John Corigliano

CONCERTO FOR VIOLIN

AND ORCHESTRA
(“The Red Violin”)

full score

From the G. Schirmer Rental Library

Date of Printing_______

G. Schirmer, Inc.
New York, NY
John Corigliano

CONCERTO FOR VIOLIN

AND ORCHESTRA
(“The Red Violin”)

commissioned by the Baltimore Symphony Orchestra, Yuri Temirkanov, Music Director,

through generous support of the family of Ryda H. Levi in honor of her 85th birthday;
the San Francisco Ballet, Helgi Tomasson, Artistic Director, Andrew Mogrelia, Music Director;
the Dallas Symphony Orchestra, Andrew Litton, Music Director;
the Atlanta Symphony Orchestra, Robert Spano, Music Director

The world premier was September 19, 2003 at Meyerhoff Symphony Hall in Baltimore, Maryland
by the Baltimore Symphony Orchestra under the direction of Marin Alsop, with Joshua Bell, soloist.

The first movement of this work is derived from THE RED VIOLIN Chaconne,
which was commissioned by SONY Classical, the San Francisco Symphony,
the Boston Symphony Orchestra and Joshua Bell.
The Chaconne was inspired by the film The Red Violin.
It was premiered November 25, 1997 by the San Francisco Symphony
under the direction of Robert Spano, with Joshua Bell, soloist.

G. Schirmer, Inc.
New York, NY
Instrumentation

3 Flutes (2nd & 3rd doubling Piccolo, 3 doubling Alto Flute)

2 Oboes
2 Clarinets in B�(2nd doubling Clarinet in A and Bass Clarinet)
2 Bassoons (2nd doubling Contrabassoon)

4 Horns in F
2 Trumpets in C (1 may optionally use Piccolo Trumpet for high passages)
2 Trombones
Bass Trombone
Tuba

Timpani
Percussion (4 players)
Glockenspiel
Crotales
Xylophone
Vibraphone
Chimes
Bell Tree
2 small Metal Plates
Triangle
Suspended Cymbal
Ride Cymbal
Tamtam
Slapstick
Ratchet
Tambourine
Wood Block
Temple Block
Castanets
Snare Drum
2 Tenor Drums
Roto-toms
Tom-toms

Piano (doubling Celesta)

Harp

Solo Violin

Strings

estimated duration ca. 38 minutes

Performance Notes:

In the second movement the strings switch between a regular mute and a practice mute. If not all players have practice mutes they should
be provided (rubber practice mutes are fine for this purpose).

There are, in the second movement, large semi-tone clusters marked: “div. a5", “div. a7", “div. a12" etc. in the string section. These
clusters are always built from the bottom up; each individual player in a section should be assigned a pitch, starting with the principle and
working up through the cluster, before or at first rehearsal. If the number of players exceeds the number of pitches in a cluster, cycle
through the cluster from the bottom again until all players have pitches to play.

The “crunch” in movement four is notated with “x” note heads indicating the strings on which to play. To get the sound the composer
desires the string players should lightly mute the indicated strings with their hands in first position. A very heavy and short bow stroke,
al tallone, should be used to produce a loud, scratchy sound with no discernable pitch. The bow must stay on the strings after it is stopped.
CONCERTO FOR VIOLIN AND ORCHESTRA (“The Red Violin”)

My third film score (“The Red Violin”) gave me an opportunity to visit my own past, for my father, John
Corigliano (I was a “jr.”) was a great solo violinist and the concertmaster of the New York Philharmonic for more
than a quarter of a century. My childhood years were punctuated by snatches of the great concertos being practiced
by my father, as well as scales and technical exercises he used to keep in shape. Every year, he played a concerto
with the Philharmonic (as well as in other venues), and I vividly remember the solo preparation, violin and piano
rehearsals, orchestral rehearsals and the final tension-filled concerts (where I would sit backstage in the Carnegie
Hall green room, listening to my father over a small speaker breathlessly playing the work in my head and listening
to make sure everything came out all right.)
It is no wonder that the concerto form, and the violin concerto in particular, has a deep place in my heart. I have
written a half-dozen concerti, but this is my first one for my first love, the violin. It is an “in the great tradition”
kind of concerto, because I wrote it in an attempt to write the piece my father would love to play. Because he
inspired it, it is dedicated to his memory.
The event that galvanized my energies into composing this concerto was, of course, the scoring of the film “The
Red Violin”, directed by Francois Girard, and featuring the sublime young virtuoso, Joshua Bell as the voice of the
violin. Josh's playing resembles that of my father, he is an artist in the grand tradition. No cold, clinical dissection
of a work would flow from his bow.
The story of “The Red Violin” is perfect for a lover of the repertoire and the instrument. It spans three centuries
in the life of a magnificent but haunted violin in its travels through time and space.

A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque
device of a chaconne: a repeated pattern of chords upon which the music is built.

Against the chaconne chords I juxtaposed Anna's theme, a lyrical yet intense melody representing the violin
builder’s doomed wife. Then, from those elements, I wove a series of virtuosic etudes for the solo violin, which
followed the instrument from country to county, century to century. I composed these elements before the actual
filming, because the actors needed to mime to a recording of these works since their hand motions playing the
violin would have to synchronize with the music.
Then, during the summer of 1997 while the film was being shot all over the world, I remained at home and
composed the 17-minute “The Red Violin: Chaconne for Violin and Orchestra”, a concert work based on the
existing elements, and given its world premiere in San Francisco with Josh and Robert Spano in the fall of that
year. After that, I had only a few weeks to provide the underscoring (the music that is not seen on camera) for the
recording dates around Christmas 1997 in London.

The violin and orchestra “Chaconne” then became a concert work, performed by Josh (and others) around the
world. But, as a moderate length single-movement work, it fell into a category of works that must be paired with
other works to complete a soloist's guest appearance with an orchestra. Great works like Ravel's “Tzigane” or the
Chausson “Poem”, or Beethoven romances, have the same problems.

More importantly for me, the chaconne had given me the opportunity to strip away any inhibitions and write a
passionate and romantic essay that I probably would not have written had it not been accompanying a film. It
bypassed my “censor button” that made it necessary for me to not only write a piece, but “rediscover” the form in
the piece (like my three woodwind concerti.) I liked what I heard, and it came very naturally.

So, like Schumann, I decided to add some movements to the existing chaconne (he to his piano and orchestra
fantasy) and make it a full-length concerto. In my case, that meant composing another three movements to balance
the large first one.

The other movements are connected to the first (and the film) in different ways: the first is a fleet “Pianissimo
Scherzo” in which the dynamics are soft, but the action wild and colorful. I wanted to break the romantic mood
of the first movement with sonoric and timbral effects that create a sparkling, effervescent energy. A central trio
is distantly related to Anna's theme, but here heard in knuckle-breaking double harmonics by the soloist - high,
ethereal, and dance like.

The third movement (“Andante flautando”) starts with an intense recitativo that is more closely related to the
film’s main theme, but soon gives way to a gentle, rocking melody played by the soloist in an unusual manner that
results in his sound changing to that of a flute (“flautando”.) He and the alto flute pair up as a complementary duo
in this theme.

The final movement (Accelerando Finale), as the title suggests, is a rollicking race in which the opposed forces
of soloist and orchestra vie with each other. They each accelerate at different times and speeds, providing a virtuoso
climate befitting a last movement. Some other unusual techniques are used here: the violin (and orchestral strings)
are asked to press so hard on their strings that there is no pitch at all, just a crunch. This percussive and unusual
sound provides energy, especially during the races. A major theme from the film that was not used in the concert
chaconne was that given to Moritz, the contemporary violin expert who discovers the mystery of the Red Violin.
It is a sadly romantic theme, and becomes the lyrical counterpoint to the high spirits of this final movement. Near
the end of the work, the original chaconne from the first movement comes back to complete the journey of this
violin concerto.

SJohn Corigliano
in memory of my father

Score in C
CONCERTO FOR VIOLIN AND ORCHESTRA (“The Red Violin”)
I. (Chaconne) John Corigliano
= 60 *
Fl. 1

Picc. blurred, liquid, cresc.

Fl.2 /
Picc. 1

Fl.3 / Picc.
Picc. 2
Al. Fl.

1
Ob.

*
Cl. 1

blurred, liquid, cresc.

Cl. 2 *
Bs. Cl.
(Cl. in A)

Bsn. 1 blurred, liquid, cresc.

Bsn. 2/
Cbsn.

1
3
Hn. al sord.

2
4

1
Tpt.

2
2. al sord.

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Crotales ( 15ma )
1

liquid
Glockenspiel ( 15ma), soft sticks
2

Perc. blurred, liquid

Vibraphone 5:3
5:3
3

blurred, liquid

Celesta
(ossia: Piano, 8va )
3

Piano/
Celesta blurred, liquid

Hp. liquid, l.v. sempre

Solo
Vn.

= 60
al sord.
I
Vn.
al sord.
II

al sord.
Va.

al sord.
Vc.

Cb.

*Woodwinds: Enter where indicated. Play freely, fitting the notes approximately into the conductor’s beat. Do not synchronize.

Corrected 10/2003 Copyright © 2003 by G. Schirmer, Inc.(ASCAP) and SONY Classical, New York, NY Property of:
Corrected 01/2004
Corrected 08/2004a International Copyright Secured, All Rights Reserved. G. Schirmer Rental Library
Bellvale Road
(Solo Vn., Fl2, Cl1, Cl2, Warning: Unauthorized reproduction of this publication is Chester, NY 10918
Hn1, Hn2, Per, Hrp, Vn1, Vn2, prohibited by Federal law and subject to criminal prosecution. SUPPLIED ON LOAN ONLY
Va, Vc.)
2

5
Picc. 1

blurred, liquid, cresc. dim.

Picc. 2

blurred, liquid, cresc. dim.

Fl. 1

1
Ob.
2

Cl.

1
Bsn.
2

1
3

Hn.
2
4

1
Tpt.
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Crot.) *
1
5 5

(Glock.)
3 *
Perc. 2
6

(Vib.)

Cel.
(Pno. 8va )

6
Hp.

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.

*Dampen sound if still ringing

3

9
Picc. 1

blurred, cresc.

Picc. 2

blurred, cresc.

Fl. 1

blurred, cresc.

1
Ob.
2

Cl. blurred, cresc.

blurred, cresc.

Bsn. 1
2

1
3

Hn.
2
4

1
Tpt. 2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Crot.)
1

liquid
(Glock.) (soft sticks)
Perc. 2

blurred, liquid

(Vib.) 5 5

blurred, liquid

Cel.
(Pno. 8va ) blurred, liquid

Hp. liquid, l.v.

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.
4

12 to Flute 2

Picc. 1

dim.
to Flute 3

Picc. 2

dim.

Fl. 1
dim.

Ob. 1
2

Cl.

soli
Bsn. 1
2
sost.

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Crot.) * to Tambourine
1
5
5

(Glock.) * to S.D.
Perc. 2
3 6

(Vib.) to B.D.
3

to Piano

Cel.
(Pno. 8va )

Hp.

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.

* See note, pg.2

5

16
1
2
Fl.

1
Ob. 2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

1.
Tbn. 1
2
sost.

Bs. Tbn.
Bs. Tbn.
Tba.

sost.

Timp.

Perc. 2

Large B.D.
3

Pno.

Hp.

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.
6

23
1
2

Fl.

Ob. 1
2

1
Cl. 2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

(1.) al sord.
Tbn. 1
2

(Bs. Tbn.)
Bs. Tbn.
Tba.

Timp.

Perc. 2

(B.D.)
3

Pno.

Hp.

Solo
Vn.

Vn.

II

Va.

Vc.

con sord.
pizz. div. pizz.
Cb.
arco
7

31
1
2

Fl.

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

al sord.
Bs. Tbn.
Tba.

Timp.

Perc. 2

to Susp. Cym.
3

Pno.

Hp.

(rubato)
3
Solo
Vn.

div., con sord. sul tasto

Vn. div., con sord. sul tasto

II

Va.

Vc.

Cb.
8
*
40
1
2
Fl.

Ob. 1
2

Cl. 1
2

Bsn. 1
2

*
1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

*
Timp.

Perc. 2

Pno.

Hp.

*
6
3
Solo
Vn. 7
3
6 5

*
** rubato

I
3
7 5
6

Vn.

** rubato
3
6
3
II
3
7 5
6

div., con sord.

Va.

div., con sord.

Vc.

Cb.

* Indicates cues instead of beats. Follow soloist’s line.

The dotted lines are also cues — the number of cues
(including downbeat) are indicated within the triangle.
**Each player enters slightly after the previous one, starting with the first desk (should sound free and asynchronous).
The E and A will gradually disappear as more players start the filigree. Imitate the soloist.
9

41
1
2

Fl.

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

(rubato) 5
3
Solo 3 3
Vn.
5

(div. a2)
I

Vn. * 3 5
(div. a2) 3
3
II
5
rubato

(div.)
Va.

(div.)
Vc.

Cb.

*See note (**) on pg. 8.

10

(44)
1
2
Fl.

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

8va

Solo
Vn. 3
3

* rubato
via sord.
I
3

rubato

Vn.

II
3

Va.

Vc.

Cb.

*See note (**) on pg. 8.

11

45
1
2

Fl.

Ob. 1
2

(Clarinet 2. in A)
3 3
Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

(sounding pitches)

Hp.

Solo
Vn.

(div. a2)
Vn.

II

Va.

(div.)
Vc.
legatissimo

Cb.
12

53
tratt. a tempo
1
2

Fl.

Ob. 1
2

1.
Cl. 1
2

Bsn. 1
2

1
3

Hn. con sord.

2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.

tratt. a tempo
I

Vn.
unis.
II

unis.
Va.

Vc.

Cb.
13
pushing forward
61
1
2

Fl.

1. 3

Ob. 1
2
3

(1.)
Cl. 1
2

Bsn. 1
2

1
3

Hn. via sord.

2
4

Tpt. 1
2

con sord.
Tbn. 1
2
3 3

3 3
con sord.
Bs. Tbn.
Tba.
con sord.

soft sticks
Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.

pushing forward
I

Vn. 3
3
div.
II

3 3
Va.

unis. 3 3

Vc.

unis., arco
Cb.
14
pushing
69 forward
1
2

Fl.

(1.) (1.)
Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn. senza sord.

2
4

Tpt. 1
2

via sord.
Tbn. 1
2

(con sord.)
Bs. Tbn.
Tba.

cresc.

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.

pushing
unis., senza sord.
forward
I

espr.
Vn.
(arco) via sord.
II
pizz. arco

pizz. via sord.

Va.

pizz. via sord. arco, senza sord.

Vc.

pizz. via sord. arco, senza sord.

Cb.
15

77
1
2

Fl.

Ob. 1
2

1. Solo

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

(cresc.)

Timp.

S.D. (muffled)
Perc. 2

Pno.

Hp.

6
Solo
Vn.
cresc. cresc.
18

Vn.

II

Va.

pizz.
Vc.

pizz.
Cb.
16
a tempo tratt. Faster = 60
84 a2
1
2
Fl.

Ob. 1
2

Cl. 1
2

a2
Bsn. 1
2

1
3

brassy
Hn.

2
4

brassy

Tpt. 1
2
sub. sub.

senza sord.

Tbn. 1
2
sub. sub.

via sord.
Bs. Tbn.
Tba.

Timp.

Tambourine
1

(S.D.)

Perc. 2
Susp. Cym.
to B.D.
3

Piano, hammered

Pno.

Hp.

Solo
Vn.

a tempo tratt. Faster = 60

pizz.
I

Vn. pizz., senza sord.

II

(pizz.) senza sord.

Va.

(pizz.)

Vc.

Cb.
17
2. to Picc. 1
90 a2
1.
1
2

Fl.

Ob. 1
2

1.
Cl. 1
2

a2 1.
Bsn. 1
2

a2
1
3

Hn.
a2
2
4

Tpt. 1
2

al sord.
Tbn. 1
2

senza sord. al sord.

Bs. Tbn.
Tba.

Timp.

(Tamb.)
1

(S.D.) rimshot (metallic)

Perc. 2

B.D.
3

Pno.

Hp.

Solo
Vn.

arco
I

Vn. arco
II

arco
Va.

arco
Vc.

arco
Cb.
18

95 to Flute 2
Picc. 1

Fl. 1
3

1.
Ob. 1
2

1. a2 *

( )
Cl. 1
2
etc.

legato

a2

Bsn. 1
2

a2

( )
a2 *
1 etc.
3

legato

( )
Hn. a2
*
2 etc.
4

legato

Tpt. 1
2

con sord. 2. via sord.

Tbn. 1
2

con sord. via sord.

Bs. Tbn.
Tba.

Timp.

(S.D.) r.s. ord.

Perc. 2

Pno.

Hp.

3
3 3 3 3 3 3 3 3
Solo 3
Vn.

Vn.

II

Va.

Vc.

(sounds 8ba )

Cb.

* = Play between and including the boxed pitches in random and constantly changing patterns,
legato, as fast as possible at the indicated dynamic. An example is given in parentheses.
19

100
1
2

Fl.
3

Ob. 1
2

a2
Cl. 1
2

Bsn. 1
2

(a2)

1
3

Hn. (a2)
2
4

1. al sord.
Tpt. 1
2

1. (con sord.) via sord.

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Tamb.) to Xylophone
1

(S.D.) to Susp. Cym.

Perc. 2

Ratchet
3

Pno.

Hp.

Solo
Vn.

Vn.

II

div.
Va.

div.

Vc.

pizz.
Cb.
20

107
1
2
Fl.

Ob. 1
2

(Cl. 2 plays A Cl.)

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

harmon mute via sord.

Tpt. 1
2

Tbn. 1
2

Bs. Tbn., senza sord.

Bs. Tbn.
Tba.

Tuba, senza sord.

Timp.

Perc. 2

(Rat.) to B.D.
3

Pno.

DC B E F G A
Hp.
l.v. sempre

3
3 3 3 3 3 3 3 3 0
3 3 3 3 3 3 3
Solo 3
Vn.
3 3

marc.
div. * ** unis.
I

marc. slow, even gliss.

Vn.
* div. **
II

marc.
marc.
div. **
*
Va.

marc.

unis.

Vc.

arco
Cb.

* = Play between and including the boxed pitches in random and constantly changing patterns,
marcato, as fast as possible at the indicated dynamic.
** on any pitch within the box that occurs on the downbeat
21

112 a2
3

1
2

Fl.

cresc.

Ob. 1
2
cresc.

3 3
3
1.
Cl. 1
2
3 3 3 3 3 3 cresc.

Bsn. 1
2

1
3
cresc.
Hn.
2
4
cresc.
2., senza sord.
3 3 3 3 3 3
1. to Trumpet in D 3 3 3
Tpt. 1
2

Tbn. 1
2

(Tba.)
Bs. Tbn.
Tba.

cresc.

Timp.

Susp. Cym.

Perc. 2

Pno.

cresc. G
Hp.

8va

**) ossia:

**
0
0
Solo
Vn.

sim.
I
cresc.
Vn. sim.
unis.
II

slow, even gliss. cresc.

Va.

cresc.

div. *
Vc.

cresc.

*
Cb.

cresc.
* = Play between and including the boxed pitches in random and constantly changing patterns,
legato, as fast as possible at the indicated dynamic.
22 (a2)
116 2. to Picc. 1.
1
2
Fl.

Ob. 1
2

Cl. 1
2

Bsn. 1
2

a2
1
3

Hn.
a2
2
4

(Tp. 1 plays Tp. in D, senza sord.)

2.
Tpt. 1
2

senza sord.

Tbn. 1
2

(ossia: )

Bs. Tbn.
Tba.

Timp.

1
(Susp. Cym.)
l.v. to S.D.
Perc. 2
sub.
(B.D.)
3

Pno.

( 8ba )
8ba 8ba 8ba 8ba

Hp. D C B E F G A

(ossia)

Solo
Vn.
unis.
pizz. div. arco
I

Vn. unis.
pizz. div. div. a3 arco
II

unis., pizz. div. div. a3 arco

Va.

unis., pizz. arco

*
Vc.

* (unis.) pizz. arco

Cb.

* See note, (**) pg. 20

23

121
Picc. 1

1.
Fl. 1
3

1.
Ob. 1
2

2. to Cl. in B
Cl. 1
2

1.
Bsn. 1
2

1
3

brassy

Hn.
2
4
brassy
1. to Tpt. in C
Tpt. 1
2

Tbn. 1
2

Bs. Tbn.*
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.

*The following eight bars can be played by the Tuba if the Bass Trombone has no E attachment.
24

126 ( = ) ( = )

Picc. 1

(1.)

Fl. 1
3

1.

Ob. 1
2

1.
Cl. 1
2

1.
Bsn. 1
2

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Xyl.
1

Perc. 2

(B.D.)
3 3

Pno.

Hp.

Solo
Vn.

( = ) ( = )

Vn.

II

div. a2
pizz.

Va.

Vc.

Cb.
25

130 accel. rall.

Picc. 1

(1.)

Fl. 1
3

(1.)

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3
Hn.

2
4

1., 2., with harmon mute

Tpt. 1
2

Tbn. 1
2

sub.
Bs. Tbn.
Tba.

Timp.

(Xyl.)

to Slapstick
1

S.D., rimshot (metallic)

Perc. 2

(B.D.)
3

Pno.

Hp.

3 3
3 3 3 3 3
Solo
Vn.
3

8va
accel. rall.
I

Vn.

II 0

Va.

Vc.

Cb.
26

134
colla parte
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

a2

Bsn. 1
2

1
3
Hn.

2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

hard sticks
Timp.

Slapstick to Glock.
1

(S.D.) to Crot.
Perc. 2

(B.D.)
3

Pno.

Hp.

(Tempo primo = 60) Faster = 80 = 60 Faster = 80 = 60 Faster = 80 = 60

gliss.
.
iss

3 3 3
gl

3 3 3 3
Solo
Vn.

passionate 3
3

colla parte
I

Vn.

II

Va.

Vc.

div. pizz.
Cb.
arco
27

139
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

open
1
3

Hn.
open
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

(B.D.)
3

Pno.

Hp.

Faster = 80 3
3
3
3 3 3

3 3
Solo
Vn.
3
3 3 3 3 3
3 3 3 3 3 3

Vn.

II

Va.

Vc.

Cb.
28 = 80
fltg., non synch. * rall.
144
Picc. 1

a2, non synch.

8va
fltg.

Fl. 1
3
non synch.
a2

Ob. 1
2

a2, non synch.

8va
fltg.

Cl. 1
2

a2, non synch.

Bsn. 1
2

a2 fltg., non synch.

1
3

Hn. a2
fltg., non synch.
2
4

fltg., non synch.

1

Tpt.
fltg., non synch.
2

a2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Glock. (hard sticks) (accel.) sempre l.v.

(l.v.) to Bell Tree

1

Crot. sim.

Perc. 2

Susp. Cym. to Vib.

3
B.D.
sempre l.v.
8va
loco
sim.

8 loco
Pno. 9

Hp.

al sord.
Solo
Vn.

3
=non80synch. * rall.
(continue similar downward chromatic pattern)

non synch.
Vn. (continue similar downward chromatic pattern)

II

arco,
non div., pizz.
div.
Va.

non div., pizz.

div.
Vc.

(div.) tutti pizz.

Cb.

*unless indicated, players do not slow the speed of their runs as the conductor slows the tempo (rall.).
rall. poco a poco 29
145
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2
continue similar downward chromatic pattern
a2, non synch. (rall.)
Bsn. 1
2

(a2, non synch.) continue similar downward chromatic pattern

1., 3., al sord.
1
3

Hn.
(a2, non synch.) continue similar downward chromatic pattern
2., 4., al sord.
2
4

continue similar downward chromatic pattern

Tpt.
continue similar downward chromatic pattern

even gliss. al sord.

Tbn. 1
2 even gliss.

Bs. Tbn. even gliss. Bs. Tbn. and Tba. al sord.

Bs. Tbn.
Tba.

Timp.
Bell Tree l.v.
1

Perc. 2
sempre l.v.
Vib.

(rall.)

Pno.

(rall.)

Hp.

Solo
Vn.

rall. poco a poco

I

Vn.
al sord.
II

arco, non synch. continue similar downward chromatic pattern

al sord.
div.

Va.
al sord. * arco, con sord.

arco, non synch.

continue similar downward chromatic pattern
al sord.

Vc.
div.

al sord. *arco, con sord.

arco
unis., non synch. continue similar downward chromatic pattern al sord.
Cb.

*1/2 Violas and Cellos sneak in. Play divisi if section is large enough. If not, play these notes as double stops.
30
Lento = 52–54
147
*
Picc. 1

rubato
1. Solo

Fl. 1
3 3
liquid 3

rubato
1. Solo
Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
*
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

* to Crot.
1

to Tambourine
Perc. 2

to B.D.
3

Pno.

Hp.

Solo
Vn.

Lento = 52–54
* 1 solo Tutti al sord.
I

Vn.

II

**
con sord.

Va.

**
con sord.

Vc.

1 / 2 section, con sord.

Cb.

*Conductor: wait for percussion sound to clear before continuing.

**See note on previous page.
31

152 *
Picc. 1

Fl. 1
3

(1.)
1. Solo

Ob. 1
2 5 5
liquid 3 3 3

1. Solo, rubato
3

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

con sord.

Solo
Vn.
floating

Vn.

II

Va.

Vc.

(half section)
Cb.

*Conductor: optional fermata.

32

157 to Flute 2
Picc. 1

Fl. 1
3

(1.)

Ob. 1
2

1. Solo 3

Cl. 1
2
5
3

1. Solo

Bsn. 1
2
3

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

8va
(loco)

Solo
Vn.

Vn.

II

Va.
(balance high C with rest of chord)

Vc.

tutti, div., con sord.

Cb.
33
breve
162 1. (Solo)

1
2 3
(liquid)
Fl.

Ob. 1
2

1. (Solo)
Cl. 1
2
(1.)

Bsn. 1
2
3

1
3
Hn.
2
4

Tpt. 1
2
breve
con sord. via sord.
Tbn. 1
2

breve
con sord. via sord.
Bs. Tbn.
Tba.

Timp.

Cro. (15ma)
l.v.
1

Perc. 2

Pno.

Hp.

8va
loco breve
0 via sord.
Solo
Vn.

breve
*
Tutti, con sord.
I ( etc. )
freely, liquid

breve
*
Vn. con sord.
II ( etc. )
freely, liquid
breve

via sord. senza sord.

Va.

breve
via sord. senza sord.

Vc.

via sord.

half section, senza sord. breve

half section Tutti: via sord.
Cb.

*Each player enters and plays slightly after the previous one, starting with the first desk (should sound free and non synchronous).
34
(echo) 3 stringendo
167
1
2
(echo)
Fl.

Ob. 1
2

(1.)
a2
Cl. 1
2
3

Bsn. 1
2

* con sord. via sord.

1
3

Hn. * con sord. via sord.

2
4

Tpt. 1
2

senza sord.

Tbn. 1
2

senza sord.
Bs. Tbn.
Tba.

Timp.

to S.D.
1

Tamb.

Perc. 2

Pno.

Hp.

8va 8va
0
senza sord. 0

Solo
Vn.

stringendo pizz.
via sord. senza sord. * arco
I

Vn. pizz. * arco

via sord. senza sord.
II

(half section)
tutti, unis., pizz. * arco
senza sord.
Va.

(half section)
tutti, div., unis., pizz. * arco
senza sord.
Vc.
0

unis., pizz.
(half section) tutti, div., * arco
senza sord. (sounding pitch)
Cb.

*Even crescendo with abrupt cutoff just before downbeat.

35
= ca. 92 *
(no attack)
172 Flute 2 to Piccolo
1
2

Fl. molto

Ob. 1
2

*
(no attack)

Cl. 1
2

molto

Bsn. 1
2

a2
* senza sord. (no attack)
1
3

Hn. molto
* a2
senza sord. (no attack)
2
4

molto

* (no attack)
Tpt. 1
2

molto

*
(no attack)
Tbn. 1
2

molto
*
(no attack)
Bs. Tbn.
Tba.

molto

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.

= ca. 92
(vib.)
I

molto molto
Vn.
(vib.)
II

molto molto
(vib.)
Va.

molto molto
(vib.)
Vc.

molto molto
(vib.)
Cb.

molto molto
*See note on previous page
36

177
Picc. 1

Fl. 1
3

2.
Ob. 1
2
1.

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

6 6

Solo
Vn.
6 20

molto molto
Vn.

II

molto molto

Va.

molto
molto

Vc.

molto molto pizz.

Cb.
37

181
Picc. 1

a2

Fl. 1
3

1.
Ob. 1
2
2.

a2

Cl. 1
2

Bsn. 1
2

a2
1
3

Hn.
a2
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

S.D.
Perc. 2

B.D.
3

Pno.

8ba

Hp.

3 3
Solo
Vn.

Vn.

II

Va.

Vc.

div. pizz.
Cb.

(arco)
*Chromatic cluster
38
rall.
187 to Flute 2
Picc. 1

a2

Fl. 1
3

Ob. 1
2

a2

Cl. 1
2

Bsn. 1
2

a2 1. al sord.
1
3

Hn. a2 2., 4. al sord.

2
4

Tpt. 1
2

Tbn. 1
2

al sord.
Bs. Tbn.
Tba.

Timp.

(S.D.) to Tambourine
Perc. 2

(B.D.)
3

Pno.

8ba

Hp.

3 3
Solo
Vn.

rall.
al sord.
I

Vn.
al sord. con sord.
II

al sord. con sord.

Va.

al sord. con sord.

Vc.

al sord. arco,
con sord.
Cb.

(senza sord.)
39
= ca. 60
192
1
2

Fl.

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1. con sord.
1
3

Hn. 2. con sord. 2.

2
4

4. con sord.

Tpt. 1
2

Tbn. 1
2

con sord.
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.
3 3 3 3

= ca. 60
con sord.
I

Vn.

II

Va.

Vc.

via sord.
Cb.
40
= 60
199 =
1
2

Fl.

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1. via sord.
1
3

Hn. via sord.

2
4

Tpt. 1
2

Tbn. 1
2

via sord.
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.
espr.

= 60
= via sord. senza sord.
I

Vn.
via sord. senza sord.
II

via sord. senza sord.

Va.

via sord. senza sord.

Vc.

(div.) senza sord.

Cb.
41

207 2. to Picc. 1
1
2

Fl.

Ob. 1
2

(Cl. 2 to Cl. in A)
Cl. 1
2

Bsn. 1
2

a2, senza sord.

1
3

Hn. a2, senza sord.

2
4

Tpt. 1
2

3 3 3
Tbn. 1
2

senza sord.
Bs. Tbn.
Tba.

soft sticks
Timp.

Perc. 2

Pno.

cresc.
Hp.

Solo
Vn.

div.

Vn.
div.
II

Va.

Vc.

Cb.

3 3 3
42

215
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

(a2)
1
3

Hn. (a2)
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

freely, start slowly, then accel.

3 6
3
Solo
Vn. 7
3
6 5
sim.
appassionato

Vn.

II

Va.

Vc.

Cb.
43

219
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

(a2) al sord.
1
3

Hn. (a2)
2
4

al sord. (harmon mutes)

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

8va
(free)
3 3
Solo 3
Vn. 3

sim.

Vn.

II

al sord.

Va.

al sord.

Vc.

Cb.
44

Cadenza
8va
loco
221 3 3 3
Solo
Vn.
cresc.

0
0
0 rall.
0
Solo
Vn.

a tempo ( = 60)
Solo
Vn.

rich,sonorous

6
3 3
3
Solo
Vn.
0
sub., freely

sul tasto, flautando

II III
IV

Solo
Vn.
(a sigh)
0 0

0 0
45
= 60
222
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. 2

Lg., low B.D. (soft stick)

3

Pno.

Hp.

col legno battuto

Solo
Vn.

= 60
I

Vn.

II

Va.

Vc.

Cb.
46

228
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

1.
Tbn. 1
2

Bs. Tbn.
Bs. Tbn.
Tba.

Timp.

Perc. 2

(B.D.)
3

Pno.

Hp.

pizz. (pizz. sempre)

Solo
Vn.

sub., marc.

Vn.

II

Va.

Vc.

(div.) col legno batt.

Cb.
47

234
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2.
2
4

Tpt. 1
2

(1.)
Tbn. 1
2

(Bs. Tbn.)
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.

Vn.

II

con sord., non-synch., sul pont.

Va.

con sord., non-synch., sul pont.

Vc.

(arco,) ord.
Cb.
48

238
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn. (2.) 3
2
4

Tpt. 1
2

Tbn. 1
2

(Bs. Tbn.)
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

Solo
Vn.

Vn.

II

(sul pont.), non-synch. via sord.

Va.

(sul pont.), non-synch. via sord.

Vc.

Cb.
49
stringendo poco a poco ( = ca. 80) string.
240
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn. (2.) al sord.

2
4
4.

Tpt. 1
2

gliss.
Tbn. 1 gliss.
2

Tuba
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

arco arco arco arco arco

pizz. pizz. pizz. pizz.
Solo
Vn. gliss. gliss.

stringendo poco a poco ( = ca. 80) string.

*
unis., col legno batt.
I
0
0 0
0 0
Vn.
* 0
unis., col legno batt. 0
II
0
senza sord.,
col legno batt.
0
* 0

Va.

senza sord., *
col legno batt.
Vc.
0 0
col legno batt.
*

0
div.

Cb.

*Each player at a slightly different tempo (approx. = 60). Do not change tempo. Pause slightly at commas. Play to sound .
50
= 90 ( = 60)
244
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

gliss.
Tbn. 1
2

(Tba.)
Bs. Tbn.
Tba.

Timp.

Perc. 2

Pno.

Hp.

3 3
gliss. gliss.
Solo
Vn. gliss.
gliss.
cresc.

= 90 ( = 60)
* (tutti pizz.)
I

Vn. (tutti pizz.)

*
II

* (tutti pizz.)
Va.

* (tutti pizz.)
Vc.

* (half section pizz.)

div.

Cb.

*Stand by stand change from col legno to pizzicato . Keep tempo steady. Complete transition to pizz. by the indication "tutti pizz."
51

248
Picc. 1

Fl. 1
3

Ob. 1
2

(Cl. 2 in A)
Cl. 1
2

Bsn. 1
2

1
3
Hn.
2
4

Tpt. 1
2

gliss.
gliss. gliss.
Tbn. 1
2

(Tba.) Bs. Tbn.

Bs. Tbn.
Tba.

Timp.

Tamb.
Perc. 2

Pno.

Hp.

3 0 3 3 3 3 3 3 3 3
3 3 3 0 3 3 3
Solo 3
Vn.
3
3 sim.
arco marc.,
div.
* **
I

Vn. marc.,
marc.,
*
arco
** div.
II

, marc. , marc.
* arco ** div.
Va.

, marc.
*
arco
Vc.

arco pizz.
*
div.

Cb.
pizz.

*Jump to indicated notes (arco) on downbeat wherever you are in your pattern.

** = Play between and including the boxed pitches in random and constantly changing patterns,
marcato, as fast as possible at the indicated dynamic. An example is given in parentheses.
52

253
Picc. 1

Fl. 1
3

Ob. 1
2

1.
Cl. 1
2
3 3 3 3 3 3

Bsn. 1
2

con sord.
1
3
con sord.
Hn. con sord.
2
4

con sord.

con sord., harmon mutes 3 3 3

1. al sord., st. mute 1., con sord., st. mute
Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Tamb.)

Perc. 2

B.D.
3

Pno.

D C B
Hp. E F G A l.v. sempre

0
0
Solo
Vn.
3

*
unis. sim.
I
slow, even gliss.

Vn.
* unis. sim.
II slow, even gliss.

*
Va.

div.
Vc.

unis., arco
Cb.

* on any pitch within the box that occurs on the downbeat

53

256
Picc. 1

Fl. 1
3

Ob. 1
2

3
3
3

Cl. 1
2

Bsn. 1
2

via sord.
1
3

Hn. via sord.

2
4

3
3 3
via sord.
Tpt. 1
2
via sord.

Tbn. 1
2

(Tba.)
Bs. Tbn.
Tba.

Timp.

S.D. to Xyl.
1

(Tamb.) thumb roll to Susp. Cym.

Perc. 2

(B.D.) cut sound

3

Pno.

Hp.

0
0 0

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.

*See previous page.

54
rall. Tempo I = 60
259
Picc. 1

Fl. 1
3

a2
Ob. 1
2

sost.

Cl. 1
2

a2
3

Bsn. 1
2

a2, Soli, senza sord.

1
3

sost.
Hn. a2, Soli, senza sord.
2
4

sost.
senza sord.
Tpt. 1
2

Tbn. 1
2
3

Bs. Tbn.
Tba.

Timp.

Susp. Cym. to Tenor Drum

l.v. (and Tamtam if 4th player available)
Perc. 2

B.D.
3

Pno.

A
Hp. 3

sim.

Solo
Vn.

rall. Tempo I = 60
IV
I

Vn. sost.

II

(div.)
Va.

non div.
Vc.

div.
Cb.
55

263
Picc. 1

Fl. 1
3

(a2)

Ob. 1
2
5

Cl. 1
2

Bsn. 1
2

(a2)
5
1
3

Hn. (a2)
5
2
4

a2
Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Tenor Dr.

Perc. 2

Pno.

Hp.

Solo
Vn.

(IV)

5
Vn.
div. unis.
II

unis.
Va.

div.

Vc.

Cb.
56
Slower = 50 accel. poco a poco
267 **

Picc. 1

(a2)

Fl. 1
3

Ob. 1
2

a2

Cl. 1
2

Bsn. 1
2

(a2)
1
3

Hn. (a2)
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp. 3 3 3

Xyl.
to Tamtam Tam-Tam
1

Ten. Dr. to Chimes Chimes l.v. sempre

Perc. 2
l.v.
Tam-Tam
(B.D.)
3 3 3
3

Pno.

8ba 8ba 8ba

C ,E
Hp. l.v. sempre
only

8ba 8ba

Solo
Vn.

Slower = 50 accel. poco a poco

Vn.

II

Va.

unis.
Vc.

div. 0

Cb.

**only if necessary.
8ba
57
Allegro = 144
274
Picc. 1

8va
1.

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

sim.
1
3

Hn. sim.
2
4

al sord. (harmon mutes)

Tpt. 1
2

al sord. (harmon mutes)

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

l.v.
1

(Chimes) (sempre l.v.)

Perc. 2

(B.D.)
3

Pno.

8ba

Hp.

Solo
Vn.

Allegro = 144
8va
loco
I

Vn.

II

Va.

Vc.

(sounding pitch)
unis.
Cb.
58

278
Picc. 1

(1.)

Fl. 1
3

Ob. 1
2

Cl. 1
2

cresc.

Bsn. 1
2

1
3

cresc.
Hn.
2
4

cresc.
con sord., harmon mutes

Tpt. 1
2

con sord., harmon mutes

Tbn. 1
2

Bs. Tbn.
Tba.

hard sticks
Timp.

secco, non cresc.

(Chimes)
Perc. 2

non cresc.
(B.D.)
3

non cresc.

Pno.

Hp. più

Solo
Vn.

*
I

cresc.
Vn.
*
II

cresc.
sim. *
Va.

cresc.
sim. *
Vc.
cresc.
col legno batt. norm. col legno batt. norm.
Cb.

cresc.
*Continue playing 2-bar ostinato until next figure.
59

282
Picc. 1
dim.

(1.)

Fl. 1
3
dim.

Ob. 1
2
dim.

Cl. 1
2

dim.

Bsn. 1
2

dim.

1
3

Hn.

2
4

Tpt. 1
2
dim.

Tbn. 1
2
dim.

Bs. Tbn.
Tba.

dim.

Timp.

(Chimes)
Perc. 2

(B.D.)
3

Pno.

Hp.

Solo
Vn.

(Cue notes: 1st stand. Others: continue ostinato as indicated)

*
I

legato, rubato, dim. dim.

Vn.

* 3
II

legato, lyrical dim.

(Cue notes: 1st stand. Others: continue ostinato as indicated)

*
Va.

legato, rubato, dim. dim.

(Cue notes: 1st stand. Others: continue ostinato as indicated)

*
Vc.

legato, rubato, dim. dim.

col legno batt. norm. col legno batt. norm.

Cb.

dim.
*Stand by stand change to free legato line. Do not synchronize. Play beautifully and freely. Other stands continue previous ostinato until your turn.
60

286 to Flute
Picc. 1

(1.)

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Tuba
Bs. Tbn.
Tba.

Timp.

(Chimes)
Perc. 2

(B.D.) to Tenor Drum

3

Pno.

Hp.

Solo
Vn.

etc.
I
(dim.)

Vn. etc.
II
(dim.)

etc.
Va.
(dim.)

etc.
Vc.
(dim.)

col legno batt. norm. col legno batt. norm.

Cb.

dim.
61

290
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

via sord.
Tpt. 1
2

via sord.
Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Chimes)
Perc. 2

Pno.

Hp.

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.
62

294
Picc. 1

Fl. 1
3

Ob. 1
2

Cl. 1
2

Bsn. 1
2

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Chimes)
Perc. 2

Pno.

Hp.

Solo
Vn.

Vn.

II

Va.

Vc.

Cb.
63

297
Picc. 1

8va

Fl. 1
3

a2

Ob. 1
2

Cl. 1
2

possibile

Bsn. 1
2
possibile

a2, open

1
3

Hn.
a2, open
2
4

senza sord.
Tpt. 1
2

senza sord.
Tbn. 1
2

Bs. Tbn.
Tba.
8ba

hard sticks
Timp.

possibile
S.D. r.s.
1

possibile
B.D.
Perc. 2

possibile
Ten. Dr. Xyl. (Perc. 4) T.D.
3

possibile
8va

Pno.

8va
8ba
l.v.

Hp.

ossia:
0 ossia:
8va
0
Solo
Vn.

brilliant
pizz. arco
I

Vn.
pizz. arco
II

pizz. arco
Va.

pizz. div., arco

Vc.

div., pizz. non div., arco

Cb.
64
II. (Pianissimo Scherzo)
= 156–160
a2 *
1
2
legatissimo
Fl. Flute *
3
legatissimo
*
1

legatissimo
Ob.
*
2

legatissimo
*
1

Cl. legatissimo
*
2

* legatissimo

1
legatissimo
Bsn.
*

2
legatissimo

take straight mute

1
3
Hn. take straight mute
2
4

take harmon mute

Tpt. 1
2

take straight mute

Tbn. 1
2

take straight mute

Bs. Tbn.
Tba.

Timp.

Perc.

Cel.

Hp.

Solo
Vn.

= 156–160 div. a5, with practice mute

to practice mute senza vib.
I

div. a4, with practice mute

Vn.
senza vib.

II
senza vib.
to practice mute div. a4, with practice mute
Va.

div. a5, with practice mute practice mute off,

to practice mute senza vib. al sord. ord.
Vc.

al sord. ord.
Cb.

*Play legatissimo as fast as possible between and including the two given pitches. Vary the patterns constantly. Do not play chromatic scales up and down!
65

7
1
2
Fl.

Ob.

Cl.

Bsn.

a2, with straight mute

1
3

Hn. legatissimo
a2, with straight mute
2
4

legatissimo
Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Snare Drum, snares off, muffled

4

7 7
Cel. (sounds 8va)

Hp.

0
0
Solo
Vn.

div. a3, con sord. ord.

practice mute off,

al sord. ord.
I

Vn. div. a7, with practice mute,

1/2 tone cluster (C–F )

II

unis. practice mute off,

al sord. ord.
Va.

div. a2 8va
con sord. ord.
Vc.

div. a5, con sord. ord. div. a2

*
Cb.

*Continue diminished fifth interval ad lib. downwards in pitch.

66

11
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

(S.D.) Tenor Drum, muffled

7 7
Cel. 7

8va

Hp. (B ) A A

0 0
0 0

Solo
Vn.

I
(div. a7, C–F )
Vn.
A –D

II
div. a2, con sord. ord.
8va 8va

Va.

Vc.

Cb.
67

15
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Crot.
1

Glock.
2

Perc.

S.D.
4

7
Cel.

Hp.

Solo
Vn.

Vn. C–F

II

Va.

Vc.

Cb.
68

18
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4
with harmon mute

Tpt. 1
2
with harmon mute

straight mute
Tbn. 1
2

straight mute
Bs. Tbn.
Tba.

Timp.

Crot. Small S.D.

1

Glock.
2

Perc. Tamb.
3

(S.D.) Ten. Dr. S.D.

to Piano

Cel. 7

8va

Hp.

Solo
Vn.

I
(div. a7, C–F ) C–F
Vn.
A –D

II

Va.

Vc.

Cb.
69

21
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4
remove harmon mute, take straight mute

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Sm. S.D.)
1

Perc. (Tamb.)
3

(S.D.) (Ten. Dr.)

Pno.

Hp.

3
3
I
Solo
Vn.
II
III
IV

via sord. ord., to practice mute

Vn. A –D C–F A –D C–F

II

via sord. ord., to practice mute

Va.

via sord. ord., to practice mute

Vc.

via sord. ord., to practice mute

Cb.
70

24 (a tempo) a2
1
2
legatissimo
Fl.

3
legatissimo

1
legatissimo
Ob.

2
legatissimo

legatissimo
Cl.

legatissimo

1
legatissimo
Bsn.

2
legatissimo

a2 (with mute)
1
3

legatissimo
Hn. a2 (with mute)
2
4

legatissimo with straight mute

Tpt. 1
2

1. (with straight mute)

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Xyl.
2

Perc.

Pno.

Hp.

Solo
Vn.

div. a5, with practice mute

(a tempo) 1/2 tone cluster, E–G

div. a4, with practice mute

Vn. 1/2 tone cluster, G –B

II
div. a4, with practice mute
1/2 tone cluster, C–E

Va.
div. a5, with practice mute
1/2 tone cluster, E –G
Vc.
div. a5, with
practice mute
Cb.
71

30 (a2)

1
2

Fl.

Ob.

Cl.

Bsn.

(a2)
1
3

Hn. (a2)
2
4

(quasi gliss.)
sim. take harmon mute
Tpt. 1
2

(quasi gliss.)
(1.) take harmon mute
sim.
Tbn. 1
2

Bs. Tbn. (straight mutes)(quasi gliss.) sim. Bs. Tbn. take harmon mute
Bs. Tbn.
Tba.

Timp.

(Xyl.)

Perc. Tamb.
3

B.D.
4

Pno.

Hp.

0 0 0
Solo
Vn.

slow gliss.

Vn. non cresc. slow gliss.

II
non cresc. slow gliss.

Va.
non cresc. slow gliss.

Vc.

non cresc. slow gliss.

Cb.
non cresc.
72

36
1
2
Fl.

Ob.

Cl.

Bsn.

remove mute
1
3
Hn. remove mute
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

3 3 3 3
3
Solo
Vn.
3 3 3 3

practice mute off

I
practice mute off, unis., con sord. ord.
Vn. al sord. ord.
II

practice mute off

Va.

practice mute off

Vc.
½ col legno battuto,
practice mute off senza sord. ½ arco ord.
Cb.
73

42
1
2
Fl.

Ob.

Cl.

1.

Bsn.

1
3
Hn.
2
4
with harmon mute

Tpt. 1
2

with harmon mute

Tbn. 1
2

Bs. Tbn. with harmon mute

Tuba with straight mute

Bs. Tbn.
Tba.

Timp.

Perc. Tamb.

Pno.

Hp.

Solo
Vn.

Vn. I
div.

div.
Vn. II
div.

Va.
senza sord.
½ col legno battuto,
½ Bartok pizz.
Vc.

Cb.
74

48
1
2
Fl.

Ob.

Cl.

1
Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. Tamb.

to Celesta

Pno.

Hp.

Solo
Vn.

Vn. I
div. a3

div. a3 div. a4
Vn. II
div.

Va.

Vc.

Cb.
75

54
1
2
Fl.

1
Ob.

1
Cl.

1
Bsn.

1
3
Hn.
2
4

Tpt. 1
2

take straight mute

Tbn. 1
2

Bs. Tbn. take straight mute

Bs. Tbn.
Tba.

Timp.

Perc. (Tamb.)

S.D., muffled
4

7
Cel.

non arp.

Hp. D CB E FG A

0
0

Solo
Vn.

div. a3, senza sord. con sord. ord.

al sord. ord.
I

Vn.
div. a7, con sord. ord., 1/2 step cluster, C–F

II

div., senza sord. con sord. ord.

al sord. ord.
Va.

tutti, div., arco con sord. ord.

al sord. ord.
Vc.

div., arco con sord. ord.

al sord. ord.
Cb.
76

57
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

(S.D.) Ten. Dr., muffled

7
Cel.
7 7

8va 8va

Hp. A

Solo
Vn.

(div. a7, 1/2 step cluster, C–F )

Vn.
A –D
II

Va.

Vc.

Cb.
77

60
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4
(harmon mute)

Tpt. 1
2
(harmon mute)
straight mute

Tbn. 1
2

straight mute
Bs. Tbn.
Tba.

Timp.

Crot.
1

Glock.
2

Perc. Tamb. S.D. Tamb. S.D. Tamb. S.D.

3

(Ten. Dr.) S.D.

Cel.

Hp.

Solo
Vn.

Vn. C–F A –D C–F A –D

II

Va.

Vc.

Cb.
78

63
1
2
Fl.

Ob.

Cl. to Bass Clarinet

Bsn. to Contrabassoon

1
3
Hn.
2
4

Tpt. 1
2

remove mute open

Tbn. 1
2

remove mute open

Bs. Tbn.
Tba.

Timp.

Crot.
1

(Glock.) Castanets

2
3
Perc. Tamb.
3

(Ten. Dr.) B.D.

4

Cel.

Hp.

0
Solo
Vn.

div. a12, A –A

I gliss.

(div. a7) C–F div. a10, A–F

Vn.
gliss.
II

div. a8, D –A

Va. gliss.
div. a6, G–C

Vc. gliss.
non div., senza sord.
½ col legno
½ Bartok pizz.
via sord.
Cb.
0
3
79

68
1
2
Fl.

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Contrabassoon

Cbn.

open
1
3

Hn. open

2
4
3

Tpt. 1
2

Tbn. 1
2
3
Bs. Tbn.
Bs. Tbn.
Tba.

Timp.

Wood Block.
1

Cast.

2
3 Tamb. 3
Perc. thumb roll
3

B.D.
4

Cel.

Hp.

pizz. arco
3 3 3
3 3
Solo
Vn.

tutti, 1/2 step

I
sub.
Vn. tutti, 1/2 step

II
sub.

tutti, 1/2 step

Va.
sub.
tutti, 1/2 step

Vc.
sub.
div., ord.

Cb.
3
3
80

73
1
2
Fl.

Ob.

Cl. 1
Bass Clarinet
3

Bs. Cl.
* 3

Bsn. 1

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn. take straight mute Tuba

Bs. Tbn.
Tba.
*

Timp.

Crot.
1

Tom-toms Glock.
2

Perc. Tamb.

B.D.
4

Cel.

Hp.

Solo
Vn.

div. a2
(div. a12, A –A )
gliss.

(div. a10, A–F ) div. a7

Vn. gliss.

II

(div. a8, D –A )
gliss. div. a2
Va.

(div. a6, G–C) gliss. div. a2

Vc.

Cb.

*Cbn., Bcl. and Tba. should be balanced to all sound mezzo piano to mezzo forte.
81
( = 156–160)
78 ( = )
1
2
Fl.

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.
3

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

(Tba.)
Bs. Tbn.
Tba.

Timp.

(l.v.) Vib.
1

Pedal
(l.v.) Tom-toms (Hi, med., low)

2
3 3
Perc. Tamb.

B.D.
4

to Piano Piano

l.v.
Cel.

non arp. non arp.

Hp. l.v.

Solo
Vn.

( = 156–160)
unis. ( = )
3 3

Vn. div. a2 unis.

3 3
II

3 3 unis.
Va.

div.
Vc.

Cb.
82
Slightly slower
83 = 104–106 rall. = ca. 84–86
1
2
Fl.

Ob.

Cl. 1

to Clarinet in B

Bs. Cl.

Bsn. 1

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

(Tba.)
Bs. Tbn.
Tba.

Timp.

(T.-t.)
2

Perc. 3 Drums

Trg.

Celesta
to Celesta

Pno.

Hp. l.v.

Solo
Vn.

Slightly slower
= 104–106 rall. = ca. 84–86
I

Vn.

II

Va.

unis.

Vc.

div. a3
Cb.
83

87
1
2
Fl.

Ob.

Cl. Clarinet in B

Bsn. 1

Cbsn.

1.
1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Crot.

Perc. (3 Drums)

2 Small Metal Plates Trg.

4

Cel.

Hp. B A B B C

8va

Solo
Vn.

Vn.

II

Va.

unis.
div.

Vc.

(div. a3)

Cb.
84

92
1
2
Fl. to Piccolo
3

Ob.

Cl.

Bsn. 1

Cbsn.

1.
1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Crot.
1

Perc. (3 Dr.)

2 Metal Plates

Cel.

non arp. non arp.

Hp. A B B A B C

arco
8va
pizz. (l.h.)
pizz.

Solo
Vn.

Vn.

II

Va.

unis.
div.
Vc.
(div. a3)

Cb.
85

96 Piccolo to Flute
Picc.

1.
Fl. 1
2

Ob.

Cl.

Bsn. 1

Cbsn.

1.
1
3

Hn.
2
4
(with harmon mute) remove harmon mute, take straight mute
Tpt. 1
2

Tbn. 1
2

Tuba, with mute

Bs. Tbn.
Tba.

Timp.

Vib.
1

T.-t.
Pedal
2

Perc. (3 Dr.)
3

Trg.

Cel.

Hp. B F

8va

(arco)
Solo
Vn.

pizz.
I

Vn. pizz.
II

Va.

unis.
div.
Vc.

Cb.
86

99 (2.)
1
2
Fl.

Ob.

Cl.

Bsn. 1

to Bassoon

Cbsn.

take straight mute

1
3

Hn. 2. take straight mute

2
4

Tpt. 1
2

take straight mute

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.
(Vib.)

(T.-t.) Pedal

Perc.

Cel.

Hp.

Solo
Vn.

via sord., to practice mute

I

Vn. via sord., to practice mute

II

via sord., to practice mute

Va.

div.
via sord., to practice mute
Vc.

al sord. ord.
Cb.
87

103 = 156–160
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Cel.

Hp.

sul pont. al extreme pont. al ord. pont. sul pont. al extreme pont. al ord. pont. sul pont. al extreme pont. sul pont. al extreme pont.

Solo
Vn.

div. a5, arco, with practice

= 156–160 mute, senza vib.

div. a4, arco, with practice

Vn.
mute, senza vib.

II
div. a4, with practice
mute, senza vib. practice mute off,
al sord. ord.
Va.

div. a5, with practice practice mute off,

mute, senza vib. al sord. ord.
Vc.

Cb.
88

109
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Glock.
2

Perc.

S.D., muffled (no accents)

4

7
Cel.

Hp.

change to ord. (sans sul pont.)

extreme pont.
Solo
Vn.
scherzando
0 0
div. a3, con sord. ord.

practice mute off,

al sord. ord.
I

Vn. (practice mute)

II

con sord. ord. unis.

Va.

div. a2, con sord. ord.

Vc.

div. a6, con sord. ord. div. a2

slow gliss.
Cb.
89

113 a2
1
2

Fl.
Flute
3

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2
(straight mute)

Tbn. 1
2

(straight mute)
Bs. Tbn.
Tba.

Timp.

Glock. Vib.

Perc.

(S.D.) Ten. Dr., muffled

7
Cel. 7

8va

Hp.

Solo
Vn.
0
0 0
0 0

div. ord.
Vn. sul pont.

II

div.
Va.

Vc.

Cb.
90

117 a2
1
2

Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Vib.)

Perc.

(S.D.) Ten. Dr.

Cel.

Hp.

I II
III breve

Solo
Vn.

Vn. practice mute off, al sord. ord.

II

Va.

Vc.

Cb.
91

120 (a tempo)
1
2
Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4
with straight mute

Tpt. 1
2
(with straight mute)

Tbn. 1
2

Bs. Tbn. (with straight mute)

Bs. Tbn.
Tba.

Timp.

Vib. Xyl.
2

Perc. Pedal
3

Cel.

Hp.

0
Solo
Vn.

(a tempo) unis. (con sord.)

poco a poco al
sul pont.

unis. (con sord.) marc.

Vn. sul pont.
poco a poco al
II

unis. (con sord.) marc.

sul pont.
poco a poco al
Va.

unis. (con sord.) marc.

poco a poco al sul pont.

Vc.

marc.
unis. (con sord.)
poco a poco al sul pont.
Cb.

marc.
92

127 a2

1
2
legato
Fl.

3
legato

1
legato
Ob.

2
legato

legato
Cl. to Bass Clarinet

legato

1
legato
Bsn. Bassoon to Contrabassoon

2
legato

a2, with mute

1
3

legato
Hn. a2, with mute
2
4

legato
Tpt. 1
2

remove mute
Tbn. 1
2
Tuba with mute
remove mute
Bs. Tbn.
Tba.

Timp.

3 Roto-toms, play with hands

(Xyl.)

Perc.

B.D.
4

Cel.

Hp.

0 0 0 0
Solo
Vn.

div. a12, A–G

div. a7, ord.
D –G
gliss.
I

div.
Vn. unis., ord. div. a10, B G

II gliss.
div. a8,
E –B
unis., ord.

Va. gliss.

div., ord.

Vc. gliss.

Cb.
93

133
1
2
Fl.

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1
3

Hn.
2
4

Tpt. 1
2

open
Tbn. 1
2

open
Bs. Tbn.
Tba.

Timp.
(Roto-t.)

Cast.
2
3 3
Perc. Tamb.
3

B.D.
4

7
Cel.

Hp. B only

pizz.
3 3
3 3
Solo
Vn.

tutti, 1/2 step trill

I
sub.
Vn.
tutti, 1/2 step trill unis., non div.
II gliss.
sub.
tutti, 1/2 step trill

Va.
sub.
div. a6 (A–D) tutti, 1/2 step trill

Vc.
sub.
unis., non div.
Cb.
0 0
3 3
94

138
1
2
Fl.

Ob.

Cl. 1
Bass Clarinet
3

Bs. Cl.

* 3

Bsn. 1

Contrabassoon

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Tba.
Bs. Tbn.
Tba.
*

Timp.

Vib.

T.-t. Tamb.
Pedal
2

Perc. B.D.
3

S.D.
4

7
Cel.

8va

Hp.

arco

Solo
Vn.

div. a3

Vn. div. a7, C–F

II

div.

Va.

div.

Vc.

div., arco ord.

Cb.

*Cbn., Bcl. and Tba. should be balanced to all sound mezzo piano to mezzo forte.
95

142
rall.
a2
1
2

Fl. legatissimo

legatissimo

Ob.

Cl. 1

to Clarinet in B

Bs. Cl.

Bsn. 1

to Bassoon

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2
(Tba.)
Bs. Tbn.
Tba.

Timp.

Pedal Tamtam
2

Perc. B.D.
3

(S.D.) Ten. Dr., muffled

7
Cel.

8 8va

Hp.

Solo
Vn.

rall.
I

Vn.
div. a2

II

Va.

via sord., to practice mute

Vc.

via sord., to practice mute

Cb.
96
Slower
146
(rall.) = ca. 94–96
(a2)
1
2
Fl. to Piccolo
3

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

T.-t.

Perc.

(Ten. Dr.)

Cel.

Hp.

Solo
Vn.

Slower
(rall.) = ca. 94–96

Vn.

II

Va.

Vc.

Cb.
97

150 Piccolo
to Alto Flute
Picc.

Fl. 1
2

Ob.

Cl. Clarinet in B

1
Bsn.
Bassoon

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Trg.
1

(T.-t.)

Perc.

to Piano

Cel.

Hp.

al sord.
Solo
Vn.

div. a3, with practice mute free bows

al sord., practice mute

I

Vn. al sord., practice mute div., with practice mute free bows
II

al sord., practice mute div., with practice mute free bows

Va.

div., with practice mute free bows slow, even gliss.

Vc.

div., with practice mute free bows slow, even gliss.

Cb.
98

155 A tempo primo

Picc.

Fl. 1
2
3

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Trg. l.v.
1

(T.-t.)

Perc.

Ten. Dr., muffled

8va

Piano

Pno.

8va

Hp.

8va

con sord.
0
3 3 0 0 7 0
0 7 0
Solo
Vn.
3 3 7

A tempo primo
I

Vn.

II

Va.

Vc.

Cb.
99
III. (Andante Flautando)
Lento = 48 rall.
Fl. 1
2

Al. Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

take st. mute

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

Solo
Vn.

Lento = 48 rall.
via sord.
I

Vn. via sord.

II

div. a2, senza sord.

Va.

rich, sost.
div., senza sord.

Vc.

rich, sost.
senza sord.

Cb.
rich, sost.
100
3
7 A tempo = 48, = 72
Fl. 1
2

Al. Fl.

Ob.

Cl.

Bsn.

1.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

IV
3
3 3 3 3 3 3 3 3
Solo
Vn.

freely
3
A tempo = 48, = 72
I

Vn.

II

unis.
Va.

unis.
Vc.

Cb.
101

14
Fl. 1
2

Al. Fl.

Ob.

Cl.

Bsn.

1.
1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

IV
3
3
3 3 3 3 3 3 3 3 3
Solo
Vn.

3 espr.
3 3

non div., senza sord.

rich, sost.
Vn. non div., senza sord.

II

rich, sost.
Va.

rich, sost. div.

non div.
Vc.

rich, sost.
div.

Cb.

rich, sost.
102
Tempo doppio = 96
( = )
22
Fl. 1
2

Al. Fl.

Ob.

ten.
1

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

3 3 3 3
Solo
Vn.
3

Tempo doppio = 96
( = )
al sord.
I

Vn.

II

Va.

unis. div. unis., pizz.

Vc.

unis., pizz.
Cb.
103
Slightly slower
29
rall. = ca. 80
Fl. 1
2

Alto Flute, senza vib.

Al. Fl.

1
Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp. C E F

IV
* sempre l.v.
Solo
Vn.

Slightly slower
= ca. 80
rall. con sord.
3 stands soli

Vn. al sord.
II

al sord.
Va.

al sord.
Vc.

arco
Cb.

*Extreme flautando: bow halfway between fingertip and bridge. Play sul G and hold D string down to keep out of the way.
104

36
Fl. 1
2

Al. Fl.

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp. C E F

Solo
Vn.

(con sord.)
tutti

con sord.
Vn.

II

con sord.

Va.

arco, con sord.

Vc.

Cb.
105
senza vib.
44 rall.
Fl. 1
2

(senza vib.) to Piccolo

Al. Fl.

Ob.

Cl.

Bsn.

3.
1
3
Hn. 4.
2
4

with straight mute

remove mute
Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Trg.

Perc.

Pno.

Hp.

sempre l.v.
IV ord.
Solo
Vn. 3
3

rall.
I

Vn.

II

Va.

Vc.

pizz.
Cb.
106
Tempo I = 48 Tempo doppio = 96
50 = =
Picc.

1.
Fl. 1
2

Ob.

Cl.

Bsn.

* [opt. st. mute] a2

1
3

Hn. dolce
[opt. st. mute] a2
2
4

dolce
[opt. st. mute]
take st. mute
Tpt. 1
2
dolce
[opt. st. mute]
1., take st. mute
Tbn. 1
2
dolce
[opt. st. mute]
Bs. Tbn.
Tba.

dolce

Timp.

Perc.

Pno.

Hp.

Solo
Vn.
3 3 3 3 3 3

Tempo I = 48 Tempo doppio = 96

= =
I

Vn.

II

Va.

Vc.

(pizz.) al sord.
Cb.

*The brass here may be played with straight mutes if desired.

107
Slightly slower
rall.
57 = ca. 80
Picc.

(1.)
Fl. 1
2

Ob.

Cl.

Bsn.

1., open 1., take straight mute

1
3

Hn. 2. open 2., take straight mute

2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp. F

Solo
Vn.

Slightly slower
rall.
div. (con sord.)
= ca. 80
I

Vn.
(con sord.)
II

(con sord.)

Va.

(con sord.)
Vc.

con sord. arco

Cb.
108

65 Piccolo rall. slower A tempo ( = ca. 80)

Picc.

1. senza vib.
Fl. 1
2

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

D B
Hp. C F F G A

IV extreme flautando
Solo
Vn.

rall. slower A tempo ( = ca. 80) div., sul tasto

I
div.
Vn.

II

Va.

Vc.

Cb.
109

71 =
= ca. 40 stringendo Tempo I = 48
Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

with mute
1
3

Hn. with mute

2
4

(with straight mute)

Tpt. 1
2

1. (with straight mute)

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

(L’istesso tempo)
3 3 3 3
Solo
Vn. 3
3 3 3 3 3 3 3 3 3
3

= ca. 40 stringendo Tempo I = 48

= via sord.
I

Vn.
3 via sord.
II

via sord.
Va.

Vc.

pizz.
via sord.
Cb.
110

77
Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

1
3

Hn.
2
4

Tpt. 1
2
(1.)

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

Solo
Vn.
3 3 3 3 3 3 legatissimo
soaring

senza sord. div.

I
rich, sost.
Vn. senza sord. div.
II

rich, sost.
senza sord. div. unis.
Va.

rich, sost.
via sord. senza sord. div.
Vc.

rich, sost.
senza sord. div., arco

Cb.

rich, sost.
111

82 lunga
Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

8va

Solo
Vn.

lunga

Vn.
unis. div.
II

div.
Va.

(div. a2)

Vc.

Cb.
112
IV. (Accelerando Finale)
= 138
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

Solo
Vn.
arco
non div., senza sord.*
= 138 (l.h. pizz.)

Vn.
non div., senza sord.
*
II

non div., senza sord.

*
Va.
senza sord.,
col legno battuto

0
Vc. senza sord.,
col legno battuto

senza sord.,
col legno battuto
0
Cb.

*Crunch. Lightly mute the indicated strings with your hand in first position. Bow with extreme pressure, al tallone, using a short bow stroke.
Do not lift the bow off the strings. The resulting sound should be loud and scratchy with no discernable pitch.
113

6
Picc.

Fl. 1
2

Ob.

Cl. 1

Bass Clarinet

Bs. Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

1.
Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc. T.-t.
3

Tamb. Ride Cym., wire brushes

Pno.

Hp.

sim.

Solo
Vn.

sost.
(III)
I

0 sub.
Vn.

II

sub.

(III)
Va.
sub.

(col legno) 0

Vc. (col legno) 0

Cb.

0
114

11
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. Bassoon

1
3

Hn.
2
4

Tpt. 1
2

1.
Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Xyl.
1

B.D.
2

Perc. (T.-t.)
molto
3

(Cym.) Tamb.

Pno.

Hp.

l.h. pizz.
arco

Solo
Vn.

Vn.

II

Va.

Vc.

arco

Cb.
115

15
Picc.

molto

Fl. 1
2

molto
Ob.

molto

Cl. 1

Bs. Cl.

molto

a2
1
Bsn. 2 molto

1
3
Hn.
molto
2
4
molto

Tpt. 1
2
molto

1.
Tbn. 1
2
molto

Bs. Tbn.
Tba.

molto

Timp.

Glock.
molto
1
B.D.
2

Perc. Metal plate T.-t.

3
Ride Cym., brushes

4
8va

Pno.

non arp.

Hp.

Solo
Vn.

molto
Vn.

II

molto

Va.

arco molto col legno battuto

(non div.) 0

col legno battuto

Vc. arco (non div.) 0

col legno battuto 0

Cb.
116

20
Picc.

Fl. 1
2

Ob.

2
solo

Cl. 1

Bs. Cl.

Bsn.

1. a2
1
3

Hn. a2
2
4

1., open
2., with harmon mute remove mute
Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

hard sticks, dampen between beats

Timp.

Xyl. secco
1

B.D. Slapstick
2
Perc. T.-t.
3

(Cym.) (Tamb.)

Pno.

Hp.

*
Solo
Vn.

6 stands 5 stands
I

div.
Vn. unis., col legno
II

div. unis., col legno

Va.

pizz. arco col legno

Vc. pizz. arco col legno

arco, ord. col legno

0
Cb.

*Crunch on D and A .
117

24
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

= accel. poco a poco sempre

*
Solo
Vn.

4 stands 3 stands 2 stands 1 stand solo

I

sempre
Vn.

II

Va.

(col legno)

Vc. (col legno)

Cb.

*Solo Violin accelerates steadily, but the orchestra plays repeated ostinato in strict time until conductor changes tempo.
118

(27) 28 ( = 138, in 4)*accel. poco a poco

Fl. 1
2

1
Ob.

Cl. 1

Bs. Cl.

1
Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

2
Perc.

Pno.

Hp.

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
(sempre accel. poco a poco)
Solo
Vn.

stacc., sempre cresc. poco a poco

0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

**

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Solo
Vn.

( = 138, in 4)*accel. poco a poco

I

Vn.

II

Va.

Vc.

0
Cb.

*Orchestra accelerates independently of solo.

**Orchestra bar 28 should start approximately here.
119
= ca. 138 (in 4) accel. poco a poco
(30) (accel.) 31
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

(accel.)
Solo
Vn.
(cresc.)

(accel.) = ca. 138 (in 4) accel. poco a poco

I

Vn.

II

Va.

Vc.

0
Cb.
120

32 (accel.) = (in 4) accel. poco a poco

Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

1
Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

(accel.)
Solo
Vn.
(cresc.)

(accel.) (in 4) accel. poco a poco

=
tutti, ord.
I

Vn.
arco, ord.
II

non div., ord. div., pizz.

Va.

non div., ord. div., pizz.

Vc.

non div., ord. pizz.

Cb.
121
(accel.)
(in 3) (accel.)
36 (in 3) =
( = 138–160)
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

T.-t.
4

Pno.

Hp.

(accel.)
Solo
Vn.
(cresc.)

(accel.)
(in 3) (in 3) (accel.)
= ( = 138–160)
0 0 0 0 0
I

Vn.
0 0 0 0 0
II

arco pizz. arco

Va.

arco pizz. arco pizz.

0 0 0 0
Vc.

div.,
div., unis., unis., arco
arco pizz. div., pizz.
pizz. arco unis., pizz.
Cb.
122 = 138
41
Picc.

molto

Fl. 1
2

1
molto

Ob.

molto

Cl. 1

Bs. Cl.

molto
a2 Bassoon 2 to Contrabassoon
1
Bsn. 2 molto

1
3
Hn.
molto
2
4
molto

2. open

Tpt. 1
2 molto

Tbn. 1
2

molto
Bs. Tbn.
Tba.

molto
Timp.

Glock.
molto

B.D.
2

Perc. Metal plate

3

4
8va

Pno.

non arp

Hp. F

Solo
Vn.

= 138
I

Vn.
molto
II

molto
non div.
Va.

non div.,
arco molto col legno battuto

Vc. non molto

div., arco col legno battuto

non div., molto non div., col legno battuto

arco 0
Cb.

molto
123

45
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

1. 1.
Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

non arp. 8ba

Hp.

Solo
Vn.

(III) div.

Vn. div.
II

(III) div.
Va.

unis., non div.

(col legno)
0
Vc. 0

non div.
(col legno)
Cb.
124
(accel.)
49 accel. molto (in 4)
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

B.D.
2

Perc.

Pno.

8ba
non arp.

Hp.

(non accel.)

*
Solo
Vn.

(accel.)
accel. molto (in 4)
I

Vn.

II

Va.

div.,
arco ord.
Vc.

div.,
arco ord.
Cb.

*Solo Violin stays in tempo while the orchestra accelerates. (They are asynchronous.)
125

54 (accel.) =
(accel.)
Picc.

Fl. 1
2

Ob.

Cl. 1

Tbn. 2

Bs. Cl.

Bsn. 1

Bs. Tbn.
Contrabassoon

Cbsn.

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(B.D.)
2

Perc.

Pno.

non arp. non arp.

Hp. B E B C F C E

Solo
Vn.

(accel.) =
(accel.)
I

Vn.

II

Va.

Vc.

Cb.
126

59 (accel.)
Picc.

Fl. 1
2

Ob.

Cl. 1

to Clarinet in B

Bs. Cl.

Bsn. 1

to Bassoon

Cbsn.

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(B.D.)
2

Perc.

Pno.

non arp. sim.

A B E E A
Hp.

Solo
Vn.

(accel.)
I

Vn.

II

Va.

Vc.

Cb.
127
= 138
64
Picc.

Flute 2 to Piccolo
Fl. 1
2

Ob.

Cl. Clarinet in B legato, asynchronous

2

legato, asynchronous

Bsn. Bassoon legato, asynchronous

legato, asynchronous
1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Glock.
1

T. Blk. B.D.
2

Perc. Tamb.
3

Sus. Cym.
4

8va

Pno.

sempre l.v. sempre

Hp.

Solo
Vn.

=8va 138
div. a3

Vn. unis.

II

unis.
Va.

unis. asynchronous

Vc.

asynchronous
Cb.

*Optional Trumpet in D.
128

67
Picc. 1
2

Fl. 1

Ob.

Cl.

Bsn.

a2
1
3

Hn. a2
2
4

Tpt. 1
2

Tbn. 1
2

a2
Bs. Tbn.
Tba.

Timp.

B.D.
2

Perc.

Pno.

Hp. E

Solo
Vn.

unis.
I

asynchronous, as
Vn. fast as possible

II

asynchronous, as fast as possible

Va.

Vc.

unis.
Cb.
129

69
Picc. 1
2

Fl. 1

Ob.

Cl.

Bsn.

a2 3
1
3

Hn. a2 3
2
4

Tpt. 1
2

Tbn. 1
2
3
(a2)
Bs. Tbn.
Tba.

Timp.

B.D.
2

Perc.

Pno.

3 3

Hp. B A

Solo
Vn.

Vn.

II

Va.

Vc.

div.

Cb.
130
a tempo ( = 138)
72
Picc. 1
2
3 3 3 3 3 3 3 3 3 3 3 3
sub. dim. poco a poco

Fl. 1
3 3 3 3 3 3 3 3 3 3 3 3
sub. dim. poco a poco

1
3 3 3 3 3 3 3 3 3 3 3 3
sub. dim. poco a poco
Ob.

2
3 3 3 3 3 3 3 3 3 3 3
sub. dim. poco a poco

Cl. to Clarinet in A

Bsn.

(a2)
1
3

Hn. (a2)
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Xyl.

3 3 3 3 sub.
(B.D.)
2
Perc. dim. poco a poco
3

S.D.

3 3 3 3 sub.
8va

3 3 3 3 3 3 3 3 3 3 3 3
sub. dim. poco a poco
Pno.

3 3 3 3 3 3 3 3 3 3 3 3
non arp
8va

Hp.
dim. poco a poco

*
Solo
Vn.

a tempo ( = 138) as fast as possible

Vn.

II

Va.

Vc.

Cb.

*Solo Violin plays as fast as possible and should not synchronize with the orchestra.
131
rall.
2.
75
Picc. 1
2
3 3 3 3 3 3
(dim. poco a poco)

Fl. 1
3 3 3 3 3 3
(dim. poco a poco)

1
3 3 3 3
Ob. (dim. poco a poco)

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(B.D.)
2
(dim.)
Perc.

3 3 3 3 3 3
(dim. poco a poco)
Pno.

3 3 3 3
8

Hp. (dim.)

rall.

Solo
Vn.
sim.

rall.
I

Vn.

II

Va.

Vc.

Cb.
132
(rall. poco a poco)
(2.)
77 Piccolo 1 to Flute 2
Picc. 1
2
(dim.)

Fl. 1
(dim.)

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

2
(dim.)
Perc.

(dim. poco a poco)

Pno.

(dim.)
Hp.

Solo
Vn.
dim. poco a poco

(rall. poco a poco) div., con sord.

Vn. (con sord.)

II

Va.

Vc.

Cb.

*Accents gradually disappear with diminuendo.

133
= 54
80
Picc.
3 3
1.
Fl. 1
2
3
solo

Ob.

Cl.

Bsn.

1.
1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

3 3
Hp.

Solo
Vn.

= 54

Vn. div., con sord. via sord.

II
div., con sord.

Va.

div., con sord.

Vc.

half section

Cb.
134

86
Picc.
3 3 3 3
(1.) sempre

Fl. 1
2
3 3 3 3
sempre

Ob.

solo

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

3 3 3 3
Hp.

3 3 3 3

Solo
Vn.
simply

Vn.

II

Va.

Vc.

Cb.
135

92 = 60
Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

with mute
1
3

Hn. 4. with mute

2., with mute
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

Solo
Vn.

= 60
I

Vn. div., senza sord. unis.

II

via sord. unis., senza sord.

Va.

via sord. unis., senza sord.

Vc.

div., arco
tutti, pizz.
Cb.
136

98 rall. a tempo ( = 60)

Picc.

Fl. 1
2

Ob.

Cl.
Clarinet in A

Bsn.

a2
1 3
3

Hn. a2
2
4
3

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

quasi
3
3 3
3 3 3
Solo
Vn.
3
espr.

a tempo ( = 60)
rall. 4 stands, soli
unis. (con sord.)

Vn. pizz.
II

(trem.)
Va.

div.
Vc.

3 3 half section, arco

pizz.
Cb.
3
137

103 rall. =
Picc.

Fl. 1
2

Ob.

Cl.
3
2

Bsn.

remove mute
1
3
Hn. remove mute
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

3 3 3
Solo
Vn.
3 3 3 3 3

rall. =
I

Vn. arco (trem.)

II

Va.

Vc.

3 3 3 3
pizz.
tutti, div. (arco) 3 unis.

Cb.
138
= 60 (A tempo)
107
Picc.

Fl. 1
2

Ob.

Cl. to Clarinet in B

Bsn.
3

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2
3 3 3 3 3 sub.

3 3
3 3 3
Bs. Tbn.
Tba.

sub.

Timp.

Perc.

Pno.

Hp.

quasi
0
0 0
0 0 0 0 0 0 0 0
Solo
Vn.

deliberate

= 60 (A tempo)
via sord.
I

Vn.

II

Va.

Vc.

div., arco
Cb.

3
139

112 accel. poco a poco

Picc.

Fl. 1
2

Ob.

Cl.

3 3 3

Bsn.
3 3 3

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

0
0 0 0 0 0 0 0 0
0 0 0 0 0 0
Solo
Vn.

accel. poco a poco

I

Vn.

II

Va.

Vc.

Cb.

3 3 3
140

116 (accel. poco a poco)

Picc.

Fl. 1
2

Ob.

Cl.

Bsn.
3

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2
3 3
3 3
Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

0 0 0 0 0 0 0 0 0 0 0 0 0
Solo
Vn.

(accel. poco a poco)

I

Vn.

II

Va.

Vc.

Cb.

3
141

119 (accel. poco a poco)

Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2
3 3
3 3
Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

0 0
0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Solo
Vn.

(accel. poco a poco)

I

Vn.

II

Va.

Vc.

unis.

Cb.
142

122 (in 2) accel. poco a poco

Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

1., open
1
3

Hn.
2., open
2
4

Tpt. 1
2

Tbn. 1
2
sub.

Bs. Tbn.
Tba.

sub.

Timp.

Perc.

Pno.

Hp.

0 0 0
0 0 0 0 0 0 0
Solo
Vn.

(in 2) accel. poco a poco

tutti, senza sord.

I
3 3
Vn.

II
3 3

Va.
3 3
(div.)
Vc.

3 3
unis.
Cb.
143

125 (accel. poco a poco)

Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

3. open
3 3

1
3
3
4. open
Hn.
3 3

2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

0
0 0 0 0 0 0 0
0 0
Solo
Vn.

(accel. poco a poco)

I
3 3 3
Vn.

II
3 3 3

Va.
3 3 3

Vc.

div. 3 3 3

Cb.
144

128 (accel. poco a poco) =

Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

1.
1
3
Hn. 2.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0
Solo
Vn.

(accel. poco a poco)

=
I

Vn.

II

div.

Va.

Vc.

Cb.
145

131 = 138 tratt.

Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

1
3

Hn.

2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Glock.
1

T.-t. 1 player Xyl.

2

Perc. Tam.
3

S.D., wire brushes

Pno.

Hp.

Solo
Vn.

= 138 tratt.
arco
pizz.
I

Vn. pizz. arco

II

pizz. arco

Va.

pizz. arco *
Vc.

unis., pizz.
Cb.

*Crunch.
146

135 a tempo = 69 ( = 138)

Picc.

Fl. 1
2

Ob.

Cl. Clarinet in B asynchronous, as fast as possible

2

asynchronous, as fast as possible

Bsn. asynchronous, as fast as possible

a2 asynchronous, as fast as possible

1
3
Hn. a2
2
4

Tpt. 1
2

Tbn. 1
2

Tuba
Bs. Tbn.
Tba.

Bs. Tbn.

Timp.

(Glock.)

(Xyl.)
B.D.

Perc.
(Tam.)
3

S.D.

Pno.

Hp.

8va

Solo
Vn.

a tempo = 69 ( = 138)
I

Vn.

II

Va.

asynchronous, as fast as possible

Vc.

asynchronous, as fast as possible

div., arco

Cb.
147

137
Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

(a2)
1
3
Hn. (a2)
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(B.D.)
2

Perc.

Pno.

Hp.

Solo
Vn.

Vn. asynchronous, as fast as possible

II

asynchronous, as fast as possible

Va.

Vc.

Cb.
148

139 tratt.
Picc.

Fl. 1
2

Ob.

Cl.

Bsn.

(a2)
1
3

Hn. (a2)
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(B.D.)
2

Perc.

Pno.

Hp.

Solo
Vn.

tratt.
I

Vn.

II

Va.

Vc.

Cb.
149
a tempo = 138 Cadenza
141
Picc.
3 3 3 3 3 3 3 3 3 3

Fl. 1
2
3 3 3 3 3 3 3 3 3 3

1
3 3 3 3 3 3 3 3 3 3

Ob.

2
3 3 3 3 3 3 3 3 3 3

Cl. to Bass Clarinet

Bsn. to Contrabassoon

(a2)
1
3
Hn. (a2)
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Xyl.

3 3 3 3 3 3 3 3 3 3
(B.D.)
2
Perc.

S.D.

3 3 3 3 3 3 3 3 3 3

8va

3 3 3 3 3 3 3 3 3 3
Pno.

3 3 3 3 3 3 3 3 3 3

Hp.

Solo
Vn.

poss., sost.
a tempo = 138 Cadenza
I

Vn.

II

Va.

Vc.

Cb.
150

(Cadenza)

accel. molto
(144) *
Solo
Vn.
sim.

(144)
0 0 0 0 0 0 0 0 0 0
Solo
Vn.

Slapstick
(144) 145
3

Perc.
Tamb.

8va
III
IV I
II
Solo
Vn.

8va
rall. Allegro
(145) 146 sim.
0 0 0 0
0 0
Solo
Vn.
3 3 3 3 3 3 3 3 3
3 3
sub. 3 3
0

tratt. accel.
(146)
free bows if necessary change to sul pont. sul pont. lunga
Solo
Vn.
3 3 3

*Articulation will change to staccato as figure accelerates.

151

147 Slightly slower = 120

Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

crunch (arco) (l.h. pizz.) arco

col legno battuto
Solo
Vn.

Slightly slower = 120 (crunch)

I

Vn.
(crunch)
II

(crunch)
Va.

non div., col legno battuto

Vc. non div., col legno battuto

non div., col legno battuto

0
Cb.
152

151
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1
3
Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

Pno.

Hp.

Solo
Vn.

Vn.

II

Va.

(crunch) col legno battuto

Vc.

(crunch) col legno battuto

(crunch) col legno battuto

* 0
Cb.

*Crunch.
153

155 accel.
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Contrabassoon

Cbsn.

1.
1
3

Hn.
2
4

Tpt. 1
2

2.
Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Trg.
Ratchet
1

B.D.
2

Perc. Wood Block

Tamb.
4

Pno.

Hp.

Solo
Vn.

non div., pizz. accel.

I

Vn.
non div., col legno battuto

II

Va.

col legno battuto

Vc.
col legno battuto

col legno battuto

0
Cb.
154

159 accel. molto poco a poco ( = ca. 220)

Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1.
1
3

Hn.
2
4

Tpt. 1
2
1. (with harmon
2. 1., with harmon mute 2. (open) mute)
Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Ratchet
1

Xyl.
2

Perc.

Pno.

Hp.

IV

Solo
Vn.

accel. molto poco a poco ( = ca. 220) (pizz.)

Vn. (col legno)

II

Va.

unis.
Vc.

Cb.
155
= ca. 112, = ca. 224, accel. poco a poco
163
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1.
1
3

Hn.
2
4

Tpt. 1
2

2. (open) 1. (with mute) 2. 1. 2. 1. remove mute

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

(Ratchet)
1

Xyl.
2

Perc. Slapstick

Pno.

Hp.

Solo
Vn.

= ca. 112, = ca. 224, accel. poco a poco (pizz.)

I

Vn.
(col legno)
II

Va.

Vc.

Cb.
156

166
(accel. poco a poco)
=
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1. open
1
3

Hn.
2
4

Tpt. 1
2

(2.) 1. open

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

B.D.
4

Pno.

Hp.

Solo
Vn.

(accel. poco a poco)

div. a2,
arco
=
I

div. a2,
Vn.
ord.

II

div., arco ord.

Va.

div., arco ord.

Vc.

div., arco ord.

Cb.
157
(accel.) (accel.)
170
Picc.

Fl. 1
2

Ob.

Cl. 1

Bs. Cl.

Bsn. 1

Cbsn.

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Perc.

(B.D.)
4

Pno.

Hp.

Solo
Vn.

(accel.) (accel.)

Vn.

II

Va.

Vc.

Cb.
158
(accel.)
175 rall.
Picc.

Fl. 1
2

Ob.

Cl. 1

to Clarinet

Bs. Cl.

Bsn. 1

Cbsn.

a2
1
3

Hn.
a2
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Glock.

Sus. Cym.

Perc.
B.D.
3

(B.D.)
4

Pno.

Hp.

Solo
Vn.

(accel.)
rall.
I

Vn.

II

Va.

Vc.

Cb.
159
Slower = 50 accel. poco a poco
179
Picc.

a2

Fl. 1
2

1
Ob.

Clarinet in B
Cl.

Bsn. 1

Cbsn.

(a2)
1
3
Hn. (a2)
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp. 3 3 3

Xyl.

(Sus.
Cym.) Tamtam
2

Perc. Ten. Dr. Chimes l.v. sempre

3
l.v.
(B.D.) 3 3 3
4

Pno.

8ba 8ba 8ba

C ,E
Hp. only l.v. sempre

8ba 8ba

Solo
Vn.

Slower = 50 accel. poco a poco

unis.
I

Vn. unis.
II

unis.

Va.

unis.
Vc.

div. 0

Cb.
160

186
= 138 accel.
Picc.

Fl. 1
2

Ob.

Cl.

Bsn. 1

Cbsn.

1
3

Hn.
2
4

Tpt. 1
2

1.
Tbn. 1
2

Bs. Tbn.
Tba.

Timp.
Glock. (15ma)

Xyl. (8va)
T. Blk.
(Tam.)
2

Metal plate
Perc. T.-t. vary pitches ad lib. vary pitches ad lib. vary pitches ad lib.

B.D.
4

Pno.

Hp.

Solo
Vn.

arco
accel.
= 138 div.
div., pizz. unis.
I

arco
Vn. div., pizz. unis. div.

II

div., pizz. unis. div. non div., arco

0
Va.

unis. div. non div., arco

div., pizz. 0

Vc.

unis., pizz. div., arco

Cb.
161

190
Picc.
poss.

a2

Fl. 1
2
poss.

1
poss.
Ob.

2
poss.

1
poss.
Cl.

2
poss.

Bsn. 1

poss.
Cbsn.

poss.
1
3
Hn.
2
4

Tpt. 1
2

poss.

Tbn. 1
2

poss.
Bs. Tbn.
Tba.

poss.

Timp.

poss.
Xyl.

poss.
T. Blk.

2
Metal
plate
Perc. (T.-t.) poss.

poss.
4

Pno. poss.

poss.
Hp.
(B C D E F G A )

Solo
Vn.

I
poss.
Vn.

II
poss.

Va.

poss.

Vc.
poss.

Cb.

poss.
162

192
Picc.

Fl. 1
2

Ob.

Cl.

Bsn. 1

Cbsn.

1
3

Hn.
2
4

Tpt. 1
2

Tbn. 1
2

Bs. Tbn.
Tba.

Timp.

Xyl.
1

S.D., rimshot
2

Perc. T.-t.
3

B.D.
4

poss.

8va

Pno.

Hp.

quasi tremolo and quasi glissando

0 0 0
0 0 0
Solo x x x x x x
Vn.

poss. 3
1

Vn.

II

Va.

Vc.

Cb.