INSTRUMENTATION

Flute

Horn in F

Percussion (1 player)
snare drum, crotales (with bow), vibraphone (with bow), and woodblocks

2 Violins
Viola
Cello

Soprano

ARRANGEMENT

Percussion

Flute Horn in F

Violin II Viola

Violin I Cello

Soprano
Conductor
 NOTATION

General
Trills should always be played up a semitone, unless otherwise specified.

¾ tone lower than the normal pitch, ¼ tone lower than flat

¼ tone lower than the normal pitch

change very gradually from one way of playing to another, or from

one sound to another

crescendo dal niente

diminuendo al niente

S.V. senza vibrato

L.V. let vibrate (always as long as possible)
lowest note possible (in the indicated rhythm)
highest note possible (in the indicated rhythm)

rhythmic accelerando

rhythmic ritardando

play the aproximated pitches, in the indicated rhythm

Strings
SP sul ponticello
ST sul tasto
ESP molto sul ponticello
EST molto sul tasto
N normal (used with SP and ST, otherwise ord.)
play with heavy bow pressure (causes an effect similar to distortion)
in the indicated duration

play a jeté col legno batutto

a trill produced by alternating the finger pressure between normal and

light. The result should be alternating between normal and harmonic sounds.
When playing sustained notes, the bow changes should be always imperceptible and
made independently of other players.
In the section played after the bridge, there is a 4 line staff, with a cleff indicating in
which string you should play.

Winds
just air sounds (used with transitions between normal sound and air sound)
normal sound (used with transitions between normal sound and air sound)

play the notes with a diamond-shaped notehead with more

air than sound

The flute has too perform this sound with some different articulation, like in flute
beatboxing.
 tongue ram (explosive percussive gesture produced by sealing the embouchure
hole completely with the lips and strongly propelling the tongue into the embouchure hole).
Sounds a 7th lower than written. (just for the flute)
When the score indicates ‘half valve’, the horn player must play with the valves half
down, in order to produce a new timbre, and have a control somehow close to play with
just the mouthpiece. In section 10, the player should play the approximated written
pitch, in the indicated rhythm.
In transitions between fully open and fully stoped sounds, the horn player must not try
to compensate the note, and let the pitch change.

Voice

notes with a x in the stem must be produced using sprechgesang

(vocalization between singing and speaking), the represented pitches are just
approximated

notes with a x-notehead are spoken without any specific pitch

Percussion

The choice of the mallets should be given to the percussionist and/or to the conductor.

that symbol indicates the rotation of the brushes on the snare drum,
and the number above the note indicates the speed of the rotation from 1 (slow rotation),
3 (fast rotation).
 Através do tempo
By Maria Amélia Neto
Há There is
Entre as gotas Between the drops
Da chuva Of rain
Lugar A place
Para as lágrimas For the tears
Que não vou chorar. I won’t cry.
Há There is
Entre a rosa Between the rose
E a sombra And the shadow
Lugar A place
Para as memórias For the memories
Que não vou guardar. I won’t keep.
Pois nem o furor Because neither the fury
Do mar Of the sea
E nem a raiva Nor the anger
Do vento Of the wind
E nem as palavras Nor the words
Meio escutadas Half heard
Durante a tempestade
During the storm
Me afastaram Drove me away
Da lembrança From the memory
Que é rosa That is rose
E chuva
And rain
E lágrimas And tears
E promessa And promess
Que vive no tempo That lives in time
E dentro de mim. And inside me.
Horn in F
Através do tempo Francisco Plantier
for soprano and ensemble (*2000)

o
Poem by Maria Amélia Neto

o Lento q = 66
+ o + flz.

5 3 ˙æ.
&4 w œ w œ 4 ˙.
ß ß Í

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~
+ + 1 o
4 œj ‰ Œ j
flz.

2 œ 43 œ œ œæ œæ 3
&‰ ˙
5 3

j 4 4 4
œ œ œ œ œ. Í pfl Í F
ß π P ß

>- - œ̆ >
3 ∑ Œ ‰ bœ œ œ ≈ Œ 4 Œ ‰ J ‰ Ó 3 -̇ œ 2
9

&4 4 4 4
ß π ß p
P
3
6

+
poco più mosso (ca. q=66-72)

2 3 - - - #˙ œ œ
&4 ˙ 4 Œ Œ bœ œ œ ∑
13

J
o 3
P Í 3
ß

+ o +
˙ Œ 2 œ #œ œ 3 Œ 4 w
17

& 4 œ #œ 4 4
˙
p p 3 Í
increasing articulation speed to flutter tonguing

+
accel. Tempo primo q=66

Ó · 2 3 UŒ Œ Œ
4 · ˙.
21

& 4
ß
π ƒ
3

2 ∑ 3 ∑ œ œ 2
& ˙. œ
25

4 4 J #œ 4
> -
p π
3

molto cresc. e accel poco a poco

2 4 œ œ œ. œ r 6 4
∑ Œ Œ J # œ. ≈ ‰ œ bœ
29 ad lib.

&4 4 Δ 4 œ œ œ œ 4
Í 3
p 3
p
#—. —
half valve

2
Tempo primo q=66

4 R≈Œ 3
4

&4 Ó Œ ≈ j ‰ Œ Ó Œ æ 4
œ. œ bœ
fl π f
π F
©2019
 Através do tempo
normal fingering 5 Moderato q= 95-100
2
3 4 3
3

&4 Œ Œ Œ œ̆ ∑
38

4 4
3

œ œ b œ # œ- œ #œ ˙æ.
p f
F cantabile

j œ. ˘
3
œ- œ œ̆ # œ- ∑ 2 ∑ 4 Œ ‰ ≈ œR œ œ œ # œ ‰
42 3

&4 4 4 J
œ œ.
fl p Ffl 3 p
F
3

6
7
poco meno mosso q=85
#œ 3 2 3 2
& r≈ ‰ Œ 4 ‰ œæ Œ Œ 4 ‰ 4 ∑ 4
œ œ œ. #œ nœ
3 3

œ. œ # œ. œ œ F- œ-
f π f F. p # œ-

+
half valve

2 ∑ 4 3
j ‰ Œ ∑
50 growl

&4 4 æ 4
#˙ œ.
π π
Anxious q=66

- - - 3
2 j bœ œ
8
. 3 2 3
& œJ ‰ œ œ # œ # œ- œ- n œ- 4 # ‚. ‰ Œ
54 normal fingering 3

4 4 œ 4
ß p
ß
3

3 œ œ œ nœ bœ #œ œ ≈ 42 3 Œ ∑ 2
60

&4 4 4
P #œ œ bœ
r
˙
ß

+ + o +
2 ∑ 4 ∑ 2 >
64

&4 4 4
#œ œ bœ
r
˙
P

6
9
bœ œ œ # œ 3 œ # œ # œ œ. 4
rit. e dim. a poco

Œ ∑
68

&œ 4 4
p espress. 3

10
U U U U
Tempo primo q=66

‰ œ œ #œ œ œ Œ
Mute

&Œ Œ Ó Œ Œ ‰ Œ Œ Œ ‰
3 3 3 3

œ œ #œ #œ œ œ œ #œ œ œ
π π
3 3
π
 Allegreto q=96

w
11 Através do tempo

e e
half valve and mute
3

∑ 43 Œ ‰ ‰ 44
81

&
F F

w x w

& 44 42 ‰. Œ 44
84

çF
hk hk+ hk
87
Π3
& 4
ß
12

2
Lento q = 66 normal fingering poco rall. Lento meditativo q=50

44 r
43 ≈ # œ œ œ œ ≈ ‰ Œ 44 Œ 43
13
∑ ∑ Œ ∑
still muted

& ˙.
---- œ- b œ- b œ-
π
π

yhalf. valve
& 43 ∑ 44 ∑ Œ ∑
99

ß o

œ #œ
Open

bœ. #œ 43
normal fingering

&w ˙ #˙ œ J Œ
103

œ. J ˙ bœ
π P 5
3
p
delicato

U̇
molto rit.

& 43 œ . ˙ 44 œ ˙ œ 42 44
107

œ. œ
π ∏

14
4 U
& 44 w
Adagio q = 45
∑