‘Molto sostenuto e calmo (+40) 1 *) Fiauto contralto ‘in Sol, #7) Como Ingest Cusinetto in Sib Plgeak te — ‘s**) Como in Fa xl 8 ee [sets sehr welch einsetzen Fagotto LNB. Die Parttur it transponierend notiert *) atemte woensett In den sptter folgenden Zehn Sticke fur Blaserquintert Ten pieces for wind quintet = 3 —=-——————| apr P — a sempre opr LNB. ‘The score ls written in the relevant transpositions. +) Alto Fuse ater changes 0 Fhute and Piccolo. Sticken ~ aur Flote und Piccolofite. it — In +9) glischhorn wesh +4) Horn: Ex wied ein Doppelhor tind auen in F notiert. 5 oo a HL. Sot. —— Clngt a.Sib Cor. Fa. Fag. 5 spkter Folge i Sticken ~ 24 Oboe d'amore und Oboe. gt. Die in B-Stimmung gespe ‘e+) Engitsh Hom later changes to Oboe d'amore and Oboe. +4) A double horn (FB flat) ts required. The ‘esages played i B flat tuning are also notaded ne Dynamite Bacee Dafoe narumente sere) Bane of damit nal inarments schtet sich nach Pe nglisehhorns. ‘matches the English Horn's Bp. Falls das Englschhor auffalt, sisten die ob- Seen ie anaitan Horn prevail, the other tigen Testumente (besonders die ALMBte) JMuomuments (eapecaly the Alto Fhute) must play HOLE pp stets poder mp stat mf stts f(t fir Siwayt'y or ip insted of pp and fisted of mf . ‘io Takte 1-14), fin the bers T= 14). @ —— = —_ of {© 196 Stat Mane Gb & Co, KG, Mains © renewed 1997 Ta wi Rac Ne GS a a de Twa ‘sotraedeapying mney ut tele 0Cor. Fa FlSol, Cling. CL Sib Con Fa Fag. FLSol. Cor-Fa Fag.Poco pitt mosso (4-48) 7 oa) a7 Fuso. sub ff ten, tutta Ta fore C.lng. a1. sib Fag. *) Quasi legato von Klarinete, Horn, Fegott 2u Alte lund Englischhorn: Es soll weder die mindeste Zésur ‘noch eine berlappung entstehen. Sy, Memeo unterrechen un wide | Kraft eisetzen. Hic gibt es Keine Gymamische | tance mehr: eds instrument Bast so aut wis mB lich, auer Horn. Die Karinette bleibt im Hinter™ 1+ s7und, sie soll aber ebenfalls 0 leut basen, wi os in diesem Register nur molich it. ***) 7 tenuto im Horn: Ebeafals Nach ohne besonde- en Aktentcintstzen, ohne diminuendo alten, dann Schnell tman und wieder flack einsetzen, Doch Splat das Horn nicht laterals die anderen Lnsteu~ mente, s0 da ot nicht slistich Nervortit. (Horn = 8 ter anderen}. » a # FL.gol. Ging. a.sib ConFa Gif ten, sim. Sif ten, im. *) Dynamische Balance: Altf8te 2P = Klarinette pp ub Sif ten, tutta afore Tempo ‘2 38 Lif ter simile I 12 Lif ten, simile ++) "Quast tegato” from Clarinet, Horn and Bassoon 0 Alto-Flute and English Horn; there should not be the slightest eaesura, nor should the instruments overlap, +) fff tenuto In Atto- Flute, English Horn, Clarinet, ‘Basson: Play the entrances “evel”, that is, without any ‘special accentuation, but attack with full force, sustain without diminuendo, interrupt quickiy to take breath, ‘and re-enter “level” and with full force. There is no Delance of dynamics; each instrument plays a8 loud 4s possible, except Hor. The Clarinet remains in the ‘background, but must also play as loud as possible in this register. ***) {ftenuto in the Hom: play the entrances Ukewise “evel”, without any special accentuation, sustain without diminuendo, breathe quickly, re-enter evel". The Horn should not play louder than the other instruments, s0 that it does not stand out. Horn ff “fin the other instruments. Silenzi ‘quasicco) 23 24 25 assoluto [emuo, sera vibrato, GE i zB ene Sehe gleich very evenly" (quasi #c0) ‘54D. tenuto, senza vibrato, PP.) pin Sehr gleichmatig, very evenly, Durata: ca.2'40" . attacca ') Balance of dynamics: Alto Flute pp = Clarinet ppyo in Fa of fs otto ot iw 4) Play very eventy, except forthe off and sf ceen- tuations so that the subdivision into bars is not perceprble. Bar lines serve as a means of orienta rere is no metrical pulsation. On fe *) user den gff und of - Akzenten stetsgleichmiig spielen, so daf eine Takteintellung nicht wahrashimbar ‘Wied, Die Takte und Tekteintellungen dienen als Orlen- tierung, eine metrische Pulsation git es nich. FLSol Cling. cLsib ConFaClg. c2.Stb Con Fa Poco meno mosso ay ered | Ya 12 (Jota) fs UY —_~ ~ al meno rosso (d=184) 22. 5 FLSoL Ging. C1.Sib on Faee tenuto, quasi eco “Ep sohe geichmisig ery even!) stridente Au 4 30 Fi.Sol on ok aa Ey GR GR GP. he Cov. Inglese muta in Oboe d'amore cing. c1.sib Conta P - Durata ca. 46” pale attacca *) Am Taktende pldtalich authren, wie abgetissen. ‘Stop suddenly at the end of the bar, as though torn off.2 ° Lento (J =40) V stots hr woleh olmtzen Enter very sofély throughout 3 a -—— } —— SES auto contralto — in ot = z ol a te stets sehr weich antes tet [oboe aamore: seu ery sofily throughout sempre poco tn riieve shoe damore ee z Fh dotciss, sempre cantabile stets sr woich elnaetzon Sete very softy tnroughout SS carnetto in Sth St S| pp doles, sonspre cartabila— —® a ts sor woich einsetzen ts setry softy throughout consord. gps = Commo in Fa ee = == if stets sche weigh einaetzen C Sraalchs,, sempre cantabile enter ey thy onoughows_ | tee ti He) Fagot ¢ fe Pp dolciss., sempre cantabile z z ar ——_ See Sol — a —sp =— PP P| —=p =—2P 4 —, a.sib CorFaoy +) Hom pp = Clarinet BP 7 *) Horn gp = Klarinette 2p u 2 ap | PP ne "Peeper: a ‘imen und unmerklich wieder einsetzen breathe and reenter imperceptibl —" By =F — mathpln 4 FLSot cL.sib (pooner) Con Fa So = morendo al niente 7 mn Alto Flute and *) Altnte und Klarinette in genauer *) Bact balance between Al ” Salunce” AltNGtemp = Klariete » Clarinet; Alto Flute pp = Clarinet p stmen und unmerklich wieder einsetzen Breathe and re-enter imperceptibly muta in 15 +, reo 16: FLSol — CLSib funga Durata ca. 1’ 40" **) Dauer di : y Giechaciag ann, Sones die Luft ausreicht. The fermata (atop cope tnedtt® 28 long asthe breath lasts15 Fer Bengt Oversirom 4 Prestissimo leggiero e virtuos¢) 0b0e, Cormo tacent. (Oe a ER EN hE auto Clarinetto in'sib Fagotto a 2 *) Auer den besonders angogebenen Akzenten stets ak *) Apart from the indicated accents, always play very Zzentlos und sehe gleichmifig spielen, s0 daf eine Takt- ‘evenly and without accentuatton, 30 that the sub cintellung nicht wahenehmbar wird. division into bars does not become perceptible. asth Fag. Fl. a.sib = [a a a A) 9) Fagot pep = %) Bassoon ppp = Clarinet pep Z 8 9 i. CL.SibHt. cLsib SS . PP Sh al fine lopp = Fagott xe 00" FP *) Dynamische Unterschtede aus Balance difference in dynamics: Flute pp = Clarinet 20 Fl cLsib Fag. Fl asib i. OLSib18 Presto staccatissimo eleggi Fiauto ero -Oboe tacel~ Tone re tition siete Ton roe Fagotto 2) £(3, BBB exc) reaneat: Toneption suaceatsina {TOPIF7 ec) shel we mig Die notierten Dauerwerte werden mit solchen stacca- tissimo-Tonfolgen ausgefillt, wobei jedes Instrument, von den anderen Instrumenten unabhingig und ohne schnell stace Zum Rhythmischen: Wahrend die Einsitze und Ab size exakt angegeben sind, ist die innere Dichte der staceato-Folgen chythgisch fret. 7) Dyramisce Balance ofp Snnthern pic in allen nstrumenten, cusib on.Fa op") oy 208, FEB cx) mere spend tones tccatisima (APggg ete) 2 fat a potable Ie iven note-valuerore led with these scaling Te eat ech betrament pjtas o «seat Cae east aa pei meemeny ee See mont end wn no rear for stb onaf are Ste onging, double toning Pat sere runes No fttertonguel" Discs, oe arog Rnyiim: Enierandeut-offarendeated precy; the deny of te saceatosquencea however i igi ical ree **) Balance of dynamics: sfp approximately equal in all anone te Pia presto (J-132) Tempo I (Presto) Sera t Presto) #. ei) * +) D7 Die staccato-Folge gleichmisig laut, ohne be- +) SP= All staccato tones equally loud, without giving sondere Betonung des Einsatzes (also kein of wie 4 special accentuation to the entry (Le, no of a8 be- bisher). Das ff ist individu fore). The ff is individual for each instrument; there (keine dynamische Balance). leno balance of dynamics. {in jedem Instrument hherausnehmen, ‘**) Horn: at ff pull the mute halfway out. ‘s8¢) Horn: again with mute all the way in. Pia presto (3=132) 13, ee Fl 8. CLSib AS 3 Cora 23 ag Fag. op ub Sf 5 fr wt Durata ca.30" ‘****) Falls das Tempo und die Dynamik es nicht and ae pttacee, lls das Tempo und die Dynami anders t¥04) 8 on each note Wi zmpo an erlauben, genligen hier je zwei staccato-St6Be. 7 ais nahaee as eatce ones a dynamic marking do not permit more. ts\ joo ForPerolfcilbld =f 6 20 Presto staccatissimo e leggiero (J=126) +) Z=snacceisimo repeated tones ax n Movement 5 ) Tenpetion tel dar Oboe euentiino, wt Tina spel ae opa”"be Sls to tiseh mit der Z notierten Spielart der Ubrigen Instru- and =e ttlon Fst ie Dave ee Toni seshen, die ‘atta Seupe ioc too et he Me Am or tgs ato, Tene ocho tar emg, ar Teoma a ek gary ote talon £4999 dr tna on ean Tone sth oot Gere eb. airs heads eo saat fat teeoeion von neva De Pen Rc ai em tage nui Erne oe en See won maa Ta ae eat verehunge: te awn Wiowocsel Sistonnsee utet 9740 [7 +) Repeat ted tones inthe Oboe staccatasimo, very de aepetisa fart ax possible. The manner of playing is sinet to the manner of playing notated £ inthe catner instruments (3, 3, ete. - The different no, ‘avton refers onty to the rhythm: in the notation sacuraton of the sequence Is fied, but the number of the attack is free; tn the notation £Dqd) the number of the attacks ls fixed but the duration of the Sequence is free (as short as possible, since the tones fre repeated as ast a8 possible). In the notation the entrance of the first tone is metrically [xed by the rests preceding it, whereupon the tones are repeated independently of the metre. The rer in ‘rackets are the imaginary completion of the metre, and wil be absorbed in part by the repeated tones For example, 77 Ja [7] means: attack the third uaver ofthe triplet; the rest (7) isthe virtual com~ Pltion of the riper.ash fi CLSib ims ee pia ees es Dereeaet AP dle Tonsepetition Kann hier bs Takt 7 hineinreichen Te ie (Posgrestenuta legato dpleissimo P + z ‘stringendo possibile - -| - ‘diminuendo ~Poco sostenuto a i: / 1 (d=66; za tempo: Prestiss. staccatiss. 4p, genus tempo: Presti _ A 4 Prete posible 0%. sib senza sovd.[adti. 5) [ad ib Conta. = ‘pp malo Calmo Fag. or tte, Horn: wird gotten wie J: den *) Flute, Clarlnet, Hom: ds sustained lke a dof the on Tao (2 ey eae a Sete sett ea indeponooeay af tar Oboes Ger Oboe. mem. °°) Klingendes IE ++) sounding 3B {double horn. ve bas bs eine on no acount ly hes tones an octave higher ae Poco pesante senza tempo, ee a oD asi ConFa Fag. Sien, **) Horn: ebenfalls neve Notation” (Quint-Trangpo- sition nach unten, auch im Bab Sel ; **8) Horn: “new notation Schlisel) wie bishe, in bass clef ae ata ors clef).Tempo: Presto sta (J=126) cee Legg. oa 0b. ow = ae SS = Wig ela Schatten, morendo 7 ite cater mbrend (te) *) Klarinette: AusfUhrung wie bei der Oboe, siche Fufnote **) Seite 16, Tak 2, Einsatz der Klarinette twa nach der Hilfte der Oboenfigur (dis). Plate ab Take 16: Alle Klappen zu, kein Griff. Nur Luft, ohne Tonerzeugung, staccatissimo, sehr spitz und distinkt. x, sl bedoutet: keine Tonhohe, kein Ton. Z bedeutet, wie bisher, Repetitionsfolgs von Zungenschligen, so schnell wie mglich, innerhalb der gegebenen Dauern, Horn, ~ ib Takt 16: Mit der Zunge anstoBen (4-An- Satz), ohne Tonerzeugung (nur Luft, absolut ke Ton) staccatissimo,sehr spitz und distinkt. Imm Abrigen siche vorige Fufnote. Fagott, ab Takt 16: Ohne Rohr. Alle Klappen zu, kein Griff. Mit der Zunge anstoSen ohne Toner. 2eugung (nur Luft, staccatissimo, sehr spite und aistinkt. Im Ubrigen siche FuSnote der Flote 2u Takt 16 Dynamik:(¥p) bezieht sich auf die Intensitit d Luftstroms. Der Flstereffekt soll in den deel In strumenten (FL, Hrn., Fag.) gleich laut sein. _oo on: 4 aA fe (hey (shp)iiorendo al niente 22 23 oy *) cuarnet: Pay tke the Oboe, see footnote **) page 1, bar 2. Bepining at about tne second half ‘of the figure of the Oboe (44 16 all ey shut, no note no tone production, stacco tssimo, very poled and datnct. od means: ‘no pitch, no tone. Z means repeated tonguing as Defore, ax fast es possible and within the Indicated ‘durations. #4) Horn, beginning at bar 16: Attack with the tongue, ‘no tone production (breath only, absolutely no tone}, staccatissimo, very pointed and distinct. See ‘also foregoing foomore. ) Bassoon, beginning at bar 16: without reed, all keys shut, no note fingered. Attack with the tongue without tone production (breath only), saccatissimo, very pointed and distinct. See also Flute foomote to bar 16. ') Dynamice(afp)refers to the intensity of the breath. ‘The effect of whispering must de equally lound tn ‘the three instruments (Flute, Horn, Basvo0n}). 21 CAT" (GB) |morendo al niente 24 25 Fagott: Rohr aufsetzen Bastoon: replace reed Durata ca.’o,energico 4® (4796), $ Flauto o Aw of ont. stopped g Qibo Fagot ff +) Toke 1-23: Stete kurt und scr hart (ater den ge- _*) Bars 1-23: short and very herd, except for the mus- haltenen Ténen). tained tones. 6 as i 8 9 10 nL A. cLsib Fag. oe a Jw Ohe 46 7 H. oL.sib19 25 #. a1.sib ” oft ate te Lt pane te bel ot Brad 00 stip at tr eR gs tn baba Fag. LF LEDS MS AT AT ‘*) Very sharp and distinct. Balance of dynamics: SE? equal in all instruments. a ay Hh ton. *) Sehr scharf und deuttich. Dynamische Balance: GP gleich in allen Instrumenten. " 25 26 27 28 29 30 3 00. c1.Sib Con Fa Fag. **) Takt 30: mareato, pesante, non staccato (gilt auch fir **). Bar 30: marcato, pesante, non staccato (valid for bar Takt 34). 34 100). 32 33 344 pin _yaten! 35 36 37 fl. vo c ‘SF possibile, terato —tawed abl lo c1.Sib cor. Fa Fag.\ Molto espressivo! $8 (d=120) + igs (sempre $) 4b Takt 38, Fagott ab Takt 40: *) Flute, Oboe and Clarinet beginning at bar 38, Bassoon ‘Springen nach unten, die beginning at bar 40: everything legato possiite. Down- ward leaps which are diffeul to slur can be played non legato ad Wb. Bar 43: all instruments except Flute non tegato, marcatissimo. MQ Fi. 2, *) Siehe Futnote 2u Takt 38. +) See footnote to bar 38. i. cLsib Cora Fag.: mettere sord. Fag. (uch) (cloth) | Durata cat?Allegro con delicatezza (eh ahi, on (37) 7) tend se nuenEite (ery evenly, withou ‘taht welch / Quenty, every new entry very sort alae Sint Vy Yond * neuen Einsltze sehr welch / fuentty, every new entry very oft ime sche welch / fuently, every new entry very soft ‘Simile Hime S| Fagotto 7) MieSend, ale neuen Einaitze g 1) Dynamische Batence: gp gleich in Fite, Klarinette, *) Balance of dynamics: pp equal in Flute, Clarinet Fagott. Klarinette verhiltnismasig twas ker ‘Bassoon. Play the clarinet somewhat louder in rela- basen. — “*) Fagott, con sordino: Ein Tuch, indie Schallsffoung *) Bassoon,con sordino: «cloth stuffed Into the upper westopft. joie . i — A cusib Fl CL.Stb L.Sib28 Ft, asib cLséb 2 13 ff, sive /aayerkiich einsetzen, wie aus der Fern erklingend ‘enter imperceptibly, sounding os from the distance allmihlich etwas ,.nther"* gradually somewhat “closer” possibile ‘Poco @ Poco cresc. - - - hie ee,csi ConFa, = (erese. poco@ poco) — 2 7 7 rr *) Horn: Sehe kurz atmen (quasi legato). *) Horn: breathe very quickty (quast legato) ?) Horn: Den Dimpfer nicht ganz A 1) Horn: do not push the mute all the way in (weicher, nicht-metalischer Ton). 5 (soft, non-metallic one). ***) Balance: smpzleich in Fiste, Klarinette, Fagot. 7%) Balance: pap equal in Flute, Clarinet, Bassoon 15 16 a ca "Viet at 28 Bod So) asi conFa — - (x oa! legato au Cl. und Cor. uae fete to and Got) ws a * Horn: Sehr NSE atmen (as legato). Hom: Breathe very quickly fue ego 17 i m Pleo (ol veh Fl. ‘2P asi Cone Fag. - =)30. offen oR" 5 Conta ‘a. i Be I Balance: Horn mfp—F = Bassoon =I itato pianissimo ‘ppp tenuto 1 ogendes I= (Doppeinorn'y *) sounds: F=—= (doudte hom!) ve ae Agitato capriccioso Poco (d= 100/ = 200) 7 Tempo I menomosso | iz Energico, meno mosso (d =72) 22-90) 5 = ot 88) H ae we? eestoptt conte Hopped + Spe abs 1 Pp gf 7 Aba fag. cdAncora meno mosso, 5 ‘calmo,poco sostenuto, . 31 d=60) 32 #. ob. aLsib ConFa dolce, tenuto | cantabite'sin al fine Fag. 2) Tomnenkomatter durch Vettchateng ae Lento sostenuto ral. - al - - -(d=40} necessary. breathe and ss di teen PP tenudo Pp tenuto cLsib “BP tenutoal fine Con Fa ‘Fp tenuto Fi. falls ndtig, atmen und unmerklich wieder einsetzen’ CL: if necessary, breathe and re-enter imperceptibly CL.Sib ‘ab hier nicht mehr atmen from here no more breathing Con Fa g tenui (nicht mehr atmen / no more breathing) Bon.: if necessary, breathe and re-enter imperceptibly ’) Horn: Sehr kurz atmen. ‘**) Hom: breathe very quickly.Oboe *) Di tenato cerca nee eel rt w atinetto inSib +) Siento Y "Sempre con tnt afore *) Im ganzen Stick sind die Einsitzeyflach“. D.h. ohne *) ‘Throughout the plece the attacks are “level”. That i, besonderen Akzent einsetzen, den Ton J” haiten, attack without special accentuation, sustain the tone tach (ohne diminuendo) adbeechen Zum Atmen, Y break off suddenty to breathe (without dit dann ebento plotzlich wieder einstzen, ete. Stets Tmuendo, reenter “level” just as suddenly, ete. sehr viel Luft nehmen (das Atmen Kann laut hérbar ‘Always take a good breath (Breathing can be clearly werden). ude) asi Pice. 0b. cLsib 0. CLsibSilensio azsoluto Pice. Clone, sonea aim) GR. 0. c.sib Canto, sera dir) ‘attacca For Bruno Lavér as fast as possible Presto bizzarro erubato,so schnell wie miglich (maximum @ ca.112)*) 2 3 4 4 oboe GR @ GR Curnetto ina como Se Fagotto ee g den techntchen Mg *) The tempo i gouged 1 the Bassoons technica capa lichklten des Fagotts tele Tempoverinderangen Dies fee change of tempo (accel, rel) are permis (accel, rl) snd Uber mogich dle Urigen lst: ableat any tme ae other eens ‘enterchien sch mach dem Fegott (cola prt) tempo to the Bassoon (cola pore) At times the Da Fa ‘itunterGbertrieben schnel, wo- _Battoon play enapporateay eer en ornare bel die Gesehwindigkelt wichtiger int alt die absolut Important than precise intonation tenaueIntonstion. 5 4 [poco pitt mosso] [a tempo] 0b. of Conta Pe ee A A alh > Presid possibile Fag. * Spotere possbie r34 0b. aLsib 0b. c1sib = (dim) =~ OP *) esitando = 2bgemnd +) esitande 9) Piccolo » = Fagot mp +) Plecolo p = Bassoon pp esitantly Xk 12_ — "fy tempo,rubate] GP. 0b. C1.Sib ConFa Deon viotenxa ‘ 7 *8*) The short breather (+) may last 3 at the most. Rival ***) Die kleine Luttpause (y) kann maximum J dauernage OE % Poco pitt mosso a Y ag to ca.120) pies a os. iat ae ease C1.Si 6 ‘staccatiscimo leqgiero Conia *) Piccolo p = Kiarinettegp (nachher Fagott 9) 17 +) Plccoto p = Clarinet pp (later Bassoon BP) 18 Lib ehacostioeiing legelere € xc bbe Fag. #P 9) Piccolo: Nicht wiede stmen. Falls die Luft nicht **) Piecolo: do not take breath again. If the breath does austeicht, Takt 20-21 ad lib. verkirzen. (Fagot ‘not permit the tone to be sustained as written, shorten folgt eolla parts) bars 20-21 ad tb. (Bassoon pursues colla parte). 19 20. Pice. 21 senza tel 10” : -Mpo, a. —— % & cusib ae eo Conk te Fag. ‘molto He wens seco *S ***) ) «..-but—" There was a long pause. "Is that all?” Alice timidly asked. "That's all! said Humpty Dumpty. ‘Good-bye’» Schott Muse, Mainz 42.619