ON THE INFLUENCE OF 'PLACE'IN THE COMPOSITIONAL PROCESS

A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THEUNIVERSITY OF HAWAI'I IN PARTIAL FULFILMENT

OF THE REQUIREMENT FOR THE DEGREE OF

MASTER OF MUSIC

MAY 2005

BYYoko Sato

Thesis Committee:

E. Takeo Kudo, ChairpersonDonald Womack

Byron Yasui

iiiABSTRACT

My experiences in Hawai'i led me to think about the influence of place in the

compositional process. This influence is examined at two different levels - the surface

level and reflective level, with an explanation ofmy transition from one level to the other.

My thesis is comprised of two parts, which is a cello concerto entitled Towards

Light, and a paper called On the Influence of 'Place' in the Compositional Process. In this

paper, I examined three composers' experiences influenced by "place" to support my

idea. In addition, an analysis of Towards Light illustrates how I used elements of gagaku

in reflecting and rediscovering Japanese traditional music.

TABLE OF CONTENTS

A1Jstract ---------------------------------------------------------------------------- in

List of Figures --------------------------------------------------------------------- V

IIltroductioIl ----------------------------------------------------------------------- 1

Chapter 1: IIlflueIlce of 'Places' 011 two levels ------------------------------- 2

Chapter 2: TraIlsitioIl ill Hawai'i------------------------------------------------ 9

Chapter 3: IIlflueIlce of gagaku ill Towards Light --------------------------- 12

Chapter 4: Betweell two places------------------------------------------------- 22

Bi1Jliography----------------------------------------------------------------------- 25

IV

LIST OF FIGURES

Figure

1. J1itake cllords --------------------------------------------------------- 13

2. Names of the fifteen pipes ofsho --------------------------------- 13

3. Matrices of Otsu ---------------------------------------------------- 14

4. Matrix of Ku --------------------------------------------------------- 17

5. Matrices of Ge ------------------------------------------------------- 17

6. Matrices of Hi ------------------------------------------------------- 18

7. Matrices of Bi -------------------------------------------------------- 19

v

Introduction

I believe that the cultural origins of composers are unconsciously reflected in the

compositional process. In this paper, the term "place" is used to mean a new

environment, and that "place" can cause composers to view their origins from different

perspectives. When one goes to a new place and experiences new influences, at some

point one starts reflecting upon one's original cultural background. This marks the

starting point of the reflective level. As one continues to become aware of and reflect on

hislher cultural background, one moves to a deeper level of understanding which I call the

"individual level." This stage is characterized by the assimilation of both native and

foreign elements seamlessly into the composer's style.

I will discuss how being in a different place can play the role of a mirror to more

clearly reflect composers' origins and encourage them to rediscover their own cultural

backgrounds through new perspectives. In addition, I will explain how the current work,

Towards Light, was influenced by my experience of living in a different culture.

Chapter one discusses two different levels of reaction to place. To explain these

reactions, I will discuss three composers: Aaron Copland, Isang Yun and Steve Reich.

Chapter two describes how my compositional process has changed over the past two

years since 2003. Chapter three examines the structure of Towards Light and how its

central idea is derived from Japanese traditional music. In chapter four, I discuss how I

have come to approach Japanese traditional music in a different way as a result of the

influence ofplace.

2

Chapter 1. Influence of 'Place' on two levels

Place affects a composer's life and individuality. For composers, being in a place

sometimes provides new ideas and stimulation, and marks points of change in their

creative processes. Place provides time and opportunity for personal reflection.

One would expect that the depth of this influence should be relative to the

distance from the composer's homeland or the length of stay in a new environment.

However, distance can also be measured by the degree of cultural and political contrasts

including differences of language, tradition, sense of expression, air, food, climate, and

values.

I had an opportunity to go to Korea in 1999 to participate in a collaborative

theatrical project between Japan and Korea supported by the Japan Foundation.

Although it took just two hours from Narita to Seoul, I was overcome with deep emotion

when passing over the Tsushima Channel located between Korea and Japan. After five

days in Korea, I came to realize why the Japanese often describe Korea as the "closest

but also farthest country from Japan." When Korea was colonized by Japan from 1910 to

1945, the Japanese government attempted to eliminate native cultural elements from

Korean society. Korean people were forced to convert their names to Japanese names.

Students were educated in the Japanese language. Although geographically close, there

was an immense political distance between Korea and Japan. There are still emotional

conflicts as well as many sad memories which cannot be erased so easily. It was not until

1998 that the Korean government allowed the release of Japanese movies because of the

many bad memories which Koreans have of Japanese colonization. Since 1998, Japanese

movies have gradually become popular and, in 2004, recordings of Japanese music were

made available to the general public.

3

While in Korea, I noticed differences between Japanese and Korean music such as

tuning systems, tone colors, expressive gestures, and rhythm. I had listened to a variety

of Korean traditional music through recordings, but the direct experiences in Seoul

affected me more deeply. When I returned to Japan, I started studying Korean history

and language. From Korean literature, I was very impressed by the tragic story of Min-

pi (1851-95) in the Korean Yi dynasty. This story caused me to compose a requiem for

her, calledAme no Uta ('A Poem of the Rain') for 21-string koto in 1999. In this piece, I

incorporated pizzicato technique for the main melodic line. This is the main technique

used in the Korean version of the koto called the kayagum, since players do not use picks

on their fingers. While for the Japanese koto, the strings are plucked with picks attached

to three fingers of the right hand. My liner notes accompanying the recording of Ame no

Uta were translated as follows.

I had planned sometime to write a work on the theme of Min-pi,one of the last empresses of the Korean Yi dynasty, who was brutallyexecuted by the Japanese military during their 'colonization' of Korea.When Kimura Reiko asked me to write a piece for her, I made the decisionto write a piece expressing my feelings about this tragic woman, as the coreof something that can be extended into the future, and Ame no Uta was theresult. Perhaps, it can be called a requiem for a woman by a woman. WhatI have sought in this piece was quietness rather than intense appeal, atranslucent musicality rather than passionate sound. The word ame (rain)expresses not only the beautiful natural phenomenon that this word meansliterally, but also the tears that Min-pi shed, or rather was forcedto shed. I hope that my prayers for Min-pi, as expressed in the tones ofthe nijugenJ

, find their way into the listener's hearts.2

As previously stated, there are two different levels of reactions to place; one of

which is the surface level. Compositions created at this level are usually

1 Nijugen means 21-string koto in English.2 Liner notes from Reiko Kimura. Music for Koto. (Arizona: Celestial Harmonies, CDS 13191-2 C2000,2001). It was translated by Steven G. Nelson.

4

impressionistic ones and based on the direct stimulation given by a new environment.

Composers may embrace new musical elements such as scales, rhythms, structures and

formal designs found in the new culture. This early work of mine, Ame no Uta, is a clear

example ofwhat I am referring to as surface level.

I have designated the other level as reflective, and consider it more mature than the

surface level. After the initial stage of encountering new experiences, composers begin to

adjust to the new environment until they no longer feel them as novel and stimulating. In

the reflective level, a sort of isolation in the new place intermingles with reflection of

one's origin, causing one to become aware of hislher cultural background and identity from

a different perspective. Composers begin to re-examine their own cultural values and

focus on incorporating the elements of their own cultures into their music in a unique

way. This reflective level is not a goal for compositional activities. Rather, when

composers reflect upon their own cultures, untraditional and traditional musical materials

become combined without bias. Eventually, they work naturally under a composer's

unconsciousness to create profound musical expression. I call this deepest stage the

"individual" level.

Three prominent composers - Aaron Copland, Isang Yun and Steve Reich - may

be viewed as examples of artists influenced by place. The works below are the examples

of the reflective level.

Aaron Copland (1900-1990) is known as a composer whose music embodies a

distinctive American musical style. Jazz is one of the most important characteristics of

his music. His awareness of jazz began in Paris while he was studying composition with

Nadia Boulanger between 1921 and 1924. Her encyclopedic knowledge and insights on

5

Copland's music talent helped him establish his musical style.

Boulanger instilled in Copland, as with so many others, a special regardfor Monteverdi, Bach, Faure, Ravel, and Stravinsky, which stronglyencouraged his own interest in popular music andjazz.3

If Boulanger's attitude toward American music were negative, Copland might

have proceeded in a different way. Despite the closeness of European trends, he rather

returned to the music of his national roots. When he heard jazz music in a bar in Vienna in

1923, Copland "began to consider that jazz rhythms might be the way to make an

American-sounding music." 4

The impression ofjazz one receives in a foreign country is totally unlikethe impression of such music heard in one's own country. Perhaps,because a person is more objectively observant in a foreign country, orbecause the setting was so completely unlike anything I had seen inAmerica, nevertheless, when I heard jazz played in Vienna, it was likehearing it for the first time. It was then that I first began to realize thepotentiality ofjazz material for use in serious music. 5

As a result of this reflection, he composed Music for the Theater in 1925. This

music was not written for a particular play. Rather, Copland tried to express the unique

atmosphere of the theater through rhythmic variety, use of pizzicato in the double basses,

and the use of various mutes for the trumpets which suggests a clear link with jazz

elements. Through his experience and rediscovery in Vienna, jazz elements became one of

the indispensable trademarks in some of Copland's music and enabled him to reach

toward developing an American expression.

Isang Yun experienced a dangerous and dramatic life in various places as a

3 Howard Pollack, Aaron Copland. (New York: Henry Holt and Company, 1999), pA8.4 Liner notes from Music for Theater. Orch. New York philharmonic, Leonard Bernstein condo DeutscheGrammophon, CD 1991.5 Smith, Julia, Aaron Copland. (New York: E.P. Dutton & Company, 1955), p. 60.

6

composer. He went to Osaka and Tokyo in 1939-41, to study composition under

Tomojiroh Ikeuchi (1906-91).6 After being imprisoned in 1943 in Korea by

Japanese occupants due to underground political activities, he taught music at schools in

Tongyong and Pusan (1946-1952) and at universities in Pusan and Seoul (1952-1956).

He went to Paris (1956-1957) and Berlin (1958-1959) to further his study of composition

and contact with the Western European avant garde. After spending three years (1960-

1963) in Krefe1d, Freiburg and Cologne, he returned to Berlin again.

Interestingly, it was in Europe that he finally established his individual style,

combining the tradition of Chinese-Korean court music and Western European avant garde

compositional methods of the time, in particular, the twelve-tone technique.

His Koreanness was not truly discovered in Korea, but in Europe. As Yunhimself says, "when I was in Korea, I enjoyed and listened to our richKorean musical traditions for entertainment. But I realized the hiddentreasure of Korean traditional music for the first time only after I came toEurope." It was this geographical displacement that enabled him todiscover his own identity. 7

Loyang (1962), Gasa (1963), Garak (1963) and Reak (1966) are known as his

representative works of the 1960's which vividly reflect Korean court music elements.

For example, Reak begins with the sound of a pak 8, a single stroke at the beginning and

three strokes at its conclusion. Yun incorporated the actual instrument and its concept in

his Western orchestral piece. The sound of a pak is quite intense and unique, and is

6 Tomokiroh Ikeuchi was on the composition faculty at the Tokyo University ofFine Arts and Music.Many Japanese composers studied music theory with him, including Toshi Ichiyanagi, Minoru Miki andShinichiroh Ikebe.7 Jeongmee Kim, "Musical Syncretism in Isang Yun's Gasa, " in Locating East Asia in Western ArtMusic. (Middletown, Connecticut: Wesleyan University Press, 2004), pp. 168-192.8 Apak is a percussion instrument made up of five or six slabs of wood of varying degrees of thicknessand used as a signal to indicate the beginning and ending of a piece in Korean Court music.

7

successful in creating a strong impact at the beginning of the piece.

In 1967, he was forced to return from Germany to Seoul by Chung Hee Park's

regime and spent two years in prison. He returned to Germany in 1970 after obtaining

German citizenship. For Yun, using the elements of Korean court music was not just a

musical experiment but also a crucial way to establish his individuality as a Korean

composer who lived a difficult migrational life under the hand of politics.

As seen in the examples of Copland and Yun, place played a crucial role in

establishing personal identities. Another composer who seems to have many

characteristics in common with them is Steve Reich (b.1936), although for him, the main

issue centered on confirmation of compositional techniques new to Western music.

Reich, who had been studying drumming since he was 14 years old, started

listening to the recordings of West African music in the 1950s. In 1963, he had an

opportunity to attend the Ojai Festival in California and heard a lecture by Gunther

Schuller, a prominent composer as well as scholar, about the influence of Western

African drumming on early jazz. Schuller introduced Reich to a book called Studies in

African Music (1959) written by A. M. Jones, which included a complete transcription of

a piece performed by the Ewa tribe in Ghana. Through this exposure, his interest in

African drumming grew deeper.

After receiving encouragement from Alfred Ladzepko, a Ghanaian drummer,

Reich visited Ghana in the summer of 1970 for five weeks. What he sought through

practicing drums and transcribing African music was not to create a composition imitating

African music, but to confirm the viability of his compositional process. One year after

returning to New York Reich completed Drumming (1970-1971).

8

The effect of my visit was basically confirmation: that writing for acousticinstruments playing repeating patterns of a percussive nature was a viablemeans ofmaking music, and had an ancient history. Thus, my visit toAfrica did not directly influence my composition Drumming. That piecewas mostly the result of having studied drumming when I was 14 withRoland Kohloff. My studies of Western drumming as a teenager togetherwith my undying attraction for percussion and my discoveries ofphaseshifting with short repeating patterns led to to the composition ofDrumming in 1971. The influence of African music on my compositionreally had happened much earlier in 1963 and '64, and from that point, asan influence, it diminished. 9

In addition, Reich became interested in Balinese music around 1966. He was

greatly impressed by a book called Music in Bali written by Colin McPhee and enrolled in

summer sessions in Gamelan at the American Society of Eastern Arts in Seattle and

Berkeley in 1974 and 1975. For Reich, again, it was "a case of confirmation that other

musicians elsewhere in the world were using musical techniques related to those that I

was using." In his works, he tends not to include non-Western instruments. Rather, he

used Western percussion instruments such as glockenspiel and marimba in his music to

accomplish his style, instruments he was familiar with since his childhood.

For Copland, Yun and Reich, place gave each an opportunity to develop as a

composer.

9 Steve Reich, Writings on Music 1965-2000. (New York: Oxford University Press, 2002), p.106.

9

Chapter 2. Transition in Hawai'i

Since I started to live in Hawai'i, in 2003, my senses have been greatly inspired by

traditional Hawaiian culture as well as mainstream American culture. When I started

living in Hawai'i, which I refer to a stage of culture shock, both sounds and the natural

environment on the island of O'ahu stimulated my creativity. In regard to the dissimilar

elements between the United States and Japan, those having to do with size seemed vivid.

Although the Hawaiian islands are much smaller than Japan, they created broader

impressions of distance than I had in my home country. For example, there are many

vast parks and wide open spaces in Hawai'i, while parks in Tokyo are much smaller.

Also, the wide roads in Hawai'i contrast with the narrow paths in Japan. The Japanese

people often describe their houses as "rabbit hutches" in reference to a small house like a

hutch due to the limited amount of space. Similarly, Japanese people often refer to their

tiny gardens as the "forehead of a cat."

These differences made me think about approaches to various musical parameters

like rhythm and musical time which differ between America and Japan. In addition, the

vivid colors of nature were also different from that of Japan where colors are mainly

subdued and quiet.

Being exposed to such fresh cultural and living experiences, it seemed that it would

not be so difficult to incorporate them into my compositions. As one example, in my

Cello Concerto composed in early 2004, the violoncello solo part was based on three

pitches (D, F and Gyo which are often used in Hula chant; this three-pitch motive

presented in the introduction develops organically as the piece proceeds. The direct

experience ofpracticing Hula for four months inspired me to use this material.

Now, as I look back over two years since 2003, the Cello Concerto was composed

10 It should be mentioned that in hula, words are of prime importance, and pitches are secondary.

10

under a kind of cultural shock, at a surface level stage in cross-cultural experiences.

However, with time, I began to view Japanese tradition and musical aesthetics in a new

light. The place, Hawai'i, 4,000 miles away from Japan, gave me a perspective to view

Japanese tradition objectively, with unbiased eyes. It gave me time and an opportunity

to reflect on things which I learned and acquired in Japan as a native Japanese.

Shadows, for shamisenll and shakuhachi12, was commissioned by a shamisen

player, Tetsuya Nozawa, and composed right after the first draft of the Cello Concerto.

It represents my transition from a surface to a reflective level. In this piece, I set two

different kinds of time concepts: one had to do with changing meter which created a

variety of rhythms reminiscent of jazz, and the other one dealt with free meter related to

an important part of Japanese aesthetics: Ma, meaning unaccountable and flowing

through time. As a result, both vertical and linear time coexist in this piece. Relatedly,

instruments often become each other's counterpoint like shadows and sometimes perform

heterophonically. In regard to the musical language, I juxtaposed jazz elements such as

rhythmic syncopations, accents on weak beats, and pentatonic scales (A, C, D, Eb, G) so

that the performers can go back and forth swiftly between two different musical dialects.

Thus, a distinctive characteristic of the piece is a lively and metamorphic dialogue

between shamisen and shakuhachi. Shadows was premiered in July in Tokyo and

recorded in September, 2004. The article below was written by a critic, Kohichi

Nishi, which described the performance of the premiere.

11 It is said that the shamisen, three-stringed plucked lute, was introduced to the Japanese mainland in1574 from the Ryukyu Islands located in the most southern part of Japan.12 Kakushin (1207-1298), a Japanese Buddhist priest, brought the shakuhachi, an end-blown bamboo flutefrom China to Japan. At that time, Buddhist monks used the shakuhachi as a meditation tool. It wasonly after 1871 when the shakuhachi became one of the popular instruments used by the general public.

11

In Shadows. composed by Yoko Sato, Nozawa's excellent rhythmic sense andimprovisational response made for extremely delicate timing, in combination withMa. Along with Akihito Obama, the shakuhachi player, their determinedperformance reminded us of _swordsmen who stand face to face with the shadowsof themselves. 14

In composing the piece, I had a very clear vision to combine musical elements

which I had acquired naturally in Japan with influences from my life in Hawai'i. To

accomplish this goal, I tried to break through the frame of tradition which I had

previously viewed as inviolate for the shamisen. Eventually, I came to approach the

tradition from a new perspective. In composing Shadows, I had a good opportunity to

widen my musicality using Japanese traditional instruments dualistically in both Western

and Eastern musical contexts. The current piece, Towards Light, is a continuation of the

above-described reflective approach in which the traditional aitake chords of the shols

serve as sonorities which undergo transformation throughout the piece.

13 Liner notes from Sangen Nozawa Tetsuya 2 Wild Fire. (Kyoto: Sion Records, SCD­009,2005).

14 The translation of liner notes was made by myself.15 See Figure 1.

12

Chapter 3. Influence of gagaku in Towards Light

The Sho is one of the most representative instrument of gagaku, Japanese court

music. Strictly, I should mention that my thesis composition uses aitake chords

traditionally used for the sho but is not influenced by other musical elements of gagaku

such as traditional form or tempo relationship. However, because the role of the sho in

gagaku is a crucial and indispensable one and it functions so centrally in the genre, I used

the word gagaku as an appropriate referent in this chapter.

Gagaku was imported from China during the T'ang Dynasty in the eighth

century. The Chinese gradually had inherited this music from India, Central Asia, Persia,

Korea, and Manchuria. Japanese musical elements were added to the Chinese model.

However, the rhythm, harmony and musical time of gagaku still retains its mixed Asian

heritage up to the present day.

It is said that the origin of the sho was in South Asia, especially Indochina. Since

its importation from China in the eighth century, it has been remodelled by Japanese

court musicians. Physically and mechanically, the Japanese sho is different from that of

Chinese.

The sho consists of seventeen thin bamboo pipes called take, whose lengths are

about 3-4 centimeters in diameter. Each pipe has its own name such as sen, juh, ge (see

Figure 1). Each has a reed which is located at the bottom end of the instrument, except

for two pipes, ya and moh, which are no longer used. 16 To make a sound, it is

required to close the hole of a pipe which one wishes to sound with one's fingers. Once

the air causes the reed to vibrate, a sound is produced. The arrangement of each pipe is

not by pitch order and, there is a fixed fingering system designating which finger should

16 "Research has indicated that they were used in ancient times but are now retained merely to keep theaesthetic balance of the instrument." William P. MaIm, Traditional Japanese Music and MusicalInstruments. (Tokyo: Kodansha International, 2000), p.lli.

13

cover which hole. It is possible to play up to six pitches at one time by the fixed

fingering. Traditionally, there are eleven chords called aitake (see. Figure 2), which are

used in classical gagaku pieces such as Etenraku. The sho can also be played using only

single pitches, in which case the performance style is called ippon-buki.

Figure 1. Names of the fifteen pipes of sho

8

t s ae #0 e ~e

juh~-G- 77

sen ge otsu ku hi iehi haehi8

&(0)

~o ee a a

0 (#0)-e-ya gon shiehi gyoh joh boh kotsu moh hi

Figure 2. Aitake chords

8

'~i? !j #~Uti U:!

-e-Katsu !chi Ku Bah Otsu

i 8

j 11gB Qr ~ :E. U:i UntlI~JIGe Juh Bi Gya Hi

These traditional chords were of interest to me as compositional models.

However, I intentionally tried to avoid imitating gagaku sonorities. Instead, I tried to

treat the traditional material differently so that I could develop and manipulate it freely in

my own compositional process. First, I chose six out of the eleven aitake chords: Otsu,

Ge, Juh, Hi, Ku and Bi as the basic material of my piece. The choice of these six chords

allowed me to avoid unnecessary pitch duplication. For example, I decided not to use

Kotsu because its pitches are also present in Hi and Juh. I then approached the chords as

five or six-tone rows and displayed each in matrix-like format to show InVerSIOn,

14

retrograde, and retrograde-inversion. In each of the aitake chords of Ge and Otsu, there is

one pitch duplication, the pitch F# in Ge and E in Otsu. In the matrix, I omitted the

duplicated pitch of each. As an example, in PO of Otsu in Matrix A of Figure 2, I use the

pitch class E only once.

For other chromatic possibilities and transpositions of PO such as PI, P3, P4, P6,

P8, P9, and PH, I constructed matrices B and C. In matrices Band C, the first lines are

not treated as PO. Instead, the first line of Matrix B is considered as PI, and P2 in matrix

C.

Figure 3. Matrices of Otsu

Matrix A

10 15 17 IlO 12PO E A B D F# ROP7 B E F# A C# R7P5 A D E G B R5P2 F# B C# E G# R2PIO D G A C E RIO

RIO RI5 RI7 RIlO RI2

MatrixB

(ll) (I6) (I8) (Ill) (B)(PI) F Bb C Eb G (RI)(P8) C F G Bb D (R8)(P6) Bb Eb F Ab C (R6)(P3) G C D F A (R3)(Pll) Eb Ab Bb Db F (Rll)

(RII) (RI6) (RI8) (RIll) (RI3)

Matrix C

(I2) (17) (19) (10) (I4)(P2) F# B C# E G# (R2)(P9) C# F# G# B D# (R9)(P7) B E F# A C# (R7)(P4) G# C# D# F# A# (R4)(PO) E A B D F# (RO)

(RI2) (RI7) (RI9) (RIO) (RI4)

IS

In gagaku, aitake chords are not overlapped as seen in my piece. In gagaku, it is

possible to transpose to different pitch levels, but not chromatically.

In Western music, when we find that we cannot sing a tune at acertain pitch, we start on a different note and sing exactly thesame tune at that new level. This is the usual Western concept oftransposition, but the meaning of the term ingagaku is different. l

?

The meaning of transposition in gagaku is to move from one mode to another

mode. What I experiment with in this piece is different from the technique of

transposition in gagaku. In my piece, I transposed aitake chords in a different way,

reflecting chromatic transposition found in Western music. In this way, the handling

aitake chords reflect own personal approach, as influenced by Western music.

In the introduction (measures 1-23) of Towards Light, the six different groups of

original aitake chords (PO) emerge: Otsu (E, A, B, D, E, F#) in measure 3 to 17 of the

strings, Ge (F#, G#, A, B, D, F#) in measure 6 to 15, Juh (F#, G, A, B, D, E) in measure

11 to 13, Hi (A, B, C, D, E, F#) in measures 13 to 15, Ku (C#, D, E, G#, A, B ) in

measures 14-17 and Bi (G#, A, B, C, D, F#) in measure 18. Unlike in gagaku, Chords

sometimes overlap with other chords. Finally, all of the chords are used at the same time

to create a sound mass of aitake chords in measure 19.

In addition, in the introduction and ending of the piece I applied a concept which I

call "color note" (the note D#) which means "a foreign note" to the original aitake chords.

D#, moh in Figure 1., is the only pitch which is no longer used in the present shoo Thus,

the use of D# as the color note suggests a restoration of this note to the pitch inventory

17 MaIm, William P, Traditional Japanese music and musical instruments. (Tokyo; New York: KodanshaInternational, 2000), p.IIS.

16

of the shoo Additionally, it adds tone color and variation to the music.

The color note, D#, appears only once in the introduction in measures 7-9, played

by the trumpet and flute. The next appearance is at end of the piece which is a kind of

neutral place where the pure traditional chords meet the untraditional transformations. In

these measures, the color note D# is played by the solo cello. From my perspective, D#

is a prominent note and can cause a sort of discord when used with aitakae chords. I

intended to use the color note as a symbol of the missing note only in the beginning and

the ending of my piece.

Between the introduction and the fmal section, there are five sections. I used all

six aitake chords in the introduction, and subsequently assigned one chord to each section.

In traditional gagaku music, there is no specific order in using aitake chords. Similarly,

their employment in the five sections was based on my intuition. In each section, a

traditional chord undergoes transformation through transposition. For example, in the

first section, Otsu (measures 24-52), the original aitake chord (E, A, B, D, F#) appears in

measures 24-28, and its tenth transposition (D, G, A, C, E) appears in measures 28-30.

In measure 35, P6 (Bb, Eb, F, Ab, C) appears and then shifts to 12 (F#, C#, B, G#, E). I

chose the order of transformation intuitively.

In the second section, Ku (measures 53-128), I use its original row (C#, D, E, G#,

A, B) in the solo cello part as the main melodic line. It appears several times: in measures

53-54, measures 55-56, measure 84 and measure 87. From measure 89, this set evolves

towards a high point at measure 117. PO is also employed in the orchestral parts as well,

and can be found in measures 53-54, measures 84-85 and measure 95, which builds

textually and dramatically to a climax at measure 117. In measure 61, I also used pitches

appearing diagonally (D#, F#, A, E#, G#, B) in the matrix shown in Figure 4.

Figure 4. Matrix of Ku

Matrix A

10 11 13 17 18 110PO C# D E G# A H ROPll C C# D# G G# A# RllP9 A# B C# E# F# G# R9P5 F# G A C# D E R5P4 E# F# G# B# C# D# R4P2 D# E F# A# B C# R2

RIO RIl RI3 RI7 RI8 RIlO

17

The third section Ge starts from measure 129 and ends in measure 148. I again

used the pitch collection appearing diagonally in Matrix C of Figure 5, as the melodic line

of the solo cello in measure 129. PO appears in measure 143, P4 and PO are used

simultaneously in measures 145-146.

Figure. 5 Matrices of Ge

Matrix A

10 12 13 15 18PO F# G# A B D ROPlO E F# G A C RIOP9 D# E# F# G# B R9P6 C# D# E F# A R6P4 A# B# C# D# F# R4PO F# G# A B D RO

RIO RI2 RI3 RI5 RI8

Matrix C

13 15 16 18 IIIP3 A B C D F R3PI G A Bb C Eb RlPO F# G# A H D ROPlO E F# G A C RIOP7 C# D# E F# A R7P3 A B C D F R3

RI3 RI5 RI6 RI8 RIll

18

In the fourth section Hi (measures 149-183), I did not use aitake chords for the

violoncello solo part. Instead, it is the orchestra that employs P3 in measures 149-150, P8

in measures 152-153 and P9 in measures 163-164.

Figure 6. Matrices of Hi

Matrix A

IO 12 13 15 17 19PO A B C D E F# ROPIO G A Bb C D E RIOP9 F# G# A B C# D# R9P7 E F# G A B C# R7P5 D E F G A B R5P3 C D Eb F G A R3

RIO RI2 RI3 RI5 RI7 RI9

Matrix B

(11) (13) (14) (16) (18) (110)(PI) Bb C Db Eb F G (RI)(PI I) Ab Bb B Db Eb F (RII)(PIO) G A Bb C D E (RIO)(P8) F G Ab Bb C D (R8)(P6) Eb F Gb Ab Bb C (R6)(P4) Db Eb E Gb Ab Bb (R4)

(RII) (RI3) (RI4) (RI6) (RI8) (RIIO)

The beginning of the fifth section Bi (measures 184-221) also employs the

diagonal pitch collection (B#, E#, A, B, D#, G#) of its matrix C of Figure 7. In measure

185, PI is assigned to the woodwind parts and, from measures 188-195, the solo

violoncello plays a cadenza whose pitch collection utilizes PO and all its transformations

(P1-Pll). The order of appearance of usage is as follows: PO, Pll, P9, P7, P5, Pll, P9,

P3, PI, P7, P11, P8, P2, PO, P4, P6 and P10. It should be mentioned that I have not

always used all pitches in the rows; instead, I established common tones between rows as

a type of overlapping technique. For example, in measure 188, PO (G#, A, B) is followed

19

by Pll (B, C#, E#) and P9 (E#, F#, G#, A). In measures 219-221, as a closing melody of

the section, I applied 19 (F, E, D, C#, G, B) to the solo cello part.

Figure 7. Matrices of Bi

Matrix A

10 II 13 14 16 110PO G# A B C D F# ROPll G G# A# B C# E# RllP9 E# F# G# A B D# R9P8 E E# G G# A# D R8P6 D D# E# F# G# B# R4P2 A# B C# D E G# R2

RIO RII IR3 IR4 IR6 IRIO

Matrix B

(11) (12) (14) (15) (17) (Ill)(PI) A Bb C Db Eb G (RI)(PO) G# A B C D F# (RO)(PIO) F# G A Bb C E (RIO)(P9) F F# G# A B D# (R9)(P7) D# E F# G A C# (R5)(P3) B C D Eb F A (R3)

(RII) (lR2) (lR4) (lR5) (lR7) (IRII)

Matrix C

(12) (13) (15) (16) (18) (10)(P2) A# B C# D E G# (R2)(PI) A A# B# C# D# G (RI)(Pll) G G# A# H C# E# (Rll)(PIO) F# G A A# B# E (RIO)(P8) E E# G G# A# D (R6)(P4) B# C# D# E F# A# (R4)

(lR2) (lR3) (lR5) (lR6) (lR8) (lRO)

Matrix D

(13) (14) (16) (17) (19) (ll)(P3) B C D Eb F A (R3)(P2) A# B C# D E G# (R2)(PO) G# A B C D F# (RO)(Pl1) G G# A# B C# F (RII)(P9) F F# G# A B D# (R7)(P5) C# D E F G B (R5)

(lR3) (lR4) (IR6) (lR7) (lR9) (lRI)

20

In the ending section (measures 222-258), PO of the aitake chords appear. In

contrast to the introductory section, these aitake chords are not overlapped. PO of Otsu

appears in measures 222-228, PO of Ge in measures 229-232. PO of Juh in measures 233­

235, and PO of Ku in measures 236-239. After PO of Hi appears in measures 240-242, PO

of Bi meets with the color note, D#, in measures 244-257.

Throughout the piece, the use oftransformed sets amounts to 53% versus 46% of

PO. As shown in the following list, each section shows a different rate in using

transformations. It should be mentioned that the level of transformations in this piece

may not appear significant for Westerners. However, such transformation is meaningful

for me because it represents the changing of tradition.

I have described the types of chords used in this piece. The usage of original (PO)

aitake chords to their transformations can be compared in the following list. PO represents

tradition; transformation represents non-tradition. I express a kind of struggle between

tradition and non-tradition in the first two sections. The middle section, Ge, is a neutral

place where tradition and non-tradition are in balance. The last two sections represent the

tradition as a modified in my mind.

Otsu: 20% of PO to 80% of transformations

Ku: 98% of PO to 2% oftransformations

Ge: 50% of PO to 50% of transformations

Hi: 33% of PO to 67% of transformations

Bi: 30% of PO to 70% of transformations

I tried to actively use transformations, most often transpositions. It is not

difficult for Western instruments to go back and forth between the original aitake chords

and their transformations. In Japanese music however, transposing a group of pitches is

21

not an easy task due to the limitations of many traditional Japanese instruments. My

purpose in composing this piece was not only to experiment with applying aitake chords

to Western instruments, but also to explore the usage of modified aitake chords which

are functionally difficult to play on the shoo In this sense, I am attempting to breathe new

life into an ancient tradition by experimenting with various sonorities from the gagaku

court tradition.

22Chapter 4. Between two places

I think the reason why many Japanese composers hesitate to use Japanese

traditional musical elements is not because of their practical limitations when compared

with Western instruments, but also that the Japanese have a tendency not to appreciate

their own products of culture until they receive positive validation from abroad. This has

its roots deep in the Meiji Restoration of 1867. At that time, the Japanese government

tried to eliminate the study of Japanese music because it was thought to be old-fashioned.

As a result, it was not considered necessary to teach traditional Japanese music in the

public schools. Rather, they welcomed Western music as a sophisticated cultural icon

and used it as a kind of cultural tool, or rite of passage to show the outside world that

Japan could be a modem, civilized country.

On the other hand, the masters of Japanese music schools established their own

hierarchy to protect not only traditional music but also their livelihood. With this

background and under the rigid frame called "tradition", it was difficult to be creative.

Gagaku was not an exception. Since gagaku musicians were gathered in the

Imperial Palace of Emperor Meiji, their music was isolated from the general public. IS

Thus, the music was considered privileged and unfamiliar to the vast majority of Japanese

for a long time. In recent years, community cultural centers have begun to offer gagaku

workshops as well as concerts to introduce the music to the general public. It can be said

that one of the reasons the world of gagaku became open to the public in the 1990's was

because of the popularity of a certain gagaku musician, Hideki Togi, a hichirikf9

performer as well as composer. He incorporated Western musical elements as well as the

18 For example, only people who receive an invitation from Imperial Palace gagaku musicians are allowedto attend and to listen to the annual concert held in the Imperial Palace.19 One of the representative gagaku instruments. It plays the main melody and has a piercing soundquality. It is a double-reed instrument similar to the oboe.

23

performance styles of gagaku music and created a great sensation through the media. He

explained that his musical identity was influenced by The Beatles, rock and roll, Western

classical music, and jazz as he spent his childhood in various places due to his father's

job.

His appearance in the Japanese popular music world in 1996 with his debut album

entitled Togi Hideki marked the beginning of a renewed interest in this ancient genre of

Japanese music. People who were not interested in gagaku or who had never heard the

word gagaku became interested in it through his music. However, the fundamental

resistance to change in the gagaku world caused him to quit his job as an official at The

Imperial House Agency due to some sort of oppression.

This is a reality in the world of Japanese traditional music. In contrast, what

surprised me in Hawai'i was that students could touch gagaku instruments and learn the

performance style in ways that many Japanese music universities did not provide. For

the first time, in Hawai'i, I began to experience gagaku as a familiar music and embraced

its sonorities. This allowed me to consider the further possibilities of gagaku as a

compositional influence.

In conclusion, the environment in Hawai'i enabled me to reflect on various musical

possibilities related to gagaku. Unexpectedly, my response to experiences in a new place

was to look at my own cultural background from a different perspective and without

prejudice which I might have worn unwittingly when I was in Japan. I am sure that this

response will prove pivotal as I continue to grow and widen my view as a composer.

Now, when I look at the United States from Japan, I expect that I will appreciate

what I gained from Hawai' i and continue to explore the differences between these

respective cultures.

24

25

Bibliography

Copland, Aaron. Concerto for Clarinet. London: Boosey and Hawkes, 1952. 42p.

Copland, Aaron. Concerto for Clarinet. Orch. New York philharmonic, LeonardBernstein condo Stanley Drucker, clarinet. Deutsche Grammophon, CD 1991.

Copland, Aaron. Music for Theater. Orch. New York philharmonic, Leonard Bernsteincondo Deutsche Grammophon, CD 1991.

Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer Books,1997. 400p.

Garfias, Robert. Gagaku. New York: Theater Arts Books, 1959. 40p.

Griffiths, Paul. "Steve Reich." The new Grove dictiollCuy of music and musicians. 2nded. New York: Grove,2001. vol. 21, pp. 124-129.

Koizumi, Fumio and others. Nihon no Ongaku. Tokyo: National Theater, 1974. 104p.

Kunz, H. "Isang Yun." The new Grove dictionary of music and musicians. 2nd ed.New York: Grove,2001. vol. 27, pp. 696-697.

Maim, William P. Traditional Japanese music and musical instruments. Tokyo;

New York: Kodansha International, 2000. 354 p.

McCutchan, Ann. The Muse That Sings. New York: Oxford University Press, 1999.262p.

Miki, Minoru. Nihon Gakki-ho. Tokyo: Ongaku no Tomo-sha, 1996. 238p.

Pollack, Howard. Aaron Copland. New York: Henry Holt and Company, 1999. 690p.

Reich, Steve. Writings on Music 1965-2000. edited by Paul Hillier. New York: OxfordUniversity Press, 2002. 241p.

Reich, Steve. Drumming. Ens. Steve Reich and Musician. ElektraINonesuch, CD 1987.

Schwarz, K. Robert. Minimalists. London: Phaidon Press, 1996. 239p.

Smith, Julia. Aaron Copland. New York: E. P. Dutton & Company, 1955. 336p.

Stokes, Martin, ed. Ethnicity, Identity and Music. Oxford; Providence: BergPublishers, 1994. 212p.

Tanabe, Hisao. Japanese Music. Tokyo: Kokusai Bunka Shinkokai, 1959. 74p.

Uno, Yayoi Everett and Frederick Lau, ed. Locating East Asia in Western Art Music.Middletown, Connecticut: Wesleyan University Press, 2004. 321p.

Yun, Isang. Loyang, for chamber ensemble (1962). Gasa, for violin and piano (1963).R6ak, for full orchestra (1966). Tuyaux sonores, for organ (967). Polydor,

Phonodisc, 1970.

26

Towards Lightfor solo violoncello and orchestra

Yoko Sato

Towards Lightfor solo violoncello and orchestra

Instrumentation:

2 Flutes (2nd doubling Piccolo)

2 Oboes

2 Clarinets in Bb

2 Bassoons

2 Horns inF

2 Trumpets in C

2 Trombones

Timpani

Percussion (1): bass drum, vibraphone, glockenspiel, xylophone, crotales, antique cymbals,

4 Tom-toms, suspended cymbal, xylophone, woodblock

Solo violoncello

Strings

Duration: ca. 16 minutes

Transposed score

Copyright © 2005 by Yoko Sato

Towards LightYoko Sato

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Oboes

Flutes

Percussion

Violoncello

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Bassoons

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Trombones

Trumpet in C

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11

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1':'1 1':'1:

GP1':'1 1':'1

G.P~II 1':'1 Antique cymbals

II) ~ -,,- ~

P

GP[1JTempo I

J~ 581':'1 ,-5----, 1':'1 ,-5----, r3, ....c;i!.::] ~ -

e.

p R#..:.:..-' L3 " 11*..::.,./~ k-3-' '-;~=- p --:: ~ --- L--3-'-=: :=-p =m!==-pooo

'111':'1

~3~ -1':'1

I I"' m}:=-p '-~ -mp ==--pp

II 1':'1 1':'1 -3_ -II) ...x.

m!~p ,~~pp-'

=- ppp

II div. 0 .-3--, -1':'1

II) _ P" rz

~:rpP "LJ- f :=:fppp ~m!:=-P mp

1':'1 .- . ..1':'1

m!:=-P:~I~ -ppp

1':'1 1':'1 ~3 ,...,m!:=-P

_.mp1 ==-- pp

1':'1div. .1 unis. '-ll';:· If¥ "¥ ~ div.

'" 1"% mp

I==--pp

m!==-p

1':'1 1':'1 izz:

mf===-P

Ve.

VI.

Trb

Hr.

CI.

Ob.

BSIl.

Db.

FI.

Perc.

Vln.

Tp!.

Vln. II

Timp

Solo v

13

P==-- PPmf P

.J7h #££ e /'~ ~r-

3;-'r-lI!.'

'" P ==-- PP L.....l3-----' jp JP jpmf

~ ~. 16~ /?~ ~ r-3;-''ll'!.'~.•~

'" p~ PP '-;;;j'3-----J = PP jp jp jp

h ~ 16~ ~3~ ~ --'" 3

f4:~~ "-3-JP ==-- PPmf P= PP

mf=--P

h ,-3-, ~ r;;l-,

'" mf~ ,:;: :-..... ;;/ ~

PP mf =--P

~ r-3~ ----- ~

"'.;..~ 0'

P P --==mf ==--h ~ ~

"'~. .,;y'P P --==mf==--> ..--".. ~

"-3-JP --==mf

mf > PP

- ~

pL3-J~ P '="-'=mf mf>P

~

---- '"I"' mf >P

I~

P --=== mf==-h '"

I'" ---~P --== mf muteron)

mf >P

h -I'" L..3-J I~

mfmute (harmon) ==--P

~ ~r:!-,

I'" m/":::· ---=--P

~

1"':\ ooen:

mf ~3-'&

==-P~

:~

~crotales

~~ ".I"' PP

~

~ > r--3---, ....!. - ~ .--. ~~

I"' ~. jp>

--- ~ 1;7 L3 ~PP~

jp P---== mf

fIT =ih - 'F

I'" P - PP'--3-----'

PP==- n!!

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h -=-3-, - - ,. .--3-, ~

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I PP~ y ~p-------

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i:--3-' fr3

-'

jp jp jp'f I~

P mf:==-- P = PP

.--3---, r-3~r-"'~3-,

i:-a---l mf~,;? ~ jp jp jp'f

~

P~3~ ~P= PP

unis. ~ ~ r-3--,r8....,~8-,

P t..3~V mf==-' 1-3-' jp"r jp JJ~~

PPP:

arco .r.o,

: - ~

Db.

Ve.

Trb.

Hr.

CI.

Ob.

Bsn.

FI.

VIa.

Perc.

Tp!.

Vln.!

Timp.

Vln.II

Solo vc

62~ ~~ :::::::::-... ~

I tJ ~ P mf ~3......J ==--pp ~Fl.

".-- ~#~~.~

tJ~

p - mf

~

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tJ

---- ===-p-== pp~ .--

tJ .. -t:- -- >--p mf pCL

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14

.~

I

ItJ

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I

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I :

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2

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p-== pp

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pooo--L.-----3~==-- Pp~

,----.......-3----,

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p~ =--~ -+-

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-

--­p

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p ~ ~ ChangetoF1.

-~mf= p

p .r":.

mf= p

I~

mf= p-- -;:.-

,...~ 1-

~mf pp --...- ~.( p~m

p -;"'---~e ~

1"% I~

~mfp

p ~ ~

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p

I~

I~

~mf

~ ~L._~ Of'e#f:n. '"VIn, I tJ

mf '--3......J ==-- ppp

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~ ~~L._""'" JJ"e#f:n '"

Via. p

I

IVe,

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,tJ ..f'

div.

p

I l

p 'L

15

65h ~~ n __ ~ ~

1OJ ~ p==-- ~

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Ih n ~ ~2 .., ~

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~ ....--- e:::::::.. -- II~

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mf p f

h ~..2..-= .::::::::::. "~

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mp~:::=-- pp

h • ~ -......., ~ '-----'

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~-/:~--== mp ==-- f

:::=-- pp

I,.~ ..---. ,-:

p~ mf p I

I-==mp==-- mp

.......-11"_ --:~

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p --=== mp =====--h -

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h

" ~II-*~ mp :::=-- mp -p==-

~

.., ~

~

.., I~

:~- r" I~

~

~ ~

h

1"- ~

h • .- - • ~"~ [2]r-a-,

" ~ 1.....--3----' E::/ -- -e:..c.-a=~>-p--==ff

mp

p-==mf

.~ unis. ~r1 ~#nc~ ~..,

mf ~ fp p-== f~a~ :::=-- pp

~ ....i6 ~ ,~!:#nC~ ~

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.-J!-r-'!.=. #O£.L ----':><:" 'i

~

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div.:~ ;j/ E;~ rmf I~p mp

mf

Wlis. area ....~.

mf p mp :

Ve.

CI.

Hr.

Trb.

Ob.

Db.

Bsn.

Via.

Fl.

Perc.

Tpt.

Vln.!

Timp.

Vln.II

Solo vc.

16

Piu mossopoco accel.. . - - - - - - - - - - - - - - - J- 63

p ==-- pp

-

70A #~~ ~ --- ~~.~'*- .. '9' ;: ""

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p mf

A ~ J" .. ~-., '---a ------J ... L.....-a----J f""

p : mf

~ ..--: ::::=::::::.,

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~

I" I~ I- mp

~'~IA - • II ......

IOJ ----- L...,L...J - ----:- ~.--'p ==-- pp pp • mp

A

IOJ ..~P ==-pp

P f""==---pp

, ~

IOJp ==---pp

A

IOJ ..~ rz

p ==-- pp

~open --

OJ 1&~

mp

A

OJ 1'&

I~ 1-

:

-~

:

pp

A

IOJ

Piu mossopOCO accel._ - - - - J~ 63

A • I'ii"?:. -~.---.. ......_~~.....~ ~ ~U~ "r--.

IOJ ....-.

l4lJ l-3--.J~~.~ -.5

f

div.

'~ ~

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IOJ ------ I&~ '""t""' -5 -mp

I I~ mp I~-~

mfp

Ollis. -....,

I-m~rz

p ==--pp mp

mfp....Db.

Ve.

VIa.

Trb.

Hr.

CL

2

Ob.

Bsn.

FL

Perc.

Vln.!

Tpt.

Timp.

Vln.II

Solo vc

73

17

PI'

--

mute

PI'

mute

mute (straight). :::::l

=PI'

mute (straight)

PI'

mute (straight)

"'"PI'

mute (straight)

PI'

Timp.

: ml PI'...

Antique cymbals ............Perc.

~ y::====:::~ _ ...iL5

Solo ve.

q~

~~;;:t1=:11'

Il' l0

:/,'1'r

l' l0

1=1'1'I'

l'

l

I ,,' ,I'

r TPI'

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I 1"'I'

PI'

&.

PI'>l'

div.>

I-I'>

-

l'

1',-.-, L~---' 8 t-,....--.., l'

<!iv.

PI'

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I I

...1

Ve.

VIa.

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[TIJTempo IJ~ 58rit... , . __

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f'l~~. ,~ ...!- .-rr- -- :::=..."~2

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f'lc:'_ ---l~mp --== I

.: -;:;----.....

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"~ - ~

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f'lmi' ==-

OJ

fp~ 1'*"' ----' <--. ~

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f'l==-

OJ _-1_ ~

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p

==- P~!:~ 1:: ~~~ --"" Jp ),-~ml

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" open

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P

I~

:~

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[TIJrit._ . . Tempo I

f'l - J~ 58 .-II- ~5~

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f'l -- r-'--' ;;. -", A:ii:'_

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III:r<T ,...

fp I:;lH- '==3---1 - ~•p I

0,--,-0:-1 ;;. -"

tJ fp'--' - mp'f --= '---'---1~

I

l l wllS. - r-'--' '--l\i-' .--.-..• .JC-~

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~

P

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fp 1--'--' '--.----' p-==I,...

p -ml

rc.. pizz "~-Ve.

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Hr.

Cl.

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Trb.

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Vln.1

Tpt.

Timp.

Vln.1I

Solo vc

18

fp ml

19

p~p ==--mp

;4" r~ ~ C,c--1

'" fp p-.

" ~ ~ ~ ~

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~ >

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P

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p

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'" "-~---JI --> -~

fp ~ 5 ==-pp P

" ~.--,

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pp P

~

:.,.-

~

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~

~

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~

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open:

open

:

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mf

lI--------" z---...-----...·fl II.T X 4- '-'---'

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P

fl L- ~ > >

I) ~ fp L.-' pp pp-~

p =- p

~ • ~ • ~ X -. > '-'---'

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p~rs

p

fl >

I) L.-' "-.---J rr pp-ppp =- P

div. pizz unis. arco n>........... > >

mp r --- "-.---J "p~~TIp ==-- p

div. pizz ~ unis. a~>.........-.._ e: ~ -----r ";---===p • l-T~ rr

mp ==-- p p

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Vc.

Trb.

Hr.

CI.

Ob.

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PI.

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Vln.1

Tpt.

Timp.

Vln.n

Solo vc

[g]Tempo IJ~58 }~}poco rit.88;;U

A L..

~ ii-' ii- ii- ]i. ]i JL JL. I ..] .,

pp

A Change to FI. ~ ][; ][; I' JL I 'I

., "" pp

A

O)~

A

I0)

A

13.,

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P......:=:=~~p

:~

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A

0) ....p-=::mf ==- p

~

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A

IO)~

A

0) II

P-==mf ==-p

p

A Tom-toms

0) "'" &.

[g]Tempo I

po~ rit... J~58 }-}A

.--......, .......... - .- ................. """"""'" -""""""'" ="""""1

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~ - --- --OJ

pp - - -- - -A

0) "'<Jpl----..?--.f--f----Y- ~ I~----Y- ~ ~ ~ ~ ~ ~.J-

A

O)~ "'"A

OJ-";-

- - -:

p pp

arco:

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Hr.

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Vln.]

Tpt.

Vln.n

Timp.

20

Solo vc

p mfp

2\

94~ ~66.:: ~ a 7: 11-\ I 'JI'~

0) I"'" PP

~"][, II -:i L I "I,

IOJ "" pp

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0) rUT

A >10)

p pp p pp

A

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rI'" ,~

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A

0) >P pp

A

0) I~

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..... &~

f -~p--== f

I"'FI"i IIOII=!"=iJ~ 66r:::l"'Ti•.

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10) :<tJ'~/ -yo--..3 3 3 ..'" V LillJ V

mf

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II'I ~

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A

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t~:

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~

0) ---- - ~

p pp p

v I , , , ~ if> -""" ,~ . . -p PP P

-I"" > -pp P

:&~ > -

Ve.

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Hr.

CL

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Tp!.

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Vln.II

Solo vc

=====~-ppp

22

fpfpfp

JOX ~ J(, :ji ~ ~

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~ "'}:, L, £ ~ lL I ":ji I,

'" &' ....pp

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1I> - >

'" .~

p p

~

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*'P >P

&' > > ....p p

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I'"r~

lA- pI....

P

~

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I'"

~P P

~

I'" > >P P

:

p >p

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p& P

&~ &~

P > A' > ....P

> >

fp fpA_

fp....

fp

~ ..,,>'"'i?:l, ;~ ;~U"'\ ;"'\ ~.:.. /If''.A- r.... /H.'....~.

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-== f

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~

['" fp-.J fp-iiiiiiiii

fp

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~ .......... -I'" lIfp -~

fp-

fp .-l&~

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fp fp

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FI.

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Vln.!

Tpt.

Timp.

Vln. II

Solo vc

23

105

fpfpfpfpfp

~ > > >

.'" f :mp p pp

~ ""1- ChlllUl:e to Pice. £ .. ... n- --"'~ mp p

~ > > >

'" mf f mp pP-=mf pp

~

'" P-=mf mf> f> mjr >p = pp

~

'" P -=mf mf> f> > >mp

p = pp

~

"'~- --- > f> > >----.-P-=mf mf mp p = pp

P--=mf> f> > >

mf mp p pp

:

mj} >p pp

~ > > > > >

'" f pmp

~

I'" > > f> > >

mp p

~ > > > > >

10.1 f mp p

~

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> > f> mp p

mp>p

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mp Pf

pp --=f -..JP~

~PP-=:: f

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IO.I~ -~ >--. > "'--- --'" mfp mfp mfp

~

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~ !!! ~

IO.I~ pp-== f pp -==f pp -==f pp--= lr pp-==f

... .........'" - f pp -==7 pp ~ -pp-== pp -==f PP-==f

.~

:-==f-..J

PP -==f PP -==f PP--= f PP-==f

:

~.f ~ f ~. f "! P ~Jfp fp fp fp

.... ~ > > > > >Db.

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Hr.

Db.

Cl.

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FL

Via.

Perc.

Tp!.

Vln.!

Timp.

Vln.II

Solo vc

24

jjJjjJjjJ

lOl J~ 76 f: n> -.I'" p -==f f

I~

~~ C_.---------_. f: ~ l: -.'" pp p -==f f

~ >

I'"-==f mf -p PP--==. pp --===

~

I'" P mf pp--=== ,--==f pp --===

~

I'" >pp --=== pp--=== r>"P --===f mf

~

I'" ,..-----P:~mf

_r>"p -==f pp--=-.- y

P -==! p P I~

:

>-==f

> >P P P

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~

I'" P --==f pp--=== mf pp--==

~ >

,,,,-==f mp -~mf

,~

P mp-==mf

~

I'" P ---- PI~

-==!> >

:

p-==f p p

:> p >p -==f p

~ .. .. ~ .. ~ ..>

-==f>

P mjjJ p

PP ff~

J~ 76

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I'"~

f

~ »-- -'" p

~

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~ E!I!!!l!!"'I!! I!!EE!""!!!!! --'" pp ff PP jjJ

I~

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--- ~--....z:=Ill ~ -..- IIIIiiLIiiilii! I~

pp .If jjJ

div.

#~----Y ~.- fo- r>"-jjJ jjJ

>~

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VIa.

Trb.

Hr.

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Bsn.

Fl.

Perc.

Vln. I

Tpt.

Timp.

Vln.II

Solo vc

FI.

Ob,

CI.

Bsn.

Hr.

Tpt.

Trb.

Timp.

Perc.

Solo vc

Vln.!

Vln.II

Via.

Ve.

Db.

25

,J1~ i:t= H€ € € €~

f f p

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~

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I"'~ ,~IA~ f

f""""'j,mf =mf

~

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~ -I~

mf pp --== mf> > >

f f p

~

I~ A_ - - > > >mf pp -=== mf f f p

>- -.P > > >

f f p

- - -mf ---- A' > > > ~

f f p

~ > > >

~

mfI~ .~ f

f~I'"

pp =mf

~

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mf pp --== mf f f p

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'" f f""""'j,mp f

~ -'" p

fp = f J > J p

>

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- - - -:

mf --- > > >f f p

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f f p

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f

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26

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:

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.. .. ,--3--, .---3--,:

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suspended cymbal

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jI-jI l!m t:H ~~ -".~.... n....~rf t: :f: € --J::

I" L--a-..J l...--a-l '----3---'

II =-ml --===-1

~ ~ ~ ~ ,......!"".., -J,...,.... ......!..- ~.....i!... =::::ibr-,

- -1 .,

~ ~ ~ p I -sft sfz sft

~ ....,:!.....r--3 --= --.i!--0-3-=:J --i!--r--3~

.,~ :- iiiiiii p

~Ip fp -==1 I~ - - 3 3 3 3

OJ ~fp fp fp -==1~ ~ ~ ....... /~ ~p

~ - ....... 3 0-3~ 3 r--3~ 3

.,fp fp

....p~ - '- .-'

fp -==1 I

- - - -Ii!l!:l:l IiIliiil:I ==;;= ==;;=~ •fp fp fp -==1 p I

~ ~ ~ I -sft sft sfz I

P I

~ '; >Isfz sfz p I

Via.

Trb.

Hr.

Bsn.

Cl.

Db.

Db.

Ve.

FI.

Perc.

Vln.!

Tpt.

Timp.

Vln. II

Solo vc

27

119"'~ r--'---'

'" p p -=f==---P fp ==- fp

~

OJ P mf PP

~ '-'----'

OJ P fp mf TP

~ > -'" P L-.--'

P~

'" P

~

OJ...>'__ ------P

-"'"i"""" "'"i"""" L--.--' mf PP P

.....i!.... '- r----.---, ,--'----'

P~ fp--== mf PP

~

OJ'-"'-- -..:... "-- ,;

P fp = mf P~

'" fp fp--== mf P

~ - --'" fp 5

mf = P

~ r----'-----, '---'---'

'" fp -== mf P

-----I~~-=- .-J'

Ifp---== mf P

r----' -----, '---'---':

P

Bass Dnnn (J=63· 69 freely)

PPP

[!1J~lf If '3f" - ~

'" f mp>P

~ ~...,;:",..,~ ~ .................. """"""" ......... ........ _---- ..............OJ mf- - == -=- -Pmp

~ .....i!-r--.-:l ~r--.~ .....:-."r-.--..::! -:--r-.--, ~ ~ ...il-. .....!... ,-'''' ,...iI-,

-OJ - F -mp p

~ • • • • 6

OJ ~ ""'" ~ ~ "'-..:5 ~ ~~ ~ '--" ,-,' ~'--'T'~ '-" ""'---Y '-"mp mf P

~ r-.--, • r--.--, • r-.--, 6 r-.--, 6 r-.---, 6 r-.--, • • •OJ ----- ---- "- - ./ ~ ~ ~ """ '-' ----- '--"

mp mf p

- - ----:;-=_ .......... ~ ::;F "'"i"""" "'"i"""" "'"i"""" ...................................... '7""'t'"" ----3 3 3 3

mpp

I:

"'-- -mp = mf 1 p

"-= ~ --= mp mf

Ve.

Via.

Trb.

Hr.

Cl.

Db.

Db.

Bsn.

Fl.

Perc.

Vln.!

Tpt.

Vln.I1

Timp.

Solo vc

28

ITIDJ= 50

12~""'- ---- --- Adagio

1"'1I

"' p ~I=.J' U ==-- I~

ppp

fI 1"'1

"' ...- ,..fI 1"'1

OJ rz- I~

~ 1"'1

"'~ 1"'1

"'fI 1"'1

OJ

1"'1:

-1"'1

~ 1"'1

OJ

fI 1"'1

"' rz- ~

fI 1"'1

OJ rz- ~

fI 1"'1

OJ

1"'1

1"'1

1"'1

1"'1

"'Z

ppp

ITID Adagio

f1~ ~ ~ r: J= 50 r--s--,- - 1"'1 ""' pp

f

fI - ...... 1"'1

OJpp -lfI ~ ~r--3-' ~ ,S-, r-31IS-, - 1"'1

"' pp

~ 1"'1

I"' '-' ~ ~ "";:::.. -...- -- -- 1:::0- ,..-pp

fI • • • ,'-' • • r--'-, • ,'1 ,'1 1"'1

OJ '- "----"" ~" ~os- pp

- 1"'1

...-l--.----' L--.----J l--.----' '--.---, I--s--J L.-..-s--J

pp1"'1

:

-><- .x. .JX- -->'pp

1"'1

--.x- .....>' ...-pp

Ve.

VIa.

Trb.

Hr.

CI.

Db.

Db.

Bsn.

FI.

Perc.

Vln.!

Tp!.

Vln.II

Timp.

Solo vc

29

p--== ==-ppp

,;3R """-:lL W ~

IOJ -.p--== mf =-pp

~ Chanaeto FI

I OJ ~

~

IOJ ~

~

IOJ

~hl~hI""

h

OJ >~ -'t.J'~~.

H9-___p =

~p--== ==-- pp

~3-, ,3-,

I OJ ~ pH-:t ~ :,-::::,~..3t l¥ #~ ."....:..~.

p--== ==-- pp--~

p --== mp p p--= =-- pp

~

---- -::==- '--- --=""p-=mp p p--= ==-- pp

. ~ mute ------..I OJ ~ --- =--

P-=:: =- p--= =-- pp

~ mute

IOJ ~ --- ---- =-p-== =- p---== =-- pp~

I OJ ~

~

I OJ ~

:~

:~ ~

:~

Crotales

p

n~ rl!::~lL r---. ~ ~~ ,:=..,..~ .<0- I ~_.'" I :

~ 3 = .mp • -=7 :==-p 3 ~3~ ~3~ ~3~ ==--pp

~ vizz arca

IOJ .,; :iiJ Y7 r--J" ~

pp--== ==-pp

~

IOJ ~ Y7 :iiJ~' I""

p--== =--pp~ vizz arca

IOJ ~ .,; :iiJ d ~~ I""P p--== ==-pp

~

IOJ ~ d ~ 'j:' I~

p--== =- pp

vizz arca

~

p p--== =--ppdiv. ,pizz arco

~

p r ---pp--== ==-pp

nizz ~ ~arca

-------- ~

Db.

Ve.

Trb.

Hr.

CI.

Db.

Via.

Bsn.

Fl.

Perc.

Vln. I

Timp.

Tpt.

Vln.II

Solo vc

30

13 19 #( 1- ~____r l:~~ of:: rf'",0;:;

,'" pp .....~mf = r"fp

t:~ e- rmp~-l.A .J: --...

'" pp

~~mf = fp

~ ....-------.. ~~ ...-:-'" L--.-----' mf • Ttfppp pp =-A ,~ • ~ _..--::::x=: ~

'" L--.~ • I""fpmf =pp pp -~ ~ .........

----~

I.... ~.... .J.:;;lIiiI • ....-

'"'ll=I"""~mf = fp

~ ~ - -- -Q

'"p~

"'"7"""' fp""'" I

mf =- ~ ~

fp

r.'I

fp~r.'I,~

I'" -- :::-mf :>- P ===-- pp pp mp===-

A r.'I

'" mf:>-p ===- pp

I.~'--------, mute (oup) ---- ~ *. fp r.'I

1tJ~ .h--.- J

pp mf = ::-LfpA mute (cup) - r.'I

I tJ ~ L--.-----'mf

--:;----fppp -

mute (straight) r.'I1

fp

Imute (straight) r.'I:

2~

fp

':":p.

.,.-~

~ r.'Ic.

-....-I tJ ~

[!2]~ t: -l1lt:.~...~#~~ ~ ~rr.,4", - ...-.,-IlrVC. .... '-.-----' 5 . ....~ffi~ fp'---" '-..-/ .,.-~~ • 5

f ==-fp--=== mf :1

r. ~ .£ "X: ~ .£ ~

.1 tJ I"" mp fp --=fppp ppr.'I

.£ I ""J>:: ~ .£ j;., -t:."'--""~

tJ~..,.-

fp --=fppp mp pp

r.'I~

.11 tJ~ r:;( ....~:~

fp -'--==fp

~pp mp

r.'I

I tJ ~ r:z__~ ~ fp --==:fp

pp pp r.'Impdiv.

la. ~ =- - fp "0pp mp pp--==fp

unis. a- ~ ~ r.'I

c. rz mp pp rzfp --==fp I~

pp

-- -- r.'I

b..... fp

--==}p""

Cl.

v

v

Trb

Hr.

Bsn.

D

Ob.

FI.

Per

Vln

Tpt.

Tim

Vln

Solo

rit. J~44

31

Fl.

Db.

Cl.

Bsn.

Hr.

Tpt.

Trb.

Timp.

Perc.

Solo vc

Vln.!

Vln.II

Via.

Vc.

Db.

J3~1 til" l!' ~ I>~~ -U"'"'

OJP

'--3----' mp'--3---'

,~fp

~ T --... f ---r.cI'" -J

~3------1 mp"""""""'3"'""'I~

pfp

em. r:;;-''''l>. -.......·tJ L--5-----J 1.-3----J I~

p --===f==-- mp 5-

~ ~~ I--

'" ~ '---3--.1 I~

, P -==mf ==-pp> >

OJ L..-'3--' P -===--pp ~3------1P fp, r-3 ---, - - 5

OJ ;-, ~L----3~~1p -===--ppp --=== f ==-- mp

'=' ~

,OJ ~

,"'-,

OJ

,OJ

:

:

~

, Glockenspiel • I

I'" fY--J~

rit•. - - J~44

~. !::.--- c:::--.. ......--...... ...----... ~ .....-;'""Tr..c )..1>,..,~3~ >

.. --......... -S -p 5 .... 5 ~fpp fp

,t: r-3---, ~3~ ~3~ ~

OJ w"':'-w... ll" ......-J ... "'--f fp mpmf p mf p --== =-'

,t: r-3---, ~3~ ~~

OJ .';;if t .";;if ;-J--== Y-----.:T fp mp==--, r-3---, ~3~ -

'" ~;:;ll";- ll" ............J': fpmf p mp

, r-3 ---, ,-3~

OJ

.'~ ;: .';;if;---7- mpfp

unis. r-3 ---, ,-3-, div.

r' < mf:=-P mf=--p'~

fp mp

r-~---, ,-3-, div.

mf::=-p -----mf=- p

mp

32

p

142",'1J ~. ,--'---;;0 qi: #e n.v • ..,.-1

-..: --"~ mp --== mf I~

p

n.v • ..----.1~ ~ .--'---;;0 / I !l'-.2

I"' mfmp --== p

~I

~

fp mf-==--= pp pp

~ -.. >

"' '-;;'~mf~

-..1fp-== mf-==-- pp p< f-==--p

~ !\.t: ., ........ r-'--'

I"' - fp-== mf==-p 5 pp P -== f

~;0 = mp

,"' ;td' '-- W~

fp~ --p mp mf-==-- pp

==-DD /1:' .--.< ----- ..":

L-..!.---' I~ fp mf-==--mp -== mf pp

-:

- '--.---'

.r~mp-== mf

nl"'n >

~

:-~f=- p

~ 0l"'n

I~ ~

P ==r:::'f p

~ 0l"'n ~, >- .'- --"' - '--.---' ~

i/~ fp""':::: mp =--

~ open r-3----, >

"' P~=-- fp.c::

:open

Imf

:0",,"

- ~ H_mf -

'P-=== ::'j~ "

"'~ mf mf

-- "l--.. ~ 5-~.~

fpr~ -=== mf "7"""l'I ~ "!'Y'~-F"-.Jl.-~ ~ £ --==f

~ q;;---~~ #J£ l£ ~ ~ ~ " ,--..,

I"' J;t~ mf .~ r=-' p'----.---'p p

~ ....-n- qr--~ #£ l£ 1£ ~ ~ '--'--' ,----'----,~ '-----'a---' .--' fpp-== mf p p

~ "- H;;-- --"'~ '--pp~ mf 7"' '"'t""p f p

~ , .... ,--.--,

"' pp-== mf I~

f==--PP

.--. #... £ ~ I~ ~ t: >

pp-== mf p '---:ck--'f =--p

-- #... J£ 1£ Tep-==

~ ~ >

~

~?~mf~ '---:c.--'.J '7' "T" - IoiIoi=ip

~p<

f==-r-Z ,--..,';K

• mf~

pp -== p--== f p

~ >:

'-----'a ---' mf '-$-' --==pp-== f p--- > -:

'--pji~ mf ~ p -=: f==-p

Vc.

Via.

Trb.

Hr.

CL

Ob.

Bsn.

Db.

Fl.

Perc.

Vln,!

Tpt

Vln.II

Timp.

Solo vc

33

21 --.E a;,4~r.I vib. .------,c :j::: ~.r-....

OJfp -= '!!L ==--p mp3

~""'X"; - ( t:r::A a-y -,,; .. r.I vib.

II) fp -= I~mf ==--p ;;;r I~

~ ~ ~

II)

mM-~ r.I

II) I~ I~

fp •~~...- h. ~

I~ I~OJ P pp

~ ~

I~IOJ

r.I I..~:

mp 3

r.I I..~

mp 3

.~ ~ - ,..--3---,

> I~- I~II)P = mf:=-p mf =. p

~ ~ - ,--3---,

p>--=== mf- ---- --......-.-I~I)mf:=-p = p

~ -, r.I

OJ P = pp P =mf:=-p

~ ~

I I) p4mf:=-pI"'

p~ pp

~ mute (straight):

I~

pI p

~:

2 ~~

P~

~ ~ ----~IOJ

[TIl,-3-1 --=-- 3 ,-3'-' i ~.-3"~

c.~

~

JB>=___.. £- .f .~ : mp ~ mf ==--ppp pp

~~. r.I I

I II)Pppp

~ r.o.

I I) pppp

~ ~ n.v vib.

fp---~~n OJ mp_ppp

vib.~ r.I nv ------ I~

r~,I)ppp mp

r.o. n.v vib. f ~

mp fpppp

vib. ,--3~r.I

n.v

mp_ fpppp

""'X"; r.I pizz:

c.

L+Jppp P

r.I pizz ,--a---,

Ip -r 4t

ppp,--3---,

r.o. nizz

b. :

ppp p

V

Via

Trb

Hr.

Cl.

D

Db.

Bsn.

Fl.

PeTC

Vln.

Tpt.

Vln.

Timp

Solay

----------------------------------

34

f

A tempo

p---== ==--

J5~ ~ ~poco rit~ - - .J~44

1"-' 5 f~ 1:" ~==--p

~f: Change to Picco

"-'

f~p

"~ ~

I"-'~ -L-.--' I~

f=~p

~ --"-'

f~I~

P

" ~..1"-'

~---J --== -P ==--"

p -="=f

I"-'~~

..p =f p --== ===--

~ ,.- 1:'_

P -=== f p --== ==-- I~

~ ~.:

=--e;=-l # .- ~~.

"P-=== f P --== ==--

."-'~-

~

..,~

~

."-' P~fpI~

PP

" '--'--"

'''-'~>~

IP --==fp===- PP

I~

mute (straight)

~ ~

P

:~

" Crotales

..,P

~pOCO rit~ __

A tempo

~ ,...-., r--4-, IC'\ ....4-,.J-44~ .. ,.~

:

mp f ~ • --- ;~ •=:= P = P

"..,

p>-===ffi pp

"1"-' p>~fp - - pp

"..,~ ---------- I~

P fp pp

" pizz

I"-'~~ .Y~ ?p fp pp

pizz fr--'--"

~ > 7p fp pppizz

>- --- ---- Jp fp pp

~

p--=== ===-- >

f•

~

p---== ==-- .~fg.

Ve.

VIa.

Trb.

Hr.

Cl.

Db.

Bsn.

Db.

Fl.

Perc.

Vln. I

Tpt.

Timp.

Vln.IT

Solo vc

35

Tempo Ipoco acceJ._ _ _ _ _ _ _ _ J= 58

ffmlmppp

156-" ,,----... I, ~ ....--.- ._~

IOJ • I • I- -=.-,~ I~

mp:::;: ml =- pf~

n .,- .. ~ -- h_~

IOJ ==== I """t-' =-p '---'-'~

p : ml I~n I~.~ ~ ~~....

IOJ p~ >- ... ":" f~pp --d=.mln '--';;J - ......

I'" "--.: P~ml I~ I==--p r- ~

p-= >-

n ,--'----' -:r--.IOJ ........, - - ...- =-p-= >- p --=== ml I p

n ,........, -IOJ

p~ml j------- -,,~

=-p fp ==--pp• ....4-.

- -- <-;,-'==-- ppP ml

r-'-'

- --fp ==-- ppn open

I'" mp~ '-----' r- I~

==- pp p--== ml I==-p

n open

I'"mp~p

-- mute (hannan)

I~~ ....

II:~.~

I ==--pmute (harmon)

'" I~ I ==--p I-

--= ::;,. open r-'-'

mp ==- ppfp

open -..- fp

_.- - ~

ml

n Crotales I,~r....

.'" ~.~

I

pOCO acceJ._ _ _ _ _ _ _ .b 58 ,';J>t e~,..-c;:::; • r4-, ,...i!,-, tl'\ 1,.--;:::;:--.... .-----

~ ~ '---' ~m13 I - IEiilii-I -== ff 5

ml==-mp

n .....i!- n ~~..... Q~~ ~~~'""i:l

I'" '-.../ ;- I~f'-' • ==--pp ff ==--p

QJ--c~{!: "~~t0_A • ~ ._K?~.

I'" ~~ - I~ '---.~ • =-pp II ==--p Iarea ~~~~0n • ,........, ...... ,..-,., ~,...~ pizz

"I'" ~'--....::? - ....- =-pp 1- <-:--' -=.-' •

p I II ==--n area - .....,. -. r----, pizz -u. area h.~

I'" liP-<: mp ==- - ~==-pp

11<-:--' ff'---'---'-~p

jI

J ;:'~~~~f:'";'area :lJ J, .n ,l-,j) pizzr-3~

i ~ 1- I '--' =-pp ff<-.~ ff •==--p ....:::::::mp==- ar-... rP'~n . "

unis. r--3--, 13~ plZZ 0

:

p P mp'- ml I =-pp I'" L-a.......Jff

.... ~.~ fh."---' ":~ <-.-' ~

Db.

Vc.

Trb.

CL

Hr.

Db.

Bsn.

Via.

Fl.

Perc.

Vln.'

Tpt.

Timp.

Vln.II

Solo vc

----- - ~------

36

16~ - ~ .....---::;:I

0) ~ rz 1""-p

pp --== 1,O)~ ra- ...- I~

P

~ ~ ~3~

0) "---3-----J p-PP--==I mp ===-p

, - :,..

O)~ -c=3---' rz -z 1""-

pp--==I p--= mp ===-p

,10) ~ ra- ra-

p -= mp ==--p

,IO)~ I~ ;S r'"

p--=== mp==- p

-z r'"

~

0)

p---=== mp ===-p

~

0)

, open~ M•• -y-"

0) "---3--=- r'" ~

P-:'[ mp ===-pp =1, open - ,3,

O)~

P "---3 -----J rz ~

p--== rsmp=1

===-p

~ rz ..,.-

~ ~ ..,.-

:.....- ~

,0)

p~

l"~ "~ --- 3 ...., '" ,..,

~L..........~~.--- '....-1 ==--pp~

~"~ --:::::r ~

-==-nif=!! p

, <b.c--.... - ,..i!,..,

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mp pp pp mp==-p

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pp 1 ppI~

mp mp=-- p

, 3

0) pp'-' '<....I~

mp pp -==1 mp:==- p

,O)~ - =1 ppT"~r-U-

I~ rz.'~ I~

mp pp mp==- p

/' =...:: ...... cliv. I ~ ums.

~

=1pp rz

mp pp

-arco L ~ pizz:

pp --===oprz

p

pizz

Vc,

VIa,

Trb,

Hr,

Cl.

Db,

Db,

Bsn,

FI.

Perc.

Vln,!

Tpt.

Vln, IT

Timp.

Solo vc

p

37

16~

I"Fl.

P -=: mp ==- pp ==-- p fp

~fp

Db. p-== mp ==- ppjJ ==--p I~

=:L,.'!..:..J::"'-~=+==== ff ==-- p

CI.~ I. === I

P -====: I mp ==- pp -~=jr====jJ ==--p

p --==1 mp==-pp

Bsn.

~

p mp==--pp ff ==--p

p - jJ ==--p

+

Hr.

I~

ff ==--pI~ ~

mf ==-p

jJ ==--p

.£ ...

I~ I~

Tpl.I~ ,:;;-==- pp jJ ==-- p

I~

_-==9IF=~===== ff ==--pI~ I~

open

Trb.jJ ==--p

open

jJ ==--p

Timp. -Glockenspiel~ Xylophone

Perc.

~ f=-ppppp

--

f

~3----l

-~====jJ

. ~.~

=-p... .

mp

Solo vc

. ~

Vln. I OJ ~p --== mp =-PP I~mp =-pp

p~mp=-ppI~

Vln. IT .,p' --=f mp =-pp

-p --==== mp =- pp '~L •..J-'~= ff

diY,==-pp

I~

I~

I~­

mp =-pp

I~

Wlis.pizz :e

VI•. p I~p __==F=="----=3=.=-' ff ==-ppI~ff

arca pizz arco pizz

Vc.~ pp I~mp

~

p jJ

arco

Db.

-=~mp ~p--:....,=====---=-==. • ------'"ff ==-pp

38

/72.;n -I'" fp 1 Ip fpfp

n - > > > > ...---... ~

'" 1,~ .,. ....-

~ml Ifp fp fp fp

n

'" I"'" I~ ~

~

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In

I'" rr I~mp'---.!!.-~

I~ r><

==-ppn

I'" r><r"~}- ..z 7J ... I~ r"

r ~pp

:.,.-

I~ mp r" ~==-pp

---- --...- ~ ~ ~

mp ==- pp

~ _____..0

'" ml= p mp

~ + 0

.", '"---" I"'" ~ I~

ml==-p mp

n 3

I'" >~ pR4'~I~ mp~ R4'i ~1l'

I p mp--==

n

I'"

1"'-I~

"'-mp~'4i:~:; • ______~ Irs

mp--==

-------- ~ ....-I--.. ~

roo- r" I""'mp I~ r"mp mp-==

- -:

r .....mp

mp mp--===

...n I>~ ~ t:. I>~ #~ ~ ~

I'"

n - > > >- >

C.

'" fp...-

I fp fp I~

I===-pp ===-pp

n ..... 1> .... ...... ~-:- -........-----.I '" ~ I~ I~

mp ==- pp mp pp

n ./ ...- .....,---.,

I'" r"mp==- pp pp mp =-_ pp

~

,...- 'lI""'t 'fi'c: r"'J I~-

1 '"mp ==-pp

mp pp

~

I '" ~"~---='"1"'"" pp r" 11""C. ~7iE .ft!- ~

mp===-- pp mp==-- pp

#,«. t:. ~ I>~ tiL

~

n

r" roo-I'"

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Vc,

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Hr,

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Cl.

Db,

Db,

Fl.

Via

Perc.

Vln.

Tp!.

Timp

Vln, II

Solo v

39

aceel178 J~ 58..,'~ t: "- - - - - - - -

"' f C" I~

~ C> >

"'~ f C"

~

OJ~ r I~

~

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f~

OJ jp--- --- -z

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fp -z

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f~ +

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44

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pizz:

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48

49

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10) pp mppr

pp pp -=mf;:'-pp

~

0)

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n

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50

232

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5\

238

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53

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