∑ ∑ ∑ ∑

1 ã ∑ ∑ ∑ ∑ ∑ ∑
Perc.

2 ã ∑ ∑ ∑ ∑ ∑ ∑

74 75 76 77 78 79
 Ob.1/Cl.1 tacet these two measures
F when Solo ossia part is played. 43
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

#œ #œ ˙ œ #œ
œ
1 & ∑ ∑ ∑ ∑ ∑ Œ Œ Ó.
p F p

Fl. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

-̇ -̇
-̇ œ- œ œ-
1 & ∑ œ ‰ Œ
J Œ ∑ ∑ Ó. Œ Œ œ- œ- œ- œœœœ #œ œ œ œ
p F dolce
3 3

, bœ
Ob.

& # œ- œ- Œ œ œ œ œ Œ Œ Œ Œ œœ œ œ bœ œ œ œ œ n œ œ œ œ- Ó. Œ #œ œ œ Œ Œ Ó œ- œ- œ- œœœœ œœœœ

3 3 3

œ- œ- œœœœ œ œ œœ
3 3

œ
3 3
2
n œ- œ
p espress. 3 3
F dolce

œ- œ- Œ œ œ œ œ Œ # œ- œ- œœœœ #œ œ œ œ ,
Œ Œ Œ bœ œ œ œ bœ œ œ bœ œ n œ # œ œ œ- Ó. Œ #œ #œ œ #œ Ó Ó Œ ∑
3 3

& œ # œ- œ
3

Eng. Hn.
p espress. 3 3 3
3

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

-̇ -̇
-̇a2 # œ- œ œ- œ
1 & ∑ J ‰ Œ Œ ∑ ∑ ∑ ∑
p

B b Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

? œ- œ- Œ œ œ- œ- # œ- œ- # œ- œ- j # œ- œ-
1 - œ- Œ œ- œ- Œ Œ œ- œ- Œ œ- œ- Œ œ- œ- Œ Œ Œ œ- œ- œ- œ ‰ # œ- œ- Œ # œ- œ- Œ n œ- œ- Œ
Bsn. p
? Œ Œ Œ œ- œ- Œ Œ Œ Œ Œ Œ j‰ Œ Œ Œ
œ- œ- œ- œ- # œ- œ- # œ- œ- # œ- œ- # œ- œ-
œ- œ- œ- œ- œ # œ- œ- n œ- œ-
2
œ- œ- œ- œ- œ- œ- œ-
p
C. Bn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙ Ÿ~~~~ Ÿ # ˙- œ
˙ œ œ. œœœ œ #œ. #œ œ #˙ œ œ #œ #œ #œ nœ
˙ #œ œ #˙ œ nœ #œ #œ ˙ #˙ j
œ #œ œ
& œ #œ Œ Ó. Œ œ
Solo A. Sax
p p
Ÿ~~~~
e dolce

√
sempre

˙ ˙ œ œ. œœœ œ
˙ #œ œ
&
ossia
p

1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Tpt.

3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.

3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙ ˙ #˙ œ œ #œ œ œ #œ œ
? Œ Œ œ œ #œ œ œ œ œ œ œ
œ œ ˙. œ œ œ œ œ œ œ œ #œ œ œ #œ œ nœ #œ #œ œ œ. #œ
œ œ #œ œ œ œ œ œ #œ
Solo

œ
1
J
p espr. e cantabile 3
sempre p 3

(opt. Baritone solo)

Tbn. 2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bass
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ˙. Œ
#˙. ˙ # ˙- .
˙. ˙. ˙. # ˙- œ # ˙- n ˙- .
1
˙. ˙. ˙. ˙. œ
Tba.
π

2
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ #œ œ
pizz.

? 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 nœ œ Œ
D.B. œ œ œ œ œ œ œ œ œ
p

? ∑ ∑ ∑ ∑ ∑ Ó. Œ #˙ Ó.
Timp.
æ # ˙æ.
p F p

1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc.

2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

80 81 82 83 84 85 86
 G 44
Picc. & ∑ ∑ ∑ ∑ 49

œ- # œ-
œ œ œ œœ
1 & ∑ ∑ #œ
œ #œ œ J ‰ Œ Œ Ó. œ
œ #œ J ‰ Œ Œ Ó. 49
p

Fl. 2 & ∑ ∑ ∑ ∑ 49

œ- œ-
3 & ∑ ∑ œœ
bœ œ
bœ nœ
J ‰ Œ Œ Ó. œ bœ
œ #œ #œ J ‰ Œ Œ Ó. 49
p

œ bœ œ œ #œ œ œ œ.
œ œ œ œ œ. œ #œ #œ œ
Solo

œ- œ œ œ œ Œ Œ œ #œ œ J ‰ ∑ 9
3

1 & 4
f molto espress.
Ob.

Œ ∑ œ œ ‰ Œ Ó. œ œ ‰ Œ œ œ ‰ Œ 9
& œ œ- #œ œ œ œ J J 4
3
2
œ J
p
j j
Eng. Hn. & ∑ ∑ œ œ
J
‰ Œ Ó. œ œ ‰ Œ œ œ ‰ Œ 49
p

E b Cl. & ∑ ∑ ∑ ∑ 49

∑ ∑ ∑ ∑ 9
1 & 4

B b Cl. 2 & ∑ ∑ ∑ ∑ 49

∑ ∑ ∑ ∑ 9
3 & 4

∑ ∑ 9
1 only

& #˙. 4
˙. ˙.
B. Cl.
#˙.
π

œ œ œ-
? œ- œ- œ- œ- # œ œ œ- œ œ œ- œ
œ-
3

Œ Œ ∑ Œ Œ œ Œ #œ Œ 9
1 œ œ #œ 4
p
3
3 3

œ-
Bsn.

? Œ Œ ∑ Œ Œ Œ #œ œ œ Œ 9
œ œ œ- 4
3

œ œ œ œ
3 3
2
œ- œ- œ- œ- œ- #œ œ œ œ-
p 3

? ∑ ∑ ∑ ∑ 9
C. Bn. 4

, bœ bœ bœ bœ œ œ bœ œ bœ. bœ ,
#˙. œ nœ b˙ bœ bœ. bœ bœ nœ
Solo A. Sax & #œ #œ #œ #œ #œ œ #œ œ. #œ œ nœ. œ œ 49
π accompagnando p espress.

#œ œ #œ œ
1 only

Ó. Ó. 49
con sord.

1 & ∑ ∑ J ‰ Œ J ‰ Œ
π

j
1 only

Ó. Ó. 9
senza sord.

∑ ∑ ‰ Œ œ œ ‰ Œ
con sord.

& #œ œ 4
2
J
B b Tpt.
π

∑ ∑ ∑ ∑ 9
3 & 4

∑ ∑ ∑ ∑ 9
4 & 4

# œ- œ. œ. œ. œ. œ. œ. # œ. # œ- œ. n œ.
œ. # œ. œ. œ.
a2

1 & ∑ ∑ œ œ. J ‰ Ó 49
F un poco marc.

& ∑ ∑ œ- œ. œ. œ. œ. œ. œ. # œ.
#œ œ œ. # œ.
œ. œ. œ. ‰ Œ Œ 9
4
2
# œ. # œ. J
F.Hn. F un poco marc.

3 & ∑ ∑ ∑ Ó. œ- œ. œ. œ. œ. 49
F un poco marc.

4 & ∑ ∑ ∑ Ó. œ- œ. œ. œ. œ. 49
F un poco marc.

? #œ œ œ #œ ˙. ˙ œ ‰ Ó. ∑ ∑ 9
1
J 4
π
? ∑ Œ
a2
˙ ˙. j ‰ Œ Œ Ó. ∑ 49
Tbn. 2 œ
π
? ∑ ∑ j ‰ j ‰ Œ j ‰ j ‰ j ‰ j ‰ j ‰ Œ #œ ‰ œ ‰ Œ 49
Bass œ. œ. œ œ œ #œ œ J J
p

? j ‰ Œ ∑ ∑ ∑ 49
n ˙- ˙ œ
1

Tba.

? Ó. ˙. w. j ‰ Œ Œ Ó. ∑ 9
2 œ 4
∏

? nœ œ œ nœ œ œ #œ œ œ œ
D.B. œ Œ œ œ Œ ∑ Œ Œ Œ 49
p

? ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9
Timp. œ œ œ œ œ œ 4
π staccatissimo

˙. ˙.
∑ ∑ Ó. Ó. 49
Glock.

1 ã &
p
Perc.

49
∑ ∑
Triangle
œ Œ Œ Ó. ∑
2 ã
p
87 88 89 90
 Largamente 45
Picc. & 49 ∑ 46 ∑ ∑

1 & 49 ∑ 46 ∑ ∑

Fl. 2 & 49 ∑ 46 ∑ ∑

3 & 49 ∑ 46 ∑ ∑

1 & 49 ∑ 46 ∑ ∑
Ob.

œ
2 & 49 œ j
#œ ‰ Œ œ ˙ œ œ 46 ˙ . #˙. #œ Œ Œ Ó.
π cresc.

> > > # >œ >œ >œ Œ

& 49 # œ #œ ‰ Œ Ó. Ó. 46 ∑ #œ œ œ Œ œ œ œ Œ
3

Eng. Hn.
J > > >
f marc.
3
3

9 ∑ 6 ∑ ∑
E b Cl. &4 4

& 49 ∑ 46 # ˙ . #œ œ œ Œ Œ #œ œ œ Œ
a2 3

#œ œ œ
3 3
1
#˙. #˙. ˙. > > > > > > > > >
π cresc. f marc.
9 ∑ 6
&4 4 #˙. #œ œ œ Œ Œ #œ œ œ Œ
3 3 3
2
#˙. #˙. ˙. > > > #œ œ œ > > >
B b Cl.
π cresc. f marc. > > >

& 49 ∑ 46 # ˙ . Œ Œ Œ
a2 3 3 3
3
#˙. #˙. ˙. #œ œ œ #œ œ œ œ œ œ
π cresc.
f> >marc.> > > > > > >

& 49 Œ 46 # ˙ . Œ Œ Œ
a2 3 3 3
B. Cl.
˙ œ ˙. bœ œ œ nœ œ œ
#˙ œ #˙ #œ œ œ > > > > > >
f> >marc.>
cresc.

œ - œ #œ
3

? 49 Œ œ #œ 46
3

œ
3

œœ œ Œ œ œ Œ j ‰ Œ Œ #œ œ œ Œ
3

#œ
œ œ œ-
3 3 3 3

#œ œ #œ œ- #œ œ œ
#œ œ #œ œ œ #œ œ œ > > > > > >
1
> > >
Bsn. 3 cresc. f marc.
? 49 Œ Œ 46 Œ j ‰ Œ Œ Œ
œœ œœ
3 3 3 3 3 3 3 3 3
2
#œ œ œ œ œœ œ œ œ œ œ- #œ œ œ œ- œ œ œ œ- œ #œ œ œ #œ œ œ
> > >
> > > #œ œ œ
cresc.
f marc. > > >
?9 ∑ 6 ∑ Œ Œ
4 4 #œ œ œ Œ
3 3 3

# >œ >œ >œ #œ œ œ > > >

> > >
C. Bn.

f marc.
Largamente
- > [, ]
bœ œœ œ , b >œ >œ œ b >œ >œ >œ >œ œ . œ bœ œ. œœœ œ 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 6 #œ #œ œ #œ nœ #œ nœ ,
œ. bœ œ bœ. bœ bœ. bœ nœ . œ
[ ]

9 #˙
3

& 4 #œ. œ #œ œ bœ bœ
[ ]

Solo A. Sax 4
cresc. poco a poco
5 6
molto cresc. (senza accel.) ƒ 7
appassionato 6

9 ˙ #œ œ 6 #˙. #œ
& 4 Ó. 4 #˙. Ó.
senza sord.

1 œ œ Œ Œ
p non espr. cresc.

9 ∑ 6 ∑ œ œ œ Œ Œ #œ œ œ Œ
3

&4 4 #œ œ œ
3 3

> > > > > > > > >

2

B b Tpt. f marc.
9 ∑ 6 ∑ Œ Œ
&4 4 nœ œ œ Œ
3 3 3

œ œ œ #œ œ œ > > >

3
> > > > > >
f marc.
9 ∑ 6 ∑ Œ Œ
&4 4 nœ œ œ Œ
3 3 3

œ œ œ #œ œ œ > > >

4
> > > > > >
f marc.

> > > > > > # >œ >œ >œ Œ

9
& 4 Ó. œ- œ. œ. œ. # œ # œ- œ œ. œ. œ. 6
4 œ- œ. œ. œ. œ. # œ. œ. œ. # œ œ- bœ œ œ Œ nœ œ œ Œ
. .
1

f
3
cresc. 3 3
marc.

& 49 Ó . 46 # œ- nœ œ œ Œ Œ #œ œ œ Œ
3

# œ.
œ. œ. # œ. œ. œ œ. œ. œ. #œ œ œ
3 3
2
œ- œ. œ. œ. œ. # œ- œ. œ. œ. œ- > > > > > > > > >
F.Hn.
cresc. f marc.
9 œ. œ. Ó. 6
&4 œ- # œ. œ. œJ ‰ Œ Œ 4 ∑ Œ Œ Œ
3 3 3
3
#œ œ œ #œ œ œ œ œ œ
> > > > > > > > >
f marc.
& 49 œ. œ j ‰ Œ Œ Ó. 46 ∑ Œ Œ Œ
3 3 3
4
. œ- # œ. œ. œ. #œ œ œ #œ œ œ œ œ œ
> > > > > > > > >
f marc.

# >œ >œ >œ >œ >œ >œ >œ >œ >œ

j j
a2

?9 6
1 4 ∑ 4 Ó. #œ ‰ œ œ ‰ Œ Œ Œ
F f 3
marc.
3 3

# >œ >œ >œ Œ >œ >œ >œ

?9 6 j j # >œ >œ >œ Œ
Tbn. 2 4 ∑ 4 Ó. #œ ‰ œ œ ‰ Œ
F f marc.
3 3 3

?9 Œ j j 6 j j j j # >œ >œ >œ Œ # >œ >œ >œ

4 œ ‰ œ ‰ Œ j ‰ j ‰ Œ j ‰ j ‰ 4 #œ ‰ œ ‰ Œ œ ‰ œ œ ‰ Œ #œ œ œ Œ
3
Bass
#œ œ œ œ > > >
cresc. f marc.
3 3

1
? 49 ∑ 46 ∑ ∑
Tba.

?9 ∑ 6 ∑ Œ Œ
4 4 #œ œ œ Œ
3 3 3

#œ œ œ #œ œ œ > > >

> > >
2
> > >
f marc.

j j # >œ >œ >œ Œ # >œ >œ >œ # >œ >œ >œ Œ

arco

?9 Œ Œ Œ 6 Œ ‰ œ ‰ Œ
D.B. 4 œ œ #œ œ œ œ 4 #œ œ œ œ
f
3 3 3
cresc. marc.

? 49 Œ œ œ œ œ œ œ œ œ œ œ œ 46 # œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ Œ
œ œ œ œ œ
3 3 3

#œ œ œ œ œ œ œ œ œ
> > > > > > > > >
Timp.
cresc. f marc.
9 ˙ œ œ 6 #˙.
1 & 4 Ó. œ œ 4 ˙. ∑
Perc.
π cresc.

9 ∑ 6 ∑ ∑
2 ã 4 4

91 92 93
 non troppo rigoroso 46
Picc. & ∑ ∑ 43 ∑ 46 ∑ ∑ 43 ∑ 46

,
& ∑ Œ #œ œ Œ ˙ 43 œ 46 # ˙ j ‰ Ó. ∑ 43 ∑ 46
>˙ œ
1
p p ∏
,
& ∑ Œ #œ œ Œ 43 œ ˙ 46 # ˙ œ
j ‰ Ó. ∑ 43 ∑ 46
-̇ >
Fl. 2
p p ∏
,
& ∑ Ó. Œ 43 œ ˙ 46 # ˙ œ
j ‰ Ó. ∑ 43 ∑ 46
-̇ >
3

p ∏

j
a2

3 6 3 6
& # œ- œ- œ- Œ œ- œ- œ- Œ Œ œ- œ- œ- Œ #œ œ Œ #œ ‰ Œ 4 ∑ 4 ∑ ∑ 4 ∑ 4
3 3 3

Ob.
F dim. p π

& # œ- œ- œ- Œ œ- œ- œ- Œ Œ œ- œ- œ- Œ #œ œ Œ # œj ‰ Œ 43 ∑ 46 ∑ ∑ 43 ∑ 46
3 3 3

2
F dim. p π
- œ- œ- Œ œ- œ- œ- œ- œ- œ- j
Eng. Hn. & #œ Œ Œ Œ
œ #œ
Œ œ ‰ Œ 43 ∑ 46 ∑ ∑ 43 ∑ 46
F 3
dim.
3 3
p π

E b Cl. & ∑ ∑ 43 ∑ 46 ∑ ∑ 43 ∑ 46

œ œ œ
Œ # œj ‰ Œ 3 6 #œ bœ bœ 3 6
3

& nœ œ œ Œ Œ Œ Œ 4 Œ 4 j œ #œ J ‰ J ‰ ‰ bœ œ 4 #œ œ œ 4
3 3 3 3
1
- - - œ- œ- œ- œ- œ- œ- #œ #œ #œ #œ nœ
F p π # >˙ œ. #œ œ #œ œ œ œ œ œ #œ
F
dim.
molto espress.

3 6 #œ ‰ bœ œ ‰ ‰ œ œ 3 6
3

& Œ Œ Œ Œ Œ j‰ Œ 4 Œ 4 j œ #œ J b œ J 4 4
bœ œ #œ œ œ
3 3 3 3
B b Cl. 2
# œ- œ- œ- œ- œ- œ- œ #œ #œ #œ nœ
# œ- œ- œ- œ #˙ œ. #œ œ #œ œ œ œ œ œ #œ
F p π >
F
dim.
molto espress.

œ œ œ
43 Œ 46 j œ # œ # œJ ‰ bœ bœ 43 46
3

& nœ œ œ Œ Œ Œ Œ Œ j‰ Œ J ‰ ‰ bœ œ #œ œ œ
3 3 3 3
3
- - - œ- œ- œ- œ- œ- œ- œ œ #œ #œ nœ
#œ #˙ œ. #œ œ #œ œ œ œ œ œ #œ
F p π >molto espress. F
dim.

3 , 6 3 6
& n œ- œ- œ- Œ Œ Œ Œ œ #œ Œ 4 4 j ‰ Ó. ∑ 4 ∑ 4
3 3 3

œ- œ- œ- œ- œ- œ- œ œ ˙ œ
B. Cl.
F ∏ œ
dim.
p >˙ ∏
,
˙ œ
? # œ- œ- œ- Œ Œ Œ Œ œ
œ
Œ 3 # >˙ 6 ˙ œ ‰ Ó. ∑ 3 ∑ 6
n œ- œ- œ- 4 4 J 4 4
3 3
1
n œ- œ- œ-
F 3
dim. p p π ∏
Bsn.

? Ó. 43 Œ 46 ˙ j 43 46
Œ Œ Œ n œ- œ- œ- Œ œ œ ‰ Ó. ∑ ∑
3 3 3

# œ- œ- œ- n œ- œ- œ- œ
>˙
2

F dim.
p π ∏
? # œ- œ- œ- Œ > ˙ œ ‰ Ó.
Œ Œ n œ- œ- œ- ∑ 43 Œ ˙ 46 J ∑ 43 ∑ 46
3 3
C. Bn.
n œ- œ- œ-
F 3 dim. π ∏

non troppo rigoroso

> bœ
bœ. bœ ˙ ˙ 3 6 3 6
œ bœ bœ œ bœ nœ. Ó. ∑ ∑ ∑ ∑
5

Solo A. Sax & œ bœ nœ œ 4 4 4 4

π
dim. molto

∑ Ó. Œ œ- œ- 43 œ Œ Œ 46 ∑ ∑ 43 ∑ 46
a2

1 &
π tenuto

2 & ∑ Ó. Œ œ- œ- 43 œ Œ Œ 46 ∑ ∑ 43 ∑ 46
B b Tpt.
π tenuto

∑ Ó. Œ b œ- 3 Œ Œ 6 ∑ ∑ 3 ∑ 6
3 & œ- 4 œ 4 4 4
π tenuto

& ∑ Ó. Œ bœ
œ 43 œ Œ Œ 46 ∑ ∑ 43 ∑ 46
π -tenuto -
4

>+ +̇
# œ- œ- œ- Œ œ- œ- œ- Œ # œ- œ- 3 , n˙ 6 œ ‰ Ó. 3 6
1 & Ó. Ó. 4 œ 4 J ∑ 4 ∑ 4
F
3
p 3 π tenuto ∏
Ó. Ó. 3 , 6 j 3 6
& n œ- œ- œ- Œ Œ œ ‰ Ó. ∑ ∑
3

# œ- œ- œ- 4 œ # +˙ 4 n ˙+ 4 4
3

# œ- œ-
2
F p π > ∏
>+̇
tenuto
F.Hn.
+
& Œ Ó. ∑ 43 Œ 46 # ˙ œ ‰ Ó. ∑ 43 ∑ 46
3 3
3
# œ- œ- œ- œ- œ- œ- J
F p ∏

∑ Ó. Œ 3 , 6 j ‰ Ó. ∑ 3 ∑ 6
(Open)

4 & # œ- n œ- 4 œ 4 #˙ œ 4 4
π n˙ + ∏
tenuto
>

? # œ- n œ- 3 œ 6 3 6
1 ∑ Ó. Œ 4 Œ Œ 4 ∑ ∑ 4 ∑ 4
π tenuto

- -
Tbn. 2
? ∑ Ó. Œ #œ nœ 3 œ
4 ΠΠ6
4 ∑ ∑ 3
4 ∑ 6
4
π tenuto
? ∑ Ó. Œ bœ 3 Œ Œ 6 ∑ ∑ 3 ∑ 6
Bass
- œ- 4 œ 4 4 4
π tenuto

? #œ 43 œ 46 43 46
Solo

œ j ‰ Ó.
a2

‰ Œ n œ. œ. œ. Œ œ- Œ Œ ∑ ∑ ∑
3
1
J œ œ œ-
Tba.
F p π tenuto

? ∑ Ó. Œ 3 Œ Œ 6 ∑ ∑ 3 ∑ 6
œ- 4 œ 4 4 4
œ-
2

π tenuto

pizz.

? #œ œ œ Œ Œ Œ ∑ 3 ∑ 6 ∑ ∑ 3 ∑ 6
nœ œ œ 4 4 4 4
3 3
D.B.
nœ œ œ
F 3
p

? ∑ ∑ 3 ∑ 6 ∑ ∑ 3 ∑ 6
Timp. 4 4 4 4
Bass Dr.

∑ Ó. Œ 3 6 Ó. 3 6
1 & ã œ œ 4 Œ ˙æ 4 œ Œ Œ ∑ 4 ∑ 4
Perc.
p π
Ó. 43 Œ 46 43 46
Tam-Tam

2 ã ∑ Œ ˙ ˙ ∑ ∑ ∑
p p
94 95 96 97 98 99
 H a tempo 47
Picc. & 46 ∑ ∑ ∑ ∑ ∑ ∑

1 & 46 ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 & 46 ∑ ∑ ∑ ∑ ∑ ∑

3 & 46 ∑ ∑ ∑ ∑ ∑ ∑

1 & 46 ∑ ∑ ∑ ∑ ∑ ∑
Ob.

2 & 46 ∑ ∑ ∑ ∑ ∑ ∑

Eng. Hn. & 46 ∑ ∑ ∑ ∑ ∑ ∑

6 ∑ ∑ ∑ ∑ ∑ ∑
E b Cl. &4

6 j
&4 ˙ œ ‰ Ó. ∑ Ó. Œ Œ j œ. œ- j Œ ∑ ∑
bœ. œ bœ. œ >
1
œ. œ
∏ F espress.

6 j
B b Cl. 2 &4 ˙ œ ‰ Ó. ∑ Ó. Œ Œ j œ. œ- j Œ ∑ ∑
bœ. œ bœ. œ > œ. œ
∏ F espress.

6 j
&4 ˙ œ ‰ Ó. ∑ Ó. Œ Œ j œ. œ- j Œ ∑ ∑
bœ. œ bœ. œ >
3
œ. œ
∏ F espress.

6 j >œ . œ- j
&4 ∑ ∑ Ó. Œ Œ bœ. œ bœ. œ œ. œ Œ Œ bœ œ ˙.
B. Cl.
bœ bœ bœ œ bœ bœ
F espress. p espress. cresc.

# >œ . œ-
? 46 ∑ ∑ Ó. Œ Œ #œ. œ œ. #œ œ. #œ Œ ∑ Œ Œ
1
J J #œ ˙.
F F
# >œ . œ-
espress. cresc.
Bsn.

?6 ∑ ∑ Ó. Œ Œ #œ. œ œ. #œ œ. #œ Œ ∑ Œ Œ
4 J J #œ ˙.
2

F espress. F cresc.

?6 œ- œ œ- ∑ ∑ ∑ Œ #œ #œ ˙.
4 -̇ œ- œ œ #œ œ #œ
C. Bn.
#œ
π p espress. cresc.

a tempo
& 46 ∑ ∑ ∑ Œ Œ Œ Œ œ. œ b œ . œ- j ˙
j
œ ‰
Solo A. Sax
b œ- . œ- b œ œ œ bœ œ œ œ œ. œ bœ. œ [ƒ]
F molto espress. molto cresc.

6 - œ- b˙ b œ- b ˙- . œ #˙ œ ‰ Ó.
& 4 b˙ n œ- œ œ- Œ œ œ Œ Œ n ˙- J
∑ Œ Œ
bœ. œ
bœ
1

p P espress. F marc.

6
& 4 b ˙- Œ b˙ Œ Œ b œ- b ˙- . œ # ˙- œ ‰ ∑ Ó. Œ Œ
2
b œ- œ œ- b œ- nœ nœ bœ -̇ J bœ. œ
p P F marc.
B b Tpt.
espress.

6 ∑ Œ Ó.
&4 j ‰ ∑ j ‰ bœ. œ
b ˙- n œ- ˙ œ- -̇ . œ n ˙- ˙ œ œ œ
3
œ- œ- F F marc.
p P espress. (molto)

6 ∑ Œ Ó.
&4 j ‰ ∑ j ‰ bœ. œ
b˙ nœ ˙ œ- -̇ . œ n ˙- ˙ œ œ œ
4
œ œ F F marc.
p P espress. (molto)

bœ nœ œ ˙ # œ- # ˙- . n ˙-
& 46 ∑ Œ
˙
œ #˙
j
œ ‰ ∑ Œ ‰ j n˙
bœ bœ. œ- - œ. œ
1
p P espress. F espress. cresc. marc.

6 Œ œ #œ ˙ n ˙- j
&4 # œ- œ #˙ œ ‰ ∑ Œ ‰ j n˙
n ˙- œ- œ œ- œ- œ #˙ -̇ . bœ bœ. œ- - œ. œ
2

F.Hn. p P espress. F espress. cresc. marc.

& 46 ∑ ∑ b˙. Œ ˙ œ ‰ Œ
J
Œ Ó. ∑ Ó. Œ Œ
bœ. œ
3

sÍp sÍp f marc.

& 46 ∑ Œ j ‰ Œ Œ Ó. ∑ Œ Œ Œ Œ Œ
n ˙- œ- œ œ- œ- b˙. ˙ œ bœ. œ
4

p sÍp sÍp f marc.

- b œ- œ- œ- œ b œ- -̇ . b ˙- œ b œJ
? 6 n˙ œ
Œ
nœ n˙ bœ ˙ œ n˙ œ
J ‰ ∑ Ó. bœ. œ
bœ.
‰
1 4
p P espress. F
œ b œJ
marc.

?6 œ- œ œ- Œ bœ ˙ j Ó. bœ.
bœ.
Tbn. 2 4 b ˙- œ- nœ bœ ˙ b œ- -̇ . œ n ˙- n˙ œ ‰ ∑ œ ‰
p P espress. F
œ b œJ
marc.

? 46 j bœ.
∑ Ó. Œ Œ n˙ œ ‰ Ó. Œ Œ bœ œ œ ‰ Œ bœ. œ ‰
Bass
bœ ˙ b œ- b ˙- . œ b ˙- J
p P espress. F espress.
F marc.

?6 b˙. ˙ œ ‰ Œ #œ
a2

4 ∑ ∑ Œ Œ Ó. Œ œ œ œ #œ ˙.
1
J #œ #œ bœ
sÍp sÍp p espress.
Tba.

? 46 Œ Œ j ‰ Œ
œ- œ œ- bœ ˙ bœ ˙ b œ- b ˙- . # ˙- #œ
œ- bœ #œ ˙.
2
-̇ p P espress. p ˙ œ œ œ #œ œ #œ #œ
π p espress.

?6 ∑ ∑ ∑ ∑ Œ #œ #œ ˙.
4 œ
arco
D.B. œ #œ œ #œ #œ
p espress.

Timp.
? 46 ∑ ∑ ∑ ∑ ∑ ∑
Cr.Cym. Bass Dr.

1 ã 46 ˙ . Ó. Ó.
˙.
Œ Œ
œ
Ó. ∑ Œ ˙æ ˙æ. ˙æ. ˙æ
j
œ ‰
Perc. p p cresc. f
6
Low Tom-Tom (soft mallet)

ã 4 ∑ ∑ ˙ œ ‰ Œ
J
˙ ∑ ∑ ∑
2
æ æ
sÍ sÍ
100 101 102 103 104 105
 I Largamente œ ˙.
48
#œ ˙ #œ ˙ œ œ œ #œ #œ œ
Picc. & ∑ Ó. Œ Œ
ƒ espress.
#œ ˙ #œ ˙ œ œ œ #œ #œ œ œ ˙.
1 & ∑ Ó. Œ Œ
ƒ espress.
#œ ˙ #œ ˙ œ œ œ #œ #œ œ œ- ˙.
Fl. 2 & ∑ Ó. Œ Œ
ƒ espress.
#œ ˙ #œ ˙ œ œ œ #œ #œ œ œ- ˙.
3 & ∑ Ó. Œ Œ
ƒ espress.

1 & ∑ ∑ ˙. #œ œ œ #˙ œ œ œ œ
Ob. ƒ molto tenuto

& ∑ ∑ œ œ #œ #œ œ
2
˙. œ ˙ œ
ƒ molto tenuto
œ- # œ- œ-
œ œ. œ .
Eng. Hn. & ∑ Œ œ. œ bœ. # œ- n˙. # œ- # œ- œ- ˙
œ #œ #œ œ
f marc. molto cresc. ƒ molto tenuto
bœ ˙ œ ˙ bœ ˙.
bœ bœ bœ œ bœ bœ
E b Cl. & ∑ Ó. Œ Œ
ƒ espress.

#œ ˙.
#œ ˙ #œ ˙ œ #œ œ #œ #œ #œ
1 & ∑ Ó. Œ Œ
ƒ espress.

#œ ˙.
#œ ˙ #œ ˙ œ #œ œ #œ #œ #œ
B b Cl. 2 & ∑ Ó. Œ Œ
ƒ espress.

#œ ˙.
#œ ˙ #œ ˙ œ #œ œ #œ #œ #œ
3 & ∑ Ó. Œ Œ
ƒ
ŸI ~~~~~~~~~~~~~~~~~~~~ ŸI ~~~~~~~~~~~~~~~~~~~~ ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~ ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~
espress.

& nœ ˙ œ
œ œ j ‰ j ‰ #˙ œ
j ‰
˙ œ
j ‰
bœ œ œ œ œ- # œ-
B. Cl.
#˙ œ ˙ œ
ƒ
ŸI ~~~~~~~~~~~~~~~~~~~~
molto cresc.

Ÿ ~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~ j

? œ œ j ‰
bœ bœ œ ˙ œ bœ œ n œ- n œ- ˙ œ j ‰ j ‰ #˙ œ ‰
˙ œ #˙ œ
1

ƒ
ŸI ~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~ j
molto cresc.

Ÿ ~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~
Bsn.

? œ œ
bœ bœ œ ˙ œ bœ œ n œ- n œ- j ‰ j ‰ j ‰ #˙ œ ‰
˙ œ ˙ œ #˙ œ
2
molto cresc.
ƒ
? œ œ j
bœ bœ nœ ˙ œ bœ œ n œ- n œ- j ‰ j ‰ j ‰ # œ- œ- œ ‰
œ- œ- œ œ- œ- œ # œ- œ- œ
C. Bn.
molto cresc.

Largamente
bœ ˙.
bœ ˙ œ ˙ bœ bœ bœ œ bœ bœ
Solo A. Sax & ∑ Ó. Ó
ƒ con forza
œ ˙ bœ bœ bœ œ √
The solo from [I]-[J] may be omitted bœ ˙ bœ bœ œ ˙.
in performances with large band ossia &
ƒ con forza

˙ œ. #œ #œ ˙ #œ ˙ œ > > > > >

& œ. œ ˙ œ. œ. œ œ. œ
œ œ.
œ œ. J ‰ Œ # >œ >œ >œ # >œ >œ >œ >œ >œ >œ # œ >œ œ # œ œ œ
1
bœ
cresc. molto cresc. ƒ espress. 3
pesante e tenuto
3 3 3 3

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
3

œ œ.
3 3

bœ J J
> >
2

ƒ
3

B b Tpt.
cresc. molto cresc. 3 3 3

œ. ˙ œ.
œ œ. ˙.
pesante e tenuto

& œ. œ ˙ œ. œ
œ œ. #œ ˙ œ #œ #œ #œ œ œ
3
bœ œ œ. #œ #œ ˙ œ
cresc. molto cresc. ƒ espress.

j #œ ˙.
& œ. ˙ œ. œ œ. #œ #œ # œ # >œ >œ >œ œ ‰ œ œ ‰ œ #œ #œ
3 3

œ ˙ œ. bœ œ. œ œ. œ œ œ. >œ > # >œ œ J #œ

4
cresc. molto cresc. ƒ pesante e tenuto

œ # œ œ- #œ œ
& œ. œ b˙ œ. œ. œ œJ ‰ ‰. r œ. œ bœ. œ œ. œ . # œ- ˙. œ œ œ ˙ œ #œ
bœ bœ
1
cresc.
molto cresc. ƒ molto tenuto

#œ
& œ. œ b˙ œ. œ. œ œJ ‰ ‰. r œ. œ bœ. œ œ. œ œ.
# œ œ- œ- #˙. ˙ œ #˙ œ œ #œ
bœ bœ
2
cresc. ƒ molto tenuto
# œ œ-
molto cresc.

œ #œ œ #˙
œ . #˙.
F.Hn.
œ œ #œ
& œ. œ œ. œ bœ. bœ J ‰ Œ ‰. r œ. œ bœ. œ œ. # œ-
#œ œ œ
bœ. œ bœ
3
ƒ molto tenuto

œ
cresc. molto cresc.

& œ. œ œ. œ bœ. bœ J ‰ Œ ‰. r œ. œ bœ. œ œ. œ œ.

# œ œ- œ- #œ #œ œ
bœ. œ bœ ˙. #œ œ ˙ #œ œ
4

cresc. molto cresc. ƒ molto tenuto

bœ ˙ œ #œ œ œ œ >œ n >œ >œ >œ >œ >œ > > >œ > # >œ > >œ >œ >œ
b˙ œ. bœ n œ- >œ >œ >œ >œ œ
? Œ J ‰ Œ J ‰ Œ n œ- œ
J ‰ J ‰ Œ
œ #œ œ œ
1

bœ ƒ
3 3 3 3 3 3 3

œ bœ. œ bœ. œ œ. ˙.
molto cresc.

nœ ˙
cresc. pesante e tenuto

bœ. bœ bœ. nœ œ. œ œ #œ
? Œ bœ. œ J ‰ Œ ‰. bœ #œ ˙ #œ ˙ œ
R
Tbn. 2

ƒ espress.
bœ. œ bœ. bœ œ bœ. œ b œJ >œ # >œ >œ >œ # >œ >œ œ >œ # >œ >œ # >œ >œ >œ > > >œ > >œ > >œ >œ >œ
cresc. molto cresc.

? Œ bœ. œ J ‰ Œ ‰. bœ ‰ Œ œ ‰ #œ œ ‰ Œ #œ œ #œ œ
Bass
R n œ- n œ- J J
ƒ pesante e tenuto
3 3 3 3 3
molto cresc. 3 3
cresc.

? œ œ j j j j
1 bœ bœ nœ ˙ œ bœ œ n œ- n œ- ˙ œ ‰ -̇ œ ‰ #˙ œ ‰ ˙ œ ‰
molto cresc. ƒ
j
Tba. tenuto

? j ‰
œ œ j ‰ j ‰ #˙ œ ‰
nœ ˙ œ ˙ œ ˙ œ #˙ œ
2
bœ bœ œ bœ n œ- n œ-
molto cresc.
ƒ tenuto

? œ œ j #œ œ œ œ
nœ ˙ œ œ œ œ œ ‰ œ œ œ œ ‰ #œ œ œ œ ‰ J ‰
(whole bow)
D.B. bœ bœ œ- bœ n œ- n œ- J J
molto cresc. ƒ

? œ. œœœœ œ œ. œœœœ œ œ. œœœœ œ j

∑ Ó. Œ Œ œæ J ‰ J ‰ J ‰ # œæ œ ‰ Œ
æ æ æ
Timp.

Snare Dr. f ƒ 3 3 3

ã Ó. j
œ œj œ œj œ ˙ œ
J ‰ j
œ. œœœœ j
œ œ œ j
œ œ œ œ œ œ œ
J ‰ Œ Œ Ó. ∑
æ æ
œ œ œ œ
1

F 3 3 3
ƒ
>œ œ >œ œ >œ œ œ ˙.
Perc. molto cresc. Sus.Cym.

Ó. œ. œ œ œœœœœœy Ó. Ó.
Field Dr.

J ‰ Œ ‰ Œ
Sus.Cym.

ã œœœœ œ œ œ œ œ
æ
œ œ
J æ
Œ > >6 > Œ
2 J J

ƒ
6 3 molto cresc.
molto cresc.
106 107 108 109
 , 49
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 44 # œ œ J #œ #œ
Picc. & #œ 43 #œ 46
3 3 3

,
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 44 # œ œ J #œ #œ
1 & #œ 43 #œ 46
,
3 3 3

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 44 # œ œ J #œ #œ
Fl. 2 & #œ 43 #œ 46
,
3 3 3

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 44 # œ œ J #œ #œ
3 & #œ 43 #œ 46
3 3 3

& #œ œ- #œ œ œ œ #œ œ #œ 44 #œ œ 43 # œ œ œ 46
1 # œ- œ #œ # œ- # œ-
Ob.

& œ 44 43 46
œ- # œ- nœ #œ œ œ œ #œ nœ # œ- n œ- œ #œ #œ nœ #œ
œ œ
2

œ œ 4 3 6
& #˙ # œ- œ #œ œ œ #œ œ 4 # œ- œ- œ œ 4 #œ œ #œ 4
œ
Eng. Hn.

,
œ bœ
bœ œ bœ bœ
bœ b˙ œ bœ bœ bœ œ œ œ bœ œ œ œ œ. œ- œ œ œ œ œ
44 œ b œ b œ
nœ œ nœ.
J
œ œ bœ
œ
E b Cl. & bœ bœ 43 bœ 46
3 3 3

,
œ nœ œ nœ.
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 bœ bœ bœ œ
œ #œ 44 œ J
1 & 43 bœ 46
3 3 3

,
œ œ #œ ˙ œ #œ œ #œ œ œ œ œ œ œ # œ œ. œ- œ œ œ œ œ œ nœ œ nœ. œ bœ
#œ #œ #œ œ #œ 4 #œ œ J 3 bœ bœ œ 6
B b Cl. 2 & 4 4 bœ 4
3 3 3

,
œ nœ œ nœ.
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 bœ bœ bœ œ
& #œ 44 J 43 46
3
3 3 3
bœ
ŸI ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ ŸI ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ŸÈ ~~~~~~~~~~~~~~~ ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
, Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~6
& ˙ j ‰ j ‰ j ‰ Œ 44 Œ 43 # ˙ . 4
œ #œ œ œ #˙. œ #œ #˙.
j
œ
B. Cl.
> >
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ
? ‰ ‰ j ‰ Œ 4 Œ ‰ 3 6
j j #œ œ 4 j 4 Œ 4
˙ œ #œ œ œ #˙ œ #˙
1
˙. > > >
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~
Bsn.

? ٠j 4 Π3 6
j ‰ j ‰ #œ œ ‰ Œ 4 j ‰ 4 Œ 4
˙ œ #œ œ œ #˙ >œ #˙
2
˙. > >
? j ‰ j ‰ j ‰ Œ 44 Œ 43 46
œ- œ- œ #œ œ
#œ œ œ #˙ œ œ #˙
C. Bn.
˙ œ > > >
œ, bœ
bœ œ bœ bœ b˙ œ bœ bœ bœ œ œ œ bœ œ œ œ œ. œ- œ œ œ œ œ
44 œ b œ b œ
nœ œ nœ. œ œ bœ
œ
Solo A. Sax & J J bœ bœ bœ J 43 bœ 46
3 3 3

(√) , b œ œ bœ √
œ bœ bœ bœ
J J
bœ bœ ˙ œ bœ bœ bœ œ œ œ bœ œ œ œ œ. œ- œ œ œ œ œ 4 œ bœ bœ
nœ œ nœ.
J 3 œ œ bœ
œ
6
ossia & 4 4 bœ 4
3 3 3

,
# >œ >œ .. #œ œ #œ 4 j > # >œ > 3 > # >œ 6
Œ Œ œ #œ œ œ ‰ œ ‰ œ œ #œ ‰ œ œ 4 #œ œ bœ nœ
3 3 3

& # œ œ .. J J #œ œ #œ 4 #œ #œ 4
>> > > > > > > > > > >
1
3

,
# >œ >œ .. Œ Œ j ‰ j ‰ 4 j ‰ #œ #œ œ 3 #œ 6
3

& #œ œ 4 4 #œ #œ œ œ 4
3

#œ
3 3

# œ œ .. n œ n >œ œ >œ œ #œ œ œ nœ œ #œ œ > > >

> œ > > > > >
2
>> > > > >
B b Tpt.
, bœ
œ ˙ œ #œ œ #œ nœ œ nœ. œ
& œ #œ #œ #œ #œ œ œ œ œ œ œ # œ œ. œ- œ œ œ œ œ 4 #œ
4 œ J 3 œ
4 bœ bœ 6
4
3
œ #œ œ bœ
3 3
sÍ
,
3

œ ˙ œ #œ œ #œ nœ ˘ ˘ b ˘œ œ̆ ˘
& œ #œ #œ #œ
#œ œ œ œ œ œ œ # œ œ. œ- œ œ œ œ œ 4 #œ
4 œ ‰ nœ. 3 œ
4 bœ bœ 6
4
4
œ #œ œ fl bœ
3 3 3 fl sÍ

#œ œ #œ œ #œ #œ œ #œ 44 # œ #œ œ œ #œ
1 & #œ œ nœ #œ #œ 43 # œ 46

4 3 6
2 & #œ ˙ #œ nœ œ œ #œ œ
#œ
#œ nœ 4 #œ œ œ œ 4 #œ nœ #œ 4
F.Hn.

#œ #œ œ œ #œ œ 4 #œ 3 #œ 6
3 & ˙ œ œ #œ nœ 4 #œ nœ œ 4 #œ œ 4

& 44 43 # œ 46
#˙ #œ #œ œ œ #œ œ #œ œ #œ œ #œ #œ œ #œ
œ œ
4

# >œ >œ >œ .. ,

# >œ >œ .. >œ >œ >œ >œ œ œ >œ >œ >œ nœ #œ nœ œ >œ # >œ >œ > > n >œ # >œ
? R ‰. Œ
œ
J ‰
œ J ‰
œ 4 J ‰ 3 œ # >œ œ 6
1 4 4 4
3 3 3 3

œ œ #œ , > >œ
? J ‰ #œ œ J ‰ Œ Œ œ œ #œ ‰ # >œ # >œ >œ # œ œ 4 œ œ #œ > > >
‰ #œ #œ œ 3 œ b >œ 6
Tbn. 2 J 4 J 4 4
>œ >œ .. ,
3 3

? # œ. ‰ . Œ # œ œ .. # >œ >œ >œ œ #œ ‰ œ œ j ‰ #œ œ 44 œ œ #œ

#œ 43 # œ œ œ 46
Bass R >> > J #œ œ > > > >
3

? j j 4 Π3 6
˙ œ ‰ #œ œ ‰ œ #˙ Œ 4 4 4
1
#˙. #˙. #˙.
Tba. > >
? ‰ ‰ Œ 4 Œ 3 6
j j #˙ 4 4 4
˙ œ #œ œ œ # >˙ . # >˙ .
2
˙.

? œ œ œ œ ‰ j ‰ #œ œ œ Œ 4 Œ 3 6
#œ œ œ œ œ œ œ œ œ 4 #œ œ œ œ 4 #œ œ œ 4
D.B.
J

Timp.
? ∑ ∑ 44 Œ # ˙æ. 43 # œæ œæ œæ 46

>œ >œ .. >œ >œ .. >œ >œ .. >œ >œ , >œ >œ >œ 3 > > >
Snare Dr.
j j j
‰ Œ Ó. Œ j
œ ≈ 4 Ó Œ j
‰ 6
1 ã œ œ œ œ
æ
œ
J
œ œ œ
æ 4 œ
4 œ œ œ æœ œ
J 4
Perc. Bass Dr.
3
Í ƒ 3 3

œ
J ‰ Œ Œ Ó. j ‰ j ‰ Œ 44 ∑ 43 ∑ 46
2 ã ˙æ œ œæ œ
Ï ƒ
110 111 112 113
 J
ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~ 50
#œ œ œ. . #˙ #œ œ œ
œ #œ #œ œ. œ #œ. œ #œ œ œ œ
#œ œ nœ œ
Picc. & 46 #œ J ‰ J ‰ Œ J ‰ Œ J ‰ Œ 44
Ï
#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
& 46 #œ #œ #œ œ nœ œ 44
> > >
1
Ï 7

#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
& 46 #œ #œ #œ œ nœ œ 44
> > >
2
Ï
Fl.
7

#œ œ œ. . #˙ √
(loco)

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
& 46 #œ #œ #œ œ nœ œ 44
> > >
3
Ï 7

#œ #œ. œ. #˙ # >œ >œ >œ >œ >œ # >œ >œ >œ œ. >œ > >œ . >œ >œ # >œ # >œ # >œ œ . > >œ > >œ
& 46 j ‰ ‰. #œ œ œ. œ œ œ #œ #œ #œ œ. #œ œ nœ œ. œ 44
#œ œ > > >
1
Ï 7

œ œ. # >œ >œ >œ >œ >œ # >œ >œ >œ

Ob.
#œ #œ. #œ #˙ œ. >œ > >œ . >œ >œ # >œ # >œ # >œ . n >œ >œ > >œ
6
&4 j ‰ ‰. #œ œ œ. œ œ #œ #œ œ. œ #œ œ
œ. œ 4
4
#œ œ > > >
2
Ï 7

6 j
œ ‰ ‰. œ. # œ #˙ # >œ >œ >œ >œ >œ # >œ >œ >œ œ. >œ >
œ œ #œ #œ #œ œ œ
> 4
Eng. Hn. & 4 #œ #œ #œ œ. œ #œ #œ
. œ #œ #œ #œ œ.
> >> >
œ.
> > # >œ . # œ >œ n >œ œ.
> >œ
4
Ï 7
>
bœ œ œ. bœ
6 bœ bœ œ bœ. bœ bœ. bœ nœ . œ œ ˙ b >œ >œ >œ b >œ >œ n >œ >œ >œ œ. b >œ b >œ >œ . b >œ >œ >œ b >œ b >œ > > > >
E b Cl. &4 bœ œ. bœ. œ œ bœ œ. bœ bœ bœ 4
4
Ï 7
> > >
bœ œ œ. bœ b˙ b >œ >œ >œ b >œ >œ n >œ >œ >œ œ. b >œ b >œ >œ . b >œ >œ >œ b >œ b >œ > . >
& 46 b œ bœ bœ bœ. bœ bœ. bœ nœ . bœ bœ
œ. bœ > >>
bœ œ nœ œ. # >œ # >œ # œ 44
1
bœ
Ï 7

bœ œ œ. b˙ b >œ >œ >œ b >œ >œ n >œ >œ >œ œ. b >œ b >œ >œ . b >œ >œ >œ b >œ b >œ > .
6 bœ bœ bœ. bœ bœ. bœ nœ bœ. bœ bœ
œ. bœ > >>
bœ œ nœ œ. # >œ # >œ # >œ 4
B b Cl. 2 & 4 bœ bœ 4
Ï 7

bœ œ œ. bœ b˙ b >œ >œ >œ b >œ >œ n >œ >œ >œ œ. b >œ b >œ >œ . b >œ >œ >œ b >œ b >œ > . >
& 46 b œ bœ bœ bœ. bœ bœ. bœ nœ . bœ bœ
œ. bœ > >>
bœ œ nœ œ. # >œ # >œ # œ 44
3
bœ
Ï 7

6 Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ 4
& 4 #˙. ˙. j j ‰ j ‰ j ‰ 4
b˙ œ n˙ œ
B. Cl.
#˙ œ n˙ œ
>
Ï
ÈŸ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? 6 #˙. j ‰ j ‰ j n˙ œ 4
4 ˙.
#˙ œ #˙ œ b˙ œ ‰ J ‰ 4
> >
1

Ï
ÈŸ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Bsn.

? 6 #˙. j ‰ j ‰ j n˙ œ 4
4 ˙.
#˙ œ #˙ œ b˙ œ ‰ J ‰ 4
> >
2
>
Ï

? 6 #˙ j ‰ j j n˙ œ 4
C. Bn. 4
>
œ
>
œ ˙
> #˙ œ #˙ œ ‰ b˙ œ ‰ J ‰ 4
>
bœ œ œ Ï
Solo A. Sax & 46 b œ J ‰ Ó. ∑ ∑ 44

(√)
bœ œ œ
ossia & 46 b œ J 44

> # >œ # >œ # >œ œ. œ. œ. œ. œ.3 œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ.3 œ. œ. # œ. œ. œ. n œ. œ. œ. œ. œ.3 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.3 œ. œ. # œ. œ. œ.

1 & 46 # œ J ‰ Œ Ó. J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ 44
ƒ 33
3 3 3 3 3 3 3 3 3 3 3 3

6 # >œ ‰ Ó. b œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. j
# œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. ‰
j j 4
3 3 3

& 4 #œ #œ œ Œ ‰ Œ Œ n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. ‰ Œ n œ. œ. œ. œ. œ. œ. œ. œ œ. œ. ‰ Œ
3 3 3 3 3 3

4
3 3 3

2
> > > J J .
ƒ
3 3
3 3
B b Tpt.
bœ œ œ
& 46 b œ J ‰ Ó. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. # œ œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. # œ œ. œ. 44
3 3 3 3 3 3

‰ Œ ‰ Œ ‰ Œ ‰ Œ
3 3
3
J . J J . J
ƒ3
3 3

b >œ œ œ
3 3 3 3 3

˘
& 46 b œ J ‰ Ó. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ.
j ‰ Œ j
# œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. ‰ Œ
b œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ.
j ‰ Œ j
# œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. ‰ Œ 44
3 3 3 3 3 3 3 3 3 3 3 3
4

ƒ
3 3 3 3

n œ-
& 46 # œ- # œ- n œ- n œ- # œ- #˙ # >œ >œ # >œ >œ >œ # >œ >œ # >œ œ. # >œ # >œ # œ . œ œ #œ œ. #œ #œ #œ nœ œ.
>
#œ #œ œ 44
1
> >> > > >. # >œ # >œ > > >
ƒ 7

6 > # >œ >œ # >œ >œ >œ # >œ >œ # >œ œ. # >œ # >œ # œ . > 4
&4 ‰ j j #œ j œ œ #œ œ. #œ #œ
# œ # >œ n >œ œ. #œ #œ œ 4
œ nœ #œ œ œ œ
> >œ
#˙ > >> > > # >œ . > >
S>
2

F.Hn. S> S> S > ƒ 7

>

n œ- n œ- # >œ >œ # >œ >œ >œ # >œ >œ # >œ # >œ # >œ # œ . >
6 # œ- n œ- # œ- #˙ œ. œ œ #œ œ. #œ #œ #œ #œ œ
4
3 & 4 # œ-
> >> > > # >œ . # œ # >œ n >œ œ.
> >
4
ƒ >
>
7

6 j #œ j j j 4
&4 ‰ œ n >œ
j j nœ œ ‰ Œ #œ œ ‰ Œ j ‰ Œ #œ œ ‰ Œ 4
S>
#œ œ >œ œ
> >œ
#œ œ
4

S S> S ƒ

#œ >œ # >œ b œ. œ. œ. œ. œ.3 œ. œ. œ. œ. œ. n œ. œ. œ. œ. œ.3 œ. œ. # œ. œ. œ. b œ. œ. œ. œ. œ.3 œ. œ. œ. œ. œ. n œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ.

?6 J n >œ # >œ œ >œ >œ >œ 4
3

1 4 J J J J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ 4
S S S S ƒ
3 3 3 3 3 3 3 3 3 3 3 3

# >œ #œ œ œ œ œ œ
? 6 # œJ >œ n >œ # >œ œ >œ >œ >œ J ‰ Œ J ‰ Œ
#œ œ
J ‰ Œ J ‰ Œ 4
Tbn. 2 4 J J J 4
S S S S ƒ
n œ-
? 6 #œ # œ- # œ- n œ- # œ- #œ œ ‰ Œ #œ œ ‰ Œ #œ œ ‰ Œ nœ œ ‰ Œ 4
Bass 4 - J J J J 4
ƒ

? 46 # œ j j j 44
œ œ œ œ œ # œ- œ- œ ‰ œ- œ- œ ‰ b œ- œ- œ ‰ j ‰
1
> > > > > > n œ- œ- œ
Tba.
ƒ
? 46 # œ j ‰ j 44
2
>
œ
>
œ
>
œ
>
œ
>
œ
> # œ- œ- œ # œ- œ- œ ‰ j ‰ n œ- œ- œ
j ‰
ƒ b œ- œ- œ

Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
? 46 # œ
≥
# œ-
≤
œ- œ # ≥œ- œ-≤ œ b œ- œ- œ n œ- œ- œ 44
œ œ œ œ œ J ‰ J ‰ J ‰ J ‰
> > > > > >
D.B.

ƒ
, , , , , , Sus.Cym.

? 46 # œæ ˙. ˙. 44
œ ≈ œæ œ ≈ œæ œ ≈ œæ œ ≈ œæ œ ≈ œæ œ ≈ j ‰ Œ Ó. ?
Timp.
> f simile> > > > > # œæ œ ã
F S > ƒ
6 >œ >œ >œ >œ 4
ã 4 ∑ œ
J ‰ Œ œ
J ‰ Œ œ
J ‰ Œ œ
J ‰ Œ 4
1
æ æ æ æ
Perc. ƒ
ã 46 ‰ œ
j ‰ œ
j ‰ œj ‰ œ
j ‰ œj œ œ œ
j ‰ Œ Œ Ó. ∑ 44
> > > > > > > >
2

114 115 116

 ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ,
Con
i
tutta
i
forza
>œ >œ >œ # >œ >œ >œ >œ # >˙ . œ Ÿ̇ ~~~~~~~ Ÿ̇ ~~~~~~~~~~~~~~~~~~~ > 51
. . œ œ
Picc. & 44 46 J ‰ Œ Œ Œ Œ Œ ∑ J ‰ Œ Ó.
S
Ÿ̇i. ~~~~~~~~~ Ÿ̇i. ~~~~~~~~~~~~~~~~~~
7

(√)
, œ >œ
4 >œ >œ >œ # >œ >œ >œ >œ # >˙ . 6 œ œ œ œ #œ œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ #œ œ œ J ‰ Œ Ó.
1 &4 4 œ
ß S
Ÿ̇i ~~~~~~~~~~ Ÿ̇i ~~~~~~~~~~~~~~~~~~~
7

(√) . . œ >œ
> > >œ > > > > # >˙ . œ, œ œ #œ œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ #œ
Fl. 2 & 4 œ œ #œ œ œ œ
4 46 œ œ œ œ J ‰ Œ Ó.
ß S
Ÿ̇i ~~~~~~~~~~ Ÿ̇i ~~~~~~~~~~~~~~~~~~~
7

(√) . . œ >œ
> > >œ > > > > # >˙ . œ, œ œ #œ œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ #œ
3 & 4 œ œ #œ œ œ œ
4 46 œ œ œ œ J ‰ Œ Ó.
7 ß S
Ÿ̇i. ~~~~~~~~~~ Ÿ̇i. ~~~~~~~~~~~~~~~~~~~
œ >œ
> > >œ > > > > # >˙ . œ, œ œ #œ œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ #œ œ #œ
1 & 44 œ œ # œ œ œ œ 46 œ œ
J ‰ Œ Ó.
ß S
i
Ÿ̇i. ~~~~~~~~~~ Ÿ̇. ~~~~~~~~~~~~~~~~~~~~
7

œ #œ œ >œ
Ob.

> > >œ > > > > # >˙ . œ, œ œ #œ œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ #œ

2 & 44 œ œ # œ œ œ œ 46 œ
œ
J ‰ Œ Ó.
ß S
i
Ÿ̇i. ~~~~~~~~~~ Ÿ̇. ~~~~~~~~~~~~~~~~~~~~
7

œ >œ
4 > 6 , œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ #œ #œ
& 4 œ œ œ #œ œ #œ œ #˙. 4 œ œ #œ œ #œ œ #œ J ‰ Œ Ó.
7

> > > > > > > œ

Eng. Hn.

ß S
È
#œ #œ œ œ. œ œ œ. œœ œ ˙ œ #œ #œ Ÿ̇È ~~~~~~~~~~~ Ÿ̇ ~~~~~~~~~~~~~~~~~~~~
œ >œ
, œ #œ #œ œ . .
4 > > b >œ > > > > b >˙ . 6 œ J ‰ #œ J ‰
E b Cl. & 4 bœ œ bœ œ bœ œ 4 #œ Œ Ó.
ß S
Ÿ̇È.~~~~~~~~~~~ Ÿ̇È.~~~~~~~~~~~~~~~~~~~~
7

> #œ #œ œ >œ
4 >œ >œ # >œ # >œ >œ # >œ >œ # ˙ .
,
6 œ œ #œ #œ #œ œ œ. œ œ œ. œ œ œJ ˙ œ #œ #œ #œ J ‰
1 &4 4 #œ ‰ Œ Ó.
ß S
Ÿ̇È ~~~~~~~~~~~ Ÿ̇È ~~~~~~~~~~~~~~~~~~~~ >
7

>œ >œ # >œ # >œ >œ # >œ >œ # >˙ . œ, œ #œ #œ œ œ. œ œ œ. œ œ œJ ˙ œ #œ #œ #œ #œ

. . œ œ ‰
B b Cl. 2 & 44 46 #œ
#œ ‰ #œ J Œ Ó.
ß S
Ÿ̇È ~~~~~~~~~~~ Ÿ̇È ~~~~~~~~~~~~~~~~~~~~ >
7

> œ. #œ #œ
4 >œ >œ # >œ # >œ >œ # >œ >œ # ˙ .
,
6 œ œ #œ #œ # œ œ œ œ œ. œ œ œJ ˙ œ #œ #œ #œ . . œ œ ‰
3 &4 4 #œ ‰ J Œ Ó.
7 ß S

& 44 Œ j 46 Œ ‰ j j Œ j‰ Œ Ó.
3

œ œ. œ bœ œ-
B. Cl.
bœ ˙ œ œ. bœ œ. œ œ
> > œ
> > > > >œ > >œ . œ
> œ- -̇ -̇ œ
>
S

?4 Œ j 6 Ó.
4 œ. 4 Œ ‰ j j œ- Œ j‰ Œ
3

œ œ #œ œ #˙ œ #œ. œ œ œ œ œ -̇
> >. > >œ > >œ . œ nœ œ
1
> > > > - -̇ >
Bsn. S
?4 Œ j 6 Ó.
4 œ. 4 Œ ‰ j j œ- Œ j‰ Œ
3

œ œ #œ œ #˙ œ #œ. œ œ œ œ œ -̇
> >. > >œ > >œ . œ nœ œ
2
> > > > - -̇ >
S
?4 Œ j 6 Ó.
4 œ. 4 Œ ‰ j j œ- Œ j‰ Œ
3

œ œ #œ œ #˙ œ #œ. œ œ œ œ œ -̇
> >. > >œ > >œ . œ nœ œ
C. Bn.
> > > > - -̇ >
S
Con tutta forza
4 ∑ 6 ∑ ∑ ∑ ∑
Solo A. Sax &4 4

œ- -̇ -̇ œ- >œ
# œ. œ. œ. œ. œ3. œ. œ. # œ. œ. œ œ. œ bœ. œ
& 44 Ó J ‰ 46 Ó . bœ. œ bœ. œ
j bœ. œ
j
bœ. œ
œ Œ J ‰ Œ Ó.
>
1
3 3 3
ƒ molto marc. S
- -̇ b >œ
j œ. œ bœ. œ bœ -̇ œ-
& 44 Ó # œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ 46 Ó . j j œ Œ J ‰ Œ Ó.
3 3 3

‰ bœ. œ bœ. œ bœ. œ bœ. œ

>
2

ƒ molto marc. S
- œ-
3
B b Tpt.

# œ. œ. œ. œ. œ. œ. œ. # œ œ. œ. œ. œ bœ. œ b œ- b ˙ -̇ >
Œ œJ ‰ Œ
#
& 44 Ó 46 Ó . j j œ Ó.
3 3 3

‰ bœ. œ bœ. œ bœ. œ bœ.

3
. J œ
3
ƒ molto marc. S
œ. œ bœ. œ n ˙- œ-
& 44 Ó # œ. œ. œ. œ. œ. œ. œ. n œ. œ. œ.
j ‰ 46 Ó . bœ. œ bœ. j bœ. j œ Œ # œj ‰ Œ Ó.
3 3 3

œ œ bœ. œ # œ- -̇
S>
4
3
ƒ molto marc.

# œ- -̇ -̇ œ- # >œ
4 > 6 , œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ #œ #œ
& 4 œ œ œ #œ œ #œ œ #˙. 4 œ œ #œ œ #œ œ #œ Œ
J ‰ Œ Ó.
7

> > > > > > > œ

1

ß S
> , #œ #œ Ÿ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~ >
& 44 œ œ œ # œ œ # œ œ # ˙ . 46 œ œ # œ œ #œ œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ #œ œ ˙ ˙. Œ #œ ‰ Œ Ó.
7

2
> > > > > > > œ J
ß S
Ÿ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~
> 6 , #œ #œ >
F.Hn.

4 œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ ˙ ˙. Œ œJ
& 4 œ œ œ #œ œ #œ œ #˙. 4 œ œ #œ œ #œ œ #œ ‰ Œ Ó.
7

> > > > > > > œ

3

ß S
j #œ #œ Ÿ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~ >
& 44 Œ j ‰ 46 ‰ œ #œ œ #œ œ œ. œ œ œ. œ œ œJ ‰ ˙ œ #œ œ #œ œ ˙ ˙. Œ œJ ‰ Œ Ó.
#˙ œ
œ
4

ß S
- œ-
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. > > >œ >. >œ > >œ . #œ œ- n ˙ -̇ # >œ
?4 Ó 6 ‰ #œ J ‰ Œ
3

4 J ‰ 4 Œ œ #˙ œ #œ. œ œ œ œ Œ Ó.
1
J J
3 3 3
S
˙ œ # œ- n ˙- # ˙- n œ-
3

?4 Œ J 6 > > >œ >. >œ > >œ . >

4 ‰ 4 Œ ‰ #œ œ #˙ œ #œ. œ œ œ œ œ Œ œ ‰ Œ Ó.
Tbn. 2
J J J
3
S
>œ > >œ > . > # œ- - -̇ >
?4 Œ
4
#˙ œ
J ‰ 6
4 Œ ‰ j j #œ œ œ n˙ œ- Œ œJ ‰ Œ Ó.
#œ œ #˙ œ #œ. œ œ œ
>.
Bass
> > > 3 S

?4 Œ j 6 Ó.
4 œ. 4 Œ ‰ j j œ- Œ j‰ Œ
3

œ œ #œ œ #˙ œ #œ. œ œ œ œ œ -̇
> >. > >œ > >œ . œ nœ œ
1
> > > > - -̇ >
Tba. S
?4 Œ j 6 Ó.
4 œ. 4 Œ ‰ j j Œ j‰ Œ
3

œ œ #œ œ #˙ œ #œ. œ œ œ œ œ
> >. > >œ > >œ . œ nœ œ
2
> > > > - -̇- -̇ œ- >
S
≥>
?4 Œ œ≤ œ. >œ 6 ‰ #œ œ. # ˙≤ œ #œ.
> >œ >. >œ > >œ > . > -≤ ≥ ≥- >
Ó.
D.B. 4 J 4 ΠJ
œ
J
œ œ œ œ nœ ˙- ˙ œ- Œ œ ‰ Œ
J
3
S

>
Timp.

?4 Œ j 6 ∑ ∑ œ ˙ Œ œ ‰ Œ Ó.
4 œæ œæ. œ 4
æ ˙æ æ œæ J
>
Timp.

Ï S secco
˙.
Cr.Cym.

4 6
ã 4 Ó ‰ 4 Ó. ∑ ˙. ˙. œ Œ œ ‰ Œ Ó.
Solo
œ œ
Tam-Tam

æ J Œ ˙ Œ æ œ ‰
æ J J
1
ƒ
Ï S>> secco
Bass Dr.
Perc. Field Dr.

ã 44 ∑ 46 ∑ Œ ‰ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ ‰ Œ Ó.
Solo
œ œ ˙ ˙ œ
2
æ æ æ æ æ J
ƒ3 3 3
Ï S secco
117 118 119 120 121
 52
Picc. & ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

1 & ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

Fl. 2 & ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

3 & ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

j j j j 44
1 & ∑ ∑ ∑ # œ. ‰ Œ n œ. ‰ Œ # œ. ‰ n œ ‰ ∑ ∑ 46 ∑ ∑
π
Ob.

∑ ∑ ∑ j j j j 44 46
2 & # œ. ‰ Œ œ. ‰ Œ œ. ‰ œ. ‰ ∑ ∑ ∑ ∑
π

∑ ∑ ∑ j ‰ Œ j ‰ Œ j ‰ j ‰ ∑ 4 ∑ 6 ∑ ∑
Eng. Hn. & œ. œ. œ. œ. 4 4
π

E b Cl. & ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

j ‰ Œ 4 6
& ∑ ∑ ∑ j ‰ Œ œ. j ‰ œj ‰ ∑ 4 ∑ 4 ∑ ∑
.
1

œ. œ.
π
B b Cl. 2 & ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

∑ ∑ ∑ 4 6
3 & j ‰ Œ j ‰ Œ j ‰ j ‰ ∑ 4 ∑ 4 ∑ ∑
œ. œ. œ. œ.
π
∑ ∑ ∑ ∑ ∑ 4 ∑ 6 ∑ Ó.
& 4 4
œ- œ- œ-
B. Cl.

p un poco marc.
# œ. n œ. # œ. n œ.
? ∑ ∑ ∑ J ‰ Œ J ‰ Œ J ‰ J ‰ ∑ 4 ∑ 6 ∑ Ó.
1 4 4 œ- œ- œ-
π p un poco marc.
Bsn.

? j ‰ Œ 4 6
∑ ∑ ∑ j ‰ Œ # œ. j ‰ œj ‰ ∑ 4 ∑ 4 ∑ ∑
œ. œ. .
2

π
C. Bn.
? ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

#œ ˙ , Ÿ Ÿ
˙ #œ œ œ œ ˙ #œ œ #œ œ œ n œ œ œ œŸ. œœœ Ÿ #œ ˙ œ [,]
Solo A. Sax & nœ. œœœ œ œœœœœ œœ œ œ œ #œ 4
4 œ œ #œ œ œ
6
4 œ #œ œ œ œ.
j
œ ˙ #œ ˙.
∏
˙ #œ œ œ œ ˙ #œ œ √ #œ Ÿ #œ ˙ œ
poco

˙ œ œ œ œ œ œŸ Ÿ
#œ œ œ n œ œ œ œŸ. , nœ. œœœ œ œ œ #œ œ œ #œ œ œ œ ,
œœœ
œœ
& 44 46
[ ]
ossia
π

∑ ∑ ∑ ∑ ∑ 4 Œ œ. ‰ Œ œ. ‰ 46 Œ œ. ‰ œ. ‰ Ó . ∑
1 only

1 & 4 J J J J
∏
∑ ∑ ∑ ∑ ∑ 4 Œ b œj ‰ Œ j ‰ 46 Œ
j
j ‰ b œ. ‰ Ó . ∑
1 only

2 & 4 . œ. œ.
∏
B b Tpt.

44 Πj j
∑ ∑ ∑ ∑ ∑ j‰ Œ b œ. ‰ 46 Œ b œ. ‰ b œj ‰ Ó . ∑
1 only

& b œ. .
3

∑ ∑ ∑ ∑ ∑ 4 ∑ 6 ∑ ∑
4 & 4 4

œ. . œ. ‰ œ. ‰ Œ Œ # œ. ‰ Ó . 4 Œ j
œ. ‰ 46 Œ
j
1 & J ‰ Œ # œJ ‰ Œ J J J
∑ ∑ ∑ 4 œ.
j‰ Œ œ. ‰ j ‰ Ó .
œ.
∑
∏
j 4 Œ j ‰ 46 Œ
& œj ‰ Œ œ.
j‰ Œ j‰ j‰ Œ
œ. œ.
Œ œ. ‰ Ó . ∑ ∑ ∑ 4 œ.
j‰ Œ
œ.
j ‰ j ‰ Ó.
œ. œ.
∑
.
2

∏
F.Hn.
j j j j j 4 6
3 & œ. ‰ Œ œ. ‰ Œ œ. ‰ œ. ‰ Œ Œ œ. ‰ Ó . ∑ ∑ ∑ 4 ∑ 4 ∑ ∑
∏

& œj ‰ Œ j‰ Œ j‰ j‰ Œ Œ j ‰ Ó. ∑ ∑ ∑ 44 ∑ 46 ∑ ∑
4
. œ. œ. œ. œ.
∏

œ. œ. œ. œ. # œ. n œ. œ. # œ.
œ. ‰ Ó .
1 only

? J ‰ Œ J ‰ Œ J ‰ J ‰ Œ Œ ∑ ∑ ∑ 4 Œ J ‰ Œ J ‰ 46 Œ J ‰ J ‰ Ó. ∑
1 J 4
∏
? œ. ‰ Œ œ. .
œ. ‰ œJ ‰ Œ œ. ‰ Œ œ. ‰ 6 Œ œ. ‰ œ. ‰ Ó .
J ‰ Œ œ. ‰ Ó . 4 Œ
1 only

Tbn. 2 J J Œ J ∑ ∑ ∑ 4 J J 4 J J ∑
∏
œ. œ.
? œ. ‰ Œ j œ. ‰ j ‰ Œ 4 Œ œ. ‰ Œ J ‰ 6 Œ J ‰ œ. ‰ Ó .
œ. ‰ Œ Œ j ‰ Ó. ∑ ∑ ∑ ∑
1 only

J J œ. 4 J 4 J
œ.
Bass

? j j 4 Πj 6 j
j‰ Œ œ. ‰ Œ j‰ ‰ Œ Œ j ‰ Ó. ∑ ∑ ∑ 4 j‰ Œ œ. ‰ 4 Œ œ. ‰ œj ‰ Ó . ∑
œ. œ. œ. œ. œ.
1
.
Tba. ∏
2
? ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

j j
Div. Div.

œ œ œ
? œœ ‰ Œ œœ ‰ Œ œœ ‰ œœ ‰ Œ #œ ‰ Œ œ ‰ œJ ‰ œ ‰ 6 Œ œ ‰ œ ‰ Ó. œ- œ- œ-
Unis. Unis. Unis. 1 only arco

Œ œœ ‰ Ó . ∑ œ ‰ Œ ∑ 4 Œ œ ‰ Œ J J Ó.
J 4 4
a2

J œ J œ J J J J
J J J
D.B.

∏ Div. Div. p un poco marc.

? œ ‰ Œ j œ ‰ œj ‰ Œ œ ‰ Ó. j œ ‰ œj ‰ 4 Œ j 6 j
Timp.
J œ ‰ Œ J
Œ
J
∑ œ ‰ Œ
J #œ ‰ Œ J
∑ 4 œ ‰ Œ
J œ ‰ 4 Œ œ ‰ œJ ‰ Ó . Ó. nœ œ œ
π p

∑ ∑ ∑ ∑ ∑ 4 ∑ 6 ∑ ∑
1 ã 4 4 &

Perc.

2 ã ∑ ∑ ∑ ∑ ∑ 44 ∑ 46 ∑ ∑

122 123 124 125 126 127 128 129

 K 53
Picc. & ∑ ∑ ∑ ∑ ∑ ∑

˙ œ œ ˙ œ ˙ œ œ
˙ ˙ œ ˙
1 only

˙ ˙ œ Œ ∑ ‰ œj # œ œ œ œ œ œ œ œ œ œ
a2

1 &
p dolce p dolce
j j j
œ ‰ Ó.
1 only

∑ Œ #œ œ ‰ œ œ œ œ ‰ Œ Œ ∑ Œ ‰ j œ œ œ #œ œ
a2

Fl. 2 & œ œ œ œ œ #œ œ œ nœ
P p dolce
˙ ˙
dolce
1 only
œ œ œ œ œ ˙
˙ ˙ ˙ ˙ œ Œ ∑ Œ ‰ j œ œ œ #œ œ
a2

3 & ˙ œ #œ œ œ nœ
p dolce
p dolce

œ ˙ œ ˙ œ ˙ œ ˙
∑ ∑ ∑ Ó. Œ Œ #œ
1 &
π dolce

œ œ
Ob.

∑ ∑ ∑ Ó. Œ Œ ˙ ˙ #˙ œ
2 & œ ˙ œ
π dolce

#œ ˙ #œ ˙ œ #˙ œ #˙
Eng. Hn. & ∑ ∑ ∑ Ó. Œ Œ œ
π dolce

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

˙ œ ˙ œ #˙ œ ˙ œ œ œ ˙ Œ ∑ ∑
1 only

1 & ˙ œ ˙ ˙
p dolce

& Œ ∑ ∑
1 only

B b Cl. 2 #˙ œ ˙ œ ˙ œ œ #œ
˙ œ ˙ œ ˙ ˙ ˙
p dolce

˙ Œ ∑ ∑
&
1 only
3
˙ œ œ ˙ œ ˙ œ ˙ œ #˙
˙ œ #˙ œ
p dolce

& #˙ œ #˙ #˙
#˙ œ- -̇ œ- # ˙- œ œ
B. Cl.
˙ œ #˙ œ ˙ œ #˙ œ ˙ œ bœ ˙ œ

œ œ œ œ œ œ ˙ ˙ #˙ œ
œ œ œ œ œ œ ˙ œ œ #œ
? Œ Œ Ó. Œ J ‰ J ‰ Œ Œ J ‰ Œ Œ Œ
1
œ-
π dolce

œ ‰ œ œ
Bsn.

? ∑ Œ œ œ œ œ J ‰ Œ Œ œ œ œ œ ‰ Œ Œ Œ #œ ˙ œ #˙ œ #˙ œ ˙ œ
2 J J
π dolce

C. Bn.
? ∑ ∑ ∑ ∑ ∑ ∑

œ œ #œ œ œ bœ bœ ˙
˙. œ [,] œ
œ œ œ #œ œ[,] #œ œ œ
bœ n˙ œ[,]b œ b œ b œ bœ bœ
bœ
bœ
bœ bœ
& œ #˙ œ œ œ œ #œ œ #œ œ œ œ œ #œ œ œ œ bœ œ
Solo A. Sax
œ
p espress.
3
5
6

1 & ∑ ∑ ∑ ∑ ∑ ∑

2 & ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 & ∑ ∑ ∑ ∑ ∑ ∑

4 & ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ Ó. Œ Œ
con sord.

1 & œ
p
j‰ Œ Œ ∑ ∑ ∑ Ó. Œ Œ
con sord.

2 & ˙ œ ˙ œ ˙. œ œ
F.Hn.
∏ p

3 & ∑ ∑ ∑ ∑ ∑ ∑

4 & ∑ ∑ ∑ ∑ ∑ ∑

1
? ∑ ∑ ∑ ∑ ∑ ∑
a2

Tbn. 2
? ∑ ∑ ∑ ∑ ∑ ∑

Bass
? ∑ ∑ ∑ ∑ ∑ ∑

1
? ∑ ∑ ∑ ∑ ∑ ∑
Tba.

2
? ∑ ∑ ∑ ∑ ∑ ∑

? œ-
1 only

D.B. Œ Œ Ó. ∑ ∑ ∑ Œ Œ œ #˙ œ #˙ œ #˙ œ
π

Timp.
? ∑ ∑ ∑ ∑ ∑ ∑

˙.
Glock.

1 & Ó. ∑ ∑ ∑ ∑ ∑
Perc.
π

2 ã ∑ ∑ ∑ ∑ ∑ ∑

130 131 132 133 134 135

 54
Picc. & ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

œ #œ œ œ œ Œ œ- œ- œ- œ-
1 & œ œ œ Œ 43 ∑ 46 ∑ ∑ Ó. Œ Œ Œ œ- Œ œ- Œ Œ Ó.
p
Fl. 2 & œ œ #œ œ œ œ œ œ Œ Œ 43 ∑ 46 ∑ ∑ Ó. Œ œ- œ- œ- œ- Œ Œ œ- Œ œ- Œ Œ Ó.
p

3 & œ œ #œ œ œ œ œ œ Œ Œ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

#œ
1 & ˙ ˙ Œ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑
Ob.

2 & ˙ œ #˙ Œ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

Œ Œ Œ Œ 3 ∑ 6 ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ˙ 4 4

E b Cl. & ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

#˙ #œ 3 ˙ 6
& Œ Œ œ 4 # œ- 4 ˙ Œ Ó. ∑ Ó. Œ Œ Œ Œ Œ Œ Ó.
a2

œ- œ- œ- œ- œ- œ-
1

π π
#œ 3 6 Ó. Ó. Ó.
& Œ Œ 4 #˙ 4 Œ ∑ Œ Œ Œ Œ Œ Œ
a2
B b Cl. 2
œ #˙ œ #˙ œ- œ- œ- œ- œ- œ-
π
3 6
3 & Œ Œ œ
˙ #œ 4 #˙ #œ 4 #˙ Œ Ó. ∑ ∑ ∑ ∑
π
3 6 Œ Ó. ∑ Ó. Œ Œ Œ Œ Œ Œ Ó.
& ˙ 4 4 # œ- œ- # œ- œ- œ-
˙ œ œ-
B. Cl.
œ ˙ œ #˙ π

#˙ œ ˙ #˙ #œ ˙
#œ
1
? 43 46 Œ Ó- . ∑ ∑ ∑ ∑

œ œ #˙
? ˙ ˙ 3 ˙
Bsn.
œ 6
4 4 Œ Œ œ- Œ œ- Œ œ- œ- Œ œ- Ó. Ó. Œ œ- Œ Œ Œ Ó.
2
œ- œ- œ- œ-
p π
? ∑ 3 ∑ 6 ∑ ∑ ∑ ∑ ∑
C. Bn. 4 4

œ[,]b œ bœ n˙ œ bœ
œ b[–]œ [–] œ bœ bœ bœ bœ bœ bœ ˙. œ nœ #œ œ , #œ
œ #œ #œ œ œ
bœ bœ bœ nœ œ 3 6 #œ #œ œ. J #œ ˙. w. œ
Solo A. Sax & 4 4 Œ Œ Ó.
3
π ∏

3 6
1 only

1 & ∑ 4 ∑ 4 ∑ ∑ Ó. Œ #œ œ #œ œ Œ Ó. ∑
∏
∑ 3 ∑ 6 ∑ ∑ Ó. Œ œ œ œ œ Œ Ó. ∑
1 only

2 & 4 4
B b Tpt.
∏
∑ 3 ∑ 6 ∑ ∑ ∑ ∑ ∑
3 & 4 4

4 & ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

j # œ- œ- # œ- œ- # œ- œ- œ- -
# œ- n œ
43 ˙ . 46 œ ‰ Œ
senza sord.

& ˙ œ ˙ œ Œ Œ Œ Œ Ó. Ó. Œ #œ Œ # œ- Œ Œ Ó.
1
-
π ∏
3 6 j Ó.
4 œ ‰ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ
senza sord.

2 & #˙ œ ˙ œ 4 #˙. # œ- œ- # œ- # œ- œ- œ- # œ- œ- n œ- œ- œ- œ- œ- œ- œ-
π ∏
F.Hn.

3 6
3 & ∑ 4 ∑ 4 Ó. Œ œ- # œ
-
Œ œ- n œ- Œ œ- œ- œ- œ- # œ- Œ
œ- œ- œ- œ-
Œ Œ Œ Œ ∑
π ∏

4 & ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

1
? ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

Tbn. 2
? ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

a2

? ∑ 43 ∑ 46 Ó . Œ Œ Œ œ- Œ œ- Œ œ- œ- œ- œ- Œ Ó. ∑
Bass œ- œ- œ- œ- œ- œ-
π ∏

? ∑ 3 ∑ 6 ∑ ∑ Ó. Œ Œ Œ Œ Œ Œ Ó.
1 4 4 œ- œ- œ- œ- œ- œ-
Tba.
∏

2
? ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

? #˙ 3 n˙ œ
arco pizz. arco

#˙ nœ 6
#œ 4 œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Ó.
a2

D.B. 4 œ- œ- œ- œ- œ- œ- œ- œ- œ œ œ œ œ- œ-
π

? ∑ 43 ∑ 46 ∑ ∑ Ó. Œ Œ Œ Œ Œ Œ Ó.
Timp.
œ œ œ œ œ œ
π
∑ 3 ∑ 6 ∑ ∑ ∑ ∑ ∑
1 & 4 4
Perc.

2 ã ∑ 43 ∑ 46 ∑ ∑ ∑ ∑ ∑

136 137 138 139 140 141 142

 55
III. Rondo alla marcia

Allegro brioso (q = 120+ sempre) b œ. œ. œ.

√j œ œ. œ. œ. œ. √j œ
bb 2 nœ J J ‰ J Œ
nœ
Piccolo & b 4 ‰ Œ ∑ ∑ ∑ ‰ ∑ ∑ ∑
ƒ S
√j œ bœ bœ œ œ œ √j œ
bœ œ nœ œ œ bœ œ
bbb 42 J
œ œ ‰ J Œ
nœ nœ
1 & ‰ Œ ∑ ∑ ∑ ‰ ∑ ∑ ∑
ƒ S
√j œ bœ bœ œ œ œ √j œ
bœ œ nœ œ œ bœ œ
bb 2 nœ J œ œ ‰ J Œ
nœ
Flute 2 & b 4 ‰ Œ ∑ ∑ ∑ ‰ ∑ ∑ ∑
ƒ S
√j œ bœ bœ œ œ œ √j œ
bœ œ nœ œ œ bœ œ
bbb 2 J œ œ ‰ J Œ
nœ nœ
3 & 4 ‰ Œ ∑ ∑ ∑ ‰ ∑ ∑ ∑
ƒ S

b 2 œ j œ. j œ. j œ. œ. œ. œ
J ‰ Œ œ
J
œ
J
œ
J j j
‰ J Œ
&bb 4 ∑ ∑ ∑ ‰ ‰ ‰ ∑ ∑ ∑
œ œ
1
ƒ S
œ j œ. j œ. j œ. œ. œ.
œ
Oboe
b
& b b 42 J ‰ Œ J J J ‰ J Œ
œ œ œ j j
2 Ó ∑ ∑ ‰ ‰ ‰ œ œ ∑ ∑ ∑
ƒ S
b 2 nœ œ
j j œ. j œ. j œ. œ. œ. nœ œ
j
&b 4 J ‰ Œ ∑ ∑ ∑ J ‰ ‰ J J ‰ ‰ J Œ ∑ ∑ ∑
œ œ œ j
English Horn œ

ƒ S

œ œ #œ œ œ œ jœ
nœ nœ œ nœ nœ œ œ ‰
j
2J ‰ Œ#œ
∑ ∑ ∑ œ œ ‰ #œ J Œ ∑ ∑ ∑
Clarinet in E b & 4
ƒ S
nœ œ bœ œ œ nœ œ jœ
j
œ bœ œ œ œ œ œ œ œ nœ
1 & b 42 J ‰ Œ ∑ ∑ ∑ ‰ ‰ J Œ ∑ ∑ ∑
ƒ S
nœ œ bœ œ œ nœ œ œ bœ œ œ œ nœ œ
j j
2 J ‰ Œ œ œ œ œ ‰ J
B b Clarinet 2 &b 4 ∑ ∑ ∑ ‰ Œ ∑ ∑ ∑
ƒ S
nœ œ bœ œ œ nœ œ œ bœ œ œ œ nœ œ
j j
2 J ‰ Œ œ œ œ œ
3 &b 4 ∑ ∑ ∑ ‰ ‰ J Œ ∑ ∑ ∑
ƒ S
2
B b Bass & b 4 œj j ‰ Œ ∑ ∑ ∑ j ‰ ‰ j j ‰ œ. œ. ‰ j Œ ∑ ∑ ∑
Clarinet œ œ. œ. œ. œœ
j

ƒ S

j œ. œ. œ.
1
? b b 42
b œ
j
œ ‰ Œ ∑ ∑ ∑ J ‰ ‰ J J ‰ œ. œ. ‰ œj œj Œ ∑ ∑ ∑
Bassoon
ƒ S
? b 2 j j j j j ‰ œj œj Œ
bb 4 œ œ ‰ Œ ∑ ∑ ∑ œ. ‰ ‰ œ. œ. ‰ ∑ ∑ ∑
œ. œ.
2
ƒ S
? b 2 j j j j j ‰ œj œj Œ
bb 4 œ œ ‰ Œ ∑ ∑ ∑ œ. ‰ ‰ œ. œ. ‰ ∑ ∑ ∑
œ. œ.
Contrabassoon
ƒ S

Allegro brioso (q = 120+ sempre)

2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Solo E b Alto
Saxophone
& 4

b œ. œ. œ. œ œ
2
&b 4
j œ ‰ Œ ∑ ∑ ∑ œ. œ. J ‰ ‰ n œj œJ Œ ∑ ∑ ∑
1 nœ
J
ƒ S
œ. œ.
2
&b 4 nœ œ ‰ Œ
j
J ∑ ∑ ∑ œ. ‰ ‰ œ. œ. ‰ ‰ n œj œJ Œ ∑ ∑ ∑
2
J J J
B b Trumpet ƒ S
2 œ œ ‰ Œ œ. œ. ‰ n œj œ
j
3 &b 4 J
∑ ∑ ∑ œ
j œ
J
‰ ‰ œ
j
J œ
j
J
‰
œ
j œ œ
j œ J
Œ ∑ ∑ ∑
ƒ S
& b 42 j ‰ Œ ∑ ∑ ∑ j œ ‰ ‰ j œ. j œ. ‰ œ. œ. ‰ n œj œ Œ ∑ ∑ ∑
4
œ
j
œ
œ
J
œ
J
œ
J œ
j
œ
j
J
ƒ S
b 2 nœ œ
j j œ. j œ. j œ. œ. œ. ‰ n œ œJ
j
&b 4 J ‰ Œ ∑ ∑ ∑ J ‰ ‰ J J ‰ Œ ∑ ∑ ∑
œ œ œ j
1 œ

ƒ S
b 2 nœ œ
j j œ. j œ. j œ. œ. œ. nœ œ
j
&b 4 J ‰ Œ ∑ ∑ ∑ J ‰ ‰ J J ‰ ‰ J Œ ∑ ∑ ∑
œ œ œ j
2 œ

ƒ S
nœ œ nœ œ
F Horn
b 2 j
j j j œ.
j
3 &b 4 J ‰ Œ ∑ ∑ ∑
œ
j œ.
‰ ‰
œ
j œ. œ
j œ.
‰ œ
j œ ‰ J Œ ∑ ∑ ∑
ƒ S
nœ œ
jœ
b 2 j
j j j œ.
4 &b 4 J ‰ Œ ∑ ∑ ∑
œ
j œ. ‰ ‰
œ
j œ. œ
j œ. ‰ œ
j œ ‰ nœ J Œ ∑ ∑ ∑
ƒ S
? b 2 œ
J ‰ Œ ∑ ∑ ∑ œ. ‰ ‰ œ. œ. ‰ œ. œ. ‰ J
œ
Œ ∑ ∑ ∑
1 bb 4 J J J
ƒ S
? b 2 j ‰ Œ ∑ ∑ ∑ j ‰ ‰ j j ‰ œ. œ. ‰ œj Œ ∑ ∑ ∑
Trombone 2 bb 4 œ œ. œ. œ.
ƒ S
? b 2 j ‰ Œ ∑ ∑ ∑ j ‰ ‰ j j ‰ ‰ œj Œ ∑ ∑ ∑
bb 4 œ œ. œ. œ. œ. œ.
Bass
ƒ S
? b 2
bb 4 j ‰ Œ ∑ ∑ ∑ œ.
j ‰ ‰ œ.
j
œ.
j ‰ ‰ œj Œ ∑ ∑ ∑
œ. œ.
1
œ S
Tuba ƒ
? b 2 j j j
bb 4 j ‰ Œ ∑ ∑ ∑ œ. ‰ ‰ œ. œ. ‰ ‰ j Œ ∑ ∑ ∑
œ. œ.
2
œ œ
ƒ S

? b 2 œ œ. œ. œ. œ. œ.
œ
J ‰ Œ ∑ ∑ ∑ J ‰ ‰ J J ‰ ‰ J Œ ∑ ∑ ∑
pizz.

Double Bass bb 4
ƒ S

œ ‰ ‰ >œ >œ >œ > >œ >œ >œ j

T.T. (High & Low)

42 ‰ ‰ ‰ œJ Œ ∑ ∑ ∑ ‰ œ ‰
R.S.
œ
1 ã J J J œ œ J œ œ J œ œ œ œ œ œ
ƒBongos p
2 j > ‰ >œJ Œ
œœœ ‰ ‰ œ œ œ œ œ œ œ >œ œ œ œ ‰ Œ
subito

Percussion 2 ã 4 œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ œ œ œ œ œ œ >œ
ƒ
2 y ‰ ‰ >œ >œ œ œ œ œ œ œ ‰ >y Œ ∑ ∑ ∑
>œ œ œ œ œ œ œ >œ ‰ Œ
Snare Dr.
3 ã 4 J æJ
œ
æ
œ œ œ œ
æ J æ æ
œ œ œ
æ
œ
J
ƒ
1 2 3 4 5 6 7 8 9 10
 A 56
Picc. & bbb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

b
1 &bb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

b 3 2 3 2
Fl. 2 &bb ∑ ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ ∑ ∑ ∑

b
3 &bb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

b > >œ .
&bb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ œ œ. œ
J
‰ Œ œ œ j ‰ Œ
> > > >œ . œ
1

ƒ p ƒ p
> >œ .
Ob.

& bbb ∑ ∑ 3
4 ∑ 2
4 ∑ ∑ 3
8 ∑ 2
4 Œ œ œ. œ ‰ Œ œ œ j ‰ Œ
2
> > J > >œ . œ
ƒ p ƒ p
bb j j
& ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ œ œ. œ ‰ œ œ. j
œ ‰ œ œ. œ ‰ Œ
> > >> >>
E. Hn.

ƒ p ƒ ƒ p

E b Cl. & ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

1 &b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

B b Cl. 2 &b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

3 &b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

B. Cl. &b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑

œ ˙ œ >œ >
? bb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ J ‰ œ. ˙
1 b
Sfp p
ƒ>
œ>
Bsn.

? bb j
2 b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ œ ˙ œ ‰ œ. ˙
Sfp p
ƒ
? bb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑
C. Bn. b

& ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ Œ œ
œ œ œ
Solo A. Sax

f brillante e presto
>œ >œ ˙
.
1 &b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ Œ
ƒ p

&b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ œ œ. œ. ˙
œ
ƒ> > >>
2

B b Tpt.
p
> >œ . >œ >œ .
3 &b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ œ ˙ œ œ
J ‰ Œ
ƒ p ƒ p

&b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ œ œ œ. œ ˙
> œ. ˙
ƒ> >
4

ƒ > p p
b j
&b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ œ œ. ˙ œ ‰ œ
> > > >œ . ˙
1

ƒ p ƒ p
b j
&b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 Œ œ œ. ˙ œ ‰ œ ‰ ∑
> > > >œ
2

F.Hn. ƒ p ƒ
b j ‰
&b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 œ œ . œ Œ œ œ.
j
œ ‰ œ œ. ˙
> > >> >>
3

ƒ ƒ ƒ p
b j
&b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 œ œ œ
j ‰ Œ œ œ.
j
œ ‰ œ œ. œ ‰ Œ
>. >> >>
4
> ƒ ƒ
ƒ
>œ >œ . œ œ >> j >œ >
? bb
b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 24 J ‰ œ œ. œ ‰ œ.
j
œ ‰ œ
>
1
ƒ p ƒ f marcato
ƒ
>œ . œ œ >œ >
? b ∑ ∑ 3 ∑ 2 ∑ ∑ 3 ∑ 2 >œ J
>>
‰ œ œ. j
œ ‰ j
Tbn. 2 bb 4 4 8 4 œ. œ ‰ Œ
ƒ p ƒ ƒ
? bb j
b ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 œ œ . œ ˙ œ ‰ œ œ ‰ ∑
> > >>
Bass

ƒ p ƒ
? bb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑
1 b
Tba.
? bb ∑ ∑ 43 ∑ 42 ∑ ∑ 38 ∑ 42 ∑ ∑ ∑ ∑
2 b

? b ∑ ∑ 3 ∑ 2 ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑
D.B. bb 4 4 8 4

>œ j >œ > 3 œ œ. œ œ. œ œ. j

43 œ œ œ œ œ œ œ œ œ 42 œ œ œ Œ 42 œ œ .
j
ã
œ
œ œ ‰ œ œ œ œ œ œ œ œ œ Œ œ 8 œœœ œ œ œ. œ œ. œ ‰ Œ
>
1

ƒ High F
>œ
cresc. cresc. molto

2 > > >œ >œ . >œ >œ .

Cow-Bell (choke)

3 y y y 2 ‰ y 3 œœœ œ y y y y
Bongos

4 œ œ.
Sus.Cym. (choke)
Œ ‰ j
4 ‰ J ‰ J ‰ J J ‰ J j ‰ Œ J ‰ Œ
Wd.Blk.

ã œ œ œ œ œ œ œ 4 8
p
Perc. 2
œ
ƒ F
j> >œ >
cresc. cresc. molto

>œ 2 œ >œ Œ >œ

Wd.Blk. (high)
œœ 3 œ
ã ‰ œ œ œ œœ œ œ ‰ 4 œ œ œ 4æ ‰ J yJ ‰ 38 œ œ œ 2
4 Œ œ œ
J ‰ œ œ
J ‰ œ
J ‰ Œ
3
æ æ æ æ æ æ æ
p cresc. cresc. molto ƒ F
11 12 13 14 15 16 17 18 19 20
 B >œ >œ >œ >œ >œ >œ >œ
œ œ œ >œ 57
Picc. & bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J Œ
ƒ >œ >œ >œ >œ
>œ œ œ œ >œ >œ >œ
1 & bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J Œ
ƒ >œ >œ >œ >œ
>œ œ œ œ >œ >œ >œ
Fl. 2 & bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J Œ
ƒ >œ >œ >œ >œ
>œ œ œ œ >œ >œ >œ
3 & bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J Œ
ƒ

b >œ >œ >œ >œ >œ > >œ >

1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J
œœœ œ œ Œ
ƒ
>œ >œ >œ >œ >œ > >œ >
Ob.
b
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J
œœœ œ œ Œ
ƒ
b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

>œ >œ >œ >œ >œ >œ >œ >œ

œ œ œ
E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J Œ
ƒ
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. 2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j > >œ
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ bœ œ nœ œ œ œ œ Œ
> > > > > >
B. Cl.

j b >œ >œ n >œ >œ >œ >œ >œ >œ

? bb ˙ ˙ ˙ œ œ ‰ ∑ ∑ ∑ Œ ‰ J Œ
1 b
f ƒ
b >œ >œ n >œ >œ >œ >œ >œ >œ
Bsn.

? bb ˙ j
2 b ˙ ˙ œ œ ‰ ∑ ∑ ∑ Œ ‰ J Œ
f ƒ
? b Œ œ ˙ ˙ œ œ >œ >œ
C. Bn. bb J ‰ ∑ ∑ ∑ ∑ ∑ 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
J
[ ]

& œ œ ‰ Œ ∑ ∑ ∑
[>] [>]
Solo A. Sax
molto

˙ ˙ ˙ œ œ ‰ > > >œ >œ >œ >œ >œ >œ >œ >œ >œ
1 &b J ∑ ∑ œ. œ. œ. œ. b œ. œ œ ‰ J Œ
π f f secco
> > >œ >œ >œ >œ >œ >œ >œ >œ >œ
&b ˙ ˙ ˙ œ œ ‰ ∑ ∑ œ œ ‰ Œ
2 J œ. œ. œ. œ. b œ. J
π f f secco
B b Tpt.
>œ œ Œ
&b ∑ ∑ ∑ ∑ ∑ ∑ œ. œ. œ. œ. œ. bœ œ œ ‰ J œ œ œ œ œ œ
> > > > > > > > > >
3
f secco

j >œ œ Œ
&b ˙ ˙ ˙ œ œ ‰ ∑ ∑ œ. œ. œ. œ. œ. bœ œ œ ‰ J œ œ œ œ œ œ
> > > > > > > > > >
4

π f f secco

b . >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
1 &b ˙ ˙ ˙ œ
j
œ ‰ Œ œ ˙ œ. œ. œ. œ. b œ ‰ J Œ
π f p ƒ f secco
b > > > > > >
&b ∑ ∑ ∑ ∑ Œ œ ˙ œ. œ. œ. œ. œ. bœ œ œ ‰ œ œ œ œ œ œ œ nœ Œ
2
> > > J > >
p ƒ f secco

. b >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
F.Hn.

3 & bb ˙ ˙ ˙ œ
j
œ ‰ Œ œ ˙ œ. œ. œ. œ. b œ ‰ J Œ
π f p ƒ f secco
b > > > > > >
&b ∑ ∑ ∑ ∑ Œ œ ˙ œ. œ. œ. œ. b œ. bœ œ œ ‰ œ œ œ œ œ œ œ nœ Œ
4
> > > J > >
p ƒ f secco
>œ >œ ˙ ˙ œ. œ. œ. œ. œ. b >œ >œ >œ >œ >œ >œ >œ >œ >œ n >œ >œ
>œ >œ >œ >œ
1
? bb œ
b > n >œ ‰ J Œ
ƒ f
>œ ˙ ˙ œ. œ. œ. œ. b œ. b >œ >œ b >œ
secco

b >œ >œ n >œ >œ >œ >œ >œ >œ

? b ∑ ∑ ∑ Œ ‰ Œ
Tbn. 2 bb J
f ƒ f
b >œ >œ >œ
secco

b >œ >œ n >œ >œ >œ >œ >œ >œ

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ Œ
Bass bb J
f
? b Πj
1 bb œ ˙ ˙ œ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑
Tba.
p f
? bb Πj
2 b œ ˙ ˙ œ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑
p f

œ.
pizz.

? bb ∑ ∑ ∑ ∑ ∑ ∑ J ‰ Œ ∑ ∑ ∑
D.B. b
ƒ

1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?
bbb
Snare Dr.

ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ œ
æJ
Perc. 2

f
3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

21 22 23 24 25 26 27 28 29 30
 n œ. œ. . . >œ 58
Picc.
b
&bb ‰ œ œ. œ. œ. œ Œ ∑ ∑ ∑ ∑ ∑ ∑
œœ œ J ‰ Œ ∑
p . ƒ
n œ. œ . œ. œ. œ. √ >
œ œ. j .
œ œ œ œ œ nœ œ œ
œ œ ‰ ‰ œ œ œ n œ. œ.
j
b ‰ J
j
J
j j œ
J
j
J
j j
J
j j
J
j
œ. œœ œ J
&bb ‰ ‰ ‰ J ‰ J ‰ J ‰ J ‰ ‰ Œ ‰ Œ ∑
œ œ #œ œ
1
œ œ
J nœ nœ nœ
J
p f ƒ
√ >
sempre staccatissimo

j .
œ œ œ œ œ œ œ nœ œ œ œ n œ. œ
œ ‰ ‰ œ.
j
b ‰ J
j
J
j j œ
J
j
J
j j
J
j j
J
j
œ. œœ œ J
&bb ∑ Œ ‰ ‰ J ‰ J ‰ J ‰ J ‰ ‰ Œ ‰ Œ ∑
œ œ #œ œ
Fl. 2
œ œ
J nœ nœ nœ
J
f ƒ
√ >
sempre staccatissimo

œ. œ œ œ œ œ nœ œ œ œ œ
œ ‰ ‰ n œ. œ.
j j
b œ
J
j
J
j j œ
J
j
J
j j
J
j j
J
j
œ. œœ œ J
&bb ∑ Œ ‰ ‰ ‰ J ‰ J ‰ J ‰ J ‰ ‰ Œ ‰ Œ ∑
œ œ #œ œ
3
œ œ
J nœ nœ nœ
J
f sempre staccatissimo ƒ

b n œ. œ. œ. œ. œ. œ œ œ œ œ œ nœ œ œ œ. œ. œ. n œ. œ. >œ >œ n >œ >œ

>œ
1 &bb Œ ‰ J ‰ J ‰ J ‰ J J ‰ ‰ J ‰ J J ‰ ‰ J J ‰ Œ ∑
p f ƒ
n œ. œ. . œ. œ. œ. œ. œ. œ. n œ. œ. >œ >œ n >œ >œ
>œ
sempre staccatissimo

œ œ œ #œ œ n œ.
Ob.
b œ. œ œ ‰ ‰ nœ nœ J
2 &bb ‰ œ ‰ J ‰ J ‰ J J J ‰ J ‰ J ‰ J ‰ Œ ∑
p f ƒ
œ. nœ
sempre staccatissimo

b œ. œ. œ. œ. n œ. œ. n œ. œ œ œ
&b ∑ Œ ‰ œ.
j œ. œ. œ. œ. œ. œ. J ‰ ∑ ∑ ∑
E. Hn.
œ.
f sempre staccatissimo

œ. œ. œ. œ. œ. œ œ œ œ œ #œ œ œ œ œ. > >œ # >œ >œ >œ

œ ‰ ‰ # œ. œ.
j j
E b Cl. & Œ ‰ J ‰ J œ
‰ œ
j
J ‰ œ
j
J œ
j
J
œ
J ‰ œ
j
J #œ
j
J ‰ #œ
j
J #œ
j
J ‰ #œ
j
J #œ
j
J ‰ œ J ‰ Œ ∑
p f ƒ
œœœ j . > >œ
sempre staccatissimo

œ œ œ j œ œ œ ‰ ‰
j œ j œ #œ j #œ œ j #œ #œ œ. œ. >œ >œ n œ >œ
nœ œ J
j j j j
≈‰ J J œ.
j œ
&b ‰ ‰ J ‰ ‰ J ‰ J ‰ J ‰ ‰ Œ ∑
œ œ #œ #œ
œ
J œ
J œ
J œ
J
œ œ œ J
œ
1

p f ƒ
.
sempre staccatissimo

. .
œ œ > n >œ > >œ
. . œ œ œ œ œ œ #œ #œ œ. >œ œ œ
. n œ. œ œ œ #œ œ #œ
j j
≈‰ J
j j j œ ‰ ‰ œ
J
j j j j j j
œ. œ. J
&b ‰ ‰ J ‰ ‰ J ‰ J ‰ J ‰ ‰ Œ ∑
œ œ #œ #œ
B b Cl. 2
œ œ
œ
J œ
J
œ
J œ
J œ
J
œ. .
p f ƒ
. œ.
sempre staccatissimo

. œ > >œ
. . œ. œ œ œ
j j œ œ œ ‰ ‰
j œ j œ #œ j #œ œ j #œ #œ œ. œ. >œ >œ n œ >œ
œ. n œ œ J
j j j j
≈‰ J J œ.
j œ
&b ‰ ‰ J ‰ ‰ J ‰ J ‰ J ‰ ‰ Œ ∑
œ œ #œ #œ
J J J J
œ œ œ œ
œ
œ
J
œ. .
3

p f sempre staccatissimo ƒ
j , , , j > > >œ >œ
&b ‰ j ‰ j œ. ‰ Œ ‰ j j j ‰ j œ. œ. œ. œ.
j ‰ ‰
œ.
j œ.
œ.
j ‰ ‰ œ œ œœœ œ Œ
œ. œ. œ- œ- œ œ- œ. œ. œ. œ. > > >>
B. Cl.

p f ƒ

, , , j œ. œ. >œ >œ >œ >œ >œ >œ >œ >œ

? b
bb ∑ ∑ ‰ œ- œ-
j j
œ œ- j ‰ j œ. œ. œ. œ. œ. ‰ ‰ œ. œ. J ‰ ‰ J Œ
1
œ. œ. J
f ƒ
, , , > >œ >œ >œ >œ >œ >œ >œ
Bsn.

? bb ∑ ∑ ‰ j j j ‰ j œ. œ. ‰ ‰ j ‰ ‰ œJ Œ
b œ- œ- œ œ- œ. œ. œ. œ. œ. J j œ. œ.
œ.
2
f œ. ƒ
, , , œ. j œ. œ.
? bb ∑ ∑ ‰ œ- j j j ‰ j Œ J ‰ Œ ‰ œ. œ. J ‰ Œ ∑ ∑
C. Bn. b œ- œ œ- œ. œ.
f

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ n œ œ. œ. œ. >œ b >œ >œ >œ >

œ œ œ œ #œ œ #œ œ #œ œ œ >œ >œ n œ >œ œ >œ >œ
1 &b ∑ ∑ ∑ Œ J ‰ nœ Œ
f ƒ >œ b >œ >œ >œ
œ. œ. œ. œ œ n œ œ. œ. œ. >
>œ >œ n œ >œ >œ >œ >œ
marcato

J œ. œ. œ. œ œ œ œ #œ œ #œ #œ œ œ
2 &b ‰ Œ ∑ Œ ‰ J nœ Œ
F f ƒ
B b Tpt.
œ n œ œ. œ. œ.
œ #œ œ >œ >œ > > >œ >
marcato

#œ >>
&b ∑ Œ ‰ œ œ œœœ œ œ œ œ #œ nœ œ œ J ‰ ‰ J œœ œ nœ œ Œ
œ œ œ œ œ œ
3

f ƒ
œ n œ œ. œ. œ. >œ >œ >œ >œ >
œ #œ œ #œ œ #œ >œ >>
marcato

œ œœœ œ œ œ œ œ J œ nœ œ Œ
&b ∑ Œ ‰ œ nœ ‰ ‰ J
œ œ œ œ œ œ
4

f ƒ
œ. œ. œ. œ. œ. n œ. œ. œ. n œ. œ œ nœ œ. œ. >œ >œ >œ >œ >œ >œ >œ >
marcato

b ‰ œ. œ. œ œœœ œ. œ. œ œ Œ
1 &b J ‰ œ œ œ œ œ œ œ œ. J ‰ ‰ J
p f marcato ƒ
b ‰ j œ œ œœœ j > > >>
&b œ. œ. œ. œ. œ œ.
.
‰ œ œ œ œ œ J ‰ ∑ ∑ ∑ Œ ‰ œ œ œœœ œ œ œ Œ
ƒ> > >>
2
p f
œ. œ. œ. >œ >œ >œ >œ >œ >œ >
marcato

œ œœœ œ. n œ. n œ. œ œ œ œ. >œ
F.Hn.
b œ. œ. œ Œ
3 &b ∑ Œ ‰ œ œ œ œ œ œ œ œ. J ‰ ‰ J
f marcato ƒ
œ œœœ > > >>
&b
b ∑ Œ ‰ œ œ œ œ
œ œ ‰ ∑ ∑ ∑ Œ ‰ œj œ œœœ œ œ œ Œ
J
ƒ> > >>
4
f
. n œ. >œ >œ >œ >œ >œ >œ >œ >œ
œ. œ œJ œ.
marcato

? bb œ œ. œ œ. œ œ
1 b ∑ Œ ‰ J ‰ ∑ ∑ Œ J ‰ ‰ J Œ
f ƒ
. >œ >œ >œ >œ >œ >œ >œ >œ
? bb œ œ. œ œ. œ œ. œ œJ œ. œ. œ.
Tbn. 2 b ∑ Œ ‰ J ‰ ∑ ∑ Œ J ‰ ‰ J Œ
f ƒ
j œ. j > >œ >œ >œ >œ >œ >œ >œ
? bb ∑ ∑ ∑ ∑ ‰ j œ œ ‰ ‰ œ. ‰ ‰ œJ Œ
Bass b œ œ œ œ J œ. œ.
f marcato ƒ
, , ,
? bb j j j j j j j
b ∑ ∑ ‰ œ- œ- œ œ- œ. ‰ œ. Œ œ œ œ ‰ ‰ œ. œ. ‰ œ. ‰ Œ ∑ ∑
1
J
f
, , ,
marcato
Tba.
? bb ∑ ∑ ‰ œ- j j j ‰ j Œ ∑ ∑ ∑ ∑ ∑
2 b œ- œ œ- œ. œ.
f

œ- , ,
œ- œ œ- , œ. œ œ œ œ œ œ j œ j
pizz.

? bb J
arco

D.B. b ∑ ∑ ‰ J J J ‰ J ‰ ‰ œ œ œ ‰ Œ ∑ ∑
f ƒ

? b ‰ j
Timp.

Timp. bb œ œ œ œ
J ‰ Œ ‰ œ
J œ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑
p stacc. F
ã œ ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 2
J
>œ >œ >œ >œ >œ
ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ ‰ Œ ∑
3
æ J
f
31 32 33 34 35 36 37 38 39 40
 59
C
b n œ. œ. . œ. 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 œ b œ >œ > > > >
&bb ‰ œ œ. J ∑ ‰ ‰ œJ ‰ b œJ ‰ œJ œ ‰
Picc.
J
f p p molto leggiero espress. f
√ √ > b >œ
a2 œ >œ >œ
. .
b b ‰ n œ œ œ. œ. œ. œ. œ. ‰ œ œ œ bœ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ >œ
1 only

& b J J ‰ ‰ ‰ J ‰ J ‰ J J ‰
p
1
f p p molto leggiero f
>œ b >œ
espress.

√ . 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
1 only

b nœ
œ. œ. œ. œ. œ. ‰ œ œ œ œ œ œ œ b œ >œ ‰ J ‰ J ‰ J J ‰
&bb ‰ ∑ ‰
a2

2 J
p
Fl.
f p molto leggiero f
√ n œ. œ. œ œ œ œ œ œ 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 œ œ œ b œ >œ
1 only

b œ. œ. œ. œ. ‰ J ‰ J ‰ J J ‰
&bb ‰ ∑ ‰
a2

3 J
f p p molto leggiero f

n œ. œ. . œ. œ. œ. œ. œ. œ. œ. >œ >œ >

b J ‰ œ. œ. œ. œ. J œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ b œ >œ J ‰ œJ >œ ‰
1 &bb ‰ œ b œ. J ‰ œ. ‰ ‰ J ‰ J
f p p f
n œ. œ. . œ œ. >œ
molto leggiero

œ. >œ
espress.

œ. œ. œ. ‰ œ œ œ œ œ œ œ œ œ > >œ > >

Ob.
b œ. œ. œ. ‰ b œJ ‰
2 &bb ‰ œ J ∑ ∑ ‰
œ.
j œ. œ. œ. J ‰ œJ œJ ‰
f p molto leggiero f
b j j > >œ >œ >œ
&b ∑ ∑ ∑ ∑ ‰ œ. Œ œ. ‰ Œ ∑ œ œ œ ‰ œJ ‰ J ‰ J J ‰
œ >
E. Hn.

p molto leggiero
f
# 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 >œ b >œ
œ # œ. œ. œ. œ œ œ œ nœ
œ œ œ
œ œ œ >œ >œ
E b Cl. & ‰ J ‰ J ‰ ∑ ‰ œ ‰ J ‰ J ‰ J J ‰
f p leggiero p f
>œ b >œ >œ >œ
molto leggiero

œ. œ. œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ >œ
j ‰ b œ œ œ œ œJ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ J ‰ J ‰ J J ‰
1 only

&b ‰ n œ. œ ‰
a2

. . œ. œ. œ œ. œ
1
f œ
. . p leggiero p molto leggiero f
>œ b >œ >œ >œ
œ œ œ œ œ œ
espress.

œ. œ. œ œ œ œ. œ œ œ œ œ b œ >œ
‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 only

j ‰ ‰ J ‰ J ‰ J J ‰
&b ‰ n œ. œ œ ∑ œ œ œ œ
a2

.
œ. œ œ œ. œ
B b Cl. 2
. .
. . p p molto leggiero f>
œ b >œ >œ >œ
œ. œ. j ‰ j œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ J J
œ. ‰ J J ‰
1 only

&b ‰ J œ ‰ ∑ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ ‰
a2

œ. œ œ. œ œ
3
f . p p molto leggiero f
. >œ
&b ‰ j ‰ œ œ œ
œ. œ.
j œ. . J ‰ ∑ ∑ ∑ ∑ ∑ œ œ ‰ j‰ j ‰ j j ‰
œ œ
œ b >œ
B. Cl.
f F > >
f
œ. œ œ œ œ œ œ œ œ œ œ œ
œ. > > > >œ
1
? bb ‰
b œ.
J ‰ œ.
j œ. J ‰ ∑ ∑ ∑ Œ ‰ J ‰ Œ ‰ œJ ‰ b œJ ‰ œJ J ‰
f p f
œ œ œ œ œ œ œ œ œ œ œ
leggiero
Bsn.
? bb ‰
b j ‰ j œ. œ. ‰ ∑ ∑ ∑ Œ ‰ J ‰ Œ ‰ j ‰ j ‰ œj œj ‰
2
œ. œ. J œ b >œ > >
œ. p f>
f leggiero

? bb
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œj ‰ œj œj ‰
C. Bn.
œ > > >
f>

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. j > b >œ ‰ >œ >œ ‰

1 &b ‰ J œ. œ. ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œJ ‰ J J J
F f
&b ‰ œ. œ. j
œ. ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œj ‰ j
œ ‰ j j ‰
J œ. œ œ
f> >
2

B b Tpt. F > >

> >œ >
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ b œJ ‰ ‰ œ j ‰
3
J J œ
f >
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b œ. œ. ‰ >œ > > >

&b ∑ œ.
J ∑ ∑ ∑ Œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œJ œj ‰
1
J J >
F p espress. f
& bb ∑ œ. œ. œ. ‰ ∑ ∑ ∑ ∑ ∑ œ œ œ œ ‰ j ‰ j ‰ œj œj ‰
2
J > œ œ > >
F p > >
F.Hn.
>œ f
b œ > >
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ ‰ œ ‰ œ ‰ œj œj ‰
3
J J J > >
p f
b >œ
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ
œ ‰ j ‰ j ‰ œj œj ‰
œ œ œ > >
4

p > >
f >
? bb
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œJ ‰ œj œj ‰
1
œ > >
f>
? bb
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ j ‰ œj œj ‰
Tbn. 2
œ b >œ > >
f>
? b
bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œj ‰ œj œj ‰
Bass
œ > > >
f>
? bb
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œj ‰ œj œj ‰
1
œ > > >
Tba. f>
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j‰ j ‰ j j ‰
2 b œ b >œ
f> œ œ
> >
œ arco ≥ ≥ ≥ ≥œ
j ‰ œJ ‰ b œJ ‰ œJ J ‰
pizz.

? bb ‰ œ ‰ œ œ Œ ∑ ∑ ∑ ∑ ∑ ∑
D.B. b J
f f stacc.

j >
? bb ‰
b
œ ‰ œ œ œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ œj ‰ œ œj ‰
Timp.
J œ > J >
f >
f
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ yJ ‰ yJ ‰ yJ yJ ‰
f
41 42 43 44 45 46 47 48 49 50
 60

b b œ. œ. b œ. œ. œ. œ. >œ b >œ œ. œ. œ. >œ nœ

j œ
J nœ
j bœ
J
j bœ
œ
j
Picc. &bb ∑ ∑ Œ ‰ J ‰ Œ J ‰ Œ ‰ ‰ ‰œ J ‰ œ
J ∑ ∑
S S S S
√ b œ.
b œ bœ œ œ ^ œ^ ‰ b œ. œ. b œ. œ. œ. œ. >œ b >œ œ. œ. œ. >œ bœ bœ bœ nœ
j
œ. œ.
&bb ‰ œJ J Œ ‰ J ‰ Œ J ‰ Œ ‰ J ‰ œ
J ‰ J ‰ J ‰ J œ. ‰ Œ
1
J
F ƒ S S S S
> bœ œ b œ.
œ
b b œ œ œ ‰ œ^ œ^ ‰ b œ. œ. b œ. œ. œ. œ. n œJ b >œ œ. œ. œ. >œJ bœ bœ nœ
j
œ. œ.
&bb J J Œ ‰ ‰ Œ ‰ Œ ‰ J ‰ J ‰ J ‰ J ‰ J œ. ‰ Œ
Fl. 2
J
F ƒ S S S S
b œ b œ œ œ ‰ œ^ œ^ ‰ b œ. œ. b œ. œ. œ. œ. n >œ b >œ œ. œ. œ. >œ œ
J
œ
J bœ œ
3 &bb J J Œ ‰ J ‰ Œ J ‰ Œ ‰ ‰ ‰ J ‰ J ∑ ∑
F ƒ S S S S

b œ. œ. b œ. b œ. œ. œ. n >œ b >œ œ b œ. œ. >œ œ.

b œ œ bœ œ ‰ œ^ œ^ ‰ . . n œ. bœ œ œ œ.
1 &bb J J Œ ‰ J ‰ Œ J ‰ b œ. œ n œ ‰ J ‰ b œJ ‰ J ‰ J ‰ œ.
j j
œ. ‰ Œ
F ƒ S S S S
ƒ œ.
bb œ œ b œ œ ‰ œ^ œ^ ‰ b œ. b œ. . > b >œ b œ. œ. œ. >œ . œ. œ. bœ œ.
Ob.

œ. b œ b œ. œ. n œ œ ‰ bœ ‰ œJ j j ‰
2 & b J J Œ ‰
J
‰ Œ
J
‰ b œ. œ ‰ J J
‰ J ‰ œ. œ.
Œ
F ƒ S S S S
ƒ
bb œ b œ œ œ ‰ œ
^ œ^ ‰ Œ ‰ j œ. œ. ‰ Œ œ. œ. .œ œ. b œJ. ‰ ‰ œ ‰ œ ‰ b œJ ‰ œ ‰ b œ. j ‰ œ. j
E. Hn. & J J œ. b œ. J œ. J J J J œ. ‰ Œ
F ƒ S S S S
ƒ
b œ. œ. b œ. œ. œ. œ. >œ b >œ œ. œ. œ. >œ
œ bœ œ œ ^ œ^ ‰ œ. œ nœ
‰ œ b œJ ‰ n œj b œ. j
j
‰ œJ Œ ‰ J ‰ Œ J ‰ œ. j j
œ
b œ. œ. n œ. ‰ ‰ œ. ‰ ∑
#œ
E b Cl. & J Jœ
œ
j
J J
F ƒ ƒ S S S S
.œ n œj œ
œ bœ œ œ ^ œ^ . œ. œ bœ
j
bœ j .
‰ œJ œ
j
j . œ. œ ‰ J
œ
J
j
‰ n œ b œJ œ. œ
&b J ‰ Œ ‰ ‰ Œ
n œ. œ. b œ
‰ ‰ J
œ
b œ. b œ. œ. b œ b œ. œ. >œ b >œ b œ. œ. œ. >œ œ. œ. œ œ œ
. œ œdim. molto
1

F ƒ ƒ S S S S >
œ bœ œ œ œ^ œ^ . œ. œ. œ
j j bœ
bœj
œ j .
j b œ. œ. œ
nœ
‰ J
œ
J
œ j
‰ n œ b œJ œ. œ
&b ‰ J J ‰ Œ ‰ ‰ Œ ‰ ‰ J
œ
B b Cl. 2
b œ. b œ. œ. b œ b œ. œ. >œ b œ b œ. œ. œ. >œ œ
n œ. . œ. œ. œ œ
F ƒ . > ƒ S S S S œ œ œ
> dim. molto
œ œ bœ œ ^ ^ . œ. œ. œ
j j bœ j bœ
œ j .
‰ œJ œJ ‰ . œ. œ ‰ n œ b œJ
nœ œ
J ‰ J
œ j
œ.
&b Œ ‰ j ‰ Œ b œ ‰ ‰ J
œ
œ œ. œ.
œ. œ. b œ. œ. œ. œ. >œ œ œ bœ œ œ n œ. . œ. œ.
> . . . >
3
F ƒ ƒ S S S S œ.
^j ^j , ,
j j, ,
j j
, j j
& b œ bœ œ œ ‰ œ nœ ‰ ∑ ∑ ∑ ∑ ‰ œ- œ- œ œ- b œ- œ œ- œ. œ. ‰ j ‰
œ.
B. Cl.

F ƒ ƒ dim.

. .
œ. œ. b œ œ. œ. œ >œJ >œ œ. b œ. œ. >œ . œ. œ. œ. , , - , œ œ
? b b œ b œ œ œ ‰ œ^ œJ^ ‰
b J Œ ‰ ‰ Œ œ. œ. b œ Œ ‰ œ- b œ- œ œ œ.
J œ. œ œ œ ≈
1
J J
F ƒ ƒ
. . >œ œ. b œ. œ. >œ ,
^ ^j œ. œ. b œ œ. œ. œ >œJ .
œ. œ. b œ œ. œ. œ. , , j
Bsn.
? bb j j j
b b œ œ œ ‰ œj œ ‰ Œ ‰ ‰ Œ Œ ‰ œ- b œ- œ œ- œ. œ. ‰ Œ
œ
2

F ƒ ƒ
, ,
? b b œ b œ œ œ ‰ œ^ œJ^ ‰ ∑ ∑ ∑ ∑ ‰ j j, ,
j j
, j j
œ. ‰ Œ
C. Bn. b J œ- œ- œ œ bœ œ œ œ.
F ƒ ƒ

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. œ. n œ. œj œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. b œ. b œ. œ. œ.
&b ∑ ∑ ‰ Œ ‰ œ. ‰ Œ ‰ œ. b œ. œ. œ. œ. œ.
1 . J œ. œ.
f ƒ
j b œ. œ. œ. b œ. b œ. œ. œ.
&b ∑ ∑ œ. n œ œ œ œj ‰ Œ ‰ œ. n œ. œ. ‰ Œ ‰ œ. b œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ.
2 . . . . œ. œ.
ƒ
.
œ. œ. œ. œ. œJ. œ. œ.
B b Tpt.
œ. œ. œ. œ. b œ œ. œ. œ.
&b œ bœ œ œ ∑ ‰ Œ ‰ J ‰ Œ ‰ œ. b œ. b œ
œ. œ. b œ. œ. œ. j ‰
. œ. œ. œ. œ.
3
F ƒ f ƒ
.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ œ. œ. œ. œ.
&b œ œ bœ œ ∑ J ‰ Œ ‰ J ‰ Œ ‰ œ. b œ. b œ œ. b œ. œ. j ‰
. œ. œ. œ. œ. œ. œ.
4
F ƒ f ƒ
b œ bœ œ œ b œ. œ. b œ. œ. œ. œ. >œJ b >œ œ. œ. œ. >œJ œ.
.
œ. œ. œ. b œ œ. œ. œ.
1 &b ∑ Œ ‰ ‰ Œ ‰ Œ ∑ Œ ∑
F ƒ F ƒ
bb œ œ b œ ∑ ∑ ∑ ∑ ∑ ∑ œ.
.
œ. œ. œ. b œ œ. œ. œ. Œ ∑
2 & œ
F ƒ ƒ
b œ. œ. . œ. œ. œ.
F.Hn.
b œ bœ œ œ œ. œ. œ. œ. œj œ. œ. j . œ. œ. œ. œ. œ. b œ
3 &b ∑
.
‰ Œ ‰ œ. ‰ Œ ‰ œ. b œ. œ Œ Œ ∑
F ƒ f ƒ
bb œ œ ∑ ∑ ∑ ∑ ‰ . œ. b œ. œ. œ. œ. œ. œ. b œ.
4 & bœ œ œ. b œ. œ Œ œ. œ. œ. Œ ∑
F ƒ ƒ
. .
œ. œ. œ. œ œJ œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ
.
œ. œ. œ. .
? bb œ b œ œ œ ∑ ‰ Œ ‰ J ‰ Œ ‰ œ. œ. b œ Œ ‰ œ. n œ œ.
1 b
F ƒ f ƒ
. . œ. œ. œ. œ. b œ. .
œ. œ. œ
œ. œ. œ. n œ œJ œ. œ. œ. ‰ Œ œ. b œ. œ. œ. œ. œ. œ. n œJ.
dim.

Tbn. 2
? bb œ b œ œ œ
b ∑ ‰ Œ ‰ J ‰ œ. œ. œ. Œ ‰ ‰
F ƒ f ƒ
. . . œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ.
? bb ∑ ∑ œ. œ. œ. œ œJ ‰ Œ ‰ œ. œ. œ. ‰ Œ ‰ œ. œ. b œ Œ ‰ œ. J ‰ j
œ. ‰
Bass b J J
f ƒ
, , - , , ,
? b œ b œ œ œ ‰ ^j ^j ‰ œ- œ- b œ- œ œ- œ. œ.
dim.

∑ ∑ ∑ ∑ ‰ œ œ ‰
1 bb œ nœ J J J J J J œ.
F ƒ ƒ œ.
^ ^ , , , , ,
Tba.
? bb j
dim.

b b œ œ œ ‰ œj n œj ‰ ∑ ∑ ∑ ∑ ‰ j j j j j œ. œ. ‰
œ œ.
2

ƒ œ œ- œ œ- b œ- œ œ- œ.
F ƒ
œ
dim.

œ œ.
? b œ b œ œ œ ‰ œ^ n œ^ ‰ , j j, , , , j œ.
pizz.

Œ J ‰ ∑ J ‰ Œ ∑ ‰ j j œ. J ‰
arco

D.B. bb J J œ- œ- œ œ- b œ- œ œ- œ.
F ƒ S S ƒ dim.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. b

bœ œ bœ œ œ œ œ b >œ œ œ œ œ
bbb Πnnn
Xylo.

Perc. 2 ã ∑ ∑ & ‰ J ‰ Œ J ‰ Œ ã ∑ ∑ ∑ ∑
f
>œ >œ >œ >œ >œ >œ
ã ∑ ∑ œ œ œ œ œ
J ‰ Œ ‰ œ œ œ ‰ Œ
J ‰ œ œ œ œ ‰ j
J ‰ j
J ‰ j
J ‰ j
J ‰ j
J
œ
J ‰ Œ
æ æ
œ œ œ œ œ
3

f
51 52 53 54 55 56 57 58 59 60
 61
.
œ D >œ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ
> >œ œ. œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
‰ œJ
nœ œ œ
b J ‰
Picc. &bb Œ ∑ ∑ ∑
p ƒ
.
œ œ œ œ œ a2 > > >œ √ .
œ. œ œ.
‰ œJ
œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
1 only

1 & b bb ∑ ‰ ∑ ∑ œ. œ. œ. œ
p ƒ
>œ √ .
b
a2 > >
‰ œJ
œ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
Fl. 2 &bb ∑ ∑ ∑ ∑ œ. œ. œ. œ
ƒ
√ .
> > >œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
& bbb ∑ ∑ ∑ ∑ ‰ œ œ œ. œ. œ. œ
3
J
ƒ

œ. œ. . œ. œ. œ
b œ œ œ > > >
‰ œJ œ œ œ. œ. œ. œ œ. œ. œ. œ. œ. œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
1 only

&bb ∑ ‰ œ œ ∑ ∑
a2

1
p ƒ
œ. œ. . œ. œ. œ
> > > œ. œ. œ. œ œ. œ. œ. œ. œ. œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
Ob.

2
b
&bb ∑ ∑ ∑ ∑ ‰ œJ œ œ
ƒ
b .
‰ œJ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
&b ∑ ∑ ∑ ∑ Œ œ. œ. œ œ Œ
>
E. Hn.

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
1 only

E b Cl. & ∑ ‰ œ œ œ ∑ ∑ ‰ J
p ƒ
œ œ >œ >œ œ. œ. .
œ œ œ J ‰ >œ œ. œ. œ. œ œ. œ. œ. œ. œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
&b ∑ ∑ ∑ ‰ J œ. œ. œ. œ
a2

1
p. ƒ
œ œ. .
.œ œ. J ‰ >œ >œ >œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
B b Cl. 2 & b ∑ ∑ ∑ ‰ J œ.
p ƒ
œ. .
.œ >œ >œ >œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
3 &b J ‰ Œ ∑ ∑ ∑ ‰ J œ.
p ƒ
&b j ‰ Œ j ‰ Œ ∑ ∑ Œ ‰ œj œ. œ. œ. ‰ j
œ. œ. œ. œ. œ. ‰ œ
j
œ. œ. œ. œ. œ. œ.
œ. . œ. >œ œ >
B. Cl.
œ. ƒ
p

œ. œ. œ. œ. œ. œ. œ.
? bb ∑ ∑ ∑ ∑ Œ ‰ œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ ‰ j
b J J œ. œ œ
>
1

ƒ >
œ.
Bsn.
? b ∑ ∑ ∑ ∑ Œ ‰ j . œ. œ.
bb œ. œ. œ. œ. œ. œ ‰ j
œ. œ. œ. œ. œ. œ œ ‰
œ
j
œ. œ. >
2
>
ƒ
œ. œ. œ.
? bb ∑ ∑ ∑ ∑ Œ ‰ œ. œ. .
œ. œ. œ œ. ‰ œ. J ‰ Œ Œ ‰ j
C. Bn. b J œ. œ. œ. J œ
ƒ >

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

>œ >œ >œ > >œ >œ >œ œ. œ.

>
‰ œJ œ J œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b j ‰ Œ ∑ ∑ ‰ Œ ∑ ‰ J
œ.
1

p ƒ .
> >œ > > œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ.
&b j ‰ Œ ∑ ∑ ‰ œj œ œ œ œ œ œ. œ. œ. œ
œ. œ. œ. Œ
2
œ. > > > . œ. œ œ
p ƒ >
B b Tpt.
> >œ >œ >œ > >œ >œ >œ œ. œ. œ.
&b ∑ ∑ ∑ ‰ œJ œ J ‰ Œ Œ ‰ œ. œ. œ. œ œ. œ. œ. Œ
3
. œ. œ œ
ƒ >
‰ œj
> >œ > > >œ œ. œ. œ.
&b ∑ ∑ ∑ œ œ œ œ œ J ‰ Œ Œ ‰ œ. œ. œ. œ œ. œ. œ. œ
Œ
4
> > > . œ. > œ
ƒ
b > >œ >œ >œ > œ. œ. œ. œ. œ. œ. >œ >œ >œ >œ > œ.
&b ∑ ∑ ∑ Œ ‰ œ
J
œ J ‰ ‰ J œ œ. œ. œ œ Œ
>
1

ƒ
b > > >œ
&b œ. j ‰ Œ ∑ Œ ‰ œj œ œ œ œ ‰ ‰ j œ œ œ Œ
œ. œ. œ. œ.
ƒ> > > > >œ J œ. œ. œ. œ. œ
> > œ
>
œ
> œ. œ.
œ. > œ
2

p
>œ >œ >œ > >œ >œ >œ >œ >œ >œ >
F.Hn.
b œ. œ. œ. œ. œ.
&b ∑ ∑ ‰ j
œ œ œ œ œ œ œ œ J ‰ ‰
J
œ œ. œ. œ œ Œ
> > > > > > > >
3

ƒ
b > > >œ
&b ∑ ∑ ‰ j
œ œ œ œ œ œ œ œ œ œ ‰ ‰ j œ œ œ Œ
> > > > > > >œ > > > >œ J œ. œ. œ. œ. >
œ > >
œ
>
œ œ. œ.
œ. > œ
4

ƒ >œ >œ >œ > >œ >œ >œ b >œ >œ >œ >œ >œ >œ
>œ >œ >œ
œ
>œ œ. œ. œ. œ. >œ
œ. œ. >œ œ
1
? b œ.
bb œ. œ. œ. œ.
J
‰ Œ ‰ J
J ‰ ‰ J œ. Œ
p ƒ
> >œ >œ >œ >œ >œ
> n >œ >œ n >œ >œ >œ >œ n >œ >œ œ
>œ >œ >œ >œ œ. œ. œ
? bb
b ∑ ∑ ‰ œ J ‰ ‰ b œJ. œ. œ. œ. œ. Œ
Tbn. 2
J
ƒ
.
œ. œ. œ œ. œ. œ.
? bb j > n >œ >œ n >œ >œ >œ >œ n >œ >œ ‰ œ. œ. œ. œ. œ. œ. œ.
b œj ‰ Œ n œ. ‰ Œ ‰ œ œ. ‰ J œ. œ. œ œ Œ
Bass
. J J >
p ƒ
? bb ‰ œj . œ. j
b œj ‰
. œ.
j ‰ Œ ∑ ∑ Œ ‰
œ.
j œ. œ. œ. œ. œ. œ ‰ j
œ. œ. œ. œ. ‰ Œ œ
>
œ ‰
œ
j
. œ
1
>
p ƒ
j
Tba.
? bb ‰ . œ.
b j j ‰ ∑ ∑ ∑ Œ ‰ j œ. œ. œ. œ. œ. œ ‰ j
œ. œ. œ. œ. ‰ Œ œ œ ‰
œ
j
œ. œ. œ. >
2
œ. >
ƒ

œ.
.
œ. œ. œ œ. œ. œ. œ. œ. >œ
? bb ‰ j j nœ ‰ œJ ‰ œJ ‰ œ. œ. œ. œ. œ. J œ >œ
pizz.

œ ‰ ‰ Œ ∑ Œ œ. ‰ ‰ ‰
arco

D.B. b œ J J J J
p ƒ ƒ

? bb j ‰ j >
b ∑ ∑ ‰ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ œ
Timp.
œ œ J
ƒ ƒ
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

61 62 63 64 65 66 67 68 69 70
 62
. >
b œ. œ. œ. n œ œJ œ. œ.
Picc. &bb ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 Œ ‰ J J ‰ 42
p
(√) . > n œ. œ.
grazioso

bb b œ. œ. œ. n œ œJ
1 & ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 Œ ‰ J J ‰ 42
p
(√) . >
grazioso

bb b œ. œ. œ. n œ œJ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2
Fl. 2 & 4 4
. >
b œ. œ. œ. n œ œJ
3 &bb ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42

. . > . œ. œ. œ.
b œ. œ. œ n œ œJ .
‰ # œJ # œ. œ. œ. œ. # œ. œ. œ œ n œ œ n œJ
1 &bb ‰ ∑ ∑ ∑ ∑ Œ ‰ Œ 43 Œ ‰ J 42
p
. >
b œ. œ. œ. n œ œJ
grazioso

. œ. œ. œ. œ. œ. œ. œ n œ # œ œ # œJ. . . œ.
Ob.

2 &bb ‰ ∑ ∑ ∑ ∑ Œ ‰ œJ ‰ Œ 43 Œ ‰ n œJ œ 42
p grazioso

.
E. Hn. & bb ∑ ∑ ∑ ∑ ∑ Œ ‰ œ.j œ. œ. œ. œ. œ. œ. n œ # œ. œ.
j ‰ Œ 3
4 ∑ 2
4
p grazioso

. . >
E b Cl. & œ. œ. œ # œ œJ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
4 ∑ 2
4
. . >œ
œ. œ. œ n œ J
1 &b ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
. . >œ
œ. œ. œ n œ J
B b Cl. 2 &b ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
. . >œ
œ. œ. œ n œ J
3 &b ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42

&b œ
j ‰ ‰ j ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
œ
B. Cl.
> >

? b
bb j ‰ ‰ œ
j ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
4 Œ Œ ‰ n œj 2
4
>
1
œ p
Bsn. >
? bb j
b ‰ ‰ j ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 Œ Œ ‰ n œj 42
>œ
2
œ p
>
? b b œj ‰ ‰ j ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
b > œ
>
C. Bn.

œ. # œ. œ. > .
>œ # >œ >œ
# >œ >œ # >œ œ ˙ ˙ # œ. # œ # œ # œ œ. # >œ œ œ œ 2
Solo A. Sax & ∑ ∑ ∑ ∑ ≈ œ. # œ. ≈ œ 43 œ 4
F con spirito

œ. œ. œ. œ. >œ .
n œ. œ œ. # œ
&b ‰ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j œ. 43 # œ. œ. 42
Solo

J œ. œ. œ. # œ. # œ. .
F œ.
1

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
B b Tpt.

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42

. .
&b
b ‰ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >
n œ ‰ œj ‰ ∑ Œ ‰ # œJ. # œ. ‰ œ. ‰ # œ. ‰ œ n œ ∑ 3
4 ∑ 2
4
1
J > J J J
S p molto stacc.

b j ‰ œ.j j j j n œ. # œ.
&b ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ n œj ‰ ∑ Œ œ. ‰ œ. ‰ œ. ‰ ∑ 43 ∑ 42
> > > > > > >>>> > > > > > >
2

S p molto stacc.

>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >
F.Hn.
b ‰ j
&b nœ ‰ œ ‰
J
∑ ∑ ∑ ∑ ∑ 43 ∑ 42
>
3

S
b ‰
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j‰ j‰ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
> > > > > > >>>> > > > > > # >œ
4

>œ >œ >œ >œ >œ >œ œ. œ. œ. œ. œ. œ. >œ S>œ

? bb ‰ J ‰ J ‰ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
1 b
S
>œ >œ >œ >œ >œ >œ .
? bb ‰ œ œ. >œ >œ >œ >œ >œ >œ >œ
J ‰ >œJ ‰
Tbn. 2 b ∑ ∑ ∑ ∑ ∑ 43 ∑ 42
S
? b ‰
>œ >œ >œ >œ >œ >œ œ. œ. >œ >œ >œ >œ >œ >œ >œ # >œ 3 2
Bass bb J ‰ J ‰ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
S
? b
bb j ‰ ‰ œ
j ‰ œj œj ‰ j
œ ‰ œ œ Œ j‰ ∑ ∑ ∑ ∑ ∑ 3
4 ∑ 2
4
> > > > > > œ
1
œ >
Tba. > S
? b ‰ ‰ ‰ 3 2
bb j j j j ‰ j ‰ Œ j‰ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
œ œ œ
2
œ œ œ œ œ > > >
> > > > > S
nœ œ #œ nœ
>
? b b œj ‰ ‰ j ‰ œj œj ‰ j
œ ‰ œ œ Œ œ ‰ ∑ ∑ ‰ J ‰ J J ‰ J ‰ ∑ 43 Œ ‰ n œJ Œ 42
pizz.
D.B. b > >œ > > > > > J
S p

? b b œj ‰ Œ ∑ ∑ ‰ œ Œ œ ‰ j j œ ‰ n œj ‰ j 43 œJ ‰ n œj Œ 42
nœ ‰ œ ‰ nœ ‰ œ ‰ nœ œ Œ ‰ ‰
Solo

Timp. b > J J J J J nœ
Sf F
Œ ‰ j ‰ œj œj ‰ j j 3 2
œ ‰ œ œ Œ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑
Bass Dr.

Perc. 2 㠜 4 4
Wd.Blk. (low)
Sf
‰ j‰ j‰ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2
W. Bl. ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 4

71 72 73 74 75 76 77 78 79 80
 63
. E
b 2 œ. œ. # œ œ œ. œ. œ. œ. # œ œ n œ œ n œJ
Picc. &bb 4 ‰ J J ‰ ‰ J ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑

n œ. œ. n œ. œ. n œ. œ. .
œ œ œ œ #œ œ #œ
b
1 & b b 42 ‰ J J ‰ ‰ J J ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑

b 2
Fl. 2 &bb 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
3 & b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b œ. œ. œ. # œ œ œ. # œ œ œ. œ. œ. œ. # œ œ n œ œ n œJ n œ. œ. œ. n œ # œ n œ. œ. œ.
1 & b b 42 ‰ Œ ∑ ∑ ∑ ∑ ‰ J
F grazioso

b 2 n œ. œ. œ. n œ. œ œ œ. œ. n œ. œ. .
Ob.

œ œ œ œ # œ œ # œJ j
n œ # œ n œ.
2 &bb 4 ‰ Œ ∑ ∑ ∑ ∑ ‰ n œ. œ. œ. œ. œ.
F grazioso

b n œ. œ. œ. n œ. œ. œ.
E. Hn. & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J ‰ J
p grazioso

2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ # œ. œ. œ. ‰ # œ. œ. œ.
E b Cl. & 4 J J
p grazioso

œ #œ œ # œ. œ #œ
& b 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ œ. #œ œ nœ ∑ ∑
#œ . #œ
1

œ
p scherzando

B b Cl. 2 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& b 42 ∑ ∑ ∑ ∑ Œ ‰ œ
j j
#œ œ. j Œ ∑ ∑
œ
3

p #œ. #œ #œ

2 j j j j j
& b 4 ‰ j ‰ #œ ‰ j ‰ œ #œ ‰ œ ‰ ‰ œ Œ ∑ ∑ ∑ ∑ ∑ ∑
nœ nœ
B. Cl.

p molto stacc.
nœ œ nœ. #œ nœ
œ œ
? b b 42 œj ‰ œ ‰ j nœ #œ œ J J J
1 b J nœ ‰ nœ œ œ œ ‰ Œ Œ ‰ Œ ∑ ∑
molto stacc.

œ œ ˙ ˙ œ. nœ nœ
Bsn.

? b b 42 œj ‰ œ ‰ j nœ #œ œ J J
2 b J nœ ‰ nœ œ œ œ ‰ J ‰ Œ ∑ ∑
molto stacc.

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. 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
Solo A. Sax & 42 # œ # œ. ‰ #œ œ œ. œ œ # œ. œ # œ # œ. ∑ ∑

. œ œ #œ
sempre leggiero

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 J
ossia .
sempre leggiero

œ. œ. œ. œ. . # œ. # œ. œ. œ. # œ # œ œ. œ œ # œ # œ œ œ. # œ œ n œ œ œ.
. œ. œ. #œ #œ œ œ
Soli–1 per part

1 & b 42 œ. # œ. œ. n œ œ. œ. œ. œ.
j ‰ Œ Œ ‰
œ.
j œ. n œ. ‰ ‰
p p grazioso

2 # œ œ # œ # œ œ. œ # œ # œ œ œ.
&b 4 ∑ ∑ ‰ j # œ œ n œ. ∑ ∑ ∑ ∑ ‰ ‰
Solo Soli–1 per part

œ. œ. œ. # œ.
œ.
2

p p grazioso
B b Tpt.
j
n œ. # œ # œ œ. ‰ ‰ # œJ.
.
n œ. œ # œ. # œ. # œ. œ. # œ. # œ. n œ. œ.
& b 42 n œ. # œ œ œ # œ
Solo

∑ ∑ ∑ Œ ‰ ‰ ‰
Soli–1 per part

3 œ. œ. œ. J J J
p p grazioso

& b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ j
Soli–1 per part

# œ. # œ. # œ. # œ. # œ
.
œ.
4

p grazioso
b
1 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 b

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass b

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

nœ œ nœ œ œ ≥œ
? b 2 œ nœ ‰ J nœ
‰ J ‰ J J ‰ J ‰ ‰ J Œ Œ ‰ J nœ œ.
J #œ. œ #œ nœ Œ ∑ ∑
arco

D.B. bb 4 J
π

? b b 42 ∑ ∑ ∑ ‰ œ ‰ j ‰ œ œ ∑ ∑ ∑ ∑ ∑
Timp. b J nœ J nœ

Perc. 2 ã 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 ã 4

81 82 83 84 85 86 87 88 89 90
 64
œ œ œ nœ œ nœ œ œ œ œ œ œ œ
Picc.
b
&bb ∑ 43 ∑ 42 ‰ J J ‰ J ‰ ‰ # œJ ‰ n œJ œ ‰
J ‰ n œJ ‰ œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J
p π
#œ œ œ nœ œ #œ nœ #œ nœ œ œ œ œ
stacc.

nœ œ nœ
marcato e stacc.

1 & bbb ∑ 43 ∑ 42 ‰ J J ‰ J ‰ ‰ J ‰ J J ‰ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ∑
p
nœ œ nœ œ
stacc.

Fl. 2 & bbb ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ‰ J ‰ J ‰ J ‰ J ∑

p stacc.
b
3 &bb ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

. . nœ œ œ nœ œ # >œ œ œ œ
b n œ œ œ œJ ‰ nœ œ
‰ # œJ ‰ n œJ ‰ n œJ ‰ œJ
œ œ
1 &bb 43 ∑ 42 ‰ J œ ‰
J ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ J ‰ J
p π marcato e stacc.
n >œ n œ œ œ
stacc.

œ œ œ œ œ
Ob.
b j #œ nœ
2 & b b n œ œ œ. œ. ‰ 43 ∑ 42 ‰ J ‰ œ
J ‰ # œJ n œ ‰
J
‰ # œJ ‰ n œ
J
‰ nœ ‰ œ ‰ nœ ‰ œ ‰
J J J J
œ
J ‰ œ
J
p stacc. π marcato e stacc.
b . .
E. Hn. &b ‰ n œJ œJ ‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ
J ‰ œ
J
π marcato e stacc.

. . œ œ
E b Cl. & ‰ # œJ œJ ‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J ‰ J
π marcato e stacc.

> > .
‰ n œ # œ # œJ. ‰ # œ œ œJ
1 only

43 ‰ œj œ # œ 42
a2

&b ∑ œ nœ ‰ Œ ‰ ∑ ∑ ∑ ∑ ‰ j ‰ j
#œ œ #œ œ
1

p espress. F p π marcato e stacc.

>
‰ # œ œ œ.j ‰ n œ # œ œJ.
a2

&b ∑ 43 ∑ 42 Œ ‰ Œ ‰ ∑ ∑ ∑ ∑ ‰ ‰
1 only
B b Cl. 2 j j
#œ œ
F> p π marcato e stacc.

&b ∑ 43 ∑ 42 ∑ ∑ ‰ j ‰ j ‰ j j ‰ ‰ j ‰ j ‰ # œj ‰ œj ‰ # œj ‰ œj ‰ j ‰ j
œ nœ #œ nœ #œ œ œ
3
#œ
p stacc. π
j j
marcato e stacc.

&b ∑ 43 ‰ œj œ # œ 42 Œ ∑ ‰ j ‰ ‰ j j ‰ ‰ j ‰ j ‰ j‰ j ‰ j‰ j ‰ ‰
1 only

œ œ
a2

œ nœ j
#œ œ #œ œ œ œ œ œ œ
B. Cl.
p espress. œ #œ œ π
p stacc.
marcato e stacc.

nœ nœ nœ œ nœ œ
? bb
b ∑ 43 ∑ 42 Œ ‰ œ
J ‰ #œ
J ‰ nœ
J ‰ # œJ ‰ œ
J ‰ n œJ J ‰ ‰ n œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ j œ
œ nœ
1

Bsn.
p stacc.
P marcato e stacc.
? bb ∑ 43 ∑ 42 Œ ‰ j ‰ j ‰ j ‰ j ‰ n œj ‰ j j ‰ ‰ j ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ j
b œ #œ nœ #œ œ œ
œ œ œ nœ
2

p stacc. P marcato e stacc.

? bb ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

œ. œ. œ. # >œ œ œ
& Œ ‰ # œ 43 # œ œ # œ œ 2
œ. # œ. 4 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‰ j‰ j‰ #œ
œ #œ #œ œ #œ #œ
3
Solo A. Sax
œ . >œ > # œ. œ œ œ œ œ œ œ œ
(F) . . - < < < < <

# œ. œ. œ. ‰
1 &b J 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

# œ. œ. œ. ‰
2 &b J 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.
. œ. # œ.
3 & b #œ J ‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

.
4 & b # œ. œ. n œJ ‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b nœ
&b ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ
Soli

1 J
p dolcissimo, ma ritmico
bb 43 42 j
Soli

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ nœ
2
œ
F.Hn.
p dolcissimo, ma ritmico
b 3 2
3 &b ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? bb ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 bb 4 4

? bb ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass b

? b ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 bb 4 4
Tba.
? bb ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

œ œ nœ œ nœ nœ j j
œ œ œ ‰ ‰ œ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰
pizz.

? bb ∑ 34 ‰ J 42 ‰ J ‰ #œ ‰ nœ ‰ œ ‰ n œJ ‰ # œJ J œ ‰ œ
D.B. b J J J J
p espress. sempre p

? bb j j
Timp. b ∑ 43 ∑ 42 ‰ œ
j Œ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ ‰ œ
p Cr.Cym.
π

43 42
y y y y
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J ‰ J ‰ J ‰ J ∑
p

43 42 ‰ œJ ‰
∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ‰ œ ‰ œ ∑
Triangle

3 ã J J J
p
91 92 93 94 95 96 97 98 99 100
 65
œ œ œ œ œ œ œ œ œ œ >œ F œ œœœ œ
œ œ œ œ œ œ œ œ œ œ
b J J J J J J J J J J ‰ J J
Picc. &bb ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ∑ Œ ‰
S ƒ stacc.
>œ œ œœœ œ
cresc.

œ œ œ œ
1 & bbb ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J ∑ Œ ‰ J
S ƒ stacc.
>œ œ œ œ œ
œ œœœ œ
Fl. 2 & bbb ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J ∑ Œ ‰ J
S ƒ stacc.
>œ œ œ œ œ
œ œœœ œ
3 & bbb ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J ∑ Œ ‰ J
S ƒ stacc.
b nœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ >
1 &bb ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ œJ ∑ Œ ‰ œ
J
œœœ
œ œœœ œ
cresc. S ƒ stacc.
>
Ob.
b nœ œ œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ ‰ œJ œ œ œœœ œ
2 &bb ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
J
‰ J ‰ J ‰ J ∑ Œ ‰
J
œœœ

cresc. S ƒ stacc.
#œ œ #œ œ œ œ œ œ œ œ >
E. Hn. &b
b œ œ ‰ œ
J ‰ J ‰ J ‰ J nœ ‰ J ‰ J ‰ n œJ ‰ J nœ ‰ J ‰ J ‰ œJ ∑ ∑ ∑
S
>œ œ
cresc.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ
‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ∑ Œ ‰ J
E b Cl. &
cresc. S ƒ stacc.
j j j j j j j j j j
&b œ #œ
‰
œ
j ‰ #œ ‰ œ ‰ #œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ ∑ ∑ ∑
>
1
cresc. S
j j j j j j j j j j
B b Cl. 2 &b œ #œ
‰
œ
j ‰ #œ ‰ œ ‰ #œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ ∑ ∑ ∑
cresc.
>
S

&b ‰ j ‰ ‰ ‰ ‰ ‰ j ‰ j ‰ j
j j j j œ œ œ ‰ œ
j œ œ
‰
œ
j ‰
œ
j ‰
œ
j ∑ ∑ ∑
œ œ œ œ œ œ œ
3
>
S
cresc.

j j j j œ œ œ œ œ œ œ œ > j
B. Cl. &b œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ œJ ∑ Œ ‰ bœ œ nœ œ œ œ
S ƒ stacc.
œ
cresc.

œ œ œ œ œ
? bb œ œ œ œ ‰ b œJ œ nœ œ œ œ
b œ nœ œ œ nœ œ œ œ œ nœ œ nœ œ œ œ œ ∑ Œ
œ œ S>
1
ƒ stacc.
œ
cresc.

œ œ œ œ œ œ nœ œ œ œ
Bsn.

? b œ nœ œ œ œ œ œ œ œ œ ∑ Œ ‰ b œJ
bb œ nœ œ œ nœ œ nœ œ œ œ
œ œ S>
2
cresc. ƒ stacc.
? b œ œ œ œ j œ œ
j
bb ∑ ∑ ∑ ‰ J ‰ J ‰ J ‰ J ‰ œ ‰ J ‰ œ J ∑ ‰ ∑ ∑
>
C. Bn.

p . S
œ œ. œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ œ. œ. œ. œ. œ. œ œ
marcato e stacc. cresc.

#œ #œ œ œ # œ # œ œ œ œ # œ. œ. œ. œ. œ. . œ #œ œ œ œ
Solo A. Sax & œ #œ #œ œ œ œ #œ œ œ œ # œ œ œ œ. J ‰ Œ ∑ ∑
f
√
cresc.

œ œ œ. œ œ œ œ œ œ œ. œ. . œ. œ. œ. œ.
œ. œ J
ossia &

œ œ œœœ œ
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ ‰
a2

1 œ œ œ œ bœ J
ƒ stacc.
œ œ œœœ œ
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ ‰
a2

2 œ œ œ œ bœ J
B b Tpt.
ƒ stacc.

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ œ œœœ œ
a2

3 œ œ œ œ bœ bœ œ œ J
ƒ stacc.
j
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ bœ œ œ ‰ œ œ œœœ œ
ƒ stacc.
b ˙ œ œ ˙ œ œ nœ œ œ œ ˙ œ œ œ œ œ œœœ œ
&b nœ œ. œ œ œ œ œ bœ ‰ J
Open

1 J J J J J
ƒ stacc.

& bb j j j œ j j œ ˙ œ œ œ œ œ bœ œ œ ‰ œ œ œœœ œ
Open
2
˙ œ œ nœ ˙ œ nœ œ. œ œ œ J
F.Hn. ƒ stacc.
b œ œ œœœ œ
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ bœ œ œ ‰ J
ƒ stacc.

& bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ bœ bœ œ œ ‰ œ œ œœœ œ
4
J
ƒ stacc.
œ œ œ œ œ bœ œ œ œ œ œœœ œ
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J
1 b
ƒ stacc.
œ œ œ œ bœ bœ œ bœ
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ b œJ œ nœ œ œ œ
Tbn. 2 b
ƒ stacc.
œ œ œ œ bœ bœ œ œ
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ b œJ œ nœ œ œ œ
Bass b
ƒ stacc.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

j j j j j j œ j œ œ >œ
? bb œ œ œ
D.B. b ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ J ‰ J ‰ J ‰ œ ‰ J ‰ J ‰ J ∑ ∑ ∑
S

? bb j j j j j j œ œ œ j j j j j
Timp. b ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ J ‰ J ‰ œ ‰ œ ‰ œ ‰ œ ‰
>
œ ∑ ∑ ∑
cresc. S
>
∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ yJ ∑ ∑ ∑
Whip

Perc. 2 ã
S
>
‰ œJ
Metal block

3 ã ∑ ∑ ∑ ∑ ∑ ∑ Œ ∑ ∑ ∑
S
101 102 103 104 105 106 107 108 109 110
 66
>œ >
b b ‰ J œJ ‰ nœ œ .
œ. œ. œ. œ. œ.
43 42 ‰
œœ œ
Picc. & b ∑ ∑ ∑ œ J ‰ ∑ ∑ ∑ Œ ‰ J
p ƒ
nœ œ . œ. œ. œ. √
>œ >œ œ œ. œ.
b
&bb ‰ J J ‰ 43 42 ‰ J œœ œ
1 ∑ ∑ ∑ ‰ ∑ ∑ ∑ Œ ‰ J
p ƒ
nœ œ . œ. œ. œ. √
>œ >œ œ œ. œ.
b
&bb ‰ J J ‰ 43 42 ‰ J œœ œ
Fl. 2 ∑ ∑ ∑ ‰ ∑ ∑ ∑ Œ ‰ J
p ƒ
>œ >œ œ. œ. √
œ. n œ. œ. œ.
bb ‰ J J ‰ œ.
43 42 ‰ J œœ œ
& b ∑ ∑ ∑ ‰ ∑ ∑ ∑ Œ ‰ J
3
J
p ƒ

> > œ. n œ. œ. œ. œ.
b
& b b ‰ œJ œJ ‰ ∑ ∑ 43 ∑ 42 ‰ œ. œ. J ‰ ∑ ∑ ∑ Œ ‰ J
œœ œ
1
J
p ƒ
> > œ. œ. œ.
œ.
Ob.
b 3 2 ‰ j J œœ œ
2 & b b ‰ œJ œJ ‰ ∑ ∑ 4 ∑ 4 œ. œ. œ. ‰ ∑ ∑ ∑ Œ ‰ J
p ƒ
b
E. Hn. &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

>œ >œ
& ‰ J J ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ œ. œœœ
E b Cl. J
ƒ
nœ œ
&b ∑ ∑ ∑ 43 ∑ 42 ‰ œ œ œ J
œ œ nœ ‰ ∑ ∑ ∑ ∑
œ œ œ
1

p
nœ œ
&b ∑ ∑ ∑ 43 ∑ 42 ‰ nœ œ œ œ J ‰ ∑ ∑ ∑ ∑
œ œ
B b Cl. 2

œ œ œ
p
œ. œ.
&b ∑ ∑ ∑ 3
4 ∑ 2
4 ‰ j œ. œ. J ‰ ∑ ∑ ∑ ∑
œ.
3
p œ.
j ‰ j œj ‰ œ.
& b ‰ œ œj ‰ Œ
. œ. œ 43 Œ Œ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰
J
> > . œ. œ.
B. Cl.

F œ. ƒ

? b b ‰ >œ œj ‰ j j œ.
1 b J > ∑ ∑ 43 ∑ 42 ∑ ∑ ‰
œ.
j ‰ œ œ ‰ œ. œ.
‰ j
œ n œ œ.
Œ ‰ J
p ƒ
j œ.
Bsn.

? bb ‰ j j
2 b œ j ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ‰ œ.
j ‰ œ œ ‰ œ. œ. ‰ j
œ n œ œ. Œ ‰ J
> œ p ƒ
>
? b ‰ >œ j 3 2
bb J œ ‰ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑
>
C. Bn.

‰ œ.j œ œ œ- œ œ- #œ œ
& ∑ Œ 43 œ œ. œ. œ œ. œj ‰ 42 ∑ ∑ # œ. œ. œ. œ. œ. œ- œ œ œ œ œ. œ. œ.
j
œ. ‰ Œ
Solo A. Sax
. . . . >
p grazioso
p
> > œ.
1 & b ‰ œJ œJ ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
ƒ
> > œ.
2 & b ‰ œJ œJ ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
B b Tpt.
ƒ
œ.
& b ‰ œj œj ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
> >
3
ƒ

& b ‰ œj œj ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ œ.
4
> > J
ƒ
b > > 3 2 œ.
1 & b ‰ œJ œJ ‰ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
ƒ
b j j œ.
&b ‰ œ œ ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰
J
> >
2

ƒ
> >
F.Hn.
b 3 2 œ.
3 & b ‰ œJ œJ ‰ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
ƒ
b j j œ.
&b ‰ œ œ ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰
J
> >
4

ƒ.
œ
? b b ‰ >œ œj ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
1 b J >
ƒ
? b b ‰ >œ œj ‰ œ.
Tbn. 2 b J > ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
ƒ
? b b ‰ >œ œj ‰ œ.
Bass b J > ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ ‰ J
ƒ
? bb ‰ j j ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ‰ j Œ Œ j ‰ ‰ j Œ ∑
b œ. œ. œ.
>œ œ
1

Tba. ƒ > p
? bb ‰ j j ‰ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑
b
>œ œ
2

ƒ >
pizz. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ
? bb ∑ Œ ‰ J 43 J ‰ 42 ∑ ∑ ‰ J J ‰ Œ
D.B. b
p p

? b ‰ œ j ‰ Œ ‰ œJ ∑ 3 œ 2 ‰ œj Œ
Timp. bb J œ 4 Œ œ Œ 4 ∑ ∑ ∑ ∑ ∑
ƒ p p Sf

43 42
Cr.Cym.
y
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ
Triangle ƒ
∑ ∑ ∑ 3 ∑ 2 œ
3 ã 4 4 ‰ J Œ ∑ ∑ ∑ ∑ ∑
p
111 112 113 114 115 116 117 118 119 120
 67
G œ. œ œ œ. œ. >œ œ œ œ. œ. œ œ œ.
b œ. œ. œ. œ. >œ >œ J J
Picc. &bb Œ ∑ ∑ ∑ ∑ ∑ ‰ ‰
ƒ
(√). √
œ œ. œ. œ. œ. >œ >œ œ œ œ , œ
1
b
&bb Œ ∑ ∑ ‰ œ œ œ œ œ œ œ œ œ ‰ œ
J
œ œ. œ. >œ œ
œ œ. ‰ œ.
J
œ œ œ.
ƒ espress.

(√). √
bb b œ œ. œ. œ. œ. >œ >œ œ œ œ , œ
Fl. 2 & Œ ∑ ∑ ‰ œ œ œ œ œ œ œ œ œ ‰ œ
J
œ œ. œ. >œ œ
œ œ. ‰ œ.
J
œ œ œ.
ƒ espress.

(√). 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.
bbb œ. Œ ∑ ∑ ‰ J œ œ ‰ n œ. œ. ‰ J
3 &
ƒ espress.

œ. œ. œ. œ. œ. >œ >œ œ œ œ , œ œ œ œ >œ œ

b
&bb Œ ∑ ∑ ‰ œ œ œ œ œ ‰ œ œ œ. œ. œ œ. ‰ œ. œ œ œ.
1 J J
ƒ espress.

œ. œ. œ. œ. >œ >œ
Ob.

b œ. œ
œ œ œ
œ œ œ
œ
œ œ.
&bb Œ ∑ ∑ ‰ J œ œ œ ‰ œ œ œ œ. n œ. bœ œ œ n œ. ‰
J œ. œ.
>
2

ƒ espress.

œ. > œ. >œ œ.
&b
b ∑ Œ
>
‰ œJ
> >
œ. œ œ. œ
> >
‰ œJ œ. œ œ. >œ >œ œ. >œ œ. œ >
œ.
>œ œ. >œ œ. ‰ Œ ‰ œ. œ. n œ.
E. Hn. œ J J
ƒ

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.
E b Cl. & œ. Œ ∑ ∑ ‰ œ ‰ J ‰ J
ƒ
œ.
espress.

œ
œ œ œ œ œ œ. # œ. bœ œ œ # œ. œ. œ.
&b ∑ Œ ‰ j œ. œ ‰ j œ œ œ œ. œ. ‰ ‰ J
œ. œ
œ . œ œ . > œ. > œ. œ
1
œ > œ >
>
ƒ > > > >
œ œ œ œ œ. >œ œ œ œ. j
&b ∑ Œ ‰ j ‰ j œ œ œ œ. œ. œ ‰ J œ. ‰ œ. œ.
œ. œ # œ.
œ . œ œ . > > œ. œ œ œ. >œ
B b Cl. 2
œ œ. >
>
ƒ > > > >
œ , œ
œ œ œ œ œ œ œ œ œ œ œ. >œ œ œ œ. œ. œ. # œ.
&b ∑ Œ ‰ j œ. œ ‰ j
j œ ‰ ‰ J œ ‰ J œ. ‰ J
œ . œ œ .
3
œ
>œ >œ ƒ> > > >
œ.
espress.

œ. œ. œ. j
&b œ. Œ
œ j ‰ œ œ œ
œ j ‰ œ œ
J
‰ œ œ ‰
œ œ
j ‰ ‰ j
>œ œ. œ œ. >œ
B. Cl.
œ œ >

œ. œ. œ. œ. >œ >œ >œ œ.

? b œ. Œ œ j ‰ œ œ œ
œ j ‰ œ œ
J ‰ œ œ ‰ œ
j ‰ ‰ J
>
bb œ œ J œ œ œ. œ
>
1

œ. œ. œ. œ. >œ >œ >œ œ.

Bsn.

? b œ. Œ œ j ‰ œ œ œ
œ j ‰ œ
œ
J ‰ œ œ ‰ œ j ‰ ‰ J
>
bb œ œ J œ œ œ. œ
>
2

? bb ∑ ∑ j ‰ œ œ œ j ‰ œ œ ‰ œ œ ‰ j ‰ ‰ j
b œ œ œ œ J J œ œ œ œ. œ œ. œ
> > >
C. Bn.
ƒ

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. œ. œ. œ. >œ >œ œ œ œ œ.
œ œ œ œ œ œ œ œ J >œ >œ œ. œ. œ.
1 &b Œ ∑ ∑ ‰ ‰ ∑ J ‰ ‰ J ‰ J
f
œ. œ. œ. œ. œ. >œ >œ
(non troppo)

j j j j
&b Œ
œ œ
j ‰ Œ
œ œ œ ˙ œ œ ‰ ∑ #œ ‰ ‰ œ ‰ œ. œ. # œ.
> >
2

F f
œ. œ. œ. œ.
B b Tpt.

&b œ. >œ >œ

‰ œj ‰ œj œ œ œ. œ œ. >
œ œ. œ œ œ œ. œ œ. œ. œ œ.
j ‰ ‰ j ‰ œ. œ. œ.
3
> œ. >œ œ. >œ > . > > > . > œ œ. >
œ
> > œ J
> >
> j
&b œ. œ. œ. œ. œ. œ œ ‰ œj œ. >œ œ. œ ‰ œj œ. >œ œ. œ œ. œ œ. œ œ œ œ. œ œ. œ œ. œ œ. ‰ ‰ j ‰ j
œ. œ. # œ.
œ. œ
> > > > > > > . > >œ > > >
4
>
œ. œ. œ. œ. œ. >œ >œ > > >œ > > >œ œ. >œ œ. >œ
&b
b ‰ œJ œ. œ œ. ‰ œJ œ. œ œ. ‰ Œ Œ ‰ J J ‰ ‰ J
>œ œ. œ. ‰ Œ ∑
1 J J

b œ. œ. œ. œ. œ. > > >

œ. œ œ. œ
> >
‰ œ œ. œ œ. >œ œ. >œ œ. >œ œj ‰ j j >œ œ. >œ œ.
&b œ >œ ‰ œJ J .
‰ œ œ. ‰ ‰
J J ‰ Œ ∑
>
2

>œ >œ >œ œ. >œ œ. >œ >œ

b œ. œ. œ. œ. œ. œ. œ.
F.Hn.

3 &b Œ ∑ ∑ ∑ Œ ‰ J J ‰ ‰ J J ‰ Œ ∑

b > > > > > œ. >œ œ. >œ œ. >œ œj ‰ j >œ œ. >œ œ.
& b b œ. œ. œ. œ. œ.
œ œ ‰ œJ œ. œ œ. œ ‰ œJ œ. œ ‰ œ
j œ. ‰ ‰ J J ‰ Œ ∑
4
> . >
œ. œ. œ. œ. >œ >œ
œ. œ œ œ œ œ ˙ œ œ œ œ œ
? bb Œ J ‰ Œ J ‰ Œ ∑
1 b
. F f
? b œ. œ. œ. œ. œ. œ. œ œ œ
Tbn. 2 bb Œ J ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F
œ. œ. œ. œ. œ. >œ >œ
? bb Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ j j
1 b œ. ‰ œ. ‰
f
j j j
Tba.
? bb ∑ ∑ j ‰ j ‰ œ j ‰ j ‰ ‰ ‰ j
2 b œ
œ œ œ œ œ
œ œ œ œ œ œ œ
> œ. ‰ œ. ‰
f

œ œ œ œ >œ œ. >œ œ. >œ

j ‰ œ œ j
arco

? bb ∑ ∑ œ j ‰ œ J ‰ œ J ‰ œ œ ‰ ‰ J
D.B. b œ œ
ƒ

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ j Œ ‰ j
Timp. bb œ œ
Snare Dr. ƒ
ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ j
œ ‰ ‰ j
œ œ ∑
J J
œ
Perc. 2

f
3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

121 122 123 124 125 126 127 128 129 130
 68
> >œ ,
b œ. œ œ œ œ. œ. œ. . . œ œ œ. œ. œ >œ œ.
bb b J
œ nœ œ >œ œ œ. œ œ , J
œ œ œ œ œ
Picc. & J J ‰ J ‰ Œ ∑ ∑ ‰ J J J ‰
ƒ marc.
(√) > √ >œ œ , >œ , œ.
b b b œ. œ œ œ œ. œ. œ. >œ œ . . œ œ œ. œ. œ.
& b J J J ‰ œ nœ œ
J ‰ Œ ∑ ∑ ‰ œ. œ œ J J
œ œ œ œ œ
1
J
ƒ marc.
(√) > √ >œ œ , >œ , œ.
b b b b œ. œ œ
J œ
J ‰ œ nœ œ ‰ œ. œ. œ. >œ œ
Œ ∑ ∑
. .
‰ œ. œ œ œ œ œ. œ. J œ œ œ œ œ œ.
Fl. 2 & J J J J
> ƒ marc. .
. œ œ œ œ œ œ. œ. œ. . œ. œ œ. œ. œ. >œ œ, >œ , , œ. œ. œ.
bb b œJ >œ œ œ.
(loco)

J J ‰
œ J ‰ Œ ∑ ∑ ‰ œJ J J œ.
3 &
ƒ marc.

>œ œ œ. œ. œ. >œ œ . œ. œ. œ. œ. œ. >œ œ, >œ , œ. œ. œ.

>œ œ
b œ œ ‰ œJ œ.
1 & b b b œJ J J ‰ nœ œ
J ‰ Œ ∑ ∑ J J
ƒ marc.
. œ. œ. œ. œ. œ. >œ œ, >œ , œ. œ. >œ œ
Ob.

b j >œ œ œ œ. œ. . ‰ œJ J œ. œ.
& b b œ. J J ‰ œ œ œ
J
‰ œ œ œ Œ ∑ ∑ J
>
2
ƒ marc.
œ. >œ , >œ œ
b œ œ œ œ. œ. œ. >œ
‰ œ.j n œ. œ. œ. >œ œ >œ , œ. œ.
E. Hn. &b J J J ‰ œ œ œ œ J ‰ œ Œ ∑ ∑ Œ J J œ. b œ.
ƒ marc.
>œ >œ ,
œ . œ. œ œ œ. œ. œ >œ .
b œ. œ œ nœ œ œ. œ. . >œ œ. œ , œJ œ œ œ œ
œ œ.
J J J ‰ J ‰ œ œ Œ ∑ ∑ ‰ J J
E b Cl. &
ƒ marc. ,
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.
J J œ ‰ J J
1 &b J ‰ J ‰ Œ ∑ ∑ J
ƒ marc. ,
>œ œ. . œ. œ œ œ. œ. >œ œ >œ , œ.
œ. œ œ œ œ œ œ. œ. œ. ‰ J œ J œ œ œ œ
œ œ.
B b Cl. 2 &b J J J ‰ J ‰ œ œ Œ ∑ ∑ J
> ƒ marc.
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 J J J ‰ œ œ
J ‰ Œ ∑ ∑ ‰ œ. œ J J œ.
3
J
ƒ marc.
&b œ. œ j ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑
œ œ. > œ. œ. œ. œ
> œ. >œ œ œ. > œ
B. Cl.

>
œ.
? bb œ. > œ. > >œ j J
b œ œ œ. œ. œ œ. ‰ œ. œ. œ Œ ∑ ∑ ∑ ∑ ∑ Œ ‰
> > œ
1
f
. .
? b b œ >œ œ > >œ
Bsn.
j
b œ œ. œ. œ œ. ‰ œ. œ. œ Œ ∑ ∑ ∑ ∑ ∑ ∑
> > œ
2

? bb œ. > >œ j
b œ œ. œ œ. œ. œ œ. ‰ œ. œ. œ Œ ∑ ∑ ∑ ∑ ∑ ∑
> > > œ
C. Bn.

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

> œ. ,
b œ. œ œ
J œ œ nœ œ œ. œ. œ. ‰ œJ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. >œ œ >œ , œ. œ. œ. œ.
& b J J ‰ J ‰ œ œ Œ Œ J J œ.
>
1
marc.

> j j , , j
&b j œ œ œ ‰ œ œ œ
J ‰ œ. œ. œ œ Œ Œ ‰ œj œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ œ œ œ. œ. œ.
œ. . > œ . . > J > œ. œ.
2

B b Tpt.
œ. ,
>œ œ. œ. œ. œ.
marc.

œ. œ œ ‰ œJ. œ. œ. œ. œ. œ. œ. >œ œ >œ , œ. œ. œ.

&b J J ‰ œ œ j ‰ œ. œ. œ. œ Œ Œ J œ. œ.
J œ > œ J
3
marc.

, , j
&b j j j ‰ j ‰ Œ Œ ‰ œj œ. œ. œ. œ. œ. œ. œ œ. œ. œ œ œ j ‰
œ. >œ nœ œ œ œ œ œ. œ. œ. œ
> œ . œ. . œ.
> J > œ. œ. œ. œ.
4

œ.
marc.

b >œ œ œ . >œ œ. œ. œ. œ. œ. œ.
&b ‰ J œ
J
‰ œ œ œ œ J ‰ œ. œ. œ œ ‰ j œ. œ. œ. œ œ. œ. J ‰ Œ ∑ ∑
1
œ. .
ƒ marc.

,
b j œ >œ
n œ. œ. œ. >œ œ >œ , œ. œ.
&b ‰
œ
j œ ‰ œ bœ œ œ J ‰ œ. œ. œ. œ ‰ j œ. œ. b œ. œ. œ. œ. œ. J œ. œ. ‰
œ œ. n œ. œ. œ. œ. n œ. J J
2
>
ƒ
>œ œ. œ. œ. œ. œ. œ. œ.
F.Hn. marc.

b œ œ
&b ‰ œ œ
J J ‰ œ œ œ œ J ‰ Œ œ ‰ œj œ. œ. œ. œ œ. œ. J ‰ Œ ∑ ∑
> . .
3

ƒ marc.

b j >œ
&b ‰ j œ ‰ œ bœ œ œ œ
J ‰ Œ œ ‰ j œ. œ. b œ. œ. œ. œ. œ. n œ. ‰ Œ ∑ ∑
4
œ œ œ. n œ. œ. œ. œ. n œ. J
>
œ. n œ. œ. . . n œ.
ƒ>
œ œ œ œ œ. œ. œ. >œ œ . œ. œ. œ. œ. œ. œ. œ. œ œ
marc.

? bb œ œ J ‰ œJ J
1 b ‰ J J ‰ ‰ ‰ Œ ∑ ∑
ƒ
>œ œ œ œ >œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ.
marc.

? bb œ œ J œ. œ. œ. .
‰ œJ œ. œ. J
Tbn. 2 b ‰ J J ‰ ‰ ‰ Œ ∑ ∑
ƒ . n œ.
. œ. œ. œ. . œ. œ
marc.

? bb j j j j ‰ œ. n œ. œ œ. œ. n œ. n œ. œ J
Bass b ‰
œ ‰
> œ œ ‰ œ
> œ œ ‰ œ. œ. œ
> œ J
‰ Œ ∑ ∑
ƒ marc.

? bb œ ‰ j j ‰ ‰ j j ‰ œj
b . œ œ œ œ ‰ œ. œ. œ ∑ ∑ ∑ ∑ ∑ ∑
> œ >
1
œ.
Tba.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

? bb
>œ œ. >œ œ. >œ >œ œ. >≥œ
D.B. b œ. œ. J ‰ œ. œ. œ œ ‰ J
>
∑ ∑ ∑ ∑ ∑ ∑

? bb j j j
Timp. b ‰ œ œ œ ‰ œ œ œ ‰ Œ œ œ ‰ œj ∑ ∑ ∑ ∑ ∑ ∑
Sf
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ bbb Œ ‰ œ
Xylo.

Perc. 2 ã & J
f
3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

131 132 133 134 135 136 137 138 139 140
 69
H œ. œ. œ. œ. œ. œ. œ. œ.
b œ œ. œ. œ. œ. œ. œ. ‰ ‰ J œ. œ.
Picc. &bb ∑ ∑ ∑ Œ œ œ œ J ‰ ‰ J ‰ J J ‰ J J ‰ ‰ J
π
(√) œ. œ. œ. œ. œ. œ. œ.
b . œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. ‰ ‰ J œ. œ. œ.
1 &bb œ œ. œ. œ. œ. œ. œ. œ œ œ J ‰ ‰ J ‰ J J ‰ J J ‰ ‰ J
p π
(√) œ œ. œ. œ. œ. œ. œ. .
b . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ J ‰ ‰ J J J ‰ ‰ œJ
Fl. 2 &bb œ ‰ ∑ ∑ ∑
p. 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.
3 & bbb J ‰ ‰ J ‰ J J ‰ ‰ J ‰ J œ J ‰ ‰ J
p π

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. j ‰ .
&bb œ œ J ‰ ‰ J ‰ J œ. ‰ ‰ œ. ‰ J œ. œ. ‰ œJ œ œ.
1 J J œ. .
F π
p
marcato

œ œ œ œ œ œ œ œ. œ.
Ob.

2 & bbb J ‰ Œ ∑ Œ œ œ œ
œ J ‰ ‰ J ∑ ∑ ∑ ∑ ∑
p p
b œ œ œ œ
E. Hn. &b J ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ J ‰ ‰ œJ. . .
œ œJ ‰ ‰ œJ
& Œ Œ ∑ ∑ ∑
œ œ œ
E b Cl.
p p p
œ. œ. œ. œ. œ. œ. œ. . .
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ ‰ œ. œ œJ ‰ ‰ œJ .
‰ œ. œ œ.
1 &b J J
Œ œ œ œ ∑ ∑
J
p π π
p

&b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. j
œ. ‰ ‰ œ.
j Œ œ œJ. ‰ ‰ œ. ∑ ∑ ‰ œj œ œ
B b Cl. 2
œ œ œ J .
p π p π . .

j j œ. .
&b œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. ‰ ‰ œ. Œ œ œ œ J ‰ ‰ œJ ∑ ∑ ‰ œj œ
3
œ . . œ.
p π p π

&b ∑ Œ ‰ j j ‰ ‰ j ‰
j
œ. œ. œ. ‰ ‰ j ∑ ∑ ∑
œ. J œ.
œ. œ. œ. p
B. Cl.
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. œ. . œ. œ. œ.
.
J ‰ ‰ œJ . . œ. œ. œJ
1
? bb
b ∑ ∑ ‰ œJ. œ œ ‰ ‰ J
p π
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . j . . œ. œ.
Bsn.
? b
bb ∑ Œ ‰ J J ‰ ‰ œJ ‰ j œ. ‰ ‰ j ‰ œj œ œ. œ. œJ ‰ ‰ œJ
œ. œ. œ. œ. . œ .
2
dim. p marc. . π
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. œ.
1 &b J ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
p
&b œ. œ. œ. ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
J
B b Tpt. p
j j j j
3 &b œ. œ. œ. ‰ Œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ ‰ œ. ∑ ∑ ∑ ∑ ∑
p p leggiero
j j j
4 &b ∑ Œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ ‰ œ. ∑ ∑ ∑ ∑ ∑
p leggiero
b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b œ. b œ. œ. œ. œ. œ.
? bb ∑ ∑ Œ ‰ J J ‰ Œ ∑ ∑ ∑ ∑ ∑
1 b
p marc.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

? bb ∑ Œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ ‰ œ ∑ ∑ ∑ ∑ ∑
pizz.

D.B. b J J J
p

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. b

b œ œ œ œ œ œ œ
Perc. 2 &bb œ œ œ œ œ œ œ Œ ∑ ∑ ∑ ∑ ∑ ∑
dim. molto p
∑ ∑ ∑ Œ œ œ ‰ ‰ œ ∑ ∑ ∑ ∑ ∑
J J
Triangle

3 ã æ
p
141 142 143 144 145 146 147 148 149 150
 70
I
b
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b j œ j j
&bb ∑ ∑ ∑ ∑ ∑ œ œ nœ n œ. œ œ œ nœ œ ‰ Œ ‰ œ. n œ œ œ
>
1

p espress.

b j œ j j
&bb ∑ ∑ ∑ ∑ ∑ œ œ nœ n œ. œ œ œ nœ œ ‰ Œ ‰ œ. n œ œ œ
Fl.

>
2

p espress.
b
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b j
1 &bb ∑ ∑ ∑ ∑ œ. œ. œ. ‰ ∑ ∑ ∑ ∑ ∑
Ob.
π
b
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ. # œ œ œ
E b Cl. & J
π
1 only .
œ . œ.
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J œ
π
œ n œ. >œ œ œ œ nœ œ
1 only

œ #œ J J
B b Cl. 2 &b ∑ ∑ ∑ ∑ ∑ ‰ Œ ∑
p espress.
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. n œ. œ. . œ. œ. œ. n œ. œ. n œ.
? bb J n œ. j œ ‰ œ.
b ∑ ∑ ∑ ∑ ‰ œ. ‰
œ. J
‰ J œ. J ‰ ‰ J œ.
œ. œ.
1

Bsn.
π p
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

œ. œ œ #œ œ. œ œ
# œ. >œ œ #œ œ œ. n >œ œ œ œ œ.
j
& ∑ ∑ ∑ ∑ ∑ œ. œ œ #œ J J #œ
Solo A. Sax
œ.
p scherzando

j
senza sord.

&b ∑ Œ ‰ œj œ œ œ œ œ ‰ ∑ ∑ ∑ ∑ ∑
con sord.

1
. œ. œ. œ. œ. œ. œ. œ. œ. œ.
p
j ‰
senza sord.

&b ∑ Œ ‰ j ∑ ∑ ∑ ∑ ∑
con sord.
2
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ #œ œ œ
B b Tpt. p
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ˙ ˙ œ œ œ œ
j ‰ Œ œ
p
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
‰ œJ œ. j
con sord. senza sord.

? bb ∑ Œ œ. ‰ ∑ ∑ ∑ ∑ ∑
1 b
p
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 bb

j
con sord.

? bb ∑ Œ ‰ œj œ. ‰ ∑ ∑ ∑ ∑ ∑
senza sord.

Bass b . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
p
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

œ. ≥œ
j ‰ œ. n œ. œ. œJ. ‰ œ nœ œ œ nœ
arco

? bb ∑ ∑ ∑ ∑ ∑ œ. ‰ ‰ J ‰ J J ‰ ‰ J
D.B. b J
p stacc.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. b

b j
Glock.

&bb ∑ ∑ ∑ ∑ ∑ œ œ ‰ œ j œ œ ‰ ∑
Perc. 2
œ œ œ
Snare Dr.
p
‰ œœœ œ ‰ ∑ ∑ ∑ ∑ ∑
Solo

3 ã œ œ œœœœ œ œ œ œ œ œ œ œ œ œ
æ
œ
J
p
151 152 153 154 155 156 157 158 159 160
 71
J
b n œ. œ. .
‰ n œJ œ. . .
‰ n œJ œJ œ. .
‰ n œJ 3 # œ. 2
Picc. &bb ∑ J ‰ J ‰ ∑ ∑ J ‰ ∑ ‰ ‰ J 4 J ‰ Œ Œ 4 ∑
p
n œ. œ. n œ. œ. œ. n œ. # œ.
b n œ. œ
1 &bb œ nœ œ œ J ‰ J ‰ ∑ ∑ ‰ J J ‰ ∑ ‰ J J ‰ ‰ J ‰ J 34 J ‰ Œ Œ 42 ∑

b œ œ œ œ. œ. .
‰ n œJ œ. . .
‰ n œJ œJ œ. .
‰ n œJ 3 # œ. 2
Fl. 2 &bb nœ J ‰ J ‰ ∑ ∑ J ‰ ∑ ‰ ‰ J 4 J ‰ Œ Œ 4 ∑

œ. œ. œ. œ. œ. œ. n œ. œ. œ.
b J J J J ‰ J J J J 3 J ‰ Œ 2
3 &bb ∑ ‰ ‰ ∑ ∑ ‰ ‰ ∑ ‰ ‰ ‰ 4 Œ 4 ∑
p
œ. œ. œ. œ. œ. œ. n œ. œ. œ.
b J J ‰ œ œ œ œ J J ‰ J J J J 34 J ‰ Œ ‰ # œj 42 # œ
&bb ∑ ‰ ‰ œ ‰ ‰ ‰ ∑ ‰ ‰ ‰ n œ. Œ
Soli

1
J J . .
p F espress. p F
.
Ob.
j
& b bb ∑ œ. ‰ œ. ‰ ‰ œ nœ œ nœ œ ‰ ‰ œ. œ. ‰ ∑ ‰ œJ. œJ. ‰ ‰ n œ. ‰ œ. 43 œJ ‰ Œ ‰ j 2 Œ
Soli

2
J J J J J J J œ. 4 œ. # œ.
p F espress. p F
E. Hn. & bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

œ œ œ #œ œ.
#œ J J
E b Cl. & ‰ ‰ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

œ œ œ
œ # œ. œ. . # œ.
œ ‰ # œJ œ #œ #œ n œ.
Solo

J
1 &b ‰ J ‰ ∑ ∑ ∑ ∑ ‰ j j ‰ ‰ J 43 J ‰ Œ Œ 42 ‰
# œ. œ. F
p
œ. j 3 2
j 4 œj ‰ Œ
a2

B b Cl. 2 &b ∑ Œ J ‰ ∑ ∑ ∑ ∑ ‰ j j ‰ ‰ œ. ‰ Œ 4 ∑
# œ. .
p œ. œ.
j
&b ∑ ‰ j ‰ ∑ ∑ ‰ j j ‰ ∑ ‰ ‰ ‰ œ. ‰ j 43 œj ‰ Œ ‰ j 42 œ Œ
1 only

j j j
. .
3
# œ. œ. # œ. œ. # œ. œ. œ. œ. œ.
p p F
j
&b ∑ j ‰ j ‰ ∑ ∑ ‰ j j ‰ ∑ ‰ j j ‰ ‰ œ. ‰ j 43 ∑ 42 ∑
1 only
B. Cl.
# œ. œ. # œ. œ. # œ. œ. # œ.
p nœ œ nœ œ œ p n œ. # œ.
? bb œ œ. œ. j j J J J .
‰ # œJ 34 J ‰ Œ j 2
b . ‰ œ. ‰ ‰ ‰ ∑ ∑ ∑ ‰ ‰ Œ
Soli

1
œ. œ. # œ. 4 œ nœ
F p F
œ nœ œ.
espress.

œ œ œ .
Bsn.

? bb ∑ ∑ ‰ J J ‰ ∑ ∑ ∑ ‰ œJ ‰ ‰ 34 J ‰ Œ ‰ j 42 n œ Œ
Soli

b # œ.
œ. .
2

F espress. p F
? bb j j j j ‰ œ. œ. œ.
C. Bn. b ∑ œ. ‰ œ. ‰ ∑ ∑ ‰ œ. œ. ‰ ∑
J J
‰ Œ ‰
J 43 ∑ 42 ∑
p

œ. j j ŸÈ #œ
& #œ œ œ j œ. n œ. œ. œ #œ œ œ j
œ #œ
j œ # œ # œ- œ Œ œ #œ
3 #œ
4
j
#œ #œ ‰ Œ
2
4 ∑
#œ #œ œ œ #œ
j
#œ
œ #œ œ . œ œ -
> >
Solo A. Sax
3

#œ
#œ #œ #œ
ossia & Œ
#œ #œ œ œ #œ 43 # œ # œj ‰ Œ

1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
B b Tpt.

3 2
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

&b
b
œ œ
j ‰ j
œ. ‰ ∑ ∑ ‰ j j
œ. œ. ‰ ∑ ‰ œ.j œ.j ‰ ‰ n œ. ‰ j
œ. 43 # œJ. ‰ Œ Œ 2
4 ∑
2
œ J
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

b j j
&b ∑ j ‰ j ‰ ∑ ∑ ‰ j j ‰ ∑ ‰ j j ‰ ‰
œ.
j ‰ œ. 43 œ. ‰ Œ Œ 42 ∑
n œ. œ. n œ. œ. # œ. œ.
4

p
œ.
? bb j j j j
‰ œ. œ. œ. œ.
1 b ∑ œ. ‰ œ. ‰ ∑ ∑ ‰ œ. œ. ‰ ∑
J J
‰ ‰ J ‰
J 43 J ‰ Œ Œ 42 ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
Tbn. 2 b

? bb
Bass b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

? bb
1 b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
Tba.

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2 ∑
2 bb 4 4

œ œ. j j j j
pizz.

? bb œ ‰ J œ. ‰ œ ‰ ∑ ∑ ‰ œ œ ‰ ∑ ‰ œ œ ‰ Œ ‰ œ 43 ∑ 42 ∑
D.B. b J J J

? bb j j j j
Timp. b ∑ œ ‰ œ ‰ ∑ ∑ ‰ œ œ ‰ ∑ ‰ œ
J
œ
J
‰ Œ ‰ œ
J 43 ∑ 42 ∑
p
œ œ
b ‰ œJ œ
Perc. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ J ‰ ∑ 43 ∑ 42 ∑
Cr.Cym.

∑
y
J ‰
y
J ‰ ∑ ∑ ‰
y
J
y
J ‰ ∑
y y
‰ J J ‰ ∑ 3 ∑ 2 ∑
3 ã 4 4

161 162 163 164 165 166 167 168 169 170
 72
. n œ. œ. n œ.
Picc.
b
&bb ∑ ∑ ‰ n œ. j n œ Œ ∑ ∑ ∑ ∑ ∑ ∑
F œ nœ œ .
b
j
J nœ œ #œ nœ œ œ
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰
œ
œ nœ œ
F espress.

b j . n œ. nœ nœ œ œ nœ #œ
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ n œ. n œ J J
F
Fl.
espress.

b j . n œ. nœ nœ œ œ nœ #œ
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ n œ. n œ J J
F espress.

b .
&bb ∑ ‰ n œ. œ. œ ∑ Œ ‰ # œj # œ n œ. Œ ∑ ∑ ∑ ∑ ∑
1
J . .
Ob.
b j
2 &bb ∑ ‰ œ. œ. n œ. ∑ Œ ‰
œ.
j
œ. # œ.
Œ ∑ ∑ ∑ ∑ ∑

b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ #œ #œ œ #œ œ
∑ ∑ ∑ ∑ ∑ ‰ #œ œ #œ j ‰ Œ ∑ ∑
Solo

E b Cl. & . #œ
F
nœ
j
# œ. n >œ . ˙ œ œ. œ # œ n œ. nœ
j
# œ. n >œ . ˙ œ œ
&b J J J ‰ ∑ ∑ ∑ ‰
a2

œ #œ
# œ. n œ. . .
1
π
F scherzando
#œ #œ œ œ #œ œ œ
1 only

B b Cl.
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J
espress.

&b œ. j ‰ ‰ j œ Œ œ. j ‰ ‰ j œ Œ ∑ ∑ ∑ ∑ ∑
.
3

œ. œ. œ. œ. œ. œ œ œ
. . . . . œ. œ.
&b ∑ ∑ ∑ ∑ ∑ ‰ œ n œ # œ n œ. œ # œ # œ œ œ Œ Œ
Solo

#œ # œ œ œ #
œ œ. . œ. . . œ . œ
# œ. # œ. œ. n œ. # œ. .
B. Cl.

p
F
n œ. # œ. œ. œ. n œ. n œ. œ. n œ.
nœ
? bb
b ∑ ‰ n œj œ. œ. ∑ Œ ‰ J Œ Œ ‰ #œ
J
J ‰ Œ ∑ ∑
1
.
n œ.
Bsn.
? bb ∑ ‰ j ∑ Œ ‰ œj n œ n œ Œ ∑ ∑ œ.
b œ. n œ. n œ. . . . nœ œ œ j
œ. >œ . œ œ
2
F marcato
p
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

œ. # œ œ œ. # œ. œ. œ. #œ j œ #œ
# œ. # œ. # œ.
#œ
œ. ‰ # œ œ. J # œ œ # œ. # œ # œ œ.
j j j
& Œ ‰ œ
J ∑ Œ nœ ‰ Œ ∑ ‰ j ‰ Œ
Solo A. Sax
J J œ.
p

œ. # œ. n œ. œ. # œ. n œ. ‰ Œ ‰ # œJ. n œ. ‰ # œj j ‰ j
&b ‰ ∑ Œ ∑ ‰ ‰ Œ ∑ ∑
1 only

1
J J J . nœ # œ.
p leggiero π .
j j ‰ # œj j j
&b ‰ ∑ Œ # œ. ‰ Œ ∑ ‰ ‰ ‰ ‰ Œ ∑ ∑
1 only

# œ. # œ. œ. # œ. # œ. . œ. œ. n œj j
n œ.
2

B b Tpt.
p leggiero π .

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ
œ œ nœ ˙
F.Hn. p
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b œ. n œ. œ. ‰ ∑ Œ # œ. œ. œ. ‰ Œ ∑ ‰ œ. ‰ n œ. ‰ œ. n œ. ‰ n œ. ‰ Œ ∑ ∑
1 bb J J J J J J J
p leggiero π
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 b

? bb j ‰ ∑ Œ j ‰ Œ ∑ ‰ j ‰ j ‰ j j ‰ j ‰ Œ ∑ ∑
Bass b n œ. # œ. œ. œ. n œ. # œ. n œ. # œ. # œ. œ. n œ.
p leggiero π
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

œ ≤
n œ. œ œ œ œ. ≤j ≥>
? bb Œ œ ‰ ∑ ∑ J ‰ Œ ∑ ∑ ∑
arco
œ. œ . œ œ
D.B. b J
F marcato p

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. b

œ œ œ
b j
Xylo.

Perc. 2 &bb ∑ ∑ ‰ œ œ Œ ∑ ∑ ∑ ∑ ∑ ∑
p
3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

171 172 173 174 175 176 177 178 179 180
 73

b
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b œ œ
1 & b b nœ nœ œ
œ nœ
nœ œ J #œ. nœ œ #œ #œ #œ
j ‰ Œ ∑ ∑ ∑ ∑ ∑

b œ nœ #œ œ œ nœ #œ œ #œ nœ œ œ
Fl. 2 &bb J J nœ nœ #œ
j ‰ Œ ∑ ∑ ∑ ∑ ∑

b œ nœ #œ œ œ nœ #œ œ #œ nœ œ œ
3 &bb J J nœ
nœ #œ
j ‰ Œ ∑ ∑ ∑ ∑ ∑

b
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob.
b
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

. œ. # œ. b œ.
# œ. n œ
& b # œ. n œ. Œ Œ ‰ œ œ. # œ. ∑ ∑ ∑ ∑ ∑ ∑ ∑
.
1

œ œ j
& b #œ nœ œ
œ #œ nœ œ nœ ‰ Œ ∑ ∑ ‰ j
a2

J #œ. #œ œ #œ
B b Cl. 2 #œ œ. œ. œ. œœœ œ
>. . .
œ. œ œ œ œ œ œ œ.
F marcato

&b ∑ ∑ Œ ‰
# œ # œ. # œ. # œ # œ #œ
j ‰ Œ ∑ ∑ ‰ j
n œ . œ. œ. œ. œœœ œ œ. nœ nœ bœ œ nœ #œ nœ
3
#œ . >. . .
F. scherzando F marcato

&b œ œ
j ‰ Œ j ‰ j ‰ Œ ∑ ∑ Œ ‰ j ‰ j
#œ œ nœ ˙ n œ. b œ. b œ. œ. œ. œ. œ. b œ.
B. Cl.
œ. œ.
F marcato
. . œ œ œ. b œ. œ. œ.
1
? bb
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ. b œ. œ. œ b œ J ‰ ‰ œ
J
Bsn.
p
? b
bb j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ
2

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. bb

j . œ. #œ œ # œ. j . œ # œ. j . n œ # œ. n œ n œ# œ
j
n œ.
# œ.
j
‰ # œ # œJ j
j j #œ
œ. . . ‰ # œj n œJ.
j

# œ. # œ œ ‰ # œ n œJ j . ‰ # œ n œJ j . J œ n œb œ
j nœ
Solo A. Sax & ‰ œ
J ‰ J nœ #œ nœ #œ
#œ
‰ #œ
j
œ. ‰ Œ ∑ ∑

1 &b ‰ # œj # œ œ n œ #œ œ nœ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
p stacc.

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b j
2 &b ˙ œ
j ‰ Œ
#˙ œ nœ # œ. ‰ Œ ∑ ∑ ∑ ∑ ∑

j
F.Hn.
b j j ‰ œj ‰ j
con sord.

j j
3 &b ∑ ∑ ∑ ∑ # œ. ‰ Œ ∑ ∑ ‰ œ. ‰ œ. . œ. œ. ‰ ‰ œ.
F F marcato
b j j j ‰ œj ‰ j
con sord.

&b ∑ ∑ ∑ ∑ # œ. ‰ Œ ∑ ∑ ‰ œ. ‰ œ. œ. œ.
j ‰ ‰ j
. œ.
4
F F marcato
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

œ.
≤ . . œ. . œ. b œ. œ. œ. œ. b œ. œ.
Soli

? bb j j j ‰ n œJ ‰ n œJ J ‰ b œJ œ. œ.
œ ‰ Œ ‰ Œ n œ. ‰ ‰ ‰ J Œ ‰
pizz.

D.B. b œ nœ œ nœ œ J

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. b

b
Perc. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

181 182 183 184 185 186 187 188 189 190
 74
K
b
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. b œ œ œ œ nœ œ b œ. œ n œ œ.
Solo

b œ
1 &bb ∑ ∑ ∑ ∑ ∑ ‰ J Œ ∑ ∑
F scherzando
b
Fl. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œJ . . œ b œ. œ.
1 &bb ∑ Œ ‰ J ‰ ‰ œJ b œ œ nœ
œ. œ. Œ ∑ ∑
p marcato p
. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œJ
Ob.

2 & bbb ∑ Œ ‰ œJ ‰ ∑ ∑ ∑ ∑ ∑
p marcato

E. Hn. & bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ #œ œ œ nœ œ
Solo

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ J nœ œ œ Œ
#œ
1
F
œ œ œ
œ œ nœ
Solo

&b ∑ ∑ ∑ ∑ ∑ ∑ œ J ‰ Œ ∑ ∑
B b Cl. 2
œ # œ
F
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ.
1 only

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ‰
œ.
j œ. œ. œ.
j ‰ ∑ ∑
p
. œ.
œ. œ œ œ œ œ œ
? b ‰ œ. J
Solo

bb ∑ ∑ ∑ ∑ ∑ ‰ Œ ∑ ‰ j ‰ J
1
J œ œ.
Bsn. F marcato F
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

œ. >œ . ˙ œ œ. b œ œ œ œ. >œ . œ œ œ #œ
& ‰ œœœ œ J J J ‰ Œ ∑ ∑ ∑ Œ œ
Solo A. Sax
.
p con spirito p

1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. b œ. œ. œ. œ.
&b ∑ ∑ Œ ‰ j œ. œ. œ. J ‰ Œ ∑ ∑ ∑
Solo

b œ. b œ. œ. œ. œ. œ.
œ.
2

B b Tpt. p marcato
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b . œ. ‰ œ. ‰ œ. œ. œ. œ.
1 &b ∑ Œ ‰ œJ J J J ‰ J ‰ Œ ∑ ∑ ∑ ∑ ∑
p marcato

b ‰ œ. œ. ‰ œ. ‰ œ. œ. œ. œ.
2 &b ∑ Œ
J J J J
‰
J
‰ Œ ∑ ∑ ∑ ∑ ∑
F.Hn. p marcato

b
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
senza sord.

b
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
senza sord.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

œ œ œ œ
nœ œ œ œ œ
‰ œJ œ j
1 only a2 pizz.

? bb ∑ J ‰ Œ ∑ ∑ ‰ J œ œ ‰ ‰ œ Œ ‰ œ Œ
D.B. b J J
p

? b b ‰ œ ‰ œj ‰ œ ‰ œj ‰ œ j
œ œ œ œ œ œ Œ j
œ ‰ ‰ j Œ ‰ j Œ
Timp. b J J œ œ œ > œ œ
p π p
b
Perc. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

191 192 193 194 195 196 197 198 199 200
 75
L œ. œ. œ. œ.
b œ. j œ. j œ.
&bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ Œ ‰ J ‰ J Œ J ‰ Œ
#œ #œ
Picc.
F
√
b œ œ œ œ œ œ œ. œ.
‰ œj œ œ
j j
&bb ∑ ∑ ∑ ∑ 43 ∑ 42 Œ ‰ J Œ J ‰ Œ
#œ #œ
a2
1

F marcato
√
b œ œ œ œ œ œ œ. œ.
‰ œj œ œ
j j
&bb ∑ ∑ ∑ ∑ 43 ∑ 42 Œ ‰ J Œ J ‰ Œ
#œ #œ
a2
Fl.
2

F marcato œ œ
a2 œ œ œ. œ.
b ‰ J ‰ œJ J ‰
j j
&bb ∑ ∑ ∑ ∑ 43 ∑ 42 Œ J ‰ J ‰ ‰ J Œ J ‰ Œ
#œ #œ
3

F marcato

œ. œ. .
b
&bb Œ ‰ n œ œ œ b œ œ. n œ œ œ. ∑ ∑ 43 ∑ 42 Œ ‰ œj ‰ œj ‰ J J ‰ ‰ œJ ‰ œ. Œ n œ. ‰ Œ
Solo

J J
a2
1

F F marcato
œ. œ. œ.
Ob.
b ‰ œj ‰ œj ‰ œ.
&bb ∑ ∑ ∑ ∑ 43 ∑ 42 Œ J J ‰ ‰ J ‰ Œ œ ‰ Œ
a2
2
J J
F marcato
b œ. œ.
E. Hn. &b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ‰ J Œ J ‰ Œ
F

œ. œ. œ. œJ.
J ‰ œ. œ.
a2 .
∑ ∑ ∑ ∑ 3 ∑ 2 ‰ œJ
j œ. j œ.
& 4 4 Œ ‰ ‰ J Œ J ‰ Œ
#œ #œ
E b Cl.

F
n >œ # œ .
œ. ‰ œJ ‰ œ. œ. . œ. œ. # œ.
1 only marcato

&b Œ ‰ œ. ∑ ∑ 43
œ #œ œ
42 Œ ‰ œ.j J œ ‰ J Œ J ‰ Œ
a2

œ. œœ œ œ nœ
œœ œ. œ œ œ
1
F
œ. œ. œ. . œ.
marcato

j œ. œ.
&b ∑ ∑ ∑ ∑ 43 ∑ 42 Œ ‰ œ. J ‰ J ‰ œ ‰ Œ œ ‰ Œ
a2

B b Cl. 2 J J
F marcato

3 &b ∑ ∑ ∑ ∑ 43 ∑ 42 Œ ‰ j ‰ j‰ j
œ.
Œ ‰
œ.
j Œ
œ.
j ‰ Œ
œ.
œ. marcato œ. œ.
p
3 2 j j
B. Cl. &b ∑ ∑ ∑ ∑ 4 ∑ 4 Œ ‰ j ‰ j‰ j
œ.
Œ ‰ œ. Œ œ. ‰ Œ
œ œ. œ œ.
p . marcato .
œ œ. œ œ œ bœ œ. œ œ œ œ œ œ œ bœ œ ,
œœœ œ œ œ 34 n >œ # œ ‰ œ. ‰ œJ. ‰ œ. j œ. œ.
1 only

? bb ‰ ‰ œ nœ bœ ‰ 42 Œ œ. œ. ‰ œ. ‰ Œ ‰ Œ
nœ nœ j
a2
1 b J J J J
f œ. p marcato
Bsn.

? bb ∑ ∑ ∑ ∑ 43 ∑ 42 Œ ‰ j ‰ j‰ j ‰ j ‰ j Œ j ‰ Œ
a2

b œ.
œ. œ. œ. œ. œ œ. œ.
2

p
marcato

? b ∑ ∑ ∑ ∑ 3 ∑ 2 ‰ œ. ‰ œJ. ‰ œ. j œ. œ.
C. Bn. bb 4 4 Œ J J œ. œ. ‰ œ. ‰ J
Œ
J
‰ Œ
p marcato

œ #œ
œ #œ ‰ #œ œ #œ nœ œ #œ œ bœ nœ œ #œ #œ œ œ œ # œ. œ.
& J ∑ ‰ œ œ nœ 43 Œ ‰ # œ n œ n œ 42 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.
> >
Solo A. Sax
agitato cresc. f

j j
&b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ‰ Œ ‰ Œ
a2

1 œ. œ.
F

&b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ‰ j Œ j ‰ Œ
a2

2
b œ. œ.
B b Tpt. F
3 &b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ‰
œ.
j Œ
œ.
j ‰ Œ
F
4 &b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑

b 3 2
1 &b ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑

b 3 2
4 &b ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑

? b ∑ ∑ ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑
1 bb 4 4

? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
Tbn. 2 b

? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
Bass b

? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ‰ j Œ j ‰ Œ
2 b œ. œ.
p

? bb Œ œ ‰ œ œ j
D.B. b J ‰ J œ
J ‰ Œ ‰ J œ œ Œ 43 ‰ œ
J œ œ Œ 42 Œ ‰ œ
J
‰ œJ ‰ œ
J œ œ ‰ œ ‰ œ
J
Œ œ
J
‰ Œ

? b Œ j ‰ ‰ j œ ‰ Œ ‰ j œ œ Œ 3 œ 2
Timp. bb œ œ J œ 4 ‰ œ
j œ Œ 4 ∑ ∑ ∑ ∑ ∑

b 3 2
Perc. 2 &bb ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑
3 ã 4 4

201 202 203 204 205 206 207 208 209 210
 76
Rubato
b j œ œ. œ. œ. œ.
to flute
3 2
&bb Œ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
#œ
Picc. J 4 4
f
œ œ. œ. n œ. œ. nœ ˙ œ œ ˙ œ œ ˙. œ œ
b j
J
&bb Œ ‰ ∑ Œ J ‰ 43 J ‰ Œ 42 J ‰
#œ
1
f p p p Sp
œ œ. œ. n œ. œ. n˙. œ nœ
b j
J œ ˙
&bb Œ ‰ ∑ Œ œ ˙ œ ‰ 43 œ œ ‰ Œ 42 J ‰
#œ
Fl. 2
J J
f p p p Sp
œ œ. œ. œ. œ.
b j
J Œ nœ ˙ œ #œ ˙ 3 œ œ 2 j nœ
&bb Œ ‰ ∑ ‰ ‰ Œ 4 œ ‰
#œ
3 J 4 J ˙.
f p p p Sp
œ. n œ. œ. nœ œ œ œ œ œ œ
b œ. œ. J J J 3 2
1 &bb Œ ‰ ∑ Œ ‰ Œ Œ ‰ Œ 4 ∑ J ‰ Œ 4 Œ
f Sp Sp Sp Sp
nœ
Ob.
b œ. œ. œ. œ. œ. œ œ
43
œ œ ‰ Œ
2 &bb Œ ‰ J ∑ Œ œ œ
J ‰ Œ Œ J ‰ Œ ∑ J 42 Œ
f Sp Sp Sp Sp
#œ
b œ. œ. Œ #œ œ œ œ 3 2
E. Hn. &b Œ ‰
œ.
j n œ. œ. ∑ J ‰ Œ Œ J ‰ Œ 4 ∑ nœ œ ‰ Œ
J 4 Œ
f Sp Sp Sp Sp
œ œ. œ. œ. œ. œ œ ‰ Œ œ
& #œ
j
Œ ‰ J ∑ Œ #œ œ ‰ Œ Œ #œ œ ‰ Œ 43 ∑ J 42 Œ
E b Cl.
J J
f Sp Sp Sp Sp
œ. œ. œ. œ. œ. j 3 j 2 j #œ
1 &b Œ ‰ J ∑ Œ #œ ˙ œ ‰ œ ˙ 4 œ œ ‰ Œ #˙. 4 œ ‰
f p p p Sp
œ. œ. œ. n œ. œ. 3 2
B b Cl. 2 &b Œ ‰ J ∑ Œ j ‰
œ ˙ 4 œ œ
j ‰ Œ ˙. 4 œj ‰ # œ
œ ˙ œ
f p p p Sp
œ. œ. œ. œ. œ.
3 &b Œ ‰ J ∑ Œ j ‰ 43 j ‰ Œ 42 j ‰ œ
f œ ˙ œ œ ˙ œ œ ˙. œ Sp
p p p
3 2
&b œ. œ.
Œ ‰
œ.
j
œ.
∑ Œ j ‰ 4 j ‰ Œ
˙. 4 œj ‰
n œ. œ ˙ œ œ ˙ œ œ œ
B. Cl.

f Sp Sp p Sp
? bb œ. n œ. œ. œ ˙ œ œ ˙ œ œ
1 b œ. œ. Œ ‰ J ∑ Œ J ‰ 43 J ‰ Œ ∑ 42 Œ n œ
f π π Sp
œ. n œ. œ.
Bsn.

? bb Œ ‰ J ∑ Œ œ ˙ œ ‰ œ ˙ 43 œ œ ‰ Œ ∑ 42 Œ
b J J œ
œ. œ.
2
f π π Sp
? bb j j
C. Bn. b œ. œ. Œ ‰ œ. œ. n œ. ∑ Œ
œ
j
œ ‰
Œ Œ
œ
j
œ ‰
Œ 43 ∑ œ œ ‰ Œ 42 Œ œ
f Sp Sp Sp Sp
Rubato
#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 # œJ
j
# œ. œ œ œ bœ
#œ œ œ œ
& œœ œ œ. œ œ œ # œ J ‰ ‰ j œ J ‰ ≈ #œ œ # œ œ n œ 3
4 ‰ Œ Œ 42 ∑
Solo A. Sax
nœ
ƒ espr., rubato poco
œ œ œ #œ œ # >œ ˘
œ 3 # œ . œ. n œ œ . œ œ œ. œ. # œJ
# œ
ossia ≈ œ œ # œ # œ
#œ
J ‰ ≈ #œ œ œ #œ œ nœ 4 œ. œ œ œ. ‰ Œ Œ 42 ∑
ƒ espr., rubato poco

œ œ œ œ j
1 &b œ. œ. Œ ‰
œ.
j
œ. œ.
∑ Œ J ‰ Œ Œ J ‰ Œ 43 ∑ œ œ ‰ Œ 42 ∑
f Sp Sp Sp
j j 3 j 2
2 &b n œ. œ. Œ ∑ ∑ Œ #œ œ ‰ Œ Œ œ œ ‰ Œ 4 ∑ #œ œ ‰ Œ 4 ∑
B b Tpt.
Sp Sp Sp
#œ
43 42 Œ
con sord.

&b Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ. n œ.
3
Sp
#œ
43 42 Œ
con sord.

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Sp

& bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
4 ∑ ∑ 2
4 Œ œ
1

Í
b
43 42 Œ
con sord.

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
#œ
F.Hn. Sp
b 3 2
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ 4 ∑

b 3 2
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ 4 ∑

? bb œ. n œ. œ. œ œ œ œ œ œ
1 b ∑ ‰ J ∑ Œ J ‰ Œ Œ J ‰ Œ 43 ∑ J ‰ Œ 42 Œ œ
F f Sp Sp Sp Sp
? bb œ. n œ. œ.
Tbn. 2 b ∑ ‰ J ∑ Œ œ œ
J
‰ Œ Œ œ œ
J ‰ Œ 43 ∑ œ œ ‰ Œ
J 42 Œ œ
F f Sp Sp Sp Sp
? bb j j
Bass b ∑ ‰ œ. œ. n œ. ∑ Œ
œ
j
œ ‰
Œ Œ
œ
j
œ ‰
Œ 43 ∑ œ œ ‰ Œ 42 Œ œ
F f Sp Sp Sp Sp
? bb
1 b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ ∑ 42 Œ œ
Tba.
Sp
? b Œ ‰ ∑ Œ 3 2
bb j j ‰ Œ Œ j ‰ Œ 4 ∑ j‰ Œ 4 Œ
œ. œ. œ.
2
œ. n œ. œ œ œ œ œ œ œ
F f Sp Sp Sp Sp

? bb j j
D.B. b œ œ Œ ‰ œ. œ. n œ. ∑ Œ j
œ ‰ ∑ Œ j
œ ‰ ∑ 43 ∑ œ ‰ Œ Œ 42 Œ j
œ ‰
f S S S S

? b ∑ ‰ œ œ œ ∑ ∑ ∑ ∑ ∑ 3 ∑ ∑ 2
Timp. bb J 4 4 Œ œ ‰
J
f Sœ
bbb 3 2 œ
Xylo.

Perc. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ 4 Œ
S
∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ ∑ 2
4 Œ
Bass Dr.

3 ã 4 œæ
Sp
211 212 213 214 215 216 217 218 219 220
 77
A Tempo M
b 3 2
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Flute 4:

Picc. 4 4 ˙ ˙
π
˙ œ œ ˙ ˙ œ >œ n >œ >œ >
b J J >œ b œ > ˙ ˙
1 &bb ‰ ‰ nœ ∑ 43 ∑ 42
π Sp π S f π
œ n >œ >œ >œ >
b ˙ œ œ
J
n˙ ˙
‰ J
>œ b œ > 3 2
Fl. 2 &bb ‰ nœ ∑ 4 ∑ 4 ˙ ˙
π Sp π S f π
>œ n >œ >œ >
b ˙ œ œ n˙ ˙ œ >œ b œ >
3 &bb J ‰ ‰ J nœ ∑ 43 ∑ 42 ˙ ˙
π Sp π S f π
œ œ ˙ œ n >œ >œ >
b J J ‰ >œ >œ œ >
&bb ‰ ∑ Œ ‰ J ‰ J nœ ‰ j Œ 43 ∑ 42 ∑ ∑
1
œ
Sp S f >
S
>œ
œ œ n˙ œ > n >œ >
>œ œ >
Ob.
b J J ‰ ‰ œJ ‰ J 3 2
2 &bb ‰ ∑ Œ nœ ‰
œ
j Œ 4 ∑ 4 ∑ ∑
Sp S f S>
œ œ #˙ œ > > >œ > >œ # >œ
&b
b J ‰ ∑ J ‰ Œ ‰ nœ ‰ # œJ œ ‰ œj Œ 43 ∑ 42 ∑ ∑
J
S>
E. Hn.
Sp S f
œ œ œ >œ # >œ >œ
J J > n >œ >
E b Cl. & ‰ Œ ∑ ‰ ∑ ‰ J ‰ J œ J ‰ ∑ 43 ∑ 42 ∑ ∑
Sp S f
˙ œ œ #˙ ˙ œ # >œ j 3 2
&b J ‰ ‰ j
nœ
‰ œ Œ 4 ∑ 4 ∑ ∑
f >œ >
1
π Sp π S >œ > n >œ >œ S

&b ˙ œ œ ‰ #˙ ˙ œ # >œ ‰ ‰ j 43 42
œ Œ
∑
1 only

J j
œ nœ ˙ ˙
B b Cl. 2
œ >
π Sp π S >
f > > n >œ >œ S π
j
&b œ ‰ œ ‰ j ‰ j
œ Œ 43 ∑ 42
1 only

˙ œ ˙ ˙ œ
>
>œ œ nœ >
3

π Sp π S
f > > n >œ >œ S #˙
π
˙

&b j ‰ ∑ j ‰ Œ ‰ j ‰ œj œ œ ‰ j
œ Œ 43 ∑ 42 ∑ ∑
œ œ ˙ œ œ > > > >œ >œ >
B. Cl.

Sp S> f S
Ÿ̇i ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb ˙ j >œ >œ b >œ b >œ > ˙
b œ œ ‰ n˙ ˙ œ nœ ‰ J œ ‰ j Œ 43 ∑ 42
> œ
1
π Sp π S f >
S ∏
>œ >œ b >œ b >œ >
Bsn.

? bb j
b ˙ œ œ ‰ ˙ ˙ œ œ ‰ J œ ‰ j Œ 43 ∑ 42 ∑ ∑
> œ
2
π Sp π S f >
S
? bb j j j >
b œ ‰ Œ ∑ œ œ ‰ ∑ ‰ œ Œ ∑ ‰ œ Œ
J 43 ∑ 42 ∑ ∑
S>
C. Bn.
Sp S
œ œ œ œ œ A Tempo Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ œ œ œ œ #œ œ
(moderato)

œ œ œ œ # œ. œ. n œ b œ b˙ ˙
‰ n œj œ
œ
œ œ œ œ. œ œ œ œ
œ œ œ . œ ≈ œ œ 43 b œ œ œ b œ. œ n œ œ b œ
& œ œ œ œ œ œ œ œ œ. œ œ œ œ œ ‰ œ . 42
. >
Solo A. Sax
ƒ rubato sempre ff
∏
œ. œ. œ œ œ
dim. molto

œ œ œ œ. œ œ œ œ
ossia & ≈ nœ nœ .
ƒ rubato

1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

œ # >œ
B b Tpt.
˙ œ œ #˙ ˙
3 &b J ‰ Œ ∑ ∑ 43 ∑ 42 ∑ ∑
π Sp π S
˙ œ œ #˙ ˙ œ # >œ 3 2
4 &b J ‰ Œ ∑ ∑ 4 ∑ 4 ∑ ∑
π Sp π S
b
43 42 j bœ
con sord.

1 &b ˙ œ œ
j ‰
˙ ˙ œ. œ
Œ ∑ ∑ ∑ ∑
œ bœ J
π Í π S> F
b
2 &b j ‰ Œ ∑ ∑ 43 ∑ 42 ∑ ∑
˙ œ œ #˙ ˙ œ #œ
F.Hn. π Sp π S
b 3 2
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

bœ
>œ >œ >œ >
Solo

œ >œ ‰ >œJ > œ bœ bœ

con sord.

? bb ˙ œ œ ˙ ˙
1 b J ‰ œ ‰ œ Œ
J 43 ∑ 42 ∑
π Sp π S S p espress.

? b j > 3 2
bb ˙ œ œ ‰ ˙ ˙ œ œ Œ ∑ ‰ œ Œ
J 4 ∑ 4 ∑ ∑
>
Tbn. 2

π Sp π S S
? bb >
Bass b ˙ œ œ
j ‰
˙ ˙ œ œ
Œ ∑ ‰ œ Œ
J 43 ∑ 42 ∑ ∑
π Sp π > S
S
? bb j j ‰ œj Œ 43 42
b œ ‰ Œ ∑ œ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑
>
1

Tba.
Sp S
? b 3 2
2 bb j ‰ Œ ∑ ∑ 4 ∑ 4 ∑ ∑
˙ œ œ ˙ ˙ œ œ
π Sp >
S

? bb j j >
43 42 ˙œ
1. arco

b ∑ ∑ œ ‰ Œ ∑ ‰ œ Œ ∑ ‰ œ Œ ∑ ˙
D.B.
> J J ‰ Œ ∑
S S S π 2. pizz.

? bb ∑ ∑ œ ‰ Œ ∑ ‰ œ Œ ∑ ‰ œ Œ 43 ∑ 42 ˙æ ˙æ
Timp. b J J J
Sœ S secco S ∏
œ
b œ ‰ œJ Œ 3 2
Perc. 2 &bb ∑ ∑ Œ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑
S S
j j ‰ œj Œ 3 2
3 ã œæ œ ‰ ∑ ˙æ œ ‰ Œ ∑ ∑ 4 ∑ 4 ∑ ∑
π Sp π S secco
221 222 223 224 225 226 227 228 229 230
 78
A Tempo
b , , ˙ ,
to piccolo

4 &bb œ Œ ∑ ∑ ˙ œ Œ ∑ ∑ ∑ ∑
œ œ π
bœ , n˙
œ , œ œ bœ nœ ˙ œ ,
1 & bbb Œ ‰ J Œ ∑ ∑ ∑ ∑
p espress. π
, , ,
Fl.
b
2 &bb œ Œ ∑ ∑ ˙ ˙ œ Œ ∑ ∑ ∑ ∑
π
b , , ,
&bb œ Œ ∑ ∑ Œ ∑ ∑ ∑ ∑
˙ ˙ œ
3

π
œ œ
b #œ nœ bœ nœ
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ Œ nœ
J
‰ Œ ∑
Ob.
π espress.

b
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b #œ œ nœ bœ nœ nœ j
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ Œ #œ ‰ Œ ∑
π espress.

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

, Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, , ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1 only

&b Œ ∑ ∑ Œ
#œ ˙ ˙ œ
j ‰ Œ ∑
bœ ˙ ˙
1

π π
, , ,
B b Cl. 2 &b œ
Œ ∑ ∑ Œ ∑ ∑ ∑ ∑
#˙ ˙ œ
π
, , ,
&b Œ ∑ ∑ Œ ∑ ∑ ∑ ∑
a2
3
˙ ˙ œ
œ π
, ,
&b ∑ ‰ j œ œ bœ bœ bœ Œ ∑ ∑ ∑ ∑
œ œ
B. Cl.

p n˙ ˙ œ
espress.
π
~~~ ,
? bb œ , #˙ n˙ #˙ n˙ #œ nœ , Œ
1 b Œ ∑ ∑ ∑ ∑ ∑ ∑
Bsn. π
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

? b , ,
bb ∑ ∑ ∑ Œ ∑ ∑ ∑ ∑
˙ ˙ œ
C. Bn.

~~ Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A Tempo
œ , œ #œ ˙ #˙ ˙ #˙ , b˙ ˙ œ , nœ nœ ˙ ˙ ˙ ˙ œ #œ œ b œ. n œ. b œ.
Œ ‰ J
Solo A. Sax &
p capriccioso, ma ritmico

, œ ˙ ˙ , ,# œ ˙ ˙ œ
1 only
senza sord.

&b Œ ∑ ∑ Œ J ‰ Œ ∑
con sord.

1
π
, , ,
1 only
senza sord.

&b Œ œ ˙ ˙ ∑ ∑ Œ #œ ˙ ˙ œ ‰ Œ ∑
con sord.

2
J
B b Tpt. π
, , ,
1 only
senza sord.

&b Œ ∑ ∑ Œ j ‰ Œ ∑
con sord.

3
œ ˙ ˙ œ ˙ ˙ œ
π
, ,
1 only

&b Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑
con sord. senza sord.

œ ˙ ˙
4

π
b , senza sord.
&b œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1
nœ

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ nœ
? b nœ nœ , Œ J bœ œ nœ
, senza sord.

1 bb ∑ ∑ ∑ J Œ ∑ ∑ ∑ ∑
espress.

,œ , ,œ
1 only

? bb ˙ ˙ œ œ nœ ˙ ˙ œ
senza sord.

b Œ ∑ Œ ‰ ‰ Œ ∑
con sord.

Tbn. 2
J J
π
, , ,
1 only

? b Πj
senza sord.

∑ ∑ Œ ‰ Œ ∑
con sord.
Bass bb œ ˙ ˙ nœ ˙ ˙ œ
π
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

,
a2
, Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Solo arco
, pizz.
a2

? bb j j
b œŒ œ ‰ ∑ ∑ ˙œ ˙ œ nœ ‰ ∑ ∑ ∑ ∑
pizz.

D.B.
J J ‰ Œ ∑ Œ J
π The rest pizz.

? b Ͼ , , , j
bb ∑ ∑ Œ n œæ ˙æ ˙æ ‰ Œ ∑
Timp.
œæ ˙æ ˙æ œ

b
Perc. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Wd.Blk.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ ‰
Solo

3 ã œ œ œ
J
p
231 232 233 234 235 236 237 238 239 240
 79

b
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
Fl. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob.
b
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. 2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Bsn.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

n œ. # œ œ b œ. n œ. . b œ. œ b œ. n œ. b œ œ. œ œ. b œ œ. b œ b œ œ œ # œ. nœ œ Ÿ~~~~~~~
œ ‰ J ‰ #œ n >œ œ œ. b œ. œ b œ œ œ
6

‰ J # œ. n œ # œ œ. #œ # œ.
j
& ‰ Œ ‰ œ
œ œ nœ œ œ œ œ # œ œ œ. n >œ œ œ œ ˙
Solo A. Sax
cresc. . > cresc. molto

1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B. b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. b

b
Perc. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 ã ∑ ‰ œœœ œ Œ ‰ œ œ œ œ œ
J ‰ ∑ ∑ ∑ ∑ ∑ ∑

241 242 243 244 245 246 247 248 249 250
 80
N œ œ .
b œ œ œ œ œ œ >œ >œ œ œ. œ. œ. œJ.
43 Π42
œœ œ
Picc. &bb ∑ ∑ ∑ ∑ Œ ‰ J Œ ‰ ‰ ∑
ƒ
√ œ œ . œ. œ. œJ.
stacc.

b œ œ œ œ œ œ >œ >œ œ œ.
43 Π42
œœ œ
1 &bb ∑ ∑ ∑ ∑ Œ ‰ J Œ ‰ ‰ ∑
ƒ
√ œ œ œ. œ. œJ.
stacc.

b œ œ œ œ œ œ >œ >œ œ. œ.
43 Π42
œœ œ
Fl. 2 &bb ∑ ∑ ∑ ∑ Œ ‰ J Œ ‰ ‰ ∑
ƒ
√ œ œ œ. œ. œJ.
stacc.

b œ œ œ œ œ œ >œ >œ œ. œ.
3 2 œœ œ
3 &bb ∑ ∑ ∑ ∑ 4 Œ Œ ‰ J 4 Œ ‰ ‰ ∑
ƒ stacc.

œ œ œ œ >œ >œ
b 3 œ 2 œœ œ œ œ. œ. œ. .
1 &bb ∑ ∑ ∑ ∑ 4 Œ Œ ‰ J 4 Œ ‰ J œ. œ. œJ ‰ ∑
ƒ
œ
stacc.

œ œ œ œ >œ >œ œ.
Ob.
b œ œ. œ. .
43 Π42
œœ œ
2 &bb ∑ ∑ ∑ ∑ Œ ‰ J Œ ‰ J œ. œ. œJ ‰ ∑
ƒ stacc.

b œ. œ. œ.
E. Hn. &b ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ‰ J œ. œ. œ. J ‰ ∑
ƒ

œ >œ >œ œ œ .
œ. œ. œJ ‰
∑ ∑ ∑ ∑ 3 œ 2 œ œ œ œ œ. œ.
4 Œ Œ ‰ Œ ‰ ∑
œœœ
E b Cl. & J 4
ƒ
œ œ œ œ >œ >œ œ œ . .
stacc.

œ œœ œ œ œ œ. œ. œ. œJ ‰
&b ∑ ∑ ∑ ∑ 43 Œ Œ ‰ J 42 Œ ‰ ∑
a2

1
ƒ
œ œ œ œ >œ >œ œ œ .
stacc.

œ œœ œ œ œ. œ. œ. œ. œJ ‰
&b ∑ ∑ ∑ ∑ 43 Œ Œ ‰ J 42 Œ ‰ ∑
a2

B b Cl. 2
ƒ
œ œ œ œ œ œ .
>œ >œ œ. œ. œJ. ‰
stacc.

œ œœ œ œ œ œ.
3 &b ∑ ∑ ∑ ∑ 43 Œ Œ ‰ J 42 Œ ‰ ∑
ƒ stacc.

43 42
a2

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰
œ.
j ‰ j ‰ j Œ ∑
œ.
B. Cl.

ƒ œ.

œ. œ.
? b 3 2 ‰ œJ. Œ
a2

1 bb ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ‰ J ‰ J ∑
ƒ
œ. œ.
Bsn.
? bb 43 42 ‰ œJ. Œ
a2

2 b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J ‰ J ∑
ƒ
? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
C. Bn. b

~~~~~~~~~~~~~~~~~~~~~~~~~
& œ
j ‰ Œ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
˙ ˙
Solo A. Sax

œ œ œ œ œ >œ >œ
œ œ. œ. œ. . œ œ
œ 43 œ œ œ œ 42 œ. œ. œJ ‰
a2

&b ∑ ∑ œ œ œ œ bœ ‰ œ œ œ œ ‰ J Œ ‰ J œ. œ. œ. œ
>
1
ƒ F
F
stacc.
leggiero

œ œ œ œ j
&b ∑ ∑ ‰ 43 b œ œ œ œ œ ‰ œ 42 œ nœ œ Œ ‰ œJ. œ ‰ ∑
a2

œ œ œ œ œ bœ œ œ œ J œ. œ. œ. œ. .
2
ƒ stacc. F
B b Tpt.
œ œ œ œ œ >œ >œ
œ 43 œ œ œ œ œ 42
a2

3 &b ∑ ∑ œ œ œ œ bœ ‰ œ œ œ œ ‰ J Œ ∑ ∑ ∑
ƒ stacc.

3 œ œ 2 œ > >
&b ∑ ∑ ‰ ‰ œ œ œ œ œ nœ œ Œ ∑ ∑ ∑
a2

4 œ œ œ œ œ bœ œ œ œ 4 bœ œ œ J 4
ƒ stacc.

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ
1 &b ∑ ∑ œ œ œ œ bœ ‰ 43 ‰ J 42 Œ ∑ ∑ ∑
ƒ
>œ >œ
stacc.

2 & bb ∑ ∑ œ œ œ œ œ ‰ bœ œ œ œ 3
4 bœ œ œ œ œ ‰ œ
j 2
4 œ œ œ œ œ Œ ∑ ∑ ∑
ƒ
> >œ
F.Hn. stacc.

3 & bb ∑ ∑ œ œ œ œ bœ ‰ bœ œ œ œ 3 bœ œ bœ
4 œ œ ‰ œ
J
2
4
œ œ œ œ œ œ Œ ∑ ∑ ∑
ƒ stacc.

& bb ∑ ∑ œ œ œ œ bœ ‰ bœ œ œ œ 43 œ œ œ bœ nœ ‰ œ
j
42 œ œ œ œ œ œ Œ ∑ ∑ ∑
>œ >
4

ƒ >œ >œ
œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ. œ
stacc.

? b
a2
3 œ 2
1 bb ∑ ∑ ‰ 4 ‰ J 4 Œ ∑ ∑ ‰
ƒ
œ œ œ œ bœ bœ œ œ bœ >œ >œ
stacc.

? b 3 œ œ œ bœ œ œ 2 œ œ œ nœ œ
a2

Tbn. 2 bb ∑ ∑ ‰ 4 ‰ J 4 Œ ∑ ∑ ∑
ƒ
a2 œ œ œ œ bœ .
œ. œ
stacc.

? bb bœ œ œ œ œ œ œ bœ œ œ œ œ œ
Bass b ∑ ∑ ‰ 43 œ ‰ œ
J 42 œ Œ ∑ ∑ ‰ œ J
ƒ stacc. F
? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
2 b

? bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
D.B. b

>œ j >
Solo

? bb ∑ Œ œæ ‰ Œ ∑ 43 ∑ 42 ∑ ∑ ‰ œ Œ ‰ œJ Œ ∑
Timp. b J >f
F ƒ
b
Perc. 2 &bb ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑
Snare Dr.

∑ ∑ ∑ ∑ 3 ∑ 2 ∑ Œ ‰ œ ‰ Œ ∑ ∑
Solo

3 ã 4 4 æJ
œ
J
ƒ
251 252 253 254 255 256 257 258 259 260
 81
. >œ œ œ. b œ. >œ œ. b œ œ œ.
œœ œœ . œ œ œ œ œ œ r ‰. > >œ >œ b œ. œ. œ œ. œ
Picc.
b
&bb Œ ‰ œ. œ. œ œ 43 œ œ 42 ∑ ∑ ∑ Œ ‰ œ
F cresc. ƒ leggiero

√ >œ œ œ. b œ. œ.
œœ œœ
œ œ œ œ œ œ œ b œ œ œ 42 r ‰ . > >œ >œ b œ. œ. œ. œ.
>œ œ b œ œ œ.
1
b
&bb Œ ‰ œ. œ. œ œ 43 œ œ. Œ ∑ ∑ Œ ‰ œ
F cresc. ƒ leggiero

√ . >œ œ œ. b œ. >œ œ. b œ œ œ.
œœ œœ
œ œ œ œ œ œ œ b œ œ œ 42 r ‰ . > >œ >œ b œ. œ. œ œ. œ
b
&bb Œ ‰ œ. œ. œ œ 43 œ Œ ∑ ∑ Œ ‰ œ
Fl. 2
œ.
F cresc. ƒ leggiero

œ œœ œœ œ . >œ œ œ. b œ. >œ œ. b œ œ œ.
œ bœ œ 2 r ‰. > >œ >œ b œ. œ. œ œ. œ
& bbb ∑ ∑ 43 ‰ œ 4 œ Œ ∑ ∑ Œ ‰ œ
.
3
ƒ leggiero

œœ œœ œ. . œ. >œ
b œ. œ. œ œ 43 œ œœ œ.
42 œr ‰ .
. œ œ. b œ. >œ œ. b œ œ œ.
&bb Œ ‰ œ Œ ∑ ∑ Œ ‰ œœ œ œ œ œ. œ
. > > > b œ. .
1
F cresc. ƒ leggiero
Ob.
œœ œœ . . œ. œ. >œ œ œ. b œ. œ.
b
&bb Œ ‰ œ. œ. œ œ 43 œ œ œœ œ. 42 œr ‰ . Œ ∑ ∑ Œ ‰ œœ œ œ. œ.
>œ œ b œ œ œ.
œ.
. > > > b œ.
2
F cresc. ƒ
>> > œ.
leggiero

b ‰ œ œ œ bœ œ. J
E. Hn. &b ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ Œ ‰ ∑ ∑
ƒ leggiero

œ œœ œœ œ >œ œ œ. b œ. œ.
>> >œ . œ. œ.
>œ œ b œ œ œ.
E b Cl. & ∑ ∑ 43 ‰ œ b œ œ 42 r ‰ .
œ Œ ∑ ∑ Œ ‰ œœ b œ. œ
œ.
ƒ ƒ
>œ œ. b œ. œ.
leggiero

œ œ. œ. r
>œ >œ b œ. œ. œ. >œ œ œ. b œ. >œ œ.
&b ∑ ∑ 43 ‰ œ œœ 42 œ. ‰ . Œ ∑ ∑ Œ ‰ œ
œ œ
1
ƒ
ƒ
leggiero

. >œ >œ >œ . œ. œ. >œ b œ. œ.

œ œ œ œ. r b œ. œ œ œ. b œ. >œ œ.
&b ∑ ∑ 43 ‰ œ 42 œ. ‰ . Œ ∑ ∑ Œ ‰ œ
œ œœ
B b Cl. 2
ƒ
ƒ
leggiero

>œ >œ >œ

.
. œ œ. >œ b œ. œ.
b œ. œ œ œ. b œ. >œ œ.
&b ∑ ‰ œj œ 3
4 œj œ
2
4 œr ‰ . Œ ∑ ∑ Œ ‰ œ
3
- - œ- œ œ œ
F marcato > > > ƒ leggiero

j > r
&b ∑ ‰ œ œ 43 œ œ œ 42 œ ‰ . Œ ∑ ∑ ∑ ∑ Œ ‰
œ.
j
œ. œ. œ. b œ.
> > >
B. Cl.
F marcato f marcato

œ- œ- œ- >œ
? bb ‰ J
œ >œ œ œ 2 >œR ‰ . ‰ œj
1 b ∑ 43 J 4 Œ ∑ ∑ ∑ ∑ Œ
.
œ. œ. œ. b œ.
F marcato f marcato
Bsn.
>œ >œ >œ >
? bb
b ∑ ‰ œJ œ 43 42 œR ‰ . Œ ∑ ∑ ∑ ∑ Œ ‰ œj œ. œ. œ bœ
2
.
F marcato f marcato

? b
bb ∑ ∑ 3
4 ∑ 2
4 ∑ ∑ ∑ ∑ ∑ Œ ‰ œj œ. œ. œ. b œ.
C. Bn.
.
f marcato

Solo A. Sax & ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑

>>> >œ œ > œ œ.

&b œ œ. œ. œ œ ∑ 43 ∑ 42 ∑ Œ ≈ œ bœ œ œ œ œ. œ œ œ. œ. œ.
j ‰ ∑ ∑
> b œ. .
1

f leggiero
>>> >œ œ > œ œ.
&b ‰ œœœ œ ∑ 3
4 ∑ 2
4 ∑ Œ ≈ œ bœ œ œ œ œ. œ œ œ. œ. œ.
j ‰ ∑ ∑
. . > b œ. .
2

B b Tpt. F f leggiero
>œ > >œ
&b ∑ ∑ 43 ∑ 42 ∑ Œ ≈ bœ œ œ b œ œ >œ œ œ. b œ. j ‰ ∑ ∑
> œ. œ. > œ. œ.
3
f leggiero
4 &b ∑ ∑ 43 ∑ 42 ∑ ∑ ‰ j
œ. œ. œ. b >œ œ b >œ œ œ. b œ. œ. œ.
j ‰ ∑ ∑
f leggiero
b >œ œ. >œ œ œ. œ.
&b ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ‰
œ >œ >œ œ >œ
>
1

ƒ leggiero >
b >œ œ. >œ œ œ. œ.
2 &b ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ‰ œ> >œ >œ œ >œ
ƒ leggiero >
b >œ œ. >œ œ œ. œ.
F.Hn.

&b ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ‰ œ >œ >œ œ >œ

>
3

ƒ leggiero >
b 3 2 >œ œ. >œ œ œ. œ.
&b ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ‰ œ >œ >œ œ >œ
>
4

œ œ. ƒ leggiero >
? b œ œ 3 2 >œ >œ œ œ. œ. >
œ
.
œ œ œ. œ œ œ. œ œ œ œ œ. œ. b œ. œj
bb ∑ 4 Œ Œ ‰ œ bœ 4 œ œ œ œ. . ‰ ∑ ∑
f> > > > >
1

>œ œ œ. œ. > . >

> œ œ œ. œ œ œ. œ œ œ œ œ œ b œ œj
leggiero

? bb ∑ ∑ 43 Œ Œ ‰ œ bœ 42 œ œ œ œ œ. œ ‰ ∑ ∑
b .
f> > > > >
Tbn. 2

. >œ œ œ. œ. > . >

? bb œ œ œ œ > œ œ œ. œ œ œ. œ œ œ œ œ œ b œ œj
leggiero

b ∑ 43 Œ Œ ‰ œ bœ 42 œ œ œ œ œ. œ
. ‰ ∑ ∑
f> > > > >
Bass
leggiero

? b ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 bb 4 4
Tba.
? bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

‰ œj
pizz.

? bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ Œ œ œ œ bœ
D.B. b
f marcato

? b ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. bb 4 4

b
Perc. 2 &bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 ã ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑

261 262 263 264 265 266 267 268 269 270
 82
œ. œ. œ œ œ. œ œ bœ
œ b œ œ. œ œ œ œ
O œ œ œ. œ œ .
b b œ œ œ œ 43 œj œ œ.
Picc. &bb . ‰ Œ Œ 42 ∑ ∑ ∑ ∑ Œ ‰
œ. œ. œ œ . œ œ bœ p
œ b œ œ. œ œ œ œ œ œ œ œ. œ œ .
œ.
1 only

& bbb b œ œ œ œ 43 œj ‰ Œ Œ 42 ∑ ∑ ∑ ∑ Œ ‰ œ
1 .
œ. œ. œ œ bœ p
œ b œ œ. œ
œ œ œ.
œ œ œ œ œ œ. œ œ .
œ.
1 only

b
&bb b œ œ œ œ 43 œj ‰ Œ Œ 42 ∑ ∑ ∑ ∑ Œ ‰ œ
Fl. 2 .
œ. œ b œ œ. œ. œ œ œ. œ œ bœ p
œ œ œ.
œ œ œ œ œ œ .
œ.
1 only

b
&bb b œ œ œ œ 43 œj ‰ Œ Œ 42 ∑ ∑ ∑ ∑ Œ ‰ œ
3 .
p

œ. œ. œ. œ.
b œ. œ b œ œ. œ œ œ. b œ. j œ. œ. œ. œ. œ.
1 &bb œ œ. b œ. œ. 43 œ. ‰ Œ Œ 42 ∑ ∑ ∑ ∑ J ‰

. œ. œ.
p
œ. œ.
bbb œ
œ œ œ. b œ. j œ. œ. œ. œ.
Ob.
œ b œ œ. œ.
2 & œ œ. b œ. œ. 43 œ. ‰ Œ Œ 42 ∑ ∑ ∑ ∑ J ‰
p
b œ. œ. œ. œ. œ. œ. œ.
E. Hn. &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ Œ ‰
œ.
j œ. œ. J ‰ Œ ‰
p p
œ. œ b œ œ. œ. œ œ . œ œ bœ œ.
œ œ œ
œ œ œ œ
b œ œ œ œ 43 œj ‰ Œ œ œ œ œ œ œ. œ. œ.
E b Cl. & .
Œ 42 ∑ ∑ ∑ Œ ‰ œ œ œ
p
œ. œ. œ. œ.
œ. œ. œ.
œ œ
bœ œ œ 3 2 œ œ œ œ œ œ œ œ.
&b œ œ bœ œ œ œ 4 j ‰ Œ Œ 4 ∑ ∑ Œ ‰ œœœ œ J ‰ Œ
œ. œœ œœœ
1

œ. œ. œ. œ. œ œ F
œ. œ œ. bœ œ œ 3 2 œ œ
B b Cl. 2 &b œ bœ œ œ œ 4 j ‰ Œ Œ 4 ∑ ∑ Œ ‰
œ œ œ œ œ œ R ‰. Œ ∑
œ. œ œœ
œ. œ. œ. œ. œ œ bœ F
œ. œ œ. œ œ œ 3 2
&b ‰ Œ Œ ∑ ∑ ∑ ∑ ∑
1 only

b œ œ œ œ 4 œj 4 œ œ œ
œ œ œ œ œ
3
.
F
&b œ. œ. Œ ‰ œ. œ. œ. œ. 43 j ‰ ‰ j 42 œ œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ Œ
J œ. œ. œ. œ œ œ. œ œ œ. œ œ . œ œ œ œ œ œ
B. Cl.
œ. œ p œ
>
ƒ
dim.

. œ. œ. œ. œ œ
? bb œ Œ ‰ J œ. œ. œ. œ. 43 œj ‰ ‰ œj œ œ. 42 œ œ œ œ œ. œ œ œ œ œ œ œ œ œ
1 b œ.
. œ œ œ. œ œ . œ œ œ œ œ œ œ.
> p
ƒ
œ.
dim.

? b œ œ œ. œ. œ.
Bsn.

bb Œ ‰ J œ. œ. 3
4 œj ‰ ‰ œj œ œ.
2
4 œ
œ
œ
œ. œ
œ.
œ œ œ j ‰ Œ
2 œ.
. œ œ. œ œ œ œ œ œ œ œ œ. œ
> p
ƒ
. œ.
dim.

? bb œ Œ ∑ ∑ 43 Œ ‰ j œ œ 42 œ œ œ j ‰ œj ‰. j
œ ‰
j
œ ‰
j
œ. ‰ Œ ∑ ∑
C. Bn. b œ . œ œ.
> p
ƒ dim.

Solo A. Sax & ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

3 2
con sord.
œ œ œ œ.
1 only

1 &b ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ Œ œ. œ.
π sempre staccatissimo

43 42 ˙ œ œ. œ. œ.
1 only

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
con sord.

2 œ.
B b Tpt.
π sempre staccatissimo

43 42
1 only

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ œ
con sord.

3 œ ˙ œ. œ. . œ.
π sempre staccatissimo

&b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ j
œ ‰ Œ
con sord. senza sord.

4
˙ ˙
π
b œ œ. œ. œ œ œ œœ‰ ‰ œœ 2 œœ≈œœœœœ œœ‰ ‰ œœ œœ‰
Soli

1 & b œ. œ . œ. j
œ. ‰ ∑ 43 œ œ 4 Œ ∑ ∑ ∑
ƒ
b œ œ œ. œ. œ
&b j
œ. ‰ ∑ 43 œ œ œ œ œ œ ‰ ‰ œ œ 42 œ œ ≈ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ ‰ Œ ∑ ∑ ∑
Soli

2 . œ . œ.
F.Hn.
ƒ
b œ œ. œ. œ œ œ œœ‰ ‰ œœ 2 œœ≈œœœœœ œœ‰ ‰ œœ œœ‰
& b œ. j 43 œ œ
Soli

3 œ . œ. œ. ‰ ∑ 4 Œ ∑ ∑ ∑
ƒ
b œ œ œ. œ. œ
&b j
œ. ‰ ∑ 43 œ œ œ œ œ œ ‰ ‰ œ œ 42 œ œ ≈ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ ‰ Œ ∑ ∑ ∑
Soli

4 . œ . œ.
ƒ
œ. œ. œ. œ.
? bb
b ∑ ‰ J œ. œ. œ.
34 j ‰ Œ Œ 42 ∑ ∑ ∑ ∑ ∑ ∑
1
œ.
ƒ
œ. œ.
marcato

? b ∑ ‰ J œ. œ. œ. 3 2
bb œ. œ. 4 œj ‰ Œ Œ 4 ∑ ∑ ∑ ∑ ∑ ∑
.
Tbn. 2
ƒ
œ. œ.
marcato

? b ∑ ‰ J œ. œ. œ. 3 2
bb œ. œ. 4 œj ‰ Œ Œ 4 ∑ ∑ ∑ ∑ ∑ ∑
.
Bass
ƒ marcato

? b ∑ ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑
1 bb 4 4
Tba.
? bb ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑
2 b

? bb œ œ j j j
arco pizz.

D.B. b Œ ∑ ∑ 43 Œ ‰ j
œ œ œ. 42 œ œ
œ œ œ
œ. œ œ . œ œ œ œ œ. œ œ ‰ œ ‰ œ ‰ œ
J ‰ Œ
>
ƒ dim.
p

? bb j j j j j j
Timp. b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ Œ
J
f F p
√Xylo.

b 3 2 œ œ œ
Perc. 2 &bb ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ œ œ
p
∑ ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑
3 ã 4 4

271 272 273 274 275 276 277 278 279 280
 83
œ œ œ. œ. œ. œ. œ. œ. >œ b >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 œ œ œ œ œ œ œ œ œ b œ >œ
Picc. &bb ‰ ‰ J ‰ J
dolce e leggiero espress. ƒ
œ œ œ. œ œ œ œ œ œ œ œ œ œ œ √ >œ b >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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ >œ
‰ J ‰ J
a2

1 &bb ‰
dolce e leggiero espress. ƒ
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 >
a2 œ b >œ
b œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ R ‰. œ œ œ œ œ œ œ œ œ œ œ b œ >œ ‰ J ‰ J
Fl. 2 &bb ‰
dolce e leggiero ƒ
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 >
a2 œ b >œ
b œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R ‰. œ œ œ œ œ œ œ œ œ œ b œ >œ ‰ J ‰ J
3 &bb ‰
dolce e leggiero ƒ
œ. œ. œ. œ. œ. œ. œ. œ. , œ œ œ œ œ œ œ œ œ œ œ b œ >œ >œ >œ
b œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ
‰ J ‰ J
1 &bb Œ ‰ J J ‰ œ. œ. œ. œ.
dolce e leggiero espress. ƒ
œ œ >œ >œ
Ob.

b œ. œ. œ œ. œ. œ œ œ œ œ
œ > >
‰ b œJ ‰ œJ
2 &bb Œ ‰ J J ‰ Œ ∑ ∑
œ. œ. œ. œ. J ‰ ∑ œ œ
dolce e leggiero ƒ
b ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. j > >
‰ œJ ‰ œJ
&b ‰ œ. œ. œ. œ
. œ. Œ œ. ‰ Œ ∑ ∑
œ œ œ œ
>
E. Hn.

ƒ
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 b œ >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 ‰ J ‰ J
E b Cl. &
dolce e leggiero ƒ
>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 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 ‰ J ‰ J
1 only

&b Œ
a2

p ƒ
>œ
dolce e leggiero

b >œ
espress.

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 œ œ œ 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 ‰ J ‰ J
1 only

&b Œ
a2

B b Cl. 2

p dolce e leggiero ƒ
>œ b >œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 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 ‰ J ‰ J
œ œ œ œ œ œ œ œ œ
a2

3
R œ
œ œ œ œ œ œ œ œ œ œ
p dolce e leggiero ƒ

œ >œ
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ ‰ j‰ j
œ bœ
B. Cl.

>
>œ ƒ
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
? bb R ‰. ∑ ∑ ∑ ∑ Œ ‰ ‰ j ‰ b œj
b œ
> >
1
p ƒ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
dolce e leggiero

œ œ œ >œ
Bsn.

? bb ∑ ∑ ∑ ∑ ∑ Œ ‰ bœ ‰ j ‰ b œj
b œ
> >
2
p dolce e leggiero
ƒ
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œj
b
>œ >
C. Bn.

ƒ
Solo A. Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.j ‰ Œ
> >
‰ œJ ‰ b œJ
&b ‰ œ. œ. œ. œ. ‰ œ. ∑ ∑ ∑ ∑
senza sord. a2

.
1
ƒ

&b ‰ œ. œ. œ œ. œ. œ. œ. œ. ‰ œ. œ œ. œ. œ œ j ‰ œj ‰ j
œ. œ. œ. ‰ Œ ∑ ∑ ∑ ∑
senza sord. a2

œ. œ. œ. œ
2
. . . . > >
B b Tpt.
ƒ
œ. œ. œ. œ. > >œ
‰ b œJ ‰
senza sord.

&b ‰ œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ œj ‰ Œ ∑ ∑ ∑ ∑
a2

3 œ. œ. . . J
ƒ
> >œ
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ b œJ ‰
a2

4
J
ƒ
b >œ > >œ
&b ∑ ∑ ∑ ∑ ∑ Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰
1
J J
F espress.
p ƒ
b
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ ‰ j‰ j
> >œ >œ
2

p ƒ
>œ
F.Hn.

b œ > >
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ
J
‰ œ ‰ œ
J J
p ƒ
b œ >œ
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ‰ j ‰ j
œ œ œ
4

p > >
ƒ
>
? b
bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œJ
1
œ
>
ƒ
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œj
bb œ >
Tbn. 2
>
ƒ
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œj
bb œ >
Bass

ƒ>
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ b œj
b œ >
1

Tba. ƒ>
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j‰ j
b œ bœ
> >
2

ƒ
arco ≥ ≥>
>
D.B.
? b
bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œJ ‰ b œJ
ƒ
? bb
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j ‰ œj
œ
> >
Timp.
œ œ ƒ
b œ œ œ œ J œ œ J œ
Perc. 2 &bb ‰ J ‰ J ‰ ‰ J ‰ J ‰ ‰ J ‰ ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(loco)

3 ã

281 282 283 284 285 286 287 288 289 290
 84
>œ > œ. œ. œ bœ œ. œ œ œ nœ >œ
b b ‰ J œJ ‰ œ bœ œ œ J ‰ œ. œ. œ. œ. œ. œ. œ. >œ > >œ œ.
Picc. & b ∑ Œ 43 J ‰ ‰ J 42 ∑ ‰
J
œ
f ƒ ƒ
>œ > œ. œ. œ bœ œ. œ œ œ √ >œ
b b ‰ J œJ ‰ œ bœ œ œ œ. œ. J ‰ 34 J J nœ
‰ œ. œ. œ. œ. œ. œ. œ. >œ > >œ œ.
1 & b ‰ J J ‰ Œ ‰ ‰ 42 ∑
J
œ
f ƒ ƒ
>œ > œ. œ. œ bœ œ. œ œ œ nœ œ. œ. œ. œ. œ. œ. œ. >œ > >œ œ. >œ
bb b ‰ J œJ ‰ œ bœ œ œ œ. œ. J ‰ 34 J J
œ
Fl. 2 & ‰ J J ‰ Œ ‰ ‰ 42 ∑ ‰ J
f ƒ ƒ
>œ > œ. œ. œ œ œ. œ œ œ. œ. œ. œ. œ. œ. œ. >œ > >œ œ. >œ
bb b ‰ J œJ ‰ œ bœ œ œ œ. œ. J ‰ 34 J J œ œ
3 & ‰ J J ‰ Œ ‰ ‰ 42 œ ∑ ‰ J
f ƒ ƒ
>œ > >œ
b œ œ bœ œ. n œ. œ. ‰ œ. œ bœ œ. œ œ œ. œ. œ. œ. œ. œ. œ. >œ > >œ œ.
1 & b b ‰ J œJ ‰ œ ‰
J J ‰ Œ J 43 J ‰ ‰ J 42 œ œ ∑ ‰
J
œ
f ƒ ƒ
>œ
Ob.

b > > œ œ bœ nœ œ. ‰ œ. œ bœ œ. œ œ œ. œ. œ. œ. œ. œ. œ. >œ > >œ œ.

2 & b b ‰ œJ œJ ‰ œ ‰ œ
J J ‰ Œ J 43 J ‰ ‰ J 42 œ œ ∑ ‰
J
œ
f ƒ ƒ
b >œ >œ œ bœ œ. 3 j œ. 2 œ œ œ. œ. œ. œ. œ. œ. œ. >œ
&b ‰ J J ‰ œ œ ‰ œ œ ‰ Œ J ‰ 4 œ. ‰ œ œ ‰ J 4
œ œ ∑ ‰ œ. œ. n œ.
E. Hn.
J J J
f ƒ ƒ
>œ >œ œ. œ. œ bœ œ. œ œ œ. œ. œ. œ. œ. >œ > >œ œ. >œ
œ bœ œ œ. œ. J ‰ 34 J J
œ œ œ. œ. œ
E b Cl. & ‰ J J ‰ œ ‰ J J ‰ Œ ‰ ‰ 42 ∑ ‰ J
f ƒ ƒ
>œ >œ œ bœ œ. œ. œ œ œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ. >œ
J J ‰ œ œ œ. œ. J ‰ 3 J J 2 œ œ œ. œ.
1 &b ‰ ‰ J J ‰ Œ 4 ‰ ‰ 4 ∑ ‰ J
f ƒ ƒ
>œ >œ œ. œ. œ. œ.
œ bœ œ œ œ. œ. œ. œ. œ bœ œ. œ œ œ. œ. œ. œ. œ. œ. >œ
B b Cl. 2 &b ‰ J J ‰ ‰ J J ‰ Œ J ‰ 43 J ‰ ‰ J 42 œ nœ ∑ ‰ J
f ƒ ƒ
>œ >œ œ. œ. œ. œ.
œ bœ œ œ œ. œ. œ. ‰ œ. œ bœ œ. œ œ œ. œ. œ. œ. œ. œ. >œ
3 &b ‰ J J ‰ ‰ J J ‰ Œ J 43 J ‰ ‰ J 42 œ nœ ∑ ‰ J
f ƒ ƒ
&b ‰ j j ‰ œ bœ œ œ ‰ j j ‰ Œ j ‰ 43 j ‰ ‰ j 42 ∑ ∑ ∑ ∑
œ >œ œ. œ. œ œ
B. Cl.

> f ƒ œ. œ. œ œ. œ œ œ

œ. œ. œ. œ. n œ. œ. n œ. œ. œ.
? b b ‰ j œj ‰ œ œ. œ. œ. ‰ œ. œ œ. œ œ.
b œ bœ œ ‰ J ‰ Œ 43 J ‰ œ ‰ 42 œ œ œ ∑ ‰ J J ‰
>œ > J J J
1
f ƒ ƒ
œ. œ. n œ. œ. œ.
œ. œ. œ. ‰ œ. œ. . œ.
Bsn.
? b b ‰ j œj ‰ œ bœ œ œ ‰ J ‰ Œ 43 J ‰ œ œ ‰ 42 œ œ œ œ ∑ ‰ œJ n œ. œ. n œ. J ‰
b œ J J J
> >
2
f ƒ ƒ
? b b ‰ j œj ‰ œ œ. œ.
b œ œ bœ œ ‰ J J ‰ Œ
œ.
j ‰ 43 œj ‰ œ œ
‰
œ.
j 42 œ œ
∑ ∑ ∑ ∑
> > . œ œ
C. Bn.
f ƒ

∑ ∑ ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑
Solo A. Sax & 4 4

œ. ‰ . œ bœ œ. . œ. œ. œ. œ. >œ > >œ œ. >œ

>œ > j j 3 œ 2 œ œ œ nœ œ. œ œ.
1 & b ‰ J œJ ‰ œ bœ œ œ ‰ œ. œ. ‰ Œ J 4 J ‰ ‰ J 4 ∑ ‰ J
œ
f ƒ ƒ
œ. ‰ œ. œ œ œ. œ >œ > >œ œ. >œ
& b ‰ œj j ‰ œ œ bœ ‰ j j ‰ Œ J 43 J ‰ ‰ J 42 œ œ ∑ ‰ œj œ. œ. œ. œ. œ. œ. œ
2
œ œ œ. n œ. œ .
B b Tpt.
> > f ƒ ƒ
> œ. ‰ œ. œ œ. œ œ . œ. œ. œ. >œ
& b ‰ œJ j ‰ œ œ bœ ‰ œ.
j œ.
j ‰ Œ J 43 J ‰ œ ‰ J 42
œ
nœ ∑ ‰ œJ. œ œ. œ. œ. œ. œ.
3
œ œ
> ƒ
f ƒ
> j œ. œ >œ
& b ‰ œJ œj ‰ œ œ bœ ‰ j j ‰ Œ j
œ. ‰ 43 œ. ‰ œ bœ ‰ J 42 œ œ ∑ ‰ œj œ. œ. œ. œ. œ. œ. œ. œ. œ.
4
œ œ. n œ. œ .
> f ƒ ƒ
b >œ j œ bœ œ. œ. œ. œ. œ. œ. œ. >œ
&b ‰ J œ ‰ œ œ ‰ œ. œ.
J ‰ Œ œ. ‰ 3 .
4 œJ ‰ œ bœ ‰ œ. 2
4 œ œ œ nœ ∑ Œ ‰ œ.
1
> J J J J
f ƒ ƒ
b j j j j j œ. >œ
& b ‰ œj œj ‰ œ œ bœ œ ‰ œ. n œ. ‰ Œ œ. ‰ 43 œ. ‰ œ œ ‰ œ. 42 œ œ œ ∑ Œ ‰ j œ. œ. œ. œ. n œ. œ.
2
> > œ œ.
f ƒ ƒ
>œ >œ >œ >œ >œ
F.Hn.
b j œ bœ œ. œ. œ. ‰ . œ.
& b ‰ œj œ ‰ œ œ ‰
J J ‰ Œ
J 43 œJ ‰ œ bœ ‰
J 42 œ œ œ nœ ‰ j
œ œ œ œ œ œ œ J ‰ Œ
> > > > > > > >
3

f ƒ ƒ
b j j j 3 j j œ. >œ
j
& b ‰ œj œ ‰ œ œ bœ œ ‰ œ. n œ. ‰ Œ œ. ‰ 4 œ. ‰ œ œ ‰ œ.
2
4 œ œ œ ‰ j œ œ œ œ œ œ œ œ œ n œ. œ.
> > œ œ > > > > > >œ > > > >
4

f ƒ > >œ
ƒ >œ >œ >œ >œ >œ > >œ >œ n >œ
? b b ‰ j œj ‰ œ œ œ. n œ. œ. ‰ œ. œ œ. œ >
‰ œJ œ
b œ œ bœ ‰ J J ‰ Œ J 43 J ‰ œ ‰ J 42 œ œ œ ∑
> >
1
f ƒ ƒ
>œ >œ n œ. œ. œ.
? b b ‰ j œj ‰ œ œ. n œ. œ. ‰ œ. œ œ. œ > n >œ >œ n >œ >œ >œ >œ n >œ >œ
b œ bœ œ ‰ J ‰ Œ 43 J ‰ œ ‰ 42 œ œ œ ‰ œ J ‰
>œ > J J J J
Tbn. 2
f ƒ ƒ
>œ >œ >œ n >œ
? b ‰ j j ‰
bb œ œ œ bœ œ œ ‰ j j ‰ Œ j ‰ 3
4 œj ‰ ‰ j 2
4
>
‰ œ n >œ n >œ >œ >œ >œ n >œ >œ J ‰ Œ
Bass
> > œ nœ œ. . œ œ œ. œ œ œ œ J
f ƒ ƒ
? b b ‰ j œj ‰ œ bœ œ œ ‰ j j ‰ Œ j ‰ 43 œj ‰ ‰ j 42 ∑ ∑ ∑ ∑
b œ œ. n œ. œ. . œ œ œ. œ œ œ
> > œ
1

Tba.
f ƒ
? b b ‰ j œj ‰ œ bœ œ œ ‰ j j ‰ Œ j ‰ 43 œj ‰ ‰ j 42 ∑ ∑ ∑ ∑
b œ œ. n œ. œ. . œ œ œ. œ œ œ
> > œ
2
f ƒ
≥ ≥
? b ‰ >œJ >œJ ‰ œ. n œ. œ. ‰ 3 œ. œ œ. œ ‰ œJ œ
pizz.

œ bœ œ œ ‰ ‰ Œ ‰ œ ‰ 2 œ œ
D.B. bb J J J 4 J J 4 œ ‰ J ∑ ∑ ∑
f ƒ ƒ

? b ‰ >œ j ‰ ∑ ∑ ∑ 3 ∑ 2 ∑ ‰ j ‰ j ∑ ∑ ∑
Timp. bb J >œ 4 4 œ œ
ƒ secco
b
Bass Dr.

j 3 2 j œ
Triangle

Perc. 2 &bb ∑ ã œæ. œ ∑ ∑ 4 Œ œ Œ 4 œæ. œ ∑ ∑ ∑ Œ ‰ J

f ƒ Snare Dr. ƒ f ƒ ƒ
∑ ∑ ∑ Œ y ‰ 3 ‰ Œ ‰ 2 ∑ ∑ ∑ ∑ ∑
3 ã J 4 yJ y
J 4

291 292 293 294 295 296 297 298 299 300
 85
, P Comodo
b œ >œ , œ. œ œ œ œ œ
Picc. &bb J J J
‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
√
(√), . . œ
b b œJ >œ , œ. œ œ œ œ œ œ. 3 . œ. œ. œ. œ œ œ . œ. œ œ œ œ
œ œ œ œ œ # œ œ œ œ n œ n œ b œ œ 43
œ. œ. 2 ‰ œJ
Solo

& b J 4 œ 4 œ œ œ œ ‰ ∑ Œ œœ ‰
1
J
p P capriccioso S 5
œ , >œ , . œ
dim. molto

b œ œ œ œ. . œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ.
Fl. 2 &bb J J 43 œ 42 œ J
‰ ∑ ∑ ∑ ∑ ∑ 43
p
œ ,> . œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ.
dim. molto

bb b J œ , œJ œ. œ. œ. œ. œ. œ. œ.
3 & 43 42 J ‰ ∑ ∑ ∑ ∑ ∑ 43
dim. molto p

,
b œJ >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 œœœ
1 & b b J 43 42 J ‰ ∑ ∑ ∑ ∑ ∑ 43
p
,
dim. molto

b œ >œ , œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ob.

2 &bb J J 43 42 J ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ 43
π
b œ , >œ , œ.
dim. molto

3 2 3
E. Hn. &b J J œ
œ œ
J
‰ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

œ , >œ , . œ œ. œ. œ. œ. œ. œ. œ.
J œ œ œ. œ. œ. œ. œ. œ. œ.
E b Cl. & J œ 43 42 J ‰ ∑ ∑ ∑ ∑ ∑ 43
p
œ , >œ . œ
dim. molto

œ œ. œ. œ. œ. œ. œ. œ.
&b J ,J œ œ .
43 œ œ. œ. 42 œ
. œ. œ. œ. ‰ ∑ ∑ ∑ ∑ ∑ 43
1
J
p
œ , >œ , œ. œ œ œ œ œ
dim. molto

j
B b Cl. 2 &b J J œ. 43 œ. œ. œ. œ. œ. œ. 24 œ
. œ. œ. œ. œ. œ. œ. ‰ ∑ ∑ ∑ ∑ ∑ 43
p
œ , >œ , . œ œ œ œ
dim. molto

&b J œ œ œ. 3 .
4 œ œ. œ. œ. œ. œ. 2 .
4 œ œ. œ. œ. œ. œ. œ. ‰ ∑ ∑ ∑ ∑ ∑ 3
4
3
J J
dim. molto p
B. Cl. &b ∑ ∑ 43 ∑ 24 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
? bb ∑ Œ ‰ J 43 42 J ‰ ∑ ∑ ∑ ∑ ∑ 43
1 b
Bsn.
F dim. molto p
? bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
2 b

? bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
C. Bn. b

Comodo. œ. œ œ œ >œ b œ n œ. œ. . œ.
œ œ œ œ œ [–]œ œ œ [–]œ œ œ œ œ j œ.
œ. œ. œ
œ.
œ.
œ.
3 2 œ. 3
#œ
[–]

Solo A. Sax & ∑ ∑ 4 ∑ 4 Œ ‰ 4

p capriccioso

œ , >œ , . œ.
&b J œ œ. œ. ‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
1
J J
, , œ. . œ. œ.
&b œ œ œj œ. 43 œ œ. œ. ‰ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
2
J > . œ. œ. J
B b Tpt.
p
œ , >œ , . œ.
&b J œ œ. œ. œ. .
43 œ œ. œ. œ. œ. ‰ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
3
J J
p
, , j j
&b œ œ
J > œ. œ œ. œ. œ. 43 œ. œ. œ. œ. œ. ‰ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
.
4
p
b œ ,> , . . œ. œ.
1 &b J œ œ œ
J J ‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43

b œJ , >œ , œ. œ. 3 2 3
2 &b J œ. œ. J
‰ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4
F.Hn.
b 3 2 3
3 &b ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

b œ >œ œ. œ.
4 &b J J œ. œ. J
‰ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43

? b ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
1 bb 4 4 4

? bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
Tbn. 2 b

? bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
Bass b

? b ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
1 bb 4 4 4
Tba.
? b ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
2 bb 4 4 4

? bb ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43
D.B. b

? b ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
Timp. bb 4 4 4

∑ Œ ‰ œ 3 œ œ œ 2 œ œ œ 3
Perc. 2 ã J 4 ‰ J ‰ J ‰ J 4 ‰ J ‰ J ‰ J Œ ∑ ∑ ∑ ∑ ∑ 4
p π
3 ã ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43

301 302 303 304 305 306 307 308 309 310
 86

b
Picc. & b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
Ÿ~~~~~~~~~~~~~~~ bœ
bœ nœ œ œ. œ. ˙ œ œœœ œ œ j œ œ . . œ. œ.
œ.
j j
#œ nœ 3 nœ œ œ œ œbœ œ ‰ œ nœ œ œ œ
#œ
b œ
& b b 43 œ ‰ œJ 42 42
#œ #œ
1 Œ 4 œŒ Œ ∑ ∑ ∑
S 5
S 5
P3
b
Fl. 2 & b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

b
3 & b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

œ. œ. œ œ œ. œ. 2 . .
b n œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. > œ. j œ œ œœœ‰Œ
1 only
j j
& b b 43 Œ ‰ #œ Œ ‰ 43 n œ # œ œ ‰ 42 ∑ ∑ ∑ ∑
j #œ
1 4 œœ #œ
J œ. J
p capriccioso 5
Ob.
b 3 2 3 2
2 &bb 4 ∑ 4 ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑

b
E. Hn. & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

E b Cl. & 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

œ. œ œ. œ. œ. œ œ œ œ- œ œ œ œ œ œ
Solo

& b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ Œ Œ ‰ 42 œ œ œ œœœ J J
3

œœ œ
1

p
3
capriccioso

B b Cl. 2 & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 24 ∑ ∑ ∑ ∑

3 & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

3 2 3 2
B. Cl. &b 4 ∑ 4 ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑

? b 3 ∑ 2 ∑ ∑ ∑ 3 ∑ ∑ 2 ∑ ∑ ∑ ∑
1 bb 4 4 4 4
Bsn.
? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
2 b

? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
C. Bn. b

œ œ œ. œ. œ œ. # œ. œ . . .....
3 œ œ ‰ ‰ œ 2 œ œ. œ. œ. œ. œ. œ 3 œ #œ nœ œ. 2 ‰ œJ œ œ œ œ œ œ
œ œ. œ.
Solo A. Sax & 4 J J 4 ‰ J 4 œœJ‰Œ 4 ∑ Œ œ
S p capriccioso

1 & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

2 & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
B b Tpt.
3 2 3 2
3 &b 4 ∑ 4 ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑

3 2 3 2
4 &b 4 ∑ 4 ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑

b
1 & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

b
2 & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
F.Hn.
b 3 2 3 2
3 &b 4 ∑ 4 ∑ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑ ∑

b
4 & b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
1 b

? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
Tbn. 2 b

? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
Bass b

? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
1 b
Tba.
? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
2 b

? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
D.B. b

? b b 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑
Timp. b

3 ∑ 2 ∑ ∑ ∑ 3 ∑ ∑ 2 ∑ ∑ ∑ ∑
Perc. 2 ã 4 4 4 4

3 ã 43 ∑ 42 ∑ ∑ ∑ 43 ∑ ∑ 42 ∑ ∑ ∑ ∑

311 312 313 314 315 316 317 318 319 320
 87

b
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

b œ œ bœ œ bœ bœ. œ bœ bœ œ ,b œ b œ œ bœ bœ œ œ bœ bœ œ œ nœ ‰ Œ
1 &bb J J ∑ 43 ∑ 38 ∑ 42
p
b ,
Fl. 2 &bb ∑ ∑ ∑ ‰ œ bœ œ
J
bœ œ œ œ bœ œ œ œ nœ
j ‰ Œ ∑ 43 ∑ 38 ∑ 42
p
b
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

b j
&bb Œ ‰ œ n œ œ œ. œ. b œ. œ. b œ œ œ œ. b œ. œ. b œ œ ‰ Œ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
3

1
œ
Ob.
p
b 3 3 2
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 8 ∑ 4

b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

&b œ œ œ bœ œ j ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
1 œ

B b Cl. 2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

3 3 2
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 8 ∑ 4

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

? bb œ. œ. œ. œ. b 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 38 œ œ œ œ œ œ 42
1 b ∑ ∑ ∑ ∑ Œ œ 43 œ
Bsn.
p capriccioso

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 3 ∑ 2
2 bb 4 8 4

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
C. Bn. b

. , œ
& ‰ œJ œ. œ. œ bœ. œ œ bœ œ œ bœ œ bœ œ œ œ bœ œ bœ nœ nœ nœ œ œ œ œ œ 3
4 œ œ œ œ œ œ
3 œ
8
œ
œ
2
4
Solo A. Sax
J
accompagnando π

3 3 2
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 8 ∑ 4

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
B b Tpt.

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
F.Hn.
b 3 3 2
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 8 ∑ 4

b 3 3 2
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 8 ∑ 4

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
1 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
Tbn. 2 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
Bass b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
1 b
Tba.
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 3 ∑ 2
2 bb 4 8 4

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
D.B. b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42
Timp. b

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 38 ∑ 42

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 3 ∑ 2
3 ã 4 8 4

321 322 323 324 325 326 327 328 329 330
 88
Q Tempo
.
I (Allegro
.
brioso)
.
œ œ œ œ œ œ œ œ œ
accel. j r r
b 2 œ œ œ
Picc. &bb 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ
f
œ œ œ œ 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 œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ.
a2 œj r r
b œœœœœœœœ œ œ œ
1 only
œ œ
1 & b b 42 ∑ Œ
p f
. . .
b œ œ œ œ œ œ œ œ œ
& b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ
j j j
Fl. œ œ œ
2

f
b
3 & b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. œ.
œ. œ.
a2

b œ. œ. œ.
j
œ œ j
œ œ j
œ œ
& b b 42 ∑ ∑ ∑ ∑ Œ
œ œ œ
œ. œ. œ. œ. œ.
œ. œ. >f > >
1
p
. . .
>œ œ œ >œ œ œ >œ œ œ
Ob.
j j j
b 2 œ œ œ
2 &bb 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ
f
b 2
E. Hn. &b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ. œ œ œ. œ œ œ.
42
j j j
E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ
Œ
f
œ œ œ œ bœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ bœ œ
1 only

& b 42 œ œ œ œ œ œ œ œ œ œ J ‰ Œ ∑
œ œ œ œ œœœœœœœ œ œ œ
1

p f

B b Cl. 2 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2
3 &b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ. œ œ œ œ œ
œ œ
? b b 42 œ œ. œ œ œ œœœœ œ œ R ‰. Œ ∑ ∑ ∑ ∑ ∑
1 b
Bsn.

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b
Tempo
>
I (Allegro >brioso)
, 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 >
accel.
œ œ.
42 œ œ œ. œ. œ. œ. œ bœ nœ œ œ
[ ]

Solo A. Sax & 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
ossia
f 6 6 6

1 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.

b
3 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 & b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 b

? b 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass bb 4

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.

? b 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb 4

? b 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B. bb 4

? b b 42 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp. b
j >œGlock. j >œ j >œ j >œ
2 bbb J J J J
œ œ œ œ
Perc. 2 ã 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ‰ ‰ ‰ ‰
f
2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 ã 4

331 332 333 334 335 336 337 338 339

 89
œ œ œ. œ œ œ. . . Cadenza
œœ œ œœœ œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ 3 œJ ‰ Œ Œ
r j
b œœ œ œ œ. œ œ œ.
œ œ j j
2
&bb Œ ‰ ∑ ∑ Œ ‰ ∑
œ œ
Picc. 4 4
F P π
√
œ œ œ. œ œ œ. œœ œ œ
œ. œ.
j j
œ œ œœœ œ.
r j

‰ œ
œ œ
b œ œ
œ œ. œ œ.
1 &bb Œ ‰ ∑ ∑ Œ Œ ∑ 43 ∑ 42 ∑
F p π œ.
œœ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. .
œ. œ œ. œ.
œ. œ. œ. œ. œ. œ.
j
1 only œ

Fl. 2 & bbb œ

j œ œ œ
j œ œ ∑ ∑ Œ ‰ Œ 43 J ‰ Œ Œ 42 ∑
p dim. π p π
b
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

. . œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ.
œœ œ œ œ œ œ œ œœ œ
j j
b œ œ j j
œ œ œ œ
J ‰ Œ 3 2
&bb Œ ‰ Œ ‰ ∑ ∑ ∑
œ œ
œ. œ. 4 4
> >
1
F p π
. .
dim.

b œ >œ œ œ œ > œ œ . . œ
œ. œ. œ œ
Ob.
j j
œ œ œ . œ œ .
43 42
j j
2 &bb ∑ œ
œ œ
œ ∑ ∑ ∑ ∑ J ‰ Œ ∑ ∑
p π
b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

œ œ œ. œ œ œ. œœ œ
j
œ œ œ. œ
j
œ œ œ. œœ œ
j
œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
43 42
j j
E b Cl. &
œ œ
Œ ‰ Œ ‰ ∑ ∑ ∑ ∑
F p π
. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ
‰ œJ ‰ œJ. œ. œ. J ‰ Œ 43 42
1 only

&b ∑ Œ Œ ∑ ∑ ∑
a2

1
F dim. π
.
œ. œ. œ. œ. œ. j
œ. œ. œ. œ. œ. œ Œ 43 42
1 only

B b Cl. 2 &b ∑ Œ ‰
J
Œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. ∑ ∑ ∑
F dim. π
3 2
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
? b ∑ Œ ‰ J Œ ‰ J J ‰ ∑ ∑ 3 ∑ 2 ∑
1 bb 4 4
F π
Bsn.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
2 b

? bb
C. Bn. b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

>œ œ œ. œ. >œ œ œ. œ. . . œ. œ. œ. œ. œ. œ. œ. œ. œ. . .
œ œ. œ œ. œ. œ. œ. n >œ œ œ. œ. >œ œ œ. œ. . . œ. œ œ œ œœœ
œ œ. œ. œ. œ. œ œ J ‰ Œ ∑ ∑ ∑ ∑ 3 2
Solo A. Sax & 4 ΠΠ4
F p f con spirito
3

>œ œ œ œ œ 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 œ œ œ œ œ œ. œ. œ œ œ J ‰ Œ
For alternative cadenza,
ossia & see the solo part.
6 6
F 6 6
p

3 2
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
B b Tpt.

3 2
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

? bb
1 b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2 ∑
Tbn. 2 bb 4 4

? bb
Bass b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

? bb
1 b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
Tba.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
2 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2 ∑
D.B. bb 4 4

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑
Timp. b

b >œ >œ >œ

43 42
j j j
Perc. 2 &bb ∑ œ
J ‰ œ
J ‰ ∑ œ
J ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F p

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑

340 341 342 343 344 345 346 347 348 349 350
 90

b
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

b
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

b
Fl. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

b
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

b
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
Ob.
b
2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

B b Cl. 2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
1 b
Bsn.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
2 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
C. Bn. b

œ. œ # œ œ œ œ. œ. œ. . . b œ œ œ # œ œ œ œ. œ. œ. œ. œ. b œ œ nœ #œ œ œ œ. œ. . œ. œ. œ. œ. œ. . . œ. . œ b œ œ œ œ. [–]œ œ œ œ œ.
œ. œ. œ œ œ œ œ œ bœ œ b >œ n œ œ œœ œ œ œ > œ œ 3 ≈ #œ œ œ œ œ. œ. 42 œ. œ œ œ œ œ ‰
[–]

& . . bœ œ œ b œ # œ œ œ œ œ œ # œ 4
Solo A. Sax
3 3 > n œ œ
># œ > 3 3 3 3

p
3

3 2
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑

3 2
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑
B b Tpt.

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

3 2
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

b 3 2
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
1 b

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
Tbn. 2 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2 ∑ ∑
Bass bb 4 4

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2 ∑ ∑
1 bb 4 4
Tba.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
2 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 2 ∑ ∑
D.B. bb 4 4

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑
Timp. b

b
Perc. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 42 ∑ ∑

351 352 353 354 355 356 357 358 359 360
 91
R Prestissimo (q=152)
b 3 2 U
Picc. &bb ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

b U
1 &bb ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

b U
Fl. 2 &bb ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

b U
3 &bb ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

b 3 2 U
1 &bb ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑
Ob.
b 3 2 U
2 &bb ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

b U
E. Hn. &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

U
E b Cl. & ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

U
1 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

U
B b Cl. 2 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

U
3 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

3 2 U
B. Cl. &b ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

? bb U
1 b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑
Bsn.

? bb U
2 b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

? b 3 2 U
C. Bn. bb ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

b[–]œ b œ œ b œ œ. [–]œ œ œ œ œ. b[–]œ b œ œ b œ œ. [–]œ œ œ œ œ. [–]œ œ œ œ œ. n >œ Prestissimo (q=152)

œ. œ. œ b œ œ œ œ.
2 J ‰ UŒ #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 3 ∑ ∑
Solo A. Sax & 4 4
3 3 3 3 3 3
p molto leggiero
> >œ >œ # >œ # œ # >œ # œ œ œ
cresc. e accel. molto

# >œ # œ œ œ # œ œ œ œ #œ œ œ œ #œ œ œ œ
ossia &
p molto leggiero

U
1 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

U
2 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 2 U
3 &b ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

U
4 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

b U
1 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

b 3 2 U
2 &b ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑
F.Hn.
b U
3 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

b U
4 &b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

? b 3 2 U
1 bb ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

? b 3 2 U
Tbn. 2 bb ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

? bb U
Bass b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

? bb U
1 b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑
Tba.

? b 3 2 U
2 bb ∑ ∑ ∑ 4 ∑ 4 Œ Œ ∑ ∑ ∑ ∑ ∑

? bb U
D.B. b ∑ ∑ ∑ 43 ∑ 42 Œ Œ ∑ ∑ ∑ ∑ ∑

U
Castanets

? bb ∑ ∑ ∑ 43 ∑ 42 Œ Œ ã j j ‰ œœœ œ Œ j j ‰ Œ
b œœ œ œ œ œ œ œ œœ œ œ
π
Timp.

b U
&bb ∑ ∑ ∑ 43 ∑ 42 Œ Œ ã œ œ ‰ œ ‰ œ ‰ œ ‰ ‰ ‰ ‰ ‰
Tamb.
œ œ œ œ œ œ œ
Perc. 2
J J J J J J J J
π
U >œ œ œ œ œ œ >œ œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ œ
Snare Dr.

43 42 Œ æœ
Solo

3 ã ∑ ∑ ∑ ∑ œ œ œ
Sff π
361 362 363 364 365 366 367 368 369 370
 92
S T
b 3 2
Picc. &bb ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑

b
1 &bb ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

b 3 2
Fl. 2 &bb ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑

b
3 &bb ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

b 3 2
1 &bb ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑
Ob.
b
2 &bb ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

b
E. Hn. &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

j j
3 2
œ
œ bœ œ œ. œ
œ œ bœ œ
E b Cl. & ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ J J J
π leggiero

&b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ bœ bœ œ œ. bœ œ bœ œ
1 only
j j
J
nœ nœ
1
J J
π leggiero

&b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑
1 only

B b Cl. 2 j œ j j œ
j œ œ œ. j œ œ œ
œ œ
π leggiero
3 &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

3 2
B. Cl. &b ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑
1 b
Bsn.

? b ∑ ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑
2 bb 4 4

? bb
C. Bn. b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

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 œ
& œ # œ 43 œ # œ œ œ œ 2 œœ œœ œ œ ‰ Œ ∑ bœ œ œ œ œ œ œ bœ bœ œ œ bœ œ œ œ œ bœ œ œ œ
#œ œ œ œ œ œ œ 4 œ #œ #œ J
Solo A. Sax

#œ #œ #œ œ œ œ œ œ #œ #œ œ nœ > b >œ >

œ bœ œ nœ nœ #œ œ 43 # œ œ œ œ œ œ 42 œ œ # œ œ œ # œ œ œ ‰ Œ ∑ bœ œ œ bœ œ œ œ œ bœ bœ œ œ œ œ œ b >œ b œ b œ œ œ œ œ œ
ossia & œ #œ œ œ œ #œ œ œ œ œ œ œ J

3 2
1 &b ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑

2 &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

&b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑
con sord.

3 œ œ œ >œ œ œ œ >œ œ œ >œ œ œ œ >œ œ

π stacc.

3 2
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
con sord.

4 4 bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œœ
> > > >
4

π stacc.

b
1 &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b 3 2
3 &b ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

? bb
1 b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

? bb
Tbn. 2 b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

? bb
Bass b ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑

? b ∑ ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ ∑
1 bb 4 4
Tba.

? bb ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑
2 b

? bb ∑ ∑ ∑ 43 ∑ 42 ∑ ∑ ∑ ∑ ∑ ∑
D.B. b

‰ j Œ j ‰ ‰ j 3 j 2
1 㠜
œ
j
œ
j
œ œ œ œ œ œ
j
œ 4 ‰ œ
j
œ Œ œœœ 4 œ Œ œ
j
œ œ
j
œ Œ œ
j
œ œ
j
œ œ
j
œ Œ œ
j
œ œ
j
œ Œ
sempre pp pp
43 ‰ 42 œ >œ >œ >œ >œ
sempre

ã ‰ œ œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ ∑ œ ‰ ‰ œ ‰ œ œ ‰
2
J J J J J J J J J J J J J J J
pp
Perc.
sempre pp
sempre

ã œ >œ œ œ œ œ œ œ >œ œ œ œ œ >œ œ 3 œ

4 œ >œ œ œ œ œ 2 >
4 œ œ œœ œ >œ œ œ >œ œ œ œ œ >œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
3
J J J J J
sempre pp sempre pp
371 372 373 374 375 376 377 378 379 380
 93
U V
b
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ œœœ
bbb ∑ ∑ ∑ ∑ ∑ ∑ Œ œ œ œ œ œ œ œ œ Œ ∑
1 &
F f
b
Fl. 2 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
3 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j œ bœ
b œ œ j œ j
1 &bb ∑ ∑ ‰ J œ nœ ‰ ‰ œ
J œ ‰ Œ ∑ ∑ ∑ ∑
π
Ob.

b j
œ j j j j
&bb ∑ ∑ ‰ ‰ ‰ ‰ Œ ∑ ∑ ∑ ∑
œ
2 nœ
j
bœ œ œ nœ bœ œ nœ
π
b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j
œ
œ bœ œ œ œ bœ œ
E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

bœ œ œ œ œ
&b bœ œ ∑ Œ Œ Œ œ œ Œ ∑
j
œ bœ œ œ bœ œ œ œ œœ
nœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1

F
&b œ ∑ Œ Œ ∑ ∑ ∑ ∑
bœ œ bœ œ bœ œ œ bœ œ
B b Cl. 2
œ œ
œ
j œ œ œ œ œ œ œ œ œ
F
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j
œ bœ œ.
? bb œ œ œ œ œ. œ. œ.
œ
b ∑ ∑ ‰ J œ ‰ ‰ œ ‰ J ‰ Œ ‰ ‰ ‰ ∑ ∑
1
J J J J J J
π
Bsn.

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

bœ nœ œ œ œ œ œ
>œ >œ >œ œ
bœ œ œ œ bœ bœ œ œ œ œ œ œ bœ œ œ bœ œ #œ #œ œ œ nœ bœ nœ #œ #œ œ œ œ œ œ œ œ œ œœ
Solo A. Sax & nœ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ Œ ∑
cresc.

>œ >œ >œ b >œ

ossia & bœ œ œ œ

œ
Solo

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ œ œ œœ œ
1
J
f marc. e con spirito

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

j
&b œ œ œ bœ œ ‰ Œ ∑ ∑ ∑ ∑ ∑
>œ œ œ œ >œ œ œ >œ œ œ œ >œ œ œ œ œ
3

&b j ‰ Œ ∑ ∑ ∑ ∑ ∑
bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ bœ œ bœ œ bœ
> > > >
4

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 bb
Tba.

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B. bb

1 㠜
j
œ œ
j
œ Œ œ
j
œ œ
j
œ Œ œ
j
œ œ
j
œ Œ œ
j
œ œ
j
œ Œ ∑ ∑ ∑ ∑

ã œ ‰ ‰ >œ œ ‰ >œ œ >œ œ ‰ œ œ ‰ œ ‰ œ ‰ Œ ∑ ∑ ∑ ∑ ∑

Perc.
2
J J J J J J J

3 ã œ œ œ œ œ
J ‰ œ œ œ
J ‰ ‰ œ
J
œ
J ‰ œ œ œ œ ‰ œ
J
œ
J ‰ œ œ œ œ œ œ
j
œ œ œ œ
j
œ œ œ Œ ∑

381 382 383 384 385 386 387 388 389 390
 94
W
b œ. œ. œ. œ. œ.
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J J ‰ ‰ J
F
œ œ œ œ œ œ œ
b
1 only

J
1 &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰
F
b j œ œ bœ
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ œ
1 only

Fl. 2 œ
F
b j œ œ bœ
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ œ
1 only

3 œ
F
œ œ œ œ œ œ >œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ
1 &bb ∑ Œ ‰ J J J J J J ‰ ∑ ∑
p marc. ma leggiero
Ob.

b j j œ œ j œ œ œ œ œ œ
&bb ∑ Œ ‰ œ œ œ J J œ œ œ œ œ œ œ œ œ œ
J
‰ ∑ ∑
>
2

p marc. ma leggiero

E. Hn. & bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

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
1 &b ∑ Œ ‰ J J J J J J ‰ ‰ J
p marc. ma leggiero

j j œ œ œ œ œ œ œ œ œ œ j œ œ œ œ bœ
B b Cl. 2 &b ∑ Œ ‰ œ œ œ J J œ œ
J
œ œ œ œ œ œ
J
‰ ‰ œ
>
p marc. ma leggiero

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 bb
Bsn.

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. bb

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 œ œ œ œœ 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
Solo A. Sax & œœ
S S S S S S S
F
cresc.

œ 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 œ bœ 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 œ œ œ œ œ ‰ œ œ œ œ œ œ œ
ossia & œœ
F S S S S S S S

œ. œ. œ. . œ. œ.
&b œ
œ
œ œ œ œ œ œ œ œ œ j œ. œ. œ. œ. œ. œ. œ œ. œ. œ.
a2

1 œ œ ‰ Œ ∑ ∑ Œ ‰
F sempre leggiero

œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ.
œ œ œ
Solo

2 &b ∑ ∑ ∑ ‰ J œ œ J ‰ ∑ J ‰ J ‰ J ‰ J ‰
f marc. e con spirito F sempre leggiero

œ. œ.
B b Tpt.
œ. œ. œ.
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J J ‰ ‰ J
F marcato
j j j
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ. œ. ‰ œ. œ. ‰ œ.
F marcato
b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 bb

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass bb

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 bb
Tba.

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B. bb

1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Snare Dr.

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ
J
œ
J ‰ œ œ ‰ œ
J
p
391 392 393 394 395 396 397 398 399 400
 95
X Sempre Prestissimo >œ >œ >œ
b œ. œ. œ. œ. œ. nœ n >œ n >œ n >œ >œ >œ
Picc. &bb J ‰ Œ ∑ ∑ ∑ Œ nœ #œ œ J ‰ ‰ #œ #œ œ J J ‰ Œ ∑
ƒ
œ- œ- œ œ. œ. >œ √
n >œ >œ >œ n >œ n >œ >œ >œ
b œ J œ. nœ >œ
&bb J J ‰ Œ ∑ ∑ Œ nœ #œ œ J ‰ ‰ #œ #œ œ J J ‰ Œ ∑
a2
1
ƒ
√ >œ >œ >œ >œ >œ >œ
œ. >œ >œ nœ n >œ n >œ
b œ
&bb J œ- œ b œ. J ‰ Œ ∑ ∑ Œ nœ #œ œ J ‰ ‰ J J ‰ Œ ∑
a2
Fl. 2 œ- J
ƒ
>œ √ >œ >œ >œ >œ >œ >œ
œ. >œ nœ n >œ n >œ
b œ
&bb J œ- œ b œ. J ‰ Œ ∑ ∑ Œ nœ #œ œ J ‰ ‰ J J ‰ Œ ∑
a2
3 œ- J
ƒ
b nœ ‰ n >œ # >œ >œ n >œ ‰ Œ nœ œ œ nœ
1 &bb ∑ ∑ ∑ ∑ ∑ Œ J ‰ J J nœ œ œ œ ∑
ƒ marcato

>œ >œ >œ >œ œ œ nœ

Ob.
b œ ‰ nœ œ œ œ nœ
2 &bb ∑ ∑ ∑ ∑ ∑ Œ
J
‰
J J
‰ Œ ∑
ƒ
>œ >œ >œ >œ >œ >œ
marcato

bb ∑ ∑ ∑ ∑ ∑ Œ nœ ‰ ‰ n >œ n >œ ‰ Œ ∑
E. Hn. & J J J
ƒ
#œ ‰ # >œ >œ > # >œ ‰ Œ # >œ >œ >œ >œ
∑ ∑ ∑ ∑ ∑ Œ J ‰ J œ J ∑
E b Cl. &
ƒ
œ- œ- œ œ. œ. >œ >œ œ >œ >œ > >œ n >œ >œ >œ >œ
œ J J J ‰ J œ J ‰ Œ
&b J ‰ Œ ∑ ∑ Œ ‰ ∑
a2

1
ƒ
œ. >œ >œ # >œ >œ
œ œ- œ b œ. J #œ # >œ # >œ >œ n >œ >œ >œ
a2

B b Cl. 2 &b J œ- J ‰ Œ ∑ ∑ Œ J ‰ ‰ J J ‰ Œ ∑
ƒ
nœ n >œ >œ n >œ
# >œ œ œ nœ
3 &b ∑ ∑ ∑ ∑ ∑ Œ J ‰ ‰ J J ‰ Œ nœ œ œ œ #œ ∑
ƒ marcato

œ j
&b ∑ ∑ ∑ ∑ ∑ Œ
œ
j‰ ‰
œ
j œ ‰ Œ ∑ ∑
œ > >
B. Cl.

ƒ > >
? b ∑ ∑ ∑ ∑ ∑ Œ j j j ‰ Œ
bb œ ‰ ‰ œ œ œ œ
∑ ∑
> > > >
1
ƒ
Bsn.

? b ∑ ∑ ∑ ∑ ∑ Œ j ‰ Œ
bb j‰ ‰ j œ œ œ
∑ ∑
> > >
2
œ œ
ƒ >
? bb j j > >œ >œ
b ∑ ∑ ∑ ∑ ∑ Œ œ ‰ ‰ œ J ‰ Œ ∑ ∑
C. Bn.
> œ
ƒ
Sempre Prestissimo
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ #œ
#˙ ˙ ˙ ˙ ˙
& ‰ Œ ∑ ≈ œ #œ #œ
œ œ
f
Solo A. Sax
S ƒ S S ƒ
œ œ
bœ œ œ œ œ œ œ œ œ œ bœ œ
œ bœ œ œ
ossia & ‰ Œ
S ƒ

œ. œ. n >œ >œ >œ n >œ n >œ >œ >œ >œ

œ. œ. œ. œ. œ. œ. œ. J
nœ
J ‰ J J ‰ Œ
1 &b ‰ Œ ∑ ∑ Œ ‰ Œ nœ œ œ
ƒ F
œ. œ. #œ œ œ nœ
stacc.

>œ >œ >œ >œ

2 &b œ.
J ‰ J ‰ J ‰ Œ ∑ ∑ ∑ Œ œ ‰
J ‰ J J ‰ Œ nœ œ œ œ Œ œœœ
ƒ F stacc.
œ.
marcato
B b Tpt.
œ. œ. œ. senza sord.
#œ # >œ # >œ >œ # >œ >œ n >œ >œ >œ
3 &b ‰ ‰ Œ ∑ ∑ ∑ Œ J ‰ ‰ J J ‰ Œ ∑
ƒ
> >œ > >
senza sord.

4 &b ‰ ‰ œ. œ. œ. œ. Œ ∑ ∑ ∑ Œ nœ ‰
J
‰ nœ
J
œ nœ ‰ Œ
J
∑ ∑
ƒ
n~ œ
b Œ ~~~~~ J ‰ n >œ # >œ n >œ # >œ ‰ ‰ > n >œ >œ >œ n >œ
&b ∑ ∑ ∑ ∑ ∑
~~
‰ J J œ œ nœ Œ œœœ
>>
1
ƒ F stacc.
b n~ œ ‰ > j ‰ ‰ > > >
&b ∑ ∑ ∑ ∑ ∑ Œ
~~~ J
‰ nœ œ œ œ œ œ œ nœ œ œ Œ œœœ
~~ ~~ ƒ J > > >œ >> > >
2
F stacc.
œ
F.Hn.
b > j > >œ
&b ∑ ∑ ∑ ∑ ∑ Œ ~~~~~ J ‰ ‰ nœ œ œ œ ‰ ‰ œ œ œ œ œ œ ∑
3
~
~~ ƒ J > > > >> > > >

b j
&b ∑ ∑ ∑ ∑ ∑ Œ n~ œ ‰ ‰ œ œ œ j ‰ ‰ œ œ œ œ nœ œ œ
∑
~~~~ J > > > œ >> > > > > >
4
~
~~ ƒ
nœ n >œ >œ >œ # >œ >œ >œ n >œ n >œ >œ >œ n >œ
œœœ
? bb ∑ ∑ ∑ ∑ ∑ Œ J ‰ ‰ J J ‰ ‰ Œ
1 b
ƒ F
>œ >œ >œ >œ >œ >œ >œ >œ
stacc.

œ >œ >œ >œ

? bb ∑ ∑ ∑ ∑ ∑ Œ J ‰ ‰ J J ‰ ‰ Œ œœœ
Tbn. 2 b
ƒ F
>œ >œ
stacc.

> >œ >œ >œ

? b j j >œ n >œ >œ >œ
bb ∑ ∑ ∑ ∑ ∑ Œ œ ‰ ‰ œ œ J ‰ ‰ ∑
>
Bass
ƒ
? bb ∑ ∑ ∑ ∑ ∑ Œ j j j ‰ Œ
b œ ‰ ‰ œ œ œ œ
∑ ∑
> > > >
1
ƒ
Tba.

? b ∑ ∑ ∑ ∑ ∑ Œ
2 bb j‰ ‰ j j ‰ j ‰ Œ ∑ ∑
œ œ œ œ
ƒ > > >

j j > >œ >œ

arco

? b ∑ ∑ ∑ ∑ ∑ Œ
bb œ ‰ ‰ œ œ J ‰ Œ ∑ ∑
>
D.B.
ƒ
Sus.Cym.
y
(choke)

1 ã ∑ ∑ ∑ Œ ‰ J ∑ ∑ ∑ ∑ ∑ ∑

>œ
Field Dr.

ã ∑ ∑
j
œ ‰ ‰ j
‰ j
œ ‰ y ∑ ∑ ∑ ∑ ∑ ∑
J J J J
œ œ œ
Perc. 2

F cresc.

>œ œ œ >œ œ œ >œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ

3 ã œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑

401 402 403 404 405 406 407 408 409 410
 Sempre 96
Y Prestissimo
b U
Picc. &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

nœ œ ˙ ˙ U̇ ˙
b J
1 &bb ∑ ∑ ∑ ∑ ∑ ‰
Sf p π
nœ œ ˙ ˙ U̇ ˙
b ‰ J
Fl. 2 &bb ∑ ∑ ∑ ∑ ∑
Sf p π
b œ œ ˙ ˙ U̇ ˙
3 &bb ∑ ∑ ∑ ∑ ∑ ‰ J
Sf p π

œ œ ˙ ˙ U̇ ˙
b œ œ
&bb ∑ œ nœ œ œ œ œ œ œ nœ œ ∑ ∑ ‰ J
œ œ bœ œ
1

marcato Sf p π
Ob.
b U̇
&bb ∑ œ nœ œ œ œ œ œ œ ˙ ˙ ˙
2
œ œ bœ œ œ œ œ œ nœ œ ∑ ∑ ‰ J
marcato Sf p π
œ nœ œ œ œ œ U
& bb ∑ œ œ œ œ œ œ œ œ nœ œ ∑ ∑ ‰ œ œ ˙ œ œ ‰ ∑ ∑
E. Hn.
J J
marcato Sf π

#œ œ ˙ œ œ U
E b Cl. & ∑ ∑ ∑ ∑ ∑ ‰ J J ‰ ∑ ∑
Sf p
j œ U̇
&b œ ‰ Œ œ œ œ œ nœ œ œ ∑ ∑ ‰ nœ œ ˙ ˙ ˙
œ œ œ œ J
œ œ œ nœ
1

Sf p π
ƒ marcato
U
j œ œ ‰ œj œ
B b Cl. 2 &b œ œ œ œ œ ‰ Œ œ œ œ œ nœ œ ∑ ∑ ˙ ˙ ˙ ˙
œ œ œ nœ Sf p π
ƒ marcato

j œ œ U
&b œ œ œ œ œ ‰ Œ œ œ œ œ nœ œ ∑ ∑ ‰ j
œ œ ˙ ˙ ˙ ˙
œ œ œ nœ
3

Sf p π
ƒ
œ œ œ U
marcato

B. Cl. & b œ œ œ nœ œ œ J ‰ Œ ∑ ∑ ∑ ‰ j
ƒ marcato œ œ ˙ ˙ ˙ ˙
Sf p π

œ œ œ œ U̇
? b œ œ œ nœ œ J ‰ Œ ∑ ∑ ∑ ‰
œ
J
œ ˙ ˙ ˙
1 bb
ƒ marcato Sf p π
œ œ œ
? b œ œ œ nœ œ œ
Bsn.

J U̇
bb ‰ Œ ∑ ∑ ∑ ‰ œ œ ˙ ˙ ˙
2
J
ƒ marcato Sf p π
>œ >œ œ >œ >œ >œ >œ >œ U
? bb ‰ J J œ ∑ ∑ ‰ j j ‰ Œ ∑ ∑
C. Bn. b J œ œ ˙ œ
Sf π
Sempre
U̇ ,
Prestissimo
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ. .
#œ
Solo A. Sax &
molto Ï subito p scherzando

. . . nœ œ œ œ
œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. # œ. # œ œ œ J J ‰ U
1 &b ‰ J ‰ ∑ ∑ ∑
ƒ S π
.
‰ œJ
. œ. œ. œ. œ. # œ. # œ. œ. œ U
2 &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ nœ
J
œ œ œ ‰
J
∑ ∑ ∑
B b Tpt.
ƒ S π
œ > > >œ # >œ U
&b ∑ Œ ‰ œ œ œ œ œ ‰ j œ œ œ ‰ œJ œ œ œ ‰
J ∑ ∑ ∑
3
J œ œ >
> > S π
ƒ
> > >œ # >œ j j U
&b ∑ ∑ ∑ ‰ j œ œ œ ‰ œ œ œ œ ‰ ∑ ∑ ∑
4
œ œ >
> > S π
ƒ
b . U
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ. n œ. # œ. œ. œ ‰ n œJ œ ˙ œ œ ‰
J ∑ ∑
1
. . . .
ƒ S π
b j . j j U
&b œ œ œ œ œ œ ‰ œ. œ. œ. œ. œ. n œ. # œ. œ. œ ‰ œ œ ˙ œ œ ‰ ∑ ∑
œ œ œ œ œ œ œ œ œ
2

F.Hn.
ƒ S π
b U
&b ∑ ∑ ∑ ∑ ∑ ‰ œ œ ˙ œ œ ‰ ∑ ∑
3
J J
S π
U
& bb ∑ ∑ ∑ ∑ ∑ ‰ j j ‰ ∑ ∑
œ œ ˙ œ œ
4

. S π
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. n œ. # œ. œ. œ œ œ œ œ
? b œ ‰ J ‰ J J ‰ ∑
U
∑ ∑
1 bb
ƒ . S π
œ. œ. œ. œ. œ. n œ. # œ. œ. œ U
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ J ‰ bœ œ œ œ ‰ ∑ ∑ ∑
Tbn. 2 b J J
ƒ S π
U
? b ‰
bb œ bœ
j
œ
j j œ ∑ ∑ ‰ œj œ œ
j
œ ‰ ∑ ∑ ∑
> > œ œ œ > œ œ
> >
Bass

f > S π
? b U
bb ∑ ∑ ∑ ∑ ∑ ‰ j j ‰ Œ ∑
œ œ ˙ ˙ œ
1

Tba. S π
? b U
bb ∑ ∑ ∑ ∑ ∑ ‰ j j ‰ ∑ ∑
œ œ ˙ œ œ
2

S π

>œ b >œ œ >œ >œ >œ >œ U̇

? b ‰ J J œ œ ∑ ∑ ‰ œ œ ˙ ˙ œ ‰ Œ
D.B. bb J J J
f S π
Cym., soft mallet

y U
(choke)

1 ã ∑ ∑ ∑ ∑ ∑ ‰ J Œ ∑ ∑ ∑ ∑

U
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j U
Bass Dr.

∑ ∑ ∑ ∑ ∑ ‰ j
3 ã œæ œæ ˙æ ˙æ œ ‰ Œ ∑
Sf π
411 412 413 414 415 416 417 418 419 420
 97
œ. œ.
b J œ. œ.
Picc. &bb ∑ ∑ ‰
J
‰ Œ ∑ ∑ ∑ ∑ ∑ ∑
F
√ .
œ œ. œ. œ.
b œ œ
J J œ. œ. œ. j
1 &bb ‰ ∑ ‰ œ. ‰ Œ ∑ ∑ ∑ ∑ ∑
p
b œ œ
J
Fl. 2 &bb ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b œ œ
3 &bb J ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ.
b œ œ œ. œ. j
1 &bb J ‰ ∑ ∑ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ Œ ∑ ∑
p
Ob.
b œ œ
2 &bb J ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
E. Hn. &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ. œ.
œ. œ. œ.
& ∑ ∑ ‰ J œ. œ. œ. œ. œ. œ. œ. œ. j ‰ Œ ∑ ∑
E b Cl.
œ. œ. œ. œ. œ. œ. œ.
F

1 &b œ œ
J
‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

j
B b Cl. 2 &b œ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 &b œ œ
j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. &b j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
? bb œ œ J ‰ Œ
1 b J ‰ ∑ ∑ ∑ ∑ ∑
p
Bsn.

? bb œ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 b J

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. 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 nœ œ œ œ œ œ œ œ œ œ
œ œ j ‰ ‰ j œ œœœ œ
Solo A. Sax
œ œ œ œ œ œ œ œ œ œ œ œ œ œ > œ œ œ œœœ œ
[p ] cresc. molto

1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt.

3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
1 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
2 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F.Hn.
b
3 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
4 &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2 bb

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B. b

1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ
bbb ‰ œ
Glock.

∑ ∑ J œ ∑ ∑ ∑ ∑ ∑ ∑
ã & œ œ ã
œ
Perc. 2
p

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

421 422 423 424 425 426 427 428 429 430
 98
Zœ œ.
b ‰ œJ
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.
Picc. &bb ∑ Œ
ƒ
√
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.
1
b
&bb ∑ Œ ‰ œJ œ œ
ƒ
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.
b
Fl. 2 &bb ∑ Œ ‰ J
ƒ (loco)

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.
3
b
&bb ∑ Œ ‰ œJ œ œ
ƒ (loco)

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.
1
b
&bb ∑ Œ ‰ œJ œ œ
ƒ
Ob.

b ‰ œj
2 &bb ∑ 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.
ƒ

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.
&b ∑ Œ ‰ œ œ œ
E. Hn.
J
ƒ

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.
E b Cl. & ∑ Œ ‰ œJ œ œ
ƒ
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.
1 &b ∑ Œ ‰ J
ƒ
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.
B b Cl. 2 &b ∑ Œ ‰ J
ƒ
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.
3 &b ∑ Œ ‰ J
ƒ
œ œ œ œ œ œ œ
B. Cl. &b ∑ ∑ ∑ ∑ Œ œ œ œ
œ
œ
ƒ cantabile molto

œ œ œ œ œ
? b œ œ œ œ œ œ
1 bb ∑ ∑ ∑ ∑ Œ œ
ƒ cantabile molto

œ œ
Bsn.

œ œ œ œ œ œ œ œ
? b ∑ ∑ ∑ ∑ Œ œ œ
2 bb
ƒ cantabile molto

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
C. Bn. b

j ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& œ œ œ œ œ œ œ œ œ œ
>
Solo A. Sax

‰ œj œ œ œ. œ œ œ œ œ
con sord.

1 &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.
ƒ
‰ œ œ œ œ œ œ œ œ œ ‰ œJ ‰ œ œ œ œ œ œ œ œ
2 &b ∑ Œ
J J ‰ J ‰ J ‰ J ‰ J ‰ J J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
B b Tpt. ƒ staccatissimo

‰ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ œ œ œ œ œ œ
3 &b ∑ Œ
J J ‰ J ‰ J ‰ J ‰ J ‰ J J J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
J
‰ œ
J
‰
ƒ staccatissimo

j j
&b ∑ Œ ‰ œj œ œ œ ‰ œ
j ‰ œ ‰ œ ‰ œ ‰ œ ‰ œJ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
j ‰ j
œ ‰
4
J J J J J J J J J
ƒ
œ ‰ œJ ‰
leggiero

œ œ œ œ œ œ
& bb ∑ Œ ‰ œ œ œ œ
J ‰ œ ‰ J ‰ œ
J ‰ J ‰ J J ‰ œ
J ‰ J ‰ J ‰ œ
J ‰ œ
J ‰ J ‰ œ
J ‰
1
J J
ƒ leggiero

b j j j j œ ‰ œ ‰ œ
&b ∑ Œ ‰ j œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ œ ‰ œ ‰
2
œ œ œ J J J J J J J J J
ƒ leggiero

b œ œ
&b ∑ ∑ ∑ ∑ Œ œ œ œ
F.Hn.
3
œ œ œ œ œ œ
ƒ œ
cantabile molto

b œ œ
4 &b ∑ ∑ ∑ ∑ Œ
œ œ œ œ œ œ œ œ œ
ƒ œ
cantabile molto

œ œ œ œ œ œ œ œ
œ œ œ
1
? b
bb ∑ Œ ‰ œJ œ œ J ‰ J ‰ J ‰ J ‰ œ œ œ
œ
œ
ƒ ƒ cantabile molto

œ œ œ œ œ
? b œ œ œ œ œ œ
Tbn. 2 bb ∑ ∑ ∑ ∑ Œ œ
ƒ cantabile molto

œ œ œ œ œ
? bb œ œ œ œ œ œ
Bass b ∑ ∑ ∑ ∑ Œ œ
ƒ cantabile molto

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 b
Tba.
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2 bb

? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B. bb

1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

431 432 433 434 435 436 437 438 439 440
 99
œ
œ œ œ >œ >œ œ 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
J
Picc. &bb 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
b œœ œ J
1 &bb Œ ‰ Œ ∑ ∑
√
œ œ œ >œ >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 œœ œ J
Fl. 2 &bb Œ ‰ Œ ∑ ∑
√
œ >œ >œ œ
bbb
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 œ J ‰ Œ ∑ ∑
3 &

œ œ œ >œ >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 œœ œ J
1 &bb Œ ‰ Œ ∑ ∑

œ
Ob.
b œœ œ J
&bb 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 ∑ ∑
> >
2

b œ œ œ œ >œ œ œ œ œ œ >œ œ >œ >

&b œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. Œ ∑ ‰ Œ ‰ œ Œ
E. Hn.
J J

œ
œ >œ >œ œ œ œ

E b Cl. &
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 ‰ 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
1 &b Œ ∑ ‰
œ
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 œ œ œ œ œ. œ
B b Cl. 2 &b Œ ∑ ‰
œ
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 œ œ œ œ œ. œ
3 &b Œ ∑ ‰
œ
j Œ ‰ j Œ
> œ
>
, œ- œ- bœ n >œ œ
œ œ œ œ œ- bœ œ bœ
bœ bœ
&b J œ
J
Œ Œ ∑ ‰ j Œ ‰ j Œ
œ
B. Cl.

> œ
>
3

, œ- œ- bœ bœ n >œ œ
? b œ
œ œ
J œ œ œ- bœ œ bœ bœ j
bb J Œ Œ ∑ ‰ œ Œ ‰ j Œ
> œ
1
>
œ- œ- n >œ œ
3

, bœ bœ
œ œ œ œ œ- bœ œ bœ bœ
Bsn.

? b J œ Œ Œ ∑ ‰ j
bb J œ Œ ‰
œ
j Œ
>
2
3
>
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j
bb œ Œ ‰
œ
j Œ
>
C. Bn.
>

& ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ j œ œ œ œ Œ ‰ j Œ
Solo A. Sax
œ œ œ œ œ
ƒ S S

&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 ∑ ∑ ∑
> >
1

œ œ œ œ œ œ œ œ œ œ œ j j
&b J ‰ J ‰ J ‰ J ‰ J ‰
J
‰ J ‰ J ‰ J ‰ J ‰ J ‰ œ
J
‰ œ œ Œ ∑ ‰ œ Œ ‰ œ Œ
> > >
2

B b Tpt.

œ œ œ œ œ œ œ œ œ œ œ
&b J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ œ
J
‰ œ œ Œ ∑ ‰ j Œ ‰ j Œ
> œ œ
3
> >
j j œ j
&b œ ‰ œ ‰ œ
J
‰
J
‰ œ
J
‰ œ
J
‰ œ ‰ œ
J
‰ œ
J
‰ œ
J
‰ œ
J
‰ œ
J
‰ œ œ Œ ∑ ‰ j Œ ‰ j Œ
> œ œ
4

> >
b œ œ œ œ œ œ œ œ œ œ œ œ >œ >
1 &b J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
œ œ
Œ ∑ ‰
J
Œ ‰ œ Œ
J
>
b œ œ œ œ œ œ œ œ œ œ œ >œ œ j j
&b ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Œ ∑ ‰
J J J J J J J J J J J J œ Œ ‰ œ Œ
> >
2

,
j œ- n >œ œ >œ >
F.Hn.
b j œ- bœ bœ
3 &b œ œ œ œ œ œ- Œ bœ œ bœ bœ Œ ∑ ‰
J
Œ ‰ œ
J
Œ

,
3

b j j œ- œ- bœ bœ n >œ œ j Œ
&b œ œ œ œ œ œ- Œ bœ œ bœ bœ Œ ∑ ‰
œ
‰
œ
j Œ
>
4
>
, œ- œ- bœ n >œ œ
3

œ œ œ- bœ bœ
? b œ J œ œ œ bœ bœ >œ >œ
1 bb J Œ Œ ∑ ‰ J Œ ‰ J Œ

œ- œ- n >œ œ
3

, bœ bœ
? b œ
œ œ
J œ œ œ- bœ œ bœ bœ >œ >œ
Tbn. 2 bb J Œ Œ ∑ ‰ J Œ ‰ J Œ
3

, œ- œ- bœ bœ n >œ œ
œ-
tacet ad lib.

œ œ œ œ œ bœ œ bœ bœ
Play
>œ >œ
? b J J Œ Œ ∑ ‰ Œ ‰ Œ
Bass bb J J
3

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j
b œ Œ ‰
œ
j Œ
>
1

ƒ >
Tba.

? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j
b œ Œ ‰
œ
j Œ
>
2

ƒ >

? b >œ >œ
D.B. bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J Œ ‰ J Œ
ƒ

j >œ
Timp.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?
bbb ‰ œ Œ ‰ Œ
wood sticks

ã J
>
1

ƒ
Bass Dr.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ j
ã œ Œ
>
Perc. 2

ƒ
>œ >
Whip T.T. (low)

3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ J ‰ Œ ∑ ‰ œJ Œ
ƒ S
441 442 443 444 445 446 447 448 449 450
 100

APPENDIX A

PUBLISHER PERMISSION FOR THE USE OF COPYRIGHTED MATERIALS

 
 
 101

 
 
 102

APPENDIX B

CRITICAL REPORT: I. RECITATIVE

Abbreviations in the Score and Critical Reports
BCl Bass Clarinet
Bsn Bassoon
BTbn Bass Trombone
CBn Contrabassoon
Cl B-flat Clarinet
CrCym Crash Cymbal
DB Double Bass
Dr Drum
Ecl E-flat Clarinet
EHn English Horn
Fl Flute
Glock Glockenspiel
Hn Horn in F
LV Let Vibrate
m/mm Measure(s)
Ob Oboe
Perc Percussion
Picc Piccolo
RS Rim Shot
SusCym Suspended Cymbal
Tbn Trombone
Tb Tuba
Timp Timpani
Tpt Trumpet
WdBlck Wood Block
Xylo Xylophone
 

Measure Beat Instrument(s) Alteration Justification

1 1 Fl1, Tp4, Added accent Missing to be consistent with
Tbn1-2, other parts
BTbn, Tb1-2,
DB, Timp
1 1 Hrn1-4 added "pesante e Missing from part, edited to
marcato" match instruction in trumpet
score/parts
1-3 1 Glockenspiel Changed tremolo to a Modern notation practice for
roll percussion.

 
 
 103

Measure Beat Instrument(s) Alteration Justification

1-3 3 All parts added breath mark Breath marks present in
some parts but inconsistently
applied. Recordings support
performing the phrases in
this manner.
2 1 Tbn2, Tb1, added accent Missing to be consistent with
Timp other parts
2 4 Tp1-2, Hn3 added tenuto marking Missing to be consistent with
other parts
3 1 Timp added accent Missing to be consistent with
other parts
3 3 Fl1 moved beginning of Incorrectly written in part
slur to next note
3 4 Fl1, EHN, added tenuto marking Missing from part, is present
Ecl, Cl1-3, in score
Hn3
3 3 Hn4 deleted accent, added Incorrectly written in part
tenuto marking
3 3 CBn deleted slur that went Incorrectly written in part
to m.4.4
4 1 BCl, Bsn1-2, added "espress." Context would have entire
CBn, Tb2, DB ensemble, not just melodic
parts, play espressivo.
5 1 Hn1 moved slur ending to Incorrectly written in part
previous note
5 1 Tp3-4 deleted "ff" Not present in score or other
parts
5 1 Woodwinds, added accent Uniformity
Tp1, BTbn,
Tb1-2, DB,
Timp
6 2 Ob1, Hn1-3, added accent Uniformity
Tbn1-2, BTbn
6 3 Bass Drum added accent Uniformity
6 3 All parts added breath mark Breath marks present in
some parts but inconsistently
applied. Recordings support
performing the phrases in
this manner.

 
 
 104

Measure Beat Instrument(s) Alteration Justification

6 4 Picc, Fl1-3, unified tenuto- Articulation pattern was
Ecl, BCl, staccato articulation written through in trumpet
Bsn1-2, CBn, pattern parts, others showed similar
Hn4, Tbn1-2, beginning
BTbn, Tb1-2,
DB
6-7 Bass Drum added accents Uniformity with timpani and
other bass voices
7 1-4 BCl, Bsn1-2, unified tenuto- Articulation pattern was
CBn, Hn4, staccato articulation written through in trumpet
Tbn1-2, pattern parts, others showed similar
BTbn, Tb1-2, beginning
DB
8 1.5-3 Snare Drum tied dotted quarter to Matches Field Drum, the
following note, rolls now will release
removed accent from together
beat 3
9 4.5 Picc, Fl1, removed tenuto Removed to match score,
Ob1-2, Bsn1- articulation markings markings were also
2, CBn, Tp1- redundant with "tenuto"
4, Hn1, Hn4, written in parts
Tbn1-2,
BTbn, Tb1-2,
DB
10 Field Drum moved from Perc 2 to With Field Dr. appearing
Perc 1 two measures prior in Perc1,
it makes more sense for this
measure to be in same part.
10 1.5 Cl2 removed tie Incorrectly written in part
10 2-3 DB added crescendo Missing to be consistent with
marking other parts
12-23 Percussion added articulation Style indication more
markings specifically informs
performers how their part
relates with the wind parts
16 BCl Added “1 only” Missing from part, is present
in score
17 1 BCl, Bsn1 changed staccato to Now matches upper
tenuto woodwinds and is consistent
with reappearance in m.19
17 All resting changed rests from This shows the placement of
parts one whole to two half the fermata with more
rests specificity for all players, as
well as creating uniformity
on the score.

 
 
 105

Measure Beat Instrument(s) Alteration Justification

19 3.5 Ob1 added piano marking Missing from part, is present
in score
19 3.5 BCl deleted "p" Unnecessary duplication
since this voice just played 3
measures before and the only
reason Ob1-2 and EHN have
"p" is they are joining. Flutes
do not have additional
dynamic markings here.
20 1 BCl changed staccato to Incorrectly written in part
tenuto
24 1 DB changed "pp" to "p" Changed to match other
parts
26 BCl added piano marking, Missing to be consistent with
breath mark, and other parts
decrescendo
26 4 Tb2 added breath mark Missing to be consistent with
other parts
26 DB added tie Makes it consistent with
timpani, and the breath-
release of low winds above
27 1 Tbn1-2, added accents This makes it consistent with
BTbn, Tb1-2, above voices and m. 1
DB
27 1 DB added "ff" missing from part
27 1 Timp changed "fff" to "ff" Uniformity
27 4 Hn2-3, Tbn1- Changed to tenuto Makes consistent with
2, BTbn, Tb1- markings corresponding opening in m.
2 1
27-28 Glockenspiel changed tremolo to a Modern notation practice for
roll percussion.
27-28 3 All parts added breath mark Breath marks present in
some parts but inconsistently
applied. Recordings support
performing the phrases in
this manner. This makes
performance similar to
appearance at beginning.
28 1 Picc, Fl1-3, added crescendo Makes consistent with
Ob1-2, EHN, marking corresponding opening in m.
Ecl, Cl1-3, 2
Tp2, Hn3-4
28 1 Tbn1-2, changed to accents Makes consistent with
BTbn, Tb1-2 corresponding opening in m.
2
 
 
 106

Measure Beat Instrument(s) Alteration Justification

28 3 Tp1-2 added tenuto marking Missing to be consistent with
other parts
28 4 Bsn1-2 added tenuto marking Missing to be consistent with
other parts
28 4 Tbn1 added breath mark Missing to be consistent with
other parts
28 4 DB Changed accent to Incorrectly written, should
tenuto match other low voices
28 4 Hn1, Hn 3 deleted tenuto Unnecessary and
marking inconsistent with other parts
28 4 Woodwinds, added "mf" Missing from parts
DB
29 1 All Winds changed/Added Some parts had 'cantabile,'
"espress." but in being consistent with
replicating the opening,
espressivo would be more
appropriate
29 1 Ob1 moved beginning of Incorrectly written in part
slur to previous note
29 1 Timp, Bass Dr changed "f" to "mf" Makes consistent in context
30 4 Hn3, Tbn1-2 deleted "f" and Adding accents achieves
"marcato" consistency with other parts
and desired musical effect
30 4 EHN, BCl, added accents Achieves desired musical
Hn1, Hn3, effect with more specificity
Tbn1-2 and consistency than
previously written in
score/parts
30 4 EHN deleted "espress." Incorrectly written in part
31 2 EHN, BCl, added "espress." Missing to be consistent with
Hn1, Hn3 other parts
31 4 Tbn1-2 Replaced "sf" with Creates better consistency
accents with this musical material,
mm.31-33
32 3 CBn, Hn2, Replaced "sf" with Creates consistency between
Hn4, Tbn1-2, accents parts and with this musical
BTbn, Tb1-2, material, mm.31-33
DB, Per
33 1 Hn1, Hn3, added "molto" to Makes consistent with
Tb2 "dim." musical material
33 4 Hn2, Hn4, added "molto dim." Missing from part, makes
BTbn, Tb1 consistent with other parts
and musical material

 
 
 107

Measure Beat Instrument(s) Alteration Justification

33-34 Hn 2-4, Tbn1 deleted decrescendo Redundant with "dim.
markings molto" instructions and
inconsistent with other parts
34 1 Tp1 deleted "dim" Not present in score,
inconsistent with other parts
34 1 Bass Drum replaced decrescendo Makes it consistent with
marking with dim. other parts
Molto
34 2 BTbn, Tb1-2, added "mf" Missing from part, makes
DB consistent with other parts
34 2-4 Tb1-2 added tenuto marking Missing from parts
34 3-4 Tbn1 added decrescendo Missing from part
marking
34 3-4 BCl, Bsn1-2, decresc formatted to Brings consistency and
CBn, Tp2-4, go from beat 3 to the specificity to the parts,
BTbn, Tb1-2, barline where as previous
DB instructions were vague.
35 1 BCl, Tp1 Added "p" Missing from parts
35 1 Tp2, Hn 4 Added "pp" Missing from parts
35 1 Hn1 changed "pp" to "p" Low brasses are scored
softer than middle/upper
brass and low reeds. Change
makes scoring consistent.
35 3.75 All Winds added "poco Was in Tp1, but should have
marcato" been copied to all parts for
consistent performance
35 3.75 BCl, CBn deleted "p" Redundant instruction in
same measure
35-44 Percussion added articulation Style indication more
markings specifically informs
performers how their part
relates with the wind parts
36 1 Bass Drum added "pp" Missing from part, indicated
in the score
38 1 Bsn2, DB changed to/added "p" Incorrect in part/Missing
from score.
41 2.75 BTbn added "pp" Missing from part
44 3-4 Fl1, DB, Bass added decrescendo Missing from parts
Drum marking
44 3-4 CBn added "pp", deleted Incorrectly written in part
decrescendo marking
47-48 Woodwinds, added staccato/tenuto Missing from parts, makes
DB articulations consistent throughout
ensemble

 
 
 108

Measure Beat Instrument(s) Alteration Justification

45 1 Ob1, EHN changed "p" to "mf" Incorrectly written in part
45 1 Timp added "p" Missing from part, is present
in score
45 2 CBn changed "marcato" to Incorrect in part, now
"staccatissimo" matches similar voices in
style
46-47 Tuba1 deleted "mf," Incorrectly written in part
"staccato," and
"marcato"
46-49 Wood Blck, added "sf" to all notes Given the context, these
Snare Dr. notes should match the
articulation style of the horns
and reeds above. Notes in
m.45 were already indicated.
46 Bsn1-2 deleted decrescendo Not present in score or other
markings parts
50 2 Ecl, Cl1 changed "p" to "mf" Incorrectly written in part
50 2 Bsn1 added "mf" Makes consistent with
clarinet parts
50-52 BTbn deleted staccato Redundant instruction with
markings "staccato" written, also
would not match similar
parts to have articulations on
the notes.
51 1 EHN changed "p" to "mf" Makes consistent with
clarinet parts
51 1 CBn deleted "mf" and Redundant instruction since
"staccato" the part is already playing
piano and staccatissimo.
51 3.5 Bsn1 deleted "mf" Unnecessary duplication
51.4-52.3 EHN, Cl1-3, added tenuto Provides clear style
Bsn1 markings to eighth instruction to all voices,
notes score/parts previously only
indicated in EHN
51 4.25 Hn1-4 changed accent to Given musical context, it
staccato seems more appropriate for
both sixteenths to be similar
in articulation
52 1-3 Hn 2 changed accents to Makes consistent with
staccato corresponding voices
52 3 Hn2, 4 changed staccato to Makes consistent with
accents corresponding voices
52 3 BCl deleted cresc marking Unnecessary duplication

 
 
 109

Measure Beat Instrument(s) Alteration Justification

52.4-54 BTbn Removed notes Part indicates "tacet," but it
is above a realistic playing
range where the instrument
can contribute musically
53 3.5 EHN, Ecl, added tenuto marking Missing from part, makes
Cl1-2, Bsn2 consistent with other parts
54 2 Hn1-4 added decrescendo Missing from part, makes
marking consistent with other parts
54 3 Field Drum deleted crescendo Redundant instruction in
marking same measure
55 3 Added "a tempo" Score/parts uses dashes to
show duration of ritardando,
an "a tempo" is required to
demonstrate where to resume
tempo.
56 4.5 All resting added fermata This shows the existence and
parts marking placement of the fermata
with more specificity for all
players, as well as creating
uniformity on the score.
57 4.5 All parts removed "mf" Score does not indicate a
lessening of the dynamic
level until the end of m.58.
The entrance of trombones is
indicated at "ff"
57 4.5 Tbn1 added "ff" Missing from part, indicated
in the score
57-60 Tbn2 Added all musical Score indicates both parts to
material have this material, it was not
copied into the second part.
59 1 Bsn1-2 added "dim. molto" Missing from parts, makes
consistent throughout
ensemble
59 4 Bsn 2 deleted "dim." Redundant instruction in
same measure
59 4 BCl, Tp1-2 deleted decrescendo Redundant instruction in
Markings same measure
59 4 Cl1-3 added tenuto marking Missing from part, makes
consistent with other parts
59 4 Cl 3 changed "pp" to "p" Makes consistent with
corresponding voices
59 4 Crash changed instrument "Cymbals (clashed)" is
Cymbals designation to "Crash outdated terminology for
Cym" contemporary percussion.

 
 
 110

Measure Beat Instrument(s) Alteration Justification

60 1 Fl2-3, EHN, added tenuto marking Makes consistent with other
Ecl, Cl1-3, parts and ensemble style
Tp1, Hn1-4,
Tbn2
60 1 BCl, Hn1 added "dolce" Missing from part, makes
consistent with other parts
60 2 Tbn1 changed "pp" to "p" Makes consistent with
corresponding voices
60 3 Fl3 deleted decrescendo Not indicated in other parts,
marking no other specific musical
direction given to these
particular musical elements,
contextually out of place.
60 3 Ob1-2 added tenuto marking Makes consistent with
following measures and
similar material
60 4 Fl1-3, EHN, added tenuto marking Makes consistent with other
Ecl, Cl2-3 parts and ensemble style
60, 61 4 Cl1 Changed rhythm Previously a single eighth,
changed to match rest of
ensemble, single eighth out
of place in context
60-62 BCl, Bsn1 added tenuto marking BCl had some tenuto
markings indicated, this
makes consistent
performance between the
voices matches style of the
musical material
60-62 Tb1 Deleted notes Though material copies Tb2,
score indicates to be played
by second only.
60-62 Tb2 added staccato Missing from part, indicated
articulations in the score
61 1.75 EHN, Hn1, changed from accent Incorrect in part, score
Tbn1 to staccato accent indicates the staccato
marking, this more closely
matches the desire of the
written instruction "un poco
rilievo"
61 2 EHN, Hn1 added cresc marking Unifies the line
61 3 Ob2 added tenuto marking Missing from part, makes
consistent with other parts
61 4 Cl1-3 added tenuto marking Missing from parts, makes
consistent throughout
ensemble

 
 
 111

Measure Beat Instrument(s) Alteration Justification

62 1-3 Ob2 added tenuto marking Missing from part, makes
consistent with Ob 1 and
previous material
62 2 EHN added tenuto marking Missing from part, makes
consistent with other parts
62 3 Ob1 added tenuto marking Missing from part, makes
consistent with previous
material
62 3 Fl1-3, EHN, added decrescendo Makes for consistent
Cl1-3, Hn1 marking ensemble approach to "pp"
marking on count 4, was
indicated in Ecl and Tbn1
already
62 3 Tb2, DB added "pp" Was either incorrectly
assigned to the next measure,
or missing in the part.
62 4 Fl1-3 added "pp" Missing from parts, makes
consistent throughout
ensemble
63 1 EHN, Hn1, added "pp" Missing from parts, makes
Tbn1 consistent throughout
ensemble
63 1 Cl1, Cl3 deleted "dolce" Redundant instruction with
"dolce" in m. 60
63 1 BCl, Tb2 added slur and tenuto Missing from parts, makes
sixteenth consistent with similar
voices
63 3-4 BCl added tenuto marking Missing from part, makes
consistent with similar
voices
64 DB deleted "p" and "pp" "p" does not fit context of
the music and rest of
ensemble, "pp" would then
be redundant if left
66 3 Tb1, DB added "p" "p" already written in Tb2
part and percussion, makes
consistent with similar parts
66 3 Tb1-2 deleted "tenuto" Redundant instruction with
tenuto articulations on the
notes

 
 
 112

APPENDIX C

CRITICAL REPORT: II. ADAGIO (PASSACAGLIA)

Measure Beat Voice Change Justification

69 7 BCl changed "p" to "pp" matches other bass voices,
"pp", deleted dynamic change eliminates the
decresc. Marking need for decrescendo
69 7 DB deleted "delicata Not present in other parts or
mente" score.
70 BCl deleted "pp" Earlier change makes this
marking redundant
70 Hn1 changed "f" to "mf" Score indicated a lesser
dynamic, given the musical
context, forte seems
loud/aggressive.
74 6 Fl1 Changed D4 to E4 Incorrect in part, score
indicates E4 and, with some
minor exceptions, this line is
doubling the trumpet.
74 Tb1 deleted slur Not present in score, tenuto
markings provide sufficient
direction for connectiveness.
The slur indicated in the part
did not enclose the 3-measure
phrase.
75-77 Fl1-2, CL, Unified application Parts were missing or had
BCl, Bsn1, of crescendo and markings applied in
Tp1, Tbn1-2, decrescendo inconsistent fashion.
Tb1, DB markings, "ppp," Unification and specification
and "morendo" allows for more cohesive
ensemble performance
77 Hn1 added "p" Missing from part, present in
score.
77 Tbn2 added "senza Missing from part, present in
sordino" score.
80 Tbn2 Deleted music Part had Tbn1 Solo cued, Score
indicates Tbn1-2 Soli.
However, the Score also
indicates an optional Baritone
solo in place of the Tbn, in that
line of thinking, I retained the
instructions from the parts, a
Solo for Tbn1

 
 
 113

Measure Beat Voice Change Justification

80 3 Tbn1 changed "mf" to Incorrect in part, score and
"p" other voices, including solo
part, are piano.
82 3 Cl1 added tenuto Missing from part, present in
marking score.
85-86 Tbn1 added "< >" Missing from part, present in
score.
86 3.5 Tbn1 added tie Missing from part, present in
score.
89 1 Fl3 added tenuto Matches Fl1 and context of the
marking style.
89 Tp2 added "1 only" Missing from part, present in
score.
89 Tp1 added "Con sord." Not needed as already
indicated earlier in part, but
clarifies at that instance in the
score that both parts are to be
muted.
89 1 DB changed "mf" to Matches dynamics of other
"p" parts.
89 1 Perc2 added "p" Missing from part, present in
score.
90 1 Fl1 Changed quarter to Incorrect note length in part,
eighth score and Fl3 indicate eighth
note duration on the downbeat.
90 1 Fl1 deleted "mf" and Not indicated in score or Fl2
decrescendo
marking
90 4 Hn4 changed "mp" to Incorrect in part. Score and
"mf" corresponding Hn3 part
indicate "mf"
92 1 Ob2, Bsn 1, added "cresc" Missing from parts, in the
Perc1 score, but not unified
92 5 Ob2, Cl1-3, added crescendo Added to unify the approach
BCl, Tp1, marking into m.93
92 5 Tbn1-2 Changed "cresc" to Changed to visually match the
a crescendo other parts.
marking
93 1 Cl1-3, BCl, added "marcato" Missing from parts, but present
Bsn1-2, CBn, in EHN part and in Cl stave of
Tp2-4, Hn1-4, score. Should have been
Tbn1-2, applied for uniformity.
BTbn, Tb2,
DB, Timp

 
 
 114

Measure Beat Voice Change Justification

94 1 EHN, Cl1 added "mf" Missing from parts, present in
other parts and score.
94 3 Ob1-2, Cl1-3, added "dim." Missing from parts, present in
CBn other parts and score.
94 Hn2 added dynamic Missing from part, present in
markings other horns and score.
94 3 Tuba 1 added "p" Missing from part, present in
score and matches horn and
DB markings.
94 DB deleted accents Not present in score and
stylistically inappropriate for
the given context.
95 5 Hn4 added "pp" Missing from part, present in
score and other parts.
95 5 Hn1-2, Hn4 added tenuto Present in other parts, added
marking for visual matching.
95 Tb1 added "a2" Necessitated by solo in
previous measure, had not been
included in score or parts.
96 2 Bsn1-2, CBn, added accent Added to create uniformity
Hn1 throughout the ensemble.
96 2 Cl3, BCl changed tenuto to Changed to match articulation
accent style of the ensemble.
96 2 Hn4 added "(open)" Text instruction given to assure
conductor and performer that
the part is designated as open
while the others are stopped on
that note.
96-97 Fl1-3, Bsn1-2, dynamics unified Score and parts were
CBn, Hn1-4 inconsistent in application of
decrescendo markings and
dynamics, possibly due to
limited writing space on the
score and thus copied as they
appeared.
97-98 Ecl Deleted music Score does not indicate this
instrument to play, the timbre
difference of the instrument
wouldn't be called for in this
context
97 added "non troppo Present in the score, but not
rigoroso" written in parts to indicate the
use of rubato.

 
 
 115

Measure Beat Voice Change Justification

97 Cl3 replaced "un poco Other clarinet parts indicate
rubato" with "molto "molto espress."
espress."
97 Cl3 deleted breath mark Not indicated in score or other
parts.
97 Cl1-3 moved "molto Needed for spacing of all
espress." to m.96 instructions for the first part of
m.97
97 Cl3 added crescendo Missing from part, present in
marking score and other parts.
97 2 Cl1-3 added "mf" Missing from parts, present in
score.
97 2.5 Cl1-3 added crescendo Missing from parts, present in
marking score.
98 Fl1 Deleted music Not present in the score, and
does not make sense in the
given context of a clarinet soli.
98-99 Cl2-3 deleted Not indicated in score or CL1.
decrescendo
markings
100 added "a tempo" Added to designate a return to
a stricter tempo, leaving the
measures of rubato.
100 1,3 CBn added tenuto Missing from part, present in
marking horns, added for uniformity
throughout ensemble.
100 Tbn1-2, Tb2 added tenuto Present in horns, added for
marking uniformity throughout
ensemble.
100 Tbn1 changed "pp" to "p" Part fits context of horns and
Tbn2, which are designated at
piano level dynamic.
101 Tp3 added crescendo Uniformity with other parts.
mark, deleted "pp"
101 Tp4 added "< >" Missing from part, matches
other parts.
101 Hn1-2 deleted "p" and Redundant instructions with
"espress." "p" given in previous measure
and "< >" markings in same
measure.
101 Tb2 added "p" Brings part up to dynamic level
of the brass choir.
102 2 Tp2-3, Hn1-2, added "mp Score indicates this in Tp1-2,
Tbn1-2, espress." should be matches by rest of
BTbn, Tb2 brass choir.
 
 
 116

Measure Beat Voice Change Justification

102 Hn4 changed "sffp" to Incorrect in part, score and
"sfpp" corresponding voices indicate
"sfpp"
102 3-4 Hn1-2, Tbn1- added tenuto Missing from parts, indicated
2, BTbn, Tb2 marking in Tp parts, brass voices should
match.
103 2 Tbn2, BTbn, added tenuto Missing from parts, indicated
Tb2 marking in Tp parts, brass voices should
match.
103 2 Cl1 added accent Missing from part, added to be
uniform with other woodwind
voices
103 2.75 CL1-3, BCl, added tenuto Indicated in the score and was
Bsn1 in Bsn2.
103 4 Hn2 added decrescendo Missing from part, present in
marking other parts and score.
105 3.75 Hn1-2 added tenuto Missing from part, present in
score.
105 4 Hn1-4 added "marc." Designates a style change from
their entrance earlier in the
measure, but now matches the
other brass voices.
105 6 Tbn2, BTbn moved "cresc." to Better matches Tbn1 and upper
next measure brass voices
106 1 DB deleted "f" Score and other parts do not
designate this specific dynamic
marking at this spot.
106 4 BTbn "cresc. sempre" Incorrect in part, score and
changed to "molto corresponding voices are
cresc." "molto cresc."
106 4 Tbn2, BTbn moved "molto Better matches the rest of the
cresc." to next ensemble.
measure
106 Tbn1 deleted crescendo Redundant with "cresc." in the
marking same measure.
107 EHN changed "cresc" to Better matches the rest of the
"molto cresc." ensemble.
107 5 Tbn1 moved "ff" to next This specific dynamic marking
measure belongs on downbeat of m.108,
no other voices are designated
to play the last two beats at this
dynamic.

 
 
 117

Measure Beat Voice Change Justification

107 5 BTbn deleted crescendo Redundant with "molto cresc."
marking at beginning of the measure
and no other wind parts have it
written specifically over the
last two beats.
108 Ob1 changed "espress." Incorrect in part, score and
to "molto tenuto" corresponding voices are
"molto tenuto"
108-110 CBn deleted crescendo Not indicated in score or other
marking parts.
108 BCl, Bsn1-2, changed dynamic Unifies the dynamics, as
CBn, Tp2, marking from "fff" indicated in the score.
Tp4, Hn3, or "f" to "ff"
BTbn, Timp,
Perc1
108 Tp1, Tp3, Hn2 added "ff" dynamic Missing from part, indicated in
score and other parts.
108 Tp1, Tp3 added "espress." Indicated in score and
corresponding voices.
108 Hn2, Hn4 added "molto Missing from part, indicated in
tenuto" score and other parts.
108 Tbn1 added "Pesante e Missing from part, matches
tenuto" other parts.
108 5 Tp4 added crescendo Missing from part, matches
marking other parts.
108 Tp1, Tbn2 deleted crescendo Not indicated in score or other
marking parts.
108 6 Hn2 deleted tenuto Not indicated in other parts,
marking redundant with "molto tenuto"
stated in same measure.
109 1 Hn3 deleted tenuto Not indicated in score or other
marking parts.
108-9 Perc.2 deleted Bass Dr. Score and part indicate
part "ad.lib." to double the low
reeds and brasses, but not
actually written to fully double.
At the given dynamics and
orchestration, it is unnecessary
to apply throughout.
110 1 Tp3-4 added breath mark Missing from part, present
corresponding parts.
110 6 Tp2 added crescendo Missing from part, indicated in
marking score and other parts.

 
 
 118

Measure Beat Voice Change Justification

110 6 BTbn added accent Missing from part, indicated in
score and other parts.
110 6 Tb2 deleted tenuto Not indicated in score or other
marking parts.
111 3-4 Picc,Fl1-3 deleted staccato and Incorrect in part, score and
added slur corresponding voices slur
across in this manner.
111 6 Tbn2, BTbn added crescendo Missing from part, indicated in
marking score and other parts.
111 6.5 Tp2 added breath mark Missing from part, indicated in
score and other parts.
111 Tb2 deleted "tenuto' and Not indicated in score or other
tenuto markings parts, tenuto previously stated
just three measures prior.
112 2 Ob1, EHN added tenuto Missing from part, indicated in
marking score and other parts.
112 2 Tb1 added accent Makes consistent with BCl and
Tb2
112 4.5 BCl added breath mark Missing from part, indicated in
score, probably to align release
with other bass reed voices.
113 2 CBn added tenuto Missing from part, indicated in
marking score and other parts.
113 1 Tb1 added accent Makes consistent with BCl and
Tb2
113 2-3 Tbn1 added accent Missing from part, makes
consistent with style in Tp1-2
113 1-3 Tbn2 added accent Missing from part, makes
consistent with style in Tp1-2
114 3-4 CBn changed from half Score indicates tied quarter
note to tied quarter notes, also metrically
notes demonstrates a 3+3 measure
vs. 2+2+2 measure.
114 1 Tp4 deleted crescendo Not indicated in score or other
marking parts.
114 Tbn2 added "sf" Missing from part, indicated in
score and other parts.
114 Hn2, Hn4 added accent Unifies the articulation style
with Tbn1-2
115-6 BCl added "fff" and Not indicated in score, but
crescendo marking matches other bass voices.

 
 
 119

Measure Beat Voice Change Justification

115 1 Hn1-4, Tbn2, added "ff" No dynamic was indicated. I
BTbn, Tb1-2, did not write Hn1-3 at "fff"
DB because, in general, brass can
overplay woodwinds.
115-6 BTbn, Tb1 deleted staccato Not indicated in score or other
markings parts.
116 Tp1-2 added staccato Missing from part, indicated in
markings other parts, incomplete in the
score.
116 Tb1-2, DB added tenuto Makes consistent previous
marking measure
116 4 Fl1-3, Ecl, added accent Missing from part, indicated in
Cl1-3 score and other parts.
117 2 Ob1-2, EHN, added accent Missing from part, indicated in
Hn1-3 other parts, incomplete in the
score.
117 4.5 BCl added accent Missing from part, indicated in
score and other parts.
117 3-4 Tp1-2 added staccato Missing from part, indicated in
markings other parts, incomplete in the
score.
118 2.5 BCl, Bsn1-2, added accent Missing from part, indicated in
CBn low brass.
118 4 Hn1-4 added "sfz" Missing from part, indicated in
other parts, incomplete in the
score.
119 1 Tb1 deleted accent Not present in score or other
parts.
119 BCl, Bsn1-2, deleted slur, added Changed to match style of low
CBn accents brass.
120 2 CBn, Tb1-2 deleted accent Inconsistent with majority of
style markings in the score.
120 4 Picc, Fl1-3, added tie to next Missing from part, indicated in
Ob1-2, EHN, measure score and Cl2-3
Ecl, Cl1
120 BCl, Bsn1-2, unified all notes Markings in the score of this
CBn, Tp1-4, with tenuto measure are inconsistent, many
Hn1, Tbn1-2, markings parts were indicated with
BTbn, Tb1-2, tenuto markings, only a few
DB bass voices had an accent on 2,
or nothing.
120 1 Tb1 deleted breath mark Not indicated in score or other
parts.

 
 
 120

Measure Beat Voice Change Justification

121 1 Picc, Fl1-3, deleted "tr" Redundant with a trill
Ob1-2, EHN, markings extension placed over the tied
Ecl, Cl1-3 note from the previous
measure.
121 2 Picc, Fl1-3, added "sf" Indicated in the brass voices,
Ob1-2, EHN, added to match intensity of
Ecl, Cl1-3, articulation.
Bsn1-2, CBn
121 2 Tp1-4, Hn1-4, added accent Indicated in the woodwind
Tbn1-2, voices, added to match style of
BTbn, Tb1-2, articulation
DB, Timp,
Perc1-2
122 1 Hn4, Tbn1 changed "p" to Incorrect in part, changed to
"ppp" match score and other parts.
122 1 Tbn1 added "1 only" Missing from part, indicated in
score and other parts.
122 DB "Div." added below Adding a "Div." below the
staff staff in addition to the one
above, more specifically
informs the performers to
divide based upon the stem
directions.
125 DB "1 stand" changed It is unlikely that most
to "1 only" ensembles will have more than
one or two bassists in their
group, "1 only" is more
appropriate in this context.
127 2 Tb1 added staccato Missing from part, indicated in
score and other parts.
127-8 DB deleted staccato Not indicated in score, not
markings necessary since DB is already
pizz.
129 4 Bsn1, DB added "un poco Missing from part, indicated in
marc." BCl in part and score.
129 4 DB deleted Not indicated in score or
decrescendo corresponding voices.
marking
129 4 Timp added "p" Matches dynamic of
corresponding voices.
130 1 Fl1 added "1 only" Missing from part, indicated in
score and other parts.

 
 
 121

Measure Beat Voice Change Justification

130 1 Fl1 changed Incorrect in part, changed to
"dolcissimo" to match score and other parts.
"dolce"
130 1 Fl1 changed "pp" to "p" Incorrect in part, changed to
match score and other parts.
130 1 Cl3 added "dolce" Missing from part, indicated in
score and other parts.
131 2 Bsn1 added "pp" and Missing from part, indicated in
"dolce" score and Bsn2
131 2 Bsn2 changed "p" to Incorrect in part, changed to
"ppp" match score and other parts.
135 1 Fl1 added "a2" Necessitated by "1 only"
previously.
135 2.5 Fl2-3 added "dolce" Indicated in Fl1, incomplete in
parts and score.
136 Fl1 added decrescendo Missing from part, indicated in
marking score and other parts.
136-137 DB deleted second part Not indicated in the score. Part
indicated a second part to be
pizz. While first arco. Nothing
in the context of the music
indicates the necessity for firm
articulation where the pizz.
notes were places
138 BTbn deleted "TACET" Part marked TACET mm.138-
40, score indicates the
instrument is to play.
138-142 Bsn1 Deleted music Score indicates only Bsn2 to
play this line.
140 2 Bsn2 deleted "dim." Not indicated in score or other
parts.
140 5 Fl1 added "p" Missing from part, indicated in
score.
140 5 Cl2 added "pp" Missing from part, indicated in
score.
140 5 BTbn deleted "PLAY" No longer necessary since part
is not TACET prior.
141 Bsn2, Tp1-2, deleted Not indicated in score or other
Hn2, Tb1 decrescendo parts.
marking

 
 
 122

APPENDIX D

CRITICAL REPORT: III. RONDO ALLA MARCIA

Measure Beat Instrument Change Justification

1 Fl2-3 moved notes down an Conserves space in the
octave and added score and easier to read.
"8va"
1 1 Perc.1 changed note head to Missing from part,
designated rim shot indicated in the score.
3-4 1 Perc.2 added accents Missing from part,
indicated in the score.
3 1 Perc.3 added roll indication Missing from part,
indicated in the score.
4 1.5 Perc.2 added accent Missing from part,
indicated in the score.
4 1.5 Perc.1 added accent Uniformity with other parts
5 Tp1 deleted "leggiero" Not indicated in score or
other parts.
5 1 Tp1-4, Hn1-4, deleted "f" Not indicated in score or
Tbn1-2 other parts.
5-6 Picc changed accented Matches articulation style in
staccato to regular brass, achieves lighter style.
staccato
5-6 Ob1-2, EHN added staccato Not indicated in part, added
to match style of the
ensemble.
5-6 BCl, Bsn1-2, changed accents to Matches articulation style in
CBn staccato brass, achieves lighter style.
7 Fl2-3 moved notes down an Conserves space in the
octave and added score and easier to read.
"8va"
7 Tp4, Hn1, deleted staccato Not indicated in score or
Tb1, DB other parts.
7 Tp4, Hn1, added "sf" Missing from part,
Tb1, DB indicated in other parts,
ensemble uniformity.
9 2 Perc.1-3 added crescendo Missing from part,
marking indicated in the score.
12 2 Perc.3 added "cresc." Missing from part,
indicated in the score.

 
 
 123

Measure Beat Instrument Change Justification

13 Perc.1-3 added "cresc. molto" Missing from part,
indicated in the score and
gives more direction to
performers as to the extent
and urgency of the dynamic
change.
13 Perc.3 added crescendo Indicated in other parts,
marking supports the "cresc. molto"
marking to propel
performer to ff dynamic.
14 Perc.2-3 added "ff" Missing from part,
indicated in Perc.1 part and
one line of score, defines
the end of the crescendo.
15 Perc.3 Changed note head to Missing from part,
designate rim shot indicated in the score.
16 Perc.3 Changed rhythm Score indicates 3 eighth
notes with the first being
rolled.
18 2 Hn3-4, Tbn1- added "ff" Missing from part,
2 indicated in score, gives
more specific instruction
19 Tp2-3, Hn1-4, added "ff" Missing from part,
Tbn1-2, BTbn indicated in score, gives
more specific instruction
19 2 Bsn, 1-2, added decrescendo Missing from part,
Tp1-2 marking indicated in score,
necessary to mimic
analogous voices.
20 1 Hn3 added "p" Missing from part,
indicated in score,
necessary to mimic
analogous voices.
20 2 Tbn1 changed "mf" to "f Indicated in score.
marcato"
21 1 Tp4, Hn1, added "pp" Indicated in some parts,
Hn3 gives more specific
instruction and unifies the
parts.
21 2 Tb1 changed 'pp" to "p" Indicated as "p" in other
parts and score.
24 2 Bsn1-2, CBn, added "f" Indicated in other parts,
Hn3, Tbn2 added to unify end of
crescendo/entrance of Tbn2.

 
 
 124

Measure Beat Instrument Change Justification

26 Tbn1 moved back crescendo Unified the approach to [B]
and added "ff" with the rest of the brass.
27 1 Tp1-2 added staccato Unified articulation
marking
27 1 Tbn2 added "secco" Missing from part,
indicated in other parts.
28 1.5 Tp1 changed B-flat4 to C5 Incorrect in part, score and
other voices indicate a C
(concert B-flat)
28-30 Picc, Fl1-3, added accents Not indicated in score or
Ob1-2, Ecl, other parts, added to match
BTbn and define the style.
32 2.5 Ob1-2, Tbn1- added/changed to "f" Missing from part,
2 indicated in score for other
parts.
33-4 BCl added breath marks Creates uniformity in the
bass voices for full value
notes with some separation.
33-4 Tb1-2, DB added tenuto markings Creates uniformity in the
bass voices for full value
notes with some separation.
35 Tb1 deleted "f" Redundant with "f" two
measures prior
35-6 BCl changed to match Bsn Written part didn’t' match
score or other voices.
36 Tb1 added "marcato" Informs performer of
change in style, unifies
approach with ensemble
37-8 Fl1-3, Ob1-2, added staccato Parts inconsistent in
Tp1-4, BTbn, markings where application.
Tb1 missing
37 Bsn1, BTbn, added crescendo Missing from part,
DB marking indicated in other parts.
38 1.5 Ob1-2, Cl1-3 added accents Missing from part,
indicated in other parts.
38 1.5 Tp1-2 changed staccato to Uniform style throughout.
accents
38 2 Perc.3 added accent Missing from part,
indicated in the score.
38 2.5 Ob1-2, Ecl, added "ff" Missing from part,
Cl1-3, Tp1-5, indicated in other parts.
Hn2, Tbn2

 
 
 125

Measure Beat Instrument Change Justification

39 1 Picc, Fl1-3, added accents Missing from part,
Perc3 indicated in other parts.
41-43 Picc, Fl1-3 moved notes down an Conserves space in the
octave and added score and easier to read.
"8va"
41 1.5 Fl1, Cl2, added "f" Missing from part,
Bsn1-2, DB indicated in score and other
voices.
41-2 BCl replaced music to See Critical Commentary
double Bsn
42 Hn2 added staccato Missing from part,
indicated in score and Hn1.
43 Fl1 added "1only", deleted Score indicates this measure
staccato, added slur as the change in style for
the upper woodwinds,
markings in the clarinets
support this notion.
44 Fl1, Ob1 Move "p" to m. 43 Incorrect in part, score and
other voices indicated a
dynamic change in m.43.
44 Fl1 added decrescendo Missing from part,
marking indicated in score and other
voices.
45 Cl1 added "molto leggiero" Missing from part,
indicated in score and other
voices.
45 1.5 Fl2-3, Ob1, added "pp" More clearly defines the
Cl1-2 dynamic level of the
entrance following the
decrescendo in m. 44
46-7 BCl deleted material Does not fit with any other
voice, not included in the
score.
46-7 Hn1 Changed from 1 slur to Matches the slurring pattern
2 of the above woodwinds
with the same line.
46 2.5 Picc, Fl1 added "espress." Missing from part,
indicated in matching lines
(Ob1, Cl1, Hn1)
48 Bsn deleted "cresc" Instruction does no good as
these parts are resting.

 
 
 126

Measure Beat Instrument Change Justification

48 Picc, Fl1-3, replaced "cresc. molto" Crescendo marking used to
Ob1-2, EHN, with crescendo unify instructions
Ecl, Cl1-3, marking throughout ensemble, some
BCl had the crescendo marking
while others had "cresc.
molto"
48 Hn2 added crescendo Missing from part,
marking indicated in score and other
voices.
48 1 Ob1 added staccato Missing from part,
indicated in the score.
48 2.5 BCl, Hn2, moved "f" to next No other parts marked to
Hn4 measure climax on the last upbeat of
the measure. Ensemble
arrives together at "f" on the
afterbeat of one in m.49.
49 1.5 Fl1 added "a2" Necessitated by the "1 only"
added in m.43
49 1.5 Hn3 changed "ff" to "f" Incorrect in part, score and
other parts indicated "f"
49 1.5 Ob2, EHN, added "f" Missing from part,
Bsn1-2, CBn, indicated in the score and
Tbn2 other parts.
49 1.5 Removed "loco" Marking was indicated in
some picc, FL parts, but
nothing indicated in the
score.
49 2 Tbn1-2, added accents Missing from part,
BTbn, Tb1-2, indicated in score for other
Timp. parts.
51 Fl1-3, Ob1-2, added "mf" and "ff" More clearly defines the
Tbn1 dynamic parameters and
matches the other parts,
though these are not
indicated in the score.
53 1 DB added "sf" Missing from part,
indicated in the score.
54 2 Fl1, Hn1 changed staccato to Incorrect in part, score and
accent other parts indicate an
accent.
55 1 DB changed "fz" to "sf" Incorrect in part, score
indicates "sf" and now
matches previous entrance
in m.53.

 
 
 127

Measure Beat Instrument Change Justification

55 2 Picc, Fl1-3, changed staccato to Score and other parts
Ob2, Ecl, Cl1 accent indicate an accented
entrance.
56 1 Cl3, Hn1 added accents Missing from part and
score, added to be
consistent throughout the
ensemble.
56 Ob1-2, EHN deleted decrescendo Score and other parts
marking, added "ff" indicate an immediate
dynamic change.
56 Bsn1-2, Tp1 added "ff" Missing from part,
indicated in score and other
voices.
56 Cl1-3 added staccato Missing from part and
score, added to be
consistent throughout the
ensemble.
57 1 Ob1, Cl1-3 added staccato Missing from part or score.
57 1.5 CBn changed "f" to "ff" Other parts indicate
fortissimo here.
57-8 1.5 EHN, Cl1-3 deleted any staccato Not in score. It indicates
markings "sf" articulation for
woodwinds.
57-8 Fl1-3, Ob1-2, added "sf" to after First measure in the score
EHN, Ecl, beats where not indicates more parts and
Cl1-3 already written second measure is indicated
at top of piccolo part, I
chose to carry through and
unify throughout.
57-9 BCl, Bsn1-2, added breath marks Makes the style of
CBn, Tb1-2, performance consistent with
DB mm.33-34.
57-9 Tb1-2, DB added tenuto markings Matches style of
articulation of low reeds.
58 Removed "loco" Marking was indicated in
some picc, FL parts, but
nothing indicated in the
score.
58 1 Hn3, BTbn deleted "ff" Redundant with "ff" two
measures prior
58-60 BTbn deleted "1 only" and Score does not indicated 1
"a2" person, nor does it make
sense in the given context.

 
 
 128

Measure Beat Instrument Change Justification

59-62 adjusted use and Score and parts were vague
placement of "dim.," and inconsistent. The
decrescendo markings, desired effect is a thinning
and "p" of the sound through quick
but subtle change in
orchestration as well as
dynamic change.
59-60 Fl1-2, Ecl, added staccato Missing from part,
BCl, Tb1-2, markings where inconsistent in the score.
DB missing This application unifies
ensemble style.
60 1.5 Cl1 added accent Missing from part,
indicated in score and Cl2.
62 BCl replaced music with Part doubled Ob1 an octave
eighth note A3 lower, score does not
indicate for this doubling to
exist, nor would the timbre
blend well with the other,
thinner, instrument sounds.
63 DB added "ff" Missing from part,
indicated in the score and
other parts.
64 2.5 Hn1 added accent Missing from part,
indicated in the score and
other parts.
65 Tbn1 added accents Missing from part,
indicated in the score and
other parts.
65 2.5 Tb1 added staccato Missing from part,
indicated in the score and
other parts.
66-71 Fl1, Fl3 moved notes down an Conserves space in the
octave and added score and easier to read.
"8va"
66 1 Hn1-2 changed staccato to Part should be the same as
accent Tp1-4 and Hn3-4.
66-8 Picc, Fl1-3, added staccato Score and parts were vague
Ob1-2, EHN, markings where and inconsistent. This
Ecl, Cl1-3, missing demonstrates the clear style
Tp2, Hn2-3 change from accented to
staccato
68-9 Hn2 added accent/staccato Missing from part,
articulations indicated in score and other
voices.

 
 
 129

Measure Beat Instrument Change Justification

71 2 Tp1 changed staccato to Incorrect in part and score,
accent should match woodwind
voices.
72 2 Hn2 added crescendo Missing from part, not
marking indicated in the score, but
added to match shaping
given to other parts.
73 2 Hn1-4, Tbn1- added "sf" Matches level of
2, BTbn articulation with bass
voices.
73 2 Tb1-2, DB added accents Matches style of
articulation of brass section.
76 2.5 Ob1-2, EHN changed "mf" to "p" Score indicates ensemble
volume at piano in all
voices.
77 DB deleted "delicato" Not in score, does not fit
with other parts.
80 Picc, Fl1 deleted "Solo" Not actually a solo, score
indicates all first flutes to
play, Ob1-2 doubles at the
octave.
80 Picc, Fl1 added "grazioso" Not in part or score, added
to be consistent in character
with previous entrance in
Ob.
80 Fl1 added "p" Missing from part,
indicated in score and Picc.
85 Cl3 deleted "Solo" Not a solo, score indicates
all thirds to play these
measures.
87-8 Cl3, Bsn2 added decrescendo Missing from part,
marking indicated in the score.
88 2 Tp3 added decrescendo Missing from part,
marking indicated in Tp1 and other
voices.
89 1.5 Ob1-2, EHN, added "grazioso" Was included in Tp2-4,
Ecl, Tp1 denotes appropriate
character for the section.
89 Tp1-4 Changed "1only" Score indicates a soli of all
bracket to "Soli-1 per four trumpet parts with one
part" player per part.
91 Ob1-2, Ecl, added decrescendo Missing from part,
Tp4 marking indicated in the score and
other parts.

 
 
 130

Measure Beat Instrument Change Justification

93 1 Cl1 added decrescendo Missing from part,
marking indicated in other parts.
93-5 2 Cl2 added Missing from part, score
"1only/a2"markings indicates one per part in
both Cl1 and Cl2.
93-9 Picc, Fl1-2,
Ob1-2
95 1.5 Cl1-2 added "p" Missing from part,
indicated in score and other
voices.
95 1.5 Cl3 changed "mf" to "p" Changed to match BCl and
Bsn1-2.
100-3 Picc., Ob1-2, removed staccato Instruction of "marcato e
EHN, Ecl markings stacc." provides the clearest
instruction without adding
articulation markings.
Makes it unified throughout
all parts.
100 picc, Ecl, BCl added "marcato e Missing from parts,
stacc." indicated in other parts of
score.
100 Hn1-2 removed "Stopped" Score does not indicate for
indication horns to be stopped, and
stopping the instrument at
the volume, and in case of
Hn2-register, would be
counterproductive to good
sound production.
100 Hn1-2 changed "cantabile" to Score dictates "dolcissimo,
"dolcissimo" ma ritmico."
105 CBn deleted staccato Unification with the other
markings, replaced woodwind parts.
with "marcato e stacc."
107 2.5 Ob1-2, EHN, added accent Upper woodwind parts
Ecl, Cl1-3, marked with combination of
BCl, Bsn1-2, one, other, or both. This
DB, Perc1-3 unifies the style and
intensity of the articulation.
107 2.5 CBn changed staccato to Upper woodwind parts
accent marked with combination of
one, other, or both. This
unifies the style and
intensity of the articulation.

 
 
 131

Measure Beat Instrument Change Justification

108 Brass added "stacc." This greater specifies the
performance of similar
passage from [B].
109-10 Woodwinds removed any staccato Unifies style with brass, and
markings, added with material from [B].
"stacc."
111 Hn2 changed staccato to Incorrect in part, changed to
accent match ensemble.
111 Hn4 added accents Missing from part, score
and other parts indicated
accented.
115-6 BCl deleted material Doesn't exist in the score.
Does not make sense to
double Cl1-2 at the octave
when Cl3 has simplified
version of the same.
116 Ob1 added decrescendo Missing from part,
marking indicated in score and other
parts.
116 2 Cl1-2 deleted "pp" Dynamic marking not
needed at this moment and
not indicated in other parts
nor in the score.
117-20 BCl deleted material Score does not indicate for
BCl to play here, it is
merely doubling the DB,
but not the entire line.
120 2.5 Picc, Fl1-3, added staccato Missing from parts,
Ob1-2, EHN, indicated in other parts of
Ecl score.
120 2.5 Tbn2, BTbn added "ff" Missing from part,
indicated in other parts.
121 Picc, Fl1-3, added staccato Indicated in other parts,
Ob1-2, Ecl added to unify articulation
style and match previous
iterations at [B] and [F].
121-8 Tb2 moved two measures Not indicated in the score
later, filling 123-30 and incorrectly placed in
and filled in to double the part. Music filled in to
DB and low reeds double and support the low
voice in this thicker texture.
123 Cl1, Cl3, added staccato Unifies articulation while
Tp2-3, Hn1-2, markings providing the space wanted
Hn4 by the original use of breath
marks
 
 
 132

Measure Beat Instrument Change Justification

123 Hn2, Hn4 deleted breath marks Clutters the score, space
will be provided by staccato
articulations.
123 2.5 EHN, Tp3-4, changed staccato to Matches articulation of Cl1-
Hn1-2, Hn4 accent 3 and continues the pattern
of accenting the after-beat.
123 Bsn1 deleted "f" No other corresponding
voices are indicated to a
softer dynamic.
123 CBn added "ff Missing from part, needs to
enter at same dynamic level
as the ensemble.
124 1.5 Cl1, Cl3 added staccato Missing from part, added to
markings match style of previously
measure and following
phrase.
124 Tbn1 added "f" Missing from part,
indicated in second trumpet,
should match dynamic
level.
125-7 Cl1-2 added staccato Added to match articulation
markings where style from previous measure
missing and in brass
126-8 EHN added accents Missing from part to
maintain articulation style
of the phrase and match
brass.
127 Ecl, Cl1-2 added hairpins Missing from part, added to
match shape of woodwinds
127-8 Hn1-3 added accents Missing from parts to match
style of other brass.
128 Picc added "ff" Dynamic reminder,
matching formatting of new
entrance with flutes
129 Tp2 deleted "f" Redundant with "f" no
dynamic change and no
other dynamic reminders
129 2.5 Ob2, Cl3 added staccato Missing from part.
129 DB deleted "mp" No other parks marked to
be lesser dynamic.
130 Tb1-2 added staccato Missing from part, added to
markings be consistent with other
voices.

 
 
 133

Measure Beat Instrument Change Justification

131 1 Picc, Fl1-2, added staccato Missing from part,
Ob1, Ecl, Cl1 markings indicated in other parts.

131 Hn1-4, Tbn1- replaced "sf" with Unification of ensemble

2, BTbn accented "ff" performance.
130-3 BCl, Bsn1-2, added articulation Added to match style from
CBn, DB markings previous in brass and unify
within themselves.
132 2 EHN added crescendo Missing from part,
marking indicated in other parts.
133 2 BTbn changed accents to Incorrect in part, rest of
staccato ensemble marked with
staccato.
134 1.5 Tp4 changed F4 to E4 Incorrect in part. Score and
other Tp voices indicate E4
on the afterbeat.
134 2.5 Hn2 deleted "f" Unnecessary and no other
parts marked down from
"ff"
135 Hn2-3 added "e staccato" Parts were already marked
"marcato" but not "marcato
e stacc." with the others.
135-40 All Voices unified staccato Parts inconsistent. This
markings and "marc." seemed to be easiest
designation manner to display marcato
e. staccato in the context,
leading into next phrase and
lightening of style.
137-44 Fl2 moved notes down an Conserves space in the
octave and added score and easier to read.
"8va"
138 1 Picc, Fl1-2, changed from slur 3 Score and Cl1-3 indicated
Ecl notes to slur 2 slurring the first two with
the third note articulated.
139 Picc, Fl1-2 added breath marks Matches style of other
woodwinds and brass. It
also makes it analogous
with previous iteration.
139 1.5 Cl1 added accent Missing from part.
Indicated in other parts.
139 2.5 Cl1-3, Tp4, added staccato Missing from part,
Hn2 indicated in other parts.
140 1-2.0 Tp1, Tp4 added staccato Missing from part,
indicated in other parts.

 
 
 134

Measure Beat Instrument Change Justification

140 2.5 Ecl, Cl1 added accent Missing from part,
indicated in the score and
other parts.
141 Fl1, Fl3, Ob1- deleted "dim." Redundant with
2, EHN, Ecl, decrescendo markings
Cl1-3 already present or being
replaced with markings for
unification.
142 Bsn2 changed "mf" to "p" No other motor-rhythm
voices designated at that
volume
143-4 Cl2 added decrescendo Missing from part,
marking and "pp" indicated in Cl1 and Cl3.
143 2.5 Tbn1 changed "mf" to "p" No other voices designated
at that volume.
145 1 Ob1, Ecl, added staccato Missing from parts,
Bsn1 markings indicated in other parts.
145 2.5 Bsn1 added staccato Missing from parts,
markings indicated in other parts.
147 1 Ecl, Cl1-3 added staccato Missing from part, added to
markings match style of downbeat
with other woodwinds
147 2.5 Fl1, Cl2 added staccato Missing from parts,
markings indicated in other parts.
148 Fl1 deleted "loco" Not indicated in score or
other parts.
150 picc, Fl1, Cl2 added decrescendo Missing from part,
marking indicated in other parts.
152 2.5 Tp1, Tbn1, changed "mp/mf" to Score indicates all voices to
BTbn "p" be piano.
153 2.5 Tp1-2, Tbn1, deleted breath marks Staccato marking will
BTbn, Perc.3 provide enough space,
breath mark is just
confusing in that place.
156 Tbn1, BTbn added "Senza sord." No indication was given in
the part.
157-8 Cl2 deleted decrescendo Not indicated in score or
markings other parts.
160 Ecl deleted "Solo" The part is doubled by the
flutes in octaves.
162 Cl2 removed "a2" The part indicated all Cl2 to
play again, but score
indicates tutti later.

 
 
 135

Measure Beat Instrument Change Justification

164 Bsn1-2 deleted decrescendo Not indicated in score or
markings other parts.
165 Cl3, BCl deleted "p" Not needed since marked 2
measures prior.
165-7 Fl3 added staccato Missing from part,
markings indicated in other parts.
167 Cl1 added "p" Missing from part, indicates
entrance at a new dynamic
level.
167 Cl2 deleted "p" Not needed since marked 4
measures prior.
168 Picc, Fl1-3, added staccato Missing from part,
Ob1-3 markings indicated in score for other
parts.
168 Bsn1-2 added "p" Needed to adjust dynamic
from previous entry and
match ensemble.
169-174 Tbn1 notes adjusted Part did not indicate correct
pitches because it was
missing the tenor clef.
169 1 Picc, Fl1-3, added staccato Missing from part,
Ob1-2 markings indicated in other parts.
170 Cl1 added "solo" Missing from part,
indicated in the score.
170 Cl1 added "mf" Missing from part and
score, indicated in other
parts.
171 1.5 Cl1 added accent Added to match
corresponding appearance
in m.174.
172 Bsn1-2 added staccato Missing from part,
markings indicated in Ob.
173 Perc. 2 added "p" Missing from part,
indicated in score.
174-5 Ob1-2, Bsn1- added staccato Missing from part, added to
2 markings match articulation of
previous measures.
176 Ecl deleted crescendo Not indicated in score,
marking performer will likely
naturally crescendo to
produce the leap.
176 Cl1 added "pp" Missing from part, gives
more specific dynamic
instruction.

 
 
 136

Measure Beat Instrument Change Justification

177 1.5 Tbn2 changed E4 to D3 Score indicates D4, matches
Tp2 at the octave.
179 Fl1 added "espress." Missing from part,
indicated in score and other
parts.
179 Cl2 changed "dolce" to Changed to match Fl1-3,
"espress." unified approach to
performance.
179 1.5 Bsn2 added decrescendo Indicated in score and to
marking and "p match DB
179 DB added articulation Missing from part,
markings indicated in score and Bsn2
180 1 DB changed "pp" to "p" Changed to match Bsn2.
180 Cl1 added "mf scherzando" Missing from part,
indicated in the score.
183 Cl3 deleted "Solo" Score indicates all Cl3 to
play.
188 2.5 Cl2-3, Bsn1 deleted breath marks Breath marks not needed to
create space. Also changed
to match corresponding
appearance before [I]
188 BCl, Hn3-4. added "marc." Missing from part, added to
match style of other voices.
190 1.5 BCl changed A-flat3 to G3 Score indicates this note,
which then fits with DB
doubled at the octave for
this measure.
191 Hn3-4 added "Senza sord." No indication was given in
the part.
192 Perc. 1 deleted "Solo" It's not a solo, and this term
no longer used to indicate
the performer will be the
only one sounding at that
point.
192 DB "1 stand" changed to It is unlikely that most
"1 only" ensembles will have more
than one or two bassists in
their group, "1 only" is
more appropriate in this
context.
192 2.5 Tp2 changed "mp" to "p" Score indicates piano
dynamic for this solo.
193 Hn1-2 added "marcato" Missing from part, added to
match style of Ob1-2

 
 
 137

Measure Beat Instrument Change Justification

199 Bsn added "solo" Missing from part,
indicated in the score.
200-5 BCl deleted material Part has nothing to do with
anything else.
204 Bsn1 added decrescendo Missing from part,
marking and breath indicated in score.
mark
205 1 Cl1 added accent Missing from part,
indicated in score and Bsn1
205 Bsn1 changed last two notes Changed from E-flat-D to
D-B-flat to match Cl1 at the
octave.
206 Fl2 moved notes down an Conserves space in the
octave and added score and easier to read.
"8va"
206 2.5 Ob1-2, Cl1-2 changed "p" to "mf" Indicated in score and other
upper woodwind parts.
206-9 Cl3, CBn added staccato Missing from part,
markings indicated in other parts.
207 BCl added "marc." Missing from part and
score, indicated in all other
parts.
210-11 Cl2-3, Bsn1- added staccato Missing from part,
2, CBn markings indicated in other parts.
212 All Parts added staccato Missing from parts/score,
markings added to maintain style of
the phrase.
214-24 All Parts Unified application of See Critical Commentary
dynamics and
decrescendo markings
215 Ecl, Tp1-2, deleted decrescendo Not indicated in score and
Tbn1-2, markings not needed for dynamic
BTbn, Tb2 effect.
216 2 Fl1-2 added "p" Added to ensure clarity of
attack throughout.
216 2 DB added "sf" Missing from part,
indicated in score.
217 Ecl deleted "pp" Inconsistent with other
parts.
217 Tp2, Tbn1-2, deleted decrescendo Not indicated in score and
BTbn, Tb2 markings not needed for dynamic
effect.

 
 
 138

Measure Beat Instrument Change Justification

219 1 BCl changed "sfp" to "p" Changed to match
corresponding CL and FL
parts.
219 1 DB added "sf" Missing from part,
indicated to match brass
articulations and previous
entries.
225 1.5 Fl1-3, Ob1-2, added accents Added to unify style of
EHN, Ecl, articulation with those
Tp2-3, Tbn1, voices in which it was
DB already indicated (Cl1-3,
BCl, Bsn1-2, CBn, Hn1,
Tbn2, BTbn, Tb1-2
225 1.5 Tb1-2 added "sf" Missing from parts, added
to unify intensity of
articulation with rest of
ensemble.
226 Tbn1 changed staccato to Inconsistent with other
accent parts.
227 1.5 All Parts unified accented "sf" Inconsistently applied in
score/parts.
231 1 Fl1-4, Cl1-3, added breath mark Specifies the release of
Bsn1, Hn1, count 1 and entrance of beat
Tbn1-2, 2 for all involved.
BTbn, DB
231 2 Cl1 changed "ppp" to "pp" Changed to match rest of
ensemble, sound will still
be less than others because
of tessitura and
orchestration.
232-3 Fl1 changed "pp" to "p", Missing from part,
added expressive indicated in BCl.
dynamics
232 BCl deleted "Solo" Part is doubled with Fl1.
233 2 Cl1-3, Bsn1, added breath mark Specifies the release of
Tp1-4, Tbn2, count 2 and entrance of beat
BTbn, DB, 1 for all involved.
Perc1
234 1 picc, Fl1-3, added "pp" Missing from part, only
Cl2, BCl, DB specified in Bsn 1. Specifies
ensemble dynamic.

 
 
 139

Measure Beat Instrument Change Justification

236 picc, Fl1-3, added breath mark Specifies the release of
Cl1-3, BCl, count 1 and entrance of beat
Bsn1, Tbn1, 2 for all involved.
BTbn, Perc.1
236 1 Cl2-3 changed eighth note to Incorrect in part, score and
quarter note other voices indicate quarter
note value.
236 2 Cl1 changed "ppp" to "pp" Changed to match rest of
ensemble, sound will still
be less than others because
of tessitura and
orchestration.
236 2 BTbn moved "a2" to m.253 Part incorrectly noted when
all bass trombones were to
perform.
253 Hn1-2, Tbn1- added "stacc." Missing from part,
2, BTbn indicated in score and other
parts.
255 3.5 Woodwinds added "stacc." Missing from parts, needed
to match brass style and
previous appearances at
[B], [F], [G], and [H].
257 Woodwinds added accents Missing from parts, needed
to match brass style and
previous appearances at
[B], [F], [G], and [H].
258-9 Bsn1-2 added staccato Missing from part,
markings indicated in other parts.
261-3 Fl2 moved notes down an Conserves space in the
octave and added score and easier to read.
"8va"
261 2 Tp2 added decrescendo Missing from part,
marking indicated in score.
261 2.5 Fl1-2 added "mf" Missing from part,
indicated in score.
262 1 Fl1-2 added "cresc." Missing from part,
indicated in score.
262 Bsn1 added tenuto markings Missing from part and
score, indicated in Cl3
263 2-3 Fl1-2 slurring pattern Incorrect in part, score and
changed other parts indicate longer
slur.

 
 
 140

Measure Beat Instrument Change Justification

263 2-3 Picc, Fl1-3, added crescendo Unifies and reinforces the
Ob2, BCl, marking crescendo marked in earlier
Bsn1-2 measures.
263 Cl3, Bsn1 added accents added to counter the
opposing accents in BCl,
Bsn2
263 1.5 Cl2 added "ff" Missing from part,
indicated in other parts.
264 1 Fl1-3, Ob1-2, added staccato Missing from part and
Ecl, Cl1 markings score, indicated in Cl2 in
score.
264 1 Cl2, BCl, added accent Missing from part,
Bsn1-2 indicated in score.
264 2.5 Tbn1-2, BTbn changed accent to Changed to be similar to
staccato corresponding entrances to
follow in other voices.
264-7 Tb1 deleted material Does not fit with any other
voice, not included in the
score.
265 1.5 Tbn1-2, BTbn changed accent to Changed to be similar to
staccato corresponding entrances to
follow in other voices.
265 2 Tp1-2 added "f" Missing from part and
score, indicated in Tp3 and
at same dynamic as earlier
entrance by trombones
265 2 Tp1-3 added "leggiero" Missing from part, added to
match corresponding
entrances
266 2.75 Tp4 added accent Missing from part,
indicated in score and other
parts.
267 2.5 picc, Fl1-3, added "ff" Missing from part and
Ecl, Cl1-3 score, indicated in Ob/EHN
voices.
268 1 Woodwinds added "leggiero" Missing from part and
score, added to match
corresponding entrances.
269 1.25 picc, Fl1, Ecl, added staccato Missing from part and
Cl1-3 markings score, indicated in other
parts.
269-71 BCl added staccato Missing from part and
markings score, indicated in other
parts.

 
 
 141

Measure Beat Instrument Change Justification

270 CBn added "marc." Missing from part,
indicated in other parts.
270 2.25 Hn1-4 added staccato Missing from part and
markings score, added to match
corresponding entrances.
271 1 picc, Fl1-3, added staccato Missing from part and
Ob1-2, Ecl markings score, indicated in other
parts.
271 2.5 Ob1-2, Cl2-3 deleted decrescendo Not needed to produce
markings crescendo into downbeat.
Reinforcing what will
naturally happen may create
an over-emphasis of the
higher note in the leap,
resulting in a shrill
downbeat.
272-3 Tuba1 deleted material Not in score and not related
to any other part.
272 1 picc, Fl1-3, added staccato Missing form part, added to
Ob1-2, Ecl, markings continue style of the phrase.
Cl1-3
272 Tbn1-2, BTbn added "marcato" Not indicated in part, added
to match style of Bsn.
272 1.5 BTbn added "ff" Missing from part,
indicated in score and other
parts.
272 2 picc, Fl1-3, added staccato Missing form part, added to
Ecl markings continue style of the phrase.
274 1 Picc, Fl1-3, changed all durations Score indicates sixteenth,
Ob2 to eighth note but ending of the phrase on
the downbeat should be
matched by all voices.
274 1 Ecl, Cl1-3 added staccato Missing from part,
markings indicated in other parts.
274 1 Hn1 added "ff" Missing from part,
indicated in score and other
parts.
274 2.5 Bsn1-2, DB added "ff" Missing from part, added to
match dynamic level of
other voices.
274 2.5 CBn changed "f" to "ff" Changed to match rest of
ensemble.

 
 
 142

Measure Beat Instrument Change Justification

274 2.5 BCl changed slur Articulation incorrectly
printed in part, should
match Bsn1-2/CBn.
274-6 Tb1 deleted material Not indicated in score,
doesn't fully double the
voices (simplified version),
and not needed to double.
275 1.5 DB deleted staccato Not indicated in score,
removed to match other
voices.
275 2 BCl changed articulation Removed staccatos and
slurred to match other
voices.
276 Hn1-4 removed staccato Staccato not in score or
markings and "dim" corresponding measures,
"dim." redundant with
decrescendo marking.
277 DB added "dim." Missing from part,
indicated in score.
277 Perc. 1 deleted decrescendo Redundant with decreasing
marking dynamic instructions.
278 1 Tp4 added "pp" Missing from part,
indicated in score.
278 1 DB added "p" Missing from part,
indicated in score.
279 Bsn1 added decrescendo Not in score or part, added
marking to be unified with Bsn 2
part.
279-81 Picc transposed octave up Incorrect in part, score
indicates octave higher.
282-5 Tp2-3 added staccato Missing from part and
markings score, added to be
consistent with Tp1.
285 Ob1 added "dolce e Missing from part,
leggiero" indicated in score.
285 Ob2 deleted "p" Redundant with "p" earlier
and no change in ensemble
dynamic.
286 1 EHN added staccato Missing from part,
indicated in other parts.
286 2 Ob1 added breath mark Missing from part,
indicated in Picc and Fl1

 
 
 143

Measure Beat Instrument Change Justification

286 2.5 Picc, Fl1, Ob1 added "espress." Missing from part,
indicated in Hn and added
to be consistent with earlier
entrance in m.46.
287-8 BCl deleted material Not in score and not related
to any other part.
289 woodwinds replaced "cresc. molto" Visual crescendo reinforces
with crescendo the sharp dynamic shift
marking better than written
crescendo.
289 1 Hn1 added "p" Missing from part,
indicated in score.
289 1 Hn2 changed "mf" to "p" Incorrect in part, indicated
this way in score and other
parts.
289 2.5 Hn2 added accent Missing from part,
indicated in score and other
parts.
289 2. Ob2, EHN changed accent to Incorrect in part, changed
accent match other voices.
290-1 All Parts added accents Added to match
corresponding part at [C]
290 Perc.1 changed "f" to "ff" Changed to match rest of
ensemble.
294-5 All Parts added staccato Missing from part and
markings score, added to maintain
consistent style.
297 Hn3, DB, added "ff" Missing from part,
Perc1 indicated in score, specifies
dynamic for new phrase.
298 Woodwinds, added "ff" Specifies dynamic for new
Tp1-4 phrase, makes consistent
with previous measure.
298-300 Fl2-3, Ob2, removed "staccato" Uniformity between parts.
EHN, Ecl, and applied staccato
Cl1-3, Bsn1- markings
2, Tp1-4,
Hn1-2
299-300 Hn2-3 added articulation Missing from part,
markings indicated in other parts.
299-300 EHN changed accents to Should be uniform with
staccato other woodwind voices.
301-2 All Parts added breath marks Creates spaced called for in
corresponding part at [H}

 
 
 144

Measure Beat Instrument Change Justification

301-2 Hn2 added articulation Missing from part,
markings indicated in other parts.
301 2.5 Picc, Fl1-3 added staccato Missing from part,
markings indicated in other parts.
303-5 Woodwinds unified "dim. Molto," Inconsistently applied in
"p," and decrescendo score/parts.
markings
307 Fl1 changed "mf" to "mp" Indicated in score for softer
dynamic.
308 Fl1 added "capriccioso" Added to match style of
Solo Sax and next entrance
of Ob1
317 Cl1 added "capriccioso" Missing from part,
indicated in score.
324 1.5 Fl1-2 added breath mark Missing from part/shows
entrance after breath with
Fl1
324 1.5 Fl1 added "p" Missing from part, shows
dynamic change with Fl2
entrance.
326-7 Bsn deleted hairpins Not in score, over-
controlling on performer.
336-7 Fl1, Ob1, Cl1 replaced/added Cresc. indicated in Cl1,
crescendo marking unifies approach and
reinforces with visual
crescendo, not just text.
338 Fl2, Ob1-2 added "f" Missing from part,
indicated in other parts.
338 Ecl changed "mf" to "f" Indicated "f" in other parts.
338 Cl1 Tempo Primo moved In the part, "Tempo I" was
previously in the following
measure.
341 2.5 Ecl added "mf" Missing from part, unifies
dynamic change in
ensemble.
342 2.5 Ecl D6 changed to C6 Incorrect in part, score and
corresponding voices sound
a concert E-flat
342 2.5 Cl1 deleted "mf" Redundant with "mf" two
measures prior.
354-7 Fl1 added "8va" Score indicates to be played
octave higher.
346 Bsn1 added decrescendo Missing from part,
marking and "pp" indicated in the score.

 
 
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Measure Beat Instrument Change Justification

348-9 Picc added decrescendo "dim." indicated in score,
marking and "pp" these applied to match with
Fl2.
371 Perc. 3 added "sempre pp" Missing from part,
indicated in score and other
parts.
378 Ecl, Cl1-2 added "leggiero" Missing from part,
indicated in score.
378 Tp3 changed "p" to "pp" Score indicates "pp" with
Tp4.
378-85 Tp4 removed staccato "stacc." already gives
markings instruction for articulation
378 Perc1-3 added "sempre pp" Missing from parts,
indicated in score to
remind.
387 Fl1, Cl1 deleted "Solo" Parts are doubling each
other.
390 2.5 Tp1 deleted accent Not indicated in score.
393 Ob2, Cl1 changed to "marcato e Each part had part of the
leggiero" total instruction.
393-5 Cl2 deleted breath marks Not indicated in score or
other parts.
394 1 Tp1 deleted accent Not indicated in the score.
394 Tp2 added "e con spirito" Added to match Tp1 solo.
395 2 Tp2 deleted accent Not indicated in the score.
396 1.5 Cl1 added accent Missing from part,
indicated in score and other
parts.
397-403 Tp1 added staccato Added for visual similarity
markings with other Tp voices.
399 Tp3 changed "p" to "mf" Other parts indicated mf
here.
399 Tp2 added "sempre Reminder added to be
leggiero" consistent with Tp1 since
this is a simplified-
supporting part.
401 2.5 Fl1-3, Cl1-2 added tenuto markings Missing from part,
indicated in score to
continue style.
402 Tp1 deleted crescendo Not indicated in the score.
marking

 
 
 146

Measure Beat Instrument Change Justification

406 DB added "arco" No indication given in score
or part, but given context,
the instruction should be
given since the last time this
instrument played, it was
pizz.
406 2 Ecl, DB deleted accent Not indicated in score.
406 Cl3 added "ff" Missing from part,
indicated in other parts.
407-8 Tp2 changed staccato to Wrong articulation written
accent in part.
408 1 Picc, Fl1-3, added accent Missing from part,
Ecl, Cl3, Hn4 indicated in other parts.

408-9 Hn1-4, Tbn1- added accents Missing from part,

2, BTbn indicated in upper voices
for accented style.
409 Ob2, Cl3 deleted "ff" Redundant with "ff" 3
measures prior.
410 Tp1-2, Hn1-2, added "stacc." Change in dynamic also
Tbn1-2 means relative change in
style.
411 Cl2 added "ff marc." Missing from part,
indicated in other parts. "ff"
reapplied to demonstrate
dynamic difference with
brass.
412 Ob1-2 added "marcato" Missing from parts,
indicated in score and
corresponding entrances.
413 BTbn added crescendo Missing from part,
marking indicated in other parts.
414 Tp1-2 added "ff" Missing from part,
indicated in other parts.
414-15 Hn1 added staccato Missing from part,
markings indicated in other parts.
416-17 Hn3 added decrescendo Missing from part,
marking and "pp" indicated in other parts.
416 Tp2 changed "p" to "pp" Other parts indicated "pp"
here.
418-19 Fl1-2 added decrescendo Missing from part,
marking and "pp" indicated in other parts.
421 BCl, Bsn1-2 deleted decrescendo Other parks not marked
marking with decrescendo

 
 
 147

Measure Beat Instrument Change Justification

423 Ecl removed "staccato" Changed to visually match
and applied staccato other parts.
markings
425 Bsn changed "mf" to "p" Score indicates softer
dynamic entrance.
435 Tb1-2 deleted material Does not appear in score
and scored in the uppermost
tessitura where it would not
contribute in a positive
manner.
438 1.5 Ecl deleted staccato Not indicated in score or
other parts.
440 2 Ecl added staccato Missing from part,
markings indicated in score and other
parts
442 2 Cl3 added staccato Missing from part,
indicated in score and other
parts
442 2.5 Ob1-2, Tp1 added accent Missing from part,
indicated in score and other
parts
450 1.5 All Parts moved note from down After publication, Dahl
beat to after beat requested that the last note
be played on the afterbeat
of one rather than the
downbeat. This revision
was entered into the piano
version before it was
published.

 
 
 148

APPENDIX E

LIST OF HARVEY PITTEL EDITS

Movement I. Recitative

Measure Discrepancies between the 1959 Full Score and the Published Solo Part
8 Deleted brillante. Added tenuto over first note.
10 Added breath mark. Replaced “molto espr. (senza troppo di rigaro)” with
“sempre liberamente cantabile, ed un poco rubato.” added breathe mark.
12 Added sempre cantabile and breath mark.
13 Added dim. sempre.
14 Added breath mark.
15 Added breath mark.
20 Added breath mark.
21 Added breath mark.
22 Deleted “tr.” from D6 on beat 3.
23 Added breath mark.
24 Added crescendo marking.
25 Added dim. Deleted (poco accel.)
26 Added p piu dim. Added mormorando. Deleted decrescendo marking.
27 Added decrescendo marking after ppp.
38 Added breath mark.
39 Added breath mark.
40 Added tenuto markings.
42 Added breath mark.
45 Changed “f subito, sempre espressivo ed appassionato, ma ritmico” to “ff”
46 Added breath mark. Added accents to the staccato markings.
47 Added breath mark.
48 Added breath mark. Added tenuto markings on last triplet-sixteenths.
49 Added slur on beat 2. Added breath mark. Added accents to the staccato
markings.
50 Added breath mark.
51 Added breath mark.
52 Added tenuto markings.
54 Deleted liberamente declamando.
55 Added rubato and rit.
67 Added p.

Movement II. Adagio (Passacaglia)

Measure Discrepancies between the 1959 Full Score and the Published Solo Part
81 Added p.
84 Added decrescendo marking.

 
 
 149

Measure Discrepancies between the 1959 Full Score and the Published Solo Part
90 Changed mp to p.
91 Added breath mark.
92 Added (senza accel.)
93 Added breath mark.
103 Changed espresivo to molto espress.
105 Added ff and crescendo marking.
107 Changed espr. molto to con forza.
128 Added breath mark.
131 Added breath mark.
133 Added breath mark.
134-8 Changed notes enharmonically to read as flats instead of sharps.
134 Added breath mark.
136 Added breath mark.
142 Added ppp.

Movement III. Rondo alla Marcia

Measure Discrepancies between the 1959 Full Score and the Published Solo Part
20 Added e presto.
21-23 Added accents
27 Added slur into downbeat.
75 Changed “f giocoso” to “mf con spirito.”
80 Deleted sub. mf.
82 Added sempre leggiero.
88 Added decrescendo marking.
91 Added (mf).
98-9 Added tenuto markings to staccato markings.
102 Added cresc.
106-8 Added staccato markings where not already applied.
106 Added crescendo marking.
107 Added f.
117 Added p.
117-20 Added staccato markings.
156 Changed mp to p.
159-60 Added crescendo marking and staccato marking on downbeat.
168 Deleted (p) senza cresc.
171 Added p.
191 Changed capriccioso to con spirito.
192 Added accent.
194 Added staccato marking.
195 Added accent.
200 Added p.
204 Deleted decrescendo marking.
206 Added agitato and cresc.

 
 
 150

Measure Discrepancies between the 1959 Full Score and the Published Solo Part
209-10 Deleted cresc. molto.
209 Added f.
215 Added ff espr.
216 Deleted a tempo.
221 Added ff.
222 Deleted a tempo.
223 Added (moderato).
223 Added sempre ff.
228 Added dim. molto. Deleted decrescendo marking.
229 Changed pp to ppp.
239 Added ma ritmico.
253 Added ff.
305-6 Added tenuto markings.
319 Added capriccioso.
321 Added accompagnando.
322 Deleted dim.
323 Added decrescendo marking.
331 Added breath mark.
341 Added decrescendo marking.
342 Added mf.
349 Added f con spirito.
353-4 Added accents.
354 Deleted crescendo marking.
356 Added accent.
360-4 Added tenuto markings.
368 Added molto leggiero
368 Added slur to beat 2.
368-70 Added accents in ossia.
382 Changed slurring pattern of count 2 from slur 2–slur 2 to slur 4.
386 Added crescendo marking.
387 Added decrescendo marking.
388 Added cresc.
392 Changed slurring pattern in ossia, it should match the Solo line.
393-403 These ossia measures do not appear in the score.
396-8 Accents changed to sf.
399-402 Added sf.
401 Added ff.
418 Deleted ff and crescendo marking. Added molto.
447 Changed sf to ff.
449-50 Added sf.

 
 
 151

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