Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
fr Ensemble
eduardo moguillansky
(2008)
ii
InstrumentationandPlacement
Piccolo+MetalSpatula(seenotes)
Bassflute
Oboe(+EnglishHorn)+plasticpeppermill(seenotes)
ClarinetI(inB)
ClarinetII+MetalSpatula(seenotes)
Kontraforte
Horn
Trumpet(inC&B)
Trombone
Piano.+ribbedplastictube(seenotes)
Accordion
Percussionx2
Percussion1:
1SuspendedCymbal(middle)
1SuspendedChineseCymbal(middlelarge)
1Hihat
1TamTam(middlelarge,porousifpossible)
1BassDrum(mostlytoberubbedwithdifferentobjects,ev.coverwithrosin)
1ChineseCymbal(nottoobig)
1Woodenbox(bigandraw,notfancyatall,liketheonesusedoftentoputotherinstrumentsin)+footpedal(ashardaspossible,preferably
plastic)
2Styroporpieces(preferablybig).
Crotales:soundingC#6(A4=440Hz)
Ahandfulofforksandspoonsputoverahardresonatingsurfaceandcoveredbyapieceofclothsothattheystayinplace.
1Metalspatula(big)
1Knifeornarrowmetalspatula(seenotes)
3xPVCtubes(threedifferentsizes,butallhighpitched)
1Broomorsimilarobjectmadeofthinstickswhichcan(andshould)brake,tobeusedasguiro(seenotes)
1Metalbar(tobowtheTamTamandmakeitscream)
1Megaphone(>=25Watts,canalsobeborrowedfromthecomposer)
Beaters:
1Trianglebeater
2Timpanibeaters(soft)
2Drumsticks
2raspersticks
Percussion2:
Marimba
1Plasticrulertobowthemarimba
1Metalbathroomsinkorbathtuboranyotherpieceofvibratingmetalwhich,whenrubbedwithasuperballcanproduceasoundsimilartothe
piano when its metal bars are rubbed with a superball. The composer tried also with heating pipes, old, rusty plate bells and similar objects. All render a
satisfactoryresult.Sometimes,ametalplateputoveraresonatingbody,likeabassdrumortimpani,canalsorendergoodresults.
1SuspendedCymbal(middle)
1SuspendedChineseCymbal(middlelarge)
1Hihat
1BassDrum(mostlytoberubbedwithdifferentobjects,ev.coverwithrosin)
1ChineseCymbal(nottoobig)
1Woodenbox(bigandraw,notfancyatall,liketheonesusedoftentoputotherinstrumentsin)+footpedal(ashardaspossible,preferably
plastic)
1Styroporpiecesx2(preferablybig).Oneofthemmountedonasurface,sothatitstaysfixed.
Crotales:soundingA#7(A4=440Hz)
1Metalspatula(big)
1Knifeornarrowmetalspatula(seenotes)
2xPVCtubes(2differentsizes,bothhighpitched)
iii
1Megaphone(>=25Watts,canalsobeborrowedfromthecomposer)
Sandpaper
Metalbrush(alsoavailablefromthecomposer)
Pine(Q )orsimilarobjecttorubonachin.cymbalandonthebassdrum
Al,mostlyusedinpaintingtopreparethewallbeforeapplyingcolorinordertohaveasmoothsurface.Usedtogetherwiththesandpaper
toproduceagranulatedwhitenoise,seenotes.
Violinx2.Eachholdsalsoamegaphone(anykind)
Viola
Cello. NB: since most of the time the cello is played col legno tratto, an old bow with an irregular, worn out wood is highly preferable. Or use a different object
altogetherforthesectionswherethearenofastchangestoordinario.
Kontrabass.NB:sincemostofthetimethebassisplayedcol legno tratto,anoldbowwithanirregular,wornoutwoodishighlypreferable.Oruseadifferentobject
altogetherforthesectionswherethearenofastchangestoordinario.
Thisdispositionisonlyasuggestion.Theaspectstotakeintoaaccountare:
KontrabassandKontraforteshouldbeabletoplayverysoftlyandstillbeaudible.
Thetwopercussionsetsshouldbeasfaraspossiblefromeachother.
Thetwoviolinsshouldbeasfaraspossiblefromeachother.
Thepositionofthepiccolocanbechangedadlib.ifthehighnotesappearinginthescorecanbemasteredinthewrittendynamic.
Thebassfluteandtheoboe(Englishhorn)haveveryfragilemultiphonicsanddoubleflageoletswhichshouldbeaudible.
Duration:~9
iv
GeneralRemarks
Unlessthereisaspecificcoordinationpointbetweeninstruments,rhythmisalwayssubordinatedtothesmoothnessinthedifferentmusicaltransitions
andshouldnotbeinterpretedtobestrict.ThisisparticularlytrueofSpaltklngeinthebrass,ofdoubleflageoletsinthewoodwinds,etc.
Dynamics
Dynamicsinthispieceareabsolute,unlessotherwiseindicated:
Anytwogestureshavingthesamedynamicsignshouldsoundatthesamelevelofloudness,independentofthetechniquesused.Certaintechniques,
for example in the case of the strings, playing col legno, sound naturally softer than the same gesture performed with normal bowing. These natural tendencies
shouldbecompensatedaslongaspossible.
Effortdynamics:theyarewrittenbetweenquotationmarks,likef.Theyaretobeinterpretedasplayingwiththeeffortnormallyinvolvedinplaying
forteeveniftheresultdoesnotreproducethiseffort.
NB:thedynamicswrittenindicatewhichdynamictheaudienceshouldhear.
Contextdynamics:
subliminale:loudenoughsothat,ifitwasnotplayed,someoneintheaudiencewouldhearthedifference.
niente (alsoabbreviatedn):playsoftlyenoughsothat,inthecontextitisnotheard(but,eventually,whentheotherinstrumentschangetheir
dynamicsorstop,thenifwouldbeheard).
Signsandabreviations
suono mobile:mobilesound.Withthegivennote/notesanddynamicsvariatethesoundtryingtoimitategesturesthatyouhavealreadyplayed,orthatyouhave
heard,asorganicaspossible.Formultiphonics,variatethebrightness/darknessofthemultiphonic,bringingdifferentpitchestothefront.Formultipleharmonics,
variatethebalanceofthenotes,changingthefocusfromonetotheother.Forsinglenotes,variatethevibratoanddifferenttypesofvibrato,timbralmordents,
etc.Forstringsvariatealsoadlib.thespeedandtheamountofbowused.Alltransitionsassmoothaspossible,trytoavoidanypatterns.Alwaystrytoreactto
theenvironment.
Theamountofmobility,orthespeedofthevariationsinsoundshouldfollowthedynamics.
J: irregularandfasttremolo,likeatexture.Forthebrass:flatterzunge
< : veryregular,fasttremolo,eachnotedistinctlyarticulated.
aria intonata:air+pitch,unfocusedsound
Glissandi
Twodifferenttypesofglissandoareused,inordertoindicatewhichactionisaskedfor.
_________: usedwhenbendinganote,doingavalveglissando,slideglissando,etc.
- - - - - - - - : overtoneglissando;nofingeraction;transitionbetweenoneovertone(ormultiphonic)toanother.
This line is also used to indicate a smooth transition between two notes, a blending from one sound into the other, which might need both changes in
embouchureANDFINGERING.
Flute(PiccoloandBassflute)
transitionfromonlyairto
air+pitch
colormordente: like a
mordente, but between two
different fingerings for the same
pitch. If the fingerings are not
given, there should be some
differenceinthetonecolor.
ariaintonata:pitchedair
thenoteheadwitha?referstoa
pitch which should be taken
fromtheinstrumentindicated,in
this case, from the action
performed by the bass clar. As
thisaction(inthiscase,bowinga
metal spatula) produces a
distinctpitchbutapitchwhichis
dependent on the object used,
the composer has left it
unknown and the player
should ask for it during the
rehearsals and write it down.
Ideally this pitch would then be
thesameeachtime.
lippizz.,moltosecco
e
bow the side of the metal
spatula/small cymbal with a
knifeorsimilarobjecttoproduce
a granulated resonance. When
muted is asked for, this can be
done by simply pushing the
spatulaagainstyourbody.
i
hit the side of the metal
spatula/smallcymbal.
EnglishHorn
onlykeynoises.
slapnoise,noair,onlytongue.
slap,withair.
Clarinet
ClarinetIIplaysalsoasmallcymbalormetal spatula(thesecondis
more desirable since the actions could damage the cymbal), which is
bowed with a knife or a second metal spatula. This action is also
performedbythepercussionist,sothetechniqueusedmustbethesame.
coloredair
transitiontoair+pitch
Kontraforte
overtoneisaskedfor.Noticethatitisnot
a glissando from one pitch to the other,
but a transformation from one into the
other,withallthestepsinbetween.
Ifnofundamentalisindicated,itisleftad
lib.Infact,itispossibletousealternative
fingerings that might be more reliable
thanthenormalfingering(sometimesjust
liftingthefirstfingerofthelefthandhelps
bring out the overtones) as long as they
preservethecharacteristicsoftheoriginal
sound.
In some cases the fundamental has been
indicated by simply indicating the pitch in
thelastoctave,asinD
b
,forexample.
keyclicks,noair.
pitchlessslap
tonguevib.
Brass
Piano
Clusters:ifnototherwiseindicated,allclustersarechromatic
Thepianoneedssomeadditionalobjects:
a plastic ringed tube, as the ones used for ventilation
(approx. 15 mm diameter), which can be aquired in any Bauhaus or also
borrowedfromthecomposer.
a piece of wood, approx. 10cm x 7cm x 2cm, preferably
birch(Birke)toscratchthelowerstringswith
acoin
ahammerwithgumends,usedtogentlyhitthemetalbars
insidethepiano
2superballmallets.
Alsothepianoneedstobeslightlypreparedasfollows:
Insidethepiano.Ruboneofthe
metal bars with a superball
mallet in order to generate a
deep resonance. Three
different places should be
chosen which render distinctly
differentresonances.
blowthroughtheplastictubein
order to produce a resonance.
Thelouderyoublow,thehigher
theharmonicsgeneratedare.
Accordion
Theregistersareonlywrittenwhenthereisaneedtodisambiguate
or if a certain effect is asked for. If there is only one possibility to play a
certainpitchatthegivenoctave(withthegivenmanual),theregisterusedis
notindicatedandthenoteisnotatedatthesoundingpitch.
Independently of the cases where a certain register or change thereof has
been asked for, the player is free (and highly encouraged!) to use the
registers available in his/her instrument to facilitate certain dynamics,
changecolourstoblendbetterwithotherinstruments,etc.
Percussion
useaplasticrulertorubthemarimba
keys as indicated. The small arrow
on the stem indicates that the
rubbingisproducedalongthekey.
Megaphone:
o=on
x=off
Applyamplificationtothemarimba
actions by placing the megaphones
micclosetothekeybeingplayed.The
megaphonebeginsoff,indicatedby
the (x), and is only briefly turned on
when the upper line has a note with
anohead.
hit the PVC tube with the hand to
produce a (high pitched) pop
sound. The PVC tubes asked are
actually any sort of tube of a length
between 25 and 50 cm. If needed
theycouldbefixedtoastand.
scrape the TamTam with your nails
or with another object which can
produce the right sound. If the
surface of the tamtam used is too
smooth,anyothermetalobjectcould
be used. The resulting sound should
ideallybeliterallypainfulinthesame
sense that chalk on a blackboard can
bepainfultolistento.
bow the tamtams edge with a
metal bar in order to make it
scream
hit the rim of the bass drum, in this
casewitharasperstick
rub the bass drum with a superball,
bend the pitch by leaning over the
drum with your arm, to make the
pitchgohigh.
with two drum sticks A and B, A is
placed with its head touching the
bass drums skin. Rub the body of A
with B and change the contact
position of As head with the drums
skin as indicated (in this case going
from the edge to the center, which
causestheresonancetogofromhigh
tolow)
the same as before, but in this case
going from the center to the edge
and, when reaching the edge, hit the
rim from the side with the sticks
head which is being in contact with
thedrumsskin
use any clock or clockwork toy which
makes an audible noise when you
wind it up / Ein Spielzeug oder
irgendein Objekt nehmen, das ein
lautes Gerusch macht, wenn es
aufgezogenwird.
x
A
:hit the cymbal with the other
hand, in this case directly with
your hand (could be with a
mallet, your nails, a pine, as
indicatedeachtime)
2 rub away from you with
extrapressure
1 begintheaction(inthiscase
rubbing away from you with
increased pressure) by
hitting the bass drums skin
withthecymbal.
sss
because of the extra
pressure the cymbal does
not slide smoothly but with
interruptions, like
stumbling (stockende
Bewegung)
make the cymbal resonate. It does
not sound exactly as when played
with a bow, but high overtones do
appearatfixedpitches.
megaphoneoff
indicates the volume of the
megaphone, from 1 to 10 (10 is the
loudest)
with the mouth completely covering
the megaphone (like eating it),
perform gentle movements of your
tongue to create a wet sound. Not
fast and rather irregular. Its function
is always to serve as background
noise and should never be
performedwithtoomuchintention.
Q
pine, used to hit or rub the surface
ofthechin.cymbal.Anyotherobject
with an irregular surface might be
used
___________________________
rubthesurfaceofthecymbal(upper
line)orofthebassdrum(lowerline)
with irregular movements (the do
notneedtobecircular,infact,avoid
creatingpatterns)
___________________________
similar to sss but quasi legato,
changingtheangleofthecymbal
xi
The
o
clef shows the contact
point between the Chinese cymbal
and the bass brum. The wavy line
indicates a mobile sound, irregularly
changingangle,pressure,etc.
Strings
MT moltotasto
MP moltoponticello
T tasto
P ponticello
unknown pitch: in general, it is
indicated where to pick the pitch
from, or to repeat an unknown
pitch played before. This is done
where you are supposed to play
the same pitch produced by the
actionofsomeother(percussion)
instrument, whose exact pitch
cannot be fixed by the composer
before the rehearsals and will
probably change with each
productionofthepiece.
NB: always try to imitate the
colorasmuchaspossible.Thatis,
if the unknown pitch comes from
a bowed cymbal or something
similar, a flageolet with some
extrapressurecouldbeused.
multiphonic flageolet. The
microtonalalterationgiventothe
flageoletisonlytoindicatewhere
the node to produce this
multiphonic is to be found. As
sounding pitch only an
orientation pitch is given, the
resulting cloud of pitches being
muchcomplexthanthat.
cello only: play over 3 strings by
depressing the middle string all
the way down to the fingerboard
and pressing the outer strings
only enough to avoid them
sounding as flageolets. The result
should somewhat resemble a
flutemultiphonic.
D
:halfpressureofthefinger
Pressthehairofthebowverytightlytothebodyoftheinstrument,sothat
the wood of the bow and the body of the instrument make a sandwich
with the hair in the middle. The turn the bow in rapid movements over its
axis to produce crackling sounds, similar to some thin wood or branches
beingbroken.
legno (sss)
con legno tratto, with extra
pressure. The sound should be
somewhat granular and with a
lowresonance.
Corrections:
1) Placement: there is of course no bass clarinet,
wherebassclarinetisthereshouldreadclarinet2
2) The accordion is not given a position: in the same
row with the woodwinds is probably the most
appropriate.
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Piccolo
Bass Flute
English Horn
Clarinet I in Bb
Clarinet II in B
Contraforte
Horn in F
Trumpet in C
Trombone
Violin I
Violin II
Viola
Cello
Piano
Accordion
Percussion 1
Percussion 2
Contrabass
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down 1/6 tone -see notes-) , one on the H-string.Through this whole passage and
in following similar passages, only natural harmonics are intended.
*)
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(only tongue, no air)
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cire perdue
eduardo moguillansky
(2008)
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Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc. Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
t
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slap(no pitch)
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Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
t
9
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Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
t
13
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3 3
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slow beatings
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7
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Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
17
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17
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n j
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o
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s
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s
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9
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0
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o
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9
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S
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quasi ric.
sf
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r
[ord]
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[ord]
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legno(sss)
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19
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j
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3
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.
.
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j
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8
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7
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3
pizz.
8
3
9
,
g
,
o
j
pppppp
legno(sss)
.
.
9
3
3
,
9
,
o
n
pppppp
legno(sss)
H
n
.
.
9
3
3
j
j
pppppp
legno(sss)
.
.
9
3 3
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legno(sss)
IV
,
0
,
o
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sf
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9
j
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2
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s
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8
3
, j
ppppp
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.
,
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8
espressivo
,
3 3
ppppp
3 3
ppppp
3 3
ppppp
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IV
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0
o
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, j
-
, n , n
, s
, j
,
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s
j
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-
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suono mobile
suono mobile
suono mobile
oo
oo
oo
oo
oo
[5/35]
7
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|
|
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r
r
r
r
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N
?
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
c
7
21
<
cant. ma da lontanissimo
j
3
,
,
.
.
,
,
<
3
J
,
ppppp
3
.
8
.
3
J
.
"white noise"
sfin pp
3
3
m
,
pppppp
[VOL: 10]
/sch(u)/
ppppp
3
?
21
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-
, ,
-
espress.
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-
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-
. ,
,
s
j
9
, n
.
,
,
j
3 3 3
+
"pizz."
0
.
, j
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9
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. .
o
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,
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,
j
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8
5 5
I
.
5
B12
" 3 "
H
"scrape"
.
-
legno(sss)
IV
ppppp
3
, , s j
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9
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3
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sf
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(always a shadow of Kontrabass)
;
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ppppp
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j
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8
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sf
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9
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II
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granular
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j
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simile
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0
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m
J,
[VOL: 10]
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8
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simile
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3 3 3
m
R sss s
o o
sss s R s
o o
oo
o o
o o
oo
o o
o o
oo oo
o o
o
oo oo
o o o oo oo oo
[6/35]
7
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?
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|
|
r
r
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?
R
4
2
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
25
.
sf
. .
sf
r
,
<
8
.
.
,
,
<
j
,
o
, j
9
<
3
(always a shadow of Kontraforte)
0
. j
0
3
B123
.
ppppp
.
ppppp
sf
sf
25
, j
0
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,
,
j
, , n
0
3
sf
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-
0
V
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, +
.
, , j s
-
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-
3
3
D
.
/
9
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smorz.
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o
3
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3
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9
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s
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ppppp
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3
3
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j
3
3 3
wB12
j
very slow beatings
sf
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r
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9
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j
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"white noise"
" fff "
,
sf
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6
sf
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, , n j
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6
j
, , n
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s
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s
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s
s
s
oo
s
s
sss
[7/35]
7
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|
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?
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N
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4
3
8
5
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 48 - 52
29
|
ppppp
<
<
simile
pcant.
3 3 3 3 3 3
,
,
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. ,
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,
,
simile
5 5 5
.
,
cc
Hc
Bc
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c
c
c
0
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,
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8
5
5
. , b
12
cc
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0
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8
5 5
sf
,
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j
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simile
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3
3
6
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secco
8
.
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.
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.
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d
*) put the cymbal down all the way, hitting the bass drum.
*)
9
.
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,
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P
"guiro"
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sf
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3
3
i
j
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29
IV
pizz.
MP!
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f
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3
7
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ppppp
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ppppp
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3
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sf
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beatings = ~
8
b
8
-
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-
,
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,
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9
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8
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j
j
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3
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|
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meno mosso
32
^
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footpedal
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9
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. .
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/e/
" pppppp" / ppp *)
*) very near to the mic, almost covering it with the mouth. Pronounce the given phonetic sound without voice, only coloured air. The sound
becomes audible only when the megaphone is activated (the voice action should be very soft). The dynamic not between quotation marks "" is
the one which should be heard in the audience. Adjust volume if necessary. The actions should be prepared so that when the megaphone is
activated, you are already performinc the action, and you keep perfoming the action some instants after the mic has been turned on. In this
way, the result is like a snapshot of a continuum.
J,
,
2
3
J,
,
2
3
ppppp
, +
legno(sss)
0
.
.
, +
ppppp
r
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
oo oo
o
o
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
WW
W
W
W
WW
W
W
W
W
WW
W
W
W
W
WW
W
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W
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l ll ll ll l l ll l
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
o oo
o
o oo
o
l ll l
oo
[8/35]
7
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?
r
|
|
r
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
34
, b J
,
,
,
,
2
8
J, ,
o
3 3
, b J
,
,
d ,
,
2
8
J, ,
o
3 3
,
/a/
9
.
34
b
.
0
.
.
blow from2-3 cmaway frommouthpiece
0
sf
,
rub megaphone on cloth
*)
0
"white noise"
*) prepare the action before turning the megaphone on, continue
it some instants after turned off, the rhythm only indicates the
turning on/off.
,
-
/e/
9
*)
,
,
+
d
j
,
s
l , , ,
, s
8
3
q
.
*) very near to the mic, almost covering it with the mouth. Pronounce the given phonetic sound without voice, only coloured air. The sound becomes audible only when the megaphone is activated (the voice action should be
very soft). The dynamic not between quotation marks "" is the one which should be heard in the audience. Adjust volume if necessary. The actions should be prepared so that when the megaphone is activated, you are already
performinc the action, and you keep perfoming the action some instants after the mic has been turned on. In this way, the result is like a snapshot of a continuum.
.
,
IV
pizz.
0
,
,
,
,
,
,
,
,
8
0
pizz.
thumb sul pont.
molto secco
,
, J
,
,
o
3
,
-
9
|
,
0
. ,
/o/
,
/a/
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\
" 4 "
legno(sss)
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,
,
,
o
J,
J, ,
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9
2
3 3
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3
, b
3
12
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,Bc
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, c
c
G#c
. ,
/a/
R
qqqqqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
[9/35]
7
r
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r
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?
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?
r
|
|
|
|
r
?
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?
|
|
r
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
39
, .
o
,
, b
8
,
,
o
,
, b
8
,
,
o
r
ppppp
. ,
0
.
,
ditta
sf in pppp 0
39
. , +
ppppp
(ad lib. flag. sul IV)
, +
.
.
/(a)ch/
.
. ,
. ,
. , b
, J
,
,
g ,
,
b ,
,
.
.
,
,
0
3
Eb
,
/i/
,
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,
8
.
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,
,
,
,
,
,
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8
,
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o
|
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,
,
o
oc
c
Bc
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cE
c
Fc
, +
, , ,
pppppp
,
,
o
,
.
/o/
.
, +
0
pizz.
.
t
0
, , , ,
,
/a/
.
qqqqqqqqqqq
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
i ii i
[10/35]
7
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|
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r
R
?
r
?
|
|
|
|
r
?
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?
|
|
r
r
t
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
44
44
,
/a/
r
.
, ,
\
" 4 "
legno(sss)
R
n = 48 - 52
45
.
clar R
.
9
ppppp
r
9
3
sf
s
ppppp
sf
. .
3
. ,
e
0
,C
pppppp
,C ,
w
simile
,
,
5
5 5
.
0
j
.
very slow beatings
niente cresc. poco a poco
.
" 3 "
E
.
~
D
<
<
J,
j
,
p
.
+footpedal
~
D
S
" 3 "
<
<
.
f
.
.
.
,
, s
,
.
,
,
ppppp
3
,
a ,
0
o
3
J
B/uUbUuUbUuuUbUUUUb
" fff "
8
w
3
j .
.
legno
.
0
ppppp
9
3
C
V
legno(sss)
pppppp
subliminale
,
( )
C
, ,
simile
IV+V
,
, ,
,
,
, ,
3
3 3 3
3
3 3 3
3
3 3 3
n
.
,
,
w
,
5
5 5
,
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3 3 3
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quasi niente
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3
cc
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Bc
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c
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3
12
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c
-
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c
c
ppppp
<
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I
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5
5 5
, , n j
ppppp
suono mobile
. , , n j
simile
3
,
,
, ,
, ,
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, ,
9
,
,
, ,
3
3 3 3
3
3 3 3
3
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J
,
, J, b
,
,
<
J,
3 3 3
J
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j
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8
j
3
3
3
J
J
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j
3
3
3
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5 5
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i ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii i
[11/35]
7
r
|
r
r
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?
r
?
|
|
|
|
r
?
|
r
r
?
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
9
w
49
,
,
<
9
, b
,
,
<
J
,
,
ppppp
MUTA IN OBOE
3 3 3
<
j
ppppp
<
j
ppppp
3
,
,
,
o
cant. ma da lontanissimo
9
,
c
5 5 5
j
3
J
0
3
J,
3
49
9
, ,
,
. , ,
. , ,
, ,
ppppp
.
3 3 3
,
bow vib.
, ,
simile
,
,
, ,
, ,
ppppp
, ,
-
,
, ,
, ,
3
3 3 3
3
3 3 3
3
3 3 3
|
,
o
,
c
,
-
pppppp
I
,
-
5
5
,
w
.
pppppp
subliminale
o
3
3
J
pppppp
subliminale
.
3
?
, ,
-
,
, ,
, ,
-
,
, ,
, ,
, ,
, ,
-
,
,
3
3 3 3
3
3 3 3
3
3
,
e
3
7
s
,
" 3 "
" 3 "
.
.
,o ,c
I
,
-
I
,
5
5 5
.
niente
j
ppppp
3
J =
ppppp
slow beatings
3
/
edge
,
" 3 "
center
(tam-tam)
9
S
"sffz"
<
<
<
3 3
,
, s
9
.
subliminale
, +
legno
ppppp
IV
/
0
legno(sss)
" 3 "
3
|
III
IV
, ,
ppppp
legno(sss)
,
-
,
-
,
-
,
-
,
-
, ,
,
-
,
-
,
-
3 3
, ,
-
simile
,
, , , ,
-
sf
,
3
3
rall.
52
,
,
,
-
,
-
5 5 5
t
beatings = ~
,
e
<
3
o
9
j
m
,
/f/
.
sf
y
w
,
-
,
-
, ,
3 y
, ,
sf ppppp
IV+V
,
-
V
,
-
IV
(or the other way around ad lib.)
,
-
V
,
-
,
-
, , , ,
, , , , , . ,
3 3 3
oo o o
6 66 66 66 66 66 66 66 6
[12/35]
7
r
|
r
r
t
?
r
?
?
|
|
o
?
?
y
y
y
y
R
4
2
4
3
4
2
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
c
53
.
ppppp
s
.
ppppp
,
0
,
-
.
5 5
r
0
r
J
ppppp sub.
3 r
J
3
?
53
. ,
secco
. ,
. ,
. ,
. ,
.
3 3 3
J
,
0
,
, s
p
i,
0
3
s
" 3 "
sf
3
r
" 3 "
sf
3
. .
,
p
..
,
p
pppppp
.
5 5
s
j
9
3
s
j
9
3
J
r
3
/
,
" 3 "
center
,
sf
rim
3
|
"
,
1
edge
sf8
,
j
,
sfz
<
vib.
<
3
3
,
b
,
, ,
,
,
sf
3
b
0
3
?
j
,
,
,
.
m
pppppp
. .
. .
. .
,
,
,
w
sf
3
J
,
,
,
.
m
. . . .
. .
,
,
,
s
w
3
,
" 1 "
3
r
,
" 1 "
3
r
, ,
" 1 "
3
N
, ,
" 1 "
3
?
,
. ,
. ,
3
n = 30 n = 30
<
<
simile
3 3 3 3 3 3
D
o o
h h
oAb ,oAb
- -
o ac
o o
o o
(doppeltrill)
0
<
<
simile
3 3 3 3 3 3
sf
,
" 3 "
H
c
0
,
" 3 "
,
" 3 "
3 3
h
secco "
f
~
j
sf
. ,
1
{
5
<
<
1
simile
<
3
3 3
,
,
8
.
P
"guiro"
" 3 "
j
,
sf
. ,
" 3 "
j
,
sf
,
" 3 "
3
3
(play the C and begin immediately the "guiro" gesture)
.
B/uUbUuUbUuuUbUUUUb
" fff "
sf
j
.
j
,
IV
pizz.
MP!
sf
.
punta
U
,
0
,
ppppp
U
,
3 3 3
flaut.
legno
(PRMT)
ppppp
,
,
,
,
,
,
sss
,
,
8
,
,
3 3 3 3 3 3
3 3
i
3
.
3
?
.
s
<
0
J
3 3
B2
J
.
.
<
0
J
j
3 3
J
.
.
s
<
0
J
j
3 3
|
.
~
^
0
J
sf
3
3
<
j
,
-
,
sf
.
,
,
f
rim
5
3
1
,
3 3 3
j
,
sf
,
.
j
,
3 3
3
(sic)
sf
J
" fff "
sf
" fff "
j
sf
3
3 3
j
j
3 3
..
.
,
l
o
ppppp
,
3
.
.
.
,
, l
o
ppppp
,
8
3
,
,
ppppp
3 3
-
.
" 1 "
.
.
simile
3
j
,
.
simile
B/uUbUuUbUuuUbUUUUb
3
?
j
.
j
3
.
.
.
,
8
,
0
.
.
.
,
0
,
z zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz z
z zz zz zz zz zz zz zz zz zz zz zz zz zz z
l ll ll ll ll ll l l ll l l ll l
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
sssss ss ss sss ss ss s
~~~~~ ~~~~
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
WW
W
W
W
W
W
W
W
WW
W
W
W
W
W
W
W
WW
W
W
W
[13/35]
7
r
|
r
?
t
?
r
?
|
|
|
|
r
?
?
?
r
r
N
?
R
4
3
8
3
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 120 n = 120
58
<
0
cant. ma da lontanissimo
j
3 3
b
.
ppppp
b
.
pppppp
.
9
y
.
fast beatings
ppppp
.
-
.
9
S
" fff "
<
<
s
" 4 "
.
9
S
" fff "
<
<
+footpedal
2
. .
,
, s
,
.
9
,
,
ppppp
.
pppppp
.
58
,
,
f
. .
,
ppppp
. .
legno batt.
ric.
sf
\IDDDDbDDDdbDDddbddddddbDdbDddbddddddb
" 3 "
f
.
, j
,
0
.
V
legno(sss)
ppppp
,
IV
, , , ,
J
.
0
<
3
3 3
,, ,, ,,
J
<
J
o
3 3
.
,
s
s
<
ppppp
,
.
.
,
<
,
. g
fast beatings
9
.
0
,
ppppp
.
t
ppppp
. ,
.
, +
ppppp
, g , b , , g
, + ,
, g , b
IV III II
try to make the bow changes inaudible
, g
ppppp
III
, +
IV
,
, , g
try to make the bow changes inaudible
r
,, ,, ,,
~
.
.
,
s
l
<
.
.
,
s
<
,
.
.
,
s
<
, s
. b
ppppp
.
pppppp
sf
j
very slow beatings
9
0
<
.
b
.
,
?
y
fast beatings
(pppp)
, + ,
, g , g
, + , +
, g ,
, ,
, +
crini
III
.
. , d
IV
sf
?
, , ,
8
, , ,
,
,
s
<
,
, .
.
,
s
l
<
8
, s
.
.
,
s
<
, n
U
Q
o
j
sf
|
j
9
, g , g
, + ,
, , g
, + ,
, g
,, ,, ,,
, +
sf
"pizz."
.
.
.
.
,
,
s
s
s
<
,
,
l
s
s
<
,
t
" 4 "
,
e
sf
,
8
.
" 3 "
n
?
center
/
" 3 "
,
rim
sf
~
.
improvisando
sf
7
9
< ,
sf
,
.
.
P
"guiro"
" 3 "
sf
j
,
ppppp
j
very slow beatings
ppppp
, g
, + , +
, g ,
9
,
, , n j
-
\
" 1 "
legno(sss)
, ,
-
\
legno
"colored noise"
IV
" 3 "
,
sfz
.
, , ,
ppppp
,
r
sf
.
.
.
<
.
,
,
<
j
,
r
,
a
9
<
, , n j
-
\
ssssssss
....
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
i ii i i ii i i ii i i ii i i ii i i ii i
s
s
s
s
s
s
............
[14/35]
7
r
|
r
|
t
?
r
?
?
|
|
|
o
|
r
?
|
r
r
N
?
R
4
3
4
4
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 80
65
b
, b
" pppp"
J
,
,
8
,
, ,
.
.
<
p
.
" 4 "
.
e
,
sf
.
0
.
s
sf
. s
" 3 "
, s
.
0
.
,
H
c
"scrape"
c
" 1 "
.
0
,
-
.
" 3 "
-
.
,
sf
rim
7
.
I,
,
p
.
r
j
p
o
3
b
. .
.
,
" 3 "
P *)
*) play the C and begin immediately the "guiro" gesture
b
molto secco
f
. .
j
,
sf
B/uUbUuUbUuuUbUUUUbUUUUUUU|
" 3 "
.
;
sf
65
, ,
-
ppppp
legno(sss)
, ,
-
<
.
, ,
-
, ,
-
<
. , ,
-
, ,
-
<
5 5 5
s
J
,
, s
0
,
,
,
,
f
,
flaut.
legno
0
,
,
-
.
,
,
-
,
,
-
5 5 5
(PRMT)
sf
" 4 "
.
s
" 4 "
b
" 4 "
" 3 "
.
.
" 3 "
.
" 3 "
simile
3
|
. ,
" 3 "
sf
,
" 3 "
j
,
.
w
.
w
r
;
sf
.
r
I, ,
-
I, ,
-
<
, ,
-
, ,
-
<
9
.
5 5 5
sss
,
,
-
I
,
,
-
8
5 5 5
n = 56
.
r
cant. ma da lontanissimo
9
j
<
.
n
<
.
5
5
5
j
s
(approx.)
l
s
s
I s
f
prestissimo
.
r
" 3 "
.
.
" 4 "
. .
3
9
r
9
" fff "
S
<
<
< .
<
<
+footpedal
,
,
f
. .
,
, s
,
.
9
.
ppppp
. .
b
+
fast beatings
9
.
.
,
l
l
38
.
.
.
simile
.
,
,
,
,
f
U
. .
j
, , n j
ppppp
crini
suono mobile
, ,
<
8
j
<
I
5
5
5
. ,
.
pppppp
velato
, ,
5
. ,
.
pppppp
velato
, ,
5
very slow beatings
.
.
.
, , , , , ,
9
" 3 "
sf
,
J
, ,
J
, ,
<
9
o
.
0
3 3
3
,
J
, ,
J
, ,
<
9
w
.
fast beatings
0
3 3
3
" 1 "
.
f8
s
sf
s
.
"sffz"
3
3
8
.
j
,
w
3
3
s
"
s
3 3 3
3
(if needed)
?
~
j
0
<
,
,
,
<
,
J,
" 3 "
3 3
3
~
9
j
{
p
,
3
i
j
3
3
3
3
f
,
,
molto secco
U
sfz
3
3 r
j
.
,
j
z m
j
.
K
0
j
sfz
3 3
ppppp
j
J
b
;
sf
3
3
,
r
y
-
-
,
-
8
,
-
r
,
r
-
,
o
3 3 3
j
,
b
b
ppppp
ppppp
,
3
3 3
s
-
3
molto secco
IV
pizz.
MP!
sfz
3
3
,
, j
,
,
ppppp
J
,
,
legno(sss)
l ll ll ll l
i ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii i
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
l ll l l ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll l
s
s
s
s
s
s
WWWWWWWWWWWWWWWWWWW
[15/35]
7
?
r
r
r
t
?
r
?
?
|
|
r
?
r
r
r
N
?
R
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
q = 40
70
70
.
.
0
rub mic (low)
,
[low resonance]
,
.
.
C
. ,
-
/e/
ppppp
.
,
,
sf
,
/e/
0
.
,
/i/
0
, +
legno(sss)
0
s
,
sf in pp
.
,
,
j
s
,
,
,
,
C#
u
sfin pp
.
.
rub mic (high)
0
.
/a/
simile
0
,
,
8
,
,
,
,
o
. ,
/i/
0
. , b
o
3
3
,
,
0
.
.
,
, b
o
3
3
j
very slow beatings
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
[16/35]
7
r
r
r
r
t
?
r
?
|
|
r
?
r
r
|
|
N
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
76
,
, s
. ,
/e/
76
,
,
,
,
,
,
/i/
.
.
, +
legno(sss)
0
(non dim.)
(non dim.)
,
,
,
,
,
,
p
J,
/a/
3
, , n j
,
,
,
,
,
,
. ,
/o/
,
/e/
.
,
/o/
.
. ,
-
x
0
, +
IV
legno(sss)
9
.
.
,
,
o
,
/(a)ch/
J
8
3
j
.
rub mic (low)
8
3
o
qqqqq
[17/35]
7
r
r
r
r
t
?
r
?
|
|
|
r
?
r
r
|
|
r
r
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
82
S
" 1 "
9
.
.
b
m
82
,
-
/i/
0
, b
o
3
3
,
0
.
.
,
, b
o
3
3
,
/(e)ch/
.
.
,
/o/
.
,
,
s
l
,
,
,
/i/
,
/o/
,
, s
,
,
8
,
,
. ,
/a/
,
,
o
. ,
b
,
/i/
r
N
|
[18/35]
7
r
r
r
r
R
?
r
?
|
q
|
|
r
r
|
r
N
r
|
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 36-40
87
" 3 "
.
" 1 "
|
87
.
,
.
" 4 "
t
.
" 4 "
. .
m
[VOL: 10]
0
3
,
9
rim
. .
h
0
.
J
r
0
H
3
0
. .
sf
. .
" 1 "
B/UUUUU|UUU|UU|
,
?
,
y
" 1 "
t
rall. n = 80
J
ppppp
J
<
3
3
s
J
prestissimo
(approx.)
s
j
l
s
s
. ,
ppppp
,
,
<
. ,
,
,
<
,
,
,
<
9
3 3 3
.
ppppp
<
.
<
b
<
9
3
3
3
i
3
. .
r
.
, s
.
ppppp
I
,
. ,
.
5
5
5
legatissimo, as if it were a very long line -play
"across" the rests as if they were written out
diminuendi.
j
*) pitch ad lib.
*)
j
<
<
9
cant.
5 5
F5
B3
3 3
f
8 sf
.
Q
" 4 "
3
.
,
" 3 "
,
-
.
,
,
,
+footpedal
.
.
,
^
l
3
.
,
^
,
^
.
,
^
J,
a
3 3
|
.
3
r
+
fast beatings
3
m
,
/f(u)/
3
S
3
,
,
,
,
U
" 1 "
. .
, , n j
- legno(sss)
ppppp
,
simile
,
3 3 3
,
,
,
,
U
" 1 "
. .
J
<
.
9
3 3 3
,
,
,
<
,
,
<
ppppp
3 3
<
b
<
ppppp
3
3
. , s
.
I
, ,
.
5
5
5
. s
<
5 5
B7
. .
J
"sffz"
0
?
.
sf
.
.
.
. .
very slow beatings
9
cant. ma da lontanissimo
J
9
J
o
3 3
3
,
9
,
, j
,
,
3 3 3
<
.
.
<
.
niente
3
3
fromviolin I
. , s
J
,
. ,
5
3
5
l
@
J ,
" pppp" / p
m
[VOL: 1]
3
7
~
j
J,
8
,
w
2
1
0 sf
<
,
3 3 3
|
J
. P
"guiro"
" 3 "
,
,
8
3
3
r
.
.
.
.
.
.
ppppp
J
3
J
b
3
,
,
J
,
,
p
J
,
,
f
3 3
.
.
,
, j
ppppp
3
|
J,
- crini
IV+V
" 4 "
j
,
3 3
|
s
s
s
s
s
s
WWWWWWWWWWWWWWWWWWWW
l ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll ll l
..........
s
s
s
s
s
WWWWWWWWWWWWWWWWWWWWWWW
i ii i i ii i i ii i i ii i
[19/35]
7
r
r
r
r
t
?
r
?
|
|
|
|
|
r
?
r
r
r
r
N
|
|
4
5
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
-
92 . r
<
9
poco vib.
n . r
<
0
n
3
,
0
0
s
0
,12
,cc
, c
,Bc
-
c
c
G#c
.
.
,
s
l
. , l
. , l
3
3 3
[ON/OFF]
3
J,
" 1 "
x
rub megaphone on cloth
3
J
l
m
J
[VOL: 10]
J,
7
sf
,
3
cluster, the upper note should be the
nearest note to the pitch sounding as a
result of the action in violin II on the next
measure
sf
3
|
92
, l
.
9
vib.
3
" 3 "
3 3
y
" 3 "
3 3
3
, ,
,
<
. , ,
,
<
<
<
s
<
. s
<
. , l
.
.
,
s
. ,
,
,
3 3 3
b
.
<
9
<
9
o
.
j
3
3
,
w
,
<
0
J,
<
o
3
3
- .
sfz
9
vib.
, l
.
9
vib.
9
vib.
3 3
simile
3 3
,
,
,
j
j
J.
-
3
a
hit with knuckles
0
3
t
J
B/uUbUuUbUuuUbUUUUb
" 1 "
3
" 4 "
3
J
,
, s
,
8
3
" 3 "
3
?
J
3
n = 60
.
<
0
.
{2=3=4;=2=3=4}C#
ppppp
(as a shadow of Kontraforte)
, j
-
ppppp
(as a shadow of Kontraforte)
, n
3
" 3 "
s
ma audibile
8
,
s
, j
.
9
S
" 1 "
<
.
<
.
" 3 "
E
.
.
9
" fff "
7
9
<
,
s
sf
. .
,
a
9
<
.
j
j
9
o
3
.
f
. .
.
.
:
9 sf
:
J
:
o
3
3
f
. .
J
<
8
.
J
<
0
3
3
{2=3=4;=2=3=4}C#
ppppp
s
5
, n
-
, d
, j
-
, d
, g
- , d , n
-
, j
5 5
3
,
velato
J
, ,
0
J
,
o
3
3
3
,
velato
J
, ,
0
J
,
o
3
3
3
. , j
. , n ,
, s
,
. , ,
,
,
i.
Q
i.
,
,
,
bend
,
.
<
,
,
,
,
bend
,
. ,
<
crini
quasi pont.
8
,
,
j
<
.
,
,
,
<
III,IV
, +
crini
quasi pont.
8
, ,
<
.
,
, ,
<
II, III
R
ssssssssssss ssssssssss sssss
.... ...
oo
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
WWWWWWWWWWWWWW
[20/35]
7
?
r
r
r
t
?
r
?
?
|
|
|
7
r
r
r
N
r
R
4
5
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
97
. , +
sf
"pizz."
.
.
{2=3=4;=2=3=4}C#
<
<
0
cant. ma da lontanissimo
, g
,
o
,
c
s
, j
s
3 3
3 3 3
diff. fingerings
" 3 "
, j
s
" 3 "
, s
3
s
, j ,
, s
p
, j
ppppp
,
<
,
, s
, j , ,
, s
.
sf
.
" 4 "
b
sf
sf
E
. .
" 3 "
<
,
,
rim
molto secco
sf
pizz.
plectrum
. .
<
,
,
sf
97
.
,
" 3 "
s
3
molto secco
sounding:
s
j
r
, +
legno(sss)
ppppp
?
, ,
ppppp
(always a shadow of Kontraforte)
legno(sss)
, ,
<
,
, j
, ,
, ,
<
,
, j
n = 30sub.
9
, , , ,
9
, ,
, , , ,
9
, ,
n
9
,
, s
, n
,
j
,
s
, j
<
,
j
<
cant.
. ,
,
, j j
,
5 5 5
.
" fff "
.
.
f
j
|
[ON/OFF]
.
. .
" 1 "
x
.
,
.
3
8
.
;
sf
.
. ,
s
p
.
" 3 "
.
sf
3
J
,
5
,
8
3
3
,
"sffz"
.
.
y s
9
legno
,
,
j
l
j
9
suono mobile
.
<
f
8
<
5
8
J
o
3 3 3
N
,
IV
pizz.
MP!
" 1 "
.
0
legno(sss) s
II,III,IV
, j
-
, , s
, , j s
,
-
,
, , n j
-
, ,
-
, j
-
, ,
, , j s
-
, j
-
, ,
,
-
, ,
3 3 3 3 3 3 3 3 3
rall.
n = 45
j
{==4;=2=3=4}C
, n s
{=3=4;=2=3=}D#
n
2
s
<
{==3=4;=2=3=}D#
, n
8
-
.
5
r
f
\IDDDDbDDDdbDDddbDdDdbDdDdb
stacc.
0
.
, r
-
(always a shadow of Kontraforte)
ppppp
, d
, n
-
, j
.
, j
simile
, n
5 5 5
,
o
. .
, r
.
pppppp (as a shadow of english horn)
, . , n
.
. , , j
.
5 5 5
,
o
.
i, d
.
(as a shadow of english horn) pppppp
. , , j
.
, i, n
. 5
5 5
j
s
j
sf
, s
0
H
, j ,
, s
<
, s
w
, j
cant. 8
,
, s
s
,
-
s
,
- , j
<
5 5
01346 01346 01346 01346
f
s
.
j
<
.
0
.
3
.
s
.
s
<
s
j
s
s
j
o
3
3
s
<
9
ppppp
2
9
b J
j
n
o
3 3
F2
v
ppppp
3
. ,
/
" 3 "
,
sf
.
H
r
7
j
,
<
9
,
sf
8
.
o
s
3
s
9
.
-
sf
.
. . ,
,
s
\IDDDDbDDDdbDDddbDdDdbDdDdb quasi ric.
sf8
0
.
.
.
d
d
.
ppppp
legno(sss) MT!
.
.
8
++granular
T
3 3
.
f
crini
.
.
s
s
.
ppppp
legno(sss)
MT!
.
.
8
++granular
T
3 3
" 4 "
,
"sffz"
.
,
,
j
l
j
ppppp
3
r
,
, s
n
<
5
,
,
b
.
J
legno(sss)
3
play the pitch resulting from the action
played by perc. 1, as flageolet (you actualy
anticipate it, since perc plays later, so it
sounds as if it takes the pitch from cello and
not the other way around)
, ,
-
crini
f
.
sfz
j
s
,
-
V
sf
legno(sss)
suono mobile
, ,
IV+V
0
, ,
, , j
s
V
, , ,
IV+V
j
, ,
, , j s
, , , ,
5 5
(becoming independent from kontraforte)
J,
e
,
8
3
|
j
s
<
{2=3=4;=2=3=4}C#
.
2
.
.
.
<
3
3
, , j
, b
o
,
c
, g
, r , n
, b
, j
9
, d , n
5
5 5
5
, . , n
simile
, b , i,
, j
5
5
. , , j
simile
,
. , g i, , j . ,
, n
5
5 5 5
s
, l ,
,
<
s
,
, s
, l
w
s
,
<
=
=
s
, s ,
<
,
=
j
molto cantabile
p
, s
5
5 5
r
8
.
,
< w
0
.
,
,
<
,
,
<
r
0
|
,
,
8
ppppp
o
ppppp
take pitch from action in piccolo
J
" 3 "
o
0
legno(sss)
s
,
, s
n
<
p
.
.
.
,
b
o
3
3
3
, , j s
/
, ,
<
, , , ,
-
sf
.
.
.
, , j s
-
, , .
, , j s
, ,
j
, ,
,
.
.
, ,
.
, , j s
-
5
ssssss
qqqqqqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
ssss
/ \ / \
/ \
[21/35]
|
r
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r
r
t
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r
?
r
|
|
|
r
r
r
|
r
?
R
4
3
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 30 rall.
101
J
o
3
0
. s
3
<
8
<
<
.
3
, = , , j
, g , b
, r , n
.
, j
3
3
3
j
,
, d ,
. , g
, r ,
8
3 3
,
, j ,
. , s , n ,
8
3
, ,
, s
-
s
s
<
,
, j ,
, s
, n
, j
3 3
3
8
.
. .
.
sf
>
" 3 "
s
>
" 3 "
.
t
0
.
,
bend with arm
.
,
- center
0
j
,
6
[rub the side]
0
3
secco
pizz.
plectrum
sf
,
3
pitch from viola
?
knuckles
0
.
t
"sffz"
101
,
IV
8
pizz.
.
r
J
, +
legno(sss)
IV
3
r
N
. .
,
-
crini
8
.
legno(sss)
0
, ,
P
++press.
, , s
T
, ,
P
, , s
T
. , ,
P
, ,
T
the (change of) contact point
should make a pitch of its own,
going from lower (pont.) to higher
(tasto)
J,
e
3
s
0
<
8
j
sf
, d
,
.
, ,
, r , d
, r , n
, n
, D
<
, r
, n
p
j
, j
3
3
3
, d , n
9
, r , n
, r ,
. , D
, n
3
3
, , , ,
9
. , d
, n , . , r , j
3
3
b
, n
<
, b
" 4 "
, n
w
,
<
, b
s
, l
b
, b
j
s
, j ,
, s
,
j
-
<
3
3 3 3
sf
.
b
.
ppppp
3
sf
.
.
ppppp
3
v
0
j
" 3 "
~
Q
7 ,
8
3
o
,
8
,
,
9
.
small cluster, highest pitch: from piccolo
|
r
,
,
.
,
,
, s
.
ppppp
,
,
,
.
8
0
r
,
,
, s
.
. .
. . .. . .
..
,
,
,
f
r
x
IV
punta
" 1 "
,
, s
"sffz"
.
f
T
-
quasi pont.
punta
" 4 "
, s
sf
s
<
,
n
<
crini
6
,
,
b
3
, j
8
arco mobile
P
,
<
,
-
w
, j
, ,
-
3
R
,
, j
P
IV (-28 cents)
, s
V
,
-
9
, s , s ,
p
3
the IV and V strings are notated each in its own staff
c= 52
j
,
,
,
s
0
,
o
.
s
3
?
j
p
3
j
p
3
sf
,
,
,
8
, s .
.
,
b
b
, b
<
p
3
3
n
sf
. .
b
.
s
9
!!"aaabbabcbacdcaaaa""!
p
j
.
o
3 3
j
sf
.
. b
.
bright
medium
dark
,
[VOL: 1]
"
p
"
,
[VOL: 10]
[VOL: 1]
3
.
3
3 p
,
,
o
.
,
sf0
1
3
m
,
improvisando
n/ ppppp
3
fluctuate between the given dynamics
,
w
. ,
8 o
3
, J,
<
8
o
s
" 3 "
.
3
3
.
.
.
30
.
K
8
.
o
K
9
3
3
.
,
,
,
, s
n
.
pppppp
,
,
,
9
, ,
,
,
, s
f
.
5
3
.
,
,
, s
.
,
,
,
.
5
3
o
r
6
J
p
J
.
, x
" 3 "
,
"sffz"
j
, s
3
3
3
some other flag.
[from picc.]
punta
-
.
-
.
s
T
9
3
3
(pitch from picc.)
,
" 3 "
quasi pont.
,
sf
T
j
, s
3
,
,
w
s
-
,
,
-
,
,
-
p
,
-
,
,
-
, , n j
-
, ,
-
, ,
-
6
-
,
,
g
s
-
3
3 3
3 3
j
, s
, j
H
8
, ,
, s
<
, j
<
, j
-
, ,
,
3
j
, j
, s , , , s ,
p
, ,
f ten.
3
ssss ssssssss
o
o
oo
sssssssss
legno
sssssss
ss
sssssssssssssssss
s
s
s
s
s
s
[22/35]
7
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r
r
t
?
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?
|
o
|
r
t
r
r
r
r
N
?
R
R
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
c=72
104
!"aabbcbcbaa""!!
ppppp
poco vib.
.
o
3
fromperc. 2
, b
<
,
,
,
3
r
J,
,,<
,,}h
,,c
,,c
,,-
,,c \
,,c
,,o
Eb
,
, b
<
, ,
, b
3
3
j
. , y
r
<
8
0
j
3
cc
c
HcC#
-
c
c
o
12
cc
c
cC#
-
c
c
o j
,
9
J
o
3
|
r
J
,
,
niente
3
approx. pitch of piano
j
.
.
j
<
0
o
3
b
b
<
0
3 2
12
j
9
j
.
.
.
j
<
0
o
3
B4
^
~
.
.
pppppp
"white noise"
J
3
7
,
p
,
0 sf
J,
<
j
,
3
3
|
!!!"""babcbcdaaa""! !!!"""babcbcdaaa""! !!!"""babcbcdaaa""! !!!"""babcbcdaaa""!
m
<
,
hit against mic
3
3
D
sf
on the beat
0
sf
.
p
,
w
suono mobile
9
0
. ,
.
.
8
0
5
?
104
j
, , s
" 3 "
crini
j
9
legno(sss)
. , j
legno
IV
P
T
3 3
j
,
" fff "
IV
pizz.
,
b
b
b
5
,
o
3
3 3
r
9
. n +
0
.
o
j
B/UUUUU|UUU|UU|U|U|u|
legno batt.
sf
3
3
3
fromperc 2
r
N
, , s
legno(sss)
8
P
sf
T
, j
quasi pont.
III
,
,
D
9
IV
,
simile
3
3 3
r
, j
, s
.
o
,
j
, j
.
o
J, j
legno
0
, , , J
,
,
,
b
b
<
crini
MT
3 3
*)
9
3
*) pitch: what E.H. will be playing at
the beginning of the next measure
< ,
,
8
, b
< ,
,
o
3
,
,
<
8
, ,
, b
,
,
. ,
<
o
3 3
j
<
8
<
o
s
8
cant. ma da lontanissimo
o
3
3 3
ocA
c
c
-
cE
c
c
Fc
.
\IDDDDbDDDD dbDDD ddbDDdD dbDD dD db
0
o
3
.
s
.
\IDDDDbDDDD dbDDD ddbDDdD dbDD dD dbDdDdbDddb
w
<
8
cant. ma da lontanissimo
vib.
3
3 (o = voice)
ppppp
.
pppppp
o
only enough to mask the entrance of accordion
. ,
.
.
,
o
3
ossia:
. ,
3
,
,
,
, s
n
.
pppppp
suono mobile
,
, ,
,
,
, ,
,
,
,,
,
,
,,
,
9
,
,
,
,
ppppp
3
,
,
, s
.
,
,
,
,
,
,
,
,
,
3
m
[VOL: 1]
bright
medium
dark
rub megaphone on a surface (cloth, skin, hair, etc.)
according to the indication given (bright/medium/dark)
m
[VOL: 1]
bright
medium
dark
rub megaphone on a surface (cloth, skin, hair, etc.)
according to the indication given (bright/medium/dark)
pizz.
8
3
,
,
b
II
,
, j
,
,
D
p
,
,
,
3 3 3 3
,
,
,
b
b
8
J
,
,
, s
0
legno(sss)
,
,
,
,
,
,
,
j
f9
,
,
,
j
-
,
,
-
8
,
,
-
,
.
.
,
,
s
.
crini
,
change bow ad lib.
3 3 3
rit.
vib.
o
s
" 1 "
8
, n
.
ppppp
3
3
" fff "
?
*)
.
<
9
s
f
sf
j
, b
ppppp
3
3
3
*) find a multiphonic (M) which has sounding g- as its lowest note. begin with the
upper note of this M (whichever that might be) and reach for the whole M. then go
down to the g- and, from then on, a gliss to f#.
>
}h
c
c
-
c /
c
c
j
8
.
" 3 "
p
3
3
8
6
, n
s
, j
,
,
s
,
2
s
,
,
,
g
<
5
vib.
3
3 3
b
" 3 "
.
s
.
" 1 "
j
sf
bright
medium
dark
m
. ,
[VOL: 1]
"
p
"
,
[VOL: 10]
3
[VOL: 1]
,
//
[VOL: 10]
,
a
,
-
.
" 3 "
.
.
. .
.
.
.
.
8
K
3
s
2
. .
. .
. ,
[VOL: 1]
"
p
"
x
,
[VOL: 10]
3
[VOL: 1]
3
x
,
[VOL: 1]
"
p
"
3
,
-
quasi pont.
. .
, s
" 1 "
MT!
J
,
, + ( )
crini
,
,
,
, s
f
, ,
3
3
?
,
,
,,
,
,
, ,
, , , s , ,
++press.
J, , , ,
3
, ,
sf
crini
J, ,
0
, ,
3 3 3 3
qqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqqqqqqqqqq
oo
oo
ssssss
legno
ssssssssssss
WWWWWWWWWWWWWWWWWWWWWWWWWW
[23/35]
7
?
r
r
r
t
?
r
?
|
|
|
|
r
r
?
|
N
?
R
4
3
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
7
c =60
107 ,
,
,
,
p
,
2
{2=3=4;=2=3=4}C#
s
<
9
<
s
8
5
3 3
trillo legatissimo!
|
j
r
. ,
<
,
,
b
<
. ,
<
8
,
, b
<
,
,
.
o
5 5 5
j
|
j
sf
j
"sffz"
. j
.
da lontano
123
sfz
. .
j
.
"sffz"
. j
.
da lontano
g
B1-
~
7
sf0
<
,
bend
,
<
8
,
bend
5 5
.
m
,
<
,
<
0
.
,
<
j
o
.
,
<
,
<
n w
. .
,
<
<
<
9
<
o
5 5
(mute as fast as poss)
r
3
,
suono mobile
,
<
J
8
J
9
5 3 3
|
107
.
.
, , s
crini
MT
" fff "
, ,
legno(sss)
ORD
3
,
sf
[VOL: 10]
m
2
.
.
, , s
0
, ,
3
r
<
crini
r
<
3
perc. 2 >
.
, , s
9
legno(sss)
P
J
b
, b
<
,
,
<
5
J,
, ,
, b
,
,
d
<
,,<
,,}h
,,c
,,c
,,-
,,c \
,,c
,,o
Eb
3
5
s
<
j
<
8
0
5 5
i
3
molto secco
. .
, g
Db
, b , g
F
5
R
0
o
s
<
8
g
b
9
p
.
vib.
9
3
5
5
r
|
n
.
da lontano
ppppp
.
o
d
s
.
\IDDDDbDDDD dbDDD ddbDDdD dbDD dD db
sf9
s
123
8
5
j
.
13
b
1
9
.
5
5
.
.
0
.
o
.
" 3 "
.
pppppp
use the softest mallets you can possibly find
.
,
<
0
o
.
,
<
ppppp
,
3
. .
D
sf
on the beat
. .
0
" 1 "
with 2 hands, like a harp
J
8
J
9
3 3
J
B/uUbUuUbUuuUbUUUUb
" fff "
3
r
.
.
9
P
T
, , j
III
IV
8
5
, ,
" fff "
.
.
, , s +
sounding:
0
b
+
8
o
5
<
<
8
<
<
o
i
pizz.
sf
3 3 3
5
d
s
- w
3
. .
, , b
0
, , D
<
, , b
, , b
5
r
, , j s
IV+V
38
, , s
,
,
s
<
III
, , n
^
^
,
, s
^ .
.
,
,
s
s
,
,
p
cant.
5
5
,
,
\
,
,
,
<
8
,
,
b
b
,
, b
<
,
,
5 5 5
, ,
, b
<
8
,
,
d
<
, j
<
, n
2
, , ,
,
,
,
d , d
<
5 5 5
. j
j
<
8
.
.
<
i
o
5 5
5
r
,
p
molto cantabile
,
, n
o
j
H
5
t
i
o
5
r
.
+
.
8
cant.
5
7
,
suono mobile
,
2
,
-
,
5 5
j
,
,
,
, s
n
.
pppppp
,
,
,
,
suono mobile
.
. .
. .
. .
.
,
,
,
,
2
s
n
J
,
,
,
n
s
,
,
,
.
.
.
,
,
,
,
,
, , D
<
8
, , b
, , b
, , D
<
I
, , b
0
.
,
,
+
d
III
legno(sss)
IV
0
5 5
inaudible at beginning
,
,
9
, , , s
<
p
, , , ,
<
2
, ,
++press.
++granular
++beatings
*)
, ,
<
-
, , ( )
-
*) only overtones,
pitch unrecognizable
*)
5
5
*) NB: the increased pressure does not imply, by any means, a harsh, agressive sound. A
sound should be produced which is almost as if you could "touch" it, and, at the same
time, should never appear "intentional"
qqqq
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
/\
WWWWWWWWWWWWWWW
ss
s
s
sss s
s
sss
P
T
P
T
P
T
P
T
P
T
P
T
sssssss ssssss ssss
[24/35]
|
r
r
r
r
t
r
r
?
|
|
t
r
?
|
|
N
r
R
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
110
,
9
o
5
, .
5
<
9
s
l
< j
o
5
?
. +
.
2
.
5
m
very high
higher
low
feedback resonance:
3 different pitches
<
-
ppppp
.
<
vib.
<
-
-
simile
3 3
3
J .
. . ,
*)
1
sfp
7
5
*) make the bass drum resonate too
. ,
<
0
suono mobile
J
9
"cant."
J
. .
,
<
5
3 3
T
sf
. .
,
.
9
suono mobile
5
d
.
sfz
b
.
subliminale
5
3
I
5
110
[VOL: 5]
,
-
/e/ *) keep vocal actions through the pauses, the rhythmindicates the on/off actions
*)
" pppp"
.
m
. .
[VOL: 5]
,
-
/a/
*)
" pppp"
<
crini
0
3
(same pitch as before)
,
, d
.
.
,
, .
.
.
, n
d
<
*) j
, n
<
espress.
.
<
5 5 5
*) III: 9th overtone
IV: 12+13th overtones (double flag)
?
.
sfz
-
8
3
3
j
-
8
3
3
. j
.
ppppp
<
J
o
3
3 3
B123
.
.
ppppp
<
J
o
3 3 3
B4
.
vib.
.
vib.
9
.
ppppp
3
3
3
3
2
5
,
2
. ,
bend
3
j
sf
ad lib.
0
,
3
r
p
8
p
r
poco
.
.
.
sfz
|
. ,
-
/e/
.
,
m
,
f
3
,
-
/e/
.
,
-
/a/
.
,
8
/f/
.
simile
3 3
.
B/UUUUU|UUU|UU|U|U|u|
legno batt.
ric.
,
9
. .
3
i
3
. .
.
+
j
.
8
3
, ,2 ,2 ,2 ,2
, n3 n3 n3 n3
4 44 4
- -- -
A2 A2 A2 A2
B BB B
D# D# D# D#
7
s
\
" fff "
sf
3
b
g
3
i
o
5 5
" 3 "
sf
.
s
0
j
3 5
3
ocA
c
c
-
cE
c
c
Fc
s
" 3 "
sf
. 3
,
,
g
p
espress.
, b
<
vib.
" 3 "
o
. ,
inaudibile
0
,
,
3
5
3
R
s
sf
.
b
-
.
ppppp
-
-
-
-
b
-
-
-
-
6
3
5
5 5
r
*) pitch ad lib.
*)
s
-
.
ppppp
-
-
-
-
-
s
-
-
-
j
-
6 5
5
b
B/uuu|U|U|UU|UUU|UUUUU|
sf
g
<
f
sf
b
.
9
.
b
-
.
ppppp
-
-
-
-
-
6
3 5
5 5
^
j
ppppp
.
3
5 5
-
.
" 1 "
ppppp
6
3
. .
+footpedal
. .
b
b
3
,
b
.
0
//
" 1 "
3
.
.
.
.
.
sfz
.
K
8
. .
t
" 4 "
i ,
,
,
, s
n
.
pppppp
,
,
,
,
2
3
5 5
r
j
" fff "
I
,
,
, s
3
5
r
,
sfz
. .
,
f
.
.
,
"
p
"
B
I.
3
5
,
x
IV
" 1 "
,
j
, s
MT!
sf
3
|
, b
IV
tall.
2
,
, n
,
III
, b
p
, n
,
IV
" 1 "
,
sf
MT!
.
, +
.
III
0
legno(sss)
3
5 r
, , s j
3
,
, n
s
, , s j ,
,
j
s
-
p
,
,
-
,
, s
-
,
,
s
-
,
,
, , s +
<
2
, ,
beatings = ~df5 ffg
f
I
2
molto tenuto
++press.
-
j
5
5 5
qqqqq
ssssssss
qqqqqqqqqqqqqqqq
qqqqqq ssss
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
P
T
[25/35]
7
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r
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R
r
r
?
|
|
|
r
t
r
r
|
|
|
r
R
4
3
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
C Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
7
113
8
2
<
b
3
.
, g
,
j
,
9
vib.
3
p
j
o
. , j
.
ppppp
, ,
3 3
.
, r
.
ppppp
, ,
,
,
,
,
8
, , j ,
,
,
s
2
, ,
, s
, g
2
,
,
2
. ,
, g
3
3
->Bb
C
#
F
l
s
.
0
j
valve
+
3
MUTA IN Bb TRUMPET
m
. ,
quasi improvisando
ppppp
,
2
3
sf
c
.
,
J s
r
9
3
j
sf
,
ppppp
. ,
suono mobile
J
8
3
ad lib. with 2 hands (and 2 superballs, of course)
.
,
T
sf
//
J
g
0
g b
o
3
b . .
113
,
-
/e/
8
,
/a/
8
r
.
. ,
-
crini
" 3 "
x
N
, , , + j
<
III
II
9
,
, , , + j
<
,
, , ,
3
|
.
B/UUUUU|UUU|UU|U|U|u|
crini
ric.
" 3 "
,
.
rit.
o
, . , ,
9
.
5
(only air)
, . , ,
9
.
5
(only air)
J ,
2
o
3
, ,
,
,
-
//
,
,
<
9
,
3
3
3
.
7
,
8
2
. ,
,
higher flageolet
2
,
2
5 5
w
. ,
8
2
. ,
8
2
5 5
J
0
.
3 5
,
/a/
8
. .
<
crini
0
.
.
,
-
" 4 "
5
?
n=52 q = 40
.
s
s
9
3
3
3 3 3
s
\
" fff "
sf
3
.
o
s
0
s
<
.
5
5
oc
Hc
Bc
-
c
c
Fc
.
o
s
<
.
5
5
,cc
,c
,Bc
,-
,c
,c
G#c
J,
0
3
j
.
ppppp
<
s
-
9
3
.
.
s
.
falsetto
s
3
5 5
3
3
?
<
ppppp
s
n
9
o
`
j
b
+
o
sf
5 5
3
different fingerings
ppppp
<
b
B/uuu|U|U|UU|UUU|UUUUU|
sf
g
2
3
sf
b
9
5 5
3
3 3
, . ,
2
,
.
,
-
,
,
,
3 3
9
.
0
o
3 3
"
~
,
5
,
2
sf
hand vib.
+footpedal
3
. ,
center
edge
0
7
f
,
8
.
5
6
3
s
s
2
b
b
b
n
8
" 1 "
3
,
,
,
,
,
,
,
,
.
.
.
.
8
.
K
sf
3
(approx. range)
?
8
" 1 "
b
.
ppppp
3
3
b
3
s
crini
IV
flaut.
,
,
.
. .
3
.
,
,
b
+
-
legno
" 4 "
d
crini
3
.
,
l
j
l
sounding:
punta
,
.
.
.
,
o
3 3
III, IV
,
2
tall.
, b
III
.
.
s
-
8
III
IV
s
2
++press.
*) only overtones should sound
*)
sfz
,
.
III
legno
0
3
3
r
, , + n
2
,
, n
+
,
,
j
s
, , s
,
,
s
p
, , s +
, ,
2
++press.
, , .
.
,
,
2
, ,
-
3
3
|
qqqqqqqqqqq
sssssssssssssssss
qqqqqqqqqqqq qqqqqqqqqqqqqqqq ssssss
WWWWWWWWWWWWWWWWWWWWWWWWW
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW
P
T
[26/35]
7
?
r
r
r
R
?
r
?
|
|
|
?
r
r
|
|
N
r
|
4
3
4
4
Picc.
B. Fl.
E.Hn.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
q = 40
116
,
0
J
,
,
j ,
,
2
. ,
,
, J
,
,
,
,
2
3 3 3
.
pppppp
3
. ,
/e/
8
. ,
<
w
<
.
<
9
.
<
,
9
i
ppppp
J
g
0
b . g
3 5
116
m
,
-
/a/
8
. .
, , s
legno(sss)
" 3 "
, J
.
,
+
double flag.
(III)
8
,
,
,
j
II
III
,
,
<
8
,
0
.
.
, + j
<
p
cant. ma da lontanissimo
3 5
,
suono mobile
(sic.)
.,
double flag.
ppppp
3
5
r
.
.
ppppp
.
.
s
0
(as a shadow of Kontraforte)
3
, g
,
9
vib.
,
.
ppppp
, , ,
9
, j
.
ppppp
, , ,
9
,
,
8
cant.
J,
9
,
,
s
2
. , ,
, s
2
,
,
,
. , g
2
8
o
3
3
J
j
2
o
3
m
,
ppppp
,
,
2
,
,
.
,
,
,
2
3
3
J
<
o
3
knuckles
.
. ,
suono mobile
2
.
2
.
2 3
,
,
1C
3C
1C
J
b
pppppp
3
J
3
,
-
/a/
.
.
,
-
/e/
8
.
, , b +
-
legno
" 4 "
. .
0
crini
3
J
, , + j
o
pizz.
thumb sul pont.
8
.
3
?
J
., ., .
.
.,
2
,
3
t
rit.
. . .
o
5 5
,
.
o
MUTA IN OBOE
.
, .
o
. s
s
0
5
5
.
, .
o
.
s
0
5
5
ppppp
.
.
.
.
s
2
o
5 5
5
.
.
ppppp
.
.
s
2
o
5 5
. j
ppppp
.
.
.
2
. s
-
o
5
5 5
,
,
, ,
,
9
2
. , J
,
,
ppppp
2
3
3
3
r
.
j
~
,
8
7
.
,
2
,
sf
vib.
.
2
.
2
. ,
ppppp
.
0
J
o
5 3
t
.
,
-
/u/
,
-
/a/
.
/e/
8
. .
. ,
" 4 "
x
. ,
,
ric.
legno batt.
8
B/UUUUU|UUU|UU|U|U|u|
pizz.
thumb sul pont.
. .
R
qqqqqqq qqqqqqqqqqqqq
P
T
[27/35]
7
?
r
r
r
R
?
r
?
r
|
|
o
t
r
r
|
|
N
r
R
4
3
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Cb.
Perc. 2
Perc. 1
c=72
119
s
s
o
s
n
<
0
3 3
,
A
, ,
,
8
,
E
2
,
,
j
0
,
<
, s
. ,
/a/
m
8
3
|
7
sf
1
,
8
,
sfz
secco
. |
b
l
sf9
.
0
J
5 3
b
119
. ,
/e/
8
0
crini
, +
.
III
ppppp
, .
.
, ,
II
III
8
,
0
,
.
III
.
,
+
double flag.
(III)
8
5
, +
sfz
, d
pppppp
ossia: highest pitch on the G string
.
.
ppppp
.
<
o
, j
.
ppppp
,
j
9
3
5
12
cc
c
cC#
-
c
c
o
, n
.
ppppp
,
r
9
5
12
,cc
, c
, cC#
, -
, c
c
G#c
,
,
,
j ,
,
<
,
,
,
j ,
,
<
8
,
, , , j
C
#
9
, , s
3
s
.
pppppp
j
2
.
o
.
pppppp
s
2
.
o
J
.
pppppp
s
s .
o
3
m
very high
higher
low
0
bend with arm
,
rim
ppppp
.
,
.
~
ppppp
v
.
0
3
w
9
ppppp
o
.
-
8
. .
t
,
3
b
l
ppppp
3 3
.
,
/u/
. ,
/e/
8
.
,
/e/
. ,
legno(sss)
9
,.
,
,
,
j
II
III
,
,
<
8
J ,
, + j
<
p
cant.
3 3
?
,
J
,
J
, ,
8
o
3 3
|
.
.
s .
.
0
ppppp
-
" 3 "
ppppp
-
" 3 "
5 5
ppppp
-
" 3 "
5 5
, , , ,
, s
,
.
o
b
.
" 3 "
.
" 3 "
,
,
,
2
,
,
I,
5
5
5
, .
. ,
5
r
,
T
9
. .
,
. ,
/a/
,
/u/
[VOL: 10]
.
.
" 1 "
rub mic (low)
.
sf
pizz.
thumb sul pont.
9
.
,
crini
9
I
o
5
R
, +
"pizz."
sf
. .
, j
,
,
. .
. .
. ,
/e/
8
m
.
9
rim
. .
|
8
. .
. ,
ppppp
|
j
sf
b
.
pppppp
l
sf9
b
,
/a/
8
. . ,
/a/
.
,
/e/
8
,
9
legno(sss)
,
.
.
, s
legno
N
, +
.
III
II
ppppp
legno(sss)
.
.
,
,
2
, ,
8
alguien que ya toque el si
r
. .
, +
suono mobile
legno(sss)
, ,
.
qqqqq
s
s
s
s
WWWWWWWWWWWWWWWWWWWWW
[VOL: 1] [VOL: 10]
[VOL: 10] [VOL: 1]
P
T
P
[28/35]
7
?
r
r
r
R
?
r
?
|
|
|
|
r
r
|
|
N
r
R
4
4
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla. Vla. Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
123
.
s
8
o
, j
,
8 sf
.
3
12
ccA
c
c
-
cE
c
c
,
sf
.
8
3
,
,
8
,
2
,
,
j ,
,
. ,
. ,
<
,
,
n ,
,
<
,
3
.
pppppp
3
.
pppppp
3
.
,
/a/
.
,
"white noise"
" 4 "
0
.
5
. ,
sf
b
l
0
.
b
, ,
,
,
, ,
.
3
J
3
123
. .
. .
,
/a/
.
.
.
,
x
" 4 "
, ,
,
0
,
.
,
+
double flag.
(III)
8
,
,
,
j
II
III
,
,
<
,
0
. ,
,
+ j
3
|
9
o
5
5
?
, +
.
0
3
j
,
o
3
j
,
o
3
,
,
,
,
<
p
,
, , , j .
.
, , s
2
,
, s ,
,
n
o
5
5
5
t
.
cant. ma da lontanissimo
ppppp
<
s .
3
5
.
.
2
i
3 5
5
b
.
.
2
I
3
5
5
^
~
sf
-
.
" 3 "
3
J
.
,
1
2
sf9
,
.
,
2
8
sf
3 3
8
3
r
.
. s
0
,
.
j
sf
. .
3
t
, ,
,
,
, ,
pppppp
3
.
3
.
.
/e/
" 3 "
.
,
s
s
f
3
r
.
.
. ,
/e/
sf
, +
3
mute the strings while plucking, no pitch
r
J
, + j
<
p
3
?
,
" 4 "
J
3 3
t
n = 36-40
s
sf
.
p
s
.
o
5 5 5
J,
.
ppppp
s
3
,
3 5
5
b
.
g
012346 012346 012346 012346
f
.
3
, +
.
ppppp
,
.
, n
=
.
,
, , j
2
,
,
2
8
,
5 3
.
f
sf
{0
,
{
U
9
.
U
6
f
. .
H
9
.
9
.
o
.
.
H
0
hand vib.
t
0
s
w
f
. .
5
.
b
pppppp
l
sfz
0
.
2
5
only crescendo enough to produce beatings
b
,
s
,
,
8
s
s
s
U
punta
8
,
-
x
" fff "
.
r
,
s
s
3
vib.
.
.
, , r n
legno(sss)
suono mobile
0
N
,
legno(sss)
batt.
9
, s
.
,
, +
.
III
II
,
, , , n +
8
, +
0
5 r
8
2
. .
I
J
, , + r
-
8
.
.
, ,
(ad lib. only G string)
R
mmmmmmmmm
qqqqqqqqqqqq
qqqqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqqq sssss
T
[29/35]
7
?
r
r
r
t
?
r
?
|
|
|
r
r
|
r
N
r
R
4
3
4
2
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
126
,
,
s ,
,
9
2
,
s
2
2
{==4;=2=3=4}C
, n
J
s
+
8
3 3
, . , , , . ,
9
,
3
,
ppppp
, , . ,
9
,
3
,
,
j
J
,
,
2
pcant.
,
,
,
,
2
,
8
,
2
3
,
8
w
t
. ,
<
.
,
s
j
T
. s
K
5
?
.
b
l
2
5
.
126
.
,
-
legno contro crini
" 3 "
.
C
sf
(make the tailpiece resonate)
r
crini
legno
sf
(III)
.
, b
legno(sss)
legno(sss)
8
, .
.
,
+
8
,
,
,
j
II
III
,
,
<
,
. ,
,
+ j
<
p
. ,
,
j
, d
f
J
.
ppppp
{2=3=4;=2=3=4}C#
s
2
3
,
3 5
5
, s
J, n
= j
b
.
=
p
3
3
s
0
j j
3
3
" 3 "
9
, s
f
j
sf
,
.
.
b . l
f p
b
b
,
,
s
(begind the bridge){
crini
legno(sss)
8
.
(III + IV)
,
crini
legno
" 1 "
x
.
P
n
s
,
, s
b
punta
,
, +
. .
, , + r
-
, ,
" 4 "
,
,
s ,
,
8
,
s
2
{==4;=2=3=4}C
, n
J
s
+
2
3 3
,
,
,
j
2
8
,
,
.
.
,
,
2
p
,
, s
,
, ,
, s
,
o
.
sf
.
3
. ,
3
I
I
b
6
3
3
.
,
IV
thumb
sf
,
l
P
2 5
j
,
, j
MP!
I
II
III
8
" 1 "
|
r
|
,
,
,
, +
8
.
, n
2
,
, ,
2
, , ,
j
, , n d
f
3 3
n = 60
s
-
sfin pp
n
-
8
.
ppppp
.
.
,
,
s
,
, s
=
5
//
=
p
, n
=
=
3
,
=
=
8
j
D
=
3
j
0
2
6
9
3
s
.
5
.
.
9
,
b
, s
.
,
.
. s
. |
. . b
. . b
p
poco vib.
MP!
3
s
T
p
poco vib.
MP!
3
. .
, , + r
-
mmmmmmmm
[30/35]
7
?
r
r
r
t
?
r
?
|
|
|
|
r
r
r
r
|
r
R
8
9
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
130
2
2
2
8
2
2
o
3 3
.
.
,
,
s ,
,
8
, r
.
.
,
,
j
p
,
,
2
6
j
,
3
. ,
w
0
,
3
3
t
l
b
b
3
130
b
n
,
n
b
b
b
P
,
p
o
3
3
s
n
,
,
n
l
P
J
,
,
p
3
N
,
, +
,
,
2
,
,
,
2
, ,
,
j
2
8
,
, ,
2
, , , n d
-
2
o
3 3
J
, , +
" 3 "
J
,
,
3
t
c= cpoco pi mosso
n
b
b
. .
,
8
. .
3
.
,
.
ppppp (covered by other instruments at the beginning)
,
,
,
s ,
, . ,
,
,
8
b
.
0
l
.
38
01123 01123 01123 0112346 46 46 466 66 6
59
simile
8
.
.
3
. , +
pppppp
subliminale
. , , ,
2
,
2
,
8
i
3
. .
s
=
2p
, j
=
, s
=
,
s
l
=
5
,
=
n
=
3
J
, n
,
,
j
8
.
.
,
,
2
,
3
.
.
9
o
.
.
.
9
5
9
3
vib.
s
p
5
r
.
9
.
. .
,
U
c
.
. .
.
sf
rim
"scream"
. .
,
2
9
2
+footpedal
. .
5
s
s
s
9
0
,
.
, ,
s
s l
s
,
,
j
l
,
,
,
j
s
s
,
p
. ,
<
|
.
b
.
pppppp
l
fp
2
.
2
-
.
b . .
p
,
b
,
f
,
s
.
.
.
,
, l
5
o
,
, s
MP
9
MP!
sf
,
,
simile
sf
,
,
sf
5
3
.
.
.
,
, l
9
,
,
3
,
, s
MP
9
MP!
sf
,
,
simile
sf
,
,
3
. .
2
.
.
.
, , , ,
<
, , ,
<
, , , d , ,, n d
<
p
, , d , ,, n d
<
3 3 3
?
s
\IDDbDDdbDddbddddddb
legno batt.
ric.
" 1 "
.
, , + r
" 4 "
,
s
^
2
,
^
,
n
,
s
s
s
s
. , +
8
.
5 5 5
.
,
.
ppppp
J
,
,
s .
.
,
,
,
,
p
,
b
.
0
l
.
38
01123 01123 01123 0112346 46 46 466 66 6
59
simile
8
.
.
3
. ,
.
pppppp
, . , , ,
<
, ,
<
,
e
f
0
2
. .
3
s
=
8
//
, j
=
, s
=
,
s
l
=
5
,
=
n
=
3
. , n
,
,
j
8
,
,
s
n
ppppp
.
9
.
o
.
9
f
9
p
.
s
.
f
3
vib.
5
r
.
9
.
.
2
. . |
,
U
"scream"
c
.
3
.
,
sf
rim
.
,
+footpedal
. .
,
U
"scream"
,
3
,
w
8
<
<
<
<
[ON/OFF]
[ON] 3
.
m
ppppp
[VOL: 10]
3
0
,
,
s
^
sf
.
.
,
0
,
, ,
s
s
s
,
,
,
.
. .
,
f
. ,
<
0
t
|
b
.
pppppp
l
++beatings
3
2
.
2
3
b . .
3
,
p
,
.
.
.
.
,
b
.
.
.
.
,
f
,
p
,
,
s
n
,
, s
,
,
f
,
, s
MP
p
MP!
sf
,
,
simile
sf
,
,
sf
5
,
8
,
2
.
.
+
3
,
, s
MP
p
MP!
sf
,
,
simile
sf
f
.
.
s
s
ppppp
r
.
,
, ,
2
, , ,
2
, , , d
2
, ,, n d
-
, , d
-
3
, ,, n d
-
3 3 3 r
s
.
legno batt.
\IDDbDDdbDddbddddddbdddddbddddbddddbddb
ric.
j
J
, , + r
" 4 "
.
" fff "
R
mmmmmmmm
[31/35]
7
?
r
r
|
t
?
r
?
|
|
|
t
|
r
r
|
r
r
R
4
4
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n = 56
133
, , ,
o
, , ,
. ,
/e/
0
o
133
sf
3
m
m
. .
-
0
rub mic (high)
,
.
.
,
,
/a/
.
5
,
/(e)ch/
0
5
I,
/e/
. .
t
8
5
.
5
.
m
[VOL: 10]
5
.
[VOL: 1]
5
.
.
rub mic (high)
8
5
pppppp
quasi niente
3
.
J
b
pppppp
quasi niente
3
[VOL: 1]
[VOL: 10]
qqqqqqqqqqqqq
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmm
[32/35]
7
?
r
r
r
t
?
r
?
|
|
|
t
r
|
|
r
r
R
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
137
o
3
J
o
.
3
,
/a/
.
5
137
,
/e/
5
. ,
/o/
.
5
,
/e/
,
.
frozen, as soft as possible (try to avoid any fluctuations in dynamic)
3
.
, s
.
frozen, as soft as possible (try to avoid any fluctuations in dynamic)
3
,
.
frozen, as soft as possible (try to avoid any fluctuations in dynamic)
3
b
.
.
.
s
pppppp
quasi niente
.
.
j
o
3
3
.
.
s
pppppp
quasi niente
.
o
3 3
. s
.
.
.
pppppp
quasi niente
j
s
o
3
3
/a/
.
141
.
- rub mic (high)
.
.
pppppp
quasi niente
o
3
.
.
s
pppppp
quasi niente
o
3
.
.
s
s
pppppp
quasi niente
o
3
r
r
t
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmm
[34/35]
7
?
r
r
r
t
?
r
?
|
|
|
|
|
|
|
t
t
r
r
r
r
r
?
t
8
9
8
6
Picc.
B. Fl.
Ob.
Cl. I
Cl. II
C. F.
Hn.
B Tpt.
Tbn.
Vln. I
Vln. II
Vla.
Vc.
Pno.
Acc.
Perc. 1
Perc. 2
Cb.
n.= 54
144
,
s
^
2
,
^
,
n
,
s
s
s
s
. , +
8
.
5 5 5
.
,
ppppp
(covered by other instruments at the beginning)
J
,
,
s .
.
,
,
,
,
9
,
b
.
0
l .
38
01123 01123 01123 0112346 46 46 466 66 6
59
simile
8
.
.
3
. , +
pppppp subliminale
. , , ,
<
, ,
<
,
e
f
0
2
. .
3
, s
, n ,
. ,
.
.
,
,
j
8
s
=
"blowonthewind"
8
=
5
n
=
=
3
=
J
.
9
.
o
+ 6430\ 6430\ 6430\ 6430\
shake
.
9
<
f
9
.
+very slow beatings between tb. and tr.
p
.
s
.
3
vib.
5
r
.
9
+very slow beatings between tb. and tr.
sf
.
?
,
U
"scream"
c
.
.
,
on the rim
sf
.
,
+footpedal
. .
U
"scream"
,
3
+footpedal
,
w
<
p
<
<
<
.
.
0
,
,
s
^
p
.
.
,
0
,
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s
s
s [ ]
,
,
j
[ ]
,
, .
. .
8
. ,
<
0
b
.
pppppp
J
l
p
++beatings
f
p
.
3
b . .
3
144
,
p
,
.
.
.
.
,
b
.
.
.
.
,
f
,
p
,
,
s
n
,
, s
3
.
8
,
2
.
.
+
0
suono mobile
.
.
.
, +
legno(sss)
III
.,
p
2
*) ., .,
2
3
*) double flag. on G or any other flag. in C
or D which is close enough to produce
beatings.
r
s
.
legno batt.
\IDDbDDdbDddbddddddbdddddbddddbddddbddb
ric.
j
J
, , + r
legno(sss)
" 3 "
.
" 1 "
R
. , r
o
.
. . s
" 3 "
J
,
<
, , .
.
.
" 3 "
.
.
. s
" 3 "
,
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o
.
.
s
, j
,
, s
6
.
.
.
8
0
.
.
. n
" 3 "
. d
.
.
fast beatings
r
slow beatings
8
0
.
.
.
,
U
"scream"
. .
.
.
,
.
0
w
8
1C
8
. ,
<
,
<
.
,
corte
,
<
r
.
,
T
sfin pp
.
,
<
. ,
<
.
secco
f
J
,
,
,
, s
n
.
pppppp
.
.
.
.
,
,
,
,
j
,
,
, s
.
.
.
.
,
,
,
.
.
x
.
.
,
P
p
j
,
o
x
.
.
.
.
,
x
,
.
.
,
P
p
o
x
.
.
.
.
,
,
b
b
ppppp
.
,
pizz.
" 3 "
.
,
s
s
,
f
r
J
. ,
0
.
. . ,
-
quasi pont.
" 3 "
?
.
. , j
0
inaudibile
IV
legno(sss)
,
,
V
.
.
,
,
,
,
arco mobile
,
,
p
rall.
.
.
,
, , .
o
, j ,
, s
9
,
,
b
, g
0
,
.
bend with arm
o
.
,
l
@
,
sf
. .
//
S
" 1 "
9 .
hand vib.
.
,
<
0
.
,
-
<
.
,
,
<
ppppp
,
,
. .
. , j
,
0
,
,
.
.
.
,
,
,
,
8
J
,
,
,
,
0
.
.
.
,
, b
9
,
,
.
9
j
, s
.
pizz.
thumb sul pont.
9
,
, , , j
-
, ,
IV+V
\
9
, , s
c =48
,
<
,
, s
,
, j ,
, s
-
molto tenuto
,
o
.
, , j s
.
ppppp
, ,
<
, , , ,
9
molto tenuto
, , j
-
[35/35]