ADAPTATION AS COMPOSITION: FLEXIBLE APPROACHES IN RENEWAL

Pham Viet Cuong

A DISSERTATION

PRESENTED TO THE FACULTY

OF PRINCETON UNIVERSITY

IN CANDIDACY FOR THE DEGREE

OF DOCTOR OF PHILOSOPHY

RECOMMENDED FOR ACCEPTANCE BY

THE DEPARTMENT OF MUSIC

Adviser: Donnacha Dennehy

January 2022

This essay and the composition Renewal together constitute the dissertation.
© Copyright by Pham Viet Cuong, 2021. All Rights Reserved.
 ABSTRACT

My percussion quartet concerto Renewal was commissioned in 2017 by the

Albany Symphony and its music director David Alan Miller in collaboration with GE

Renewable Energy, and consists of three movements inspired by hydro, wind, and solar

power. This original version was scored for sinfonietta, and I have since adapted it to

create versions for orchestra, wind ensemble, and chamber winds. Each of the four

versions has its own distinctive sound, and thus the process of adapting each one

presented unique challenges that required flexibility to solve.

This dissertation reviews the piece’s background, provides insight into the piece’s

influences, and explores the discoveries made during the adaptation process. Particular

attention is paid to the emulation of electronic effects, including delay and EDM

uplifters, as well as the adaptation of string-centric music for winds. My approaches may

help to guide composers or arrangers interested in writing or adapting music for wind

ensemble, as well as offer insight to those looking to write or study acoustic music

inspired by electronics.

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 CONTENTS

ABSTRACT ...................................................................................................................... iii

CONTENTS .......................................................................................................................iv

LIST OF FIGURES ............................................................................................................. v

ACKNOWLEDGEMENTS............................................................................................. viii

CHAPTER 1: About Renewal ............................................................................................. 1

CHAPTER 2: Adapting Electronic Sounds for Acoustic Ensembles.................................. 9

2.1: Delay Effects .................................................................................................... 9
2.2: EDM Uplifters ................................................................................................ 29

CHAPTER 3: Adapting String-Centric Music for Wind Ensembles ................................ 35

3.1: String-Centric Colors...................................................................................... 35
3.2: Issues Related to Breathing ............................................................................ 44
3.3: Omissions ....................................................................................................... 55

CHAPTER 4: Final Thoughts............................................................................................ 58

BIBLIOGRAPHY ............................................................................................................. 62

APPENDICES ................................................................................................................... 64
Appendix A: Commissioning consortium of wind ensemble version ................... 64

Renewal - Original Sinfonietta Version (2017) ................................................................. 65

Renewal - Orchestra Version (2018, rev. 2021) .............................................................. 148

Renewal - Wind Ensemble Version (2019, rev. 2021) .................................................... 216

Renewal - Chamber Winds Version (2021) ..................................................................... 281

iv
 LIST OF FIGURES

Figure 1.1: Instrumentation lists for the four versions of Renewal. .................................... 8

Figure 2.1: Phrase structure map of m. 26-73. Each row is a phrase, with the melodic
halves colored A and B. Each box is one measure. ........................................................... 11

Figure 2.2: Depiction of subtractive process in meter changes. ........................................ 12

Figure 2.3: “Hydro,” all versions, mm. 26-29; soloist parts and their composite chords,
with the melody highlighted in purple. .............................................................................. 12

Figure 2.4: “Hydro,” all versions, mm. 26-29; composite crystal glass melody and
intended delay chains. Four rotating colors are used to match melodic notes with their
delay chains. ...................................................................................................................... 14

Figure 2.5: “Hydro,” sinfonietta version, mm. 26-29; crystal glass melody, delay chains,
and composite piano part. .................................................................................................. 15

Figure 2.6: “Hydro,” sinfonietta version, mm. 33-36; crystal glass melody, delay chains,
and piano part, showing changes to the delay in mm. 33 and 35. ..................................... 16

Figure 2.7: “Hydro,” sinfonietta version, mm. 39-46; crystal glass melody, delay chains,
and piano part, showing changes to the meter and delay in mm. 40 and 44. .................... 17

Figure 2.8: “Hydro,” sinfonietta version, mm. 52-59; crystal glass melody, delay chains,
and piano part, showing changes to the meter in mm. 53 and 57. ..................................... 18

Figure 2.9: “Hydro,” sinfonietta version, mm. 58-60; piano and woodwind parts. .......... 19

Figure 2.10: “Hydro,” post-sinfonietta versions, mm. 26-29; section percussion and piano
parts. .................................................................................................................................. 21

Figure 2.11: “Wind,” sinfonietta version, mm. 225-227; piano and woodwind parts....... 22

Figure 2.12: “Wind,” orchestra version, mm. 188-191; woodwind, section percussion,
and piano parts. .................................................................................................................. 23

Figure 2.13: “Wind,” orchestra version, mm. 241-2244; section percussion, piano, and
string parts. ........................................................................................................................ 24

Figure 2.14: “Solar,” orchestra version, mm. 396-399; woodwind parts. ......................... 26

Figure 2.15: “Solar,” wind ensemble version, mm. 396-399; woodwind parts. ............... 27

v
Figure 2.16: “Solar,” chamber winds version, mm. 410-411; woodwind parts. ............... 28

Figure 2.17: "Wind," sinfonietta version, mm. 188-194; uplifter effect string parts. ....... 31

Figure 2.18: "Wind," wind ensemble version, m. 188-196; uplifter effect parts. ............. 32

Figure 2.19: "Wind," chamber winds version, m. 188-196; uplifter effect parts. ............. 33

Figure 3.1: “Hydro,” sinfonietta version, mm. 29-33; string parts. ................................... 36

Figure 3.2: “Hydro,” orchestra version, mm. 26-30; string parts. ..................................... 37

Figure 3.3: “Hydro,” wind ensemble version, mm. 26-32; piccolo parts. ......................... 39

Figure 3.4: “Hydro,” orchestra version, mm. 26-30; piccolo and string parts. ................. 40

Figure 3.5: “Hydro,” chamber winds version, mm. 26-37; piccolo parts. First iteration of
Phrase A. ............................................................................................................................ 41

Figure 3.6: “Hydro,” chamber winds version, mm. 42-52; piccolo parts. Second iteration
of Phrase A. ....................................................................................................................... 42

Figure 3.7: “Hydro,” chamber winds version, mm. 58-67; piccolo parts. Third iteration of
Phrase A. ............................................................................................................................ 43

Figure 3.8: “Wind,” orchestra version, mm. 162-172; string parts. .................................. 44

Figure 3.9: “Wind,” wind ensemble version, mm. 162-172; saxophone, trumpet, and horn
parts. .................................................................................................................................. 46

Figure 3.10: “Wind,” chamber winds version, mm. 172-179; wind parts. ........................ 47

Figure 3.11: “Solar,” sinfonietta version, mm. 363-368; string parts. .............................. 48

Figure 3.12: “Solar,” wind ensemble version, mm. 356-678; clarinet 1, alto saxophone 1,
French horn 1, and trombone 1 sharing D4. ...................................................................... 49

Figure 3.13: “Solar,” wind ensemble version, mm. 356-678; clarinet 3, alto saxophone 2,
French Horn 3, and trombone 3 sharing B3. ..................................................................... 49

Figure 3.14: “Solar,” wind ensemble version, mm. 356-678; clarinet 2, tenor saxophone,
French horn 2, and trombone 2 sharing G3. ...................................................................... 49

Figure 3.15: “Solar,” chamber winds version, mm. 356-368; orchestration of G triad.
Instruments sharing each of the three pitches are color coded. ......................................... 50

vi
Figure 3.16: “Solar,” sinfonietta version, mm. 369-375; string parts. .............................. 52

Figure 3.17: “Solar,” wind ensemble version, mm. 369-375; clarinet, saxophone, horn,
and trombone parts. Trombone glissandi are boxed. ......................................................... 53

Figure 3.18: “Solar,” chamber winds version, mm. 369-375; clarinet, bassoon,
saxophone, horn, and trombone parts. Trombone glissandi are boxed. ............................ 55

Figure 3.19: “Hydro,” orchestra version, mm. 90-94; violins imitating birds. ................. 56

Figure 3.20: “Hydro,” orchestra version, mm. 105-108; the seagull effect in the cellos. . 56

vii
 ACKNOWLEDGEMENTS

Thank you to my adviser Donnacha Dennehy for your mentorship and kindness

over the last nine years. From the very first time I showed you my music, I immediately

felt you understood who I was—and who I could eventually be—as a composer.

Thank you to my second reader Juri Seo for your insight and friendship. Here’s to

many more chain restaurant outings together. (They’re everywhere, after all!)

Thank you to the teachers I have been so fortunate to work with at Princeton.

Donnacha, Juri, Barbara White, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and

Steve Mackey: you are all brilliant. I leave Princeton a much better composer and thinker

than when I arrived, and I owe much of that growth to you.

Thank you to all my composer colleagues at Princeton for showing me firsthand

just how many wonderful things one can do with sound.

Thank you to everyone involved in the creation of Renewal, including David Alan

Miller and Albany Symphony, Sandbox Percussion, Jerry Junkin and all the members of

the wind ensemble consortium, Epoch Percussion, Thomas Verrier and the Vanderbilt

Wind Symphony, and the hundreds of performers in these ensembles who have brought

the piece to life.

Thank you to my mother for your fierce support my musical pursuits. I would

never have gotten this far without you.

Thank you to my partner Trevor for your love, and for taking care of me when I

find it difficult to take care of myself.

Finally, thank you to my father, my biggest fan. I miss you dearly. I know you

would’ve been very proud to see that I now have a PhD, just like you.
viii
 CHAPTER 1: About Renewal

As I stood at my kitchen sink one early winter night in 2014, I heard a sound. A

full-bodied sound with a crisp attack. A sound with a finish so smooth, it lingered in the

air before dissipating without a trace. A sound I wanted to hear again. Luckily, I would—

I am of course describing the sound of one of my wineglasses being thwacked by a fork.

While I was tidying my kitchen that evening, my dishes were the last thing on my mind.

Instead, I found myself fretting about the upcoming week’s ‘Writing for Percussion’

seminar at Princeton.1 The week’s theme was portable/toy percussion, and I had yet to

think of something I felt compelled to have Sō Percussion try out in a few days. Luckily,

that absentminded thwack was something of a sound effect to a real-life lightbulb

moment, and I knew right then what I would be bringing to seminar that week.

By the time spring arrived, I found myself with a collection of over thirty thrift

store glasses, ranging from enormous 29 oz. cognac goblets to little 3.5 oz glasses meant

for dessert wines. I spent hours tuning them with water, cataloguing each one’s pitch

when half-full, listening to how far a pitch would slide when its glass was tilted 30° or

60°. All this experimentation culminated in Water, Wine, Brandy, Brine (2015), my

percussion quartet where the four performers toast, strike, and rub fifteen tuned crystal

glasses. Sō Percussion gave a superb premiere of it at Princeton Sound Kitchen on May

16, 2015. That night, I joked that this piece would be the peak of my creativity, that I

would never luck into such a serendipitous thwack again.

1
This seminar was co-taught during the Fall semester of 2014 by Steve Mackey, Juri Seo, and Sō
Percussion. Each week’s meeting would cover a different topic or theme, and we would write short drafts
related to these themes that Sō Percussion would read through and discuss.
1
 Thankfully, it ended up being the seed for a larger project. About eight months

later, I received an email from David Alan Miller, music director of the Albany

Symphony. He had come across my website, where he watched Sō’s performance of

Water, Wine, Brandy, Brine. Water was one of the themes of the symphony’s upcoming

season, and—since I didn’t seem to have any trouble finding inspiration in water—he

asked if I would be interested in writing a piece inspired by it for their new music

ensemble, the Dogs of Desire.2 Eager to work with a renowned professional orchestra, I

of course said yes.

A few months later, I received a call from David. He explained that the

orchestra’s nearby sponsor, GE Renewable Energy, was interested in partnering on a

commission that celebrated renewable energy. Since I had already agreed to write a piece

about water, David wondered if I could also somehow involve the wind and sun. I was

intrigued. Furthermore, he added that GE wanted the commission to be some sort of

collaboration, where another ensemble would join the Dogs for the performance. I

immediately thought of my dear friends in Sandbox Percussion, as we had for years been

planning to work together on some sort of piece—a concerto, we hoped. Thrilled to

finally have an opportunity to write a percussion quartet concerto for them, I said yes

once again. Though the specificity of the commission was initially a source of

uncertainty, I ultimately found the water-wind-solar structure of the piece to be helpful.

By then, I had certainly learned that anything could be a percussion instrument, and the

2
“Dedicated to exploring and celebrating the intersection between the raucous terrain of American popular
culture, traditional Western instrumental music, and music traditions from around the world, the Albany
Symphony’s 18-member new music ensemble, Dogs of Desire, has commissioned and performed more
than 200 new works by America’s most exciting emerging composers.” Dogs of Desire, homepage,
https://dogsofdesire.com (accessed October 3, 2021).
2
slightly prescriptive nature of the commission actually helped me narrow down what

instruments the soloists would play. These choices would then inform the design of the

accompaniment.

Figuring out what the soloists would play in the first movement, “Hydro,” was

simple, as I knew from the beginning that I would adapt the toasting patterns and

melodies from first 120 measures of Water, Wine, Brandy, Brine. At one point I did

question whether having them toast glasses for the entirety of the movement would be

sufficiently engaging. However, I decided against adding anything else to their music,

figuring that the striking novelty of these instruments could maintain the listeners’

interest both aurally and visually. I also love what toasting them symbolizes. We usually

toast glasses when we have something to celebrate with others, and this felt like an apt

way to open the piece.

The sparseness of the crystal glasses also informed my approach to the first

movement’s accompaniment, which is characterized by continuous expansions in register

and density. After an introduction where the soloists perform alone, I swirl in glistening,

high-pitched sounds that echo the clinking glasses. The mid and low registers of the

ensemble are then gradually filled in, submerging the sound of the quartet as lower

instruments enter. This all flows into a majestic tutti climax that is suddenly cut off when

the soloists reclaim the spotlight. They proceed to close the movement in a sober fashion,

amidst gusts of air that signal a transition into the second movement.

The process of choosing solo instruments for the second movement, “Wind,” was

less clear cut than that of the first. My initial thought was to focus on instruments that

produce air-like sounds, and I workshopped some ideas with rolled suspended cymbals,

3
sandpaper blocks, and even compressed air cans.3 While the compressed air cans did find

their way into a couple of sections, I was skeptical that any of these options could deliver

the hard-hitting virtuosity that I felt was needed after the more restrained first movement.

So, rather than relying on aural representations of air, I instead opted for a dramatic

visual one. Each soloist, equipped with their own hi-hat and kick drum, stands in a

circular arrangement around a snare drum. During some sections they rotate around this

snare drum, as if they themselves are the blades of a turbine. In addition to the visual

interest that this primary configuration provides, it also turns the soloists into something

of a superhuman drummer. With four hi-hats and kick drums at my disposal, I knew

immediately that I would write beats inspired by the blistering drum samples found in

drum and bass music, a genre of electronic music that features blazing fast tempos,

weighty bass lines, and complex breakbeat drum samples.4 (After all, a superhuman

drummer deserves some superhuman beats.) I would ultimately layer these beats with

heavy basslines and synth-like chords in the accompaniment to create my take on an

electrifying 90’s drum and bass track.5

3
Having learned of the negative environmental impact of compressed air cans, I ask performers to use
refillable air cans that can be manually filled with a bicycle or tire pump.
4
For a detailed discussion of drum and bass music, see Emily Daus Ferrigno, “Technologies of Emotion:
Creating and Performing Drum ‘n’ Bass,” (PhD diss., Wesleyan University, 2008).
5
Excited to reference drum and bass music, I even quoted a few bars of my favorite drum and bass tracks,
“True Playaz Anthem” by DJ Hype (1996) in the original version of “Wind.” I would end up removing this
quotation in subsequent versions of the piece, as I realized it was too inside to be a truly successful musical
quotation. Bicknell remarks that “for a musical quotation to be aesthetically effective as quotation, it is
crucial that the composer’s intended audience recognize it.” While fans of 90’s drum and bass music might
recognize this quotation, I accepted that most classical music audiences likely would not, and some might
not even care to. One could further argue that any direct musical quotation is prone to this dilemma, as it is
impossible for every listener to have a working knowledge of every piece of music ever produced. Jeanette
Bicknell, “The Problem of Reference in Musical Quotation: A Phenomenological Approach,” The Journal
of Aesthetics and Art Criticism 59, no. 2 (Spring 2001): 188.
4
 While the second movement is a fierce display of virtuosity, I wanted the third

movement, “Solar,” to serve as a poignant ending that, much like a sunrise, gives us the

feeling of starting anew. To first capture the brilliance of sunlight, I decided to have the

soloists play a variety of traditional metallic percussion instruments. Two of the soloists

share a foil-prepared vibraphone, while the other two split a set of crotales that are either

submerged in water or lowered onto an upside-down snare drum. And much like the

snare drum in the previous movement, the soloists share a single glockenspiel here. As it

turns out, the glockenspiel and vibraphone not only impart an auditory brightness—they

also resemble solar panels.

This movement’s accompaniment consists of just a few simple components, one

of which is a series of piano triads set to a gentle, heartbeat-like rhythm. Other

instruments in the ensemble play these triads as sustained tones that occasionally melt

using an approach to glissandi adapted from my string quartet Commitment Bed (2016).

As the movement progresses, these chords climb higher and higher by way of secondary

dominants. The orchestration becomes increasingly dense as these chords ascend,

culminating in a majestic climax that depicts the conclusion of a sunrise.

Floating above the accompaniment in “Solar” is a seemingly endless melody to

which each of the soloists contributes their own notes and sparkling colors. In other

words, it is as if I wrote the melody, broke it apart, and asked the quartet to put it back

together. The manner in which they share this melody exemplifies another theme of the

piece: synergy. I always treat the quartet as a single soloist, albeit one with eight arms

and legs. Another example lies in “Wind,” where the drum set patterns are so complex

that a single drummer would likely deem them impossible. So, while still difficult, the

5
beat here is made possible by dividing the notes evenly among the four soloists. The

same philosophy applies to the first movement, where the soloists—holding a glass in

each hand—are limited in the music they can make individually. (You can only produce

one dyad if you toast with yourself.) Conversely, the options for melodies and chords

multiply when there are others to toast with.

Sandbox Percussion and the Dogs of Desire led by David Alan Miller premiered

the piece on June 2, 2017 at the Experimental Media Performing Arts Center (EMPAC)

in Troy, NY. It was a success. David Alan Miller soon asked me if I had any interest in

creating a full orchestra version, to which I of course said yes. After he premiered this

with the full Albany Symphony in October of 2018, I assembled a consortium of

community, professional, university, and high school wind ensembles to support a third

version for wind ensemble (see Appendix A for the full consortium). This wind ensemble

version was then premiered during the spring of 2019 by members of the consortium.

These premieres included Sandbox Percussion performing with the Brooklyn Wind

Symphony, conducted by Jeff W. Ball, and Epoch Percussion performing with the Dallas

Winds and UT Austin Wind Ensemble, both conducted by Jerry Junkin. By that point, I

felt I had explored all there was to explore with the concerto, and I decided that the wind

ensemble version would be its final iteration.

Covid-19 changed my mind. By the fall of 2020, many university wind ensembles

and their conductors were tasked with finding music that could be performed socially

distanced. Along with frequent testing, this would be the only way for them safely make

6
music that year, especially before vaccines were available.6 Ji-Hye Jung, Professor of

Percussion at Vanderbilt University, asked me that October if I had any interest in

creating a version for chamber winds. Hungry to work with live musicians once again, I

enthusiastically agreed. Vanderbilt then commissioned the chamber winds version, and I

finished the chamber winds version that winter. W. Lee Vinson, Ji Hye Jung, Jonny

Allen, and Terry Sweeney recorded it with a subset of Vanderbilt Wind Symphony,

conducted by Thomas Verrier, in March of 2021. The video was then premiered a month

later on April 22, 2021. In total, there are now four versions of the piece, each with

unique qualities owed to their distinctive instrumentations (Figure 1.1).

Listeners of any of these versions will know from the program notes that the

concerto’s overt themes are renewable energy and synergy, but—from my perspective as

the composer—adaptation and flexibility are equally significant themes of both the piece

and the compositional process itself. In addition to adapting elements from my own

music, Renewal incorporates sounds and features from other musical styles, such as drum

and bass music, as previously discussed. Moreover, electronic effects and sounds like

delay and build-up risers find their way into the acoustic landscapes of all four versions,

and Chapter 2 focuses on my approaches to scoring them. Chapter 3 then details the ways

in which I adapted the many string-centric sounds of the original into the nearly stringless

wind versions. In the final chapter, I discuss the ways in which my work on this piece

have inspired my subsequent music, as well as the important role that adaptation plays in

composition at large.

6
For information about the spread of aerosols by musical instruments, see Ruichen He, Linyue Gao,
Maximillian Trifonov, and Jiarong Hong, “Aerosol generation from different wind instruments,” Journal of
Aerosol Sciences 151, (January 2021).
7
 Sinfonietta Full Orchestra Wind Ensemble Chamber Winds
(2017, rev. 2021) (2018, rev. 2021) (2019, rev. 2021) (2021)
4 Soloists 4 Soloists 4 Soloists 4 Soloists
1 Flute 2 Flutes/Piccolos 2 Flutes/Piccolos 2 Flutes/Piccolos
1 Oboe 2 Oboes 2 Oboes 2 Bb Clarinets
1 Clarinet in Bb 2 Clarinets in Bb 2 Bassoons 1 Bassoon
1 Bassoon 2 Bassoons 1 Contrabassoon 1 Soprano Sax
1 Soprano Sax 6 Bb Clarinets 1 Alto Sax
1 Bari Sax 2 Bass Clarinets 1 Tenor Sax
1 Soprano Sax 1 Baritone Sax
2 Alto Saxes
1 Tenor Sax
1 Baritone Sax
1 Horn in F 4 Horns in F 4 Trumpets in Bb 2 Trumpets in Bb
1 Trumpet in C 2 Trumpets in C 4 Horns in F 2 Horns in F
1 Trombone 2 Trombones 3 Trombones 2 Trombones
Bass Trombone 1 Bass Trombone 1 Tuba
Tuba 2 Euphonium
2 Tuba
Timpani Timpani 3 Section Percussion
3 Section Percussion 4 Section Percussion
1 Piano 1 Piano 1 Piano 1 Piano
1 Violin I Violin I (section) 1 Double Bass 1 Double Bass
1 Violin II Violin II (section)
1 Viola Viola (section)
1 Cello Violoncello (section)
1 Double Bass Double Bass (section)
Figure 1.1: Instrumentation lists for the four versions of Renewal.

8
 CHAPTER 2: Adapting Electronic Sounds for Acoustic Ensembles

Although I mainly compose music for acoustic ensembles, I have much

admiration for electronic music and its ever-growing list of possibilities. Some of my

favorite musical artists and composers work heavily in this realm, and I am often asked

why I do not join them. The first reason has more to do with inertia than anything:

essentially all my commissions are requests to write acoustic pieces. But a second, more

artistic, reason is that I love devising ways to acoustically recreate my favorite electronic

sounds and effects in the music that I have been asked to write. Though it is not without

its difficulties, this approach has become something of a signature of mine over the years.

This chapter focuses on how I adapted a few of my favorite elements of electronic

music—delay and EDM build-ups—into the four versions of Renewal, all scored for non-

electronic ensembles.

2.1: Delay Effects

Some of the most noteworthy examples of acoustically recreating electronic

sounds in Renewal are the piece’s acoustic representations of delay. Delay, “which

generates one echo or more of the input signal,” is perhaps most recognizable when an

electric guitarist uses a delay pedal, and delay effects “conform some of the most

fundamental guitar effects.”7 One may recall the guitar riffs in David Bowie’s song

“Let’s Dance,” where producer Nile Rodgers reminisces he “let the delay make the

7
Pablo Calleja, Gabriel Caffarena, and Ana Iriarte, “FPGA Design of Delay-Based Digital Effects for
Electric Guitar,” in Lecture Notes in Computer Science, ed. by Diana Goehringer, Marco Domenico
Santambrogio, João M.P. Cardoso, and Koen Bertels (Heidelberg: Springer Cham, 2014): 8405:213-14.

9
groove” in lieu of physically strumming every chord.8 Nowadays this effect can be

digitally applied to any instrument or vocal, and I first experimented with using delay as a

compositional tool in my piece Naica (2011) for solo alto saxophone and electronics.

Soon after completing Naica—and upon György Ligeti leaving me awestruck with his

acoustic adaptations of elektronische Musik in Atmosphères (1961)9—I was inspired to

replicate the sounds of digital delay in my own acoustic music. Several textures in my

subsequent wind band piece Sound and Smoke (2011) are the direct result of this

inspiration. And I am certainly not the only composer who has emulated delay; from the

first time I incorporated these sounds into my music a decade ago, I have come across

other acoustic pieces, such as Takuma Itoh’s Echolocations (2009) and Owen Clayton

Condon’s Fractalia (2011), that also render delay chain echoes in convincing ways.

However, to the best of my knowledge, the particular scoring strategies I have devised to

achieve this effect are unique and personal to my music. These strategies are sprinkled

throughout Renewal, but certain structural elements in the first movement, “Hydro,” best

illuminate these approaches to orchestration.

After a 25-measure intro where the soloists perform alone, the section from mm.

26-73 imitates delay when the accompaniment enters. This section consists of three 16-

bar phrases, each comprised of two 8-bar melodic halves, referred to here as A and B and

their following variations. Phrases 2 and 3 are ornamented, denser repeats of Phrase 1,

8
Fender, “Nile Rodgers Tells the Story of ‘Let’s Dance’ | Fender Artist Check-In | Fender,” June 22, 2020,
Youtube video, 3:59-4:49, https://youtu.be/NlDCPCwVNUw (accessed September 29, 2021).
9
With Atmosphères, an acoustic work for orchestra, Ligeti brings “three mainstream WDR compositional
techniques into the acoustic realm: additive synthesis, filtering, and Bewegungsfarbe.” Jennifer Iverson,
“The Emergence of Timbre: Ligeti’s Synthesis of Electronic and Acoustic Music in Atmosphères,”
Twentieth-Century Music 7, no. 1 (March 2010): 63.
10
complete with shifting time signatures (Figure 2.1). When these meters shift, the delay

patterns change. Therefore, careful accounting of these time signature changes aids in the

understanding of the movement’s scoring principles.

1: 9 8
mm. 26-41 8 8
2: 8 7 8 7 8 7 3 7 3
mm. 42-57 8 8 8 8 8 8 4 8 4
3: 3
mm. 58-73 4
Figure 2.1: Phrase structure map of m. 26-73. Each row is a phrase, with the melodic
halves colored A and B. Each box is one measure.

The stretch of music from mm. 26-73 gradually changes meter by converting

select dotted quarter notes into quarter notes (Figure 2.2). In other words, single eighth

notes are selectively subtracted from dotted quarters. 9/8 bars thus become 8/8 bars,

which then become 7/8 bars. Finally, each 7/8 bar drops an eighth from its remaining

dotted quarter, and the piece fully commits to 3/4 by m. 57. The soloists always highlight

these meter changes by toasting their glasses on all three downbeats of each measure.

And while these meter changes are placed intuitively, their effect on the music bears a

resemblance to a closely controlled accelerando. As the dotted quarter notes shrink to

undotted quarters, the melodic notes get closer together, which in turn makes the melody

sound as if it is speeding up.10

10
I was inspired by Conlon Nancarrow’s “conception of accelerando, focusing on duration rather than
tempo.” Clifton Callender, “Formalized accelerando: An extension of rhythmic techniques in Nancarrow’s
acceleration Canons,” Perspectives in New Music 39, no. 1 (Winter 2001): 188.

11
 9/8: [3+3+3]/8
-1
8/8: [3+2+3]/8
-1
7/8: [3+2+2]/8
-1
3/4: [2+2+2]/8

Figure 2.2: Depiction of subtractive process in meter changes.

The melody is formed from the uppermost pitches of each successive chord,

except for when an inner or lower note of the chord introduces a pitch absent from the

chord(s) immediately preceding it. For example, on beat 2 of m. 26, Soloists 3 and 4 toast

a dyad consisting of a B5 and C6. If this chord were to be played in isolation, a listener

would likely hear the higher of the two pitches, C6, as the melodic note. However,

because the chord preceding it also has C6, the newness of the B5 draws the ear towards

it. The melody thus descends a half step from beat 1 to 2 in m. 26 (Figure 2.3).

Figure 2.3: “Hydro,” all versions, mm. 26-29; soloist parts and their composite chords,
with the melody highlighted in purple.

12
 The soloists repeat this melody three times and toast on every downbeat of every

bar, even through several meter changes. Their music is nothing if not steady. (One might

even call it hypnotic, as the tempo marking suggests.) This steadiness encouraged me to

devise an accompaniment that would add dimension and emphasize the shifting meters,

but still support the soloists’ melodic content. I ultimately achieved this by emulating

digital delay, and the process by which I arrived at the final accompaniment is worthy of

discussion.

I first experimented at m. 26 with mimicking delay set to dotted quarter notes but

was quickly disappointed by the resulting dullness. The movement’s slow tempo, as well

the consistency of the soloists toasting their glasses on every downbeat, likely contributed

to this. It then occurred to me that I could simulate delay set to something other than the

dotted quarter note pulse, such as quarter notes or eighth notes. For the music in 9/8, I

eventually settled on replicating a delay setting where each melodic note receives four or

five quarter note echoes in its delay chain (Figure 2.4). These echoes generate two-

against-three cross rhythms against the melody, which sound particularly fresh after the

soloists introduce the dotted quarter note pulse sans accompaniment during mm. 1-25. To

further maintain melodic clarity, I chose to echo only the melodic pitches, with some

even doubled up an octave. These octave doublings work to reinforce the melody and

build independence among the delay chains.

13
Figure 2.4: “Hydro,” all versions, mm. 26-29; composite crystal glass melody and
intended delay chains. Four rotating colors are used to match melodic notes with their
delay chains.

The next task involved choosing which instrument(s) to assign these echoes to.

My hope was to orchestrate them in a way where a listener could be convinced the crystal

glasses themselves were being sent through a delay pedal. Therefore, an instrument with

a percussive attack and quick decay was ideal. Of all the instruments available to me in

the Dogs of Desire ensemble, the piano quickly revealed itself to be the best candidate. In

fact, I found the twinkly delicacy of highest register of piano to be an exceptional analog

to the clinking glasses.

While the timbre of the piano was felt to be optimal, I was concerned that a single

pianist would not be able to replicate the fade-outs characteristic of delay (see

decrescendos in Figure 2.4). A complement of three pianists would have been ideal. With

multiple pianists, the echoes could be distributed evenly, which would then allow them to

independently decrescendo during each delay chain. For example, I believe assigning a

14
different pianist to each of the three echo staves in Figure 2.4 would produce a faithful

portrayal of delay. Nevertheless, the fact remained that I would only have one pianist.

Upon hearing a single pianist tackle it though, my concerns were lessened.

Despite not being able to tend to each delay chain’s decrescendo, the pianist still

produced a sound close enough to what I was seeking. I am left to offer some conjecture

as to why that was; my impression is that as the pianist bounces from one chain to the

next, the listener’s ear tracks just the start of each new delay chain, and in some

unconscious way accepts that the previous ones are fading out. I believe that this in

combination with the aforementioned octave doublings makes for a convincing enough

imitation of delay at m. 26, even with just one pianist (Figure 2.5).

Figure 2.5: “Hydro,” sinfonietta version, mm. 26-29; crystal glass melody, delay chains,
and composite piano part.

The delay chains of nearly all this music in 9/8 consist of four or five quarter

notes triggered on each downbeat. There are two exceptions: beat three of m. 33 and beat

15
three of m. 35. These beats instead trigger echoes of six dotted eighth notes (Figure 2.6).

Aside from providing some welcome variety, these two exceptions foreshadow changes

to the delay effects that occur during the upcoming meter changes.

Figure 2.6: “Hydro,” sinfonietta version, mm. 33-36; crystal glass melody, delay chains,
and piano part, showing changes to the delay in mm. 33 and 35.

The first meter change arrives at m. 40 in the form of an 8/8 bar. As shown in

Figure 2.2, the second beats of select 9/8 bars shrink to quarter notes, resulting in 8/8 bars

with 3+2+3 eighth note subdivisions. This time signature change also spurs a

transformation to the delay: from m. 40 onward, all quarter note downbeats now trigger

echoes of four or five dotted eighth notes. This furthermore applies to the 7/8 bars, where

the third beat of some 8/8 measures drops an eighth, resulting in 7/8 with 3+2+2 eighth

note subdivisions (Figure 2.7). This transformation to the delay prevents any dullness

related to the echoes being the same duration as the main beats (i.e., using quarter note

echoes when the main beat is also a quarter note).

16
Figure 2.7: “Hydro,” sinfonietta version, mm. 39-46; crystal glass melody, delay chains,
and piano part, showing changes to the meter and delay in mm. 40 and 44.

The first 3/4 bar later appears at m. 53. Here, all three beats trigger dotted eighth

note delay chains. When the music fully commits to 3/4 at m. 58, the resulting echo

composite becomes a steady stream of sixteenths played by the pianist (Figure 2.8).
17
Figure 2.8: “Hydro,” sinfonietta version, mm. 52-59; crystal glass melody, delay chains,
and piano part, showing changes to the meter in mm. 53 and 57.

To my ear, the regularity of the piano’s sixteenths at m. 58 somewhat obscures the

delay effect, especially if the accents are not emphasized. To remedy this, I layer in the

soprano saxophone, oboe, and clarinet, and each of them doubles a particular echo chain

18
with the piano (Figure 2.9). The distinctiveness of each woodwind timbre helps the ear

distinguish the different delay chains from one another.11 Their parts are also written with

practicality in mind—even though the echoes lie somewhere off the beat, their parts

include other melodic downbeats. (Some of these downbeats are taken down an octave to

avoid tonguing multiple sixteenths in a row, which I feared would hamper the

decrescendos.) Therefore, the woodwinds can worry less about aligning each echo

perfectly with the piano and can instead focus on controlling their fade-outs. These fade-

outs, absent from the piano part, also help to reestablish the believability of the delay

effect. This texture continues until the conclusion of the section at m. 73.

Figure 2.9: “Hydro,” sinfonietta version, mm. 58-60; piano and woodwind parts.

There were plenty of opportunities to further replicate delay when I adapted the

piece for orchestra and wind ensemble. Larger instrumentations of course offer a

11
“Each woodwind instrument has a distinctive sound, which makes it invaluable as a presenter of melodic
material.” Samuel Adler, The Study of Orchestration, 4th ed. (New York: W.W. Norton and Company,
2016), 189.
19
composer a wider sonic palette, and I relished having many more instruments to choose

from when orchestrating the delay chains. As previously discussed, the ideal instruments

to imitate delay of crystal glasses are those with percussive attacks and quick decays.

This obviously describes several percussion instruments, and I was very fortunate now to

have an entire percussion section (in addition to the soloists) at my disposal. Therefore,

mm. 26-73 in the three post-sinfonietta versions utilize xylophone, marimba, and

vibraphone on the delay effects (Figure 2.10).

Now equipped with three additional performers playing instruments with the

desired traits, I was able to simplify the piano part. While successful in the sinfonietta

version, the original piano part presents quite a challenge to the performer.12 (I am sure

pianists playing the non-sinfonietta versions of this piece would be pleased to know they

are not covering all the delay chains themselves.) All the music originally in that part is

now shared by the piano, xylophone, marimba, and vibraphone, taking some pressure off

the pianist. The new marimba and vibraphone parts double the pianist’s left hand at pitch,

and the xylophone—which sounds one octave higher than written—generally doubles the

piano’s right hand. The three percussion parts also include fade-outs, recalling the

woodwind parts in m. 58-73 of the sinfonietta version (Figure 2.9). Compared to the

original piano music at m. 26, I find this new configuration to be both easier to perform

and even more reminiscent of real delay.

12
At the first rehearsal of the sinfonietta version, the pianist nervously joked that the first movement was
that of a piano concerto, not a percussion quartet concerto.
20
Figure 2.10: “Hydro,” post-sinfonietta versions, mm. 26-29; section percussion and piano
parts.

I did not initially plan on using the delay effects in the second movement. I

figured that “Wind,” with all its flash and theatrical choreography, could be sufficiently

dynamic without them. But on the very day that the piece was due, I had a change of

heart and decided to layer some delay into this movement as well. And I am glad I did.

As it turns out, these effects sound brilliant in the second movement’s brisk tempo.13

There are two settings for the delay effects in “Wind,” the first of which appears in all

versions of the concerto, and the second of which appears only in the post-sinfonietta

versions.

13
In a year-end list recalling the premiere, Joseph Dalton remarks, “The ingenious central movement used
choreography inspired by wind turbines…Leaving aside the clever visuals, the music was snappy and
intricate and easily held its own.” Joseph Dalton, “Capital Region’s top art, cultural experiences of 2017,”
Times Union, December 27, 2017.

21
 The first delay setting is analogous to the one at m. 58 in “Hydro.” This setting—

four dotted eighth note echoes triggered by each quarter note—is the most used, first

appearing at m. 225 (Figure 2.11). In the sinfonietta version, these echoes are

orchestrated for piano, soprano saxophone, oboe, and clarinet, all of which have musical

patterns akin to those at m. 58 of the previous movement (Figure 2.9).

Figure 2.11: “Wind,” sinfonietta version, mm. 225-227; piano and woodwind parts.

The post-sinfonietta versions distribute this delay setting’s patterns amongst all

the available upper woodwind instruments, resulting in longer rests for breaths. And for

increased projection, the ensemble percussionists additionally double the woodwinds on

xylophone and marimba. These subsequent versions also add delay to the two sections

inspired by EDM build-ups at mm. 196-205 and mm. 283-300 (Figure 2.12).14 Because

14
For a detailed explanation of EDM build-ups, see Ragnhild Torvanger Solberg, “Waiting for the Bass to
Drop: Correlations Between Intense Emotional Experiences and Production Techniques in Build-Up and
Drop Sections of Electronic Dance Music,” Dancecult: Journal of Electronic Dance Music Culture 6, no. 1
(January 2014): 61-82.
22
these two sections are more chromatic in nature, I decided to omit some sixteenth notes

from the piano part. Therefore, the pianist’s music in these sections resembles that of the

percussionists, and it finally includes delay chain fade-outs.

Figure 2.12: “Wind,” orchestra version, mm. 188-191; woodwind, section percussion,
and piano parts.

The second delay setting in “Wind” appears at m. 241 in the post-sinfonietta

adaptations, and it harkens back to the very first setting at m. 26 in “Hydro.” However,

instead of the echoes being quarters against a dotted quarter note pulse, it is now notated

as quarter note triplets against a quarter note pulse. This setting appears just once in a

23
quasi-swung section, hence the triplet-based music.15 The texture at m. 241 is also one of

the most transparent in “Wind,” so the woodwinds are not utilized here. Instead, I use just

the ensemble percussion and piano in the wind ensemble and chamber winds versions.

The orchestral version also involves the violins and violas, doubling the percussion and

piano with pizzicato (Figure 2.13).

Figure 2.13: “Wind,” orchestra version, mm. 241-2244; section percussion, piano, and
string parts.

15
I refer to this music as quasi-swung because triplet-based rhythms do not accurately represent swung
eighth notes in jazz. However, to maintain the practicality necessary to efficiently rehearse large ensemble
music with classical musicians, I chose to notate it this way. Benadon explains, “While other
representations may provide more accurate descriptions of the actual durational ratios taking place in jazz
eighths, they can seem unnecessarily convoluted…Therefore, the triplet view may owe its pervasiveness to
the psychological convenience of converting complex ratios into simple ones.” Fernando Benadon, “Slicing
the Beat: Jazz Eighth-Notes as Expressive Microrhythm,” Ethnomusicology 50, no. 1 (2006): 91.
24
 “Solar,” the third and final movement, also uses acoustic representations of delay,

but my approach to its delay effects differs from the previous movements. Firstly, delay

effects in “Solar” are not used to add dimension to a foreground melody. They instead

activate an undulating middle ground texture independent of the melody. Secondly, the

delay is set to a simple eighth note echo against the moderate quarter note pulse. While

this delay setting does not produce any interesting two-against-three or three-against-four

cross rhythms, I still find it effective because the actual materials being echoed are

sixteenth note triplets. Third, and most importantly, the orchestration of these echoes

does not center around the piano.

Instead, the third movement only engages the woodwinds in the delay. In the

orchestral version, clarinet 1 first plays a motive consisting of three ascending sixteenth

note triplets. As clarinet 1 plays this motive, clarinet 2 plays a delay chain for the first

triplet. The delay chain for the second triplet is then played by oboe 1 and flute 2, and the

third by oboe 2 and flute 1 (Figure 2.14). They all fade out gradually. However, it should

be noted that the oboes fade out first, despite being doubled with the flutes. The benefits

of this oboe and flute writing are twofold:

1.) This is a relatively “weak” flute register, not ideal for the forte entrances.16

However, the oboes have a “prominent” sound on these same notes, projecting

where the flutes cannot.17

16
In addition to describing the flute’s middle register as “soft” and “weak,” Berlioz declares that this
register lacks any “specially distinct character,” adding that “it can never match the oboe’s naïve gaiety or
the clarinet’s noble tenderness.” Hector Berlioz and Hugh Macdonald, trans., Berlioz’s Orchestration
Treatise: A Translation and Commentary (Cambridge: Cambridge University Press, 2002), 140.
17
Adler, 205.
25
 2.) Conversely, the flutes are in a register where they can better execute the soft

endings of each delay chain. Having the oboes fade out 50% sooner further

optimizes the decrescendo, as oboe 1 cannot play as softly as the flutes here.

Figure 2.14: “Solar,” orchestra version, mm. 396-399; woodwind parts.

This effect in the wind ensemble version of “Solar” is more robust, as there are

many more woodwind instruments to engage. In this version, I move the triplet motive to

alto saxophone 1, as the reedy lower register of the saxophone helps this special moment

(one of my favorites in the entire concerto) cut through the rest of the ensemble.18 The

echoes are then performed by the flutes, oboes, clarinets, soprano saxophone, alto

saxophone 2, and tenor sax (Figure 2.15). Doublings here are approached in a similar

manner to the flute and oboe doublings in the orchestral version. For instance, flute 2,

18
Adler explains that saxophonists “have difficulty playing very softly at both ends of the range, especially
at the very bottom of it.” While this music is not the very bottom of their range, I find that much of the
saxophone’s lower register maintains this reedy heaviness. Adler, 232.
26
clarinet 1, oboe 2, and alto saxophone 2 all echo the second triplet of the motive, and

their fade outs are carefully staggered according to how softly their instruments can

perform these notes.19

Figure 2.15: “Solar,” wind ensemble version, mm. 396-399; woodwind parts.

19
Adler, 221. Compared to the oboes and (to a lesser extent) the saxophones, clarinets have the unique
ability to fade to niente.
27
 With its smaller instrumentation, the chamber winds version of the piece

approaches this music very similarly to the orchestra version. The alto saxophone plays

the main motive, clarinet 1 takes over the orchestral oboe 2 part, the soprano saxophone

takes over the orchestral oboe 1 part, and the tenor saxophone takes the place of the

orchestral clarinet 2 part. However, as the music progresses towards the final climax, the

highest notes of the motive ascend out of the alto saxophone’s range at m. 413. To

prepare for this, I switch the soprano and alto saxophones’ roles in m. 410 (Figure 2.16).

In this measure, the soprano slyly intercepts the main motive from the alto, who then

plays echoes of the second triplet instead of finishing the motive. By m. 411, they

completely trade roles.

Figure 2.16: “Solar,” chamber winds version, mm. 410-411; woodwind parts.

28
 My desire to replicate delay in all three movements of Renewal posed fascinating

challenges that I enjoyed solving. Solutions first arrived through playful experimentation

and were later refined with attention paid to the smallest of details within the

orchestration. And once I had devised approaches for the delay effects in the initial

version, the process of adapting them into new versions with expanded instrumentations

was fairly straightforward. The resulting sound—layered, atmospheric, and reverberant—

has come to be what I consider a signature of my music, and I have continued to explore

these effects in subsequent pieces.

2.2: EDM Uplifters

With “Wind” being my interpretation of a drum and bass track, I could not help

but write a few sections inspired by those memorable moments in EDM where the energy

is somewhat eased and then rebuilt to electrifying effect. Referred to as “breakdown,

build-up and drop” sections, Solberg explains that these consist of “four dominant

features and techniques to peak the tension: the extensive use of uplifters, the ‘drum roll

effect’, and the removal and reintroduction of the bass and the bass drum, in addition to

large frequency changes.”20 Replicating the latter three of these features during the

sections at m. 180 and m. 279 was uncomplicated: the soloists’ snare parts are gradually

doubled from eighths to sixteenths, the kick drums are removed then added back in, and

the orchestration is thinned out considerably. Recreating the sound of uplifters, however,

was a more thought-provoking process.

20
Solberg, 70.
29
 Solberg describes an uplifter as the gradual movement of a pitch higher and

higher, “indicating that the section is headed towards ‘something’, and the effect is, as the

name points out, to lift the intensity in the section higher.”21 If one were to ask a classical

musician how to describe or produce such an effect, they would likely answer glissando.

In fact, years before the emergence of EDM, Iannis Xenakis’s composed Metastaseis

(1954), an orchestral work that opens with glissandi, which, as Kurt Stone puts it, are

“perhaps Xenakis’s most obviously characteristic musical ingredient.”22 Starting together

on a G, the divisi strings glacially disperse for nearly a minute by way of ascending and

descending glissandi, finally coalescing on an outstretched cluster chord. The first time I

heard Metastaseis, I was amazed to hear music written over half a century ago that bore

such a strong resemblance to modern EDM music (as well as the iconic THX sound

trademark created by Dr. James A. Moorer in 1982).23 I had always wanted to write my

own version of the uplifter effect, and “Wind” was the perfect opportunity.

Compared to Xenakis, I opted for a more harmonically driven approach where

glissandi smear together chromatically adjacent triads. For example, a B-minor triad

(formed by violin II and the cello) is converted into a B-major triad by way of a three-

beat semitone cello glissando from D to D#. Meanwhile, violin I simultaneously performs

a double stop glissando from B/F# up to C/G over the same three beats, resulting in a C-

minor triad with the cello (by respelling the D# as an Eb). Over the next measure, violin

21
Solberg, 70.
22
Kurt Stone, “Reviewed Work: Xenakis: Metastaseis (1953-54); Pithoprakta (1955-56). Eonta for Piano,
Two Trumpets, and Three Trombones (1963-64) by French Natl. Radio Orch., Maurice Le Roux, Yuji
Takahashi, P. Thibaut, L. Longo, J. Toulon, G. Moisan, M. Chapellier, Konstantin Simonovic, Iannis
Xenakis,” The Musical Quarterly 52, no. 3 (July 1968): 389.
23
THX, THX Deep Note, https://www.thx.com/deepnote/, (accessed October 5, 2021).
30
II and the viola both slide up to C/G and C respectively, meeting violin I and the cello on

their C-minor triad. Shortly after uniting on this chord, violin I and the cello start the

whole process again, but up a semitone (Figure 2.17). This continues until m. 206, with

the duration of the glissandi halved at m. 196 and again at m. 200.

Figure 2.17: "Wind," sinfonietta version, mm. 188-194; uplifter effect string parts.

I simply transferred this music to the string sections with divisi when I adapted

the piece for orchestra. In the wind ensemble version, however, the glissandi are

performed down an octave by the trombones. I found that the trombones were the only

instruments in the wind ensemble that could perform these glissandi as smoothly and

slowly as the original string instruments.24 Trombones 1 and 2 are thus paired together

like violin I and the cello in the sinfonietta version, leaving trombone 3 and the bass

trombone to form a pair like that of violin II and viola (Figure 2.18).

24
“The slide glissando on the trombone is the most natural to play, since the trombonist can quickly move
the slide between two or more notes, in the manner of a string player’s glissandi using one finger on one
string.” Adler, 375.
31
Figure 2.18: "Wind," wind ensemble version, m. 188-196; uplifter effect parts.

The chamber winds version similarly places the glissandi in the trombones.

However, because this instrumentation only has two trombones, I could not fully recreate

the staggered smearing effect. The glissandi therefore only occur in every other instance,

and the supporting horns, saxophones, and bassoon, and double bass approximate the

overlapping glissando effect (Figure 2.19).

One notable feature of the scoring in these two wind-based versions is the way in

which breaths are distributed. Just like EDM uplifters themselves, the original string

music is completely continuous with no breaks. Such continuity does not come naturally

to wind instruments, as breaths are required to produce sound. So, although the

trombones can closely w the glissandi of the original string parts, they still need to

breathe somewhere. Therefore, I chose to write an eighth note rest after the completion of

32
each glissando. The trombonists will not necessarily need to breathe on each rest, but I

believe they appreciate having some clear-cut options. The seamlessness of the original

string music is then reproduced by having instruments elsewhere in the ensemble

deliberately fill in during those rests or breaths. For instance, if trombone 1 decides to

breathe in m. 189 of the chamber winds version, their G will be temporarily covered by

the tenor sax (Figure 2.19).

Figure 2.19: "Wind," chamber winds version, m. 188-196; uplifter effect parts.

Some might consider my careful accounting of breaths to be fussy. However, I

believe this approach was crucial to 1.) preserve the unbroken glissandi of the original

string music, and 2.) replicate the ever-escalating atmospheres of the actual EDM

uplifters that inspired this string music. Moreover, this was just one of several instances

33
during the adaptation process where I had to adapt string-centric music for two nearly

string-less ensembles. While some of the string music transferred to the wind versions

quite naturally, other string sounds and effects I opted for in the first two versions did not.

These challenges and my approaches to solving them are discussed in greater detail in

Chapter 3.

34
 CHAPTER 3: Adapting String-Centric Music for Wind Ensembles

I honestly must restrain myself from waxing poetic about the wind ensemble (or,

as I called it back in the day, band). My high school band room was where I fell in love

with making music and, more importantly, found a sense of belonging. Needless to say,

the wind ensemble is a medium for which I have a profound appreciation. And while I

always feel at home when writing for band, it is not without its challenges. When I gave

myself the task of creating a wind ensemble version of Renewal, I felt both excitement

and apprehension. It is clear where my excitement came from, but my apprehension

stemmed from knowing that many important elements of the piece (apart from the

previously examined delay effects) are quite specific to string instruments. And because

much of the piece’s character of it is derived from these string-centric sounds and

techniques, finding analogs for them would be paramount in successfully adapting the

work for wind ensemble and chamber winds. This chapter details the ways in which I

adapted Renewal’s original string-centric music for winds.

3.1: String-Centric Colors

Measures 26-73 have been discussed at length in Chapter 2 with regards to how

the delay effects are used in that section. Paired with these effects are a multitude of

shimmering string sounds: swift upbows, sul ponticello tremolos, and harmonics (Figure

3.1). I chose these sounds to create the illusion that the crystal glasses were being

manipulated electronically in ways beyond just a delay pedal. For instance, the swift

35
upbows that quickly crescendo from niente imitate reverse tape effects.25 (David

Bowie’s “Subterraneans,” one of his collaborations with Brian Eno, uses reverse tape

effects beautifully.) Additionally, much of the string tremolos in this section are marked

sul ponticello. This technique is known for its “somewhat glassy timbre,”26 which—in

addition to being a tongue-and-cheek reference to the soloists’ instruments—results in the

music sounding as if it has been distorted through a high-pass filter. Natural and artificial

harmonics further add a luster by providing sustain to the high-pitched partials present

when glasses are clinked. Along with the delay effects, these various string techniques

bolster and add dimension to the soloists’ melody.

Figure 3.1: “Hydro,” sinfonietta version, mm. 29-33; string parts.

25
Reverse tape effects are very common in electronic music and were originally created by playing back
physically reversed tape recordings. Nowadays, sounds can be easily reversed in any DAW. For a more
detailed explanation, refer to Thom Holmes, Electronic and Experimental Music: Technology, Music and
Culture, 4th ed. (New York: Routledge, 2014), 184.
26
Adler, 35.

36
 These shimmering string sounds are naturally carried over to the full orchestral

version, but I simplified the writing to make the music as user-friendly as possible

(Figure 3.2). Ease of use is always welcome in the symphonic world, where rehearsal

time is precious.27 For example, in the original sinfonietta version the violins and viola

are asked to make very rapid adjustments, often shifting quickly between ordinary and sul

ponticello playing. I avoided this in the full orchestra version, limiting each section to just

one or two techniques. Case in point, the reversed note effects are only performed by the

violas and cellos in this symphonic version. Ultimately, I was delighted to see that these

adjustments were worth it, as the movement came together with little trouble during the

first rehearsal. It is also worth noting that the sound of string sections performing these

techniques is that of a glow, as opposed to the zestier, more immediate sound of a

sinfonietta’s single strings.

Figure 3.2: “Hydro,” orchestra version, mm. 26-30; string parts.

27
For the orchestral premiere of Renewal, we were allotted 145 minutes of rehearsal time.
37
 Unsurprisingly, these string techniques presented me with quite the conundrum

when I began work on the wind ensemble adaptation. Because certain sounds like natural

harmonics and sul ponticello playing are so closely related to a string instrument’s

physical method of sound production, there are no obvious analogs in the nearly

stringless wind ensemble.28 When adapting mm. 26-73 for winds, I considered what the

aims of the original string music were, and if those objectives could be similarly

accomplished by instruments in the wind ensemble.

After some thought, I established that the main goals of those string effects were

to create a light, shimmering texture, reinforce the melody, and add sustain to the highest

partials of the crystal glasses. The first two goals could in theory be covered by several

wind ensemble instruments, since many are capable of lightness and pitched playing.

However, the third aim with regards to sustaining the high-register partials was trickier.

There are not many instruments in the wind ensemble that can match the highest tessitura

of the violin, let alone play delicately in that register.

Crotales or glockenspiel were options since they sound one or two octaves higher

than written, respectively. Unfortunately, I had already involved most of the section

percussion with the arguably more important delay effects discussed in Chapter 2. And I

feared an E-flat clarinet would sound downright silly in this context.29 Eventually, it

occurred to me that piccolo could work very well. I realized that—because piccolos

28
The lone double bass was hardly useful in this situation.
29
“The little Eb clarinet makes a piercing noise about a’’ which can sound vulgar. In a recent symphony,
moreover, it was used to parody, degrade and (if the word may be pardoned) brutalize a curious
transformation demanded by the dramatic meaning of the work.” Berlioz and Macdonald, trans., Berlioz’s
Orchestration Treatise: A Translation and Commentary, 122.

38
transpose up an octave—I could employ the instrument in its “haunting, hollow, [and]

very soft” register, and that all the pitches would sound in the same octave as the original

string harmonics.30 The only issue was that most wind ensembles only have one piccolo

player, so layering sustains for every pitch in the melody wouldn’t be possible. But then

an unorthodox thought came to me: why not use four piccolos? (Figure 3.3).

Figure 3.3: “Hydro,” wind ensemble version, mm. 26-32; piccolo parts.

Somehow unbothered that they might become the stuff of tuning nightmares for

band directors everywhere, I wrote four piccolo parts to cover the goals of the original

30
Adler, 199.
39
string writing.31 The melody is supported by sustained trills, flutters, and normal notes

that overlap with one another. In addition, swift chromatic and diatonic runs add shimmer

and lightly liven the texture, often dovetailing with the sustained tones. I was so

enthusiastic about these piccolo parts that I added two piccolos to the orchestra version

before I had even heard the wind ensemble version played live (Figure 3.4).32

Figure 3.4: “Hydro,” orchestra version, mm. 26-30; piccolo and string parts.

I was over the moon upon hearing the glow of the string sections paired with the

fluttery piccolos in the orchestral version. It is probably one of my proudest orchestration

31
“Intonation is a major area of concern for players and ensemble directors. The differences between flute
and piccolo intonation can become a challenge for players as the pitch tendencies are opposite. Due to its
small size, the piccolo leaves little margin for error when it comes to pitch.” Keith D. Hanlon, “The Piccolo
in the 21st Century: History, Construction, and Modern Pedagogical Resources,” (DMA diss., West
Virginia University, 2017), 87.
32
I finished the wind ensemble version of the piece in February of 2019 and did not hear the four piccolo
parts until the first rehearsals with the Brooklyn Wind Symphony the following March. Meanwhile, any
revisions I wanted to make to the orchestral version (including the addition of the two piccolo parts) were
also due in February of 2019 for a performance at the Curtis Institute that would take place in April.
40
moments as a composer. When I heard the wind ensemble version live with the four

piccolos and no strings, I was pleased as well. I did miss the halo-like glow that seems to

come prepackaged with large string sections, but the piccolos had a zesty charm

reminiscent of the single string parts in the sinfonietta version. So, while I was not as

elated as I thought I would be with the piccolo quartet in the wind ensemble version, it

did feel like the best solution I could come up with at the time.

In the later chamber winds version of the piece, I decided to use multiple piccolos

once again for the same range-related reasons. However, in this more intimate setting

with fewer than 20 total musicians on stage, I questioned if I should write such active

parts containing flurries of notes in addition to sustains. (It is never ideal to have the

spotlight stolen from soloists in a concerto, let alone by dueling piccolos.) Therefore, I

wanted to see how minimal the adaptation of the original string parts could be while still

maintaining the essence of that music. In this version I thus changed the piccolo parts to

have only very softly sustained notes beginning at m. 26 (Figure 3.5).33

Figure 3.5: “Hydro,” chamber winds version, mm. 26-37; piccolo parts. First iteration of
Phrase A.

33
“The piccolo can be very effective in soft passages; it is a fallacy to think it can only play very loud.”
Berlioz and Macdonald, trans., 148.

41
 These simpler piccolo parts provide an additional benefit: by starting so bare at m.

26, there is room for the parts to blossom in range, rhythm, and texture. Leaving room to

grow within the instruments’ individual parts proved to be significant in this chamber

winds setting, as I had much fewer instruments to gradually layer in. Thus, the piccolo

parts themselves become more and more active as the music progresses through its

repeated A-B phrase structure (Figure 3.6). By the time the third iteration of the A-B

phrase arrives at m. 58, these piccolo parts more closely resemble those of the full wind

ensemble’s (Figure 3.7).

Figure 3.6: “Hydro,” chamber winds version, mm. 42-52; piccolo parts. Second iteration
of Phrase A.

42
Figure 3.7: “Hydro,” chamber winds version, mm. 58-67; piccolo parts. Third iteration of
Phrase A.

After working with the Vanderbilt Wind Symphony on this chamber winds

version during the spring of 2021, I decided that these two piccolo parts were the best

adaptation of the original string sounds in mm. 26-73. They support and sustain the

melody without getting in the way, and I found the steady blossoming of their parts to be

much more effective than the piccolos in the full wind ensemble version. Upon realizing

this, I made the decision to revise the wind ensemble version, which now uses the exact

same duo of piccolos as the chamber winds version. However, the symphonic version

keeps the busier piccolo parts, as I find they pair beautifully with the glow of the string

harmonics in that setting. Moreover, the seating of piccolos in a symphonic orchestra

places them further back behind the strings, preventing them from interfering with the

soloists’ spotlight upfront.

43
3.2: Issues Related to Breathing

Compared to that of “Hydro,” the string writing in the second and third

movements of Renewal is comparatively simpler. In fact, the strings often act like a

synthesizer pad in these movements, where they are asked to play long stretches of whole

notes (Figure 3.8). Because I wanted their sound to recall that of a lush, reverb-drenched

synthesizer, I never write any gaps or rests between these whole notes.34 Strings players

naturally excel with this seamless writing, as they can mask bow changes and, most

importantly, their instruments don’t require breathing to produce sound. (Not directly, at

least.) And because the sinfonietta and orchestral instrumentations both use strings, the

string music of “Wind” and “Solar” is largely the same between the two versions.

Figure 3.8: “Wind,” orchestra version, mm. 162-172; string parts.

It was very important to me that these synth-like chords in the wind ensemble and

chamber winds versions preserve the seamlessness of the original string music. Renewal

34
I love the lush synths at the start of Lady Gaga’s “G.U.Y.” (2013).
44
aside, I always enjoy when a composer creates a rich, dark wind ensemble sound where

breaths go by completely unnoticed. I touch on this briefly in Chapter 2 when discussing

the influence of EDM uplifters, but it bears repeating: orchestrating this sort of

continuous sound for wind instruments requires that the orchestrator pay close attention

to where breaths are likely to occur and then account for them. My own approach to

accounting for breaths is to provide actual rests where players would have snuck in

breaths anyway, and then divert attention away from said rests with music in other

instruments. Simply put, it is methodical stagger breathing.

Some might find my approach unnecessary,35 but I find that deliberately

staggering breaths provides benefits other than practical ones. In other words, doing so

can turn something that may be considered a detriment (i.e., having to breathe) into an

opportunity to enrich the orchestration. For example, I orchestrate the synth-like chords at

m. 164 by shifting the colors between the trumpets, saxophones, and French horns

(Figure 3.9). Consider the interplay between just the soprano saxophone and trumpet 1:

trumpet 1 begins the F# at mf, while the soprano saxophone begins the same note at pp.

Over the course of this F#, the two instruments invert their dynamics, essentially cross

fading with each other. After trumpet 1 fades to pp, they have a chance to sneak in a

breath while the soprano saxophone fills in for them at mf. This continuous trading of

notes results in a seamless sound that is additionally enhanced by subtle shifts in color.

35
Adler certainly thinks my approach is unnecessary, as his Study of Orchestration curiously makes no
mention of breathing in its chapter discussing the transcription of orchestra works for band or wind
ensemble. Perhaps the fact winds need to breathe is painfully obvious? Sadly, it was not for me; I learned
my lesson several years ago during a masterclass, when Adler’s late colleague Christopher Rouse—another
master orchestrator—asked me why I had written zero rests in my flute part, leaving them nowhere to
breathe.
45
Figure 3.9: “Wind,” wind ensemble version, mm. 162-172; saxophone, trumpet, and horn
parts.

Unsurprisingly, I orchestrate the original string chords in the chamber winds

version similarly. In this version, the trumpets and horns are grouped together, and the

soprano, alto, and tenor saxophone cross fade with them (Figure 3.10). A minor issue that

needed solving in both the wind ensemble and chamber winds settings is the mismatched

number of players between the brass and saxophone choirs. There are four brass

instruments available for the four-note chords (e.g., b7/A, f#7/A, Eadd9/G#, e7/G, and

Aadd9), but only three saxophones. Therefore, in the saxophone parts I choose to omit

one note least important to the identity of each chord. Those saxophone chords are thus

triads (e.g., b, A, E, and e) that outline a Dorian i, bVII, IV, iv progression.36 I do not

36
One could argue that the fifth is the least important in a seventh chord’s identity. However, these chords
were originally written as triads following the Dorian chord progression, and the sevenths in the b7/A,
f#7/A, and e7/G chords were later added for harmonic richness.
46
think much is lost in omitting those notes—the seamlessness remains strong, as only one

pitch is missing during the brass section’s eighth note rests.

Figure 3.10: “Wind,” chamber winds version, mm. 172-179; wind parts.

Despite its underlying simplicity, the wind ensemble version of “Solar” contains

some of my most detailed music. This is largely due to some particularly long tones in

the original version’s string writing. For example, the first half of this movement uses just

two triads: G and F#. Each of these triads spans several measures in the strings, with the

first G chord lasting an entire fourteen bars (Figure 3.11). And even after a single chord

ends, they immediately slide to the next without pause. Needless to say, there are very

few rests in their parts.

47
Figure 3.11: “Solar,” sinfonietta version, mm. 363-368; string parts.

It was again very important to me to orchestrate these lengthy chords for winds in

a seamless manner. My strategy in “Solar” recalls that of “Wind,” but I involve more

players per note in this movement. For example, the first G major chord at m. 356 is

scored for the clarinets, saxophones, horns, and trombones. Each note of this triad is

shared by four distinct instruments. Upon examining just the D4 of the triad, one will see

that clarinet 1, alto saxophone 1, horn 1, and trombone 1 are all involved (Figure 3.12).

Though clarinet 1 and alto saxophone 1 have slightly staggered rests, they double the

note at approximately the same time. Horn 1 and trombone 1 then switch back and forth

in terms of when they join in the note. I carefully marked the brass entrances at pp to

avoid a jarring start to each of their notes. The two woodwind instruments have

crescendos to p during these brass entrances, which also help to smooth everything out.

The other two notes of the G triad, B3 and G3, are orchestrated in a similar

manner (Figures 3.13-14). Efforts were made to stagger every entrance, so that no two

instruments from the same family ever enter simultaneously. The result of this highly

controlled staggering is just like in “Wind”: a seamless pad of sound again enriched with

subtle shifts in color.

48
Figure 3.12: “Solar,” wind ensemble version, mm. 356-678; clarinet 1, alto saxophone 1,
French horn 1, and trombone 1 sharing D4.

Figure 3.13: “Solar,” wind ensemble version, mm. 356-678; clarinet 3, alto saxophone 2,
French Horn 3, and trombone 3 sharing B3.

Figure 3.14: “Solar,” wind ensemble version, mm. 356-678; clarinet 2, tenor saxophone,
French horn 2, and trombone 2 sharing G3.

49
 With its smaller complement of clarinets and horns, the chamber winds version

orchestrates this G triad with only three instruments per pitch (Figure 3.15). For instance,

clarinet 1, the soprano saxophone, and horn 1 share the D4, and their entrances are evenly

staggered. Despite each note being occupied by one fewer player, the chord maintains the

blended continuity of the wind ensemble setting. Perhaps this is a lesson in restraint;

lushness in wind ensemble orchestration does not necessarily have to be derived from

piling on more performers. Instead, it can come from using fewer instruments with great

care.

Figure 3.15: “Solar,” chamber winds version, mm. 356-368; orchestration of G triad.
Instruments sharing each of the three pitches are color coded.

As it turns out, the attention paid to continually staggering all these entrances

doesn’t just result in seamlessness. It also yields a darker sound. In a 2017 experiment at

McGill University, Lembke, Levine, and McAdams observed eight pairs of bassoonists

and French hornists as they attempted to blend with one another while playing in both

unison and harmony, as well as in both roles of a leader and follower. Upon finishing the

experiment with the sixteen musicians, they explain their findings:

50
 Despite the various scenarios concerning instrument combinations as well as
dominance or role relationships, a common rule seems to apply to all: In attaining
perceptual blend, the accompanying instrument darkens its timbre in order to
avoid “outshining” the leading, dominant instrument. In other words, when an
accompanying instrument blends into the leading instrument, it adopts a strategy
of remaining subdued and low-key, very similar to how it subordinates itself to
the lead instrument’s cues for intonation, timing, and phrasing.37

The highly staggered orchestration of these triads in “Solar” makes it intentionally

unclear who is leader or follower, but the pp entrances and subsequent crescendos

suggest to the performer that they ought to blend their sound with that of their fellow

performers—especially the ones with which they are playing in unison. In essence, every

performer who joins in on these chords will feel as if they are a follower, and that the

ones preceding them are the leaders. And, as Lembke, Levine, and McAdams found,

efforts to achieve such a blended sound results in players darkening their timbre, as to not

overpower the perceived leader. This, combined with the fact that the instrument choices

were made to maximize blend, produces a remarkably dark wind ensemble sound in the

wind versions of “Solar.”

When the chords do finally shift in “Solar,” the ways in which they move are

worthy of discussion. In this movement, harmonies change as the instruments

individually move small intervals by way of outstretched glissandi. It is as if the chords

themselves are melting languidly in the sun. These shifts are also spaced apart, resulting

in slow-motion suspensions and resolutions. For instance, it takes four full measures for

the G triad in m. 370 to fully melt a semitone to an F# chord by m. 374. Additionally,

violin I and II play the same pitches and glissandi, but their slides are offset by two beats.

37
Sven-Amin Lembke, Scott Levine, and Stephen McAdams, “Blending Between Bassoon and Horn
Players: An Analysis of Timbral Adjustments During Music Performance,” Musical Perception 35, no. 2.
(April 2017): 162.
51
The ensuing eeriness makes the resolution on the F# chord in m. 374 all the sweeter.

Overall, I hoped for the chords themselves to sound malleable, and the string glissandi

effects in the sinfonietta and orchestra versions manage this very well (Figure 3.16).

Figure 3.16: “Solar,” sinfonietta version, mm. 369-375; string parts.

As fretless instruments, orchestral strings handle these outstretched glissandi with

no trouble. Wind instruments, with all their ordered keys and valves, are a different story.

As mentioned in Chapter 2, I maintain that the trombone is the only wind instrument

capable of performing a smooth glissando akin to that of a fretless stringed instrument.38

Luckily, I was allotted four trombones in the wind ensemble version, and I adapted the

string glissandi found in “Solar” into their parts (Figure 3.17).

38
Adler, 375.
52
Figure 3.17: “Solar,” wind ensemble version, mm. 369-375; clarinet, saxophone, horn,
and trombone parts. Trombone glissandi are boxed.

It was not as simple as transposing the string glissandi down an octave and

pasting them into the trombone parts, however. As before, I first thought about what

exactly I wanted to maintain in the wind adaptations. In this case, the seamlessness of the

chords (even during melting), as well as the staggered slides between violin I and II and

between the viola and cello, were important to me. With a bit of finessing, I preserved

both. Because the trombones were already engaged in the seamless G chord scoring

53
(Figures 3.10-12), I simply continued that overlapping approach with the clarinets horns,

and saxophones.

Adapting the same-but-staggered slides between violin I and II took more

thought, but it ended up being a similar approach. By m. 370, trombone 1 begins a

glissando from D to C#, and trombone 2 follows suit on the same notes a half note later.

trombones 3 and 4 do the same in the next measure from G down to F#. One might think

that two more trombones would be necessary to complete the triad by playing staggered

slides from B to A#. However, as trombones 1 and 2 land on C#, clarinet 1, horn 1, and

alto saxophone 1 do as well. The non-trombone instruments cover the C#, giving

trombones 1 and 2 time to breathe and move to B, which then slide down to A# (Figure

3.17). The remaining glissandi in wind ensemble version “Solar” are handled similarly.

The chamber winds version only uses two trombones, so I made the decision to

forgo the same-but-staggered aspect of the glissandi in that version (Figure 3.18). Though

not ideal, I figured having a glissando connect each of the three notes in one triad to the

next was most important. However, I was able to allude to the staggered violin I-II effect

by delaying the arrival of new notes in the woodwinds by one half note. For instance,

trombone 1 finishes its glissando on C# halfway through m. 371. The soprano saxophone

then waits until m. 372 to descend to a C#. So, while this does not capture the peculiar

sound of two trombones sliding between the same two notes at different times, it is an

acceptable compromise.

54
Figure 3.18: “Solar,” chamber winds version, mm. 369-375; clarinet, bassoon,
saxophone, horn, and trombone parts. Trombone glissandi are boxed.

3.3: Omissions

Overall, I was pleased with my solutions for adapting most of the original string-

centric sounds into the wind ensemble and chamber winds versions. From the multiple

piccolos in “Hydro” to the trombone glissandi in “Solar,” I believe I was able to preserve

the most important characteristics found in the sinfonietta and orchestra versions.

Nonetheless, there were a few instances where I simply had to come to terms with the

fact that there were no equivalent sounds between the strings and winds. Both occur at

the end of “Hydro,” where the strings perform sounds imitating birds (Figures 3.19-20).

55
Figure 3.19: “Hydro,” orchestra version, mm. 90-94; violins imitating birds.

The violin II and viola parts at m. 90 have instructions to play random, slurred

notes extremely softly in the highest register of their instruments. These sounds are meant

to replicate those of distantly chattering birds. Similarly, in m. 105 the cellos are asked to

play the seagull effect.39 The seagull effect is extremely specific to stringed instruments,

as the technique itself is an unconventional way of performing harmonics. I enjoy that

both effects elegantly and accurately portray sounds found in nature, all without getting

pedantic about transcribing the birdsongs of various avian species.

Figure 3.20: “Hydro,” orchestra version, mm. 105-108; the seagull effect in the cellos.

39
For a demonstration of the seagull effect, look to Russell Rolen, “The Seagull Effect - Demonstration,”
moderncello, October 8, 2011, Youtube video, 0:00-0:44, https://youtu.be/_UTZvFSiQkk (accessed
October 1, 2021).
56
 Though I decided against it, I did initially consider writing some birdsong-

inspired music when adapting this section for winds. After all, many composers, notably

Messiaen, have endeavored to convey birdsong with woodwinds. However, in many of

these cases, it is debatable whether listeners can hear these correlations, especially if the

audience isn’t comprised of avid birdwatchers.40 In my case, I specifically wanted a

seagull sound during this transition from “Hydro” to “Wind,” as many people associate

seagulls with both water and air, and it was equally important to me that listeners

recognize it as such. Furthermore, I feared that asking the flutes and clarinets—positioned

at the front of the wind ensemble—to perform faux birdcalls with extended techniques

would sound too forward (or even gimmicky) during such a sober section. On the other

hand, the cello’s seagull effect has an otherworldly elegance that, in addition to

accurately capturing the sound of a distant flock of seagulls, encapsulates the feeling of

being on the shoreline. Perhaps I will find an analog to this effect in the wind ensemble

on day, but at present I am perfectly content with this section in the wind ensemble

versions, for it represents an important discovery I made during the adaptation process:

omission is just as valid as expansion.

40
“Most birdsong is extremely difficult to notate, and few composers or ornithologists have attempted it.
Both Messiaen and Bartok recorded actual songs and then tried to transcribe them. In most cases, while
birds provide the inspiration for compositions, their songs are not recognizable in the pieces.” Luis F.
Baptista and Robin A. Keister, “Why Birdsong is Sometimes Like Music,” Perspectives in Biology and
Medicine 48, no. 3 (Summer 2005): 428.
57
 CHAPTER 4: Final Thoughts

As I consider my cited sources, I am struck by their eclecticism. Of all things, I

never imagined that my PhD dissertation bibliography would bring me joy. But I cannot

help but smile seeing personal accounts of Nile Rodgers and Hector Berlioz alongside

articles describing the musical processes of György Ligeti and EDM build-ups. This

eclecticism ultimately speaks to the nature of Renewal, a piece that—through several

layers of adaptation—ended up being an amalgamation of sounds, styles, and instruments

that I love. Whether I was incorporating compositional approaches from my own pieces,

acoustically recreating electronic effects, or translating the concerto from one

instrumentation to the next, adaption took different forms during the compositional

process, and I learned quite a bit from it all.

Firstly, the discoveries I made while emulating delay in all four versions of

Renewal have been a starting point for many of my subsequent pieces. America the

Beautiful: Echo Chamber (2020) and Again and Again (2021), both for solo piano, weave

together different delay chains into single strings of thirty-second notes reminiscent of the

piano part in “Wind.” Sanctuary (2020) for soprano saxophone and piano, implements

this same approach in its piano music. The saxophone in Sanctuary also simulates delay

by leaping between its high and low registers, much as the oboe does in Mist Fantasy

(2020), a solo oboe piece inspired by J.E.H. MacDonald’s painting of the same name.

And Room to Move (2021) for cello octet and Next Week’s Trees (2021) for string

orchestra both imitate delay with extensive pizzicato, resulting in reverberant

atmospheres that sound, for lack of a better word, bouncy. I have also found opportunities

to further incorporate these delay effects into my wind ensemble writing, especially in
58
Thu Điều (2021) for soprano and wind band, as well as Vital Sines, a concerto for sextet

and wind ensemble that I am currently working on for Eighth Blackbird and the U.S.

Navy Band. I clearly have yet to tire of delay.

Secondly, the process of translating the string-centric music of the sinfonietta and

orchestra versions for winds has pushed me to write for winds in ways I would not have

thought of otherwise. As mentioned previously, I have felt at home writing for band ever

since my teenage years. However, feeling so at home with the traditional sounds of a

wind ensemble has the potential to be a double-edged sword. At times, my familiarity

with the medium subconsciously leads me to rely on sounds or combinations that I am

certain will work, but which may not yield the most innovative or interesting results.

Finding ways to make the string-centric music in Renewal work for wind ensemble and

chamber winds has broadened my horizons, and I hope that the discoveries discussed

here can provide some insight for composers who are interested in writing or adapting

their own music for wind ensemble.

Thirdly, and most importantly, I had to recognize and accept that there is much

more to adaptation than transcription. As I created the orchestra, wind ensemble, and

chamber winds versions of the concerto, I came to realize that the act of adapting music

provides an opportunity to compose further, whereas transcription—though itself a

challenging task—does not generally reinitiate the compositional process. In some ways,

if I had just approached the post-sinfonietta versions as transcriptions, the process would

have been much simpler, especially given my tendency to tinker with music until the

final extension has come and gone. However, it was that very proclivity that made the

59
process of adapting the piece so enjoyable, as each adaptation was an opportunity to

extend the compositional process and further refine the piece.

Additionally, much like the way a screenwriter adapts a play into movie,

adaptation of music requires a flexible approach. That is, adapting a piece

recontextualizes the most essential elements of the original, while not necessarily

transferring every last detail. Such elements usually include obvious structural

components, such as the music’s melodies and chords, but less tangible aspects of the

music (e.g., atmospheres, associations, and feelings) can be just as vital to a piece’s

character. So while the adaptation process undoubtedly involves the simple act of

transferring basic musical lines from one instrument to another, one may also need to

make significant changes to other elements to preserve the overall effect of the original.

Therefore, adaptations might differ significantly from their originals, and one should not

shy away from such transformations. In fact, I believe that the most successful

adaptations—while of course upholding the essence of the original work—shine

independently as standalone works. Because different instruments excel at different

things, one should take a bespoke approach to the orchestration, such that any new

version should sound as if it was originally written for that instrumentation, and any new

listener cannot possibly imagine it any other way.

A piece that I believe exemplifies this adaptive spirit is Ravel’s Une barque sur

l’océan for orchestra. It is difficult to put into words just how masterly the orchestration

is in this piece, let alone describe it in words. But as often is the case with Ravel’s music,

I was awestruck upon hearing it for the first time. It is a beautifully kaleidoscopic piece,

full of ingenious timbral combinations. So, imagine my surprise when I learned it was

60
originally a piano solo. Most pianists will assert that the piano can produce a wide variety

of colors, and I agree—Ravel certainly makes good use of that palette in the original

piano piece. However, the symphony orchestra clearly provided a larger playground for

him to explore color, and it would be simply unfitting to call the orchestra version a note-

by-note transcription. And while I can only provide conjecture, I must believe Ravel’s

mindset as he adapted the piece for symphonic forces included some true compositional

savvy. For instance, just beat one of m. 11 is bountiful in details: divided double basses

and violas provide a foundation for blurry, swiftly ascending cello cross rhythms that

ripple beneath violin tremolos which float above the main melodic material in the

clarinets. Conversely, the equivalent beat in the original piano version, while beautiful,

maintains the simpler texture of its prior ten bars. The significant makeover that the piece

underwent to be transformed into symphonic work speaks to the spirit of adaptation,

whereas the orchestra version shines so brilliantly on its own that, upon first listen, I

could not imagine it for any other instrumentation.

What Ravel accomplished in adapting Une barque sur l’océan for orchestra is not

unlike what I attempted to do when creating Renewal and its various versions.

Ultimately, we both did our best to make our musical visions suit the instruments and

opportunities presented to us. And what is that, but composition? Whether bringing to life

the first inklings of musical ideas or modifying an existing piece to meet the needs of a

commissioner or ensemble, it seems that the composer is perpetually in the process of

adaptation. So perhaps adaptation and composition are really one in the same. They

certainly were in Renewal, and each version of the concerto is much better for it.

61
 BIBLIOGRAPHY

Adler, Samuel. The Study of Orchestration. 4th ed. New York: W.W. Norton and
Company, 2016.

Baptista, Luis F. and Robin A. Keister. “Why Birdsong is Sometimes Like Music.”
Perspectives in Biology and Medicine 48, no. 3 (Summer 2005): 426-443.

Benadon, Fernando. “Slicing the Beat: Jazz Eighth-Notes as Expressive

Microrhythm.” Ethnomusicology 50, no. 1 (Winter 2006): 73–98.

Berlioz, Hector and Hugh Macdonald, trans. Berlioz’s Orchestration Treatise: A

Translation and Commentary. Cambridge: Cambridge University Press, 2002.

Bicknell Jeanette. “The Problem of Reference in Musical Quotation: A

Phenomenological Approach.” The Journal of Aesthetics and Art Criticism 59,
no. 2 (Spring 2001): 185-191.

Calleja, Pablo, Gabriel Caffarena, and Ana Iriarte. “FPGA Design of Delay-Based Digital
Effects for Electric Guitar.” In Lecture Notes in Computer Science, edited by
Diana Goehringer, Marco Domenico Santambrogio, João M.P. Cardoso, and
Koen Bertels, 213-18. Vol. 8405. Heidelberg: Springer Cham, 2014.

Callender, Clifton. “Formalized accelerando: An extension of rhythmic techniques in

Nancarrow’s acceleration Canons.” Perspectives in New Music 39, no. 1 (Winter
2001): 188-210.

Dalton, Joseph. “Capital Region’s top art, cultural experiences of 2017.” Times Union,
December 27, 2017.

Dogs of Desire. Homepage. https://dogsofdesire.com (accessed October 3, 2021).

Fender. “Nile Rodgers Tells the Story of ‘Let’s Dance’ | Fender Artist Check-In |
Fender.” June 22, 2020. YouTube video, 5:40. https://youtu.be/NlDCPCwVNUw
(accessed September 29, 2021).

Ferrigno, Emily Daus. “Technologies of Emotion: Creating and Performing Drum ‘n’
Bass.” PhD diss., Wesleyan University, 2008. In ProQuest Dissertations
Publishing, http://ezproxy.library.unlv.edu/login?url=https://www-proquest-
com.ezproxy.library.unlv.edu/dissertations-theses/technologies-emotion-creating-
performing-drum-n/docview/304446505/se-2?accountid=3611 (accessed October
2, 2021).

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Hanlon, Keith D. “The Piccolo in the 21st Century: History, Construction, and Modern
Pedagogical Resources.” DMA diss., West Virginia University, 2017. In The
Research Repository at West Virginia University,
https://researchrepository.wvu.edu/etd/5756/ (accessed October 1, 2021).

He, Ruichen, Linyue Gao, Maximillian Trifonov, and Jiarong Hong. “Aerosol generation
from different wind instruments.” Journal of Aerosol Sciences 151 (January
2021). https://doi.org/10.1016/j.jaerosci.2020.105669.

Holmes, Thom. Electronic and Experimental Music: Technology, Music and Culture. 4th
ed. New York: Routledge, 2014.

Iverson, Jennifer. “The Emergence of Timbre: Ligeti’s Synthesis of Electronic and

Acoustic Music in Atmosphères.” Twentieth-Century Music 7, no. 1 (March
2010): 61-89.

Lembke, Sven-Amin, Scott Levine, and Stephen McAdams. “Blending Between Bassoon
and Horn Players: An Analysis of Timbral Adjustments During Music
Performance.” Musical Perception 35, no. 2 (April 2017): 144-164.

Rolen, Russell. “The Seagull Effect – Demonstration.” Moderncello. October 8, 2011.

Youtube video, 0:44. https://youtu.be/_UTZvFSiQkk (accessed October 1, 2021).

Solberg, Ragnhild Toryanger. “Waiting for the Bass to Drop: Correlations Between
Intense Emotional Experiences and Production Techniques in Build-Up and Drop
Sections of Electronic Dance Music.” Dancecult: Journal of Electronic Dance
Music Culture 6, no. 1 (January 2014): 61-82.

Stone, Kurt. “Reviewed Work: Xenakis: Metastaseis (1953-54); Pithoprakta (1955-56).

Eonta for Piano, Two Trumpets, and Three Trombones (1963-64) by French Natl.
Radio Orch., Maurice Le Roux, Yuji Takahashi, P. Thibaut, L. Longo, J. Toulon,
G. Moisan, M. Chapellier, Konstantin Simonovic, Iannis Xenakis.” The Musical
Quarterly 52, no. 3 (July 1968): 387-395.

THX. THX Deep Note. https://www.thx.com/deepnote/ (accessed October 5, 2021).

63
 APPENDICES

Appendix A: Commissioning consortium of wind ensemble version.

• Brooklyn Wind Symphony, Jeff W. Ball, conductor

• Central Connecticut State University, Robert Schwartz, conductor
• Dallas Winds, Jerry Junkin, conductor
• Michigan State University, Kevin Sedatole, conductor
• North Shore Wind Symphony (Australia), Andrew McWade, conductor
• Northwestern University, Shawn Vondran, conductor
• San Jose State University, David Vickerman, conductor
• The University of Alabama, Ken Ozzello, conductor
• University of Georgia, Cynthia Johnston Turner, conductor
• University of Houston, David Bertman, conductor
• University of Illinois Urbana-Champaign, Steve Peterson, conductor
• University of Oregon, Dennis Llinás, conductor
• University of Texas at Austin, Jerry Junkin, conductor
• Valley Winds, Brian Messier, conductor
• Williams College, Brian Messier, conductor

Five high school organizations additionally contributed to the consortium for the third
movement (“Solar”):

• Cy-Fair High School, Mark Veenstra, conductor

• Pelham High School, Justin Ward, conductor
• Sandia High School, Tyler North, conductor
• Wakeland High School, Tanner Smith, conductor
• West Springfield High School, Eric Hoang, conductor

64
 Viet Cuong
Commissioned by the Albany (NY) Symphony Orchestra, David Alan Miller, Musical Director, and GE Renewable Energy

Re(new)al (2017)

concerto for percussion quartet and sinfonietta

Copyright 2017 Viet Cuong, All Rights Reserved

65
 INSTRUMENTATION
Flute
Oboe
Clarinet in Bb
Bassoon
Soprano Sax
Baritone Sax

Horn in F
Trumpet in C
Trombone

Percussion Quartet Soloists*

(*see percussion set-up info below for instrumentation)

Piano

Violin I
Violin II
Viola
Cello
Double Bass

Light amplification is recommended for the ensemble, especially for the strings, woodwinds, and piano.
Score is in C, but octave transpositions still apply (for glockenspiel, crotales, and double bass).

STAGING

Piano

Double Bass

3
2
1

3 4

2 1 1

4 2
3 4

PERCUSSION SET-UPS BY MOVEMENT

I. Hydro

8 Crystal Glasses (amplification required*)

Pitches needed:
Perc. 1: C5, F5 | Perc. 2: C5, E5 | Perc. 3: A5, C6 | Perc. 4: D5, B5
* two microphones are needed, with one for each pair of soloists

The four soloists will sit at a table to toast the glasses. Percussion 1 & 2 are paired, and Percussion 3 & 4 are paired.

2
1

4 66
 II. Wind

4 Kick Drums

4 Hi-Hats

4 cans of pressurized air (from an office supply store)

1 China Cymbal

1 Snare Drum (shared*)

*The shared snare drum is set up in the center of the quartet, with the kick drums and hi-hats surrounding it in a circle.
All four players play the same snare drum with their left hands. In this formation each soloist becomes a blade of a wind turbine.

2 1

3 4

Mvt. II Staff Map:

a.) Kick Drum
b.) Hi-hat
c.) Close hi-hat with foot
d.) China Cymbal
e.) Snare Drum

a.) b.) c.) d.) e.)

*hi-hats are always closed unless otherwise specified as open with the circle marking shown here on b.)

III. Solar

1 Snare Drum (turned upside down)

Prepared* Vibraphone (shared)

*Pitches prepared with aluminum foil on the resonators (notated with diamond note heads):
F#3, G3, E5, F5, F#5, F6

Crotales, lower octave, divided between Perc. 3 & 4

Perc. 3: C, E, G, G#, B.
*E and G will need to be suspended by string so they can be submerged in water to bend the pitch.
Perc. 4: C#, D, D#, F, F#, A, A#
Perc. 4 will lower crotales onto a snare drum placed upside down. As the crotales are lowered, the snare drum will create sympathetic
vibrations similar to the aluminum foil placed under the vibraphone bars.

Glockenspiel (shared*)
*Similar to the snare drum in Mvt. 2, all four players will share the same glockenspiel. In addition, the vibraphone is shared between Perc. 1
and 2, so that Perc. 2 will play the instrument “upside down” and bow the accidentals. At the conclusion of the piece, Perc. 3 and 4 will
similarly be playing the glockenspiel upside down, and mostly on the accidentals.

67
2
 PERFORMANCE NOTES:

^ - the hardest, sharpest accent. When used at the end of a slurred or tied wind phrase, the tongue should immediately stop the air to
n. - niente

create a sudden release, without actually rearticulating.

• An accidental remains in effect for the remainder of its respective measure, unless cancelled out by a subsequent accidental. In addition,
accidentals are exclusive only to the octave they are in.

Strings:
• The first movement uses many natural harmonics. Harmonics are notated with with the string number (Roman numeral), node
(diamond note head), and sounding pitch (in parenthesis). A tie at the end of a natural harmonic is a “let ring” symbol; release the
left hand and bow from the string simultaneously so that the string continues to ring after the note.

• Glissandi are always to be performed for the entire duration of a given note. Sometimes a glissando will go across a barline; in this
case, its duration will be indicated above the glissando by a small note in parenthesis.

Winds:
• Air sounds are used to emulate gusts of wind, and are notated with x note heads. These are performed by blowing air into the
instrument without producing a discernable pitch. If time allows, removing the mouthpiece or reed may result in a louder air
sound.
• Timbral trills are used in the first movement, and are notated with “+” signs over a notehead. Use a fingering that produces a
slightly microtonal pitch that is no more than 20 cents off.

PROGRAM NOTES:

68
 Score in C Commissioned by the Albany (NY) Symphony Orchestra, David Alan Miller, Musical Director, and GE Renewable Energy

Re(new)al Viet Cuong

Percussion Quartet Concerto

I. Hydro
Hypnotic {q. = c 69-72}
Flute
9
&8 ∑ ∑ ∑ ∑ ∑ ∑ ∑

Oboe & 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

Clarinet in B b & 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

?9 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bassoon 8

Soprano Sax & 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

?9 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Baritone Sax 8

Horn in F & 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

Trumpet in C & 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

?9 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Trombone 8

f.
crystal glasses

Percussion 1 & 98 ∑ ∑ Œ. Œ. ∑ Œ. f. Œ. ∑ ∑
P
crystal glasses

œœ .. f. œœ ..
"toast"

Percussion 2 & 98 ∑ Œ. Œ. Œ. Œ. ∑ Œ. f. Œ. Œ. Œ. ∑
P
œœ .. f. œœ .. f. œœ ..
crystal glasses

Percussion 3 & 98 Œ. ∑ ∑ Œ. Œ. Œ. Œ. Œ. Œ. ∑
P "toast"
crystal glasses
f. f. œ.
9 œ.
Percussion 4 & 8 Œ. Œ. ∑ ∑ ∑ Œ. ∑ ∑
P
9 ∑ ∑ ∑ ∑ ∑ ∑ ∑
&8
Piano

? 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

9 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Violin I &8

9 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Violin II &8

Viola B 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

Cello
? 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

Double Bass
? 98 ∑ ∑ ∑ ∑ ∑ ∑ ∑

1 2 3 4 5 6 7

Copyright © 2017 Viet Cuong, All Rights Reserved 69

 Re(new)al
8 14
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

8
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

8
∑ ∑ f. Œ. Œ. Œ. f. Œ. ∑ ∑ ∑ f. Œ. Œ.
Perc. 1 &

Perc. 2 & ∑ Œ . Œ . œœ .. f. Œ. Œ. Œ. f. Œ. œœ .. Œ . Œ . ∑ Œ . Œ . œœ .. f . Œ . œœ ..

œœ .. f . f . œœ .. f. œœ .. f . f.
Perc. 3 & Œ. ∑ Œ. Œ. Œ. ∑ ∑ Œ. Œ. Œ.

f. f. œ. f.
Perc. 4 & Œ. Œ. ∑ Œ. f. Œ. Œ. œ. ∑ ∑ Œ. Œ. Œ. f. Œ.

8
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

8
Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

8 9 10 11 12 13 14 15

70
 Re(new)al
16
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

16
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

16
f. Œ. œœ .. Œ . Œ . f . Œ . œœ .. . .
Perc. 1 & Œ. ∑ ∑ f. Œ. Œ. Œ . f œœ . Œ. f. Œ.

f. Œ. Œ . œœ .. Œ . f. Œ. Œ. f . Œ . œœ .. Œ. f. Œ.
Perc. 2 & Œ. ∑ ∑ Œ. f. Œ.

f. œœ .. œœ .. œœ .. f . f. f. œœ .. f.
Perc. 3 & Œ. ∑ Œ. Œ. ∑ Œ. Œ. Œ. Œ. Œ. Œ.

œ. œ. f. œ. f. œ.
f. Œ. Œ. œ. Œ. œ. ∑ ∑ Œ. Œ. œ. f. Œ. f. Œ. Œ. Œ. œ.
Perc. 4 &
16
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &

16
Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &

Vc.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

16 17 18 19 20 21 22 23

71
 Re(new)al
26
24
^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

Fl. & J
n. f
^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

Ob. & J
n. f
^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

B b Cl. & J
n. f
? ^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

J
Bsn.

n. f
^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

S. Sx. & J
n. f
? ^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

J
B. Sx.

n. f
24
^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

Hn. & J
n. f
^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

C Tpt. & J
n. f
? ^
∑ X. x. X ‰ ‰ Ó. ∑ ∑
air sound only

J
Tbn.

n. f
24
f. œœ .. f. œœ ..
Perc. 1 & ∑ ∑ Œ. f. Œ. Œ. Œ.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f
˙. œœ .. ˙˙ .. f. œœ .. f.
& ˙. Œ. Œ. Œ. f. Œ. Œ. Œ.
swirl

Perc. 2
f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˙˙ .. œœ .. ˙˙ .. œœ .. f. f. œœ .. f.
swirl

Perc. 3 & Œ. Œ. Œ. Œ. Œ.
f
f. œ. f.
∑ ∑ Œ. Œ. œ. f. Œ. Œ. Œ.
Perc. 4 &
f
>œœ .. œ œ œ œ œ œ œ œ œ
œ. œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
J J J J J
24
& Œ. Œ. ∑
ß F as evenly as possible
Pno. >œœ .. œ œ œ- œ œ- œœ œ- œœ œ œ œ œœ- œ œœ- œœ œ- œœ œœ œ œ œ œ œ œ
œ. J œ œ œœ
& œ. Œ. Œ. ∑ œ
° °
>œo*
ord.

( œo ) ( œo >œo )
>≥T .
sul pont. II.

Ṫ≤ .. Tœ .. Ṫ .. Tœ .. Tœ≤
IV.
24
Vln. I & Œ. Tœ Œ ‰ œ. œ. Œ. T T Œ. Œ.
T T
f P F P
2
2
n. n. n.

P
n.

≤ȯ
œo . ȯ . œo .
2

.
n.

>œ*o >œo
Tœ≤ ( œo ) œo ( œo
IV. II. IV.

Vln. II &
Tœ Œ. ‰ ‰ ‰ Œ. ‰ J J ‰ ‰ Œ. ‰
n. f n. 2
P
T
J
T
J
2
n. P T
J
P
n.

≤ȯ .
2 2

œo . ȯ . œo >œ*o œo >œo
n. n.

b Tœ .. Tœ ..
IV. IV.

‰ J J ‰ ‰ Œ. Œ. ‰ J J ‰ ‰ Œ.
sul pont.

& Ͼ.
>
Vla.

f P p P P
2 2
n. n. n. n.

Ṫ≤ .. Tœ .. Ṫ .. >œ*o
œo >œo
œo j j œo
I.

? J J ‰ ‰ Œ.
arco

Œ.
pizz.

&‰ ‰ J ‰ ‰ >œ ‰
II.

Vc. J œ œ œ œ. J
n. f n.
2
n. P 2
n. P f p 2
n.

D.B.
? ∑ ∑ ∑ ∑ ∑

24 25 26 27 28
*) A tie at the end of a harmonic is a "let ring" symbol.

72
Release the left hand and bow from the string simultaneously so that the string contintues to ring after the note.
 Re(new)al

29
Fl. & ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑

29
Hn. & ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑

29
f. œœ .. œœ .. f.
Perc. 1 & f. Œ. Œ. Œ. f. Œ. Œ. Œ. ∑

œœ .. f. œœ .. f. œœ ..
Perc. 2 & f. Œ. Œ. Œ. f. Œ. Œ. Œ. Ó.

f. œœ .. f. f. f. f. f. œœ ..
Perc. 3 & Œ. Œ. Œ. Œ. Œ. Œ. Œ.

œ. f. œ.
œ. f. Œ. Œ. Œ. œ. f. Œ. f. Œ. f. Œ. f. Œ.
Perc. 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 œ œ œ œ œœ œ œ œ œ œ œ >œ œ œ >œœ œ œœ œœœ œ œœ œœ
J J J J
29
&
œ œ œ œ œœ œœ œ œ œ œ œ œ œ
Pno.
œ œ œ œ œ œ œ œ
J œ œ œ J J œ œ œ œ œ œ œ œ œœ
J œœ œ œ œ œ œ œ
& J
>œo
( œo
ord.

( œo .) ( œo .) )
II.

>œ . œœ .. T ‰ ‰ ‰ œo >œo ‰ ‰ œ >œ Œ . >T .

II.

T. T.
sul pont.
29
& Œ. œ. Œ. œ. Œ. ‰ JT œ.
III. I.

œ. œ. J J J
gliss.

æ æ
Vln. I

p P p P π
2
n. P 2
n. P n. P
2
f

>œo >œo ( œo .) œo >œo

sul pont.

(>œo .) ( œo
sul pont.

) >T . )
III. IV. II. II.
T. œ
ord. ord.

& ‰ ‰ T. œ. Œ. œ. Tœ ‰ ‰ ‰ ‰ ‰ œ. . Œ. b œT .. Œ. ‰ J J ‰ ‰ Œ.
gliss.

J
Vln. II
T p T T p P
J F J J p P
2
n.

P n. 2
n. P
œo >œo œo >œo
sul pont.

>œo (>˙o .)
II. ord.

o
ord.

Œ. ‰ J J ‰ ‰ Œ. ‰ Jœ J ‰ ‰ Œ. ‰ J J ‰ ‰
II.

& Ͼ. T. Ͼ Ͼ. Ͼ.

˙. >.
Vla.

π
gliss.
2
P 2
P P F 2
P
π
n. n. n.

œo >œo
>o
& œJ ‰ ‰ Œ . ‰ J J ‰ ‰ j Œ. j j j .
œ Œ
Œ ‰
pizz.
Vc. j j œ œ œ œ œ j j
P P œ œ œ œ
>
œ œ > œ œ œ œ
f p f p >
2

f
n.

>œ >œ
pizz.
œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ
D.B.
? Œ. J J J Œ. Œ. Œ. J J J Œ. J J J Œ.
f p f p f p
29 30 31 32 33
73
 Re(new)al
34
Fl. & ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑

34
Hn. & ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑

34
œ. f. œœ .. f. œœ ..
Perc. 1 & œ. f. Œ. Œ. Œ. f. Œ. Œ. Œ. f. Œ.

œœ .. f. œœ .. f.
Perc. 2 & Œ. f. Œ. Œ. Œ. f. Œ. Œ. Œ. f. Œ.

f. f. œœ .. f. f. œœ .. f.
Perc. 3 & Œ. Œ. Œ. Œ. Œ. Œ. Œ. Œ.

f. œ. f. œ. f. œ.
Perc. 4 & Œ. œ. f. Œ. Œ. Œ. œ. f. Œ. Œ. Œ. œ.

œœœ- ... œ- œ œ- œ - œ . œ- . œ- œ œœ- .. œ- œ œ- œ - œ . œ- . œ- œ œœ- .. œ- œ œ- œ œ.

œ. œ œ œ œ œ œ œ œ œœ .. œ œ œ. œ œ œ œ œ œ œ œ œœ .. œ œ œ . œ œ œ- œ
J J J J
34
&
Pno.
œœ œœ œ œ œ œœ œœ œ œ œ œœ œœ œ œ œ
& Jœ œ œ œ œ œœ œ œœ œœ œ œœ œ œ œ Jœ œ œ œ œ œœ œ œœ œœ œ œœ œ œ œ Jœ œœ œœ
sul pont.

(>œo .) ( œo
>œo
( 5o >5o )
III. ord.

Ÿ~~~~~~~~~~~~~~~~~~~ ) >œo
œ. œo
IV. IV.

T. ˙.
34
& œ. Œ. T. œ. Œ. Œ. Œ.
œ ‰ ‰
‰ ‰ ‰ ‰ J ‰‰
III.

J J
gl.
Vln. I

F P n.
T
J
T
J p T T 2
P
P
n.
2
n. P n.
2
P
œo . >œo
ord.

( œo .) ( œo
I. sul pont.

>œo >T . )
œo >œ .
IV.

œ. Œ. Tœ ..
III.

& Œ. œ. Œ. T. œ Œ. œæœ ..
III.

‰ J J ‰‰ œ. ‰ ‰‰
gliss.

œ. . æ
gliss.
Vln. II

P T T
2
F p P p J J
p F p
n.

sul pont.
2
n. P
>o o
IV.

ord. >
œo œo œ. œ. œo >œo
ord. II.

& Œ. Œ. ‰ J J ‰ ‰ Œ. Œ. ‰ J J ‰ ‰ Œ. œo .
molto sul pont. sul pont.
B
œoæ. œæ. T. œ. T. œ. &
œoæ. > œ.
Vla.

n. P n. P
gliss.

P p f F
2 2

F π

& j Œ. j j j ∑ j j j ∑
œ. œ œ œ œ œ œ œ œ œ œ œ œ
Vc.
œ œ > >
p f p f p

D.B.
? ∑ ∑ ∑ ∑ ∑

34 35 36 37 38
74
 Re(new)al
(‰=‰)
(3+2+3 sempre) 42
88 78 88
39 (3+2+2 sempre)

Fl. & ∑ ∑ ∑ ∑ ∑ ∑

∑ 8 ∑ ∑ ∑ ∑ 7 ∑ 8
Ob. & 8 8 8

B b Cl. & ∑ 88 ∑ ∑ ∑ ∑ 78 ∑ 88

Bsn.
? ∑ 88 ∑ ∑ ∑ ∑ 78 ∑ 88

S. Sx. & ∑ 88 ∑ ∑ ∑ ∑ 78 ∑ 88

B. Sx.
? ∑ 88 ∑ ∑ ∑ ∑ 78 ∑ 88

88 78 88
39
Hn. & ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ 88 ∑ ∑ ∑ ∑ 78 ∑ 88

Tbn.
? ∑ 88 ∑ ∑ ∑ ∑ 78 ∑ 88

39
f. 88 œœ .. f. f. œœ .. 78 f . 88
& Œ. Œ. Œ.
Œ œœ Œ. Œ f. Œ Œ. Œ œœ
Perc. 1

œ. f. 88 Œ . f. œœ .. f. œœ .. 78 f . 88
Perc. 2 & œ. Œ. Œ Œ. Œ Œ Œ. f. Œ Œ Œ

f. f. f f. œœ .. f f œœ .. f
Perc. 3 & Œ. 88 Œ . Œ. Œ Œ. Œ. Œ. Œ. 78 Œ 88

f œ. f
f. Œ. f. 88 Œ . f Œ. f. Œ Œ. Œ. Œ. œ. f Œ. 78 Œ . Œ 88
Perc. 4 &

>œ œ œ œ œ >œ œ œ œ >œ œ œ

œ œ œ œ œ œœœœ œ œœ œ œ œ œ
œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œœœœ
œ œ œœ œ
J J œ œ
J 88 78 88
39
&

œ>œ .. œ œ œ œ œ œJ œœ œ .. œ œ
œœ .. œ
Pno.

œ œ œ œœ œ œœ œ œ œ 8 œ œ œ >œ œœ œ j œ œ œ œ œ œœ œ œœ œ œ œœ œ œ
œ œ 7 œJ œœ œ 88
& œ œ 8 Jœ œ œ œ œ œ. œ œ œ 8
sul pont.

(>5o . 5o . ) (>œo œo ) ( œo .) >

II. ord.

œo . ( œo œo ) IV. >
II.

œo . >≥T . ( œo œo )
I. sul pont. II.

T. T. 8 Œ. T. œ. Œ œ. 7 Œ. 8
39 II.

Œ. Œ. Œ. Tœ Tœ Œ . œ. œ. Œ
ord.

Vln. I & œ. 8
T T T T
8 Π8
T T
P F P F P
2

n. P
n.

>œoI. .
n.

Ÿ~~~~~~~~~~~~ >œo o(œ >œo ) œo >œo

II.
IV. II.
˙. 88 Œ . J ‰ ‰ ‰J 78 J ‰ ‰ Ó 88
& Œ. Œ. b œT œ Œ . Tœ Tœ Œ ‰‰ ‰‰Œ
>
Vln. II
P n. P f F
2
P
T
J
T
J n. P
P
n.

œo >œo œo >œo
n.

œo >œo >œo
ord.

bT . Tœ ..
IV.

œo . J ‰ ‰ Œ œ.
I. sul pont.

‰ J J ‰ ‰ 88 b T T Œ Œ. J ‰ ‰ Œ ‰ J Œ ‰ ‰J 7 J ‰‰Œ æ 8
2

& œ. œ œ 8 œ 8
>
Vla.

n. P P P p P P
n. P
2 2
n. n.

& œ œj œj œ œ j8 . j j 78 88
Vc.
œ 8 Œ Œ œ œ œ œ œ œ œ‰‰ ∑ ∑ ∑
> > p
f p f

D.B.
? ∑ 88 ∑ ∑ ∑ ∑ 78 ∑ 88

39 40 41 42 43 44 75
 Re(new)al

& 88 78 88 78
45
Fl. ∑ ∑ ∑ ∑ ∑

Ob. & 88 ∑ 78 ∑ 88 ∑ 78 ∑ ∑

B b Cl. & 88 ∑ 78 ∑ 88 ∑ 78 ∑ ∑

?8 ∑ 78 ∑ 88 ∑ 78 ∑ ∑
Bsn. 8

S. Sx. & 88 ∑ 78 ∑ 88 ∑ 78 ∑ ∑

?8 ∑ 78 ∑ 88 ∑ 78 ∑ ∑
B. Sx. 8

& 88 78 88 78
45
Hn. ∑ ∑ ∑ ∑ ∑

C Tpt. & 88 ∑ 78 ∑ 88 ∑ 78 ∑ ∑

?8 ∑ 78 ∑ 88 ∑ 78 ∑ ∑
Tbn. 8

& 88 f . 78 f . 88 f . 78 Π.
45
Œ.
œœ
Œ.
f
Perc. 1 Œ Œ Œ Œ ∑

œœ .. 7 f. œœ .. œœ ..
& 88 f . Œ Œ Œ 8 f. Œ 7 Œ. f Œ Œ Œ
Perc. 2 8 8 8

f œœ .. f f f. f f œœ
Perc. 3 & 88 Œ . Œ. 78 Œ 88 Œ . Œ. 78 Œ Œ.

œ. f œ.
œ. 8 œ. 7 f.
& 88
f Œ. 7 Œ. Œ f Œ. Œ f Œ. f Œ
Perc. 4 8 8 8

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ
& 88
7 8 7
45
8 8 8
œœ .. œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ
Pno.
œ œ œ œ œ œœ œ œœ œ œœ
œ œ 7 œJ œœ œ œ œ
& 88
8 œ œ 7 œ œ œ œ œ œ œ œœ œ œœ
8 8 8

>œo
( œo
ord.

( œo .) ( œo .) )
II.

>T
7 T . œ . Œ >œœ 8 œœ .. œo
II.

T.
sul pont.

& 88 Π.
7 T ‰ ‰ Œ
45 III.

œ. 8 8 æ Œ ‰ ‰ TJ 8 J J ‰
œ œ Œ œ gliss.
œ
æ
Vln. I

p P p P π n. P π
2:3
p f

( œo . )
sul pont.

> >
sul pont.

( œo ) ( œo ) >œo
(>œo )
IV. IV. II.

78 >Tœ ..
III. II.

j
ord.

T. œ
ord.

& 88 ‰ ‰ T œ Œ. 88 78 Œ . Œ. J ‰ Œ
Tœ ‰ Œ ‰ ‰ b œT
. œT ‰
gliss.
Vln. II
J œ
T
J F p T
J p p P
P P
P
œo >œo > >œo
( œo ) ( œo . )
sul pont. ord.

88 >œo ‰ ‰
ord.

& 88 œæ. ‰ ‰ J 78 J ‰ ‰ Ó 78 Œ . J ‰
II.

Œ T œ T. œæ œæ Œ
Vla. J œ. œæ.
P
gliss.

π P P F
π
n.

& 88 ∑ 7 ∑ 8 ∑ ? 7 ∑ ∑
Vc. 8 8 8

?8 ∑ 78 ∑ 88 ∑ 78 ∑ ∑
D.B. 8
45 46 47 48 49

76
 Re(new)al
50
Fl. & œ. ˙ œ. ˙ œ. œ Œ 43 ˙ . 78
œ. ˙
P ∏ P
Ob. & ∑ ∑ ∑ 43 ∑ 78 ∑

B b Cl. & ∑
œ. 43 78
œ.
˙ œ. ˙ ˙. ˙
∏ P
œ. ˙ œ. ˙ œ. œ ˙. œ. ˙
Bsn.
? Π43 78
P ∏ P
S. Sx. & ∑
œ. ˙ œ. ˙ 43 ˙ . 78
œ. ˙
∏ F

? œ. œ. ˙. 78 œ .
43
˙
B. Sx. ∑ ˙ ˙
∏ F

43 78
50
Œ
straight mute

&
œ. œ. œ. œ.
Hn.
˙ ˙ œ ˙. ˙
P ∏
P
C Tpt. & ∑ ∑ ∑ 43 ∑ 78 ∑

Tbn.
? ∑ ∑ ∑ 43 ∑ 78 ∑

œ. œœ .. 78 œœ ..
43 Œ
50
& œ. Œ.
f f
Perc. 1 f Œ Œ f Œ Œ f Œ

œœ ..
& Œ. Œ Œ Œ. Œ 43 œ Œ 78 Œ . Œ
Perc. 2 f f f œ f f

f. f. œœ f. . œœ f.
Ó Œ Ó 3 f ‰ 7 Ó
Perc. 3 & 4 8

f. œ f. œ f. œ
Perc. 4 & Œ œ f. Ó Œ œ 43 f
. ‰ Œ 78 Œ œ

œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ
œ œ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œ œ œœ œ œœ œœœ œœ œ œ œ œ œ œ œœ
43 78
50
&
Pno.
œœ œœ œ œœ œœ œ œ œ œ
& J œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ J œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ 78 œ œ œ œ œœ œ œ

sul pont.

>III.
ord.

( œo ) Ÿ~~~~~~~~~~~~~ >
( œo ) ( 5o >5o )
IV.

œo
IV.

T.
43 Π78
50
& œ. Œ. Œ.
œ œ ‰
III.

Vln. I
gl.
Œ T œ
˙ Œ ‰ J Œ J ‰
P T p T T
F J
P P
n.

P
2

œo . >
ord.

( œo )
n.

o
I.

>o >T
IV.

3 (œ)
sul pont.

œ. Tœ .. >œ
III.

7 œæœ ..
& Œ.
III.

Œ J ‰
œ Œ œ Œ 4 T œ Œ 8 Œ ‰
gliss.
œ
æ
gliss.
Vln. II
œ T
F p P J
p F p P
sul pont.
ord.

>œo >œo
( œo ) ( œo )
IV. IV. ord.
II.

& Œ. Œ. J ‰ Œ. 43 Œ J ‰ 78 Œ .
sul pont.
Œ Œ
sul pont.
B œo
œæ gliss. œæ T T œ & œoæ > œ
Vla.

P p P > œ P
F π f F
? œ. Ó ∑ œ. Ó 43 ∑ 78 œ . Ó
pizz.

P
Vc.

? œ. œ.
43 78 œ .
pizz.

D.B. Ó ∑ Ó ∑ Ó
P
50 51 52 53 54
77
 Re(new)al
58
43 ˙ .
55
Fl. & œ. ˙ œ. œ Œ ˙. ˙.
π P
>œ . >œ . œ œ >œ . >œ . >œ
Ob. & ∑ ∑ 43 ∑ Œ œ œ. ‰ œ
f p f
>œ . >œ œ. >œ œ. œ > >œ
B b Cl. & . Œ ∑ 43 ∑ Œ Œ ‰ œ.
œ œ
f p f
π
. œ. ˙. ˙. ˙.
Bsn.
? œ ˙ œ
Π43
π P
>œ . >œ œ. >œ >œ . >œ œ. >œ . œ
œ.
œ
Œ 43 ˙ j ‰ ‰ œ ‰
S. Sx. & œ. œ œ. ˙ œ
f p f p
π P π

? œ. œ Œ œ. ˙ 3 ˙. ˙ Œ ˙.
B. Sx. 4
π P n. π
3
55
& Π4
œ. œ. ˙. ˙.
Hn.
˙ œ ˙.
π π P
C Tpt. & ∑ ∑ 43 ∑ ∑ ∑

? œ. ˙ 3 ˙. ˙ ˙.
∑ 4 Œ
π
Tbn.
P n. π
55
œœ .. 3
& Œ.
f Œ Œ f ∑ f Œ œœ
Perc. 1 4 f Œ Œ

œ. 3
& œ. Œ Œ. Œ 4 Œ Œ Œ Œ Œ
Perc. 2
f f œœ f f œœ

f. f f f œœ f f
Perc. 3 & Œ Œ. Œ 43 Œ Œ Œ Œ Œ

œ f œ
.
Perc. 4 & f Œ f Œ. f Œ 43 œ f Œ Œ Œ œ f 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 œœœ œœ œ œœ œ œ œ œ œ œ œ
œ
43
55
&

œ œ œ œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ > > >

Pno.
œ œ œ œœ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œ 3 œ œ œœœœœœœœœœ
& 4

>sul pont. >

( œo œo ) ( œo œo ) ( œo ) œo ( œo
>œo
II. ord.

œo . )
I. II.

>T
sul pont.

34 T œ
55
Œ.
II. ord.

Vln. I & œ. Œ T T T T Œ Œ œ Œ Tœ Tœ Œ œ œ Œ T T
F n. P F n. P
>œo >œoI. >
Ÿ~~~~~~~~~~~ ( œo )
II. IV.

& Œ. Œ. J ‰ 43 Œ
Tœ Tœ
ord.
˙ b œT œ Œ Œ Œ ‰ Œ Œ
>
Vln. II

P P f T
F P J
P
n. n.

>œo
ord.

>œo >o
I.

. Œ J ‰ b œT œT Œ Œ 34 Jœ ‰ Œ Œ J ‰ Œ b œT Œ Œ
2

Vla. & œo œ . œT
P P p
n. P
? ∑ ∑ 3 ∑
arco
Vc. 4 ˙. ˙.
F

? 3 ˙. ˙.
arco

D.B. ∑ ∑ 4 ∑
F
55 56 57 58 59 78
 Re(new)al
60
Fl. & ˙ Œ ˙. ˙. ˙. ˙ Œ
π P π
œ. œ >œ . >œ . œ œ >œ . >œ . >œ œ. œ >œ . >œ . œ œ >œ . >œ . >œ œ >œ . >œ œ. >œ
Ob. & ‰
œ œ. ‰ œ ‰
œ œ. ‰ œ œ. ‰
p
œ. > œ. .
simile

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. &
œ ‰ œ. ‰ œ ‰ œ. ‰ œ.
p simile

? ˙ ˙. ˙. ˙. ˙
Bsn. Œ Œ
π P π
>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 ‰
S. Sx. &
simile

? ˙. ˙. ˙. ˙ Œ ˙.
B. Sx.

P π
60
& Œ Œ
˙. ˙.
Hn.
˙ ˙. ˙
π P π

C Tpt. & ∑ ∑ ∑ ∑ ∑

? ˙. ˙. ˙. ˙ ˙.
Tbn. Œ
P π
60
f Œ œœ f œœ f
Perc. 1 & f Œ Œ Œ f Œ Œ Œ Œ

Perc. 2 &
f Œ Œ f Œ œœ f Œ Œ f Œ œœ Œ f Œ

œœ f f œœ f f f f
Perc. 3 & Œ Œ Œ Œ Œ Œ Œ

f œ f œ
Perc. 4 & Œ Œ œ f Œ Œ Œ œ f Œ f Œ f

>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 > >
60 œ œ 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 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
Pno.
œ œ œ œ
&
ord.

>
( œo )
II.

( œo
>œo
) ( œo ) ( œo ) >œ œo
IV. sul pont.
60 II.
œœ
III.

& Œ Œ Œ Œ Œ Œ
T œ T œ œ T ‰ Œ ‰
Vln. I
T T
œ
æ æ J J
p P π P
n. P P p

> ( œo )
sul pont.

>
sul pont.

>œo ( œo ) (>œo ) ( œo )
IV.

>T
II. IV. III. II.
ord. ord.

& J ‰ Œ Œ ‰ T Œ Œ ‰ Œ b œT .. ‰
œ gliss. Tœ T œ
Vln. II
œ œ
T
J F p
T
J p
P P p P
>œo >œo > o
>o ( œo )
sul pont.

œ ‰ ( œT )
II.

J ‰ Œ Œ Œ J ‰ Œ Œ Œ
sul pont.

& œæ œæ J œ T œ œæ œæ
>
Vla.
P P
gliss.

P π P
π
?
Vc.
˙. ˙. ˙. ˙. ˙.

D.B.
? ˙. ˙. ˙. ˙. ˙.

60 61 62 63 64 79
 Re(new)al
65 66
Fl. & ˙. ˙. ˙. ˙ Œ ˙.
P π
>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 ‰
Ob. &
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. & ‰ œ. ‰ œ. ‰

˙. ˙.
? ˙. ˙.
˙
Bsn. Œ
P π
>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
S. Sx. & ‰ œ. œ‰ œ. œ‰

? ˙. ˙ Œ ˙. ˙. ˙.
B. Sx.
P n. π P
65
& Œ
˙. ˙.
Hn.
˙. ˙ ˙.
π P π
harmon mute + o + + o + +
C Tpt. & Œ Œ œ ˙ œ œ Œ œ ˙ œ œ Œ œ
p F p p F p p

Tbn.
? ˙. ˙. ˙. gliss. ˙. ˙. gliss.

P F
65
∑ œœ Œ Œ f Œ œœ Œ f
Perc. 1 & f f Œ Œ

Perc. 2
œ
& œ Œ Œ Œ f Œ œœ f Œ Œ f Œ œœ f Œ

f œœ f f œœ f f œœ
Perc. 3 & Œ Œ Œ Œ Œ Œ Œ

f œ f œ
& Œ Œ Œ Œ Œ Œ Œ Œ
Perc. 4
f œ f œ f

>œ >œ œ œ >œ œ >œ œ œ >œ >œ œ >œ œ >œ œ œ >œ >œ
65 œœœœœœœœ œœ œ œœ œœ œœœœœœœœ œœ œ œ œœ œœ œœœœœœœœ œœ
&
Pno. >œ >œ œ œ >œ œ >œ œ œ >œ >œ œ >œ œ >œ œ œ >œ >œ
œœœœœœœœ œœ œ œœ œœœœœœœœ œœ œ œ œœ œœœœœœœœ œœ
& œ œ œ œ

sul pont.

>III.
ord.

( œo ) Ÿ~~~~~~~~~~~~~~~~~~ >
( œo )
IV.
65 >T œ œ
œ ‰ Œ Tœ Œ Œ ˙ Œ Œ ‰ Œ ‰
I.

& J œ J
gliss.
Vln. I T œ
P T p
f F J
P P
n.

>œo œo
( œo )
I.

>o >T
II.

>œ
III. sul pont.

& Œ J ‰ Œ Œ Œ œ ‰ œ Œ Tœ Œ Œ
III.

J œ gliss.
T œ
æ
gliss.
Vln. II
œ œ
P F p P
ord. ord. sul pont. p F p ord.

>œo >œo >œo

œo œo
IV. IV. IV. IV.

Œ J ‰ Œ Œ Œ J ‰ Œ Œ Œ J ‰
sul pont.

Vla. & Ͼ Ͼ Ͼ
B
T T &
F P P
gliss.
p P > œ œ P
F π
?
Vc.
˙. ˙. ˙. ˙. ˙.

? ˙. ˙. ˙. ˙. ˙.
D.B.

65 66 67 68 69
80
 Re(new)al

85
70
Fl. & ˙. ˙. ˙ Œ ∑
P π
œ. œ >œ . >œ œ. >œ œ. >œ . >œ œ. >œ >œ . >œ . >œ
œ. œ ‰ œ. ‰ Œ
‰ œ ‰ Œ 85
œ
Ob. & J
œ. >œ >œ . >œ >œ œ.
œ.
œ >œ . >œ œ. >œ œ. œ ‰ œ. œ.
œ >œ . >œ
B b Cl. & ‰ ‰ J ‰ Œ Œ 85

. ˙.
Bsn.
? ˙ ˙
Œ ∑ 85
P π
>œ . >œ >œ >œ . >œ . >œ >œ . >œ œ. >œ .
œ. œ. œ ‰ œ^ ‰ Œ
œ
S. Sx. & œ. ‰ œ J J Œ 85

? ˙. ˙ Œ œ. œ. œ^ ‰ Œ Œ 5
B. Sx. J 8
π f
^
85
70
& j‰ Œ Œ
˙. ˙. œ.
Hn.
œ. œ
P f
o +
œo œ. >œ . œ^
C Tpt. & ˙ œ œ Œ J ‰ Œ Œ 85
F p f

? ˙. ˙. œ. œ^ ‰ Œ
Tbn. œ. J Œ 85
f

85
70
œ Œ f œœ f
Perc. 1 & œ f Œ Œ ‰ J Œ ∑

& Œ Œ Œ Œ ‰ Œ Œ Œ 85
œœ f f œœ
Perc. 2 f J

f f f f f
Perc. 3 & ΠΠΠΠΠΠΠ85

f œ œ
Perc. 4 & Œ œ f Œ f Œ f Œ œ f Œ 85

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 ‰ Œ 85
70
& Œ
f
œ œ >œ œ >œ œ >œ >œ > ^
Pno.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ
œ œ œ œ œ œ Œ 5
& œ 8
*
>sul pont.
( œo œo )
ord.

>
( œo ) œo
IV.

œo
II.

5
70 III.

Vln. I & ‰ Œ J ‰ œ Œ T T ∑ ∑ 8
T
J F
P
( œo )
ord.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
IV.

& gl.œæœ Œ ‰ Œ ∑ ∑ 85
Vln. II
˙
T P
J
P
n.

œo
ord.
II. I.

J 85
sul pont.

& Œ œo œo Œ ‰ b œT Œ Œ ∑ B
œoæ >
Vla.
œ œ
P f
f F
? ^j
˙. ˙. œ. œ ‰ Œ Œ 85
œ.
Vc.

f
? ˙. ˙. œ. œ^ ‰ Œ
D.B. œ. J Œ 85
f
70 71 72 73

81
 Re(new)al
74 Broadly
>œ œo œ . œo . >œ œo œ . œo . >œ œo œ . œo . >œ œo œ . œo . >œ œo œ . œo . >˙ . ˙o .
(2+3)

Fl. & 85 T T. T T. T T. T T. T T. 43 T. 42
f p f p f p f p f p f p
>œ œ+ œ . œ+ . >œ +œ œ . +œ . >œ +œ œ . œ+ . >œ +œ œ . +œ . >œ +œ œ . œ+ . >˙ . +̇ .
Ob. & 85 43 42
f p f p f p f p f p f p
œ. +œ . +œ . œ. +œ . +œ . œ. +œ . +œ .
œ. œ. .
B b Cl. & 85 Œ Œ Œ Œ Œ 43 Œ ‰ œ 42
p f p f p f p f p f p f
?5 43 œ . 42
8 œ œ- . œ- . œ- . œ- . œ- . œ- .
- œ- œ-
Bsn.
œ- œ- -
f +œ . +œ . +œ . +œ . +œ . +œ .
œ. œ. œ. œ. œ. œ.
S. Sx. & 85 Œ Œ Œ Œ Œ 43 Œ ‰ 42
p f p f p f p f p f p f
œ- œ- . œ- œ- . œ- œ- . œ- œ- . œ- œ- . - œ- .
?5 3 œ. 2
B. Sx. 8 4 4
f
5 43 œ- . 42
74 open

Hn. & 8 œ- œ- . œ- œ- .
œ- œ- . œ- œ- .
œ- œ- . œ- .
F
5 - œ- . œ- œ- œ- . œ- œ- œ- . 3 - 2
C Tpt. &8 œ œ- . œ- . 4 œ. œ- . 4
F
? 5 œ- œ- . œ- œ- . œ- œ- . œ- œ- . œ- œ- . 3 - œ- . 2
Tbn. 8 4 œ. 4
F
74
5 f œœ .. Œ. f œœ .. Œ. f œœ .. 3 2
Perc. 1 &8 f f 4 f. ‰ Œ 4

œœ .. œœ .. œœ ..
& 85 Œ. Œ. Œ. 3 2
4 f.
f f f
Perc. 2 f f 4
œœ f. f. œœ f. f. œœ f. f.
& 85 ΠΠ3 2
Perc. 3 4 Œ ‰ 4
f. œ f. œ f. œ.
f. f. 3 œ. f.
& 85 Œ
œ Œ œ Œ 2
Perc. 4 4 4

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
5 43 42
74
&8
Pno.
œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œ œ œ œœœ œ œœ œ 2
5 œ œ œ 43 œ œ
&8 œ œ 4
f
sul pont. ( >5o .) ( >5o .) ( >5o .)
T >T >T . Tœ >Tœ T . Tœ >Tœ >Tœ .. Tœ >Tœ T . Tœ >Tœ >Tœ .. > .
& 85 œ œ œ . 43 œ œ ‰ T œ . 42
74 II.

Vln. I œ. œ. œ. œ. œ. T T
p f p f p f p f p f p f

> II. > II. >

( œo œo ) IV. (>œo . ( œo œo ) IV. (>œo . ( œo œo ) IV. (>œo .
sul pont.
II. II. II.

œo .) œo .) œo .)
II.

(œo œo ) T . (œo œo ) T . (œo œo )

IV. IV. IV.

T T (œ .) T. T T (œ .) T. T T (œ .) ‰ T. T.
Vln. II & 85 T. T T T. T T T.
43
T T
42
> œ. > > œ. > > œ. >
p f p f p f p f p f p f

Vla. B 85 œ œ. œ œ. œ œ. œ œ. œ œ. 43 œ . œ. 42
f
? 85 œ œ. œ. œ. œ. œ. œ.
Vc. œ œ œ œ 43 œ . 42
f
? 85 œ œ. œ. œ. œ. œ. œ.
D.B. œ œ œ œ 43 œ . 42
f
74 75 76 77 78 79

82
 Re(new)al
82
>˙ ˙o >˙ ˙o >œ œo œ. œo . >œ œo œ. œo . >œ œo œ. œo . >œ œo œ. œo .
2 58
80
Fl. &4 T T T T. T T. T T. T T.
f p f p f p f p f p f p
>˙ +̇ >˙ +̇ > + œ. +œ . >œ œ+ œ. +œ . >œ +œ œ. +œ . >œ œ+ œ. +œ .
2 5 œ œ
Ob. &4 8
f p f p f p f p f p f p
œ +œ +œ œ. œ+ . +œ . œ. œ+ . +œ .
2 œ œ. œ.
B b Cl. &4 Œ Œ 85 Œ Œ Œ Œ
p f p f p f p f p f p f
? 42 85 œ
Bsn.
œ- œ- œ- œ-
- œ- . œ- œ- . œ- œ- . œ- œ- .
f
2 œ +œ œ +œ œ. +œ . œ. +œ . œ. +œ . œ. +œ .
S. Sx. &4 Œ Œ 85 Œ Œ Œ Œ
p f p f p f p f p f p f
-
? 42 œ œ- œ- œ- œ- œ- . œ- œ- . œ- œ- . œ- œ- .
B. Sx. 85

2 œ- 85 œ-
80
&4 œ œ- œ- œ- . œ- œ- œ-
- œ- . œ- . œ- .
Hn.

2 - œ- œ- - œ- . œ- œ- œ- . œ-
C Tpt. &4 œ œ- 85 œ œ- . œ- .

? 42 œ- œ- œ- œ- - œ- . œ- œ- . œ- œ- . œ- œ- .
Tbn. 85 œ

2 œœ .. œœ ..
85
80
œœ Œ f Œ. f Œ.
Perc. 1 &4 f f f f

2 œœ .. œœ ..
Œ 85 Œ. Œ.
œœ f f
Perc. 2 &4 f f f f

œœ f œœ f. f. œœ f. f.
2
Perc. 3 &4 Œ Œ 85 Œ Œ

œ œ f. œ f. œ
Perc. 4
2
&4 œ Œ œ f 85 Œ œ f. Œ œ f.

œœ œœ œœ œ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ
2
85
80
&4
Pno.
œ œ œ œ œ œ œ œ 5 œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ
2 œ œ
&4 > œ
>
œ œ œ œ 8 œ œ œ œ
>
( œo ) ( >5o .) ( >5o .)
2 T >T
80
Tœ >Tœ Tœ >T T 5 T >T >T .
œ. œ. Tœ >Tœ T. Tœ >Tœ >T .
œ. œ. Tœ >Tœ T.
Vln. I &4 œ œ œ œ 8 œ œ œ. œ.
p f p f p f p f p f p f p f
> > II. > II. >
( œo œo ) ( œo ( œo œo ) IV. (>œo . ( œo œo ) IV. (>œo .
II. II. II. II.

o(œ œo ) œo ) œo .) œo .)
( œo oœ ) (œo œo ) T . (œo œo ) T .
IV. IV. IV. IV.

2 (œ .) T. T T (œ .) T.
T T 85 T T
T T
&4
T. T.
Vln. II
T T T T œ. T T œ. T T
> > > > > >
p f p f p f p f p f p f

Vla. B 42 œ œ œ œ 85 œ œ. œ œ. œ œ. œ œ.

? 42 œ œ. œ. œ. œ.
85 œ
œ œ œ œ œ œ
Vc.

? 42 œ œ. œ. œ. œ.
85 œ
œ œ œ œ œ œ
D.B.

80 81 82 83 84 85

83
 Re(new)al
>œ œo œ . œo . >˙ . ˙o . >˙ ˙o 90
>
43 42 44 X
86
X. Œ ∑
air sound only

Fl. & T T. T. T ã X X
f poss.
f p f p f p
n. n.

>œ +œ œ . +œ . >˙ . +̇ . >˙ +̇ >˙ +̇ >

43 42 44 ∑ Ó
air sound only

Ob. & ã X X X
f p f p f p f p f poss.
+œ . œ +œ +œ
n.

œ. . +œ . œ >
& Œ 43 Œ ‰ œ 42 Œ Œ 44 Ó X. Œ
air sound only

B b Cl. ã X X X
p f p f p f p f n. f poss. n.

? 43 . 42 œ 44 ^ r ≈ ‰ Œ Ó ∑ Ó
air sound only

œ- . ã X
œ- œ- . - œ- œ- œ- œ
Bsn.
œ-
+œ . +œ . œ +œ +œ
n.

œ. œ. œ >
& Œ 43 Œ ‰ 42 Œ Œ 44 ∑ Ó
air sound only

S. Sx. ã X X X
p f p f p f p f f poss.
- œ-
n.

? œ œ- . œ- . œ- . œ- œ- œ- 44 œR^ ≈ ‰ Œ Ó >
43 42 Ó
air sound only

B. Sx. ã X X X
n. f poss.
>œ > ^ >
43 œ- . 42 œ 44 œr ≈ ‰ Œ X
86
X. Œ
air sound only

& œ- œ- .
œ œ ã X X
œ- . - >
Hn.

n. f poss. n.

- >
œ- . -
43 œ .
-
42 œ Œ 44 X X. Œ ∑
air sound only

C Tpt. & œ œ- . ã X X
n. f poss. n.

? œ- œ- . 3 - œ- . 2 œ- œ- œ- œ- 4 Rœ^ ≈ ‰ Œ Ó
4 œ. ∑ Ó
air sound only

Tbn. 4 4 ã X
n.

86
f œœ .. 3 2 4 f
4 f.
œœ œœ f f œœ f f œœ f
Perc. 1 & ‰ Œ 4 f f Œ 4 Œ Œ Œ

œœ ..
Œ. 43 f . 42 f Œ 44 f Œ f œœ
f œœ f Œ f œœ f Œ f œœ
Perc. 2 & f

œœ f. f. œœ f œ f œœ f œœ f
Perc. 3 & 43 Œ ‰ 42 Œ Œ 44 œ Œ
f
Œ
f
Œ
f

f. œ. œ œ f œ f œ f œ
. f.
Perc. 4 & Œ 43 œ 42 œ Œ œ f 44 Œ œ f Œ œ f Œ œ f

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ
œ œ œ
43 42 44
86
& ∑ ∑ ∑
Pno.
œœ œœ œœ œœ œ œœ œ œ œ œœ œ œ œ 2 œœ œœ œ œ œ œœ œ 4
& œ 43 œ œ œ œ 4 > œ œ
>
œ œ œ 4 ∑ ∑ ∑
> *
( >5o .) ( œo )
T >T >T . > . T >T T >T >T
43 œ œ ‰ T œ . 42 œ œ œ œ 44
86
& œ œ œ. œ. ∑ ∑ ∑
Vln. I
T T Tœ œ T œ
p f p f p f p f p f
> > > >
( œo œo ) IV. o
( œ . œo .) ( œo œo ) ( œo
II. II. II.

œo )
II.

o œo ) o œo ) ( œo œo ) T
IV. IV. IV.

(œ .) ( (
43 ‰ T . T . 42 44
œ œ
Vln. II & T T . T T T ∑ ∑ ∑
> œ.
T T T T T T T
p f > > >
p f p f p f
- œ- œ- œ- 44 œ. ≈ ‰ Œ Ó
Vla. B œ œ. 43 œ . œ. 42 œ R ∑ ∑

? œ œ. 3 œ. 2 œ 4 œR. ≈ ‰ Œ Ó
4 œ.
œ
Vc. 4 œ œ
4 ∑ ∑

œ. .
D.B.
? œ 3
4 œ. œ. 2 œ
4 œ œ œ 4 œR ≈ ‰ Œ Ó
4 ∑ ∑

86 87 88 89 90 91 92

84
 Re(new)al
98
93
> >
Fl. ã Ó X X X X. Œ ∑ Ó X X X X. Œ
n. f poss. n. n. f poss. n.

>
Ob. ã X. Œ ∑ Ó X X X X. Œ ∑ Ó X
n. n. f poss. n. n.

> >
B b Cl. ã ∑ Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. n. f poss.
> >
Bsn. ã X X X. Œ ∑ Ó X X X X. Œ ∑
f poss. n. n. f poss. n.

>
S. Sx. ã X. Œ ∑ Ó X X X X. Œ ∑ Ó X
n. n. f poss. n. n.

>
B. Sx. ã X. Œ ∑ Ó X X X X. Œ ∑ Ó X
n. n. f poss. n. n.

93
> >
Hn. ã ∑ Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. n. f poss.
> >
X. X.
Open

C Tpt. ã Ó X X X Œ ∑ Ó X X X Œ
n. f poss. n. n. f poss. n.

> >
Tbn. ã X X X. Œ ∑ Ó X X X X. Œ ∑
f poss. n. n. f poss. n.
93
œœ Œ f œœ Œ f œœ Œ œœ Œ œœ Œ f œœ Ó Œ œœ Œ
Perc. 1 & f f f f f f f f f

Perc. 2 & f Œ f œœ f Œ f œœ f Œ f œœ f Œ f œœ f Œ f œœ f Œ Œ œœ Ó f Œ

œœ f œœ f f œœ f f œœ f œœ f œœ f f œœ f f
Perc. 3 & Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

œ œ f œ f œ œ œ œ œ f œ f œ
Perc. 4 & œ Œ œ f Œ œ f Œ œ f œ Œ œ f œ Œ œ f Œ œ f Œ œ f

93
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
Pno.

& ∑ ∑ ∑ ∑ ∑ ∑ ∑

93
Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

93 94 95 96 97 98 99

85
 Re(new)al
105
100
> >
Fl. ã ∑ Ó X X X X. Œ ∑ Ó X X X X. Œ
n. f poss. n. n. f poss. n.

> >
Ob. ã X X X. Œ ∑ Ó X X X X. Œ ∑ Ó X
f poss. n. n. f poss. n. n.

> >
B b Cl. ã X. Œ ∑ Ó X X X X. Œ ∑ Ó X X X
n. n. f poss. n. n. f poss.
> >
Bsn. ã Ó X X X X. Œ ∑ Ó X X X X. Œ ∑
n. f poss. n. n. f poss. n.

> >
S. Sx. ã X X X. Œ ∑ Ó X X X X. Œ ∑ Ó X
f poss. n. n. f poss. n. n.

> >
B. Sx. ã X X X. Œ ∑ Ó X X X X. Œ ∑ Ó X
f poss. n. n. f poss. n. n.
100
> >
Hn. ã X. Œ ∑ Ó X X X X. Œ ∑ Ó X X X
n. n. f poss. n. n. f poss.
> >
C Tpt. ã ∑ Ó X X X X. Œ ∑ Ó X X X X. Œ
n. f poss. n. n. f poss. n.

> >
Tbn. ã Ó X X X X. Œ ∑ Ó X X X X. Œ ∑
n. f poss. n. n. f poss. n.
100
œ f œœ Ó Œ œœ Ó f œœ Ó
Perc. 1 & Œ œ Ó f Œ Ó ∑ ∑ ∑

& Ó Œ œœ f Œ Œ œœ Ó Œ œœ
Perc. 2
f Œ Œ œœ f Œ Ó ∑ ∑ ∑

œœ f f œœ f œœ f œœ f f œœ f
Perc. 3 & Œ Œ Œ Œ Œ Œ Œ Œ ∑ ∑ ∑

f œ œ œ œ œ f œ œ œ
Perc. 4 & Œ œ f œ Œ œ f œ Œ œ f Œ œ f œ Œ œ f ∑ ∑ ∑

100
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Pno.

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

100 œo wo wo wo
Vln. I & ∑ ∑ ∑ ∑ Ó Œ
p
Vln. II & ∑ ∑ ∑ ∑ Ó Œ œo wo wo wo
p
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

100 101 102 103 104 105 106 107

86
 Re(new)al
> >
43 X . 44
108
Fl. ã ∑ Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. n. f poss.
> >
n.

Ob. ã X X X. Œ ∑ Ó X X X X. Œ ∑ 43 ∑ 44
f poss. n. n. f poss. n.

>
B b Cl. ã X. Œ ∑ Ó X X X X. Œ ∑ Ó X 43 X . 44
n. n. f poss. n. n.

> >
Bsn. ã Ó X X X X. Œ ∑ Ó X X X X. Œ 43 ∑ 44
n. f poss. n. n. f poss. n.

> >
S. Sx. ã X X X. Œ ∑ Ó X X X X. Œ ∑ 43 ∑ 44
f poss. n. n. f poss. n.

> >
B. Sx. ã X X X. Œ ∑ Ó X X X X. Œ ∑ 43 ∑ 44
f poss. n. n. f poss. n.

>
43 X . 44
108
Hn. ã X. Œ ∑ Ó X X X X. Œ ∑ Ó X
n. n. f poss. n. n.

> >
C Tpt. ã ∑ Ó X X X X. Œ ∑ Ó X X X 43 X . 44
n. f poss. n. n. f poss. n.

> >
Tbn. ã Ó X X X X. Œ ∑ Ó X X X X. Œ 43 ∑ 44
n. f poss. n. n. f poss. n.

43 44
108
Perc. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ã

∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 4
Perc. 2 & 4 ã 4

œœ f
∑ Œ Œ ∑ ∑ ∑ ∑ ∑ 3 ∑ 4
Perc. 3 & 4 ã 4
p
œ œ
∑ œ Œ œ f ∑ ∑ ∑ ∑ ∑ 3 ∑ 4
Perc. 4 & 4 ã 4
p
œœ œœ œ œ œ œœ œ
3 4
108
& ∑ ∑ ∑ ∑ ∑ ∑ œ œ 4 œ œ 4
Pno. p
∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 4
& 4 4
°
108 wo wo wo wo wo wo œo 3 4
Vln. I & Œ Ó 4 ∑ 4

o wo wo wo wo wo œo Œ 3 4
Vln. II & w Ó 4 ∑ 4

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 44

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 ∑ 4
Vc. 4 4

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ 44

108 109 110 111 112 113 114 115

87
 Re(new)al

II. Wind
116 Presto {q = c 168}
4 >
Fl. ã 4 ∑ ∑ Ó X X X X. Œ ∑
n. f poss. n.

> >
Ob. ã 44 Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. n. f poss.
> >
B b Cl. ã 44 X X X. Œ ∑ Ó X X X X. Œ
f poss. n. n. f poss. n.

>
Bsn. ã 44 ∑ Ó X X X X. Œ ∑ Ó X
n. f poss. n. n.

> >
S. Sx. ã 44 Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. n. f poss.
> >
B. Sx. ã 44 Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. n. f poss.
> >
ã 44 X
116
Hn. X X. Œ ∑ Ó X X X X. Œ
f poss. n. n. f poss. n.

>
C Tpt. ã 44 ∑ ∑ Ó X X X X. Œ ∑
n. f poss. n.

>
Tbn. ã 44 ∑ Ó X X X X. Œ ∑ Ó X
n. f poss. n. n.

>x x x x x x x x x x x x x x x x
multi-percussion setup

ã 44 œ
116 x x x x x x x x x x x x x x x x x xœ x x x x x x x x x x x x x x
D. S. œ
Í
>x x x x x x x x x x x x x x x x
multi-percussion setup

ã 44 œ
x x x x x x x x x x x x x x x x x x xœ x x x x x x x x x x x xœ x
D. S.

Í
>x x x x x x x x x x x x x x x x
multi-percussion setup

ã 44 œ
x x x x x x x x x x x x x x x x x x x xœx x x x x x x x x x x x
D. S.

Í
>x x x x x x x x x x x x x x x x
multi-percussion setup

ã 44 œ
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
D. S. œ œ
Í
œœ
& 44
116
Œ Ó ∑ ∑ ∑ ∑ ∑
Pno. p
&4 4 ∑ ∑ ∑ ∑ ∑ ∑

˙.
& 44 n w
116
w œ œ
Vln. I w # # ww ww
p like a smooth synth P p F
Vln. II & 44 # ww ww #w w # ww ˙˙ .. œœ œœ
p like a smooth synth P p F
#w ˙.
B 44 # w #w w œ œ
Vla. w
p P p F
nw #w ˙.
like a smooth synth
w œ œ
?4 w w
Vc. 4
p like a smooth synth P p F
?4 ∑ ∑ ∑ ∑ ∑ ∑
D.B. 4
116 117 118 119 120 121

88
 Re(new)al
122
> >
Fl. ã Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. f poss.
>
n.

Ob. ã X. Œ ∑ Ó X X X X. Œ ∑
n. n. f poss. n.

>
B b Cl. ã ∑ Ó X X X X. Œ ∑ Ó X
n. f poss. n. n.

> >
Bsn. ã X X X. Œ ∑ Ó X X X X. Œ
f poss. n. n. f poss. n.

>
S. Sx. ã X. Œ ∑ Ó X X X X. Œ ∑
n. n. f poss. n.

>
B. Sx. ã X. Œ ∑ Ó X X X X. Œ ∑
n. n. f poss. n.

122
>
Hn. ã ∑ Ó X X X X. Œ ∑ Ó X
n. f poss. n. n.

> >
C Tpt. ã Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. n. f poss.
> >
Tbn. ã X X X. Œ ∑ Ó X X X X. Œ
f poss. n. n. f poss. n.

122 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
D. S. ã œ œ œ œ œ œ œ œ œ
F
x x x x x x x x œ x x xœ x x x x x x x xœ x x x x x x x xœ x x x x x xœ x x x x x x x x x x x x œ x x xo
D. S. ã œ œ
F
x x x x x x x x xœ x x x x x x x x x x x x x x x x x x x œ x x x x x x x x x x x x x xœ x x x xœ x x
D. S. 㠜
F
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xœ x x x x x
D. S. ã œ œ œ œ œ ‰ œ œ œ œ
F
122
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

& ∑ ∑ ∑ ∑ ∑ ∑

122
œ
Vln. I & #w ˙˙ .. nœ w ˙. œ # # œœ ww ˙˙ .. œœ
w œœ
p P p

& #w #œ w ˙. œ # œœ
Vln. II ˙. œ # œœ ww ˙˙ .. œœ
p P p
˙. œ #œ ˙. #
œ œ
Vla. B #w ˙. œ #œ w w
p P p
nœ w ˙. œ #œ
? #w ˙. œ œ w ˙. œ
Vc.
p P p
D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

122 123 124 125 126 127

89
 Re(new)al
132
128
^
Fl. ã X. Œ X. x x ∑ ∑ ∑ ∑
n. p f poss.
^
Ob. ã Ó X X. x x ∑ ∑ ∑ ∑
f poss.
>
n.

B b Cl. ã X X X. Œ ∑ ∑ ∑ ∑
f poss. n.

^
Bsn. ã Ó X X. x x ∑ ∑ ∑ ∑
n. f poss.
^
S. Sx. ã Ó X X. x x ∑ ∑ ∑ ∑
n. f poss.
^
B. Sx. ã Ó X X. x x ∑ ∑ ∑ ∑
f poss.
>
n.
128
Hn. ã X X X. Œ ∑ ∑ ∑ ∑
f poss. n.

^
C Tpt. ã X. Œ X. x x ∑ ∑ ∑ ∑
n. p f poss.
^
Tbn. ã Ó X X. x x ∑ ∑ ∑ ∑
n. f poss.
xo xœ xœ x œ x œ x xœ x x œ x x >x x x x xo œ xo xœ
Hocket Composite (for conductor)

œ x œœ œ œo x œ œ xœx

128 x x x x x x x x x x xœ x x x x xo x x x x x x x x x x x x x x x xo xœ x x x x x x x x >x x x x xo x
D. S. ã œ x x œ
œ
x
œ

p f p f
x x x x x x x x x xœx x xœx >x x x x x x x x x x x x x x x x x x x x x x x x xo x x x x x
D. S. ã x x
œ œ
œ œ
x œ œ
p f p f
x x x x x x x x x x x x x œ x x >x x x x x x x x x x x x x x x x x x xœ x x x œ x x x x x x x xœ x x
D. S. ã œ œ œ ‰ Œ
p f p f
x x x x x x x x x xœ x x x xœ x x x x x x x x x x x x x x x x x x x x x x x x x x x x xœ x xo
D. S. ã œ œ œ œ ‰ Œ
x
p f p f
128
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

& ∑ ∑ ∑ ∑ ∑ ∑

˙.
128
w œ œ nw
Vln. I & # ww ww
w
F p

& ww ˙˙ .. œœ œœ
Vln. II #w w # ww ww
F p
w ˙. œ œ #w
Vla. B #w w w
F p
w ˙. œ œ
? #w w w w
Vc.
F p
D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

128 129 130 131 132 133

90
 Re(new)al
134
^ ^
Fl. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

Ob. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

B b Cl. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

Bsn. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

S. Sx. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

B. Sx. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.
134
Hn. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

C Tpt. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

Tbn. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
n. f poss. n. f poss.
134 x x xœ x >œ œ xo x x xo xœ xœ x œ x œ xœ x œ xo xœ xœ x œ x œ x œ xœ xo x x x x x x x xœo œ x œ x œ x œ x œ x œ xœ œ x œ xœ œ x œ xœ œ x œ xœ œ xœ
ã œ ≈ œœ œ œ œ œ xœ œ œ œ œ œ œ œ œ œ
Composite
xœ œ œ xœ xœ x œ œ œ œ

134 x x x x > > x x x xo x x x x x x >x x xœ x x x x x x x x xœ x x x x x x x x x x x x x x x x x x x x x

D. S. ã œ≈œ œ œ œ œ œ œ œ œ œ œ œ
x

x x x x >œ xo x x xœ x x x œ x x xo x xœ x x x œ x xo x x xœx x x œx x xo x xœx x x xœ x xœ x xœ x xœ xœ

D. S. ã œ ‰
x x x x

x x xœ x >œ x xœ x x x x x x xœ x x x x x x œ x x xœ x x x x x xœx x x x xœ x x x x œ x x x œ x x œ x x œ x x œ xœ
D. S. ã ‰ œ œ œ œ œ œ

x x x x > x x x x x xœ x x x x x x x x x x x x x x xœ x x x xœ x x x x xœ x x x x x x x x x x x x xœ
D. S. ã œ‰ œ œ œ œ œ œ œ œ œ œ œ œ
134
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

& ∑ ∑ ∑ ∑ ∑ ∑

˙.
134
w œ œ
Vln. I & # # ww ww # ww ww
P p F p
Vln. II & #w w # ww ˙˙ .. œœ œœ # w w
P p F p
#w ˙.
B #w w œ œ
Vla. #w w
P p F p
nw w #w ˙. œ œ
? #w w
Vc.
P p F p
D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

134 135 136 137 138 139

91
 Re(new)al
140
^
Fl. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

Ob. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

B b Cl. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

Bsn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

S. Sx. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

B. Sx. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.
140
Hn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

C Tpt. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

Tbn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
n. f poss.
140 xo xœ xœ x œ x œ x xœ x x œ x xœ >x x x x xo œ xo xœ x x xœ x >œ xo x x xo xœ xœ x œ x œ xœ x œ xo xœ xœ x œ x œ x œ xœ xo œ xœ xœ x œ x œ xœ x œ x
ã œ x œ œ œ œo x œ xœx œ ≈œœœ œ
Composite
xœ œ œ xœ œ œ xœ œ œ

140 xo xœ x x x x x œ x x x >x x x x xo x œ x x x x >œ x x x xo x x x œ x x x >œ x x xœ x x x x x x œ x x xœ x x x x x

D. S. ã œ ≈œ œ œ
x x x

x x x x œ x x xœ x xo x x x x x >œ xo x x xœ x x x œ x x xo x xœ x x x œ x xo
‰ ‰ œj œ
x x x x xœx x xœx
D. S. ã œ œ ‰
x x x x

x xœ x x x œ x x x x x x x xœ x x x x xœ x >œ x xœ x x x x x x xœ x x x x x x œ x x xœ x x x x x xœx x x
D. S. ã œ ‰ Œ ‰ œ œ œ œ œ

x x x x x x x x x x xœ x xo x x x x >œ x x x x x xœ x x x x x x x x x xœx x x x xœ x x x xœ x x œ
D. S. ã œ œ œ ‰ Œ ‰ œ œ œ œ œ
x
140
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

& ∑ ∑ ∑ ∑ ∑ ∑

140
œ w w
Vln. I & nw w # # ww ˙˙ .. œœ
P p
& # ww #w ˙. œ # œœ ww ww
Vln. II ww
P p
Vla. B #w w #w ˙. œ #œ w w
P p
w ˙. œ #œ w w
Vc.
? w w
P p
D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

140 141 142 143 144 145

92
 Re(new)al
148
146
^
Fl. ã ∑ Ó X x x ∑ ∑ ∑
f poss.
^
n.

Ob. ã ∑ Ó X x x ∑ ∑ ∑
f poss.
^
n.

B b Cl. ã ∑ Ó X x x ∑ ∑ ∑
f poss.
^
n.

Bsn. ã ∑ Ó X x x ∑ ∑ ∑
f poss.
^
n.

S. Sx. ã ∑ Ó X x x ∑ ∑ ∑
n. f poss.
‰ œ ‰ œj œ ‰ œj ‰ ‰ # œ
œ œ
B. Sx. ã ∑ ∑ ?
œ ‰ Jœ ‰ ‰ œ œ
f a brash solo (a la Leo Pellegrino ofToo Many Zooz)
Specific articulations are not included here because I don't think marking them is in the spirit of the style.
Please do what feels right, and articulations can be varied between repetitions.

^
And feel free to growl, flutter, overblow, and even add multiphonics if you're feeling it!
146
Hn. ã ∑ Ó X x x ∑ ∑ ∑
f poss.
^
n.

C Tpt. ã ∑ Ó X x x ∑ ∑ ∑
f poss.
^
n.

Tbn. ã ∑ Ó X x x ∑ ∑ ∑
n. f poss.
146 xœo œ x >œ x x x x x x x x x x x xo xœ xœ x œ x œ x xœ x x œ x x >x x x x xo œ xo xœ x x xœ x œ xo x x xo
ã ≈œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œo x œ ≈œœœ
Composite
xœ x œ x œœ œ xœx œ œ

146 x x x x >œ œ x x x œ x x œ x x œ x x œ x >x xo xœ x x x x x œ x x x >x x x x xo x œ x x x x œ œ x x x xo

D. S. ã œ ≈ œ ≈
x x

x xo x >œ xo x x x x œ xo
‰ ‰ œj œ
x x x xœ x xœ x xœ x xœ xœ x x x x œ x x xœ x x x x x
D. S. ã ≈œ œ œ ‰
x x x

x xœ x x >œ œ x œ x x x œ x x œ x x œ x x œ xœ x xœ x x x œ x x x x x x x xœ x x x x x x x
œ œ ‰ œ xœ x
D. S. ã ≈ œ œ ‰ Œ

x x xœ x >œ œ x x œ x x xœ x xœ x xœ x xœ x x x x x x x x x x xœ x xo x x x xœ x x x
D. S. ã ≈ œ œ œ œ ‰ Œ ‰ œ œ
x
146
& ∑ ∑ ∑ ∑ ∑
Pno. f brash

& ∑ ∑ ? ‰ j ‰ ‰ œ œ ‰ ‰ j ‰ j ‰ ‰
œ œ œ œ œ œ œ œ #œ
146
#w w ∑ ∑ ∑
Vln. I &
F f
Vln. II & # # ww ww ∑ ∑ ∑
F f
#w w
Vla. B ∑ ∑ ∑
F f
#w w
Vc.
? ∑ ∑ ∑
F f
? ‰ œ ‰ œj œ ‰ œj ‰ ‰ # œ
pizz.
œ œ
D.B. ∑ ∑ œ ‰ Jœ ‰ ‰ œ œ
f brash
146 147 148 149 150

93
 Re(new)al
151
^ ^
Fl. ã Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

Ob. ã Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

B b Cl. ã Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

Bsn. ã Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

S. Sx. ã Ó X x x ∑ ∑ ∑ Ó X x x
n. f poss. n. f poss.
? œ œ œ j j œ œ œ ‰ #œ nœ #œ ‰ œ œ nœ j
B. Sx.
#œ œ œ œ Œ œ œ ‰ J œ ‰ œ œ œ ‰ œ œ œ j
#œ œ œ œ
151
^ ^
Hn. ã Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

C Tpt. ã Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

Tbn. ã Ó X x x ∑ ∑ ∑ Ó X x x
n. f poss. n. f poss.
xœ xœ x x xœ x xo xo œ xœo x x x x x x x >x
œ >œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
151 xœ xœ x x x xœ xœ xœ x x xœ x x x x x x
Composite ã xœ
œ œ œ œœ
xœ
œ œœœ œ
xœ
œ œ œ œœ
xœ x

151 x x x x x x > x x xœ x x x x x x x x xœ x x x x x x x x x > x x x x x x x x x x >x

ã x œ œ œ œ œ≈œ œ œ œ œ
D. S. œ œ

x xœ x x x œ x x xo x xœ x x x œ x xo x x xœx x xœx x xo x >œ x x x xœ x xœ x xœ x xœ xœ

D. S. ã ≈œ
x x x

x x x x x xœ x x x x x x x x xœ x x x x x x x x x x xœ x x > œ x x x x x x x x x x xœ
D. S. ã œ œ œ œ œ œ œ≈ œ œ œ œ œœ

x x xœ x x x x x x x x x x œ x x x x xœ x x x xœ x x œ x x xœ x >œ œ x x œ x x x x x x x x xœ
D. S. ã œ œ œ ≈ œ œ œ œ

151
& ∑ ∑ ∑ ∑ ∑
Pno.

? j j Œ ‰ œj œ ‰ œ ‰ ‰ #œ ‰ œ œ nœ j j
œ œ œ œ #œ nœ œ œ œ
#œ œ œ œ œ œ œ œ œ #œ œ œ œ
151
Vln. I & ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑

Vc.
? ∑ ∑ ∑ ∑ ∑

? œ œ j œ ‰ #œ nœ j
œ ‰ #œ ‰
œ œ œ œ nœ
D.B. œ # œ œj œ œ Œ œ œ ‰ J œ ‰ œ œ œ œ œ j
#œ œ œ œ
151 152 153 154 155

94
 Re(new)al
156
^
Fl. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

Ob. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

B b Cl. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

Bsn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

S. Sx. ã ∑ ∑ ∑ Ó X x x ∑ ∑
n. f poss.
?Œ œ œ ‰ #œ œ #œ
‰ œ œ œ Œ #œ nœ œ #œ nœ œ œ #œ œ œ œ
œ œ œ
œ ‰ J ‰ œJ ‰ œ ‰ ‰ œ ‰ œ ‰ œ
œ J
B. Sx.

156
^
Hn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

C Tpt. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

Tbn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
n. f poss.
156 xo x xœ x œ x œ x xœ x x œ x x >x x x x xo œ xo xœ x x xœ x >œ œ xo x x xo xœ xœ x œ x œ xœ x œ xo xœ xœ x œ x œ x œ xœ xo x x x x x x x
ã œ xœ œ œ œ œo x œ œ xœx œ ≈ œœ œ œ œ œ xœ œ œ œ œ œ œ œ œ
Composite
xœ œ œ xœ

156 xo xœ x x x x x œ x x x >x x x x xo x œ x x x x >œ œ x x x xo x x x œ x x x >œ x x xœ x x x x x x œ x x xœ x x x x x

D. S. ã œ ≈ œ œ
x x x

xo x x x x x x >œ xo x xœ x x x œ x x xo x xœ x x x œ x xo
‰ ‰ œj œ œ
x x x x œ x x xœ x x x x x xœx x xœx
D. S. ã œ ‰
x x x x

x xœ x x x œ x x x x x x x xœ x x x x xœ x >œ x xœ x x x x x x xœ x x x x x x œ x x xœ x x x x x x œ x x x
D. S. ã œ ‰ Œ ‰ œ œ œ œ œ

x x x x x x x x x x xœ x xo x x x x> x x x x x xœ x x x x x x x x x x x x x x xœ x x x xœ x x
D. S. ã œ œ œ ‰ Œ œ‰ œ œ œ œ œ œ œ
x
156
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

?Œ ‰ œj œ œ ‰ ‰ Œ ‰ j ‰ j‰ ‰ œ œ ‰ ‰ œ #œ
œ #œ #œ nœ œ œ #œ nœ œ œ #œ œ
œ œ œ œ œ œ œ œ œ œ
156
Vln. I & ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑

Vc.
? ∑ ∑ ∑ ∑ ∑ ∑

?Œ ‰ œ ‰ œ œ #œ
œ œ ‰ #œ
‰ œ œ œ Œ #œ nœ œ #œ nœ œ œ #œ œ
œ œ œ
œ ‰ J ‰ œJ ‰ œ ‰ ‰ œ
œ œ œ J
D.B.

156 157 158 159 160 161

95
 Re(new)al
164
162
^ ^
Fl. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x&
f poss. f poss.
^ ^
n. n.

Ob. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^ ^
n. n.

B b Cl. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x&
f poss. f poss.
^ ^
n. n.

Bsn. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x&
f poss. f poss.
^ ^
n. n.

S. Sx. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x&
n. f poss. n. f poss.
? n œ ‰ œJ ‰ œ œ # œ œ œ #œ œ œ nœ œ œ ‰œ ‰ ‰ œ
œœ
‰ œ ‰ œj œ œ ‰ œj ‰ ‰ # œ œœœ j j
œ J #œ œ œ œ
B. Sx.

162
^ ^
Hn. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. n. f poss.
^ ^
n.

C Tpt. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
f poss. f poss.
^
n.

^
n.

Tbn. ã ∑ Ó X x x ∑ ∑ ∑ Ó X x x
n. f poss. n. f poss.
162 xœo œ x >œ x œ x œ x œ xœ œ x œ xœ œ x œ xœ œ x œ xœ œ xœ xo x xœ x œ x œ x xœ x x œ x x >x x x x xo œ xo xœ x x xœ x œ xo x x xo xœ xœ x œ x œ xœ x œ xo
ã ≈œ œ xœ œo x œ ≈œœœ œ
Composite
xœ x œ œ œ œ œœ œ œ xœx œ xœ œ œ

162 x x x x >œ x x x œ x x œ x x œ x x œ x x xo xœ x x x x x œ x x x >x x x x xo x œ x x x x œ x x x xo x x x œ x x x >œ x

D. S. ã œ ≈œ œ ≈œ
x x x

x xo x> x x x xo x x x x x xo x xœ x x x x x xo
‰ ‰ œj œ
xœ x xœ x xœ x xœ xœ x x x x x x xœ x x x x
D. S. ã œ≈œ œ œ œ œ‰ œ
x x x

x xœ x x > x x x x x x x x x x xœ x xœ x x x x x x x xxx xœ x x x x xœ x œ x xœ x x x x x x xœ x x
D. S. ã œ≈œ œ œ œ œ œœ œ œ ‰ Œ ‰ œ œ œ

x x xœ x > x x x x x x x x x x xœ xxxx x x x x x x xœ x xo xxxx x x x x x xœ x x x x x

D. S. ã œ≈œ œ œ œ œ œ œ œ œ ‰ Œ œ‰ œ œ œ
x

162
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? j
nœ ‰ œ ‰ œ œ #œ œ œ #œ œ œ nœ œ œ
‰ j‰ ‰
œ
œœ‰ ‰ j
œ
‰ j‰ ‰
#œ œœœ
j j
œ œ œ œ œ œ #œ œ œ œ
162
∑ ∑ #w w ww ww
Vln. I &
P
Vln. II & ∑ ∑ w w #w w
P
ww ww w w
Vla. B ∑ ∑
P
Vc.
? ∑ ∑ ∑ ∑ ∑ ∑

? n œ ‰ œJ ‰ œ œ # œ œ œ #œ œ œ nœ œ œ ‰œ ‰ ‰ œ
œœ
‰ œ ‰ œj œ œ ‰ œj ‰ ‰ # œ œœœ j j
œ J #œ œ œ œ
D.B.

162 163 164 165 166 167

96
 Re(new)al
172 # œ. œ. œ. œ. œ. œ. >œ
168
#w w w ^
Fl. & ã Ó X x x ∑ ‰
π F π f poss. π f
œ. œ. œ. œ. œ. œ. >œ
n.

^
Ob. ã ∑ ∑ ∑ Ó X x x ∑ & ‰
f poss. π f
œ. œ.
n.

^
B b Cl. &
w w w
ã Ó X x x ∑ & Ó Œ
π F π n. f poss. π
^
Bsn. & w w w ã Ó X x x ∑ ∑
π F π f poss.
n.
œ. œ.
^
S. Sx. & #w w w ã Ó X x x ∑ & Ó Œ
π F π f poss.
n. π
? Œ œ œ
‰ J
œ œ #œ nœ ‰#œ ‰ œ œ nœ j œ œj Œ œ
œ œ œ ‰ #œ
B. Sx. œ œ‰ ‰ œ œ œ œ œ œ
#œ œ œ ‰ J ‰ œ œ œ

168
^
Hn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
^
n.

C Tpt. ã ∑ ∑ ∑ Ó X x x ∑ ∑
n. f poss.
^
Tbn. ã ∑ ∑ ∑ Ó X x x ∑ ∑
f poss.
xœ xœ x œ x œ x œ xœ xo œ xœo œ x >œ x œ x œ x œ xœ œ x œ xœ œ x œ xœ œ x œ xœ œ >xœ xo xœ xœ x œ x œ x xœ x x œ x >x x x x xo œ xo xœ
n.
168 xœ xœ x œ x œ xœ x œ x x
ã ≈œ œo x œ
Composite
xœ œ œ xœ œ œ xœ x œ œ œ œ œx œœ œ œ xœx

168 x xœ x x x x x x œ x x xœ x x x x x x x x x œ œ x x x œ x x œ x x œ x x œ x >x xo xœ x x x x x œ x x x >x x x x xo xœ

D. S. ã œ œ œ ≈ œ
x x

x xœ x x x œ x xo x xo xo
‰ ‰ œj œ
x x xœx x xœx xœ œx x x xœ x xœ x xœ x xœ xœ x x x x œ x x xœ x x x x
D. S. ã ≈ œ
x x x x

x x x x œ x x xœ x x x x x xœx x x x xœ x x œ x œ x x x œ x x œ x x œ x x œ xœ x xœ x x x œ x x x x x x x xœ x x
D. S. ã œ œ ≈œ œ œ ‰ Œ

x x x x xœx x x x xœ x x x xœ x x œ x x xœ x œ x x œ x x x x x x x x xœ xxxx x x x x x x xœ x xo
D. S. ã œ œ ≈œ œ œ œ œ œ œ œ ‰ Œ
x

168
# œœ œœ œœ œœ œœ œœ œ>œ
& ∑ ∑ ∑ ∑ ∑ ‰
Pno. p f
? Œ ‰ œj œ ‰ œ ‰ #œ œ ‰#œ ‰ œ œ nœ j j Œ ‰ œj œ œ ‰ #œ ‰
œ œ œ œ œ œ œ œ
œ œ œ œ œ #œ œ œ œ œ
168
ww ww w w #w w
Vln. I &
f P
Vln. II & w w ww #w w w
f P
#w ww nw ww ww ww
Vla. B w
f P
? w
molto sul pont.

Vc. w œ Œ Ó ∑ ∑ ∑
f π
? Œ œ œ
‰ J
œ œ #œ nœ ‰#œ ‰ œ œ nœ j œ œ œ ‰ #œ
D.B. œ œ‰ ‰ œ œ œ œ œ œ j
#œ œ œ œ Œ œ œ ‰ J ‰ œ œ œ

168 169 170 171 172 173

97
 Re(new)al
# œ. œ. œ. œ. œ. œ. >œ
174
^
Fl. ã ∑ Ó X x x ∑ & ‰ ∑ ∑
f poss. π f
œ. œ. œ. œ. œ. œ. >œ
n.

^
Ob. & ∑ ã Ó X x x ∑ & ‰ ∑ ∑ ã
f poss. π f
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
n.

B b Cl. & ‰ Ó ∑ Ó Œ ‰ã X
f π π f π n.
. . .
ã ∑ Ó X
^
x x ∑ ∑ ? Ó ‰ œ œ #œ œ. # œ. n œ. œ. œ # œ
. . # œ œ.
.
Bsn.

f poss. F
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
n.

S. Sx. & ‰ Ó ∑ Ó Œ ‰ Ó ã
f π π f π
? Œ #œ nœ ‰ œJ œ #œ nœ œ œ #œ œ œ œ ‰ œ ‰ ‰ œ
œ œ
‰ œ ‰ œ œ # œ n œ ‰ J ‰ œ œ #œ
œ œ #œ nœ œ œ #œ
J #œ œ
B. Sx.

174
^
Hn. ã ∑ Ó X x x ∑ ∑ ∑ Ó X
f poss. n.

^
n.

C Tpt. ã ∑ Ó X x x ∑ ∑ ∑ ∑
f poss.
^ >
n.

Tbn. ã ∑ Ó X x x ∑ ∑ ∑ ? Ó Œ ‰ œJ
n. f poss. f
174 x x xœ x >œ xo x x xo xœ xœ x œ x œ xœ x œ xo xœ xœ x œ x œ x œ xœ xo xœ xœ x œ x œ xœ x œ x xœo œ x œ x œ x œ x œ xœ œ x œ xœ œ x œ xœ œ x œ xœ œ x
ã œ ≈œœœ œ œ œ œ ≈œ œœ
Composite
xœ œ œ xœ xœ œ œ xœ x œ œ œ

174 x x x x >œ œ x x x xo x x x œ x x x >x

œ x xœ x x x x x x œ x x xœ x x x x x x x x xœ œx x xœ x xœx xœx xœx x
D. S. ã ≈ œ œ œ ≈
x

x x x x > xo x x xœ x x x x x xo x xœ x x x x xo x x x x x x x x xo x x x x xœ x xœ x xœ x xœ xœ
D. S. ã œ œ‰ œ œ œ œ œ≈œ
x x x x

x x xœ x > x xœ x x x x x x xœ x x x x x x x x xœ x x x x x x x x x x xœ x x x x x x x x x x x x xœ
D. S. ã œ‰ œ œ œ œ œ œ œ œ≈œ œ œ œ œ œœ

x x x x >œ x x x x x xœ x x x x x x x x x x œ x x x x xœ x x x xœ x x œ x x xœ x œ œ x x œ x x x x x x x x xœ
D. S. ã ‰ œ œ œ œ œ ≈ œ œ œ œ

174
# œœ œœ œœ œœ œœ œœ œ>œ
& ∑ ∑ ∑ ‰ ∑ ∑
Pno. p f
? Œ ‰ j ‰ j‰ ‰ œ œ ‰ ‰ j
#œ nœ œ œ #œ nœ œ œ #œ œ œ œ œ œ #œ nœ ‰ œ ‰ œ œ #œ œ #œ nœ œ œ #œ
œ œ œ #œ œ
˙.
174
ww ww ww ww w œ œ
Vln. I &
F f
& #w #˙.
Vln. II w w w ww œ œ
F f
w w #w w nw ˙˙ .. œœ œœ
Vla. B
F f
? œ Œ ‰ œ œ #œ œ #œ nœ œ œ #œ
pizz.

∑ ∑
molto sul pont.
w w
#œ œ
Vc.
f π f
? Œ #œ nœ ‰ œ œ #œ nœ œ œ #œ œ œ œ ‰ œ ‰ ‰ œ œ œ
‰ œ ‰ œ œ # œ n œ ‰ J ‰ œ #œ
œ œ œ #œ nœ œ œ #œ
D.B.
J J #œ œ
174 175 176 177 178 179

98
 Re(new)al
180
> >
Fl. & ∑ ∑ ã Ó X X X X. Œ ∑ Ó X X X
n. f poss. n. f poss.
> >
n.

^
Ob. ã Ó X X X X. Œ ∑ Ó X X X X. Œ Ó X x x
n. f poss. n. n. f poss. n. f poss.
> >
n.

^
B b Cl. ã X X X. Œ ∑ Ó X X X X. Œ ∑ Ó X x x
f poss. n. n. f poss. n. f poss.
? ^j ‰ Œ Ó > > ^
n.

Bsn. ã Ó X X X X. Œ ∑ Ó X X X X X x x
œ f poss. f poss. f poss.
ß
n. n. n. n.

> > ^
S. Sx. ã Ó X X X X. Œ ∑ Ó X X X X. Œ Ó X x x
f poss. f poss. f poss.
? ^j ‰ Œ X
n. n. n. n.

> >
n.

^
B. Sx. œ ã X X X. Œ ∑ Ó X X X X. Œ Ó X x x
ß n. f poss. n. n. f poss. n. n. f poss.
180
> > ^
Hn. ã X X X. Œ ∑ Ó X X X X. Œ ∑ Ó X x x
f poss. n. n. f poss. n. f poss.
> >
n.

C Tpt. ã ∑ ∑ Ó X X X X. Œ ∑ Ó X X X
f poss. f poss.
^
n. n. n.

? œJ ‰ Œ Ó > > ^
Tbn. ã Ó X X X X. Œ ∑ Ó X X X X X x x
n. f poss. n. n. f poss. n. f poss.
Choreography: rotate around snare drum until m. 201
180
D. S. ã œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ
p
Choreography: rotate around snare drum until m. 201

D. S. ã ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ ‰

p
Choreography: rotate around snare drum until m. 201

D. S. ã Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œ œ

p
Choreography: rotate around snare drum until m. 201

D. S. ã Œ ‰ Jœ 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
p
180 j
& # ww ww ww ww œœ ‰ Œ Ó ∑ ∑ ∑
>
ß
? ^ ‰Œ Ó
Pno.

j ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
ß
(w) (w) (w)
always gliss. as smoothly and evenly as possible
180
Vln. I & # ww gliss. ww gliss.
# ww
gliss. ww ww gliss.

p P p P
always gliss. as smoothly and evenly as possible

Vln. II & # ww ww ww ww ww ww ww gliss. ww gliss.

p P
Vla. B w w w w w w w w
p
? ^j ‰ Œ Ó ∑ ∑ ∑
arco
Vc. œ & w w w w
ß p
? ^j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B. œ
ß
180 181 182 183 184 185 186 187

99
 Re(new)al
188
Fl. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Sx. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

188
Hn. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑

188
D. S. ã œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœœ Œ œœŒ œœœ Œ œœœ Œ œœœ Œ
cresc. poco a poco

D. S. ã ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰

cresc. poco a poco

D. S. ã Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œ œ Œ œ œ

cresc. poco a poco

ã œ‰‰œœ‰‰œ œ‰‰œœ‰‰œ œ‰‰œœ‰‰œ œ‰‰œœ‰‰œ œ ‰ ‰ œœœ ‰ ‰ œ œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœ œ ‰ ‰ œœ

D. S.
J J J J J
cresc. poco a poco

188
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙˙ ..
188
& gl.# œœ ˙˙ .. gliss. œœ ˙˙ .. # # ww ˙˙ ..
Vln. I ww gliss. œœ gliss. ww œœ gliss.

p cresc. poco a poco

œœ ˙˙ .. œœ ˙˙ .. # # ww ˙˙ .. ww
& gl.# ww ww œœ
gliss. gliss. gliss.
Vln. II

p cresc. poco a poco

always gliss. as smoothly and evenly as possible

Vla. B w œ ˙. gliss. w œ ˙. gliss. #w œ ˙. gliss. w

cresc. poco a poco

always gliss. as smoothly and evenly as possible

Vc. & œ ˙. gliss. #w œ ˙. gliss. w œ ˙. gliss. w œ ˙. gliss.

cresc. poco a poco

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

188 189 190 191 192 193 194

100
 Re(new)al
195 196
Fl. ã ∑ ∑ ∑ ∑ ∑

Ob. ã ∑ ∑ ∑ ∑ ∑

B b Cl. ã ∑ ∑ ∑ ∑ ∑

Bsn. ã ∑ ∑ ∑ ∑ ∑

S. Sx. ã ∑ ∑ ∑ ∑ ∑

B. Sx. ã ∑ ∑ ∑ ∑ ∑

195
Hn. ã ∑ ∑ ∑ ∑ ∑

C Tpt. ã ∑ ∑ ∑ ∑ ∑

Tbn. ã ∑ ∑ ∑ ∑ ∑

195
D. S. ã œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ

D. S. ã ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰

D. S. ã Œ œ œ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ

ã œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœœ ‰ ‰ œœ

D. S.
J J J J J J J J J J

195
& ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑

gl. # w
195
œœ œœ .. ˙˙ œœ œœ .. ˙˙ œœ œœ .. # # ˙˙ œœ œœ .. ˙˙
&# w
gl. gl.

J J
gliss. gliss.

J J
Vln. I

˙˙ .. œœ œœ .. œœ œœ .. œœ œœ .. # # ˙˙ œœ œœ ..
# # ˙˙
œ ˙˙ ˙˙
& œ
gliss. gliss.

J J
gliss. gliss.

J
gliss.

J
Vln. II

B ˙. #˙ œ œ. ˙ œ œ. ˙ œ œ. #˙ œ œ.
œ J J J
gliss.
J
gliss. gliss. gliss. gliss.
Vla.

j j j j
Vc. & gl. # w œ œ. gliss. ˙ œ œ. gliss. #˙ œ œ. gliss. ˙ œ œ. gliss. #˙

D.B.
? ∑ ∑ ∑ ∑ ∑

195 196 197 198 199

101
 Re(new)al
200
Fl. ã ∑ ∑ ∑ ∑ ∑

Ob. ã ∑ ∑ ∑ ∑ ∑

B b Cl. ã ∑ ∑ ∑ ∑ ∑

Bsn. ã ∑ ∑ ∑ ∑ ∑

# œ- # >œ œ >œ #œ
S. Sx. ã ∑ ∑ ∑ & Ó Œ
f
B. Sx. ã ∑ ∑ ∑ ∑ ∑

200
Hn. ã ∑ ∑ ∑ ∑ ∑

C Tpt. ã ∑ ∑ ∑ ∑ ∑

Tbn. ã ∑ ∑ ∑ ∑ ∑

200
D. S. ã œœ œ œ Œ œœœ Œ
œ œœ œ œ Œ œœœ Œ
œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ
œ œ
ƒ

D. S. ã ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œœ œ œ œ œ œœ œ œ œ ‰ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ
ƒ

D. S. ã Œ œœœ Œ
œ
œœœ
œ Œ œœœ Œ
œ
œœœ
œ Œ œ œ œ œ œ œœ œ œ
œ Œ œ œ œ œ œ œœ œ œ
œ
œ œ œœ œ œ œ œ œœ œ œ
œ œ
ƒ

D. S. ã œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œ ‰ ‰ œœ œ œ œ œ œœ œ
J
œ ‰ ‰ œœ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ
J
ƒ
200
& ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑

>œ > > >œ

> >œ b >œœ >
# n œœ
>œ >
# # œœ
œœ b b œœ œœ b b œœ œœ
# # œœ
200 œ œœ œœ œœ gl. œœ gl.
œ œœ gl. œœ gl.
œ
gl. gl. gl.
œ
œ
gl.
œ
gl.

&
gl.
Vln. I

ƒ
b >œœ > >œ > >œ >˙ >˙
> >œ # n œœ # # œœ
œœ
# # œœ
œœ œœ œœ œœ œœ gl. œœ gl.
œ œœ gl. œœ gl.
œ ˙ ˙
œ
gl. gl.

&
gl.
Vln. II

œ œ #œ œ œ œ #œ œ œ œ œ œ #œ œ gl. œ œ ˙> >˙

B
gl. gl. gl.
gl. gl. gl.
Vla.

ƒ
#œ # >œ >œ gliss. # œ
#œ œ œ #œ œ œ œ œ œ œ
& œ œ œ œ
gliss.
œ œ gl. gl. gl. gl.
gl. gl. gl. gl.
Vc.

Ï
D.B.
? ∑ ∑ ∑ ∑ ∑

200 201 202 203 204

102
 Re(new)al
œ^ 209 œ. œ. œ. œ. œ. œ. >œ
^
42 44 J ‰ Œ Ó
205
ã ∑ ∑ & ã X x‰Œ ∑ & ‰ ∑
J
Fl.

ß f poss. π f
œ. œ. œ. œ. œ. œ. >œ
n.

œ^ ^
Ob. ã ∑ 42 ∑ &
44 J ‰ Œ Ó ã X x‰Œ
J
∑ & ‰ ∑
ß f poss. π f
œ^ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
n.

^
B b Cl. ã ∑ 42 ∑ &
44 J ‰ Œ Ó ã X x‰Œ
J
∑ & Ó Œ
ß f poss. π f
^
n.

Bsn. ã ∑ 42 ∑ 44 ∑ X x‰Œ
J
∑ ∑ ∑
f poss.
# >œ >œ bœ œ> b œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ.
n.

œ ˙ ^
S. Sx. & 42 44 J ‰ Œ Ó ã X x‰Œ
J
∑ & Ó Œ
ƒ n. f poss. π f
^
ã ∑ 42 ∑ 44 ∑ X x ‰ Œ ? œ ‰ b œj ‰ ‰ œ œ œ ‰ j
œ ‰ œ bœ œ ‰ œj ‰ ‰ œ
J
B. Sx.

n. f poss.
^
42 44
205
ã ∑ ∑ ∑ X x‰Œ ∑ ∑ ∑
J
Hn.

f poss.
^
n.

C Tpt. ã ∑ 42 ∑ 44 ∑ X x‰Œ
J
∑ ∑ ∑
f poss.
^
n.

Tbn. ã ∑ 42 ∑ 44 ∑ X x‰Œ
J
∑ ∑ ∑
f poss.
xo xœ xœ x œ x œ x xœ x x œ x x >x x x x xo œ xo xœ x x xœ x œ xo x x xo
n.

œ x œ œ œ œo x œ œ xœx œ ≈œœœ œ

205
œœ œ œ œ œ œ œœ œ œ œ œ œ 42
j
œœ œ œ œ œ œ 44 œœ ‰ Œ Ó xo xœ x x x x x œ x x x >x x x x xo x œ x x x x œ x x x xo
ã ∑ œ ≈œ
>
D. S.
x x
f
œ œœ œ œ œ œ œœ œ œ œ 42 œ œœ œ œ œ 44 >œ ‰ Œ Ó x x x x œ x x xœ x xo x x x x x œ xo x
‰ ‰ œj œ
x x
D. S. ã œ œ œ J ∑ œ œ ‰
x x
f
j
ã œ œ œ œœ œ œ œ œ œ œœ œ œ 42 œ œ œ œœ œ œ 44 hœ ‰ Œ Ó ∑
x xœ x x x œ x x x x x x x
œ ‰ Œ
xœ x x x x xœ x œ x xœ x
‰ œ
>
D. S.

f
œ œ œ œ œœ œ œ œ œ œ œœ œ 42
j
œ œ œ œ œœ œ 44 œœ ‰ Œ Ó
x x x x x x x x x x xœ x xo xxxx x x
œ‰ xœ œ
ã ∑ œ œ œ ‰ Œ
>
D. S.
x
f
w> ˙˙ œœ
# ww ˙ œ œœ œœ œœ œœ œœ œœ œ>œ
42 44 J‰Œ
205
& ∑ ∑ ∑ ‰ ∑
ß f p f
w> ˙˙ œœ
Pno.

? #
44 ww ‰ b œj ‰ ‰
42 j œ ‰ œj ‰ ‰ œ
∑ ∑ ˙ œ‰Œ? œ œ ‰
& J œ œ œ ‰ œ bœ
° *
(as high
as possible)
1
œœ gl. b b >œœ œœ >œ
œ ˙˙ w> ˙˙ œœ
4 w
gl.

gl.

2 J‰ w
205
Vln. I & 4 4 w ww
(as high f
as possible)

>˙ >˙ ˙˙ w> ˙˙ œœgli

1
ss.
˙ ˙ 44 w
Vln. II & 42 J ‰ bw w w
(as high f
as possible)
1
>˙ >˙ ˙ # w> ˙ œ
ss.
gli

42 44 J‰ w
B w w
Vla.
f
# >œ gliss. œ >œ gliss. b œ ˙ >
44 w ‰ b œj ‰ ‰ œ
˙ œ ?
42 J‰Œ ‰ jb œ œ ‰ œj ‰ ‰ œ
pizz.
œ œ ‰
Vc. & œ œ œ
f
? ∑ 42 ∑ 44 ∑ ∑ ‰ b œj ‰ ‰ œ œ œ ‰ j
œ ‰ œ bœ œ ‰ œj ‰ ‰ œ
(pizz.)
D.B.
œ
f
205 206 207 208 209 210 211 103
 Re(new)al
212 œ. œ. œ. œ. œ. œ. >œ
Fl. & ∑ ∑ ‰ ∑ ∑
π f
œ. œ. œ. œ. œ. œ. >œ
Ob. & ∑ ∑ ‰ ∑ ∑
π f
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
B b Cl. & ‰ Ó ∑ Ó Œ ‰ Ó
π π f π
Bsn. ã ∑ ∑ ∑ ∑ ∑

b œ. œ. œ. b œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ.
S. Sx. & ‰ Ó ∑ Ó Œ ‰ Ó
π π f π
? œ bœ j Œ ‰ œJ œ ‰ œ ‰ œ œ bœ ‰ œ ‰ œ œ bœ j
B. Sx.
œ œ œj œ œ bœ œ œ œ œ œ bœ œ j
œ œ œ œ
212
^ ^
Hn. ã Ó X x x ∑ ∑ ∑ Ó X x x
n. f poss. n. f poss.
^ ^
C Tpt. ã Ó X x x ∑ ∑ ∑ Ó X x x
n. f poss. f poss.
^
n.

^
Tbn. ã Ó X x x ∑ ∑ ∑ Ó X x x
n. f poss. n. f poss.
xo xœ xœ x x x xœ xo xœo xœ x xœ x xœ x xœ >x
œ >œ ≈ œ œ œ œ
212 xœ xœ x x xœ x xœ xœ x x xœ x x x x x x
Composite ã xœ
œ œ
œ
œœ
xœ
œ œœœ
œ œ xœ
œ œ
œ
œ œ
xœ x
œ œ œ œ œ œ œ œ œ œ œœ

212 x x x x x x>x x xœ x x x x x x x x xœ x x x x x x x x x x x x x x x x x x x >x

D. S. ã œ œ œ œ œ œ œ≈œ œ œ œ œ
x

x xœ x x x œ x x xo x xœ x x x œ x xo x x xœx x xœx x xo xœ x x x xœ x xœ x xœ x xœ xœ
D. S. ã ≈œ
x x x

x x x x x xœ x x x x x x x x xœ x x x x x x x x x x xœ x x œ x x x x x x x x x x xœ
D. S. ã œ œ œ œ œ œ œ≈ œ œ œ œ œœ

x x xœ x x x x x x x x x x x x x x xœ x x x xœ x x x x xœ x œ x x x x x x x x x x xœ
D. S. ã œ œ œ œ œ œ≈ œ œ œ œ œ
212 œœ œœ œœ œœ œœ œœ œ>œ
& ∑ ∑ ‰ ∑ ∑
Pno. p f
? œ bœ j Œ ‰ œJ œ ‰ œ ‰ œ œ bœ ‰ œ ‰ œ œ bœ j
œ œ œj œ œ bœ œ œ œ œ œ bœ œ j
œ œ œ œ

212
w ww ww
Vln. I & w w w

Vln. II & w w w b ww w

Vla. B w ww ww bw ww

? œ bœ j bœ j
œ Œ ‰ œJ œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ bœ
Vc.
œ œ œj œ bœ œ œ œ œ œ bœ œ j
œ œ œ œ

? œ bœ j bœ j
œ Œ ‰ œJ œ ‰
œ ‰
œ ‰ œ ‰
œ œ œ bœ
œ œ œj œ bœ œ bœ œ j
œ
D.B.
œ œ œ œ œ œ œ
212 213 214 215 216

104
 Re(new)al
217 œ. œ. œ. œ. œ. œ. >œ
Fl. & ∑ ‰ ∑ ∑ ∑
π f
œ. œ. œ. œ. œ. œ. >œ
Ob. & ∑ ‰ ∑ ∑ ∑
π f
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
B b Cl. & ∑ Ó Œ ‰ Ó ∑
π f π
Bsn. ã ∑ ∑ ∑ ∑ ∑

b œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ.
S. Sx. & ∑ Ó Œ ‰ Ó ∑
π f π
B. Sx.
? Œ
bœ œ ‰ Jœ œ œ ‰ œ ‰
œ bœ œ Œ œ bœ ‰ œj œ nœ bœ œ bœ œ œ œ œ ‰ b œj ‰ ‰ œ

217
^
Hn. ã ∑ ∑ ∑ Ó X x x ∑
n. f poss.
^
C Tpt. ã ∑ ∑ ∑ Ó X x x ∑
n. f poss.
^
Tbn. ã ∑ ∑ ∑ Ó X x x ∑
f poss.
xo x xœ x œ x œ x xœ x x œ x >x x x x xo œ xo xœ xo x x xo xœ xœ x œ x œ xœ x œ xo xœ xœ x œ x œ x œ xœ xo
n.
217 x x x xœ x >œ
ã œ xœ œœ œ œo x œ œ x œ x œ ≈œœœ œ œ œ
Composite
xœ œ œ xœ œ

217 xo xœ x x x x x œ x x x >x x x x xo xœ x x x x >œ œ x x x xo x x x œ x x x >œ x x xœ x x x x x x œ

D. S. ã œ ≈ œ
x x x

xo x x x x >œ xo x xœ x x x œ x x xo x xœ x x x œ x xo
‰ ‰ œj œ
x x x x œ x x xœ x x x x x
D. S. ã œ œ ‰
x x x

x xœ x x x x x x x x x x xœ x x x x xœ x > x xœ x x x x x x xœ x x x x x x x x xœ x
D. S. ã œ œ ‰ Œ œ‰ œ œ œ œ

x x x x x x x x x x xœ x xo x x x x >œ x x x x x xœ x x x x x x x x x xœx x x
D. S. ã œ œ œ ‰ Œ ‰ œ œ œ œ œ
x

217 œœ œœ œœ œœ œœ œœ œ>œ
& ∑ ‰ ∑ ∑ ∑
p f
‰ œj
Pno.
? Œ
bœ œ ‰ Jœ œ œ ‰ œ ‰
œ bœ œ Œ œ bœ œ nœ bœ œ bœ œ œ œ œ ‰ b œj ‰ ‰ œ

217
w w ww ww ww
Vln. I &

Vln. II & bw w w w w

w ww
Vla. Bw w w w

? Œ bœ ‰ Jœ œ œ ‰ œ ‰ Œ bœ ‰ œj œ nœ bœ œ bœ œ œ ‰ b œj ‰ ‰ œ
œ bœ œ
Vc.
œ œ œ
œ

D.B.
? Œ bœ œ ‰ Jœ œ œ ‰ œ ‰
œ bœ œ Œ œ bœ ‰ œj œ nœ bœ œ bœ œ œ œ œ ‰ b œj ‰ ‰ œ

217 218 219 220 221

105
 Re(new)al
œ. œ. œ. œ. œ. œ. >œ 225 .
222 œ œ. œ. œ. œ. b œ. œ.
Fl. & ‰ ∑ ∑ œ.
π. . . . . . f F
œ œ œ œ œ œ >œ >œ . >œ œ. œ œ >œ . >œ œ. >œ . œ >œ . >œ
Ob. & ‰ ∑ ∑ Œ œ. ‰ bœ ‰
π f f p f p f simile
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. >œ . >œ . >œ œ >œ . >œ . >œ œ .
B b Cl. & Ó Œ ‰ Ó Ó œ
œ.
‰ b œ
œ.
π f π f p f p

∑ Ó ‰ œ bœ œ œ bœ œ œ œ bœ œ bœ ‰ b œj ‰ ‰ œ œ œ ‰ j
œ ‰ œ bœ
?
Bsn. 㠜
f
b œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. > œ. ‰ >œ . >œ œ. >œ œ. œ ‰ > > œ. >
& Ó Œ ‰ Ó œ. œ œ œ bœ. œ œ
> >
S. Sx.

π f π f p f p f simile

? œ œ ‰ bœ œ bœ œ œ œ bœ œ bœ j j
œ ‰ œ ‰ Jœ ‰ œ œ œ œ ‰ bœ ‰ ‰ œ ‰ œ ‰
œ œ œ œ
B. Sx.
œ bœ
222
j j j
ã ∑ ∑ & b œ- . œ #œ. œ w- œ ‰ Œ Ó
-
Hn.
p f p f p π
∑ ∑ b œ- . œ -. œ w- œ ‰ Œ Ó
C Tpt. ã & J œ J J
p f p f p π
œ- . œ œ- . J w-
œ
Tbn. ã ∑ ∑ ? J œ ‰ Œ
J Ó
p f p f p π
222 xœ xœ x x xœ x x xœo x x x x xœ x xœ x xœ x xœ x xo x xœ x x x xœ x x x xœ x x x xœ xo xœ
ã œ œ œ œœ œ œ≈œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ xœ œ œœœ œœ œo œ œœ œ œœ œ œ x œ x
Composite
xœ xœ x x

222 x x xœ x x x x x x x x xœ œx x xœ x x œ x x œ x x œ x x xo xœ x x x x x œ x x x >x x x x x
D. S. ã œ œ ≈ œ œ œ œ
x

x x xœx x xœx x xo xœ œx x x xœ x xœ x xœ x xœ xœ x x x x œ x x xœ x xo x x x x x x
D. S. ã ≈ œ œ œ
x x x

x x x x x x x x x xœ x x x x x x x x x x x x xœ x xœ x x x x x x x x x x x x x xœ x
D. S. ã œ œ œ œ≈œ œ œ œ œ œœ œ œ œ œ œ

x xœ x x x xœ x x x x xœ x x x x x x x x x x x xœ x x x x x x x x x x xœ x x x x xo
D. S. ã œ œ≈œ œ œ œ œ œ œ œ œ œ x

222 œœ œœ œœ œœ œœ œœ œ>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
p f > œ
>
Pno. f
? œ œ ‰ bœ
œ ‰ œ
œ œ ‰ Jœ ‰ œ œ œ ∑ ∑ ∑
°
222
w ä̇ ä̇ w w
Vln. I &w w
P f P
& w b ww b˙ #˙ b ww ww
â â
Vln. II

P f P
Vla. B w bw b ä˙ ä̇ ww ww
P f P
Vc.
? œ œ ‰
œ ‰ œ
œ œ bœ ‰ Jœ ‰ œ œ œ œ bœ œ œ œ bœ œ bœ œ ‰ b œj ‰ ‰ œ œ œ ‰ j
œ ‰ œ bœ

? œ œ ‰ bœ œ bœ œ œ œ bœ œ bœ ‰ b œj ‰ ‰ œ j
œ ‰ œ
‰ Jœ ‰ œ œ œ œ œ ‰
œ ‰ œ bœ
œ œ
D.B.
œ
222 223 224 225 226

106
 Re(new)al
œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. b œ. b œ. œ. œ.
227
œ
Fl. & 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 œ ‰ œ . œ b œ. œ œ. œ ‰ œ . œ œ. œ
> > >
Ob.

œ. > œ. >œ . >œ œ. >œ œ. œ > > >œ . >œ œ. >œ

B b Cl. & œ. œ œ œ ‰ ‰ œ. œ œ œ‰ Œ œ. œ ‰ >œ . >œ b œ. >œ œ. œ ‰ >
bœ.
> œ. > œ.
œ œ œ ‰ œ. œ
> > œ. > œ. > >
f simile
? œ ‰ œj ‰ ‰ œ œ bœ œ j j Œ bœ ‰ Jœ œ ‰ œ ‰ œ œ bœ ‰ œ ‰ œ œ bœ
Bsn.
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 œ ‰ œ. ‰ œ ‰ Œ œ ‰ . œ. >œ œ. œ ‰ b >œ . >œ œ œ > >. >
bœ ‰ œ. œ œ œ œ œ ‰
. > bœ .
S. Sx.
.
? œ ‰ j‰ ‰ œ j ‰ Jœ œ œ ‰ œ ‰ œ œ œ b œ œ ‰ œ ‰ œ œ b œ
B. Sx.
œ œ bœ œ j
œ œ œ œ Œ bœ œ
227
Hn. & ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑

227 x x xœ x x xo x x xo x x x x x x xo xœ xœ x x x xœ xo xœ xœ x x x xœ x x x xœ x x xo x x xœo
Composite ã œ œ œœ
œ œœ
œ œ œ œ œ œ œœ œ œ œ œ
xœ œ œ xœ
œ œ œ œœ œ œ œ
xœ
œ œœœ œœ œ œ œœ œœœ
œx

227 x x x x œ x œ x x x xo x œ x x œ x xœ x xo x x x œ x x x xo x x x œ x x xœ x x x xœ x x x x x
D. S. ã x x œ x œ œ œ œ

x x x x œ x xo x x x x x x x x x x x x x x œ x xœ x œ x x x x x œ x x x x x x xœx x x x
D. S. ã œ x œ œ œ œ œ œ œ œ

x x xœ x œ x x x x x œ x xœ x x œ x x œ x x xœ x x x x x x x xœ x x x x x x œ x x x x xœx x x
D. S. ã œ œ œ œ œ œ

x x x xœx x x x x x x x x x x x x x xœ x x x œ x x x x xœ x x x x x x x x x x xo xo
D. S. ã œ œ œ œ œ œ œ œ œ œ x

>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 b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ >œ œ œ œ >œ œ œ œ
227
& œ bœ œ
œ œ
œ œ œ œ œ œ œ œ œ œ œ
> œ
> > bœ >
Pno. >
? ∑ ∑ ∑ ∑ ∑

227
w ww ww ww
Vln. I &w w

Vln. II & w w w w b ww

Vla. B w w ww ww bw

? œ ‰ j‰ ‰ œ j bœ
œ Œ ‰ Jœ
œ bœ œ j bœ
œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ bœ
Vc.
œ œ œ œ œ œ œ œ

? œ ‰ j‰ ‰ œ œ bœ œ j j Œ bœ ‰ Jœ œ ‰ œ ‰ œ œ bœ ‰ œ ‰ œ œ bœ
D.B.
œ œ œ œ œ œ œ œ œ
227 228 229 230 231

107
 Re(new)al
^j ^j
233 half-time feel
. b œ.
232
Fl. & œ œ. Œ ∑ ∑ ã Œ x x ‰ Œ ∑ Ó x x ‰
n. f n. f
.œ > >
& œ ‰ bœ. œ œ. œ œ. œ ‰ ∑ ∑ ∑ ∑ ∑
>
Ob.

^j
B b Cl. & œ. œ b œ. œ ‰ œ . œ œ ∑ ∑ ã Ó Œ x x ‰ Œ Ó ∑
> > > œ. > n. f
? œ bœ ^j
∑ ∑ ∑ ∑ ∑
Bsn.
œ œ œj œ œ
ß
> >œ . >œ . œ ^j ^j ^j ^j
S. Sx. & œ. bœ œ ‰ Œ ∑ ∑ x x ‰ Ó x x ‰ x x ‰ Œ x x ‰ Œ
n. f f f f
^j
n. n.

^j ^j
n.

? œ bœ ^j
∑ ∑ Ó x ‰ Œ x ‰ x x ‰ Œ Ó
B. Sx.
œ œ œj œ œ ã x x
ß f f n. f
^j
n. n.
232
Hn. & ∑ ∑ ã Ó Œ x x ‰ Œ Ó ∑ ∑
n. f
^j
C Tpt. & ∑ ∑ ã Ó Œ x x ‰ Œ Ó ∑ ∑
n. f
^j ^j
? Ó ‰ ∑ ã Ó Œ x x ‰ Œ Ó ∑ ∑
Tbn.
œ œ
> f
gliss.

f n.

x œ x xœ x œ x œ x xœ œ xœo xo xœ xœ x x xo
œ x x xœ
x x
œ x
232 xœ x
#70

ã j‰ Œ Ó ∑ œ
J J œ œ
J œ
J œ
œ
J
Composite
x œ œ œ œ œ œ x œ x 3 3 3
x 3
3 3

x x œ x x x xo xo x. œ xœ. x.
use canned air in lieu of hi-hat!
232 xœx x
D. S. ã œ j‰ Œ Ó ∑ J ‰ Œ J Ó Œ œ Œ Ó
x
F swing-ish
3

x. x. œ x. xo
use canned air in lieu of hi-hat!
x x x x x œ x xœ x x
∑ ∑ Œ Ó J Œ ‰‰JŒ
D. S. ã œ œ œ Œ J ‰ Œ
F 3 3
swing-ish

xœ. x. x. xœ.
use canned air in lieu of hi-hat!
x x x x x x x x
D. S. ã œ œ ∑ ∑ Œ Ó Œ œ Œ œ Ó Œ
F swing-ish

xœ. x. x.
use canned air in lieu of hi-hat!

x xœ x x x x x
D. S. ã œ œ ∑ ∑ Ó Œ Œ ‰ œ Œ ‰ ‰ Jœ Ó Œ œ
J
x
F swing-ish 3
3 3

>œ
232
& œ œ œ bœ œ œ œ œ œ œ œ j ‰ ∑ ∑ ∑ ∑ ∑
> > œ
Pno. >
? ∑ ∑ ∑ ∑ ∑ ∑
*
232
Vln. I & ˙. œ œ ∑ ∑ ∑ ∑ ∑
f
Vln. II & ˙. œ œ ∑ ∑ ∑ ∑ ∑
f
˙.
Vla. B˙. œœ œ ∑ ∑ ∑ ∑ ∑
f
? œ bœ ^j
Vc.
œ œ œj œ œ ∑ ∑ ∑ ∑ ∑
ß
^j bœ œ
solo œ œ œ‰ œ
bœ œ bœ œ œ n Jœ b œ œ b œ œ œ œ œ bœ
? œ bœ ‰ J ‰‰J J
œ Œ ‰ Jœ œJ Œ ‰‰ JŒ
J J œ
D.B.
œ œ œj œ
ß f swing-ish 3 3 3 3 3 3 3

232 233 234 235 236 237

108
 Re(new)al
^j ^j ^j ^j
238 241
Fl. ã Œ x x ‰ Œ Ó Œ x x ‰ Œ Ó Œ x x ‰ Œ Ó Œ x x ‰ Œ Œ x
n. f n. f n. f n. f n.

Ob. & ∑ ∑ ∑ ∑ ∑ ∑

^j ^j ^j ^j ^j
B b Cl. ã x x ‰ Ó Ó x x ‰ Ó Œ x x ‰ Œ Œ x x ‰ Œ Ó Œ x x ‰ Œ
n. f n. f n. f n. f n. f
Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑

^j ^j ^j ^j ^j ^j
S. Sx. & Ó x x ‰ Ó x x ‰ ∑ x x ‰ Ó x x ‰ x x ‰ Ó x x ‰
f f f f n. f f
^j ^j ^j ^j
n. n. n. n. n.

B. Sx. ã ∑ x x ‰ Ó ∑ Ó x x ‰ Œ x x ‰ Œ x x ‰ Ó
n. f n. f n. f n. f
238
j j j
straight mute

∑ ∑ b œ- . œ ‰ Œ Ó ∑
open
Hn. ã & œ #œ.
- œ w-
p f p f p π
b œ- . œ -. œ w-
straight mute

∑ ∑ œ ‰ Œ Ó ∑
open

C Tpt. ã & J œ J J
p f p f p π
-œ . œ œ- . œ -
straight mute

∑ ∑ ? J J w œ ‰ Œ Ó ∑
open
Tbn. ã J
p f p f p π
238 x x x x xo xœ xœ x œ x œ xœ x œ x
o
œ x xœ xœ x œ x œ x x xœ x x xœ xœ x œ
ã ‰ ‰ Jœ œ œ Jœ œx J J J œ œx J J œ œ œ
œ œ
J x J
J
Composite
3 3 3 3 3 3 3 3 3

x. xœ. xœ. xo x. œ x. xœ.

3 3 3 3

238 x
D. S. ã ‰ ‰ œJ Œ ‰‰JŒ Œ Ó Œ Œ œ J ‰ Œ Œ J
Ó œ Œ Œ Ó
3 3 3

x. xo x xœ. x. x. x. œ x. xœ.
ã Œ œ Œ J ‰ Œ Œ Œ ‰ œÓ œ Œ Ó JŒ ‰‰œ Œ Ó Œ
J
D. S.
3
3

x. xo x. x. xœ. x. x. x.
3

x
D. S. ã Œ ‰ œŒ œ J ‰ Œ Œ œ Ó
J JŒ
œ Œ Ó Œ œ Œ œ Ó
J
Œ œ
J
3 3 3 3
3

x x x. œ xo x xœ. x. x.
D. S. ã Ó JŒ œ Œ Ó
JŒ Œ J ‰ Œ Œ Œ ‰ œÓ œ Œ Ó
3 3
3

238
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑ ∑

238 äœ äœ äœ
Vln. I & ∑ ∑ Œ Œ Œ Ó ∑ ∑
F
& ∑ ∑ bœ Œ #œ Œ b œœ Œ Ó ∑ ∑
Fâ â â
Vln. II

Vla. B ∑ ∑ b äœ Œ
ä
œ Œ œäœ Œ Ó ∑ ∑
F œ œ œ œ œ
œ œ bœ œ
solo
œ
? ∑ ∑ ∑ œ œ
pizz.
Vc.

f
œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ b œJ œ b œ œ bœ
œ œ
J ‰ ‰ Jœ ‰ ‰ Jœ b œ œ œ
D.B.
? J ‰ ‰ Jœ ‰ ‰ Jœ J ‰‰J‰‰J J J J J ‰‰ JŒ œ ‰ ‰ Jœ Œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

238 239 240 241 242 243

109
 Re(new)al
244 ^ ^j ^j ^j ^j ^j ^j
j
Fl. ã x ‰ Œ x x ‰ Œ x x ‰Œ Œ x x ‰ Œ x x ‰ x x ‰ x x ‰ Ó ∑
f n. f n. f n. f n. f n. f n. f
Ob. & ∑ ∑ ∑ ∑ ∑ ∑

^j ^j ^j ^j
B b Cl. ã x x ‰ Ó ∑ Ó Œ x x ‰ x x ‰ x x ‰ Œ Ó ∑ &
n. f n. f n. f n. f
Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑

^j ^j ^j ^j ^j ^j
S. Sx. & Œ x x ‰ Œ x x ‰Ó x x ‰ Œ x x ‰ x x ‰ x x ‰ Œ Ó ∑
n. f f f f n. f n. f
^j
n.

^j ^j
n. n.

^j ^j ^j ?
B. Sx. ã Œ x x ‰ x x ‰Œ x x ‰ Ó x x ‰ x x ‰ x x ‰ Ó Œ œ- w
n. f n. f n. f n. f n. f n. f π
244 (dramatic cresc.)

Hn. & ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑

x œ xœ j x œ x xœ xœo x x œ x œ x œ xœ œ x x xœ œ x œ xœ œ xœo
œ x
244
ã J œ J œ
œ œ
J ‰ ‰ œJ J J J Jœ ‰
œ œ
J œ
œ
J Jœ J J ∑
Composite
3 3
x 3 3 3 3
3 3 3 3 3 3
3 3 3

244 xœ. xœ. x. œ x œ x. œ x. œ

back to real hi-hat
xo +x x x x x x x x x x x x x x x
D. S. ã Œ Ó Œ Œ J Ó Œ J Œ JŒ J Ó Œ
x
3 3 3 3

x. j xo x xœ. xœ. xœ. x. œ xo x back to real hi-hat

D. S. ã Œ œ Ó Œ J ‰Œ ‰ ‰ Jœ Œ Ó Œ Œ J
Œ œ J ‰ Œ Ó
3 3 3

x. œ xœo x x œ x. œ x. œ x. œ x. œ back to real hi-hat

D. S. ã Ó J Œ Œ J ‰Œ Œ
J Ó JŒ JŒ JŒ JŒ
∑
3 3 3 3 3 3

x. œ x. x. x œ x. x. x. xœo x
back to real hi-hat

ã Œ Œ Ó Œ Ó Œ Œ Œ Œ Œ J ‰ Œ Ó
D. S.
J œ œ J œ œ œ
3 3

244
& ∑ ∑ ∑ ∑ ∑ ∑
Pno. p
? ∑ ∑ ∑ Ó Œ œ. b œ Œ
œ. . œ- w
244
°
Vln. I & ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑
œ œ œ œ
?
œ œ œ œ œ bœ bœ œ œ œ bœ œ œ
Vc. Œ œ œ ∑
œ œ œ œ œ bœ œ œ œ bœ œ bœ
? œ b Jœ œ œ œ œ œ œ Œ b œ ‰‰J œ œ J œ J J J
J‰‰ ‰‰ Jœ œ œ ∑
œ œ œ œ
D.B.
J J J J J J J
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3

244 245 246 247 248 249

110
 Re(new)al
250
Fl. ã ∑ ∑ ∑ ∑ ∑

>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
Ob. & Œ œ. ‰ bœ ‰ œ. ‰ ‰ œ ‰ Œ ‰
f p f p f simile
>œ . >œ . >œ œ >œ . >œ . >œ œ. > œ. ‰ >œ . >œ œ. >œ œ. œ > . >œ >œ . >œ œ. >œ
œ.
& Ó ‰ bœ ‰ œ
œ. œ œ œ œ‰ Œ
œ.
B b Cl. œ œ
œ. > > œ. > œ.
f p f p f simile
? Œ bœ œ ‰ Jœ œ œ ‰ œ ‰
œ bœ œ Œ œ bœ ‰ œj œ nœ bœ œ bœ œ œ œ ‰ b œj ‰ ‰ œ
Bsn.
œ
f
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 ‰ ‰ bœ œ œ œ. b œ ‰ œ. ‰
œ ‰ Œ œ ‰ .
> >
S. Sx.

f p f p f simile
? ‰ Jœ œ œ ‰ œ ‰ Œ bœ ‰ œj œ nœ bœ œ bœ œ œ œ ‰ b œj ‰ ‰ œ
œ bœ œ œ bœ œ œ
B. Sx.
œ
>
f
250
Hn. & ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑

250 xo x xœ x x x xœ x x x x x x x x xo xœ x x xœ x x xo x x xo x x x x x x xo xœ xœ x x x xœ xo
Composite ã œ xœ œ œœ
œ œ
œ œo x œ œ œœ œ œœ œ œ xœ œx œ œ œœ
œ œœ xœ
œ œ œœ œ œ œ œ œœ œ œœœ xœ
œ œ œ œœ
œœœ

250 xo xœ x x x x x œ x x x >x x x x x x x x x œ x œ x x x xo x œ x x œ x xœ x xo x x x œ x x x xo
D. S. ã x œ œ œ œ x x œ
f
x x x x œ x x xœ x xo x x x x x x x x x x œ x xo x x x x x x x x x x x x x x œ x xœ x œ
D. S. ã œ x œ œ œ x œ œ œ œ œ
f
x xœ x x x œ x x x x x x x x x x xœ x œ x x xœ x œ x x x x x œ x xœ x x œ x x œ x x xœ x x x x x x
D. S. ã œ œ œ œ œ œ œ
f
x x x x x x x x x x xœ x x x x xo x x x xœx x x x x x x x x x x x x x xœ x x x œ x x
D. S. ã œ œ œ œ x œ œ œ œ œ œ œ œ
f
250 œ œœ œœ œœ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ œœ œœ œœ œœœœœœœœœœ
& œ. œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ
œ œ
Pno. f
? ∑ ∑ ∑ ∑ ∑
°
250
w w ww ww ww
Vln. I &
f
Vln. II & bw w w w w
f
w ww
Vla. Bw w w ww
f
Vc.
? Œ bœ œ ‰ Jœ œ œ ‰ œ ‰
œ bœ œ Œ œ bœ ‰ œj œ nœ bœ œ bœ œ œ œ œ ‰ b œj ‰ ‰ œ
f
D.B.
? Œ bœ œ ‰ Jœ œ œ ‰ œ ‰
œ bœ œ Œ œ bœ ‰ œj œ nœ bœ œ bœ œ œ œ œ ‰ b œj ‰ ‰ œ
f
250 251 252 253 254

111
 Re(new)al
255
Fl. ã ∑ ∑ ∑ ∑ &

>œ . >œ œ. >œ b œ. œ >œ . >œ b œ. >œ œ. œ >œ . >œ . >œ œ. b >œ . >œ œ. >œ >œ . >œ b œ. >œ œ. œ
J ‰ b œ. ‰
œ
Ob. & ‰ ‰ ‰ Œ
>œ . >œ b œ. >œ b >œ . >œ œ. >œ œ. œ >œ œ. >œ œ. >œ . >œ b œ. >œ b >œ . >œ œ. >œ œ. œ
œ. >œ .
œ
. œ œ. ‰
B b Cl. & œ ‰ ‰ ‰ ‰
J
‰

? œ œ ‰ ‰ œ œ bœ ‰ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ
Bsn.
œ œ J
b >œ . >œ œ. >œ bœ >œ . >œ œ. >œ . œ >œ . >œ b œ. >œ >œ . >œ œ. b >œ >œ . >œ >œ
. >œ œ. œ ‰ b œ. ‰
œ
‰ œ. ‰ b œ. ‰ œ.
S. Sx. & œ J

? œ œ ‰ ‰ œ œ bœ ‰ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ
B. Sx.
œ œ J
255
j j j j
Hn. & ∑ ∑ b œ- . œ œ- . œ b œ- . œ # œ- . œ
p f p f p f p f
∑ ∑ b œ- . œ œ- . œ b œ- . œ œ- . œ
C Tpt. & J J J J
p f p f p f p f
œ- . œ œ- . œ œ- . œ œ- . œ
Tbn.
? ∑ ∑ J J J J
p f p f p f p f
255 xœ xœ x x x x x x x xœ x x xo x x xœo x x xœ x x x x x x x xœ x x x xœ xœo
Composite ã xœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
x œ œ
x œ œ
œ œœ œ œ
x
œ œ
x œ œ
œ œ œ œ œ œ œ

255 x x x œ x x xœ x x x xœ x x x x x xœx x x œ xœx x x œ xœx x xœx x x xo

D. S. ã x œ œ œ œ œ

x x x x x œx x x x x x xœx x x x x x x x x x x x x x x x xœx xœ x
D. S. ã œ œ œ œ œ œ œ

x xœ x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
D. S. ã œ œ œ œ œ œ œ œ

x x xœ x x x x x x x x x x xo xo x xœ x x xœ x x xœ x x x x x
D. S. ã œ œ x x x x œ œ

255 œ
œœ
œ œ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ b œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œœ
& bœ œ
Pno.
? ∑ ∑ ∑ ∑

ä̇ ä̇
255 ä̇
Vln. I & ww w ˙

b ä˙ # ä˙
& w b ww b˙
â̇
Vln. II

b ä˙ ä̇
bw b˙ ä̇
Vla. B ww &

? œ œ ‰ ‰ œ œ bœ ‰ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ
Vc.
œ œ J

? œ œ ‰ ‰ œ œ bœ ‰ œ ‰ œ œ œ œ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ
D.B.
œ œ J
255 256 257 258

112
 Re(new)al
œ. œ œ. œ. œ œ. œ.
œ œ.
259 œ œ. œ œ. œ œ. œ œ.
œ œ.
œ bœ. œ œ œœ
œ. œ œ. œ J ‰
Fl. & Œ
f
>œ . >œ œ. œ œ >œ . >œ œ.
>œ . œ > > >œ œ. œ >. >œ œ. >œ œ. œ >œ . >œ œ. >œ œ. œ
Ob. & Œ œ. ‰ bœ ‰ œ. œ œ. ‰ œ ‰ ‰
f p f p f simile
>œ . >œ . >œ >œ . >œ . >œ œ. > œ. >œ . >œ œ. >œ œ. œ > >œ
& Ó
œ œ. ‰ œ.
œ. ‰ bœ œ. œ œ‰
B b Cl. œ œ œ
œ. > > œ. >
f p f p f simile
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ ‰ j
œ bœ œ ‰ j
œ ‰ ‰ œ œ bœ œ j j
Bsn.
œ œ 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 ‰ œ. œ. b œ ‰ œ. ‰
œ ‰ Œ
& œ. œ œ œ
> >
S. Sx.

f p f p f simile

B. Sx.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ j
œ bœ œ ‰ j
œ ‰ ‰
œ œ bœ œ j œ
j
œ œ œ
259
& œ œ œ œ œ œ œ œ Œ
â â â œ bœ â â â â â
Hn.
œ â œ œ œ
â â â â œ
â â
äœ äœ äœ äœ
declamatory

äœ äœ äœ äœ ä äœ äœ äœ äœ
& œ bœ œ Œ
â â
C Tpt.

declamatory

Tbn.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ j
œ bœ œ ‰ j
œ ‰ ‰ œ œ bœ œ j œ
j
œ œ œ
259 xo x xœ x œ x œ x xœ x x œ x xœ x œ x œ x xœ xo xœ x x xœ x œ x œ xo x x xo œ x œœ xœ x œ x œ xœ x œ xo
Composite ã œ xœ œ œ œ œo x œ œ œ œ œ œ x œ x œ œ œ œ œ xœ œ œ œ œ œ œ

259 xo xœ x x x x x œ x x x >x x x x x x x x xœxœx x x xo xœx xœx xœ x xo

D. S. ã x œ œ œ œ x

x x x x œ x x xœ x xo x x x x x x x x x x œ x xo x x x x x x x x x
D. S. ã œ x œ œ œ x œ œ œ œ

x xœ x x x œ x x x x x x x x x x x xœ x x xœ x œ x x x x xœx xœ x xœx xœx

D. S. ã œ œ œœ œ œ

x x x x x x x x x x xœ x x x x xo x x x xœx x x x x x x x x x x x
D. S. ã œ œ œ œ x œ œ œ œ œ œ œ

œ œœ œœ œœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œœ œœ œœ œœœ œœœœœœœœœœœœ œœ
259 œ. œ œ œ œ œ œ œ bœ œ œ œ œ œ
&
Pno. f
? ∑ ∑ ∑ ∑

259 w w ww ww
Vln. I &
f
bw w w w
Vln. II &
f
ww ww w w
Vla. &
f
Vc.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ j
œ bœ œ ‰ j
œ ‰ ‰ œ œ bœ œ j œ
j
œ œ œ

D.B.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ j
œ bœ œ ‰ j
œ ‰ ‰ œ œ bœ œ j œ
j
œ œ œ
259 260 261 262

113
 Re(new)al
œ. œ œ. œ œ. œ œ.
263 œ œ. œ œ. œ bœ. œ œ. œ bœ. œ œ. œ œ. œœ
. œ œ. œ bœ. œœ
Fl. & J ‰ Œ

>œ . >œ œ. >œ œ. œ >œ . >œ œ. >œ . œ >. >œ . >œ œ. œ ‰ b >œ . >
& Œ ‰ bœ ‰ œ. œ bœ œ œ. œ ‰ œ œ œ. œ œœ‰
> . > .
œ
> >
Ob.

>œ . >œ œ. >œ >œ . >œ . >œ > > œ. > œ.

B b Cl. & œ ‰ Œ
œ œ. œ ‰ bœ œ. ‰
œ bœ. œ œ œ ‰ œ. œ œ. œ b œ. œ ‰ œ . œ œ
. > > > > > œ.

? Œ ‰ œJ ‰ ‰ bœ j
œ ‰ œ ‰
bœ
œ œ œ œ œ bœ œ bœ j
Bsn.
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. ‰ bœ. œœ œ bœ ‰ œ. œ. œ ‰ bœ œ ‰ Œ
. > b œ.
S. Sx.

? Œ ‰ œJ ‰ ‰ bœ j
œ ‰ œ ‰
bœ
œ œ œ œ œ bœ œ bœ j
B. Sx.
œ œ œ œ œ œ œ œ œ
263
& œ œ
â œ bœ bœ bœ
Hn.
œ â œ œ œ œ œ
â â â â œ â â â œ â â â̇
â â
äœ äœ œ äœ äœ äœ ä ä äœ äœ äœ ä
& bœ œ bœ œ bœ
â â â̇
C Tpt.

? Œ ‰ œJ ‰ ‰ bœ j
œ ‰ œ ‰
bœ
œ œ œ œ œ bœ œ bœ j
Tbn.
œ œ œ œ œ œ œ œ œ
263 xœ xœ x x x xœ xo xœ xœ x x x x x x x xœ x x xo x x xo x x xœ x x x xœ x
Composite ã xœ
œ œ œ œœ œ œ œ
xœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
œ x
œ
x œ œ
œ œ
x œ œ
œ

263 x x x œ x x x xo x x xœ x x xœ x x x xœ x x x x x xœx x x œ x œ x x xœ
D. S. ã x œ x œ œ œ œ

x x x x x œ x xœ x œ x x x x xœx x x x x x xœx x x x x x x x x x x x
D. S. ã œ œ œ œ œ œ

x xœ x x x x x x x xœ x x x x x xœ x x x x xœx x x x x x x x x x x
D. S. ã œ œ œ œ œ œ

x x xœ x x x œ x x x x xœ x x x x x x x x x x xo xo x xœ x x xœ x
D. S. ã œ œ œ x x x

œœ œœ œœœœœœœœœœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
263 bœ 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
& bœ œ
Pno.

? ∑ ∑ ∑ ∑

263 ww ww w w
Vln. I &

w w b ww w
Vln. II &

w ww bw ww
Vla. & w

? Œ bœ ‰ œJ œ ‰ œ ‰ œ bœ ‰ œ ‰ œ œ bœ œ bœ j j
Vc.
œ œ œ œ œ œ œ œ œ œ

? Œ ‰ œJ ‰ ‰ bœ j
œ ‰ œ ‰
bœ
œ œ œ œ œ bœ œ bœ j
D.B.
œ œ œ œ œ œ œ œ œ
263 264 265 266

114
 Re(new)al
267 œ. œ œ. œ œ. œ œ. œ œ. œ. œ œ. œ œ. œ. œ œ.
œ œ.
œ bœ. œ œ œœ
œ. œ œ. œ J ‰ Œ
Fl. &
>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
Ob. & Œ œ. ‰ bœ ‰ œ. ‰ œ ‰ œ ‰

>œ . >œ . >œ >œ . >œ . >œ œ. œ. > œ. >œ . >œ œ. >œ œ. œ > >œ
‰ œ.
œ
B b Cl. & Ó œ
œ.
‰ bœ œ. œ œ œ‰ œ
œ. > > œ. >

? Œ ‰ Jœ ‰ ‰ Œ bœ ‰ j
Bsn. bœ œ
œ œ œ œ bœ œ œ œ œ nœ bœ 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 ‰ œ. œ. b œ ‰ œ. ‰
& œ. œ œ œ œ ‰ Œ
> >
S. Sx.

? Πj
B. Sx. bœ œ ‰ Jœ œ œ ‰ œ ‰ œ bœ œ
Œ œ bœ ‰ œ œ nœ bœ œ bœ œ œ
œ
267
& œ œ œ œ œ œ œ Œ
â â œ bœ â â â â â
Hn.
œ â œ œ œ
œ
â â â â â œ
â â
äœ äœ äœ äœ äœ ä äœ äœ äœ äœ äœ äœ äœ
& œ bœ œ Œ
â â
C Tpt.

? Œ ‰ Jœ ‰ ‰ Œ bœ ‰ j
Tbn. bœ œ
œ œ œ œ bœ œ œ œ œ nœ bœ œ bœ œ œ
œ
267 xo x xœ x x x xœ x x x xœ x x x x xo x x x xœ x x xo x x xo x x x x xœ x xo
Composite ã œ xœ œ œ œ œ œ œ œo x œ œœ œ œœ œ œ xœ œ x œ œ œ œ œ
œ œ œ
œ œ œ
xœ œ œ œ œ œ œœ œ œ œ

267 xo xœ x x x x x œ x x x >x x x x x x x x xœxœx x x xo xœx xœx xœ x xo

D. S. ã x œ œ œ œ x
x x x x x x xœ x xo x x x x x x x x x x x xo x x x x x x x x x
D. S. ã œ œ
x œ œ œ œ
x œ œ œ œ

x xœ x x x œ x x x x x x x x x x x x œ x x xœ xœx x x x x œ x xœ x xœx xœx

D. S. ã œ œ œœ œ œ

x x x x x x x x x x xœ x x x x xo x x x xœx x x x x x x x x x x x
D. S. ã œ œ œ œ x œ œ œ œ œ œ œ

œ œœ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœœ œœœœœœœœœœœœ œœ

267 œ. œ œ œ bœ œ œœœ œ bœ œ œ œ œ œ œ
œ œ
&
Pno.

? ∑ ∑ ∑ ∑

267 w w ww ww
Vln. I &
bw w w w
Vln. II &

ww ww w w
Vla. &

? Œ ‰ Jœ ‰ ‰ j
Vc. bœ œ
œ œ œ œ bœ œ Œ œ bœ ‰ œ œ nœ bœ œ bœ œ œ œ

? Πj
bœ ‰ Jœ œ œ ‰ œ ‰ œ bœ Œ œ bœ ‰ œ œ nœ bœ œ bœ œ œ œ
D.B.
œ œ
267 268 269 270

115
 Re(new)al
œ. œ œ. œ œ. œ œ.
271 œ œ. œ œ. œ bœ. œ œ. œ bœ. œ œ. œ œ. œœ
. œ œ. œ bœ. œ œ. œ œ. œ
Fl. &
b >œ . >œ œ. >œ
>œ . >œ œ. >œ œ. œ >œ . >œ œ. >œ . œ >œ . >œ . >œ œ. œ ‰
& Œ ‰ bœ ‰ œ. œ bœ œ œ. œ ‰ b œ. ‰
> .
œ
> >
Ob.

>œ . >œ œ. >œ >œ . >œ b œ. >œ

œ. œ ‰ >œ . >œ . >œ > > œ. > œ.
B b Cl. & œ œ‰ Œ bœ œ. ‰
œ bœ. œ œ œ ‰ œ. œ œ. œ b œ. œ ‰
. > > >

Bsn.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ œ
œ œ bœ ‰ Jœ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ

>œ . >œ . >œ œ. œ >œ . >œ b œ. >œ >œ . >œ

> >œ >œ œ. œ ‰ b >œ . > > >œ œ. >œ
& œ ‰ œ. œ. œœ œ bœ ‰ œ. œ. œ ‰ œ. ‰
J
. > b œ.
S. Sx.

?
œ ‰ b œj ‰ ‰ œ œ œ ‰ ‰ œ œ bœ ‰ Jœ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ
B. Sx.
œ œ
271
& œ œ
â œ bœ bœ bœ
Hn.
œ â œ œ œ œ œ œ
â â â â œ â â â œ â â â œ
â
äœ â â
äœ œ äœ äœ äœ ä ä äœ äœ äœ ä äœ ä
& bœ œ bœ œ bœ œ
â â
C Tpt.

Tbn.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ œ
œ œ bœ ‰ Jœ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ

271 xœ xœ x x x xœ xo xœ xœ x x x x x x x xœ x x xo x x xœo x x xœ x x x xœ x
Composite ã xœ
œ œ œ œœ
œ œ œ xœ
œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ x œ œ
x œ œ
œ œ
x œ œ
œ

271 x x x x x x xo x x x x x xœ x x x xœ x x x x x x x x x x x x x
D. S. ã x
œ œ x
œ œ œ œ œ œ œ œ œ

x x x x x œ x xœ x œ x x x x xœx x x x x x xœx x x x x x x x x x x x
D. S. ã œ œ œ œ œ œ

x xœ x x x x x x x xœ x x x x x x x x x x x x x x x x x x x x x x
D. S. ã œ œ œ œ œ œ œ œ

x x xœ x x x œ x x x x xœ x x x x x x x x x x xo xo x xœ x x xœ x
D. S. ã œ œ œ x x x

œœ œœ œœœœœœœœœœ
271 œ œ œ œ œ œ œ œ bœ 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 bœ œ œ œ œ œ œ œ œ œ
& bœ
Pno.

? ∑ ∑ ∑ Ó ‰
bœ œ œ

271 ww ww w ä̇ ä̇
Vln. I &

w w b ww b ä˙ ä̇
Vln. II &

w w bw b ä˙ ä̇
Vla. &

Vc.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ œ
œ œ bœ ‰ Jœ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ

D.B.
?
œ ‰ b œj ‰ ‰ œ œ œ ‰ œ ‰ œ
œ œ bœ ‰ Jœ ‰ œ œ œ œ bœ œ œ ‰ œ œ œ

271 272 273 274

116
 Re(new)al

275 œ. œ bœ. œ œ. œ œ. œ œ. œ bœ. œ œ. œ œ. œ œ. œ bœ. œ œ. œ œ. œ œ. œ bœ. œ œ

Fl. & J ‰ Œ

>œ . >œ b œ. >œ >œ . >œ œ. b >œ >œ . >œ œ. >œ b >œ . >œ œ. >œ >œ . >œ b œ. >œ œ. œ
& œ. ‰ b œ. ‰ œ. ‰ b œ. ‰ ‰ Œ
Ob.
J J ã

b >œ . >œ œ. >œ >œ . >œ b œ. >œ >œ . >œ œ. b >œ >œ . >œ œ. >œ b >œ . >œ œ. >œ œ. œ
. b œ. ‰ œ. ‰ b œ. ‰ œ.
B b Cl. & œJ ‰ J J
‰ ‰ ã

Bsn.
? ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ

œ. b >œ >œ . >œ œ. >œ b >œ . >œ œ. >œ >œ . >œ b œ. >œ >œ . >œ œ. b >œ >œ . >œ >œ
& b œ. ‰ œ. ‰ b œ. ‰ œ. ‰ b œ. ‰ œ.
S. Sx.
J J

B. Sx.
? ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ

275
& œ
bœ bœ bœ bœ
Hn.
œ œ œ œ œ œ œ œ œ
â â â â â â â â â â â â â â â̇
ä ä äœ ä äœ ä äœ ä äœ ä äœ ä äœ ä
& œ bœ œ bœ œ bœ œ bœ
â̇
C Tpt.

Tbn.
? ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ

275 x x xœ x x x xœ x x x xœ x x x xœ x x x xœ x x x xœ x x x xœ x x x x xo
Composite 㠜
x œ œ
œ œ œ
x œ
œ œ
x œ œ
œ œ œ
x œ
œ œ
x œ œ
œ œ œ
x œ
œ œ
x œ œ
œ œ œ œœ œ œœ
œ

275 xœx x x œxœx x x œ xœx x x œxœx x x œ xœx x x œxœx x x œ xœx x x œ x x x xo

D. S. 㠜

x x x x x x x x x x x x x x x x x x x x x x x x x x x x x œ x xœ x
D. S. ã œ œ œ œ œ œ œ œ

x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
D. S. ã œ œ œ œ œ œ œ œ

x xœ x x xœ x x xœ x x xœ x x xœ x x xœ x x xœ x x x x œ x
D. S. ã x x x x x x x œ

275 œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ
& œ
Pno.

? ‰ ‰ ‰ ‰ ‰ ‰ ‰
bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ bœ œ bœ
ä̇ ä̇ ä̇ ä̇ ä̇ ä̇ ä̇ >œ
J
275
Vln. I & ‰ Œ

b ä˙ ä̇ b ä˙ ä̇ b ä˙ ä̇ b ä˙ # >œ
Vln. II & J ‰ Œ

b ä˙ ä̇ b ä˙ ä̇ b ä˙ ä̇ b ä˙ >œ
‰ Œ
Vla. & J B

Vc.
? ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ∑ &

D.B.
? ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ ‰ œ œ œ ‰ bœ œ œ œ bœ œ bœ

275 276 277 278

117
 Re(new)al Begin playing boxed figure as indicated, in time. Then begin to gradually

279 283 increase intensity and frequency, and stagger your peaks with others.
Rapid tonguing can be gradually added as well!

>
X.
By m. 300, aim to emulate frenzied gusts of wind.

Fl. & ∑ ∑ ã Ó X X X ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

n. f poss. n.

> >
Ob. ã Ó X X X X. Œ ∑ Ó X X X X. ~~~~~~~~~~~~~~~~~~~~~~~
n. f poss. n. n. f poss. n.

> >
B b Cl. ã X X X. Œ ∑ Ó X X X X. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f poss. n. n. f poss. n.

? > >
Bsn. ∑ ã Ó X X X X. Œ ∑ Ó X X X X. ~~~~
n. f poss. n. n. f poss. n.

>œ > >

S. Sx. & J‰Œ X ã X X X. Œ ∑ Ó X X X X. ~~~~~~~~~~~~~~~~~~~~~~~
n. f poss. n. n. f poss. n.

? j‰ Œ X > >
ã X X X. Œ ∑ Ó X X X X. ~~~~~~~~~~~~~~~~~~~~~~~
B. Sx.
œ
> n. f poss. n. n. f poss. n.

279
>
Hn. & j‰ Œ Ó ∑ ∑ ã Ó X X X X. Œ ∑ Ó X
œ
> f poss.
ƒ
n. n. n.

j > >
& œ‰Œ Ó ∑ ã Ó X X X X. Œ ∑ Ó X X X
>
C Tpt.

ƒ n. f poss. n. n. f poss.
? j‰ Œ Ó > >
Tbn.
œ ã Ó X X X X. Œ ∑ Ó X X X X. ~~~~
> f poss. f poss.
ƒ n. n. n. n.

Rotate around snare drum until m. 293

279
D. S. ã œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ œœŒ
p cresc. poco a poco
Rotate around snare drum until m. 293

D. S. ã ‰ œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰ œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰ ‰œœ‰‰œœ‰

p cresc. poco a poco
Rotate around snare drum until m. 293

D. S. ã Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ Œ œœŒ œœ

p cresc. poco a poco
Rotate around snare drum until m. 293

D. S. ã Œ ‰ œJ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ‰‰œœ‰‰œ œ‰‰œœ‰‰œ œ ‰‰œœ‰‰œ œ‰‰œœ‰‰œ œ‰‰œœ‰‰œ œ‰‰œœ‰‰œ

p cresc. poco a poco

j
279
& ww ww ww ww œœ ‰ Œ Ó ∑ ∑ ∑
ƒ
? ^ ‰Œ Ó
Pno.

j ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
279 (w) (w)
Vln. I & ww gliss.
b b ww gliss. œœ ˙˙ .. gliss.
# # ww œœ ˙˙ .. gliss. ww
p P cresc. poco a poco

Vln. II & ww ww ww ww ww œœ ˙˙ .. gliss.

# # ww œœ ˙˙ .. gliss.

p cresc. poco a poco

Vla. B w w w w w œ ˙. #w œ ˙.
p
gliss. gliss.

cresc. poco a poco

arco

&
bw œ ˙. nw œ ˙.
Vc.
w w w w
p
gliss. gliss.

? ^j ‰ Œ Ó
cresc. poco a poco

D.B.
œ ∑ ∑ ∑ ∑ ∑ ∑ ∑
ƒ
279 280 281 282 283 284 285 286

118
 Re(new)al

287 291
Fl. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ob. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

B b Cl. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Bsn. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

S. Sx. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

B. Sx. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
287
>
Hn. ã X X X. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f poss. n.

C Tpt. ã X. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n.

Tbn. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
287
D. S. ã œœŒ œœœ Œ œœŒ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ

D. S. ã ‰œœ‰ ‰ œœ‰ ‰œœ‰ ‰ œœ‰ ‰ œœœ ‰ ‰ œœœ ‰

J J
‰ œœœ ‰ ‰ œœœ ‰
J J
‰ œœœ ‰ ‰ œœœ ‰ ‰ œœœ ‰ ‰ œœœ ‰
J J J J

D. S. ã Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœœ

D. S. ã œJ ‰ ‰ œ œ œ ‰ ‰ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œ ‰ ‰ œœœ ‰ ‰ œœ
J J
œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœœ ‰ ‰ œœ
J J J J

287
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑ ∑

287 j j
Vln. I & œœ ˙˙ .. gliss. b ww œœ ˙˙ .. gliss.
# n ww œœ œœ .. gliss. ˙˙ œœ œœ .. gliss.
# # ˙˙

j j
Vln. II & ww œœ ˙˙ .. gliss. b ww œœ ˙˙ .. gliss.
# n ˙˙ œœ œœ .. gliss. ˙˙ œœ œœ .. gliss.

j
B w œ ˙. #w ˙. ˙ œ œ. ˙ œ œ.
œ J
Vla. gliss. gliss. gliss.
gliss.

& j j
œ ˙. #w ˙. œ œ. #˙ œ œ. ˙
Vc.
gliss. œ gliss. w gliss. gliss.

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

287 288 289 290 291 292

119
 Re(new)al

293
Fl. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ob. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

B b Cl. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Bsn. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

S. Sx. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

B. Sx. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
293
Hn. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

C Tpt. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Tbn. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

293
D. S. ã œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœ œ œ Œ œœœ Œ
œ œœ œ œ Œ œœœ Œ
œ œœ œ œ œ œ œœ œ œ œ œ

D. S. ã ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œ œ œJ ‰ ‰ œœ œ œ œ œ œœ œ œ œ

D. S. ã Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœ œ œ Œ œœœ

œ Œ œœ œ œ Œ œœœ
œ Œ œœœ œ œ œœœ
œ œ

ã œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œœœ ‰ ‰ œœ œ ‰ ‰ œ œ œ ‰ ‰ œ œ œ ‰ ‰ œ œ œ ‰ ‰ œ œ œ ‰ ‰ œœ œ œ œ œ œœ œ
D. S.
J J J J J J J J J
293
& ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑

j >œ > >œ > >œ

œœ œœ .. # # ˙˙
>œ # # œœ
œœ # # œœ œœ
293
& œœ œœ .. ˙˙ œœ œœ œ œœ gl. œœ gl.
œ gl. gl.
œ
œ
gliss. gl. gl.

J
gliss.
Vln. I

j >œ > >œ >

& gl.# # ˙˙ œœ œœ .. ˙˙ œœ œœ .. # # œœ œœ >œ œœ œœ # # œœ œœ œ œœ # # œœ œœ gl.
œ gl. gl. gl.
œ
gliss. gl. gl.

J
gliss.
Vln. II

>œ >œ # >œ >œ # >œ

B gl. # ˙ œ œ. ˙ œ œ. #œ œ œ œ œ œ œ
gl. gl. gl.

J
gl. gl.

J
gliss. gliss. gl.
Vla.

j > >œ
& œj œ . ˙ œ œ. #˙ œ œ œ gliss. # œ œ œ œ gliss. # œ œ œ œ gliss.

> > > >

Vc. gliss. gliss.
gliss. gliss. gliss.

D.B.
? ∑ ∑ ∑ ∑ ∑

293 294 295 296 297

120
 Re(new)al 301

Ó Œ œ> w œ
J ‰ Œ
298
Fl. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & Ó
ƒ
Ó Œ
ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & œ> w œ ‰ Œ Ó
Ob. J
ƒ
Ó Œ œ> w œ
J ‰ Œ
B b Cl. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & Ó
ƒ
? > > >
‰ œJ Œ œ
^
œ ‰ Œ Ó
Bsn. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ J
ƒ
Ó Œ # œ> w œ
S. Sx. ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & J ‰ Œ Ó
ƒ
^j
ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? ‰ b œj Œ œ œ ‰ Œ Ó
œ >
B. Sx.
> >
ƒ
^
‰ œj Œ
298
ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & œ j ‰ Œ Ó
>
Hn.
œ œ
> >
Ó Œ ƒ ^j
> >
ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ &
œ ‰ bœ Œ œ œ ‰ Œ Ó
œ
> J >
C Tpt.

ƒ
^j
ã ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ
? ‰ b œj Œ œ œ ‰ Œ Ó
>
Tbn.
> >
ƒ
298 j
ã œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ ‰ Œ Ó œœ œ œ œ œ œœ œ œ œ œ
œ œ œ œ œ œ
>
D. S.

ƒ
ã ‰ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ >œ ‰ Œ Ó œ œœ œ œ œ œ œ œœ œ œ œ œ
D. S.
J
ƒ
j
ã Œ œ œ œ œ œ œœ œ œ
œ
œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ hœ ‰ Œ Ó œ œ œ œœ œ œ œ œ œ œœ œ œ
>
D. S.

ƒ
j
ã œJ ‰ ‰ œœ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œœ ‰ Œ Ó œ œ œ œ œœ œ œ œ œ œ œœ œ
>
D. S.

ƒ
œœ> ww>
# œ œœ
298 w œ
& ∑ ∑ Ó Œ J ‰ Œ Ó
ß ƒ
Pno.
œœ>
? ∑ ∑ # œ ‰ b œj Œ j ‰ Œ
Ó Œ & œ ?
œœ œœ œœ
Ó
b œœ
° >
œ > >
œ œ
*
œœ gl. >œœ >œ w>
298 œ gl. b >œ œœ gl. # n >œœ œœ gl. >œœ œœ gl. # # >œœ œ
œ œœ œ J ‰ Œ
Vln. I &
œ Ó
ƒ
>œ gl. b > n >œ gl. > œ œ gl. # # >œœ œ gl. >œœ œœ w> œ
œ œ
œ œ
œ #œ œ
œ œ œ œ J ‰ Œ Ó
gl.
œ œ
Vln. II &
ƒ
>œ œ gl. # >œ œ gl. >œ œ gl. >œ œ gl. # >œ œ gl. >œ œ w> œ
Vla. B J ‰ Œ Ó
ƒ
>œ >œ # >œ w>
Vc. & œ gliss. # >œ œ gliss.
>œ œ gliss. # >œ œ gliss. œ gliss. œ gliss. œ
J ‰ Œ Ó
ƒ
? ∑ ∑ ∑ ‰ b œj Œ œ ∑
(pizz.)

œ >
D.B.
> >
298 299 300
ƒ 301 302

121
 Re(new)al

w> œ w> œ w>

J ‰ Œ J ‰ Œ
42 44
303
Fl. & Ó Ó ∑

w> w> 44 w>

Ob. & œ ‰ Œ
J Ó œ ‰ Œ
J Ó 42 ∑
w> œ w> œ w>
B b Cl. & J ‰ Œ Ó J ‰ Œ Ó 42 ∑ 44

? >œ > >

‰ Jœ Œ œ
^
œ ‰ Œ Ó
>
œ
> >
‰ Jœ Œ œ
^
œ ‰ Œ Ó 42 ∑ 44 >œ > >
‰ œJ Œ œ
J J
Bsn.

w> w> >

42 44 w
œ œ
S. Sx. & J ‰ Œ Ó J ‰ Œ Ó ∑

^j ^j
? ‰ b œj Œ œ œ ‰ Œ Ó ‰ b œj Œ œ œ ‰ Œ Ó 42 ∑ 44 ‰ b œj Œ œ
œ > œ > œ >
B. Sx.
> > > > > >
^ ^
‰ œj Œ ‰ œj Œ 2 4 ‰ œj Œ
303
& œ j ‰ Œ Ó j ‰ Œ Ó 4 ∑ 4 œ
> > >
Hn.
œ œ œ œ œ œ
> > > > > >
> ^j > ^j >
& œ ‰ bœ Œ œ
J œ ‰ Œ Ó œ ‰ bœ Œ œ
J œ ‰ Œ Ó 42 ∑ 44 œ ‰ bœ Œ œ
J
> > > > > >
C Tpt.

? j ^j j ^j 2 4 j
œ ‰ b >œ Œ œ œ ‰ Œ Ó œ ‰ b >œ Œ œ œ ‰ Œ Ó 4 ∑ 4 œ ‰ bœ Œ œ
>
Tbn.
> > > > > >
303 j j j
ã œœ ‰ Œ Ó œœ œ œ œ œ œ œœ œ œ œ œ œ œœ ‰ Œ Ó œœ œ œ œ œ œ œœ œ œ œ œ œ 42 œœ œ œ œ œ œ 44 œ ‰ Œ Ó
œ
> > >
D. S.

> œ œœ œ œ œ œ œ œœ œ œ œ œ >œ ‰ Œ œ œœ œ œ œ œ œ œœ œ œ œ œ 42 œ œœ œ œ œ œ 44 >œ ‰ Œ

D. S. ã œJ ‰ Œ Ó J Ó J Ó

j j 44 hj ‰ Œ
ã hœ ‰ Œ Ó œ œ œœ œ œ œ œ œœ œ œ
œ œ
hœ ‰ Œ Ó œ œ œœ œ œ œ œ œœ œ œ
œ œ 42 œ œ œ œœ œ œ œ Ó
> > >
D. S.

j j j
ã œœ ‰ Œ Ó œ œ œ œ œœ œ œ œ œ œ œœ œ œœ ‰ Œ Ó œ œ œ œ œœ œ œ œ œ œ œœ œ 42 œ œ œ œ œœ œ 44 œœ ‰ Œ Ó
> > >
D. S.

w> œœ ww> œœ ww>

303 w
&
w œ
J ‰ Œ Ó
w œ
J ‰ Œ Ó 42 ∑ 4
4
w

Pno.

? ‰ b œj Œ j ‰ Œ Ó ‰ b œj Œ j ‰ Œ Ó 2
4 ∑ 4
4 œ ‰ b œj Œ
œœ œœœ œœœ œœ œœœ œœœ œœœ
b œœ b œœ œœ b œœ
>
œ > > >
œ > > > > >
w> œ w> œ w>
J ‰ Œ J ‰ Œ 42 44
303
Vln. I & Ó Ó ∑

w> œ w> œ w>

J ‰ Œ J ‰ Œ
Vln. II & Ó Ó 42 ∑ 44

w> œ w> œ w>

J ‰ Œ J ‰ Œ
Vla. B Ó Ó 42 ∑ 44

w> w> >

42 44 w
œ œ
Vc. & J ‰ Œ Ó J ‰ Œ Ó ∑

44 >œ b >œ >

? ‰ b œj Œ œ ∑ ‰ b œj Œ œ ∑ 42 ∑ ‰ J Œ œ
œ > œ >
D.B.
> > > >
303 304 305 306 307 308

122
 309 Re(new)al
œ^
& J ‰Œ Ó ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 5 ∑ 2 ∑ 4 ∑
Fl. 8 4 4 8 4 4

^ 38
Ob. & œJ ‰ Œ Ó ∑ ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑
œ^
J 3 2 4 5 2 4
B b Cl. & ‰Œ Ó ∑ 8 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

? œ^ ‰ Œ Ó ∑ 38 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑
J
Bsn.

œ^ 3 2 4 5 2 4
S. Sx. & J ‰Œ Ó ∑ 8 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

? ^j ‰ Œ Ó ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 5 ∑ 2 ∑ 4 ∑
B. Sx.
œ 8 4 4 8 4 4

^
309
3 2 4 5 2 4
Hn. & œj ‰ Œ Ó ∑ 8 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

^j 3 2 4 5 2 4
C Tpt. & œ ‰Œ Ó ∑ 8 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

? ^j ‰ Œ Ó ∑ 38 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑
Tbn.
œ

x x xo x x xœ œ 4 xœ x xœ x xo x
3

œ œ œ œ œ 8 œ œ œ 42 œ œ œ œ o 44 œ œ œ œ œ œ
309 x x xœ x x x xœ x x x xœ x x x x x 3 x x xxxx x xxx x x xœ x x x xœ x 5 x xœ xœ x x 2
Composite ã œœ œ œœœ œ œ
x x œœ œ œœ œ 8 œ œ œ 4 œ œœ 4 œ œ œœ œ œ œ œ
x o
6 3

xo o
3

œ x x x x œ x x x œ x x x x x x x x 38 x x œ x 42 x ‰ j ‰ 44 x x xœ x x x x xœ
with brushes
309 x x x x xœx x x xœ 5 x x x xœx 2 x 44 xœ x x xœ x x x
D. S. ã œ œ x 8 4 J‰Œ x
p 3

with brushes
x x x x x x x x x x xœ x x x x œ x 3 x x xœ 2 x x 4 x x x xœx x x x x x x x xœx x x 5 x x x x xœ 2 x 4 xœx x xœx x x x
ã œ œ 8 4 J ‰ œ‰ 4 œ 8 œ 4 J‰Œ 4 œ
J
D. S.

p
xo
with brushes
x x xœ x x x x x x x x x x x x x 3 x x x 2 xœ 4 x x x x xœx x x x x x x x x x x 5 x xœ x x x 2 x 4 x xœx x xœx x x
ã œ œ œ8 4 J ‰ ‰ x 4 œ œ 8 4 œ‰Œ 4 œ
J
D. S.

p 3

x x xœ x x x xœ x 5 x x xœ x x 2 x xœ œœœ 4 x x xœ x x x x xo
with brushes
x x x x x x xœ x x x x x x x x x 3 x x x 2 x x x x 4 x x x x x x x x
D. S. ã œ œ 8 œ 4 œ œ J‰ 4 œ œ 8 4 4 œ
p 6 3 3

œ
309 œœ
& J ‰Œ Ó ∑ 83 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑
Pno.

? j‰Œ Ó ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 5 ∑ 2 ∑ 4 ∑
œœ 8 4 4 8 4 4
œ
œ
& J ‰Œ 83 42 44 85 42 44
309
Vln. I Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
& J ‰Œ
38
42
44
85 42
Vln. II Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ 44 ∑

œ
Vla. B J ‰Œ Ó ∑ 38 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑

38
42
44
85 42
œ 44
Vc. & J ‰Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
solo

>œ œ
(pizz.)

bœ bœ œ bœ œ
œ œ œ bœ œ bœ œ bœ
œ œ 4 Œ bœ
‰œ œ œ œ œ bœ œ ^
? ‰ œJ ‰J ‰ ‰ 3 2 œ ‰J œ‰ ‰ œ œ 5 œ‰ 2 4 œ œ œ œJ
D.B. 8 4 œ 4 8 4 4 J
f 3 3

309 310 311 312 313 314 315 316 317

123
 Re(new)al

3 2 4 5 2 4
318
Fl. & ∑ ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

Ob. & ∑ ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑

∑ ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 5 ∑ 2 ∑ 4 ∑
B b Cl. & 4 4 4 8 4 4

Bsn.
? ∑ ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑

∑ ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 5 ∑ 2 ∑ 4 ∑
S. Sx. & 4 4 4 8 4 4

B. Sx.
? ∑ ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑

3 2 4 5 2 4
318
Hn. & ∑ ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

∑ ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 5 ∑ 2 ∑ 4 ∑
C Tpt. & 4 4 4 8 4 4

? ∑ ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 5 ∑ 2 ∑ 4 ∑
Tbn. 4 4 4 8 4 4

x x x x x x x xo x x xœ x x x xœ x 3 x x xœ x x x 2 x x xœ x 4 xœ x x xo xo
‰ œ œ œ œ œ œ œ œ œ œ œ œ 85 œ œ œ œ œ 42 œ œ œ 44
318 xx x x x xx x xxx x x x x x xœ xœ x x x xœ
Composite ã xœ œ œ œ œ œ œ œ
x œ
œ œœœ œ 4 œ œ œœ 4 œ œ œ œ 4
x x œ œ œœ œœœ
3 3 3
3
3

318 x x x x xœx x x xœx x x xœx x xœ 3 x x x x x x 2 x x xœx 4 x x x x x x xœx x x 5 x x x xœx 2 x 44 x xœ x x x x x x

4 J‰ Œ 4 J‰Œ
3

D. S. ã œ 4 œ œ 4 œœ œ 8 œ

x xœ x x x x x x x x x x x x x x 3 x x xœ x x x 2 x x x x 4 xœ x xœ x x x x x x 5 x x x x x 2 x 4 x x xœ x x x xœ x
ã 4 4 œ œ4 ‰ Œ Ó 8 œ œ 4 J‰Œ 4
D. S. œ œ œ J œ

x x xœ x x x x xœ x x xœ x x x œ x x 3 x x x x œ x x 2 x x œ x x 4 x x œ x œ x x x xœ x x x x xœ 5 x x x x x 2 x 4 x x x xœx x x œœœ
ã 4 4 4 ‰ œ J‰Œ 8 œ 4 œ‰Œ 4
J
D. S.
3 3 3

x x x x x x xo x x x x x xœ x 3 x x x x x x 2 x x xœ x 4 x xo xo x x x x x x xo 5 x x xœ x x 2 x xœ x 4 x x x x x x x x
D. S. ã x œ
x
œ 4 œ 4 4 J‰ Œ x3 x
œ 8 4 œ4 œ œ
3

3 2 4 5 2 4
318
& ∑ ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑
Pno.
? ∑ ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑

3 2 4 5 2 4
318
Vln. I & ∑ ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

Vln. II & ∑ ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑

Vla. B ∑ ∑ 43 ∑ 42 ∑ 44 ∑ ∑ 85 ∑ 42 ∑ 44 ∑

43 42
44
85 42
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 44 ∑
Vc. &
œ œ œ‰œ œ bœ nœ bœ œ bœ œ œœ œœ bœ œ œœœ
? Œ bœ bœ œ œ œ ‰ b Jœ ‰ ‰ œ
œ
D.B.
œ ‰J ‰ œ œ 43 Œ 42 ‰
J 4
4 85 ‰œ 42
œ 44 ‰J ‰
3 3 3

318 319 320 321 322 323 324 325 326

124
 Re(new)al
328
5 2 4 5 2 4
327
Fl. & ∑ ∑ ∑ ∑ 8 ∑ 4 ∑ 4 ∑ 8 ∑ 4 ∑ 4

Ob. & ∑ ∑ ∑ ∑ 85 ∑ 42 ∑ 44 ∑ 85 ∑ 42 ∑ 44

∑ ∑ ∑ ∑ 5 ∑ 2 ∑ 4 ∑ 5 ∑ 2 ∑ 4
B b Cl. & 8 4 4 8 4 4

Bsn.
? ∑ ∑ ∑ ∑ 85 ∑ 42 ∑ 44 ∑ 85 ∑ 42 ∑ 44

∑ ∑ ∑ ∑ 5 ∑ 2 ∑ 4 ∑ 5 ∑ 2 ∑ 4
S. Sx. & 8 4 4 8 4 4

B. Sx.
? ∑ ∑ ∑ ∑ 85 ∑ 42 ∑ 44 ∑ 85 ∑ 42 ∑ 44

5 2 4 5 2 4
327
Hn. & ∑ ∑ ∑ ∑ 8 ∑ 4 ∑ 4 ∑ 8 ∑ 4 ∑ 4

∑ ∑ ∑ ∑ 5 ∑ 2 ∑ 4 ∑ 5 ∑ 2 ∑ 4
C Tpt. & 8 4 4 8 4 4

? ∑ ∑ ∑ ∑ 5 ∑ 2 ∑ 4 ∑ 5 ∑ 2 ∑ 4
Tbn. 8 4 4 8 4 4

327 xœ x xœ xœ x xo x x x xœ x x x x xœ x x xœ x x x xœ x x x xœ x x x x xœ 5 x x xœ x x 2 x xœ x 4 x xœ xœ x x x x xœ 5 x x xœ x x 2 x xœ x 4
Composite ã œœ œ œ œ
œx œo œ
œ œœ œœ œ œœœ œ œ œ œœ 8 œ œ œ œ 4 œ œ 4 œ œ œœ 8 œ œ œ œ 4 œ œ 4

x x x x xo x. x. 2
3 3

x x x x x x x x x x x >xœ x x x x x x x xœ x x x x xœ 5 x x x x x 2 x
canned air

44 85 J ‰ Œ 44
327 x
ã œ œ 8 œ 4 J‰Œ ∑ J 4 ∑
x œ œ
D. S.

x x xœ x x x x x x x xœ x x x x xœ x x x x x x xœ x x x x x x x x x 5 x x x x x 2 x 44 x xœ x x x œ x x xœ 85 xJ ‰ Œ .
D. S. ã œ œ œ 8 œ œ 4 J‰Œ 42 ∑ 44

x xx x xx x xxx x x xxx x xxx x x x x xxx x x xxx 5 xxxx x 2 x 4 x x xœ x x x x x 5 x x xœ x x œ 2 x ‰ Œ 4

ã œ œ œ œ œ œ œ œ 8 œ 4 œ‰Œ 4 œ 8 œ 4 œ 4
J J
D. S.

x x x x x x x xo x x x x x x x x x x x x x x x x x x x x x x x 5 x x xœ x x 2 x xœ x 44 x x x x œ x x x xœ 85 x x x x œ x 42 x xœ x œ 44
D. S. ã œ œ
x
œ œ œ œ œ 8 4 œ œ œ
3 3

85 42 44 85 42 44
327
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ 85 ∑ 42 ∑ 44 ∑ 85 ∑ 42 ∑ 44

5 2 4 5 2 4
327
Vln. I & ∑ ∑ ∑ ∑ 8 ∑ 4 ∑ 4 ∑ 8 ∑ 4 ∑ 4

Vln. II & ∑ ∑ ∑ ∑ 85 ∑ 42 ∑ 44 ∑ 85 ∑ 42 ∑ 44

85 42
44
85 42
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 44

85 42
44
85 42
Vc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 44

œ bœ œ œ œ bœ œ bœ œ bœ œ œ
‰ œ ‰ œ œ bœ œ bœ ‰ ‰ œ
œœ
œ b œ 4 œ ‰ b Jœ ‰ ‰ œ
œ œœ œœ
? ‰ J ‰ ‰œ ‰J 85 ‰œ 42 85 ‰œ 42 44
œ
D.B. 4
3 3

327 328 329 330 331 332 333 334 335

125
 Re(new)al
338
4
336
Fl. &4 ∑ ∑ ∑ ∑ ∑ ∑

4 ∑ ∑ ∑ ∑ ∑ ∑
Ob. &4

4 ∑ ∑ ∑ ∑ ∑ ∑
B b Cl. &4

Bsn.
? 44 ∑ ∑ ∑ ∑ ∑ ∑

4 ∑ ∑ ∑ ∑ ∑ ∑
S. Sx. &4

B. Sx.
? 44 ∑ ∑ ∑ ∑ ∑ ∑

4
336
Hn. &4 ∑ ∑ ∑ ∑ ∑ ∑

4 ∑ ∑ ∑ ∑ ∑ ∑
C Tpt. &4

Tbn.
? 44 ∑ ∑ ∑ ∑ ∑ ∑

x xœ xœ x œ x œ x xœ œ œ œ xœ x œ œ xœ œ x œ xo
ã 44
336 x
Composite œ œ œ œx œo
3

x. x. x. x. x. x. x. x. x. x. x. x.
ã 44 J ‰ Œ
336
D. S. œ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ

x. x. x. x- x x. x. x. x. x. x. x. x- x
canned air

4
D. S. ã 4 ‰ J Œ ‰ J Œ œ Œ ‰ ‰ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ ‰

x. x. x. x. x. x. x. x. x.
canned air

ã 44
x xœ x x œ x x x x x
œ J ‰ Œ œ ‰ Œ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰
J
D. S.

o x. x. x. x-
canned air

4 x x xœ x x œ x xœ œ œ œ œ x œ xœ xœ œ x œ x x x Œ
x
‰ J Œ
x
‰ J Œ
x
‰ J Œ
x
‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J
D. S. ã 4 œ œ
3

4
336
&4 ∑ ∑ ∑ ∑ ∑ ∑
Pno.
? 44 ∑ ∑ ∑ ∑ ∑ ∑

4
336
Vln. I &4 ∑ ∑ nw w # ww ww
π P
4 ∑ ∑
&4 w w
b ww
Vln. II
ww
π P
Vla. B 44 ∑ ∑ w w w w
π P
bw w
& 44 ∑ ∑
Vc.
? w w
π P
bœ œ œ œ œ œ bœ œ œ bœ œ œ
? 44 ‰ J ‰ œ Œ Ó ∑ ∑ ∑
D.B.
œ
336 337 338 339 340 341

126
 Re(new)al
342
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

342
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

342 x. x. x. x. x. x. x. x. x. x. x. x. x. x.
D. S. ã J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ

x. x- x x. x. x. x- x x. x. x. x- x x. x- x x. x.
D. S. ã ‰ J Œ ‰ ‰ ‰ J Œ ‰ J Œ ‰ J Œ ‰ ‰ ‰ J Œ ‰ J Œ ‰ J Œ ‰ ‰ ‰ J Œ ‰ ‰ ‰ J Œ ‰ J Œ

x. x. x. x. x. x. x. x. x. x. x. x. x. x.
D. S. ã Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰

x ‰ ‰ x. x- x ‰ ‰ x. x. x. x- x ‰ ‰ x. x. x. x- x x. x- x x. x.
D. S. ã Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J J ‰ ‰ J Œ ‰ J J ‰ ‰ J Œ ‰ J

342
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
Pno.

? ∑ ∑ ∑ ∑ ∑ ∑ ∑

342
Vln. I & w ˙. œ œ nw w # ww
p w w
F p P
& ww ˙˙ .. œœ œœ w w
nw b ww
Vln. II
ww ww
p F p P
B w ˙. œ œ w
Vla.
w w w w
p F p P
w ˙. œ œ bw
Vc.
? #w w w w
p F p P
D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

342 343 344 345 346 347 348

127
 Re(new)al

III. Solar
352 Placid {q = c 72}
349
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

349
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
vibraphone
349 x. x. x. x. x. x. x- mallet

ã J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ ∑ ∑ ∑ ∑ f Œ Œ
D. S. &
œ
P
°
x. x. x. x. x. x. x-
D. S. ã ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J ∑ ∑ ∑ ∑ ∑ &

x. x. x. x. x. x-
glockenspiel

ã Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ ∑ ∑ ∑ ∑ Œ Ó
œ
D. S. &
P
x. x. x. x. x. x-
crotales

D. S. ã Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ∑ ∑ ∑ ∑ Ó
œ
Œ
P

349 œ ˙
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ
Pno. p steady, like a heart beat
? ∑ ∑ ∑ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ
&
J J J J J J J J J J
°
349
Vln. I & ˙˙ .. œœ œ w w w w ∑ ∑ ∑
p
Vln. II & ˙. œ œœ ww ww ww ww ∑ ∑ ∑
p
B ˙. w w
Vla. œ œ w w ∑ ∑ ∑
p
˙. œ nœ w w w w
? ∑ ∑
with mute
Vc. & w
p p

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

349 350 351 352 353 354 355 356

128
 Re(new)al

357 361
Fl. & ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑

357
Hn. & ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑

357 glockenspiel

Glk. & ∑ Ó Œ ∑ ∑ Ó Œ ∑
œ œ
P P
œ. œ.
Perc. 1
œ œ œ
bowed bowed

J ‰ Œ J ‰
357
Vibe & ∑ f Œ Œ Œ ∑ f Œ Œ Œ
œ œ
P f P f
° °
n. n.

glockenspiel

Glk. & ∑ ∑ Ó œ Œ ∑ ∑ Ó Œ œ
P P
Perc. 2
vibraphone #œ
bowed
>œ #œ
bowed
>œ mallet

Vibe & ∑ Ó Œ Œ Ó ∑ Ó Œ Œ œ Œ
f f
°
n. n.

glockenspiel

Glk. & ∑ ∑ ∑ ∑ ∑ Œ Ó
œ
Perc. 3 P
crotales strike then submerge to bend pitch

& ∑ Œ œ gl. ( œ )
Œ ∑ ∑ Œ Œ Ó œ Œ
œ ( œ)
Crt.

P P
gl.

glockenspiel

Glk. & ∑ Œ œ Ó ∑ ∑ Œ œ Ó ∑
P P
Perc. 4
lower onto snar
e

ã ∑ & Ó œ Œ Ó ∑ Ó œ
#œ #w
Perc. 4
œ œ
P P
357 w œ œ œ #˙ ˙ w œ œ œ #œ œ œ œ
œ œ
&
Pno.
. œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ...
& œœœ .. œœœ œœœ œœœ œœœ œœœ œœœ
J J J J J J J J J J J J
357 with mute

Vln. I & ∑ ∑ ww ww ww ww
p
with mute

Vln. II & ∑ ww ww ww ww ww
p
with mute with mute

Vla. B w w w w w w
p

Vc. & w w w w w w

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

357 358 359 360 361 362

129
 Re(new)al

363 367
Fl. & ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑

363
Hn. & ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑

363
& Œ Ó ∑ ∑ ∑ Ó Œ ∑
#œ
Glk.
œ
>f P
œ.
Perc. 1
f
œ œ
bowed

‰ J J ‰
363 mallet

& Ó Œ Œ Ó ∑ ∑ Œ Œ Œ
Vibe
f
œ
f P f
°
n. n.

Glk. & ∑ ∑ ∑ ∑ ∑ Ó Œ œ
P
Perc. 2
#œ
bowed
>œ
#œ
mallet

Vibe & œ Œ Ó f Œ ∑ ∑ Ó Œ Œ œ Œ
œ n. f

Glk. & œ Œ Ó ∑ ∑ ∑ ∑ Œ Ó
œ
Perc. 3 P
Crt. & Ó œ Œ Œ œ Ó ∑ ∑ Œ œ gl. ( œ )
Œ Ó œ Œ
P
œ
& Ó Œ ∑ ∑ ∑ Œ Ó ∑
Glk.
œ
P
Perc. 4
lower onto snare

j ‰ Œ ∑ ∑ ∑ Ó
zap!

& œ œ
#w
Crt.
œ f. œ
f P P
363 #œ œ œ ˙ ˙ w w œ œ œ #œ œ œ œ
œ œ
&
Pno.
. œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ...
& œœœ .. œœœ œœœ œœœ œœœ œœœ œœœ
J J J J J J J J J J J J
363
Vln. I & ww ww ww ww ww ww

Vln. II & ww ww ww ww ww ww

Vla. B w w w w w w

Vc. & w w w w w w

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

363 364 365 366 367 368

130
 Re(new)al

369 373
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

369
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

369
& Œ Ó ∑ Œ Œ œ ∑ ∑ ∑ Œ Ó
#œ #œ #œ
Glk.

f >f œ œ. nœ
bowed bowed
Perc. 1
œ
#œ
mallet

‰ J ‰ J
369
& Ó Œ Œ Œ Ó Œ Œ Ó ‰ ‰ Œ Œ Œ Œ
mallet
œ f
Vibe œ œ
f œ f f P
P
n. n. n.

#œ
Glk. & ∑ ∑ ∑ ∑ ∑ Œ Ó ∑

#œ œ. #œ œ.
Perc. 2 bowed mallet bowed
œ #F J ‰ Œ œ #f
bowed mallet

Vibe & œ #œ Œ Œ œ Œ ‰ J J ‰ Œ Œ œ Œ
f Œ
#œ Œ Œ ‰ J
œ
œ n. f P n. f #f n. f P

Glk. & œ Œ Ó Ó œ Œ ∑ Œ Ó Œ Ó Ó Œ Ó Œ #œ
œ œ œ
Perc. 3

Crt. & Ó œ Œ Œ
œ Ó Œ œ œ gl. ( œ ) gl. (œ) Œ Œ
œ
Œ œ Ó Œ #œ gl. #( œ ) Œ Œ
œ Ó

œ œ Œ œ œ
& Ó Œ Ó ∑ Œ Ó Ó Œ Œ Ó Ó Œ
Glk.
œ œ

Perc. 4 lower onto snare

j
lift from snare

j‰ Œ œ Ó Œ nœ Ó #œ Œ Ó #œ Œ Ó œ. ‰
zap! zap!
Crt. & œ ˙. #˙ ˙.
œ f.
f P P P f
#œ œ œ
œ œ #œ œ œ #œ œ #œ
œ œ #œ #œ nœ #œ
œ #œ
369
œ œ œ œ œ œ #œ œ œ
&

j j j j j j j j j
Pno.
. œœœ œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ # œœœ .. œœœ # œœœ ... œœœ # # œœœ ... œœœ # # # œœœ .. œœœ # # # œœœ ..
& œœœ .. œœœ œœœ œœœ œœœ ... œœœ # œœœ ... œœœ œœœ .. œœœ œœœ .. œœœ
J J J J J . . . . .

369 (h )
Vln. I & ww w˙ ˙ w
gliss.
#˙ w˙ ˙ w #˙ ww ww
(H)
gliss.

Vln. II & ww ww ww gliss. # ww ww # ww ww

gliss.

()
#˙
h

B w w ˙ ˙ w w w
gliss.
Vla.

Vc. & w w w w gliss. #w w w

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

369 370 371 372 373 374 375

131
 Re(new)al

376 377
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

376
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

376
& ∑ Œ Ó ∑ ∑ ∑ Ó Œ Œ Ó
œ #œ
Glk.
œ
bowed
Perc. 1
œ f f œ œ
œ
‰ J
376 mallet bowed

Œ Ó f Œ f f
Ó Œ Œ Ó Œ Œ ‰ J Œ œ Œ Ó
mallet mallet

Vibe &
f P f n. f œ n. f P

Glk. & Œ œ Ó ∑ ∑ Œ œ Ó Ó œ Œ ∑ ∑

# œ œ.
Perc. 2 bowed

#œ #f #f Œ #œ
bowed

‰ # œJ
f Œ
Ó Ó Œ Œ Œ Œ Œ #œ Ó ‰ ‰ Œ
mallet

&
#œ #œ œ #œ œ
Vibe

n. f n. f n.

& Ó Œ #œ Œ Œ #œ ∑ #œ Œ Ó ∑ Œ #œ Œ Ó Œ
Glk.
œ œ œ
Perc. 3

& Ó ∑ œ gl. ( œ ) Œ œ Œ Œ œ ∑ Ó Œ Œ Ó
Crt.
œ gl. ( œ ) œ œ gliss.
( œ)

Glk. & Ó #œ Œ ∑ ∑ Ó Œ œ
œ Œ Ó ∑ Ó Œ œ

Perc. 4
Œ Ó
lift from snare lower onto snar
e

& Œ Ó Œ œ Ó #œ Œ Œ #œ Ó nœ Œ Ó j‰
œ #˙ ˙. œ.
Crt.
œ w
P P f
nœ #œ
#œ #œ œ #œ #œ #œ œ #œ
œ œ œ œ
376 œ œ œ œ œ œ
œ œ œ œ œ #œ œ œ
&

j j j j j
Pno.

& # # # œœœ ... œœœ œœœ .. œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ # œœœ .. œœœ # œœœ ... œœœ œœœ ... œœœ
. J J J J J J J J J .
376 (h )
Vln. I & œœ ˙˙ .. gliss. ww ww ww ˙w ˙ w
gliss. #˙ w˙ ˙ gliss.

Vln. II & œœ ˙˙ .. gliss. ww ww ww ww ww gliss. # ww

()
˙. #˙
h

B œ gliss. w w w w ˙ ˙ gliss.
Vla.

Vc. & œ ˙. gliss. w w w w w w gliss.

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

376 377 378 379 380 381 382

132
 Re(new)al
383
& ∑ Ó ∑
˙ w #w
Fl.
w w
p p
Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ Ó ∑
#˙ w w w #w
p p
Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ Ó #˙ w ∑ #w w w
p p
B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

383
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

383
Glk. & ∑ ∑ ∑ ∑ ∑ œ Œ Ó Œ œ Ó

œ. mallet œ. œ.
Perc. 1 bowed
bowed bowed
œ
383 œ
J ‰
œ
J ‰ J ‰ Œ #f
& Œ Ó œ Œ Œ œ Œ Œ Œ Œ Œ Ó Œ
f
mallet

Vibe œ œ
œ œ
n. f P n. f P n. f

Glk. & ∑ ∑ Œ œ Ó Ó Œ œ ∑ Ó Œ œ Ó Œ #œ

# œ œ.
Perc. 2
#œ
bowed

#f f #f f Π#f
mallet bowed bowed bowed
f Œ
& œ Œ Œ Œ Ó Œ Ó Œ ‰ ‰ œ Œ #œ Œ
mallet mallet mallet

Vibe #œ #œ
f P #f n. f P n. f P n. f n. f P

& Œ Œ Ó
œ Œ ∑
œ Œ Ó Œ Ó Œ Ó ∑
#œ
Glk.
œ œ œ
Perc. 3

Crt. & Ó Œ œ Œ œ Ó Œ œ Œ œ Ó Œ œ ∑ Œ œ Ó œ gl. ( œ )

Ó

œ #œ #œ Œ
Glk. & Ó Œ ∑ ∑ ∑ Ó Œ ∑ Ó
Perc. 4
lower onto lower onto sna

j j
sna re

Œ Ó
re

Crt. &
#œ #˙. œ. ‰ œ
Œ #˙ œ œ. ‰ œ Œ #œ Œ
œ
Œ Ó #œ Œ Œ
œ
Ó
P f P f
#œ
œ #œ
œ œ #œ œ #œ #œ œ œ #œ nœ
œ #œ #œ
œ œ
383 #œ œ #œ
œ œ œ nœ œ œ œ
&

j j j j j j j j j j j j j j
Pno.

& # # œœœ ... œœœ # œœœ ... œœœ # # # œœœ ... œœœ œœœ ... œœœ # # # œœœ ... œœœ n œœœ ... œœœ œœœ ... œœœ # œœœ ... œœœ # œœœ ... œœœ n œœœ ... œœœ # œœ .. œœ œœ .. œœ # # œœ .. œœ œœ .. œœ
# œ. œ œ. œ # œ. œ œ. œ
383 (h ) ∑ (h )
Vln. I & gliss. #( ˙) ˙ ˙ gliss. n˙ ˙ gliss.
#˙ ˙ gliss. n˙ gliss. # ww gliss. # ˙˙ ˙˙ gliss.

(h )
Vln. II & ww gliss.
# ẇ gliss.
#˙ ˙w ˙ gliss. ẇ ˙ # ww w˙ ˙ gliss.
˙ # ˙˙ gliss.
gliss.

Vla. B w w w ˙ gliss. ˙ w #w ˙ ˙ gliss.

& gl. # ˙ ˙ ˙ ˙ w ˙ ˙ #w
Vc. gliss. gliss. ˙ ˙ gliss. ˙ ˙ gliss.

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑

383 384 385 386 387 388 389

133
 Re(new)al
390
Fl. & ∑ ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑ ∑ ∑ ∑

Bsn.
? ∑ ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑ ∑

390
Hn. & ∑ ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑ ∑

390
Glk. & Œ Ó Œ ≈ Œ Œ Œ ≈œ
œ
Œ ≈
œ œ œ œ
≈ ≈
œ œ œ œ
Œ ≈
œœ
Œ Œ ≈
œœ
œ œ œ œ œ œ œ œ œœ œ œ
Perc. 1
œ œ
bowed
œ œ
bowed bowed
œ œ œ
‰ J ‰ J ‰ J
390
& Ó Œ Œ Œ Œ Ó Œ Œ Ó Œ Ó
mallet

Vibe
œ
f n. f n. f P n. f

Glk. & Œ ≈œ œ Ó Œ ≈œ œœ 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 œ œ

#œ œ bœ œ
Perc. 2 bowed
bowed

nf Œ bœ bœ
#œ ‰ J
mallet

& œ Œ ‰ ‰ Ó Œ Ó Œ Œ Œ Œ Œ Œ
mallet

Vibe
bœ bœ
n. f P n. f P

& Ó Œ ≈ Ó Œ ≈ ∑ ≈
bœ œ œ œ Œ ≈ bœ Œ ≈œ Œ ≈ bœ Œ
#œ œ #œ œ œ œ œ œœ œ œ bœ œ
Glk.

Perc. 3

Crt. & œ gl.( œ ) œ Œ œ gl.( œ ) œ Œ Œ œ Œ œ Ó Œ Œ Ó Œ Ó

œ œ œ

#œ œ #œ œ bœ œ ≈ œ œ Œ ≈ œ œ bœ œ Œ bœ œ ≈ bœ Œ
& Ó Œ Ó Œ ∑ œ œ ≈œ œ Œ
Glk. œ
Perc. 4

Crt. & Œ œ Ó Œ œ Ó
œ
Œ œ Œ Œ
œ
Ó ∑ Ó Œ
œ

390 œ œ #œ œ œ #œ œ œ œ bœ œ œ œ œ œ bœ œ œ bœ bœ œ
œ œ œ
&
Pno.
.
& œœœ .. œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ b œœœ ... œœœ b œœœ ... œœœ
J J J J J J J J J J J J
(h )
b˙
390
& ww ww ẇ ˙ w ˙ ˙w ˙ w
gliss.
Vln. I
(H)
gl.

gliss.

& ww ww ww ww ww ww gliss.
Vln. II
gl.

gliss.

()
h
b˙ w
B w w w ˙ ˙ gliss.
Vla.
gl.

Vc. & w w w w w gliss. bw

gl.

D.B.
? ∑ ∑ ∑ ∑ ∑ ∑

390 391 392 393 394 395

134
 Re(new)al

396 397
Fl. & ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ ∑ ∑
w w
p
Bsn.
? ∑ ∑ ∑ ∑ ∑

S. Sx. & ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑

396
Hn. & ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑

396
Glk. & Œ Œ ≈ Ó Œ Ó ≈ ≈œ œœ œ Œ ≈ ≈
œ œ œ œ œ œ œ œ œ œ œ
œ œ
œ œœ œ œ œ
Perc. 1 bowed
œ œ
‰ J
mallet
396 œ
Vibe & Ó Œ Ó Œ œ Œ Ó ∑ Œ Œ
p f n. f

Glk. & ≈œ œ Œ Œ œ œ Œ ≈œ œ Ó Œ ≈œ œ Ó œ œ ≈œ œœ œ ≈œ œ Œ œ œ ≈œ œœ œ

#œ œ
Perc. 2
bœ
bowed bowed
œ
& Œ ‰ J Œ Ó ‰ ‰ Ó Œ #œ ∑ Œ Ó
mallet

Vibe
bœ
n. f n. f p

& Œ ≈
bœ œ Œ Ó Œ ≈ Ó Œ ≈ ∑ ≈ bœ œ œ œ Œ
bœ #œ œ #œ œ œ œ
Glk.
œ
Perc. 3

& Œ Ó œ Œ Ó œ Œ Ó Œ œ Œ Ó Œ
Crt.
œ œ œ

bœ #œ Œ #œ œ bœ œ ≈ œ œ Œ
& Œ ≈ bœ œ Œ Ó Œ Ó ∑ ≈œ œ
Glk.
œ œ

Perc. 4

Crt. & ∑ Œ œ Œ Œ œ Œ Œ œ Œ Œ Ó
œ œ œ œ

bœ #œ bœ
œ #œ
œ œ œ
396 œ bœ œ œ œ œ œ œ œ œ œ œ
&
Pno.
bœ. œœœ .. œœœ ... œœœ ... œœœ ... œœœ ... œœœ ... œœœ œœœ ... œœœ ... œœœ œœœ ...
& b œœ ..
œœœ œœœ
. œœœ œœœ œœœ œœœ œœœ œœœ
J J J J J J J J J J

˙˙ ..
396
œ ww ww ẇ ˙ ˙˙
& œ ˙
gliss. gliss.
Vln. I

(H)
gliss.

. bœ ˙˙ .. ww ww ww ww
& gl œ
gliss.
Vln. II
gliss.

œ ˙. w w w w
B
gliss.
Vla.

Vc. & œ ˙. gliss. w ∑ ? w w

p p

D.B.
? ∑ ∑ ∑ ∑ ∑

396 397 398 399 400

135
 Re(new)al

401 405
Fl. & ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑

B b Cl. & Ó ∑
˙ ˙ w w ˙
#w #˙
Bsn.
? ∑ ∑ ∑ ˙
p
S. Sx. & ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑

401
Hn. & ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑

401
Glk. & ≈ 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
Perc. 1
œ œ F
401 mallet
œ
Vibe & Ó Œ œ Ó Œ ∑ ∑ ∑
π

& œ œ ≈œ œŒ ≈œ œŒ Œ ≈œ œŒ Œ ≈œ œŒ
œ œ œ œ œ œ ≈ œ œ Œ œ œ ≈ œ œœ œ
Glk. œ œ
F
bœ œ
bowed

bœ œ
Perc. 2 bowed

Vibe & Œ ‰ J Œ Œ ‰ J Œ ∑ ∑ ∑
n. f n. f

& ≈ bœ œ œ œ ≈ œ œ œ œ Œ ≈ bœ œ Œ Œ ≈ bœ œ Œ Œ ≈ #œ œ œ œ ≈
#œ œ #œ œ
≈
#œ œ #œ œ
≈
bœ œ F bœ œ
Glk.
œ œ
Perc. 3

Crt. & Œ œ
Ó
œ
Œ Ó
œ
Œ Ó
œ
Œ
œ Œ Œ
œ Ó
p
bœ œ ≈ œ œ œ œ ≈ œ œ bœ œ ≈ bœ Œ bœ œ #œ œ ≈ œ #œ œ ≈ #œ œ #œ œ ≈ #œ œ œ œ
œ
Glk. & Œ œ Œ ≈ bœ œ Œ Œ
Perc. 4
F

& œ Œ Œ Ó Œ Œ bœ Œ Œ #œ Œ Œ Œ
#œ #œ
Crt.
œ œ œ œ
p
bœ bœ bœ #œ œ #œ #œ œ
401 œ œ œ œ bœ œ œ bœ œ œ #œ œ
&
Pno.
.
& œœœ .. œœœ b œœœ ... œœ b b œœœ ..
.
œœœ œœœ ..
.
œœœ
b b œœœ ...
œœœ œœœ ..
.
œœœ b b œœœ ..
.
œœœ # # œœ ..
. œœœ # # # œœœ ... œœœ œœœ ... œœ
J J
œ J J J J J # œ J J J
œ

(h ) (h )
b˙ n˙
401
Vln. I & w
gliss. ww ẇ ˙ ˙ # ˙˙ gliss.
w
(H) P
gliss.

w b ww ww ww # ww
& gliss. w
gliss. gliss.
Vln. II
P
gliss.

w bw w w w
Vla. B

? ˙ ˙ w w #w ˙ #˙
Vc.

D.B.
? ∑ ∑ ∑ ∑ ∑

401 402 403 404 405

136
 Re(new)al

406
Fl. & ∑ ∑ ∑ ∑ ∑

Ob. & ∑ ∑ ∑ ∑ ∑

B b Cl. & ∑ Ó ∑
w w ˙

Bsn.
? w ˙
Ó ∑
w
w

S. Sx. & ∑ ∑ ∑ ∑ ∑

B. Sx.
? ∑ ∑ ∑ ∑ ∑

406
Hn. & ∑ ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑ ∑

406
Glk. & Œ ≈œ œ ≈ Œ ≈œ œœ œ ≈ œ œŒ ≈œ œ œ œ ≈œ œœ œ ≈œ œ œ œ ≈œ œœ œ ≈œ œ
œ œ œ œ œ œ œ œ
Perc. 1
406
Vibe & ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œœ œ œ œ
& Œ
Glk.
œ œ ≈œ œ œ œ Œ ≈œ œ ≈ œ œ Œ ≈œ œœ œ ≈ œ œœ œ ≈œ œœ œ ≈ ≈œ œ
Perc. 2

Vibe & ∑ ∑ ∑ ∑ ∑

& ≈ ≈ ≈ 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
Glk.
œ œ œ œ œ œ œ œ œ œ œ œœ œ
Perc. 3

Crt. & Œ œ Ó ∑ ∑ ∑ ∑
π

≈ #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
Glk.
œ Œ ≈œ ≈œ ≈ ≈œ œœ œ ≈œ œ

Perc. 4

& Œ Œ Œ Ó ∑ ∑ ∑
#œ #œ #œ
Crt.

406 # œ œ #œ #œ œ #œ œ #œ œ œ #œ œ œ œ œ
œ œ œ
œ œ
&

# œœ .. œœ œœœ ... # # œœœ ... œœœ œœœ ... œœ .. œœ œœœ ..

Pno.
œ. œœœ œœœ .. # œœœ ... œœœ œœœ .. œœœ
& # œœ ..
œœœ œœœ œœœ œœœ œ. œ .
. . œ. œ
J J J J J
J J J J J

406
ẇ w ˙ # ww ˙ ˙ w
& ˙
gliss.
Vln. I
(H)
gliss.

nw ww ˙ ˙ #˙ ˙ ˙ ˙
& w
gliss. gliss. gliss.
Vln. II gliss.

nw w ˙ ˙ w ˙ ˙
B
gliss.

Vla.
P
w
Vc.
? w w w w

D.B.
? ∑ ∑ ∑ ∑ ∑

406 407 408 409 410

137
 Re(new)al
411
˙ ˙ ˙ bw w
Fl. & Ó
p

Ob. & ∑ ∑ ∑ ∑

∑ w ˙ b˙ ˙ ˙
B b Cl. &
p
? w #w w bw
Bsn.
p
˙ ˙ ˙ bw
S. Sx. & ∑ Ó
p
? ∑ w ˙
B. Sx.
w ˙
p
411
Hn. & ∑ ∑ ∑ ∑

C Tpt. & ∑ ∑ ∑ ∑

Tbn.
? ∑ ∑ ∑ ∑

411
& œ œ ≈œ œœ œ ≈œ œ œ œ ≈ œ ≈ ≈ ≈ ≈ ≈ ≈œœ≈œœ
3 3

œœ≈œœ
3 3 3 3

œ œ œ œœ œœ œ œ
Glk.
œ œ œ œ œ œ œ œ
œ œ
Perc. 1 f
411
Vibe & ∑ ∑ ∑ ∑

œ œœ œ œœ œ œ œœ œ œœ œ œœ≈œœœ
≈œ œ œ œ
Glk. & ≈ ≈ œ ≈ ≈ œ ≈ œ œ œ œ ≈œœ≈œœœ œ ≈ œ
Perc. 2
f 3 3 3 3

Vibe & ∑ ∑ ∑ ∑

& ≈œ œœ œ ≈œ œœ œ ≈ #œ œ œ ≈œ œœ ≈ bœ ≈ ≈ ≈œœ≈ œœ
3 3 3 3
œ
œœ≈œœœ œ bœ
œ œ
bœ bœ œ œ œ
Glk.
œ œ
Perc. 3 f
Crt. & ∑ ∑ ∑ ∑

#œ œ œ œ ≈ œ œ œ œ œ bœ œ
Glk. & œ œ ≈œ œœ œ ≈œ œ ≈ ≈ œ ≈ bœ œ ≈ œ œ œ œ ≈ œ œ bœ œ ≈ bœ œ ≈ œ œ œ œ ≈œœ≈œœ
f
3 3 3 3 3 3
3 3
Perc. 4

Crt. & ∑ ∑ ∑ ∑
œ
œ œ œ #œ œ œ bœ œ
œ œ
bœ
œ
411 œ œ œ
&

œœœ œœœ ... b œœ .. œ. œœ ...

œœ .. # œœœ ... œœœ œœœ ... b œœœ ... b b œœ ..
Pno.
œœœ œœœ œœ œœœ œœ œœ
œ.
& œ.
œ œ œ
J J J J J
œ J J J

411 ˙ ˙ ˙ ˙ gliss. bw w
Vln. I &
F
˙ ˙ #˙ ˙ ˙ ˙ gliss. bw
&
gliss. gliss.
gl.
Vln. II

F
˙.
B œ w ˙ gliss. b˙ ˙ ˙
Vla. &
F
? w #w w bw
Vc.
F
w
arco
˙
D.B.
? ∑ w ˙
F
411 412 413 414

138
 Re(new)al
417
415 w w b w-
Fl. &
f stagger breathe as necessary with other winds

-̇ b ˙-
Ob. & bw w
p f stagger breathe as necessary with other winds
w w w-
B b Cl. &
f
? bw
stagger breathe as necessary with other winds
w
Bsn.
-̇ œ- œ-
f stagger breathe as necessary with other winds
bw w b w-
S. Sx. &
f stagger breathe as necessary with other winds

?
B. Sx. bw w -̇ b ˙-
f stagger breathe as necessary with other winds

-̇ b œ-
415
Hn. & ∑ ∑ Œ
f
∑ ∑ Œ b ˙- œ-
C Tpt. &
f
? ∑ ∑
Tbn. -̇ b ˙-
f
415
& œ ≈œœ≈ ≈ ≈œœ œ ≈œœ≈ ≈ ≈œœ ≈ œœ≈ ≈ ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Glk.
œ œœœ œ œœ œ œœœ œ œœ œ œ œœ œ œ œœ
vibraphone

>œ >œ >œ

Perc. 1
bowed
415 œ œ œ
Vibe & Ó Ó Ó
n. f n. f n. f
œœœ œœœ
≈œ ≈œœœ
œ œ
≈œœ≈œ
œœ
≈œ ≈œœœ
œ œ
≈œ ≈ œœœ
œ œ
Glk. & ≈ œœ≈ œ œ ≈ œœ≈ œ
3 3 3 3 3 3 3 3 3 3 3 3

vibraphone
Perc. 2

bœ >œ bœ >œ bœ
bowed

Vibe & Ó Ó Ó Œ
n. f n. f n.

& ≈ ≈ ≈ ≈ ≈ bœ œ ≈ ≈ œ œ ≈ bœ œ œ
3 3 3 3
3 3 3 3 3 3 3 3

bœ œ ≈ œ œ œ œœ≈œœœ bœ œ ≈ œ œ œ œœ≈œœœ bœ œ œ
Glk. œ œ
œ œ œ œ
Perc. 3 crotales

∑ ∑ Œ Œ
bowed
Crt. &
œ œ
>
f
bœ œ
n.

bœ
≈ bœ œ ≈
œœ œ
Glk. & bœ œ ≈œœ≈œœœ œ ≈ œ œ ≈ œ œ bœ œ ≈œœ≈œœœ œ ≈ œ œ ≈ œ œ bœ œ ≈ ≈œœ
3 3 3 3
3 3 3 3 3 3 3 3
Perc. 4 crotales

∑ ∑ Ó
bowed
Crt. & bœ œ
>
n. f
w> w
b œœ œœ b œœœœœ œœ
415 œ œ œ
&
b œœœ ... œœ œœ ..
œ.
œœ b œœœ ... œœ œœ ..
œ.
œœ
Pno.
œ œ œ œ ?
& J J J J
˙ b˙

415 w w b ˙˙ b ˙˙
Vln. I &
f
bw w b ˙˙ b œœ
Vln. II & Œ
f
w w b ˙˙ .. œœ
Vla. &
f
? bw w ˙˙ œ œœ
Vc. bœ
f
? bw w
D.B. ˙ b˙
f
415 416 417

139
 Re(new)al

418 w w w
Fl. &

-̇ b ˙-
Ob. & w w

w w w
B b Cl. &

? j
Bsn.
œ- . b œ- ˙ -̇ œ- œ- -̇ b˙
w w w
S. Sx. &

? j
b ˙-
B. Sx.
œ- . b œ- ˙ -̇ -̇ b˙

j -̇ b œ-
418
Hn. & œ. b œ- ˙ Œ ˙ b ˙-

œ. œ- b ˙- œ- ˙ -̇
C Tpt. & J
˙ Œ

? j
b ˙-
Tbn.
œ- . b œ- ˙ -̇ -̇ b˙

418
& œ ≈œœ≈ ≈ ≈œœ ≈œœ≈ ≈ ≈œœ ≈œœ≈ ≈ ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Glk.
œ œœœ œ œœ
œ
œ œœœ œ œœ œ œ œœœ œ œœ
Perc. 1
418 œ >œ œ >œ œ >œ
Vibe & Œ Œ Ó Œ Œ
n. f n. f n. f
œœœ œœœ œœœ œœœ œœœ
≈œ ≈ œœœ
œ œ
Glk. & ≈œœ≈ œ ≈œœ≈ œ ≈ œœ≈ œ ≈ œœ≈ œ ≈œœ≈ œ
3 3 3 3 3 3

>œ
3 3 3 3 3 3
Perc. 2
œ >œ bœ bœ >œ
Vibe & Ó Œ Œ Œ Œ
f n. f n. f

& ≈b œ œ ≈b œ œ œ ≈ œ ≈b œ œ œ ≈ bœ œ ≈ ≈ œ ≈ bœ œ œ ≈ bœ œ ≈ ≈ œ ≈ bœ œ œ
3 3 3 3 3 3 3 3 3 3 3 3

œ bœ œ œ œ bœ œ œ œ
Glk.
œ œ œ œ œ œ
Perc. 3

Crt. & Ó Ó Œ œ œ Œ Ó
œ œ
n. f n. f
bœ bœ œœœ bœ œ ≈ œ œ bœ bœ bœ œ bœ œœœ bœ œ ≈ œ œ
Glk. & ≈œœ≈ œ ≈ ≈œœ≈
œœœ œ ≈ ≈ œ œ bœ ≈œœ≈ œ ≈
3 3 3 3 3 3 3 3 3 3 3 3

Perc. 4

& ∑ Ó ∑
Crt.
bœ œ
>
n. f
418 b œœœ ... b œœ œœ œ
b œœœ œœœœ ˙
b ˙˙˙
b b œœ b b ˙˙
œœ ˙˙˙ œ œ ˙˙
˙
& J
Pno.
?
j
œ. bœ ˙ ˙ b˙ ˙ b˙

œœ .. b ˙˙ ˙
b˙
˙
418 b œœ ˙˙ ˙ b ˙˙
Vln. I & J
œœ .. b œœ ˙˙ b ˙˙ b œœ ˙˙ b ˙˙
Vln. II & J Œ

œ. b œœ b ˙˙ .. ˙ b ˙˙
& bœ.
˙˙ œœ b˙
Vla.
J

? œ. j
b b œœ b b ˙˙
˙˙ œ œœ ˙
Vc.
œ.
˙˙ bœ ˙

? j
D.B.
œ. bœ ˙ ˙ b˙ ˙ b˙
418 419 420

140
 Re(new)al

w œ. œ- ˙ -̇ . b œ-
J
421
Fl. &
b œ- ˙ w-
-̇ b ˙- œ. J
Ob. &
œ. b œ- w-
w ˙
B b Cl. & J

? j
-̇ œ- œ- . b œ- b œ-
-̇ .
œ-
Bsn.
˙
b ˙- . œ-
w w
S. Sx. &

? b ˙-
j
-̇ œ- . b œ-
-̇ .
B. Sx. ˙ œ-

-̇ j
b œ- œ-
421
Hn. & Œ œ. b œ- ˙ b ˙- .

b ˙- œ- œ. œ- -̇ . b œ-
C Tpt. & ΠJ
˙

? b ˙-
j
-̇ œ- . b œ-
-̇ .
Tbn. ˙ œ-

421
& œ ≈œœ≈ ≈ ≈œœ ≈œœ≈ ≈ ≈œœ ≈œœ≈ ≈ ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Glk.
œ œœœ œ œœ œ œ œœœ œ œœ
œ
œ œœœ œ œœ
Perc. 1
421 œ >œ œ >œ œ >œ
Vibe & Ó Œ Œ Ó
n. f n. f n. f
œœœ œœœ œœœ œ
≈œ ≈ œœœ
œ œ
≈ œœ≈ œ
œœ
≈œ ≈œœœ
œ
Glk. & ≈ œœ≈ œ ≈œœ≈ œ ≈œœ≈ œ œ
3 3 3 3 3 3 3 3 3 3 3 3

bœ >œ >œ
Perc. 2
œ bœ
Vibe & Ó Œ Ó Œ Œ
n. f n. f

& ≈ bœ œ ≈ bœ œ œ ≈ œ ≈ bœ œ œ ≈bœ œ ≈bœ ≈ œ ≈bœ œ œ ≈ bœ œ ≈ ≈œ ≈œœœ

3 3 3 3 3 3 3 3 3 3 3 3

œ œ bœ œ œ œ
Glk.
œ œ œœ œ œ œ œ
Perc. 3

Crt. & Œ Œ Ó Ó
œ œ œ œ œ œ
> >f >f
f n. n.

bœ œ bœ
n.

bœ bœ œœœ ≈ œ œ bœ
œœœ bœ œ ≈ œ œ bœ bœ œœœ œœ≈œœ
Glk. & ≈œœ≈ œ ≈ ≈œœ≈ œ ≈ ≈œœ≈ œ ≈
3 3 3 3 3 3 3 3 3 3 3 3

Perc. 4

Crt. & bœ œ Ó ∑ Ó Œ
bœ
>
n. f n.

421 b œœœ œœ b œœœœœ b œœœ ... b ˙˙˙ ...

b œœ
b b œœ
œœ œœ ˙˙˙
œ œ ˙ œ
& J
Pno.
?
j
˙ b˙ œ. bœ ˙ ˙. œ

421 b ˙˙ b ˙˙ œœ .. b œœ ˙˙ ˙. bœ
Vln. I & J
b ˙˙ b œœ œœ .. b œœ
J
˙˙ b˙. œ
Vln. II & Œ

b ˙˙ .. œœ œ.
bœ. b œœ ˙˙ ˙. b œœ
Vla. & J

? ˙˙ œ. j
b b œœ bœ
œ œœ ˙˙ .
Vc. bœ œ.
˙˙
. œ

? ˙ j
D.B. b˙ œ. bœ ˙ ˙. œ
421 422 423

141
 Re(new)al
œ. œ- ˙ -̇ . b œ- œ. œ- ˙ -̇ . b œ-
J J
424
Fl. &
w w w w
Ob. &

w w w w
B b Cl. &

? j j
b œ- . b œ- b œ- . b œ-
-̇ . -̇ .
œ- ˙ œ- ˙
Bsn.

œ. b œ- ˙ b ˙- . œ- œ. œ- ˙ b ˙- . œ-
S. Sx. & J J

? j j
b œ- . b œ- ˙ b œ- . b œ- ˙
-̇ . œ- -̇ . œ-
B. Sx.

b œ- œ- œ- œ-
424
Hn. & œ. J
˙ b ˙- . œ.
J
˙ b ˙- .

œ. œ- -̇ . b œ- œ. œ- ˙ -̇ . b œ-
C Tpt. & J
˙ J

? j j
b œ- . b œ- ˙ b œ- . b œ- ˙
-̇ . œ- -̇ . œ-
Tbn.

424
& œ ≈œœ≈ ≈ ≈ ≈œœ≈ ≈ ≈œœ ≈œœ≈ ≈ ≈ ≈œœ≈ ≈ ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Glk.
œœœ œ œœ œœ œ œ œ œœœ œ œœ œœ œ œ
œ œ œœœ œœ œ œ œœœ œœ
Perc. 1
œ >œ >œ œ >œ >œ
424 œ œ
Vibe & Œ Œ Ó Œ Œ Ó
n. f n. f n. f n. f
œœœ œ œœœ œ
≈œœ≈œ
œœ
≈ œœ≈ œ
œœ
≈œ ≈œœœ
œ
≈œœ≈œ
œœ
≈ œœ≈ œ
œœ
≈œ ≈œœœ
œ
Glk. & ≈œœ≈ œ œ œ ≈œœ≈ œ œ œ
3 3 3 3

>œ >œ
3 3 3 3 3 3 3 3 3 3 3 3
Perc. 2
bœ >œ bœ >œ
bœ bœ
Vibe & Ó Œ Œ Ó Œ Œ
n. f n. f n. f n. f

& ≈b œ œ ≈b œ œ œ b œ ≈œœ≈œœœ ≈ bœ œ ≈ ≈œœ≈œœœ ≈b œ œ ≈b œ œ œ b œ ≈œœ≈œœœ ≈ bœ œ ≈ ≈œœ≈œœœ

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Glk.
œ bœ œ œ œ œ œ bœ œ œ œ œ
Perc. 3

Crt. & ∑ Ó Ó Ó Ó
œ œ œ œ
> >
f f
bœ œ œ
n.

bœ œ œ
n.

bœ bœ bœ œ œ ≈ œ œ bœ bœ bœ
œœ œœ
≈ ≈ œ œ bœ ≈ ≈ œ œ bœ
œœœ œœœ œ œ ≈œœ
Glk. & ≈œœ≈ œ ≈œœ≈ œ ≈ ≈œœ≈ œ ≈œœ≈ œ ≈
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 4

& œ Œ Ó Ó Œ bœ œ Œ œ œ Ó Œ bœ
>
Crt.
> > f
f n. f n. n.

b œœ .. b œœœœœ ˙˙˙˙˙ b ˙˙˙ ... b œœ b œœ .. b œœœœœ ˙˙˙˙˙ b ˙˙˙ ... b œœ

424 œ. œ œ. œ
& J J
Pno.
?
j j
bœ. bœ ˙ ˙. œ bœ. bœ ˙ ˙. œ

œ. b œœ ˙˙ ˙. bœ œ. œœ ˙˙ ˙. bœ
J J
424
Vln. I &

œ. b œœ ˙˙ b˙. œ œ. b œœ ˙˙ b˙. œ
Vln. II & J J

bœ. b œœ b œœ .. b œœ
& œ. ˙.
œœ ˙˙ œœ ˙˙ ˙.
Vla.
J J

? bœ. bœ
b b œœ ..
b œœ ˙˙ ˙˙ . b œœ ˙˙ ˙˙ . bœ
Vc. b œ. J . œ J . œ

? j j
D.B. bœ. bœ ˙ ˙. œ bœ. bœ ˙ ˙. œ
424 425 426 427

142
 Re(new)al
œ. œ- ˙ b ˙- . œ- w w
J
428
Fl. &
P
w b ˙- . œ- bw w
Ob. &
P
w b ˙- . œ- w w
B b Cl. &
P

? j
bœ. œ- ˙ b ˙- . œ-
Bsn.
w w
P
œ. b œ- ˙ -̇ . b œ- w w
S. Sx. & J
P

? j
B. Sx. bœ. b œ- ˙ b ˙- . œ- bw w
P

b œ- -̇ . b œ-
428
Hn. & œ. J
˙
b œ-
Œ Ó ∑

œ. œ- b ˙- . œ- œ-
C Tpt. & J
˙ Œ Ó ∑

? j Œ Ó ∑
Tbn. bœ. b œ- ˙ b ˙- . œ- b œ-

428
& œ ≈œœ≈ ≈ ≈ ≈œœ≈ ≈ ≈ œ œ ≈œœ≈ ≈ ≈ ≈œœ≈ ≈ ≈
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

œ
œ œœ œœ œ œœ œ œ œ œ œœ œ œ œ œ œœ
Glk.
œ œœœ œ œœœ œ œœœ œ œœœ
Perc. 1
œ >œ >œ œ >œ
428 œ
Vibe & Œ Œ Œ Œ Ó ∑
n. f n. f n. f
œœœ œœœ œœœ
Glk. & ≈œœ≈ œ ≈œœ≈œœœ œ ≈ œœ≈ œ ≈œœ≈ œ ≈ œœ≈ œœœ œ ≈œœ≈œœœ œ ≈ œœ≈ œœœ œ ≈œœ≈œœœ œ
3 3 3 3 3 3 3 3 3 3

>œ >œ
3 3 3 3 3 3
Perc. 2
bœ bœ bœ >œ
Vibe & Ó Ó Œ Œ ∑
n. f n. f n. f

& ≈b œ œ ≈b œ œ œ b œ ≈œ ≈œœœ ≈ bœ œ ≈ ≈œ ≈œœœ ≈ bœ œ ≈ ≈œ ≈œœœ ≈ bœ œ ≈ bœ ≈œ ≈œœœ

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

bœ œ œ œ bœ œ œ œ œ
Glk.
œ œ œ œ œ œ œœ œ œ
Perc. 3

& ∑ Ó Œ œ œ Œ Ó ∑
>
Crt.

n. f
bœ œ œ bœ bœ
bœ bœ bœ
œ œ œ bœ œ œ ≈ œ œ bœ œœœ œœ œ œœœ œœ œ
Glk. & ≈œœ≈ œ ≈ ≈ œ ≈œœ≈
œœœ œ ≈ ≈œœ≈ œ ≈ ≈ œ bœ ≈œœ≈ œ ≈ ≈ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 4

& œ Œ Ó Ó Ó ∑
Crt.
bœ œ
> > œ
>
œ
f n. f n. f
b œœ .. . >
b b ˙˙˙ ..
œœœ wwww wwww
428 œ. b œœœœœ ˙˙˙˙˙
& J
Pno. Í
?
j bw bw
bœ. bœ ˙ b˙. œ bw bw

œ. b œœ ˙˙ b˙. œ w w
J
428
Vln. I &
P
œ. b œœ ˙˙ ˙. bœ ww ww
Vln. II & J
P
bw w
b œœ .. œœ ˙˙ b ˙˙ .. œœ w w
Vla. & J
P
? bœ.
b b ˙˙ ..
œœ
b œœ ˙˙ b ww ww
Vc. b œ. J P
? j
D.B. bœ. bœ ˙ b˙. œ bw w
P
428 429 430 431
143
 Re(new)al
433
432
w bw w
Fl. &
p f
w w w
Ob. &
p f
w bw w
B b Cl. &
p f

? Ó
b˙
Bsn.
w ˙ ˙
p f p
w bw w
S. Sx. &
p f

?
w
b˙
B. Sx.
˙ ˙ ˙
p f p f
432
& ∑ Ó
Hn. ˙ b˙ ˙
f
+ o
harmon mute

∑ bw w
C Tpt. &
p f
b˙ ˙ b˙ ˙
? ∑
gliss. gliss.

Tbn.
B

f
432
& œ ≈œœ≈ ≈ ≈œœ ≈œœ≈ œœœ ≈œœ≈œœ ≈œœ≈ œœœ ≈œœ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Glk.
œ œœœ œ œœ œ œ œ œ œ œ
Perc. 1
432 œ œ bow dramatically and out of sync with others

Vibe & ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

n. f

≈ œœ≈
œœ≈ œœœ
≈ œ ≈
œœœ œœœ œ œ œœœ œœ≈ œœœ œ
≈œœ≈œ
œœ œ œ
Glk. & ≈ œœ≈ œ œ ≈ ≈
3 3 3 3 3 3 3 3 3 3 3 3

Perc. 2
bœ œ bow dramatically and out of sync with others

Vibe & ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

n. f

& ≈ bœ œ ≈ bœ œ œ ≈œœ≈œœœ ≈ bœ œ ≈ ≈ œ œ ≈ bœ œ œ ≈ bœ œ ≈ bœ œ œ ≈ œ œ ≈ bœ œ œ
3 3 3 3 3 3 3 3 3 3 3 3

Glk. œ œ bœ œ œ œ œ œ œ
Perc. 3
bow dramatically and out of sync with others

Crt. & ∑ œ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

n. f
bœ bœ œœœ œœ bœ bœ œ œ bœ bœ œ œ
≈ œ œ bœ ≈ œ œ bœ
œœ œœ
Glk. & ≈œœ≈ œ ≈ ≈œœ≈ œ ≈ ≈œœ≈ œ ≈ ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Perc. 4
bow dramatically and out of sync with others

& ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Crt.
bœ œ
n. f
w
432 ww
w b b www
& ∑
Pno. ƒ
?
bw
bw
bw w
>
432
w bw w
Vln. I &
f
ww bw w
Vln. II &
f
w
b ww ww
Vla. & w
f
? w
bbw
Vc. w w w
w
f
?
ossia 8va

w
bw
D.B.
w
f 433 434
432
144
 Re(new)al

435 b w w bw
Fl. &
p f p
w w w
Ob. &
p f p
bw w bw
B b Cl. &
p f p

Bsn.
?
˙ ˙ ˙ ˙ ˙ ˙
f p f p f p
bw w bw
S. Sx. &
p f p

B. Sx.
?
˙ ˙ ˙ ˙ ˙ ˙
p f p f p f
435
Hn. & b˙ ˙ b˙ ˙ bw

+ o +
bw w bw
C Tpt. &
p f p

B
b˙ gliss. ˙ b˙ gliss. ˙ w-
Tbn.

435
& œ ≈œœ≈ œœœ ≈œœ≈œœ ≈œœ≈ œœœ ≈œœ≈œœ ≈œœ≈ œœœ ≈œœ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Glk. œ œ œ œ œ œ œ œ
Perc. 1
435
Vibe &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

œœ≈ œœœ œ œœ≈ œœœ œ

≈ œ ≈
œ œœœ œ œœ≈ œœœ œ
≈ œ ≈
œ œœœ œ œœ≈ œœœ œ
Glk. & ≈ ≈ ≈ ≈
3 3 3 3 3 3 3 3 3 3 3 3

Perc. 2

Vibe &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

& ≈ bœ œ ≈ bœ œ œ ≈ œ œ ≈ bœ œ œ ≈ bœ œ ≈ bœ œ œ ≈ œ œ ≈ bœ œ œ ≈ bœ œ ≈ bœ œ œ ≈ œ œ ≈ bœ œ œ
3 3 3 3 3 3 3 3 3 3 3 3

Glk. œ œ œ œ œ œ
Perc. 3

Crt. &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

bœ bœ bœ œ œ bœ bœ œ œ bœ bœ œ œ
≈ œ œ bœ ≈ œ œ bœ
œœ œœ œœ
Glk. & ≈œœ≈ œ ≈ ≈œœ≈ œ ≈ ≈œœ≈ œ ≈ ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Perc. 4

Crt. &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

435
& ∑ ∑ ∑
Pno.
?
w w b w-

435 w w w
Vln. I &
w w w
Vln. II &

ww ww ww
Vla. &

?
Vc. w w w
w w w

D.B.
?
w w w
435 436 437

145
 Re(new)al

438 w bw w
Fl. &
f p f
w w w
Ob. &
f p f
w bw w
B b Cl. &
f p f

Bsn.
?
˙ ˙ ˙ ˙ w
f p f p f
w bw w
S. Sx. &
f p f

B. Sx.
?
˙ ˙ ˙ ˙ w
p f p f
438
Hn. & w w w

o + o
w bw w
C Tpt. &
f p f
B w w w
Tbn.

438
& œ ≈œœ≈ œœœ ≈œœ≈œœ ≈œœ≈ œœœ ≈œœ≈œœ ≈œœ≈ œœœ ≈œœ≈œœ
3 3 3 3 3 3 3 3 3 3 3 3

Glk. œ œ œ œ œ œ œ œ
Perc. 1
438
Vibe &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑

œœ≈ œœœ œ œœ≈ œœœ œ

≈ œ ≈
œ œœœ œ œœ≈ œœœ œ
≈ œ ≈
œ œœœ œ œœ≈ œœœ œ
Glk. & ≈ ≈ ≈ ≈
3 3 3 3 3 3 3 3 3 3 3 3
Perc. 2

Vibe &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑

& ≈ bœ œ ≈ bœ œ œ ≈ œ œ ≈ bœ œ œ ≈ bœ œ ≈ bœ œ œ ≈ œ œ ≈ bœ œ œ ≈ bœ œ ≈ bœ œ œ ≈ œ œ ≈ bœ œ œ
3 3 3 3 3 3 3 3 3 3 3 3

Glk. œ œ œ œ œ œ
Perc. 3

Crt. &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑

bœ bœ œ œ bœ bœ œ œ bœ bœ œ œ
bœ ≈œœ≈ œ ≈
œœ
≈ œ œ bœ ≈œœ≈ œ ≈
œœ
≈ œ œ bœ ≈œœ≈ œ ≈
œœ
≈œœ
Glk. &
3 3 3 3 3 3 3 3 3 3 3 3
Perc. 4

Crt. &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑

438
& ∑ ∑ ∑
Pno.
?
w w w

438 w w w
Vln. I &

w w w
Vln. II &

ww ww ww
Vla. &

?
Vc. ww ww ww

D.B.
?
w w w
438 439
440

146
 Re(new)al
441
œ
Fl. & R ‰. Œ Ó ∑ ∑ ∑ ∑
ƒ
œ
Ob. & R ‰. Œ Ó ∑ ∑ ∑ ∑
ƒ
œ
B b Cl. & R ‰. Œ Ó ∑ ∑ ∑ ∑
ƒ

Bsn.
? r ‰. Œ Ó ∑ ∑ ∑ ∑
œ
ƒ
œ
S. Sx. & R ‰. Œ Ó ∑ ∑ ∑ ∑
ƒ

B. Sx.
? r ‰. Œ Ó ∑ ∑ ∑ ∑
œ
ƒ
441
Hn. & œR ‰ . Œ Ó ∑ ∑ ∑ ∑
ƒ
& R ‰. Œ Ó ∑ ∑ ∑ ∑
C Tpt.
œ
ƒ

Tbn.
B œR ‰ . Œ Ó ∑ ∑ ∑ ∑
ƒ
441 U
& 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
3 3 3 3 3 3

Glk. œ œ œ w

œœ U
& ≈ ≈ ≈ œ≈ œ≈ œ≈ œ ≈ œœ≈ ≈ œ≈ œ≈ œ≈ œ ≈ œœ≈ ≈ œ≈ œ≈ œ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈
œœ œœœ œ œœœ œ œœœ œ w
Glk.
3 3 3 3 3 3

U
& ≈ bœ œ ≈bœ œ œ ®œ . ®œ . ®œ . ®œ . ≈ b œ œ ≈ b œ ®œ . ®œ . ®œ . ®œ . ≈ b œ œ ≈ b œ ®œ . ®œ . ®œ . ®œ . ®b œ . ®œ . ®œ . ®œ . ®œ . ®œ . ®œ . ®œ
3 3 3 3 3 3

œ œ œ
Glk.
œœ œœ œœ w

bœ bœ bœ œ œ œ œ œ bœ bœ bœ œ œ œ œ œ bœ bœ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ. bœ U
w
Glk. & ≈œœ≈ ≈œœ≈ ≈œœ≈
3 3 3 3 3 3

441
& ∑ ∑ ∑ ∑ ∑
Pno.
? r ‰. Œ Ó ∑ ∑ ∑ ∑
œ
œ
& R ‰.
441
Vln. I Œ Ó ∑ ∑ ∑ ∑
ƒ
œ
Vln. II & R ‰. Œ Ó ∑ ∑ ∑ ∑
ƒ
œœ
Vla. & R ‰. Œ Ó ∑ ∑ ∑ ∑
ƒ
? r ‰. Œ Ó ∑ ∑ ∑ ∑
Vc. œ
œ
ƒ
D.B.
? r ‰. Œ Ó ∑ ∑ ∑ ∑
œ
ƒ 441 442 443 444 445

147
 VIET CUONG
Commissioned by the Albany (NY) Symphony Orchestra, David Alan Miller, Musical Director

Re(new)al Dedicated to Sandbox Percussion

(2018, rev. 2021)

Concerto for Percussion Quartet

Copyright © 2018, 2021 Viet Cuong, All Rights Reserved

148
 INSTRUMENTATION
2 Flutes/Piccolos (2 flutists who both double Piccolo)
2 Oboes
2 Clarinets in Bb
2 Bassoons

4 Horns in F
2 Trumpets in C
2 Trombones
Bass Trombone
Tuba

Timpani

3 Section Percussion:
Player 1: xylophone, crotales (upper octave), triangle, bass drum
Player 2: marimba 1, whip, tam-tam
Player 3: vibraphone, marimba 2, suspended cymbal, crash cymbals

Piano

Percussion Quartet Soloists*

(*see percussion set-up info below for instrumentation)

Strings

Score is in C, but octave transpositions still apply.

Duration: 15 minutes (4’ + 6’ + 5’)

MOVEMENTS
I. Hydro – pg. 152
II. Wind – pg. 167
III. Solar – pg. 199

PERCUSSION SOLOIST SET-UPS BY MOVEMENT

I. Hydro

8 Crystal Glasses (amplification required*)

Pitches needed:
Perc. 1: C5, F5 | Perc. 2: C5, E5 | Perc. 3: A5, C6 | Perc. 4: D5, B5

* Two microphones are needed, with one for each pair of soloists.
Crystal glasses should be as amplified as possible to balance with the orchestra.

The four soloists will sit at a table to toast the glasses. Percussion 1 & 2 are paired, and Percussion 3 & 4 are paired.

2
1

149
 II. Wind

4 Kick Drums
4 Hi-Hats
4 cans of canned air (optional – sandpaper blocks can be substituted)*
1 China Cymbal
1 Snare Drum (shared**)

*Typical cans of compressed air found in office supply stores can contain harmful chemicals. Refillable cans, such as the Sure
Shot Atomizer or Jacquard YouCAN are recommended, as they can be refilled and reused with air via a bicycle pump. If you
cannot find one of these environmentally friendly alternatives, the air can notes at m. 235-248 can be played on hi-hats, and
sandpaper blocks can be substituted in the section at m. 344-351.

**The shared snare drum (played with each soloist’s left hand) is set up in the center of the quartet,
with the kick drums and hi-hats surrounding it in a circle.

2 1

3 4

Mvt. II Staff Map:

a.) Kick Drum
b.) Hi-hat
c.) Close hi-hat with foot
d.) China Cymbal
e.) Snare Drum

a.) b.) c.) d.) e.)

Hi-hats are always closed unless otherwise specified as open with the circle marking shown here on b.)

III. Solar

1 Snare Drum (turned upside down)

Prepared* Vibraphone (shared)

*Pitches prepared with aluminum foil on the resonators (notated with diamond note heads):
F#3, G3, E5, F5, F#5, F6

Crotales, lower octave, divided between Perc. 3 & 4

Perc. 3: C, E, G, G#, B.
*E and G will need to be suspended by string so they can be submerged in water to bend the pitch.
Perc. 4: C#, D, D#, F, F#, A, A#
Perc. 4 will lower crotales onto a snare drum placed upside down. As the crotales are lowered, the snare drum will
create sympathetic vibrations similar to the aluminum foil placed under the vibraphone bars.

Glockenspiel (shared*)
*Similar to the snare drum in Mvt. 2, all four players will share the same glockenspiel. In addition, the vibraphone is
shared between Perc. 1 and 2, so that Perc. 2 will play the instrument “upside down” and bow the accidentals. At the
conclusion of the piece, Perc. 3 and 4 will similarly be playing the glockenspiel upside down, and mostly on the
accidentals.

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 PERFORMANCE NOTES:
^ - the hardest, sharpest accent. When used at the end of a slurred or tied wind phrase, the tongue should
immediately stop the air to create a sudden release, without actually rearticulating.
• An accidental remains in effect for the remainder of its respective measure, unless cancelled out by a subsequent
accidental. In addition, accidentals are exclusive only to the octave they are in.
• All glissandi (in the trombones and strings) are to be performed over the full durations of the indicated notes.
• The crystal glasses in the first movement should be as amplified as possible to balance with the orchestra.

Strings:
• Natural harmonics are used extensively in the first movement. When the harmonics used are not the more
commonly seen octave harmonics, they are notated with the string number (Roman numeral) and the node
(diamond notehead).
• A laissez vibrer tie is sometimes used at the end of a harmonic. This indicates to release the left hand and bow
at the same time. Along with using lots of bow, this will maximize the string's ring at the release of the
harmonic.

Winds and Brass:

• Air sounds are used to emulate gusts of wind. Blow air into the instrument without creating a pitch. Use any
fingering that achieves the loudest air sound. These sounds are notated with x and hollow diamond
noteheads, with x noteheads used for quarter, dotted, quarter, and eighth notes, and hollow diamonds used for
half, dotted half, and whole notes. In addition, a special clef is used to designate air sounds from normal,
pitched playing.
• Crescendos and decrescendos that have a flared beginning or end shape indicate to save most of the dynamic
contrast for the beginning or end of the hairpin. This is also sometimes referred to as a "trumpet bell" shaped
hairpin.
• Harmon Mute: A "+" symbol indicates closing the bell with the hand, and "o" symbol indicates opening the
bell. Shifts between open and closed should always be as gradual as possible.

PROGRAM NOTES:

I have tremendous respect for renewable energy initiatives and the commitment to creating a new, better reality
for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe
new life into traditional ideas, and the solo quartet therefore performs on several “found” instruments, including
crystal glasses and reusable compressed air cans. And while the piece also features more traditional instruments, such
as snare drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For
instance, a single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are
prepared with aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way,
and it was a blast to discover all of these unique sounds with the members of Sandbox Percussion.

Cooperation and synergy are also core themes of the piece, as I believe we all have to work together to move
forward. All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed
between the four soloists (for those interested, the fancy musical term for this is a hocket). The music would therefore
be dysfunctional without the presence and dedication of all four members. For example, the quartet divvies up lighting-
fast drum set beats in the second movement and later shares one glockenspiel in the last movement. But perhaps my
favorite example of synergy in the piece is in the very opening, where the four soloists toast crystal glasses. We always
toast glasses in the presence of others, and oftentimes to celebrate new beginnings. This is my simple way of
celebrating everyone who is working together to create a cleaner, more efficient world.

Re(new)al is constructed of three continuous movements, each inspired by the power of hydro, wind, and solar
energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the orchestra slowly
submerges the soloists in their sound. The second movement turns each member of the quartet into a blade of a
dizzying wind turbine, playing seemingly-impossible 90’s-inspired drum and bass patterns. The closing movement
simulates a sunrise and evokes the brilliance of sunlight with metallic percussion instruments. This piece was
originally written with a sinfonietta accompaniment, and in its original form was commissioned for the 2017 American
Music Festival by David Alan Miller and the Albany Symphony’s Dogs of Desire in partnership with GE Renewable
Energy. This full orchestra version was commissioned in 2018 by the Albany Symphony and is dedicated to Sandbox
Percussion.

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 VIET CUONG

Re(new)al
Percussion Quartet Concerto
Wind Ensemble Version

(2019, rev. 2021)

216
Copyright © 2019, 2021 Viet Cuong, All Rights Reserved
 INSTRUMENTATION
2 Flutes/Piccolos (two flutists who both double piccolo)
2 Oboes
2 Bassoons
1 Contrabassoon
3 Bb Clarinets (doubling or tripling each part is recommended)
2 Bass Clarinets (two separate parts)
Soprano Saxophone
2 Alto Saxophones
Tenor Saxophone
Baritone Saxophone

Percussion Quartet Soloists*

(*see percussion set-up info below for instrumentation)

4 Trumpets in Bb
4 Horns in F
3 Trombones
Bass Trombone
Euphonium (doubling is recommended)
Tuba (doubling is recommended)

Piano

Double Bass (amplified—see performance notes on pg. iv)

Timpani

4 Section Percussion:
Player 1: marimba 1 (not shared with player 1), bass drum, upper octave crotales
Player 2: marimba 2, crash cymbals, whip
Player 3: xylophone, triangle, tam-tam
Player 4: vibraphone (separate from the soloists’ vibraphone), suspended cymbal

*The first movement asks both flutists to double on piccolo.

For the second and third movements, both flute parts may be doubled.

Transposed Score
Duration: 16 minutes

MOVEMENTS
I. Hydro – pg. 220
II. Wind – pg. 234
III. Solar – pg. 266

PERCUSSION SOLOIST SET-UPS BY MOVEMENT

I. Hydro

8 Crystal Glasses (amplification required*)

Pitches needed:
Perc. 1: C5, F5 | Perc. 2: C5, E5 | Perc. 3: A5, C6 | Perc. 4: D5, B5

* Two microphones are needed, with one for each pair of soloists.
Crystal glasses should be as amplified as possible to balance with the ensemble.

The four soloists will sit at a table to toast the glasses. Percussion 1 & 2 are paired, and Percussion 3 & 4 are paired.

2
1

4 217
 II. Wind

4 Kick Drums
4 Hi-Hats
4 cans of canned air (optional – sandpaper blocks can be substituted)*
1 China Cymbal
1 Snare Drum (shared**)

*Typical cans of compressed air found in office supply stores can contain harmful chemicals. Refillable cans, such as the Sure
Shot Atomizer or Jacquard YouCAN are recommended, as they can be refilled and reused with air via a bicycle pump. If you
cannot find one of these environmentally friendly alternatives, the air can notes at m. 235-248 can be played on hi-hats, and
sandpaper blocks can be substituted in the section at m. 344-351.

**The shared snare drum (played with each soloist’s left hand) is set up in the center of the quartet,
with the kick drums and hi-hats surrounding it in a circle.

2 1

3 4

Mvt. II Staff Map:

a.) Kick Drum
b.) Hi-hat
c.) Close hi-hat with foot
d.) China Cymbal
e.) Snare Drum

a.) b.) c.) d.) e.)

Hi-hats are always closed unless otherwise specified as open with the circle marking shown here on b.)

III. Solar
1 Snare Drum (turned upside down)

Prepared* Vibraphone (shared by Perc. 1 & 2)

*Pitches prepared with aluminum foil on the resonators (notated with diamond note heads):
F#3, G3, E5, F5, F#5, F6

Crotales, lower octave, divided between Perc. 3 & 4

Perc. 3: C, E*, G*, G#, B.
*E and G will need to be suspended by string so they can be submerged in water to bend the pitch.
Perc. 4: C#, D, D#, F, F#, A, A#
Perc. 4 will lower crotales onto a snare drum placed upside down. As the crotales are lowered, the snare drum will create
sympathetic vibrations similar to the aluminum foil placed under the vibraphone bars.

Suspended Cymbal (Perc. 3)

China Cymbal (Perc. 4)

Glockenspiel (shared by all four soloists*)

*Similar to the snare drum in Mvt. 2, all four players will share the same glockenspiel. In addition, the vibraphone is shared
between Perc. 1 and 2, so that Perc. 2 will play the instrument “upside down” and bow the accidentals. At the conclusion of the
piece, Perc. 3 and 4 will similarly be playing the glockenspiel upside down, and mostly on the accidentals.

2
218
 PERFORMANCE NOTES:
^ - the hardest, sharpest accent. When used at the end of a slurred or tied wind phrase, the tongue should
immediately stop the air to create a sudden release, without actually rearticulating.
n. - niente
• An accidental remains in effect for the remainder of its respective measure, unless cancelled out by a subsequent
accidental. In addition, accidentals are exclusive only to the octave they are in.
• Air sounds are used to emulate gusts of wind. These sounds are notated with rectangular note heads on single-
line staves. Use any fingering (or lack of one) that achieves the loudest air sound.
• Crescendos and decrescendos that have a flared beginning or end shape indicate to save most of the dynamic
contrast for the beginning or end of the hairpin. This is also sometimes referred to as a “trumpet bell” shaped
hairpin.
• All glissandi (in the trombones) are to be performed over the full durations of the indicated notes.
• Amplification of the double bass is recommended for the duration of the piece, particularly during the two
pizzicato solos (m. 233 and 309). This can be done with a pickup/amp, or with a microphone signal sent to the
house speakers.
• The crystal glasses in the first movement should be as amplified as possible to balance with the ensemble.

PROGRAM NOTES:
I have tremendous respect for renewable energy initiatives and the commitment to creating a new, better reality
for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe
new life into traditional ideas, and the solo quartet therefore performs on several “found” instruments, including
crystal glasses and compressed air cans. And while the piece also features more traditional instruments, such as snare
drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For instance, a
single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are prepared with
aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way, and even the
accompaniment was written these ideas in mind.

Cooperation and synergy are also core themes of the piece, as I believe we all have to work together to move
forward. All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed
between the four soloists (for those interested, the fancy musical term for this is a hocket). The music would therefore
be dysfunctional without the presence and dedication of all four members. For example, the quartet divvies up lighting-
fast drum set beats in the second movement and then shares one glockenspiel in the last movement. But perhaps my
favorite example of synergy in the piece is in the very opening, where the four soloists toast crystal glasses. We always
toast glasses in the presence of others, and oftentimes to celebrate new beginnings. This is my simple way of
celebrating everyone who is working together to create a cleaner, more efficient world.

Re(new)al is constructed of three continuous movements, each inspired by the power of hydro, wind, and solar
energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the wind ensemble slowly
submerges the soloists in their sound. The second movement turns each member of the quartet into a blade of a
dizzying wind turbine, playing seemingly-impossible 90’s-inspired drum and bass patterns. The closing movement
simulates a sunrise and evokes the brilliance of sunlight with metallic percussion instruments. This piece was
originally written with a sinfonietta accompaniment, and in its original form was commissioned for the 2017 American
Music Festival by David Alan Miller and the Albany Symphony’s Dogs of Desire in partnership with GE Renewable
Energy. A full orchestra version was commissioned in 2018 by the Albany Symphony, and this version for wind
ensemble was commissioned by a consortium of universities and community ensembles. Heartfelt thanks to everyone
who has been involved in any of the three versions of this piece.

COMMISSIONING CONSORTIUM
(listed alphabetically)

Brooklyn Wind Symphony, Jeff W. Ball, conductor Five high school organizations contributed to the
Central Connecticut State University, Robert Schwartz, conductor consortium for the third movement (Solar):
Dallas Winds, Jerry Junkin, conductor
Michigan State University, Kevin Sedatole, conductor Cy-Fair High School, Mark Veenstra, conductor
North Shore Wind Symphony (Australia), Andrew McWade, conductor Pelham High School, Justin Ward, conductor
Northwestern University, Shawn Vondran, conductor Sandia High School, Tyler North, conductor
San Jose State University, David Vickerman, conductor Wakeland High School, Tanner Smith, conductor
The University of Alabama, Ken Ozzello, conductor West Springfield High School, Eric Hoang, conductor
University of Georgia, Cynthia Johnston Turner, conductor
University of Houston, David Bertman, conductor
University of Illinois Urbana-Champaign, Steve Peterson, conductor
University of Oregon, Dennis Llinás, conductor
University of Texas at Austin, Jerry Junkin, conductor
Valley Winds, Brian Messier, conductor
Williams College, Brian Messier, conductor

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 VIET CUONG

Re(new)al percussion quartet concerto

chamber winds version
Commissioned by the Vanderbilt Wind Symphony, Thomas Verrier, conductor

(2021)

Copyright © 2021 Viet Cuong, All Rights Reserved

281
 INSTRUMENTATION
2 Flutes/Piccolos (two flutists who both double piccolo*)
2 Bb Clarinets
1 Bassoon
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone

Percussion Quartet Soloists*

(*see percussion set-up info below for instrumentation)

2 Trumpets in Bb
2 Horns in F
2 Trombones
1 Tuba

Piano

3 Section Percussion:
Player 1: xylophone, crotales (upper octave), triangle, bass drum
Player 2: marimba 1, whip, tam-tam
Player 3: vibraphone, suspended cymbal, marimba 2, crash cymbals

Double Bass (amplified—see performance notes on pg. iv)

*The first movement asks the two flutists to double on piccolo. Using four piccolos is highly recommended,
but it is acceptable to alternatively perform these parts on flute, as written.

Score is transposed.
Duration: 16 minutes

MOVEMENTS
I. Hydro – pg. 285
II. Wind – pg. 297
III. Solar – pg. 328

PERCUSSION SOLOIST SET-UPS BY MOVEMENT

I. Hydro

8 Crystal Glasses (amplification required*)

Pitches needed:
Perc. 1: C5, F5 | Perc. 2: C5, E5 | Perc. 3: A5, C6 | Perc. 4: D5, B5

* Two microphones are needed, with one for each pair of soloists.
Crystal glasses should be as amplified as possible to balance with the ensemble.

The four soloists will sit at a table to toast the glasses. Percussion 1 & 2 are paired, and Percussion 3 & 4 are paired.

2
1

282
 II. Wind

4 Kick Drums
4 Hi-Hats
4 cans of canned air (optional – sandpaper blocks can be substituted)*
1 China Cymbal
1 Snare Drum (shared**)

*Typical cans of compressed air found in office supply stores can contain harmful chemicals. Refillable cans, such as the Sure
Shot Atomizer or Jacquard YouCAN are recommended, as they can be refilled and reused with air via a bicycle pump. If you
cannot find one of these environmentally friendly alternatives, the air can notes at m. 235-248 can be played on hi-hats, and
sandpaper blocks can be substituted in the section at m. 344-351.

**The shared snare drum (played with each soloist’s left hand) is set up in the center of the quartet,
with the kick drums and hi-hats surrounding it in a circle.

2 1

3 4

Mvt. II Staff Map:

a.) Kick Drum
b.) Hi-hat
c.) Close hi-hat with foot
d.) China Cymbal
e.) Snare Drum

a.) b.) c.) d.) e.)

Hi-hats are always closed unless otherwise specified as open with the circle marking shown here on b.)

III. Solar
1 Snare Drum (turned upside down)

Prepared* Vibraphone (shared by Perc. 1 & 2)

*Pitches prepared with aluminum foil on the resonators (notated with diamond note heads):
F#3, G3, E5, F5, F#5, F6

Crotales, lower octave, divided between Perc. 3 & 4

Perc. 3: C, E*, G*, G#, B.
*E and G will need to be suspended by string so they can be submerged in water to bend the pitch.
Perc. 4: C#, D, D#, F, F#, A, A#
Perc. 4 will lower crotales onto a snare drum placed upside down. As the crotales are lowered, the snare drum will create
sympathetic vibrations similar to the aluminum foil placed under the vibraphone bars.

Suspended Cymbal (Perc. 3)

China Cymbal (Perc. 4)

Glockenspiel (shared by all four soloists*)

*Similar to the snare drum in Mvt. 2, all four players will share the same glockenspiel. In addition, the vibraphone is shared
between Perc. 1 and 2, so that Perc. 2 will play the instrument “upside down” and bow the accidentals. At the conclusion of the
piece, Perc. 3 and 4 will similarly be playing the glockenspiel upside down, and mostly on the accidentals.

2
283
 PERFORMANCE NOTES:
^ - the hardest, sharpest accent. When used at the end of a slurred or tied wind phrase, the tongue should
immediately stop the air to create a sudden release, without actually rearticulating.
n. - niente
• An accidental remains in effect for the remainder of its respective measure, unless cancelled out by a subsequent
accidental. In addition, accidentals are exclusive only to the octave they are in.
• Air sounds are used to emulate gusts of wind. These sounds are notated with rectangular note heads on single-
line staves. Use any fingering (or lack of one) that achieves the loudest air sound.
• Crescendos and decrescendos that have a flared beginning or end shape indicate to save most of the dynamic
contrast for the beginning or end of the hairpin. This is also sometimes referred to as a "trumpet bell" shaped
hairpin.
• All glissandi (in the trombones) are to be performed over the full durations of the indicated notes.
• Amplification of the double bass is recommended for the duration of the piece, particularly during the two
pizzicato solos (m. 233 and 309). This can be done with a pickup/amp, or with a microphone signal sent to the
house speakers.
• The crystal glasses in the first movement should be as amplified as possible to balance with the ensemble.

PROGRAM NOTES:
I have tremendous respect for renewable energy initiatives and the commitment to creating a new, better reality
for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe
new life into traditional ideas, and the solo quartet therefore performs on several “found” instruments, including
crystal glasses and compressed air cans. And while the piece also features more traditional instruments, such as snare
drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For instance, a
single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are prepared with
aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way, and even the
accompaniment was written these ideas in mind.

Cooperation and synergy are also core themes of the piece, as I believe we all have to work together to move
forward. All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed
between the four soloists (for those interested, the fancy musical term for this is a hocket). The music would therefore
be dysfunctional without the presence and dedication of all four members. For example, the quartet divvies up
lightning-fast drum set beats in the second movement and then shares one glockenspiel in the last movement. But
perhaps my favorite example of synergy in the piece is in the very opening, where the four soloists toast crystal glasses.
We always toast glasses in the presence of others, and oftentimes to celebrate new beginnings. This is my simple way
of celebrating everyone who is working together to create a cleaner, more efficient world.

Re(new)al is constructed of three continuous movements, each inspired by the power of hydro, wind, and solar
energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the wind ensemble slowly
submerges the soloists in their sound. The second movement turns each member of the quartet into a blade of a
dizzying wind turbine, playing seemingly-impossible 90’s-inspired drum and bass patterns. The closing movement
simulates a sunrise and evokes the brilliance of sunlight with metallic percussion instruments. This piece was
originally written with a sinfonietta accompaniment, and in its original form was commissioned for the 2017 American
Music Festival by David Alan Miller and the Albany Symphony’s Dogs of Desire in partnership with GE Renewable
Energy. A full orchestra version was commissioned in 2018 by the Albany Symphony, a wind ensemble version was
commissioned by a consortium of universities and community ensembles in 2019, and this chamber winds version was
commissioned in 2021 by Thomas Verrier and the Vanderbilt Wind Symphony. Heartfelt thanks to everyone who has
been involved in any of the four versions of this piece.

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