Svanoe Erika Kirsten
Transcript of Svanoe Erika Kirsten
El Salón México by Aaron Copland: A Study and Comparison of the Orchestral Score
and Two Transcriptions for Band
D.M.A. Document
Presented in Partial Fulfillment of the Requirements for the
Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University
By
Erika Kirsten Svanoe, M.M.
Graduate Program in Music
The Ohio State University
2009
DMA Document Committee:
Russel Mikkelson, Advisor
Hilary Apfelstadt
Richard Blatti
Daryl Kinney
Copyright by
Erika Kirsten Svanoe
2009
ii
Abstract
Aaron Copland completed the orchestral score to El Salón México in 1936
marking a turning point in his career. The piece received more performances in the year
following its completion than any of his previous orchestral works. It was well received
by both critics and audiences due to his focus on melody and shift in thinking towards
using the “simplest possible means” to make the music more accessible to the listener.
Mark Hindsley completed a band arrangement of El Salón México in 1966 that
included numerous changes to the meter and rhythmic notation found in Copland’s
orchestral score. The author conducted a comparative analysis of Copland’s published
orchestral score, the El Salón México manuscript materials, Bernstein’s arrangements for
piano, and Hindsley’s transcription for band. This investigation sought to determine why
Hindsley chose to include metric alterations that differ from the orchestral score, and how
he decided what meters would be appropriate.
The study of Copland’s manuscript materials of El Salón México revealed that
Copland simplified the meter and rhythmic notation after the composition was complete.
These rhythmic alterations were completed during the orchestration process in an effort
to make the piece more performable. Much of Copland’s original conception of rhythmic
notation, that appears in his manuscript sketches, also appear in Bernstein’s piano
arrangements. In addition, many of the alterations Hindsley utilized were similar to the
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metric and rhythmic notation in Bernstein’s arrangements. In some sections of the music,
Bernstein’s and Hindsley’s notation more closely match Copland’s original conception of
rhythmic notation than the orchestral score.
The comparative analysis also revealed Hindsley’s scoring techniques, including
heavy doubling, unnecessary changing of wind instrument timbres and numerous changes
to meter and beaming. The author created a new arrangement for band that restores all the
orchestral meters and modernizes the instrumentation and orchestration. The intent was to
provide today’s conductors the option of using a transcription more closely related to the
published orchestral score.
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Dedication
Dedicated to my husband and closest friend Erik Evensen.
v
Acknowledgements
I would like to thank my teachers at the Ohio State University for their help and
guidance in completing this project, including my committee members Hilary Apfelstadt,
Daryl Kinney, Richard Blatti, and especially my advisor Russel Mikkelson who proposed
the idea for project and guided the work throughout the process. I would also like to
thank him and the Ohio State University Wind Symphony for their preparation of my
arrangement that resulted in a wonderful performance.
Thank you to Philip McCarthy from Boosey & Hawkes, and James Kendrick and
Jessica Rauch from the Aaron Copland Fund for Music for assisting with the various
permissions needed to complete this project.
I would also like to thank the librarians at the Library of Congress for their
assistance, particularly Loras Schissel for mailing a copy of a necessary manuscript.
Finally, I’d like to thank my family for all of their support the past three years. I
need to give a special thank you to my husband Erik Evensen, who has been my greatest
supporter.
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Vita
January 26, 1976................... Born, Janesville, WI, USA 1999...................................... B.M.E. University of Wisconsin – Eau Claire 1999-2001............................. Music Educator, Mukwonago, WI 2001-2003............................. Graduate Assistant, Oklahoma State University 2003...................................... M.M. Wind Conducting, Oklahoma State University 2003-2006............................. Lecturer, University of New Hampshire 2006-2009............................. Doctoral Conducting Associate, Ohio State University 2009-present ......................... Director of Bands, Bemidji State University
Field of Study
Major Field: Music
vii
Table of Contents
Abstract ......................................................................................................................ii
Dedication ..................................................................................................................iv
Acknowledgements......................................................................................................v
Vita .........................................................................................................................vi
List of Figures..............................................................................................................viii
List of Photos ..............................................................................................................xii
List of Tables...............................................................................................................xiii
Chapter 1: Introduction and Procedures .......................................................................1 Chapter 2: El Salón México for Orchestra ....................................................................17
Chapter 3: The Mark Hindsley Arrangement for Band ................................................45
Chapter 4: The Erika Svanoe Arrangement for Band....................................................82
Chapter 5: Conclusions and Suggestions for further Research ......................................92 Bibliography................................................................................................................100 Appendix A: Copland’s “Suggested revisions on band arrangement” ...........................103 Appendix B: El Salón México for Band arranged by Erika Svanoe...............................105
viii
List of Figures
Figure 2.1: Folksong material used in El Salón México ................................................23
Figure 2.2: Copland, El Salón México, melodic material, mm. 8-13 .............................23
Figure 2.3: Copland, El Salón México, mm. 23-26, Trumpet ........................................24
Figure 2.4: Copland, El Salón México, mm. 39-44, Bassoon 1 .....................................24
Figure 2.5: Copland, El Salón México, mm. 61-64, Violin 1, 2, Viola (compressed).....25
Figure 2.6: Copland, El Salón México, mm.76-81, Violin 1..........................................25
Figure 2.7: Copland, El Salón México, mm.106-110, Clarinet 1 ...................................26
Figure 2.8: Copland, El Salón México, mm. 135-139, Violin 1.....................................26
Figure 2.9: Copland, El Salón México, mm. 185-190, Clarinet 1 ..................................27
Figure 2.10: Copland, El Salón México, mm. 256-260, English Horn...........................27
Figure 2.11: Copland, El Salón México, mm.211-214, Clarinet 1 .................................28
Figure 2.12: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm.1-3..........32
Figure 2.13: Copland/Bernstein, El Salón México for Two Pianos, Rhythmic notation,
mm. 1-3 .......................................................................................................................32
Figure 2.14: Copland, El Salón México, Rhythmic notation, mm. 1-5...........................32
Figure 2.15: Copland, El Salón México, mm. 124-128, Violin 1...................................33
Figure 2.16: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.15
....................................................................................................................................33
ix
Figure 2.17: Copland, El Salón México, mm. 160-168 (compressed) ...........................34
Figure 2.18: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.17
....................................................................................................................................34
Figure 2.19: Copland, El Salón México, mm.130-135, Strings......................................35
Figure 2.20: Example of revised rhythmic notation in Symphonic Ode .........................37
Figure 3.1: Hindsley Orchestration Chart .....................................................................51
Figure 3.2: Copland/Hindsley, El Salón México for Band, mm. 40-44. Bassoons,
Contrabassoon, Alto and Tenor Saxophones ................................................................53
Figure 3.3: Copland, El Salón México, mm. 247-251, Strings.......................................54
Figure 3.4: Copland/Hindsley, El Salón México for Band, mm. 247-251, Clarinets ......54
Figure 3.5: Copland, El Salón México, mm. 61-64, Strings ..........................................55
Figure 3.6: Copland/Hindsley, El Salón México for Band, mm. 61-64, Clarinets,
Cornets ........................................................................................................................55
Figure 3.7: Copland, El Salón México, mm. 73-80, Strings ..........................................56
Figure 3.8: Copland/Hindsley, El Salón México for Band, mm. 73-80, Flutes, Clarinets,
Cornets ........................................................................................................................56
Figure 3.9: Copland, El Salón México, mm. 1-4, Trumpets ..........................................57
Figure 3.10: Copland/Hindsley, El Salón México for Band, mm. 1-4, Cornets,
Trumpets .....................................................................................................................57
Figure 3.11: Copland, El Salón México, mm. 20-25, Bass Clarinet, Bassoons,
Trombone 1 .................................................................................................................59
x
Figure 3.12: Copland/Hindsley, El Salón México for Band, mm. 20-25, Bassoons,
Saxophones..................................................................................................................59
Figure 3.13: Copland, El Salón México, mm. 221-226 .................................................61
Figure 3.14: Copland/Hindsley, El Salón México for Band, mm. 221-226....................62
Figure 3.15: Copland/Hindsley, El Salón México for Band, 1st Version Manuscript
(ARCO 28-D) mm. 73-80 ............................................................................................63
Figure 3.16: Copland, El Salón México, mm. 73-80 ....................................................65
Figure 3.17: Copland/Hindsley, El Salón México for Band, mm. 73-80 .......................66
Figure 3.18: Copland, El Salón México, mm. 372-375, Viola.......................................69
Figure 3.19: Copland/Hindsley, El Salón México for Band, mm. 373-377,
Clarinet 2, 3 .................................................................................................................69
Figure 3.20: Copland, El Salón México, mm. 377-379, Violin 2, Viola .......................70
Figure 3.21: Copland/Hindsley, El Salón México for Band, mm. 380-382,
Clarinet 2, 3 .................................................................................................................70
Figure 3.22: Copland, El Salón México, mm. 14-15, Trumpets.....................................71
Figure 3.23: Copland/Hindsley, El Salón México for Band, mm. 14-15, Cornets,
Trumpets .....................................................................................................................71
Figure 3.24: Copland, El Salón México, mm. 316-319, Trumpet 1, 2............................72
Figure 3.25: Copland/Hindsley, El Salón México for Band, mm. 316-319, Trumpet 1..72
Figure 3.26: Copland, El Salón México, mm. 324-326, Horns ......................................73
Figure 3.27: Copland/Hindsley, El Salón México for Band, mm. 324-326, Horns.........73
Figure 3.28: Copland, El Salón México, mm. 252-256, Violins ...................................75
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Figure 3.29: Copland/Hindsley, El Salón México for Band, mm. 252-256,
Clarinets 1, 2................................................................................................................75
Figure 3.30: Copland, El Salón México, mm. 257-258, Viola.......................................76
Figure 3.31: Copland/Hindsley, El Salón México for Band, mm. 257-258, Clarinet 1...76
Figure 3.32: Copland, El Salón México, mm. 10, melodic material...............................77
Figure 3.33: Copland/Hindsley, El Salón México for Band, m. 10, melodic material ....77
Figure 3.34: Comparison of rhythmic notation for music corresponding with orchestral
mm. 156-172 in the Piano Sketch (ARCO 28-A), Bernstein arrangement for solo piano,
and Hindsley’s arrangement for band...........................................................................78
Figure 3.35: Copland, El Salón México, mm. 59, Bassoon ..........................................80
Figure 3.36: Copland/Hindsley, El Salón México for Band, m. 59, Bassoon .................80
Figure 3.37: Copland, El Salón México, m.313, Trumpet 1 in C...................................80
Figure 3.38: Copland/Hindsley, El Salón México for Band, m. 313, Trumpet (displayed in
concert pitch) ...............................................................................................................80
Figure 3.39: Copland, El Salón México, mm. 160-161, melodic material in Trombone 1, 2, Violin 1, Viola ...................................................................................81 Figure 3.40: Copland/Hindsley, El Salón México for Band, mm. 160-161, melodic
material in Horn 2, 4, Trombone 1, 2 ...........................................................................81
xii
List of Photos
Photo 2.1: ARCO 28.1, Music corresponding to published orchestral score m. 321......40
Photo 2.2: ARCO 28-A, Music corresponding to published orchestral score m. 321.....41
Photo 2.3: ARCO 28, Music corresponding to published orchestral score m. 378.........42
Photo 2.4: ARCO 28a copy 2, mm. 24-25, Bass Clarinet, Bassoons, Trumpet in C,
Trombone ....................................................................................................................43
Photo 2.5: ARCO 28-A, Music corresponding to published orchestral score
mm. 24-25 ...................................................................................................................44
xiii
List of Tables
Table 2.1: Summary of published scores and manuscripts ............................................31
Table 3.1: Comparison of Instrumentation between Copland Orchestral Score and
Hindsley Band Score....................................................................................................49
Table 4.1: Comparison of Instrumentation between Copland Orchestral Score, Hindsley
Band Score, and Svanoe Band Score............................................................................85
1
Chapter 1: Introduction and Procedures
Background
Transcriptions and arrangements of works from other mediums hold an important
place in the literature of the wind band. For much of the band’s history, a large part of the
available literature included orchestral transcriptions. While there has been an enormous
increase in the percentage of original compositions for band in the past several decades,
quality transcriptions of significant works from other mediums continue to add depth and
variety to the literature as a whole.
When a conductor is faced with the task of performing an arrangement or
transcription, it is important to refer to the original version during score study and
preparation. If the arranger of the new version has made changes that may affect the
performance of the piece, it is vital to know what these alterations are, and if they are
appropriate. In some cases, changes in an arrangement may not accurately reflect the
original composer’s intentions, while other changes are appropriate due to the difference
in medium.
One such band transcription that deserves a thorough comparative analysis and
evaluation is Mark Hindsley’s arrangement of Aaron Copland’s El Salón México. While
it is considered to be one of Copland’s lighter orchestral works, it is an important piece
because of its place in his compositional output as a whole. It was one of the first works
that represented a conscious shift in Copland’s compositional style towards using what he
2
called the “simplest possible terms.” Copland’s perception that the majority of concert
audiences were apathetic towards any music but the established classics was responsible
for this shift in thinking. As the audience for new music continued to decrease, Copland
experimented with music he thought would appeal to a wider audience.1 El Salón México
was the first successful piece in this new style and helped Copland gain widespread
popularity.2
Hindsley’s band arrangement is significant not only because of Copland’s status
as one of America’s premiere composers, but because of its widespread use by bands. It
has appeared on several state high school contest lists including Texas, Florida, Arkansas,
and Virginia and was recorded by both the University of Illinois and the Cincinnati
Conservatory.3 It also appears regularly on collegiate band programs.4
However, Hindsley made several editorial decisions, particularly regarding meter,
which differ significantly from the score of the orchestral work. One purpose of this
study is to compare Aaron Copland’s El Salón México for orchestra with Mark
Hindsley’s transcription for band and to evaluate the editorial changes made in the band
version. Finally, a new arrangement of El Salón México for band was created in which all
of Copland’s orchestral meters were restored.
Aaron Copland
Aaron Copland (1900-1990) is one of the most significant American composers
of the 20th century. He won the Pulitzer Prize and the New York Music Critics’ Circle
1 Copland, “Composer from Brooklyn,” xxvi. 2 Berger, Aaron Copland, 30. 3 Shattingermusic.com 4 CBDNA Report
3
Award for Appalachian Spring and his film scores earned him four Academy Award
nominations and one win for The Heiress in 1949. He was elected to the American
Academy of Arts and Letters in 1954, received the Academy’s Gold Medal in 1956, and
served as the Academy’s president in 1971. Other awards included a MacDowell Medal
in 1961, a Presidential Medal of Freedom in 1964, a Kennedy Center Honor in 1979, a
Medal of the Arts in 1986, and a Congressional Gold Medal in 1986, as well as several
honorary doctorates.5
While Copland’s music has been acknowledged by prestigious awards, it is also
recognized by much of the American populous because of its infiltration into popular
culture. His music has been used to promote the Olympics, the armed forces and the
United States beef industry, because “when it comes to music that summons up images of
America in the minds of American listeners, Copland is unique… in each case the
promoters have wanted to tap into deep-seated feelings that, somehow, this music evokes
like almost nothing else.”6
The youngest of five children, Aaron Copland was born on November 14, 1900 in
Brooklyn, New York to his parents Harris and Sarah Copland. Throughout his youth
Copland studied piano, theory, and composition with various teachers and supplemented
his education by attending recitals and concerts. In 1921 he traveled to Paris where he
studied composition with Nadia Boulanger, his most influential teacher. While studying
with Boulanger Copland produced his first orchestral score, Grohg, which he completed
upon his return to the United States in 1924. In addition, Boulanger arranged for two
5 Howard Pollack. "Copland, Aaron." In Grove Music Online. 6 Burr, “Copland, the West and American Identity,” 22.
4
performances of Copland’s organ concerto to be performed by both the New York and
Boston Symphony Orchestras with herself as soloist. The performance of the Organ
Symphony under the baton of Sergey Koussevitzky initiated an important relationship for
Copland. Koussevitzky became one of Copland’s greatest collaborators and champions.7
Upon Copland’s return the United States, he felt the need to compose modern
music that was identifiably American. He began to incorporate jazz into his symphonic
works such as Music for Theatre (1925) and the Piano Concerto (1926).8 While Copland
had the support of Koussevitzky and several other musicians, critics, and artists, much of
the press regarded his music with skepticism. His Piano Concerto, performed by the
Boston Symphony Orchestra with himself as pianist, had a particularly unfavorable
reception.9 Olin Downs of the New York Times wrote “It progresses by fits and
starts…confirming [the listener’s] suspicions that Mr. Copland needs a firmer hold of
principles of musical structure… Here is a young man who can surely not remain content
with the praise of partisans or knowledge of his own artistic shortcomings.”10 Public
audiences had similar reactions. At a performance of the Piano Concerto in Mexico there
were so many hisses from the audience during the performance that Copland looked to
the conductor, Carlos Chávez, for a sign of whether to continue the performance.11
Copland’s compositional activity decreased in the late 1920s. He entered a self-
reflective period in which he considered his own compositional path, as well as the path
of American music. In his 1939 essay “Composer from Brooklyn” he stated:
7 Howard Pollack. "Copland, Aaron." In Grove Music Online. 8 Crist, Music for the Common Man, 42. 9 Pollack, “Copland, Aaron." In Grove Music Online. 10 Berger, Aaron Copland, 24. 11 Copland and Perlis, Copland, 216.
5
I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old “special” public of the modern-music concerts had fallen away, and the conventional concert public continued apathetic of indifferent to anything but the established classics. It seemed to me that we composers were in danger of working in a vacuum. Moreover, an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.12 It was El Salón México that “developed and heralded his new style.”13 It
embodied Copland’s new tendency toward “imposed simplicity.”14 For the untrained
listener the use of folksongs and programmatic title helped bridge the gap from absolute
music. It was accessible for audiences who did not have musical training or the ability to
perceive formal structures. The piece was immediately popular receiving more
performances than any of his other orchestral works and brought Copland’s new
compositional style to the attention of the public. El Salón México established Copland as
a “successful” composer and was directly responsible for his publishing contract with
Boosey & Hawkes. Impressive honors would soon follow, including a commission from
the Columbia Broadcasting System for Music for Radio (1937), election to the National
Institue of Arts and Letters in 1942, and the 1945 Pulitzer Prize in music for Appalachian
Spring.15
In the decade that followed 1935, Copland did not entirely abandon writing in his
more abstract style, though most of his efforts had some element of functionality, such as
An Outdoor Overture (1939), composed for students, or included external matter that
12 Copland “Composer from Brooklyn,” xxvi. 13 Berger, Aaron Copland, 30. 14 Copland, “Composer from Brooklyn”, xxvi. 15 Berger, Aaron Copland, 30-31.
6
gave the piece an element of being programmatic, such as Appalachian Spring (1944).
Many of Copland’s most popular and well-known works are from this time span,
including Fanfare for the Common Man (1942) and Rodeo (1942). Pieces such as his
Piano Sonata (1941) and Sonata for Violin and Piano (1943) are representative of his
more abstract style during this time period. However, it was not until he composed his
Third Symphony (1946) that he composed for the orchestra without programmatic
elements.16
Copland commented on what was perceived as an abandonment of his more
complex music in his 1967 addition to “Composer from Brooklyn.”
The assertion that I wished “to see if I couldn’t say what I had to say in the simplest possible terms” and the mention of “an imposed simplicity” were taken to mean that I had renounced my more complex and “difficult” music… these remarks of mine emphasized a point of view which, although appropriate at the time of writing…seems to me to constitute an oversimplification of my aims and intentions, especially when applied to a consideration of my subsequent work and of my work as a whole.17
While the ten years that followed El Salón México seemed to focus on Copland’s
new accessible style, he later felt that there was no disparity between his two
compositional styles, the simple and the complex. Rather, he adapted his technique to the
materials with which he chose to work.
[There is] a continuing discussion concerning the apparent dichotomy between my “serious” and my “popular” works. I can only say that those commentators who would like to split me down the middle into two because I take into account with each new piece the purpose for which it is intended and the nature of the musical materials with which I begin to work. Musical ideas engender pieces, and the ideas by their character dictate the nature of the composition to be written.18
16 Berger, Aaron Copland, 32. 17 Copland, “Composer from Brooklyn,” xxvi-xxvii. 18 Ibid., xxxii.
7
By the late 1940s Copland was widely regarded as the leading American
composer of his time. While he had lived in Manhattan for many years, he moved to
Ossining, New York in 1952. Through the 1950s he continued to lecture, teach and write
and in 1958 began a 20-year international conducting career, presenting both this own
works and the music of over 80 other composers. In 1961 Copland moved into a larger
home located near Peekskill, New York where he lived until his death. He did not
compose much after 1972 and began to suffer short-term memory lapses in the mid-
1970s. After being diagnosed with Alzheimer’s he was under medical supervision by the
mid-1980s. He died of respiratory failure on December 2, 1990.19
El Salón México
During a visit to Mexico in the autumn of 1932, Copland conceived of writing a
piece based on Mexican themes. From the beginning, he connected the piece with a
popular dance hall in Mexico City called Salón México. He realized he did not want to
attempt to reflect the profound, historical side of Mexico since he felt he did not truly
know the country. Instead he wanted to reflect this tourist “hot spot” where he also felt a
close connection with the Mexican people.
While the work references several Mexican folk songs, Copland transforms the
melodies into his own musical language. He said “It wasn’t the music that I heard, but the
spirit that I felt there, which attracted me. Something of that spirit is what I hope to have
put into my music.” The work was completed in 1936 and premiered by Carlos Chávez
and the Orquesta Sinfónica de México the summer of the following year.
19 Pollack, “Copland, Aaron.” In Grove Music Online.
8
El Salón México is a significant work in Copland’s compositional output for
several reasons. First, this piece came at a time when Copland was beginning a shift in
thinking toward trying to say things in the “simplest possible terms.” The works that
followed the Symphonic Ode (1929), the composition that marks the culmination of
Copland’s austere writing up to that point, gradually evolved towards a generally more
accessible aesthetic. Copland’s focus on melody and the use of Mexican folksongs in El
Salón México were important elements that helped Copland write in a more accessible
style, as well as attain wider audience appeal of his music.
Second, this was Copland’s first work to utilize borrowed folk tunes, a tool he
would use throughout his career. While some of the material he borrowed is a direct
quotation, his treatment of folksongs more often employs a transformation of the
materials, making them a part of Copland’s compositional language, deftly retaining the
spirit and character of the tunes. Copland’s motive for turning to these melodies was “an
aspect of his campaign to achieve a simple style and a content that would engage the
interest of a wider audience.”20
Third, due to greater interest in his music, Copland became enormously
successful. El Salón México introduced the composer to a larger audience and earned him
popular acclaim. Compared to Statements and the Short Symphony, which received
hardly any performances, by 1938 El Salón México had been performed by 21 orchestras.
Also, it was at the 1938 European premier of this work that Copland met Benjamin
Britten, who in turn introduced Copland to his publisher Boosey & Hawkes. El Salón
20 Berger, Aaron Copland, 57.
9
México, along with Music for Radio, were the first works to be published by the London
firm.
El Salón México clearly marks a compositional turning point for Copland in
several ways. His conscious efforts to appeal to a wider audience, use of folksong
materials, and the success that followed the premiere all contribute to the fact that this
work was an important milestone in Copland’s compositional output. Several
arrangements of the piece were created. Leonard Bernstein arranged both the solo piano
and two piano versions in 1941 and 1943 respectively. A truncated version titled
“Fantasia Mexicana” dated 1952 was adapted and orchestrated by Johnny Green for the
MGM motion picture Fiesta. Arturo Toscanini wrote an unpublished arrangement for
piano, possibly for his own study of the orchestral score.21 Mark Hindsley completed his
arrangement for concert band in 1966.
While Copland created several band arrangements of his own works, as well as
composing Emblems (1964) for band, he did not create a band version of El Salón
México. His first transcription for band was An Outdoor Overture (1938), originally
composed for high school orchestra. The band transcription was completed at the request
of Edwin Franko Goldman and was premiered by the Goldman Band in 1942. The other
transcriptions Copland completed for band include Variations on a Shaker Melody
(1956), Preamble for a Solemn Occasion (1949), Inaugural Fanfare (1977), and Red
Pony Suite (1948).22
21 Since the Toscanini is an unpublished reduction of the published orchestral score and the Green is a truncated version of the orchestral score, these two versions did not factor into this study. 22 Briskey, “The Symphonic Band Repertoire of Aaron Copland,” 38-42.
10
Mark Hindsley (1905-1999) created the band arrangement of El Salón México in
1966. Hindlsey was the Director of Bands at the University of Illinois from 1948 until he
retired in 1970. He completed dozens of arrangements for band, most of which are self-
published and still available from his son, Roger Hindsley, who currently distributes his
music.23 The only band arrangement of Hindsley’s that is not currently self-published is
El Salón México, published by Boosey & Hawkes. According to a 1982 survey by Earle
Gregory, it was (and likely still is) one of Hindsley’s most often played transcriptions.
The distribution capabilities of Boosey & Hawkes certainly contribute to its availability
and popularity.24
Review of Related Research
The majority of literature regarding El Salón México relates to the background
story of the composition or how the work fits into Copland’s compositional output as a
whole. There is no in-depth analysis of the work to date. This lack of analytical research
is also noted by Leo Philip Fishman in his recent dissertation “Theoretical Issues and
Presumptions in the Early Music of Aaron Copland” (2007). Fishman states that “there
has been a dearth of useful research concentrating on theoretical aspects of his music
while there has been a great deal of work on contextualizing Copland as a way to explain
his oeuvre."25 Fishman’s study concentrates on four early works of Copland’s, none of
which is El Salón México.
23 www.hindsleytranscriptions.com 24 Gregory, “Mark H. Hindsley: The Illinois Years,” 162-3. 25 Fishman, “Theoretical Issues and Presumptions in the Music of Aaron Copland,” vi.
11
The most relevant literature that addresses questions posed by this study is either
limited in scope or tangential to the topic. Only two limited analyses of the orchestral El
Salón México were discovered. No literature could be found regarding Hindsley’s band
transcription. Topics that were considered tangential but supportive to the study include
studies of the piano arrangements of El Salón México by Leonard Bernstein, Mark
Hindsley’s other arrangements for band, and Copland’s use of metric and rhythmic
notation in other works. The most relevant literature within these topics is summarized
here.
The best information that could be considered an analysis of El Salón México is
by Gerald Abraham. When Boosey & Hawkes published the miniature score of El Salón,
it was traditional for analytical notes to be included. The four-page insert gives a brief
summary of the story of the Mexican dance hall and Copland’s inspiration for writing the
piece. Most of the information outlines Copland’s use and alteration of Mexican
folksongs and where they appear in various guises throughout the piece. Abraham
outlines his interpretation of the form, which is debatable but certainly workable version
of the formal structure. The notes are of high quality and give an excellent summary of
the work, but are very limited in scope.26
“A Comparison and Analysis of Aaron Copland's El Salón México for Orchestra,
Piano Solo, and Two Piano Four Hands” by Richard Glazier gives a brief analysis of the
orchestral version and documents some of the differences between it and the piano
arrangements by Leonard Bernstein. Most of the analysis is drawn from Gerald
Abraham’s notes published in the miniature score, though Glazier additionally illustrates
26 Abraham, “Aaron Copland: El Salón México.”
12
Copland’s use of polyrhythm and polytonality. In comparing the rhythmic notation of the
orchestral and piano versions and reading Copland’s essay “On the notation of rhythm,”
Glazier recognizes that Copland simplified the meter in the orchestral version. Some of
the other rhythmic notation that appears in the piano versions he credits to Bernstein, but
in some cases this notation originally appears in Copland’s hand in the manuscript
materials. It is clear that Copland’s manuscripts of El Salón México were not examined as
part of this study. Glazier’s purpose is to document some of the differences in the piano
versions and defend them as artistic additions to piano literature.27
Research regarding Copland’s practice of rewriting rhythmic notation in his
orchestral works includes “The Compositional History of Aaron Copland’s Symphonic
Ode” by Elizabeth Bergman Crist. She constructs the history of the composition through
existing manuscript materials and correspondence. Crist demonstrates the process and
circumstances that led to Copland’s rebarring of the Symphonic Ode, and substantiates
that Koussevitzky was largely responsible for initiating these changes. The article also
provides evidence that Copland preferred his original rhythmic notation. This was
discovered through his restoration of the original notation in the revised 1955 edition.28
Research regarding Mark Hindsley’s band transcriptions was done by Earle
Suydam Gregory and documented in his dissertation “Mark H. Hindsley: The Illinois
Years.” It documents the professional activities of Hindsley with emphasis on his
research into the construction of instruments, his contributions to the University of
Illinois band building, and his contributions to band literature through transcriptions.
27 Glazier, “A Comparison and Analysis of Aaron Copland's El Salon Mexico.” 28 Crist, “The Compositional History of Aaron Copland’s Symphonic Ode.”
13
This includes a study of the scoring practices of Hindsley by examining a sample of his
orchestral transcriptions for band and an analysis of how each instrument was utilized.
The research confirms and expands much of Hindsley’s own writings in Hindsley On
Bands.29
Procedures and Purpose of the Study
I first became familiar with El Salón México when I was playing clarinet on Suite
from Billy the Kid with a youth orchestra. It was at this time I became interested in
Copland’s other works for orchestra. I did not formally study the piece until I was asked
to conduct Mark Hindsley’s band transcription for an audition at the Ohio State
University. During the course of my study, I learned that there were several places in
Hindsley’s score where the meters published in the band arrangement differ from the
meters in Copland’s original orchestral score. These discrepancies led me to several
questions. What is happening in the original orchestral score that may have initiated the
meter changes in the band score? What are all of the meter changes that Hindsley
utilized? Why did the arranger choose to use different meters and how were the meters
chosen? Do other arrangements of El Salón México also alter the meter? Did Copland
approve of the changes Hindsley made? Is a new band arrangement of El Salón México
with the orchestral meters restored warranted? These are the questions that led me to
develop this study in the manner that follows.
At the start of this process, I determined that a new band arrangement of El Salón
México was warranted and could be an important addition to band literature. The
changing of meters and beaming in arrangements, such as the Hindsley arrangement, can
29 Gregory, “Mark H. Hindsley: The Illinois Years.”
14
pose difficulties for musicians. In the case of El Salón México, many college wind
players learn the piece in the band arrangement, but then must relearn the different meters
when called upon to play the original orchestral version. Regardless of whether changing
the original meters for an arrangement is an improvement or not, the relearning of music
in different meters is a difficult task for both conductors and players. Since it is highly
unlikely that a different edition of the orchestral version of El Salón México will be
available, I felt it was important that band directors have an arrangement in which the
meters of the orchestral version were maintained.
In addition, Hindsley’s arrangement was conceived for a large band with over 90
musicians. College bands of this size were much more common in the 1960s than they
are today. Today’s collegiate bands use a smaller number of musicians, more in line with
a wind ensemble instrumentation. This trend gained acceptance at many colleges and
universities in the 1970s.30 Even the majority of today’s large concert bands are
significantly smaller than Hindsley’s model. The new band arrangement of El Salón
México was created both to restore the orchestral meters and modernize the
instrumentation.
I felt many of the questions posed could be answered by doing a comparative
analysis between Copland’s orchestral score and Hindsley’s band arrangement. This was
completed in two stages. First, I completed an overall study of the orchestral work, with
special consideration for rhythm and meter. Second, I compared several aspects of the
Hindsley band arrangement to the orchestral score. These aspects included
instrumentation, meter, beaming, key signatures, and overall scoring.
30 Battisti, Winds of Change, 68.
15
Since a dialogue with either the composer or arranger was impossible, I decided
to review all of the relevant sketches, manuscripts, and correspondence between Copland
and Hindsley. To accomplish this I visited the Library of Congress and examined all of
the materials relating to El Salón México. It was my premise that an examination of
Copland’s sketches and original manuscripts would lead to a deeper understanding of the
work and its compositional process, as well as confirm possible errata found during the
analysis. To discover any possible contact between Hindsley and Copland, I also
searched for and examined correspondence relating to the band arrangement.
Chapter Two examines Copland’s orchestral score of El Salón México. This
includes a background of its creation and how it fits into a shift in thinking at this point in
Copland’s compositional output. It includes a brief formal analysis noting thematic
development and use of folksong. The use of meter, beaming, and rhythm is also
examined in depth.
Chapter Three discusses Hindsley’s arrangement of El Salón México for band.
This will include changes made by Hindsley in the band arrangement pertaining to
instrumentation, meter, beaming, key signatures, and overall scoring. All metric
alterations in the Hindsley are documented and cataloged according to the type of
alteration made, and the origins of these alterations are explored. The publication history,
relevant correspondence, revisions to the original band manuscript and errata are also be
examined.
Chapter Four compares the new arrangement for band, created by myself, to the
Mark Hindsley band arrangement and Copland’s original orchestral score. It includes a
discussion of the decision making process regarding instrumentation, use of key
16
signatures, overall scoring, meters, and beaming. It also documents changes made due to
errata found in both the Hindsley band arrangement, as well as the original orchestral
score.
Chapter Five presents a summary of the findings of the study and provides
suggestions for further research.
Description of Appendices
Appendix A: Copland, “Suggested Revisions on band arrangement of El Salón México”
Appendix B: Full score of El Salón México for band arranged by Erika Svanoe
17
CHAPTER 2: El Salón México for Orchestra
In 1935 Copland organized a series of “one-man concerts” featuring the works of
one living composer on each program. In observing the audiences at this series Copland
stated “As I looked around at the all-too-familiar small group at these concerts, I knew
that I wanted to see a larger and more varied audience for contemporary music.”31 At this
time Copland was finishing El Salón México in which he said he was experimenting with
a different style of writing. He was not rejecting one kind of music for another, but felt it
was time to try something new.32
Copland considered the first version of the Symphonic Ode from 1929 to be the
piece that marked the end of his most austere and complex compositions. The move
toward a simpler style was a gradual transition in the works that followed.
In retrospect it seems to me that the Ode marks the end of a certain period in my development as a composer. The works that follow it are no longer so grandly conceived. The Piano Variations (1930), the Short Symphony (1933), the Statements for Orchestra (1935) are more spare in sonority, more lean in texture. They are still comparatively difficult to perform and difficult for an audience to comprehend.33
El Salón México was first conceived while Copland was simultaneously working
on two other works in the fall of 1932 in Mexico: Short Symphony and Statements.
“These three works and their combined compositional histories document Copland’s
31 Copland and Perlis, Copland, 244. 32 Copland and Perlis, Copland, 245. 33 Copland, “Composer in Brooklyn,” xxvi.
18
refinement of a simplified musical idiom that emphasizes aural accessibility and draws on
the melodic resources of traditional tunes.”34 It is El Salón México and its position in
Copland’s compositional output as one of the first of several works to simplify his
musical language that makes it particularly significant.
Short Symphony is composed in a similar vein as Copland’s earlier works, such as
the Piano Variations, which focuses on structural unity and uses a dissonant avant-guard
style. Statements still utilizes this type of style, but focuses less on formal structure and is
more episodic. Copland also hoped that the suggestive movement titles, such as
“Militant” and “Cryptic,” would make the piece more palatable to the listening audience.
El Salón México also uses an episodic form, but focuses more on melody than these other
works.35 The reason for this shift toward melody comes primarily from the materials
Copland chose to work with, which were inspired by the music he heard during his trip to
Mexico in 1932.
For several years prior to his trip, Copland had promised Carlos Chávez that he
would visit Mexico. When Chávez promised him an all-Copland program by the
Conservatorio Nacional de México, he felt the time had come. He left New York on
August 24, accompanied by Victor Kraft, and arrived in Laredo September 2, the
morning of the concert. Copland remained in Mexico for five months.
During Copland’s visit, Chávez took him to a dance hall in Mexico City called El
Salón México, known to the locals as “El Marro” or the policeman’s nightstick. It was a
popular place for tourists who wanted a taste of how the local lower class sought
34 Crist, Music for the Common Man, 43. 35 Crist, Music for the Common Man, 43-4.
19
entertainment.36 The atmosphere of the place made an impression on Copland and he
came away with the idea to create El Salón México.
El Salón México had been ‘in the works’ since my first trip to Mexico in 1932 when I came away from that colorful dance hall in Mexico City with Chávez. I had read about the hall for the first time in a guidebook about tourist entertainment: ‘Harlem type night-club for the peepul, grand Cuban orchestra, Salón México. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.’ A sign on a wall of the dance hall read: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.’ A guard, stationed at the bottom of the steps leading to the three halls, would nonchalantly frisk you as you started up the stairs to be sure you had checked all your ‘artillery’ at the door and to collect the 1 peso charged for admittance to any of the three halls. When the dance hall closed at 5:00 A.M., it hardly seemed worthwhile to some of the overalled patrons to travel all the way home, so they curled themselves up on the chair around the walls for a quick two-hour snooze before going to a seven o’clock job in the morning.37
Copland did not want to try to translate the profound side of Mexico into a
musical work. He felt he did not know the country well enough to attempt this. Rather he
wanted to reflect the spirit of the dance hall and his experiences he had there with the
Mexican people as a tourist. The “people” were reflected in Copland’s use of traditional
folksongs. Copland stated “I began (as I often did) by collecting musical themes or tunes
out of which a composition might eventually emerge. It seemed natural to use popular
Mexican melodies for thematic material…My purpose was not merely to quote literally
but to heighten without in any way falsifying the natural simplicity of Mexican tunes.”38
Having the piece sound “Mexican” was a concern of Copland’s. He wrote to
Chávez expressing his concern “I am terribly afraid of what you will say of the ‘Salón
México’-perhaps it is not Mexican at all, and I would feel so foolish. But in America del
36 Crist, Music for the Common Man, 51. 37 Copland and Perlis, Copland, 245. 38 Ibid., 245.
20
Norte it may sound Mexican!”39 He wrote again to Chávez in 1935: “What it would
sound like in Mexico I can’t imagine, but everyone here for whom I have played it seems
to think it is very gay and amusing.”40 Once Chávez heard Copland perform the piano
version, he agreed to conduct it once the orchestration was complete. The premiere took
place on August 27, 1937 in Mexico City with Orquesta Sinfónica de México at the
Palacio de Bellas Artes. The music was well received by the musicians and public with
newspapers stating the piece could be taken as Mexican music.
The piece was immediately popular. Twenty-one orchestras had performed the
piece by 1938.41 The first American performance was conducted by Koussevitzky with
the Boston Symphony Orchestra on October 14, 1938. Another significant performance
was at the 1938 International Society for Contemporary Music concert in London where
Copland met Benjamin Britten, who was responsible for introducing Copland to the
publishing firm Boosey & Hawkes. In a letter to Ralph Hawkes Britten wrote “I’m
fearfully anxious for you to cash in on Aaron Copland – the American composer – now
without a publisher since Cos Cob Press gave up. His El Salón México was the brightest
thing of the festival…. I feel he’s a winner somehow.”42
Ralph Hawkes wrote to Copland August 12, 1938 expressing an interest in
publishing El Salón México.43 Negotiations by written correspondence ensued and
Copland eventually convinced the firm to publish Music for Radio as well. It was
39 Ibid., 246. 40 Ibid., 246. 41 Crist, Music for the Common Man, 43-4. 42 Mitchell and Reed, eds., Letters from a Life, 566. 43 Ralph Hawkes to Aaron Copland, 12 August 1938, Aaron Copland Collection, Library of Congress.
21
Hawkes who suggested that more performances of El Salón México would be possible if
the instrumentation was slightly reduced and suggested that having a second version of
the piece available with smaller instrumentation.44
Instrumentation:
The full instrumentation for El Salón México is as follows:
Piccolo 2 Flutes 2 Oboes English horn Clarinet in E-flat 2 Clarinets in B-flat Bass Clarinet in B-flat 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in C 3 Trombones Tuba Timpani Percussion Piano Strings (Violins, Violas, Cellos, Contrabasses) The percussion part calls for multiple instruments: xylophone, suspended cymbal,
gourd, temple blocks, wood block, bass drum, snare drum, and tambour de Provence,
which Copland describes as a long drum with a dull sound. The gourd was the only
Mexican percussion instrument that he included in the piece. This may have been for the
best, since several orchestras of the time had a difficulty acquiring a proper gourd for
performances.
Some of the wind instruments were marked in the score as “not essential to
performance.” At the request of Ralph Hawkes, and likely seeing the opportunity for
44 Ralph Hawkes to Aaron Copland, 20 September 1938, Copland Collection.
22
more performances with a reduced instrumentation, Copland created an alternate scoring
to accommodate this request, eliminating the need for the English Horn, Clarinet in E-
flat, Bass Clarinet, Contrabassoon, and Trumpet 3.
Folksong Materials and Form
Copland used several Mexican folk songs, found in published collections, as the
basis for many of the melodies in El Salón México. Two of the songs, “El Palo Verde”
and “La Jesuita” were found in Cancionero Mexicano edited by Frances Toor. “El
Mosco” and “La Malacate,” an indigenous dance tune, were found in El Folklore y la
Música Mexicana by Rubén M. Campos. These melodies are not usually used in their
original form, but rather Copland derived new melodic material from them.45
An excellent summary of Copland’s use of these folk songs comes from
musicologist Gerald Abraham. When Boosey & Hawkes published the miniature score, it
was customary to provide analytical notes about the music. The publisher asked Abraham
to write the notes for El Salón México.46 The four-page insert includes excerpts of the
original folksong material and documents Copland’s alteration of these melodies into the
thematic material used in the piece.
Abraham notes the three most utilized melodies as “El Palo Verde,” La Jesusita,”
and “El Mosco.” He describes the form of the piece as a “subtilised and elaborated
ternary from, with a long introduction.”47 Abraham illustrates Copland’s alteration of
each of the folksongs, as well as documents where material derived from each folksong
appears in the piece.
45 Lee, Masterworks of 20th -Century Music, 119. 46 Dickenson, “Copland’s Earlier British Connections,” 169-70. 47 Abraham, “Aaron Copland: El Salón México.”
23
Figure 2.1: Folksong material used in El Salón México48
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
The melodic material from the opening is derived from the first strain of “El
Palo Verde”
Figure 2.2: Copland, El Salón México, melodic material, mm. 8-13
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
48 Abraham, “Aaron Copland: El Salón México.”
24
Beginning in measure 23, the trumpet solo is based on “La Jesusita”
Figure 2.3: Copland, El Salón México, mm. 23-26, Trumpet
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
The duet between bassoon and bass clarinet starting at measure 39 is a rhythmically
altered version of “El Mosco.”
Figure 2.4: Copland, El Salón México, mm. 39-44, Bassoon 1
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
25
At measure 61, the strings have material modified from the second strain of “El Palo
Verde” This same material also appears twice more during the piece beginning at
measures 145 and 353.
Figure 2.5: Copland, El Salón México, mm. 61-64, Violin 1, 2, Viola (compressed)
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
The melody in the strings beginning at measure 76 is derived partly from the second
strain of “El Mosco.” This theme concludes the section that Abraham labels as the
introduction.
Figure 2.6: Copland, El Salón México, mm.76-81, Violin 1
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
The Allegro Vivace begins at measure 103 and marks the start of what Abraham
calls the first section of the ternary form. It begins with material related to the opening
measures illustrated above in Figure 2.2. This is followed by a theme derived from both
26
the altered material from “El Palo Verde” at the beginning of the piece, and the second
strain of “El Mosco.”
Figure 2.7: Copland, El Salón México, mm.106-110, Clarinet 1
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
New material is added to the beginning of the previous theme at measure 135 but is very
similar.
Figure 2.8: Copland, El Salón México, mm. 135-139, Violin 1
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
27
The material from Figure 2.5 returns at measure 145 and is followed by a variant
of Figure 2.2 from measures 175-182. This concludes the Allegro Vivace section and
what Abraham labels the first large section of a ternary form. The second section of this
form begins at measure 183 at the tempo change marked “Moderato molto (rubato).” The
clarinet solo that follows (Fig. 2.9) is a version of Figure 2.7. Abraham states this version
“recurs several times in the section as a species of refrain, holding it together.” One such
reiteration is a rhythmic variant in the English horn at measure 256. (Fig. 2.10)
Figure 2.9: Copland, El Salón México, mm. 185-190, Clarinet 1
Figure 2.10: Copland, El Salón México, mm. 256-260, English horn
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
28
At measure 211, melodic material in the solo clarinet is derived from “La Jesusita” and is
then restated in the strings.
Figure 2.11: Copland, El Salón México, mm.211-214, Clarinet 1
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
Abraham describes the remainder of the middle section consisting of rhythmic
development of this tune and material from the first section. Copland writes of the section
“before the final climax I present the folk tunes simultaneously in their original keys and
rhythms. The result is a kind of polytonality that achieves the frenetic whirl I had in mind
before the end, when all is resolved with a plain unadorned triad.”49
The return of the main section occurs at measure 324. The material is very similar
to what had been heard previously but with slightly altered keys. The piece ends with the
fanfare-like material from the opening measures.50
Manuscript materials and changes in rhythmic notation
Copland himself noted that orchestras had a difficult time performing El Salón
México. “El Salón was not easy to perform; it presented rhythmic intricacies for the
49 Copland and Perlis, Copland, 246. 50 Abraham, “Aaron Copland: El Salón México.”
29
conductor and the players.”51 There are many places in the orchestral version where
eighth notes are beamed over a barline, dotted barlines and brackets are used to indicate
an alteration of normal rhythmic stress, and more than one time signature is often
indicated or simply implied by the placement of accents. The need for this kind of
rhythmic notation can be observed upon examination of the manuscript materials in the
Aaron Copland Collection cataloged at the Library of Congress.
Description of the manuscript materials
The initial “Sketches” of El Salón México are cataloged at the Library of
Congress in the Aaron Copland Collection as ARCO 28.2. It appears that Copland began
his initial sketches of in March of 1933, which is the earliest date noted on the
manuscript. These sketches are in pencil, do not always follow the progression of the
piece, and have large sections crossed out. They illustrate a working out of melodic
material and experimentation with different meters.
The “Piano Sketch” (ARCO 28-A) is dated 1934 on the front cover. The date at
the end of the manuscript notes it was completed in July, 1934. The Piano Sketch is a 21-
page manuscript that uses between two and four staves and progresses through the piece
from beginning to end. Revisions were still being made as some sections are crossed out,
but then continue on sequentially with revised material. Copland wrote most of the Piano
Sketch initially in pen and his original, more complex concept of the meter and beaming
appear in pen. Many of the meters and beaming that appear in Leonard Bernstein’s piano
arrangements appear in the Piano Sketch. There are also marks in lead and blue pencil
throughout this manuscript. Many of the pencil markings indicate instruments for
51 Copland and Perlis, Copland, 247.
30
orchestration or possible changes to the choice in meter. While the pencil indications of
meter do not match the meters of the final published orchestral version exactly, they are
certainly less complicated than the original metric indications that appear in pen and are a
step closer to what was published in the orchestral score.
There are three orchestral manuscript scores cataloged at the Library of Congress.
One is cataloged as the “Rough Orchestral Score” (ARCO 28.3) and notes “began Aug.
9, 1934.” The manuscript is in pencil, but is incomplete and only four pages in length.
The second “Full Score (Draft)” (ARCO 28.1) is a complete draft in pencil, but has no
date indicated. The final “Full Score” (ARCO 28) is complete and mostly completed in
ink with some red and blue pencil marks indicating rehearsal numbers and time
signatures respectively. The date on the front cover is 1936.52
There are several arrangements and other works that are significant to the study of
changes in rhythmic notation in El Salón México beyond the manuscript materials. These
include Bernstein’s and Hindsley’s various arrangements of the work, as well as
Copland’s 1929 and 1955 versions of the Symphonic Ode for orchestra, which is
discussed later in this chapter. The table below summarizes all relevant documents in
chronological order.
52 El Salón México manuscripts. Aaron Copland Collection. Library of Congress.
31
Table 2.1: Summary of published scores and manuscripts
Changes in Rhythmic Notation
One of the reasons for the “rhythmic intricacies” that Copland mentioned is that
he originally conceived of groupings of eighth notes in groups of twos and threes that
would call for shifting irregular time signatures.53 In the Piano Sketch these groupings
occur starting on the beat. While time signatures do not appear in ink on the Piano Sketch
manuscript for the measures in the figure below, the groupings and barlines appear to be
the same as Leonard Bernstein’s arrangement for two pianos with the appropriate time
signatures added. The one change in rhythm between the two examples is the eighth rest
that appears at the end of the third measure. However, this rest does appear in the
orchestral version. 53 “Irregular” time signatures are defined for the purposes of this study as meters that have uneven groupings of eighth notes. For example, a time signature of 7/8 could have an eighth note grouping of 2+2+3. This would be defined as “irregular.” Other meters that would be included in this definition would be 5/8, 8/8, and 10/8. These irregular meters are considered “shifting” when the time signatures rapidly change from measure to measure. If a regular meter (3/4, 4/4) appears during a string of irregular meters, the term “shifting irregular meters” still applies because the effect as a whole is a succession of changes between groups of 2 and 3 eighth notes.
Year Document name Composer/Arranger Other information
1929 Symphonic Ode (for orchestra) Copland withdrawn, revised in 1955
1933 "Sketches" El Salón México Copland ARCO 28.2 manuscript
1934 "Piano Sketch" El Salón México Copland ARCO 28-A manuscript
1934 "Rough Orchestral Score" El Salón México Copland ARCO 28.3 manuscript
c.1934 "Full Score (Draft)" El Salón México Copland ARCO 28.1 manuscript
1936 "Full Score" El Salón México Copland ARCO 28 manuscript
1939 El Salón México (for orchestra) Copland published
1941 El Salón México (for piano solo) Copland/Bernstein published
1943 El Salón México (for two pianos) Copland/Bernstein published
1955 Revised Symphonic Ode (for orchestra) Copland published
1966 "1st Version manusciript" El Salón México (for band) Copland/Hindsley ARCO 28-D manuscript
1972 El Salón México (for band) Copland/Hindsley published
32
Figure 2.12: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm.1-3
Figure 2.13: Copland/Bernstein, El Salón México for Two Pianos, Rhythmic notation, mm. 1-3
Figure 2.14: Copland, El Salón México, Rhythmic notation, mm. 1-5
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
As the previous examples illustrate, there were drastic changes in meter between
the Piano Sketch and the final orchestral version. These kinds of alterations to meter
occur throughout the orchestral version and are particularly prevalent during sections
with faster tempi, which tend to be more rhythmic. In most cases, the meters are changed
from shifting irregular meters to a more constant regular meter of 3/4 or 4/4. This forces
rhythms that originally occurred on the beat to be played as syncopations.
33
Figure 2.15: Copland, El Salón México, mm. 124-128, Violin 1
Figure 2.16: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.15 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
34
Copland would sometimes indicate what the original eighth-note groupings were
in the orchestral score by beaming those notes together. Sometimes these groups are
beamed over the barline. Copland also used dashed barlines to imply the feel of a
downbeat that occurred in the Piano Sketch, but was no longer there when the orchestral
meter had been altered.
Figure 2.17: Copland, El Salón México, mm. 160-168 (compressed)
Figure 2.18: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2.17 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
35
Perhaps the most extreme case of simplification of meter occurs at measure 133
where Copland inserts a dotted barline and a key signature change in the middle of a
measure. This accommodation allows the music to remain in common time.
Figure 2.19: Copland, El Salón México, mm.130-135, Strings
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
The previous examples illustrate the typical changes to meter that Copland made
between the Piano Sketch and the final orchestral score. Generally the meter is simplified
while the rhythmic value of notes remains the same. This was not the first time that
Copland made these types of metric alterations when creating an orchestral score.
Evidence provided by Elizabeth Crist in “The Compositional History of Aaron Copland’s
Symphonic Ode” reveals the rhythmic revisions of that work were done for the purpose of
making the music more performable by orchestral conductors and musicians at the time
of the premiere.
36
In her article, Crist outlines the compositional history of the Symphonic Ode
beginning with the initial sketches, through Copland’s final revisions from 1955. This
history includes the manuscript materials as well as correspondence regarding the piece.
The manuscript sketch of the Symphonic Ode included many sections with shifting
irregular meters, as did the initial orchestral score. Koussevitzky was to conduct the
premiere on February 22, 1930 but in rehearsal both he and the musicians had difficulty
with the rhythms. He informed Copland that the Ode could not be performed as written.
Copland scoffed at this idea but at Koussevitzky’s invitation, conducted the piece at a
rehearsal himself. In a letter to Israel Citkowitz Copland described the experience:
I finally heard the “Ode!” I conducted it myself one morning at a rehearsal in Boston while Koussevitzky listened from the auditorium. I only really heard the slow parts, the fast parts were ruined by being played too slow. The end sounds gloriously. It was a revealing experience. The upshot was that I have for all time given up trying to make music look on paper what it actually sounds like. Applied to the “Ode” this means that I must completely rewrite the barring of the fast parts throughout.54
To revise the Symphonic Ode, Copland returned to his original ink score and
altered the rhythmic notation in several sections of the music creating a new score for
Koussevitzky. Most of the changes “rewrite unusual meters (7/8, 9/8, 10/8) in smaller
units (3/4 or 4/4), which suggests that Copland was concerned with making the score
easier for Koussevitzky to conduct, not necessarily for the player to read.”55 Crist gives
the following examples of the kind of revised notation Copland used.
54 Copland to Israel Citkowitz, 29 May 1930, Copland Collection, as quoted in Crist, “The Compositional History of the Symphonic Ode,” 261. 55 Crist, “The Compositional History of the Symphonic Ode,” 262.
37
Figure 2.20: Example of revised rhythmic notation in Symphonic Ode56
The parallels in compositional process between the Symphonic Ode and El Salón
México regarding rhythmic notation are numerous. In both cases, the rhythmic notation
was conceived with shifting irregular meters, but later changed to more simple meters. In
the manuscript materials of both works, the revision of meter was notated in blue pencil
over the original meters. The alterations that Copland made in the Ode as documented by
Crist in Figure 2.20 bear a striking resemblance to alterations made to El Salón. Evidence
provided by the El Salón manuscript materials, the previous alteration of metric notation
in the Symphonic Ode, along with the fact that Copland allowed the Bernstein piano
arrangements to be published with the irregular meters in tact, suggests that the metric
changes in El Salón were made during the process of orchestration and were for a
practical, not necessarily musical, purpose.
This is further evidenced by the timeline of these two compositions. The
experience with Koussevitzky and the reworking of the Symphonic Ode were likely still
fresh in Copland’s mind at the time he was working on El Salón. Copland worked on the
rhythmic revisions to the Ode during the summer of 1930, and a set of parts soon after.
The premier took place with the Boston Symphony Orchestra on February 19, 1932, with
56 Ibid.
38
a repeat performance on March 3 in New York. Copland heard the work again during his
1932 visit to Mexico in a performance conduced by Chávez on November 18 with the
Orquesta Sinfónica. He began work on the Sketches for El Salón a few months later in
1933.
Finally, Copland confirms the rebarring of El Salón México in his essay “Shop
Talk: On the Notation of Rhythm” from his book Copland on Music (1960). He
discusses the practicality of rewriting rhythms to more simple meters, in particular for
conductors and orchestras. After showing an example of shifting irregular meters he
writes “Here you have the by-now-familiar groups of unequal metrical units that strike
terror in the hearts of performers, particularly conductors–who know in advance the
struggles in store for them when these rhythmic complexes are brought to rehearsal.”57 At
the time the essay was written in 1960, he implies that more modern, progressive
conductors and musicians are more capable or willing to negotiate the complex rhythmic
notation and in some cases prefer it. He also states his opinion that “composers would do
well to notate their music so that, as far as possible, it looks the way it sounds. If
however, more than one player is involved, and especially in the case of orchestral works,
a rearrangement of rhythmic barring may be necessary. The more rhythmically
sophisticated conductors will not think so, but performances are more likely to
materialize.” In the final footnote he cites El Salón México as an example of such a
rearrangement of barring.
57 Copland, Copland on Music, 274.
39
Errata
One of the initial reasons the manuscript materials were examined was to confirm
possible errata that appear in the published orchestral score. Two significant suspected
errata were discovered during the process of studying the orchestral score. A third error
was discovered due to a pencil indication in one of Copland’s personal copies of the
published orchestral score. While other minor discrepancies of beaming or articulations
appear between the score and manuscripts, these three pitch discrepancies were most
significant. Investigation into these errata turned up varying degrees of evidence in favor
of changing the pitches that appear in the published orchestral score. It should be noted
that this is not a comprehensive list of errata.
The first suspected error appears in the orchestral score at measure 321 in the
cello. The second eighth note in the measure is published as an E. However, this pitch
changes a well established ostinato figure that has been occurring for the previous eleven
measures. The E is also dissonant with the D written in the upper strings. Changing the
cello’s E to a D solves both of these issues.
40
The evidence supporting the change to a D is somewhat mixed. An E clearly
appears in the Full Score manuscript (ARCO 28). In the Full Score-Draft manuscript
(ARCO 28.1) this pitch also appears as an E but it looks like this passage was hastily
written in by Copland in pen after completing his pencil indications. (Photo 2.1) Most of
the ostinato figure was indicated by a shorthand “c” mark in previous measures.
Photo 2.1: ARCO 28.1 (Full Score-Draft), Music corresponding to published orchestral score m. 321 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
41
However, clearer evidence that the note in question should be a D appears in the
Piano Sketch (ARCO 28-A). (See Photo 2.2) It is likely that Copland miscopied this
passage in both orchestral manuscripts. This note is also published as a D in the Bernstein
piano arrangements. It is likely that D is the correct pitch in this passage and the
published E in the orchestral score is incorrect.
Photo 2.2: ARCO 28-A (Piano Sketch), Music corresponding to published orchestral score m. 321 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
42
The second significant errata discovered in the orchestral score occurs at measure
378 in the cello and double bass. The third note in the measure appears as a G-sharp in
the published score, but should clearly be a B as indicated in the Full Score manuscript.
(Photo 2.3)
Photo 2.3: ARCO 28 (Full Score), Music corresponding to published orchestral score m. 378 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
43
The third errata was discovered because of a pencil indication in one of Copland’s
personal copies of the published orchestral score. (Photo 2.4)
Photo 2.4: ARCO 28a copy 2 (Published Score), mm. 24-25, Bass Clarinet, Bassoons, Trumpet in C, Trombone EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
44
After comparing the chords that appear in the Piano Sketch (ARCO 28-A) with
the published orchestral score, it is clear the penciled indication of A-sharp in Bassoon 2
shown above is correct. When the chords were broken into the separate voices, the A-
sharp was not carried through the measure and was also changed earlier in the measure to
the enharmonic B-flat, which also complicated the transfer of pitches to the orchestral
score. The correct pitches appear in the Piano Sketch (Photo 2.5) and the Bernstein piano
arrangements.
Photo 2.5: ARCO 28-A (Piano Sketch), Music corresponding to published orchestral score mm. 24-25 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
45
Chapter 3: The Mark Hindsley Arrangement for Band
Mark Hindsley completed his arrangement of El Salón México for concert band
on May 11, 1966 as noted at the bottom of his manuscript score. Below that is written
“Chapala, Jalisco, Mexico” which is located approximately 30 miles south of Guadalajara
on Lake Chapala.58 It is unclear if the manuscript was actually completed in Mexico since
classes were in session at the University of Illinois until Saturday, May 28th.59
The premier performance of the arrangement was likely on Thursday, March 16,
1967 with Hindsley conducting the 121-member University of Illinois Concert Band. A
second performance of the program, which included Pictures at an Exhibition, Music for
the Royal Fireworks, and The Sorecer’s Apprentice, took place the following evening.
Regarding the performance of El Salón México, Diana Henry, who wrote a review of the
performance for the News Gazette, noted “Only Mark Hindsley’s superb baton could lead
the 121 band members through the intricate tempo changes and off-beat accents. In the
number’s slightly over 400 bars, the meter changes 150 times, in addition to 64 changes
from or to double or triple figures.”60
58 Copland, “El Salón México for band,” arr. Mark Hindsley, MS score, 1966, Aaron Copland Collection, Library of Congress. 59 Linda Stahnke Stepp (Archival Operations and Reference Specialist University Archives, UIL) to Erika Svanoe, email, 4 March 2009. Referring to University of Illinois Staff Directory for 1965-66. 60 Henry, Diana, News Gazette, March 19, 1967 reprinted in Mark Hindsley, My Bands and I.
46
It appears that Hindsley mailed his manuscript score along with a recording of a
performance to Boosey & Hawkes in late August of 1967. A note on the cover of the
manuscript reads “To Aaron Copland and Boosey-Hawkes with admiration and thanks.
Mark Hindsley 8-26-67.”61 Stuart Pope, who was a managing director at Boosey &
Hawkes and one of Copland’s contacts, mailed the score and recording to Copland from
Boosey & Hawkes on December 7, 1967. He included a note mentioning it was done
with permission, and described Hindsley’s status as an “important man in the field.”62
Copland appears to have had a positive first impression of the arrangement as he noted in
the margin of the letter “[arrangement] good – I would not object to publication.”63 This
is echoed in a letter from Stuart Pope two weeks later stating “I am glad you like the
Mark Hindsley arrangement of El Salón México. I would think publication of it to be
commercially sensible.”64
While Copland approved of the arrangement and Boosey & Hawkes decided to
publish it, it took several years for the project to be completed. Hindsley had prepared a
score and set of parts with Copland’s suggested revisions by June 18th, 1969. The revised
score was sent to Copland on June 24, 1969 with a note from Stuart Pope regarding the
date of publication stating “I am sure you have a mental, if not a written note, of the date
of the assignment and will be knocking on my door in 12 months if this band
61 Hindsley to Copland and Boosey & Hawkes, note on presumed cover of manuscript score, Box 99, Copland Collection. 62 Stuart Pope to Aaron Copland, 7 December 1967, Copland Collection. 63 MS note by Copland, written in margin of Pope to Copland, 7 December 1967, Copland Collection. 64 Stuart Pope to Aaron Copland, 20 December 1967, Copland Collection.
47
transcription is not in print.”65 It appears, however, that a twelve-month estimate was
optimistic since the copyright date of the band arrangement is 1972 and Copland did not
receive his published copies until December of that year.66
Copland recommended minor revisions to Hindsley’s manuscript. His initial
concerns were that the accompaniment from rehearsal eight to eleven was too
consistently the same and that the use of cup mutes at rehearsal 19 in the cornets was “too
sentimental.”67 Copland presumably mailed the manuscript back to Pope and passed
along these two concerns. Hindsley responded in a letter to Stuart Pope that he would be
“glad to accede to Mr. Copland’s wishes in the two instances you mention, and would
particularly welcome specific solutions.” Hindsley continued by suggesting minor
changes to these sections including straight mutes in the cornet or use of saxophones at
rehearsal 19 and asked Copland to advise further.68
Pope mailed the manuscript and recording back to Copland along with a copy of
Hindsley’s letter asking for Copland’s suggestions.69 Copland presumably listened to the
arrangement a second time and replied with a more detailed list of suggested revisions as
well as suggested solutions to the scoring on his previous comments, all of which
Hindsley incorporated into the final version of the band arrangement. Copland also
65 Stuart Pope to Aaron Copland, 24 June 1969, Copland Collection. 66 John Owen Ward to Aaron Copland, 22 December 1972, Copland Collection. 67 Copland, MS note cataloged with Pope to Copland, 20 December 1967, Copland Collection. 68 Mark Hindsley to Stuart Pope, 21 November 1968, Copland Collection. 69 Stuart Pope to Aaron Copland, 26 November 1968, Copland Collection.
48
cleared up his intentions with the use of the “Tambour de Provence” which should be a
“long drum with a dullish sound.”70 Hindsley had initially mistaken this for tambourine.
What is notably missing from these suggested revisions is any mention of the
numerous changes of meter and beaming that Hindsley utilized. While the Hindsley
transcription incorporated changes from the orchestral score in meter, beaming, key
signatures, and instrumentation, Copland approved of publishing the arrangement after
listening to it for the first time. Subsequently, he had only minor suggestions for revisions
after hearing the arrangement for the second time, with no mention of the changes of
meter. He also had a copy of Hindsley’s manuscript while listening to the arrangement.
From this it can be inferred that Copland was content to send the piece to be published
with the meters as they were.71
Instrumentation
While the change in medium from orchestra to band demands changes to the
instrumentation, Hindsley retained as many instruments as possible from the original
version, even when these instruments were less common in the typical band
instrumentation of the time. These include the English horn, contrabassoon, piano, and
contrabasses as seen in the table below.
70 Copland, TS “Suggested revisions on band arrangement of El Salon Mexico by Mark Hindsley,” initialed A.C., undated, Copland Collection. 71 It is interesting to note that it appears from markings in one of Copland’s published copies of the Hindsley that he may have also conducted the band arrangement at some point. It seems that he questioned the 6+2/8 meter marking, and ultimately decided to conduct those measures in four. At rehearsal 16 where major changes in the meter appear Copland noted “Watch out! Changed” in the margin and clearly marked all of Hindsley’s meters in red throughout the score.
49
Table 3.1: Comparison of Instrumentation between Copland Orchestral Score and Hindsley Band Score The timpani, percussion, and piano parts are exactly the same in the Hindsley as
they are in the orchestral original, except for the changes in meter and beaming that occur
throughout the piece. No additional percussion instruments are added that do not appear
Copland Orchestral Score Hindsley Band Score
Piccolo Piccolo
2 Flutes Flutes 1, 2
2 Oboes Oboes 1, 2
English Horn English Horn
Clarinet in Eb Clarinet in Eb
2 Clarinets in Bb Clarinets in Bb 1, 2, 3
Bass Clarinet Bass Clarinet
Eb Contrabass Clarinet
2 Bassoons Bassoons 1, 2
Contrabassoon Contrabassoon
Alto Saxophone 1, 2
Tenor Saxophone
Baritone Saxophone
Bb Cornets 1, 2, 3
3 Trumpets in C Bb Trumpets 1, 2
4 Horns in F Horns in F 1, 2, 3, 4
3 Trombones Trombones 1, 2, 3
Baritones
Tuba Tubas
Timpani Timpani
Percussion Percussion 1, 2
Piano Piano
Violins 1, 2
Violas
Cellos
Contrabasses Contrabasses
50
in the orchestral version. The contrabasses are scored almost identically to their
orchestral part, but sometimes also cover a cello line, particularly in places where
pizzicato is needed.
Hindsley maintains the same number of parts for many of the winds, such as two
parts for flute, oboe, and bassoon, four horn parts, and three trombone parts. As is
common in concert bands, however, the intention is that there would be multiple players
on almost every wind part. The band size that Hindsley typically had in mind when
creating an orchestral transcription had a total of 92 musicians. This correlated to what he
considered to be a basic symphony orchestra of 90 musicians. He also made a distinction
of the roles of instruments whether they were part of a “homogenous choir” or a “color
instrument.”
51
Figure 3.1: Hindsley Orchestration Chart72
This example illustrates the amount of doubling that Hindsley had in mind while
creating his arrangement of El Salón México. It should also be noted that the size of the
band that played the arrangement at the premiere had 121 members or what Hindsley
refers to as the “large” or “maximum” band.73 While Hindsley’s arrangements are
playable by smaller groups, they were conceived for a band that is considerably larger
than most modern college bands that currently exist.
72 Hindsley, Hindsley on Bands, 146. 73 Hindsley, Hindsley on Bands, 154-5.
52
Overall Scoring
During the process of scoring an arrangement for band from an orchestral score,
many of an arranger’s decisions will fall into two categories: timbre and doubling.
Decisions that fall into the timbre category include whether to retain or change
instruments during solos when the orchestral instrument is available in the band
instrumentation. Decisions that fall into the doubling category include when to double
wind lines that were originally intended for one player, and how thickly the music should
be scored. Sometimes considerations for timbre and doubling will overlap. Timbre is an
important consideration when making a substitution for the string section. However,
since these parts were usually written for a large body of players performing the same
line, the amount of doubling to employ should also be considered.
53
Timbre Considerations
Throughout the score Hindsley usually chose to maintain solo wind instrument
timbres where possible from the orchestral score. For example, the trumpet solo at
measure 23 is retained in the trumpet part (not cornet). Important solo lines in flute, oboe,
English horn, bassoon, Eb clarinet, and Bb clarinet are all maintained in the band
arrangement. The one major exception occurs at measure 40. This duet, originally for
bassoon and bass clarinet, is scored by Hindsley for bassoon and tenor saxophone.
Figure 3.2: Copland/Hindsley, El Salón México for Band, mm. 40-44. Bassoons, Contrabassoon, Alto and Tenor Saxophones EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission. Many of the decisions Hindsley made concerned the re-orchestration of the string
parts. The violin and viola parts are usually transferred to clarinets, cornets, flutes, or a
combination of the three depending on musical context. In passages requiring musical
agility the clarinets are often used. Cornets are often used in combination with clarinets,
and flutes are used when the range of the line was too high to be comfortably played by
other instruments.
54
Figure 3.3: Copland, El Salón México, mm. 247-251, Strings
Figure 3.4: Copland/Hindsley, El Salón México for Band, mm. 247-251, Clarinets
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
55
Figure 3.5: Copland, El Salón México, mm. 61-64, Strings
Figure 3.6: Copland/Hindsley, El Salón México for Band, mm. 61-64, Clarinets, Cornets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
56
Figure 3.7: Copland, El Salón México, mm. 73-80, Strings
Figure 3.8: Copland/Hindsley, El Salón México for Band, mm. 73-80, Flutes, Clarinets, Cornets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission. The low strings are also scored depending on musical context. The horns and low
brass are utilized in sections where either the dynamic is loud or the scoring is thick, or
where a change in timbre is appropriate. Two examples in which the brass are used to
accommodate a change in timbre begin at measure 73 and again at measure 268. In more
thinly scored sections the saxophones, bass clarinet and contrabass clarinet are often
57
assigned to play the middle or low string parts. The low clarinets often double the double
bass when playing pizzicato.
Hindsley is also specific regarding the use of trumpets versus cornets. In most
cases the orchestral C trumpet parts are written for Bb trumpet and the cornets are used to
cover the string parts, demonstrating a choice to utilize the contrast between cylindrical
and conical bores. Third cornet is used to cover the orchestral third trumpet part when
necessary.
Figure 3.9: Copland, El Salón México, mm. 1-4, Trumpets
Figure 3.10: Copland/Hindsley, El Salón México for Band, mm. 1-4, Cornets, Trumpets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
58
Doubling considerations
The comparison of thickness of scoring between the Copland orchestral score and
the Hindsley band score was categorized by the author into three areas: thin instrument
scoring, moderate scoring, and full scoring. Categories were defined by the number of
players utilized in Copland’s orchestral score. Thin scoring was defined as areas where
one player per part scoring is used. In these sections Hindsley often retained one player
per part in the band arrangement. Full scoring is defined as where all or most instruments
are being utilized. Moderate scoring was defined as sections of music that use more than
one player per part but a significant portion of the ensemble is not playing. It is most
often in these moderately scored sections that Hindsley utilizes more doubling of parts
and the scoring seems to be thicker in the band score than in the orchestral score. The
rescoring of the strings in particular seems to be where much of this doubling occurs.
There are a several places in the orchestral score where a thin texture is utilized.
In these situations, Hindsley generally maintains the thin texture. For example between
measures 103 and 112, the band arrangement sounds identical to the original orchestral
score since the writing is exclusively for winds and piano. Here Hindsley is careful to
write “solo” on all of the wind parts to match the one on a part playing in the orchestra.
The thin texture of the orchestral version is maintained and the instrumentation is
basically identical.
59
Hindsley uses a slightly different approach from measures 20 through 32. He also
marks all instruments as “solo,” but substitutes tenor and baritone saxophones for
Copland’s original choice of trombone and bass clarinet. Here the thin scoring is
maintained, but Hindsley chose to change the timbre of this section from the original
since trombone and bass clarinet were available in his instrumentation.
Figure 3.11: Copland, El Salón México, mm. 20-25, Bass Clarinet, Bassoons, Trombone 1
Figure 3.12: Copland/Hindsley, El Salón México for Band, mm. 20-25, Bassoons, Saxophones EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
60
There are only a few places in the orchestral score where Copland uses full
scoring. The two large sections in the orchestral version that are scored the thickest are
from measures 134-182 and 353-402. Hindsley does conserve the use of full scoring in
the band arrangement to coincide with the corresponding measures of the orchestral
score. This helps preserve the architecture and pacing of dynamics in the original
orchestral score.
The areas of the orchestral score that are defined as moderate scoring seem to be
where more doubling of parts occurs. In most cases it is an issue when transferring the
string parts to the winds. Often Hindsley would use a timbre of a combination of brass
and clarinets as a substitute for the strings. While this combination helps to differentiate
the string parts, the fact that it is scored for many wind players creates a feeling of
heaviness in stark contrast to the transparent sound of a string section.
61
A section where moderate scoring is used and considerations involving both
doubling and timbre intersect is from measures 221-226. Here Copland uses moderate
scoring that utilizes only first violins, violas, cellos, and a few winds. Hindsley scored
these bars more thickly using first and second clarinets, muted first cornets, and muted
first trombones to cover the violin and viola lines. The cellos are covered by low
clarinets, third trombones, and string bass. This is an example of how Hindsley uses
doubling of brass and clarinets to substitute for the strings. As a result, the scoring in the
band version is significantly thicker than in the orchestral. However, using a brass and
clarinet timbre as a substitute for strings does allow Hindsley to maintain the timbre of
clarinet interjection in measure 226.
Figure 3.13: Copland, El Salón México, mm. 221-226
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
62
Figure 3.14: Copland/Hindsley, El Salón México for Band, mm. 221-226
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
Another section of the orchestral score that uses moderate scoring is from
measures 73-99. This is another place where the band score is scored more thickly than
the orchestral score due to doubling. This is also a section about which Copland
expressed concern when listening to Hindsley’s first version of the arrangement. In
Copland’s first hand written notes regarding this section he stated “the [accompaniment]
in [clarinets, saxophones, and horns] is too consistently the same.”
63
Figure 3.15: Copland/Hindsley, El Salón México for Band, 1st Version Manuscript (ARCO 28-D) mm. 73-80 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
64
Hindsley responded by suggesting “the trombones take over the rhythmic
movement in the accompaniment with the horns sustaining throughout as in the orchestral
score.”74 Copland replied with a list of suggested revisions.75 (See Appendix A) He
addressed this section of the arrangement by stating “Perhaps one could lighten the
accompaniment by alternating the [horns and trombones] in both the notes that are
repeated and notes that are held for possibly 4 to 6 measures at a time.” Hindsley did
incorporate this suggestion into the final draft. However, Copland seems to be
responding, at least partially, to the thickness of the scoring in this section suggesting it
needed to be “lightened.” Hindsley did not decrease the number of players between
versions. He actually needed to add a third trombone part in order to facilitate Copland’s
suggestions. It is also interesting that Copland’s first thought about this section was that it
was “too consistently the same” since the orchestral scoring of the accompaniment is
very consistent though this section.
74 Mark Hindsley to Stuart Pope, 21 November 1968, Copland Collection 75 Copland, TS “Suggested revisions on band arrangement of El Salon Mexico by Mark Hindsley,” initialed A.C., undated, Copland Collection.
65
Figure 3.16: Copland, El Salón México, mm. 73-80
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
66
Figure 3.17: Copland/Hindsley, El Salón México for Band, mm. 73-80
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
67
Copland made another comment in his list of suggested revisions regarding the
sound being too “weighty”. At both measure 26 and measure 33 he suggested “some
substitute for the two [trombones] which seem rather weighty to me at that spot. (perhaps
sax?)”76 Hindsley had originally scored the pizzicato string chords for flutes, clarinets and
trombones. In the published band arrangement the chord has been redistributed to only
flutes and clarinets. This is another example of Copland’s responding to scoring that
sounded too heavy, in this case due to instrument choice.
Some of Hindsley’s thinking behind the amount of doubling used in these sections
that use moderate scoring can be gleaned from his own writings. In his essay “Scoring for
the Concert Band” he lays out a general set of principles for creating a band arrangement
from an orchestral score. In writing about omitting instruments to secure a proper
dynamic balance he wrote “in doing so we are again sacrificing body and texture of tone
and moving toward a chamber sound, which is undesirable yet sometimes necessary to
approach the ultimate dynamic delicacy of the strings.”77 The number of players covering
the string parts was also a concern for Hindsley; “For the sake of body and texture it is
almost axiomatic that the same number of players should be utilized as are playing the
string parts, but often this goal cannot quite be reached.”78
From these two statements and the evidence provided by the band score, it is clear
that Hindsley was concerned about having a texture of many instruments playing when
substituting for the string section. Using a “chamber sound” where the numbers of
76 Copland, TS “Suggested revisions on band arrangement of El Salon Mexico by Mark Hindsley,” initialed A.C., undated, Copland Collection. 77 Hindsley, Hindsley on Bands, 147. 78 Ibid.
68
players is smaller was “undesirable” because it did not have the texture of many
instruments playing the same line. In these instances, Hindsley generally seems to be
more concerned with texture of multiple players rather than trying to best replicate the
timbre of the string section.
Alteration of music for playability
Besides the necessary changes in instrumentation and scoring that Hindsley
incorporated into his arrangement for band, there are several other alterations that he
undertook. These changes include the use of accidentals as opposed to key signatures, the
alteration of meters and beaming, and the rewriting or rescoring of certain passages.
Unlike the changes in instrumentation and scoring which are necessary when creating an
arrangement for band from an orchestral score, these kinds changes were not strictly
needed. In these situations, Hindsley made a decision to alter a component that could
have been left as it appears in the orchestral score. Based on the kinds of alterations he
made, it can be surmised that these changes were made for ease of reading and
performing.
Key Signatures
Hindsley maintained pitch level/key of the orchestral version and did not
transpose the band arrangement up or down by any interval. Though the Hindsley
arrangement and the Copland orchestral score are both transposed, there is a significant
difference between the two in their use of key signatures. Copland uses several traditional
key signatures, in which transposing instruments use a transposed key signature. In
addition, at times he cancels all key signatures to C major using an “open” or “pseudo C”
key. In addition, horns, and timpani are always written with a key signature of no sharps
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and no flats. Accidentals are utilized throughout the piece in those instruments, a typical
means of writing in orchestral works. Hindsley uses an “open” key for all instruments,
utilizing accidentals throughout the score. This is likely done for readability. The key
signatures that appear in the orchestral score include G major, A major, and F-sharp
major. Sharp key signatures can often pose difficulties for bands. Hindsley likely thought
the parts would be more easily played by using accidentals throughout the band score.
Rewriting
There are two kinds of rewriting that Hindsley incorporated into his arrangement
for band. The first occurs when the string parts are so idiomatic for the instrument it is
nearly impossible for those parts to be played on a wind instrument. An example of this
kind of string writing occurs in the violins and violas in measures 364-379. Hindsley
dealt with this using two different techniques. First, he split the part among two
instruments.
Figure 3.18: Copland, El Salón México, mm. 372-375, Viola
Figure 3.19: Copland/Hindsley, El Salón México for Band, mm. 373-377, Clarinet 2, 3 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
70
The second option was to rewrite the part to be more playable on a wind instrument,
while still keeping the spirit of the original line.
Figure 3.20: Copland, El Salón México, mm. 377-379, Violin 2, Viola
Figure 3.21: Copland/Hindsley, El Salón México for Band, mm. 380-382, Clarinet 2, 3 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
71
The second kind of rewriting or rescoring occurs when an orchestral wind part is
sufficiently difficult or high in the range that Hindsley reworked the passage. One
example occurs at measure 14 where Hindsley covers the orchestral first trumpet part in
the upper woodwinds.
Figure 3.22: Copland, El Salón México, mm. 14-15, Trumpets
Figure 3.23: Copland/Hindsley, El Salón México for Band, mm. 14-15, Cornets, Trumpets EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
72
Another example of eliminating a part from the trumpet occurs at measure 316. In
the orchestral score the second trumpet accentuates certain pitches in the first trumpet
solo by doubling some the notes. Hindsley eliminates this orchestral second trumpet part
entirely.
Figure 3.24: Copland, El Salón México, mm. 316-319, Trumpet 1, 2
Figure 3.25: Copland/Hindsley, El Salón México for Band, mm. 316-319, Trumpet 1
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
73
Hindsley also rescores portions of lines if they become high in an instrument’s
tessitura. For example, the horn parts in Hindsley’s arrangement at measures 324-326
have the highest notes eliminated. This line, which also occurs in the upper strings, is
scored by Hindsley in the clarinet, alto saxophones, and first cornet. Only these
instruments cover the highest pitches of the motive
Figure 3.26: Copland, El Salón México, mm. 324-326, Horns
Figure 3.27: Copland/Hindsley, El Salón México for Band, mm. 324-326, Horns
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
In all of the examples above, Hindsley made an effort to make the parts more
playable or reduce the chances of missed pitches in the brass.
Meters and Beaming
Hindsley made some significant changes to both the meter and beaming in the
band arrangement when compared to Copland’s orchestral score. Many of the rhythmic
complexities inherent to the orchestral work stem from the re-beaming and changing of
meters that Copland himself undertook during the compositional process from the early
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piano sketch to the full orchestral score as discussed in Chapter 2. There are several
places in the orchestral score that have eighth note beaming across barlines, use an
extraordinary amount of syncopation, or appear to have two implied meters sounding
simultaneously. Hindsley chose to alter some of the meters and beaming in what was
likely an effort to clarify the rhythmic groupings and make the piece easier to read and
perform. These alterations can be categorized into one of three groups: a change of
beaming to match the meter, a change of meter to match the beaming, or a combination
of changing both meter and beaming.
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Changing beaming to match the meter
When two meters are implied simultaneously, Hindsley often alters the beaming
to a more typical grouping that fits with the meter. For example, at measure 247 the
violins are playing an eighth note pattern and several beams go across the barline.
Hindsley edited the beaming to reflect more traditional groups of three eighth notes in 6/8
time.
Figure 3.28: Copland, El Salón México, mm. 252-256, Violins
Figure 3.29: Copland/Hindsley, El Salón México for Band, mm. 252-256, Clarinets 1, 2 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
76
A second example occurs at measure 257 where the meter is 4/4. (Copland does
notate (6+2/8) as a secondary meter in the orchestral score.) Hindsley retains the 4/4
meter but alters the beaming in all parts to four groups of 2 eighth notes. However, he
attempts to show the groupings from the orchestral score through the use of broken
barlines. It is also important to note that Hindsley used only the 4/4 meter marking and
chose to leave out the (6+2/8) marking entirely, likely for the sake of clarity.
Figure 3.30: Copland, El Salón México, mm. 257-258, Viola
Figure 3.31: Copland/Hindsley, El Salón México for Band, mm. 257-258, Clarinet 1
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
77
Changing of meter to match the beaming
There are several instances in which Hindsley edited the meter. In each case, the
beaming in the orchestral score implies a different meter. Some of these changes are
minor and isolated. For example, there are places where Hindsley changes a 3/4 meter
from the orchestral score to a 6/8 meter in the band score due to eighth note groupings.
These changes occur in the band score at measures 10, 180, 186, 189, 194, and 394.
Figure 3.32: Copland, El Salón México, mm. 10, melodic material
Figure 3.33: Copland/Hindsley, El Salón México for Band, m. 10, melodic material
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
In comparison with the orchestral score, there are major changes to the meter in
Hindsley’s arrangement. These occur in two large, related sections. The first occurs from
measure 156 through 172, and the second from 364 through 390.
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It is unclear exactly why Hindsley chose to alter the meters in these sections,
though the prevalence of syncopation and non-traditional beaming may have been a
contributing factor. It is also unclear how the decision to change these meters was made.
The beaming suggests specific eighth note groupings, but the number of macrobeats in
each measure would most certainly be alterable. The meters Hindsley chooses, however,
bear a striking resemblance to the meters Bernstein utilized in his piano arrangements,
which in turn are very similar to Copland’s manuscript Piano Sketch.
Figure 3.34: Comparison of rhythmic notation for music corresponding with orchestral mm. 156-172 in the Piano Sketch (ARCO 28-A), Bernstein arrangement for solo piano, and Hindsley’s arrangement for band
79
With the exception of the sections listed above, Hindsley utilizes Copland’s
orchestral meters for the majority of the remainder of the piece. In general, it appears that
Hindsley used the orchestral meters for the majority of the piece and made changes only
in the most syncopated sections. There are two potential reasons for these alterations.
First, Hindsley may have thought the shifting irregular meters were easier to read than the
syncopated rhythmic notation. In Earl Gregory’s dissertation about Hindsley he writes
“Selection of the proper meter signature for a composition, Hindsley notes, is related to
the notation which is most likely to be error free.”79 The second reason could be
Hindsley’s preference for music to “…LOOK as close to what it is going to sound like as
[it] possibly can.”80 The changes he made to the meter certainly reflect this preference as
well.
Combination of alterations to beaming and meter
Hindsley was also confronted with choosing one meter over another. There are
several places in the orchestral score in which Copland utilizes multiple time signatures.
One example occurs at measure 305 where Copland writes C (6+2/8). Another is found at
measure 274, where several instruments are marked in 3/4 but others stay in 6/8. In these
situations Hindsley chose one meter and made the beaming match the chosen meter. This
was likely done to increase clarity and readability.
Errata
Three significant errata were discovered through discrepancies between the
published orchestral score of El Salón México and Hindsley’s band arrangement. All of
79 Gregory, “Mark H. Hindsley: The Illinois Years,” 184. 80 Ibid.
80
these items appear as errors in Hindsley’s manuscript as well. The first is an incorrect
rhythm at measure 59 in Bassoon 1.
Figure 3.35: Copland, El Salón México, mm. 59, Bassoon
Figure 3.36: Copland/Hindsley, El Salón México for Band, m. 59, Bassoon
The second errata is in the trumpet part at measure 313. The pitches at the
beginning of the measure are incorrect.
Figure 3.37: Copland, El Salón México, m.313, Trumpet 1 in C
Figure 3.38: Copland/Hindsley, El Salón México for Band, m. 313, Trumpet (displayed in concert pitch)
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The third discrepancy found between the orchestral score and the Hindsley
arrangement is from measure 160-161. The pitches F, A, E that appear in first violin do
not appear in the proper octave in the band score.
Figure 3.39: Copland, El Salón México, mm. 160-161, melodic material in Trombone 1, 2, Violin 1, Viola
Figure 3.40: Copland/Hindsley, El Salón México for Band, mm. 160-161, melodic material in Horn 2, 4, Trombone 1, 2 EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
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Chapter 4: The Erika Svanoe Arrangement for Band
Early in the process of comparing the Hindsley band arrangement to the Copland
orchestral score of El Salón México, I determined that a new band arrangement of the
work was warranted for a number of reasons. The primary justification for the new
arrangement was the restoration of the orchestral meters. I thought it was important to
give wind conductors an option that would allow them and their musicians an opportunity
to perform the piece with the orchestral meters in tact. Often wind players learn El Salón
México by playing the Hindsley arrangement, but then need to relearn different meters if
they perform the orchestral version.
The meters Hindsley chose to alter are very close to the meters that Copland
himself used in his Piano Sketch. We also know that Copland personally approved of the
Hindsley arrangement and contributed to editorial process from Hindsley’s initial draft to
the published band arrangement. These two factors validate and legitimize Hindsley’s
decision to alter the meter from the orchestral score.
As discussed in Chapter 2, it is clear that Copland changed the notation of the
rhythm in the orchestral version to make the piece more performable by orchestral
conductors and musicians. In some sections of Hindsley’s band arrangement the meters
could be considered a closer representation of Copland’s original rhythmic intent than the
orchestral score. In other sections of the band arrangement, however, it is clear that
Hindsley eliminated some of the eighth note beaming that indicates these irregular
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groupings of eighth notes giving the conductor no indications of Copland’s rhythmic
intentions. One purpose of the new arrangement was to restore all rhythmic indications of
the orchestral score.
A second justification of the new arrangement was the modernization of scoring
practices and instrumentation. This work is of sufficient difficulty that it is generally
performed by bands at colleges and universities. However, the size of many of these
bands has decreased as a result of moving to a wind ensemble or wind symphony format.
The average size of college bands has certainly decreased since 1966 when the Hindsley
arrangement was first written. Additionally, more modern trends of orchestration for
band typically utilize thinner scoring than earlier transcriptions. This new arrangement
attempts to reflect these modern scoring practices, as well as provide an instrumentation
that is playable by more modern collegiate ensembles.
Instrumentation
There were several specific changes to the instrumentation of the Hindsley and
Copland that were incorporated in the new arrangement. First, the number of double reed
players was decreased. Copland calls for two oboes, English horn, two bassoons, and
contrabassoon. I decided to decrease this to two oboes with 2nd doubling English horn
and two bassoons with 2nd doubling contrabassoon. I did this to make the arrangement
more playable by smaller schools that may not have as many double reed players. While
Copland does have the three oboe/English horn players or the three bassoonists playing at
the same time in the orchestral score, these moments are during thickly scored sections
where an instrument substitute in an arrangement for winds would not affect the color
adversely. The English horn and contrabassoon could not be eliminated entirely,
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however, because of important solo moments in the orchestral score. In this case,
Hindsley also utilized doubling of English horn and contrabassoon in the 2nd oboe and 2nd
bassoon parts so that bands with fewer double reed players could successfully perform
his arrangement.
I decided to eliminate the Eb Contrabass Clarinet that Hindsley utilized for
practical reasons. In the Hindsley arrangement this part is used to bolster the sound of the
double bass and perhaps to blend with the clarinet section when they cover the upper
string parts. I felt this was unnecessary and it does not appear in Copland’s orchestral
score.
I also decreased the number of cornet and trumpet parts utilized by Hindsley. The
practice of scoring of both cornet and trumpet parts in band scores has become outdated.
Most modern bands perform both cornet and trumpet parts on trumpet. Considering that
Hindsley specifically wanted a conical brass sound for the strings that contrasts with the
cylindrical color of the trumpet, modern practice dilutes the effectiveness of Hindsley’s
scoring. I also wanted to maintain the integrity of the original trumpet parts as much as
possible, which included having them play fewer string parts than in the Hindsley. The
new arrangement is scored with three trumpets in B-flat. I considered scoring for
trumpets in C, as in the orchestral score, but decided against it for practical purposes
since more bands will likely have musicians comfortable playing on B-flat trumpets.
The timpani, percussion, piano, and double bass were all retained and treated in
much the same manner as the Hindsley. No additional percussion were added to the new
arrangement, and these parts appear exactly the same as they do in the orchestral score.
The division of instruments in Percussion 1 and 2 works well in the Hindsley and was
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retained. The double bass does cover cello lines when the range is appropriate, especially
when pizzicato is utilized. A summary of the instrumentation of the three pieces is in the
table below:
Table 4.1: Comparison of Instrumentation between Copland Orchestral Score, Hindsley Band Score, and Svanoe Band Score Overall Scoring
Many of my own decisions regarding scoring are in line with Hindsley’s
decisions. As mentioned, the percussion, piano and double bass are treated in similar
Copland Orchestral Score Svanoe Band Score Hindsley Band Score
Piccolo Piccolo Piccolo
2 Flutes Flutes 1, 2 Flutes 1, 2
2 Oboes Oboes 1, 2 (2nd doubles English horn) Oboes 1, 2
English Horn English Horn (doubled by 2nd Oboe) English Horn
Clarinet in Eb Clarinet in Eb Clarinet in Eb
2 Clarinets in Bb Clarinets in Bb 1, 2, 3 Clarinets in Bb 1, 2, 3
Bass Clarinet Bass Clarinet Bass Clarinet
Eb Contrabass Clarinet
2 Bassoons Bassoons 1, 2 (2nd doubles Contrabassoon) Bassoons 1, 2
Contrabassoon Contrabassoon (doubled by 2nd bassoon) Contrabassoon
Alto Saxophone 1, 2 Alto Saxophone 1, 2
Tenor Saxophone Tenor Saxophone
Baritone Saxophone Baritone Saxophone
Bb Cornets 1, 2, 3
3 Trumpets in C Bb Trumpets 1, 2, 3 Bb Trumpets 1, 2
4 Horns in F Horns in F 1, 2, 3, 4 Horns in F 1, 2, 3, 4
3 Trombones Trombones 1, 2, 3 Trombones 1, 2, 3
Euphoniums Baritones
Tuba Tubas Tubas
Timpani Timpani Timpani
Percussion Percussion 1, 2 Percussion 1, 2
Piano Piano Piano
Violins 1, 2
Violas
Cellos
Contrabasses Contrabasses Contrabasses
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ways and are very close to what appears in the orchestral score. In addition, the thickness
of scoring that appears in the orchestral score from thin to moderate to full is generally
reflected in both arrangements. Hindsley’s use of brass for significant changes in timbre
at measure 73 and measure 268 are so effective in the overall scope of the work that this
concept was borrowed in the new arrangement for band.
There are some significant differences, however, between the new arrangement
for band and Hindsley’s arrangement with regards to scoring. These differences typically
fall into two categories: timbre and doubling. Often the considerations for these two areas
overlap, particularly when rescoring the string parts. In general, I attempted to make the
new arrangement sound more like the orchestral version.
Timbre and Doubling Considerations
There are two places in the Hindsley arrangement where saxophone is used as a
replacement for an orchestral wind instrument and the change in timbre is significant.
The first is from measures 20-25 and the second is from measures 40-44 (Figures 3.11
and 3.2 respectively). In the new arrangement the original orchestral wind instruments
were maintained keeping the timbre as close to the orchestral version as possible. (See
Appendix B pages 109 and 112)
The new arrangement does not have cornets available in the instrumentation
because today’s bands typically do not use them in modern practice. Since the color
contrast between cornet and trumpet that Hindsley intends as part of his arrangement is
often negated by modern performances, I had to utilize the contrast between woodwinds
and brass more often. As a general rule, the trumpets and other brass instruments usually
covered the orchestral brass parts, and were only given material from the strings when a
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overall change in timbre is called for, when full scoring is utilized in the orchestral score,
or no other workable substitution is evident.
One reason for the reduction of the use of brass in the new arrangement was to
use the brass section more sparingly as Copland did in the orchestral version.
Furthermore, while Hindsley’s practice of using both cornets and clarinets as a substitute
for the string section creates the texture of a large number of string players, the timbre of
this combination has a weight and heaviness to it that is uncharacteristic of stringed
instruments. Copland made comments in his suggested revisions that imply he felt this
way as well. I relied more on the woodwind timbres of the clarinet, saxophone, flute, and
bassoon sections as substitutes for the strings. This maintained some of the texture of a
section of instruments, while also maintaining a lighter, more transparent timbre. This
concept is also in line with more modern practices of thinner scoring.
One example of thinner scoring occurs from measures 73-99. In the Hindsley
arrangement there is a large amount of doubling of the string parts, some of which is
assigned to the brass. (See Figures 3.7 and 3.8) In the new arrangement, fewer players are
used to cover the string parts creating a more transparent sound. The violin melody is
covered by flutes, clarinets, and alto saxophone instead of flutes, clarinets, and cornets.
The intention is to create a lighter, more transparent sound more reflective of the timbre
of a violin section. I did decide to use brass instruments to cover the lower string parts
because the overall change in timbre at this point in the piece is effective in the Hindsley.
However, instead of using the full section of both trombones and horns that appears in the
Hindsley arrangement, I only used two horns and euphonium to cover the chords in the
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lower strings. Two trombones cover the two orchestral horn parts. The overall scoring is
significantly thinner in the new arrangement. (See Appendix B p.116-119)
A second example of thinner scoring in the new arrangement occurs at measures
221-226. In the Hindsley, the string parts are covered by a combination of clarinets and
brass. (See Figures 3.13 and 3.14) In the new arrangement only clarinets and baritone
saxophone are used as substitutes for the string section, and the double bass part is
retained from the original orchestral score. This decision makes the interjection of the
clarinets in the orchestral score at measure 226 ineffective, however, since a change in
timbre is no longer possible. As a solution, two solo trumpets were used to cover the
clarinet interjection that occurs in the orchestral score. In this case, the change in timbre
and thinner scoring were prioritized over the retention of the exact timbre of the
orchestral score. (Appendix B p.135-136)
Both of the above examples were places in the orchestral score that I categorized
as Copland using “moderate scoring.” As discussed in Chapter 3, it is in these areas of the
Hindsley transcription that I felt the amount of doubling and use of brass was the most
excessive. The use of less doubling and more woodwind timbres in the new arrangement
as illustrated above was very typical in these moderately scored portions of the orchestral
score.
Restoration or Retention of Other Alterations by Hindsley
Beyond the necessary changes in instrumentation and scoring that Hindsley
utilized, there are several other alterations that Hindsley incorporated to make the music
more accessible for performance. These changes include the use of accidentals instead of
key signatures, the alteration of meters and beaming, and the rewriting of some passages.
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I evaluated the necessity of each of these alterations and in most cases restored what
appears in the orchestral score. In these situations, Hindsley’s priorities seem to reflect
accessibility of performance, while my priorities were to retain as much of the orchestral
writing as possible.
Key Signatures
As discussed in Chapter 3, Hindsley approached key signatures differently than
Copland by utilizing a transposed score with no key signatures (or open score)
throughout the entire work. Copland combined that approach in some sections with the
use of transposed key signatures in other sections. I was unsure how to proceed since I
was not sure why Copland decided to switch back and forth. I wondered if this was a
convention that he utilized in just his orchestral music, or if this was something he
discontinued later in his career. I decided to refer to Copland’s one original work for
band, Emblems (1964), to see how he treated key signatures in that work. I discovered
that key signatures in Emblems are treated in the same way as they are in the orchestral El
Salón México. Therefore, I retained all of the key changes and use of accidentals that
appear in the orchestral score.
Rewriting
Hindsley utilized two kinds of rewriting in his arrangement. The first is the
alteration of string parts that are so idiomatic to the instrument they are nearly impossible
to play on any wind instrument. This type of writing appears in the orchestral score from
measures 372-379. (See Figures 3.18 and 3.20) In this case, I thought the alterations that
Hindsley utilized were necessary due to the impossibility of accurate performance. I
borrowed Hindsley’s rewritten parts and incorporated them into the new arrangement.
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The second kind of rewriting Hindsley used occurs when an orchestral wind part
is sufficiently difficult or high in the range that the passage was reworked. (See Figures
3.22 through 3.27) I felt that all of these alterations were unnecessary and without
exception sought to retain the integrity of the orchestral wind parts. This makes the new
arrangement more difficult to perform but more accurately maintains Copland’s original
scoring and the integrity of the melodic line.
Meters and Beaming
The primary reason for doing a new arrangement of El Salón México was to
restore the orchestral meters into an arrangement for band. As I examined the use of
beaming and eighth note grouping in the orchestral score, I discovered that this was an
integral part of how the piece works rhythmically. This is logical considering that
Copland originally conceived of the music using mixed meters and then reworked the
meter for the orchestral score. I felt it was necessary to duplicate the meters and the
eighth note beaming to provide the conductor as much information as possible about the
orchestral score. While some beaming of eighth notes across bar lines makes the music
less readable, the retention of beaming is meant to inform conductors and players of
Copland’s original rhythmic intent and increase the feeling of the original grouping
during performance. Additionally, Copland also occasionally utilized brackets and dotted
bar lines in the orchestral score to show a rhythmic stress that was outside the confines of
the meter. (See Figures 2.9 and 2.17) All of these brackets and dotted bar lines were
retained in the new arrangement.
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Corrected Errata
As detailed in the previous chapter, there are three significant errata which were
discovered as discrepancies between the published orchestral score of El Salón México
and Hindsley’s band arrangement: the rhythm of Bassoon 1 at measure 59, the pitches of
Trumpet 1 at measure 113, and the missing pitches from violin 1 in measures 160-161.
All of these were corrected in the new arrangement to match the orchestral score.
Additionally, as discussed at the end of Chapter 2, there are three significant pitch
errors that were discovered in the published orchestral score. These errors occur in the
second bassoon at measure 24, the cello at measure 321, and the cello and double bass at
measure 378. These errors are corrected in the new arrangement for band based on
evidence provided by the manuscript materials and the Bernstein piano arrangements.
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Chapter 5: Conclusions and Suggestions for Further Research
El Salón México is an important piece in Copland’s compositional output because
it represents a significant shift in thinking at this point in his career. Copland wanted to
expand the audience for modern music and was experimenting with musical composition
using the simplest possible means. El Salón México is the first of several works that
appealed to a much wider audience and gained Copland popular and critical acclaim. One
reason for this was his use of borrowed Mexican folksongs and the shift of focus towards
melody and away from absolute music and formal structures.
El Salón brought Copland widespread recognition. In terms of numbers of
performances this was easily Copland’s most successful orchestral work up to this point.
While the appeal of piece based on melody and its use of Mexican folksongs certainly
contributed to its popularity, it is likely the practical steps Copland took to make the work
more performable for conductors and orchestral musicians also contributed to the greater
number of performances. The changes in rhythmic notation from shifting irregular meters
to regular simple meters, as well as the option for using a reduced instrumentation made
the work much more accessible for orchestras of the time.
The changes in rhythmic notation lead to a new question: if Copland had
orchestrated El Salón México later in his career, would he have reworked the rhythmic
notation so extensively? It is the opinion of the author that it is likely Copland would
have made fewer changes to the metric notation in this scenario. First, the Symphonic
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Ode was revised in 1955 with many of the original meters restored that Copland had
changed for Koussevitzky in 1930. Copland eventually withdrew the 1929 version
completely from his list of repertoire replacing it with the 1955 version. Second, Copland
notes his preference for the music to “look like it sounds” in his essay “On the Notation
of Rhythm.” Finally, Copland approved of Hindsley’s meter decisions in the band
arrangement of El Salón México. While it is impossible to form a definitive answer to this
question, evidence suggests that Copland would have preferred fewer changes to his
original rhythmic notation.
At first glance, when comparing Hindsley’s band arrangement of El Salón México
to the orchestral score, it originally appeared to have many changes in meter that might
be questionable since they did not reflect the composer’s intentions. However, evidence
discussed in the previous chapters suggests that in terms of rhythmic notation, in some
sections, the Hindsley arrangement could be considered a better representation of
Copland’s original rhythmic conception than the orchestral score. Ironically, much like
Copland’s own rhythmic revisions, this was likely done for practical purposes. Musicians
in the 1960s were more adept at dealing with shifting irregular meters than musicians in
the 1930s. From the time of the 1929 Symphonic Ode, musicians would have had thirty-
five more years of exposure to music that included this kind of writing by composers
such as Stravinsky. Even collegiate musicians (or perhaps especially) would have been
more familiar and open to reading this kind of rhythmic notation. In fact, it is very
possible that Hindsley thought using shifting irregular meters that matched the rhythmic
stress of the music would be easier for his musicians to perform than the complicated
syncopations of the orchestral version.
94
This seems to be congruent with the fact that many of Hindsley’s decisions in
creating the band arrangement seem to be practical in nature. The reduction of double
reed players needed, the grouping of eighth notes to match the meter through the score,
the thicker scoring in many sections, and the use of accidentals instead of key signatures
all point to Hindsley’s desire for a playable and readable arrangement. It is unknown how
much Hindsley knew about Copland’s own revisions to rhythmic notation, but it would
seem that Hindsley at the very least referred to the published Bernstein piano
arrangements. It is the author’s opinion that in some rhythmically complex sections,
Hindsley referred to the piano arrangements and used those metric and rhythmic
notations instead. His justification of these changes were likely practical, but also had a
musical impetus. In an interview with Hindsley he said music should “…LOOK as close
to what it is going to sound like as [it] possibly can.”81 This particular quotation suggests
that Hindsley may have read Copland’s “On the Notation of Rhythm.” Regardless of
whether this was Hindsley’s informed intention or simply coincidence, this notation is
closer to Copland’s original conception of the meter and is one of the strengths of
Hindsley’s arrangement.
One purpose of this project was to create a second band arrangement of El Salón
México that would provide conductors a second choice of what version to program with
their band. Both band arrangements have different strengths and intentions that
conductors should consider when making this decision. In the case of rhythmic notation,
both the Hindsley arrangement and the Svanoe arrangement have relative strengths and
weaknesses. While Hindsley did use Copland’s original intentions of rhythmic notation
81 Gregory, “Mark H. Hindsley: The Illinois Years,”184.
95
for certain sections of his arrangement, he also simplified several indications that would
inform a conductor or players about these intentions in other sections of the piece. Much
of the beaming and irregular grouping of eighth notes that occurs in the orchestral score
is simplified by Hindsley to match the meter. Musicians looking at these sections of the
music would have no idea what these irregular groupings are, and their intended effect
would be lost. The author’s arrangement restores these groupings to the way they appear
in the orchestral score. It should also be noted that Hindsley’s simplified beaming is
easier to read than the author’s.
It is the author’s opinion that the other relative weakness of the Hindsley is its
heavy scoring during some sections of the piece. Some of Hindsley’s choices for scoring
may reflect a desire to keep more members of the band involved in playing the piece
more of the time. This was particularly evident when replacing orchestral wind parts into
the saxophones, or using a combination of brass and clarinets to play string parts. The
original orchestral version has a certain transparency, however, that comes with the use
of the string section in particular. The use of brass often makes these string parts heavy or
more prominent than they sound when played by strings in the orchestral version. The
author’s arrangement attempts to keep more of this transparency in tact by using more
woodwind timbres and less doubling when transferring the string parts to the band
arrangement.
Regarding the relative difficulty of the arrangements, the author’s is likely more
difficult. Both arrangements are certainly challenging because of the rhythmic intricacies
inherent in the music, as well as the need for strong soloists on several parts. Yet the
slightly thicker scoring, simplification of eighth note grouping, and use of shifting
96
irregular meters as opposed to syncopated simple meters make the Hindsley slightly more
performable by bands today.
The idea that more complex meters are easier to perform by modern bands may be
counterintuitive. Performance of shifting irregular meters was very difficult for musicians
in the 1930s. There is so much of this type of rhythmic writing in modern band literature
that it is the author’s opinion that these kinds of rhythms are easier to perform by modern
bands. Because of Hindsley’s modifications, his arrangement would be a good choice for
conductors with larger or relatively less experienced bands. Advanced high school or
young collegiate bands would likely have more success performing Hindsley’s
arrangement.
However, the author’s use of replicating the meters and beaming in the orchestral
score has two benefits. First, musicians who may play or conduct the orchestral version
during their careers will not need to relearn different meters. Second, replication of eighth
note groupings that appear in the orchestral score provide the conductor and players an
idea of what Copland’s original intentions were throughout the entire score, not just in
selected sections of the music. The author’s arrangement is a good choice for conductors
who have musicians who may play in orchestras, or are able to apply the rhythmic
subtleties the beaming implies. It also replicates the transparency of the orchestral version
more successfully. It is likely a better choice for smaller, more advanced bands such as
advanced college wind ensembles.
Finally, the Hindsley arrangement has the advantage of being approved by the
composer. Copland listened to a recording of the arrangement with a score in hand on at
least two occasions. He also made minor corrections and suggestions for scoring in some
97
sections. While the composer cannot approve the author’s arrangement, it was completed
with the intention of restoring his rhythmic intricacies and modernizing the
instrumentation for both artistic and practical purposes.
Suggestions for further research
Evidence provided by Copland’s reworking of the Symphonic Ode in 1955 and
statements regarding the notation of rhythm suggest that he was less willing to alter the
rhythmic notation in his orchestral works later in his career. While El Salón México
includes many of these rhythmic alterations, it is a relatively early work. It would be
interesting to note how Copland’s rhythmic notation evolved throughout his career with
regard for pieces written for large ensembles. It would be interesting to compare the
manuscript sketches to published scores for selected works at different points in
Copland’s career to see if he became less inclined to change metric notation or if his
sketches or if his writing evolved to include more writing directly as syncopated rhythms.
Another topic of interest would be if Copland’s rhythmic notation for large
ensemble requiring a conductor was significantly different than his writing for chamber
ensembles or soloists. Did Copland’s experience with Koussevitzky and Symphonic Ode
also shape his rhythmic notation for groups that had no need for a conductor? Or did he
make these kinds of adjustments for chamber ensembles as well?
Another area of research could include the perception of differences in rhythmic
notation to the listener. Copland wanted to make music look like it sounds on the page.
Does the music actually sound different if it looks different? With some or all visual cues
removed, including score, conductor, or the movement of musicians, can a trained
listener perceive the changes rhythmic notation? Does isolating some of the visual cues,
98
such as watching a score, or watching a conductor change a listener’s perspective on how
the music sounds?
Another question that arises is if orchestral conductors make adjustments in how
they conduct El Salón México. Has anyone altered the meter back to Copland’s original
intentions? An interesting project would be to compile all the available information from
the manuscript materials and various piano arrangements and create a new orchestral
score of El Salón México that would change the rhythmic notation back to what
Copland’s original intentions were. Modern conductors and orchestras are much more
capable of performing complex rhythms, and the change in the sound of the performance
could be significantly different.
This study found that Copland made significant changes to the meter and
rhythmic notation of El Salón México during the process of orchestration. Evidence
suggests that these changes, along with the option for reduced instrumentation, made the
work playable by more orchestras. This, along with the use of folk songs, contributed
both to Copland’s popularity with audiences and critics, and to the rise of his stature as
one of America’s foremost composers.
While Hindsley altered the meters and rhythmic notation in his transcription for
band, he likely did so by referring to Bernstein’s arrangements for piano. This restored
some of the rhythmic notation, as Copland originally conceived it, from his early
sketches. While both Hindsley’s and the author’s transcriptions have relative strengths,
the author’s arrangement was completed with the intention of providing today’s band
conductor the option of choosing another version for performance. Having a second
version is valuable because it is the work of one of America’s most important composers
99
and makes an important contribution to the repertoire of both the orchestra and the band.
While the piece was born from humble folk materials, the work itself is of high artistic
quality. Regarding El Salón México Copland stated, “As I see it, music that is born
complex is not inherently better or worse than music that is born simple.”82
82 Copland and Perlis, Copland, 248.
100
Bibliography
Abraham, Gerald. “Aaron Copland: El Salón México.” In El Salón México, by Aaron Copland, pocket score ed. London: Boosey & Hawkes, 1939. Battisti, Frank. The Winds of Change. Galesville, MD: Meredith Music, 2002. Berger, Arthur. Aaron Copland. Westport, CT: Greenwood Press, 1971. Briskey, Eddie. “The Symphonic Band Repertoire of Aaron Copland: An Overview of Original Works and Arrangements for Band.” Journal of the World Association for Symphonic Bands and Ensembles 14 (2007): 38-43. Burr, Jessica. “Copland, the West and American Identity.” In Copland Connotations: Studies and Interviews, edited by Peter Dickenson, 22-8. Rochester, NY: Boydell Press, 2002. College Band Directors National Association. “CBDNA Report,” Spring 1997-Fall 2008. http://www.cbdna.org/cgi-bin/report.pl (accessed February 17, 2009). Copland, Aaron. “Composer from Brooklyn: An Autobiographical Sketch.” Reprinted in
Aaron Copland: A Reader; Selected Writings 1923-1972, edited by Richard Kostelanetz, xix-xxxii, New York: Routledge, 2004.
———. Copland on Music. Garden City, NY: Doubleday, 1960. ———. El Salón México. London: Boosey & Hawkes, 1939. ———. El Salón México. Arranged for Two Pianos by Leonard Bernstein. London: Boosey & Hawkes, 1943. ———. El Salón México. Arranged for Piano Solo by Leonard Bernstein. London: Boosey & Hawkes, 1941. ———. El Salón México. Transcribed for Band by Mark H. Hindsley. New York: Boosey & Hawkes, 1972. ———. El Salón México Manuscripts. Aaron Copland Collection. Library of Congress.
101
———. Emblems. New York: Boosey & Hawkes, 1964. Copland, Aaron, and Boosey & Hawkes, Correspondence, Aaron Copland Collection, Library of Congress. Copland, Aaron, and Vivian Perlis. Copland: 1900 Through 1942. New York: St. Martin’s/Marek, 1984. Crist, Elizabeth. “The Compositional History of Aaron Copland's Symphonic Ode.” American Music 18, no. 3 (Autumn, 2000): 257-77. ———. Music for the Common Man: Aaron Copland During the Depression and War. New York: Oxford University Press, 2005. Dickenson, Peter. “Copland’s Earlier British Connections.” In Copland Connotations: Studies and Interviews, edited by Peter Dickenson, 165-74. Rochester, NY: Boydell Press, 2002. Fishman, Leo Philip. “Theoretical issues and presumptions in the early music of Aaron Copland.” Ph.D. diss., University of California, Santa Barbara, 2007, In Dissertations & Theses: A&I [database on-line]; available from http://www.proquest.com.proxy.lib.ohio-state.edu (publication number AAT 3272823; accessed February 2, 2009). Glazier, Richard. “A Comparison and Analysis of Aaron Copland's El Salon Mexico for Orchestra, Piano Solo, and Two Piano Four Hands” D.M.A. diss., Cleveland Institute of Music, 1990. Gregory, Earle Suydam. “Mark H. Hindsley: The Illinois Years.” Educat.D. diss., University of Illinois at Urbana-Champaign, 1982, In Dissertations & Theses @ CIC Institutions [database on-line]; available from http://www.proquest.com.proxy.lib.ohio-state.edu (publication number AAT 8218477; accessed March 6, 2009). Henry, Diana, News Gazette, March 19, 1967 reprinted in Mark Hindsley, My Bands and I: A Love Story, 45 Years of Concert and Marching Band History…. [Urbana- Champaign, IL?]: Self-published, 1984. Hindsley, Mark. My Bands and I: A Love Story, 45 Years of Concert and Marching Band History…. [Urbana-Champaign, IL?]: Self-published, 1984. ———. Hindsley On Bands (The Gospel According to Mark). [Urbana-Champaign, IL?]: Self-published, 1979.
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Hindsley, Robert. Transcriptions by Dr. Mark H. Hindsley. Hindsley Transcriptions Ltd. http://www.hindsleytranscriptions.com/index.html (accessed February 22, 2009). Lee, Douglas A. Masterworks of 20th-century Music : The Modern Repertory of the Symphony Orchestra. New York: Routledge, 2002. Mitchell, Donald and Philip Reed, eds. Letters from a Life: Selected Letters and Diaries of Benjamin Britten, vol. 1, 1923-39. London, Faber & Faber, 1991. Pollack, Howard. "Copland, Aaron." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/06422 (accessed February 15, 2009). Shattinger Music Company. Wind Band Catalog. Shattinger Music Company. http://www.shattingermusic.com/Departments/Wind_Band/WBItems.aspx (accessed February 22, 2009).
103
Appendix A
List of suggested revisions to the band arrangement of El Salón México by Mark
Hindsley. Typescript by Aaron Copland. Initialed A.C.
104
105
Appendix B
El Salón México by Aaron Copland, transcribed for band by Erika Svanoe.
EL SALON MEXICO © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes Inc, sole agent. Reprinted by permission.
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EL SALÓN MÉXICO AARON COPLANDScore
POPULAR TYPE DANCE HALLIN MEXICO CITY
ERIKA SVANOE
To Victor Kraft
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Ó Œ
U
Ó Œ
U
œ
>
˙
U
>
Ó Œ
U
œ
>œ
>œ
>
U
Œ Œœ
U
Œ Œ
œ
U
œ
œ
>œ
œ
>œ
œ
>U
œ
>
˙
>
U
œ
>
˙
>
U
Œ Œ
œ
U
Œ Œ œ
U
Ó Œ
Ó Œ
Œ Œœæ
U
Ó Œ
U
18
Ó Œ
U
accel.
accel.
accel.
B.D.
a2
4th
f
p
p
p
a2
p
œ
>œ ˙
j
œ
>
‰ Œ Œ
j
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‰ Œ Œ
j
œ
>
‰ Œ Œ
j
œ
>
‰ Œ Œ
j
œ
>
‰ Œ Œ
œ
>
+
œ
+
˙
J
œ
>
+
>
+
‰ Œ Œ
j
œ‰ Œ Œ
J
œ
œ
>
‰ Œ Œ
j
œ>
‰ Œ Œ
j
œ
>
‰ Œ Œ
j
œ
>
‰ Œ Œ
j
œ
>
‰ Œ Œ
j
œ
>
‰ Œ Œ
J
œ
>
‰ Œ Œ
19
2
Moderato (rubato) {q = c 92}
Moderato (rubato) {q = c 92}
2
2 Moderato (rubato) {q = c 92}
Sf
Sf
Sf
Sf
Sf
S
S
S
S
S
S
Sf
S
S
108
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ã
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&
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44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
Ÿ~~~~~~~~~~~~~~
w
œ
>
‰J
œ-
.œ
‰
œ#
>
‰ J
œ-
.œ
‰
œ
>
‰ J
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.œ
‰
œ ‰
J
œ .œ ‰
20
CYM. (With brush)
p
p
p
p
p
con sord.solo
soli
soli
w
.œ
>
‰ ‰
.œ-
.œ#
>
‰ ‰
.œ#-
.œn
>
‰ ‰.œ
-
.œ ‰ ‰ .œ
21
œ
Œ Ó
‰ .œ
>
‰
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‰.œ#
>
‰
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‰.œ
>
‰
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‰ .œ ‰ .œ
22
Œ ˙ Œ
Œ˙#
Œ
Ó ‰
j
œ œœ
Œ˙n
Œ
Œ ˙ Œ
23
p
Solo (ad lib.)
œn
>
‰
J
œn-
J
œ ‰
œ- œ#
-
œ
>
‰ J
œ-
J
œ
‰œ-
œ-
œ>
‰J
œ-
J
œ‰
œ#- œ#
-
œ œœ
œœ
œœ
œœ
œœ
œœ
7
24
P
P
P
j
œ-
‰ Œ Ó
j
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‰ Œ Ó
j
œ-
‰ Œ Ó
J
œ .œ
J
œj
œœ
œ
25
rit.
109
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43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
Ÿ~~~~~~~~
ÓJ
œ
œ‰ Œ
U
U
U
U
U
Ó œ
>
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
U
ÓJ
œ‰ Œ
u
Ó j
œ
‰ Œ
U
Ó j
œ
‰ Œ
U
Ó Ó
U
Ó Ó
U
Ó Ó
U
U
U
U
œœ
œ J
œ>
‰
U
U
U
U
Ó Ó
U
U
U
U
U
U
U
U
U
26
U
rit.f
f
f
f
(short)Solo Cadenza (ad lib.)
others
w
œ
>
‰J
œ-
.œ
‰
œ#
>
‰ J
œ-
.œ
‰
œ
>
‰ J
œb-
.œ
‰
œ ‰
J
œ .œ ‰
27
3
3
3
F
F
F
p
w
.œ
>
‰ ‰
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>
‰ ‰
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.œn
>
‰ ‰.œ
-
.œ ‰ ‰ .œ
28
‰
.œn
‰ .œ#
‰ .œ‰
.œ
‰.œ
‰
.œ#
Ó ‰ j
œœ
œ
‰ .œ ‰ .œ
29
F
F
Solo (ad lib.)
‰
œ
j
œ œ‰
œ œ#
‰ œ
J
œ œ ‰œ œ
‰œ#
j
œ œ‰
œ œ#
œœ
œœ
œœ
œœ
œœ
œœ
œ
7
‰ œ
J
œ
J
œ ‰ Œ
30
j
œ
‰ Œ Ó
j
œ ‰ Œ Ó
j
œ‰ Œ Ó
J
œ .œ
J
œ j
œ
,
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J
œ ‰ Œ Ó
31
to contrabassoon
rit.
œœ
œj
œ
œ
J
œ
32
Solo Cadenza (ad lib.)
J
œ
œ‰ Œ Ó
U
U
U
U
U
œ
>
œ 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 œ œ ˙
U
65
J
œ ‰ Œ Ó
j
œ
‰ Œ Ó
U
j
œ
‰ Œ Ó
U
U
U
U
U
U
U
J
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‰ Œ Ó
U
U
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U
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U
U
U
U
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33
U?
f
f
f
f
rit.
(short)
110
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#
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43
43
43
44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
° * °
.˙
.œ
.œ
œ
Œ Œ
.œ
.œ
34
4
pizz.
Piu mosso {q = c 120}
Piu mosso {q = c 120}
4
4 Piu mosso {q = c 120}
solo
(Timp.)
.˙
œ
œ
œ
œ
œ
œ
35œ
œ
œ
.˙
œ
Œ Œ
.œ
.œ
œ
Œ Œ
36
œ
Œ Œ
œ
œ
œ
37
œ
Œ Œ
.œ
.œ
38
Œ Œ ‰
J
œ
Œ Œ ‰
J
œ
œ
œ
œ
39œ
œ
œ
p
solo
(Bsn.1)
111
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44
44
44
43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
* ° * ° *
œ.
œ. œ
.
œ-
j
œ œ-
‰
œ.
œ.
œ. œ
-
J
œ œ-
‰
œ.
œ.
œ. œ
-
J
œ œ-
‰
œ
‰
J
œ
J
œ
œ
‰
œ
Œ Ó
40
p
solo
espress.
espress.
œ. œ.œ-
‰œ-
‰
œ.
œ. œn
-
‰
œ-
‰
J
œ.
‰œ-
‰ œ-
‰
J
œ ‰j
œ‰ Ó
41
contrabassoon
œ-
œ.
œ-
j
œ œ-
‰
œ-
œ.
œ-
J
œ œ-
‰
œ-
‰
J
œ-
J
œ
œ-
‰
42
j
œ<
‰ Œ Ó
J
œ¯
.œ¯
˙
j
œ<
‰ Œ Ó
.œ
.œ
œ
43.œ
.œ
Œ
5
5
5
p
p
w
œ
œ œ
Œ
Ó.œ
- J
œ
44
p
œŒ Œ ‰
J
œ
œ
œ-
œ
œ
45
Œ
œ
œ
œ
p
œ.
œ. œ
.
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j
œ œ-
‰
œ.
œ.
œ. œ
-
J
œ œ-
‰
œ
‰
J
œ
J
œ
œ
‰
œ
Œ Ó
46
p
œ. œ.œ-
‰œ-
‰
œ.
œ. œn
-
‰
œ-
‰
J
œ.
‰œ-
‰ œ-
‰
J
œ ‰j
œ‰ Ó
47
œ-
œ.
œ-
j
œ œ-
‰
œ-
œ.
œ-
J
œ œ-
‰
œ-
‰
J
œ-
J
œ
œ-
‰
48
112
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43
43
43
44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
° *
j
œ<
Œ . Œ
J
œ¯
.œ¯
œ
j
œ<
‰ Œ Œ
.œ
.œ
49.œ
.œ
˙‰
J
œ
œ
Œ Œ
œ
œ
œ
50
œ.
œ.
œ. œ-
J
œ œ-
‰
œ.
œ.
œ#. œ
-
J
œ œ-
‰B
Ó ‰
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‰
œ ‰J
œ
J
œ‰ Œ
51
6
6
6
œ.
œ. œ
-
‰
œ-
‰
œ.
œ. œ
-
‰
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‰
j
œ.
‰ Œ ‰
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‰
œœ
Ó
52
œ-
œ.œ-
J
œ œ-
‰
œ-
œ. œ
-
J
œ œ-
‰
j
œ.
‰ Œ ‰
œ-
‰
œ ‰
J
œ
J
œ ‰ Œ
53
J
œ¯
.œ-
œ ‰j
œ.
J
œ¯
.œ-
œ ‰
j
œ.
j
œ.
‰ Œ Ó
.œ
.œ
œ
54
œ.
œ.
œ. œ-
J
œ œ-
‰
œ.
œ.
œ#. œ
-
J
œ œ-
‰
Ó ‰
œ-
‰
œ ‰J
œ
J
œ
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‰
55
œ.
œ. œ
-
‰
œ-
‰
œ.
œ. œ
-
‰
œ-
‰
j
œ.
‰ Œ ‰
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‰
œœ
‰
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‰
56
113
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86
86
86
43
43
43
86
86
86
43
43
43
86
86
86
43
43
43
86
86
86
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
° *
œ-
œ.œ-
J
œ œ-
‰
œ-
œ. œ
-
J
œ œ-
‰
œŒ ‰
œ-
‰
œ‰
J
œ
J
œ‰ Œ
57
œ-
œ.
œ-
j
œ œ-
‰
œ-
œ.
œ-
j
œ œ-
‰
œ-
‰
J
œ-
J
œ
œ-
‰
œ ‰
J
œ
J
œ
œ
‰
58
j
œ<
‰ ‰ Œ .
J
œ¯
.œ-
œ
j
œ<
‰ ‰ Œ ‰
œ
Œ Œ
.œ
.œ
59.œ
.œ
p
p
to bassoon
.˙
œ
œ
œ
60
tutti
œ.
œ.
œ.
œ.
œ.
œ.
.œ
.œ
œ
Œ Œ
61
7
7
7
p
p
{q = 144}
{q. = 96}
{q = 144}
{q. = 96}
{q = 144}
{q. = 96}
œ.
œ.
J
œ.
‰J
œ.
‰
œ. œ
. J
œ.
‰
J
œ.
‰
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j
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62
p
p
p
rit.
rit.
rit.
œ.
œ.
œ.
œ.
œ. œ
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.œ
.œ
63
a tempo
a tempo
a tempo
œ.
œ.
J
œ.
‰
J
œ.
‰
œ. œ
.
j
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j
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.
œ.
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œ
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64
rit.
rit.
rit.
114
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B
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86
86
86
43
43
43
86
86
86
43
43
43
86
86
86
43
43
43
86
86
86
43
43
43
86
86
86
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ.
œ.
œ.
œ.
œ.
œ.
.œ
.œ
65
a tempo
a tempo
a tempo
œ.
œ.
J
œ.
‰J
œ.
‰
œ. œ
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œ.
‰
J
œ.
‰
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j
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.
œ.
œ
œ
œ
66
rit.
rit.
rit.
œ.
œ.
œ.
œ.
œ. œ
.
.œ
.œ
67
a tempo
a tempo
a tempo
œ.
œ.
J
œ.
‰
J
œ.
‰
œ. œ
.
j
œ.
‰j
œ.
‰
œ.
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j
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œ.
‰
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.
œ.
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œ
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68
rit.
rit.
rit.
J
œ>
œ .œ
œœ œ œ œ œ
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.œ.œ
.œ
.œ
69
a tempo
a tempo
a tempo
.˙
œ œ œ œ œ œ
œ œ œ œ œ œ
œœ
œ
œ
œ
œ
70
.˙
œ œ œ œ œ œ
œœ
œ œ œœ
œ œ
.œ.œ
.œ
.œ
71
div.
˙ Œ
œ œ œ œ œ œ
œœ
œ œœ
œ œœ
œ
œœ.
œ.
œŒ Œ
72
115
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86
86
86
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
.˙
.˙
.˙
œœ
-----------------------------œœ
-----------------------------œœ
-----------------------------œœ
-----------------------------œœ
-----------------------------
2
œ.
‰ Œ ‰
œ-
œ-
œ-
œ-
œ-
2
œœ-
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œœ-
œœ-
œœ-
2
.
.˙˙
œ-
œ-
œ-
œ-
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2
73
8
8
8
One player
One player
Gradually a trifle slower
Gradually a trifle slower
Gradually a trifle slower
p
p
p
p
p
p
p
p
div.
1st
2nd
.˙
.˙
.˙
œœ
-----------------------------œœ
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-----------------------------œœ
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-----------------------------
œ-
œ-
œ-
œ-
œ-
œ-
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œœ-
œœ-
œœ-
œœ-
œœ-
.
.˙˙
œ-
œ-
œ-
œ-
œ-
œ-
74
(imperceptibly)
(imperceptibly)
(imperceptibly)
.˙
.˙
.˙
œœ
œœ
œœ
œœ
œœ
2
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
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2
.
.˙˙
œ œ œ œ œ
2
75
sim.
sim.
sim.
sim.
Œ . ‰
j
œ
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2
.˙
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.˙
Œ ‰ ‰ j
œ
2
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2
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.
.˙˙
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76
p
p
p
p
1st
carefree, with a naive and pure expression
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
2
.˙
.˙
.˙
œ œ œ œ œ
2
œ œ œ œ œ
2
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œœ
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2
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2
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2
j
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2
.
.˙˙
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2
77
p
carefree, with a naive and pure expression
carefree, with a naive and pure expression
carefree, with a naive and pure expression
œ
œ
œ
œ
œ
œ#
#
J
œ
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.
.˙˙
œ œ œ œ œ œ
78
œ
œ
œ
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œ
2
.˙
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2
œ œ œ# œ œ
2
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œœ
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2
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2
œ œ œ œ œ
2
œœ
œœ
œœ
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2
.
.˙˙
œ œ œ œ œ
2
79
sim.
.
.
˙
˙
.˙
.˙
.˙
.˙
.˙
œœ
œœ
œœ
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2
.˙
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
œœ
2
j
œœ
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.
.˙˙
œ œ œ œ œ
2
80
116
&
&
&
&
&
&
&
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B
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
.
.
˙
˙
.˙
.˙
.˙
.˙
.˙
œœ
œœ
œœ
œœ
œœ
2
.˙
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
œœ
2
.
.˙˙
œ œ œ œ œ
2
81
Œ . ‰œ
œ
.˙
.˙
.˙
Œ ‰ ‰ j
œ
Œ ‰ ‰ j
œ
œœ
œœ
œœ
œœ
œœ
2
Œ ‰ ‰
J
œ
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
œœ
2
.
.˙˙
œ œ œ œ œ
2
82
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
2
.˙
.˙
.˙
œ œ œ œ œ
2
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
œœ
2
œ œ œ œ œ
2
œ œ œ œ œ
2
j
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2
.
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2
83
9
9
9
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
2
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2
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2
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2
œ œ œ œ œ œ
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.
.˙˙
œ œ œ œ œ œ
84
œ
œ
œ
œ
œ
œ
J
œ
œ
œ
œ
.˙
.˙
.˙
œ œ œ
J
œ œ
œ œ œ#
J
œ œ
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2
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J
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2
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2
.
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2
85
.
.
˙
˙
.˙
.˙
.˙
.˙
.˙
œœ
œœ
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œœ
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œ œ œ œ œ œ
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œœ
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j
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.
.˙˙
œ œ œ œ œ œ
86
.
.
˙
˙
.˙
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.˙
.˙
.˙
œœ
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œœ
œœ
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2
.˙
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
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2
.
.˙˙
œ œ œ œ œ
2
87
.
.
œ
œ ‰
J
œ
œ
2
.˙
.˙
.˙
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2
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2
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2
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J
œ
2
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2
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œœ
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2
.
.˙˙
œ œ œ œ œ
2
88
117
&
&
&
&
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ
œ
œ
œ
œ
œ#
#
J
œ
œ
œ
œ
.˙
.˙
.˙
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J
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œ œ œ
J
œ œ
œœ
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œœ
œœ
œœ
2
œ œ œ
J
œ œ
œ œ œ œ œ
2
j
œœ
‰ ‰ Œ
œœ
œœ
œœ
œœ
œœ
2
.
.˙˙
.˙
œ œ œ œ œ
2
89
One player
p
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
2
.˙
.˙
.˙
œ œ œœ œ
2
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2
œœ
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œœ
œœ
œœ
œœ
œ œ œœ œ
2
œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œœ
œœ
.
.˙˙
.˙
œ œ œ œ œ œ
90
œ
œ
œ
œ
œ
œ
œ
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œ
2
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2
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2
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2
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2
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2
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2
.
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2
91
J
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œ
.
.
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2
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2
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2
j
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.
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2
92
.
.
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J
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œœ
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œœ
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.
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œ œ œ œ œ œ
93
œ
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œ
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#
J
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.˙
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J
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2
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J
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2
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2
.
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2
94
10
10
10
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
2
.˙
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2
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2
œœ
œœ
œœ
œœ
œœ
œœ
œ œ œœ œ
2
œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œœ
œœ
.
.˙˙
.˙
œ œ œ œ œ œ
95
118
&
&
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&
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B
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44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
2
.˙
.˙
.˙
œ œœ
œ œ
2
œ œœ
œ œ
2
œœ
œœ
œœ
œœ
œœ
2
œ œœ
œ œ
2
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
œœ
2
.
.˙˙
.˙
œ œ œ œ œ
2
96
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
2
.˙
.˙
.˙
œ œœ
œ œ
2
œ œœ
œ œ
2
œœ
œœ
œœ
œœ
œœ
œœ
œ œœ
œ œ
2
œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œœ
œœ
.
.˙˙
.˙
œ œ œ œ œ œ
97
J
œ
œ
œ
œ
.
.
œ
œ
.˙
.˙
.˙
J
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J
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œœ
œœ
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J
œœ .œ
œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œœ
œœ
.
.˙˙
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œ œ œ œ œ œ
Œ ‰œ œ œ
98
Hard Sticks
p
.
.
˙
˙
.˙
.˙
.˙
.˙
.˙
œœ
œœ
œœ
œœ
œœ
2
.˙
œ œ œ œ œ
2
œœ
œœ
œœ
œœ
œœ
2
.
.˙˙
.˙
œ œ œ œ œ
2
œ-
œ-
œ-
œ-
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2
99
tutti
molto cresc.
molto cresc.
molto cresc.
molto cresc.
p molto cresc.
.
.
œ
œ ‰ J
œœ
2
Œ ‰ ‰J
œ
2
.˙
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.˙
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2
.˙
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2
Œ ‰.œ
Œ ‰ ..
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œœ
œœ
œœ
œœ
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2
œ œ œ œ œ
2
.
.˙˙
.˙
œ œ œ œ œ
2
œ-
œ-
œ-
œ-
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2
100
F
F
F
F
cresc.
cresc.
molto cresc.p
p molto cresc.
tutti
tutti
tutti
3rd
œœ
-œœ
-œœ
-œœ
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-
2
œ-
œ-
œ-
œ-
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2
.˙
.˙
.˙
œ œ œ œ œ
2
œ œ œ œ œ
2
œ œ œ œ œ
2
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œœ
œœ
œœ
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2
œ œ œ œ œ
2
.œ œ œ œ
.
.œœ
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œœ
œœ
œœ
œœ
œœ
œœ
œœ
2
œ œ œ œ œ
2
.˙
.
.˙˙
.˙
œ œ œ œ œ
2
œ-
œ-
œ-
œ-
œ-
2
101
F
F
4th
œœ
-œœ
-œœ
-œœ
-œœ
-œœ
-
œ-
œ-
œ-
œ-
œ-
œ-
.œ
J
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J
œ ‰ ‰
.˙
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œ œ œ œ œ œ
œ œ œ œ œ œ
B
œœ
œœ
œœ
œœ
œœ
œœ
œ œ œ œ œ œ
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œ œ œ œ œ œ.˙
.
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œœ
œœ
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œ œ œ œ œ œ
œ-
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102
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
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119
&
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44
44
44
83
83
83
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ
>œ
œœ>
J
œ œ>
J
œ
œ
>œ
œ
œ
>
J
œ œ
>
J
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J
œ œ>
J
œ
œ>
œ œ œ>
J
œ œ>
J
œ
œ
>
Œ ‰œ
>
j
œ
103
11
solo
solo
solo
Allegro vivace q = 168
Allegro vivace q = 168
11
11 Allegro vivace q = 168
p
F
F
F
{e= e}
{e= e}
{e= e}
(Bsn.1)
œ>
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J
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J
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˙
J
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J
œ
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Œ ‰œ
>
j
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104
solo
F
Bassoon
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J
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>
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>
œ.
œ.
105
.˙
Œ
.˙Œ
Ó Œ ‰ J
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J
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Ó Œ ‰ J
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J
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>
Œ Ó
106
solo
1st
p
F
F
Ó ‰
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J
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J
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J
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107
3rd
solo1st
f
P
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>
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J
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J
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J
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108
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œ-
œ-
.˙-
Ó Œ
œ-
Ó œ. œ
. œ>
Ó Œ œ-
œ-
œ-
œ.
œ.
J
œ-
‰
œ-
œ-
œ.
œ.
J
œ-
‰
109
solo
2nd solop
p
p
F
œ
Œ Ó
œ-
œ œ>
œ œ œ>
œ Œ Ó
œ-
œ œ> œ œ œ>
œ-
œ.
œ-
œ œ. œ
>
œ-
œ. œ
-œ œ
.
œ
>
110
120
&
&
&
&
&
&
&
&
&
B
B
&
&
&
&
&
&
&
?
?
?
?
?
?
ã
ã
&
?
#
#
#
#
##
##
##
#
##
#
##
#
##
#
#
#
##
##
##
#
##
##
##
#
##
#
##
##
#
#
#
#
#
#
#
#
83
83
83
42
42
42
44
44
44
83
83
83
44
44
44
83
83
83
44
44
44
43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ-
J
œ.
œ-
J
œ.
œ-
J
œ.
œ-
J
œ.
111
œ-
œ-
œ-
œ-
œ-
œ-
œ-
œ-
112
œ
>œ
œœ>
J
œ œ>
J
œ
œ
>œ
œ
œ
>
J
œ œ
>
J
œ
.œ‰ Ó
œ
>
œ œ œ
>J
œ œ
>
J
œ
Œ ‰
j
œ
>
j
œ œ
>
j
œ
.œ
‰ Ó
.œ ‰ Ó
.œ ‰ Ó
œ
>
œ œ œ
>
j
œ œ
>
j
œ
113
12
12
12
F
F
p
p
P
œ>
œ œ
œ>
œ œ
œ
>
œ œ
œ
>
œ œ
?
?
œ
>
œ œ
114
&
w>
w>
œ
>
œ œ œ
J
œ
>
œ
>
J
œ
œ
>
œ œ œ
j
œ
>
œ
>
j
œ
œ
>œn
œbœ>
J
œ œ>
J
œ
œ
>œn
œbœ>
J
œ œ>
J
œ
œ
>
œ œ œ
>
j
œ œ
>
j
œ
115
œ
>
œ œ œ
>
j
œ œ
>
j
œ
P
f
f
œ>
œ œ
œ
>
œ œ
œb>
œ œ
B
œb>
œ œ
B
œ
>
œ œ
116
œ
>
œ œ
Œ
œ-
j
œ.
œn-
j
œ-
œ œ
J
œ œ
J
œ
œn œ
J
œ œ
J
œ
œn>
œ-
J
œ. œ
-
J
œ-
œn>
Œ Ó
œ œ
J
œ œ
J
œ
117
œb œ
J
œ œ
J
œ
F
F
to contrabassoon
Ó œ-
œ-
Ó œb-
œ-
œ œ.
œn- œ
>
œ
>
œ œ œ œ-
œ-
œ œn œ œ-
œ-
œ œ. œn
-
œ> œ
>
Ó œ
>œn>
Óœ> œn
>
œ œ œ œ œ
118
œ œb œ œ œ
F
F
F
F
F
F
F
tutti
121
&
&
&
&
&
&
&
&
&
B
B
&
&
&
&
&
&
&
?
?
?
?
?
?
ã
ã
&
&
#
#
#
#
##
##
##
#
##
#
##
#
##
#
#
#
##
##
##
#
##
##
##
#
##
#
##
##
#
#
#
#
#
#
#
#
43
43
43
44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ-
œ-
œ.
œ>
œ-
œ-
œ. œ
>
œn>
œ-
œ.
œ
>
œ-
œ-
œ. œ
>
œ-
œ-
œ. œ
>
œb>
œ-
œ.
œ>
œn>
œ-
œ.
œ>
œn>
œ-
œ.
œ>
œœ œœ œœœœ
119
œœ œœ œœœœ
p
œ œ.
œ>
Ó
œ œ.
œ>
Ó
œ œ.
œn>
œ-
œ. œ
>
œ œ.
œ> œ
-œ. œ
>
œ œ.
œ> œ
-œ. œ
>
œ œ. œb
>œ-
œ. œ
>
œ œ. œn
>œ-
œ. œ
>
œ œ. œn
>œ-
œ. œ
>
Ó
œ-
œ. œ
>
Ӝ-
œ. œ
>
œœ œœ œœœœ œœ
œœ
120
œœ œœ œœœœ œœ
œœ
p
p
Ó Œœ-
Ó Œœ-
J
œ œ- j
œ.
œn>
œ-
J
œ œ-
J
œ.
œ>
œ-
J
œ œ-
J
œ.
œ>
œ-
J
œ œ-
J
œ. œb
>œ-
J
œ œ-
J
œ. œn
>œ-
J
œ œ-
J
œ. œn
>œ-
J
œ œ-
J
œ.
œ>
œ-
J
œ œ-
J
œ.
œ>
œ-
J
œœ œœ
J
œœ œœ œœ
121
J
œœ œœ
J
œœ œœ œœ
œ. œ
>œ œ
>œ œ
.œ>
œ.
œ>
œ œ>
œ œ.
œ>
œ. œn
>œ œ
>
œ œ.
œ>
œ. œ
>œ œ
>œ œ
.œ>
œ. œ
>œ œ
>œ œ
.œ>
œ. œb
>œ œ
>œ œ
. œ>
œ. œn
>œ œ
>œ œ
. œ>
œ. œn
>œ œ
>œ œ
. œ>
œœœœ œœ œœ œœ œœ œœ
122
œœœœ œœ œœ œœ œœ œœ
œ>
Œ Ó
œ>
Œ Ó
œ
>
œ. œn
>
J
œ œ
> j
œ.
œ>
œ. œ
>
J
œ œ>
J
œ.
œ>
œ. œ
>
J
œ œ>
J
œ.
œ>
œ. œb
>
J
œ œ>
J
œ.
œ>
œ. œn
>
J
œ œ>
J
œ.
œ>
œ. œn
>
J
œ œ>
J
œ.
œ>
œ. œ
>
J
œ œ>
J
œ.
œ>
œ. œ
>
J
œ œ>
J
œ.
œœœœ œœ
J
œœ œœ
J
œœ
123
œœœœ œœ
J
œœ œœ
J
œœ
œ-
œ-
J
œ. œ
-
J
œ-
œ-
œ-
J
œ. œ
-
J
œ-
œ-
œn-
J
œ. œ
-
J
œ-
œ-
œ-
J
œ. œ
-
J
œn-
œœ-
œœ-
J
œœ.
œœ-
J
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J
œ
‰ Œ Ó
J
œ
‰ Œ Ó
œ
-
œ
- j
œ
.
œ
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œ
-
œ-
œ-
J
œ.
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J
œ-
œ œ
J
œ.
œ
J
œ
œœœ
Œ Ó
124
œ
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13
13
13
WOOD BLOCK
f
f
f
f
f
F
F
1st
3rd
p (Wood block)
œ œ. œ
-
œ- œ
. œ-
œ œ. œ
-
œ- œ
. œ-
œ œn. œ
-œ- œ
. œ-
œ œ. œn
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. œ-
œœ œœ.
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œœ-
œœ.
œœ-
œ œ
.
œ
-
œ
-
œ
.
œ
-
œ œ.
œ-
œ-
œ.
œ-
‰
J
œ.
œ œ œ.
œ
125
122
&
&
&
&
&
&
&
&
&
B
B
&
&
&
&
&
&
&
?
?
?
?
?
?
ã
ã
&
&
#
#
#
#
##
##
##
#
##
#
##
#
##
#
#
#
##
##
##
#
##
##
##
#
##
#
##
##
#
#
#
#
#
#
#
#
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
J
œœ-
œ-
œ-
J
œn.
J
œœ-
œ-
œ-
J
œn.
J
œœ-
œn-
œ-
J
œ.
J
œœ-
œ-
œ-
J
œ.
J
œœ œœ-
œœ-
œœ-
J
œœ.
j
œ œ
-
œ
-
œ
- j
œ
.
J
œ œ-
œ-
œ-
J
œ.
‰ œ œ œ
J
œ.
126
œ- œ
-
J
œ.
œ-
J
œ-
œ- œ
-
J
œ.
œ-
J
œ-
œ- œ
-
J
œ. œ
-
J
œn-
œ-
œ-
J
œ. œn
-
J
œ-
œœ-
œœ-
J
œœ.
œœ-
J
œœ-
œ
-Œ Ó
Œ
œ
-J
œ
.
œ
-J
œ
-
œ
-Œ Ó
Œ
œ
-J
œ
.
œ
-J
œ
-
œ œ
J
œ.
œ
J
œ
127
F
F
2nd
4th
œœ.
œn- œ
-
œ-
œœ.
œn- œ
-œ-
œœ.
œ- œ
-
œ-
œœ.
œ- œ
-
œ-
œœ œœ.
œœ-
œœ-
œœ-
œ œ
.
œ
-
œ
-
œ
-
œ œ
.
œ
-
œ
-
œ
-
‰
J
œ.
œ œ œ
128
œ- œ
. œ-
J
œœ-
J
œ.
œ- œ
. œ-
J
œœ-
J
œ.
œ- œ
. œ-
J
œœ-
J
œ.
œ- œ
. œn-
J
œœ-
J
œ.
œœ-
œœ.
œœ-
J
œœ œœ-
J
œœ.
œ
-
œ
.
œ
-J
œ œ
-J
œ
.
œ
-
œ
.
œ
-J
œ œ
-J
œ
.
œ œ œ ‰ œ
J
œ.
129
œ- œn
-
œ-
œ-
œ- œn
-
œ-
œ-
œn- œ
-
œ-
œ-
œ- œ
-
œn-
œ-
œ-
œn-
œ-
œ-
&
œœ-
œœ-
œœ-
œœ-
œ
-
œ
-
œ
-
œ
-
œ
-
œ
-
œ
-
œ
-
œ œ œ œ
130
(Fl.)
J
œ.
œ-
œ-
œ-
J
œ-
J
œ.
œ-
œ-
œ-
J
œ-
J
œ.
œ-
œ-
œn-
J
œ-
J
œ.
œ-
œ-
œ-
J
œ-
J
œ.
œ-
œ-
œ-
J
œ-
J
œœ.
œœ-
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J
œœ-
Ó ‰œ
- j
œ
-
J
œ
.
œ
-J
œ
-J
œ
‰ Œ
Ó ‰
œ
- j
œ
-
J
œ
.
œ
-J
œ
-J
œ
‰ Œ
J
œ.
œ
J
œ ‰ œ
J
œ
131
œ œ.
œ-
œ-
œ.
œn-
œ œ.
œ-
œ-
œ.
œn-
œ œ. œ
-œn-
œ.
œ-
œ œ. œn
-œ-
œ.
œ-
œ œ.
œ-
œ-
œ.
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œœ.
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œ œ
.
œ
-
œ
-
œ
.
œ
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œ œ
.
œ
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œ
-
œ
.
œ
-
‰
J
œ.
œ œ œ.
œ
132
123
&
&
&
&
&
&
&
&
&
B
&
&
&
&
&
&
&
&
?
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?
ã
ã
&
&
#
#
#
#
##
##
##
#
##
#
##
#
##
#
#
#
##
##
##
#
##
##
##
#
##
#
##
##
#
#
#
#
#
#
#
#
n
bb
bb
n
bb
bb
n
bb
bb
n
bb
bb
nn
nn
b
nn
n
bb
nn
n
bb
nn
n
bb
nn
n
bb
n
bb
bb
n
bb
bb
nn
nn
b
nn
n
bb
nn
nn
b
nn
n
bb
nn
n
bb
nnb
b
b
nnb
b
b
n
bb
bb
n
bb
bb
n
bb
bb
n
bb
bb
n
bb
bb
n
bb
bb
n
bb
bb
n
bb
bb
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
J
œœ-
J
œ.
Ó
Ó
Ó
J
œœ- j
œ.
Ó
J
œ œ- j
œ.
J
œ œ-
j
œ.
Ó
Ó?
J
œœ-
J
œ.?
J
œœ œœ-
J
œœ.
Ó
Ó
Ó
Ó
J
œ œ-
J
œ.
J
œ œ-
J
œ.
Ó
Ó
Ó
Ó
Ó
Ó
‰ œ
J
œ.
Ó
Ó
133
Ó
j
œ
>
Œ ‰
Ó
Ó
Ó
j
œ
>
Œ ‰
Ó
j
œ
>
Œ ‰
j
œ
>
Œ ‰
œ
>
œ
>
œ
>
œ
>
œ>
œ
>
J
œn
‰ Œ
Ó
œ
>
œ
>
œ-
œ-
œœ
-œœ
-
J
œb>
‰ Œ
j
œ‰ Œ
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
J
œ>
‰ Œ
Ó
Ó
Ó
arco
f
f
f
f
f
f
f
f
f
f
tutti
a2
contrabassoon
tutti
‰
œ
>
j
œ
>
j
œœ>
‰
Ó Œ ‰j
œ
>
Ó Œ ‰ j
œ
>
Ó Œ ‰ j
œ>
‰ œ
>
J
œ>
J
œ
œ>
‰
Ó Œ ‰ j
œ
>
J
œ.
œ-
œ-
œ-
J
œ-
J
œœ
.œœ
-œœ
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-
J
œœ
-
‰ œ
>J
œ>
J
œ
œ>
‰
‰ œ
>J
œ>
J
œ
œ>
‰
Ó Œ ‰ j
œ
>
Ó Œ ‰ j
œ
>
Ó Œ ‰ j
œ
>
Ó Œ ‰ j
œ
>
134
14
a2
a2
14
14
f
f
f
f
Ó
œ
>
œ
>
Ó
œ
>
œ
>
Ó
œ>
œ
>
œœ
>
Ó
œœ
>
Ó
œœ
>
Ó
Ó œ
>œ>
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>
Ó
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œ-
œ-
œ-
œœ
œœ
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-œœ
-
Ó œ
>
œ>
Ó œ
>
œ>
œœ
>
Ó
œœ
>
Ó
œœ
>
Ó
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Ó
135
f
f
f
œ>
œ>
œ œ>
œ.
œ.
œ>
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œ œ>
œ.
œ.
œ>
œ>
œ œ>
œ.
œ.
Œ
œ
>
‰ j
œ
>
j
œ
‰
Œ
œ
>
‰j
œ
>
j
œ‰
Œ
œ>
‰j
œ
>
j
œ‰
œ>
œ>
œ œ> œ.
œ.
Œ
œ
>
‰j
œ
>
j
œ‰
œ-
œ-
J
œ.
œ-
‰
œœ
-œœ
-
J
œœ
.œœ
-
‰
œ>
œ>
‰ J
œ>
Œ
œ>
œ>
‰ J
œ>
Œ
Œœ
>
‰j
œ
>
j
œ‰
Œ
œ
>
‰j
œ
>
j
œ‰
Œ
œ
>
‰j
œ
>
j
œ‰
Œ
œ
>
‰j
œ
>
j
œ‰
136
S
S
S
S
Ó Œ ‰ J
œ
œ
>
Ó Œ ‰ J
œ>
Ó Œ ‰ J
œ>
Ó Œ ‰ J
œ>
œ>
œ.
œ.
œ>
J
œœ>
J
œ>
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œ. œ
>
J
œ œ>
J
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œ.
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>
J
œ œ
>
J
œ
>
œ
>
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œ
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j
œœ
>
‰
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‰ j
œ
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j
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>
‰
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‰ j
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>
j
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‰
œ> œ.
œ.
œ>
J
œ œ>
‰
œ>
‰ j
œ
>
j
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>
‰
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‰J
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J
œœ>
‰
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>
‰
J
œ
œ
>
J
œ
œœœ
>
‰
J
œ>
‰ Œ Ó
J
œ>
‰ Œ Ó
œ>
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Œ ‰
J
œ>
J
œ
œ
>
‰
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‰
J
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œ
œ
>
‰
Œ ‰ j
œ
>
j
œ
œ
>
‰
œ>
‰ j
œ
>
j
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>
‰
Ó ‰
œ
>
‰
137
S
S
S
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
f
S
J
œ
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œ
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>
J
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>
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>
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138
J
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.
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139
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
124
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
?
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ã
ã
&
&
bb
bb
bb
bb
bb
bb
bb
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
b
bb
b
bb
bb
bb
b
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
43
43
43
42
42
42
nn
nn
nn
nn
nn
nn
nn
nn
n
nn
nn
nn
nn
nn
nn
nn
nn
n
nn
n
nn
nn
nn
n
nn
n
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
86
86
86
43
43
43
83
83
83
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œœ
>œœ
>
J
œœ
. œ
œ
>
J
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>
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J
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>
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J
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>
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>
J
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>
œ>
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>
J
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J
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J
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œ>
œ>
J
œ œ>
J
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œ
>
œ
>
j
œ œ
>
j
œ
>
œ
>œ
>
Œ ‰ j
œ
>
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œ
>
Œ ‰j
œ
>
œ>
œ
>
Œ ‰j
œ
>
œ>
œ
>
Œ ‰j
œ
>
œ>
Œ Œ ‰j
œ
>
Ó Œ ‰j
œ
>
œ>
Œ Œ ‰j
œ
>
œ>
œ
>
Œ ‰j
œ
>
140
ƒ
J
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‰ Œ Œ
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. œ
œ
>
J
œ‰ Œ Œ
œ. œ
>
J
œ‰ Œ Œ
œ.
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J
œ ‰ Œ Œ œ.
œ>
J
œ
‰ Œ Œ
œ. œ
>
œ
œœ>
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œ
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œ>
œ œ>
œ
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œ>
œ œ
>
œœ
> œ
>
‰ j
œ
>
œœ>
œ
>
‰j
œ
>
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œ>
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œ
>
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>
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>
‰J
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>
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Œ
‰
j
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>
Œ
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j
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>
œ
Œ Œ ‰j
œ
>
œŒ Œ ‰
j
œ
>
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œ
>
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œ
>
141
œ
œœœ
. œœ
>œœ
>œœ
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>
œ œ. œ
>œ>
œ.
œ>
œ œ. œ
>œ>
œ.
œ>
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>œ>
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>œ>
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>
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>
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>
j
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j
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j
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j
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j
œ
j
œ
‰ Œ Œ ‰j
œ
j
œ‰
œ
œ
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œ
Œœ
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j
œ‰
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142
marc.
marc.
marc.
marc.
marc.
marc.
marc.
marc.
marc.
œœ
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. œœ
>œœ
>
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>œ>
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>
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>
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>
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>
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>
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Œ Œ
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œ
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œ
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143
J
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>
J
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.
J
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>
J
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J
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>
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j
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>
j
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J
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>
J
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j
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œ
> j
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‰
‰
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‰
144
J
œœ
‰ ‰ Œ .
J
œ ‰ ‰ Œ .
J
œ ‰ ‰ Œ .
j
œ‰ ‰ Œ .
J
œ
‰ ‰ Œ .
J
œ#
‰ ‰ Œ .
J
œ
‰ ‰ Œ .
J
œ#
‰ ‰ Œ .
j
œ
>
‰ ‰ Œ ‰
j
œ
>
‰ ‰ Œ ‰
j
œ
>
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j
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>
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J
œ>
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œ#>
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j
œ
> ‰ ‰
œ
>
œ œœ#
>
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J
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> ‰ ‰
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>
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>
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j
œ
>
œ
>
œ œœ
>
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J
œ
> ‰ ‰
J
œ>
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J
œ>
‰ ‰ Œ ‰
j
œ
>
‰ ‰ Œ ‰
œ
>
œ œ œ
>
œ œ
Ó .
145
15
15
15
S.D.
B.D.
f
f
ƒ
ƒ
f
f
œ>
œ>
J
œ>
‰ J
œ>
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>
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j
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>
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J
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J
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J
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‰
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>
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>j
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>
‰ j
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>
‰
Ó .
146
GOURD
f
rit.
rit.
rit.
125
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
?
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?
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?
ã
ã
&
&
83
83
83
86
86
86
43
43
43
83
83
83
86
86
86
43
43
43
83
83
83
86
86
86
43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œœ
>
‰
Œ .
œ
>
147
Sf
Sf
a tempo
a tempo
a tempo
Œ ‰œ>
œ œ#
Œ ‰
œ
>
œ œœ
>
œœ#
J
œ
> ‰ ‰
Œ ‰œ
>
œ œ
œ
>
œ œ œ
>
œ œ
Œ ‰
œ
>
œ œ
Ó .
Œ ‰ œ
>
œ œœ
>
œ œ
J
œ
> ‰ ‰
œ
>
œ œ œ
>
œ œ
Ó .
148
œ>
œ>
J
œ#>
‰ J
œ>
‰
œœ#
>
œœ
> J
œœ
>
‰
J
œœ
>
‰
œ
>
œ
> j
œ
>
‰
j
œ
>
‰
œ
>
œ
>
J
œ
>
‰ J
œ
>
‰
œ
>
œ
> j
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>
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œ
>
‰
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>
œ
>
J
œ
>
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œ
>
‰
œ
>
œ
>j
œ
>
‰
j
œ
>
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>
œ
>
J
œ
> ‰
J
œ
> ‰
œ>
œ>
J
œ>
‰
J
œ>
‰
œ
>
œ
>j
œ
>
‰ j
œ
>
‰
Ó .
149
rit.
rit.
rit.
œœ
>
‰
Œ .
œ
>
150
a tempo
a tempo
a tempo
Sf
Sf
œœ> œ
œ
œ
œ
œ
œ
>œ
œ
œ
œ
Œ ‰œ>
œ œ
œ#> œ
œœ#>
œ œ
Œ ‰œ>
œ œ
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œ œ œ>
œ œ
Œ ‰
œ#>
œ œ
Œ ‰
œ
>
œ œœ#
>
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J
œ#
> ‰ ‰
Œ ‰œ
>
œ œ
œ
>
œ œ œ
>
œ œ
Œ ‰
œ
>
œ œ
Ó .
Œ ‰ œ
>
œ œœ
>
œ œ
J
œ
> ‰ ‰
œ
>
œ œ œ
>
œ œ
Ó .
151
ƒ
ƒ
ƒ
ƒ
ƒ
œ
œ
>œ
œ
>
J
œ
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>
‰
J
œ
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>
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J
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J
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J
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‰
œ> œ
>
J
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œ>
‰
œ>
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J
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‰J
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‰
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J
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‰
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J
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‰
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>
œœ
>J
œœ
>
‰
J
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>
‰
œ
>
œ
> j
œ
>
‰
j
œ
>
‰
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>
œ
>
J
œ
>‰
J
œ
>‰
œ
>
œ
> j
œ
>
‰j
œ
>
‰
œ
>
œ
>
J
œ
>‰
J
œ
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œ
>
œ
>j
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>
‰
j
œ
>
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>
œ
>
J
œ
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J
œ
> ‰
œ>
œ>
J
œ>
‰
J
œ>
‰
œ
>
œ
>j
œ
>
‰ j
œ
>
‰
Ó .
152
ƒ
ƒ
rit.
rit.
rit.
œœ
>
‰
Œ .
œ
>
153
a tempo
a tempo
a tempo
Sf
Sf
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
œ>
œ œ œ>
œ œ
Œ ‰œ>
œ œ#
Œ ‰
œ
>
œ œœ
>
œœ#
J
œ
> ‰ ‰
Œ ‰œ
>
œ œ
œ
>
œ œ œ
>
œ œ
Œ ‰
œ
>
œ œ
Ó .
Œ ‰ œ
>
œ œœ
>
œ œ
J
œ
> ‰ ‰
œ
>
œ œ œ
>
œ œ
Ó .
154
126
&
&
&
&
&
&
&
&
&
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&
&
&
&
&
&
&
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?
ã
ã
&
&
43
43
43
44
44
44
83
83
83
44
44
44
83
83
83
44
44
44
83
83
83
43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ
œ
>œ
œ
>
J
œ
œ
>
‰
J
œ
œ
>
‰
œ>
œ>
J
œ>
‰ J
œ>
œ>
œ>
J
œ>
‰J
œ>
œ>
œ>
J
œ#>
‰J
œ>
‰
œ#> œ
>
J
œ>
‰J
œ>
‰
œ>
œ>
J
œ>
‰J
œ>
‰
œ>
œ>
J
œ>
‰J
œ>
‰
œ>
œ>
J
œ#>
‰ J
œ>
‰
œœ#
>
œœ
> J
œœ
>
‰
J
œœ
>
‰
œ
>
œ
> j
œ
>
‰
j
œ
>
‰
œ
>
œ
>
J
œ
>
‰ J
œ
>
‰
œ
>
œ
> j
œ
>
‰ j
œ
>
‰
œ
>
œ
>
J
œ
>
‰ J
œ
>
‰
œ
>
œ
>j
œ
>
‰
j
œ
>
‰œ
>
œ
>
J
œ
> ‰
J
œ
> ‰
œ>
œ>
J
œ>
‰
J
œ>
‰
œ
>
œ
>j
œ
>
‰ j
œ
>
‰
Ó .
155
rit.
rit.
rit.
J
œœ>
‰ Œ ŒJ
œœ>
‰
J
œ>
‰ Œ Œ J
œ>
‰
J
œ>
‰ Œ Œ J
œ>
‰
J
œ>
‰ Œ ŒJ
œ>
‰
J
œ>
‰ Œ ŒJ
œ>
‰
œ#>
œ œ œ œ œœ>
œ
J
œ>
‰ Œ Œ J
œ>
‰
J
œ>
‰ Œ ŒJ
œ>
‰
œ#
>
Œ Œ
œ
>
œ
>
Œ Œ œ
>
œ
>
Œ Œ œ
>
œ#>
œ œ œ œ œœ>
œ
œ#
>
Œ Œ œ
>
J
œ>
‰ Œ Œ J
œ>
‰
œœ
#>
œ œ œ œ œœœ>
œ
œ
>
Œ Œ œ
>
œ
>
Œ Œ
œ
>
œ
>
Œ Œ œ
>
J
œ>
‰ Œ Œ J
œ>
‰&
J
œ>
‰ Œ Œ
J
œ>
‰
156
16
16
16
XYLOPHONE
CYM. (Hard stick)
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
f
f
J
œœ>
‰ ‰
J
œ>
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J
œ>
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J
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J
œ>
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J
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J
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>
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J
œ>
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#>
œ œ
œ>
‰
œ
>
‰
œ>
‰
J
œ>
‰ ‰
J
œ>
‰ ‰
157
J
œœ>
‰ Œ ŒJ
œœ>
‰
J
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158
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159
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160
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43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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162
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163
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165
marc.
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166
2nd
S.D.
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168
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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169
1st
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170
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171
B.D.
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a2
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173
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42
42
42
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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177
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180J
œ#>
‰ ‰
J
œ>
‰ ‰
ƒ
œ>
œœ>
œ>
œ>
œœ>
œ>
œ
>
œœ>
œ>
œ
>
œœ>
œ>
œ#>
œœ#>
œ>
œ#>
œœ#>
œ>
œ#>
œœ#>
œ>
œ#>
œœ#>
œ>
œ#>
œœ#>
œ>
œ
œ
>œ
œ
œ
œ
>œ
œ
>
181
œ
>
œœ>
œ>
ƒ
rit.
rit.
rit.
Œ
œœ
#>
œœ>
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
œ#
>
œ
>
Œ Œ
œ#>
œ>
Œ Œ
Œœœ
##
>œœ>
œ#
>
œ
>
œ#>
œ>
œ#
>
œ
>
Œ Œ
Œ
œ#>
œ>
Œ
œœ
##
>œœ>
Œ
œ
œ#
>œ
œ
>
Œ
œ
œ
#>
œ
œ
>
Œ
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 œ œ œ œ œ
>
œ
>
œ
>
Œ Œ
182
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
rit. molto
rit. molto
rit. molto
130
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
B
?
?
?
?
?
ã
ã
&
&
42
42
42
43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ
>
Œ
œ
>
Œ
œ
>
Œ
183
19
19
19
Ï
Ï
Ï
Moderato molto
Moderato molto
Moderato molto
(rubato)
(rubato)
(rubato)
to English Horn
‰j
œ#
œœ
##
œœ
184
pespress.
solo
to bassoon
Œ
œbœb
œ
Œ Œ
185
espress.solo
freely
p
p
solo
.œb .œ
186
˙b
U
œ
187
(short)
œb ˙
188
.œb .œb
189
.˙
œ#
>œ#- œ#
-
190
poco accel.
poco accel.
poco accel.
solo
p
.˙
‰
j
œ#
œœ
##
œœ
191
œ
,
œbœb
œ
Œ Œ
192
20
20
20
˙
U
œb
193
(short)
131
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
B
?
?
?
?
?
ã
ã
&
&
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
.œb.œb
194
.˙
‰j
œ#
œœ
##
œœ
195
Œ
œbœb
˙
j
œ
‰
196
Œ
œ œb œb œ
Œ
œb œb œ œ
.˙b
Œ
œ œbœb
œ
&
197
solo
solo
rit.
rit.
rit.
p
p
freely
freely
(Fl.)
œ .œb J
œb
œb .œ
J
œ
˙
J
œ ‰
Œ Œ
œb
œ.œb J
œb
Œ Œœb
198
tutti
.œb
J
œbœ
.œb
J
œœ
Œ Œœ
Œ
œb œ
Œ
˙b
.˙b
.œb
J
œb
œ
.˙b
199
21
21
21
a tempo
a tempo
a tempo
tutti
œ œb œb
œ œ œb
.˙
.˙
.˙
œ
Œ
œb
œœb
œb
œ Œœb
200
p
˙
œb
˙b
œ
Œ Œœ
Œ Œ
œ
Œ
œb œb
œ˙b
B
˙
Œ?
Œœ
œb
.˙b
201
p
p
p
p
1st solo
.˙
.˙b
.˙
.˙
.˙
˙
œb
Œ
œb œb
Œ
œ œb
.˙
œ Œ Œ
202
p
p espress.
espress.Bassoon
.˙
.˙
œbœ
œb
œœ
œœb
œ
œb
.˙
˙
œ
.˙
.˙
œbœ
œ
œœ
Œ
œbœ
œ
.˙
203
132
&
&
&
&
&
&
&
&
&
B
?
&
&
&
&
&
&
&
B
?
?
?
?
?
ã
ã
&
&
##
##
##
##
##
#
#
##
##
#
#
##
##
#
#
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
##
##
##
##
##
#
#
bb
b
bb
bb
bb
b
bb
bb
bb
bb
bb
bb
b
bb
bb
b
#
##
##
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ
Œ Œ
œ
Œœb
Œ Œ
œ
œ
œœ
œb
œœb
œ
œœ
˙
Œ
˙b œ
˙
Œ?
˙
Œ
œ
œœ
œ
œœb
œ
œœ
œ
Œ Œ
˙b
œb
204
English Hornp
p
œ œb œ œ œ
œb œb œ œ œ
œŒ Œ
œb Œ Œ
Œ
˙
.˙
Œ
˙
œŒ Œœ
Œ Œ
œb Œ Œ
205
œb .œbj
œb
œb .œbj
œ
Œ
˙
.˙b
Œ
˙b
Œ Œ ‰
J
œœ
206
.œb j
œb
œb
.œb j
œ
œ
Œ
˙b
.˙
Œ˙b
.
.œœb
J
œœ
œœ
b
Œ Œœb
207
œ œ œb
œ œb œb
˙œ
˙bœ
œœ œ
œ œœb
œ œb œ
208
œœ#
œœ œ
œ œœ
# œœ
œ Œ Œ
œ# Œ Œ
Œ
˙
.˙
˙Œ
˙˙
##
J
œœ
‰
Œ
œ œ#
Œ
˙
.˙
209
to Oboe
F
p
meno mosso
meno mosso
meno mosso
subito pp
subito pp
subito pp
p
subito pp
œœ# .
.œœ
#
J
œœ
.˙
.˙
.˙#
.˙
˙œ
210
F
F
133
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
B
?
?
?
?
?
ã
ã
&
&
##
##
##
##
##
#
#
##
##
#
#
##
##
#
#
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
##
##
##
##
##
#
#
bb
b
bb
bb
bb
b
bb
bb
bb
bb
bb
bb
b
bb
bb
b
#
##
##
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
44
44
44
43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
w
w
œœ
œœ
œœ
œœ
œœ
œœ
w
Œ .˙
œ
œ
œœ
211
22
solo
22
22
Fpp
Fpp
pizz.
p simply
p
p
(Clr. Solo)
Piu mosso {q = c 138}
Piu mosso {q = c 138}
Piu mosso {q = c 138}
w
w
J
œœ
J
œœ
œœ
˙œ
œ
w
˙ ˙
œŒ
œ
œ
212
˙
˙ Ó
œœ
œœ
œ œ œœ
œ
œœ
œ
œ ˙ œ
˙ ˙
Œœ
œ
œ
213
‰ œœ
œœ
œœ
œ
‰ œœ
œœ
œœ
œ
˙
J
œ
‰ Œ
œœ
œœ
.˙ œ
œ .˙
Œ
œ
œœ
214
p
p simply
simply
œœ
œœ
J
œœ
J
œ
œœ
œœ
J
œœ
J
œ
œ
œ
˙
˙ ˙
w
œ
œœ
Œ
215
œœ
œœ
œœ
œ
œœ
œœ
œœ
œ
œ
˙
œ
.˙ œ
w
œ
œ Œœ
216
œ œ œœ œ
Œ
œ œ œœ œ
Œ
Ó ‰œ. œ
. œ.
œœ ˙
Ó Œ œ.
œ .˙
.˙ Œ
œ
œÓ
Ó ‰
J
œ œ œ
217
GOURD
p
p
134
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
B
?
?
?
?
?
ã
ã
&
&
##
##
##
##
##
#
#
##
##
#
#
##
##
#
#
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
##
##
##
##
##
#
#
bb
b
bb
bb
bb
b
bb
bb
bb
bb
bb
bb
b
bb
bb
b
#
##
##
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
43
43
43
44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œb.
œ. œ
.œ. œ
.
œ.
œ.
œ.
œ.
œ œ œ œ œ œ
218
œ¯
œ. œ
.œ.
œ.
œ.
Œ Œ
Œ
œ.
œ.
œ œ œ œ œ
219
p
œ. œ
. œ.
œ.
œ.
œ.
œ.
œ. œ
.
œ œ œ œ œ œ
220
.œ‰ Œ
Œ ‰ j
œ œ œ
Œ Œ
œ
˙
Œ
œ
Œ Œ
Œ ˙
Œ Œ œ
œ Œ Œ
221
pizz.
P
p
p
p
tutti
j
œn œj
œœ œ œ œ œ œ
.˙
œ
œ .˙
œ
œ
Œ œ
222
23
23
23
(Gourd)
œ
j
œ
‰
œ œ œ œ œn œ
œ œœ
œ œ œ œ œ œ
.˙œ
Œ .˙
œ
œ
Œ œ
223
P
j
œn œ
‰
œ œ œ œ œ œ
j
œ œ
j
œœ œ œ œ œ œ
.˙
œ
œ .˙
œ
œ
Œ œ
224
Œ ‰j
œ.œ ‰
Ó .œ ‰
œ
j
œ
‰ Ó
œ
j
œ
‰ Œ ‰j
œ
.˙œ
Œ .˙
œŒ Œ œ
225
Oboe
p
p
rit. molto
rit. molto
rit. molto
135
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
B
?
?
?
?
?
ã
ã
&
&
##
##
##
##
##
#
#
##
##
#
#
##
##
#
#
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
##
##
##
##
##
#
#
bb
b
bb
bb
bb
b
bb
bb
bb
bb
bb
bb
b
bb
bb
b
#
##
##
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
43
43
43
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
Ó ‰ œœ
œ
Ó Œ ‰j
œ
.œ
‰ Ó
.œ
‰ Ó
.˙œ
œ .˙
Œ ‰
j
œ.œ
‰
Ó .œ ‰
œŒ Œ œ
226
solo
solo
p
œœ
œœ
œœ
œ œ œ œ œ
œ œ œ œ œ
œ
Œ Œ
œ Œ Œ
œŒ Œ
227
p espress.
espress.
Molto Moderato {q = 92}
Molto Moderato {q = 92}
Molto Moderato {q = 92}
.˙
œ˙
œ˙
Œ Œœ-
Œ Œ œ-
Œ Œœ-
œ.
œ.
œ.
Œ
˙
Œ Œ
œœ
Œ Œ œ
.˙
œœ
œ
œ
Œ Œ
228
1st
solo
solo
solo
one player -optional div.
(pizz.)
.˙
˙œ
˙œ
.˙-
.˙-
.˙-
œ.
œ.
œ.
.˙
œœ ˙
˙ œ
.˙
œœ
œ
œ
Œ Œ
229
.˙
.˙
Œœ œ
-
Œ œ œ-
Œœ œ
-
œ.
œ.
œ.
.˙
Œ
œœ
œœ
˙ œ
.˙
œœ
œ
œ
Œ Œ
230
espress.
espress.
espress.
p
p
p
˙œ
˙œ
.˙
.˙
˙œ
œ.
œ.
œ.
.˙
œœ œ
œ
Ó
œœ
˙ œ
.˙
œœ
œ
œ
Œ Œ
231
œœ œ
œœ œ
œŒ Œ
œ Œ Œ
œœ œ
œ.
œ.
œ.
Œ
˙
œœ œ
œœ
œ
œ
œ
œ
˙ œ
œ
Œ Œ
.˙
œœ
œ
œ
Œ Œ
232
œ˙
œ˙
œ˙
œ.
œ.
œ.
.˙
œ˙œ
œ œœ œ
˙ œ
.˙
œœ
œ
œ
Œ Œ
233
Œ Œ œœ-
J
œ ‰ Œ Œ
j
œ‰ Œ Œ
œ-
œ-
œ-
œ.
œ.
œ.
.˙
œ œ œœ
œœ
œ
œ
œ
˙ œ
.˙
œœ
œ
œ
Œ Œ
234
24
solo24
24
p espress.
136
&
&
&
&
&
&
&
&
&
?
?
&
&
&
&
&
&
&
B
?
?
?
?
?
ã
ã
&
&
##
##
##
##
##
#
#
##
##
#
#
##
##
#
#
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
##
##
##
##
##
#
#
bb
b
bb
bb
bb
b
bb
bb
bb
bb
bb
bb
b
bb
bb
b
#
##
##
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
##
##
#
#
42
42
42
43
43
43
nn
nn
nn
nn
nn
n
n
nn
nn
n
n
nn
nn
n
n
nn
n
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
n
n
nn
n
nn
nn
nn
n
nn
nn
nn
nn
nn
nn
n
nn
nn
n
n
nn
nn
n
nn
nn
n
n
nn
nn
n
n
nn
nn
n
n
nn
nn
n
n
nn
nn
n
n
nn
nn
n
n
nn
nn
n
n
42
42
42
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
˙˙
˙ œ-
œ.
œ.
œ.
.˙
˙ œœ
œ œœ
œ
˙ œ
.˙
œœ
œ
œ
Œ Œ
235
Œœ-
œ
Œœ-
œ
œ-- œ
-
œ
œ.
œ.
œ.
Œ
˙
œœ
œœ
œ
œ
œœ
œ
˙ œ
.˙œ Œ Œ
œœ
œ
œ
Œ Œ
236
p
p
espress.
espress.
tutti
tutti
Œ Œ œœ
˙Œ
˙ Œ
œœ-
œ-
œ.
œ.
œ.
.˙
œœ œ
œJ
œœ
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238
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240
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241
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42
42
86
86
86
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
˙
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243
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244
{q= q.}
{q= q.}
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245
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246
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247
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248
to English Hornp
p
Piu mosso {q = c 104}
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
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Tpt. 2,3
Hn. 1,2
Hn. 3,4
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Euph.
Tuba
D.B.
Timp.
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Pno.
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256
English Horn
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86
86
86
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
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Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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6+28
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p
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{e= e}
{e= e}
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mark the accents!
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140
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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263
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p
p
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268
27
pizz.
27
27
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269
con sord.
con sord.P
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270
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42
42
42
86
86
86
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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271
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272
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273
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275
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276
gliss.
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277
~~~~~~~~~~~~~~~
142
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&
&
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86
86
86
44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œ#>
œ
œ
œ
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œ
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œ
‰j
œ
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œ
j
œ
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œ
‰j
œ
‰
œn.
œ. œb
.
œ.
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j
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278
28
28
28
p
p
p
p
Œ . ‰
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J
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.
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.
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279
Œ . ‰œœ
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p non legato
p non legato
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>
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280
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281
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F
solo
solo
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J
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P marc.
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J
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143
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86
86
86
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
J
œ‰ Œ
œ-
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œ.
œ>
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œ- œ
.œ- œ
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>
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j
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solo
P
P
P
.˙ Œ
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j
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>
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>
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>
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j
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287
j
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P
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288
29
29
29
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289
CHINESE BLOCKS
P
non legato
non legato
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P
P
P
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290
P
j
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291
to Oboe
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j
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>
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#
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292
pizz.
GOURD
F
F
F
F
F
F
F
F
F
F
f
Solo, with humor
144
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&
&
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&
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ã
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
J
œ.
œb œ. œ
. œb.
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œ
>
‰ ‰
Œ . j
œb
>
‰ ‰
Œ .j
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>
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J
œ#>
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Œ ‰
j
œ
œ
b
b>
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Œ ‰j
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>
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#
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J
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J
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J
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j
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>
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J
œ#>
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‰
J
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J
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J
œ
293
P
P
J
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.
Œ . j
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>
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J
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j
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J
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j
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>
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j
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>
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J
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294
F
œ.
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.
Œ . j
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>
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>
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>
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J
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j
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b
b>
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>
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j
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>
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J
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J
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J
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J
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295
Œ . ‰
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J
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.
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J
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J
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J
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j
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>
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J
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Œ ‰
J
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‰
J
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296
30
30
30
F
J
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J
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J
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J
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j
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>
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‰
J
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‰ œ.
‰ œ.
297
F
F
Œ . ‰
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J
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J
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‰
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298
F
J
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299
Œ .
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J
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Œ .
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300
F
145
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##
#
c
c
c
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
J
œ.
œœb.
œn. œb
.
J
œ.
œœb.
œn. œb
.
J
œb.
œb œ. œ
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œ
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œ
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>
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>
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>
j
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J
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J
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œ
‰ ‰
J
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301
F
F
F
F
F
J
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.
J
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.
J
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œ
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j
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>
j
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302
œ.
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.
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.
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J
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Œ j
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ŒJ
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J
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303
J
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.
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J
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304
Oboe
f
f
f
f
J
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305
31
senza sord.
31
31
6+28
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f
f
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f
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>
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>
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>
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306
œ œ¯
œ-
J
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>
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œœ
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œ
œ
>
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‰œ
>
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‰
œ>
‰
œ>
307
stacc. sempre
146
&
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ã
ã
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##
#
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
w
w
w
w
œ# œ# œ œ œ œ œ œ
œ œ œ# œ œ œ œ œ
œ
>
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>
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>
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>
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>
œ œ œ œ œ œ œ œ
308
TAMBOUR DE PROVENCE
f
f
f
f
stacc. sempre
stacc. sempre
tutti
w
w
w
w
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œ œ œ œ œ œ œ# œ
.˙
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>
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309
.œ
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œ œ œ œ œ œ œ œ
310
œ>
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>
œ œ œ œ œ œ œ œ
311
sim.
147
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ã
ã
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##
#
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
w
w
w
w
œ# œ# œ œ œ œ œ œ
œ œ œ# œ œ œ œ œ
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312
w
w
w
w
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313
Picc. and Fl.1
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314
32
Fl. 232
32
non legato
non legato
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315
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w
w
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316
div.
stacc. sempre
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# œœ
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w
w
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317
148
&
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ã
ã
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##
#
83
83
83
44
44
44
42
42
42
nn
n
44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
œœ
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w
w
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318
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319
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320
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322
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323
149
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44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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324
33
Fl. 1,2 33
33
f
f
f
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arco
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325
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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to contrabassoon
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44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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P
P
P
P
P
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Picc. and Fl. 2
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338
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339
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342
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152
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44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
Ó
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J
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J
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343
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con sord.
F
F
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344
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345
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346
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347
Œ ‰J
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Fl. 1
f
f
f
f
f
f
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348
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349
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f
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tutti
senza sord.
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350
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153
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86
86
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43
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86
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43
43
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83
83
83
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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>
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44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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363
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364
37
con sord.
con sord.
Fl.2 div.
37
37
CYM. (Hard stick)
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44
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44
83
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83
83
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44
44
44
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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38
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85
85
85
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
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373
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85
85
85
Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx. 1,2
T. Sx.
B. Sx.
Tpt. 1
Tpt. 2,3
Hn. 1,2
Hn. 3,4
Tbn. 1,2
B. Tbn.
Euph.
Tuba
D.B.
Timp.
Perc. 1
Perc. 2
Pno.
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380
39
senza sord.
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div.
div.
39
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Fl. 1,2
Picc.
Ob. 1
Ob. 2
Eb Cl.
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Cl. 2
Cl. 3
B. Cl.
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Bsn. 2
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Tpt. 2,3
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160