audition announcement viola suite 1032-f501 chicago...
TRANSCRIPT
phone: 224.715.6455 email: [email protected] website: www.fifth-house.com
Audition Announcement
Viola
Qualifications Fifth House Ensemble seeks a highly qualified violist to join its core roster beginning in the 2018-2019 season. This position includes:
• Performances with Fifth House Ensemble in Chicago and on tour, in venues both traditional and unexpected
• Educational performances and residencies for students grades K-12
• Higher education residencies and workshops
• A 2-week summer festival in June (www.freshincfestival.com)
• Recordings
• Participation in the ensemble’s yearly programming and core ensemble meetings
• Regular rehearsals Fifth House Ensemble musicians possess a diverse skill set that includes chamber music and solo performance of the highest caliber, public speaking at events, relationship-building with audiences of all types, curriculum-integrated teaching artist work, private studio instruction and chamber music coaching, and participation in a rehearsal process that is imaginative, fun, off-the-wall, and intensely productive. The right candidate can be trained in any of these upon joining Fifth House Ensemble, but will come fully equipped with rock star skills on the instrument and a sense of humor and personality that blends well with the rest of the ensemble.
About Fifth House Ensemble Formed in 2005, the Chicago-based Fifth House Ensemble reaches beyond the perceived limits of classical music to bring performance and educational experiences to diverse audiences of
all ages and backgrounds. Praised by the New York Times for its “conviction, authority, and finesse,” the ensemble’s artistic programming showcases boundary-breaking collaborations with pop musicians, graphic novelists, and video game designers. The ensemble has released two recordings on Cedille Records, and is represented by Cadenza Artists. Having co-created artistic projects with workers’ rights organizations, the ACLU, and social service organizations serving formerly incarcerated adults, the ensemble’s social and civic practice initiatives prove that music can and should play a role in addressing social needs. At its inception, the organization launched a series of K-12 arts-integrated educational programs connecting curricula to vivid, custom-crafted, and interactive musical experiences that challenge students to share and lead. Today, the ensemble reaches 17,000 students annually through curriculum-integrated performances and multi-week residencies, and via its creative partnerships with universities and symphony orchestras. In partnership with Loyola University’s Center for Urban Research and Learning, Fifth House Ensemble extended its
residency work to social service sites serving homeless and incarcerated youth and adults beginning in 2015. In 2012, Fifth House Ensemble launched the annual Fresh Inc Festival for emerging instrumentalists and composers. Recognized nationally as a leader in audience engagement in the field of chamber music, Fifth House Ensemble has served as a residency and creative partner to the Colburn School, New England Conservatory, Eastman School of Music, Indiana University, the Cleveland Institute of Music, the Midwest Clinic, Yale, and The Cleveland Orchestra. For more information, including full bio and performance history, visit www.fifth-house.com.
In an era where we risk accountability driving out creativity, it is wonderful to have a program that allows students to learn content at high levels within a fine arts framework. Fifth House Ensemble has
demonstrated excellence in using music to do what music does best - reaching minds and hearts.
Barbara Kent, Principal, Burley School
“conviction, authority, and finesse”
Steve Smith, New York Times
332 S Michigan Ave
Suite 1032-F501
Chicago IL 60604
Executive Director
Melissa Snoza
Board of Directors
Bill Bein, President
F. Kenneth Robinson, Vice-
President
Jocelyn Saxon, Treasurer
Wendy Betts, Secretary
Tad Gray
Charlene Kluegel
Professional Advisors
Janet R. Barrett
Chelsea Valenzo Duggan
Scott Harrison
Edna Landau
Mark Meisels
Brad Norton, PHR, PMP
Donna E. Norton, Ph.D.
Penny Silvers, Ed.D.
Rita Simo
Kasu Sista
Caen Thomason-Redus
Allison Volkman
Artistic Advisors
James Buckhouse
Cliff Colnot
Russell Dagon
Gail Williams
Victor Yampolsky
phone: 224.715.6455 email: [email protected] website: www.fifth-house.com
Expectations Core ensemble members of Fifth House are expected to keep Monday and Wednesdays from 9:30 a.m.-1:45 p.m. and on Fridays from 9:30 a.m. - 3:45 p.m. free for rehearsals. Educational visits are generally scheduled on Tuesdays and Thursdays during classroom hours and are determined by the availability and needs of the school. Core ensemble members are engaged part-time; average compensation is $23,000.
Audition Process Please submit the following materials to Danny Cohen at [email protected] by April 30. All documents can be sent as either Word or PDF documents.
• A resume that includes your address, phone number, email address, and website, as well as one or two professional references, performance, teaching and any other relevant professional experience
• A statement of intent or cover letter letting us know what aspects of Fifth House Ensemble attract you the most, why
you'd be interested in joining the ensemble, and what in your past professional experience would make you a good fit for this ensemble
• A repertoire list of works rehearsed and/or performed including solo and chamber repertoire
• A bio (for use on our website and in publicity materials)
• A recent headshot (in JPG format, please)
You must audition in person. Auditions will be scheduled on May 11 and May 16.
Please send your availability for both dates to [email protected] by April 30 and he will schedule your audition accordingly. All materials should be emailed to Danny Cohen at [email protected] by April 30.
Audition Repertoire Solo Repertoire: We will probably only hear up to 5 minutes of each piece at the most, so feel free to suggest an excerpt if the work is longer.
• One movement of solo Bach
• One movement of a piece composed within the last 30 years
Chamber Music Excerpts: (A single document with all of the parts listed below is attached)
• Johannes Brahms, Sonata in E-Flat Major, Op. 120 No. 2: Mvt 1 – Exposition (mm.1-86)
• Austin Wintory, arr. Patrick O’Malley, Journey, VI, Scene 1: Entire
• Gustav Holst, arr. Cliff Colnot, Jupiter: Mm. 233-259
• Mark O’Connor, Emily’s Reel: Entire
• Frederic Rzewski, Les Moutons de Panurge: Entire
• Franz Schubert, Trout Quintet: Mvt IV
• Dan Visconti, Low Country Haze: Entire*
*This will be read with the ensemble. A full score is provided. Please note that the second violin part is
played by the oboe and the piece is performed without percussion.
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Low Country Haze Dan Visconti2009
Viola
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..Onn ∑ .crystal glass:
.U .U
2
for chamber ensem
ble of 11 players
Dan V
isconti 2009
Wine G
lasses:
The piece requires that each player plays a wine glass at the
end of the piece, played with a w
et finger along the rim of
the glass. The glasses should be tuned randomly to a variety
of different pitches.
duration: 7 minutes
In responding to conductor David A
lan Miller's request for piece inspired by one of the Europen
voyages of exloration, I took as my subject Spanish explorer H
ernando de Soto's 1540 expedition intow
hat we now
call Georgia and the C
arolinas. Expedition logs written by de Soto's secretary R
odrigoR
anjel took particular interest in the sounds of this new land in a w
ay that can only be described asm
usical-the calls of strange birds the company had never heard before, the chattering of insects and
other animals scurrying in the vegetation. It m
ust have been thrilling to hear sounds that no otherEuropean had literally ever heard before.
M
y piece, then, is not really about de Soto himself so m
uch as the experience of hearing the soundsof som
eplace mysterious and unfam
iliar. The piece begins with a seem
ingly random chatter of percussive
effects, simulating the sounds of nature. Slow
ly, longer, folk-like lines begin to emerge and sing a m
orehum
an song–perhaps in awe and appreciation, perhaps in excitem
ent.
Low
Country H
aze is dedicated with thanks to the A
lbany Symphony (2009).
&&?&&?&&B?? 4 44 44 44 44 44 44 44 44 44 44 44 4
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Violin II
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ounts of water.
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oderato; Sounding Free and Meterless {q = 60}
Moderato; Sounding Free and M
eterless {q = 60} M
oderato; Sounding Free and Meterless {q = 60}
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,IQ #IOHNLS (;T?D
an Visconti
Score in C2009
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3
œœ. ‰3
≈‰
≈. œ oœ
‰ ‰Œ
3
∑∑∑∑
‰ .œ‰
O3
‰‰ O3
‰‰
∑
ŒOb ‰O Œ
3
‰jœœ ≈
3
‰OjObOO ≈ Oœ Oœ
∑
πñ
ñp
col legno trattoI
ñ
key clicks (no pitches; positionon staff indicates high/low
)
as loud as possible
œœ
. œjœ ˙
œ ≈‰ ≈. œ oœ
3
œœ ≈‰
∑∑Œ3
‰œ‰
∑∑
3
‰‰OOO ≈≈
.OŒ
‰Œ
3
Œ‰ .O>
‰OO Œ3
OŒ
‰O
∑
Pp
ñp
arcoord.
IVπP
col legno tratto
IV
Ppizz.
P
Crotalesp
PIII
2
&&?&&?&&B??
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
ffffffffffffffffffffffffffffffffffffffffffff
ffffffffffffffffffffffffffffffffffff
fffffffffffff√
sempre
√√
14. ˙
3œ jœ-
Œ‰
3 Œ‰ .
.J
Œ‰‰3
∑14Œ
œ ‰Œ
œ14
∑∑
14OO
jO ‰ .Œ
‰ .œ o
∑
Œ≈.œ
&B
3
≈3
≈≈Œ‰OO
∑
soaring, folk-like
pizz.
parcoπ
IIIarcoñ
BB
Tam
-tam (m
edium)
∏
scrape in a circular motion
with w
ire brushes
3
œJ œ3
œœbœb5
œ œb œœ œbœœœœ œœ
Œ3
‰‰
‰Œ3
‰‰
œ‰ .
œ‰œ
œ
Œ3
‰ œ‰
∑
œ oœ oO
≈Œ
OœŒ
≈O‰
Œ‰
OJ OO
Œ3
. O‰
OœOœ
∑ F
Pñ
Pñ
arco
p
Ipizz.P
πB
rake Drum
p
key clicks (no pitches; positionon staff indicates high/low
)
as loud as possible
II
ñ
. œ‰
Œ‰ .
œb3
‰‰‰
≈‰œbœ
Œ‰Œ
3
∑
˙œ
‰3
≈œ‰
∑∑
Ow,
3
≈≈≈Œ
Œ‰ .OŒ
3
‰ œ‰&
Oœ≈jObOŒ
∑ ñ
π
pizz.
PIII
F
p(on rim
)
3
œ œ œœ3
œJ œbœœb3
œœb œ
œœ
≈Œ
‰≈
Œ
‰Œ3
˙‰œ
œ
Œ3
‰ œœb‰Œœœ
∑
‰ . œ3
‰‰≈ .O-
3
O- ≈ OO∑
B
Œ‰ .
œbœO∑
poco f
pñ
pizz.
col legno trattoI
π
arcoP
Pp
P
ññ
œjœ> œb .œ
3
œ œœœœœœ
3
‰Œ
3
≈ œœœœœ ≈
Œ5
‰J3
3
‰3
‰œ ‰≈. œ
œ
Œ‰
3
≈ œ≈∑
≈ œb .≈œbŒ≈ .œ o
œ o‰
OŒ
Œ‰œo
Œ≈
‰O
ŒOb≈‰
‰3
≈O ≈‰OO
∑
(bend to slightly belownote, then back)
X
p
πñ
arcoP
Ppizz.
II
ñ IIIarco
IFpizz.
IVpizz.P
pF
π
p
3
&&?&&?&&B??
Fl.Fl.
B b Cl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff fffffffffffffffffff
√
19œœ ‰
Œ3
≈‰
≈‰Œ
Œœ
Œ‰ .
Œ
Œ‰
3
19
. ˙Œ
19≈œœŒ
∑
193
‰‰O ‰3 ≈
3
≈Ob ‰Œ
3
≈≈ ObOO ‰ .O
∑&
O. O
≈Œ
∑
ñ
P
p
pizz.
π
3‰œ
œ .œbœ œœ œb
3
œbœ œbœ
œ3
œ ‰jœb œœ
œ≈ ‰
‰ .‰
Œ
Œ‰
3
Œ≈œ
≈3
‰œœ
‰œ
∑∑
≈‰
ŒŒ
‰3
OOO
œ. ‰Œ
ŒObb
Œ
‰3
‰‰
OœOœ
&∑
PF
Pñ
pizz.P
pizz.parco
ñ Parco
CC
pπ
œjœb œ œœ
3œ
J œœ
≈‰ .
3
≈≈ ‰‰ œ o
5
∑Œ
‰Œ3
. ˙‰œ
Œ3
≈ œœb‰Œ3
‰ ‰ œœ
∑
Œ≈œb
‰3
≈≈
Œ
Œ3
‰ œ‰
∑
Oœ.. Oœ
≈?
ŒO
fp
ñ
FF
P
Pp
FPñ I
˙
3
œ .œœœœ .‰3
≈≈ ‰˙
œ .≈‰‰
≈
Œ‰
Œ3
∑
˙œ
≈œ ≈
œ œ ˙∑
‰ Oœ OœOœ
Oœ ,≈‰
∑œ o
ŒB
‰ OOO
‰3
≈œ o≈≈œ o
OO
.O≈Œ
fF
arcoñP
II
pF
pizz.III
pizz.
p
FP
P f
3
‰‰‰
3
‰‰Œ
∑∑
≈. œŒ
∑∑∑
≈O. ‰3
‰‰Ob.‰ .Œ
‰ .œ oŒ
Œ‰Oœ bb
∑
arcoñ
πpizz.
p
4
&&?&&?&&B??
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
sempre
ffffffffffffffffffffffffffffff
sempre
24
Œ
≈. œb œbœ
3J œ jœœb
Œ‰‰3∑
24
˙24
∑∑
24
‰ Oœ bbOœ
Ob. ‰ Œ≈
Œ
œbŒ
OœOœ ‰ Obb∑
π serene
Fñ
pñ
DDπ
π
Œ≈œ oœ
œ.œ≈
œœœ3
œœbœb œb.œ -œ
∑∑∑‰ .œœ bbŒ
∑
OwŒ‰ O
OŒ
‰Oœ b3
Œj
Oœ‰
œbœ
3
J œœb&
∑
ñpP
P
PF
ñ
ñ arco
Œ‰ . œb o
œœ ≈‰
3
‰jœbœb
œb
jŒ3
∑Œœ
≈.. œœb≈
.. œœ bb
Oœ‰Œ
.Œ
.. O‰Oœ bb
Œ‰j3
.˙œ‰
∑
ñ
p
π
pizz.
ñ
. ˙‰ œb
œjœbJ œbœ
œœœbœb œ
3
Œ
∑
. ˙Œ
∑∑
Œ‰ Oœ b
O
.. OOœ ‰
≈.Œ
Œ‰
‰‰ Oœ bb.. O
3
∑ Pñ arco
π
˙œœ -œ
.œ≈Œ
Œ‰‰ 3∑∑
‰ .œœ bb
3
‰œœ bb‰Œ
≈.. œœ∑
OœOœ
䷷
‰ œbœ
3
J œ œbœ
∑
PppF
‰ œb˙
‰ œbœœb∑∑
‰ . œ≈≈œ ‰œ
Œ‰‰ œœ bb
‰œœœb
3∑&
ŒŒ
≈ O ‰
∑
Œ3
‰O. ‰3≈ ‰
˙œ
‰ ?
∑
pizz.p
pizz.
p
ñp
∏
EE
ñ
5
&&?&&&&&B??
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
4 24 24 24 24 24 24 24 24 24 24 24 2
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
√√
√√
30˙
Œ. œb
J œbœb œb
Œ‰Œ
3∑30
˙Œ
30
‰œb.. œœb
œœb
Œ‰œb
‰œœ b3
3
30
Œ‰ Oœ bb
Oœ≈O‰Œ
œb
‰Oœ bO
ŒOb∑
moving ahead...
moving ahead...
P
P pizz.
arco
p
P P
p arco
Œ‰ œ#
jœ œ3
œbJ œœb
œ3
Œ‰ ‰ œ#œ
3∑∑‰ œb
jœbœ
≈ .œb‰‰œœ bb
‰ œnjœœ # œn
3
3
?
.. Oœ‰
‰œn
˙bœ#
O‰
&
OœŒ
Œ
∑
p
P
pizz.
ñ P
p ñ
˙#œœ˙#
œ3
œ‰ œn˙
˙nœ˙# -3
∑
w‰ œ#‰œ˙ #
œœœœ# ggggggg3
3
‰ ‰œœœ ˙# -
3
3
. œJ œ ˙#
jœ œ3
. œJ œ# ˙
jœ œ#3
Œœ
˙œœ #- 3
jœ œJ œœ˙# -3
˙.œ
J œ#
ñ (with yarn m
allets)T
am-tam
(medium
)
arco
ñ ñ
ñ ñ
.œ#‰
.œ# -≈
œœ ˙
.˙
∑
œ˙
.. œœ #jœ œœ# #
‰ œ‰3
‰œ ˙#.. ˙˙#œœœ# -
‰ œœ oœœ
˙#œœ-
˙œ
.˙
F
p
0
poco fpoco fpoco f
poco fpoco fpoco fpoco fpoco f
poco fñF
ñ Pñ
slightly faster; now slow
ing...
slightly faster; now slow
ing...
‰ ‰œ œœ
œ#œ œ
3
˙œ‰
ŒŒ
‰3
∑∑
Œ˙
.. ˙œ -J œ o -o
3
.. œœJ OO
.. ˙#. ˙∑ F
II
ñ
PPP
poco fñ
œœ#œ
‰ œ# -˙
‰ŒŒ∑∑
‰ œœ # -˙.. ˙oO#
.O˙œœ ‰
. ˙‰ OOOII
II
PñF
P
ñ
œjœ#> . œ
J œ -
œœ‰Œ
‰Œ
Œ
∑∑.. ˙.. ˙O
‰ OO
‰ OOŒ
‰ œ o˙. œ‰ O
O‰ŒŒ
P
I
I
IIIñ ññ
pP
P
J œ@ >œ˙
,3
‰.œ#
Œ
‰ ‰Œ
Œ3∑
Œ‰ œŒ
Œ˙
.˙. O‰Œ
∑
œ‰jœ#.œ
jœO
.O‰
∑
π
Pp
p
p
˙˙n∑∑‰œ @œ∑jœ œJ œ∑˙.œJ œ
‰œJ œ
˙
A T
empo {q = 60}
A T
empo {q = 60}
FF
ppπ ñpp ñ
6
&&?&&?&&&?? 4 34 34 34 34 34 34 34 34 34 34 34 3
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
4 44 44 44 44 44 44 44 44 44 44 44 4
4 24 24 24 24 24 24 24 24 24 24 24 2
4 34 34 34 34 34 34 34 34 34 34 34 3
4 44 44 44 44 44 44 44 44 44 44 44 4
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
√
√sem
pre
sempre
√√
39œ
œJ œ oœ3
‰ œœjœJ œœ
3∑B
Œ˙
39
œŒ
œ39
‰œ Œ‰ œ‰3
. ˙
39‰ œœ
jœJ œœ3
œ. œ
‰˙
J œœ3
. œjœ jœ
œ˙
O I
π
P
pñ ñ
P PP
P
P
P
. ˙œ o
˙œ -˙
œ3
3
Œœ
w. ˙Œ
‰‰œ œ 3
jœ œ.˙#
3.œJ œœ ˙3
‰ œ oœœ
œ o
˙Œ
‰ O
jœ œ j� œ#œ œœ
3
3
O. O
II
P
ñ
ñP
P
ñ ñ. œ
‰Œ
˙Œ
˙#œœœ
œŒ
Œ
‰œ ‰.œŒ
3
&
‰ ‰ œ#ŒŒ
3
Œ˙
˙#œ‰
.œ‰
.O˙Œ
OŒ
Œ
πP pV
ibraphone (motor on low
)
ñ
P
pœ
œœ œ œjœ œ
3
‰ œœ˙
œ3
˙œ‰
œ?∑ŒŒœœœ3
‰ œœjœJ œ
œjœ œ ˙3
Œœ
œ ˙3
˙œœ
œ3
O‰ œœ ˙
œœ3
œjœ œ ˙3
.˙œ p(soft yarn m
allets)
ñ
p
P
π π π
ñp ñ
ñ
J œbœbJ œ@ .œ
‰. ˙
Œ
wbœb œ˙Œ
wwww bbœœb jœ ˙bŒ
‰ œb3
˙b b˙
œœœ b 3
j. œbJ œœ j� œœ3
˙b‰ œœ
ww bwbwb FFFFF Fp FfF
pñ
F F∑
Œœ
˙
∑
Œœ
&
Œœb∑
œ œ >œœ œ >œb
‰ œ >œb jœ œb
˙˙
p
FF
P
∑
‰ œ˙.˙b∑
.. ˙b˙b‰ jœ œœb
.˙b. ˙. ˙˙‰O
jœb .œœ
.˙b
II
GG
pF ñ
ñpp
ñ
pp
∑.œ
jœbœb œœ
Œ‰ œbœ
∑
‰‰ œœœ bŒŒ
3
Œ.. œœb
jœJ œ
Œ‰ œœb Œ
. ˙œObb
.Ojœbœ
J œ œbœ
œ3.œb
jœœ
P ñ ñ F
π
7
&?&&&?&&&?? 4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
( √)€
√√
€
47
Œœb
˙b
. œJ œb
.œ‰
˙œ‰
Œ
∑47
‰œœœ bb‰ œb
.. œœJ œb
3
47
Œ‰ œœ b‰ œœ œjœ œ
3
Œ‰œb
47œ
Œ‰ œ
jœbJ œ
.. O‰ œb
˙‰
.. Oœ bb‰
. œbJ œ
. œb
wb
P
ñPñ
ñF
P
Picc:ñP
œœœb œb˙
. ˙bŒ˙∑
œb œbœ .˙bŒŒ
jœ œb
Œœœb œœŒ3
œŒ
œ
. ˙.. Oœ bbjœœ
jœb œjœœ
˙bJ œœ3
P
ñF
ñ
P
ñ
ñ
. œ‰Œ
Œœ o
3
œ˙b -
. œ‰
3
˙œb jœ >˙b3
∑
ŒŒ
œœœ bŒ
3
ŒŒ
˙b
ŒŒ
≈ œbœœ .. œœ
˙jœb> ˙b
. œ‰ ˙b
œ œbœ˙œb ‰
Oœ bb3
.˙Œ
w
F
Fñ F
Fñ
p
p
F
F
. o˙bœ
. ˙
∑
‰ œœ bbJ œœ œœ
‰œ
3
Œœb
jœbJ œ‰œœ œœ
33
œb‰œb
‰œœ bb œb
3
3
&?
.œJ Oœ b
Oœ
.. ˙bJ Oœ OœJ œbœ
.œbJ œœ
.˙b pFF
ñ
Fñ
P
ŒŒ ≈.œb
˙œbœ œbœ
œŒ ‰ œb
∑
ŒŒŒ
œœ bb3
Œjœb œbŒ
‰.œb ‰ œœ bœ3
Oœ.. Oœ
J Oœ bb
˙œœ Oœ bb
œjœ .. ˙b
œœ˙b3
jœ.œbœ F
ñ
pPñ PP
π
œ ‰Œ œ œbJ œbjœb œ3
œ˙œ
3
œœœ œ œb
3∑œ
œœ bbJ œœŒ
3
Œjœ# œ#
‰œœ
jœb œ3
J œbœŒŒ
3
Œ˙#
OœŒ
œ#
.. œœ‰ ‰
œ#
˙bŒ
.˙b ñ pF
F
ñ
ñ
F p˙#
œ˙# -3
Œ‰ œ
œœ
. œ‰
˙n∑œœœ ## #
œœ œ‰ œœ‰œ
3
ŒŒ
jœ ˙
Œ‰ œœ#
J œœ#J œnjœ ˙n
œ#˙
œ Oœ3
.œjOn
OOœ#
˙#œ‰
w# P
f
ñf
III
ñ F
P Pcresc. poco a poco...
cresc. poco a poco...
P
ñ
ñ
FF
F
8
&?&&&?&&&?? 4 34 34 34 34 34 34 34 34 34 34 34 3
4 24 24 24 24 24 24 24 24 24 24 24 2
4 34 34 34 34 34 34 34 34 34 34 34 3
4 24 24 24 24 24 24 24 24 24 24 24 2
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
€√
√√
sempre
54. œ
‰Œ˙
œ#œ œœ#œ
jœ#> œ˙∑54
Œœ œ œœ
≈ œœ œœ54
‰jœœœ
jœœœ œœœ#Œ
‰œœœ #
Œœœœ œ#
&?
54œ
‰o
œ oœ œ oœ .œ oJ O
Ojœœ ##> œœ #
˙
‰œ
J œœ
. ˙ F
pII
F
p ñ
F
ñ
Fñ
ŒŒ
‰ ‰œ# >3
˙jœœ#
.œ‰Œ
∑‰ œŒ
‰œœ #Œ
œœ #jœ œœ #∑
œ oŒ
O
. O‰ œœ# ˙˙
jœ# ˙œ -
. œ.œ
II
FF
F
ñ
‰ œ#Œ˙ŒŒ œ3∑‰ œœœ# œœ
jœ œœ #Œ œœ3
. œJ œœ
OjœO o
˙#œœ#. œ> œ
Œ jœœo˙ o3
˙ F
ñ
F p
ñ
F
F
∑
Œ˙.˙
∑
Œ‰ œ
J œœ
‰ œœ jœ œ >Œ
Œ‰ œœ œœŒ3
&
O‰ œœ
‰ œœ ˙˙
˙Oœ
. œJ œœ
. ˙ F
p ñPpñ
F
‰ œœ#
œ œ >œ3
œ˙
˙#.œ
‰œB∑
œœœJ œœ #‰ œœ
≈ œœ œ3
‰ œœ œ œ#≈ œœ >œ#
3
‰ œ‰
jœ# œœjœ œœ
œœ3
œœ#
œ œ >œ
‰ œœœ
œ. œ >3. O
. œ‰
œ
jœ œœJ œœ œ
J œ#
. œJ œ
œ
π
fp F
p
Ff
F
ñf
f ˙œ‰
.˙. œ. œ
.œ
Œ˙#
‰ œœœœ >‰ œœjœ œœ #
33
ŒŒ
‰œ‰ ‰ jœœ#Œ
œœ#3
?
œJ œ˙
3
œ˙
˙
J œ œ˙
3
œ‰
.œJ œ#
. ˙
ñ
p
F ñF
P
Œ‰ œ
˙œ# 3
œ‰Œ
˙jœ ˙˙œœ˙#3
˙Œ˙#3
˙˙
œœjœ#> ˙3
˙
ñF
p
ñ
P
ñ
. ˙Œ
œœœ œœ ˙
‰ œœœ
jœb >œ œ œ3
∑
Œœœ
Œœœ
jœ œ3
œœœ ‰ œœŒjœ œ
Œ3
3
˙Œ
œœœœ
3
Œ˙
œœ œ3
˙œ
˙n3
˙˙
˙œœ
3
‰.œœ
jœ œ 3
˙œ
˙ 3
p
πF
PñF
pf
9
&B&&&?&&&?? 4 34 34 34 34 34 34 34 34 34 34 34 3
4 24 24 24 24 24 24 24 24 24 24 24 2
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
4 44 44 44 44 44 44 44 44 44 44 44 4
4 24 24 24 24 24 24 24 24 24 24 24 2
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
√√
√
sempre
62‰ œ
jœ œbJ œ. œ3
. ˙œ‰Œ
œ
∑62
œœœbJ œœb ‰ œœœb
J œœœ3
62
ŒŒ
jœœb b> œ
J œœ bb >œ‰ œ œŒ
3
62˙b
œ >
. œJ œbœ
˙b˙b
‰OB
œbœœœ
œb
. œbJ œ -œ
F pF
P
ñ
f fpfñ
. œ‰
œœb œbœjœJ œ
33
œœ œ
∑
‰ œœbœœ
J œ3
3
˙œjœœœ
jœœœ œ3
˙˙
œœ
OO
œJ œ œ
3
˙œ
3
p
πF
P F
ñ
f
F
jœbœb
œb >œ ˙˙
.œ‰
Œœ
˙b˙
Œœ
œ#
∑
‰‰ œœ ##‰ œœœ‰Œ
‰ ‰ œ3
33
Œ‰ .
œœ#œœ ## >
‰ jœ œœ bbœœ
Œ‰ ‰ œ
33
Œ‰ Oœ ## >
O
˙˙b
Œœœ ##
O‰O
OOO-
3
œœ b˙b
œœb jœ œn3
3
.˙bœ ñ
Fp P
pF
P
f
f
Œœ
œ# -
œœ# œœ‰ œ#
3
˙˙#
Œ
∑
Œœ
jœ œ# .. œœ
‰ œœ #Œ
‰œ3.. œœ ##
jœ Œ
Œ. O
J O˙
‰ œ#
OŒ
œ&
.œ#jœ jœ œ 3
.œjœœ
P
I
P Pp
f
P
p
œœŒŒ
œjœ˙#
Œ˙
˙∑∑
ŒŒ œœœ3
≈œ œJ O.. œœ
.. œœ ‰ œ o
œjœ œ
œ
œ˙
œ œœ ˙ o&
˙œ ‰
Fp FF FF
Œ˙
˙.œ
≈˙n
. œ.œ
œœ œœ œ‰3
?
Œ˙
Œjœ œœ
jœJ œ
Œœ œJ œ œ
jœœŒ
œœ œ‰ ‰ œ3
œœ œjœ œ
œœ#œ
œ.œ
. œJ œ
‰œœ
J œœ -œœ
Œ‰
.œ.œ
Œœ
J œœ3
ppoco
F
(F)
ñ p
ñP
FFPP
poco allargando...
poco allargando...
Œ˙
œ˙
˙bœ œœ
3
Œœ
œjœœ œb œ
3˙3
œœœœ œœŒ jœ œœb œœŒ
33
ŒŒœœœ b
jœ œ œjœ œœœ
3
3
Œ œjœœ3
wjœ ˙
3
˙˙b
œ œœ3
Œœœb
œœ ˙˙
3
.˙. ˙
Œ?
w3
π
f
F Fñ
P
F F
ññ
F
10
&?&&&?&&&?? 4 24 24 24 24 24 24 24 24 24 24 24 2
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
4 24 24 24 24 24 24 24 24 24 24 24 2
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
√
√
sempre
69
‰ œ >œœjœbœ œ œbœ œ œ
33
œœ œ œ œ œœ
3
J œœ >œ œœ œ
œ3
˙69
‰ œœ >jœ œœ >
3
69
‰ œœ >œœ >
jœ œœœœœœœb
3
‰ œœ >jœœœ >
.. œœ3
69œœ > œ
jœ œœœ œœ
3
J œœ >œ œœ
3
‰œœ>.. œœ>
œœ3
‰ œœ >œœ >
3
‰ œ >œ
3 FF F F Fœ >
œœbœ œ œ˙
œœ œ >
jœbœ œ œb˙3
w. ˙œ
J œœœœ b >.œ
‰ œœœ‰ œœ3
.... œœœœ b >J œœœbŒ œœ œœ3
jœœ>œœb>
jœ Œœ Œ 3
&. œ >J œœ
œ
.˙œ
.. ˙b bœœ
œœbjœœ œœ
œœœ œ
w fffff
f
fπ
P
HH fF
ff
slightly broader, freely flowing
slightly broader, freely flowing
œ‰Œœ
Œ ‰œbœ
œ. œ-
‰
˙œ ‰
∑
Œ ‰œŒ
ŒœŒ
?
œ‰œbœ œ >œ >3
œœ œ œ >.œ≈
˙bœœb œœ œb> 3
˙œ‰
œ. œ-
‰ ñ
p
.˙Œ
.˙œ‰
wb-
3∑
˙˙
3
˙˙b‰jœ œ
J œ
Œ‰œb ‰‰‰œ Œ3
3
>jœw3
w-
3
.˙Œ
wwb-
3
f ff 2 Tam
-tams
fπ
P
ñ ff
F
Fp
Suspended Cym
bal
∑.˙.˙Œ˙bŒ ˙∑∑&
˙j œ
œ ˙.˙b.˙.˙ ñ p pñppppp
Œjœ -
œ ‰œ-œ
œ œb œ œ œ œ
œ-.˙.˙Œ˙bŒ˙b
œœœœœ
3
˙œ
œ œ œ œ
œœb -
œ jœ œn œ œ. œ
˙.œ
œ œbœ
- f p
(with yarn m
allets)
˙˙˙˙˙˙œœœœ ˙3
˙˙˙˙˙ ffffff f
II
f Ff
jœ ˙œ‰
. ˙. ˙. ˙Œ˙.. ˙. ˙˙œ‰
.œJ œœ œ
˙œ
. ˙. ˙ P
11
&?&&&&&&??
4 44 44 44 44 44 44 44 44 44 44 44 4
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
√√
77Œ‰œbœ œ
œ‰ŒŒ
˙jœœ
. ˙77Œ
Œœ
77
∑∑
77ŒŒ
œœ œœ˙.œ
J œbœ œ
. ˙. ˙
ñ ñ
(let vibrate)
p
Fp
.œ‰
Œ‰ œœœb œb -3
wb
∑∑∑∑
œ jœ> œbœ˙3
œb˙. œ
J œœœb œb -3
wbwb F
ff F
∑.˙˙œ‰
∑˙œ∑∑
jœb˙œ‰
. œJ œœ œb
.˙.˙.˙b Pñ
∑∑∑˙#œ#
˙Œ∑∑Œ œ#œ#
. ˙#.˙˙#œ#
. ˙# ñP PPPP F
ŒŒ
œ
Œ‰ œœ œ#
∑
œ˙
‰œ∑∑
œ#œ#œœ
œ#
. ˙. œJ œœn œ#
œ˙. ˙ F p
F
.˙#.˙#∑.˙#Œœœ∑∑.œ#J œœ.˙#.˙#.˙#.˙# f F
FP
∑∑∑.œ‰œ#
Œ ˙∑∑
œ#J œ œ#J œ
.˙. ˙.œ‰Œ
˙#Œ
ffff
∑Œ ˙#∑œ ˙.˙∑∑.œ#‰Œ
œ# œœ
œ‰˙.˙.˙ JJPP
P
PP PP
P
∑˙
Œ
∑
.œJ œœ
Œ˙∑∑
Œ‰ œ#œ
œœ#œ˙
˙#œ ‰
˙œ‰
˙œ‰
ñ ñp
∑∑∑
˙œ
. œjœ Œ∑∑
œ œœ œœ
. ˙˙œ
. ˙. ˙ Pcresc. poco a poco...
cresc. poco a poco...
cresc. poco a poco...
cresc. poco a poco...
cresc. poco a poco...
PF
∑Œ‰ œœ œ
∑. ˙œ˙∑∑.˙#œ˙.œ#J œœ œ.˙.˙ F
ñP
∑. ˙n∑
Œ‰œb œ œ
Œ. œ
jœ
∑∑.œnJ œb œ œ
.˙˙n.˙.˙ p
12
&?&&&&&&??
8 58 58 58 58 58 58 58 58 58 58 58 5
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
( √)
89
∑∑∑
œbœ
œ89
Œ˙
89
∑∑
89œb
œbœœœ
. ˙b.˙.˙b.˙b
F
∑∑∑
.˙bŒŒ
œ
∑∑
. œJ œbœ
. ˙b. ˙b. ˙b. ˙b
ñ
∑∑∑
œŒ
Œ.˙
∑∑
˙jœ œ
J œœ
J œJ œ œb3
˙œb
.˙.˙b
ŒŒ
‰ œb
∑
.
∑˙
Œ∑∑
.œbJ œbœb œ
˙b‰ œ
˙œb
.˙b.˙b KK
F
FFFFFF
poco rit...
poco rit...
crystal glass (play with finger on rim
-at first the sound should "flicker", andeventually becom
e a single, long tone)
œbœb
œbŒ
Œ‰
œbœb
œb
.
∑
‰œ
Œœ
∑∑
˙bœb
œbœb
œbœ
.œbJ œb
œbœb
. ˙b.˙b decresc. poco a poco...
decresc. poco a poco...
decresc. poco a poco...
decresc. poco a poco...
decresc. poco a poco...
F
∑
˙bŒ
.˙bœb
ŒŒ
œ∑∑
˙bœbœœbœb
œb˙b
˙bœb
. ˙b. ˙b p
p
∑∑∑
œn-.œ∑∑∑
œ#. œ#
œ#.œ
œn. œ
œ#. œ
œ#. œ
P
ŒŒ
‰ œ
∑
.œ˙∑
jœ#>... ˙#
(these grace notes shouldsound O
N the beat)∑
.œnJ œœ œ
˙#‰ œn
. ˙.˙. ˙
normal pedaling until end
P(P)(P)(P)(P)(P)
P
ñ
13
*
*
&?&&&&&&??
8 78 78 78 78 78 78 78 78 78 78 78 7
4 34 34 34 34 34 34 34 34 34 34 34 3
4 24 24 24 24 24 24 24 24 24 24 24 2
4 34 34 34 34 34 34 34 34 34 34 34 3
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
( √)
√
97œ œ˙
Œ‰ œœ œ
.œ˙
97‰œjœ Œ
97
∑∑
97œœœœ#
œœ œ˙
. œJ œœ œ
˙Œ
‰œœœ ‰
P PF
P
œŒ
Œ.˙.˙
œ ‰-
∑
Œjœ#> ˙#∑
.œ#J œœ
œo
.˙o‰ œ o
OŒ
P P
p
∑∑.∑
˙Œ .∑∑
˙J œ‰‰
.˙
∑˙
∑P
p
p
.
∑
.
∑∑
Œœœœ
œœœ
∑
OœOœ
Oœ.œ
‰Oœ b
ŒŒ
OœOb
Œ
∑ π
LL
P
P P allargando al fine...
allargando al fine...
.∑... ˙jœ#> ˙œœœ .
∑
OOœ
OOœ
OOœ∑. P π
....
∑œœœ bb
jœ#> ˙∑
ObbOœ
OœjOœ
Oœ bbjOœ
ObbOœ
∑
.
..∑.∑jœ#> ... ˙b
∑.. Obb.. Ob.. O.. Oœ bb‰Œ
. π
∑∑∑.. Oœ bbJ Oœ
ObO##∑
∑
....
∑∑
Oœ bbObbObb
Oœ ‰
OOœ ‰
.. Oœ bb‰Œ
14
&?&&&&&&??
Fl.
B b Cl.
Bsn.
Hn.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
106
∑
...106
.106
.
∑
106.. ObbŒ
ŒOœ bb
.. Oœ ##J Oœ
Oœ.. Oœ#
‰Œ
. P
......
∑∑.. O.. Onn
∑
. P
......
∑∑O
Œ
∑
..
......
∑
.
∑
...
. U. U. U. U. U. U
∑
. U
∑ U
. U. U. U
. U. U. U. U. U. U
∑
. U. U. U. U. U
15