Ligeti Désordre Analisis PDF

Dissertation Essay
ORDER IN DSORDRE
Rhythmic and Melodic Structure in Gyrgy Ligeti's Piano Etude No. 1
Dissertation Composition
VELINIKKA
Concerto for Quarter-Tone Accordion and Chamber Orchestra
Sampo Haapamki
Submitted in partial fulfillment of the

requirements for the degree of
Doctor of Musical Arts
in the Graduate School of Arts and Sciences
COLUMBIA UNIVERSITY
2012
ORDER IN DSORDRE
Sampo Haapamki

COLUMBIA UNIVERSITY
2012
Copyright 2012
Sampo Haapamki
All rights reserved
ABSTRACT
ORDER IN DSORDRE
Sampo Haapamki
This essay is an analysis of Gyrgy Ligetis tude 1: Dsordre (Disorder) (1985) for
piano. In the first part of the essay, there is a short introduction to Ligetis Piano Etudes,
quotations by him, and basic information about the Dsordre. In the second part the
etudes melodic lines are discussed, with help of figures of the phrases of the melodic
lines. The main focus of the composition is in rhythm, which is given consideration in the
third and most extensive part. The rhythm is approached from a perspective of different
rhythmic levels, also with the help of figures. Finally in the fourth, shifting and form are
scrutinized. The last part is followed by Conclusions, Bibliography / Works Cited, and
Appendix (Analysis sheets of Dsordre).
In the analysis sheets of Dsordre (Appendix) the etude is approached from the points of
view of rhythmic levels of two individual lines, phrasings of these melodic lines, shifting
of bar lines (between right and left hands) and overall form. Throughout this essay it is
recommended that one follows Appendix.
Dsordre is a refined combination of systematic and non-systematic music. Ligeti bends,

changes and breaks the system along the way. The fine balancing between the order and
disorder, is a core idea of the composition.
TABLE OF CONTENTS
ORDER IN DSORDRE
List of Figures
Acknowledgments
ii
iv
1 INTRODUCTION
1.1 Short Introduction to Gyrgy Ligetis Piano Etudes
1.2 Quotations by Gyrgy Ligeti
1.3 Summary of Form
1.4 Layers: Foreground and Background
1.5 Background Eighth-Note Runs
1.6 Modes and Pitch Collections as a Substitute for Harmony
1
3
5
6
6
6
2 ANALYSIS OF MELODIC LINES

2.1 Right Hand Phrase I
2.2 Left Hand Phrase I
2.3 Comparison of Right and Left hands Phrase Contours
2.4 Cycle of Right Hand Phrases
2.5 Cycle of Left Hand Phrases
8
10
11
13
15
3 ANALYSIS OF RHYTHMIC LEVELS

3.1 Introduction to Rhythms in Appendix (Analysis sheets)
3.2 Rhythmic Levels
3.3 Right Hand Beat Level
3.4 Multiple Ways of Hearing the Right Hand Beat Level
3.5 Left Hand Beat Level in comparison to Right Hand Beat Level
3.6 Right Hand Meter Level
3.7 Left Hand Meter Level in comparison to Right Hand Meter Level
3.8 Right and Left Hand Hypermeter Levels
3.9 Right and Left Hand Subphrase Levels
3.10 Right and Left Hand Phrase Levels
17
18
20
23
25
27
29
31
33
34
4 SHIFTING AND FORM

4.1 Shifting
4.2 Form
36
40
CONCLUSIONS
43
Bibliography / Works Cited
46
Appendix: Analysis of Dsordre (two analysis sheets)

47
________________________________________________________________________
Dissertation Composition (not part of the Dissertation Essay):
Velinikka, Concerto for Quarter-Tone Accordion and Chamber Orchestra
by Sampo Haapamki
50
LIST OF FIGURES
Figure 1: Melodic line of Right Hand Phrase I (without correct rhythms) as
shown in Appendix (analysis sheets). The melodic line includes the
accented notes in the foreground but not the background eighth-note runs.
Figure 2: Melodic line of Left Hand Phrase I (without correct rhythms) as

shown in Appendix (analysis sheets). The melodic line includes the
accented notes in the foreground but not the background eighth-note runs.
10
Figure 3: The melodic lines of Right Hand Phrase I and Left Hand Phrase I
(without correct rhythms) as shown in Appendix (analysis sheets). The
numbers written between the staves represent steps taken by a line within
its mode (right hand white keys, left hand black keys). A positive number
represents upward motion and a negative number means downward
motion.
11
Figure 4: The melodic line (without correct rhythms) of the two first
right-hand phrases as shown in Appendix. The figure shows that Right
Hand Phrase I melodically repeats itself (as Right Hand Phrase II), this
time diatonically one step higher.
13
Figure 5: The melodic line (without correct rhythms) of the two first lefthand phrases as shown in Appendix. The figure shows that Left Hand
Phrase I melodically repeats itself (as Left Hand Phrase II), this time
pentatonically two steps lower.
15
Figure 6: The numbers above the staff represent the lengths (in multiples
of eighth notes) of each melodic line note of each right-hand phrase
throughout the composition. The melodic line (without correct rhythms)
of Right Hand Phrase I is notated below only as a reference.
20
of eighth notes) of each melodic line note of each right-hand phrase
23
Figure 8: The numbers below and above the staff represent the lengths
(in multiples of eighth notes) of each melodic line note of each right- and
left-hand phrase throughout the composition. The melodic lines (without
correct rhythms) of Right Hand Phrase I and Left Hand Phrase I are
notated only as a reference.
25
ii
of eighth notes) of each meter-level unit of each right-hand phrase
27
Figure 10: The numbers above and below the staff represent the lengths
(in multiples of eighth notes) of each meter-level unit of each right- and
left-hand phrase throughout the composition. The melodic lines (without
correct rhythms) of Right Hand Phrase I and Left Hand Phrase I are
notated only as a reference.
29
Figure 11: The numbers above the staff represent the lengths
(in multiples of eighth notes) of each hypermeter-level unit of each rightand left-hand phrase throughout the composition. The melodic lines
(without correct rhythms) of Right Hand Phrase I and Left Hand Phrase I
are notated below only as a reference.
31
(in multiples of eighth notes) of each subphrase-level unit (referred to
hereafter as subphrase) of each right- and left-hand phrase throughout
the composition. The melodic lines (without correct rhythms) of Right
Hand Phrase I and Left Hand Phrase I are notated below only as a
reference.
33
(in multiples of eighth notes) of each right- and left-hand phrase-level
unit (referred to hereafter as phrase) throughout the composition. The
melodic lines (without correct rhythms) of Right Hand Phrase I and Left
Hand Phrase I are notated below only as a reference.
34
iii
ACKNOWLEDGEMENTS
I am extremely grateful to Tristan Murail who taught me composition for academic years
2005-06 and 2007-09 in the Columbia University. I feel enormous gratitude to my
advisor, Fred Lerdahl. I am vastly indebted to the Columbia Composition Seminar
Instructors who gave me a tremendous amount of ideas: Tristan Murail, Fred Lerdahl,
George Lewis and Fabien Lvy. I am hugely grateful to the Columbia University Music
Departments staff, namely Anne Gefell and Gabriela Kumar. To Darko Bo!njak, Juliet
Forshaw and Tim Page, thank you for taking time out of your busy lives to give me such
important feedback in the American English language.
Velinikka, Concerto for Quarter-tone Accordion and Chamber Orchestra (2008) is the
artistic part of my dissertation. I feel immense gratitude to Veli Kujala, the inventor and
instrumentalist of the quarter-tone accordion. He made it possible for me to compose for
this marvellous new instrument.
My Columbia University experience and life in the City of New York for five academic
years have significantly changed my perspective to this world. It has been important to
get teaching experience as an Ear Training instructor for two academic years and as an
Undergraduate Composition Assistant of Tristan Murail (Fall 2010) and Joseph Dubiel
(Spring 2011). I want to deeply thank fellow music students, it has been great honor to
study with you. I am sure that these years will have positive effects on the music I
compose also in the future.
iv
1 INTRODUCTION
1.1 Short Introduction to Ligetis Piano Etudes
This essay is an analysis of tude 1: Dsordre (Disorder) (1985) for piano by Gyrgy
Ligeti (1923-2006). Dsordre is his first piano etude from the tudes pour piano, premier
livre (Piano Etudes, first book). The duration of the etude is approximately 2 minutes 20
seconds. The composition was dedicated to Pierre Boulez and premiered by Louise
Sibourd in Bratislava in April 15, 1986.
Ligeti wrote 3 books of piano etudes: Premier livre, etudes no. 1-6 (1985); Deuxime
livre, etudes no. 7-14 (1988-1994) and Troisime livre, etudes no. 15-18 (1995-2001).
Etude no. 18 is the last composition he completed. He was 78 years old.
Typically in Ligetis piano etudes, the main focus is on the rhythm (e.g. irregular beats
like 5 + 7). There are often two layers: dynamically accented melodic line(s) in the
foreground and soft runs in the background. Melodic line(s) and harmonies are often
modal and sometimes simplistic (for example using only white keys). Etudes are often
process-oriented. For example there can be a progression in which the register of the
etude gradually ascends. The etudes are performed often; they have quickly become part
of the pianos canonic repertoire. The etudes are pianistic even they are very difficult to
2
play. Especially individual rhythmic coordination between the hands creates a challenge
for the performer.
As quoted in the next Chapter (1.2 Quotations by Gyrgy Ligeti), Ligeti himself has
written that when he was composing the piano etudes, he was influenced by the Central
African Banda-Linda tribe music, Conlon Nancarrow, Thelonious Monk and Bill Evans.
He also writes that some influences came from geometricians Benot Mandelbrot and
Heinz-Otto Peitgen. Ligeti might also have been influenced for example by aksak
rhythms and modal melodies of Balkan folk music. Amy Bauer writes in Ligetis
Laments: Nostalgia, Exoticism, and the Absolute (2011, p. 2), Although he was a
member of the official avant-garde during the 1960s, Ligetis compositions remained
based on traditional techniques and genre models. Renaissance canons and East European
folk melodies are submerged in late nineteenth-century orchestration, while a Baroque
sensibility informs many of his solo works. The rhythmic and harmonic influence of
Bartk is implicit throughout Ligetis oeuvre from the late 1950s through the 1970s,
emerging in a self-conscious yet refined form in the works of the 1980s and 1990s.
Some compositions related to Dsordre include Ligetis Concerto for piano and orchestra
(1985-88), Continuum (1968) for harpsichord and Steve Reichs Piano phase (1967) for
piano. Although Ligeti clearly had multiple influences while composing Dsordre and his
other piano etudes, this essay does not concentrate on them, but preference in this context
is to treat the music on its own terms.
3
1.2 Quotations by Gyrgy Ligeti
From Foreword by Gyrgy Ligeti in Simha Aroms

African Polyphony and Polyrhythm (1985)
In autumn 1982 a former student of mine, the Puerto Rican composer Roberto
Sierra, brought to my attention a collection of instrumental and vocal ensemble
music of the Banda-Linda tribe from the Central African Republic, recorded by
Simha Arom. The record Banda Polyphonies, then several years old, was no
longer available so I re-recorded it on to a cassette and made a photocopy of
Aroms introductory text. Having never before heard anything quite like it, I
listened to it repeatedly and was then, as I still am, deeply impressed by this
marvellous polyphonic, polyrhythmic music with its astonishing complexity.
For many years I have been fascinated by the musical epoch from Vitry and
Machault to Ciconia, and since my acquaintance with his work in 1980, by the
music of Conlon Nancarrow. Undoubtedly my interest in the music Arom has
recorded stems also from the proximity I feel exists between it and my own way
of thinking with regards to composition: that is, the creation of structures which
are both remarkably simple and highly complex. The formal simplicity of subSaharan African music with its unchanging repetition of periods of equal length,
like the uniform pearls of a necklace, is in sharp contrast to the inner structure of
these periods which, because of simultaneous superpositioning of different
rhythmic patterns, posseses an extraordinary degree of complexity. Gradually,
through repeated listening, I became aware of this musics paradoxial nature: the
patterns performed by the individual musicians are quite different from those
which result from their combination. In fact, the ensembles super-pattern is in
itself not played and exists only as a illusory outline. I also began to sense a
strong inner tension between the relentlessness of the constant, never-changing
pulse coupled with the absolute symmetry of the formal architecture on the one
hand and the asymmetrical internal divisions of the patterns on the other. What
we can witness in this music is a wonderful combination of order and disorder
which in turn merges together producing a sense of order on a higher level.
Since my first introduction to the music of the Banda Linda, I have had the
opportunity of listening to diverse recordings of sub-Saharan music collected by
Simha Arom, Hugo Zemp, Gerhard Kubik, Alfons Dauer and many other
ethnomusicologists. During the spring of 1984, while in Jerusalem, I met with
Simha Arom, at which time he showed me his transcriptions in full score of this
and other Central African music and explained to me their melodic and rhythmic
structure.
4
Needless to say I was greatly impressed by his ingenuity at realising a notation
of such complex music. The immense difficulty lies in the fact that the human
ear and brain cannot distill the separate rhythmic patterns of the individual
players from the intricate rhythmic labyrinth of the ensemble. Aroms method of
extracting the individual parts is as efficient as it is simple: by recording
separately each player, the score can then be reconstructed part for part.
Unfortunately, as the parts function only in terms of the collective structure and
have in themselves no autonomous meaning, the performers have neither
learned nor practised their parts individually and are virtually unable to play
them without hearing the complete ensemble. Arom elegantly circumvenes this
problem by providing each musician in turn with headphones through which he
hears a recording of the complete ensemble. This allows the musician to play his
part alone and for it to be separately recorded and later transcribed.
I consider Simha Aroms fundamental work to be of equal importance for both
the scientific and the musical world. For the ethnological research of African
culture, the technique of playback and subsequent recording provides the
material essential to fruitful investigation and better understanding of the
structure of this highly sophisticated music culture. For composition, it opens the
door leading to a new way of thinking about polyphony, one which is
completely different from the European metric structures, but equally rich, or
maybe considering the possibility of using a quick pulse as a common
denominator upon which various patterns can be polyrhythmically
superimposed, even richer than the European tradition.
Quotation from Programs Notes Written by Gyrgy Ligeti for Recording of

Gyrgy Ligeti Edition 3: Works for piano (Etudes, Musica Ricercata)
Pierre-Laurent Aimard (1997)
In Africa cycles or periods of constantly equal length are supported by a regular
beat (which is usually danced, not played). The individual beats can be divided
into two, three, sometimes even four or five elementary units or fast pulses. I
employ neither the cyclic form nor the beats, but use rather the elementary pulse
as an underlying gridwork. I use the same principle in Dsordre for accent
shifting, which allows illusory pattern deformations to emerge: the pianist plays
a steady rhythm, but the irregular distribution of accents leads to seemingly
chaotic configurations. Another fundamental characteristic of African music was
significant to me: the simultaneity of symmetry and asymmetry. The cycles are
always structured asymmetrically (e. g. twelve pulses in 7 + 5), although the
beat, as conceived by the musician, proceeds in even pulses.
5
Further influences that enriched me come from the field of geometry (pattern
deformation from topology and self-similar forms from fractal geometry),
whereby I am indebted to Benot Mandelbrot and Heinz-Otto Peitgen for vital
stimulus.
And then my admiration for Conlon Nancarrow! From his Studies for Player
Piano I learned rhythmic and metric complexity. He showed that there were
entire worlds of rhythmic-melodic subtleties that lay far beyond the limits that
we had recognized in modern music until then. Jazz pianism also played a big
role for me, above all the poetry of Thelonious Monk and Bill Evans. tude Arcen-ciel is almost a jazz piece.
Yet my tudes are neither jazz nor Chopinesque-Debussian music, neither
African nor Nancarrow, and certainly not mathematical constructs. I have
written of influences and approaches, but what I actually compose is difficult to
categorize: it is neither avant-garde nor traditional, neither tonal nor atonal.
And in no way post-modern, as the ironic theatricalizing of the past is quite
foreign to me. These are virtuosic piano pieces, tudes in the pianistic and
compositional sense. They (he means the piano etudes) proceed from a very
simple core idea, and lead from simplicity to great complexity: they behave like
growing organisms.
1.3 Summary of Form
As shown in Appendix, there are three sections: Section 1 lays out the basics of the work.
Section 2, starting from the end of the third system in the Appendix, is an agitated
section, which increases the tension until its end. In the beginning of Section 3 (second
page, second system in the Appendix), the tension diminishes suddenly and the
composition becomes more lyrical. The form resembles A B A. In Chapter 4.2, there is
more detailed analysis of the form.
6
1.4 Layers: Foreground and Background
The basic sound elements in this composition are (1) two individual loud, accented and
irregular melodic lines (played in the right and left hands respectively, mostly in octaves)
in the forte foreground and (2) soft and regular eighth-note runs in the piano background.
In this analysis, foreground and background do not refer to Schenkerian terminology but
simply to the solo and accompaniment.
1.5 Background Eighth-Note Runs
Background eighth-note runs occur mostly within the span of the accented octave. They
almost always go upward. Sometimes they start from the lower note of the current
accented octave, and sometimes they start from somewhere between the endpoints of the
octave. The runs go more or less towards the next accented octave. Often, not all the
notes of the runs are clearly audible because they are covered by the accented melodic
lines. Oftentimes the background runs are chosen in order for them to be practical to play.
Background eighth-note runs might create the illusion of the music ascending infinitely
even though the music is actually staying in the same register.
1.6 Modes and Pitch Collections as a Substitute for Harmony
The composition is less dependent on harmony than on scales and modes. The right hand
plays the diatonic collection of white keys. The left hand plays the pentatonic collection
7
of black keys (notice the left hand key signature). This emphasizes the right and left
hands independence from each other. The right and left hands modes together produce a
chroma. The result is then not only simultaneous diatonic and pentatonic music, but
chromatic music as well. The separation of the two hands into white and black zones
means that it is practical for them to occupy the same register and cross over each other if
necessary. They never play the same keys, except for the very last note of the
composition.
The left hand is generally lower than the right hand. Perhaps the pentatonic scale is
chosen to be played by the left hand because it is slightly more consonant than the
diatonic scale and therefore more suitable for the purpose of being played in the lower
register. Together, low pentatonic and high diatonic scales create a more stable
combination than high pentatonic and low diatonic, reflecting the order of intervals in the
overtone series, in which smaller intervals are higher than larger.
The right hand always stays within the white keys and the left hand always stays within
the black keys, with one exception: the last note of the entire composition is the highest
note of the piano, C. Both hands are marked to play the same note. This is the only note
that the left hand plays outside of its mode.
2 ANALYSIS OF MELODIC LINES
2.1 Right Hand Phrase I
Figure 1: Melodic line of Right Hand Phrase I (without correct rhythms) as shown in
Appendix (analysis sheets). The melodic line includes the accented notes in the
foreground but not the background eighth-note runs.
As shown in Figure 1, Right Hand Phrase I consists of three subphrases: A A B (4 + 4 +

6 bars) (also see Appendix). This phrase, consisting of two closely related shorter
subphrases followed by a longer and developing third subphrase, can be called a sentence
(without tonal harmonic implications). A similar phrase type occurs in the beginning of
Beethovens Piano Sonata no. 1.
Subphrases A and A reach their highest points in the middle of their subphrases. The
overall contours of the subphrases are A: up, down; A: up, down; B: up, down, up,
down.
9
The right-hand subphrases inside the sentences start with repetition. Subphrases A and A
end with a longer note; the notes last as long as the bar, whereas the other notes last only
approximately half of the bar. Also the fourth bar of Subphrase B is approached from
above but the subphrase continues with the upward motion. The end notes of Subphrases
A and A are always approached from above.
As presented in Figure 1, there are three different inner lines with stepwise motions
(intervals of a second). The first inner line heads upward and extends for 6 steps (marked
with a beam above). The second inner line goes downward 2 steps but then turns back
upward and does 3 steps heading towards the last note (marked with a beam below). The
third inner line with stepwise motions starts from the end of the first inner line but goes
downward and heads towards the last note (marked with a beam above at the end of the
phrase).
In each right-hand phrase there are a total of 10 stepwise motions (seconds). Also in each
right-hand phrase from the strong beat the stepwise motion always goes downward
except once. In the fourth last bar a stepwise motion goes upward from the strong beat,
perhaps because the lower inner line (marked with beam below) of the phrase heads
upward to reach the last note. In the background runs, there are many upward seconds.
Perhaps Ligeti wants to have contrasting motion compared to the foreground downward
seconds.
10
Towards the end of the phrase, the intervals other than seconds get larger and larger.
However, the many inner lines of stepwise motion add continuity and horizontality to the
music.
2.2 Left Hand Phrase I
Figure 2: Melodic line of Left Hand Phrase I (without correct rhythms) as shown in
Appendix (analysis sheets). The melodic line includes the accented notes in the
foreground but not the background eighth-note runs.
As shown in Figure 2, Left Hand Phrase I consists of four subphrases: A A B A (4 + 4

+ 6 + 4 bars) (also see Appendix). This phrase type could be called an extended sentence
(without tonal harmonic implications). Related to the right-hand phrase type, called a
sentence, the left-hand phrase type consists of two closely related shorter subphrases
followed by a longer and developing third subphrase, and additionally one shorter
subphrase related to the two first ones. The Subphrase A is similar to A rhythmically
but not melodically, hence it takes its designation as A.
Subphrases A and A contain repetition in the beginning and middle. Subphrase B has a
double repetition in the beginning. Subphrases A, A and A end with a longer note. In
the end of Subphrase B, the whole phrase reaches its highest point. Subphrase A then
brings the line down towards the last and the lowest note of the phrase.
11
2.3 Comparison of Right and Left hands Phrase Contours
Figure 3: The melodic lines of Right Hand Phrase I and Left Hand Phrase I (without
correct rhythms) as shown in Appendix (analysis sheets). The numbers written between
the staves represent steps taken by a line within its mode (right hand white keys, left hand
black keys). A positive number represents upward motion and a negative number means
downward motion.
Figure 3 shows the melodic lines of Right Hand Phrase I and Left Hand Phrase I (without
correct rhythms) next to each other. In the actual composition, the lines shift apart, but in
Figure 3 their beat points coincide for comparison's sake.
The right and left hands Subphrases A, A and B (4, 4, 6 bars) have an equal number of
notes. In addition, Left Hand Phrase I has one more subphrase, Subphrase A (4 bars).
All subphrases in both hands start with repetition, apart from the left hands last
subphrase, Subphrase A. Both hands Subphrases A, A and A end with a longer note.
The overall contours of right and left hands Subphrases A, A and B are similar. To
some extent, they have ascending trajectories. Finally, in the end of the Subphrase B,
12
both hands reach their respective phrases highest points. After that, the Left Hand
Subphrase A moves downward until it reaches the last, lowest note of its phrase.
In Figure 3, numbers written between the staves represent steps taken by a line within its
mode. In other words, the numbers represent scale steps between consecutive notes
within the pitch collection. The right hand takes steps within the diatonic scale (only
white keys) and the left hand within the pentatonic scale (only black keys).
Comparison of the right and left hands' Subphrases A shows that they have only one
discrepancy in the number of steps between consecutive notes. The discrepancy is in the
middle of the phrase when the left hand contains a repetition but the right hand contains a
downward step. If Ligeti had composed both hands to correspond identically, there would
often have been parallel motion (even though the right and left hands frequently shift
apart).
There is more difference between the right- and left-hands Subphrases A than between
Subphrases A. However, if at the end of the Left Hand Subphrase A the note A-sharp
would have been one octave higher, then the last scale steps of the Left Hand Subphrase
A would have been [2 0 -4] which is almost the same as the last scale steps of the Right
Hand Subphrase A, [2 -1 -4].
The overall contours of both hands Subphrases B are very similar and half of the scalestep numbers are the same. In fact, within their own pitch collections, both lines in their
13
entirety have many similar step numbers (as written in Figure 3) between consecutive
notes.
However, the names of subphrases (A, A, A, B) are not fixed. They are flexible labels.
Even if two different subphrases have the same name, they might not be exactly the
same, but they have similar roles within their phrases.
2.4 Cycle of Right Hand Phrases
Figure 4: The melodic line (without correct rhythms) of the two first right-hand phrases
as shown in Appendix. The figure shows that Right Hand Phrase I melodically repeats
itself (as Right Hand Phrase II), this time diatonically one step higher.
14
Presented in Figure 4, Right Hand Phrase I melodically repeats itself as Right Hand
Phrase II diatonically one step higher. The phrase keeps recurring melodically, with the
next phrase cycle always one scale-step higher than the previous phrase. This gradual
process continues until the end of Dsordre.
The right-hand phrase repeats itself nearly 14 times, with each cycle transposed one step
higher. Thus, at the end it reaches a position 13 steps higher within the mode than in the
beginning. Within the white keys, 13 steps means nearly two octaves.
The stepwise motion is the crucial factor, not only inside the phrase, but also between the
phrases. Also, this similarity inside and between the phrases adds continuity and
horizontality which, among other things, ensures that phrases do not individually stick
out too much. It is probably not by accident that Ligeti uses many seconds in background
runs and foreground melodic lines inside and between the phrases. This is one of the
ways Ligeti keeps the music floating.
Also, the beginnings and endings of the right-hand phrases preserve the sense of
continuity. The last note of any right-hand phrase and the first note of the next right-hand
phrase are actually the same note. The right-hand phrases are linked to each other
elliptically so that the music sounds continuous.
15
2.5 Cycle of Left Hand Phrases
Figure 5: The melodic line (without correct rhythms) of the two first left-hand phrases as
shown in Appendix. The figure shows that Left Hand Phrase I melodically repeats itself
(as Left Hand Phrase II), this time pentatonically two steps lower.
As shown in Figure 5, Left Hand Phrase I melodically repeats itself pentatonically two
steps lower, thus becoming Left Hand Phrase II. The phrase keeps repeating itself, and
this gradual process continues until the middle of Left Hand Phrase VIII (until the end of
Section 2). The next phrase cycle is always transposed pentatonically two steps lower
from the previous phrase.
In the middle of Left Hand Phrase VIII (in the beginning of Section 3, the last section)
the left hand jumps to a high register. Even from this point the same left-hand phrase still
keeps repeating itself, always transposed within the mode two steps lower in each cycle.
The left-hand phrase repeats itself nearly 11 times. The left hand travels through different
registers starting from the middle register. From the middle register it travels
16
progressively to the lowest register of the piano. Then it jumps to the high register and
starts another gradual descent, but this time continues to the middle register. At the very
end of the composition the left hand suddenly travels to the highest note of the piano.
17
3 ANALYSIS OF RHYTHMIC LEVELS
3.1 Introduction to Rhythms in Appendix (analysis sheets)
In this chapter the right and left hands independent melodic lines are approached from
the rhythmic point of view. Both hands have their own individual bar lines and they do
not often meet. Neither hand has written time signatures. However, the music seems to
suggest time signatures of 8/8, 7/8, 6/8, 5/8 and 4/8. In Appendix (analysis sheets) both
hands have individual bar numbers.
In this etude the eighth note is the shortest note value and the unit of time. The
continuous eighth-note gridwork creates a rhythmically regular background. The regular
eighth-note background creates a steady environment from which irregular rhythms arise.
In Appendix there are numbers written above and below the staves. The numbers show
how many eighth notes are equal to a particular length of time. The numbers above show
the rhythmic levels of the right hand, and the ones below show the rhythmic levels of the
left hand.
In the composition, the actual written lengths of the accented foreground notes are
usually shorter than marked in the analysis in Appendix. For practical notational reasons,
Ligeti has often written the melodic lines note lengths shorter than they actually sound.
18
Ligeti comments in the footnote: Play the melody legato in both hands. Thus, the
accented melodic lines notes should sound until the following ones arrive. This is why,
in Appendix, the lengths of the melodic lines notes are defined as they sound but not as
they are written in the composition.
All the rhythmic levels presented in Appendix can be derived from the eighth note by
multiplication. An eighth note multiplied by 2 is equal to a quarter note, an eighth note
multiplied by 3 is equal to a dotted quarter note, an eight note multiplied by 4 is equal to
a half note, etc. The rhythms in this composition are built using additive rhythms.
3.2 Rhythmic Levels
The names of the rhythmic levels in Appendix (analysis sheets) are Beat Level, Meter
Level, Hypermeter Level, Subphrase Level, and Phrase Level. The names of the rhythmic
levels are flexible labels because there are multiple ways to hear rhythmic levels. For
example, sometimes what in this analysis is called a beat does not necessarily sound like
a beat, or there could be many ways to hear the beat. In this analysis I have chosen one
possible way to approach rhythms.
It is appropriate to ask: Do all these rhythmic levels actually exist? For example, if we try
to listen to one right hands rhythmic level at a time, is it truly possible to perceive the
level? Although the rhythmic levels might be more perceptible in some passages than in
others, in Appendix, the terms are used consistently throughout the analysis to show how
19
a certain rhythmic level behaves. One of the purposes of using these concepts is just to be
able to label these rhythmic levels.
Here is an example of hearing rhythmic levels in multiple ways. Most of the time, the
rhythmic levels presented in Appendix are irregular one way or another. Nevertheless
some of the rhythmic levels are relatively regular. Sometimes our ear wants to pick up at
least one regular rhythmic level. Or sometimes our ear might want to find regularity in a
rhythmic level that is not regular, with the help of another rhythmic level that is regular.
One could hear a rhythmic level as regular even if it is irregular in the analysis. For
example Right Hand Beat Level in Right Hand Phrase I is irregular (3+5 + 3+5 + 5+3
+7). At the same time Meter Level is relatively symmetrical (8 + 8 + 8 + 7). Some people
might hear the beats in this passage differently than they are marked in the analysis.
Because Meter Level is relatively regular, the beats could also be heard as regular beats
(e.g. 4+4 + 4+4 + 4+4 + 4+3). In this case the accented melody notes would not be on the
beats but off the beats. This is part of the game that Ligeti is playing. Though many of
these rhythmic levels can be heard in many ways, in Appendix one of them is selected.
The rhythmic levels are connected to each other. If something happens for example in
Meter Level, it is reflected in other rhythmic levels. For example, in the right-hand bar 4
meter-level unit is 7 but not 8. This causes the hypermeter-level unit to be 15 (8+7=15)
but not 16 (8+8=16). This also causes one eighth to be taken away from Subphrase and
Phrase Levels. What is happening in surface rhythmic levels (Beat Level, Meter Level)
20
typically effect also other rhythmic levels. In this analysis I wanted to show clearly that
also the lengths of the phrases and subphrases are constantly changing.
As presented in Appendix a beat lasts as long as the accented note (the melodic line
note), a meter-level unit consists of either one or two beats, a hypermeter-level unit
consists of two meter-level units, a subphrase consists of either two or three hypermeterlevel units. One right-hand phrase consists of three subphrases, and one left-hand phrase
consists of four subphrases.
3.3 Right Hand Beat Level
Figure 6: The numbers above the staff represent the lengths (in multiples of eighth notes)
of each melodic line note of each right-hand phrase throughout the composition. The
melodic line (without correct rhythms) of Right Hand Phrase I is notated below only as a
reference.
21
In Figure 6 one can find the lengths of each melodic line note of each right-hand phrase
throughout the composition. Equivalent beat lengths of all the right-hand phrases are
marked vertically at the same column, so that one can compare them easily. The melodic
line of Right Hand Phrase I is notated as a reference.
At first sight it is possible to see that the lengths of the beats tend to be odd numbers.
Most beat lengths adjacent to each other are not the same. Thus the Right Hand Beat
Level is rather asymmetrical.
Most of the time, a beat group of two beats (e.g. 3+5) comprises one meter-level unit.
Two-beat groups, and inversions of them, are often repeated. These two-beat groups
create rather symmetrical meter-level units. Also, a single beat can comprise a meterlevel unit. For example, the last beats of the Subphrases A and A alone always create
one meter-level unit.
Even though the lengths of the beats do change and vary, throughout the composition all
the phrases have a structure with similar relative beat lengths. For example, the
Subphrases A and A the relative beat structure is always
shorter, longer; shorter, longer; longer, shorter; long.
X
X
Y
Z
For Subphrase B the relative beat structure is
shorter, longer; shorter, longer; longer, shorter; shorter, longer;
X
X
Y
X
longer, shorter; shorter, longer.
Y
X
22
Each of these relative beat structures starts with two shorter, longer beat groups and
continues with its inversion, a longer, shorter beat group. The change from a shorter,
longer beat group to longer, shorter beat group occurs on the subphrases highest
notes. This rhythmic change may express or be a reaction to the change in melodic
direction. After this change, Subphrases A and A somewhat relax and end with a long
and lower note. Subphrase B on the other hand continues the phrase by alternating the
shorter, longer and the longer, shorter beat groups similarly as the melody jumps
down and then up. In this way the rhythm and pitches work together, creating balanced
subphrases and phrases.
An overall comparison of equivalent beats of all right-hand phrases in Figure 6

emphasizes the form of Dsordre: Phrases I-IV (Section 1), Phrases V-X (Section 2) and
Phrases XI-XIV (Section 3).
As shown in Figure 6 the beat lengths in Right Hand Phrases I-III are typically 3, 5, 7 and
8 (in multiples of eighth notes). The beat lengths of Right Hand Phrase IV gradually
become shorter. Thus Right Hand Phrase IV is a transition to Section 2.
Typically, the beat lengths in Right Hand Phrases V-VII are 1, 2 and 3 (in multiples of
eighth notes), and in Right Hand Phrases VIII-IX they are only either 1 or 2. Then finally
at the end of Right Hand Phrase X all the beat lengths are only 1.
23
Ligeti cannot continue the shortening process any longer, so at the beginning of Section 3
he suddenly returns to the beat lengths familiar from the beginning. The beat lengths in
Right Hand Phrases XI-XIV are either 3, 5, or 8 (in multiples of eighth notes). In Section
3 the beat lengths stay exactly the same the whole time.
3.4 Multiple Ways of Hearing the Right Hand Beat Level
of each melodic line note of each right-hand phrase throughout the composition. The
reference.
As mentioned earlier, there are multiple ways to hear beat lengths, not just the way they
are presented in Appendix. For example, one may no longer hear the shortest beat length,
1 eighth note, as a beat. Instead one may need at least 2 or 3 multiples of eighth notes for
hearing it as an actual beat. This is another game that Ligeti plays. In Right Hand Phrases
IV-X he progressively compresses the beats. He lets the listener decide when the
24
shortening beats stop being actual sounding like beats, and when a beat is short enough
that it becomes only a part of a beat.
One of the problems from the analytical point of view in Right Hand Phrases V-X is that
one could hear the beat lengths in many different ways. For example in the beginning of
Right Hand Phrase V one could hear 1 or 1+2 or even 1+2+1 as only one beat. This may
also depend on how it is played. Another example: if the beats of Right Hand Phrase V,
presented in Figure 7, were not heard as beats, but instead a two-beat group would be
heard as one beat, then the beat lengths would be 3+3+3+3, 3+3+3+3, 3+3+3+3+3+3. If a
three-beat group was heard as one beat then the beat lengths would be 4+4+4, 4+4+4,
4+4+4+4+2.
But while beat may be a flexible label in matters of perception, for the purposes of this
analysis a choice is made to follow the rule: one beat is equal to the length of the note in
the melodic line. Even if equivalent beats in two different phrases do not have the same
length, they still have a relatively similar role within their phrases.
25
3.5 Left Hand Beat Level in comparison to Right Hand Beat Level
Figure 8: The numbers below and above the staff represent the lengths (in multiples of
eighth notes) of each melodic line note of each right- and left-hand phrase throughout the
composition. The melodic lines (without correct rhythms) of Right Hand Phrase I and
Left Hand Phrase I are notated only as a reference.
Figure 8 shows the lengths of each melodic line note of the right- and left-hands phrases
throughout the composition. Equivalent beat lengths of all the right- and left-hands
phrases are marked vertically at the same column, so that one can compare them easily.
The melodic lines of Right Hand Phrase I and Left Hand Phrase I are notated as a
reference. In general the right and left hands have a lot of similarities.
26
Similar to the right hand, the left-hand beat lengths in general tend to be odd numbers.
Most of the beat lengths adjacent to each other are not the same. Thus, the Left Hand
Beat Level is rather asymmetrical.
Just as in the right hand, throughout the composition all the left-hand phrases have a
structure with similar relative beat lengths. For the Subphrases A, A and A the relative
beat structure is
shorter, longer; shorter, longer; longer, shorter; long.
X
X
Y
Z
For Subphrase B a relative beat structure is
shorter, longer; shorter, longer; longer, shorter; shorter, longer;
X
X
Y
X
longer, shorter; shorter, longer.
Y
X
Moreover, it is important to emphasize that, for a given subphrase in the right hand, this
relative beat length structure is exactly the same as the relative beat length structure in the
corresponding left-hand subphrase.
An overall comparison of equivalent beats of all left-hand phrases in Figure 8 emphasizes

the form of Dsordre: Phrases I-III (Section 1), Phrases IV-until the middle of VIII
(Section 2) and Phrases from the middle of VIII-XI (Section 3).
At the end of the composition (Left Hand Phrases X-XI), most of the longer and long
relative beat lengths get even longer while shorter relative beat lengths stay the same.
27
3.6 Right Hand Meter Level
of each meter-level unit of each right-hand phrase throughout the composition. The
reference.
Figure 9 shows lengths of each meter-level unit of each right-hand phrase throughout the
composition. Equivalent meter-level unit lengths of all the right-hand phrases are marked
vertically at the same column, so that one can compare them easily. The melodic line of
Right Hand Phrase I is notated as a reference.
Most of the meter-level-unit lengths adjacent to each other are the same. Thus Right
Hand Meter Level is rather symmetrical. One meter-level unit consists of one or two
beats. Most of the time two beats create a meter-level unit together. In Sections 1 and 3,
typically two odd number beat lengths added together form an even number meter-levelunit length (e.g. 3+5=8). Ligeti wrote that he was interested in having both symmetrical
28
and asymmetrical rhythmic levels at the same time. Symmetry and the contour of the
phrase help the meter-level units to stick out, with repetitions and downward seconds
from the strong beats, and long notes lasting the whole meter-level unit.
Starting from the beginning, in Right Hand Phrases I-III the meter level has the pattern
8+8+8+7 (in multiples of eighth notes). The pattern is actually broken only in Right Hand
Phrase IV. From the beginning of Right Hand Phrase IV to the beginning of Right Hand
Phrase V the lengths of the meter-level units are shortened from 8 to 3, so the
accelerating transition to Section 2 is very clearly gradual in Meter Level.
In the beginning of Section 2, in Right Hand Phrases V-X, all the meter-level-unit lengths
are 3 multiples of the eighth note, but towards the end only 2. During the entire Section 3,
Right Hand Phrases XI-XIV all meter-level-unit lengths are 8 multiples of eighth notes.
This creates steadiness in Section 3 after the agitated Section 2.
29
3.7 Left Hand Meter Level and Comparison to Right Meter Level
Figure 10: The numbers above and below the staff represent the lengths (in multiples of
eighth notes) of each meter-level unit of each right- and left-hand phrase throughout the
Left Hand Phrase I are notated only as a reference.
Figure 10 shows the length of each meter-level unit of each right- and left-hand phrase
throughout the composition. Equivalent meter-level-unit lengths of all the right- and lefthands phrases are marked vertically at the same column, so that one can compare them
easily. The meter-level units of Right Hand Phrase I and Left Hand Phrase I are notated
as a reference. In general, the right and left hands have high degree of similarity.
Similar to the right hand, most of the left hands adjacent meter-level units are of the
same length. Thus, the Left Hand Meter Level is also rather symmetrical.
30
Starting from the beginning, Meter Level in Right Hand Phrases I-III has the pattern
8+8+8+7. At the same time the left hands meter level repeats the length of 8. This causes
shifting, which will be addressed in Chapter 4.1.
Like the right hand, the left hand also has an accelerating transition in Left Hand Phrase
III, and the meter-level-unit lengths are shortened from 8 to 4. However, in Section 2, the
rhythmic lengths are compressed so much that, instead of only two accented notes fitting
in one bar, a total of four accented notes fit in one bar. Section 2 starts with meter-levelunit length 4 (in the left hand), continues with 3, and finally shortens to 2. In the
beginning of Section 3 the meter-level-unit length is the same in both hands; it is returned
to 8. This is the longest passage where the bar lines of both hands meet (for a total of 25
bars).
Unlike in the right hand, in Left Hand Phrases IX-XI some meter-level units are
elongated from the length 8 to 14. At the end of the composition the difference between
the meter-level units of the right and the left hand is the biggest. This creates increasing
divergence, expressing the idea of disorder, and also creates a sense that the music is
moving farther away -- with the time between echoes also increasing.
31
3.8 Right and Left Hand Hypermeter Levels
Figure 11: The numbers above the staff represent the lengths (in multiples of eighth
notes) of each hypermeter-level unit of each right- and left-hand phrase throughout the
Left Hand Phrase I are notated below only as a reference.
Figure 11 shows the length of each hypermeter-level unit of each right- and left-hand
phrase throughout the composition. Equivalent hypermeter-level-unit lengths of all the
right- and left-hands phrases are marked vertically at the same column, so that one can
compare them easily. The melodic lines of Right Hand Phrase I and Left Hand Phrase I
are notated as a reference.
Most of the hypermeter-level-unit lengths adjacent to each other are the same. Thus in
both hands, Hypermeter Level is rather symmetrical. One hypermeter-level unit consists
of two meter-level units.
32
Two hypermeter-level units divide subphrases into two parts. Changes in Meter Level
(e.g. 3+5, 3+5, 5+3, 7), in the middle of the subphrases, help the Hypermeter Level to
stick out. The first hypermeter-level unit consists of two meter-level units, both of them
consisting of the beat group 3+5, which inverts to the beat group 5+3, marking the
beginning of the new hypermeter.
Starting from the beginning, Right Hand Hypermeter Level has the pattern 16+15. At the
same time Left Hand Hypermeter Level keeps repeating the length 16. This causes
shifting. The right-hand pattern (16+15) is broken only in Right Hand Phrase IV where a
gradually accelerating transition happens towards Right Hand Phrase V. In the left hand
the transition happens between Left Hand Phrase III and Left Hand Phrase IV.
From the beginning of Right Hand Phrase V the hypermeter-unit length stays at 6 and
accelerates, reaching a length of 4 during Right Hand Phrases VIII-IX. Similarly,
although Left Hand Phrase IV starts with the hypermeter-level unit length of 7, it
shortens to 6, and finally to 4 in the middle of Left Hand Phrase VIII.
In the beginning of Section 3 (Right Hand Phrase XI / Left Hand Phrase IX) the
hypermeter-level-unit length is the same in both hands; it is returned to 16 as in the
beginning of the composition. Unlike in the right hand, in Left Hand Phrases IX-XI some
hypermeter-level units are elongated from 16 to 25.
33
3.9 Right and Left Hand Subphrase Levels
0
notes) of each subphrase-level unit (referred to hereafter as subphrase) of each rightand left-hand phrase throughout the composition. The melodic lines (without correct
rhythms) of Right Hand Phrase I and Left Hand Phrase I are notated below only as a
reference.
Figure 12 shows the lengths of each subphrase of each right- and left-hand phrase
throughout the composition. Equivalent subphrase lengths of all the right- and left-hands
phrases are marked vertically at the same column, so that one can compare them easily.
The melodic lines of Right Hand Phrase I and Left Hand Phrase I are notated as a
reference.
Most of the subphrase lengths adjacent to each other are not the same. The subphrase
structures are asymmetrical. The Right Hand Subphrase Level has a shorter, shorter,
longer (i.e. Subphrases A, A and B) structure. The Left Hand Subphrase Level has
34
shorter, shorter, longer, shorter (i.e. Subphrases A, A, B and A) structure. The
Subphrase B lengths are always longer than the corresponding Subphrases A, A and A
in a given phrase.
3.10 Right and Left Hand Phrase Levels
notes) of each right- and left-hand phrase-level unit (referred to hereafter as phrase)
throughout the composition. The melodic lines (without correct rhythms) of Right Hand
Phrase I and Left Hand Phrase I are notated below only as a reference.
Figure 13 shows the lengths of each right- and left-hand phrase throughout the
composition. Equivalent phrase lengths of all the right- and left-hands phrases are
marked vertically at the same column, so that one can compare them easily. The melodic
lines of Right Hand Phrase I and Left Hand Phrase I are notated as a reference.
35
One right-hand phrase consists of three subphrases, and one left-hand phrase consists of
four subphrases. Because the left-hand phrase is one subphrase longer than the right-hand
phrase, the left hand clearly keeps getting ahead after each phrase cycle. After Right
Hand Phrases I-IV (lengths of the phrases are 109 + 108 + 109 + 78 = 404 in multiples of
eighth notes) and Left Hand Phrases I-III (lengths of the phrases are 144 + 144 + 116 =
404 in multiples of eighth notes), the beginnings of both hands phrases meet again in the
beginning of Section 2. After this, the beginnings of both hands phrases never meet
again. In the next Chapter (4.1 Shifting), Dsordre is approached from the shiftings
point of view.
In Section 2, there are six right-hand phrases (Right Hand Phrases V-X) and four and a
half left-hand phrases (Left Hand Phrases IV-VII). Since Section 2 is an agitated and
compressed section, its phrase lengths are shorter than the phrase lengths of the two other
sections.
In the beginning of Section 3 the Left Hand Phrase VIII is suspended for a short moment
and continued again. For this reason, there is not only one method to determine the length
of the Left Hand Phrase VIII. In Section 3, there are three and a half right-hand phrases
(Right Hand Phrases XI-XIV) and approximately three left-hand phrases (Left Hand
Phrases VII-XI). The very last phrases of both hands are not complete. There are a
total of 13 and a half right-hand phrases but only 10 and a half left-hand phrases.
36
4 SHIFTING AND FORM
4.1 Shifting
Between the beginning and the right-hand bar 44, the Right Hand Meter Level has the
pattern 8+8+8+7. In other words, every right hands fourth bar is only 7 eighth notes
long. This is 1 eighth note less than the left hands fourth bars, because Left Hands
Meter Level constantly repeats the length 8. Thus in the beginning every fourth righthand bar is 1 eighth note longer than the corresponding left-hand bar. This causes shifting
of bar lines. The shifting process continues in the right-hand bars from 1 to 44 and in the
left-hand bars from 1 to 42.
As presented in Appendix, the right-hand bar 5 and the left-hand bar 5 are off by 1 eighth
note. After four bars (right-hand bar 9 / left-hand bar 9) the right and left hands bar lines
are off by 2 eighth notes. The beginnings of the left-hand bars fall behind those of the
right-hand bars step-by-step. At first this creates the effect of an echo or
desynchronization. But as the shifting develops, it leads to seemingly chaotic
configurations.
When bar lines or beats meet again after rotating through an entire bar length, it creates a
feeling of reunification. In the right-hand bar 14 / left-hand bars 13-14, the right and left
hands beats meet again, two times, in the highest notes of Right Hand Phrase I. This is
37
probably not by accident, because it feels as if the end of Right Hand Phrase I is
somewhat emphasized before Right Hand Phrase II starts.
During the shifting process, the bar lines actually meet again four times in the right-hand
bars 33-36 / left-hand bars 32-35. At this point the right hand is 1 bar ahead of the left
hand. Also at this point both hands beats meet five times.
As stated earlier, from the beginning of Dsordre, the shifting continues until right-hand
bar 44 / left-hand bar 42. In the right-hand bar 45, the meter-level-unit length is expected
to be 8 due to the preceding pattern, but it is actually 7 eighth notes. From here the
transition starts to Section 2, and the shifting still continues, but not periodically (no
longer in every right-hand fourth bar). During the transition (right-hand bars 44-57 / lefthand bars 43-55), the rhythmic levels are compressed. The relative rhythmic lengths
remain, but the actual rhythmic lengths get compressed. This is the point where for the
first time Ligeti changes the rhythmic rules from the rhythmic setup of the beginning.
In the right-hand bar 54 / left-hand bar 52, the bar lines meet again four times. Shifting
has now caused the right hand to be 2 bars ahead of the left hand. In the right-hand bar 58
/ left-hand bar 56, the left hand has 1 extra eighth note compared to the right hand, which
causes the bar lines to shift by 1 eighth note. Until the right-hand bar 76 / left-hand bar 74
shifting does not increase or decrease (shifting is always by 1 eighth note). After that, in
the right-hand bars 77-93 / left-hand bars 75-91, one can find unstable shifting back and
forth. Maybe in this section Ligeti wants to express instability and agitation before the
38
cut, the sudden change, in the right-hand bar 99 / left-hand bar 97 (in the end of Section
2). Finally in the right-hand bar 93 / left-hand bar 91 the bar lines meet again and stay
together for 25 bars.
In the beginning of Section 3 (right-hand bars 93-117 / left-hand bars 97-115) the bar
lines stay nicely together. This expresses stability and resolution after the agitated
section. During the entire Section 3 the right-hand meter-level-unit lengths stay at 8
eighth notes. After a while, once the situation has sufficiently calmed down, the shifting
resumes again, with the left hands bar lengths occasionally increasing.
During the right-hand bars 118-140 / left-hand bars 116-137, Ligeti shifts the bar lines by
1 eighth note, every third bar. Unlike in the beginning of the composition, where the
shifting was caused by compression of the right-hand bars, in this section the shifting is
caused by the expansion of the left-hand bars. In the right-hand bars 140-141 / left-hand
bars 137-138, the bar lines meet again. This time the right hand is 3 bars ahead of the left
hand.
In the end of the composition the left hands bars are expanded by even more than 1
eighth note. In the right-hand bar 142 / left-hand bar 139, the bar lines are shifted by 1
eighth note. Both hands subsequent bar lines are shifted by 3 eighth notes. The next bar
lines are shifted by 6 eighth notes, etc. Finally in the right-hand bar 155 / left-hand bar
145, the bar lines meet again. At this point the right hand is 10 bars ahead of the left
hand.
39
Shifting also occurs on levels other than the Meter Level. From the beginning, because
the left-hand phrase is one subphrase longer than the right-hand phrase, the left hand
clearly keeps getting ahead after each phrase cycle. After four right-hand phrases (Right
Hand Phrases I-IV) and three left-hand phrases (Left Hand Phrases I-III), the beginnings
of both hands phrases meet again (right-hand bar 57 / left-hand bar 55, in the beginning
of Section 2). The beginnings of both hands phrases never meet again.
In Section 2, there are six right-hand phrases (Right Hand Phrases V-X) and four and a
half left-hand phrases (Left Hand Phrases IV-VII). In Section 3, there are three and a
half right-hand phrases (Right Hand Phrases XI-XIV) and approximately three lefthand phrases (Left Hand Phrases VII-XI).
In Dsordre, there are multiple rhythmic levels connected to each other. The rhythmical
levels have hierarchical relationships. When one rhythmic level is shifted, it makes other
rhythmic levels shift, too. Thus there are multiple shifting speeds at the same time. It can
be described metaphorically as a set of different-sized cogwheels that are connected to
each other and rotate in different speeds.
40
4.2 Form
The total length of Dsordre is 1063 eighth notes. As shown in Appendix, there are three
sections. The etude is in A B A form, where Sections 1 and 3 have many things in
common and Section 2 is developed from Section 1.
The length of Section 1 (right-hand bars 1-56 / left-hand bars 1-54) is 404 eighth notes.
Section 1 presents the basic musical material and ideas. In the foreground, two
independent lines, that are nonetheless closely related melodically and rhythmically, start
shifting apart from each other. In the background, eighth note repetition creates an
underlying additive-rhythm environment from which other rhythmic lengths, symmetrical
and asymmetrical, arise.
In Section 1, both the right- and left-hands phrases keep recurring melodically. In each
cycle they are transposed within their modes, right hand one scale-step upward and left
hand two scale steps downward.
Regardless of the irregularity in many rhythmic levels, all the rhythms arise from the
eighth note environment by multiplication. The beginnings rhythmic setup remains more
or less stable until the right-hand bar 44. From the right-hand bar 44 and left-hand bar 43
both handss rhythms start to speed up, in other words, the rhythmic levels starts to
compress. The transition lasts until the right-hand bar 57 and left-hand bar 55.
41
The length of Section 2 (right-hand bars 57-98 / left-hand bars 55-96) is 230 eighth notes.
Section 2 is developed from the previous Section 1. Section 2 is an agitated section; the
tension increases. Its rhythmic structures are compressed. This is the reason why it is the
shortest section. There is a transition approximately in right-hand bars 78-98 / left-hand
bars 76-96 from slightly longer melodic note values towards the shortest note value of the
composition, the eighth note. In the end of Section 2, Ligeti writes crescendo molto until
sfff.
In Section 2 the melodic lines phrases keep recurring and transposing just as in Section
1, with the right hand upward and the left hand downward. As mentioned earlier, the
right-hand phrase keeps recurring melodically, with the next phrase cycle always one
scale-step above the previous phrase. This gradual process continues until the end of the
Dsordre.
The length of Section 3 (right-hand bars 99-155 / left-hand bars 97-145) is 429 eighth
notes. In the beginning of Section 3, a sudden but somewhat anticipated cut occurs. The
left hand jumps to the high register close to the right hand. In Section 3 the dynamic level
of the music returns suddenly to the one at the beginning of the composition, with the
foreground played in forte and background in piano. Also, the rhythms from the very
beginning of the composition return to both melodic lines. These sudden changes create
an effect of relaxation, especially because the rhythm changes from the accented eighth
note repetition back to the accented longer beats from the beginning. Accented melodic
42
line notes are no longer doubled in octaves, but create more lyrical music by using other
intervals and three or four note chords within the pitch collections.
Rhythmically Section 3 remains stable until the middle of the section. In the left-hand bar
115, the left hand melodic line starts slowing down. This left hands expansion of the
note durations in the melody causes shifting to start again. These actions create a feeling
of the approaching end. The right hand is steadily transposed upward and the left hand
downward. Finally, at the end of the composition both hands background eighth-note
runs climb to the highest register and play the same key as a very last note, the highest
key of the piano.
43
CONCLUSIONS
Gyrgy Ligetis tude 1, Dsordre for piano, has multiple rhythmic ideas connected to
each other: rhythmic hierarchy (rhythmic levels), two individual rhythmic structures (the
right and the left hands), shifting of rhythmic structures, and multiple simultaneously
shifting speeds. Multiple rhythmic levels are connected to each other and have
hierarchical relationships to each other, remaining that way throughout the composition.
Dsordre is polymetric music, which means that it has more than one meter at the same
time. The right and left hands have individual meters. In the same sense, one could call
this composition polyhypermetric, polysubphrase and polyphrase music.
It would be very interesting to hear only either hands rhythmical structure alone but
Ligeti wants to have two individual rhythmic structures played at the same time. Even
this is not enough for Ligeti, so he adds the idea of two individual rhythmic structures
shifting apart from each other. The rhythmic structures have their own trajectories.
Sometimes they meet and sometimes they morph away from each other.
But when the two individual rhythmic structures keep recurring as cycles, there is yet one
more rhythmic idea added. That is, after shifting has occurred long enough, the
beginnings of the cycles actually cease diverging from each other and begin getting
closer to each other.
44
What is truly remarkable is that when the two individual rhythmic structures -- both
consisting of multiple rhythmic levels -- are shifting, all the rhythmic levels are actually
shifting at different speeds. For example, while the beats are rotating through cycles
relatively quickly, first diverging from and then re-approaching each other, the meterlevel-units are rotating through cycles a little more slowly. The hypermeter-level units
take even more time to rotate back together, and so on. But even this is not enough for
Ligeti. With unequal phrase lengths between the hands, rhythmic rotation of phrases also
occurs, constituting the largest-scale rotation in the composition.
As stated earlier, the composition is characterized by a rhythmic hierarchy. Not only are
the beat lengths modified, but also multiple additional rhythmic layers are modified at the
same time. These different rhythmic levels are present throughout the whole composition
in one form or another, which can metaphorically thought of as various-sized cogwheels
that start rotating at different speeds. They also speed up, and upon reaching their highest
speed, they suddenly return to their original speed, and some of them start slowing down.
Ligeti creates almost magical rhythmic spirals, individually for each hand. In the midst of
all the rhythmic complexity, Ligeti keeps repeating the same two melodic phrases (right
and left hand), varying them only slightly each time. This also helps make the
composition very unified.
Ligeti compresses and expands the individual rhythmic structures, but still manages to
maintain all the rhythmic levels almost the whole time. In my opinion, from the
45
rhythmical point of view this composition is truly a masterpiece because this is executed
with great musicality.
From the point of view of harmony, the etude is quite straightforward. For the length of
the composition, the right hand plays white keys and the left hand plays black keys. The
way the pitch collections are used constitutes less of the activity in the composition
than does the rhythmic structure. At the formal level there is no real tension-relaxation
(dissonant-consonant) principles that operate in the harmony. A direction in which the
ideas on display in Dsordre might be further developed could include changes in the
pitch collection(s). For example, one could imagine some kind of transformation from the
diatonic pitch collection to the chromatic one in the right hand. Or maybe in the left hand
Ligeti could have proceeded from the pentatonic collection to, for example, a column
chord of only perfect fourths. But as stated earlier, the main focus in Ligetis piano etudes
is on the rhythm. Ligeti defined very clear tasks for himself and carries those out
logically and imaginatively.
Dsordre is very systematic music, but Ligeti does not want to stick to only one way of
looking at the system. Instead he bends, changes, and breaks the system along the way.
He starts from an algorithm, but keeps changing or disrupting it. There is order, but also
disorder. He gives the listener predictions, but also summons unpredictable elements.
Ligeti uses machine-like patterns and algorithms as a starting point, but with Dsordre he
creates something deeply human.
46
Bibliography / Works Cited
Ligeti, Gyrgy (1985). tudes pour piano: premier livre. Mainz: B Schotts Shne.
Sallis, Friedemann (2002). Gyrgy Ligeti (1923-), Music of the twentieth-century

avant-garde: A biocritical sourcebook. Larry Sitsky ed. Westport: Greenwood Publishing
Group Inc., 254-263.
Bauer, Amy (2011). Ligetis Laments: Nostalgia, Exoticism, and the Absolute.
Ashgate publishing Limited.
Arom, Simha (1985). Polyphony and polymetric in African rhythm. Cambridge:

Cambridge University Press.
Kinzler, Hartmuth (1991). Gyrgy Ligeti, Decision and Automatism in Dsordre,

1re tude, Premier Livre. Interface, 20.2, 89-124.
Kunze, Tobias (1999). An Algorithmic Model of Gyrgy Ligetis tude No. 1, Dsordre.
Retrieved on January 5, 2009 from
http://ccrma.stanford.edu/~tkunze/pbl/1999_desordre/ligeti.html
49
50
VE L IN IK K A
Concerto for Quarter-tone Accordion and Chamber Orchestra
Sampo Haapamki

COLUMBIA UNIVERSITY
2012
51
Copyright 2008
Sampo Haapamki
All rights reserved
52
3. versio
3rd version
Sampo HAAPAMKI
Sampo HAAPAMKI
VELINIKKA
NELJSOSASVELASKELHARMONIKKAKONSERTTO
sooloneljsosasvelaskelharmonikalle ja kamariorkesterille (18 muusikkoa)
(2008)
kesto n. 25 min
tilannut Gaudeamus-musiikkiviikko
omistettu Veli Kujalalle
VELINIKKA
QUARTER-TONE ACCORDION CONCERTO
for quarter-tone accordion solo and chamber orchestra of 18 musicians
(2008)
duration ca. 25 min
commissioned by Gaudeamus Music Week
dedicated to Veli Kujala
Instrumentaatio
Instrumentation
Sooloneljsosasvelaskelharmonikka
Solo Quarter-tone Accordion
1 Huilu
1 Oboe
1 Klarinetti (in Bb)
1 Alttosaksofoni (in Eb)
1 Fagotti
1 Flute
1 Oboe
1 Clarinet in Bb
1 Alto Saxophone in Eb
1 Bassoon
1 Kyrtorvi (in F)
1 Trumpetti (in C)
1 Pasuuna
1 Horn in F
1 Trumpet in C
1 Trombone
Lymsoittimet (1 soittaja):
Percussion (1 player):
Finger Cymbals, Glockenspiel, Splash Cymbal,

Chinese Cymbal, Suspended Cymbal,
Tam-Tam (large), Wind Chimes,
Gran Cassa, Whip
Finger Cymbals, Glockenspiel, Splash Cymbal,

Chinese Cymbal, Suspended Cymbal,
Tam-Tam (large), Wind Chimes,
Gran Cassa, Whip
1 Harppu
1 Harp
3 Viulua
2 Alttoviulua
2 Selloa
1 Kontrabasso (5. kieli H)
3 Violins
2 Violas
2 Cellos
1 Double Bass (5th string B natural)
TRANSPONOIMATON
PARTITUURI
SCORE IN C
53
VELINIKKA (2008)
VELINIKKA (2008)
NELJSOSASVELASKELHARMONIKKAKONSERTTO
neljsosasvelaskelharmonikalle ja kamariorkesterille (18 muusikkoa)
kesto n. 25 min
tilannut Gaudeamus-musiikkiviikko
QUARTER-TONE ACCORDION CONCERTO

for quarter-tone accordion and chamber orchestra of 18 musicians
duration ca. 25 min
commissioned by Gaudeamus Music Week
dedicated to Veli Kujala
kantaesitys:
Veli Kujala, neljsosasvelaskelharmonikka
Insomnio kapellimestarinaan Ulrich Phl
Gaudeamus Music Week
Muziekgebouw aan 't IJ
Amsterdam
1. syyskuuta, 2008
premiere:
Veli Kujala, quarter-tone accordion
Insomnio conducted by Ulrich Phl
Gaudeamus Music Week
Muziekgebouw aan 't IJ
Amsterdam
1st of September, 2008
Ohjelmateksti
Program notes
Velinikka on neljsosasvelaskelharmonikkakonsertto
neljsosasvelaskelharmonikalle
ja
kamariorkesterille.
Svellyksen
on
tilannut
Gaudeamus-musiikkiviikko ja se on omistettu Veli
Kujalalle. Oli erittin inspiroivaa svelt konsertto
Veli Kujalalle ja Insomniolle kapellimestarinaan
Ulrich Phl. Konserton kadenssi on solistin
improvisaatio, sveltm tai niden yhdistelm.
Velinikka is a quarter-tone accordion concerto for

quarter-tone accordion and chamber orchestra. The
composition was commissioned by Gaudeamus
Music Week and is dedicated to Veli Kujala. It was
very inspiring to compose the concerto for Veli
Kujala and Insomnio conducted by Ulrich Phl. The
cadenza of the concerto is improvised or/and
composed by the soloist.
Veli Kujalan ja allekirjoittaneen yhteisty on johtanut

uuden instrumentin, neljsosasvelaskelharmonikan
kehittmiseen.
Neljsosasvelaskelharmonikan
merkittvin ero standardiin konserttiharmonikkaan
verrattuna on, ett sen kielipenkit on vaihdettu
neljsosasvelaskelkielipenkkeihin.
Neljsosasvelaskelkielipenkeill
voi
tuottaa
miltei
viisioktaavisen tysneljsosasvelaskelasteikon.
Neljsosasvelaskelharmonikan on keksinyt Veli
Kujala vuonna 2004. Neljsosasvelaskelkielipenkit
on suunnitellut Veli Kujala ja rakentanut Pigini
(www.pigini.com),
harmonikkatehdas
Italiassa,
vuonna 2006. Instrumentissa kytetn tasavireist
neljsosasvelaskel-viritysjrjestelm, jossa oktaavi
on jaettu 24 yht suureen osaan. Instrumentin on
virittnyt tuhannesosahertsin tarkkuudella (A = 442
Hz) Tapio Peltola.
Nykyn monet sveltjt ovat kiinnostuneita
kyttmn mikrointervalleja. Tm on synnyttnyt
tarpeen kehitt lis instrumentteja, joilla niit
voidaan tuottaa. Neljsosasvelaskelharmonikka on
yksi vastaus thn tarpeeseen.
Sampo Haapamki
Cooperation between Veli Kujala and the

undersigned has led to an elaboration of a new
instrument, the quarter-tone accordion. The most
significant difference between the quarter-tone
accordion and a standard chromatic button accordion
with free-bass system is that the reed blocks inside
the accordion are replaced with quarter-tone reed
blocks. The quarter-tone reed blocks are able to
produce a complete quarter-tone scale of range of
nearly five octaves.
The quarter-tone accordion was invented by Veli
Kujala in 2004. The quarter-tone reed blocks were
designed by Veli Kujala and built by Pigini
(www.pigini.com), an accordion factory in Italy, in
2006. The tuning system used is quarter-tone equal
temperament, in which the scale divides an octave
into 24 equal-ratio steps. The quarter-tone accordion
is tuned with a accuracy of one thousandth of a hertz
(A = 442 Hz) by Tapio Peltola.
Today many composers are interested in using microintervals. This increases demand for instruments able
to produce them. The quarter-tone accordion is one of
the answers for this demand.
Sampo Haapamki
54
55
NELJSOSASVELASKELTEN
NIMITYS
neljsosasvelaskelylennetyn pte -US
neljsosasvelaskelalennetun pte -OS
&
w
FIS
& #w
CUS
CIS
DOS
!w #w
"w
"w
GUS
GOS
nw
!w
nw
GIS
#w
DUS
!w
"w
AOS
EOS
#w
"w
AUS
DIS
nw
!w
nw
AIS
#w
!w
"w
"w
nw
EUS
HOS
nw !w
FOS
FUS
!w "w
HUS
COS
________________________________________
NAMES OF
THE QUARTER TONES
&
C
D
quarter-tone
quarter-tone
C-sharp
flat
sharp
!w #w
G
quarter-tone
flat
& #w "w
F-sharp
nw
"w
nw
D
E
quarter-tone
quarter-tone
D-sharp
flat
sharp
!w #w
G
A
quarter-tone
quarter-tone
G-sharp
flat
sharp
!w #w "w
nw
"w
nw
E
F
quarter-tone quarter-tone
flat
sharp
!w
A
B
quarter-tone
quarter-tone
A-sharp
flat
sharp
!w #w "w
"w
nw
B
nw
F
quarter-tone
sharp
!w
"w
B
C
quarter-tone quarter-tone
flat
sharp
!w
56
QUARTER-TONE ACCORDION REGISTERS
"#
"#
RIGHT HAND
$"
"
"
COMPLETE QUARTER-TONE SCALE

(QUARTER TONES)
# "
$"
#
" &%
$"
LEFT HAND
CHROMATIC SCALE
(SEMITONES)
"
&*
"
'"
COMPLETE
QUARTER-TONE
SCALE
CHROMATIC SCALE
(SEMITONES)
"
"
)(
$"
'"
COMPLETE
QUARTER-TONE
SCALE
"
CHROMATIC SCALE
(SEMITONES)
Registration symbol indicates the lowest current register in use.

If wanted and possible, soloist can freely add upper registers to the indicated one.
57
HARP TUNING
C
strings:
sounding
result:
"
!"
! "
#
#$"
A = 442 Hz
F
!"
#"
!"
"
#"
Tune harp as shown in staff above to A=442 (cycles per second) in following register:
register used in the composition
#"
Strings C, E, G and A are meant to be tuned as C, Eb, Gb and A. Thus strings C and A are tuned
normally but strings E and G are meant to be lowered a half step from their normal pitches.
String D is meant to be tuned as quarter tone lowered D, string F as quarter tone lowered F
and string B as quarter tone lowered B. To tune quarter lowered strings (D, F and B),
set electronic cromatic tuner to A=455. Frequency 455 (or to be more exact 454,95) is the frequency of
quarter tone raised A. Tune the string D so that the electronic cromatic tuner shows C#/Db,
then tune the string F so that the tuner shows E#/Fb and finally string B so that it shows A#/Bb.
Harp tuning with pedaling possibilities

(within the register used in the composition)
strings/
pedalings:
sounding
result:
Cb
! #"
Gb
! '"
%"
&"
E#
%#"
%"
%#"
C#
Eb
! '"
G#
%"
Ab
#"
Db
%"
D#
!#"
!"
%"
Fb
F#
!#"
A
A#
&"
!"
!#"
Bb
!"
%"
%"
B#
Notes on the staff in the harp part are written in C. The pedalings above the staff indicate
the strings played and the pedalings used but not the sounding result.
In the composition all harp pedal changes are written in the harp part.
44
!
Flute &
58
VELINIKKA
SCORE IN C
q = 36
SAMPO HAAPAMKI
Oboe
&
Clarinet in Bb
&
Alto Saxophone
in Eb
&
!
&
&
&
Bassoon
Horn in F
"
Trumpet in C
Trombone
Percussion
Harp
Quarter-tone
accordion
solo
"
#
#
44
q = 36
&
%$
w
pp
&
' %$
&
)w
))O
&
&
Viola I
Viola II
Violoncello
Violoncello II
Violin III
Double Bass
(5 strings,
lowest string
B natural)
"
$
b%w
mp
bw
44
q = 36
mp
-O
)# ww
%$
( 3b ) )n )n3)nn )n(b )n(n)b5)n(b 6
)n)n
J
3
j

ww
j
b
ww
w
ww
((-O
(-O O
( J J
ppp
3
j
w
Violin II
3
j
n )
j
(' ( ( )( '
ff
!
&
D Cb B# / E Fb G A
' ( '
J
w ) '
Violin I
mf
mf
&
&
Finger Cymbals
let vibrate
pp
mf
bb-O
) -O
)
nn-O
pp
#O
pp
mf
3O O
J
3 O O
J
ff
O
J
pp
mp pp
pp
mf
()-O O
J
mf
pp
ff
'
mp
pp
p ppp
pp
(diminuendo as gradual as possible)
niente
59
9
!&
Perc.
Hp.
Quarter
-tone
acc.
solo
Vln. I
&
&
)(
ppp
##O
J
&
-O
pp
#&
##O
''O
J
ppp
ppp
##O
J
3
-O
mp
ppp
ppp
%$
bJ
&n ww*
ppp
mp
j
#&' ***
& j
>
n& n * ' # #&

& ' n ' ' n b ' b
*
J
3
pp
mp
" &&O-
& J
Vln. II
Vln. III
)(
j
& & n & n & n ' n & # & # ' n #' # ' 'n '& '#& ** n & ' n *
''O
J
O
J
mp
-*
##O *
&&O
J
mp
O
J
pp
&-O
& J
pp
mp
pp
pp
mf
nnO O
R J
mf
pp
pp
' -O
'J
O**
#-O
# J
pp
pp
pp
&&O **
pp
mf
-O
)(
5
5
3
3
& b ' b &' n & b & b & n & b '& n &' n & n ' n
R
&
13
Quarter
-tone
acc.
solo
)(
mp
&
- - - & ' '& '&
- b -
'& ''&
&'
& &&
-.
>
#
&'
-.
&&
f

## bn# n##
&&
>
>
bn#
J
bb#>
&
'' &
''
>
ff
15
Perc.
Hp.
Quarter
-tone
acc.
solo
)(
&
&
"
&
&
Vln. II
(
'b w)w
)(
b 'b
non arpeggio
&
&
Vln. I
Cb-C
pp
' ' & n & 'n ' b 'b n 'n & j

' '
3
)(
b b

C-C#
Kr
'& *
>
mp
' & *
& ' *
>
> > >5
b > >
> >
# n> > #
R
3
' n ' & ' n & b n & n

>
3
3
5
#n
#n
)(
# J bJ *
pp
C#-Cb
&
)(
& & n ' ' ' &w '
J
J
)(
#n
n# **
## **
w
w
##w+
pp
#O *
# *
pp
Vln. III
&
j*
O *
p
Vc. II
pizz.
Db.
mp
mf
(simile)
60
!
"&
19
Fl.
&
%$&
) *
&
Hp.
Quarter
-tone
acc.
solo
Vln. I
Fb-F#
%$&
&
F#-F
b
J
%$&
w
& w
Vla. I
Db.
"
> ( ) >
))) ( ( ) (
ff
mp
>

#
Perc.
Hp.
Quarter
-tone
acc.
solo
mf
niente
&
&
(
J
b
J
mp
%$&
bn
b
)
((
J
3
n#
3
Cb-C# A-A#
n ) n
))
b bn
J
( (
(
b
J
3
##
$'
#
J
$'
) (j* n *
) *
$'
bw
w
((
nn ## nn
J
#
3
&
&
Vc. II
Db.
nn)w
n
J
#
J
) )(
J
(w
(nnn
w
w
w+
w+
j
)(O O
mp
w+
w+
j
O
mp
w+
pizz.
3
(j )(j ) nn(**
w
w
nw
O
J
mp
O **
(
(n
) **
mp
mf
"
mf
Vla. I
mp
Vln. III
mp
(
)
))
& J
Vln. II
!
&
Vln. I
&
%$&
n#
&
n > ** ** > ** b *** >

# * * *
O **
mf
!
"&
$'
3
j

b b n# nnb n# bn n# bn bn n# bnn n# bnn
f
w+
) *
n
)) * (( )) )() (
J
3j j
> * n *(> ** b ** > ( (((())(()) (())(( ) )) ((
) ** *** * **
mf
$'
ff
b >
n
22
Fl.
w+
mp
mf
r
O
$'
bbw
w
& +
w
Vln. III
# *
mp
non arpeggio (simile)
>
##
& +
w
Vln. II
( ))> (
( ( )
)
!
& w+
pp
mp
%$&
w ) *
& J
$'
w
((w
mf
r
*
mf
mp
Glockenspiel
Perc.
# *
**
n )
3
61
#w
26
Perc.
Hp.
Quarter
-tone
acc.
solo
&
!&
&
Vln. II
Db.
>
%b ww
D-Db C#-C
mf
" Oj
&
$ w
w
n> $> %> $> #> $> n> > %> n> %> $> n>- %> #> 5 $>- )%> )#>
%$$ w)
>
b > )
# ))
% ) $
> >
$>
> %> $>

J
J
%> )
mf
>
#
> >
$ ))
J
$$ >
$
#
>
5
$ >
%
R
mp
$>
>
%>
mf
n>
> #>
b >
$
>
>
w
w
&
%
J
>
3
>
ff
>
b > n
J
3
3
3
3
%> n> #> %> %> >
J J
J J
()
$$ w
'&
3
5
3
3
>
$% b % n % b $ n % b $n%b$n % % b
$ n $% $% )) n $%n b
&
J
J
>
>
>
3
3
ff
'&
j
&
&
Vln. I
mf
n>
$>
#>
J
>
%>
n> )
J
#>
%>
R
niente
(q = 36) accelerando
31
Perc.
Hp.
&
&
!
!
&
Quarter
-tone
acc.
solo
&
&
)
)
>
Vc. II
&
?
>
%%$>
f
$ % $
6
$> )
n>
#>
n$>
%
% $ $
%>
R
mf
%>
mf
n )
$
n$
>
$-
>
>
$-
$>
#>
>
$-
#>
$>
$b>
%>
>
>
#$$# $> $> $>$# n$$ $> %>%b>bn
43
(q = 36) accelerando
w
n )
pizz.
mf
Db.
>
n-
ff
# % % #% $# %
n>
mf
>
# #
#
w
w
>
" $
Vln. I &
G-G#
w
>
#
J
mf
mp
&
Vln. II
E-Eb
8:6
> 5:3
>
%> ) n- %> #> n> #> %- n> %> #> n> %> n>- #> n> %> > b> n> %>
5
>
$ $% ))
43
mf
niente
!
Fl. &
35
42 q = 54
n %
'
mf
mf
&
n
3
'
#
J
&
!
&
&
&
Db-D# Eb-E
A. Sax.
"
Tpt.
mf
mute
&>
&>
b
>
Perc.
Hp.
Quarter
-tone
acc.
solo
Vln. I
Vln. II
Vln. III
"
&
#
#
'>
b >
>'
>'
&
''> %%
>
> %%
"
43
5:4
mp
&
# %
&
& %
7
5
5
5
b b b

#> # n n b b
>
>
6
7:6
7
$%
5
'
' # %% %
% # %% # % # ' %%# ' %% '#' %%% '&' & & &' & ' &
######## ### ' n' %& %%' %' '# %' # % ' %
& '
' > & & '&
>
' %
mp
>
'
>
n
>
&
# %
&
#
>
'
>
n
>
&
#>
'>
mf
mf
mf
&>
# %
mp
mf
&
'
>
mf
&>
b>
>
>
&
#>
p
>
'
>
n
pizz.
mf
&>
mf
&&
>
>
>
'
>
#
&
& b & &&

' & & ''> # & & '& n ' n && b & n &
>
>
7
mp
&
' %
42 q = 54
mp
Db.
mp
Vc. II
&>
&
Vc. I
>n
&
Vla. II
''
F-F#
>
>
''& %%''''&'>&> % n >&>
' #' % '
'
42 q = 54
&>
mf
&
!
&
Vla. I
43
mf
cup mute
Tbn.
n
J
&
&>
&
Cl.
Hn.
& %
&
Ob.
Bsn.
43
62
mf
niente
mp
pp
!
Fl. &
43 accelerando
39
&
Ob.
&
Cl.
Hn.
Perc.
Hp.
Quarter
-tone
acc.
solo
Vln. I
Vln. II
Vln. III
pp
mf
pp
b.
n
J
!
&
&
"
Tpt.
Tbn.
mf
Bsn.
mf
& $
.
A. Sax.
'
63
"
? J
mf
&
&
&
#
#
%&
43 accelerando
&
mp
ff
$ b '
&
!
&
&
''
mp
F#-F
j
$n &&
-.
n b
r 3 -.
n j $ n
-. 3
' 'j $
# &
J
'
$
J
3
&
b &
&
&
$ &
&
&
pp
pp
Vla. II
$'
43 accelerando
Vla. I
n ' n ' n ' n ' n ' n ' n
' ' b $n ' ' # '$ n '$ n '

& $ b ' # b' #
3
&
C#-C
Vc. I
Vc. II
Db.
"
3 j
' #
J
3
64
!
Fl. &
43
Ob.
"&
rallentando
q = 81
Vln. II
Vla. I

R
3
mf
$$ &
rallentando
mp
pp
%
mf
#
pp
& $ %
&
& %
$ %%
$
$
&$ %%%
%
$
& n
$ # &
mp
6
5
5
& n $ # & n $ # & n $
$ $ n $ $ #
q = 81
&
$ # $ # $ n & n
$ & b &
# &
& $
"
! # %
&
Vln. III
&
Vln. I
pp
%
# %%
& $ J b& %
&
pp
&
Quarter
-tone
acc.
solo
mf
$ %
'
44 q = 54
!
Fl. &
"
46
Perc.
Hp.
&
#&
&
Quarter
-tone
acc.
solo
&
mp
w
w
&w
$w
mf
%

J
3
j b
$$
$ $
mf
3
& & $ j
J
nn- nn-
R R J
5
&$
#
J
nn-
3
$$
6
mp
bb-
J
&&
# % $ %
mf
$
J
5
bb-
J
44 q = 54
!
Vln. III &
&
"B
mp
&
Vla. I
43
43
n> & n $ n & n & $ > $ n &

5:3
5
4:3
bn- %%
bn-
J
3
&&
R
&&
R
b> $ n $ $> b n b> $ & n $ b &> b $ & #

5
pp
pp
n- %
n %
!
Fl. &
&
Cl.
A. Sax.
83
51
Hn.
&
&
!
&
&
"
Tpt.
Tbn.
Perc.
Hp.
"
&
#
#
Vln. II
Vln. III
$
'
'
Db Cb Bb / Eb Fb Gb Ab
&
&&
nb
%%
&%
%%&
ff
&
&
mf
&
%
%%& b &%& b &
>
>
>
83
b$
>
&%&
6
16
&
$$
J
"
$$$
>
&
% #
&
&
% #> &
% # &
mp
% # &
&
&
b
R
mf
$$
J
$$
J
mf
$
## $$
J
ff
%&% $$$
J
&
&&& $$$
J
& $
mf
n> $
&
% $
&
mf
44
> %
pizz.
>
%%%
b $$
$
J
mf
#> $
&&%>
b
R
glissando
Vc. II
&
&> $
glissando
&
Vc. I
b $$
mp
n> $
$
'
'
$
# $$
J
mp
%> $
mf
$
&& $$$ %&% $$
>
%%& $$$ b $$$

>
b
&
!
&
Vla. II
#> $
$
'
'
let vibrate
44
mp
& # n & % # n ##
Vla. I
Db.
6
16
$
'
'
Suspended Cymbal
&
&
Vln. I
83
ppp
& #
Quarter
-tone
acc.
solo
6
16
Ob.
Bsn.
65
b
R
44
$$
J
66
44 q = 72
< e. = q >
!
Fl. &
56
&
Ob.
&
Cl.
Hn.
sfz
%>
J
%>
J
sfz
&
$> &
J
n>
J
sfz
$>
J
sfz
sfz
>3
sfz
b >
%>
n>
sfz
sfz
sfz
$>
J
sfz
&
$>
sfz
>
sfz
sfz
> $3>
J J
sfz
> &
sfz
sfz
sfz
!
&
"
&
"
straight mute
&
b
J
ppp
44 q = 72
b >
Tpt.
Tbn.
#>
J
&
&
A. Sax.
Bsn.
< e. = q >
Perc.
#
#
w
'
'
mp
b
J
&
Hp.
>
b
>
$b
$b
R
mf
&
Quarter
-tone
acc.
solo
&
&
>
>
>
b >
3
>
$b
b
J
&
>
>
&
&
>
ppp
>
>
b >
3
>
$b
>
&&
&
$b >
$b >
Gb-G#
Fb-F#
$b>
b >
$b>
>
>
$b
mp
&&&
44 q = 72
% $>
$> %
% $>
< e. = q >
!
Vln. I &
Vln. II
&
&
Vln. III
Vla. I
Vla. II
Vc. I
Vc. II
$> %
ff
ff
>
$>
$>
ff
% $>
$>
%>
J
%>
%> $>
J J
%>
$>
%>
n> b >
J J
n>
b >
#> n>
J J
#>
n>
%>
J
%>
J
n>
b >
n>
b >
J
>
J
b>
#>
n>
#>
n>
J
>
J
b >
n>
n> b
n>
#>
#> n
#>
%>
$>
J
%> $>
J J
ff
b >
% $>
&
$>
J
%>
$>
$>
J
%>
$>
#>
#> &
ff
pp
Db.
"
pp
67
!
&
$>
60
Fl.
&
Ob.
Cl.
"&
Vln. I
n> &
>
$w
sfz
sfz
sfz
>
bw
sfz
$>
J
sfz
sfz
>
> b
& $b
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> $b> > # % # %> > > > > > # % # > > > > > > >
Bb-B# Cb-C#
>
& %w
%>
n>
%>
&
B
B
> b>
J
>
> b >
J
>
>
>
! &
&
Ob.
&
Cl.
"&
Hp.
#&
%>
J
$>
sfz
&
# % # #
5
&
$
J
&
n>
>
& n &
>
%
>
n
& w
Vc. II
"
&
$>
Vla. II
&
! n> &
&
Vln. III
mp
&
Vln. II
% &
sfz
pizz.
>
w
>
w
?
"
b>
63
Db.
sfz
$>
Vc. II
Vln. I
sfz
%>
n>
Vla. II
Quarter
-tone
acc.
solo
>
J
$>
Vla. I
Fl.
Vln. III
'
3
%>
>
! $w
&
Vln. II
Db.
sfz
%>
Ab-A#
Hp.
bw
mp
bw
mf
10
w
ppp
%
J
43 q = 108
44
< q = q >
!
Fl. &
&
66
Ob.
&
Cl.
&
A. Sax.
&
!
&
&
Bsn.
Hn.
"
Tpt.
Tbn.
Perc.
"
#
#
# &
&
&
&
&
ff
B
?
Vc. I
# n $ &
#n&&
>
n
>
&
n$ & %
>
$&
n&&
&
&
$ &
Db.
"
&
&
#&
% &
%%w
&
j j3
% $
#
J
43 q = 108
$ &
&
b
mp
&
mp
w
f
mf
&
b &
mf
%> &
44
>
#
pizz.
mf
$>
3
j j3
% $
>
>
&
&
pizz.
%
J
>
>
J
mf
b &
b &
#>
J
niente
11
mf
mf
j 3

> &
>
pizz.
j 3

mf
pizz.
pizz.
niente
Vc. II
43
&
< q = q >
Vla. II
44
& w
Vla. I
# &
! w
Vln. I &
&
&
n$ &
% &
&
Vln. III
b $ n $ b % n $ b % n $ b % n $ $
&
Vln. II
43 q = 108
pp
&
Quarter
-tone
acc.
solo
< q = q >
&
Hp.
43
%>
J
43
68
!
Fl. &
72
43
69
42
Ob.
&
Cl.
&
A. Sax.
&
!
&
Bsn.
Hn.
"
Tpt.
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
"
ppp
&
#
#
Vln. II
43
%
((
%
((
ppp
&
Vln. III
&
Vla. II
&
((
((
((
A#-A
%% # nb
mf
''
& # %%
Vla. I
&
ppp
&
&
42
&
without mute
Chinese Cymbal
&
ppp
&
!
&
without mute
%%
&&
nb %%
43
% b>
>
> b>
>
'
>
'
> %
b > %
%%
bb
&& ''
>
%
#n %%
j
#J
'&
''
>
%
>
b
>
# %
>
$%
&#'
>
'&
42
1.5-gliss.
'
'&
>
&&b
pi f
>
&nn&
1.5-gliss.
'
&b
b&& '#'> & b &'b &
b
b'b' & bb'
n&&b b&& > n & >
>
>
>
>
>
>
>
n''
'n#& '& #
'& b

&
b>
ff
> >
& & % ' & % ' %
>
'
>
>
&
&
>
'
>
&
>
> %
>
&> '>
> %
&
>
&& '& %% &' '& %% &' %%
%%
& & %%
Vln. I
without mute
'
&>
ff
>
ff
#>
&
>
ff
&> %
'>
'>
&>
&>
>
ff
Vc. I
Vc. II
Db.
"
mf
b
f
12
44
70
< x( q = q >
!
Fl. &
Ob.
&
Cl.
A. Sax.
77
Bsn.
Hn.
"
Tbn.
&
&
bw
mf
!
& $
"
$w
bw
mp
mp
& n
Tpt.
q = 86
ppp
ppp
bw
44
mp
ppp
< x( q = q >
Perc.
&
Hp.
&&
Vln. I
glissando
j
b'
j
'
& $ ((
% (
>
!
&
(
%n#% ((
>
&
Vla. I
j
$ '
$ b $
$ b $
5
5
5
> $ > b > > $> b$$ b b%%b
$
%#$ %
> >
>
>
5
6
44
q = 86
arco
b$$
b%%b b%%b b%%bb$$b b%%b

3
b$$b %b>
(((
>
< x( q = q >
b (((
>
5
>
b
%b%b
%b
%b>%b%b> %b %b> %b %b %b %b %b %b %
> >
6
b
arco
b
>
b
>
mf
>
arco
b
>
b>
>
b
>
b
>
mf
arco
Vln. III
j
'
&
j
$ '
$
b
& $$b b%
b% n$%b> b
>
Vln. II
ppp
D C B / E F G A
Quarter
-tone
acc.
solo
q = 86
>
>
b>
>
>
>
>
mf
Vla. II
arco
3
b
>
mf
Vc. I
Vc. II
Db.
"
b>
bw
>
bw
>
j
b
>
>
b
b
>
arco
bw
>
mf
13
>
>
b
b>
mf
71
!
&
Ob.
&
Cl.
&
&
!
&
&
80
Fl.
A. Sax.
Bsn.
Hn.
"
Tpt.
Tbn.
Perc.
"
&
Hp.
ppp
( b ( %
b %
Vln. III
Vla. II
Vc. I
Vc. II
Db.
"
( %
w
'
ppp
b (
E-Eb
n&&b
J
#&&n
n&&b
J
&#(
n&
&(
## %%%
(nn(
mf
b b
&
&
b
>
Vla. I
( %
mf
Vln. II
Suspended Cymbal
mf
$%
b( b &bb& #&& %%%
& (
!
&
&w
&
Vln. I
pp
Quarter
-tone
acc.
solo
b>
b>
b>
>
b
>
b>
>
( b
>
>
>
b b
b
>
(>
>
>
b n
b n b
b >
b>
>
>
>
b>
b>
b>
>
b n
>
>
( b ( b
(>
>
b >
n n
>
>
&
&
b
>
b
n b n b
(
>
b
>
(>
>
mp
14
n
5
n b n b
b>
>
b b
>
b>
>
>
>
5
>
>
72
!
&
83
Fl.
&
Ob.
&
Cl.
Hn.
Perc.
b >
n>
sfz
ff
sfz
$>
sfz
n>
J
>
J
%>
#>
J
3
!
&
&
"
/ w&
&
sfz
sfz
w
&
%>
J
sfz
>3
sfz
w
&
mf
>% % > % % > $ % $> $ > $ $> $ $> %b $> %b $> b %b b $> b %b b %> b %b b %> b %b b %b >b %b %b >b %b > %b b %b >%b b %b b >%b b %b b > %b b %b
B-B#
D-D#
'''
$$
J
C-Cb
D#-Db
&
%b >
fff
>
B#-B
%b >
>
>
$$ w
%b >
>
>
b
>
n
>3
A-Ab
B-Bb
%>
%
J
>
%b >
%b >
>
b >
%b >
>
%b >
b >
%b >
b #> > > > > > > > $> $ > > >
! b %b n % bn b b nb n # # #n # n n # #
&
&
Vln. II
&
Vln. III
&
Vla. I
&
Vla. II
Vc. I
ff
>
>
>
>
>
>
# b n # b # b # b # b #> b > > > > > $ $
5
ff
b n # b > b > > > > >

# b # # n # n
5
# # n # # #
ff
#> b >
n #
3
3
3
3
> >
$>
3
$ > >
3
3
$>
>
$w
ff
% b
b
3
n> #
#
3
ff
&
> #
>
3
b >
n>
ff
Vc. II
&
ff
Db.
$>
J
sfz
sfz
ff
sfz
%>
%>
3
&
Vln. I
>3
$>
Quarter
-tone
acc.
solo
%>
J
sfz
sfz
sfz
3
#>
sfz
%>
sfz
ff
>
>3
"
&
Hp.
$w
&
Tpt.
Tbn.
sfz
ff
A. Sax.
Bsn.
>
$w
"
>
3
15
$
!
Fl. &
#>
86
&
mf
&
Cl.
&
A. Sax.
Bsn.
Hn.
Perc.
%>
%>
n>
>
sfz
sfz
sfz
&> $
%>
#>
%>
&>
%>
sfz
sfz
mf
n>
#>
J
%>
n>
>
&>
n> $
sfz
b > $
% &> $
$ %>
ff
%> $
n>
5:3
!
&
&
/ ' $
'
&
&
&
Vln. III
&
Vla. I
Vla. II
&
Vc. I
&
&
Vc. II
"
mp
43
ppp
G#-G
F-Fb
G-Gb
Db-D
$ $ b > $ & b &b
$ $ b > $ & $ b &b $ b > &b
$ $ b > &b
$ $ b > &b
$ >$ $b &b
$ $ b &b
$ $ b &b
$ b &b
$ b >$ $b &b
$ $b $b>b &b b &>bb &b &b>b &b b &b>b &b b &b> b &b &b> b &b b &b> b &b &
b > $ & $ b &b
B-Bb
Bb-B
&b > $
n>
b >
%
&>
&
G-G#
b > $
%
b >
&b >
b >
&b >
&
n $
b >
& % $
&b >
b >
n $ &
&b >
b >
&b >
b >
5:3
%w
&>
J
%>
%>
mf
&>
%>
%>
8:6
>
R
mf
%> $
>
mf
n # % $ & $ # & $ n & # n # & n & # n & n#n& b

n&
mp
> %
>
>
>
>
>
%
! b & b & b& b & b& b& b & b & b & b & b & R

Vln. I &
Vln. II
8:6
"
&>
R
# n &> $ & $ b & $ n> & b b &> n & b & n>b &b &n&
sfz
&
Db.
&>
R
#>
n>
&
Quarter
-tone
acc.
solo
&>
43
&
Hp.
"
Tpt.
Tbn.
#>
sfz
mf
Ob.
&>
R
%> $
>
&> $
>
43
>
R
f
>
R
mf
b$
mf
mf
16
73
43
74
>
!
Fl. &
&
&
&
89
Ob.
Cl.
Bsn.
Hn.
Tbn.
Hp.
Quarter
-tone
acc.
solo
Vln. I
Vln. II
"
Vla. I
Vla. II
Vc. I
Vc. II
Quarter
-tone
acc.
solo
Vc. I
43
#&
#3
&
Cb-C
' 3 '
mp
'
>5 '> >

b $>
ff
'
&
&
mp
>
& #
'
J
j
'
#
J
j
$
n
J
mf
'
J
$
'
'
' $
'
' $
mf
mf
b
3
mp
rallentando
>
$ n &
$
J
n &
'
'
3
j
$
'
$ # 3
$ $
$
R
#
3
ff
"&
'
'
b
ff
'
fff
3
fff
fff
93
#&
' $
'
'
j 3
$
'
j
'
j 3
n
j
$
ff
ff
&
&
mp
Suspended Cymbal
&
b
p
6
(1-gliss.)
(0.5-gliss.)
# $
b b
n
& 'b b$ $'' #n'# b $ $ n ? $ ' n$# n'
$ ' n b
& $ $ nn '
$ n
44
q = 36
ppp
(0.5-gliss.)
#
? $#
42
fff
ff
$r # $ n' b n $ b
$ ' b' ' '
rallentando

' $
'
ff
%&
$ n' $' b'b $$ $ ' n $ ' 'b $ n '

' n b b 'n #n' b n$
$
(0.5-gliss.)
'
$
!
"&
j
n
&
j
#
rallentando
$
$
&
ff
> >
$ ' b
R
' b
ff
ff
'
>
#
3
> '> b > >

$ >
5
>
ff
$ &
'
mf
>
&
j
b
mf
&
ff
&
3
# $
' b
Perc.
Hp.
# '
&
!
&
Vln. III
!
&
"
'
3
> >5 > >

' '>
$
> b > >
$
'
A. Sax.
(1-gliss.)
'b
ff
#$
nn'
3
nb
b
' 'b' '$$ bnn$
(0.5-gliss.)
bb
(0.5-gliss.)
nn
'
$$$ $b'
(1-gliss.)
42
17
n
3
''' ###
(0.5-gliss.)
'
#
$$
&
n'
J
$
$
''
# #$
mf
b
3
& )j
1.5-gliss.
'
q = 36
gliss.
'b
44
75
44 q = 72
< e = q >
!
Fl. &
96
&
Ob.
&
A. Sax.
Hn.
"
$>
3
n>
J
sfz
sfz
&
>
&
'
f
&
Tbn.
Perc.
&
Hp.
&
>
n>
J
&
>
'
J
3
'
J
w
((
mp
ppp
> >
> > >
b b
J $b $b
R
mf
>
>
$b
b >
>
sfz
sfz
' &&&
$$n $n $$$ &&&
$n
44 q = 72
$> &b >.
'>.
>
$
J
>
'
J
sfz
#> > &

J
b>
'>
sfz
fff
$> &
'>
'>
'
> >
&
#> >
'>
b>.
'>.
'>
$b >
Gb-G# Db-D# Ab-A#
'>
#>
>
>
'
>
'
#>
>
>
$>.
n>.
Eb-E# Bb-B# Fb-F# Cb-C#
$>
n>
ff
' &&
&
n>
3
fff
b >.
fff
ff
> 3 >
>
$b >
> > > b >
$b
'
$>.
n>.
sfz
3
$$ &&&
> &
n>
sfz
>
#
#
>
n $
J
J
3
'>
J
sfz
j
&
>
>
J
sfz
44 q = 72
sfz
pi f
''#$
sfz
>
J
sfz
sfz
%%%%%%
&
$>
3
#>
J
#w
sfz
sfz
&
Quarter
-tone
acc.
solo
> &
sfz
sfz
?
"
< e = q >
/
>
#w
sfz
>
$ &
straight mute
Tpt.
'>
sfz
!
&
&
Cl.
Bsn.
b>.
>
'>
>
p
pp
$$w
w
w
< e = q >
!
Vln. I &
$w
&
Vln. III
Vla. I
Vla. II
Vc. I
&
&
Db.
"
b>
'
b> '>
ff
$>
n>
b>
fff
$ &
'> &
$>
'
'> &
J
ff
&
'>
J
ff
pp
$> &
'>
gliss.
Vc. II
ff
&
Vln. II
>
'w
b> '>
b > '>
n>
$>
>
n
>
'
b >
3
18
$> b>
7
fff
>
fff
n>
>
'
>
$
>
n
'>
76
5
< q = q >
q = 90
!
&
&
101
Fl.
Ob.
>
J
&
Cl.
>
&
> >
&
ff
b > &>
>
J
> >
'
rallentando
> '>
>
J
b > >
> >
b
ff
>
> >
#
#> '
>
> >
>
>
fff
& '
> >
b>
> #
>
Hn.
"
&
"
j
b '
> >
Hp.
Quarter
-tone
acc.
solo
q = 90
#
>
f
>
f
#
>
#
>
>
>
j
>
j 3>
'
j
#
>
mf
j
'
>
r
& &> % &>
>
5
j
&
>
>
n
J
3
> >
& 'R %
5
>
&
>
>
&
>
#
J
3
>
'
J
3
w
((
&
ff
fff
&. #&& n''b b'n '&'b & & nn ' ?

>- >-.
>-. >-. >-. & > n
3
q = 90
b >
&>
>
>
'>
>
&
> >
b > &>
?
"
>
> > >

& ' b>
ff
Vc. II
>
ff
&
&
&
straight mute
>
' % R
5
'
'
5
w
((
mp
&
Vc. I
>
> >
& # % &
R
%
J
Suspended Cymbal
j j 3
' #
>
>
mp
mp
rallentando
ff
Vla. II
5
3
j
'> % &>
mp
>
>
J
mp
mp
> '>
!
Vln. I &
Vla. I
ppp
&
Vln. III
>
3
5
>
&
%
'> J
$%
(1-gliss.)
>-. >-. >-. >-. >-. >-. >-. >-. >-.
> > > (0.5-gliss.) (0.5-gliss.) (0.5-gliss.)
(1-gliss.) (0.5-gliss.) (0.5-gliss.)
(1-gliss.) (0.5-gliss.)
>
& 'n &' b'b & & ' n ' b & -. n -. ' -. >
>
& ' n b&b 'n' #' n b n& 'b# b & '> # 3
b b >
b>
& > ' '>
&
& &' #n' b & n ? & ' n&#n'n''b''&& bnn& && &#''' ###
&
& ' n&b
5
3
3
>
3
Vln. II
r
' % '>
> >
&
mf
j
>
b >
< q = q >
Db.
'>
b>
'> '> >

&
n>
< q = q >
Perc.
'>
'>
>
fff
!
&
Tpt.
Tbn.
&>
>
'>
fff
Bsn.
fff
ff
fff
'> '> >

&
>
ff
A. Sax.
>
J
&
> >
'
&> '
> > &
>
'b
> '
#& n
nb bb
>
nn
>
rallentando
>
n'
J
&
&
> >
> >
' b
&
& >
& ''
# &#&
b
J J & )j
'> '
> &>
>
&
> '>
>
>
&
> '>
&
>
> >
&
>
5
> >
&
ff
pizz.
#
>
ff
fff
&> #>
pizz.
ff
&> &> >

&
B
fff
>
#>
>
#> > B
'>
>
fff
? '
>
b>
>
fff
&>
&>
'>
fff
&>
>
&
>
f
#
>
f
>
# ' %
> R J
#
>
j 3
'
>
3
j
n
>
&
>
mf
mf
'>
#>
'>
>
'>
#>
>
R
>
'>
pizz.
pizz.
ff
>
ff
mf
>
5
>
5
n>
>
&>
' % J
3
j
&
>
19
5
5
r
'
> '> % >
j 3

>
>
>
&
>
j

>
3
5
>
'j% &
J
>
fff
> '>
1.5-gliss.
' ''b
'
mf
fff
ff
&
&##
' >
# n #
>
3
& >
&
!
Fl. &
106
Ob.
Cl.
Bsn.
Hn.
"
-.
-.
$n$n$n$n$n$n$n$n$n$n$
&
pp
43
b
J
ppp
'
-. -.
mp
mp
&
'
ppp
ppp
fast
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~slow
$ '
n
&
&
A. Sax.
q = 72
77
mf
!
& #
mf
slow the trill down
Tpt.
mf
Tbn.
"
ppp
q = 72
Perc.
&
Hp.
w
(
mp
>
b b >
$b $b
&
&
&
Vln. III
Vla. I
ff
%%$ '''
q = 72
%%
3
pizz.
mf
arco
pizz.
mf
$w
mf
%w
pizz.
n
-.
-.
pizz.
$ #n
$$
-.
%%nw
-.
$
arco
$$
b $b $b $b
$b b $b b
w
ww
$$w
ppp
$w
!
Vln. I &
Vln. II
>
mp
&&&&
Quarter
-tone
acc.
solo
>
mf
&
&
>
43
3
3
-. -.
>
>
>
n$n$ %% %%nn$$ # %%nnj %%nnj $$nn#
-. -.
> 3
>
3
-.
-.
> -.
>
>
$$ b ''%% #n $$bn $%bn #n ''$$
$$
%%nw
pp
$
3
$ %>
b '
43
$$ b b%$ n n$$ n '
$ %>
'
n>
b>
n> '
>
%
#>
n>
#> '
mf
Vc. I
Vc. II
Vla. II
Db.
"
20
$>
>
>
42
78
< q = q >
!
Fl. &
&
110
Ob.
&
&
A. Sax.
&
!
&
Bsn.
Hn.
"
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
"
&
pp
42
Chinese Cymbal
''
q = 90
''
mp
''
&
-. >
5
-.5
> -. >
5
$$b &&&&%% && %%n# $$ &&$%bn $$$%bn n &&%% $% %%nn && %$ ## %% nn $&& % %% ## $$ %% nn &&$$ %%
5
&
b> &
Vln. III
&
Vla. I
"
ppp
! $
Vln. I &
Db.
j
&
& $$
Vc. II
&
Vc. I
&
J
mp
&
Vla. II
without mute
< q = q >
Vln. II
&
Tpt.
&
Cl.
q = 90
b b%$
%>
$>
n>
$
b>
$ n % # &
%>
>
%$n&
> &
n n%$ # &
>
#
> &
%>
$>
>
#>
n>
>
%
> &
>
&
>
> &
>

>
$ %#
42
$n %$ &&
q = 90
$>
$>
>
%% $$n % % $$ %% b$$ b $ % n $ b 3
# #
n %$ n % %%n$% $$n
%
> > n$ >
%#
%%
n&&
$>
>
% $ $
%
>
#> &
#> &
n>
> b
>
%
>
$ &
>
#>
n>
>
%
>
&
$
>
%
>
> &
< q = q >
n n%$ # &
% $
> &
-.
$$nn%%#n%%## $$ %%n#$$
#>
n>
>
b
%$ $nb #%%
3
$
>
b
$
>
% $ % $
>
>
>
b
>
arco
ppp
21
>
>
>
$>
>
>
>
ppp
%>
>
79
!
&
115
Fl.
&
Ob.
&
Cl.
&
A. Sax.
&
mp
'
mf
&
mf
mf
&
b
J
mf
p
Bsn.
"
Hn.
!
&
mf
&
Tpt.
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
Vln. I
"
mf
&
&
&
B
&&
>
n
>
ff
&>
ff
>
ff
>
&
ff
pizz.
>
#
ff
Vc. I
Vc. II
b %
b %
pizz.
Db.
"
!
&
Vla. II
# &>
? & #
Vla. I
mp
Vln. III
mp
&
&
Vln. II
mf
b %
1.5-gliss.
'&##
3
'#&
&'
'># & # & ' b ' >

& & # b ' b'
? &n#
>
&n#'
&##&
> ' ' b ' b> ''''b

>
&n#& && & & &
& b
''
fff
'>
&nn'
>
&' '&b
>
&n#'
$%
'
' ' b
''b &'b
&'b n'&b>b' '&bb' b '
b'' b''bb'' b''b '&bb
&'b n''b> &'b
>
>
>
&' &#'
&'
>
n&&
&
&' %%%
>
%
&n#& && %%
>
'>
>
&>
fff
>
fff
fff
fff
fff
ff
ff
ff
22
80
< x( q = q >
!
Fl. &
119
&
Ob.
&
Cl.
&
A. Sax.
Bsn.
"
!
Hn. &
44 q = 75
w
w
p
mf
mp
&
Tpt.
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
"
44
q = 75
< x( q = q >
ppp
&
&
D C B / E F G A
>
>
>
'
5
>
5
>
> & & n & > &&''&b &' &&&''&b &' &&&##&>#&&n &#'#&& &#'&' '
& > ' ' b n > '' b ' b ' '>
&#& #&'#&##&#&&&# n''bb' b ' n'& ' ' ' ' &'' &'&'#&&n&# & &# &
& &&&''&b#&&n&#'#&&&#'&'#&'n
>
>
7
7
>
5
6
6
5
& # &
& #
>
!
Vln. I &
arco
'
'bn'
&
n''b
b''b
mf
' &
Vla. I
'>
'
< x( q = q >
>
arco
44 q = 75
&nn
'
&
>
>3
'>
>
&
>
>
>
>3
'>
>
ff
Vla. II
arco
&>
3
ff
Vc. I
>
&
Vc. II
"
'>
J
'
'
&
n $
j
'
'
'
&
n $
j
'
mf
Db.
>
&
ff
23
>
>
ff
&
>
''b
arco
ff
n''b
arco
&
Vln. III
&##&
&
Vln. II
&'
&&
mf
81
!
"&
122
Fl.
Hp.
Quarter
-tone
acc.
solo
Vln. I
#&
&
pp
>
#%%
>
$b
>
$$b
1.5-gliss. 1.5-gliss.
>
$b
>
simile
!
&
Db.
>
$$
>
>
>
>
>
>
>
>
#>
>
>
>
$>
>
>
#>
>
>
>
>
>
>
&
%>
>
%>
>
%>
>
>
>
>
&
%>
>
J
&
arco
>
>
>
>
"
%>
Vc. II
>
$b
>
#%%
&
Vc. I
&
Vla. II
>
$$b
>
pp
ff
Vla. I
>
$b
>
Vln. III
b > $ $ > > > > > > > > > > >
mp
&
Vln. II
ff
&
mp
&
!
Fl. &
"
Hp.
Vln. I
Vln. II
Vln. III
Vla. I
Vla. II
Vc. I
Vc. II
#&
&
&
&
ppp
fff
pp
ff
b > $ b $> > > > > > > > > > > > > > b $
f
!
&
&
43
124
# %
b
& %
"&
$ #
$
6
%
3
%
5
b $ b %
p
mp
24
$ b % $
$ b %
$ b
b
$ $
b $ b %
b
b % $ b %
$ b $ b $ $ b $ b $
6
b $ b
$
5
ff
mf
ffff
82
43
rallentando
!
Fl. &
126
> > # '
&
> >
pp
mp
&
Ob.
' b &
> &> & b
' &
b > '> > >
pp
f
&
Cl.
'> '> #>

ff
&
A. Sax.
> > > b> #> '> ' b b ' ' % ' %
'
#
pp
b> &
& #
#> > > > > >
p
ff
Bsn.
Hn.
"
Perc.
Hp.
fff
pp
>
> &> '> b

&
"
43
Gran Cassa
mf
mp
&
$%
$%
3
' &
5
$%
> &> > b& >
' #> & '> '&b #'&nn &## n'n &##' n&&&# #'''& 'n' %%% n %%
r
b'' nn& &&' &b '' & n & &#' 'n' ''b' #&' n &#
J J
n& n#
&'%& % '
> >
'

>> > > >
>
3
3
!
Vln. I &
r
n n '
& &# &
'b b'bb > ##n > & > n#' &n > # >
> >
>
3
j
& #' n
> >
>
rallentando
> > '> '> > > ' b &

& % & %
'
&
b & &
> b > > >
pp
f
ff
'
& '
b > b> &> > > >
ff
&
ppp
&
&
ppp
&
#3
Vln. III
mp
mp
rallentando
>%
Gran Cassa
ffff
Vln. II
r

>
mf
Quarter
-tone
acc.
solo
b & ' % %
!
&
Tpt.
Tbn.
'> > b & & n ' & # % & %

pp
> > & ' ' R %
r ' '
> &> > > >
pp
f
&
Vla. I
b b
> '> R
#

'
' >
> > > >
> > > > >
pp
fff
&
Vla. II
> > > '> > > ' & &

& & & #

r
&
> > '> > '>
pp
mp
fff
Vc. I
Vc. II
Db.
"
&
&
> > > > > > > > > >
& & n & & & #
> > > >
> > > > b> > > &>

# # & n b ' n & # # #
> > >
> >
fff
pp
fff
> %
?
ff
gliss.
b%
gliss.
& %
ppp
25
gliss.
ff
pp
83
rallentando
q = 54
!
Fl. &
131
&
Ob.
& (
pp
Bsn.
Hn.
ff
&
A. Sax.
"
?
. . .
>- >- >-
mf
!? >-. >-.
.
>-
. .
>- >-
.
>-
>
'-.
> >'-. (.
>
b -.
&
Tbn.
"
? ' #
. .
>- >-
(.
>-
mf
#>
ff
>
.
>-
pp
.
>-
r
( .
>-. >-
mf
>
n. '
R
>- ppp
>
b > (>
>
(
>
>
'
'>
' b
>
#
>
b>
#> (>
b n
>
'> #>
Quarter
-tone
acc.
solo
b>
>
b -.
>
b-.
>
'-.
>
&
>-.
&
q = 54
'
pp
>
ff
b >
fff
>
fff
Db.
"
&
?
ppp
(
J
U
ppp
(>
pp
q = 36
'nn. n#(.
>>-
b > b>
'> '>
(
>
r
>
'>
>
#>
>
(>
(
> >
>
'
>
>
n
>
'
'>
#
>
#
>
'>
>
n
> >
b (
>
>
>
>
>
>
>
>
(>
(
>
> >
'
>
>
b>
n>
>
3
(
&
'>
&
#
> >
'
pp
b(((b n''' (nn(

#
3
((b
'##'
'
(
(
'
q = 36
(
))
3
(
)
b
))
(
))
b
))
#
)
'
)
'
)
n((
b
))J
'
#''n
))J
))
(fermata on
the bar line,
only slurred
notes are meant
to be sustained)
U
pp
U
pp
U
U
>
p
'> #>
#>
'
> (>
#
>
(>
b '
>
(>
>
n(n(
J
(
>
>
'
>
rallentando
(>
>
>
'
j
n.
-
ppp
6
' # #
#(-.
>
'.
>-
(fermata on
the bar line,
only slurred
notes are meant
to be sustained)
>-.
>>('b. ('nn. '##
>-.
n''#(
>-.
#'(#
'>
b>
r
>
fff
Vc. II
(
(n( ((b( .
>>-.
(>
>
& &
? '
> >
ppp
> >
' (
(>
>
fff
Vc. I
'
Vla. II
&
D-D# C-C# B-B# A-A#
ff
&
Vla. I
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
&
r
b # ' '#'' (
(b . b(b -. # n >-. >-. n# -.
>
>-. >>
pp
Vln. III
mp
ppp
fff
& R
(.
>-
>-.
%&
>-.
>-. b' >-.
>-.
'
'
? n' n# b(( nn''' 'b ( n (

& '#
. . .
.
.
>- >- >>- >>-.
Vln. II
!
Vln. I &
ppp
pp
>
(> b
mf
( b
'>
&
q = 36
pp
'>
>
pp
mf
(
J
Wind Chimes
>
/
%&
pp
>
rallentando
Gran Cassa
Hp.
>
q = 54
Perc.
ppp
mf
Tpt.
(> #>
(>
>
Cl.
>
'
(fermata on
the bar line,
only slurred
notes are meant
to be sustained)
# #J
U
U
26
44
< e = q >
q = 108
!
Fl. &
134
>
'
n>
solo
&
Ob.
b
&J
b > %
%
'
$>
b
&J
mp
>
'
>~~~~~~~~
b $
n>
43
mf
84
b
b
mp
mp
Cl.
&
A. Sax.
&
!?
&
Bsn.
Hn.
"
Tpt.
Tbn.
"
44
< e = q >
q = 108
Perc.
&
#>
Quarter
-tone
acc.
solo
>
mp
'>
C#-C
n>
B#-B
>
'>
>
b %
b%
>
b % $
>
b % n
&
&
Vla. II
Vc. I
Vc. II
Db.
"
b >
F-F#
>
$b %
&
$'$ > n#n $'$ bnn > '$$ n#b
b b
J
F#-F
#>
'> %
b >
'> %
$$ > nn $$ > #n '$> #n
b> %
>
J
G-Gb
>
#>
>
> %
nb> %%
J
$''> %% bnb> nb $''> $' n> %

bb %%
J
%%%
J
!
Vln. I &
Vla. I
>
< e = q >
Vln. III
#>
mp
&
Vln. II
C-C#
A#-Ab
43
pp
&
#>
$b >
?
&
mp
D#-D
&
Hp.
b %
Glockenspiel
q = 108
slow
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
% b slow the trill down
%
'>
b >
fast
pp poco a poco cresc.
'> %
pp
n> %
poco a poco cresc.
$> %
$>
pp
44
'>
>
poco a poco cresc.
$>
b >
43
b >
'>
poco a poco cresc.(simile)
b >
p
b > %
$>
'>
J
3
>
$>
b >
'>
>
$> %
> %
$> %
b >
> %
'>
b >
'>
b > %
b >
b >
$> %
'>
n>
'> %
> %
&
&
&
poco a poco cresc.
27
poco a poco cresc.
>
J
$>
>
>
#O %%
>
'$O %%
mp
$>
>
'$O %%
'>
b>
>
nbO %%
!
Fl. &
Ob.
&
Cl.
&
A. Sax.
&
68
141
>
b
solo
Bsn.
Hn.
Perc.
>
n
'
&$
J
>
%
$J
>
~~~~~~
& n b
J
>
b
$J
b '
b'
gliss.
!?
&
"
#
#
&
&
#
&> '
!
Vln. I &
&
&
Vln. III
&
Vla. I
&
Vla. II
>
>
> '
"
>
> '
>
&> '
42
>
> '
>
>
&> '
#& '' &n ' #& ''
%# ''
%n #% %n n& %n n& #& '' n& '
#& '' %b ''
%n '' #% '' %n ''
%n '' #&&n b& &n n% &n
''' n##n ''' bnnb ''' #n '''
>
b >
mp
> '
> '
mf
68
b >
> '
b > '
b >
n% '' %# '' n% '' % ''
>
> '
> '
>
> '
b > '
b >
mp
b > '
%> '
mp
mp
>
>
b > '
%>
b>
%> '
b>
b >
b > '
b>
>
%>
>
&%> %& &%> %& &b %&
&b b& &b b& b b& ''&bb ''' b&%
42
q = 72
&
b>
&
>'
%%O '
>'
%%O '
b>O ''
>'
%%O '
>'
%%O '
%& &%
44
b
mf
b >
b
mf
&>
>
%%O
%&
&% %&
mf
>
%&O
& '
R
b >
& '
R
& '
R
& '
5
&>
& '
>
%%O
>
&&O
mf poco a poco cresc.(simile)
%
R
%>
b
R
&>
&
28
&% %& &%
&>
mf
>
%&O
%>
&
mf
>'
%%O '
&>
%>
%%& %& %&& %&
b>O ''
%> '
b >
b > '
%> '
&>
43
< q. = q >
mp
>
n% ' &n '
mp
> '
44
q = 72
#
n% ' %b ''
poco a poco cresc.
Vc. II
>
#
&> '
n b nb %b nb %b
>
? %%O ''
Vc. I
68
< q. = q >
43
&
Db.
b$
J
&
Vln. II
>
% '
&
Quarter
-tone
acc.
solo
&$
J
&
Hp.
44
q = 72
"
Tpt.
Tbn.
%$
J
42
< q. = q >
&>
& '
&
R
>
%%O
43
85
!
Fl. &
147
43
% % ' %
mf
Bsn.
( % b ( ( %
5
Hn.
"
!?
>
(
5
')
J
( J (
J 3
b (
mf
b
> >
' ( '> >
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
"
mf
Db.
'>
(
> >
> '> > > '> (> >
44
%
++
ppp
ff
> '> (> '> (>

3
>
>
'> # ( #
> > > #>
' ' ( '

> > > (>
q = 120
#
>
r
#>
'>
>
fff
>
fff
(
>
>
fff
ff
( (
> > > > '>
5
fff
%
++
w
++
fff
#> '> #> (>
b > b> > '> > > >

# ' #
'>
(>
> '> > >

# '
' ( ' ( (
> > >
#>
'>
'
< e. = q >
Gran Cassa
++
++
mf
ppp
&
&
&
?
"
*j
&
Vc. II
j
> '> (> (> '> (> (>
&
Vc. I
'>
>
!
Vln. I &
Vla. II
43
b' %% # #' %%# % ( b % (

' % ( %(( (b( %% ((( (b( %%
5
43
('#' 'n #' 'n '# (b( b((b((
&
Vla. I
Vln. III
ff
&
&
Vln. II
&
j
( '
> > > > '> b>
b > '> (> '> (> (> (> > > (> > >
'
n '
mf
&
>
b
mf
Tpt.
>
( (
> >
3
q = 120
solo
()
J
&
ff
A. Sax.
44
86
mf
&
Cl.
&
Ob.
< e. = q >
$%
nb' (b
nn b (b
3
ff
(b (b (
5
?
((' (( '( ' ' ( b (
' b b( (b ((
5
( '( (b (b ( (
' ' ' '
3
44
( '(#'# ' #
' '#
5
? #'
#''
< e. = q >
b%
%
'
( % (
5
' % b ' % b ( %
5
bbO
bbO
&
( %
O
( %
5
'
'3
'
mp
mp
'
'
mp
((O
mp
29
gliss.
ppp
fff
j
b
fff
'## #,, n,, #, n, , b,
,, b ,, ,,, b ,,, ,, ,, ,,, # ,, n ,, # ,, n ,, ,

, b , b , ,, b ,, ,, b ,, ,,
,
3
mp
ppp
5
( %
( % b ( % b ( %
' % # ' % # n %
%
5
q = 120
ffff
gliss.
& (Bartok-pizz.)
%%
gliss.
ff
ppp
87
!
Fl. &
&
152
Ob.
&
'
'
'
&
&
j
#
>
b
>
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
fff
n>
b>
n>
b>
n>
'
n>
b >
&
"
&
fff
'
5
&
'
'
Gran Cassa
ff
' %
j
b
&
' b
? b''&n#&> ' b
>
5
ffff
&
$%
b b'' b
>
>
# ((
((
C#-C
&'bn'
&b
&b b&
&b n''b> b&
>
b ((
((
((
(
((
Vln. III
&
Vla. I
&
Vla. II
&
>
fff
>
fff
&
43
ppp
arco
>
fff
'>
3
b>
&>
n>
'>
&>
b>
'
>
' b
> > >
&>
n>
'>
b>
& n ' n
'
& b &
&>
n>
7
n>
n
'>
b>
'> b>
&> n> '>
' n
' b
'>
&>
b >
>
&
30
&>
'
'
b '
'
'
'> b >
43
&
"
ppp
ppp
Vln. II
Db.
>
b &b b >&b &b ' b> &b &b
&b> &b
b&& &&
b &b b> &b b> '&bb&b
n''b ' n '
Vc. II
ppp
!
Vln. I &
Vc. I
ppp
mf
Tam-Tam
&
&
43
#
&
#
3
!?
Tpt.
Tbn.
&
ppp
'
'
fff
Bsn.
&
ff
A. Sax.
mf
Cl.
'
&
'
&
&
b & n & n ' b
ppp
ppp
' b & n & n '

ppp
43
!
Fl. &
155
Cl.
Quarter
-tone
acc.
solo
Vc. I
n %
43
Splash Cymbal
ppp
mp
#&
#3
&
!?
Vc. II
Db.
.
> & b & b ' > #& 'b &n >'n& n&b & n >n&& b > %% ' &
> & b > & b && bb > %
>
> %
' b& '%%& # #& ''&'nnn&&'& n nn'#&'n&n b' bb'&n %%%&n & ' ' ' %% n&b &&b n&n &' n # ' %% &'#
R
% & n b &#& %%& 'b n& 'n # ' & #& %% '
fff
ppp fff
ppp fff
"
ppp
"&
Perc.
Hp.
88
ppp fff
ppp fff
ppp
fff
ppp fff
' b& b
'b
' b &
&
& b &
& b & b
& b
b &
&
ppp
fff
& b % &
' # & % ' # &
> # #' &b %% #' >'## b&& b&n &&& & > %%&n
' b & b '
' b ' ' b' b '
& b &
& b b
b &
b & b
ppp fff
& ' %
& b b
ppp fff
(
!
"&
160
Cl.
Perc.
Quarter
-tone
acc.
solo
Vln. I
.
R
Gran Cassa
&' b&n && nb ' ' # n ' bb& &&n &b &'
' # & & n&

'
>
3
.
R
ppp
fff
ppp
ppp
fff
&
&
' # ' #
>
b> & &
fff
&
&
b $%
'bn&n&& b'b '
''
ppp
'
&b '&b
b' b'
pp
' b & b
&
>
fff
pp
b &
> & ' '
pp
fff
>
b & b & '
pp
& '
>
ppp
fff
fff
pp
& '
>
fff
%
& '&n&&&&b &b b
'## ''' 'n '
>
5
fff
fff
&> &
fff
5
& b ' #
# ' n n & ' b & & b 'b''n #& %
#& '&n n & &# ' n
>
3
5
# & ' # & r
' #' ' '#
#
# &
n
%
&b> &%% &n' %%%n&n %%%'&' %%%nn'# &'& >nn ''&n#n&'''n bbb' ''' ##n' ''& bb' &&&# nn' ' # &
' #
Vla. II
!
&
Vla. I
>
b %%% &' %%% n %% ' %% #
&
'
' % # % n& %% & %% #n&
ppp fff
& &
'
Vln. III
mp
'
& ##'
Vln. II
pp
>
& ' ' b &
pp
fff
pp
>
b & b &
'
pp
fff
pp
Vc. I
& ' b '
&
'
' b'
& '
b ' &
& &
Vc. II
'b& b
' b '
b & b
' b &
b ' b ' b '
b ' b '
& ' b '
b &
b b
&
b &
b b '
b '
' b
'
Db.
"
31
89
165
Perc.
Quarter
-tone
acc.
solo
Vln. I
.
R
& ' &n & bb'

& #& '#'' nn' &#& nb &
'>
fff
"
&
r
b &
>
pp
r
'> '
pp
? &
&
fff
fff
& &
%
b
r
'>
# '
>
&
R
Db.
&
'
'
.
R
' b ' & '
b '
b ' '
'# '
169
Quarter
-tone
acc.
solo
Vln. I
.
R
$%
& b n ' >
>
' > n'##& ''' nn' &'' n &
? &''bn&'&&&bb& 'b&'
"
&
fff
>
>
fff
&
Vln. II
ppp
ff
>
b
'
& b
>
fff
&
Vln. III
& b
>
fff
Vla. I
Vla. II
Vc. I
'
>
? &
&
&
#
>
r
'
>
&b
r
&
>
&b
>
'
R
r
'
>
fff
#> '
R
fff
pp
ppp
&
pp
'
pp
r
>
&
r
'>
b& b
fff
& b &
'
&
&
mf
&
r
>
&
>
# '
r
'>
&
>
'
'
>
&
pp
pp
'
pp
fff
fff
pp
pp
fff
pp
fff
fff
'#
>
fff
#> '
fff
&>b
fff
&
f
32
ppp
&> b &
&
b
>
fff
ff
pp
%
&
ppp
& b
.
R
. %
R
.
R
.
R
$%
$%
$%
>bbb'''
' &
'
&
&
&
'
' n b
'b 'b & bb &&
& b ' ' n
'n' n&n ' & &'' && && > &
#&& 'nb && bb& n& > b&b
>
>
>
$%
&
fff
pp
&
r
>
fff
&
fff
pp
&
& b '>
'
>
& &
>
pp
pp
.
R
&
>
fff
'
fff
pp
& b
fff
fff
pp
# '
>
pp
pp
& &
'>
fff
pp
pp
fff
ff
' '
fff
fff
Vc. II
>
.
R
& b &
>
> $%
> b ' & &b &
& b
'''#n&' ' nn & & b'&&b'b
r
& #
>
fff
fff
&
>
fff
& # '
>
ppp
&
fff
Db.
&
Perc.
ppp
& &
>
pp
mf
fff
mf
Vc. II
fff
pp
' &
>
pp
fff
b
>
>
' # '
# '
fff
pp
ppp ff
# #
pp
>
#
R
pp
r
&
>
fff
b& b
fff
pp
$%
r
&
>
fff
pp
.
R
>
& b b' '
'
? &>
&b & # & '# ''&n&n
ff
&
' #
> &b
pp
' &
ppp
pp
&>b &
fff
r
'
> #
b
>
>
'# '
pp
fff
Vc. I
ff
&> b &
.
R
$%
$%
5
> & b b
& & b & & '#' n'# 'n' n&n ' n n & &
& & b
&> &
fff
>
b & b
R
& n
pp
fff
Vla. II
%
'
5
fff
b> &
fff
Vla. I
fff
ppp
fff
&
Vln. III
& b ' # '
fff
&
Vln. II
$%
$% 1.5-gliss.&'& 1.5-gliss.
n nb &&& %
''b&
'
b&b
5
1.5-gliss.
>
# # '
fff
& ' & & b

'
.
R
'>
b &
>
'> #
&
>
&> b
'> #
%
%
%
b ' >
%
%
>
& b
& b
ppp
'
ppp mf
ppp mp
& '
>
pp
r
> '
' &
>
r
&>
r
'
>
'
> '
& b &
>
pp
>
& b
'>
#> '
ff
ff
'> #
R
pp
'>
&
>
pp
pp
ff
&> b
&
>
'
>
&
>
ff
ff
&> b
ff
'
& b
>
ff
ff
ff
pp
ff
#> '
R
ff
pp
ppp
n
& b ' b > ' n ' > '
>
> '
ff
ff
ppp mf
ff
'
>
#
pp
&
& b & b '
!
Fl. &
Ob.
&
Cl.
&
A. Sax.
68
173
Bsn.
Hn.
Perc.
Hp.
Quarter
-tone
acc.
solo
&
!?
&
"
"
.
/ J
.
J
68
&
$%
fff
ppp ff
ppp f
% ' %
b > & b &> b ' b> ' b> % ' %
#> '
'> #
&> b &
&>b
b > &
& b
>
b >&
&>
'> & &>
> '

'
> '
>
mf
'>
? '> ' '>
>
'
? #> ' > '
'
>
> ' '>#

? ' #
#> '
mf
mf
mf
mf
mf
mf
"
mf
>
%>
' % %& %b % n & b ' b & b ' n
> > >
mp
ppp
ppp mf
#> ' #
Vc. II
&
Vc. I
accelerando
&
Vla. II
!
&
Vla. I
< q. = q >
Vln. III
43 q = 80 rallentando
&
$%
$%
''> # '' >
% ' % %
& && ##'' ##'' #
'' %% # %' % n %
>
>
Vln. II
Db.
.
J
accelerando
&
Vln. I
Tpt.
Tbn.
90
< q. = q >
ppp
ffff
%
&b n & '
'> % %& % b> ' n '> b &> n '> b
>
< q. = q >
5
68
& .
>
mp
>.
mp
>.
' .
j
# .
#.
>
mp
'.
p
#j
.
'.
>
mp
#.
&j
.
mp
''' &n#
'&n n& bn
>
'
j
'
j
' #
# &
3
accelerando
# .
&
pp
' .
>
mp
&>.
'& &bn &n

>
# 'n
>
$%
3
b n'
j ' b' &bbb &&
'# ' '
3
mp
3
>
>
b >
j
' &b '#n n& #'##&nnn&'###'n&&&b#'''nnn& b&'#nn' b&&& 'b''n &n'# # n
' & n& n''
3
5
.
p
'
&
'.
J
pp
ff
pp
pp
'
j
'
ff
pp
& n
33
3
j
' # &
fff
j3
n
pp
pp
rallentando
!
Fl. &
&
178
Ob.
Cl.
&
A. Sax.
&
(- b- - (- b- (-
mp
b- )- n- b-
b- )- n- b- #
- - - - ) )
- pp
- (- (- b- ( )
- - )- (-
( - b - - ( - ) - - - ) ) b- ( (-
"
)-
?
ppp
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
mf
&
r %
) >
fff
- (-
)- (
)- )
p
- -
r
) ## - p
- ) -
(- (
-

(
) -
> - fff
mf
&
>

R
Gran Cassa
b>
R
ff
mf
rallentando
&
B
B
?
?
Db.
"
mf
'&
b #
b bbn#n
b
3
n (
J J
3
b b n b bnb bnbb bnb

b# # n b ## ##n nn b
n # #
#
< e = q >
q = 36 q = 72
)>- )- )- )
- )- (-
-
)

R #- (- n- - #- (- n>
ff
mf
>- (- b - ( -
fff
ff
mf
fff
)- #-
- )-
) - ( - b - - R
D# C# B# / E# F# G# A#
pp
fff
- ( - ) - (>- ) - -
fff
- )-
fff
Vc. II
b - (- (- )- # #
- -
Vc. I
q = 36 q = 72
- (- b- - b- (
%
R
- - )- - ( r
>
p
mp
- - b- b (
b - - -
(>- -
fff
Vla. II
( )) ) n ( ( ( (( )) n) nb(
( ( ( (
n
( (
b(( nn) )() )b (( ) )( ) ( )
n) n#
ppp
& %
Vla. I
'&
!
)
& )- (- b- )- #- n- ( (
- - ( -
pp
Vln. III
< e = q >
Gb-G
%
$
)
R
&
Vln. II
mf
&
Vln. I
(- b ( b r
> - - - (-
(- - #>- )- #
pp
q = 36 q = 72
straight mute
rallentando
)
R
&
Tpt.
Tbn.
fff
!?
fff
Bsn.

>- - -
fff
- b - b - ) -
)-
R
91
< e = q >
mf
r %
b- )- #fff

>- - - - - - fff
f
34
Suspended Cymbal
(wire brushes)
183
Hp.
Quarter
-tone
acc.
solo
Vln. I
Perc.
!&
'&(
5
+b ,+b,,+ ,
+ ,,
5
&
'&( b
nb bb
&
"
&
&
Vln. II
&
Vln. III
Vla. I
Vla. II
Vc. I
pizz.
pizz.
pizz.
pizz.
pizz.
ff
mp
ff
b . . . 5.

R
mf
5
ff
ff
mf
6
. . .
.
Db.
pizz.
190
Perc.
Quarter
-tone
acc.
solo
Vln. I
Suspended Cymbal
(wire brushes)
'&(
*
j
>
&
"
&
mf
>
n, +b,+b,, ,,n++.b,,>n+,. n,,. b ,
J
, +, +
> . + . #++ .
3
3
3
b b n b bnb bbb bnb nbb bb

b
b ## #n
# #
#
nn
b
3
.
R
.
. b R

. .
43
5
. b .
.
ff
5
.
.
ff
6
.
. .
.
ff
Chinese Cymbal
(wire brushes)
n
#
>
>
. > . . > . . . > . .
b,, +#n. ,nn.+##. ,bn,+#n.,nn.+##. n+ #++ +nn n,, +##n,,#nn #++ #++ +nnn,,+##. n++.
3
bnb
n
pp
42
Splash Cymbal
(wire brushes)
bn
mp
5:3
nn
>
>
b,, , .
#+. +##. , b. b,,b> +##. #++. #+. +,. +#, n+,. ,nb. #++. +nn.
n
5
bn
ff
bbb
arco
mf
arco
&
Vln. III
&
Vla. I
#B
Vln. II
'&(
>
5
>
+##+ n++. ,nn. b,,. +#n. +#+ ,nb. +nn. ,bb. ,n. n,, ,
+ #+ #++ + #
.
.
>
. # .
5
5
##
42
'&(
. +.
mf
!2
&
4:3
5
> . , . ,. n > . +.
6
b b + b + ++. ++ + + #++ #+ +
,,b ,b. b,,. ,bb. #++. #+. n,, , . , . # .
>
3
>
ff
'&(
3
3
n
#
&
nb
b
&
192
Quarter
-tone
acc.
solo
43
fff
mf
6
.
. 6 .
.
. . . .

(Bartok-pizz.)
pp
ff
ff
ff
ff
43
b.
. b . . 5.
R

Chinese Cymbal
(wire brushes)
ff
Splash Cymbal
(wire brushes)
ff
. . . b.
mp
. , .
+.
.
J
+. . . .
mp
b # #
b bb n#n b # n
#
3
ff
Vc. II
&)
mp
+.
J
3
, + +
, ,,,,,, ++ + + nb, b nJ
, , , , + + +,, ,+,,, + + n
n+ n# b,, nn+ + + +b ,
, . .
%$
R
3
Chinese Cymbal
(wire brushes)
niente
&)
mp
ppp
pizz.
pp
35
,
J
mf
92
!
&> %
Fl. &
R
194
>
# '.
solo
6
16
93
%
> .
# ' .#
> .
# ' .
> . > . . > .

>
& #. ' . # ' . ' ' '
ff
Ob.
&
Cl.
&
&
!?
&
A. Sax.
Bsn.
Hn.
"
Tpt.
Tbn.
"
Hp.
Quarter
-tone
acc.
solo
mf
&
> . . > . . . > . . . > . .& .

& b. & b&b & b 'b& b ' &b '
&
bb
Vln. III
&
&>
'>
#>
bb
mf
j
''O
mf
%
J
&> %
'>
%
J
>
> &b > &b &b
>b &b b
6
16
>
%%
&b
'#'
%
J
& %
J
' %
' %
' %
J
%
J
# %
pizz.
' %
' %
# %
J
' %
J
& %
# %
' %
j%
''O %
j
#O %%
>.
arco
arco
>.
>.
'>.
>.
>.
arco
Vc. I
Vc. II
"
fff
Db.
Vla. II
>
%
$>%
$
> $%
& '
6
' ' # #&
' #
'b'
& b b'
b'
>
6
6
''
pizz.
&b
mp
pizz.
mf
> . . > . . > .& . '>& . . &#'
#' # ''# ' #'

# %%
pp
arco
%
J
arco
Splash Cymbal
(wire brushes)
%
J
&
Vla. I
6
16
Chinese Cymbal
(wire brushes)
&
Vln. II
>
!
Vln. I &
>
&
'>
Suspended Cymbal
(wire brushes)
Perc.
36
!
%
Fl. &
&> %
J
&
198
Ob.
&
Cl.
Hn.
n %
J
mf
> %
J
' -
>-
>-
'>-
>-
' -
>-
>-
'>-
>-
&-
>-
b >-
&>-
>-
%
J
ff
b -
!?
&
"
Tpt.
without mute
&
&
ppp
Tbn.
Perc.
"
Hp.
&b > %
J
> %
J
&b (j
b (j
glissando
&b > %
b (j
> %
> %
(j
(j
> %
&
&
Vln. III
>.
'>.
>.
>.
>.
arco
(j
Db.
"
(j
b > %
b (j
>.
>. . . >. . .
'
' &> > & &> >

' & & '
>.
>.
>.
> >

>. & . n . >. & . n .
>. & . n . >. & . n .
>. . . >. . .
'
fff
&>. n . & . >. n . & .
'>. . . >. . .
&>. n . & . >. n . & .
'>. . . >. . .
ff
>.
'>.
>.
O.
O.
##O.
>
O.
O.
&&O.
>
bO
.
O.
O.
&&O.
>
bO
>.
O.
bO
.
O.
fff
b >. &. . >. . .
>. . . >.
'
b >. &. . >. . .
>. . . >. .
'
bO
bO
''O. . ''O. O. . ''O.
>
>
fff
bO
bO
&&O. . &&O. O. . &&O.
>
>
bO
bO
''O. . ''O. O. . ''O.
>
>
'&O.
>
&&O.
'&O.
>
O.
&&O.
>
'&O.
&&O.
>
'&O.
&&O.
>
'&O.
&&O.
>
'&O.
b>O
.
O
>
&&O
.
O
>O
.
O
b>O
.
O
>
&&O
.
O
>O
.
O
ff
ff
37
fff
bO
bO
&&O. . &&O. O. . &&O.
>
>
arco
> >
> >
#
Vc. II
> %
ff
mf
> %
&b (j
ff
B %
Vc. I
ff
Vla. II
B ''O
>.
Vla. I
> >
#
&
Vln. II
> %
$%
$%
$% Bellows Shakes
> & $%
>
>
&> &
>
>
' '
'
' & &&&
>
>
& ' & '
&
' '
&
# ' '
!
Vln. I &
&b (j
43
ff
&
Quarter
-tone
acc.
solo
&
43
' %
J
&
A. Sax.
Bsn.
43
94
< e. = q >
!
Fl. &
201
b >b >-
"
n>-
)>-
. n>- .
5
)>-
n>-
(>-
. b >- .
(>-
b >-
>-
. n>- .
ff
fff
(>-
(>-
44
b > '
)> '
n>
ff
>-
)>-
ff
&
A. Sax.
(>
ff
&
Cl.
Hn.
b > '
&
Ob.
Bsn.
q = 96
43
b > '
> > >

b
!?
fff
>-
95
w
>
mf
'
ppp
mp
Tbn.
>-
&
Tpt.
"
(>-
mf
43 q = 96
>-
(>-
)>-
. #>- .
'
44
< e. = q >
Perc.
Hp.
'
**
&
&
#3
&
$
% '
ppp
&
Quarter
-tone
acc.
solo
'
**
Tam-Tam
fff
> n n > > b >

b n#
Vln. II
Vln. III
Vla. I
4 q = 96
mf
niente
>

$
%
R
'
b
b
3
< e. = q >
!
Vln. I &
pp
mp
ricocht
Normal
>
>
>
>
>
>
((() ))() ()() ()() ) ) b (
3
( )
) b (
(
bb >
b >
44
&'
3
b
)
((b )b
)b()
b b
b
b
3
) (
( # )
( # ) )
ppp
mp
&
( '
( '
( (
mp
mf
b
J
b
b
&
( ( '
'
b '
b ''
( '
( '
J
ff
Vc. II
arco
b
ff
Db.
"
arco
bw
fff
38
pp
Vc. I
ppp
Vla. II
&
96
!
&
Ob.
&
Cl.
&
A. Sax.
&
204
Fl.
Bsn.
Hn.
"
pp
!?
b >
ppp
mp
"
"overtone gliss."
b
I
Perc.
Hp.
Quarter
-tone
acc.
solo
II
III
IV
VI
VII
&>
'
3
fff
ff
&
'
'
n>
&
n
ff
ff
&
&
>
b
&
mf
% %
$%
$%
$% 5
$%
$%
$ $
'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n n
#&&#& #&&& && && & & #
' b b'
&
&
'
&
&
&
b
&
b
&
#
&## '
& & #
b'' & 'b '
& b&&
#&&# #&&
&b'&
6
6
7
7
5
Bellows Shakes
' ' b '&n'&n'&n'&n '&n'&n'&n 'n 'n 'n 'n 'n 'n 'n n
&b&&& && & & #
b b 'b' b 'bb& b'&
& & &' '& ' '
5
!
&
&
Vln. II
& '
Vln. III
pp
B '
Vla. I
&
&
'
'
'
&
Vla. II
n
b
? b
Vc. I
b
n
mp
Vc. II
"
'
'
&>
'
&
#>
n
n
b
'
&
'>
'
&
'>
&
&
>
'
&
'
>
&
'
&>
'
n
b
>
b
b
>
n
b
>
b
b
b
>
b
n >
b
>
b
n
#>
nb
n
>
bb
>
ppp
ppp
bb
b
b >
n
n
b
b >
b
b
>
b>
b >
>
mf
&>
'
mp
'
&>
ppp
ppp
Db.
>
&
Vln. I
b
3
&
solo
Tbn.
&
Tpt.
b >
ppp
ppp
39
ff
ff
fff
rallentando
5
5
> > > %> n> $> #> %> n> $>
!
$ #
Fl. & $ # % n $ # % n $
> >> > > > > > > >
5
5
206
fff
$
>
3
&
>
Ob.
fff
&
>
Cl.
fff
$
>
%
>
#
>
n
>
fff
Bsn.
Hn.
"
$
>
#
>
%
>
n
>
&
>
>
$
>
&
"
b
%
Hp.
Quarter
-tone
acc.
solo
mf
mf
j r
% %
3
3

J %
&
mp
42
ppp
Cb-C
j
b -
fff
mp
Gran Cassa
ff
3
3
3
3
3
> > > > %> n> $> #> %> #- $-#- - $- % - #- n-%- 3
- #
& $ # % n $ # % n $ $ #
- - %
> > > > > > > > >
5
3
3
3
fff
> > > > > > > >

& $ # % n $ # % n $ $ # % n
> > > > > > > >
% - % - b- %- bb- - 3
%- %
-
fff
- -
$-
mf
% $
&
mf
j
- % - b - $
C-Cb
j
#
mf
j
$ $ % $
mf
40
pp
mp
$ n % b $
3
mp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
nw
r
j
- - - -
ff
pp
pp
42
>
n.
%>
$.
n>
b.
$>
n.
n.
%>
$.
n>
n>
%.
%>
b.
b>
ff
$.
n.
%>
n>
%.
b.
$>
n.
>
j
#
#>
mf
%.
$>
b>
$.
$>
f
ff
mp
3
3
~~~~~~~~~~~~~~~~~~~~~~~~~
r
$- n- %- % b $ j n % $ b
3
%j b $ %
#-
#-
# $
- $- % %-
$ - % - %- $- j 3 j
R
$- %-
fff
fff
mf
fff
j
Normal
q = 72
43
ff
ppp
rallentando
j
b -
j
-
Ab-A#
j
b -
j
-
mp
"
&
Db.
fff
Vc. II
mp
fff
Vc. I
> > > > > $> #> %> n> $> #> %>n> $> > $> #> %> n-#- - b $- $- b- $3
!
$- #
Vln. I & $ # % n $# % n $
- $- %
>> >> >>
6
5
6
Vla. II
&
Vla. I
Vln. III
&
&
Vln. II
ff

$ j r
mf
q = 72
mp
$
J b
3
-$- %- $- $# n- n- %- %
R
#
43
mf
mp
#j
mp
42
- %-
3
%-
- $- -
- f
#
#- - - -
rallentando
Perc.
- - - - $- $-b- b- $- $- #
b $-
Tbn.
!
&
Tpt.
%- $
- f
3
- b- %- $- #- - $- $- -
$- - %
$- % %
$
>
n
>
> > > > >

$ # # % n $
> >
7
& $ # % n
> > > > >
A. Sax.
%
>
#
>
q = 72
- -%- $- % n n- $- $- $-
97
ff
%.
n.
b.
%.
b n b n b n b n
>
>
>
>
ff
>-
>-
43
!
Fl. &
211
43
42
43 q = 108
mf
Ob.
&
Cl.
&
&
j
b
Bsn.
Hn.
"
Perc.
j
n -
Vln. I
j
n -
j
b -
&
"
43
b -
&
Vln. III
Cb-C
n -
42
j
-
j
b -
pp
j
b -
j
-
43 q = 108
j
n>
j
>
>
j
>
j
-
43
j
#
b n
b > n
br r n b
n
b n
n b
r
b b n n b
b
n b
> b > n >
6
b

>
& b b %
% &%b &%b &b% b& % b &
3
n>
&. %>
n. b.
&
>- . & .
&
>- . %.
n- &.
>
% . & >
. b .
% - & . b .
>
b % & & % &

& n
. . >- . . >- % . & . &>- b . & . % - . .
>
>-
% - n . & . & - b .
>
>
. & >
% . n .
b- %.
>
b
>- .
n. &.
&. b>
. & . b .
& % n b % &
. . . . >- . . %. &. >- b. . b . .
>-
b b
>- . . . &>- %. & b. & - b . % . n .
>
fff
&. n.
&. %
>-
n. &.
%.
. &. % n
n- &. %. n. &. & b &
. .
>
>- . . . % . n>-
b- %. &. % & b
. >- . . b - % . n . .
>
>
%
b

% . n - & . b .
>
% .
n >
&- . & . b . % n & b % n

. >- . . .
>
>- .
fff
> . . . . . > . .
b>
%. n.
%. n.
&. %>
&.
& b
>- . .
&.
b
b - . b . .
>
>-
. - b. b
. >>
. n . % &
>- . .
5
. &- % . & . b b
>
>- . . >-
b n %
. . >- . .
5
. &. b. %- n. &. b. % n & b % n

. >- . . . .
>
42
< q = q >
>-
>-
>-
>-
41
>- %. b. & . b >- & .
% & b n
b
&- % . b &
> . . >- .
& b
%
b
&
ff
ff
fff
>-
b - . . n . b - . . n . b - . . n .
>
>
>
fff
>-
ff
% & b n
b

b n b n b b n b n b b n b n b b n b n b n b n b n b n
>
>
>
>
>
>
>
>
>
>
>
>
j
>-
43 q = 108
&.
n b
n b
j
-
n- b. %.
>

>
b
b >
mf
j
- $
n b
n> b
< q = q >
C#-C
j
#>
b
b >
n
n>
% - n . & . b . % >
>
fff
"
b -
Vla. II
C-C#
j
b >
&>
Vc. II
b -
j
-
pp
fff
j
#>
Vla. I
Vc. I
mf
&
j
-
&
!
&
b -
j
n -
fff
Vln. II
Db.
j
b
Quarter
-tone
acc.
solo
j
-
&
Hp.
j
-
!
&
Tpt.
Tbn.
j
b -
pp
mf
A. Sax.
98
< q = q >
>-
& - . % . b . & - . % . b . & >

>
>
j
$$
>-
>-
. % . b .
!
Fl. &
Ob.
&
Cl.
&
&
42
215
ff
A. Sax.
solo
Bsn.
Hn.
"
!
&
Tpt.
Tbn.
Perc.
Hp.
"
&
>- >-
ffff
Vln. I
Vln. II
Vln. III
&>
&>-
>-
&>-
>
& -.
>-.
>-.
>-.
>
& -.
>-.
>
# -.
soli
# . # .
ff
>
# .
gliss.
'>
&.
-
n.
-
n.
-
n. &.
&.
&
&
42
ppp
& b
b b &
'b&
'& && && &
b' 'bn
$%
$%
&bb &bn'
&bb' &bb'
b&&b &bb' &bb' &bb' &bn'
b b
b&' b&' b&'
b&' b&' b&'
b''
b''
b'
!
&
b''
&.
'.
&.
'.
&.
>
&.
'.
&.
>
. ' .
. & .
. & .
>
' .
&
'.
'.
&.
'.
' .
b.
&.
>
' .
b.
. ' .
. & .
& .
>
& .
. b.
. ' .
>
b .
>.
>.
'& '& '& '& '& '& '& '& '& '& '&
42
&
pp
b n
b b
'& '& '& '& '& '& '& '& '& '& '&
&
pp
fff
Bellows Shakes
&bb&'
>
. b.
b b
b b
b n
&.
'.
>
&.
'.
'.
'.
>
&.
'.
b.
b >.
b.
Vc. I
b.
.
#
b.
n
.
#
Vc. II
Db.
"
pizz.
mp
#.
nb.
b
b.
>
b.
>.
. b.
>.
.
nb
#.
b
n .
>

. #.
bb.
>.
. bb.
>
b>
>
42
>.
b.
b
. n .

. #.
>
n.
b
.
b
. b .
b
b .
>.
>
.
fff
Vla. II
&
%
$%
&bb' $
& $%
b&'b& b'&&
'
'&b n& b&b & b&& b
b
'
'
b
&
& ' & &
& b & b&& b &bb&'
&b ' n
& b &
.
.
-.
$%
n.
n -.
.
-
fff
'.
n.
.
-
Vla. I
&.
-
#-.
-.
#-.
&
Quarter
-tone
acc.
solo
>-
>-
-.
-.
-.
soli
# -.
99
b>.
# .
>
b
. n .
# .
#n.
>
. nb.
>
fff
fff
fff
!
$
Fl. &
>. >.
218
#. %.
> >
5
fff
j
& .
>
Ob.
Bsn.
$.
>
& .
>
$.
& .
A. Sax.
"
>.
Perc.
Hp.
Quarter
-tone
acc.
solo
"
n.
j
$.
.
J
ppp
Eb-E
Fb-F
& . $.
> >
fff
& .
>
fff
$.
>
>
#. %.
>
b.
>
>
n.
%.
>
>
n.
>.
>
$.
>
#.
%.
n.
$. #.
>
%.
>
n.
>
$.
#.
%.
n. $.
$.
%.
%. n.
$.
b.
$.
%.
$.
pp
# .
?
?
"
n.
arco
fff
b .
b.
b. .
r
.
b.
b.
. b .
n .
b.
b. .
b.
44
non arpeggio (simile)

%>
%
b.
b.
%b>
C-C#
%. $. %. $ $ %
. . . $ . % .
% b b b%
43
r
$ .
% %b b
>.
> > .
>
b>%.%% b. bb%.%$ b b $
5
% b b b% %%b b $b
44
ppp
pp
b.
b.
b.
b.
. b.
b.
b.
. b .
b .
43
. . b. b b
. . . . .
. b. . b . r
.
ppp
pp
b.
. b. . b b
. . . . .
b.
. . b . b
. . .
ppp
pp
pp
b. . b b
. . . . .
ppp
&
mp
>
> .
>
b> && %. & %% b. &bb &&%. %$ &&b &
42
Normal
>
>
b> %. %% b. bb %.
$.
pp
Db.
43
pp
B &
Vc. II
pp
>
$.
$n>. $n. $n. $b>. $b. $b. $%b>. $%b. $b. %$bb>. %$bb. %$bb. b%%b>. b%%b. %%>. %%.n$$n>.n$$n. $n $>. $ $. % %>. % %. %b b b% %
# # # #
$. %.
b $ &
R
pp
%.
fff
$.
$n >. $n . $n . $b >. $b . $b . $%b >. $%b . $b . %$bb >. %$bb . %$bb . b%%b >. b%%b . %% >. %% .n$$n >.n$$n . $n $ >. $ $ . % % >. % % .
# # # #
$.
b % &
R
>
Gb-G
ff
$ &
%.
pp
$.
b &
ppp
&
Bb-B#
pp
ppp
b.
!
Vln. I &
Vc. I
%.
#.
Db-D
42
ppp
&
Vla. II
Vla. I
$.
>
b.
>
#.
$.
$.
$.
mp
>.
% .
J
44
ppp
43
ppp
&
Vln. III
$.
>
Vln. II
n.
>.
%.
>
& .
>
%>.
J
$.
>
n.
J
$.
n.
>
n.
. $. #. %.
$. #. %. n. $.
>
%.
J
%.
>
7
n.
j3
#.
>
>.
straight mute
Tbn.
%.
%>.
>
#.
!
& .
>
Tpt.
#.
>
>
$.
>
n.
#.
>.
? J
mute
Hn.
n.
>
j
$.
>
fff
Cl.
>
$.
42
100
42
43
< x( q = q >
!
Fl. &
223
Ob.
Cl.
q = 90
&
&
&
ppp
&
ppp
&
& %
&
&
45
&
& %
R
&
A. Sax.
44
&
&
' %
b
R
&
42
101
< x( q = q >
>.
&
q = 72
secco
secco
j j
&.
#.
3
>.
Hn.
!
&
&
"
Tpt.
Tbn.
"
Perc.
42
43
q = 90
>
&##
&
Hp.
D-D#
&
Vln. II
&
Vln. III
Vla. I
Vla. II
Vc. I
Db.
"
pp
fff
42
3
3
pp
&## #&&
3
>
#&
&
mf
without mute
&
F-F#
G-G#
pp
q = 90
fff
4:3
43
pp
fff
44
'. .& . . ' . . ' & '

>
>. . . . . .
& . .
>
>. .b. . . . >. . . .

b . .
. . b. .
. . ..
b. . b b
> . . . . >. . . . . .
b. . . . b. . . .
# n #
b>. . . .
n # nb # nb
. . >. . . . . .
ppp
. . #. . b. .
..
p
# n b
bb. . . . # . . n >. . n . . b . .
>
%
pp
&. . '. . '. . &

..
ppp
&
D#-Db
C#-Cb
pp
ppp
E#-Eb
F#-Fb
'bb
>
mf
>
>
> . > . . ' > . ' . b > ' . b . '' b . ' . bb ' . b . $%
&& . & & &
' . . & . . ' . . &

. .
>
. . b . . . . b. .
6:5
fff
45
& . '.&' .'. . '. .'.

>
>
> .
3
fff
pp
' '
&& & & &
42
pp
&' &'
< x( q = q >
arco
q = 72
pizz.
&
pp
'
3
pp
'
pizz.
b>. . . . b b
. . >. . . . . . . . b. .
b
>. . . . . . b >. . . .
43
q = 72
'
#& && & &
'. .'. . & ' & '

. . >. . . . . .
>
ppp
mf
3
5:4
'. . & ' &

. . . . ..
ppp
>
&&
>
> . > . . > . .' > . ' . b ' . b .
# &. && & & &
#&& #& &&

3
&
42
< x( q = q >
> . > . . > . . > . .

&& #. & # & && & &
>
. > . .
>
## &.#.&& #.&# &
pp
Vc. II
45
< x( q = q >
!
Vln. I &
&
&
&
E-E#
mf
mf
44
>
#&&
&
Quarter
-tone
acc.
solo
ppp
< x( q = q >
. . . . b. .
. .
>. &. #. '. n. &. . &. #. '.
secco
>.
secco
. . &. .
3
.
. & . # . ' . n . & .
secco
#. . n. . b. . #n nb # b. . . .
>
>. . . . . .
b b. . b
b
. . . . . . . .
>. . . . . . >
w
. .b . . . . b . .
. .
44
>.
secco
b . . . .
43
Bsn.
'. n.
#.
'
J
' b
J
&.
' .
b .
& .
43
!
Fl. &
228
43
. $. #.
$.
44
45
&
Cl.
&
j j
%.
n.
&
Hn.
"
Tpt.
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
secco
"
43
44
G#-Gb
%b%b
>
45
&
% % %b$
%b
$% . %. . %. . . % > . . . . %.. . .
>
>
>
mf
secco
%
%b % % b b %b % %b
$% . %. . . %. . . .% > . . . > . . . % > . . .
>
>
% % b
$% % %
% % % b
$% $% % %
!
&
pp
% &
b &
&
$ &
Vln. III
&
Vla. I
. . .
n>. $. #. %.n. $. #. % n $
>
$. . b. .
J
3
?
?
fff
Vln. II
"
ppp
>. $ . # . % . n .
7
$>.
J
pp
44
&
r
&
r
&
b &
Db-D Cb-C Eb-E Fb-F
&
&
r
%
q = 54
43
. > . . > . . .
>
. .$. $$. $. % $.% ?
%.%.%% .%.b.b>%.b.$. %$>b.$. . b $
5
>
>.
5
5
. >
. . > . . .
>
#%.#.$.#%$#.$.#$##$.#$
7:5
fff
pp
%
$% % %
3
45
. $.
n. $.
%% %%b
fff
$##
42
5
3
#$$
43
< e( q = q >
r 5
%
j
% & b
$ &
j
% & n
% &
$ &
J
7
q = 54
7
j
$ &
secco
b. %. n. $. . $. #. %. n. $.
>
ff
j
b> &
mp
>
b
pizz.
ppp
>
%b
ppp
42
%.
b.
>
fff
>.
5:4
>
$.
>
n.
mp
ppp
Db.
>
%.
>
b.
4:3
b . % . b . % . n . $ . b . % . n .
>
< e( q = q >
%b
>
j
n .
3
3
straight mute
secco
43
j
% .
f
secco
Vc. II
Vc. I
&
& %b%b
>
Vla. II
j
b .
>
&
Vln. I
!
&
43
ppp
Bsn.
q = 54
ppp
Ob.
A. Sax.
42
< e( q = q >
45
j
%> &
%>
b>
102
!
Fl. &
232
Ob.
&
Cl.
&
Hn.
"
Perc.
$ . # . % . n . $ . # . % . n .
%.
$. #.
n.
pppp
ppp
&
"
43
%. n. $.
#.
J
ppp
42
%b
Gb-G
&
pp
pp
4:3
fp
? $##$ #$$ $#% #$$
mf
&
mp
> . . .%. > . . . %. . >$..%. . % . b>$. . $>.%.b>%. . $%> . % . > % . b . %> % b

#
b $
## $. $ $$# $
%$#% $% %
glissando
5:3
B#-B A#-A
42
6
3
%
% b
$#% $%
#$
6
3
3
$%
Vln. III
&
Vla. I
B
?
Vc. I
Vc. II
Db.
"
j
%> '
j
b> '
%> '
b>
'
bj'
>
$>
> '
45
6
>
% b
$ %
> % b $ #
6
pp
Vla. II
&
fff
Vln. II
#. %. n. $. #. %. n. $. . $.
45
&
%bb
>
>
. >
. . > . . .
. >
. . > . . .
? %$>#.$.#.$.## $.#. $. $$#. $. %# $. % #> %.#. $.#.%$>#. $. #.$.## $.#.$.$$ #.$. % #$.%
!
Vln. I &
Suspended Cymbal
ppp
#3
45
ppp
Quarter
-tone
acc.
solo
j
.
? b%%
Hp.
42
!
&
Tpt.
Tbn.
j
$ .
&
A. Sax.
Bsn.
43
103
mf
j
%> '
>
b '
%
bj'
>
%>
b> '
j
$> '
> '
$>
j
b> '
#>
'
46
j
$> '
$>
>
%j'
>
j
b> '
$>
>
%>
>
3
%>
45 q = 108
< e = q >
!
Fl. &
236
Ob.
Cl.
mf
&
&
>.
mf
j

>.
mf
pp
mf
r
( '
>
b. . b
. .
pp
44
'
mf
ppp
r
) '
>
mp
>
mf
j
b
ppp
"
mf
Hn.
&
straight mute
b. . . .
. .
"
45 q = 108
mf
ppp
< e = q >
Perc.
&
Hp.
'
*
mp
Quarter
-tone
acc.
solo
&'$
&'
&'
&'
%$
%
)) 1.5-gliss.
()#n((bb ) )> n. ))> (). n#> )(. nb> )(. #n.
) ( n
()
45 q = 108
>
>
.
nb )(
)( )
.
)(. ##
pizz.
&
>
ff
&
B
Vla. I
>
#
ff
>
Vla. II
>
( (
(
)( )
Vc. I
#
>
arco
Vc. II
( (
(
n ().
>
j
(
j
(
pizz.
Vln. III
))
>
"
b
) ( n
b
) ( n
)
(
n
b
>
'
>
ppp
pp
Gran Cassa
%$
R
'
mf
44
# #
pp
nn
>
) )
)
&'
%$
().
j
)
>
( ( nn
&'
b b ( (
b (
) ( n# #
b b ( (
b (
) ( n# #
)
(
#
n
n n
n
b b ( (
b (
( )
(
( (
) )
)
(
#
( (
mp
mp
) ) b b
) b
( ( nn
arco
) ) b b
) b
( '
mf
n n () (
( (
(
(
(
)
n
b
(
(
&
'
( ( b '
(
b '
'
ff
( '
ppp
ppp
) '
b
J
pp
) '
J
ppp
ppp
ppp
ff
(
)
47
) '
arco
b b ( (
b (
) b ) # (
( (
) b ) #
b
n n )( (
mp
# #
pp
b

>
mp
mf
n n
n
&'
3
(
b( (b
) b ) b (
j ()(b )(b )b() b)b( bb)(
b
)

) b )
mf
niente
&'
%$
3
&
)nb. )( ((#n. ) .
n
)
(
## ( . # . > .
> . >
>
fff
mf
&'
n
> n b )( )
#
( ( bb b
( ( n
(
(n
>
ff
bb.
Db.
ppp
&
> n b )( )
# n
( ( bb b
( ( n
(
(n
mf
Vln. II
44
'
$
%&
>. . b .
n ))
oj
mp
< e = q >
!
Vln. I &
mp
D# C# B# / E# F# G# A#
ppp
ppp
ppp
mf
mp
>
pp
!
&
without mute
+ + + +
b. .
. .
mf
Tpt.
Tbn.
ppp
Bsn.
'
mf
&
A. Sax.
. .
n. #. . #.
104
ppp
w
fff
ppp
105
!
&
239
Fl.
Ob.
&
Cl.
&
b
ppp
b
p
&
Bsn.
"
>
b
>
b
p
ppp
>
ppp
b
>
>
b
>
>
ppp
j
b
ppp
&
Hp.
#
#
Vln. I
Vln. II
Vln. III
$%
$%
b'&b'b&''
&b'
n''b&'b''b'''b
$%
'bb'& bb'&
$%
bb& 'bb&
$%
'bb& 'bb& 'bb&
b b ' b b 'bb& 'bb& 'bb& 'bn& b'&

&b'
&' '' '' ' '
b& &bn
#>
ff
j
>
ff
>
>
soli
#
ff
soli
>
&
ff
Vc. II
soli
>
&
ff
Db.
"
b>
n
>
>
>
b b b b b n
>
>
'
>
'
'
>
n
>
'
'
n
>
&
>
'
5
'
n
b
n
>
n
3
'
#>
&
'
&'
>
>
b >
f
&
#>
&>
&>
soli
ff
soli
3
soli
soli
&
Vc. I
&
ff
&
!
&
b'& b'& b&& b&& &' &' &' &' &' &' &' &' &' &' &' &n> &n &n &b> &b &b
Vla. II
.
R
Gran Cassa
b'& b'& b&& b&& &' &' &' &' &' &' &' &' &' &' &' &n > &n &n &b > &b &b
b b b b b n
Vla. I
Bellows Shakes
& 'bb'&
&
&
Quarter
-tone
acc.
solo
&
Perc.
"
Tbn.
b
>
!
Hn. &
Tpt.
j
b
ppp
ppp
ppp
A. Sax.
n
mp
>
b
mf
>
>
>
n
>
mp
mp
>
ff
>
fff
j
>
fff
48
!
Fl. &
Ob.
&
Cl.
&
A. Sax.
&
!
&
&
&
&
43
241
Bsn.
Hn.
"
Tpt.
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
"
#
#
&
&
Vc. I
Db.
"
>
43
> >
bn> nn> n>
pp
$%b>. $%b. $%b. %$bb>. %$bb. %$bb. b%%b>. b%%b. n%%>. %%. n$$n>. n$$n. $n $>. $ $. % %>. % %. %b %. b%%. b%%. b%%. b%%b-.
# # # # n
nb
#n
n
>
>
##
>
%%
>
$$
>
nb
>
#n
>
n%
>
$$
>
##
>
%%
>
n
>
##
>
%%
>
$$
%>
$$
%$>
n#>
n>
##>
%%
>
$$
>
##
>
%n $$
>
>
%
$
%
$
n
#
b
>
n
$ >
%$
>
%
n
>
n
#
>
>
%
>
$$
b>
#
#
%
%
$
n
#
# >
n
%
$
$
%
$
n
%
$
n
$#
%%
nn
$#>
%%
n$
$$
%
#
$
$
%
#
n
%
$
n
%
$
n
#
%
%
$
n
#
$
- - - - - - . . . %bb$. %bb$. %bb$. %bb$ %bb$ %bb$ %bb$ %bb$ %bb$%bb$ %bn$. b%%.
>
#$
>
3
$%
>
Vc. II
Normal
& #
#
Vla. II
%$
>
$> >
J J
>% > >
$%
&
Vla. I
G#-Gb
$%b >.$%b .$%b .%$bb >. %$bb . %$bb . b%%b >. b%%b . n%% >. %% . n$$n>. n$$n. $n $ >. $ $ . % % >. % % . %b % . % b. n % . $ n . b $ -. b % -. % -. -. -. -.
# # # # n n $ $ n $ b $ b % % nn$$ $$#n%%# %%nb-. nb$% n$% n%$ b%$ b % %$ n $ b % b % > % > >
# # n n $ $ % % b % b % % %$
!
Vln. I & %$
Vln. III
F#-F
ff
&
Vln. II
b>
49
>
#n
%$>
n#>
bn> $$> nn> %%> > nb> b>
>
> >
$$ ## %n
>
$$
> >
$$ %
>
nn
>
$$
>
> >
#$ n# %%
> $ > > > > >

>
> > > > > > > >
n$ ## n # # n
%%> $$>
n>
$
>
%$
%>
n
n>
$
>
%$
%
$
n
%
$ #
# %
%n
n$
$%
bn
b
n
n
$
$
#
mp
ff
mf
43
106
!
Fl. &
244
Ob.
Cl.
43
&
Hn.
&
ppp
'
43
&
>
'
>
'> %
mf
'> %
>
# %
' %
>
'
n
ppp
'
3
'
p
&
b n
ppp
!
&
"
#
#
42 q = 72
>'
> >
>

&
> %% > > > %
&
'&> %% '&> '&'&> '&'&> %%
&
&
B
>' > > > > >'> > > > > >' > > >
6
!
Vln. I &
fff
b-.
n-.
sub. 6
pp
n-.
>
'&-.
'&-.
'-.
> > >
'&> '&> '&> '&>

n'-. n'-. n'-.

b> %% > &> > %
&>
> > >
'& '& '& '&

sub.
p
n'-. n'-. n'-.
>
> > %
&>
> > >
n>
n>
>
>
ppp
n'-. n'-. n'-.
&
&
> & &> # &> n
$%
'& '& '& '&
solo
mf
fff
sub.
p
&
43
4:3
3
5
>- . .'.n>&. .
6
n>- .b>- . .b 5
&
->'...b b-'b.'.#.&.b'. b. &..
. > .
>
pp
3
3
pp mf
solo
fff
pp
> & &>n. &.#. '>- . >&' &.

3
pp
mf
&- &
> 3
# n
n n
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n &
pp
pizz.
%
>
mf
b %
' %
'
&
3
5:3
arco
Vc. I
Vc. II
Db.
"
pp
50
ff
mf
42
solo
.>. . > . . .>. .
b>-n.n.#.b>n.n.#.n&n'#-'n&&n'#.&.
>
% & # % & % b
' % >
>
& %
Vla. II
42
pppp
sub.
p
fff
n>
&
fff
&> %
42 q = 72
< q. = q >
43
43
< q. = q >
&
Vla. I
ff
43
&
Vln. III
ppp
pp
mf
b
# # b
J
&
42
' %
ppp
sub.
pp
'
'-&.'-'. b n-
Hp.
Vln. II
sub.
pp
&
&
Quarter
-tone
acc.
solo
&> n> &> n> &>
fff
straight mute
Perc.
'
&
Tpt.
Tbn.
sub.
pp
sub.
pp
&> n> &> %
b>
&
107
"
Bsn.
&
&
A. Sax.
42 q = 72
< q. = q >
!
Fl. &
251
Ob.
&
Cl.
&
Hn.
"
$
mp
$
J
mp
#
3
#
J
j
b&
# &
>
mf
j
&
>
j
&
>
ff
%.
>
>.
!
&
&
Tpt.
6
16
&
A. Sax.
Bsn.
42
108
fff
&
&
>
ff
>. . .
>
>
>
b. . . %. . . #. . . $
%>.
>
b.
&
$ &
>
Perc.
Hp.
Quarter
-tone
acc.
solo
"
42
Kr &
%>
b $ .
>
&
&
without mute
b % . # .
>
# $. n.
>
Gran Cassa
&
J
&
J
> %b > %b
> b%b b
&
&
j
&
mp
mp
solo
#> $. n. %. . > b. . b. . 5
% $
> . . . #.
5
5
mp
&
mf
fff
%
%
$ . . $ . . >. $ . . . $>. . . .
>
b
5
b b b
5
j
% &
% b. . . . %>. %. %. %.
>. . . . >. . . . >
&
%
# . $ . . $ . >. . . . >. . . .
>
ff
mf
%
$ . %. $>. . %. . >. %. . .
>. .
j
&
fff
6
b-
j
% b
&
> . $. $. >- #. . . >- . . $. bmf
j
# &
%- %
> . . #. #>- $. #. $. >- n. %. #.
ffff
soli
6
16
j
b
mf
&
J
"
&
J
ffff
Db.
> . > . . > . .

%> #. $. # $. $ $ $
soli
Vc. II
6
16
$>.
ff
ff
Vc. I
#>.
&
Vla. II
%>.
&
Vla. I
>.
&
!
Vln. I &
Vln. III
% &
$ . . . .
>. . . . >. . . . >
pp
#2
Vln. II
$ &
>
ff
Tbn.
&
fff
$
$
# $. . $ . %. $ . %. > %. . %>. #. $. . #>. $. . . $>. . . .
>
>
>
fff
n
% #. $. # $. n. $ n. %. n> %. .
>
>
>
fff
solo
> . . > . . . >. . . n. >. . n. %.
%. b. % b b. % b $ % b $ b $
$
% # $ % # $ . #>. $. . .
>. . . . >. . .
>. . . >. . . > . . . >. . . $. >. . $. .

>
>
#. . . $. . . # $ %. % # % # % #
fff
b
J
mf
51
b
3
>. . .
>
>
>
%. . . #. . . $. . . #
>. %. . %. %>. . %. #. >. %. #. $.
fff
&
J
ff
109
!
&
256
Fl.
%. . . . .
>
mp
&
Ob.
%. . . . . . . . . . . .
>
>
>
>
b. . . . . . . . . . . .
>
>
>
>
%.
mf
mp
Cl.
A. Sax.
Bsn.
Hn.
"
Perc.
. . . . .
>
&
>.
>.
.
.
>.
>.
.
.
.
.
>.
>.
>.
Vln. I
&
"
>.
>.
Quarter
-tone
acc.
solo
>.
>.
b .
>
$
J
% .
>
>.

$
>. . . . %>. . . . >.
b >.
%>.
$
J
mp
$
J
r
&.
straight mute
.
R
b.
R
fff
>
glissando
>
>
%b > $
& 'j
b'j
> $
'j
mp
>
%b $
> $
'j
> $
%b'j
&
> $
j
%b'
> $
j
'
.
R
> $
j
'
&
&
>. .
. . & . . . . . . . .
>
>
& .
>
. .
>
. . . . . . .
>
>
&
>. .
. . . . . .
>
>. . . .
>.
. .
>
>
B . .
>
>
. . . . . . . . . .
>
B . .
>
>
. . . . . . . . . .
>.
b. . .
> >
& .
%. . .
> >
. . . . . . .
>
>

>. >. .
&.
>
. .
>
. . . . . . .
>
>
>.
>
. .
>
>
. . . . . . .
mf
mf
mf
sfz
sfz
%>. >. .

>. >.
&>. >. .
sfz
&. . %. . &. . . . %>. . . .

>
>
mp
&>.
>.
R
#>.
R
&>.
%>.
#>.
>.
>
>
%.
b.
>. >. .
>. . . . >. . . . >. . . .

%
>.
&>.
%.
52
j
b' ?
b >. >.
sfz
> >
&. . .
&.
sfz
%>. >. .
sfz
>. >. .
sfz
%>. >. .
sfz
%>. . &. . >. . . . >. . . .

>. . . . >. . . . >. . . .
&
mp
sfz
sfz
sfz
sfz
mf
b > $
&
"
$
$
ppp
Gran Cassa
%b
r
b> $
.
R
mp
Db.
>.
.
R
$
$
> $
b'j J
glissando
Tam-Tam
ppp
$
J
. . . . . . .
>
>
Vc. II
r
%.
mf
. .
>
Vc. I
mf
Vla. II
>.
straight mute
>.
Vla. I
. . . . . . . . . .
>
>
Vln. III
>.
>.
>. . . . >. . . . >.

&
!
&
>. .
Vln. II
&.
>
%.
& .
>
mp
mp
mf
>
>
%b > %b b >
%b $
%b
?
J
Hp.
!
&
Tpt.
Tbn.
& %
>. .
110
!
& $. . . . . . . . . . .
>
>
>
>
260
Fl.
& .
Ob.
&
A. Sax.
b .
>
$ .
>
%>.
>.
?
Bsn.
"
!
&
% .
.
& R
Tpt.
Tbn.
Perc.
"
Quarter
-tone
acc.
solo
Vln. I
> &
% .
>
>.
fff
>.
>.
$ .
>
$.
>
>.
b .
>
>. . . >. . . >. . . >.

$.
>
b.
>
%.
>
b >. . . . >
%. . . . . .
>
>.

>.

>.
%.
>
b.
>
b >.
>. . . .
. .

>. . . . $>. .
>
>
%>. . . . . . .
. . . .
b >.
$>.
>.
.
>
>.

>.
$.
>
.
$>.

>.
>.
.
+
> &
mp
.
R
&
+
> &
pp
+
> &
%> &
%> &
pp
> &
> &
b'j
$b
> &
&
> &
j
$b'
> &
Suspended Cymbal (medium mallet)

p
j
&
$b > &
j
$b'
> &
j
b'
$b'j
b > &
p
Gran Cassa
b 'j
&
$b> &
j
&
> &
j
b'
j
$b'
> &
j
&
J
j
'
b > &
j
b'
$b > &
b 'j
> &
b > &
&
&
>. . . >. .
%
>. . . >. . . >. . . >. .

%
%>. >. >. . % . >. .
%>. . . >. . . >. . . b >. % .
j
b'
> &
j
$b'
sfz
>. . . . >. . . . >. . . .

% b % b $
$>. . $. . >. . . . >. .

%
b .
$>. b . . . >. $. . $. >. . . .
>. . .
% %. >. . b b $
. . >. . . .
>. . . . >. .
$ %. . >. . . .
%. % b % b $ % b
> . . . >. . . . >. .
%>. . . . >. % . . %. >. . . b.
b>. $. . $. >. . . . >. .
. %.
%>. . % . .
$>. . %. . >. . . .
%>. . % . . $>. . . . >. .

%
>. . . . >. . . . >. . . .

%
>. . . . $>. . . . >. .
ff
>. >. .
sfz
%>. >. .
ff
>. . . >. .
% b $
>. b . . >. .
$ $
b .
b >. $. . >. . . >. . . >. .

ff
sfz
$>. . . >. . . >. . . >. .

ff
% . . n . . $>. . %. . >. . .
>
? >. . . . $>. . . .
b. . .
>
>
$ . . . . .
b. . . . >. .
>
sfz
B $

>. . %. . >. . . . % . . n .
>
b >.
j
&
>.
> &
&
fff
&
"
$.
fff

>.
>.
%. . . . . . . . . . . .
>
>
>
>
ff
ff
.
.
ff
&
%% &
&
%% &
&
%% &
&
%% &
&
&
&
&
&
&
&
&
pp
Db.
$.
R
$b > &
'j
Vc. II
>.
$.
Vc. I
pp
Vla. II
>.

>.
.
! b
&
Vla. I
/ &
Vln. III
>.

>. .
ff
>.
Vln. II
b. . . . . . .
>
>
>
fff
straight mute
>
? &
Hp.
$.
&
& %
>. . . . >. . . . .
>
Cl.
Hn.
pp
53
111
! (>. . . >. . . >. . . >. . . (>. . . >.

Fl. &
264
>. . . >.
>. . . >.
(
mp
& (.
Ob.
&
>.
Cl.
&
A. Sax.
b .
>
.
( .
>
) .
>
>.
>.
>.
>.
>. . . . >. . . .
? ( >. . . .
Bsn.

"
Hn.
Perc.
>.
>.
>.
mp
>.

>. . . .

>. . . . >. . . . >. .
mp
>.
>.
b .
>
b.
>
(. . .
>
)>.

>.

>. . .
r
).
>
>.
ff
>.
b >.
>.
ff
b >.
R
ff
(> %
( %
>
&
"
>
? %
>j
%
/ %
J
>
> %
> %
Chinese Cymbal
mp
>j
%
J%
)b > %
)b*j
b> %
J%
>
mp
j
b*
> %
Gran Cassa
b> %
)b %
>
>
%
J
j
*
> %
>
%
%
>
j
)b*
b> %
j
b* &
>
%
%
b %
>
j
b *
fff
>
%
%
>
%
>
j
)b*
&
)b > %
%
&
'$
%
%
>
mf
(#(
>
b %
)
>
((>
>
b))b )bb)(
))
>
()>
fff
fff
B %
soli
%
J
fff
? %
Vc. I
( %
J
soli
fff
Vc. II
j%
(( %
ff
"
j
%
%
ff
soli
%
J
fff
( %
R
soli
ffff
()>
()
>
b ( b
>

>
(
>
(> )

>
)
>
b
>
>
>
(>
>
(>
( (>
>
) >
ffff
>
>
)
>
)>
>
)>
b
>
(
>
>
b ( b
>
>
(
>

>
) %
ffff
( %
%
> %
( %
( %
)(> %%
b %
) %
( %
%
((> %
%
((> %
) %
) %
b %
%
> %
%
> %
ffff
>
b >
ffff
ffff
) b )
>
>
ffff
B ). . (. . ( b )
%
. . >. ). (
>
.
$%
))bn(( n>
#
ffff
& b. ). . )
. . ( . . b
>
> .
Vla. II
b%
83
>
%
%
>
simile
fff
Vla. I
%
%
>
1.5-gliss.
& (. b. ). . ) (
. . . (
>
> .
Vln. III
%
%
Gran Cassa
> %
>
b()()nn()
)() ))b
>
1.5-gliss.
ffff
Splash Cymbal
mf
>
%
%
! (
& . . . (. b. ). .
>
> . . b .
fff
Vln. II
Db.
ff
).
>
>.
83
ff
+
%
&
Vln. I
(.
>
+
%
Quarter
-tone
acc.
solo
>.
mp
(.
(. .
>
+
> %
Hp.
! +
& %
>
Tpt.
Tbn.
. .
>.
>.
54

>
83
!
Fl. &
268
83
secco

>. . . . . . >. .
. . . .

>. . .

>. . . .

>. . . .

>. . .

>. . .

>. .
. .
>
. . . .
>

>. . >. . >. . >. . >. .
. . . .
%. . .
>

>. . . .

>. . . .
%. . .
>
f

>. . .

>. .
. .
>
. . %. .
>
%
>. . >. . >. . >. . >. . . . . . . . . . . . . .
. . . .

>. . .

>. . . .

>. . . .

>. . .

>. . .

>. .
. .
>
. . . .
>

>. . >. . >. . >. . >. .
. . . .
& . . .
>

>. . . .

>. . . .
& . . .
>
f

>. . .

>. .
. .
>
. . & . .
>
&
>. . >. . >. . >. . >. . . . . . . . . . . . . .
. . . .
%. . .
>

>. . . .

>. . . .
%. . .
>
f

>. . .

>. .
. .
>
. . %. .
>
%
>. . >. . >. . >. . >. . . . . . . . . . . . . .
. . . .

>. . .

>. . . .

>. . . .
mf

>. . .

>. . .

>. .
. .
>
. . . .
>

>. . >. . >. . >. . >. .
. . . . . . . . . . . .

>. . . . . . >. .
. . . .

>. . .

>. . . .

>. . . .
mp

>. . .

>. . .

>. .
. .
>
. . . .
>

>. . >. . >. . >. . >. .
. . . . . . . . . . . .
&. . . . . . . .
>
>
. . . .
&. . .
>

>. . . .

>. . . .
mf
&. . .
>

>. . .

>. .
. .
>
. . &. .
>
& . .
>. . >. . >. . >. . >. . . . . . . . . . . . ppp
secco
%. . . . . . . .
>
>
&
fff

>. . . . . . >. .
fff
secco
& . . . . . . . .
>
>
&
A. Sax.
fff
Bsn.
Hn.
"
secco
%. . . . . . . .
>
>
fff
!
&
Tbn.

>. . . . . . >. .
Perc.
secco
&
"
ff
secco
#
#
83
ff
>j
J
>
Kr
b
'
&
Quarter
-tone
acc.
solo
&
Vln. I
Vln. II
Vln. III
!
&
&
&
B
Vla. I
Vla. II
Vc. I
Vc. II
Db.
&#&
>
>
&&
J
&
"
83
43
< e = q >
f
Hp.
. . . . . . . . . . . .
secco
ff
Tpt.
. . . . . . . . . . . .
secco
&
Cl.
q = 144
f
fff
Ob.
43
112
< e = q >
>
q = 144
%nn&%
%&#&
>
&%
J
& % #
? % #&
%
%
&##& #&& b%%b%nn&%
>
>
> #&
>
&& '''
R
>
& & ''
# R '
& >
%# J
''
>
''
>
% '
& > '
% '
& > '
''
>
''
>
&&%&#&&#& #&#&#& &#&&&

ff
#%
43
n % % b '
& # n & ''
&%&&
& b '
% n ''
n
#&&
q = 144
'
'
&%
>
fff

&> n> &> #> %> #>
''
'
'
'
'
'
'
''
'
%& '
'
'
'
'
'
'
'
'
'
'
%& ''
''
''
'
%&> '
'
%&> '
'
> '
'
> '
%&> ''
%&> ''
''
>
''
>
''
''
''
'
>
'
>
'
'
'
55

R
R
&nn%
strong accents
mf
% '
& '
. %. . . . . . .
%
% % %
&#&# &&&& & && & & & &# &# &# &#
< e = q >
&> #>
j
%>
113
!
& . . . . . . . . . . . .
273
Fl.
. . . . . . . . . . . .
&
Cl.
. . . . . . . . . . . .
&
A. Sax.
. . . . . . . . . . . .
% . . . . . . . . . . . . % . . . . . . . . . . . .
p
"
$. . . . . . . . . . . . $. . . . . .
p
!
&
&
Perc.
Hp.
"
. . . . . . . . . . . .
pp
% . . . . . . . . . . . .
pp
. . . . . . . . . . . .
% . . . . . .
&
. . . . . . . . . . . .
. . . . . .
Vln. III
ppp
r
n
f
ppp
&
without mute
%
R
&
&
&
%n &
R
%n &
R
%n &
R
&
f
soli
without mute
&
%$ &
R
%n &
R
&
J &
$
% R
n
# R &
>
fff
j
%>
j
n>

%> n> %> #> $>
#>
&&
B &&
&&
B &
&
j
$>
%> #>
j
n>
j
$>
n$ &
R
#
R
$. n. % #. $. n. %. % #. $. n. %.
j
%>
#>
j
#> &
$>
strong accents
pp
n>
j
$> &
j
%>
j
n>
j
n>

> %> n> %> #> $>
#>
fff
%>
#>
j
%>
j
n>
j
$>
j
%>
#>
&
&
&
&
? &
&
&&
&&
&&
&&
&&
&&
&&
&&
&
&
&
ppp
56
j
#> &
$>
j
$> &
n>
j
%>
j
n>
j
n>

$ #
> %> n> %> #> >
>
fff
j
$>
% #
>
>
&
&
j
%>
j
n>
j
$
>
ppp
ppp
ppp
ppp
strong accents
&
&
j
b
% &
&
&
%b &
R
b
R
soli
&&
&
j
$>
b
R
$ &&
.
.
. .
. .
. .
# $. n. %. # $. n. %. $ n. %. % $ n. %. n % n %. n %
&&
n$
R
&&
$ b $b b% b% b%
R R R J R R R J R J R J
$> n>
strong accents
& &&
"
$ &
Db.
!
&
#>
Vc. II
&
Vc. I
&
ppp
? %$ $ &&
J
Vla. II
Vla. I
&
Vln. II
. . . . .
. .
. . . . . . . . .
. . . . . . .
. .
? % #. $ # $ n # $ n $ n % $ n % # $ n % # $ n % # $ n % # n % # $ n n % #
Vln. I
ppp
? # %$ %$ %n
R
R
Quarter
-tone
acc.
solo
pppp
Tbn.
ppp
ppp
Tpt.
. . . . . .
ppp
pp
Hn.
. . . . . . . . . . . .
& $. . . . . . . . . . . . $. . . . . . . . . . . . $. . . . . . . . . . . .
Ob.
Bsn.
. . . . . . . . . . . .
pp
114
rallentando
!
Fl. &
279
&
A. Sax.
Hn.
"
>- - >- -
> >- - >- - $>- -

b- b- $
mp
>
> >- - b - b > >- - #>- #- - -
$- - $- - # #
>
p
>- - #>- -
#- - - - &
> >
pp
mp
>- - &>- -
mf
&
"
!
& %
Tpt.
Tbn.
&
Cl.
mf
&
Ob.
Bsn.
mf
$ %
pp
mp
mp
rallentando
Perc.
Hp.
#
#
$b
R %
? &bR %
?
Quarter
-tone
acc.
solo
&. . & . & n . & . # . & n . & . # .
%
? %%
!
Vln. I &
Vln. III
nn
R R
&
b
R R %
n & . # . n & . # . & # . $ . & # . . # $ . n . # $ . n . $ n . $ n . $ n . $ n . $ . . . . . . . . . . $ . . . . . . b . . . . . . b . . . . & . . . . . . . .

$ %%
%%%
mf
%%%
j
&>
j
#> %
j
$> %
Vla. II
rallentando
$ %
mf
>
b>- - &- -
b- $O O $$O O &&O O
>- - >
&& -O -O $ >- - >- - >- >
mp
> >- b- - b &- -
$O O
> && O O $$-O -O $ >- >- - >
mf
mf
B #
>
Vla. I
$$
& j
n>
&
%%%
&
Vln. II
$$
$b
R %
$ n
>
>
j
&
>
j
n
>
j
n>
j
&>
$j
>
j
n
>
j
>
j
&
>
j
# %
>
j
$ %
>
mp
j
n
>
j
&
>
>- - >- - >- - $>- $
mp
>- - >- - $>-
> >- -
&- $O
>- O O $ -
>- - >
mf
>- >- - >- - #>- -
-
> ## -O
>
>
>- - $>- - &>- - - -
$O
&&-O -O $ >-
>
mp
O
-
O
-
O
-
Vc. I
O O
O O
O O & O O O O &&O O n O O & O O &$O O - - n O O &&O O n- - O O
- - & >- - >- - >- - n >- - & >- - >- - > >- - >- - > >- >
mp
Vc. II
bO O
b O O &&O O
b O O $$O Ob
b O O b O O $O O
O O b b - - & - - n O O b - - >- - >- - -O -O >- - >- >- - >- - > > >- - >
>
mp
Db.
"
57
115
>- - #>- - )>- - b >- - (>- - )>- % - % >- - %
>
285
> >- - - -
! (- -
Fl. &
&
Ob.
&
Cl.
Hn.
"
ppp
ff
)>- -
mp
>. . >. . >.
pp
mf
j
)
>
>. . >-.
>. .

>. . >.
ff
ppp
. (>. . #>.
ppp
)>
#>
>
#>
(>
>
)>
>
b >
b >
>
>-.
#
>
f
>
>
(> #
(. . (>. . )-.
>
>
b.
-
).
>. .
b-.
mf
>
)>. . n>. . ( -.
J
5
mf
(>
>
Perc.
Hp.
Quarter
-tone
acc.
solo
( . . . . . . . . n . . . .
#
#
b-.
(-.
Vln. II
Vln. III
fff
-.
J J
mp 3
. . .
&
&
%
$
5
) n (
> n(> n( n#> n# > > >-. -.
5
fff
>- >
> >- -# -O -O ## O O
? O- -O #O O #
>
ff
j
O
ppp
b
>
>
>
b
b>
&
>
fff
&
)O
((>O ) >
(
> (( O
>
j >
(
>
>
>
)>
>
>
#>
>
>
>
)>
>
)>
(>
>
))>O
((>O
O
>
))>O
))>O
((>O
O
>
))>O
))>O
>
((>O
))>O
>
(>
n>
(>
(>
>
(
> >
>
>
j
>
b>
b>
(>
>
b>
)
>
b
>
>
(
>
58
-.
>
>
n-. -.
j j 3
O O O
>
>
))O
>
j j b>O3
O O b
>
>O
j j 3
O O nO
> >
>
((O
3
j j >O3
bO ))O O
> >
##>O
(>
fff
>>
(-. -. )#.
) #n
rallentando
ff
>-. -.
n#)(
)>
fff
(>
b>
>-. -.
. )(b
mp
fff
>-. -. b>-. -. # (>-. -. (#((>-. -. ) ( n -.

)b bb #
# ( n -.
>
>-. -. >
O O
#-O -O >- -
>
q = 108
(
O O ( O O ( O % O %
>- - ( >- - ( >- % - % (( -O O -O %% >
>
ppp
>
'>&
>-. -. ) >-. -. ) b ) -. -.
>(#) )n ) ) )bb)n-. bn-.(nn().
#
fff
fff
fff
"
pp
rallentando
fff
Db.
>- - #>-O O- >O- OB bO O))O O O O # #

>- - >
fff
>
>- - >- - >-O O- ( -O -O
> >- - >-O -O )) O O (( O O n (
B ((O- O-##O O
Vc. II
b
J J
>- - (>-O -O >-O -O >-O -O )>-O -O >-O -O )>-O % -O %

& ))O O O O nO O ( ) ) % %
-> - >- -
b>-O -O >-O -O (>-O -O n>-O -O )>-O -O >- & ((O O -O -Ob ( n ) ((O O #-O %% -O %% ((O O O %% nO
>
>- - >
>- - >
Vc. I
. . . . . . . . .
!
& -O -O -O -O -O -O ))-O -O #-O -Onb-O -O
> > >
> > >
Vla. II
ppp
Vla. I
(
J J
-.
>
mf
&
Vln. I
> >
J J
q = 108
Gran Cassa
mp
mf
>
J
mp
fff
> >
b )
mf
mf
&
"
ppp
pp
Tbn.
>
b- - - -
>
mf
b >- - )>- - >- - b >- - >- - n>- - )>- - b >- - )>- % - % )>- - % >
)
! +
& %
Tpt.
mf
&
A. Sax.
Bsn.
> >- (>- - ( - - (
rallentando
q = 108
3
>
#>O O O
((O # J J
>
3
#>
?
>O
>
)) O

J J
> # >O
#O O #
J J
>
## O
>
##O
!
Fl. &
290
*
J
3
ppp
Quarter
-tone
acc.
solo
Vln. III
*
J
43 q = 144
q = 72
*
J
!
&
&
"
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
&
#
#
Vla. II
Vc. II
Db.
"
>. . . . >. . . .
. . .
*>. . .
>. . . . >. . . .
>
>
+. . . . . . .
. . .
>
+. . .
>. . . . >. . . .

>. . . . . . >.
. . .
>. . .
>. . . . >. . . .

. . .
*>. . .
>. . . . >. . . .
mp
>. . . . . . >.
. . .
>. . .

>. . . . >. . . .
>. . . . . . >.
. . .
>. . .
>. . . . >. . . .

. . .
+>. . .
>. . . . >. . . .
mf
*>. . . . . . >.
secco
mf
secco
secco
mp
43 q = 144
q = 72
&
,,
Chinese Cymbal
ppp
secco
+>. . . . . . >.
mp
&
,,
ppp
>-. -. >#***+ **. &&& n>-.

+ & *+
pp
&
&
#O
nbO
&
++O
nnO
**O
&
**O
#O
++ O
++O
j
O ++O
++O
j 3
O #O
3
j
O ++O
O **O
J
pp
pp
O
pp
n O
j
O ++ O
3
&
%
-.
** &&
42
mf
>
+ &
+*
J
1.5-gliss.
>1.5-gliss.
1.5-gliss.
* >
+##+ #++ b**b*nn+*

#+ #*
**#
>
&
++ &&
J
> &
&
mf
> &
&
>
*+ &&
>
*+ &&
pp
mf
pp
+
*
mf
mf
pp
> &
&
> &
&
+*> &&
+*> &&
mf
pp
mf
&
&
&
&
> &
> &
mf
mf
j
+#+ &&&
> &
&
59
>
*nn+*
*+#+
> &
&
&
>
*> &
+ &
*+
++
1.5-gliss.
1.5-gliss.
*> &
+ &
>
+#+
43 q = 144
< e = q >
q = 72
O
pp
Vc. I
secco
< e = q >
ppp
(') >
-. -. > && * * > && ** && + # + && n + >-. -.
+b*n
& # * *# *# & + +#
+b
+## && n n &
J R J
J J R J J
&
Vla. I
>. . .
mf
42
mf
. . .
secco
"
mf
* &
ppp
>. . . . . . >.
secco
secco
*>. . . . . . >.
!
Vln. I &
Vln. II
Wind Chimes
Hp.
42
&
Tpt.
Perc.
A. Sax.
Tbn.
&
Cl.
Hn.
&
Ob.
Bsn.
116
< e = q >
*#+
117
Fl.
296
>. . . >. . . >. .
!
&
. >.
$>. . . >. . . >. .
. >.
. . >. . >. . >. . >. . >. . >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
mp
&
Ob.
Cl.
. . $>. . >. . >. . >. . >. . >. . $. . . . . . . . . . . . $. . . . . . . . . . . . $. . . . . . . . . . . . $. . . . . . . . . . . .
pp
. >.
. . %>. . >. . >. . >. . >. . >. . %. . . . . . . . . . . . %. . . . . . . . . . . . %. . . . . . . . . . . . %. . . . . . . . . . . .
>. . . >. . . >. .

&
>
. .
>
> > > > >
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
>
>
>
? $. . . . . . . .
. >.
. . $>. . >. . >. . >. . >. . >. . $. . . . . . . . . . . . $. . . . . . . . . . . . $. . . . . .
mp
Bsn.
Hn.
"
mp
Hp.
Quarter
-tone
acc.
solo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
>
> > > > >
>. . . >. . . >. .

&
>
. .
>
> > > > >
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
%>. . . >. . . >. .
. >.
"
Vln. II
Vln. III
pppp
. . %>. . >. . >. . >. . >. . >. . % . . . . . . . . . . . .

ppp
#
#
& #
r
r
# %$ %$ %n
r
r

r
%n &
r
%n &
r
%n &
r
%n &
r
%$ &
r
%$
& %%$ % % % % % % % % % %% %$ %% % % %% %% %$ %% %$ %$ %$ %#. $. %#. . %#. . %#. . %#. $.#$. n.#$. n.$ n. %. $ n. %.#.$ n. %.#.$ n. %.#. $ n. %.#. n %.#.$. n. n %.#.
# # # # # #
# #
& #$
!
& &&
mp
$ &
& % &
Vla. II
%$

% n % # $ #
>
> > > > > >
strong accents
ff
&
&
&
&
% #
>
>
&
&
$% &&
&&
&&
"
$ n
>
>
$ b
% nj $j nj
>
>
>
>

% n % # $ #
> > > > > >
>
ff
j
&&
&
&
&
&
&&
&&
% #
>
>
j
j
% # &
>
>
$ #
>
>
$ n
>
>
>
$ &
J
j
%
>

% n % # $
> > > > > >
strong accents
ff
&&
mp
&
B &
&&
&&
% &
? $ &
&&
&&
&&
&&
&&
&&
&&
&&
&
&
&
&
&
&
&
&
&
? &&
&
&
&
&
? &
&
&
mp
$ #
>
>
mp
Vc. II
&
&
j
%$ $ &&
strong accents
mp
mp
Vc. I
%nn$
&
& &
B
Vla. I
%n#$ n$%b &&& $%nb

&& #%%n
mp
Db.
ppp
&
Vln. I
ppp
. .
>
pp
Perc.
pp
Tbn.
pp
!
& . . . . . . . .
>
>
>
Tpt.
pppp
ppp
>. . . >. . . >. .

& %
mp
A. Sax.
pp
mp
60
ppp
118
! . . . . . . . . . . . . . . . . . .
&
302
Fl.
ppp
&
Ob.
. . . . . .
& %
Cl.
ppp
espressivo
ppp pi
mp
Bsn.
Hn.
"
!
&
Tpt.
Tbn.
Perc.
Hp.
"
Vln. II
Vln. III
&
j
% n % # & # % # & #
straight mute
& n
j
%
j
j
j
n & n
>

J
>
J
>
& $
J
j
j
% # $
>
>
>
% %
J
J
r
n& $
r
#
r
n&
r
b
r
%b $
r
b
r
%b $ &b $ &b $
R
R
pp
$$
>
%
J
j
n
>
& # % #
>
>
>
$$$
$$$
& $$$
$$
j
&
>
>
& $
J
j
j
% # $
>
>
# & n
>
>
>
>
>
n %
J
J
$$
$
? $
$$
ppp
>
n
J
$$$
$$$
b $
ppp
mp
>
& $
J
j
j
% # $
>
>
>
>
n %
J
J
>
n
J
mp
$$
ppp
? $$
j
j
j
j
% n & n
>
>
>
>
ppp
$
B $
bj
% b $
R
R
n %.#. n %.#. %#.&. %#. . #&. n.#&. n.& n.&n.& n. &n.&. . . . . . . . . .
mp
j
j
& n &
>
>
& $$
&& && nn
R
R
>

J
>
>
n %
J
J
ppp
61
mp
! n>
&
J
"
Vc. II
& $
& &b b%b% b%
Vc. I
mf
. . . . . . . . . . . . . . . .
. . . . . . . . .
& &. n. %#.&. n. %. % #.&. n. %. #&. n. %. #& n % & n % %& n % n % n %n % % % % n %# % n %#
Vla. II
&
Vla. I
Db.
& $
&
Vln. I
r
& #n $
Quarter
-tone
acc.
solo
ppp
. . . . . . . . . . . .
& %
A. Sax.
mp
!
Fl. &
68
309
Ob.
&
b $
Cl.
&
&
A. Sax.
Bsn.
Hn.
"
&
Perc.
Hp.
Quarter
-tone
acc.
solo
"
#
#
>
%.
R
&
&
%> $
J
>
>
&
J
mp
n>
J
>
#
J
&> $
J
%>
J
bJ
Suspended Cymbal
(wire brushes)
b>
J
&>
J
&>.
#> $
mf
68
> $
Splash Cymbal
(wire brushes)
&
B
?
?
6
%> b %
b> %
% & & % %
%
#
>
6
"
b%%
&#%
b%%b $$$
%%
&##&
n>-
%.
b. &>-
n.
>
%.
&>-
n.
>
%. b-
mf
pizz.
#
>
f
pizz.
b> $
ff
>
% $
J
&> $
ff
mp
mf
n.
68
b%%b
&
#&&
&
b $
arco
arco
& $
%
J
% $
$$
$
$
> $
&.
#&
b%%
$$
>
&
#&&
% b $$
% $
b. &. n. %>- b. &. n. n>- %. b. &.
>

& # & & # & % & # &> # & % & # & %
#
b> % b >
&> >
b
% % % % b % # & # #% #%
% % b %

$
$
$
# $
>
$$
>
>
Db.
mf
%>
#>.
mp
mf
Chinese Cymbal
(wire brushes)
mf
n>
J
ff
# $
$
#>.
R
&
Vc. II
%
J
&
Vc. I
>.
. &.
mp
% b
& %
Vla. II
&
Vla. I
& $
mf
!
Vln. I &
Vln. III
r
#.
>
&
Vln. II
b $
mf
!
&
Tpt.
Tbn.
119
62
< q. = q >
312 &
!
Fl. &
&
Ob.
&
Cl.
&
A. Sax.
Bsn.
Hn.
"
b >-
'>-
b >-
'>-
>-
n>-
n>-
b >-
'>-
.
.
&>-
>-
>
. & -
n>-
b >-
n>-
. '>-
ff
&>-
>-
ff
&>-
.
3
ff
n>-
>-
&>-
#>-
'>-
44
ff
q = 96
43
fff
&
"
'
!
&
Tpt.
Tbn.
&
ppp
43 q = 96
44
< q. = q >
Perc.
#
#
Hp.
Quarter
-tone
acc.
solo
Vln. I
Vln. II
&*j
&*j
b ' 'b '&b 'bb &' b ' 'b '&b 'bb &' b
& & b & & & b & & & &
&
&
'
' 'b b&' 'bb b & b & b b

&
& & & & & & &
' ' # ' #

3
' b &
& '
# ' # #
fff
&
&
43 q = 96
44
< q. = q >
&
&
&
&
&
&
&
'
b
'
# (
ff
ff
((
((
((
fff
(
(
(
(
fff
(
? (
ppp
ff
(
B (
((
? (
(
"
3
? # #
((
fff
Db.
&
Vc. II
mp
&
Vc. I
&*j
&
Vla. II
&
!
&
Vla. I
D C B / E F G A
(
)
&
Vln. III
(
)
pp
b%$
Tam-Tam
((
((
(
> (
((
fff
>
ff
fff
63
ppp
ppp
120
!
Fl. &
315
pp
"
&
w
>
Perc.
#
#
44
Hp.
w
))
j
(*
&
?
&
!
Vln. I &
Vln. II
Vln. III
&
&
B
Vla. I
44
j
(*
&
Quarter
-tone
acc.
solo
43
mp
'###'
##
mp
mp
&
' &
&
&
))
( *j
*j
44
%$
b
B
?
Vc. I
##
f
# &&
ff
Vc. II
"
fff
( &
&
&
&
mf
'
J
&
j
(
without mute
mf
))
ppp
mp
' b('
( b b' b'
'b b'
((b ( n'(nn
'
'
(
(

3
b
##
'
'
'
( b b'
b(' 'b
5
&
43
#
#
' &
' &
''
#'## ''n(' #'((n (nbb( #'nn

Bellows Shakes
'(
'(
((
##
44
# &
n &
b&
' &
'
( &
# &
##O &&
''O O
O nnO &&
O&&
O&&
((O O
O bbO &&
O &&
(( O O
bb O
O ' O &
' &
O nnO &&
O O
'(O
O nbO &&
fff
ff
fff
fff
O &&
fff
#O &&
ff
pp
64
' &
'
n'' '#n
7
# &
mp
''#
6
'
'
(#
'
' &
mf
('
fff
# &&
('
#
#
#w
w
# &
&
ff
Db.
'
pp
*j
Vla. II
&
#
#
' &
mf
# &
# '
mf
&
' &
mp
( &
#>
'
ff
# &
n &
&
pp
fff
j
(
mp
&
"
'
mf
&
mp
mf
Tbn.
# &
# &
pp
!
&
Tpt.
mp
44
&
A. Sax.
&
Cl.
Hn.
43
&
Ob.
Bsn.
44
121
&
''O &
!
Fl. &
&
&
318
Ob.
Cl.
&
A. Sax.
Bsn.
Hn.
"
!
&
$ %
$ %
$ %
&
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
"
# %
b
J
j
$ %
mf
Tpt.
$ %
Db.
&
$ %
& %
b %
pp
# %
$ %
& %
& %
&
#w
& %
&
&
&
B
43
#n
#&
#& n$$$b &nn& b$$b b$$b $n$ $ & $& $& $& $& $& $& $& $& $& $& $& $& $& $& $&
& & & #& &# &
#
$&$
mp
#& &$$ $$& b&n &b &&& $nb &
b%
$ %
n %
$$O %%
J
O
J
& %
&
&&O %%
$$O
J
j
O
$ %
&
$ %
&&$
# %
& %
& %
$ %
& %
O $$O %%
O &&O %%
pp
#
pp
&
%
&&O %
#O
$$O %%
j
O
nnO
j
O
#O %%
$$O %%
%
&&O %
O
J
&$O %%
nbO
O
J
%
&&O %
##O
%
&&O %
O
J
%
$$O %
bbO
O
J
&&O %%
$$O
pp
&
"
Vc. II
&
Vc. I
& %
& %
&
Vla. II
mp
Vla. I
!
Vln. I &
Vln. III
n %
&
Vln. II
&
43
&&O
b
mp
nnO
mf
65
&&O
mf
43
122
43
Fl. &
&
321
Ob.
Cl.
A. Sax.
Bsn.
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
&
&
#
J
#
#
43
&
&
>
3
fff
fff
#
>
fff
&
>
&
>
'
>
n
>
#
>
# &
> >
'
>
7
n
>
'
>
n
>
n
>
>
&
>
n
>
n
> >
' #
# %
& %
# %
'
'
&
&
44 rallentando
> >
# &
>
'
>
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
%
w
mf
&
n&
#&
&
n'b
''n
#
fff
b&
n#&
43
B
B
& %
44 rallentando
> > > > > &> n> '> #> &> n> '> > '> #> > &> >
# & n ' # & n ' ' #
> > > > > >
6
6
6
gliss.
mp
fff
3
3
> > > > > > > > > &> n> '>
# & n ' # & n ' # ' # & n ' #
> > > > > >
3
3
3
3
# %
'
> > > &> n> '> #>

# & n ' # & n ' # ' #
> > > > > > > >
mf
fff
ff
' %
fff
' %
mf
ff
? O
? O
?
43
&
"
>
mf
&
Db.
>
#
&
&
Vc. II
>
'
pp
Vc. I
>
&
#
>
ff
Vla. II
ff
#
>
Wind Chimes
&
Vla. I
mf
Vln. I &
Vln. III
# %
43
fff
#
>
& %
&
Vln. II
> > > > > > > > > > &> n> '> #> '>
# & n ' # & n ' # ' # & n ' #
> > > > >
5
5
5
mf
"
ff
' %
!
&
Tpt.
Tbn.
44 rallentando
5
n %
&
# %
123
&&O
##O
O %%
fff
&&O %%
fff
66
>
43
Fl.
43 q = 72
!
&
324
Ob.
Cl.
124
< e = q >
- - $- %- $ n n- %- %- %5
$- %
- -

% $ j r
$
&
- b- $- %- #- - %- %- -
%- - $
%- $
&
&
q = 144 rallentando
- $-
3
$-
- %- -
- -
$ $
mf
A. Sax.
Bsn.
"
&
- - - - %- %- - # % % b- b- b- %-
!
& #- - - #-
mf
&
Tpt.
Tbn.
Perc.
Hp.
"
#
#
Vln. III
mp
3
%
J b j
b >
mp
fff
j
>
j
n>
j
b >
j
b >
j
n>
j
&
>
j
b > &
j
> &
>
pp
j 3
# % j r

mf
mp
3

J
$
mf
43 q = 72
j
>
mp f
j
b >
j
b >
j
>
>
&
b > &
j
>
&
&
r&
>
j
%> &
&
pp
< e = q >
q = 144 rallentando
Gran Cassa
&
&
mf
ppp
&
Normal
& # &
ppp
&
&
43 q = 72
!
Vln. I &
Vln. II
mp
- %- $- %- % # n- n- $- $
R
&
Quarter
-tone
acc.
solo
f
5
Hn.
&
&
< e = q >
n- #- - b %- %- b- % %5
&
&
&
&
- - 3
#- %- #- % $ #- n- $-
- #- - $
5
q = 144 rallentando
# &
#- %
- $ - ppp
$ - $ - b- - $ b b- - 3
$
- $ 5
mf
% - $ - $- %- j 3 j
R
%- $f
Vla. I
Vla. II
fff
- % $- $
fff
Vc. I
- -
%-
fff
Vc. II
j
- $ - b - %
3
"
&
#-
#-
f
3
r
- - - -
ff
%- n- $- $ b % j n $ % b n b b n n b b b n n b n b n n b n n b n
>
>
>
>
>
>
mf
fff
Db.
3
j
% % $ %
mf
ff
b n b n
# n> n # n n #> n n b b n> b b n n b > n
b > n b b > n n b > b b n n> b n b > n n b n> n # n
n # n # n> n # n b n #> n # #> n #

> b n >
>
ff
3
j
j
>
mf fff
>
j
#
>
j
n
>
67
>
j
#
>
>
# &
J
>
n &
J
>
# &
J
>
%
>
%>
44 q = 108
125
< q = q >
!
Fl. &
330
q = 90 rallentando
b-
pp
Bsn.
Hn.
"
& - b -
- & -
b-
#-
- - '
- ' -
&-
&-
b-
' -
' -
&- ' ' &

- - -
' -
b- &- & '
ppp
fff
"
&- -
straight mute
mf
Hp.
Quarter
-tone
acc.
solo
Vln. I
&
fff
r
' ## - p
fff
- -
- & - '
&
- -

&
' -
> - -
'
p
#>- '- #-
>
q = 72
b>
R
ff
ff
j
> %
j
> %
j
%
>
j%
&>
j
> %
j%
j j &
'
'
' &
&
44 q = 108
fff
# 'n
'& &bn &n
q = 90 rallentando
-
R
B
B
b n b
p
n b b n
p
?
p
''' &n# '&n n&

3
'
-
'-
#-
n-
&-
&- &
-
&-
b-
b-
&- - '
- -
b-
&-
&- '- # #
- -
mp
j
&> %
ppp
b
'
%j
mf
Gran Cassa
pp
&
"
Db.
- &'- &
' - ' - p
& %
Vc. II
r %
' -
>
n&
pp
Vc. I
5
& ' & b ' nn & &' n ' b&& b ' n
& ' &b'#nn&#'##&nnn '### n& & #' ' n b # n & 'b ' &n'#'# n
&
3
!
& '- &- b-
Vla. II
mf
j j %
&
n %
>
>
mf
& &b n & '
Vla. I
Vln. III
< q = q >
Vln. II
&- b & b r
> - - - &-
q = 90 rallentando
Perc.
pp
'
R
fff
&
q = 72
-b -b -' -
'-
R
%
>- - -
fff
n-
!
&
Tpt.
Tbn.
'-
&
A. Sax.
- &- b- &-
b- '- n- b-
&
Cl.
b-
mp
&
Ob.
&-
' - & - b R
mf
#
R
ppp
mp
n %
R
'>- '- '- '

- '- &-
r %
& >
- '-
mf
fff
>- &- b - & -
fff
'-#-
>
%
R
>
mf
fff
- '-
'>
&>
n>
'>
'>
>
'>
mf
mf
'

#- &- n- - #-&- n>
fff
r %
- '- #-
& n ' ' '

' ' > ' &> '>& n>-& . &>- . &.'>-&. . &>- . &.'>-&.'.&>-'. &.'>- &. '.&>-'. . '. >-n. . . . >- . .
pp
mf
fff
' '> ' # ' > > ' - ' & - .& . >-& . .& - . & . >-&. .&>- . & . >-& . .&>-'.&.'. n>- . . n.. >- . .
> >
>
> . >
ppp

>- - - - - - -
fff
' %%
>
ff
fff
ppp
'
b-
fff
ppp
44 q = 108
# %
pp
ff
- b-& -
b - b
- - -
&>- -
&>- ' - - -
ppp
'
# &
< q = q >
- & - ' -
-
R
'
J
q = 72-
fff
- -
' ' $%
% b b&&b b
' b' %%& b
'# ' ' %
j
n''
68
ppp
fff
'
>
#
>
j
' %
ff
j%
%
J
%j
& %
J
%
J
%
J
J %
!
Fl. &
Ob.
&
Cl.
&
43
335
126
44
$ &
>
>
mp
Bsn.
Hn.
&
A. Sax.
"
? %j&
j&
mp
!
&
&
J
j
&
% &
J
$J &
% &
J
b &
J
%J &
>
$> &
>
$ &
Tbn.
Perc.
Hp.
Quarter
-tone
acc.
solo
&
"
>
Kr
j
r r
& & %
>
>
43
% &
J
% &
J
&j
b
>
%
>
%> &
r
%
>
%
>
%> &
#>
%>
>
&
mp
44
&
Tam-Tam
b &
% &
&
b
J
ppp
>
? %$ &
&& %$
>
?
n>
&
$ &
b> &
>
&
&
Tpt.
&
&
$>
b &
J
>
&
# &
R
>
!
Vln. I &
>
#b
R
>
>
$b
>
b
R &
>
43
>r &
%%$
>r
$ &
>r
b &
>
>
>
> & n #> ##> ##% > &&&

$$ && n $
&
>
>
$ > $ b> &
%bb &&& b%b bb% b b % &&&
>
b &
R
>
>

R
>
>

R
>
>
&
R
>
44
$> &&
$ & $ $ $ n
#%## &&& %%%# %#%%> #%%> &&& %# > && % > % >
>
>
>
>
>
% > &
$ && b%% b%% b%% &&
>
>
$> $ $ &&
&
j
%%b% &&& %%%#>
>
#- .
>
fff
&
Vln. II
>-$.
fff
&
Vln. III
$-
> .
fff
Vla. I
Vla. II
mp
$>
>
>
$>
%>
%>
%>
%>
b
>
>
%>
$>
>
%>
>
%>
b>
%>
mp
Vc. I
>
b>
mf
>
? % % % $- .$. .#. -#. n.$.
. . >- . . . . >
>
> . >- . $.
%- . %. %. %- %.$ %.$ %.$
>- . .
?
. . - . . . %- . . .$. %.
>
> .
>
> $. b>- b. %>- b. %.b>- %.b.
n- % . %. - %. %. %. %- %. %.
.
> .
? J &
&
J
>. >- . .
%>-b. %.b %. bbbb
Db.
"
mp
&
J
&
J
&
J
$ $ $ $
>- . . . $. >- . . .
$>-b.$ .
ff
%J
&
% &
J
&
J
b&
J
&
J
69
>
%. b. %.b. %-
. >
>
%. %. %. %. %- %. %. %. # %
fff
mf
Vc. II
. . >
#. - #. .## %
>- . . . $. >- . . .
>
fff
$>
$>
ff
sub.
mp
. . .#. %- b. %b. %b. . >

>
>- .
>
$>
sub.
mp
b>-b.b.
mf
$> &
&
%>
&
n>
sub.
mf
ffff
>
. >
%. b. %. %. %- %. %. %. %#
sub.
mf
ffff
%> &
b>
&
>
$
mf
> &
>
%> &
%>
mf
!
Fl. &
&
340
Ob.
&
Cl.
A. Sax.
Bsn.
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
&
&
&
!
&
#
>
'
>
&
>
'
>
>
' &
>
$>
"
mf
mf
#> &
&
mf
#.
mp
>
n
>
.
b $ b> n. n. #. > $ $ $> . $.
.
f
&
&

>

>
>
&
>
>
$
>
&
> &
&
&
&
b > &
> &
mp
b
>
$>
&
j
&
>
J
&
&
>
J
> &
b>
b>
&
sub.
p
>
$$b
&&&
$
>
&
>
43
w
glissando
b
>
b &&
&&
>
>
&&&
&

>
& $ #. $ #. '. #- #. '. . '- #. '.

. .
>
> .
>- . .
. $. -
> .
. . . $>- .
>- . . . b. $>- $ b n b> $ b n > b n
. . $. $ $
Vla. II
&
Vc. I
Vc. II
&
$>
'>
>
$> &
$>
>
&
&
&
>
#>
'> &
>
&
&
>
#>
$> &
>
&
>
>
b>
b >
'>
$>
'
>
$
'>
#
>
#
>
' &
>
' &
>
>
mf
>
&
>. b. n. b>- $ b n
. $. . $ . $
>
.
. . $. -
>
&
ff
>
$. . $- .
$>
> b $ $ b > b
b
b
$
. #. '. #>- . #. '. . '>- #. '. . . >- '. .
Vla. I
&
>. >- . . .
. $. . $ . $. . $ b $ b n
> &
$>
mf
>
. $. - $.
Vln. III
>
!
$
$ . $- . $.
Vln. I & # '
. . . '>- #. '. . . >- '. . .
&
'
%&
$ n
$$ ''. b.#n. '$ ''. nb.#n. $'> ' . # . n.
>
>
r
&
$''$ nn # nb & n #$b nbn # $ $$ $$ &
& b b b
b

$$>
'>
>
$ &
>
$ $$
>
ff
mf
j
$$>
$>
bw
sub.
mp
mp
>
>
$ $ '> $ $ '> '$$
'$$$ '$$
'$$$
& $ $ $ $
Vln. II
>
sub.
mf
sub.
mp
&
>
>
b>
. b. .
. . $. . . .
>
>
> &
&
43
ff
b > &
$ $ $> . . . . > .
b b
b . > b
mp
&
.
b $ b > n . n . # . >
without mute
&
mp
>
j
#
&
&
Tpt.
Tbn.
&
> # .
127
$>
>
>
$>
. >- b n # n> # b >

b

$> &
> &
b &
>
> &
> b n # n> # #
>
43
''.
##
>
>
mf
&
''.
#
>
>
>
gliss.
>
&
b &
gliss.
mf
>
>
&
b>
>
&
>
>
&
>
b >
f
>
"
&
mf
70
>
b >
b
>
>
> &
>
> b
> &
&
> &
&
Db.
'$.
#
>
mf
fff
>
ff
' &
>
#
>
128
&
!
&
344
Fl.
&
Ob.
&
Cl.
'
b >
&>
'>
&>
&>
b> %
' % n & % b %
' n %
& %
'
'
&
>
n
&
n>
'>
&>
&>
>
'
>
&
>
&
'
>
n %
>
'>
& % b ' % n %
&
j
n
& b %
' %
Bsn.
Hn.
Perc.
&
>
"
' %
>
'
>
>
' %
>
r
n
&
b '
& b % ' % n & %b % ' % n % & %
&
&
' n %& % b ' %n %& %
>
'
'
n %& % b ' % n %& % # % ' %
&
>
&
>
/ %
& b> & & b
& &
?
b &
b ' %
& %
>
% b %
ppp
&
>
' %
>
>
b ' %
& %
>
ppp
> & & b > & b > & b
&
' %
>
b
>
pp
&
>
' %
'
&> b
& b &
>
b & b
>
b
>
&
&
& b
&
&
&
1-gliss.
1-gliss.
%
1-gliss.
>
$
. > . > . > . >
& & n> n # n & ' && ''
>
>
>
> . > . > .
. > .
. '> &. n. #. &>&'. n#. ##. &&> ''. b n#. &' &'. bn n#. &' '& #n nb '& &' & nn ## nn '& &' nn ## && '' && '' ' & # n # & '
.
.
>
b
&
& '' & n n ' & n # '

4:3
.
&&
>
&
>
&&
b.
&
Vln. II
&&
b.
Vln. I &
> b
>
Vla. I
Vla. II
B
?
Vc. I
>
b
b
b %
"
>
>.
''
>.
nn

>
&'>
b >.
> b
b
#> %
b
>
&
>
' %
n>
b >
&
#> %
b >
n>
pp
J
#>
>
ppp
b %
>
>
b
>
>
b >
>
b
b >
b %

>
>
? %%
Vc. II
>
&&
>.
##
& %
Vln. III
Db.
&
>
b
>
Quarter
-tone
acc.
solo
'
>
& %
Hp.
&
>
!
&
Tpt.
Tbn.
&
& n
"
pp
A. Sax.
&
>
>
b b
> %
b %
b>
> b
b
b >
>
b >
' %
>
>

b b
>
> b
>
b
>
>
#
>
> #
b
b > %
b %
> %
b %
b
>
>
&
>
b
b
>
b
b
>
b b
> b
& %
b ' %
>
p
71
n>
>
# n
>
>
b
n
#>
>
'
'
n>
> b > n
gliss.
#> %
b >
>
>
' %
>
gliss.
#>
!
Fl. &
348
ppp
&
Ob.
&
Cl.
. (.
b.
ppp
&
A. Sax.
b . ) .
ppp
Bsn.
'
"
. ).
). n.
(. b.
) . n . ( .
) . n .
). n.
( . b . ) . n .
>
#. .
). b.
. n.
ppp
Hn.
!
&
'
'
( '
ppp
n . ( . b .
b.
( '
( . b . ) . n . ( . b .
) . n . ( .
( . n . ( . # ) n
. . .
b. n. ).
>
( . # .
b . ) . n .
( '
b '
'
'
#. (.
>.
n. (. .
'
( .
( .
b . ) .
n .
#
>
>
>.
).
#. ).
# .
# .
>
mp
n. ) n
. .
68
129
mf
'
.
pp
Tpt.
Tbn.
"
&
(. #. ).
&
n. ) n
. .
68
Hp.
ppp
b (
5
pp
(
5
Quarter
-tone
acc.
solo
&
&
n))
)## n)b((
>
1-gliss.
&
pp
1-gliss.
> n ( b ) n (nb
n((#)) n)( (bb
)n n #
1-gliss.
>
&
ppp
Vla. I
ppp
B b b
Vla. II
>
>
>
>
. # .
n .
. . .
. . .
3
).
n. (.
).
b.
n.
(.
b. ).
Vc. I
ppp
'
? b '
Vc. II
simile
1-gliss.
>
>
>
> ( ) n ( # )n (nb
#))n)( #() n)( #) (nb )#n n( n)( b( n) ( n( n#
&%
> ( ) b > n ( b ) n ) > n ( #() n)(
>
>
((#)) n)(b(( (nb)#n (nn )##b((n)) n( #) (b )n n # #) )
5:3
68
b >
>
b
>
b
b
>
&%
b
bb
b'
'
'
'
mf
>
>
>
b
>
> b
>
b
>
>
>
b
b >
>
b>
b >
>
b
b>
b b
> b
> # #
b > '
b '
>
b
b >
b >
'
>
>
>
b>
>
#
n>
n>
#>
#
n
n
>
#>
>
>
>
#
>
#>
>
n
b
>
#>
n>
>
#
#
b
n
>
>
#>
>
&
'
'
&
b> '
b '
>
>
>
b>
> '
> '
>
b
>
ppp
Db.
"
b '
ppp
n.
>

ppp
. .
3
( b.
&%
7
b>
( (
b ( b
>
ppp
Vln. III
>

> b
( b ( >
4:3
b>
>
bb
b>
!
Vln. I &
Vln. II
>
(b)#nn(
. # .
#
>
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
'
'
Wind Chimes
Perc.
72
&
>
n
b
130
!
Fl. &
351
Ob.
# )
# )
&
A. Sax.
> )
ff
)
& #
&
Cl.
#> )
ff
#> )
#> )
> ) n> )
> )
> ) #> )
#> #> n> #> > >
> ) #> )
>
> )
> )
R
>
.+ . . . . . . . . .+>. . .
+>. . . . .
Flz.
b >
,,
ff
>
>
>
>
*>. . .+ . . . * . . .+ . . . . . * . . . .
n>
,,
Flz.
>
,
>
,,
> )
,,
> )
,,
b
,,
n
,,J
,,
b
,,J
b >
,J
> )
,,
+> )
,,
*
,
+
,J
,J
pp
ff
Bsn.
Hn.
"
!
&
&
Tpt.
b .
>
.
n .
b .
. .
. . .
#.
. .
b .
>
fff
. .
. . .
3
n .
.
>.
. .
b .
>
.
. .
3
>.
Perc.
Hp.
Quarter
-tone
acc.
solo
Vln. I
Vln. II
"
+ .
b .
* .
n .
+ .
ff
* .
b .
n .
>
b .
>
>. . . .
'&(
b
&
Vla. I
Vla. II
Vc. I
&
B
B
&
Db.
&
"&
>
# )
)
# )
# )
> b + b
&
*#n
n*+ b++ +nb
>
> * n + # *
+nn *## +++
n* + *
b&%
mf
b&%)
glissando
glissando
# )
b)
)
,,
)
,,
fff
# )
,,
# )
,,
b )
)
)
# )
,
.
R
fff
)
,,
b )
b )
# )
,
mp
mf
ff
ff
73
)
,,
fff
# )
,
fff
Bellows Shake (3-ricocht)
%
*##* & *##*
fff
bb
)
)
ff
Vc. II
>
.b . . . . . . . . . >. . .
>. . . . .
fff
Vln. III
>.
fff
'&(
> *
>
>
> + * n + + b * n +nb n++
#*
#* +nb *#n n+ n*+ b+ n* + n+ b n
&
&
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
)
)
)
> +
!
&
>
. . . . . . . . . . >. . .
#>. . . . .
ff
&%
b> b
>
+ b> + b
& +
>. . . .
>. . . >
>
#>. . . . . .b . . . . .
pp
Tbn.
>. . . >. . . >. . . >. . . . .

#
#
ff
. .
131
. . . . . . . . . )>. . . . . . . . . )>. . . . . . . . . )>. . . . . . . . . ) . . . . . . . . . . . . ) . . . . . .
354 )
!
Fl. &
Cl.
A. Sax.
Hn.
"
&
Ob.
Bsn.
mp
n *
++
&
b*
++
*
+
& +
! #. . . . . . . . . *
&
*
++
ppp
# # * *
# * # *
*
# # # *
# * *
R * *
ppp
++J
pppp
ppp
*
++
*
# *# * n * # # n #
* * #
ppp
b
* *
*
ppp
ppp
&
Tpt.
>
>
. . . . . . . . . b . . . . . . . . . b . . . . . . . . .
3
ppp
Tbn.
Perc.
"
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
*
*
*
*
/ *
&%'b
ppp
&%' *
b
b*
&
b*
# *
++
# *
++
&
b*
Db.
"
ppp
>
,#n,
>
>
> >
>
%(b >
b
>
>
> >
>
O
++R
&
pp
* * * bO
* O * b O bbO nO O** * * *
*
#O
++
R
O O * ** ** **##O
O * # O #O *
O ** * #
* * * ** O
*
O # O #O #O * * *
O ** #
mp
mp
b
R
mp
&
##O
+R
*
* * * * b O
bO bbO nO O* * *
mp
Vc. II
* * * O
O #O O * * * *
O # *
mp
Vc. I
b
R
ppp
*
++
Vla. II
pp
# *
+
&
Vla. I
*
++
Vln. III
Bellows Shake
*
! +
&
Vln. II
&%'
&
Vln. I
&
Quarter
-tone
acc.
solo
&
Hp.
O ** O ** O
pp
pp
pp
O
++
R
pp
O
++R
pp
O
O * O
##O ** # *
*
gliss.
ff
74
132
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
+
+
+
+
359
Perc.
Quarter
-tone
acc.
solo
&%' >
n#,,
>
> >
&%' >
>
>
&
&
Db.
"?
#
>
>
#,,
>
>
>
>
>
>
,##,
>
>
>
#
>
>
#
>
##
>
### >
> n # >
#
>
pppp
#,, >
>
#n
>
#b
>
,#n >
>
>
>
>
>
44
< e. = q >
365
Hp.
Quarter
-tone
acc.
solo
!&
&%' >
-#n
>
&%'
>
>
>
q = 144
E-E#
%(
#> > > >
ppp
&
#> #>
44
q = 144
w
370 Glockenspiel
Quarter
-tone
acc.
solo
#w
ppp
!&
*)
bw
, +
ppp
G-Gb
&%'
# , n
Vla. I
Vla. II
&
-,>O ++
bn>O
ppp
Vln. III
F-Fb
E#-E
-b
- -
pp
&
&
- +
F#-F
niente
43
&
>
" #.w
Vln. I &
Vln. II
#> > > >
< e. = q >
"?
Db.
#
Hp.
%(
#- > > > > #- > > > >
>
&
Perc.
F-F#
O , >O +
, +
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
#O O O O O O O O O O O O O O O O #O O O O O O O O O O O O O O O O #O O O O O O O O O O O O O O O O
ppp
43
O
J
nn>O ++
-->O
. . . . . . . . . . . .
#O O O O O O O O O O O O
p
#B
-,O. O. O. O. O. O. O. O. O. O. O. O. O. O. O. O. -,O. O. O. O. O. O. O. O. O. O. O. O. O. O. O. O.
ppp
pp
b O. O. b O. O. O. O. O. O. O. O. O. O. O. O. O. O. O. O.
pp
75
. . . . . . .
,, O O O O O O O
pp
-,O. O. O. O. O. O. O. O. O. O. O. O.
b O. O. O. O. O. O. O. O. O. O. O. O.
. . . . . . . . . . . .
,, O O O O O O O O O O O O
!
Fl. &
374
Cl.
A. Sax.
Bsn.
Hn.
"
Tbn.
Perc.
&
&
Vla. II
Vc. I
42
%$
"
>
r
b
>
ff
ppp
&
overtone glissando
r
b
ppp
>
ff
Gran Cassa (hard mallet)
mp
*
-
sffz
>
mp
44
pp
ff
glissando
j
+b.
++ O
O
J
>
++O
bb O
O
,, O
+ O
,,O ** ++O ** bbO O
bbO
b O. O. O. O.
. . . .
,, O O O O
* ,
, *
mp
, *
bb O
mp
+ * b *
mp
b O
O**
*
O**
, *
O O
O**
, * *
* +
+ * , *
O**
mp
r
++b
>
O** O**
O O
b * + *
r
b
? b
b >
b
,
,>
> >
*
gliss.
J
Sul D
fff
, , ,

,
76
>
j
+b.
j
.
44
++b
b
b
b
+> >
,b
b, b,,

3
b >
sfffz
+ +
> > >
>
fff sfffz
sfffz
b +
> >
, # #
> > > b>
b
b> > >
, b
b
> > > >
fff
>
b
b> > >
fff
sfffz
sfffz
fff
r
b
>
sfffz
sfffz
>
fff
+>
sfffz
,
> > >
ff
b b

fff
fff
*
J gliss.
Sul G
O. O. O. O. O. O.
+ * + *
* +
mp
O. O.
ffff
42
j
.
%$ r
, #,, ***n++b ***b+n +,+b ***, , ***
, *
>
,,O
)*
* * * * * *
,,+, ***+nn ***b,b+ +n+b **** #n+, *** nnb +n, *** +b# ***
* ,
Normal
$
b% +b +nn + b
, b+
ppp
r
>
overtone glissando
bO
Db.
ff
Vc. II
>
ppp
sfffz
sfffz
fff
Vla. I
fff
+
> > >
+,O.
& R
B
> ,> ,>
+ # n
+
ppp
sfffz
fff
+> # b >
> > sfffz
# ,
,
44
>
ff
+ +
# +
, * , *
fff
+>
r
>
"ff"
, +
#
* *
>.
&
Vln. III
+ * , *
+ * b
>
! O bbO **
&
Vln. II
pp
&
Vln. I
* # , *
&
Quarter
-tone
acc.
solo
* # *
pp
&
* + *
&
+ *
42
mf
'&(
b *
&
Hp.
,
R
*
, *
# *
"
+ * , *
!
&
Tpt.
&
Ob.
133
b*
b
pp
mp
mf
134
378
Hp.
%$*j
+b
!&
&
Quarter
-tone
acc.
solo
Vln. II
Vln. III
Vla. I
pp
"
&
+ '
'
'
+, '' &

JJJ J

J J
&
B
#
&
)(
, n
)(
#
n b+
G.P.
G.P.
)( n
# n# n#
+
J
,
J
#n
##n
'''
5
--
, b+ n, b+ n
ffff
-- --- --
---
mf
niente
#nww
ww
w
,+n,ww
ww
w
,+n,ww
ww
w
n#ww
ww
w
n#ww
ww
w
.w
O''
O
J
fff
>O
.w
G.P.
.w
G.P.
##>O
J
fff
77
,,>O
fff
.w
O
3
>
++O
fff
G.P.
# n
J
,+,,n+
>
,,O
ff
+ n ,
, #
-- -- -
# ---
+> '
,, --
pp
b+
)(

,n3
niente pppp
fff
Vla. I

R R R R R R J J J
,+ +, +, ww
J
G.P.
"
&
Vln. III
&
ppp
&
Vln. II
5
J J J
&
&
ppp
Normal
&
389
Vla. II
+ '
ppp
G.P.
"
Fl. &
#
Vln. I
&
ff
ppp
&
Quarter
-tone
acc.
solo
&
&
Bellows Shakes
382
Quarter
-tone
acc.
solo
n+ n+ n+ n 3 3
#,, , #,,, #, #, #, ,, ,, , , ,
b b+ bb +b, b ,b
+ , n , , ,,+ , + #
R R R R R R J J J
& ,b+,
b, ,## + ## # , #
&
Vln. I
ppp
ff
.w
ff
mf
135
!
&
394
Fl.
Cl.
"&
%$&
n#
&
Vln. I
G.P.
G.P.
, + ,
G.P.
niente
n#
n#
J
#
3
!
&
G.P.
&
G.P.
Vln. II
5
* *
J
mf
%$&
& n + +
Quarter
-tone
acc.
solo
, + +, ++,
+ ,,
+,+,
ppp
w
w
+,+, ww
ww
w
ww
3
j
+,O O
>
mf
ff
w-
O
5
r
,,>O O
w-
ff
G.P.
&
Vln. III
* + Oj
+ >
5
ff
Vla. I
G.P.
mf
(' + *
('
>5
##O
Vla. II
"
G.P.
>O
!
&
400
Fl.
Cl.
Quarter
-tone
acc.
solo
Vln. I
Vln. II
Vln. III
Vla. I
"&
w
w
+,+, ww
%(& w
ww
ww
&
+,+, +, +
+, +
***
**
G.P.
*
5
b
J
G.P.
w-
w-
&
w-
j
O
w-
-w
)*
niente
!
&
G.P.
%(&
w
w
+,+, ww
&
&
G.P.
G.P.
G.P.
G.P.
G.P.
mp
mp
mp
3
mf
Vla. II
"B
O **
mf
78
136
!
&
406
Fl.
&
Ob.
fff
fff
&
A. Sax.
"
ppp
sfffz
ppp
>
fff
b > &
sfffz
ppp
>
fff
Bsn.
sfffz
&
Cl.
>
ppp
sfffz
Hn.
overtone glissando
!?
r
b
& b
>
ppp
ff
r
>
&
Tpt.
ff
Tbn.
"
b > &
ff
pp
sffz
>
w
Gran Cassa (hard mallet)

Perc.
glissando
&
Hp.
j
(b'
j
'
Vln. I
& (
>
>>
B (
fff
sfffz
fff
fff
?
fff
Db.
"
?
fff
b ( (
> > >
sfffz
sfffz
b
>>>
sfffz
( &
&
>
b
>
b&
pp
mp
sfffz
b
>
ppp
b
b> > > >
ppp
sfffz
ppp
sfffz
fff
ppp
sfffz
fff
Vc. II
ff
( # )
>
& b
>
Vc. I
pp
ffff
fff
Vla. II
ppp
Bellows Shakes
!
&
Vla. I
(b
? b
b
b >
Vln. III
%$ 'j
b ) b )b ) ) ) ) ) ) ) )) )) ) ) ) n( n( n(
( b b( b (b ( #) # # ) # # #
)
)b()
b)()##)(n##)#))))# )
b
)
b
)
)b

5
6
6
6
6
6
5
& ((b
>
Vln. II
j
'
&
Quarter
-tone
acc.
solo
j
(b'
mf
79
409
Quarter
-tone
acc.
solo
'
&
43
137
&
Normal
ppp
$n $n $n $n $n $n $n $n $n $n $n $n
414
&
Quarter
-tone
acc.
solo
&
Vla. I
'
&
Vln. II
Vln. III
R R
ppp
#B
"
&
&
&
ppp
> $ # % n> $ # % n> $ # %
pp
##
Vc. I
R R
R R
R R
%
R
$
#
ppp
R R
$
#
> $ # % n n> $ # % n n> $
R R
%
R
> $ # % n> $ # % n> $ # %
# % n %> $ % $ $ %> $ % $
##
R R
##
R R
poco a poco cresc.
poco a poco cresc.
R R
b O
J
. . . . . . . . . . . .
. . . . . . . . . . . .
O
J
R R
O
J
&
O O
R R
pp
O
J
O
J
%
J
R R
##
R &
b O
J
R R
>
>
$ % $ % $ $ n # n n #
%%O
J
O
J
R R
O
J
O
J
poco a poco cresc.
. . . . . . . . . . . .
#
#
%
O
J
>O
%%O
J
R R
O
J
$>O O
$ R R
O
J
>O
O
&
%%O
J
% &
J
R R
O
J
O
J

R J
R &
R &
R &
R &
R &
. . . . . . . . . . . . . . . . . . . . . . . .
nnO
J
$>O
$ J
O
J
>O
R R
bb O
J
p
O
J
O
R
pp
pp
O
J
%
%
>
nn O
J
O
J
poco a poco cresc. (simile)
>O
J
poco a poco cresc.
O
R
$$O
J
O
J
%>O
%
J
>O O

R R
>&
$$ O &
J
%% O &&
J
>
bb O
J
O
J
poco a poco cresc.
O
R
>
nn O O
R J
>
O
bbO
R J
&
%% O &
J
R R
O
J
O
R
80
. . . . . . . . . . . .
> # n # > # n # > %
% % %> % # %
. . . . . . . . . . . .
R R
pp
%
R
##
poco a poco cresc.
R R
. . . . . . . . . . . .
#
%
R
poco a poco cresc.
%O
B % J
Vla. II
%
R
&
&
Vla. I
Vc. II
&
$ # n $ # n $ # n $ #
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
&
Vln. I
420
Quarter
-tone
acc.
solo
&
&
poco a poco cresc.
"
Vln. I &
Vln. III
$ n $ n $ n $ n $ n $ $ n $ n $ n $ n $ n $ $ n $ n $ n $ n $ n $ $ n $ n $ n $ n $ n $
&
Vln. II
138
!
&
426
Fl.
Hp.
%
J
&
J
!
&
&
&
&
&
$
J R
&
$
n
>
$$ O &&
? J
R &
R &
"
R &
mp
R &
b
R &
>O
J
>O
R &
>&
$$O &
J
>O &
&
J
b>O &
b J &
O %%>O O
>
nn O
J
O
R
>O
>
nn O &&
J
mp
>
$$ O
J
mp
>O &
&
J
%>O
% J
>
%% O
$ &
J
O
J
R &
b
R &
R &
>
bb O
R
R &
b
R &
pp
$ &
R J
% b
R &
poco a poco cresc.
>
$ $ $ % $ $ $ n
mf
$ &
J
R &
>
$ $
R &
$
J
$ % % $ $ $
R &
>
. . . . . . . . . . . .
. . . . . . . . . . . .
. . . . . . . . . . . .
. . . . . . . . . . . .
&
&
b>O &
b J &
>
$$ O
&
&
>
O&&
J
&
>
>O &
&
J
&
&
>
J
>O
>O
O
J
$$>O
J
O
J
b >
>O &
&
J
pp
%>O &
% &
J
>
>
b % % b b
>O &
J &
% b
pp
&
J
> n
b %
R &
n & & & &

$>O O
? $ J R
Vc. II
. . . . . . . . . . . . . . . . . . . . . . . .
n>O &
B n J &
Vc. I
b>O
B b J
Vla. II
>
>
$ $ $ $> $ # $ $ $ $ # $ $
R &
&
&
&
J
"
"
&
poco a poco cresc.
ppp
Vla. I
Db.
!
Vln. I &
Vln. III
n &
J
&
Vln. II
&
Quarter
-tone
acc.
solo
%
R
Tpt.
Perc.
&
A. Sax.
Tbn.
Cl.
Hn.
poco a poco cresc.
pp
&
Ob.
Bsn.
&
%>O &
% &
J
>O
>
%% O
O
J
nn>O &&
J
&
>
>
>O &
&
J
>
J
>O &
&
J
>O &
&
J
>O
O
J
$>
%>O &
% &
J
>
O &&
J
>
%% O
>
p
>
>
$$O &&
J
>
O &&
J
mp
>O
>
J
O %O O
%
J
mf
>O
O
J
>O
O
R
>O O

R
mp
$>
>
$$O &&
J
>
%%O
O
J
>O
mf
81
& $ & & $ & & & & & &

$ & & & & & &

>O
O &&
J
>
>
>
O &&
J
>
O &&
J
>
O &&
J
O >O
$ >O &
$J &
>
J
O >O
O &&
J
O
J
139
! #
&
432
Fl.
&
Ob.
$
& J
Cl.
Hn.
"
Perc.
Hp.
$
J
&
J
&
$
J
>
%
$
J
mf
mp
%R
$
J
$
J
$
J
>
%
>
bJ $
%
J
$
J
>
#
>
>
n
>
&
>
&
>
& $
>
mf
&
J
b>
mp
>
%
>
J
$
J
$
J
>
& $
J
>
b
mf
$
J
%>
J
>
&
>
%>
R J
mp
%
>
$
$
# $
mp
&
&
&
"
#
#
&
$
J
&
&
Vla. II
"
% # % &
>
>
&
& %
%# % &
# ##
%
J
ff
b
R
%
J
# ##
% &
>
&
% # #
#
b
R
. . . . . . . . -. -. -. -.
-. -. -. -. -. -. -. -. -. -. -. -.
-. -. -. -. -. -. -. -. -. -. -. -.
-. -. -. -. -. -. -. -. -. -. -. -.
> $
%> $
%>
> $
n> $
> $
> &>
> $
mp
>
J
mp
>
O $$
J
>
O $$
J
B O
> O$
&&O $
J
O
>
mf
O >O
> $
O $$
J
&>
> $
>
O $$
J
j
O $$
>
% >O
%
> $
>
> $
>
>
O $$
J
>O O
R
mf
O >O
R #J
>
J
>
O $$
J
O O
>
O >O
O
J
> $
O
O$$
J
>O $
J $
> $
%
J
% % &
b
R
>
B %%O $$
J
%
R
% >O
? %
Vc. II
>
% % & & % % % n & n
>O
?
Vc. I
&
Vla. I
Db.
!
Vln. I &
Vln. III
pp
&
Vln. II
&
Quarter
-tone
acc.
solo
$
J
mp
!
&
Tpt.
Tbn.
&
A. Sax.
Bsn.
&
>
b b &
fff
>
mf
>
O $$
J
>
bbO $$
J
j
O $$
bbO
>
ff
O
>
% >O
%
O $$
J
O >O
#
ff
>O

f
>
J
>
O $$
J
>
bbO $$
J
j
O $$
>
O bbO
>
O $$
J
O
J
%>
>O
#
>O
R
>
>
82
>
J
>
O $$
J
>
O $$
J
j
O O $$
>
O >O
O $$
J
O >O
R J
& %
% %&
R $
>
% % b %b
poco a poco dim.
poco a poco dim.
mf poco a poco dim.
%
J
-. -. -. -. -. -.
mp
%>
> $ &> $ > $ > $ > $ > $ &> $ > $ > $ > $ > $ b > $ b > $ > $ > $ >

&>
R $
&> $
f
>
>
>
>
> $
b > > %>
>
>
&> $
>
>
> $
O
>
bbO
>
O
>
$
O $
%&>O O
O
>
>
poco a poco dim.
O
>
O
>
O
>
$
O >O $
ff poco a poco dim.
&&O
>
fff poco a poco dim.
>$
%%O $
fff poco a poco dim.
>
%%O $$
J
>O $
$
>$
%%O $
>O
ff poco a poco dim.
O
>
>$
bbO $
O $$ &&>O O
>O
140
! >
&
438
Fl.
Ob.
Cl.
A. Sax.
Bsn.
Hn.
"
Perc.
Hp.
Vln. I
Vln. II
Vln. III
% &
$
>
& $
&
& %
% &
&
&
&
pp
pp
pp
pp
pp
&
&
&
"
#
#
&
$ b%
&
%
R R &
%
J
ff poco a poco dim. (simile)
b
R
#
R
#
R
#
n
R
#
R
mf
%>
>
> &
> n>
> b >
> >
> &
mp
b > &
mf
O
>
O
>
B O%$O &&
>
O %%O
>
&
O &
>O &
&
O >O &
&
poco a poco dim. (simile)
O
>
> %>
> &
#>O
O
>
bb>O
&
O >O &
O O
> ff
ff
>O
$
%> &
n
R
>&
%%O &
O&&
>
$$O O
>

> &
O bb>O
O %%O
>
mp
R R
# &
mf
O
>
&
O &
O O
>
bb>O
%%O &&
>
&
O >O &
mf
O
>
pp
& $
O >O &&
mf
&
O &
O &&
>
mf
&
O &
83

b
b
% n $
$$O
O
>
mp
% &
$$O
&
%% O
$ &
$ &
ppp
% n
b
&
J
niente
ppp
&
$$>O &
O #O
%%O &&
mp
r
O
pp
pp
&
pp
O&
> &
ppp
% &
%%>O
bb>O
O
>
R R
pp
bb>O
mp
bb>O
pp
n &
$$O &&
>
O
>
%
R R
>
>
>
>
>
>
>
>
$ $ $$
% $% $ n$ b b % $ n % $ n $ b
%
nb>O
>&
%%O &
>
%
J R
mp
#>O
$>
>O &
&
%
R R &
&
>
>
>
>
>
b $ % #
b % n b %
% $ # $ n
$ % # #% n nb
n %
#%# #
%
#
B bbO
>
? O
"
% &
J
>
? bbO &&
Vc. II
R &
&
&
Vc. I
%
J
R R
&
Vla. II
R
&
!
&
Vla. I
Db.
$
>
&
&
Quarter
-tone
acc.
solo
!
&
Tpt.
Tbn.
>
b
68
!
Fl. &
Ob.
&
Cl.
&
445
Hn.
Perc.
Hp.
Quarter
-tone
acc.
solo
&
'
n
J
&
!
&
&
&
&
&
&
'
>
>
!
&
&
Vln. II
&
Vln. III
Vla. I
Vla. II
>
>
pp
>
>

ppp non dim.
68
& %
niente
44
q = 96
mf
niente
44 q = 96
< q. = q >

> ' n & # ' n> & & # '

& # ' n & #> ' n & & #
ppp
>
>
& # ' n &> # ' n & & # ' n & #
5
ppp
3
3
Vc. II
Db.
"
84
pppp
>
' n
& # ' n & # ' n & & #
ppp
pppp
>
'O n O & O # O 'O nO &O O &O #O %
O &&O ##O ' n > & # ' n & n & # R
ppp
7
'O n O & O # O '>O nO &O
O &&O ##O ' n & # ' n &
O &&O ##O ''>O nnO &&O ##>O '' O nn O
ppp 3
O
ppp
&&O
##O
'' O
nnO
&&>O
##O
nO
ppp
Vc. I
%
$

niente
' %
ppp
Kr
.
< q. = q >
> >
> > % % > % % > % %
b > > b
& % % % % % n % %
pppp
mf p
68
"
pppp
"
ppp
ppp
&
Vln. I
Tpt.
Tbn.
44 q = 96
&
A. Sax.
Bsn.
141
< q. = q >
pppp
142
!
&
450
Fl.
>
>
j
b
b
>
j
b
ff
&
Ob.
fff
&
Cl.
fff
&
A. Sax.
>
>
fff
Bsn.
Hn.
"
fff
!
&
mp
mp
mf
mf
mf
solo
Tbn.
"
"overtone gliss."
b >
I
fff
II
>
Gran Cassa
Perc.
Hp.
Quarter
-tone
acc.
solo
III
IV
VI
VII
>
&
>
b
&
# #
'
3
fff
ff
&
'
'
&
n
ff
ff
&
Gb-G#
% %
$%
$%
$% 5
$%
$%
$ $
'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n 'n n
#&&#& #&&& && && & & #
'b b'
&
&
'
&
&
&
b
&
b
&
#
&## '
& & #
b'' & 'b '
& b&&
#&&# #&&
&b'&
6
6
7
7
5
Bellows Shakes
fff
' ' b
&b&&& &&& & # '&n'&n'&n '&n'&n'&n '&n 'n 'n'n 'n 'n 'n 'n n
b b 'b' b 'bb& b'&
& & &' '& ' '
5
!
&
&
Vln. II
Vln. III
& '
>
&
>
B '
&
ff
Vla. I
'
'
'
&
Vla. II
>
n
b
Vc. I
nb
b
>
b
>
fff
"
fff
&
'
>
'
&
'
>
&
&
'
&
'
>
&
'
&
>
'
n
b
b
b
mf
ff
Vc. II
'
mp
ff
>
? b
&
mp
mp
ff
Db.
b
3
&
mp
&
Vln. I
&
&
Tpt.
b >
bb
b
b
b
n
n
mf
mf
'
&
>
'
'
&
>
'
&
#>
n
n
b
'
f
>
n
b
>
b
b
b
n
>
>
b
n
#
>
b
b
>
b
b
>
nb
n
>
bb
b
>
>
>
85
ff
ff
fff
143
3
< q = q >
!
Fl. &
452
rallentando
b

b %b
R
&
&
&
!
&
&
A. Sax.
"
Tpt.
Tbn.
Cl.
Hn.
Ob.
Bsn.
q = 144
"
ppp
ff
&
ff
& b
pp
#%
%b r
& #
ff
& %
&&

& & # % & # &
%%
# # % n & %
ff
ff
&
&
b #
#
&#
%
r $
#
% %
R
< q = q >
Perc.
&
Hp.
q = 144
& # #% # % $$$ #%
& $

&%&&&
%&
Normal
&
&
Quarter
-tone
acc.
solo
rallentando
pp
fff
mf
&
pp
b&b %
&%
pp
ff
&##
&
#&
%%bb
pp
< q = q >
!
Vln. I &
Vln. II
Vln. III
Vla. I
Vla. II
Db.
"
#&&
&
&
& & & # # &
ff
&
&% R
% &
#%
B #w
w
w
w
w
w
w
w
w
w
w
w
% &
# % n & % &
ppp
w
w
B &%w
w
Vc. II
ff
&
Vc. I
q = 144
% &
ff
pp
ppp
ppp
% %
b %
rallentando
b
%&b

& &
%
ff
% b
%
& &%
r
#
# & # %
& &
&#b
&
&
ff
ff
pp
ppp
86
&
b b

&
O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O
ppp
ppp
ppp
b

b
R
r $
& & # %
O %O
%
O
R
ff
&
144
#
3
# #
R
& j 3
#
!
& %
457
Fl.
Perc.
fff

' #
'
&
3
& j
n # 3
# '#
fff
'
# n
mp
b
& r %
mp
' '
R #
& &
R b
mp
!
&
&
"
&
fff
&
&
Vln. II
Vla. I
Vla. II
&
r %
#
pp
%%
%%%

J
mf
pp
&&'
j
%%%
' &#
#
#
b b
J
&
3
fff
# &
fff 3
#3#
"
' b
'
3
&
3
&

B &&O n O O
3
3
O
#J ''O ''O # O J
#
3
B ##O##O
fff
#O nO O
pp
b
'

%
&
r
#
'
%
# r
#
&
b &
O &O

& '&O # O
#
O
R bbO bO
ff
mp
O O O
O O O
ppp
ff
&
O O O O O O O O O O O O O O O O O O O O O O O O O O O O
ppp
fff
& O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O
ppp
Vc. II
fff
Vc. I
b
b '
fff
n& b ' &

$%
& '
# '## ' n
?
' & '& '
' & ' & ' & bb ' n
'n n#'
&n & n'' '# bn '&b '& &#& '' n # # n & '' #n#nn&'#
#
'#
&
Vln. III
ppp
! &
b
Vln. I &
&
Db.
&
Quarter
-tone
acc.
solo
mp
&
Hp.
fff
b

R
b 'b
b
"
Tpt.
Tbn.
# #
# &
&
A. Sax.
Hn.
&
Cl.
Bsn.
fff
&
Ob.
mf
87
O
O
ppp
O O
O O O O O O O O
O O
O O
!
Fl. &
&
&
461
Ob.
Cl.
mp
fff
b- )- n- b- ( b
- ( b r
> - - - (-
A. Sax.
Bsn.
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
&
"
&
&
!
Vln. I &
&
(- - #>- )- #-
straight mute
mf
>
Gran Cassa
G#-G
fff
ff
b n
3
b>
R
& n )
#)n
%
b b$ ((b n)
)b (
)
J
%
$
&
B
B
)- (- b- ) # n
- - - (- (- (
- -
&
)- #-
- )-
mf
Db.
"
&
b - (- (- )- # #
- - >- (- b (
- %
()O
ff
O
O
pp
bb O
pp
mf
fff
- ( - ) - (>- ) - -
q = 36
pp
fff
b n
b ## nn bb
b # #
b bbn#n b n # n ### n
# #
rallentando
) - ( - b - - - )>- - ) ) )R
- ) (
- -
'&
(( O
&
42 q = 54
pp
fff
- ( b b
%
R - - - - (- - )- - ( r
>p
- )-
-
)

R #- (- n- - #- (- n>
fff
ff
Vc. II
- - -
b- b (
b-
- -
) (>- -
-
Vc. I
mp
mf
Vla. II
(
( ( )) ) ( n(( (( ( (( ))nn ) nb
b(( nn) )()( )b (( ) )( ) (( )
n) n#
pp
mp
Vla. I
q = 36
rallentando
'&
fff
Vln. III
42 q = 54
mf
pp
Vln. II
- (-
)- (
)- )
p
- -
3
(
( n
? b (( n() )n) )#( n )(n n
&
mf
fff
pp
r
- (- (- b- ( )

- - )- (- )
) ## - >- - p
fff
p
( - b - - ( - ) - - ) - - - ) -
) b (- (- (
( - -

(
)
q = 36
rallentando
ppp
!
&
Tpt.
Tbn.
&
)
R
fff
42 q = 54
fff
b- )- n- b- #
%
- - - - ) ) r
- - )
pp
>-
- b - b - ) -
)-
R
(- b- - (- b- (-
%

>- - -
145
fff
mf
b-
fff
r %
- )- #f

>- - - - - - -
fff
88
44 poco a poco accelerando
< e = q >
!
Fl. &
466
q = 72
146
solo
(> # ) n>
pp
mf
Ob.
&
Cl.
&
A. Sax.
&
!
&
&
Bsn.
Hn.
"
Tpt.
Tbn.
"
< e = q >
q = 72
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
w
w
w
Wind Chimes
Perc.
Hp.
Quarter
-tone
acc.
solo
ppp
&
&
&%'
b
&
n )
J J
3
&%' b b b
b bn bnb bn
pp
&
(b )(b ))( )
( ))
5
5
nbb bb
!
&
&
Vln. II
&
Vln. III
Vla. I
q = 72
?
?
Vc. II
b #
b bbn#n
)) +w
"
#n
# #
b **
# n **
# #
ppp
+w
O bbO
bb +w
bb O
+w
+w
pp
ppp
mp
O bbO
O O
#
+w
>
((O ))O ))O ((O ))O ((>O
))O
()O
))O (O )>O
( )
>
((O ))O ))O
((O ))O ((O ))O ()O ((O

>
>
mp
))O
((O
O bb>O
nO bbO >O
O bbO
>
n O
O bbO >O O bO n>O

b
bbO
bbO
O
bb O
O n >O
#
bnO nO b>O
b
mp
#O nbO
O bbO >O
nO bbO n>O
O bb>O
O bbO >O
O bbO
O #nO bO
>
O bbO
nbO
bbO
O bbO
>
89
)(
1.5-gliss.
))O (O )>O
( )
>
)) O )(O ((O
b
n
O bbO
>
mp
mp
ppp
nb))n)b
##
ppp
b n
b
ppp
ppp
Db.
# *
b **
)(O ( O
(
((
)) O (( O
)(w
+
pp
Vc. I
ppp
(((( *** ( ) n)) ))))) *** ))(

*
) (
ppp
O
B
Vla. II
) )
b)) nn( ()()(b ))
n n( n#
< e = q >
Vln. I
bbO
O #O nbO nO bbO
>
>
mp
O bbO
>
O #nO
>
nbO
nO
O bbO
>
mp
mp
147
!
Fl. &
soli
471
&
mp
# #
&
&
Bsn.
Hn.
"
Perc.
niente
&
!
&
&
&
Vln. III
Vla. I
Vla. II
Vc. I
Vc. II
&b
b (
3
& b b' b 'b 'b
& ' b
j
& & ' n& b b &
&nn'&' 'n#'#n ''#& '#& 'n# '
Bellows Shakes
mp
nn
#
bnb
b
pp
b b b
'bb
&bb
bb
'
&
&
'
&>
'
&
'>
&
'
&
'
&
'>
&
&
>
'
&
>
b >
&b
7
''O ((
O
''O O
''O ((
''O O
#O
##O ((
#O
##O
''O
O ''O ((
''O
'O (
O ' (
O
J
Normal
&
>
'
'
&>
&
'
(
'' O (
J
pp
#O
##O
>
>
b
b
&> & '
&
b
>
>
'
& ' &

>
>
b>
mp
mp
>
b>
>
ppp
mp
ppp
pp
ppp
pp
O ((
mp
ppp
ppp
1.5-gliss.
mf
ppp
w
mp
mf
b &b &bb b&&b b&&b
ppp
pp
"
%$
b
O & O b O && O
&O # O ' O O ''O n & n
' O O &O nbO & # ' n

O ' &
## O
niente
%$
' b n
& b&& & 'n#'#
J
Vln. II
Db.
"
#>
&
Vln. I
'
&
Quarter
-tone
acc.
solo
niente
pp
&
Hp.
ppp
'>
!
&
Tpt.
Tbn.
& n
'
mf
A. Sax.
solo
Cl.
# & &
'
mf
soli
Ob.
& n
# #
>
ppp
>
b
>
b
>
b
>
ppp
90
b
>
mp
b
>
b
>
mp
mp
''&
148
!
&
474
Fl.
Ob.
&
Cl.
&
&
Hn.
"
%
>
w
mp
Perc.
Hp.
&b
R
%
mp
&
&
Vln. III
Vla. I
Vla. II
Vc. I
mf
Vc. II
Db.
"
%
mp
b
pp
pp
mf
>
>
mf
>
>
>
b
>
mf
b
>
mp
b
>
>
pp
>
mf
b'
n#n bbb n
&
bO
'
' &
O
&&O %%
''O %%
nO
&
'
pp
pp
%
''O %
J
&&O %%
J
'
&
'
&>
&
'
&
'
j
mp
'
&
'>
mf
soli
soli
pp
j
#
soli
pp
soli
pp
pp
j
#
mp
soli
mp
91
#
3
n &
&
fff
'>
&
'>
&
ff
mf
# & n
3
#
3
&b'&
n>
ff
gliss.
&
gliss.
mf
gliss.
mf
gliss.
1.5-gliss.
ff
Normal
& n
b n
soli
' b' b&'

&bb'
ff
&
>
ppp
soli
'
&
>
ppp
&
bb
pp
pp
b'
& n&
&O b O &O #O ''O
' O O ' O nO & n & #
## O ' '
' %
Bellows Shakes
bb
b
& %
b
>
b b' b b' b' b' b' b' b' ' b' b ' b' b' '
& b b' & bb'n & b& & &
#''n'' 'nn&nn &' & ' n '
J
5
6
pp
>
pp
Vln. II
ppp
$%
& b & n & n
& & & J ' n n
!
&
pp
&
Vln. I
&
Quarter
-tone
acc.
solo
mp
&
b
>
&
"
Tbn.
>
pp
!
&
Tpt.
pp
b
>
mp
Bsn.
A. Sax.
>
gliss.
149
!
&
Ob.
&
Cl.
&
A. Sax.
&
477
Fl.
Bsn.
Hn.
"
w
>
pp
mf
!
&
mp
b >
"
&
Hp.
Gran Cassa
Vln. I
b
I
& b
mp
& ' %
mf
B ' %
%
b %
b b
b J
'
' ' %
b
ff
Db.
"
bw
fff
&
VI
VII
# #
mf
'
3
fff
n
3
ff
&
&
> b
b
&
'
'
n & n
n
ff
ff
Normal
Bellows Shakes
&
ppp
ppp
'
pp
'
&
&
'
'
'
&
1.5-gliss.
n
b
b %%
nb
mp
&
'>
'
&
'>
&
&
>
'
&
'
>
&
'
&>
'
n>
b
b
b
>
n
b
>
b
b
b
>
b
n >
b
>
b
n
n
#> n
nb
n bb
n
>
> b
ppp
ppp
bb
b
b >
n
n
b
b >
b
b
>
b>
b >
>
mf
&> ' '
'
mp
'
&>
ppp
ppp
' % ' %
' '
J
' ' b
&b&&& &&& & # '&n'&n'&n'&n'&n'&n'&n' n
b b 'b' b'bb& b'&
& & &' '& ' '
5
pp
ff
Vc. II
Vc. I
IV
>
$%
$% $% $%
$% 5
$%
$%
'n 'n 'n 'n 'n 'n 'n n & & && b&&
#&&#& #&&& && && & & #
'b b'
&
'
&
&
&
b
&
b
&#&
&&
&## '
& & #
b'' &'b '
b
&
b
&b
&b'& &b'&
#&&# #&&
6
6
7
&
without mute
$%
mp
Vla. II
III
ff
ppp
&
!
''#
& '#&&
Vla. I
II
b
R
mf
? b
b
b
Vln. III
& ''b
Vln. II
mp
&
Quarter
-tone
acc.
solo
"overtone gliss."
pp
Perc.
b >
b >
mp
solo
Tbn.
ppp
ppp
&
Tpt.
ppp
ppp
92
'
&> ' &
#> n #
n b
ff
ff
fff
'bb'&
43 q = 108 rall.
!
Fl. &
480
&
Ob.
&
Cl.
&
A. Sax.
Bsn.
Hn.
"
q = 108 rallentando
$
$
ff
&
%
#
ff
"
#
$
Tbn.
q = 54
$
#
$
q = 36
ppp
$
n
$
%
%
$
%
$
Perc.
Hp.
Quarter
-tone
acc.
solo
ppp
ffpp
ff
>
#w
ppp
ffpp
>
nw
ppp
fffp
>
$w
pppp
fppp
&
&
!
Vln. I &
&
&
Vln. III
Vla. I
Vla. II
Vc. I
Db.
"
>
w
fppp
44
w
>
ffpp
q = 36
q = 108
>.
Gran Cassa
$
Bellows Shakes
$$ $%$ %$#$ b$n$ nn$$

3
%%n
Normal
fff
b%b% bnb% b$% $$% $%n% %%n$ %n%% %##

$
3
$$#n
D# C# B# / E# F# G# A#
$$# bb$n
n$$% %%%b
43 q = 108 rall.
%%%n nn $
$
%$
pp
$n#$ %b%n $nbn
q = 108 rallentando
q = 54
#
fff
#
#
%
#
q = 36
q = 108
>
%w
>
%w
fff
fffp
pp
fffp
fff
pp
>
$w
>
%w
fff
fffp
pp
pp
fffp
fff
>
%w
pp
fffp
fff
>
$w
pp
fffp
fff
nw
w
>
fff
$
%
#
#
fff
fff
fff
fff
fff
fff
44
w
n$$w
w
w
>
fffp
rK
n#%#
>
< e = q >
< e = q >
$
$
%
%
n
n
fff
Vc. II
ff
ff
< e = q >
&
&
Vln. II
ff
ff
pppp
3
q = 54 4 q = 108 rall.
ffpp
>
%w
>
w
>
nw
pppp
q = 108
ffpp
< e = q >
q = 108 rallentando
44
pppp
ff
ff
Tpt.
ff
fff
!?
150
< e = q >
< e = q >
93
b
pp
pp
fffp
w
>
fffp
151
!
Fl. &
484
mf
ppp
&
Cl.
j
b
&
Bsn.
Hn.
"
ppp
>
ppp
Hp.
b
p
%
>
>
ppp
b
>
>
b
>
>
j
b
pp
'
&
&
'
ppp
b
J
ff
"
& %
pp
b'' 'b ''
bb
6
soli
#>
ff
# #
soli
j # #
>
ff
soli
>
ppp
ff
soli
# #
>
ff
soli
ppp
>
>
ff
& b
n
>
&
>
>
>
ppp
' n
# ' # '>
>
>
' n>
'
&>
soli
# # #
ff
# '
'
n
>
&
>
n
n
#>
' n
>
>
b >
#>
&
'
&
&'
>
n
mp
>
b
mf
>
>
>
n
>
mp
mp
>
ff
>
fff
j
>
fff
94
b &>
>
soli
ff
ppp
b %
%
&'b
' %
J
bb
ppp
b ' b b& 'bb&'bn&

&b'
&'
b b& b&
? w
fff
45
$%
$%
$%
' '
b'' 'b '' & b& &&b
'bb 'b ' '
'
6
Bellows shakes
ppp
' %
&
' # &
ff
&'b
Vc. II
ppp
fff
? %%
b
Vc. I
ppp
#
R
mp
Vla. II
B & %
ppp
mp
Vla. I
mf
mf
& ' %
b
>
? b
3
>
Vln. III
ppp
pp
mp
& b
b
>
' b
!
' # & &
Vln. I & ' b
Db.
$%
$%
$%
$% $%
' b & b& $% 'b &
b& b 'bb ' bb& b
b'&b' b&
&
b
&
b
&
&
b
'
n ' &
& j &'b ' b b'' bb&
' b &

' b '
3
Vln. II
&
Quarter
-tone
acc.
solo
&
ppp
Perc.
&
"
mp
Tbn.
>
45
ppp
ppp
mf
ppp
!?
Tpt.
ppp
mf
A. Sax.
&
Ob.
j
b
45
!
Fl. &
487
45
&
Cl.
&
Ob.
mp
>.
mf
"
j j
n )
pp
r
) %
>
r
( %
>
mp
pp
&
Perc.
"
45
mf
>
b. . b
> > >. >.
fff
()
>
>
>
#
>
( (
(
)( )
Vc. I
#
>
f
Vc. II
"
j
(
( (
(
b
) ( n
b
) ( n
)
(
n
b
>
ff
r
( %
>
j
b.
>
>
>
n )
J J
&
)
n (). ) >
>
bb.
b. . . .
. .

ppp
45
Suspended Cymbal
w
*
w
*
b )b )b >
b
let vibrate
pp
$%
'&
j
nn (). ))>
>
))
)
( ( nn
$%
b b ( (
b (
)
(
b b ( (
b (
$%
n n
n
) ( n# #
)
(
#
n
n n
n
45
(
( (
# #
p
))
)
# (( (
mp
mp
((
>
) )b b
) b
( ( nn
) )b b
) b
(
)
n
b
95
().

>
>
p
>
fff
mf
) ( n# #
> . > ) .
b> )(. b (( (
&
&
) b
(( . (). >. ) . .
>
)) b. ))
>
>
b
.
>
>
)
>
j

>
(w
b b ( (
b (
ppp
>
poco a poco cresc.
$%
'&
?
n)). nb. )( ((. #n.) .
n
#
>
>
# . . >
>
$%
44
ppp
mf
# #
b b
>. >. >. >.
nw
fff
44
ff
##.
>
( %
R
n
J
+ + + +
b. .
. .
mf
&
b
n
>
n )( )
#
( ( bb b
( ( n
(
(n
>
f
Db.
$%
'&>. ) . b .
n )
ff
44
mf
44
ppp
b
n
>
n )( )
#
( ( bb b
( ( n
(
(n
&
Vla. II
> .
.
nb )( )(
)( )
j

>.
mp
ff
straight mute
Normal
%
$%
$%
$%
'$&
'&
b )) 1.5-gliss.
()#n((bb ) )> n. ))> (). n#> )(. nb> )(. #n.
) ( n
pizz.
Vla. I
pp
&
>.(>.#>. )>.n>. (>.
mf
mf
Vln. III
mf
&
ppp
#5
Vln. II
ppp
!
Vln. I &
&
Quarter
-tone
acc.
solo
%
p
mf
&
Hp.
45
ppp
mp
Tbn.
!?
Tpt.
44
mf
Hn.
&
A. Sax.
(
J
>.
b
mp
Bsn.
#
J
> > > > >. >.

n.#. .#.
(
>
n n )( (
b b ( (
b (
n n () (
(
(
(
( (
(
)
(
>
mp
>
> >
>
>
>
>
mf

>
mp
mp
( (
(
>
>

w
w

>

>

>
mf
w
f
44
152
!
Fl. &
490
44
&
Cl.
&
A. Sax.
>
J
&
Ob.
45
#w
Hn.
"
& %
mp
pp
>
%
R
> >>
#>. '. n. &.
#w
pp
#w
' %
#w
' %
&w
' %
mp
+ + + +
&. . &
. .
&
. . . . . .

b b
. . . . b
. .
"
44
b'b b 'b
#4
b > 'b 'b > >
&
&
3
> . . '> . '. >''.
& & &
'' b. '&. b &
>
>
&&
> .
b >
&' ''
>
>
>
>
+
'.
+ +
.
.
&. '
. '.
.
. .
&
43
mp
b 'b 'b 'b
'
' b '& b.
b && . &'. > ' . &'> . ' . >. .
>
>
3
&'.
.
&&
>
&>
'' b. ''
. >
>
b
.
>
>
>
>

b

44
>. . . > . > .

>
.
&& '' nn b ''&&.bb nn &&.'' nn.bb
b >
nn &&. bb ''.
>
>
> &
>
43
b
J
>
'
&
'
Vla. I
> >
> >

> # >
> >
>
& #
>
# #
Vla. II
>

&

&

> & >
>
>
>
& &
>
> & >

> >
>
&

&

&>
&
&w
&w
&w
&w
& %
' %
Vc. I
Vc. II
Db.
"

>
&w
&w
'

>
>

>

>
>
>
pi
f
j
&
>
#
>
#
>
96
'' nn
>
&&
J
>

>
>

&w
& %
> . > .
&& '' nnb ''> &. #> nn.
& #
&
#
>
Vln. III
poco a poco cresc.
>
>
'b
'b >
&
Vln. II
b > 'b b
$%
.
''
& .
3
>
b 'b 'b
'b> b > 'b >
45
44
pp
mp
!
Vln. I &
45
ppp
&
mf
%
& %
w
pp
&w
&
Quarter
-tone
acc.
solo
>
b %
R
43
+ + + +
b. .
. .
f
&
Hp.
mf
Perc.
j
b.
>
ff
44
!
&
Tpt.
Tbn.
>. b >. >. >. >. >.

b
& %
ppp
&j
>.
mp
Bsn.
153
arco
& %
'w
>
>
>
&
>
' '
&
>
'
' &
&
>
>
>

&>

>
>
>
'
&
>
>

>

>
&
&
( &
' &
&
&
& &
' &
( &
&
&
& &
' &
&
&
&
? &
n &
b &
&
&
' &
Ob.
& &
Cl.
A. Sax.
Bsn.
Hn.
"
!
&
Tbn.
"
+ +
(.
' .
+ +
.
.
'.(
. (.
.
. .
&
Tpt.
j
# &
/ ) &
)
&
Hp.
ppp
(b > (b b
(b b
Quarter
-tone
acc.
solo
&
&
&
Vln. III
>
.
>
'( ('. nb #n
#.
j
(
'. '
.
'
98
n &
&
&
&
)
&
)
&
)
b (b > >
(b>b (b
> .
'' ((
> .
'' ((
>
nn
b
J
b
J
((
J
>
>
&
&
(b > > > >
>
(
b .
>
. >
'( ('. nb #n ((. (. n> nn.
' #
'
('
>
'(
>
>
'( ('.
98
# &&
#>
. > . .
'( nb #n nb ((> (. ((. n> nn. .
'
#
# '( ' '( nb #n nb
'
> . > . > .
(' &&
'
# && (' &&
&& '( &&
> #>
&& '( &&
&
> #>
>
mp
&
&
&
&
&
mp
' &
# &
&
mp
>
>

>
'
'
>
>

>
>

>
>

> >
>
>

>
>
>
'
>
>
>
>
>
mf
Vla. II
(>
' (
>
?
(
#
Vc. I
&
? '( &
Vc. II
'
>
>
>
n
>
>

b>
mf
>
>
#>
>
>
>
n
# &
n &
' &
&
&
&
>-
&
>-
Db.
"
&
68
# &
68
>
(
B ' (
Vla. I
# .
>
! (
Vln. I &
Vln. II
+
n.
>
b %$
>
>
>b (b b > > (b > >
b(b(b
&
&
&
)
Suspended Cymbal
Perc.
98
' &
!
&
Fl. &
494
&
&
>-
ff
97
68
154
!
Fl. &
497
A. Sax.
Hn.
"
Perc.
) (
) (
) (
' (
) (
' (
' (
) (
) (
mp
mf
+
. (
.
68
+
). (
.
#.
+
). (
).
b (
) (
mp
(
*
Vln. II
&
Vln. III
&
Vla. I
Vla. II
' (
(
*
%$&
'b 'b 'b 'b

'b 'b
b 'b

ff
#6
!
&
+
'. (
(
*
mp
&
&
Vln. I
# (
ppp
poco a poco cresc.
&
Quarter
-tone
acc.
solo
&
&
Hp.
# (
mp
&
"
n (
!
&
Tpt.
Tbn.
# (
&
Cl.
' (
p
&
Ob.
Bsn.
68
155
. . .
. .
.
.
. .
.
.
. .
.
.
. . .
. .
# (( nb (( )' (('). ((#n ((nb (('). (('). ((nb ((n#. (( '). (()). (( n#. ((bn. (( )' (( '). (( #n ((nb (('). (( '). (( nb (( n#. (( '). (( )). (( n#. (( bn. (( )' (('). (( #n ((nb (( '). (( '). (( nb (( n#. (( '). (( )). (( n#. ((bn. (( )' (('). ((#n ((nb (( )' (('). ((#n (( nb ((
nb ((
poco a poco cresc.
>
#n ((
>
n# ((
nb ((
>
bn ((
n# ((
>
# ((
((
b >
# ((
nb ((
>
bn ((
n# ((
>
((
#n ((
>
# ((
b ((
'>
bn ((
'
n# ((
((
#n ((
>
>
# ((
# ((
>
'
# (
' (
) (
# (
) (
' (
n (
>
)
>
>
'
>
>
>
>
>
>
>
>
>
'
>
>
)>
'
'
>
>
>
#
'
>
>
>
>
n
>
>
'>
>
>
>
'
'
>
>
>
>
'>
'
>
)
>
>
)
Vc. II
) (
# (
' (
n (
(
>-
(
>-
(
>-
(
>-
(
>-
(
>-
(
>-
Db.
"
98
) )
Vc. I
# ((
156
)
!
Fl. &
* )
+ )
gliss.
+ )
n )
gliss.
500
&
Ob.
&
Cl.
A. Sax.
Bsn.
Hn.
"
Perc.
Hp.
b)
n>
mp
n )
# )
# )
gliss.
>
gliss.
n )
* )
gliss.
+ )
n )
gliss.
* )
gliss.
* )
gliss.
mf
&
n )
* )
&
&
&
))
Vla. II
))
))
>
*>
>
))
+
))
b ))
+b +b
b +b b
>
>
>
>
>
n n
>
* +
>
>
# )

+b +b b +b b b b
*>
>
))
>
>
))
))
>
+> )
>
>
>
n>
+>
>
('
))
n *
>
n
b > . .
* > b . . .
. + . b ++ b + . . + b ++ b + .
b . ++ .
ffff
b ))
b ))
))
mf
>
b ))
b ))
*
J
n>
>
* #
>
>
>
>
>
>
gliss.
>
"
)
>-
)
>-
)
>-
99
>
>
b
b
>
b
b >
#>
#
gliss.
ff
Db.
>
b
ff
+ )
mf
b )) bn ))
bb ))
mf
+ )
gliss.
+>
))
gliss.
# ))
+ )
*>
>
*
#>
# ))
+> )
# )
gliss.
fff
# ))
? )
Vc. II
))
? >
Vc. I
))
gliss.
>
.
. . .
. . .
. . . . . .
. . .
. . . . . .
++ )) ** . )) nn )) bb ))++ )) ** . )) nn ))bb ))++ )) ** . )) nn )) bb ))++ )) *+ )) nn )) bn )) *+ . )) +*. )) #n . )) nb . )) *+ . )) +*. )) n )) bb ))++ )) ** . )) nn )) bb ))++ )) *+ )) nn )) #n )) ++
>
B
Vla. I
mf
>
! *
Vln. I &
&
gliss.
%$&
+b +b
b +b
&
Vln. III
gliss.
Vln. II
>
R )
"
mf
&
Quarter
-tone
acc.
solo
b
J
gliss.
mp
& )
?
!
&
Tpt.
Tbn.
+ )
>
fff
gliss.
gliss.
157
!
&
503
Fl.
&
Ob.
&
Cl.
A. Sax.
Hn.
"
>
>
b >
>
>
>
b >
b >
>
Perc.
& (
? (
b (
b
J
&
b (
mp
%$&
)b )b
&
b )b
&
&
>
bb ((
>
>
>
B
((
bn ((
>
b ((
b > (
bn ((
b >
((
((
>
mf
>
? - ((
Vc. II
b ((
b > (
>
bn ((
> (
>
>
>
>
>
>
b >
mp
Vc. I
b ((
)> (
((
((
>
((
((
>
> (
((
b ((
b > (
>
((
b ((
b ((
b ((
>
)>
J
>
(
(
bb (( b ( bn (
>
b
>
mp
Vla. II
)b )b

)b )b b
> (
*> (
Vla. I
> .
> . .
>
.
.
. ( . . . . ( b . ( ) . ( . ( n . ( b . ( )) . (( * . (( nn . (( bb . (( *) . (( )*. (( #n . (( nb . (( *) . (()*. (( n . (( bb . (( )) . ((** . (( nn . (( bb . (( )) ((*) . (( nn ((bn . (( )) b . )) . . ) . bb )) b . ) . . )* bb )) b . ) .
. .
** (( )) (( b ( nn (( ** (( )) (( # (n ( * ()* ( # (n ( *
& b ((
!
Vln. I &
b (
b (
%'&
Vln. III
>
R
Vln. II
mp
&
Quarter
-tone
acc.
solo
"
&
Hp.
>
!
&
Tpt.
Tbn.
pp
Bsn.
>
b
>
>
>
b
b >
b
b
>
>
>
>
>
>
b
>
>
b
>
>
>
>
b >
>
>
>
>
b
>- (
(
>- (
(
b >- (
(
b >
b
>
>
b- (
>
b- (
>
>
b- (
>
>
J
b>
b
b
&
&
mf
Db.
"
(
>-
100
&
! - *
Fl. &
b *
b*
506
&
Ob.
&
Cl.
&
A. Sax.
Hn.
"
Perc.
> *
> >
#> #
#> *
fff
b*
#> *
#> *
> *
>
* # * *
> #> # * * *
b*
#
>
>*
# *
mf
> #> #> # * * # *
fff
# # > #
>
n * # # n #
> *
> b > >
*
R * *
Vla. I
Vla. II
Vc. I
Db.
&
"
b*
45
mf
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
*
w
Wind Chimes
Ab-A#
Bb-B#
Eb-E#
Cb-C#
Fb-F#
&%'
-b -b
ppp
*
)
& *
&,'
&
&
B
B
44
n%(
Db-D#
Gb-G#
pp
b **
>
*
*
b
bb ** b * bn * bn b bn n n
#>
>
> *
>
#>
>
> *
fff
>
>
#>
>
>
#>
#> *
>
#n n n ##
> #> > * *
> *
> #> %(
#> * *
>
> > > * *
>
> #> > > * *
>
> #> > * *
>
>
>
>
>
& *
>
#>
#>
>
#
b
#>
>
> b #> n > b #> n

> *
>
b >
#>
n
#
> b
>
fff
> *
b > *
fff
> *
#> *
fff
& *
>
"& # *
>
b *
>
*
>
>
>
> *
>
>
*
> *
>
> *
>
b > *
>
>
fff
>
#
>
#
>
45
>
>
.
> *
. # ). > . *
. # . )
>
.
. #. ..
>
pp
#n #n > #
> *
fff
>
1-gliss.
1-gliss.
1-gliss.
> *
#>
,+
>
.
.
. . . . . . . . -. * . n. * . .> - . - . >n- #.n- . -.
-- **... **nn **##. ** .. ** -- ** nb ** nn ** .- ** .. **#n **nb **- *.- **n *#n **. - . - n
fff
Vc. II
!
Vln. I &
Vln. III
&
Vln. II
ppp
44
fff
&
Quarter
-tone
acc.
solo
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
ff
&
Hp.
45
!
&
Tpt.
Tbn.
> *
fff
mf
Bsn.
# o
%(
%(
#w
w
%>( > >. >. >. >.

. #. #
fff
#>. n>. >. #>.

fff
pp
flageolet gliss.
o
o o
o
simile
o o o o o o o # o o o
o #o o o o

o o o o

o
o o o o
o
o o o # o osimile
o o o
o
o
#
o o o
o
approximate pitches
mf
o o
#
III
wo
ppp
101
pp
fff
#
>
pp
mf
mf
pp
flageolet gliss. approximate pitches
#>. . . .
#
f
mf
# *
44
158
!
Fl. &
509
Ob.
&
Cl.
&
44
>. .
>. .
>. . # . .
ff
mf
>. . >. . . .
#
ff
mf
44
Hn.
mf
#>. . >. . b . .
ff
ppp
!
&
43
"
pppp
Bsn.
>
>. . b . . >. . # . .
ff
&
A. Sax.
45
159
mf
pppp
w
p
Tpt.
Tbn.
Perc.
Hp.
"
&
&
44
&%'
ppp
mp
mf
pp
mf
#4
?
&
!
Vln. I &
&
Vln. II
> .
()
> . -- . -.
>. . . # . > -. . -- #
?
# #
#
&
&%'
#w
#
>
&
Vc. I
>.
w
#w
w
&%'
o
o
o o o
o o o
#

&%' o
# o o o o o o o
#

&
45
fff
Db.
"
# )
b
>
b
.
>
-.
> .
3
b .
)
> .
(
> . . b . # . --
-
%>*
,+
b . bn>
mf
# )
w
w
> >. >.

#>. . #
fff
o
o
o o o o o o simile
o o
o o o
o o o o b
o o o
&
p
IV
&
# o o o o o o o o

o
o
o o o
o o o

44
o o o bo o o o o o o o o o o o o o o o o

wo
mf
ppp
b . bn
n#.
w
w
o
o o o o o o o o
o b
o o o o o o

o o o b o o o o o o o
o o o o o o
o o o o o o o o o o o o o o o
o b

fff
o o o o

fff
w
f
102
fff
mf
,+
bb bn.
#w
mf
o o o o
o
o o o o o bo o o o o o
o o o o
fff
fff
flageolet gliss.
pitches
o o o b o approximate
o o simile
o o o o o o o
o o o o o o
o

%>.* . . > .
> .
-- .. nn ## .. -. . #n nn -. ..-> nb . #n .
mf
IV
IV
fff
.
bb
pp
flageolet gliss. approximate pitches
IV
)
(
> > >. >. >.

#>. . # . #
fff
mf
pp
-w
pp
fff
Vc. II
()
> -. >
& -
.
3
mp
&%'
#w
Vla. II
>
Vla. I
43
&
Vln. III
44
&
Quarter
-tone
acc.
solo
45
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
w
w
o o o o o
o o o o o bo o
43
!
Fl. &
512
43
>. . b . .
3
mf
#>.
mf
&
A. Sax.
Hn.
>.
ppp
. )
mp
#>. )
pp
. .
mp
#>. .
ppp
)
,
ppp
pp
&
ppp
!
&
Tpt.
"
pp 3
68
ppp
&
Cl.
n . .
&
Ob.
Bsn.
b >.
160
without mute
, )
ppp
Tbn.
Perc.
"
&
Hp.
43
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
)
&%' ,
, # ,
Quarter
-tone
acc.
solo
#3
&
Vln. I
!
&
&
Vln. II
ppp
, # ,
# , ,
, # , # ,
# , #
#
# ,
, #
# ,
pp
&
&
68
&%'
&*'
>
> .
,, -,. nn bb --> ,. #> nn.
, #
bb
J
bn.
&%'
)
()
> . . > . .
> . . > . .
>
,, -- ,, nn bb --> ,. . #> nn. #. ,- ,, nb #n nb -,> -,. -,> n#. nb .
, # #
mf
68
%+
bb )) bn )) bb )) bn ))
>
))
>
))
))
))
&
>
>

#
Vc. I
>
>
pp
o o o o
o o
o o
o o
o o o
o b
&
o
o b
o o
o o o o
o o o o

&
o o o o
o o o
o b
o o

&
Vla. II
)
)
o
o b
o
>
>
#

o o o o
B
mp
>
Db.
"

>
>
%+
o o
o
Io
o o o o o # o o o
#

mp
pp
%o+
o o o o o o
# o o o o
#o
> )
mp
> )
ppp
103
#>

>
))
))
> )
> )
))
#
>
)) # )
# ) # ))
>
#
))
))

>
>
>
>
>
>
o o o
o o # o o
>
))
>
))
>
#
>
# #
o o o o o o
#
o #o

>
>
>
-- ,,. ##. nn . ,> - ,> n bb>
,- , n
>
pp
)) b ) b )
) )
>
>

#
#
mp
Vc. II
)) # ))
pp
&%'
)
o o
&
Vla. I
# ))
#>
pp
Vln. III
o o o
o ? #
>
>

>

>
mp
o #o o o ? >

mp
> )
# >

>

#
#
>
>
#

>

>
> )
161
!
&
516
Fl.
&
Cl.
"
#. %
ff
&
Hp.
Vln. I
&
&
&
% b % % ' %
j
'
&
mp
%
(
Vla. I
&
Vc. I
>
&
b %
ff
"
& %
% %
%
% % %
' % b %
% ' % % ' % b > ' b > ' b > '
%
(
%
(
mf
%
(
b %%
%% %% %% % %%
# %
%%
ffff
bb %% bn %% bb %% bn %%
>
>
%% b %% %% %% # % %# % % n) % % ) % % %
%% %% %% %% )) %% )) %% )) %% )) %% )) %% )) %% )) %%% )) %% )) %% ) %% )) %% ) %% ) %% ) % ) %% ) % ) %% ) % ) %% ) % ) %% ) % ) %% ) %
)
) ) ) % ) ) % ) % )) % ) % )) % )) % )) %% )) % )) %% )) % )) %% )) % )) %% )) % )) %% )) % )) %%
#
>
>
>
>
ff
>
#>
>
>
>
B #
>
#
#
>
>
>
? #
>
Vc. II
mf
#
&

>
>
>
' b & b & &
%
(
>
B
Vla. II
ff
&
>
Vln. III
fff
& # &#
& & &
#
& # #&#
&
& b %%
!
&
b%
' %
mf
ppp
b %
& %
>
$%
& > ' & > n b > & > n b> n >
? & ' & n b '&''
' n n n '' '' #n>nn#n ' & ' # n #
& '& &' '& #nnb # ' & ' b n b
&
&
&
>
>
> >
>
Vln. II
Db.
/ ( %
%
%
>. # . %
j
#
&
Quarter
-tone
acc.
solo
Gran Cassa
Perc.
. . %
mf
&
"
>.
ff
!
& & %
Tpt.
Tbn.
. .
%
>. %
& &
A. Sax.
Hn.
& &
Ob.
Bsn.
>.
? > %
>

>

# >

>

>
# >
> %
fff
# #
#
#
>
>
#
> # >
>
fff
>
#
>

>
>
#
>

#
#
>
>
>
> %
> # > > # > # >

>
fff

b ' b & b
b ' '
> #
>
# >
# b
b
b

b >
>
>
>
> %
>
b %
%
>
104
fff
' ' b ' b '
fff
' ' '
fff
!
Fl. &
Ob.
&
Cl.
&
A. Sax.
&
522
Bsn.
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
$ $ $ %
>
>
j
r
j
$ &j b & $ $ &j $ $J $J
>
> > > >
> >
>
>
>
>
>
>
>
>
j

>
&
"
% % % %
% % % %
b> $ b> $ b $ b % $ % b % $ %
% $ % % b %
>
/ ' %
% %
% % r% % % % $ % % r% % % %
% r %
b & b % & %
>
>
> &>
$ b > $ b > $ b > $ b > $ b> & b> $> b> &>
>
43
ppp
&
(% % (% % (% % (% % %
%
%
%
(( %% ((( %% (( %% ((( %% (( %% ((( %% (( %% ((( %% ((( %% ((( %%% ((( %% ((( %%% ((( %% ((( %%% ((( %% ((( %%% ((( %%% ((( %%% ((( %%% ((( %%% ((( %%% ((( %%% ((( %%% ((( %%%
!
&
Vln. II
&
Vln. III
&
Vla. I
Vln. I
43
!
&
Tpt.
Tbn.
162
((
(
43
((
(
(( ((
( (
(( ((
( (
(( ((
( (
(( (( (( (( (( ((
( ( ( ( ( (
((
(
(( (((
(
((
(
(( %%%
(
(( %%%
(
(( %%
(%
(( %%
(%
(( %%%
(
(( %%%
(
(( %%
(%
(( %%
(%
$ $ b $ b $
ff
Vla. II
$ b $ b b $ b b $ b $> b> > >
ffff
Vc. I
$ $ $
$ b & b & & b & & $ $
ffff
Vc. II
$ &
& b & $ & $ $ $

$ b $ b $ b b $ b & b & b &
ffff
Db.
"
? $ b $ b $ b $ b & b & n & b & & &> > > >

ffff
105
163
!
Fl. &
Ob.
&
Cl.
&
A. Sax.
&
44
530
Bsn.
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
$
J
b
J
$ %
J
$j%
j
%
&
&
ppp
b
pppp
!
&
&
Tpt.
Tbn.
? $>
J
"
? j j j
b
b
$
j j
j
$
b
$
j j
j
b
&
'' %%%
'
'' %%%
'
'' %%
'%
'' %%
'%
'' %%%
'
'' %%%
'
'' %%
'%
'' %%
'%
''
'
''
'
''
'
''
'
''
'
''
'
''
'
!
Vln. I &
&
Vln. II
44
ppp
''
'
''
'
''
'
''
'
'' '' %%
' '%
''
'
''
'
'' %%%
'
'' ''
' '
44
& $ & $
p
&
Vln. III
$ $ $
& & $ $
mf
Vla. I
B & b & & b &

b
$ b $ b $ $ b b $ b b & b $ & b &
>
Vla. II
? $
Vc. I
Vc. II
Db.
&
$ b $ b $ b b $ b & b & b &
$ b $ b $ $ b
"
&
$ $ b $ b $
b & b & b $
b &
&
b &
b %
&
>
$> > > b > $>
? $ $ $
106
& b
$ %
b%
&
b & b & b $
pp
&
!
Fl. &
537
164
44
Ob.
&
Cl.
&
&
pppp
A. Sax.
Bsn.
Hn.
"
Perc.
"
pppp
!
&
&
B
&&
&
B
?
Vc. II
"
j
%
$w
cup mute
pppp
poco a poco cresc.
D C B / E F G A
glissando
poco a poco cresc.
&& && ''

& &'
&&
&
pp
ppp poco a poco cresc. (simile)
&& && '''

& &
&&
&
&& &&
& &
j
&& && ''
& &'
j
&&
&
&&
&
poco a poco cresc.
j
&&
&
&&
&
&& ''
&'
&&
&
&& ''
&'
&&
&
#&
# &&
b % b %
$ b $
$ b
b
% b
poco a poco cresc.
$ b $ b $ b
$ b
% b
$ b % b b % b %
$
>
>

>
>
>
>
>
$ $
>
>
> >
>

>
>
>
>
$
>
> >
>
>
>
b
$
$
'
poco a poco cresc.
poco a poco cresc.
poco a poco cresc.
strong accents
% $ $> > > > > > > >

b
poco a poco cresc.
$ '
'
% b
ppp
poco a poco cresc.
b %
poco a poco cresc.
ppp
Db.
$ $ $ b
pp
Vc. I
j
#
b $ b % b % b % b $ %
pp
Vla. II
pppp poco a poco cresc.
pp
Vla. I
j
%
>
-. - - - -. %b$>-b%-. b%-. b -. >-b%-. b%-. b%>-b%-. b%-. b%>-b%-.
> - - -. b >- -. - - > - -. -. b%>-b -. -. > -. b -. %b-. b%>-b%-. b -. >- -. %b-. b%-. %b$-. %- b%-. b%
b%. b. b$$>-b. b%. b%

.$. . . . . . . b. . . . . . b. . -$. b. $ . . -. - b$$
- - - - - - -- - - -- -- - -
pp
Vln. III
poco a poco cresc.
pp
&
pppp
#4
Vln. II
pppp
Vln. I
poco a poco cresc.
mute
44
poco a poco cresc.
&
Quarter
-tone
acc.
solo
j
n
&
Hp.
j3
%
!
&
Tpt.
Tbn.
j
$
$
ppp
$ '
b'
$ b
'
% #
poco a poco cresc.
poco a poco cresc.
poco a poco cresc.
$
$
poco a poco cresc.
pp
poco a poco cresc.
poco a poco cresc.
b '
pp
pp
$ '
poco a poco cresc.
poco a poco cresc.
107
strong accents
b'
%
$
$
$ '
165
!
&
Ob.
&
Cl.
&
541
Fl.
Hn.
"
Tbn.
Perc.
j
&
!
&
j
#
&
j 3
#
'
J
&
&
((
(
n(
n ((
(( # (( %%%
(# (
((
(
(((
((( %%%
&
&
ppp
Tam-Tam (soft mallets)
pppp
&
&
Db.
"
&
$%
b' b' b
b' b' b
'b'
b'b'b b'b' b'
'
& b & b b'
b
b ' b' 'b&
b' b' b'
b b'b' 'b&
&& . - . - & b -. -. >- -. - & . & - -. -. >- -. -. . b&& . - -. -. >- -. >- -. .
>
> - -. >- -. >
- >- - >
->
-. -. - > - -. -. -. >- -. -. >
mp
#(
# ((
& &
((
(
bbn
nbnb
bb
mp poco a poco cresc. (simile)
nn#
bn %%
n#
n# %%
n #
j
%
& b &
mf
> > > >

' & &
>
>
>
> > >
>
>
>
>
> >
& b ' & '
&
>
>
>
> >
>
& & & b
>
>
>
>
>
>
& & & &
>
>
>
>
>
>
>
>
>
>
>
>
> >
>
& b & b & b
> >
>
> >
>
> >
>
>
B & b & & b
> b> > > > >
? &
&
& %
' %
Vc. II
mf
strong accents
mf
mf
>
>
&> b> > > '> b> > > '> b> '> > > b>
Vc. I
-. -. &>- -. -. >- -. -. >- -. -. >- -. -. b >- -. &-. -. >- &-.

' b' '
'b& ' b' b&'
b' ' b' 'b '
j
'
pp
&w
j
'
j
n
& & b ' b ' b ' b

> poco>a poco cresc.>(simile)>
> > > >
Vla. II
Vla. I
'
pp
mp
Vln. III
strong accents
Vln. II
Vln. I
&
Quarter
-tone
acc.
solo
j
#
'
Hp.
j
n
ppp poco a poco cresc.
&
"
&
? &w
!?
Tpt.
&
A. Sax.
Bsn.
& %
&
b
b
b%
&
' #
b
b
p poco a poco cresc. (simile)
&
&
b %
'
p poco a poco cresc. (simile)
mf
b
b
%
%
& %
b %
&
'
&
108
& %
' %
&
&
& %
'
%
%
'
&
%
%
&
&
b %
& b
mp
mp
& %
mp
'
&
J
b
b
%
166
!
&
545
Fl.
pp
Ob.
&
Cl.
&
&
A. Sax.
Bsn.
Hn.
"
poco a poco cresc.
j
$
3
j
#
j
%
Perc.
"
&
Hp.
Vln. I
j
%
3
#
p
pp
j 3

j
#
j
%
n
J
n
J
j
$
w
p
5
5
5
5
>
>
5
5
5
>
>
> > > b>
%
%
%
b
b%%

%$ b$
b$ b$
b$ b$
$ b$
b$b$ %bb$
$ b$
b$b$b$
$ b$
b$
$ % $
b$
b$ $b%
b % b b$ b$ $b
b b$
b$ b$
>
>
> b%
>
>
>
>
>
>
6
>
5
5
5
5
b%$ bb$
$
& $b%
%b b$
b$ b$
>
$w
pp
j
n
poco a poco cresc.
&
ppp
j
$
bw
j
n
&
Quarter
-tone
acc.
solo
pp poco a poco cresc. (simile)
pp
j
n
pp
Tbn.
? #w
&
!?
%w
Tpt.
>
mf
strong accents
>
>
>
>
>
!
%> b %> > > > %> b> > b> > > > > > >
% % % b
&
f
5
>
> > > %> > >
>
>
>
>
>
> > > > > > > > >
> > > > > > > > > >
% % % % b
& %
>
>
5
5
5
5
5
5
5
5
Vln. II
b> > > > > b> % > % > > > b> % b> > > > b> $ b> % > $ b> > $
& %
Vln. III
>
>
>
b> > > > > $> b> $> > > > > b> $> > %> > $> > > > > > > > %> > > > > > >
B %
Vla. I
> > > %> > > > %> >

>
B $
Vla. II
>
> > > > > > %> > > > % > > >
%> > > b > > > > >
Vc. I
Vc. II
Db.
"
&
&
% &
% &
? b
b
% &
$ &
b
b
&
&
? b
&
&
mf
%
$
mf
mf
%
%
% &
$ &
&
&
109
% &
% &
$
%
$ &
&
&
$
%
J
&
$
%
&
&
% &
% &
b &
% &
167
rallentando
!
Fl. & n
549
& #
Cl.
&
Bsn.
Hn.
"
mp
? $w
!?
w
mp
j
%
j
n
secco
b.
& J
ppp
Tbn.
Perc.
"
$
J
.
J
.
J
b.
J
pp
.
J
rallentando
&
p
Gran Cassa
mp
$
J
%w
Tam-Tam
mp
mp
&
Quarter
-tone
acc.
solo
b.
J
& %
Hp.
Tpt.
mp
A. Sax.
$ #
n
5
mp
&
Ob.
>
>
1.5-gliss. 1.5-gliss.simile
>
>
>
>
>
>
>
>b b$ b$ $b% b$b$ b > b$ b$b$ b$ b$ b > b$ b$ b$ $ b$ b$ b$ b $>b$$b%$b$b$b$ b$> b$b$$b$b$b$ b$>b$$% b$b$ b$> b$$ b$b$
> b$> b > b$> b
>
>
b
b

% b

% b % b%%
& %
ff
rallentando
! %> b %> > > > b > %> b > b > > > > %> b > b > > > >
Vln. I &
ff
&
Vln. II
Vln. III
Vla. I
Vla. II
ff
Db.
fff
non cresc.
fff
non cresc.
> > > >

b> % b> > > > > b> %> >
> > >
>
>

%> > $> > > > > > > > > > %> > > > > > > > > > > > %> > > > > > > > > > > >
>
>
>
>
>
>
>
% $ #> > > > > $ # > > > > > > > $> #
$
$ #> > > >
ff
ff
ff
? &&
"
&
Vc. II
%> %> > > > b > %> b > > > > > %> > > b> > > > > > > > >
Vc. I
%
%
fff
fff
fff
non cresc.
&
&
ff
$
%
J
b &
&
%
$
b
b
b&
j
%
&
6
>
>
> > >
> >
> >
%
> > >
6
110
b &
b &
&
&
ff
ff
168
! $
&
552
Fl.
$ n
& #
mf
& n
A. Sax.
mf
Bsn.
Hn.
"
b.
% # $ n %
7
$ b.
mp
Cl.
% # $ n
$ n
&
Ob.
%.
#-
%- # $. n-
$ n.
$ b. .
b.
. - .
- .
- .
- .

$ #. $-
$ n. $-
$ n. $ b. $ . $ b. $- . - . - . - .
. b n. b n.
bb. . . . . .b- . b- .b- . - . . - . .
b.
bw
? w
mf
# % # $ n $ # $ n % n $ n % # % n $ b % n $
ff
mf
!? w
bw
mf
b.
& J
Tpt.
Tbn.
Perc.
"
Quarter
-tone
acc.
solo
Vln. I
.
J
3
.
J
b.
. .
3
mp
$ &
. . . . . . . . . . . . .
6
non gliss.
>
>
>
> $ b $ > > b $ >
b% %

$ % b% b % b %>b% b% % b%> b% b% b > b% b% b%> b%b% b
$ > b%
%b$ %
$ b
$
b$$> b b% b%
%b b%

b >
$
>
% b%
fff
! $> b> > b> > > > > > > > > $> b > b > > > > $> b> > b> > > > > > > > >
&
6
> b> > >

> > > > > > > > > > > >
> > > > > > >
> > > > > >
>
>
> > >
>
>
$ b $ b
& $
Vln. II
& $
>
>
> >
> > > > > >
>
>
6
Vln. III
Vla. I
6
> > > > > > > > >
$
> > >
6
6
$
> > > > > > >
> > >
>
>
6
$> > > > > > > > > > %> b> $> > > > > > > > > > > > $> > > > > > > > > > %> b>
6
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
B # % # $ # $# #$ # $ $ %# % # # % #$# $ # # $ # $ $
Vla. II
? w
w
Vc. I
w
w
w
w
fff
? bw
bw
Vc. II
Db.
. . .
mf
b. . . .
mp
bw
&
&
.
J
&
Hp.
.
J
"
w
w
bw
bw
bw
bw
w
w
w
w
fff
fff
111
q = 90
!
Fl. &
555
&
Ob.
>- . .
>- . . -
b >- . . & - >- . . b - b -
n>- . . '>-
>
&
&
Bsn.
Hn.
"
mp
&
Perc.
"
Hp.
mp ff
sfz
mp
ff
sfz
mp
ff
sfz
b>
mp
mp
fff
sfz
without mute
>
b
ff
sfz
mp
>
b
>
>- . . &>- . . b- >- . . b- '- . . b
ppp mf
sfz
without mute
ppp mf
sfz
b
>
ppp
mf
ff
sfz
mf
sfz
ppp
b>
ff
sfz
mp
mp
mp ff
sfz
mp
mf
&
ff
sfz
ff
sfz
mp
b>
ppp mf
sfz
f
sfz
ppp
mp
'>- . .
mf
sfz
ppp
>
ff
sfz
mp
ff
sfz
mp
>
J
>
J
mf
sfz
3
ff mp
sfz
ff
f
sfz
b>- .
43
mp
mf
ffff
sfz
mf ffff
sfz
j
%
>
ff
sfz
q = 90
gliss.
fff
&
Vln. II
&
Vln. III
>
B
?
j
b %
> %
j
%
b> %
j
b %
b > %
j
bb> %%
ffff
"
b(j
gliss.
>
bw
ffff
gliss.
b(j
gliss.
3
ffff
sfz
mf
>
gliss.
mp fff
3
gliss.
b(j
j
b
>
gliss.
j
(
j
b
>
mp fff
b(j
mp
gliss.
mp fff
3
mp fff
mf
mf ffff
sfz
ffff
sfz
gliss.
j
(
b>
fff
b>
mp
fff
j
(
>
mp
fff
simile
j
(
mp
simile
j
(
mp
simile
j
b(
mp
>
fff
fff
fff
j%
> %
#>
j
%%
>
j
%%
>
j
%%
>
#
>
j
%%
>
j
%%
>
j
%%
>
#>
j%
%
>
j%
%
>
j%
%
>
#>
non cresc.
non cresc.
non cresc.
j
b(
mp fff
mp
j
(
>
j
b(
mp fff
b>
j%
> %
non cresc.
ffff
sfz
mf
>
b(j
b>
j%
> %
non cresc.
pp
j
(
>
>
>
>
mp
b
>
j
(
mp fff
sfz
>- .
mf pp
ff
sfz
mp
%
%
mf pp

>
ff
sfz
mp
b %%
&
>
mp
j
b(
>
fff
mp
j
(
>
fff
>
fff
>
>
43
%
>
fff
%
>
fff
j
b(
b %
>
fff
112
&'&
ffff
sfz
ffff
sfz
ffff
sfz
j
b(
j
b(
>
b
>
mp fff
mp fff
j
b(
j
(
>
mp
>
(j
mp fff
mp fff
j
(
j
(
j
b(
>
mp
b
>
j
(
mp fff
mp fff
mp
b %
>
j
(
fff
mp
%
>
j
b(
fff
mp
%
>
mp
j
b(
fff
>
#
>
j
#
# >
#>
j
##>
#>
j
##>
#>
%
> %
w
w
$% 1.5-gliss. b > simile

$%
&'&&&
?b&&b
&b&'
&b&&b
b&&b >
>
1.5-gliss.
mp
mp
>
ffff
sfz
mf
>
ffff
Vc. II
mf ffff
sfz
mp fff
mp fff
ffff
Vc. I
j b(j 3
b
>
ffff
Vla. II
>
fff
fff
Vla. I
(j
>- .
bj%
>
mp
mp
>

>
b
mf
fff
sfz
mp
f
sfz
mf pp
ppp
b
>- .
ff mf
sfz
>

>
b %
J
ff mf
sfz

>- .
fff
sfz
>- .
&
pp
>- .
ff mf
sfz
mf
>
%
J
mf
ff mf
sfz
mf
sfz
mp
>- .
> .
b> %
J
bw
w
ff
sfz
fff
sfz
pp
ff mp
>

mf
ff mp
>- .
ff mp
mp
>- .
&
sfz
>
b %
J
sfz
>
pp
>- .

mp
>- '. .
mf
ppp
ff
sfz
mp
#>- .
>
%
J
b>- .
f
sfz
ff
mf
mp
b>- . .
>- .
R
b> %
J
>
- . .
fff
sfz
ff
sfz
'>- .
ff mp
pp
>- . .

ff
sfz
>- . .

mp
43
mf
ff
sfz
>- . .
5
mp
>- . .
f
b>
J
mp
mp
bw
w
pp
>
fff
sfz
>
. - . .
'>- . . b>
sfz
>
mp
q = 90
mp ff
sfz
mp
f
sfz
mf
>
b
>- . .
>
. - . .
fff
sfz
f
sfz
ff
sfz
mp
pp
>- . .
b>
>
>
#- . . -
mp

>
&>- . . b>-
>
mf
ff
sfz
>

%
$>%
$%
$
$%
6
&
>
>b &b'&'bb
>b' b'
& &
'b b' & >
&b b' 'b
> & b&b &b'&b
'&bb & b &
b
b
& b&&bb' b'
?
&
'b b' '
&'
'
& 'b'&
& & &'

&'&
'&b' b
b'& b &
&
'b&'b
'b
&
b
&
>
>
6
6
6
6
6
6
!
Vln. I &
Db.
mp ff
sfz
&
Quarter
-tone
acc.
solo
pp
ff
sfz
>- . .
>
>
b- . . b- - . . - & - - . . -
>
mf
sfz
Tbn.
f
sfz
Tpt.
mf
ff
sfz
fff
sfz
!?

>
pp
ff
sfz
>- .
&>- . - >- . b- & - >- . -
ff
sfz
A. Sax.
mf
Cl.
169
#> %
!
Fl. &
558
&
Ob.
>- .
>- .
ff mf
>- .
ff mf
pp
&
'>- . .
ff
>- . .
& #
A. Sax.
ff
Bsn.
Hn.
ff
mp
"
mp
ff
mp
&
ff
ff
ff
mp
>
b %
J
mp
> %
J
Tbn.
Perc.
"
&
Hp.
!
Vln. I &
&
%
>
>
%
>
& b %
fff
Vla. II
Vc. I
Db.
"
ff
ff
j%
>
ff
44
mp
''b'''
>
ffff
sfz
b(j
j
b(
mp fff
b(j
j
(
mp fff
j
(
%
$
>
b&''
'&bb
b''b
j
(
mp fff
ff
mf
>
-.
ff
mf
ff
> -.
b
ff
mf
ff
mf
ff
mf
ff
mf
ff
&>
ff
ff
'> -.
mf
ff
&> -.
mf
ff
mf
ff
#> -.
3
mf
ff
mf
ff
n>
mf
b>
&.
#>
-.
ff
mf
mf
> -.
ff mf
&-
>
> -.
ff mf
j
b(
j
b(
>
> %
b (j
mp fff
j
b(
>
b %
>
j
b(
mp fff
b %
>
ffff
sfz
44
j
b(
%
'b& $
b&''
>
>
'&bb
'b&
6
sfz
sfz
sfz
%
'b& $
>
&b''
b >
(j
>
3
fff
mp
fff
mp fff
(j
>
b(j
'>
b
>3
b
>3
b(j
b >
mp fff
sfz
$%
>
'bb'&
b''b
6
3
sfz
%
'b& $
'bb'&
>
sfz
mp fff
b >
(j
mp fff
b >
mp
mp fff
mp fff
mp
j
(
(j
>
j
(
fff
b(j
sfz
$
>
''b
''b
'bb&
sfz
(j
>
mp fff
b(j
n>
mp
>
>
j
b(
fff
mp fff
b
>
>
j
(
fff
mp fff
b
>
j
(
>
&
fff
b
>
mp fff
>
b(j
mp
b(j
b >
j
(
mp
>
3
fff
'>
fff
mp
(j
mp fff
>
b(j
fff
mp
>
&>
b
>
b
>
j
(
mp fff
>
fff
mp
mp fff
>
>
b(j
b
>
>
>
b %%
'>
&
#>
? #>
>
> %
%
' >
'
>
#>
>
%
%
>
>
''
>
> %
'>
>
113
>
mp fff
j
b(
3
>
b>
mp fff
>
(j
mp
j
(
mp fff
#>
J
j
(
>
#>
(j
b(j
fff
b >
&
%
> %
$%
&b''
&' >
sfz
B #
>
b >
> b mp >
fff
(j
>
'bb'&
'&bb
sfz
$%
%
$
>
''&
''b
mp fff
mp
6
3
$
>
'&bb
b''
sfz
b >
(j
mp fff
%
'b& $
>
b&''
(j
mp
mp fff
>
$
>
'b&'b
ff
%
> %
ff
mf
> -.
-.
'
>- .
> -.
mf
ff
>
> -.
n>- ' .
>
b- '.
fff
mf
> -.
mf
mf
>- ' .
> -.
> -.
'
> -.
ff
mf
> -.
ff ffff
sfz
mp fff
>
b
mf
> -.
ff
mp fff
>
b
-.
ff ffff
sfz
>
mf
>
ff
'> -.
> -.
mf
b %%
ff
mf
> -.
$%
'&bb
>
b&''
mf
> -.
b
6
>- . . '.
'- b. &. n. &- n. '. #. &#
>
>
Vc. II
> ' -.
ff
'>- b .& . n .
>
&- #. '. n.
>
B
#>
Vla. I
mf
mf
-.
fff
Vln. III
fff
Vln. II
mp
%
b %
ffff
sfz
ff
b > -.
>
'>- b . & . n .
fff
mp
mf
>- . . .
>
'-b. &. n. ' n & #
mp
>
%
J
>
'
& '&
?
b > %
mf p
mf
&
Quarter
-tone
acc.
solo
ff
fff
> -.
ff
>
%
J
ff
mp
>
bJ %
>- .
R %
mp
mf
&>- n .' . b . &>- n . ' .b .
>
'- n. &. .
> ' -.
> -.
mp
>- . .
&>-
ff
>- . .
Tpt.
ff
&>- . .
mp
> -.
pp
mf
&>- n . ' . b .
fff
>- . .
fff
!?
b>- . .
>- . .
44
ff mf
> %
J
mf
Cl.
ff mf
b> %
J
>- .
170
b
>
mp fff
#>
j
(
>
mp fff
>
b(j
mp
171
!
Fl. &
&
Ob.
Cl.
A. Sax.
Bsn.
Hn.
$>
b >
&
$>- . $.
fff
&
?
'>
$>-b . ' . n .
6
>- . . $. '>- n.$. >- . .
> . .
.
$
$ n '
' #
$-b. '.n. '- n.$. #. ' #
>
>
6
6
#>
$>
'>
>
'-n. $. $-n. '.

>
>
6
'
'>- n.$. >- . .

$n '
6
>-
>-
$. b.
3
$.
b>
>- $ .
' # $
>- . . .
$ >
$
>- .
b$.
'-
>
b- '
> .
'>
$.
$.
n- '.
>
#- '.
>
$>
n>
b>
J
b$.
# &
j
#
&
>
n- '.
mf
b $ .
#>- '.
'>
J
&
$.
#>- '.
>
$- n. '.
n
3
b $.
#>- '. >- .

'
' .
n .
>
b- $.
n>- $ .
'>- n .$ .
&
!?
"
>
>- .
b>- '. n. $. $ b ' . n . $>- b. '. n.
"
ff
$>
Tpt.
Tbn.
'>
accelerando
$>-b . ' .n .
561
$.
>
n- '.
mf
accelerando
Perc.
&
Hp.
&
sfz
!
Vln. I &
sfz
&
Vln. II
&
Vln. III
Vla. I
Vla. II
Vc. II
"
sfz
sfz
sfz
fff
poco a poco cresc.
'>
>
>
$>
%&
'b$$
>
b'$
sfz
sfz
%&
>
$$

$$
>
$bb'
$bb'
6
sfz
sfz
b >
'>
#>
%&
b$$b
bb$'
>
>
'b$$
sfz
'>
fff
poco a poco cresc.
n>
$>
%&
'b$$
>
b'$
sfz
$>
>
bb$'
sfz
>
$bb$'
b$$b
>
'b$$
sfz
accelerando
'>
>
'>
#>
$>
#>
$>
$>
>
'>
>
'>
>
$>
#>
>
'>
$>
'>
n>
>
>
'>
#>
'>
'>
$>
#>
>
bn
>
>
n#
'>
$>
#>
n>
#>
3
>
b
#n>
J
##>
>

J
$$
>
bb
>
''>
nn>
$$>
j 3
bb
>
>
$
>
b
>
'
>
n
>
$
>
b
J
114
n>
'>
n>
>
n >
n
# >
#
sfz
n>
$>
n>
$>
'
sfz
b$$b
$b' >
'b$$
poco a poco cresc.
'>
sfz
'>
'
Vc. I
sfz
'>
&
&
%
%
&
&
> 1.5-gliss. %
&
> simile
%
b '
non gliss.
$bb$'
%
>
1.5-gliss. $ $
&
6
>
$
$
$b' %
>b'b'
$
' > b$ b
$b'$bb$ $$b' 'bb
'b$b $b $
? $ b
$
'b b'' &
$ $$'
'b
'b'
'$b'bb
b'$bb b $
&
'b$
$bb$'
$
>
6
6
6
6
>
6
6
sfz
&
Db.
pp
&
Quarter
-tone
acc.
solo
>
b
J
>
b
J
j
''>
j
'
>
&
!
Fl. &
564
&
Cl.
A. Sax.
Hn.
"
Perc.
b -.
-.
n>
b-.
-.
b.
-
b -.
-.
-.
b -.
) n. (> n.
) b
)
) n . > . ) n . >
>
>
>
(bend, simile)
rubato
)>
b>
b-.
-.
-.
b
b-.
b -.
-.
.
-
ff
b-.
-.
6
>
>
>
>
6
) n. > . ) b. > . b (. ) n. b (.
( #
( #
) b. (> n. ) b. (> n.
>
>
>
6
6
n>
J
)>
>
)
>
>
(
>
b
&
&
$%
$%
$%
$%
$%
3
> )(bb>simile) *j
)
)
)
*j
(
b
)
)) )b ( *j b > b) )
b)
> b
3
>
&
Vln. III
&
Vla. I
Vla. II
Vc. I
&
Vc. II
"
)) b )
> )
>
$%
)
)) ) *j b) >
> b)
$%
)) )b (*j
> )(b b
b >
3
*j
))
$%
$%
> b (*j >
)) ) b)(b
b
%
$
>
)( b >
)) )( b> b
b
*j
))
$% )(bb >
> b (*j
)) ) b
*j
))
#>
)>
(>
>
(>
(>
#>
)>
)>
n>
(>
'&
n
>
'&
#>
'&
#
>
'&
(>
#>
)
>
n
>
)
>
n
>
)
>
)
>
n
>
)
>
n
>
n>
)>
'&
#>
n
n>
$%
(b>
*j
bb(
$%
*j
))
))
>
$%
)( b
*j b >
3
)bb(
*j
b))
$%
b))
>
(>
$%
>
))
j
*
(>
42
rubato
Vln. II
1.5-gliss.
*j
)) 1.5-gliss.
*j
)bb(
&
)(bb >
) n .
>
>
)
>
n
"
b-.
-.
b -.
42
b -.
) b
b. )> n. > .
) n .
>
(>
!
Vln. I &
Db.
-.
fff
&
Quarter
-tone
acc.
solo
&
&
Hp.
!?
Tpt.
Tbn.
>- .
)>- n. ( n
&
Ob.
Bsn.
(>- n .
n>
n
>
(
>
#
>
(>
>
(>
#>
)
>
>
(
>
#
>
)
>
n
>
(
#>
)>
n>
(>
#>
)
>
)
>
n
>
(
>
#
>
>
)
>
n
>
(
(>
n>
)>
b>
(>
n>
)>
(>
n>
)>
b>
(>
n>
)>
#
>
)
>
)>
n>
(
>
>
(>
#
>
j
)
>
j
(>
j
)
>
j
(>
j
(>
j
b
>
j
b
>
115
>
#
>
)>
>
(
>
(
j
(
>
#
>
3
n
>
3
#>
3
n
>
3
>
3
>
)
>
n
(
>
)
>
42
172
!
Fl. &
566
42
&
Cl.
'
&
Ob.
173
ff
&
A. Sax.
Bsn.
Hn.
"
!
&
Tpt.
Tbn.
Perc.
"
ff
'
# '
'
b >
+>
n>
,>
>
,>
b>
+>
n>
,>
>
,>
Vln. I
'
# '
'
#2
!
&
&
&
Vln. III
Vla. I
Vla. II
&
Vc. I
Vc. II
Db.
"
,nn,
>
)(*
> >
n +
,>
,
>
n
>
+ #
> >
+>
>
+> #>
)(*
n + #
> > >
,
>
n
>
+
>
> > >

+ #
,>
n>
+> #>
)(*
n + #
> > >
)(*
> > >
# , n
+nn, , b.j + ,bn,

,, j
+# + j
b,, b,,b.+n#+ # ++n. ,nn,
, +##
>
>
>
>
.j
#++n
> + + .j >,nn,
# ,b,b +
+,
+ n
5
.j
+b,n
> ,+bb .j > +nn, b .j >

,
b,, +n#+
+n#,
+, ,bn
#>
n>
,> n>
#>
,
>
n
>
,>
n>
,> n>
>
> >
+
+> > +>
n> +> #> ,>
> > >

+ # ,
6
#> ,> n> +>
+
>
#
>
,>
n>
#>
ffff
> > >

#> ,> n> +> #> , n +
+> #> ,> n> +>
.j
n++n
n> +> #> ,> n> +> > +>
+> #> ,>

6
+>
,bn+
poco a poco cresc.
> >
+ #
>
+>
,>
>
>
'
,
,
+>
,>
pp
&'
.j
,,b
b,, .j
+n + j
> b,,b +n#+ # > ++n .,nn,
>
>
n>
,
,
,>
)(*
n> +> #>
b ,
b+,>
,
>
mp
ff
&
n>
+>
$
b%
b >
'
n>
&
+>
Gran Cassa
fff
b >
'
Vln. II
# '
fff
&
Quarter
-tone
acc.
solo
fff
# '
42
'
&
Hp.
'
# '
'
#>
ffff
n> +> > +>
#>
ffff
> +> #> ,>
n>
> >
, n
> > >

+ # ,
> > >

n> +> > +> #> , n +
#>
+> >
+> #> ,>
>
n> +> #> ,> n> +> #> ,
n>
b>
+>
n>
,>
>
,>
b>
+>
n>
,>
>
,>
116
b >
+>
n>
b >
+>
n>
,>
,>
174
!
&
569
Fl.
&
Ob.
&
Cl.
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
Vln. I
q = 108
# n
n # n # # n
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#
# #
)
((
Flz.
ff
Flz.
)
((
ff
)
>
b >
n
>
>
&
"
((
b
&
Vln. III
&
Vla. I
B
B
Vla. II
&
Vc. I
Vc. II
"
>
ff
q = 108
((
bb
*b
)nn*
j
*b+
*
>
)##)
*bn*
+j
#))
)n#)
)nn*
+j
*b
)
bb
*nn* +j
)nb* )n *
*bn)
#
>
)##)
n +j
), ,
, ,
# ,, ) ,, ,, ,, ,, ,, ,, ,,
#,
, , ,
,,
,
,, ,,
,
,
, ,, , ,, ,, ,, ,,
, ,
,
fffff
&
*b
>
*bn) > +j
)n#) n +j >*nn* b+j ) )##) ) n+j n *
> ) *
n *
* *b )
)b* )n
n ) * n
* # *nb*+j )# )
#)) )nn
) n
#
& *n
!
&
n
>
((
%$& b
)
>
b >
&
Vln. II
Db.
!
&
Tpt.
Tbn.
&
A. Sax.
Bsn.
q = 108
%&
#'
%'&
#
%'&
#
%'&
%'&
#
>
fff
b >
)
>
b >
)
>
n
>
)
>
*
>
n
>
117
175
! ((
&
((
572
Fl.
((
$%~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
Ob.
ppp
ppp
(
& (
Cl.
((
((
ppp
Bsn.
Hn.
"
>
&
"
/ (
(
$&% b
b
&
b
>
fff
&
&
Vln. II
&
Vln. III
(let vibrate)
f
Gran Cassa
((
((
((
bb
bb
bb
R
bb
*)
)
)
)
)
)
)
# )) * )) )) )) )) )) )) )) )) )) )) )) )) )) ))
#)
)
)
)
)
)
)
)
!
&
>
((>
&
Vln. I
Perc.
Quarter
-tone
acc.
solo
Tam-Tam
f
Hp.
ffff
!
&
Tpt.
Tbn.
&
A. Sax.
))
*)
)
)
)
)
)
)
)
*)
)
)
)
)
)
)
)
*)
)
)
)
)
)
)
)
) # )) * )) )) )) )) )) )) )) )) )) )) )) )) )) )) )) # )) * )) )) )) )) )) )) )) )) )) )) )) )) )) )) )) # )) * )) )) )) )) )) )) )) )) )) )) )) )) )) )) ))
#)
)
)
)
)
)
)
)
#)
)
)
)
)
)
)
)
#)
)
)
)
)
)
)
)
$%
# ' # #
$'%
# #
$'%
#
p
Vla. I
Vla. II
Vc. I
Vc. II
Db.
"
>
n
>
>
fffff
fffff
fffff
118
!
Fl. &
Ob.
&
Cl.
&
A. Sax.
&
576
Bsn.
Hn.
"
Perc.
Hp.
Quarter
-tone
acc.
solo
&
"
%%
%%
%%
&
Vln. II
&
Vln. III
&
Vla. I
Vla. II
Vc. II
Db.
"
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
Cadenza
119
44
Cadenza
!
Vln. I &
Cadenza
'& & & & & & & &

'& & & & & & & &
'& & & & & & & &
'& & & & & & & &
# && ' && && && && && && && && && && && && && && && # && ' && && && && && && && && && && && && && && && # && ' && && && && && && && && && && && && && && && # && ' && && && && && && && && && && && && && && &&
#& & & & & & & &
#& & & & & & & &
#& & & & & & & &
#& & & & & & & &
Vc. I
Cadenza
ppp
Cadenza
&
&
Cadenza
/ %
%
44
!
&
Tpt.
Tbn.
Cadenza
44
176
!
Fl. &
581
Cl.
A. Sax.
Hn.
44 q = 108
"
&
&
>
fff
b >
I
44 q = 108
fff
Perc.
II
III
IV
pp
b >
Quarter
-tone
acc.
solo
&
Vln. III
Vla. I
Db.
"
'
#>.
R
>
>
&.
R
& .
J
. 5
R %
.
R
.
R
3
j
'.
3
'.
R
mf
b. %
R
5
mf
b.
R %
'R.
ff
>
ff
&.
J
mp
mf
ff
%%
>
Whip
G-G#
>.
R
fff
mp
mf
'
&
'
b
n
bb
b
J
pp
&
&
'
'
&
'
b
b
' n & & #

n & # ' n & # ' n & & # ' n & #
nb
&
&
'
n
#
b
n
fff
fff
bb
b
b
n
n
b
b
&
&
'
fff
# '
&
ff
& # '
& # ' n & # ' n &
bn
fff
' n &
& # ' n & # ' n & & #
&
'
3
'3 n & # '
& # ' n & # ' n & & #
fff
$%
mp
&
pp
'
& # & # &
' n ' n ' n
&
&
'.
J
>.
R
5.
R
mp
ffff
4 q = 108
ff
Vc. II
pppp
'
& ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( & ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( >(

# (( & (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( # (( & (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (( (((
#( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( #( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (
Vc. I
VII
pp
&>.
J %
fff
# & ' n & > > n>

# #
Vla. II
VI
.5
'R %
3
>.
'>.
R J
3
'>.
J
3
&>.
J
5
n>.
>3.
&>.
R &J R %
fff
'
&
fff
b >.
>.
J
Hp.
&
>. >.
&
%
mf
Vln. II
#4
!
Vln. I &
#
J
5
>.
'>.
R
ff
&
&
&
pp
&
&
j

&
Hp.
'
#>.
R %
fff
Gran Cassa
>.
fff
pp
mf
solo
"overtone gliss."
&
&
"
>.
b
?
&
pp
Tbn.
'
!
&
Tpt.
&
&
Ob.
Bsn.
177
'
# '
fff
&
&
fff
&
'
&
fff
&
'
fff
120
'>.
R
3
pizz.
pizz.
>.
&>.
R R
5
3
5
b >.
n>. b >.
J
R R
>.
>.
R R
>3.
>O.
&>O.
R & R
>. 5
O %
R
5
>.
'' O
R
>3O.
j
##O.
>
pizz.
3.
&. J
R
.
&R
3
' .
J
ff
pizz.
b3.
J
'.
R
O.
R
ff
3
>O.
&>.
R R
5
r %
.
5.
5
.
##O
R
'
'.
J
.
R
!
Fl. &
585
Ob.
Cl.
Bsn.
Hn.
"
j
%.
&
&
% .
R
& $
A. Sax.
#. $
R
r
# .
42 ritardando 48
r
.
r
b .
mp
r $
.
.
R
!
&
j
& .
j
&.
&. 3 j
R
.
mp
r
# .
mf
&
Tbn.
Perc.
"
b. &. %. &r r r
- >- >-. >- #- .
> >
# .
J
3
ff
ff
# . & . . & -. &>-. >-. >

& &- r
R &- r
> .
mf
>
ff
sfz
e = 120
secco
>.
Gran Cassa (damp)
.
>
&&% %& %

>
sfz
ffff
b .
R
mp
mp
.
bJ
3
mp
%
R
r
& .
mp
5
&
$ R
mp
&
R
mp
mf
5
%. $
R
mp
mf
.r
f
3
%j
.
pizz.
r
#.
%.
J
r
.
pizz.
121
>-. > > r

bR - - &
R R >
b.
R
>-. >-. >- r j

% b
R >- >
arco
#.
R
. %. &-. #>-. &>-. >-
arco
. % .
ff
&&O # O
. # .
5
ff
fff
>
J
fff
>- >
-. >-. >-.
% % %>- >R %R
arco
arco
r
&&O.
ff
sfz
fff
ff
3.
J
fff
arco
ff
e = 120
3
.
#R
b .
R
mp
&r
.
>- b>-
R R
>.
arco
ff
pp
b>
ff
mp
r
%.
ff
&j
.
mf
%r
6
r
.
r
% .
pizz.
42 ritardando 48
mp
pizz.
mf
&
r
B &&O
.
"
mp
Db.
&
Vc. II
>.
>
& -. &
> >-.
mp
fff
mp
Vc. I
j
b.
42 ritardando 48
ff
3
.
& J
Vla. II
j
&>
-.
%. &. #r #r j$
>- >- >- >- >
r
.
ff
&
!
$
Vln. I &
Vla. I
Vln. III
.
R
Vln. II
.
R
mp
&
Quarter
-tone
acc.
solo
straight mute
>
%
R
r
.
mf
fff
r
.
>.
fff
ff
ff
.
R $
straight mute
Tpt.
%.
>- >-.
r
&.
r
%
>
3
.
R
.
R
mf
r
p
.
pp
mf
r
&.
e = 120
# .
.
ff
5.
r
b .
mf
ff
r
%. $
mf
r
%.
#r
.
r $
.
mf
r
b.
5
178
fff
mp
$
>
fff
sfz
>
fff
sfz
arco
j
$
mp
>
fff
sfz
mf

Ligeti Désordre Analisis PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Ligeti Désordre Analisis PDF

Uploaded by

Copyright:

Available Formats

Dissertation Essay

Submitted in partial fulfillment of the

Submitted in partial fulfillment of the

Dsordre is a refined combination of systematic and non-systematic music. Ligeti bends,

2 ANALYSIS OF MELODIC LINES

3 ANALYSIS OF RHYTHMIC LEVELS

4 SHIFTING AND FORM

Bibliography / Works Cited

Appendix: Analysis of Dsordre (two analysis sheets)

Figure 2: Melodic line of Left Hand Phrase I (without correct rhythms) as

1.1 Short Introduction to Ligetis Piano Etudes

From Foreword by Gyrgy Ligeti in Simha Aroms

Quotation from Programs Notes Written by Gyrgy Ligeti for Recording of

1.3 Summary of Form

1.5 Background Eighth-Note Runs

1.6 Modes and Pitch Collections as a Substitute for Harmony

2 ANALYSIS OF MELODIC LINES

2.1 Right Hand Phrase I

As shown in Figure 1, Right Hand Phrase I consists of three subphrases: A A B (4 + 4 +

2.2 Left Hand Phrase I

As shown in Figure 2, Left Hand Phrase I consists of four subphrases: A A B A (4 + 4

2.4 Cycle of Right Hand Phrases

3 ANALYSIS OF RHYTHMIC LEVELS

3.1 Introduction to Rhythms in Appendix (analysis sheets)

3.2 Rhythmic Levels

3.3 Right Hand Beat Level

An overall comparison of equivalent beats of all right-hand phrases in Figure 6

3.4 Multiple Ways of Hearing the Right Hand Beat Level

An overall comparison of equivalent beats of all left-hand phrases in Figure 8 emphasizes

3.10 Right and Left Hand Phrase Levels

4 SHIFTING AND FORM

Sallis, Friedemann (2002). Gyrgy Ligeti (1923-), Music of the twentieth-century

Arom, Simha (1985). Polyphony and polymetric in African rhythm. Cambridge:

Kinzler, Hartmuth (1991). Gyrgy Ligeti, Decision and Automatism in Dsordre,

Submitted in partial fulfillment of the

Solo Quarter-tone Accordion

Finger Cymbals, Glockenspiel, Splash Cymbal,

Finger Cymbals, Glockenspiel, Splash Cymbal,

QUARTER-TONE ACCORDION CONCERTO

Velinikka is a quarter-tone accordion concerto for

Veli Kujalan ja allekirjoittaneen yhteisty on johtanut

Cooperation between Veli Kujala and the

QUARTER-TONE ACCORDION REGISTERS

COMPLETE QUARTER-TONE SCALE

COMPLETE QUARTER-TONE SCALE

COMPLETE QUARTER-TONE SCALE

Registration symbol indicates the lowest current register in use.

register used in the composition

Harp tuning with pedaling possibilities

omistettu Veli Kujalalle

(diminuendo as gradual as possible)

n& n * ' # #&

- - - & ' '& '&

' ' & n & 'n ' b 'b n 'n & j

' n ' & ' n & b n & n

n > ** ** > ** b *** >

> %> $>

& b & &&

n ' n ' n ' n ' n ' n ' n

' ' b $n ' ' # '$ n '$ n '

n> & n $ n & n & $ > $ n &

b> $ n $ $> b n b> $ & n $ b &> b $ & #

%%& $$$ b $$$

n > > b * >