Dissertation CHEN 2021

UNIVERSITY OF CALIFORNIA SAN DIEGO
Exploring Imaginary Landscapes:

A Practice of Brushstroke and Soundscape in Compositions
A dissertation submitted in partial satisfaction of the

requirements for the degree Doctor of Philosophy
in
Music
by
Yi-hsien Chen
Committee in charge:
Professor Lei Liang, Chair

Professor Anthony Burr
Professor Kuiyi Shen
Professor Stefan Tanaka
Professor Shahrohk Yadegari
2021
i
Copyright
Yi-hsien Chen, 2021
All rights reserved.
ii
DISSERTATION APPROVAL PAGE
The Dissertation of Yi-hsien Chen is approved, and is acceptable in quality

and Form for publication on microfilm and electronically.
University of California San Diego
2021
iii
TABLE OF CONTENTS
DISSERTATION APPROVAL PAGE ......................................................................................... iii
TABLE OF CONTENTS............................................................................................................... iv
LIST OF FIGURES ....................................................................................................................... vi
LIST OF TABLES ....................................................................................................................... viii
LIST OF SUPPLEMENTAL RECORDINGS .............................................................................. ix
ACKNOWLEDGEMENTS ............................................................................................................ x
VITA .............................................................................................................................................. xi
ABSTRACT OF THE DISSERTATION ..................................................................................... xii
INTRODUCTION .......................................................................................................................... 1
Chapter 1: Chinese Calligraphy and Music .................................................................................... 2

1.1 The Multi-Dimensionality of Line and Its Practice in Sound ............................................... 3
1.2 Heterophony: A Line as Organized Otherness ................................................................... 11
Chapter 2: Environmental Sound and my Electroacoustic Composition...................................... 23

2.1 Complex Sound................................................................................................................... 23
2.2 The Compositional Practice of Oceanic Acoustic Ecology ................................................ 30
Chapter 3: Maci Lumah for Orchestra .......................................................................................... 38
Chapter 4: Conclusion................................................................................................................... 49
APPENDIX – MUSIC SCORE .................................................................................................... 50
MACI LUMAH FOR ORCHESTRA ............................................................................................ 51
SPARKING FOR TWELVE INSTRUMENTS ............................................................................ 93
iv
REFERENCES ........................................................................................................................... 154
v
LIST OF FIGURES
Figure 1 Method of Three Folds .................................................................................................... 2
Figure 2 Ink (墨) in cursive style ................................................................................................... 5
Figure 3 Cursive, measure 54-57 ................................................................................................... 5
Figure 4 Diagram of Brush ............................................................................................................ 7
Figure 5 Winter (冬) in Slender Gold style.................................................................................... 8
Figure 6 Brush-Stroke, mm. 1-4.................................................................................................... 9
Figure 7 Slender gold style at mm. 1-4 ........................................................................................ 11
Figure 8 Autobiography, Huai-Su, Tang dynasty, AD. 777. ....................................................... 12
Figure 9 Let Us Promise for a vocalist, suona, bamboo flute, pipa, and percussion ................... 15
Figure 10 Spectral analysis of Winter Cold of Nanguan singing part ......................................... 15
Figure 11 The Spectral Analysis of Syllable ............................................................................... 17
Figure 12 Sparking, one big brush, mm.1-40 .............................................................................. 18
Figure 13 Sparking, mm. 17-24 ................................................................................................... 19
Figure 14 Sparking, mm. 50-52 ................................................................................................... 20
Figure 15 Clouds Flying High, mm. 26-28 .................................................................................. 22
Figure 16 Murray Schafer, classification of sound based on physical property .......................... 27
Figure 17 Murray Schafer, rhythmic cycle of natural soundscape .............................................. 28
Figure 18 Spectral analysis of rockfish ........................................................................................ 31
Figure 19 Acoustic pattern of rockfish ........................................................................................ 32
Figure 20 Ocean Reverberation, diel pattern and its representation in form ............................... 33
Figure 21 Spectral analysis of blue whale ................................................................................... 33
Figure 22 Blue whale sound in Ocean Reverberation ................................................................. 34
vi
Figure 23 Ocean Reverberation, 1’15’’ - 1’25’’.......................................................................... 35
Figure 24 Dreaming Beluga, mm. 5-7 ......................................................................................... 36
Figure 25 Spectral analysis of Ocean Reverberation, 3’36’’-3’48’’ ........................................... 37
Figure 26 “Maci Lumah,” transcription in Western notation....................................................... 40
Figure 27 Maci Lumah, mm. 20-21 ............................................................................................. 42
Figure 31 Maci Lumah, mm. 203-208 ......................................................................................... 48
vii
LIST OF TABLES
Table 1 .......................................................................................................................................... 17
Table 2 .......................................................................................................................................... 36
viii
LIST OF SUPPLEMENTAL RECORDINGS
Recording 1
Sparking (2020)
Premiered by Palimpsest Ensemble
Conducted by Aleck Karis
Sound recorded by UCSD Department of Music
Recording 2
Ocean Reverberation (2020)
Electronic: Yi-hsien Chen
Sound recorded by UCSD Department of Music
Recording 3
Maci Lumah (2020)
Premiered by National Taiwan Symphony Orchestra
Conducted by Ye, De-Zheng
Sound recorded by National Taiwan Symphony Orchestra
ix
ACKNOWLEDGEMENTS
I always believe that my five years of study at UC San Diego is the most important part of
my compositional journey. I take this opportunity to express my deepest gratitude to all my
committee members. I would like to thank Professor Lei Liang who has been an important
influence on me in artistic, educational, and personal perspectives. This is absolutely my greatest
privilege to learn with him in these five years about how I should prepare myself as a composer,
educator, and thinker in today’s environment. His supportive encouragement has widely broadened
my horizon not only in composition but also in many fields, such as Chinese and Western
philosophy, art, and historical study, which always motivates me to seek the artistic creativity with
greater depth and width.
I would also like to thank Professor Anthony Burr who greatly helps my research of
soundscape. Through his knowledge in electroacoustic composition and its development in history,
I am able to enrich the study of Concrete Music of Pierre Schaeffer to make my soundscape
research persuasive. Professor Shahrokh Yadegari has deepened my study of heterophony not only
in technical details but also in a manner that connects with a wide cultural and educational thinking,
allowing me to examine our musical culture with different approaches. In addition to all these
diverse perspectives, Professor Tanaka Stefan pointed out his interest in “vertical time” in my
study of calligraphy and provided his unique and professional viewpoint about non-linear time,
which later influenced me about the concept of time in my soundscape composition. Professor
Shen Kuiyi, on the other hand, provided me with his professional insight of Chinese painting and
art history, which enriches my study of Chinese calligraphy and its practice in music.
x
VITA
2007-2011 Bachelor of Arts in Music Composition, Taipei National University of Arts
2012-2015 Master of Fine Arts in Music Composition, National Taiwan Normal University
2016-2021 Ph.D. in Music Composition, University of California San Diego
PUBLICATIONS
“What is Line? The Practice of Calligraphy in Music” Journal of Xinghai Conservatory of

Music, April 2021.
FIELD OF STUDY
Major Field: Music
Focus: Musi Composition
xi
ABSTRACT OF THE DISSERTATION
Exploring Imaginary Landscapes:

A Practice of Brushstroke and Soundscape in Compositions
by
Yi-hsien Chen
Doctor of Philosophy in Music
University of California San Diego, 2021
Professor Lei Liang, Chair
This dissertation focuses on two aspects that deeply rooted in my compositional thinking.
The first idea discusses the artistic quality of brushstroke and its musical equivalence in
compositions. In ink painting and calligraphy, a single line consists of a series of complicated
movement carefully controlled by the calligrapher, forming a rich layering in one brush. In my
observation, the phenomenon of multi-dimensionality in a line is similar to the texture of
xii
heterophony where we experience the multiple layers of simultaneous variation organized by the
movement of a primary line. With the experience of calligraphy, it expands my interest of ink
painting to the larger acoustic world of soundscape.
The first chapter includes the analysis of brushstroke and two compositions of Lei Liang
and Chou Wen-chung that employ the techniques of ink painting. I also discuss my work, Sparking,
for twelve instruments, to introduce how I discover the characteristics of heterophony in
brushstroke, and how calligraphy relates to my musical experience of Nanguan.
The second chapter introduces the theoretical background of soundscape and its practice
in my composition. In Murray Schafer’s research, he categorizes various environmental sounds as
keynote, soundmark, and signal, etc., based on their individuality, numerousness, and domination,
in a physical space to provide an insight about how we perceive and interpret them, such as
semantically, functionally, culturally, and historically. In this chapter, I take Schafer’s work as the
theoretical basis to demonstrate my use of the environmental sounds in my electroacoustic
composition, Ocean Reverberation.
With the experience of brushstroke and soundscape, the third chapter focuses on my
orchestra piece, Maci Lumah, in which I combine these two aspects to form my imaginary
landscapes.
The last chapter concludes with the overview of my musical journey focusing on the
philosophical question about line proposed by Chou Wen-chung and the artistic response about
my compositional thinking in general.
xiii
INTRODUCTION
Following Chou Wen-chung (1923-2019) and Lei Liang (1972-), who are known as a
composer of calligraphy, the artistic quality of brushstroke deeply inspires my compositions and
my way of viewing the sound. One important element in calligraphy is its multi-dimensionality in
one brushstroke. Both Chou and Liang have discovered its musical potentials and established their
compositional languages to respond to this inspiration. In the first chapter, I analyze selected
examples from two works, Cursive (1963), and Brush-Stroke (2004), composed by Chou and
Liang respectively, to examine the practice of brushstroke in music. In the second part of this
chapter, I discuss my work, Sparking (2020), to demonstrate how a single brush could be viewed
as the texture of heterophony, or a line as organized otherness, and how calligraphy relates to my
experience of Nanguan (南管, literally meaning Southern Pipe).
The second chapter focuses on the study of soundscape and its illumination on our
compositional thinking. The theoretical concept of soundscape will be discussed based on Murray
Schafer’s (1933-) methodology. Following his idea, I analyze my soundscape composition, Ocean
Reverberation (2020), to present how I cooperate the soundscape study of oceanic ecology with
my compositional process. This part provides an entirely different view of environmental sound
and its role in composition.
The analysis of my orchestra piece, Maci Lumah (2021), will be the major discussion in
the third chapter. With the experience of soundscape study and calligraphy, this piece presents a
broader viewpoint about the multi-dimensionality of the line in sound. In the conclusion, I provide
a brief overview of my musical journey focusing on how calligraphy and soundscape transformed
my compositional thinking.
1
Chapter 1: Chinese Calligraphy and Music
Chinese calligraphy is considered as the cultural foundation for a wide variety of art forms
in Asia. The unique beauty of calligraphy lies in the sophisticated collaboration between ink and
brush. When an experienced scholar views a line, he or she is able to observe its multi-
dimensionality through its density and linear trajectory. The explanation of this multi-
dimensionality could be found in Chiang Yee’s (1903-1977) Chinese Calligraphy (1973) as the
tradition of “Method of Three Folds:” a brush technique comprised of a series of three movement,
“Dun” (頓, meaning crouch), “Ti” (提, meaning raise), and “Dun.”1 As shown in Figure 1, it
seems that this horizontal line is formed by the primary direction from left to right. Yet, the
execution of brushstroke in this stroke is not simply unidirectional. In “Method of Three Folds,”
before the brush initiates the rightward main line, a slight left turn with pressure has to be made to
prepare and strengthen the beginning part. This is the first “fold” called “Dun.” The second “fold,”
“Ti,” indicates the rightward main line where the brush is raised slightly to move a little faster.
The last “fold,” “Dun” is used again to wrap up the entire movement, making a solid ending for
this line. “Method of Three Folds” has been referred as the most basic technique of calligraphy.
Figure 1 Method of Three Folds
1
Chiang Yee. Chinese Calligraphy: an Introduction to Its Aesthetic and Technique. Cambridge, Mass.: Harvard
University Press, p. 147, 1973.
2
1.1 The Multi-Dimensionality of Line and Its Practice in Sound
In the movement of brushstroke, some composers can perceive its rhythmic pulsation or
timbral variety and treat it as materials for compositions. There are some elements shared by both
music and calligraphy, so we could find some works inspired by this idea. For example, The Points
for solo pipa (1991), composed by Chinese composer, Chen Yi (1953 - ), presented the idea of the
eight gestures of brushstroke in the Chinese character “Yong” (永). The other composer, such as
Jia, Daqun (1955 - ), composed The Three Images from Ink-Wash Painting (2005), for chamber
orchestra, to depict the finer nuances of Chinese ink-painting focusing on three different
techniques of ink-painting – “Gong Bi” ( 工筆 , meaning the technique of highly detailed
brushstroke), “Jin Ran” (浸染, meaning the technique of delicate dip-dye images), and “Po Mo”
(潑墨, meaning the technique of splashed ink). 2
Historically, Chou Wen-chung was the first composer who employs the technique of
calligraphy in music. His understanding of multi-dimensionality in one line could be found in his
probing question that he loved to challenge his students: “When is a line not a line?”3 His thought
of incorporating the theory of calligraphy in composition was elaborated in his letter to Yayoi Uno
Everett. In this letter, Chou demonstrated the idea of his pitch theory, variable mode, and how each
modal scale functioned as a stroke in music.4 Obviously, Chou’s persistent pursuit of calligraphic
sound has widely influenced many composers in his following generations. Lei Liang, considered
as a composer who inherited Chou’s spirit, developed a highly individual technique, one-note
polyphony, which opened up new possibilities of combing with the materials of calligraphy and
2
Liner note to Chamber Works by Jia, Daqun, Franklin, Tennessee: Naxos Regular CD (2015).
3
Fonseca-Wollheim, Corinna da. “Chou Wen-Chung, Composer and Calligrapher in Sound.” The New York Times,
19 Oct. 2019.
4
Chou, Wen-chung, Excerpts from a letter to Yayoi Uno Everett regarding Chinese calligraphy, 2006.
3
ink-painting.5 Although the music of Chou and Liang were different, they both explored the idea
of multi-dimensionality in a line and its practice in sound. In this part, I focus on this idea through
the analysis of the works composed by Chou and Liang.
Cursive for flute and piano was composed by Chou at the suggestion of the flutist, Harvey
Sollberger (1938-), and the pianist and composer, Charles Wuorinen (1938-2020), who gave its
world premiere at McMillin Theater, New York City. According to Chou, he specified the musical
quality in cursive style:6
Cursive refers to type of script in which the joined strokes and rounded angles result in
expressive and contrasting curves and loops. The cursive script represents the essence in
the art of Chinese calligraphy as its expressiveness depends solely upon the spontaneous
but controlled flow of ink which, through the brush-stroke, projects not only fluid lines in
interaction but also density, texture, and poise. These qualities, translated into musical
terms, are often found in the music for wind and string instruments of the East. In this score,
the cursive concept has influenced the use of specified but indefinite pitches and rhythm,
regulated but variable tempo and dynamics, as well as various timbres possible on the two
instruments.
This observation made through the lens of composer’s eyes and ears is original. One important
characteristic of cursive style that Chou pointed out is the simultaneous interaction between
spontaneous and controlled elements. The following Figure 2 shows the character of cursive style,
Mo (墨, meaning ink), from Autobiography by Huai-Su (737-799). 7 Compared with the original
Mo shown next to the Figure 2, Huai-Su created an eruptive and expressive curve while
maintaining the general framework, making this character identifiable in the context. As we see,
the strokes in the original character are merged together to form a huge line with Huai-Su’s
spontaneous and controlled movement of brush. In Chou’s Cursive, the collaboration between
5
Ban, Lixia. “The Compositional Technique and Artistic Characteristic in Sonic Brush of Lei Liang.” Chinese Music,
Vol. 3, 2016.
6
Chou, Wen-chung, “preface to Cursive.” C. F. Peters Corporation, 1963.
7
Huai-Su, a calligrapher and monk of Tang dynasty (618-907), was known for his wild cursive style.
4
these two contrasting concepts could be found in the interplay of timbre, pitch, and rhythm.
Although Chou himself never specified that Huai-Su’s wild cursive was his compositional
inspiration, I found that his calligraphy was a great example to demonstrate some salient features
in Chou’s music.
墨
Figure 2 Mo in cursive style
At measure 50-72, Chou used variable tempo, but with a specified gradation of the speed
change and dynamic variation, to combine with pitch progression and the extended techniques
(See Figure 3).
Figure 3 Cursive, measure 54-57
5
In Figure 3, we see that the pitch movement outlines a clear framework of the calligraphic
line, while the tempo is varied between the range of = 100 and = 132. The timbral variety
produced by the extended techniques of piano and flute is like the ink layering of the brushstroke.
As a calligrapher, Chou knew that the rhythm of the brush movement was never done in a metrical
way. We could also find how Huang Binhong (1865-1955), a Chinese ink-painter and calligrapher,
commented the execution of brushstroke. He referred to the execution of brushstroke as following
five principles: 1. Ping (平, smooth) 2. Yuan (圓, rounded) 3. Liu (留, remaining) 4. Zhong (重,
heavy) 5. Bien (變, change). 8 The principle of Yuan especially indicated the concept of tempo. He
wrote:
The stroke is always moving forward with the slight motion of turning back so that the
starting point and the ending part are tightly connected and supported with each other. With
calmness and attentiveness, the speed of the stroke may not be too rush or too slow.9
In his comment, “not too rush and not too slow” indicated that a calligrapher controls the speed of
brush without being too fast or slow in order to make the stroke appear as natural as “water stains
on a wall.”10 Thus, the rhythm of writing should be flexible so as to adjust the flow of ink. With
this idea, Chou’s Cursive is a persuasive example that successfully demonstrates the rhythmic
characteristic of brushstroke.
On the other hand, Liang’s one-note polyphony seeks a different dimension to present this
inner complexity of brushstroke. As he notes, the technique was inspired by the music of guqin in
which one single note could be executed by a hundred ways of finger techniques. The melodic line
in guqin music is not only a succession of notes but also comprised of a series of finger gestures
8
Huang, Binhong. The Artistic Notes of Huang, Binhong, edited by Nang Yu. Ho Nan: Ho Nan Fine Art Press, 1998,
p. 30.
9
The original text is : 筆有回顧，上下映帶，凝神靜慮，不疾不徐.
10
Water stains on a wall is referred when Huang discusses “Remain.” It is the metaphor that represents the highest
level of calligraphy.
6
in various directions, which, at this point, is similar to the line of calligraphy. 11 Liang is interested
in creating and resynthesizing the timbres based on the single note through instrumental colors to
explore and challenge our perception of the changes and transformations in one sound. 12 While
guqin serves as a strong reference to one-note polyphony, he also views this technique as a brush
and brush-hairs. The concept of “one-note” is similar to the brush held by the calligrapher who
controls its movement and pressure. When the brush moves, the ink in brush-hairs spreads
spontaneously on the paper where we see its layering. This part corresponds to the idea of
“polyphony.” 13 So, the brush itself serves as the controlled material, which is the pitch as he refers,
and the brush-hairs is like the timbres with variable characteristics (See the following Figure 4). 14
Figure 4 Diagram of Brush
Liang’s Brush-Stroke was commissioned by Stephen Drury (1955-) and the Callithumpian
Consort who gave its world premiere at the New England Conservatory of Music’s Enchanted
Circle Concert Series in 2005. As Yayoi writes, this piece might be inspired by two styles of
calligraphy– slender gold of emperor Hui-Zong of Song (1082-1135) and the wild cursive style of
11
Ye, Ming Mei. The Musical Art of Guqin. Taiwan: The Commercial Press in Taiwan, 1992.
12
Lei Liang, “Some Vital Experiences and an Artistic Statement,” People’s Music, Vol. 585, 2012.
13
This idea is provided by Liang in the interview, 2019.
14
Wen Xing, Hiding The Tip – Gateway to Chinese Calligraphy, p. 12.
7
Huai-Su.15 The title of the piece is separated by a slash to indicate two different sections – “Brush”
and “Stroke,” which respectively stand for these two styles of calligraphy.
In my observation, the first part, Brush, serves to provide the best experience of one-note
polyphony since it depicts the style of slender gold through refined transformation of timbre in
slow tempo. Slender gold is characterized by its thin but sturdy stroke. This name originates from
the idea that it looks like the gold filament. In this style, the tip of the brush and the movement
“Dun” are directly exposed at the starting and turning point of the stroke, making the ink appear
dark and dense. On the other hand, “Ti,” in the middle of the stroke, might be raised too high so
that the ink hardly penetrates the paper and appears pale. The following Figure 5 shows the
character of slender gold, Dong (冬, meaning Winter), from Hui-Zong’s Thousand-Character
Essay.16
Turning point
Showing the tip
Figure 5 Dong in slender gold style
How does Liang interpret such sophisticated movement of brush through one-note polyphony? At
mm. 2-4, the note, F, has gone through several times of timbral transformation (See Figure 6a). At
m.2, the F is performed by the oboe, marimba, and vibraphone in the same register. As we could
see, the tremolo of marimba and the short attack of vibraphone may serve to enhance the starting
point of the F line. At the middle point, m. 3, the oboe is gently took over by the clarinet and flute.
15
Yayoi, Uno Everett, Liner Notes to Brushstroke by Lei Liang, New York: Mode Records (2009).
16
Chinese Calligraphy, translated and edited by Wang Youfen (New Heaven: Yale University Press, 2008).
8
And this is the moment when the composer starts layering the pitch F using violins and viola (See
the reduction of Figure 6b).
The main line of the sustaining F
Open the sustaining F
Figure 6 (a) Brush-Stroke, mm. 1-4
9
Figure6 (b) Brush-Stroke, score reduction, mm. 3-4
Following with the bright color of the crotale, the calligraphic line, sustaining F, is finally
finished with the short glissando-gesture of the clarinet. Because the flow of pitch in the first phrase
is very static, the melodic figure of the oboe at the m. 1 is relatively active. The soft attack of
vibraphone and the tremolo of marimba at m. 2 further emphasize this quality, which seems to be
analogous to the turning point in the style of slender gold. In addition, the high Eb of crotale,
produced by bowing technique, seems like part of the F because it is the 7th partial in the overtone
series of f6. At this point, this technique highlights the 7th harmonic partial of the f6. It is as if Liang
intentionally exposes this harmonic partial to make it stand out from the harmonic spectrum of f6.
I observe that this idea greatly resembles the exposure of the tip of the brushstroke in slender gold
style. Figure 7 shows the comparison between the character, Dong, in slender gold style and Brush-
Stroke at mm. 1-4.
10
Figure 7 Slender gold style at mm. 1-4
1.2 Heterophony: A Line as Organized Otherness
Both Chou and Liang are the compositional heroes who greatly inspire me to pursue my
calligraphic sound. What they reveal to us, is not simply the compositional tool but a crossing
medium experience. They capture this inner beauty perceived by hearing and vision based on the
aesthetic of Chinese art. Even a listener who might be unfamiliar with Chinese calligraphy is able
to appreciate the unique quality they created in their music.
While they have established the compositional approaches through focusing on pitch
theory, timbral development, or the interaction between controlled and variable elements, etc., I
am particularly interested in the interplay of various smaller lines combined in one brush, which I
found it surprisingly similar to the texture of heterophony. One of my favorite discussion of
heterophony could be found in The Wellsprings of Music written by Curt Sachs (1881-1959), he
writes as follows:17
17
Curt Sachs, The Wellsprings of Music, edited by Jaap Kunst, The Hague: M. Nijhoff, 1962.
11
Heterophony, derived from the Greek word héteros, different, is a vague and noncommittal
expression. It covers, or should cover, all possible types of otherness in voice cooperation,
between the opposite extremes of unison and of invertible counterpoint; it should designate
the slightest deviation from a tolerably accurate unison as well as a Bachian quadruple
fugue – they all are ‘other-sounding.’
As he points out, the essential idea in heterophony is that how otherness (or different elements),
are organized and cooperated together. The multi-dimensionality in a calligraphic line, in my
observation, is as Sachs discussed that all different elements are carefully manipulated and
organized by the primary linear force, which is produced by calligrapher’s brush, to form a
heterophonic cooperation. With this idea, I view the multi-dimensionality of the brushstroke as “a
line as organized otherness.” The example of heterophony in brushstroke could be found in Huai-
Su’s Autobiography (See following Figure 8).
The trajectory of ink flow from

dark and dense to light texture
At least five smaller lines could be

observed in this stroke.
The line is diverged as two smaller

lines
Figure 8 Autobiography, Huai-Su, Tang dynasty, AD. 777.
In Figure 8, the long vertical stroke consists of many smaller and thin lines since the ink in
brush-hairs almost dries out, making the stroke disperse as multiple lines. Sometimes, the brush
moving on the paper with specific angles may cause the line to diverge. (The curve in the lower
12
left is the example.) When we view the calligraphy in Figure 8, there is a beautiful trajectory of
ink flow starting with dark ink at the first character and gradually down to pale ink with multiple
lines as it approaches to the end of the stroke. All this transformation is done without previous
draft under Huai-Su’s magical control. It makes me feel that this is like the music evolving from
monophony to the line of heterophonic texture where all small lines and elements are like different
voices moving in an organized way.
My idea of organized otherness is inspired by the concept of “organized sound” by the
composer, Edgard Varèse (1883-1965), in which he treats timbre, texture, and sonic space as
separated dimensions to manipulate and create “a movement of sound-masses.”18 Apparently, we
find the inheritance of Varèse in Chou’s philosophical thinking about brushstroke in music as he
writes:19
Line, mass, and their interaction, together with such elements as articulation, duration,
intensity, and timbre, are organized into an integrated body of sound that ebbs and flows –
in the manner of a tonal brushstroke in space – with ever-changing motion, tension, texture,
and sonority.
The idea of “different elements are organized into an integrated body of sound that ebbs and flows”
reminds us of “a movement of sound-masses” and “organized sound” proposed by Varèse. Hence,
following Varèse and Chou, I think the idea of a line as organized otherness could demonstrate the
beauty of calligraphic line. In this part, I focus on some selected examples of my piece to present
two inspirations – heterophony in one line and Nanguan singing.
Sparking, composed in 2020 for twelve instruments, was commissioned by Aleck Karis
who conducted and gave the premiere in Conrad Prebys Concert Hall in 2020. This piece presents
my observation of heterophony in brushstroke.
18
Edgard Varèse, “The Liberation of Sound,” Perspectives of New Music Vol. 5, No. 1, 1966, pp. 11-19.
19
Chou, Wen-chung, “Towards a Re-Merger in Music,” Contemporary Composers on Contemporary Music, 1978.
13
This inspiration of viewing the brushstroke in heterophonic way is also associated with my
experience of listening to Nanguan, a Chinese traditional ensemble comprised of one female
vocalist and five to ten male instrumentalists.20 According to Chui-Kuan, Lu (1952-), Nanguan
originated in the Yellow River area of China during the third century and was performed in the
rituals and the national events.21 It was later introduced to Taiwan in the early eighteenth century
and became a musical genre mostly for self-cultivation.22 In Taiwan, Nanguan was classified as
one of the highest musical forms that could only be appreciated and played by the elites of the high
social class.23
In Nanguan, what really interests me is its singing part. For me, it echoes with the idea of
“one-line heterophony” in Huai-Su’s work. Traditionally, the vocalist sings the lyric, in Minnan
dialect, in a manner that over emphasizes the vocal gesture of syllable in order to enhance the
dramatic expression of the narrative content. If we look at the spectrum of its singing and compare
it with Huai-Su’s calligraphy, we find that the way the spectrum varies is similar to the ink flow
in Figure 8 (See the Figure 10).
20
There are five performers served as the fixed members of Nanguan ensemble: pipa, bamboo flute, vocalist, three-
strings plucked instrument, two-string bowed fiddle, and percussion. The instrumentation is adjustable based on the
need of rituals.
21
Lu, Chui-Kuan, Music from the Long Distance. Taiwan: Ministry of Cultural Center, 2013.
22
Wang, Yin-fen. “Lessons from the Past: Nanguan/Nanyin and the Preservation of Intangible Cultural Heritage in
Taiwan.” Music as Intangible Cultural Heritage: Policy, Ideology, and Practice in the Preservation of East Asian
Traditions. SOAS Musicology Series, 161-80, 2012.
23
In 2009, Nanguan was included in the “Representative List of the Intangible Cultural Heritage of Humanity” by
United Nations Educational, Scientific and Cultural Organization.
14
Figure 9 Let Us Promise for a vocalist, suona, bamboo flute, pipa, and percussion24
Ta ng
Figure 10 Spectral analysis of Winter Cold of Nanguan singing part25
24
Tsai Hsiao-Yüeh (蔡小月). Ballades chantées par Tsai Hsiao-Yüeh. Paris: Distribution, Harmonia Mundi, 1993.
25
The spectral analysis is done through software, Sonic Visualizer. The recording for the analysis is based on the
recording of Tsai Hsiao-Yüeh.
15
The spectral analysis of the singing is the word, Tang (冬, meaning winter in Minnan
dialect), from a piece called Winter Cold. The vocalist emphasizes each syllable of the word, and
a word could be usually subdivided as two or three syllables. In this case, Tang is comprised of
two syllables: “Ta” and “ng” (The latter is a nasal sound). As shown in Figure 10, “Ta” is an open
vowel sound that produces a bright sonority with rich harmonic spectrum, whereas the nasality of
“ng” filters most higher partials above the bin frequency of 5297-5340 Hertz. This is the reason
that we could perceive such clear timbral transformation in Tang from a rich sound to the one with
muffled quality, which is like the ink flow I discuss in Huai-Su’s example in Figure 8. With the
experience of calligraphy, listening to Nanguan gives me the impression that each syllable and
word is like a brushstroke. This is, undoubtfully, a new mode of listening that I acquired after a
long time of immersing myself in the sonic world created by Chou and Liang.
In Sparking, I choose four syllables from Winter Cold as the compositional materials to
represent four different strokes in calligraphy. In order to make full use of them, I analyzed each
syllable’s sonic quality and its calligraphic characteristic (See Table 1). The use of these syllables
in my piece does not serve to provide any semantic meaning or narrative content other than pure
acoustic materials. What I want to do is to let my audience listen to the transformation and
gesticulation of the sound itself. Any attempt to interpret these materials through extramusical
ideas might only impede one to perceive and enjoy this work.
16
Table 1
Syllable Sonic Quality Stability Type of Stroke

Thin and smooth in “Ti” technique in the “Method
Tee (Sky) Very stable
long duration of Three Folds.”
Tang (Winter) “Tang” is featured by its ending
Heavy and with strong
(Ta - - ng) Stable nasality, which is similar to the
nasality in the end
ink flow as I refer in Figure 5.
Kwuah (Cold) “Kwuah” is similar to the stroke
Expanding and open
(Kwu - - ah) with the ending part especially
gesture in long duration Unstable
emphasized without the
(See Figure 11)
pressure.
Solid attack in a short “Dun” technique in the
Tu Stable
duration “Method of Three Folds.”
Kwu ah
Figure 11 The Spectral Analysis of Syllable, Kwuah
17
I bring two selected examples from Sparking to introduce my approach of transforming the
syllables into the instrumental sound. The first section of the piece, mm. 1-51, is based on a single
melody. I treat it as one big brush. Each timbre and its variations in this line, is like the ink in
brush-hairs that flows and expands to produce a wide variety of ink transformation. The big line
is like the primary linear force of brush controlled by the calligrapher. So, the entire section
presents a line as organized otherness. The following Figure 12 shows the first section in reduction
score.
*This one brush could also be subdivided as four local parts
1st part 2nd part 3rd part 4th part
Figure 12 Sparking, one big brush, mm.1-40
The thought of this big brush was to challenge myself about how long the brush could
sustain that might still be perceived as a complete line, and I ended up creating a three-minute-
long brush which almost reached my threshold of perception.26 About the use of syllable, the first
example is Kwuah (寒, meaning cold in Minnan dialect), at mm. 17-24. It begins with large-leap
line and proceeds to the technique of multiphonics played by the clarinet. In this part, the clarinet
is layered by the harmonic glissandi of string part to echo with the spectral expansion of the “ah”
26
This idea was inspired by one-line calligraphy, a technique of cursive that sequences of characters are written with
a single line. Yet, the process of writing is maximized to zoom in the details of ink flow and linear movement, which
is done in a way that I slow down and expand the entire line to three minutes.
18
b µ ww w
#w
B b Cl. & w w 46 ∑ 44
P f
Bsn.
? ∑ ∑ 46 ∑ 44
23 œ >
5
∑ shows ∑ ? q6 = 50Œ - 60 ofŒ this Œsyllable.
Œ Œ ¿ 44
B
&The 4
With Flexible Tempo
of “Kwuah.”
Hn. 15
R
Figure 11 rit. the 2spectral 3
analysis 2 3
The harmonic
4
glissandi
& ≈‰ Œ Œ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 4 ∑ 4 æ∑
Ç
Fl.
Ï
also serve to strengthen the overall growth of harmonic partials (As shown in Figure >13).
& œ ∑ ∑ 46 Œ Œ Œ Œ Œ ¿ 44
42 43 42 43 44
B b Tpt.
Ob. & R ≈‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ æ∑
Ï Ç
b œ- œ
˙ . C 6q = œ70vib. poco
6
-
23
44
non vib.
23 œ ∑ ∑ 3œ œ ∑ ˘ b œ œ . ≈ 4 multiphonics
& R ≈‰ Œ Œ ∑ 2 3 46 2 j 43 ‰∑ n - ≈ 44
B b Fl.
Cl. & ∑ 4 ‰ 4 4 ∑ 4 œ 4 b ww-
Ï ∏ ƒ ˙ œ P F p
ß p
3
Ïp
Hp.
? 46 j 44
[D b-D, E b-E, G#-G]
profoundly
∑ ∑
poco
? r≈ ‰ Œ Œ ∑ 2 ∑ 3 ∑ 46 œœ . ∑ 2 3 4 4
& œ ∑ 4 ∑ 4 w 4 ∑ 4 ∑ ∑ 4 ∑ 4
through the technique ofw> .multiphonic
Ob.
Bsn.
Ï up the solo
Open line
23 µ w w
bw 6 44
vib.
& ∑ #w ∑ 46 ∑∑
&
15
2 w ∑ 3 4 2 3 4 4
& w
B b Cl.
∑ ∑ 4 4 ∑ ∑ 4 ∑ 4 ∑ 4 ∑
P f
Hn.
Cel.
& ∑ ∑ 46 ∑ 44
? ∑ ∑ 6 ∑ 4
4 4
2 3 2 3 4
Bsn.
B b Tpt. & ∑ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 4 ∑ 4 ∑
>¿ >¿ >¿ >¿ >¿
try to gradually increase III
s.p.
cue by conductor the speed of glissando, but
#œ ¿ >J # >œ
vib.
23
æ æ æ æ æ J Œ
46 44
3 3 don't expand the range of gliss. s.p.
& ‰ # · · · · ·∑ ∑ ? Œ Œ Œ J Œ ¿
æ 3
Vln.
Hn.
π ∑ ∑ ß 42 p∑ F3 43p
15
& ∑ 42 ∑ 43 F ∑ ∑ ç 44 ∑ Ç
3 3
Ç
with growing intense
>
∑ 46 ord. 4
Hp. IV
?
& ∑ · ∑ ∑ 42 ∑ ∑ 43 Œ ∑ Œ 42 ∑Œ 3 Œ vib.s.p.∑
Œ 44 ∑¿ 4
vib. molto
· >¿ 4 # œ- 4
B b Tpt.
s.p.
#· æ
B Œ 46 Œ ‰ j j j
cue by conductor 3
æ æ æ J œ œ ¿ J 4
¿ >
Ç
Vla.
p ß fsub. p ß p
∑π F
15
42 43 ∑ 6 2 3 p ∑ 44
3
∑ ∑ ∑ ∑ ∑
& 4 4
3
23
& ∑ ∑ 4 ∑ 44
#· >
∑¿
Cel. s.p. IV
# # ·· · ··∑ 42 43
& Œ ∑ ∑ ∑6 ∑ 42 43 ∑ 443 >∑œ ¿ .
? Œ Œ Œ œ 4
cue by conductor
4 Ï ¿ 4
Hp.
> J R J
? 6 4
G#-G]
Vc.
[D b-D, E b-E,
∑ π ß∑ P ß P
F 4 j ßp 4
3
œ
ww .. œ
15
∑ ∑ 2 ∑ 3 > ∑ 2 3 4
& 4 4 ∑ 4 ∑ 4 ricochet ∑ 4 ∑
? 6 ˙ 44
Vln. s.p.
∑∑ ∑∑ Œ Œ17-24Œ
23
&
Figure 13 Sparking,446 mm. œ∑ 4
æ
D.B.
> π
Cel. ç
∑ ∑ 6 ∑ 4
& 2 3 4 2 3 4 4
Vla. B ∑ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 4 ∑ 4 ∑
¿ >¿ > >¿ >

III
linear>¿ interaction
try to gradually increase
¿
s.p.
This 23process also creates a heterophonic texture based on the
#œ ¿ >
between vib.
æ æ æ æ æ 6 J J #œ 4
& ‰ #· · · · · j 4 Œ J 4
tap on the strings with palm
? Œ ‰intense MM 42 3 ∑ ∑ ß 42 ∑ F3 43p ∑ ç 344

Vln.
π ∑ Œ growing ∑ 4 p ∑ 3Ç
F
3
Vc. with
M
violin, viola, and cello. They form a simultaneous
M variation based on the vibration of multiphonics.
>
ç IV vib. molto
· # · heterophony
· # œ- 4 case
s.p.
>¿
with higher bowing pressure vib. ord.
This idea is related to thej r 6 I observe in Huai-Su’s
of brushstroke work. A similar
↺
cue by conductor vib. molto s.p.
B
? Œ Œ ‰ 2 j j j
3
œæ æ # œ æ ˙ œ ≈‰ 2 3 ∑4 3 œ 44 ¿ >∑ J 4
3
4 ∑ 4 ∑ 4¿ ∑ 4 J œ ∑
Vla.
D.B.
œ œ œπ œ3 œ ˙with growingœintense fsub. p ß p
> > > F p ß
ƒ f at mm. ƒ Ï texture unfoldsp with the layering of
3
could also be found 28-38 where L.V. the heterophonic the

#·
IV
>¿
s.p.
#· · · >œ ¿ .
? Œfragments
Œ # · strings,
· 46 Œ Œ œ 44
cue by conductor 3
similar melodic in winds, and harp. ¿
Vc.
> J R J
π
3
F ß P ß P ßp
The next part comes with the example of Tang, a word with two syllables. As I refer above,
ricochet
? 6 ˙ 4
s.p.
∑ ∑ 4 Œ Œ Œ 4
it has a special sonic characteristic formed by two
D.B.
syllables – the firstœ “Ta” with
æ open vowel, the
> π
ç
19
˘
œ œ œ bœ
œ œ
Ob. & 43 J J R ≈ ‰ Œ Œ 46 ∑
ƒ F 3 3
ç
>˙ > ˘
œ
6
3 ≈ r ≈ ‰ Œ Œ 6 ∑
B b Cl. &4 œ 4
ƒ F #œ œ œ œ
f ç
œ #œ œ > nœ
? 3sound.
second “ng” of nasal #œ
Tang first
œ J
appears at mm. 49-52.
Œ Œ It is46 the climax
∑ where the dynamic, R ≈ ‰
4
œ
Bsn.
F 3
ç
rhythmic activity, and the textural complexity are ˘built up. This climax represents two ideas – the
? >œ
50
3 œ ≈ ‰ 6
Hn. & 4 œJ ‰ œ
J
œ
R &Œ Œ 4 ∑
P ßp 3
ç
rich spectrum of the syllable
˙.
“Ta,” and the dark and dense layering of ink. What follows after this >œ
3 6
remove mute
B b Tpt. &4 R ≈ ‰ Œ Œ 4 ∑
ƒ
dynamic peak is the intense
>œ œ # œ subharmonic sonority created by the vertical bowing of cello and
#œ œ
6
50
3 œ 6
&4 œ œ #œ ∑ 4 ∑
œ
f
double bass. This technique
Hp. refers to my
>
imagination
>
that the ink almost dries out and cannot
6
?3 œ #œ œ ‰ j ‰ j Œ 6 ∑
4 J œ –– 4
–– ––
ç ––
– >
f
3
penetrate the paper 50anymore

b œ¯
after the previous climax, yet the force of brush still continues. It also Ï
œ̄ ¯ œ
3
3 œ ∑ 6 ∑
&4 œ 4
< < bœ œ
< >
represents the quality f ç
? 3 of nasal sound of “ng,” which is greatly similar to this way of ink flow.
Cel.
6
3
4 ∑ ∑ ∑ 4
b >œ √
œ
3 æJ
50
œ ˘œ œ 6
&4 æ æ r ≈ ‰ Œ Œ 4 ∑
> bœ
Vln.
ƒ ƒ fl
3
>œ
b >œ B œ .
II
& 43 æ b œæ œæ
r ≈ ‰ 46
IV
Œ Œ ∑
Vla.
> æ æ œ
ƒ fl
Ï
>œ ˘œ
3 r? j R ≈ ‰ 6
&4 æ œ ≈ Œ Œ 4 Œ Œ Œ Œ Œ
non vib.
fl œæ æ ≈ œ.
Vc.
ƒ π
Ï
Try to trigger the subharmonic
increase bowing pressure
octave lower to the F
gradually
?3 Œ 6
vertical bowing vib. poco
Œ j
wide vibration
4 ‰ 4 ¬
9 3
œ œ œ œ œ œ >œ œ œ œ >œ œ œ ˙ – œ- œ
D.B.
ƒ >
wildly Ï Pgradually
slow bowing release
Figure 14 Sparking, mm. 50-52
The challenge of working on calligraphic sound always came from the struggle that how I
could find my distinctive voice without laboring in the shadows of Chou and Liang, who are
internationally recognized as the composer of calligraphy. 27 Thus, I searched for other sonic
materials that potentially resonated with the idea of multi-dimensionality, trying to expand my
compositional tools to establish my musical language. Nanguan singing, in this case, was one of
27
Fonseca-Wollheim, Corinna da. “Chou Wen-Chung, Composer and Calligrapher in Sound.” The New York Times,
19 Oct. 2019.
20
my answers that I found its melodic line was not just a line, but a line organized by emotional
depth, expression, and timbral variety.
Needlessly to say, the attempt on adopting the technique of Nanguan singing in
composition is common among Taiwanese composers. Pan Shyhji (1957 -), a composer and formal
student of Chou, created a piece, Clouds Flying High (2013), for Chinese dizi, sheng, pipa, violin,
viola, and cello, that combined the tonal inflection and vocal gesture to establish the texture of
heterophony.28 This piece influenced me a lot while working on Sparking. In Figure 15,29 Pan
transformed the descending inflection of the word of Minnan dialect into short glissandi of strings
and two descending lines, in 16th notes of quintuplet or sextuplet, played by dizi and pipa. This
example has multiple streams with different speeds. In the comparison between dizi, pipa and
strings, it seems to me that the two descending lines are the variation of strings’ glissandi, as if she
uses these scale materials to emphasize the gradational movement of the glissandi and makes dizi
and pipa sound slower. Thus, I observe that the idea of descending line serves as the primary line,
leading the streams of dizi and pipa to form a heterophonic texture. In Clouds Flying High, Pan
was good at creating this temporal and timbral stratification centered around the main vocal gesture
of Nanguan singing.
28
Interview with Pan, 2018.
29
Pan Shyhji, Clouds Flying High, 2013.
21
Example 7
5
accel. Moderato The simultaneous variation and expansion of the descending gesture
& 85 œ . œ 44 œ œ œ œ b œ b œ œ b œ œ œ œ œ œ œ œ b œ b œ œ œ 43
26 6
œ ˙.
Di
p f
œ . œ .
5
5 4 # œ - j ‰ Ó ‰ ‰ j 43
&8 4 #œ œ #œ j ‰ Œ
œ œ
Sheng
p f œ
p
& 85 œ . œ 44 œ # œ œ œ n œ œ # œ œ n œ œ # œ œ œ œ œ œ œ œ œ n œ ˙æ. 3
26 5
œ œ œæ. 4
6
æ æp
Pipa
f p f
? 85 44 43
œ. œ
5 æ æ 4 ‰ # œ ~ ~ ~# œ œ ~~~~# œ n œ ~~~~ œ # œ œ n œ n œ ‰ j 3
26
Vln. &8 4 œ bœ œ#œ œ ~ ~n œ œ ~ ~b œ . 4

p f p f
œ . œ B 4 # œ- . œ
pizz.
5 Ó Œ j j ‰ 43
arco
&8 4 J #œ bœ . œ. œ œ
p
Vla.
f p
&8 5 ‰ b œ œ 4
4 b œ œ b œ œ œ ~~ ~ n œ ~
~~b œ œ ~ ~b œ œ œ œ n œ b œ œ œ b œ œ # œ n œ n œ b œ œ œ
5 6
43
Vc.
œ
p f p f
3 5 b œ ˙ œ œ œ œ # œ inflection
œ b œ œ œ b œ œof 44the# œlangauge 3
6
Œ 4 ‰ J Descending
29
&4 nœ œ #œ œ nœ œ #œ #œ ˙ 4
˙
Di
p F
5
Èœ ˙ œ # œ œ b œ œ œ œ Flying
œ œ 4 œ œ œHigh,
& 43 45 ‰ J 15 Clouds 43
6
j‰ Œ Œ Figure 4 b œ n œ b œ œmm.
œ œ œ
26-28
œ bœ
œ
Sheng
p F 5 p F
œ
& 43 æ Œ 45 Ó Œ œ œ ‰ 44 Œ Œ ‰ j ‰ 43
29
J œ
˙ b œ œ
Pipa
F
?3 5 4 3
4 4 4 4
& 43 Œ 45 Ó Œ ‰ Jœ ~~~~ œ œ ~~~~~~44~~~ œ b œ ~~~~~b œ n œ œ b œ b œ

œ œ bœ œ ‰ j 43
29
˙ œ.
Vln.
p F
B 43 b ˙æ ˙. œ.
œ œ œœ b œ 45 æ j 44 Ó . 43
5
æ # œ ~ ~# œ
arco
œ
pizz.
Vla.
P p
3 Œ 5 4 3
& 4 #˙ 4 ‰ œJ ˙ œ b œ œ œ n œ ~~~~ œ 4 œ b œ ~ ~ ~ ~ œ œ b œ b œ œ n œ œ b œ n œ b œ n œ b œ œ n œ b œ 4
5 6
Vc.
Í p F p F
22
Chapter 2: Environmental Sound and my Electroacoustic Composition
During these years, the study of calligraphy and its practice in music encourages me to
pursue more diverse manifestation of sound through experimenting with unusual instrumental
techniques and the environmental sounds. While composing Sparking, I was aware that the
understanding of the physical property in Nanguan singing is made possible only through the
assistance of technology. Of course, my experience of performing Nanguan music might also play
part of it, but it is the spectral analysis that assists me for better understanding and finding a precise
instrumental color to orchestrate the sound of syllable I used to compose. In this chapter, I discuss
the concept of soundscape proposed by Murray Schafer and the use environmental sound in my
composition.
2.1 Complex Sound
During the twentieth century, the development of the tools for analyzing sounds, such as
recording technology, spectral analysis, and sonograms, played a crucial role in advancing our
understanding of sound and encouraging more composers to search a wide variety of sonic
materials. Following with Luigi Russolo’s (1885-1947) manifesto, The Art of Noise (1913),30 we
witnessed a growing interest in the study of noise among Western composers at that time (which
is still an on-going trend today), and some of them, including Russolo, addressed an imperative
need of searching for new kinds of instruments that could reach beyond the capability of the
traditional instruments. In my observation, this might mainly come from people’s dissatisfaction
of the long domination by Western traditional notation which seemed to over-simplify the entire
30
Russolo, Luigi. “The Art of Noise: futurist manifesto 1913.” New York: Something Else Press,
1967.
23
universe of sound and limited the composers to only work on twelve pitches of equal temperament
for over the past hundred years.31 We also saw rich resources that helped composer deliver their
prophetic vision with new ways of sound making. One of the pioneers at that time, Varèse, wrote
about the idea of new musical apparatus in 1936:32
Today with the technical means that exist and are easily adaptable, the differentiation of
the various masses and different planes as well as these beams of sound, could be made
discernible to the listener by means of certain acoustical arrangements. Moreover, such an
acoustical arrangement would permit the delimitation of what I call “zone of intensities.”
These zones would be differentiated by various timbres or colors and different
loudness...The role of color or timbre would be completely changed from being incidental,
anecdotal, sensual, or picturesque; it would become an agent of delineation, like the
different colors on a map separating different areas, and an integral part of form.
Moreover, the new musical apparatus I envisage, able to emit sounds of any number of
frequencies, will extend the limits of the lowest and highest registers, hence new
organizations of the vertical resultants; chords, their arrangements, their spacings – that is,
their oxygenation.
When the electronic music became accessible beginning in the mid-twentieth century,33
many composers worked in this direction and proved the feasibility of controlling parameters of
sound. For example, Karlheinz Stockhausen (1928-2007) summarized four characteristics of
electronic music that he practiced in his piece, Kontakte (1958-1960): 1) the correlation of the
coloristic, harmonic-melodic, and metric-rhythmic aspects of composition; 2) The composition
and de-composition of timbres; 3) the characteristic differentiation among degrees of intensity; 4)
the ordered relationships between sound and noise.34 With these ideas, Stockhausen was able to
manipulate each parameter of a sound to create strict organization of graded transition in timbre,
frequency, and volume.
31
Tristan Murail. “The Revolution of Complex Sound,” Contemporary Music Review, 24:2-3, pp. 121-135. 2005.
32
Edgard Varèse, “New Instruments and New Music,” Contemporary Composers on Contemporary Music, edited by
Elliot Schwartz and Barney Childs (New York: Holt, Rinehart and Winston, Inc., 1967), pp. 197-198.
33
Otto Deri, Exploring Twentieth-Century Music (New York: Holt, Rinehart and Winston, 1968), p. 137.
34
Karlheinz Stockhausen, “The Concept of Unity in Electronic Music,” Perspectives of New Music, 1. 1962, pp. 39-
40.
24
On the other hand, Pierre Schaeffer (1910-1995) carved out an entirely different path
focusing on the materials from environmental sounds. In Musique Concrète, the use of the
surrounding sounds in composition enabled us to experience its musical quality. He believed that
the basic unit in music was not pitch but the “sound object,” or “complex note,” that contained
three dimensions as follows: tessitura, dynamic, and spectrum.35 Apparently, Schaeffer broke the
barrier between the musical sound and complex sound, as well as the barrier between the concert
hall and the environment, encouraging many composers to reimagine the matter of sound and its
artistic manifestation in composition. Tristan Murail (1947-) referred to Schaeffer’s idea of “sound
object” when he talked about the concept of musical atom and our perception of sound. He believed
that Schaeffer’s legacy was an important part of the musical revolution of the 20th century that
deeply changed people’s viewpoint of the sound:36
The very essential idea that the musical ‘atom’ is not the notehead written on staff paper.
The musical atom is the perceptual atom, tantamount, perhaps, to Pierre Schaeffer’s ‘sonic
object.’ It is possible as well that there is no perceptual atom, that music is indivisible, that
we perceive only flux.
Murray Schafer, who also credited Schaeffer with his study on environmental sound, expanded the
idea to establish a systematic methodology on the soundscape research. While Schaeffer focused
on the compositional use of environmental sound, Schafer’s soundscape study provided a broader
study on the environmental sound, including its historical, semantic, cultural, and natural aspects.
The purpose of this study is to improve the sonic environment in Vancouver. This research
encouraged an interdisciplinary collaboration that musicians, acousticians, historians,
psychologists, etc., worked together to figure out how to reduce unpleasant noises and preserve
good sounds in our environment. This project resonated with many scholars from different fields
35
Pierre Schaeffer, In Search of a Concrete Music, translated by Christine North and John Dack (Berkeley: University
of California Press, 2012), p. 192.
36
Tristan Murail, “The Revolution of Complex Sounds,” pp. 121-135.
25
of study in environment and ecology. For example, Juju C.S. Wang, a Taiwanese sociologist and
professor at National Tsing Hua University, suggested improving the design of soundscape based
on Schafer’s theoretical approach to enrich our aural experience of the expression of Shin-Zhu city,
making the element of soundscape as an important part in constructing the city landscape.37 For
scientists, the soundscape analysis provided the opportunities for monitoring the population and
communities of oceanic species in a specific area. This was especially useful for interpreting the
significance that how resources partitioning among diverse species is varied during the daytime
and night.38
In these ideas, I am personally interested in investigating sounds from Schafer’s
perspective. While his acoustic design truly pioneered, the methodology of his analysis on
environmental sound provided me with the great tool to compose with soundscapes. For Schafer,
the purpose of this research was educational. He hoped to cultivate people’s ability of making
distinction between various types of sounds and their association with possible meaning in order
to develop good understanding about which sound we want to preserve in the environment. Based
on the experience of World Soundscape Project, he created the classification of sounds based on
its physical property, referential aspects, and aesthetic qualities.39 (See the Figure 16).
Above all these detailed classifications, there is a large category of the features of
soundscape proposed by Schafer, which allows one to generally categorize some sounds. I briefly
summarize and quote this category from Schafer’s glossary of the soundscape as follows:40
37
Juju C.S. Wang, “Soundscape’s Expression in the Two-city Case: Imagination of Environmental Society,” Journal
of Building and Planning National Taiwan University, NUMBER 10, Dec. 2001, pp. 89-98.
38
Philip A. Hastings and Ana Širović, “Soundscapes offer unique opportunities for studies of fish communities.”
39
Murray Schafer, Our Sonic Environment and the Soundscape the Tuning of the World (Rochester, Vermont: Destiny
Books, 1994), pp. 136.
40
Ibid., pp. 272-274.
26
1. Keynote sound: it is the sound or noise heard continuously from a space to form a
background, which is like the ambient noise. It is often perceived unconsciously, but
keynote sound serves to provide the reference for other types of sound we heard and the
perception of the space.
2. Sound signal: its quality is contrasted to the keynote sound. Sound signal draws our
attention and sometimes presents messages.
3. Soundmark: it is the sound that marks the feature of the community or makes people
recognize where they are. This term and its use are derived from “landmark.”
4. Sound event: it is a symbolic, semantic or structural object. Event is defined in dictionary
as: “something that occurs in a certain place during a particular interval of time.”
5. Archetype sound: the ancient, mysterious, unknown sounds.
Figure 16 Murray Schafer, classification of sound based on physical property
As we can see, the general category might be derived from the concept of musical structure
as we hear melody as sound signal, harmonic progression as keynote, and soundmark as style, etc.
Rhythm and tempo also play an important role in soundscape analysis. Depending on what sounds
we trace, there are many kinds of sounds with different rhythmic cycles occurring every day. This
observation reveals many beautiful rhythmic trajectories and their interactions in a given space.
27
The following Figure 17 shows Schafer’s recording of the rhythmic cycles of chirping frogs and
birds from 6 pm to 6 am at rural site near Vancouver.41
Figure 17 Murray Schafer, rhythmic cycle of natural soundscape
While Schafer never used environmental sounds in his compositions, as Barry Truax
pointed out,42 he raised our awareness of the acoustic diversity in ecology and inspired an entirely
different compositional approach, which makes “Soundscape composition” different compared
with those created by Schaeffer. Truax distinguished “soundscape composition” from those
electronic compositions with the use of digital processing, and wrote:43
The soundscape composition typically reverses the process because in a sense, the sound
“uses” the composer, and ultimately the listener, in that it evokes in each wealth of difficult
to verbalize images and associations, all of which guide the composition and its reception.
The distinction is subtle because it involves a difference in musical process that
conventional analysis of the end product (e.g, form, materials, structural organization) may
not reveal.
With these fundamental features, I think the important idea in soundscape composition is to evoke
listener’s appreciation and understanding of the sonic ecology and to cultivate the new mode of
listening (which is referred by Schafer that “listening should be musical”). 44 Instead of framing
41
Ibid., p. 231.
42
Truax, Barry. “Soundscape, Acoustic Communication and Environmental Sound Composition,” Contemporary
Music Review, 15: 1-2, 1996, pp. 49-65.
43
Ibid., p. 60.
44
Murray Schafer, Our Sonic Environment and the Soundscape the Tuning of the World (Rochester, Vermont:
Destiny Books, 1994), pp. 136.
28
the sound as a consumable product, the composers of soundscape present their selected
environmental sounds with little electronic transformation, letting us “hear” a natural panorama of
changing landscapes and their experience of these environments. We could actually find this
equivalence in some of my favorite Chinese poems created by Wang Wei (699-759), a poet of
landscape poetry in Tang dynasty, whose works were characterized by its simplicity and the
ingenious presentation of the natural objects to evoke reader’s emotive reaction to the landscapes.45
I believe that a soundscape composition has the similar quality to inspire us to appreciate the
landscapes through the artistic presentation of natural sounds.
In addition, the creator of the soundscape composition is not like the traditional composers
who situate themselves at the highest position in the compositional process to control and
manipulate the materials. In soundscape composition, the natural sound and composer are equally
important. The way we compose with this sound (or the sound uses us, as Truax says) is based on
this dynamic interaction that we are guided by the environmental sounds to compose to reveal their
musical qualities. In my experience of Chinese calligraphy, we could also find this relationship
between the calligrapher and rice paper. The rice paper is one of the mediums that the calligrapher
uses to perform his or her artwork. The quality of rice paper, unlike the modern paper, is soft,
flexible, and easy to preserve.46 Each rice paper is made with various qualities and textures, making
our painting experience different depending on the paper we choose. One factor that affects the
movement of brush is the level of absorbency of the paper. Some papers with glue coating on the
surface might reduce ink running, others have coarse surface that increases the possibility of ink
45
Wang Wei, Hiding the Universe: Poems, translated from the Chinese by Wai-lim Yip. New York: Grossman
Publishers, 1972.
46
The rice paper is made from vegetable fibers from mulberry plants left after the silkworms eat the leaves. It is
quoted from Self Caroline and Self Susan’s The Art of Chinese Brush Painting: Ink, Paper, Inspiration. Tokyo:
Rutland, Vt.: Tuttle Pub, 2009.
29
flow. With these different qualities, calligrapher must carefully control the speed of the brush to
let ink properly penetrate the paper. This process requires us to constantly pay attention on how
the paper reacts to ink absorbency and the pressure of the brush. Painting or writing on the rice
paper is a dynamic interaction between the calligrapher’s brush control and the reaction of the rice
paper. Hence, calligraphers not only create landscapes on the rice paper, but their brushstrokes are
also shaped and guided by the texture of the rice paper.
With this interactive relationship, I treat environmental sounds as the rice paper where we
experience its unique texture and ever-changing nature. Through the transparent transformation
and minimal edit of the sound, I borrow the environmental sound to paint an imaginary landscape
to reawaken people’s appreciation of the simplicity of the materials, as what I observe on rice
paper and soundscape.
2.2 The Compositional Practice of Oceanic Acoustic Ecology
From 2018 to 2020, I was fortunate to participate in the seminar, Hearing Seascape, led by
Lei Liang to collaborate with the scientists from Scripps Institution of Oceanography and
Qualcomm Institute. In this seminar, I created a soundscape composition, Ocean Reverberation,
based on the recordings of oceanic creatures. While this project provided the opportunity for us to
develop a wide variety of collaboration, there were two particular aspects that I was interested in.
The first idea was related to the compositional use of soundscape recordings and how I
responded to the data from scientist’s acoustic research. The second idea, which was more personal,
was inspired by the story from the scientists about their experience of snorkeling. This composition
was made using the software, Audacity, and premiered simultaneously with the video of 3D model
of coral reefs at California Institute for Telecommunications and Information Technology. Since
30
this piece does not have a score, the auxiliary materials for the following discussion are based on
my graphic sketch, spectral analysis of the recordings, and the data from Scripps Institution of
Oceanography. In this piece, all the oceanic recordings were generously provided by the team led
by Ana Širović, a professor of Department of Marine Biology at UC San Diego. Her recording
archive included diverse species of oceanic creatures, each of which were labeled with its sonic
characteristics and the date of recording.
Among these materials, the sounds of the rockfish and the blue whale immediately drew
my attention. Especially for the sound of rockfish, the acoustic research done by Širović provided
the insight about their social behavior and distribution based on the use of passive acoustic
recording.47 (Figure 18 shows the spectral analysis of rockfish’s call using Audacity. Its sonic
characteristic is described as “boeing” sound by Širović.)
Figure 18 Spectral analysis of rockfish
One of the observations that interested me was the call rates the rockfishes made during
the diel pattern. The following Figure 19 shows the results from two types of rockfish they
recorded in the tank. Two peaks presented in the graphs show the times that the most active rates
of call were made by rockfishes.48
47
It is speculated that the rockfish makes sound for mating, foraging, and territorial defense.
48
Ana Širović, George R. Cutter, John L. Bulter, and David A. Demer, “Rockfish sounds and their potential use for
population monitoring in the Southern California Bight,” ICES Journal of Marine Science, 66, 2009, pp. 981-990.
31
Rockfish sounds 987
The shaded area represents the local night-time determined by United States Naval Observatory. The symbol above
two graphics, 135-IP and 175-IP, indicate “individual pulses” made by rockfish. 135 and 175 mean their center
frequency.
Figure 19 Acoustic pattern of rockfish
This rhythmic cycle revealed an interesting fact that different species of rockfish might be active
at different time during the diel pattern, which allowed scientists to predict their community
interaction.49 At that time, I found its potentials in structuring the form of composition.
Ocean Reverberation is divided as two parts to represent daytime and the night respectively,
each of which includes the sound from one of the rockfishes shown in Figure 19. The sound of
rockfish in the first section is comprised of low frequency pulses with soft quality, whereas the
secondFigure
one3.isDielactive
pattern ofand
sound dense
productionwith
for the high frequency.
five rockfish This
sounds recorded way
in the SCB: of arrangement
(a) 135-IP; demonstrates
(b) 175-IP; (c) 650-RP; (d) 150-RP; and the
(e) SB-AM. The x-axis is in UTC (local time ¼ UTC – 7 h) and the shaded areas represent local night-time as determined from the sunset and
sunrise times published by the United States Naval Observatory, averaged over the duration of the deployment. The bars represent standard
possibility of designing the form of composition based on the acoustic pattern of rockfish. The
errors.
(e.g. shortbelly, speckled, and blue rockfish). In the latter, however, possible. Finally, the visual and passive-acoustic data were not
following Figure 20 shows the sketch of two rockfish
perhaps the sounds are produced by a coexistent, yet less abun-
sounds in two sections, each of which is
always collected at the same location and depth on the bank.
dant, species. For example, 175-IP was best correlated with Shortbelly rockfish, for example, were generally sighted at depths
labeledspeckled
with rockfish,
the day which often form mixed-species groups that
and the night.
included bocaccio and squarespot rockfish (Sebastes hopkinsi;
greater than the deployment depths of the acoustic recorders.
The low source level of rockfish sounds (ca. 110 dB re 1 mPa at
Love et al., 2002). In addition, a similar sound was recorded in 1 m; Širović and Demer, in press) suggests that the relevant
tanks containing captive bocaccio (Širović and Demer, in press). species mixture is that which is proximate to the recorders.
Another issue is that the visual-survey data were collected three All these factors can be addressed in the future by more closely
years before the passive-acoustic survey. Although rockfish are coupling visual and passive-acoustic efforts.
generally long-lived and have reasonably small ranges (Love A number of other pulsing sounds probably emanating from fish
et al., 2002), changes in species proportions between years are was recorded during this study, but they cannot be linked to
49
Before this research, rockfish was generally thought that they were without soniferous mechanism. It is through
Širović’s long-term observation that proves its highly developed system of acoustic communication.
32
The flow of frequency
Second type of rockfish sound
First type of rockfish sound
Figure 20 Ocean Reverberation, diel pattern and its representation in form
On the other hand, the use of recording of blue whale is based on different idea. Blue whale
is the species highly relying on sound production for social communication and foraging. Its call
is able to travel for very far distance in the ocean because of its low frequency and high volume.50
In Širović’s research, the frequency of blue whale call they recorded was mainly located at around
20 Hz. They used automatic detected methods to record their voices. (The following Figure 21
shows the recording of blue whale) They found that blue whale calls were active between June
64 Endang Species Res 28: 61–76, 2015
and January, with a peak in September.51
frequency
Time (seconds)
Figure 21 Spectral analysis of blue whale
With this study, I am interested in expanding the blue whale call as a long phrase that
penetrates throughout the entire piece. This idea is primarily inspired by the fact that how far their
Fig. 2. Example spectrograms of blue whale (Balaenoptera musculus) B calls (top) recorded on 10 September 2010 (2 s analysis
window, 95% overlap, Hann window) and fin whale 20 Hz calls (bottom) recorded on 9 October 2010 (1 s analysis window,
95% overlap, Hann window). Both recordings were made at Site M (see Fig. 1). Dotted circles on the blue whale B call mark
locations where frequency was extracted for kernel creation. Lines on the fin whale spectrogram show frequency bands used
for calculating the fin whale call index, with the solid black line at 22 Hz marking the fin whale (signal) band and dashed grey
lines marking noise bands used to evaluate background noise
50
Ana Širović, Ally Rice, Emily Chou, John A. Hildebrand, Sean M. Wiggins, Marie A. Roch, “Seven years of blue
and fin whale call abundance in the Southern California Bight,” Endangered Species Research, Scripps Institution of
Oceanography, University of California San Diego, La Jolla, California 92093-0205, San Diego State University, San
Diego, California 92182-7720, USA., Vol. 28: 61-76, 2015.
51
Ibid., p. 63.
33
sounds could travel under the sea. The Figure 22 shows the sketch of blue whale call in Ocean
Reverberation.
The recording of blue whale call

that sustains the entire piece
The flow of frequency
Figure 22 Blue whale sound in Ocean Reverberation
In the first part of the piece, the blue whale call is amplified to be the foreground sound as
if we zoom in to the sound to closely observe its dynamics and energy. Following by the second
part, which is where the rockfish sound with high frequency starts getting active, the blue whale
call becomes softer to gradually merge with the background sound until it stands out again at the
end of the piece. It is my intention to demonstrate the possibility of employing and developing the
sounds of oceanic creatures based on their habitual behavior. So, the data and research paper by
Širović serve as the important reference for the creative process in my composition.
The second idea about this piece was from an interesting experience shared by the scientists
about how they found that all sounds were distorted and blurred due to the high pressure of deep
sea when they were snorkeling. In that occasion, they realized that the seascape and its soundscape
seemed to be separated as two different worlds: the one that was visible and measurable, and the
other that was aurally distorted and unfathomable. In Ocean Reverberation, I wanted to reconstruct
this underwater experience to create an imaginary landscape where listener came to feel not only
physically, but also aurally.
34
In addition to the recordings of the rockfish and the blue whales, I included four more sonic
materials in this piece. They were sounds of water flow, ocean wave, and two musical fragments
borrowed from my previous works, Dreaming Beluga (2019) for string quartet and KUN (2019)
for solo saxophone. To create my imaginary landscape, I organized these materials following
Schafer’s general category of sounds, trying to construct a virtual soundscape to make listener feel
as if they were in a physical environment. Each sound was connected to one of the items in the
soundscape category, such as soundmark, sound signal, keynote, etc. Yet, its category could be
changed as the quality of sound was transformed either to become more individual or blurred. One
example could demonstrate this idea is that I slowed down and lowered the volume of the blue
whale sound, which originally appeared as a sound signal at the beginning, to make it merge with
the background sound. In this way, its category was changed from sound signal to keynote. This
part is analyzed using sonic visualizer in Figure 23.
Rockfish sound emerges as a new sound signal
Blue whale sound

as sound signal
Transform to become keynote sound
Blue whale sound is transformed to merge with background sound
Figure 23 Ocean Reverberation, 1’15’’ - 1’25’’
Thus, this piece brings a world where the quality of the sound is constantly varying,
changing our ways of perceiving these sounds. I categorize these six sounds based on Schafer’s
category in Table 2. Most sounds could be defined as two types of categories depending on how
they develop.
35
Table 2
Name of sound Description of characteristics Category
Short “boeing” sound, similar to the effect of frequency
Rockfish Sound signal
modulation
Long phrase with low frequency Sound signal
Blue whale
(around 20 Hz) Keynote
Sound signal
Water flow
Dreaming Beluga
Bright sound with high frequency
Keynote
Sound with low frequency, similar to the sound of blue Sound signal
Ocean Wave Premiered in 2019; revised in 2020
whale
√
Keynote
Yi-hsien Chen
Softly, Subtle Breathing from Beluga q = 60
Dreaming Beluga Harmonic glissando, short and wave-like glissando in Soundmark
≤ airy noise on III string high register, and tremolo.
seamlessly connect to pitched sound
¿
(transcription of beluga whale)
œ . ˙ w.
Keynote
ord.
& 46 Œ of beluga J
‰ whale) j ‰ Œ trillŒ in high register and long sustained pitch
airy noise on IV string
KUN
Harmonic Soundmark
¿
Violin I
(transcription
∏ P ∏ P p
ethereally
a subtle song emerging from
¿≤
deep ocean
airy noise on III string
follow the linear gesture to
In this piece, soundmarks are the two create
quotations from noise my previous works. The purpose of using
6
the glissandi of airy
&4 Œ ‰ j
Violin II
¿
them is to create∏ Pinteraction∏
a dynamic between my voice and the environment, F whichπ is inspired
a subtle song emerging from ethereally
deep ocean
>—
by the relationship I
between the calligrapherfollow
and thegesture
riceto paper. The Figure 24 shows the one of
arco ≤ ¿
airy noise on IV string the linear
B 46 ‰ J
create the glissandi of airy noise
Œ ‰ j ‰ J
pizz.
ß from Dreaming ¿
Viola
Beluga for ∏
∏ P
the quotations string quartet, a transcription of beluga whale I did for
riccochet on strings
F
ethereally
π
the projects of˘7 Hearing
a subtle song emerging from
behind the bridge
‰ 77 ≤j
deep ocean
Seascape. The Figure 25 shows the spectrogram of the part (from 3’36’’
airy noise to
on III string
? 6
4 ‰ Œ Œ Œ Œ Œ Œ
arco bowing on the tail (low)
Œ Œ ≈ j Œ Œ ‰
ßthis quotation interweaves with^ the sounds of ocean wave 6 . ^ . and rockfish. πy
Cello
π
3’48’’) where
F morendo f
(√)
deeply
œ. ˜œ. —highest
. pitch ˜ œ œ.
5 w ˜ ˙ œ œ œ ˙
&
P π
Vln. I
p
˙. ˙ œ œ œ œ
seamlessly connect to pitched sound
¿. ˜œ. ˙ µœ ˜˙ œ
ord.
Vln. II &
P π P π
>
1 >— . ± . ± ± ± æ
highest pitch on II
B æ æ æ æ æ Œ Œ Œ Œ Œ Œ Œ (¥œ )
II
ßp
Vla.
P morendo
ßp
>j
poco
— >— — ± ± ± ±
highest pitch on III
‰
? æ æ æ æ æ æ Œ Œ Œ (·œ ) Œ Œ Œ Œ
II pizz.
Vc.
ßp P morendo f
poco
glissando on the extreme high pitch;
—. —. — . Figure 24
—. !.
light bowing
! Beluga, mm. 5-7!
#˙
try to make the slight variations
Dreaming
8
&
vib. with wide vibrato
P P
Vln. I
∏ ∏
œ œ 36 — . —.
light bowing
œ #˙ µœ — — !.
vib. with wide vibrato
&
∏ P
Vln. II
p ∏ P
Fragment from Dreaming Beluga
(soundmark)
Rockfish sound (sound signal) Ocean wave noise (keynote)

Figure 25 Spectral analysis of Ocean Reverberation, 3’36’’-3’48’’
37
Chapter 3: Maci Lumah for Orchestra
So far, I have discussed about how to create a complex line and soundscape texture from
the perspectives of calligraphy and Schafer’s approach. It seemed like a journey that we first
learned drawing a line and then progressed to landscape painting with all the sonic palettes. While
these two works, Sparking and Ocean Reverberation, present totally different ideas, they are
centered around the main focus on how to reveal various characteristics of a sound to construct a
larger sonic picture. Thus, I believe my experience from calligraphy to soundscape is not the abrupt
change, but a natural development along the line of my pursuit of the multi-dimensionality of the
sound.
From 2020 to 2021, I had the chance to conceive an orchestra piece, which, for me, might
be a good opportunity to experiment with the idea of soundscape in a greater complexity. However,
instead of building such complexity based on my previous experience of Sparking and Ocean
Reverberation, I decided to multi-dimensionality in one line. Again, this idea brought me back to
Chou’s philosophical challenge: “When is a line not just a line?”
This piece was completed in 2020 and premiered by National Taiwan Symphony Orchestra
in 2021. The title was borrowed from the name of Bunun song, literally meaning “Song of Carrying
Heavy Things.” Bunun is a Taiwanese aboriginal and is widely dispersed across central mountain
area.52 They created numerous songs based on the topics about life, the story of their ancestors,
and work of harvest. One category of the most frequently performed music is called “song of labor,”
a type of music created to sing with each other while working together in the mountain, and “Maci
Lumah” belongs to this type. “Maci Lumah” is performed when adult Bunun finishes his work in
the mountain, he sings this song as a way to send the message telling other Bunun workers: it is
52
Lu, Chui-Kwuan, Taiwanese Traditional Music: Instrumental Music, Taiwan: Wu Nan Tu Shu Press, 2007.
38
time to go home. Other people who hear the song may respond with the same melody, meaning
that they have received the message.53 In this way of performance, “Maci Lumah” has a beautiful
heterophony that we hear many similar melodic lines echoing with each other in a mountain. Each
voice is different in its timbre, tempo, and the distance.
In 2020, when I was hiking in a mountain where a large population of Bunun was located,
I happened to hear this song from far away. There was a female voice coming from one side of the
mountain and the same melodic response of a male voice approaching to us from the other side.
When more and more echoes emerged from different directions, all melodies gradually merged
together to form a large heterophonic texture. There was an impressive moment when the human
voice got softer and vanished, which seemed to merge to be part of the natural soundscape. The
process that the song merged with the soundscape shifted my focus from the song itself to the
beautiful scene of the mountain. At this point, I felt that my aural and visual perception temporarily
blended together, creating a sensation that I felt the landscape through listening to this song; and I
experienced the song through viewing the landscape. Figure 26a shows part of my transcription of
“Maci Lumah” based on the recording of Bunun Lileh Chorus.54
53
Lileh Bunun chorus, The Sound of Unyielded Lives: Traditional Music of the Bunun Tribe, liner notes for “Maci
Lumah” by Sani, Taiwan IFPI LT027, 2013, compact disc.
54
Lileh Bunun chorus, The Sound of Unyielded Lives: Traditional Music of the Bunun Tribe, with vocalists Tiang,
Langus, Biling, Tanivu, Pihu, Taiwan IFPI LT027, 2013, compact disc.
39
Figure 26 (a) “Maci Lumah,” transcription in Western notation
Figure 26 (b) “Maci Lumah,” pith material of the phrase
As we see in Figure 26a, the song is based on the melodic line repeated with slight variations in
each voice. Sometimes the singers transpose the melody lower or higher to fit their vocal ranges.
Figure 26b shows this core melodic line of the song.
In the following section, I focus on several parts of the orchestra piece to discuss about my
personal experience of “Maci Lumah.” There are two aspects as follows: 1) the spatial
40
characteristics of “Maci Lumah,” 2) the interaction of song and soundscape. As I mention above,
this song is performed by a group of people locating at different places. With my experience, I
summarize three different distances from which I perceive this song: a) the song that is too far
away that we hardly identify its melodic contour; b) the song in a distance that we can still identify
its flow of melodic line, rhythm, and the timbre; c) the song that is so close to make us immerse in
the color of their voices. These three distances enable me to reveal multifaceted sides of this song
in my orchestra piece, as if we can zoom in and out of it, making its spatial characteristics possible
to be perceived by the audience. Taking the second distance as example, I expand the melodic
contour of the song from the original vocal range to a wide pitch register of the orchestra. In this
way, I could use various instrumental colors to orchestrate the human voice of different distances
(See the following Figure 27a and b).
41
5
17 B q = 70 Maci Lumah; Broadly
Fl. 1 & ∑ ∑ ∑ 44 ∑ ∑
jet whistle
≈ > ≈ œ- . œ bœ. ˙
& ∑ ∑ ∑ 44 Œ Ó ≈ J
p f
Fl. 2
ß
jet whistle >
œ- >œ
espress.
r
≈ ≈ ˙ œ œ
Fl. 3 & ∑ ∑ ∑ 44 Œ Ó ‰ J J
ß p F
3
>œ ˙
espress.
j
bœ
œ
Ob. 1 & ∑ ∑ ∑ 44 ∑ Œ ‰ J
ßp 3
b >˙
espress.
j
Ob. 2 & ∑ ∑ ∑ 44 ∑ Œ Œ
œ
ßp
44 > j >
espress.
& ∑ ∑ ∑ j ‰ Ó ‰ j bœ œ bœ
œ
3
B b Cl. 1
bœ œ J
ƒ œ œ œ P
ßp p espress. ƒ
44 >
B b Cl. 2 & ∑ ∑ ∑ j ‰ Ó ∑
bœ œ
ßp ƒ
? ∑ ∑ ∑ 4 ∑ ∑
B. Cl. 4
Bsn. 1
? ∑ ∑ ∑ 44 ∑ ∑
Bsn. 2
? ∑ ∑ ∑ 44 ∑ ∑
C. Bn.
? ∑ ∑ ∑ 44 ∑ ∑
& ∑ ∑ ∑ 44 ‰ j j ‰ Œ
bœ œ ˙ ˙ œ
Hn. 1, 2
π F π
Hn. 3, 4 & ∑ ∑ ∑ 44 ‰ j j ‰ Œ
œ œ ˙ ˙ œ
π F π
B b Tpt. 1 & ∑ ∑ ∑ 44 ∑ ∑
B b Tpt. 2 & ∑ ∑ ∑ 44 ∑ ∑
? 4 -̇ w
Tbn. 1 ∑ ∑ ∑ 4 Œ Œ
π
? ∑ ∑ ∑ 44 Œ Œ
Tbn. 2
-̇ w
p
? ∑ ∑ ∑ 44 Œ Œ Œ
B. Tbn.
b œ- œ. œ. œ
p F P
Tuba
? ∑ ∑ ∑ 44 ∑ ∑
? œæ ˙æ œæ Œ Œ ∑ Œ Œ Œ Œ 44 j ‰ Œ Ó ∑
Timp.
˙æ œ
f π p >
ß
. >œ œ-
with soft mallet
‰ æœ 44
∑ ˙ œ ‰ Œ ∑ j
‰ Œ Ó Œ Œ ‰ Œ
Perc. 1 ã æ J œ
J J
π F ß P
≈ œ ≈ Œ >œ
with soft mallet center
∑ ∑ Œ Œ Œ Œ 44 œ
J ‰ Ó Œ Œ Œ
Perc. 2 ã æ œæ
œ- . œ F π f p
≤
& Œ Œ ‰ œ- . ˙ œ ‰ Œ Œ Œ ‰ Œ Œ Œ Œ Œ 44 ∑ ∑
bowing
Vib.
J
p ƒ p F
44
with soft mallet
∑ ∑ Œ Œ Œ œ ‰ Œ Œ ∑ ∑
Perc. 3 ã J
π
˙ >˙ ˙ ˙ ˙ œ b >œ
æ Œ ∑ 4 bœ ‰ Œ Ó ∑
&æ æ æ æ æ 4 J
Mrb.
ƒ p morendo ƒ
? ∑ ∑ ∑ 44 Œ b ˙æ œæ ˙æ. Œ
p f π
b >œ
& ∑ ∑ ∑ 44 b # œœœœœ ‰ Œ Ó ∑
J
Hp. ç
? ≈b œ œ œ œ œ Œ 44
6
∑ Œ Œ Œ Œ ∑ ∑ ∑
œœœœœ
p f
s.p.
j B q = 70 Maci Lumah; Broadly
b O Ȯ . æ æ æ æ
œOOœbb œO ..Oœ . æ
non-pitch airy noise
O œOOœ œOOœ œOOœ ‰ Œ Œ ‰

‰bœ . b b wOw
arco
4
unis.
& Œ Œ . j 4 ∑ ∑
æ æ æ æJ æ ƒ
Vln. I
IV ¿
p f π p
j
sharply
morendo
æ æ æ æ æ
s.p.
Œ ‰
wO Ow œOOœ œO ..Oœ .. œOOœ œOOœ œOOœ ‰ Œ

arco
44
unis.
& ∑ j ∑ ∑
divisi
æ æ æ æJ ¿æ ƒ
Vln. II
π f π
IV
p sharply
j
morendo
æ æ æ æ b >œ
s.p. unis.
wO Ow œOOœ œO ..Oœ . œOOœ œOOœ œOOœ ‰ Œ

arco
44 j
vib. molto
& ∑ bœ ≈ Œ
divisi
B
. œ ˙. ˙ œ
fl
Vla.
π æ æ æ æJ ƒ F f ß
f π P
3
± ˘
morendo airy noise on the highest espress.
œ bœ ≈ Œ ≥
position of the first string
∑ b b Ow Oœ Oœ .. Oœ Oœ Oœ ‰ Œ ?Œ æ 44 ‰ œ œ
s.p. I vib. molto
& J ≈ bœ bœ ˙.
æ æ æ æJ
Vc.
π p f p ß >
fπ sharply F P
morendo espress.
arco
? æ
∑ ∑ ∑ 44 b b œO .. ‰ Ó ∑
>
Cb.
ç p
Figure 27 (a) Maci Lumah, mm. 20-21
42
Figure 27 (b) the score reduction of the pitch distribution in different registers
For the next level of distance, I felt that the song sounded from too far away was
acoustically like the effect of harmonic glissando played by string part. With this idea, I created
an interaction between the harmonic glissando and the song to establish a heterophonic texture.
This interaction could be found in the Figure 28.
The third type of the distance is presented at an abstract way. At mm. 44-75, we no longer
hear the melodic contour of the original song, but the sonority comprised of the complex
interaction of multiple rhythmic pulsations. The purpose here is to guide the audience to focus on
the flow of its inner waves as if someone immerses in the song. It reveals a micro world hidden
inside the color of the song (See Figure 29).
All three types of the distances presented in this piece are based on my personal experience.
For me, the material of the song is developed and transformed depending on how I perceived them
in reality.
43
7
C Song Melts into the Forest, Playfully
œ #œ œ > œ . œ # >œ œ >œ œ # œ # >œ >œ
#œ œ œ nœ ˙ œ
Picc. & J ‰ Œ Ó 46 Œ ‰ J J R ≈ ‰ Œ Œ 44 Œ Œ Œ ‰ J
ƒ F ƒ P ß p
>œ
3
œ ˘ #œ œ œ # œj >œ œ œ #˙
jet whistle
≈ œ œ œ œ œ œ œ œœœ œ œœ œ œœœœœœœœ œ
J ‰ J ‰ Œ Œ 6 J J R ≈ ‰ 4
Fl. 2 & 4 Œ Œ ‰ Œ Œ 4
ƒ ç p ß P ß π p
>œ
3 5
œ ˙. œ #˙
˙ œ. œ œ
J ‰ Œ Ó 6 R ≈ ‰ 4 Œ
& 4 Œ Œ Œ Œ Œ 4
p
Fl. 3
ƒ ß π
œ œ ˙. ˙ ˙. >œ
œ œ œ œ bœ œ œ œ bœ
J ‰ Œ Œ ‰ 6 R ≈ ‰ Œ Œ 4 Œ Œ Œ
Ob. 1 & 4 4
ƒ 3
p f p ß π 7
œ œ œ œ œ œ œ œ #˙. >œ
J ‰ Œ 6 #œ. #œ œ J R ≈ ‰ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ
Ob. 2 & Ó 4 Œ Œ 4 ‰ J
ƒ p f p ß π
>œ
3 3 7
œ œ œ œ #œ. #œ œ œ œ ˙ ˙.
J ‰ Œ Œ ‰ J 6 R ≈ ‰ Œ Œ 4 ∑
B b Cl. 1 & 4 4
ƒ p f p ß
œ œ ˙. œ
vib. molto
B b Cl. 2 & J ‰ Œ Ó 46 ∑ Œ Œ Œ Œ Œ ‰ J 44
ƒ p f
œ
? J ‰ Œ Ó 6 ∑ ∑ 4 r ≈ ‰
4 4
˙. œ
B. Cl.
ƒ >œ π >
œ ˙. ˙ ˙. ƒ P ç
? J ‰ Œ Ó B
46 Œ R ≈ ‰ Œ Œ ? 44
w
Bsn. 1
ƒ P F p ß π
? œ ‰ Œ Ó 6 ∑ ∑ 4
J 4 4
w
Bsn. 2
ƒ π
? j ‰ Œ Ó 6 ∑ ∑ 4 ∑
C. Bn. œ 4 4
ƒ
Maci Lumah with clear melodic line
46 Œ # ˘œ ≈ Œ 44
I
& œj ‰ Œ Ó ‰ œ
J
˙ ˙ œ Œ Œ ‰ Œ ∑
œ
Hn. 1, 2
Jƒ π P π ß
j 6 ˘œ ≈
III
4
Hn. 3, 4 & œœ ‰ Œ Ó 4 ∑ Œ Œ Œ ‰ Œ Œ 4 ∑
ƒ ß
o o
œ n ˙+ . >œ œ+ œ >œ
46 R ≈ ‰ 44
harmon mute
B b Tpt. 1 & J ‰ Œ Ó R ≈ ‰ Œ Œ Œ Œ Œ ∑
ƒ p ß p ß
> >œ
6 ≈ œ œ# ˙ 4
harmon mute
B b Tpt. 2 & œJ ‰ Œ Ó 4 Œ Œ Œ ‰ R ≈‰ Œ Œ Œ Œ Œ 4 ∑
ƒ ß p ß
˘œ
B œ ‰ Œ Ó 6 ∑ ∑ ? 4 ‰ œ œ œ. Œ
Tbn. 1 J 4 4 J
ƒ p ß
˘œ
? œ ‰ Œ Ó 46 ∑ ∑ 44 Œ œ œ œ
Tbn. 2
J R ≈ ‰
ƒ p ß
? j 6 4 ˘
œ ‰ Œ Ó 4 ∑ ∑ 4 Œ ˙ œ ≈ ‰
B. Tbn.
R
ƒ p ß
? ‰ Œ Ó 6 ∑ ∑ 4 ∑
Tuba j 4 4
œ
ƒ
? Œ 6 j 4
Timp. ˙æ. 4 œæ œæ ‰ Œ Œ Œ Œ ∑ 4 ∑
p F π
>œ œ-
center center edge
r
46 Œ 44 Œ
with soft mallet
ã J ‰ Œ Ó Œ Œ Œ J ‰ Œ ∑ ˙æ œ ≈ ‰
P ßfl
Perc. 1
ß p
>
castanets
6 -œ œ >œ rK r 4
‰ ..
ã Œ Œ œœœœœœœœœ ≈ ‰
R 4 Œ Œ Œ ‰ J Œ æ J ‰ Œ Œ Œ œœ ≈ ‰ 4 ∑
>
Perc. 2
p F p ß fß
ß œ ˙.
∑ 6 ∑ ∑ 4 ‰ æJ æ
Vib. & 4 4
scrape the surface of cymbal p ƒ π
-œ >œ
with metal stick
ã œj ‰ Œ Ó 46 Œ Œ J ‰ Œ Œ Œ Œ Œ Œ R ≈ ‰ Œ Œ 44 ∑
>
Perc. 3
ß F ß
√> bœ >˙
œœ œ #œ > fi
. œ 6 # >œ J b b # # œœœœœ
& . Œ J ‰ Œ 4 Œ Œ # œ
œ œ œ ‰ Œ Œ ‰ # # œœ ≈ Œ Œ 4
4 Œ Œ
ƒ ç ƒ F ƒ
f
3
Hp.
? ∑ 6 #œ ∑ 4 ∑
4 œ 3
4
C Song Melts into the Forest, Playfully “Maci Lumah” from very far away
. >
O . b b Oœ ‰ I n OJ O O O O
s.p. ord. IV harmonic glissando
& œ. 46 Œ Œ
æ æ æ æ æ æ æ æ æ 44 ·@ @ ·@ @ ·@ @ ·@ @ ·@ @ ·@ @ ·@ @ @ @
3 3 3
æ p · · · · · · · · · · · · · > · · · · ·
Vln. I
ç p
ƒ sharply f ßp> delicately and waveringly ß
>O ˘O ˘
.
O . b b Oœ Œ nO O ˘O ≈ O. O.
I
& œ. 46 Œ J ‰ Œ Œ 44 · ‰ · · ·
I IV 3
Vln. Ib
æ Ç ß · · J æJ æ æ
ƒ p ß p äœ
˘· >≥ p ç
(div.)
#· #· · · · · #· · · ¥
64 #æ· æ æ· æ æ· æ æ¥ æ æ¥ æ æ¥ æ
¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ #¥ #¥ ¥ ¥ ¥ ¥ · ≈ œ nœ
44 ˙ . œ
harmonic gliss. on I sharply
æ O
portamento
Vln. II & œO .. œ. Œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ R ≈ ‰ Œ J
ƒ π delicately and waveringly
3 3 3 3 3
F
3 3 3
p 3 3
ß ç P 3
f
˘·
· >≥ œ. œ
like sharp whip
˘· ˘ œ
forcefully
œO. Œ 6 · · · · · ·.
IV
æ ‰ #· R ≈ ‰ 4
Œ 4 æ #æ· æ · ‰ ‰ æ · ‰ 4 ‰ j Œ
harmonic gliss. on II II
& œO ..
pizz.
J J
arco
Vln. IIb
æJ æ P J œ
(div.)
ƒ π delicately and waveringly ß p ß ß > ß p
ƒ L.V.
˘· non div. >
II
·· ·· >· ·· ··
B œj ‰ 46 # O
#O O O O O ¥ ¥ ¥ #¥ #¥ ¥ ¥ ¥ · R ≈ ‰ B ‰ # ·· ·· 44 # ·· ··
pizz. arco harmonic gliss. on I
Œ Ó
III
& æ æ æ æ æ æ æ æ æ æ ·
> æ æ æ3 æ æ æJ æ æ æ æ æ æ æ3 æ
Vla.
ç π F p ß ß
ßp
3 3 3 3
˘·
delicately and waveringly like sharp whip
? j ‰ 6 ≈ #· · · · · · · ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ #¥ ¥ ¥ ¥ ¥ ¥ · R ≈ ‰ Œ 4 æ æ æ
IV
Œ Ó 4 Œ Œ
pizz. harmonic gliss. on II
¥æ æ ¥æ æ ¥æ æ ¥æ æ ¥æ
arco
œ 4 ¥ ¥ ¥
3 3 3 3
Vc.
> @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ æ æ æ æ æ æ æ æ æ æ ¥ ¥ ¥ ¥
ç π F p 3 ß >
ßp
3 3
˘ >œ
? œj ‰ 46 44 Œ
Œ Ó ∑ ∑ Œ Œ œ ‰
pizz.
&
Cb.
J
ç ç
Figure 28 Maci Lumah, mm. 28-31
44
11
E Shadow in Between, Unfolding Elusively and Freely
>œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
bisbigliando (Performer is left to choose the fingering of bisbig.)
# >œ . œ ˙ w ˙ œ #œ œ œ
4 J J ‰ Œ Œ Œ ‰ J
&4
p
Picc.
ƒ P F p ß 6
P 5 6
f 7 5
œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœœœ
>œ .
bisbigliando (Performer is left to choose the fingering of bisbig.) shimmering
4 œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ
Fl. 2 &4 J J ‰Œ Ó Œ Œ ‰ ‰ J J ‰
ƒ p π 3
π 5 5
F 3
π p 5
f 6 5
œ œ ˙ œ
poco bisbigliando (Performer is left to choose the fingering of bisbig.) shimmering
4 œ- . ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J
jet whistle
œ
&4 Œ Œ ‰ J ‰ Œ Œ Œ ‰ ‰ Œ R ≈ ‰ Œ
∏ fl p
Fl. 3
5
F 6 6
p 3
p F p ç
# ˘œ
enter imperceptibly shimmering
œ.
œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Ob. 1 & 44 R ≈ ‰ Œ Ó ∑ ∑ Œ J ‰ Œ Œ
ß p 7
P 6 5 3
∏ π
-̇ . ˙. œ œ. œ œ œ œ œ œ œ œœ œ œœœœœœœœ œ œ œ œ œ œ
shimmering bisbigliando (Performer is left to choose the fingering of bisbig.)
& 44 ∑ Œ ‰ ‰ J J Œ Ó
∏ π
Ob. 2
F p 6
P 7 3
∏
enter imperceptibly
œ. œ.
‰ œœœœœœœœœœœœœœœœœ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
B b Cl. 1 & 44 ∑ ∑ Œ Œ Œ
∏3 6
F 6 5
∏ p F π
≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ
shimmering
4 œ œ œ ˙
&4 ∑ ∑ Œ Œ Œ Œ Œ r≈ ‰
bisbigliando
B b Cl. 2
# œ- œ
∏ F p fl
ß
5 7 7 6 5 3
œ œ
(Performer is left to
? 44
shimmering
∑ ∑ ∑ ∑ ∑ Œ Œ R≈ ‰
choose the fingering of bisbig.)
fl̆
B. Cl.
p ß
œ- œ
? 44 ∑ ∑ ∑ ∑ ∑ Œ Œ R≈ ‰
ß
Bsn. 1
p
?4 # œ- ˘œ
4 ∑ ∑ ∑ ∑ ∑ Œ Œ R≈ ‰
ß
Bsn. 2
p
?4 ˘œ ≈
C. Bn. 4 ∑ ∑ ∑ ∑ ∑ Œ ‰ Œ Œ
ß
Rhythmic pulsations from the beating of waves ˘
Hn. 1, 2 & 44 ∑ ∑ ∑ ∑ ∑ Œ ‰ # œœ ≈ Œ Œ
ß
& 44 ∑ ∑ ∑ ∑ ∑ Œ ‰ œœ ≈ Œ Œ
fl
Hn. 3, 4
ß
4 ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 1 &4
B b Tpt. 2 & 44 ∑ ∑ ∑ ∑ ∑ ∑
B4 ‰ # ˘œ ≈
Tbn. 1 4 ∑ ∑ ∑ ∑ ∑ Œ Œ Œ ?
ß
˘œ ≈
B 44 ∑ ∑ ∑ ∑ ∑ Œ ‰ Œ Œ ?
ß
Tbn. 2
˘œ ≈
‰
B. Tbn.
? 44 ∑ ∑ ∑ ∑ ∑ Œ Œ Œ
ß
?4 ∑ ∑ ∑ ∑ ∑ Œ Œ Œ
Tuba 4 ‰ œ ≈
fl
ß
?4 ∑ ∑ ∑ ∑ ∑ Œ ‰ j
II: G
Timp. 4 œæ ˙æ
scrape the surface of cymbal p
>œ >œ j
with metal stick
4 ‰ Œ Ó ∑ Œ Œ Œ J ‰ ∑ Œ ‰ j Œ Œ Œ ‰
with soft mallet
Œ Œ
ã 4 J
œœ
œ- œ
ß>
Perc. 1
ç ß P
4 j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
ã 4 œ
>
Perc. 2
ç
ww- #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vib. & 44 ∑ Œ Œ
˙æ ˙æ.
j
œ@
‰ Œ Œ
P p f π p 5 7
ƒ 6 5 3
p
ã 44
shimmering
Perc. 3 ∑ ∑ ∑ ∑ ∑ ∑
4 ∑ ∑ ∑ Œ r ≈ ‰ Ó
&4 ˙æ. ˙æ. œæ œæ œ
P f P fl
ß
>
Mrb.
? 44 ∑ ∑ ∑ ∑ ∑ Œ ‰ œœœ Œ Œ
J
√ bœ ç
‰
bisbigliando
#œ œ œ œ œ œ œ œ #œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ
& 44 ∑ ∑ ∑ Œ Œ J ‰ Œ Œ j
œ ‰
P3 ƒ P >
ƒ
6 7 7 7
Hp. [D # - Db, Fb, Gb-G n, Ab-A n,]
?4
shimmering
4 ∑ ∑ ∑ ∑ ∑ ∑

˘
unis.
·
≤ ˘ >O
# -O ‰ #· #· · · ·
II
& 44 R ≈ ‰ Œ O. O ≈ ‰ ∑ Œ Œ Œ O O O ‰ Œ
harmonic gliss. on II
Vln. I
R J æ æ æ æ æ
ç p ß ß p f π
˘· π3 3
# -O . Oœ-≤ >Ȯ .
unis.
4 Ȯ Oœ
&4 R ≈ ‰ Œ Ó ∑ Œ O. O O O ‰ ‰ .
II
Vln. II
J J J æ
ç π f π P
˘ ç
· ˘ ≤
4 O O O O O O ≈ #O. r
&4 R ≈ ‰ Œ Ó ∑ Œ Œ Œ O O O ≈ ‰
œœ ≈ ‰
I
æ æ æ æJ æ æ R # œœ
-
Vla.
ç p ç p fl
p
3
f p ß
>· · · arco · . ≤
· r
I
?4
ricochet
4 Œ Ó ∑ ∑ ∑ Œ Œ ≈ æJ ·æ r ≈ ‰ # œœ œœ ≈ ‰
II
Vc. & æ #· -
ß p P fl p fl
ç ß
>· · ·
? 44
ricochet pizz.
Œ Ó ∑ ∑ ∑ ∑ Œ ‰ j Œ Œ
II
œ
Cb.
ß p >
ç
45
The interaction between soundscape and the song is inspired by the experience when I
heard the voice vanished in the environment. In this piece, I do not intend to create a real
soundscape by mimicking the environmental sound. The idea of soundscape in this piece serves
as the metaphor to evoke audience’s imagination about the sonic interaction between the song and
the orchestral background texture. For one of the examples, this idea, as I called “song melting
into the forest,” takes place at mm. 28 – 43 (Figure 28 shows the beginning part of it), showing
that the melody of “Maci Lumah” is gradually fragmentized and interrupted by harmonic glissando.
Ultimately, at m. 35 the original shape of the song disappears, and the dramatic waves, played by
the woodwinds and brasses, erupt (at mm. 36-38) from the texture of the string part.55 I designed
this transformation to demonstrate my aural experience of this beautiful phenomenon. Another
example could be found at m. 198. In this case, the melody and the rhythm of “Maci Lumah” are
blurred and obscured by the accumulation of the accelerated trill gestures, forming a dense
environmental sound as if the song becomes part of the soundscape. The Figure 31 shows this
process at mm. 203-208.
This piece presents my lifelong fascination with the Taiwanese aboriginal vocal music. In
the first time when I heard “Maci Lumah,” it immediately reminded me of the question about line.
With the experience of composing this piece, I discovered that a line brought us not only the multi-
dimensionality of the physical space but also the cultural and spiritual dimension where such
togetherness and belongingness were shared by Bunun family. This togetherness was the essence
that made it as a meaningful line.
55
The shape of growing chromatic wave is derived from the contour of harmonic glissando first appeared at m. 28.
46
9
˘œ
œ œ œ œ
36
‰ œ œ bœ nœ #œ nœ œ
R 5 6
& Œ ≈ ‰ Œ Œ 4 ∑ 4
f p ç
Picc.
~~~~~~~~~~~~~~~~~~~~~
7
œ œ œ #œ nœ œ œ œ bœ œ œ œ œ œ œ nœ œ bœ œ bœ œ œ œ
#œ œ œ œ bœ œ bœ œ œ œ œ œ
bœ œ bœ ® ≈
& Œ 45 ∑ 46
p
Fl. 2
f F π
˙ œ œ
œ œ œ bœ œ œ œ bœ œ
swiftly
œ œ bœ bœ nœ
bœ œ œ bœ œ ≈ ≈ Œ 5 ∑ 6
Fl. 3 & 4 4
f p F
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ π
7 7
7
#œ œ œ œ œ œ
J J 5 6
Ob. 1 & Œ Œ ‰ ‰ Œ 4 ∑ 4
3
π 3
P π
œ œ bœ œ bœ bœ œ œ
J œ bœ œ œ œ bœ nœ œ bœ
& Œ Œ Œ ‰ œ bœ œ ≈ Œ 45 ∑ 46
π
Ob. 2
F π
≈ œ #œ œ nœ #œ œ nœ œ œ œ bœ nœ œ œ œ bœ œ œ bœ œ bœ nœ Aœ œ œ œ bœ œ bœ ≈
œ
B b Cl. 1 & Œ Œ Œ 45 ∑ 46
p 6 F π
bœ bœ nœ œ œ #œ œ nœ #œ ≈ ≈ ‰
6 6 6
œ bœ nœ bœ œ œ #œ œ bœ bœ œ œ œ bœ
œ œ œ œ bœ œ œ œ bœ œ ≈ 5 6
& ‰ œ Œ 4 ∑ 4
3
B b Cl. 2
œ 7 π
F
œ π ≈ bœ œ bœ œ bœ œ #œ nœ
7
ƒ
6
6
? Œ Ó ∑ 5 œ #œ nœ œ œ œ œ 6
4 Œ Œ
6
œ #œ 4
7
B. Cl.
œ œ œ œ œ œ œ
>> > > f p
ƒ
6
6
? bœ 45 Œ ≈ œ œ #œ œ #œ œ œ #œ nœ œ œ œ nœ
46
Bsn. 1 œ bœ œ œ œ ® ® Œ Ó ∑ Œ Œ
P p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .
7 7
5 ‰ #œ ˙ œ
?
nœ œ bœ œ bœ ≈ Œ Ó ∑ 4 R ≈ #œ nœ #œ nœ œ œ #œ nœ œ 6
#œ #œ œ 4
6
p p
Bsn. 2
P p F
? ∑ ∑ 5 ∑ 6
C. Bn. 4 4
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑ ∑ 5 ? 6
& 4 ‰Œ b œ b œ b œ œœ b œœ œœ n œœ n b œœ A œœ n œbœb œœ n œœ n œœb ˙œ 4
3 5 5
‰ Œ
Hn. 1, 2
π .J
Œ ‰ Œ
5
45 b ˙ . j 6
5
& Œ
swiftly
b œ n œ œ œ œ b œ œ n œ A œ n œ b œ œ œ b œ# ˙œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4
IV 7 7
Hn. 3, 4
#œ œ. œ œ œ ˙ œ bœ
> p F π
ç
swiftly
Ÿ~~~~~~~~~~~~~~~~
∑ ∑ 5 bœ œ nœ Œ 6
7
4 bœ œ œ bœ bœ œ œ œ œ œ nœ bœ œ œ Aœ œ nœ œ
7 7
&
open
B b Tpt. 1 #œ 4
π P p
5 6
swiftly
∑ ∑ 4 ≈ bœ œ bœ nœ bœ œ œ b œ œ n œ b œ n œ œ n œ b œn œ n œ Œ Œ
6 6
&
open
4
6
B b Tpt. 2
π P
? 5 6
swiftly
Tbn. 1 ∑ ∑ 4 ∑ 4
? ∑ ∑ 5 ∑ 6
Tbn. 2 4 4
? ∑ ∑ 5 ∑ 6
B. Tbn. 4 4
? Œ Œ 5 ∑ 6
Tuba 4 4
˙. œ ˙
F p
? ∑ ∑ 5 ∑ 6
Timp. 4 4
-œ 5 6
Perc. 1 ã œ Œ Ó Œ Œ Œ ‰ J 4 ∑ 4
P P
Perc. 2 ã ∑ ∑ 45 ∑ 46
œ >œ œœ œ b œœ n œœ b œœ
# œœ œœ b b œœ œœœœ
Vib. & æ æ J ‰ Œ 45 ∑ 46
f p f π
∑ ∑ 5 6
Perc. 3 ã 4 Œ Œ Œ ˙æ 4
p
∑ ∑ 5 ∑ 6
& 4 4
Mrb.
? œœ j ‰ Œ ∑ 5 ∑ 6
œœ œæ œ 4 4
P p >
ß œ
& Ó Œ ∑ 5
4 Œ Œ Œ Œ ≈ b œj . 6
4
p f
Hp.
? Œ ‰ j Œ Œ ∑ 5 ∑ 6
œ 4 4
ƒ
j r n œœ- œœ œœ
arco
5 6
& ‰ b œO œO œO # n œO ≈ ‰ Œ Œ ‰ ‰ Ó Œ
div.
Vln. I J b œœ 4 œœ .. 4
fl ∏ P p
p ß
3 3
˘ b œ-
bœ œœ œœ
ricochet
5 6
& ·R ≈ ‰ Œ ‰ b œO œO œO ‰ Œ ‰ 4 œœ .. ‰ Ó Œ
div.
J b n œœ 4
fl
Vln. Ib
ß ß
3
∏ 3
P p
Oœ Oœ Ȯ Oœ ˘
# œœ
ricochet
5 div. 6
& Œ Œ b œO œO œO ‰ J J ‰ 4 ≈ b œ-œ .. J ‰ Œ
arco
œœ œœ 4
fl p
Vln. II
ß ƒ π π ß
o
o œo œ œo œo œo o
œ œo œo ˘œ
œo œ nœ
harmonic gliss. on IV
J J 45 ≈ n œœ .. 46
arco
& ‰ ‰ Œ Œ œœ œœ J ‰ Œ
div.
π -
Vln. IIb
p f π ß
o
3
œo . œo œo œo
3
w
espress.
j
J J 5 ‰ # œæœ æ 6
3
& ‰ B 4 Œ Œ Œ ‰ 4
div.
Vla.
f p F π p
˘·
? Œ Œ ‰ #¥ æ B R ≈ ‰ Œ Ó ?
45 Œ Œ Œ ‰ ‰ #œ 46
arco II
Vc.
æJ æJ æ
p ß 3
p
? #˘· · · 5 6
ricochet
∑ Œ Ó ∑
II
Cb. 4 4
ß
47
35
203 -̇ . >œ w œ
˙.
& Œ Œ Ó ∑ ∑
p ƒ
Picc.
p
˙ ˙ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙ œ œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
Fl. 2 & J ‰ Œ Œ ‰ J J
π p 3
ƒ 3
P 3 5
f 7
π p 3 3 5 7
œ ˙. œ. œ œ >˙ . œ ˙ œ œ œ œ œœœœœœœœœœœœ
˙ œ œ œ œ #œ œ ˙
Fl. 3 & J ‰ ‰ J Œ
p p ƒ π p 3 5 7
˙ œ- œ œ- œ #œ œ œ œ œ #œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ.
& J J ‰ Œ ‰ œ ˙ œœ œ œ œœœœœœ œœœœœœœœœœœ œ œ œ
Ob. 1
J
3
p f 3
p 3 like waves
5 7
f 7 3
p p f
# œ- ˙ . œ. bœ œ œ œ œ œ œ œ œ œ œ œ œ
6 6 3
œ- . œœœ œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ.
œ J ‰ ‰ J J ‰ Œ J
&
ƒ p
Ob. 2
f 3 7
f 7 3
p p 5
f 7
˙ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ nœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ
like waves
B b Cl. 1 & Œ Œ J ‰ Œ ∑
p 3 6
f 6 3
p 7
f 7 3
p
œ œ œœ œ œœœœœœœœœœœœ œ œ œ œ œ œ œ #œ œ œ
Œ Œ ‰ œJ œ œ
like waves
Œ Œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 5 7 7 5 3
B b Cl. 2 & œ œ
π 3 6
f 6 3
p p f
?
œ #œ nœ œ œ œ #œ œ nœ œ ˙
6 like waves
B. Cl. w w ˙ ˙ ˙ ˙ ˙. œ
ƒ p F π
?
œ œ #œ œ œ #œ œ nœ œ bœ œ #œ œ nœ #œ nœ œ œ
6 6
w w ˙ ˙ ˙ ˙.
5
Bsn. 1
#˙ œ
ƒ p F π
?
œ œ #œ œ œ #œ nœ œ œ #œ nœ œ œ #œ nœ #œ œ nœ ˙ ˙. œ
5 6 6
Bsn. 2
w w ˙ ˙ ˙
ƒ p F π
?
w w w ˙ ˙ ˙ ˙ ˙. œ
C. Bn.
f p F π
j j
& Œ Œ ‰ œ #œ œ œœ œ œœ œ œ ‰ Œ Œ
3
œ˙ œ œ œ œ . œ˙ œ œ œ œ˙ ˙˙ œœ
3
Hn. 1, 2
œ œ . J ˙. w
J p F π F
p F p π
j
3
& Œ Œ Œ j ‰ Œ Œ
œœ œ œ œ œ œ ˙˙ œœ
3
œ œ wœ œ œ œ
3
˙.
3
Hn. 3, 4
œ œw w
p F J π F
p F p π
œ Œ Ó ∑ ∑ Œ Œ Œ ‰ # œJ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B b Tpt. 1 &
π p 3 6 f 6 3
& ∑ ∑ ∑ Œ Œ Œ ‰ œ œ œ œ œœ ˙ ˙ œ œ œ œ
B b Tpt. 2
J
ä ˙. w œ p f
œ ˙ œ. #œ œ œ ˙.
3
œ ˙ œ œ
Tbn. 1
?‰ J Œ J œ ˙ œœ œ B
f p F p p f P f
äœ
3
˙. w œ
3
?‰ J w ˙ œ ˙ œ œ #œ œ œ œ œ
Tbn. 2 Œ Ó
f p F p p 3
F p f 3
?
B. Tbn. w w w ˙ ˙ ˙ #˙ ˙. #œ
f f π
?
Tuba
w w ˙ ˙. œ
w ˙ ˙ ˙
f f π
Timp.
? >œ Œ Ó ∑ ∑ ∑ ∑ ∑
f
with soft mallet
œ ˙ ˙ œ
Perc. 1 ã ∑ ∑ ∑ ∑ Œ ‰ æJ æ æ æJ ‰ Œ
π F π
˙.
with soft mallet
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ Œ æ
π
#œ ˙. œ.
Vib. & ∑ ∑ ‰ æJ æ æ ‰ Œ Œ ∑ ∑
p f p
∑ ∑ ∑ Œ Œ j
ã ˙æ ˙æ œ ‰ Œ ∑
ƒ>
Perc. 3
p
& ∑ ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑
Hp.
? ∑ ∑ ∑ ∑ ∑ ∑
(√) œ w ˙ œ √
œ œ œ œ #œ œ œ œ ˙ œ- œœ
div. b œ
˘œ
œ
Vln. I & æJ ‰ ‰ J J ‰ Œ Œ Œ ‰ J R ≈ ‰ Œ Ó
p p f ƒ p p ƒ
. œ. >œ √
œ #œ œ œ œ ˙ ˙ ˙ œ - œ ˘œ
j
œ œ
div. œ
J J ‰ œJ œ œ ≈ ‰
portamento
Vln. Ib & ˙ ‰ Œ Œ Œ R Œ Ó
f ƒ p p ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ - œ˘œ
œ œ œ #œ œ œ œ œ #˙ œ œ œ œ œ œœ ˙ œ œ #œ œ œ œ ˙ œ # œœ œœ
div.
& æJ ‰ Œ Ó Œ J R ≈ ‰ Œ Ó
f p
Vln. II
p p 3
f 3
p 3
ƒ
œ œ œ œ œ
‰ Œ Ó Œ ‰ J ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œœœœœ œœ œ œ ‰ ∑
Vln. IIb & æJ J
p p f p F p
œ- œ ˘œ
3 5 6 6 3
w œ œ œœ œ œ œ œ œ œ œ œ œ ˙ Œ w ˙ ‰ J R ≈ ‰ Œ Ó
Vla. & æ ææ æ æ æ æ æ æ æ æ æ æ æ æ
p 3 3
f 3 p p F p p ƒ
?
Vc. w w w ˙ ˙ ˙ ˙ ˙. œ
f p
?
w w w ˙ ˙ ˙ ˙ ˙. œ
Cb.
f p
48
Chapter 4: Conclusion
Exploring the multi-faceted aspects of sound and its relationship with the environment
provides us with numerous possibilities for composition. While the study of soundscape,
calligraphy, and their creative use to composition might be challenging because of its
multidisciplinary nature, it inspires and encourages many composers to unveil the unknown
matters of sound and discover the unexplored imaginary landscape. In my compositions, I focused
on bringing calligraphic element and soundscapes to combine with my compositional practice,
constructing a sonic world where people could experience as if they were in the physical
environment. With all these experiences, I developed a new understanding of sound to prepare me
to compose the orchestra piece incorporating with an aboriginal song.
Throughout this research, I was always guided by this probing question posted by Chou. I
understood that this question cannot be answered. So, I took the other side of the question to
propose a new one for myself: “How do we perceive a line?” With this goal in mind, the musical
principle of heterophony became the inspiration for me to study various topics based on this
question, such as calligraphic sound, soundscape, or even a melody sung in the deep mountain.
Heterophony allows us to think about how we view a line as an organized otherness (as the
example of brushstroke has shown); and discover that different elements actually move in a similar
pattern (as found in the example of acoustic communication of rockfish). In many cases, a line is
not just a line, a group of otherness is not just a mass without organization. Thus, I always try to
seek this dialogue between many and oneness in various contexts and create compositions to tell
the story about the vision of the line in my imaginary landscape.
49
APPENDIX – MUSIC SCORE
50
MaciFOR
MACI LUMAH Lumah
ORCHESTRA
Viewing Distant Songs
Program Note
This piece is inspired by Maci Lumah (Song of Carrying Heavy Things), a famous tune by
Taiwanese aboriginal Bunun. This music is often sung by Bununese in the mountain when their
daily work is finished. A leader starts with a bright melodic line to echo with other Bununese,
telling everyone that: “It’s time to go home!” The beautiful sound of voices in this song, usually
comprised of three to five singers, traveling around the environment becomes a unique texture of
“spatial heterophony.” Since each singer may stay at the different location singing the song, we
perceive a different vocal color based on the distances. Sometimes they are close and fast; other
times they are far and slow. It is the single melody that speaks with rich layering of timbre and
transformation of space. One day, I happened to hear this song far from the mountain. As I tried to
find where it came from, I was surprised by the spectacular sight of mountain. It was the moment
I discovered that my perception of sound and vision are blending together, evoking an imagination
that we see the landscape through sound; and hear the sound through landscape.
The whole piece is based on the materials of Maci Lumah, such as harmony, timbre,
rhythm. Each element is structurally interrelated through the evolution of the piece: The timbre is
constructed from the harmonic formation; and I seek the rhythmic pulsations from timbre. As all
the materials constantly move, gather, and disperse within instrumental groups, we perceive the
sound dancing in the space.
Instrumentation
Woodwinds & Brasses:

3 Flutes (with piccolo), 2 oboes, 2 Bb clarinets, 1 Bass clarinet, 2 bassoons, 4 horns, 2 trumpets,
2 trombones, 1 bass trombone, tuba
Percussion section:
Timpani
Percussion I – 2 bongos, 2 Tomtoms (high & high-medium), 1 Suspended Chinese Cymbal

(low), Tamtam
Percussion II – 2 Tomtoms (medium & low), 1 Suspended Chinese Cymbal (medium), 1 wood
chimes, castanets, vibraphone
51
Percussion III – Bass drum, 1 Suspended Chinese Cymbal (high), castanets, 1 low string drum
(lion’s roar), marimba
Harp & Strings
Performance Note
Woodwinds & Brasses:

1. Jet Whistle (Flute)
2. Whistle Tone (Flute)
3. Popping Effect of Mouthpiece – smacking the mouthpiece with hand
4. Open Mutes Rapidly (trumpet) – cover and uncover the harmon mutes with hand to create
“Wah!” effect.
5. Bisbigliando（bisbig.）－ performer is left to freely choose the fingering of bisbigliando.
52
Harp:
1. Tone Cluster
Strings:
1. Extreme High Pitch – It creates an un-pitched percussive noise.

2. Airy Noise －This technique is created by muting the string with left hand while bowing. The
numbers, I, II, III, and IV, are used to indicate on which string the performer should mute to
create the airy noise. (Please see the following example)
3. S.P. － Sul Ponticello
4. Circular Bowing - move the bow rapidly from the original position to the bridge to create
the flash effect of sul ponticello.
5. Col Legno on the Strings Behind Bridge
6. Ricochet
53
Score
Maci Lumah
Viewing Distant Song
q = 64 Wind Breathes
Flute 1 & 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
(piccolo)
3 ∑ 4 ∑ ∑ 5 ∑ 3 ∑ 6
Flute 2 &4 4 4 4 4
Flute 3 & 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
Oboe 1 & 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
Oboe 2 & 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
3 ∑ 4 ∑ ∑ 5 ∑ 3 ∑ 6
Clarinet in B b 1 &4 4 4 4 4
3 ∑ 4 ∑ ∑ 5 ∑ 3 ∑ 6
Clarinet in B b 2 &4 4 4 4 4
Bass Clarinet
? 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
>œ
?3 4 5 œ. ˙. 3 œ œ 6
Bassoon 1 4 ∑ 4 ∑ ∑ 4 Œ 4 R ≈ ‰ Œ 4
ß P ç
Bassoon 2
? 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
Contrabassoon
? 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
˘
& 43 44 45 43 œœr ≈ ‰ 46
straight mute
∑ ∑ ∑ Œ Œ Œ Œ
Horn in F 1, 2
˙˙ ..
> ç
ßp
>
& 43 44 45 43 œr ≈ ‰ 46
straight mute
∑ ∑ ∑ Œ Œ Œ
Horn in F 3, 4
œœ ˙˙ .. œ
π ç
3 ˘
smacking the mouthpiece with hand
4 5 3 6
Trumpet in B b 1 & 4 ¬R ≈ ‰ Œ Œ 4 ∑ ∑ 4 ∑ 4 ∑ 4
ß
˘
& 43 ¬R ≈ ‰ Œ Œ 44 ∑ ∑ 45 ∑ 43 ∑ 46
Trumpet in B b 2
ß
-̇ œ ˘œ
˘
? 43 ¬ ≈ ‰ Œ Œ 44 ∑ ∑ 45 Œ Œ Œ 43 R ≈ ‰ Œ 46
Trombone 1
R
ß p ß
? 43 ˘¬ ≈ ‰ Œ Œ 44 ∑ ∑ 45 ∑ 43 ∑ 46
Trombone 2
R
ß
? 43 ˘¬ ≈ ‰ 44 45 43 46
Œ Œ ∑ ∑ ∑ ∑
Bass Trombone
R
ß
?3 ∑ 4 ∑ ∑ 5 ∑ 3 ∑ 6
Tuba 4 4 4 4 4
I: E, II: F
? 43 44 45 43 46
III: A, IV:B
∑ ∑ ∑ j ‰ Œ Ó Œ ∑
œ j
Timpani
>
œ
with soft mallet
ç
j >œ
bongo
ã 43 J 44 45 œ 43 J 46
sus. Ch. cym. 3
œ ‰ Œ Œ ∑ Ó Œ ‰ Œ Ó Œ ‰ ‰ œ.
œæ
Tomtom
> æ
Percussion 1
P p ß ß π
3 4 œ. 5 3 j 6
with soft mallet wood chimes sus. Ch. cym. 2
ã 4 Œ Œ Œ ∑ Œ ‰ ‰ Œ Œ œæ œ œ œ 4 œ ‰ Œ Œ
œ
œæ
Tomtom 3
4 4 4
L.V.
J æ œ
ß>
Percussion 2
f π F p
# # œœ- # œ-≤ œ œ œ fi œ-≤
L.V. bowing
& 43 Œ J 44 ‰ 45 43 Œ ‰ J 46
with soft mallet bowing
Œ ‰ ‰ ‰ ∑ ∑ Œ
F p p
Vibraphone
ƒ
lion's roar
ã 43 -œj ‰ Œ Œ 44 ∑ Ó Œ 45 ∑ 43 Œ 46
B.D.
Percussion 3 œ ˙æ
F ƒ π
3 4 5 3 6
violently
&4 ∑ 4 ∑ ∑ 4 ∑ 4 ∑ 4
Marimba
? 43 ∑ 44 ∑ ∑ 45 ∑ 43 ∑ 46
# >œ œ œ >œ
& 43 44 bœ #œ 45 43 Œ J 46
[C # , D # , Gb, Ab]
∑ ∑ #œ ∑ ‰ Œ
n˙. ç
ß ƒ
strike the strings with hand palm
6
œ
6
#œ
Harp
? 3 ## œœ œ r ≈ ‰ Œ 4 ∑ ∑ 5 ∑ 3 ∑ 6
4 bœ bœ œ œ
L.V.
œ 4 4 4 4
œ œ
> bœ
ƒ
œ
with wild force
q = 64 Wind Breathes . .
# ˘œ œ. œ. . . . ‰ ≤ >·
3 ˘
non vib. I
vib. molto
3 4 5 6
&4 ‰ Œ ∑ Œ Œ Ó Œ ‰ j 4 n œœr ≈ ‰ ‰ J Œ
pizz.
4 4 4
ricochet non div.
Violin I
b œ-œ ˙˙ œœ
ßp π ç ç
.
˘œ œ. œ. . . . . ‰ sul pont.
˘ >·
pizz. non div. non vib. vib. molto
& 43 ‰ 44 45 43 # œœr ≈ ‰ æ 46
II
Œ ∑ Œ ‰ #· ‰ Œ Œ Œ ‰ j
3
ricochet arco 3
Violin II
> L.V. n œ-œ œœ œœ œœ # œœ œœ œœ
ßp π > > > > ç ß
III
ß
. . . . ≥ ≤ r
# ˘œ œ. œ. . ≤j
vib. molto
˘
sul pont.
& 43 ‰ 44 45 ‰ & nœ œ œ
43 œ ≈ ‰ 46
pizz.
œ
gliss.
‰ Œ ∑ Œ B‰ ‰ Œ Œ ‰ Œ Œ
non div.
œ œ œ
3 arco
ricochet
Viola
· J œ œ
ßp > L.V. π > fl
˘≥ . . . ß ß ßp ç
unis. IV
¿ ≥ gliss. non vib. ↺

arco > >·
I
> I œ œ
? 3 ≈ #· ‰ 5 ≈
sul pont. ord.
œ ˙. 3 œ
divisi III L.V. col legno on the vib. molto
4 6
I
≈ Œ Œ ∑ Œ Ó
pizz. strings behind the bridge
Cello 4 · 4 4 4 4
ß ç P ç p
ƒ
˘≥ . . . forcefully
¿ ‰ >O
pizz.
>
? 43 44
col legno on the
45 43 Œ 46
IV
Œ Œ ∑ Œ Ó Œ J ‰ Ó Œ · ‰ Œ
pizz. IV L.V. strings behind the bridge I
≈ #· ≈ J
>
Contrabass
ß ç
ƒ ç
54
2
# œ- ˙ . ˙. #˙. ˙. ˙ œ
non vib.
6 flute
Fl. 1 & 46 Œ Œ ‰ J J ‰ 44 ∑ 43 ∑
π F ∏ F
# œ- ˙ . ˙. n ˙- œ
morendo
6 ∑ Œ Œ ‰ J J ‰ 4 ∑ 3 ∑
&4 4 4
non vib.
Fl. 2
∏ F
œ- # ˙- . œ
morendo
˙.
enter imperceptibly
˙
& 46 ∑ Œ Œ ‰ J ‰ 44 ∑ 43 ∑
non vib.
Fl. 3
∏
3
F
- ˙ >œ œ œ œ >œ œ œ
morendo
vib. œ œ œ œ
enter imperceptibly
œ œ œ
Ob. 1 & 46 ∑ Œ Œ Œ ‰ J J ‰ 44 ∑ 43 ∑
∏enter imperceptibly Ç Ç F
-̇ . ˙. ˙. w œ
morendo
6 ∑ Œ Œ Œ 4 3 J ‰ Œ Œ
&4 4 4
non vib.
Ob. 2
∏ F π F π
# œ- œ ˙. ˙ œ
& 46 J 44 43
enter imperceptibly
∑ Œ Œ Œ Œ ‰ ‰ ∑ ∑
non vib.
B b Cl. 1
∏ F
œ- œ œ œ œ œ
3
˙ œ œ œ œ œ
enter imperceptibly morendo
vib.
B b Cl. 2 & 46 ∑ Œ Œ Œ ‰ J J ‰ 44 ∑ 43 ∑
∏
3 3
f p F
?6
enter imperceptibly morendo
4 3 -̇ œ. œ
4 ∑ ∑ ∑ 4 ∑ 4
ƒ
B. Cl.
π
-̇ œ. œ
? 46 ∑ ∑ ∑ 44 ∑ 43
ƒ
Bsn. 1
π
?6 ∑ ∑ ∑ 4 ∑ 3
4 4 4 œ. œ
-̇
Bsn. 2
π ƒ
? 46 -̇ œ. œ
∑ ∑ ∑ 44 ∑ 43
ƒ
C. Bn.
π
& 46 ∑ ∑ ∑ 44 ∑ 43 # ˙
open
n ˙- œœ .. œœ
Hn. 1, 2
∏ f
6 ∑ ∑ ∑ 4 ∑ 3
open
&4 4 4
# ˙-˙ œœ .. œœ
Hn. 3, 4
∏ f
+
& 46 ∑ ∑ ∑ 44 ∑ 43 ‰
harmon mute
B b Tpt. 1 j
#œ œ œ
π
+
& 46 ∑ ∑ ∑ 44 ∑ 43 Œ
harmon mute
B b Tpt. 2
≈ œ# œ œ œ
p
-̇ œ. ˘œ
Tbn. 1
? 46 ∑ ∑ ∑ 44 ∑ 43
∏ ß
? 46 44
-̇ œ. ˘œ
Tbn. 2 ∑ ∑ ∑ ∑ 43
∏ ß
? 46 ∑ ∑ ∑ 44 ∑ 43
B. Tbn.
-̇ œ. œ
∏ fl
ß
Tuba
? 46 ∑ ∑ ∑ 44 ∑ 43 ∑
Timp.
? 46 ∑ ∑ ∑ 44 ∑ 43 ∑
>œ -œ
ã 46 w . J ‰ Œ Œ Œ Œ Œ ∑ 44 ‰ Œ Ó 43 ∑
æ
Perc. 1
P π F π
3
ã 46 44 -œJ ‰ Œ 43
with hard mallets
Perc. 2 ∑ ∑ ∑ Ó ∑
π
˙ œ≤ >œ with soft mallet
#œ
& 46 R ≈ ‰ Œ Œ ‰ J Œ Œ Œ Œ Œ ∑ 44 ∑ 43 ∑
f
Vib.
F
-œ
with soft mallet
Perc. 3 ã 46 wæ . wæ . wæ .
44 Œ J ‰ Ó 43 Œ Œ œ
P π π p
& 46 44 43
morendo
∑ ∑ ∑ ∑ ∑
Mrb.
?6 ∑ ∑ ∑ 4 ∑ 3 ∑
4 4 4
& 46 ∑ ∑ ∑ 44 ∑ 43 ∑
j
Hp.
?6 Œ Œ Œ Œ œ ‰ Œ ∑ ∑ 4 ∑ 3 ∑
4 œ 4 4
>
f
˘œ . . . . . . . ≥- j
ord.
6 Ȯ ..Ȯ Ȯ ..Ȯ Ȯ ..Ȯ 4 O 3

&4 Œ Œ Œ Œ Œ Œ Œ Œ œOOœ œOOœ ‰ Œ
ricochet divisi
Vln. I .. .. .. 4 w Ow 4
ßp π P J
∏ F ∏
˘. .. . . . .
ricochet # œ œ œ
enter imperceptibly poco
· ≥ j
& 46 æJ ‰ Œ Œ Œ Œ Œ Œ Œ Œ b Ȯ 44 wO 43 œO œO ‰ Œ
ord.
Vln. II
b b -Ȯ Ȯ .. œO
π ßp ∏ F π P ∏
enter imperceptibly poco
j
Vla. & 46 ∑ ∑ B
w-O .. 44 wO 43 œO œO
‰ Œ
↺ ∏ P ∏
·. · >· ·≤ >· -¥
enter imperceptibly
· · O ¥ ·
s.p. ord. poco
? 46 J R ≈ ‰ Œ Œ Œ Œ Œ Œ Œ Œ 44 43 J ‰ Œ
I
Vc.
ß
3
p ç π P ∏
Oœ-≤
poco
? 46 Œ Ȯ >O 44 wO j
Œ Œ ‰ œ ≈ ‰ Œ Œ Œ Œ Œ ∑ 43 œO œO ‰ Œ
arco
Cb.
J R -
p ß π P ∏
poco
55
A # ˘œ ≈ ˘
b ˘œ œ. œ. œ. œ. œ. œ. œ.
11 3
‰
∑ ∑ 46 Œ Œ Œ Œ Œ Œ Œ Œ R ≈ ‰ Œ
jet whistle
Fl. 1 &
ß ß p ß
# ˘œ ≈ b œ. œ. œ. œ. œ. œ. œ. œ.
˘
‰ jet whistle ≈ ‰
‰
Fl. 2 & ∑ ∑ 46 Œ Œ Œ Œ Œ Œ ‰ Œ Œ
ß p f ß
˘
∑ ∑ 6 ∑ Œ Œ Œ Œ R ≈ ‰ Œ
jet whistle
Fl. 3 & 4
ß
6 #œ # ˘œ ≈
Ob. 1 & ∑ ∑ 4 Œ Œ Œ Œ Œ ∑
F ß
# ˘œ ≈
Ob. 2 & ∑ ∑ 46 Œ #œ Œ Œ Œ Œ ∑
F ß
B b Cl. 1 & ∑ ∑ 46 ∑ ∑
∑ ∑ 6 ∑ ∑
B b Cl. 2 & 4
vib. molto
? ∑ ∑ 46 ‰ j j ‰ Œ ∑
œ- ˙. œ
B. Cl.
π F π
? ∑ ∑ 6 ∑ ∑
Bsn. 1 4
? ∑ ∑ 6 ∑ ∑
Bsn. 2 4
C. Bn.
? ∑ ∑ 46 ∑ ∑
Hn. 1, 2 & ∑ ∑ 46 ∑ ∑
Hn. 3, 4 & ∑ ∑ 46 ∑ ∑
o ˘
46 Œ ≈ #œ #œ ≈ Œ
open the mute rapidly
& r≈ ‰ Œ Œ ∑ Œ Œ Œ ∑
open
B b Tpt. 1
œ
ßopen the mute rapidly F ß
o 6
& r≈ ‰ Œ Œ ∑ ∑ ∑
open
B b Tpt. 2 4
œ
ß
Tbn. 1
? ∑ ∑ 46 ∑ ∑
Tbn. 2
? ∑ ∑ 46 ∑ ∑
? ∑ ∑ 6 ∑ ∑
B. Tbn. 4
? 46 ‰ Œ r ≈ ‰
vib. vib. molto non vib.
Tuba j w ˙. ˙ #œ
˙. ˙. œ π p fl
> P ß
ßp P
f
poco
morendo
? j 6 r
j
œ ‰ Œ Œ Œ Œ
œæ 4 œæ œ ≈ ‰ Œ Œ Œ Œ ∑
> >
Timp. œ
ƒ π ßgliss.
>œ >œ >œ

46 Œ
Œ Œ ∑ ≈ ≈ œ œ œ ≈ ≈ ≈ œ œ œ œœœ œ œ œ ≈ ‰ œ ‰ ‰ Œ ‰ R ≈ ‰ Œ
Tamtam
J œ œ
6
ã œ- œ
J æJ æ
æ
Perc. 1
F F P p ß π ß
ß P
L.V. with hand 6
3
j
j 6 j j ≈ œæ. œæ œæ
ã œ ‰ Œ Œ ∑ 4 Œ ‰ Œ ‰ ∑
j
œ œ
> >
Perc. 2 œ
ƒ with soft mallet ß π F π

n >œ œ ‰ œœœœ
6
J 46 ≈ bœ œ bœ bœ ≈ ≈ ≈ ≈ Œ
j
& ∑ œ
‰ Œ Œ ∑ œ Œ Œ
bœ
Vib.
ç P f 6
p
r
œ≈‰ Œ Œ ∑ 46 ∑ ∑
gently
Perc. 3 ã
ç
>œ
with hard mallets
∑ ∑ 6 ∑ Œ ≈ bœ Œ Œ Œ
& 4 œœœœ bœ
>
ß P f
>œ bœbœ Aœ
Mrb.
j
? 46 œ
with soft mallet
∑ œ
œ ‰ ˙ ≈ ‰ Œ Œ Œ Œ Œ ≈ ≈ Œ Œ Œ
J æ æ R œ
ç P ç — b b œ>œœ ..
bœ > gg œœ ..
j g
6
œ ‰ Œ ≈ R œJ
& ∑ œ Œ 46 Œ ‰ ‰ Œ Œ Œ ≈ J Œ Œ Œ Œ Œ
> ß ß >œ
ç
#œ
≈ ≈ ≈ b œ # œ n œ b œ œ b œ ≈ ≈ b œœ ‰
Hp.
? 46 Œ j œ
b
6
∑ ∑ Œ Œ Œ Œ Œ Œ ‰ ‰
6
b œ #œ œ #œ œ œ
bœ bœ
œ œ bœ
bœ p œ
F f f ƒ
3
A
> ˘ >œ ≤j
˝j # >œ
arco
b b Ow b b Oœ ≈
pizz. arco pizz.
∑ ‰ Œ Œ 6
& 4 Œ ‰ ‰ J ‰ ‰ Œ Œ
unis.
nœ J æ R b œ- œ œ ≈
> >
Vln. I
ß ß ßp ß ß. . . π ß
-O .. ˘ .
ricochet b œ
≈ œ Ȯ O
46 œJ ≈ # œ≤ # œ ≈ Œ ≤
arco
& ∑ ‰ Œ Œ Œ Œ ‰ ‰ j Œ Œ
œ- œ œ
> ≈
Vln. II
π P π f ç F π ß
. . .
forcefully
>œ˝ #>· œ. ≤ > ≈

# œ-
pizz.
46 Œ
II arco
B ∑ ‰ Œ Œ ‰ J Œ Œ Œ Œ Œ ‰ B‰ œ œ Œ Œ
ricochet
Vla.
J &
J &
ß ç F π ß
˘— . . .
col legno
≤
# ·≤ · ≈ b œœ- œ>œ ≈
arco
· ‰ œœ
arco
pizz.
? 46
IV I
∑ ‰ ‰ j Œ Œ Œ Œ Œ Œ Œ ‰ J Œ Œ
3 divisi
·
Vc.
f π ß ß π ß
˘— . . .
col legno
j ‰ j
pizz.
? Œ j ≈ 46 Œ
vib. III
‰ ‰ Œ Œ Œ Œ Œ Œ Œ œ ‰ Œ
non vib.
#·
pizz.
Cb.
œ. ˙ œ. > œ
p F π ç ß >
f
56
4
15
b >œ œ ˘œ œ. œ. œ. œ. œ. œ. œ.
Fl. 1 & Œ Œ ‰ æJ æ Œ ‰ ‰ Œ Œ Œ Œ Œ
ç p ß p
‰ b œ. œ. œ. œ. ˘œ b œ. œ. œ. œ. œ. œ. œ. œ. b ˘œ
Fl. 2 & Œ R ≈ ‰ Œ Œ R ≈ ‰ Œ Œ Œ Œ Œ
p ß p ß
≈ œ. œ. œ. œ. œ. œ. ˘œ b œ. œ. œ. œ. œ. œ. œ. œ.
& Œ R ≈ ‰ Œ Œ Œ ‰ ‰ Œ Œ Œ Œ
p f
Fl. 3
p ß
bœ œ œ
& Œ œ. œ. œ. œ. œ. œ. œ. œ. ˘œ ≈ ‰ Œ Œ ‰ R ≈ ‰ Œ Œ Œ Œ
Ob. 1
R
p ß
3
p F p
œ ˘œ j
& Œ ‰ J R
≈ ‰ ‰ œ- œ œ ≈ Œ ∑
>
Ob. 2
p ß p ß
r j
B b Cl. 1 & ‰ ®b œ. œ. œ. œ. œ. œ. œ. n œ. œ. œ. œ. œ ≈ ‰ ‰ œ- œ œ ≈ Œ ∑
fl p >
p ß ß
& ‰ j r ≈ ‰ ‰ j Œ ∑
B b Cl. 2 œ- œ œ ≈
bœ œ œ p ß>
p ß
?Œ Œ Œ r ≈ ‰ Œ ∑
b œ. œ. œ. œ. œ. œ. œ
6
fl
B. Cl.
F ß
-̇ œ
Bsn. 1
?Œ Œ R ≈ ‰ Œ ∑
π P π
?Œ r
Bsn. 2 Œ -̇ œ ≈ ‰ Œ ∑
π P π
C. Bn.
? ∑ ∑
j
Hn. 1, 2 & Œ Œ b b ˙˙- œœ ‰ Œ ∑
π P π
j
& Œ Œ ˙ œ ‰ Œ ∑
-̇ œ
Hn. 3, 4
π P π
B b Tpt. 1 & ∑ ∑
B b Tpt. 2 & ∑ ∑
?Œ Œ Œ Œ Œ bœ ˙ œ ‰ Œ Œ Œ
Tbn. 1
J
π F π
?Œ Œ Œ Œ Œ j ‰ Œ Œ Œ
Tbn. 2
bœ ˙ œ
π F π
?Œ Œ Œ Œ Œ j ‰ Œ Œ Œ
bœ ˙ œ
B. Tbn.
π F π
Tuba
? ∑ ∑
F
?Œ Œ Œ Œ j Œ Œ Œ Œ bœ
3
œ
3
œ œæ
œ œ œ
3
Timp.
œ œ >
p f π
j j r
œæ œæ œ ‰.
6
ã ≈ ≈ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ ˙æ œæ ‰ ‰ Œ Œ
p f p >
Perc. 1
π F π p ß
œ œ b >œ bœ
œ bœ Œ ® n œ œ œ b >œ œ œ œ œ b œ n œ œ œ œ b œ œ œ œ œ >œ
œ ≈ J
Vib. & œ bœ
Œ Œ œ Œ R ≈ ‰ Œ Œ
f p p ß p 3 3
ç
f
6
>
bœ œ bœ œ
œ ‰ bœ œ œ œ œ œ ≈ œ œ œ >˙ .
3
& Œ Œ ‰ œ bœ œ œ bœ nœ ≈
œ
æ
® bœ œ œ œ œ œ œ œ œ œ ® ‰
p f p f P
3 3
> F
6
Mrb.
?‰ œœ
j
b œœ Œ Œ Œ bœ ∑
J
ß
> fi ® œ œ œ œ œ œ œ œ œ œ ® ‰
& Œ Œ b # b # œœœœœœ ‰ Œ Œ Œ
bœ
j ‰ Œ Œ Œ
J > f ƒ
Hp.
ß ß
? ∑ ∑
b ˘œ œ. œ. . . . . . b >œ
>œ -≤ >O
b b Oœ Oœ ≈ J
pizz. pizz.
& œJ ‰ Œ Œ ‰ œ Œ Œ ‰ ‰ Œ ‰ Œ
arco ricochet
Vln. I
J
f P ç ß ß
p
≤ b ˘œ œ. œ. . . . . . >œ
& œj ‰ Œ Œ ‰ Oœ- Oœ >
œO ≈ Œ Œ ‰ ‰ Œ J ‰ Œ
pizz. ricochet pizz.
arco
J
Vln. II
> P ß
f ç ß p
˘œ . . . . . . . ≤j > ˘ . .
ricochet b œ œ œ . . . . . b >œ
ricochet
& ‰ ‰ Œ ‰ # # œ-O œO œO ≈ Œ Œ ‰ ‰ Œ J ‰ Œ
pizz.
arco
Vla.
ßp P ç ß p ß
-≤
≤j > b b Ȯ Oœ
pizz. arco
? j ‰ Œ Œ &‰ Œ j ‰ Œ ? R ≈ ‰ Œ
unis. divisi arco
n œ-œ œœ œœ ≈
pizz.
bœ &
œ >
Vc.
> P ç ß π ß
F
˘— . . .
‰ b >œ
pizz.
Cb.
?Œ Œ Œ Œ Œ J ‰ Œ Œ Œ Œ Œ
ß ß
57
5
17 B q = 70 Maci Lumah; Broadly
∑ ∑ ∑ 4 ∑ ∑
Fl. 1 & 4
jet whistle
≈ > ≈ œ- . œ bœ. ˙
∑ ∑ ∑ 4 Œ Ó ≈ J
& 4
p f
Fl. 2
ß
jet whistle >
œ- >œ
espress.
r
≈ ≈ ˙ œ œ
∑ ∑ ∑ 4 Œ Ó ‰ J J
Fl. 3 & 4
ß p F
3
>œ ˙
espress.
j
4
bœ
œ
Ob. 1 & ∑ ∑ ∑ 4 ∑ Œ ‰ J
ßp 3
b >˙
espress.
j
44
œ
Ob. 2 & ∑ ∑ ∑ ∑ Œ Œ
ßp
4 > j >
espress.
& ∑ ∑ ∑ 4 j ‰ Ó ‰ j bœ œ bœ
œ
3
B b Cl. 1
bœ œ J
ƒ œ œ œ P
ßp p espress. ƒ
4 >
B b Cl. 2 & ∑ ∑ ∑ 4 j ‰ Ó ∑
bœ œ
ßp ƒ
? ∑ ∑ ∑ 4 ∑ ∑
B. Cl. 4
Bsn. 1
? ∑ ∑ ∑ 44 ∑ ∑
? ∑ ∑ ∑ 4 ∑ ∑
Bsn. 2 4
? ∑ ∑ ∑ 4 ∑ ∑
C. Bn. 4
∑ ∑ ∑ 4 ‰ ‰ Œ
& 4 j j
bœ œ ˙ ˙ œ
Hn. 1, 2
π F π
∑ ∑ ∑ 4 ‰ ‰ Œ
Hn. 3, 4 & 4 j j
œ œ ˙ ˙ œ
π F π
B b Tpt. 1 & ∑ ∑ ∑ 44 ∑ ∑
∑ ∑ ∑ 4 ∑ ∑
B b Tpt. 2 & 4
? 4 -̇ w
Tbn. 1 ∑ ∑ ∑ 4 Œ Œ
π
? ∑ ∑ ∑ 4 Œ Œ
4 w
-̇
Tbn. 2
p
? ∑ ∑ ∑ 4 Œ Œ Œ
4 œ. œ
b œ- œ.
B. Tbn.
p F P
? ∑ ∑ ∑ 4 ∑ ∑
Tuba 4
? æ Œ Œ ∑ Œ Œ Œ Œ 4 j ‰ Œ Ó ∑
Timp. œ ˙æ œæ ˙æ 4 œ
f π p >
ß
œ. j> -œ
with soft mallet
∑ ‰ æ
˙ œ
J ‰ Œ ∑ 4 œ œ ‰ Œ Ó Œ Œ J ‰ Œ
Perc. 1 ã æ 4 J
π F ß P
≈ œ ≈ >œ
∑ ∑ Œ Œ Œ Œ Œ 4 œ
J ‰ Ó Œ Œ Œ
Perc. 2 ã 4 æ œæ
œ- . œ F π f p
≤
& Œ Œ ‰ œ- . ˙ œ ‰ Œ Œ Œ ‰ Œ Œ Œ Œ Œ 44 ∑ ∑
bowing
Vib.
J
p ƒ p F
4
with soft mallet
œ
Perc. 3 ã ∑ ∑ Œ Œ Œ J ‰ Œ Œ 4 ∑ ∑
π
˙ >˙ ˙ ˙ ˙ œ b >œ
æ Œ ∑ 4 bœ ‰ Œ Ó ∑
&æ æ æ æ æ 4 J
Mrb.
ƒ p morendo ƒ
? ∑ ∑ ∑ 4 Œ Œ
4 b ˙æ œæ ˙æ.
p f π
b >œ
& ∑ ∑ ∑ 44 b # œœœœœ ‰ Œ Ó ∑
J
Hp. ç
? ≈b œ œ œ œ œ Œ 4
6
∑ Œ Œ Œ Œ ∑ 4 ∑ ∑
œ œ
œ œ œ
p f
s.p.
j B q = 70 Maci Lumah; Broadly
b O Ȯ . æ æ æ æ
œOOœbb œO ..Oœ . æ
O œOOœ œOOœ œOOœ ‰ Œ Œ ‰

‰bœ . b b wOw
arco
4
unis.
& Œ Œ . j 4 ∑ ∑
æ æ æ æJ æ ƒ
Vln. I
IV ¿
p f π p
j
sharply
morendo
æ æ æ æ æ
s.p.
Œ ‰
wO Ow œOœO œO ..Oœ .. œOOœ œOOœ œOOœ ‰ Œ

arco
4
unis.
& ∑ j 4 ∑ ∑
divisi
æ æ æ æJ ¿æ ƒ
Vln. II
π f π
IV
p sharply
j
morendo
æ æ æ æ b >œ
s.p. unis.
wO Ow œOOœ œO ..Oœ . œOOœ œOOœ œOOœ ‰ Œ

arco
4 j
vib. molto
& ∑ 4 bœ ≈ Œ
divisi
B
. œ ˙. ˙ œ
fl
Vla.
π æ æ æ æJ ƒ F f
f π P ß
3
± ˘
morendo airy noise on the highest espress.
≥
œ bœ ≈ Œ
position of the first string
∑ b b Ow Oœ Oœ .. Oœ Oœ Oœ ‰ Œ ?Œ æ 4 ‰ œ œ
s.p. I vib. molto
& 4 J ≈ bœ
æ æ æ æJ > bœ ˙.
Vc.
π p f p ß
fπ sharply F P
morendo espress.
arco
? 4 æ
∑ ∑ ∑ 4 b b œO .. ‰ Ó ∑
>
Cb.
ç p
58
6
22
bœ œ. bœ. ˙. ˙ œ œ w w
b œ- œ. J
& Œ Œ Œ ‰ ‰
piccolo
Picc. bœ
p f f p
>
3
˘ bœ bœ. œ. ˙ n w- n w-
œ œ. œb œ œ œ bœ ≈ œ bœ. œ ˙ œ œ
‰.
Fl. 2 &
P ß ßp F P f p
œ œ œ œ œ œ œ œb œ œ bœ nœ œ œ œ # w- w-
j
œ œœ œ œ œ œ œ bœ œ œ œ œ ˙ ˙ œ œ
Fl. 3 & J J J
p3 3
F p F p 3
F P f p
œ .. œb ˙ j œ œ œ œ. œ œ bœ bœ ˙ ˙ ˙ œ œ # w- w-
J
œ
Ob. 1 & œ
f p F p F P f p
>œ
3
œ œ œ n œb œ œ œ œ bœ nœ œ w- w-
j
œ. #œ
j
œ œ b˙ œ œ œ œ ˙ œ œ
& J
p
Ob. 2
F f p
n w- n w-
3 3
bœ œ bœ œ w œ œ bœ b˙. ˙ œ œ
j
J
& œ œ bœ
B b Cl. 1
J 3
F p f p
w- w-
3
œ œ œ bœ ˙ w ˙ œ œ
B b Cl. 2 & ‰ ˙ ˙
p f> p
F p b ˙- œ >œ ˙ œ >˙ œ >˙ œ >˙ œ >œ
3 3
? Œ R ≈ ‰
espress.
Œ ‰ j Œ Ó Œ Œ
B. Cl.
œ- œ œ. œ P
p > ß ßp F f f
ß
3 3 3
b ˙- œ >œ b >˙ œ >˙ œ >˙ œ >˙ œ >œ

œ-
waveringly
? Œ œ œ. >œ R ≈ ‰
Œ ‰ J Œ Ó Œ Œ
P
Bsn. 1
p ß ß ßp F f f
b ˙- >œ
3 3 3
œ
? Œ R ≈ ‰ b >˙ œ >˙ œ >˙ œ >˙ œ >œ
waveringly
Œ ‰ j Œ Ó Œ Œ
Bsn. 2
œ- œ œ. œ P
p > ß ßp F f f
ß
3 3 3
? ∑
waveringly
˙ œ ˙ œ ˙ œ ˙ œ œ
3 3 3
w œ b˙. ˙
F> f> f> >
C. Bn.
p ßp waveringly
I.
j r ‰ pj 3> 3>
> >
& Œ ‰ b œ- ˙ # n ww œœ œœ ≈ ‰ Ó Œ Œ œ œ. bœ bœ ˙
3
Hn. 1, 2
> b >˙ bœ ˙ œœ ˙˙ œœ ˙˙ œœ œœ
p F p ß
ßp F
3 3
f 3
f
r
waveringly
& Œ Œ ‰ bœ œ œœ ≈ ‰ Ó Œ Œ
III
œ ˙ n ˙˙ œœ & b ˙˙ œœ ˙˙ œœ ˙˙ œœ ˙˙ œœ œœ
3 3 3
Hn. 3, 4
J > > > > > >
p F p ß ßp F f f
˘ w- w-
waveringly
∑ ∑ Œ ‰ œ bœ ˙ ˙ œ ‰ Œ
B b Tpt. 1 & J
p ß p
F
˘
& ∑ ∑ Œ ≈ œ. œ œ bœ œ ˙ œ ‰ Œ n w- n w-
B b Tpt. 2
J p
P F p ß
? ˙ B b˙ w w ˙ >œ œ- œ bœb˙. ˙. >œ
Tbn. 1 R≈‰ J
F π ß P 3
bœ ˙. w w ˙ >œ
? R ≈ ‰ b œ- œ >˙ œ >˙ ˙. >œ
waveringly
Tbn. 2
œ
π ß P F
3 3
f
F
? r≈ ‰ œ
waveringly
œ ˙ œ ˙ ˙. œ
3 3
B. Tbn.
w w w ˙ œ
>
- > > >
ß P F f
?
waveringly
Tuba ∑
w- œ b˙. ˙ ˙ w w
>
p ßp
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑
r œ >œ Œ
edge center edge
˙æ. œæ
∑ Œ
with hard mallets
˙ ˙
Perc. 1 ã œ ≈ ‰ Ó ∑ æ æ Œ Œ æ
p f p F
3
P
œ >œ
edge
r
edge
with hard mallets
œ
Perc. 2 ã ˙æ œ ≈ ‰ Œ ∑ ∑ ∑ Œ Œ Œ æ æ Œ Ó
F π p F
3
œ œ œ œ œ bœ nœ œ #œ nœ œ œ
œ œ œ œ œ œ #œ œ ‰
vibraphone
with soft mallet
‰ bœ œ œ bœ ‰
Vib. & Ó Œ ∑ ∑ ∑ ∑
P 3
f p F
œ. œ >
ã Œ Œ ‰ æ æ Œ Ó ∑ Œ Œ ˙æ œæ ˙æ ˙æ œæ ˙æ ˙æ
3 3
Perc. 3
π F Ç F p F p
& ∑ ∑ ∑ ∑ ∑ ∑
Hp.
? ∑ ∑ ∑ ∑ ∑ Œ Œ Œ ‰ œœ
f
≤ -≤
b Oœ Oœ j b Oœ Ow Ȯ >O b œœ œœ ˘œœ
& ‰ b œ-O Ȯ Oœ b œO Ȯ œ ‰ Œ Œ Œ Œ Œ b b Ȯ
3
Vln. I
J æ
p f p f P ç P
3
3
forcefully
j >O ≤ ˘
b Oœ Oœ
b b Ȯ Ow Ȯ œ- œ œ Œ Ȯæ
3
Vln. II & b Ȯ œO J œO Ȯ œ ‰ Œ
J
Œ Œ Œ
p F p f P ç P
3 3
˘œ
forcefully
B Œ ‰ ‰ bœ œ bœ œ. œ R ≈ ‰ Œ Œ ‰
b Oœ Oœ Oœ b Oœ Ȯ Ȯ Oœ ˙-≤ œ ˘œ Œ ˙-≤ ˘œ
J J J ‰ Œ b˙ œ œ Œ b˙ œ ‰
J
Vla.
p F p ß p f P F
ß ç
3 3
3
˙-≤ œ ˘œ ˙-≤ ˘œ
forcefully
˘
? r ≈ ‰ Œ Ó ≈ œ≤ . œ œ œ bœ ˙ œ bœ ‰ Œ ∑ ? b˙ œ œ Œ Œ b˙ œ ‰
Vc.
œ
& J J
> p ß P ß F ç
ß P f
3 3
forcefully
↺ ↺ ↺
? ∑ b ˙æ. ˙æ ˙ œ ˙ œ ˙ œ ˙ ˙
3 3 3
Cb.
w- œ > > > > >
p ßp ß ß ç
waveringly
59
7
œ #œ œ > œ . œ # >œ œ >œ œ # œ # >œ >œ
#œ œ œ nœ ˙ œ
Picc. & J ‰ Œ Ó 46 Œ ‰ J J R
≈ ‰ Œ Œ 44 Œ Œ Œ ‰ J
ƒ F ƒ P ß p
>œ
3
œ ˘ #œ œ œ # œj >œ œ œ #˙
jet whistle
≈ œ œ œ œ œ œ œ œœœœ œœ œ œœœœœœœœ œ
Fl. 2 & J ‰ J ‰ Œ Œ 46 Œ Œ ‰ J J R ≈ ‰ Œ Œ 44
ƒ ç p ß P ß π p
>œ
3 5
œ ˙. œ #˙ œ œ
˙ œ.
& J ‰ Œ Ó 46 Œ Œ Œ R ≈ ‰ Œ Œ 44 Œ
p
Fl. 3
ƒ ß π
œ œ ˙. ˙ ˙. >œ
Ob. 1 & J ‰ Œ Œ ‰ 46 R ≈ ‰ Œ Œ 44 Œ Œ Œ
ƒ 3
p f p ß π 7
œ œ œ œ œ œ œ œ #˙. >œ
J ‰ Œ 6 #œ. #œ œ J R ≈ 4 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ob. 2 & Ó 4 ‰ Œ Œ 4 J
ƒ p f p ß π
>œ
3 3 7
œ œ œ œ #œ. #œ œ œ œ ˙ ˙.
B b Cl. 1 & J ‰ Œ Œ ‰ J 46 R ≈ ‰ Œ Œ 44 ∑
ƒ p f p ß
œ œ 44 ˙ . œ
vib. molto
B b Cl. 2 & J ‰ Œ Ó 46 ∑ Œ Œ Œ Œ Œ ‰ J
ƒ p f
œ
? J ‰ Œ Ó 6 ∑ ∑ 4 r ≈ ‰
4 4
˙. œ
B. Cl.
ƒ >œ π >
œ ˙. ˙ ˙. ƒ P ç
? J ‰ Œ Ó B
46 Œ R ≈ ‰ Œ Œ ?
44
w
Bsn. 1
ƒ P F p ß π
? œ ‰ Œ Ó 46 ∑ ∑ 44
Bsn. 2
J w
ƒ π
? j ‰ Œ Ó 6 ∑ ∑ 4 ∑
C. Bn. œ 4 4
ƒ
6 # ˘œ ≈ Œ 4
I
& œj ‰ Œ Ó 4 Œ ‰ œ
J
˙ ˙ œ Œ Œ ‰ Œ 4 ∑
œ
Hn. 1, 2
Jƒ π P π ß
˘œ ≈
& œœj ‰ 46 44
III
Hn. 3, 4 Œ Ó ∑ Œ Œ Œ ‰ Œ Œ ∑
ƒ ß
o o
œ n ˙+ . >œ œ+ œ >œ
46 R ≈ ‰ 44
harmon mute
B b Tpt. 1 & J ‰ Œ Ó R ≈ ‰ Œ Œ Œ Œ Œ ∑
ƒ p ß p ß
> >œ
46 Œ ≈ œ œ# ˙ 44
harmon mute
B b Tpt. 2 & œJ ‰ Œ Ó Œ Œ ‰ R ≈‰ Œ Œ Œ Œ Œ ∑
ƒ ß p ß
˘œ
B œJ ‰ Œ Ó 46 ∑ ∑ ? 44 ‰ œ œ œ. Œ
Tbn. 1
J
ƒ p ß
˘œ
? œ ‰ Œ Ó 46 ∑ ∑ 44 Œ œ œ œ
Tbn. 2
J R ≈ ‰
ƒ p ß
? œj ˘
B. Tbn. ‰ Œ Ó 46 ∑ ∑ 44 Œ ˙ œ ≈
R
‰
ƒ p ß
? ‰ Œ Ó 6 ∑ ∑ 4 ∑
Tuba j 4 4
œ
ƒ
? Œ 6 j 4
Timp. ˙æ. 4 œæ œæ ‰ Œ Œ Œ Œ ∑ 4 ∑
p F π
>œ -œ
center center edge
r
46 Œ 44 Œ
with soft mallet
ã J ‰ Œ Ó Œ Œ Œ J ‰ Œ ∑ ˙æ œ ≈ ‰
P ßfl
Perc. 1
ß p
> œ- >œ rK r
46 Œ 44
castanets
œ
‰ ..
ã Œ Œ œœœœœœœœœ ≈ ‰
R
Œ Œ ‰ J Œ æ J ‰ Œ Œ Œ œœ ≈ ‰ ∑
>
Perc. 2
p F p ß fß
ß œ ˙.
∑ 6 ∑ ∑ 4 ‰ æJ æ
Vib. & 4 4
scrape the surface of cymbal p ƒ π
-œ >œ
with metal stick
j 6 4
ã œ ‰ Œ Ó 4 Œ Œ J ‰ Œ Œ Œ Œ Œ Œ R ≈ ‰ Œ Œ 4 ∑
>
Perc. 3
ß F ß
√> bœ >˙
œœ œ #œ # >œ fi
. œ >
# # œœ b b # œœœœ
& . Œ J ‰ Œ 46 Œ Œ œ œ œ J ‰ Œ Œ ‰ # # œœ ≈ Œ Œ 44 Œ Œ
ƒ ç ƒ F ƒ
f
3
Hp.
? ∑ 46 #œ ∑ 44 ∑
œ 3

. >
O . b b Oœ ‰ I n OJ O O O O
s.p. ord. IV harmonic glissando
& œ. 46 Œ Œ
æ æ æ æ æ æ æ æ æ 44 ·@ @ ·@ @ ·@ @ ·@ @ ·@ @ ·@ @ ·@ @ @ @
3 3 3
æ p · · · · · · · · · · · · · > · · · · ·
Vln. I
ç p
ƒ sharply f ßp> delicately and waveringly ß
>O ˘O ˘
.
O . b b œO Œ nO O ˘O ≈ O. O.
I
& œ. 46 Œ J ‰ Œ Œ 4 · ‰ · · ·
I IV
4 ·
3
Vln. Ib
æ Ç ß · J æJ æ æ
ƒ p ß p äœ
˘· >≥œ p ç
(div.)
#· #· · · · · #· #· · · · · ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ #¥ # ¥ ¥ ¥ ¥
¥ · ≈ nœ 4 ˙. œ
harmonic gliss. on I sharply
æ O
portamento
Vln. II & œO .. œ. Œ æ æ æ æ æ æ 46 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ R ≈ ‰ Œ 4 J
ƒ π delicately
3 3 3 3 3
F
3 3 3
p 3 3
ß ç P 3
f
˘·
>≥ œ .
and waveringly
· œ
like sharp whip
˘· ˘ arco œ
forcefully
œO. Œ 6 · #· · · · · ·.
IV
æ Œ ‰ #· · R ≈ ‰ ‰ ‰ æ · ‰ 44 ‰ j Œ
harmonic gliss. on II II
& œO ..
pizz.
4 æ æ æ æ J J J œ
æJ P
Vln. IIb
(div.)
ƒ π delicately and waveringly ß p ß ß > ß p
ƒ L.V.
˘· non div. >
II
·· ·· >· ·· ··
B œj ‰ 46 # O
#O O O O O ¥ ¥ ¥ #¥ #¥ ¥ ¥ ¥ · R ≈ ‰ B ‰ # ·· ·· #·
44 ·
··
pizz. arco harmonic gliss. on I
Œ Ó
III
& æ æ æ æ æ æ æ æ æ ·
> æ æ æ3 æ æ æ æJ æ æ æ æ æ æ æ3 æ
Vla.
ç π F p ß ß
ßp
3 3 3 3
˘·
? j ‰ 6 ≈ #· · · · · · · ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ #¥ ¥ ¥ ¥ ¥ ¥ · R ≈ ‰ Œ 4 æ æ æ
IV
Œ Ó 4 Œ Œ
pizz. harmonic gliss. on II
¥æ æ ¥æ æ ¥æ æ ¥æ æ ¥æ
arco
œ 4 ¥ ¥ ¥
3 3 3 3
Vc.
> @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ æ æ æ æ æ æ æ æ æ æ ¥ ¥ ¥ ¥
ç π F p 3 ß >
ßp
3 3
˘ >œ
? œj ‰ 46 44 Œ
Œ Ó ∑ ∑ Œ Œ œ ‰
pizz.
Cb.
J &
ç ç
60
8 32
#œ ˘œ D
b w>
j
œ œ œ bœ nœ œ œ œ œ R ≈ ‰
bœ
œ
Picc. & ∑ R ≈ ‰ Œ Ó
f p ç ßp ç Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˘œ
3 6
œ ˙ ˙ œ ≈ œ. œ
œ œ œ œ œ œ œ bœ œ R ≈
& R ≈ ‰ Œ Œ Œ Œ ‰
π
Fl. 2
6
π p f ç
>˙ .
˙. ˘œ
Fl. 3 & R ≈ ‰ ∑ ∑ Œ
ç Ç
œ œ b œ œ . b œ ä˙ . œ
nœ œ œ œ œ œ œ œ œ œ œ bœ œ
œ
J
Ob. 1 & J R ≈ ‰ Œ Œ ‰ J ‰ Œ Ó
P π 3
ß π F p 3
f p
˘
œ b œ- œ œ œ ˙ œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
J œ.
& R ≈ ‰ Œ Ó Œ Œ ‰ ‰ ‰ ‰ Œ
3
Ob. 2 b œ- œ
ß p 3
f p π
œ b œ œ œ œ œ b œ œ n œ b œ œ# œ
& Œ Œ Œ Œ ‰ Œ
6 6 3
B b Cl. 1
˙ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ p
π F π
œ ≈ œ œ œ œ œ bœ œ #œ
swiftly
& J ‰ Œ Ó Œ ‰ Œ Œ ‰ Œ
3 6 6
B b Cl. 2
p #œ œ œ œ œ œ œ œœœœœœœœ #œ œ œ œ œ œ œ œ aœ œ p 6
F
3
p π
swiftly
? ∑ Œ Œ œ b˙ Œ Œ Œ Œ
B. Cl.
j
˙. ≈ œ œ œ
> ƒ P swiftly
ßp p
? Œ Œ ∑ ∑ Œ Œ Œ
Bsn. 1
˙ œ œbœ nœbœ œnœ œ
f π p swiftly
? Œ Œ ∑ ∑ Ó Œ
≈ œ œ œ œ bœ
6
˙
Bsn. 2
f π p
C. Bn.
? ∑ ∑ ∑ ∑
swiftly
straight mute
r
& ∑ Œ b n ˙˙ œœ ≈ ‰ ∑ ∑
open
> fl
Hn. 1, 2
ßp ß
straight mute
r
& ∑ Œ b b ˙˙ œœ ≈ ‰ ∑ ∑
open
> fl
Hn. 3, 4
ßp ß
+ ˘œ
vib. molto
bœ ˙. ˙ ˙
open
∑ ‰ R ≈ ‰ Œ Ó
non vib.
B b Tpt. 1 & J
π f p ß
B b Tpt. 2 & ∑ ∑ ∑ ∑
ä
Tbn. 1
? Œ Œ Œ ‰ bœ œ œ œ œ bœ œ œ œ œ œ bœ ˙ œ Œ Ó
F3 π F p
ä
3
? Œ Œ Œ ‰ œ œ bœ œ œ œ œ œ œ
J
˙ ˙ œ Œ Ó
Tbn. 2 J J
π 3
P π 3 3
F p
B. Tbn.
? ∑ ∑ ∑ ∑
Tuba
? ∑ ∑ ∑ Œ Œ Œ ‰ j
œ
p
Timp.
? ∑ ∑ ∑ ∑
rK > with hard stick

˙ œ. >
ã Œ ≈ ≈ ‰ ≈ ®œ œ ≈ Œ Œ Œ æ æ ‰ Ó ‰ ≈ œ œR ≈ ‰ Œ Œ
Perc. 1
R R
fß π F π f ß
Perc. 2 ã ∑ ∑ ∑ ∑
>œ œ
>
& Œ Œ Œ J ‰ Œ b b œœ ‰ Œ Œ ∑ Œ œœ œœ œœ œœ ‰ æ
Vib. J
with hard mallets
ç ç p p
‰ œ œ œ ≈ ‰ Œ ∑ ∑ ∑
Perc. 3 ã æJ æ R
p ß
> > œ œ b œ >œ
with soft mallet
& ∑ Œ ˙ œ œ ˙. Œ bœ J ‰ Ó
æ æ æ æ œ bœ
Mrb. ßp F π f ƒ
?
6
∑ ∑ ∑ Œ Œ Œ œœ
œœ
p
∑ ∑ ∑ j ‰ Œ Ó
& bœ
>
Hp. ß
? ∑ ∑ ∑ ∑
non div.
II
D #˘·
≈ · # · · · · · · >· · · · # ·
ricochet
# · · · · · · · · · · · ≈ # ··æ
III
Œ Œ Œ R ≈ ‰ Œ œO œO œO Œ
II
& ·@ @ ·@ @ ·æ æ ·æ
3
Vln. I
· · · @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ fl
f π ßp F p ç ß
˘œ
sharply
pizz. > ˝
bœ b˙.
pizz.
· · · · · · Œ ≈ œ ≈ ‰ œ bœ œ
arco
& · · Œ Œ R ≈ ‰ ‰ Œ
3
œ.
arco
j
L.V.
æ æ æ @ @ @ @ @ â ·æ
Vln. Ib
f p ß œ
f ß > p
˘œ ß
3 5
˙
> #>·
II
‰ # ·· n # ·· # ·· n # ·· # ·· n ·· # ·· n ·· n ·· n ·· n ·· # ·· n # ·· # ·· n ·· # ·· n ·· # ·· n ·· # ·· n ·· # ·· n ··
II
R ≈ ‰ # ·· # ·· # ·· ‰ æJ æ # ·. ≈ ‰ Œ
III
&
non div.
R
æ æ
Vln. II
P ç æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ß p
p3 ßp 3 ˘œ
˘œ F π
˙ >
3 3 3 3 3 3 3
& R ≈ ‰ Œ Œ ‰. bœ b˙ œ œ bœ œ ˙ œ J ‰ Œ Œ
>
Vln. IIb
ç f p ß
>œ ˘· o o o œo
·· b o o œo œo œ œ œJ
harmonic gliss. on III
B # ·· ·
· Œ Œ ≈ bœ ˙ œ ˙ œ ‰ # ¥æ
R ≈ ‰ ‰
II
œ œ
3
æ
& J
æ æ p
Vla.
ç P f π ç 3
f p
3 5
sharply
≤ ≥
forcefully
espress.
? æ ˘ > ˘O ˘
‰ & b b Oœ Ȯ Ȯ b b Oœ Oœ Oœ
pizz. arco ricochet
·@ ·@ ·@ ≈ & Œ œœ œ ≈ ‰ j ‰ œ ≈ ‰ Œ Œ
? ?
·æ æ
3
œ œ
· · > .. R œ æJ æ R
Vc.
f ßp ç >
f ß ß p ç ß
forcefully
> ord. · · · · · · ·
I arco
j
arco harmonic gliss. on I pizz.
& Œ Œ · r ≈ ‰ ? Œ Œ j ‰ æ æ æ æ æ æ æJ ‰ Œ ‰ Œ Œ
s.p. pizz.
· œ bœ
æ >
Cb.
ß P. > p F p ß
ß
3
like sharp whip
61
9
36
œ œ œ ˘œ
‰ œ œ bœ nœ #œ nœ œ œ
R 5 6
& Œ ≈ ‰ Œ Œ 4 ∑ 4
f p ç
Picc.
~~~~~~~~~~~~~~~~~~~~~
7
œ œ œ #œ nœ œ œ œ bœ œ œ œ œ œ œ nœ œ bœ œ bœ œ œ œ
#œ œ œ œ bœ œ bœ œ œ œ œ œ
bœ œ bœ ® ≈
& Œ 45 ∑ 46
p
Fl. 2
f F π
˙ œ
swiftly
œ œ œ bœ bœ nœ
bœ œ œ bœ œ ≈ ≈
Fl. 3 & Œ 45 ∑ 46
p
f F
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ π
7 7
7
#œ œ œ œ œ œ
Œ Œ ‰ J J ‰ Œ 5 ∑ 6
Ob. 1 & 4 4
3
π 3
P π
œ œ bœ œ bœ bœ œ œ
J œ bœ œ œ œ bœ nœ œ bœ 5 6
& Œ Œ Œ ‰ œ bœ œ ≈ Œ 4 ∑ 4
π
Ob. 2
F π
≈ œ #œ œ nœ #œ œ nœ œ œ œ bœ nœ œ œ œ bœ œ œ bœ œ bœ nœ Aœ œ œ
Œ Œ œ œ bœ œ bœ ≈ Œ 5 ∑ 6
B b Cl. 1 & 4 4
p 6 F π
bœ bœ nœ œ œ #œ œ nœ #œ ≈ ≈ ‰
6 6 6
œ bœ nœ bœ œ #œ œ bœ bœ œ
œ œ œ œ œ œ bœ œ bœ œ œ œ 5 6
& ‰ œ bœ œ ≈ Œ 4 ∑ 4
3
B b Cl. 2
œ 7 π
F
œ π ≈ bœ œ bœ œ bœ œ #œ nœ
7
ƒ
6
6
? Œ Ó ∑ 5 œ # œ n œ œ œ œ œ œ 46
4 Œ Œ
6
7
B. Cl.
œ œ œ œ œ œ œ #œ
>> > > f p
ƒ
6
6
? bœ 45 Œ ≈ œ œ # œ œ # œ œ œ # œ n œ œ œ œ n œ 46
Bsn. 1 œ bœ œ œ œ ® ® Œ Ó ∑ Œ Œ
P p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .
7 7
#œ ˙ œ
? Œ Ó ∑ 5 ‰ R ≈ #œ nœ #œ nœ œ œ #œ nœ œ 6
nœ œ bœ œ bœ ≈ 4 #œ #œ œ 4
6
p p
Bsn. 2
P p F
? ∑ ∑ 5 ∑ 6
C. Bn. 4 4
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
& ∑ ∑ 45 ‰ b œ b œ b œ œœ b œœ œœ n œœ n b œœ A œœ n œbœb œœ n œœ n œœb ˙œ
? 6
4
3 5 5
Œ ‰ Œ
Hn. 1, 2
π .J
Œ ‰ Œ
5
45 b ˙ . j 6
5
& Œ
swiftly
b œ n œ œ œ œ b œ œ n œ A œ n œ b œ œ œ b œ# ˙œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4
IV 7 7
Hn. 3, 4
#œ œ. œ œ œ ˙ œ bœ
> p F π
ç
swiftly
Ÿ~~~~~~~~~~~~~~~~
∑ ∑ 5 6
4 bœ œ œ bœ bœ œ œ œ œ œ nœ bœ œ œ Aœ œ nœ bœ œ œ nœ Œ
7 7 7
&
open
B b Tpt. 1 #œ 4
π P p
5 6
swiftly
∑ ∑ 4 ≈ b œ œ b œ n œ b œ œ œ b œ œ n œ b œ n œ œ n œ b œn œ n œ Œ Œ
6 6
&
open
4
6
B b Tpt. 2
π P
? 5 6
swiftly
Tbn. 1 ∑ ∑ 4 ∑ 4
? ∑ ∑ 5 ∑ 6
Tbn. 2 4 4
? ∑ ∑ 5 ∑ 6
B. Tbn. 4 4
? Œ Œ 5 ∑ 6
Tuba 4 4
˙. œ ˙
F p
? ∑ ∑ 5 ∑ 6
Timp. 4 4
-œ 5 6
Perc. 1 ã œ Œ Ó Œ Œ Œ ‰ J 4 ∑ 4
P P
Perc. 2 ã ∑ ∑ 45 ∑ 46
œ >œ œœ œ b œœ n œœ b œœ
# œœ œœ b b œœ œœœœ
5 6
Vib. & æ æ J ‰ Œ 4 ∑ 4
f p f π
∑ ∑ 5 6
Perc. 3 ã 4 Œ Œ Œ ˙æ 4
p
∑ ∑ 5 ∑ 6
& 4 4
Mrb.
? œœ j ‰ Œ ∑ 5 ∑ 6
œœ œæ œ 4 4
P p >
ß œ
5 j 6
& Ó Œ ∑ 4 Œ Œ Œ Œ ≈ bœ . 4
p f
Hp.
? Œ ‰ j Œ Œ ∑ 45 ∑ 46
œ
ƒ
j r n œœ- œœ œœ
arco
5 6
& ‰ b œO œO œO # n œO ≈ ‰ Œ Œ ‰ ‰ Ó Œ
div.
Vln. I J b œœ 4 œœ .. 4
fl ∏ P p
p ß
3 3
-
˘ b b œœ œœ œœ
ricochet
& ·R ≈ ‰ Œ ‰ b œO œO œO ‰ Œ ‰ 45 œœ .. ‰ Ó Œ 46
div.
J b n œœ
fl
Vln. Ib
ß ß
3
∏ 3
P p
Oœ Oœ Ȯ Oœ ˘
# œœ
ricochet
5 6
& Œ Œ b œO œO œO ‰ J J ‰ 4 ≈ b œ-œ .. J ‰ Œ
arco
œœ œœ 4
div.
fl p
Vln. II
ß ƒ π π ß
o
o œo œ œo œo œo o
œ œo œo ˘œ
œo œ nœ
J J 5 div. 6
arco
& ‰ ‰ Œ Œ 4 ≈ n œœ .. œœ œœ J ‰ Œ 4
π -
Vln. IIb
p f π ß
o
3
œo . œo œo œo
3
w
espress.
j
J J 5 ‰ # œæœ æ 6
3
& ‰ B 4 Œ Œ Œ ‰ 4
div.
Vla.
f p F π p
˘·
? Œ Œ ‰ #¥ æ B R ≈ ‰ Œ Ó ? 5
4 Œ Œ Œ ‰ ‰ #œ 6
II
4
arco
Vc.
æJ æJ æ
p ß 3
p
? ˘
#· · · 5 6
ricochet
∑ Œ Ó ∑
II
Cb. 4 4
ß
62
10
39 >˙ . ˙. œ bœ nœ œ
œ œ œ
& 46 ∑ 45 ∑ 44 Œ J ‰ 45 Œ Œ Œ Œ œ #œ 44
ßp f π
Picc.
w œ ˘œ > P
6 ∑ 5 4 R≈ 5 J 4
4 Œ ‰ Ó ∑ Œ Œ ‰ ‰ Œ
with longer whistle tone
&4 4 4 4
p ç
Fl. 2
˘œ
3
ß
w œ >
6 ∑ 5 4 R≈ 5 J 4
4 Œ ‰ Ó ∑ Œ Œ ‰ ‰ Œ
with longer whistle tone
&4 4 4 4
p ç
Fl. 3
3
ß
b œ-
˙ ˙. œ ˘œ bœ. œ œ œ
6 ‰ J 45 4 R≈ 5 J 4
Ob. 1 &4 Œ Œ Œ Œ Œ 4 ‰ Ó ∑ 4 Œ Œ 4
P ç p
œ- 5 ˙ ˙. 4 œ
˘œ
6
&4 Œ Œ Œ Œ Œ 4 4 R≈ ‰ Ó ∑ 5
4 Œ Œ ≈ b œJ . œ œ
J ‰ 4
4
p F
Ob. 2
P ç p
ä bœ œ b œ œ œ œ œ nœ #œ œ œ nœ bœ nœ œ
6 5 4 5 4
B b Cl. 1 &4 Œ Œ Ó
˙ 4 œ. j 4 j ‰ Œ Ó ∑ 4 Œ Œ ‰ 4
œ ˙. œ p p
F P f f
p
6 6 3
bœ bœ œ œ œ œ œ œ œ œ œ œ œ nœ œ bœ œ nœ œ œ
& 46 Œ Œ ‰ 45 44 j ‰ Œ Ó ∑ 45 Ó ‰ 44
poco
B b Cl. 2
œ- . #˙ ˙ ˙. œ p f p
p F P f p
? 6 r≈ 5 4 5 b œ. œ. n œ. œ. œ. œ. ≈ 4
‰ r≈ ‰ Ó ∑ Œ Œ Œ Œ
poco
4 nœ 4 4 4 4
-̇ . ˙ ˙ ˙. œ œ
B. Cl.
fl
ß P F P ç P f
˘ b ˙- . ˙ ˙. b œ. œ. n œ. œ. œ. œ. ≈
? 6 #œ ≈ ‰ 5 ˙ 4 œJ ‰ Œ Ó ∑ 5 Œ Œ Œ Œ 4
4 R 4 4 4 4
poco
Bsn. 1
ß P f P f p P f
? 46 œr ≈ -̇ . # ä˙ ˙. b œ. œ. n œ. œ. œ. œ. ≈
‰ 45 ˙ 44 œ ‰ Œ
J Ó ∑ 45 Œ Œ Œ Œ 44
fl
Bsn. 2
ß P F P f p P f
?6 Œ 5 4 ˘ 5 4
poco
4 Œ Œ Œ 4 4 r≈ ‰ Ó ∑ 4 ∑ 4
˙ ˙ ˙. œ œ
C. Bn.
˘r F P ç
ßœ j
≈ ‰ Œ Œ Œ ˙˙ .. ˘ . . . . . . . . . .
?6 œ ˙. # b ˙˙ 5 ˙˙ 4 œœ 5 b œœ b œœ # n œœ b œœ b n œœ b œœ n œœJ b b œœ œœ œœ œœ œœ œœ n n œœ œœ œœ œœ ≈ 4
6
4 4 4 J ‰ Œ Ó ∑ & 4 Œ ‰ ‰ 4
> â
Hn. 1, 2
ƒ P f P f p F ß P ƒ
˘≈ ‰ ä ä ˘
& 46 # œr Œ Œ Œ 45 ˙ 44 œj ‰ Œ Ó ∑ 45 Œ b œ n œ b b œœ ‰ ‰ b œœ. œœ. œœ. œœ. œœ. œœ. n # œœ. œœ. œœ. œœ. ≈ 44
6
Hn. 3, 4 n ˙˙ œ. œ ˙˙ .. œ b b œœ n œœ n œœ b œœ œ n œ J
ß F P fJ Jp F ß P ƒ
6 r œ- ˙. 4 œ
˘œ
b ˘œ b œ. œ. œ. œ. œ. œ. n œ. œ. œ. œ. ≈
poco
5 5 bœ bœ nœ œ bœ nœ J 4
B b Tpt. 1 & 4 #œ ≈ ‰ Œ Œ Œ Œ Œ 4 Œ 4 R≈ ‰ Ó ∑ 4 Œ ‰ ‰ 4
fl P ß ß
ß F p f
- ˘œ b ˘œ
6
& 46 Œ Œ Œ Œ ‰ œJ œ 45 ˙ ˙. 44 œ 45 bœ bœ nœ œ bœ nœ J œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. ≈ 44
B b Tpt. 2 R≈ ‰ Ó ∑ Œ ‰ ‰
P ß F ß˘ p f
bœ
? 6 b >œ ˙. ˙. œ . . œœ. œœ. œœ. œœ. ≈
6
˙ 5 ˙ œ
4 4
4
4 J ‰ Œ Ó ∑ B 5
4 Œ J ‰ Œ b b œœ œœ 4
4
P ß˘
Tbn. 1
ƒ P f P f p P f
œ bœ
? 6 b >œ ˙. ˙ 5 4 5 J b œ. œ. n œ. œ. œ. œ. ≈ 4
4 ˙ ˙. 4 Jœ ‰ Œ Ó ∑ Œ ‰ Œ
B
Tbn. 2 4 4 4
ƒ P F P f p P ß P f
? 46 ˘
45 ˙ 44 45 44
poco
r≈ ‰ Ó ∑ ∑
œ ˙. ˙ ˙. œ œ
B. Tbn.
ƒ> P F P ß
?6 5 4 r≈ ‰ Ó ∑ 5 ∑ 4
4
poco
Tuba 4 4 4 4
œ ˙. ˙ ˙ ˙. œ œ
ƒ> P f P ß
fl
?6 j 5 b˙. 4 œ b >œ ‰ Ó 5 > r 4

#œ ‰ Œ Œ Œ 4 Ó ∑ 4 bœ ≈ ‰ Ó Œ
IV: Eb
4 æ 4 J œ 4
˙ æ æ
Timp.
> ƒ p ç f p
ßp
6 Œ Œ Œ Œ Œ 5 ∑ 4 ∑ ∑ 5 Ó ‰ 4
ã 4 œ 4 4 4 ˙ œ
@J 4
æ
Perc. 1
P p F p
œ ˙.
edge
6 ∑ 5 ∑ 4 Œ Œ Œ œ ‰ ‰ æJ æ 5 œ
J ‰ Œ Œ Œ 4
Perc. 2 ã 4 4 4 J 4 œæ 4
F π f P
6 ∑ 5 ∑ 4 ∑ ∑ 5 ∑ 4
Vib. &4 4 4 4 4
6 j 5 4 5 4
ã 4 œ ‰ Œ Œ Œ Œ Œ 4 ∑ 4 ∑ ∑ 4 Œ Œ Œ Œ œ 4
>
Perc. 3
f P f
& 46 ∑ 45 ∑ 44 ∑ ∑ 45 ∑ 44
Mrb.
?6 ∑ 5 ∑ 4 ∑ ∑ 5 ∑ 4
4 4 4 4 4
gg b œœ
gg # œ
gg œ ‰ Œ
& 46 ∑ 45 ∑ 44 Œ Œ ggg œ ∑ 45 ∑ 44
g J
Hp. f
?6 j ‰ Œ Œ Œ Œ Œ 5 ∑ 4 ∑ ∑ 5 ∑ 4
4 4 4 4 4
with slow arpeggio
œ
ƒ
- r ˘O O O
OO ȮȮ 4 ȮȮ.. . œOOœ ≤
# # ȮȮ.. ..
unis.
œOOœ ≈
3
6 5 ‰ œœ ‰ 45 œ œœ #· 4
&4 ∑ 4 Œ Œ 4 . Œ Œ Œ 4
ricochet arco II
Vln. I
3 -
R
π f p ß P
- as if echo emerging from sky
r ˘ II ≤
b b Ȯ Oœ 4 ȮȮ.. .. œOOœ
ricochet b O O O
Ȯ .
unis.
6 5 Oœ OœO ≈ ‰ 45 4
&4 ∑ 4 Œ Œ Œ 4 # # Ȯ. .. œ Œ Œ bœ œœ Œ #· 4
arco
‰ - R
Vln. Ib
π3 f p ß˘ P
r ≤
& 46 ∑ 45 Œ Œ Œ Œ œ-O 44 Ȯ .. œO # Ȯ .. Oœ ≈ ‰ 45 Œ Œ b b Oœ Oœ Oœ Œ #· 44
as if echo emerging from sky II
ricochet arco
Vln. II
π f p P
ß
6 5 ‰ ‰ b œO 44 Ȯ ..
r
‰ 45 j
n n Oœ Oœ Oœ # ·≤ 4
as if echo emerging from sky pizz.
∑ 4 Œ Œ Œ Œ œO ≈ Œ ‰ Œ
3
&4 Ȯ .. œO bœ 4
ricochet arco II
Vln. IIb
- >
π f p ˘ ç P
≤ pizz.> fl
ß ≤
B 46 j ‰ Œ ‰ œj 45 ˙ r 4 œO .. Oœ 5 b b œO ‰ œJ 4
as if echo emerging from sky
Œ Œ œ ≈‰ Ó ∑ Œ Œ ‰ Ó
pizz. unis. II
& n·
arco
bœ 4 J 4 J 4
arco
Vla.
b œœ > - fl p ç ç
fl f P ç P
ß Oœ≤ .. Oœ 5 b b Oœ pizz.>
?6 j ‰ Œ Œ Œ b >œ ‰ j 45 r≈ ‰ Ó 4 ∑ B Œ Œ J 4 J ‰ J
œ
‰ Ó Œ ? 4
pizz. arco
4 nœ œ- ˙ œ 4 4
fl
Vc.
fl f fl p ç ç
ß P ç
?6 5 4 ˘ 5 4
4 œ r≈ ‰ Ó ∑ ∑
arco
Cb.
˙. ˙ 4 ˙ ˙. 4 œ œ 4 4
>
ƒ P F P ß
poco
63
11
>œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
# >œ . œ ˙ w ˙ œ #œ œ œ
4 J J ‰ Œ Œ Œ ‰ J
&4
p
Picc.
ƒ P F p ß 6
P 5 6
f 7 5
œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœœœ
>œ .
œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ
Fl. 2 & 44 J J ‰Œ Ó Œ Œ ‰ ‰ J J ‰
ƒ p π 3
π 5 5
F 3
π p 5
f 6 5
œ œ ˙ œ
poco bisbigliando (Performer is left to choose the fingering of bisbig.) shimmering
4 œ- . ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J
jet whistle
œ
&4 Œ Œ ‰ J ‰ Œ Œ Œ ‰ ‰ Œ R ≈ ‰ Œ
∏ fl p
Fl. 3
5
F 6 6
p 3
p F p ç
˘
#œ
enter imperceptibly shimmering
œ.
4 œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Ob. 1 &4 R ≈ ‰ Œ Ó ∑ ∑ Œ J ‰ Œ Œ
ß p 7
P 6 5 3
∏ π
-̇ . ˙. œ œ. œ œ œ œ œ œ œ œœ œ œœœœœœœœ œ œ œ œ œ œ
shimmering bisbigliando (Performer is left to choose the fingering of bisbig.)
& 44 ∑ Œ ‰ ‰ J J Œ Ó
∏ π
Ob. 2
F p 6
P 7 3
∏
enter imperceptibly
œ. œ.
4 ∑ ∑ Œ ‰ œœœœœœœœœœœœœœœœœ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ
˙
Œ
B b Cl. 1 &4
∏3 6
F 6 5
∏ p F π
≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ
shimmering
œ œ œ ˙
& 44 ∑ ∑ Œ Œ Œ Œ Œ r≈ ‰
bisbigliando
B b Cl. 2
# œ- œ
∏ F p fl
ß
5 7 7 6 5 3
œ œ
(Performer is left to
? 44
shimmering
∑ ∑ ∑ ∑ ∑ Œ Œ R≈ ‰
choose the fingering of bisbig.)
fl̆
B. Cl.
p ß
œ- œ
? 44 ∑ ∑ ∑ ∑ ∑ Œ Œ R≈ ‰
ß
Bsn. 1
p
# œ- ˘œ
? 44 ∑ ∑ ∑ ∑ ∑ Œ Œ R≈ ‰
ß
Bsn. 2
p
?4 ˘œ ≈
C. Bn. 4 ∑ ∑ ∑ ∑ ∑ Œ ‰ Œ Œ
ß
Hn. 1, 2
4
&4 ∑ ∑ ∑ ∑ ∑ Œ ‰ # ˘œœ ≈ Œ Œ
ß
& 44 ∑ ∑ ∑ ∑ ∑ Œ ‰ œœ ≈ Œ Œ
fl
Hn. 3, 4
ß
4 ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 1 &4
4 ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 2 &4
B 44 ‰ # ˘œ ≈
Tbn. 1 ∑ ∑ ∑ ∑ ∑ Œ Œ Œ ?
ß
˘œ ≈
B 44 ∑ ∑ ∑ ∑ ∑ Œ ‰ Œ Œ ?
ß
Tbn. 2
˘œ ≈
?4 ‰
B. Tbn. 4 ∑ ∑ ∑ ∑ ∑ Œ Œ Œ
ß
? 44 ∑ ∑ ∑ ∑ ∑ Œ Œ Œ
Tuba
‰ œ ≈
fl
ß
?4 ∑ ∑ ∑ ∑ ∑ Œ ‰ j
II: G
Timp. 4 œæ ˙æ
scrape the surface of cymbal p
>œ >œ with soft mallet j
with metal stick
j
ã 44 J ‰ Œ Ó ∑ Œ Œ Œ J ‰ ∑ Œ ‰ Œ Œ Œ ‰ Œ Œ
œœ
œ- œ
ß>
Perc. 1
ç ß P
4 j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
ã 4 œ
>
Perc. 2
ç
ww- #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vib. & 44 ∑ Œ Œ ˙æ ˙æ.
j
œ@ ‰ Œ Œ
P p f π p 5 7
ƒ 6 5 3
p
ã 44
shimmering
Perc. 3 ∑ ∑ ∑ ∑ ∑ ∑
4 ∑ ∑ ∑ Œ r
&4 ˙æ. ˙æ. œæ œæ œ ≈ ‰ Ó
P f P fl
ß
>
Mrb.
? 44 ∑ ∑ ∑ ∑ ∑ Œ ‰ œ œ œJ Œ Œ
√ bœ ç
‰
bisbigliando
#œ œ œ œ œ œ œ œ #œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ
4 ∑ ∑ ∑ Œ Œ J ‰ Œ Œ j ‰
&4 œ
P3 ƒ P >
ƒ
6 7 7 7
Hp. [D # - Db, Fb, Gb-G n, Ab-A n,]
?4
shimmering
4 ∑ ∑ ∑ ∑ ∑ ∑

˘
unis.
·
≤ ˘ >O
# -O ‰ #· #· · · ·
II
& 44 R ≈ ‰ Œ O. O ≈ ‰ ∑ Œ Œ Œ O O O ‰ Œ
Vln. I
R J æ æ æ æ æ
ç p ß ß p f π
˘· π3 3
# -O . Oœ-≤ >Ȯ .
unis.
Ȯ Oœ
& 44 R ≈ ‰ Œ Ó ∑ Œ O. O O O ‰ ‰ .
II
Vln. II
J J J æ
ç π f π P
˘ ç
· ˘O ≤
4 R ≈ ‰ Œ Ó ∑ Œ Œ Œ O O O O O O ≈ #O. O O ≈ ‰ r
œœ ≈ ‰
I
&4 æ æ æ æJ æ æ R # œœ
-
Vla.
ç p ç p fl
p
3
f p ß
>· · · arco · . ≤
· r
I
?4
ricochet
4 Œ Ó ∑ ∑ ∑ Œ Œ ≈ æJ ·æ r ≈ ‰ # œœ œœ ≈ ‰
II
Vc. & æ #· -
ß p P fl p fl
ç ß
>· · ·
? 44
ricochet pizz.
Œ Ó ∑ ∑ ∑ ∑ Œ ‰ j Œ Œ
II
œ
Cb.
ß p >
ç
64
12
˘œ
≈ œ. œ.
50
œ #œ ˙ œ œ œ œœœœ œ œ œ œ œœœœœœœœ œœœ œœ œ œ œ œ œ œ œ
bisbigliando
J ‰ J ‰
& ‰ ∑ Œ
p
Picc.
F π p ç p 3 5
f 6
π
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœ œ œ œ œ œ œ
& J ‰ Œ Œ ∑ ∑
p
Fl. 2
3
π F 6 7 5
œ œ œ œœœœœœœœœœœœœœœœœœœœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œ
bisbigliando
J J ‰ ∑ ∑ ∑
Fl. 3 &
6
f 6 5 3
π
˙ œ œ œ œ >œ ˙
j
œ ˙ œ
J
œ
Ob. 1 & ‰ Œ Ó ‰ J R ≈ ‰ Œ ∑
F π ßp ç
œ- œ œ œ œ œ œœœœœœœœœœœœœ œœ œœ œ œ œ œ œ
Ob. 2 & ∑ ∑ Œ Œ Œ ‰ J Œ
p 6
F 7 5 3
π
≈ œ. œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œœ œ œœœœ œ œ œ œ œ
bisbigliando
B b Cl. 1 & Œ Œ J ‰ Œ Œ ‰ J
π 5
F 6 3
π p 3 5
F 6
>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
B b Cl. 2 & ∑ ∑ J ‰ Œ Ó
ßp
6
f
5 3 p
? Œ ˘ œ œ œ œ
Œ ‰ j j ‰ ∑ Œ Œ Œ œ œ œ
non vib. vib. molto
œ- œ œ ˙ œ
B. Cl.
π â p ß p f
f ˘œ -œ
œ œ œ œ œ- œ-
? ∑ Œ Œ ‰ J R ≈‰ Œ Ó B Œ Œ Œ ? œ- œ- œ-
œ
p p 3
Bsn. 1
p ß F
ä œ- œ œ œ- œ- - - -
3
? Œ Œ Œ ‰ j j Œ ∑ B Œ Œ Œ ? œœ œ
œ œ. œ œ œ
p
Bsn. 2
p f π F p 3
>œ
3
C. Bn.
? ∑ ∑ ∑ ∑ Œ Œ Œ
ßp
- - - - - - - - -
œ œ œ œœ œœ œœ œœ œœ œœ œœ ..
3 3 3
& ∑ ∑ ∑ Œ Œ ≈
Œ - - - - J n ˙˙
- F-
Hn. 1, 2
p π
- - - - - - -
3 3
‰ ‰ œ œ œœ- œœ-
3 3
œœ œœ œœ œœ ..
3
& ∑ ∑ ∑ Œ Œ ≈
Œ ‰ J # ˙˙
Hn. 3, 4
- - - π
P oF
-œ œ œ- œ- œ-+ œ-
3 3
>˙ . œ œ
r >œ œ œ œ œ œ
∑ ∑ J J J ‰ Œ Œ
harmon mute
B b Tpt. 1 &
ßp f 3
p 3 3
f p
+ o
∑ ∑ ∑ Œ œ- œ- œ- œ- œ- œ œ œ œ ‰ Œ Œ
harmon mute
B b Tpt. 2 & J J
p 3 3
f p
? œ- œ œ- œ œ- œ- œ- œ- œ- œ
Tbn. 1 ∑ ∑ ∑ Œ Œ Œ
P F 3 p 3
? ∑ ∑ ∑ Œ Œ Œ œ- œ œ- œ œ- œ- œ- -
œ- œ œ
Tbn. 2
P F
3
3
p
? ∑ ∑ ∑ ∑ ‰ œ- œ- œ- œ- œ- œ- œ- œ
J
>
B. Tbn.
P 3 3
sFz
? ∑ Œ Œ r≈ ‰ Œ Ó ∑ Œ ‰ j
˙ œ
Tuba
p fl
ß œ- ˙
P
? ‰ Œ Œ ∑ ∑ r
Timp.
˙æ ˙æ œæ. œ œ ≈ ‰ ˙æ
F π â p
f
Œ Œ Œ Œ œ. ‰ Œ Œ ∑ Œ Œ ‰ ≈ œ œ œj ‰
edge center
ã w
æ æ >
Perc. 1
π F π
ß
Perc. 2 ã ∑ ∑ ∑ ∑ ∑
œ œ œ ˙. œ ˙. œ œ.
Vib. & Œ ‰ æJ æ æ æ æ æ æ ‰ Œ Œ ∑
p f p f π
Perc. 3 ã ∑ ∑ ∑ ∑ Œ ˙æ.
p
˙. œ œ ˙ ˙ ˙. œ œ.
& æ æ æ æ æ æ æ æ ‰ Œ Œ ∑
Mrb.
π F p f π
? ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
œ
Hp.
? ∑ ∑ ∑ ∑ Œ Œ j ‰
œ
F >
ß
≈ ≈ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ˘œ
#· #· · · · · · · · #· #· · · · · · · ·
div.
· · · Œ Œ Œ J ‰ Œ Œ Œ Œ
unis.
# œœ œ
gliss.
&
pizz.
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ >
Vln. I
π 3 P
5 5 6
f P f
F
3 3 3 3 3 3
I O.
˘O œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ
˘
Ȯ . Oœ
& . ‰ Œ R ≈‰ Œ J ‰ Œ Œ Œ Œ
gliss.
nœ œ
pizz.
æ æJ >
Vln. II
p ß P f P f
π
5 5 6
≈ ≈ # œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ- ˘œ
≈ ≈ # -O≤ ≥O- -O O- O- O- O- O- O- O- # O O- O- O- O- O- O j >
I sul pont. sul tasto
O O O
ord.
& Œ Œ Œ J ‰ B‰ Œ #œ Œ Œ
pizz. gliss.
æ æ œ œ &
>
Vla.
P
6 6
f 5
π P
5 5 6
f P F f
sul pont.
-O≤ ≥-O -O -O -O -O -O O -O -O -O -O -O -O -O -O -O -O -O ≈ ≈ œ- œ- œ- œ- œ- œ- œ- œ- n œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ˘œ >œ

like pulsations
I
O O j
ord.
& ‰ ‰ Œ ‰ Œ ?‰ Œ Œ Œ
sul tasto
B
J
pizz. gliss.
æ æ J J œ
>
Vc.
p
3 5
f 5 3
π P5 5 5 6
f 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 .
sul pont.
œ>
like pulsations arco
>œ >œ
I sul tasto ord.
? Œ j
pizz. arco
Œ Œ æ ‰ ‰ Œ Œ Œ Œ ‰ Œ Œ
non div. gliss.
Cb.
J œœ
p f p ß F> f ßp
6 6 6
like pulsations
65
13
F With Growing Momentum >˙
œ ˙. œ
# ˘œ
55
∑ R ≈ ‰ Œ Ó ‰ J J ‰ Œ
Picc. &
ç p ƒ p
bisbigliando >
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& ∑ J J ‰ J ‰
p
Fl. 2
ß 6 5 3
p 5
f 7 5
p
≈≈œ œ œ œ œ œ œ œ œ œ œ œ
bisbigliando
œ œ œ œ œ œ œ œ œ œ ‰ œ- œ- œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ
Fl. 3 & ∑ Œ Œ
p 6
ƒ 5
π p3 6
f 6
# ˘œ œ
bisbig.
œ. #œ œ œ œ œ œ œ œ #˙ œ
Ob. 1 & ∑ R ≈ ‰ Œ Œ ‰ J J J ‰ Œ
ß p 3
F 3 3
π
œ- œ œ- œ œ œ œ œ œ œ œ œ œ œ œ
& ∑ ∑ ∑ ‰
f
Ob. 2
p
≈ ≈ œ- œ- œ- œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 7
œ bisbigliando
& J ‰ Œ Ó Œ Œ Œ
3 6 7
B b Cl. 1
‰ ‰ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœ œ œ ‰
π p f p p6 f
œ- œ œ- œ- œ- œ- œ- œ œ œ œ œ œ
& ∑ Œ Œ Œ Œ ‰ J
bisbigliando 5 6
B b Cl. 2
≈ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ p
p f p
6 6
? #œ œ.
œ œ œ ˙ ˙. ˙ œ œ œ ˙ ˙
> > ß>
B. Cl.
ßp ß P f P
˙ ˘œ ˙
? j
Bsn. 1 œ œ œ œ ‰ Œ ∑ R ≈ ‰ Œ Œ Œ
F p P ß p
? j ˙ ˘œ
Bsn. 2 œ œ œ œ ‰ Œ ∑ R ≈ ‰ Œ Œ Œ ˙
F p P ß p
˘œ >œ
? ˙ R ≈‰ Œ
œ. œ
˙ ˙ œ œ œ ˙ ˙
C. Bn.
ß ß P > P
ß f
˘ r ≈ r
r≈ ‰ Œ
I
& ˙˙ Œ Œ ‰ ‰ Œ Ó œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈ ‰ Œ œ
œœ # œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. # œœ fl . . . . . . . fl
Hn. 1, 2
ßR F ß fl ßp ß p
˘ r
& ˙ r≈ ‰ Œ Œ Œ ‰ r ≈ ‰ Œ Ó œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈ ‰ Œ Œ
˙ œœ n œ. œ œ.œ œ.œ œ.œ œ.œ œ.œ œ.œ œ.œ œ.œ œ.œ œ.œ œ.œ œœ fl . . . . . . . ß
Hn. 3, 4
F fl ßp fl
ßR ß
∑ Œ Œ ‰ r ≈ ‰ Œ Ó # ˘œ œ. œ. œ. œ. œ. œ. œ. ˘œ ≈ ‰ ‰ œ œ
open
B b Tpt. 1 & œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. flœ R J
F ß ß π
ßp
∑ Œ Œ ‰ r . n ˘œ œ. œ. œ. œ. œ. œ. œ. ˘œ ≈ ‰ œ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ ‰ Œ Ó Œ
open
B b Tpt. 2 & R
F ßfl π
˘œ ßp ß
? œ œ œ œ œ œ. œ
R ≈ ‰ ˙ ˙
J ‰ Œ ∑ Œ
ß>
Tbn. 1
F p P ß P
? œ œ œ œ
J ‰ Œ Œ Œ
Tbn. 2 ˙ ˙ œ œ œ ˙ ˙
F p P f P
? r j
B. Tbn. œ œ œ
>
œæ
>
œæ œ ≈ ‰ ‰ œ ˙ ˙ œ œ œ ˙ ˙
ßp ß fl
ß P f P
Tuba
?
˙ ˙ œ œ ˙ ˙ œ œ œ ˙ ˙
f P >ß f P
? Œ Ó ∑ ∑ Œ Œ
œæ œ ˙æ
>
Timp.
ß p
œ œ œ œ ˘œ
scrape the surface of tamtam
j ≈ r
with soft mallet
∑
with metal stick
ã œ ‰ Œ Ó Œ Ó ‰ œ œ œ œœ ≈ ‰ Œ Œ
ß> >
Perc. 1
f ç F ß
>œ
scrape the surface of cymbal
∑ Œ Œ ‰ Œ ∑ ∑
with hard stick
Perc. 2 ã J
ß w> œ. >œ œ œ
# w>
æ æJ æ æJ
with hard stick
Vib. & ∑ æ ‰
ß ßp ç p
ã wæ ˙æ ˙æ ˙æ. œæ wæ
ß>
Perc. 3
P F p
& ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑
# >œ b œ œ œ œ œ œ >œ >œ ˙
∑ ‰ Œ ∑ Œ
& œ
Hp.
f3 5
ƒ f ç
? ∑ ∑ ∑ ∑
F With Growing Momentum ˘œ >˙

œ≤
unis.
œ
div.
˝ Oœ
unis.
Oœ Ȯ Oœ Oœ œ œ œ ≈ ‰
div.
& Œ Œ j ‰ Œ ‰ æJ æ æ æ ‰ J Œ
arco
œœ p π
Vln. I
f F ç ßp
>
ß ˘·
˘ ≈ ‰ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ˘œ
div.
& Œ r ≈ ‰ Œ r ≈ ‰ ‰ #· æ R ≈
arco harmonic gliss. on II
Ȯæ. ‰
-. œO œ œ œ œ œ œ >œ œ >œ œ >œ œ µœ æJ
Vln. II
> ß P ß
P ß
>
ß F ƒ> > ç F
≤ ˘œ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ˘œ
œœ œœ
div.
& Œ Œ ‰ #· #· · · · #· #· · · · · · · · · · · · · #· #· · · · · ‰ œ ≈ ‰ Œ ‰ R ≈
arco
Vla.
æ ææ æ æ æ æ æ æ æ æ @ @ @ @ @ @ @ @ æ æ æ æ æ æ J R
P3 3 3 3
f 3 3
π F ç P ß
B #>· # · · · · · · · · · · · · # · # · · · · · · · · · · · · · #· #· · · j r ˙
arco
‰ ?
œæ œæ œ ≈ ‰ Œ
Vc.
æ æ æ ææææ æ æ@@@@ @ @ @ @ @ @ @ @ æ æ æ æ æ æ æ æ æ æ fl
ßp 3 3 3
f 3 3
π F ç p
? œ >œ œ
↺>
œ œ
↺
r
↺
œ ≈ ‰ Œ
↺ ↺ ↺
˙ œ ˙. ˙ ˙
Cb.
ßp ß fl > > >

ç ßp ç F ç ßp
66
14
# >œ ˙
59
‰ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑ J ‰ Œ Œ Œ ‰ J
&
F f
Picc.
p ç p
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
5 6
œ œ œœœœœœœœœœœœœœ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ ˘œ . . .
œ bœ œ ˘œ ≈ #œ œ œ
ord.
‰
Fl. 2 & Œ R ≈ ‰ ‰ R ≈‰
P 6
f 6 5
p ß P
3
ç p 7 7
œ œ- œ ˘œ œ œ ˙ œ œ œ œ ˘œ ˘œ . . .
≈ œœœ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
bœ œ
Fl. 3 & J ‰ ‰ R ≈ ‰ æ æ æ ‰ J R ≈ ‰ ‰ R ≈‰
p P
3
ß P f p ß P
3
ç p 7 7
b œ- œ ˘œ œ œ ˘œ ˘œ ˙
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
≈ ord.
J
bœ œ
Ob. 1 & Œ ‰ R ≈ ‰ Œ Œ ‰ R ≈ ‰ ‰ R ≈‰
P
3
ß P7 7
f p ß P
3
ç p
œ œ œ œ œ ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ ˘œ ˘œ ˙
J ‰ Ó Œ Œ ‰ J R ≈ ‰ ‰ œ œ
& R ≈‰
p ß
Ob. 2
p P f ˘œ P ç p
≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
5 7 7 3
œ œ. œ ≈ œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. #œ œ ˘œ
J ‰ Ó Œ Œ ‰ J R ≈ ‰ ‰ bœ œ
B b Cl. 1 & R ≈‰
p P7 f p ß P p 7
˘œ ç
7 3 7
œœœœœ œ œ œ r . . . . .
J ‰ Ó ∑ ‰ J R ≈ ‰ ‰ bœ œ œ ≈ ‰ ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ
3
B b Cl. 2 &
f p p ß P fl
ç p 7 7
?
B. Cl.
œ. œ. œ w w œ ˙.
f p ƒ
˘œ œ- œ ˘œ # œ- œ ˘œ
? R ≈ ‰ Œ ‰ J R ≈ ‰ Œ Ó Œ Œ ‰ R ≈‰ Œ Ó
p ç
Bsn. 1
P ç
ç
œ- ˘œ # œ- œ ˘œ
3
œ
? r ≈ ‰ Œ ‰ J R ≈ ‰ Œ Ó Œ Œ ‰ R ≈‰ Œ Ó
Bsn. 2
œ
ßfl P ç 3
p ç
?
œ. œ. œ w w œ ˙.
C. Bn.
f p ƒ
. . . . . . . . . . . . . j r r ˘œ
& œœœœ œœœœœœœœœœ‰ œœ œœ œœ ≈ ‰ Œ Œ r ≈ ‰ Œ Œ ‰ # # œœ œœ œœ ≈ ‰ œœ œœ œ ≈ ‰
3
Hn. 1, 2
- œœ fl R
f P fl fl p ç ç
ß ç P
7 7
j r r ˘œ
& Œ Œ ‰ ≈ ‰ Œ Œ r ≈ ‰ Œ Œ ‰ # œœ œœ œœ ≈ ‰ œœ œœ œ ≈ ‰
3
œ œ œ œœ R
œ- œ œ
Hn. 3, 4
fl fl p fl P ç
P ß ç ç
œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ j r ≈ œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. ˘œ #œ œ ˘œ
& # œ- œ œ ≈ ‰ Œ Œ Œ ‰ #œ œ ≈‰ R ≈ ‰
B b Tpt. 1
R
f P fl P7 f p ß P ß
ß
7 7 7
3
. . . . . . . . . . . . . ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. Œ r œ œ ˘œ
& œ œ œ œ #œ œ œ œ œ œ œ œ œ œ ‰ j r ≈ ‰ Œ Œ ‰ œ œ œ ≈‰ R ≈ ‰
3
B b Tpt. 2
œ- œ œ
7 7
f P ßfl P7 7
f p ßfl P ß
Tbn. 1
? œ. œ. œ w w œ ˙.
f p ƒ
?
Tbn. 2 œ. œ. œ w w œ ˙.
f p ƒ
?
B. Tbn.
œ. œ. œ w w œ ˙.
f p ƒ
Tuba
?
œ. œ. œ w w œ ˙.
f p ƒ
? j ‰ Œ Ó
œ
> wæ wæ ˙æ ˙æ
Timp.
ç P f
j j
L.V.
ã Œ Œ Œ ‰ œæ œæ ˙æ œæ ‰ Œ œ ≈ Œ
with soft mallet
˙. ˙æ œæ
p >
Perc. 1
F P ƒ P ç
>
Perc. 2 ã ∑ ∑ ∑ Œ ‰ Jœ Œ Œ
ß
>˙ >œ #œ #œ # w>
Vib. & ∑ æ R ≈ ‰ ∑
ßp ç F ƒ
ã œæ. œæ. œæ wæ wæ ˙æ ˙æ
>
Perc. 3
f p f P
& ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑
œ>œ
& ∑ Œ Ó ∑ ∑
Hp.
ç
? ∑ ∑ ∑ ∑
˙ ˙ œ ˘œ ≈ œ œ ˘œ
> œ
# # œœ œœ œ >
II
Vln. I & R ≈ ‰ Œ ‰ J R ≈ ‰ Œ ‰ # OJ O
ƒ p ß ßp ç P ß Ç
œ- œ≤ ˘œ ˘ œ. œ.
≈≈œ œ œ œ œ œ œœ. œ. œ. œ. œ. b œœ. œœ. œœ. œœ. œœ. œ˘œ ˙˙
bœ œ œ # # œœ > ˘œ ≈ ≈ b b >Oœ ˘O
R ≈ œœ œœ Oœ
unis.
& Œ ‰ R ≈ ‰ ‰ œœ .. œ ‰ œ ≈‰
Vln. II
J R
P3
ç P ß ßp ç P 7 7
ç ßp ç p
b œ- œ≤ ˘œ
# œœ
˘
# >œœ œœ ˘œ ≈ ≈ # œœ. œœ. œœ. œœ. œœ. œœ. œœ. b œœ. œœ. œœ. œœ. œœ. ˘œœ ˙˙
Vla. & Œ ‰ bœ œ œ ≈ ‰
R ‰ œœ .. R ≈ J œ ≈ ‰
R R ≈ ‰ Œ Œ
3
P ç P ß ßp ç P 7 7
ç p
? >œ . œ. œ w œ ≈ ‰ ˘
R &Œ Œ ‰ b b œœ œœ b b œœ ≈ ‰ Ó
æ æ R
Vc.
ç p ƒ 3
P ç
?
↺
œ. œ. œ w w œ ˙.
Cb.
> ƒ>
ç p
67
15
G
63
w> w >˙ ˙
˙ œ œ
&
ƒ ßp p
Picc.
P ƒ
˘œ >
œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
& R ≈ ‰ Œ Ó
bisbigliando
ßp ƒ
Fl. 2
ƒ 3 5
p 6
F
˘œ ˘œ
œ œ ≈≈≈œ œœ œ œ œœ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙. œ œ
bisbigliando
& R ≈ ‰ Œ R ‰.
ç
Fl. 3
ƒ F P 7 7 7 6
ƒ
3
P
äœ . ˙ ˘œ œ ˙ w ˙ œ œ œ œ œ œ
‰ ‰
Ob. 1 & ‰ R ≈ ‰
ß p P ç 3
P f p
œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ
bisbigliando
Ob. 2 & ‰ Œ Œ Ó
ß p P 7
f 7
p 3 3
˘œ ˙ œ #œ œ œ œ #œ
bisbigliando
œ œ œ œ œ œœ œ œ œœ
B b Cl. 1 & R ≈ ‰ Œ R ≈ ‰ Œ Ó Œ Œ ‰ J
ƒ P ç P 3 6
˘
#œ
˘œ ˙ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ w
bisbigliando
B b Cl. 2 & R ≈ ‰ Œ R ≈ ‰ Œ ‰ J
ƒ P ç P 3 5
ƒ 5
p
? r
˙ œ œ œ œ ˙. w œ ≈ ‰ Œ Ó
>
B. Cl.
P f p Ï
? ˙. w >œ ˙.
Bsn. 1 ∑ Œ R ≈ ‰ B
p Ï p F
? ˙. w >œ
Bsn. 2 ∑ Œ R ≈ ‰ Œ Ó
p Ï
? r≈ ‰ Œ Ó
˙ œ œ œ œ ˙. w œ
C. Bn.
P f p Ï>
˘ >˙ œœ œœ äœ . j
& ‰ œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ ≈ ‰ Œ ˙ œœ œ. # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. # # œœ ..
Hn. 1, 2
R J . . . . . . . >
P ß ß P ß F ç p
. . . .˘ j
3
& ‰ œ. œ. œ. œ. œ. œ. œ. œ. n œ œ œ œ œR ≈ ‰ Œ œœ œœ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. # œœ ..
3
˙˙ œœ . . . . . . . >
Hn. 3, 4
P > â F ç p
ß ß P Z
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ˘œ ≈ #œ œ ˙ œ # œ. œ. œ. œ. œ. œ. œ. >œ ˘œ
‰.
& ‰ ‰ Œ Œ Ó
3
B b Tpt. 1 R ˙ œ J R
P ß > P ç
ß
‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ˘œ ≈ ‰ Œ Œ Œ ‰ œ
j
œ œ. œ
>
œ œ. œ. œ. n œ. œ. œ. œ. œ
˘œ
‰. Œ Ó
B b Tpt. 2 & R J R
P ß P ç
? ˙ œ œ œ œ ˙. w >œ
≈ ‰ Œ Ó
Tbn. 1
R
P f p Ï
? r≈ ‰ Œ Ó
˙ œ œ œ œ ˙. w œ
>
Tbn. 2
P f p Ï
? r
˙ œ œ œ œ ˙. w œ ≈ ‰ Œ Ó
>
B. Tbn.
P f p Ï
Tuba
? r≈ ‰ Œ Ó
˙ œ œ œ œ ˙. w œ
P f p >
Ï
? 3 3
r≈ ‰ Œ Ó
˙æ œæ œæ ˙æ œæ ˙æ ˙ œæ ˙æ œ
Timp.
P > p > P ß p >

ç ç ç
j >œ j
ã Œ ˙æ œ ‰ ‰ œ œ
J
‰ Œ Œ ˙æ œ ‰ ∑
> æJ æ >
Perc. 1
p ß p ß p ç
j j j j
ã ˙æ œ ‰ œæ œ ‰ Œ Œ œæ œæ œ ‰ Œ œæ œ ‰ Œ Ó
> >
ß> >
Perc. 2
p ß p ß p P ç
Vib. & ∑ ∑ ∑ ∑
r
ã œæ ˙æ œæ œæ ˙æ ˙æ wæ œ ≈ ‰ Œ Ó
3
> > >

Perc. 3
ç p ç p ç
& ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
Hp.
? ∑ ∑ ∑ ∑
>O äO G >
ä O # Oœ Oœ Ȯ .. # Ȯ Ȯ
I
œ
Vln. I & O O O
æ æ
ƒ P ç P ƒ F ç p
äœ ˙. ˘œ
œ ˙. œ äO
R ≈ ‰ Ȯ Ow Oœ .. Oœ .. Oœ
unis.
Vln. II & œ
ß P ß P ƒ F ƒ p π
äœ ˙˙ .. ˘œ ˘œ
œ œ O Ȯ Oœ .. >O Oœ b Oœ Oœ œ ≈ ‰
R ≈ ‰ ‰ œ œ
R Œ
airy noise IV
& J B
Xæ
Vla.
ß P ß 3
P ƒ F ç p f
˘ ˘O >˙ . >˙ .
& Œ # œœ œœ ≈ ‰ R ≈ ‰ Œ Ó ? Œ œ
I
Vc.
æ R O
P ß ç ßp Ï p
↺
?
˙ œ œ œ œ ˙. w ˙. œ
Cb.
P f> p Ï> p
68
16
67
w ˘œ
Picc. & R≈‰ Œ Ó ∑ ∑ ∑

ß
œ œ ˙ œ œ œ œœœ œœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
J ‰ Œ Ó Œ ‰ J J ‰ Œ
Fl. 2 &
p π 3 5
P 7 5
π 3
∏
œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œœœœ œœœœ œ œ œ
J ‰ Œ Ó ∑ ∑
Fl. 3 &
5
F 7 6
p 3
π
œ œ œ œ œ œ œ œ œ œ œ #œ ˙ œ #œ œ œ œ œ œ #œ ˙.
J ‰ Œ Ó Ó Œ
Ob. 1 &
P 3
p ∏ 3
p 3
œ. ˙. œ œ œ œ œ œ œ œ œ œ œ ˙.
& ‰ Œ Œ Œ Œ ∑
π
Ob. 2
F π 3
P π
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ
B b Cl. 1 & J ‰ Œ Ó ∑ ∑
F 7 6
p π
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
B b Cl. 2 & Œ ∑ ∑ ∑
3 5
F 7
p π
B. Cl.
? ∑ ∑ ∑ ∑ ∑
.
Bsn. 1
B œ ‰ Œ Œ ∑ ∑ ∑ ∑
π
Bsn. 2
? ∑ ∑ ∑ ∑ ∑
C. Bn.
? ∑ ∑ ∑ ∑ ∑
Hn. 1, 2 & ˙˙ .. œœ
J
‰ ∑ ∑ ∑ ∑
π
j ‰ ∑ ∑ ∑ ∑
& ˙˙ .. œœ
π
Hn. 3, 4
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑
B b Tpt. 2 & ∑ ∑ ∑ ∑ ∑
Tbn. 1
? ∑ ∑ ∑ ∑ ∑
Tbn. 2
? ∑ ∑ ∑ ∑ ∑
B. Tbn.
? ∑ ∑ ∑ ∑ ∑
Tuba
? ∑ ∑ ∑ ∑ ∑
Timp.
? ∑ ∑ ∑ ∑ ∑
>
with hand
ã ∑ ∑ Œ œ œ
j ‰ Œ Œ ∑ Œ ˙æ.
Perc. 1
J
sFz ∏
Perc. 2 ã ∑ ∑ ∑ ∑ ∑
w œ. œ ˙ w ˙ ˙ w
æ æJ æ æ æ
Vib. & æ æ æ
p f p P
Perc. 3 ã ∑ ∑ ∑ ∑ ∑
with soft mallet ˙. w
& ∑ ∑ ∑ Œ æ æ
Mrb.
∏ P
? ∑ ∑ ∑ ∑ ∑
≈ ≈ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bisbigliando
& ∑ ∑ Œ
Hp.
P5 5 6 6 6 6 6 6
ƒ 6 6 6
? ∑ ∑ ∑ ∑ ∑
Ȯ .. Oœ Oœ Ow Ow Oœ -O arco
O -O -O -O -O -O -O -O -O
Œ Ó ‰ J
I
Vln. I & æ æ æ æ æ æ
F ∏ π 3
-· -· -· -· -·
like pulsations
Ȯ .. Oœ Oœ .. Oœ Œ
II
& Œ ‰ Œ
# # œ-O œ-O œ-O # # œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œO œO œO œO œO œO œO œO œO œO # # œ-O œ-O œ-O œ-O œO œO œO œO œO œO œO
3 5 5 3
Vln. II
p ß π F π p
3 3
¿.
like pulsations
B æ ‰ Œ Œ ∑ #· #· · · · · · · · · · · #· #· · · · · · · · · · · #· #· · · · · · · · · · ·
II
&
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vla.
π π 3 3 3 3
F 3 3 3 3
p 3 3 3 3
? w œ Œ Ó ‰ œ ˙. œ ‰ ‰ j
# # œ-O œO œ-O œ-O œ-O œ-O œ-O # # œO œO œO œO œO œO œO œO œO œO œO œO œO œO œO œO œO
5 5
Vc. & J J
P π π P π ∏ P
>
like pulsations
?
pizz.
Œ Ó ∑ Œ Œ · Œ ∑
III
w œ
Cb.
π sFz
P
69
17
72 to flute
∑ ∑ 6 ∑ 4 ∑ ∑ 7
Picc. & 4 4 4
∑ ∑ 6 ∑ 4 ∑ ∑ 7
Fl. 2 & 4 4 4
∑ ∑ 6 ∑ 4 ∑ ∑ 7
Fl. 3 & 4 4 4
˙
Œ Œ ∑ 6 ∑ 4 ∑ ∑ 7
Ob. 1 & 4 4 4
∏
∑ ∑ 6 ∑ 4 ∑ ∑ 7
Ob. 2 & 4 4 4
∑ ∑ 6 ∑ 4 ∑ ∑ 7
B b Cl. 1 & 4 4 4
∑ ∑ 6 ∑ 4 ∑ ∑ 7
B b Cl. 2 & 4 4 4
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
B. Cl. 4 4 4
B ∑ ∑ 6 ∑ 4 ∑ ∑ ? 7
Bsn. 1 4 4 4
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
Bsn. 2 4 4 4
C. Bn.
? ∑ ∑ 46 ∑ 44 ∑ ∑ 47
∑ ∑ 6 ∑ 4 ∑ ∑ 7
Hn. 1, 2 & 4 4 4
∑ ∑ 6 ∑ 4 ∑ ∑ 7
Hn. 3, 4 & 4 4 4
∑ ∑ 6 ∑ 4 ∑ ∑ 7
B b Tpt. 1 & 4 4 4
∑ ∑ 6 ∑ 4 ∑ ∑ 7
B b Tpt. 2 & 4 4 4
Tbn. 1
? ∑ ∑ 46 ∑ 44 ∑ ∑ 74
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
Tbn. 2 4 4 4
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
B. Tbn. 4 4 4
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
Tuba 4 4 4
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
Timp. 4 4 4
6 4 æ ≈ œœœœœœ œ ‰ Œ Ó 7
Perc. 1 ã ˙æ. œæ wæ 4 wæ . 4 ˙. J 4
P ∏ P
6 4 - 7
ã ∑ ∑ 4 ∑ 4 ∑ ‰ Jœ Œ Ó 4
P
Perc. 2
w w œ # ˙-≤ . œ
6 4 J 7
4æ
bowing
Vib. & æ æ Œ Œ 4 ‰ Œ Ó ∑ 4
π ∏ π F
∑ ∑ 6 ∑ 4 ∑ ∑ 7
Perc. 3 ã 4 4 4
w w ˙. œ
& æ æ 46 æ æJ ‰ Œ Œ 44 ∑ ∑ 47
Mrb.
π ∏
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
4 4 4
>œ >œ √>
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ >œ >˙ ˙ œ œ ˙
6 Œ 4 Œ Œ Ó ∑ 7
& 4 4 4
π 6 6 3 3
ß
3
ç
3
ß
Hp. [Db-D n]
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
4 4 4
—≤
bowing on the highest note of I string
O O O O O O O O O O O O O O O O O O O O O O . O. .
6 O 4 O O
J ‰ Ó Œ 7
& 4 4 4
∏ p
Vln. I
5
F 3
π P sharply
poco
-· -· -· -· · · · · · · · ˘· ≈
Vln. II & Œ 46 ∑ 44 ∑ ∑ 74
P
3
p ß
#· · · 6 4 7
Vla. & #æ· æ
·
æ æ
·
æ æJ ‰ Œ ∑ 4 ∑ 4 ∑ ∑ 4
3 π
>
‰I· ‰
pizz.
j Œ ∑ 6 4 7
4 Œ Œ Œ Œ Œ ∑ ∑
?
& O .. 4 4
œ # # œO œO
Vc.
∏ ß
3
? ∑ ∑ 6 ∑ 4 ∑ ∑ 7
Cb. 4 4 4
70
18 q = 60
˘
changing the harmonic partials rapidly
77
-
3
& 47 R ≈ ‰ Œ Œ ∑ 42 ∑ 47 ∑ 45 ≈ Oj . O 46 O . Œ Œ Œ Œ 44
whistle tone
Fl. 1
O
ß π changing the harmonic partials rapidly P ∏
# œ- ˙
jet whistle poco
œ. 5 -
3
7 2 7 Œ 6 4
&4 ∑ 4 ∑ 4 Œ ‰ J ‰ 4 ≈ Oj . O 4 O j‰ ∑ 4
whistle tone
Fl. 2
O O
∏ p ∏ π P ∏
changing the harmonic partials rapidly poco
-
3
& 74 ∑ 42 ∑ 74 ∑ 45 ≈ Oj . O 46 O . O Œ Œ Œ Œ Œ 44
whistle tone
Fl. 3
π P ∏
poco
7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
Ob. 1 &4 4 4 4 4 4
Ob. 2 & 47 ∑ 42 ∑ 47 ∑ 45 ∑ 46 ∑ ∑ 44
7 2 7 Œ n œ- ˙ ˙ 5 6 4
B b Cl. 1 &4 ∑ 4 ∑ 4 Œ ‰ J 4 ∑ 4 ∑ ∑ 4
∏ p ∏
7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
B b Cl. 2 &4 4 4 4 4 4
B. Cl.
? 74 Œ ˙ w 42 ∑ 74 ∑ 45 ∑ 46 ∑ ∑ 44
π p ∏
?7 Œ ˙ w 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
Bsn. 1 4 4 4 4 4 4
π p ∏
?7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
Bsn. 2 4 4 4 4 4 4
C. Bn.
? 74 ∑ 42 ∑ 74 ∑ 45 ∑ 46 ∑ ∑ 44
7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
Hn. 1, 2 &4 4 4 4 4 4
Hn. 3, 4 & 74 ∑ 42 ∑ 74 ∑ 45 ∑ 46 ∑ ∑ 44
7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
B b Tpt. 1 &4 4 4 4 4 4
7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
B b Tpt. 2 &4 4 4 4 4 4
Tbn. 1
? 74 ∑ 42 ∑ 74 ∑ 45 ∑ 46 ∑ ∑ 44
?7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
Tbn. 2 4 4 4 4 4 4
B. Tbn.
? 47 ∑ 42 ∑ 47 ∑ 45 ∑ 46 ∑ ∑ 44
Tuba
? 74 ∑ 42 ∑ 74 ∑ 45 ∑ 46 ∑ ∑ 44
?7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
Timp. 4 4 4 4 4 4
˙.
edge
7 2 7 Œ 5 6 4
with soft mallet
Ó Œ ∑ Œ ˙ ∑ ∑ ∑
Perc. 1 ã 4 w- 4 4 æ æ 4 4 4
p ∏ p ∏
Perc. 2 ã 47 ∑ 42 ∑ 47 ∑ 45 ∑ Œ 46 ∑ ∑ 44
Vib. & 74 ∑ 42 ∑ 74 ∑ 45 ∑ 46 ∑ ∑ 44
edge
7 ˙ ˙ ˙ œ 2 7 æ 5 6 4
ã 4 æ æ æ æJ ‰ 4 ∑ 4 w ˙æ. 4 ˙æ. ˙æ 4 ˙æ. Œ Œ Œ ∑ 4
∏
Perc. 3
p ∏ ∏ p ∏
warmly
& 74 42 74 45 46 44
morendo
∑ ∑ ∑ ∑ ∑ ∑
Mrb.
?7 ∑ 2 ∑ 7 ∑ 5 ∑ 6 ∑ ∑ 4
4 4 4 4 4 4
7 ∑ 2 ∑ 7 Œ Œ ˙-̇ ˙˙ .. 5 ∑ 6 ∑ ∑ 4
&4 4 4 4 4 4
P F P
Hp.
˙-̇
? 74 42 74 45 46 44
warmly
œœ ww Œ ∑ ∑ ∑ ∑ ∑
3 -
q = 60
>— — — —
bowing on the highest note of III string
!
æ
Vln. I & 47 R ≈ ‰ Œ Œ ∑ 42 ∑ 47 Œ ‰æ æ 45 R ≈ ‰ Œ Ó Œ 46 ∑ ∑ 44
ß π
3
∏
· · · · · · · · .
#· · · ·
& 74 # · æ · · · · · · · æ · ‰
· · · ·
42 74 Œ # # ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · 5 ·· ≈ ‰
46 44
ord.
∑ Œ Ó Œ ∑ ∑
s.p.
Vln. Ib
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 4 R
π warmly 3 3
P3 3
∏ ∏ 3 3
p 3 3 ∏
˘ bowing on the highest note of III string! — —
···
& 47
ricochet
Œ Œ ∑ 42 ∑ 47 Œ Œ æ æ 45 R ≈ ‰ Œ Ó Œ 46 ∑ ∑ 44
π
Vln. II
ß ord.3 ∏
r
s.p.
& 47 Œ 42 ·. ≈ ‰ Œ 47 Œ ‰ # ·æ ·æ ·æ ·æ ·æ ·@ ·@ ·@ ·@ ·@ ·@ ·@ ·@ ·@ ·@ ·@ ·@ ·æ æ æ 5 r 46 44
3 3
æ æ æ æ æ æ æ æ æ · · 4 # ·. ≈ ‰ Œ Ó Œ ∑ ∑
·æ · ·æ · ·æ · · · · · · · ·æ
I 3 3 3
Vln. IIb
π warmly P ∏ ∏ p ∏
#· · · · · · · · · · · · # ·.
II
& 74 ‰ · # # ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· 42 ·R ≈ ‰ Œ 74 Ó æ ·æ ·æ ·æ 45 ·r ≈ ‰ Œ Ó Œ 46 ∑ ∑ 44
s.p. III ord.
·æ · ·æ
3 3
B
·æ ·æ .
&
æ æ æ æ æ @@@@@@@@@@@@@@@@æ æ æ
Vla.
∏ ∏ p ∏
π3 warmly 3 P 3
æ .
? 47 ‰ # ·· ··æ ·· ··æ ·· ··æ ·· ··æ ·· ··æ 42 # ·· ≈ ‰ Œ 47 ∑ 45 ∑ 46 ∑ ∑ 44
s.p. 3
arco
R
Vc.
æJ æ æ æ
∏
II
π P
III 3
?7 2 7 5 6 4
warmly
4 œr ≈ ‰ Œ ∑ ∑ ∑ ∑
arco
Cb. 4 w ˙. 4 4 4 4
∏ p ∏
71
19
H q = 86 Fragmentary Stories
b ˙- œ
4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 5
Fl. 1 &4 4 4 4 4 4 4 Œ 4
3
π
Fl. 2 & 44 ∑ 47 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 ∑ 5
Fl. 3 &4 4 4 4 4 4 4 4
# œ- œ
Ob. 1 & 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 Œ ‰ 45
π
3
Ob. 2 & 44 ∑ 47 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
˘
œ-
bisbigliando
B b Cl. 1 & 44 ∑ 47 ∑ 46 ∑ 45 ∑ 44 ∑ 45 Ó Œ ‰ œ œ œ œ œ œ 43 œ ≈ ‰ Œ
R Œ 45
3
p 6
ß
- 3 bisbigliando ˘
4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 œ œ œ œ œ œ œ œ œ œ œ œ≈‰ 5
B b Cl. 2 &4 4 4 4 4 4 Ó Œ Œ ‰ J 4 R 4
p 5 5
ß
B. Cl.
? 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 34 ∑ 45
Bsn. 1
? 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
?4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 ∑ 5
Bsn. 2 4 4 4 4 4 4 4 4
C. Bn.
? 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 ∑ 5
Hn. 1, 2 &4 4 4 4 4 4 4 4
Hn. 3, 4 & 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 ∑ 5
B b Tpt. 1 &4 4 4 4 4 4 4 4
B b Tpt. 2 & 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
Tbn. 1
? 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
?4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 ∑ 5
Tbn. 2 4 4 4 4 4 4 4 4
B. Tbn.
? 44 ∑ 47 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
Tuba
? 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
?4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 5
Timp. 4 4 4 4 4 4 4 Œ œ-
Œ 4
F
6 j 4 >œ 5 -œ
with hand
4 7 Œ ˙æ. 5 ‰ ≈ 3 5
∑ 4 Œ Œ Œ 4 œ ‰ Œ Œ Œ Œ Œ ∑ 4 R ‰. Œ Ó Œ Œ ≈œœœœœ ‰ ∑
5
Perc. 1 ã 4 4 4 4 4
p F ß π p
with hand
-œ j œ- j
center
ã 44 œJ ‰ Œ Ó 74 ∑ 46 Œ Œ ‰ J Œ Œ Œ 45 ∑ 44 Œ Œ 5
œ . œœ œ œ œ ‰ 4 Œ Œ Œ Œ œæ 43 œæ œæ ‰ Œ 45
5
P>
Perc. 2
P π π p3 π P π
Vib. & 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
4 7 6 5
with hand -̇
center
4 5 œ- 3 5
Perc. 3 ã 4 ∑ 4 ∑ 4 ∑ 4 Œ Œ Œ Œ 4 ∑ 4 Œ Œ Ó Œ 4 ∑ 4
3
p 3
P
& 44 ∑ 47 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
Mrb.
? 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
o
>
4 7 6 5 4 Œ ‰ œ ‰ 5 3 5
&4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Œ 4 ∑ 4 Œ ‰ Œ 4
3
œ
ç >
f
3
Hp. [C # -C n, Fb-F n, Eb, Ab]
?4 ∑ 7 ∑ 6 ∑ 5 ∑ 4 ∑ 5 ∑ 3 ∑ 5
4 4 4 4 4 4 4 4
H q = 86 Fragmentary Stories ˘. . b Ȯ-

ricochet
44 œO Oœ Oœ
arco
& 44 ∑ 74 ∑ 46 ∑ 45 ∑ Œ Ó 45 j ‰ Œ Ó Œ 43 Œ Œ 45
unison pizz.
œO
Vln. I
ß >
3
π
ß
>œ˝
pizz.
& 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 O O O O O O Or ≈ ‰ Œ Ó 43 ‰ J Œ Œ 45
unison 6
Vln. II
(œ- )œ- œ- œ- œ- œ- œ
˘r
s.p.
p ßfl
´ ´3 ´ ˘ . > 3 ´
> ´ 5 ´ > >O O O´ O´ O´ O´ >O ..
Solo
> bœ >Ȯ .
I II I II I ord.
4 Oœ Oœ 5 ˘ >œ . . œ œ. >˙ >

I
4 7 6 œœ œ ≈ ‰ 45 Œ Œ . œ œ œ œ œ œ œ .. 3 œ ˙ 5
non vib.
j j
& 4 ww 4 œœ .. œœ œœ # œœ œœ œ œ . œ ˙˙ ˙œ n ˙ 4 œ œ œ µ œ n œœ œœ œŒœ ˙˙ 4 œR ≈ ‰ Œ œ œ œ
II 3
4 4 4
œ œ
º R J
º º º
Vla.
ƒ P f 3â ßp ƒ ƒ P ß f 5
â f S ç ƒ
3 3 3
F
3 3
emotionally
Vc.
? 44 ∑ 74 ∑ 46 ∑ 45 ∑ 44 ∑ 45 ∑ 43 ∑ 45
? 44 œj ‰ Œ Ó 74 46 45 44 45 43 45
pizz.
∑ ∑ ∑ ∑ ∑ ∑
œ
Cb.
>
ß
72
20
˘œ #˙ ˘œ
90 œ
5 4 Œ
Fl. 1 &4 R ≈ ‰ Œ Ó Œ 4 Œ R ≈ ‰ Œ Ó ∑ ∑
ß f ç
œ. œ. >œ œ œ œ. œ. œ. œ. ˘œ -̇
3
œ œ ˙ ˙
& 45 44
non vib.
Fl. 2 ∑ R ≈ ‰ Œ Ó Œ Œ Œ Œ
p 3
ß 5
ç 3
∏ P 3
∏
jet whistle ˘ -̇ ˙ ˙
softly; as if humming
5 ∑ 4 ∑ ‰ J Œ Ó Œ Œ Œ Œ
&4 4
non vib.
Fl. 3
ß 3
∏ P 3
∏
˘œ
-̇
˙ ˙
& 45 R ≈ ‰ Œ Ó Œ 44 ∑ ∑ Œ Œ Œ Œ
non vib.
Ob. 1
ß 3
∏ P 3
∏
œ w >˙ . œ softly; as if humming
& 45 Œ Œ Œ Œ 44 J ‰ Œ Œ Œ Œ
3 non vib. 3
Ob. 2
-̇ ˙ ˙
π f π ∏ P ∏
& 45 ∑ 44 ∑ ∑ Œ Œ Œ # ˙- ˙ ˙ Œ
non vib.
B b Cl. 1
∏
3
P 3
∏
5 ∑ 4 ∑ ∑ ∑ Œ Œ Œ
&4 4
3 vib. molto
B b Cl. 2
# ˙-
∏
? 45 ∑ 44 ∑ ∑ ∑ Œ Œ Œ
3 vib. molto
B. Cl.
# ˙-
∏
? 45 Œ Œ Œ #˙ 44 œ . ‰ Ó ∑ ∑ Œ Œ Œ
3 vib. molto
Bsn. 1
# ˙-
∏ P ∏ ∏
?5 Œ Œ Œ 4 ‰ Œ Œ ∑ ∑ ∑
4 4
œ.
Bsn. 2
-̇ ∏
∏ P
? 45 ∑ 44 ‰ j j ‰ Œ Ó ∑ ∑
C. Bn.
# œ- œ . œ. œ
π f π
b b œ˘œ ≈
straight mute
5 ∑ 4 ∑ ∑ Œ Œ ‰ Œ Œ Œ Œ
vib. molto
&4 4 R ˙
3
-̇
Hn. 1, 2
ß ∏
˘
straight mute
& 45 ∑ 44 ∑ ∑ Œ Œ b b œœ ≈ ‰ Œ Œ Œ Œ
3 vib. molto
R b b ˙˙-
Hn. 3, 4
ß ∏
b ˘œ ≈
harmon mute
5 ∑ 4 ∑ ∑ Œ Œ ‰ Œ ∑
B b Tpt. 1 &4 4 R
ß
b ˘œ ≈
harmon mute
B b Tpt. 2 & 45 ∑ 44 ∑ ∑ Œ Œ R ‰ Œ ∑
ß
-̇ œ.
Tbn. 1
? 45 Œ Œ Œ 44 ‰ Œ Œ ∑ ∑ ∑
∏ P ∏
?5 Œ Œ Œ # ˙- 4 œ. ‰ Œ Œ ∑ ∑ ∑
Tbn. 2 4 4
∏ P ∏
? 45 44
vib. molto
∑ ∑ ∑ ∑ Œ Œ Œ
3
B. Tbn.
# ˙-
π
? 45 Œ Œ Œ 44 ‰ Œ Œ ∑ ∑ ∑
œ.
Tuba
-̇
∏ P ∏
?5 ∑ 4 ∑ ∑ ∑ ∑
Timp. 4 4
>˙ œœ >œ ≈ ‰ Œ
center edge
ã 45 Œ Œ Œ Œ 44 Œ Œ œ œ œ ‰.
with soft mallet
œ œ œœ œ œ œ ‰ Œ Œ Œ Œ
center
R ˙
3
Perc. 1 ˙ æ æ æJ æ
p p 5 P π p 3 f 3
∏
5 œ 4 ˙. äœ j
œæ œ. œ.
with soft mallet
ã 4 Œ Œ Œ Œ J ‰ Œ œ ‰ Œ Œ Œ ‰
3
castanets
æ 4æ œ œ œ œ œ
> æ æ æ æJ
Perc. 2
π F p F π F 3
∏ P ∏
Vib. & 45 ∑ 44 ∑ ∑ ∑ ∑
>œ
center edge
5 4 Œ ˙ ˙ ˙.
with soft mallet
∑ J ‰ Œ Ó ∑ Œ
castanets
ã 4 4 æ æ æ
Perc. 3
3
π P ∏
& 45 ∑ 44 ∑ ∑ ∑ ∑
Mrb.
? 45 ∑ 44 ∑ ∑ ∑ ∑
>œ >œ fi
bending
& 45 Œ J ‰ Œ Ó 44 ∑ ∑ Œ Œ b bb œœœœœ ≈ ‰ Œ ∑
ç R
Hp.
Ï
? 45 ∑ 44 ∑ ∑ ∑ ∑
˘
nœ
Ȯ .. Oœ # œ>œ œœ œœ. œ>œ œœ ..
´ ´ ´
œœ n œœ œœ´ œœ´ # œœ œ´ # œ œ ≈ Œ ˝ bœ œ. œ œ. b >œ œ œ >œ
Solo
≈ œj .
pizz.
& 45 44 J
arco
R ≈ ‰ Œ ∑ j
bœ ‰
3
œ
> >
Vln. I
P p ƒ 3
ß 5
ç ç ßp f ß 3
>O Oœ- Oœ- Oœ- Oœ- œO- Oœ- œO- Oœ- ˘œO ‰ b >œ ‰ Œ # Ȯ Ȯ
pizz.
& 45 Œ Œ Œ Œ J ‰ 44 ∑ Œ Œ Œ Œ
II arco pizz. arco
J æ æ
J
Vln. Ib
ß π ß ß 3
p
. œ bœ œ œ ˘œ
6
bœ. b œ œ œ
arco
˘ ‰
Solo
& 45 Œ Œ ˙. 44 w œ ≈ ‰ Œ Ó Œ Œ Œ ‰
arco
‰ bœ ‰
pizz. 3
Vln. II
æ æ R >
π ß ç f
5
ç
3 3
P
5 4 O Ȯ O ≈ ‰ b >œ ‰ Œ
&4 Œ Œ Œ ˙ 4 ˙ Œ Ó Œ Œ ∑
pizz.
œ œ
arco
R J
æ æ
Vln. IIb
π 3
F P ç ß
# ˘œ ˘O
> >O O 44 œO #· · · · · · · > j
Solo
& 45 œ R ≈ ‰
I
œ ‰nœ œ œ œ ˙ Œ Ó Œ Œ bœ ‰ Œ Œ Œ Œ ‰
pizz.
(œ) œ b œ-
unis. arco
B
Vla.
J æ æ æ æ æ æ æ J
P p 3 ç ß p
ç ƒ f 3 ƒ
3
j
broadly
? 45 Œ Œ œ ‰ Œ Œ 44 ∑ ∑ ∑ ∑
pizz.
>
Vc.
ß
?5 Œ Œ j 4
œ ‰ Œ Œ 4 ‰ j j ‰ Œ Ó ∑ ∑
arco
4 œ- œ . œ. œ
>
Cb.
ß p f π
73
95 I 21
Fl. 1 & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 2 & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 3 & ∑ ∑ ∑ ∑ ∑ ∑
œ œ #œ ˙
Ob. 1 & ∑ ∑ ∑ ∑ ∑ Œ bœ bœ
f ƒ
>
‰ #œ œ œ
5
Ob. 2 & ∑ ∑ ∑ ∑ ∑ Œ Œ
f ßp
3
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑ Œ Œ Œ ‰ œ bœ
F3
B b Cl. 2 & j ‰ Œ ∑ ∑ ∑ ∑ ∑
˙ œ
P ∏
? j ‰ Œ ∑ ∑ ∑ ∑ ∑
B. Cl.
˙ œ
P ∏
? j ‰ Œ ∑ ∑ ∑ ∑ ∑
Bsn. 1
˙ œ
P ∏
Bsn. 2
? ∑ ∑ ∑ ∑ ∑ ∑
C. Bn.
? ∑ ∑ ∑ ∑ ∑ ∑
& ˙ j ‰ Œ ∑ ∑ ∑ ∑ ∑
Hn. 1, 2
˙ œœ
P ∏
& ˙ j ‰ Œ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4
˙ œœ
P ∏
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 1
? ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 2
? ∑ ∑ ∑ ∑ ∑ ∑
? j ‰ Œ ∑ ∑ ∑ ∑ ∑
B. Tbn.
˙ œ
F π
Tuba
? ∑ ∑ ∑ ∑ ∑ ∑
?
gliss.
Œ Œ ∑ ∑ ∑ ∑ ∑
3
œ œ #œ
Timp.
â
P p
>œ j œ œ œ œj ‰ Œ œ œ œ >Jœ
œ. œ. ˙æ
œ œ. œ œ œ œ œ
5
ã œ ‰ Œ R ≈ ‰ œ ‰ ‰ J Œ Œ ∑ œœœ œ
‰ Ó
æ æ æJ
F>
Perc. 1
P ∏ sFz p P p 5
F 3 p f ç
> ≈œœœœœ > > >
ã Œ Œ ˙ œ œ ≈ ‰ ‰ œ œ œ œ œ. œ œ ‰ œ œ œ œ œœœœ œ ‰ Œ œ œ. œ ˙ œ≈‰ Œ Ó Œ Œ Œ ˙æ
3
Perc. 2
æ æ R J æ æ R
π ß F5 p p p ß P
ß F
3 5 3 6 3 3
Vib. & ∑ ∑ ∑ ∑ ∑ ∑
> ≈œœœ≈Œ >

ã ˙ œ ‰ Œ œ . œœ œ œ œ ‰ ‰ œœ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ. ‰ Œ œœœœœœ œ≈‰ Œ Ó Œ Œ ˙
æ
Perc. 3
æ æJ J æ æ R
P > ß P F π p ß p
π F
5 5 3 6 5 6
& ∑ ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑ ∑
b >œ
& ∑ ∑ ∑ ∑ Œ Œ ‰ J Œ ∑
ß
Hp.
? ∑ ∑ ∑ ∑ ∑ ∑
I
. √
œ œ. bœ œ bœ œ œ œœ œ œ b >œ >œ œ b œ . b œ. >œ œ œ ˙ > b >œ œ b œ œ œ œ. œ. œ b >œ b œj >œ œ >œ œ ˘œ
bœ bœ œ œ J R ≈‰ Œ Ó
Vln. I & œ
5 3
ƒ 3
F 3
ƒ P Ï
3 3
ç
Ȯ .. Oœ
b ˘œ œ. œ. . . . . . Œ > b >œ
ricochet
æJ ‰ Ó Œ Œ j ‰ Œ ∑ b b Oœ ‰ Œ Ó J ‰ Œ Ó
pizz.
& æ bœ J
>
Vln. Ib
f π ß f ß
ç
b >œ √ √
bœ bœ œ œ . œ. œ b œ œ œ ˘
J b >œb œ œ. >œ œ b >œ œ ˙ œ bœ
J œ nœ ≈ -̇ . ˘œ
Vln. II & J ∑ Œ R ≈‰ Œ Ó
3
f 5
ƒ 3 3
F 3
ç P ç
b ˘œ œ. œ. . . . . . Œ b >œ
≈ Oœ .. Oœ Oœ .. Oœ .. Oœ Oœ ‰ Œ
ricochet
∑ Ó Œ Œ Ó J ‰ Œ Ó
arco
&
pizz.
Vln. IIb
J J
ß π F ∏ - ß
> ˘œ œ ˙ ˘œ
˘r
>œ œ bœ. œ œ bœ œ œ œ ˙ œ
B œ b >œ œ R R ≈‰
bœ œ œ bœ œ œ œ œ ≈ ‰ & ‰ ‰ œj ≈ ‰ Œ Ó Œ Œ Ó
3
œ
3 3
ÿ ÿ ÿ > œ
>
Vla.
ƒ ßp ç f 3
ƒ 3 3
ç P 3
ç
o
b >œ # >˙
arco
b ˘œ œ. œ. . . . . .
pizz.
ricochet
Vc.
? ∑ Œ Ó Œ Œ J ‰ Œ ∑ ∑ & Œ Œ
ß f ßp
o ŏ
b w> wo wo œ
Cb.
? ∑ &
R≈‰ Œ Ó ∑
ßp ß
74
22
> >œ > #œ. nœ >
œ #œ. œ œ œ œ. œ œ œ œ #œ œ œ œ œ œ œ œœ œ #œ œ œ œ
101
J ‰ Œ 2 4 Œ
Fl. 1 & Œ Œ 4 ∑ 4
F 3
ß π f 5
ç F 3
>
#œ œ œ #œ œ œ œ œ œ œ œ œ . œ œ œ œ >˙
Fl. 2 & ‰ ≈ R J J ‰ Œ Œ 42 ∑ 44 ∑ ‰ J
ßp 3
f 3 π F 5
ß
> ˘œ >˙ œ. >
#œ ˙ #œ œ œ œ œ œ. œ
≈ R R ≈ ‰ 2 4
Fl. 3 & ‰ ∑ 4 ∑ 4 Œ Œ
ßp ç ßp 3
ß
>œ ˘œ
œ ˙ œ #œ. œ ˙. ˙ œ œ . # œ œ œ >œ ˙
& 42 44 R ≈ ‰ Œ Ó
p
Ob. 1
F
3
f ß f ß
˙ ˘œ >œ œ œ œ œ œ œ. œ
Ob. 2 & R ≈ ‰ Œ ∑ 42 ∑ 44 ∑ J
ß ˘ ßp 5
f F
bœ. bœ œ œ bœ œ œ œ œ b œ œ œ œ œ œ # œJ
B b Cl. 1 & ‰ Œ Ó 42 ∑ 44 ∑ ∑
f P ç
˘œ
7
b œ-
3
œ œ. b œb œ œ œ œ 2 4
B b Cl. 2 & ‰ R ≈ ‰ Œ Ó 4 ∑ 4 ∑ ∑
P
3
f 5
ç
? j
∑ œ ‰ Œ Ó 42 ∑ 44 ∑ ∑
fl
B. Cl.
ç
Bsn. 1
? ∑ j ‰ Œ Ó 42 ∑ 44 ∑ ∑
œ
ç fl
? ∑ 2 4
Bsn. 2 j ‰ Œ Ó 4 ∑ 4 ∑ ∑
œ
ç fl
? Œ j r
C. Bn. Œ ‰ œ œ œ ≈ ‰ Œ Ó 42 ∑ 44 ∑ ∑
p ç
˘ 2 4
& Œ Œ ‰
# œœ
j j r ≈ ∑ 4 ∑ 4 ∑ ∑
œœ œœ
Hn. 1, 2
π ß
& Œ Œ ‰ j j r ≈ ∑ 42 ∑ 44 ∑ ∑
# # œœ œœ œœ
Hn. 3, 4
π fl
ß
˘ 2 4 # >œ œ œ # œ n œ ˙ œ œ œ #œ. nœ œ œ œ
5
& Œ # œ . œ. œ # œ œ œ œ œ ≈ ‰ Œ Ó ∑ 4 Œ
harmon mute
B b Tpt. 1
R 4
F 5 f P
F f ß
. œ œ bœ œ 2 œ n œ œ >œ œ 44 œ
˘œ
≈ œ. œ. œ. œ. œ. ˘œ >œ
B b Tpt. 2 & ∑ Œ Œ œ- # œ- . œ b œ 4 R ≈ ‰ Ó J ‰ ‰ œ
j œ
f ßp ß F 6 ß ßp
äœ F
5 3
harmon mute 3 3
#œ ˘œ
Tbn. 1
? ∑ Œ ‰ R ≈ ‰ 42 ∑ 44 ∑ ∑
ß äœ P ß
˘œ
3
#œ
Tbn. 2
? ∑ Œ ‰ R ≈ ‰ 42 ∑ 44 ∑ ∑
ß
3
P ß
äœ œ ˘œ
? ∑ Œ ‰ R ≈ ‰ 2 ∑ 4 ∑ ∑
B. Tbn. 4 4
ß
3
P ß
? ∑ ‰ Œ Ó 2 ∑ 4 ∑ ∑
Tuba j 4 4
œ
fl
ç
? Œ j j
42 44
III: Bb
‰ œæ ˙æ œæ œ ‰ Œ Œ ∑ ∑ ∑
>
Timp.
π F
>œ >œ r >œ œ œ . >œ
Œ Œ ‰ ≈ ‰ Œ Œ œæ 42 œ ≈ ‰ 44 ˙
R ≈ ‰ œ œ œ œ œ œr ≈ ‰ Œ Ó
5
ã œ œ
R J æ
æJ æJ >
Perc. 1
ß ß p ß ß π ß P F
p
j j œ- ‰
˙æ. Œ Œ Œ Œ ‰ 42 œ œ œ œ œ œ ‰ 44 ∑ ‰ Œ Ó
5
ã œ
> >
Perc. 2
F p ß p ß F
3
2 4 ˙.
Vib. & ∑ ∑ 4 ∑ 4 ∑ Œ æ
P
fi fi fi
œ
ã æJ ‰ Œ Ó Œ Œ Œ jj ‰ 42 ∑ 44 ‰ j Œ Ó Œ j ‰ Ó
œ œ œ
> > >
Perc. 3 œ
F ß F sFz
& ∑ ∑ 42 ∑ 44 ∑ ∑
Mrb.
? ∑ ∑ 2 ∑ 4 ∑ ∑
4 4
& ∑ ∑ 42 ∑ 44 ∑ ∑
Hp.
? ∑ ∑ 42 ∑ 44 ∑ ∑
ä > . b œ.
2 4 œ œœœ ˙
∑ Œ Œ j œ œ œ œ
unis. vib. molto
& 4 4
3
˙ œ œ æ æ
Vln. I
-̇ p f
p f
# ˘œ œ. œ. œ. œ. ˘œ
3
arco
>œ . œ. œ œ > œ.
unis.
∑ œ œœœœœ ‰ Œ Œ 42 ∑ 44 Œ Œ ‰ œ œœ ˙ œ œ. œ œ œ œ
3
&
div.
Vln. Ib
J
f 5
ç P f P
solo joins in the rest of string players ˘
#œ
div. œ
œœ. œœ. œœ. œœ. ˘œœ œ-≤ . ˘œ
& ∑ J ‰ Œ Œ 42 Œ ≈ œ. 44 œR ≈ ‰ Œ Ó ∑
pizz.
Vln. II
J
f 5
ç p ß
˘œ œœ. œœ. œœ. œœ. ˘œœ œ-≤ . ˘
œ ≈ œJ . 4 œœ ≈ ‰
arco
∑ 2
& J ‰ Œ Œ 4 Œ 4 R Œ Ó ∑
div. pizz.
o
Vln. IIb
f ç p ß >œ ˙o .
5
> 2 4
unison
∑ Œ Œ Œ ‰ #œ ∑ ∑ & æ æ
pizz. arco
Vla. & B
J 4 4
f ß P
˙o œo œo ˘œ >œ
R ≈ ‰ Œ Œ ?‰ J 42 ∑ 44 ∑ ∑
pizz.
Vc. &
f P ç f
j
pizz.
>œ
& ∑ ?
œ ‰ Œ Œ ‰ J 42 ∑ 44 ∑ ∑
>
Cb.
ç f
75
23
106 J
˘œ œ # œ œ n œ œ # >œ œ œ
flutter tongue
œ # ˘œ
≈ ≈ b˙.
Fl. 1 & æ æ R ≈ ‰ Ó ∑ ∑ Œ æ
ƒ F 3
ß p P π
˙. œ
flutter tongue
œ ˘œ
æ æ R ≈ ‰ ˙
Fl. 2 & Ó ∑ ∑ Œ Œ æ
F ß p P
˙. œ
flutter tongue
œ ˘œ
æ æ R ≈ ‰ Ó ∑ Œ Œ ˙ œ
Fl. 3 & æ æJ ‰ Œ Ó
F ß p P π
>œ
≈ œ- . œ œ œ œ œ œ œ ˘œ
& Œ R ≈ ‰ Ó ∑ ∑ ∑
F
Ob. 1
ß
œ œ. œ. œ. œ. ˘œ œ œ œ. #œ œ nœ œ œ ˘œ
Ob. 2 & R ≈ J R ≈ ‰ Ó ∑ ∑ ∑
5
ç P ß
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑
B b Cl. 2 & ∑ ∑ ∑ ∑ ∑
B. Cl.
? ∑ ∑ ∑ ∑ ∑
Bsn. 1
? ∑ ∑ ∑ ∑ ∑
Bsn. 2
? ∑ ∑ ∑ ∑ ∑
? Œ Œ r
b˙ œ œ ≈ ‰ Ó ∑ ∑ ∑
>
C. Bn.
p ç
r
œ ≈ ‰ Ó ∑ ∑ ∑
I
& œ- œ œ œ œ ˙ œ
>
Hn. 1, 2
P ß
r
& w- œ œ ≈ ‰ Ó ∑ ∑ ∑
III
>
Hn. 3, 4
P ß
˘œ œ œ. œ. œ œ œ >œ
B b Tpt. 1 & R ≈ ‰ Œ ‰ J R ≈ ‰ Ó ∑ ∑ ∑
ß F ß
>œ
B b Tpt. 2 & w œ
R ≈ ‰ Ó ∑ ∑ ∑
ß
Tbn. 1
? ∑ ∑ ∑ ∑ ∑
Tbn. 2
? ∑ ∑ ∑ ∑ ∑
? Œ r
Œ ‰ œ- œ œ œ ≈ ‰ Ó ∑ ∑ ∑
3
fl
B. Tbn.
p ç
b œ- ˙ b˙ w
Tuba
? Œ Œ
b˙ œ œ ˙ ˙. P p p
p > p
ƒ
j
broadly and expressively
? Œ
I: F, II: Ab, III: Bn
Œ b ˙æ œæ b œæ œæ. œæ ˙æ. Œ ∑ ∑
>
Timp.
p ƒ P ∏
j äœ äœ œ-
with hand
Œ Œ ‰ Œ Œ Œ Œ Œ Œ Œ Œ ∑ Œ Œ œ
ã œ æ
P>
Perc. 1
P as if shadow following the string trio p3 p π
r -œ
with hand
œ >œ -œ
ã Œ Œ Œ œæ œæ œ ≈ ‰ Ó Œ Œ Ó Œ æ J ‰ Œ Œ Œ Œ Œ
>
Perc. 2
P ç p3 π F p
3
w œ >œ
R ≈ ‰ Ó ∑ ∑ ∑
as if shadow following the string trio
Vib. & æ æ
ç
fi œ- äœ œ-
with hand
Œ Œ ‰ j Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ ˙ Œ Œ Œ Œ Œ
ã œ æ
>
Perc. 3
f
3
p P p 3
P 3
π
as if shadow following the string trio
& ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑
˘œ
œ >œ
& ∑ Œ R ≈ ‰ Œ œ ∑ ∑ ∑
ç f
b b œœ
Hp.
? ∑ Œ Ó ∑ ∑ ∑
F
ä ˘
>≥˙ ˘œ œ b b œœ œœ œ
solo
> œ . J >œ œ >˙ >˙ ˙ äœ ˙

b ˘œ œ. œ. >œ œ œ ˘ œ ˙ œ ‰. ‰ œ
nœ
Vln. I & œ R ≈ ‰ œ œ œ œ
R
≈ ‰ R
ç ßp ƒ F Ï P ç F f ç
ç
3 3 3 3 3
3
˘
expressively; as if heartbeats
Vln. Ib & œ œ œ œ œ œ œ ˙ œ œ
R
≈ ‰ Ó ∑ ∑ ∑
f ç
>≥˙ ä
solo
# >œ ˘œ >œ œ >˙ >˙ ˙ œ ä œ b˙ œ œ

unis.
‰ Œ ˙ œ ≈ ‰
arco
& J æ æ R b˙ œ
ç
Vln. II
P ç ƒ 3
F
3
Ï P 3
f ƒ
3
F
>œ > œ ..
j> œ œ œ œ
œ œ œ œ
unis.
‰ Œ ‰ ≈ ‰ Ó ∑ ∑ ∑
arco
R
& J
ç çŏ
Vln. IIb
ßp
wo œo œ ≥
solo
ä˙ b >œ ˙ ˘œ b >œ
j
& æ æ R
≈ ‰ b b ˙˙ œœ œœ b b ˙˙ ˙˙ œœ œœ ‰ bœ ˙ œ ≈ ‰ bœ
3 3 3
B &˙
Vla.
> > > > œ- R
ç ƒ F Ï P ƒ ç Ç
f
3
? Œ r
Œ œ œ œ œ œ œ ≈ ‰ ‰ Œ ∑ ∑ ∑
arco 3
≈ bœ j
pizz.
fl œ
Vc.
F ç >
ç
? Œ r >
Œ b ˙æ œæ b œ ≈ ‰ œJ ‰ Œ ∑ ∑ ∑
arco pizz.
fl
Cb.
P ç ç
76
24
111 ˙. œ K -̇
piccolo œ œ œ. #œ œ œ œ œ
æ æJ ‰ Œ 3 4 Œ æ æ æ æ æJ ‰ Œ
Fl. 1 & Œ Ó ∑ ∑ ∑ Œ 4 ‰ Œ 4 Œ Œ
π f ∏ 3
f p p ƒ π
œ bœ œ œ œ œ œ bœ >œ . œ ˙ œ
œ
Fl. 2 &æ Œ Ó ∑ ∑ ∑ ∑ Œ æ æ æ æ æ æ 43 æ J ‰ Œ 44 J Œ Ó
π p 3 3
f p ßp f π
˙ œ œ œ œ œ œ ˙
Œ æ æ æ æ æ æ 3 4
Fl. 3 & ∑ ∑ ∑ ∑ ∑ 4æ æ Œ 4 ∑ ∑
∏
3
f 3 3
p
œ- œ œ œ.
Ob. 1 & ∑ ∑ ∑ ∑ ∑ Œ ‰ J 43 ‰ Œ 44 ∑ ∑
∏ f p
b œ- œ œ œ.
& ∑ ∑ ∑ ∑ ∑ Œ ‰ J 43 ‰ Œ 44 ∑ ∑
f p
Ob. 2
∏
œ- œ œ œ.
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑ Œ ‰ J 43 ‰ Œ 44 ∑ ∑
∏ f p
& ∑ ∑ ∑ ∑ ∑ Œ ‰ # œ- œ œ 3
4 œ. ‰ Œ 4
4 ∑ ∑
B b Cl. 2
J
∏ f p
? ∑ ∑ ∑ ∑ ‰ j j ‰ Œ 43 ∑ 44 ∑ ∑
bœ ˙. ˙ œ
B. Cl.
∏ ƒ p
? ∑ ∑ ∑ ∑ ‰ j j ‰ Œ 43 ∑ 44 ∑ Œ Œ ˙
bœ ˙. ˙ œ
Bsn. 1
∏ ƒ p π
? ∑ ∑ ∑ ∑ Œ Œ ‰ 3 4
j ‰ Œ 4 ∑ 4 ∑ Œ Œ ˙
3
#œ œ ˙ œ
Bsn. 2
π
p ƒ p
? ∑ ∑ ∑ ∑ Œ ‰ œ ˙ ˙ œ ‰ Œ 43 ∑ 44 ∑ Œ Œ
C. Bn.
J J ˙
∏ ƒ p π
∑ ∑ ∑ ∑ ∑ ∑ 3 ‰ # œœ- œœ 4 ˘œœ ≈
4 Œ ‰ Œ Ó ∑
open
& 4
R
Hn. 1, 2
3
p ß
∑ ∑ ∑ ∑ ∑ ∑ 43 Œ ‰ # œœ œœ 44 œr ≈ ‰ Œ Ó ∑
3 open
& - œ
fl
Hn. 3, 4
p ß
+ ŏ
3 -
œ œ 4 œ
∑ ∑ ∑ ∑ ∑ ∑ 4 Œ ‰ 4 R≈ ‰ Œ Ó ∑
open
B b Tpt. 1 &
p ç
+ ŏ
3
∑ ∑ ∑ ∑ ∑ ∑ 43 Œ ‰ # œ- œ 44 œ ≈ ‰ Œ Ó ∑
open
B b Tpt. 2 & R
p
3
ç
œ- œ ˘œ
? ∑ ∑ ∑ ∑ ∑ ∑ 43 Œ ‰ 44 R ≈ ‰ Œ Ó ∑
ß
Tbn. 1
p
œ-
3
œ œ
? ∑ ∑ ∑ ∑ ∑ ∑ 43 Œ ‰ 44 R ≈ ‰ Œ Ó ∑
fl
Tbn. 2
3
p ß
? ∑ ∑ ∑ ∑ Œ j ‰ Œ 3 ∑ 4 ∑ Œ Œ
vib. molto
B. Tbn.
b˙. ˙ œ 4 4 ˙
˘œ ∏ fl π
ç
? R≈‰ Œ Ó ∑ ∑ ∑ ‰ j j ‰ Œ 43 ∑ 44 ∑ Œ Œ
b œ- ˙ . ˙ œ
Tuba
sFz ∏ ƒ p ˙
π
? ∑ ∑ ∑ ∑ ∑ Œ Œ Œ bœ 43 œ b >œ ≈ ‰ Œ 44 ∑ ∑
Timp.
æ æ R
∏ ß edge
˙.
43 Œ ‰ œ 44 ˙
˙ œ œ
œæ œ
with hard mallets center
ã æ Œ Œ ∑ ∑ Œ Œ Œ æ æ æJ ‰ Œ ˙ œ ‰ œ œ
Perc. 1 w-
æJ æ æ æJ æ æ æ
F p π f p f p π ƒ
3
œ- >œ j
43 Œ ‰ œæ 44 œæ ˙æ.
œ œ œ
œæ œæ œæ
with hard mallets center
ã Œ Œ æJ ‰ Œ Œ Œ ∑ ∑ J ‰ Ó ∑ Œ
edge
˙æ
3
æ æ
P
Perc. 2
π P π F p ƒ π f
∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑
Vib. & 4 4
äœ j fi >œ
43 44
˙ œ ‰ Œ œ œ
ã Œ Œ Œ Œ Œ œ Œ ∑ Œ œæ ‰ Œ ∑ ≈ >œ ≈ Œ Œ R≈‰ Œ Œ
with hard mallets
æ J ˙æ. ˙æ æ æ
Fâ â
Perc. 3
p π F π F P ß π sFz
& ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑
4 4
& ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑
Hp.
? ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑
4 4
b >˙ >˙ œœ ˙-̇ œœ ˙-̇ ˙˙-̇

solo joins in the rest of string players
œ ˙˙ K divisi
œœœ œœœ ... ≈
˙ O O ˘O
3 O
I
‰ J R≈‰ Œ 4
& Œ ∑ Œ 4 4 ∑ ∑
unis.
π P π
Vln. I
ƒ P Ï P f π ç
˙˙-̇
3 3
œœœ œœœ ... ≈

r
∑ ∑ ∑ ∑ Œ ‰ b Oj Ȯ 3
4 œO ≈‰ Œ 4 ∑ ∑
& œO 4
divisi unis.
˘ P π bœ
π
Vln. Ib
>˙ œ bœ π fl -≤
œ -̇ œ -̇ # œœœ- œœœ œœœ œœœ ... ç # # ˙˙ œœ œœ œœ œœ
enter imperceptibly
>
œ J ‰ ˙ ˙ œ.
solo joins in the rest of string players
divisi
& J ‰ Œ Œ ∑ 43 ∑ 44 Œ Œ Œ J ‰ Œ
ƒ π
Vln. II
f F ç Ï P f π P π ∏ ˙-̇≤ œœ œœ œœ œœ
3 3 3 3
divisi -
& ∑ ∑ ∑ Œ ‰ # œœœ œœœ œœœ œœœ ... ‰ Œ Œ ∑ 43 ∑ 44 Œ Œ Œ J ‰ Œ

Vln. IIb
J
π P π ∏ ƒ π
˘œ
3
œ œ -̇≤ œ œ œ œ
>˙ œ -̇ œ -̇ œœ-
enter imperceptibly
œ œ œ ‰B ˙ ˙. œ œœœ ˙˙˙ œœœ ‰ 3 4 Œ J ‰ Œ

divisi solo joins in the rest of string players
∑ ∑ Œ Œ
unis.
Vla. & J bœ J 4 & 4

ç f Ï P
3 3
f π f π ∏
3
ƒ π
divisi
j
? ∑ ∑ ∑ Œ Œ Œ
arco
œ œ ˙ œ ‰ ∑ 43 ∑ 44 ∑ Œ Œ ˙
b œ- œ ˙ œ
Vc.
π f π π
? ∑ ∑ ∑ Œ Œ Œ b œ- œ ˙ œ ‰ ∑ 43 ∑ 44 ∑ Œ Œ
arco
Cb.
J ˙
π f π π
77
25
L
˘œ
œ- œ
120
˙. œ.
∑ 3 2 J 4 R≈ ‰ Œ 6
& 4 Œ Œ 4 4 Ó ∑ ∑ ∑ 4
ç
Picc.
P
œ- œ ˙.
>œ . œ œ
Fl. 2 & ∑ 43 Œ J Œ Œ 42 ∑ 44 ∑ Œ Œ ‰ Œ ∑ 46
ßp f π p
3
F π
œ- ˙. ˘œ
3 2 4 6
Fl. 3 & ∑ 4 Œ Œ 4 R ≈‰ Œ 4 ∑ ∑ ∑ ∑ 4
P ç
>œ . œ œ > ˘œ
‰ b œJ œ œ œ b œ œ œ .. œ
Ob. 1 & ∑ 43 Œ J Œ Œ 42 ∑ 44 ∑ Œ Œ Œ R ≈‰ ∑ 46
ßp f π F 3
ç
˘ ˘œ
& ∑ 43 Œ Œ #œ ˙. 42 œR ≈ ‰ Œ 44 ∑ ∑ Œ ‰ œ bœ œ œ ≈‰ ∑ 46
Ob. 2
R
P ç F ç
˘œ
B b Cl. 1 & ∑ 43 Œ œ.
j
œ œ
Œ Œ 42 ∑ 44 ∑
J
‰ Œ Ó ∑ ∑ 46
> f π ç
ßp
3 2 4 j ‰ Œ 6
B b Cl. 2 & ∑ 4 Œ Œ
œ ˙. 4 œr ≈ ‰ Œ 4 ∑ œ Ó ∑ ∑ 4
fl fl
P ç ç
? ˘ b ˘œ ≈ 46
∑ 43 Œ j Œ Œ 42 Œ ‰ b œJ 44 ∑ ∑ Œ Œ r ≈ ‰ Œ Ó Œ ‰
bœ. œ œ bœ
B. Cl.
> ˘œ fl ç
ßp f π ç
˘ œ- ˘œ ç ‰
˘œ ≈
? œ j ‰ >œ .
˙. 43 œ œ
J
œ Œ Œ 42 Œ ‰ b œJ 44 ∑ J ‰ Œ Œ ‰ R ≈‰ Œ r ≈ ‰ Œ Ó Œ 46
ç p ß bœ
Bsn. 1
f π ßp f π fl ç
ç œ œ- ˘œ ç
3
˘œ ≈ 6
?
œ ˙.
3
4
j
œ ‰ bœ. j Œ Œ 2
4 Œ ‰ œj 4
4 ∑ J ‰ Œ Œ ‰ R ≈‰ Œ r ≈ ‰ Œ Ó Œ ‰ 4
œ œ fl fl bœ
Bsn. 2
f π ßp > f π ç ç p ß fl ç
ç
3
? ˘r
œ b˙. 43 œ œ≈‰ Œ ∑ 42 Œ ‰ j
œ
44 ∑ ∑ ‰
œ
j
œ œ
r ≈ ‰ Œ ‰
œ
j Œ Œ ‰ 46
œ ≈
C. Bn.
f p ç fl p fl fl fl
ç ç ß ç
j r j
∑ 3 2 œ œœ ≈ ‰ 4 œœ ‰ Œ r 6
& 4 Œ bœ. œ œ Œ Œ 4 # œ- 4 ∑ Ó Œ Œ œ- œ ≈‰ ∑ 4
> fl fl
Hn. 1, 2
ßp f π F ç ç F fl
ç
r ˘
& ∑ 43 Œ j Œ Œ 24 œ
œ- œœ ≈ ‰ 44 ∑ œœ ‰ Œ Ó Œ Œ r≈ ‰ ∑ 46
J œ- œ
Hn. 3, 4
œ. œ œ F çfl ç fl
>
ßp f π F ç
2 œ-
˘œ > ˘œ >œ b œ œ >œ œ ˘œ
3 4 œ b œ œ ‰ bœ œ œ 6
B b Tpt. 1 & ∑ 4 ∑ ∑ 4 R ≈ ‰ 4 ≈ . œ œJ ‰ ‰ œ œ œ œ
R
≈‰ Œ R ≈ ‰ Œ ∑ 4
F ç ß F F
3
f F3 f ç
b œ- ˘œ ˘ ˙ œ.
B b Tpt. 2 & ∑ 43 ∑ ∑ 42 R ≈ ‰
44 Œ Œ Œ œ œ≈‰ Œ
R
‰ Œ Œ ∑ 46
F ç p F π
P
œ- ˙. ˘œ ß äœ b œ œ œ ˘œ ≈ >
? ∑ 43 Œ Œ 42 R ≈ ‰ Œ 44 ∑ Œ J ∑ ‰ œJ b œ. ‰ . Œ Œ 46
ß R
p ç
Tbn. 1
f3 p f
äœ b œ œ œ ˘œ ≈ >
? ∑ 3 2 r 4 J ‰ œJ b œ. ‰ . 6
4 Œ Œ œ- ˙. 4 œ ≈ ‰ Œ 4 ∑ Œ ∑
R
Œ Œ 4
p fl
Tbn. 2
ç f3 p ß f
? œ j r
äœ œ œ ˘œ ≈
˙. 43 œ ‰ Œ b œ- ˙. 42 œ ≈ ‰ Œ 44 ∑ Œ Œ Œ r≈ ‰ Œ ‰
œ
j Œ Ó 46
p fl bœ
B. Tbn.
f π ç f p ß fl fl
ß ß
? 3
34 r≈ ‰ 42 r ≈ ‰ Œ 44 ∑ ∑ Œ Œ r≈ ‰ Œ ‰ j Œ Ó 46
bœ
Tuba
œ ˙ ˙ œ œ œ- ˙. œ fl œ
â fl fl ß fl
ƒ p ç p ç ß
? ∑ 3
4 ∑ Œ ‰ œæ. 2 r
4 œ ≈ ‰ bœ.
4
œ 4 œr ≈ ‰ Œ Œ Œ b >œ ‰ Œ Ó ‰ j r≈ ‰ Œ j ‰ ≈ bœ œ ‰ ≈ œr œr ≈ ‰ 6
4
Timp.
> > J œæ œæ œ œ œ> >
p ç ç > ß P ç > > ß ç
ƒ ß
˙. ˘ >œ >œ > >œ
center
3 ‰ æœJ æœ 2 œ 4 j
6
ã œ œ ‰ Ó 4 Œ æ 4 R ≈‰ Œ 4 Œ Œ ‰ J Œ ∑ ‰ œ œ œ œ œR ≈ ‰ ‰ J Œ ‰ œœœœŒ Œ 4
œ
J
r
æ æJ
Perc. 1
f
œ
p p ç ß ß ß ç
F
j r r j
ã œæ ‰ œæ ˙æ 43 œæ 42 œæ 44 Œ j 46
center
œ≈‰ Œ ∑ œ ≈ ‰ Œ ‰ œ Œ Œ Œ œæ œæ œ ≈ Œ Œ Œ ‰ œ Œ
j Œ œœœœ‰ Œ
> ß> > ß>
>
Perc. 2 œ
p ç p ß p ç f
Vib. & ∑ 43 ∑ ∑ 42 ∑ 44 ∑ ∑ ∑ ∑ 46
˘r fi fi fi
3 2 ‰ œj ‰ 44 Œ j j ‰ œj Œ j j 6
ã wæ 4 œæ œ≈‰ Œ ∑ 4 Œ Œ ‰ œ Œ ∑ ‰ Œ Œ Œ ‰ œ ‰ œ 4
3
œ
> > > > > >
Perc. 3
p ç ç ß ß ç ß ß
& ∑ 43 ∑ ∑ 42 ∑ 44 ∑ ∑ ∑ ∑ 46
Mrb.
? ∑ 43 ∑ ∑ 42 ∑ 44 ∑ ∑ ∑ ∑ 46
3 2 4 Œ >œ j fi 6
∑ ∑ ∑ ∑ Œ ‰ Œ œ
& 4 4 4 J b b œœœœœ ‰ Œ Ó ∑ ∑ 4
ƒ fl
Hp. ç
? ∑ 3 ∑ ∑ 2 ∑ 4 ∑ ∑ ∑ ∑ 6
4 4 4 4
L
Ȯ-≤ .. ˘O ≤ ˘ b O- Ȯ Oœ Oœ
& ∑ 43 ∑ 42 œR ≈ ‰ Œ 44 Œ œ- œ≈‰ Œ Œ Œ Œ ‰ b œJ J ‰ Ó Œ ‰ 6
R π œ ≈ 4
p f
Vln. I
P ç p ß fl
œ. œ. œ. œ. œ. ˘œ ç
-̇≤ . ˘œ ≤ divisi b œ œ œ œ œ œ
r
∑ 43 ∑ 42 R ≈ ‰ Œ 44 Œ r≈ ‰ Œ Œ Œ Œ ‰ œ ≈‰ Œ R ≈‰ Ó Œ 46
unis.
& œ
3
œ- œ - ‰bœ ≈
fl
Vln. Ib
P ç f 5 ç
p ßfl p ß œ. œ. œ. œ. œ. ˘œ fl
∑ 3 ∑ Ȯ≤ ..
unis. -
2 ˘O 4 Œ ≤ r bœ œ œ œ œ œ ≈ ‰ ç 6
4 œR ≈ ‰ Œ r≈ ‰ Œ Œ Œ Œ ‰ œ ≈‰ Œ Ó Œ
unis.
& 4 4 R ‰ œ ≈ 4
divisi
œ
3
Vln. II
œ- œ - fl ç fl
f 5
P
≤
ç p
≤ ßfl p ß . . . . . ˘
divisi b œ œ œ œ œ œ
ç
r
∑ 43 ∑ 42 œr ≈ ‰ Œ 44 Œ r≈ ‰ Œ Œ Œ Œ ‰ œ ≈‰ Œ bœ œ œ œ œ œ ≈ ‰ Ó Œ 6
unis.
& ‰ bœ ≈ 4
unis.
œ
3
Vln. IIb
-̇ . œ- œ - fl R
fl
P ç p
arco ≤ ßfl p ß f 5 ç
arco ç
fl
∑ 3 ∑ ∑ 2 4 Œ r œ 6
4 Œ ‰ j r≈ ‰ Œ Œ Œ Œ ‰ œ ≈‰ Œ Ó ‰ ‰ Œ
pizz. pizz.
& 4 B 4 ‰ b œœ ≈ 4
3
Vla.
bœ œ- œ - œ œ
> p fl > fl
ç p ßfl ß ç ç
˘r j arco ≤
? œ ˙. 43 œ œ≈‰ Œ ∑ 42 Œ ‰ œ 44 Œ r≈ ‰ Œ Œ Œ Œ ‰ r≈‰ ‰ j Œ Œ ‰ œ ‰ Œ ‰b œ ≈ 46
pizz. 3 pizz. arco
Vc.
> œ- œ œ- œ bœ œ œ
ƒ p ç ç p fl > >
p ßfl ß ç ç ç
fl
˘r arco ≤
? r >
43 œ œ≈‰ Œ ∑ 42 Œ ‰ j 44 Œ œ- œ≈‰ Œ Œ Œ Œ ‰ r≈‰ ‰ b œJ Œ Œ ‰ œ ‰ Œ ‰ œ ≈ 46
pizz. pizz. arco
œ ˙ ˙
3 3
Cb.
â œ fl œ- œ œ fl
ƒ p ç > p ß p fl
ß ç > ç
ç ç
78
26
≈ bœ œœœœœ œ œ n œ.
œ œ- ˘œ
128
6 ∑ 5 J ‰ 2 Œ ‰ J 4 R ≈ ‰ Œ Ó ∑
&4 4 4 4
P ç
Picc.
π f P
œ- œ
3
˙ œ b œ œ œ œ œ. œ- . ˘œ
Fl. 2 & 46 Œ Œ Œ Œ ‰ J 45 J ‰ 42 Œ ≈ J 44 R ≈ ‰ Œ Ó ∑
π f P p ç
œ ˙. œ œ.
6 5 J ‰ 2 4
Fl. 3 &4 Œ Œ Œ Œ Œ 4 4 ∑ 4 ∑ ∑
π f P
œ- . ˘œ
Ob. 1 & 46 ∑ 45 ∑ 42 Œ ≈ J 44 R ≈ ‰ Œ Ó ∑
p ç
˘
& 46 ∑ 45 ∑ 42 Œ ≈ b œ- . 44 œR ≈ ‰ Œ Ó ∑
Ob. 2
J
p ç
≈ bœ œ œ œ œ œ œ ˙ œ. ‰ 2 Œ -. ˘ ˙
B b Cl. 1 & 46 ∑ 45 J 4 ≈ œJ 44 œR ≈ ‰ Œ Ó Œ Œ
p
3
f P p ç p
˘œ
6 ∑ 5 œ œ bœ œ œ. œœ˙ 2 4 ˘r ≈ ‰
B b Cl. 2 &4 4 J ‰ 4 Œ ≈ j
œ- . 4 œ Œ Ó ∑
π 3
ß p ç
? 46 Œ j r
‰ œ œ≈‰ Œ Œ Œ 45 ∑ 42 ∑ 44 ∑ ∑
fl
B. Cl.
p ß
œ- ˘œ
? 46 Œ ‰ r≈ ‰ Œ Œ Œ 45 Ó Œ Œ 42 R ≈ ‰ Œ 44 Ó ä˙ œ- ˘œ
j R ≈ ‰ Ó
œ œ ç
Bsn. 1
fl π f P ƒ
?6 Œ
p ß
5 œ- ˘
2 œ 4 ä˙ œ- ˘œ
4 ‰ j r≈ ‰ Œ Œ Œ 4 Ó Œ Œ 4 R ≈ ‰ Œ 4 Ó R ≈ ‰ Ó
œ œ ç
Bsn. 2
fl π f P ƒ
pj ß r r
? 46 Œ ‰ œ œ≈‰ Œ Œ Œ 45 Ó Œ Œ œ- 42 œ ≈ ‰ Œ 44 ∑ ∑
fl fl
C. Bn.
p ß π ç
6 ∑ 5 2 4 œ- ˘œ
4 Ó Œ Œ 4 œr ≈ ‰ Œ ∑ R ≈ ‰ Ó
?
&4 œ 4
π-
Hn. 1, 2
fl p ß
ç
& 46 ∑ 45 Ó Œ Œ 42 r ≈ ‰ Œ 44 ∑ œ- ˘œ
R ≈ ‰ Ó
?
œ œ
π-
Hn. 3, 4
fl p ß
ç
- 4 ˘œ
B b Tpt. 1
6
&4 ∑ 5
4 ∑ 2
4 Œ ≈ œJ . 4 R ≈ ‰ Œ Ó ∑
p ß
- 44 ˘œ ≈ ‰
B b Tpt. 2 & 46 ∑ 45 ∑ 42 Œ ≈ œJ . R Œ Ó ∑
p ß
˘ ä äœ œ
? 46 œ- ˘ bœ ≈ ‰ ‰ bœ œ œ œ- œ- œ-
Tbn. 1 ∑ 45 Ó Œ Œ 42 œR ≈ ‰ Œ 44 Œ Œ ‰ œ
J
œ œ R J
π ç p ß f3 P 3
f
?6 5 œ- 2 ˘ 4 ≈ œ bœ ˙ œ
4 ∑ 4 Ó Œ Œ 4 œR ≈ ‰ Œ 4 ∑ J ‰
p
Tbn. 2
π ç F f
? 46 r
∑ 45 Ó Œ Œ œ- 42 œ ≈ ‰ Œ 44 ∑ ‰ j
œ- ˙ .
fl
B. Tbn.
π ç P
? 46 Œ ‰ j r≈ ‰ Œ Œ Œ 45 ∑ 42 ∑ 44 ∑ Œ ‰ j
œ œ
Tuba
fl œ ˙
p ß P
?6 Œ 5 2 4 ‰ j
4 Œ
œ
j ‰ Œ Œ Œ 4 ∑ 4 b œ ≈ ≈ œ b œ œj ‰ 4 œ Œ Œ
œæ wæ
> >
Timp.
> ç f> ß p
ß
r ˙. œ. j > œ œ œ œ ≈ œ œ œ œ ≈ œ œ >œ ≈ œ œ œ ≈ œ œ œœ
ã 46 œ œ œ œ œ œ œ ≈ œœœœ œ ≈ ‰ æ 45 æ ‰ Œ 42 œ œ œ œ ‰ 44 œ œ œ œ œ ≈ œ œ œ œ ‰ ‰ œ œ œ ®‰
˙
J
3
æ œ
> f>
Perc. 1
P 6 ß π F π f f P π
3
ß F p
6 œœœœ ‰ œj œj ‰ Œ 5 j 2 >r 4 ‰ j j
ã 4 Œ Œ Œ 4 Œ ‰ œæ ˙æ. 4 œ ≈ ‰ œœœœ‰ œ œ œ œ ≈ œœœœœ ≈ œœœœ‰ œ ‰ ‰ œœœœ‰ œ œ œœ ‰
3
4
3 3
œœœ
P F ß> > >
Perc. 2
π ß f π ß p ß
Vib. & 46 ∑ 45 ∑ 42 ∑ 44 ∑ ∑
6 5 2 j fi 4 r -
ã 4 ∑ 4 ∑ 4 ‰ œ Œ 4 Œ œæ œ ≈ ‰ Œ ‰ œ Œ Ó
> F>
Perc. 3
ß p F
3
& 46 ∑ 45 ∑ 42 ∑ 44 ∑ ∑
Mrb.
? 46 ∑ 45 ∑ 42 ∑ 44 ∑ ∑
& 46 ∑ 45 ∑ 42 ∑ 44 ∑ ∑
Hp.
? 46 ∑ 45 ∑ 42 ∑ 44 ∑ ∑
≈ bœ œ œ œ
& 46 Œ Œ Œ Œ b Ȯæ 45 œ-Oæ æ
œO Ȯæ Œ 42 ‰ bœ ≈ Œ 44 ∑ Ó
fl
Vln. I
π F π ç p
6 5 2 4
&4 ∑ 4 b œ-O œO .. œO œO ≈ ‰ Ó 4 ‰ Œ 4 ∑ ∑
fl œ ≈
Vln. Ib
ßp ß fl >
ç œ b œ œ œ œ ..
6 5 j ‰ 2 ‰ 4 ‰
&4 Œ Œ Œ Œ Œ b œO 4 œO Ȯ œO œO 4 bœ ≈ Œ 4 ∑ Œ Œ
fl
Vln. II
π F P ç p 3
6 5 j 2 4
∑ 4 ≈ b œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œ-O œO œO ‰ 4 ‰ Œ ∑ ∑
5 5 5
&4 4
bœ ≈
Vln. IIb
π F π fl
arco ç œ- œ œ
B 46 Œ Œ j ‰ Œ Œ Œ 54 ∑ 2 Œ 44 Œ Œ
pizz. 3
4 ‰
unis. L.V.
œ œ ≈ ˙ ˙
â
Vla.
> fl f P ƒ p
ç ç
? 46 Œ b ˙- .
Œ j ‰ Œ Œ Œ 45 Œ Œ Œ Œ 42 œ ≈ œ ≈ Œ 44 ∑ Œ
arco
œ-
unis. pizz. L.V.
œ fl fl
Vc.
> p ç ç p
ç
?6 Œ pizz. j
5 œ- ˘
2 œR ≈ ‰ 4
Œ œ ‰ Œ Œ Œ 4 Œ Œ Œ Œ Œ ∑ ∑
arco
4 4 4
>
Cb.
ç p ç
79
27
M ˘œ
-̇ . ˘œ œ- ˘œ w b ˙-
133
Picc. & R ≈ ‰ Œ Œ R ≈ ‰ ∑ R≈‰ Œ Ó Œ Œ
Í ç P Ï p ç ∏ P
˘œ ˘
jet whistle
œ ‰ ≈
Fl. 2 & ∑ Œ Œ R ≈ ‰ ∑ ∑ Œ Œ Œ ∑
P Ï ß
œ ˘œ
Fl. 3 & ∑ Œ Œ R ≈ ‰ ∑ ∑ ∑ ∑
P Ï
>œ œ œ œ œ œ. >œ œ ˘œ
Ob. 1 & J R ≈ ‰ ∑ ∑ ∑ ∑ ∑
Í ç
>œ œ œ ˘œ
3
w œ œ œ
Ob. 2 & R ≈ ‰ ∑ ∑ ∑ ∑
p Ï
œ. œ-
B b Cl. 1 & ‰ Œ Œ ∑ ∑ ∑ ∑ Œ Œ Œ
f π ∏
œ œ bœ œ œ œ ˘œ
B b Cl. 2 & Œ Œ
R
≈ ‰ Ó ∑ ∑ ∑ ∑
p F ç
B. Cl.
? ∑ ∑ ∑ ∑ ∑ ∑
œ- ˘œ b ˙-
Bsn. 1
? ∑ Œ Œ R ≈ ‰ ∑ ∑ ∑ Œ Œ
P Ï ∏ P
? r
∑ Œ Œ œ- œ ≈ ‰ ∑ ∑ ∑ ∑
Ïfl
Bsn. 2
P
? r
∑ Œ Œ œ- œ ≈ ‰ ∑ ∑ ∑ ∑
fl
C. Bn.
P Ï
? ∑ Œ Œ Œ r
& œ ≈ ‰ ∑ ∑ ∑ ∑
fl
Hn. 1, 2
Ï
? ∑ Œ Œ Œ r
Hn. 3, 4 & œ ≈ ‰ ∑ ∑ ∑ ∑
fl
Ï
˘œ
B b Tpt. 1 & Œ Œ œ œ œb œ œ R ≈ ‰ Œ Ó ∑ ∑ ∑ ∑
p ß
b œ œ ˘
& Œ Œ Œ œ œ. œ œ œ ≈ ‰ Ó ∑ ∑ ∑ ∑
B b Tpt. 2
R
˘œ p ß
Tbn. 1
? œ œ
R ≈ ‰ Ó ∑ ∑ ∑ ∑ ∑
ç
? Œ ≈ äb œ œ œ ˘œ
Tbn. 2 R ≈ ‰ ∑ ∑ ∑ ∑ ∑
F ß
? ˘r ≈ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
B. Tbn.
œ
ç
? ˘r ≈ ‰ Œ Ó Œ Œ r ≈ ‰ ∑ ∑ ∑ ∑
œ- œ
Tuba
œ
ç P Ïfl
? r ≈ ‰ Œ bœ b >œ ≈ ‰ Œ ‰
>
≈ r œ ≈ ‰ Œ j ‰ Œ ∑ Œ Œ ‰ Œ ∑
œ ≈ ≈ b œ œ >œ œæ œ
3
Timp.
æ R œ R œ
ß> p f ç p f> >
F
>œ œ œ œ ®‰ r> >œ œ œ œ ®œ œ œ œ ≈ Œ >œ
j
ã R ≈ ‰ Œ Œ œ œ œ ®‰ Œ ‰ ≈ œ Rœ ≈ ‰ ‰ æœ æœ ‰ Œ Œ ‰ Œ ∑ œ
J ‰ Œ Ó
>
Perc. 1
ß F f ç 3
p f3 f F ß
r r >œ j j
ã Œ Œ Œ ‰ œœœœ œ ≈ ‰ œœ œœ‰ Œ œ ≈ ‰ Œ Œ R ≈‰ Œ œ ‰ Œ Œ œ ‰ ∑ ∑
> > > >
Perc. 2
F ß f ç ß ß ß with hard mallets # œœ- ww
Vib. & ∑ ∑ ∑ ∑ Œ Œ Œ
P
fi
>r r j j j fi
ã Œ œ ≈ ‰ Œ Œ œ ≈ ‰ Œ ∑ ‰ Œ Œ œ ‰ ∑ œ ‰ Œ Ó
with soft mallet
œæ œæ œ
f> > > >
Perc. 3
p f p ß ß ß
& ∑ ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑ ∑
√
>œ œ >œ
J œ œ w
& ‰ ‰ Œ Œ Œ Œ ‰ ∑ Œ Œ ≈ ‰ Œ ∑
f ç ÿ >œ w œœ
>>
ç
3
Hp.
ƒ
? ∑ ∑ ∑ ∑ ∑ ∑
- ˘ √ M
œ ≈ ‰ œ. œ œ œœ- ˘œ
œ ≈ œœ- œ˘œ ≈ b >Oœ
solo
Oœ Oœ .. Oœ Ȯ Oœ Ȯ .. ˘O
& R ≈ œOJ .. Oœ Oœ ‰ ‰ ‰ œ≈‰ Œ
div.
Œ Œ J R Ó
fl p - ç P Ï ƒ p
Vln. I
p ˘ p ƒ ç
ç ß √-
œ- ˘œ œ. œ œ ˘œ √ ˘
bO . Oœ Oœ œœ œ ≈ ‰ b œ œ œ œ œ œ .. œ œ œ œ≈
& Ó R ≈ ‰ ≈ b œJ . ‰ R Œ Œ ‰ œJ œ œ J Œ Œ ∑
div. unis.
˘r ß P Ï
Vln. Ib
p - ˘ p ç p f P ß
œœ- œ˘œ œœ- ˘œ
3 3
œ ≈ ‰ b œOO.. œOOœ œOOœ œ b Ȯ-≤

expressively
≈ œJ .. Œ b
pizz.
‰ R ≈ ‰ R ≈ ‰ ∑ ∑ Œ Œ r ≈ ‰ Œ Œ
div. unis.
&
arco
p - ç ˘ P œ
Vln. II
ç p ß Ï > π P
ß
- ≈ ‰
pizz.
˘œ . œœ˘ ˝ ≤
œ- ≈ œOOœ. .. œOœO œOœO ‰ œœ
unis.
& Œ Œ ≈ ‰ ≈ O .. Œ Ó ∑ Œ Œ r ≈ ‰ Œ Œ Œ
div. arco
Vln. IIb
R J R œ œ b ˙-
p ß p ç P Ï > ß> with wide vibration π P
˘œ ç
B R ≈ ‰ Œ ≈ Oœ- .. Oœ ˘Oœ ‰ œ
r
œ ≈ ‰ œœ- ˘œ
œ ≈ ‰
> ~~~~~~~~~~~~~
unis.
Œ Ó ∑ Œ Œ ˙ ∑
div. pizz. L.V.
œ- œ R O
>
Vla.
ç p p fl P Ï ß ƒ
ß ç
œ- ≈ Oœ- .. Oœ ˘Oœ œ-
IV
˘ ˘œ ˘œ b O-≤ O
? œR ≈ ‰ Œ R ≈ ‰ ‰ R ≈ ‰ Œ Ó ∑ Œ Œ Œ Œ Œ ‰ œ œ
pizz. L.V. arco
Vc.
O ≈ œO ..
ß p ß p ç P Ï > > ∏
ß
3
IV
ç
? Œ r r r
Œ œ- œ ≈ ‰ œ- œ ≈ ‰ œ- œ ≈ ‰ ∑ ∑ ∑ ∑
ßfl fl fl
Cb.
p p ç P Ï
80
28
139
w œ
3 J 2 5 4 3 4 3 6
Picc. & 4 ‰ Œ Œ 4 ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 4
∏
Fl. 2 & ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
Fl. 3 & 4 4 4 4 4 4 4 4
Ob. 1 & ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
Ob. 2 & ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
w œ
B b Cl. 1 & 43 J ‰ Œ Œ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
P ∏
∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
B b Cl. 2 & 4 4 4 4 4 4 4 4
B. Cl.
? ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
w œ
vib. molto
Bsn. 1
? 43 J ‰ Œ Œ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
∏
? ∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
Bsn. 2 4 4 4 4 4 4 4 4
C. Bn.
? ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
Hn. 1, 2 & 4 4 4 4 4 4 4 4
Hn. 3, 4 & ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
B b Tpt. 1 & 4 4 4 4 4 4 4 4
B b Tpt. 2 & ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
Tbn. 1
? ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
? ∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
Tbn. 2 4 4 4 4 4 4 4 4
B. Tbn.
? ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
Tuba
? ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
? ∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
Timp. 4 4 4 4 4 4 4 4
43 42 45 Ó 44 œ œ ‰ Œ 43 44 ‰ œj ˙ . 43 46
with soft mallet
ã ∑ ∑ ∑ Œ æ˙ æ æ Œ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1
-
∏ p π
∑ 3 ∑ 2 ∑ 5 ∑ 4 ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 6
Perc. 2 ã 4 4 4 4 4 4 4 4
˘ œ- œ
U
Œ Œ ≈ b œ- . œ
bowing
& ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ œ œ ‰ Œ
J
Œ ∑ 43 ∑ 44 ∑ Œ Œ Œ ‰ J 43 Œ Œ 46
p
Vib.
f f
π
œ ˙ œ 3 2 5 4 3 4 3 6
ã ‰ æJ æ æJ ‰ 4 ∑ œ- Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
echoing from string
Perc. 3 4 œ
j 4 4 4 4 4 4
∏ p P
& ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
Mrb.
? ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
œ œ w
˙- ˙ œ œ w [D # , Eb-E n] œo
& ∑ 43 ∑ 42 ∑ 45 ˙ ˙ 44 ∑ ∑ ∑ 43 ∑ 44 ∑ Œ Œ Œ ‰ 43 ∑ 46
Hp.
F 3
p F3
? ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ ∑ ∑ 43 ∑ 44 ∑ ∑ 43 ∑ 46
√ √unis.
-̇ œ- b œ œ œ œ ˙ ˙ b œ- ˙ œ # ˙- ˙ œ- ˙.
& ∑ 43 ∑ 42 ∑ 45 Œ 44 ‰Œ ∑ ∑ 43 ∑ 44 Œ 43 ∑ 46
∏
Vln. I
p P p π3
œ-
3 3
- # ˙- ˙ ˙.
poco
‰ ‰ bœ œ ˙. œ
expressively
& ∑ 43 ∑ 42 ∑ 45 ∑ 44 ∑ ∑ Œ Œ J ‰ 43 ∑ 44 Œ 43 ∑ 46
∏
Vln. Ib
∏
√unis.
3 3
# ˙- ˙ œ- œ -
Ow œO O ˘O U
echoes
43 J ‰ Œ Œ 42 45 Ó
-̇ 44 œ œ œ. ˙ b œ- 43 44 ‰ # # Oœ Ȯ 43 œ œR ≈ ‰ Œ 46
solo
& ∑ Œ ˙ œ ‰Œ ∑ ∑ ∑
solo
J
∏
Vln. II
∏ p π3 π ß
P p
3
# ˙- œ- ˙.
3
- ˙
‰ ‰ bœ œ ˙. œ
expressively poco
& w 43 œj ‰ Œ Œ 42 ∑ 45 ∑ 44 ∑ ∑ Œ Œ J ‰ 43 ∑ 44 Œ 43 ∑ 46
vib. molto
∏
Vln. IIb
∏ 3
∏ 3
-̇ ˙ ˙ b œ- ˙ œ # Ȯ- ..
arco echoes
Ȯ ..
43 42 45 Ó 44 43 44 Œ # 43 46
unis.
B ∑ ∑ ∑ Œ ‰Œ ∑ ∑ ∑ Œ ∑
solo
Vla.
p P
3
p π3 ∏
poco
expressively
? Ow 3 Oœ 2 5 4 ‰ ‰ b œ- œ ˙. œ ‰ 43 4 3 6
Vc. 4 J ‰ Œ Œ 4 ∑ 4 ∑ 4 ∑ ∑ & Œ Œ
J
∑ 4 ∑ ∑ 4 ∑ 4
p ∏ 3 ∏
- O-
arco b b œ Ȯ .. Oœ
echoes
? ∑ 43 ∑ 42 Œ Oœ 45 ∑ 44 ∑ ∑ Œ Œ Œ J ‰ 43 ∑ 44 ∑ ∑ 43 ∑ 46
pizz.
∏
Cb.
P
81
29
N q = 70 Nastolgically
w œ œ œ bœ œ. œ œ b œ . œ.
solo
j3 -
vib. molto
B 46 . 44 r ≈ ‰ j 3b œ œ œ 45 b ˙ . œ.bœ œ œ 44 J
non vib. non vib.
œ œ- b œ. ≈ >œ . œ bœ œ bœ nœ œ œ œ- b œ œ b œ œ œ œ œ œ
3
-̇ > - - œ œ œ œ œ &
>
Vla.
p F f P fl fâ p ƒ P
f
3 3
œ œ̄ , œ- œ- œ- w ˘
157
n˙ œ # œr >œ œ œ œœ œ œ œœœ ˙ ˙. œU bœ œ œ œ œ. ˙ œ œ bœ ≈ ‰ b >œ
œ- J ‰ 74 ‰ äœ ä˙ œ œœ œ œ
r
42 J 44 46 J 44 J 45 44
bœ
Vla. & Œ B
f P 3
f P 3
f ∏ π
3 3
p ƒ 3
p
gently, as if sighing
O Uyas Tminun (Song of Weave)

4 Œ œ- œ-
with hand
œ œ
Perc. 1 ã 4 Œ Œ Œ Œ Ó æ æJ ‰ Ó ∑
3
p ∏ ∏ p
-œ -œ
with hand
4 œ œ
Perc. 2 ã 4 Œ Œ Œ Œ Œ Œ Œ æ æJ ‰ Œ Œ ∑
π
3
∏ p π
-œ
with hand
ã 44
œ œ œ œ
Perc. 3 Œ Ó Œ Œ Œ æ æJ ‰ Œ Œ Œ æ æJ ‰ Œ Ó
π 3
∏ p ∏ p
O solo
Uyas Tminun (Song of Weave)
& 44 Œ Œ ‰. bœ bœ œ
3 3 3
bœ œ ˙ œ bœ œ bœ œ ˙ œ œ œ ≈ >
Vln. I
â â -̇ â âf
f p Fâ P p fl
ƒ Ç
4
solo
&4 j j
3 3 3 3 3
b˙ œ œ n˙ œ b ˙- œ œ b˙ œ œ œ b œ- œ- œ œ bœ œ œ œ œ-
Vln. II
â â â â â
p f p Fâ P f p f â
-̇
B 44 j
œ ≈ ≈ nœ œ œ
3 3 3 3
j
œ œ ˙ œ -̇ œ œ œ œ œ œ bœœ œ b œ- œ œ œ œ
â â â
Vla.
fl > p >
sFz â â
f p F ç f p
3
sul pont.
& 44 Œ Œ b Ȯæ æ
wO
æ
wO
æ
wO
>
Cb.
f ∏
168 -œ
Œ Ó ∑ 46 ∑ ∑
rit.
Perc. 1 ã
p
b w- œ-
rit.
œ ˙ ˙. œ
ä ä b ˘œ
& œ bœ œ œ œ bœ
j
˙ œ œ œ R ≈ ‰ Œ 46 J U‰
Vln. I
J π
ß F ∏
f p
3 3
b œ- œ b œ- œ- œ b œ- -̇ œ- œ -̇ ˙. œ
Œ Œ Œ Œ ‰ ‰ J 6 J U‰
& 4
œ œ œ ≈
Vln. II
fl p f p F ∏
P
3 3
ç
o o3 o o o œo œo ˙o .
œ ˙. ˙. ˙ ˙. œ
˘ œ œ J U‰
Vla. B
œ
j
b œ- œ
r ≈ ‰ Œ & œ œ 46
ß œ ∏
π f P f
3
j
æ æ 6 æ æ
Cb. & wO wO 4 wO .. œO ‰ Œ Œ Œ Œ Œ
F ∏
82
Silence
30 for 4 Seconds
172
P q = 96 Dialogue in Ancient Paths; With Vibrations
∑ 3 ∑ 2 ∑ 4 ∑ ∑ 3 ∑ 6 ∑ 4
Picc. & 4 4 4 4 4 4
˘
‰ ≈
Fl. 2 & ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 Œ Œ 46 ∑ 44
ß
˘
≈
∑ 3 ∑ 2 ∑ 4 ∑ ∑ 3 ‰ Œ Œ 6 ∑ 4
Fl. 3 & 4 4 4 4 4 4
ß
Ob. 1 & ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
Ob. 2 & ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
B b Cl. 1 & ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
∑ 3 ∑ 2 ∑ 4 ∑ ∑ 3 ∑ 6 ∑ 4
B b Cl. 2 & 4 4 4 4 4 4
B. Cl.
? ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
? ˘
Bsn. 1 ∑ 43 ‰ œ≈
Œ Œ 42 ∑ 44 ∑
œ œ
r ≈ ‰ Œ Œ 43 ∑ 46 ∑ 44
fl π ß
ß
? ∑ 3 Œ Œ 2 ∑ 4 ∑ r ≈ ‰ Œ Œ 3 ∑ 6 ∑ 4
Bsn. 2 4 ‰ œ≈ 4 4 œ œ 4 4 4
fl π fl
ß ß
? ∑ 43 ‰ Œ Œ 42 ∑ 44 ∑ r ≈ ‰ Œ Œ 43 ∑ 46 ∑ 44
C. Bn.
œ≈ œ œ
fl π fl
ß ß
∑ 3 ˘ smacking the mouthpiece 2 4 ˘– ≈ Œ ˘– ≈ ‰ ˘– 3 ˘ 6 4
Hn. 1, 2 & 4 –R ≈ ‰ Œ Œ 4 ∑ 4 Œ ‰ Œ
R
Œ ‰ ‰ Œ 4 –R ≈ ‰ Œ Œ 4 ∑ 4
ç sFz ç sFz
3
ç
˘ ‰ ˘– ≈ Œ ˘– ≈ ‰ ‰ ˘– ‰ ˘
& ∑ 43 –R ≈ ‰ Œ Œ 42 ∑ 44 Œ Œ Œ Œ 43 –R ≈ ‰ Œ Œ 46 ∑ 44
smacking the mouthpiece
Hn. 3, 4
R
ç sFz ç sFz
3
ç
3 ˘ 2 4 Œ ˘– ≈ Œ –. 3 ˘ 6 4
& ∑ 4 –R ≈ ‰ Œ Œ 4 ∑ 4 ‰ Œ Œ ≈ ‰ Œ Œ 4 –R ≈ ‰ Œ Œ 4 ∑ 4
B b Tpt. 1
R
ç sFz P ç
˘ ‰ ˘– ≈ Œ –. ˘
& ∑ 43 –R ≈ ‰ Œ Œ 42 ∑ 44 Œ Œ Œ ≈ ‰ Œ Œ 43 –R ≈ ‰ Œ Œ 46 ∑ 44
B b Tpt. 2
R
ç sFz P ç
? ˘ ‰ ˘– ≈ Œ –. ˘– ˘
∑ 43 –R ≈ ‰ Œ Œ 42 ∑ 44 Œ Œ Œ ≈ ‰ ‰ ‰ Œ 43 –R ≈ ‰ Œ Œ 46 ∑ 44
Tbn. 1
R
ç sFz P sFz
3
ç
? ∑ 34 ˘– ≈ ‰ Œ Œ 42 44 Œ ‰ ˘– ≈ Œ Œ ˘– ≈ ‰ –. ≈ ‰ ‰ ˘– ‰ Œ 34 ˘– ≈ ‰ Œ Œ 46 44
Tbn. 2
R ∑ R R R ∑
ç sFz ç P sFz
3
ç
? ∑ 34 ˘– smacking
≈‰ Œ Œ
the mouthpiece
42 ∑ 44 Œ ‰ ˘– ≈ Œ Œ ˘– ≈ ‰ Œ ‰ ˘– ‰ Œ ˘
43 –R ≈ ‰ Œ Œ 46 ∑ 44
B. Tbn.
R R
ç sFz ç sFz
3
ç
? ˘ ‰ ˘– ≈ Œ ˘– ≈ ‰ ˘
∑ 43 –R ≈ ‰ Œ Œ 42 ∑ 44 Œ Œ r ≈ ‰ Œ Œ 43 –R ≈ ‰ Œ Œ 46 ∑ 44
Tuba
R
ç sFz ç œ ç
fl
F
? fi
43 ‰ 42 44 Œ 43 46 44
III: Bb
∑ Œ Œ ∑ Œ ‰ œ ‰ Œ Œ r ≈ ‰ Ó ∑ ∑
3
œ œ
>≈
Timp.
> >
f f F
3 2 4 œ œ œ œ œ œ œ ≈ ≈ œ œ >œ ≈ ‰ >œ 3 >œ
≈ œœœœ≈ ‰ 6 4
with hard mallets 3
ã ∑ 4 ∑ 4 ∑ 4
œ
R ≈ ‰
œ œ œ ‰
œ œ œ 4 R ≈ ‰ Œ Œ 4 ∑ 4
Perc. 1
> R æ
f ß ç p ß ß
P
3
6
r r r >
43 42 ˙æ 44 œ ≈ œ œ œ œ ≈ ‰ 43 œ ≈ ‰ 46 ˙ . ˙. 44
with hard mallets
∑ ∑ œ ≈ ‰ Œ ‰ œ œ œ Œ œœ≈ ‰ œœœœ‰ Œ Œ
3 3
ã
ß> > > > > æ æ
Perc. 2
p ß ç P ß Ï P
Vib. & ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
4 œr ‰ . 6 >
with hard mallets
3 j 2 j ‰ œj 3 4
ã ∑ 4 Œ Œ œ- ‰ 4 Œ œ- 4 Œ ‰ Œ Œ Œ ‰ ‰ 4 ∑ 4 ˙. ˙. 4
3
œ œ
> æ æ
Perc. 3
F ç f P F Ï P
& ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
Mrb.
? ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
& ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
Hp.
? ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 ∑ 46 ∑ 44
Silence
P q = 96 Dialogue in Ancient Paths; With Vibrations

for 4 Seconds
˘œ œ. œ. . . . . .
unis.
∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 Œ Œ 46 ∑ 44
col legno
&
ç
Vln. I
˘œ œ. œ. . . . . .
∑ 43 ∑ 42 ∑ 44 ∑ ∑ 43 Œ Œ 46 ∑ 44
col legno
&
ç
Vln. Ib
˘
unis. œ œ. œ. . . . . .
∑ 3 ∑ 2 ∑ 4 ∑ ∑ 3 Œ Œ 6 ∑ 4
col legno
& 4 4 4 4 4 4
ç
Vln. II
b ˘œ œ. œ. . . . . .
∑ 3 ∑ 2 ∑ 4 ∑ ∑ 3 Œ Œ 6 ∑ 4
col legno
Vln. IIb & 4 4 4 4 4 4

ç
∑ 3 ∑ 2 ∑ 4 ∑ ∑ 3 ∑ 6 ∑ 4
Vla. & 4 4 4 4 4 4
˘≥¿ . . .
‰
43 42 44 43 46 44
col legno on the
& ∑ ∑ ∑ ∑ ? Œ r ≈ ‰ Ó ∑ Œ Œ Œ Œ Œ
pizz. strings behind the bridge
Vc.
œ ß
>
sFz
pizz. ˘≥¿ . . . ‰
43 ‰ 42 44 43 46 44
col legno on the
∑ ? Œ Œ ∑ ∑ r ≈ ‰ Ó ∑ Œ Œ Œ Œ Œ
arco
&
ord. strings behind the bridge
œ
>≈ œ œ
Cb.
fl ß
ß p ç
83
31
179
4 ∑ 3 ∑ 4 ∑ ∑ ∑ ∑
Picc. &4 4 4
Fl. 2 & 44 ∑ 43 ∑ 44 ∑ ∑ ∑ ∑
4 ∑ 3 ∑ 4 ∑ ∑ ∑ ∑
Fl. 3 &4 4 4
Ob. 1 & 44 ∑ 43 ∑ 44 ∑ ∑ ∑ ∑
Ob. 2 & 44 ∑ 43 ∑ 44 ∑ ∑ ∑ ∑
B b Cl. 1 & 44 ∑ 43 ∑ 44 ∑ ∑ ∑ ∑
4 ∑ 3 ∑ 4 ∑ ∑ ∑ ∑
B b Cl. 2 &4 4 4
? 44 ∑ 43 ∑ 44 Œ Œ r≈ ‰ Œ Ó Œ Œ j ‰ Œ ∑
B. Cl.
˙ œ œ
p fl fl
ß ß
? 44 r
∑ 43 ∑ 44 Œ Œ
˙ œ
r≈ ‰ Œ Ó Œ Œ
œ
j ‰ Œ Œ b œ- œ ≈ ‰ Œ
fl
Bsn. 1
p fl fl p ß
ß ß
?4 ∑ 3 ∑ 4 r
4 4 4 Œ Œ
b˙ œ
œ
j ‰ Œ Œ b œ- œ ≈ ‰ Œ
fl
Bsn. 2
p fl fl p ß
ß ß
? 44 r
∑ 43 ∑ 44 Œ Œ
˙ œ
œ
j ‰ Œ Œ œ- œ ≈ ‰ Œ
ßfl
C. Bn.
p fl fl p
ß ß
4
&4 ∑
3
4 ‰ ˘– ‰ Œ Œ 4 .
4 –R ≈ ‰ Œ ‰ –. ≈ Œ Ó ‰ –. ≈ Œ Œ Œ ‰ –. ≈ Œ ˘– ≈ ‰ Œ Œ –. ≈ ‰
Hn. 1, 2
R R
ß3 F f F f ß F
& 44 ∑ 43 ‰ ˘– ‰ Œ Œ .
44 –R ≈ ‰ Œ ‰ –. ≈ Œ Ó ‰ –. ≈ Œ Œ Œ ‰ –. ≈ Œ ˘– ≈ ‰ Œ Œ –. ≈ ‰
Hn. 3, 4
R R
ß3 F f F f ß F
4
&4 ∑
3
4 ‰ ˘– ‰ Œ Œ 4 –. ≈ ‰ Œ
4 R ‰ –. ≈ Œ Ó ‰ –. ≈ Œ –. ≈ ‰ Œ Ó ˘– ≈ ‰ Œ Œ ‰ ˘– ≈
B b Tpt. 1
R R
ß3 F f F f ß ß
& 44 ∑ 43 ‰ ˘– ‰ Œ Œ 44 –. ≈ ‰ Œ ‰ –. ≈ Œ Ó ‰ –. ≈ Œ –. ≈ ‰ Œ Ó ˘– ≈ ‰ Œ Œ ‰ ˘– ≈
B b Tpt. 2
R R R
ß3 F f F f ß ß
? 44 Œ –. ≈ ‰ Œ Œ 43 –. ˘– ‰ Œ Œ 44 Œ
˘– ≈ ‰ Ó ˘– ≈ ‰ Œ ‰ –. ≈ Œ ˘– ≈ ‰ Œ ‰ –. ≈ Œ ˘– ≈ ‰ Œ ‰ –. ≈ ‰ ˘– ≈
Tbn. 1
R R R R R
P f ß3 ß ß F f f ß F ß
? 44 Œ –. ≈ ‰ Œ Œ 43 –. ˘– ‰ Œ Œ 44 Œ ˘– ≈ ‰ Ó ˘– ≈ ‰ Œ ˘– ≈ ‰ Œ ˘– ≈ ‰ Œ ‰ –. ≈ Œ ˘– ≈ ‰ Œ ‰ –. ≈ ‰ ˘– ≈
Tbn. 2
R R R R R R
P fß 3
ß ß ß ß f ß F ß
? 44 Œ –. ≈ ‰ Œ Œ 43 –. ˘– ‰ Œ Œ 44 Œ ˘– ≈ ‰ Ó ˘– ≈ ‰ Œ ˘– ≈ ‰ Œ ˘– ≈ ‰ Œ Ó ˘– ≈ ‰ Œ ‰ –. ≈ ‰ ˘– ≈
B. Tbn.
R R R R R R
P f ß3 ß ß ß ß ß F ß
? 44 Œ –. ≈ ‰ Œ Œ 43 ‰ ˘– ‰ Œ Œ 44 Œ ˘– ≈ ‰ r≈ ‰ Œ
˘– ≈ ‰ Œ Œ Œ j ‰ Œ ˘– ≈ ‰ Œ Œ –. ≈ ‰
Tuba
R R R œ R R
P ß3 ß ˙ œ ß fl ß F
ß
p ßfl
? 44 Œ j
r≈ ‰ Œ Œ 43 Œ Œ 44 Œ Œ j ‰ Œ Œ j ‰ Œ ‰ j ‰ Œ Œ ‰ bœ Œ Œ ‰ j j ‰
≈ œ œ b >œ bœ
3
Timp.
œ œ œ- œ > œ
P F ß > ß f F >
F f
>œ 44 œ >œ ‰ Œ > j j
>œ œ >œ œ œ œ œ œ œ >œ j
ã 44 ‰ J Œ 43 œœ≈Œ j ≈œœ‰
j
Ó Œ ‰ ‰ œœœŒ ‰ Jœ Œ ‰ ‰ œ ‰ Œ ≈œœœ ‰ ‰
3
œ
œ œ œ œœœœ
> >
Perc. 1
ß F3 F ç F f F F P
f3 ß f f F3
6
3 3
4 > 3 r
œ ‰ œ 44 Œ j ‰ œ œ ‰ œj œj j
ã 4 œR ≈ ‰ Œ ‰ œ œ Œ œ ≈ ‰ Œ ‰ Œ œæ œ ‰ ‰ œœ≈Œ Œ ‰ ∑
3 3 3
4
3 3
> ≈œœ œ
>
œ
>
œ
ß>
Perc. 2
ç PF f f F f P F ß P ß b œ>œ ˙˙
‰
with hard mallets
4 ∑ 3 ∑ 4 ∑ ∑ ∑ Œ
Vib. &4 4 4
f
> j r
ã 44 œR ≈ ‰ Œ Œ ‰ œ 43 œ ≈ ‰ Œ Œ 44 ˙-æ j
œ ‰ Œ ∑ ∑ ∑
fl ß>
Perc. 3
ç ß π
& 44 ∑ 43 ∑ 44 ∑ ∑ ∑ ∑
Mrb.
?4 3 4
with soft mallet
4 ∑ 4 ∑ 4 ∑ Œ Œ Œ ‰ j j Œ ‰ j ‰ Œ j ‰ ≈ b œ œ >œ ‰ j
3 3 3
≈ œ œ >œ œ œ
> ≈ œ œ >œ œ œ
>œ ç ß ƒ f> >œß
>
& 44 ∑ 43 Œ J ‰ Œ 44 ∑ ∑ ∑ Œ Œ ‰ Œ
ß ƒ 3
Hp.
? 44 ∑ 43 ∑ 44 ∑ ∑ ∑ ∑
>1 >—
I
b Oœ- ) > >— >—

III II
‰ — ‰
pizz.
O Oœ
I II II
arco
4 œ
pizz. arco
4 J ‰ Œ Ó 3 ‰ J Œ ( ‰ Œ Œ Œ Œ Œ J ‰ Œ Ó Œ J ‰ Œ #O
&4 4 4 æ
ß ß ß
Vln. I
ß π f π
3
P3
p
pizz. > >—I — >— —
II II
4 ‰ ‰ -
1 III
˘O
3 J 4 J J J Oœ ..
I
Œ Ó ‰ Œ Œ ∑ Œ ‰ Œ Œ ‰ Œ Ó ‰ Œ
arco
&4 4 4 œ ≈
Vln. Ib
ß R
ß
3
F I ß f π ß
>1I >—
pizz.
>— ‰ >— ‰ >—

III
-
II
˘œ
IV
& 44 J ‰ 43 J 44 Œ J Œ b b œœ J
arco
Œ Ó ‰ Œ Œ ‰ Œ Œ Œ Œ Œ œ ≈ ‰ Œ Œ ‰ Ó
pizz. divisi unis.
ß ß F R ß
Vln. II
P3 p sFz
pizz. > >—I >IV — —
pizz.
— r
II
‰ 1 ‰ r
III
4 43 J 44 Œ ‰ J Œ J ‰ Œ
I
Œ Ó ‰ Œ Œ Œ Œ Œ Œ b œœ œœ ≈ ‰ Œ ‰ J Œ # # œ-O .. œO ≈
arco arco
&4
divisi unis.
F - fl ßfl
Vln. IIb
ß ß F p sFz f π
unis. I > III > >— pizz. >
3
pizz. ‰ 1 ‰ ˘ — —
II
œ- ˘œ
& 44 43 O ≈ ‰ 44 Œ ‰ J Œ J J
pizz.
Œ BŒ Œ Œ Œ Œ Œ ‰ Œ Œ R ≈ ‰ Œ Œ ‰ Ó
arco arco
IV
Oæ R &
p- ß
Vla.
I ß
3
F F ß p sFz
>pizz. - ˘O > >— >
div.
1 b b œO œ pizz. III —
II
‰ œOO Œ
arco
?4 J ‰ Œ Ó 3 R ≈ ‰ Œ 4 Œ ‰ J Œ Œ Œ Œ J ‰ Œ Ó Œ Œ j ‰ Œ
4 4 4
IV
Vc.
œ œ
ß F ß III J >
p ß > f
ç
I > O
? 44 43 44 ‰ œ Œ
pizz.
∑ ∑ ∑ Œ Œ ‰ j Œ Ó Œ Œ j ‰ Œ
Cb.
œ œ
> ç >
ß f
84
32
185
# ˙- ˘œ ˙ ˘œ
# w> œ.
‰ R ≈ ‰ Œ Œ R ≈ ‰ Œ Ó ∑ ∑ 6
& 4
Íp
Picc.
P π p ç 3
P ƒ
˘ jet whistle -̇ ˘œ ˙ ˘œ ˘
jet whistle
‰ ‰
Fl. 2 & R≈‰ Œ Ó Œ Œ R ≈ ‰ Œ Œ R ≈ ‰ Œ Ó Œ Œ Œ ∑ 46
ß p ç 3
P ƒ ß
3
˘ b >˙ œ ˘œ ˘
b œ- ˘œ
jet whistle
‰ ‰ œ ≈
R ≈ ‰ æ R ≈ ‰ 6
jet whistle
Fl. 3 & Œ Ó ∑ Œ Œ æ Œ Œ Œ Œ ∑ 4
ß
3 3
p ç çp ç sFz
r
∑ ∑ Œ Œ œ- œ œ ≈ ‰ ∑ ∑ ∑ 46
3
&
fl
Ob. 1
π ß
r
& ∑ ∑ Œ Œ œ- œ œ ≈ ‰ ∑ ∑ ∑ 46
3
ßfl
Ob. 2
π
w> œ.
& ‰ Œ Œ Œ r≈ ‰ ∑ ∑ ∑ 46
3
B b Cl. 1
b ˙- œ œ
Íp P π π f π
∑ Œ œ- œ œ ‰ Œ r≈ ‰ ∑ ∑ ∑ 6
& J 4
3
B b Cl. 2
-̇ œ œ
p P π π π
f
? ˙ œ œ
∑ ∑ Œ R ≈ ‰ bw w w 46
>
B. Cl.
3
π f π çp
b œ-
cresc. poco a poco
? œ œ
Bsn. 1 ∑ ‰ œ≈
Œ Ó J ‰ Œ ∑ ∑ b w- 46
ßfl π F π P
? ∑ Œ Ó b œ- œ œ ‰ Œ ∑ ∑ 6
Bsn. 2 ‰ œ≈ J b w- 4
ßfl π F π P
? ∑ Œ Ó 46
‰ œ≈ bw w w w
>
C. Bn.
ßfl Ç cresc. poco a poco
& Œ Œ ‰ –. ≈ ‰ ˘– ≈ Ó Œ ‰ –. ≈ ˘– ≈ ‰ Œ Œ –. ≈ ‰ Œ Œ Œ ‰ –. –. Œ ‰ –. –. –. –. –. –. –. –. –. ‰ Œ –. –. –. –. –. ˘– ≈ ‰ Œ 46
Hn. 1, 2
R R R
F ß F ß F F P 5
ƒ P 5
ƒ
& Ó ‰ –. ≈ ‰ ˘– ≈ Ó Œ ‰ –. ≈ ˘– ≈ ‰ Œ Œ –. ≈ ‰ Œ Œ Œ ‰ –. –. Œ ‰ –. –. –. –. –. –. –. –. –. –. –. ≈ ‰ Œ Ó 6
4
Hn. 3, 4
R R R
F ß F ß F F P 5
ƒ
˘– ≈ ‰ –. ≈ ‰ ˘– ≈ Œ ˘– –. ≈ ˘– ≈ ‰ Œ –. ≈ ‰ ˘– ≈ –. –. Œ –. –. –. –. –. ˘– ≈ ‰ ≈ –. –. –. –. –. ≈ ‰
B b Tpt. 1 & Œ R
‰
R
≈ ‰ Œ ‰
R
Œ
R
Œ
R
‰ Œ ‰
R R
Ó 46
ß F ß ß F ß F ß F F 3
ç F5 ƒ
˘– ≈ ‰ –. ≈ ‰ ˘– ≈ Œ ˘– . ≈ ˘ –. ≈ ‰ ˘– ≈ –. –. ‰ ˘– ≈ ‰ ≈ –. –. –. –. –. ≈ ‰ 6
B b Tpt. 2 & Œ R
‰
R
≈ ‰ Œ ‰ – – ≈ ‰ Œ
R
Œ
R
Œ
R
‰ Œ Œ Œ Œ
R R
Ó 4
ß F ß ß F ß F ß F ç F5 ƒ
? Œ ˘– ≈ ‰ Œ ˘– ≈ ‰ Œ ˘– ≈ ‰ Œ ‰ –. ≈ –. –. –. –. –. –. –. –. ‰ ˘– ≈ Œ ˘– ≈ ‰ Œ –. –. ‰ –. –. –. –. ˘– ≈ ‰ ‰ ˘– ≈ Œ ˘– ≈ ‰ Œ –. –. ˘– Œ 6
Tbn. 1
R R R R R R 4
ß ß ß F P 3 3
f
ç ß F ß ß ç ƒ
3
? Œ ˘– ≈ ˘– ≈ ‰ ˘– ˘– ≈ ‰ –. –. –. –. –. –. ≈ ‰ ˘– ≈ –. –. –. –. –. –. ˘– ≈ ‰ ‰ ˘– ≈ Œ ˘– ≈ –. –. –. –. –. ˘– Œ
Tbn. 2
R
‰ Œ
R
Œ
R
≈ ‰ Ó
R R
Œ
R
‰ Œ ‰
R R J 46
ß ß ß ß P 3
f ß F ß ß çF ƒ
3
? Œ ˘– ≈ ˘– ≈ ‰ ˘– –. –. –. –. ˘– ˘– –. –. –. –. –. ≈ ‰ ‰ ˘– ≈ ˘– ≈ –. –. ‰ –. –. –. –. ˘– ≈ ‰ ‰ ˘– ≈ Œ ˘– ≈ ‰ Œ –. –. ˘– Œ
B. Tbn.
R
‰ Œ
R
Œ
J
‰
R
Œ
R
‰ Œ
R R 46
ß ß ß p 3
f ß P 3
f ç ß F ß ß ç 3
ƒ
? Œ ˘– ≈ ‰ Œ ‰ ˘– ≈ Œ ˘– ≈ ‰ Ó 6
Tuba
R R 4
ß ß ß bw w w w
>
Ç cresc. poco a poco
? Œ j j j j
Œ Œ Œ Œ Œ ‰ b œ œj ‰ bœ ‰ ‰ ≈œ œ œ ‰ Œ Œ Œ b œæ œ ‰ Œ Œ b ˙æ 46
3
bœ ≈ b œ œ >œ ˙æ
3
> > >

Timp.
ß f p F p F ß> ß F F ß P
>œ r j> >
≈ œ œ œJ ‰ œ œ œ œ œ œ œj ‰ œ œ œ œ œ œ œ ≈ œœœ j 46
3
J ‰ ‰ œ œ œ œ ≈ ‰ ‰ œ œJ Œ ‰ œœœœœœ‰ œœœœœœœœœ œ ‰ ≈ œ œœœœœœœ œ ‰ œœœœœœœ ‰ Œ

3 6 3 6
ã J J
6 6
œœœœœœœ œœœœœœœ
> > > >
Perc. 1
ß f ß p ß F ß f ç P 6 f
F P
3 6 6
j j ‰ j j
Œ œ œ œ œ ≈ ‰ œj œj œj ‰ ∑ Œ œ ‰ ‰ j
œœœ œœœœ œœœ ‰ œœœœœ œ œ ‰ ‰ œ œ œ œ ‰ ˙æ 6
3 3 6 6 3
ã ≈œœ œ 4
3 3 6
j
œ œ œœ œœœœœ œ œ j
œ œ
> > > > > > >
Perc. 2 œ œ
œœ f F ß œ œ >œ f F f P ç P
Vib. & Œ Ó Œ Œ ∑ ∑ ∑ ∑ 46
f ç
3
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ 46
> bœ. >œ

∑ ∑ bœ œ œ œ œ œ œ ‰ Ó Œ ‰ æ R ≈ ‰ ∑ ∑ 6
& 4
F 6 ƒ F ç
> >œ >
Mrb.
? ‰ j j ‰ ‰ œ œJ ‰ j
j ‰ bœ J ‰ Œ Œ ‰ œ œ œ b œj ‰ œ œ œ œ œ œ œJ ‰ Œ Ó ‰ ≈ bœ œ œ ‰ Œ ‰ œ œ œ b wæ 46
3 3
œ b >œ
3
æJ œ æ > > >

Fç p ß ƒ> P ç F ƒ F ç ß Ç
6
>œ œ √>
œ- b œ- -̇ bœ œ œ
& Œ Œ œ- œ Œ Œ
#œ ˙
Ó ∑ ∑ 46
f f ç
ƒ
3 3 3 3
Hp.
ƒ f
? ∑ ∑ ∑ ∑ ∑ ∑ 6
4
# ˘O - # ˙˙- œœ œœ >— b O-w

# ˙˙ œœ O- ˘O —
unis. II arco
I I
& R≈‰ Œ J ‰ Œ J ‰ Œ Œ R ≈ ‰ Œ Ó ‰ J J ‰ Ó 46
div. pizz.
Vln. I
ß ∏ P π 3
π P ∏ 3
P ƒ F ƒ p
˘O div.# ˙˙ - œœ -̇
unis.
œ œ ˘œ œ. œ. . . . . . >
pizz. II —
>
II — b O-
- b w
arco
& # Oœ œ ≈‰ J ‰ Œ J ‰ Œ
col legno
Œ Œ ‰ J Œ Œ Œ J ‰ Ó 46
R ß p
Vln. Ib
p ∏ P π π P ∏ pizz. ß .. . . . ƒ
> ß div. arco b ˙˙- I > ˘. . > b O-w
3
II — œœ — col legno b œ œ œ pizz. II — —

I arco
‰ J Œ Œ Œ Ó ‰ J Œ Œ Œ ‰ J Œ Œ ‰ J Œ Ó 6
&
unis.
4
ß ß
Vln. II
ß ∏ P π ß F p
pizz.> .. . . . > >—
-
3
unis. I — col legno ˘ pizz. II —

II
div. b ˙ œœ . .
& Œ Œ Œ ˙ Œ Ó ‰ J Œ œœœ Œ Œ ‰ J Œ Œ Œ J ‰ Ó b wO 46
arco
Vln. IIb
ß ß ß -
∏ P π ƒ p
>— pizz.> III >
3
div. - unis. I — — —
œ˘œ ≈ ‰ Œ
II
r
I
& ‰ J Œ Œ Œ œœ ˙˙ ‰ J Œ Ó Œ ‰ J Œ Œ ‰ J Œ œ bœ ≈ ‰ Ó 46
arco arco
R B
˙ œ
ß ß â ƒfl
Vla.
ß 3
∏ ß F ßp
>— >— >
arco
≈ bœ œ ˘œ
III
? ‰ J Œ ‰ J œ œ 6
I
Ó ‰ j Œ Ó Œ Ó Ó R ≈ ‰ Ó ∑ 4
Vc.
œ ß
ß > ƒ p ƒ
ß
? Œ r 6
arco
œ- bœ ≈ ‰ Œ ‰
œ
j Œ Ó bw w w w 4
fl >
Cb.
P ç > Ç
ß cresc. poco a poco
85
33
Q ˘
- -
6 -̇ œ b˙ œ- œ ˙. ˙. œ
R≈‰ Œ 5 4
Picc. &4 Œ Œ Œ Œ J Œ ∑ ∑ 4 ∑ 4 ∑
P 3 3
ƒ F Ï
>
with longer jet whistle
Fl. 2 & 46 Œ Œ Œ Œ Œ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
ç
>
6 Œ Œ Œ Œ Œ ∑ ∑ ∑ ∑ 5 ∑ 4 ∑
Fl. 3 &4 4 4
ç
˙. œœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ ˙ w. œ
bisbigliando
Ob. 1 & 46 J ‰ Œ Œ Œ Œ Œ ∑ 45 ∑ 44 ∑
∏ 5 5 3
f 3
π
Ob. 2 & 46 ∑ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
B b Cl. 1 & 46 ∑ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
6 ∑ ∑ ∑ ∑ ∑ 5 ∑ 4 ∑
B b Cl. 2 &4 4 4
? 46 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
fl
B. Cl.
Ï
? 46 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
fl
Bsn. 1
Ï
? 6 r≈ ‰ Œ Œ Œ Œ Œ ∑ ∑ ∑ ∑ 5 ∑ 4 ∑
4 œ 4 4
fl
Bsn. 2
Ï
? 46 r ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
œ
fl
C. Bn.
Ï
6
&4 Œ ‰ ¬ ¬ ¬ ¬ – –. –. –. ˘– ≈ ‰ Œ Œ Œ Œ Œ 5 ∑ 4 ∑
smacking the mouthpiece rapidly
R ∑ ∑ 4 4
æJ æ æ pæ æ
Hn. 1, 2
P f 3
ç
– –. –. –. –. –. ˘– ≈ ‰ Œ
& 46 Œ ¬. ¬ ¬ Œ Œ Œ ∑ ∑ 45 ∑ 44 ∑
æ æ R
pæ æ
Hn. 3, 4
P f 3
ç
6
& 4 >¬ . ‰ ˘– ≈ Œ Œ 5 4
¬. –. ‰ Œ ‰ – ¬. ¬ ¬. ¬. – Œ Œ Œ Œ Œ 4 ∑ 4 ∑
gradually slow down the speed
B b Tpt. 1
æ æp æ æJ æ æ æ @ !
ƒ F p ç p f p ∏
& 46 >¬ . ¬. –. ‰ Œ ‰ ˘– ≈ Œ Œ ‰ – ¬. ¬ ¬. ¬. – Œ Œ Œ Œ Œ 45 ∑ 44 ∑
smacking the mouthpiece rapidly gradually slow down the speed
B b Tpt. 2
æ æ æ æJ æ æ æ @ !
ƒ p F p ç p f p ∏
? 46 Œ Œ Œ Œ Œ ‰ –. –. –. –. –. –. –. –. ˘– ≈ Œ Œ Œ ¬ – ¬. ¬. – Œ Œ Œ Œ Œ 45 ∑ 44 ∑
Tbn. 1
J æ æ æ @ !
F 3
ç p F p ∏
? 46 Œ ˘– –. .– –. –. –. –. –. –. ˘– ≈ Œ
Œ Œ Œ Œ Œ Œ ¬ – ¬. ¬. – Œ Œ Œ Œ Œ 45 ∑ 44 ∑
æ æ æ @ !
Tbn. 2
ß F3 3
ƒ p F p ∏
? 46 Œ ˘– ≈ ‰ –. ≈ ‰ –. –. –. –. ≈ ‰ –. ≈ ‰ ‰ ˘– ≈ Œ Œ
Œ Œ Œ Œ ¬ – ¬. ¬. – Œ Œ Œ Œ Œ 45 ∑ 44 ∑
B. Tbn.
R R R R æ æ æ @ !
ß F 3
ç p F p ∏
Tuba
? 46 r≈ ‰ Œ Œ Œ Œ Œ ‰ ˘– ≈ Œ –. –. –. ˘– ≈ Œ Œ Œ Œ Œ Œ j‰ Œ Œ 45 ∑ 44 ∑
œ
fl ß f ç -̇ w ˙ ˙. œ
ƒ π f π
? 46 b œr ≈ ‰ Œ Œ Œ Œ Œ ∑
I: A, IV: E
∑ ∑ ∑ 45 ∑ 44 ∑
ƒ>
Timp.
>œ œ œ
ã 46 ‰ w. ˙. ˙. 45 œJ ‰ Œ Ó 44 Ó
Œ Œ Œ Œ Œ Œ ‰ œ œ œ œ œ œ œ≈Œ
3 3
Œ Œ Œ Œ Œ Œ œ Œ Œ œ
Perc. 1
> æ æ æ æ æ
f3 p ß p f p π π
j ˘
6 j j ˙æ. œæ ‰ Œ
œ ˙ œ œ . œ 45 œ œ ≈ ‰ Ó 4
ã 4 œ ‰ Œ Œ Œ œ ‰ Œ æ æ æJ ‰ Œ Œ Œ Œ Œ Œ Œ ˙ w Œ 4 ∑
ƒ> > æ æ æ æJ æ R
Perc. 2
ß p f p π P π π ç
Vib. & 46 ∑ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
ã 46 ‰ æœJ æ˙ 45 Œ ‰ œ œ œ œ Œ Œ 44 Œ Œ ‰ œj
∑ ∑ ∑ Œ œ
æJ ‰ Œ ∑ Œ
>
Perc. 3
π P π f3 p ç
6 ∑ ∑ ∑ ∑ ∑ 5 ∑ 4 ∑
&4 4 4
Mrb.
? 46 wæ . j
˙æ bœ ‰ Œ Œ Œ ∑ ∑ ∑ 45 ∑ 44 ∑
>
Ï
& 46 ∑ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
Hp.
? 46 ∑ ∑ ∑ ∑ ∑ 45 ∑ 44 ∑
Q
b >Ȯ .. y. y — — — ˘— Ȯ-
non-pitched airy noise
Ȯ .. Ȯ .. Oœ
I
& 46 æ æJ ‰ Œ Œ
æ æ æ æ æ Œ Œ Œ Œ Œ 45 Ó Œ Œ 44 J ‰
IV
æ æ æ
∏ f P
Vln. I
ƒ π ∏ p ∏ y
√
p
˘O ±
II
y. y — — — œœœ œœœ œ˘œœ
œ
& 46 R ≈ ‰ 45 44 Œ ‰ J
sharply
Œ Œ Œ Œ Œ Œ Œ Œ Œ æ æ æ æ æ æ Œ Œ Œ Œ Œ ∑ R≈‰
div.
p
Vln. Ib
ç ∏ p ∏ ç
˘O √œ
±. ± y — — — div. œœ œœœ œœœ
III
œ
& 46 R ≈ ‰ Œ Œ Œ Œ Œ ∑ Œ æ æ æ æ æ æ Œ Œ Œ Œ Œ 45 ∑ 44 Œ ‰ J R≈‰
p ç
Vln. II
ç ∏ p ∏
√ div. # œ
r #· · · · · · #· #· · · · · · · · · · · · · · · #· #· · # œ œœœœ œœœœ œœ˘œœ ≈
& 46 œO ≈ ‰ Œ Œ Œ #· 45 44 Œ ‰ ≈ # # œœ
Œ Œ Œ Œ Œ ∑ ‰ Œ Œ Œ Œ ∑
Vln. IIb
fl æ æ æ æ æææ æ æ æ ææ æ æææææææ æ æ æ æ æ πæ R
ç P p ç
>— π œ œ œ ˘œ ≈
pizz. 3 3 3 3 3
B 46 Œ J æææ
45 44 Œ
3
Œ Œ Œ ‰ Œ ∑ Œ Œ Œ Œ ·æ · ·æ · ·æ · · · · · · · · · ·æ · ·æ Œ Œ Œ Œ ∑ ‰ ≈ R
II harmonic gliss. on III
3 3
arco
&
æ æ æ æ æææ æ æ
Vla.
ß π π p ç
P 3
>— arco # ·
······· #O O O O O O O O O O O O #O
pizz. harmonic gliss. on I
? 46 Œ Œ Œ Œ J ‰ Œ ∑ Œ Œ Œ ‰ææææææææ æ æææ æ æ æ æ æ æ æ æ æ Œ Œ Œ Œ 45 ∑ 44 ∑
III
Vc.
ß π3 3 3 3
P 3 3
π
? 46 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ Œ Œ Œ Œ j‰ Œ Œ 45 ∑ 44 ∑
fl -̇ w ˙ ˙. œ
Cb.
Ï π f π
86
34
R Song Melts into the Forest; Broadly
w> w w
& ∑ ∑
ƒ
Picc.
Í
œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Fl. 2 & ∑ ∑ ∑ Œ ‰ J
p 3 5
F 5 3
-̇ œ œ œ œ œ œ œ œ œ œ œ
like waves
œ œ œ
Fl. 3 & ∑ ∑ ∑ Œ Œ
p 3
F 5
-̇ . w w
like waves
Ob. 1 & ∑ ∑ Œ
p F
-̇ œ -̇
Ob. 2 & ∑ ∑ ∑ ∑
p 3
∑ ∑ Œ Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J ‰
B b Cl. 1 & J
p 5
like waves
6
f 3
p
œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B b Cl. 2 & ∑ ∑ ∑ Œ
p 3 5
F 5 3
? j
like waves
B. Cl. ∑ ∑ ∑ Œ ‰ œ ˙ w
p
? > j
w w w œ. œ ˙ w
â
Bsn. 1
ƒ p F p
? > j
w w w œ. œ ˙ w
â
Bsn. 2
ƒ p F p
? > j
w w w œ. œ ˙ w
ƒ â
C. Bn.
p F p
j Œ Œ ‰ -j -j - -̇ ˘
r
#œ œ
3
& Ó Œ ‰ œ œ ˙. œ ˙œ œ j œ œ˙ œ. ‰ œœ ≈ ‰ Œ Ó
#œ
œ
> œ œ œ œ. R
P-̇
Hn. 1, 2
f > ß
Œ Œ ‰ -j -j j ‰
j #œ œ ˙. œ r
3
& Ó Œ ‰ œ œ œ œ˙ œ œ œ œ ≈ ‰ Œ Ó
3
˙. œ œ #˙
> œ #œ œ œ œ. ‰ - fl
Hn. 3, 4
f > P ß
˙ œ œ ˙ œ œ
j
˙
B b Tpt. 1 & ∑ ∑ ∑ Œ
p f 3
p
& ∑ ∑ Œ Œ ‰ œ œ ˙ j ‰ Œ
3 3
B b Tpt. 2
œ œ œ œ- ˙ œ
p F p
-̇
? .
˘œ -̇
R≈‰ Œ Œ w ˙. Œ ∑
P
Tbn. 1
ç p F p
? -̇ . ˘œ
œ. œ ˙ ˙ ˙ œ ˙.
R≈‰ J Œ ∑
P
Tbn. 2
ç P F p 3
F p
? -̇ . ˘œ j
≈‰ ∑ ∑ œ. œ ˙ w
B. Tbn.
R â
P ç F p
Tuba
? j
w w w œ. œ ˙ w
ƒ p â
F p
? r œ œ
œ œæ. ˙æ œ≈‰ ∑ ∑ ∑ Œ Œ ‰
æJ æ
>ƒ P >
Timp.
ç p
œ >œ
j j
ã R ≈ ‰ Œ Ó J ‰ Œ Œ œæ ˙æ œæ ‰ Œ ∑ ∑
œ
Perc. 1
ß ß p P
ã ≈œœœ Œ Ó j
œ ‰ Œ Ó ∑ ∑ ∑
3
> >
Perc. 2
ƒ ß œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J
with soft mallet
Vib. & ∑ ∑ Œ Œ Œ Ó
P 6 6
f
5 3 3
p
∑ ∑ Œ j ‰ Œ Ó ∑
ã ˙æ. œ
>
Perc. 3
p f
& ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
Hp.
? ∑ ∑ ∑ ∑ ∑
R Song Melts into the Forest; Broadly √

˘O #œ ˙. œ w
œ
& R ≈ ‰ Œ #O O O O O O #O O O O O O O O O O O O #O O O O O O ‰ ‰ æJ æ æ æ
Vln. I
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æJ
ç f 3 p p f
p 3 3 3 3 3 3
√ ˘
# ˙- ˙ œ #œ œ œ ˙ œ nœ ≈
& ∑ ∑ Œ Œ Œ
unis.
˙
>
Vln. Ib
p f P ç ßp
-̇ œ-
3 3
œ œ ˘ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
unis.
∑ ‰ J œ œ œ œ œ œ œ œ #œ ‰ ‰ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
5
&
3
œ
- œ œ
p
Vln. II
>œ f ß p F 3
˘œ
3 3 3
‰ n œ ˙ œ œ œ bœ œ bœ œ œ œ œ œ
like waves
œ œ
& ∑ Œ ‰ œj ˙ œ ≈ R ≈ ‰ æ æ æ æ æ æ æ æ æ æ æ æ
unis.
œ
fl
Vln. IIb
P ç f p ß p F 3
>œ
3
œ ˙. ˘
œ ≈ ‰ œ œ w w
like waves
Vla. & ∑ B ‰ R œ œ &

ƒ P ç F f
f
? j
w w w œ. œ ˙ w
> â
Vc.
ƒ p F p
? j
w w w œ. œ ˙ w
> â
Cb.
ƒ p F p
87
35
203 -̇ . >œ w œ
˙.
& Œ Œ Ó ∑ ∑
p ƒ
Picc.
p
˙ ˙ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙ œ œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
Fl. 2 & J ‰ Œ Œ ‰ J J
π p 3
ƒ 3
P 3 5
f 7
π p 3 3 5 7
œ ˙. œ. œ œ >˙ . œ ˙ œ œ œ œ œœœœœœœœœœœœ
˙ œ œ œ œ #œ œ ˙
Fl. 3 & J ‰ ‰ J Œ
p p ƒ π p 3 5 7
˙ œ- œ œ- œ #œ œ œ œ œ #œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ.
& J J ‰ Œ ‰ œ ˙ œœ œ œ œœœœœœ œœœœœœœœœœœ œ œ œ
Ob. 1
J
3
p f 3
p 3 like waves
5 7
f 7 3
p p f
# œ- ˙. œ. bœ œ œ œ œ œ œ œ œ œ œ œ œ
6 6 3
œ- . œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ b œ œ œ œ œ œ œ œ œ œ bœ œ œ.
œ J ‰ ‰ J J ‰ Œ J
&
ƒ p
Ob. 2
f 3 7
f 7 3
p p 5
f 7
˙ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ nœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ
like waves
B b Cl. 1 & Œ Œ J ‰ Œ ∑
p 3
f 6 6 3
p 7
f 7 3
p
œ œ œœ œ œœœœœœœœœœœœ œ œ œ œ œ œ œ #œ œ œ
Œ Œ ‰ Jœ œ œ
like waves
Œ Œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 5 7 7 5 3
B b Cl. 2 & œ œ
π 3 6
f 6 3
p p f
?
œ #œ nœ œ œ œ #œ œ nœ œ ˙
6 like waves
B. Cl. w w ˙ ˙ ˙ ˙ ˙. œ
ƒ p F π
?
œ œ #œ œ œ #œ œ nœ œ bœ œ #œ œ nœ #œ nœ œ œ
6 6
w w ˙ ˙ ˙ ˙.
5
Bsn. 1
#˙ œ
ƒ p F π
?
œ œ #œ œ œ #œ nœ œ œ #œ nœ œ œ #œ nœ #œ œ nœ ˙ ˙. œ
5 6 6
Bsn. 2
w w ˙ ˙ ˙
ƒ p F π
?
w w w ˙ ˙ ˙ ˙ ˙. œ
C. Bn.
f p F π
j j
& Œ Œ ‰ œ #œ œ œœ œ . œœ œ œ ‰ Œ Œ
3
œ˙ œ œ œ œ . ˙œ œ œ œ ˙œ ˙˙ œœ
3
Hn. 1, 2
œ œ J ˙. w
J p F π F
p F p π
j
3
& Œ Œ Œ j ‰ Œ Œ
œœ œ œ œ œ œ ˙˙ œœ
3
œ œ wœ œ œ œ
3
˙.
3
Hn. 3, 4
œ œw w
p F J π F
p F p π
œ Œ Ó ∑ ∑ Œ Œ Œ ‰ # œJ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B b Tpt. 1 &
π p 3 6 f 6 3
& ∑ ∑ ∑ Œ Œ Œ ‰ œ œ œ œ œœ ˙ ˙ œ œ œ œ
B b Tpt. 2
J
ä ˙. w œ p f
œ ˙ œ. #œ œ œ ˙.
3
?‰ J œ ˙ œ ˙ œœ œ œ œ
Tbn. 1 Œ J B
f p F p p f P f
äœ
3
˙. w œ
3
?‰ J w ˙ œ ˙ œ œ #œ œ œ œ œ
Tbn. 2 Œ Ó
f p F p p 3
F p f 3
?
B. Tbn. w w w ˙ ˙ ˙ #˙ ˙. #œ
f f π
?
Tuba
w w ˙ ˙. œ
w ˙ ˙ ˙
f f π
Timp.
? >œ Œ Ó ∑ ∑ ∑ ∑ ∑
f
with soft mallet
œ ˙ ˙ œ
Perc. 1 ã ∑ ∑ ∑ ∑ Œ ‰ æJ æ æ æJ ‰ Œ
π F π
˙.
with soft mallet
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ Œ æ
π
#œ ˙. œ.
Vib. & ∑ ∑ ‰ æJ æ æ ‰ Œ Œ ∑ ∑
p f p
∑ ∑ ∑ Œ Œ j
ã ˙æ ˙æ œ ‰ Œ ∑
ƒ>
Perc. 3
p
& ∑ ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑
Hp.
? ∑ ∑ ∑ ∑ ∑ ∑
(√) œ w ˙ œ √
œ œ œ œ #œ œ œ œ ˙ œ- œœ
div. b œ
˘œ
œ
Vln. I & æJ ‰ ‰ J J ‰ Œ Œ Œ ‰ J R ≈ ‰ Œ Ó
p p f ƒ p p ƒ
. œ. >œ √
œ #œ œ œ œ ˙ ˙ ˙ œ - œ ˘œ
j
œ œ
div. œ
J J ‰ œJ œ œ ≈ ‰
portamento
Vln. Ib & ˙ ‰ Œ Œ Œ R Œ Ó
f ƒ p p ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ - œ˘œ
œ œ œ #œ œ œ œ œ #˙ œ œ œ œ œ œœ ˙ œ œ #œ œ œ œ ˙ œ # œœ œœ
div.
& æJ ‰ Œ Ó Œ J R ≈ ‰ Œ Ó
f p
Vln. II
p p 3
f 3
p 3
ƒ
œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œœœœœ œœ œ œ
Vln. IIb & æJ ‰ Œ Ó Œ ‰ J J ‰ ∑
p p f p F p
œ- œ ˘œ
3 5 6 6 3
w œ œ œœ œ œ œ œ œ œ œ œ œ ˙ Œ w ˙ ‰ J R ≈ ‰ Œ Ó
Vla. & æ ææ æ æ æ æ æ æ æ æ æ æ æ æ
p 3 3
f 3 p p F p p ƒ
?
Vc. w w w ˙ ˙ ˙ ˙ ˙. œ
f p
?
w w w ˙ ˙ ˙ ˙ ˙. œ
Cb.
f p
88
36
S
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ- œ œ
b œ-
209
#œ œ w ˘œ ˙ œ œ œ bœ œ
R ≈ ‰ Œ 3 4
& Œ Œ ‰ J Œ 4 4
p
Picc.
Ÿ~~~~~~~~ œ œ œ œ Ï p 3
ƒ F 3
#˙ œ œ œ œ #œ œ œ >œ >
#œ nœ œ bœ œ œ #œ #œ nœ . œ #œ œ œ nœ #œ œ bœ
J ‰Ó œ bœ ≈ œ œ #œ œ bœ bœ nœ œ bœ œ œ œ œ
œ # œ œ œ b œ n œ b œ.
Fl. 2 & R ‰ Œ 43 b œ b œ n œ 44 J
‰ Œ
f 5 3
p ƒ 5 6
P F
6
ƒ 6 6
p
Ÿ~~~~~~~~ œ œ œ
6 6
˙ œ œ œ œ œ > >œ # œ
bœ nœ bœ œ bœ œ #œ œ œ bœ œ bœ œ œ bœ œ œ œ #œ r
J ‰Ó œ # œ. ≈ ‰ Œ 3 4
Fl. 3 & R 4 Œ Œ 4 œ bœ œ b œ. ≈ ‰ Œ
f p ƒ 5 P ƒ 5 p
Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6 5
œ œ b œ œ œ w b ˘œ œ œ ˙.
& œ ‰J R ≈ ‰ Œ ‰ bœ
J
œ 34 ˙ 44 Œ
πi p
Ob. 1
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ Ï p ƒ π
>œ
3 3
˙. œ œ œ œ œ bœ œ bœ œ œ œ œ #œ œ œ
J ‰Ó œ œ b œ. ≈ œ œ
& R ‰ œ 43 ˙ 44
3
Ob. 2
p ƒ 5
P P ƒ ˘ F 3
˘œ ≈ œ œ bœ nœ bœ nœ #œ ≈ œ bœ œ œ bœ œ #œ œ
∑ Œ Œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ Œ Œ b œ n œ 43 b œ n œ # œ œ # œ œ 44 œ r ≈ ‰ Œ
6
B b Cl. 1 & œœ œ œ
œ b œ ƒ˘
F3 ƒ F 6
6
π
ƒ œ œ œ # œ œ b œ œR ≈ ‰
6
& œ Œ Ó Œ Œ ‰ œ. œ. œ. œ. œ. b œ. œ. œ. œ. # ˘œ ≈ ‰ Œ Ó 3
4 œ bœ nœ #œ
4 ∑
3 6
B b Cl. 2
R 4
π F ƒ F 6
ƒ
? Œ Œ 43 ˙ . 44 j ‰ Œ
œ œ œ b œ œ œ # œ œb œ œ œ ˙
6
˙. bœ œ œ ˙ œ
â
B. Cl.
ƒ P ƒ p p f p
? j
œ œ œ œ #œ œ œ nœ œ œ bœ œ ˙ Œ Œ 43 b ˙ . 44 ‰ Œ
7
˙. bœ œ œ ˙ œ
â
Bsn. 1
ƒ P ƒ p p f p
? Œ Œ 3 4 j ‰ Œ
œ œ œ b œ œ œ # œ œb œ œ œ ˙
6
˙. bœ œ œ 4 ˙. 4 ˙ œ
â
Bsn. 2
ƒ P ƒ p p f p
? bœ œ œ Œ Œ 43 ˙ . 44 j ‰ Œ
w œ œ ˙ ˙ œ
â
C. Bn.
ƒ P ƒ p p f p
˘ ˘
‰ œ.œ œ.œ œ.œ œœ. œœ. œœ. œœ. œœ. œœ. # œœ ≈ œœ b b œœ # n œœ n œœ n # œœ b œœ ≈ ‰ 43 44
6
& œ Œ Ó Œ Œ ≈ ‰ Œ ∑ Œ ‰ œœ b b œœ n œœ œœ # œœ n b œœ œ ≈ Œ
3 3 6
Hn. 1, 2
R R œ # œœ
p F 6
ƒ P f p f
r r
& œ Œ Ó Œ Œ ‰ œœ œœ œœ œœ œœ b œ. œ œ.œ œ.œ œ.œ n œœ ≈ ‰ Œ ≈ œ œ #œ nœ #œ œ ≈ ‰ 43 ∑ 44 Œ ‰ ≈Œ
3 6
6
œ bœ œ œ #œ œ
3 6
. . . . . fl œ
ffl œ
Hn. 3, 4
p F ƒ P p
˘ ˘ f
& œ Œ Ó Œ Œ ‰ œ. œ. œ. œ. œ. b œ. œ. œ. œ. n œ ≈ ‰ Œ ‰ bœ œ 43 ˙ œ ‰ Œ 44 Œ ‰ ≈Œ
6
œ bœ œ œ œ bœ œ
3 3 6
B b Tpt. 1
R J J #œ
p F f p f p f
˘
3
r œ ≈ ‰
& œ Œ Ó Œ Œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ ≈ ‰ Œ ≈ œ bœ nœ œ # œ 43 ∑ 44 ∑
3 6
B b Tpt. 2 R
p F ffl p f
˘œ œ.
6
B w œ
R≈‰ Ó ? Œ 3 j ‰ Œ 4 Œ Œ ‰
b˙. 4 œ œ 4
p
Tbn. 1
p ç f p P
˘œ œ.
? w œ
R≈‰ Ó Œ 43 œ j ‰ Œ 44 Œ Œ ‰
b˙. œ
p
Tbn. 2
p ç f p P
? r
w œ œ bœ ˙ œ ≈ ‰ Œ Ó 43 ∑ 44 Œ ˙.
fl
B. Tbn.
ƒ P ç p
? j 43 44 j ‰ Œ
w œ œ ˙ bœ.
â
Tuba
ƒ P ƒ bœ ˙ ˙. ˙ œ
p f p
? j ‰ >œ
∑ Œ Œ Ó 43 Œ Œ ‰ 44 ∑
j
˙æ. œ œ
J
>
Timp.
P ƒ ƒ
˘œ 3 j 4
with hard mallets
∑ Œ Œ ‰œ œ œ œ œ œ œ œ œ R ≈ ‰ Œ Ó 4 Œ ‰ Œ ∑
3
Perc. 1 ã œ- 4
F 6 ƒ P
j r
with hard mallets
43 44
˙ œ ‰ Œ ∑ Œ ‰
ã æ æJ œæ œæ œ ≈ ‰ ∑ ∑
>
Perc. 2
f π p ß b œœ
œœ # œœ œœ b n œœ # œœ n œœ œœ
∑ ∑ ∑ 3 4
Vib. & 4 Œ Œ 4 Œ
ƒ p
>œ
with soft mallet
43 44
w
ã ∑ æ R ≈ ‰ Œ Ó ∑ ∑
p
Perc. 3
ß
& ∑ ∑ ∑ 43 ∑ 44 ∑
Mrb.
? ∑ ∑ ∑ 3 ∑ 4 ∑
4 > 4
[D # -Db, F # , Ab-A n, Bb]
# ˙˙
∑ ∑ ∑ 3 4
& 4 Œ 4 ∑
Hp.
ƒ
? ∑ ∑ ∑ 3 Œ Œ 4 ∑
4 b œœ 4
F
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
S √
#œ œ ˙ #˙ ˘œ # ˘O
#O.
harmonic gliss. on II ˙ w
J æ R R 3 4
& Œ Œ ‰ ≈ ‰ ≈ Œ 4 Œ
unis.
æ 4
p
Vln. I
Ï F ç P ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˘œ ˘O √
#œ œ ˙ #˙ sharply
œ œ ˙ œ œ bœ œ
O.
& Œ Œ ‰ J æ R ≈ ‰ R ≈ Œ 3
4 Œ ‰ 4
unis.
æ 4
p
Vln. Ib
Ï F ç P ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˘œ
3 3
œ œ ˙ ˙ sharply
# >O O O O O O O O O O O Œ
& Œ Œ ‰ J æ R ≈ ‰ Œ Œ 43 æ #æO æ æO O 44 # O Ó
unis.
p Ï æ æ æ æ æ æ æ æ æ æ æ
Vln. II
Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b ˘œ Ç 3 F 3 p
œ œ ˙ ˙
3 3 3
& Œ Œ ‰ J æ R ≈ ‰ Œ Œ # Oæ Oæ Oæ
3
4 Oæ # Oæ Oæ Oæ Oæ Oæ Oæ Oæ Oæ 4 æ Oæ Oæ Œ Ó
3 3 3 3 3
4 #O
p Ï >
Vln. IIb
ßp F p
˘O b ˙-
3 4 j
Vla. & ∑ ∑ Œ # Oæ. R ≈ Œ 4 ∑ 4 ‰ œ- œ

F sharply
ç P f
j >œ
arco
? 43 44
pizz.
w œ œ# œ œ b >œ ˙ bœ. œ Œ ‰ ∑ Œ ˙æ.

3
Vc.
J
ƒ P ƒ p ƒ P
? j >œ
43 44 ˙.
pizz. arco
œ ˙ bœ. œ Œ J ‰ ∑ Œ
w œ > æ
Cb.
ƒ P ƒ p ƒ P
89
T q = 60 Viewing Sounds, 37
Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
molto rit.
˘œ
Ÿi ~~~~~~~~~~~~~~~~~~~~~~~ w ˙.
214
˘œ Expanding Inwardly
˙ ‰ œ bœ
œ bœ œ œ œ œ œ œ œ bœ ˙
R ≈ ‰ 7 6
Picc. & 4 4 R ≈‰ Œ Œ Œ Œ Œ ∑ ∑
ƒ p Ï
Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3 6
œ œ œ #œ ≈ ˘œ
œ œ #œ nœ œ bœ bœ nœ #œ œ œ w ˙.
Fl. 2 & Œ Œ ‰ Œ Œ 47 46 R ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
F 6 6
ƒ P Ï
ŸI~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3
#œ œ bœ œ œ ≈ ˘œ
œ #œ œ bœ œ œ œ #œ œ œ
7
w ˙.
6
Fl. 3 & Œ Œ ‰ Œ Œ 4 4 R ≈‰ Œ Œ Œ Œ Œ ∑ ∑
F 3 6 6
ƒ P Ï
œ #œ œ ≈ Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˘œ
œ bœ œ nœ #œ œ œ ≈ œ bœ œ œ œ œ œ œ œ œ 7 w ˙.
Ob. 1 & Œ Œ ‰ Œ 4 46 R ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
F ƒ P Ï
iŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
5 7
˙ œ ‰ œ bœ œ bœ œ œ œ œ œ œ œ bœ ˙ w ˙. ˘œ
Ob. 2 & R ≈ ‰ 47 46 R ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
ƒ p3 6
Ï
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˘
≈ b œ. œ. œ. œ. œ. œ. œ. œ. œ ≈ ‰ œ #œ œ #œ œ œ œ œ œ œ #œ œ ˙ ˙.
& Œ 47 w 46 Rœ ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
3
B b Cl. 1
fl
F 66 ƒ p Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ï˘
3 6
œ œ œ œ œ œ œ œ œ œ #œ œ n˙ 7 w ˙. 6
& Œ ≈ b œ. œ. œ. œ. œ. # œ. œ. œ. œ ≈ ‰ 4 4 Rœ ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
3
B b Cl. 2
F fl
ƒ p Ï
3 6
? 74 46 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
B. Cl. w- ˙ ˙ w ˙.
P f P Ïfl
? w ˙ 74 46 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
Bsn. 1
- ˙ w ˙.
P f P Ïfl
? 7 6
Bsn. 2 w- ˙ ˙ 4 w ˙. 4 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
P f P Ïfl
? 74 46 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
C. Bn.
w- ˙ ˙ w ˙.
P f P Ïfl
& Œ ≈ b b œ. œ œ.œ œ.œ œ.œ œ.œ # n œœ œœ œœ œœ ≈ Œ Œ Œ 74 6 b œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑

6
œœ # œœ # œœ n œœ # œœ 4 flœ
3 5
Hn. 1, 2
. . . fl ˙˙ ww ˙˙
F ƒ p Ï
j 7 6 r≈‰ Œ
& Œ ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ ≈ Œ Œ Œ œ- . 4 œ j
œ œ œ # œ n œ 4 # flœ
Œ Œ Œ Œ ∑ ∑
6 3 5
Hn. 3, 4
b œ- œ- œ # œ- . n ˙-
F fl p Ï
ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r
& Œ ≈ œ. œ. œ. œ. œ. # œ. œ. œ. œ ≈ Œ Œ Œ ‰ œ œ œ œ œ œ 47 œ œ œ œ œ œ œ œ œ œ œ b œ ˙ ˙. 46 œ ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
6 3
B b Tpt. 1
F fl fl
ƒ p33 6 6
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ƒ
7 œ bœ œ œ œ œ œ œ œ œ œ 6 r
& Œ Œ Œ Œ ‰ œ bœ œ œ œ œ 4 œ ≈‰ Œ Œ Œ Œ Œ ∑ ∑
6 6
≈ œ. œ. œ. œ. œ. œ. œ. œ. œ ≈ 4 #œ ˙ ˙.
6 3
B b Tpt. 2
˘ F fl
ƒ p ƒfl
œ œ- . # œ- - - - ˘
? R ≈‰ Œ Ó Œ Œ J 7 œ nœ œ
J œ. b˙. 6 œ
4 4 R ≈‰ Œ Œ Œ Œ Œ ∑ ∑
ƒ˘
Tbn. 1
p ƒ
œ # œ- . n œ- œ œ- œ b œ- . b ˙- . ˘œ
Tbn. 2
? R ≈‰ Œ Ó Œ Œ J 74 J 46 R ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
ƒ p ƒ
? r
B. Tbn. w ˙ ˙ 47 w ˙. 46 œ ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
f P ƒ
? 7 6 r≈‰ Œ Œ Œ Œ Œ ∑ ∑
Tuba
w ˙ ˙ 4 4
f P w ˙. œ
ƒ
? ∑ ∑ 7 æ 6 bœ ≈ ‰ Œ Œ Œ Œ ∑ ∑
4 w ˙æ. 4 œ R
ƒ>
Timp.
P
Œ Œ Œ œ œ ‰ Œ 74 Œ ‰ œ ˙ œ
46
æJ ‰ Ó ∑ ∑ ∑
6
ã ≈ œ œ œ œ œ æ æJ æJ æ
3
Perc. 1 œ œ œ œ ≈
p f p F p f
˙. >œ
47 æ 46 R ≈ ‰ Œ
œ œ œ œ œ
Perc. 2 ã Œ Œ Œ æ æJ ‰ Œ Œ æ æJ ‰ Œ Œ æ Œ Œ Œ Œ ∑ ∑
p F p F P ƒ
Vib. & ∑ ∑ 47 ∑ 46 ∑ ∑ ∑
∑ Œ Œ 7 æ 6 r
ã ˙æ 4 w ˙æ. 4 œ ≈‰ Œ Œ Œ Œ Œ ∑ ∑
ƒ>
Perc. 3
p
& ∑ ∑ 74 ∑ 46 ∑ ∑ ∑
Mrb.
? ∑ ∑ 47 ∑ 46 ∑ ∑ ∑
b œ>œ
∑ Œ Ó 7 ∑ 6 ∑ ∑ ∑
& 4 4
Hp. ƒ
? ∑ Œ 74 ∑ 46 ∑ ∑ ∑
# ˙˙ ..
P Viewing Sounds,
b ˘œ
(√)
T q = 60 Expanding Inwardly
˙ œ œ- œ œ.
molto rit.
˘O √
I O O div. w . ww . ww .
J J w. . .
Vln. I & ‰ ‰ R ≈ Œ 47 æ æ R ≈ ‰ 46
p P ƒ P Ï ƒ f Ï
(√) ˘œ √
˙ œ I O O ˘O div. w . ww .. ww ..
J œ- œ œ. 74 æ w.
Vln. Ib & ‰ ‰ J R ≈ Œ æ R ≈ ‰ 46
p P ƒ P Ï ƒ f Ï
˘œ ˘O √
O j 74 Oæ O ww .. ww .. ww ..
46
R ≈ ‰ Œ ‰ R ≈ Œ R ≈ ‰
div.
& # Oæ œ. æ
I
# œ- œ
fl
Vln. II
f ç P ƒ P Ï ƒ f Ï
harmonic gliss.Oon II ˘O w. w. w.
& # Oæ R ≈ ‰ Œ ‰
˘
bœ ≈ Œ 74 Oæ O
æ R ≈ ‰ 46
I
j R
fl œ- œ œ.
Vln. IIb
f ç ƒ P Ï ƒ
˘œ P i ~~~~~~~ ˘ √
˘œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ w. ww .. ww ..
& R ≈‰ Œ Œ B‰ j 74 # w n˙ œ
46 w .
R ≈ Œ ≈ ‰
div.
Vla.
œ- œ œ. R &
ƒ P P Ï ƒ
ƒ
? æ 74 46 œr ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
Vc. w ˙ ˙æ wæ ˙æ œæ
f P fl
Ï
? w ˙ ˙ 74 w ˙ œ 64 ˘œ ≈ ‰ Œ Œ Œ Œ Œ ∑ ∑
Cb.
æ æ æ æ æ R
f P Ï
90
38
220 œ- w œ œ œ
# œ- œ œ œ
Picc. & ∑ Œ Œ Œ Œ ‰ J J ‰ Œ Œ Œ Œ ‰ J J ‰ Œ Œ Œ Œ ∑
p f π p F π
-
#œ œ œ
softly, as if echoes from distance
œ œ- ˙ . œ w- œ œ œ
Fl. 2 & ∑ Œ Œ Œ Œ ‰ J J ‰ ‰ J ‰ J ‰ Œ Œ Œ Œ ∑
p f π ƒ π 3
π F π
# œ- œ # œ- ˙ . n w-
œ œ œ œ œ œ
& ∑ Œ Œ Œ Œ ‰ J J ‰ ‰ J ‰ J ‰ Œ Œ Œ Œ ∑
p
Fl. 3
f π ƒ π
3
π F π
# œ- ˙ œ. ≈
Ob. 1 & ∑ ∑ Œ ‰ Œ ∑ ∑ ∑
3
π F π
# œ- ˙ œ. ≈ # w- œ œ œ
& ∑ ∑ Œ ‰ Œ Œ J ‰ Œ Œ Œ Œ ∑
F π π F π
Ob. 2
π softly,
œ. # w-
3
œ ˙ ≈ œ œ œ
as if echoes from distance
B b Cl. 1 & ∑ ∑ Œ ‰ Œ Œ J ‰ Œ Œ Œ Œ ∑
3
π F π π F π
bœ ˙
œ. ≈ # w- œ œ œ
B b Cl. 2 & ∑ ∑ Œ ‰ Œ Œ J ‰ Œ Œ Œ Œ ∑
3
π F π π F π
? ‰ œJ- œ ˙. œ ‰ Œ
B. Cl. ∑ ∑ ∑ ∑ Œ Œ Œ Œ J Œ
-̇ . π Pœ . ∏
˙
Bsn. 1
? ∑ ∑ ∑ ∑ Œ ‰ Œ Œ Œ Œ
∏ F ∏
? ∑ ∑ ∑ ∑ Œ Œ Œ Œ ‰ œ œ ˙. œ ‰ Œ Œ
Bsn. 2
J J
π P ∏
? ∑ ∑ ∑ ∑ Œ Œ Œ Œ ‰
j
œ- œ w.
C. Bn.
π
& ∑ ∑ ∑ ∑ Œ ˙ .. ˙˙ œœ .. ‰ Œ Œ Œ Œ
Hn. 1, 2
-̇
∏ F ∏
∑ ∑ ∑ ∑ Œ ‰ Œ Œ Œ Œ
& ˙ .. ˙˙ œœ ..
-̇
Hn. 3, 4
∏ F ∏
-
B b Tpt. 1 & ∑ ∑ ∑ ∑ ‰ #œ ˙. ˙ œ. ‰ Œ Œ Œ Œ
∏
3
P ∏
∑ ∑ ∑ ∑ ‰ # œ- ˙ . ˙ œ. ‰ Œ Œ Œ Œ
B b Tpt. 2 &
∏ P ∏
# œ- œ
3
? ˙. œ
∑ ∑ ∑ ∑ B Œ Œ Œ Œ ‰ J J ‰ Œ Œ
Tbn. 1
π P ∏
? ∑ ∑ ∑ ∑ Œ Œ Œ Œ ‰ œ- œ ˙. œ ‰ Œ Œ
Tbn. 2
J J
π P ∏
? ∑ ∑ ∑ ∑ Œ Œ Œ Œ ‰ œ œ ˙. œ ‰ Œ Œ
B. Tbn.
J J
π P ∏
? ∑ ∑ ∑ ∑ Œ Œ Œ Œ ‰ j
Tuba
œ- œ w.
π
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1 ã ∑ ∑ wæ . wæ . wæ . wæ .
π
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑
˙. œ ˙ ˙. ˙. œ
∑ ∑ Œ Œ Œ æ æ æ æ æ æJ ‰ Œ Œ ∑
with soft mallet
Vib. &
P f p ƒ p
Perc. 3 ã ∑ ∑ ∑ ∑ wæ . wæ .
p
& ∑ ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑
Hp.
? ∑ ∑ ∑ ∑ ∑ ∑
(√)
˙. ˙. w ˙ w. w. w. w.
˙. ˙. w ˙ w. w. w. w.
Vln. I &
F P f p
(√)
˙˙ .. ˙˙ .. ww ˙˙ ww .. ww .. ww .. ww ..
Vln. Ib &
F P f p
(√)
˙˙ .. ˙˙ .. ww ˙˙ ww .. ww .. ww .. ww ..
Vln. II &
F P f p
˙. ˙. w ˙ w. w. w. w.
Vln. IIb &
F P f p
(√)˙ . ˙˙ .. ww ˙˙ ww .. ww .. œœ œœœ. ‰
& ˙. Œ Œ Œ Œ
con sord.
B
Vla.
# œœœ œœœ J
F P f π F p
π
.
?
div.
b # œœœ
∑ ∑ ∑ ∑ Œ Œ Œ Œ Œ œœœ œœœ J ‰
con sord.
Vc.
π F p
? ∑ ∑ ∑ ∑ Œ Œ Œ Œ ‰ j
Cb.
œ- œ w.
π
91
39
226
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ‰ bœ ˙ ˙. ˙. œ ‰ Œ Œ ∑ ∑
Fl. 2
J J
∏ F ∏
Fl. 3 & ∑ ∑ ∑ ‰ œj ˙ ˙. ˙.
j
œ ‰ Œ Œ ∑ ∑
∏ F ∏
Ob. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Cl. 1 & ∑ ∑ ∑ ‰ # œj ˙ ˙. ˙.
j
œ ‰ Œ Œ ∑ ∑
∏ F ∏
B b Cl. 2 & ∑ ∑ ∑ ‰ n œj ˙ ˙. ˙.
j
œ ‰ Œ Œ ∑ ∑
∏ F ∏
? œ ˙ ˙. ˙. œ
B. Cl. ∑ ∑ ∑ ‰ J J ‰ Œ Œ ∑ ∑
∏ F ∏
œ ˙ ˙. ˙. œ
Bsn. 1
? ∑ ∑ ∑ ‰ J J ‰ Œ Œ ∑ ∑
∏ F ∏
œ ˙ ˙. ˙. œ
Bsn. 2
? ∑ ∑ ∑ ‰ J J ‰ Œ Œ ∑ ∑
∏ F ∏
? j‰ Œ Œ ∑ ∑
w. w. w. w. ˙. œ
C. Bn.
F p P ∏
πj ‰ Œ
& ∑ Œ Œ Œ Œ Œ ‰ j j ˙ w œ ˙ ˙. œ ˙. Œ Œ Œ ∑ ∑
I 3 3
œ- ˙ œ #œ œ œ œ œ ‰ J
Hn. 1, 2
F ∏ F ∏
π
Hn. 3, 4 & ∑ ∑ ∑ ‰ œœj ˙˙ ˙˙ .. ˙˙ ..
j
œœ ‰ Œ Œ ∑ ∑
∏ F ∏
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B œ ˙ ˙. ˙. œ
∑ ∑ ∑ ‰ J J ‰ Œ Œ ∑ ∑
∏
Tbn. 1
∏ F
œ ˙ ˙. ˙. œ
? ∑ ∑ ∑ ‰ J J ‰ Œ Œ ∑ ∑
∏
Tbn. 2
∏ F
? œ ˙ ˙. ˙. œ
∑ ∑ ∑ ‰ J J ‰ Œ Œ ∑ ∑
∏
B. Tbn.
∏ F
?
Tuba j‰ Œ Œ ∑ ∑
w. w. w. w. ˙. œ
p F ∏
F
? Œ j j
Timp. Œ Œ Œ ‰ œæ œæ œ ‰ Œ Œ Œ Œ Œ ∑ ∑ ∑ ∑ ∑
π F
Perc. 1 ã wæ . wæ . wæ . wæ . œæ Œ Œ Œ Œ Œ ∑ ∑
∏
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ ˙. ˙ œ
æJ ‰ Œ
bowing
œ-≤ .
Vib. & ∑ ∑ ‰æ æ æ Œ Œ Œ Œ ∑ ∑ Œ Œ ‰ Œ Œ
π
3
F π π P
œæ Œ Œ Œ Œ Œ ∑ ∑
微光般 like a subtle glim
Perc. 3 ã wæ . wæ . wæ . wæ .
F p ∏
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
Mrb.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
b >œ œ >œ œ o
> œ äœ .
J
3
& ∑ # œ œ œb ˙ Œ Œ Œ Œ ∑ ∑ ∑ Œ ‰ Œ Œ Œ
œ f f
f > ƒ
j
3
> F3
œ œœœœ ‰
Hp. 6
? Œ Œ Œ Œ ‰ œ œ. Œ Œ Œ Œ ∑ ∑ ∑ ∑ ∑
œ œ œœ œ œ œ œ
œ ƒ> ç
f
3
(√)
ww . ww . ww . ww . ww . ww
. . . . . Œ Œ ∑
Vln. I &
F π F p ∏
(√)
ww .. ww .. ww .. œœ
& Œ Œ Œ Œ Œ ∑ ∑ ∑
∏
Vln. Ib
(√) F π
ww .. ww .. ww .. ww .. œœ
Vln. II & Œ Œ Œ Œ Œ ∑ ∑
F π F ∏
œ
˙˙˙ ... j ‰
div.
& Œ Œ Œ Œ b b œœœ b œœœ ∑ ∑ ∑ ∑

con sord.
Vln. IIb
˙˙˙ ... œœœ
p π P ∏ O.
b œœœ ˙˙˙ ... œœœ j solo O
I
B Œ Œ Œ Œ Œ b ˙˙˙ .. œœœ ‰ ∑ ∑ ∑ Œ Œ ≈ #O. æ R≈‰

Vla. . &
æ
π P ∏ p F π
? Œ œœ ˙˙ .. œœ ˙˙ .. œœ ‰
Vc. Œ Œ Œ Œ J ∑ ∑ ∑ ∑
π P ∏
? j‰ Œ Œ ∑ ∑
Cb.
w. w. w. w. ˙. œ
F p P ∏
92
Sparking
(Composed in 2020)
For twelve instruments
SPARKING FOR TWELVE INSTRUMENTS
Program Note
I’m always inspired by Wai-lim Yip, a bilingual poet, when I compose. He proposes that the words
in a poem constantly interact and echo with other voices in the past and our aesthetic consciousness
to create a “double image.” In Diffusion of Distances, he says “these other voices bring about
changes, like a huge symphony playing inaudibly to our inner ear, converging into a confluent
dense music.”
This inner dialogue between reader and poet also greatly resonates with me as a composer. As I
listen to Nanguan music, a Chinese genre comprised of one singer and nine instrumentalists, its
sonic color of voice and instruments altogether flow into my inner vision interweaving and echoing
with my aesthetic experience of brushstroke in the painting. Each syllable of lyric in Nanguan
plays an important role in providing unique sonic gesture to elaborate the melodic lines. The lyric
not only conveys its meaning but also contains rich timbral motives, allowing the singer to interact
with other instrumentalists in heterophonic way. Its intricate sonic network reminds me of the
motion of brush in the painting, which comprised of rich layering of color and linear elements.
The discovery of this connection is like a spark in the darkness, a vivid double image I endeavor
to capture.
Duration: c. 11 minutes
Performance Note
a. Notes for all instruments:
1. Airy noise without pitch (for all instruments):
Both and indicate airy noise (the circled cross note-head is functioned to distinguish
different rhythmic values). The airy noise is used for the string part and wind part. All airy noise
produced by the instruments are notated on five-line staff in order to be distinguished from the
notation for spoken words. The details for other kinds of airy noise (such as half airy noise and
exhaling, etc.) are listed in the following different parts.
2. Non vib., vib., and molto vib.: These indicate different levels of vibration.
93
3. Spoken Words
All spoken words are performed in whispering way without using instruments. The notation
for this technique is which are all notated on one-line staff. The same notation for airy noise
produced by instruments (string part and wind part) is notated on five-line staff. The spoken
words are written beneath:
All spoken words in this piece are listed as follows:

(1) Ti
(2) Ke
(3) Tu
(4) Dang
(5) Kwah
In this piece, they don’t convey any meaning of original words but only present their own sonic
quality.
b. Notes for woodwind part
1. Half airy noise (with half pitch)
2. Exhaling through the instrument (for flute)
3. Slap tone (for clarinet)
4. Jet whistle (for flute): the following two arrows indicate different directions of jet whistle.
5. Whistle tone (for flute): the fundamental pitch is notated at the bottom, while the upper stems
without note-head indicates the rough rhythmic pattern and contour of harmonics.
6. Tongue ram (for flute):
94
7. Over blow (for flute):
c. Notes for brass part

1. wah-wah effect: Uncover and cover the instrument with hand
2. Blow through the instrument with specific consonants to create different percussive sounds:
3. Blowing through the end of mouth piece (without pitch):
d. Notes for celesta and harp

For harp:
1. Slide along the string vertically with paper to create sharp sonic effect.
2. Tone cluster: use the palm to hit the strings.
3. indicates muting the string(s).

For celesta:
1. Tone cluster created by palms:
e. Notes for string part

1. Airy noise in the string part:
This technique is created by muting the string with right hand while bowing. The
numbers, I, II, III, and IV, are used to indicate on which string the performer should mute to
create the airy noise. (Please see the following example)
2. s.p. – Sul Ponticello

3. molto s.p. – Molto Sul Ponticello
95
4. Tap on the strings with palm
5. and – Vertical Bowing

6. – Circular Bowing; move the bow quickly from the original position to the bridge to
create the effect of sul ponticello.
7. Touch the strings with light pressure: The technique of using left hand to touch the string with
light pressure is indicated as follows. It could create indefinite harmonics.
8. indicates the highest pitch of the string. It creates the un-pitched percussive sound.
9. Recochet: the rhythm of ricochet is written for suggestion.
96
Score in C
(2020)
q = 50 For Twelve Instrments
tongue ram jet whistle
& 46 # · ≈ Œ ∑ Œ Œ Œ b œæ œæ œ. nœ
fl p f
Flute
p
ç
¿ ¿ ˘¿
airy noise only
6 J R≈‰ Œ >
&4 ‰ Ó Œ Œ Œ Œ
non vib.
Oboe
b œ- œ œ ≈
p ß p f
¿ ¿ ˘¿
airy noise only
&4 - J
6 r R≈‰ Œ
slap tone non vib.
≈ Ó Œ Œ Œ ‰ bœ
vib. molto
3
Clarinet in B b
- ˙
fl p ß P
ç
¿ ¿ ¿
airy noise only
? 46 r≈ J R≈‰ Œ Ó Œ Œ Œ Œ
non vib.
œ fl b˙
Bassoon
fl p ß p
ß
6 ≈ ˘¿ ‰ Œ ˘œ
blow through the instrument with specific consonants
Horn in F &4 ∑ Œ R ≈ ‰ Œ Œ Œ Œ
ß
F
Ti!
6 ≈ ˘¿ ‰ Œ
brightly
Trumpet in B b &4 ∑ ∑
F
Ti!
œ˘œ P
6 b # b œœœœ ‰ .
xylophonic
&4 ‰ œ ‰ Œ ∑ Œ Œ ‰
3
R b b œœ ˙˙
>
Harp [D b, E b, G#, B b] y slide along the string vertically ç ß
6 ∑ Œ Œ Œ Œ
with card
?
&4 · ––
ç > ¿ ––
P f >
sharply -̇ œ œ œ b œœ œœ n œœ œœ œœ œœ œœ œœ œ˘œ Ï
& 46 Ó Œ R ≈ ‰ Œ Œ Œ Œ
Celesta
f ∏3
ç
? 46 r≈ ‰ Œ Œ Œ Œ Œ ∑
œ
fl
ß
> IV
pizz. —
I
˘O >
ricochet
6 ‰ ‰ ‰ œ Œ Œ Œ Œ
overpressure bowing
&4
arco
≈ b-. œ œ œ ≈
>
Violin
¿ ßp ƒ
f ß
Ï 3 P sharply
I>
— Oœ Oœ Oœ Oœ œO ..
IV ord.
B 46 ‰ ‰ 3 ‰ Œ
IV pizz.
‰ Œ Œ &‰ ‰
pizz. arco arco
¿ T æJ æ æ æJ æ
>
Viola
f ß p f
3 P
3
Ï sharply morendo
Oœ b Oœ Oœ
ord.
? 6 j ‰3 ‰ arco
pizz. IV
Cello 4 œ Œ Ó Œ Œ Œ &Œ æ æJ æ
> x
f P 3
Ï P
sharply
? 46 œ
pizz.
Œ ∑ ∑
œ
Double Bass
>
Ï
97
˘
w> . w. ˙. ˙ #œ
2 vib. poco vib. molto
3
Fl. & 45 42 R ≈ ‰ Œ 45
ƒp F ∏ P sÏz
n œ- œ ˙ >œ
# ˘œ
poco
# - œ- œ
œ 5 J‰ Ó 2 R ≈ ‰ 5
Ob. & ∑ Œ Œ Œ ‰ 4 4 Œ 4
π3 f sÏz
> ˘
5 2 #œ 5
B b Cl. & œr ≈ ‰ Œ ∑ ∑ 4 ∑ 4 R ≈ ‰ Œ 4
f sÏz
˘œ
? >r ≈ ‰ Œ ∑ ∑ 5 ∑ 2 R ≈ ‰ Œ 5
4 4 4
œ
Bsn.
f sÏz
3 ˘œ
Hn. & ∑ ∑ 45 ∑ 42 R ≈ ‰ Œ 45
sÏz
˘œ
∑ ∑ 5 ∑ 2 R ≈ ‰ Œ 5
B b Tpt. & 4 4 4
sÏz
b >œ
3
‰ b œ >œ . œ œ
∑ 5 ∑ 2 5
& 4 4 œ #œ 4
fç
ƒ
5
Hp.
? ∑ 5 ∑ 2 ∑ 5
*mute the tone cluster
4 4 4
cue by conductor
˘
3 œ # >œ
œ 5 2 # œ 5
& R ≈‰ Œ ∑ ∑ 4 ∑ 4 R ≈ ‰ Œ 4
ç sÏz
n œ>œ
Cel.
? ∑ ∑ 45 ∑ & 42 œR ≈ ‰ Œ 45
harmonic glissando
try to widely expand the range
˘·
#· · · · · · · #· ·
s.p. of harmonic glissando in an
‰ #· · · · · · · #·
ord.
3
5 2 5
improvisationary way
4 R ≈ ‰
I
Vln. & Œ æ æææææææææææææ æ ææ 4 Œ 4
∏
3 3 3 3 3
p
3
F sÏz
ethereally
˘·
ord. s.p.
ææææææææææææ æ ææ 45 42 45
II 3 3 3 3 3
Vla. & Œ Œ #· · · · · · · · · · · · #· · · R ≈ ‰ Œ
∏ p sÏz
ethereally
F
>O
#· #· · #· #· ·
s.p.
œ ≈‰ ˘
ord.
Œ Œ ?Œ
æ æ æ æ æ æ 5 2 · ≈ ‰ 5
4 Ó Œ
I
Vc. & & 4 R 4
ß ∏ p F sÏz
3 3
ethereally
≥
vertical bowing
? ∑ Œ Œ Œ Œ Œ 45 ¬ 42 ∑ 45
arco
D.B.
– ¬.
ß> p ƒ
98
b ˙- œ n ˘œ . >
3
b œ. œ . b œ ä
rit.
r
7
& 45 Œ 46 bœ J 42 43 44
overblow
Œ Œ œ œ œ ≈ ‰ Œ Œ ∑ ∑
>
Fl.
π ß ç ƒ
5 3
-̇non. vib. >

Ob. & 45 ∑ 46 Œ Œ
R
≈ ‰ 42 ∑ 43 ∑ 44
π f
≈ bœ. w œ
vib. poco
& 45 j‰ Œ 46 Œ 24 R ≈ ‰ Œ 43 ∑ 44
vib. molto
B b Cl.
≈ . ßp ƒ p
œ- ˙ œ
p F π
?5 ∑ 6 ∑ 2 ∑ 3 ∑ 4
Bsn. 4 4 4 4 4
7
5 ∑ 6 ∑ 2 ∑ 3 ∑ 4
Hn. &4 4 4 4 4
5 6 2 3 4
&4 Œ Œ Œ ‰ b œ- . ∑ ∑ ∑
vib. poco
B b Tpt. 4 4 4 4
P
Uo
b˙ .
# ˙˙ .. # ä˙
L.V.
bœ ˙
xylo
7
& 45 46 42 ≈ b œ . Œ 43 44
3
∑ bœ Œ
ÿ ÿ > ƒ
ƒ ß
≈ b·.
Hp.
? 45 ∑ 46 œÿ ˙˙ .. 42 Œ 43 ∑ 44
f >
ç
b >œ . ˙ œ . b œ.
gg œœœœ ggg b b œœ ≈ ‰ Œ
L.V.
7
5 ∑ 6 ‰ 2 ∑ 3 ∑ 4
&4 4 g 4 4 4
P
Cel.
ƒ F
œ
& 45 ∑ 46 bœ ggg œœ. œœ ggg œœ. œ 42 ∑ 43 ∑ 44
vividly
U
√
wide vibration small vib.
œ >œ œ >
ord.
bœ œ
J ‰ 6 b b ˙˙
s.p.
5 ¿ 2 ≈ ¿.
7
æ J 3 4
I I
Vln. &4æ 4 æ Œ Œ Œ Œ 4 æ æ 4 æ æ Œ 4
f subito p ß3
p ß π p f p
U
≤ ≤
b O- Oœ .. ≈ Œ I œ I O- Oœ ≈ ‰ j ≈ ¿.
& 45 Œ 46 r≈ ‰ 42 æ æ 43 æ æ Œ 44
I
bœ B‰ Œ Œ
molto s.p.
Vla.
R œæ œæ œ
π F P ƒ p f p
p ç
-≤ Oœ ≈ ‰ 6 # >˙˙ U
ord.
‰ b b Oœ Oœ ? Ȯæ. 2 æ
s.p.
5 3 #O œ 4
&4 Œ Œ 4 æ Œ . 4 Ȯ 4 # œ œ‰Œ 4
arco
Vc.
R æ æJ
p f ß π p f p f p
3
>
6 bœ
pizz.
?5 ∑ Œ Œ Œ Œ 2 ∑ 3 ∑ 4
D.B. 4 4 nœ 4 4 4
ƒ >
ç
vib.
99
- äœ ˙ . ˙.
# œ- - # œ ˙
4 vib. molto
A Energetic q = 70
œ äœ .
Fl. & 44 ∑ 74 Œ Œ Œ Œ Œ 46 43
f
3
ƒ
w. ˙.
& 44 74 Œ 46 43
vib. molto
∑ Œ Œ Œ Œ Œ
Ob.
œ
f ƒ
˘ > bœ. œ 3 ˙.
œ-
vib. molto
& 44 ∑ 74 Œ Œ Œ r≈‰ 46 ˙ œ 4
3
B b Cl.
bœ nœ b˙ œ n œ-
f ç Ç> ßp
bœ äœ n äœ œ b œ œ
3
? 44 ∑ 74 Ó J 46 43 ˙ .
œ œ œ b˙ œ nœ ˙
>
Bsn.
ßp f ƒ p
3
11
4 7 r 6 - >œ 3
∑ œ ≈‰ Œ Œ 4 Œ #˙. ≈‰ Œ ∑
vib. molto
?
&4 4 bw & R 4
> >
Hn.
ßp ç P f
-̇ .
& 44 74 Œ 46 ˙ 43
vib. molto
∑ Œ Œ Œ Œ Œ Œ Œ ∑
harmon mute
B b Tpt.
P f p
11
4 ∑ 7 ∑ 6 ∑ 3 ∑
&4 4 4 4
Hp.
?4 ∑ 7 ∑ 6 ∑ 3 ∑
4 4 4 4
11
& 44 ∑ 74 ∑ 46 ∑ 43 ∑
Cel.
& 44 ∑ 74 ∑ 46 ∑ 43 ∑
vib. vib. molto

≥
ord.
≤
≥ >
# ˙>˙
s.p. ord. s.p. molto s.p.
bœ n˙. œ ˙ œœ ≈ ‰ Œ
11
& 44 ‰ 74 46 ˙ 43
3
r ≈‰ R ∑
3
bœ ˙. œ .. b œ. b >˙ œ œ ˙. œ
Vln.
> > sÏz

sÏz P ßp ƒ ƒ F ß
wildly
≥ ≤ ≥ 3 ≤
7 r Œ œœj œœ j r
s.p. ord. molto s.p.
B 44 Œ œ . œœ œœ 4 b œœ ≈ ‰
. œœ n œ œœ b œ œ b œœ ˙˙
6
4 œœ .. n œœ œœ ≈ ‰ Œ Œ Œ 3 ∑
vib.
b œœ œ - 4
> > > > > >
f>
Vla.
sÏz F ç p ß ƒ F sÏz
wildly
≤
vib.
>≥ n >œ n œ >œ

s.p. ord.
? 44 b œ œ œ œ 74 œ œ b˙ œ.
molto s.p.
j 46 œ . 43
arco
≈‰ Œ Œ Œ ∑
œ œœ œœ œœ œœ œœ
3
œ œ œ œ œ œ ˙ œ œ
> >
Vc.
J J R
sÏz F
3
ç F çP ƒ F sÏz
wildly
circular bowing
↺↺
? 44 ∑ 74 46 w j 3
arco
bw b˙. œ bœ œ 4 ˙.
3
> > > >

D.B.
ç F ƒ F ç
100
œ
5
B With Flexible Tempo q = 50 - 60
15
2 3 2 3 4
rit.
Fl. & R ≈‰ Œ Œ ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 4 ∑ 4 ∑
Ï
œ
Ob. & R ≈‰ Œ Œ ∑ 42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
Ï
b œ- œ ˙. œ vib. poco
œ ˘ b œ- œ . ≈ 4 multiphonics
non vib.
œ 3œ
2 3 2 j 43 ‰ n - ≈
B b Cl. & R ≈‰ Œ Œ ∑ 4 ‰ 4 4 œ 4 b ww-
Ï ∏ ƒ ˙ œ P F p
ß p
3
profoundly p poco
? r≈ ‰ Œ Œ ∑ 42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
Bsn. œ
Ï
15
∑ ∑ 2 ∑ 3 ∑ ∑ 2 ∑ 3 ∑ 4 ∑
Hn. & 4 4 4 4 4
B b Tpt. & ∑ ∑ 42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
15
& ∑ ∑ 42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
Hp.
? ∑ ∑ 42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
15
& ∑ ∑ 42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
Cel.
∑ ∑ 2 ∑ 3 ∑ ∑ 2 ∑ 3 ∑ 4 ∑
& 4 4 4 4 4
15
∑ ∑ 2 ∑ 3 ∑ ∑ 2 ∑ 3 ∑ 4 ∑
Vln. & 4 4 4 4 4
B ∑ ∑ 2 ∑ 3 ∑ ∑ 2 ∑ 3 ∑ 4 ∑
Vla. 4 4 4 4 4
j
? ∑ Œ Œ ‰ MM
42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
Vc.
MM
>
ç
with higher bowing pressure
j3 r
vib. molto ↺
? œ #œ ˙ œ ≈ ‰ 42 ∑ 43 ∑ ∑ 42 ∑ 43 ∑ 44 ∑
D.B.
œ œ œ œ œ ˙ œ
ƒ >
f > >
ƒ Ï L.V.
101
102
6
C q = 70
23
Fl. & ∑ ∑ 46 ∑ 44
∑ ∑ 6 ∑ 4
Ob. & 4 4
b µ ww w
vib.
#w
B b Cl. & w w 46 ∑ 44
P f
? ∑ ∑ 6 ∑ 4
Bsn. 4 4
23 >
& ∑ ∑ ?
46 Œ Œ Œ Œ Œ ¿ 44
æ
Hn.
Ç
>
B b Tpt. & ∑ ∑ 46 Œ Œ Œ Œ Œ ¿ 44
æ
Ç
23
∑ ∑ 6 ∑ 4
& 4 4
Ï
Hp.
? 6 4
[D b-D, E b-E, G#-G]
∑ ∑ 4 œ
j 4
œ
ww ..
>
23
& ∑ ∑ 46 ∑ 44
Cel.
& ∑ ∑ 46 ∑ 44
>¿ >¿ > >¿

III
>¿
try to gradually increase
¿
s.p.
#œ ¿ J # >œ
vib.
23
æ æ æ æ æ 6 J 4
Vln. & ‰ #· · · · · 4 Œ J 4
π ß p F3 p ç Ç
F
3 3 3
IV vib. molto
· #· · # œ- 4
s.p.
>¿
vib. ord.
46
s.p.
B Œ Œ ‰ j j
cue by conductor 3
æ æ æ j J œ œ ¿ > J 4
¿
Vla.
π F p ß fsub. p ß p
p
3 with growing intense 3
#·
IV
>¿
s.p.
? Œ Œ # # ·· · ·· 6 Œ Œ œ >œ ¿ . 4
cue by conductor 3
4 ¿ J R J 4
>
Vc.
π
3
F ß P ß P ßp
ricochet
? 46 ˙ 44
s.p.
∑ ∑ Œ Œ Œ
œ æ
D.B.
> π
ç
103
> >
exhaling
y
7
¿ ¿ ¿
D
26 >
& 44 Œ J 43 ¿J. ≈ 44 Tj ‰
whisper
‰ Œ ≈ Œ Ó
> fl
Fl.
ß p ƒ sÏz
ß ç
Ti!
t-k . . . .
4 >
3 whisper 4
Ob. &4 ∑ 4 ¿J. ≈ Œ Œ 4 ∑
ç
Ti!
4 >
3 whisper 4
B b Cl. &4 ∑ 4 ¿J. ≈ Œ Œ 4 j ‰ Œ Ó
#-
ç
Ti!
fl
sÏz
?4 >
3 whisper 4
Bsn. 4 ∑ 4 ¿J. ≈ Œ Œ 4 ∑
ç
Ti!
˘ . . . . ˘ ˘ >
blow through the instrument with specific consonants
¿ ¿ ¿ ¿ ¿ ¿ ≈ ¿. ¿. ¿. ¿ ¿. ¿. ¿. ¿. ¿. 43 ¿ .
26
?4 ¿ ≈ Œ Œ 4 ∑
4 R J 4
æ
Hn.
ç p
5 3 6
ß ß ç + o
t k t k t k k t k t k t k t k Ti!
˘ ˘ >œ œ œ >œ ˙
.¿ ¿. ¿. ¿. ¿ ¿ ¿ ¿ 3 >¿ . # j
& 44 ¿ ¿. ¿. ¿ 44
harmon mute
¿ ‰.
œ
≈ Œ Œ
vib. poco
4 J J
B b Tpt.
æ R
S
3
P f
ç p ß ç
k t k t t k t k t k t k Ti!
espressivo
b >˙ .
26
4 3 4 Œ b˙.
&4 ∑ 4 ∑ 4
ƒ
Hp.
[E-E b, G-G b, A b] y
?4 ∑ 3 Œ Œ 4 Œ Œ
4 4 4 &
¿ b˙
P sharply f >
Ï
26
4 ∑ 3 4
4 Œ Œ ‰ ¿ ∑
whisper
&4 4
p f 4
3
Cel.
& 44 43
kwah
∑ ∑ 4 ∑
˘· >—
>¿ > >¿ > >
¿ ¿ >¿ ¿ >¿ >¿ >¿ I
I
O
26
& 44 œ # ¿ . 43 R ≈ ‰ Œ ‰ ¿ 44 Œ Ó
whisper pizz.
Vln.
æ
f p ß
5
ƒ 3 Ï
p f
kwah
˘· I
>—
B 44 œ œ #¿
I
¿ ¿ ¿ ¿ & Oæ 3 R ≈ ‰ Œ ‰ ¿ 4 Œ Ó
whisper pizz.
J 4 4 B
> > > >
Vla.
F
3
ß ƒ Ï
p f
3
kwah
˘· >—
>¿ > >¿
¿
I
? 44 j 43 R ≈ ‰ Œ ‰ ¿ 44 Œ Ó
I whisper pizz.
& ¥æ
3
œ- . œ ¿
Vc.
ç ƒ Ï
P f
3
p f
3
kwah
>œ
ricochet
? 4 ˙. 3 4 Œ
pizz. L.V.
Œ Œ ‰ ¿ Œ ˙
whisper
4 4 4 ˙
æ
D.B.
P π ƒ ç >
p f Ï
3
kwah
104
8
b >œ >œ œ œ. bœ ˙.
As if wind part follows the trumpet naturally
29
R ≈‰ 2 6 j j3 œ nœ œ J J 4
Fl. & Œ Œ 4 ∑ 4 Œ Œ ‰ b œ œ b œ b œJ œ 4
ßp ƒ ∏ p 3
f p F
as if floating
>˙
œ œ. œ œ ≈ œr b œ œ
j
>œ >œ bœ bœ
2 6 4
& Œ Œ R ≈‰ ∑ 4 Œ Œ Œ b˙ œ J
3
4 4
∏
Ob.
ßp ƒ as if floating
F ßp f Í
œœ >œ
multiphonics
œ b˙ bœ œ bœ œ
r
œ 4
& Œ Œ # œj œ ≈‰
2 r ≈ ‰ 46 Œ b œ œ œJ œ œœ œ b ˙ œ ‰ J
3
B b Cl. œ 4 J 4
> J R #œ œ ∏ π F3
ßp p
ƒ P ƒ morendo
? Œ r
œ œ ≈‰ ‰ j 42 r≈‰ 46 ∑ Œ Œ 44
> #œ œ œ b w-
Bsn.
F ç > π P
∂ ƒ
+ o
>œ b >˙ ˘œ ≈
24 œ >œ ≈ ‰ œ
29
? Œ Œ Œ ‰ 46 Œ Œ Œ Œ ‰ Œ Œ Œ Œ 44
stopped horn vib.
Hn.
J R
∂ ƒ ∂ ç
+ o
j3 > j Bœ ˙
œ œ- b œ- .
non vib. vib. molto
2 6 œ 44
vib. molto
b œ œ œ œæ œ bœ œ
j
& ‰ #œ. Œ Œ 4 Œ bœ
3
j
4 ˙
non vib.
bœ
B b Tpt.
J J
p- ƒ p F éf P f p
˙^
3
b >œ b ˙^
^ b œ^ ˙
bœ b œ^ ^
29
& ≈b œ . Œ Œ 42 ∑ 46 44
xylo 3
œ
ƒ bœ
F ƒ
3
^
ç b >œ ^ œ
Hp.
‰ bœ. œ
& b ¥ . ?Œ Œ 42 ∑ 46 Œ Œ Œ b˙. w.
44
>
b˙. w. Ÿi ~~~~~~~~~~~~
˙
# œ˘œ ƒ
Œ # œR ≈ ‰ Œ
29
2 6 4
& Œ 4 ∑ 4 ∑ Œ Œ Œ Œ 4
ç p F
r
Cel.
& Œ Œ nœ ≈ ‰ Œ 42 ∑ 46 ∑ ∑ 44
fl
>—II
>≥ >
ord.
b œ >œ b œ >œ b˙. œ j >œ œ b œ œ

j3
29 bœ
& Œ ‰. ‰. 42 Œ b œ- 46 w œ œ œ bœ J 44
arco
Vln.
ƒ P f p 3
F
espressivo
>≥ >œ b >œ

ord.
> b œ n œj b ˙ ˙.
# œ # >œ ≈ b œ- . 6 ˙
II
B #· Œ ‰. ‰. 2 œ b äœ ˙ . œ 4
4 Œ 4 bœ 4
arco
B
Vla. & J
ƒ ƒ P f p p
F
3 3
espressivo
>— >
>≥ > b œ >œ
ord.
#œ #œ ‰. bœ bœ œ n œj b œ ˙
& Œ ‰. 42 ∑ ?
46 Œ Œ Œ j 44
arco
b˙.
3
Vc.
œ n œj b œ œ
ƒ p f p
>—
I espressivo
? > 2
Œ Œ ‰ œ 4 œ œ ≈ ‰ 46 ∑ Œ Œ Œ 4
bœ 4
arco
D.B.
J R b˙ nœ
j
Ï ∂ ƒ π F
espressivo
105
9
33 w œ œ w. ˙. œ
4 J‰Œ Ó 2 6 4 J‰ 5 4
&4 4 Œ 4 4 4 ∑ ∑ 4
π
Fl.
π ∏ F
bœ w. w ˙. œ b œj b >œ œ >œ
4 w œ
vib.
J‰Œ Ó 2 6 4 5 J R≈‰ Œ Ó 4
Ob. &4 4 Œ 4 4 4 Œ 4
π ∏ F p ßp
3
ç
4 w œ 2 œ 6 w. 4 ˙. œ‰ 5 4
vib. molto
&4 J‰Œ Ó 4 Œ 4 4 J 4 ∑ Œ Œ ‰ 4
3
B b Cl.
∏ π bœ ˙
π F p Ï
œ w. 44 ˙ œ
vib. molto
? 44 j‰ Œ Ó 42 Œ 46 ‰Œ 45 ∑ ∑ 44
w œ
Bsn.
∏ F π f
π
3
+ o ~~~~~~~~~~~~~~~~~~
cover and uncover the horn with right hand
from slow to fast speed open
33
? 44 ∑ bw 24 œ . ‰ ? 46 Œ 44 Œ 45 ∑ ∑ 44
non vib. vib.
Hn. &
-̇ . ˙ ˙.
π f ∏ P π
+ o
4 2 6 4 5 > 4
B b Tpt. &4 w œ‰Œ Ó
J 4 ∑ 4 ∑ 4 ∑ 4 Œ Œ Œ b˙ œ ≈‰ Œ Ó
R
Œ 4
∏ p ß
33
4 ∑ ∑ 2 ∑ 6 ∑ 4 ∑ 5 ∑ ∑ 4
&4 4 4 4 4 4
Hp.
?4 ∑ ∑ 2 ∑ 6 ∑ 4 ∑ 5 ∑ ∑ 4
4 4 4 4 4 4
[E b-E#, G b-G#, A b-A, B b-B, C#]
~~~~~~~~~
˙. b ww ..
6 w.
33
4 Œ ∑ 2 ∑ 4 ∑ 5 ∑ ∑ 4
&4 4 4 4 4 4
π
Cel. P
4 ∑ ∑ 2 ∑ 6 4 ∑ 5 ∑ ∑ 4
&4 4 4 4 4 4
w.
—
I
w œ
≥
overpressure bowing
33
4 J‰Œ Ó 2 ∑ 6 ∑ 4 ∑ 5 Œ Ó Œ 4
j‰ Œ
pizz.
&4 4 4 4 4 4
b˙. œ
Vln.
π ƒ >
Ï π
gradually release
—
I
w œ ≥
overpressure bowing
B 44 J‰Œ Ó 42 ∑ 46 ∑ 44 ∑ 45 Œ Ó Œ j‰ Œ 44
pizz. arco
& B
ƒ b˙. œ
Vla.
π > π
Ï
gradually release
—
I
≥
overpressure bowing
?4 w œ 2 6 4 5 b >˙ . œ 4
J‰Œ Ó ∑ ∑ ∑ Œ Ó Œ ? J ‰Œ
pizz.
Vc. 4 4 4 4 & 4 4
π ƒ Ï π
gradually release
— ≥
I overpressure bowing
≥ b >˙ . œ
non vib.
? 44 j 42 46 Œ Œ Œ . 44 45 44
œ‰Œ Ó ∑ Œ Ó Œ J ‰Œ
pizz. arco
w -̇ w
π ƒ
D.B.
π F f Ï π
gradually release
106
10
E With Growing Momentum q = 60
j j > >.
& 44 Œ
jet whistle
Œ Œ ≈ b· ≈ ‰ ¿æ ¿æ ‰ Œ Œ Œ J ‰Œ ≈ J ∑
tongue ram
Fl.
fl f ß ß
ß
œ- . œ >œ
bending the pitch to
& 44 ≈J
make microtonally higher
∑ Œ Œ ‰ ‰ œ Œ Ó ∑
3
> f
Ob.
π ß with short and resilient attack
‰ ‰ # -r ≈ ‰
slap tone
& 44 Œ Œ Œ Œ Œ ‰ œ Œ Œ Œ Œ ‰ -j
3
‰
3 slap tone
B b Cl.
‰
- fl # œæ œæ ≈ >f fl ≈
fl p P π ß b fl-
ß with short and resilient attack
˘œ ç
˘
?4 ∑ œ ‰ Œ Œ ‰ nœ J ‰ Œ Ó B
4
3 3
Bsn.
#œ bœ ˙. œ J
fl > p ç
ß ß
+ + ŏ
40
?4 Œ o >˙ w œ ‰
4 Œ ‰ j j ‰ Œ Œ Ó
≈œ‰ œ- œ J
Hn.
fl p ßfl ∂ P π ç
ß
≈ # ˘œ
sharply
4 ∑ ∑ Œ ‰
B b Tpt. &4 ≈œ‰ Œ Œ Œ Ó
fl
ß ß
> xylophonic
40
4 j #œ > j3
&4 Ó Œ ‰ œ œ ‰ Œ Œ Œ Œ ˙ Œ ‰ #œ œ. œ
3
#· œ œ
> > ß>
Hp. ƒ ç fç
? 44 ˙ . Œ Œ ‰ œ
3
Œ ∑ ∑
˙.
˙. > œ œ
> ƒ >
Ï >œ ˙ .
œ ˙.
40
& 44 ∑ ∑ ∑ ‰ ‰
Cel.
3
ß
& 44 ∑ ∑ ∑ ∑
b >œ >.
I≤ O
ricochet
j
arco
‰ ¿J
40
& 44 R
pizz.
∑ Œ œ ‰ Œ Œ
I
æ
> p
Vln.
ç ß F f ç
sharply
≥
>œ II ≤ ˘
arco
B 44 Œ ‰ ¿J
ricochet
‰ bœ ‰ Œ ‰ ‰ Œ Œ Œ & b œO Œ B -R ≈‰ Œ
> >
Vla.
ß ß f ç ç
F sharply forcefully
˘
≈ n ˘œ ≈ #· ≤ vib. molto b >œ
arco pizz. pizz.
k œ-
arco
b >œ .
ord. molto s.p.
œŒ
ricochet
? 44 Œ ‰#· æ R≈ Œ œ ≈≈ R
vib. molto II
Œ Œ Œ ‰ Œ
pizz.
Vc.
k œ ~~~~~~ #œ æ3 R
> fl ß p ß π f ç
ç ß ç
≤ ≥ > >œ arco >

pizz. ord. pizz. ricochet
molto s.p. ↺
? 44 ‰3 j Œ bœ
arco
Œ ‰ ≈ ‰ Œ ‰ j Œ Ó
↺ vib. molto pizz.
œ- œ œ ‰ œ ~~~~~
arco
œ œ œ œ J œ œ
>
D.B.
> > ç > ß >
p ß ç ß F ƒ ß ß
107
11
˘
˘œ
> > #œ œ
44
∑ ≈ œ≈Œ Œ ≈ œ œ ≈
Fl. & J ‰ Œ Œ Œ
ç ƒ ç
ßf
˘
‰ ‰ œ b œR r
& Œ Œ ‰œ Œ Ó œ ‰ ≈ ‰ œ ≈‰ Œ Œ
3 3
> >f fl
Ob.
f
3
ç ç
>œ
r
& œ ‰ Œ Ó Œ ‰ œ ‰ ‰ bœ nœ ‰ ‰ œ ≈‰ Œ Œ
3 3
3 3
B b Cl.
>f > fl f fl
f ç ç
3
B Œ ≈ œ. ˙ ˙. œ # ˘œ ‰ œ ˘œ ® œ œ #œ nœ œ œ #œ œ bœ œ œ nœ œ ≈
≈ R ‰ R ≈‰
çfl
Bsn.
π ç π P π
ç
3
˘œ +
vib. molto
44
? j
non vib.
Hn. ∑ R ≈ ‰ ‰ & œ- ˙ w
ß p f p
+ o + o + o
r ‰ ‰ œ >œR r
& ‰. œ œ. ≈ Œ Œ Œ Œ Œ ≈ ‰ ≈ b œæ. œ ≈ ‰ Œ
-
B b Tpt.
p F p ß fl
P ß
3
#œ ˙
with short and resilient attack
œ #œ œ œ
44 > œ ≈ # >œ
& Œ Œ œ œ .. # œ œ ≈
œ
‰
> > ˙ f ç
ç f ç > ƒ
3
Hp.
P ƒ
? ∑ ∑ Œ Œ Œ
––
––
>
f
44 b w> .
. œ. œœœ b œœ˘œ
& ∑ nw b œ
b œœ n œœ Œ Ó
f
Cel.
œœ b œœ ß
& ∑ ∑ œœ .
œœ . .
F.
° *
˘
˘ œ œ
44 O O # Oœ Oœ n b Oœ Ȯ Oœ b Oœ ricochet
&æ æ æ æJ æ æ
æ
æJ ‰ œO R ≈ b œO ‰ ‰ ≈ R R ≈ œr ≈
> P sFz ßfl
Vln.
P3 π P ç ç
with slight glissando
with short and resilient attack
˘
≥ œ iœ
b ˘- ‰ . œ ≈ ‰ ‰ œ k >œ ≈ œ ˘ >œ
ricochet
pizz.
B ‰‰ j Œ Œ Œ ≈ ‰ Œ ‰
J r
arco
R
3
Vla.
œ œ> œ
> ç > ß ç sFz
ƒ f ç with short and resilient attack
n ˘œ
arco
Iœ ≈ œ. ≈ œ ˜ >œ ≈ n >œ
ord.
arco
? Œ Œ Œ ‰ J R ≈ ‰ ≈ pizz. r ≈ ‰ r
œ ≈‰
j & #œ
œ. f œ fl
Vc.
> fl P sFz ß
ß ç P ç ç with short and resilient attack
>œ
ricochet
≤j ˘r ‰
ord.
↺
‰
? ∑ Œ Œ ‰ œ- œ ≈ ‰ Œ
arco
D.B. œ
p ç ç
108
12
˘ # >œ >œ ˘œ
47 ≈ œ. œ
æ R ≈ ‰ ≈ ® RÔ R ≈ ‰ 6
& Œ Œ Œ ‰ 4
f ßp
Fl.
F ç ƒ
® œb œ œ œn œ œ œ ˘œ ˘ ˘ ˘ Ÿ~~~~~~~~~~~~~
œ œ ‰ b œ œ ≈ œ œ ≈ ≈ œ œ ..
Ob. & Œ Œ Œ R ≈ ‰ œ. 46
p ß ß 3 ß ß3 ßp
˘ ˘ ˘ ˘
®œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ ˘œ œ. œ. œ. ˘œ ≈ œ bœ ‰ . . . . . .
‰ œ œ ‰ œ nœ ‰ bœ œ ≈ œ œ œ œ œ œ
bisbigliando
‰ ‰ 6
B b Cl. & œ 4
P F p œ ß ç 3
ß 3
ß ß 3 ß
P
B Œ ≈ œ œ œ œ œbœ œnœ œ œ œ
Œ ®≈ ? Œ 46
b˙.
Bsn.
F Í
47 +
vib. molto o
? ‰ ≈ bœ œ œ ≈ & œj 46
non vib. vib. molto
& w R Rfl œæ
>
Hn.
F P ß ßp
+ ŏ o
µ œ+ ‰
B b Tpt. & Œ Œ Œ œ œ ≈ ‰
R
‰ ≈ r
œ œ
‰ 46
p ß ßp f f
>œ >œ œ .. >œ >˙ .
47
& Œ Œ ‰ J 46
ç ƒç
>˙ .
Hp.
? Œ ∑ 46
47 >œ >˙ . 6
& ∑ ‰ .. RÔ 4
Cel.
ƒç
∑ ∑ ? 6
& 4
˘ ˘
#œ nœ œ bœ
>œ ≈ œ ˘œ ≥ ˘ ≈ >œ .
Sul G
47
6
ricochet
& ‰ ‰ R ≈ ‰ æ æ 4
œ. æ
3
bœ Iœ
ß
Vln.
ç ß ß ƒ F ç ßp
with a wider glissando forcefully
œ # ˘œ ˘ ˘
œ ˘œ ≈ œ ˘œ ≈ >œ ‰
˘ ˘
≈ œ #œ œ nœ œ œ bœ œ Nœ 6
‰
3
B ‰ ‰ ‰ ≈
ricochet
œ & 4
œ
Vla.
fl ß ç ß
> ß
3 5 5
ç ç
3
≥
with a wider glissando
œ ˘œ ‰ ≈ œ ˘œ ≈ ricochet
bœ
˘œ
‰
˘ ˘
# œ œ œ œ ≈ ? >œ
ricochet
≈ œ# œ œn œ œ œ 6
& œ ‰ & 4
>
Vc.
ç
3
ç ß ç ç
with a wider glissando
? Œ >œ >
b˙. 46
ricochet
D.B. Œ Œ Œ
ç f
109
b >œ ˙ ˙. 13
49 ≈ œ.
Fl. & 46 43
ƒ f
˘œ ˘ ˘
vib. molto
≈ œ œ b œ n œ œ- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ œ
(vibrating the pitch with microtonal fluctuation)
6 œ- œ œ- 3
&4 œ- œ J 4
sFz
Ob.
ç F f 3
˘ ˘ œ-
6 œ bœ ‰ œœ ≈ œ ˘œ ≈ ≈œ ˘ ≈ ≈
˘
œ ≈ œ- œ- œ- b œ-
b œ-
3
œ œ 3
B b Cl. &4 b œ- œ- 4
ç 3
sFz f 3 3
3
? 6 >r œ œ œ > 3
4 ≈ J J 4
œ œ ˙.
Bsn.
ç 3
ƒ
o
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >˙
rapidly try to make the glissando
r
49
& 46 œ ≈ 43
with chromatic scale
j
fl bœ ˙ œ
Hn.
ç >
çp f ƒ
b äœ . œ
6 œ 3
B b Tpt. & 4 nœ œ J bœ 4
bœ â
f F f
expand deeply
49
& 46 ∑ 43
Hp.
? 46 ∑ 43
49
6 ∑ 3
&4 4
Cel.
? 46 ∑ 43
b ˘œ œ bœ œ bœ bœ œ œ Nœ nœ œ nœ œ #œ œ œ
49
6
bœ œ œ œ œ œ œ œ œ œ bœ bœ œ œ nœ bœ œ bœ bœ œ œ bœ œ œ nœ œ Aœ Aœ œ œ œ nœ 3
Vln. &4 4
Ï agitato
f
º
b œ. œ. œ. º̆ bœ œ œ œ œ œ nœ bœ nœ œ œ nœ œ
œ. œ. œ. œ b œ. œ. b œ œ
5
. œ
6
&4 B & œ. b œ. b œ B &.
œ. œ nœ 3
4
œ œ
Vla.
fl
5 5
Ï f
5
agitato 5
º
bœ bœ œ œ nœ œ œ bœ
6 œ œ œ? œ œ œ œ œ bœ œ œ œ bœ œ bœ œ bœ ? œ nœ œ œ œ œ #œ nœ bœ Aœ œ œ nœ œ œ #œ 3
&4 & bœ & nœ nœ œ œ 4
Ï agitato flœ œ
Vc.
fl
f
? 46 ˘œ ≈ ‰ Œ Œ 43
D.B.
R
ç
110
14
˘
rit.
nœ
F Intensely q = 46
œ. ˙ ˘œ
50
3 æ æ R ≈ ‰ Œ Œ 6 ∑
Fl. &4 4
ç f Ï
˘
œ œ œ bœ
œ œ
Ob. & 43 J J R ≈ ‰ Œ Œ 46 ∑
ƒ F 3 3
ç
>˙ > ˘
≈ œ
6
3 r ≈ ‰ Œ Œ 6 ∑
B b Cl. &4 œ 4
ƒ F #œ œ œ œ
f ç
œ # >œ œ nœ
?3 #œ œ J R ≈ ‰ Œ Œ 6 ∑
4 4
œ
Bsn.
F 3
ç
˘
? >œ
50
3 œ ≈ ‰ 6
Hn. & 4 œJ ‰ œ
J
œ
R &Œ Œ 4 ∑
P ßp 3
ç
˙. >œ
& 43 46
remove mute
B b Tpt.
R ≈ ‰ Œ Œ ∑
ƒ
>œ œ #œ
#œ œ
6
50
œ
& 43 œ œ #œ ∑ 46 ∑
œ
Hp.
f 6
>œ >
? 43 œ #œ ‰ j ‰ j Œ 46 ∑
J œ –– –––
ç –– –
– >
f
3
b œ¯ Ï
œ̄ ¯ œ
3
50
& 43 œ
œ ∑ 46 ∑
< < bœ œ
< >
Cel.
f ç
? 43 46
3
∑ ∑ ∑
b >œ √
œ
50
æ œ ˘œ œ
&4 J
3
æ æ r ≈ ‰ Œ Œ 46 ∑
> bœ
Vln.
ƒ ƒ fl
3
>œ
b >œ B œ .
II
3 æ b œæ r ≈ ‰ 6
œæ
IV
&4 Œ Œ 4 ∑
Vla.
> æ æ œ
ƒ fl
Ï
>œ ˘œ
r?
& 43 æ œ ≈
j R ≈ ‰ Œ Œ 46 Œ Œ Œ Œ Œ
non vib.
fl œæ æ ≈ œ.
Vc.
ƒ π
Ï
increase bowing pressure
gradually
?3 Œ 6
vertical bowing vib. poco
Œ j
wide vibration
4 ‰ 4 ¬
9 3
œ œ œ œ œ œ >œ œ œ œ >œ œ œ ˙ – œ- œ
D.B.
ƒ >
wildly Ï Pgradually
slow bowing release
111
15
53
∑ ∑ ∑ 3
Fl. & 4
Ob. & ∑ ∑ ∑ 43
B b Cl. & ∑ ∑ ∑ 43
Bsn.
? ∑ ∑ ∑ 43
53
Hn. & ∑ ∑ ? Œ Œ Œ ≈ j
œ- . ˙ 43
p
∑ ∑ ∑ 3
B b Tpt. & 4
53
∑ ∑ ∑ 3
& 4
Hp.
? ∑ ∑ ∑ 3
4
53
& ∑ ∑ ∑ 43
Cel.
? ∑ ∑ ∑ 43
53
∑ ∑ ∑ 3
Vln. & 4
B ∑ ∑ ∑ 3
Vla. 4
Improvisation with
Try to trigger the subharmonic vertical bowing
lower than the original pitch
c.a. 12 sec.
? > U 3
vertical bowing
vib. molto wide vibration
4
œ œ –. ¬ ¬. œ b˙ ˙.
Vc.
ƒ π Ï â p
slow bowing try to interact with
each other by
using accents
? U
43
vertical bowing
9
œ œ œ œ œ œ B >œ œ œ ˙ ¬ ¬. ˙ ¬
>.
D.B.
> > >
ƒ ç F ß p Ï P
slow bowing
do cresc. together
while approaching
to the end
112
16
G
56
3 ∑ ∑ ∑ 6 ∑ 3
Fl. &4 4 4
3 ∑ ∑ ∑ 6 ∑ 3
Ob. &4 4 4
3 ∑ ∑ ∑ 6 ∑ 3
B b Cl. &4 4 4
?3 ∑ ∑ ∑ 6 ∑ 3
Bsn. 4 4 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
rapidly
56
?3 r≈ ‰ Œ Œ ∑ 6 ∑ 3
Hn. 4 ˙. œ 4 4
>
sÏz
3 ∑ ∑ ∑ 6 ∑ 3
B b Tpt. &4 4 4
56
& 43 46 43
c.a. 8 sec.
∑ ∑ ∑ ∑
a long release;
Hp. as if free from the
?3 U
flow of time
6 Œ Œ Œ Œ Œ 3
L.V.
4 4 4
˙. #˙. ˙. #˙. ˙. #˙. œ
ƒ π >
sÏz
56
3 ∑ ∑ ∑ 6 ∑ 3
&4 4 4
Cel.
? 43 ∑ ∑ ∑ 46 ∑ 43

octave lower
56
& 43 ∑ ∑ ∑ 46 Œ 43
vertical bowing
Vln.
¬ –
>
Ï π
B 43 ∑ ∑ ∑ 6
4 ¬ Œ 3
4
–
>
Vla.
Ï π
? 43 j ‰ Œ Œ ∑ ∑ 46 ¬ Œ 43
Vc.
œ –
> >
sÏz Ï π
?3 j ‰ Œ Œ ∑ ∑ 6 j 3
4 – 4 ¬ 4
3
D.B.
– – –
> > P > >
sÏz Ï ß ç
113
17
60
3 j j j 5
&4 ∑ · ‰ Œ · ‰ ‰ · Œ Œ 4
fl
Fl.
fl fl
ç ß sÏz
3 ∑ ∑ ¿ ≈ ‰ Œ >¿ 5
Ob. &4 R 4
ß ƒ
Tu! Da -
3 ∑ ‰ Œ ‰ ‰ Œ >¿ 5
B b Cl. &4 j j j 4
- - b-
fl fl fl ƒ
ß sÏz
Da -
ç
? 43 >¿
Bsn. ∑ ∑ ¿ ≈ ‰
R
Œ 45
ß ƒ
Tu! Da -
60
? 43 > >¿
Hn. ∑ Y ¿ ≈ ‰
R
Œ ¿ ¿ ¿ ¿ ¿ 45
Í
Ti
ƒ pTi
ß
k
ƒ
t k ti! Da -
>
B b Tpt. & 43 ∑ Y ¿ ≈ ‰
R
‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ‰
R 45
Í ƒ P ß p ß
Ti Ti k t k t t k t k t k ti!
60
3 5
xylo
&4 ∑ ≈ œ ‰ Œ Œ ∑ 4
j j
yj
Hp.
? 43 ∑ ?≈ y ≈ Œ ‰ y ‰ Œ 45
& · &
>
ç ß ß ß
60
& 43 ∑ ∑ ∑ 45
Cel.
?3 ∑ ∑ ∑ 5
4 4
>—
I
>— >—
I II
60
& 43 J 45
pizz.
Vln. ∑ Œ ‰ Œ Œ
sÏz ß sÏz
>— >— >—

I II I
B 43 J 5
pizz.
Vla. ∑ Œ ‰ Œ Œ 4
sÏz ß sÏz
>—
I
˘·
I≤ ≈
arco
? 43 ·
45
pizz.
∑ &‰
?
ord. bowing Ad libitum
J
¬ –
Vc.
sÏz > p ß
ƒ p f
release from vertical bowing,
proceeding the glissando without
˘ ˘ ˘—
gap s.p.
˘— ord.
s.p.
—
s.p.
—
s.p.
≤
II
>≥ >
I
≥ ≤
b >œ b>–
ord.
J œ
b
ord.
? 43 45
ord.
œ –
9
D.B.
œœœœœœœœœ– – J
> > ç > ß ßp ß p
ƒ ƒ
p ß ßp
3
ß ƒ
3
gliss on IV string;
as fast as possible
114
18
63
5 4
& 4 b hæ h ≈ ‰ Ó Œ ∑ 4
>
Fl.
ß π
5 ≈ ‰ ¿ ‰. 4
Ob. &4 ¿ ¿
R
Œ ‰ ¿ ∑ 4
π pTi f
3
p f
ng
5 ≈ ‰ ¿ ‰. 4
Wah
B b Cl. &4 ¿ ¿
R
Œ ‰ ¿ ∑ 4
π p f
3
p f
ng Ti
Wah
?5 ¿ ≈ ‰ ¿ ¿ ‰. Œ ‰ ¿ ∑ 4
Bsn. 4 R 4
π pTi f
3
p f
ng
Wah
63
?5 ¿ ≈ ‰ ‰ ¿ ¿ ¿ ¿ ¿ ‰. Œ ‰ ¿ ∑ 4
Hn. 4 R 4
π Pt k t kßt!
3
p f
ng
Wah
B b Tpt. & 45 Œ ¿¿¿¿¿ ≈ Œ

R
Œ ‰ ¿ ∑ 44
p F
3
p f
t k t k t!
Wah
63
& 45 ∑ ∑ 44
Hp.
5 ∑ ? Œ Œ 4
&4 4
˙. #˙.
P
63
5 ‰ ¿ ∑ 4
whisper
&4 ∑ 4
3
p f
Cel.
?5 4
wah
4 ∑ ∑ 4
>— >—
ricochet
arco
#>· # · · · ·
I I
63
Vln. & 45 Œ Œ Œ æ æ æ æ æ 44
ç ç f
5
P
>— >—
ricochet
arco
I I
B 45 Œ Œ Œ æ æ æ æ 4
& #· · · · 4
>
Vla.
ç ç f P
>— >—
ricochet
arco
I I
#>· # · · · · ·
?5 Œ Œ Œ æ æ æ æ æ æ 4
Vc. 4 4
ç ç f
6
P
˘
s.p.
— ˘—
s.p.
≈ ‰
? 45 w 44
I
Œ
ord.
D.B.
¬. –. æ &
ç
p ƒ p
115
19
65
4 ∑ 6 ≈ #œ. œ. 4
4 Œ Œ ‰
overblow
Fl. &4 æ æ hæ 4
p f π
Ob. & 44 ∑ 46 ∑ 44
4 6 4
&4 ≈ r≈ ‰ Œ Œ Œ Œ
non vib.
B b Cl. j 4 4
œ. ˙. œ œ
π f P ƒ
Bsn.
? 44 ∑ 46 ∑ 44
blow through the end part

65
? 44 46 Œ Z ~~~~~~~~~~~~~~~~~ 44
of the mouth piece
Hn. ∑ Œ Œ Œ
F
intensely
B b Tpt. & 44 ∑ 46 Œ Œ Œ Œ Z ~~~~~~~~~~~~~~~~~ 44

F
# >œ
intensely
65
& 44 ∑ 46 Œ Œ ‰ œ
J
Œ Œ 44
p ß
Hp.
? 44 46 j ‰ Œ Œ Œ Œ Œ 44
gg –––
ƒ
w
P
#w
‡gg ––
g>
sÏz
>
65
4 6 # # œœ .. ˙˙
4
&4 ∑ 4 Œ Œ Œ ≈ J 4
Cel.
ß
?4 ∑ 6 ∑ 4
4 4 4
· ·
65 #·
& 44 46 Œ 44
cue by conductor
Œ ‰ æ æ æ ‰
I
Vln. æJ
morendo
P ƒ π
3
#· ·
4 Œ 6 #· æ æ 4
4 Œ ‰ ‰
I
&4 æ B 4
æJ
Vla.
morendo P ƒ π
3
? 44 œ œ. ≤
Œ Œ 46 ≈ æ. ¿ 44
s.p.
æJ æ J
œ æ
Vc.
> f p
Í f π
3
morendo
>
æ + ≈ ‰ L.V.
> 64 b œ
ord. acro/pizz.
œœ
& 44 œ b œ b œ œ # œ œ n œ . #œ œ nœ Aœ nœ œ. ≈ Œ Œ Œ Œ 44
9
?
> > > J œœœ
F >
D.B.
ç Ï çp R
fl
3
intensely
ƒ
116
20 whistle tones
harmonics Ad libitum c.a. 8''
4U
67
4 r≈ ‰ 6 2 ∑ 7
to piccolo
Fl. & 4 Hæ. ¿ 4 ‰ h ˙ ˙. 4 w 4 4

fl
ç P
4 ∑ 6 ∑ 4 ∑ 2 ∑ 7
morendo
&4 4 4 4 4
niente
Ob.
4 ∑ 6 ∑ 4 ∑ 2 ∑ 7
to bass clarinet
?
B b Cl. &4 4 4 4 4
Bsn.
? 44 ∑ 46 ∑ 44 ∑ 42 ∑ 74
? 4 Z ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 ˘M ≈ ‰ Œ
67
Œ Œ Œ Œ 4 ∑ 2 ∑ 7
Hn. 4 4 R 4 4 4
ƒ
˘
B b Tpt. & 44 Z ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 46 zR ≈ ‰ Œ Œ Œ Œ Œ 44 ∑ 42 ∑ 74
ƒ
67
4 ∑ 6 ∑ 4 ∑ 2 ∑ 7
&4 4 4 4 4
Hp.
? 44 ∑ 46 ∑ 44 ∑ 42 ∑ 74
[C#-C, E#-E, G#-G]
67
4 ∑ 6 ∑ 4 ∑ 2 ∑ 7
&4 4 4 4 4
Cel.
? 44 ∑ 46 ∑ 44 ∑ 42 ∑ 74
harmonic glissando on string I
#·
Try to make harmonic glissando in an improvisational way
67
4 ∑ 6 !!!!! !!!!!!! 4 2 7
Vln. &4 4 Œ Œ 4 4 ∑ 4
∏ as if secretly following flute part morendo
≥
B 44 ‰ j r≈ ‰ 6
4 ∑ 4
4 ∑ 2
4 ∑ 7
4
#– ¬ –
Vla.
p F p
? 44 ‰ ≥
r≈ ‰ 46 ∑ 44 ∑ 42 ∑ 74
ord.
j
#– ¬ –
Vc.
p F p
≥
ord.
?4 ‰ j r≈ ‰ 6 ∑ 4 ∑ 2 ∑ 7
arco
D.B. 4 – ¬ – 4 4 4 4
p F p
117
21
-
H Unfolding Quietly
piccolo œ ˙ ˙. w
non vib.
Picc. & 74 ∑ 46 ‰ . J 44 43 ∑
5
∏ F
œ-
morendo
˙. œ
non vib. vib. poco
Ob. & 74 ∑ 46 Œ 44 ∑ 43 ∑
∏ P ∏
-
non vib.
?7 Œ Œ 6 r ‰. 4 3
&w ∑ ∑
?
vib. poco
4 4 œ 4 4
non vib.
B. Cl.
# œ- w œ
∏ F ∏
-̇ ˙.
non -
poco
?7 Œ ‰ œJ œ w B 6 Œ 4 ∑ 3 ∑
vib. poco
4 4 4 4
vib. non vib.
Bsn.
∏ morendo
∏
-̇
poco
œ-
poco
˙.
71
?7 Œ w 6 4 3
non vib.
Œ 4 Œ ∑ ∑
non vib.
Hn. 4 & 4 4
∏ ∏
-
poco
7 6 ‰ œ w 4 3
non vib.
B b Tpt. &4 ∑ 4 Œ 4 ∑ 4 ∑
∏
3
poco
71
7 6 4 ∑ 3 ∑
&4 4 4 4
w. œ w.
â â
Hp.
f ƒ
?7 Œ Œ Œ Œ Œ Œ 6 ∑ 4 ∑ 3 ∑
4 –– 4 4 4
––
–
F
—g ww
play the arpeggio with random order;
with very slow speed
gg ww wwww
gently
ggg
71
7 ∑ 6 4 3
&4 4 Œ Œ gg 4 4 ∑
ggg π
ggg -
gg www 44 www
‡
Cel.
? 74 ∑ & 46 Œ Œ gg 43 ∑
° *
-·
I
≤ ·· .. 4 ··
non vib. II
71
7 6 · 3
&4 Œ ‰ 4 œj ‰ 4 Œ Ó 4 ∑
3
Vln.
œ œ w
œ- œ w œ
∏ p ∏ P
morendo morendo
≤ Ȯ-
non vib.
B 74 Œ ≈ œ. 6 j Ȯ .. 4 Oœ 3
œ w 4 œ ‰ & 4 Œ Ó 4 ∑
œ- . œ w œ
Vla.
∏ p ∏ P
morendo morendo
-̇≤
non vib. vib. poco
?7 Œ w 6 œ. ≈ & ‰ œO 4 O 3
4 J œO Ȯ .. Œ Ó ∑
3
Vc. 4 - 4 œ 4
∏ F ∏ P
morendo
? 7 ‰ ≤j b ˙- . 4 œ ‰ Œ
non vib.
6 3
non vib.
4 4 œj . ≈ Œ Œ 4 Ó 4 ∑
œ- ˙ w
D.B.
∏ p ∏ F
3
morendo
morendo
118
22
I With Flexible Tempo J Pulsations of Waves q = 76
∑ 4 ∑ 6 ∑ 3 ∑ ∑
Picc. & 4 4 4
∑ 4 ∑ 6 ∑ 3 ∑ ∑
Ob. & 4 4 4
U
? ‰ œ- œ # œ- œ œj œ 4 œ œ œ . ≈ j j
vib. molto
6 3
vib. poco non vib. vib. molto
J J 4 J 4 4 Œ ∑
3
œ- œ # œ œ w- . ˙
B. Cl.
P π
f
3 3
niente poco
as alone morendo
B ∑ 44 ∑ ?
46 Œ Œ Œ
3
43 r ≈‰ Œ Œ
Bsn.
‰‰
œ- ˙ ˙. œ
∏ f
cue by conductor
75
∑ 4 ∑ 6 3
4 Œ Œ j‰ 4 ∑ ∑
?
& 4
cue by conductor
≈ œ. ˙ œ
Hn.
π P
4 6
morendo
∑ ∑ ∑ 3 ∑ ∑
B b Tpt. & 4 4 4
75
∑ 4 ∑ 6 ∑ 3 ∑ ∑
& 4 4 4
Hp.
? 4 6 3
∑ ∑ ∑ ∑ œœœœ œœœ ‰ . Œ Œ
L.V.
4 4 4
> >
ç
—g œœ.
heavily
˘œ
fast arpeggio RH
‡
g Œ œJ gg # œœR ≈ ‰
75
∑ 44 ∑ 46 ∑ 43 ∑ Œ
LH
&
Cel. P3
∑ 4 ∑ 6 ∑ 3 ∑ ∑
humorously
& 4 4 4
75
Vln. & ∑ 44 ∑ 46 ∑ 43 ∑ ∑
∑ 4 ∑ 6 ∑ 3 ∑ ∑
Vla. & 4 4 4
44 ˘
∑ ∑ 46 Œ Œ Œ Œ Œ 43 ≈‰ Œ Œ
vib. molto
?
cue by conductor non vib.
& r
#œ ˙. œ
Vc.
π ß
˘
vib. molto
? 44 46 Œ 43 ˙˙ ..
cue by conductor
D.B. ∑ ∑ Œ Œ Œ ‰ œœ œœ œœ ≈‰ Œ Œ
π ß
119
23
80
Picc. & ∑ 42 ∑ 44 ∑
Ob. & ∑ 42 ∑ 44 ∑
? ‰ j r ≈ ‰ 2 ∑ 4 ∑
B. Cl.
# œ- œ œ 4 4
p fl
ß
? ‰ j r ≈ ‰ 2 ∑ 4 ∑
Bsn.
œ- œ œ 4 4
p F p
80
Hn.
? ∑ 42 ∑ 44 ∑
∑ 2 ∑ 4 ∑
B b Tpt. & 4 4
>
œ
œœ˘œœ œœ œœ œœœ¯ œ œ œ
4 œœœœœ
80 P
2 œœ >œ
& Œ Œ Œ J 4 Œ ≈ 4
3
> L.V. < < â

ç P f ç
3
œ
Hp.
? ‰ 2 4 ? j œ
gently
œœœœ ˙˙˙˙ 4 4
3
& &
œ > œ
œœœ ˙˙˙ > >
J œ
>
Ï Ï
˘ b œœ˘œœ ˘œ
œœœœ ≈ ‰ #œ œ œ nœ # œ˘œ ‰ Œ
3
80
R ≈ œr ≈ 2 4 ‰ bœ ≈ Œ Ó
& 4 4
ß fl ç
Cel. ß
œ œ #œ œ
ß —
2 œœœ
ß
4
& œœœœ 4 gg ∑ 4 ∑
p ° *
œœ œœ >œ
œ
80
‰ ‰
Vln. & ∑ 42 Œ æ 44 æ R ≈ ‰ Ó
3
π ß
Ÿi ~~~~~~~~~~~~~~~~~~~~~~
>œ
2 ‰ ‰ bœ 4 œ
Vla. & ∑ B 4 Œ & 4 R ≈ ‰ Ó
3
π ß
? ‰ ≤ r ≈ ‰ 2 4
j 4 ∑ 4 ∑
œ-œ œœ œœ
<
Vc.
p F p
≤ ¯
œœ- œœ # œœ ≈ ‰ >
pizz.
? ‰ 2 ∑ 4 Œ œ Œ Œ
D.B.
J R 4 4
p F p ß
120
24
>
with half airy noise
‰ œ #œ œ œ œ œ bœ œ nœ ˘œ œ œ œ ®# œ œ œ œ h# h h h
83
‰
Picc. & ∑ 42 44 J ‰ Œ
f 3 3 3
ç ß P
2 4 Œ r
Ob. & ∑ 4 ∑ 4 Œ Œ ‰. œ
π
? ∑ 2 ∑ 4 ∑
B. Cl. 4 4
Bsn.
? ∑ 42 ∑ 44 ∑
83
? ∑ 2 ∑ 4 Œ Œ ‰ œ œ. ≈
Hn. 4 4
∏
3
∑ 2 ∑ 4 ∑
B b Tpt. & 4 4
˙. .
gg œœœœ —g œœœ. √ .
fast arpeggio
‡ œœ . . ˙o
83 g gg œ 24 ggg œœ gg œœœœ gg œœœœ 44 Œ Œ
& g g
P f ç f
gg œœ.œœ gg œœ.œœ > P
Hp.
Œ Ó
&
2
4 ggg œœ.œœ g g ? 4 œ ‰
4 œ
Œ ÷.
>
ƒ L.V.
. 3
ggg # b œœœ —g b œ3œ gg n n # œœ. œ
‡
b œœœ
3
g b gg # n A œœ. œœ gg n b œœ. œ
3
g # œ
. g
Œ g
83
& Œ ‰ gg 42 g . g 44 ∑
P— œ ‰ f
gg n œœ
gg fl
‡
gg # œœ. œ 2 gg b b œœ. œ
Cel.
& g 4 gg œœ.œ 44 ∑ ?
° ß *
>
83 œ # œ. .
˘· œ. œ. œ. œ. œ
ricochet
I ·
Œ Ó 42 æ 44 J ‰ Œ ‰ ≈ œ. œ.
s.p.
Vln. &
ß p ß º º 3
pº
3
3
>
ricochet III
& œ Œ Ó 42 Œ b œO 44 Œ J ·.
pizz. arco
B
F> œ æ
Vla.
ß > p
ß
ricochet
? ∑ 2 ‰ ‰ ? 4 Œ œ J ‰ Œ
pizz.
& 4 œO 4
>
Vc.
> ß
F
≈ ·.
I s.p.
? ∑ 42 æ 44 Œ J ‰ Œ
pizz.
æ bœ
>
D.B.
p f morendo ß
121
25
˘
. . . . . . . .>
pure airy noise
86 b h h # h h n h h ≈ ˘h h. h. ˘ . . œ . œ. ˘œ
œ œœ œ bœ œ œ nœ œ œ bœ nœ bœ bœ œ h h h h ¿ ¿ ¿ œ œ œ bœ nœ bœ nœ h h h bh 3
‰ #œ œ œ nœ œ
Picc. & œ œ œ. 4
f
ß
5
˘œ p ç 7
R ≈ ‰ Ó ∑ 3
Ob. & œ 4
ß
? ∑ ∑ 3
B. Cl. 4
? ∑ ∑ 3
Bsn. 4
86
Hn.
? ∑ ∑ 43
∑ ∑ 3
B b Tpt. & 4
> œœ ˙˙
86 œ
œœœœ œœ>œœ ‰ . Œ Œ Œ ‰ æJ æ 3
& œ 4
p
Hp.
fß
? Œ Œ Œ œ- ∑ 3
4
F
86 b œ˘œœ œ.œ b œ.œ

6 .
n œœ
& Œ ≈ œ. R ≈ ‰ -œ œ-œ
Œ Œ Œ 43
5
> œ œ
ß ç
Cel.
b œ. œ
? œ-œ œ-œ ˙˙- ..
œœœ
- œœ
&.
œ.œ 3
4
P F π
œ. œ. √
. . . . b œ. .
# œ. ≈ œ œ. # œ. # œ . .
œ œ œ b œ œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. >¿
¿
œ. œ. . œ n¿ ¿
86
3
3
œ. œ. œ. œ.
3
œ. ≈ ≈ æ
3
Vln. & œ. œ. œ æ æ æ 4
œ.
F
3 3 3 3 3
p
3 3
ß
3 3
˘· œ. œ. . œ. . .
. œ. b œ œ b œ. œ. A œ œ. œ. œ. b œ.
ricochet
R ≈ & œ. œ. œ œ ‰ >
b b Oœ Ȯ
43
s.p. 3 ord.
B æJ œ. œ.
Vla.
œ. . œ
. æ
ß
ß p
3 3 3
3 3
p
3
>—
I
? ∑ Œ Œ Œ 3
pizz.
Vc. & 4
ç
D.B.
? ∑ ∑ 43
122
26
˘h ®b œ œ n œ b œ n œ œ # œ œ b œ n œ ®
88 bH ≈ ≈ œ œ bœ œ œ ≈ œ œ œ œ bœ nœ nœ ‰bh h h h h h ≈ ≈ ‰Œ
Picc. & 43 æ R ≈ ‰ 45 Œ 44 Œ
ç p
7
F
7
p
7
p
œ-
poco
3 ∑ 5 ∑ 4 Œ Œ Œ ‰
Ob. &4 4 4
π3
B. Cl.
? 43 ∑ 45 ∑ 44 ∑
?3 ∑ 5 ∑ 4 ∑
Bsn. 4 4 4
88
?3 ∑ 5 ∑ 4 ∑
Hn. 4 4 4
B b Tpt. & 43 ∑ 45 ∑ 44 ∑
√
√-
˙˙ œ˘œ >œœ . œœ
88
3 ≈ œœœœ ... ˙˙˙˙ œœœœ >œ œ . œ
.
&4 æ R ≈ ‰ 45 Œ Œ 4
4 Œ
ç f ß
Hp.
?3 ∑ 5 ∑ 4
4 4 4
—œœ .. ˘
‡
gg # n œœœ ≈ ≈ œbœ œ œ 4 œ
3
gg œ .
3
88
3
&4 ≈‰ 45 Œ œœ # œ ‰ . Œ Œ 4 R ≈ ‰ Œ Ó
>
ß — j P 3
3
Cel.
gg b œœœ œœœ b n b œœœ
3 5 œœ 4 ∑
&4 4 4
ç p
(√) >—
I
b X glissando
~~~~~~~~~~~~~~~ ˘¿ O.
88
Oœ Oœ Oœ Oœ b b Oœ n n Oœ 44 œ .
& 43 æ R ≈ ‰ 45 Œ
ad libitum
≈ Œ Œ
pizz.
Vln.
æ æ æJ æ æJ æ æJ
ç p 3 3 f
morendo
>—
I
˘O >
IV
3 Ȯ
&4 œ ≈ ‰ 45 Oœ Œ Œ B‰ ææ 4 æ
4 J ‰ Œ Œ
pizz.
Vla.
æ R ¿
ç ß P F f
>—
ricochet
I
>O
arco
& 43 œ Œ Œ 45 ∑ 44 Œ Œ Œ
pizz.
Vc.
f
ß
?3 ∑ 5 ∑ 4 ∑
D.B. 4 4 4
123
27
K
91
Picc. & ∑ ∑ ∑
œ
b ˙- . r≈ ‰ Œ Œ ∑
vib. molto
Ob. & œ
fl
ç
? ∑ bœnœ œ b œA œN œ œ b œ œ n œ œ œ œ œ A œ œ
œ b œ b œ b œ œ b œ n œ œ b œ b œ œ œb œ
3 3 3
‰ #œ œ Aœ œ œ bœ
3 3 3
B. Cl.
œ
p ƒ P f
3 3 3 3 3
?
as if emerging from the wave
∑ Œ ‰
Bsn.
˙. œ. ≈ œ b œ œ œ œ œ b œ n œ œ œA œ œ b œ œ
π f morendo
91 +
? ∑ ≈ œ‰ Œ Ó Œ Œ
fl b ˙æ
Hn.
ß P
harmon mute
B b Tpt. & ∑ r≈ ‰ Œ Ó ∑
œ
fl
(√) - ß
91 œœœ ... œ. œ
˙ œ ∑
5
& ˙ œœ œœ œœœ œœœ œœœœ œœœœ

F f
5
Hp.
? œ œœœ œœœ
L.V.
∑ œœ œ œœ œœ œ œœœ –– ∑
œœ œ ––
>
> ƒ
Ï
wildly
91
≈ bœ œ œ œ œ œ œ œ œ œ
& Œ J ∑ ∑
Cel.
p F π
5 3
& ∑ ∑ ∑
≤
91 arco b Ȯ- Oœ .. ≈ pizz.
˝
& Œ r≈ ‰ Œ Ó ∑
œ
Vln.
P ƒ ß>
>˝ bœ
B ∑ œ ≈‰ R ≈ ‰ Œ Œ Œ Œ
Vla.
R œ œ
ß >
f ß>
Ÿi ~~~~~~~~~~~~~~~
s.p.
bœ
molto sul tasto
∑ ? Œ R ≈ ‰ Œ
arco
& ‰
œ b œ. œ. œ. œ. œ œ n œ œ b œ b œ œ n œ œ b œ œ œ œ œ A œ n œ b œ
Vc.
> P f
f as if emerging from the wave
bœ æ
arco
? ∑ Œ œ R ≈ ‰ Œ Œ Œ ‰
> œæ
D.B.
f π
124
28
94
Picc. & ∑ ∑ 43
∑ ∑ 3
Ob. & 4
b5 5 n5 n5 5 b5 b5 b5 5 n5
5 5 5 5 5 b5
3
? 43
3 3
b
3
nœ ≈ ‰
5 5 5
3
5
‰ bœ œ œ œ œ œ œ 5 b5 5 5 5
3 5
B. Cl.
#5 n5 5 #5 5 &
> > >
ç
3 3
F
3
3 3
? r ≈ ‰ Œ Ó Œ Œ ‰ 3
intensely
bœ. 4
œ
Bsn.
fl p
ß
94
? r ≈ ‰ Œ Ó ∑ 3
4
nœ
Hn.
fl
ß
B b Tpt. & ∑ ∑ 43
—>
94 gg œœœœ
g Œ Ó ∑ 3
& 4
Hp.
ß
‰ > Œ Œ
using two palms to create cluster tremolo
? 3
œœœœ –r –– œ. ˙
Œ
–– 4
> ––– –– ––– –
œ. ˙
ç ≈ J P f
>
f
intensely
94
& ∑ ∑ 43
Cel.
∑ ∑ 3
& 4
94
Vln. & ∑ ∑ 43
œ 3
B Œ J ‰ Œ ∑ 4
Vla.
œ
>
ƒ
s.p.
>·
III
œ œ
with faster and shorter gliss. molto sul tasto
? r ≈ ‰ Œ · · bœ œ nœ œ œ 43
bœ œ œ #œ œ bœ œ œ bœ nœ œ œ nœ œ œ nœ bœ
5
œ
œ æ æ æ œ œ œ œ
Vc.
fl æ >
ß ß p intensely
3
I
˘ · · · ·
arco
? œ ≈ ‰ ‰ · · · ‰ 3
‰ Œ Œ
pizz. s.p.
R æ æ æ æ æ æ æ & 4
œ . ~~~~~~~~~~~
D.B.
ß > buzzing effect p f

ç
3 3 3
125
29
L q = 86
˘
˘
5 5 b 5 4 n œR ≈ # œ œ œ ≈ b œ n œ n œ œ œ œ b ˘œ
96
# ‰
& 43 # ‰ 45
Œ Œ ≈ 5 5 ≈ ‰
Picc.
5 4
p ß ß P f
˘
# œ # œ 4 œR
Ob.
3
&4 Œ Œ œ #œ #œ œ œ #œ 4 ≈ ‰ Œ Œ Œ 5
4
π ß
˘
& 43 5 # 5 5 n 5 # œ 5 5 # 5 n 5 5 b 5 n 5 b 5 n 5 5 œ œ b œ 44 œ ≈ ‰ ?Œ Œ 45
3 3 3 3 3
B. Cl.
R œ
f F 3
ç p
?3 j ‰ Œ 4 ∑ 5
Bsn. 4 œ œ 4 4
F π
>. 4 ˘¿ ≈ ‰
96
?3 Œ Ó 5
4 Y 4 R 4
æ
Hn.
ß p ç
B b Tpt. & 43 ∑ 44 ∑ 45
>œ
96 >œ œœ œ
3 ∑ 4 œ œ 5
œ≈ ‰ œœœœ œœœ 4
3
&4 4 œœœœ
6
J
>
Hp.
ƒ
?3 4 œœ œ
4 4 œœ œœ œœœ 5
œœœœ œœ 4
L.V.
÷.
> Ï
ç
— > —
g b œœ>œœ
‰gggg # # œœœœ ‰ ‰ gggg J
fast arpeggio
96
& 43 ∑ 44 Œ
ggg ggg
Œ 45
gg 3 gg
gg 3 ggg
g
‰gggg# b # b œœœœœ ‰ ‰ gggg b n b œœœœ
Cel.
3 ∑ 4 Œ Œ 5
&4 4 gg ggg J 4
g f ß
96 >œ
& 43 ∑ 44 Œ Œ ‰ ‰ 45
pizz. 3
Vln.
J œ
f >
F
· · · · · >
arco
B 43 ‰ ‰ æJ æ 4 Œ Œ œ ‰ 5
II pizz.
æ æ æ 4 ‰ ‰ 4
3
Vla.
J œ
π f >
f F
3 3
˘
& 43
·
· b · · · · · A · · · · · · n · #æ·
· · #· 44 ·R ≈ ‰ Œ ‰ Œ ?
45
pizz.
æ æ æ j
> n· · > bœ
Vc.
f p > >
ß f
œ ˘
3 Œ œ #œ œ œ #œ œ
œ 4 # œR ≈ ‰ Œ Œ ?‰
j 5
s.p.
&4 æ æ 4 4
æ æ æ æ æ æ œ
D.B.
>
ß F
3
p 5
126
30
œ bœ bœ œ œœbœ œ œ bœ nœ œ #œ œ #œ nœ
‰ Œ œ #œ œ
98
Picc. & 45 ‰≈ œbœœŒ Œ 44 Œ 45
f p F
˘
®œ œ # œ 4 œ ≈ ‰ œ b œ ˘œ
5 R 5
Ob. &4 Œ Œ Œ Œ ‰ 4 Œ ≈ ≈ Œ 4
ß
? 45 r 44
B. Cl. œ œ ≈ ‰ Œ Œ ∑ 45
ç
œ bœ
?5 Œ Œ Œ ‰ œbœ œ bœ ‰ 4 ∑ 5
Bsn. 4 4 4
3 3
f
98
?5 ∑ 4 ∑ 5
Hn. 4 4 4
+ o
j j
B b Tpt. & 45 ∑ 44 Œ Œ ‰ œ œ ‰ 45
p f
œœ>œœœ > ˘
ggg œœœœ
5 œ
98
‰
œœœœœ
≈ œœ>œœ ˙˙˙˙
4 Œ Œ ‡ J ‰ ‰
j 5
5
œ
3
&4 4 4
ç ç f
j
Hp.
?5 œœœ œ œœœ 4 5
4 œœ œ ˙ 4 ∑ 4
––– œ ˙
–– >
>
sÏz
— b œœ. . —n œ˘œ —œœœ œœœ
‡ gg œ œ
> ggg œ
# # œœœ # œœœ ≈ ‰ 44 ‰gg # œ gg n œœœ ‰ g J ‰ n # œœœ œg
98
& 45 Œ Œ Œ Œ 45
‡
ggg
> P
3
f
ç
Cel.
5 ∑ 4 ∑ 5
&4 4 4
b ˘œ
œ
bœbœ
98
& 45 j ‰ œbœ œ 44 Œ 45
arco
Œ Œ R ≈ œ Œ Œ
pizz.
œ
3
œœ ƒ>
Vln.
P ß
3
3
œ b ˘œ
.
B 45 J ≈ œ œ œ œbœ bœ J 4 Œ 5
3
Œ ‰ œ Œ Œ
arco pizz.
œ# œ œ n œ 4 4
B œ
3
& &
ƒ>
Vla.
P ß
3 3
bœ ˘ >I·
? 45 œ Œ ‰ œ œ œ #œ
œ
& œ œ bœ
b œ n œ œJ 44 Œ Œ Œ 45
3
?
arco 3 pizz.
&
Vc.
> œ
F P ƒ
ß
3 3
˘
?5 ‰ œ œJ 4 Œ > 5
III
Œ ‰ œ Œ · Œ Œ
arco pizz.
4 J #œ œ œ œ 4 4
3
D.B.
ß ƒ
P
3
127
31
˘
œ M
100
5
&4 R ≈ 44
to flute
Picc. ‰ Œ Œ Œ Œ ∑ ∑
ç
5 ∑ 4 ∑ ∑
Ob. &4 4
? 45 ∑ 44 Œ Œ Œ œ bœ œ œ #œ nœ nœ bœ ‰ Œ
3 3
‰
3 3 3 3
œ œ œ œ #œ nœ œ bœ ≈ œ
B. Cl.
p F
˙
?5 ∑ 4 ∑ B Œ Œ
Bsn. 4 4
p
r r
tongue only
100
?5 ∑ 4 Œ Œ ≈ ‹. ‹. ‹. ‰ ‹. ≈ Œ ‹. ‹. ‹. ‹. ≈ ‰ Œ
Hn. 4 & 4 ≈
f
B b Tpt. & 45 ∑ 44 ∑ ∑
√
>˙ ˙
100
5 Œ 4 Œ Œ ˙˙˙˙˙
&4 w 4 ˙˙
Ï -̇
P
>œ
Hp.
?5 ‰ w 4
4 œ w 4 ∑
J
ƒ
— . . . b b œœ.œ
44 ≈ gggg n # œœœ œ Œ gg n # œœœœ.œ œœœœ œœœœ œœœ ≈ ≈
‡
RH 3 3
100
& 45 ∑ g ≈
Œ g ‰ Œ Œ
P p
3
—n # œœœ
Cel.
5 ∑ 4 œ Œ œœœœœ n œœœœœ n # œœœœ œ
LH played by left palm
&4 4 œ ggg œ . . .
fl .
ß
≤
100arco >œ œ- œ >≥O Oœ≤ ..
s.p. non vib. ricochet
œ œ œ
& 45 œ Œ Œ Œ Œ 44 ‰ J ‰ œ ®Œ Ó ‰
3
ord.
bœ
Vln.
π f F p
ç
3 3
œ-≤ >≥·
ricochet
>œ œ
s.p. non vib.
5 œ œ œ Œ Œ Œ Œ 4 ‰ J ‰ Œ Œ Œ Œ ≈Œ
arco 3
I
&4 4
ord.
B
Vla.
œ œ
π f F
ç
3 3
>œ b œ-≤ œ >

œ œ # œ œR
s.p. non vib.
& 45 œ # œ b œ œ Œ Œ Œ Œ 44 ord.
‰ J ‰ Œ Œ ? ≈ Œ Ó
3
arco
Vc.
#œ π f ß
ç
3 3 3
P
circular bowing
?5 Œ 4 r ≈ ‰
s.p.
Œ Ó ∑
arco vib. molto
4 w- 4 œ
>
D.B.
P ç
explosively
128
Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~
32
.
> ≈ > ≈ œ ˙
jet whistle
103 ≈
Fl. & ∑ J ‰ Œ Œ Œ
ß ß π
b œ. œ. ≈ . . .
œ. b œ b œ. n œ. ‰ # œ. n œ . # œ
∑ Œ œ- œ . b œ. r ≈ b œ. A œ. ‰
œ. œ
Ob. & .œ œ bœ
‰ œ.
fl
π
5
p ß
5
5
? ∑ Œ Œ r ≈
3 3
≈ œ ≈ Œ Ó
B. Cl.
œ œ œœœœœœ œ fl
fl
p ß ç
>œ
B R ≈‰ Œ Ó ∑ ? Œ Œ
œ œbœ
3
Bsn. & œ œ
ß p
103
Hn. & ∑ ∑ ∑ ?
B b Tpt. & ∑ ∑ ∑
103 œœ>œœœ P >œ

P P
Œ ‰ Œ Œ œ ‰ Œ Ó ‰ Œ Ó
& œœœœœ
ç
3
ß >
ß
œœ>œœ
Hp.
P
? ∑ Œ ‰ j ‰ Œ Ó
œ ˙
œ ˙
â
ƒ
˘ ˘œ
103ggg b n b b œœœœ œ —n # œ.œ œ
&‡
RH
. . 3 œ
‰ œœœœœ œœœœœ ≈ œR ‰ ‰ œj
LH
≈‰ Œ Œ Œ Œ gg œœ ≈ ‰ Œ Œ ‰
3
g
‡
R gggb n œ œœœœ
ç R ß fl
F ß
3
Cel.
Œ Œ Œ ‰ œœ œœœ ∑ ∑
3
& œœœ œ.œ

.
P
> ≥ 3 Oœ-≤
b b Oœ ≈ ‰ Œ >
‰ œ Œ
pizz.
103
Œ Œ ‰ r ‰.
L.V. arco
& R ‰
3 3
Vln.
œ œ œ œ œ bœ ‰ -· ·
ç œ f â œ P
> ƒ f
f
≥ 3
> b Oœ-≤
B Œ Œ
>pizz.
œ Œ ‰ œ Œ Œ ‰ œ œbœ œ œ ‰ ‰ -· · ‰.
L.V. arco 3
Vla.
â b œ R
f f P
f ƒ
3
≥
> > >
b Oœ I ·œ ‰ ·
äœ
pizz.
Oœ œœ œœœ r
I
? ‰ . Œ Œ Œ ‰ ‰ ‰ -· · ‰. Œ
arco 3
Vc. R
p ç f f f
ƒ
3
3
>·
ricochet
≥ 3
? >
‰ ·
III
Œ Œ Œ Œ &Œ ‰ Œ ?Ó
pizz.
œ#œnœ œ œ œ ‰
arco 3
â
D.B.
f f ƒ
129
33
>œ > >œ
> œ œ # œ n œ œ œ. > œ b œ n œ œ. œ # œ n œ œ. œ. œ. b œ.
b >œ œ œ b œ œ œ œ œ bœ nœ œ
œ b œ œ œ. ≈ ‰
106
Fl. & R ≈ ‰ R ≈ ‰
R
R ≈ R ≈
ß ß 3 3
ß ß ß
˘ œ. œ.
. œ. œ. œ. b œ. b œJ œ. œ. # œ. .
œ. œ . n ˙
5
Ob. & œ ‰ Œ Œ
œ. œ. bœ
ß
5
œ
#œ nœ œ œ œ #œ
5
? bœ nœ œ #œ œ >œ œ b œ 3
œ b œ ‰ Œ ‰ œ œ œ
œ # œ n œ œ œ b œ œj
3 3 3
B. Cl.
#œ œ
P ƒ .
P
3 3 3
ƒ
3 3
˘
œ bœ nœ bœ œ
? bœ œ bœ bœ bœ nœ nœ bœ J ‰ œ œ #œ œ ≈ ‰ Ó
3
Bsn. J R
ç F ƒ
3 3 3 3
106
? Œ ‰ j r ≈ ‰ Ó
Hn.
œ ˙ œ œ
p ƒ
˘
& ∑ Œ œ ≈ ‰ Ó
B b Tpt.
R
ß
106
& ∑ ∑
Hp.
? Œ ‰ j ∑
œœ ˙˙
œœ ˙˙
>
Ï
˘
106 œ œ. g n b b œœœ>œ œ # œ œ œ œR
œ ≈ ‰ gg œ ≈ ‰ Œ Œ œ œ bœ nœ
&
R œ bœ nœ œ #œ œ œ bœ ≈ ‰
Cel. ç P ß
& œœ ∑
>
˘
106 Oœ Oœ œ œ #œ œ œ œ #œ œ #œ œ œ nœ œ œ œ nœ œ bœ œ œ œ
œb œn œb œ œ œ #œ bœ nœ
& R ≈ ‰ ‰ bœ œ œ
3
Vln.
œ œ œ b œ
f p ƒ P
3 3 3 3 3 3
˘œ œ œ #œ œ
O Oœ œ #œ œ nœ œ œ bœ nœ œ œ
B œ R ≈ ‰
bœ
#œ œ #œ nœ #œ œ @ &@œ œ œ
3
Vla.
@ @ œ
f p ƒ P
3 3
3 3
3
œ bœ nœ r
? ‰ œ b œ b œ n œ œ @J @ @ œ ≈ ‰ Ó
3
œ b œ œ@ œ@ # œ@
3 3 3
# œ n œ &
#œ œ œ fl
Vc.
P ç
3
? Œ ‰ j r ≈ ‰ Ó
D.B.
œæ ˙æ œæ œ
p fl
ƒ
130
34
>œ
N Intermingling Waves
œ œ bœ nœ >œ œ- . >œ
œ œ bœ nœ œ œ œ bœ nœ œ œ.
108
œ œ #œ
#œ aœ nœ ‰ ‰ œ. ‰
Fl. & ‰ œ J ‰ 42 R ≈ ‰ Œ 44
P ç ç p ç
ƒ
bœ ˙ n ˘œ >œ >œ
œ b œ. ‰ œ- . >
2 œ
Ob. & R ≈ ‰ b œ. ‰ ‰ 4 R≈‰ Œ
4
4
ç ç ç p ç
? Œ ∑ 42 ∑ 44
˙æ.
B. Cl.
P
Ï
œ- . >œ
Bsn.
? ∑ Œ Œ ‰ 42 R ≈ ‰ Œ Œ44
p ç
˘œ ˘œ ≈ 2 >
108
? ∑ R ≈‰ ‰ ‰ 4
& 4 r≈ ‰ Œ 4
œ- . œ
Hn.
ç ç p ß
>œ . >
œ ‰ ‰ œ b œ. ‰ œ- . 2 >œ 4
remove mute
B b Tpt. & ∑ 4 R≈‰ Œ 4
ç ç p ß
> >œ
œœ œ
J ‰ r≈‰ œœœœ ‰ œ 2 Œ ‰ œ 44
108
‰
& Œ Œ Œ œœœœœ ‰ 4
œœ ç > œœœœ J
fl > ß
3
Hp. P ß
? >r
∑ ∑ 42 œ œ
≈‰ 44
> ggg œœœœœ
œ
ƒ ‡ g
ß
—b n œ˘œœ œ
g œ
Œ gg
108
∑ ≈‰ Ó 2 ∑ 4
& R 4 4
ç
˘œ
Cel.
ggg n # œœœ œ ≈ ‰ 42 44
‡
& ∑ Œ Œ Œ ∑
R
bœ bœ œ nœ œ bœ œ bœ n äœ >œ
œ
108 œ
œ œ bœ bœ n œ œ œ Aœ nœ œ
œ œ # œ œ R ≈‰ œœœ Œ 2 j 4
3
& 4 Œ ‰
bœ 4
pizz.
œ œœ >
Vln.
F ƒ f
3 3 3 3 3 3
ƒ ç
3 3
3
œœœœ œ œ œ
äœ >œ œ
œ nœ œ #œ œ bœ nœ bœ œ œ Œ 42 Œ 44
3
b œ bœ nœ R ≈‰
3 3 pizz.
&
3
œ œ œ œ B
≈# œ .
3
œ œ bœ œœ >
Vla.
F ƒ f
3 3 3
ç
3
ƒ
3
äœ >œ
œ bœ œ #œ œœœŒ 2 4
& Œ Œ
œ bœ nœ
R ≈‰ 4 Œ 4
3 3 3 pizz.
œ #œ
Vc.
œ œ bœ nœ œœ >
ƒ ç F f
5 3
? ∑ ∑ 2 ∑ 4
D.B. 4 4
131
35
œ- . . . . . . ˘
œ ≈. œ œ œ œ œ œ # œ ≈
111
æJ ‰
Fl. & 44 Œ Œ Œ æ ‰ Œ ∑ 46
p 7
ß
œ- œ
4 Œ Œ Œ J ‰ Œ Ó ∑ 6
Ob. &4 4
p
œ- œ
B. Cl.
? 44 Œ Œ Œ æ æJ ‰ Œ Ó ∑ 46
p
?4 ∑ ∑ ∑ 6
Bsn. 4 4
111
4 ∑ ∑ Œ Œ ≈¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ‰ 6
Hn. &4 R 4
7
P
# œ- ˘œ
t k t k t k t!
B b Tpt. & 44 Œ Œ Œ œ
J ‰ Œ R ≈ ‰ Œ ∑ 46
p ß
>œ
>œ oo
œ > œ P
111
4 ‰ œ ‰ œœœœœ œœ œœ ≈ g œ>œœ ≈ R ≈ ‰ 6
&4 Œ
3
œœœ ≈ ‰ Œ R gg œ
ß ß
‡ R
Œ
ƒ
Œ œœ
F
-
Œ Ó 4
g œœ>œœ ≈ œœ
Hp.
?4
4 ‡
‰ ggg œœ Œ
p
∑ ∑ 6
4
— n # œ˘œ .
# b œœœœ n >œœ .
˘
≈ b œœœ # œœœR ≈ ‰
111
& 44 gggg# œœ # œ .. b œ. œ. œ. œ. œ. œ. œ.# n œœœ
Œ ∑ 46
7
gg ß
ggg fl
g ß
4 gg ? #œ.
Cel.
# œœ 6
& 4 gggg # œ ≈ ‰ œ ≈ ‰ ‰ œ. & ∑ ∑ 4
ggg # œ
g R ƒ
ß
· #· #· >
#· #· · · · · · · · · ·
I
111
& 44 Œ Ó Œ Œ ‰ æJ æ æ æ æ æ æ æ æ æ æ æ æ æ 46
arco
Vln.
∏
3
ß
3
p 3
>·
>œ
B 44 J 6
I
Vla. Œ Œ Œ Œ ‰ Œ ∑ & 4
F ƒ
& 44 Œ Œ Œ Œ ‰ j
· Œ ∑ 46
I
œ >
Vc.
> ƒ
F
?4 6
vertical bowing
4 j ∑ 4
3
œ œ – – – ¬
D.B.
> > >
ƒ p Ï p
bowing ad lib.
132
36
114
Fl. & 46 ∑ ∑
6 ∑ ∑
Ob. &4
B. Cl.
? 46 ∑ ∑
?6 ∑ ∑
Bsn. 4
114
6 ∑ ∑
Hn. &4
B b Tpt. & 46 ∑ ∑
114
6 ∑ ∑
&4
œœ-
Hp.
?6 Œ Œ œ Œ Œ ∑
4
œ-
P
114 œ. œ. œ. œ. œ. œ. œ.
& 46 ∑ Œ Œ Œ Œ Œ
Cel.
p 7
6 ∑ ∑
&4
>
114 #· #· · · · · · · · · · · · · #· #· · · · · · · · · · · · ·
Vln. & 46 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
π 3 3 3
ß π
3
#· · · · · · · · # ·· # · ·· · ·· >· ··
6
& 4 ‰ # # ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · · · · ·· · ·· · ··
arco
Vla. # · · · · · · ·
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
π
3 3 3 3 3 3 3
ß π 3 3
arco
& 46 Œ ··æ ·æ ··æ ·æ ··æ ·æ ··æ # ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ
3 3 3
Œ ‰ # ·æ
· · · · · · · · · · ·
Vc.
π >
ß π
?6 ∑ ∑
D.B. 4
133
37
>
˘
¿. ¿. ¿. ¿. ¿. ¿. ¿ ≈ ‰
116
Fl. & Œ Œ R≈‰ Œ Œ Œ Œ Œ Œ Œ
ß 6
P ß
t k t k t k t
Ob. & ∑ ∑
B. Cl.
? ∑ ∑
Bsn.
? ∑ ∑
˘ ≈ >¿ ¿ ¿ ¿ ¿
¿. ¿. ¿. ¿. ¿. ¿. ¿ ≈ ‰
116
Hn. & ∑ Œ Œ Œ
6 6
P ß f
t k t k t k t t k t k t
≈¿¿¿¿ ˘ ≈ >¿ ¿ ¿ ¿ ¿
& Œ Œ Œ Œ Œ ¿ ≈ ‰ Œ Œ Œ Œ
B b Tpt.
R
√—
5 6
œ œ œ œ œ >œ P ß f
t k t k t t k t k t
gg œœœ
œ. Œ rP
116
R ≈‰ Œ Œ Œ Œ Œ ‰ Œ
& œ. ≈ ‰ Œ
F
5
ç ß ß
Hp.
? Œ Œ Œ Œ Œ Œ Œ Œ Œ
œœ
Fâ
˘
gg n # œœœœ˘œ
116 ˘œ
& R ≈ ‰ Œ Œ Œ Œ Œ Œ Œ Œ ‡
‰
g
‰ Œ ≈ œ ‰
bœ
ß
≈ œ. œ. œ. œ. œ. œ. ˘œ ≈ ‰ ß
3
Cel.
& ∑ ?
R Œ Œ Œ Œ
p 7 ß
#· > #>· # · >·

116 # · · · · · · · · · · · · · · · · · · · ‰ · ·
Vln. & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
ßπ ß ß π
3 3 3 3 3 3
> #· ·· >· ·· · ·· · ·· · ·· # ·· >·

& # # ·· · ·æ #· ·æ · ·· · ·· ·æ ·· ·æ
3
· · · · · # · · · · · · ·
æ æ
Vla.
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
ß π ß π 3 3
ß π
3
& # ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ··æ ··æ ·æ ··æ ·æ ··æ ·æ
3 3 3 3
‰
3
# ·æ ·æ ·æ
· · · · · · · · · · > · · ·
Vc.
ß> π >
ßπ ß π >
ß
D.B.
? ∑ ∑
134
38
˘ ≈ # œ. œ. œ. œ. œ. œ. # ˘œ ˘r
118
‰ ‰ Œ Œ Œ Œ R≈‰ Œ Œ ≈ ‰ Œ
Fl. & hæ œ
ß
3
P 7
ß p ß
-
j #œ œ œ >¿ ≈ ‰
& Œ Œ Œ Œ Œ Œ
3
#œ Y
R
â
Ob.
F ∏
pKwah ç
? Y. r
¿ ≈ ‰ Œ Œ ˙ œ ≈‰ Œ Œ Œ
B. Cl.
R
p ç
pDang F p
? Y. ¿ ≈ ‰ Œ Œ Œ Œ Y >¿ ≈ ‰ Œ
Bsn.
R R
pDang p p ç
Kwah
F
118 ˘ ≈ >¿ ≈ ‰
Hn. & ¿R ≈ ‰ Œ Œ Œ ‰ ¿ Œ Œ Œ Y
R
Œ
p ç
pk!
Kwah
ß
Ti!
˘ ≈ r≈‰
& ¿ ≈‰ Œ Œ Œ ‰ ¿ Œ Œ Œ Œ Œ
œ. œ. œ. œ. œ. œ. œ.
6
B b Tpt.
p F
pk! ß
Ti!
√ ˘
√
— —œ˘œœ √
œ˘œ ˘œ œ
118g œ˘œœ ˘
ggg œœœœ œœœ œœœ R ≈ ‰ —g œœ˘œœœ ≈ ‰
œ. gg
‡
˘ ˘ œ
g
& R ‰. R ‰ R Œ ≈ œœœœ ‰ ‰ gg œœœœœ œ ‰ R ≈
‡
Œ R ≈ ‰ ‰ Œ ‰ ≈Œ ggg
R g gg R
ç gg sFz ß
3
P ggg ˘
ß ˘œ
3
gg œœœœœ
Hp.
? Œ ä œ- Œ ‰ ‰ gg
Œ Œ Œ œ ≈ ‰ Œ Œ gg R ≈ ‰ Œ
R œ- 3
ƒ
— # ˘œ ≈ — — —
‰gg # # œœ ‰ ≈ # œ œ œ œ œ œ œ œ œ ‰ gg n # œœœœ˘œ ‰ . g n # œœœœ gg ‰ # b b œœœœ ≈ ‰ n # n œœœœ-
‰ ‰gg œ Œ
118
& Œ Œ Œ œœœœ
7 3
. . . . . .>. . g g R
ß R r P
3
3
Cel. 3
? ∑ Œ Œ gg n b b œœœœ ‰ . Œ ‰ œœ
‡
?
œœœœ
3
& g # œœ
-
#· >
118 # · · ··· · ·· · · · >· #· #· · >· · · · · · · ·
Vln. & æ æ æ æææ æ ææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
3
ß π
3 3
ß π 3 ß π
3 3
#>· · · æ · ··æ · >· · #· >· · · · ·· ·· ··æ · ·

& · # # ·· · ·· · ·· ·· ·· # # ·· · ··
3
· · · · ·· · · · ·
æ æ æ æ
Vla.
æ æ æ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ
ß π ßπ
3
3 3 3
æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ··æ æ ··æ æ æ æ æ æ ··æ æ æ æ æ ··æ ·æ ··æ

& ·· # ·æ æ
3 3 3 3
# ·· ·· ·· ·· ·· ·· ·· ·· ··
3
· · · · ··æ ·· ·· ·
>
Vc.
π > π >
ß ßπ
?
pizz.
∑ œ Œ Œ Œ Œ Œ
>
D.B.
135
39
œ œ ˘œ œ. œ. œ. œ. œ. œ. œ. ˘œ
˘ ˘
120
æJ æ ≈
& Œ ≈R ‰ Œ ‰ R ≈ ‰ Œ Œ ‰ Œ R ≈‰ 43
p
Fl.
ß ç ß 7
ß
œ. œ. œ. œ. œ. œ. œ. ˘œ 3
Ob. & ∑ Œ Œ Œ R ≈ ‰ Œ 4
7
ß
? ∑ Œ Œ 43
w
B. Cl.
P
? Œ œ œ bœ 3
Œ Œ J R≈‰ Œ ‰ j 4
Bsn.
œ. œ ˙.
p ç
P
120
∑ Œ Œ 3
& # ˙- 4
-̇
Hn.
π
+
∑ Œ Œ 43
harmon mute
B b Tpt. & w-
√ π
(√)
— ˘œ œ˘œ
120gg œœœ ä ˘œ ˘
œœœœ ˘ ˘
√ ˘
œ
˘ œœœœœœœ œœœœœœœœ
g gg œœ
g ‡ ä œ œœœ œœœœ ≈ ≈ œ œ
j
œ 3
& R≈‰ R ≈ ‰
œ R
œ ‰ ‰ ≈≈ R ‰ œœ r ≈ ‰ œœ ≈ ‰ R ≈ ‰ R ≈ ‰ 4
R R œ R
ç P fl ß ç
Hp.
3
ç ßç
r œ
? Œ Œ r ≈ œœœœœ ‰ ‰ œJ ≈ R œr ≈ Œ 3
œ ≈‰ Œ
œœœ
Œ 4
fl fl fl
ß
˘ ˘
—# œ˘œœ
slide to the highesst note of celesta
ggg œ —b œ˘œœ n œ. œ. œ. œ. ˘œ äj # œœœœœ r n œ n

3
œ œ j
n b œœ b n œ œ
120
# œœ gg # œœ‰ # n œœ ≈ J R ≈ 43
& ‰ R ≈ ‰ # œ n # œœœ ≈ ‰ ‰
œ. œ. œ. œ. œ. œ. œ R
≈ R ≈ n b œœœœœ œœœœ ... # œ . . ‰ œ œ ‰ œ
3
œ.
ß fl ß ç F nœ f P ß ç
Cel.
çfl œœœœœ œœœœœ ....
? ∑ j R ?3
&
# # œœ. n œœ. œœ b b œœœœ ‰ œ J ≈ 4
fl fl
120 #>· # · >

· · >· · · · · · · · · ·
increase the speed of glissando
# · · · · · · · · >· · · ·
to enhance the density of overall
& æ æ æ æ æ æ æ æ æ 43
texture
Vln. æ æ æ æ æ æææ ææ æ æ æ ææ æ æ
ßπ ßπ
3
ßπ
3
ßπ
cresc. poco a poco
>#· · · · >· ·· # ·æ # ·· ·· · ·· >· · ·

& # # ·· · ·· · ··
· ·æ · · · ·æ ·· 3
3
· · · · # · · · ·· · 4
Vla.
æ æ æ
æ ææ æ æ æ æ æ æ æææ ææ æ æ
ßπ
3
ßπ ßπ
3 3
cresc. poco a poco
& # ·æ ··æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ ·æ ··æ æ

# ·æ ··
æ ··æ ·æ ·æ ·æ ·æ ·æ 43
3 3 3
·æ ·
· · > · · · · · · · ··· ·
Vc.
ßπ > ß> π
ßπ
cresc. poco a poco
? ∑ Œ Œ 3
arco
4
w
D.B.
136
40
O
>
122
Fl. & 43 ∑ 44 Œ Œ ∑ 42
f
3 ∑ 4 ∑ ∑ 2
Ob. &4 4 4
? 43 r≈ ‰ Œ Œ 44 ∑ ∑ 42
œ
B. Cl.
>
sÏz
?3 r≈ ‰ Œ Œ 4 ∑ ∑ 2
4 4 4
œ
Bsn.
>
sÏz
122
3 r≈ ‰ Œ Œ 4 ∑ ∑ 2
Hn. &4 œ 4 4
>
ß
3 o 44
B b Tpt. & 4 œr ≈ ‰ Œ Œ ∑ ∑ 42
>
ß √
œ ˙˙ ˙˙ ˙˙
122
3 Œ œ 4 J ‰ Œ æ æ æ 2
&4 4 4
f p p
Hp.
?3 4 2
4 j ‰ Œ Œ 4 ∑ ∑ 4
œ
fl
ç
b œ.œ .
œ.œ œœ # œœ œ . ˙ .
6 as fast as possible
122
& 43 ∑ 44 Œ Œ Œ æ æ 42
Cel. p
?3 ∑ 4 œœ. # œœ. n œœ. ∑ 2
4 & 4 4
move to the highest position with slight glissando to create
Oœ Ȯ .. Oœ b b Oœ Oœ Oœ Oœ Ȯ ~~~~~~~~~~
of the string fluctuation
122 #·
& 43 æ æ æ 44 ‰ J 42
ƒ P
Vln.
3
˘O Oœ .. Ow
3 æ 4 Œ œ 2
& 4 # # ··
ricochet
æ 4 ‰ æ 4
æ
Vla.
ƒ ç F
æ
ricochet
æ
& 43 # ·æ æ
44 Œ ‰ œO ‰ œO wO 42
· æ fl
Vc.
ç F
ƒ
?3 r≈ ‰ Œ Œ 4 ∑ ∑ 2
4 4 4
œ
D.B.
>
sÏz
137
41
P With Growing Excitement

> 44 ¿r ≈ ‰ Œ
125
& 42 Y 44 ¿ ≈ ‰ Œ Ó 43 ‰ ‰ ¿ Y Ó ∑ ∑ 45
3
Fl.
R
f P P ƒ
Dang Wah
ß
2 > 4 ¿ ≈‰ Œ Ó 3 4 ¿r ≈ ‰ Œ 5
4 ‰ ‰¿ Y Ó ∑ ∑
3
Ob. &4 Y 4 R 4 4
f P P ƒ
Dang Wah
ß
? 42 >Y 44 ¿ ≈ ‰ Œ Ó >
43 ‰ ‰ ¿ Y 44 ¿ ≈ ‰ Œ Ó ∑ 45
vib. molto
B. Cl.
R R ˙ œ œ œ
P çp
P
3
f ß ƒ
Dang Wah
P
? 2 >Y 4 ¿ ≈‰ Œ Ó 3 ‰ ‰¿ Y 4 ¿ ≈‰ Œ Ó ∑ 5
Bsn. 4 4 R 4 4 R w 4
f p
P
3
ƒ
Dang Wah
f P ß
125
2 4 Œ Y. 3 4 ¿ ≈‰ Œ 5
∑ 4 ¿. ¿ Y Ó r≈ ‰ Œ Ó
?
&4 4 4 R 4
æ æ w œ
Hn.
P
tkt... Ti
ƒ P ß
B b Tpt. & 42 ∑ 44 Œ Y. 43 ¿ . ¿ Y 44 ¿ ≈ ‰ Œ
R
Ó ∑ ∑ 45
æ æ
(√) P
tkt... Ti
ƒ
>œ
125 œ P
2 R ≈‰ Œ 4 ∑ 3 4 ¿ ≈‰ Œ 5
&4 4 4 ‰ ‰¿ Y 4 R Ó ∑ ∑ 4
ç
P
3
ƒ
Wah
Hp.
[D-D#, G-G#]
?2 ∑ 4 ∑ 3 ∑ 4 ∑ ∑ ∑ 5
4 4 4 4 4
125 ˘œ
& 42 R ≈ ‰ Œ 44 ∑ 43 ≈ ¿ . ¿ Œ 44 ∑ ∑ ∑ 45
Cel. ç p
kwah
ƒ
2 ∑ 4 ∑ 3 ∑ 4 ∑ ∑ ∑ 5
&4 4 4 4 4
Oœ
44 >Y .
125
Vln. & 42 R ≈ ‰ Œ ¿ ‰ 43 ≈ ¿ . ¿ Œ
J
44 ∑ ∑ ∑ 45
ç
f p p ƒ
Ti kwah
œ
2 œ 4 >Y . ¿ ‰ 43 ≈ ¿ . ¿ Œ 4 5
Vla. &4 R ≈‰ Œ 4 J 4 ∑ ∑ Œ Œ
˙˙ 4
ç >
f
Ti
p p
kwah
ƒ ƒ
r
& 42 œœ ≈ ‰ Œ 44 >Y . ¿ ‰ 43 ≈ ¿ . ¿ Œ 44 ∑ ∑ ? b ˙>˙ ˙˙ n œœ 45
Vc.
J
ç ƒ F
f p p ƒ
3
Ti kwah
4 ≥ ≥
lower than the original pitch
↺ 3↺
?2 ∑ 4 >Y . ¿ ‰ 43 ≈ ¿ . ¿ Œ j j 5
4 4 4 4
ord.
D.B.
J ¬ œ. œ œ œ œ ¬
> > > >
f
Ti
p p
kwah
ƒ Ï P ß ß sÏz
138
42
131
Fl. & 45 ∑ 43 ∑ 44
5 ∑ 3 ∑ 4
Ob. &4 4 4
˘
? 45 œ # œ œ b œ 3 n œ œ œ # œ œ # œ œR 44
r ≈ œ œ #œ œ œ 4 ≈ ‰ Œ
3
œ ˙æ œ
B. Cl.
> fl f sÏz
ß
3 3
ç
3
3
äœ ä˙ .
?5 ä 3 4
4 œ bœ 4 4
5 5 5
Bsn.
œ b œ œ œ nœ œ œ œ bœ nœ œ œ œ bœ nœ
â 3 ƒ
f
131
?5 Œ Œ Œ 3 4
4 4 4
˙ ˙.
Hn.
P ƒ
# ˙- .
& 45 43 44
remove mute
B b Tpt. ∑
p f
131
5 ∑ 3 ∑ 4
&4 4 4
Hp.
[D-D#, G-G#]
?5 ∑ 3 ∑ 4
4 4 4
131
& 45 ∑ 43 ∑ 44
Cel.
5 ∑ 3 ∑ ? 4
&4 4 4
131 b >˙ nœ ˙.
Vln. & 45 Œ Œ Œ ˙ œ 43 ˙ . 44
ƒ F Ï
3
> >
5 œ œ œ œ œ 3 ˙. 4
Vla. & 4 œœ œ œ œ œ 4 ˙. B 4
F ƒ F ƒ Ï
ä ä
? 45 œœ œœ b œ>œ œœ œœ # œœ n œœ A œœ n œœ 43 ˙˙ .. 44
3
Vc.
J â â J
ƒ 3
ç F 3
Ï
?5 3 4
ord.
4 4 4
¬. ˙ ˙.
D.B.
f >
Ï
139
43
Q Passionately q = 108
¿ ¿
& 44 ∑ Œ Œ Œ R ≈ ‰ Œ Ó
fl
Fl.
p ß
¿ ˘¿
4 ∑ Œ Œ Œ R ≈ ‰ Œ Ó
Ob. &4
p ß
¿ ˘¿
? 44 ∑ Œ Œ Œ R ≈ ‰ Œ Ó
to clarinet
B. Cl. &
p ß
¿ ˘¿
?4 ∑ Œ Œ Œ R ≈ ‰ Œ Ó
Bsn. 4
p ß
133 ¿ ˘¿
Hn.
? 44 ∑ Œ Œ Œ R ≈ ‰ Œ Ó
p ß
¿ ˘¿
B b Tpt. & 44 ∑ Œ Œ Œ R ≈ ‰ Œ Ó
p ß
>j √
133 # œœœ .. P
P
>j Œ >
4 # œœœ. . œœœ # œœœ P‰ >
# œœœœœœœ œœœœœœœ P≈ ‰
& 4 œœœ ... ≈ Œ ‰ œ Œ Ó Œ Œ
J R
ç ß ß ß
>œ
Hp.
? 44 Œ Œ ‰ J
P
Œ ∑ ∑
> # ˘œ ˘œ >œ ˙.
. # # œœœ œœœ œœœ
≈ #n œœœ ‰
133
4
&4 Œ Œ Œ œ Œ Œ
ß ƒ
Cel.
F
?4 Œ Œ ≈ œ. ‰ Œ ∑ ∑
4
° * ° *
#œœ-≤ œœ œœ
133 >œ L.V. III ≤
& 44 Œ œ Œ · ‰ R Œ Œ Œ ‰
pizz. arco arco IV 3
≈ ·
P-
Vln.
f P ß 3
π f ¿ ƒ
P
-·≤
>œ · # œ-≤ œ œ
II IV
B 44 Œ Œ ‰ R ≈B Œ Œ Œ ‰
pizz. L.V. arco arco
&
¿
Vla.
f P ß π f ƒ P
P
3 3
>· n œ-≤
I
· œ œ
IV
3 ≤
L.V.
? 44 Œ ·
I
Œ ‰ R ≈ ? Œ Œ Œ ‰ -·
pizz. II arco arco
&
¿
Vc.
f P ß π f ƒ P
P
3
?4 ∑ Œ Œ Œ ∑
pizz.
D.B. 4 ≈ œ.
>
ƒ
140
44
# ˘œ œ. n œ.
˘œ œ-
˘ . . . . . ˘ ≈ œ. œ.
‰ ‰ ‰ œ. œ. œ œ # œ # œ œ n œ
136
& Œ Œ ‰ j R ≈ ‰ Œ Œ ‰ ‰ J
Fl.
#·
fl ß ß P ß ç p
ç
3 3
˘
. . œ œ-
≈ œ œ. œ # œn œ œ œ œ# œ
Ob. & ∑ Œ Œ R ≈ ‰ Œ Œ ‰ ‰ J
P 3 3
ç 3
p
œ. œ. # œ. ˘œ -
& Œ Œ r r ≈ œ. œ. # œ. œ. œ. . œ. œ. ‰ ‰ œJ
B b Cl.
- ≈ ‰ ‰ - ≈ Œ #œ R ≈ ‰ Œ Œ
fl ßfl ç p
ß P
3
˘ bœ œ ä ˙
?Œ Œ Œ r≈ ‰ Œ B‰ J ? œ œ œ
œ œ bœ
Bsn.
P 3â
F ç ƒ F ƒ
136
? ∑ ∑ ∑
Hn. &
B b Tpt. & ∑ ∑ ∑
˘ √ ä
# œœœ . œ œ
136 # œœœœ .... ≈
˘
# œœœœœœœœ œ œ ä
.
3
& Œ Œ ‰
J
Œ # œœœœ œœœœ
sFz ß ç
f
äœ œäœœ ä # œœœœ œœœœ
# œäœœ # œœœ ä j
Hp.
?Œ Œ Œ Œ Œ Œ # œœœ
–– œœ œœ
–– ƒ
>
3
—n # œ œ œ ˘
3
136 ggg œœ œœ. ˘ # # b œœœœ # ˘œ ˘ œ>œ

# # œœ ‰ n œ ≈ ‰ # a # œœœœ # œ j # # # œœœœb n œäœ n œ ˙˙ ˙ œœœ œ
& ‰ R # # b œœœœ
#œ ‰ Œ R ≈ ‰ Œ ‰ œ J œ ˙
3
ß ß ç P ß3
Cel.
P ˘œ
? ∑ Œ œ ≈ ‰ Ó ∑
&
R
˘œ
136 > œ
& r ‰. ‰‰ · Œ Œ ‰ R ≈ Œ Ó ∑
pizz. arco
·
Vln.
> f ç
f
3
>·
> ˘
B R ‰. ‰‰ · Œ Œ ‰ # # œœ ≈ Œ ja œ ˙. œ #œ
arco
J
pizz. 3
R nœ œ &
>
Vla.
f 3
f ç ß P
3
espressivo
>
‰‰ · ˘M
? ·r ‰ . j #œ ˙. œ #œ
pizz. arco
Œ Œ MM ≈ ‰ Œ J
3
Vc.
> œ œ
f f R >
ß P
3
ß
3
... . . . . r
# ˘œ
?Œ
ricochet
D.B. Œ Œ MM ≈ ‰ Œ Ó ∑
M
ß fl
ß
141
45
w w.
139
Fl. & 46 44
ƒ
˙ œ #œ œ w.
6 4
Ob. & 4 4
ƒ
w w.
B b Cl. & 46 44
ƒ
œ
?J ‰ Œ Ó 6 4
Bsn. 4 w. 4
p ƒ
139
j 6 4
& Œ Œ Œ ‰ ?
Hn. # œ- 4 w. 4
π
>œ
& Œ Œ j œ 46 ˙ ≈ ‰ Œ Œ Œ 44
3
B b Tpt.
bœ œ R
P ß
√
139 œ œœ œœ
J R 6 J 4
& ‰ œ ≈ œœ
3
J 4 œœ 4
R
p F P f p the glissando of the upper line remains in a regular pattern;
Hp. the lower line could dramatically expand into larger range.
? ∑ 6 ∑ 4
4 4
139 œœ œœ œœ b œœ œ.œ n œ. œ œ.œ b œ.œ n œœ œœ b œœ n œœ b œœ œœ œœ n n œœ b n ˙˙ ..

3 5 5 5
46 44
3 5
&
. . . .
Cel.
œ.œ œ.œ b œ. œ # n œ. œ n œ. œ œ.œ b œ. œ 6 # œœ n œœ b œœ œœ œœ # œœ n b œœ # ˙˙ .. 4
& 4 4
P
° *
>œ b >œ >
œ œ œ œ > > œ œ #œ œ bœ bw
œ nœ #œ #œ
139
Vln. & Œ ‰ 46 n œ œ œ b œ œ œ b œ æ 44
ßP
3
3
ß
3
3
-̇ œ œ ˙ œ bœ nœ œ b˙.
bœ œ 6 æ 4
Vla. & J 4 4
ƒ p 3
f
-̇ œ
? œ œ bœ nœ
46 b œ œ n œ œ b œ œ œ? œ œ w> 44
3
œ œ œ
5
&œ
Vc.
œ æ
ƒ >
P ß
3
? ∑ 6 ∑ 4
D.B. 4 4
142
46
œ œ. # ˘œ
-̇
R
Fl. & 44 ∑ Œ ‰ J R ≈ 45 Œ Œ Œ 44
P ß F
œ ˙ œ #œ œ œ ˙
4 ∑ ‰ 5 J 4
Ob. &4 4 bœ. 4
π
3
F f p ƒ
& 44 ∑ Œ Œ r ≈ ‰ 45 Œ œ
j
˙
44
5
B b Cl.
≈ bœ œ œ œ nœ bœ.
fl ƒ
P ß â
ß P
œ. œ. œ. b œ. œ. . .
‰ œ . œ .
?4
4 ‰ j r ≈‰ Œ œ. 45 # œ n œ œ. b œ. œ. # œ. œ n œ b œ œ b œ œ œ œ b œr ≈ ‰
4
4
œ ˙. œ
Bsn.
> > P fl
Ç ç ß
j 5 -
141
?4 ‰ r ≈‰ Œ Ó ˙. 4
Hn. 4 œæ ˙æ. œ & 4 b˙ 4
> fl P f
ßp ç
4 ∑ ∑ 5 ∑ 4
B b Tpt. &4 4 4
äœ
˘P ä˙
‰ # # œœœœœœœ ‰ Ó œ
141
4 5 4
&4 ∑ Œ
œ 4 ≈# # œœœœœœ ‰ Œ Œ
˙ 4
œœ
fl ƒ
éZ f
3
éZ
3
Hp.
?4 > r 5 4
4 Œ Œ Œ Œ gg –– ≈ ‰ 4 ∑ 4
–– ––– –– ––– –– ‰
‡ggg –––
– – – fl
P ç ß
141 b œ˘œ # ˘œ # ˘œ ˘
4 R ≈‰ ?Œ# œ ≈‰ Œ ‰ # œ ≈ Œ 5 # ˘œ ≈ ≈ # # œœ ≈ ≈ 4
&4 R Ó 4 Œ # œ ≈‰ Ó 4
sÏz ç ç éZ
éZ
# œ˘œ
5
r
Cel. secco
& 44 R ≈ ‰ ? Œ œ ≈ ‰ Œ ‰ œ ≈ œ 45 44
n œ œ œ œ œ œœ b œ œ n œ œ œ œ b œ œ œ œ œ n œ œœ œ # œ œœ n œ. œ.
5 5 5 5 5 5 5 5
œ œ bœ nœ œ œ œ œ #œ œ œ bœ nœ #œ nœ bœ
fl fl f fl fl
˘œ play with palms
#œ œ œ bœ
œ œ œ# œ œ œ # œ œ b œ n œ n ˘œ b œ. œ. # œ. œ ˘œ
5 #œ .
141
4 4
& 4 R ≈‰ Œ Ó Œ Œ ‰ #œ#œ nœ b œ æ R≈ ‰
3
4 4
œ
Vln.
ç P ß p ç
3 3 3
3 5
b ˘œ bœ œ nœ œ #œ œ
& 44 R ≈‰ Œ Ó B ‰ r≈ ‰ ‰ n œ. œ. 45 œ. # œ. œ. œ. œ. œ. ˘œ ≈ ‰ #œ bœbœ æ æ æ æ æ & 44
#œ œ œ nœ œ œ œ œ bœ
3 3
Vla.
nœ
ç p >
ß p ß
3
P
3 3
5
r r ˘M
?4 r≈‰ Œ r ≈‰ Œ M ≈ ‰ ‰. M 45 M ≈ ‰ Œ Ó Œ 4
4 œ MM MM M 4
˙ œ
Vc.
fl > . R
ç ß ç fl F ß
ß
r
arco
?4 ‰ j r ≈‰ Œ ≈ MM ‰ Œ 5 ∑ 4
D.B. 4 – ¬. œ M 4 4
> > fl
çp Ï ß
143
47
b wä ˘œ
144
Fl. & 44 R ≈ ‰ Œ Ó
ƒ F ç
Ÿi ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˘
4 ˙ bœ
Ob. &4 ∑ Œ R ≈ ‰
p ß
b œ- œ bœ œ äœ äœ äœ äœ b ˘œ
& 44 Œ ‰ R ‰. bœ bœ nœ bœ œ bœ
3
œ. b œ.
3
B b Cl.
≈
P ç b œ. n œ. b œ. n œ. œ. >
ß
3 3
F
-̇ . œ- œ ä
bœ œ
?4 Œ œ œ J
Bsn. 4 J œ
P f 3
ƒ 3
â
144 +
& 44 œJ ‰ Œ Ó Œ Œ ‰
bœ
j
œ
>
Hn.
P ß p
& 44 ∑ Œ Œ Œ ‰
3
B b Tpt.
b œ-
p
√
˘œ P ˘œ
# œœœ ‰ œœœœœœœ
144 P
4
&4 ∑ # œœœœ ≈ ‰ Œ ‰ Œ
R
ç ß
3
Hp.
?4 ∑ ∑
4
bœ
5
bœ
5
b œœ b œ. œ n œ. œ bœ œ œ nœ bœ œ œ œ œ
5 5
bœ œ b œ bœ œ bœ œ
144
? 44 b œœ n # b œœ. œ œ. . œ
≈ œ.œ b b œ. œ . bœ
fl fl fl éZ
f Ï f éZ éZ
œ nœ
Cel. 5
?4 b œ. œ œ.œ œ.œ nœ
4 b œœ A n œ. œ
secco
œ. œ.œ n œœœ œ nœ
. . fl
° *
b˙ >œ n œ- œ
144 ≈ œ- ≥
& 44 Œ Œ æ
b˙
â
Vln.
ß P ç f Ï
bœ. > bœ œ n œ b œ œ b œ >œ # œ n œ b œ n œ3 >

4 bœ ≈ ‰ Œ œ bœ nœ bœ ≈
&4 æ nœ œ œ bœ bœ nœ
5
Vla. B≈
ƒ P ß ß
5
3 5
s.p.
? 44 r
bœ ≈ ‰ Œ
arco
b œ œ œ n œ œ œ b œ b œ n œ œ œ n œ fl
3 3 3 3
b wæ
Vc.
P f > ç
ßP
? 44 Œ j
‰ b œæ ˙æ Œ Œ bœ œ œ œ bœ œ nœ bœ
œ bœ
>
D.B.
F f F
3 3
144
48
ä
äœ # œ w
b äœ œ
146
Fl. & Œ Œ ‰
3 3
ƒ p
# wä
& Œ Œ Œ œ
â
Ob.
çp
b œ n œ wä
Œ ≈ b œ œ. b œ. n œ. b œ œ n œ œ
5
B b Cl. & bœ ‰
≈ .
fl f 3 3
çp
b äœ äœ ˘œ ˘œ ˘œ ˘œ ˘œ äœ ˙.
? œ R ≈ ‰ B≈ bœ. œ
Bsn. J
ç f
3
p
F ƒ
3
146 o
& b˙ r ≈ ‰ b ˙- .
Hn.
œ œæ œæ bœ
ƒ çfl p
#œ œ. ä œ. œ
& ˙ bœ nœ œ. J ‰
3
B b Tpt.
f p f
146
& ∑ ∑
œ>œ
Hp.
P
? Œ Œ ‰ # œœœœ ≈ Œ ∑
R
ß
f # œ.
#œ # œ.
5
146
? bœ œ bœ nœ œ # œ Œ
b œ b œ œ n œ œ fl #œ œ bœ #œ œ #œ &b œ.
5
œ œ #œ
Cel.
5
éZ œ.
3
? n œ. œ.
œ œ nœ
3
œ nœ œ #œ œ œ œ œ œ nœ nœ œ
5 3 3
œ œ #œ
> 3 > 3 3
° *
3
>
r b b œœ œœ
146
bœ bœ ≈ ‰ Œ ‰
& œ bœ œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ
3 3
J
5 3
. . . . . . . . > bœ >
Vln.
P ß 3
ç ßp
≈ b œ b œ n œ œ # ˘œ ≈ ‰ b œ œ œ n œ b œ n ˘œ >
≈ œ œ œ #œ œ œ #œ œ ‰
Vla. B Œ R bœ R ≈ ‰ & Œ B
P ß ç F f
3 3 3
5 3 3
b œ œ b œ œ œ œ n œ œ œ n äœ äœ äœ # >œ œ œ b œ œ œ n ˘œ
? ≈ bœ R ≈ ‰ Œ œ œ
œ œ œ #œ
3
#œ
â
Vc.
F ß ç F
5 3 3 3 3 3
3
? > j >˙ œ œ œ bœ œ œ
b œ œ # œ œ œ n œ œ œ # œæ. œæ æ œ
>
D.B.
f çp
145
49
>œ ˘œ .
# œ. . > nœ œ œ. n œ. œ. œ œ.
œ. n œ œ # œ œ œ n œ œ œ b œ3 ‰ # œ.
˘
n œ. b œ. n œ. # œ ≈ ‰
148
Fl. & œ R
ƒ ß
3 3
ç F
5 5
ß
>œ ˘ -̇ .
œ # œ œ b œ b œ n œR .
Ob. & R ≈ ‰ Œ ‰ bœ œ bœ œ ‰
ç p 3
3 3
ß p
˘
>œ # œ œ b œR
R ≈ ‰ Œ Œ #œ nœ œ œ ≈ ‰ Œ ‰ #œ nœ œ œ œ #œ nœ œ
3
&
3
B b Cl.
œ
ç p 3
3
ß 3
>œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~
B R ≈? j r ≈ ‰ Œ Œ ‰
3
Bsn.
#œ œ nœ œ- œ- œ- œ œ œ #œ nœ
ç ßfl F â â â â â
p
148 r r
& nœ ≈ ‰ ?Œ
b˙ ˙ œ ≈ ‰ Œ &
fl
Hn.
ç p ß
B b Tpt. & ∑ ∑
# >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ
148
œ œ #œ œ œ
&
fl # œ .
ƒ F ç
5 5 5 5 5 5
Hp.
? œ ˘ #œ œ
Œ œ ≈ ‰ j R ≈ ‰ œ ≈ Œ Ó
œ
P ß
# # œ>œ ˘
148# # œœ . ˘ œ
3
œ ‰ ˘ # b œœœœ n œœ n œ. œ. ‰ .
>
œ ‰ . n # ˙˙˙ ˙
& #œ ‰. ‰.
œ > fl ß
Cel.
ç P3 > n œ. > >˙
? Ó ‰ ‰. ‰ Œ
# # b œœœœ bœ & # œœœ
fl
secco 3
3 ä˙ .
148 ä œ œä œ
& J bœ œ
Vln. # œ
# œ. J
J â Ï
F
3
ƒ
ä˙ .
œ j œ œ
B J
3
#œ. bœ œ &
â â
Vla.
ƒ Ï
F
> œ j œ œ ä.
? #œ. J ˙
3
bœ œ &
â â
Vc.
ƒ F Ï
ä˙ .
? œ j
J œ œ
3
#œ. bœ œ
â â
D.B.
ƒ> F Ï
146
50
˘œ
S
>˙ œ œ œ #œ >
150
Fl. & Œ æ æ 64 R ≈ ‰ R ≈ ‰ Œ Œ Œ Œ 44
ƒ p 3
ç ß
˘œ ≈
‰ œ. œ. . . . ≈ ≈ ≈ œ œ œ 6 ˘œ œ ˙. 4
& œ œ #œ
≈ œ. 4 R ≈ ‰ ‰ œ œ 4
3
œ
fl fl fl fl
Ob.
ß ç p
F f F p
5 5
˘œ
œ bœ œ #œ
& #œ ≈ œ #œ œ œ ≈ ‰ ≈ œ œ #œ nœ 46 R ≈ ‰ 44
5
Œ Ó
3
B b Cl.
fl œ
fl ç
ß
5
ä äœ äœ # äœ ˘œ
? œ œ œ R ≈ ‰ 6 4
Bsn. œ bœ œ #œ #œ 4 ∑ 4
œ ç
>œ œ. œ. 6 ˘
150
œ. 4
& Œ ‰ 4 œR ≈ ‰ Œ Œ Œ Œ ‰ œ 4
as fast as possible
Hn.
ßp ç 3
p
- -
‰ œ œ # œ n œ. œ. œ. # œ 46 n œr ≈ ‰ - b œ- 44
5
& Œ Œ Œ Œ Œ ‰ # œ- œ
3
B b Tpt.
fl . fl # œ-
F ç P
3
> > ˘ >

≈≈≈≈ œ > 3
5 3
150 œ # œ œ œ œ œ œœ . œ œ œ
5 5
œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ # œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ
3 3 3 3 3 3 3 3 3
J #œ œ 6 ≈ œ œ œ œ œ œ œ œ œ œ œ
& ‰ œ R ≈ ‰
œ 4 ‰ œ œ œ œ #œ œ œ œ œ œ œ 4
4
J ≈ Œ #œ.
> ç
ß
3 3 3 3 3 3
ßp
3
ƒ P
3 3 3 3
Hp.
? ∑ 6 ∑ 4
intensely
4 4
>˙ .
150 ˙
˙˙ ˙
>˙
˙˙ b n œœœ˘œ n œœ ˙˙
& 46 ‰
Œ Œ 44
ƒ
Cel.
>˙ ß #œ #œ ˙
˙ 6 Œ Œ ‰ 4
& 4 œ 4
. P 3
° *
w >œ
Ȯæ..
150
Vln. & 46 R ≈ ‰ Œ Œ 44
F ç ßp
w >œ
6 4
4 R ≈ ‰ j
III
& ‰ æ· 4
·æ
Vla.
F ç >
ßp
w 6 >œ ≈ œ œ œ œ bœ nœ œ œ œ œAœ œ # œ nœ œ œ œ œ œ 4
4 R ≈ ‰ Œ
s.p.
Vc. & 4
F ç P
5 5 5
5
œ
D.B.
? J ‰ Œ Ó 46 ∑ 44
p
147
51
˘œ ˘œ œ œ œ b œ
>œ
152 ‰ #œ #œ œ > œ œ bœ bœ nœ ‰ œ #œ œ #œ
Fl. & 44 J ‰ Œ œ R ≈ ‰ Œ
ç f
3 3 3
ç ƒ
3 3 3
˘œ b äœ äœ äœ n äœ b >œ ≈ ‰
4 ‰ œ #œ œ œ bœ nœ œ œ œ œ
&4 ‰ œ œ #œ œ #œ #œ œ ≈ #œ #œ bœ œ
3 3 5
œ #œ
Ob.
ç F 3
ƒ 5
ç f
5
˘œ
r ≈ ‰
& 44 J ‰ ‰ #œ œ œ r ≈ Œ
3
œ œ œ # œ œ # œ
3 3 3 3 3
B b Cl.
œ œ œ bœ nœ > #œ nœ bœ œ bœ œ œ œ œ œ
ç F ƒ ç F >
˘ äœ >œ œ # œ ß
? 4 œJ äœ ä äœ äœ äœ äœ äœ b ˘œ ‰ #œ nœ bœ œ
R ≈ ‰ œ b œ œ # œ n œ œr ≈ Œ
3
Bsn. 4 J œ
ç P ß ç
3 3
3
f 3
152
4 # ˘œ ‰ Œ ‰
&4 J ‰ ≈ bœ œ ≈ ‰
œ > >
Hn.
ç fl f ßp f ßp f
ßp
>œ œ ˘œ
& 44 R ≈ rK ® ‰ ‰
as fast as possible
B b Tpt.
#œ #œ œ #œ nœ
> > f
f P ç ßp fl f ßp f ßp
˘œ P œ.
œ. r
4 # œœœ
152
& 4 œR ≈ ‰ Œ ≈ J œœ ≈ ‰ Œ ‰ j
P ß œœ
Hp. P
?4 ∑ ∑
4
˘
# # œœœ ≈ ‰ r r
152
& 44 R Œ Œ bœ ≈ ‰ Ó Œ bœ ≈ ‰
ç bœ bœ
fl fl
Cel.
r çœ ≈ ‰ çœ ≈ ‰
4
& 4 # œœ ≈ ‰ Œ ?Œ œ Ó Œ œ &
fl R R
fl fl
œ œ #œ œ bœ
152 ˘r # >œ œ
#œ nœ œ #œ 3 b œ n œ # œ œ œ bœ œ œ œ œ
4
& 4 œO ≈ œ bœ œ œ #œ nœ œ bœ ‰ œ œ
œ œ bœ bœ Œ
3 3
3
œ
Vln.
ç ƒ 3 3 3
3 3 3 3 3
f
4 ˘ >œ # œ œ œ œ bœ œ œ nœ œ œ œ œ
œ œ œ œ >
œ #œ œ Œ
r≈ bœ œ œ œ ‰ œ œ bœ
3
&4 œ œ œ
3 3 3 3
Vla.
· œ œ œ œ œ œ
ç ƒ ß
3 3 3 3
3 3 3
n ˘œ ≈ ‰ #œ >œ b œ œ
n œ œ œ œ œ œ b œr ≈ Œ
5
& 44 ?Œ
œ #œ nœ #œ
3
R ˙
>
Vc.
ç ß
3 3
ƒ F
?4 Œ
D.B. 4 ˙æ. œæ œ œ œ # œ œ œ œ ≈ œæ œæ
> â â â â â â fl
Ï f ç
148
52
˘
bœ œ bœ bœ >œ äœ
# äœ b äœ
154 n œ
#œ nœ œ œ œ Œ ‰ œ œ bœ œ b œ œ äœ
J
Fl. & R ≈ Œ 46
f ç f
F
3 3 3 3
3
ä b äœ äœ n ˘œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ bœ nœ #œ œ ≈ #œ nœ œ œ # œ n œ œ >˙ . 6
Ob. & ≈ ‰ R 4
3
ç f ßp
ä
˘ ≈ ä ä œ #œ #œ #œ
& Œ b œ n œ œ ‰ ‰ b œ n œ # œ 46
5
œ bœ nœ œ
5
B b Cl.
‰ œ # œ œ
œ bœ œ œ
ç F ƒ
F
3
˘ ≈
5
b œ b œ b œ n œ œ ‰ ≈ œ # œ n œ b œ
? œ œ # œ n œ œ 6
5
œ # œ
œ œ nœ #œ œ œ 4
3
Bsn.
‰
bœ œ œ œ â â ç F > b œ
â â â â ƒ >
5 5
ƒ
154 > ≈ >œ ≈
& ≈ bœ ≈ ≈ œ ≈ œ ‰ 6
4
> >
Hn.
ßp f ßp f ßp f
b >œ ≈ n >œ # >œ œ # œ ≈ >œ ≈ # >œ
B b Tpt. & ‰ 46
ßp f ßp f ßp f
œœ äœ
154# œœ äœ
œœ œ œ 6
& R ≈ ‰ Œ
R
≈ ‰ Œ Œ œ œ 4
ß â
ƒ
äœ
äœ
Hp.
? ∑ Œ Œ œ œ 6
œ œ 4
â
n >œ äœ äœ äœ äœ
œ œ œ œ œ œœœœœœ # äœ äœ
nœ œ œ äœ
154
& œ œ œ J 46
3
3
3
ƒ F f äœ
bœ œ bœ # äœ äœ
3 5 3 3 3
3
bœ bœ œ äœ
Cel.
? Œ Œ J 6
& 4
3
> äœ äœ äœ
154 b œ b œ œ b œ œ #œ œ #œ œ œ ä
œ œ bœ œ #œ œ bœ œ #œ œ nœ
Vln. & bœ œ bœ œ ‰ Aœ bœ J 46
ƒ F ç
5 5 5 5 3
>œ b œ œ œ
œ bœ œ œ œ œ œ œ œ œ œ b œ œ # >˙
Vla. & œ œ œ œ ‰ bœ œ bœ bœ œ æ 6
4
ƒ F ç
5 5 5
5
œ œ #œ ˘œ ≈ œ #œ nœ #œ
3
? Œ œ œ œ #œ œ œ œ 46
R ≈ ‰ œ æœ
5
œ
3
&
œ œ â > œ
Vc.
â â ç ç
ƒ
5
? ˘œ œ œ œ >˙ #œ 6
œ bœ œ œ œ œ bœ nœ ˙ æ æ 4
â â â â â â â â æ
D.B.
149
53
# ˘œ œ- .
rit.
ä
a tempo
#˙. œ w.
156 # ˙
T
Fl. & 46 æ 44 R ≈‰ Œ Ó 46 Œ Œ Œ ‰
çF Ï ∏
# w> . b ˘œ
6 4 R ≈‰ Œ Ó 6 ∑ ∑
Ob. &4 4 4
çF Ï
w. # ˘œ
B b Cl. & 46 44 R ≈ ‰ Œ Ó 46 ∑ ∑
Ï
?6 4 r≈ ‰ Œ Ó 6 ∑ ∑
Bsn. 4 4 4
nw. œ
> fl
çF
Ï
äœ . ˘œ
6 # >œ œ.
156
‰ j 4 R ≈‰ Œ Ó 6 ∑ ∑
&4 œ œ 4 4
>f
Hn.
ß ƒ Ï
# >œ œ œj >œ œ #˙. # ˘œ
B b Tpt. & 46 J 44 R ≈ ‰ Œ Ó 46 ∑ ∑
ß
3
ƒ
œ # w> w.
6 œ 4 # wwww 6 www ..
156
&4 J ‰ Œ Œ Œ Œ Œ 4 4 w .. ∑
Ï
œ
Hp.
?6 œ ‰ Œ Œ Œ Œ Œ 4 ∑ 6 ∑ ∑
4 J 4 4
ä >
156 # œ b b b b œœœœœ wwwww wwww ...
& 46 J ‰ Œ Œ Œ Œ 44 64 w .. ∑
ƒ Ï
Cel. # äœ >œ
?6 J Œ & # œœœ 4 www 6 ww .
4 ‰ Œ Œ Œ 4 w 4 ww ... ∑
° *
> # >œ ˙ . # ˘œ
156 # ˙ œ
b O- Ȯ . Ow ..
Vln. & 46 æ æ æ æ 44 R ≈‰ Œ Œ Œ 46 Œ Œ ‰b œ .
Ï ∏
ç poco
# >˙ . >˙ . ˘œ -
bO Ow ..
6 4 6 Œ b w
&4 æ æ 4 R ≈‰ Œ Ó 4 Œ
∏
Vla.
Ï poco
w> ˘œ
>˙ -
Vc. & 46 æ æ 44 R ≈‰ Œ Ó 46 Œ Œ Œ b b Ȯ .. Ow ..
∏
Ï poco
? 6 # w> . 4 # ˘œ ≈ ‰ Œ Ó 6 ∑ ∑
D.B. 4 æ 4 R 4
Ï
150
54
U With Release q = 60
w œ. wä w w
160
Fl. & ‰ 44
morendo
ƒ p Ï
wä w w
∑ 4
Ob. & 4
ƒ p Ï
wä w w
B b Cl. & ∑ 44
ƒ p Ï
? ∑ 4
4 w w w
ƒâ
Bsn.
p Ï
160
∑ 4
& 4
w w w
Hn.
Íâ ƒ
ä
B b Tpt. & ∑ 44 w w w
Í ƒ
160
∑ 4 ∑ ∑ ∑
& 4
Hp.
? ∑ 4 ∑ ∑ ∑
4
[D#-D,G#-G, E-E b, A-A b, B-B b]
160
44 Œ ˙˙>˙˙ wwww wwww
& ∑ Œ ˙ w w
ƒ
>˙ ww ww
˙˙
Cel.
∑ ? 4 Œ Œ w w
& 4
ä # œœ
160 O Oœ ..
&
w ‰ 44 w w ˙. œ
≈
Vln.
w w ˙. œ
æ
morendo ƒ p Ï π
#œ
Ow Oœ ..
‰ 4 wwä ww ˙˙ .. œœ ≈ œ
Vla. & B 4 & æ
ƒ π
morendo p Ï
ä Oœ
O
& w
Oœ .. ‰ ? 44 w w ˙. œ ≈
Vc.
æ
morendo ƒ p Ï π
? ∑ 4 j ‰
4 w w ˙. œ
â
D.B.
ƒ p Ï
151
55
w ˙ œ airy noise only
164 Y
Fl. & J ‰ Œ ∑ ∑ ∑ Œ Œ æ
π morendo
F
w ˙ œ ¿
J ‰ Œ ∑ ∑ ∑ Œ Œ Œ
Ob. &
π morendo
p
B b Cl. & w ˙ œ ‰ Œ
J ∑ ∑ ∑ ∑
π morendo
¿
? j‰ Œ ∑ ∑ ∑ Œ Œ Œ
Bsn.
w ˙ œ
π morendo
p
164 r
& ‰ Ó ∑ ∑ Ó Œ ‰ ¿ ¿ ¿ ¿ ¿ ≈ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ xæ ¿æ
w œ.
Hn.
π morendo p
t k t k t!
Pt k t k t k t!
w œ. r r
B b Tpt. & ‰ Ó ∑ ∑ ∑ ® ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ¿æ ¿æ ¿æ ≈ ‰
π
morendo pt k t k t k t k
F
164
& ∑ ∑ ∑ ∑ ∑ ∑
Hp.
? ∑ ∑ ∑ ∑ ∑
w
w
â
f
164
& ∑ ∑ ∑ ∑ ∑ ∑
Cel.
? ∑ ∑ ∑ ∑ ∑ ∑
w ww ˙˙ ..
164 w
Vln. & æ æ æ Œ ∑ ∑ ∑
P π
w w ˙.
w w ˙. Œ ∑ ∑ ∑
Vla. & æ æ æ
P π
? Ow Ow Ȯ ..
Œ ∑ ∑ ∑
Vc.
æ æ æ
P π
? ∑ Œ Œ Œ j r≈ ‰
œ- œ -̇ . ¬ 6. 6 6 ¬. ¬.
D.B.
6
> > > P ß>
P ƒ sÏz
152
56
>
170 ¿ ¿
&æ æR ‰ . ·r ≈ ‰ Œ ∑ Œ R≈‰ Ó ∑ Œ Œ ˙ Œ Œ
whistle tone
Fl. w ˙
f ç fl ß p P
Y >¿
& R ≈‰ Œ ∑ ∑ ∑ Œ Œ Œ ‰¿ Y ¿‰Œ ∑
Ob.
J J
ß
π
Ku
poco morendo
B b Cl. & Œ Œ r ≈‰ Œ ∑ ∑ ∑ Œ Œ Œ ‰¿ Y
J
¿‰Œ
J
∑
-
fl π
Ku
ç
>¿
poco morendo
Y
? R ≈‰ Œ ∑ ∑ ∑ Œ Œ Œ ‰¿ Y ¿‰Œ ∑
Bsn.
J J
ß
π
Ku
poco morendo
170 r r
& ¿ ‰. Œ ¿ ≈ ‰ Œ ∑ ∑ ∑ Œ Œ Œ ‰¿ Y
J
¿‰Œ
J
∑
fl
Hn.
ß ç
Ti!
π Ku
+ o
poco morendo
r
& Œ Œ ¿ ≈‰ Œ ∑ ∑ ∑ ∑ ∑ Œ #œ œ ‰. Œ
harmon mute
B b Tpt. R
p ß
ç
Ti!
sharply and brightly
˘
rP -
‰ b œœœ ˙˙˙ œœ P‰ Œ Ó
170
& Œ Œ b b œœœœœœ ≈ ‰ Œ ∑ Œ œœ ∑ ∑ ∑
b œœœ bœ ˙
R
fl p
ç
Hp.
?
softly
∑ ∑ ∑ ∑ ∑ ∑ ∑
√
ä
bœ. w w
j n œ œJ œ
170
& Œ Œ Œ ∑ ∑ ∑
3
3
b˙ œ f Œ Ó
â Œ ‰
F
b˙ œ
Cel.
? ∑
Serenely
∑ Œ Œ ∑
p ≈ œ- . œ w
° * F
° *
>—
I
≈ >Oœ
pizz.
170 ricochet
Vln. & Œ Œ Œ ∑ Œ Œ ∑ ∑ ∑ ∑
ç ß
>—
I
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿi ~~~ Ÿ~~~~~~ Ÿi ~~~~

˝
pizz.
pizz. ˘
s.p. ord. molto s.p.
Œ Œ # œR ≈ ‰ Œ
arco
Vla. & Œ Œ Œ B
w w œ . œ . # œ œj n œ . œr
≈‰ Œ ∑
ç . ç
π P
poco morendo
>—I ˝
? Œ ˘
Œ Œ œR ≈ ‰ Œ
pizz.
Vc. Œ Œ ∑ ∑ ∑ ∑ ∑
ç ç
˝
? Œ ˘
Œ œ Œ ∑ ∑ ∑ ∑ ∑ Œ Œ # œR ≈ ‰ Œ
pizz.
œ
D.B.
> ç
ç
153
REFERENCES
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157

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UNIVERSITY OF CALIFORNIA SAN DIEGO

Exploring Imaginary Landscapes:

A dissertation submitted in partial satisfaction of the

Professor Lei Liang, Chair

Yi-hsien Chen, 2021

All rights reserved.

The Dissertation of Yi-hsien Chen is approved, and is acceptable in quality

University of California San Diego

DISSERTATION APPROVAL PAGE ......................................................................................... iii

LIST OF FIGURES ....................................................................................................................... vi

LIST OF TABLES ....................................................................................................................... viii

LIST OF SUPPLEMENTAL RECORDINGS .............................................................................. ix

ABSTRACT OF THE DISSERTATION ..................................................................................... xii

Chapter 1: Chinese Calligraphy and Music .................................................................................... 2

Chapter 2: Environmental Sound and my Electroacoustic Composition...................................... 23

Chapter 3: Maci Lumah for Orchestra .......................................................................................... 38

APPENDIX – MUSIC SCORE .................................................................................................... 50

MACI LUMAH FOR ORCHESTRA ............................................................................................ 51

SPARKING FOR TWELVE INSTRUMENTS ............................................................................ 93

Figure 1 Method of Three Folds .................................................................................................... 2

Figure 2 Ink (墨) in cursive style ................................................................................................... 5

Figure 3 Cursive, measure 54-57 ................................................................................................... 5

Figure 4 Diagram of Brush ............................................................................................................ 7

Figure 5 Winter (冬) in Slender Gold style.................................................................................... 8

Figure 6 Brush-Stroke, mm. 1-4.................................................................................................... 9

Figure 7 Slender gold style at mm. 1-4 ........................................................................................ 11

Figure 8 Autobiography, Huai-Su, Tang dynasty, AD. 777. ....................................................... 12

Figure 10 Spectral analysis of Winter Cold of Nanguan singing part ......................................... 15

Figure 11 The Spectral Analysis of Syllable ............................................................................... 17

Figure 12 Sparking, one big brush, mm.1-40 .............................................................................. 18

Figure 13 Sparking, mm. 17-24 ................................................................................................... 19

Figure 14 Sparking, mm. 50-52 ................................................................................................... 20

Figure 15 Clouds Flying High, mm. 26-28 .................................................................................. 22

Figure 16 Murray Schafer, classification of sound based on physical property .......................... 27

Figure 17 Murray Schafer, rhythmic cycle of natural soundscape .............................................. 28

Figure 18 Spectral analysis of rockfish ........................................................................................ 31

Figure 19 Acoustic pattern of rockfish ........................................................................................ 32

Figure 21 Spectral analysis of blue whale ................................................................................... 33

Figure 22 Blue whale sound in Ocean Reverberation ................................................................. 34

Figure 24 Dreaming Beluga, mm. 5-7 ......................................................................................... 36

Figure 25 Spectral analysis of Ocean Reverberation, 3’36’’-3’48’’ ........................................... 37

Figure 26 “Maci Lumah,” transcription in Western notation....................................................... 40

Figure 27 Maci Lumah, mm. 20-21 ............................................................................................. 42

Figure 28 Maci Lumah, mm. 28-31 ............................................................................................. 44

Figure 29 Maci Lumah, mm. 44-49 ............................................................................................. 45

Figure 30 Maci Lumah, mm. 36-38 ............................................................................................. 47

Figure 31 Maci Lumah, mm. 203-208 ......................................................................................... 48

my compositional journey. I take this opportunity to express my deepest gratitude to all my

influence on me in artistic, educational, and personal perspectives. This is absolutely my greatest

greater depth and width.

2007-2011 Bachelor of Arts in Music Composition, Taipei National University of Arts

2016-2021 Ph.D. in Music Composition, University of California San Diego

“What is Line? The Practice of Calligraphy in Music” Journal of Xinghai Conservatory of

Major Field: Music

Focus: Musi Composition

Exploring Imaginary Landscapes:

Doctor of Philosophy in Music

University of California San Diego, 2021

Professor Lei Liang, Chair

observation, the phenomenon of multi-dimensionality in a line is similar to the texture of

painting to the larger acoustic world of soundscape.

for twelve instruments, to introduce how I discover the characteristics of heterophony in

brushstroke, and how calligraphy relates to my musical experience of Nanguan.

techniques of ink-painting – “Gong Bi” ( 工筆 , meaning the technique of highly detailed

& 43 Œ 45 Ó Œ ‰ Jœ œ œ 44~ œ b œ ~~~~~b œ n œ œ b œ b œ