Hillborg - Electronic Music - Tesis PDF

ANDERS HILLBORG AND HIS MUSIC
A Dissertation
Presented to the Faculty of the Graduate School
of Cornell University
In Partial Fulfillment of the Requirements for the Degree of
Doctor of Musical Arts
by
Christopher Andrew Stark
August 2013
© 2013 Christopher Andrew Stark
ANDERS HILLBORG AND HIS MUSIC
Christopher Andrew Stark, D.M.A.

Cornell University 2013
The work of composer Anders Hillborg must be understood primarily, but not
exclusively, as electronic. The harmonic, melodic, rhythmic, formal and orchestral
techniques he employs are all defined by the use of computers and synthesizers.
However, because of Hillborg’s use of caricatures, found objects, and forms best
described as discordant collages, it is clear his work should be classified in the broader
artistic movement of postmodernism. Furthermore, the development of Hillborg’s
oeuvre can be elucidated by placing it chronologically within the context of his life
and work.
Hillborg’s approach to composition is refreshing because of its inclusionary
aesthetic and its diversity of content. His successful work in multiple genres aids him
in this approach and gives him a unique perspective from which to cross over
boundaries. Today, in the age of information and consumerism, many composers have
access to and are being influenced by a wide variety of musical genres and styles, and
Hillborg’s mantra that every sound, in the right context, can be music is now more
appropriate than ever before. Hillborg is a significant example of how artists can
continue to create thought-provoking and original art in an age of oversaturation and
global awareness, and he has opened new doors of possibility for composition in an
electronic world.
BIOGRAPHICAL SKETCH
Christopher Stark was born in St. Ignatius, Montana on December 12, 1980.
He has previously studied at the Cincinnati Conservatory (MM) and the University of
Montana (BM), and in 2012 he was a resident artist in Italy at Civitella Ranieri. Stark
is a recipient of the Underwood Commission from the American Composers Orchestra
and winner of the prix de composition from the Orléans International Piano
Competition. His music has been featured on NPR’s Performance Today, and has also
been programmed, rehearsed, and performed by such ensembles as the Detroit
Symphony Orchestra, Sacramento Philharmonic, American Composers Orchestra,
Buffalo Philharmonic, University of Texas Wind Ensemble, CCM Wind Symphony,
Israeli Chamber Project, Aspen Contemporary Ensemble, and members of eighth
blackbird. Stark has also been awarded an ASCAP Morton Gould Young Composer
Award and placed first in the Utah Arts Festival's Orchestral Composition
Competition. He was a regional winner of the 2011 SCI/ASCAP Student Commission
Competition, and has received honorable mentions from both the ASCAP/CBDNA
Frederick Fennell Prize and the Music Teachers National Association Distinguished
Composer of the Year Award.
iii
ACKNOWLEDGMENTS
I would like to thank my special committee: Professors Judith Peraino, Roberto

Sierra (chair), and Steven Stucky, for their guidance, seemingly infinite knowledge,
and encouragement during my time at Cornell University. I would also like to thank
Anders Hillborg, for generously making himself available during the writing of this
dissertation, and Stefan Conradi and Susanne Suttner, who helped me with accessing
his scores. I would like to thank the Cornell Music Department Manager, Christopher
Riley, for administrative help, and the staff of the Sydney Cox Library of Music and
Dance: Bonna Boettcher, William Cowdery, Eric Feinstein, Beth Kelly, Lenora
Schneller, Tracey Snyder, and Kate Wilkinson, who offered limitless resources. I
would also like to express my gratitude to the Civitella Ranieri Foundation who
provided me a space to think and write, and finally, I would like to thank my sister
Megan Stark for reading, editing, and keeping me on task, and Jenalie Auth for her
patience and companionship.
iv
TABLE OF CONTENTS
Biographical Sketch iii

Acknowledgements iv
Table of Contents v
List of Examples vi
Introduction 1
Chapter 1: Musical Beginnings and Student Years 6
Chapter 2: Transitional Years 26
Chapter 3: Professional Years 44
Chapter 4: International Years 69
Conclusion 94
References 96
Discography 99
Chronological List of Works 104
v
LIST OF EXAMPLES
Example 1: Lilla sus grav, mm. 1-5, example of tutti divisi technique. 12
Example 2: Worlds, mm. 53-4, example of pointillistic writing. 15
Example 3: Poem 62, mm. 36-8. 17
Example 4: Poem 62, score explanation for execution of filtering technique. 18
Example 5: Rite of Passage, first sixteen partials of the opening spectrum. 22
Example 6: Lamento, m. 1, inverted harmonic spectrum in strings. 23
Example 7: Lamento, mm. 47-9, violin texture imitating electronic delay. 24
Example 8: Mouyayoum, demonstration of “opening and closing of the timbre.” 28
Example 9: Mouyayoum, harmonic overview. 29
Example 10: Celestial Mechanics, tuning instructions for strings. 33
Example 11: Celestial Mechanics, mm. 1-5, LFO rhythmic technique. 34
Example 12: Celestial Mechanics, stacked-fifths scale. 36
Example 13: Celestial Mechanics, rewind effect, reverse-amplitude envelope. 37
Example 14: Celestial Mechanics, formal key and characteristics. 39
Example 15a: Celestial Mechanics, mm. 1-235, formal design. 40
Example 15b: Celestial Mechanics, mm. 236-472, formal design. 41
Example 16: Hudbasun, mm. 16, imitation of FM with trombone. 46
Example 17a: Close Ups, mm. 1-2, pitch-generating technique. 49
Example 17b: Close Ups, mm. 3-4, pitch-generating technique. 50
Example 18: Violin Concerto, formal design. 53
Example 19: “Kväll” (“Evening”), mm. 1-3, quasi-folk violin solo. 58
Example 20: Liquid Marble, sentimentale woodwind solos. 60
Example 21: Clarinet Concerto (Peacock Tales), catalog of delay effects 64
Example 22: Clarinet Concerto (Peacock Tales), cantabile melodies. 65
vi
Example 23: Clarinet Concerto (Peacock Tales), mm. 411-4. 66
Example 24: Dreaming River, mm. 15-7, unison transition device. 67
Example 25: Melodies from Exquisite Corpse, mm. 1-13, and Ligeti’s Lontano. 73
Example 26: Exquisite Corpse, mm. 295-9, Sibelius quotation. 73
Example 27: …lontana in sonno…, comparison of Hillborg and Petrarch. 76
Example 28: …lontana in sonno…, formal design. 78
Example 29: …lontana in sonno…, Intro and Outro harmonic analysis. 80
Example 30: …lontana in sonno…, mm. 1-14, orchestra melody. 82
Example 31: …lontana in sonno…, cracking material development. 83
Example 32: …lontana in sonno…, mm. 32-44, harmonic progression. 84
Example 33: …lontana in sonno…, mm. 52-70, octave cycles. 86
Example 34: …lontana in sonno…, mm. 199-211, A” material returns. 89
Example 35: Eleven Gates, Rehearsal Mark T1, elastic seabirds. 90
Example 36: Eleven Gates, mm. 329-35, Rehearsal Mark M1, “Toy Pianos.” 91
Example 37: Cold Heat, mm. 73-86, twisted harmonic spectrum. 93
vii
INTRODUCTION
In the introduction to Robert Quist’s The History of Modern Swedish Music, he
speculates as to why modern Swedish music “remains an obscure topic among
publications in English.”1 He cites a language barrier, political and geographical
isolation, and a generally conservative musical style as his primary conclusions, and
although Quist’s inferences are debatable, it is undeniable that English publications
concerning Sweden’s twentieth-century concert music are scarce. Quist’s text begins
with the late-romantic vestiges of Wilhelm Stenhammar––a contemporary of fellow
Nordic composers Sibelius and Nielsen––and concludes with a chapter entitled,
“Approaching Postmodernism: Werle and Börtz.” If Quist had ventured into
postmodernism, perhaps he would have included a chapter on one of Sweden’s most
prominent contemporary voices, Anders Hillborg.
Jonathan D. Kramer’s brief summary of musical postmodernism, in his article
“The Nature and Origins of Musical Postmodernism,” written in 1999, reads like a
checklist of Hillborg’s style traits and is a fitting point of departure for beginning to
understand his music. It is likely that Kramer was largely unaware of Hillborg––few
people were outside of Sweden on the date of the article’s publication––or he likely
would have included him in illustrating his arguments for a postmodern style. Kramer
exclusively uses individual compositions as demonstrations for his classifications, and
if he was unaware of Hillborg’s work, he may have been intrigued to find a composer
whose entire oeuvre potentially falls under the heading of postmodern. For the
1
Robert Quist, The History of Modern Swedish Music: an Introduction to Nineteen
Composers (Lewiston, N.Y.: Edwin Mellen Press, 2010), 1.
1
purposes of initiating the serious study of Hillborg’s music, perhaps the most useful
section of Kramer’s article is his list of sixteen characteristics of postmodern music.
Six of the items are particularly appropriate, as they pertain to Hillborg, and will be
referenced regularly throughout this document. According to Kramer:
Postmodern music: avoids totalizing forms; includes quotations of or

references to music of many traditions and cultures; embraces
contradictions; is, on some level and in some way, ironic; challenges
barriers between “high” and “low” styles; considers technology not only as
a way to preserve and transmit music but also as deeply implicated in the
production and essence of music.2
At the end of Kramer’s list, he rightly cautions readers against using it as a steadfast
way of labeling works of art “postmodern,” but in the instance of Hillborg they offer a
succinct and accurate starting point for the study of his work. The characteristics
registered within this abbreviated list will be referenced regularly over the following
four chapters with the hopes of beginning a serious discussion of Hillborg’s music and
its place within the larger artistic movement of Postmodernism. Discussing it
chronologically within the context of his life will most effectively reveal these
distinctive qualities, and it will also provide a framework to discuss aspects of
Hillborg’s biography, which to date, is largely undocumented.
Of the six key elements on Kramer’s aforementioned list, the most vital, in
regards to analyzing and understanding Hillborg’s music, is the significant role
technology plays in the creation and inspiration of his compositions. Hillborg’s music
is the continuation of generations of composers’ works that were heavily influenced
by technology, and he also belongs to the first generation of composers whose entire
2
Jonathan D. Kramer, “The Nature and Origins of Musical Postmodernism,” in Postmodern
Music/Postmodern Thought, ed. Judy Lochhead and Joseph Auner (New York: Routledge,
2002), 16-17.
2
creative output is accompanied by computers and synthesizers. These new
technological capabilities have changed the way music is created, and it is no
coincidence that many important composers of the last hundred years were profoundly
impacted by this development (e.g., Adams, Cage, Harvey, Ligeti, Murail, Reich, and
Stockhausen). With new computer-aided means of production, these composers began
to create new and innovative musical associations and meanings––many of which
were highly idiosyncratic and often synthetic,3 but pioneering nonetheless. Because of
this, it is important to assess and reassess the implications generated by this new
means of production; and even more important, to invent methods for trying to
understand them. Terminology borrowed from the field of electronic music is now
necessary to describe certain electronically inspired acoustic techniques, and
Hillborg’s music is an excellent source of evidence.
Two other characteristics on Kramer’s list––embracing contradiction and the
avoidance of totalizing forms––are demonstrated by Hillborg’s affinity for
constructing his compositions out of disparate and frequently distorted musical
materials which are paired together in interesting and strange combinations. Finnish
conductor Esa-Pekka Salonen summarizes Hillborg’s inharmonious dichotomies: “the
static and the hyperactive, the mechanical and the human, the nobly beautiful and the
banally brutal, the comic and the moving.”4 These binaries in Hillborg’s work are
perhaps another byproduct of the inclusion of technology into his creative process
whereby experimentation with audio manipulation, sampling, and collage are readily
3
Not based on naturally occurring acoustic phenomena, or phenomena with widespread and
easily discernable associations.
4
Esa-Pekka Salonen, quoted in Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto,
Ondine ODE 1006-2, compact disc, liner notes interview by Camilla Lundberg.
3
available and encouraged by their ease of implementation. Hillborg’s use of these
contradictory and unrelated juxtapositions stresses diversity over unity as a formal
principle, and his avoidance of totalizing forms creates works which are held together
via small and delicate pieces of connective tissue. These fragile connections that
Hillborg reveals––often between musical genres and styles via quotation––help to give
his work emotional depth and intellectual clout. By revealing similarities between
disparate elements, he creates moving large-scale statements about universality and
commonality in regards to many musical languages and styles, effectively challenging
the distinctions of “high” and “low”––another element from Kramer’s list. The
composer Jonathan Harvey sheds light on Hillborg’s possible goal through an
explanation of his own process: “to take … very different entities and unite them
through … the computer.” Harvey goes on to explain, “Integration of the opposites is
very important, to show how, in some deep sense, everything is connected.”5
Finally, the postmodern use of quotation and irony are also prevalent in
Hillborg’s work, and are perhaps the most discernible traits of his language. The use
of quotation can be divided into two categories in Hillborg’s work: direct quotation––
both self-referential and of other artists’ work––and stylistic parody––which is often
the source of irony in his music.6 Both allusions are incorporated regularly into his
compositions, and they aid in creating sophisticated dramatic narratives ripe with
semantic associations. Because of this, the development of Hillborg’s language can be
5
Jonathan Harvey “hcmf composer in residence jonathan harvey in conversation” HCMF
2009, January 11, 2013. http://www.hcmf.co.uk/HCMF-Composer-in-Residence-Jonathan-
Harvey-in-conversation.
6
Christopher Ballantine, “Charles Ives and the Meaning of Quotation in Music,” The Musical
Quarterly 65:2 (April 1979): 177.
4
thought of as a long process of collecting and instantiating increasingly refined
musical materials––whether his own or borrowed. In this regard, Hillborg can be
viewed as a collector, and his works as exhibitions of his acquisitions. To put it
another way, his compositions can be perceived as finely curated displays of musical
taste, which contain myriad possible associations and meanings for the audience to
ponder over and decipher.
5
CHAPTER 1
MUSICAL BEGINNINGS AND STUDENT YEARS
Per Anders Hillborg was born on May 31, 1954. The first of Margareta and
Carl-Erik William Hillborg’s three boys, he spent his childhood ten miles north of
Sweden’s largest city, Stockholm, in the suburb of Sollentuna. The only child in his
family to pursue music, his early exposure came from his mother’s side of the family.
Margareta’s grandfather, Lars-Johan Sundell, was a well-known folk musician in
Sweden. He played the fiddle and sang and was referred to as Lars i Svarven––
Svarven is a small town in rural central Sweden. Lars-Johan had two daughters, Greta
and Stina, who were also talented musicians. Greta, Hillborg’s grandmother, played
the cello and was a progressive advocate of women’s rights. She started and led her
own ladies’ orchestra in the 1940s because of her belief that Swedish male musicians
viewed themselves as superior to female performers.1 Greta’s sister, Stina, was also an
accomplished musician. She studied counterpoint with Alban Berg and piano with
Eduard Steuermann in Vienna in the 1920s as a Jenny Lind Scholarship recipient.
After her career was curtailed by a broken arm in the 1960s, she took a teaching
position at the Royal College of Music in Stockholm––years later she would make a
comeback at the age of eighty. Hillborg’s mother, Margareta, was a stay-at-home
mom––which he speculates was a reaction to her own mother’s absence due to her
touring schedule, and his father was an accountant for Sweden’s most widely
1
Margaret Myers, “Searching for Data about European Ladies’ Orchestras, 1870-1950,” in
Music and Gender, ed. Pirkko Moisala and Beverley Diamond (Urbana: University of Illinois
Press, 2000), 192.
6
circulated newspaper, the Dagens Nyheter. Despite the family’s rich and varied
background in music, neither of Hillborg’s parents were musicians.
Hillborg showed an early aptitude for music despite its absence in his home. At
the age of seven, after taking an ear-training test at the Rösjöskolan, his elementary
school teacher insisted that he study music, claiming he had the best ears in the
school––a compliment the defiant young Hillborg greeted with little care. But after his
parents were made aware of his talent, they insisted that he begin studying piano. In
the Swedish education system students are provided with music lessons, free of cost, if
they choose to pursue them. Hillborg took advantage of this and began lessons. He
contends that he was forced by his parents––“hating every second of it.”2 He
approached the lessons with contempt, and was the self-described worst student in the
piano studio. He continued against his will until he was eleven and quit. He was
interested in other endeavors––such as writing short stories about the fate of North
American Indian tribes, unaware that this subject would influence his later work.
In 1965, the year Hillborg quit piano lessons, another cultural phenomenon
was in full tilt: Beatlemania. Hillborg’s personal interest in music did not begin until
he discovered popular music, and more specifically, the Beatles.3 As a student at the
Sollentuna Centralskolan, and later the Rudbecksskolan, he devoured Revolver (1966),
Sgt. Pepper’s Lonely Hearts Club Band (1967), and The White Album (1968). Hillborg
was drawn to the experimentation and expanded instrumentation of the post-touring
Beatles’ albums, reflecting years later that they were “a really good example for a
2
Anders Hillborg, interview by author, November 27, 2011.
3
The term popular is used to describe music with wide appeal and distribution. Not to be
confused with pop music, which is a specific genre of popular music.
7
young person who wants to create music.”4 The Beatles’ shift towards a more
expanded instrumental palette, and their development of more sophisticated song
structures acted as a gateway to art music for Hillborg. At the age of sixteen he formed
a rock band with his classmates in order to pursue this newfound interest. The group
was wryly named Halv Sex (Half Six or Five-Thirty), and Hillborg played keyboards.
They ambitiously attempted to cover songs by groups like Chicago and Earth, Wind &
Fire with, as Hillborg jests, “limited success.”5 Through his interest in popular music,
Hillborg found his way back to the piano, which he had disliked in his youth. He also
began learning popular songs by rote rather than through method books and printed
music. This approach to learning and creating music would significantly influence his
compositions and working process––to this day, notation is always his last and
arguably least important step.
Because he had re-discovered music through his own self-interests, and
dropped out of the Rudbecksskolan, Hillborg sought out private lessons in ear
training.6 By joining a Lutheran Church-sponsored group, called a studiecirkel, he was
able to take lessons from a local music teacher named Birgit Johansson––who
incidentally, famously rejected a marriage proposal from Glenn Gould days before his
death.7 Hillborg considers these music lessons absolutely crucial to his development as
4
Hillborg, interview by author, November 27, 2011.
5
Ibid.
6
Although leaving secondary school while simultaneously pursuing private lessons seems
contradictory, it is important to note Hillborg’s rejection, from an early age, of educational
institutions. He is very practical and efficient in his acquisition of knowledge, and he has
never graduated from any of the institutions he attended, ambivalent towards the merit of
certification.
7
Michael Clarkson, The Secret Life of Glenn Gould: A Genius in Love (Toronto: ECW Press,
2010), 247.
8
a musician, and it allowed him to study with other teenagers in Sollentuna—one of
whom was the notable composer Jan Sandström (who was also a member of Halv
Sex). Hillborg speaks of Johansson’s caring nature and playful teaching method with
great fondness, and he maintains that she helped to create the foundation of knowledge
that would lead him to excel later at the Royal College of Music in Stockholm. When
he was seventeen he left his rock band and decided he wanted to seriously study music
again. He resumed his private piano lessons and also began lessons in counterpoint in
preparation for the conservatory entrance exams. Concurrent with these studies,
Hillborg sang in choirs, an experience that would undeniably inform all of his creative
work.
From 1976 to 1982 Hillborg studied counterpoint, composition, and electronic
music at the Kungliga Musikhögskolan i Stockholm (Royal College of Music in
Stockholm). He spent his first two years enrolled in the counterpoint course under the
guidance of Swedish composer Lars-Erik Rosell. Hillborg had not produced any
original compositions at this point other than a five-minute work for voice or mixed
choir with piano or small orchestra entitled O soluppgång i evigheten (O Sunrise of
Eternity) which he wrote as a teenager in 1973. As part of the two-year counterpoint
program, he was instead composing fugues and exercises in the style of Bach. He is
still fond of the exercises he composed and continues to compose them. He believes
strongly that counterpoint is the core of musical composition, and speaks of it in a
mystical and meditative way. He insists that, with practice, one can learn how to
9
merge, as if on a spiritual plane, the horizontal and the vertical.8 This tendency
towards mysticism is present in many of Hillborg’s works and is a key factor in
understanding aspects of his musical language. In 1977, towards the end of his
counterpoint studies, Hillborg composed a two-minute choral work entitled Vem är du
som star bortvänd (Who are you, who are turned away?) based on a text by Nobel
Laureate Pär Lagerkvist. This short work and the previously mentioned O Sunrise of
Eternity are currently not in circulation.
After finishing the two-year counterpoint certificate at the Royal College,
Hillborg began the four-year composition program.9 His primary composition teacher
was Gunnar Bucht, and the English composer Brian Ferneyhough also contributed to
his education as a frequent guest and teacher at the Royal College. Hillborg’s earliest
compositions are short choral works, a natural outgrowth of his experiences as a
teenager singing in choirs––an ensemble he considers his first instrument. Lilla Sus
grav (The Grave of Little Sus, 1978), a four-minute work for mixed choir, is an
example of these early works and was written in the first year of his composition
studies. The text is by the Chinese poet Li He, of the late Tang Dynasty, set in
Swedish using a translation by the poet and scholar Göran Sommardal. The most
salient feature of this short work, and a hallmark of Hillborg’s musical language, is the
use of tutti divisi––which was common practice in the 1960s and 70s. Example 1
demonstrates this technique, and in this instance also illuminates how the technique is
8
Hillborg laments that many students no longer study counterpoint seriously, believing that
there is a current trend toward exclusively vertical sonorities. This is one instance in which he
states a problem with the incorporation of popular music into concert music, believing that it
may be responsible for this phenomenon. From interview by author, November 2011.
9
Hillborg has no degrees from the Royal College of Music. He attended the courses, but did
not receive diplomas.
10
used to generate harmony. The sopranos and tenors begin in unison and quickly
branch out, primarily in stepwise motion, until they are divided into individual
soloists. The result, in measure 2, is a rich diatonic cluster––(024579) hexachord––
generated through contrary contrapuntal motion using a Phrygian scale on F. This
technique can be described as monophonic polyphony––creating harmony by
sustaining the melodic tones, and it allows complex harmonies to be created through
simple voice leading––an essential aspect of choral writing. The number of notes in
any given chord equals the number of voices; therefore, the harmony is dictated by the
instrumentation.
11
Example 1: Lilla Sus grav, mm. 1-5, example of tutti divisi technique. © Anders
Hillborg. Used by permission.
12
Following on the heels of these short choral works, Hillborg turned his efforts
toward instrumental composition. Worlds (1978-9) for orchestra is an ambitious
twelve-minute work scored for an unusual combination of instruments: six percussion,
two harps, two amplified pianos, electric guitar, and strings. The piece is what one
might expect from a talented student-composer: a plethora of stimulating ideas with
little holding them together. The form is in two highly contrasting sections and
demonstrates a distinctly Hillborgian dichotomy in influence and style. The first part
owes much to mid-twentieth modernism: Ligeti, Stockhausen, Cage, Lutosławski, and
Xenakis; the second and much longer section reflects Hillborg’s affinity for American
minimalism. If the piece fails to unify these disparate elements, it does succeed in their
effective presentation. The dramatic opening of the work––two amplified pianos
brutally scraping their lowest strings––is the first instance of orchestral sound mass
found in Hillborg’s output, and the gesture reveals a subtractive perspective on
harmony. Out of this fortissississimo eruption, the violas, cellos, and basses quietly
emerge sustaining a dense twenty-four-note chord voiced primarily in major seconds
from D-flat1 to D5––the only exception being a perfect fifth dividing the cellos and
basses and a minor second separating the violas and cellos. The sonority is
overwhelmingly whole-tone although all twelve pitches are present. The sound mass is
quickly interrupted by a muted low E1 in both pianos, and the chisel-like blow propels
the strings into a dynamic flurry of ascending chromatic gestures––now bundled
together in minor seconds. Out of the pianos’ indeterminate noise comes tightly
controlled musical sound and gesture––not built up, but revealed. The roots of this
subtractive method of composing can be partially traced backed to the Spectral school
13
in France in the 1970s, where the construction of the whole towards the unit was
favored over the classical cellular construction technique.10
The most interesting aspect of Hillborg’s first orchestral composition is how
much of its material is still present in his current mature language: rapidly ascending
chromatic scales in the strings, pointillistic piano, harp, and percussion writing––using
a combination of controlled-aleatoric and highly specific notation (see Example 2),
and stasis––achieved through slow harmonic rhythm and a constant eighth-note pulse.
Worlds was premiered in 1980 by the Finnish Radio Orchestra under the direction of
Leif Segerstam, and was later programmed by Esa-Pekka Salonen––who was twenty-
five at the time––with the Swedish Radio Symphony in 1983. And although Hillborg
had already developed a friendship with Salonen through various Scandinavian music
festivals, he was surprised by the programming decision, stating, “I could scarcely
believe it. My self-esteem was not all that good at the time.”11 This would mark the
beginning of arguably the most important artistic relationship in Hillborg’s career. In
interviews, he credits Salonen for creating his life in the world of orchestra, primarily
through Salonen’s fearless programming and unceasing appetite for new music.12
Salonen also helped expose Hillborg to post-serialism and uncompromising musical
aesthetics, which Sweden lacked at the time.13 “If Salonen had not been in Sweden,”
10
Viviana Moscovich, "French Spectral Music: An Introduction," Tempo, New Series No. 200
(April 1997): 22.
11
Anders Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, with Martin Fröst
(clarinet), Anna Lindal (violin) and the Swedish Radio Symphony Orchestra, conducted by
Esa-Pekka Salonen, recorded at Berwald Hall, Stockholm, December 2001 and June 2002,
Ondine ODE 1006-2, compact disc, liner notes interview by Camilla Lundberg.
12
13
Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, Ondine ODE 1006-2,
compact disc, liner notes interview by Camilla Lundberg.
14
Hillborg states, “I wouldn’t have dared to write pieces like my early works from the
1980s.”14
Example 2: Worlds, mm. 53-4, example of pointillistic writing, using a combination

of controlled-aleatoric and highly specific notation. © Gerhmans Musikförlag AB.
Used by permission.
14
15
After completing Worlds, Hillborg would return to his home medium. Poem 62
(1980), for mixed choir with text by e.e. cummings, is an early experiment in
homogenous textural effects. Much of its influence can be traced to Ligeti––as a
student Hillborg stole Ligeti’s Lux Aeterna (1966) from the college library.15 Example
3 is a brief excerpt from Poem 62, and despite the allusions to Ligeti, one can easily
discern three clear traits of Hillborg’s language: rapid staccato––granular––vocal
technique, short canons––used to create texture, and the previously mentioned tutti
divisi.
15
Anders Hillborg, Eleven Gates, with the Royal Stockholm Philharmonic Orchestra,
conducted by Alan Gilbert, Sakari Oramo, and Esa-Pekka Salonen, recorded at the Stockholm
Concert Hall, Sweden, September 2007, December 2009, and November 2010, BIS Records
BIS-SACD-1406, compact disc, liner notes by Sara Norling.
16
Example 3: Poem 62, mm. 36-8. © Anders Hillborg. Used by permission.
But perhaps the most interesting technique in Poem 62 is the use of slow
transitions between different vowel sounds to create the impression of electronically
filtering the choir. Though this technique is not new––Stockhausen exhaustively
explored it ten years earlier in Stimmung (1968), and it is present in the folk music of
many cultures around the world16––Hillborg’s usage is less didactic than previous
composers’, and its allusion is more easily recognizable. This filtering technique is
16
Mark C. Tongeren, Overtone Singing: Physics and Metaphysics of Harmonics in East and
West, (Amsterdam: Fusica, 2004) 119-161.
17
certainly now referenced more in mainstream music than in concert music––in fact, by
the late 1970s, popular music was the primary disseminator of electronic music
techniques first developed in experimental studios in the 1950s. Example 4 shows the
directions Hillborg provided to the choir to create this technique, which will
eventually become more developed and thematic in his first commissioned work,
muoɔɑa#yiyωɔoum (1983) for mixed choir, the title of which is a phonetic spelling of
the onomatopoetic action of progressing through vowel sounds with one’s mouth. The
effect is analogous to a low-pass filter opening and closing.
Example 4: Poem 62, score explanation for execution of filtering technique. © Anders
It is not a coincidence that the language of the experimental electronic studio
began to permeate Hillborg’s acoustic compositions. He used his final year of study at
the Royal College to focus exclusively on electronic music while being mentored by
Swedish composer Par Lindgren.17 Lindgren was only one year removed from his
studies at the Royal College when he was hired to teach electronic music there. A self-
17
One humorous anecdote Hillborg relays is his request during his third year to the head
master that he be allowed an extra year to focus exclusively on electronic music. The head
master explained that the composition course is four years long, and that he had only just
completed his third year, an oversight that Hillborg attributes to “the seventies.” From
interview by author, November 2011.
18
proclaimed student of rock and roll and a “one-chord guy,”18 Lindgren’s early
electronic pieces heavily influenced Hillborg. Lindgren, along with Hillborg’s general
studies in electronic music, helped to expose Hillborg to new musical concepts and
different ways of creating music; more specifically, to the concept that “every sound,
in the right context, can be music.”19 Hillborg regularly states this in interviews when
speaking about important concepts in his musical development. The quote reveals his
early predilection towards a postmodern musical language, and his electronic music
studies were essential in initiating it. Once completely dedicated to mastering
electronic music techniques,20 Hillborg would begin acquiring skills that would inform
his entire output, including his purely instrumental compositions.
Rite of Passage (1981) is Hillborg’s first and most substantial electronic work.
Alongside his unusual orchestral composition Worlds and the exceedingly difficult
Poem 62 for mixed choir, these works mark the beginning of his serious output as a
composer. Although these pieces are infrequently performed, they contain many of the
key characteristics of Hillborg’s musical language. They also mark the beginning of a
long process of development that is most easily understood as a practice of collecting
and curating musical content. In this context, the term curator can be used to define the
phenomenon of discovering preexisting or original material and using/reusing it in
musical compositions. This is not unlike the use of objets trouvés by Marcel
Duchamp, but the difference is that Hillborg reuses his musical objects, and even
18
A term Lindgren uses to describe himself, according to Hillborg. From interview by author,
November 2011.
19
Hillborg, Eleven Gates, BIS Records BIS-SACD-1406, compact disc, liner notes by Sara
Norling.
20
19
manufactures some of them. The musical recycling that Hillborg employs in his
compositions is a deliberate decision; with each use, the materials attain a higher
degree of refinement, and a more defined meaning. This allows Hillborg to execute
musical drama with increasingly precise clarity and intent.21
Rite of Passage is inspired by Carlos Castaneda’s book, The Teachings of Don
Juan, which chronicles Castaneda’s apprenticeship with a self-proclaimed Yaqui
Indian sorcerer in Mexico during the 1960s. Hillborg’s lifelong fascination with the
mysticism of North American Indian tribes informs many of his works––he has set
Castaneda’s text as recently as 2011. An excerpt from the program note states: “Rite of
Passage is an anthropological term which describes ceremonial acts performed in
conjunction with such decisive moments in life as birth, death, initiation, etc. Here,
‘rite of passage’ refers to transitions between different states of consciousness or
worlds.”22 In another program note he describes the piece as a process of “gliding into
a different world.”23 These descriptions are paramount to understanding Hillborg’s
music. His aim to create musical worlds places him in dialogue with many of the
minimal, electronic, and ambient composers of the 1970s including Wendy Carlos––
Sonic Seasonings (1972)––and Brian Eno––Ambient 1: Music for Airports (1978).
These composers were attempting to metaphorically reposition the audience in a
synthetic space, whether through the creation of musical wallpaper or a sonic
landscape, where rules of past musics may no longer exist. Hillborg would build upon
21
The clarity and intent are heightened by an awareness of his previous compositions.
22
Anders Hillborg, Stockholms Elektronmusikfestival 1982, Fylkingen Records, 1982, 33⅓,
liner notes, translated by William Brunson.
23
Anders Hillborg, quoted in Zagorka Zivkovic, Six Swedish Composers: A Presentation of
Six Composers and Their Music, Performed at the ISCM World Music Days, 1984,
(Stockholm: Swedish Music Information Center, 1984). 4.
20
this idea in later pieces, usually as an attempt to establish a malleable space in which
he can present musical material. Establishing and controlling the synthetic space in
which the listener resides is an outgrowth of electronic music techniques, and
primarily a result of reverb, echoes, and delays.
Another of Hillborg’s definitive techniques is first found in Rite of Passage: a
harmonic language based upon atypical harmonic spectra. The harmony is constructed
using an overtone series based on a minor tenth,24 rather than the more common
octave; therefore, the ratios are slightly larger than the pure Pythagorean ratios of 1:1,
2:1, 3:2, 4:3, etc. Example 5 shows the opening harmonic spectrum of Rite of Passage
up to the sixteenth partial. It is based on scaling factors of 1.2:1, 2.4:1.2, 3.6:2.4, etc.,
rather than the more common Pythagorean ratios listed before. This altered, synthetic
spectrum fits the mystical concept of otherworldly-ness drawn from Castaneda’s text.
We are in a different universe with different fundamental laws. This technique
effectively removes and/or shifts a Western audience’s learned pitch-based
expectations, and it also creates a new and strong harmonic foundation. To this day,
Hillborg’s compositional process always begins with the careful creation of unusual
harmonic series.25
24
Ibid. It is incorrectly labeled a minor seventh in this publication.
25
21
Example 5: Rite of Passage, first sixteen partials of the opening spectrum.
The last significant work composed by Hillborg as a student is the eleven-
minute concertino for clarinet and fourteen solo strings entitled Lamento (1982).
Hillborg employs a more limited approach in Lamento by abandoning the poly-
stylistic method of his previous instrumental composition Worlds, and by adopting the
more ethereal and focused elements in Rite of Passage. The highly virtuosic clarinet
solo, resembling an ecstatic free jazz improvisation––although meticulously notated, is
set against an atmospheric string accompaniment which harkens back to the
otherworldly-ness of Rite of Passage. The care that Hillborg takes to create an
effective musical space is critical to the work’s success. We can see clearly the effect
Hillborg’s work in the electronic studio had on his acoustic composition. Like Rite of
Passage, Lamento has a formal trajectory that is more convincing than his previous
instrumental works. Having spent time working in a more mechanical and math-heavy
medium, Hillborg began stressing macro-level over micro-level thought, and the
playing-out of processes over more variable and ephemeral techniques.
The harmonic language of Lamento is also similar to Rite of Passage. Example
6 demonstrates an inverted harmonic spectrum based on a major sixth from the
opening string accompaniment. In this instance, Hillborg rounds to the nearest
chromatic pitch, although he uses microtones later in the composition to achieve a
22
greater degree of spectral refinement.26 Hillborg’s unusual spectra are now integrated
into his acoustic compositions.
Example 6: Lamento, m. 1, inverted harmonic spectrum in strings.
Another technique taken from the electronic studio, and first applied in
Lamento, is seen in Example 7. Here the string soloists are recreating an electronic
delay. The reason that this cannot be labeled as a classic imitative technique, or a
canon with entrances cascading down the octatonic scale by step, is revealed in the
intent of its use. The technique is used to create artificial space through the use of an
artificial echo, rather than harmony or individual contrapuntal lines. Also, the
individual voices are quickly blurred together with the inclusion of grace notes
beginning with the fifth entrance rather than a more calculated and contrapuntal
rhythmic scheme. This increases the probability that the technique is employed to
generate texture through the excitation, and subsequent activation, of a synthetic
space, and not strict canonic imitation. The result is an unnerving temporary mutation
of musical space and time.
26
He adamantly rejects quartertones, regarding them as purely hypothetical. He instead uses
microtones, based on the grounds that they have acoustic syntax. From interview by author,
November 2011.
23
Example 7: Lamento, mm. 47-9, violin texture imitating electronic delay. © Anders
Hillborg’s comments years later reveal the political climate of his composition
studies in the late 1970s: “You couldn’t say that West Side Story was a masterpiece.”27
In an interview with Esa-Pekka Salonen, they both agreed that the climate was
oppressive and primarily modernist,28 a familiar trope of many composers of their
27
28
Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, Ondine ODE 1006-2,
compact disc, liner notes interview by Camilla Lundberg.
24
generation. In another statement, Hillborg also claims that Sweden had strong populist
leanings––stemming from their strong folk music tradition––and he credits his rock
music background for helping him make the decision to stop making populist art.29
These seemingly contradictory statements about the artistic climate in Sweden at the
time of Hillborg’s studies essentially express the same idea: suspicion of institutions
or schools of thought. Both comments clearly state a desire to be outside of the
cultural norm, and it is from this attitude that Hillborg’s highly unique musical voice
originates. These slightly incongruous statements also begin to suggest the presence of
a “modernism versus populism” dichotomy, and this opposition is crucial to
understanding Hillborg’s artistic intent. The influence of rock music, suggested by the
second quote, will also become more pronounced, but in general, Hillborg claims,
“The most important thing in my development in college was my studies in
counterpoint and electronic music.”30
29
Ibid.
30
25
CHAPTER 2
TRANSITIONAL YEARS
Apart from the occasional temporary teaching position, Hillborg has been a
full-time freelance composer since 1982. In interviews he often asserts that he made a
promise to himself after finishing college that he would spend ten years without an
academic job––a promise that he proudly was able to keep.1 He has willfully remained
independent of academic institutions because of the perceived negative impact they
had on his friends’ and colleagues’ time and craft. Hillborg states, “It was tough
economic times, but instructive, and I avoided the trap of getting a job that would
prevent me from composing for economic convenience.”2 Esa-Pekka Salonen recalls
these tough economic times by describing Hillborg’s living situation in 1983, claiming
that there was nothing but a mattress in his Stockholm flat when he borrowed it for a
weekend conducting engagement with the Sveriges Radios Symfoniorkester (Swedish
Radio Symphony Orchestra).3 Despite Hillborg’s uncertain financial circumstances
during the 1980s, the works he composed during these transitional years are
exceptionally ambitious. Their strict processes, complex harmonic schemes, and
challenging––even idealistic––instrumental demands define them. It was not until the
Violin Concerto (1991-2) that he began to reassess his compositional methodology
1
Norling.
2
Mattias Franzén, “Anders Hillborg: A good composer need not be a dead composer,”
Svenska Tonsättares Internationella Musikbyrå, translated by Neil Betteridge, last modified
April 05, 2010, http://www.stim.se/en/PRESS/Portraits/Anders-Hillborg-A-good-composer-
need-not-be-a-dead-composer/.
3
Hillborg, Clarinet Concerto; Liquid Marble; Violin Concerto, Ondine ODE 1006-2, compact
disc, liner notes interview by Camilla Lundberg.
26
and became more pragmatic in his approach, leading him to construct his materials
from the perspective of the performers’ tangible capabilities rather than from abstract
concepts.4
Hillborg’s first commission came from the Swedish Rikskonserter (The
National Institute of Concerts), an important government foundation that promoted
Swedish music from 1968 until 2010, including many of Hillborg’s works. He was
asked to write a choral work for a group in Stockholm for which he produced
muoɔɑa#yiyωɔoum (1983) for 16-part mixed choir––commonly abbreviated
Mouyayoum. After delivering the score to the choir, and as evidence of his ambitious
artistic concerns trumping his idiomatic apprehensions, they promptly replied, “We
will never again commission a piece by you because you write music that is
impossible.”5 Eventually, the artistry would prevail, and four years later there would
be four recordings by amateur choirs. Today, it is one of Hillborg’s most performed
compositions.
Mouyayoum is an expansion of the electronic filtering technique previously
explored in Poem 62. Hillborg describes this technique in the performance notes of the
score: “There is no text in the piece, only a phonetic ‘formula,’ which can be described
as an opening and closing of the timbre.”6 By progressing through different vowel
sounds, he creates the impression of a low-pass filter opening and closing, which is
essentially a process of revealing and concealing the upper partials of the human
voice. Example 8 clarifies this phenomenon by comparing low-pass filter settings,

4
5
Ibid.
6
Hillborg, muoɔɑa#yiyωɔoum: for 16-Part Mixed Choir a Cappella (Stockholm: Edition
Suecia, 1989).
27
resultant frequency formants of the human voice,7 and the vowel instructions provided
in the score. Clearly seen are the upper partials of the human voice becoming more
resonant as the mouth position moves from m towards i, and becoming less resonant
as it returns to its original position.
Example 8: Mouyayoum, demonstration of “opening and closing of the timbre,”8

shown by a mapping of low-pass filter settings, resultant frequency formants of the
human voice, and the vowels indicated in the score.
Mouyayoum is also a clear example of one of the early harmonic processes
present in Hillborg’s music. The harmony is comprised almost exclusively of
(024579) hexachords, and, in order to emphasize the strict harmonic process and the
electronic filtering technique, the work is composed almost exclusively of sixteenth
notes and long tones, which are performed sempre non vibrato––a clear allusion to
7
“Vowel Formants,” C.R. Nave, Georgia State University, last modified 2012,
http://hyperphysics.phy-astr.gsu.edu/hbase/music/vowel.html#c4.
8
Hillborg, muoɔɑa#yiyωɔoum.
28
Steve Reich, another important influence. The hexachords are generated from stacking
perfect fifths––not unlike the major scale, which are then re-voiced to fit the singing
ranges of the choir, and very often in heptatonic clusters. From measure 1 until
measure 174 the harmony progresses through a rotational process in which new
pitches are added a fifth higher than the previous chord’s highest pitch, and the lowest
note of the stacked fifths is dropped to maintain the (024579) hexachord. This strict
process creates an almost imperceptible shift in harmony, primarily because the same
<143250> interval-class vector is maintained. Example 9 shows this harmonic
progression. The perfect-fifth-based structure is also strengthened by the relationship
between the opening unison B-flat4 and the climactic unison on F5 in measure 203.
Note also that from measure 174 to measure 291 the new pitches are added in a
descending sequence of fifths, but now without dropping notes. This accumulative
harmonic technique acts as a transition back to the opening cluster, on which the piece
ends.
Example 9: Mouyayoum, harmonic overview.
29
The most interesting and perplexing harmonic moment in Mouyayoum is also
shown in Example 9 at measure 204. There is no clear precedent for the chord that
appears immediately following the unison climax in measure 203, and in this context
it can only be viewed as a variation of the opening and ending tone clusters because it
is markedly more dissonant than its contiguous hexachords. This chord can be defined
as a (0234579) heptachord, and the reason for its importance is that it may be hinting
at postmodernism in Hillborg’s music; at the very least, it can be seen as a forebearer
to his use of postmodern techniques. From this point forward, seemingly random
appearances of unrelated objects permeate his output, and often the illogical nature of
these objects helps them to stand in stark contrast to Hillborg’s more strict and logical
processes.
Mouyayoum is also an example of an arch-like structure that Hillborg regularly
employs. It can be described as a gradual progression from chaos to clarity and back to
chaos. The work opens with the altos, tenors, and basses individually singing as low as
possible creating a chaotic indeterminate cluster. The low cluster gradually fades out
while the pitches of the first hexachord in Example 9 accumulate. The result is similar
to the opening of Worlds and again reveals a subtractive approach to harmony. From
the rumbling noise, discrete pitches materialize. A crossfading of musical materials, a
common electronic music technique, is used to achieve this effect. The form is also
reminiscent of apparitional structures, like Debussy’s La cathédrale engloutie (1910)
and Ravel’s La valse (1920), where sound images materialize and dematerialize. In
this instance, like Debussy, Hillborg’s inspiration was the sound and ambience of the
sea, which is revealed years later when he orchestrates Mouyayoum and renames it
30
King Tide (1999)––a colloquial term for an especially high tide. Music critic Sara
Norling describes King Tide as, “a lapping interaction between ebb and flow in the
orchestra that might be understood as a single, extended wave.”9 This description is
similar to American post-minimal composer John Adams’s explanation of his early
choral symphony Harmonium (1981), which he describes as light flickering on the
surface of water.10 Both Hillborg and Adams were attempting to highlight timbre and
form by limiting the pitch and rhythmic material. Mouyayoum marks the beginning of
an interesting parallel career trajectory between Adams and Hillborg. While Hillborg’s
work retains more elements of modernist European techniques––which Adams rejects
on the grounds of their limited range of expression11––they both share a likeness to
Steve Reich in language and formal design.
After Mouyayoum, Hillborg continued experimenting with grafting electronic
music techniques onto acoustic mediums. The height of these experiments came as a
result of a commission from the Swedish Radio Orchestra for a new chamber work.
Hillborg produced Celestial Mechanics (1983-5) for seventeen solo strings and
percussion, which he considers to be his first original work: “containing more of
himself than his influences.”12 While there are still heavy traces of mid-twentieth-
century modernism, there are now clear passages of uniquely Hillborgian techniques.
It is clear that during his early post-conservatory years Hillborg is trying to distance
9
Norling.
10
Jim Berrow and Barrie Gavin, John Adams, Minimalism and Beyond (Princeton, NJ: Films
for the Humanities & Sciences, 1992).
11
John Adams, Hallelujah Junction: Composing an American Life (New York: Farrar, Straus
and Giroux, 2008). 104.
12
31
himself from his influences. He spent two years composing the eighteen-minute work,
and the detail and originality present in its implementation and concept are tangible
confirmation of this effort. Intriguingly, and although he is fond of many aspects of
Celestial Mechanics, he considers the work to be ultimately unsuccessful, primarily as
a result of its problematic performance demands.13
The Finnish composer Jouni Kaipanen writes, “Each composition by Hillborg
contains a world of its own, …and the world of Celestial Mechanics is perhaps the
most whole.”14 The wholeness Kaipanen suggests can be attributed to the severity of
allegiance Hillborg pledges to the strict compositional planning executed in Celestial
Mechanics, but despite this intricate construction, its difficult and impractical
performance demands caused Hillborg to question its success. In order to
accommodate the precise microtonal pitch material, which requires sixth-tones, the
seventeen string soloists are instructed to retune their instruments based on a
complicated chart, seen in Example 10. The work is rarely performed because of the
extreme scordatura, but the reasoning for the retuning is logical. The problem does
not lie with the idea, but with the medium. Kaipanen is in agreement regarding the
logical yet complex execution of this harmonic concept given the circumstances: he
states “Hillborg’s solution is irrefutably practical.”15 The harmony almost seems to
have been conceived for electronic means; a simple concept for machines, but nearly
impossible for instrumentalists to realize. Another important thing to note about the
13
Ibid.
14
Anders Hillborg, Clang and Fury, with the Swedish Radio Symphony Orchestra, conducted
by Esa-Pekka Salonen, recorded at Berwald Hall, Stockholm, November 1999, Phono Suecia
PSCD 52, 1992, compact disc, liner notes by Jouni Kaipanen, translated by Cynthia
Zetterqvist.
15
Ibid.
32
chart in Example 10 is the central role of Violoncello 1 (Vc 1). The other instruments
are symmetrically retuned around it––eight above and eight below, and the graph’s
symmetry would be immediately visually apparent if there was not a mistake in
Violoncello 3’s instructions: the tuning for its D string is accidently left blank and
shifted one column to the right (142.2).
Example 10: Celestial Mechanics, tuning instructions for strings. © Gehrmans

Musikförlag AB. Used by permission.
Celestial Mechanics is also electronic in its rhythmic structure. The piece
opens with two microtonally pulsating violas in inverse rhythmic patterns. Example 11
shows this opening pattern, and exhibits the simple rhythmic scheme of adding eighth-
33
note durations and subsequently removing them, creating the impression of collapsing
and expanding time. This can be viewed as a reference to a commonly used electronic
device known as a low-frequency oscillator (hereafter LFO). LFOs are sound waves
below the human threshold of hearing used to modulate other waves. In this instance
the wave is used to modulate the speed of the rhythm, which in turn affects the
intensity of the microtonal interference. Viola 3 begins with an oscillation speed of 0.8
cycles per second (Hertz), which can be calculated by using the formula:
(Tempo/60/Duration of the Note). In the instance of Viola 3, when using the equation,
(120/60/2.5), there is a result of 0.8 Hz. When using the same equation at the fastest
point of the violas rhythmic scheme, the result is an oscillation speed of 4 Hz––
(120/60/0.5). The sound has an overwhelmingly electronic affect, and it also
demonstrates one of Tristan Murail’s five fundamental precepts of spectral music: “to
use logarithmic/expositional methods of organization instead of linear ones.”16 The
rhythm is in a constant state of speeding up and slowing down.
Example 11: Celestial Mechanics, mm. 1-5, LFO rhythmic technique.
16
Tristan Murail quoted in Moscovich, "French Spectral Music: An Introduction," 22.
34
By continuing to follow the acquisition of new musical objects by Hillborg the
composer-curator, there are four new techniques first found in Celestial Mechanics:
unexpected major chords, rewind and gating transitional devices, and quasi-folk string
solos. These four techniques will pervade his entire output from this point forward,
and it is important to mark their successive appearances. With each reuse they attain a
greater level of meaning, which can be gleaned through context, program notes, titles,
lyrics, and expressive markings.
Violoncello 1 plays the extended quasi-folk string solo in Celestial Mechanics
beginning in measure 230 and continuing until measure 312. The principal
characteristic that makes the solo sound quasi-folk is the pitch material. Example 12
demonstrates how the pitch material was created by stacking eight perfect fifths and
then re-voicing them into a scale. The technique is exactly the same as in Mouyayoum,
but rather than stopping with six notes he continues to eight, creating one degree of
dissonance between the natural and raised fourth which, when employed, gives the
impression of folk music that utilizes the Lydian mode. It is important to note the
central importance of this material in not only the form (see Example 15a and
Example 15b), but in the instrumentation as well. The symmetrical retuning around
Violoncello 1 and its significant central solo suggest a concertante form, and if we
continue the concept of multiple worlds in Hillborg’s music, the kaleidoscopic effect
of retuning around the soloist suggests alternate realities radiating outward. The
central quasi-folk solo suggests that it is of this reality and not an alternate, which
increases its emotional weight and structural significance within the form.
35
Example 12: Celestial Mechanics, stacked-fifths scale, Violoncello 1 solo pitch
material.
Immediately following the solo in measure 313 is another newly acquired
musical object: an unexpected C major chord. The chord definitively marks the
Hillborgian moment of central clarity, and it is tuned to the central Violoncello 1. This
is the only moment in which the ensemble sounds in a more typical twelve-note
chromatic temperament––opposed to the sixth-tone harmony, and the presence of this
unrelated chord, as in Mouyayoum, points directly at Postmodernism because of its
freely associative and unrelatedly juxtaposed placement. The object, in this instance
and from this point forward, is now more caricaturized and exacting, strengthening its
bizarre affect and unusual positioning within the composition.
The last two techniques that are first found in Celestial Mechanics are both
transitional devices: rewind and gating. The gating technique has clear forebearers––
although the technique is not labeled as such: Igor Stravinsky’s Symphonies
d’instrument à vent (1920) and Witold Lutosławski’s Jeux vénitiens (1960-1). In both
of these cases gating means to instantaneously transition between musical materials,
like an electronic switchboard––or gate––passing and/or rejecting different signals
with the flip of a switch. It effectively acts as an anti-transition transitional device.
36
Like Lutosławski, Hillborg uses sharp and dry percussion instruments to signal the
switch and, like Stravinsky, he uses gating as a way of creating form and variation.
The rewind transitional device is used to give the impression that time is
suddenly moving backward or rapidly moving forward by imitating the sound of an
analog tape machine operating in reverse or at a faster speed. To achieve this effect,
Hillborg reverses the instruments’ more common and natural amplitude envelope with
quick niente to fortissimo crescendos, which are sharply cutoff. Example 13
demonstrates a comparison between a naturally occurring violin pizzicato envelope
and an unnatural reversed envelope. The rewind transitional effect is particularly
effective in part because of the technique’s widespread use in mainstream popular
music, and its secret code mystique––made famous by The White Album track
“Revolution 9” by the Beatles, in which it is speculated that information regarding
Paul McCartney’s fictitious death can be gleaned from playing the track backwards.
“Revolution 9” also contains samples of Sibelius’ Seventh Symphony, which Hillborg
will reference later in a work entitled Exquisite Corpse (2002).
Example 13: Celestial Mechanics, rewind effect, reverse-amplitude envelope.
37
Example 14 details all of the material present in Celestial Mechanics, and
Examples 15a and 15b provide a formal overview. The work is defined by its abrupt
transitions and marked contrasts in character. It is easy to see in Examples 15a and
15b that Hillborg is thinking about his materials as occupying different worlds, and
that the form is generated through weaving a complex gating pattern, releasing and
impeding the flow of musical materials. Gate-form remains in Hillborg’s oeuvre
today, while the complex microtonal retuning schemes do not.
After Celestial Mechanics was recorded in 1991, it garnered praise from the
UNESCO International Rostrum of Composers (1992) and was awarded Sweden’s
highest compositional honor, the Christ Johnson Prize (1991), given annually by the
Royal Swedish Academy of Music.
38
Example 14: Celestial Mechanics, formal key and characteristics.
39
Example 15a: Celestial Mechanics, mm. 1-235, formal design.
40
Example 15b: Celestial Mechanics, mm. 236-472, formal design.
41
Hillborg began composing Celestial Mechanics in Stockholm and finished it in
Paris while in residence at La Cité Internationale des Arts. He would, however, spend
the bulk of this three-year residency composing Clang and Fury (1985-9), an
ambitious work for large orchestra––the score to which is not available and possibly
destroyed. Clang and Fury has never been performed––in some instances at the
request of the composer, but it does however exist on a recording released in 1992––
perhaps evidence that acoustic music is now being conceived for recording and not
live performance. Clang and Fury is excluded from this discussion because the
materials and issues presented by the work are covered in Celestial Mechanics. That
said, the substantial twenty-seven-minute composition is worthy of future scholarship
if and when a score becomes available from Hillborg’s publisher.
In 1987, Hillborg returned to writing popular songs for the first time since
being a teenager. The move is surprising, considering the uncompromising aesthetics
of the works he was composing at the time, and it rekindles the contradiction
surrounding the populism versus modernism dichotomy in his music. He was asked by
the Swedish director Kjell-Åke Anderson to compose a short prologue and song for
the film Friends (1988). Hillborg produced “Broken Necklace,” which was recorded
by Swedish popular music artists Mikael Rickfors and Sharon Dyall and subsequently
released on Mercury Records––a major label and subsidiary of PolyGram Records,
Inc. Forays into popular song writing continue from this point forward, and Hillborg’s
songs are an important source for gleaning information about many of his symphonic
works––particularly the full-length album Hillborg composed for Swedish pop singer
Eva Dahlgren, which will be discussed more in Chapter 4. The songs also provided
42
Hillborg with an important source of income, which allowed him the time and
resources to compose more serious concert works in the 1990s.
43
CHAPTER 3
PROFESSIONAL YEARS
After completing Clang and Fury in 1989 Hillborg dramatically changed his
approach to composition. He felt that he was relying too heavily on math and
processes to construct his works at the expense of his own intuition. He critically
states, “I was counting my way through the eighties.”1 He felt that his working process
was arduous and inefficient, and he was not happy with the products of his efforts. He
knew that he needed to change his methods, and in an anecdote describing a bizarre
incident, Hillborg details the epiphany that happened while he was working on Clang
and Fury: he had been working very meticulously and systematically with large and
incredibly detailed millimeter-paper charts and graphs––e.g., the entire twenty-seven-
minute composition was planned out in sixteenth-note increments, and one evening in
Paris one of these large charts spontaneously began to burn. After Hillborg quickly
extinguished the small fire, the impression of what he deemed “the shape of a Jesus
figure” remained.2 Although this anecdote is extraordinary and humorous, this
incident acted as an important tipping point, spurring a permanent change in
Hillborg’s approach. He describes the transformation as a shift towards a human being
mindset and away from an electronic music mindset,3 meaning a change from a
mechanical and objective musical language to one that is more expressive and
spontaneous. This does not mean, however, that he would abandon his electronic
1
Hillborg, interview by author, October 26, 2012.
2
Ibid.
3
44
music-inspired language, but rather that he would reverse the angle of translation,
developing techniques from the performer’s perspective and his own intuitions, rather
than from the computer’s.
The compositions that Hillborg wrote in the years following Clang and Fury
are short and exploratory, and begin to highlight his keen sense of humor––perhaps as
a byproduct of the aforementioned shift in attitude. The two short works written for
Swedish trombone virtuoso Christian Lindberg, Hudbasun (1990) for trombone and
tape and U-TANGIA-NA (1991) for alto trombone and organ, are examples of this.
Both pieces are acutely comic and highly virtuosic, but their most interesting attribute
is the further exploration of an electronic concept that was germinating in his earlier
works Celestial Mechanics and Musik för 10 Celli (1987): frequency modulation
(hereafter FM). FM is a simple technique whereby you modulate the frequency of one
signal with another signal’s amplitude, bending the pitch. Hillborg imitates this
technique with the trombone and previously with strings––the ability to glissando is an
important prerequisite. Example 16 shows an excerpt from Hudbasun and maps it onto
FM parameters. It is important that the rhythm and the interval covered by the
glissando are constant to accurately give the impression of frequency modulating the
trombone’s pitch. In Example 16, the trombone’s pitch is modulated at an eighth-note
rate at a tempo of 144 beats per minute. Using the previously discussed LFO formula
for determining the cycles per second (Hertz) of the modulating signal, a result of 4.8
Hz is calculated, (144/60/0.5), meaning the trombone glissandos from A-flat4 to D5
and back at a rate of 4.8 times per second. Another important parameter of FM is the
modulation index, which can be explained as the amount the frequency is displaced or
45
the amount the pitch is bent. This is determined by the modulating signal’s amplitude.
In Example 16 the modulating signal is displacing the central carrier frequency,
approximately B4 (501), by +/-86 Hz, ((587-415)/2=86). The amplitude of the
modulating frequency is therefore 86 times the absolute amplitude level of 1. This
would seem quite loud, but because the amplitude of the modulating signal is being
used to control the frequency of the carrier signal, it does not affect the end amplitude.
This FM technique will be further expanded and explored in the scherzo of the Violin
Concerto, where it will become motivic.
Example 16: Hudbasun, mm. 16, imitation of FM with trombone. © Anders Hillborg.
Used by permission.
Hudbasun also includes the first instance of a new sentimental caricature in
Hillborg’s output, not unlike the quasi-folk violoncello solo in Celestial Mechanics,
but now imbued with irony. In measures 45-8, after the spritely opening section of the
short work has comically ground to a halt, an old-timey funeral parloresque organ
enters unexpectedly. The trombone begins playing what sounds like a saccharine early
twentieth-century popular ballad, creating an impression of sudden and ironic
46
nostalgia. It is yet another caricature that Hillborg has added to his expanding palette
of musical objects. This short excerpt hints at material that will be more pronounced in
the central slow section of the Violin Concerto.
Of the other minor and peripheral works from the late 1980s and early 1990s,
arguably the most important is the short flute solo Nårbilder (1991), or Close Ups.
The reason this work is so significant is that it contains the first instance of Hillborg’s
prime number-based octave cycles technique. Hillborg invented this harmonic and
melodic device, and it is a technique that he regularly returns to in his compositions
after 1991. Examples 17a and 17b clarify this technique by dissecting the opening bars
of Close Ups. The technique is a two-fold prime-number process that sequentially
ascends both horizontally and vertically––harkening back to the importance of
counterpoint in Hillborg’s work. In Close Ups, Hillborg begins with a ten-note
collection as seen in Example 17a––A4 and E-flat4 are absent. In chromatically
ascending order, from the flute’s lowest C4, he submits each vertical pitch to a process
of repetition at sequentially increasing prime-number intervals with each repetition
being displaced by an octave. When the cycle reaches a third octave, it starts over with
the next sequential prime number in the horizontal sequence. The repetitions and rests
are then composited into a monophonic melody. The reason Hillborg chose prime-
number durational cycles in the horizontal sequence is important because their
repetitions rarely overlap due to their infrequent common denominators. Where the
notes do collide, Hillborg has to make an intuitive choice––the notes in parentheses in
Example 17a and 17b demonstrate these collisions and do not sound. This method
allows for the composer’s voice to speak––roughly one-fifth of the time––while
47
maintaining a rigid and disciplined structure. It is also interesting because it allows for
extreme variation and is thus a sustainable technique. Each time Hillborg reuses the
technique it is aurally recognizable, but very different based on the number of pitches
in the starting chord, the base unit of rhythmic repetition, and the order of the prime
numbers employed––hypothetically, it doesn’t need to be based on prime numbers, but
it would not sound like Hillborg if it weren’t. The technique is also fractal: the
horizontal and vertical processes are mirrored by one another, and this fact is
immediately visually apparent in Examples 17a and 17b. Unsurprisingly, Hillborg’s
favorite personal composition, Påfågelsögonblick (1996), The Peacock Moment for
clarinet and piano, is based exclusively on this technique.4 This taut work is one
minute in duration, and contains a pitch series generated through this technique, but
now submitted to loose serial techniques such as inversion and retrograde. Its
construction is elegant and clean, and it leaves little room for improvement. The
prime-number octave-cycle technique is one of Hillborg’s most interesting devices,
and it is the most uniquely Hillborgian sounding procedure in his oeuvre.
4
Hillborg, interview by author, October 26, 2012.
48
Example 17a: Close Ups, mm. 1-2, pitch-generating technique using prime-number
octave cycles.
49
Example 17b: Close Ups, mm. 3-4, pitch-generating technique using prime-number
octave cycles.
50
After these short exploratory compositions, Hillborg began composing the
work that undeniably marks the beginning of his professional years: the Violin
Concerto. Begun in 1991 and finished in 1992, the concerto required him to become
more pragmatic, and he began envisioning “a human being playing” rather than
starting from a theoretical electronic stimulus.5 The twenty-five-minute work was
commissioned by violinist Anna Lindal and The Royal Stockholm Philharmonic, and
it again underlines the curious parallel-career trajectory between Hillborg and John
Adams––who wrote his Violin Concerto in 1992-3. Hillborg’s concerto is remarkably
similar to the toccata third movement of Adams’s, and both pieces exude a similar
early-1990s postmodern zeitgeist in their embracing of different and past musics and
the incorporation of technology into their creative processes.6
Hillborg’s Violin Concerto is constructed in four parts, and parts 1 through 3
each contain two central and contrasting characters. Part 4 does not contain any new
material, but is rather a mash-up of materials from parts one and two. The work
contains a plethora of material; Example 18 diagrams the form and labels all of the
content. Within each section the juxtaposing dialogues dictate the composition’s
forward momentum, and Hillborg again uses electronic echo and rewind effects to
transition between the larger sections. Both of these devices are superb transitional
strategies because they disorient the listener by blurring the harmony and pulse, setting
5
Ibid.
6
Adams, Hallelujah Junction: Composing an American Life, 175. Adams’s Violin Concerto
is scored for two synthesizers and he repurposed software algorithms that were “invented to
help film composers squeeze or stretch music to fit the … screen image” to instead manipulate
the harmony and rhythm.
51
the stage for dramatic changes in character. It is the aural equivalent of the time-travel
transition in science-fiction films.
Looking more closely at the individual sections of the concerto, part 1 does not
contain any descriptive tempo markings, but its character is distinctly that of a toccata
because of its relentless sixteenth-note pulse and the constant détaché bowing in the
violin. The work begins with a single sustained D4 in the solo violin, which suggests
that the work is born out of the soloist––a concept explored in Ligeti’s Cello Concerto
(1966). The note slowly branches out into the solo strings and flatterzunge flutes and
eventually comes to rest on a (02479) pentachord. This stark consonance is a break
from Hillborg’s 1980s microtonal aesthetics and a statement of his ideological shift. It
clearly marks the next phase of his artistic output. The juxtaposition of contrasting
dialogues in part 1 takes place between the consonant opening material and a more
typical Hillborgian microtonal spectrum––now produced senza scordatura. Also of
importance is a brief and contrasting trading eights duel starting in measure 88
between the soloist and the woodwind section. This is a brief allusion to a big band
technique in which a soloist will exchange short phrases of improvisation with
members of the band, and in the context of the Violin Concerto, it foreshadows
material in part 2. Perhaps the most interesting moment of part 1 is in measure 53,
where Hillborg uses rapid scalar passages to transition between the opening modal
section and the microtonal central section. This foreshadows a technique that will
become more important in his later works, such as Liquid Marble (1995) and Eleven
Gates (2005-6).
52
Example 18: Violin Concerto, formal design.
53
The character dramatically shifts in part 2. It is labeled ritmico!, secco, and
brutalissimo!, and it has the character of an off-kilter scherzo. The violin’s material is
based exclusively on the FM technique first introduced in the short trombone works
mentioned above, and the contrast between the violin’s FM-inspired glissandos and
the staccatissimo orchestra is zany and eccentric. Further accentuating this strangeness
are brief moments of big band-like woodwind choruses accompanied by walking bass
lines based on major scales. Overall, part 2 is reminiscent of a Carl Stalling cartoon
score from the 1940s––like Adams’s Chamber Symphony written in the same year
(1992)––and it again highlights Hillborg’s proclivity for non sequitur when placed
after part 1. This batty scherzo strain in Hillborg’s composer-curator oeuvre will later
be labeled “Suddenly in the Room with Chattering Mirrors” and “Confused Dialogues
with Woodpecker” in Eleven Gates, which is why it is labeled chatter in Example 18.
These descriptors introduce Surrealist and Psychedelic art associations into Hillborg’s
postmodern collection of diverse musical objects, as they evoke free-flowing
subconscious and hallucinogenic-drug connotations. The full potential of this
outlandish and often hilariously grotesque material will be fully realized in Paulinesisk
Procession (1993) for wind band and inflatable doll.
Part 3 acts as the central slow movement of the concerto. The dialogue here is
based on the juxtaposition of the quasi-folk material from Celestial Mechanics and the
new ironically sentimental caricature. This is the longest section of the work at just
under ten minutes, and it emanates the same ironic sense of nostalgia that the old-
timey organ does in Hudbasun. The echo-effect transition at the end of part 3, in
measure 509, is the most impressive use of the technique in Hillborg’s output, and
54
signals the transition into the mashed-up part 4, which provides a rapid three-minute
overview of the work’s first and second sections.
In general, the channel-changing effect of instantaneously moving between
materials in the Violin Concerto is analogous to the composer as art curator; the
audience is left to view the musical materials as individual works of art, and asked to
ponder the curator’s intent––“Why are these objects in the same room?” It is very
difficult to understand––in the instance of the Violin Concerto––why Hillborg has
placed this diverse material together. It will not be until his mature period, beginning
in 2002, that the composer-curator approach will come into better focus.
The concerto was selected for the UNESCO International Rostrum of
Composers in 1995 and also claimed Sweden’s Christ Johnson Prize in 1997.
Immediately following the Violin Concerto, Hillborg again branched out and
embarked on another popular song project, but this time on a larger scale. Esa-Pekka
Salonen commissioned him to compose a crossover work for a joint concert between
the Swedish pop singer Eva Dahlgren and the Swedish Radio Orchestra in 1993.
Dahlgren wrote the lyrics and Hillborg wrote the music and together they produced the
five-minute-orchestral song “Innan kärleken kom” (“Before Love Arrived”). The song
is similar to many late-twentieth-century cinematic ballads––e.g., Alan Menken’s
Disney songs from the 1990s, which are typically collaborations between popular
music vocalists and film composers. Hillborg and Dahlgren’s song, like most
cinematic orchestral songs, applies more melodic and formal variation than a typical
popular song, and also includes modulations to unrelated keys, making it more
harmonically diverse, as well. Hillborg and Dahlgren found the partnership to be
55
rewarding, and as a result of the success of “Before Love Arrived,” Dahlgren asked
Hillborg if he would like to compose a full-length album. Hillborg took an entire year
off from composing concert music to work with Dahlgren, and together they created
the album Jag vill se min älskade komma från det vilda (I Want to See My Beloved
Come from the Wild). The album was released in 1995 by The Record Station, which
was a subsidiary of the Bertelsmann Music Group (BMG) at the time, and it spent
twenty-eight weeks on the Swedish charts from September 1995 until April 1996––
peaking at number 2 behind AC/DC’s Ballbreaker. The album had two singles,
“Stenmannen” (“Stone Man”) and “När en vild röd ros slår ut doftar hela skogen”
(“The Fragrance of a Wild Red Rose Permeates the Entire Forest”), and one
promotional single, “Jorden är ett litet rum” (“The Earth is a Very Small Room”)––
which is the only track for which Hillborg did not write the music.
The Dahlgren album is an important source for discovering new elements in
Hillborg’s language, as well as a significant document for discovering new
information about his older techniques. The important techniques that first arrive via
this album are the orchestral piano––primarily as an accentuating bass instrument7––
and extended passages of African-inspired drumming, used primarily as a central stop-
time break for other instruments to riff over. The older techniques that are reused on
the album, and thus given further meaning through context and text setting, include the
7
In this instance, because the instruments can be individually mixed during the production
process, the piano is used to provide clarity to the delayed attack-response of the orchestral
double bass. This type of album-stration will bleed into Hillborg’s concert music, which can
be problematic at times, and is ultimately an attempt to make the orchestra sound more like a
recording––more dynamically compressed and more present. Steve Reich also has the same
sonic preference, which he solves with sound-reinforcement. Both are attempting to make
natural sound imitate synthetic sound.
56
quasi-folk string solo and the modal, Reich-like, sixteenth-note pulse material from
Mouyayoum. The quasi-folk solo is the most pronounced, and it occupies a central and
intimate role in the album’s trajectory. Played by a solo violin, it is the only
accompanying instrumental material on the album’s sixth track, “Kväll” (“Evening”),
and Anna Lindal, who premiered the Violin Concerto, performs it on the recording.
Where the quasi-folk material is inharmonious in Celestial Mechanics and the Violin
Concerto, in this context, set to a text by Dahlgren, it is presented in its clearest form.
Through phrases such as, “Can you hear me?”8 and “What I want, is not a dream of
happiness, nothing undeserved, but you,”9 it is possible to imbue the quasi-folk solo
with connotations of melancholy and distant love––not unlike the courtly love subject
of medieval troubadour songs. Example 19 shows the opening bars of the solo violin
from “Evening,” and to give the impression of folk music there is an emphasis on
droning the open strings through the constant use of double-stops. The raised-fourth
scale degree is also prominent, creating allusions to the folk songs used by Béla
Bartók set in the Lydian mode. Later, in 2003, this material will reach its pinnacle of
form and meaning in the orchestral song …lontana in sonno… (...far away in sleep…).
8
Eva Dahlgren, lyrics to “Kväll,” by Anders Hillborg, recorded 1995, on Jag vill se min
älskade komma från det vilda, The Record Station, STAT 52, compact disc.
9
Ibid.
57
Example 19: “Kväll” (“Evening”), mm. 1-3, quasi-folk violin solo. © Anders
One other minor detail to note: the album opens with a short one-minute
overture for orchestra entitled “Lava.” It is similar to Hillborg’s work Liquid Marble,
which he composed during a three-week break from the Dahlgren album in 1994. It is
an expansion of the short and rapid scalar passages in his earliest orchestral work
Worlds and part 1 of the Violin Concerto. In both previous instances the scales are
used as transitional devices, and in “Lava” they are used to transition between the
sound of the orchestra warming-up and the lush orchestration of the album’s second
track, “Stone Man.” The scales, which become almost exclusively chromatic in
Hillborg’s later works, have a disorienting harmonic effect not unlike the disorienting
rhythmic effect of the echo transition discussed before, and both provide motion
towards a goal or a feeling of imminent change.
After the success of this project, Hillborg would become a household name in
Sweden, and would also receive the designation of “Composer of the Year” from the
Swedish Grammis Awards––Sweden’s Grammy equivalent––for his work on the
album. Another important concurrent development in Hillborg’s personal life during
the production of the Dahlgren album was his marriage to Maria Arendt, a
psychologist and yoga teacher, and the birth of their son Theo two years later. After
58
the ten years had passed in which he had promised himself he would avoid an
academic job, Hillborg was now being offered more commissions than he could
accept.10 Salonen facetiously commented to Hillborg at the conclusion of the song
project, “Well, how does it feel? You have just written music that was easy to
compose, you got paid well and everyone liked it. Now you have to write something
that is difficult to compose, you are poorly paid, and no one will like it!”11
Returning to Hillborg’s concert music, and looking back at Liquid Marble, his
language begins to coalesce. In Liquid Marble he employs less material than his
previous works, possibly due to its shorter duration, and the outcome is far more
unified and potent. The work’s material can be broken into four categories: EQ,
scherzo, woodwind solos, and chromatic scales. The EQ effect is an orchestral
expansion of the overtone singing in Mouyayoum, and in order to make the effect
more realistic, Hillborg removes the instruments’ attacks and decays by having them
fade in and out from niente.12 This effectively removes the instruments’ most
identifying characteristic––the attack, which in turn creates a seamless transition
between instrumental choirs, giving the effect of a homogenous instrumental body
being equalized or filtered. The scherzo is a less nutty and more concise version of
part 2 of the Violin Concerto, and the woodwind solos are short octatonic melodies,
10
Franzén, “Anders Hillborg: A good composer need not be a dead composer.”
11
Ibid.
12
Charles Dodge and Thomas A. Jerse, Computer Music: Synthesis, Composition, and
Performance (New York: Schirmer Books, 1985) 82. This idea is based on the electronic
music concept that whenever an instrument produces a tone, the loudness and spectral content
of the tone change over time, and in order to recreate this physical phenomenon synthetically
an ADSR (Attack Decay Sustain Release) envelope is used. The Attack and Decay of a sound
have the greatest effect on the instrument’s sonic character, which is why Hillborg removes
them, in order to create the greatest amount of blend between instruments.
59
seen in Example 20, that impart a brief sensation of sentimentality. The melodies are
defined by their outlining of diminished triads, ascending stepwise motion, and
dolente falling grace notes. And finally, the thirty-second-note chromatic scales are
like digitized glissandos, and they show a likeness to passages of Ligeti’s Melodien
(1971). Hillborg’s uses of glissandos in the Violin Concerto are now digitized in
Liquid Marble. If a glissando can be viewed as an analog technique––meaning
continuous, and that two points––or musical notes––can be traveled between
continuously––then a thirty-second-note chromatic scale can be seen as a digital
version of a glissando, meaning there are finite and discrete points interpolating
between the two notes. This allows Hillborg to control more accurately and evenly the
movement between two points, while maintaining the impression of sliding. Also, all
of the instruments in the orchestra can participate in this digital technique rather than
just the strings and trombones, which creates more possibilities and variations in the
orchestration.
Example 20: Liquid Marble, sentimentale woodwind solos.
Liquid Marble was commissioned by the Swedish Rikskonserter for the
Orkester Norden––a Scandinavian youth orchestra outside Tampere, Finland. But its
most powerful performance would be in 1997 at the BBC Proms, the day after
60
Princess Diana was killed in a car accident. The Swedish Radio Orchestra was already
en route to London when the Proms organization decided to cancel all of their
concerts, so they allowed them to perform as scheduled with the exception that they
include “Nimrod” from Edward Elgar’s Enigma Variations (1898-9) on their program.
To Hillborg’s surprise, the pairing of his dissonant and cold work was viewed as a
success because its intense and violent qualities, following the healing consolations of
“Nimrod,” helped to channel the other half of the audience’s grief.13
Following a film score for Swedish television (Hjärtats Saga, The Heart’s
Tale), several short works for clarinetist Martin Fröst (including The Peacock
Moment), a trombone concerto for Christina Lindberg, a chamber orchestra work for
the Los Angeles Philharmonic New Music Group (Meltdown Variations, 1995-6), and
a short fanfare for the inauguration of Nybrokajen 11 (a Stockholm concert venue),
Hillborg composed one of his best-known and most-performed works: the Clarinet
Concerto (Peacock Tales) (1998). The concerto was the most ambitious work in his
output at the time of its composition––clocking-in at approximately thirty minutes––
and it exists in five different versions with varying accompaniments and durations.
Because the form and content are similar to the Violin Concerto, and ultimately
represent the same period in his output, it is only necessary here to discuss several new
techniques.
The concerto was written for the virtuoso clarinetist Martin Fröst, with whom
Hillborg had collaborated extensively before, and it is, again, a step towards
13
Anders Hillborg, interview by Jeff Dunn, “Liquid Marble Man,” San Francisco Classical
Voice, last modified November 28, 2006,
http://www.sfcv.org/main/mainarchives/main_11_28_06.php.
61
pragmatism. He abandons microtones completely in this work and leaves many
passages unwritten with simple and effective text instructions for the ensemble and
clarinetist.14 The work is also choreographed, which was done completely by Fröst,
with Hillborg contributing little input. Despite this, the work’s most striking moments
happen when the choreography strengthens Hillborg’s juxtapositions of contradictory
materials. For instance, one of the most arresting moments in Hillborg’s entire output
occurs in measure 431: the soloist is instructed to set aside the instrument and
pantomime the orchestra’s interposing dissonant chords and abrupt silences by
covering and uncovering his or her ears. When the soloist’s ears are uncovered, there
is sound, when plugged, there is silence. It is an eerie effect, and gives the impression
of metaphorically hearing the soloist’s thoughts. After the second fortississimo chord,
and subsequent silence, the soloist uncovers his or her ears to a massive B major chord
in which the conductor is instructed to turn around, face the audience, and sing a note
from the chord. It is the most surreal moment in all of Hillborg’s work because it is the
most unexpected material one could possibly imagine when encountering a Clarinet
Concerto. Immediately following this chord, when the soloist again abruptly covers
his or her ears, instead of silence the orchestra is instructed to hum the same chord, but
now pianissimo. It accurately imitates the equalization or filtering that accompanies
covering one’s ears. Hillborg’s electronic techniques have now realized their full
potential as a postmodern musical language, and this precise moment is a perfect
example of his unabashed mantra: anything can be music.
14
Fröst used the freedom provided by these text instructions to insert the “E lucevan le stelle”
aria from Giacomo Puccini’s Tosca (1900), which Hillborg was displeased with, believing the
quote leaves too strong of an impression on the listener. From Jeff Dunn interview, “Liquid
Marble Man.”
62
The Clarinet Concerto is also Hillborg’s most sophisticated use of synthetic
space. The delay effect is now used almost exclusively as a technique to transition
between different material, and Example 20 diagrams all of the different delays
present in the concerto. He is clearly trying to give the impression that the room is
changing size by imitating different echo speeds and decay times. This tightening of
spatial control is possibly an outgrowth of his work on the Dahlgren pop album. When
mixing music for an album of this type, the recording engineers place their
instrumental mixes into synthetic spaces to help unify the sound of the separately
recorded instruments. This is usually achieved by adding reverb, which is a complex
filtering and delay algorithm that attempts to imitate the resonance of natural spaces.
Another way of creating synthetic space is through the use of subtle and unobtrusive
background material. Brian Eno uses this musical wallpaper concept skillfully in his
sonic introduction to the rock band U2’s album The Joshua Tree, in which
synthesizers create an artificial and calming space inside of which the band is
presented to the listener. Hillborg applies this same technique in the Clarinet
Concerto’s opening measures. The strings begin sustaining a soft and wide-ranging
dissonant chord beginning in measure 1––following a lengthy opening three-minute
prelude by the soloist. The chord drones for twenty measures, and by this time it is
completely subsumed into the sound of the room because of its high degree of
dissonance. It effectively blends in with the room’s external noises, e.g., the
ventilation system or the rustling of the audience. When Hillborg abruptly stops this
chord––labeled Freeze! in the score, it creates the impression of the room evaporating.
63
Example 21: Clarinet Concerto (Peacock Tales), catalog of delay effects.
Briefly returning to cataloguing Hillborg’s objects as they first appear in his
output, there are two important new figures in the Clarinet Concerto. The first is a
brief melody, labeled cantabile in the score, and it is defined by its 4-against-3
syncopation pattern. Its appearance and function is completely insignificant within the
confines of the concerto, but it will become one of his more interesting musical
64
caricatures in later works such as Eleven Gates (2005-6) and Six Pieces for Wind
Quintet (2007). Two instances of the cantabile melody are shown in Example 22, and
this is the most baffling first use of any of Hillborg’s gathered objects because it has
no real function in the composition of its first appearance. It is as if Hillborg is aware
of the material’s future importance, and he has inserted it as a hint. The second
important figure in the Clarinet Concerto is the granular synthesis inspired use of rapid
repeating notes to create the effect of a sustained unison. This can be seen in Example
23, and to give the granular effect, Hillborg uses a steady rhythmic pulse, but gives
each instrument a slightly different pattern to create a more dynamic unison.
Example 22: Clarinet Concerto (Peacock Tales), cantabile melodies.
65
Example 23: Clarinet Concerto (Peacock Tales), mm. 411-4, granular synthesis-
inspired unison. © C. F. Peters Frankfurt Leipzig London New York. Used by
permission.
Immediately following the Clarinet Concerto, Hillborg would compose
Dreaming River (1998)––which won first prize at the 2002 UNESCO International
Rostrum of Composers––and the sounds-more-electronic-than-acoustic Brass Quintet
(1999). These works are even more exacting uses of the previous discussed materials,
and from this point forward there are few significant and/or new additions to
Hillborg’s collection of materials. He will also confidently return to some of the
techniques he had previously abandoned on the grounds of their difficult execution.
With the inclusion of these older materials, a complete picture begins to form around
Hillborg’s intent as an artist.
Two remaining techniques from this stylistic period in Hillborg’s output are of
significance, and they come from two different sources: the use of the unison as a
66
transitional device––from Dreaming River––and the use of other composers’ music as
samples––from Rap Notes (2000). Example 24 shows the unison transition in measure
15 from Dreaming River, and the source material of the samples in Rap Notes are
Mozart’s “Der Hölle Rache kocht in meinem Herzen”––known colloquially as “the
Queen of the Night Aria”––from The Magic Flute (1791), and the sostenuto e pesante
“Spring Rounds” from Stravinsky’s Le Sacre du printemps (1913). Hillborg will
continue to use sampling in his later works Exquisite Corpse (2002) and …lontana in
sonno….
Example 24: Dreaming River, mm. 15-7, unison transition device. © C. F. Peters
Frankfurt Leipzig London New York. Used by permission.
67
Hillborg’s output throughout the 1990s is extremely varied, and it is clear that
he is comfortable working in a wide variety of mediums, something that makes him a
rarity in era of increasing specialization and pinpoint craftsmanship. There are few
composers with the skills necessary to cross over from film music, to popular song, to
serious concert music, and to do them all with the expertise of an insider. Progressing
into the twenty-first century, Hillborg’s output will become less diverse, and the
artistic control he begins to yield over his collected objects will reach its pinnacle.
68
CHAPTER 4
INTERNATIONAL YEARS
Today, Hillborg still lives in Stockholm, though since 1998 he has spent his
summers in southern France. His reputation as a composer now extends far beyond the
borders of his home country, as evidenced by commissions from the New York
Philharmonic (2013), Los Angeles Philharmonic (2011), Chicago Symphony
Orchestra (2011), and Berlin Philharmonic (2010). He is the first Swedish composer to
be commissioned by the Berlin Philharmonic and his reputation is firmly evolving as
an important voice of his generation.1 He did not, however, gain widespread
international appeal (despite his music being programmed in Los Angeles by Salonen
and the former Los Angeles Philharmonic New Music Advisor Steven Stucky since
the mid-1990s) until the early 2000s when more conductors began programming his
works––such as Alan Gilbert, who was the Chief Conductor of The Royal Stockholm
Philharmonic from 2000 until 2008, and David Zinman, who came into contact with
Hillborg’s work at the Aspen Music Festival in 2008. In the decade since 2002,
Hillborg has also developed important artistic relationships with two world-renowned
Swedish musicians, mezzo-soprano Anne Sofie von Otter and choral conductor Eric
Ericson. Incredibly, with the exception of Zinman, all of these relationships were
cultivated in Hillborg’s home country, which is remarkable considering its remote
geographical location and relatively obscure history regarding contemporary music.2
1
Franzén, “Anders Hillborg: A good composer need not be a dead composer.”
2
Quist, History of Modern Swedish Music, 1.
69
A publishing contract with C.F. Peters in Frankfurt, also contributed to Hillborg’s
growing international presence.
Hillborg’s music after the turn of the century is more candid than his previous
works, and its intent is more transparent. Now in his mature style, the musical objects
that Hillborg the composer-curator had spent two decades cultivating finally come to
fruition in works after 2001. Hillborg is less cryptic about their use, and the objects are
clearly labeled in most pieces from this point forward. The implementation of the
objects is also more focused, perhaps as a result of Hillborg himself better
understanding their effect and how to use them in more successful combinations over
longer trajectories.
This period commences with the work Exquisite Corpse (2002), which was
commissioned by Alan Gilbert and The Royal Stockholm Philharmonic. Hillborg
acknowledges his Surrealist affinities for the first time by naming his work Exquisite
Corpse, a concept made popular by French Surrealist artists from the early twentieth
century and based in turn on an old parlor game in which several people write a
complete sentence by each contributing a single word, unaware of each other’s
choice.3 The intent is to reveal, as Nicolas Calas suggests, the “unconscious reality in
the personality of the group.”4 But in Hillborg’s instance, it expresses the conscious
reality in the personality of the individual, as there is only one participant and there is
no unknown material to the partaker. Hillborg instead plays with an imaginary group,
which includes the likes of, perhaps predictably, György Ligeti, and, less predictably,
Jean Sibelius. Because of this workaround, and counter to the work’s title, Exquisite
3
William Stanley Rubin, Dada and Surrealist Art (London: Thames & Hudson, 1969), 278.
4
Nicolas Calas, quoted in William Stanley Rubin, Dada and Surrealist Art, 278.
70
Corpse cannot be considered Surrealist, but rather Surrealist-inspired. Hillborg uses
the Surrealist technique as a heuristic to solve compositional issues of form and
content. This does not detract from the work’s merit, but strengthens it by
reinterpreting the exquisite corpse concept to suggest that the contemporary composer
is a myriad of personalities and capable of playing the group game unaccompanied.
Viewed in this way, Exquisite Corpse must be seen as an expression of the author’s
multiple realities, and ultimately a demonstration of taste––which is uncovered
through assessing the quotations included of his imaginary participants’ music, and the
material he chooses to include from his own output.
The bold title, Exquisite Corpse, also suggests a musical form, and possibly the
expectation of a deviation from the author’s previous formal techniques. In this
instance, the title acts as a revelation, rather than a new point of departure for Hillborg.
The piece’s form is similar to that of his previous compositions’, but from this point
forward it becomes the standard model, perhaps as a result of his new working
process. Beginning in the late 1990s, Hillborg begins to construct his compositions in
digital audio workstations (known colloquially as DAWs), which are computer
software applications intended primarily for recording, editing, and playing back
digital audio. As discussed earlier, working in this type of environment stresses
macro-level over micro-level thought because of the constant presence of a bird’s-eye
view, and because of the built-in prejudice towards editing preexisting sound files
versus constructing your own. In essence, Hillborg’s music begins to be shaped by the
medium of its production, and Exquisite Corpse is the first clear indicator of this new
method of creating music.
71
Influenced by this new process of working in a DAW, Hillborg again uses
musical quotation in Exquisite Corpse––he had previously explored the technique is
his work Rap Notes for rappers, coloratura soprano, and orchestra in 2000. The most
salient borrowings occur at the beginning and the ending of the piece. Example 25
shows the work’s opening melody, which is an allusion to Ligeti’s Lontano (1967).
Although Hillborg’s melody is not exactly the same as Ligeti’s––perhaps due to
copyright concerns––the effect is undeniably that of quotation because of the similar
pitches, interval pairing, contour, and most importantly, orchestration of the slowly
unfolding tune. Ligeti first used the melody from Lontano in his choral work Lux
Aeterna (1966),5 and this is the same score that Hillborg stole from the college library
as a student in the late 1970s, as discussed in Chapter 2, and possibly a reason the
quotation is included as part of his exquisite corpse. The quotation that concludes the
work is from a more unlikely source: Jean Sibelius. In measure 295, roughly fifteen
bars from the work’s conclusion, out of the fog of a five-octave (025) trichord,
Sibelius emerges. Example 26 shows the sample separated from the background
trichord. The five-measure Sibelius passage is from his Symphony No. 7 (1924),
rehearsal letter B, measures 36-40. It again may suggest that the composer of the
twenty-first century is more than one person, and Hillborg’s diverse musical output
can corroborate this claim. In this context, and going forward, Hillborg’s allusions
seem like inside jokes, and a way of rewarding his loyal friends and audiences. This
specific quote is likely directed towards Sibelius’ compatriot, Esa-Pekka Salonen, but
could also be viewed as another allusion to the Beatles––their experimental collage

5
Richard Steinitz, György Ligeti: Music of the Imagination (Boston: Northeastern University
Press, 2003), 156.
72
from The White Album, “Revolution 9,” also contains a quotation of Sibelius’ Seventh
Symphony.
Example 25: Melodies from Exquisite Corpse, mm. 1-13, and Ligeti’s Lontano, mm.
1-15, including melodic intervals.
Example 26: Exquisite Corpse, mm. 295-9, Sibelius quotation.
73
Shortly after composing Exquisite Corpse, and now in full command of his
craft, Hillborg wholly merges form and content in the fifteen-minute orchestral song
…lontana in sonno… (2003). It is his most successful combination of materials to date
and a remarkable culmination of his previous techniques. Anne Sofie von Otter and
the Göteborgs Symfoniker (Gothenburg Symphony Orchestra), conducted by Kent
Nagano, commissioned and premiered the work. The use of text, as in the Dahlgren
album, again helps in gathering insight into the intent behind Hillborg’s recycled
materials.
To begin understanding …lontana in sonno…, a quick analysis of the text is
essential. Hillborg chose two sonnets by fourteenth-century Italian scholar and poet
Francesco Petrarca (hereafter Petrarch). This immediately sheds light on the quasi-folk
material present in his output, and the texts help to better understand that material. The
two sonnets Hillborg chose are numbers 250 and 301. What makes these texts
important is that Sonnet 250 was written before the death of Laura, the object of
Petrarch’s desires, and Sonnet 301 was written after her death. Example 27 shows the
Petrarch texts––omitting the two middle stanzas of Sonnet 301 because Hillborg does
not set them to music––and compares their structure with that of …lontana in sonno….
An Italian sonnet from this era is constructed in two parts based on a rhyming scheme:
the first two stanzas are called the octave, because they total eight lines, while the third
and fourth stanza are called the sestet, because they total six lines. As we can see,
Hillborg has removed the central text from Sonnet 301, and grouped the entire sonnet
74
into the Intro of the piece, and a fragment of the sestet is used for the Outro.6 Hillborg
also breaks Petrarch’s structure in Sonnet 250 in order to accommodate popular song
form––AABA. The sonnet has four stanzas, which could map onto song form, but
Hillborg skews it slightly by including the last line from the first stanza in the work’s
second section, A’. The composition’s textual psychology is thus described: the Intro
and Outro express distant love, but directed towards the afterlife or eternity, while the
central text expresses earthly distant love. Therefore, the song is a process of
remembering; beginning with grieving death––Intro, then grieving earthly obsession
and rejection––A and A’, which ultimately culminates with a quotation of the lusted-
after lover’s voice––B, and then briefly returning to both finite and infinite grief––A”
and Outro.
6
I use the terms Intro and Outro to describe the outer sections of …lontana in sonno…
because the work is in popular song form––AABA, and the colloquial terminology for
materials on either side of that form are Intro and Outro.
75
Example 27: …lontana in sonno…, comparison of Hillborg’s structure and Petrarch’s
structure. English translation from the musical score.
Hillborg uses objects from his previous pieces to illuminate this process.
Example 28 diagrams the work’s form. Immediately apparent is the contrast between
the simplicity of this structure and the complex and varied structures of the Violin
76
Concerto and Celestial Mechanics. In this specific work, Hillborg scales back the
juxtapositions of inharmonious materials in favor of a more transparent and seamless
form. The objects are still present, but are now woven together by the text, which
provides a sense of unity to the contradictory combinations. The material is also tied
together by the use of a standard form, and although the text clearly suggests a four-
part form, it is interesting that Hillborg used song form, and unknowingly so.7 It is
perhaps the artist’s unconscious instincts that tell us the most about the artist, and in
this instance, the influence of popular music and the remnants of writing an album
with Eva Dahlgren perhaps still remain in Hillborg’s language.
7
77
Example 28: …lontana in sonno…, formal design.
78
The work begins and ends with the droning of four glass harmonicas––tuned
crystal glasses––playing in octaves. The pitch material of both the Intro and the Outro
is constructed using different church modes, with the droning glasses as a reference
point––see Example 29. At the premiere, Hillborg instructed the singer, Anne Sofie
von Otter, to sing the Intro and Outro senza vibrato, and the overall effect is described
by writer Per F. Broman: “the dense but clear, vibrato-free, sine-tone sound …
suggests a giant synthesizer … as well as the spacious acoustics of a cathedral.”8 He
goes on to say that the “static introduction with a Gregorian chant-like melody … is
emulating the medieval mystic Hildegard of Bingen.”9 These quotes reinforce
Hillborg’s penchant for creating musical spaces that his materials can metaphorically
reside in––in this instance through the use of glass harmonicas,10 as well as his
predilection for medieval allusions. Also of importance is the suggestion of a
synthesizer-like sound, which is created by the glass harmonicas and later in the work
by non vibrato string playing. The glass harmonicas in particular create this illusion
because of a perceived LFO effect that is created by the performers swirling their
fingers around the rims of the glasses. The pitch is constant, but the amplitude is
variable, and it is dictated by the speed at which the performers swirl their fingers.
Another interesting byproduct of the four glasses oscillating at slightly different
speeds is a subtle phasing effect, which is easily perceived due to the unison and
8
Anders Hillborg, Boldemann Gefors Hillborg, with Anne Sofie von Otter (mezzo-soprano)
and the Gothenburg Symphony Orchestra, conducted by Kent Nagano, recorded at the
Konserthuset, Gothenburg, December 2003, Deutsche Grammophon 00289 477 7439,
compact disc, liner notes by Per F. Broman.
9
Ibid.
10
Hillborg uses the glass harmonicas for precisely this effect. Because of their indirect
projection of sound, they give the impression of being omnipresent in the room, creating a
very effective space. From interview by author, November 2011.
79
octave doublings. The drone, combined with the church modes, gives the work’s
opening and closing sections a sense of eternity, matching the text.
Example 29: …lontana in sonno…, Intro and Outro harmonic analysis.
80
If the Intro metaphorically places listeners in the eternal world of the dead,
than the A material repositions them in the world of the living. The first statement of
A, referring back to the graph in Example 28, is based on Hillborg’s previous work,
Exquisite Corpse––which in turn is based on Ligeti’s Lontano. Hillborg imported the
sound file of Exquisite Corpse’s opening into his DAW and overdubbed it with a
vocal melody.11 It is a sample of an allusion, and now even further removed because
of the added meaning conveyed by the grieving and despondent Petrarch text––pre-
Laura’s death. Example 30 diagrams the opening pitch material, and in general, the
singer outlines the sampled pitches from Exquisite Corpse. The singer’s long phrases
rarely repeat, and they evoke what John Adams calls hypermelody,12 which is the
continuous production of new melodic material. The singer’s material varies more in
the second phrase, measures 17 through 30, in which the orchestra plays the opening
material in retrograde, transposed down a minor third. Between these two phrases, in
measure 14, is the first instance of what can be described as cracking material, seen in
Example 31. After the Exquisite Corpse pitch material fully accumulates in measure
13, the flutes are instructed to overblow ad libitum, creating indeterminate microtonal
overtones. The reason this is labeled cracking is that it is an attempt to metaphorically
transition between the world of the living and the world of the dead. The specific term
crack is taken from Carlos Castaneda––mentioned in conjunction with Rite of Passage
from Chapter 1––who wrote about, “the crack between the worlds,”13 which Hillborg
set to music in his most recent work Sirens (2011). At that specific moment in Sirens,
11
12
Adams, Hallelujah Junction: Composing an American Life, 174.
13
Carlos Castaneda, The Teachings of Don Juan; a Yaqui way of knowledge (Berkeley:
University of California Press, 1968), 137.
81
Hillborg introduces a new microtonal harmonic spectrum, and the flute overblowing in
…lontana in sonno… provides the same otherworldly harmonic effect. The cracking
effect will repeat three times before finally leading to the work’s B section, which can
be viewed as a successful leap into another form of consciousness after two
unsuccessful attempts.
Example 30: …lontana in sonno…, mm. 1-14, orchestra melody from Exquisite
Corpse––via Ligeti’s Lontano––and mezzo-soprano pitch material.
82
Example 31: …lontana in sonno…, cracking material development.
83
The A and A’ sections of …lontana in sonno… are related primarily by their
texture. Hillborg again uses the technique of removing the instruments’ identity by
removing their attacks and decays to create a completely seamless texture across
instrumental choirs. He also uses accumulating harmonic techniques in the A sections
to create motion towards goals. As seen before in Example 30, he uses monophonic
polyphony to create and sustain a (01345679) octachord, which is then cracked by
overblowing flutes, and later percussion, harp, and piano––see Example 31. Example
32 demonstrates another accumulation technique. The winds and brasses play a
chorale which begins on a B major chord in measure 32, and slowly adds notes until it
cracks on a twelve-note aggregate in measure 45––see Crack 2 in Example 31. The
bass motion propels the chorale forward, as the upper harmonies begin to stagnate,
building tension towards the aggregate goal.
Example 32: …lontana in sonno…, mm. 32-44, harmonic progression leading towards
crack aggregate.
84
The A’ section repeats this same accumulative process, but instead it uses an
octave-cycle technique rather than the monophonic polyphony technique from
measures 1 through 30. Example 33 demonstrates the harmonic motion and
counterpoint created by these octave cycles in measure 52. It is immediately visually
apparent that Hillborg is using the technique, but in this instance he does not use prime
numbers to generate different lengths of cycles, and the cycles ascend four octaves
instead of three. Hillborg instead generates rhythmic interest through syncopation and
phasing, which gives the impression of fourth-species counterpoint. The rising octaves
in section A’ also have the effect of aftertouch on a synthesizer––in this instance it
would be an algorithm that ascends four octaves after being instantiated. The end
effect is the illusion of constantly ascending species counterpoint, not unlike the
auditory illusion of a Shepard tone.14
14
Dodge and Jerse, Computer Music, 106. A Shepard tone is an electronic music technique
that gives the auditory illusion of a tone continually ascending or descending using a
superposition of sine waves separated by octaves.
85
Example 33: …lontana in sonno…, mm. 52-70, octave cycles.
After the third, and now successful, crack attempt in measure 108 (see
Example 31) the winds and brasses return in measure 124, but this time with a
distinctly pesante feel––not unlike the previously sampled Rite of Spring material in
Rap Notes. But rather than accumulating towards an aggregate, it quickly comes apart.
The winds and brasses separate into a chorale in B-flat major, the high strings sustain
an attack-less and dissonant texture, and the quasi-folk violin solo emerges as if a
hallucination, in measure 154. The solo is labeled “like a folk-tune,”15 for the first
15
Anders Hillborg, …lontana in sonno… (Frankfurt: CF Peters, 2003) 17.
86
time, and it is in the exact same form as it is presented in “Kväll” (“Evening”) from
the Eva Dahlgren album. At this moment, the text’s subject is fully enthralled in self-
deception and fantasizing about the last evening he spent with his lost lover. It is no
coincidence that the quasi-folk violin solo from “Evening” should appear when the
text states, “Don’t you remember that final evening?” Hillborg is rewarding the
listeners who know his music intimately.
The solo marks the transition into the B section or bridge. The harmony
drastically changes to D major, with brief moments in A major, and the singer is now
accompanied by a small chamber ensemble, consisting only of the solo violin, harp,
and piano, creating an intimate change of space. The melody is also more florid now,
and set in a rapid triple meter. It is a clear allusion to the past; an apparition conjured
up by the text and also by the composer. The fantasy is short-lived and abruptly ends
with the sudden appearance of a D minor chord in measure 191––evoking the grief-
stricken pulsations of the second movement of Henryk Górecki’s Symphony No. 3.
This quickly leads back into the A material in measure 204, marked molto cantabile,
seen in Example 34. This thirty-two-voice contrapuntal texture would later be labeled
“Meadow of Sad Songs” in Eleven Gates, and it is a return in affect to the earthly
sorrow from parts A and A’.
The work concludes as it began, but now set a half step higher (see Example
29). The upward transposition could be perceived as a sign of hope, which is an
unexpected gesture considering the melancholic text. Further complicating the ending
is the incomplete final sentence with which the piece ends: “I saw my good from here:
87
and with these steps turn to see…”16 The final word, vedere (to see), cadences on an
inconclusive tritone between the singer and the glass harmonicas. The subject and
audience are ultimately left unfulfilled.
16
Anders Hillborg, …lontana in sonno… (Frankfurt: CF Peters, 2003) Preface.
88
Example 34: …lontana in sonno…, mm. 199-211, A” material returns at measure 204.
© C. F. Peters Frankfurt Leipzig London New York. Used by permission.
89
After …lontana in sonno… there are only four new important developments in
Hillborg’s work. The first three are found in Eleven Gates––which is another revealing
title––and the fourth is found in Cold Heat (2010)––the Berlin Philharmonic
commission.
Example 35 is from a section of Eleven Gates labeled “Waves, Pulse and
Elastic Seabirds.” The example is a demonstration of the elastic seabirds, which is
defined by a minute upward glissando in the woodwinds. The origin of this technique
can be found in a short work entitled Aging Elastic Seabirds written by Hillborg’s
alter ego, Runar Fran Sverige, which was presented to composer Magnus Lindberg
and Esa-Pekka Salonen as a fortieth-birthday present in 1998. As many clarinets as
possible are instructed to play “Happy Birthday” with as much vulgarity as possible.
In essence, it is a joke that found its way into his serious output.
Example 35: Eleven Gates, Rehearsal Mark T1, elastic seabirds. © C. F. Peters
Frankfurt Leipzig London New York. Used by permission.
90
The second important technique in Eleven Gates is the fulfillment of the short
cantabile melody found in the Clarinet Concerto. It is shown in Example 36 and it is
labeled in the score “Toy Pianos on the Surface of the Sea.” It is a simple tune that
creates its momentum by using melodies in two different meters: 3/16 and 2/8. It will
reappear as a movement of the Six Pieces for Wind Quintet in 2007.
Example 36: Eleven Gates, mm. 329-35, Rehearsal Mark M1, “Toy Pianos on the
Surface of the Sea.” © C. F. Peters Frankfurt Leipzig London New York. Used by
permission.
The third important late development, also found in Eleven Gates, is the
allusion to the final chord from “A Day in the Life” from the Beatles’ Sgt. Pepper’s
Lonely Hearts Club Band. The famous E-major chord, played primarily by piano, at
the end of the Sgt. Pepper’s album can be described as a cathartic release after a long
and dissonant building of tension at the end of the album’s last song. The Beatles and
their recording engineers famously used recording technology to add unnatural sustain
to the piano chord by slowly boosting the recording level in inverse relationship to the
91
natural decay of the piano. Hillborg quotes this last gesture in Eleven Gates, and he
orchestrates the unnatural sustain with strings and glass harmonicas. The gesture is
immediately recognizable, and possibly his most identifiable object, but what makes it
particularly interesting is what immediately precedes it: rapidly ascending chromatic
scales. These scales are at the core of Hillborg’s language, and with this specific
allusion in Eleven Gates, he is possibly revealing that their impetus came from the
dissonant and chaotic build-up at the end of Sgt. Pepper’s. Another possible reading,
and perhaps more interesting still, is that Hillborg is transitioning between musical
genres by creating a connection between two of his primary, yet disparate, influences:
the opening chromatic scales of Ligeti’s Melodien and the end of the Beatles’ Sgt.
Pepper’s album. It is another method of cracking between worlds and an interesting
device for prolonging the musical discourse.
Finally, the last important development in Hillborg’s language is the twisted
and merged harmonic spectra. The technique is first found in Cold Heat in measure
73. Hillborg combines the lower frequencies of a B-flat natural overtone series with a
synthetic upper series. Example 37 shows the twisted spectrum. The first thirteen
partials––disregarding the lowest pitch––are shown on the first line, and are notated
with microtones to show their specific intonation and relationship to the B-flat
fundamental. Partials 14 to 34, on the second line, are notated without microtones and
are based on a different series. The deformation of harmonic spectra is one of
Hillborg’s most interesting techniques and also one of his most potent musical objects.
92
Example 37: Cold Heat, mm. 73-86, twisted harmonic spectrum.
93
CONCLUSION
Labeling Hillborg a postmodernist may overgeneralize his artist achievements,
considering the expression's fluid borders and often lenient definitions, but it is
undoubtedly the cultural movement that most clearly explains his work and its place
within the larger context of the global artist community at the turn of the twenty-first
century. His work is worthy of considerable future scholarship primarily for this
reason, and the annals of history may very well deem him the quintessential
postmodernist composer.
Hillborg’s unique language is undoubtedly aided by the integration of
technology into his creative process. Therefore, the use of an electronically oriented
approach to analyzing his music, both electronic and acoustic, is necessary. Further
research into mapping electronic concepts onto non-electronic musical techniques
could prove fruitful for theorists and composers looking to extract more meaning from
music composed in, but not limited to, the twenty-first century. Hillborg’s music
provides an excellent starting point for this research because he references commonly
used techniques––delay, reverb, EQ, LFO, phasing, etc., as opposed to highly
idiosyncratic procedures which were practiced in the experimental studios of the
1950s and 60s by composers such as Karlheinz Stockhausen and Luciano Berio.
Finally, Hillborg’s approach to composition is refreshing because of its
inclusionary aesthetic and its diversity of content. His successful work in multiple
genres aids him in this approach and gives him a unique perspective from which to
cross over boundaries. Today, in the age of information and consumerism, many
94
composers have access to and are being influenced by a wide variety of musical
genres and styles, and Hillborg’s mantra that “every sound, in the right context, can be
music,” is now more appropriate than ever before.1 Hillborg is a significant example
of how artists can continue to create thought-provoking and original art in an age of
oversaturation and global awareness, and he has opened new doors of possibility for
composition in an electronic world.
1
Norling.
95
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DISCOGRAPHY
LP
Rite of Passage
Amirkhanian, Charles, Stanley Haynes, Anders Hillborg, Ingvar Karkoff, Ilmar
Laaban. 1982. Stockholms elektronmusikfestival 1982. Sweden: Fylkingen
Records.
Prologue; Broken Necklace

Rickfos, Mikael, and Sharon Dyall. 1988. Broken Necklace: Theme from “Friends.”
Sweden: Polygram/Mercury.
COMPACT DISC
Ein midsommarnattsdröm
Allmänna sången. 2008. Resonanser. Åkersberga, Sweden: BIS.
Brass Quintet
Axiom Brass. 2010. Axiom Brass: New Standards. Chicago: Axiom Brass, LLC.
Close Up (Version for Guitar and Fixed Media)

Bergström, Mats. 2002. SubString Bridge. Åkersberga, Sweden: BIS.
Celestial Mechanics
Börtz, Daniel, Anders Hillborg, Thomas Liljeholm, and Anders Hultqvist. Musica
Vitae. 1997. Sweden: Caprice.
Tryffelhymn
Chini, Andre, Mikael Edlund, Annie Gosfield, Sten Hanson, Anders Hillborg, Mårten
Josjö, David Lang, Per Martensson, Tristan Murail, and S. Pat Simmerud.
2009. The Peärls Before Swïne Experience; Swïne Live!. Stockholm: Caprice.
99
Lava; Stenmannen; När en vild röd ros slår ut doftar hela skogen; En gul böjd banan;
Kväll; Du som älskar; Innan kärleken kom; Vild i min mun
Dahlgren, Eva. 1995. Jag vill se min älskade komma från det vilda. Stockholm: The
Record Station/BMG.
muoɔɑa#yiyωɔoum
Eliasson, Anders, Eric Ericson, Anders Hillborg, Thomas Jennefelt, Jan Sandström,
and Sven-David Sandström. 1990. Swedish Contemporary Vocal Music, Vol.
III. Stockholm: Phono Suecia.
Ein midsommarnattsdröm
EMO Ensemble. 2008. Hereillä/Awake. Helsinki: Fuga.
Kväll
Ernman, Malena. 2004. Naïve. Sweden:KMH.
Tampere Raw
Fröst, Martin. 1994. French Beauties and Swedish Beasts. Åkersberga, Sweden: BIS.
Close Ups (Version for Clarinet and Percussion)

Fröst, Martin. 1997. Close Ups: Music for Clarinet and Percussion. Djursholm,
Sweden: BIS.
Påfågelsögonblick
Fröst, Martin. 2010. Fröst and Friends. Åkersberga: BIS.
Clarinet Concerto (Peacock Tales) (Version for Clarinet, Piano, and Strings)
Fröst, Martin. 2011. Dances to a Black Pipe. Åkersberga: BIS.
muoɔɑa#yiyωɔoum
Göteborg University Chamber Choir, Gunnar Eriksson. 1994. Vocal Minimalism from
Scandinavia. Sweden: Swedish Society Discofil.
Clang and Fury; muoɔɑa#yiyωɔoum; Lamento; Celestial Mechanics; Hudbasun

Hillborg, Anders. 1992. Clang and Fury. Stockholm, Sweden: Phono Suecia.
100
Clarinet Concerto; Liquid Marble; Violin Concerto
Hillborg, Anders. 2003. Clarinet Concerto; Liquid Marble; Violin Concerto. Helsinki:
Ondine.
King Tide; Exquisite Corpse; Dreaming River; Eleven Gates

Hillborg, Anders. 2011. Eleven Gates. Åkersberga, Sweden: BIS.
“Why God, Why?” (Arrangement of Schönberg and Boublil Song)

Jöback, Peter. 1997. Personliga val. Sweden: Sony Music Entertainment.
U-TANGIA-NA
Lindberg, Christian. 1991. The Sacred Trombone. Djursholm, Sweden: BIS.
U-TANGIA-NA
Lindberg, Christian. 1993. Ten-Year Jubilee. Djursholm, Sweden: BIS.
Rap Notes
Orchestre Symphonique des Etudiants de Lille Flandres, Pierre-Yves Gronier. 2002.
Univers ouverts. France:OSELF.
muoɔɑa#yiyωɔoum (Version for Male Choir)

Orphei drängar. 2003. Diamonds: Twentieth-Century Masterpieces for Male Choir.
Åkersberga, Sweden: BIS.
…lontana in sonno…
Otter, Anne Sofie von. 2008. Boldeman, Gefors, Hillborg. Hamburg, Germany:
Deutsche Grammophon.
Six Pieces for Wind Quintet

Royal Wind Quintet Stockholm. 2008. Royal Wind Quintet Stockholm. Paris: Intégral
Classic.
muoɔɑa#yiyωɔoum
St. Jacobs Chamber Choir. 1997. Sonority: St. Jacob's Chamber Choir Sings Swedish
Choral Music A Cappella. Djursholm, Sweden: BIS.
101
Kongsgaard Variations
Stenhammar Quartet. 2009. Quartetto con forza. Stockholm, Sweden: Phono Suecia.
Brass Quintet
Stockholms kammarbrass. 2002. NOW. Åkersberga, Sweden: BIS.
Paulinesisk Procession
Stockholms spårvägsmäns musikkår. 1993. Växlar. Lidingö, Sweden: Twin Music.
muoɔɑa#yiyωɔoum
Swedish Radio Choir. 2010. Visions and Non Thoughts. Stockholm, Sweden: Caprice.
muoɔɑa#yiyωɔoum
Swedish Radio Choir. 2012. Nordic Sounds 2. Herwijnen, The Netherlands: Channel
Classics.
DIGITAL
Eleven Gates
Hillborg, Anders. 2006. Live From Disney Hall. Hamburg, Germany: Deutsche
Grammophon. Digital release.
Cold Heat
Hillborg, Anders. 2010. Digital Concert Hall. Berlin, Germany: Berliner
Philharmoniker. Digital release.
FILM
Andersson, Kjell-Åke. 1988. Friends. Sweden: Swedish Television (SVT). 87 min.
Kalmér, Åsa and Maria Weisby. 2001. Kaspar i Nudådalen. Sweden: Swedish
Television (SVT). PAN Vision Video 244832. 180 min.
102
Löfman, Carl. 1998. Hjärtats Saga. Sweden: Swedish Television (SVT). PAN Vision
Video 200442. 159 min.
Södersten, Mikael. 1990. Pass. Sweden: Omega Film and Television AB. 43 min.
103
CHRONOLOGICAL LIST OF WORKS
1973
O soluppgång i evigheten (O Sunrise of Eternity);
Voice or Mixed Choir and Piano or Small Orchestra
Text by Pär Lagerkvist
Swedish Music Information Center
1977
Vem är du som står bortvänd (Who are you who are turned away); SATB
Text by Pär Lagerkvist
Kummelby Förlag
1978
Lilla Sus grav (The Grave of Little Sus); SATB
Text by Li He (Translated by Göran Sommardal)
1979
Worlds; Orchestra
Warner Chappell Music Scandinavia; Gehrmans Musikförlag
Mental Hygiene III; Fixed Media
Untitled; Piano, Oboe, and 13 Solo Strings (withdrawn)
Rite of Passage (formerly Bandkomposition I); Fixed Media
1980
Poem 62; SATB
Text by e.e. cummings
1981
Spöksonaten (The Ghost Sonata); Fixed Media
Incidental Music for the Play The Ghost Sonata by August Strindberg
1982
Kama Loka; Fixed Media
Overture for the Play The Ghost Sonata by August Strindberg
Hyacintrummet (The Hyacinth Room); Harp
Incidental Music for the Play The Ghost Sonata
Lamento; Clarinet and 14 Solo Strings
Variations (Dante); Soprano, Mezzo-soprano, Flute, Saxophone, Viola, Double
Bass, Percussion (withdrawn)
From Oxford Online
104
Living Room; Fixed Media
1983
muoɔɑa#yiyωɔoum; SATB
Available from the Composer
1984
Två motetter (Two Motets); SATB
Traditional Swedish Texts
1985
Celestial Mechanics; 17 Solo Strings and Percussion
1987
Musik för 10 Celli (Music for 10 Cellos)
1988
Friends; Fixed Media
For the Film Friends by Kjell-Åke Andersson
SVT Drama
Prologue; Fixed Media
From the Film Friends by Kjell-Åke Andersson
Polygram; Mercury
Broken Necklace; Vocals and Pop Group
From the Film Friends by Kjell-Åke Andersson
Polygram; Mercury
1989
Clang and Fury; Orchestra
Hosianna I; SATB
Traditional Swedish Text
Hosianna II; SATB
1990
The Giveaway; Fixed Media
For the Film Pass by Mikael Södersten
Omega Film and Television AB; Södersten Film Productions
Hudbasun (Skin Trombone); Trombone and Fixed Media
1991
U–TANGIA–NA; Alto Trombone and Organ or Fixed Media
Fanfare; Brass Quintet
105
Tampere Raw; Clarinet and Piano
CF Peters/Frankfurt
Närbilder (Close Ups); Flute
1992
Violin Concerto; Violin and Orchestra
CF Peters/Frankfurt
Innan kärleken kom (Before Love Arrived); Voice and Orchestra
Text by Eva Dahlgren
The Record Station; BMG
1993
Paulinesisk Procession; Wind Band and Inflatable Doll built by Mikael Pauli
Psaltarpsalm; SATB, Brass Quintet, and Organ
1994
Trombone Concerto “Strange Dances and Singing Water”;
Trombone and Orchestra
Strange Dances and Singing Water; Fixed Media
From Oxford Online (possibly withdrawn)
Kväll (Evening); Voice and Violin (or Trombone)
När en vild röd ros slår ut doftar hela skogen
(When the Scent of a Wild Red Rose Permeates the Entire Forest);
Voice, Background Vocals, and Orchestra
Vild i min mun (Wildflowers in My Mouth); Voice and Orchestra
Du som älskar (You Lover); Voice and Orchestra
En gul böjd banan (A Yellow Bent Banana); Voice and Windband
106
1995
Jorden är ett litet rum (The Earth is a Small Room); Voice and Piano
Arrangement of Eva Dahlgren Song
Lava; Orchestra
Stenmannen (Stone Man); Voice, Background Vocals, and Orchestra
Co-written with Eva Dahlgren; Text by Eva Dahlgren
Liquid Marble; Orchestra
CF Peters/Frankfurt
Nursery Rhymes I and II; Clarinet and Percussion (optional)
Swedish Music Info Center
Close Up; Clarinet and Percussion (Version for Guitar and Fixed Media)
1996
Meltdown Variations; Sinfonietta
Hjärtats Saga (Miracle of the Heart); Fixed Media
For the TV Series Miracle of the Heart
PAN Vision Video
Påfågelsögonblick (The Peacock Moment); Clarinet and Piano
CF Edition Peters/Frankfurt
1997
Varför Gud? (Why God, Why?); Voice and Orchestra
Arrangement of Schönberg and Boublil Song from Miss Saigon
1998
Prèlude; Clarinet
160 sekunder: Kunglig fanfar (160 Seconds: Royal Fanfare);
Soprano, Alto, and Chamber Orchestra
Text by Hans Åstrand
Clarinet Concerto (Peacock Tales); Clarinet and Orchestra
CF Peters/Frankfurt
Chamber Version 2003; Clarinet, Piano, and Strings
Polar Version 2000; Clarinet and Fixed Media
Millenium Version 2004; Clarinet and Fixed Media
Millenium Version 1998; Clarinet and Orchestra
107
Åldrande Elastiska Sjöfåglar (Aging Elastic Seabirds);
Flute, Oboe, Clarinet, Bassoon, Horns, Percussion
by Runar Fran Sverige
Dreaming River; Orchestra and Two Suonas
CF Peters/Frankfurt
1999
Brass Quintet
CF Peters/Frankfurt
King Tide; Orchestra
CF Peters/Frankfurt
Fugue; Piano
2000
Cadenzas for Mozart’s Concerto in G for Flute, K. 313
Kaspar i Nudådalen (Kaspar in Nudådalen); Fixed Media
For the TV Series Kaspar i Nudådalen
by Åsa Kalmér and Maria Weisby
Swedish Television (SVT)
Gnomvibrationer; Sinfonietta and Suona
Co-written by Pär Lindgren and Jan Sandström
Rap Notes; Rappers, Soprano, Sampler, and Orchestra
CF Peters/Frankfurt
2001
Piano Concerto; Piano, Sampler, and Orchestra
CF Peters/Frankfurt
Corrente della primavera; Piano
CF Peters/Frankfurt
En Midsommarnattsdröm (A Midsummer Night’s Dream); SATB
Text by Rune Lindström
Warner Chappell Music Scandinavia / Gehrmans Musikförlag
2002
Mirages; Orchestra
CF Peters/Frankfurt
Exquisite Corpse; Orchestra
CF Peters/Frankfurt
Tryffelhymn (Truffle Hymn); Flute, Violin, Cello, and Piano
Stockholmsfanfar 2002 (Stockholm Fanfare); Brass Choir
Velocity Engine; Piano
CF Peters/Frankfurt
108
2003
…lontana in sonno…; Mezzo-soprano and Orchestra
Text by Petrarch
CF Peters/Frankfurt
2004
Lux Aeterna; SATB
CF Peters/Frankfurt
Vid havet (By the Sea); Children’s Chorus
Text Unknown
Endless Sky; SATB
Texts by Dante, Dylan Thomas, Traditional
CF Peters/Frankfurt
Concerto for Two Trombones and Orchestra;
Two Trombones, Sampler, and Orchestra
CF Peters/Frankfurt
2005
Borg fanfar (Borg Fanfare);
Brass Choir
2006
Eleven Gates; Orchestra
CF Peters/Frankfurt
Kongsgaard Variations; String Quartet
CF Peters/Frankfurt
2007
Heisenbergminiatyrer (Heisenberg Miniatures); String Quartet
CF Peters/Frankfurt
Percussion Concerto; Percussion and Orchestra
CF Peters/Frankfurt
Six Pieces for Wind Quintet; Woodwind Quintet
CF Peters/Frankfurt
2008
Koral & Polkamaskin; Orchestra
CF Peters/Frankfurt
Two Pieces for Solo Marimba; Invention and Hal’s Daisy; Marimba
CF Peters/Frankfurt
The Cradle Song; Male Chorus
Text by William Blake
CF Peters/Frankfurt
2009
Four Transitory Worlds; Orchestra
CF Peters/Frankfurt
Flood Dreams; Orchestra and Two Suonas
CF Peters/Frankfurt
109
Flute Concerto; Flute and Orchestra
CF Peters/Frankfurt
Méditations sur Pétrarque; Oboe and Orchestra
CF Peters/Frankfurt
Duet; Clarinet and Violin
CF Peters/Frankfurt
2010
Vaporised Tivoli; Chamber Orchestra
CF Peters/Frankfurt
Notes pour Grimal; Violin
CF Peters/Frankfurt
Cold Heat; Orchestra
CF Peters/Frankfurt
2011
Sirens; Soprano, Mezzo-soprano, Choir, and Orchestra
Text by Homer and Castaneda
CF Peters/Frankfurt
2013
The Strand Settings; Soprano and Orchestra
Text by Mark Strand
CF Peters/Frankfurt
110
A PORTFOLIO OF THREE WORKS
A Dissertation
Presented to the Faculty of the Graduate School
of Cornell University
In Partial Fulfillment of the Requirements for the Degree of
Doctor of Musical Arts
by
Christopher Andrew Stark
August 2013
© 2013 Christopher Andrew Stark
A PORTFOLIO OF THREE WORKS
Christopher Andrew Stark, D.M.A.

Cornell University 2013
The works presented in this portfolio express the musical worlds in which the
author primarily resides: acoustic orchestral music and electroacoustic chamber music.
Two-Handed Storytelling is a seven-minute work for piano and electronics, and
it is an exploration of the concept of fiction and non-fiction in music. The work
attempts to give the impression of physical impossibility and blurred reality by using
pre-recorded samples of the piano in combination with the live performance.
…and start west is a thirteen-minute work for chamber orchestra, and it is
constructed in three parts. It is based on the concept of travel writing, and it attempts
to musically depict the impressions of driving from coast to coast in the United States,
beginning in the East. It takes its inspiration and title from the last sentence of the first
chapter of William S. Burroughs’ Naked Lunch.
Ignatian Exercises is a seven-and-a-half minute work for sinfonietta. The title
is in reference to the Spiritual Exercises, written by St. Ignatius of Loyola, and also to
the town of the author’s birth, St. Ignatius, Montana. The piece is based on themes
surrounding the dark history between Jesuit settlers and indigenous Native Americans
in rural western Montana.
BIOGRAPHICAL SKETCH
Christopher Stark was born in St. Ignatius, Montana on December 12, 1980.
He has previously studied at the Cincinnati Conservatory (MM) and the University of
Montana (BM), and in 2012 he was a resident artist in Italy at Civitella Ranieri. Stark
is a recipient of the Underwood Commission from the American Composers Orchestra
and winner of the prix de composition from the Orléans International Piano
Competition. His music has been featured on NPR’s Performance Today, and has also
been programmed, rehearsed, and performed by such ensembles as the Detroit
Symphony Orchestra, Sacramento Philharmonic, American Composers Orchestra,
Buffalo Philharmonic, University of Texas Wind Ensemble, CCM Wind Symphony,
Israeli Chamber Project, Aspen Contemporary Ensemble, and members of eighth
blackbird. Stark has also been awarded an ASCAP Morton Gould Young Composer
Award and placed first in the Utah Arts Festival's Orchestral Composition
Competition. He was a regional winner of the 2011 SCI/ASCAP Student Commission
Competition, and has received honorable mentions from both the ASCAP/CBDNA
Frederick Fennell Prize and the Music Teachers National Association Distinguished
Composer of the Year Award.
iv
ACKNOWLEDGMENTS
I would like to thank Roberto Sierra and Steven Stucky for sharing with me
their immense knowledge of music and making me aware of what it takes to be great. I
would like to thank Xak Bjerken for his inspiring friendship, Andrew Zhou for editing
the piano score in this portfolio, and Cynthia Johnston Turner and Chris Younghoon
Kim for programming my music and encouraging me to make more during my time at
Cornell University. Finally, I would like to thank the American Composers Orchestra
and Paul Underwood who commissioned the chamber orchestra work in this portfolio.
v
TABLE OF CONTENTS
Biographical Sketch iv
Acknowledgments v
Two-Handed Storytelling
Notes 1
Score 3
…and start west
Notes 18
Score 20
Ignatian Exercises
Notes 92
Score 95
vi
Commissioned by American Composers Orchestra with the generous support of Paul Underwood
...and start west

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? 24 43
œ œO ™™
œ œ œ #œ œ. œ nœ. #œ nœ œ œ r≈ ‰ Œ 4
Vc.
. . . #œ . # œ. . # œ. > > >œ n>˙ Ȯ œO
f . >
œ™ œ™
ff sempre ffp ff
pizz.
œ œ œ #œ >œ >œ arco
. . .
?2 >œ 3 nœ 44 Œ ≈ #œ #œ œ. Œ ‰ ≈ œR 24
¢‹ 4 ≈ J
∑ ‰ J #œ #œ #œ ≈ 4 r ≈‰
>
Db.
nœ œ
ff sempre
> ' f
> ^ 3
<#> œ #œ œ > #œ
>œ
° 2
>
Œ ‰
#œ
‰
nœ 3
4Œ ‰ ≈ #œr œ r 24 œ #œ œ. #>œ 43
Fl. & 4 œ ≈ ‰ Œ Œ
J
‰
ff 3 3 >
ffp ff
> .
> . #œ 3
Ob.
2
&4 Œ ‰ œ œ #˙ 43
#œ œ œ ‰ Œ #œ #œ œ œ nœr ≈ ‰ Œ 24 Œ #œ. #œ 4
> > . > 3
ff ffp ffp ff
^
> #œ n>œ #œ œ. >
b œ b œ ‰ 43
2 ‰ ‰ ‰ J 43 J ‰ ‰ j 24 J
<#>œ.
3
Cl. &4 ∑ #œ ‰ ≈ œ nœ #œ œ œ #œ ‰ Œ ‰
3 > > 3
3
ff ffp ff
> . > . >
b œ œ œ. Œ
3
?2 43 ≈ #œ œ b œ. b œ. ‰ ‰ #œJ #œ #œ ‰ 24 43
¢ 4 œ. œ.
‰ Œ ∑ ‰ ∑
Bsn.
J
3
¿ ¿
° 2
+ +
r
Hn. &4 ∑ #˙ 43 œ ≈ ‰ ‰ ≈ #œr œ r
œ ≈ ‰ Œ Œ 24 ∑ 43
> >
ffp ff ffp ff
Tpt.
2 <#>œ
&4
œÆ
≈ Œ ∑ 43 ∑ ∑ 24 ∑ 43
f
> . > .
?2 j bœ œ #œ. œ œ œ. #œj
Tbn.
¢ 4 œ. ‰ Œ ∑ 43 ≈ J ‰
.
‰ Œ Œ 24 ∑ 43
>
° 2 #>œ 24 Œ >œ # œ 3
¢& 4 43 #
3
∑ #œ Œ ≈ œ nœ #œ Œ Œ Œ ‰ 4
Perc. I
> > œ
> œ #œ *
3
*° * °
f mf
°
{
>œ
#œ >œ
œ 3 #^œ 24 ≈ #œ œ œ Œ
2
&4 Œ Œ ‰ 4J ‰ Œ Œ ∑ 43
3
^ mf
œ œ #œj ‰
Pno.
24 3
2
&4 Œ Œ 43 Œ ≈ œ nœ #œ Œ ≈
#œ #œ œ
Œ Œ ∑ &4
> > > *
° * °
{
> > ^œ
#œ œ bœ ^.
bœ >
2 J 43 ‰ ? œ #œ Œ 2 œR ≈ ‰ 43
&4 ‰ Œ ‰ ‰ ∑ Œ &4 Œ
3
>
Hp. 3
b œ b œ ‰ 24 3
? 24 43
Ab G§
∑ ∑ ∑ Œ Œ ∑ &4
3
> > >

#œ œ œ œ #œ nœ >
° 2 ‰ œ > > #œ
‰ ‰ ‰ J ‰ 43 #œ œ >œ ≈ Œ ‰
3
‰ Œ 24 œ #œ œ nœ. #>œ ‰ J 43
Vln. I &4 œ #œ #œ nœ J
3 3
ffp ff > > œ 3
<#> œ
^
# œ. >œ # >œ
>œ > #œ nœ 3 #>œ >
24 r ≈ ≈ nœ #œ #>œ
2
&4 ‰ œ #œ ‰ ‰ 4J ‰ ‰ œ œ #œ #œ ≈ n˙ 43
> #>œ œ œ R
Vln. II
ff 3
3
ffp ff
> > 3
ffp ff
> #œ j
2 43 Œ ‰ 24 ‰ 43
3 3 3
&4 ∑ #œ ‰ Œ Œ #-œ -œ -œ #œ #œ ‰ ‰ B œ #œ œO œO
# œ
Vla.
3 > > # >œ >

ffp
p ff
# œ^ n>œ #œ > #œ . >

pizz. arco
> #œ
Vc.
B 24 ∑ Œ 43 Œ ‰ Œ ≈ #œ œ nœJ ‰ ? #œ #œ 24 ∑ 43
sffz ff 3
> . > . .
.
?2 34 ≈ b œ œ œ #œ. œ œ b œ œ. #œj 24 43
Db.
¢‹ 4 œ. œ. ‰ Œ ∑ J ‰
.
‰ Œ Œ ∑
4
>œ™ #œ™ b œÆ œÆ œÆ b œÆ œÆ œÆ
° 3
œ
R ≈ ‰ Œ Œ 24 ∑ ∑ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 44
Fl. &4
ff poss. 3 3
mf ff
>œ ˙ Æ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ
Ob.
3
&4 ∑ ‰ ‰ J 24 œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 44
3 3 3
ffp ff p ff
> 24 b œJÆ Æ b œÆ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ
Cl.
3
&4 ∑ ‰ ‰ b œJ ˙ ‰ œJ ‰ J ‰ J J J J J J J ‰ 44
3 3 3
ffp ff p ff
?3
. . . . .
24 ≈ b œ b œ. œ. œ. œ ≈ b œ œ b œ œ. œ. . b œ b œ. œ. ≈ . b œ œ. b œ b œ b>œ œ >œ > 4
¢ 4
∑ ∑ . . nœ
Bsn. . . nœ
. nœ nœ nœ. . nœ 4
f
° 3 ∑ ∑ 24 j ‰ œj ‰ j ‰ j j j3 j j j 3 j 44
Hn. &4 bœ bœ œ ‰ bœ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰
' ' ' ' ' ' ' ' ' '
ff p ff
Tpt.
3
&4 ∑ ∑ 24 œj ‰ œj ‰ œ
j ‰ j
œ ‰
j j3 j
œ ‰ œ ‰ œ ‰
j j 3
œ ‰ œ ‰ œ
j ‰ 44
' ' ' ' ' ' ' ' ' '
ff p ff
. . . >
?3 24 ≈ b œ b œ. œ. œ. œ ≈ b œ œ ‰ œ. œ. b œ œ ≈ . b œ œ. b œ b œ œ >œ > 44
Tbn.
¢ 4 ∑ ∑ . . nœ
. œ. . . œ nœ. . œ
. nœ
f
°? 3 24 44
ææ
Timp. 4 ∑ ∑ ∑ ∑ ∑ Œ œ
n>œ ™ # >œ ™
pp
(hard plastic mallet)
Perc. I
3
&4 ∑ 2 œ
/4
œ œ œ œ œ œ œ œ œ
&4
4
° * ff
p
3 3
ff
3 24 ≈ œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 44
¢
Perc. II / 4 ∑ ∑
{
f simile
> Æ œÆ œÆ œÆ œÆ œÆ œÆ œÆ
3 ∑ #œ œ >œ Œ Œ 24 œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ ?
œ
œ #œ 44
&4
3 3
>
ff
24 b œJÆ Æ b œÆ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ b œÆ
p
#œ #œ >œ Œ
Pno. 6
3 ‰ œJ 4
ff
∑ Œ ‰ ‰ ‰ ? #œ nœ
&4 J J J J J J œ 4
{
°3 * 3
°
> >
#œ œ œ
3
&4 ∑ Œ Œ 24 œj ‰ œj ‰ œ
j ‰ j
œ ‰
j j3 j
œ ‰ œ ‰ œ ‰ œ
j ‰ ?œ #œ b œ 44
3 ' ' ' ' ' ' ' '
>
ff
Hp.
b œ # œ >œ sons étouffés p
ff
5
3 24 j 4
3 D§
&4 ∑ Œ Œ
bœ ‰ œj ‰ bœ
j ‰ j
œ ‰
j j j
bœ ‰ œ ‰ œ ‰ bœ
j ‰ ? œ
œ 4
3 ' ' ' ' ' ' ' '
> ^Æ
>œ™ #œ™ # >œ œ œ ˙ œ
° 3 24 J ‰ œj ‰ j ‰ j j j3 j j j 3 j 44
Vln. I &4 œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
3 ff poss. ' ' ' ' ' ' ' ' '
> ^
n>œ # >œ œ # œ # œ >œ ˙ # œÆ
p ff
3 J ‰ ‰ J 24 J ‰ b œj ‰ j ‰ j j j j
3
j j
3
j 44
Vln. II &4 bœ œ ‰ bœ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰
3 ff poss. ' ' ' ' ' ' ' ' '
>Ȯ ™
p ff
B 43 ™
Oœ 24 ≈ 4
Vla.
R ≈ ‰ Œ Œ b œ. b œ œ œ œ. ≈ b œ œ nœ. b œ. ≈
œ. œ nœ. b œ. b œ. œ nœ. b œ. œ. nœ. b œ. b œ. nœ. b>œ œ œ n>œ 4
ffp ff f
. . . . . . . >
. œ. ≈ b œ œ b œ. . . >
? 43 ∑ ∑ 24 ≈ b œ b œ. œ. œ. œ. œ. . b œ b œ. œ. ≈ . b œ .œ b œ b œ b œ œ >œ > 4
Vc. . . nœ
. nœ nœ nœ. . . nœ. nœ 4
f
24 ≈ b œ ™
pizz. arco
?3 bœ œ œ ‰ 4
¢‹ 4 œ nœ ‰ b œ œ œ
∑ ∑ bœ œ ≈ œ bœ œ
Db. J œ œ œ ≈ > >œ œ 4
f >
5
° 4 #˙ ™ œ >
j bœ œ
3
24
&4 ∑ Ó Œ ‰ ≈ œœ R ≈‰ nœ ‰ J œœ‰ œ nœ #˙
Fl.
˙™
> 3 >
#>˙ ™
ffp ff
>
p 3
œ
4
&4 ∑ ∑ œ nœ ≈ Ó Œ ‰ œ b œ œ œ ‰ ≈ œ œ nœ #˙ 24
> >
Ob.
ffp ff > >
#>˙ ™
sub. p 3
4 œ 24
#œ œ œ ‰ ‰ j œœ
3
&4 ∑ Ó Œ ‰ r≈ ‰
Cl.
œ œ nœ ˙™ œ œœ œ˙
> ffp ff > # œ
sub. p >
> >
?4
>œ >
Bœ #œ. ˙™
n>œ œ 24
Bsn.
¢ 4 #˙ ™ œ œ œ r≈ ‰ Œ Œ ≈ ‰ ∑
> > œ bw œ 3
> >
p
ffp ff
° 4
ffp ff
Hn. &4 ∑ Ó r≈ ‰ Œ Ó ∑ ∑ 24
b˙ œ
#>˙ ™
p ff
4 œ 24
Tpt. &4 ∑ ∑ R ≈‰ ∑ ∑
ffp f
?4 24
¢ 4 #˙ ™
r ≈ ‰ Ó r≈ ‰ Œ Ó ∑ ∑
Tbn.
œ b˙ œ
>
ffp f
°? 4
p ff
b œ— Œ
Œ Ó b œ— Œ Ó ∑ Ó ∑ 24
Timp. 4 #œ— >
> pp
#>œ
p hard yarn mallet
mf
Perc. I
4
&4 ∑ ∑ Œ Œ Œ j‰ j‰ j‰ j ‰ j ‰ j ‰
2
j‰ j‰ 4
° * bœ œ œ œ bœ œ œ œ
'mp ' ' ' ' ' ' '
4 ^œ ‰ Œ
tam-tam mallet
… 24
¢/ 4 J
Ó Œ Ó ∑ ∑ ∑
Perc. II
œ—
{
ff p
#>œ
? 44 Ó Œ #œ œ b œ ∑ & Œ Ó b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ 24
J J J J J J J J
Æ Æ œÆ œÆ Æb œ œÆ œÆ œÆ
Pno. mp
? b œJ ‰ œJ ‰
ff
? 44 J ‰ J ‰ 24
6
‰ & #œ œ œ Ó Œ Œ J ‰ J ‰ J ‰ J ‰
<n> œ b œ
#œ œœ nœ
>
{
#˙ > b˙ > ° *
> *° > *
b >œ–
? 44 Ó Œ bœ bœ œ Ó Œ Œ & Œ Ó b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ 24
J J J J J J J J
… Cb …
b œÆ œÆ œÆ œÆ b œÆ œÆ œÆ œÆ
Hp. mp sons étouffés
Bb 5
? 44 Œ Ó Œ Œ ∑ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 24
#œ œ bœ
> #œ
>
° 4 œ #˙ ™
> œ
‰ b œj œ b œnœb œ œ 24
6
&4 Œ œ n œ b ˙™ nœ R ≈‰ ∑ ∑
œ n œ #œ
Vln. I
>
mf ff > > ffp ff
ffp ff
4 ‰ b œj œ nœ b œ œ ‰ j ‰ j 24
5
Vln. II &4 Œ œ œ bw r≈ ‰ Œ Ó ∑ Ó
bœ b œ
> œ '
mf ff
> '
ffp ff mf
>
nœ r
‰ b œJ ‰ b œj 24
Æ
B 44 #˙ ™ ≈ #œ >œ b w œ≈‰ Œ Ó ∑ Ó
'
Vla.
> >
ffp ff mf
ff sempre
> Æ
≈ nœ #œ >œ b w b œ— Œ
r ‰ b œ ‰ b œj 24
arco
? 44
pizz.
#˙ ™ œ≈‰ Œ Ó Ó Ó
Vc.
> J '
> ffp ff
p
mf
ff sempre
b œ– b œÆ b œÆ
arco
>
pizz.
Db.
?4
¢‹ 4 #˙ ™ ≈ œ #œ >œ b w r
œ≈‰ Œ Ó Œ Ó Ó ‰ J ‰ J 24
> > p mf
ffp ff
ff sempre
6
° 2
>
œ b>œ œ œ b œ ‰ j ≈ #œ ™
j œ
3
& 4<#>˙
44 Œ bœ œ ‰ Œ 24 b œ nœ ‰ 44 Œ Œ
Fl. nœ J #œ œ œ #œ nœ œ > #œ œ
> 3
> > >
3
> j #>œ >

4> œ #œ ™ œ ‰ <#>œ œ
& 4<#>œ
2 bœ œ œ bœ ‰ 3
24 ‰ ≈ #œ #œ 44 œ
3
Ob. œ nœ#œ#œ nœ 4 #œ nœ ‰ œ #œ Œ
#œ ™
≈ j
œ nœ >œ #œ
> 3 > > > > 3
> > >

r bœ œ bœ b>œ nœ œ #œ ‰ ‰ œJ #œ<#>œ œ
3
2 4 #œ 24 Œ 4
3
Cl.
¢& 4 œ œ œ# œ # œ œ 4 ˙
>
œ œ ≈ œ #œ œ
> > œ #œ ™ œ J #œ #œ #œ 4 œ
> 3 3
° 2 44 ≈ ‰ Œ
(stop note abruptly, do not rearticulate)
24
simile
44 ≈ ‰ Œ
¢& 4 b ˙
Hn. r Ó ∑ r Ó
œ ˙ œ
' '
pp f pp f
° 2 44 2 44
Perc. I
¢& 4 b œj ‰ œj ‰ j ‰ j ‰ j ‰ j ‰ ‰ j ‰ j Œ j ‰ 4 j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
' ' œ œ œ œ œ œ œ œ œ bœ œ œ œ
' ' ' ' ' ' ' ' ' ' ' ' '
{
2 Æ Æ 44 b œj ‰ œj ‰ j j j j j 2 j j 44 b œj ‰ j j j
& 4 b œJ ‰ œJ ‰ œ œ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ 4 b œœ ‰ œœ ‰ œ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ œœÆ œœÆ b œœÆ œœÆ œœÆ Æ Æ Æ œœÆ œœÆ œœÆ
? 24 b œJ ‰ œJ ‰ b œ œ b œ œ b œ
Pno.
44 œ ‰ œ ‰ 2œ œ 44 # œ ‰
J J J ‰ J ‰ ‰ J ‰ J Œ J ‰ 4J ‰ J ‰ J J ‰ J ‰ J ‰
{
2 Æ Æ 44 b œj ‰ œj ‰ j j j j j j
œœ ‰ 24 b œœ ‰
j 44 b œj ‰ œj j j
& 4 b œJ ‰ œJ ‰ œ œ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ œ œ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æb œ Æ œœÆ œœÆ b œÆ œÆ œœÆ Æ œœÆ Æb œ Æ œÆ œÆ
? 24 b œJ ‰ œJ ‰ œ 2 b œœ œ
Hp.
44 œ ‰ œ ‰ ‰ œJ ‰ œJ Œ 44 # œ ‰ œ ‰ œJ ‰ œJ ‰
J J J ‰ J ‰ J ‰ 4J ‰ J ‰ J J
° 2 b˙ 44 œÆ ≈ ‰ Œ
(abruptly stop note, do not rearticulate)
24 44 r ≈ ‰ Œ
simile
&4 Ó ∑ ˙ œ Ó
Vln. I
R '
pp f pp f
2 44 j ‰ j 2‰ j ‰ 44 j ‰ Œ
Vln. II & 4 ‰ j ‰ b œj j ‰ Œ Ó Ó ‰
bœ bœ 4 bœ j #œ Ó
bœ ' œ ' ' ' œ '
' ' '
j Æ
B 24 ‰ b œ ‰ b œJ 44 j ‰ Œ
œ Ó Ó ‰ b œÆ ‰ b œÆ 24 ‰ b œÆ ‰ j 44 j ‰ Œ Ó
Vla.
' J J J œ #œ
' ' '
? 24 ‰ b œj ‰ b œÆ 44 j ‰ Œ Ó Ó ‰ b œÆ ‰ b œJÆ 24 ‰ b œÆ ‰ j 44 j ‰ Œ Ó
Vc.
' J œ J J œ #œ
' ' '
Æ b œÆ b œÆ b œÆ b œÆ
? 24 ‰ b œJ ‰ J 44 œÆ J ‰ J 24 ‰ J ‰ œÆ 44 #œÆ
Db.
¢‹ J ‰ Œ Ó Ó ‰ J J ‰ Œ Ó
7
° >œ > > >
œ 2 nœ b œ œJ ‰ >œ 4
J 4 n˙ ™
nœ œ œ
3
nœ œ
& œ #œ œ R ≈ ≈ R 24 œ b œ b œ 44 b œj ‰ ‰ j bœ œ œ Œ
œ
4 œ
Fl.
> > œ œ œ > nœ #œ
> 3
3
> > 3 >

œœ > œ ‰ œJ 2 œ
bœ œ œ
‰ 44 n˙ ™
nœ œ
& œ #œ ‰ J ‰ 24 œ b œ b œ 44
bœ
j
œ ‰ Œ ‰ nœ œ nœJ ‰ ‰ œj œ J 4 œ
>
Ob.
> > 3 3
> >
j nœ œ œœœœ2 44 œ nœ œ 24 œ
b œ œ >œ œ
44 n˙ ™
Cl.
¢& ‰ #>œ œ 4 œJ ‰ Œ bœ œ œ œ œ bœ œ > œ œ Œ œ
> 3
° 24 44 r ≈ ‰ Œ 24 44 r ≈ ‰ Œ
¢&
Hn. ∑ Ó ∑ Ó
b˙ œ ˙ œ
' '
pp f pp f
° 24 j ‰ j ‰ 44 j ‰ j ‰ j ‰ j ‰
¢& j‰ j‰ j‰ j ‰ ‰ j‰ jŒ j ‰ 24 j ‰ j ‰ 44 j ‰ j ‰ j ‰ j ‰
<n> œ
Perc. I
bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
{
j j j j 24 b œœj ‰ j j j j j j j j j j j j j j
& b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ 24 b œœ ‰ œœ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ Æ œœÆ Æ Æ Æ Æ b# œœÆ œœÆ œœÆ Æ œÆ
? # œ ‰ œœ ‰ œœ ‰ œœ ‰
b œ b œ b œ œ
œ œœ œœ b œ Æ Æ Æ Æ
Pno.
24 # œ ‰ 4#œ œ ‰ 24 #b œœ ‰ œœ ‰ 44 bnœœ ‰ œœ ‰ œœ ‰ œœ ‰
J J J J J J ‰ 4 b œJ ‰ œJ ‰ œJ ‰ œJ ‰ ‰ bœ ‰ œ Œ
J J J J J J J J J
{
j j j j 24 b œœj ‰ œœj ‰ 44 b œœj ‰ œœj ‰ œœj ‰ œœj ‰ j j j j j j j j j
& b œœ ‰ œœ ‰ œœ ‰ œœ ‰ ‰ b œœ ‰ œœ Œ œœ ‰ 24 b œœ ‰ œœ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ Æ œÆ
? #b œœ ‰ œœ ‰ œœ ‰ œœ ‰ b œ Æ Æ Æ Æ
Hp.
24 # œ ‰ œ ‰ 44 b œ ‰ œj ‰ œj ‰ œj ‰
j
‰ b œj ‰ œj Œ
j j j
F§
J J J J J J œ ‰ 24 b œ ‰ œ ‰ 44 b œœ ‰ œœ ‰ œœ ‰ œœ ‰
' ' ' ' ' ' ' ' ' J J J J
° ∑ 24 b ˙ 44 œr ≈ ‰ Œ Ó 24 ˙ 44 œÆ ≈ ‰ Œ
& ∑ Ó
Vln. I
' R
pp f pp f
‰ j ‰ b œj 24 ‰ b œj ‰ œj 44 j ‰ Œ Æ
& Ó Ó Ó ‰ #œj ‰ j 24 ‰ œ ‰ j 44 j ‰ Œ Ó
Vln. II
bœ ' ' ' nœ ' œ J œ bœ
' ' ' ' '
Æ œÆ
B Ó ‰ b œj ‰ b œj 24 ‰ b œj ‰ j 44 nœj ‰ Œ Ó Ó ‰ #œJ ‰ œj 24 ‰ J ‰ œj 44 b œj ‰ Œ Ó
Vla.
' œ ' ' ' '
' ' '
Æ œÆ
? Ó ‰ b œj ‰ j 24 ‰ j ‰ j 44 nœj ‰ Œ Ó Ó ‰ #œJ ‰ œj 24 ‰ J ‰ œj 44 b œj ‰ Œ Ó
Vc.
' bœ bœ œ ' ' ' '
' ' '
# œÆ
b œÆ Æ Æ
24 ‰ b œJÆ ‰ œÆ 44 nœJ ‰ Œ œÆ œÆ
? Ó ‰ J ‰ b œJ ‰ J ‰ J 24 ‰ J ‰ œj 44 b œj ‰ Œ
¢‹
Db. J Ó Ó Ó
' '
8
° r
> >
& œ≈‰ Œ Ó 24 Œ œ
44 b>˙ ™ œœ
œ bœ bœ
b œ nœ b ˙
>
≈ œ œ œ 24 nœ œ™
Fl. œ œ
ff > 3
> œ b>œ >

mf fmf
œ œ œ 4 b˙™
4> >
œ™
r 24 Œ b œ b œ nœ b ˙ ≈ œ œ œ 24 nœ
Ob. & œ≈‰ Œ Ó œœ œ
ff >œ> 3
> >
>
œ œ 4 ˙™
mf fmf
> > œ bœ >
œ™
r 4 >
Cl. & œ≈‰ Œ Ó 24 Œ œ b œœ b œ b œ nœ b ˙ ≈ œ œ œ 24 nœ œ
ff > œ
3
Æ Æ Æ Æ Æ Æ Æ Æ
Æ b œÆ œ b œ œÆ Æ œÆ b œÆ œÆ œÆ
mf fmf
B ≈ b œ b œÆ œÆ œÆ œÆ ≈ œ œÆ œÆ œÆ œÆ œÆ œÆ 24 ≈ œÆ œÆ b œÆ b œÆ œÆ œÆ œÆ 44
Æ Æ 24 ≈ b œ œ œ œÆ œ œ b œ
Bsn.
¢ ∑ œ ≈ œ≈ œÆ
mf f mf
° 24 44 r ≈ ‰ Œ 24
Hn. & ∑ Ó ∑
b˙ œ b˙
'
p f p
24 b œÆ ‰ œÆ ‰ œÆ ‰ 44 24 b œj ‰ œj3 ‰ œj ‰
(con sord.)
& ∑ ∑ ∑
Tpt.
J J J ' ' '
3
œÆ b œÆ
p
Æ
24 ≈ œÆ œÆ b œÆ b œÆ œÆ œÆ œÆ 44
p f
¢
B 24 Œ œÆ b œ
(con sord.)
Tbn. ∑ ∑ ∑
p f p
°?
hard felt mallets
∑ 24 ∑ 44 j ‰ Œ Ó ∑ 24 ∑
Timp.
bœ
'
p
24 j ‰ j3 ‰ j ‰ 44 b œj ‰ œj ‰ œj ‰ œj ‰ ‰ b œj ‰ œj Œ j 24 b œj ‰ œj ‰ œj ‰
3
Perc. I & j ‰ j ‰ j ‰ j ‰ œ ‰
bœ œ œ œ bœ œ œ ' ' ' ' ' ' ' ' ' '
' ' ' ' ' ' ' sub. mf
f
24 œ œ œ 24 œ œ œ
hard plastic mallet
44
¢/ ∑ ∑ ∑
{
Perc. II
3 3
p f p
Æ ‰ œÆ ‰ œÆ œÆ 24 b œÆ ‰ œÆ ‰ œÆ ‰ 44 b œj ‰ œj ‰ œj ‰ œj ‰ ‰ b œj ‰ œj Œ j 24 b œj ‰ œj3 ‰ œj ‰
& b œJ J J
‰
J
‰
J J J œ ‰
3
' ' ' ' ' ' ' ' ' '
Pno. sub. mf
24 b œj ‰ œj3 ‰ œj ‰ 44 b œJÆ Æ Æ Æ Æ Æ œÆ 24 b œJÆ ‰ œJÆ ‰ œJÆ ‰

f
? b œj ‰ œj ‰ œj ‰ j
œ ‰ ‰ œJ ‰ œJ ‰ œJ ‰ ‰ b œJ ‰ œJ Œ J ‰
{
' ' ' ' ' ' ' 3
Æ Æ Æ Æ 24 b œÆ ‰ œÆ ‰ œÆ ‰ 44 j ‰ j ‰ j ‰ j ‰ 24 j ‰ j3 ‰ j ‰
‰ #œj ‰ œj Œ j
F#
& b œJ ‰ œ ‰ œ
J J
‰ œ
J
‰
J J J #œ œ œ œ œ ‰ #œ œ œ
3
' ' ' ' ' ' ' ' ' '
Hp. f sub. mf
? j ‰ j ‰ j ‰
bœ œ œ
j
œ ‰
24 b œj ‰ œj3 ‰ œj ‰ 44 #œÆ Æ Æ Æ
‰ œJ ‰ œJ ‰ œJ ‰
Æ
‰ #œJ
Æ
‰ œJ Œ œÆ ‰ 24 #œÆ ‰ œÆ ‰ œÆ ‰
J J J J J
' ' ' ' ' ' ' 3
° ≈ 24 ≈ 44 b œ 24 ≈
& bœ ≈ ‰ j ‰ #œj ‰ nœj b œ œ b œ ≈ œ ≈ œ b œ œ œ bœ œ œ œ œ œ b œ'
Vln. I
œ bœ
' b œ' œ' œ' œ ' œ' œ' œ' œ' œ' œ' œ œ ' b œ' œ œ' œ ' bœ œ
' ' ' œ ' ' ' ' œ ' ' ' ' œ ' ' ' ' '
' ' ' ' ' ' ' ' ' '
& ≈ bœ ≈ 24 ≈ 4
4 bœ j
‰ j ‰ #œ ‰ nœ j ≈ ≈œ œ 24 ≈
Vln. II
œ bœ bœ œ bœ œ bœ œ bœ œ œ œ œ œ b œ'
' b œ' œ' œ' œ ' œ' œ' œ' œ' œ' œ' œ œ ' b œ' œ œ' œ ' b œ' œ ' ' œ ' ' ' ' œ ' ' ' ' œ ' ' ' ' '
' ' ' ' ' ' ' ' ' '
Æ Æ Æ Æ Æ Æ Æ Æ Æ 24 ≈ b œÆ œÆ œÆ œÆ Æ Æ
œÆ œ b œ
B ≈ b œ b œÆ œ œ œ ≈ œ œ œ œ œ œ œ 24 ≈ œ œ b œ b œ œ œ œ 44 b œ b œ ‰ œj ‰ j ‰ j œÆ b œ nœ b œ ≈ œ œÆ ≈ œ b œ œ œ Æ
œ
' ' ' ' ' ' ' ' ' ' ' # œ nœ
' ' ' ' ' ' ' '
Vla.
' ' '
? ∑ 24 Œ œÆ Æ 44 b œ ‰ j ‰ j ‰ j j ‰ j Æ 24 nœÆ Æ
‰ nœ œÆ
Vc. bœ bœ ' œ #œ nœ # œ œ ‰ b œ ‰ b œJ J
' ' ' œ
' ' ' ' '
œÆ b œÆ n œÆ n œÆ œÆ
? 24 Œ b œÆ Æ Æ Æ Æ
44 b œÆ b œ ‰ œJ ‰ #œÆ ‰ nœÆ œÆ ‰ #œÆ œ ‰ b œJ ‰ J 24 J
Db.
¢‹ ∑ J J J ‰
9
œ™
>
° >œ b>œ 4 b ˙ œ > œ b œ nœ œ b>œ ™ 24 nœ ™ b œ b œ 44 œ œ >œ ™ œ œ ™ >œ 24
& 4 œ œ œ nœ œ b œ œ
>
Fl.
f sub. mf > 3
œ™
>
œ b>œ 4 b ˙ œ > œ b œ nœ œ b>œ ™ 24 nœ ™ b œ b œ 44 œ œ >œ ™ œ œ ™ >œ 2
& 4 œ œ œ nœ œ b œ œ 4
>
Ob.
f sub. mf > 3
œ™
>
>œ b>œ 4 b ˙ œ > œ b œ nœ œ b>œ ™ 24 nœ ™ b œ b œ 44 œ œ >œ ™ œ œ ™ >œ 2
& 4 œ œ œ nœ œ b œ œ 4
>
Cl.
f sub. mf > 3
Æ Æ Æ Æ Æ Æ
B œÆ b œ œ œÆ œ œ œ œ 4 b œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ œÆ Æ Æ Æ Æ Æ Æ Æ
≈ b œ œ œ œ œ œ œ œ ≈ œ 24 b œ œ œ œ œ œ œ 44 24
¢
Bsn. 4 ∑ ∑
f mf f
° 44 24 44 r ≈ ‰ Œ 24
& r≈ ‰ Œ Ó ∑ Ó
 ˙
Hn.
b˙ œ
œ '
' p ff
ff
j j3 j 24 b œj ‰ œj ‰ œj ‰ 44
œ ‰ 44 24
3
Tpt. & b œ ‰ œ ‰ ∑ ∑ ∑
' ' ' ' ' '
ff p f
Æ Æ Æ œÆ œÆ œÆ 4 Æ Æ
B œÆ b œ œ œÆ œ 24 ‰ œÆ œÆ b œ œÆ œÆ œ 44 24
¢
Tbn. 4 ∑ ∑ ∑
ff p ff
°? 44 b œÆ 24 44 œÆ 24
∑ J ‰ Œ Ó ∑ ∑ ‰ Œ Ó
Timp.
J
mp
j j j
& b œ ‰ œ ‰ œ ‰ 44 b œj ‰ œj ‰ œj ‰ œj ‰ j ‰ j ‰ 24 j ‰ j ‰ j ‰ 44 j ‰ j ‰ j ‰ j ‰ 24
3
j ‰ j ‰
3
Perc. I
' ' ' bœ œ œ œ bœ œ œ œ œ œ œ
ff
' ' ' ' ' ' ' ' ' ' ' ' ' ' '
sub. mf ff sub. mf
œ œ œ 44 24 œ œ œ 44 24
¢/
Perc. II ∑ ∑ ∑
{
3 3
ff mf ff
j j3 j 4 j j j j j ‰ j j j 2 j j3 j 4 j j j j 2
& b œ ‰ œ ‰ œ ‰ 4 bb œœ ‰ œœ ‰ œœ ‰ œœ ‰ bb œœ œœ ‰ œœ ‰ œœ ‰ 4 bb œœ ‰ œœ ‰ œœ ‰ 4 bb œœ ‰ œœ ‰ œœ ‰ œœ ‰ 4
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Pno. ff
Æb œ œÆ Æœ Æb œ Æœ œÆ œÆ Æ œœÆ ‰ Æœ Æœ Æ œœÆ ‰ Æœ
sub. mf ff sub. mf
Æ Æœ Æœ œÆ
?
J ‰ J ‰ J ‰ 44 b Jœ ‰ œJ ‰ œJ ‰ œJ ‰ bb œœ ‰ œ ‰ œ ‰ 24 bb œœ ‰ œ ‰ 44 #œœ ‰ œ ‰ œ ‰ œ ‰ 24
J J J J J J J J J J J
{
3 3
& #œ ‰ œ ‰ œ ‰ 44 b#œœ ‰ œœ ‰ œœ ‰ œœ ‰
j j3 j j j j j j ‰ j ‰ j ‰ j ‰ 2 j ‰ j 3‰ j ‰ 4 j ‰ j ‰ j ‰ j ‰ 2
b#œœ œœ œœ œœ 4 b#œœ œœ œœ 4 b#œœ œœ œœ œœ 4
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Hp. ff sub. mf ff sub. mf
? #œÆ ‰ œÆ ‰ œÆ ‰ 44 b#œœÆ ‰ œœÆ ‰ œœÆ ‰ œœÆ ‰ Æ Æ Æ Æ Æ Æ
b#œœ ‰ œœ ‰ œœ ‰ œœ ‰ 24 b#œœ ‰ œœ ‰
Æ Æ
œœ ‰ 44 #œœ ‰ œœÆ ‰ œœÆ ‰ œœÆ ‰ 24
J J J J J J J J J J J J J J J J J J
3 3
° 4 ≈ œ 24 44 ‰ j ‰ j ‰ #œj 24
& œ œ œ4 bœ ‰ j ‰ j ‰ j ≈ bœ bœ
œ b œ' ' œ œ' ' œ' ' b œ' ' œ' œ' œ ' ' œ' œ œ' œ œ' œ œ' œ' ' b œ' œ œ' œ' œ œ' œ' œ'
Vln. I
œ bœ œ '
' ' ' ' ' ' ' ' ' ' '
4
& b œ œ œ œ œ œ 4 b œ b œ ‰ œj ‰ œj ‰ ≈ bœ bœ 24 4 ‰ j ‰ j ‰ #œj 24
Vln. II
œ
j
' ' œ' œ œ' œ œ' œ œ ≈ œ œ' bœ œ œ œ œ œ œ 4 œ œ bœ œ
œ ' 'œ ' ' ' '
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
'
'
Æ Æ Æ Æ Æ Æ Æ b œÆ Æ Æb œ Æ Æ Æ Æ Æ Æ Æ Æ
œÆ ≈ œÆ œ 24 b œÆ œÆ œÆ œÆ œÆ œÆ œÆ 44 œÆ Æ
B œÆ b œ œ œÆ œ œ œ œ 44 b œ ‰ œJ ‰ œJÆ ‰ Æ
œ ≈ bœ œ œ œ œ œ œ œÆ ‰ b œj ‰ œj ‰ #œJ 24
Vla.
J ' '
? Œ #œÆ œÆ 44 b œÆ b œÆ ‰ œÆ ‰ œÆ ‰ œ
j
œ #œ ‰ nœÆ ‰ j
œ ‰ #œj 24 j ‰ œ #œ 44 nœ j
œ ‰ b œ ‰ œj ‰ #œj 24
Vc.
J J ' ' ' J ' nœ ' ' ' ' '
' ' ' '
Æ
# œÆ œÆ b œ b œ œÆ
Æ
œÆ œÆ
Æ
œÆ # œ n œÆ Æœ Æ Æ
œÆ # œ n œÆ Æœ b œÆ
? Œ 44 ‰ J ‰ J ‰ ‰ J J ‰ #œJ 24 nœJÆ ‰ 44 Æ Æ
‰ J ‰ œJ ‰ #œJ 24
¢‹
Db. J ‰
10
œ b >œ ™ œ™
> >n œ > > œ >
° 2 nœ œ bœ œ > > > œ b >œ nœ #œ # œ œ œ œ
Fl. & 4
44 b œ n˙ œ œ #œ nœ œ b œ b œ b œ œ 24 44
3 3 3
œ b >œ ™ œ™
> œ >
ff
> >n œ >
œ bœ œ > > > œ b >œ nœ #œ # œ œ œ œ
Ob.
2 nœ
&4
ff 3 3 3
œ b >œ ™ œ™
> >n œ > > œ >
œ bœ œ > > > œ b >œ nœ #œ # œ œ œ œ
Cl.
2 nœ
&4
ff 3 3 3
Æ Æ Æ Æ
B 2 œÆ œ œÆ ≈ #œÆ œÆ œÆ œÆ #œÆ œÆ œ œÆ œÆ œÆ œ 44 Æ Æ œÆ Æ Æ œÆ #œÆ œÆ œÆ œ œÆ œÆ 2 Æ b œÆ Æ œÆ
¢ 4 ∑ œÆ b œ œÆ œ œ œ 4 œ œ œ œ œ' b œ 44
' ' '
Bsn.
mf ff
° 2 44 r ≈ ‰ Œ Ó 24 44
&4 ˙ ∑ ˙
Hn.
˙ œ
' p
p ff senza sord.
Tpt.
2 j j j j
3
j j 4
& 4 bœ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ 4
3
∑ ∑ 24 j ‰ j 3 ‰ j ‰
bœ œ œ
44
' ' ' ' ' ' ' ' '
p ff p
Æ Æ Æ Æ œÆ Æ Æ œÆ
Tbn.
B2
¢ 4 Œ ≈ #œ œÆ œ œÆ #œ œ œÆ œ œ 44 ∑ ∑ 24 ∑ 44
p ff
°? 2 44 j ‰ j ‰ j ‰ j j j j j 24 œÆ ‰ œÆ ‰ œÆ ‰ 44
Timp. 4 ∑ ∑ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J J J
' ' ' ' ' ' ' ' 3
mf
2 3
j ‰ j ‰ j ‰ 44 j ‰ j ‰ j ‰
3
24 3
44
Perc. I & 4 œj ‰ œj ‰ œj ‰ œ œ œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
' ' ' ' ' ' bœ œ œ œ bœ œ œ œ bœ œ œ
ff ' ' ' ' ' ' ' ' ' ' '
2 œ œ œ œ œ œ 44 24 œ œ œ 44
¢/ 4
Perc. II ∑ ∑
{
3 3 3
p ff p
2 j j3 j j j3
& 4 bb œœ ‰ œœ ‰ œœ ‰ bb œœ ‰ œœ ‰ œœ ‰
j 44 j ‰ j ‰ j ‰ j
œœ ‰ ‰ bb œœj ‰ œœj Œ j
œœ ‰
24 j ‰ j 3 ‰ j ‰ 44
bb œœ œœ œœ bb œœ œœ œœ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Pno.
44 #œœ ‰ œœ ‰ œœj ‰
j j
œœj ‰
j j
œœj ‰ 24 #œœ ‰ œœ ‰ œœj ‰
j j
ff
? 24 #œœÆ ‰ œœÆ ‰ œœÆ ‰ #œœÆ ‰ œœÆ ‰ œœÆ ‰
3
‰ #œœœ ‰ œœœ Œ 44
{
J J J J J J œ œ œ œ œ œ œ œ
3 3 ' ' ' ' ' ' ' ' ' '
2 4 24 j ‰ j 3 ‰ j 44
& 4 b#œœj ‰ œœj ‰ œœj ‰ b#œœj ‰ œœj ‰ œœj ‰ 4 b#œœj ‰ œœj ‰ œœj ‰ j ‰ b#œœj ‰ œœj Œ j
3 3
œœ ‰ œœ ‰
‰
b#œœ œœ œœ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
Hp.
Æ Æ Æ
? 24 #œœ ‰ œœ ‰ œœ ‰ #œœ ‰ œœ ‰ œœ ‰ 44 œ ‰ œ ‰ œj ‰
Æ Æ Æ j j j j j j 24 œ ‰ œ ‰ œj
j j
ff 3
œœ ‰ ‰ œœ ‰ œœ Œ œœ ‰ ‰ 44
J J J J J J œ œ œ œ œ œ
3 3 ' ' ' ' ' ' ' ' ' '
œ™
> > > >œ
° 2 Æ Æ > > > >
œ bœ bœ b œ œnœ œ b >œ nœ #œ # œ œ œ œ
&4 nœ ≈ œ œÆ #œÆ œ œ 44 b œ ˙ œ œ #œ nœ 24 44
n œ ' œ' # œ œ œ œ
œ#œ ' '
Vln. I
' ' ' ' ' ' 3 3 3
Æ
ff
Æ Æ œ Æ
2
&4 ≈ œÆ #œÆ œ œ 44 b œ ‰ nœÆ ‰ #œJÆ ‰ j 2
œ 4 œ b œ' œœœœ œ b œ 44
Vln. II
n œ nœ' œ #œ œ œ œ # œ œ' œ' J œ œ œ #œ œ œ œ' œ ' ' ' ' ' '
' ' ' ' ' ' ' ' œ b œ' œ œ' ' œ' œ' ' ' ' ' ' ' '
' '
Æ Æ œÆ Æ Æ Æ œÆ œÆ b œÆ ‰ nœÆ ‰ #œÆ Æ Æ Æ œÆ b œÆ 4
ff
Æ Æ Æ œÆ œ œÆ œÆ
B 24 nœÆ nœ œÆ ≈ #œ œ œ œÆ #œ œ & œ #œ œ 44 ‰ BœJÆ œÆ Æ Æ œÆ #œÆ œÆ œÆ œ œ œÆ 2 œ b œ
Vla.
' ' ' J J œ b œ' œ œ' œ œ 4 &4
ff
' '
j j Æ œÆ #œÆ
Æ œÆ j 44
? 24 Œ
nœ b œ ‰
nœ
j bœ bœ
44
nœ b œ'
‰ nœ ‰ #œ ‰ œJ ‰ #œJ ‰ J ‰ œ 24 nœ œ œ bœ
' ' ' ' '
Vc.
' ' ' ' ' ' ' '
œÆ œÆ # œÆ # œÆ œÆ
œÆ b œÆ
f
nœÆ b œÆ b œÆ b œÆ Æ nœÆ # œÆ œÆ Æ
ff
Æ 44 nœÆ b œ ‰ 24 n œ œÆ
?2 Œ ‰ nœJ J ‰ J ‰ J ‰ J ‰ J 44
¢‹ 4
Db. ‰ J
f ff
< x = x > sempre
^ ^Æ ^ ^Æ ^ ^ ^Æ ^ ^Æ 11
> > >
œ œ b œÆ œ œÆ œ œÆ b œÆ œ œÆ œ
° 4 n œ œ b œ œ# œ n œ n œ b œ b œ œ#>œ œ 44 J ‰ J ‰ J ‰ J ‰ 12
Fl. &4 45 J ‰ J ‰ J ‰ J ‰ J ‰ 12
16 ∑ 16
6 3 ff poss. sffz simile
> ^ ^Æ ^ ^Æ ^ ^ ^Æ ^ ^Æ
n œ >œ b œ # >œ n œ n œ b œ > œ œ b œÆ œ œÆ œ œÆ b œÆ œ œÆ œ
b œ œ#œ œ 54 J ‰ J ‰ J ‰ J ‰ J ‰ 12 44 J ‰ J ‰ J ‰ J ‰ 12
Ob. & 44 œ 16 ∑ 16
<n> œÆ
> ^ ^Æ ^ ^Æ ^ ^Æ ^ ^Æ ^
n œ >œ b œ # >œ n œ n œ b œ > œ œ œ œÆ œ œÆ œ œÆ œ œÆ
b œ œ#œ œ 54 J ‰ J ‰ J ‰ J ‰ J ‰ 12 44 J ‰ J ‰ J ‰ J ‰ 12
Cl. & 44 œ 16 ∑ 16
Æ Æ Æ >
B 44 nœÆ b œÆ œ œÆ œÆ œ œÆ œ n œ #œ œ œ œ œ œ œ#œ 6 5 12 44 12
¢
Bsn. œœœ4 ∑ 16 ∑ ∑ 16
6
° 4
ff poss.
^j ^j ^j ^j ^j 44 ^j ‰ ^j ‰ ^j ‰ ^j ‰ 12
Hn. &4 w 45 <n>œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ 12
16 ∑ <n>œ œ œ œ 16
' ' ' ' ' ' ' ' '
sffz simile
^ ^Æ ^ ^Æ ^ ^ ^ ^ ^
4 j j 3 j œ b œÆ œ œÆ œ œÆ 44 b œÆ ‰ œÆ ‰ œÆ ‰ œÆ ‰ 12
3
Tpt. & 4 bœ ‰ œ ‰ œ ‰
#œ
œ œ 45 J ‰ J ‰ J ‰ J ‰ J ‰ 12 16 ∑ J J J J 16
' ' ' > sffz simile
Æ
ff
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
Æ Æ Æ œ b œÆ œ œ œ œ 12 44 b œJ ‰ œ œ œ 12
senza sord. VI
Æ œ Æ œ Æ œ bœ
B 4 Æ b œ œÆ œ
¢ 4 œ 45 J
gliss.
Tbn. œ J ‰ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 16 ∑ J ‰ J ‰ J ‰ 16
mf sffz simile
°? 4 œÆ ‰ œÆ ‰
f ff
œÆ >
‰ œ œ œ
æ æ
12 44 12
Timp. 4 J J J 45 ∑ 16 ∑ ∑ 16
3 pp ff dampen immediately
æ
f
œæ
ææ 45 R ≈ ‰ Œ Ó ™
œ …œ (choke cymbal very abruptly)
4 3
12 44 12
Perc. I &4 j ‰ j ‰ j ‰ / 16 ∑ ∑ 16
bœ œ œ bœ
' ' ' >
pp ff
ff poss.
¿™. ¿™. ¿™. ¿™.

wooden sticks (wooden sticks), closed
^œ ^œ ^œ œ^ ^œ ^ ^œ ^œ ^œ
4 œ œ œ œ 12 44 œ 12
¢/ 4 45
{
Perc. II Œ 16 J J J J 16
3 sffz simile mf sffz simile
> nœ >
ff poss.
‰™
4 j j 3 j j 12 > 44 12
& 4 bb œœ ‰ œœ ‰ œœ ‰ bb œœ ‰ Œ 45 ∑ 16 œ œ #œ nœ ∑ 16
' ' ' >
Pno. ff poss.
œ #œ œ œ ‰ ™
j j 3 j j ff
12
? 44 #œœ ‰ œœ ‰ œœœ ‰ #œœœ 45 12 œ #œ 44
{
œ œ ‰ Œ ∑ & 16 ∑ 16
' ' ' > #œ
b ^œ >
.
iss
b œ gl 12 44 12
4 j j 3
& 4 b#œœ ‰ œœ ‰
j ‰ j
œœ b œœ
‰ 45 ∑ 16 ∑ ∑ 16
' ' ' > mf ff
Hp. ff poss. …
? 44 œj ‰ œj ‰ œj ‰ œj ‰ Œ
3 D§CbBbEbF#G§Ab
12 44 ? 12
œ œ œ œ 45 ∑ 16 ∑ ∑ 16
' ' ' >
> >
nœ > #œ nœ nœ b œ
< x = x > sempre
œ œ
° 4 œbœ œ > >
b œ œ#œ œ
16 œ œ#œ ‰ ™ œ #œ ‰ ™
12 nœ 44 12
Vln. I &4 45 ∑ ∑ 16
6 3 >
ff
>
ff poss.
16 ‰ ™ œ ‰™
œ Æ œÆ œÆ œÆ nœ #œ œ œ œ œ œ 6 12 nœ œ œ 44 12
4
& 4 nœ b œ ' œ œ œ 45 ∑ ∑ 16
' ' ' > #œ œ œ œ # œ #œ
Vln. II
6 > >
ff poss.
ff
>
16 œJ ™ b œ^ ™ œ™ œ™
œ Æ œÆ œÆ œÆ nœ #œ œ œ œ œ œ 6 ^ ^ ^
pizz.
B 12 44 12
4
& 4 nœ b œ ' œ œ œ 45 ∑ ∑ 16
' ' ' > #œ œ œ œ J J J
Vla.
6
ff poss. sffz simile
B 12 œ ™ b œ^ ™ œ^ ™ œ^ ™
> ^
pizz.
44 12
? 44 œ b œ
œ œ
#œ œ nœ œ œ
œ œ #œ 45 ∑ 16 J J J J ∑ 16
' '
Vc.
' ' > sffz simile
Æ Æ
ff poss.
? 44 œ b œ œÆ œÆ >
12 44 12
Db.
¢‹
#œ œ nœ œ
b œ œ œ #œ 45 ∑ 16 ∑ ∑ 16
ff poss.
>
12 ^ ^ ^Æ ^Æ
œÆ œÆ œ œ
° 12 > #œ #œ
Fl. & 16 ∑ 166 ∑ 24 J ‰ J ‰ 166 J ≈ J ≈ 43 Œ ‰ #œ #œ œ
œ
>
f
^ ^ ^ ^
b œÆ œÆ b œÆ œÆ
12
& 16 ∑ 166 ∑ 24 J ‰ J ‰ 166 J ≈ J ≈ 43 nœ #œ œ œ nœ ‰ Œ
> > > œ
Ob.
<n> œÆ
^ ^ ^ ^
œÆ œÆ œÆ
12 166
24 J ‰ J ‰ 166 J ≈ J ≈ 43
¢& 16
Cl. ∑ ∑ ∑
° 12 ^ ^ ^
24 b œÆ ‰ œÆ ‰ 166 b œÆ
^Æ
& 16 ∑ 166 ∑ ≈ œ ≈ 43 ∑
Hn.
J J J J
^Æ ^Æ ^Æ ^Æ
24 #œJ ‰ œJ ‰ 166 #œJ ≈ œJ ≈ 43
Tpt.
12
& 16 ∑ 166 ∑ ∑
^Æ ^Æ ^ ^
24 œJ ‰ œJ ‰ 166 œÆ œÆ
B 12 166 ≈ 43
¢ 16
Tbn. ∑ ∑ J ≈ J ∑ ?
° 12
wooden sticks, rim shot (cross stick when poss.)
^ ^ 3
Perc. I / 16 ∑ 166 ∑ 24 ∑ 166 ≈ œR ≈ œR 4 ∑
2 2
sffz simile
¿™. ¿™. ¿™. ¿™. ¿. ¿. ¿. ^ ^œ ^œ ™ ^œ ™ ¿. ¿. ¿. ¿. ¿™.

(closed)
24 œ 166 J 43
Perc. II
¢ /
12
16 J J J J 166 J ≈ J
mf sffz simile mf
{
> > >
12 b œ œ œ ‰ ™ œ 6 #œ # œ n œ nœ > #œ #œ
& 16 #œ 16
24 ∑ 166 ∑ 43 œ #œ œ œ n>œ œ
> >
& 16 ‰ ™
Pno.
34 Œ
12 œ #œ nœ œ nœ 166 #œ nœ 24 ∑ 166 ∑ œ
> # œ n>œ > > œ #>œ #œ
{
^ ^
12
& 16 ∑ 166 ∑ 24 ∑ 166 ∑ 43 Œ œ #œ Œ
sffz simile
œ^ œ^ ^
Hp.
œ™
B§
? 12
16 ∑ 166 ∑ 24 ∑ 166 ∑ 43 Œ ≈ J
> > #œ >

° 12 b œ œ œ ™ #œ ‰ ™ 616 #œ n œ nœ #>œ nœ 24
> #œ #œ
& 16 ‰ ∑ 166 ∑ 43 œ #œ ‰ nœ œ ‰ ≈ œ
œ œ
Vln. I
> >
>
>
> nœ 6 #œ # œ >œ nœ > > #œ #œ
& 16 ‰ ™ ‰™ #œ nœ 24 166 43 ‰
12 œ nœ
Vln. II œ #œ
> #œ
16 ∑ ∑ œ #œ ‰
> #œ œ œ œ
>
#œ^ ™ ^œ™ ^™ ^œ™ #^œ ^œ ^ ^ ^ ^œ #^œ ^

≈ œ™j
Vla. B 12
16 J J œ
J
J 166 #œ 24 ∑ 166 ∑ 43 œ œ
# œ^ ™
^œ™ ^œ™ ^œ
^œ ™ # ^œ ^œ #^œ
B 12 J J 166 #^œ 24 166
^
43 œ
^œ ^
¢ 16 J ∑ ∑ ≈ œ™
Vc. J J
^ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ 13
n œÆ œ œ >œ > > #œ nœ >œ œ b œ >œ œ œ œ œÆ œ
° J ‰ J ‰ J ‰ œ #œ #œ œ
& œ #œ ≈ Œ ‰ œ œœ‰ 24 J ‰ J ‰ 169 J ≈ J ≈ J ≈ 24
>
Fl.
sffz simile
^ ^Æ ^Æ
f 3 sffz simile
b œÆ œ œ ^Æ ^Æ ^Æ ^Æ ^Æ
& J ‰ J ‰ J ‰ Œ œ nœ #œ #œ œ ‰ ∑ 24 #œJ ‰ œJ ‰ 169 #œJ œ
≈ J
œ
≈ J ≈ 24
> > œ
Ob.
sffz simile
<n> œÆ
^ ^Æ ^Æ f sffz simile
b œ nœ 24 <n>Jœ ‰ œJ ‰ 169 œJ
œ œ > >œ #œ nœ ^Æ ^Æ ^Æ ^Æ ^Æ
J J J ‰ ≈ #œr #œ ≈ œJ ≈ œJ ≈ 24
3
& ‰ ‰ Œ ‰ nœ # œ œ R ≈‰ ‰
> œ >œ > œ sffz simile
Cl.
f
^ 2
^ ^ 2
^ ^ 2
^
? ‰ ^j ‰ ^j ‰ ^j 24 ‰ ^j ‰ ^j 169 œ œ œ 24
Bsn.
¢ œ œ œ
∑ ∑
œ œ ' œ ' œ ' œ
' ' ' ' ' ' ' '
° ^ ^ ^
b œÆ ‰ œÆ ‰ œÆ ‰ 24 <n>^œj ^ ^ ^ ^
& ∑ ∑ ‰ œj ‰ 169 œj ≈ œj ≈ œj ≈ 24
Hn.
J J J ' ' ' ' '
^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
#œÆ œ œ ≈ 24
Tpt. & J ‰ J ‰ J ‰ ∑ ∑ 24 #œ
J ‰ œJ ‰ 169 #œJ ≈ œJ ≈ œJ
^Æ ^ ^ ^Æ ^Æ
^ œÆ ^ œÆ ^ œ ^ œ ^ ^ ^ ^
2 2 2
œ ^ ^ ^
? 24 169 œ' 24
¢
Æœ Æœ œ œ
Tbn.
œÆ ∑ ∑ œÆ œÆ œ ' œ ' œ
' ' '
°? ^ ^ ^ 24 ‰ ^j ‰ ^j 169
wooden sticks
‰ œj ‰ œj ‰ œj ∑ ∑ ∑ 24
Timp.
œ œ
' ' ' ' '
sfz simile
^ ^ ^ 24 ‰ ^Æj ‰ ^Æj 169 >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ 24

/ ‰ Æj ‰ Æj ‰ Æj ∑ ∑
œ œ œ œ œ
Perc. I
œ^ ™ œ^ ™ œ^ ™
4 4 4
œ^ œ^ œ^ ¿. ¿. ¿™. ¿. ¿. ¿. ¿. ¿™. ¿. ¿. ^
24 œ œ^ 24
Perc. II
¢/ ‰ J ≈J 169 J J J
{
sffz simile mf sffz simile
>œ > >

œ #œ #œ > > #œ nœ œ œ b œ >œ
∑ œ œ œ œœ 24 ∑ 169 ∑ 24
&
sffz simile
Pno. 6
2 ^ ^ 9 2
^ 2
^ 2
^ 24
& ∑ Œ #œ #œ œ nœ #œ œ Œ #œ nœ 4 ‰ ?œj ‰ œj 16 ≈ r ≈ r ≈ r
> œ >œ > œ œ œ œ
“‘
> ' '
{
' ' '
^ 24
& ∑ ‰ #œj Œ Œ ∑ 24 ∑ 169 ∑
œ^ ™ ^œ
C§
œ^ #œ^ ‰
^œ b œ^ ^œ™ ^œ ^œ
Hp.
24
? ∑ J ‰ J ≈J 24 ∑ 169 ∑
<n> œÆ
^ ^Æ ^Æ
non div.
>œ œ œ
° > #œ nœ
6
œ œ 916 # Jœ œ œ
& ∑ ‰ œ œ #œ ‰ nœ ‰ œ J ‰ > œ œ #œ nœ 24 ∑ ≈ J ≈ J ≈ 24
> > œ
Vln. I
œ
> >œ
sffz simile
> œ bœ ^
non div.
^Æ ^Æ
#œ
‰ #œ ‰ b œÆ
≈ #œr #œ ‰ b œ nœ 24 169 <n>œ ≈ œœ ≈ œœ ≈ 24
3
& ∑ #œ œ ‰ ≈ ‰ ∑
> œ > œ J J J
Vln. II
>
sffz simile
^ ^j ^ ^j ^ ^Æ ^Æ
arco
œ™
^ ^ ^ ^ ^ ^ 9 œÆ
Vla. B ∑ œ #œ #œ ‰ œ #œ œ ≈ œ™ nœ #œ
24 ∑ & 16 J ≈ œJ ≈ œJ ≈ B 24
sffz simile
^ ^ ^œ ™ ^ ^
arco
œ #œ ^ ^œ ^ ^œ ^ ^ ^ ^
2 2 2
B2
B ∑ #œ ‰ J #œ ≈ œ™
J nœ #œ ?2
4 ∑ 169 ≈ r ≈ r ≈ r 4
œ œ œ
Vc.
' ' '

sffz simile
? ‰ ^j ‰ ^j ‰ ^j 24 ‰ ^j ‰ ^j 169 ≈ ^ ^ ^
2 2 2
24
¢‹ œ œ œ ∑ ∑ œ œ r ≈ r ≈ r
œ œ œ
Db.
' ' ' ' ' ' ' '
sffz simile
14 ^ ^ ^ ^Æ ^Æ ^Æ ^Æ ^ ^ ^ ^
œÆ œÆ
> > # œÆ œ œ # œÆ œÆ œÆ œÆ
° 2J > b œ nœ b œ œ œ #œ > œ œ
b œ J ≈ 166 ≈ 12 ≈ 43
Fl. &4 ‰ J ‰ 44 Œ ≈œ œ #œ ‰ 169 J ≈ J ≈ J ≈ J 16 J ≈ J ≈ J ≈ J
3 sffz simile
^Æ ^ f ^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^Æ ^
2 #œ œÆ œ #œ nœ 169 œJ ≈ œJ ≈ œ #œÆ œ œ œ œ #œÆ
Ob.
4
&4 J ‰ J ‰ 4 Ó Œ > #œ
J ≈ 166 J ≈ J ≈ 12
16 J ≈ J ≈ J ≈ J ≈ 43
> sffz simile
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
f
^ ^ nœ œ œ ^ ^Æ œ œ œ ^
2 œÆ œÆ 4 nœ
& 4 J ‰ J ‰ 4 #œ #œ œ #œR ≈ ‰ Ó 916 J ≈ J ≈ J ≈ 166 œÆ ≈ œJ 12
≈ 16 J ≈ J ≈ J ≈ œÆ ≈ 43
Cl.
> J J
> sffz simile
f ^ 2
^ ^ 2
^ ^ 2
^
? 2 ‰ ^j 16 ‰ ™ ‰™ ‰™
^ 4 œ œ œ
¢ 4 œ ‰ œ 4
j ∑ 169 ∑ 166 ' '
12
' 43
œ œ œ
Bsn.
' ' ' ' '
° 2 ^j ‰ ^j ^j ^j ^j 6 ^j ^ ^j ^j ^j ^j
Hn. &4 œ œ ‰ 4
4 ∑ 169 <n>œ ≈ œ ≈ œ ≈ 16 œ ≈ œj ≈ 12
16 œ ≈ œ ≈ œ ≈ œ ≈ 43
' ' ' ' ' ' ' ' ' ' '
^Æ ^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
2
& 4 #œJ ‰ œÆ ‰ 44 ∑ 6
169 #œJ ≈ œJ ≈ œJ ≈ 16 #œJ ≈ œJ ≈ 12
16 #œJ ≈ œJ ≈ œJ ≈ #œJ ≈ 43
Tpt. J
^Æ ^Æ
<n> œÆ
^ ^ ^ ^Æ ^ ^
œ œ ^ œÆ œÆ ^ ^ œÆ œÆ ^
2 2 2
^ ^ œ ^
? 24 ^Æ Æ 4 6
169 J ≈ J ≈ J ≈ 16 œ'
12 43
¢ ∑ œ 16 J ≈ J ≈ J ≈ œ'
Tbn.
œ œ 4 œ ' œ œ
' ' '
°? 2 ‰ ^j
16 ‰ ™ ‰™ ‰™
^ 4 ^ 2
^ 2 2
^
4 œ ‰ œj 4 ∑ 169 ∑ r ≈ r 166 ≈
12 ≈ r 43
œ œ œ
Timp.
' ' ' ' '
^ ^ 4 ^ ^ ^ 6 > > 12 ^ ^ ^ > 3
169 ≈ œR ≈ œR ≈ œR 16 œ œ œ œ œ œ œ œ
> >
Perc. I
2
/ 4 ‰ œÆj ‰ œÆj 4 ∑ 16 ≈ œR ≈ œR ≈ œR œ œ >œ œ 4
2 2 2 2 2 2
œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™ œ^ ™
4 4 4
^ ^œ . ¿. ¿™. ¿. ¿. ¿. ¿.
2œ 44 ¿ 169 J 166 J
12 43
¢/ 4
Perc. II ≈J J J J 16 J J J J
{
mf sffz simile
> >
b œ nœ
nœ #œ b œ œ
b œ n œ #œ
loco
2
&4 ∑ 44
#œ ># œ œ Œ 169 ∑ 166 ∑ 12
16 ∑ 43
> 3 sffz simile
16 ‰ ™ ‰™ ‰™
^ ^j ^ ^ ^
Pno. 2 2 2
12 3
? 24 ‰ 44 Œ œ #œ 169 166 ≈
ff
j
œ ‰ œ Œ
& œ œ ∑ ?
r ≈ r ≈ r &4
> > #œ
<“> ' ' > œ œ œ
'‘
{
“
' '
44 ^ ^ ^ ^ ^
2
&4 ∑ bœ œ Œ œ œ œ 169 ∑ 166 ∑ 12
16 ∑ 43
^
Hp.
^
? 24 ∑ 44 Œ ≈ œ™
J Œ ‰ œ
169 ∑ 166 ∑ 12
16 ∑ 43
> ^Æ ^Æ ^
non div.
> b œ nœ b œ œ œ œÆ
° 2 616 œJ 16 ‰ ™ ‰™ ‰™
b œ # œ #œ
&4 ∑ 44 ‰ ≈œ ‰ nœ #œ nœ 169 ∑ ≈ J ≈ 12 J ≈ 43
Vln. I
#œ #œ >
>
#œ
> sffz simile
>œ
ff
^ ^Æ ^
non div.
16 ‰ ™ ‰™ ‰™
44 ‰ > œ #œ œ #œ b œÆ ≈ œœ ≈ 12 b œÆ ≈ 43
2
&4 ∑ œ J ‰ ‰ ‰ 9
œ #œ 16 ∑ 166 œ œJ
J J
Vln. II
ff
3 > sffz simile
œ^ ^œ ^ ^ ^Æ ^
arco
16 ‰ ™ ‰™ ‰™
^
pizz.
B 24 ∑ 44 b ^œ ^
≈ œ™j
^
œ œ 169 ∑ 6 œÆ ≈ œJ ≈ 12 œÆ ≈ B 43
Vla. œ & 16 J J
sffz simile
œ^ ^œ
pizz.
^ ^
arco
44 b œ ^œ ^œ ^ ^ ^
≈ œ™j
2 2
12 B3
B 24 ∑ œ 169 ∑ ?
166 ≈ r ≈ r 16 ∑ 4
œ œ
Vc.
' '
sffz simile
? 2 ‰ ^j ‰ ^j 44 16 ‰ ™ ‰™ ‰™
2
^ 2
^ 2
^
¢‹ 4 œ œ
∑ 169 ∑ 166 ≈ r ≈ r 12 ≈ r 43
œ œ œ
Db.
' ' ' ' '
^ ^Æ 15
> n œ # >œ # œ >œ œ # >œ n œ # œÆ œ ^
œÆ
^
œÆ
^Æ
œ
° 3Œ > >œ >
‰ #œ #œ #œ œ œ #œ œ Œ
œ # œ œ #œ 6
Fl. &4 ‰ 24 #œ nœ #œ œ
#œ#œ nœ ‰
J ‰ J 169 J ≈ J ≈ J ≈ 41
6 sffz simile
^Æ ^Æ
6 ff
> ^ ^ ^Æ
>
24 œ b œ b œ œ b œ nœ b œ 5 œ œ 9 #œÆ œÆ œ
3 ‰ #œ #œ ‰ ≈ 41
3
&4 Œ œ #œ œ ∑ ‰ J ‰ J 16 J ≈ J ≈ J
Ob.
b œ nœ b œ
> 5 sffz simile
ff
^Æ ^Æ
œ œ
‰ J 169 <n>Jœ
#œ ^Æ ^Æ ^Æ
3œ ‰ Œ bœ bœ ‰ Œ 24 œ b œ ‰ J ≈ œJ ≈ œJ ≈ 41
Cl. & 4 #œ #œ nœ œ b œ œ >œ b œ nœ b œ
> > > œ > nœ b œ b œ sffz simile
b >œ œ ^ ^ ^
ff 2 2 2
> ^ ^ ^ ^ ^
œ≈ Œ j ‰ j ‰ 169 œ' œ œ
?3
¢ 4
24 Œ 41
3
∑ Œ œ bœ ' '
Bsn.
J œ #œ œ œ œ œ œ
f 3 ' ' ' ' '
sffz
° 3
simile
^ ^ ^j ^ ^
Hn. &4 ∑ ∑ 24 ∑ ‰ <n>œj ‰ œj 169 œ ≈ œj ≈ œj ≈ 41
' ' ' ' '
^Æ ^Æ ^Æ ^Æ ^Æ
3
&4 ∑ ∑ 24 ∑ ‰ #œJ ‰ œ 169 #œ
J ≈ œJ ≈ œJ ≈ 41
Tpt.
J
^ <n> œ
^Æ ^Æ ^ 2
^ 2
^ 2
^ œ 9 ^ ^ ^
?3
¢ 4 ∑ ∑ 24 ∑ Æ Æ 16 œ
' œ
œ
' œ
œ
' œ 41
œ œ
Tbn.
' ' '
°? 3 ^ ^
4 ∑ ∑ 24 ∑ j ‰ j ‰ 169 ∑ 41
œ œ
Timp.
' '
^Æ ^ > > >
3
/4 ∑ ∑ 24 ∑ j ‰ Æj ‰ 169 œ œ >œ œ œ œ >œ œ œ œ >œ œ 41
œ œ
Perc. I
f 4 4 4
>o– >¿o– ^™ œ^ ™ ^œ ™
open
. ¿. ¿. ¿. ¿. ¿™. ¿. ¿. ¿. ¿. … ^œ ^
(close hi-hat)
3 ¿™ 24 ¿ ‰ J ‰ œJ 169 œJ 41
¢/ 4
Perc. II ‰ J ‰ J J J
mf f sffz
{
simile
> # >œ >œ œ >

> nœ #œ #œ nœ #œ
> #œ #>œ #œ œ œ œ >œ bœ bœ œ
loco 6
3œ
&4 Œ 24 nœ #œ
œ ∑ 169 ∑ 41
> #œ#œ nœ sffz simile
Pno. 6
œ #œ #œ ^ ^ 2
^ 2
^ 2
^
3 24 j ‰ j ‰ 169 ≈ œr ≈ œr ≈ œr 41
ff 6
#œ œ b œ œ >œ Œ Œ Œ ?
& 4 #œ #œ n œ œ
{
> œ œ œ ' ' '
“‘
> ° *' '
^j ^ >œ # œ
^ ^ ^ ^ ^ ^ 24 ^j œ
bœ ™
3 ‰ j œ ‰ ‰ ? ∑ 169 ∑ 1
& 4 œ™ bœ œ œ œ bœ &4
^ #œ ^
Hp. 6 …
œ Œ
? 43 24 Œ #œ b œ œ 169 41
C# ff
œŒ Œ Œ ? ∑ ∑
> # >œ >œ œ > ^Æ ^Æ ^Æ

non div.
œ œ œ
° 3œ > nœ #œ #œ nœ #œ
‰ #œ #œ ‰ œ nœ ‰ ≈ œr b œ b œ œ 24 œ#œ#œ nœ #œ 6 #
169 J
œ œ œ
≈ 41
3
& 4 #œ #œ œ œ ∑ ≈ J ≈ J
> #œ#œ nœ
Vln. I
> > >
> # >œ >œ œ
6 sffz simile
ff
>œ nœ #œ > ^
non div.
^Æ ^Æ
#œ œ #œ œ 24 œ b œ b œ nœ b œ b œÆ ≈ œœ ≈ œœ ≈ 41
3 169 œ
5
&4 ‰ ≈ rœ
œ
‰ ‰
b œ nœ
‰ nœ b œ b œ nœ b œ ∑
J J J
Vln. II
> 3 > œ 5 > sffz simile
ff
^
bœ ™
^ œ^ b œ^ ^ ^œ ^ ^œ ^ ^Æ ^Æ
pizz. arco
^ ^ 24 b ^œ 9 œÆ
arco 5
B 43 œ™ ‰ b œJ œ ‰ J
œ
J ‰ œ œ bœ
œ bœ ∑ & 16 J ≈ œJ ≈ œJ ≈ 41
œ
Vla.
sffz > sffz simile
simile ff
b ^œ ™
^ œ^ ^œ ^œ
pizz.
^ ^ ^œ ^
‰ b œJ b œ^ ^ 24 b œJ ^ ^ ^ ^ ^
2 2 2
B 43 œ™
arco
œ œ ‰ J ‰ ?œ
#œ œ #œ j ‰ j ‰ 169 ≈ œr ≈ œr ≈ œr 41
n œ œ
Vc.
> ' ' '
sffz simile ff ' '
sffz simile
arco
^ ^ 2
^ 2
^ 2
^
?3
¢‹ 4
24 Œ 169 ≈ œr ≈ œr ≈ œr 41
3
∑ ∑ bœ ‰ j ‰
Db.
œ #œ œj œ
ff ' ' ' ' '
sffz simile
16 ^ ^
# œÆ ^
œÆ
^
œÆ # œÆ œ^Æ œ^Æ ^œÆ ^Æ
œ >œ
>nœ > # œ >œ œ n œ
° 1 J 6 44 Œ nœ œ > > #œ nœ > œ œb œ n œ 3 nœb œ nœ
24
Fl. &4 ‰ 16 J ≈ J ≈ 43 ‰ J b œ nœ nœ œ 4Œ Œ
f 6 3
^ ^ ^ ^ ^ ^ ^ ^Æ
œÆ 6 #œÆ œÆ œÆ #œÆ œÆ œÆ > > > nœ n>œ b œ 2
≈ œ bœ œ bœ œ œ ‰™
œ > >
1
&4 ‰ J 16 J ≈ J ≈ 43 ‰ J 44 Œ ‰ ≈ b œ nœ nœ #œ nœ œ œ ‰ 43 ‰ 4
Ob.
R 3
R 5
^ ^
œÆ œÆ ^Æ ^Æ ^Æ
3
b >œ œ nœ >
f
^Æ ^Æ ^Æ > >
3 44 œ œ #œ# œ Œ 43
>
nœ b œ œ b œ œ œ Œ 24
Cl.
1
&4 ‰
J 166 œJ ≈ œJ ≈ 4‰ J œ œ œ œ Ó
f 3
^ 2
^ ^ 2
^
? 41 ^j ‰ 166 œ œ ^
43 j ‰ Œ
44 43
24
¢ ' ' Œ ∑ ∑
Bsn.
œ œ œ œ
' ' ' '
° 1 ^j 6 ^j ^ ^ ^ ^ ^ ^
Hn. & 4 ‰ œ 16 œ ≈ œj ≈ 43 ‰ œj œ œ œ œ
44 ∑ 43 ∑ 24
' ' ' ' ' ' ' '
^ ^ ^Æ ^Æ ^Æ ^Æ ^ ^Æ
Tpt.
1 Æ 6 Æ
& 4 ‰ #œJ 16 #œJ ≈ œJ ≈ 43 ‰ #œJ #œ œ œÆ œ 44 ∑ 43 ∑ 24
^Æ ^ 2
^ 2^ ^Æ ^œÆ œ^Æ ^
œÆ
^Æ
œ
^
? 41 ^Æ œ 166 œ 34 ^ œ 44 43 24
¢
œ Æ ∑ ∑
Tbn.
œ ' œ ' œ œ
' '
°? 1 ^ ‰ 6 ^ 24
4 œj 16 ∑ 43 j ‰ Œ Œ 44 ∑ 43 ∑
œ
Timp.
' '
Perc. I
1 ^ 6 > >
/ 4 œÆj ‰ 16 œ œ œ œ
>œ œ > 3 ^Æ
œ œ 4 œj ‰
>œ >œ >œ ^ > ^ 4
œ œ œœ œ 4 ∑ 43 ∑ 24
>¿o–
1 œ 6 œ™ œ^ ™
4 4
^ ^ . ¿. ¿™. ¿. ¿™. ¿. ¿. ¿™. ¿. ¿. ¿.
œ^ œ^ œ^ œ^ ^œ
(closed)
44 ¿ 43
24
Perc. II
¢ / 4 ‰ J 16 J J 43 ‰ J ≈J ‰ J
{
mf
> > >œ

>nœ > # œ >œ œ n œ
b œ n œ b >œ œ œ nœ œ nœ
loco
43 44 œ œ #œ# œ œ nœ #œ nœ
43 24
1
&4 ∑ 166 ∑ ∑ Œ
3
? 41 ^j ‰ 166 ≈ ^r ≈ ^r 43 ^j ‰ Œ œ6 > œ
œœ
Pno. 2 2 ff
24
œ œ
Œ 4
&4 Œ bœ œ nœ 43 nœ b œ œ b œ œ Œ
œ ' ' œ > > > >
<“>' ' °
{
3
43 44 ^ ^ b ^œ ™ ^ ^
43 Œ
^ ^ ?2
1
&4 ∑ 166 ∑ ∑ #œ #œ Œ œ bœ ‰ #œj œ 4
^
b œ b Jœ ™
^
b ^œ ™
Hp.
CbBb
sffz simile ^ b ^œ œ 24
? 41 166 43
44 Œ 43
E#
∑ ∑ ∑ ≈ Œ Œ
^
œÆ
^
œÆ
^Æ
œ
^Æ
œ
^Æ
œ
^Æ
œ >œ
>
nœ > # œ >œ œ n œ
° 1 # œ œ #œ œ œ œ > > b œ nœ > nœb œ nœ
≈ 43 Œ 44 œ nœ ‰ œœ
≈ œ #œ nœ ‰ 43 ‰
24
Vln. I &4 ∑ 166 J ≈ J ≈ nœ b œ œ ‰
R
ff 3 3
^
b œÆ
^Æ ^ ^ ^
b œÆ œÆ œÆ
^Æ >
#œ # œ > > nœ œ b >œ > œ
≈ œœ ≈ 43 Œ œ 44 ‰ ≈ b œ œj ‰ nœ 34 œ œ 24
1
&4 ∑ 166 œ œ œ œ œ ‰
R
‰ ‰ bœ bœ ‰ ‰
J J
Vln. II
3
^œ ™
ff 3
^Æ ^Æ ^Æ ^Æ ^Æ ^œ #^œ ^ ^j n ^œ b ^œ ^ ^ #^œ œ^
pizz.
^
Vla.
1
&4 ∑ 166 œJ ≈ œJ ≈ 43 Œ œ œ œ
J ‰ B 44 b œ ≈ nœ ™ 43 b œ ™ nœ ‰ J œ
24
^œ #^œ œ^ ™ n ^œ b ^œ ^ ^œ
pizz.
? 41 ^j ‰ 166 ≈ ^r ≈ ^r ^ b ^œ ≈ n^œ ™ 43 b œ ™
^ n^œ ‰ #œJ ^
2 2
B4 ?2
œ œ 43 j ‰ Œ Œ 4 J œ 4
œ œ
Vc.
' ' ' '

? 1 ^ ‰ 166 ≈ ^r ≈ ^r ^
2 2
24
¢‹ 4 œj œ œ 43 j ‰ Œ Œ 44 ∑ 43 ∑
œ
Db.
' ' ' '

^ ^Æ ^Æ ^Æ ^Æ ^Æ
n œÆ œ œ ^Æ ^Æ ^Æ ^Æ œ œ œ ^Æ ^Æ ^Æ 17
œ œ œ œ œ œ œ
° 2 b œ nœ b œ nœ nœ b œ r ≈ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 38 24
Fl. &4 nœ b œ nœ
3 3
sffz simile
^ ^Æ ^Æ ^ ^ ^Æ ^Æ ^ ^Æ ^Æ ^ ^ ^Æ
ff
#œÆ œ œ #œÆ œÆ œ œ #œÆ œ œ #œÆ œÆ œ 2

5
2œ
& 4 nœ b œ nœ b œ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 38 4
Ob. œ nœ bœ 3 3
5 sffz simile
ff
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
œ œ œ ^Æ ^Æ ^Æ ^Æ œ œ œ ^ ^ ^Æ
J ‰ J ‰ 38 œÆ œÆ
6
Cl.
2
& 4 nœ b œ nœ b œ œ
6
‰ J ‰ J ‰ J ‰ œ œ œ œ J ‰ œ 24
> nœ b œ nœ b œ œ 3 3
sffz simile
ff
> œÆ œÆ œÆ Æ œÆ 3 œÆ œÆ #œÆ Æ 2
?2 ‰ œ bœ œ bœ œ nœ b œ
7
œÆ #œÆ œÆ #œÆ Æ œÆ œÆ Æ n œ œÆ œÆ #œÆ
¢ 4
≈ ‰ #œ #œ 8 #œ 4
Bsn.
nœ b œ œ
7 nœ b œ ff
f ff
° 2 ∑
^j
‰
^j3 ^j ^ ^ ^ ^ ^j ^j3 ^j 3^ ^ ^ 2
Hn. &4 #œ œ ‰ œ ‰ œ œ œ œ #œ ‰ œ ‰ œ ‰ 8œ œ œ 4
' ' ' ' ' ' ' ' ' ' ' ' '
<n>œ
^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ ^Æ
œ œ Æ œ œ œ Æ œ 24
Tpt.
2
&4 ∑ J ‰ J ‰ J ‰ #œ œ œ œ J ‰ J ‰ J ‰ 38 #œ œ
3 3
œÆ œÆ œÆ #œÆ œÆ Æ
œÆ œÆ #œÆ Æ œÆ œÆ Æ n œ œÆ œÆ #œÆ œÆ 3 œÆ œÆ #œÆ Æ 2
?2
¢ 4
Tbn. ∑ ≈ #œ #œ 8 #œ 4
ff
°? 2 ^j ^j ^j
4 ∑ ∑ Œ #œ ‰ #œ ‰ Œ 38 ‰ ‰ #œ 24
' ' '
Timp.
> ^Æ > ^Æ
2 ∑
^Æ
j ‰ Œ ‰ œ œ
^Æ
j ‰ Œ 38 ‰ > 2
Perc. I /4 œ œ œ œ œ œ œ œ 4
>¿o– >¿o– >¿o– >¿o– … ^œ ^œ ^œ ¿– ¿– >¿–

o> >o o >¿o– … ^ ^œ ^œ >o– >o– >¿o–…
2 œ 38 ¿ ¿ 24
Perc. II
¢/ 4
{
3 f 3 f
sffz simile sffz simile
b >œ nœ b œ nœ nœ b œ nœ
2 ? ∑ ∑ ∑ 38 ∑ 24
&4
Pno.
2 nœ b œ nœ b œ œ ? ∑ ‰ œ ‰ Œ 38 ‰ 24
&4 bœ œ b œ œ #œ œ œ j œ #œ
> >
{
' ' #œ ' ' #œ ' ' #œ
“‘ “‘
> ' ' '
*
? 24 Œ > 38 24
#œ œ ∑ ∑ ∑ ∑
#œ œ
C#
Hp.
B§
…
? 24 Œ 38 ‰ ‰ 2
A# ff ff
∑ Œ j ‰ j ‰ Œ j 4
#œ # œ #œ #œ #œ
nœ #œ
' ' '
>
° 2 b œ nœ b œ nœ n>œ b œ ≈ œÆ œÆ œ nœ œ œ 38 œ œ #œ 2
&4 nœ b œ Œ œ #œ ' œ œ #œ œ œ œ #œ ' ' ' ' #œ 4
' ' ' ' ' #œ ' ' #œ ' ' ' '
Vln. I
' ' '

b >œ nœ b œ œ >
ff poss.
2 nœ b œ nœ b œ œ ‰ ≈ œÆ œÆ œ #œ œ œ œ #œ œ œ nœ œ œ #œ œ 38 œ œ #œ 2
Vln. II &4
nœ b œ nœ ' ' ' ' ' ' #œ ' ' #œ ' ' ' ' ' ' ' ' #œ 4
> ff poss. ' ' '
>
arco
b œ œ b œ nœ
6
38 ‰ 24
Vla. B 24 ‰ nœ b œ nœ b œ nœ ∑ ‰ œ #œ œ œ j ‰ Œ œ #œ
> ' ' #œ ' ' #œ ' ' #œ
ff 3
arco
ff poss. ' ' '
5
? 24 Œ nœ ∑ ‰ œ #œ ‰ Œ 38 ‰ 24
Vc. nœ bœ œ bœ œ œ j œ #œ
> ' ' #œ ' ' #œ ' ' # œ'
ff ff poss. ' '
Æ Æ Æ Æ j Æ
?2 œ # œ Æ œ œ 38 ‰ œ #œÆ #œÆ 2
Db.
¢‹ 4 Œ ≈ bœ bœ
∑ ‰ #œ #œ
'
‰ Œ 4
> œ ff poss.
ff
18 ^Æ ^ ^Æ ^Æ ^ ^Æ ^ ^Æ ^ >œ
^
œÆ
^Æ
œ
^
œÆ œ œÆ œ ^Æ
œ
^Æ
œ
^
œÆ œ œÆ œ œÆ œ œÆ #œ nœ #œ
° 2 J
œ œ #œ nœ
‰ J ‰ J ‰ 38 24 J ‰ J ‰ J ‰ 44
Fl. &4
3 3
^ ^Æ ^ ^Æ ^ ^Æ ^ ^Æ ^ ^ ^ ^Æ ^ ^ ^
b œÆ œ œÆ œÆ b œÆ œ œÆ #œÆ œÆ œÆ #œÆ œÆ #>œ nœ #œ œ
2 J ‰ J ‰ J ‰ 38 #œ œ 24 J ‰ J ‰ J ‰ œ
œ #œ nœ #œ 44
Ob. &4
3 3
^Æ ^ ^Æ ^Æ ^ ^Æ ^ ^Æ ^
<n> œÆ <n> œÆ
^ ^Æ ^ ^ ^Æ ^ >œ
œ œÆ œ œÆ œ œ œÆ œ œÆ œ œÆ œ œÆ œ #œ nœ #œ
Cl. &
24 J ‰ J ‰ J ‰ 38 24 J ‰ J ‰ J ‰ œ œ #œ 44
3 3
? 2 ≈ b œÆ b œÆ œÆ œÆ œÆ 3 b œ 24 ≈ b œÆ b œÆ œÆ œÆ œÆ b œÆ œÆ œÆ 44
¢ 4 8 ' œ œ œ œ bœ œ œ œ
Bsn.
' ' nœ nœ ' ' œ ' ' œ > œ
' ' ' '
° 2 3 24 ≈ 44
Hn. & 4 ≈ bœ bœ œ œ œ' 8 b œ œ œ bœ bœ œ œ œ' b œ œ œ œ œ bœ œ œ œ œ
' ' ' ' ' ' ' nœ ' ' ' ' ' ' ' nœ ' ' œ ' ' œ >
ff ' ' ' '
^ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^ >œ
#œÆ œ œ œ œ œ 24 #œJ œ œ œ œ œ œ œ œÆ #œ œ 44
Tpt.
2
&4 J ‰ J ‰ J ‰ 38 ‰ J ‰ J ‰ œ #œ nœ
^ ^ ^Æ ^ ^ ^Æ ^ ^ ^
3 3
^ ^Æ ^ # œÆ œÆ ^Æ ^Æ ^ # œÆ œÆ œÆ # œÆ œÆ >œ 6
2 n œÆ œ œÆ 3
œ
24 œJ œ œÆ œ œ œ #œ nœ 44
?
¢ 4
Tbn. J ‰ J ‰ J ‰ 8 ‰ J ‰ J ‰
3 3 5
sffz simile
°? 2 ^
æ
œæ
38 ‰ ^j 2 ^j ^j 44
Timp. 4 ∑ ‰ œ 4 ∑ Œ œ ‰ œ ‰ œ
' ' ' '
gliss.
p
(wooden stick)
>
> ^Æ > ^Æ > ^Æ > œ
2 ∑ 38 ‰ 2 ∑ ‰ 44
Perc. I /4 œ œ œ 4 œ œ œ œ œ œ œ œ œJ ‰
v'
^ ^œ >o– >o– >¿o– … ^ >¿o– >¿o– >¿o– >¿o– ¿– ¿– ^œ
o> >o >¿o
œ^ 38 ¿ ¿
^œ œ^
Perc. II
2 œ
¢/ 4
24 œ æ 44
3 3
{
f f
sffz simile sffz simile
? 24 ∑ 38 ∑ 24 ∑ ∑ ∑ 44
Pno.
24 44
loco
? 24 ∑ 38 ‰ ∑ ‰
bœ œ bœ œ œ œ bœ œ œ œ
' ' œ ' ' œ ' ' œ ' ' œ > œ
{
' ' ' '
? 24 ∑ 38 ∑ 24 ∑ ∑ ∑ 4
&4
Hp.
? 24 ∑ 38 ‰ ‰ j 2 ∑ Œ j ‰ j ‰ j ‰ 4
œ 4 œ œ œ &4
“‘
' ' ' '
° 2 b œÆ b œÆ œÆ œÆ œÆ 3 b œÆ œÆ œÆ Æ
Æ
24 ≈ b œ b œÆ œÆ œÆ œÆ b œÆ œÆ œÆ Æ œÆ œÆ b œÆ œÆ b œ
7
44
Vln. I &4 ≈ 8 nœ nœ œÆ > œ b œ b œ nœ # œ
nœ
2 b œÆ b œÆ œÆ œÆ œÆ 3 b œÆ œÆ œÆ Æ
Æ
24 ≈ b œ b œÆ œÆ œÆ œÆ b œÆ œÆ œÆ Æ œÆ œÆ Æ Æ
Æ bœ œ bœ
7
44
Vln. II &4 ≈ 8 nœ nœ œ > œ b œ b œ nœ # œ
nœ
B 24 ∑ 38 ‰ b œÆ œÆ Æ 24 ∑
Æ
‰ b œ œÆ œÆ œÆ œÆ b œÆ œÆ œ œ 44
Vla. œ œÆ œ > œ
'
? 24 38 ‰ b œ œ 24 Æ Æ 44
∑ ∑ ‰ bœ œ œ œ œ bœ œ œ
> œ
Vc.
' ' œ ' ' œ ' ' œ œ
' ' ' '
?2 38 ‰ b œ œ 24 Æb œ Æ 44
¢‹ 4 ∑ ∑ ‰ œ œ œ bœ œ œ œ
Db.
' ' œ œ ' ' œ ' ' œ > œ
' ' ' '
19
° 4 œ≈‰ Œ 44
Fl. &4 R Ó 43 ∑ ∑ ∑
4 >œ#>œ œ b œ œ >œ œ œ œ >œ œ œ œ >œ œ œ 3 œ 44 Ó >œ#>œ œ b œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ

Ob. & 4 œr ≈ ‰ Œ 4J ‰ Œ Œ J ‰ Œ Œ #œ
3 3 3 3 3 3 3 3 pp
p ff p ff
44 r ≈ ‰ Œ
Cl.
4
& 4 œr ≈ ‰ Œ Ó 43 Œ Œ #œ œ Ó Ó #œ
r
œ≈‰
' '
pp ff pp ff
?4 ^ ^
43 ™
44 ^ ^
¢ 4nœ ™ œ™ œ ™ œ' œ œ'
‰ jÓ ‰ Œ ‰ jÓ ‰ Ó
Bsn.
œ œ œ œ œ œ' œ œ
' ' ' ' ' ' ' ' ' ' '
ff poss. sempre
° 4
∑ 43 Œ Œ 44 r ≈ ‰ Œ Ó Ó r
Tpt. &4 œ œ œ œ≈‰
' '
pp ff pp ff
44 œ
Tbn.
?4
¢ 4
∑ 43 ∑ ∑ Ó Œ
pp
°? 4 ^ ‰ Œ 44
Timp. 4 œj Ó 43 ∑ ∑ ∑
'
ff
(choke)
…
œj (wooden stick)
44
Perc. I
4
/4œ ‰ Œ Ó 43 œ Œ Œ ∑ œ Œ Ó
J ë ë
v'
f
^.
(closed)
¿ > >
(wooden sticks)
4 ≈ œ œ œ 43 œ œ œ œ œ œ Œ 44 Ó ≈ œœœ œ
Perc. II
¢/ 4 Œ Œ ‰ Œ ‰ Œ Ó
{
3 3 3
3
mf f pp mf f
? 44 ∑ 43 ∑ 44 ∑ ∑
ff poss. sempre
? 44 ^ ^ 44 ^ ^
Pno.
43 ™ œ ‰ œ Œ
nœ ™ œ ‰ œj œ™ œ ™ œ' œ œ'
Ó
œ ‰ œj
Ó ‰ Ó
œ ' œ'
“‘
' ' ' '
{
' ' ' ' ' '
^œ ^j 4 ^œ ^j ^j
4
&4 Ó J ‰ Œ 43 Œ Œ œ ‰ 4Ó J ‰ Œ Ó œ ‰ #œ ‰
sffz simile
^ ^j 4 ^ ^j ^
Hp. loco
4
&4 Ó œ
j ‰ Œ 43 Œ Œ #œ ‰ 4 Ó œ
j ‰ Œ Ó #œ ‰ œj ‰
° 4Ó > >
n>œ b œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 43 œ ‰ Œ 44 Ó >œ b>œ œ#œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ
Vln. I &4 J Œ J ‰ Œ Ó
3 3 3 3 3 3 3 3
p ff p ff
> > >œ b>œ œ#œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ
4
&4 Ó n>œ b œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 43 œ ‰ Œ Œ 44 Ó
Vln. II J J ‰ Œ Ó
3 3 3 3 3 3 3 3
p ff p ff
>œ > œ b œ œ >œ œ œ > œ œ œ >œ œ 3 œ 44 Ó >œ > œ b œ œ >œ œ œ > œ œ œ >œ œ œ
B 44 Ó #œ œ œ œ4 ‰ Œ Œ #œ œ œ œ ‰ Œ Ó
Vla.
J J
3 3 3 3 3 3 3 3
p ff p ff
>
pizz.
>œ œ >œ >œ > >œ >œ œ >œ >œ
>œ 44 Ó
Vc.
? 44 Ó œ 43 ∑ œ ∑ B
p ff p ff
?4 ^ ^
43 ™ œ ‰ œ Œ
44 ^ ^
Db.
¢‹ 4 n œ ™ ‰ Ó
œ œj œ ' œ' œ™
‰ Ó
œ œj œ ™ œ' œ œ'
‰ Ó
' ' ' ' ' ' ' ' ' '
ff poss. sempre
20
°
œ Æ
∑ 45 Ó Œ Œ 44 œR ≈ ‰ Œ Ó 43
Fl. &
pp ff
œÆ ≈ ‰ 44 Ó >> > > >

& <#>œ ≈ ‰ Œ
r
Ó 45 Ó Œ œ
R b œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ 43
'
Ob.
ff pp ff
3 3 3 3
p
3
r
5 j 44 43
3 3 3
& Ó #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ ‰ Œ #œ œ≈‰ Œ ∑
'
Cl.
>> > > >
ff pp ff
p
? ^ Ó™
^ 44 ^
¢ œ™ 45 œ ™ 43
œ™
‰ j Ó ‰ ‰ j Ó
Bsn.
œ œ œ œ œ' œ œ
' ' ' ' ' ' ' ' '
°
Hn. & ∑ 45 Ó Œ Œ #œ
44 r ≈ ‰ Œ
œ Ó 43
'
pp ff
Æ
Tpt. & ∑ 45 Ó œ œ≈‰ Œ
R
44 ∑ 43
pp ff
Æ bœ œÆ
? œR ≈ ‰ Œ 45 Ó R ≈ ‰ 44 43
¢
Tbn. Ó Œ ∑
ff pp ff
° Ó™
Perc. I / ∑ 45 œ Œ 44 ∑ 43
ë
≈ œ œ œ 45 œ œ œ œ œ œ Ó ™
> 44 Ó ≈ œ œ œ 43
¢/
Perc. II Ó Œ ‰ Œ ‰
3 3 3
{
3
mf f pp mf
? ∑ 45 ∑ 44 ∑ 43
? ^ ^ ™ 44 ^
Pno.
45 œ ™ 43
œ™ œ ‰ œj Ó
' '
œ‰ œœÓ
' œ™ œ ‰ œj Ó
' ' ' '
“‘
' ' '
{
#œ^ ^ ^ œ^ ^j
& Ó J ‰ Œ 45 Ó œ ‰ œJ ‰ J ‰
J
44 Ó #œ ‰ Œ 43
Hp.
^j ^j Eb^ ^
& Ó #œ ‰ Œ 45 Ó #œ ‰ b œj ‰ #œj ‰ 44 Ó
j ‰ Œ 43
#œ
°
> > >
#>œ œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 5 #œ ‰ Œ
Ó™
>> > >
Vln. I & Ó 4J
44 Ó b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43
3 3 3 3
p ff 3 3 3 3
> >
p
#>œ œ œ#œ œ >œ œ œ œ œ œ œ œ >œ œ œ 5 #œ ‰ Œ >

Ó™
>> > >
Vln. II & Ó 4J 44 Ó b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43
3 3 3 3
p ff 3 3 3 3
p
> > >
#>œ #œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ 5 #œ ‰ Œ Ó™
3 3 3 3
B Ó 4J 44 Ó b œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ 43
>>
Vla.
3 3 3 3
> > >
p ff p
> >œ œ >œ >œ > >œ œ >œ >œ
> #œ 44 Ó ? > bœ B3
Vc.
B Ó
#œ 45 ∑ bœ 4
p ff p ff
? ^ ^
45 ™ ™ 44 ^ 43
Db.
¢‹ œ ™ œ ‰ œj Ó œ œ‰ œœÓ œ™ œ ‰ œj Ó
' ' ' ' ' ' ' ' ' '
21
° 3 r
3 3 3 3
∑ 44 Ó j 3
œ ≈ ‰ 43 44
&4 œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ bœ ∑
>#>œ '
Fl.
> > >
p ff pp ff
Æ >> >
3
& 4 b œJ ‰ Œ Œ 44 ∑ Ó œ œ≈‰ Œ 43 Œ Œ œ#œ œ œ œ œ œ œ 44
Ob.
R
ff 3 3 3
pp ff p
44 œÆ ≈ ‰ Œ œ œÆ 44
Cl.
3
&4 Ó œ
R Ó Ó Œ Œ 43 R ≈ ‰ Œ Œ
3
pp ff pp ff
?3 ^ 44 ^ ^
43
^ 44
¢ 4 œ ™ œ œj
‰ Œ ≈ ‰ ‰ ≈ Ó ≈ ‰
#œ™ œ œœœ œœ œœ #œ™ œ œœœ #œ™ œ œœœ œœ
Bsn.
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
° 3 44 3
r 3 44
Hn. &4 ∑ ∑ Ó Œ œ œ≈‰ 4 ∑
'
pp ff
Tpt.
3
&4 Ó
bœ 44 œRÆ ≈ ‰ Œ Ó Ó Œ Œ #œ Æ
43 œR ≈ ‰ Œ Œ 44
3
pp ff pp ff
œ œÆ 44
Tbn.
?3
¢ 4
∑ 44 ∑ Ó R ≈‰ Œ 43 ∑
3
pp ff
° 3 44
Perc. I /4œ Œ Œ 44 ∑ œ Œ Ó 43 ∑
ë ë
3> 44 Ó >
≈ œœœ œ œ œ œ œ œ Œ 43 44
Perc. II
¢/ 4 œ Œ Œ Œ ‰ Œ ∑
3 3
{
3
f mf f pp
? 43 ∑ 44 ∑ ∑ 43 ∑ 44
? 43 ^ 44 ^ ^ ^
Pno.
43 44
œ ™ œ' œ
‰ jŒ ≈ ‰ ‰ ≈ Ó ≈ ‰
#œ™ #œ™ #œ™
œ œœœ œœ œœ œ œœœ œ œœœ œœ
' ' ' ' ' '
“‘
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
{
b ^œ ‰ 4 Ó œ^ ^ ^j ^œ ^ 44
3
&4 Ó J 4 J ‰ Œ Ó œ ‰ b œ ‰ J ‰ 43 Ó œ ‰
J J
D#C§
^œ 4 ^ ^ ^j #^œ ^
Hp. 3
3 j ‰ œ ‰ J ‰ 43 Ó 44
E§Ab
&4 Ó J ‰ 4 Ó œ
j ‰ Œ Ó
œ j ‰
œ
3
>œb >œ œ œ > œ œ œ >œ œ œ > œ œ œ

° 3 bœ ‰ Œ #œ œ œ œ >> >
œ œ œ#œ œ œ œ œ 44
Vln. I &4 J Œ 44 Ó J ‰ Œ Ó 43 Œ Œ
3 3 3 3
ff p ff 3 3
>œb >œ œ#œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ

p
>> >
Vln. II
3
& 4 b œJ ‰ Œ Œ 44 Ó J ‰ Œ Ó 43 Œ Œ œ œ œ#œ œ œ œ œ 44
3 3 3 3
ff p ff 3 3
p
>œ > œ b œ œ >œ œ œ > œ œ œ >œ œ œ
B 43 b œj ‰ Œ
3 3
#œ œ œ œ J ‰ Œ œ œ œ œ œ œ œ 44
Vla. Œ 44 Ó Ó 43 Œ Œ
>#>œ
ff 3 3 3 3
>
p
p ff
> >œ œ >œ >œ > >œ >œ
>œ œ B4
Vc.
B 43 ∑ 44 Ó ∑ 43 Œ Œ ?
œ 4
p ff p ff
?3 ^ 44 #^œÆ ™ œÆ ≈ œ œ œ ‰ ^
#œÆ ™ œÆ ≈ œ œ œ Ó ^
43 #œÆ ™ œÆ ≈ œ œ œ ‰ 44
¢‹ 4 œ ™ œ œj
‰ Œ ‰
Db.
' ' ' œœ œœ ' ' ' ' ' ' œœ
' ' ' ' ' ' ' ' '
22 >œ
œ™
>œ
° 4 Ó œ b œ œ b>œ b œ > œ™
œÆ œ
≈ #œr nœ nœ 8 ‰ ™
3 24
&4 Œ Ó ‰ 43 J
>
Fl.
pp ff ff pp
b>œ b œ > 3
≈ #œj™
3 3 3 3
4 r 3 j 24
Ob. & 4 œJ ‰ Œ œ ≈ ‰ Ó nœ #œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ nœ nœ 8 ∑
' >> > > >
ff pp ff p ff
38 #œ ™
>œ
œ œÆ ‰
œ œ œÆ 24
Cl.
4
&4 Œ ‰ b œJ Œ Œ ‰ œj œ #œ 43 R ≈‰ Œ ‰
pp ff > #œ #œ pp ff
fp ff
>
?4 ^ ^
43
^ 38 ‰ r ‰ 24
¢ 4 ™ œ ‰ j ≈ r‰ j ‰ ‰ j ≈ ≈ ‰ j ‰
œ # œr
bœ™ ' œ œ œ b œ ™ b œ' œ#œ
Bsn.
#œ ' œ œ œ b œ # œ œ œ œ œ
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
° 4 38 ™
œ™
24
Hn. &4 Ó Œ œ
∑ 43 ∑ #œ œ ‰
' '
pp ff pp ff
4 j r
43
38 ‰ ™ œ™ 24
&4 Ó ≈ œ™ œ ≈ ‰ ∑ ∑ J
'
Tpt.
pp ff pp
œ œ œÆ 38 B2
Tbn.
?4 Œ
¢ 4
‰ J ‰ Œ ∑ 43 ∑ ∑ 4
pp ff
° 4 38 24
/4 ∑ œë Œ Ó 43 ∑ ∑
œJ ‰
Perc. I
'
> > > >
f
38 >œ œ œ >œ œ œ 24
Perc. II
4
¢/ 4 Œ ‰ œ œ œ œ œ œ œœœœœœ ∑ 43 ∑
6
{
f ff f
38 24
? 44 ∑ ∑ 43 ∑ ∑
? 44 ^ ^ ^
Pno.
38 ‰ 24
‰ j ≈ j ‰ ‰ j ≈ ≈ 43 ‰ ‰ r ‰
# œ ™ œ' œ œ™
j j
œ # œr
œ b œ ™ b œ' œ #œ œ œ
' ' œ œ œ
' ' b œ ™ b œ' œ œ#œ
' ' ' '
“‘
' ' ' ' ' ' ' ' ' '
{
^œ™
38 #œ ™
^ ^r ^œ ^j ^
24
4
&4 Œ ‰ b œJ ≈œ ‰ J ‰ Ó œ ‰ Œ 43 ∑
^ ^œ ™
Db G§ G# D§
^ ^ ^ ^ 38 ^ ™
Hp.
4 ≈ #œr ‰ j ‰ œj j 43 ?2
F§G#A§
&4 Œ ‰ j
œ œ
‰ Œ ‰ Œ ∑ #œ 4
nœ
° 4 œ ‰ Œ #>œ #œ ‰ 38 ‰ ™ n^œ ™
pizz.
3 3 3 3
Ó Ó 3 j 24
&4 J œ bœ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ
> > #œ >œ J
Vln. I
> > sffz
ff p ff
3 3 3 3
4 3 j 3 24
& 4 œJ ‰ Œ Ó Ó œ bœ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ ‰ œ œ 8 ∑
> > #œ >œ
Vln. II
> > >
ff p ff
‰™
pizz.
j 38 ^j
#œ ™
B 44 œ ‰ Œ 3 j 24
3 3 3 3
Ó Ó œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ‰ Œ Œ
> #>œ
Vla.
ff > > > sffz
p ff
^œ >œ >œ œ >œ >œ
‰ J >œ 38 24
Vc.
B 44 ∑ Œ 43 ∑ ∑
sffz p ff
? 4 ^Æ œÆ ‰ œj ^ ^
¢‹ 4 #œ ™ b œ ™ b œ ‰ œ ≈ #œ 43 b œ ™ b œ ‰
j j j œ œ œ œ j œÆ #œÆ 38 ‰ œÆ #œr ‰ 24
≈ œ™ œ ‰ ≈œ œ ‰
R '
Db.
' ' ' ' ' ' ' ' ' ' ' ' ' ' '
> 23
œÆ > œ > œ œ >œ œ œ b œ œ œ œ
° 2R 24 #œ ™ œÆ Œ
œbœ œ
Fl. &4 ‰ ≈ Œ 43 ∑ 44 Ó 43
ff 6 3
p ff mf ff
>œ 3
‰ œj œ bœ
3
2
&4 ‰ #œ #œ 43 œr ≈ ‰
24 œ™ œ Œ 44 Ó
œ œ > œ
œ œ 43
'
Ob.
p ff
> >
43 n˙ ™
24 ™
3
2 44 Ó 6
3
&4 Œ ≈ œ œ Œ œ œ œ b>œ œ œ œ 4
#œ œ œ b œ œ œ œ >œ
Cl.
> '
œ > >
> fp ff
?2 ^ ^ ^ ^ 44 ^
mf ff
¢ 4 Œ 43 ™ ‰ j ≈ r ‰ 24 Œ ‰ j ‰ ‰ 43
#œ™
j
bœ™
Bsn.
bœ œ œ b œ œ œ œ œ œ
' ' ' bœ ' ' ' œ™ ' œ ' ' '
' ' ' '
° 2
&4 Œ ≈ 43 ∑ 24 œ™ œ Œ 44 ∑ 43
#œ œ '
Hn.
œ
>
p ff
24 #œ ™
f
Tpt.
2 Æ
& 4 œR ≈ ‰ Œ 43 ∑ œÆ Œ 44 ∑ 43
™
ff p ff
24 œ œÆ
Tbn.
B2
¢ 4
∑ 43 ∑ Œ 44 ∑ 43
p ff
°? 2 44 j ‰
Timp. 4 ∑ 43 ∑ 24 ∑ œ Œ Ó 43
'
mfz
2
/4œ Œ 43 Æj ‰ ‰ Æj Œ 24 Æj ‰ Œ 44 œ Œ Ó 43
œ œ œ œJ ë ‰
Perc. I
ë
' >. . . >. . . >. . . >o–
^
2 >œ œ œ œ œ œ 43
24 ‰ ≈ œR Œ 44 Ó ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
43
¢/ 4
Perc. II ∑
3 3 6 3
{
sffz
pp p f
? 24 ∑ 43 ∑ 24 ∑ 44 ∑ 43
? 24 ^ ^ ^ 2 ^ 44 ^
Pno.
Œ 43 ™ ≈
œ ‰ j b œr ‰ 4 ™ Œ ‰ j ‰ ‰ j 43
bœ™ bœ œ
' ' bœ #œ œ
' œ™ œ œ œ œ œ
{
' ' ' ' ' '
“‘
' ' ' ' '
^ ^j ^j ^
24 #^œ ‰ 44 Ó ^
43
2
&4 Œ #œ
j ‰ 43 œ ‰ ‰ œ Œ J Œ Œ
œ bœ
b ^œ
Ab
Hp.
^
D# G§ C#
^œ D§
? 24 Œ #œ
J
‰ 43 ∑ 24 ∑ 44 Ó Œ 43
° 2
3
bœ
3
24 Œ 4 43
arco
3 3
3 j œ
Vln. I &4 Œ #œ œ œ‹ œ œ œ œ œ 4 #œ
‰ Œ Œ ≈
œ œ 4˙ nœ œ > œ œ
> > > > #œ > >
p ff > 3
bœ
3
2 3 j 24 Œ ≈ œ 44 œ 43
3 3
Vln. II &4 Œ #œ œ œ‹ œ œ œ œ œ 4 #œ
‰ Œ Œ
œ ˙ nœ œ > œ œ
> > > > #œ > >
>
≈ œJ ™
^
p ff
^ ^ ^ ^
pizz.
B 24 Œ 43 j
24 Œ 44 Ó 43
arco
œ
3 3
‰ Œ Œ œ bœ œ
#œ ‹œ œ œ œ œ œ œ #œ
Vla.
> > > sffz simile
> >œ ^
p ff arco
4 œ™
> #œ Æ
B 24 Œ
#œ 43 ∑ 24 ∑ ?4 œ ‰ œj ‰ œ œ ‰ œ B3
4
Vc.
' ' ' ' ' J
p ff
ff
?2 ^ ^ ^j ^ 44 ^ ™
¢‹ 4 b œ' ™
bœ Œ 43 ™ b œÆ ‰ 24 #œÆ ™ œÆ Œ œ ‰ œj ‰ œÆ 43
œ ‰ b œ' ≈ R œ œ œ ‰
Db.
' œ ' ' ' ' ' J
' '
24 > œ >œ œ >
> œ > œ bœ bœ bœ œ
° 3Œ œbœ œœœ
œ nœ œ 24 œ bœ 4Ó
Œ œœœ Œ ≈
Fl. &4
6 3
bœ œ 4
mf ff
bœ bœ œ œ
3 œ 24 nœ œ b œ b œ nœ 44 œ R ≈ ‰
Ob. & 4 nœ œ œ #˙ œ ≈ ‰
> > ' 3
>
p ff
3 > > bœ >

24 œ b œ œ œ œ œ œ œ œ
6
44 Ó #>œ
&4 Œ Œ œ nœ œ œ œ bœ œ œ œ #œ œ
> œ >
Cl.
6 6
mf ff
?3 ^ 24 ^ j 44 ^
Bsn.
¢ 4 œ
‰ j ‰ ‰ ‰ bœ œ™ œ'
‰ j ‰ bœ œ ‰ œ œ
œ™ ' œ œ œ' œ œ' > '
œ
'
' ' ' '
' ' ' '
° 3 24 44 Œ j
&4 ∑ ≈ Œ ‰
bœ œ œ
≈ Œ
Hn.
bœ œ
' '
p ff p ff
3 24 œ 44 Œ j
&4 Œ #˙ œ ≈ Œ ‰ œ œ œ ≈ Œ
'
Tpt.
> '
fp ff p ff
B3 24 œ œÆ 44 Œ œÆ ≈ Œ
¢ 4
∑ ≈ Œ ‰ œ œ
Tbn.
J
p ff p ff
°? 3 ∑ 24 ∑ 44 j ‰ Œ Ó
Timp. 4
œ
'
3
/4 ∑ 24 ∑ 44 œ Œ Ó
œJë ‰
Perc. I
>. . . >o– '

>. . . >. . .
¿ ¿ ¿ ¿ ¿ ¿ >¿™o– >. . . >. . . >. . . >o–
3… 24 ¿ ¿ ¿ ¿ 44 …Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¢/ 4 Œ Œ
Perc. II ≈ J Œ
6 3 6 3
{
p f p f
? 43 ∑ 24 ∑ 44 ∑
? 43 ^ 24 ^ 44 ^
Pno.
‰ ‰ ‰ ‰ j ‰ ‰
œ
j bœ œ™ œ'
j bœ œ ‰ œ œ
œ™ œ œ œ' œ œ' > œ ' ' ' '
{
' ' '
“‘
' ' ' '
3 24 ^ ^ 44 Œ ^j
&4 ∑ œ Œ ‰ Ó
œ b œœ
Eb ^
n^œ
A§
Hp.
? 43 Ó ^œ 24
C§
44 Œ œ
Œ ‰ J Ó
>
> b >œ œ œ œ œ nœ
° 3 œ
3 3 3 3 > b œ nœ b œ œ
Vln. I
2 j
& 4 nœ œ œ #œ œ œ‹œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ ‰ ‰ œ bœ 44
> > > > > > 3
#>œ
3 3 3 3
Vln. II
3 2 j
& 4 nœ œ œ œ #œ œ œ‹œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ ‰ Œ 44 Ó nœ œ #œ œ
> > > > > > > >
(stop note abruptly,
œÆ ≈ Œ
arco do not rearticulate)
nœ œ
non div.
B 43 Œ 2 j 44 Œ
3 3 3 3
‰ Œ ‰ œ œ œ
Vla. #œ ‹œ œ nœ œ œ œ œ œ
> > œ œ œ œ œ œ œ 4 #œ J &
> > > p ff
pizz.
> #œ > >œ œ >œ >œ
44 ^
arco
B 43 Œ 24 Œ ‰ j ‰ ‰ bœ œ ‰
?
#œ bœ j œ œ
œ™ œ'
Vc.
> œ ' ' ' '
p ff ' '
^ ^ b>œ ^Æ Æ
44 œ ™ œ ‰ b œÆ œÆ ‰ œÆ œÆ
œ™ œÆ
?3 j 24 œ œ ‰
¢‹ 4
œ ‰ œ ‰ œ œ ‰ J ‰
Db.
' ' ' ' ' ' ' J
>œ 25
œ œÆ <n> œ
b >œ # ^œ œÆ <n> œ
<n> œ
œ œ > #œ # œ n œ
° œ #œ œ
‰ ‰ ≈ R ‰ J Œ ‰ #œ œ ‰ J ≈ R ≈ J
Fl. & #œ #œ
3 3 3
> pp ff pp ff pp
#>œ ™ œ œÆ ≈ #œ œÆ
> b œ nœ
3
nœ œ
& Ó œ œ Œ Œ ‰ J R ≈ J
Ob.
nœ œ #œ
> #œ
> pp ff pp ff pp
>œ
<#>˙ #˙ Œ ‰
#œ #>œ œ œ œ œÆ ≈ œ œÆ ≈ #œ
Cl. & nœ #œ ‰ b œJ R J
3 >
pp ff pp ff pp
? ^ ^ ^ ^
¢ œ™ œ
‰ j ≈ r ‰
œ œ œ'
‰
œ œ' œ œ'
‰
œ œ' œ œ'
‰
œ œ' œ œ' œ œ œ œ
‰ ‰ bœ œ
' œ' ' œ'
Bsn.
' œ ' œ œ
œ ' œ '
' ' ' ' ' ' ' ' ' ' ' ' ' ' '
° Œ ‰ j r
œ ≈Œ Ó œ ≈‰
& #œ ‰ j ≈ r≈ j
<n> œ
Hn.
bœ œ
' ' œ œ œ œ œ
p ff p ff ' ' pp
pp ff pp ff
& Œ ‰ bœ
j
œ œ ≈Œ Ó œ œÆ ≈ ‰ ‰ b œj œ œ ≈ bœ r≈ j
œ bœ
Tpt.
' R '
p ff p ff pp ff
' pp
^ ^
pp ff
B Œ œ œ œÆ ≈ Œ œ œÆ ≈ ‰ ^
¢
‰ J Ó R
?
œ œ ‰ ‰ œ œ Œ bœ œ ‰
' ' ' '
Tbn.
p ff p ff ' '
°? j
Timp. j ‰ Œ Ó j ‰ Œ Ó œ ‰ ‰ œj Ó
œ œ ' '
' '
^ ^
/ j ‰ Œ Ó œ Œ Ó œ ‰
J
‰ j œ
œ œ œ œ œ
Perc. I
ë
' ' ' ' '
>. . . >. . . >. . . >o– >. . . >. . . >. . . >. . . >o–
¿. ¿. ¿. >¿– œ^ ¿. ¿. ¿. >¿– ^œ
o … o …
… ¿¿¿¿¿¿¿¿¿¿ … ¿¿¿¿¿¿¿¿¿¿¿¿¿ … ^œ ¿. ¿. ¿.
Perc. II
¢/ Œ Œ Œ J ‰
6 3 6 6 3 3 3
{
p f p f
? ∑ ∑ ∑
? ^ ^ ^ ^
Pno.
‰ j ≈ r ‰ ‰ ‰ ‰ ‰ ‰ bœ œ
œ™ œ œ œ œ œ' œ œ' œ œ' œ œ' œ œ' œ œ' œ œ' œ œ œ œ œ œ ' œ' ' œ'
' ' œ ' œ '
“‘
' ' ' ' ' ' ' ' ' ' ' ' '
{
' '
^j ^j ^ ^Æ
& Œ ‰
bb œœœ Ó Ó b œœœ ‰ Œ Œ ‰ œÆ Œ œ ‰
J
J
G§ ^ E§ ^
Hp.
Æœ œÆ
?
Gb
∑ ∑ Œ ‰ J Œ J ‰
b >œ #œ nœ
° #>œ ™
œ œ #>œ
œœ œœ ≈#<n>œœ œÆ ≈ <n>œ
œ nœ #œ ‰ n<n>œœ
œ #œ œ >œ #œ œ j
non div.
& œ #œ œ J
R
Vln. I
>œ > '
# >œ ™
3 3 3
œ™ nœ œ
<#>œ
pp ff pp ff pp
œ r≈ j
3
bœ œ ‰ b œj
non div. (stop notes abruptly, do not rearticulate)
Vln. II & ‰ Œ
nœ œ > #œ #œ #>œ œ bœ
œ œ ≈ nb œœ
œ œ œœ # œœ
> > ' '
pp ff pp ff pp
j r ‰ <n>œj r j
non div.
Vla. & Œ ‰ #œœ œœ œœ ≈ Œ Ó #œœ œœ ≈ ‰ B œ œ ≈ œ œ ≈ b œœ
' ' ' '
pp ff pp ff pp
^ ^
p ff p ff
? ^ ‰ j ≈ r ‰ ‰ ‰ ‰ œ œ œ ‰ œ œ œ
^
œ ‰ bœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
' ' ' ' ' ' ' œ' ' œ
Vc.
œ™ ' œ ' œ ' œ ' ' ' œ ' ' ' œ ' ' ' ' ' '
' ' ' ' ' '
^ ^
™
^Æ
? œÆ œÆ
Æ
≈ œR ‰ œÆ œÆ œÆ œÆ œÆ œÆ ‰ œÆ œÆ œÆ œÆ ‰ œÆ œÆ œÆ œÆ ^
¢‹
œ ‰ ‰ œ œ œ œ ‰ œ œ œ œ ‰ bœ œ
Db.
J ' ' ' ' ' ' ' ' ' œ' ' œ
'
26 œÆ
œÆ <n># œœ œœÆ œ
œÆ #œ œÆ <n> œ œÆ nœ œœ
° œ œ œ œ
Fl. & ≈ R ≈ J ≈ R ≈ J ≈ 24 R ≈ ‰ Œ
œÆ <n> œ
ff pp ff pp ff pp ff pp ff pp ff
œÆ œ œÆ œ œÆ #œ œÆ
œ R ≈ #œJ œ œÆ œ
R ≈ J 24 R ≈ ‰
Ob. & ≈ ≈ ≈ Œ
œÆ œ œ œÆ Æ
œÆ ≈ b œ
& <#>œ
œ 24 œR ≈ ‰
œÆ ≈ nœ œÆ ≈ b œJ œ R ≈ J ≈ Œ
Cl.
R
^ ^
? ^ ^ ^ ^
nœ œ œ œ 24
¢ #œ œ œ œ
‰ ‰ bœ œ œ œ ‰ ‰ ∑
œ œ' œ œ' ' ' ' ' b œ' b œ' œ' œ' œ œ' œ œ' ' ' ' '
Bsn.
' ' ' ' ' ' ' '
° r j 24 œr ≈ ‰
Hn. & ≈ r≈ j ≈ œ œ ≈ œ œ œ ≈ œ Œ
œ œ œ œ œ œ œ ' ' '
' ' ' pp ff pp ff pp ff
œÆ Æ
œÆ bœ œÆ ≈ b œ 24 œR ≈ ‰
ff pp
& œ
pp ff ff
r R ≈ b œJ œ
œ ≈ bœ œ ≈ b œJ œ ≈ Œ
' '
Tpt.
^ ^
? ^ ‰ ^ ^ ^ 24
¢ #œ œ
‰ Œ bœ œ ‰ ‰ ‰ Œ nœ œ ‰ ∑
œ œ' b œ b œ' œ œ' ' '
Tbn.
' '
' ' ' ' '
°? j j 24
#œ ‰ ‰ œ Ó j ‰ ‰ j Ó ∑
' ' bœ œ
Timp.
' '
^ ^ ^
/ Œ œ ‰ ‰ j œ Œ œ ‰ 24 ∑
Perc. I
œ œ J œ œ œ œ J
' ' ' ' ' '
>¿o– …^ .¿ ¿. ¿. >¿o– …^œ ¿. ¿. ¿. >¿– œ^
o … .¿ ¿. ¿. >¿o– …^ .¿ ¿. ¿. >¿o– …^ ¿. ¿. ¿. >¿–
o …^ ^ ^ ^ ^
œ œ œ 24 œ œ œ œ œ œ œ œ œ œ œ œ
Perc. II
¢/
3 3 3 3 3 6 6
{
? ∑ ∑ 24 ∑
^ ^
? ^ ^ ^ ^
Pno.
‰ ‰ bœ œ œ œ ‰ ‰ nœ œ œ œ 24 ∑
# œ œ' œ œ' œ œ' œ œ' ' ' ' ' œ' b œ' œ' œ'
b œ œ' œ œ' ' ' ' '
<“> ' ' ' ' ' '
{
^Æ ^ ^Æ ^Æ
^Æ œ ^Æ nœÆ œ œ
œ 24 J
& ‰ œJ Œ J ‰ ‰ J Œ J ‰ ‰ J Œ ‰ Œ
^ F# ^ ^Æ
? ‰ œJÆ œÆ ^j ^j 24 ^j
Hp. F§
Œ ‰ ‰ œ Œ ‰ ‰ Œ ‰ Œ ?
J J &œ œ œ
' ' '
œÆ
° œ œœÆ ≈ <n>#œœ
Æ œ
œÆ ≈ #œœ œœÆ ≈ <n>œj œ œ ≈ nœœ œœ œœ ≈ 24 R ≈ ‰ Œ
Vln. I & R # œ œ œ R J
'
r j r j 24 œœÆ ≈ ‰
& <#> œœ œ ≈ bœ œ ≈ bb œœ œ
œ
œ ≈ bœ
œ bœ œœ ≈ bnœœ œ
œ
œ ≈n#œœ
œ Œ
œ nœ œ R
Vln. II
' ' ' ' '

pp ff pp ff pp ff
œÆ ≈ œ œÆ ≈ œ Æ
ff pp ff pp ff
œ œ 24 œ ≈ ‰
Vla. B œœ œœ ≈ œ
r
œ ≈ œ
j
œ œ ≈ R J bœ œR Œ
' ' ' pp ff
ff pp ff pp ff pp ff pp ff
^ ^
? ^ ‰
^
‰
^ ^ 24
bœ œ œ ‰ œ œ œ ‰
bœ œ œ nœ œ œ œ ∑
œ bœ
# œ œ' œ œ' œ œ' œ œ' œ ' ' ' '
Vc.
' ' ' ' ' ' ' ' ' ' ' '
' ' ' '
^Æ œÆ Æ œÆ ^Æ œÆ Æ œÆ ^ ^ b œÆ œÆ œÆ ‰ ^Æ œÆ œÆ œÆ ‰ ^
? b œÆ 24
¢‹ #œ œ ‰ œ œ ‰ bœ œ œ œ nœ œ œ œ ∑
Db.
' ' ' œ ' ' ' '
'
^ ^Æ ^ 27
# œÆ œ ^Æ ^Æ ^
œÆ # œÆ n>œ
° ‰ J
œ œ > nœ > œ b œ >œ œ œ >œ œ œ œ œ œ œ
œ œ 24 œ œ b œ
Fl. & ‰ J 169 J ≈ J ≈ J ≈ 43 ‰ J œ œ œ œ ®Œ 41
sffz
>œ
simile ff poss.
^Æ ^Æ ^ ^Æ ^ ^Æ > >
œ œ 9 #œÆ œ œÆ œ œ nœ >œ œ b œ œ œ œ œ œ œ
24 œ œ b œ
Ob. & ‰ J ‰ J 16 J ≈ J ≈ J 3
≈ 4‰ J œ
œ œ œr ≈ ‰ 41
6 6
œ <n> œ
^Æ ^Æ ^
sffz simile ff poss.
^Æ ^Æ ^Æ > 6
œ œ œÆ œ > > œ œ >œ œ b œ >œ œ œ œ œ œ œ œ

œ
Cl. & ‰ J ‰ J 169 J ≈ J ≈ J 3
≈ 4‰ J bœ œ œ 24 œ b œ
œ œ œ ≈ ‰ 41
bœ œ œ
sffz simile
> œ
^ ^ ^ œ >œ œ œ >œ œ œ b œ œ œ œ b œ œ
2 2 2 ff poss.
^ ^ ^ >
? ^j ‰ ^j ‰ 169 œ œ œ 34 ^j ‰ œ b œ 24 41
¢ œ ' ' ' œ œ bœ ‰
Bsn.
œ œ œ œ œ œ œ œ
' ' ' ' ' ' ff poss. 6 6
6 3
sffz simile
° ‰ ^j ^j 9 ^j ^ ^ ^
& <n>œ ‰ œ 16 œ ≈ œj ≈ œj ≈ 43 ‰ œj ‰ 41
24
<n>œ
j ≈ ∑
Hn.
' ' ' ' ' ' œ œ
'
^Æ ^Æ ^Æ
pp ff
^Æ ^ ^ œÆ
Tpt. & ‰ #œJ ‰ œJÆ 169 #œJ ≈ œJ ≈ œJ ≈ 43 ‰ #œJÆ ‰ bœ
J
œ ≈ 24 ∑ 41
? ^Æ <n> œ
^Æ ^ ^Æ
pp ff
^ œÆ 9 ^ ^ ^
2 2 2
^ ^ ^
34 ^Æ œ ‰ œÆ 24 Œ 41
¢ œ 16 œ' œ œ bœ œ ≈
œÆ œ ' œ ' œ œ J œ
Tbn.
' ' ' pp ff pp
°? ^ ‰ ^ ‰ 9 ^
j j 16 ∑ 43 œj ‰ Œ Œ 24 ∑ 41
nœ œ
Timp.
' ' '

…(choke immediately!)
^Æ
œ ^Æ >œ œ > >œ œ > >œ œ > 3 ^Æ
Perc. I / œ ‰ œj ‰ 16
9 œ œ œ œ œ œ 4 œj ‰ Œ Œ 24 ∑ 41
J
^œ ™ œ^ ™ œ^ ™ ^œ >¿. ¿. ¿. >¿. ¿. ¿. >¿. ¿. ¿. >¿o– >o– >¿o–
4 4 4
^œ œ^ ^œ œ œ œ^ œ œ
‰ J ‰ J 169 43 ‰ J 24 ¿ 41
Perc. II
¢/ J J J
{
6 3 6
p f
? ∑ 169 ∑ 43 ∑ 24 ∑ 41
sffz simile
? ^j ‰ ^j ‰ 169 ≈ ^ ^ ^ ^
Pno. 2 2 2
œ
r ≈ œ
r ≈ œ
r 43 j ‰ Œ Œ 24 ∑ 41
œ œ œ
{
' ' '
“‘
' ' '
^
& ∑ 169 ∑ 43 Œ Œ ‰ #œj 24 ∑ 41
œ
D# ^
'
#œÆ
Hp.
? ∑ 169 ∑ 43 Œ Œ ‰
J
24 ∑ 41
^Æ ^Æ ^ >
œ œ œÆ > nœ b œ >œ œ œ >œ œ œ n œ œ œ b œ œ
° # œ œ œ œ œ >œ b œ
Vln. I & ∑ 169 J ≈ J ≈ J ≈ 43 Œ 24
œ œ œ ≈ 41
sffz 6 6 bœ œ
>
simile ff poss. 6 3
^
b œÆ
^Æ ^Æ > œ nœ >œ œ œ >œ œ b œ œ œ œ 2 œ œ
≈ œœ ≈ œœ
6
169 ≈ 43 Œ 41
3
& ∑ œJ bœ 4 bœ œ œ ≈‰
Vln. II
J J 6 > œ bœ œ
6
> œ b >œ œ œ œ
sffz simile ff poss.
^Æ ^Æ ^
œ œ œÆ > œ b œ >œ œ œ >œ œ œ œ œ
B ∑ 916 J ≈ J ≈ J ≈ 43 Œ œ 24 b>œ œ œ œ B 1
Vla. bœ œ œ œ Œ &4
sffz simile ff poss. >œ
œ œ b>œ
? ^j ‰ ^ ^r ^r ^r ^
2 2 2
2 œ œ œ 1
j ‰ 169 ≈ œ
≈
œ
≈
œ 43 j ‰ Œ Œ 4‰ bœ œ 4
œ œ œ
Vc.
' ' ' ' ' ' 3

ff poss. 6
sffz simile
^ ^ 2
^r 2
^r 2
^r ^
? 169 ≈ 43 j ‰ Œ 24 Œ œ b œ œ 41
¢‹ œj
‰ j ‰ ≈ ≈ Œ œ
Db.
œ œ œ œ œ >
' ' ' ' ' ' ff poss.
sffz simile
28 ^ ^Æ ^Æ ^ ^Æ ^Æ ^
n œÆ œ œ # œÆ ^Æ
œ
^Æ
œ œ œ # œÆ ^
œÆ
^
œÆ
^Æ
œ
^Æ
œ
° 1‰ J 316 J
Fl. &4
616 J ≈ J ≈ 43 ‰ J ‰ J ≈ 43 ‰ J 24
sffz simile
^ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^ ^Æ ^Æ
b œÆ b œÆ œÆ
Ob. & 41 ‰ J 616 œJ ≈
œ
J ≈ 43 ‰
œ #œ
J œ
‰ J 316 œJ ≈ 43 ‰
œ #œ
J œ œ 24
sffz simile
^ ^ ^Æ ^Æ ^Æ ^Æ ^ ^ ^Æ ^ ^ ^Æ ^Æ
b œÆ b œÆ œ œ œ œ b œÆ b œÆ œ œÆ œÆ œ œ
Cl.
1
&4 ‰
J 616 J ≈ J ≈ 43 ‰ J ‰ J 316 J ≈ 43 ‰ J 24
sffz simile
^Æ ^Æ ^Æ
?1 ^ 616 b œ ^ œ ^ ^ ^ 316 b œ ^ ^
¢ 4 œj ‰ b œÆ œÆ 43 œj ‰ Œ
œ
j ‰ b œÆ 43 j ‰ Œ Œ 24
œ
Bsn.
' 2 2 ' ' 2 '
sffz simile
° 1 ^j ^j ^j ^j ^ ^ ^j ^j ^j ^ ^ ^ ^
& 4 ‰ bœ 166 b œ ≈ œ ≈ 43 ‰ œ œ œ ‰ bœ 163 b œ ≈ 43 ‰ <n>œ œ œ œ œ
24
' ' ' ' '
Hn.
sffz simile
' ' ' ' ' ' ' '
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^ ^Æ ^Æ
1
&4 ‰ œ œ
166 J ≈ œ
J ≈ 43 ‰ #œJ #œ œ ‰ nœJ œ
163 J ≈ 43 ‰ #œJ #œ œÆ œ œ 24
Tpt. J
sffz simile
^ ^ ^Æ ^Æ ^Æ ^ ^Æ ^ ^Æ ^Æ
b œÆ ^ ^ œÆ ^ œÆ œÆ
2 2 2
^ ^ œ œ ^ bœ ^ œ œ œ
? 41 ^Æ 616 œ œ ^
43 œÆ 316 œ ^
43 Æ 24
Tbn.
¢ œ ' bœ ' œ œÆ ' bœ œ
' ' '
sffz simile
°? 1 ^ ^ ^ ^ 24
Timp. 4 œj ‰ 166 ∑ 43 œj ‰ Œ
œ
j ‰ 163 ∑ 43 j
œ
‰ Œ Œ
' ' ' '
…
^Æ
œ > > > > ^ >œ ^ >œ ^ ^Æ > > ^ >œ ^ >œ ^ >œ ^ >œ ^ 2
Perc. I
1
/4œ ‰ 166 œ œ œ œ œ œ œ œ 43 œÆj ‰ œ œ j
œ
‰ 163 œ œ œ œ 43 œÆj ‰ œ œ œ œ 4
J 4 4 4
^œ ^œ ™ œ^ ™ œ^ œ^ œ^ ^œ ^œ ™ ^œ œ^ œ^ ^œ ^œ
1 …‰ 166 J 43 ‰ 163 J 43 ‰ 24
¢/ 4
Perc. II J J J ‰ J J
{
? 41 ∑ 166 ∑ 43 ∑ 163 ∑ 43 ∑ 24
sffz simile
? 1 ^j ‰ ^r ^r ^ ^ ^r ^
Pno. 2 2 2
4œ 166 ≈ bœ ≈ œ 43 œj ‰ Œ
œ
j ‰ 163 ≈ bœ 43 j
œ
‰ Œ Œ 24
' ' '
“‘
' ' ' '
^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ ^Æ
œ œ œ œ œ œ œ œ œ
° 1 œ œ #œ œ œ #œ œ œ œ 24
Vln. I &4 ∑ 166 J ≈ J ≈ 43 Œ Œ 163 J ≈ 43 Œ
sffz simile
^Æ ^Æ ^ ^Æ ^ ^ ^Æ ^Æ ^Æ
œ œ b œÆ œ nœÆ b œÆ œ œ œ 24
Vln. II & 41 ∑ 166 #œJ ≈ œ
J
≈ 43 Œ nœ œ Œ 163 # œJ ≈ 43 Œ nœ œ œ œ
sffz simile
^ ^Æ ^Æ ^Æ ^ ^Æ ^Æ ^Æ ^Æ
b œÆ œ b œÆ 24
Vla.
1
&4 ∑ 166 J ≈ J ≈ 43 Œ œ œ Œ 163 J ≈ 43 Œ œ œ œ œ
sffz simile
? 41 ^j ^r ^r ^ ^ ^r ^
2 2 2
163 ≈ 43 j 24
Vc.
œ
‰ 166 ≈ bœ ≈ œ 43 œj ‰ Œ
œ
j ‰ bœ œ
‰ Œ Œ
' ' ' ' ' ' '
simile
sffz
?1 ^ ^r ^r ^ ^ ^r ^
2 2 2
163 ≈ 43 j 24
Db.
¢‹ 4 œj ‰ 166 ≈ bœ ≈ œ 43 œj ‰ Œ
œ
j ‰ bœ œ
‰ Œ Œ
' ' ' ' ' ' '
simile
sffz
^ ^ 29
> n œÆ ^ ^ # œÆ n œ^Æ ^
> œ > œ œ >œ œ b œ >œ œ n œ n œ œ b œ œ œ b œÆ œÆ œÆ
° 2 nœ # œ œ #œ nœ nœ b œ
Fl. &4 43 œ œ #œ nœ
nœ b œ œ œ
≈ Œ 24 ‰ J J ‰ J ‰ J J ‰ J
ff poss. sffz 3 3
> ^Æ ^Æ ^Æ ^Æ
simile
> > > œ œ œ œ nœ ^Æ ^Æ
2 b œ nœ nœ œ œ #œ nœ #œ
&4 43
œ bœ œ œ
#œ nœ nœ b œ Œ 24 ‰ b œJ œJ ‰ œJ ‰ n œJ #œJ ‰ œJ
œ œ
Ob.
ff poss. 6 6 sffz 3 3
6
^ ^ ^
6
^Æ ^Æ ^
simile
> > > > >œ

œ #œ œÆ n œÆ œÆ œÆ
2 œ b œ nœ b œ nœ œ œ œ #œ nœ #œ œ œ œ nœ 3 œ b œ œ œ ≈ Œ 24 ‰ J J ‰ J ‰ J J ‰ J
Cl. &4 4 #œ nœ nœ b œ œ
œ #œ nœ
nœ b œ sffz 3 3
ff poss.
> > simile
> > œ œ œ b œ n œ b œ œ 3 œ #œ nœ
? 24 œ #œ œ œ œ 24 ^j ‰ ‰ ^j ‰ ^j ‰ ‰ ^j ‰
3 3
¢
nœ b œ œ œ
6
4 j ‰
Bsn.
# œ nœ nœ b œ œ œ bœ bœ nœ nœ
ff poss. 6 6
6 ' ' ' '
simile
sffz
° 2 j 24 ‰ b ^œj ^j 3 ^j ^j ^j 3 ^j
&4 ‰ bœ œ œ ≈ 43 ∑ œ ‰ œ ‰ <n>œ œ ‰ œ
'
Hn.
' ' ' ' ' '
pp ff sffz simile
œ œ œÆ ^ ^
24 ‰ œÆ œÆ ‰
^Æ ^ ^
œ ‰ #œÆ #œÆ ‰ œÆ
^
Tpt. & 24 ‰ J ≈ 43 ∑ J J J J J J
pp ff 3 3
sffz
simile
^ <n> œÆ ^ ^ ^
^ ^ ^ ^3 ^ ^ 3
œ œ œÆ œ
Tbn.
?2 ‰
¢ 4 J ≈ 43 ∑ 24 ' bœ bœ œ Æ
b œ simile ' ' ' n œ
nœ
' nœ '
œ
pp ff ' '
sffz
°? 2 24 ^j ‰ Œ ^
Timp. 4 ∑ 43 ∑
bœ nœ
j ‰ Œ
' '
^Æ > ^Æ > ^ > ^Æ >

Perc. I
2
/4 ∑ 43 ∑ 24
œ
œ
j ‰ œ œ
œ œ œ
Æ
j ‰ œœ œ
œ œ
>. . . >. . . >. . . >o– >o– >¿o– >¿o– >¿o–
3 3
2 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 34 ¿ œ^ œ œ ^œ œ œ 2 …‰ ^œ œ^ ‰ œ^ ‰ œ^ œ^ ‰ œ^
Perc. II
¢/ 4 4 J J J J J J
{
6 3 6 3 3
p f
? 24 ∑ 43 ∑ 24 ∑ ∑
24 ^j ‰ ‰ ^j ^ ^
Pno. 3 3
? 24 ∑ 43 ∑ ‰ ‰ j ‰
bœ b œ ‰ n œj nœ
{
' '
“‘
' '
^Æ
2 œ
&4 Œ ‰ bœ
J 43 ∑ 24 ∑ ∑
Ab ^
œÆ
Hp.
? 24 Œ ‰ J 43 ∑ 24 ∑ ∑
> b œ > œ n œ b >œ n œ n œ # >œ n œ œ b œ ^

b œÆ
^Æ
œ
^
n œÆ
^Æ
œ
° 2œ œ œ œ œ #>œ nœ œ œ #œ œ
6
nœ b œ œ œ
43 24 Œ
6
&4 #œ nœ nœ b œ J ‰ J Œ J ‰ J
œ œ #œ nœ
Vln. I
ff poss. 6 6 6 > 3 3
>
sffz simile
> >
œ >œ œ œ œ œ b œ n œ b œ œ œ #œ nœ n>œ b œ ^j ^j ^ ^
3
2 œ #œ b œÆ ‰ œÆ
43 24 Œ œ œ
6
&4 œ œ #œ nœ 3
‰ #œ ‰ œ Œ œ œJ
Vln. II
nœ bœ œ œ J
ff poss. 6 6 6 > #œ nœ ' '
sffz simile 3
> ^Æ ^Æ ^Æ ^
œ ‰ œÆ
6
2 > bœ œ œ 3 24 Œ
4 #œ nœ nœ Bb>œ œ œ #œ nœ nœ b œ
6
& 4 œ œ #œ nœ #œ œ œ œ œ & #œJ ‰ œJ Œ

6
Vla. Œ J J
> > œ 3 3
>
6
sffz simile
œ b œ œ >œ
ff poss.
2 ^ ‰ ‰ ^j ‰ ^j ‰ ‰ ^j ‰
3 3
? 24 ∑ 34 ‰ #œ nœ nœ bœ œ œ
6
Vc.
#œ nœ n œ b œ œ 4 b œj bœ nœ nœ
3
ff poss. 6 > ' ' ' '
simile
>œ
sffz
2 ^ ‰ ‰ ^j ‰ ^j ‰ ‰ ^j ‰
3 3
?2 43 Œ
¢‹ 4
∑ œ bœ œ œ
Db.
#œ nœ n œ 4 b œj bœ nœ nœ
ff poss.
> ' ' ' '
simile
sffz
30 > b œ > œ b œ n>œ b œ œ ^Æ ^Æ > ^ >œ >œ
œ œ œ œ bœ œ œ
^ >
# œÆ n œ n œ # œ œ œ b œ œ œ œ œ b œ b œ œ b œÆ œ œ œ #œ nœ b œ œ
° œ bœ
‰ J ‰ J ‰ J 38 24 ‰ J ‰ ‰
Fl. &
ff poss. 6 3 3 3
^Æ
3 3
^ ^Æ ^ > >œ >œ
> b œ > œ n œ >œ œ b œ
œ nœ œ bœ œ bœ œ # œÆ œ # œÆ # >œ œ # œ œ œ œ œ #œ nœ œ œ # œ œ # œ #œ œ
‰ J ‰ J ‰ J 38 24 ‰ J ‰ ‰
Ob. &
ff poss. 6 7 3 3 3 3 3 3 6 3
> > >

b œ n œ œ œ œ œ œ œ œ œ b œ bœ œ bœ ^Æ ^ ^Æ > > ^Æ >œ n>œ œ
œ ‰ œ ‰ b œÆ b œJ 3 œ b œ b œ n œ b œ œ œ b œ œ œ 2 n œJ œ b œ bœ œ bœ
œ œ
Cl. & J J ‰ 8 œ 4‰ ‰ ‰
ff poss. 6 9 3 3
3 3 3
> > n>œ #œ œ b œ b œ ^j ^j

3
? >œ b œ œ œ œ b œ nœ b œ œ œ œ œ œ ^ ^ ^j ^
3 3
¢
3
nœ b œ b œj ‰ nœj ‰ nœ ‰ 8 ‰ œ 24 b œ ‰ œ œ œ œ #œ
6
j ‰ Œ
' n œ b œ
Bsn.
' ' ' ' > bœ
ff poss. 6
9
3 3 '
°
3
^ ^
3
^ ^ >
& ‰ j r ≈ ‰ ‰ b œj ‰ nœj ‰ œÆ 38 ∑ 24 ‰ œÆ ‰ Œ ‰ bœ œ
Hn.
œ œ ' ' J J
' 3 3
^Æ ^Æ ^ ^Æ >œ
œÆ œ
pp ff
Æ œ
‰ œJ ‰ J ‰ J 38 24 ‰ #œJ ‰ Œ
Tpt. & ‰ œ
J
œ
R
≈ ‰ ∑ ‰
3 3 3 3
pp ff
œÆ ^
3
œ ^ ^ ^ 24 ^j ‰ œj Œ ^
3 3
?
¢ ‰ J R ≈ ‰ j ‰ œj ‰ œj ‰ 38 ∑ bœ j ‰ Œ
Tbn.
#œ ' ' ' bœ
pp ff ' ' '
°? ^ 24 ^j
^
∑ j ‰ Œ 38 ∑ bœ ‰ Œ b œÆ ‰ Œ
Timp.
#œ ' J
'
^Æ > ^Æ > ^Æ > ^Æ > ^Æ ^Æ >œ æœ
/ ∑ œ
œ
œ
œ
œ 38
œ ∑ 24 œ
œ Œ j æ
œ œ œ œ œ œ
Perc. I
>. . . >. . . >o– o

œ^ ¿ ¿ ¿ ¿– œ¿– ‰ Œ
3
. . . >o
3 3 3
¿. ¿. ¿. ^œ œ œ ^
¿ ¿ ¿ ¿ ¿ ¿ ¿ œ^ œ œ … ^œ ^œ œ^ œ œ 2 … ^œ
Perc. II
¢/ ‰ J ‰ J ‰ J 38 4‰ J ‰ ‰ J
6 3 3 3 3 3 3 3 3 3
{
? ∑ ∑ 38 ∑ 24 ∑ ∑
^j ^j ^j 24 ^ ‰ ^ Œ ^
Pno. 3 3 3
? ∑ ‰ ‰ œ ‰ 38 ∑ j j j ‰ Œ
b œ nœ
{
' ' ' bœ œ bœ
“‘ ' ' '
^j
38 24
& Œ œ ‰ ∑ ∑ ∑ ∑ ?
œ
'
^j
Hp.
? Œ ‰ ∑ 38 ∑ 24 ∑ ∑
œ
'
> b œ > œ b œ n>œ b œ œ ^ ^Æ > ^ >œ >œ
^
# œÆ n œÆ #n œœ # >œ œ œ b œ œ œ œ œ b œ b œ b œÆ œ œ œ#œ œ
œ œ œ œ bœ œ œ nœ b œ b œ
° œ # œ œ nœ nœ
‰ J ‰ J ‰ J 38 24 ‰ J ‰ ‰
Vln. I &
ff poss. 6 3 3 3 3 3
> > > ^ ^Æ > >œ ^Æ >œ b >œ œ

b œ n œ œ œ œ œ œ œ œ œ b œ bœ œ bœ ^Æ œ # œ œ # œ #œ
œ ‰ b œÆ b œœ 3 # œ n œ # œ œ œ œ #œ nœ
œ ‰ 24 ‰ n#œœ ‰
& nœ b œ ‰ J 8 J ‰
Vln. II
J J
ff poss. 6 9
3 3
3 3 3
3
6 3
> b œ > œ n œ >œ œ b œ ^Æ ^ ^ > > ^Æ >œ >œ

œ œ œ bœ œ bœ œ œÆ nœÆ œ bœ b œ n œ b œ œ œ bœ œ œ 24 ‰ b œJ ‰ n œ b œ b œ œ b œ œ œ ‰
œ
Vla. & ‰ nœJ ‰ J ‰ J 38 œ
ff poss. 6 7 3 3 3 3 3
n>œ #œ œ b œ b œ ^j ^j
3
^ ^ ^j ^
6 3 3
? Œ bœ œ œ œ j j 3 œ 24 b œ ‰ œ œ œ œ #œ
6
Vc.
> œ b œ b œ ‰ nœ ‰ nœ ‰ 8 ‰ ' > n œ b œ b œj
‰ Œ
' ' ' '
ff poss. 3 3 '
^
3
^ ^j
3
> ^
3
^ ^
? 3 œ b œ b œ œ 24 b œj ‰ œj
¢‹ Œ
j j
Db. œ
>
œ œ bœ b œ ‰ nœ ‰ nœ ‰ 8 ‰ ' ' œ # œ n œ b œ b œ
j ‰ Œ
' ' ' >
ff poss. '
Meditative q = 52ca.
œÆ
31
° R U ˙ ~~~
~~~~ 4
& ≈‰ Œ ~~~~4 r ≈ ‰ Œ Ó ∑ ∑ ∑
~ œ
Fl.
œÆ ff poss.
˙ ~~~
R ≈ ‰ UŒ ~~~~ 4 ≈ ‰ Œ Ó ∑ ∑ ∑
Ob. & ~~~~4 r
~ bœ
œÆ
ff poss.
b ˙ ~~~
R ≈ ‰ UŒ ~~~ 4
& ~~~ 4 r ≈ ‰ Œ Ó ∑ ∑ ∑
~~~
Cl.
ff poss. ~ œ
U b ˙ ~~~
~~~
¢
? Œ Œ ~~~ 44 r ≈ ‰ Œ Ó ∑ ∑ ∑
~~~ b œ
Bsn.
ff poss.
° œÆ U
˙ ~~~ 4
Hn. & R ≈‰ Œ ~~~~ 4 r ≈ ‰ Œ Ó ∑ ∑ ∑
~ ~ ~~~ œ
œÆ
ff poss.
U ˙ ~~~~~ 44 ≈ ‰ Œ
Tpt. & R ≈‰ Œ ~~~~~ r Ó ∑ ∑ ∑
~ œ
bœ Uœ ff poss.
˙ ~~~
? ~~~~ 4 ≈ ‰ Œ
¢ ~~~~4 r Ó ∑ ∑ ∑
nœ
Tbn.
p ff poss.
°? æ
˙æ
U
center of drumhead
Œ Œ 44 j ‰ Œ Ó ∑ ∑ ∑
œ—
Timp. gliss.
p
– l.v...
ff (lowest pitch poss.)
…œ ˙
Perc. I
U
/ R ≈‰ Œ æ 44 œJ ‰ Œ Ó ∑ ∑ ∑
p ff
U æ æ
˙æ ˙æ
… 44 j ‰ Œ
¢/
soft mallets
{
œ—
Perc. II Œ Œ Ó ∑ ∑ Ó
> pp sempre
p ff
molto legato sempre
? Œ U (black keys)
44 j
create as much resonance as poss., and let ring as long as poss.
Œ Œ bœ
3 6 6 6 6
‰ Œ Ó ∑ Ó Œ ‰
œ #œ œ #œ œœ œœ œœ œœ œœ œœ œœ
bœ bœ œ œ œ œ œ œ œ
“‘
gli
bœ
ss.
p
Pno.
? Œ U (white keys)
44 j
ff poss. pp p pp
<n> œ <n>œ
Œ Œ œ ‰ Œ Ó ∑ Ó Œ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
gli
° sempre
“‘
ss.
{
œ
? Œ U œ create as much resonance as poss., and let ring as long as poss.

44 j ‰ Œ
molto legato sempre
Œ Œ œ— Ó ∑ ∑ ∑
glis
s.
D§C§B§E#F#G§A§
U
Hp. p ff poss. D§C§B§E#F#G§A§ pp p
? Œ Œ Œ 44 j ‰ Œ Ó ∑ ∑ Œ ‰ j
œ # œ gliss. œ œ œ œ
“‘
gliss. gliss. gliss. gliss.
œ—
glis
s.
œÆ Meditative q = 52ca.
° R U ˙
sul G
Vln. I & ≈‰ Œ glis

s.
44 r ≈ ‰ Œ Ó ∑ ∑ ∑
bœ
 œÆ
ff poss.
R ≈ ‰ UŒ ˙
sul G
Vln. II & glis

s.
44 r ≈ ‰ Œ Ó ∑ ∑ ∑
ff poss. œ
œÆ ˙
sul C
R ≈ ‰ UŒ 44 r ≈ ‰ Œ Ó ∑ ∑ ∑
& B
glis
s.
bœ
Vla.
ff poss.
˙
sul C
? Œ U 44 r ≈ ‰ Œ
Vc. Œ glis
s. Ó ∑ ∑ ∑
ff poss. œ
˙
sul E
? U 44
¢‹ Œ
div., free bowing, arco
Œ
glis
s.
ww ww ww ww
Db.
ff poss. > p mp
32
°? æ
œæ
Timp. ∑ ∑ Ó Œ
pp sempre
tam-tam mallet
/ œj ‰ Œ Ó ∑ j ‰ Œ Ó
— œ—
Perc. I
æ æ æ
¢ / wæ ˙æ ˙æ
Perc. II Ó Ó
{
? ∑ ‰ bœ Œ Ó
bœ œ œ œ œ œ œ œ œ œ œ œ œ bœ b œ œ œ
Pno. “‘
p pp
? ∑ ‰
3 6 6 6 6
Œ Ó
œ <n> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
“‘
°...
{
D§C§B§EbFbG§Ab
? ∑ ∑ ∑
Hp. p pp Db
pp
? œ j ‰ Ó ‰ j ‰ Œ Œ ‰ œœ œ b œ
#œ œ j bœ œ œ bœ
“‘ “‘
œ œ œ œ
<“>
gliss. gliss. gliss. gliss. gliss. gliss. gliss.
° senza vib.
Vla. B ∑ ∑ Ó œ
Œ
pp
senza vib.
? j ‰ Œ Ó
Vc.
˙ ˙ œ ˙ ˙
pp p pp pp mp
?
Db.
¢‹ ww ww ww
p mp
33
°? senza vib.
Bsn.
¢ ∑ Ó
˙ œ ˙™
pp mp
°?
con sord. (bucket)
Tbn.
¢ ∑ ∑
w
pp
°? æ æ æ
wæ œæ wæ
Timp. Ó Œ
∑ j ‰ Œ Ó ∑
Perc. I / œ—
æ æ æ
¢ / wæ ˙æ ˙æ
Perc. II Ó Ó
{
? Œ ‰
3 6 6 6 6
nœ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ Ó Ó ‰ bœ
bœ œ œ œ œ
“‘
#œ œ œ œ œ #œ œ œ œ
Pno. “‘
p pp
? Œ
<n> œ <n>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ <n>œ
3 6
‰ Ó Ó ‰
œ œ
œœ œœ œœ
°... “‘ “‘
{
DbC§B§EbF#G§Ab
? ∑ ∑ ∑
Hp. p pp p pp
? j ‰
bœ œ œ œ œ œŒ Ó ‰ j œ Œ
œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
<“>
#œ
“‘
°B ∑ Ó Œ ∑
Vla.
œ
p
? j ‰ Œ Ó j ‰ Œ Ó
Vc.
œ ˙ ˙ œ
pp pp mf pp
?
Db.
¢‹ ww ww ww
p mp
34
°
& ∑ ∑ Œ
˙™
Cl.
pp
? j
¢ œ
‰ Œ j ‰ Œ
Bsn.
˙ œ ˙™ œ ˙
pp mf pp
°
Hn. & ∑ ∑ Ó Œ œ
pp
?
¢ ˙
j ‰ Œ ∑
Tbn.
œ w
mf pp
°? æ æ æ
œæ wæ œæ
Timp. Ó Œ Ó Œ
/ œj ‰ Œ Ó ∑ ∑
—
Perc. I
æ æ æ
¢ / wæ ˙æ ˙æ
Perc. II Ó Ó
{
loco
? 3 6 6 6
bœ bœ œ œ œ œ œ œ œ œ œ œ Œ Ó Œ ‰ bœ
b œ b œ b œb œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ &
<“>
Pno.
p pp
“‘
p pp loco
?
<n>œ
6 6 6
œ Œ Ó Œ ‰ Œ
<n> œ
œ œ œ œ œ œ œ œ œ œ œ &
œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ
<“> “‘
{
°...
DbC§B§E#F#G§A# loco
? ∑ ∑ ∑ &
D§ p pp
Hp. p pp
C#
j
loco
? Œ ‰ œ œ œ œ œ œ œŒ Ó ‰ œ ‰&
#œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ#œ œ œ œ j œ œ
‘
# œ gliss. œ œ
“‘ “
gliss. gliss. gliss. gliss.
°B
Vla. Ó œ
Œ ∑ Ó
œ
Œ
mf f
? j ‰ Œ Ó
Vc.
˙ ˙ œ ˙ ˙
pp f pp pp ff sempre
?
Db.
¢‹ ww ww ww
p mp
o 35
˙ œo œ œo œ œo œ œo œ ˙o ˙o œ
° J ‰ Œ
Fl. &
pp mf 3 3
œœ œœ œœ œœ œ œ œ œ
Ob. & Ó œœ œœ œœ œœ œœ J ‰ Œ Ó ‰ #œj œr ≈ œj
6 6 6
3 '
pp ff pp
pp mf pp
3 3 3 3
Cl. & r≈ ‰ œ œ œ œ j œ œ j ‰ Ó Ó #œ œ œ œ
œ œ œ œ œ œ œ #œ œ œ œ
ff pp pp
?
Bsn.
¢ œ ˙™ œ
j ‰ Œ
˙ œ ˙™
¿
°
+
ff pp ff
r j
Hn. & œ≈‰ Œ Ó Ó ˙ ˙ #œ ‰ Œ
ff
>
pp f
j r j r j r j r j r j r
con sord. (cup)
& ‰ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ‰ Œ Ó Œ #œ
' ' ' ' ' '
Tpt.
pp ff pp f pp mf pp mp pp p pp pp
?
Tbn.
¢ ˙ œ
j ‰ Œ
w ˙ œ
j ‰ Œ
°?
ff pp ff pp
æ æ æ
wæ œæ wæ
Timp. Ó Œ
brass mallet, l.v. sempre
>j
œ
Perc. I (a) & Œ Œ Ó ∑ ∑
ff poss. (both staves)
hard yarn mallet
j
œ œ œ œ œ ‰ Œ #œ ™
3 3 3 3 3 3
& œ ‰ ‰ œ œ œ œ œ œ œ ‰ Ó ‰ œ œ œœ œ
>
Perc. I (b)
> > >
° sempre pp mf pp pp mf pp
ff
æ æ æ
Perc. II
¢/ wæ ˙æ Ó Ó ˙æ
{
mfpp
>
œh ™ œ œ œ œ œ œ œ œ œ œ œ œh ™ œ œ œ œ œ œ œ œ œ œ œ
A œ
>œ
3
>
J ‰ Œ Ó #œ 3 >œ
& #œ œ œ œ>œ J
œ œ
ff poss.
>> >> J > >
Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ff poss.
œ
& œ> Œ Œ ? Ó #œ
> Ó
>
°...
{
mf ff sempre
> > >j >>
œ œj œ œ >
>œ >œ >œ >œ >œ >>
œœ
>œ >œ >œ >œ >œ œ
>œ #œ
> q
& J ‰ Ó Ó
#œ
Œ #œ œ œ œ
Hp. A§ ff poss.
∑ ∑ Ó j
& œ #œ ‰ œ œ œ œ
>
#œ >
>-œ -œ -œ -œ -œ -œ -œ -œ -œ -œ œ »
mf
°
-œ -œ -œ -œ -œ -œ -œ -˙ œ
> arco
J ‰ ‰
Vln. I & #œ œ œ
5 3 3
ff pp ff pp
~ ~ ~
sul A, free bowing (II)
Vln. II & w w
I - open
»
pp ff pp II - harm. (touch third on open string)
non div.
#Ȯ˙
™
arco
j j
3 5
B ‰
Vla. œ
-œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ >-˙ œ ‰ Œ
ff
pp ff pp
?
molto sul pont. ord. molto sul pont.
Vc.
w w w
?
Db.
¢‹ ww ww ww
p
36
ææ ææ ææ æ
œ æ œæ æ œ
flz.
°
3 3
æj
#œæ ‰
#œ œ
&
ææ ææ ææ œ æ æœ Œ Ó ∑
æ æ
Fl. #œ œ œ œ
3
pp mf pp
Ob. & <#>œr ≈ #œj r

œ ≈ œ
j r
œ≈‰ Œ ∑ ∑
' ' '
f pp mf pp mp
& j ‰ Œ Ó
Cl. #œ œ œ œ œœ œœ #œ œ œœ˙ œ
#œ œ œ œ œœ œœ #œ œ œœ
>
mf pp
?
Bsn.
¢ œ
j ‰ Œ Ó Ó
˙ œ ˙™
pp
°
pp mf
#˙ ™
open
∑ Œ j
Hn. & ˙™ œ ‰
pp p pp
> #œ œ œ œ œ œ œ œ œ œ œ #œ œ
Tpt. & <#>œ œ J ‰ Ó ∑
5 3
f pp
?
¢ Ó j ‰ Œ ∑
Tbn.
˙ ˙ œ
°?
mf pp
æ æ
œæ wæ
Timp. Ó Œ ∑
≈ #œj™ œ Ó ∑ j ‰ Œ Ó
Perc. I &
>
œ™
> >
/
œ—
pp * p
°...
æ æ æ
wæ ˙æ ˙æ
{
¢/
Perc. II Ó Ó
>
#œ 3 3
j 3 6 6 6 6
œ >œ >œ œ œ œ ‰ Œ Ó ‰ Œ
?
& #œ œ œ œ # œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > bœ œ œ bœ œ œ œ œ œ
Pno. “‘
?
pp p pp
<n>œ
#œ Œ #œ ‰ Œ Ó Ó ‰ Œ
<n> œ
> J
>
{
°...
“‘
3
q D§C§B§EbFbG§Ab
& #œ #œ #œ #œ Œ Ó ∑ ∑
Hp. pp p pp
j
#œ œ œ œ Œ Ó Ó ‰ ‰ Œ
?
& j .
œ gliss b œ bœ œ œ &
“‘
œ œ œ
gliss. gliss. gliss. gliss. gliss. gliss.
ff
° Œ
3 3
j ‰ Ó
& #˙ ˙
-œ -œ -œ #-œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ œ œ
Vln. I
f pp
~
ff pp
& O O ‰ Œ ∑
Vln. II J
pp
B <#>O
œ - - - - -œ -œ
#œO œO Oœ œO O O œO œO
#˙ ™
(senza vib.)
Vla. J ‰ Ó œ
3
ff pp
mp
molto sul pont.
?
ord.
Vc.
˙ ˙ ˙ ˙ w
mf ff
? ˙o
¢‹
unis.
j ‰ Œ
˙˙ ˙˙
Db.
w œ
ff pp
37
° Ó nœ ™
ord.
œ œ œ œ œ œ œ œ œ œ œ
overblow
& Œ ‰ #œ œ j ‰ Œ Œ
Fl. #œ
> pp
3
mf
pp ff
∑ <n>œ œ œ œ œ œ œ œ ˙ œ
Ob. & J ‰ Œ
3 3
pp mf pp
‰ Œ Ó nœ œ œ
& j
# ˙™
Cl.
œ œ #œ œ œ œ 3
pp
ffp pp
?
¢ œ j ‰ Ó Ó Œ œ j ‰ Œ
Bsn.
œ #˙ œ
pp
° <n>œ
mf pp
Tpt. & ∑ ∑ Ó Œ ‰ J
? Œ ‰ œJ œÆ ≈ ‰ #˙ ™ œ ˙ œ
Tbn.
¢ Ó R J ‰
pp ff pp mf pp
°? ∑ ∑ j ‰ Œ Ó
Timp.
#œ—
mp
>j
œ
Perc. I (a) & ∑ Œ Œ Ó ∑
>œ
Perc. I (b) & ∑ J ‰ Œ Ó ∑
° sempre
æ æ æ
¢ / wæ ˙æ ˙æ
Ó Ó
{
Perc. II
? Ó Œ ‰ bœ ∑
bœ bœ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno. “‘
p pp
? Ó Œ ‰
3 6 6 6 6
∑
œ <n> œ œ œœœœœœœœœœœœœœœœœœœœœœœœ
“‘
°...
{
>
œ
loco
& ∑ ∑ ∑
>œ–
ff poss. pp p pp
Hp. F§ Db
œ
& ∑ J ‰ Œ Ó ‰?
œ b œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
“‘
>
° ∑
>-œ -œ -œ -œ -œ -œ -œ -œ -œ ˙ œ ‰ Œ Ó
Vln. I & J
6 3
ff pp
& Ó Œ ‰ j r ≈ ‰ Œ Ó ∑
œO œO
Vln. II
pp ff
<#>˙ ™
B j
œ ‰
Vla. ∑ ∑
pp
ord.
?
Vc. j ‰ Œ Ó w #w
œ
pp pp mf
o ˙o œo
? w
Db.
¢‹ J ‰ Œ ∑
p pp
38
° œ ‰ >œ
flz.
ææ ææJ
Œ œ ‰ ∑ ∑
Fl. & J
˙™
ff pp
œ œ œ œ œ ‰
Ob. & Ó ‰ J J Ó
pp mp pp
œ œ œ œ œ œ œ œ >œ
Cl. & J ‰ Œ ∑ ∑
3 5
ff
?
Bsn.
¢ ∑ Ó
<n>˙ ˙ œ
j ‰ Œ
pp mp pp
° Ó + ¿
& j ‰ Œ ∑
Hn.
˙ ˙ œ
pp mf pp
œ ˙ œ
Tpt. & J ‰ ∑ ∑
mf pp
˙™ œ ˙™ œ
? J
Tbn.
¢ ∑ ‰
pp mp pp
° Ó >œ
‰ Œ ∑ ∑
Perc. I & J
°... ff
æ æ
¢ / wæ ˙æ
Ó ∑
{
Perc. II &
? ‰ 3 6 6 6 6
nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ Œ Ó Œ ‰ bœ bœ œ œ œ œ œ œ œ œ
“‘
#œ œ œ œ œ œ œ #œ œ
Pno. “‘ p
p pp
? ‰
<n> œ <n>œ œ œ œ œ œ œ œ œ œ œ œ œ œ <n>œ
3 6 6
Œ Ó Œ ‰
œ œ œ œ œ
œ œ œ
œœ œœ œ œ œ œ
œ
“‘ “‘
{
°...
>œ –
loco
DbC§B§EbF#G§Ab
& Ó J ‰ Œ ∑ ∑
ff poss. pp p pp D§
Hp.
? Ó j C#
Œ ‰ j œ œ œ œ œ œ ‰ Ó ‰ ‰ œ œ
#œ #œ #œ œ #œ œœœ
‘ “‘
gliss.
“
gliss. gliss.
° Ó
w~ w~
‰ j
Vln. I & œO œO
pp p sempre
œ œ œ
Vln. II & Ó J ‰ ∑ ∑
pp mf pp
pizz. arco
Vla. B Ó œ Œ ∑ w
f pp
molto sul pont. ord.

?
Vc.
<#>w w nw
pp
? w
Db.
¢‹ ∑ ∑
pp
39
°?
¢
Bsn. ∑ Ó j ‰ Œ
b˙ ˙ œ
pp mp pp
°?
¢
∑ ∑
b ˙™
Tbn.
œ
pp mp
°
blends-with-the-piano mallets,
molto legato sempre
¢&
∑ Ó Œ ‰ ≈ r
Perc. II
œ œ œ œ œ œ œ œ œ œ œ œ œ
n pp
{
molto legato sempre
? Ó
bœ bœ œ œ œ œ œ œ &
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno.
<“> n pp
pp
? 6 6
Ó ∑ ∑
œ œ œ œ
<“>
°...
{
& ∑ ∑ ∑
Hp. p pp Bb
?
mp
#œ œ œœ œœœ œœœ œœœ‰ Œ j ‰ Œ Ó ∑
#œ œ œœ œ œ œ b œ—
<“> >
°
& w~
j ‰ Œ ∑
Vln. I Ȯ œO
pp
Vla. B w w w
? j ‰ Œ Ó ∑
Vc.
w œ
mp pp
? w
Db.
¢‹ bw ˙ ˙
mp pp
40
°
˙™
senza vib.
& ∑ ∑ j ‰ œ
Fl.
œ œ œ œ œ œ ˙ œ
j œ
p
¢& ˙™
∑ ∑ œ œ
Cl.
œ œ œ œ œ œ œ ˙ œ
j
p
°?
¢ j ‰ Œ Ó ∑ ∑ ∑
 w
Tbn.
œ
pp
° œ–‰ Œ
arco, l.v. sempre
Perc. I (a) & ∑ ∑ ∑ Ó Œ ‰ œJ J Ó
œ œ–
pp mp
‰ œJ œJ– ‰
arco, l.v. sempre
Perc. I (b) & ∑ ∑ Ó ∑ Ó ‰ J J ‰

pp mp pp mp
° sempre
Perc. II
¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{
& œ œ œœ œœœœœ œ œ œ œœœœœ œœ œœœœœ œœ œœœœœ œ œœ œœœ œœ œ œ œœ œœœœœœ œ œœœ œ œœœ œœœœ œ œœ œœ
Pno.
? ∑ ∑ ∑ ∑ ∑
°...
{
˙™
& ∑ ∑ Ó œ œ
j
Hp. p
F§
?
E§ A§ C§
∑ ∑ ∑ ∑ ∑
°
1st & 2nd desk only
1st desk only, senza vib. divisi, senza vib.
˙™
& ∑ ∑ ∑ Œ ˙
˙ ˙
Vln. I
p sempre
1st & 2nd desk only
˙™ ˙™
Vln. II & ∑ ∑ Œ w œœ
p sempre
˙™
1st player only, arco, pochissimo vib.
œ œ œ œ œ œ œ
Vla. B w œ ‰ Œ
J Ó œ œ ˙ œ
j
˙o wo wo wo wo
Vc.
? Ó
n p sempre
‰ œO O ™ ~
1st player only
j
¢‹ ˙
? j
Db. ˙ ˙ œ ‰ Œ ∑
mp pp poss. p sempre
41
° w
& œ œ ˙ ˙ j
Fl.
œ ˙ œ
j #œ
∑ ∑ w
Ob. & #œ
j
w
¢& œ œ ˙ ˙ j
Cl.
œ ˙ œ
j #œ
° œ– ‰ œ œ–
Perc. I (a) & Ó ‰ #œJ J
∑ Ó ‰ J J ‰
œ–
pp mp pp mp
œ
Perc. I (b) & ∑ Ó ‰ J J ‰ ∑
pp mp
Perc. II
¢& œ œœœœ œœ œœœœ œ œ œœœœ œœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ
{
& œœœ œœ œœœœœœœœ œœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno.
? ∑ ∑ ∑
°...
{
& œ œ ˙ ˙ j w
œ ˙ œ
j #œ
Hp. F#
? ∑ ∑ ∑
°
& ˙˙ ™™
tutti, div. a3
Vln. I œœœ www www
tutti, div. a3
Vln. II & ww www www
Vla. B œ œ ˙ & œj œ ˙ ˙ #œ
j w
–wo wo
o o
o o œo #œo œo œ œo œo œo o o o œo œo œo œ œo œo œo o
?
Vc. (a) & œ œ œ œ œ œ
5 5
5 5
–wo
DIVISI
wo o o o o
o o œo#œo œ œo œo o o o œo œo œ œo œo o o o œo œo œ œo œo o o o œo œo œ œo œo o
? œ œ œ œ œ œ œ œ
Vc. (b) & œ œ œ œ
¢‹ ~ ~ ~
Db.
?
42
° w #w œ ‰ Œ Ó
Fl. & J
ff
w #w œ ‰ Œ
Ob. & J Ó
ff
w w œ ‰ Œ
¢&
Cl. J Ó
ff
° Ó ‰ œ œ– #œ œ–
Perc. I & J J ‰ Ó Œ ‰ J J ‰ Œ Ó
pp mf pp f
Perc. II
¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j ‰ Œ Ó
f
{
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œœœœœ œœ
Pno.
?
fp
∑ ∑ ∑
°...
{
w #w
& Ó
˙
Hp.
>
ff
? ∑ ∑ ∑
° j
Vln. I & www www œœœ ‰ Œ Ó
ff
j
Vln. II & www www œœ ‰ Œ
œ
Ó
ff
w w œ ‰ Œ Ó
Vla. & J B
ff
o o o o o o o o
o o œo #œo œ œ œo œo œo o o o œo œo œ œ œo œo œo o o o œo #œo œ œ œo œo œo o o o œo œo œ œ œo œo œo o o
& œ œ œ œ œ œ œ œ œ
Vc. (a)
œ œ œ w
5
5
5
5
5
5
5
5 >
ff poss. ffpp
DIVISI
o o œo #œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o o œo #œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o o œo œo œo œo œo o o
Vc. (b) & œœ œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ
w
ffpp
ff poss.
? ~ ~
¢‹
O ‰ Œ Ó
Db.
J
ff
43
°
& ∑ 43 ∑ 44 Œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 24 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ 44
œœœ œ œ œ œ
Fl.
pp mp
9 9 9 9 9
¢& ∑ 43 ∑ 44 Œ #œ œ œ œ œœ œ œœ 24 #œ œ œ œ œ œ œ 44
œœœœœœœ œ œœœœœœœ œœ œ œœœ œ œœœœœœœ
Cl.
pp mp
° Œ
œ ˙™
j 43 44 24 44
Hn.
¢& œ œ™ ˙ ˙ ˙
{
p
molto legato sempre
44 Ó 24 44
43
10 10 10
& œj ‰ Œ Ó ∑ Œ
œœ œœ œœ œœ œœ œœ
Pno. mp
44 Ó
pp
œ œ #œ œœ œ2 œ œ #œ œ œ œ mp œ œ œ œœœ4
? ∑ 43 Œ j ‰ Œ Œ 4 4
-œ—
°...
{
44 24 44
43 Œ Œ
l.v...
& w œœ Œ Ó ∑
Hp. p mp
œ
? ∑ 43 Œ œœ 44 #œ Œ Ó 24 ∑ 44
œ
° Œ œ œ™
& œ 43 ˙™ 44 ˙ ˙ 24 œ œ
J ‰ 44
Vln. I (a)
J
p
DIVISI
˙™ ˙™ 44 w 24 œ œ œ 44
Vln. I (b) & Œ 43 ‰
p 3
œ ˙ ˙™ 44 w 24 œ œ œ 44
Vln. II (a) & Œ 43 ‰
p 3
DIVISI
œ œ™ 44 w 24 œ 44
& Œ œ 43 ˙™ œ ‰
Vln. II (b)
J J
p
divisi a3
B ∑ 43 ∑ 44 b www 24 œœœ œœ
œ Œ 44
J
Vla.
p 3
o
unis.
? œœ 4 ww
divisi a3
24 œœ œœ 44
& œj ‰ Œ Ó 43 Ó ‰ Œ
—
Vc. œ 4 w œ œ
p
p 3
44
tutti
44 24 j
Db.
?
¢‹ ∑ 43 Œ ˙ w œ
‰ Œ
p
44
° 4 44 Œ 24 44
& 4 œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ Ó 43 ∑ œ œ œ œ œ
# œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
Fl.
pp
mp
9 9 9 9 9 9 9
44 Œ 2 4
4
¢& 4 œ#œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ Ó 43 ∑ œœœœœœ œ œ œ œœœ œ œ œ œ œ œ 4 # œ #œ œ œ œœ œ œ œ œ œ œœ œ œ 4
œ # œ #œ œ œ œ
Cl.
œ œ œ œ œ œ
pp mp
° 4 j
j 4 b˙™
3 44 24 44
¢& 4 œ œ™
‰
Hn.
œ ˙ n˙ ˙
œ
{
p
4 10 10 10
Œ 43 ∑ 44 Ó Œ œœ
10
œœ 24 œ 10
œœ œœ
10
œœ 44
& 4 œœ œœ œœ œœ œœ œœ œ
Pno.
œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp pp mp
? 44 Œ 43 Œ j ‰ Œ 44 Ó Œ 2 4
& œ#œ# œ œ œ œ 4 œ#œ# œ œ œ œ œœ œ œœ œ 4
-œ—
°...
{
44 œ Œ 24 44
4
&4 ∑ 43 Œ Œ Ó ∑
œ #œ
#œ
Hp.
? 44 ∑ 43 Œ #œœ 44 Œ Ó 24 ∑ 44
œ
° 4Œ œ œ™ j 3 b˙™ 44 ˙ n˙ 24 œ œ œ ‰ 44
Vln. I (a) &4 œ 4
p 3
DIVISI
4 ˙™ 43 ˙
™ 44 w 24 œ œ œ ‰ 44
Vln. I (b) &4 Œ
p 3
44 w 24 œ 44
Vln. II (a)
4
&4 Œ
œ ˙ 43 ˙™ œ
J
‰
p
DIVISI
œ 4 ˙™
4 œ œ™ j3 44 24 j 44
Vln. II (b) &4 Œ w œ œ ‰
p
44##www 24 œœœ œ 44
Vla. B 44 ∑ 43 ∑ œœ
J
Œ
p 3
œœ 4 ww 24 œœœ œœœ 44
Vc.
? 44 ∑ 43 Ó # œ 4 w ‰ Œ
p 3
44 24 j 44
?4
¢‹ 4 ∑ 43 Œ ‰ Œ
˙ w œ
Db.
p
45
° 4
Fl. & 4 # œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó 43 ∑ 44 Œ 2 4
œ œ#œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ #œ#œ œ œ œ œ œ œ œ œ œ œ œ œ 4
pp
mp
9 9 9 9 9 9 9
4 43 44 Œ 2 œœ4
Cl.
¢& 4 œ œ œ # œ #œ œ œ œ œ œ œ œ œ œ œ Ó ∑ œb œ œœ œ œ œœ œb œ œ œ
œœ#œ œ œœ#œ œ œœœœœœœ œ œ œ œ 4 œ œ#œ#œ œ œ œ œ œ œ œ œ 4
œ œ œ
pp mp
° 4 j
#œ ™ œ œ 4 #˙ ™
3 44 ˙ 24 ˙ 44
Hn.
¢& 4 œ ‰
œ n˙
{
4
&4 œœ
10
œœ œœ
10
œœ œœ
10
œœ Œ 43 ∑ 44 Ó Œ
10
œ#œ#œ œœ 24 œ#œ 10
œœ œœœ œœ
10
44
#œ
Pno.
pp pp mp
& 44 œ#œ # œ œ œ œ œœ œ œ œ œ œœ œ œœ œ
Œ 43 Œ ? j ‰ Œ 44 Ó Œ &
2
œœ œœb œ 4 œ œ œœb œ
4
œœ œ œ œ 4
°... b -œ—
{
& 44 ∑ 43 Œ Œ 44 œ Œ Ó 24 ∑ 44
œ bœ
Hp.
?4 œ
4 ∑ 43 Œ b œœ 44 Œ Ó 24 ∑ 44
bœ
° 4 Œ œ #œ ™ œ œ 3 #˙ ™ 44 ˙ n˙ 24 œ œ œ
‰ 44
Vln. I (a) &4 4
p 3
DIVISI
˙™ ˙™ 44 w 24 œ œ
Vln. I (b) & 44 Œ 43 J ‰ 44
p
œ #˙ ˙™ 44 w 24 œ œ œ ‰
Vln. II (a) & 44 Œ 43 44
p 3
DIVISI
œ #œ ™ œ 3 ˙™
& 44 Œ 44 w 24 œ 44
œ ‰
Vln. II (b) J 4 J
p
Vla. B 44 ∑ 43 ∑ 44 b www 24 œœœ œ

œœJ Œ 44
p
3
?4 œ w 24 œœœ œ
Vc. 4 ∑ 43 Ó b œœ 44 ww œœ ‰ Œ 44
p 3
?4
Db.
¢‹ 4 ∑ 43 Œ b ˙ 44
w
24 j
œ
‰ Œ 44
p
46
° 4 44 Œ 24 44
& 4 œ œ#œ#œ œ œ œ œ œ œ œ œ œ œ œ œ Ó 43 ∑ œ œ œ œ œ
# œ œ#œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ
Fl.
pp
mp
9 9 9 9 9 9 9
44 Œ 24 4
4 bœ
¢& 4 #œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ
œ œ Ó 43 ∑ œ œ œœ œœ œ œ œœ œœ œœ œœ4
# œ œ œ œ œœœ œ œ œœ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ
Cl.
pp mp
° 4 j
# œ ˙™
j 43 44 24 ˙ 44
¢& 4 œ
Hn. ‰ œ œ™ ˙ ˙
{
4 10 10 10
Œ 43 ∑ 44 Ó Œ #œœœ#œ
10
24 #œ œ œ 10 œ œœ œ
10
44
& 4 œ#œ#œ œ œ œ œœ œœ œœœ œœ #œ #œ#œ œ
Pno.
pp pp mp sempre
4 3 ? ‰ Œ 44 Ó 2 4
œœ œœ œ Œ 4 Œ j
&4 Œ nœnœœœ# œ 4 nœnœœœ# œ nœnœœœ œ 4
œ œ œœb œ œœ œœ œ &
°...
-œ—
{
o
44 Œ 24 44
4
&4 ∑ 43 Œ Œ #œ ˙ ∑
#œ >
>˙o
mf
Hp.
? 44 ∑ 43 Œ 4 #œœ 24 44
œœ 4 Œ ∑
œ
° 4 œ œ™ #œ 43 ˙™ 44 ˙ ˙ 24 ˙ 44
Vln. I (a) &4 Œ J
p
DIVISI
˙™ ˙™ 44 w 24 œ œ œ 44
Vln. I (b)
4
&4 Œ 43 ‰
p 3
œ n˙ ˙™ 44 w 24 œ œ 44
Vln. II (a)
4
&4 Œ 43 J ‰
p
DIVISI
4 œ œ™ #œ 43 ˙™ 44 w 24 œ œ 44
Vln. II (b) &4 Œ J J
‰
p
œj Œ
3
B 44 ∑ 43 ∑ 44 #w 24 œ 44
Vla. #ww œœ œœ
p
3
#œ 44 w 24 œ 44
Vc.
? 44 ∑ 43 Ó œœ ww œœ
œ
œœ ‰ Œ
p
44 24 44
Db.
?4
¢‹ 4 ∑ 43 Œ j ‰ Œ
˙ w œ
p
47
° 4 æj æ æj
‰ b œæ ˙æ œæ ‰
flz.
overblow
Fl. & 4 # œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ Ó Œ
œ #œ œ œ
Œ
mp pp
pp mf pp
pp
w œ b >œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ
Ob. & 44
pp 5 3 3
ff
j
9 9
& 44 œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó Œ bœ œ œ œ œ ‰
˙™
Cl.
>
ffpp mf pp
pp
?4
Bsn.
¢ 4 ∑
˙™ œ ˙ œ
j ‰ Œ
° 4 j ¿
pp ff pp
+
Hn. & 4 œ ‰ Œ Ó Ó Œ j ‰ Œ
œ œ œ œ œ
pp f pp
‰ b œj œr ≈ œj œr ≈ œj œr ≈b œj r
(con sord.)
& 44 ∑ Œ œ ≈‰ Ó
' ' ' '
Tpt.
pp mp simile
(con sord.)
?4 b˙
¢ 4
Tbn. ∑ ∑ Ó
pp
°? 4
4 j ‰ Œ Ó ∑ ∑
œ—
Timp.
mp >
b œj
Perc. I (a) & 44 ∑ Œ Œ Ó ∑
j
Perc. I (b) & 44 ∑ Œ bœ ‰ Ó ∑
>
° sempre
h h
4
Perc. II
¢& 4 ∑ Ó
œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ
Ó
{
pp mf pp
b >œ h
& 44 #œœ œ #œ#œ œœ œ œ œœœ œ œœœ œ #œœœ#œ 10 J ‰ Ó
10 10 10 10
œ œ œ #œ Ó b œœœœœœœœœœœœœœœœ
Pno. ff pp mp pp
& 44 nœnœœ œ# œ nœnœœœ

#œ nœnœœœ# œ nœnœœœ# œ nœnœœœ# œ Œ Ó ∑
°...
{
> 3
j j
& 44
bœ œ
∑ Œ b œ œ œ œ œ œ œ b œ œj œ œ ‰ œ ‰
J
Œ
>
Hp. f
b œj b œj
ff poss.
? 44 j ‰ Œ Ó Œ bœ
> Œ Ó Ó Ó
-œ—
° 4 –œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ b >œ
unis.
sul D molto sul pont.
&4 J ‰ b˙ b˙ ˙
Vln. I
3 3
˙ ˙ ˙
æ
(p) ff pp ff
Oæ™
unis.
Vln. II & 44 ∑ Œ ‰ bb Oœ Oœ Oœ Œ
J nœO
»
pp ff pp f
unis.
bœ
B 44
arco 3 5 3
∑ Œ J ‰ b œ œ œ œ œ b œ œ œœœœœœœœ œ œ œ œ
- - - - - - - --- ----- - - - -
Vla.
ff >
pp ff
unis.
? 44
molto sul pont.
Vc. ∑ Ó j ‰ Œ
˙ ˙ œ
ff pp
?4
Db.
¢‹ 4 w w w
ff pp
48
° Ó Œ
nœ œ œœ œœ œœ œœ ˙ œ
J ‰ Œ ∑
Fl. & nœ œ œœ œœ œœ œœ
 œ
pp mp pp
& J ‰ Œ Œ nœ œ≈ œ œ≈œ œ≈œ œ ≈Œ ∑ ∑

' ' ' '
Ob.
pp mf simile
œ <n>œ
j œ œ œ œœœœœœœœœœ œ œ ˙ œ ‰
& ˙ ˙ œ ‰ Œ J Œ
˙™
Cl.
3 5 3
mf pp
mf pp f pp
?
¢ ˙
j ‰ Œ Ó ∑ ∑ B
Bsn.
˙ œ
mf pp
° open
& w j ‰ Œ ∑ ∑
Hn.
˙ œ
pp p pp
∑ j j
Tpt. & ‰ œ ˙™ ˙™ œ ‰ ∑
pp mp pp
? œ œ œ ‰ ‰ œ ˙ ˙ œ ‰ Œ
¢ J J J j ‰
Tbn.
˙ ˙™ œ
mf pp mp pp
mp pp
° >
œ ‰ Œ
Perc. I & ∑ ∑ J Ó ∑
°...
molto legato
r
¢&
Perc. II ∑ ∑ Ó œ œ œ œ ≈œœœ ≈œœœœ œœœ œœœœ≈œ
n pp sempre
{
>
nœ >
>
nœ 33 œ j j œ >
& Ó Œ nœ œ œ œ j
œ œ œ ‰ œ œ œ ‰
j œ ‰ Œ Ó ∑
>
œ œ
J
Pno. ff
& Ó Œ Œ
j
∑ ∑ ∑
°... œ
>
œ œ
>
{
> >
j œ
>œ
molto legato
nœ
& Ó Œ nœ ‰
>
∑ J ‰ Œ Ó œœ œœœœœœœ œœœœœ
Hp. n pp sempre
œ
? Ó Œ œ
> Œ ∑ > ∑ ∑
° æj
nœæ ‰
-O -O -O -O -O -O -O
ord.
& ˙ b˙ Œ œ ∑ ∑
>
Vln. I
3
pp ffp mf pp
ær
Vln. II & Oæ ≈ ‰ Œ Ó Ó ˙ ˙™ ˙™ Œ ∑
pp
f pp
w~ ~
B bœ Ó ∑
- -œ
Vla.
pp pp
b Ȯ Ȯ Oœ Oœ
ord.
?b
molto sul pont. ord.
J ‰ Œ j ‰ Œ
Vc.
œ ˙ ˙ ˙ œ
pp mp pp
mf pp
?
Db.
¢‹ ˙ ˙ w w w
mp pp
49
°B œ œ ˙™ œ œ œ œœ ˙ j˙ œj œ™ œ œ œ œ™ œ b ˙ œ œbœ bœ ˙
J
¢ Ó
œ
Bsn.
p
°
¢&
Tpt. ∑ ∑ ∑ ∑ ∑ Ó Œ œ
pp
° –
arco, l.v. sempre
œ œ– œ œ–
Perc. I (a) & Ó Œ ‰ œJ œJ ‰ Œ Ó Ó Œ ‰ J J ‰ Œ Ó Ó Œ ‰ J J ‰ Œ Ó
pp mp pp mp pp mp
#œ œ– –
arco, l.v. sempre
Perc. I (b) & ∑ Ó ‰ J J ‰ ∑ Ó ‰ #œJ œJ ‰ ∑ ∑

pp mp pp mp
° sempre
¢& œ œ œœœœ œ œœ œ œœ œ œœœ œœœœ œ œœ œ œ œ œ œœ œ œœ œœ œœ œ

Perc. II ≈ ≈ œ œœœ ≈œœ œ ≈ œ œ œœ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œ ≈ œœœœ œœ œ
{
& Ó œ œ ˙™ œ œ œ œœ ˙ ˙ j œ™ œ œ œ œ™ œ b ˙ œ œ bœ bœ ˙
œ
j œ J
Pno. p
& ∑ ∑ ∑ ∑ ∑ ∑ ?
°...
{
& œ œ œœœœœœ œ œœ œœ œ œ œ œœœœœœ œ œœœ œ œ œ œ œœ œœœœ œ œœœ œ œ œ œ œœœœ œ œ œ œœœ œ œ œ œ œ œ œœ œ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œœ
Hp.
? ∑ ∑ ∑ ∑ ∑ ∑
° Ó
1st & 2nd desk only
˙˙ ™™
1st desk only, senza vib. divisi, senza vib. tutti, div. a3
Vln. I & ˙ w w œœ œœœ www www

pp sempre
1st & 2nd desk only

Vln. II & Ó Œ œ w w ˙ ˙˙ ww ww
pp sempre
o o™ wo wo wo
Vla. B Oj ‰ Œ Ó ∑ ‰ œJ ˙
pp sempre
œ™
pochissimo vib.
˙™
& Ó ˙ œ œ œ œ™ œ b ˙ œ œ bœ bœ ˙
œ œ œ œœ
j
Solo Vc. œ œ ˙ œ
j œ J
p
œo wo wo wo wo
(gli altri) Vc.
? ∑ Ó Œ ‰ J
pp sempre
?
¢‹ w
molto sul pont. ord. molto sul pont. ord. molto sul pont.
Db.
w w w w w
poco meno mosso (q = 46ca.)
50
°
& ≈ ™ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
9 9 9 9 9 9 9 9
Fl.
pp mp pp pp mp pp pp mp pp pp mp pp
& ≈™ ™ ™ ™
9 9 9 9 9 9 9 9
œ œ œ œ œ≈ œ œ œ œ œ ≈ œ œ œ œ œ≈ œ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
Cl.
œ
B J
Bsn.
¢ ‰ Œ Ó ∑
ff poss.
° œÆ ≈ ‰
¢& R
Tpt. Œ Ó ∑
ff
° >œ–
brass mallets, l.v. sempre
¢& J
Perc. I ‰ Œ Ó ∑
ff poss.
{
>˙
n>˙ b >˙ >˙
&
Pno. f sempre
?
˙ n˙
b˙ > ˙ >
> >
°...
{
>˙ >˙ #>˙ >˙
&
Hp. f sempre, l.v. sempre
>˙ >˙
? ˙
#˙ >
>
poco meno mosso (q = 46ca.)
° Ȯ
unis., senza vib.
Vln. I & Ȯ bb Ȯ b Ȯ
pp mp pp mp pp mp pp mp
˙
tutti, unis., senza vib.
˙ b˙ ˙
Vln. II &
bœ bœ nœ œ nœ œ bœ bœ nœ œ nœ œ
B œ œ œ œ œ nœ œ œ œ œ b œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ bæœ æ æ æ æ æ næœ æ æ æ æ æ næœ æ æ æ æ æ bæœ æ æ æ æ æ bæœ æ æ æ æ æ
Vla. œ œ
6 6 6 6 6 6 6 6
mf sempre
?
tutti, senza vib.
˙ n˙
Vc. b˙ ˙
?
ord., senza vib.
˙ n˙
Db.
¢‹ b ˙ ˙
51
° ™
& ≈ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
9 9 9 9 9 9 9 9
Fl.
™ ™ ™ ™
9 9 9 9 9 9 9 9
¢& ≈ œ œ œ œ œ≈ œ œ œ œ œ ≈ œ œ œ œ œ≈ œ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
Cl.
{
>˙
n>˙ b >˙ >˙
&
Pno.
? >˙ n>˙
b˙ ˙
>
{
>
°...
>
& ˙ ˙
> #˙ ˙
> > >
? #˙
Hp.
?
&˙ ˙
> ˙ >
>
° n˙ b˙ ˙
Vln. I & Ȯ
Vln. II & ˙ n˙ b˙ n˙
bœ bœ nœ nœ bœ bœ nœ nœ
B nœ œ œ œ œ nœ œ œ œ œ b œ œ œ œ œ b œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ b œ œ œ œ œ b œ œ œ œ œ
æææ æ æ æ æ æ æ æ æ æ æææ æ æ æ æ æ æ æ æ æ æææ æ æ æ æ æ æ æ æ æ æææ æ æ æ æ æ æ æ æ æ
Vla.
6 6 6 6 6 6 6 6
? b˙ B˙ ˙ div.
Vc.
˙ n˙
˙ ˙
? b˙
Db.
¢‹ Ó
pp mp pp mp pp mp
° ™
œ ≈™ œ 24 ≈ ™
9 9 9 9 9 9
& ≈ œ bœ œ œ œ œ nœ œ œ œ œ bœ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Fl.
pp mp pp pp mp pp pp mp pp
Cl. & ≈ ™ ™ 2 ™
9 9 9 9 9 9
¢ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ
œ ≈ œ œ œ œ
bœ œ œ œ œ œ œ œ œ œ
œ 4≈ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ
œ
{
pp mp pp pp mp pp pp mp pp
> 24 b ˙
& ˙ n˙
> > >
? b˙
Pno.
24
{
&˙
> ˙
°... >
& ˙ ˙ 24 #˙
> >
Hp. >>
? #˙ 24
&˙
> ˙
>
° ˙ 24 b ˙
Vln. I & n˙
pp mp pp mp pp mp
& b˙ 24
Vln. II ˙ ˙
pp mp pp mp pp mp
bœ œ bœ œ nœ œ nœ œ bœ œ bœ œ
B nœ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ
æ æ æ æ æ æ næœ æ æ æ æ æ bæœ æ æ æ æ æ bæœ æ æ æ æ æ 4 næœ æ æ æ æ æ næœ æ æ æ æ æ
Vla. œ œ œ œ œ
6 6 6 6 6 6
B ˙ 24
Vc.
¢ b˙ Ó ∑ &
pp mp
52
° æj æ æj æ æj æ æj æ æj æ æj æ æj æ æj æ
& ‰ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ
flz.
Fl. ‰ ‰ ‰ ‰ ‰ ‰ ‰
pp mp pp pp mp pp pp mp pp pp p pp pp p pp pp p pp
j j j j j j j j
Cl.
¢& œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ ‰
pp mp pp pp mp pp pp mp pp pp p pp pp p pp pp p pp
°? Œ Æ Æ Æ Æ Æ Æ Æ
senza sord., blow air through horn
¢
‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿ ¿ ≈ ‰ ‰ ¿
Tbn.
J R J R J R J R J R J R J R J
pp mp pp mp pp mp pp p pp p pp p pp
{
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
>
Pno. mf mp p pp
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &
°...
{
let ring as much as poss.
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
>
Hp. mf mp p pp
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &
° ∑ ∑ ∑ ∑
Vln. I & ˙ ˙ ˙ ˙
pp mp pp mp pp p pp
¢&
Vln. II ∑ ˙ ∑ ˙ ∑ ˙ ∑ ˙
pp mp pp p pp p pp
53
° ‰ æj æ
œæ œæ
senza vib., molto legato sempre
Fl. & ∑ ∑ ∑ ∑ j ˙ œ j œ œ œ j œ
œ œ œ
p
j
molto legato sempre
j
Cl. & œ œ ‰ œ œ ‰ Œ ∑ ∑ ∑ œœ œ œ œœ œ œ œœ œ œ œœ œ œ
œ œ œ œ œ
p
senza vib.
B ˙ ˙ ˙ œ œ œ œ
¢
Bsn. ∑ R ≈ ‰ Œ ∑ ∑
pp mf
°? ¿Æ ≈ ‰ ‰ ¿ ¿Æ ≈ ‰
¢ R
Œ ∑ ∑ ∑ ∑ ∑ ∑ B
Tbn.
J R
°
medium yarn mallets, l.v. sempre
Perc. I & ∑ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙ j ˙ j ˙

> pp >
œ
p
œ
p mp
°...
œ^ – ^œ –
brass mallets, l.v. sempre
Perc. II
¢& ∑ œJ — ‰ Œ ∑ ∑ ∑
œJ — ‰ Œ ∑ ∑
p mp
{
œ^ – ^œ –
œ— ‰ Œ œ—
& ˙ J ∑ ∑ ∑ J ‰ Œ œœœ ˙ œœœ ˙
Pno. p pp mp p
& ∑ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙ ∑ ∑
° ...
> >
{
& ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙
> >
œœ œœ
Hp. p pp mp p
& ∑ ˙ ˙ ˙ ˙ ˙ ∑ ∑
> >
° ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ
6 6 6 6 6 6
Vln. I & ˙ œ œ œ œ œ œœœœœœœ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œœœ œœœœœœœœœœœœ ∑

>
p n
>
mp n
ææ ææ ææ ææ ææ ææ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ‰
& ∑ œœœœœœ≈ Œ ∑ ∑ ∑ ∑ ∑
Vln. II
> œœœœœœœœœœœœ
p n
>
mp n
bO Oœ O Oœ
Vla. B Œ ‰ œJ R ≈ ‰ Œ ∑ ∑ Œ ‰ œJ R ≈ ‰ Œ ∑ ∑
pp mp pp mf
œo
j r
& Œ ‰ b œO œO ≈ ‰ Œ ∑ ∑ ∑ ?
Ȯ O O
Vc.
pp mp
p
Ȯ O O ‚ ‚ ‚ ‚
?
¢‹
Db. ∑ R ≈ ‰ Œ ∑ ∑
pp mf
54
° j ‰ ‰
3
j 3
‰ œ œj Œ j ‰ œ œj ‰
3 3
‰ œ œj Œ
Fl. & œ œj œ œœ œ œœ œ ‰ ‰
œ œœ œ ‰
œ
‰
œ
mp mf f ff
senza vib., molto legato sempre
Ob. & ∑ bœ
j
œ bœ
j
œ œ bœ
j
œ œ bœ
j
œ œ bœ
j
œ œ bœ
j
œ œ
mp ff
& œ œ œ j ‰ ‰ j Œ j ‰ ‰ j Œ j ‰ ‰ j
Cl.
œœ œœ œnœ œ #œ œnœ œ #œ œnœ œ #œ œnœ œ #œ œnœ œ #œ œnœ œ #œ
œ œ #œ mp œ #œ #œ #œ œ
mf f ff
molto legato sempre
B œ œ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ

¢
Bsn. ∑ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
mp ff
° ∑
con sord.
Hn. & œœœ ˙ œ œœœ œ œ œ œœœ œ œ œ œœœ œ

mp ff
j r
& Œ ‰ œ œ ≈ ‰ Œ Œ ‰ j
Tpt.
œ œ œ œ ˙
pp mf
con sord. (straight) p f
B œ œ #œ
Tbn.
¢ Œ ‰ J R ≈ ‰ Œ ∑ ∑ Œ
pp mf pp ff
°
Perc. I & œ
j ˙ b∫˙˙˙˙ œb œ ˙ œb œ ˙ œb œ ˙
>
°... mf mp mf ff
^œ –
Perc. II
¢& ∑ œJ — ‰ Œ ∑ ∑ ∑
{
# ^œ –
mf
œ—
& œœœ ˙ J ‰ Œ ‰ œnœbœ∫œ b œ ™ ‰ œ œbœ∫œ b œ ™ ‰ œ œbœ∫œ b œ ™
Pno. mf mp mf ff
& ∑ b∫˙˙˙˙ ∑ ∑ ∑
°... >
{
& œœ ˙ ˙˙ Œ œ#œ œ œ Œ œ#œ œ œ Œ œ#œ œ œ
>
Hp. F# mf mp mf ff
& ∑ #˙ ∑ ∑ ∑
>
° ææ æææ ææ æ æææ æ æ æ ææææ ææææ ææ æ æ æææ æ ææææ ææ æ æ æ ææ æ æ æ æ æ ææ

œæ æ æ æ œæ æ æ œæ æ æ æ œæ nœæ#œæ œæ œænœæ#œæ œæ œænœæ#œæ œæ œæ nœæ #œæ œæ œænœæ#œæ œæ œænœæ#œæ œæ œæ nœæ #œæ œæ œænœæ#œæ œæ œænœæ#œæ œæ
6 6 6 6 6 6 6 6
& ∑
> œ #œ œ nœ #œ œ nœ #œ œ
Vln. I
mf pp ff
ææ ææææ æææ æ ææææ ææ ææ æ

& ∑ œæ æ æ æœæ æ æ æœæ æ æ æœæ æ æ æ œænœæ ≈ ‰ Œ ∑
˙æ
> œ#œ œ nœ#œ œ nœ #œ œ nœ#œ œ
Vln. II
mf n ff
senza vib.
B ∑ #˙ ˙ ˙ ˙
Vla.
mp ff
1st player only, espressivo
? Bœ œ œ œ ˙
r ≈ ‰ Œ Œ ‰ J &
‚ ‚ ‚ ‚
Vc.
p f
f
Ȯ O O O
?
¢‹
Db. ∑
mp ff
55
°
Fl. & œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ
pp sub.
3 3
j j j j j ‰ j Œ
3 3
& j ‰ ‰ j ‰ ‰ ‰ j Œ j ‰ ‰ j ‰ ‰ j
Ob. nœ œ œ œ œ œ œ œ œ œ œ œ
pp sub.
3 3 3 3 3 3 3
& j j j j j j j
Cl. œ œnœ œ
œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ œœœœ
œ œ
pp sub.
œnœ œ œ
œ œœœ œ
œ œœœ œ
œ œœœ œ
œ œœœ œ
œ œœœ œ
œ
B J J J J J J
Bsn.
¢ ‰ ‰ Œ ‰ ‰ Œ ‰ ‰
pp sub.
° ∑ Œ ‰ j
Hn. & œ œ œ œ ˙
p mf
molto legato sempre
Tpt. & œœ ˙ œ œœ œ œ œ œœ œ œ œ œœ œ
pp sub.
espressivo
B œ œ œ œ
Tbn.
¢ ∑ ∑ ‰ ‰ œ œ
J J J
3 3
3
p mf
°
Perc. I & n˙˙˙˙ Œ œœœ
œ Œ
œœœ
œ Œ
œœœ
œ
>
p pp
*°
^œ –
¢& œJ —
Perc. II ‰ Œ ∑ ∑ ∑
{
n ^œ –
p
nœ —
& J ‰ Œ œ
œœœ œ ˙ œ
œœœ œ ˙ œ
œœœ œ ˙
Pno. p pp
& ˙˙˙˙ ∑ ∑ ∑
>
{
*°
œ™ œ™ ‰ œœœœ œ™
& ˙˙ ‰ œ ‰ œ
œœœ œœœ
>
Hp. F§ p pp
& ˙˙ ∑ ∑ ∑
>
° ææ æ ææ ææ ææ æ ææ ææ æ ææ ææ ææ ææ æ ææ ææ ææ æ
6 6 6
j
Vln. I & nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ∑ Œ ‰ œ
>
p sub. n
æ æ ææ æ ææ ææ æ ææ ææ æ ææ ææ j
Vln. II & œ œ œ œ œ œ œ œ œ œ œ œ ‰ ∑ ∑ Œ ‰ œ
>
p sub. n
B ∑ Œ ‰ œ œ œ œ ˙
Vla. J
p mf
tutti, ord.
Vc. & O O O ‚ ‚ ‚
˙
pp sub. 1st player only
?
3
j Ȯ
¢‹ ∑ ∑
Db. ‰ ‰ œO ‚
p mf
56
° j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
Fl. & œ
bœ œ œ bœ œ
œ œœ œ œ
bœ œ œ bœ œ
œ œœ œ œ
bœ œ œ œ œ
œ œœ œ
mp
3 3 3
j 3
‰ j ‰ j ‰ j 3
‰ j ‰ j ‰ j 3
‰ j j
Ob. & œœ #œ œœ œ œœ œ œœ #œ œœ œ œœ œ œœ #œ œœ œ ‰ œœ œ ‰
mp
Cl. & œ œ#œ œ œ œ

j ‰ ‰™ nœ œ#œ œ œ œ
r Œ ≈ nœ œ#œ œ œ
r
œ ‰ ‰™ nœ œ#œ œ œ
r
œ Œ
bœ mp œ bœ bœ
B #œ œ œ nœb œ œ œ #œ œ œ nœ œ œ œ #œ œ œ nœb œ œ œ #œ œ œ nœbœ œ œ

Bsn.
¢
mp
°
Hn. & œb œ œ œ œœ œ™ œ œb œ œ œ™ œœ œ œ œb œ œ
mp
r ≈ ‰ Œ Œ ‰ j
Tpt. & œ œ œ œ œ
molto legato sempre p mf
b œj b˙ b œj b˙ b œj b˙
B
Tbn.
¢
mp
°
#œ ™ #œ ™
& ‰ ‰
Perc. I
###˙˙˙˙ œ#œ#œ œ œ#œ#œ œ
>
mf mp
°...
b ^œ –
Perc. II
¢& œJ — ‰ Œ ∑ ∑
{
b œœœ –
mf
^
—
& J ‰ Œ Œ Œ
œœ
#œ#œ#œ œ #œ œœ
#œ#œ#œ œ #œ
Pno. mf
mp
& ###˙˙˙˙˙ ∑ ∑
{
>
°...
& ∑ #œ œ œ#œ#œ #˙ #œ œ œ#œ#œ #˙

D#
Hp. mp
E#F#
& ∑ ∑ ∑
° æ æ æ æ æ æ æ æ æ æ æ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ
œæ œæ #œæ #œæ nœæ œæ œæ #œæ œæ nœæ œæ œæ
6 6 6 6
Vln. I & #œ #œ nœ œ œ #œ œ nœ œ œ #œ œ ∑
>
mf n
æ æ æ ææ ææ æ ææ ææ ææ ææ æ ææ ææ ææ
& œæ œ œ œ #œ nœ œ œ #œ ≈ ∑ ∑
> #œ #œ nœ œ œ
Vln. II
mf n
tutti, senza vib.
˙ ˙ ˙
Vla. B
mp
r
Bœ œ œ œ
Vc. & ‚ ≈ ‰ Œ Œ ‰ J
mf mp f
# œo
? #Ȯ O O
Db.
¢‹
mp
57
° j
& ‰ œ œ œ œ œj ‰ bœ œ œ œœ œ œ bœ œ œ œ
Fl. œ
bœ œ œ œ bœ œ
œ œ nœ
œ œ
œœ œ J Jœ œ bœ œ
œœ œ
œ œ
œœ œ J J œ œ
œœ œ
3 3 3 3
mf
3
j 3
‰ j j
Ob. & œœ #œ œœ œ ‰ œœ œ ‰ bœ œ œ nœ œ œœœ œ œ bœ œ œ œ
mf
Cl. & ≈ nœ œ#œ œ œ

r
œ ‰ ‰™ nœ œ#œ œ œ œ
r b œb œ nœ œ œb œ œnœ œ b œb œ nœ œ œb œ œnœ œ
œ nœnœ œ œ œ œœ œ œ
bœ œ bœ œ
bœ œ mf
B #œ
œ œ nœ ˙ œ œ nœb œ
b œ nœ
œ œœ œœ
b œ nœ
œ œ œ œb œ
b œ nœ
œ ‰
¢
bœ
Bsn. J ‰ ‰ ≈ R Œ ≈ R
mf
° r
Hn. & œ œb œ œ™ œ œ œ ≈ ‰ Œ ∑
f
Tpt. & œ œ œ œ
bœ bœ œ œ
œ œ™ œ œ
bœ bœ œ™ œ
œ œ
b œj bœ œ œ œ
B
Tbn.
¢ R ≈ ‰ Œ ∑
f
°
#œ ™
Perc. I & ‰ œ#œ#œ œ bnb ˙˙˙˙ nœ œ œ nœ #˙
°... > œ
mf
^œ –
f
¢& ∑ œ— ‰ Œ ∑
Perc. II
J
^–
{
f
nb œœ —
& Œ J ‰ Œ ‰ œb œb œ
bœ
#œ#œ#œ
œœ
œ #œ œœœ œ™
Pno. f
mf
& ∑ bb ˙˙˙˙˙ ∑
°... >
{
>
& #œ œ œ#œ#œ #˙ ∑ Œ œ œ œ b œb œ
bœ
œ
D§CbBb
Hp. mf
E§F§Ab
& ∑ ∑ ∑
° æ æ æ æ æ æ æ æ æ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ
œæ #œæ #œæ nœæ œæ æ œæ œæ œæ #œæ
6 6 6 6
∑ œ œ
Vln. I &
> œ nœ œ œ œ #œ #œ nœ œ œ œ œ #œ
f
æææææææææ ææææ ææ ææ ææ ææ ææ ææ ææ ææ æ ææ ææ æKr

& ∑ œæ#œæ#œænœæ œæ æ œæ œæ œæ #œ nœæ œæ æ œ œœ #œ nœ œ œ œ œ #œ #œ nœæ ® ≈ ‰
Vln. II
> œ œ
f n
non div.
œ œ œ ˙ ˙
Vla. B ˙ ˙
mf
B œ œ œ
tutti, senza vib.
Vc. ˙ ˙
<#>‚
mf
? ‚ ‚ ‚
¢‹
Db. R ≈ ‰ Œ ∑
f
58
°
& bœ œ bœ œ œ œ œ œœ œ œ bœ œ bœ œ œ œ œ œ œ œ œ#œnœ bœ ‰ œœœ œ ‰
Fl.
œœ œ œœ œ J Jœ œ œœ œ œœ œ J J œœ œ # œ œ#œ J œ œœ J
3 3 3 3 f
j j j
3 3
Ob. & œ bœ œ œ œ œ bœ œ œ œ œ œœœ œ nœ œb œ#œ œ ‰ œœœœ œ ‰ œœœœ œ ‰
f
& b œb œ nœ œ œb œ œnœ œ b œb œ nœ œ œb œ œnœ œ œ nœb œ nœ ‰ ‰ œœ œ

Cl.
bœ
œ œœ
œ
œ œ
bœ
œ œœ
œ
œ œ
bœ
œ#œ œ# œ #œ J œ
œœœœ œ J
f
‰™ ‰™
B œ œ œb œ
b œ nœ
œ Œ œ œ œb œ
b œ nœ
œ ‰ œœ œœ
b œ nœ
œ #œ œ n œ
œ
œ œ œ œ œ œ œ œ œ œ™
¢ ≈ #œ#œ œ
Bsn. R R R
f
°
3
œ™
‰ œ j
Hn. & œ œ œ œ œ œœ œœ œ œ œœ œ
ff f
œ bœ ™ j j j
3
Tpt. & œ
bœ bœ œ œ
bœ œ œ
œ œ œ#œ bœ ‰ nœ œ bœ ‰ nœ œ bœ
f
B œ œj #˙
¢
Tbn. ∑ Œ ‰ J
pp f
° ˙
Perc. I & nœ œ œ œ #˙ nœ œ œ œ #˙ #b ˙˙˙
œ œ
>
°...
^œ –
ff
Perc. II
¢& ∑ ∑ œJ — ‰ Œ
{
b ^œ –
ff
b œ—
‰ ‰ J ‰ Œ
& œœœ
œb œb œ
bœ
œ™ œœœ
œb œb œ
bœ
œ™
Pno. ff
∑ ∑ ˙
& bb ˙˙˙˙
>
{
°...
& Œ œ œ œ b œb œ
bœ Œ œ œ œ b œb œ
bœ ∑
œ œ
Hp.
& ∑ ∑ ∑
° ææ æ ææ ææ æ ææ æ æ æ ææ æ ææ æ æ æ æ æ æ æ ææ æ ææ æ ææ
æ b œæ œ œ œ œæ #œæ æ
6 6
nœ œ œ œ œ #œ #œæ nœ œ œ œ œ
6 6
& ∑ œ nœ œ œ
Vln. I
> #œ #œ
n ff
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
& ∑ ∑ b œæ œ œ œæ #œæ æ æ œæ nœæ œ œæ œæ æ
Vln. II
> œ # œ #œ œ œ œ
ff
˙ œ œ œ ˙
Vla. B ˙ œ œ œ ˙
f
espressivo 3
‰ œ j ∑
Solo Vc. & œ œ œ œ œ
f ff
˙
non div.
(gli altri) Vc.

B ˙ œ œ œ #˙
f
o
non div., I - touch 4th II - touch 3rd
# œœ
? # OȮ˙
¢‹
Db. ∑ ∑
f
59
° bœ ‰ œ ‰ bœ ‰ œ ‰ bœ ‰ œ œ
Fl. & # œ œ#œ
œ#œ œ
J œ œœ
œœœ
J # œ œ#œ
œ#œ œ
J œ œœ
œœœ
J # œ œ#œ
œ#œ œ
J œ œœ
œœœ
œ œœ
œœœ
ff poss.
j ‰ œ œ œ œ œj ‰ œ œ œ œ œj ‰ j j ‰ œ œ œ œ œj ‰ j j j
3 3 3 3 3 3
Ob. & œ œb œ#œ œ œ œb œ#œ œ ‰ œœœœ œ œ œb œ#œ œ ‰ œœœœ œ ‰ œœœœ œ ‰
ff poss.
& Œ œb œ nœ ‰ ‰ œb œ nœ Œ œb œ nœ ‰ ‰ œœ œ
Cl.
bœ
œ#œ œ# œ #œ J bœ
œ#œ œ# œ #œ J bœ
œ#œ œ# œ #œ J œ
œœœœ œ J
ff ff poss.
B <#>œ #œ#œ œ#œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ #œ œ œ

œ
œ œ#œ#œ œ#œ œ œ œ œ™ œ œœ œ
œ
œ
¢
#œ#œ œ œœœ
Bsn.
ff poss.
°
Hn. & œ œœ œ™ œœ œ™ œœ œ œ œœ œ œ œœ œ™ œœ œ™ œœ œ œ œœ œ
ff poss.
3 3 3
j ‰ nœ œ b œj ‰nœ œ b œj j ‰ nœ œ b œj ‰nœ œ b œj j ‰ nœ œ b œj ‰ nœ œ b œj
3 3 3
& ‰ ‰ ‰
Tpt.
nœ#œ bœ nœ#œ bœ nœ#œ bœ
ff poss.
B œj #˙ œj #˙ œj #˙
Tbn.
¢
ff poss.
°
¢& Œ œ
œ œb œ#œ Œ œ
œ œb œ#œ Œ œ
œ œb œ#œ
Perc. I
#œ œ #œ œ #œ œ
{
°... f ff ff poss.
& #œnœ œ
b œnœ
#œ œ œ
b œnœ
#œ œ œ
b œnœ
œœœ
œœ
# œ #œ œ #˙ # œ #œ œ #˙ # œ #œ œ #œ œ œœ #œ
Pno. f ff ff poss.
& ∑ ∑ ∑
{
°...
‰ j j j
& #œ œ œ
bœ œ Œ ‰ #œ œ œ
bœ œ Œ ‰ #œ œ œ
bœ œ œœœ
œ œ œœœ
œ œ
# œ #œ œ # œ #œ œ # œ #œ œ œ œœ œ œœ
D#C# f ff
Hp. F#A§ ff poss.
& ∑ ∑ ∑ ?
° ææ ææ ææ ææ ææ nœææ ææ æ ææ ææ ææ ææ æ æ æ æ æ æ æ æ æ æ ææ ææ ææ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ
b œæ nœæ œæ œæ æ #œæ æ æ œæ nœæ œæœæ
6 6 6 6 6 6
Vln. I & œ #œ # œ #œ
bœ œ œ œ
œ #œ œ œ # œ #œ œ #œ # œ #œ b œ nœ œ œ œ œ# œ œ
pp ff poss.
æ æ æ æ æ æ æ ææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ æ æ
& b œæ œæ œæ œæ æ#œæ æ æœæ nœæ œæ œæ æœæ æ æ ∑ b œæ œæ œæœæ æ æ æ æœæ nœæ œæ œæ æ æ æ æ
Vln. II
œ # œ #œ œ œœ œ #œ # œ #œ œ œœœ
n ff poss.
˙ ˙ ˙
Vla. B ˙ ˙ ˙ &
ff poss.
∑ ‰ œ œ ‰
>
œ œ B
Solo Vc. & #œ #œ
j
J
> ff ff poss.
f
<#>˙
˙ ˙ ˙
(gli altri) Vc.
B ˙ ˙
ff poss.
? <#>OO OO OO
Db.
¢‹
ff poss.
60
° Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~
Fl. & ‰ nœ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ
pp p pp p pp mp pp mp pp mf pp
j j j j j
Ob. & ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ
Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~

& ‰ j ‰ j ‰ j ‰ j ‰ j
Cl. #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B œ œ œ œ #œ œ œ
¢
Bsn. ∑ ∑ Œ ‰ J R ≈ ‰ ‰ J
pp mp pp
°
senza sord.
∑ ∑ Œ ‰ j r j
Hn. & œ œ œ œ œ œ ≈ ‰ ‰ œ
pp mp pp
B œ œ œ œ œ œ
¢
Tbn. ∑ ∑ Œ ‰ J R ≈ ‰ ‰ J
pp mp pp
°
Perc. I & ∑ ∑ ∑ ∑ ∑
*
œ–
^j
Perc. II
¢& œ — ‰ Œ ∑ ∑ ∑ ∑
{
p
^œ –
œ— ‰ >
like an echo
j j j b œœ œœ œœ œœ œœ œœ
>— >— >—
& J Œ ‰ Œ ‰ Œ ‰ Œ
œ œ œ
p 3 3
Pno. mp pp
3 3
& ∑ ∑ ∑ ∑ #œœœ œœœ œœœ œœœ œœœ œœœ
*° >
{
o o o o
j j j j
∑ œ— œ— œ— œ—
& ‰ Œ ‰ Œ ‰ Œ ‰ Œ
> > > >
Hp. … p mp mf
? ∑ ∑ ∑ ∑ ∑
° Œ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~

a2 tutti
1st player only
œ bœ œ Œ bœ œ Œ bœ œ Œ bœ œ Œ bœ œ
Vln. I &
Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~

a2 tutti
1st player only Ÿ~~~~
Vln. II & Œ bœ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ
Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~

a2 tutti
1st player only
Vla. & Œ #œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ
>O >O >O >O

1st player only a2 tutti
B Ȯ
Vc.
¢
p sub. mp mf
61
Ÿ~~~~~~~~~~~~~~~~~
° Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ œ bœ
J
œ œ
Fl. & ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰ bœ
J
œ œ ‰
f pp ff pp ff pp ff pp
j j j œ œ œ
Ob. & ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ J
Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~

j j j #œ œ œ œ
Cl. & ‰ œ œ œ
‰
œ œ œ
‰
œ œ œ
‰ J
ff pp
f pp ff pp ff pp
#œ œ œ œ #œ œ œ œ bœ œ œ
B œ R
¢
Bsn. R ≈ ‰ ‰ J ≈ ‰ ‰ J
mf pp f pp
° r j r j
Hn. & œ #œ œ œ œ ≈ ‰ ‰ #œ œ œ œ œ œ ≈ ‰ ‰ œ
mf pp f pp
∑ ∑ ∑ Œ ‰ j
Tpt. & œ
pp
B œ œ œ œ #œ œ œ œ œ œ
¢
Tbn. R ≈ ‰ ‰ J R ≈ ‰ ‰ J
mf pp f pp
{
> >
& ∑ b œœ œœ œœ œœ œœ œœ ∑ b œœ œœ œœ œœ œœ œœ
3 3 3 3
Pno. mf pp f pp
3 3 3 3
& ∑ #œœœ œœœ œœœ œœœ œœœ œœœ ∑ #œœœ œœœ œœœ œœœ œœœ œœœ
> >
{
o o o o
& œj— ‰ Œ j
œ—
‰ Œ j
œ—
‰ Œ j
œ—
‰ Œ
> > > >
Hp. f ff
? ∑ ∑ ∑ ∑
Ÿ~~~~~~~
° Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ œ bœ œ
Vln. I & Œ bœ œ Œ bœ œ Œ bœ œ Œ
Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~

bœ œ œ
Vln. II & Œ œ œ Œ œ œ Œ œ œ Œ
Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~

#œ œ œ
Vla. & Œ œ œ Œ œ œ Œ œ œ Œ
> >O >O >O

B O
Vc.
¢
f ff
<K q = q > (q = 69ca.)
62
Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
° ‰ œ bœ
J
œ œ
‰
œ bœ
J
œ œ
‰
œ bœ
J
œ œ
R ≈ ‰ Œ
œ
44
Fl. &
ff pp ff pp ff pp
œ œ œ œ œ œ œ œ œ bœ
Ob. & ‰ J ‰ J ‰ J R ≈ ‰ Œ 44
ff pp ff pp ff pp
Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

#œ œ œ œ #œ œ œ œ #œ œ œ œ œ 44
Cl. & ‰ J ‰ J ‰ J R ≈ ‰ Œ
ff pp ff pp ff pp
œ bœ œ œ œ #œ œ bœ œ œ œ
B R R ?4
¢
Bsn. ≈ ‰ ‰ J ≈ ‰ Œ Œ 4
ff pp ff
° j r 44
& œ bœ œ œ œ ≈ ‰ ‰ #œ œ œ œ œ ≈ ‰ Œ œ
Hn.
R
ff pp ff pp
& œ bœ œ œ œ ≈ ‰ ‰ j œ bœ œ œ œ ≈ ‰ Œ œ 44
Tpt.
R #œ R
ff pp ff pp
B œ œ œ œ #œ œ œ œ œ #œ 44
¢
Tbn. R ≈ ‰ ‰ J R ≈ ‰ Œ
ff pp ff pp
°
soft yarn mallets
ææ
œ 44
¢&
Perc. II ∑ ∑ ∑ Œ Œ
{
pp
> > 44
& ∑ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ ∑
3 3 3 3
Pno. ff pp ff
?4
3 3 3 3
& ∑ #œœœ œœœ œœœ œœœ œœœ œœœ #œœœ œœœ œœœ œœœ œœœ œœœ ∑ 4
> >
{
o o o 44
& œj— ‰ Œ j
œ—
‰ Œ j
œ—
‰ Œ ∑
Hp. > > >
? ∑ ∑ ∑ ∑ 44
<K q = q > (q = 69ca.)

Ÿ~~~~ Ÿ~~~~~~ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
° Œ
œ bœ œ œ bœ œ b -œ -œ -œ -œ -œ -œ b >œ œ œ œ œ œ
Vln. I & Œ 44
3 3
ff pp ff pp ff
Ÿ~~~~ Ÿ~~~~~~ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
bœ œ œ bœ œ œ œ œ œ œ œ œ 44
Vln. II & Œ Œ
3 3
ff pp ff pp ff
Ÿ~~~~ Ÿ~~~~~~ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ Ÿ
-œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
#œ œ œ #œ œ œ œ œ œ œ œ œ
Vla. & Œ Œ B 44
3 3
ff pp ff pp ff
> >O >‚

B O ‚ ‚ ‚ ‚ ‚ ‚ ?4
¢
Vc. J ‰ Œ Œ 4
3 3
pp ff
63
° 4 œ
Fl. &4 R ≈ ‰ Œ Ó 43 ∑ ‰ ≈ œr œ œ
44
>
 œ
ff
fp
Ob.
4
&4 R ≈ ‰ Œ Ó 43 ∑ ‰ ≈ œr œ œ
44
ff
>
fp
œ ≈ œj™ 44
Cl.
4
&4 R ≈ ‰ Œ Ó 43 Ó ˙ œ
ff >
>œ ™
fp
˙ œ
?4 43 ≈ J 44
¢ 4 r≈ ‰
Bsn. Œ
w œ
> fp
° 4
ff
r 44
Hn. &4 œ ≈ ‰ Œ Ó 43 ∑ #˙ œ
>
ff fp
> 44
Tpt.
4
&4 œ
R ≈ ‰ Œ Ó 43 ∑ Œ ‰ bœ œ
J
<#>œ
ff fp
>
Tbn.
B4
¢ 4 R ≈ ‰ Œ Ó 43 Œ ‰ œJ œ ˙ œ 44
ff fp
> >> > >

metal mallets, l.v. sempre
° 4 œ#œ œb œ œ 44
Perc. I &4 Œ Ó 43 ∑ ∑
sffz
œ– œ
4
¢& 4
R ≈ ‰ Œ Ó 43 ∑ Œ Œ æ 44
{
Perc. II
ff pp
^ ^ ^ ^ ^ ^
œœ œœ œœ œœ œœ œœ 44
4
&4 ∑ 43
3 ##˙^˙ ^ ^
Pno. sffz sempre
? 44 ‰ Œ Ó œœ œœ ##˙˙ ?4
&4 4
œ–
j
>œ —
{
*°
b œœ ™™ œœ œœ œœ œœ œœ ™™ b œœ ™™ œœ œœ œœ œœ œœ ™™
^ ^ ^ ^ ^ ^ ^ ^
°
4 ∑ 43 44
&4
3 #œœ ™™ œœ ™™ #œœ^ ™™ œœ ™™
Hp. sffz sempre ^ ^ ^
? 44 ‰ Œ Ó ?4
&4 4
œ–
j
>œ — Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b >œ ™ b >œ ™
>œ > > > >œ œ >œ œ >œ™ >œ œ >œ œ >œ™
° 4 œ œ œ œ 44
Vln. I (a) &4 43
ff
b >œ œ #œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
DIVISI
œ œ œ œ œ œ 44
4 43
œ
Vln. I (b) &4 œ œ œ œ
ff
4
>œ > > >
#œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 #œ >Ÿ
œ™ >Ÿ
œ™ >Ÿ
œ™ >Ÿ
œ™ 44
Vln. II (a) &4 4
~~~~~~~
ff
Ÿ >Ÿ >Ÿ
#>œ œ œ œ b œ œ œ œ >œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ 3 #œ #>˙
DIVISI
4 4 œ œ #˙ 44
Vln. II (b) &4
b ^œ
‰ œJ ≈ œJ ™ #^œ ™ ^œ
ff
^ ^
pizz.
r 44
B 44 43 ‰ J Œ
non div.
bw
w œ ≈ ‰
Vla.
œ
> sffz
ff
^ ^ ^ ^ ^
pizz.
? 44 43 r ‰ & j ≈ j™ #œ ™
?4
non div.
Vc.
w œ ≈ ‰ œ œ œ ‰ b œJ Œ 4
w œ
> sffz
ff
?4 43 44
Db.
¢‹ 4 r≈ ‰ Œ Œ ∑
w œ
>
ff
64
° 4 r
3
&4 œ ≈ ‰ Œ Ó Ó ‰ œ œ
>
Fl.
ff fp
r
& 44
3
œ ≈ ‰ Œ Ó Ó ‰ œ œ
>
Ob.
ff fp
& 44 r ‰ ‰ #œj œ
3
≈ ‰ Œ Ó Œ œ
Cl.
œ >
ff fp
# >œ œ œ
?4 J
Bsn.
¢ 4 w œ
r ≈ ‰ ‰ ‰
>
3
fp
° 4
ff
<#>œ
Hn. &4 r ≈ ‰ Œ Ó Ó #œ œ
ff
>
fp
œ
>œ œ
Tpt. & 44 R
≈ ‰ Œ Ó Ó Œ
J
ff 3
fp
>œ œ œ
B4 œ
¢ 4
Tbn. R ≈ ‰ Œ Ó Œ ‰
ff 3
fp
>œ
° 4
> >> >
œ#œ œb œ
Perc. I &4 Œ Ó ∑
sffz
œ–
ææ
4 œ
¢& 4
R ≈ ‰ Œ Ó Ó Œ
{
Perc. II
pp
œœ^ œœ^ œœ^

^ ^ ^
ff
œœ œœ œœ
& 44 ∑
3 3
^ ^ ^
##˙˙ ˙˙ ˙˙
Pno.
?4 ‰ Œ Ó ?
4
nœ –
j &
n>œ — *°
3
{
° œœ^ œœ^ œœ^ œœ^ œ^œ œœ^ œ^œ œœ^
& 44 ∑
^ ^ ^ ^
Hp.
?4 ##œœ œœ œœ œœ
4 ‰ Œ Ó ?
œ–
j &
œ> —
>œ > > > Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
>œ >œ >œ >œ >œ >œ >œ >œ
° 4 b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
Vln. I (a) &4
DIVISI
b >œ œ #œ >œ >œ >œ >Ÿ
œ >Ÿ
œ >Ÿ
œ >Ÿ
œ >Ÿ
œ >Ÿ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
nœ
Vln. I (b) & 44
3 3
>œ > > > Ÿ >Ÿ >Ÿ >Ÿ

#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #>
œ œ œ œ
Vln. II (a) & 44 bœ œ œ œ
~~~~~
#>œ œ œ nœ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >Ÿ >Ÿ >Ÿ
DIVISI
& 44
Vln. II (b) bœ œ œ œ #œ #˙ œ œ ˙
3 3
^
^œ #^œ #^œ ^œ œ
pizz.
B 44
arco
r
b ww œ ≈ ‰ ‰ Œ
Vla.
œ
> 3 3
sffz
ff
^ ^ ^ ^ ^
pizz.
?4
arco
r œ Œ
œ ≈ ‰ ‰ & œ #œ #œ œ
?
Vc. 4 w
w œ
> 3 3
sffz
ff
?4
Db.
¢‹ 4 r ≈ ‰ Œ Ó
w œ
>
65
° r > ˙
Fl. & œ ≈ ‰ Œ Ó ∑ ‰ œ œ
J
ff
fp
r #˙
Ob. & œ ≈ ‰ Œ Ó Ó ‰ #œj œ ˙
ff
>
fp
>
<#>œ ≈ ‰
& r Œ Ó ∑ ‰ œ œ ˙
Cl.
J
ff fp
# >œ œ ˙ ˙
? ‰ J
Bsn.
¢ w œ
r≈ ‰ Œ
> fp
°
ff
j
<#>œ ≈ ‰
r Œ Ó Ó Œ ‰ #œ
& ˙ ˙
>
Hn.
ff fp
>
& œ ≈ ‰ Œ Ó ∑ Œ ‰ œJ ˙
Tpt.
R
ff fp
B œ #>œ ˙ ˙ ˙
Tbn.
¢ R ≈ ‰ Œ Ó Œ ‰ J
ff fp
°
> > >>
œ #œ#œ >œ
Perc. I & œ Œ Ó ∑ ∑
sffz
œ–
ææ
œ
Perc. II
¢& R ≈ ‰ Œ Ó ∑ Ó Œ
{
ff pp
#œœ^ œœ^ œœ^ œœ^ œ^œ œœ^ œ^œ œ^œ #œ^œ œœ^ œ^œ œ^œ œ^œ œœ^ œ^œ œ^œ
& ∑
^ ^ ^ ^ ^ ^ ^ ^
œœ œœ œœ œœ œœ œœ œœ œœ
Pno.
? ‰ Œ Ó ?
nœ –
j &
n>œ —
{
*°
° # œœ^ œœ^ œœ^ œ^œ œœ^ œ^œ œ^œ œœ^ œœ^ œ^œ œœ^ œœ^ # œ^œ œœ^ œœ^ œ^œ œœ^ œœ^ œ^œ œœ^ œœ^ œ^œ œœ^ œœ^
& ∑
b œ^œ ^ ^ ^ 3 ^ 3^ b œ^œ œœ^ œœ^ œ^œ œœ^ œœ^
3 3 3 3 3 3
œœ œœ œœ œœ œœ
Hp.
? ‰ Œ Ó ?
œ–
j &
œ> —
3 3 3 3
>œ > > > Ÿ ŸŸŸ ŸŸŸŸŸŸŸŸ ŸŸŸŸŸŸŸŸŸŸŸŸ

œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ # >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
° #œ œ œ œ
Vln. I (a) &
3 3 3 3 3 3 3 3
>œ > > > Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # >œ >œ >œ >œ >œ >œ >œ >œ #>œ >œ >œ >œ >œ >œ >œ >œ
DIVISI
Vln. I (b) &

>œ > > > Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
#œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ n>œ œ œ œ œ œ œ œ œ œ œ œ
Vln. II (a) & œ œ œ œ
3 3 3 3
Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ

#>œ #œ nœ nœ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ
DIVISI
nœ >
Vln. II (b) & œ œ œ œ
r ^
pizz.
^ ^ ^ ^
œ ≈ ‰ ‰ & #œj ‰ #œj ‰ #œj ‰ œ ‰ œJ Ó
arco
B w
#w B
Vla.
œ J
> sffz
ff
^
r ≈ ‰ ‰ & ^j ‰ #^œj ‰ #œj
pizz.
? ^ ^
‰ œ ‰ œJ Ó
arco
?
Vc. w œ #œ J
w œ
> sffz
ff
?
¢‹ r≈ ‰ Œ
Db. Ó ∑
w œ
>
66
° œ bœ
Fl. & R ≈ ‰ Œ Ó 43 ∑ 24 b>œ 43
<#>œ
ff fp
> bœ
Ob. & R ≈ ‰ Œ Ó 43 Œ Œ bœ 24 œ 43
ff fp
& œ ≈ ‰ Œ Ó 43 ∑ 24 b>œ œ 43
Cl.
R
ff fp
b>œ 24 œ œ
¢
? 43 r≈ ‰ Œ 43
˙
Bsn.
> ˙ œ
> fp
°
ff
> 2
<#>œ
r
Hn. & ≈ ‰ Œ Ó 43 Œ Œ ‰ œ 4 œ
J
œ 43
ff fp
& œ ≈ ‰ Œ Ó 43 ∑ 24 ‰ >œJ œ
43
Tpt. R
<#>œ
ff
b >œ œ 24 œ œ
Tbn.
¢
B R ≈ ‰ Œ Ó 43 Œ ‰ J 43
ff fp
°
> >>>
œ #œ# œ >œ
Perc. I & œ Œ Ó 43 ∑ 24 ∑ 43
sffz
œ–
ææ
œ
Perc. II
¢& R ≈ ‰ Œ Ó 43 ∑ 24 Œ 43
{
ff pp
^ ^ ^ ^ ^
## œœ œœ œœ ## œœ œœ
& ∑ 43 24 43
^ ^ ^
3 ˙˙ œœ 24 œœ œœ
Pno.
? ‰ Œ ‰ Œ ?3
œ–
j j &4 4
œ–
>œ —
*°
>œ —
{
° ° # œœ^ ™™ œœ œœ œœ œœ œœ ™™
^ ^ ^ # œ^œ ™™ œœ^ œœ œ^œ
& ∑ 43 24 43
Hp. b œ^œ ™™ œœ^ ™™ b œ^œ ™™ ^
œœ
? ‰ Œ ‰ Œ 3 24 J ? 43
œ–
j j &4
œ–
>œ — >œ — ~~ Ÿ Ÿ ~~ Ÿ
œ n œ b œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ ™ œ œ >œ œ >œ ™ œ™
>œ > >œ > >Ÿ >Ÿ >Ÿ >Ÿ
œ œ >œ
œ œ # œ #œ œ œ œ œ œ œ œ œ œ œ œ
°
Vln. I (a) & 43 24 43
>œ > > > Ÿ >Ÿ >Ÿ Ÿ >Ÿ
DIVISI
œ # œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ # œ # >œ œ œ #>œ œ
Vln. I (b) & 43 24 43
Ÿ >Ÿ Ÿ Ÿ
b >œ ™ b >œ ™
>œ > > > >œ
# œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ™
Vln. II (a) & 4 24 J 43
~~~~~~~~~~~~
DIVISI > >
# >œ #œ #œ œ œ œ œ œ >œ œ œ œ œ œ œ œ b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 >Ÿ >Ÿ >Ÿ
n˙ œ 24 œ œ
43
nœ
Vln. II (b) & 4
pizz.
arco
r ^j ^ ^œ 2 b œ^ b ^œ
Vla. B #˙˙ b ˙˙ 43 œœ ≈ ‰ ‰ & bœ bœ 4 Œ B 43
> > sffz
^
ff
b ^œ b ^œ
^œ b ^œ b œ
pizz.
? 43 r 24 43
arco
Vc. ˙˙ ˙˙ œœ ≈ ‰ ‰ J Œ
> > sffz
ff
?
¢‹ 43 r≈ ‰ Œ Œ 24 ∑ 43
˙
Db.
> ˙ œ
>
67
 œ
° 3 R 44 24 b>œ œ 44
Fl. &4 ≈ ‰ Œ Œ ∑
 œ
ff fp
3 R 44 > 24 œ 44
&4 ≈ ‰ Œ Œ Ó Œ œ œ œ
Ob.
J
ff 3
œ 24 b>œ
fp
3 ≈ ‰ Œ Œ 44 ∑ œ 44
Cl. &4 R
ff fp
>œ œ
?3 44 r 24 œ œ 44
¢ 4
J
#œ ™ œ ≈ ‰ Œ
Bsn. œ™ Œ
> > 3
fp
ff
° 3 œ ≈ ‰ Œ Œ 44 Ó Œ ‰
3
24 44
Hn. &4 R œ œ œ
ff >
b>œ œ
fp
3 œ ≈ ‰ Œ Œ 44 ∑ 24 Œ J 44
Tpt. &4 R
 œ
ff 3
fp
B3 44 > 24 œ 44
¢ 4
Tbn. R ≈ ‰ Œ Œ Ó b˙ œ
ff
fp
° 3
> >>>
#>œ
œ #œ
Perc. I &4
#œ œ
Œ Œ 44 ∑ 24 ∑ 44
sffz
œ–
ææ
3 44 24 Œ œ 44
¢& 4
R ≈ ‰ Œ Œ ∑
{
Perc. II
ff pp
b œ^œ œ^œ œ^œ œ^œ œœ^ œœ^ b œ^œ œœ^ œ^œ
3
&4 ∑ 44 24 44
3 3 3
^ ˙^˙ ˙˙^ ^ œ^œ

Pno. 3 3
? 43 4 #˙˙ 24 #˙˙ ?4
#œ –
j ‰ Œ Œ &4 4
# >œ — *°
{
° b œ^œ œ^œ œ^œ œ^œ œ^œ œ^œ œ^œ œ^œ b œ^œ œ^œ œœ^ œœ^
3
&4 ∑ 44 24 44
Hp. œ^œ œœ^ œœ^ œœ^ œœ^ œœ^
? 43 4 24 ?4
#œ –
j ‰ Œ Œ &4 4
# >œ —
Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
# >œ œ # œ œ
>œ
œ œ
>œ
œ œ b œ n>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
° 3 #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. I (a) &4
44 24 44
~~ Ÿ ~~ Ÿ
>œ > > >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >œ >Ÿ >Ÿ
œ >œ
DIVISI
# œ # œ # œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ
Vln. I (b)
3
&4
44 24 44
Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
3 3 3
# >œ # œ # œ #œ >œ >œ

n>œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ
nœ
Vln. II (a)
3
&4 4 24 44
Ÿ ~~~~
DIVISI
# >œ # œ #œ #œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ n œ #>˙ >Ÿ
œ œ >Ÿ
˙
>Ÿ Ÿ>
Vln. II (b)
3
&4
œ œ œ 44 24 #˙ œ 44
3 3 3
^ b œ^
pizz.
^ ^ 24 b œ^
b˙™
r
arco
B 43 44 œ 44
˙™
œ ≈ ‰ Œ bœ œ Œ
Vla.
œ
> sffz
3 3
ff
^ b œ^
œœ ™™ œ^
r ^ nœ^
pizz.
##œœ ™™
24 b œ
arco
? 43 44 œœ ≈ ‰ Œ Bb œ Œ ?4
Vc. 4
> > 3 3
sffz
?3 44 r 24 44
ff
¢‹ 4 #œ ™ œ ≈ ‰ Œ
Db. œ™ Ó ∑
> >
68
° 4 œ >œ œ
Fl. &4 R ≈ ‰ Œ Ó Ó ‰ 43
ff 3
fp
>œ œ
Ob.
4
&4 œ
R ≈ ‰ Œ Ó Œ Œ J
œ 43
ff 3
œ
>
fp
Cl.
4
&4 R ≈ ‰ Œ Ó Ó ‰ œ œ
43
3
>œ œ
ff fp
œ
Bsn.
?4
¢ 4 b˙ œ
r ≈ ‰ Œ J 43
˙ >
> 3
fp
° 4
ff
Hn. &4 œ
r ≈ ‰ Œ Ó Ó œ œ 43
>
œ b >œ œ
ff fp
Tpt.
4
&4 R ≈ ‰ Œ Ó Ó ‰ ‰ J 43
ff 3
fp
œ
>
Tbn.
B4
¢ 4 R ≈ ‰ Œ Ó Œ ‰ œ œ œ 43
3
ff fp
° 4
> > >>
>œ
43
b œ bœ
Perc. I &4
bœ œ
Œ Ó ∑
sffz
œ–
ææ
œ
Perc. II
4
¢& 4
R ≈ ‰ Œ Ó Ó Œ 43
{
ff pp
œœ^ œœ^ œœ^ œ^œ œœ œœ œœ œœ

^ ^ ^ ^
4
&4 ∑ 43
^ ^ ^ ^
Pno.
? 44 bb œœ œœ œœ œœ ?3
bœ –
‰ Œ ‰ Œ
œ–
j j & 4
œ> — b >œ — *°
{
^ ^ ^ ^ ^ ^ ^ ^
° œœ œœ œœ œœ œœ œœ œœ œœ
4 ∑ J J J J 43
&4
# œ^œ ^ ^ ^ ^ ^
3 3 3 3
Hp.
? 44 ?3
bœ –
‰ Œ ‰ Œ
œ–
j j & 4
>œ — >—
3 3
b œ
b œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ
> > > >Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ
œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
° 4
nœ
œ œ œ œ
Vln. I (a) &4 43
3 3 3 3
DIVISI b >œ b œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >Ÿ
œ >Ÿ Ÿ
œ >œ >Ÿ Ÿ Ÿ Ÿ Ÿ
œ >œ >œ >œ >œ
bœ œ œ œ nœ
Vln. I (b)
4
&4 43
b >œ œ œ >œ >œ >œ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ >Ÿ
b œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
Vln. II (a)
4
&4 43
>œ > > > Ÿ 3
>Ÿ >Ÿ
3
>Ÿ
DIVISI
œ b œ b œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ b >œ œ œ œ
Vln. II (b)
4
&4 43
^ ^ ^ ^ ^
pizz.
r
arco
B 44 b ˙˙ ˙ œ ≈ ‰ ‰& bœ Œ B 43
œ œ œ œ3
Vla.
> ˙ œ
> 3
ff sffz
^ ^ ^ ^ ^
pizz.
? 44
arco
r ?3
b˙ ˙ œ ≈ ‰ ‰& bœ Œ 4
b˙ œ œ œ nœ œ3
Vc.
˙ >
> 3
ff sffz
?4
¢‹ 4 r ≈ ‰ Œ Ó 43
b˙ œ
Db.
˙ >
>
69
° 3 œ ≈ ‰ Œ Œ ∑ 44
Fl. &4 R
ff
& 43
œ ≈ ‰ Œ Œ ∑ 44
Ob. R
ff
œ
& 43
Cl. R ≈ ‰ Œ Œ ∑ 44
ff
˙™ b˙™
?3 44
Bsn.
¢ 4 >
>
ff
° 3 r ≈ ‰ Œ Œ 44
Hn. &4 œ ∑
 œ
ff
& 43
Tpt. R ≈ ‰ Œ Œ ∑ 44
ff
B3 œ 44
¢ 4
Tbn. R ≈ ‰ Œ Œ ∑
ff
° 3
>>>>
bœ bœ
œ œ >œ 44
Perc. I &4 Œ Œ ∑
sffz
3 œ– 44
Perc. II
¢& 4 R ≈ ‰ Œ Œ ∑
{
ff
& 43 ∑ ∑ 44
bœ –
j
Pno.
? 43 44
œ–
j ‰ Œ Œ ‰ Œ Œ
œ> — b >œ —
{
° °
3
&4 ∑ ∑ 44
bœ –
j
Hp.
? 43 44
œ–
j ‰ Œ Œ ‰ Œ Œ
œ> — b >œ —
>œ > > >œ > >
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
° 3 44
Vln. I (a) &4
>œ > > > > >
DIVISI
œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. I (b)
3
&4
44
b >œ b œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ b >œ b œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ œ

3 œ œ œ œ œ œ 44
Vln. II (a) &4
DIVISI
>œ > > > > >
3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
Vln. II (b) &4 4
b ˙˙ ™™ ˙˙ ™™
arco
Vla. B 43 44
>
ff
>™
˙ ™™ b ˙˙ ™
arco
? 43 44
Vc.
˙
>
ff
˙™ b˙™
?3 44
Db.
¢‹ 4 >
>
70
w>
° 4
Fl. &4 ∑ 43
ff
w>
Ob.
4
&4 ∑ 43
ff
>
Cl.
4
&4 ∑ bw 43
ff
Bsn.
?4
¢ 4w r ≈ ‰ Œ Ó 43
œ
>
° 4
Hn. & 4 ∑ Ó ˙ 43
pp
senza sord.
#˙
Tpt.
4
&4 ∑ Ó 43
pp
senza sord.
˙
Tbn.
B4
¢ 4 ∑ Ó 43
pp
° 4
Perc. I &4 ∑ ∑ 43
˙ œ–
Perc. II
4
¢& 4 Ó æ R ≈ ‰ Œ Œ Œ 43
{
pp ff
4
&4 ∑ ∑ 43
Pno.
? 44 ‰ Œ Ó ∑ 43
œ –
j
>œ —
{
°
4
&4 ∑ ∑ 43
Hp.
? 44 j ‰ Œ Ó ∑ 43
œ –
>œ —
>œ > >œ > w>
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
° 4
Vln. I (a) & 4 43
>œ > >œ > w>
œ b œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. I (b) & 4
4 43
b >œ œ #œ œ >
œ œ œ œ œ
>
œ œ œ œ œ
>
œ œ œ œ œ
>
œ bw
Vln. II (a)
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ 43
> > > > w>
4 œ #œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43
Vln. II (b) &4
r
Vla. B 44 b w
w>
œœ ≈ ‰ Œ Ó 43
Vc.
? 44
ww œœ
r ≈ ‰ Œ Ó 43
>
Db.
?4
¢‹ 4 r ≈ ‰ Œ Ó 43
w œ
>
71
œ
° 3 R
Fl. &4 ≈ ‰ Œ Œ ∑ ∑ ∑
œ
Ob.
3 R
&4 ≈ ‰ Œ Œ ∑ ∑ ∑
3 œ ≈ ‰ -œ œ
¢& 4 R
Cl. Œ Œ ∑ ∑ Œ ‰ J
p
° 3 œ ≈ ‰ Œ Œ ∑ ∑ ∑
Hn. &4 R
Tpt.
3<#>œ
&4 R ≈ ‰ Œ Œ ∑ ∑ ∑
B3 œ ≈ ‰
¢ 4 R
Tbn. Œ Œ ∑ ∑ ∑
>
° 3 œœ
¢
Perc. I & 4 Œ Œ ∑ ∑ ∑
sffz
{
3 o
&4 ∑ ∑ ∑ Œ ‰ j Œ
œ
Hp. p
? 43 ∑ ∑ Ó Œ ∑
° 3 Œ
unis., pizz., non div.
r r r r
a5 a4 a3
Vln. I &4 ‰ ≈ #œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ

p mp p p mp p p mp p p mp
unis., pizz., non div. a4 a3
3
&4 Œ ≈ bœ œ œ œ œ ‰ Œ ≈ b œœ œœ œœ œœ œœ ‰ Œ ≈ b œœ œœ œœ œœ œœ ‰ Œ ≈ b œœ œœ œœ œœ œœ ‰
Vln. II
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp p mp
pizz., non div.

r r r r
a3
B 43 ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ
Vla.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp p mp
pizz., non div. 1st desk only (a2)
? 43 ≈ œ œ œ œ œ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ
Vc.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p mp p mp p mp p mp
?3
¢‹ 4
pizz.
Œ Œ Œ Œ Œ Œ Œ Œ
œ— œ— œ— œ—
Db.
p
72
-˙
° -˙ œ
-˙ œ œ
J
Fl. & J ‰ J ‰ ‰ ∑
p n p n p n
#-œ œ œ b -œ œ œ
œ J
Cl.
¢& ‰ J ‰ Œ Œ ∑
n p n p n
{
b œ– œ–
o o o o o
j j
& œj ‰ ‰ #œ Œ œ ‰ ‰
J
Œ J ‰ Œ Œ ∑
Hp.
? ∑ ∑ ∑ ∑
° œ œ œ
1st desk only (a2) 1st player only
r r 3
j 3 3
j
Vln. I & #œ œ œ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ≈ œœ œœ œœ œœ œœ #œœ œœ œœ ‰ ‰ œœ œœ œœ œœ #œœ œœ œœ œœ ‰ Œ
p p mp p p mp p p mp n
Vln. II & Œ ≈ bœ œ œ œ œ ‰
œ œ œ œ œ
Œ ≈ bœ œ œ œ œ ‰
œ œ œ œ œ
Œ ≈ bœ œ œ œ œ ‰
œ œ œ œ œ ∑
p mp p mp p mp

r r r
B ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ‰ ≈ b œœ œœ œœ œœ œœ Œ ∑
Vla.
p mp p mp p mp
1st player only
? ≈ œ œ œ œ œ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ≈ œœ œœ œœ œœ œœ ‰ Œ ∑
Vc.
œ œ œ œ œ
p mp p mp p mp
1st player only

?
¢‹ œ
Œ Œ Œ Œ Œ Œ ∑
— œ— œ—
Db.
ppp fff
Ignatian Exercises for fourteen players
Un ricordo lontano ( = 52) sempre Christopher Stark (2009)

Flute
Oboe
Clarinet
Bassoon
(stopped)
Horn

Trumpet
solo, espressivo
con sord. (straight) gliss.
Trombone
arco (arco)
(as much as possible, choke cymbals at the pinnacle of crescendi)
Percussion
(muted)
Piano
senza vib.
Violin I
sempre
sul G
Violin II
sempre
Viola
Violoncello
sempre
Contrabass
Copyright©2009 Sommerso Publishing (ASCAP) | All Rights Reserved

2 A
7 soli, senza vib.
Fl.
Ob.
Cl.
Bsn.
Hn.
(con sord.)
Tpt.
Tbn.
thumb roll
Perc.
Pno. sempre
pizz., sul G arco
Vln. I
pizz. arco
Vln. II
soli, senza vib.
Vla.
pizz.
Vlc.
sempre
Cb.
B 3
(bisbigliando)
12
Fl.
Ob.
flz.
Cl.
Bsn.
Hn.
Tpt.
flz., (con sord.)
Tbn.
arco
Perc.
Pno.
senza vib.
Vln. I
senza vib.
Vln. II
sul D, sul pont. simile
Vla.
arco
Vlc.
sempre
Cb.
sempre
4
jet whistle
17 flz.
Fl.
senza vib. molto vib.
Ob.
flz.
Cl.
senza vib. molto vib.
Bsn.
Hn.
senza sord.
Tpt.
senza sord.
Tbn.
wooden stick
arco
Perc.
Pno.
molto
molto vib. sul pont. senza vib.
gliss.
Vln. I
molto senza vib., gliss. sul G

molto vib. sul pont.
Vln. II gliss.
molto ord.
sul pont.
ord., molto vib. (simile)
Vla.
Vlc.
sul pont., solo
Cb.
C 5
21
Fl.
Ob.
breath articulation
Cl.
breath articulation soli, senza vib.
Bsn.
breath articulation
Hn.
breath articulation
con sord.
Tpt.
breath articulation
con sord.
Tbn.
(wooden stick)
Perc. hard yarn mallets
sempre
soli
Pno.
pizz. arco, ord., sul D

Vln. I
sempre
pizz. arco, ord., sul D
Vln. II
sempre arco, ord., senza vib.

pizz.
Vla.
sempre
pizz. arco, soli, senza vib.
Vlc.
Cb.
6
24
Fl.
Ob.
Cl.
Bsn.
Hn.
senza sord.
Tpt.
senza sord.
Tbn.
(h.y. mallets)
Perc. (h.y. mallets)
Pno.
Vln. I
Vln. II
Vla.
Vlc.
pizz.
Cb.
D 7
27
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
arco
Perc.
gliss. rapido subito gliss. molto lento
Pno.
molto vib. senza vib.
Vln. I
Vln. II
sul G, molto vib. senza vib.

Vla.

Vlc.
senza vib.
arco, sul A, molto vib.
Cb.
8
32
Fl.
Ob.
Cl.
Bsn.
flz.
Hn.
con sord. senza sord., flz.
Tpt.
con sord. senza sord., flz.
Tbn.
wooden sticks
rim shot
Perc.
Pno.
arco, sul D
pizz. molto sul pont.
Vln. I
sub.
arco, sul D
molto sul pont.
pizz.
Vln. II
sub.
arco, sul D
Vla.
sub. arco, sul D

Vlc.
sub. arco, sul D

molto sul pont.
pizz.
Cb.
sub.
E 9
35
Fl.
Ob.
Cl.
senza vib.
Bsn.
Hn.
con sord.
Tpt.
con sord.
Tbn.
(metal beater, l.v.)
(wooden sticks)
Perc. (grace notes on the beat)
metal beater, l.v.
Pno.
ord.
Vln. I
ord.
Vln. II
senza vib.
Vla.
pizz.
Vlc.
ord.
Cb.
10 F
38
Fl.
Ob.
breathe where necessary
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(metal beater, l.v.)
Perc. (metal beater, l.v.)
Pno.
pizz.
Vln. I
pizz.
Vln. II
pizz.
Vla.
arco, senza vib.

pizz.
Vlc.
pizz.
Cb.
11
41
Fl.
Ob.
Cl.
breathe where necessary
Bsn.
solo
Hn.
cresc.
Tpt.
Tbn.
h.y. mallets
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
12
poco accel.
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(h.y. mallets) (h.y. mallets)
Perc.
Pno.
arco, ord.
Vln. I
arco, ord.
Vln. II
arco
Vla.
arco
Vlc.
arco, ord.
Cb.
G 13
A tempo
46 senza vib.
Fl.
sempre
Ob.
Cl.
Bsn.
Hn.
Tpt.
solo, espressivo
(con sord.) gliss.
Tbn.
tam-tam mallet
Perc.
gliss. molto lento
sempre
Pno.
Vln. I
sempre
poco vib.
senza vib.
Vln. II
poco vib. senza vib.
Vla.
poco vib. senza vib.
Vlc.
senza vib.
Cb.
sempre
14 H
Doppio movimento ( = 104)
52
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
sempre
(if muting is impossible due to piano construction, than play staccatissimo)
Pno.
sempre
Vln. I
sempre staccato
ord.
Vln. II
sempre staccato
ord.
Vla.
sempre
ord.
Vlc.
sempre
Cb.
15
55 soli, senza vib.

Fl.
soli, senza vib.

Ob.
soli
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Vln. I
sub.
Vln. II
sub.
Vla.
sub., sempre staccato
Vlc.
pizz.
Cb.
16 I
58 ord.
Fl.
ord.
Ob.
ord.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
sempre
Pno.
pizz.
arco
Vln. I
sempre staccato
pizz.
arco
Vln. II
sempre staccato
pizz.
Vla.
pizz. arco
Vlc.
arco
Cb.
17
soli, senza vib.
61
Fl.
soli, senza vib.
Ob.
soli
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Vln. I
sub.
Vln. II
sub.
arco
Vla.
sempre staccato
Vlc.
pizz.
Cb.
18 J
64
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
wooden sticks, l.v.
Perc.
Pno.
pizz.
Vln. I
pizz.
Vln. II
pizz.
Vla.
pizz.
Vlc.
Cb.
19
67
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(wooden sticks, l.v.)
Perc.
Pno.
arco, espressivo
Vln. I
Vln. II
Vla.
arco
Vlc.
arco
Cb.
20 K
(senza vib.)
70
Fl.
(senza vib.)
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(wooden sticks)
Perc. (wooden sticks, l.v.)
sub.
Pno.
Vln. I
sempre staccato
arco
Vln. II
sempre staccato
arco
Vla.
sempre staccato
Vlc.
sempre staccato
pizz.
Cb.
21
73
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
22 L
76
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
metal beaters (metal beaters, l.v.)
Perc.
Pno.
pizz.
arco
gliss.
Vln. I gliss.
pizz.
arco
Vln. II gliss.
gliss.
pizz.
arco
gliss.
Vla. gliss.
pizz.
arco
gliss.
Vlc. gliss.
pizz.
Cb.
23
80
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
wooden sticks
Perc.
Pno.
Vln. I
sempre staccato
Vln. II
sempre staccato
Vla.
sempre staccato
Vlc.
Cb.
24 M
molto rit.
lunga
83
Fl.
lunga
Ob.
lunga
Cl.
lunga
senza vib. ord.
Bsn.
lunga
Hn.
lunga
Tpt.
lunga
Tbn.
lunga
tam-tam mallet
Perc.
lunga
Pno.
arco
pizz. lunga
Vln. I
arco
lunga
pizz.
Vln. II
arco
lunga
pizz.
Vla.
arco
pizz. lunga
Vlc.
lunga
arco
Cb.
N 25
A tempo
87
Fl.
Ob.
Cl.
Bsn.
Hn.
con sord.
Tpt.
con sord.
Tbn.
h.y. mallets
Perc.
slightly less than the piano
Pno.
Vln. I
Vln. II
pizz.
Vla.
pizz.
Vlc.
Cb.
26
91
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(h.y. mallets)
(h.y. mallets)
Perc.
Pno.
( )
Vln. I
Vln. II
Vla.
Vlc.
pizz.
Cb.
27
95
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(h.y. mallets) (h.y. mallets)
Perc.
(h.y. mallets)
Pno.
( )
Vln. I
Vln. II
arco
Vla.
arco
Vlc.
arco
Cb.
28 O
99
Fl.
Ob.
Cl.
Bsn.
Hn.
senza sord.
Tpt.
senza sord.
Tbn.
wooden sticks
Perc.
gliss. white keys only

do not articulate beginning
and ending pitches
ss.
Pno. gli
senza vib. gliss. sul G

gliss.
Vln. I
senza vib. gliss. sul G

Vln. II gliss.
Vla.
Vlc.
Cb.
P 29
jet whistle Quasi tempo primo ( = 58)
103
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(wooden sticks) wooden sticks
Perc. brass mallets, l.v.
Pno.
!!!!
Vln. I
Vln. II
Vla.
Vlc.
Cb.
30
106
Fl.
sempre
Ob.
sempre
Cl.
sempre
Bsn.
Hn.
Tpt.
Tbn.
Perc. brass mallets, l.v.
Pno.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Q 31
108
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
wooden sticks
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
32
111
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
wooden sticks
Perc.
brass mallets, l.v.
Pno.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
33
114 lunga
Fl.
lunga
Ob.
lunga
Cl.
lunga
Bsn.
lunga
Hn.
lunga
Tpt.
lunga
Tbn.
medium yarn mallets lunga
Perc.
lunga
Pno.
lunga
Vln. I
lunga
Vln. II
lunga
Vla.
lunga
Vlc.
lunga
Cb.
34 R
117
Tempo primo ( = 52)
Fl.
sempre
Ob.
Cl.
sempre
Bsn.
sempre

Hn.
sempre
con sord. (bucket)

Tpt.
sempre
con sord. (bucket)
Tbn.
sempre
(medium yarn mallets)
Perc.
Pno.
sempre
Vln. I
Vln. II
Vla.
Vlc.
Cb.
S 35
121
Fl.
Ob.
Cl.
Bsn.
breath articulation simile

Hn.
sub.
Tpt.
sub.

Tbn.
sub.
Perc.
Pno.
Vln. I
sempre
sul tasto, senza vib.

Vln. II
sempre
sul tasto, senza vib.

Vla.
sempre
Vlc.
sempre
Cb.
sempre
36
125
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
T 37
129
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vlc.
sempre
Cb.
38 U
134
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
sempre morendo
Perc.
Pno. morendo
Vln. I
Vln. II
sempre morendo
Vla.
(Do not change bow direction in this measure)
Vlc.
morendo
Cb.
sempre morendo

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What is the document about?

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What are some of the techniques Hillborg employs in his compositions?

What are some of the techniques Hillborg employs in his compositions?

ANDERS HILLBORG AND HIS MUSIC

Christopher Andrew Stark, D.M.A.

exclusively, as electronic. The harmonic, melodic, rhythmic, formal and orchestral

artistic movement of postmodernism. Furthermore, the development of Hillborg’s

Hillborg’s approach to composition is refreshing because of its inclusionary

continue to create thought-provoking and original art in an age of oversaturation and

is a recipient of the Underwood Commission from the American Composers Orchestra

been programmed, rehearsed, and performed by such ensembles as the Detroit

Symphony Orchestra, Sacramento Philharmonic, American Composers Orchestra,

Buffalo Philharmonic, University of Texas Wind Ensemble, CCM Wind Symphony,

Israeli Chamber Project, Aspen Contemporary Ensemble, and members of eighth

Competition. He was a regional winner of the 2011 SCI/ASCAP Student Commission

Composer of the Year Award.

I would like to thank my special committee: Professors Judith Peraino, Roberto

Biographical Sketch iii

In the introduction to Robert Quist’s The History of Modern Swedish Music, he

speculates as to why modern Swedish music “remains an obscure topic among

publications in English.”1 He cites a language barrier, political and geographical

although Quist’s inferences are debatable, it is undeniable that English publications

with the late-romantic vestiges of Wilhelm Stenhammar––a contemporary of fellow

Nordic composers Sibelius and Nielsen––and concludes with a chapter entitled,

“Approaching Postmodernism: Werle and Börtz.” If Quist had ventured into

postmodernism, perhaps he would have included a chapter on one of Sweden’s most

prominent contemporary voices, Anders Hillborg.

Jonathan D. Kramer’s brief summary of musical postmodernism, in his article

exclusively uses individual compositions as demonstrations for his classifications, and

section of Kramer’s article is his list of sixteen characteristics of postmodern music.

referenced regularly throughout this document. According to Kramer:

Postmodern music: avoids totalizing forms; includes quotations of or

its place within the larger artistic movement of Postmodernism. Discussing it

distinctive qualities, and it will also provide a framework to discuss aspects of

Hillborg’s biography, which to date, is largely undocumented.

regards to analyzing and understanding Hillborg’s music, is the significant role

is the continuation of generations of composers’ works that were heavily influenced

technological capabilities have changed the way music is created, and it is no

Stockhausen). With new computer-aided means of production, these composers began

to create new and innovative musical associations and meanings––many of which

necessary to describe certain electronically inspired acoustic techniques, and

Hillborg’s music is an excellent source of evidence.

Two other characteristics on Kramer’s list––embracing contradiction and the

avoidance of totalizing forms––are demonstrated by Hillborg’s affinity for

constructing his compositions out of disparate and frequently distorted musical

conductor Esa-Pekka Salonen summarizes Hillborg’s inharmonious dichotomies: “the

contradictory and unrelated juxtapositions stresses diversity over unity as a formal

disparate elements, he creates moving large-scale statements about universality and

commonality in regards to many musical languages and styles, effectively challenging

composer Jonathan Harvey sheds light on Hillborg’s possible goal through an

through … the computer.” Harvey goes on to explain, “Integration of the opposites is

very important, to show how, in some deep sense, everything is connected.”5

both self-referential and of other artists’ work––and stylistic parody––which is often

semantic associations. Because of this, the development of Hillborg’s language can be

musical materials––whether his own or borrowed. In this regard, Hillborg can be

viewed as a collector, and his works as exhibitions of his acquisitions. To put it

ponder over and decipher.

MUSICAL BEGINNINGS AND STUDENT YEARS