Ingolf Dahl - S Concerto For Alto Saxophone and Wind Orchestra - A R [PDF]

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University of Iowa

Iowa Research Online Theses and Dissertations Spring 2016

Ingolf Dahl’s Concerto for alto saxophone and wind orchestra: a revised edition Carl Thomas Rowles University of Iowa

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Copyright © 2016 Carl Thomas Rowles This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/6262 Recommended Citation Rowles, Carl Thomas. "Ingolf Dahl’s Concerto for alto saxophone and wind orchestra: a revised edition." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2016. https://doi.org/10.17077/etd.sfdxxfx3

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

by Carl Thomas Rowles

An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa May 2016 Essay Supervisor: Professor Richard Mark Heidel

 

Copyright by CARL THOMAS ROWLES 2016 All Rights Reserved

 

Graduate College The University of Iowa Iowa City, Iowa

CERTIFICATE OF APPROVAL ____________________________ D.M.A. ESSAY _________________ This is to certify that the D.M.A. essay of Carl Thomas Rowles has been approved by the Examining Committee for the thesis requirement for the Doctor of Musical Arts degree at the May 2016 graduation.

Essay Committee:

____________________________________________ Richard Mark Heidel, Essay Supervisor ____________________________________________ Michael Eckert ____________________________________________ Christine Getz ____________________________________________ William LaRue Jones ____________________________________________ Kevin Kastens



To Mom and Dad

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ACKNOWLEDGEMENTS I am forever grateful to my parents, Roger and Desi Rowles and Joe and Deb Dodson, for their continued support. Even as I have traveled to and from home, you have continued to attend concerts and other performances to see my work. To my advisor, Dr. Richard Mark Heidel–thank you for your mentorship. I appreciate your dedication to the students and continuing to push us to excel. Your unwavering standards, knowledge of our profession, and continued pursuit of preparing us to succeed pushed my abilities far beyond anything of which I had envisioned myself capable. I am also grateful for the guidance I have received from Professor Kevin Kastens. I sincerely appreciate the opportunities I have had to work with the Hawkeye Marching Band and the Iowa Pep Band, as these are experiences and memories that have shaped my time at the University of Iowa. I would like to thank members of the faculty in the School of Music at the University of Iowa: Professors William LaRue Jones, Christine Getz, and Michael Eckert. Thank you for serving on my various committees, providing advice, mentorship, and your passion. You have greatly enhanced my time here at Iowa. I would also like to thank Kathy Ford, administrative coordinator for the UI Bands. Your hours of service and passion for what we do never go unnoticed. I would also like to thank my mentors from Tennessee Technological University, Professor Joseph Hermann and Dr. Eric Harris. You promised me everything you had and you helped me grow immensely. You took me from a rural Iowa high school and ignited my passion for conducting, teaching, and academia.

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I would also like to thank many of my former teachers: Dr. Michael Eckert, Jay Nugent, Becky Greiner, Martin Brenden, David Heupel, and Charles and Virignia Radke. Your countless hours of mentorship, teaching, leadership, and performance opportunities shaped me into the musician and teacher I am today. I also need to thank the University of Southern California Libraries Special Collections, Andrew Justice, and Christine Morse who retrieved archived documents in the Ingolf Dahl Collection. Special thanks to Andrew for his numerous trips and pictures sent to me to aid me in my research. Thank you to my friends, fellow graduate students, teaching assistants, and colleagues at the University of Iowa–Rose Bishop, Eric Bush, Yi Chen, Scott Corley, Kevin Kessler, Ernest Jennings, Steven Riley, Matthew Wanken, and Andrew Veit. You have been my closest comrades and my support system. I will cherish the memories we’ve created and I look forward to where our careers go and the many memories to come.

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PUBLIC ABSTRACT Ingolf Dahl composed the Concerto for Alto Saxophone and Wind Orchestra in 1949 at the request of saxophonist Sigurd Rascher. Subsequently, Dahl made revisions to the work in 1953 and 1959. In the preparation process for all three versions, Dahl was faced with rapidly approaching deadlines, which led to inconsistent application of articulation markings, dynamics, and expressive markings. Further, there are discrepancies between the material that appears in the score and that in the parts. Because the 1959 version only exists in hand-written manuscript form and has never been engraved, these issues have gone unresolved. I have taken the parts that are currently available through Schott Music and entered them into Finale, Schott’s preferred music notation software. I then compared the new score to the old and made corrections to the new score. I corrected wrong notes, removed extra musical material that was probably carried over from a previous version, and applied dynamics, articulations, and expressive markings to create a consistent, clear, and specific full score.

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TABLE OF CONTENTS

CHAPTER ONE .................................................................................................................. 1 Introduction ............................................................................................................. 1 Purpose of the Study ................................................................................................ 2 Need for the Study ................................................................................................... 2 Primary Source Materials ........................................................................................ 3 Review of Secondary Literature .............................................................................. 5 Methodology and Limitations ................................................................................. 7 CHAPTER TWO ............................................................................................................... 10 Biography of Ingolf Dahl ...................................................................................... 10 Concerto for Alto Saxophone and Wind Orchestra: Historical Perspective ......... 15 CHAPTER THREE ........................................................................................................... 24 Editorial Policies ................................................................................................... 24 Critical Commentary ............................................................................................. 26 CHAPTER FOUR……………………………………………………………………......29 Revised Edition of the Concerto for Alto Saxophone and Wind Orchestra by Ingolf Dahl........................................................................................................ 29 APPENDIX A: PUBLISHER PERMISSION FOR THE USE OF COPYRIGHTED MATERIALS .................................................................................................................. 100 APPENDIX B: CRITICAL REPORT: I. RECITATIVE ................................................ 102 APPENDIX C: CRITICAL REPORT: II. ADAGIO (PASSACAGLIA) ....................... 112 APPENDIX D: CRITICAL REPORT: III. RONDO ALLA MARCIA.......................... 122 APPENDIX E: LIST OF HARVEY PITTEL EDITS ..................................................... 148 BIBLIOGRAPHY ........................................................................................................... 151

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1

CHAPTER ONE

Introduction Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra (1949) is regarded as one of the best works for wind band and is a staple of the saxophone repertoire. It was heralded by Henry Cowell as “one of the most important and wellwritten band pieces” and a staple in the saxophone repertoire and is one of the earliest large-scale works to feature this instrument. 1 Sigurd Rascher, a German-American saxophonist known for his technical prowess and ability to play in the altissimo register, commissioned the work because of the lack of quality literature for the instrument. Though the work received positive reviews, it was difficult for ensembles to program due to its length of approximately 28 minutes and its technical difficulty. Rascher requested that Dahl recommend cuts and, despite misgivings, Dahl obliged. This eventually led to Dahl revising the work in 1953. At that time, Dahl reduced the orchestration from a full concert band to an orchestral wind section, intending one player per part, and deleted a significant amount of material from the third movement. This reduced the length to approximately 20 minutes. Still dissatisfied with the overall sound, Dahl began more revisions in 1957, completing them in 1959. The final version was subsequently published in 1968 and is currently available through Schott Music. However, as Dahl made revisions to the work, not all the markings were carried over from the parts to the score and vice-versa. Today’s performing groups must repeatedly 1

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

2 deal with issues of wrong notes, music missing from the score, the lack of articulation markings, and inconsistent expressive markings.

Purpose of the Study The purpose of this study is to create a revised edition of the Concerto for Alto Saxophone and Wind Orchestra by Ingolf Dahl from the current set of blueprint parts. For the purposes of this document, only the revised full score will be presented. This revised edition is being created to provide performing ensembles and conductors with an accurate score and parts from which to study and perform. There are a number of inconsistencies in the blueprint parts themselves, as well as between the parts and score. Most notably, articulation markings are inconsistently applied in the parts and are frequently missing. Dynamic markings are also not applied consistently among similar parts. The score itself is difficult to use because parts have been paired on the staves of the score, regardless of whether or not they have common musical material. The revised score in print form will make it easier for Schott Music to create study scores to be made available to conductors, a project that Dahl requested when the version for piano and saxophone was published in 1968.

Need for the Study The edition of the Concerto for Alto Saxophone and Wind Orchestra currently available for rental is still in blueprint form, a practice no longer common for current publications. A work that is so highly regarded in the wind band world should be published in a fashion that is representative of its stature.

3 Not only are manuscript parts more difficult for musicians to read, but also a number of errors in the parts and score of the Concerto make the rehearsal process difficult. In his monograph “A Performer’s and Conductor’s Analysis,” Christopher Rettie addressed issues of mislabeled rehearsal markings in the score, one incorrect note in the horn line of the score, and the rhythmic placement of the last note.2 Because of the difficulty of the work, only ensembles of an advanced level are able to perform it, and rehearsal time for such groups is typically limited. It is imperative that every effort be made to facilitate a more efficient rehearsal process for musicians undertaking the work.

Primary Source Materials There are two versions of the Concerto for Alto Saxophone and Wind Orchestra available for performance. The first is for saxophone and wind orchestra, which exists in three editions. The first two editions are stored in the archives at the University of Southern California and the third is available from Schott Music. The first edition, completed in 1949 and scored for saxophone and full concert band, consists of only a manuscript score (USC49). The second edition, which was completed in 1953 for solo saxophone with a 36-piece wind orchestra, consists of a full score and parts (USC53). The score and parts of the third edition, which is typically performed by today’s ensembles, were completed in 1959 (SM59). I used the parts from SM59 to create this revised edition (CTR16) because they are the most recent parts to reflect the composer’s intent. The parts from USC49 were not 2

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

4 used because Dahl had made significant changes to the work in 1953 to make it more programmable for ensembles and more feasible for saxophonists. Dahl wrote to Rascher urging him to perform the 1953 edition of the work instead of the 1949 edition, noting that it was still was a piece of great magnitude and seriousness despite reducing it from 28 minutes in length. For the above reason and because of the magnitude of changes in orchestration between USC49 and USC53, the first edition was not referenced. Though the parts from SM59 were the primary source, I referenced the score and parts from USC53 in the creation of CTR16 because the parts have markings in red rink made by Dahl. It seems that Dahl made revisions to the parts without updating the score, possibly resulting in SM59 actually containing the same score from USC53 but having updated parts. With this realization, I gave more weight to the edits in the USC53 parts than what appears in the SM59 score. It is also possible that, because Dahl did not publically acknowledge revising the work after 1953, he did not want to create an updated score, as that would mean acknowledging the existence of further revisions on the work. The second version of the Concerto is scored for saxophone and piano (SM72). Prior to 1972, this version only existed in manuscript form, but was engraved and republished by European American Music Corporation following Dahl’s death. Harvey Pittel edited the saxophone part in preparation for the 1972 publication. A list of discrepancies between his edition and the solo part that appears in the score of SM59 are listed in Appendix E. 3 3

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

5 Review of Secondary Literature The literature concerning Ingolf Dahl and his Concerto for Alto Saxophone and Wind Orchestra is not extensive. The one biographical dissertation by James Berdahl is thorough and discusses Dahl’s professional and personal life in great detail.4 Many other sources, such as the biography in Grove Music Online,5 other dissertations, and recital documents, cite this scholarship in their biographical entries on Dahl. Berdahl also catalogued all of Dahl’s compositions. Each entry contains background information on the work, revisions, premiere information, and a discography. Berdahl’s dissertation is therefore the most complete biographical source available to provide historical background on the work. Halsey Stevens and John Kloecker have also written articles on Dahl’s career and compositions, though neither contributes much more than what Berdahl already provides. Stevens discusses the activities of Dahl’s last years, in particular, his death and that of his wife. Stevens also briefly summarizes Dahl’s contributions as a composer and includes a brief discussion of compositional periods, which was then expanded upon by Kurt Song and Gary Maas in their article for Grove Music Online.6 Though this information does not directly aid in the creation of this edition, it gives perspective to the work as it stands in Dahl’s oeuvre. Kloecker’s article includes an analysis of Dahl’s only other work for 4

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

6 wind band, the Sinfonietta for Concert Band. Although it also includes some biographical information on Dahl, the article is primarily an analysis of the Sinfonietta.7 The scholarship devoted to the Concerto itself includes analyses for performers and a dissertation on the history of the work. Paul Cohen’s dissertation provides the most comprehensive background concerning the commissioning process, the difficulty in getting the worked premiered, revisions and subsequent performances, and the publication processes that occurred both during and after Dahl’s life.8 Understanding the history of the work and its subsequent revisions provides insight as to why there might be more errors, and of larger nature, in the third movement than the first two. Christopher Rettie wrote a performer’s and conductor’s analysis of the Concerto.9 As a saxophonist and a conductor, Rettie has conducted and played the work and offers unique insights into issues particular to both the saxophonist and conductor, including: technical passages in the solo part, rehearsal concerns for the ensemble, and a structural analysis of each movement. While this is a valuable resource for the preparation of a concert performance, Rettie falls short of discussing the extensive amount of errors in the score and parts of SM59. A performance guide written by Carla McElhaney concerns itself with the saxophone and piano version of the Concerto.10 McElhaney argues that this version is not 7

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

7 an orchestral reduction like many other versions of concerti with piano accompaniment. Rather, she shows that it is a re-interpretation of the work while still using the same musical language. A true orchestral reduction on the piano would be impossible to perform, so Dahl created this accompaniment specifically for the piano while maintaining the same musical essence of the accompanying material. The other tenant of McElhaney’s dissertation is performance advice for the pianist. Though this information is useful for someone preparing the work for recital performance, it does not provide information relatable to the version for wind orchestra. Samuel Barber/s Commando March is a work that has undergone a similar editing process. Russell Collinsworth created a critical edition full score in which he discussed the issues that were present in the published score, changes he made to both the score and parts, and a list of observations of the holograph score, which include annotations by the composer.11 His dissertation was useful as a model for this project because of the methodology used and the outline of the final document.

Methodology and Limitations I contacted Schott Music in December 2015 and obtained permission to use the Concerto for Alto Saxophone and Wind Orchestra for a music edition project. Schott Music issued a rental license for the parts and sold me a score. Because of their interest in publishing this revised performance edition, I asked Schott for specific formatting and editing policies that had to be followed for future submissions. I was told that because Schott does not publish many band scores: the only requirements were to format the score 11

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

8 for 11x17 inch paper and the parts for 9x12 inch. All other formatting would be left to my judgment. I formatted the score to match that of the 1959 version with the exception that each woodwind and brass part has an individual staff. The rehearsal markings remain as they appear in the wind, percussion, and solo saxophone parts so that the new score and the previously published saxophone solo edition can be used together. I entered the first twelve measures of the first movement into Finale and compared the draft to the currently licensed score, marking any discrepancies. From these, I developed editorial policies to cover the general issues of score format, notation, and terminology. In the Critical Notes, I entered the following: incorrect pitches; inconsistent application of dynamics, articulations, and expressive markings; and wrong musical material. These are ordered by measure number, beat in the measure, instruments affected, the change that was made, and why the change was made. These changes appear in Appendices B-D. I entered the remainder of the first movement into Finale and then compared the draft of the full score to SM59 and marked any differences. I made decisions on the application of articulation markings, dynamics, and expressive markings on a case-bycase basis using the markings already given, the context of the music, and my interpretation of the desired musical effect. Where the revised score differed from SM59, I used markings that would be most beneficial for the conductor and performers and would provide the clearest and most specific instruction. I made revisions to the new score, entering all changes into the Critical Notes, and entered the saxophone solo as it appears in the published edition. Changes that were more substantial and required



9 lengthier explanations than would be appropriate for the Critical Notes are entered into a Critical Commentary. This process was repeated for the second and third movements. I obtained selected images of the score and parts of the 1949 and 1953 version from the archives at the University of Southern California and referenced them in solving some of the discrepancies between the SM59 parts and score. Subsequent drafts were printed and revised to ensure appropriate spacing of the music, uniformity of dynamics, articulations, and expressive markings, and general cleanliness of the score. This study is limited to the creation of a new full score from the existing set of parts.



10 CHAPTER TWO

Biography of Ingolf Dahl Originally named Walter Ingolf Marcus, Ingolf Dahl (1912-1970) was the eldest of four children of Paul Philip Benjamin Marcus, a well-to-do lawyer from Hamburg, Germany, and Hilda (Dahl) Marcus. Hilda was from Gothenburg, Sweden, and continued the Swedish tradition of giving each child one Scandinavian first name. Ingolf was named Walter Ingolf after the first Norwegian to settle in Iceland, and from his earliest years, went by his middle name. After his later immigration to the United States, he changed his name to Ingolf Dahl.12 The Marcus home was a social gathering place for community activities, with frequent guests including scientists, artists, and educators. 13 It was also the center of Ingolf Dahl’s early music training. Family members of multiple generations had musical talent, and all the Marcus children studied piano with Frau Holle. By the age of twelve, Ingolf already displayed an exceptional musical talent as well as absolute pitch.14 Soon after, he was enrolled as a pupil of Edith Weissmann, a noted pianist, harpsichordist, and teacher, who proved to be influential in Dahl’s future education. His studies with Weissmann eventually broadened to include music theory and history, and he made his public debut in a piano recital at the Musikhalle in Hamburg at the age of seventeen.15

12

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



11 While a student of Herman Schütt, Director of Music at the Lichtwark-Schule, Dahl was allowed to conduct music programs, many of which included his own compositions.16 Following graduation, Dahl attended the Hochschule für Musik in Cologne for three terms. He studied composition with Philip Jarnach, piano with Mengelbier, music history with Dr. Unger, and conducting with Hermann Abendroth and Professor Ehrenburg.17 Dahl left Cologne in 1932 to live with his sister in Zurich. He enrolled in the Zurich Conservatory, where he studied conducting with Dr. Volkmar Andrea, the head of the Conservatory and Conductor of the Tonhalle Orchestra. He also studied piano with Walter Frey.18 To support himself while attending the Conservatory, Dahl worked at the Zurich Stadttheater, starting as the Korrepetitor (opera coach) and working his way up through the positions of chorus master, assistant conductor, and principal conductor.19 While at the Stadttheater, he participated in some major premieres, including Lulu by Alban Berg and Mathis der Mahler by Paul Hindemith.20 In addition to working at the Stadttheater, Dahl was busy composing and concertizing as a pianist. He appeared as a soloist with orchestras in Zurich, Bern, and Cologne and gave recitals in numerous cities across Europe.21 The aggressive expansion of the Nazi regime prompted Dahl’s immigration to the United States in 1939.22 He arrived in Southern California at a time when the region was 16

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



12 a musical hub. Dahl collaborated with many musicians and composers, particularly Igor Stravinsky, Arnold Schoenberg, and Darius Milhaud, and quickly developed a career as a pianist and composer.23 Dahl made his American conducting debut in May 1939, leading the Continental Players in Ernst Toch’s setting of Schiller’s William Tell. The following year, he joined the faculty at Smioloff Bel Canto Studios and Opera Academy, where he taught repertoire, interpretation, sight-reading, and solfeggio.24 He also conducted the W.P.A. Orchestra of Southern California and the Los Angeles Oratorio Society. He was the a capella director of the Los Angeles Choir. Dahl also worked as conductor, pianist, and arranger for the Edith Lorand Orchestra and served as music director of the Burbank Grand Opera Company.25 Slowly, Dahl’s reputation as a pianist and accompanist grew. He became a regular pianist for the McCarthy-Peet String Quartet, violinists Lawrence Sommers and Miriam Solaviev, and numerous other musicians.26 Central to Dahl’s career in Los Angeles was the “Evenings on the Roof” concert series. These concerts brought together some of the best composers and musicians in the Los Angeles area in a less formal environment. Some of Dahl’s works were among the many that were given their first performances during this series.27 The friendly gathering of musicians and small audiences became so popular that, by its fourth season in 1942,

23

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

13 the series left a studio apartment roof for a larger hall at the Assistant League Playhouse.28 In 1945, Dahl was appointed to the faculty at the University of Southern California (USC), a post he held the rest of his life, where he conducted the University Orchestra, lectured in radio and film music, and taught operatic repertory. His teaching duties eventually expanded to include orchestration, theory and composition, conducting, music history and literature. He also became the conductor of the Collegium Musicum.29 Dahl became more active as a conductor after taking the position at USC. He conducted one of the participating orchestras in the 1945 Christmas Eve show at Birmingham General Hospital, which was broadcast across the nation. He conducted the Symphony Orchestra at USC, was conductor for a Music Guild’s presentation of Bach’s Musical Offering, and was selected as one of four conductors of the Beverly Hills Philharmonic Society.30 A glowing review by Lawrence Morton described Dahl as an extraordinary conductor. According to Morton, he “…brings to his work as conductor the same conscientiousness and full-blown musicality that characterize his work as composer, pianist, and champion of new music in the community.”31 In February 1970, Dahl and his wife, Etta, left for a one-year sabbatical in Frutigen, Switzerland. Etta died while there. At the time, Dahl was already under medical care for a serious respiratory impairment, and following his wife’s death, his health rapidly deteriorated and he died on August 6.32 28

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



14 Compositional Style Due in part to his diverse career as a pianist, accompanist, conductor, and composer, Dahl’s compositional output is limited compared to that of his contemporaries. Nevertheless, according to Stone and Maas, three distinct compositional periods can be detected in his style.33 Dahl’s early works, written while he resided in his native Germany, exhibit the dissonant and polyphonic textures that were typical of German Expressionists in the 1920s.34 After Dahl moved to the United States, his music exhibited a more clarified texture, a trend towards diatonicism, and an interest in timbres and instrumental virtuosity. This shift was likely a result of his extensive collaborations with Stravinsky.35 Dahl’s third period can be dated to have begunaround 1957. These works exhibited the use of serial techniques and typically featured larger structures that were unified by motivic and tonal relationships. These features can be seen in his only other work for wind band, the Sinfonietta for Concert Band, composed in 1960. Beginning in 1965 with his Aria sinfonica, Dahl’s style exhibited an increasing concentration on leaner instrumentation and compact forms.36 Halsey Stevens characterized Dahl’s style in this manner: It is not easy to describe that style. Rhythmically it is precise, alert, pertinent, deriving certain characteristics from Stravinsky others from jazz, but determining its own identity. Its textures are open and economical, its harmonies clean-cut, suggesting, if not unambiguously establishing, tonal allegiances. Melody is spontaneous, of wide ambitus; counterpoints are plastic. Instrumental setting is impeccable, with a keen

33

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



15 ear to the idiomatic capabilities of instruments individually and in combination.37 Concerto for Alto Saxophone and Wind Orchestra: Historical Perspective

Commissioning After hearing Dahl’s Music for Brass Instruments and being impressed by the composer’s work, Sigurd Rascher approached Dahl about writing a piece to feature the saxophone.38 Rascher not only wanted a large-scale composition that featured the instrument, but a work that would allow him to demonstrate his technical prowess on the instrument.39 Dahl accepted the commission, even though it was his first work for a large ensemble. He was excited by the new challenge, remarking, “Somebody has to write the big pieces, the symphonic works, if the medium is to be elevated (higher, like symphony orchestra).”40 Dahl began work on the score during the summer of 1948, but his performing and teaching schedule prevented him from completing it until the following year.41 Rascher proposed the idea that the accompaniment should be scored so it could be performed with either band or orchestra, but Dahl quickly abandoned the idea of the orchestra, scoring it for full concert band instead.42 The concerto was initially titled Fantasy and was conceived as a one-movement piece in three sections: recitative, arioso, and allegro. Dahl progressed quickly in his 37

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



16 work, finding that as he worked, the piece grew in proportion. He wrote to Rascher, “…I just about finished the Allegro—it will be about 450 bars long—that is quite a bit, I realize that, but there is so much musical material in it, that it needs these proportions,”43 Dahl’s enthusiasm for his newly composed saxophone concerto was not matched by that of his contemporaries. Igor Stravinsky and Aaron Copland voiced their doubts about writing for the instrument when Dahl showed them drafts of his work. Stravinsky did not hold the saxophone in high esteem, stating, “I don’t know. To me, a saxophone always sounds like a pink, slimy worm.”44 In a journal entry, Dahl recounted Copland’s disbelief that someone would undertake such a project. The entry reads, “…A few days ago I showed it to Aaron Copland, who shook his head over the foolishness of somebody who would write a long and substantial piece for (a) an instrument like the Saxophone, (b) treating the instrument so that very few could play it, (c) accompanying it with a large array of wind instruments.”45 The premiere scheduled for January 14, 1949, at the University of Michigan, nonetheless, had to be canceled because the score was still incomplete. By this time, it was entitled Concerto and in two movements: recitative-adagio and rondo.46 Another performance, scheduled for May 14, 1949, at the Tri-State Band Festival, was also canceled. Dahl had completed the score and extracted the parts, but the Festival did not agree to Dahl’s request for a $50 rental fee. A scheduled performance with the University of Illinois Concert Band on May 17, 1949, served as the premiere of the Concerto. Mark

43

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



17 Hindsley conducted, and Rascher was the soloist.47 Dahl did not attend the premiere, nor did he hear the work until his first meeting with Rascher in the summer of 1949. Dahl was on faculty for the Middlebury College Composer’s Conference in Middlebury, Vermont, when Rascher visited him with recordings of the concerto.48 He was impressed with the performance and was pleased with the work as a whole. His journal entry after hearing it read, “…my concerto makes its points—it is a big piece.”49 The work was, in fact, an immediate success. Despite his previous skepticism, Stravinsky was impressed and considered it one of the best pieces of new music available. Dahl summarized Stravinsky’s thoughts in a letter to Rascher: After it was over, he said nothing but just got up and embraced me, with moist eyes, and in Russian fashion kissed me on both cheeks. He thinks it is one of the best new things he has heard.50 Henry Cowell echoed Stravinsky’s sentiments. Dahl paraphrased him as stating it was “one of the most important and well-written band pieces he had seen and he was going to recommend it to the bandmasters’ association who are meeting this month (March) in Washington, D.C.”51 The concerto was performed at the 19th annual American Bandmasters Association convention in Gainesville, Florida, by the University of Florida band with Harold Bachman conducting and Rascher as soloist.52

47

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



18 First Revision Dahl typically revised his works even years after the piece had been premiered as he was an uncompromising perfectionist as a composer. It was Rascher, however, who first suggested to Dahl that he consider cuts to the concerto because there was difficulty getting the work programmed. It was either too long or too difficult for many school ensembles.53 Dahl reluctantly first offered a series of short cuts, but later recommended two larger ones, though still under protest because he felt they removed too much material. In an undated letter to Rascher, Dahl stated, “…I don’t have to tell you that this makes a torso out of the piece…We lose some of the best parts, and the grand passacaglia from the second movement is hopelessly ruined.”54 Dahl eventually began his own revisions of the concerto while on a Guggenheim Fellowship in Austria in the spring of 1953, but he did not complete the project until after his return to the United States. According to his journal entries, the revisions did not progress smoothly, as he seemed to be in a creative paralysis.55 A joint homecoming concert between the Evenings on the Roof series and the USC School of Music on January 11, 1954 was most likely the impetus for completing the revisions. The performance of the concerto with Evenings on the Roof, which Dahl conducted, was the first given in Los Angeles.56 An ensemble comprised of faculty and students from the university performed with William Ulyate as the soloist. In the revised version, Dahl reduced the accompaniment from a full concert band to a 36-piece wind orchestra with one player per part. He eliminated the baritone and 53

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



19 saxophone voices and this necessitated some rescoring.57 Dahl also divided the opening movement into two, which were to be played without pause, and he substantially rewrote the last movement.58

Second Revision Journal entries from the early months of 1954 indicate that Dahl still was not satisfied with the recent revisions.59 When he reduced the orchestration from a concert band to an orchestral wind section, he also eliminated much of the full band sound, which caused a new problem that proved difficult to remedy. He wrote, “What a welter of emotion—am terribly depressed about much. Key places don’t seem to come off, and I don’t know why. Does the movement move too much and too continuously? The ‘Tutti’ setting has still to be solved. The big sonority is not there. I feel like a bloody beginner. The piece has not moved the players.”60 According to notes in his sketchbook, Dahl considered additional revisions as early as 1955, but did not begin until the summer of 1957. His active performing and teaching schedule likely prevented timely completion of the revisions, but a scheduled performance by the USC Trojan Symphonic Band in the winter of 1959 pushed Dahl to complete the work.61 In this setting, he eliminated the allegretto from the second movement and revised the third movement. He also deleted the fourth flute part and

57

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



20 added ossia passages for the solo part.62 The musical material that was cut from the final version of the third movement was used in the opening third of the second movement and sections of the third movement of the Sinfonietta for Concerto Band.

Version for Saxophone and Piano Dahl created a version for piano and saxophone in the late spring and summer of 1959. While most piano accompaniments to concerti are orchestral reductions, Dahl’s reduced score of the saxophone concerto is not. Dahl re-wrote the same musical material specifically for the piano. He was adamant about this fact, noting, “This is not a ‘reduction’ of the orchestral score but a re-casting of the music in terms of the piano, suitable for concert performance.”63

Recording and Publication The first professional recording of the Concerto was made of the live performance of the USC Trojan Symphonic Band on December 11, 1959. William Schaeffer conducted, and Anthony Desiderio, USC Professor of Woodwind Instruments, was the soloist.64 Dahl had little success in having the work published despite repeated efforts over several years. Eventually, and with help from Donald Hunsberger, conductor of the Eastman Wind Ensemble, Dahl reached an agreement with the MCA Symphonic Wind Ensemble series. MCA published the saxophone and piano setting of the concerto in 62

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



21 blueprint form in 1968, and placed the full score and orchestra parts on rental.65 Though MCA intended to publish the full score and make it available to directors, this never came to fruition.66 Joseph Boonin Music Company, now part of the European-American Music Corporation, acquired the publication rights from Dahl’s estate following his death. The company published the piano version in print form in 1979, but no work was done on the full score or wind parts.67

Significance of the Work The Concerto for Alto Saxophone and Wind Orchestra is considered one of the best works in the wind band literature. Its popularity grew over the first decade following its composition in 1949. Between 1949 and 1960, the Concerto for Alto Saxophone and Wind Orchestra was being performed by an extensive list of collegiate and professional ensembles including the Los Angeles Philharmonic and the Boston Symphony Orchestra.68 A listing of recent performances on Schott Music’s website shows that the Concerto still receives regular performance, including nine in each of the years 2014 and 2015.69 In 1978, Acton Ostling Jr. conducted a literature evaluation study in an attempt to identify works for wind band that were of serious artistic merit. In it, Ostling developed a set of criteria and a panel of twenty band conductors rated compositions on a five-point 65

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



22 Likert scale, a psychometric scale commonly involved in research using questionnaires. In this study, eighteen of the twenty evaluators recognized the Concerto for Alto Saxophone and Wind Orchestra. It received 92.2% of its maximum possible points, resulting in an average score of 4.6/5.70 In 1993, Jay Gilbert conducted an updated study inspired by Ostling’s 1978 dissertation. Both of Dahl’s major works for band, the Sinfonietta and Concerto, were evaluated as having high artistic merit. Out of the 191 compositions identified as meeting the specific criteria for artistic merit, the Sinfonietta ranked in the top ten, and the Concerto ranked in the top twenty-five.71 Clifford Towner conducted an update to the Gilbert study in 2011. Again, panel members rated works on a five-point Likert scale. Not only did the Concerto receive 98.9% of its possible total points, averaging a 4.9/5 score,72 but Towner’s study also demonstrated that the Concerto is viewed more favorably now than when Ostling conducted the first evaluation study in 1978. Table 1 displays Towner’s findings in comparison to the other two studies. Though the number of panel members remained relatively consistent among the three studies, the evaluation of the Concerto demonstrated more favorable reception in each update. By today’s musical standards, the Concerto ranks among the best compositions in the wind medium. It is included in the Teaching Music Through Performance in Band series

70

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

23 and is listed in Chad Nicholson’s A Guide to the Top 100 Works in Grades IV, V, VI, a compendium of works selected by some of the most respected wind band conductors.73

Table 1. Towner’s Comparisons of Evaluation Scores Study

No. of Panel Members

Percentage of Max. Possible Points

Avg. Score (out of 5)

Ostling (1978)

18

92.2

4.6

Gilbert (1993)

20

94

4.7

Towner (2011)

18

98.9

4.9

Source: Data from Clifford N. Towner, “An Evaluation of Compositions for Wind Band According to Specific Criteria of Artistic Merit: A Second Update,” (DMA doc., University of Nebraska, 2011), table 4.6.

73

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

24 CHAPTER THREE

Editorial Policies Format of the Score Titles The original title was maintained. Composer Names Composer names were maintained from the source. The editor’s name was added. Tempo and Performance Indications Tempo and performance indications were maintained from the score and parts. Bar lines Original bar lines, as they appear in the parts, were maintained. All rehearsal letters are indicated with a double bar line. Rehearsal Letters and Measure Numbers Rehearsal letters were maintained from the parts. Measure numbers have been added to each measure in the score. Score Order The score order has been maintained from the original source. Braces and Brackets Braces and Brackets were applied as they appear in modern band scores. Instrumentation The instrumentation adheres to that of final, published version. Each instrument is located on its own stave. Part Names Part names have been maintained from the original source. Trombone 3 (Bass) from the 1959 score is “Bass Trombone” in this edition. Solo Alto Saxophone Piccolo (Flute 4) Flute 1 Flute 2 Flute 3 Oboe 1

25 Oboe 2 English Horn E-flat Clarinet B-flat Clarinet 1 B-flat Clarinet 2 B-flat Clarinet 3 Bass Clarinet Bassoon 1 Bassoon 2 Contrabassoon Trumpet 1 Trumpet 2 Trumpet 3 Trumpet 4 Horn in F 1 Horn in F 2 Horn in F 3 Horn in F 4 Trombone 1 Trombone 2 Bass Trombone Tuba 1 Tuba 2 Double Bass (1-2) Timpani Percussion Notation Clefs, Meters, and Key Signatures All C-clefs in the original source were changed to G-clef or F-clef without comment. All other clefs are maintained from the original source. All meters and key signatures are maintained from the original source. Rhythmic Units and Rests Rhythmic indications and rests are maintained from the original source unless otherwise noted. Slurs and Ties Slurs were unified and noted. Tied and slurred notes were updated to current notation practices without comment. Triplets and Other Groupettes Triplets and other groupettes are maintained from the original source.



26 Articulations Where discrepancies exist, markings in the parts and score were used as a basis for application. Musical context was also used and correspondences checked to ensure consistent application throughout. Parts were adjusted and noted. Dynamic Symbols Where dynamic symbols differ, markings in the parts and score were used as a basis for application. Musical context was also used to determine appropriate application of dynamics. Parts were adjusted and noted. Accidentals In measures with a significant number of accidentals present, courtesy accidentals were retained from the source. If it did not seem necessary to retain the accidental in a given measure, they were removed without comment. Percussion Notation Percussion notation and terminology was updated to modern practice. Rolls that were indicated by “tr.” were changed to modern roll notation of three slashes on the stem of the note and tied to the release. Diamond-shaped note heads were changed to standard oval shapes. Some articulation markings were added to provide more specific performance information to the performers where not already done. One-Per-Part and Solo Designations The original source uses brackets to indicate one player per part. These were removed and have been indicated by “1 only” and “a2”. The ending of solo passages was also indicated by “a2” instead of “Tutti” for a uniform approach to indicate the return of all players. Mute Designations Instructions for muting were maintained from the original source. The placement of “senza sord.” was changed to immediately follow the muted phrase.

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



27 I. Recitative, m. 8, addition of Field Drum In the percussion parts, it is written that the field drum should double the snare on its roll and rim shot. In the score, it is noted that the field drum should play on the after-beat of three, but it is not indicated to be a rim shot nor is it indicated to double the roll of the snare drum. There are markings in the percussion parts from 1953 that Dahl added this doubling in preparation of the 1959 edition but did not update the score.74 II. Adagio, m.97-8, deletion of E-flat Clarinet and Flute The score indicates this be a Clarinet Soli cadenza. There doesn’t seem to be a logical explanation for the addition of these timbres if they were not playing the entire phrase. II. Adagio, mm.108-9, Bass Clarinet – octaves The score indicates a divisi with an upper octave above what is printed in the part. The part did not include that octave or instruction for that octave to be played. There is no benefit to those notes as they are in a weaker register of the instrument so they were not retained in the new score. III. Rondo alla Marcia, Horns – key signature The Horn parts were written without a key signature; accidentals were used throughout. A key signature was applied to be consistent with the rest of the ensemble and the score. III. Rondo alla Marcia, [B], [F], [G] The score and parts were not always specific in the application of articulation markings. Rehearsal [B] now differs from the other two appearances of this material because the articulation markings were deliberately applied in a different manner than at [F] and [G]. Because of the staccato marking applied to the woodwind voices in measure 109, I maintained staccato articulations from 108 until the eighth notes in m.111, which were specifically marked with accents. III. Rondo alla Marcia, mm.41-2, Bass Clarinet The part had the bass clarinet playing in unison octave with the first and second clarinets, but the score has the bass clarinet doubling the bassoons. In the texture in question, the bass clarinet does not contribute in a positive manner by doubling the upper line–it does not penetrate the texture. Rather, it most likely makes the texture less clear by being in conflict with the bassoons and bass. Furthermore, it is highly unusual for the bass clarinet to have a more active part than a soprano clarinet part, such as it does here over the third clarinet. III. Rondo alla Marcia, mm.214-224 The dynamic markings and dynamic shadings were inconsistently applied throughout this section. The fp in the flutes and bassoons were changed to match the sfp articulation of the other parts. Decrescendo markings were applied where not previously done so and 74

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

28 unified throughout analogous voices based on the duration of their sustain. Further dynamic markings, pp, were applied if not previously marked and unified in analogous parts. III. Rondo alla Marcia, Rehearsal Letter [R] to the end In the parts, rehearsal letters continue through the alphabet, R-Z. In the 1959 score, the letters begin again with [B] after the cadenza. The following is the alignment of new/old rehearsal letters: 75 1959 Parts & Revised Score R S T U V W X (m.426) Z

1959 Score B C D E F G H L M

III. Rondo alla Marcia, mm. 441-447 In the currently licensed score, the rhythm of these measures is different from the parts and the notes are lower by either a whole or half step. The 1953 parts match the present parts, but the 1953 score also matches the present score, indicating that this was an issue before and was not rectified when published. There are markings in the second bassoon, second trombone, and bass trombone parts that indicate the possibility that the rhythm and notes in the parts were once changed for a performance. In the second bassoon, the rhythm and notes of the score were penciled in the staff and subsequently erased. The second trombone and bass trombone parts both have the changed rhythm and notes penciled on a staff line below the ending of the movement but then scribbled through with either a blue or black ink. Because the trend of errors seems to stem from not updating the score as parts were edited, these measures have been left as they appear in the current set of parts.

75

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

Score

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Dahl CONCERTO FOR ALTO SAXOPHONE AND WIND ORCHESTRA Copyright ©1949 by Schott Music Corporation Copyright © renewed All Rights Reserved. Used by permission of Schott Music Corporation

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29

Chapter 4 Concerto for Saxophone and Wind Orchestra

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1

2

Fl.

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3

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1

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2

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E b Cl.

B b Cl.

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11

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2

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sempre liberamente cantabile, ed un poco rubato

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2

1

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tenuto

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1

B b Tpt.

Tbn.

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& Ó

E. Hn.

30

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Œ

Field Dr.

f

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pizz.

j œ. F

j œ. ∑ 12

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31

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∑

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∑

1

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Ó

2

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∑

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∑

Ó

E b Cl.

&

∑

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∑

∑

Ó

&

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∑

Ó

1 only

1

&

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∑

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1 only

2

3

&

∑

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Ó

&

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?

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?

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?

∑

Picc.

Fl.

Ob.

B b Cl.

B. Cl.

1 Bsn. 2

C. Bn.

Solo A. Sax

‰ b œj œ . . ‰ b œj œ . .

. ‰ b œj œJ .

3 3 œ œ œ œ œ #œ œ œ œ œ œ œ # œ # œ œ œ œ- œ œ & 3 3 3

Ó

∑

∑

‰

Ó

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∑

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‰

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&

∑

Œ

‰

3

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Œ

‰

4

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2

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Ó

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Ó

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U

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j ‰ œ- œ- œp dolce

j œ- ‰ ‰

- - ‰ œJ œ œ p dolce

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Ó

U

Ó

U

j Ó œ.

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Ó

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‰ # œj œ . . p

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Ó

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Œ

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1

ã

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‰

Ó

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Œ

2

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U ‰ œj Ó . p

13

14

15

16

F.Hn.

1

2

Bass

1 Tb. 2

D.B.

Timp.

Perc.

Ó

U

Ó

œ-

[, ] (,) œ # œ- œ- # œ- œ #œ - - #œ œ 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

˙

# œ-

1 only

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œ.

2

j œ œ- p dolce 1 only ‰ œ-j œp dolce

∑

‰ # œj œ . . p

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‰

Ó

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&

œ- b œ- œ‰ J p dolce œ- b œ- œ‰ J p dolce

j - # œ‰ œ- œ p dolce

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‰ # œj œ . . p

1

B b Tpt.

Tbn.

3

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œ. b œ.

œ.

∑

j j œ. œ. ‰

U

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Ó

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Ó

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∑

U

U ‰ œj Ó .

U

U

U

U

Ó

17

∑

∑ ∑ ∑ ∑ 18

œ J

32

Fl.

∑

&

Picc.

1

&Ó

2

&Ó

3

&

1

&Ó

2

&Ó

Ob.

∑ ‰ œJ œ- # œ ‰ œJ œ- # œ

∑

∑

Ó

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∑

∑

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Ó

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Ó

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∑ œ- b œ- œ‰ J p dolce

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‰ œj œ- œp dolce

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œ- ‰ Œ J

E. Hn.

&Ó

E b Cl.

&

∑

∑

∑

∑

∑

1

&

∑

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∑

∑

2

&

∑

∑

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∑

3

&

∑

∑

∑

∑

∑ ∑

B b Cl.

B. Cl.

1 Bsn. 2

C. Bn.

&Ó

‰ œ-j œ- œ-

j œ- ‰ ‰ j Ó œ.

∑

∑

?Ó

- - ‰ œJ œ œ

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∑

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∑

∑

∑

∑

?

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∑

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Solo A. Sax

∑ Œ

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. ‰ œJ Ó ,

[ ]

j - - - #œ œ œ œ œ

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3

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3

3

5

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j œ.

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1

ã

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2

ã

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19

20

21

22

23

2

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1

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3

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4

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F.Hn.

1

2

Bass

1 Tb. 2

D.B.

Timp.

Perc.

Œ

j ‰ œ. Ó ∑

Œ

j ‰ œ. Ó ∑

‰ œj Ó .

j ‰ œ. œ.j

œ. J

œ. J

∑

∑

a2

w p w p œ. J

‰

Œ

Ó

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b œ. J

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‰

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b œ. J

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‰

j œ.

j ‰ œ.

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∑

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∑ wæ p

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‰ œ. œJ. ‰ J

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3

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∑

&

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nœ

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1

B b Tpt.

Tbn.

3

∑

œ- ‰ Œ J

∑

‰ œj œ b œp dolce

∑

∑ 24

33

B

1

2

Fl.

∑

&

Picc.

3

1

& œJ

‰

& œJ

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& œJ

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E. Hn.

&

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∑

E b Cl.

&

∑

∑

1

B b Cl.

2

3

& œJ

1 Bsn. 2

C. Bn.

Solo A. Sax

Œ Œ

Ó

∑

& j œ

‰

Œ

Ó

∑

w ∑

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œ- œ œ # œ n œ b œ œ œ #œ œ

2 B b Tpt. 3

4

1

2 F.Hn. 3

4

1

Tbn.

2

1 Tb. 2

œ-

b œ-

b˙

ƒ b >˙ .

,

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b œ-

b˙

ƒ b >˙ .

,

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ã œj

2

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25

26

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, b œ-

,

> b˙.

w

∑

ƒ

a2

a2

∑

,

,

b >˙ . ,

,

5

ƒ

w p

w

,

5

5

a2

∑

∑

bœ

5

b >˙ .

∑

∑

œ >

5

a2

∑

œ.

, > >œ >œ b >œ n >œ œb œ b œ œ n œ b œ- . œ œ >>>>> 5 , ƒ > > > > > > b >œ >œ >œ >œ œ- b œ- . bœ bœ œ œ œ œ ƒ

œœ J œ J

‰

Ó

‰

Ó

27

F ,b œ F

,œ

F ,b œ F , œ F

,œ

F ,b œ F , œ F , œ

˙ œ

, b œ- .

a2

œ œ

5

5

F ,œ

F , œ œ œ> > F , œ œ bœ > > F , œ œ > > b œF , œ œ bœ > > F

œ. >

bœ

œ bœ œ

œ

bœ

œ œ œ Œ

œ bœ œ

œ

bœ

œ œ œ Œ

œ bœ œ

œ

bœ

œ œ œ Œ

bœ bœ œ

œ

bœ nœ œ œ Œ

œ bœ œ

œ

bœ

bœ bœ œ

œ

bœ nœ œ œ

œ œ œ

œ

, > bœ nœ œ œ bœ f

œ œ œ

œ

œ

œ œ œ Œ

bœ bœ œ

œ

œ

œ bœ œ Œ

œ œ œ

œ

bœ

œ œ œ Œ

œ œ œ

œ

bœ

espress.

bœ

espress.

bœ

espress.

bœ

espress.

bœ

,

œ-

bœ

espress.

bœ espress.

bœ espress.

œ

espress.

bœ espress.

bœ espress.

œœœb œœœœ-

œ

˙

œ

F , bœ F

˙

>˙ .

,b œ

F , bœ

>˙ .

F , bœ

n >˙ .

F

espress.

œ bœ bœ

bœ bœ œ

œ bœ bœ

bœ

œ bœ b œespress.

œ bœ œ

bœ bœ bœ œ Œ

,

œ œ bœ > > F

œ-

bœ >

œ >.

œ

bœ >

œ. >

, œ œ bœ > > F

Œ

b Ͼ >

œ. >

œ œ > >

b b œœ æ

œœ J

œ æ

œ J 28

‰

Ó

‰

Ó

Œ

œ bœ bœ

espress.

œ bœ œ

bœ œ bœ espress.

bœ

bœ bœ bœ œ Œ

∑ œ

bœ

œ œ œ Œ

bœ bœ œ

œ

œ

œ bœ œ Œ

Œ

œ bœ œ Œ F

espress.

œ

espress.

∑ ∑ bœ

∑

bœ œ œ

œ

bœ

, > œ œ œ bœ

œ

œ bœ

f

espress.

bœ

bœ œ œ

espress.

bœ

Œ

œ œ œ

bœ œ œ

œ

bœ Œ

œ

bœ

, œ œ œ >œ

œ

œ

œ bœ

, œ b œ œ >œ

espress.

bœ œ œ

bœ

œ

œ œ bœ

bœ

bœ bœ œ

œ bœ bœ

bœ

bœ bœ œ

œ bœ bœ

bœ bœ œ œ

espress.

espress.

f , b œ œ œ >œ

espress.

espress.

∑

f

bœ Œ

bœ

Œ

b˙. >

Œ

bœ œ œ

Œ

- , 5 >œ b >œ >œ >œ b >œ b œ b œ œ b œ œ b œ œ > > > >> 5 F , 5 > >œ >œ >œ >œ œ b œ n œ >œ >œ b >œ >œ b œ > 5 F bœ ,b œ ˙

Œ

œ œ œ Œ , >œ bœ bœ œ œ f

∑

5 > > >œ >œ b >œ œ- , œ œ nœ œ b >œ >œ >œ >œ > 5 F , 5 5 œ- b œ œ œ œ nœ œ n œ >œ >œ b >œ >œ > > > > > > F ˙ bœ Œ

œ œ œ

espress.

∑

ƒ

ƒ

bœ

œ >

, 5 - œ. œ b œ n œ œ œ œ œ bœ œ nœ œ >>>>>>>>>> , -. ƒ œ b >˙ .

∑

?

,

5

a2

∑

∑

,

> > >œ >œ >œ b œbœ b œ >œ >œ >œ >œ œ > 5 ƒ

∑

?

,

F ,œ

˙

Ó

∑

?

œ- .

œ.

ƒ >˙ .

w

œ-

œ

∑

?

œ- .

œ œ > >

∑

w

b˙

˙

bœ ƒ

&

?

bœ

bœ

œ.

&

∑

œ-

œ-

œ œ > >

∑

&

œ- .

œ- .

œ

a2

˙

,

œ.

œ œ œ # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 più dim. mormorando

bœ

˙

œ

bœ > ƒ

œ-

bœ

œ ƒ

bœ ƒ

œ- .

œ-

,

,œ

˙

bœ

œ- .

,

ƒ

œ-

,

,

b >˙ .

,

œ- .

,

∑

1 Perc.

œ- .

∑

?

Timp.

,

∑

? æ w

D.B.

ƒ b >˙ .

ƒ b >˙ .

p œ œ œ œ nœ œ bœ œ œ nœ œ bœ œ

b˙

> b˙.

w

œ #œ œ œ

bœ

&

?

Bass

#œ #œ nœ bœ œ

w p

œ-

ƒ

w p

?

œ- .

b >˙ .

∑

‰

dim.

1

Ó

j & œ

&

B. Cl.

‰

,

ƒ

Ob. 2

b >˙ .

f

Œ

∑

bœ œ bœ espress.

œ bœ œ

bœ bœ bœ œ Œ

bœ œ bœ

œ bœ œ

bœ bœ bœ œ Œ

espress.

bœ F

œ. œ œ

œ

j bœ. œ œ ‰ Ó

Bass Dr.

œ. œ œ

œ

j œ. œ œ ‰ Ó

œ F

∑

∑

29

30

34 &

Picc.

1

2

Fl.

3

1 Ob. 2

& Œ & Œ

1

& Œ

3

& Π&

Bsn. 2

œ-

b œ-

b œ-

espress.

∑

w

œ-

b œœ-

b œ-

œ

œ-

espress.

#w

w molto dim.

nw

w

b œ-

w

œœ-

w

#w

w

w

nw

w

œ J p

‰

Œ

Ó

œ J p w

‰

Œ

Ó

molto dim.

molto dim.

œ-

œ-

œ-

œ-

#w

w

nw

molto dim.

w

∑ œœ-

b œ-

œœ-

∑ #w #œ

espress.

∑

w n˙ >

Ó

∑

n˙ >

Ó

∑

n˙ >

Ó

n˙ >

4

w

œ

œ-

œ-

œ p

molto dim.

1

2

?

1 Tb. 2

? ?

?

D.B.

Timp.

1

f marcato

œf marcato œ-

f

f

œœ-

marcato

œ-

œ-

marcato

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ

œ J π

‰

,

œ w

˙. >

œ J π

‰

molto dim.

˙.

Ó n >œ # >œ

∑

∑ ∑

∑

˙

˙ >

œ

b >˙

œ

>˙

˙ Ó

Ó Ó

Ó

,

, ,

œ

n˙ >

œ

n˙ >

œ

,

,

#˙. >

molto dim.

>˙ . molto dim.

# >˙ .

œœœ-

b˙. >

j œ π

Ó

œ- . p

j œ π

œ J

molto dim.

œ

œF

œ-

œ-

molto dim.

œ

œF

œ-

œ-

œF

œ

>˙

w

œ

œ-

F

∑

&

∑

ã

∑

∑

∑

∑

31

32

33

34

∑

œ-

œ-

œ-

œ-

∑ œ

molto dim.

œ- . p

˙.

molto dim.

wæ

j œ π

œ-

œ J

w

˙æ >

œ-

˙.

molto dim.

Ó

j œ π j œ π

œ-

w

n˙ >

∑

œ- . p

Ó

molto dim.

b˙. >

œ-

w œ

Œ

∑

∑

∑

∑

Œ

Ó

∑

∑ ‰

∑

Œ

Ó

Œ

‰.

∑ r œ. œ- .

poco marcato

œ.

œ- .

œ.

Œ

Ó

‰ ‰

œ- .

π œ- . π # œ- . π

Ó

∑

Œ

Ó

∑

Œ

‰.

œ. œ- . R

œ.

œ- .

œ.

Œ

‰.

‰

Œ

Ó

∑

‰

Œ

Ó

∑

‰

Œ

Ó

∑

œ. Œ

‰.

Œ

Ó

Œ

‰.

‰ œ. ‰ œ.

œ. œ- . R

œ.

œ.

œ.

œ- .

œ- .

œ. Œ

œ. Œ

‰.

r œ. œ- .

œ.

‰.

œ. œ- . R

œ.

r œ. œ- .

œ.

∑ r œ. œ- .

œ.

œ- .

œ. Œ

‰.

Œ

Ó

Œ

‰.

œ. œ- . R

œ.

œ- .

œ.

Œ

‰.

œ. œ- . R

œ.

poco marcato

‰.

b œ. œ- . R

œ.

œ- .

œ. Œ

‰.

œ. œ- . R

œ.

‰.

œ. œ- . R

œ.

# œ- .

œ. Œ

‰.

œ. œ- . R

œ.

r œ. œ- .

œ.

œ- .

œ. Œ

‰.

poco marcato

r œ. œ- .

œ.

r œ. œ- .

œ.

œ- .

œ. Œ

‰.

r œ. œ- .

œ.

œ œ. R

œ

œ.

œ

‰.

œ œ. R

œ

r œ. œ- .

œ.

œ. Œ

∑

poco marcato

œ. Œ

poco marcato

œ.

œ Œ

‰.

poco marcato

Œ

poco marcato

œ.

‰.

Œ ∑

œ. Œ

Temple Blk (low)

p

r œ. œ- .

poco marcato

‰.

œ- .

poco marcato

poco marcato

œ. Œ

œ- . π

r œ. œ- .

œ. Œ

œ- . π

p

œ.

∑

‰.

pizz.

‰.

r œ. œ- .

poco marcato

œ. Œ

œ- . π

‰.

Œ

∑ œ-

œ-

?

Perc. 2

∑

œF

œ-

molto dim.

? ˙. ?

Bass

œ-

œ-

molto dim.

#w

œF

‰

∑

w

espress.

&

œ J p

œ p

espress.

œ

∑

œ-

Œ

œ

Ó

œ-

∑

bœ

Œ

œ

∑

œ

‰

w

&

&

∑

molto dim.

Œ

3

Ó

œ p

∑

F.Hn.

Œ

œ-

∑

˙ >

‰

œ-

&

Ó

j œ p

œF

3

∑

∑

œ

Œ

&

Ó

w

∑

2

w

∑

nw

Œ

molto dim.

∑

œ

‰

molto dim.

&

bœ

∑

œ p

2

œ

Ó

œ-

Œ

œ

Œ

œ-

∑

&

‰

œF

∑

1

œ J p œ J p

œ

&

4

∑

w

∑

B b Tpt.

Ó

p

molto dim.

Œ

Œ

j œ p

∑

∑

‰

œ J

∑

∑

1

w

w

&

Solo A. Sax

w

molto dim.

espress.

?

œ J p

molto dim.

espress.

?

w

molto dim.

œ-

b œ-

∑

molto dim.

espress.

espress.

∑

w

espress.

?

C. Bn.

Tbn.

œ-

∑

espress.

&

1

œ-

b œ-

2

B. Cl.

b œ-

b œ-

& Œ

œ

b œ-

espress.

œ-

& Œ

E b Cl.

œ-

& Œ

&

E. Hn.

B b Cl.

& Œ

∑

‰. 35

œ. œ- . R

œ.

∑ œ- . π œ- .

œ. Œ œ. Œ

‰. ‰. 36

r œ. œ- . œ. œ- . R

œ. œ.

35 &

∑

&

∑

&

∑

&

∑

1

&

∑

∑

∑

∑

∑

∑

2

&

∑

∑

∑

∑

∑

∑

E. Hn.

&

∑

∑

∑

∑

∑

∑

E b Cl.

&

∑

∑

∑

∑

∑

∑

1

&

∑

2

&

∑

3

&

∑

&

∑

?

∑

?

∑

?

∑

Picc.

1

2

Fl.

3

Ob.

B b Cl.

B. Cl.

1 Bsn. 2

C. Bn.

Solo A. Sax

œ- . p œ- . p œ- . p

#œ œ œ #œ #œ œ œ œ œ

p

‰.

r œ. œ- .

œ. œ- .

œ. Œ

∑

Œ

‰.

r œ. œ- .

œ. ‰ .

r œ. œ- .

œ. Œ

‰.

r œ. œ- .

œ. œ- .

œ. Œ

∑

Œ

‰.

r œ. œ- .

œ. ‰ .

r œ. œ- .

œ. Œ

‰.

r œ. œ- .

œ. œ- .

œ. Œ

∑

Œ

‰.

r œ. œ- .

marcato

marcato

marcato

œ.

œ- . p

œ.

œ- . π

3

œ. Œ

œ- . p

p

r œ. # œ . -

r œ. œ- .

‰.

œ. Œ

∑

œ.

‰. ‰.

œ.

r œ. œ- .

œ.

Œ

‰.

Œ

‰.

Œ

‰.

œ. œ- . R

œ.

‰.

œ. œ- . R

œ.

Œ

‰.

œ. ‰ .

r œ. b œ- .

œ. Œ

‰.

œ.

‰.

œ [, ] # œ # œ œ œ #œ

˙

œ. # œ . -

œ. Œ

∑

∑

r œ. œ . -

r œ. œ- .

œ #œ œ

1 only

‰.

Œ

1 only

Œ

∑

Œ

1 only

Œ

∑

Œ

‰.

Œ

∑

Œ

œ. Œ

∑

Œ

œ #[–]œ # œ œ 3 œ [–]œ œ #œ œ #œ œ #œ

w

œ. œ- . R

œ. # œ- .

œ.

œ. œ- . R

œ. œ- .

œ.

r œ. œ- .

œ. b œ- .

œ.

œ [,] œ œ

˙

3

3

3

œ. œ- . R

∑ œ. œ . œ. œ . œ. œ .

œ. œ .

œ. # œ- .

œ. Œ

Ó

œ. # œ- .

œ. Œ

Ó

œ. # œ- .

œ. Œ

Ó

œ. # œ- .

œ. Œ

Ó

∑

∑

œ.

œ. œ- .

‰.

Œ

œ. œ- .

r # œ. œ- .

Œ

∑

3

3

3

dolce

∑

r œ. œ- .

œ. ‰ .

p œ- .

∑

œ. ‰ .

œ- . p

œ- .

∑

3

∑ œ- .

œ. Œ

Ó

œ. œ- .

œ. # œ- .

œ. Œ

Ó

œ. œ- . R

œ. # œ- .

œ.

œ- .

œ.

‰.

œ. œ- . R

œ. œ- .

œ.

œ- .

œ.

‰.

œ. œ- . R

œ. b œ- .

œ. # œ- .

r # œ. œ- .

œ. œ- .

œ.

‰ . # œr œ . . -

Œ

Ó

Œ

Ó

œ. Œ

Ó ,

˙

[ ]

#œ

1

&

∑

∑

∑

∑

∑

∑

2

&

∑

∑

∑

∑

∑

∑

3

&

∑

∑

∑

∑

∑

∑

4

&

∑

∑

∑

∑

∑

∑

1

&

∑

∑

∑

∑

Œ

‰.

2

&

∑

∑

Œ

‰.

3

&

∑

4

&

∑

?

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

Œ

‰.

?

∑

∑

Œ

‰.

?

∑

?

∑

?

∑

1

&

∑

T. Bl.

ã

∑

B b Tpt.

F.Hn.

1

Tbn.

&Œ

∑

2

Bass

1 Tb. 2

D.B.

Timp.

Perc.

37

œ- . π

œ- . π

. œ. ‰

œ. Œ

‰.

r œ. œ- .

∑ œ.

‰.

œ- . p

œ. ‰ .

œ.

œ ‰.

p

r œ. œ- .

r œ. œ- .

r œ. b œ- .

∑ œ.

Œ

œ. Œ

‰.

‰.

r œ. œ- .

r œ. œ- .

∑ œ bœ. R

œ- .

œ. ‰ œ. ‰

≈ œr œ . . ≈ œ. œ- . R 38

œ. œ- .

œ. b œ- .

œ

Œ

‰.

œ œ. R

œ bœ.

œ.

Œ

œ. Œ

œ. Œ

‰ ‰

≈ œr œ . . ≈ œ. œ- . R

œ. œ- . œ. œ- . 39

∑

œ

Œ

∑

Œ

1 only

‰.

œ. Œ

r œ. œ- . π

1 only

œ.

œ- .

œ. Œ

Ó

œ. œ- .

œ.

œ.

œ

Œ

Ó

r œ. œ- .

∑ œ. œ- .

œ.

œ- .

œ.

œ. b œ- .

œ. # œ . -

œ.

œ. b œ- .

œ. # œ . -

œ.

Œ

Œ

‰.

r œ œ.

Ó

Œ

Ó ∑

œ bœ.

œ #œ.

œ

Œ

∑ Œ

‰.

∑

Œ

‰.

r œ. œ- . œ. œ- . R 41

Ó

Œ

∑

∑

40

r œ. œ- .

1 only

∑ œ. Œ

r œ. œ- .

œ. œ- .

∑

∑

∑ œ. Œ

1 only

∑

∑

∑ œ- .

œ. œ- .

œ. Œ

r œ. œ- . π

1 only

Ó ∑

œ. œ- . œ. œ- .

œ. œ.

œ- . œ- .

œ. Œ œ. Œ

Ó Ó 42

œ #œ œ #œ #œ 3

3

C ∑

&

Picc.

1

. -. . - . & ‰ . œR œ œ # œ . œ œ . œ.

∑

∑

∑

∑

∑

œ- . œ. œ- . œ. œ- . œ. Œ

∑

∑

∑

∑

œ- . œ. œ- . œ. œ- . œ. Œ

∑

∑

∑

∑

∑

∑

∑

∑

2

. -. . - . & ‰ . œR œ œ # œ . œ œ . œ.

3

&

∑

∑

1

&

∑

∑

2

&

∑

∑

E. Hn.

&

∑

∑

E b Cl.

&

∑

∑

Fl.

Ob.

B b Cl.

2

& ‰.

3

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

B. Cl.

1 Bsn. 2

Solo A. Sax

∑

∑

?

∑

∑

∑

Œ

œ- . œ. œ- . œ. π

Œ

Œ

˙.

œ. œ- . œ. # œ- . œ. œ- . œ. & ‰. R π

œ- . œ. œ- . œ. œ- . œ. Œ

morendo

r & ‰ . # œ. œ- . œ. œ- . œ. œ- . # œ. # œ- . œ. œ- . œ. œ- . œ. Œ π 1 only

2 B b Tpt.

1 only

3

& ‰ . œr œ . œ # œ- . œ. œ- . # œ # œ . œ œ . œ œ . œ Œ . - . . - .- .- . π

4

&

∑

∑

1

&

∑

∑

2

&

∑

∑

3

&

∑

∑

4

&

∑

∑

1

1 only . œ œ . œ. œ- . œ. œ- . œ. ? ‰. R π

F.Hn.

2

1 Tb. 2

œ

œ. >œ .

œ

œ

œ. œ . >

œ. œ . >

œ

˙

œ

b œ.

œ. œ . œ F >marcato

œ. >œ .

œ

œ

œ. n œ . >

˙

œ

œ. œ . >

a2

∑

œ. >œ .

œ. >œ . œ F marcato

œ

œ

œ. œ . >

∑

˙

œ. œ >.

œ ∑

∑

œ

œ. # œ . >

œ

∑

œ. œ . >

∑

∑

a2

œ œ œ œ œ p staccatissimo

b œ. >œ .

œ

marcato

Œ

˙ >. ƒ

p

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ œ

˙

œ

œ. > . œ

œ. b >œ .

œ

œ

œ. >œ .

œ. >œ .

œ

> œ. œ .

œ

œ

œ. b >œ .

˙

œ

œ. >œ .

œ. b >œ .

œ

œ

œ. >œ . b œ. >œ .

œ

j œ ‰

j bœ

œ J

‰ œj ‰ ‰ b œj ‰

œ

œ

‰

œ J

‰ ‰

j œ

œ ‰ J ,

œ

[ ]

‰

j bœ

j œ

‰

- - # œ- >œ # >œ >œ >œ >œ œ œ œ œ œ œ œœ # œ œ # œ fl fl fl fl fl fl 3 fl fl

∑

∑

j ‰ Œ œ. p staccatissimo

j ‰ Œ œ.

Œ

œ. J

‰

Ó

Œ

œ. J

a2

Œ

j ‰ œ.

Ó

Œ

j œ. ‰

j ‰ Œ œ p staccatissimo

j ‰ Œ œ. j ‰ Œ œ.

Œ

j ‰ œ.

Ó

Œ

j ‰ œ.

>˙ .

œ

>œ

˙. > Sp

œ

˙ > Sp

œ

˙ > Sp

œ

˙ > Sp

œ

˙ > Sp

œ

‰

j œ

‰

[,] œ >œ >œ >œ œ œ # œ œ œ œ #œ œ œ œ œ œ ˙ . >>>

∑

a2

Sp

˙. > Sp

j œ.

Œ

Œ

œ. J

‰

Œ

Œ

j j œ. ‰ œ. ‰ Œ

‰

Œ

Œ

j ‰ j ‰ Œ œ. œ.

œ > Sp

>œ

œ

˙ > Sp

Sp

. ‰ œJ

‰

Sp

Sp >œ

œ

j œ.

œ

˙ > Sp

œ

˙ > Sp

œ

Sp >œ

Sp >˙

œ > Sp

Sp

Sp

œ > Sp

∑

j‰ Œ œ- . œ. œ.

∑

∑

∑

∑

? ‰. r . b œ. œ- œ. # œ . œ œ . œ - . - .

Œ

∑

œ- . œ.

œ- . œ. œ- . œ.

∑

1

&

∑

T. Bl.

ã

∑

∑

43

44

Perc.

1 only

∑

Œ Œ

Œ

∑ Œ

œ- . œ. œ- . œ. Œ

Œ

œ

p

œ ‰ J p

œ ‰ Œ J pS Wd.Blk.

j œ

Snare Dr.

œ ‰ Œ J pS j œ

œ

(sempre pizz.)

bœ

bœ

œ

Ó

‰ œ œ

œ œ J œ

œ œ ‰ ‰ œ œ

œ J

‰ ‰

œ

j œ

‰

œ œ J œ

œ

œ

œ

œ Œ J

bœ Œ bœ

‰

bœ

j j œ bœ

j œ

‰

‰

œ

œ

j ‰ œ

bœ

œ

j bœ

j œ

œ

œ

‰

œ

‰ bœ

bœ

bœ

bœ

Œ

œ

j œ œ j œ

Œ

œ

œ

‰

Œ

œ

‰

œ

œ œj ‰ b œ œ œ

œ

Œ

j œ

‰

j œ

‰

Œ

Œ

j œ

j œ

‰ Œ

Œ

j œ

‰

Ó

Œ

j œ

‰

j œ

‰

Œ

Œ

j œ

45

46

œ J ß

œ J ß

47

œ

‰ Œ

Ó

œ J ß

bœ

‰ œj œJ ß

‰

œ J S

œ bœ

‰

j œ

œ J ß

j œ bœ ‰ œ

‰ Œ

Œ

œ J ß

‰

‰ œ

‰ Œ

œ J ß

bœ

œ

j œ

œ J S

‰ Œ

>˙ Sp

∑

j œ ‰ bœ œ J bœ p staccatissimo œ b œj ‰ œ œ p staccatissimo

3

# œ- # œ- œ-

Sp >˙

∑

Œ

j œ

>˙

∑

Œ

œ

∑

> ˙

Sp >œ

œ

˙. > Sp

‰ # œj .

[,] œ #œ

œ. œ œ. œ œ. œ Œ

1 only

œ œ

œ. b >œ .

> >> œ œ #œ #œ #œ œ. # œ # >œ >œ # >œ >œ > > > >

˙ > Sp

œ

œ

Con Moto q=56-58

a2

œ

œ

staccatissimo

˙ > Sp

œ

œ. >œ .

j œ ‰ b œj ‰ œ J

j ‰ Œ œ. p staccatissimo

œ

œ

? ‰ . œR. œ . œ. œ- . œ. œ- . œ. π

?

œ

∑

∑

œ- . œ. œ- . œ. œ- . œ.

œ

∑

œ. œ . >

∑

Œ

F

∑

∑

?

Timp.

œ. œ. >

œ. œ . >

∑

. - . ? ‰ . b œR œ . œ # œ- . œ. œ- . œ.

D.B.

œ. >

œ

∑

? ‰. r . b œ. œ- œ. # œ . œ œ . - . - œ.

Bass

b œ.

œ

Œ

1 only

Tbn.

œ- . œ. œ- . œ. œ- . œ.

œ

œ œ. > .

˙ > Sp

con sord.

œ

œ

a2

con sord.

œ. >œ .

˙

˙ > Sp

con sord.

œ. >

œ. œ . >

a2

con sord.

œ

œ

F marcato œ. >œ . œ

& w 1 only

1

Œ

Œ r œ. œ- . œ. # œ . œ œ . - . - # œ. # œ- . œ. œ- . œ. œ- . œ.

?

?

C. Bn.

œ- . œ. œ- . œ. œ- . œ.

œ

œ

∑

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

œ. >œ .

œ. >œ .

b œ. œ . >

œ. œ. >

b œ. œ . >

œ. œ . œ F >marcato œ. œ . œ F >marcato

1

r œ. œ- . œ. œ- . œ. œ- . œ.

36

Con Moto q=56-58

œ J ß œ J ß

‰ œj œ J ß

48

‰ Œ

j œ œ œ j œ

37

Fl.

1

& Œ

œ-

2

& Œ

# œ-

3

&

1

& œj

‰

2

& œj

‰

& œj

‰

Ob.

E. Hn.

1

2

3

B. Cl.

1 Bsn. 2

C. Bn.

∑ œ. >œ . œ. >œ . œ. >œ .

b œ-

œ-

œ-

œ. >œ .

b œ.

œ J

j œ

œ. >œ .

b œ.

œ. >œ .

œ.

œ. > œ. > œ. >

& œj

‰ #œ . >œ .

∑

& & Œ

œ.

a2

& œ

œ

œ ? J

‰

œp œ

œ

‰

? ‰

j œ ‰

œ

œ

œ

œ.

j bœ

j œ ‰

‰

œœ œ œœœœœ #œ œ > > > >

& #œ œ œ œ œ œ

œ.

> œ. œ .

œ. >œ .

? œ J

œ-

œ-

> œ. œ .

# œ. >œ .

3

3

3

Œ

Ó

∑

∑

‰

Œ

Ó

∑

∑

∑

∑

‰

Œ

Ó

∑

∑

j œ

‰

Œ

Ó

∑

∑

j œ

‰

Œ

Ó

,

3

j œ

>œ .

Œ

œ >œ . >œ . j œ

∑

j œ

Œ œ. >œ .

∑

‰

∑

∑

5

Solo A. Sax

∑ œ-

&

E b Cl.

B b Cl.

∑

&

Picc.

> > œ œ >œ œ >œ œ œ œ bœ œ

F

3

œ . # œ œ œ œ œ >œ >œ >œ F 3 3 ‰ œ œ œ œ. œ œ œ œ œ >>> F œ œ œ œ œ. œ œ œ œ >>> F

j œ

‰

œ

œ

œ J

‰

œ

œ

œ

œ

œ > > >. œ bœ œ œ bœ œ œ œ

F

œ J

‰

‰

j j bœ œ

3

3

>>>> œ œœ œœœ œ œ œ œ 3 >>>> œœ œœœ œ œ œ œ œ 3

œ

œ

Ó j œ

‰

œ >>> œ œ œ #œ #œ œ #œ œ œ œ œ œ # œ flœ flœ fl fl fl fl fl fl 6

œ.

[ ]

‰ ‰ ,

[ ]

#œ

œ

j œ

‰

œ

œ

œ

j œ

‰

staccato

œ-

œ œ œ œ-

3

3

œ œ œ

œ-

œ œ œ œ-

3

œ-

œ œ œ œ-

3

3

œ

œ bœ œ œ

œ

œ œ œ

œ-

œ

œ

œ

‰

&

2

& Œ

B b Tpt. 3

œ. J

& Œ

4

& Œ

1

&

‰

j # œ.

‰

j œ.

‰

œ

∑

j # œ.

‰

j œ.

‰

j œ.

‰

œ. J

‰

j œ.

‰

j œ.

‰

∑

Ó

∑

‰

∑

Ó

‰

Œ

Ó

∑

Ó

Œ

senza sord.

&

œ

Œ

senza sord.

Ó

∑

Ó

Œ

3

& œ

Œ

Ó

∑

Ó

Œ

& œ

senza sord.

Œ

Ó

∑

Ó

Œ

4

1

2

Bass

1 Tb. 2

1

œ œ œ œ-

œ

œ

œ

j œ

‰

œ

œ

cresc.

&

œ. p œ. p œ. p

œ.

œ.

œ.

œ.

œ.

œ.

œ. œ. p œ. œ. p

‰ ‰

œ. œ. ‰ p œ. œ. p

‰

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ. cresc.

œ.

œ.

œ.

cresc.

cresc.

œ.

œ. œ. cresc. œ.

cresc.

‰

œ J

j œ

œ.

œ. œ. cresc.

‰ ‰ ‰ ‰

œ.

œ.

œ.

œ.

3

3

3

3

3

3

a2

j œ.

œ. ‰

œ.

œ.

‰

‰

‰

‰

‰

‰

‰

‰

‰

œ œ ‰ > >

‰

j œ. œ œ > >

‰

œ.

‰

j œ.

‰

œ œ > >

‰

‰

œ œ > >

‰

‰

Ó

Œ

‰

?

∑

∑

∑

Ó

Œ

‰

?

∑

? œ ? ‰

‰

œ

j œ bœ œ

bœ

j œ ‰

& Œ

j œ

Œ

j œ

ã

œ J ß œ J ß

j bœ

œ ‰

bœ

œ

bœ j bœ

‰

‰

j œ

‰

j œ

œ J ß œ J ß

49

‰

œ

j œ œ œ

œ

j œ œ œ

bœ

bœ

j œ

‰

‰

j œ

‰

Œ

‰

j œ

œ J ß

‰

bœ

j œ

j bœ œ

‰

j œ ‰ œ J ß

‰

bœ

œ

j b œ œj Field Dr.

j œ p

1 only

œ œ

‰

œ œ.

p

œ

œ

œ

œ

œ

œ

j œ

‰

‰

j œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j œ

‰

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

‰

œ

œ

staccato

‰

œ

bœ

‰

j œ Œ

œ.

œ Œ

œ œ œ.

œ œ.

œ

œ

œ

œ

Œ

œ

œ

œ

œ

œ

œ

‰

œ

œcresc.

œ

œ

œ

‰

œ

œ

œ

œ œ.

cresc.

cresc.

œ cresc.

œ

j œ ƒ œ J ƒ œ J ƒ

œ

œ

‰

œ

œ

‰

Ͼ

œ

‰

œ

œ

œ

œ

œ

‰

œ

œ

‰

‰

œ

œ ‰

˙ æ

œ œ

52

j œ ƒ

‰

œ

51

j œ ƒ

œ

œ

50

j œ ƒ

œ

œ

∑

j œ ƒ

œ

œ

∑

j œ ƒ

j œ

œ

∑

a2

j œ ƒ

œ

œ

cresc.

a2

j œ ƒ

œ

œ

cresc.

‰

3

∑

Œ

œ J ƒ

3

Œ

œ.

cresc.

j œ

j œ ƒ

> >œ # œ œ œ œ œ œ- œ # œ # œ >œ # œ

- - >>> - - - œ- œ # œ # œ œ œ . # œ- # œ- œ # œ œ

œ.

œ

j œ ƒ

# œ œ œ œ œ- œ œ œ >œ # >œ >œ œ

- - # >œ > >œ - - - œ- œ- œ # œ œ . # œ- # œ œ # œ

,

[ ]

3

3

3

œ

j #œ ƒ j œ ƒ

, œ J ƒ , œ J ƒ

œ # œ œ œJ

3

œ

,

j œ

œ

œ œ œ œ

3

,

j #œ #œ œ œ 3

œ

œ

,

3

3

œ

j œ ƒ

,

j #œ #œ œ œ

3

∑

Perc. 2

3

j #œ #œ œ œ 3

∑

? ‰

Timp.

œ œ œ œ-

,

‰

?

? œ

D.B.

senza sord.

3

Ó ‰

Ó

œ œ œ œ-

œ bœ œ œ

cresc.

œ J

3

3

cresc.

∑

2 F.Hn.

Tbn.

∑

3

#œ

cresc.

œ

ossia

1

cresc.

3

œ

3

cresc.

œ

3

œ

3

cresc.

œ œ œ

œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ

#œ œ œ œ œ #œ œ œ 3

œ

œ œ œ

œ

3

Œ

3

3

‰ œ J p

3

j œ #œ œ œ

œ œ œ œ-

3

Ó

œ œ œ œ-

œ

Ó

3

Œ

œ

œ œ œ œ-

cresc.

Œ

œ œ œ œ-

œ J

3

œ

3

œ œ œ œ-

œ J

3

œ

‰

œ J

3

3

œ

3

j œ

3

3

œ-

œ œ œ

3

3 3 >>>> œ œœ œœœ œ œ œ œ

œ

œ œ œ œ œ œ >œ >œ >œ . F 3

3

#œ œ œ œ œ œ œ œ œœ >>>>

œ

œ œ œ œ-

3

3

œ

3

3

œ

3

‰

D &

Picc.

1

2

Fl.

3

1

Rubato (declamando)

accel.

E. Hn.

1

∑

&

2

j œ

œ

œ-

#œ >

& œ.

j œ

#œ nœ #œ

œ

œ-

#œ

#œ >

& œ.

j œ

œ

œ-

#œ

& œ.

j œ

œ

œ-

#œ

œ J

#œ

œ

. & œ

œ

œ œ

œ

. œespress.

espress.

B. Cl.

espress.

1

?

œ.

2

. ? œ ?

C. Bn.

œ

œ-

œ

3

œ

œ

œ J

œ

œœ-

œ

3

3

œ

3

œ

3

3

œ J

espress.

Bsn.

# >œ

&

espress.

3

œ-

j œ

œ

œ

œ œ

œ

#œ > #œ > # >œ

> œ

>œ

œ

#œ

œ >

œ

œ >

œ

œ > >œ

œ œ

œ

#œ #œ

Ó

#œ

Ó

#œ

Ó

#œ

# >œ

>œ

œ

œ

# >œ

>œ

œ

œ

3

œ

œ

œ

3

espress.

accel.

Solo A. Sax

& &

ossia

1

>œ J

‰

2 B b Tpt.

œ

& œ.

j œ

œ

& œ.

j œ

œ

& œ.

j œ

& œ.

j œ

& œ.

j œ

& œ.

j œ

& œ.

j œ

œ

œ

œ J

œ

œ-

œ

œ-

espress.

4

1

espress.

2

espress.

F.Hn. 3

espress.

4

espress.

1

. ? œ espress.

Tbn.

2

? ?

Bass

1 Tb. 2

D.B.

Timp.

1 Perc. 2

Ó

& œ.

espress.

3

Ó

j œ

espress.

œ J

œ.

œ-

#œ

œ-

#œ

œ-

#œ

œ

œ-

#œ

œ

œ

œ-

œ

œ

œ œ

œœ-

œ œ œ œ œ

3

œ

3

œ

3

œ

3

3

3

œ

3

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

Ó

Œ

Ó

> œ

Œ

# >œ

>œ

œ

œ

œ

#œ

œ

bUœ

œ

œ

œ

œ

œ

#œ

œ

bUœ

œ

œ

œ

œ

œ

#œ

œ

bUœ

œ

œ

œ

œ

#œ

œ

bUœ

#œ

œ

œ

#œ

œ

U

œ

#œ

œ

œ

#œ

œ

nUœ

œ

#œ

œ

œ

#œ

œ

nUœ

œ

#œ

œ

œ

#œ

œ

nUœ

œ

#œ

œ

œ

#œ

œ

nUœ

œ

#œ

œ

espress.

espress.

espress.

œ

espress.

œ

œ

œ

espress.

œ

espress.

œ

espress.

œ

espress.

œ

Œ

‰

3

#œ œ

œ #œ 3

rubato

#œ #œ nœ 3

nœ œ rit.

# œ œ- n œ # œ 3

3

Œ

Ó

Œ

Ó

Œ

Ó

Œ

Ó

Œ

Ó

Ó

œ bœ

Œ

Ó

Ó

Œ

Ó

Œ

œ

accel.

Œ

‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰

rit.

Ó

j œƒ j œƒ j œƒ j œƒ j œƒ j œƒ j œƒ j œƒ

Œ

‰

‰

U

‰

U

‰

#œ

œ

nUœ

œ

œ

œ

œ

#œ

œ

œ

#œ

œ

nUœ

œ

œ

#œ

œ

œ

#œ

œ

nUœ

œ

#œ

œ

œ

#œ

œ

nUœ

œ

#œ

œ

œ J

‰

‰

œ

#œ

œ

œ J

‰

‰

œ

#œ

œ

œ J

‰

‰

œ

#œ

œ

œ J

‰

‰

espress.

espress.

espress.

œ

espress.

œ

espress.

œ

espress.

œ

espress.

œ

U

‰

U

‰

U

‰

U

‰

espress.

Ó

∑

Ó

Œ

‰

Ó

∑

Ó

Œ

‰

Ó

Œ

‰

?

∑

∑

∑

Ó

Œ

‰

?

∑

∑

∑

Ó

Œ

‰

?

∑

∑

∑

Ó

Œ

‰

?

∑

∑

∑

Ó

Œ

‰

Ó

∑

∑

Ó

Œ

‰

∑

∑

∑

Ó

Œ

‰

53

54

55

ã

U

œ

∑

Œ

‰

œ

∑

‰

U

#œ

∑

& œJ ƒ

‰

rubato molto

Ó

Ó

U

espress.

‰

3

‰

espress.

Œ

Ó

œ

œ

Ó

œ

>œ

œ

∑

œ

œ

œJ ƒ

œ

œ

espress.

‰

Ó

# >œ

j œƒ

bUœ

Œ

# œ-

œ

j œƒ

œ

Ó

œ-

œ

j œƒ

#œ

∑

#œ

> œ

j œƒ

œ

Ó

Ó

œ

‰

j œƒ j œ-

œ

œ

‰

#œ

œ

‰

j œƒ

‰

œ

Œ

Ó

œ

‰

j œƒ

U

œ

Ó

#œ

œ

‰

j œƒ

‰

∑

Ó

œ

‰

Œ

Ó

ƒ

œ

3

3

espress.

Ó

a tempo œ #œ œ. œ œ œ œ

rit.

Œ

Œ

∑

Rubato (declamando)

‰

j œƒ

Œ

Ó

∑ # >œ J

‰

Œ

Ó

Ó

‰

Œ

Ó

Ó

‰

Œ

Ó

Ó

‰

Œ

Ó

∑

& œ.

espress.

B b Cl.

∑

‰

Œ

Ó

rit.

Ó Œ

Ó

∑

∑

&

Ó

∑

∑

&

accel.

∑

∑

∑

&

espress.

E b Cl.

∑

∑

&

Ob. 2

a tempo

rit.

∑

38

rubato molto

56

U

‰

U

‰

U

‰

U

‰

U

‰

U

‰

U

‰

U

‰

U

‰

A tempo

1

2

Fl.

Œ

Ó

∑

Ó

Œ

& bœ

œ

Œ

Ó

∑

Ó

Œ

2

œ

Œ

Ó

& bœ

œ

Œ

Œ

‰

j œ-

bœ

& bœ

œ-

Œ

Œ

‰

j œ-

bœ

œ

œ

Œ

Œ

‰

œJ

œ

&

E. Hn.

& nœ #œ

E b Cl.

Œ

œ

Œ

Œ

2

& nœ

œ

Œ

Œ

3

& nœ

œ

Œ

1 Bsn. 2

Œ

? Ó

Œ

? Ó

Œ

?

C. Bn.

Solo A. Sax

≈ #œ œ œ #œ

‰

œJ

œ

‰

œJ

œ

‰

œJ

œ

‰

œJ

œ >

œ >

bœ

œ

œ >

œ >

bœ

> œ

œ

> œ

œ

‰

œJ

#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-

j œ- ‰ Œ

Ó

œ

# œ# œ-

j‰ Œ œ.

Ó

œ

œœ-

# œ-

# œ-

œ

# œ-

# œ-

j #œ ‰ Œ

# œ-

j #œ ‰ Œ

# œ-

dolce

œ-

Œ Œ Œ Œ

# œ-

p p

p

œ-

dolce

bœ

>œ

œ

bœ

>œ

œ

œdolce

œ-

3

>œ

bœ bœ

œ

# œ-

œ-

œ

# œ-

œ-

œ œ œ- œ œ œ œ œ b œ 3

œ œ œ œ- œ œ œ œ bœ molto dim.

3

molto dim.

∑ A tempo œ # œ # œ >œ >œ >œ >œ

œ

>œ

3

3

3

œ- .

œ- b œ

b˙

b ˙- .

œ- .

œ- b œ

b ˙- .

œ- .

œ- b œ

bœ œ bœ b œ- b œ- œ- œ- œ- b œ- - p marc. non-staccato

Œ

∑

œ- .

œ-

˙

b œ- .

œ-

b˙

œ- .

œ-

- b œ- œ- b œ- b œ b œ- b œ- œ- œ- n œ

Œ

œ œ œ œ- b œ b œ- œ- b œ- b œ- - - p marc. non-staccato

Œ

œœ œ œ- b œb œ- œ- b œ- b œ- - -

˙. p dolce

œ-

œ. >

œ œ fl

˙- .

œ- .

œ-

œ

˙

b ˙- .

œ- .

œ- b œ

n œ- .

œ-

˙

œ- .

œ-

˙- .

œ- .

œ-

œ

˙

b œ- .

œ-

˙- .

œ- .

œ-

œ

˙

œ- .

œ-

Œ

œ bœ

œ

œ

un poco rilievo, "dolente"

dolce

p dolce œ # œ œ œ- œ œ œ œ œ

# œ-

∑

dolce

molto dim.

œ

œ

p

dolce

3

j #œ ‰ Œ

# œ-

p

œ-

œ œ œ œ- œ œ œ œ œ Ó

œ

œ

Ó

p

A tempo

b ˙- .

œ-

molto dim.

ƒœ ‰ J ƒ

∑

& Œ

œ

∑

Œ

& Ó

B. Cl.

∑

Ó

& nœ

1

∑

œ

1 Ob.

∑

& bœ

& bœ

3

B b Cl.

∑

&

Picc.

39

E

Poco rit.

∑

œp

dolce

œ-

p œ-

dolce

p

œ- œ-

œ- .

œ-

œ-

œ- .

œ- œ-

œ-

œ- .

œ œ-

œ- .

œ-

œ-

œ- .

œ- œ-

œ-

Œ

Ó

œ. J p

Œ

Poco rit. œ #œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ# œ # œ Ó J ‰ Œ

œ- .

œ. J

‰

A tempo

∑ ‰

œ. J

œ J

‰

‰

œ J

∑

6

œ J

‰

‰

œ J

‰

œ bœ

œ

œ

œ bœ

œ

œ

j ‰ œ.

j ‰ œ.

∑

7

1

& nœ

œ

2

& nœ

3

& nœ

œ

& nœ

œ

B b Tpt.

4

1

2

œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

& Ó

Œ

& Ó

Œ

‰

œJ

nœ

‰

œJ

nœ

‰

œJ

nœ

œJ

nœ

œJ

nœ

‰

œJ

nœ

‰

œJ

nœ

‰

œJ

nœ

œJ

bœ

‰ ‰

F.Hn. 3

4

1

Tbn.

2

Bass

1 Tb. 2

D.B.

Timp.

& Ó

Œ

& Ó

Œ

? Ó

Œ

? Ó

Œ

?

∑

?

‰

ƒ œ‰ J ƒ

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

bœ

œ œ

>œ >œ

>œ

œ

œ

œ œ œ œ

# œ-

# œ-

œ # œ œ œ- œ œ œ œ œ

# œ-

# œ-

# œ œ œ- œ œ œ œ œ œ

# œ-

# œ-

œ # œ œ œ- œ œ œ 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

molto dim.

3

molto dim.

3

molto dim.

3

molto dim.

œ

# œ-

œ-

œ

# œ-

œ-

œ

# œ-

œ-

œ œ œ- œ œ œ œ œ œ 3

molto dim.

œ

œ œ œ- œ œ œ œ œ œ 3

molto dim.

œ œ œ œ- œ œ œ œ œ 3

molto dim.

œ œ

bœ

# œ# œ-

œœ-

Ϲ Ϲ Ϲ

Ó

∑

Œ

Ó

∑

Œ

Ó

∑

Œ

Ó

∑

œ œ œ- œ œ œ œ œ b œ 3

œ œ œ- œ œ œ œ œ b œ

molto dim.

3

molto dim.

Œ

Ϲ

˙- . π

œ-

∑

∑

?

∑

∑

∑

Œ

?

∑

∑

∑

Œ

?

∑

∑

∑

Œ

Œ

a2

œ

Crash Cym.

1

&

∑

∑

Œ

2

ã

∑

∑

∑

57

58

59

π

j œ. p pizz.

˙ Œ

∑

Œ

∑

Œ

∑

˘œ œ

>œ .

dolce

π

∑

œ œ fl

un poco rilievo, "dolente"

b œ-

˙- .

p

œ. >

Ó

˙- . π

∑

Ó

œ-

˙- . p

∑

Perc.

Œ

3

molto dim.

œ

Ϲ

Bass Dr.

un poco rilievo, "dolente"

Ó

∑

∑

∑

∑

∑

‰

j ‰ œ.

j ‰ œ.

j œ.

‰

j œ.

‰

œ. p

œ œ

œ.

œ

œ

œ.

œ œ

œ

œ. p

œ œ

œ.

œ

œ

œ.

œ œ

œ

œ. π

œ œ

Ó

60

∑ œ.

œ

œ

œ.

œ œ 61

œ

40 poco rit. &

Picc.

Fl.

b˙

bœ

&

2

&

3

&

1

& b œ œ b œ œ- œ- b œ- b œ - - -

2

&

bœ

˙

bœ

b˙

Ob.

3

b œ- .

E b Cl.

&

œ

˙

2

& œ

˙

bœ

˙

&

Bsn. 2

?

Solo A. Sax

œ

œ

nœ

bœ

bœ

bœ bœ

œ

œ

bœ

œ

bœ

œ bœ

œ

œ

nœ

Œ

Ó

œ π

bœ

œ π

Œ

Ó

nœ

bœ

œ

bœ bœ

œ

œ

nœ

œ π

bœ

œ

œ

œ

nœ

œ.

œ- b œ-

œ-

b œ-

œ

bœ.

œ- b œ

b œ-

b œ-

bœ

œ- œ-

œ. π

bœ bœ

Œ

œ.

π

œ

π bœ bœ

bœ

œ

œ bœ

œ

bœ.

œ- b œ

∑

b œ-

∑

2

&

∑

∑

3

&

∑

∑

4

&

∑

∑

1

& œ

2

&

∑

3

&

4

&

2

Bass

1 Tb. 2

?

Timp.

1

&

2

ã

j œ.

42

∑

Œ

Ó

∑

∑

∑

42

∑

Œ

Ó

∑

∑

∑

42

∑

∑

∑

42

∑

∑

∑

2 4

∑

∑

∑

2 4

∑

bœ

bœ

b œ-

bœ

œ π

bœ

œ

∑

∑

2 4

∑

Œ

Ó

∑

∑

∑

2 4

∑

Œ

Ó

∑

∑

∑

42

∑

Œ

Ó

∑

∑

∑

42

∑

∑

∑

2 4

∑

42 œ

œ J

˙

œ

w

˙

œ

w

Œ

,

,

Ó

∑ œ

˙ Œ

p

poco rit. œ œ œ bœ œ , 3 #œ œ œ #œ œ œ # œj œ n œ #œ 3

3

dolce e lento

3

3

w

π

∑

∑

42

∑

∑

∑

2 4

∑

a tempo j ‰ Œ œ-

rit. poco

, ,

w

Ó

‰ #œ P

j j œ œ œ œ œ p

2 4 œ

dim.

œ

∑

∑

42

∑

∑

∑

2 4

∑

∑

∑

∑

42

∑

∑

∑

∑

∑

2 4

∑

∑

∑

2 4

∑

œ

,

w

2 4

∑

∑

∑

∑

∑

∑

∑

2 4

∑

∑

∑

∑

∑

∑

∑

2 4

∑

∑

∑

2 4

∑

œ- b œ

bœ

œ

π

bœ

œ bœ

œ bœ bœ

bœ

˙

œ

,

w

∑

∑

∑

∑

∑

42

∑

∑

∑

∑

∑

∑

∑

2 4

∑

∑

∑

∑

∑

b œœJ ‰ J ‰ p

∑

42

∑

j ‰ j ‰ œb œp

∑

2 4

∑

j ‰ b œj ‰ œ p

∑

42

∑

‰

œ. π

bœ bœ

bœ.

œ- b œ

b œ-

bœ bœ

bœ.

œ bœ

bœ

œ œ

œ. π

œ.

œ œ

j ‰ œ

Œ

∑

Perc.

œ.

œ œ 62

œ œ

œ.

œ œ

b œ-

bœ

bœ

bœ

˙

œ

w

˙

œ

w

arco

a2

,

,

Ó Ó

Ó

pizz.

∑

∑

∑

∑

∑

42

∑

∑

∑

∑

∑

∑

42

∑

∑

∑

∑

42

∑

64

65

Ó 63

Ó

œ p

66

œ

67

‰

œ #œ œ

∑

bœ

˙

w

,

w

w

#w π

œ bœ

,

w ∑

w π

œ bœ

,

∑

Ó

œ

,

∑

œ.

œ.

∑

∑

? ‰

∑

∑

?

j œ.

∑

∑

∑

?

Ó

∑

?

?

D.B.

œ- b œ

b œ- .

? bœ

nœ

∑

∑

1

œ

dolce

&

F.Hn.

Œ

˙ π

œ

œ- .

b œ- .

∑

∑

1

B b Tpt.

42

w

œ

œ. π

&

∑

#w π

œ

π

‰

∑

w

œ

π

? Ó

∑

nw π

bœ

œ

œ- œ-

œ J

∑

Œ

œ- .

‰

bœ

Œ

bœ œ

? œ J

C. Bn.

œ- b œ

˙

&

1

Tbn.

bœ

1

B. Cl.

œ bœ

π

b œ- œ- œ- b œ- b œ- œ- œ-

& œ

&

bœ

π

3

E. Hn.

3

œ

π

3

∑

∑

1

3

B b Cl.

∑

a tempo

68

41

II. Adagio (Passacaglia) Con moto ma calmo q =72-79

9 &4

∑

6 4

1

& 49

∑

2

& 49

∑

3

9 &4

∑

46 œ π 46 œ π 6 4

1

9 &4

∑

6 4

∑

2

9 &4

∑

6 4

English Horn

9 &4

∑

Clarinet in E b

9 &4

1

Piccolo

Flute

∑

∑

∑

∑

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

∑

∑

∑

∑

∑

∑

∑

∑

∑

6 4

∑

∑

∑

∑

∑

6 4

∑

∑

∑

∑

9 &4

∑

6 4

B b Clarinet 2

9 &4

∑

6 4

3

9 &4

∑

6 4

Oboe

9 & 4 Ó.

Ó.

1

? 49 Ó .

Ó.

2

? 49

∑

?9 4

∑

B b Bass Clarinet

Bassoon

Contrabassoon

Solo E b Alto Saxophone

Ϲ

œ-

œ-

1 only

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

ϸ

œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ∏ 6 4 œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

œ-

1 only

1 only

46

∑

6 4

∑

6 4

∑

Con moto ma calmo q =72-79

9 & 4 ˙.

œ

∏

Œ

Œ

1

9 &4

∑

2

& 49

3

Ó.

∑

ϸ

46 ˙ . -

˙- . π

∑

# œ˙- .

˙- .

˙- .

˙- .

˙- . π

˙- .

∑ Ó- .

˙- .

˙- .

∑

∑

∑

˙- .

˙- . ∑

∑

∑

∑

∑

∑

∑

9 &4

∑

6 4

∑

∑

∑

∑

4

& 49

∑

46

∑

∑

∑

∑

1

9 & 4 Ó.

B b Trumpet

2

9 &4

3

Solo

˙. p

molto espress.

6 4 œ

˙.

∑

6 4

9 &4

∑

4

9 &4

∑

1

? 49

∑

Trombone 2

? 49

∑

Bass

?9 4

1

2

F Horn

Tuba

˙.

1 only

#˙ F

œ

œ

œ

#˙

˙.

œ ∑

6 4

∑

6 4

∑ 1 only

˙.

œ

˙.

˙.

œ

˙

∑

˙. 46 ∏

con sord.

œ

˙

œ œ

œ

œ

˙

œ

˙

œ

œ œ œ œ 3

#˙.

˙.

˙

œ

œ

œ

#œ

œ œ œ œ 3

∑

∑

∑

∑

∑

∑

∑

∑

˙

œ

˙

œ

œ

˙

˙-

˙

œ

˙

œ

œ

˙

˙.

œ-

˙.

∑

∑

∑

∑

∑

?9 4

∑

6 4

∑

∑

∑

∑

?9 4

∑

6 4

∑

∑

∑

∑

1 only

arco

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

? 49 Ó .

Timpani

?9 4

∑

6 4

∑

∑

∑

∑

1

9 ã 4

∑

6 4

∑

∑

∑

∑

2

ã 49

∑

46

∑

∑

∑

∑

70

71

72

73

Percussion

Ϲ

69

œ-

46 œ -

œ-

Double Bass

Ó.

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ

˙- .

46 ˙ . ∏ 6 4

con sord.

Œ

˙

6 4 ˙. ∏ 64

con sord.

Œ

˙

œ-

œ-

œ-

œ-

1

Fl.

∑

&

Picc.

2

∑

∑

& œ-

œ-

œ-

œ-

# œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

& œ-

œ-

œ-

œ-

# œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

∑ œœ-

œœ-

œ œ

œ

∏ œ

∏

œœ-

∑

∑

œ-

œ-

œ-

Œ

∑

∑

œ-

œ-

œ-

Œ

∑

∑

∑

∑

∑

morendo

morendo

3

&

∑

∑

∑

1

&

∑

∑

∑

∑

∑

∑

2

&

∑

∑

∑

∑

∑

∑

Eng. Hn.

&

∑

∑

∑

∑

∑

∑

E b Cl.

&

∑

∑

∑

∑

∑

∑

Œ

∑

∑

Œ

∑

∑

Œ

∑

∑

Œ

∑

∑

∑

∑

Ob.

1

B b Cl. 2

3

& & &

B. Cl.

1 Bsn. 2

C. Bn.

Solo A. Sax

1

?

œ-

œ-

œ-

œ

œ-

œ-

œ-

œ-

œ

œ œ ∏ -

œ-

# œ-

œ-

œ-

œ-

œ

œ œ ∏ -

n œ-

œ-

œ-

n œ-

œ-

œ-

œœ∏

n œ-

œ-

œ-

n ˙- .

œ-

œ-

œ-

# œ-

œ-

# œ-

œ-

œ-

œ-

# œ-

œ-

# œ-

# œ-

# œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

œ-

œ-

# œ-

# œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

# œ-

œ-

œ-

# œ-

œ-

œ-

n œ-

œ-

œ-

œ-

œ-

œ-

# œ-

œ-

œ-

# œ-

œ-

œ-

# œ-

œ-

œ-

œ

∏

˙

# œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

morendo

morendo

morendo

morendo

morendo

j ‰ Ó. œ

?

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

& ˙.

œ

#œ

#œ

œ

,

#œ

œ

œ

œ

#œ

#œ

œ

˙.

œ

œ

# ˙morendo

œ

π

#œ

œ

œ

˙

Ÿ œ.

œ œœ

œ

espr. dolcissimo

œ ‰ Ó J ∏

∑

∑

∑

∑

∑

2

&

∑

∑

∑

3

&

∑

∑

∑

∑

∑

∑

4

&

∑

∑

∑

∑

∑

∑

1

& #œ

∑

∑

∑

∑

∑

B b Tpt.

#˙

œ

2

&

∑

3

&

4

&

F.Hn.

1

Tbn.

& œ -

2

œ

œ

œ œ œ œ œ #œ

#˙

œ œ #œ œ œ œ œ œ œ #œ 3

œ

˙. p

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ senza sord. J ‰ Ó ∏

∑

∑

œ ‰ Ó J ∏

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œ-

˙.

˙-

œ ˙

˙.

˙.

#œ

œ œ

#œ œ

œ œ

œ

˙.

œ

˙morendo

˙.

œ

œ

˙-

senza sord.

morendo

Bass

1 Tba. 2

? ? ? ?

D.B.

∑ 1 only

œ-

∑

∑ œ-

# œ-

œ-

∑

# ˙- .

# ˙- .

# ˙- .

˙- . π

Œ

˙

∑

. ? ˙ ? #˙

#œ f

∑ # œ-

œ-

# œ-

# œ-

œ-

# œ-

j ‰ œ

n ˙-

n ˙- . ∑ œ-

œ-

n œ-

œ-

n œ-

œ-

œ-

œ-

ϸ

œ-

œ-

œ-

morendo

œ-

Œ

42

?

∑

∑

∑

∑

∑

∑

1

ã

∑

∑

∑

∑

∑

∑

2

ã

∑

∑

∑

∑

∑

∑

75

76

77

78

79

Timp.

Perc.

74

œ

œ

Ob.1/Cl.1 tacet these two measures when Solo ossia part is played.

F

&

∑

∑

∑

∑

∑

1

&

∑

∑

∑

∑

∑

2

&

∑

∑

∑

∑

∑

3

&

∑

∑

∑

∑

∑

∑

∑

Picc.

Fl.

1

∑

&

Ob.

& # œ- œ- Œ œ œ œ œ Œ p espress.

p

œ-

3

2

Eng. Hn.

œ- œ- Œ œ œ œ œ Œ & 3 p espress.

1

&

∑

B b Cl. 2

&

∑

3

& &

B. Cl.

1 Bsn. 2

?

C. Bn.

Solo A. Sax

Œ

œ- œp

Œ

œœœœ 3

œœœœ 3

∑ # œ-

a2 ˙-

p

œ

Œ Œ

œ-

œ œ œœ 3

#œ œ œ œ 3

Œ

œœ œ œ

bœ œ œ

3

Œ bœ œ œ œ 3

3

, bœ

œ

,

bœ œ œ bœ 3

œ

œ

n œ œ œ œ-

œ

n œ # œ œ œ-

∑

˙-

˙-

Œ

œ ‰ Œ J

œ-

œ J ‰ Œ

Œ

3

3

n œ# œ-

p

∑

˙

œ

F

#œ p

Œ

Ó.

Œ ∑

∑

∑

Ó.

Œ

Ó.

Œ #œ œ œ œ

œ

Œ

Ó.

Œ #œ #œ œ #œ

œ

Ó

3

3

Œ

Œ

Ó

F F

Ó

œ-

œ-

œ-

œœœœ 3

dolce

œ-

œ-

œ-

dolce

œœœœ 3

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ-

∑

œ-

Œ

œ-

œ-

œ-

œ-

Œ

p √ ˙

#œ

&

p

œ-

œ-

œ-

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-

œ-

# œ-

œ-

Œ Œ

# œ-

œ-

# œ-

œ-

Œ Œ

∑

˙

˙

Ÿ~~~~ œ œ.

œœœ

œ

˙

˙

Ÿ~~~~ œ œ.

œœœ

œ

Ÿ #œ.

∑

#œ œ #˙

œ

œ

#˙

œ-

œ-

œ-

j œ ‰ # œ-

œ-

œ-

œ-

œ-

j‰ œ # œ-

œ-

œ nœ

Œ

#œ sempre

Œ Œ ∑

p

# œ-

œ-

# œ-

œ-

# œ-

œ-

# œ-

œ-

œ

#œ

# ˙-

#œ #œ

Œ Œ

œ-

n œ-

œ-

˙

#˙

∑ nœ

#œ

∑

∑

∑

∑

∑

∑

∑

2

&

∑

∑

∑

∑

∑

∑

∑

3

&

∑

∑

∑

∑

∑

∑

∑

4

&

∑

∑

∑

∑

∑

∑

∑

1

&

∑

∑

∑

∑

∑

∑

∑

2

&

∑

∑

∑

∑

∑

∑

∑

3

&

∑

∑

∑

∑

∑

∑

∑

4

&

∑

∑

∑

∑

∑

∑

∑

1

? Œ Œ œ œ #œ œ p espr. e cantabile Solo

2

Bass

1 Tba. 2

?

?

˙

˙. π

œ œ

œ œ œ œ œ

˙.

3

∑

∑

∑

∑

∑

˙.

˙.

˙.

∑

pizz.

p

˙.

˙.

∑ œ Œ

œ

œ

Œ

œ

œ œ œ œ sempre

∑

? œ œ Œ œ

D.B.

˙

(opt. Baritone solo)

?

?

œ

p

œ

Œ

œ

œ

Œ

œ

œ œ #œ

œ œ #œ œ nœ #œ #œ 3

Œ

œ

œ

Œ

#œ œ œ #œ œ J

œ.

∑

∑

∑

∑

∑

∑

Œ

˙

#œ

˙.

œ

# ˙-

œ

∑ œ

Œ

#œ

œ

Œ

# ˙- .

# ˙-

œ

œ

Œ

#œ

œ

Œ

#œ

Œ

#˙ æ p

œ

#œ

œ

Œ

nœ

∑

∑

∑

∑

∑

1

ã

∑

∑

∑

∑

∑

∑

2

ã

∑

∑

∑

∑

∑

∑

∑

81

82

83

84

85

86

Perc.

80

œ #œ œ

∑

?

Timp.

j œ

n ˙- .

∑

œ

Œ

œ œ #œ œ œ #œ œ œ œ œ œ #œ

#˙

∑

∑

œ

œ

∑

#˙.

˙.

∑ œ

œ

Œ

e dolce

&

F.Hn.

3

n œ-

1

B b Tpt.

œœœœ

∑

∑

œ- Œ

#œ œ œ œ 3

∑

ossia

Tbn.

œ-

Œ

˙-

˙-

œ

#œ #œ

∑

∑

? œ- œ- Œ œ p ?

# œ-

œ-

∑

&

E b Cl.

œ-

˙-

œ

∑

43

Ó.

# ˙æ. F

p

Ó. ∑

œ

Œ

&

∑

1

&

∑

2

&

∑

3

&

∑

Picc.

Fl.

œ

1

&

2

& œ

œ

∑ ∑

p

∑ ∑

œ-

œ œ œ œ

Œ

œ-

#œ œ œ œ

Œ

3

Ob.

œ

G

3

Œ

Solo

œ f

p

#œ

œ

œ

#œ

œœ

œ œ œ #œ œ

bœ œ

bœ nœ

bœ

∑

œJ

‰

Œ

Ó.

Œ

œ #œ

œ œœ

œJ

‰

Œ

# œJ

‰

Œ

49

Ó.

Œ

49

∑ Ó.

Œ

49

∑

∑ œ bœ

œ #œ #œ

œJ

‰

Œ

49

Ó.

Œ

œ

œ #œ œ œ œ.

œ

œ J

‰

Œ

Ó.

œ

œ J

‰

Œ

œ

‰

Œ

9 4

œ

œ J

‰

Œ

Ó.

œ

j œ

œ J

‰

Œ

œ

j œ

‰

Œ

49

p

œ #œ #œ

œ œ œ.

molto espress.

∑

œ

44

œ J

‰

9 4

∑

Eng. Hn.

&

∑

∑

E b Cl.

&

∑

∑

∑

∑

49

1

&

∑

∑

∑

∑

9 4

B b Cl. 2

&

∑

∑

∑

∑

49

3

&

∑

∑

∑

∑

9 4

&

∑

∑

B. Cl.

1 Bsn. 2

? œ?

œ-

œ-

& #œ

#œ

?

C. Bn.

Solo A. Sax

œ-

œ-

Œ Œ

œ-

∑

#œ

œ-

Œ Œ

#˙.

œ

,

#œ π

#œ

2

&

3

&

∑

∑

4

&

∑

∑

1

&

∑

∑

&

∑

∑

&

∑

∑

4

1

2

Bass

1 Tba. 2

∑

& ? #œ œ œ

∑

?

∑

?

n ˙-

˙

? Ó.

˙.

Œ

œ

?

Timp.

1

2

Œ

œ œ œ3

π Œ

a2

j ‰ Œ œ

œ

Œ

œ-

3

#œ

Œ

œ-

π

1 only con sord.

#œ π

# œ-

#œ

œ

3

œ

œ

œœ-

Œ

#œ

Œ

#œ

œ œ bœ œ bœ.

bœ

bœ

bœ

‰

Œ

Ó.

j œ

‰

Œ

Ó.

F

œ.

p

œ.

F

œ.

un poco marc.

bœ

bœ bœ.

j œ. p

‰

j œ.

‰

espress.

j œ

‰

œ

∑

p

ã

∑

∑

Glock.

ã

∑

∑

Triangle

&

œ π

œ

œ.

œ.

œ.

# œ.

œ.

œ.

œ.

œ.

# œ.

Œ

Ó.

Œ

j œ

œ

Œ

nœ

œ

œ

œ

˙.

p

œ

p

Ó. Œ

9 4

œ.

,

œ œ 49

#œ œ nœ.

œ J

‰

Œ

Ó.

49

œ

œ J

‰

senza sord.

Œ

Ó.

9 4

œ.

# œ-

œ

# œ.

œ.

# œ.

#œ

œ

œ.

# œ.

Ó.

œ.

œ.

œ.

n œ. J

‰

Ó

# œ.

œ.

œ.

œ. J

‰

Œ

Ó.

Π89

œ-

‰

j œ

‰

j œ

‰

j #œ

œ

œ

œ

œ

œ

œ

‰

#œ

œ

œ

œ.

F

un poco marc.

F

un poco marc.

œ-

Ó.

Ó.

œ

9 4

9 4

Œ

œ

Œ

∑

Œ

staccatissimo

9 4

#œ

j œ

‰

œ

œ

œ

œ

9 4

Œ œ.

œ.

œ.

49

œ.

œ.

œ.

49 9 4

∑

49 #œ J

‰

œ J

‰

49

Œ

∑

49

∑

9 4 œ

Œ œ

œ.

49

∑

Œ

∑

w.

œ-

Œ

∑ œ.

∑

œ 3

bœ bœ nœ

∑ Œ

œ

3

9 4

∑

‰

œ-

∑

∑

j œ

œ

∑

un poco marc.

œ-

œ

∑

œ J

œ.

a2

∑

88

œ

3

Œ

3

œ œ œ

bœ

1 only con sord.

˙.

˙

π

œ œ

9 4

#˙.

#˙.

∑

#œ

∑

87

œ

3

b˙

nœ

∑

Perc.

Œ

œ ‰ Ó. J

˙

∏ œ

#œ

# œ œ œ-

∑

˙.

?

? nœ

D.B.

#œ

œ p

˙.

accompagnando

∑

3

p

œ

∑

F.Hn.

œ

∑

∑

2

˙. π

∑

∑

B b Tpt.

1 only

∑

&

1

Tbn.

œ-

p

œ

œ

˙.

Ó. ∑ 90

œ

œ

œ

49

Œ œ

œ

œ

9 4 49 49

& 49 1

∑

∑

& 49

∑

46

∑

∑

2

& 49

∑

46

∑

∑

3

& 49

∑

46

∑

∑

1

& 49

∑

46

∑

∑

2

& 49 œ

j #œ ‰ Œ

46 ˙ .

#˙.

#œ

& 49 # œ

#œ ‰ Œ J

46

∑

#œ œ œ Œ > > > f marc.

∑

Picc.

Fl.

Ob.

Eng. Hn.

E b Cl.

1

B b Cl.

2

3

Ó.

œ

Ó.

& 49

∑

9 &4

∑

46 # ˙ . π

& 49

∑

2

? 49 Œ

˙

œ œ œ

Œ

œœ œœ

Œ

œœ

6 4 #˙. π 46 # ˙ . π

#œ

œ

œ

œ

3

#œ œ œ œ

C. Bn.

Solo A. Sax

9 #˙ & 4 #œ. œ #œ œ

, œ œ œ œ œ œ œ œ #œ

9 & 4 Ó.

œ

œ #œ 3

œ

3

?9 4

œœ œ

46

œ œ œ œ3

46

3

œ œ œ œ-

6 4

∑

3

cresc.

˙.

cresc.

#˙.

#˙.

˙.

cresc.

#˙.

#˙.

œ œ œ œ œ œ.

[ ]

5

cresc. poco a poco

œ œ #œ

#œ

3

#œ

cresc.

#œ

Œ

œ-

#œ

cresc.

œ

œ

œ-

6

#œ

˙

p

œ

1

9 & 4 Ó.

œ.

œ.

# œ.

œ.

œ. œ. œ.

# œ-

œ. œ. # œ.

œ.

46 # œ-

œ

œ.

œ.

œ.

œ.

œ.

Œ

Œ

œ-

j # œ. œ. œ.

‰

Œ

Œ

œ.

Ó.

cresc.

cresc.

6 4

∑

46

∑ j #œ F

∑

6 4 Ó.

?9 4

∑

6 4 Ó.

Ó.

j ‰ j ‰ #œ œ

Œ

j ‰ j œ œ

‰

6 j 4 #œ

cresc.

‰

j œ ‰

∑

46

∑

2

?9 4

∑

6 4

∑

2

œ œ œ œ œ

9 & 4 Ó.

œ π

9 ã 4

#œ œ

œ

œ œ œ

œ

œ œ

∑

œ

6 4 #œ

œ

œ œ œ œ

œ

senza sord.

œ

46 # œ

œ

œ

œ

œ

œ.

f

Œ

œ-

3

marc.

œ bœ œ.

‰

œ

j œ ‰

‰

œ

j œ ‰

‰

œ

j œ ‰

œ œ œ > > > 3

nœ œ œ > > >

Œ Œ

#œ œ œ Œ > > > 3

3

#œ œ œ > > >

Œ

#œ œ œ Œ > > > 3

[, ] œ œ œ bœ œ

œœœ

Ó.

Œ

# >œ >œ >œ 3

marc.

Œ Œ

# >œ >œ >œ Œ 3 f marc. # >œ >œ >œ Œ 3 f marc.

Œ

3

#œ œ œ > > > > > > nœ œ œ 3

#œ œ œ > > >

Œ

Œ

3

#œ œ œ > > > f marc.

3

Œ

3

#œ œ œ > > >

f

3

6

nœ œ œ Œ > > > f marc.

3

>œ >œ >œ >œ >œ >œ 3

# >œ >œ >œ 3

nœ œ œ Œ > > > 3

nœ œ œ Œ > > > 3

Œ

#œ œ œ Œ > > >

Œ

3

3

# >œ >œ >œ Œ

Œ

3

#œ œ œ > > >

#œ œ œ Œ > > >

Œ

Œ

3

Œ

#œ œ œ > > >

# >œ >œ >œ Œ

# >œ >œ >œ

3

#œ œ œ > > > f marc. arco

œ

# œ.

Œ

> > > bœ œ œ Œ

œ-

Œ

3

#œ œ œ > > >

3

3

3

3

œ œ œ > > > 3

œ œ œ > > > >œ >œ >œ 3

Œ Œ Œ

Œ

# >œ >œ >œ Œ

Œ

#œ œ œ Œ > > >

Œ

#œ œ œ Œ > > >

Œ

# >œ >œ >œ Œ

3

3

∑

j œ

Œ

œ

cresc.

cresc.

œ

˙

91

Œ

œ. # œ .

Œ

3

#œ œ œ > > >

Œ

Œ

3

j œ

? 49

? 49 Œ

Œ

3

7

#œ œ œ > > > f marc.

j #œ F

Œ

3

appassionato

3

a2

1

œ

ƒ

Œ

3

#œ œ œ > > >

[ ]

3

œ.

‰

Œ

Œ

, b >œ >œ œ b >œ >œ >œ >œ œ .

œ

Œ

3

bœ œ œ > > >

Largamente >

œ œ œ > > > f marc.

œ.

?9 4

Perc.

œœ

3

6 4 œ-

1

1

bœ bœ nœ .

bœ bœ.

Œ

3

œ.

& 49 œ. œ .

Timp.

bœ

œ œ. œ.

# œ. œ. œJ

?9 Π4

3

#œ œ œ > > > f marc. 3

# œ-

œ-

œ

œ-

j ‰ œ

3

#œ œ œ > > > f marc.

# >œ >œ >œ f marc.

œ. œ. œ. # œ .

4

D.B.

j ‰ œ

#œ œ œ > > >

#œ œ œ > > >

∑

Tba.

œ

Œ

3

œ œ œ > > > f marc.

6 4

j j œ ‰ œ ‰ Œ

3

Œ

#œ œ œ > > >

∑

?9 Π4

#œ œ œ Œ > > >

œ œ œ Œ > > > f marc.

9 &4

Bass

Œ

3

#œ œ œ > > >

∑

4

2

#œ œ œ Œ > > >

6 4

∑

9 œ. œ. &4

Œ

∑

6 4

3

#œ œ œ f> >marc.>

cresc.

∑

F.Hn.

# >œ >œ >œ Œ

#œ

9 &4

œ-

Œ

#˙.

non espr.

œ-

> > > œ œ œ

6 4 #˙.

œ

3

& 49 Ó .

3

molto cresc. (senza accel.)

9 &4

2

œ œ œ

bœ œ bœ.

2 B b Tpt.

3

#œ œ œ f> >marc.>

3

, œ.

œ #œ œ œ 6 #œ #œ œ #œ nœ #œ nœ 4

Ó.

3

#œ œ œ Œ > > > f marc.

a2

3

∑

Œ

#œ œ œ > > >

3

˙.

#œ œ #œ

Œ

3

∑

3

#œ œ œ Œ > > > f marc.

˙.

cresc.

45

∑

#˙.

46 # ˙ .

#˙

3

#˙.

a2

œ 3

3

3

a2

#˙

Œ

cresc.

6 4

? 49 Œ

1

œ

∑

1 Bsn.

œ

˙

œ π

9 &4

& 49 Œ

B. Cl.

Tbn.

Largamente

46

œ

‰ œ

j œ ‰

œ œ

œ

œ

œ

f

3

3

3

3

marc.

3

#œ œ œ > > > f marc.

Œ

Œ

3

œ œ œ > > >

6 4 ˙.

#˙.

6 4

∑

∑

92

93

cresc.

3

∑

3

œ œ œ > > >

Œ

bœ

&

∑

1

&

∑

2

&

∑

3

&

∑

Picc.

Fl.

a2

& # œ- œ- œ- Œ F 3

1 Ob. 2

Eng. Hn.

& # œF & #œ F

3

œ- œ- œ-

Œ

Œ

œ- œ- œ-

Œ

Œ

œ- œ- œ3

B b Cl. 2

& nœ œ œ Œ - - F &

3

# œ- œ- œF

3

œ- œ- œ-

Œ

3

# œ- œ- œ-

& nœ œ œ Œ - - F

3

œ- œ- œdim.

& n œ- œ- œ- Œ F 1

Bsn. 2

C. Bn.

œ

Œ

Œ #œ p

3

œ- œ- œ-

Œ

3

p

œ œ

œ #œ

# œF ? # œ-

Œ

Œ

Œ

Œ

n œ- œ- œ-

3

œ- œ-

Œ

3

n œ- œ- œ3

n œ- œ- œ-

3

dim.

œ bœ bœ œ bœ nœ. 5

& œ

bœ nœ

Œ

3

œ- œ- œ-

Œ

Œ

n œ- œ- œ-

Œ

Œ

Œ

n œ- œ- œ-

Œ

Œ

Œ

n œ- œ- œ-

bœ.

> bœ ˙ œ

dim.

œ- œ- Œ

#œ #œ p

Œ

3

œ- œ- œ-

Œ

dim.

3

œ- œ- œ-

Œ

dim.

3

Œ

3

Œ

3

œ- œ- œ3

3

œ p

œ

œ p

œ

p p p

œ #œ œ œ

œ œ

3

˙ dim. molto

Ó.

bœ

π

F.Hn.

Ó.

Ó.

Œ

Ó.

∑

∑

43

∑

46

∑

43

∑

46

∑

∑

43

∑

46

Œ # œj ‰ Œ π

3 4 Œ

3 4

#œ œ

œ

6 4

#œ œ

œ

6 4

#œ œ

œ

46

Œ

j‰ Œ #œ π

Œ Œ

43 Œ

œ

œ

∏ œ ˙

Œ Ó.

3 4

p

43 Œ

Ó.

3 4

Tba. 2

?

F

∑

pizz.

? #œ œ œ Œ

D.B.

F

3

3

nœ œ œ p

?

∑

1

&

∑

2

ã

∑

Timp.

3

Perc.

94

Œ

Œ

ã

˙ 46

π

6 4

∑

non troppo rigoroso ∑

∑

6 4

∑

3 4

∑

6 4

∑

43

∑

46

∑

43

∑

46

∑

3 4

∑

6 4

œ-

43 œ

Œ

Œ

46

∑

∑

43

∑

46

Œ b œœπ tenuto

3 4 œ

Œ

Œ

6 4

∑

∑

3 4

∑

6 4

43 œ

Œ

Œ

46

∑

∑

43

∑

46

œ ‰ Ó. J ∏

∑

3 4

∑

6 4

j œ ‰ Ó. ∏

∑

3 4

∑

6 4

œ ‰ Ó. J ∏

∑

43

∑

46

j ‰ Ó. œ ∏

∑

3 4

∑

6 4

π

œ-

tenuto

Œ bœ œ π -tenuto œŒ # œπ tenuto Œ

Œ

π

# œ-

œ-

# œ-

n œ-

# œ-

n œ-

tenuto

π

tenuto

>+ 3 , n˙ 4 œ

+ 6 ˙ 4

3 , 4 œ # +˙ > >+ 43 Œ ˙

6 4 n ˙+

3 , 4 œ

6 4 #˙ +

3 œ 4

+ 46 # ˙

(Open)

n˙ > Œ

Œ

6 4

∑

∑

3 4

∑

6 4

3 œ 4

Œ

Œ

6 4

∑

∑

3 4

∑

6 4

Œ bœ œπ tenuto

3 4 œ

Œ

Œ

6 4

∑

∑

3 4

∑

6 4

a2

œ-

43 œ

Œ

Œ

46

∑

∑

43

∑

46

œ-

3 4 œ

Œ

Œ

6 4

∑

∑

3 4

∑

6 4

Œ

Ó.

Œ

3

j œ ‰ Ó. ∏ œ ‰ Ó. J ∏

3 4

#œ

46

Ó.

nœ œ œ

46 ˙

>˙ π > ˙

#œ œ œ œ œ œ

43

∑

Ó.

n œ. œ. œ.

π

œ ‰ Ó. J ∏

3

#œ

43

∑ Œ

6 ˙ 4

∑

#œ œ œ œ œ œ

3 4

∑

?

j ‰ œ

˙

œ œ œ J ‰ ‰ bœ œ nœ

3

#œ

∑

Œ #œ nœ π tenuto

œ p

# >˙

œ.

œ œ œ ‰ ‰ J bœ œ nœ

#œ œ œ œ œ œ

46

Ó.

‰

>˙

6 4

œ.

3

Œ

tenuto

∑

œ J

#˙ >molto espress.

œ.

œ œ œ J ‰ ‰ bœ œ nœ

Œ

π

œ-

?

Solo

,

46

3

43 œ

a2

Œ

? #œ

molto espress.

6 4

#œ bœ bœ j œ #œ J ‰ #œ #œ #œ œ F 3 bœ #œ ‰ b œ j œ #œ J #œ #œ #œ œ F 3 bœ bœ j œ # œ # œJ ‰ #œ #œ #œ œ F j ‰ Ó. œ ∏

œ-

Œ

Ó.

1

#˙ >

, œ

∑

∑

Bass

molto espress.

43 Œ

?

2

3 4

6 4

# >˙

3 4 Œ

j‰ Œ #œ π

∑

1

46

46

∑ Ó.

∑

∑

&

œ- œ- œp

43

43

j œ ‰ Œ π

Œ

4

# œ- œ- œF

∑

46

&

3

j ‰ Ó. œ ∏

∑

3

3

46

43

&

3

∑

∑

1

# œ- œ- œp

43

∑

Ó.

& n œ- œ- œ- Œ F

∑

46

∑

2

j ‰ Ó. œ ∏

∑

&

p

46

43

4

3

∑

6 4

Ó.

F

43

∑

∑

3

∑

3 4

&

3

j ‰ Ó. œ ∏

∑

3

Ó.

46

∑

Œ

Ó.

46 # ˙

˙ >

∑

6 4

Ó.

œ- œ- œ-

,

46 # ˙

˙ >

∑

∑

∑

# œ- œ- œ- Œ

,

46 # ˙

>˙

46

43

3 4

&

B b Tpt.

43 œ

˙p

,

non troppo rigoroso ∑

j Œ #œ ‰ Œ π Œ # œj ‰ Œ π

∑

2

43 œ

˙p

46

∑

43 œ

˙ p

Œ

&

1

Tbn.

?

F

Solo A. Sax

3

œ- œ- œ-

? # œ- œ- œ- Œ F

Œ

dim.

3

B. Cl.

Œ

dim.

3

3

Œ

∑ 3

1

Œ #œ p

3

dim.

&

E b Cl.

œ

Ó.

œ- œ- œ-

dim.

3

Œ #œ p

Œ

3

œ- œ- Œ

Œ #œ p

Œ

dim.

œ- œ- Œ

∑

œ- œ- œ3

43

π

π π

tenuto

œ-

tenuto

œ-

tenuto

∑

3 4

∑

6 4

∑

∑

3 4

∑

6 4

∑

3 4

∑

6 4

∑

∑

3 4

∑

6 4

Ó.

∑

3 4

∑

6 4

∑

∑

43

∑

46

97

98

Bass Dr.

Ó.

Œ

Ó.

Tam-Tam

Œ

95

œ p

˙

p

œ

3 4 Œ 43 Œ

˙æ π ˙

p

96

6 4 œ 46

Œ

Œ

99

H

& 46

Picc.

a tempo

∑

∑

∑

∑

∑

∑

1

& 46

∑

∑

∑

∑

∑

∑

2

& 46

∑

∑

∑

∑

∑

∑

3

& 46

∑

∑

∑

∑

∑

∑

1

& 46

∑

∑

∑

∑

∑

∑

2

& 46

∑

∑

∑

∑

∑

∑

Eng. Hn.

& 46

∑

∑

∑

∑

∑

∑

E b Cl.

6 &4

∑

∑

∑

∑

∑

∑

j Œ œ

∑

∑

∑

∑

j Œ œ

∑

∑

Fl.

Ob.

1

6 &4 ˙

B b Cl. 2

6 &4 ˙

3

6 &4 ˙ 6 &4

B. Cl.

1 Bsn. 2

Solo A. Sax

1

2 B b Tpt.

j œ ‰ Ó. ∏

∑

?6 4

& 46

6 & 4 b˙ p 6 & 4 b ˙p

œ-

∑ œ

œ-

œ-

b œ-

œ

œ-

b œ-

Œ Œ

∑

Œ

4

6 &4

∑

Œ

F.Hn.

6 &4

∑ n ˙p

3

& 46

4

& 46

1

? 6 n˙ 4 p

2

Bass

1 Tba. 2

D.B.

Timp.

n ˙p

?6 4 b ˙p

œ-

∑ œ

œ-

b œ-

œ

œ-

œ ∑

?6 4

∑ ˙π

œ-

Perc. 2

Œ

Ó.

Œ

Ó.

Œ

Ó.

Œ

œ-

œ-

Œ

œ-

œ-

n œ-

˙

œ

œ

b˙

nœ

˙

œP

bœ

nœ

œ

˙

# œ-

œ

bœ

˙

#œ

œ #˙

nœ bœ

œ

bœ

bœ

˙

F

Œ

F

Œ

F

Œ

F

Œ

F

espress.

P

˙

# œP

bœ. œ bœ.

j œ. œ >

œœ.

bœ. œ bœ.

j œ. œ >

œœ.

espress.

espress.

j >œ . œ

bœ. œ bœ. espress.

#œ. œ œ.

#œ J

espress.

#œ. œ œ.

#œ J

espress.

bœ Œ

bœ p

˙

b œP b œP

˙

˙- .

œ

˙- .

œ

n ˙-

# ˙- .

œ

n ˙-

espress.

espress.

espress.

espress.

˙- . Œ

˙- .

œ-

# >œ .

œ-

œ.

˙

sÍp ˙ sÍp

Œ

#˙

b ˙- . ˙

sÍp

100

∑ 101

˙ æ sÍ

œ ‰ Œ J 102

b œ . œ-

#œ

œ

œ.

molto cresc.

j œ bœ.

j œ ‰

˙ œ [ƒ]

˙

j ‰ œ

∑

Ó.

j ‰ bœ. œ œ F marc.

#˙

j œ ‰

∑

#˙

j œ ‰

∑

Œ Œ

Ó.

∑

Œ

∑

Ó.

Œ

cresc.

œ

Œ

œ ‰ Œ J

˙.

Ó.

j ‰ Œ œ

n˙

b ˙-

#œ

cresc.

∑

Ó.

n ˙-

˙.

j ‰ œ

∑

b ˙-

#œ

#œ F

cresc.

˙

œ J ‰

n˙

j œ ‰

n˙

j œ ‰

Ó.

Œ

# ˙p

˙

∑ ˙ æ sÍ

œ œ

œ

˙.

Œ

∑

∑

bœ

#œ

#œ F

cresc.

Œ

∑

Low Tom-Tom (soft mallet)

#œ

Œ

˙.

Ó.

∑ œ

Œ

œ

∑

∑

Ó.

œ. œ

Œ

Ó.

œ

espress.

molto espress.

œ œ

œ œ p espress.

Œ

Œ

œ

espress.

∑

bœ

œ ‰ Œ J

œ

˙- .

∑

bœ

œ ‰ J

n ˙-

n ˙-

œ- b œ

œ

Œ

# ˙-

˙-

b œ- . F

bœ

Œ

? 46

˙.

Œ

bœ

Ó.

∑

Œ

#œ J

bœ

espress.

∑

∑

Œ

Œ

bœ p

œ ‰ J

∑

Ó.

#œ J

Œ

Œ Œ

∑

Ó.

j œ Œ

œ.

?6 4

ã 46 ˙ . p 6 ã 4

j Œ œ

œ.

espress.

b œb ˙- . P espress.

˙

œ

espress.

Œ

sÍp

œ-

# >œ .

n ˙-

œ

b œ-

P

œ

Œ

b ˙- .

a2

bœ

Œ

Œ

˙

œœ.

∑

b ˙- .

b˙.

˙

bœ

b œ-

P

b˙. sÍp

Œ

p

Œ

j œ. œ >

bœ. œ bœ.

espress.

sÍp

n˙

nœ

P

œP

b˙.

∑

Œ

Œ

b ˙-

b˙

∑ œ-

Œ

b œ-

œ-

bœ

∑

Œ

Œ

œ-

p

Œ

Œ

nœ

œœ-

b˙

nœ

p

F

∑

œ

p

Œ

∑

œ

Ó.

œ

Cr.Cym.

1

œ-

œ-

? 46

? 46

Œ œ

œ-

Œ

∑

6 &4

2

Œ

∑

œ-

n œ-

& 46

∑

Ó.

∑ œ

a tempo

Ó.

∑

∑ œ-

∑

∑

3

1

Tbn.

j œ ‰ Ó. ∏

? 46

Ó.

∑

∑

?6 ˙ 4 π

C. Bn.

j œ ‰ Ó. ∏

47

∑ 103

Œ j ‰ œ

Œ

Œ

arco

Œ

œ p

œ

#œ

œ œ p espress.

#œ

œ p

#œ

espress.

œ

espress.

Œ #œ #œ #œ

F

bœ

œ

espress.

Bass Dr.

˙æ p

‰

F

‰

F

j bœ bœ. espress.

j bœ bœ. espress.

Œ

Œ

(molto)

œ

(molto)

#œ

bœ

œ

#œ

#œ

œ

#œ

#œ

‰

Œ

œ

bœ.

œ

marc.

marc.

j ‰ bœ. œ œ F marc. œ.

œ

n˙ œ- cresc.

œ.

œ

marc.

marc.

Œ

Œ

Œ

Œ œ

F

marc.

F

marc.

F

marc.

bœ.

œ J

F

bœ.

n˙ œ- cresc.

bœ.

œ

∑ Œ

F

Ó.

∑ Ó.

F

F

bœ.

#œ

˙.

#œ

˙.

#œ

˙.

œ œ

bœ. œ f marc. bœ. œ f marc.

bœ.

œ b œJ

‰

bœ.

œ b œJ

‰

bœ.

œ b œJ

‰

∑ ˙æ.

˙æ.

cresc.

˙æ

∑

∑

104

105

j œ ‰ f

∑

Ó.

Œ

Œ

∑

Ó.

Œ

Œ

&

∑

Ó.

Œ

Œ

3

&

∑

Ó.

Œ

Œ

1

&

∑

∑

2

&

∑

∑

Eng. Hn.

&

∑

Œ

œ œ. œ. œ bœ. f marc. molto cresc.

&

∑

Ó.

Œ

Œ

&

∑

Ó.

Œ

Œ

&

∑

Ó.

Œ

Œ

&

∑

Ó.

Œ

Œ

&

Picc.

1

Fl.

2

Ob.

E b Cl.

1

B b Cl. 2

3

&

B. Cl.

1 Bsn. 2

? ? ?

C. Bn.

Solo A. Sax

1

2 B b Tpt. 3

4

1

2 F.Hn. 3

4

1

Tbn.

&

2

Bass

bœ

œ

nœ

˙

œ

œ

œ

bœ

bœ

œ

˙

œ

bœ

œ

bœ

bœ

œ

˙

œ

bœ

œ

bœ

bœ

nœ

˙

œ

bœ

œ

molto cresc.

molto cresc.

molto cresc.

molto cresc.

œ ˙

& œ.

œ ˙

& œ.

œ ˙

œ.

bœ œ.

& œ.

œ b˙

œ.

œ.

œ œJ ‰

‰.

& œ.

œ b˙

œ.

œ.

œ œJ ‰

‰.

Œ

‰.

Œ

‰.

& œ. & œ. ? Œ

bœ

œ.

bœ

œ.

bœ

cresc.

cresc.

œ

bœ.

œ

bœ.

œ

cresc.

œ

cresc.

œ.

œ bœ.

œ.

œ bœ.

cresc.

? Œ

bœ.

? Œ

bœ.

cresc.

bœ bœ

œ œ

bœ.

œ bœ.

bœ.

œ bœ.

œ.

œ

œ.

œ œ.

œ

œ.

œ œ.

œ

Tba. 2

? ?

?

D.B.

bœ

bœ

nœ

œ bœ J ‰

1

œ.

molto cresc.

˙

œ.

molto cresc.

œ.

˙

œ œ.

œ

r œ. bœ

Perc. 2

r œ. bœ

bœ

bœ J ‰

bœ bœ J ‰ bœ œ J ‰

Œ

molto cresc.

Œ

‰.

Œ

‰.

œ

bœ

bœ R

# œ œ-

œ bœ.

œ œ.

œ œ.

œ bœ.

œ œ.

œ œ .

œ bœ.

œ œ.

œ œ.

œ b œJ

‰

molto cresc.

molto cresc.

bœ

bœ

nœ

˙

œ-

bœ

œ

molto cresc.

œ

œ

molto cresc.

œ œj œ œj œ ˙ æ F 3 >œ œ >œ œ >œ œ œ J ‰ 6

œ J Œ

Œ

j œ

œ.

#œ

˙

œ

œ

œ #œ

molto tenuto

˙. ƒ molto tenuto

n˙. ƒ molto tenuto

œ

œ-

# œ œ# œ œn œ-

#œ

œ

# œ-

# œ-

œ-

˙

œ

#œ

#œ

bœ bœ

bœ

œ

bœ

bœ

bœ

˙.

#œ

˙.

#œ

˙.

#œ

˙.

#œ

#œ

#œ

˙

œ #œ

œ #œ

#œ

#œ

#œ

˙

œ #œ

œ #œ

#œ

#œ

ŸI ~~~~~~~~~~~~~~~~~~~~

ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~ j #˙ œ

Ÿ ~~~~~~~~~~~~~~~~~~~

Ÿ ~~~~~~~~~~~~~~~~~~~~~~~

˙

j ‰ œ

˙

j ‰ œ

˙

j ‰ œ

Ÿ ~~~~~~~~~~~~~~~~~~~

œ-

j ‰ œ

œ-

#œ

˙

ƒ espress. # >œ >œ >œ ƒ

˙ ƒ

>œ

3

espress.

#˙

j œ

#˙

j œ

# œ-

j œ

œœ

bœ

bœ

bœ bœ

bœ

œ

bœ

bœ

œ J

Œ

œ# œœ-

œ

f

œ æ

Sus.Cym. œ œ œœœœœœy > >6 > Œ ƒ

˙

3

˙.

ƒ

˙. ƒ

#œ

‰

# œ˙.

√ œ

˙.

molto tenuto

>œ

œ J

3

pesante e tenuto

ƒ espress. >œ # >œ >œ

#œ

>œ

œ J

ƒ pesante e tenuto 3

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

œ

œ #œ

#œ

œ

#œ

#œ

œ

˙.

#œ

˙.

œ

œ

˙

œ

#œ

#œ

œ

œ

#˙

œ

œ

#œ

#œ

#œ

#œ

œ

œ

#œ

#œ

œ

œ

œ

#œ

#œ

œ

œ

œ J

#œ œ œ 3

˙ # >œ >œ ‰ #œ

œ

3

#˙ ˙

>œ n >œ >œ >œ >œ >œ > > >œ > # >œ > >œ >œ >œ œ œ œ #œ

‰

Œ

œ

œ

#œ

œ J

‰

Œ #˙

j œ j œ

˙

œ

j ‰ œ

˙

j ‰ œ

#˙

œ J

‰

œ

œ

œ J

‰

#œ

œ

œœœœ æ

œ J

‰

œ.

œ J

‰

œ.

œœœœ æ

Œ

Œ

Ó.

œœœœ æ

Œ

Ó.

ƒ

œ

3

œ J

‰

3

108

œ

3

3

j œ ‰

(whole bow)

3

˙.

3

3

3

3

œ

3

3

3

‰

˙

j œ

‰

‰

#˙

j œ

‰

‰

j œ

‰

œ J

‰

#œ

œ

œ

œ J

# Ͼ

j œ

‰

Œ

∑ Ó.

3

>œ # >œ >œ # >œ >œ >œ > > >œ > >œ > >œ >œ >œ #œ œ #œ œ

˙-

tenuto

‰

3

œ

œ

‰

3

3

j œ ‰

tenuto

‰

‰

3

3

3

3

œ J

#œ

‰

j œ

œ-

œ

3

‰

Ÿ ~~~~~~~~~~~~~~~~~~~~~~~ j #˙ œ

œ >œ > # >œ

˙

˙

ƒ œ J ƒ œ æ

œ #œ

‰

> > > > > # >œ >œ >œ # >œ >œ >œ >œ >œ >œ # œ >œ œ # œ œ œ

molto tenuto

>œ >œ >œ

ƒ

Œ

œ

‰

bœ

pesante e tenuto

‰

œ

Ÿ ~~~~~~~~~~~~~~~~~~~~~~ j #˙ œ

molto tenuto

#˙. ƒ molto tenuto #˙. ƒ

‰

‰

œ

ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~ j ˙ œ

‰

Ÿ ~~~~~~~~~~~~~~~~~~~~~~~

bœ

œ J

œ

3

j œ ‰

# œ # >œ >œ >œ ƒ pesante e tenuto # œ-

> > > ‰ #œ œ œ

#œ

œ.

#œ

œ J

pesante e tenuto

Ͼ

107

#œ

˙

Œ

3

˙

˙

œ

molto cresc.

œ

œ

œ

œ J

œ

˙

n œ-

œ œ œ

œ

bœ bœ

n œ-

molto cresc.

œ

˙

n œ-

3

œ

œ

n œ-

nœ

œ

œ

œ #œ

Largamente

˙ ƒ

œ œ œ

#˙

œ #œ

j ‰ œ

œ-

˙ ƒ

j œ

œ

˙

j ‰ ˙ œ ƒ ŸI ~~~~~~~~~~~~~~~~~~~~ j ‰ ˙ œ ƒ

n œ-

œ œ œ

œ

#œ

#˙ ƒ ŸI ~~~~~~~~~~~~~~~~~~~~

48

#œ

˙

j ‰ œ

n œ-

œ

œ J

˙

n œ-

œ

œœœœ

œ #œ

n œ-

3

œ.

œ

Œ

œ

j œ

œ

nœ œ.

œ

œœœœ

˙

œ œ.

Œ ‰

# œ œ-

n œ-

œ

Ó.

j œ

106

œ œ .

bœ.

#œ

espress.

#œ #œ

molto cresc.

bœ R

˙

ŸI ~~~~~~~~~~~~~~~~~~~~

#œ #œ

œ œ.

bœ.

˙.

#œ

ƒ con forza

œ bœ.

Œ

œ-

œ #œ

bœ

#œ #œ

‰

œ

œ

˙

œ œ.

œ bœ.

œ

∑

&

#œ

˙

bœ

œ œ.

œ J

bœ

Field Dr.

n œ-

œ.

˙

œ

Ó.

n œ-

˙.

#œ

˙

ƒ

n œ-

œ-

˙

œ

œ

espress.

#œ

n œ-

œ

#œ

˙

ƒ

n œ-

#œ

œ #œ

espress.

#œ

n œ-

˙.

œ

˙

ƒ

# œ-

œ

œ

espress.

#œ

œ-

œ

˙

˙

ƒ

#œ #œ

molto cresc.

r œ. bœ

˙

ã

bœ

œ œ.

œ œ.

molto cresc.

# œ-

˙.

#œ

˙.

ƒ con forza

œ œ.

molto cresc.

r œ. bœ

nœ

ã

# œ- œ-

œ œ.

molto cresc.

bœ

Snare Dr.

œœ .

œ œ.

˙

bœ

Ó.

ƒ espress.

œ

˙

ƒ

molto cresc.

˙

?

Timp.

œ

#œ

Ó

cresc.

1

œ

molto cresc.

œ bœ J ‰

œ.

b˙

œ

ƒ espress.

œ œ.

œ œ.

& œ.

cresc.

œ

#œ

˙

œ.

cresc.

œ

ƒ espress.

ossia

œ ˙

cresc.

œ

ƒ espress. #œ

The solo from [I]-[J] may be omitted in performances with large band & œ.

cresc.

œ

Ó.

∑

&

œ

I Largamente

#œ

˙. æ

Sus.Cym.

molto cresc.

109

&

Picc.

1

2

Fl.

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

2

& œ

œ-

# œ-

œ

nœ

œ

Eng. Hn.

& #˙

# œ-

œ

œ

œ

1

B b Cl. 2

3

&

, ,

œ

&

,

œ

&

œ œ œ

œ #œ #œ #œ

bœ

bœ

bœ

#œ

#œ

œ

#œ #œ

#œ

1

#œ

Bsn. 2

?

C. Bn.

Solo A. Sax

ossia

1

&

˙

j œ

‰

j œ

‰

bœ

bœ

bœ

bœ

bœ

bœ

œ-

3

&

œ

(√) , b œ œ J J

& &

4

‰

œ, bœ & J J

2 B b Tpt.

˙

j œ

œ-

œ

Œ

# >œ >œ .. ,

œ

&

,

#œ

œ

œ

#œ

#œ

#œ

œ

2

& #œ

˙

3

& ˙

4

&

Bass

1 Tba. 2

1

ã

Perc. 2

ã

bœ

bœ bœ

b˙

#œ

œ

œ

œ

œ

œ

Ÿ

œ

œ

œ bœ

3

œ #œ

œ

œ

œ

œ

œ

œ

œ bœ bœ bœ

œ

œ

œ

#œ J

j #œ

œ

œ

œ

œ

œ bœ

3

>œ >œ ..

Snare Dr.

œ J Ï

‰

j œ

>œ >œ ..

œ #œ

3

œ

œ

3

œ

œ

#œ

œ

# >œ >œ ..

>œ >œ >œ >œ

œ J

œ

3

Œ

‰

œ

Œ

# >œ >œ >œ œ >

#œ J

3

œ

#˙.

œ

˙. œ

œ

‰

Œ

>œ >œ ..

Ó.

Π110

œ J

‰

Œ

œ

Bass Dr.

œ

#œ

œ

44

44 Œ

4 Π4

#œ

j œ

‰

Œ

44 Œ

œ œ œ

nœ

œ nœ. J

nœ

œ nœ. J

nœ

œ nœ. J

nœ

œ nœ. J

œ >

œ œ œ. œ- œ

œ œ œ œ

4 œ bœ bœ 4

nœ

œ nœ. J

#œ >

3

œ

œ # œ œ. œ- œ

œ >

œ nœ >

œ

, ,

4 4 #œ 4 4

#œ

œ

#œ

#œ

œ

#œ

#œ

œ

#œ

œ

#œ

œ

#œ

nœ

#œ

3 4 #œ

œ

#œ

43

#˙ >

œ

#œ

#œ

#œ

#œ

3 4

j >œ

œ nœ. J

œ

œ

œ

œ

43

#˙ >

nœ

œ >

#œ

œ

43

j œ >

44 œ b œ b œ

3

#œ

43 # œ

43

#˙ >

œ œ œ œ

œ >

œ

bœ

œ

œ

œ

bœ

œ

bœ

bœ

bœ

œ

œ

bœ

bœ

bœ

œ

œ

bœ

bœ

bœ

œ

#œ

49 46

#œ

46

#œ

46

#œ

46 46 46 6 4

bœ

46

bœ

46

bœ

6 4

bœ

46

ŸÈ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ , Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~6 43 # ˙ . 4 #˙. > >

œ œ œ. œ- œ

œ

3 4 Œ

‰

3 4 Π43

> # >œ > œ œ 3

j ‰ #œ #œ œ œ > > > 3

#œ

œ

œ œ œ œ

4 #œ 4

œ

œ œ œ œ

4 #œ 4

œ

œ œ fl

nœ nœ fl

œ nœ. J sÍ ‰

nœ.

sÍ

6 4

#˙ >

6 4

#˙ >

œ œ

œ

3 œ 4

œ

43

j #œ ‰

#œ

‰

46

#˙ > bœ bœ

bœ

œ

bœ

œ

3 > 3 4 #œ œ bœ nœ > > > 3 3 4 #œ #œ œ œ > > > >

3 œ 4

bœ

bœ

3 œ 4

˘ bœ

˘ bœ

bœ b ˘œ

bœ

46

bœ

6 4

# >œ

6 4

#œ >

6 4

œ ˘œ

bœ

˘ bœ

6 4 6 4

#œ

#œ

44 # œ

#œ

#œ

œ

43 # œ

œ

#œ

#œ

nœ

4 4 #œ

œ

œ

œ

3 4 #œ

nœ

#œ

6 4

œ

#œ

nœ

4 4 #œ

nœ

œ

#œ

3 4 #œ

#œ

œ

6 4

œ

œ

#œ

œ

44 #œ

œ

#œ

#œ

43 # œ

œ

#œ

46

œ

œ J

‰

#œ

nœ

œ J

> > n >œ 3 œ # >œ œ 4

# >œ

#œ J

‰

> 3 œ 4

>œ

b >œ

6 4

43 # œ >

œ >

œ >

46

œ #œ

>œ

>œ

>œ

# >œ # >œ

>œ # œ

3

j œ

#œ

‰

#˙ #œ

œ

œ

Œ j œ

‰

Ͼ 111

nœ

3

#œ

Ó. ˙æ ƒ

4 #œ 4

Œ

œ # œ œ. œ- œ

œ

œ

œ

Œ

#˙

œ

#œ

44

‰

œ

œ

j œ

œ

>œ

>œ

3

j œ

‰

œ œ

, , ,

4 4

4 œ 4 44 œ

œ œ

Œ

4 Π4

Œ

4 Π4

Œ

4 Π4

#œ

44 Œ

# ˙æ.

∑ œ æ

œ

‰

#œ >

43

œ-

j œ

œ

œ

œ

œ #œ. J

43

#œ

#œ

œ

3

#œ

œ

3

œ

œ #œ. J

œ

4 Π4

‰

œ

#œ

43

n œ-

Œ

j œ

œ

œ #œ. J

# œ-

‰

œ

œ #œ

#œ

œ

j œ

#œ

œ #œ

43

#œ

#œ

‰

œ

j œ

œ œ œ œ

‰

∑ j œ

œ # œ œ. œ- œ

œ J

#œ

œ

œ

#œ

#œ

‰

œ œ œ œ

œ

œ

j œ

œ # œ œ. œ- œ

‰

œ

œ

œ

3

#œ

#œ

œ œ œ œ

3

œ

‰

œ

œ bœ

œ

œ J

œ

œ

#œ

œ

œ # œ œ. œ- œ

3

3

3

‰

œ

3

3

œ #œ

j œ

œ 3

3

œ #œ

œ œ œ œ

3

3

œ #œ

œ œ œ. œ- œ

œ #œ. J

# œ-

44

œ

#œ

44 # œ-

44 œ b œ b œ

˙

˙

#œ

œ

4 4 # œ-

#œ

‰

œ

œ

œ

j œ

44 # œ

#œ

#œ

˙

œ œ œ œ

œ

3

‰

œ

œ

œ

˙

j œ

œ

œ

œ bœ bœ bœ

#œ

œ

#œ

œ

‰

œ

œ # œ œ. œ- œ

44 # œ

nœ

œ

j œ

œ œ œ œ

#œ

˙.

n œ n >œ œ >œ > >

# œ œ .. >>

œ

œ

nœ

Œ

œ

œ

œ

Ÿ

√ ˙

‰

œ

œ

3

#œ J

œ

œ # œ œ. œ- œ

44 # œ

#œ

˙.

3

œ

œ œ œ œ

3

#œ

œ

œ # œ œ. œ- œ

3

#œ

Œ

œ

#œ

œ

3

#œ

œ

ŸI ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ŸÈ ~~~~~~~~~~~~~~~ j j #˙. œ #œ œ

Ÿ œ

œ #œ œ œ > > > >

#œ

œ

#œ

˙

œ

#œ

œ

3

œ

?

Timp.

‰

œ

#œ

>œ >œ ..

? œ

D.B.

j œ

œ

nœ

#œ

? # œ. ‰ . R

?

#œ

œ

œ

>œ >œ ..

# >œ ? R ‰.

?

#œ

‰

œ

#œ

3

j œ

44 # œ

œ

œ #œ

Ÿ~~~~~~~~~~~

œ œ œ œ

#œ

3

‰

œ # œ œ. œ- œ

œ

œ #œ

˙

œ

œ

3

˙

œ 3

3

œ #œ

‰

#œ

#˙

‰

˙

j œ

bœ

œ

3

#œ

Œ

#œ

œ

œ ? J

#œ

œ

œ bœ bœ bœ

Ÿ~~~~~~~~~~~

# œ œ .. >>

#œ

#œ

2

#œ

Œ

œ

&

1

#œ

b˙

Ÿ~~~~~~~~~~~ j #œ œ

# œ œ .. >>

Œ

1

F.Hn.

#œ

bœ

œ

3

3

# >œ >œ ..

œ

#œ

‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~~

?

#œ

œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~

?

bœ

œ

ŸI ~~~~~~~~~~~~~~~~~~~~~~ j & ˙ œ

B. Cl.

Tbn.

œ

bœ

œ

3

#œ

&

œ

œ #œ

# œ-

E b Cl.

œ

3

˙

œ

3

œ #œ

œ-

,

œ

3

˙

œ 3

œ #œ

& #œ

œ

œ

3

1 Ob.

œ

œ æ Í Œ

, œ ≈ ƒ

#œ J

>œ # >œ >œ

‰

3

> > > ‰ #œ #œ œ 3

#œ

#œ >

3 4

# >˙ . œ

4 Ó 4

Œ

44

∑ 112

œ

œ

j œ

>œ >œ >œ 3

6 4

3

3 4

#˙. >

46

6 4

#˙. >

6 4

# >˙ .

3 4 #œ

œ

œ

6 4

43 # Ͼ

Ͼ

Ͼ

46

3 > > > 4 œ œ œ æœ 3 43

œ J ∑ 113

‰

6 4 46

œ & 46

Picc.

1

2

Fl.

3

1 Ob. 2

Eng. Hn.

& 46

œ

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53

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∑

π

Œ

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Œ

w.

6 4

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∑

∑

∑

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Œ

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3 4

Œ

Œ

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∑

∑

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Œ

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œ nœ #œ œ #œ #œ œ.

# œ-

Œ

∑

∑

˙.

Ϲ

a2

∑

Œ

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Œ

a2

&

senza sord.

∑

œ-

1

B b Tpt.

Tbn.

œ

?

C. Bn.

Œ

∑

Ó.

Œ

54

∑

œ-

Œ

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Œ

∑

pizz.

œ

œ

œ

œ

œ π

œ

œ

œ

Ó.

Œ ∑

Œ

Œ

Œ

Œ

arco

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Œ

Œ

Ó.

Œ

Œ

Ó.

∑

∑

∑

∑

∑

140

141

142

55 III. Rondo alla marcia

bb

& b

Piccolo

1

Flute

2

&

bbb bb

& b bbb

Allegro brioso (q = 120+ sempre) √j œ 2 nœ J 4 ƒ √j œ nœ 42 J ƒ √j œ 2 nœ J 4 ƒ √j œ nœ 2 J 4 ƒ

3

&

1

b 2 &bb 4

Oboe 2

b & b b 42

English Horn

b 2 &b 4

Clarinet in E b

&

1

B b Clarinet 2

3

B b Bass Clarinet

1 Bassoon 2

Contrabassoon

Solo E b Alto Saxophone

? b b 42 b ? b 2 bb 4 ? b 2 bb 4

&

2

3

2 &b 4

4

& b 42

1

b 2 &b 4

2

b 2 &b 4

3

b 2 &b 4

4

b 2 &b 4

1

? b 2 bb 4

Bass

? b 2 bb 4 ? b 2 bb 4

1

? b 2 bb 4

2

? b 2 bb 4

Double Bass

? b 2 bb 4

Tuba

∑

‰ Œ

1

ã

Percussion 2

ã

3

ã

j œ ‰ Œ ƒ j j œ œ ‰ Œ ƒ j j œ œ ‰ Œ ƒ j œ

∑

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∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

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Ó

j #œ

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∑

∑

‰ Œ

œ J ‰ Œ ƒ œ J ‰ Œ ƒ j nœ œ J ‰ Œ ƒ

2 4

2 &b 4

Trombone 2

‰ Œ

∑

bœ bœ bœ

j œ

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j œ

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j œ

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∑

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j œ

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j œ

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j œ

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1

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j Œ œ S

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4

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‰

j œ.

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∑

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pizz.

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j ‰ Œ œ ƒ

bœ

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j œ ƒ j nœ œ J ƒ j nœ œ J ƒ j nœ œ J ƒ j nœ œ J ƒ œ J ƒ j œ ƒ j œ ƒ

bœ

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j œ

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j nœ

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Allegro brioso (q = 120+ sempre)

2 &b 4

F Horn

∑

œ J ‰ Œ ƒ j nœ œ & b 42 J ‰ Œ ƒ j nœ œ 2 J ‰ Œ &b 4 ƒ j nœ œ 2 J ‰ Œ &b 4 ƒ 2 & b 4 œj j ‰ Œ œ ƒ 2 4

1

B b Trumpet

‰ Œ

b œ.

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j œ. œ. J j œ. j œ. j œ.

j œ j œ j œ

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∑

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∑ 6

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œ

œ

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j œ ‰

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œ œ

subito

œ

œ

9

œ æ

œ J

‰

p Œ Œ

10

œ

bbb

∑

1

b &bb

2

Picc.

Fl.

3

1

∑

43

∑

∑

b &bb

∑

b &bb b &bb

&

Ob.

∑

42

∑

38

∑

∑

43

∑

42

∑

∑

38

∑

3 4

∑

2 4

∑

∑

∑

∑

43

∑

42

∑

∑

∑

43

∑

42

∑

∑

3 4

∑

2 4

∑

43

∑

42

∑

A 42

∑

∑

∑

∑

∑

42

∑

∑

∑

∑

3 8

∑

2 4

∑

∑

∑

∑

∑

38

∑

42

∑

∑

∑

∑

∑

38

∑

42 Œ

∑

3 8

∑

2 4 Œ

∑

∑

38

∑

42 Œ

ƒ

œ œ. > >

œ J p

‰

Œ

> >œ . œ

œ > >œ .

ƒ > >œ . œ

j ‰ œ p

Œ

&

bbb

E. Hn.

&

bb

E b Cl.

&

∑

∑

43

∑

42

∑

∑

38

∑

42

∑

∑

∑

∑

1

&b

∑

∑

43

∑

42

∑

∑

38

∑

42

∑

∑

∑

∑

B b Cl. 2

&b

∑

∑

43

∑

42

∑

∑

38

∑

42

∑

∑

∑

∑

3

&b

∑

∑

43

∑

42

∑

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38

∑

42

∑

∑

∑

∑

&b

∑

∑

43

∑

42

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38

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42

∑

∑

∑

∑

b

∑

∑

43

∑

42

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38

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42 Œ

b

∑

∑

43

∑

42

∑

∑

38

∑

42 Œ

b

∑

∑

43

∑

42

∑

∑

38

∑

42

2

B. Cl.

1 Bsn. 2

? bb ? bb

∑

∑

ƒ ƒ

œ œ. > >

œ ‰ Œ J p j œ ‰ œ œ. >> p ƒ

œ œ. > >

œ

Sfp œ Sfp

ƒ j œ ‰

˙

œ J

˙

j œ ‰

∑

&

∑

∑

43

∑

42

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∑

38

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42

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∑

1

&b

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∑

43

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42

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38

∑

42

∑

∑

Œ

2

&b

∑

∑

43

∑

42

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∑

38

∑

42

∑

∑

3

&b

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∑

43

∑

42

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∑

38

∑

42 Œ

˙

œ œ. ƒ> > >œ >œ .

4

&b

∑

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43

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42

∑

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38

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42 Œ

b

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43

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42

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38

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42 Œ

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1

&b

˙ p

2

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b

∑

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43

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42

∑

∑

38

∑

42 Œ

3

&b

b

∑

∑

43

∑

42

∑

∑

38

∑

4

&b

b

∑

∑

43

∑

42

∑

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38

∑

42 œ œ . > > ƒ

1

? bb

∑

∑

43

∑

42

∑

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38

∑

2

? b bb

∑

3 4

∑

2 4

∑

3 8

∑

42

∑

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38

∑

Tbn.

b

∑

∑

Bass

? bb

b

∑

∑

43

1

? bb

b

∑

∑

43

∑

42

∑

∑

38

2

? bb

b

∑

∑

43

∑

42

∑

∑

? b bb

∑

∑

3 4

∑

2 4

∑

∑

Tba.

D.B.

1

Perc.

2

3

ã ã ã

j œ

>œ Œ ‰

œ

j œ ‰

‰

œ œ œ

œ œ œ p Wd.Blk. (high) j> œ œ œ œœ œ

p

œ cresc.

j œ

œ

œ cresc.

‰

œ

cresc.

11

œ

12

œ

∑

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y J

cresc. molto

œ æ

‰ >œ

œ æ

cresc. molto

13

y J œ æ

ƒ 2 ‰ 4

>œ y J ‰ J ƒ 2 œ >œ Œ 4æ ƒ 14

15

˙ p

œ œ. > > ƒ j ‰ œ

˙ p

j œ

Œ

œ >. >œ . >œ .

3 8

∑

2 4

Bongos

16

42 œ œ . 2 > > 4 œ œ. 2 4 Œ

œ J

œ

œ J

p

42

‰

ƒ

œ. œ >> œ œ

j œ ‰ j œ ‰

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j œ ‰ j œ ‰

œ > >œ . ƒ

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œ œ. >> ƒ >œ > j œ ‰ œ. j œ ‰ j œ ‰

j ‰ œ p j œ ‰ p

ƒ >œ > œ. ƒ

Œ Œ

˙

p

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p

∑

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ƒ

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p

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Wd.Blk.

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38

3 œœœ œ j ‰ Œ 8 œ >œ > ‰ J yJ ‰ 38 œ œ œ æ

y J

p

∑

3 4 ‰

High Cow-Bell

ƒ

∑

Œ

cresc. molto Sus.Cym. (choke)

> >œ . œ

42 œ œ . > > ƒ 42

œ œ œ œ 43 œ œ œ œ œ œ œ œ œ 42 œ œ œ Œ

ƒ> œ> œ.

ƒ ∑

Solo A. Sax

42 œ > ƒ >œ 24 ƒ 2 >œ 4 ƒ

>œ > œ.

∑

C. Bn.

F.Hn.

œ œ. >> ƒ

∑

? bb

B b Tpt.

‰

œ > >œ .

œ œ œ

˙

p

˙

p

œ J p

‰

Œ

˙ p ˙ p

∑

˙ p

j œ ‰ j œ ‰ j œ ‰

Œ œ > f marcato Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œ.

F y F œ æ F

17

˙

œ œ.

œ œ. >œ >œ . œ J

‰

y

>œ >œ .

œ æ

œ J

18

œ œ.

œ œ.

y ‰

œ æ 19

œ

f brillante e presto

œ œ ‰ >> ƒ

œ p

56

j œ ‰ >

Œ

y J

‰

Œ

>œ J

‰

Œ

(choke)

20

B

&

bbb

∑

&

bbb

∑

&

bbb

∑

3

&

bbb

∑

∑

∑

∑

∑

∑

∑

Œ

‰

1

b &bb

∑

∑

∑

∑

∑

∑

∑

Œ

‰

2

b &bb

∑

∑

∑

∑

∑

∑

∑

Œ

‰

b

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

∑

1

&b

∑

∑

∑

∑

∑

∑

∑

∑

B b Cl. 2

&b

∑

∑

∑

∑

∑

∑

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

&b

∑

∑

∑

∑

∑

∑

∑

Œ

‰

j œ ‰ f j œ ‰ f œ J ‰ f

∑

∑

∑

Œ

‰

∑

∑

∑

Œ

‰

∑

∑

∑

Picc.

1

Fl.

2

Ob.

&b

E. Hn.

E b Cl.

B. Cl.

∑

∑

∑

∑

∑

˙

œ

2

? bb ˙ b

˙

˙

œ

œ

p

˙

˙

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> [>] œ œ œ œ œ œ œ

˙

&

œ [>] [>] œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ [>] [>]

1

&b

˙

˙

˙

œ

2

&b

˙

˙

˙

œ

3

&b

Solo A. Sax

B b Tpt.

4

π π

&b

1

&b

b

2

&b

b

F.Hn.

˙ π

bb

&

4

&b

1

? bb œ b >

Bass

˙ π

b

˙

œ

˙

˙

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∑ ˙

∑

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n >œ

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∑

? b bb

∑

∑

∑

2

? bb Πb ? bb

b

œ p œ p

˙

∑

∑

∑

∑

∑

∑

j œ ‰ f

∑

∑

j œ ‰ f j œ ‰ f

∑ >œ Œ

˙

˙

œ

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f

Œ Œ Œ Œ

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p p p p

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f

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ƒ

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∑ œ œ œ

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∑

∑

∑

b >œ J ƒ b >œ J ƒ

œ >

> nœ œ œ > >

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n >œ >œ >œ

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n >œ >œ >œ

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∑

> > >œ œ œ

‰

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‰

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∑

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57

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25

26

27

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∑

∑

∑

2

? bb

b b

∑

∑

∑

∑

∑

∑

∑

∑

? b bb

∑

∑

∑

∑

∑

∑

∑

∑

1

? bb

∑

∑

∑

∑

∑

∑

∑

∑

2

? bb

b b

∑

∑

∑

∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

∑

∑

? bb ‰ b

œ J f

‰

j œ

œ

œ

? bb ‰ b

œ J f

‰

j œ

œ

œ

pizz.

D.B.

Timp.

2

ã

3

ã

‰

œ p

œ

œ

>œ ‰ J ‰ f > ‰ b œJ ‰ f > ‰ œJ ‰ f

>œ > J ‰ œJ >œ ‰ J >œ > > J ‰ œJ œJ ‰ >œ >œ >œ J ‰ J J ‰

>œ b >œ >œ >œ ‰ J ‰ J ‰ J J ‰ f >œ b >œ >œ >œ a2 ‰ J ‰ J ‰ J J ‰ f >œ b >œ >œ >œ a2 ‰ J ‰ J ‰ J J ‰ f> œ b >œ >œ >œ a2 J J ‰ ‰ ‰ J J ‰ f ‰ j‰ j ‰ j j ‰ œ œ œ b >œ > > f > >œ > > ‰ œJ ‰ b œJ ‰ œJ J ‰ f ‰ j ‰ j ‰ œj œj ‰ œ b >œ > > f>

> ‰ œJ ‰ f ‰ œj ‰ f> > ‰ b œJ ‰ f

œ

3

> > > > ‰ œJ ‰ b œJ ‰ œJ œ ‰ J f > b >œ >œ >œ a2 œ ‰ J ‰ J ‰ J J ‰ f >œ b >œ >œ >œ a2 ‰ J ‰ J ‰ J J ‰ f >œ b >œ >œ >œ a2 ‰ J ‰ J ‰ J J ‰ f

∑

>œ

œ p

C

‰ j ‰ b œj ‰ œj œj ‰ œ > > > f>

œ

&

Tba.

>œ

œ œ œ

2

Bass

Perc.

œ.

∑

&b ‰

F.Hn.

Tbn.

b

1

B b Tpt.

œ.

∑

&

E b Cl.

n œ. œ. . œ f

59

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

41

42

43

44

45

46

47

48

>œ >œ

∑

∑ b >œ ‰ >œ >œ ‰ J J J j œ ‰ j j ‰ œ œ > > > >œ > ‰ œ j ‰ J J œ > ∑

> > > ‰ œ ‰ œ ‰ œJ œj J J > f ‰ j ‰ j ‰ œj œj œ œ > > > > f > > ‰ œ ‰ œ ‰ œj œj J J > > f ‰ j ‰ j ‰ œj œj œ œ > > > > f > ‰ j ‰ b œJ ‰ œj œj œ > > f> ‰ j ‰ j ‰ œj œj œ b >œ > > f>

‰ ‰ ‰ ‰ ‰ ‰

‰ j ‰ b œj ‰ œj œj ‰ œ > > > f> ‰ j ‰ b œj ‰ œj œj ‰ œ > > > f> ‰ j‰ j ‰ j j ‰ œ b >œ œ œ f> > > arco ≥ ≥ ‰ œJ ‰ b œJ f stacc.

≥ ≥œ ‰ œJ J ‰

‰ yJ ‰ yJ f

‰ yJ yJ ‰

> ‰ j ‰ œj ‰ œ œj ‰ J > œ > > f ∑ ∑

49

50

60 Picc.

1

Fl.

2

3

1 Ob. 2

E. Hn.

E b Cl.

1

B b Cl. 2

3

B. Cl.

1 Bsn. 2

C. Bn.

∑

œ bœ œ œ ^ ‰ œJ ƒ F œ b b œ œ œ ‰ œ^ &bb J ƒ F b œ b œ œ œ ‰ œ^ &bb J ƒ F b &bb

b œ œ bœ &bb F bb œ œ b œ & b F bb œ b œ œ & F

œ ‰ œ^ J ƒ œ ‰ œ^ J ƒ ^ œ ‰ œ J ƒ

^ œ bœ œ œ ‰ œJ & ƒ F œ bœ œ œ ^ ‰ œJ &b ƒ F œ bœ œ œ œ^ ‰ J &b ƒ F

2

&b

∑

∑

3

&b

∑

4

&b

œ bœ œ œ ƒ F

2 F.Hn. 3

4

1

2

Bass

1 Tba. 2

œ œ bœ œ F ƒ b œ bœ œ œ &b F ƒ bb œ œ b œ & œ ƒ F b œ bœ œ œ &b F ƒ bb œ œ bœ œ & ƒ F ? bb œ b œ œ œ b F ƒ ? bb œ b œ œ œ b F ƒ ? bb ∑ b

Timp.

b

Œ

‰

‰

Œ

b >œ œ. œ. œ. >œJ

‰ ‰

Œ

‰

Œ

‰

b œ. œ. b œ. œ. œ. œ. n >œ J

‰

Œ

b >œ œ. œ. œ. >œ J

‰

Œ

‰

œ^ ‰ J

Œ

‰

b œ. œ. b œ. b œ. œ. œ. n >œ J

‰

Œ

‰

bœ

Œ

‰

. > œ. b œ b œ. œ. n œ J

. . n œ. b œ. œ n œ

œ.

b œ. b œ.

b >œ œ b œ. œ. >œ J

‰

Œ

Œ

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j œ.

œ.

‰

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‰

œ^ J ‰

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Œ

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∑

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ã

3

ã

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∑

51

52

‰

j œ. œ. b œ. œ. œ. œ. >œ

‰

b œ. b œ.

f

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Œ

‰

Œ

‰

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œ œ bœ œ œ > . . . >

>œ œ. b œ. œ. >œ >œ œ. b œ. œ. >œ

‰

Œ

‰

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‰

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b œ. œ. b œ. œ. œ. œ. >œJ F

œ. œ. œ. œ. ‰

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S

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‰ ‰ ‰

ƒ .œ œ. b œJ. ƒ

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. œ. b œ. œ. œ œ n œ. . ƒ . œ. . œ. œ b œ œ n œ. . ƒ ∑

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ƒ . œ. œ. b œ ƒ

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∑ œ œ œ œ œ œdim. molto >

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œ œ œ œ œ > dim. molto

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j œ. ‰

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dim.

dim.

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j œ

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j œ

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j œ

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‰

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∑

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1

Œ

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B b Tpt.

Perc.

∑

&

Solo A. Sax

Tbn.

b &bb

‰

Π60

œ.

‰

Picc.

1

Fl.

2

b &bb Œ

nœ œ œ

bb

& b

∑

b &bb

∑

3

&

bbb

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1

b &bb

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2

b &bb

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b

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1

B b Cl. 2

3

j œ.

1

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p

1 only

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1 only

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B. Cl.

∑

∑ ∑

∑

&

E b Cl.

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p

∑

∑

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b

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2

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3

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2

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1

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2

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1

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2

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j œ.

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B b Tpt.

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Perc.

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b

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> >œ n >œ >œ œ

>œ

n >œ >œ >œ >œ

n >œ >œ ‰ œ. J Œ

‰

∑

∑

Œ

‰

‰ œJ ‰ œJ ƒ

∑

Œ

‰ œ. J ƒ

j ‰ j œ œ ƒ

œ œ œ nœ œ œ œ œ

. œ. œ œ.

∑

‰

œ œ œ nœ œ œ œ œ

œ.

> > œ œ œ œ > >

œ > >œ

œ œ œ nœ œ œ œ œ

œ.

> > œ œ œ œ > > >œ > >œ >œ œ

> ‰ œ J ƒ ‰ œj ƒ>

œ œ œ nœ œ œ œ œ

œ.

> >œ œ

> >œ œ

œ œ œ nœ œ œ œ œ

œ.

>œ > >œ >œ œ

>œ >œ

œ œ œ nœ œ œ œ œ

>œ >œ

>œ >œ

Œ œ >

>œ >œ

>œ J ƒ >œ J ƒ >œ J ƒ >œ J ƒ

∑

∑ Œ

j œ œ > > ƒ j œ œ > > ƒ >œ >œ J ƒ > n >œ œ J ƒ > n >œ œ J ƒ

>œ

∑

Œ

∑

∑

œ. J p

> ‰ œJ ƒ ‰ œj > ƒ > ‰ œJ ƒ ‰ œj > ƒ

>œ

a2

∑

‰

61

. œ. œ œ.

œ. œ. œ. œ. œ.

j œ. ƒ j œ. ƒ

arco

>œ J

‰

Œ

>œ J œ. J

> œ J >œ J

> œ J b >œ J >œ J

œ.

∑

Œ

‰

‰

Œ

‰

‰

‰

œ. J

Œ

‰

‰

j œ.

‰

‰

œ. J

‰

‰

‰

‰

j œ. œ. J

‰

‰ b œJ.

œ.

‰

œ.

œ.

œ.

œ.

‰

j œ. œ. œ.

œ.

œ. J

œ. œ. œ.

œ >

œ. œ. œ.

œ.

œ. œ. œ . œ. œ. œ . œ. œ. œ .

>œ >œ >œ > >œ œ

œ.

œ >

œ >

Œ

œ

œ.

œ.

œ >

œ.

œ.

œ >

œ

œ.

œ.

œ.

œ.

œ >

œ

œ >

œ

Œ

œ.

œ >

œ

Œ

œ.

œ >

œ

Œ

œ. œ.

œ > >œ

œ

Œ

œ.

>œ

œ

œ.

œ >

œ

Œ

œ

‰

œ >

œ

‰

>œ

œ

œ.

œ.

œ.

œ.

œ.

œ.

>œ

>œ >œ >œ

>œ

>œ

œ.

œ.

œ

. œ. œ. œ

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

‰

. œ. œ. œ

œ.

œ.

‰

j œ. œ.

. œ. œ. œ

œ.

‰

> œ

œ.

j œ.

œ.

œ.

œ.

œ.

œ.

œ.

‰

Œ Œ

j œ. œ.

œ.

j œ.

‰

œ.

œ.

œ. J

‰

œ. J

j œ > j œ >

Œ

œ.

œ > >œ

œ.

‰

œ.

œ > >œ

œ.

Œ

œ.

> >œ œ œ > >œ >œ >œ

œ.

œ >

œ.

œ > >œ

œ.

œ.

œ œ œ œ œ œ œ œ

œ >

œ.

‰

œ.

œ œ œ œ œ œ œ œ

œ >

œ. J

œ

j œ >

œ.

∑

> œ

‰

‰

œ

>œ >œ >œ

œ.

œ

>œ

>œ

. œ. œ. œ

j œ >

œ.

∑

>œ

>œ

‰

œ.

œ.

‰

∑

œ.

œ.

œ œ œ nœ œ œ œ œ

œ.

œ.

œ.

œ œ œ nœ œ œ œ œ

œ.

œ. œ. œ.

œ. œ. œ.

œ. œ. œ

œ.

œ.

œ. œ. œ. œ. œ. œ.

œ œ œ nœ œ œ œ œ

œ.

œ. œ. œ.

œ. œ. œ.

œ œ œ nœ œ œ œ œ

œ. J

œ. œ. œ.

Œ

œ. œ. œ

‰

œ. œ. œ.

Œ

œ

œ œ œ nœ œ œ œ œ

œ.

œ. J

œ >

œ œ œ nœ œ œ œ œ

œ.

‰

œ.

œ œ œ #œ œ œ œ œ

œ.

œ. J

œ.

œ œ œ #œ œ œ œ œ

j œ. œ.

. œ. œ œ.

‰

œ.

‰

œ.

∑

œ. œ. œ. œ. œ. >œ J

œ. œ. œ.

œ.

œ.

œ.

œ >

œ.

Œ Œ

œ

Œ Œ

‰

∑

∑

∑

∑

∑

∑

Œ

‰

∑

∑

∑

∑

∑

∑

∑

∑

2

ã

∑

∑

3

ã

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

61

62

63

64

65

66

67

68

69

70

j œ > j œ > >œ J > œ J ƒ

62 Picc.

1

Fl.

2

3

1 Ob. 2

. > b œ. œ. œ. n œ œJ &bb (√) . > bb b œ. œ. œ. n œ œJ & &

. > b œ. œ. œ. n œ œJ &bb . . > b œ. œ. œ n œ œJ &bb . > b œ. œ. œ. n œ œJ &bb &

E. Hn.

(√) . > bb b œ. œ. œ. n œ œJ

bb

&

E b Cl.

1

&b

B b Cl. 2

&b

3

&b

1 Bsn. 2

C. Bn.

Solo A. Sax

. . >œ œ. œ. œ n œ J . . >œ œ. œ. œ n œ J . . >œ œ. œ. œ n œ J

∑

∑

∑

∑

∑

∑

∑

∑

∑

‰

∑

∑

∑

∑

∑

∑

∑

∑

3 4

‰

∑

∑

∑

∑

∑

∑

∑

∑

43

‰

∑

∑

∑

∑

Œ

‰

∑

∑

∑

∑

Œ

∑

∑

∑

∑

Œ

‰

∑

∑

∑

∑

‰

∑

∑

∑

‰

∑

∑

‰

∑

. ‰ # œJ p . ‰ œJ p ‰ œ.j p

# œ. œ. œ. œ. grazioso

œ. œ. œ. œ. grazioso

3 4

∑

2 4

∑

3 4

∑

2 4

∑

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

42

j œ.

∑

43

? b bb j œ > ? bb j b œ > ? b b œj b >

‰

‰

∑

∑

∑

∑

∑

∑

∑

∑

3 4 Œ

Œ

‰

‰

j œ >

∑

∑

∑

∑

∑

∑

∑

∑

43 Œ

Œ

‰

‰

j œ >

∑

∑

∑

∑

∑

∑

∑

∑

43

≈

>œ # >œ >œ

œ. # œ.

# >œ >œ # >œ

œ

˙

∑

∑

∑

∑

∑

∑

∑

∑

∑

F

con spirito

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

4

&b

∑

∑

∑

∑

∑

∑

∑

1

&b

2

b &b ‰ b ‰

4

&b

b ‰

1

? bb ‰ b

2

? bb ‰ b

Bass

? b ‰ bb ? b bb j œ > ? b bb j œ >

œ > >œ

œ > >œ

œ œ > > >œ >œ

‰

Bass Dr.

∑

∑

j œ

‰ œj œj ‰

j œ ‰ œ œ

œ

œ œ œ œ œ œ œ œ œ œ

Wd.Blk. (low)

ã

‰

œ œ œ 71

72

73

∑

42

∑

∑

j n œ. # œ. œ. ‰

3 4

2 4

∑

43

∑

42

∑

∑

∑

43

∑

42

. . # œ. ‰ œ n œ J

∑

∑

43

∑

42

∑

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

43 Œ

Œ

Œ

43

∑

j œ ‰ œ œ > > >

‰

∑

∑

‰ œj œj ‰ > >

? b b œj b >

∑

∑

Œ

‰

42

42

j ‰ œ œ œ > > >

j >œ

∑

molto stacc.

∑

∑

∑

j œ ‰ œ œ > > >

j j ‰ œ œ > >

43

j j œ. ‰ œ. ‰

∑

42 42

molto stacc.

43

. n œ. œ œ. # œ . ∑

# œ. ‰ œ. ‰ J J

∑

œ.

43

‰ œj œj ‰ > > ‰

43 # œ.

∑

>œ >œ >œ >œ >œ >œ

j œ >

œ.

∑

œ.

‰

# œ.

∑

>œ >œ œ.

‰

# œ.

œ œ 2 4

∑

>œ >œ >œ >œ j œ >

Œ

œ.

42

∑

>œ >œ >œ >œ >œ >œ

‰

∑

‰ # œJ. p ‰ œ.j p

œ.

œ

42

j‰ j‰ œ > # >œ >œ S>œ J ‰ J ‰ S >œ J ‰ >œJ ‰ S >œ # >œ J ‰ J ‰ S

œ.

‰

Œ

j œ. F œ.

Solo

# œ # œ œ. # >œ œ 43

2 4

∑

>œ >œ . œ

‰

Œ

œ œ œ œ œ œ œ œ œ > >>>> > > > > >œ œ. œ. œ. œ. œ. œ.

∑

‰

. # œ. # œ

∑

‰ n œj p ‰ n œj p

∑

>œ >œ >œ >œ

? b b œj b >

ã

>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ > n œ ‰ œj ‰ J > S j œ œ œ œ œ œ œ œ œ œ œ ‰ n œj ‰ > > >>>> > > > > > > S >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ > j nœ ‰ œ ‰ J > S œ > >œ

œ. # œ. œ. > ≈ œ

˙

∑

&b

42

∑

∑

W. Bl.

Œ

œ.

∑

∑

2

‰

. . ‰ n œJ œ

42

∑

grazioso

∑

Timp.

43 Œ

∑

3

42

Œ

∑

>œ >œ >œ >œ

∑

‰

∑

œ œ œ œ > > > >

2 4

œ. œ. œ n œ # œ œ # œJ.

∑

>œ >œ >œ >œ

∑

œ.

∑

b ‰

grazioso

œ. œ. ‰ J

∑

‰

42

43 Œ

∑

œ. œ. œ. œ. >œ J

‰

grazioso

Œ

j œ >

∑

42

‰

‰

&

œ. J

‰

. # œ. œ. œ œ n œ œ n œJ

‰

j >œ

œ. J

. œ. œ. n œ # œ.

∑

D.B.

œ. ‰ J p n œ. ‰ J p

œ. œ. œ. œ.

∑

2

43 Œ

∑

&b

Tba.

∑

∑

2

1

∑

‰

&b

F.Hn.

Perc.

∑

43 Œ

∑ . . > œ. œ. œ # œ œJ

∑

1

B b Tpt.

Tbn.

∑

j œ >

&b

B. Cl.

‰

Œ

j‰ œ > S j‰ œ > S > œ ‰ J S

‰ œ Œ J Sf Solo

j nœ ‰

‰

œ J

j nœ ‰

‰

‰

œ ‰ n œj ‰ J

œ

œ ‰ nœ J

Œ

j nœ

‰

43 œJ

‰

‰ n œJ Œ

42

‰ n œj Œ

42

∑

∑

∑

∑

∑

3 4

∑

2 4

j‰ j‰ œ œ

∑

∑

∑

∑

∑

3 4

∑

2 4

74

75

76

77

78

79

Œ

j œ ‰ Sf

œ J F

nœ œ #œ nœ ‰ J ‰ J J ‰ J p

pizz.

80

œ. J

œ. # œ œ

œ. J ‰

œ. J

œ. œ.

. # œ œ n œ œ n œJ

Picc.

b 2 &bb 4 ‰

1

b & b b 42 ‰

2

b 2 &bb 4

∑

∑

∑

3

b & b b 42

∑

∑

∑

Fl.

1 Ob. 2

n œ. J

œ.

‰

n œ. J ‰

œ œ

‰

œ. J

n œ. œ.

. œ œ #œ œ #œ J

œ. b & b b 42

œ.

œ. # œ œ

œ. # œ œ œ.

œ.

œ. œ.

# œ œ n œ œ n œJ

b 2 n œ. &bb 4

œ.

œ.

n œ. œ œ œ.

œ.

n œ. œ.

. œ œ # œ œ # œJ

œ œ

‰

Œ

∑

∑

∑

∑

‰

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

‰

Œ

∑

∑

∑

∑

‰

‰

Œ

∑

∑

∑

∑

‰

b & b 42

∑

∑

∑

∑

∑

∑

∑

∑

‰

2 4

∑

∑

∑

∑

∑

∑

∑

∑

‰

1

& b 42

∑

∑

∑

∑

∑

B b Cl. 2

& b 42

∑

∑

∑

∑

∑

3

& b 42

∑

∑

∑

∑

E. Hn.

&

E b Cl.

B. Cl.

1

2 j & b 4 ‰ j ‰ #œ nœ p molto stacc. ? b b 42 œj ‰ œ ‰ b J molto stacc.

Bsn. 2

? b b 42 œj ‰ b

œ J

molto stacc.

? b b 42 b

C. Bn.

Solo A. Sax

&

j #œ ‰

j œ ‰

j nœ ‰ nœ œ œ

nœ #œ

œ

œ

œ J

j nœ ‰ nœ œ œ

nœ #œ

œ

œ

œ J

‰

‰

j ‰ nœ

∑

∑ œ # œ œ.

œ 42 # œ # œ.

j œ

ossia œ.

‰ #œ œ

#œ œ #œ #œ

Œ

‰

Œ

Œ

œ

˙

‰

œ.

œ.

œ.

sempre leggiero

œ.

2

2 &b 4

3

& b 42

∑

∑

4

& b 42

∑

∑

∑

∑

1

b & b 42

∑

∑

∑

2

b & b 42

∑

∑

3

b & b 42

∑

4

b & b 42

1

B b Tpt.

∑

∑

‰

œ. j œ. p

œ.

Solo

∑

œ.

œ.

j œ. œ.

Œ

Œ

‰

∑

œ

œ #œ

‰ ∑ œ.

œ.

œ.

scherzando

œ

#œ. œ

nœ.

. œ. œ # œ # œ # œ

n œ. # œ # œ

œ. n œ.

. #œ #œ œ

# œ. # œ.

∑

j œ ∑

nœ J

nœ J

nœ J

‰ # œJ.

j n œ. F n œ. J p # œ. J p

Œ ∑

# œ. # œ.

œ.

n œ # œ n œ.

œ.

n œ # œ n œ.

œ.

grazioso

œ.

grazioso

œ.

œ.

‰

œ.

‰

grazioso

n œ. J

# œ. J

∑

∑

∑

∑

∑

∑

∑

∑ ∑

‰

Œ

∑

∑

∑

∑

∑

∑

# œ # œ œ.

œ

# œ.

œ

œ # œ # œ œ œ.

Soli–1 per part

‰

p

grazioso

‰ ‰

n œ. # œ œ œ # œ

Soli–1 per part

‰

‰

# œ. J

n œ.

œ.

‰

# œ. œ. # œ. J p grazioso

‰

j # œ. # œ .

œ.

p grazioso

œ # œ # œ œ œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Bass

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

D.B.

Timp.

Perc.

‰

nœ J

nœ ‰ J

‰

œ J

nœ J ‰

œ J

? b b 42 b

∑

∑

∑

‰

‰ ‰

œ J

Œ

œ J

‰

Œ j nœ

‰

‰

arco

œ J

nœ

≥œ J

π œ

nœ œ. J

œ J

#œ.

œ.

# œ œ # œ # œ œ.

∑

? b 2 œ nœ bb 4

œ.

œ.

‰

∑

Tba.

œ.

∑

Soli–1 per part

∑

Tbn.

œ.

# œ œ n œ œ œ.

∑

F.Hn.

œ.

œ.

∑

œ #œ

œ.

grazioso

Œ

∑

œ. œ.

œ.

‰

∑ . n œ. œ

n œ. J F

∑

#œ #œ

#œ J

œ #œ

# œ # œ. # œ. œ # œ

# œ. # œ.

∑ œ. ‰ J

œ # œ.

∑

. œ œ #œ . #œ J œ #œ œ j œ. p

#œ œ nœ #œ . #œ

œ. ∑

œ . # œ # œ # œ œ œ. œ. œ

Œ

j œ. p

p

˙

# œ œ n œ. Solo

œ #œ

j #œ œ. nœ

∑

‰ # œ.

j œ p

œ

œ œ œ . . #œ #œ œ #œ œ #œ #œ œ œ #œ œ œ

1

œ.

‰ ∑

∑

œ œ #œ œ #œ #œ œ

. & b 42 œ. # œ. œ. n œ

Œ

‰

∑

#œ #œ œ #œ œ. œ œ

œ # œ. œ. ‰ # œ # œ. œ . œ. œ.

j œ

∑

sempre leggiero

&

‰

Œ

63

E

#œ nœ

j # œ. # œ. # œ. p grazioso

Soli–1 per part

∑

Œ

∑

∑

∑

∑

∑

∑

2

ã

42

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

ã

2 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

81

82

83

84

85

86

87

88

89

90

64 Picc.

1

Fl.

2

3

1 Ob. 2

E. Hn.

1

B b Cl. 2

3

43

∑

42 ‰

&

bbb

∑

43

∑

42 ‰

&

bbb

∑

43

∑

42

b &bb

∑

43

∑

42

. . b n œ œ œ œJ ‰ &bb

43

∑

42 ‰

j b & b b n œ œ œ. œ. ‰

43

∑

42 ‰

&b

43

∑

42

43

∑

42

. . ‰ n œJ œJ ‰

b

. . ‰ # œJ œJ ‰

&b

1 Bsn. 2

C. Bn.

Solo A. Sax

&b

43

œ nœ

42

#œ

∑

42 Œ

∑

43

∑

42

∑

43 ‰ œj œ # œ p espress.

42

1 only

œ nœ

œ J p nœ J p

œ J

stacc.

œ J

stacc.

‰

œ J

œ ‰ J

#œ nœ ‰ J J ‰

‰ n œJ ‰ œJ #œ nœ ‰ J ‰ J

∑

∑

œ stacc.

œ

œ

nœ

œ

# >œ œ œ œ

nœ

œ

œ

œ

n >œ n œ œ œ

#œ nœ

œ

‰ # œJ ‰

stacc.

œ J

‰ n œJ

œ œ œ œ ‰ J ‰ J ‰ J ‰ J ‰ œ œ œ œ ‰ J ‰ J ‰ J ‰ J

∑

∑

œ ‰ J

‰ n œJ ‰ œJ

‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰

‰ # œJ n œ ‰ J

‰ # œJ ‰ n œ J

‰ nœ ‰ œ ‰ nœ ‰ œ ‰ J J J J

∑

∑

∑

∑

‰

∑

∑

∑

∑

∑

∑

∑

‰

∑

∑

∑

∑

‰

‰

‰

? bb

b

∑

43

∑

42 Œ

‰

? bb

b

∑

43

∑

42

∑

Œ

‰

> ‰ n œ # œ œJ. p a2

Œ ∑

Œ

œ

> . ‰ # œ œ œJ p

stacc.

‰

j ‰ œ p stacc.

œ. œ. œ. # >œ œ

œ

‰

‰

∑ œ J p

‰

#œ J

‰

nœ J

j #œ

‰

j nœ

∑

œ. œ. œ. # œ œ # œ œ. >

j ‰ j œ #œ p stacc. a2 ‰ j ‰ j #œ œ p stacc. ‰ # œJ ‰

‰

œ J

j ‰ n œj œ

∑ ‰ ‰

∑

j j ‰ nœ #œ

j j ‰ #œ œ

nœ ‰ n œJ J ‰ ‰

j j ‰ #œ œ

∑

‰ ‰

∑

‰

j ‰ j ‰ # œj ‰ œj ‰ # œj ‰ œj ‰ nœ #œ j ‰ j ‰ j‰ j ‰ j‰ j ‰ œ œ œ œ œ œ

nœ ‰ n œJ ‰ J

nœ œ nœ œ ‰ J ‰ J ‰ J ‰ J ‰

j ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œ

‰

∑

∑

œ. œ. œ. œ. œ. œ. œ. œ. œ # œ œ. œ. œ

∑

3

# œ. œ œ œ . . -

∑

marcato e stacc.

∑

∑

j‰ j‰ j‰ j‰ œ œ œ œ œ < < < <
‰ n œ # œ # œJ. F 1 only ‰ # œ œ œ.j F>

œ J

nœ œ nœ œ ‰ J ‰ J ‰ J ‰ J p stacc.

∑

42 Œ

# œ. œ. œ. ‰ J

œ nœ

‰ n œJ

∑

∑

œ

œ

‰ # œJ

∑

43

&

#œ

œ

∑

œ

2 œ. # œ. 4 œ œ œ

nœ

∑

∑

‰ # œ 43 # œ œ # œ œ œ . >œ (F)

‰

œ

∑

b

Œ

‰

nœ

∑

∑ #œ

nœ J

‰

∑

nœ J p œ J p

œ J

‰

∑

? bb

&b

3

43 ‰ œj œ # œ p espress.

∑

&b

1

B b Tpt.

1 only

∑

&b

B. Cl.

Perc.

∑

&

E b Cl.

Tbn.

b &bb

j œ

‰

j œ

j œ π

‰

j œ

∑ ∑ 100

Picc.

1

2

Fl.

3

1 Ob. 2

b &bb &

bbb

&

bbb

&

bbb

1

B b Cl. 2

3

œ

1 Bsn. 2

Solo A. Sax

œ J

‰

œ J

‰

œ J œ J œ J œ J

‰

œ J

‰

œ J

‰

#œ J

‰

œ

‰

œ J

∑

‰

œ J

‰

œ J

‰

œ J

‰

œ J

‰

œ J

‰

#œ J

‰

‰

œ J

œ

nœ

œ

nœ

œ

œ

œ

‰

œ J

‰

nœ J

‰

œ J

œ

œ

‰

œ J

œ J

‰

œ J

‰ n œJ

‰

œ J

nœ

‰

œ J

‰

œ J

œ

‰

œ J

œ cresc.

œ

‰

j œ ‰

j œ

œ

cresc.

œ

‰

j œ

‰

j œ ‰

‰

j œ

‰

j œ ‰

‰

j œ

‰

j ‰ œ

‰

œ J

‰

œ J

œ

œ

œ

œ

j œ

‰

j #œ

‰

j œ

‰

j #œ

œ

œ

‰

j œ

‰

j œ

‰

j œ ‰

j œ

œ

œ

j ‰ œ

j œ

‰

j œ

‰

j œ

‰

j œ

œ

œ

‰

j œ

‰

j œ

‰

j œ ‰

œ

œ

œ J

‰

œ J

œ

œ

‰

œ J

j œ

œ

nœ

œ

œ

nœ

œ

‰

œ J p

‰

œ

? b œ nœ bb

œ

œ œ

nœ nœ

∑ #œ #œ œ œ #œ #œ œ œ cresc.

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

∑

œ

nœ nœ

∑

œ # œ # œ œ œ œ # œ. œ.

œ.

œ.

œ #œ

œ œ

œ J

‰

cresc.

‰

b œ nœ

‰

j œ

œ

‰

œ

œ J

œ J

œ

‰

‰

‰

œ

‰

‰

œ J

œ J

j #œ

‰

‰

œ J

‰

cresc.

‰

‰

‰

œ J

‰

œ

j œ

œ

‰

œ J

‰

cresc.

‰

j œ

œ J

œ J

œ

j #œ

j œ

‰

œ J

‰

‰

j œ

œ J

œ J

j œ

j œ

‰

Œ

‰

‰

‰

œ J

Œ

∑

œ

‰ Œ

∑

∑ œ J

œ J

∑

∑

‰

‰

cresc.

∑

∑

nœ

œ J

œ J

∑

∑ œ J

‰ ∑

∑

‰

œ J

œ

j œ

&b

œ

‰

∑

‰

œ

œ #œ

&

œ J

∑

‰

œ

&b

? bb

‰

∑

‰

œ

œ #œ

? b bb

C. Bn.

œ

&b

&b

B. Cl.

œ J

∑

œ

&

E b Cl.

‰

∑

b nœ &bb b

œ ∑

b nœ &bb

&b

E. Hn.

œ

>œ ‰ J S >œ ‰ J S >œ ‰ J S >œ ‰ J S > ‰ œJ S > ‰ œJ S > ‰ œJ S >œ ‰ J S

‰

œ.

œ

œ

œ

œ

œ J

marcato e stacc.

œ #œ . œ # œ œ œ œ.

‰

‰

œ

œ

œ œ J

cresc.

cresc.

œ

œ J

cresc.

œ

œ

œ

œ

œ

‰

œ J

cresc.

œ

œ

œ

œ

j œ ‰

œ J

‰

œ J

∑

∑

∑

∑

∑

∑

∑

2

&b

∑

∑

∑

∑

∑

∑

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

4

&b

∑

∑

∑

∑

∑

∑

∑

1

&b

bb

2

&

3

&b

F.Hn.

˙

œ J

˙

j œ

b

œ

nœ J

œ

j nœ

∑

bb

˙

œ J

œ

nœ J

˙

j œ

œ

j nœ

∑

∑

œ.

œ J

œ.

j œ

∑

œ œ

∑

œ

œ

˙

œ

œ

˙

∑ ∑

∑

b

∑

∑

∑

∑

∑

∑

∑

? bb

b

∑

∑

∑

∑

∑

∑

∑

Bass

? bb

b

∑

∑

∑

∑

∑

∑

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

2

? b bb

∑

∑

∑

∑

∑

∑

∑

2

Tba.

D.B.

Timp.

Perc.

∑ Œ

j œ > S

∑

Œ

∑

Œ

∑

Œ

œ J

‰

j œ ‰

œ J

‰

œ J

? bb

b ‰

j œ ‰

j œ

‰

j œ

‰

j œ

‰

j œ

‰

j œ

‰

œ J

‰

œ J

‰

œ J

‰

j œ

‰

j œ ‰

j œ

‰

j œ ‰

Œ

101

102

103

104

105

106

‰

Metal block

œœœ œ

œ œ œ

œ

∑

œœœ œ

>œ J S

j œ > S > ‰ yJ S > ‰ œJ S

107

∑

œ nœ œ œ œ

∑

œ

œœœ œ

œ J

œ

œœœ œ

‰

œ J

œ

œœœ œ

‰

j œ

œ

œœœ œ

‰

œ J

œ

œœœ œ

‰

œ J

œ

œœœ œ

‰

œ J

œ

œœœ œ

‰

œ J

œ

œœœ œ

œ

œœœ œ

œ œ œ

‰

a2

œ œ œ œ bœ bœ œ œ ƒ stacc. œ œ œ œ œ bœ œ œ ƒ stacc. œ œ œ

stacc.

stacc.

ƒ stacc.

‰

∑

œ

∑

a2

‰

ƒ stacc. œ œ œ œ bœ bœ œ œ

œ J

∑

œœœ

œ nœ œ œ œ

œ J

ƒ stacc. œ œ œ œ bœ bœ œ bœ

‰

∑

œœœ œ

∑

œ œ œ œ bœ bœ œ œ ƒ stacc. œ œ œ œ œ bœ œ œ

œ J

∑

œ

‰ b œJ ƒ stacc.

‰

ƒ

‰

∑

∑

œ œ œ œ œ bœ œ œ

œ J

∑

œœœ

œ nœ œ œ œ

‰ b œJ ƒ stacc.

œ œ œ œ œ bœ œ œ ƒ stacc.

‰

ã

œœœ œ

j ‰ bœ ƒ stacc.

œ œ œ

œ œ œ œ bœ ƒ stacc.

j œ

3

œ

ƒ stacc.

a2

œ œ œ œ bœ ƒ stacc.

‰

Whip

œ œ œ

œ œ S>

j œ

Œ

œœœ œ

∑

‰

∑

œ

∑

j œ

∑

œ œ œ

∑

‰

∑

œœœ œ

j œ > S > ‰ œJ S

j œ

∑

œ

∑

‰

∑

œ J

œ œ œ

∑

j œ

∑

ƒ stacc.

œœœ œ

∑

j œ ‰

ã

œ J

œ

∑

b ‰

2

‰

ƒ stacc.

œ œ œ

∑

? bb

cresc.

‰

œ J

65

j œ > S

∑

∑

Tbn.

Œ

‰

Open

∑

? bb

∑ ∑

ƒ

∑

1

Œ

œ œ œ œ bœ

∑

&

∑

œ J

ƒ stacc. œ ‰ J ƒ stacc. œ ‰ J ƒ stacc. œ ‰ J ƒ stacc.

Œ Œ

∑

‰

Œ

∑

Open

∑

4

∑

Œ

‰

&b

b

∑

œ œ S>

1

B b Tpt.

∑

j ∑ œ > S cresc. . œ œ œ. œ. œ œ œ œ. œ. œ. œ. œ. œ œ œ œ œ J ‰ Œ f √ œ œ œ. œ œ œ œ œ œ œ. œ. . œ. œ. œ. œ. œ J œ. ‰

&

œ

œ

cresc.

œ œ. œ. œ. œ œ œ. œ.

ossia

œ

F

œ J

‰ b œJ

œ nœ œ œ œ

‰ b œJ

œ nœ œ œ œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

108

109

110

66

>œ > b b ‰ J œJ ‰ b &

43

∑

∑

43

∑

nœ œ . œ 42 ‰ p nœ œ . œ 42 ‰

∑

∑

∑

>œ >œ bb ‰ J J ‰ b &

43

42 ‰

∑

∑

43

∑

42 ‰

> > b & b b ‰ œJ œJ ‰

∑

∑

∑

> > b & b b ‰ œJ œJ ‰

43

42 ‰

∑

∑

3 4

∑

E. Hn.

&b

∑

∑

∑

43

E b Cl.

&

>œ >œ ‰ J J ‰

∑

∑

1

&b

∑

∑

B b Cl. 2

&b

∑

3

&b

∑

Picc.

1

Fl.

2

3

1 Ob. 2

1 Bsn. 2

C. Bn.

Solo A. Sax

1

2 B b Tpt. 3

4

1

2 F.Hn. 3

4

1

2

Bass

1 Tba. 2

Timp.

2

3

Œ

? b b ‰ >œ œj ‰ b J > ? bb ‰ j b œ > ? b ‰ >œ bb J ƒ

j ‰ œ > j œ ‰ >

∑

&

Œ

> > & b ‰ œJ œJ ‰

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ. J

œ.

n œ.

œ.

œ.

œ. J

œ.

n œ.

œ.

œ. J

œ.

œ.

∑

œ. œ. J p 2 ‰ j 4 œ. œ. p ∑ 42

43

∑

42

∑

43

∑

∑

∑

43

∑

42 ‰ p

∑

∑

3 4

∑

‰ j œj ‰ . F œ.

œ. œ .

43 Œ

œ. œ.

Œ

42 ‰ p 2 4 ‰ p 42

p nœ œ . œ p

œ. J p

œ.

∑ œ œ nœ œ œ œ nœ œ œ œ œ œ j œ.

œ.

œ.

‰

∑

∑

∑

Œ

‰

∑

∑

∑

Œ

‰

∑

∑

∑

Œ

‰

∑

∑

∑

Œ

√ ‰

‰

∑

∑

∑

Œ

‰

‰

∑

∑

∑

Œ

‰

∑

∑

∑

∑

∑

∑

∑

∑

œ. J

œ. J

Œ

‰

∑

∑

nœ œ J œ œ œ

‰

∑

∑

∑

∑

œ.

‰

∑

∑

∑

∑

∑

∑

∑

œ. J

œ.

∑

∑

42

∑

∑

‰

∑

∑

43

∑

42

∑

∑

‰

∑

∑

3 4

∑

2 4

∑

∑

42

∑

∑

#œ œ p

j œ. p j œ. p

‰

j œ

j œ ‰

‰

j œ

j œ ‰

∑

# œ.

œ. œ.

∑ œ.

œ.

œ. œ. œ-

‰

œ. œ.

‰

œ œ >

œ

j œ n œ œ. j œ n œ œ.

Œ

‰

Œ

‰

Œ

‰

∑ œ œ. œ. œ.

42

∑

∑

∑

∑

∑

Œ

‰

∑

∑

43

∑

42

∑

∑

∑

∑

∑

Œ

‰

& b ‰ œj œj ‰ > >

∑

∑

43

∑

42

∑

∑

∑

∑

∑

Œ

‰

& b ‰ œj œj ‰ > >

∑

∑

∑

42

∑

∑

∑

∑

∑

Œ

‰

> > b & b ‰ œJ œJ ‰

43

∑

∑

∑

2 4

∑

∑

∑

∑

∑

Œ

‰

j j b &b ‰ œ œ ‰ > >

3 4

∑

∑

43

∑

42

∑

∑

∑

∑

∑

Œ

‰

∑

∑

∑

2 4

∑

∑

∑

∑

∑

Œ

‰

j j b &b ‰ œ œ ‰ > >

3 4

∑

∑

∑

42

∑

∑

∑

∑

∑

Œ

‰

? b b ‰ >œ œj ‰ b J >

43

∑

∑

43

∑

42

∑

∑

∑

∑

∑

Œ

‰

∑

∑

∑

42

∑

∑

∑

∑

∑

Œ

‰

? b b ‰ >œ œj ‰ b J >

43

∑

∑

43

∑

42

∑

∑

∑

∑

∑

Œ

‰

∑

∑

43

∑

42

∑

∑

∑

∑

43

∑

42

∑

∑

œ œ œ J ‰

42

∑

∑

œ

2 4

∑

∑

∑

∑

∑

∑

42

∑

∑

∑

∑

∑

∑

2 4 ‰

Œ

∑

∑

∑

∑

115

116

117

118

119

? bb ‰ j j ‰ b >œ œ ƒ > ? bb ‰ j j ‰ b >œ œ ƒ > b

∑

? b ‰ œ j ‰ bb J œ ƒ ã ã

∑

pizz.

Œ Œ

œ ‰ J p ‰ œJ p

∑

œ

œ œ

œ

43

œ

∑

3 4 Œ

∑

43 3 4

∑

∑

∑

111

112

113

œ

p

œ Œ

114

Triangle

œ J p

‰

‰

j œ. p

Œ

Œ

∑

œ J

∑ œ

p

œ

œ

œ

j ‰ œ.

‰

œ >œ

œ

j Œ œ.

œ œ

œ. J ƒ œ. J ƒ

œ. J ƒ œ. J ƒ œ. J ƒ œ. J ƒ œ. J ƒ œ. J ƒ œ. J ƒ œ. J ƒ. œ J

∑

∑

œ

œ. J ƒ

j œ. ‰ Œ

∑

? b b ‰ >œ œj ‰ b J >

œ. J ƒ œ. J ƒ

œ. J ƒ

∑

43

> > b & b ‰ œJ œJ ‰

œ. J ƒ

∑

∑

> > & b ‰ œJ œJ ‰

œ. J ƒ

∑

∑

œ. œ. œ œ. œj ‰ . .

√ ‰

∑

43

43 œ

œ. J ƒ

‰

∑

œ œ-

√ ‰

nœ œ J œ œ œ

∑

‰ œ.j œ œ œ. . p grazioso

œ. J ƒ

‰

∑

? bb

D.B.

Perc.

b

œ.

∑

∑

>œ >œ b &bb ‰ J J ‰

j & b ‰ œ œj ‰ > >

B. Cl.

Tbn.

>œ >œ b &bb ‰ J J ‰

œ. J

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∑

∑ œ J ‰ Œ ‰ œj Œ Sf Cr.Cym. y Œ ƒ

∑ 120

ƒ œ. J ƒ œ. J ƒ

œœ œ

œœ œ

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G Picc.

1

2

Fl.

3

1 Ob. 2

b &bb b &bb

1

B b Cl. 2

3

1 Bsn. 2

&

b &bb b &bb

Tbn.

Perc.

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∑

‰

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> ‰ œJ ƒ

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3

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> > ‰ œ œ. œ J ∑

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espress.

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espress.

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espress.

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espress.

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(non troppo)

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b

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D.B.

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4

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1

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Solo A. Sax

F.Hn.

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b

? bb

B b Tpt.

œ. œ. œ.

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C. Bn.

1

(√). œ

>œ >œ Œ

(√). œ

bbb

&b

B. Cl.

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&

E b Cl.

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(√). bb b œ &

&b

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j ‰ œ œ

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2

ã

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3

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121

122

123

124

125

126

127

128

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Snare Dr.

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‰ ∑ 129

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j œ.

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∑ ∑ 130

‰

67

Picc.

1

Fl.

2

3

1 Ob. 2

E. Hn.

> b œ. œ bb b J & (√) > b b b œ. œ b & J (√) > b b b œ. œ b & J > . œ bb b œJ &

1

B b Cl. 2

3

B. Cl.

1 Bsn. 2

4

œ J

b œ. J

Tbn.

&b

&b

>œ œ. J œ. >œ J

&b

œ.

&b

? bb

&b &b

b

‰

‰

4

&b

b

‰

1

? bb

b ‰

Timp.

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nœ

œ J

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‰

œ

nœ

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nœ

‰ ‰

‰

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? bb

b ‰

? bb

b ‰

œ > ƒ

ƒ j œ ‰ > ƒ ? bb œ ‰ b . œ. ? bb ∑ b ? bb

b œ.

? bb

b ‰

∑

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j ‰ œ

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j œ

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j œ

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j œ

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marc.

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n œ. œ.

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n œ. œ.

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. n œ. œ œ. œ.

n œ.

marc.

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marc.

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marc.

œ. œ. œ. œ .

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j œ. n œ. œ. marc. œ. œ. >œ œ . ‰ œJ

marc.

œ , >œ , œ. J J

∑

œ.

>œ œ . ‰ œJ

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∑

j œ. n œ. œ. œ. œ. marc.

marc.

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∑

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marc.

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∑

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marc.

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j œ.

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n œ. J n œ. J

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∑ Œ

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, , j œ œ œ. J > , œ >œ , œ. J J

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, , j œ œ œ. J >

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68

œ.

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∑

∑

‰

‰

∑

. œ. œ. œ

j ‰ œ

j œ

∑

∑

∑ nœ

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∑

∑

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∑

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∑

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(loco)

nœ

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∑

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j œ

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j nœ

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∑

j œ

j œ. >œ

&b

D.B.

‰

œ J

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> j œ œ. >œ œ. J

&b

3

2

Perc.

> b œ. œ b & J

‰

Tba.

‰

∑

b

1

œ J

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nœ

‰

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&b

Bass

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œ J

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2

2

>œ

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b

F.Hn.

œ J

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b

&b

1

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&b

&

3

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Solo A. Sax

B b Tpt.

œ J

b j >œ & b b œ.

? bb

2

‰

œ J

C. Bn.

1

œ J

>œ

b & b b b œJ

&

E b Cl.

œ J

. . œ. œ œ ‰ J ƒ marc. √ . . ‰ œ. œ œ J ƒ marc. √ . . ‰ œ. œ œ J ƒ marc. . . œ. œ ‰ œJ ƒ marc.

œ. J

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‰

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marc.

bbb Œ

2

ã

∑

∑

∑

3

ã

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

131

132

133

134

135

136

137

138

139

140

Xylo.

&

H

Picc.

1

Fl.

2

3

1

b &bb

œ.

œ.

œ.

(√) b . &bb œ

œ.

œ.

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&

&

1

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&b

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œ

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&b

∑

1

? bb

2

? b bb

C. Bn.

? bb

Solo A. Sax

&

b

œ.

œ.

b

&b

œ.

œ.

2

&b

œ.

œ.

3

&b

œ.

4

&b

œ.

1

&b

2

&b

3

&b

4

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1

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marcato

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dim.

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j j œ. ‰ ‰ œ.

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2

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Bass

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1

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2

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b &bb œ

œ

dim. molto

3

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2

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Perc.

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&b

Timp.

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p

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3

D.B.

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œ œ œ J

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Tba.

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b œ

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Tbn.

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F.Hn.

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B b Tpt.

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&b

Bsn.

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œ

B b Cl. 2

B. Cl.

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&

E b Cl.

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œ œ œ

b œ &bb

Œ

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p. œ

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∑

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&b

E. Hn.

∑

(√) b . &bb œ

Ob. 2

∑

69

ã

Œ

‰

œ

p

b œ.

œ.

œ.

œ.

marc.

œ. J ‰ Œ ∑

∑

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Œ

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œ æ p

œ ‰ ‰ œ J J

∑

∑

∑

∑

∑

146

147

148

149

150

‰

pizz.

œ J p

œ

œ

∑ œ

b œ. J

∑

∑

Œ

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141

142

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p

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œ

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Triangle

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144

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145

70

I

Picc.

b &bb

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∑

1

b &bb

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∑

œ

nœ

n œ. œ >

j œ

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j œ

‰

Œ

‰

j œ. n œ œ œ

2

b &bb

œ p espress.

∑

∑

∑

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∑

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nœ

œ

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j œ

‰

Œ

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j œ. n œ œ œ

3

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∑

n œ. œ >

j œ

b &bb

œ p espress.

1

b &bb

∑

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2

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b

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Fl.

Ob.

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j œ. ‰

E. Hn.

&b

E b Cl.

&

∑

∑

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&b

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B b Cl. 2

&b

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3

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1

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1

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2

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3

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b

4

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1

B. Cl.

Bsn.

C. Bn.

Solo A. Sax

π

n œ.

p espress.

œ. J

‰

∑

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j œ œ œ œ œ ‰

œ.

n œ. >œ

#œ

œ J

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œ nœ

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Œ

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scherzando

n œ.

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‰

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n œ.

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‰

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j #œ

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n >œ

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senza sord.

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b

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1

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b

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2

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∑

F.Hn.

con sord.

con sord.

Œ

‰ œj . p ‰

j œ. p

. ‰ œJ p

con sord.

∑

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∑

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∑

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j ‰ œ œ #œ œ œ

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∑

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j œ. ‰

j œ. ‰

1

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b

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∑

2

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b

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b

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b

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∑

Tba.

D.B.

Timp.

2

3

b &bb ã

Snare Dr. Solo

‰ œœœ œ p

151

∑

œ œ œœœœ œ œ œ œ 152

153

∑

œ œ œ

œ œ 154

senza sord.

œ.

œ.

œ æ

j ‰ œ. p stacc.

œ.

arco

n œ.

‰

∑

œ. œJ. ‰ J

‰

œ p

‰

œ. J

∑ œ

œ

‰

≥œ J

œ

∑

Glock.

œ J 155

senza sord.

œ

∑

∑

156

157

‰

œ ∑ 158

nœ

œ J

‰

∑ j œ

œ

‰

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nœ J ∑

j œ

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‰

n œ.

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∑

∑ œ. œ.

Œ

∑

b

œ. œ. œ.

‰

∑

∑

œ. œ. œ. œ.

j œ

œ ∑

con sord.

‰ œj . p

œ ∑

Bass

Œ

œ

˙ ∑

œ.

∑

˙ p

∑

? bb

Perc.

œ

œ. # œ œ œ J π 1 only . œ . œ. ‰ J œ π ‰

senza sord.

B b Tpt.

Tbn.

œ

1 only

œ.

∑

∑

∑

∑

159

160

Picc.

Fl.

b &bb

∑

1

b &bb œ

nœ

œ

œ

2

b œ &bb

nœ

œ

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3

b &bb

∑

1

b &bb

∑

bb

& b

∑

bb

∑

Ob. 2

E. Hn.

&

E b Cl.

&

œ œ

n œ. J p n œ. J œ. J œ. J

p œ. J p

œ. J p

#œ

œ

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#œ J

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1

&b

B b Cl. 2

&b

∑

Œ

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∑

1 only

3

&b

∑

B. Cl.

1 Bsn.

? bb

œ b .

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b

∑

C. Bn.

? bb

b

∑

Solo A. Sax

&

2

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n œ. ‰ J

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. ‰ n œJ

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∑

‰

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j # œ. p j # œ. p j œ.

1 only

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j #œ

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j n œ.

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espress.

j nœ

‰ œ

F

espress.

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43

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43

∑

œ. J œ. J

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p

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j œ.

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nœ

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n œ. ‰ J

j j # œ. œ. p

∑

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ossia

‰

3 # œ. 4 J ‰ Œ # œ. 34 J ‰ Œ

n œ. œ. ‰ J J

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∑

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a2

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p . ‰ œJ p

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‰

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43

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42

∑

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2 4

∑

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2 4

∑

‰

j 2 œ. 4 œ. F 42

Soli

# œ. 43 J ‰ Œ

# œ. 34 J ‰ Œ

Œ

Soli

. 43 œJ ‰ Œ

43

∑

‰ # œj 42 # œ . . F

3 j 4 œj ‰ Œ . # œ.

j # œ. . ‰ # œJ

n œ. J

œ. 3 J ‰ Œ 4

j 43 œj ‰ Œ . œ.

2 4

Œ

3 # œ. 4 J ‰ Œ

71

J

n œ.

Œ

# œ.

Œ ∑

42

∑ Solo

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42 ‰

Œ

2 4

‰ ∑ ‰ ‰ ∑

#œ

3 #œ j 4 #œ #œ ‰ Œ

#œ

#œ 43 # œ # œj ‰ Œ

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j 42 œ . œ. F 42

œ.

j 2 # œ. 4 œ F

nœ

Soli

j 42 n œ œ. . F 42 Soli

# œ.

Œ ∑ Œ Œ ∑

2 4

∑

1

&b

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43

∑

42

∑

2

&b

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43

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42

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3

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3 4

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2 4

∑

4

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43

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42

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1

&b

b

∑

∑

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∑

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∑

43

∑

42

∑

2

&b

b

∑

∑

2 4

∑

3

&b

b

∑

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∑

42

∑

4

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b

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‰

1

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b

∑

∑

∑

‰

2

? bb

b

∑

∑

∑

Bass

? bb

b

∑

∑

1

? bb

b

∑

2

? b bb

∑

B b Tpt.

F.Hn.

Tbn.

Tba.

D.B.

Timp.

Perc.

2

3

œ

œ

j œ

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? bb

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b

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b

∑

b &bb

∑

ã

∑

‰

161

j œ. ‰

‰ ∑

j n œ. p j œ.

œ. J

j œ p

‰

‰

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‰ n œ. J

j œ. 43 # œJ. ‰ Œ 43

∑

‰

∑

‰ œ. œ. J J

∑

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43

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j œ ‰

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j j œ œ ‰

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‰ œ œ J J

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j œ ‰

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j j œ œ ‰

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œ J œ œ J

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‰ œ J œ ‰ œJ

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y y ‰ J J

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163

164

j œ. ‰

pizz.

y J 162

‰

j j œ. œ. ‰

∑ ‰

y J

y J 165

‰

166

∑

‰

j j ‰ n œ. œ.

j ‰ œ.

∑

Cr.Cym.

y J

∑ ∑

‰

‰

j j œ. œ. ‰ ∑

‰

j œ.

‰

j j # œ. œ.

167

∑ ‰

‰

‰

‰

Œ ∑

j j œ. 43 œ. ‰ Œ

Œ

42

∑

œ. J

Œ

42

∑

∑

42

∑

43

∑

42

∑

∑

43

∑

42

∑

∑

3 4

∑

2 4

∑

œ J

43

∑

42

∑

œ J

43

∑

42

∑

∑

43

∑

42

∑

∑

3 4

∑

2 4

∑

j ‰ œ. œ. J

‰

168

œ. 43 J ‰ Œ

169

170

n œ.

Picc.

b &bb

∑

∑

1

b &bb

∑

∑

. ‰ n œ. j n œ F

72

œ. n œ.

n œ.

∑

Œ ∑

∑

∑

∑

∑

∑

∑

‰

j œ

œ J

F

∑

nœ œ . nœ

j . n œ. n œ F

n œ.

∑

∑

œ #œ nœ œ espress.

nœ nœ J

œ

nœ

œ

œ J

œ

nœ

#œ

œ J

œ

nœ

#œ

b &bb

∑

∑

∑

∑

∑

∑

∑

‰

b &bb

∑

∑

∑

∑

∑

∑

∑

‰

1

b &bb

∑

Œ

∑

∑

∑

∑

∑

2

b &bb

‰ n œ. J

∑

‰

Œ

∑

∑

∑

∑

∑

E. Hn.

&b

∑

∑

∑

∑

∑

∑

∑

E b Cl.

&

∑

∑

2

Fl.

3

Ob.

B b Cl.

1

&b

2

&b

3

b

j nœ

&b

œ.

∑

Œ

∑

∑

∑

∑

∑

∑

œ

∑ ‰

j œ. ∑

‰

‰

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œ # œ n œ.

j nœ

# œ. n >œ . J

∑

j œ . œ. œ. ∑

Œ

œ. ∑

j œ.

œ. # œ.

∑

˙

∑ œ.

j ‰ ‰ j œ œ

œ

∑

# œ.

œ

œ.

b

n œ. ‰ J

? bb

b

∑

‰

∑

Œ

? bb

b

∑

‰ œj n œ n œ . . .

Œ

& &b

2

&b

3

&b

4

&b

1

&b

2

‰

œ. # œ. n œ. J p leggiero 1 only j # œ. # œ. œ. p leggiero 1 only

j œ. n œ. n œ. ∑

j œ

# œ. J p

œ. # œ œ

œ. ‰ J

‰

∑

Œ

‰

∑

Œ

∑

∑

∑

j nœ

Œ

œ.

# œ.

# œ.

# œ.

∑

∑

∑

∑

∑

b

∑

&b

b

3

&b

4

&b

# œ.

n œ. ‰ Œ J

j # œ. ‰ Œ

œ.

# œ.

‰

Solo

œ #œ #œ

F

œ

π

Œ

1

B b Tpt.

j œ. œ. n œ.

‰ # œj # œ n œ. . .

∑

2

Solo A. Sax

Œ

‰ n œj œ. œ. .

1

C. Bn.

œ.

∑

∑

? bb

Bsn.

˙

∑

&b

B. Cl.

# œ. n >œ . J

∑

. œ. œ

œ.

œ J

#œ

œ #œ œ œ #œ .

‰

j . n œ. n œ F

j #œ

‰ ∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

‰

Œ

Œ

Solo

#œ # œ. # œ. œ. n œ. # œ. . F ‰

#œ J

œ. n œ. n œ.

œ. n œ.

∑

∑

∑

∑

∑

∑ ∑

#œ

# œ œ. J

‰

‰ # œJ. π ‰ # œj . π

Œ ‰ ‰

F

espress.

∑

‰

j ‰ œ. n œj .

#œ #œ œ J

1 only

‰

œ.

Œ

nœ œ œ

marcato

œ

œ #œ # œ. n œ. . . F scherzando #œ œ œ

espress.

œ.

∑

∑ Œ

Œ

œ p

∑ œ.

∑

∑

j œ. >œ .

œ p

∑

∑

#œ

j # œ.

‰

Œ

∑

∑

j n œ.

‰

Œ

∑

∑

∑

∑

∑

j #œ

# œ.

j # œ œ # œ. # œ # œ œ.

j œ.

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? b bb

∑

∑

2

? bb

b

œ. n œ. œ. J p leggiero

∑

∑

Bass

? bb

b

∑

∑

1

? bb

b

2

? bb

b

? bb

b

? bb

b

Tbn.

j n œ. # œ. œ. p leggiero

Œ

∑ ‰

∑

# œ.

Œ

œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

b &bb

∑

∑

3

ã

∑

∑

171

172

D.B.

Timp.

Œ

œ J

‰

œ.

œ. ‰ Œ J

∑

∑

Tba.

Perc.

∑

∑

Xylo.

‰

j œ œ p

∑ n œ.

j ‰ Œ # œ.

œ œ

‰

∑ ∑

∑

∑

∑

∑

œ J ‰ Œ

œ

∑

∑ Œ

‰

œ. J π

j n œ. π

‰

n œ. J

‰

∑ ‰ ∑

œ. n œ. J J

Œ

‰

n œ. J

œ p

‰

∑ j # œ.

‰

Œ ∑

j j ‰ # œ. œ.

j n œ.

‰

nœ

œ

Œ

˙

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

arco

≤ n œ.

F

œ œ œ marcato

œ.

≤j ≥> œ. œ .

œ

Œ

∑

‰

∑

‰

‰

a2

œ J

‰

‰ # œj j ‰ . nœ .

nœ nœ J

∑

F.Hn.

∑

j œ.

nœ J n œ.

∑ n œ. J

n œ.

. . . . . # œ n œ. œ # œ # œ œ œ n œ œ # œ # œ œ œ . œ œ. . œ. . .

Œ

œ.

espress.

Œ

∑

œ

œ p

œ

∑

∑

∑

∑

∑

∑

∑

∑

173

174

175

176

177

178

179

180

73 Picc.

1

Fl.

2

3

b &bb

∑

∑

b & b b nœ

nœ

b œ &bb J

nœ

#œ J

b œ &bb J

nœ

#œ J

œ

œ

∑

nœ œ œ nœ

∑

œ J #œ.

nœ

∑

∑

∑

∑

∑

∑

œ #œ #œ

j ‰ #œ

Œ

∑

∑

∑

∑

∑

nœ

j ‰ #œ

Œ

∑

∑

∑

∑

∑

nœ

j ‰ #œ

Œ

∑

∑

∑

∑

∑

œ

œ nœ #œ

œ

#œ

nœ

œ

nœ

œ

œ

œ nœ #œ

œ

#œ

nœ

œ

nœ

œ

1

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ob.

E. Hn.

&b

E b Cl.

& 1

B b Cl. 2

3

& b # œ. & b #œ

2

? b bb

&b

2

&b

3

∑

j . ‰ # œ # œJ

&

1

œ

. # œ. n œ ‰ œ œ. # œ. .

œ #œ nœ œ ∑ Œ

j ‰ œ

œ.

œ.

‰ # œj # œ œ n œ p stacc.

#œ œ #œ

œ. # œ. b œ.

œ J #œ. ‰ ‰

j œ

œ #œ #œ

j nœ ‰

Œ

∑

∑

‰

# œ. # œ. # œ # œ # œ n œ . #œ . F. scherzando

j ‰ #œ

Œ

∑

∑

‰

j ‰ n œ.

Œ

#œ

Œ #œ

∑

b

? b bb

Solo A. Sax

œ

j ‰ œ

œ

? bb

C. Bn.

œ

Œ

∑

1 Bsn.

Œ

nœ

&b &b

B. Cl.

n œ.

nœ

˙

∑

∑

Œ ‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

. . # œ. # œ œ

‰

j œ

# œ. J

œ nœ œ œ

‰

j nœ

# œ. J

j j . œ # œ. j . ‰ # œ n œJ nœ #œ

j j . n œ # œ. j . ‰ # œ n œJ nœ #œ

j #œ

a2

n œ n œ# œ

‰

j #œ

n œ. J

‰ # œj n œJ.

j #œ

œ n œb œ

j œ. œ. œ. F marcato

œœœ œ >. . .

œ.

œ œ œ œ œ œ œ.

œ.

œœœ œ >. . .

œ.

nœ nœ bœ œ nœ #œ nœ

œ.

b œ.

F

j œ. œ.

marcato

‰

j b œ. b œ. œ. œ. œ. F marcato

œ. J

œ.

. . œ. b œ. œ. œ b œ p

œ œ œ. b œ. œ.

∑

∑

∑

∑

∑

∑

∑

∑

j œ. ‰

Œ

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

4

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

&b

b

Œ

∑

∑

∑

∑

∑

3

b &b

Œ

∑

∑

‰

4

&b

Œ

∑

∑

‰

1

? bb

∑

∑

∑

2

B b Tpt.

F.Hn.

j ‰ œ

˙

Œ

œ

#˙

j # œ. ‰

nœ

j # œ. ‰ F

con sord.

j j œ. ‰ œ. F marcato

‰

‰

j œ.

‰ œj ‰ .

j œ.

j œ.

‰

‰

j œ.

‰

œ. J

∑

∑

∑

∑

∑

b

∑

∑

∑

∑

? b bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Bass

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? b bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Tbn.

Tba.

D.B.

Timp.

Perc.

? bb

b œ

? bb

b

j œ ‰

Œ

nœ

j œ

‰

≤ nœ

. ‰ n œJ

Soli

Œ

œ

pizz.

j n œ. ‰

. ‰ n œJ

‰

œ. J

‰

œ. J

j j œ. ‰ œ. F marcato ∑

Œ

. ‰ b œJ

œ.

œ.

œ J

j œ.

∑

j # œ. ‰ F

‰

j œ.

∑

con sord.

j œ.

‰ œj ‰ .

∑

b

‰

∑

b œ. œ. œ.

œ.

b œ.

∑

œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

ã

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

181

182

183

184

185

186

187

188

189

190

K

74

b &bb

∑

1

b &bb

∑

∑

∑

∑

∑

2

b &bb

∑

∑

∑

∑

∑

b &bb

∑

∑

∑

∑

∑

b &bb

∑

&

bbb

∑

E. Hn.

&

bb

∑

∑

E b Cl.

&

∑

1

&b

B b Cl. 2

3

Picc.

Fl.

3

1 Ob. 2

∑

∑

∑

∑

∑

œ. b œ œ œ ‰ J F scherzando Solo

Œ Œ

œ. ‰ J p . ‰ œJ p

œ. œ. œ. œ. marcato

œ. œ. œ. œ.

œ. œ. œ.

œ.

œ.

œ œ œ œ œJ

‰

œ. œ. œ.

œ.

œ.

œ œ œ œ œJ

‰

marcato

œ

∑

nœ œ œ

b œ.

œ n œ œ.

∑ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

. . ‰ œJ b œ p

œ

œ

nœ

œ.

b œ.

œ.

œ.

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

&b

∑

∑

∑

∑

∑

∑

&b

∑

∑

∑

∑

∑

∑

&b

∑

∑

∑

∑

∑

∑

1

? b bb

∑

∑

∑

∑

∑

2

? b bb

∑

∑

∑

∑

∑

? bb

∑

∑

∑

∑

∑

B. Cl.

Bsn.

C. Bn.

Solo A. Sax

b

œ. >œ . ‰ œœœ œ J . p con spirito

&

˙

œ

1

&b

∑

∑

2

&b

∑

∑

3

&b

∑

∑

∑

4

&b

∑

∑

∑

1

&b

b

&b

b

B b Tpt.

2 F.Hn. 3

b &b

4

&b

1

? bb

2

∑

Œ

∑

Œ

∑

Œ

œ.

j ‰ œ.

œ. ∑

‰

∑

∑

∑

∑

∑

∑ œ

Solo

j œ F

œ œ œ

‰

∑

∑

∑

∑

∑

∑

œ J ‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ. b œ. œ.

œ.

œ. J

‰

Œ

∑

œ.

∑ œ œ #œ œ

Œ

p

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ. ‰ œ. ‰ J J

œ. J

‰

œ.

œ.

œ. J

‰

Œ

∑

∑

∑

∑

∑

œ. ‰ œ. ‰ J J

œ. J

‰

œ.

œ.

œ. J

‰

Œ

∑

∑

∑

∑

∑

marcato

marcato

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

? b bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Bass

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

b

∑

nœ ‰ œJ œ p

∑

∑

‰

œ

œ π

b

? bb

3

1 only

? b b ‰ œ ‰ œj ‰ œ ‰ œj b J J p b ∑ ∑ &bb ã

œ œ

œ

œ J

‰

Œ

j œ œ

‰ œ

œ

œ

œ

œ

∑

∑

∑

∑

œ

œ J

œ

œ

œ

œ

Œ

∑

∑

j œ ‰

‰

œ J

Œ

‰

œ J

Œ

j œ ‰ >

‰

j œ p

Œ

‰

j œ

Œ

a2

pizz.

œ J

∑

∑

2

b

œ.

œ. œ. œ.

œ.

‰

œ.

Œ

∑

Perc.

∑

∑

œ.

œ.

œ.

∑

nœ œ œ #œ

∑

∑

Solo

œ. J

j œ. p

œ œ nœ œ

∑

Timp.

senza sord.

. ‰ œJ p ‰ œ. J p

‰ j b œ. b œ. œ. p marcato

1 only

‰

Œ

#œ

∑

D.B.

∑

Œ

∑

∑

. œ. œ ‰ œ. J F marcato

>œ .

‰

œ J F

∑

Tba.

∑

∑

œ. J

œ J

‰

∑

Tbn.

senza sord.

œ. b œ œ œ

œ œ œ œ nœ œ # œ œ F Solo

Solo

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

191

192

193

194

195

196

197

198

199

200

Picc.

1

Fl.

2

3

L

b &bb

∑

∑

∑

∑

43

∑

b &bb

∑

∑

∑

∑

43

∑

42 Œ

b &bb

∑

∑

∑

∑

43

∑

42 Œ

b &bb

∑

∑

∑

∑

43

∑

42 Œ

1

b &bb Œ

2

b &bb

∑

b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

3 4

∑

2 4 Œ

Ob.

E. Hn.

&b

E b Cl.

& 1

B b Cl. 2

3

B. Cl.

&b

‰ n œ œ œ b œ œ. n œ œ œ. F

42

∑

∑

43

∑

42 Œ

∑

∑

∑

43

∑

42 Œ

Solo

Œ

‰

œ. œœ

œ.

43

œœ œ.

∑

∑

43

&b

∑

&b

∑

∑

∑

∑

&b

∑

∑

∑

∑

œ

œ.

œœœ

∑

∑

∑

œ œ œ bœ œ œ œ

œ.

? bb

b

? bb

b

∑

∑

∑

C. Bn.

? b bb

∑

∑

∑

Solo A. Sax

&

œ #œ ‰ J

∑

1 Bsn. 2

œ #œ

‰

‰

‰

n >œ # œ

1 only

∑

∑

∑

42 Œ

43

∑

42 Œ

3 4

∑

2 4 Œ

œ nœ bœ

nœ nœ j œ.

‰

43

∑

42 Œ

∑

3 4

∑

2 4 Œ

43 Œ

‰

√ a2 ‰ œj œ œ F marcato √ a2 œ œ ‰ œj œ œ F marcato œ a2 œ ‰ J ‰ œJ J ‰

œ. œ. œ. œ. ‰

j #œ

œ. J

Œ

j #œ

œ. J

‰

Œ

œ œ œ œ ‰

j #œ

œ. J

Œ

j #œ

œ. J

‰

Œ

œ œ œ œ ‰

j #œ

œ. J

Œ

j #œ

œ. J

‰

Œ

Œ

j #œ

‰

Œ

œ œ J ‰ J ‰ ‰

œ. J œ. J

. œ. J ‰ ‰ œJ ‰ œ. œ. J ‰ ‰ J ‰

∑

œ. J ‰ œ. œ. . œ. ‰ œJ ‰ J marcato

œ. œ. J ‰ J ‰

marcato

marcato

∑

‰

œ. œ. œJ. ‰ ‰ œ. œ. . œ. œ ‰ œ. œ. . œ. œ ‰

‰ j ‰ j‰ j Œ œ. œ. œ. marcato œ. œ. p ‰ j ‰ j‰ j Œ œ. œ œ œ œ. . p . marcato . a2 ‰ œ. J p

j #œ

œ. J

œ. J

marcato

a2 ‰ œj ‰ œj ‰ F marcato a2 ‰ œj ‰ œj ‰ F marcato

a2 . ‰ œJ F a2 ‰ œ.j F a2 j ‰ œ. F

42 Œ

∑

œ. ‰ J F œ œ

Œ

F

œ #œ œ œ œ nœ 42 Œ œ œ œ

1 only œ œ œ œ œ œ œ bœ œ , 34 n >œ # œ f

#œ œ #œ nœ œ #œ œ bœ nœ œ œ œ nœ

75

‰ œJ. ‰ œ. J

marcato

‰ j ‰ j‰ j œ. œ. œ. marcato p ‰ œ. ‰ œJ. ‰ œ. J J p marcato

‰ ‰

j œ. œ. ‰ œ. ‰ ‰ j ‰ œ

a2

œ. œ.

j œ. œ. ‰ œ. ‰

#œ #œ œ œ # œ n œ n œ 42 œ. œ. œ. œ. œ œ ≈ œ. œ œ ≈ œ. œ œ œ œ œ œ œ. œ. œ œ œ œ. > agitato cresc. f

œ. J

Œ

n œ. J

‰

Œ

œ. J

Œ

œ J

‰

Œ

‰

Œ

‰

Œ

œ. J F j #œ

œ. J

Œ

œ. J

Œ

j #œ

œ. J

œ. J

Œ

# œ. J

‰

Œ

œ. J

Œ

œ J

‰

Œ

j œ.

Œ

‰

Œ

j œ.

Œ

j œ. j œ.

‰

Œ

œ. J

Œ

œ. J

‰

Œ

j œ.

Œ

j œ.

‰

Œ

œ. J

‰

Œ

œ >

œ œ

œ. J

Œ

#œ œ #œ œ œ œ j œ. F

Œ

j œ.

‰

Œ

Œ

‰

Œ

j œ. F

Œ

j œ.

‰

Œ

1

&b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

‰

2

&b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

‰

3

&b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

‰

4

&b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

1

&b

b

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

∑

2

&b

b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

3

&b

b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

4

&b

b

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

∑

1

? b bb

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

∑

2

? bb

b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

Bass

? bb

b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

1

? bb

b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

2

? bb

b

∑

∑

∑

∑

43

∑

42

∑

∑

∑

B b Tpt.

F.Hn.

Tbn.

Tba.

D.B.

Timp.

Perc.

a2

a2

‰

j œ œ ‰ œ ‰

# œ.

j b œ. F ∑

j œ.

∑

j œ. p

Œ

j œ.

‰

Œ

œ J

Œ

œ J

‰

Œ

? bb Πb

œ ‰ J

‰

œ J

œ J

‰

Œ

‰

œ J

œ

œ

Œ

43 ‰

œ J

œ

œ

Œ

42 Œ

? b Πbb

j ‰ œ

‰

j œ œ J

‰

Œ

‰

j œ

œ

œ

Œ

3 4 ‰

j œ

œ

œ

Œ

2 4

∑

∑

∑

∑

∑

∑

2 4

∑

∑

∑

∑

∑

∑

2 4

∑

∑

∑

∑

∑

206

207

208

209

210

2

b &bb

∑

∑

∑

∑

3 4

3

ã

∑

∑

∑

∑

3 4

201

202

203

204

205

‰ œ J

‰ œJ ‰ œ J

# œ.

œ.

Picc.

b &bb

j #œ

œ

œ.

1

b &bb

j #œ

œ

œ.

2

b &bb

j #œ

œ

œ.

3

b &bb

j #œ

œ

œ. œ.

Œ

Fl.

Œ

‰

Œ

‰

Œ

‰

Œ

‰

œ. J

œ.

œ. J

n œ.

œ. J

n œ.

‰

œ. J

n œ.

f œ.

œ. J

œ. n œ.

b &bb

2

b &bb

œ.

œ.

Œ

‰

b

œ.

œ.

Œ

‰

œ

œ.

Œ

‰

j œ. œ. J

œ.

œ.

Œ

‰

œ.

œ.

œ.

œ. J

Œ

‰

n œ.

œ.

œ.

œ. J

œ.

œ.

&b

j #œ

&

E b Cl.

1

B b Cl. 2

3

&b &b &b &b

B. Cl.

1

? bb

b

2

? bb

b

? bb

b

Bsn.

C. Bn.

Solo A. Sax

œ. œ. œ. œœ

&

œ. œ. œ. # œ.

œ

œ.

Œ

‰

œ. J

Œ

‰

Œ

‰

j œ.

Œ

‰

œ. J

n œ.

Œ

‰

j œ.

œ.

œ œ œ

j bœ

f œ.

œ.

œ. J

1

E. Hn.

f œ.

f œ.

œ.

Ob.

œ.

œ. œ.

n œ.

œ. J

f œ. f

œ. f œ. f œ. f œ. f œ. f

n œ. f œ. f œ. f

n œ. f

>œ œ œ. >œ œ œ œ. . #œ

to flute

∑

∑

∑

Œ

∑

Œ

∑ ∑ ∑ ∑ ∑ ∑ ∑

œ.

œ.

Œ

2

&b

n œ.

œ.

Œ

∑

3

&b

Œ

∑

B b Tpt.

4

1

œ. n œ.

&b &

bb

‰

j œ.

&b

œ.

œ. f

œ J

‰

œ

˙

œ J

‰

˙

œ J

‰

p

œ J

‰

Œ

Œ

œ

œ J

‰

Œ

Œ

Œ #œ Sp

œ J

‰

Œ

Œ

œ J

‰

Œ

Œ

Œ

Sp

Œ #œ

Sp

‰

œ p

˙

j œ

‰

˙

j œ

‰

∑

Œ

∑

Œ

∑

Œ

∑

Œ

œ Sp œ

˙

œ

˙

π π

œ Sp

j œ

˙

j œ ‰

Œ

Rubato #œ œ J ‰

œ

∑

Œ

∑

Œ #œ Sp

Sp

‰

p #œ p œ

œ J

‰

œ J

‰

Œ

Œ

j œ ‰

Œ

Œ

∑

∑

43 œ

˙

3 œ 4

Œ

œ J

‰

Œ

œ J

‰

Œ

∑

œ

œ J

‰

Œ

43

∑

œ

œ J

‰

Œ

3 4

∑

#œ

œ J

‰

Œ

43

∑

3 4 œ

œ p

˙

3 4 œ

j ‰ œ

Œ

œ

j ‰ œ

Œ

œ Sp œ

˙

œ

˙

π

œ Sp

œ

Sp œ Sp

3 4

˙

œ

œ 43 43 œ

j œ ‰

Œ

43

j ‰ œ

Œ

Œ

œ J

‰

Œ

œ J

‰

Œ

∑

œ J ‰ Œ

œ

œ ‰ Œ J

nœ

œ ‰ Œ J

Sp œ

˙

˙

p

Sp

œ p

43

p n˙. ˙. p œ

Sp

œ ‰ Œ J

2 4 œj ‰ # œ Sp

˙. p

42 j ‰ œ œ Sp

˙. p

œ Sp

∑

2 4 œj ‰ œ Sp 42 Œ n œ

∑

42 Œ

j œ ‰ Œ

42 Œ

. . > . > . . ˘ œ # œ œ œ œ œ œ œ œ œ œ œ. œ # œJ œ # œ n œ 3 ≈ #œ œ œ ‰ Œ 4

‰

Œ

43

∑

j œ ‰

Œ

3 4

∑

∑

43

∑

œ Sp #œ Sp

Sp

œ Sp

œ Sp

Œ

42

∑

Œ

42

∑

j œ ‰ Œ

42

∑

j œ ‰ Œ

2 4

∑

∑

42 Œ

˘ œ 3 # œ . œ. n œ œ . œ œ œ. œ. # œJ ≈ #œ œ œ #œ œ nœ œ ‰ Œ œ. œ œ. 4 œ J

2 j nœ 4 œ ‰ Sp œ 2 4 Œ Sp nœ 42 Œ Sp #œ 2 4 Œ Sp œ 42 Œ Sp

2 j #œ 4 œ ‰ Sp

#˙. p

˙. p

∑

œ œ 42 J ‰ Sp œ nœ 42 J ‰ Sp

˙.

Sp

j œ ‰

π

∑

˙

2 4

∑ ‰

3 4

# œ # œ œ œ # >œ J ‰

‰

œ J

Œ

j œ nœ ƒ espr., rubato poco œ # >œ œ œ œ #œ # œ # œ J ‰ # œ ≈ œ œ #œ ƒ espr., rubato poco œ J

œ

43

∑

‰

œ p

‰

3 4

∑

œ J

Sp

Œ œ

œ

p

Sp

j œ

œ p

˙

Sp

˙

Œ

œ

Sp

Œ #œ p

Œ

∑

∑

˙

ossia

1

∑

nœ

p Œ nœ p nœ Œ Sp

∑

#œ œ #œ œ. œ œ œ # œ

76

Rubato

#œ

con sord.

∑

∑

∑

∑

∑

∑

∑

43

∑

∑

42 Œ

∑

∑

∑

∑

∑

∑

∑

3 4

∑

∑

2 4 Œ

Sp #œ

con sord.

Sp œ Í

2

&b

b

∑

∑

∑

∑

∑

∑

∑

43

∑

∑

42 Œ

3

&b

b

∑

∑

∑

∑

∑

∑

∑

3 4

∑

∑

2 4

#œ Sp ∑

4

&b

b

∑

∑

∑

∑

∑

∑

∑

3 4

∑

∑

2 4

∑

1

? bb

b

∑

2

? bb

b

∑

‰

Bass

? bb

b

∑

‰

1

? bb

b

∑

2

? b bb

F.Hn.

Tbn.

Tba.

? bb

D.B.

Timp.

Perc.

2

3

b

œ.

œ.

œ

œ

‰

n œ.

œ. J F œ. J F

j œ. F

Œ

‰

Œ

‰

j œ.

‰

œ J

n œ. œ. ∑

j œ. F

œ.

f œ. f

n œ. f

∑

Œ

∑

Œ

∑

Œ

∑ Œ

n œ. f

∑

Œ

œ

n œ. f

œ. œ

œ J

‰

Œ

Œ

œ

œ J

‰

Œ

Œ

j œ ‰

Œ

Œ

Sp Sp œ Sp ∑

∑

œ.

œ

∑

j œ ‰ Œ

42 Œ

∑

42 Œ

j‰ Œ œ

2 4 Œ

∑

œ

œ J

‰

Œ

43

∑

j œ ‰

Œ

43

∑

43

∑

3 4

∑

∑

43

∑

j œ ‰ Œ S

œ Sp

∑

œ Sp

∑

Œ

∑

∑

∑

∑

∑

3 4

∑

∑

2 4 Œ

∑

∑

∑

∑

∑

3 4

∑

∑

2 4 Œ

3 4

∑

∑

2 4 Œ

218

219

j œ ‰ S

Œ

Sp

j œ ‰ S

œ Sp

j ‰ œ

Sp

42 Œ

Œ

bbb

∑

∑

∑

∑

∑

∑

∑

∑

∑

211

212

213

214

215

216

217

ã

42 Œ

43

∑

&

œ ‰ Œ J

Œ

? b bb

f

œ

‰

Œ

œ Sp

j ‰ œ

œ J ‰ Œ

œ J

Sp

∑

œ

œ

Sp

con sord.

œ Sp

Œ

42 Œ

Xylo.

œ

Sp œ Sp œ Sp œ Sp œ Sp

j œ ‰ S œ ‰ J Sœ œ S

Bass Dr.

Ͼ Sp

220

Picc.

1

Fl.

2

b &bb b &bb

˙

3

1

b &bb

2

b &bb

E. Hn.

&b

E b Cl.

&

b

œ

œ J œ J

œ

œ J ‰

B b Cl. 2

&b

˙

3

&b

˙

&b 1

2

? bb

b ˙

? bb

j b œ ‰

C. Bn.

Solo A. Sax

œ J

‰

˙

∑

‰

∑

‰

j ‰ œ

œ

œ J

‰

Œ œ

œ

œ œ

œ

œ J

‰ ˙

π

Sp

π ˙ π

œ

Œ

˙ π

j œ ‰

‰

n >œ J

f >œ ‰ J f n >œ ‰ J f n >œ ‰ J f n >œ ‰ J f > ‰ # œJ f # >œ ‰ J f

S >œ S

>œ J S > ‰ œJ S > ‰ nœ J S >œ ‰ J S œ # >œ ‰

‰ j f >œ

∑

S

j œ > f

œ ‰ j > S >œ f ‰ j ‰ œj > œ f S> >œ œ nœ ‰ J > S f >œ œ œ ‰ J > S f œ

j ‰ œ

˙ π

∑

S œ # >œ ‰

˙

˙ Sp

œ

Œ ∑

Sp

œ Sp

Œ

œ J ‰

n˙ Sp

∑

Œ

œ J ‰

˙ Sp

j œ ‰

œ

π œ J ‰

˙ Sp

j œ ‰

œ œ

œ

#˙

∑

œ π

˙

Sp #˙

j œ ‰

œ π

n˙

π

Sp œ

‰

œ π

S œ n >œ

Sp #˙

œ J

œ >œ

π ˙

Sp n˙

œ

∑

Sp n˙

Sp ˙

∑

π

˙

Sp

∑

‰

∑

‰

j œ Œ S>

>œ >œ >œ >œ >œ

∑

3 4

∑

∑

43

∑

∑

3 4

∑

∑

43

∑

43

∑

j Œ œ > S ‰ œj Œ S>

3 4

j œ Œ > S

∑

> >œ b œ > nœ > >œ b œ > nœ > >œ b œ > nœ > >œ œ > nœ > >œ œ > nœ

>œ > >œ # >œ œ >œ > n >œ > œ J ‰ nœ >œ > n >œ >œ œ nœ > > n >œ >œ œ nœ > > n >œ >œ œ œ > > >œ >œ

Flute 4:

˙ ˙

2 4 ˙ π

˙

42 ˙ π

˙ ∑

∑

2 4

∑

∑

43

∑

42

∑

∑

43

∑

42

∑

∑

3 4

∑

2 4

∑

∑

43

∑

42

j œ Œ > S

43

∑

42

j œ Œ > S

43

∑

42

j Œ œ > S

43

∑

j Œ œ > S > ‰ œ Œ J S

43

∑

43

∑

‰

∑

‰ ‰ ‰ ‰ ‰

>œ b >œ b >œ > œ

‰

A Tempo

2 4 ˙ π ˙ 42 π

∑

j Œ œ > S

j œ Œ > S

œ œ œ œ œ #œ œ œ œ œ . œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ ‰ . > sempre ff

(moderato)

77

42

‰

>œ b >œ b >œ > œ

∑

M

# œ. œ. n œ b œ ≈ œ œ 43 b œ œ œ b œ. œ n œ œ b œ œ . dim. molto

1 only

˙ π

˙

#˙ π

˙

1 only

∑

∑

Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ 24 ˙ ∏ 42

∑

∑

42

∑

∑

42

Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b˙ ˙

∏

1

&b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

2

&b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

3

&b

Œ

∑

∑

43

∑

42

∑

∑

4

&b

Œ

∑

∑

3 4

∑

2 4

∑

∑

1

b &b

Œ

∑

∑

43

∑

42

∑

2

&b

b

Œ

∑

∑

43

∑

42

∑

3

&b

b

∑

∑

∑

3 4

∑

2 4

∑

4

&b

b

∑

∑

∑

∑

42

∑

œ >œ ‰ >œJ S

>œ >œ >œ > œ

43 43

∑

42

∑

3 4

∑

2 4

∑

43

∑

42

∑

∑

∑

43

∑

42

∑

∑

∑

3 4

∑

2 4

∑

∑

> œ Œ J S

43

∑

42 ˙œ J ‰ Œ π 2. pizz.

˙

œ Œ J S

43

∑

˙æ

∑

3 4

∑

42 ˙æ ∏

∑

∑

3 4

∑

226

227

B b Tpt.

F.Hn.

1

2

˙

˙

œ π

∑ ∑

j b œ ‰

2

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‰

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‰

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j ‰ œ

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j œ ‰

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j ‰ œ ∑ j ‰ œ

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˙

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π

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∑ ∑

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π

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? bb

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1

Timp.

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˙

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˙

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Perc.

‰

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π

π

‰ n œj œ ƒ rubato

&

œ J

œ J

Œ

œ

? bb ˙ b

Bsn.

‰

˙

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Tbn.

π

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1

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b ˙ &bb b ˙ &bb

Ob.

∑

A Tempo

∑ ∑

˙

˙

Sp

π

˙ Sp

˙ π

˙ Sp

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j œ ‰

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∑

˙

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‰

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b

Œ

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b

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‰

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œ J Sœ œ

Œ

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3

ã

Ͼ

j œ ‰ π

221

∑ 222

S

˙æ Sp

223

j œ ‰ π

Π224

∑

j œ Œ > S

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j œ ‰ S

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2

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Œ

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‰

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> œ Œ J S > ‰ œ Œ J S > ‰ œ Œ J S ‰

œ > S

225

∑

228

1. arco

j œ bœ F

bœ J

con sord.

∑ ∑ ∑

bœ œ bœ bœ

Solo con sord.

p

espress.

∑

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2 4

∑

∑

2 4

∑

∑

229

230

4

1 Fl. 2

&

,

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,

b &bb œ

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∑

œ œ ‰ J p espress.

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, ˙

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,

,

1

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b

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E. Hn.

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E b Cl.

& 1 only

1

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3

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1

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b

2

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b

? b bb

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Solo A. Sax

1

2 B b Tpt. 3

& &b &b &b

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b

2

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b

3

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4

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2

3

∑

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,

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p

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4

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,

~~~ œ

~~

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œ

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Œ

,

π

to piccolo

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b &bb œ

2

Perc.

Œ

3

Ob.

Tbn.

,

b &bb œ

78

,œ

π , œ π

˙

,

˙

˙

,

˙

∑

œ nœ J

espress.

Œ

‰

∑

∑

bœ J

œ nœ

œ J

œ nœ Œ

,

senza sord.

Œ

,œ ,

nœ

˙ ˙

˙

œ J

‰

senza sord.

Œ

∑

˙

j œ

‰

senza sord.

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

? b bb

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∑

∑

∑

∑

∑

∑

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∑

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? bb

,

∑

∑

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∑

b

b œŒ

? b Ͼ bb

,

a2 pizz.

j œ ‰ J œæ

∑ ˙æ

∑

, ,

˙æ

Solo arco Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙œ ˙ œ J ‰ Œ ∑ Œ π The rest pizz.

∑

∑

Œ

, pizz. j nœ ‰ J a2

,

n Ͼ

˙æ

j œ

˙æ

‰

Œ

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

ã

∑

∑

∑

∑

∑

∑

∑

∑

∑

231

232

233

234

235

236

237

238

239

b œ. J

∑ ∑ ‰

Wd.Blk. Solo

œ œ œ J p 240

‰

79 b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Picc.

1

Fl.

Ob.

E. Hn.

&b

E b Cl.

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

B b Cl. 2

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

B. Cl.

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Bsn.

C. Bn.

Solo A. Sax

# œ.

b œ œ. œ œ.

‰

Œ

b œ œ. b œ b œ œ œ # œ. ‰ n œ # œ œ.

#œ

nœ

œ

# œ.

j œ

n >œ œ œ. b œ. œ b œ œ œ œ œ nœ œ œ œ . > cresc. 6

œ # œ œ œ. n >œ œ œ œ

Ÿ~~~~~~~ ˙

cresc. molto

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

4

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

4

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

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∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

ã

∑

∑

∑

∑

∑

∑

∑

245

246

247

248

249

250

F.Hn.

Bass

Tba.

D.B.

Timp.

Perc.

&

œ b œ. n œ. n œ. . b œ. œ ‰ J ‰ #œ

1

B b Tpt.

Tbn.

n œ. # œ œ b œ. ‰ J

241

‰ œœœ œ Œ 242

‰ 243

œ œ

œ

œ

œ J 244

‰

Picc.

1

Fl.

2

3

1 Ob. 2

b &bb

∑

∑

∑

∑

b &bb

∑

∑

∑

b &bb

∑

∑

b &bb

∑

b &bb

N

43 Œ

Œ

∑

43 Œ

Œ

∑

∑

43 Œ

Œ

∑

∑

∑

3 4 Œ

Œ

∑

∑

∑

∑

3 4 Œ

Œ

b &bb

∑

∑

∑

∑

43 Œ

Œ

b

∑

∑

∑

∑

43

E. Hn.

&b

E b Cl.

&

∑

∑

∑

∑

3 4 Œ

Œ

&b

∑

∑

∑

∑

43 Œ

Œ Œ Œ

1

‰ ƒ √ ‰ ƒ √ ‰ ƒ √ ‰ ƒ ‰ ƒ

∑

a2

‰ ƒ ‰ ƒ

&b

∑

∑

∑

∑

43 Œ

&b

∑

∑

∑

∑

43 Œ

&b

∑

∑

∑

∑

43

∑

1

? b bb

∑

∑

∑

∑

3 4

2

? bb

b

∑

∑

∑

∑

C. Bn.

? bb

b

∑

∑

∑

Solo A. Sax

&

B b Cl. 2

3

B. Cl.

Bsn.

˙

&b

∑

∑

2

&b

∑

∑

&b

∑

∑

&b

∑

∑

∑

∑

3

4

1

2

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3

4

b

&

bb

&

bb

&

bb

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∑

1

2

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1

2

Tba.

D.B.

Timp.

2

3

a2

a2

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ƒ

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b

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b

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b

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∑

Œ

j œ ƒ œ ƒ

∑

∑

? b bb

Bass

Perc.

˙

1

B b Tpt.

Tbn.

~~~~~~~~~~~~~~~~~~~~~~~~~

ƒ œ ƒ œ

ƒ a2 œ ƒ

‰

Œ

œ œ œ bœ stacc.

‰

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a2

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80

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‰

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∑

43

∑

42

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

43

∑

42

∑

∑

3 4

∑

2 4

∑

Ͼ F

>œ J

‰ ƒ

Œ

b &bb

∑

ã

∑

∑

∑

∑

251

252

253

254

∑

255

256

Snare Dr. Solo

Œ

‰

‰ œ æJ ƒ

257

œ J

j œ >f

Œ ∑

‰

Π258

> ‰ œJ Œ

œ

∑

∑

Solo

œ. œ >

∑

∑

>œ >œ Œ

∑

œ.

∑

∑

∑

∑

∑

∑

259

260

Picc.

b &bb Œ

1

b &bb Œ

2

Fl.

1

b &bb Œ

2

b &bb Π&b

b

1

B b Cl. 2

3

B. Cl.

1 Bsn. 2

∑

‰

&b

œœ œœ . œ. œ. œ œ 43 œ F cresc. ∑ ∑ 43 ‰

∑

&b

43 ‰

œœ œœ œ. œ. œ. œ œ 43 F cresc.

∑

&

E b Cl.

∑ ∑

∑

∑

&b

∑

&b

∑

‰ œj œ - - œF marcato j ‰ œ œ F marcato

? bb

b

∑

? bb

b

∑

? b bb

∑

&

1

œ- œ- œ‰ J F marcato ‰ œJ œ F marcato

œ œ œ œ œ œ r ‰. œ

Œ

œ.

œ.

. œ œœ

œ.

œ.

3 4 œj œ > > 43 œ

>œ

œ >

œ >

>œ

43

2

&b

∑

3

&b

‰ œœœ œ . . F ∑

4

&b

∑

∑

1

&b

∑

∑

2

&b

b

∑

∑

3

&b

b

∑

∑

4

&b

b

∑

∑

3 4

1

? b bb

∑

3 4 Œ

Bass

? bb

b

∑

. ? bb œ œ œ œ b

∑ ∑

3 4

43 Œ 43 Œ

œ.

b œ œ œ.

. > >œ >œ b œ. œ. œ ‰ œ ƒ leggiero

>œ œ.

œ œ. b œ.

>œ

œ

œ.

b œ œ œ.

>œ œ.

œ œ. b œ.

>œ

œ

œ.

b œ œ œ.

>œ œ.

œ œ. b œ.

>œ

œ

œ.

b œ œ œ.

Œ

∑

∑

Œ

∑

∑

Œ

‰ œœ œ > > > b œ. ƒ leggiero >> > ‰ œ œ œ bœ

∑ Œ

∑

Œ

∑

∑

Œ

∑

∑

∑

Œ Œ Œ

>> ‰ œœ ƒ >œ >œ ‰ ƒ ‰ ‰

>œ >œ

>œ

œ

œ.

œ. >œ

œ œ. b œ.

>œ

œ

œ.

œ. >œ

œ œ. b œ.

>œ

œ

œ.

œ. >œ

œ œ. b œ.

>œ

œ

œ.

∑

Œ

‰

‰ œj . f

œ. b œ. œ.

leggiero

. œ. b œ. œ . . œ b œ. œ

∑

∑

Œ

∑

∑

∑

œ œ 2 >œR ‰ . 4

Œ

∑

∑

∑

∑

Œ

> 42 œR ‰ .

Œ

∑

∑

∑

∑

Œ Œ

∑

42

∑

Œ

∑

Œ

∑

Œ

2 4 42 42 42 42 42

∑

2 4

∑

‰

Œ

‰

b

∑

43

? b bb

∑

3 4

2

b &bb

∑ ∑

∑

3

ã

∑

∑

261

262

∑

œ bœ f> > œ bœ f> > œ bœ f> >

∑

>>> ≈ œ bœ œ f leggiero >>> ≈ œ bœ œ f leggiero >œ > >œ ≈ bœ f leggiero ∑

∑

∑

∑

∑

∑

∑

∑

‰

∑

∑

∑

∑

∑

‰

∑

∑

∑

∑

∑

‰

>œ 2 4 œ œ œ > > > leggiero > 42 œ œ œ œ > > > leggiero > 42 œ œ œ œ > > > leggiero 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 œ > œ. œ.

b œ œ >œ œ œ. >

œ œ œ. œ > b œ. . ‰

>œ œ > œ œ. œ

j œ. œ. œ. b >œ œ b >œ œ œ. f leggiero ∑ ∑

. œ œ œ. . œ œ œ. . œ œ œ.

b œ.

œ.

b œ.

œ.

b œ.

œ.

œ. œ. marcato

œ.

b œ.

œ.

œ.

œ.

b œ.

œ.

œ.

œ

bœ

œ.

b œ.

leggiero

∑

œ œ œ. œ > b œ. .

b œ œ œ.

leggiero

∑

Œ

œ.

leggiero

>œ >œ >œ

ƒ

∑

œ œ. b œ.

∑

‰

∑ >œ

. œ. b œ. œ

∑

Œ

‰

leggiero

>œ >œ >œ

ƒ

œ. œ. J

Œ

r 42 œ ‰ . >

Œ

ƒ

œ.

œ.

∑

∑

43

œ

42

∑

43

>œ

∑

43

Timp.

œ œ. b œ.

∑

∑

D.B.

>œ œ.

leggiero

∑

∑

? bb

. > >œ >œ b œ. œ. œ ‰ œ ƒ leggiero

ƒ

∑

b

? bb

b œ œ œ.

∑

∑

2

œ.

∑

∑

Tba.

3 4

œ

2 4

? b bb

1

>œ

42 œr ‰ . .

∑

43

œ œ. b œ.

œ.

∑

43

>œ œ.

. ‰ œœ œ œ œ > > > b œ. . ƒ leggiero

∑

43

b œ œ œ.

Œ

∑

43

œ.

∑

∑

43

œ

∑

>œ

∑

>œ

Œ

2 4 œr ‰ . œ œ >

>œ

œ œ. b œ.

42 œr ‰ . .

42

œ >

. > >œ >œ b œ. œ. œ ‰ œ ƒ leggiero > >œ >œ b œ. œ. œ. ‰ œ

œ

∑

œ œ. œ. œ œ

2

Œ

. œ œœ

&b

œ œ. œ œ

∑

Œ

43

F.Hn.

∑

Œ

∑

∑

b

∑

∑

∑

∑

∑

Œ

Œ

œ œœ œœ œ œ b œ œ 42 r ‰ . œ œ. ƒ œ œ. œ. r 43 ‰ œœ 42 œ. ‰ . œ œ œ ƒ . r œ œ œ œ. 43 ‰ œ 42 œ. ‰ . œ œœ ƒ

>œ 43

∑

œ œœ œœ œ œ bœ œ 2 r ‰. œ 4 œ .

43 ‰

œ 43 J

∑

œ œ œ œ œ œ œ b œ œ œ 42 r ‰ . œ.

∑

B b Tpt.

∑ Œ

3 4

Solo A. Sax

42

œ œ œ œ œ œ œ b œ œ œ 42 r ‰ . œ.

∑

C. Bn.

Perc.

∑

&

E. Hn.

Tbn.

bbb

œœ œœ . œ. œ. œ œ 43 œ F cresc.

√ œœ œœ ‰ œ. œ. œ œ 43 œ F cresc. √ œœ œœ ‰ œ. œ. œ œ 43 œ F cresc.

b &bb Œ

3

Ob.

‰

81

>œ œ.

œ. œ. b œ. b œ.

œ œ œ. œ œ œ œ œ. > œ œ œ. œ œ œ œ œ > œ œ œ. œ œ œ œ œ

j œ. f

‰ œj . f ‰ œj . f

marcato

marcato

œ.

œ.

marcato

∑

∑

œ.

j œ.

‰

∑

∑

‰

∑

∑

œ.

j œ.

‰

∑

∑

‰

∑

∑

j œ.

œ.

œ.

∑

j œ.

‰

>œ œ >œ >œ œ >œ > ƒ leggiero > >œ œ> >œ >œ œ >œ ƒ leggiero > >œ œ >œ >œ œ >œ > ƒ leggiero > >œ œ >œ >œ œ >œ > ƒ leggiero > ∑

œ. >œ œ œ. œ. œ. >œ œ œ. œ. œ. >œ œ œ. œ. œ. >œ œ œ. œ.

œ. b œ. œj .

‰

œ b œ œj .

‰

∑

∑

‰

∑

∑

∑

∑

∑

∑

∑

œ b œ œj .

∑

∑

∑

∑

∑

42

∑

∑

∑

∑

∑

∑

42

∑

∑

∑

∑

∑

∑

2 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

264

265

266

267

268

269

270

∑ ∑ 263

42 42

‰ œj f

pizz.

Œ

œ

marcato

œ

œ

bœ

Picc.

1

Fl.

2

3

1 Ob. 2

b &bb &

bbb

b &bb b &bb

œ

œ.

œ b œ œ.

œ

œ.

œ b œ œ.

œ

œ.

œ b œ œ.

œ

œ b œ œ.

œ

b œ. &bb &

. bbb œ

œ b œ œ.

1

œ. œ.

&b

B b Cl. 2

&b

3

&b

œ. œ. œ.

&b

B. Cl.

1 Bsn. 2

. ? bb œ b ? b œ bb . ? bb œ b

C. Bn.

œ

œ. œ. œ. œ. œ. œ.

œ œ œ. œ œ . œ œ œ œ. œ œ œ. œ œ œ. œ œ œ.

∑

&

E b Cl.

œ. œ.

œ.

œ.

œ. œ.

Œ

œ.

Œ

œ

Œ

œ.

œ. œ.

b œ. b œ.

œ. œ.

∑

œ b œ œ. œ.

œ œ bœ O œ œ œ b œ œ œ œ 43 œj . œ œ bœ œ œ œ b œ œ œ œ 43 œj . œ œ bœ œ œ œ b œ œ œ œ 43 œj . œ œ bœ œ œ œ b œ œ œ œ 43 œj .

œ œ œ œ

œ œ . œ

œ.

œ.

œ.

œ.

œ.

œ.

‰

œ. J

œ.

œ. J

œ.

‰

œ. œ. œ.

œ. J

Œ

œ.

b œ.

œ.

∑

œ.

‰

b œ.

œ.

‰ Œ

Œ

‰ Œ

Œ

‰ Œ

Œ

42

∑

42

∑

42

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ

j 43 œ. ‰ Œ

Œ

42

∑

∑

∑

∑

œ.

Œ

42

∑

∑

∑

∑

42

∑

∑

43

∑

Œ

3 4 j ‰ Œ œ.

Œ

2 4

∑

∑

Œ

œ œ bœ 3 œ œ œ ‰ Œ b œ œ œ œ 4 œj .

Œ

2 4

∑

∑

Œ

Œ

2 4

∑

∑

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

∑

∑

3 4 j ‰ Œ œ.

43 j ‰ ‰ j œ. œ œ œ. > ƒ 43 œj ‰ ‰ œj œ œ. . > ƒ 3 4 œj ‰ ‰ œj œ œ. . > ƒ ‰ j œ œ 43 Œ œ . > ƒ

42

œ

42 œ 2 4 œ 42 œ

œ œ

∑

dim.

j ‰ œ

œ

œ

œ œ. œ œ .

œ

œ

œ

œ

œ. œ œ

œ

œ

œ

œ

j ‰ œj ‰. œ.

dim.

‰

œ.

p œ. J

j œ ‰

j ‰ œ

œ

œ.

œ

œ

œ.

œ

j œ ‰

dim.

j ‰ œ œ œ

j œ. ‰ p

œ œ

œ œ

42

∑

∑

∑

∑

1

&b

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

Œ

2

&b

∑

∑

∑

43

∑

42

∑

∑

∑

∑

˙

&b

∑

∑

∑

43

∑

42

∑

∑

∑

4

&b

∑

∑

∑

43

∑

42

∑

∑

∑

1

b & b œ.

œ

∑

&b

œ

œ.

j œ. ‰

∑

œ œ œœ‰ ‰ œœ 2 œœ≈œœœœœ œœ‰ ‰ œœ œœ‰ 43 œ œ 4 ƒ

2

b œ .

œ.

j œ. ‰

3

b & b œ.

œ

∑

4

&b

b œ .

œ.

j œ. ‰

œ

∑

? bb

j œ. ‰

1

œ. œ. ‰ J ƒ œ. ‰ J ƒ œ. ‰ J ƒ

F.Hn.

2

Bass

1 Tba. 2

Timp.

œ ∑

b

? b bb

∑

? b bb

∑

? b bb

∑

b

∑

? bb

? bb œ b

D.B.

œ

? bb

b

œ. œ. œ . œ. œ. œ . œ. œ. œ .

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

marcato

marcato

Soli

con sord.

con sord.

˙ π

œ.

œ. J

‰

œ.

œ.

œ.

œ.

œ.

œ. œ. œ.

œ.

œ œ

œ.

‰

œ. J

‰ p

œ. œ. J

1 only

j ‰ œ œ

œ.

œ

œ.

œ œ œ œ œ œ œ œ F j ‰ Œ œ œ œ œ œ œ œ œ œ

p

j ‰ œ p

∑

π

con sord.

π

œ π

Œ ∑ ∑

œ

con sord.

Œ ∑

∑

œ

œ.

‰

Œ

œ

œ

œ œ. œ.

œ.

œ. œ. œ.

œ.

1 only

sempre staccatissimo

œ

1 only

sempre staccatissimo 1 only

˙

œ

œ œ. œ. .

˙

j œ ‰

Œ

senza sord.

∑

∑

Œ

∑

∑

∑

43 œ œ œ œ œ œ ‰ ‰ œ œ 42 œ œ ≈ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ ‰ Œ ƒ 34 j ‰ Œ Œ ∑ ∑ ∑ 42 œ.

∑

∑

∑

∑

∑

∑

3 4 œj ‰ Œ .

Œ

2 4

∑

∑

∑

∑

∑

∑

Œ

2 4

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

∑

∑

∑

∑

43 Œ

∑

∑

∑

43

∑

42

∑

∑

œ

Œ

∑

∑

∑

‰

arco

j œ œ œ. > ƒ

42 œ

œ

œ

œ

œ œ. œ œ .

2

b &bb

∑

∑

∑

3 4

∑

2 4

∑

∑

3

ã

∑

∑

∑

3 4

∑

2 4

∑

∑

271

272

273

275

276

274

œ

dim.

œ

œ

œ

j j œ ‰ œ ‰ f F ∑

œ

j œ ‰

pizz.

j œ ‰

j œ ‰

œ J

j œ ‰ p

j œ ‰

j œ ‰

j œ ‰

œ ‰ Œ J Xylo. √ œ œ œ œ p

œ.

p

œ.

sempre staccatissimo

∑

3 4 œj ‰ Œ .

œ.

œ œ . œ

Œ

Soli

œ.

Œ

œ.

œ.

∑

Soli

œ.

‰

œ.

œ œ . œ œ œ . œ

p œ œ œ. p

œ.

∑

œ œ œœ‰ ‰ œœ 2 œœ≈œœœœœ œœ‰ ‰ œœ œœ‰ 43 œ œ 4 ƒ

œ.

œ.

p œ œ œ.

82

œ œ . œ

∑

Soli

œ.

marcato

Œ

Œ

43 œ œ œ œ œ œ ‰ ‰ œ œ 42 œ œ ≈ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ ‰ ƒ

œ.

œ.

p œ œ œ.

∑

∑

œ

œ.

Œ

43

œ. œ. œ .

œ.

j ‰ œ p

∑

œ

‰

œ œ œ.

œ. œ œ œ œ œ œ œ œ p œ. œ œ œ œ œ œ œ œ

∑

3

‰

œœœ œœ œœœ F œ œ ‰ œ œ œ œ R ‰. œ œ œ œœ F ∑ ∑

j ‰ œ

œ.

œ.

‰

œ œ. œ œ .

dim.

œ.

œ.

Œ

œ

œ

œ

j œ. p

œ

œ

œ

‰

p œ.

∑

B b Tpt.

‰

Œ

42

∑

œ.

∑

Œ

∑

œ.

Œ

1 only

42

œ.

∑

‰ Œ

j 43 œ. ‰ Œ

‰

1 only

Œ

œ.

Œ

1 only

œ œ bœ œ œ œ b œ œ œ œ 43 œj ‰ Œ . œ œ bœ œ œ œ bœ œ œ œ œ œ bœ œ œ œ bœ œ œ œ

∑

&

Solo A. Sax

Perc.

œ b œ œ.

b &b

E. Hn.

Tbn.

œ.

∑

∑

∑

∑

∑

277

278

279

‰

Œ

∑

280

œ

Picc.

1

Fl.

2

3

1 Ob. 2

b &bb ‰ b &bb ‰ b &bb ‰ b &bb ‰

œ œ œ œ œ œ œ œ œ œ œ œ œ ,œ œ œ

œ.

œ.

œ. œ. œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

∑ ‰ œ.

œ.

œ.

œ. œ. œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

Œ

&b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ‰ œ œ œ œ œ R p ∑

? bb

b

Solo A. Sax

&

œ. dolce e leggiero

œ. œ. œ . œ.

œ.

œ.

œ.

œ. Œ

œ.

œ.

œ. J

œ.

j œ. ‰

∑

œ œ œ œ œ œ œ œ

œ œ œ

œ

œ œ œ œ œ b œ >œ

œ

œ

œ

œ

œ œ œ

œ

œ œ œ œ œ b œ >œ

‰

œ œ œ œ œ œ œ œ œ

∑ ∑

∑

œ

œ

>œ

>œ

œ

œ

œ >

∑

dolce e leggiero

∑

∑

∑

∑ ‰

∑

∑

∑

∑

∑

Œ

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ. œ. œ .

‰

œ. œ. œ .

3

&b

‰

œ. œ. œ.

4

&b

œ.

œ. œ. œ.

œ.

œ.

‰

œ. œ. œ.

œ.

œ. œ. œ.

œ.

œ.

œ. œ. œ.

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305

306

307

308

309

310

86 Picc.

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2

3

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312

313

314

315

316

317

318

319

320

311

87 Picc.

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322

323

324

325

326

327

328

329

330

Q

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2

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3

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accel.

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œ œ œ. >f . >œ œ œ

œ œ œ.

f

œ J f

j œ j œ

∑ j œ

‰

Œ Œ

. œ œ œ

∑

f

1 only

∑

Œ ∑

œ œ œ. > . >œ œ œ

œ œ œ.

j œ j œ

j œ

œ œ œ. >

Œ

. >œ œ œ

œ œ œ.

Œ

Œ ∑ Œ ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? b b 42 œ b

2

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

Bsn.

C. Bn.

Solo A. Sax

&

42 œ

œ

œ

,

[ ]

œ.

œ

œ.

œ

œ.

œ.

œ.

œ.

œ.

œ.

Œ

œ.

œ.

œ.

. œ œ œ œ œ

œ œ œ accel.

Tempo I (Allegro >brioso) >

. . œ œ œ œ. œ œ > œ œ œ œ œ bœ nœ œ

œ œ œ. œ. œ œ œ. œ.

&

ossia

œ œ œ. œ. œ

f >œ œ œ œ œ œ >œ œ œ œ œ œ f

6

6

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

& b 42

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

& b 42

∑

∑

∑

∑

∑

∑

∑

∑

∑

4

& b 42

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

b & b 42

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

b & b 42

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

b & b 42

∑

∑

∑

∑

∑

∑

∑

∑

∑

4

b & b 42

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

Bass

? b 2 bb 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

? b 2 bb 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

? b 2 bb 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

? b b 42 b

∑

∑

∑

∑

∑

∑

∑

∑

∑

Tbn.

Tba.

D.B.

Timp.

Perc.

2

ã

2 4

3

ã

2 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

331

332

333

334

335

336

337

&

bbb

j œ

>œGlock. J ‰ f

j œ

>œ J

œ. œ.

6

& b 42

F.Hn.

œ

>œ œ œ œ œ œ >œ œ . œ. œ

1

B b Tpt.

88

Tempo I (Allegro brioso) . . .

‰

j œ

>œ J

‰

j œ

∑

∑

338

339

>œ J

‰

89 Picc.

1

Fl.

2

b &bb b &bb &

bbb

3

b &bb

1

b &bb

Ob. 2

j œ

œ œ œ.

r œ

œ œ œ.

j œ

œ œ œ.

j œ

œ.

œ œ

j œ

Œ Œ

œ.

œ œ

‰ ‰ ∑

∑ j œ

b j œ

œ œ œ.

œ œ œ. > . j œ > œ œ œ j œ

j œ

Œ

‰ ∑

œ œ œ.

Œ

‰

Œ

&b

∑

Œ

&b

∑

∑

&b

∑

∑

1

? b bb

∑

2

? bb

b

∑

∑

? bb

b

∑

∑

3

B. Cl.

Bsn.

C. Bn.

Solo A. Sax

&

>œ œ œ. œ. >œ œ œ. œ.

6

‰

Œ

œ

>œ œ œ œ œ œ >œ œ œ œ œ œ

&

ossia

œ œ œ.

j œ

œ œ œ.

j œ

œ

j œ

œ

F

œœ

F

œœ

F a2 . ‰ œJ F

∑

B b Cl. 2

F œœ

j œ

‰

œ

œ. J F

œ. J

j œ

. œ œ œ

j œ

œ œ . œ

j œ

œ œ œ. œ.

. œ. œ œ. œ. œ. œ.

∑

œ œ.

. œ œ œ

j œ

œ œ . œ

∑ j œ

œ.

œ.

œ.

Œ

∑

∑

Œ

1 only

œ.

œœ

j œ

p

œ œ œ. œ. œ. œ.

œ œ œ. œ œ œ. œ œ œ. ∑

∑

∑

œœ

p

‰ œJ.

1 only

Œ

1 only

œœœ

π

∑

dim.

Œ

œœ œ

P √ œ œ œœœ ‰ œ p π œ. œ. œ. œ. œ.

œ.

∑

∑

‰

‰

dim.

œœ

‰

Œ

œ.

œ.

‰

Œ

j œ

p

œ œ œ.

42

∑

∑

43

∑

42

∑

∑

43

∑

42

∑

∑

43

∑

42

∑

∑

43

∑

42

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

43

∑

42

∑

∑

∑

3 4

∑

2 4

∑

∑

∑

∑

43

∑

42

∑

∑

∑

∑

43

∑

42

∑

∑

3 4 Œ

∑

∑ œ.

œ. œ. œ. œ. œ.

œ.

œ.

œ.

œ.

œ.

π œ. œ.

œ.

œ.

œ.

œ.

œ.

œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

. . . œ. œ œ. œ. œ. œ. œ œ

F

œ œ œ. œ. œ œ œ

>œ œ œ œ œ œ >œ œ œ œ œ œ 6

6

œ

œ. J ‰ Œ p œ J ‰ Œ p

∑

œ.

œ J ‰ Œ π . . œ. œ. œ œ p

œ.

œ.

∑

∑

∑

œ.

42

43

∑

œ.

∑

∑

œ.

œ.

œ. 43 J ‰ Œ Œ π

42

2 4

œ.

œ. œ. œ. œ. œ.

p

∑

∑

œ.

dim.

œ. œ. œ. œ.

43

3 4

œ œ œ. œ. œ. œ.

œ. œ. œ. œ. œ.

Œ ∑

œ œ œ.

œ œ œ.

∑

œ. ‰ J

. œ. œ

∑

∑

∑

Œ

œ.

Œ

42

∑

œ.

œ. œ.

∑

∑

œ.

œ.

. œ. œ. œ. œ. œ œ œ 3 œJ ‰ Œ Œ 4 π

43

dim.

j ‰ œ.

. œ. œ. œ. œ. œ œ œ œ

∑

∑

n >œ œ œ. œ. >œ œ œ. œ.

F

∑

∑

œ œ œ. œ.

œ.

∑

Œ

j œ

œ.

F

>œ œ œ. œ. œ. . . œœ œ.

6

œ œ.

∑

∑

&b

1

œœ

∑

∑

&

E b Cl.

œ œ œ.

œ œ œ. > . j b œ >œ œ œ &bb &b

E. Hn.

r œ

Cadenza 2 ∑ 4

œ.

œ. J

π

∑

œ.

œ.

‰

∑ ∑

œ J ‰ Œ π . œ. œ Œ π

∑

∑ ∑

œ J ‰ Œ π

Œ

œ. œ. œ. œ. f

2 4

œ. œ. œ. œ. . . œ œ œœœ 3

con spirito

For alternative cadenza, see the solo part.

1

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

2

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

4

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

1

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

2

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

3

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

4

&b

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

2

? b bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

Bass

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

? b bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

? bb

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

2

b &bb

∑

∑

∑

∑

∑

∑

43

∑

42

∑

3

ã

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

343

344

345

346

347

348

B b Tpt.

F.Hn.

Tbn.

Tba.

D.B.

Timp.

Perc.

340

>œ J ‰ F

j œ

j œ

>œ J ‰

∑

∑

∑

341

342

>œ J ‰ Œ p

j œ

349

350

90 Picc.

b &bb

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

1

b &bb

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

b &bb

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

1

b &bb

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

Fl.

3

Ob.

E. Hn.

&b

E b Cl.

&

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

1

&b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

B b Cl. 2

&b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

&b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

B. Cl.

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

? bb

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

Bsn.

C. Bn.

Solo A. Sax

œ # œ œ œ œ. œ. œ. œ. œ. b œ œ œ. œ # œ œ œ œ. œ. œ. . . b œ œ œ. œ. . œ. œ. œ. œ. œ. . . nœ #œ œ œ œ. . œ œ œ bœ œ œ œ > œœ œ œ 3 ≈ #œ œ œ. œ. œ œ œ b >œ n œ œ œ œ œ œ. œ. 42 œ. œ œ œ œ œ ‰ œ # œ b œ œ œ œ œ . . bœ œ œ # œ 4 n œ œ > 3 3 3 3 ># œ > 3 p

&

œ b œ œ œ œ. [–]œ œ œ œ œ.

[–]

3

3

1

&b

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

2

&b

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

3

&b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

4

&b

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

1

&b

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

2

&b

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

3

&b

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

4

&b

b

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

1

? bb

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

Bass

? b bb

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

1

? b bb

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

2

? bb

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

? b bb

∑

∑

∑

∑

∑

∑

∑

3 4

∑

2 4

∑

∑

? bb

b

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

2

b &bb

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

3

ã

∑

∑

∑

∑

∑

∑

∑

43

∑

42

∑

∑

351

352

353

354

355

356

357

359

360

B b Tpt.

F.Hn.

Tbn.

Tba.

D.B.

Timp.

Perc.

358

Picc.

b &bb

∑

∑

∑

3 4

∑

U 2 4 Œ Œ

1

b &bb

∑

∑

∑

43

∑

2

b &bb

∑

∑

∑

43

3

b &bb

∑

∑

∑

1

b &bb

∑

∑

2

b &bb

∑

b

Fl.

Ob.

91

R Prestissimo (q=152) ∑

∑

∑

∑

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

∑

3 4

∑

U 2 4 Œ Œ

∑

∑

∑

∑

∑

∑

∑

3 4

∑

U 2 4 Œ Œ

∑

∑

∑

∑

∑

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

E. Hn.

&b

E b Cl.

&

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

1

&b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

B b Cl. 2

&b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

3

&b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

&b

∑

∑

∑

3 4

∑

U 2 4 Œ Œ

∑

∑

∑

∑

∑

B. Cl.

1

? bb

b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

2

? bb

b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

? b bb

∑

∑

∑

3 4

∑

U 2 4 Œ Œ

∑

∑

∑

∑

∑

Bsn.

C. Bn.

Solo A. Sax

œ. œ œ œ. œ.

&

œ. œ.

‰

Œ

œ b œ œ œ œ.

[–]

3

b[–]œ b œ œ b œ œ. [–]œ œ œ œ œ. 3

3

3 4

b[–]œ b œ œ b œ œ. [–]œ œ œ œ œ. [–]œ œ œ œ œ. 3

cresc. e accel. molto

3

3

Prestissimo (q=152)

n >œ 2 J ‰ UŒ 4

∑

#œ #œ œ œ œ œ œ œ

∑

ossia

&

p molto leggiero > # >œ # œ œ œ # œ œ œ œ p

#œ #œ œ œ #œ œ œ œ #œ #œ œ œ #œ œ œ œ >œ >œ # >œ # œ # >œ # œ œ œ #œ œ œ œ #œ œ œ œ

molto leggiero

1

&b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

2

&b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

3

&b

∑

∑

∑

3 4

∑

U 2 4 Œ Œ

∑

∑

∑

∑

∑

4

&b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

∑

∑

1

&b

b

∑

∑

∑

43

∑

U 42 Œ Œ

∑

∑

∑

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∑

∑

∑

? b bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

ã

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

ã

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

ã

∑

∑

∑

∑

∑

∑

∑

∑

391

392

393

394

395

396

397

398

F.Hn.

Tba.

D.B.

Perc.

1 only

œ

∑

Tbn.

‰

∑

∑

B b Tpt.

œ J

œ

∑

∑

&b

2

œ J

œ

œ

∑

j œ F

∑

œ

œ

‰

∑

œ J

œ

∑

∑

œ

œ

∑

∑

œ J

œ

œ

∑

œ J

œ

∑

∑

œ

œ

‰

∑

œ J

œ.

œ. J

b &bb

œ J p

œ.

œ. J F 1 only œ J ‰

Picc.

Fl.

94

W

Snare Dr.

‰

œ J p

œ J 399

‰

œ

œ

œ.

œ. J

‰

‰

œ. J

‰

j œ.

‰

œ J

400

Picc.

1

Fl.

b œ. &bb J b œ &bb J

2

b œ &bb J

3

b œ &bb J

1

b &bb

Ob. 2

&

E b Cl.

& 1

&b

B b Cl. 2

&b

œ J

3

&b

œ.

œJ

œ

œ.

œ.

œ.

>œ J

‰

Œ

œ-

œJ

œ

b œ.

œ.

>œ

>œ J

‰

œ-

œJ

œ

b œ.

œ.

>œ

>œ J

‰

œ-

œ-

Œ

∑

Sempre Prestissimo

∑

∑

Œ

∑

∑

a2

Œ

∑

∑

a2

Œ

∑

∑

a2

√ Œ √ Œ

∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

∑

Œ

œ-

œJ

œ

œ.

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b œ.

∑

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>œ

>œ J

œ.

>œ

>œ J

‰

Œ

∑

∑

Œ

‰

Œ

∑

∑

Œ

∑

∑

Œ

∑

∑ ∑

∑

∑

Œ

1

? b bb

∑

∑

∑

∑

∑

Œ

2

? b bb

∑

∑

∑

∑

∑

Œ

? bb

∑

∑

∑

∑

∑

Œ

Solo A. Sax

b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&

S S ƒ S œ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ

&

ossia

S

ƒ

œ.

œ.

&b

œ. J

‰

œ. J

3

&b

‰

‰

4

&b

‰

‰

1

&b

b

∑

2

&b

b

3

&b

4

&b

1

? bb ? bb

1

2 B b Tpt.

&b

œ.

œ.

œ.

œ.

‰

œ. J

œ.

œ.

œ.

œ.

œ.

œ. ‰

œœ bœ œ œ. J

œ.

‰

Œ

‰

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Œ

∑

≈

∑

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#˙

∑

Œ

b

∑

∑

∑

∑

∑

b

∑

∑

∑

∑

∑

b

∑

∑

∑

∑

∑

b

∑

? b bb

∑

∑

∑

∑

∑

1

? bb

b

∑

∑

∑

∑

∑

Œ

2

? b bb

∑

∑

∑

∑

∑

Œ

? b bb

∑

∑

∑

∑

∑

Œ

∑

401

∑

∑

∑

∑

œ

œ 402

œ œ

n >œ J

>œ >œ

n >œ J ‰ Œ

>œ

>œ

>œ

>œ

‰

n >œ J

>œ >œ

n >œ J ‰ Œ

>œ

>œ

>œ

>œ

‰

n >œ J

# >œ >œ

n >œ ‰ Œ J

nœ œ œ nœ nœ œ œ œ

∑

‰

>œ J

>œ >œ

œ œ nœ nœ œ œ œ nœ

∑

nœ J ‰ ƒ nœ ‰ J ƒ œ ‰ J ƒ nœ ‰ J ƒ

#œ ‰ J ƒ œ J ‰ ƒ #œ J ‰ ƒ nœ J ‰ ƒ j‰ œ ƒ j œ ‰ ƒ j‰ œ ƒ j œ ‰ ƒ

Field Dr.

‰

Sus.Cym. (choke)

Œ ‰

j œ

>œ J

cresc.

‰

∑

j œ

œ J

‰ ‰

>œ J

‰

# >œ J

‰ ‰ ‰ ‰ ‰ ˙

>œ > œ

# >œ J

>œ > œ # >œ >œ

>œ ‰ Œ J

>œ

>œ

>œ

>œ

# >œ

>œ

>œ

>œ J ‰ Œ

>œ

n >œ

>œ

>œ

>œ

# >œ J ‰ Œ

>œ

n >œ

>œ

>œ

# >œ ‰ Œ J

>œ # >œ

j œ >

œ œ > >

j œ ‰ Œ >

œ œ > > œ œ > > > >œ œ

j ‰ Œ œ >

j œ > j œ > j œ >

marcato

n >œ ‰ Œ J

n >œ J

∑ ∑ ∑

n >œ J ‰ Œ

∑ ∑ ∑ ∑

œ œ nœ nœ œ œ œ #œ

∑

marcato

∑

∑

j ‰ Œ œ >

∑

∑

∑

∑

>œ J ‰ Œ

∑

∑

˙

˙

˙

nœ J ‰ ƒ

#œ J ‰ ƒ

n~ œ ‰ ~~~ J ~~ ~~ ƒ œ Œ ~~~~~ J ‰ ~ ~~ ƒ Œ

Œ

‰

n >œ J

# >œ n >œ

‰

> nœ J

# >œ ‰ ‰ J

œ œ > >

j ‰ ‰ >œ

‰

n~ œ ‰ ~~~ J ~ ~ ~~ ƒ nœ J ‰ Œ ƒ œ J ‰ Œ ƒ

‰

j œ ‰ ƒ

j œ ‰ ƒ

Œ

arco

‰ ‰

> nœ J

j œ > n >œ J

œ œ > >

j œ ‰ ‰ >

œ > >œ

j ‰ ‰ œ # >œ J ‰ ‰

œ > >œ

marcato

>œ

>œ

>œ

n >œ

>œ

>œ

Œ Œ

>œ

n >œ

œ œ >>

œ >

œ œ >>

œ > > œ

œœœ F stacc.

Œ

> > > nœ œ œ

Œ

œ > n >œ

nœ œ œ > > > >œ >œ n >œ

>œ >œ

>œ

>œ

>œ >œ >œ

>œ >œ

>œ

>œ

n >œ >œ >œ

œœœ F stacc. ∑

œ œ œ > > >

œ œ œ >> > >œ >œ n >œ

œœœ F stacc.

∑ Œ

œœœ

F

stacc.

F

stacc.

>œ J

>œ >œ

j œ >

> >œ œ

>œ J ‰ ‰

œ œ > >

j ‰ Œ œ >

∑

∑

∑

∑

> >œ œ

>œ J ‰ Œ

∑

∑

j œ ‰ ƒ

‰ ‰

j œ >

j‰ œ ƒ

‰

j œ >

‰

j œ >

j ‰ œ >

>œ J ‰ ‰

j ‰ Œ œ >

stacc.

∑ >œ >œ n >œ

>œ

F

∑

∑ > œ œ nœ >>

nœ œ œ

Œ

œœœ ∑

y ‰ J

∑

∑

∑

∑

∑

∑

‰ y J

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

405

406

407

408

409

410

œ œ œ œ >œ œ œ œ œ œ >œ œ œ 403

‰

>œ >œ

n >œ J

∑

marcato

> nœ ‰ Œ J

∑

>œ œ œ

‰

>œ > œ

∑

>œ œ œ

nœ J ‰ ƒ

> nœ J

∑

œ

>œ

‰

∑

ã

>œ

nœ ‰ J ƒ n~ œ Œ ~~~~~ J ‰ ~~ ƒ

∑

3

>œ

# >œ J ‰ Œ

∑

∑

n >œ

# >œ >œ

∑

∑

n >œ J ‰ Œ

# >œ J

Œ

∑

ã

>œ >œ

‰

∑

∑

2

n >œ J

‰

∑

Œ

œ J F >œ

#œ #œ œ

œ ‰ J ƒ

∑

∑

j œ

‰

nœ J ‰ ƒ

#œ œ œ nœ nœ œ œ œ

∑

∑

>œ

>œ J ‰ Œ

∑

ã

>œ

>œ >œ

senza sord.

1

>œ

>œ J

Œ

D.B.

n >œ

n >œ

Œ

Tba.

n >œ J ‰ Œ

n >œ J ‰ Œ

∑

Bass

>œ >œ

>œ >œ

∑

2

n >œ J

n >œ J

∑

F.Hn.

#œ #œ œ

‰

senza sord.

œ.

‰

f

Œ

œ.

nœ #œ œ

95

nœ J ‰ ƒ

Sempre Prestissimo

Œ

œ.

nœ #œ œ

a2

∑

C. Bn.

nœ #œ œ

a2

∑

Bsn.

nœ #œ œ

√ Œ

&b

B. Cl.

Perc.

œ.

bb

œ J

Tbn.

œ.

œ.

‰

b &bb

E. Hn.

X

404

Y

Picc.

b &bb

∑

∑

∑

1

b &bb

∑

∑

∑

2

b &bb

∑

∑

∑

∑

∑

3

b &bb

∑

∑

∑

∑

∑

1

b &bb

∑

∑

marcato

œ œ œ œ œ œ nœ œ

b &bb

œ nœ œ œ œ œ bœ œ

∑ ∑

œ nœ œ œ œ œ œ œ

œ œ œ œ œ œ nœ œ

bb

œ nœ œ œ œ œ bœ œ

∑

∑

Fl.

Ob. 2

&

E. Hn.

marcato

&

E b Cl.

1

&b

B b Cl. 2

&b

3

&b

B. Cl.

1 Bsn. 2

C. Bn.

Solo A. Sax

marcato

œ œ œ œ œ œ œ nœ marcato ƒ œ œ œ œ œ œ œ nœ marcato ƒ

œ œ œ œ œ œ œ nœ marcato ƒ œ œ & b œ œ œ nœ œ œ ƒ marcato œ œ œ ? b œ œ œ nœ œ bb ƒ marcato œ œ ? b œ œ œ nœ œ œ bb ƒ marcato >œ >œ ? bb ‰ J b ˙

&

‰

œ œ œ œ œ œ nœ œ

∑

∑

‰

∑

∑

∑

‰

‰ nœ œ J Sf ‰ œj œ Sf

∑

∑

j œ

‰

Œ

œ œ œ œ œ œ nœ œ

∑

∑

j œ

‰

Œ

œ œ œ œ œ œ nœ œ

∑

∑

œ J

‰

Œ

∑

∑

∑

‰

œ J

‰

Œ

∑

∑

∑

‰

‰

Œ

∑

∑

∑

‰

∑

∑

‰

>œ

>œ J

˙

œ

>œ

>œ

>œ

˙

˙

nœ œ œ

œ

œ

œ œ œ

œ

œ

2

&b

œ

œ œ œ

œ

œ œ œ

œ

œ

œ œ œ

œ

œ

œ

œ

3

&b

∑

4

&b

∑

1

&b

b

2

&b

b

3

&b

b

œ

œ œ œ

œ

œ œ œ

bb

Œ

‰

œ

œ

œ œ œ

œ

œ

œ

œ œ œ

œ

œ

œ œ œ

œ

œ

∑

∑

∑

∑

∑

∑

2

œ œ œ

œ

œ œ œ

Bass

? b ‰ bb

j bœ >

j œ

? b bb

2

? b bb ? b ‰ bb

D.B.

∑

œ œ œ

? bb œ b

1

œ œ œ

œ

œ œ œ

œ > f

œ J

∑

œ

Tba.

˙

˙

U

∑

U ˙

˙

˙

U ˙

˙

˙

˙

U ˙

˙

˙

˙

U ˙

˙

p p p

π π

œ

˙ π

œ

œ ‰ J

#œ J Sf

œ

˙

œ

œ J ‰

˙ p

˙

˙ p

˙

˙ p ˙ p

j œ œ Sf œ J Sf

œ

œ J Sf

œ

j œ œ Sf

p

∑

œ >

∑ >œ

œ

œ œ œ

œ

œ

œ

œ

œ œ œ

œ

œ

j œ >

œ

œ >

œ >

œ

∑ ∑

b >œ J

f

œ

œ J

>œ

∑ ∑

>œ J

œ

>œ

>œ

œ

œ. J ƒ . ‰ œJ ƒ ‰

œ. œ. œ.

. . . œ. # œ. # œ œ œ

œ. œ. œ.

. œ. # œ. # œ. œ. œ

> > ‰ j œ œ œ > ƒ > > ‰ j œ œ œ > ƒ ‰ œj œ œ œ . . . . ƒ ‰

j œ. œ. œ. œ. ƒ

œ. ‰ J ƒ œ. ‰ J ƒ

œ > œ >

œ > œ >

>œ

# >œ

˙

˙

˙ π

˙

U U

j ‰ Œ œ

>œ

# >œ

. œ. n œ. # œ. œ. œ . œ. n œ. # œ. œ. œ

œ

œ ‰ J

∑

‰ n œJ S

œ

œ J S

œ

‰

∑

∑

‰

∑

∑

‰

œ. œ. œ.

. œ. n œ. # œ. œ. œ

œ. œ. œ.

. œ. n œ. # œ. œ. œ

∑

∑

∑

∑

‰

∑

∑

‰

∑

∑

∑

∑

2

ã

∑

∑

∑

∑

∑

ã

∑

∑

∑

∑

∑

411

412

413

414

415

j œ œ S

‰ bœ œ J S ‰ œj œ S

∑

∑

œ π

j œ œ S œ œ ‰ J S

∑

ã

j œ œ S

‰

‰

j œ œ S j œ œ S œ J S

œ

j Ͼ Ͼ Sf 416

œ ‰ J

∑

j œ ‰

∑

Ï

subito

∑ ∑ ∑

œ

œ ‰ J

U

œ

j ‰ œ

∑

π

œ

π

œ π

∑

j œ ‰

∑

˙ π

˙

˙ π

œ

˙

˙

π

˙æ π

∑

∑

∑

∑

∑

U

∑

U

∑

∑

U

∑

∑

U

∑

∑

U

j ‰ Œ œ ∑

U

˙

∑

∑

∑

418

∑ œ J

U

∑

U

∑

j U œ ‰ Œ

˙æ

∑

U

j ‰ œ

∑

417

∑

∑

∑

œ ‰ J

∑

U

U

œ J ‰

∑

U

j œ ‰

˙ π œ

∑

U

œ

π

scherzando

∑

˙ π ˙

p

œ œ œ. . #œ

U

U

π

∑

Sempre Prestissimo , œ

œ ‰ J

Œ

Bass Dr.

∑

œ

∑ ‰

U

˙

Cym., soft mallet (choke)

y J

˙

π

˙

œ

‰

U

U

˙

‰ nœ J S ‰ œJ S

π

˙

˙

∑

π œ

U ˙

π

œ J ‰

œ

∑ ˙

U

œ

π

∑

˙ π

œ

S

U U

nœ J

‰

∑

˙ π

˙

˙

∑

˙

˙

˙ π

U

˙

˙

p

π

˙ π

˙

p

˙

π

œ J Sf

p

∑

˙

π U ˙

œ

j œ œ Sf

∑

˙

œ J Sf

˙

1

3

‰

∑

molto

œ œ œ

Perc.

∑

œ œ œ œ œ nœ œ œ

? b œ bb

Tbn.

∑

Œ

œ J

p ˙

œ

‰

˙

œ

œ J Sf

j œ

œ J

œ

‰

œ

1

nœ J Sf nœ ‰ J Sf ‰

∑

nœ œ œ

&

∑

œ

œ

4

∑

∑

œ J Sf

&b

F.Hn.

∑

‰

1

B b Tpt.

∑

Sempre 96 Prestissimo

419

‰

Œ ∑ ∑ ∑ 420

97 Picc.

1

Fl.

2

3

1 Ob. 2

b &bb b œ &bb

‰

∑

b œ &bb

œ J

‰

∑

b œ &bb

œ J

‰

b œ &bb

œ J

b œ &bb

œ J

b

&b

œ

B b Cl. 2

&b

3

&b &b

B. Cl.

F √ . œ J ‰ p

œ.

œ.

œ.

œ.

œ. J œ.

‰

Œ

œ.

œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

‰

∑

∑

∑

∑

‰

∑

∑

∑

∑

œ

j œ ‰

œ œ

‰

œ. J F

œ.

p

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

j œ. ‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

j ‰ Œ œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

j ‰ œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

j ‰ œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

1

∑

∑

2

? bb œ b

œ J

‰

∑

∑

∑

∑

∑

œ œ œ œ œ œ œ œ

&

∑

∑

∑

Solo A. Sax

∑

∑

∑

∑ œ.

∑

∑

‰

b

∑

∑

‰

? bb

Œ

∑

∑

? bb

C. Bn.

j œ. ‰

∑

∑

œ J

Bsn.

œ.

∑

∑

œ

b

∑

∑

∑ œ J

œ. J

∑

∑

1

‰

∑

∑

&

E b Cl.

∑ œ J

&b

E. Hn.

∑

œ œ œ

œ.

œ. p

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ. J ‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ nœ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ j ‰ ‰ j œ œœœ œ œ œ œ œ œ œ œ œ œ œ > œ œ œ cresc. molto [p ]

œ

œœœ œ

1

&b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

2

&b

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100 APPENDIX A PUBLISHER PERMISSION FOR THE USE OF COPYRIGHTED MATERIALS

                                               

   

101                                  

   

102 APPENDIX B CRITICAL REPORT: I. RECITATIVE Abbreviations in the Score and Critical Reports BCl Bass Clarinet Bsn Bassoon BTbn Bass Trombone CBn Contrabassoon Cl B-flat Clarinet CrCym Crash Cymbal DB Double Bass Dr Drum Ecl E-flat Clarinet EHn English Horn Fl Flute Glock Glockenspiel Hn Horn in F LV Let Vibrate m/mm Measure(s) Ob Oboe Perc Percussion Picc Piccolo RS Rim Shot SusCym Suspended Cymbal Tbn Trombone Tb Tuba Timp Timpani Tpt Trumpet WdBlck Wood Block Xylo Xylophone  

Measure 1

Beat 1

1

1

1-3

1

Instrument(s) Alteration Fl1, Tp4, Added accent Tbn1-2, BTbn, Tb1-2, DB, Timp Hrn1-4 added "pesante e marcato" Glockenspiel

Changed tremolo to a roll

   

Justification Missing to be consistent with other parts Missing from part, edited to match instruction in trumpet score/parts Modern notation practice for percussion.

103 Measure 1-3

Beat 3

Instrument(s) Alteration All parts added breath mark

2

1

added accent

2

4

Tbn2, Tb1, Timp Tp1-2, Hn3

3

1

Timp

added accent

3

3

Fl1

3

4

3

3

Fl1, EHN, Ecl, Cl1-3, Hn3 Hn4

moved beginning of slur to next note added tenuto marking

3

3

CBn

4

1

BCl, Bsn1-2, CBn, Tb2, DB

5

1

Hn1

5

1

Tp3-4

5

1

6

2

6 6

3 3

Woodwinds, Tp1, BTbn, Tb1-2, DB, Timp Ob1, Hn1-3, Tbn1-2, BTbn Bass Drum All parts

added tenuto marking

deleted accent, added tenuto marking deleted slur that went to m.4.4 added "espress." moved slur ending to previous note deleted "ff"

Missing from part, is present in score Incorrectly written in part Incorrectly written in part Context would have entire ensemble, not just melodic parts, play espressivo. Incorrectly written in part

added accent

Not present in score or other parts Uniformity

added accent

Uniformity

added accent added breath mark

Uniformity Breath marks present in some parts but inconsistently applied. Recordings support performing the phrases in this manner.

   

Justification Breath marks present in some parts but inconsistently applied. Recordings support performing the phrases in this manner. Missing to be consistent with other parts Missing to be consistent with other parts Missing to be consistent with other parts Incorrectly written in part

104 Measure 6

Beat 4

6-7 7

Instrument(s) Picc, Fl1-3, Ecl, BCl, Bsn1-2, CBn, Hn4, Tbn1-2, BTbn, Tb1-2, DB Bass Drum

1-4

8

BCl, Bsn1-2, CBn, Hn4, Tbn1-2, BTbn, Tb1-2, DB 1.5-3 Snare Drum

9

4.5

10

10 10

1.5 2-3

Picc, Fl1, Ob1-2, Bsn12, CBn, Tp14, Hn1, Hn4, Tbn1-2, BTbn, Tb1-2, DB Field Drum

Cl2 DB

Alteration unified tenutostaccato articulation pattern

Justification Articulation pattern was written through in trumpet parts, others showed similar beginning

added accents

Uniformity with timpani and other bass voices Articulation pattern was written through in trumpet parts, others showed similar beginning

unified tenutostaccato articulation pattern tied dotted quarter to following note, removed accent from beat 3 removed tenuto articulation markings

Matches Field Drum, the rolls now will release together

moved from Perc 2 to Perc 1

With Field Dr. appearing two measures prior in Perc1, it makes more sense for this measure to be in same part. Incorrectly written in part Missing to be consistent with other parts Style indication more specifically informs performers how their part relates with the wind parts Missing from part, is present in score Now matches upper woodwinds and is consistent with reappearance in m.19 This shows the placement of the fermata with more specificity for all players, as well as creating uniformity on the score.

removed tie added crescendo marking added articulation markings

12-23

Percussion

16

BCl

Added “1 only”

BCl, Bsn1

changed staccato to tenuto

All resting parts

changed rests from one whole to two half rests

17 17

1

   

Removed to match score, markings were also redundant with "tenuto" written in parts

105 Measure 19

Beat 3.5

Instrument(s) Alteration Ob1 added piano marking

19

3.5

BCl

deleted "p"

20

1

BCl

24

1

DB

changed staccato to tenuto changed "pp" to "p"

26 26

BCl 4

26 27

1

27 27 27

1 1 4

27-28

Tb2

added piano marking, breath mark, and decrescendo added breath mark

DB

added tie

Tbn1-2, BTbn, Tb1-2, DB DB Timp Hn2-3, Tbn12, BTbn, Tb12 Glockenspiel

added accents

27-28

3

All parts

28

1

28

1

Picc, Fl1-3, Ob1-2, EHN, Ecl, Cl1-3, Tp2, Hn3-4 Tbn1-2, BTbn, Tb1-2

added "ff" changed "fff" to "ff" Changed to tenuto markings changed tremolo to a roll added breath mark

added crescendo marking changed to accents

   

Justification Missing from part, is present in score Unnecessary duplication since this voice just played 3 measures before and the only reason Ob1-2 and EHN have "p" is they are joining. Flutes do not have additional dynamic markings here. Incorrectly written in part Changed to match other parts Missing to be consistent with other parts Missing to be consistent with other parts Makes it consistent with timpani, and the breathrelease of low winds above This makes it consistent with above voices and m. 1 missing from part Uniformity Makes consistent with corresponding opening in m. 1 Modern notation practice for percussion. Breath marks present in some parts but inconsistently applied. Recordings support performing the phrases in this manner. This makes performance similar to appearance at beginning. Makes consistent with corresponding opening in m. 2 Makes consistent with corresponding opening in m. 2

106 Measure 28

Beat 3

Instrument(s) Alteration Tp1-2 added tenuto marking

28

4

Bsn1-2

added tenuto marking

28

4

Tbn1

added breath mark

28

4

DB

28

4

Hn1, Hn 3

28

4

29

1

Woodwinds, DB All Winds

Changed accent to tenuto deleted tenuto marking added "mf"

29

1

Ob1

29 30

1 4

30

4

EHN, BCl, Hn1, Hn3, Tbn1-2

added accents

30 31

4 2

deleted "espress." added "espress."

31

4

EHN EHN, BCl, Hn1, Hn3 Tbn1-2

32

3

Replaced "sf" with accents

33

1

33

4

CBn, Hn2, Hn4, Tbn1-2, BTbn, Tb1-2, DB, Per Hn1, Hn3, Tb2 Hn2, Hn4, BTbn, Tb1

changed/Added "espress."

moved beginning of slur to previous note Timp, Bass Dr changed "f" to "mf" Hn3, Tbn1-2 deleted "f" and "marcato"

Replaced "sf" with accents

added "molto" to "dim." added "molto dim."

   

Justification Missing to be consistent with other parts Missing to be consistent with other parts Missing to be consistent with other parts Incorrectly written, should match other low voices Unnecessary and inconsistent with other parts Missing from parts Some parts had 'cantabile,' but in being consistent with replicating the opening, espressivo would be more appropriate Incorrectly written in part Makes consistent in context Adding accents achieves consistency with other parts and desired musical effect Achieves desired musical effect with more specificity and consistency than previously written in score/parts Incorrectly written in part Missing to be consistent with other parts Creates better consistency with this musical material, mm.31-33 Creates consistency between parts and with this musical material, mm.31-33 Makes consistent with musical material Missing from part, makes consistent with other parts and musical material

107 Measure 33-34

Beat

Instrument(s) Alteration Hn 2-4, Tbn1 deleted decrescendo markings

34

1

Tp1

deleted "dim"

34

1

Bass Drum

34

2

34 34

2-4 3-4

BTbn, Tb1-2, DB Tb1-2 Tbn1

replaced decrescendo marking with dim. Molto added "mf"

34

3-4

35 35 35

1 1 1

BCl, Bsn1-2, CBn, Tp2-4, BTbn, Tb1-2, DB BCl, Tp1 Tp2, Hn 4 Hn1

35

3.75

All Winds

added "poco marcato"

35

3.75

BCl, CBn

deleted "p"

Percussion

added articulation markings

35-44

added tenuto marking added decrescendo marking decresc formatted to go from beat 3 to the barline Added "p" Added "pp" changed "pp" to "p"

36

1

Bass Drum

added "pp"

38

1

Bsn2, DB

changed to/added "p"

41 44

2.75 3-4

44

3-4

BTbn Fl1, DB, Bass Drum CBn

added "pp" added decrescendo marking added "pp", deleted decrescendo marking added staccato/tenuto articulations

47-48

Woodwinds, DB

   

Justification Redundant with "dim. molto" instructions and inconsistent with other parts Not present in score, inconsistent with other parts Makes it consistent with other parts Missing from part, makes consistent with other parts Missing from parts Missing from part Brings consistency and specificity to the parts, where as previous instructions were vague. Missing from parts Missing from parts Low brasses are scored softer than middle/upper brass and low reeds. Change makes scoring consistent. Was in Tp1, but should have been copied to all parts for consistent performance Redundant instruction in same measure Style indication more specifically informs performers how their part relates with the wind parts Missing from part, indicated in the score Incorrect in part/Missing from score. Missing from part Missing from parts Incorrectly written in part Missing from parts, makes consistent throughout ensemble

108 Measure 45 45

Beat 1 1

Instrument(s) Alteration Ob1, EHN changed "p" to "mf" Timp added "p"

45

2

CBn

changed "marcato" to "staccatissimo"

46-47

Tuba1

46-49

Wood Blck, Snare Dr.

46

Bsn1-2

deleted "mf," "staccato," and "marcato" added "sf" to all notes Given the context, these notes should match the articulation style of the horns and reeds above. Notes in m.45 were already indicated. deleted decrescendo Not present in score or other markings parts changed "p" to "mf" Incorrectly written in part added "mf" Makes consistent with clarinet parts deleted staccato Redundant instruction with markings "staccato" written, also would not match similar parts to have articulations on the notes. changed "p" to "mf" Makes consistent with clarinet parts deleted "mf" and Redundant instruction since "staccato" the part is already playing piano and staccatissimo. deleted "mf" Unnecessary duplication added tenuto Provides clear style markings to eighth instruction to all voices, notes score/parts previously only indicated in EHN changed accent to Given musical context, it staccato seems more appropriate for both sixteenths to be similar in articulation changed accents to Makes consistent with staccato corresponding voices changed staccato to Makes consistent with accents corresponding voices deleted cresc marking Unnecessary duplication

50 50

2 2

50-52

Ecl, Cl1 Bsn1 BTbn

51

1

EHN

51

1

CBn

51 3.5 51.4-52.3

Bsn1 EHN, Cl1-3, Bsn1

51

4.25

Hn1-4

52

1-3

Hn 2

52

3

Hn2, 4

52

3

BCl

   

Justification Incorrectly written in part Missing from part, is present in score Incorrect in part, now matches similar voices in style Incorrectly written in part

109 Measure 52.4-54

Beat

Instrument(s) Alteration BTbn Removed notes

53

3.5

54

2

EHN, Ecl, Cl1-2, Bsn2 Hn1-4

54

3

Field Drum

55

3

added decrescendo marking deleted crescendo marking Added "a tempo"

56

4.5

All resting parts

added fermata marking

57

4.5

All parts

removed "mf"

57

4.5

Tbn1

added "ff"

Tbn2

Added all musical material

57-60

added tenuto marking

59

1

Bsn1-2

added "dim. molto"

59

4

Bsn 2

deleted "dim."

59

4

BCl, Tp1-2

59

4

Cl1-3

deleted decrescendo Markings added tenuto marking

59

4

Cl 3

changed "pp" to "p"

59

4

Crash Cymbals

changed instrument designation to "Crash Cym"  

 

Justification Part indicates "tacet," but it is above a realistic playing range where the instrument can contribute musically Missing from part, makes consistent with other parts Missing from part, makes consistent with other parts Redundant instruction in same measure Score/parts uses dashes to show duration of ritardando, an "a tempo" is required to demonstrate where to resume tempo. This shows the existence and placement of the fermata with more specificity for all players, as well as creating uniformity on the score. Score does not indicate a lessening of the dynamic level until the end of m.58. The entrance of trombones is indicated at "ff" Missing from part, indicated in the score Score indicates both parts to have this material, it was not copied into the second part. Missing from parts, makes consistent throughout ensemble Redundant instruction in same measure Redundant instruction in same measure Missing from part, makes consistent with other parts Makes consistent with corresponding voices "Cymbals (clashed)" is outdated terminology for contemporary percussion.

110 Measure 60

Beat 1

60

1

Instrument(s) Alteration Fl2-3, EHN, added tenuto marking Ecl, Cl1-3, Tp1, Hn1-4, Tbn2 BCl, Hn1 added "dolce"

60

2

Tbn1

changed "pp" to "p"

60

3

Fl3

deleted decrescendo marking

60

3

Ob1-2

added tenuto marking

60

4

added tenuto marking

60, 61

4

Fl1-3, EHN, Ecl, Cl2-3 Cl1

60-62

BCl, Bsn1

added tenuto marking

60-62

Tb1

Deleted notes

60-62

Tb2

Changed rhythm

61

1.75

EHN, Hn1, Tbn1

added staccato articulations changed from accent to staccato accent

61 61

2 3

EHN, Hn1 Ob2

added cresc marking added tenuto marking

61

4

Cl1-3

added tenuto marking

   

Justification Makes consistent with other parts and ensemble style Missing from part, makes consistent with other parts Makes consistent with corresponding voices Not indicated in other parts, no other specific musical direction given to these particular musical elements, contextually out of place. Makes consistent with following measures and similar material Makes consistent with other parts and ensemble style Previously a single eighth, changed to match rest of ensemble, single eighth out of place in context BCl had some tenuto markings indicated, this makes consistent performance between the voices matches style of the musical material Though material copies Tb2, score indicates to be played by second only. Missing from part, indicated in the score Incorrect in part, score indicates the staccato marking, this more closely matches the desire of the written instruction "un poco rilievo" Unifies the line Missing from part, makes consistent with other parts Missing from parts, makes consistent throughout ensemble

111 Measure 62

Beat 1-3

Instrument(s) Alteration Ob2 added tenuto marking

62

2

EHN

added tenuto marking

62

3

Ob1

added tenuto marking

62

3

Fl1-3, EHN, Cl1-3, Hn1

added decrescendo marking

62

3

Tb2, DB

added "pp"

62

4

Fl1-3

added "pp"

63

1

EHN, Hn1, Tbn1

added "pp"

63

1

Cl1, Cl3

deleted "dolce"

63

1

BCl, Tb2

added slur and tenuto sixteenth

63

3-4

BCl

added tenuto marking

DB

deleted "p" and "pp"

64

66

3

Tb1, DB

added "p"

66

3

Tb1-2

deleted "tenuto"

   

Justification Missing from part, makes consistent with Ob 1 and previous material Missing from part, makes consistent with other parts Missing from part, makes consistent with previous material Makes for consistent ensemble approach to "pp" marking on count 4, was indicated in Ecl and Tbn1 already Was either incorrectly assigned to the next measure, or missing in the part. Missing from parts, makes consistent throughout ensemble Missing from parts, makes consistent throughout ensemble Redundant instruction with "dolce" in m. 60 Missing from parts, makes consistent with similar voices Missing from part, makes consistent with similar voices "p" does not fit context of the music and rest of ensemble, "pp" would then be redundant if left "p" already written in Tb2 part and percussion, makes consistent with similar parts Redundant instruction with tenuto articulations on the notes

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

Measure Beat Voice 69 7 BCl

70

BCl

Change changed "p" to "pp", deleted decresc. Marking deleted "delicata mente" deleted "pp"

70

Hn1

changed "f" to "mf"

Fl1

Changed D4 to E4

74

Tb1

deleted slur

75-77

Fl1-2, CL, BCl, Bsn1, Tp1, Tbn1-2, Tb1, DB

Unified application of crescendo and decrescendo markings, "ppp," and "morendo"

77

Hn1

added "p"

77

Tbn2

80

Tbn2

added "senza sordino" Deleted music

69

74

7

6

DB

   

Justification "pp" matches other bass voices, dynamic change eliminates the need for decrescendo Not present in other parts or score. Earlier change makes this marking redundant Score indicated a lesser dynamic, given the musical context, forte seems loud/aggressive. Incorrect in part, score indicates E4 and, with some minor exceptions, this line is doubling the trumpet. Not present in score, tenuto markings provide sufficient direction for connectiveness. The slur indicated in the part did not enclose the 3-measure phrase. Parts were missing or had markings applied in inconsistent fashion. Unification and specification allows for more cohesive ensemble performance Missing from part, present in score. Missing from part, present in score. Part had Tbn1 Solo cued, Score indicates Tbn1-2 Soli. However, the Score also indicates an optional Baritone solo in place of the Tbn, in that line of thinking, I retained the instructions from the parts, a Solo for Tbn1

113 Measure Beat Voice 80 3 Tbn1

Change changed "mf" to "p"

82

Tbn1

added tenuto marking added "< >"

3

85-86

Cl1

86

3.5

Tbn1

added tie

89

1

Fl3

89

Tp2

added tenuto marking added "1 only"

89

Tp1

added "Con sord."

changed "mf" to "p" added "p"

89

1

DB

89

1

Perc2

90

1

Fl1

Changed quarter to eighth

90

1

Fl1

90

4

Hn4

deleted "mf" and decrescendo marking changed "mp" to "mf"

92

1

92

5

92

5

Ob2, Bsn 1, Perc1 Ob2, Cl1-3, BCl, Tp1, Tbn1-2

93

1

Cl1-3, BCl, Bsn1-2, CBn, Tp2-4, Hn1-4, Tbn1-2, BTbn, Tb2, DB, Timp

added "cresc" added crescendo marking Changed "cresc" to a crescendo marking added "marcato"

   

Justification Incorrect in part, score and other voices, including solo part, are piano. Missing from part, present in score. Missing from part, present in score. Missing from part, present in score. Matches Fl1 and context of the style. Missing from part, present in score. Not needed as already indicated earlier in part, but clarifies at that instance in the score that both parts are to be muted. Matches dynamics of other parts. Missing from part, present in score. Incorrect note length in part, score and Fl3 indicate eighth note duration on the downbeat. Not indicated in score or Fl2 Incorrect in part. Score and corresponding Hn3 part indicate "mf" Missing from parts, in the score, but not unified Added to unify the approach into m.93 Changed to visually match the other parts. Missing from parts, but present in EHN part and in Cl stave of score. Should have been applied for uniformity.

114 Measure Beat Voice 94 1 EHN, Cl1

Change added "mf"

94

added "dim."

3

94 94

3

94

Ob1-2, Cl1-3, CBn Hn2 Tuba 1

added dynamic markings added "p"

DB

deleted accents

95

5

Hn4

added "pp"

95

5

Hn1-2, Hn4

added tenuto marking added "a2"

95

Tb1

96

2

96

2

Bsn1-2, CBn, Hn1 Cl3, BCl

96

2

Hn4

added accent changed tenuto to accent added "(open)"

96-97

Fl1-3, Bsn1-2, CBn, Hn1-4

dynamics unified

97-98

Ecl

Deleted music

97

added "non troppo rigoroso"

   

Justification Missing from parts, present in other parts and score. Missing from parts, present in other parts and score. Missing from part, present in other horns and score. Missing from part, present in score and matches horn and DB markings. Not present in score and stylistically inappropriate for the given context. Missing from part, present in score and other parts. Present in other parts, added for visual matching. Necessitated by solo in previous measure, had not been included in score or parts. Added to create uniformity throughout the ensemble. Changed to match articulation style of the ensemble. Text instruction given to assure conductor and performer that the part is designated as open while the others are stopped on that note. Score and parts were inconsistent in application of decrescendo markings and dynamics, possibly due to limited writing space on the score and thus copied as they appeared. Score does not indicate this instrument to play, the timbre difference of the instrument wouldn't be called for in this context Present in the score, but not written in parts to indicate the use of rubato.

115 Measure Beat Voice 97 Cl3

Change replaced "un poco rubato" with "molto espress." deleted breath mark

97

Cl3

97

Cl1-3

moved "molto espress." to m.96

97

Cl3

added crescendo marking added "mf"

97

2

Cl1-3

97

2.5

Cl1-3

98

Fl1

98-99

Cl2-3

100 100

1,3

CBn

100

Tbn1-2, Tb2

100

Tbn1

101

Tp3

101

Tp4

101

Hn1-2

101

Tb2

102

2

Tp2-3, Hn1-2, Tbn1-2, BTbn, Tb2

added crescendo marking Deleted music deleted decrescendo markings added "a tempo"

Not indicated in score or other parts. Needed for spacing of all instructions for the first part of m.97 Missing from part, present in score and other parts. Missing from parts, present in score. Missing from parts, present in score. Not present in the score, and does not make sense in the given context of a clarinet soli. Not indicated in score or CL1.

Added to designate a return to a stricter tempo, leaving the measures of rubato. added tenuto Missing from part, present in marking horns, added for uniformity throughout ensemble. added tenuto Present in horns, added for marking uniformity throughout ensemble. changed "pp" to "p" Part fits context of horns and Tbn2, which are designated at piano level dynamic. added crescendo Uniformity with other parts. mark, deleted "pp" added "< >" Missing from part, matches other parts. deleted "p" and Redundant instructions with "espress." "p" given in previous measure and "< >" markings in same measure. added "p" Brings part up to dynamic level of the brass choir. added "mp Score indicates this in Tp1-2, espress." should be matches by rest of brass choir.  

 

Justification Other clarinet parts indicate "molto espress."

116 Measure Beat Voice 102 Hn4

Change changed "sffp" to "sfpp"

102

3-4

Hn1-2, Tbn12, BTbn, Tb2

added tenuto marking

103

2

Tbn2, BTbn, Tb2

added tenuto marking

103

2

Cl1

added accent

103

2.75

added tenuto

103

4

CL1-3, BCl, Bsn1 Hn2

105

3.75

Hn1-2

added decrescendo marking added tenuto

105

4

Hn1-4

added "marc."

105

6

Tbn2, BTbn

106

1

DB

moved "cresc." to next measure deleted "f"

106

4

BTbn

106

4

Tbn2, BTbn

106

Tbn1

107

EHN

107

5

Tbn1

"cresc. sempre" changed to "molto cresc." moved "molto cresc." to next measure deleted crescendo marking changed "cresc" to "molto cresc." moved "ff" to next measure

   

Justification Incorrect in part, score and corresponding voices indicate "sfpp" Missing from parts, indicated in Tp parts, brass voices should match. Missing from parts, indicated in Tp parts, brass voices should match. Missing from part, added to be uniform with other woodwind voices Indicated in the score and was in Bsn2. Missing from part, present in other parts and score. Missing from part, present in score. Designates a style change from their entrance earlier in the measure, but now matches the other brass voices. Better matches Tbn1 and upper brass voices Score and other parts do not designate this specific dynamic marking at this spot. Incorrect in part, score and corresponding voices are "molto cresc." Better matches the rest of the ensemble. Redundant with "cresc." in the same measure. Better matches the rest of the ensemble. This specific dynamic marking belongs on downbeat of m.108, no other voices are designated to play the last two beats at this dynamic.

117 Measure Beat Voice 107 5 BTbn

Change deleted crescendo marking

108

Ob1

changed "espress." to "molto tenuto"

108-110

CBn

108

deleted crescendo marking changed dynamic marking from "fff" or "f" to "ff"

108

BCl, Bsn1-2, CBn, Tp2, Tp4, Hn3, BTbn, Timp, Perc1 Tp1, Tp3, Hn2 added "ff" dynamic

108

Tp1, Tp3

added "espress."

108

Hn2, Hn4

108

Tbn1

added "molto tenuto" added "Pesante e tenuto" added crescendo marking deleted crescendo marking deleted tenuto marking

108

5

108

Tp4 Tp1, Tbn2

108

6

Hn2

109

1

Hn3

108-9

Perc.2

deleted tenuto marking deleted Bass Dr. part

110

1

Tp3-4

added breath mark

110

6

Tp2

added crescendo marking

   

Justification Redundant with "molto cresc." at beginning of the measure and no other wind parts have it written specifically over the last two beats. Incorrect in part, score and corresponding voices are "molto tenuto" Not indicated in score or other parts. Unifies the dynamics, as indicated in the score.

Missing from part, indicated in score and other parts. Indicated in score and corresponding voices. Missing from part, indicated in score and other parts. Missing from part, matches other parts. Missing from part, matches other parts. Not indicated in score or other parts. Not indicated in other parts, redundant with "molto tenuto" stated in same measure. Not indicated in score or other parts. Score and part indicate "ad.lib." to double the low reeds and brasses, but not actually written to fully double. At the given dynamics and orchestration, it is unnecessary to apply throughout. Missing from part, present corresponding parts. Missing from part, indicated in score and other parts.

118 Measure Beat Voice 110 6 BTbn 110

6

Tb2

111

3-4

Picc,Fl1-3

111

6

Tbn2, BTbn

111

6.5

Tp2

111

Tb2

112

2

Ob1, EHN

112

2

Tb1

112

4.5

BCl

113

2

CBn

113

1

Tb1

113

2-3

Tbn1

113

1-3

Tbn2

114

3-4

CBn

114

1

Tp4

114

Tbn2

114

Hn2, Hn4

115-6

BCl

Change added accent

Justification Missing from part, indicated in score and other parts. deleted tenuto Not indicated in score or other marking parts. deleted staccato and Incorrect in part, score and added slur corresponding voices slur across in this manner. added crescendo Missing from part, indicated in marking score and other parts. added breath mark Missing from part, indicated in score and other parts. deleted "tenuto' and Not indicated in score or other tenuto markings parts, tenuto previously stated just three measures prior. added tenuto Missing from part, indicated in marking score and other parts. added accent Makes consistent with BCl and Tb2 added breath mark Missing from part, indicated in score, probably to align release with other bass reed voices. added tenuto Missing from part, indicated in marking score and other parts. added accent Makes consistent with BCl and Tb2 added accent Missing from part, makes consistent with style in Tp1-2 added accent Missing from part, makes consistent with style in Tp1-2 changed from half Score indicates tied quarter note to tied quarter notes, also metrically notes demonstrates a 3+3 measure vs. 2+2+2 measure. deleted crescendo Not indicated in score or other marking parts. added "sf" Missing from part, indicated in score and other parts. added accent Unifies the articulation style with Tbn1-2 added "fff" and Not indicated in score, but crescendo marking matches other bass voices.

   

119 Measure Beat Voice 115 1 Hn1-4, Tbn2, BTbn, Tb1-2, DB

Change added "ff"

115-6

BTbn, Tb1

116

Tp1-2

deleted staccato markings added staccato markings

116

Tb1-2, DB

116

4

117

2

117

4.5

BCl

added accent

117

3-4

Tp1-2

added staccato markings

118

2.5

added accent

118

4

BCl, Bsn1-2, CBn Hn1-4

119

1

Tb1

deleted accent

120

2

BCl, Bsn1-2, CBn CBn, Tb1-2

deleted slur, added accents deleted accent

120

4

Picc, Fl1-3, Ob1-2, EHN, Ecl, Cl1 BCl, Bsn1-2, CBn, Tp1-4, Hn1, Tbn1-2, BTbn, Tb1-2, DB

added tie to next measure

Tb1

deleted breath mark

119

120

120

1

Fl1-3, Ecl, Cl1-3 Ob1-2, EHN, Hn1-3

added tenuto marking added accent added accent

added "sfz"

unified all notes with tenuto markings

   

Justification No dynamic was indicated. I did not write Hn1-3 at "fff" because, in general, brass can overplay woodwinds. Not indicated in score or other parts. Missing from part, indicated in other parts, incomplete in the score. Makes consistent previous measure Missing from part, indicated in score and other parts. Missing from part, indicated in other parts, incomplete in the score. Missing from part, indicated in score and other parts. Missing from part, indicated in other parts, incomplete in the score. Missing from part, indicated in low brass. Missing from part, indicated in other parts, incomplete in the score. Not present in score or other parts. Changed to match style of low brass. Inconsistent with majority of style markings in the score. Missing from part, indicated in score and Cl2-3 Markings in the score of this measure are inconsistent, many parts were indicated with tenuto markings, only a few bass voices had an accent on 2, or nothing. Not indicated in score or other parts.

120 Measure Beat Voice 121 1 Picc, Fl1-3, Ob1-2, EHN, Ecl, Cl1-3

Change deleted "tr" markings

121

2

added "sf"

121

2

122

1

Picc, Fl1-3, Ob1-2, EHN, Ecl, Cl1-3, Bsn1-2, CBn Tp1-4, Hn1-4, Tbn1-2, BTbn, Tb1-2, DB, Timp, Perc1-2 Hn4, Tbn1

122

1

Tbn1

added accent

Indicated in the woodwind voices, added to match style of articulation

changed "p" to "ppp" added "1 only"

Incorrect in part, changed to match score and other parts. Missing from part, indicated in score and other parts. Adding a "Div." below the staff in addition to the one above, more specifically informs the performers to divide based upon the stem directions. It is unlikely that most ensembles will have more than one or two bassists in their group, "1 only" is more appropriate in this context. Missing from part, indicated in score and other parts. Not indicated in score, not necessary since DB is already pizz. Missing from part, indicated in BCl in part and score. Not indicated in score or corresponding voices.

122

DB

"Div." added below staff

125

DB

"1 stand" changed to "1 only"

Tb1

added staccato

DB

deleted staccato markings

127

2

127-8 129

4

Bsn1, DB

129

4

DB

129

4

Timp

added "un poco marc." deleted decrescendo marking added "p"

130

1

Fl1

added "1 only"

   

Justification Redundant with a trill extension placed over the tied note from the previous measure. Indicated in the brass voices, added to match intensity of articulation.

Matches dynamic of corresponding voices. Missing from part, indicated in score and other parts.

121 Measure Beat Voice 130 1 Fl1 130

1

Fl1

Change changed "dolcissimo" to "dolce" changed "pp" to "p"

130

1

Cl3

added "dolce"

131

2

Bsn1

131

2

Bsn2

135

1

Fl1

added "pp" and "dolce" changed "p" to "ppp" added "a2"

135

2.5

Fl2-3

added "dolce"

136

Fl1

136-137

DB

added decrescendo marking deleted second part

138

BTbn

deleted "TACET"

138-142

Bsn1

Deleted music

140

2

Bsn2

deleted "dim."

140

5

Fl1

added "p"

140

5

Cl2

added "pp"

140

5

BTbn

deleted "PLAY"

Bsn2, Tp1-2, Hn2, Tb1

deleted decrescendo marking

141

   

Justification Incorrect in part, changed to match score and other parts. Incorrect in part, changed to match score and other parts. Missing from part, indicated in score and other parts. Missing from part, indicated in score and Bsn2 Incorrect in part, changed to match score and other parts. Necessitated by "1 only" previously. Indicated in Fl1, incomplete in parts and score. Missing from part, indicated in score and other parts. Not indicated in the score. Part indicated a second part to be pizz. While first arco. Nothing in the context of the music indicates the necessity for firm articulation where the pizz. notes were places Part marked TACET mm.13840, score indicates the instrument is to play. Score indicates only Bsn2 to play this line. Not indicated in score or other parts. Missing from part, indicated in score. Missing from part, indicated in score. No longer necessary since part is not TACET prior. Not indicated in score or other parts.

122 APPENDIX D CRITICAL REPORT: III. RONDO ALLA MARCIA

Measure Beat 1

Instrument Fl2-3

1

1

Perc.1

3-4

1

Perc.2

Change moved notes down an octave and added "8va" changed note head to designated rim shot added accents

3

1

Perc.3

added roll indication

4

1.5

Perc.2

added accent

4 5

1.5

Perc.1 Tp1

added accent deleted "leggiero"

5

1

Tp1-4, Hn1-4, deleted "f" Tbn1-2 Picc changed accented staccato to regular staccato Ob1-2, EHN added staccato

5-6 5-6 5-6

BCl, Bsn1-2, CBn Fl2-3

7 7

Tp4, Hn1, Tb1, DB Tp4, Hn1, Tb1, DB

7 9

2

Perc.1-3

12

2

Perc.3

changed accents to staccato moved notes down an octave and added "8va" deleted staccato added "sf" added crescendo marking added "cresc."

   

Justification Conserves space in the score and easier to read. Missing from part, indicated in the score. Missing from part, indicated in the score. Missing from part, indicated in the score. Missing from part, indicated in the score. Uniformity with other parts Not indicated in score or other parts. Not indicated in score or other parts. Matches articulation style in brass, achieves lighter style. Not indicated in part, added to match style of the ensemble. Matches articulation style in brass, achieves lighter style. Conserves space in the score and easier to read. Not indicated in score or other parts. Missing from part, indicated in other parts, ensemble uniformity. Missing from part, indicated in the score. Missing from part, indicated in the score.

123 Measure Beat 13

Instrument Perc.1-3

Change added "cresc. molto"

13

Perc.3

added crescendo marking

14

Perc.2-3

added "ff"

15

Perc.3

16

Perc.3

Changed note head to designate rim shot Changed rhythm

18

2

19

Hn3-4, Tbn12

added "ff"

Tp2-3, Hn1-4, added "ff" Tbn1-2, BTbn

19

2

Bsn, 1-2, Tp1-2

added decrescendo marking

20

1

Hn3

added "p"

20

2

Tbn1

21

1

Tp4, Hn1, Hn3

changed "mf" to "f marcato" added "pp"

21

2

Tb1

changed 'pp" to "p"

24

2

Bsn1-2, CBn, Hn3, Tbn2

added "f"

   

Justification Missing from part, indicated in the score and gives more direction to performers as to the extent and urgency of the dynamic change. Indicated in other parts, supports the "cresc. molto" marking to propel performer to ff dynamic. Missing from part, indicated in Perc.1 part and one line of score, defines the end of the crescendo. Missing from part, indicated in the score. Score indicates 3 eighth notes with the first being rolled. Missing from part, indicated in score, gives more specific instruction Missing from part, indicated in score, gives more specific instruction Missing from part, indicated in score, necessary to mimic analogous voices. Missing from part, indicated in score, necessary to mimic analogous voices. Indicated in score. Indicated in some parts, gives more specific instruction and unifies the parts. Indicated as "p" in other parts and score. Indicated in other parts, added to unify end of crescendo/entrance of Tbn2.

124 Measure Beat 26

Instrument Tbn1

27

1

Tp1-2

Change moved back crescendo and added "ff" added staccato

27

1

Tbn2

added "secco"

28

1.5

Tp1

changed B-flat4 to C5

Picc, Fl1-3, Ob1-2, Ecl, BTbn Ob1-2, Tbn12

added accents

33-4

BCl

added breath marks

33-4

Tb1-2, DB

added tenuto markings

35

Tb1

deleted "f"

35-6

BCl

changed to match Bsn

36

Tb1

added "marcato"

37-8

added staccato markings where missing added crescendo marking added accents changed staccato to accents added accent

28-30

32

2.5

38

1.5

Fl1-3, Ob1-2, Tp1-4, BTbn, Tb1 Bsn1, BTbn, DB Ob1-2, Cl1-3

38

1.5

Tp1-2

38

2

Perc.3

38

2.5

Ob1-2, Ecl, Cl1-3, Tp1-5, Hn2, Tbn2

37

added/changed to "f"

added "ff"

   

Justification Unified the approach to [B] with the rest of the brass. Unified articulation marking Missing from part, indicated in other parts. Incorrect in part, score and other voices indicate a C (concert B-flat) Not indicated in score or other parts, added to match and define the style. Missing from part, indicated in score for other parts. Creates uniformity in the bass voices for full value notes with some separation. Creates uniformity in the bass voices for full value notes with some separation. Redundant with "f" two measures prior Written part didn’t' match score or other voices. Informs performer of change in style, unifies approach with ensemble Parts inconsistent in application. Missing from part, indicated in other parts. Missing from part, indicated in other parts. Uniform style throughout. Missing from part, indicated in the score. Missing from part, indicated in other parts.

125 Measure Beat 39 1 41-43 41

1.5

Instrument Picc, Fl1-3, Perc3 Picc, Fl1-3 Fl1, Cl2, Bsn1-2, DB

41-2

BCl

42

Hn2

43

Fl1

44

Fl1, Ob1

44

Fl1

45

Cl1

45

1.5

Fl2-3, Ob1, Cl1-2

46-7

BCl

46-7

Hn1

46 48

2.5

Picc, Fl1 Bsn

Change added accents moved notes down an octave and added "8va" added "f" replaced music to double Bsn added staccato

Missing from part, indicated in score and other voices. See Critical Commentary

Missing from part, indicated in score and Hn1. added "1only", deleted Score indicates this measure staccato, added slur as the change in style for the upper woodwinds, markings in the clarinets support this notion. Move "p" to m. 43 Incorrect in part, score and other voices indicated a dynamic change in m.43. added decrescendo Missing from part, marking indicated in score and other voices. added "molto leggiero" Missing from part, indicated in score and other voices. added "pp" More clearly defines the dynamic level of the entrance following the decrescendo in m. 44 deleted material Does not fit with any other voice, not included in the score. Changed from 1 slur to Matches the slurring pattern 2 of the above woodwinds with the same line. added "espress." Missing from part, indicated in matching lines (Ob1, Cl1, Hn1) deleted "cresc" Instruction does no good as these parts are resting.

   

Justification Missing from part, indicated in other parts. Conserves space in the score and easier to read.

126 Measure Beat 48

Instrument Picc, Fl1-3, Ob1-2, EHN, Ecl, Cl1-3, BCl

Change replaced "cresc. molto" with crescendo marking

48

Hn2

added crescendo marking

48

1

Ob1

added staccato

48

2.5

BCl, Hn2, Hn4

moved "f" to next measure

49

1.5

Fl1

added "a2"

49

1.5

Hn3

changed "ff" to "f"

49

1.5

Ob2, EHN, Bsn1-2, CBn, Tbn2

added "f"

49

1.5

49

2

51

Removed "loco"

Tbn1-2, BTbn, Tb1-2, Timp. Fl1-3, Ob1-2, Tbn1

added accents

added "mf" and "ff"

53

1

DB

added "sf"

54

2

Fl1, Hn1

changed staccato to accent

55

1

DB

changed "fz" to "sf"

   

Justification Crescendo marking used to unify instructions throughout ensemble, some had the crescendo marking while others had "cresc. molto" Missing from part, indicated in score and other voices. Missing from part, indicated in the score. No other parts marked to climax on the last upbeat of the measure. Ensemble arrives together at "f" on the afterbeat of one in m.49. Necessitated by the "1 only" added in m.43 Incorrect in part, score and other parts indicated "f" Missing from part, indicated in the score and other parts. Marking was indicated in some picc, FL parts, but nothing indicated in the score. Missing from part, indicated in score for other parts. More clearly defines the dynamic parameters and matches the other parts, though these are not indicated in the score. Missing from part, indicated in the score. Incorrect in part, score and other parts indicate an accent. Incorrect in part, score indicates "sf" and now matches previous entrance in m.53.

127 Measure Beat 55 2

Instrument Picc, Fl1-3, Ob2, Ecl, Cl1

Change changed staccato to accent

56

Cl3, Hn1

added accents

56

Ob1-2, EHN

deleted decrescendo marking, added "ff"

56

Bsn1-2, Tp1

added "ff"

56

Cl1-3

added staccato

1

57 57

1 1.5

Ob1, Cl1-3 CBn

added staccato changed "f" to "ff"

57-8

1.5

EHN, Cl1-3

deleted any staccato markings

57-8

Fl1-3, Ob1-2, EHN, Ecl, Cl1-3

added "sf" to after beats where not already written

57-9

BCl, Bsn1-2, CBn, Tb1-2, DB Tb1-2, DB

added breath marks

57-9 58

58 58-60

added tenuto markings Removed "loco"

1

Hn3, BTbn

deleted "ff"

BTbn

deleted "1 only" and "a2"

   

Justification Score and other parts indicate an accented entrance. Missing from part and score, added to be consistent throughout the ensemble. Score and other parts indicate an immediate dynamic change. Missing from part, indicated in score and other voices. Missing from part and score, added to be consistent throughout the ensemble. Missing from part or score. Other parts indicate fortissimo here. Not in score. It indicates "sf" articulation for woodwinds. First measure in the score indicates more parts and second measure is indicated at top of piccolo part, I chose to carry through and unify throughout. Makes the style of performance consistent with mm.33-34. Matches style of articulation of low reeds. Marking was indicated in some picc, FL parts, but nothing indicated in the score. Redundant with "ff" two measures prior Score does not indicated 1 person, nor does it make sense in the given context.

128 Measure Beat 59-62

Instrument

Change adjusted use and placement of "dim.," decrescendo markings, and "p"

59-60

Fl1-2, Ecl, BCl, Tb1-2, DB

added staccato markings where missing

Cl1

added accent

62

BCl

replaced music with eighth note A3

63

DB

added "ff"

Hn1

added accent

Tbn1

added accents

Tb1

added staccato

Fl1, Fl3

moved notes down an octave and added "8va" changed staccato to accent added staccato markings where missing

60

64

1.5

2.5

65 65

2.5

66-71 66

1

Hn1-2

66-8

Picc, Fl1-3, Ob1-2, EHN, Ecl, Cl1-3, Tp2, Hn2-3

68-9

Hn2

added accent/staccato articulations

   

Justification Score and parts were vague and inconsistent. The desired effect is a thinning of the sound through quick but subtle change in orchestration as well as dynamic change. Missing from part, inconsistent in the score. This application unifies ensemble style. Missing from part, indicated in score and Cl2. Part doubled Ob1 an octave lower, score does not indicate for this doubling to exist, nor would the timbre blend well with the other, thinner, instrument sounds. Missing from part, indicated in the score and other parts. Missing from part, indicated in the score and other parts. Missing from part, indicated in the score and other parts. Missing from part, indicated in the score and other parts. Conserves space in the score and easier to read. Part should be the same as Tp1-4 and Hn3-4. Score and parts were vague and inconsistent. This demonstrates the clear style change from accented to staccato Missing from part, indicated in score and other voices.

129 Measure Beat 71 2

Instrument Tp1

Change changed staccato to accent

72

2

Hn2

added crescendo marking

73

2

Hn1-4, Tbn12, BTbn

added "sf"

73

2

Tb1-2, DB

added accents

76

2.5

Ob1-2, EHN

changed "mf" to "p"

77

DB

deleted "delicato"

80

Picc, Fl1

deleted "Solo"

80

Picc, Fl1

added "grazioso"

80

Fl1

added "p"

85

Cl3

deleted "Solo"

87-8

Cl3, Bsn2

added decrescendo marking added decrescendo marking

88

2

Tp3

89

1.5

Ob1-2, EHN, Ecl, Tp1

added "grazioso"

89

Tp1-4

91

Ob1-2, Ecl, Tp4

Changed "1only" bracket to "Soli-1 per part" added decrescendo marking

   

Justification Incorrect in part and score, should match woodwind voices. Missing from part, not indicated in the score, but added to match shaping given to other parts. Matches level of articulation with bass voices. Matches style of articulation of brass section. Score indicates ensemble volume at piano in all voices. Not in score, does not fit with other parts. Not actually a solo, score indicates all first flutes to play, Ob1-2 doubles at the octave. Not in part or score, added to be consistent in character with previous entrance in Ob. Missing from part, indicated in score and Picc. Not a solo, score indicates all thirds to play these measures. Missing from part, indicated in the score. Missing from part, indicated in Tp1 and other voices. Was included in Tp2-4, denotes appropriate character for the section. Score indicates a soli of all four trumpet parts with one player per part. Missing from part, indicated in the score and other parts.

130 Measure Beat 93 1

Instrument Cl1

Change added decrescendo marking added "1only/a2"markings

Justification Missing from part, indicated in other parts. Missing from part, score indicates one per part in both Cl1 and Cl2.

93-5

2

Cl2

1.5

Picc, Fl1-2, Ob1-2 Cl1-2

95

added "p"

1.5

Cl3

changed "mf" to "p"

100-3

Picc., Ob1-2, EHN, Ecl

removed staccato markings

100

picc, Ecl, BCl

added "marcato e stacc."

100

Hn1-2

removed "Stopped" indication

100

Hn1-2

105

CBn

changed "cantabile" to "dolcissimo" deleted staccato markings, replaced with "marcato e stacc." added accent

Missing from part, indicated in score and other voices. Changed to match BCl and Bsn1-2. Instruction of "marcato e stacc." provides the clearest instruction without adding articulation markings. Makes it unified throughout all parts. Missing from parts, indicated in other parts of score. Score does not indicate for horns to be stopped, and stopping the instrument at the volume, and in case of Hn2-register, would be counterproductive to good sound production. Score dictates "dolcissimo, ma ritmico." Unification with the other woodwind parts.

95

93-9

107

2.5

Ob1-2, EHN, Ecl, Cl1-3, BCl, Bsn1-2, DB, Perc1-3

107

2.5

CBn

changed staccato to accent

   

Upper woodwind parts marked with combination of one, other, or both. This unifies the style and intensity of the articulation. Upper woodwind parts marked with combination of one, other, or both. This unifies the style and intensity of the articulation.

131 Measure Beat 108

Instrument Brass

Change added "stacc."

109-10

Woodwinds

111

Hn2

111

Hn4

removed any staccato markings, added "stacc." changed staccato to accent added accents

115-6

BCl

deleted material

116

Ob1

added decrescendo marking

Cl1-2

deleted "pp"

BCl

deleted material

Picc, Fl1-3, Ob1-2, EHN, Ecl Tbn2, BTbn

added staccato

121

Picc, Fl1-3, Ob1-2, Ecl

added staccato

121-8

Tb2

moved two measures later, filling 123-30 and filled in to double DB and low reeds

123

Cl1, Cl3, added staccato Tp2-3, Hn1-2, markings Hn4

116

2

117-20

120

2.5

120

2.5

added "ff"

   

Justification This greater specifies the performance of similar passage from [B]. Unifies style with brass, and with material from [B]. Incorrect in part, changed to match ensemble. Missing from part, score and other parts indicated accented. Doesn't exist in the score. Does not make sense to double Cl1-2 at the octave when Cl3 has simplified version of the same. Missing from part, indicated in score and other parts. Dynamic marking not needed at this moment and not indicated in other parts nor in the score. Score does not indicate for BCl to play here, it is merely doubling the DB, but not the entire line. Missing from parts, indicated in other parts of score. Missing from part, indicated in other parts. Indicated in other parts, added to unify articulation style and match previous iterations at [B] and [F]. Not indicated in the score and incorrectly placed in the part. Music filled in to double and support the low voice in this thicker texture. Unifies articulation while providing the space wanted by the original use of breath marks

132 Measure Beat 123

Instrument Hn2, Hn4

Change deleted breath marks

123

EHN, Tp3-4, Hn1-2, Hn4

changed staccato to accent

123

Bsn1

deleted "f"

123

CBn

added "ff

Cl1, Cl3

added staccato markings

124

Tbn1

added "f"

125-7

Cl1-2

126-8

EHN

added staccato markings where missing added accents

127

Ecl, Cl1-2

added hairpins

127-8

Hn1-3

added accents

128

Picc

added "ff"

129

Tp2

deleted "f"

Ob2, Cl3 DB

added staccato deleted "mp"

Tb1-2

added staccato markings

124

129 129 130

2.5

1.5

2.5

   

Justification Clutters the score, space will be provided by staccato articulations. Matches articulation of Cl13 and continues the pattern of accenting the after-beat. No other corresponding voices are indicated to a softer dynamic. Missing from part, needs to enter at same dynamic level as the ensemble. Missing from part, added to match style of previously measure and following phrase. Missing from part, indicated in second trumpet, should match dynamic level. Added to match articulation style from previous measure and in brass Missing from part to maintain articulation style of the phrase and match brass. Missing from part, added to match shape of woodwinds Missing from parts to match style of other brass. Dynamic reminder, matching formatting of new entrance with flutes Redundant with "f" no dynamic change and no other dynamic reminders Missing from part. No other parks marked to be lesser dynamic. Missing from part, added to be consistent with other voices.

133 Measure Beat 131 1

Instrument Picc, Fl1-2, Ob1, Ecl, Cl1

Change added staccato markings

Justification Missing from part, indicated in other parts.

131

Hn1-4, Tbn12, BTbn BCl, Bsn1-2, CBn, DB

replaced "sf" with accented "ff" added articulation markings added crescendo marking changed accents to staccato

Unification of ensemble performance. Added to match style from previous in brass and unify within themselves. Missing from part, indicated in other parts. Incorrect in part, rest of ensemble marked with staccato. Incorrect in part. Score and other Tp voices indicate E4 on the afterbeat. Unnecessary and no other parts marked down from "ff" Parts were already marked "marcato" but not "marcato e stacc." with the others. Parts inconsistent. This seemed to be easiest manner to display marcato e. staccato in the context, leading into next phrase and lightening of style. Conserves space in the score and easier to read.

130-3 132

2

EHN

133

2

BTbn

134

1.5

Tp4

changed F4 to E4

134

2.5

Hn2

deleted "f"

135

Hn2-3

added "e staccato"

135-40

All Voices

unified staccato markings and "marc." designation

137-44

Fl2 Picc, Fl1-2, Ecl

moved notes down an octave and added "8va" changed from slur 3 notes to slur 2

Picc, Fl1-2

added breath marks

Cl1

added accent

138

1

139

139

1.5

139

2.5

140

Cl1-3, Tp4, Hn2 1-2.0 Tp1, Tp4

added staccato added staccato

   

Score and Cl1-3 indicated slurring the first two with the third note articulated. Matches style of other woodwinds and brass. It also makes it analogous with previous iteration. Missing from part. Indicated in other parts. Missing from part, indicated in other parts. Missing from part, indicated in other parts.

134 Measure Beat 140 2.5

Instrument Ecl, Cl1

141

Fl1, Fl3, Ob1- deleted "dim." 2, EHN, Ecl, Cl1-3

142

Bsn2

changed "mf" to "p"

143-4

Cl2

added decrescendo marking and "pp" changed "mf" to "p"

143

2.5

Tbn1

145

1

145

2.5

Ob1, Ecl, Bsn1 Bsn1

147

1

Ecl, Cl1-3

147

2.5

Fl1, Cl2

148

Fl1

150

picc, Fl1, Cl2

152

2.5

153

2.5

Tp1, Tbn1, BTbn Tp1-2, Tbn1, BTbn, Perc.3

Change added accent

added staccato markings added staccato markings added staccato markings added staccato markings deleted "loco" added decrescendo marking changed "mp/mf" to "p" deleted breath marks

156

Tbn1, BTbn

added "Senza sord."

157-8

Cl2

160

Ecl

deleted decrescendo markings deleted "Solo"

162

Cl2

removed "a2"

   

Justification Missing from part, indicated in the score and other parts. Redundant with decrescendo markings already present or being replaced with markings for unification. No other motor-rhythm voices designated at that volume Missing from part, indicated in Cl1 and Cl3. No other voices designated at that volume. Missing from parts, indicated in other parts. Missing from parts, indicated in other parts. Missing from part, added to match style of downbeat with other woodwinds Missing from parts, indicated in other parts. Not indicated in score or other parts. Missing from part, indicated in other parts. Score indicates all voices to be piano. Staccato marking will provide enough space, breath mark is just confusing in that place. No indication was given in the part. Not indicated in score or other parts. The part is doubled by the flutes in octaves. The part indicated all Cl2 to play again, but score indicates tutti later.

135 Measure Beat 164

Instrument Bsn1-2

165

Cl3, BCl

165-7

Fl3

167

Cl1

added staccato markings added "p"

167

Cl2

deleted "p"

168

Picc, Fl1-3, Ob1-3

added staccato markings

168

Bsn1-2

added "p"

169-174

Tbn1

notes adjusted

170

Picc, Fl1-3, Ob1-2 Cl1

added staccato markings added "solo"

170

Cl1

added "mf"

Cl1

added accent

172

Bsn1-2

173

Perc. 2

added staccato markings added "p"

174-5

Ob1-2, Bsn12

added staccato markings

176

Ecl

deleted crescendo marking

176

Cl1

added "pp"

169

171

1

1.5

Change deleted decrescendo markings deleted "p"

   

Justification Not indicated in score or other parts. Not needed since marked 2 measures prior. Missing from part, indicated in other parts. Missing from part, indicates entrance at a new dynamic level. Not needed since marked 4 measures prior. Missing from part, indicated in score for other parts. Needed to adjust dynamic from previous entry and match ensemble. Part did not indicate correct pitches because it was missing the tenor clef. Missing from part, indicated in other parts. Missing from part, indicated in the score. Missing from part and score, indicated in other parts. Added to match corresponding appearance in m.174. Missing from part, indicated in Ob. Missing from part, indicated in score. Missing from part, added to match articulation of previous measures. Not indicated in score, performer will likely naturally crescendo to produce the leap. Missing from part, gives more specific dynamic instruction.

136 Measure Beat 177 1.5

Instrument Tbn2

179

Fl1

179

Cl2

179

1.5

179 180 180

DB 1

183 188

DB Cl1 Cl3

2.5

188 190

Bsn2

Cl2-3, Bsn1

BCl, Hn3-4. 1.5

BCl

191

Hn3-4

192

Perc. 1

192

DB

192 193

2.5

Tp2 Hn1-2

Change changed E4 to D3

Justification Score indicates D4, matches Tp2 at the octave. added "espress." Missing from part, indicated in score and other parts. changed "dolce" to Changed to match Fl1-3, "espress." unified approach to performance. added decrescendo Indicated in score and to marking and "p match DB added articulation Missing from part, markings indicated in score and Bsn2 changed "pp" to "p" Changed to match Bsn2. added "mf scherzando" Missing from part, indicated in the score. deleted "Solo" Score indicates all Cl3 to play. deleted breath marks Breath marks not needed to create space. Also changed to match corresponding appearance before [I] added "marc." Missing from part, added to match style of other voices. changed A-flat3 to G3 Score indicates this note, which then fits with DB doubled at the octave for this measure. added "Senza sord." No indication was given in the part. deleted "Solo" It's not a solo, and this term no longer used to indicate the performer will be the only one sounding at that point. "1 stand" changed to It is unlikely that most "1 only" ensembles will have more than one or two bassists in their group, "1 only" is more appropriate in this context. changed "mp" to "p" Score indicates piano dynamic for this solo. added "marcato" Missing from part, added to match style of Ob1-2  

 

137 Measure Beat 199

Instrument Bsn

Change added "solo"

200-5

BCl

deleted material

204

Bsn1 Cl1

added decrescendo marking and breath mark added accent

205

Bsn1

changed last two notes

206

Fl2

moved notes down an octave and added "8va" changed "p" to "mf"

205

206

1

2.5

Ob1-2, Cl1-2

206-9

Cl3, CBn

added staccato markings added "marc."

207

BCl

210-11 212

Cl2-3, Bsn12, CBn All Parts

added staccato markings added staccato markings

214-24

All Parts

215

Unified application of dynamics and decrescendo markings deleted decrescendo markings

216

2

Ecl, Tp1-2, Tbn1-2, BTbn, Tb2 Fl1-2

216

2

DB

added "sf"

217

Ecl

deleted "pp"

217

Tp2, Tbn1-2, BTbn, Tb2

deleted decrescendo markings

added "p"

   

Justification Missing from part, indicated in the score. Part has nothing to do with anything else. Missing from part, indicated in score. Missing from part, indicated in score and Bsn1 Changed from E-flat-D to D-B-flat to match Cl1 at the octave. Conserves space in the score and easier to read. Indicated in score and other upper woodwind parts. Missing from part, indicated in other parts. Missing from part and score, indicated in all other parts. Missing from part, indicated in other parts. Missing from parts/score, added to maintain style of the phrase. See Critical Commentary

Not indicated in score and not needed for dynamic effect. Added to ensure clarity of attack throughout. Missing from part, indicated in score. Inconsistent with other parts. Not indicated in score and not needed for dynamic effect.

138 Measure Beat 219 1

Instrument BCl

Change changed "sfp" to "p"

219

1

DB

added "sf"

225

1.5

Fl1-3, Ob1-2, EHN, Ecl, Tp2-3, Tbn1, DB

added accents

225

1.5

Tb1-2

added "sf"

Tbn1

changed staccato to accent unified accented "sf"

226 227

1.5

All Parts

231

1

Fl1-4, Cl1-3, Bsn1, Hn1, Tbn1-2, BTbn, DB

added breath mark

231

2

Cl1

changed "ppp" to "pp"

232-3

Fl1

232 233

2

BCl Cl1-3, Bsn1, Tp1-4, Tbn2, BTbn, DB, Perc1

changed "pp" to "p", added expressive dynamics deleted "Solo" added breath mark

234

1

picc, Fl1-3, Cl2, BCl, DB

added "pp"

   

Justification Changed to match corresponding CL and FL parts. Missing from part, indicated to match brass articulations and previous entries. Added to unify style of articulation with those voices in which it was already indicated (Cl1-3, BCl, Bsn1-2, CBn, Hn1, Tbn2, BTbn, Tb1-2 Missing from parts, added to unify intensity of articulation with rest of ensemble. Inconsistent with other parts. Inconsistently applied in score/parts. Specifies the release of count 1 and entrance of beat 2 for all involved. Changed to match rest of ensemble, sound will still be less than others because of tessitura and orchestration. Missing from part, indicated in BCl. Part is doubled with Fl1. Specifies the release of count 2 and entrance of beat 1 for all involved. Missing from part, only specified in Bsn 1. Specifies ensemble dynamic.

139 Measure Beat 236

Instrument picc, Fl1-3, Cl1-3, BCl, Bsn1, Tbn1, BTbn, Perc.1

Change added breath mark

Justification Specifies the release of count 1 and entrance of beat 2 for all involved.

236

1

Cl2-3

changed eighth note to quarter note

236

2

Cl1

changed "ppp" to "pp"

236

2

BTbn

moved "a2" to m.253

Hn1-2, Tbn12, BTbn

added "stacc."

Woodwinds

added "stacc."

257

Woodwinds

added accents

258-9

Bsn1-2

261-3

Fl2

Incorrect in part, score and other voices indicate quarter note value. Changed to match rest of ensemble, sound will still be less than others because of tessitura and orchestration. Part incorrectly noted when all bass trombones were to perform. Missing from part, indicated in score and other parts. Missing from parts, needed to match brass style and previous appearances at [B], [F], [G], and [H]. Missing from parts, needed to match brass style and previous appearances at [B], [F], [G], and [H]. Missing from part, indicated in other parts. Conserves space in the score and easier to read.

253 255

3.5

261

2

Tp2

261

2.5

Fl1-2

added staccato markings moved notes down an octave and added "8va" added decrescendo marking added "mf"

262

1

Fl1-2

added "cresc."

Bsn1

added tenuto markings

Fl1-2

slurring pattern changed

262 263

2-3

   

Missing from part, indicated in score. Missing from part, indicated in score. Missing from part, indicated in score. Missing from part and score, indicated in Cl3 Incorrect in part, score and other parts indicate longer slur.

140 Measure Beat 263 2-3

263

Instrument Picc, Fl1-3, Ob2, BCl, Bsn1-2 Cl3, Bsn1

Change added crescendo marking added accents

263

1.5

Cl2

added "ff"

264

1

Fl1-3, Ob1-2, Ecl, Cl1

added staccato markings

264

1

264

2.5

Cl2, BCl, added accent Bsn1-2 Tbn1-2, BTbn changed accent to staccato

264-7

Tb1

deleted material

265

1.5

Tbn1-2, BTbn changed accent to staccato

265

2

Tp1-2

added "f"

265

2

Tp1-3

added "leggiero"

266

2.75

Tp4

added accent

267

2.5

picc, Fl1-3, Ecl, Cl1-3

added "ff"

268

1

Woodwinds

added "leggiero"

269

1.25

picc, Fl1, Ecl, Cl1-3

added staccato markings

BCl

added staccato markings

269-71

   

Justification Unifies and reinforces the crescendo marked in earlier measures. added to counter the opposing accents in BCl, Bsn2 Missing from part, indicated in other parts. Missing from part and score, indicated in Cl2 in score. Missing from part, indicated in score. Changed to be similar to corresponding entrances to follow in other voices. Does not fit with any other voice, not included in the score. Changed to be similar to corresponding entrances to follow in other voices. Missing from part and score, indicated in Tp3 and at same dynamic as earlier entrance by trombones Missing from part, added to match corresponding entrances Missing from part, indicated in score and other parts. Missing from part and score, indicated in Ob/EHN voices. Missing from part and score, added to match corresponding entrances. Missing from part and score, indicated in other parts. Missing from part and score, indicated in other parts.

141 Measure Beat 270

Instrument CBn

Change added "marc."

270

2.25

Hn1-4

added staccato markings

271

1

picc, Fl1-3, Ob1-2, Ecl

added staccato markings

271

2.5

Ob1-2, Cl2-3

deleted decrescendo markings

Tuba1

deleted material

272-3 272

1

272

picc, Fl1-3, added staccato Ob1-2, Ecl, markings Cl1-3 Tbn1-2, BTbn added "marcato"

272

1.5

BTbn

added "ff"

272

2

274

1

picc, Fl1-3, Ecl Picc, Fl1-3, Ob2

added staccato markings changed all durations to eighth note

274

1

Ecl, Cl1-3

274

1

Hn1

added staccato markings added "ff"

274

2.5

Bsn1-2, DB

added "ff"

274

2.5

CBn

changed "f" to "ff"

   

Justification Missing from part, indicated in other parts. Missing from part and score, added to match corresponding entrances. Missing from part and score, indicated in other parts. Not needed to produce crescendo into downbeat. Reinforcing what will naturally happen may create an over-emphasis of the higher note in the leap, resulting in a shrill downbeat. Not in score and not related to any other part. Missing form part, added to continue style of the phrase. Not indicated in part, added to match style of Bsn. Missing from part, indicated in score and other parts. Missing form part, added to continue style of the phrase. Score indicates sixteenth, but ending of the phrase on the downbeat should be matched by all voices. Missing from part, indicated in other parts. Missing from part, indicated in score and other parts. Missing from part, added to match dynamic level of other voices. Changed to match rest of ensemble.

142 Measure Beat 274 2.5

Instrument BCl

Change changed slur

274-6

Tb1

deleted material

275

1.5

DB

deleted staccato

275

2

BCl

changed articulation

276

Hn1-4

removed staccato markings and "dim"

277

DB

added "dim."

277

Perc. 1

278

1

Tp4

deleted decrescendo marking added "pp"

278

1

DB

added "p"

279

Bsn1

added decrescendo marking

279-81

Picc

transposed octave up

282-5

Tp2-3

added staccato markings

285

Ob1

285

Ob2

added "dolce e leggiero" deleted "p"

286

1

EHN

added staccato

286

2

Ob1

added breath mark

   

Justification Articulation incorrectly printed in part, should match Bsn1-2/CBn. Not indicated in score, doesn't fully double the voices (simplified version), and not needed to double. Not indicated in score, removed to match other voices. Removed staccatos and slurred to match other voices. Staccato not in score or corresponding measures, "dim." redundant with decrescendo marking. Missing from part, indicated in score. Redundant with decreasing dynamic instructions. Missing from part, indicated in score. Missing from part, indicated in score. Not in score or part, added to be unified with Bsn 2 part. Incorrect in part, score indicates octave higher. Missing from part and score, added to be consistent with Tp1. Missing from part, indicated in score. Redundant with "p" earlier and no change in ensemble dynamic. Missing from part, indicated in other parts. Missing from part, indicated in Picc and Fl1

143 Measure Beat 286 2.5

Instrument Change Picc, Fl1, Ob1 added "espress."

287-8

BCl

289

woodwinds

289

1

Hn1

289

1

Hn2

289

2.5

Hn2

289

2.

Ob2, EHN

290-1

All Parts

290

Perc.1

294-5

All Parts

297

Hn3, DB, Perc1

298

Woodwinds, Tp1-4

298-300

Fl2-3, Ob2, EHN, Ecl, Cl1-3, Bsn12, Tp1-4, Hn1-2

299-300

Hn2-3

299-300

EHN

301-2

All Parts

Justification Missing from part, indicated in Hn and added to be consistent with earlier entrance in m.46. deleted material Not in score and not related to any other part. replaced "cresc. molto" Visual crescendo reinforces with crescendo the sharp dynamic shift marking better than written crescendo. added "p" Missing from part, indicated in score. changed "mf" to "p" Incorrect in part, indicated this way in score and other parts. added accent Missing from part, indicated in score and other parts. changed accent to Incorrect in part, changed accent match other voices. added accents Added to match corresponding part at [C] changed "f" to "ff" Changed to match rest of ensemble. added staccato Missing from part and markings score, added to maintain consistent style. added "ff" Missing from part, indicated in score, specifies dynamic for new phrase. added "ff" Specifies dynamic for new phrase, makes consistent with previous measure. removed "staccato" Uniformity between parts. and applied staccato markings

added articulation markings changed accents to staccato added breath marks  

 

Missing from part, indicated in other parts. Should be uniform with other woodwind voices. Creates spaced called for in corresponding part at [H}

144 Measure Beat 301-2

Instrument Hn2

303-5

Woodwinds

307

Fl1

Change added articulation markings added staccato markings unified "dim. Molto," "p," and decrescendo markings changed "mf" to "mp"

301

Picc, Fl1-3

308

Fl1

added "capriccioso"

317

Cl1

added "capriccioso"

2.5

324

1.5

Fl1-2

added breath mark

324

1.5

Fl1

added "p"

326-7

Bsn

deleted hairpins

336-7

Fl1, Ob1, Cl1

replaced/added crescendo marking

338

Fl2, Ob1-2

added "f"

338 338

Ecl Cl1

changed "mf" to "f" Tempo Primo moved

341

2.5

Ecl

added "mf"

342

2.5

Ecl

D6 changed to C6

342

2.5

Cl1

deleted "mf"

354-7

Fl1

added "8va"

346

Bsn1

added decrescendo marking and "pp"  

 

Justification Missing from part, indicated in other parts. Missing from part, indicated in other parts. Inconsistently applied in score/parts. Indicated in score for softer dynamic. Added to match style of Solo Sax and next entrance of Ob1 Missing from part, indicated in score. Missing from part/shows entrance after breath with Fl1 Missing from part, shows dynamic change with Fl2 entrance. Not in score, overcontrolling on performer. Cresc. indicated in Cl1, unifies approach and reinforces with visual crescendo, not just text. Missing from part, indicated in other parts. Indicated "f" in other parts. In the part, "Tempo I" was previously in the following measure. Missing from part, unifies dynamic change in ensemble. Incorrect in part, score and corresponding voices sound a concert E-flat Redundant with "mf" two measures prior. Score indicates to be played octave higher. Missing from part, indicated in the score.

145 Measure Beat 348-9

Instrument Picc

Change added decrescendo marking and "pp"

371

Perc. 3

added "sempre pp"

378

Ecl, Cl1-2

added "leggiero"

378

Tp3

changed "p" to "pp"

378-85

Tp4

378

Perc1-3

removed staccato markings added "sempre pp"

387

Fl1, Cl1

deleted "Solo"

Tp1 Ob2, Cl1 Cl2

deleted accent changed to "marcato e leggiero" deleted breath marks

Tp1 Tp2 Tp2 Cl1

deleted accent added "e con spirito" deleted accent added accent

397-403

Tp1

399

Tp3

added staccato markings changed "p" to "mf"

399

Tp2

added "sempre leggiero"

Fl1-3, Cl1-2

added tenuto markings

Tp1

deleted crescendo marking

390 393

2.5

393-5 394 394 395 396

401 402

1 2 1.5

2.5

   

Justification "dim." indicated in score, these applied to match with Fl2. Missing from part, indicated in score and other parts. Missing from part, indicated in score. Score indicates "pp" with Tp4. "stacc." already gives instruction for articulation Missing from parts, indicated in score to remind. Parts are doubling each other. Not indicated in score. Each part had part of the total instruction. Not indicated in score or other parts. Not indicated in the score. Added to match Tp1 solo. Not indicated in the score. Missing from part, indicated in score and other parts. Added for visual similarity with other Tp voices. Other parts indicated mf here. Reminder added to be consistent with Tp1 since this is a simplifiedsupporting part. Missing from part, indicated in score to continue style. Not indicated in the score.

146 Measure Beat 406

Instrument DB

Change added "arco"

406 406

Ecl, DB Cl3

deleted accent added "ff"

Tp2

changed staccato to accent added accent

2

407-8 408

1

Picc, Fl1-3, Ecl, Cl3, Hn4

408-9

Hn1-4, Tbn12, BTbn

added accents

409

Ob2, Cl3

deleted "ff"

410

Tp1-2, Hn1-2, added "stacc." Tbn1-2

411

Cl2

added "ff marc."

412

Ob1-2

added "marcato"

413

BTbn

414

Tp1-2

added crescendo marking added "ff"

414-15

Hn1

416-17

Hn3

416

Tp2

418-19

Fl1-2

421

BCl, Bsn1-2

added staccato markings added decrescendo marking and "pp" changed "p" to "pp" added decrescendo marking and "pp" deleted decrescendo marking  

 

Justification No indication given in score or part, but given context, the instruction should be given since the last time this instrument played, it was pizz. Not indicated in score. Missing from part, indicated in other parts. Wrong articulation written in part. Missing from part, indicated in other parts. Missing from part, indicated in upper voices for accented style. Redundant with "ff" 3 measures prior. Change in dynamic also means relative change in style. Missing from part, indicated in other parts. "ff" reapplied to demonstrate dynamic difference with brass. Missing from parts, indicated in score and corresponding entrances. Missing from part, indicated in other parts. Missing from part, indicated in other parts. Missing from part, indicated in other parts. Missing from part, indicated in other parts. Other parts indicated "pp" here. Missing from part, indicated in other parts. Other parks not marked with decrescendo

147 Measure Beat 423

Instrument Ecl

425

Bsn

435

Tb1-2

438

1.5

Ecl

440

2

Ecl

442

2

Cl3

442

2.5

Ob1-2, Tp1

450

1.5

All Parts

Change removed "staccato" and applied staccato markings changed "mf" to "p"

Score indicates softer dynamic entrance. deleted material Does not appear in score and scored in the uppermost tessitura where it would not contribute in a positive manner. deleted staccato Not indicated in score or other parts. added staccato Missing from part, markings indicated in score and other parts added staccato Missing from part, indicated in score and other parts added accent Missing from part, indicated in score and other parts moved note from down After publication, Dahl beat to after beat requested that the last note be played on the afterbeat of one rather than the downbeat. This revision was entered into the piano version before it was published.

   

Justification Changed to visually match other parts.

148 APPENDIX E LIST OF HARVEY PITTEL EDITS Movement I. Recitative Measure Discrepancies between the 1959 Full Score and the Published Solo Part 8 Deleted brillante. Added tenuto over first note. 10 Added breath mark. Replaced “molto espr. (senza troppo di rigaro)” with “sempre liberamente cantabile, ed un poco rubato.” added breathe mark. 12 Added sempre cantabile and breath mark. 13 Added dim. sempre. 14 Added breath mark. 15 Added breath mark. 20 Added breath mark. 21 Added breath mark. 22 Deleted “tr.” from D6 on beat 3. 23 Added breath mark. 24 Added crescendo marking. 25 Added dim. Deleted (poco accel.) 26 Added p piu dim. Added mormorando. Deleted decrescendo marking. 27 Added decrescendo marking after ppp. 38 Added breath mark. 39 Added breath mark. 40 Added tenuto markings. 42 Added breath mark. 45 Changed “f subito, sempre espressivo ed appassionato, ma ritmico” to “ff” 46 Added breath mark. Added accents to the staccato markings. 47 Added breath mark. 48 Added breath mark. Added tenuto markings on last triplet-sixteenths. 49 Added slur on beat 2. Added breath mark. Added accents to the staccato markings. 50 Added breath mark. 51 Added breath mark. 52 Added tenuto markings. 54 Deleted liberamente declamando. 55 Added rubato and rit. 67 Added p. Movement II. Adagio (Passacaglia) Measure Discrepancies between the 1959 Full Score and the Published Solo Part 81 Added p. 84 Added decrescendo marking.    

149 Measure 90 91 92 93 103 105 107 128 131 133 134-8 134 136 142

Discrepancies between the 1959 Full Score and the Published Solo Part Changed mp to p. Added breath mark. Added (senza accel.) Added breath mark. Changed espresivo to molto espress. Added ff and crescendo marking. Changed espr. molto to con forza. Added breath mark. Added breath mark. Added breath mark. Changed notes enharmonically to read as flats instead of sharps. Added breath mark. Added breath mark. Added ppp. Movement III. Rondo alla Marcia

Measure 20 21-23 27 75 80 82 88 91 98-9 102 106-8 106 107 117 117-20 156 159-60 168 171 191 192 194 195 200 204 206

Discrepancies between the 1959 Full Score and the Published Solo Part Added e presto. Added accents Added slur into downbeat. Changed “f giocoso” to “mf con spirito.” Deleted sub. mf. Added sempre leggiero. Added decrescendo marking. Added (mf). Added tenuto markings to staccato markings. Added cresc. Added staccato markings where not already applied. Added crescendo marking. Added f. Added p. Added staccato markings. Changed mp to p. Added crescendo marking and staccato marking on downbeat. Deleted (p) senza cresc. Added p. Changed capriccioso to con spirito. Added accent. Added staccato marking. Added accent. Added p. Deleted decrescendo marking. Added agitato and cresc.  

 

150 Measure 209-10 209 215 216 221 222 223 223 228 229 239 253 305-6 319 321 322 323 331 341 342 349 353-4 354 356 360-4 368 368 368-70 382 386 387 388 392 393-403 396-8 399-402 401 418 447 449-50

Discrepancies between the 1959 Full Score and the Published Solo Part Deleted cresc. molto. Added f. Added ff espr. Deleted a tempo. Added ff. Deleted a tempo. Added (moderato). Added sempre ff. Added dim. molto. Deleted decrescendo marking. Changed pp to ppp. Added ma ritmico. Added ff. Added tenuto markings. Added capriccioso. Added accompagnando. Deleted dim. Added decrescendo marking. Added breath mark. Added decrescendo marking. Added mf. Added f con spirito. Added accents. Deleted crescendo marking. Added accent. Added tenuto markings. Added molto leggiero Added slur to beat 2. Added accents in ossia. Changed slurring pattern of count 2 from slur 2–slur 2 to slur 4. Added crescendo marking. Added decrescendo marking. Added cresc. Changed slurring pattern in ossia, it should match the Solo line. These ossia measures do not appear in the score. Accents changed to sf. Added sf. Added ff. Deleted ff and crescendo marking. Added molto. Changed sf to ff. Added sf.

   

151 BIBLIOGRAPHY Berdahl, James Nilson. “Ingolf Dahl: His Life and Works.” Ph.D. diss., University of Miami, 1975. Cohen, Paul M. The Original 1949 Saxophone Concerto of Ingolf Dahl: A Historical and Comparative Analysis. Teaneck: To the Fore Publishers, 1985. Cold, Benjamin T. “Analysis of a Recital: A Report on Piet Swerts’ Klonos and Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra. Master’s Report, Kansas State University, 2012. Collinsworth, Russell Anderson. “A Critical Edition Full Score of Samuel Barber’s Commando March.” DMA Paper, Arizona State University, 2008. Corporon, Eugene. Teaching Music through Performance in Band: Solos with Wind Band Accompaniment: A Compendium of Compositions. Edited by Richard B. Miles. Chicago: GIA Publications, 2012. Dahl, Ingolf. Concerto for Alto Saxophone and Wind Orchestra. New York: European American Music Corporation, 1977. Dahl, Ingolf. Concerto for Alto Saxophone and Wind Orchestra: Version for Saxophone and Piano. Edited by Harvey Pittel. New York: European American Music Corporation, 1979. Dahl, Ingolf, Papers. University of Southern California Libraries Special Collections, Los Angeles, California. Gilbert, Jay Warren. “An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Replication and Update.” DM doc., Northwestern University, 1993. Kloecker, John H. “An Analysis of Ingolf Dahl’s Sinfonietta for Concert Band.” Journal of Band Research 28, no. 2 (Spring 1993): 37-91. Accessed December 25, 2015. http://search.proquest.com/docview/1312104532?accountid=14663 McElhaney, Carla Budzian. “The Saxophone and Piano Version of Ingolf Dahl’s Concerto for Alto Saxophone: A Guide to Performance for the Collaborative Pianist.” DMA Treatise, University of Texas at Austin, 1998. Nicholson, Chad. Great Music for Wind Band: A Guide to the Top 100 Works in Grades IV, V, VI. Galesville: Meredith Music Publications, 2009. Ostling, Acton Eric, Jr. “An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit.” Ph.D. diss., University of Iowa, 1978.    

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Rettie, Christopher Scott. “A Performer’s and Conductor’s Analysis of Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra.” DMA mono., Louisiana State University and Agricultural and Mechanical College, 2006. Schott Music. “Concerto for Alto Saxophone and Wind Ensemble.” Schott-Music.com. http://www.schott-music.com/shop/products/show,262860.html. Accessed January 15, 2016. Stevens, Halsey. “In Memoriam: Ingolf Dahl (1912-1970).” Perspectives of New Music 9, no. 1 (Autumn-Winter, 1970): 147-148. Accessed December 26, 2015. http://www.jstor.org/stable/832201. Stone, Kurt and Gary L. Maas. "Dahl, Ingolf." Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 25, 2015, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ music/07054. Towner, Clifford N. “An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Second Update.” DMA doc., University of Nebraska, 2011.