Professional Documents
Culture Documents
Hisaishid Away
Hisaishid Away
Wesleyan University
April, 2010
Acknowledgements
My thesis would not have been possible of it wasnt for the support and
work of many people. First, I would like to thank my advisor and mentor Neely
Bruce, who taught me how to orchestrate, guided me through all Finale 2008
impasses, and most importantly, showed me how to use quotation marks. I would also
like to thank the Wesleyan Music Department for all of its support, especially
Yonatan Malin, Jane Alden, Angel Gil-Ordoez, and Sandy Brough.
I would like to thank all the composers who inspired me to write my first
symphony: Beethoven, Berlioz, Dvorak, Tchaikovsky, Stravinsky, Wagner, Phillip
Glass, John Williams, Danny Elfman, Jeremy Zuckerman and Benjamin Wynn of The
Track Team, and none other than the great Japanese composer Mamoru Fujisawa,
also known as Joe Hisaishi.
Finally, I am grateful for the support of my family and my friends, who have
encouraged, inspired, and sometimes forced me to push myself in order to succeed. If
my parents allowed me to quit the violin when I wanted to, I probably would not be
completing my music thesis.
Table of Contents
Introduction....................................................................................................................4
I. Miyazaki and Kitano: Collaborations.........................................................................5
II. Castle in the Sky: Evolution of Style ......................................................................14
III. The Signature .....................................................................................................17
IV. Spirited Away: A Thematic Analysis ....................................................................21
Conclusion ...................................................................................................................38
Bibliography ................................................................................................................40
The Elemental Symphony (Preface and Score) .......................................................41
4
Introduction
Joe Hisaishi is one of the most prominent film composers in Japan. His
evolution in style and maturity can be traced through the past thirty years of his
prolific career, starting with a minimalist electronic style and progressing to full
orchestral scores and Japanese pop songs. Most of his popularity derives from his
collaborations with two respected Japanese directors: Takeshi Kitano and Hayao
Miyazaki. These masters of cinema have very little in common in their filmmaking;
straddling the lines of art cinema, Kitano creates hardboiled gangster films peppered
with sections of shocking violence, while Miyazaki creates animated fantasy films
that celebrate the beauty of youth and nature and which achieved high commercial
success. Even when scoring for such contrasting genres, the scoring style can always
be identified as Joe Hisaishis because of unmistakable signature techniques.
In this paper I will describe all the facets of Joe Hisaishis film scoring by
comparing and contrasting the techniques he uses in his collaborations with Takeshi
Kitano and Hayao Miyazaki; discussing the evolution of his musical style from his
older version of Castle In the Sky released in 1996 to his newer version released in
1999 for an American audience, and addressing the Hisaishi signature and how
Hisaishi uses it within his various scores. Finally, I will provide a thematic and
melodic analysis of Miyazakis film Spirited Away.
5
I.
Miyazaki and Kitano: Collaborations
Miyazaki
Kitano
1984 - Nausicaa
1993 - Sonatine
1999 - Kikujiro
2000 - Brother
2002 - Dolls
6
Referring to the film A Scene at the Sea, Hisaishi stated in an interview, The
atmosphere of the film matched perfectly with the style of solo compositions, where I
approached the work of John Cage and Philip Glass. Kitano did not want an overtly
melodic score, but a minimalist and repetitive score.1 These rhythms are highly
minimalistic repetitions that usually repeat over a changing chord progression. The
continuous rhythms balance well with the slow paced action on screen, giving a sense
of motion when there is very little to see. This contrast in music pace to visual pace
implies the motion is in the characters thought process, not the physical actions. An
excellent example of this comes four minutes into their first collaborative effort, A
Scene at the Sea. The main character, a deaf garbage man whose greatest aspiration is
to surf, is silently cleaning and repairing a broken surfboard he found by the side of
the road. When the music starts, a certain emotion is added to the scene; the rhythm
imbues the character with a drive that the audience recognizes as determination.
The orchestration styles of the Hisaishi-Kitano collaborations are different
from those of the Hisaishi-Miyazaki collaborations. This reflects the contrasting
nature of the movie styles of the two directors; Kitano makes live-action dramas,
violent yet artistic, while Miyazaki makes animated fantasy adventure epics. This
difference also reflects a combination of director style and budget. Because
Miyazakis films are more mainstream, they often allow for a larger budget, enabling
larger instrumentations. For Spirited Away, a concert hall was rented for the New
Japan Philharmonic to play the film score. This full orchestra had individual
7
microphones for each instrument (approximately 60 instruments), which resulted in a
sweeping orchestral atmosphere.2 In contrast, Kitanos first films with Hisaishi in the
early 90s had synthesized scores, while Hisaishis scores for Miyazaki always used
the full palette of the symphony orchestra. It is important to note that Kitanos
tendencies towards simpler orchestrations may be an artistic choice rather a
limitation, because he creates very idiosyncratic films. Kitanos later collaborations
with Hisaishi use Hisaishis orchestral touch, starting with Hana-bi (released as
Fireworks in the United States). However, because of the genre that Kitano works in,
or, perhaps, Kitanos idiosyncratic style, Hisaishi does not use the orchestra as
brilliantly as he does with Miyazakis imaginative fantasy animations. The primarily
synthesized instrumentation Hisaishi uses in the early years with Kitano is
omnipresent in A Scene at the Sea and Sonatine. It also is used in Kitanos 1997 film
Hana-bi, in addition to the orchestra. The minimalist rhythms that are repeated in
these films are done on an instrument that sounds like a marimba (perhaps it is an
electronic marimba). This instrument is pervasive in these scores, but it is never heard
in the Miyazaki film scores.
The length of the scores is also quite different between Miyazakis films and
Kitanos films. In Spirited Away, music is prominent in almost every scene, and the
largest durations of time when there is none last about three minutes. In Kitanos film
Brother, which was made in 2000, there are scoreless sections that last up to fifteen
minutes. This is common in all of Kitanos films, and brings more attention to the
score whenever the music reenters. This is a significant difference between the
8
compositional styles; the scores in Miyazakis films are more subliminal than those in
Kitanos, simply because of their amount of screen time. However, because Hisaishi
focuses so much on melody in Miyazakis film scores, his music can never be entirely
subliminal; it is too recognizable.
While music adds and changes emotions to filmic sequences, the lack of
music does not subtract from emotion, especially in Kitanos films. The lack of a
continuous score in Kitanos films almost creates music out of silence, where both
music and silence may be equally important. Silence can just as easily portray the
internal loneliness in a character, such as in his film Kikujiro. The protagonist,
Masao, a young boy, arrives at soccer practice, only to find nobody there. He stands
still on the field, alone, and the lack of music makes the audience empathize with his
emptiness. The addition of music would highlight the scene, but it is not meant to be a
critical scene. It merely allows the audience to get a better understanding of Masaos
character, and a lack of music is quite effective.
In Kitanos films, Hisaishi separates his music from the violence depicted on
screen. Often the action sequences are without music, and the static shots are scored,
which is almost a complete reversal of the Hollywood style of scoring. In Hollywood
movies, action sequences are often coupled with intense, driving music that highlights
physical contact and impact. However, there are a few rare instances where Kitano
uses music in violent scenes. In Brother, Hisaishi scores a montage sequence of
violence when Anikis gang goes to war with another gang. Also, in Sonatine, there is
music accompanying a slow-motion assassination where a gunman shoots three
people. These acts of violence differ from the rest of the violence in Kitanos films
9
because they have no set up to the killings. While it is understood why the people are
being shot, there is nothing visually beforehand to add suspense to the shootings.
When there is violence without music, Kitano will show a man calmly walking up to
his victim with a gun, or perhaps a Yakuza member being dishonored and
consequently chopping off one of his own fingers. Perhaps, Kitano feels music is
needed when there is no suspenseful silent visual sequence to precede the violence.
There are also scenes in Kitanos films where violence interrupts the music,
for either dramatic or comedic effect. This technique is used in Sonatine for dramatic
effect. At the end of the film, Murakawa has just killed off the rival gang and is
driving back to his lover while the thematic music of the film, which entered at the
beginning of the movie, finally returns. He stops a mile away before reaching her and
commits suicide, an action that ends the music. This interruption shows that the
theme was important to Murakawas character, and the death of Murakawa ended the
theme. At the beginning of Hana-bi, Hisaishi halts the score for comedic effect,
where the music acts as if it has a physical presence on screen. The gorgeous musical
theme opens the film and plays until a scene where the main character, Nishi, returns
to find two workers taking a break and eating sushi on the hood of his car. In the next
camera shot, the music stops suddenly to the splattering sound of a mop wiping the
car, because Nishi has forced one of the workers to clean up the mess they made. It is
as if the workers hit the orchestra with his mop, interrupting the music. The one
worker slips, falling onto Nishis car, which prompts Nishi to kick him in his
posterior. The worker rolls off the car and lands on the pavement, cuing the music to
instantly return for the title screen.
10
The different processes of collaborating that Hisaishi uses with the two
directors may be partially explain the differences in the end products. It seems that his
collaboration process with Kitano varies between films. For example, he scored A
Scene at the Sea after the movie was already filmed, but was involved with Sonatine
from the very beginning of its production.3 Their collaborative relationship was
shorter than his collaboration with Miyazaki, where the collaborative process is
always the same. Hisaishi says, The basic process of our working relationship has
not changed since 1984. I always make a driver (Otherwise known as an Image
Album) before putting my music on the final soundtrack of film.4 The Image
Albums are albums of three to five minute pieces that have a certain motif or thematic
material, and these pieces are assigned to motifs and themes in the film. This process
may explain why Hisaishis scores for Miyazaki have strong thematic content. The
Image Albums are often sold in addition to the original soundtracks; they are very
appealing to people who become entranced by his melodies because it allows them to
have an album composed just of the fully orchestrated melodies and themes.
Another difference between the two collaborations is Hisaishis treatment of
culture and region. During his collaboration with Kitano, Hisaishi never changed his
style despite marked cultural differences in the film settings. The score for Brother,
for example, is the same in style as his other Kitano scores, even though the majority
of the film takes place in America. However, when scoring Miyazakis films, he
11
treats the scores for the films that do not take place in Japan differently than those that
do. Two of his films take place in Europe; Porco Rosso takes place around the
Adriatic Sea while Kikis Delivery Service takes place in Northern Europe, which can
be inferred from the drawings.5 These two scores have many similarities that are
uncommon in scores for other Miyazaki film set in Japan. There is a prevalence of 3/4
time signatures in the films set in Europe, which give the score a waltz feel that is
common in Western music. In these 3/4 time signatures, Hisaishi emphasizes the
downbeat, another characteristic of waltzes. Example of this in Porco Rosso are the
pieces Friend and Adoria No Umi E on the Porco Rosso OST (original
soundtrack). In the Kikis Delivery Service OST, examples of the 3/4 time signature
with the waltz downbeat are Hareta Hi Ni, Sota Tobu Takkyubin, Soshin No
Kiki and Ursula No Koya He.
The instrumentation of the films with European settings is also stereotypically
European. Many of the melodies in Kikis Delivery Service are played by the
accordion, and the percussion in Porco Rosso features castanets and snare drum. Both
scores prominently feature guitar, and often use tremolo techniques that are common
in Spanish classical guitar music. Much of Porco Rossos music is an attempt to
represent exoticism; Porco Rosso even has a piece that sounds like homage to Bizets
Carmen. This piece, titled Doom ~ Kumo No Wana on the OST, uses the same
accompanying motif in the lower strings that Bizets Habanera aria uses.6
12
Although Miyazakis films can be appreciated by all ages, Miyazaki directs
some of his films towards children, which affects Hisaishis style of scoring. This is
shown in Miyazakis My Neighbor Totoro, Ponyo, and Kikis Delivery Service. The
three film scores feel more childish, both in instrumentation and tonality, and employ
sillier musical tactics. For instance, Hisaishi uses playing techniques like pizzicato
and staccato strings in major key signatures to create whimsical effects such as
tiptoeing. The emotions in these films are less deep and layered than in Miyazakis
more sophisticated films like Spirited Away, so the harmonies are less dissonant and
brooding. Hisaishi also includes a large amount of percussion and tuned percussion in
the score for silly moments. This is not to say that there are no dramatic moments in
these films in which characters are pushed to their emotional limits. In My Neighbor
Totoro, the young protagonist Satsuki is searching for her lost sister. Even though she
has run miles around the countryside looking for Mei, she continues to run through
her exhaustion. This act of passion for her sister is bolstered by the delicate musical
theme that bonds the sisters together.
These movies for children all feature pop songs at the end of the films that
play over the credits. Two of the three aforementioned films, My Neighbor Totoro
and Ponyo, use the thematic material from their film scores as the basis for the
choruses of the pop songs. These songs are geared towards children, and always use
simple pop progressions and catchy melodies. Hisaishi is quite effective when
creating endearing pop music for children. This style of music is a major change in
style from his artistic film scores. Outside of film scoring and classical compositions,
he also writes jazz based pop music that sounds like a fusion of smooth jazz,
13
twentieth century minimalism and disco beats. For the pop songs featured on his film
scores, Hisaishi taps into these seemingly extracurricular genres of music and
combines them with his scoring style.
A similarity between the music for Kitano and Miyazaki is Hisaishis use of
piano and strings. The orchestration is usually built around the piano; it often initiates
the melody, which in turn is transferred to the strings and then the winds, or vice
versa. This is heard at the beginning of Hana-bi; the piano introduces the melody,
then the flute takes over. When the title displays, the violins pick up the melody. This
simple form of theme and variation is very effective because of Hisaishis knack for
catchy and romantic melodies.
The lushness of his string arrangements has also become a trademark of
Hisaishis sound. It pervades both of his collaborations scores; the sweeping strings
work perfectly with Miyazakis epic and beautiful animated landscapes, while the
tasteful dissonances create brooding internal portraits of Kitanos silent characters.
One example of this is found in Miyazakis Princess Mononoke, when Prince
Ashitaka is galloping across the mountainside to the piece The Journey To The
West on the OST (Original soundtrack) about eleven minutes and thirty-four
seconds into the film. A second example is at the beginning of Kitanos Hana-bi,
during the title at two minutes and ten seconds. The voicing of the chords is very
similar between the two, except the Hana-bi piece is much more rhythmic, which is a
previously mentioned difference.
14
II.
Castle in the Sky: Evolution of Style
My musical style thirteen years ago was totally different from what it is
today. And in some cases, the way that I write music has changed.
Joe Hisaishi
When Miyazakis film Laputa (Known as Castle in the Sky in the English
release) was being produced by Disney for American audiences, Hisaishi was asked
to extend the score of the film. According to Hisaishi, this was because Disneys staff
believed that Americans would feel uncomfortable if there was no music for more
than three minutes.7 While Hisaishis original score was only sixty minutes long, the
English version ended up including over ninety minutes of music. The process of
adding thirty minutes to the score was not as simple as it seemed. He realized that his
musical style had changed. He had honed his craft for thirteen years since writing the
original score; in order to have a balanced score, Hisaishi ended up rewriting the
entire score. Following the release of the Disney-produced English version of Laputa
in 1999, Buena Vista Home Entertainment and Nausicaa.net, a fan website devoted to
Miyazaki and his works, interviewed Joe Hisaishi about the process of rewriting the
entire score to the film originally released thirteen years earlier to Japanese
audiences.8 In his responses, Hisaishi indicated that his style had evolved in the
thirteen years between the two releases in many different ways. Because the original
7
Laputa: The Castle in the Sky, The Hayao Miyazaki Web, Team Ghiblink,
<http://www.nausicaa.net/miyazaki/laputa/music.html> (accessed March 2nd, 2010)
8
Castle in the Sky Joe Hisaishi Interview, The Hayao Miyazaki Web, Team
Ghiblink,
<http://www.nausicaa.net/miyazaki/laputa/interview.html> (accessed February 25th,
2010)
15
score is very popular in Japan, he approached the rewriting process with a certain
amount of deference for his previous work. There is a definite change in the music,
but he still maintains the well-known themes, and a large amount of music from the
new score is almost identical to the older music. The different changes that he
mentions are his orchestration technique and his use of rhythm. Not only does he
advance in these categories, but he also increases the score length, timing, playing
style, and changes the acoustics when recording the instruments.
The original score uses synthesizers far more than the English version, where
Hisaishi rearranges many of these synthesized segments for full orchestra. While he
had access to all the sounds a full orchestra could create back in 1986, his newer style
takes more advantage of them. The first segment of score in the original film starts
with synthesizers playing in a continuous rhythm likened to music from an outdated
video game. In his newer score, this repetitive motif is tossed playfully around the
various sections of the orchestra, beginning in the lower strings and soon jumping to
the wind and brass sections. The repetitive rhythm is accented with punctuating bass
plucks, timpani, brass, and even xylophone. The changes in instrumentation keep the
music engaging, and also reflect the personality of the characters in the film in
different ways. This is the perfect example of the difference in Hisaishis style:
orchestration color.
Instrumentation is one of the many ways that Hisaishis orchestration has
evolved to better enhance the emotional content of the film. Another way he achieves
this emotionality is by writing his original motifs and melodies in octaves. This use of
octaves expands the scores range in motion, allowing it more options in orchestration
16
color. He uses this technique in the theme for the opening credits of Laputa; at four
minutes and fifty-nine seconds into the English version, the violins leap up an octave
for the melody. This section of the theme pops out more than in the original score,
where the melody remains in the same octave.
While Hisaishi stated that he wanted to bring out the rhythm a little more in
the newer score, he is successful at this in some parts, and not so much in others.9 The
new score is played with a larger musical dynamic range, letting the score become
more fluid in order to follow the motion on screen. In the original score, the music is
much more static in its use of musical dynamics, and the rhythms are often more
apparent. Hisaishi replaces the repetitiveness in the synthesizer rhythms with
marching drum sounds at one hour and three minutes into the new version. However,
while the beat is stronger and more pounding in the original, the new rhythms are
more sophisticated in the new version. At twenty-three minutes, the Dola Gang, a
group of softhearted pirates, are chasing after Sheeta for her magical necklace. The
music in the original score is a constant chugging of eighth notes grouped in fours (1
2 3 4 1 2 3 4), while the new score takes this part and syncopates the rhythm, grouped
(1 2 3 1 2 3 1 2.)10
Hisaishi is less successful in bringing out the rhythm because of his
conducting style and how his orchestra plays in the new score. When compared to the
original music, his newer music enjoys a new vibrancy, due to the strings swelling to
wide array of dynamics while playing with rubato, and additional tempo interrupters
10
17
such as ritardandos. Like his use of his new octave leaping, Hisaishi uses ritardandos
to drag out dramatic moments and climax to greater and more epic proportions. This
is found near the end of the title theme as Sheeta, the female protagonist is falling
from the sky. Before she hits the ground, her magical necklace explodes with light
and she begins to hover in mid air. Hisaishi ignored this visual cue of the glowing
necklace in the original score, and instead brought the music to a climax five seconds
earlier. It is more standard in the Hollywood style of scoring films to highlight this
sort of action with a simultaneous musical climax, and in the newer version Hisaishi
achieves this by creating an epic ritardando. This slows the music until the explosion
of light catches up. The result of the synchronization with the music and this action is
truly fantastic.
Even though Hisaishi has evolved as a film composer, the roots in which he
grounds his sound are still the same. From his most recent work to his first
collaborations with Miyazaki, there is always something in his music that screams
Hisaishi! But what is it about his music that is so recognizable?
III.
The Signature
Like most composers, Hisaishi has a clearly recognizable style, whether his
scores are for Yakuza gangster films or animated fantasies. His melodies and chord
progressions take similar turns, and sometimes almost identical turns. This borrowing
of melodies and musical tags happens all the way from his Miyazaki collaboration
18
Laputa in 1996, through his other Miyazaki collaboration in 2004, Howls Moving
Castle.
There are multiple Hisaishi Signatures that render his film scores
recognizable. One is a group of rolled chords in the upper range of the piano that have
a tonally ambiguous feeling. This is featured in his films Spirited Away, Laputa, and
Brother. These arpeggiated chords often contain stacked fourths like in his
Signature in Spirited Away, and this use of fourths is also common in other aspects
of his orchestration. In Spirited Away, he begins the Signature with a major seventh
chord with an added ninth specifically voiced with the seventh on top. This is almost
identical to the Signature in Laputa, where he uses the same chord voicing except
changes the seventh on top to an octave. After this progression, the two Signatures
differ slightly; Spirited Aways Signature becomes much more tonally ambiguous,
while Laputas Signature dissolves into a Baroque-style polyphony in the wind
section. The Signature also appears in Kitanos film Brother at one hour, twentyseven minutes into the film. These mysterious chords work effectively in this scene
because prior to this scene, everybody thought that their friend Aniki was killed by a
car bomb, but he was actually sitting behind them. The music highlights their
surprise, as if he magically appeared. The magical quality of this Signature also
works in Spirited Away and Laputa, which both contain supernatural themes, but on
the whole functions mainly as a tag, or a name written in the corner of a painting. It
adds very little to what is on screen in the film, and is not necessarily related to the
rest of the score, thematically or harmonically.
19
While Hisaishi has a catalog of beautiful melodies, some of them are very
similar. This is because he reuses a simple Signature chord progression, or
variations of it. The general, simplified progression is this: vi, V, IV, I6, (ii, IV, V).11
The best-known example of this progression is in Spirited Away, during the track
One Summers Day, section C on the OST. This will be discussed later in Chapter
four. He uses it in his other scores, such as in the main theme of Laputa. This
progression can also be found in Mei Ga Inai from the OST of My Neighbor
Totoro, Ashitaka and San from the OST of Princess Mononoke, Mothers Love
from the OST of Ponyo, and Summer from the OST of Kikujiro. This descending
chord progression is always coupled with a melody that follows a descending arc, and
this melody is usually similar as well. The melody in Summer during the second
motif is almost identical to the melody in One Summers Day when the title
displays, except it is more fragmented and simpler, as it omits some of the notes from
the former melody.
Although he has mastered a graceful form of film scoring, his Signature
might be seen as inflexibility. Director Takeshi Kitano stated in an interview that
Mister Hisaishi as a composer is not very flexible, so I decided to use someone
else. 12 Kitano was referring to his film Zatoichi that was released in 2003. For an
unknown reason, he and Hisaishi parted ways on Zatoichi and have not worked
together since.
11
The parenthesized section is where all the scores differentiate by changing the
progression slightly, though the endings of the progression are often merely
reharmonizations of the same thing.
12
Takeshi Kitano, Midnight Eye Interview, Midnight Eye,
<http://www.midnighteye.com/interviews/takeshi_kitano.shtml> (accessed March
6th, 2009)
20
Hisaishi has enough diversity in melodies to counter any negative accusations,
but he uses this Signature progression and melody enough times that it sticks out
like the beginning of Beethovens Fifth Symphony. One common characteristic
between all the films that use this progression is a youthful protagonist; perhaps
Hisaishi links this progression to the nave wonder of youth, or child-like emotions.
However, there are many other films that he has scored where the protagonist is
young and do not feature this Signature progression. It is unlikely that he would
give a progression meaning and not be consistent with this meaning Whatever the
case, it has become a Hisaishi Signature because of its repetitive use.
How does this reflect on Hisaishi? For some reason he is rarely criticized,
even though his films often revert back to older similar material. There is nothing
inherently wrong with this, but other composers who repeat themselves are often
criticized by the public for their scores having similar traits. Hans Zimmer, while a
respected film composer, is often attacked by critics for creating scores with similar
musical characteristics. There are uncanny similarities between Zimmers Gladiator
score and his Pirates of the Caribbean score that made many well-versed film music
critics cringe when they heard the two back to back. Whether it be a difference in
culture between American and Japanese audiences, the endearing quality of the
melodies Hisaishi reuses, or perhaps the kind of films he scores, Hisaishi eludes the
spotlight of such critical discussions surrounding his musical integrity.
21
IV.
Spirited Away: A Thematic Analysis
22
of the spirits, they turn into pigs and Chihiro becomes spirited away as she enters
the Spirit world. She must then survive by working in the spirit bathhouse, where she
meets an array of dazzling characters who help her in her journey to conquer her fears
and return to the human world.
Hisaishi begins the score with one of his Signatures, the major seventh
chord with an added ninth specifically voiced with the seventh on top. This seems to
function as a tag in the Adventure theme (One Summers Day on the soundtrack);
when the Signature is heard, the Adventure theme follows. Hisaishi writes the
Adventure theme in the score before the family can get to their new house to start
their new adventure (they never get there in the film). This score contrasts with the
majority of Hollywood film scores that reflect the actions currently happening on the
screen. In Spirited Away, Hisaishi brings in the Adventure theme not when the
adventure actually begins, but when the realization of a new adventure occurs and the
theme reflects a psychological state. Many Hollywood scores explain what is
currently happening on the screen rather than foreshadow events in the minds of the
characters. Often times in Hollywood movies the composer foreshadows by bringing
in a future theme on a certain visual cue, but there are no visual cues in this scene for
Hisaishi to utilize, requiring some expression of the characters state of mind.
At other times, it seems that Hisaishi skips visual cues when he scores films,
probably to keep a sense of continuity of the piece within the score so it retains a
structure of its own, even without the film. The general structure of the Adventure
theme is A A B C C followed by a D section that changes every time the theme
reoccurs.
23
The Adventure theme opens the film, when Chihiro and her family are driving
to their new home. The theme evokes all the sensations involved with a significant
change in ones life, such as uncertainty. After the Signature, ominous atmospheric
synthesizers softly underscore the action, and this begins the section A. This section
portrays Chihiros uncertainty as she lies in the back of the car looking out the
window clutching a bouquet of flowers she received as a goodbye present.
Joe Hisaishi adds to his distinctive sound with his use of intervals stacked in
fourths in chords, which are mostly used in Spirited Away, This is how he voices the
chords in the atmospheric synthesizers that are tonally ambiguous. In the four chords
that make up the Signature in Spirited Away, the lowest note moves down in a scale
with no sense of key while the upper three notes are in stacked fourths, further
confusing the tonality. The freedom of tonality allows the melody to meander
mysteriously, until the phrase repeats with the chords in the strings that change to fit
the melody in a IV-V-I-vi progression, which is tonally resolving for the listener.
The piano melody takes full form in section B, and the windows of the car
open. The hopeful melody washes over Chihiro, matching the animation of the wind
blowing through her hair. The piano melody is played in octaves, which reinforces
the promising sentiment it projects.
Section C, the most memorable and heart wrenching melody in the Adventure
theme, happens when the full title is displayed, in Japanese, Sen to Chihiro no
Kamikakushi, translated as Sen and Chihiros Spirited Away (In the United States the
film is simply named Spirited Away.) This section truly brings out the feelings of
24
solitude and nostalgia that one feels when undertaking a new adventure, and recurs
later on in the film.
At the end of the Adventure theme, Chihiros dad decides to take a shortcut
through the woods. Their car ride becomes faster and bumpier and the music mimics
this quality with variations on the melody in section A that plays over the
atmospheric synthesizers that follows the Signature. This is the D section of the
Adventure theme. When transitioning to this section, the woodwinds come in with
short rhythmic variations of the A section melody. This orchestration style is very
pervasive in the Spirit world. The transition to D is scored over Chihiro looking at
spirit shrines, and the orchestration hints of the Spirit world to the audience. When D
begins, the melody is tossed around and echoed more in the woodwinds, brass, and
percussion, creating a boisterous ending to the theme. The D section becomes more
playful with the rhythms and tempos. The orchestration is similar to that of the Spirit
world, and many of the themes involved in the Spirit world are associated with
woodwinds and brass. Hisaishis foreshadow technique is fully at work in this scene.
The Adventure theme returns three more times during the film, whenever
Chihiro faces a new challenge or change in her life. Every time Hisaishi brings back
this theme, the orchestration is almost identical in the score and tempo, except for the
D section. The second Adventure theme returns for the first time forty-eight and a
half minutes into the film, when Chihiro finally realizes the inevitability of the change
in her future. She must work in the bathhouse in order to escape the Spirit world. She
had been hiding in the bathhouse earlier; Chihiro did not truly recognize her fate until
the next morning when she meets up with Haku, a boy from the Spirit world whom
25
she befriended. He shows Chihiro her parents who were transformed into pigs, and
helps her come to terms with the Spirit world as well as gives her advice on how to
survive and escape. She must work in the bathhouse in order to escape the Spirit
world. Other composers might have returned to the theme earlier, when she was
hiding, but Hisaishi uses the theme to express the emotions of her fate-recognition,
not physical cues.
After Haku gives her advice, fear overwhelms Chihiro and she begins to cry.
The second Adventure theme is still playing at this point, and Chihiros crying cues
section C. The melody works so well in this scene because its power evokes
loneliness and deep nostalgia for her home. Whenever this melody occurs, there is
some sort of dramatic context on the screen evoking similar emotions.
When the D section occurs, Chihiro runs back to the bathhouse from the
pigpen and looks back to see Haku transformed into a dragon and flying off into the
distance. Haku, who is actually a river spirit, has a theme associated with him, which
is hinted at in this abridged D section. The D section also alludes to the theme
associated with No Face,15 who follows Chihiro off screen. These two additional
themes are only associated themes, not character themes; they both will be examined
later on. Hisaishi uses modulations and chromatic chord progressions to link these
associated themes in the D section. After the D section, there is a reprisal of the
section C theme; Chihiro falls asleep in the boiler room, and the boiler man gently
lays a blanket over her. This scene seems a bit unfitting for the film because it does
not add anything to plot or Chihiros character and emotion, but it does show her
15
The theme associated with No Face will be discussed later in the section.
26
relationship with the boiler man, who is the second being to show her kindness in the
Spirit world. Miyazaki must have wanted to emphasize the boiler mans kindhearted
personality, and Hisaishi may have decided to use the melody from section C to
accompany the solitude of Chihiros sleep. The melody does not finish because the
scene changes quickly, which is part of the reason the scene seems awkward.
However, the abruptness of the melody ending may be because when the boiler man
gives her the blanket to comfort her, she no longer feels homesick, and there is no
more need for the melody that resonates with such a sentiment.
The third time the Adventure theme returns is at one and a half hours into the
film when Chihiro is about to visit Zeneba, the sister of Yubaba. While Yubaba is the
witch who owns the bathhouse and holds Chihiro captive in the Spirit world, Zeneba
is her twin sister who is much kinder to Chihiro, though she is feared by all the
workers of the bathhouse. Chihiro needs to visit Zeneba because her friend Haku
becomes ill from Zenebas spell; he had stolen something from Zeneba, and Chihiro
needs to return it. While this altruistic act does not help her in her progress towards
saving her parents and leaving the Spirit world, she feels it is her duty to save her
friend and return what he took. This concept of friendship and love that Chihiro and
Haku share throughout the film makes the use of this Adventure theme more
powerful because it enhances the emotional impact of the music. The difference
between the context of this recurrence of the Adventure theme and the previous ones
is that Chihiro is no longer afraid. This evolution of the Adventure theme mirrors
Chihiros journey in maturity when adapting and facing frightening opposition. The
orchestration, while similar to the first Adventure theme, is slightly bolder because
27
the French horns take the melody in the B section instead of the piano. There is no D
section this time; it is cut short by the action in the scene directly afterwards.
The Adventure theme returns one final time near the end of the film at one
hour and fifty-eight minutes into the film. Chihiro is finally returning home after
saving her parents and Haku is giving her directions on how to leave the Spirit world.
Because she must leave Haku and the relationship that they fostered throughout the
movie, it is truly a bittersweet ending. The emotions of the Adventure theme capture
this chemistry between the two characters.
Not only does the music blend with the mood of Chihiro, this return of the
Adventure theme is exceptionally well timed with the action on screen. The B section
enters right when their hands part and they separate, providing hope that they may
meet again. The return of section C may be the most powerful moment in the film
because it is scored underneath her parents voices calling out for her. This is the final
evolution of the Adventure theme; what began as a theme of solitude and isolation
has become a theme of reunion and love. After staying in a new place for so long,
foreign becomes familiar and returning home becomes an adventure, which happens
when this theme is played for the fourth time around. While it is uncertain how long
Chihiro has stayed in the Spirit world, the duration was long enough for her to make
life-risking friendships. Now, she leaves the Spirit world unafraid and ready for the
new home that Chihiro had felt unprepared for in the beginning. The Adventure
theme embodies this progression of maturity.
Chihiro is never alone when the Adventure theme is present. In the first scene,
she is with her parents, in the second Adventure theme she is with Haku, in the third
28
she is with the boiler man and in the fourth she is with Haku and her parents. While
this nostalgic theme creates a sense of loneliness, Chihiro is in fact never alone, and is
supported in her journey from beginning to end. She realizes this by the end, which
allows the theme to evolve into one of reunion and love. This positive force that
drives the film is present in all the characters as well as the score. No character in this
film is evil because Miyazaki always gives them a sweet side. While Yubaba shows
disdain for Chihiro, Yubaba shows kindness to the little girl, after Chihiro works hard
in the bathhouse, Yubaba keeps her end of the deal in the end, and allows Chihiro to
leave freely. This is reflected in the score because there are no truly sinister sounds in
the score. What could be frightening sequences of animation become magical at the
flick of Hisaishis hand.
No Face is a mysterious spirit who sneaks into the bathhouse who can create
fake gold and has an appetite for both people and grotesquely large portions of food.
He has a theme associated specifically with him. It evokes a sense of foreign culture,
mystery, and otherworldliness, with a hint of intimidation. This is what No Face is to
the Spirit bathhouse. While No Face eats people and becomes a hideous monster, he
tries to befriend Chihiro throughout the movie and finally succeeds in the end. When
she brushes off his attempts at friendship, No Face becomes angry, and this triggers
him to become a monster and start eating people. His thematic material uses bursts of
East Asian percussion and is sparsely orchestrated with melodic material in string
pizzicatos and woodwind/string doublings. The theme is hinted at by percussive
bursts starting seventeen minutes and fifty seconds into the film and reappears every
time No Face has screen time for the first half of the movie. However, the theme does
29
not take full form until one hour and eight seconds into the film. At this point, No
Face is at his largest form, literally, and so is the score. During this part of the score
Chihiro and No Face confront each other, just after No Face has eaten the people and
is emotionally volatile. Hisaishi reinforces the intimidation of the theme here with
gongs and Taiko, as well as western brass instruments. The theme dies down while
the two characters converse, and soon Chihiro finds herself being chased by No Face.
During the chase, the tempo picks up and the percussion part of the theme turns into
constant sixteenth notes. Eventually No Face gives up the chase, and Chihiro allows
No Face to travel with her. It seems that when No Face has experienced the bathhouse
and finally befriended Chihiro, he loses his theme. He is no longer intimidating or
foreign, especially now that he is associated with Chihiro who is amiable with
everyone in the bathhouse. This theme therefore is considered to be associated with
the emotions surrounding No Face in the first half of the film, rather than being a
character theme.
The harp-like instrument that plays the minimalist arpeggiation motif is
associated with Haku, and functions as the Magic theme. It surrounds Haku because
there is something magical about him that is not revealed until the end of the movie.
It is hinted at near the beginning of the film when Chihiro and her parents are first
walking into the abandoned theme park. They had just become lost driving to their
new house; this happens at around five minutes and forty five seconds into the movie.
There is a mystical vibe about the place that is not perceived by the parents, but
Chihiro is able to feel the magic and is resistant. She wants to turn back, but her
parents refuse and continue. The wind also pushes her towards the bathhouse; there is
30
great potential for this section to seem threatening, but instead Hisaishis
instrumentation and chord choices prevent such an atmosphere and depict mystery.
The main Magic theme appears when Chihiro runs into Haku at the beginning
of the film at eleven minutes and fifteen seconds. On the OST, this piece of music is
titled The Dragon Boy, referring to Haku. In this theme, Hisaishi dances around a C
minor arpeggio in the harp-like instrument (possibly harp and celesta doubled, or
Koto), while another harp enters in a triplet pattern, creating a polyrhythm. This
arppegiation in the harp-like instrument in the upper register gives the theme its
magical impression. The woodwinds take over this arppegiating theme in staccato
style when the action begins to reach a climax. To add to the drama, the brasses
provide a C pedal tone for the woodwinds to flit over. As the music strengthens,
Chihiro runs to try to escape the Spirit world before nighttime and the music
intensifies with her alarm. However, the music does not capture the fear in her
emotion, but the excitement. There is nothing fearful about the music, because not
only does it serve as background to simulate Chihiros mindset; it also represents the
awakening of the Spirit world. This explains the grandeur of the motifs within the
theme.
The Magic theme is used in an interesting way at forty-seven minutes. When
Chihiro sneaks out of the bathhouse to meet Haku, Hakus Magic theme starts playing
before he arrives; its as if Haku has a magical aura that precedes him, and Chihiro
could sense his arrival before he physically was present.
Just like with the repetition of the Adventure theme, the main Magic theme
returns again, almost identical to the first main Magic theme, at one hour, twelve
31
minutes and thirty seconds. The music begins when Chihiro notices Haku, who is
flying over the water. Haku, who is in his flying dragon form, is being chased by
paper birds. The music begins identically to the first Magic theme, and the section
with the brass blaring the C pedal tone is synced with the cut where the camera
focuses on the paper birds pursuing Haku. It is unclear before this scene what the
paper birds are doing, but after being set to the menacing brass, it is clear that the
paper birds are not friendly. Hisaishi scores this second recurrence of the main Magic
theme to be less frightening than the first, reflecting Chihiros growth in maturity.
She is not as afraid as she was before, and as a result, Hisaishi does not use the high
register dissonance in the violins that he used in the first main theme.
The orchestration of the Magic theme follows Chihiro out of the Spirit world
at the end of the film when she is reunited with her parents. As they walk out of the
tunnel, it is as if the magic is still with Chihiro. The motif in the harp reverberates and
sounds like drops of water falling from a ceiling in a cave; it works as diagetic sounds
and blends with the noise of Chihiro and her familys footsteps echoing in the tunnel.
The piece named Reprise on the Spirited Away OST is an anomaly in the
style of thematic events that Hisaishi has slowly built up throughout the film. The
piece works as a theme and variations on its own, and this theme in Reprise appears
first near the end of the film at one hour, fifty minutes and twenty five seconds into
the film. How does this work into the rest of the score? It seems to function as the
reward piece for all of Chihiros tireless struggling and adventuring. The piece
Reprise has no dark undertones, but evokes only pure nostalgia and bliss. It could also
32
serve as a love theme for Haku and Chihiro, as they are reunited happily at the end
and show each other how much they care for one another.
Why Hisaishi chose to use this theme without developing it in the way he did
all the others could have something to do with the music that plays in the credits of
Spirited Away. Youmi Kimura, a singer and songwriter who plays the lyre, sent a
song she wrote named Itsumo Nando Demo (Always With Me in the English
version) to director Miyazaki, who believed the song contained the same ideas and
themes that Chihiro did.16 The DVD of Spirited Away even suggests that the film was
made because of this song.17 There are strong resemblances between Hisaishis
Reprise theme and Yumi Kimuras song, and it is possible that the one directly
inspired the other. If the melody of the Reprise theme is played over the chords in
Itsumo Nando Demo, the melody works with the chords perfectly. There is always
a chord tone in the melody on the downbeats of the chord changes. The basic chord
progression of Itsumo Nando Demo is I, V6, vi, I6, IV, I6, ii, V and in the key of F
major. If the melody of Itsumo Nando Demo were placed in the key of F major, the
downbeat notes would be:
F (the root of I)
E (the third of V)
D (the root of vi)
C (the fifth of I6)
F (the fifth of IV)
C (the fifth of I6)
16
17
33
A (the ninth of ii)18
G (the fifth of V)
Hisaishi could have written the piece with the same chord structure in mind, but he
also could have tried to make it unique by creating a different melody based on the
chord progression of Itsumo Nando Demo and then reharmonizing the songs
chords. Both pieces are also in 3/4 time signature, which would not be enough
evidence to link the two if it werent for the glaring similarities in melody and chord
structures. In the behind-the-scenes footage of the making of Spirited Away on the
DVD release, there are clips of Miyazaki listening to Yumi Kimuras piece as he
animated the movie. It is possible that he asked Joe Hisaishi to include a piece in the
score that feels like Itsumo Nando Demo and enunciates the same feelings without
words.
The variations used in Reprise have orchestration styles that match the
action and emotions on screen. The Reprise begins near the end when Chihiro and
her friends are waiting at the house of Zeneba (Yubabas sister). Zeneba treats them
like her grandchildren, and the comforting theme floats along as Chihiro anxiously
worries about the fate of her friend Haku. The audience knows there is nothing to
worry about because the melody reassures us. Sure enough, the theme ends and
Chihiro opens the door to find Haku in perfect health. At this moment, the music
modulates down a minor third to E major and the orchestration shifts from the melody
in the woodwinds to a full string section in a low register for the first variation. The
18
This is not in the triad of ii, but it is an extension that Hisaishi uses commonly.
34
melody is then repeated an octave higher with all the strings in unison together, save
the double bass. The impact of the minor third modulation reinforces Chihiros
disbelief and shock of Hakus arrival because it is a chromatic modulation coupled
with the shift in orchestration.
When Chihiro and Haku are about to fly back to the bathhouse from Zenebas
swamp, the orchestra drops out, leaving only the piano. The solo piano plays the
beginning of the theme briefly, and this abrupt change in orchestration makes the
audience dive into Chihiros mind which is still lingering behind with Zeneba. This
piano section acts as a fond memory, evoking the warmth of Zenebas home. Chihiro
waves goodbye to Zeneba, and the two share a brief moment before the brass and
timpani snap Chihiro back to the present action as Haku begins to fly off in dragon
form with her on his back. The next variation of the theme playfully follows Hakus
snake-like flying animation with the melody in the brass. The woodwinds slither
along in a scalar fashion dancing around the chords that the strings are plucking
underneath everything. This works perfectly with the snake-style animation, and the
music changes tone half way through the variation when Haku begins flying
straighter, and the music becomes calmer.
There are multiple other themes in the film that are interspersed and connected
with emotions and events. The Spirit theme, which is first heard thirteen minutes and
eighteen seconds into the film, begins with a short introduction of East Asian
instrumentation that sounds like Gamelan underneath a zither-like instrument playing
staccato notes. There is also a disembodied female voice humming in the background
to signify the imminent arrival of the spirits. This theme soon follows the first use of
35
the main Magic theme where the terrified Chihiro is desperately trying to escape
before nightfall when the spirits come out. She ends up finding that the place where
she entered the abandoned amusement park is now a body of water, over which a
luxurious ship carrying customers of the bathhouse is approaching. The Spirit theme
is structured in three sections: A, B and C. The A section begins when Chihiro first
notices the ship approaching, and frantically attempts to wake up from a bad dream.
Unfortunately she is not dreaming, nor does the music care that she is distressed,
because the music saunters on in a relaxing yet syncopated rhythm. This is an
excellent example of how Hisaishi turns potentially frightening moments to be
magical and uplifting. Chihiro is terrified but the music allays any fears that the
audience might share with her. The lower brass enter in the B section with a serene
yet slightly ominous melody as scene changes to the ship getting closer. When the
ship finally docks, the theme becomes instantly triumphant and celebratory in section
C and some spirits arrive, floating towards the bathhouse in single file. In this grand
section, the full brass doubles the zither-like instrument in its staccato melody, and
the woodwinds create a counter melody that is much more legato and graceful. This
countermelody imitates the gliding of the spirits through thin air. This theme is also
located around the spirits as if it were diagetic music coming from the boat, and the
music slowly fades out as Chihiro runs away in fear.
At thirty-one minutes and seventeen seconds into the film the Spirit theme
returns. Chihiro has worked her way into getting a job at the bathhouse to avoid being
turned into a pig like her parents; she is now assistant to Rin, a sarcastic and blunt
worker who grows fond of Chihiro. The scene where the Spirit theme occurs for the
36
second time is of Chihiro experiencing the bathhouse for the first time. Rin is leading
her to Yubaba, the ruler of the bathhouse, and on the way Chihiro sees all the
different spirits coming and going in the bustling bathhouse. Hisaishi times the score
so that sections B and C are synchronized with different shots that have a significant
impact to Chihiro. The A section enters as they sneak into the elevator which takes
them up from the boiler room to the main areas of the bathhouse. When they reach
the top, the Radish spirit is waiting for the elevator. He is a massive spirit resembling
a combination between a radish and a sumo wrestler. The B section of the Spirit
theme is synchronized with Rins surprised yet contained reaction to the size of the
Radish spirit. Chihiro has the same frightened emotion as she had earlier in the film
when the B section of the first Spirit theme played. After the B section, section C
enters when the camera pans down to close up and more detailed animations of the
spirits bathing. These imaginative images are well suited with the exultant music, and
when Chihiro looks down at the spirits, the music mixes her frightened emotions with
marvel.
Section C of the Spirit theme reprises a third time at one hour, six minutes and
ten seconds. Section C scores the scene where the bathhouse guests cheer on Chihiro
and the staff members after they complete the momentous task of cleansing the Stink
spirit, which is later revealed to be a River spirit who was grossly polluted. This is a
turning point in the film for Chihiro, as well as an evolution in this theme. Initially,
Chihiro is looked down upon as a human by her coworkers, but after her success with
the Stink Spirit, she is praised. The Spirit theme now serves a different purpose; at
first, the theme contrasted Chihiros emotions and focused on the spirits, but now it is
37
connected to Chihiros feelings of accomplishment and displays the spirits approval
of her.
The Spirit theme returns one last time at the end of the film. Chihiro takes
Yubabas final test to return home from the Spirit world, and she answers the trick
question correctly. When Chihiro finalizes her answer, Yubabas contract that kept
Chihiro in the Spirit world vanishes and section C of the Spirit theme is reprised for
the last time. This is the final stage of evolution in the Spirit theme: ultimate approval
and acceptance in the Spirit world. All the bathhouse employees and the spirits cheer
for Chihiro as she runs away with Haku. This segues into the final Adventure theme,
which leaves the audience heart warmed.
The scene where Chihiro rides the train from the bathhouse to Zenibas house
may be the most interesting scene in the film. While the film up to this point has
shown Chihiro rushing from event A to event B and so on, this scene is a three minute
train ride with no dialogue just music. The piece on the OST named The Sixth
Station is heavily piano based with strings creating an atmospheric pad underneath
the piano melody. This will be referred to as the Train theme.
A shortened version of the Train theme occurs at one hour, seven minutes and
ten seconds into the film. Chihiro and Rin are relaxing on a deck of the bathhouse at
night, eating dumplings and looking over the endless expanse of water that surrounds
the bathhouse. A train stops at the bathhouse and continues into the beyond; Rin
ponders the idea of leaving the bathhouse on the train forever. The music in this scene
is based around Rin and Chihiros belief in a happy ending to their bathhouse
routines, and the train theme represents endless opportunity. It acts as a combination
38
of serenity, distant hope, and expansiveness. The orchestration and arrangement are
extremely sparse and the theme lacks a general structure. For these reasons, the music
feels like a gaping panorama. There is so much room for addition to the theme, which
creates the belief that there is hope on the train. However, the minor mode signifies
that it is not in the near future for Rin.
When the main Train theme occurs at one hour, thirty-seven minutes and
thirty-five seconds, Rin has just dropped off Chihiro at the train station and is
returning to the bathhouse. It is Rins lifelong goal to get a ticket for the train in order
to leave the life of a bathhouse servant, and it cannot be easy to see Chihiro come and
go so quickly on what she has been working towards for so long. This sadness that
Rin must feel is reflected in the Train theme. Since there is no dialogue, the musics
ability to match the expansiveness of the scenery is important in this scene.
Miyazakis beautifully animated shots need music that can reflect the open scenery
and the trepidation of a child riding a train for the first time. As previously stated, the
theme is sparse and can incorporate the vast array of emotions.
Conclusion
39
achieve a greater sense of sophistication, his older scores are still revered
internationally by children and adults alike. Although Hisaishi embraces the
Hollywood system, he simultaneously pushes against it with radical concepts of
focusing on emotion. His minimalist scores for his early Kitano music were a breath
of fresh air; yet as he grows in fame and success, his scores are becoming more
globally recognized, and as a result his style is slowly losing their idiosyncratic
minimalism. This may also be because of his evolution in composition style, which
steps away from the synthesizers that Hisaishi used as the main instruments for his
repetitive minimalism.
It is an unfortunate that he and Kitano no longer collaborate after creating
such a legacy together, but one can hope that this will be changed in the future.
Hisaishi does more than score films; he paints pictures with melodies and lush
orchestrations. At his live performances, images and clips from the films are
sometimes projected on a screen as his musical themes for the films soar through the
auditorium, which begs the question: Is his music accompanying the film, or is the
film accompanying his music?
40
Bibliography
"Animated Feature Film." The Academy Awards Database. The Academy of Motion
Picture Arts and Sciences. Web. 26 Jan. 2010.
<http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime=
1270440742863>.
Buena Vista Home Entertainment. "Castle In the Sky - Joe Hisaishi Interview." The
Hayao Miyazaki Web. Team Ghiblink, 14 July 1999. Web. 25 Feb. 2010.
<http://www.nausicaa.net/miyazaki/laputa/interview.html>.
Hisaishi, Joe. "Monsieur Joe." Interview by HK Orient Extreme Cinema. Kitano
Takeshi. Stphane Lacombe. Web. 7 Apr. 2010.
<http://www.kitanotakeshi.com/index.php?content=resources&id=37>.
Kitano, Takeshi. "Takeshi Kitano." Interview by Tom Mes. Midnight Eye. Midnight
Eye Interview, 05 Nov. 2003. Web. 6 Mar. 2010.
<http://www.midnighteye.com/interviews/takeshi_kitano.shtml>.
"Laputa: Castle in the Sky." The Hayao Miyazaki Web. Ed. Team Ghiblink. Team
Ghiblink. Web. 2 Mar. 2010.
<http://www.nausicaa.net/miyazaki/laputa/music.html>.
McCarthy, Helen. Hayao Miyazaki: Master of Japanese Animation. Berkeley, CA:
Stone Bridge Press, 1999.
Miyazakis Spirited Away. DVD. Directed by Hayao Miyazaki. Burbank, CA: Buena
Vista Home Entertainment, Inc., 2001. Bonus Features: Nippon Television
Special.
41
The Elemental Symphony (Symphony No. 1)
42
ever since coming to Wesleyan University, and found this symphony the
perfect forum to use them. The Miyazaki films also inspired the Elemental
themes because the films always exalt nature. The melodies and harmonies
that Hisaishi uses to accompany these images as well as his use of minimalism
in his Kitano film scores inspired much of the melodic and harmonic style of
my symphony and has very much become part of my overall composition
style. Finally, I drew great amounts of inspiration from the many great
composers of the Romantic era, twentieth and twenty-first century;
Beethoven, Berlioz, Dvorak, Tchaikovsky, Stravinsky, Wagner, Phillip Glass,
John Williams and Danny Elfman. The line between film scores and concert
works have always been blurred to me, for I am a very visual composer and
often attribute images to what I write and what I hear. This is why I decided to
use nature as the fundamental theme of my symphony.
The Elemental Symphony is a four-movement odyssey through the
elements that is my attempt to capture the beauty and power of nature. Nature
is the ultimate equalizer, pure and untamable, and each movement represents a
different aspect of it. Movements, in order, are titled Earth, Water,
Wind, and Fire. Like Hisaishi, who embraced some aspects of traditional
film scoring while rejecting some, I do the same with traditional symphonic
composition. My first movement follows standard sonata form, while the rest
of the movements have their own fluid structures that are loosely based on the
theme and variation structure. Symphony No. 1 is the culmination of
43
knowledge from my four years of music study at Wesleyan University, and I
intend to write more in the future.
Movement 1 - Earth
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!
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##
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!
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#
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####
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#
#
#
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##
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#
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##
& # ##
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.
.
B ##### .
f
!
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..
1.
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!
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##
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#
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#
#
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.
.
Movement 1 - Earth
!
!
w
##
& # ##
# # f
& # ##
##
!
!
& # ##
##
!
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& # ##
16
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
####
&
? ####
&
####
1, 2
3, 4
##
& # # #
##
& # ##
? # # # #
#
F
? ####
#
F
? ####
#
16
D. S.
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
####
? ####
#
#
##
& # ##
? ####
#
##
& # ##
F
##
& # ##
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B #####
F
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#
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ww
ww
ww
w
!
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w
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ww
w
w
w
!
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!
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#
#
#
w
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!
!
1.
!
!
Allegro {m q = c 120}
!
!
a2
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F
!
!
!
!
.
!
!
.
!
!
Movement 1 - Earth
4
##
& # ##
##
& # ##
##
& # ##
##
& # ##
##
& # ##
22
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
? ####
? ####
? ####
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
x x
P
#### #
#
#
#
#
#
#
#
& #
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#
##
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!
!
& # ##
22
D. S.
##
& # ##
##
& # ##
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? ####
##
& # ##
##
& # ##
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? ####
# .
f
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#
. .
!
Movement 1 - Earth
##
& # ##
##
& # ##
##
& # ##
##
& # ##
##
& # ##
26
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
? ####
? ####
? ####
26
D. S.
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
w
..
!
# ww
w
w
##
& # ##
####
& #
##
& # ##
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!
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x x Cymbal
Roll---------------------------------------
# ##
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Movement 1 - Earth
6
##
& # ##
##
& # ##
##
& # ##
##
& # ##
##
& # ##
30
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
? ####
? ####
? ####
30
D. S.
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
x
f
#
#
? #### .
#
ffl
!
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##
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f
##
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#
#
#
#
#
#
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.
fl
fl fl. fl
fl fl
#.
#.
. . . .
. . . .
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. .
Movement 1 - Earth
##
& # ##
##
& # ##
##
& # ##
##
& # ##
##
& # ##
34
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
? ####
? ####
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34
D. S.
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
##
& # ##
##
& # ##
##
& # ##
? ####
!
!
x x x x
# ##
#
#
#
#
#
#
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#
fl
fl fl. fl
fl fl
.
.
fl
fl fl. fl
fl fl
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. . . .
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. .
Movement 1 - Earth
8
##
& # ##
##
& # ##
##
& # ##
##
& # ##
##
& # ##
38
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
? ####
? ####
38
D. S.
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
##
& # ##
##
& # ##
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& # ##
? ####
#
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x x x x
# ##
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fl
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Movement 1 - Earth
##
& # ##
##
& # ##
##
& # ##
##
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##
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42
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
D. S.
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
? ####
##
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##
& # ## .
B ##### .
? ####
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fl
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42
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B
Movement 1 - Earth
n nw
46
####
!
!
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a2
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####
!
!
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##
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!
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& # ##
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##
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B
!
!
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10
B
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
D. S.
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
##
& # ## w
nw
####
& # w
nw
# # # # w
& # nw
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46
y
R
# ##
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# ww
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w
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nw
w
w
w
nw
w
.
!
!
!
Allegro {m q = c 120}
ww
w
!
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#
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& # ## w
#
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B ##### w
n n
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#
w
nw
w
w
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nw
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#
##
& # ##
Movement 1 - Earth
##
& # ##
##
& # ##
##
& # ##
##
& # ##
##
& # ##
53
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
B #####
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
nnnn #
n
nnnn #
n
nnnn #
n
nnnn #
n
nnnn #
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w
w
w
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P
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n
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nnnn #
n
nnnn #
n
n
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n
!
!
!
n
##
& # ## # n
B ##### #
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# w
? #### w
#
w
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p
w
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n
w
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ww
w
w
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"
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Con Sord
w
w
ww
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ww
ww
w
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w
w
w
w
w
.
w
w
w
!
w
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Con Sord
ww
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w
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w
!
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Con Sord
Con Sord
nnnn #
n
P
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n
P
nnnn #
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P
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n
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p
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p
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##
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##
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53
D. S.
11
!
!
pizz.
12
# f
&
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!
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#
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62
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
B#
&
F
#
& w
# w
!
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"
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w
"
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2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
&
?#
&
f
ww
&
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B#
f
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f
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w
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!
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ww
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62
D. S.
Movement 1 - Earth
ww
ww
w
w
ww
ww
w
w
!
!
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ww
w
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ww
w
w
ww
w
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!
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..
.
.
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..
.
!
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w
w
w
w
w
w
w
!
!
!
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Movement 1 - Earth
70
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
&
&
&
#
#
#
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&
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2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
!
!
!
ww
w
# w
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w
w
w
ww
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ww
ww
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F
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f
B
#
f
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1.
F
F
F
# ww
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70
D. S.
B#
&
13
!
!
!
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!
arco
Movement 1 - Earth
14
79
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
# w
# ww
&
# w
w
&
&
&
#
#
#
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2 Flutes
&
nglish Horn
&
Vln. I
Vln. II
Vla.
Vc.
Cb.
?#
#
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# w
& w
&
# w
w
B# w
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w
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!
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P
!
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#
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#
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w
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w
ww
!
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w
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!
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w
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.
!
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w
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ww
w
w
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# ww
P
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!
!
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w
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#
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.
!
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F
!
!
B# w
79
D. S.
# ww
&
&
w
w
ww
!
Movement 1 - Earth
88
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
#
& #
#
!
&
#
&
P 3
B#
#
!
&
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2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
# ww
&
"
#
& ww
"
#
B
?#
!
!
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b
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3
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b
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3
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w
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.
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88
D. S.
15
!
!
w
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ww
Movement 1 - Earth
16
95
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
&
&
#
#
#
#
&
&
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#
#
#
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?#
nglish Horn
Vc.
Cb.
!
!
!
!
!
#
#
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&
!
!
!
#
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!
w
w
p
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p
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42
24
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42
42
c
c
c
c
2
4 c
!
c
42 b
!
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ww
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.
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!
&
Vla.
?# w
2 Flutes
Vln. II
42 b
b b
24
b
24 b
24 !
b
42 b
24 !
!
B # #
&
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Vln. I
95
D. S.
!
!
!
42
42
42
# 42
!
42 #
42
!
!
c #w
w
"
c
42
42
2
4
2
4
42
42
42
42
42
42
!
!
!
42 b
42 b
24 !
2
4
42
c
c
c
42
42
c # ww
p
!
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42
42
c # ww
p
c #
#
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c
42
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24 #
#
24 #
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24
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#
#
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Movement 1 - Earth
E
106
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
&
&
&
#
#
#
#
#
B#
&
&
&
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#
#
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2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
!
!
!
!
!
!
#
!
!
#
#
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nb c
!
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b c
!
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106
D. S.
!
!
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!
!
!
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nb c
b c
"n c
b
c
!
!
!
!
!
"
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nb c
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pizz.
nb c
F
!
!
# # # # "n b c
&
?# !
nb c
!
!
!
!
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&
p
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nb c
!
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&
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B
!
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b c
B
"n c
b
!
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nb c
b c
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!
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17
!
!
!
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Movement 1 - Earth
18
&b
&b
115
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&b
&b
&b
Bb
&b
&b
&b
?b
?b
?b
115
D. S.
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
!
!
!
!
!
!
& b
?b
!
!
& b
?b
!
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!
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P n ..
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P
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P
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F
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bbb
P
bbb
P
bbb
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a2
3
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j
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f
3
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b b
J
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3
f
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3
f
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b b b
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b b b
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b
& b b
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n b b
n
n
bbb
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w
w
n
w
n
w
w
w
w
b
Bb w
!
bb
w
w
w
w
w
?b
bbb
bbb w
arco
Movement 1 - Earth
b
& b b .
b
& b b .
122
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
2 Flutes
b
&bb
English Horn
b
&bb
Vln. I
Vln. II
Vla.
Vc.
Cb.
b
w
w
!
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bP
!
!
!
!
!
!
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b
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w
B bbb w
!
P
bb b
w
!
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F
bb
b
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w
&
F
b
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w
.
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B bbb
!
!
!
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F
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!
!
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b
w
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!
!
!
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!
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b
122
D. S.
19
? bb
? bb
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b
!
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w
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b
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Movement 1 - Earth
20
b
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129
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
nnn#
43
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b
43
!
!
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b
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43
b
n#
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3
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b
b
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129
D. S.
b .
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!
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b
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43
43
43
43
43
43
43
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3
4
34
!
3
4
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43
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ww
ww
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3
4
43
n n n # 43
#
3
nnn 4
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43
b
n
Movement 1 - Earth
136
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
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&
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#
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2 Flutes
English Horn
Vln. II
&
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Vc.
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136
D. S.
21
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c
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c
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on top part
Movement 1 - Earth
22
144
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
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2 Flutes
nglish Horn
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&
Cb.
#
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144
D. S.
Movement 1 - Earth
151
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
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&
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2 Flutes
English Horn
Vln. II
&
Cb.
42
42
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42
42
42
42
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c
c
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c
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42
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Vc.
&
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Vla.
151
D. S.
23
!
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42
42
42
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42
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42
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2
4
24 !
42
24 !
42
42
c
c
c
c
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c
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c
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c
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2 c
4
42
c
F
Movement 1 - Earth
24
G
#
& c
#
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#
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#
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#
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#
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159
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
2 Flutes
nglish Horn
?# c
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#
& c
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!
Gradually Increase Volume
#
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159
D. S.
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Movement 1 - Earth
166
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
&
&
&
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#
#
#
?#
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&
&
j
.
w
j
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2 Flutes
English Horn
F
!
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&
Vln. II
&
Vla.
Vc.
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166
D. S.
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26
173
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
.
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173
D. S.
Movement 1 - Earth
H
Andante Cantabile q = 72
U
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P
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S
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3
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w
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P
pizz.
j
Solo
pizz.
Movement 1 - Earth
## w
& # ##
#### w
& #
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& # ##
##
& # ##
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181
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
? ####
##
& # ##
##
& # ##
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& # ##
? ####
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181
D. S.
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
nw
!
!
!
!
!
!
!
!
!
!
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#
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j
n
n
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nw
"
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!
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# # # 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
& # #
n n 3
3
3
3
3
3
3
3
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!
!
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w
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27
3 3 3 3
3
3
3
3
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!
3 3 3 3
3
3
3
3
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P
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Movement 1 - Earth
28
190
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
? ####
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3
3
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3
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w
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#
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n
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n
F
!
F
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n n n n b b ww
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n
!
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3
#
3 3
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3
3
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n
nnnn bb
n
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n
nnnn bb
n w
w
nnnn bb
n w
w
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n
~
~~~~~~~~~
2 Flutes
Moderato {q = c 108}
##
!
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& # ##
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& # ##
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190
D. S.
accel.
!
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arco
arco
#
#
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n
ww
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~~~
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~
Picc.
####
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F
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!
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n
F
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F
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n
F
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F
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n
F
w
w
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w
w
w
w
Movement 1 - I Earth
199
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
bb
&b
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
b
& b .
w
F
b
!
!
!
&b
&b
&b
&b
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w
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!
.
!
!
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!
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b
&b w
b
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w
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b
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..
.
ww
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..
.
ww
w
..
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p
P
#
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b
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199
D. S.
rit.
29
w
!
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.
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f
.
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f
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Movement 1 - Earth
30
&b
&b
&b
&b
208
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&b
&b
&b
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
!
!
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..
w
f w
!
n ww
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!
!
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208
D. S.
? bb
B bb
&b
!
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b
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Movement 1 - Earth
&b
&b
&b
&b
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215
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&b
&b
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2 Flutes
English Horn
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Vln. II
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Vc.
Cb.
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.
.
.
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.
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f
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b
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b
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f
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215
D. S.
31
!
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222
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&b
&b
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!
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222
D. S.
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
b
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b
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b
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229
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&b
&b
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
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w
bw
n ww
bw
x x y
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b
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b
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b
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229
D. S.
!
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w
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ww
w
ww
J
J
w
w
nw
w
ww
!
!
nw
nw
b n
w
w
w
w
nw
!
!
n w
w
w
w
236
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
bb
&b
&b
&b
!
!
!
!
b
&b w
nw
b
&b w
w
bb n w
& w
w
? b b n ww
? bb
? bb
2 Flutes
&b
nglish Horn
&b
Vln. I
Vln. II
Vla.
Vc.
Cb.
b b b b b b
p
!
!
!
!
!
!
a2
b
& b n b b b b b b
"
B bb
!
!
!
!
!
!
!
236
D. S.
Allegro {m q = c 120}
? bb
? bb
w
P
b w
b ww
P
!
!
!
!
!
!
!
!
!
!
!
w
w
w
!
!
!
w
w
w
!
!
!
!
!
!
!
!
!
!
!
!
! !! !
! !! !
! !!
b
& b n b ! ! ! ! b ! ! ! !
p
b
w@
b w@
w@
b
&b w
"
B bb n w
!
!
B bb w
w
? bb
b w
ww
!
!
!
!
!
!
!
!
!
!
!
!
!b ! ! ! ! ! ! ! !b ! ! ! ! ! ! ! !b ! ! ! ! ! ! ! !b ! ! ! !
b
b
w
w@
w
!
&b
243
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Pw
b b b bw
b
&
P
Solo 1
bb
w
!
!
&
F
b
!
!
!
&b
b
w
& b b b b b bw
P
B bb
!
!
b
&b w
w
b
&b w
&b
? bb
? bb
w
!
!
!
ww
!
!
b b
!
!
w
w
ww
!
!
b ww
!
!
? bb
2 Flutes
&b
English Horn
&b
Timp.
243
D. S.
Vln. I
Vln. II
Vla.
Vc.
Cb.
? bb
? bb
!
!
!
!
!
!
b w
P
bw
!
!
b b
b b ! b ! ! ! ! ! ! !
b
&
b ! ! ! ! ! ! ! !
P
b
w@
b
& b w@
P
w
B bb
!
!
P
B bb
w
!
!
b w
P
? bb
!
!
bw
!
!
bw
bw
!
!
!
b b
b b
b b
w
w
w
w
w
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
&
&b
&b
b w
b
b w
& b bw
B bb
&b
&b
&b
Cb.
B bb w
B bb w
w
? bb
!
bw
bw
!
ww
w
bw
!
!
nw
#w
# n ww
nw
bw
!
!
!
!
b b
b
b
w
b w
w
!
!
b
w
w
w
!
!
!
!
bbbbbb
bbbbbb
#w
n w
n # ww
bbbbbb
# # n # # b b b
bbb
#
#
bbbbbb
!
!
&
b b
& b b
bb
w
bb ww
!
!
!
!
bbbbbb
!
!
b b b n n #
n
b b # # n #
w
b w
nw
b w
w
w
w
nw
bw
w
#w
bbbbbb
bbbbbb
# n ww
w
bbbbbb
bbbbbb
bw
bbbbbb
f
.
bbbbbb
bb
b b bb
bbbbbb
!
!
~~~
Vc.
w
w
!
!
bbbbbb
~~~
Vla.
? bb
bw
b ww
~~~
Vln. II
ww
w
w
n
n
# n
~~~
Vln. I
&b
bw
n
n
n n
n # n n
~~~
nglish Horn
? bb
~~~
2 Flutes
bb
b b ww
!
bw
ww
? bb
&
b ww
? bb
? bb
250
D. S.
ww
bw
~~~
Fl.
b w
w
bb b w
&b
250
Picc.
bbbbbb
# b b b
b b b
# b b b
b b b
nw
w
w
bbbbbb
bbbbbb
bbbbbb
b
& b bbbb
257
Picc.
b w
& b bbbb
Solo 1
Fl.
Ob.
E. Hn.
b
& b bbbb
b
& b bbbb
b
& b bbbb w
B bbbbbb
Solo 1
Bb Cl.
Bsn.
Presto, Freely
!
!
b
& b bbbb w
b
& b bbbb w
C Tpt.
Tbn.
Tuba
Timp.
b
& b bbbb
? bb b b
bb
? bb b b
bb
? bb b b
bb
bb
& b b b b ww
? bb b b w
bb
b
!
& b bbbb
~~
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
? bb b b
bb
b w
& b bbbb
b
& b bbbb w
!
!
!
!
!
!
!
!
w
w
w
!
!
ww
w
Presto, Freely
2 Flutes
257
D. S.
!
!
Solo 3
Hn. 2
Solo 1
Hn. 1
w
w
w
!
!
w
w
w
!
!
B bbbbbb
? bb b b
bb
B bbbbbb
b
& b bbbb
b
& b bbbb
264
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
b
& b bbbb
b
& b bbbb
b
& b bbbb
B bbbbbb
2 Flutes
nglish Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
!
!
!
!
!
!
!
!
b
& b bbbb
b
& b bbbb
b
& b bbbb
? bb b b
bb
? bb b b
bb
? bb b b
bb
264
D. S.
b
& b bbbb
? bb b b
bb
bb w
& b b bb w
? bb b b w
bb
b
!
& b bbbb
nw
!
!
w
!
!
!
!
!
!
!
w
!
!
!
!
!
!
!
w
!
!
!
ww
w
!
!
w
!
!
b
& b bbbb
B bbbbbb
B bbbbbb
? bb b b
bb
b
& b bbbb
b
& b bbbb
271
Picc.
Fl.
Ob.
E. Hn.
Bb Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
b
& b bbbb
b
& b bbbb
b
& b bbbb
B bbbbbb
2 Flutes
English Horn
Vln. I
Vln. II
Vla.
Vc.
Cb.
b
& b bbbb
b
& b bbbb
b
& b bbbb
? bb b b
bb
? bb b b
bb
? bb b b
bb
? bb b b
bb
bb
& b b b b ww
? bb b b n w
bb
b
& b bbbb
271
D. S.
!
!
ggg www
ggg ww
gg w
!
!
b
& b bbbb
B bbbbbb
b
& b bbbb
B bbbbbb
? bb b b
bb
Movement 2 - Water
Full Score
Robert Rusli
Adagio, q = 70
Piccolo
Flute
Oboe
English Horn
Clarinet in B b
& b 43
3
&b 4
& b 43 n .
& b 43
& b 43
Bassoon
B b 43
Horn in F 1
& b 43
n .
.
p
.
p
Tuba
? b 43
Timpani
? b 43
43
& b 43
& b 43 n .
.
P
3Div when notes split
& b 4 .
.
P
Div when notes split
B b 43 .
.
n .
Horn in F 2
Trumpet in C
Trombone
Percussion
Harp
Piano
3
&b 4
& b 43
? b 43
? 3
b 4
& b 43
? b 43
Violin I
Violin II
Viola
Cello
Contrabass
? Div
3 when notes split
b 4 .
.
P
when notes split
? b Div
.
43 .
P
n .
.
.
.
.
..
p
..
p
.
.
.
.
p
..
..
n ..
n ..
nU ..
..
.
n .
.
n .
U .
..
..
..
Andante, q = 90
U .
U ..
24
43
2
4
3
4
24
#U .
24
24
43
43
43
n .
24
43
24
43
24
24
2
4
24
24
43
43
3
4
43
43
24
24 j
3
4 n
#
2
3
4
4
.
F
24
43
.
.
2009
24
24
2
4
24
2
4
24
43
43 .
P
43
3
4
43
.
# 3
J
J
4
F
43
Movement 2 - Water
Picc.
&b
# J # n # #
Fl.
&b
Ob.
&b
E. Hn.
&b
B b Cl.
&b
?b
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
?b
16
Bsn.
Tuba
&b
# J # n # #
?
?
16
Hp.
?b
&b
16
Pno.
?b
# J # n # # # J # # # # J n # J n n
n .
# .
# # #
# .
n
.
n
.
#
F
&b
Vln. II
&b
Vla.
Bb
16
Cb.
.
b
?b
J
?b
# #
n . #
Vln. I
Vc.
b b
16
Perc.
. J b
J
16
Timp.
16
Tbn.
#
P
b b b
b n
. j
n
P
n .
# #
n . #
. j b
n # # n
b b
n #
# #
n # # n
#
#
Movement 2 - Water
#
.
& b J # # # # J n # J n
28
Picc.
Fl.
Ob.
&b
& b b
b n
#
J
#
J
. .
J
. #
J
J
. .
J
. #
J
J
E. Hn.
&b
B b Cl.
&b
?b
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
Bsn.
Tuba
#
J
?b
?
?
#
& b J # # # # J n # J n # n #
?b
.
.
.
.
.
.
.
# .
&b
28
Pno.
? b # # #
# .
& b b
n
.
n
.
28
Vln. I
Vln. II
Vla.
Vc.
Cb.
28
Hp.
. #
J
J
28
Perc.
28
Timp.
28
Tbn.
. .
J
& b # #
B b # #
? b #
? b #
b n
n #
n #
j
#
#
#
n #
.
.
.
# #
. .
J
#
# .
j
. j #
Movement 2 - Water
Picc.
&b
Fl.
&b
Ob.
&b
E. Hn.
&b
B b Cl.
&b
39
B b n
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
Bsn.
Tuba
1.
1. n
J J
F
n
2.
1.
n
2.
1.
?b
. j
.
& b ggg ...
g
#
F
Pno.
?b
ng ...
gg .
g
ggg ....
g
gg ....
gg
& b j j j j n j n
n
39
Vln. I
Vln. II
Vla.
Vc.
Cb.
j n # j .
& b j j n j j j j # j
n
n
Bb
n n n
n n
? b .
? b .
a2
& b n # n
n
39
?b
a2
39
Hp.
.
J
39
Perc.
n
J J
F
39
Timp.
39
Tbn.
n
n
n
n
#
#
n
n
..
.
.
.
.
.
1.
.
#
.
n #
.
..
.
# # n
#
..
pizz.
P
n
pizz.
P
n
pizz.
P
J
pizz.
P
# J
P
#
pizz.
Movement 2 - Water
Picc.
&b
Fl.
&b
Ob.
&b
E. Hn.
&b
B b Cl.
&b
51
Bsn.
Bb
&b
51
Hn. 1
Hn. 2
&b
C Tpt.
&b
?b
Tbn.
Tuba
?
?
51
Timp.
51
Perc.
b b
&b
51
Pno.
?b
&b
51
Vln. I
Vln. II
Vla.
Vc.
Cb.
Bb
J
? b j
? b j
b n
# # # # #
# n # n
# #
n
J # #
# J # n # #
n # # #
# # #
J
# J # # # #
n
J #
j n j
.
F
3.
j
n
.
.
.
. . . . J
.
j
n
.
.
.
. . . . . . .
J
# n
# .
J
J
F
.
.
.a2 . . n . . . . . .
#
J
a2
n a2 n . .
.
J
F
. . n .
#
# .
n
J
j
J
n
J
n
J
J
&b J
1.
j
j
& b n
?b
51
Hp.
# .
P
b b
n #
b n
n j
f
.
n
n
J
J
n
# n
J
J
#
n
# # # # # n #
#
n # #
J
j
#
j
#
J n
j
j
j
j
J
J
j
j
j
j
Movement 2 - Water
Picc.
&b
Fl.
&b
60
Ob.
&b
E. Hn.
&b
B b Cl.
&b
Bsn.
n . . . . . . . . .
.
. J
. . n . . . . . . .
. . J
.
j
n
& b .
.
Hn. 2
&b
C Tpt.
&b
Tbn.
Tuba
# #
3
# #
3
# #
3
# #
#
#
# # #
# n
# #
#
# n #
# n
# n
#
j
& b n
?b
&b
?b
Vln. II
&b
n
Bb
J
?b
J
j
j
n #
J
# #
J
n #
J
# #
J
n #
# #
J
# #
n
J
# #
# #
# #
# n
j n j
j n j
j
#
j
#
n
J
?b
J
# #
n #
# #
# n n #
3
n #
n #
&b
Cb.
60
Vc.
# #
# #
Vln. I
Vla.
60
Pno.
60
Hp.
60
Perc.
?b
60
Timp.
.
.
. . . n . . . . .
B b .
J
60
Hn. 1
n
J
# n
J
arco
arco
Movement 2 - Water
&b
66
Picc.
Fl.
Ob.
. .
J
&b
j .
.
&b
E. Hn.
&b
B b Cl.
&b
. .
J
. .
. .
. .
. .
J
. .
J
.
.
. .
j
. .
. .
. .
. .
J
j .
.
. .
J
Bb
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
Bsn.
66
Tbn.
Tuba
?b
?
?
Cb.
.
.
J
J
&b
?b
&b
&b
3
3
3
3
3
3
#
3
#
3
&b
?b
#
F
arco3
Vc.
# . .
arco
Vla.
. # .
J
arco
Vln. II
66
Vln. I
. .
j .
.
# . .
66
Pno.
66
Hp.
. .
.
J
66
Perc.
66
Timp.
. .
B b # n
.
#
?b
J
J
J
.
.
#
?b
J
J
J
Movement 2 - Water
Picc.
&b
Fl.
&b
71
Ob.
&b
B b Cl.
&b
Bb
Hn. 2
&b
Vln. II
Vc.
Cb.
#
3
J
J
J
J
&b
?b
&b
?b
&b
&b
3
Vla.
71
Vln. I
71
Pno.
71
Hp.
71
Perc.
71
Timp.
? b .
b
& b .
& b .
Tuba
n
n
n
n
J
j
# # n # J
J
71
Tbn.
Hn. 1
C Tpt.
& b .
E. Hn.
Bsn.
#
3
ggg ....
g
f
n
3
pizz.
ng ...
ggg .
ggg ....
g
ggg ....
g
n
n
n
n
pizz.
B b # # n # n
F
.
#
? b .
n
n
J
J
F
pizz.
? b .
#
J j J
J
J
J
J
J
J J J n J J
J
Movement 2 - Water
&b
78
Picc.
Fl.
& b n J
Ob.
&b
E. Hn.
&b
B b Cl.
j
&b
u ..
.
u .
u ..
..
u .
#
j
j
n
J
J
J
Bb
Hn. 1
&b
Hn. 2
&b
& b n
.
.
Bsn.
78
C Tpt.
Tbn.
Tuba
?b
?
?
78
Timp.
78
Perc.
..
.
.
..
& b #
n
78
Hp.
?b
&b
78
Pno.
?b
Vln. I
&b
Vln. II
&b
78
Vla.
Vc.
Cb.
n
n #
n
n
#
# n
n
B b n
? b n
Adagio, q = 70
n #
n
J
J
J
J
J
U
Up
p
U
p
U
U
p
up
n
n
n
n
? b J J n J # J n J J J J J J J J J
J
J
J
J
J
u .
#
P
10
Movement 2 - Water
&b
P
a2
b
&
P
b
&
89
Picc.
Fl.
Ob.
E. Hn.
&b
Bsn.
&b
P
Bb
2.
B b Cl.
1.
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
p
p
?b
&b
a2
a2
?b
&b
?b
Vln. I
&b
Vln. II
&b
Tbn.
Tuba
?
?
89
Timp.
89
Perc.
89
Hp.
89
Pno.
r
b
p
a2
89
.
F
b .
b .
arco
89
Vla.
Vc.
Cb.
B b .
F arco
F
arco
F
? b # # #
F
?b
11
Movement 2 - Water
&b
99
Picc.
Fl.
b
&b
Ob.
&b
E. Hn.
&b
b
b b
#
#
# n
& b b b # #
R
#
n
Simile
B b Cl.
Bb
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
Bsn.
99
Tbn.
Tuba
?b
?
?
99
Timp.
b .
99
Perc.
& b b
99
Hp.
&b
# .
?b
& b b
Vln. II
& b b.
Cb.
99
Vc.
..
.
Vln. I
Vla.
..
.
?b
99
Pno.
# .
..
.
n .
# .
B b b.
? b b
?b
n #
#
# n #
arco
12
Picc.
&b
Fl.
&b
Movement 2 - Water
105
Ob.
b b # # n #
&b
# n
Bb
Hn. 1
&b
n ..
Hn. 2
&b
C Tpt.
&b
B b Cl.
Bsn.
Tuba
? b ...
?
?
b b .
Vln. II
Vla.
Vc.
Cb.
b ..
b .
.
# #n ...
.
# ..
.
n .
F
..
F
n ..
..
..
# .
&b
?b
&b
?b
&b
105
Vln. I
#
#
105
Pno.
105
Hp.
105
Perc.
105
Timp.
n
& b b b b # #
#
n
105
Tbn.
&b
E. Hn.
b b
& b .
B b b .
? b b
? b b
n #
#
b .
# .
# .
b .
n .
n #
n #
#
#
n n
#
#
&b
111
Picc.
Fl.
Ob.
E. Hn.
B b Cl.
Bsn.
&b
n
&b
Hn. 2
C Tpt.
Tbn.
Tuba
Bb
& b
& b
& b ..
?b
?
#
n
#
# #
6
6
6
n
#
#
# #
# n
13
#
n
#
# #
6
6
6
n
#
#
# #
# n
b
..
Staggered breathing
# .
n .
F
# n ..
F
n # ..
.
# .
# .
&b
?b
&b
Vla.
Bb
?b
?b
.
F
.
P
#
n
#
# #
n #
#
3
n
6
# #
n # n
n # n 3
3
&b
# ..
?b
n ..
&b
Cb.
Movement 2 - Water
Vln. II
Vc.
111
Vln. I
111
Pno.
111
Hp.
111
Perc.
n #
# #
&b
111
Timp.
&b
111
Hn. 1
#
#
# # 3
3
#
3
#
#
n
3
14
&b
115
Picc.
Fl.
&b
Ob.
&b
E. Hn.
&b
B b Cl.
&b
Bsn.
#
#
n
# #
6
6
6
n
#
#
# #
# n
n #
Bb
Hn. 2
C Tpt.
Tbn.
Tuba
115
Timp.
&b
115
Hp.
?b
&b
115
Vln. I
Vln. II
Vla.
Vc.
Cb.
&b
B b #
?b
?b
# n 3
3
p
p
# #
#
# # # n n
#
#
# # 3
3
#
3
#
#
n
3
p
#
p# #
#
3
p
#
p
p#
p#
p
n
6
# #
n # n
6
6
n #
# # ..
p
#
n
#
# #
# .
# .
p
&b
?b
115
Pno.
b # .
115
Perc.
# .
# .
.
& b # # .
# ..
? b # .
# # # n n
6
6
6
6
6
n
#
# p#
n #
# #
# # # #
# n # # # n
p
6
6
6
6
6
6
p
# #
# #
# ..
& b # .
n .
# #
6
Same breath pattern
& b n ..
#
n
# #
115
Hn. 1
Movement 2 - Water
#
3
# n
&b
118
Picc.
Fl.
&
Ob.
&b
E. Hn.
&b
B b Cl.
&b
15
Movement 2 - Water
n
b b
# n
b
6
n 6
b b b
#
# b b
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
?b
&b
Tuba
?
?
118
Timp.
118
Perc.
118
Hp.
?b
Vln. I
3
b
&
Vln. II
Vla.
Vc.
Cb.
Bb
?b
?b
6
b b b
b
b
b
6
&b
118
6
&b
6
6
?b
n
b b
# n
b
118
Pno.
Tbn.
b b
118
Bb
Bsn.
b
b
b
b
16
Picc.
Fl.
121
b
&
6
6
6
b n
b
&
Ob.
&b
E. Hn.
&b
B b Cl.
&b
Movement 2 - Water
#
n
# #
6
6
6
n
#
# #
# n
n #
6
#
# #
6
6
6
# n
# #
#
# #
6
Bb
Hn. 1
&b
Hn. 2
&b
C Tpt.
&b
?b
&b
#
n
# # # #
6
# # #
Bsn.
121
Tbn.
Tuba
?
?
121
Timp.
121
Perc.
121
Hp.
?b
b
121
&b
6
Pno.
?b
&b
121
Vln. I
Vln. II
&b
Vla.
Bb
Vc.
Cb.
?b
?b
# n
#
n
3
#
#
#
n
n
3
&b
124
Picc.
Ob.
17
Movement 2 - Water
6
n
n
6
6
6
6
6
6
6
n c
& b n c
&b
E. Hn.
&b
B b Cl.
&b
Bsn.
6
6
Fl.
?b
n c
n c
6
n c
n c
Hn. 1
&b
n c
Hn. 2
&b
n c
C Tpt.
&b
n c
?b
n c
n c
n c
124
Tbn.
Tuba
?
?
124
Timp.
124
Perc.
& b n
124
Hp.
?b
Vln. II
Vc.
Cb.
n
6
&b
?b
n
n
3
n
6
n c
# n
n c
n c
n c
n c
& b n n n n n c
B b n
Vla.
& b n
124
Vln. I
124
Pno.
?b
?b
n c
n c
n c
18
Movement 2 - Water
&c
&c
Ob.
&c
E. Hn.
&c
B b Cl.
&c
128
Picc.
Fl.
?c
Hn. 1
&c
Hn. 2
&c
C Tpt.
&c
Bsn.
128
#w
w
p
ww
p
# ww
ww
# n # n # n
# n # n
a2
.
J
P
w
ww
ww
w
w
# ww
ww
w
w
ww
#w
Tbn.
?c
Tuba
?c
?c
&c
& cggg u .
gg
?c
.
u .
128
U
&c w
p
c
&
128
Timp.
128
Perc.
128
Hp.
? c .
.
u .
128
Pno.
Vln. I
Vln. II
# n # n # n
Vla.
Bc
Vc.
?c
Cb.
?c
# #
19
Movement 2 - Water
&
&
&
E. Hn.
&
B b Cl.
&
137
Picc.
Fl.
Ob.
Bsn.
B
137
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
&w
w
&w
&w
Perc.
Hp.
# n # n # n # n
bw
b w
w
w
bw
w
bw
bw
6
# n # n
6
# n # n # n
# n # n # n
w
#w
ww
w
bw
ww
w
b ww
w
bw
137
137
&
?
137
Pno.
w
w
#w
137
Timp.
# n # n
# n # n # n
a2
? ww
w
?
&
# n # n # n
# n # n # n
# n # n
Vln. I
&
Vln. II
&
Vla.
137
Vc.
Cb.
20
Movement 2 - Water
&
Fl.
&
Ob.
&
E. Hn.
&
B b Cl.
&
142
Picc.
Bsn.
B
142
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
Timp.
Perc.
Hp.
#
w
&
#
w
142
w
w
#
#
b b b n
b # n b b
b n b
6
6
6
.
6
.
.
.
.
#
.
.
.
#
Vln. II
&
Vla.
Cb.
ww
&
Vc.
Vln. I
142
&
# www
# w
#
142
&
& #w
? # www
?
w
142
?
b b b
n b
& w
#
w
142
Pno.
#
.
#
21
Movement 2 - Water
144
Picc.
&
Fl.
&
Ob.
&
E. Hn.
B b Cl.
Bsn.
&
&
Hn. 1
&
Hn. 2
&
C Tpt.
&
Tuba
#
#
#
?#
?#
144
Hp.
&
b b b
n b
b # n
6
6
w
w
ww
w
w
ww
w
b b b n
b # n b b
b n b
6
6
6
.
6
.
.
.
.
.
.
.
?#
B#
?#
&
w
6
Vln. II
b b n b
&
Cb.
144
Vc.
b b b n
b # n b b
b n b
&
6
6
6
.
6
.
.
.
.
?#
.
.
.
Vln. I
Vla.
?#
144
Pno.
w
6
144
Perc.
? # www
144
Timp.
b b n b
# n
#
#
B#
w
144
Tbn.
6
# b b
b b b
.
6 .
.
.
#
.
22
146
Picc.
&
Fl.
&
Ob.
&
E. Hn.
B b Cl.
Bsn.
Hn. 1
Hn. 2
C Tpt.
Tbn.
Tuba
6
# b b
b b b
.
6 .
.
.
#
.
#
#
?#
?#
146
Hp.
&
Vln. II
Vla.
Vc.
Cb.
&
w
P
f
#
&
B#
?#
?#
w
6
ww
w
w
ww
w
b b b n
b # n b b
b n b
6
6
6
.
6
.
.
.
.
.
.
.
b b b n
b # n b b
b n b
&
6
6
6
.
6
.
.
.
.
?#
.
.
.
146
Vln. I
?#
146
Pno.
b b b
n b
ww
146
Perc.
b b n b
# n b b
n
6
6
6
6
#
&
w
P
B#
w
P
146
#
& w
w
P
#
&
w
P
#
& w
P
? # www
&
146
Timp.
Movement 2 - Water
23
Movement 2 - Water
148
Picc.
&
Fl.
&
Ob.
&
E. Hn.
&
B b Cl.
&
Bsn.
Hn. 1
&
Hn. 2
&
C Tpt.
&
Tuba
#
#
#
?#
148
Hp.
&
w
w
w
148
&
Vln. II
&
Vc.
Cb.
F
6
ww
w
ww
B#
?#
?#
b b b n
b # n b b
b n b
6
6
6
.
6
.
.
.
.
.
.
.
b b b n
b # n b b
b n b
&
6
6
6
.
6
.
.
.
.
?#
.
.
.
Vln. I
Vla.
?#
148
Pno.
? # www
?#
b b b
n b
148
Perc.
148
Timp.
B#
148
Tbn.
6
# b b
b b b
.
6 .
.
.
#
.
24
150
Picc.
&
Fl.
&
Ob.
&
E. Hn.
B b Cl.
Bsn.
150
&
Hn. 2
&
C Tpt.
&
Tuba
6
# b b
b b b
.
6 .
.
.
#
.
#
#
#
?#
w
w
w
w
&
B#
Vln. II
&
?#
?#
b b b n
b # n b b
b n b
6
6
6
.
6
.
.
.
.
.
.
.
&
Cb.
ww
w
b b b n
b # n b b
b n b
&
6
6
6
.
6
.
.
.
.
?#
.
.
.
150
Vc.
?#
Vln. I
Vla.
?#
150
Pno.
? # ww
w
150
Hp.
b b b
n b
150
Perc.
# w
150
Timp.
6
6
b # n b b
n b # n
b b n
6
6
6
6
6
6
6
6
6
#
&
w
w
w
B#
&
Hn. 1
Tbn.
Movement 2 - Water
25
Movement 2 - Water
152
Picc.
&
Fl.
&
Ob.
&
E. Hn.
&
B b Cl.
Bsn.
&
152
&
Hn. 2
&
C Tpt.
&
Tuba
#
#
#
B#
Hn. 1
Tbn.
6
# b b
b b b
.
6 .
.
.
#
.
#
#
?#
?#
&
?#
b # n
6
6
ww
w
w
B#
&
Vln. II
b b b n
b # n b b
b n b
&
6
6
6
.
6
.
.
.
.
?#
.
.
.
&
Cb.
ww
w
152
Vc.
? # www
Vln. I
Vla.
152
Pno.
152
Hp.
b b b
n b
w
6
152
Perc.
152
Timp.
f
?#
?#
b b b n
b # n b b
b n b
6
6
6
.
6
.
.
.
.
.
.
.
26
Movement 2 - Water
6
# b b
n #
b n # # n # n # n #
n 6#
6
6
6 # #
#
n
& b n #
154
Picc.
Fl.
&
Ob.
&
E. Hn.
&
B b Cl.
Bsn.
&
Hn. 2
&
C Tpt.
&
Tbn.
Tuba
#
#
#
?#
?#
Top slides up
? #
Top slides up
154
Perc.
154
Timp.
6
6
b b n b
# n b b
n
6
6
6
6
#
&
w
B#
154
Hn. 1
w
F
~~~~~
~~~~~~
~~~
~
# J
~
~
~
J
~~~~~.~~~
&
~~~
~~~~~~
~
~
~~~~~~
~~
~~~~~~
~~~
~
~~~~~~
~
?#
~~~~~~ j ~~~
~
n #
154
#
n
& b n #
6
6
6
n #
?#
n # #
b n #
6
6
154
Hp.
Pno.
154
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
#
&
B#
?#
?#
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! !
! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
27
Movement 2 - Water
B#
&
Fl.
&
Ob.
&
E. Hn.
&
B b Cl.
&
Bsn.
157
Hn. 1
&
Hn. 2
&
C Tpt.
&
Tbn.
Tuba
Timp.
Perc.
Vln. II
Vla.
Vc.
Cb.
#
#
#
#
?#
bw
#w
157
157
?#
!!!! ! ! ! !!!!!!!!!
!!!! ! ! ! !!!!!!!!!
!!!!!!!!!!!!!!!!
&
&
?#
157
Vln. I
?#
157
Pno.
?#
157
Hp.
157
Picc.
&
# ! ! ! ! ! ! ! ! ! ! b! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
# b n
!
& !!!! !!! !!
B # ! ! ! ! ! ! ! ! n! !
! ! ! ! ! ! #! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
#
! ! ! ! ! ! ! ! ! ! #! ! ! ! ! ! ! ! ! ! ! !
!!!!!!!!!!!!
!!!!
? # b ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
!!!!!!!!!!!!!!!!
? # b ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
!!!!!!!!!!!!!!!!
28
Fl.
a2
a2
B#
ww
ww
w
&
&
&
E. Hn.
&
B b Cl.
&
161
Hn. 1
&
Hn. 2
&
C Tpt.
&
Tbn.
Tuba
#
#
#
#
#
#
?#
?#
?#
161
Timp.
w
f
&
Pno.
?#
161
&
?#
6
6
6
f 6
f
6
6
6
6
f
6
6
a2
f
w
6
6
66
6
6
6
f
w
f
~~~~~
Hp.
161
161
Perc.
Ob.
Bsn.
161
Picc.
Movement 2 - Water
# ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
&
161
Vln. I
Vln. II
Vla.
Vc.
Cb.
#
& ! !
B # ! !
! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! !
?# ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! !
?# ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
29
Movement 2 - Water
Picc.
&
Fl.
&
&
6
6
6
n 6
E. Hn.
&
B b Cl.
&
164
Ob.
Bsn.
B#
Hn. 1
&
Hn. 2
&
C Tpt.
&
164
Tbn.
Tuba
Timp.
Perc.
# w
w
?#
?#
?#
6
6
6
6
6
6
n
n
n
a2
# #
# # #
6 6 # # 6 6 6
w
#
# .
164
#
n b
&
6
6
6
6
~~~
? # ~~~~ j
j
164
# n b
&
() 6
6
6
6
6
6
# ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
# ! ! ! !
&
!
B # ! ! ! ! !
! !
! !
j ~
~~~~
#
b
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
b
! ! ! ! ! !
! ! ! ! ! !
~~ ~~~
~~ ~~ ~
~~~~~
~~~~~
~~
?#
&
? # b ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! #!
#
n
! ! ! ! ! ! ! ! ! ! ! !
? # b ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
Cb.
~~ ~~
Vc.
~ ~~ ~
Vla.
~~ ~~
Vln. II
164
164
Vln. I
~~
~~~~
~~~~
~~~~
Pno.
# #
6
6 6 6 n
164
Hp.
# #
6 6 # # 6 6 6
! ! ! ! !
! ! ! #! !
#
! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
30
Movement 2 - Water
&
6 6 6 6 6 6
6
#
&
167
Picc.
Fl.
Ob.
6
6
6
6
B b Cl.
Bsn.
&
&
Hn. 2
&
C Tpt.
&
Timp.
Perc.
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
B#
Hn. 1
Tuba
6
6
6
6
#
&
167
Tbn.
&
6
E. Hn.
#
#
w
w
a2
# .
J
j
.
?#
?# w
w
w
w
.
w
ww
w
w
167
167
~~~
&
167
?#
.
w
w
w
w
w
Hp.
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Pno.
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&
167
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#
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31
Movement 2 - Water
170
Picc.
&
Fl.
&
Ob.
&
E. Hn.
&
B b Cl.
&
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6 6 6
#
6
6
6
6
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6
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170
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32
172
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. . .
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Movement 2 - Water
#
#
Movement 3 - Air
Full Score
Robert Rusli
Presto 160
> >
> > > >
> >
J J J J J J J J
? # 12
8
# 12
8
&
Flute
&
Flute
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Oboe
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Clarinet in B b
&
Bassoon
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&
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&
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Trombone
# 12
8
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J J J J J J J J J J J J J J J J J J J J J J
Tuba
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8
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Drum Set
Harp
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&
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Movement 3 - Air
&
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Movement 3 - Air
Fl.
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4
20
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20
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20
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20
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Movement 3 - Air
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Hn. 1
B b Tpt.
Col Legno
# . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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&
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P
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j
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Movement 3 - Air
# R
R
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26
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26
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26
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26
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26
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26
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&
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26
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26
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26
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# . . . . . . . . . . .
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.
Movement 3 - Air
?#
&
31
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&
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&
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&
31
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&
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&
31
B b Tpt.
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31
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31
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31
Picc.
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Movement 3 - Air
Fl.
Fl.
&
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&
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&
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36
&
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36
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36
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36
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36
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Movement 3 - Air
8
39
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39
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39
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39
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39
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Movement 3 - Air
Picc.
&b
Fl.
&b
Fl.
&b
Ob.
&b
B b Cl.
&b
42
42
Bsn.
Hn. 1
Hn. 2
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42
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w
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w.
42
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.
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42
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42
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42
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42
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10
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48
J
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48
Picc.
Fl.
Fl.
Ob.
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J
J
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& b w.
w.
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48
Tbn.
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.
f
w.
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48
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48
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48
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f
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f
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J
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P
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w.
w.
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Cb.
48
Pno.
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F
48
Hp.
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f
w.
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48
B b Tpt.
Movement 3 - Air
w.
.
w.
j
j
j
j
j
j
j
j
j
j
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Movement 3 - Air
&b J
&b J
54
J
&
fj
& b w.
54
Picc.
Fl.
Fl.
Ob.
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Bsn.
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& b w.
Hn. 2
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a2
54
&b J
f
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54
B b Tpt.
Tbn.
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54
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54
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54
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j
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54
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54
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Movement 3 - Air
12
Picc.
&b
Fl.
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60
60
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Ob.
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.
2.
w.
w.
.
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P
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60
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f.
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f
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60
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..
60
B b Tpt.
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60
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60
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60
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60
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Movement 3 - Air
&b
66
Picc.
Fl.
Fl.
Ob.
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& b w.
P
66
b
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66
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66
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66
66
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66
Hp.
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66
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66
Cb.
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Movement 3 - Air
14
72
Picc.
&
Fl.
&
72
Fl.
&
Ob.
&
B b Cl.
&
Bsn.
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w.
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72
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72
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72
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72
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72
Pno.
72
Hp.
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72
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Col Legno
.
F
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78
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16
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Movement 3 - Air
18
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96
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96
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Movement 3 - Air
20
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110
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115
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115
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Movement 3 - Air
22
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125
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Movement 3 - Air
24
130
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Movement 3 - Air
26
142
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Movement 3 - Air
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147
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Movement 3 - Air
28
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Movement 3 - Air
29
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163
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U
w.
Vln. I
&
Vln. II
&
163
Vla.
Vc.
Cb.
B w ..
w
? w.
w.
?
ww ..
w.
w.
ww ..
w.
w.
ww ..
ww ..
w.
w.
w ..
w
ww ..
w ..
w
Movement 4
Full Score
Fire
#
& # c
Moderato
Piccolo
Flute
Flute 2
Oboe
Clarinet in B b
Clarinet in B b 2
#
& # c
B ## c
Horn in F 1
#
& # c
Horn in F 2
Trumpet in B b
P
?
P
a2
w
pw
#
& # c
#
& # c
Bassoon
#
& # c
#
& # c
&
#
& # c
##
Gradual Crescendo!
w
pw
Robert Rusli
#
P
#
#
#
3
#
#
w
#w
w
#w
w
w
# ww
#
#
Tuba
? ## c
Timpani
? ## c
Drum Set
Harp
#
& # c
# w
? ## c
? ## c
#
& # c
B ## c
Cello
? ## c
Contrabass
? ## c
Piano
Violin I
Violin II
Viola
&
##
#
& # c
n
n
#
3
#
#
n
n
? ## c
Trombone
# #
# #
2010
2
5
Picc.
Movement 4
## #
&
## #
&
3
Fl.
5
Fl. 2
#
& # #
#
& #
Ob.
5
B b Cl.
#
& # #
&
B b Cl. 2
##
? ## #
Bsn.
#
& # w
w
##
& #w
w
5
##
&
#n
Hn. 1
Hn. 2
B b Tpt.
Tbn.
? ##
Tuba
? ##
5
Timp.
5
D. S.
5
Hp.
? ##
Pno.
# w
#
& #
#
& #
..
#
#
#
j
#
..
# #
j
# .
# ..
#
& #
B ##
Vc.
? ##
Cb.
? ##
Vla.
#
3
# #
# 3 3
#
#
& #
Vln. II
# #
# #
? ##
Vln. I
# #
#
3
# #
# #
# # # #
.
..
w
#w
w
#w
#
J
3
F
#
3
#w
# w
#w
w
# #
? ##
5
#n
#n
#
#
Movement 4
8
Picc.
#
& # #
#
3
# # #
& #
Fl.
8
Fl. 2
#
& # #
#
& #
Ob.
8
B b Cl.
? ## #
Bsn.
#
& # #w
# w
##
&
#w
# w
8
#
& #
Hn. 2
B b Tpt.
Tbn.
? ##
Tuba
? ##
8
Timp.
8
D. S.
8
Hp.
Pno.
? ##
&
##
? ##
# w
#n
# #
j
#
#
#
.
..
# # ..
.
.
.
#w
# w
n
3
# w
j
#
n
3
#
& #
B ##
Vc.
? ##
Cb.
? ##
Vla.
#n
#
& #
Vln. II
# ww
#
#
8
#
##
&
#n
? ##
Vln. I
3
3
3
3
# #
#
Hn. 1
3
3
# #
3
3
3
3
#
# # #
& # # # #
#
& # #
B b Cl. 2
# #
# # .
nn######
&
# #
3
3
3
3
3
# # # # 3 3 n n # # # # #
#
&
10
Picc.
Fl.
Movement 4
#
& # #
10
Fl. 2
Ob.
#
# #
& # # #
B b Cl. 2
Bsn.
nn#### #
#
nn######
3
33
3
3
3
3
#
n# # #
#
n # ##
& # # #
10
B b Cl.
# #
##
#
& # #
? ## #
nn#### #
#
nn#### #
#
#
& # # ww
10
Hn. 1
Hn. 2
B b Tpt.
#
& # #w
# w
10
##
&
Tbn.
? ##
Tuba
? ##
? ##
# #
# #
J
..
.
10
Timp.
10
D. S.
# w
#
& #
10
Hp.
Pno.
? ##
#
10
#
## #
&
? ##
# # ww
& #
#
& # # ww
B ## w
? ## #w
? ## #w
10
Vln. I
Vln. II
Vla.
Vc.
Cb.
w
w
ww
ww
ww
w
w
nn#### #
#
nn#### # w
# w
F
nn#### #
# ww
F
nn#### # w
# w
nn#### # w
# ww
nn#### #
#
w
nn#### #
#
nn#### #
#
nn#### #
#
nn#### #
#
n n # # # # #
#
F
nn#### # w
# w
F
nn#### #
# w
F
nn#### # w
#
F
nn#### # w
#
F
w
w
w
ww
w
Movement 4
Fl.
# # #
& # ##
# # #
& # ##
13
Fl. 2
Ob.
# # #
& # ##
B b Cl. 2
Bsn.
# # #
& # ##
13
B b Cl.
# # #
& # ##
? #### #
#
# ## #
& # # ww
13
Hn. 1
Hn. 2
B b Tpt.
Tbn.
Tuba
? #### #
#
? #### #
#
13
Timp.
# # #
& # ##
13
Hp.
? #### #
#
# # #
& # ##
13
Pno.
Vln. II
Vla.
Vc.
Cb.
? #### #
#
ww
w
# # # #
& # #
F
#### # w
# w
&
B # # # # # # ww
? #### # w
# w
? #### #
# w
ww
ww
ww
nnnn nbb
n b
nnnn nbb
n b
nnnn nbb
n b
nnnn nbb
n b
nnnn nbb
n b
nnnn nbb
n b
nnnn nbb
n b
nnnn n b
nb b
w
w
nnnn nbb
n b
nnnn nbb
n b
13
Vln. I
13
D. S.
w
w
ww
? # # # # # ww
# w
w
w
# # #
& # ## w
w
13
#### # w
# w
&
.
. . . . . . n n n n n b b
n b
. . . . . . .
nnnn nbb
n b
. . . . . . .
nnnn nbb
n b
n b b
n n
nnnn nbb
n b
nnnnnnbbb
nnnn nbb
b
n n
~~~
# # #
& # ##
13
Picc.
. . . . . . . . .
3
3
3
3
3
3
3
. . . . . . .
F3
. .
3
3
3
3
.
.
3
3
F3
. . . . . . .
3
3
3
3
3
3
F
P
3
3
3
3
3
f
3
3
3
3
3
3
3
f
3
3
nnnn nbb
n b
nnnn nbb
n b
nnnn nbb
n b
nnnn n b
nb b
w n n n n n b b
n b
w
nnnn nbb
n b
Movement 4
b
&b b
16
Picc.
Fl.
bb
& b
16
Fl. 2
Ob.
bb
& b
. . . . . . . . . . . . . . . . n .
n .
. . . . . . . . . . . . . . . . . .
B b Cl. 2
Bsn.
b
&b b
b
&b b
Hn. 2
Tbn.
Tuba
Pno.
Vln. II
Vla.
Vc.
Cb.
n #
n # #
nnn#
nnn#
nnn#
nnn#
nnn#
nnn#
b
&b b
nnn#
? bb
b
&b b
b
&b b
? b
b b
J
P
~~~~
16
~~~~
b
~~~
&b b
b
j
16
b
&b b
3
b
&b b
b
&b b
B b b b ww
nnn#
nnn#
nnn
PJ
~ ~~ ~
~ ~ ~~
~~ ~~
n j
n
n
~~~~~
~~n
n n
n ww
n n
n n #
# n j
n # n
PnJ ~
~~~~~
~~
n n
# #
n # ww
n ~~~~
~
nw
~~~~ ~ n n n #
nnn#
# n # n
#
#
~~~~~
nnn#
n n
n n #
# n n #
n # n n
nnn#
n #
? b b w n w n # w # n
b
? bb w
b
nnn#
? bb
nnn#
? bb
a3
? bb
b
F
? bb
b
16
Vln. I
# . n . # . # . . . . . . . . . .
nnn#
~ ~~
Hp.
b
&b b
16
D. S.
n . # . # . # . . . . . . . . . .
16
Timp.
16
B b Tpt.
# . # . n . . . . . . . . . . .
#
16
Hn. 1
.
.
.
.
n . n . . . . . . . . .
. . . . . . . . . . . . . . . . n . . . n . . . . . . . . . . . . .
16
B b Cl.
. . . . . . . . . . . . . .
nnn#
nnn
nnn#
nnn#
Movement 4
Picc.
Fl.
Fl. 2
Ob.
. .
19
# . .
&
. . . . . .
#
&
. . . . . .
19
#
&
?#
?#
?#
&
B b Cl. 2
Bsn.
&
&
19
&
Hn. 2
&
19
Tbn.
Tuba
&
Hp.
&
Pno.
&
#
#
P
P
P
gg
ggg
f
ggg
gg
g
ggg
ggg
gg
ggg
F
ww
ww
w
w
p
w
p
&
Vln. II
&
Cb.
19
Vc.
?#
Vln. I
Vla.
?#
19
~~~~~
19
P
# n
19
D. S.
.
. . . . .
19
Timp.
# n
?#
Hn. 1
B b Tpt.
.
.
19
B b Cl.
B#
?#
?#
p
p
P
P
8
28
Picc.
Fl.
&
&
?#
28
&
Hn. 2
&
#
#
#
#
#
ww
? # # www
w
w
28
&
?#
?#
28
28
28
&
?#
28
&
?#
28
Vln. I
&
Vln. II
&
Cb.
Hn. 1
Vc.
&
Vla.
B b Cl. 2
Pno.
&
Hp.
28
D. S.
B b Cl.
Timp.
&
Tuba
Ob.
Tbn.
&
B b Tpt.
28
Fl. 2
Bsn.
Movement 4
#
#
..
.
.
..
.
..
.
..
.
.
B#
?#
?#
Movement 4
34
Picc.
&
Fl.
&
34
Fl. 2
&
Ob.
&
?#
#
?#
?#
34
?#
34
&
34
&
#
#
?#
34
&
?#
34
Vln. I
&
Vln. II
&
Cb.
34
Vc.
&
Vla.
Hn. 2
Pno.
&
Hp.
34
D. S.
Hn. 1
Timp.
&
Tuba
B b Cl. 2
Tbn.
&
B b Tpt.
34
B b Cl.
Bsn.
9
accel.
..
.
..
.
..
.
.
..
.
..
.
#
#
B#
?#
?#
10
Movement 4
D
40
Picc.
Fl.
&
&
40
Fl. 2
&
Ob.
&
40
B b Cl.
&
B b Cl. 2
&
Bsn.
#
#
#
#
w.
w.
?#
?#
?#
&
&
#
#
Cymbal Roll
?#
40
&
?#
40
Vln. I
&
Vln. II
&
Cb.
40
Vc.
40
Vla.
40
Pno.
40
Hp.
&
D. S.
Hn. 2
Timp.
&
Tuba
Hn. 1
Tbn.
Slightly faster
?#
40
B b Tpt.
#
#
?#
?#
B#
.
.
j
J
.
w
Movement 4
47
Picc.
Fl.
&
&
47
Fl. 2
&
Ob.
&
?#
#w
# w
.
.
P
P
?#
?#
# #
# #
47
&
#
#
47
47
47
&
?#
47
&
?#
47
Vln. I
&
Vln. II
&
Cb.
&
Vc.
Hn. 2
Vla.
?#
&
Pno.
11
Hn. 1
Hp.
47
D. S.
&
Timp.
B b Cl. 2
Tuba
&
Tbn.
47
B b Tpt.
B b Cl.
Bsn.
# #
#
#
#w
f
# .
w
fw
w
w
fw
w
f
B # #w
f
?#
?#
# .
j
.
Suspended Cymbal
. j
J
3
3
j
Gong
y
J
3
P 3
w
w
w
12
55
Picc.
Fl.
&
&
55
Fl. 2
Ob.
B b Cl.
B b Cl. 2
Bsn.
&
?#
nbb
?#
nbb
?#
&
&
#
#
&
Vc.
Cb.
&
?#
55
?#
55
Vla.
nbb
55
Vln. II
55
Vln. I
55
Pno.
55
Hp.
?#
&
D. S.
nbb
J
3
3
?#
?#
nbb
nbb
p
w
f
n b
b
f
nbb
w
f
nbb
w
f
f
nbb
nbb
nbb
nbb
n b
b
nbb
n b j
b
nbb
J
3
3
n b
b
#
&
B#
n b f
b
f
nbb w
F
f
nbb
&
nbb
Hn. 2
Timp.
&
Tuba
Hn. 1
Tbn.
P
55
#
&
&
55
B b Tpt.
Movement 4
w
w
Movement 4
Picc.
Fl.
Fl. 2
Ob.
62
b
b
&
b
b
&
62
b
&b
b
&b
B b Cl. 2
Bsn.
b
&b w
Hn. 2
B b Tpt.
Tbn.
Tuba
b
&b w
Timp.
D. S.
b
&b
62
b
&b
62
62
b
&b
? bb
b
&b
? bb
62
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
bb
b
&b
62
Pno.
B bb
? bb w
? bb w
"
"
# a2
"
"
? b b
62
Hp.
b
& b
? b
b
"
"
p
"
"
13
? bb
? bb
" Presto
62
Hn. 1
62
B b Cl.
rit.
w
w
w
"
"
"
"
>
P
"
>
P
Staccato
> > > > > > > > > > > > > > >
> > > > > > > > > > > > > > >
14
Fl.
bb
? bb
? bb
? bb
? b
b
&b
&b
Ob.
&b
68
B b Cl.
&b
B b Cl. 2
&b
68
Hn. 1
&b
Hn. 2
&b
68
&b
68
B b Tpt.
Tbn.
Tuba
68
Timp.
68
D. S.
? bb
&b
? bb
&b
68
Hp.
68
Pno.
Vln. I
&b
Vln. II
&b
68
Vla.
Vc.
Cb.
Presto
&
Fl. 2
Bsn.
Presto
68
Picc.
Movement 4
b
b
. . . . . . . .
. . . . . . . .
P
> > > > > >
B bb
> > > > > >
? bb
? bb
> > > > > > > > > > > > > > > >
> > > > > > > > > > > > > > > >
> > > > > > > > > >
> > > > > > > > > >
j
Movement 4
b
&b
? bb
b
&b
? bb
? b
b
76
Picc.
Fl.
b
&b
b
&b
76
Fl. 2
Ob.
b
&b
b
&b
76
B b Cl.
B b Cl. 2
Bsn.
b
&b
76
Hn. 1
Hn. 2
b
&b
b
&b
76
B b Tpt.
Tbn.
Tuba
? bb
76
Timp.
15
x x x x x x
x
P
76
b
&b
76
D. S.
Hp.
? bb
b
&b
76
Pno.
? bb
b
&b
F
b
&b
>
F
b
Bb
>>
F
? bb
F
? bb
76
Vln. I
Vln. II
Vla.
Vc.
Cb.
> > > >
>
> > >
> > > >
> > > >
> > >
> > > >
>
> > >
16
Movement 4
b
&b
&b
? bb
? bb
Fl. 2
&b
Ob.
&b
83
B b Cl.
&b
B b Cl. 2
&b
83
Bsn.
Hn. 1
&b
Hn. 2
&b
83
&b
83
B b Tpt.
Tbn.
Tuba
? bb
? b
b
83
Timp.
83
D. S.
&b
83
Hp.
? bb
&b
83
Pno.
&b
Vln. II
&b
83
Vc.
Cb.
b
b
> >
B bb
? bb
? bb
a2
.
f
n .
n .
n .
.
ww
n ..
ww
..
ww
.
.
ww
n ..
ww
n ..
n
w
w
n ..
F
ww
n ..
.
n .
ww
ww
n .
.
ww
x x x x x
J J
? bb
Vln. I
Vla.
~~~~~~~~~~
~~~~~~~~~~~
Fl.
83
Picc.
x x
n
n
> >
>
>
n
n
n
n
n n n
n
n
n
n
Movement 4
b
&b
90
Picc.
Fl.
b
&b
b
&b
90
Fl. 2
Ob.
b
&b
b
&b
90
B b Cl.
B b Cl. 2
Bsn.
b
&b
? bb
b
&b
90
Hn. 1
Hn. 2
n .
..
Tbn.
Tuba
b
& b n n ..
..
b
&b
Vln. II
Vla.
Vc.
Cb.
w
w
..
ww
b
&b
? bb
b
&b
? bb
ww
..
ww
n n ..
ww
n ..
ww
.
.
ww
x x
.
# .
# ..
n
n .
n .
x x
# .
ww
1, 2
x x
n
n
n
n
b
& b n
n
> > n > > > > > n > > n > >
>
B bb
> > > >
> > > >
> > > >
? bb
n .
n
b
n
& b n
? bb
.
.
? b
b
90
Vln. I
..
90
Pno.
90
Hp.
? bb
90
D. S.
ww
? b b n ..
90
Timp.
n .
f
ww
90
B b Tpt.
17
n
n
n
n
n
n
n b
n
n
b
n
n n > n > n > > n n > > # > >
> > > >
> >
>
>
b
> > > >
> > > >
> > > >
> > > >
18
Movement 4
H
b
&b
Fl. 2
&b
Ob.
&b
&b
97
Picc.
Fl.
97
B b Cl.
&b
B b Cl. 2
&b
97
Bsn.
&b
Hn. 2
&b
97
&b
97
Tbn.
Tuba
b nw
n n ..
b w
w
b ww
nw
? bb w
? bb
? b
b
Vln. II
Vla.
Vc.
Cb.
.
# .
# ..
n .
# n
# #
#
#
#
#
w
? bb
&b
? bb
b
&b
97
Vln. I
97
Pno.
&b
97
Hp.
x x
97
D. S.
b ww
97
Timp.
n .
? bb
Hn. 1
B b Tpt.
b
n n # b n #
n # b n
> n > #
b
n b
& b b n
> >
B bb b
n b
> n > > >
? bb
? bb
n
n
j
#
#
nn## ##
F
# .
nn## ##
F
# .
nn## ##
F
#
nn## ##
Adagio Moderato
#
nn## ##
#
nn## ##
#
nn## ##
#
nn## ##
#
nn## ##
P
.
P
.
P
..
J
F
ww
a3
w
P
w
P
j
P
P
j
.
P
.
P
n
# n # #
nn # ##
f
n# ##
#
n # #
f
# #
nn # ## .
f
n
#
##
n
n # #
b #
f
##
#
n
n # # . j
#
nn## ##
J
.
J
J
#
n n # # # # ww
f
nn # # # # # w
w
f
#
n n # # # # ww
f
w
nn # # # # # w
w
f
#
nn## ##
f w
# #
nn # ## w
#
nn## ##
n
n
Movement 4
# #
& # ##
104
Picc.
Fl.
&
####
# #
& # ##
104
Fl. 2
Ob.
# #
& # ##
# #
& # ##
104
B b Cl.
B b Cl. 2
Bsn.
# #
& # ##
? ####
# ##
& # #
104
Hn. 1
Hn. 2
# #
& # ##
# #
& # ##
104
B b Tpt.
Tbn.
Tuba
? ####
#
F
? ####
#
? ####
104
Timp.
104
D. S.
# #
& # ##
104
Hp.
? ####
# #
& # ##
104
Pno.
? ####
104
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
####
#
#
.
nw
? ####
? ####
F
.
J
J
n.
n
J
. n .
J
n .
J
.
J
n n
# #
n.
& # ##
B ##### .
j
. n
w
w
n f
j
n
w
w
nw
wf
f
n .. n
j n
J
n ...
B
J n
f
19
n
n
20
Movement 4
. . .
.
.
F.
. . .
# #
& # ##
# #
& # ##
111
Picc.
Fl.
. . .
.
# #
& # ##
111
Fl. 2
Ob.
B b Cl.
B b Cl. 2
Bsn.
Hn. 2
# #
& # ##
Tbn.
Tuba
# ##
& # #
# #
& # ##
# #
& # ##
? ####
? ####
# #
& # ##
? ####
# #
& # ##
? ####
# ##
& # #
111
Vln. I
Vln. II
Vla.
Vc.
Cb.
# #
& # ##
? #### w
#
.
.
.
.
.
.
.
.
.
.
a2
a2
j
.
j
.
j
.
nnnn b
n
n
nnn nb
nnnn b
n
nnnn
nnnn b
n
nnnn b
n
j
.
j
.
nnnn b
n
nnnn b
n
j
.
nnnn b
n
nnnn b
n
.
.
nnnn b
n
.
.
n
n n n n b
.
.
. . . . . . . . . . . . . . . . .
. . . . . . . . . .
.
.
.
.
.
.
.
nnnn b
n
#
B ## ##
? #### w
#
.
.
.
.
# w
111
Pno.
.
.
B #####
w
111
Hp.
111
D. S.
.
.
? ####
#
111
Timp.
.
.
111
B b Tpt.
# #
& # # #
111
# #
& # ##
111
Hn. 1
.
.
nb
nnnn b
n
nnnn b
n
nnnn b
n
nnnn b
n
nnnn b
n
nnnn b
n
nnnn
nb
nnnn b
n
nnnn b
n
Movement 4
21
& b #w
&b
115
Picc.
Fl.
&b w
115
Fl. 2
Ob.
& b ww
B b Cl.
&b
B b Cl. 2
&b
115
Bsn.
?b
w
&b
Hn. 2
Tbn.
Tuba
115
D. S.
&b
115
Hp.
?b
&b
115
Pno.
?b
&b
S
&b
S
Bb
S
?b
S
?b
S
115
Vln. I
Vln. II
Vla.
Vc.
Cb.
c . .
.. ..
p
c
24
..
c . . . .
2
4
24
2
4
p.
pizz.
.
p
# # # #
#w
. . . . . .
24
Bb w
w
24
& b ww
115
Timp.
24
w
&b
?b
24
115
B b Tpt.
24
115
Hn. 1
..
. . . .
P
24
.
.
.
.
.
.
.
.
.
.
. . .
. . .
.
.
.
.
24
24
24
24
24
24
24
P
24
2
4
24
24
.
.
24
.
24 .
c w
c
c
w
.
.
.
c .
.
.
. .
. .
22
Movement 4
&b
121
Picc.
Fl.
&b
p
. . . . . .
p
& b . . . . . .
Ob.
&b
B b Cl.
&b
B b Cl. 2
&b
121
Bsn.
24
24
121
Fl. 2
24
24
? b . . . . . .
24
24
24
2
4
Hn. 1
&b
Hn. 2
&b
&b
Bb
?b
24
2
4
&b
121
121
B b Tpt.
Tbn.
Tuba
121
Timp.
121
D. S.
121
Hp.
?b
&b
24
24
24
24
24
24
2
4
?b
2 c
4
P
24
Vln. I
&b
Vln. II
&b
Vla.
Bb
Vc.
?b
121
Pno.
121
Cb.
?b
.
.
.
.
.
.
.
.
.
.
.
.
.
.
24
24
.
.
24
24
arco
Movement 4
&b
3
F
3
3
3
b
&
3
3
F
125
.
&b
3
3
F
&b
125
Picc.
Fl.
Fl. 2
Ob.
&b
125
B b Cl.
?b
Hn. 1
&b
Hn. 2
B b Cl. 2
Bsn.
&b
Tuba
Pno.
&b
&b
Bb
?b
&b
?b
3
3
3
3
125
3
3
3
3
3
3
&b
Vln. I
&b
Vln. II
&b
Vla.
Bb
Vc.
?b
?b
.
w
F
. . . . . . . .
125
P3
pizz.
?b
Cb.
P3
125
Hp.
125
D. S.
125
Timp.
125
Tbn.
23
125
B b Tpt.
.
3
F
3
F3
3
24
Movement 4
&
3
3
3
3
3
3
3
3
3
&
3
3
3
3
3
129
&b
.
.
.
3
3
3
3
129
Picc.
Fl.
Fl. 2
Ob.
&b
&b
129
B b Cl.
B b Cl. 2
&b
?b
Hn. 1
&b
Hn. 2
&b
&b
Bb
?b
Bsn.
129
129
B b Tpt.
Tbn.
Tuba
129
Timp.
129
D. S.
&b
129
Hp.
?b
&b
129
Pno.
?b
&b w
Vla.
Bb
Vc.
?b
Cb.
?b
Vln. II
&b
129
Vln. I
Movement 4
&b
132
Picc.
Fl.
&b
& b .
132
Fl. 2
Ob.
&b
&b
B b Cl. 2
Bsn.
&b
?b
132
B b Cl.
25
n##
n##
n##
Hn. 1
& b .
Hn. 2
&b
&b
Bb
?b
132
132
B b Tpt.
Tbn.
Tuba
132
Timp.
132
D. S.
&b
132
Hp.
?b
&b
132
Pno.
?b
Cb.
?b
n##
n##
#
n #
n##
n##
n##
n##
?b
n##
Vc.
n##
&b
n##
Vln. II
n##
n##
Bb
n##
&b
Vla.
Vibrato
Vln. I
132
n##
#
n #
9
n##
#
n #
n##
n##
26
Movement 4
Presto
#
& #
n
#
& #
142
Picc.
Fl.
#
& #
142
Fl. 2
Ob.
#
& #
#
& #
142
B b Cl.
B b Cl. 2
Bsn.
#
& #
? ##
Hn. 2
B b Tpt.
Tbn.
Tuba
Timp.
D. S.
#
& #
? ##
#
& #
142
Pno.
? ##
#
& #
Vln. II
Vla.
#
& #
B ##
Vc.
? ##
Cb.
? ##
arco
a3
142
Vln. I
#
& # ww
f
#
& # w
w
f
142
# # ww
&
f
? # # www
f
? ##
f w
142
? ## j
f
142
142
Hp.
142
Hn. 1
. . . . . . . .
f
. . . . . . . .
f
. . .
f
j
. . . . .
f
j
. . . . .
f
. . . .
.
. . . . . . . .
. . . . . . . . . . . . . . . . . .
. .
. . . . . . . . . . .
# . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . .
. . . .
. . .
. . . . . .
j
. .
. . . . . .
. . .
. .
j
. . .
. . .
.
.
.
. . . . . . . . . .
j
. . . . . . . .
.
. . . . .
J
. .
. . .
J
. . .
. .
j
. . .
Movement 4
#
& #
? ##
#
& #
149
Picc.
Fl.
#
& #
#
& #
149
Fl. 2
Ob.
#
& #
#
& #
149
B b Cl.
B b Cl. 2
Bsn.
#
& #
149
Hn. 1
Hn. 2
#
& #
#
& #
149
B b Tpt.
27
Tbn.
? ##
Tuba
? ##
? ##
149
Timp.
149
D. S.
#
& #
149
Hp.
? ##
#
& #
149
Pno.
? ##
# . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
& #
149
Vln. I
Vln. II
Vla.
Vc.
Cb.
#
& # . . . . . .
. .
B ##
. . . .
? ##
.
. .
? ##
.
. .
.
.
. . . . . . . . . . . . . . . .
. . . . . .
j
. . . . . . .
. .
j
. . .
.
.
. . .
. . . . . . . . . . . . . . . .
. . . . . .
j
. . . . . . .
. .
j
. . .
.
.
. . .
. .
. . . . . . . . . . . .
. .
. . . . . . .
. .
. .
j
. . .
j
. . .
. . . .
. . . .
28
Movement 4
#
& #
156
Picc.
Fl.
#
& #
#
& #
156
Fl. 2
Ob.
#
& #
#
& #
156
B b Cl.
B b Cl. 2
Bsn.
#
& #
? ##
156
Hn. 1
Hn. 2
&
##
# # #
F
#
#
F
Tbn.
Tuba
#
& #
#
& #
? ## w
Vln. II
Vla.
Vc.
Cb.
nn
nn
nn
nn
nn
nn
nn
nn
nn w
nn
nn
? ##
nn
#
& #
? ##
#
& #
? ##
156
Vln. I
156
Pno.
nn
156
Hp.
? ##
156
D. S.
156
Timp.
# #
#
# # #
F
#
#
F
#
#
156
B b Tpt.
#
# #
#
&
# # . . # .
# . . .
& # #
B ## #
. . .
? ## .
.
? ## .
.
nn
nn
nn
nn
. # .
# . . .
.
. . #
j
.
j
.
. #
.
.
.
.
.
. . # .
. . . . . . . . . . . .
nn
. .
. . . . . . . . . . . .
. .
n n . . . .
. . . . . . .
. . . . . . . .
. .
. .
j
. . .
j
. . .
. . .
. . .
nn
nn .
.
nn .
.
j
. . .
j
. . .
Movement 4
29
161
Picc.
&
Fl.
&
161
Fl. 2
Ob.
&
B b Cl. 2
&
Bsn.
161
&
&
B b Cl.
Presto
Hn. 2
B b Tpt.
Tbn.
Tuba
Timp.
&w
w
P
161
& ww
P
? www
P
?
w
P
161
?
& ww
P
161
Hn. 1
161
D. S.
161
Hp.
&
?
161
Pno.
&
?
161
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
3
3
3
3
. . . . . .
&
j
3
3
. .
B . . . . j
?
.
. .
?
.
. .
pizz.
pizz.
pizz.
pizz.
j
pizz.
j
j
j
j
j
j
30
168
Picc.
&
Fl.
&
Movement 4
w
#w
# #
Fl. 2
&
Ob.
&
168
168
B b Cl.
&
B b Cl. 2
&
Bsn.
#w
# #
Hn. 1
&
Hn. 2
&
168
168
B b Tpt.
Tbn.
Tuba
&
168
Timp.
168
D. S.
168
Hp.
&
?
168
Pno.
&
?
168
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
# #
# #
#
#
#
# # # #
# #
#
#
#
#
#
#
#
# #
B #
#
#
#
&
? j j
? j j
j
j
j
j
j
#
j
#
j
j
j
#
j
#
j
j
j
#
j
#
j
#
j
#
j
j
#
#
#
J
J
J
J
Movement 4
& b
175
Picc.
Fl.
&
31
#w
Fl. 2
&
Ob.
&
175
& b
175
B b Cl.
B b Cl. 2
Bsn.
&
#w
Hn. 1
&
Hn. 2
&
175
175
B b Tpt.
Tbn.
Tuba
&
175
Timp.
175
D. S.
175
Hp.
&
Pno.
&
?
#
& #
175
Vln. I
Vln. II
Vla.
Vc.
Cb.
# #
3
175
& #
#
B #
?
J
?
J
J
J
# #
P3
# #
# # #
#
# #
3
# #
3
#
#w
# #
# #
#
3
#
3
#
#
3
#
3
#
#
#
#
# #
#
#
#
J
J
J
J
#
#
#
#w
3
#
#
# # # #
# # # #
#
# #
# #
#
#
# #
# #
#
#
J
#
J
J
J
#
J
#
J
J
J
32
#
#w
&
#
f
&
180
Picc.
Fl.
Movement 4
&
#w
&
180
Fl. 2
Ob.
180
B b Cl.
&
B b Cl. 2
&
Bsn.
#w
#
f
. . . . . .
# #
#
. . . . . .
#
#
3
3
3
# . . . . . .
# #
#
3
3
3
f
#w
####
Hp.
Pno.
#w
F
180
#
# #
3
180
# #
#
#
3
&
# #
# # #
3
3
3
3
3
3
3
? # #
3
# #
# #
180
#
# #
#
3
&
#
# #
#
3
3
3
3
3
3
? # #
# #
3
#
& #
180
Vln. I
Vln. II
Vla.
Vc.
Cb.
# #
& #
# #
B # #
#
? #
J
? #
J
D. S.
####
####
Timp.
&
180
####
Hn. 2
Tuba
Tbn.
####
####
&
180
####
&
B b Tpt.
Hn. 1
180
####
J
J
# #
#
# #
# #
#
J
#
J
J
J
####
# #
#
#
3
# #
3
# #
# #
####
####
####
w
f
Crash
####
#
arco
#
J
#
J
w
# # # # ww
####
j
#
####
####
####
####
####
####
Movement 4
# #
& # #
? ####
# ##
& #
184
Picc.
Fl.
# #
& # #
# #
& # #
184
Fl. 2
Ob.
# #
& # #
# #
& # #
184
B b Cl.
B b Cl. 2
Bsn.
# #
& # #
184
Hn. 1
Hn. 2
# #
& # #
# #
& # #
184
B b Tpt.
Tbn.
Tuba
w
? # # # # ww
? ####
? ####
184
Timp.
184
D. S.
# #
& # #
184
Hp.
? ####
# #
& # #
184
Pno.
33
? ####
w
w
w
w
arco
w
w
w
w
w
w
w
w
ww
ww
w
w
w
w
w
ww
ww
w
# ##
& #
184
Vln. I
Vln. II
Vla.
Vc.
Cb.
&
####
B ####
? ####
? ####
arco
34
Movement 4
# #
& # #
189
Picc.
Fl.
# #
& # #
# #
& # #
189
Fl. 2
Ob.
# #
& # #
B b Cl. 2
Bsn.
# #
& # #
####
&
? ####
# ##
& # ww
189
Hn. 1
Hn. 2
B b Tpt.
Tbn.
Tuba
? # # # # ww
w
? ####
? ####
189
Timp.
189
D. S.
# #
& # #
189
Hp.
? ####
# #
& # #
189
Pno.
? ####
Vln. II
Vla.
Vc.
Cb.
b n n
b n
n n
n b
n
n
n
n
nw
nw
nw
nw
n n ww
ww
n ww
bw
n w
ww
ww
w
n ww
nw
n ww
bw
ww
n ww
nw
n ww
bw
nw
ww
# ##
& #
# #
& # #
b n ww
189
Vln. I
n n
ww
# #
& # # ww
189
# #
& # # ww
b n n n n
189
B b Cl.
n n
F
n n b n n
n
n n
n
n
b n
n b
n
n
B ####
? ####
? ####
Movement 4
# # n
& # #
194
Picc.
Fl.
# #
& # #
# #
& # #
Ob.
&
194
B b Cl.
B b Cl. 2
Bsn.
&
Hn. 2
B b Tpt.
Tbn.
Tuba
####
# #
& # #
n
n
&
####
n n
ww
194
D. S.
# #
& # #
194
Hp.
? ####
194
Pno.
&
####
? ####
Vln. II
Vla.
Vc.
Cb.
? ####
arco
arco
? ####
# n
# n
b
n n ww
b b ww
w
n n ww
b b n www
nw
bw
b
n
n
b
#
n
n
b n ww
3
n #
#
3
3
n
n #
3
n
#
3
# n
#
b n b n
n b b n n
b n b n
n
3
n #
n #
3
3
3
3
3
n #
#
n n ww
# ## n n n n n n n
& #
n n
n n
n
n
n
####
&
B ####
ww
3
n #
n # 3
3
194
Vln. I
n ww
bw
b b ww
nw
b b ww
n n
nw
nw
nw
b b ww
? # # # # n n www
? ####
# #
& # # nw
nw
194
####
&
n ww
? ####
n n
n .
n
3
3
3
3
3
n
n
.
3
3
n n
194
Timp.
? ####
194
Hn. 1
####
194
Fl. 2
35
n
n
b b n n
b b n n
36
Movement 4
# #
& # # n
198
Picc.
Fl.
# #
.
& # # n
nn
n n nb
# #
& # # .
198
Fl. 2
Ob.
# # w
& # # w
nnnnb
nnnnb
nnnnb
# # n nnnnb
& # #
198
B b Cl.
B b Cl. 2
Bsn.
Hn. 2
B b Tpt.
Tbn.
Tuba
Vln. I
Vln. II
Vla.
Vc.
Cb.
# ##
& # ww
# #
& # # nw
w
198
####
&
n ww
nnnnb
? ####
nnnnb
nnnn
nnnnb
nnnnb
? # # # # n ww
w
? ####
nnnnb
nw
# #
& # # .
? ####
# #
.
& # # n
198
Pno.
198
Hp.
nnnnb
198
D. S.
nnnnb
198
Timp.
# # n
& # #
w
? ####
198
Hn. 1
? ####
nnnnb
nnnnb
f
nnnnb
nnnnb
w
w
w
w
w
w
198
#### n nnnnb
&
P
n n
# #
n
n n n n b j
& # #
n
nnnn J
B ####
b
? ####
? ####
n
n
nnnnb
f
nnnnb
f
Movement 4
37
Picc.
&b
Fl.
&b
Fl. 2
&b
Ob.
&b
203
203
& b
P
& b
P
?b
Hn. 1
&b
Hn. 2
&b
&b
203
B b Cl.
B b Cl. 2
Bsn.
203
203
B b Tpt.
Tbn.
Tuba
? b ww
w
P
?b
?
203
Timp.
&b
?b
w
w
J
J
3
w
w
Vla.
Bb
Vc.
?b
&b
?b
Vln. II
Cb.
w
w
w
ww
w
P
& b
203
Vln. I
3
3
j
P
?b
203
Pno.
&b
203
Hp.
203
D. S.
w
w
arco
38
Picc.
&b
Fl.
&b
Movement 4
208
&b
208
Fl. 2
B b Cl.
&b
B b Cl. 2
&b
208
?b
Hn. 1
&b
Hn. 2
&b
&b
Bsn.
208
208
B b Tpt.
Tbn.
Tuba
?b
208
Timp.
&b
Hp.
&b
?b
Vln. II
Vla.
Vc.
Cb.
w
w
& b
?b
a2
ww
P
w
ww
p
ww
a2
w
w
208
Vln. I
?b
208
Pno.
P
3
3
3
P
208
208
D. S.
?b
w
w
&b
Ob.
3
3
w
ww
w
w
w
w
& b
Bb
?b
Movement 4
&b
213
Picc.
Fl.
&b
Ob.
&b
B b Cl. 2
Bsn.
& b
Bb
&b
&b
213
ww
& b ww
F
w
w
ww
? b ww
F
?b
213
?
b
213
Hn. 1
Hn. 2
B b Tpt.
Tbn.
Tuba
Timp.
213
D. S.
&b
Vln. I
Vln. II
Vla.
Vc.
Cb.
Grandiose
.
n .
.
..
n
.
.
..
.
.
.
..
.
U .
.
U ..
.
ww
ww
ww
w
w
w
w
w
w
?b
&b
& b n
w
w
213
n
& b
B b
?b
?b
ww
ww
w
?b
ww
39
213
Pno.
213
Hp.
& b
213
B b Cl.
&b
213
Fl. 2
w
y
3
3
3
3
3
3
3
3
40
222
Picc.
Fl.
&
&
222
Fl. 2
Ob.
&
B b Cl. 2
Bsn.
&
&
222
B b Cl.
Movement 4
&
222
Hn. 1
Hn. 2
B b Tpt.
Tbn.
Tuba
& .
.
& .
.
222
&
&
?
222
Pno.
&
Vln. II
Vla.
Vc.
Cb.
3
3
3
3
3
3
3
3
3
w
w
ww
ww
ww
ww
ww
ww
ww
w
w
y
3
w
w
ww
w
w
3
3
3
&
3
3
3
3
3
3
3
3
3
3
3
3
&
3
3
3
3
3
3
3
222
Vln. I
.
.
222
Hp.
ww
w
222
D. S.
? ww
w
222
Timp.
Movement 4
Picc.
&
Fl.
&
227
Fl. 2
&
Ob.
&
&
&
227
227
B b Cl.
B b Cl. 2
Bsn.
Hn. 1
&
Hn. 2
&
227
&
227
B b Tpt.
Tbn.
Tuba
227
Hp.
&
?
227
Pno.
227
D. S.
&
227
Timp.
ww
ww
ww
w
w
w
Vln. II
&
Vla.
Cb.
&
Vc.
ww
Vln. I
227
41
w
w
ww
ww