Arts, Faculty of
Music, School of
DSpace
UBCV
Trew, Ryan McLean
Doctor of Musical Arts - DMA
University of British Columbia
Taste is a work for a medium sized orchestra consisting of four movements and is approximately 23 minutes in length. Each movement is a musical illustration of one of the four traditional basic physiological tastes as perceived by humans: bitter, sour, sweet and salty. To represent the four physiological tastes musically, this work applies three unifying conceptual devices. The first device is the assimilation of the physical properties of taste into musical properties including form and texture. The second device associates both taste and sound with human emotions. The third device is the application of varied styles of music, or “polystylism” as representation of different aesthetic preferences or “tastes.” By presenting each taste in the context of a musical composition, this work draws a link between the human sense of taste and the sense of hearing.
TASTE by RYAN MCLEAN TREW B.MUS., WILFRID LAURIER UNIVERSITY, 2002 M. MUS., UNIVERSITY OF TORONTO, 2004 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES THE UNIVERSITY OF BRITISH COLUMBIA (VANCOUVER) AUGUST 2013 ! RYAN TREW, 2013 ii ABSTRACT Taste is a work for a medium sized orchestra consisting of four movements and is approximately 23 minutes in length. Each movement is a musical illustration of one of the four traditional basic physiological tastes as perceived by humans: bitter, sour, sweet and salty. To represent the four physiological tastes musically, this work applies three unifying conceptual devices. The first device is the assimilation of the physical properties of taste into musical properties including form and texture. The second device associates both taste and sound with human emotions. The third device is the application of varied styles of music, or ?polystylism? as representation of different aesthetic preferences or ?tastes.? By presenting each taste in the context of a musical composition, this work draws a link between the human sense of taste and the sense of hearing. iii PREFACE This dissertation is original, unpublished, independent work by the author and composer, Ryan McLean Trew. iv TABLE OF CONTENTS Abstract .............................................................................................................................................ii Preface ............................................................................................................................................. iii Table of Contents .............................................................................................................................iv List of Tables ...................................................................................................................................vi List of Figures .................................................................................................................................vii Acknowledgements ........................................................................................................................viii Dedication ........................................................................................................................................ix Chapter 1 | Introduction and Overview ................................................................................................ 1 1.1 Conception ................................................................................................................................2 1.2 Objectives .................................................................................................................................3 1.3 Inspiration and Influences........................................................................................................3 1.3.1 Percussion and Rhythmic Techniques .............................................................................3 1.3.2 Minimalism and Post-Minimalism...................................................................................5 1.3.3 Debussy, Ravel and Impressionism..................................................................................5 1.3.4 The European Avant-garde..............................................................................................6 1.4 Conceptual Challenges and Solutions.......................................................................................6 1.5 Final Concept ............................................................................................................................7 Chapter 2 | The Physical Properties of Taste: Applications for Composition ...........8 2.1 Large-scale Formal Design and the Human Taste-Sensitivity Spectrum ................................8 2.2 Dynamic Levels and the Human Taste-Sensitivity Spectrum..................................................9 2.3 Textural Density and the Human Taste-Sensitivity Spectrum.................................................9 2.4 Formal Design and Process as related to the Physiology of Taste .........................................11 2.5 Tempi and Physical Responses to Taste ................................................................................12 2.6 Articulations and Orchestration .............................................................................................13 2.7 Conclusion ...............................................................................................................................15 Chapter 3 | Emotions in Taste and Music: Applications for Composition ............. 16 3.1 The Emotional Definitions of Tastes .......................................................................................17 3.2 The Musical Definitions of Tastes...........................................................................................17 3.3 An Additional Definition of ?Salty?.........................................................................................18 3.4 Summary of Selected Theories of Music and Emotions .........................................................19 3.5 An Empirical Study of Emotions in Music: Practical Applications........................................22 3.6 Conclusion ...............................................................................................................................25 Chapter 4 | Polystylism ......................................................................................... 26 4.1 Musical ?Taste? ........................................................................................................................26 4.2 Genre and Emotion .................................................................................................................26 4.3 Schnittke and Polystylism .......................................................................................................27 4.4 Conclusion ...............................................................................................................................31 v Chapter 5 | Musical Analysis ................................................................................. 32 5.1 Musical Analysis of Bitter .......................................................................................................32 5.1.1 Thematic Unity in Bitter ................................................................................................33 5.1.2 Formal Design and Key Relationships...........................................................................35 5.1.3 Harmonic and Rhythmic Instability and Phrase Asymmetry as ?affect?......................36 5.2 Musical Analysis of Sour .........................................................................................................40 5.2.1 Formal design of Sour ...................................................................................................41 5.2.2 The Musical Definition of Sour and Thematic Content ................................................41 5.2.3 Textural Process.............................................................................................................42 5.2.4 Pitch Process ..................................................................................................................42 5.3 Musical Analysis of Sweet .......................................................................................................44 5.3.1 Formal Design and Key Relationships..........................................................................44 5.3.2 Harmonic Stability and Phrase Symmetry as ?affect? ..................................................45 5.3.3 Harmonic Instability and the ?Bitter? in Sweet ...........................................................46 5.4 Musical Analysis of Salty ........................................................................................................47 5.4.1 Form and Process in Salty............................................................................................48 5.4.2 Salt and Musical Representation .................................................................................50 5.4.3 Debussy?s La Mer as an Additional Reference to ?Salt? ..............................................50 5.4.4 Salty and the Conclusion of Taste................................................................................52 Chapter 6 | Conclusion.......................................................................................... 53 Bibliography ...................................................................................................................................55 Appendix 1 ? Program Note............................................................................................................58 Appendix 2 - TASTE | Full Score in C ...............................................................................................................59 1. Bitter ..................................................................................................................................................................61 2. Sour ....................................................................................................................................................................97 3. Sweet ...............................................................................................................................................................101 4. Salty .................................................................................................................................................................127 vi LIST OF TABLES TABLE 1 ? Heart rate increases from exposure to taste and relative tempo markings ................12 TABLE 2 ? Summary of musical elements derived from the physical properties of taste............14 TABLE 3 ? Other definitions of the tastes......................................................................................18 TABLE 4 ? General summary of pitch content in Taste ................................................................20 TABLE 5 ? Test data repertoire from Tesoriero and Rickard?s study of music and emotions .....27 TABLE 6 ? Summary of polystylism in Taste ................................................................................28 TABLE 7 ? Large-scale formal and tonal design of Bitter and associated emotional content......35 TABLE 8 ? Large-scale formal design of Sour ..............................................................................41 TABLE 9 ? Large-scale formal and tonal design of Sweet ............................................................45 TABLE 10 ? Large-scale formal design of Salty.............................................................................48 vii LIST OF FIGURES FIGURE 1 ? Intense dynamics and textural density in the coda of Bitter.....................................10 FIGURE 2 ? Various articulations featured in Sour ......................................................................13 FIGURE 3 ? ?Out of tune? expressed via a glissando motive in Sour ...........................................19 FIGURE 4 ? Dramatic openings of Bitter and Sour ......................................................................22 FIGURE 5 ? The expression of sadness in Bitter ...........................................................................24 FIGURE 6 ? Exoticism, Latin-American Rhythm and Jazz in Bitter ............................................30 FIGURE 7 ? Free development of Klangfarbenmelodie in Sweet.................................................30 FIGURE 8 ? Motivic analysis of primary theme in Bitter .............................................................33 FIGURE 9 ? Examples of thematic unity in Bitter ........................................................................34 FIGURE 10 ? Reduction of the first phrase of the primary theme in Bitter .................................36 FIGURE 11 ? The end of the primary theme and ?pre-transition? in Bitter .................................37 FIGURE 12 ? Reduction of the transition section in the exposition of Bitter ..............................38 FIGURE 13 ? Reduction of the secondary theme in Bitter ...........................................................38 FIGURE 14 ? Reduction of the coda in Bitter ...............................................................................40 FIGURE 15 ? Scale basis for pitch in Sour ....................................................................................43 FIGURE 16 ? Pitch Process in Sour................................................................................................43 FIGURE 17 ? The Bitter gesture in Sweet ......................................................................................47 FIGURE 18 ? Sequence in the transition section of Salty .............................................................49 FIGURE 19 ? Opening measures of La Mer and the C-section of Salty........................................51 viii ACKNOWLEDGEMENTS Both Taste and this document would not have been possible with out the guidance, encouragement and enthusiasm of my advisor, Dr. Stephen Chatman. I am also grateful to the other members of my committee, Dr. Dorothy Chang and Dr. Keith Hamel for their contributions to my academic growth and my voice as a composer. I would also like to thank some of the faculty and staff in The School of Music at The University of British Columbia: Dr. Richard Kurth, Dr. Alan Dodson, Dr. Brandon Konoval, Ms. Rayne Graham, Dr. Alex Fisher and Dr. Bob Prichard for their wisdom, advice and assistance. I am extremely grateful to Evan Mitchell and the Kitchener-Waterloo Symphony for the opportunity to create a new work for their youth orchestra. I would like to thank every member of the Kitchener-Waterloo Symphony Youth Orchestra for helping to bring my piece to life with excitement, energy and enthusiasm. Finally, I would like to thank my family: Trudy and Tony, Patricia and Tony, and especially Emily for her suggestions, criticisms and unconditional support. ix In memory of Donald H. Trew (1943-2006) 1 ?Taste, which enables us to distinguish all that has a flavor from that which is insipid.? Jean Anthelme Brillat-Savarin1 Chapter 1 | INTRODUCTION AND OVERVIEW Limited research exists regarding the connection between the human senses of hearing and taste. From a conventional viewpoint, these senses appear to be unrelated to one another when compared with other recognized sense-pairings. For example, sound and vision effectively unite in many human activities. This combination of senses is the essence of many musical works from Mussorgsky?s Pictures at an Exhibition (1874) to Messiaen?s Des canyons aux ?toiles (1971), among others. The sense of taste is typically linked with the sense of smell and neither of these senses has been explored in great depth musically. My doctoral thesis, Taste, is a musical presentation of each of the four basic human physiological tastes: bitter, sour, sweet and salty.2 The piece is divided into four movements and each movement is based on one of the four basic tastes. The work is approximately 24 minutes in length and is scored for a medium-sized orchestra including winds, brass, timpani, pitched and unpitched percussion, celesta, harp and strings. Taste was commissioned by the Kitchener-Waterloo Symphony Youth Orchestra and was featured on the final concert of the 2012-13 season under the direction of conductor Evan Mitchell. This dissertation divides into six chapters that communicate the conceptual, technical, musical and aesthetic concepts that are present in Taste. The first chapter describes the conception and objectives of the work, the influences upon its style and presentation, the challenges and solutions surrounding its creation and the final concept as it appears in the completed work. The second chapter identifies the physical properties of the four tastes and demonstrates their application to the construction of the piece. The third chapter examines different theories of emotion in music and then draws connections between different musical 1 Jean Anthelme Brillat-Savarin, The Physiology of Taste (Whitefish, MO: Kessinger Publishing, 2000), 15. 2 Other recently acknowledged tastes such as unami and water taste are not included in this work. 2 moods and the emotions that are associated with each physiological taste. The fourth chapter addresses the advantages of a polystylistic approach in this composition and lists the different musical styles incorporated into each movement. The fifth chapter is a detailed musical analysis of each of the four movements in this work. The last chapter summarizes this work, reflects upon the experience of its creation, and concludes this dissertation. 1.1 Conception With the creation of a substantial musical composition, there are many challenges, both artistic and academic. I considered this thesis composition as an opportunity to embrace some of the challenges I had previously encountered as a student composer. One personal challenge was composing large-scale works for large ensembles: orchestral music is a time consuming endeavor that simultaneously tests all of a composer?s abilities in musical expression, from pitch organization to orchestration. I have always been keen on writing for orchestra and addressing these difficulties whilst expanding my own compositional palette and improving my skills. Another personal challenge involved developing my musical stylistic shift from absolute music to pieces with more programmatic elements. My first attempt at programmatic writing occurred with my last orchestral work, Starlike (2010). The inherent properties of a musical work, such as the devices of formal construction and the organization of pitch and rhythmic material, are important in any piece of music. However, I have often found it particularly challenging to shape these materials in order to render a convincing narrative or image. When commissioned by the Kitchener-Waterloo Symphony to compose a longer multi-movement work for their youth orchestra, I took the opportunity to both accept this project and present it as my doctoral dissertation. I have had works commissioned by this organization in the past and I have collaborated on numerous occasions with Evan Mitchell, the current principal conductor of the youth orchestra. This project was appealing because it offered a unique opportunity to work directly with young musicians whose exposure to new Canadian orchestral music is rather limited. Having been a music theory pedagogue for the bulk of my time as a graduate student, I am always keen to embrace mutual learning experiences. Working with both youth and young adult musicians is a rewarding and enriching activity for everyone involved. After considerable brainstorming and reflection, I began to consider creating a piece about human physiological taste with each of the four traditional tastes as the basis for each movement. This idea complements all of my aforementioned interests and addresses some of my personal challenges as it results in the creation of a conceptual multi-movement work for a 3 larger ensemble and includes programmatic elements. Further, as this piece was to be premi?red by a youth orchestra in the community, I chose a subject that both the performers and their parents (the audience) could easily understand. The concept of taste seemed appropriate because it is familiar and thus adequately accessible to everyone who might be involved in its creation or reception. 1.2 Objectives The primary objective of Taste is to demonstrate that while the human senses of taste and hearing are not readily associated with one another, a convincing aural presentation of each specific taste is possible to achieve. This work attempts to synthesize the human experiences and emotional reactions to tastes as well as connect the physical sensations of human taste with organized sound. Varied stylistic references representing different musical ?tastes? further unify the physical and emotional aspects of tastes and sounds. Another objective of this work is the creation of a contemporary piece of orchestral music consisting of contrasting movements with varying musical styles and genres. While each movement could be presented as a shorter autonomous piece of music, there are also several unifying elements within this work. Some of these elements include recurring thematic material, harmonic techniques and aspects of orchestration. 1.3 Inspiration and Influences It is not within the scope of this document to describe the innumerable influences that have shaped my musical expression throughout my years as a composer. Thus, I have chosen to focus on a few specific influences that are relevant in the context of my most recent compositions and more specifically, the current piece in question. For this section, I have selected one instrumental influence and three stylistic influences and they are as follows: percussion, American Minimalism, French Impressionism and the Eastern European avant-garde. 1.3.1 Percussion and Rhythmic Techniques After years of studying piano, I began to study percussion as a teenager and eventually as an undergraduate student. An examination of my previous work reveals a tendency towards percussive techniques and idioms. In my previous compositions, these elements control everything from the large-scale formal structure to smaller details at the phrase level. Taste 4 features several techniques adopted from my experience as a percussionist. These include: metric diversity (mixed-meter or changing meter), irrational rhythms,3 syncopation, percussive writing for non-percussion instruments and the inclusion of percussion instruments within my work. Bitter, the first movement of Taste, features several different rhythmic techniques. Mixed-meters, polyrhythm, irrational rhythms and syncopation are present throughout this movement and appear in combination and in proximity to one another within the opening thematic material (mm. 1-27). Many of the melodic elements in Sweet contain irrational rhythms. Further, there is significant polyrhythm within the middle section of this movement (mm. 89-156). Rhythmically, the first and second sections of Salty include themes with rhythms based on syncopation and irrational rhythms, respectively. Chapter 5 explores the treatment of rhythm in this work in detail. Instrumental percussive writing involves using non-percussion instruments to produce repetitive rhythmic gestures and ostinati as well as creating percussive sounds through accented passages, louder dynamic levels and extended techniques. All of these techniques are prominent in Taste. The primary theme areas, codetta and coda sections of Bitter use heavily accented repetitive rhythmic figures in the wind and string groups. These sections also feature marcato bowing technique in the upper strings. The last section of Sour (mm. 36-49) includes several percussive string techniques such as col legno battuto, jet?, and strummed pizzicato chords. The Giocoso section of Sweet (mm.89-156) features the string instruments in an harmonic and rhythmic ostinato articulated with staccato markings, accents and percussive pizzicato double stops. Repetitive rhythms, syncopated figures and accented passages occur in several sections of Salty as well. Finally, proper percussion instruments play an important role in all four movements of Taste. This work features a variety of pitched percussion instruments including timpani, harp, celesta, glockenspiel and vibraphone as well as non-pitched instruments such as maracas, cymbals, triangle and claves. All of these instruments provide support as tone-colour and accompaniment and feature prominently in each movement, often as the primary melodic instrument. The harp reinforces the primary glissando gesture in Sour and this movement concludes featuring a prominent harp solo. Celesta and glockenspiel in combination with other instruments, articulate much of the melodic material in Sweet. Throughout Taste, percussion instruments serve important accompaniment roles, often as the primary accompanying 3 Irrational rhythms are defined as rhythmic figures that divide into an equal number of subdivisions that do not correspond with those implied by the time signature. 5 material. The most prominent examples of this occur in Bitter as this movement utilizes celesta at the beginning of the secondary theme group (mm. 41-49) and harp in parts of the development section (mm. 86-96, mm. 123-128). 1.3.2 Minimalism and Post-Minimalism As a percussionist and a composer, I am both interested in and inspired by the works of American minimalists Steve Reich (b.1933) and Philip Glass (b.1934). Both of these composers? works from the mid 1970?s have influenced my musical technique and style. As I am interested in both process and harmonic progression, works such as Reich?s Music for 18 Musicians (1976) and Glass? Music in Twelve Parts (1971-1974) illuminate the fact that while containing simple harmonic elements, pieces of minimalist music can grow to incorporate several chord collections in a seamless structure. Ultimately, this leads to the work of John Adams (b.1947) and his expansions of the minimalist palate with harmonic techniques such as ?gating? (modulation with several common tones or with parallel chromatic motion and a common tone), reinterpretation of a mode (without changing the pitch collection), and gradual tonal shift via slow introduction of chromatic pitches.4 Adams? increased rate of harmonic change in both China Gates (1977) and Phrygian Gates (1977-78) and his movements of contrasting mood, style, tempi and texture in Shaker Loops (1978) have greatly influenced my own writing. While not considered a ?polystylist,? Adams? orchestral works such as Harmonielehre (1985) and Fearful Symmetries (1988) incorporate influences of both jazz and popular music, further expanding his own post-minimalist musical style and language. These pieces are of special importance to the development of Taste, specifically the Bitter, Sweet and Salty movements. 1.3.3 Debussy, Ravel and Impressionism The music of the French Impressionist composers has also been a continual source of personal influence, both aesthetically and in terms of the techniques incorporated within. More specifically, influential are both the orchestration and pitch material in the works of Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). In Taste, aspects of Impressionist orchestration include bowed and fingered string tremolos in melodic and harmonic passages as well as the technique of octave doubling. As well, Taste includes significant use of the harp. 4 Brandon Derfler, ?Two Harmonielehren: Schoenberg and John Adams,? GAMUT: The journal of the Georgia Association of Music Theorists 9 (1999): 23-26. 6 There are also leaner textures and some neo-classical elements within this work, devices often associated with Ravel. In terms of pitch material, this piece features several characteristics identified with the French Impressionists: added-note chords, polychords, modal collections, and ambiguous tonal centers. Finally, there are several programmatic elements in this work. Debussy?s Prelude ? l?apres midi d?un faune (1894) and La Mer (1905) are both sources of inspiration with the latter quoted briefly in the last movement of Taste. Both La Mer and Ravel?s Ma M?re l?oye (1910) also influence the orchestration and are model works of contrasting movements united by a single topic?in these cases, the sea and children?s stories, respectively. 1.3.4 The European Avant-garde For polystylistic contrast, I opted to compose the second movement, Sour, in a post-war European avante-garde style. Having limited experience with this type of composition, I consulted two 1960?s works: Ligeti?s Atmosph?res (1961) and Penderecki?s Threnody for the Victims of Hiroshima (1960). Both of these pieces create a highly expressionistic soundworld and utilize string techniques such as quartertone clusters, wedges and group glissandos, a range of vibratos, tremolos and percussion effects as well as exploiting the flexibility of time-space notation.5 Sour applies the loose serial procedures, textural processes, extended techniques and aspects of graphic notation found in these two works. 1.4 Conceptual Challenges and Solutions An attempt to present a musical portrait of each physiological taste creates some conceptual challenges. The greatest challenge is to find a way to successfully connect two disparate human senses. Since neither taste nor smell associates directly to the senses of vision or the somatic senses (touch), there are limited methods available to connect these senses together. Thus, there is no clear or direct method to convincingly translate the human tastes from their respective natural states to the medium of sound. My working solution to this problem is comprehensive: an application of both the physical properties of taste and the emotions associated with each taste. In this work, musical decisions relating to formal characteristics and processes, pitch material, motivic design and articulation were considered after consulting the literature and research on physical taste and human emotions. 5 Oxford Music Online, s.v. ?Penderecki, Krzysztof,? by Adrian Thomas, accessed March 1, 2013, http//www.oxfordmusiconline.com/. 7 The linking of physical data and emotional content in order to create this work presented further challenges. One of these challenges was that while there are clear emotional connotations for the tastes of bitter, sour and sweet, there are none for the taste of salty. Thus, Salty focuses almost entirely on impressions of the physical characteristics of the taste of salty. Percussive orchestration and sequential passages are two physical representations of salt featured within this movement. Further, the word ?salty? has another meaning: ?of or relating to the sea.?6 An element of quotation within the piece addresses this concept: included in this movement are the opening measures of Debussy?s La Mer (1905). From an emotional viewpoint, a second challenge appears when considering that both ?sour? and ?bitter? have additional figurative meanings that are nearly synonymous: both relate to unpleasantness, sadness, and distaste. The polystylistic concept in this piece addresses this problem. In Taste, both Bitter and Sour are represented as physically and emotionally unpleasant concepts through contrasting styles of music. Both of these movements contain unpleasant musical properties such as dissonance and aggressive articulations, but in completely different musical contexts. The musical style of Bitter features harmonic instability, remote key areas and melodic dissonance that functions within a loose tonal framework. Alternatively, Sour is distinctly atonal and consists of simple and complex pitch collections selected for their dissonant qualities. 1.5 Final Concept A detailed and descriptive musical illustration of each of the four basic human tastes requires three key conceptual devices. The first concept, explained in chapter 2, explores the general physical properties and unique processes associated with each taste. These characteristics are the basis for large and small-scale formal designs, dynamic levels, textural qualities, articulations and orchestration in this work. The second concept, outlined in chapter 3, compares the emotional states associated with each specific taste to the representation of emotions in music and applies these principles to the work. Finally, as a result of the contrasting forms, processes and musical techniques within this piece, a third concept of polystylism emerges. This polystylistic element, discussed in Chapter 4, complements the differences between the physiological tastes by juxtaposing different moods through varying musical styles and ultimately suggesting different subjective and aesthetic ?tastes? of music. 6 Dictionary.com, s.v. ?Salty,? accessed March 15, 2013, http://dictionary.reference.com/browse/salty. 8 ?The form was as natural as my taste permitted.? John Cage7 Chapter 2 | THE PHYSICAL PROPERTIES OF TASTE: APPLICATIONS FOR COMPOSITION In the pre-compositional phase of this work, I examined each of the four physiological tastes in terms of their respective physical and chemical functions and processes. The purpose of this study was to search for any specific characteristics that might be applicable to the construction of the work. Ultimately, some of the physical properties of taste translated into musical ideas applicable to the large-scale structure of the work, smaller formal structures, textures, dynamics, articulations and orchestration. 2.1 Large-scale Formal Design and the Human Taste-Sensitivity Spectrum The perception of human taste results from a collection of taste receptors that are more sensitive to unpleasant stimuli. Humans are roughly one hundred thousand times more sensitive to bitter compounds than to both sweet and salty tastes. Our taste sensitivity to sourness is one thousand times more sensitive than our sensitivity to sweetness.8 The difference between our sensitivity to sweet and salty tastes is negligible. The ordering of tastes in terms of relative ?unpleasantness? is the taste-sensitivity spectrum. This spectrum is the basis for the order of the four movements in Taste, ordered from most to least sensitive tastes: Bitter ? Sour ? Sweet ? Salty. 7 John Cage, ?Composition as Process,? in Silence (Hanover: Wesleyan University Press, 1961), 19. 8 Frederic H. Martini, Fundamentals of Anatomy and Physiology, 6th ed. (San Franciso, CA: Pearson Education Inc., Benjamin Cummings, 2004), 569. 9 2.2 Dynamic Levels and the Human Taste-Sensitivity Spectrum The dynamic levels in Taste reflect the relative intensity of each taste as experienced by humans. Since bitter and sour are the strongest tastes and have result in the most intense experience, the loudest dynamic markings appear within the movements based on these respective tastes. In Bitter, the primary theme, codetta and coda sections feature mostly fortissimo markings (see FIGURE 1). Sour contains quiet material, but features ?interruptions? marked and scored sfortzando. Further, this movement includes a dynamic shape that gradually moves towards a prominent fortissimo section at the end of the movement. Sweet, by contrast, features only a single forte marking with the rest of the dynamic levels at piano and mezzo-piano. Salty, while not a strong reactive taste for humans includes material with softer dynamics in accordance with this overall scheme. However, a modification to this dynamic plan balances the material within this movement. Each section in Salty, with the exception of the conclusion, features an inversion of this dynamic scheme by beginning with a soft dynamic and reaching a fortissimo via crescendo passages. 2.3 Textural Density and the Human Taste-Sensitivity Spectrum Similar to dynamic levels in Taste are the accompanying textures that these dynamic markings support. While variety of texture is required for the sake of interest within each section of this piece, the taste-sensitivity spectrum moderates the textural density of each of the movements. The primary thematic material, codetta, and closing sections of the Bitter movement include the entire ensemble with the exception of harp and celesta. Compensation for the absence of these instruments occurs as both appear prominently in softer contrasting passages within the Bitter movement (see FIGURE 1). While reduced orchestration appears in Sour, the texture remains dense. Examples of dense textures in this movement include techniques such as divisi a 8 within the upper strings and string double stops, as well as a number of extended string techniques that will be discussed below. In accordance with the taste-sensitivity spectrum, Sweet and Salty feature lighter textures in their respective primary subjects. While Sweet features both subtle and pronounced textural contrast between sections, Salty employs an accumulation of texture similar to the dynamic plan of the movement. 10 FIGURE 1 Intense dynamics and textual density in the coda of Bitter (mm. 207 ? 211) ??????????Fl. Ob. 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Sour and salty substances have a direct effect on specialized membrane channels as they involve the direct passage of either sodium ions or hydrogen ions, releasing neurotransmitters.10 By contrast, guanine nucleotide-binding proteins (G-proteins) called gustducins mediate the receptors for bitter and sweet. In order for the brain to process taste information, these G-proteins interact with secondary messengers.11 Thus, the tastes of salty and sour result from a direct chemical process. On the other hand, the tastes of bitter and sweet, while ultimately ending in the same manner as sour and salty, have additional processes involving secondary messengers. Therefore, the process involved is slightly more indirect than the processes of sour and salty taste reception. These different processes influence the formal construction of each movement in Taste. The selection of a simple formal structure accompanies the movements based upon tastes that involve a direct passage of ions and chemical absorption: Sour and Salty. These movements also contain musical processes including serialization, sequence, accumulation of texture and corruption of sound. Sour is a process-generated piece with loose serial procedures governing the harmonic content. In terms of motive, this movement consists of the presentation and variation of single gesture, likening it to a theme-and-variation form. Another process in the movement is a corruption of sound by passages of accelerating vibrato, extended string techniques and increasing textual density. Salty is a seven-part rondo that features additive processes and subtractive processes as well as harmonic and melodic sequences. The formal designs for Bitter and Sweet reflect the additional complexity involved via the secondary messengers in the physical processing of these tastes. The forms chosen for these two movements are more complicated in both design and in terms of the relationships to the materials within. Bitter is a sonata-allegro form featuring an exposition of distantly related keys, a tonally varied three-part development section, a standard-practice recapitulation and an extended modulating coda. Similarly, Sweet is a modified arch-form structure with closely related keys among the different sections. The tonal complexity in this movement is similar to that of Bitter, but significantly reduced. Less pronounced tonal ambiguity is present within the 9 Elliot Alder et al., ?A Novel Family of Mammalian Taste Receptors,? Cell 100 (2000): 693. 10 Ibid. 11 Martini, Fundamentals of Anatomy and Physiology, 569. 12 smaller formal sections of this movement reflecting the complexity of the taste reception process of sweetness. These formal design designations are a mere starting point for the construction of this work. Similar to our inability to directly distinguish these processes when experiencing taste, the form of each movement need not directly imply each taste to the listener. Rather, these forms are merely initial constructs upon which other musical elements more effectively depict each physiological taste. 2.5 Tempi and Physical Responses to Taste Human physical responses to tastes translate into tempo markings. A study by Rousamans examines the physiological changes in test subjects exposed to various taste sensations.12 This study observes the average change of a test subjects? heart rate from exposure to different tastes.13 The results of this study are the basis for the tempo assignments for three movements in Taste. Assigning Sweet a tempo marking of q. = 56, the tempi of the remaining movements are based on a scheme proportional to this tempo and the measured heart rate increases from Rousamans? study (see TABLE 1). TABLE 1 Heart rate increases from exposure to taste and relative tempo markings Movement HR Increase Calculations Final Tempo Notes Bitter circa + 11 bpm (11/4.8) x 56 q = 120 Sour circa + 8.3 bpm (8.3/4.8) x 56 q = 96 Sweet circa + 4.8 bpm - q. = 56 set as initial tempo Salty circa + 7.3 bpm (7.3/4.8) x 56 q = 84 composed as h = 84 notated as q = 168 12 S. Rousamans, et al., ?Autonomic Nervous System Responses Associated with Primary Tastes,? Chemical Senses 25 (2000): 712. 13 Ibid. 13 2.6 Articulations and Orchestration Applied to this piece are an array of different articulations and techniques of orchestration that correlate to the intensity and experience of each physiological taste. The techniques applied to each movement correspond to the physical sensation of each taste and its relative intensity or ?unpleasantness? as experienced by humans. Therefore, the Bitter and Sour movements in this work feature more ?aggressive? articulations and orchestration while in Sweet, these elements are quiescent and calming. The last movement, Salty features a balance between elements included in Bitter and Sweet and articulations that reference salt physically. The primary theme material in Bitter is inherently ?unpleasant.? Employing fortissimo and sfortzando dynamic markings, this section is riddled with accents, marcato and sul ponticello bowings, unmeasured tremolo, trills, molto vibrato, over-blowing and multi-phonics. Contributing to ?unpleasantness? in Sour are dissonant pitch collections, some of which contain artificial harmonics. Passages with glissando, tremolo figures and molto vibrato technique contribute to the process of corrupting sound. In addition, this movement culminates in a variety of extended techniques including glissando, sul tasto and sul ponticello, pizzicato, col legno battudo, and jet? (see FIGURE 2). FIGURE 2 Various articulations featured in Sour (mm. 26 ? 29) ????Timp.Hp.Vln. IVln. IIVla.Vc.Db.mp pp36sfsff p sf f psf f p sff sff sfsf f p sff f psf sf sff sfsf sf? gliss. gliss.? ~~~~~~~~~~~~~~~~~~~~~~~~~~~ sim5& ? ?sur la table??gliss.?? gliss.? ? ? ?? gliss. ?? ?? gliss.&non div.ord.> gliss.gliss. col legno batt. q x 2> ord.> gliss.gliss.col legno batt. q x 2>&ord.non div.(div) > > q x 4gliss.gliss.col legno batt. q x 2> ord. >q x 4(div)gliss.gliss.&non div. sul D and A (sul A molto vibrato) pizz> gliss.gliss.&(div) non div. sul D and A (sul D molto vibrato)<n> pizz> gliss.gliss.B ? ord. non div.> gliss.gliss. col legno batt. q x 2>pizz>gliss.gliss.B(div) non div. sul G and D (sul G molto vibrato)<n> col legno batt. q x 2>? ? ord.> gliss.gliss. > gliss.gliss. > gliss.gliss.?(div) non div. sul C and G (sul C molto vibrato) pizz> gliss.gliss.? ? ord. gliss. gliss. gliss.? ? ?w? ??w ? ? ?ww ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ???ww ??j ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ????? ??j ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ????? ??j ? ?w<n>w<n> w ww w ww w wwww w ww w ww w ww???ww ??J ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? wwww w ww w ww w ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??J ? ? ?? ??j ? ? ??ww w ww w ww w ? ??? ? ?J ? ? ? ?J ? ? ? 14 In contrast, the principal articulations in Sweet are legato and laissez vibrer for the winds and percussion instruments, respectively. Most of the melodic material in this movement utilizes legato and tenuto articulations. Laissez vibrer (l.v.) sustains the pedaled keyboard and metallophone accompaniment. Augmenting the element of sustain are other techniques including pedal tones and finger tremolo figures in the string instruments. Finally, there are several overlapping instrumental lines adding to the already increasingly blurry sonority. Salty contains a variety of articulations from the previous three movements. This movement features contrasts of legato passages against sections and figures that are essentially secco. These secco figures serve as a representation of salt as a compound and are essential to the movement. Included are staccato and pizzicato articulations along with non-sustaining percussion instruments. A summary of the musical elements derived from the physical properties of taste is below in TABLE 2. TABLE 2 Summary of musical elements derived from the physical properties of taste Movement Form and Tempo Dynamics Texture Articulation Intensity 1. Bitter Sonata-Allegro Allegro q = 120 ff f dense orchestration ? marcato AGGRESSIVE ? accents ? tremolo ? double stopping ? trills ? over-blowing ? multi-phonics 2. Sour Theme and Variations q = 96 sf (sfp) dense orchestration (absent winds and brass) ? glissando ? sul tasto ? sul ponticello ? col legno batt. ? jet? ? pizz. + gliss. 3. Sweet Modified Arch-form Larghetto q. = 56 p mp Light orchestration ? legato ? laissez vibrer ? finger tremolo ? sustained pedal tones 4. Salty Seven-Part Rondo (sonata-rondo) Vivace q = 168 pp mp Light orchestration ? l.v. ? legato ? pizz. ? staccato MILD 15 2.7 Conclusion The physical properties and chemical processes of the four physiological tastes provide numerous ideas applicable to the construction of Taste. These processes influence the formal structural designations, as well as decisions for tempo, texture, articulations, dynamics and orchestration. In terms of large-scale construction, a loose sonata-cycle structure emerges from the application of the physical properties of each taste to the structural designs and tempo indications of each movement. Further, decisions for dynamics, texture and articulation create a programmatic dimension in each movement. Thus, the physical properties of the physiological tastes establish a base upon which the rest of the work may be founded. Chapter 3 will focus on the emotional elements of music, connect these concepts to the emotions associated with each taste, and examine the applications of this concept to the work. 16 ?How do sounds, which are, after all, just sounds, have the power to so deeply move those involved with them?? Bennett Reimer14 Chapter 3 | EMOTIONS IN TASTE AND MUSIC: APPLICATIONS FOR COMPOSITION A significant body of philosophical and scientific literature has both supported and challenged music?s ability to represent and evoke human emotions. The philosophers of antiquity describe the affects of the musical modes and their mysterious power over the emotional states of listeners. Music theorists in the eighteenth century outline the Doctrine of Affections and argue that the mood of a text should be reflected in its musical setting to encompass one of several emotions including joy, sorrow, love, hate, anger and so on.15 Over the following centuries, these ideas flourish, appearing in many pieces composed in the common practice period. The music of the twentieth century continues this trend with the complexity of a new musical language and complementary complex emotional expressions. From the Expressionist?s declarations of alienation and suffering16 to the communication of grief, trauma and mourning in later twentieth-century works,17 the past century has maintained the practice of connecting human emotional states with music making. The rise of the film music genre from the early twentieth century to the present day is another example of this relationship in a current context. Taste incorporates the concept of emotional expression in music to strengthen the relationship between the senses of taste and hearing. By identifying the emotions associated with each taste and then applying similar emotive musical content, a complete template for this piece emerges in which only the particular musical material remains absent from the plan. This chapter lists the emotional and musical definitions of each taste and outlines how taste and sound are connected through their respective emotional meanings and representations. 14 Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 3rd ed. (Upper Saddle River, NJ: Prentice Hall, 2003), 73. 15 Oxford Music Online, s.v. ?Affections, Doctrine of,? by Judith Nagley and Bojan Buji!, accessed July 4, 2012, http//www.oxfordmusiconline.com/. 16 Oxford Music Online, s.v. ?Expressionism,? by David Fanning, accessed March 8, 2013, http//www.oxfordmusiconline.com/. 17 Maria Cizmic, Performing Pain (New York: Oxford University Press, 2012), 9. 17 Following this is a discussion on key philosophical ideas relating to music and the expression of emotions. Finally, an examination of data from a recent scientific study assesses the effectiveness of several techniques that communicate emotions through music and provides an explanation of how they are applicable to Taste. 3.1 The Emotional Definitions of Tastes Connections between human tastes and human emotions exist in the English language. Standard dictionary searches of each taste provide several secondary definitions that have clear emotional implications (see TABLE 3). The emotional meanings of tastes and the musical expression of these respective emotions through sound is another means of connecting the senses of taste and hearing in this work. Having established an emotional connection to each taste, sections 3.4 and 3.5 below discuss the concept of emotions in music and demonstrate how Taste applies these emotions to portray each physiological taste. 3.2 The Musical Definitions of Tastes In addition to emotional meanings, the words ?sour? and ?sweet? also relate to music. Musically, ?sour? is defined as not having the correct or properly produced pitch,18 often denoting mistuning. On the basis of this definition, the second movement, Sour, includes a glissando figure contrasted by an accompanying pitch collection fluctuating by semitone at a slightly slower rate. Collectively these musical ideas create an element of detuning and thus contribute to the musical meaning of ?sour? (see FIGURE 3). The musical definition of ?sweet? is harmonious or melodious19 implying conventional melodic contours and elements of consonance. The Sweet movement in this work realizes this definition with harmonic stability and melodic clarity. Additionally, ?sweet? is a jazz term describing music in straight time and free of syncopation. The middle section of Sweet (mm. 89-156) incorporates this concept as a stylistic contrast to the previous material within the movement (see Chapter 4 for a discussion on musical style in this piece). 18 Dictionary.com, s.v. ?Sour,? accessed March 15, 2013, http://dictionary.reference.com/browse/sour. 19 The Canadian Oxford Dictionary, s.v. ?Sweet,? 1465. 18 TABLE 3 Other definitions of tastes 3.3 An Additional Definition of ?Salty? The discussion of Salty is limited in this chapter as there are no clear emotional connotations for this taste. However, the word ?salty? has an additional meaning: of or relating to the sea.25 While not explicitly an emotional or musical definition, this meaning factors into the visual-imagery component of Leonard B. Meyer?s theory of music and emotions, featured in the next section of this chapter. 20 Cambridge Dictionaries Online, s.v. ?Bitter,? accessed March 15, 2013, http://dictionary.cambridge.org/dictionary/british/bitter_1 21 The Canadian Oxford Dictionary, s.v. ?Bitter,? (Toronto, Oxford University Press, 1998), 139. 22 Merriam-Webster OnLine, s.v. ?Bitter,? accessed March 15, 2013, http://www.merriam-webster.com/dictionary/bitter. 23 The Canadian Oxford Dictionary, s.v. ?Sour,? 1138. 24 The Canadian Oxford Dictionary, s.v. ?Sweet,? 1465. 25 Dictionary.com, s.v. ?Salty,? accessed March 15, 2013, http://dictionary.reference.com/browse/salty. Taste Emotional Definitions Musical Definitions Miscellaneous bitter (adj.) sour (adj.) sweet (adj.) salty (adj.) ? angry, 20 ? resentful, harsh,21 ? severe grief, pain or regret22 ? angry, resentful, irritated, unpleasant23 ? charming, amiable, pleasant, loveable24 ? out of tune ? ?sweet jazz? ? dolce, dolcissimo ? of or relating to the sea 19 FIGURE 3 ?Out of tune? expressed via a glissando motive in Sour (mm. 4 ? 9) 3.4 Summary of Selected Theories of Music and Emotions There are numerous opinions regarding music and its ability to represent emotional states and evoke emotional experiences in listeners. This section discusses the ideas of three music philosophers who support the existence of emotions in music: Deryck Cooke, Leonard B. Meyer and Peter Kivy. In The Language of Music (1959), Deryck Cooke provides analysis of melodic patterns, contours and dynamics in musical works from the medieval to modern eras to illustrate the integral musical-emotional content.26 Cooke considers the interval of a major third to express optimism.27 On the other hand, minor modes, chromatic collections and any ?disruptions of tonality? express pain and suffering.28 Application of these ideas in Taste involved a partition of each movement into respective degrees of tonality, based on emotional content. Thus, Bitter and Sour feature minor key and atonal collections, respectively, as expressions of pain, suffering and anger. Sweet is composed predominately in major and mixolydian modes as an expression of happiness. Salty, lacking clear emotional implications, features both minor-modal tonality and major tonality in each of its main thematic sections. TABLE 4 below provides a summary of the general tonality of each movement of this work. 26 Deryck Cooke, The Language of Music (Oxford: Oxford University Press, 1959), 211-274. 27 Ibid., 55. 28 Ibid., 54. ??Vln. IVln. IIVla.Vc.pp mp pp4pp mp pppp mp pppp mp pp&2 Solo Violinsnon div.sul A, E gliss glissU&non div. sul D, Agliss glissUBnon div. sul G, Dgliss glissU?2 Solo Cellinon div.sul C, G gliss glissUww w ww w ww wwww w ww w ww wwww w ww w ww wwww w ww w ww ww 20 TABLE 4 General summary of pitch content in Taste Movement Pitch Material Formal Tonal Quality 1. Bitter minor tonality, chromatic harmony, DISSONANCE various remote key areas 2. Sour atonality, flexible permutational procedures 3. Sweet major/modal tonality, ambiguity between related key areas 4. Salty minor/modal tonality, closely related keys CONSONANCE Leonard B. Meyer?s Emotion and Meaning in Music (1956) suggests that emotional qualities in music stem from the unconscious image processing that is created by the presence of extra-musical associations.29 In Taste, several extra-musical associations help execute the desired affect of each taste sensation in a musical context. Many of these ideas correspond to the previous physiological-based musical decisions previously discussed in Chapter 2. The dramatic and dynamic opening measures of both Bitter and Sour suggest an unpleasant experience with each of these tastes. Further, the function of detuning in Sour refers to the musical meaning of the term ?sour? but is also an interpretation of a physical experience of something extremely acidic (see FIGURE 4). The orchestration in Sweet includes resonating metallophone ?sparkling? sonorities and pitch content grounded in harmonic stability. Both of these elements suggest experiences of calmness, delight and enjoyment. Salty includes staccato articulations, pizzicato figures and the use of maracas, each an extra-musical reference to salt as a physical compound. Finally, as ?salty? has an additional meaning relating to the sea, a quotation of Debussy?s La Mer in this movement references a work already abundant in musical devices that describe the oceanic experience. 29 Leonard B. Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956), 258. 21 Meyer also argues that connotations of emotions occur in music when the material creates a series of realized or avoided expectations.30 In Taste, Bitter expresses ?unpleasantness? with devices that elude musical expectation: non-related key relationships, unconventional harmonic progressions, and asymmetrical phrasing. These devices combine with loud dynamics levels, dense orchestration and aggressive articulations to represent the associated emotion of anger in this movement. The expression of sadness occurs when these same devices apply to slower tempi, thinner textures and softer dynamic levels. Sour, on the other hand, expresses the emotions of anguish and grief through unpredictable atonal pitch processes and changes in dynamics. Sweet suggests ?pleasantness? with harmonic simplicity, conventional harmonic function and phrase symmetry. While this movement also features unconventional harmonic progressions, absent are sudden unexpected shifts in harmony and most of this harmonic ?wandering? is adequately prepared. In The Corded Shell (1979), Peter Kivy notes that some components of music have a connection to human emotions and their presence in a work strengthens the ability for a listener to perceive this emotion.31 Kivy identifies one of these components as ?contour,? citing a descending melodic figure and its resemblance of a human sigh as an example.32 In addition to contour, Kivy defines ?convention? as several musical ideas that assume emotive qualities through the experience and conditioning of the listener. Conventions include the associations of timbres, cadential formulae and modes with other human activities and associated emotions.33 Kivy?s argument for contour and convention, while broad, reinforces the general pitch content of this work as established previously from Cooke?s ideas. Further, it confirms the potential of idiomatic concepts to strengthen an associated emotion in a work of music. One such idiom in Taste is the descending melodic contour found in the primary motivic gesture of Bitter. In a slow tempo, this idiom represents sadness. However, it can also represent anger with modifications of tempo, articulation and texture. Kivy?s argument for contour and convention is useful, but it is also limited to a few specific works and does not supply many of pitch, rhythm and timbre to present relative emotions. The next section of this chapter will focus on an empirical study of emotions and music in order to find some of these concepts. 30 Meyer, Emotion and Meaning in Music, 257. 31 Peter Kivy, The Corded Shell: Reflections on Musical Expression (Princeton: Princeton University Press, 1979), 16. 32 Ibid., 77. 33 Ibid., 77-80. 22 FIGURE 4 Dramatic openings of Bitter (mm 1 ? 3) and Sour (m. 1) 3.5 An Empirical Study of Emotions in Music: Practical Applications In recent years, a number of practical studies have assessed the effectiveness of music to convey emotions and evoke emotional responses in listeners. Generally, these studies present varied types of music to test subjects who, in turn, subjectively rank each excerpt for its emotional content. Application of data from this research can both inform the composition process and strengthen the emotional and musical connections within this work. One such study, conducted by Christine Mohn in 2010 examines several basic musical ideas including rhythmic gestures, clich?s of pitch, orchestration and articulation. Each of these musical ??????????2 Flutes2 Oboes2 Clarinets2 BassoonsHorn I, IIHorn III, IV2 Trumpets 2 Tenor TrombonesBass TromboneTubaTimpaniTriangleCymbalsViolin IViolin IIViolaVioloncelloDouble BassAllegro q = 120444444444444444444444444444444444444&ff> > >3 3 3 3 3 3 3 3 3&ff 3 3 3 3 3 3 3 3 3&ff> > >3 3 3 3 3 3 3 33?ff&ff > n3 3&ff > b3 3&ff> 3 # > > >3 pp3?ff1?pp?ff pp??ffpp??ff> p ??~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~/ ff p ?/ ff> > ?& ff> 3 > 3 > 3 3& ff> 3 > 3 > 3 3Bffnon divisi> > > > >3 3 3 3 3 3 3 3 3 3 3 3?ffnon divisi3 3 3 3 3 3 3 3 3 33 3?ff> >> >?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??b ?? ?? ?? ?? ?? ?? ????b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??b ?? ?? ?? ?? ?? ?? ????b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ??n ?? ?? ??ww ww w? ???b ?? ?? ?? ?? ??# ?? ?? ?? ?? ww??b ?? ?? ?? ?? ?? ?? ?? ?? ?? w? ??? ??b ?? ??b ?? ? ? w ? ? ?b wwbww ww wbw ww ww w???w ???w? ? ? ? ? ?? ? ? ?b ? ? ?J ? ? ?b ? ? ? ?? ? ? ?b ? ? ?J ? ? ?b ? ? ? ???b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??n ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ? ?w w ? ???Violin IViolin IIViolaVioloncelloDouble Basssf ppq = 96sf ppsf ppsf ppsf ppsf ppsf ppsf pp4444444444444444&2 Solo Violins>&div. >&2 Solo Violins>&div.>&2 Solo violas>&div.> B?>?>~w#ww~w##ww##~wwwww 23 excerpts conveys one of six possible emotions: anger, sadness, fear, disgust, happiness and surprise. Mohn?s study succeeds in demonstrating that certain emotional qualities are both present and easily identifiable in several musical contexts. Not surprisingly, one of the sadness excerpts in this study is identified correctly by all of the participants. As well, 93 per cent of the test subjects in this study accurately identify a diatonic major key melody as conveying happiness.34 An explanation for these high scores from the authors suggests that happiness and sadness are easily identifiable in Western music as mode and tempo consistently confirm these emotions.35 The test results for the other four emotions in Mohn?s study (anger, fear, disgust and surprise) are also impressive. While test subjects less successfully identify these four emotions, they typically mistake them for similar ?positive? and ?negative? ones. Thus, anger, disgust and fear are often confused with one another, as are happiness and surprise.36 The testing stimuli from this study are useful in Taste and many ideas in this work are drawn from this test data. Mohn presents the emotion of anger in three excerpts of music that include loud volume, ascending tempo, dissonant harmonies, stepwise motion, and the minor mode. Forty-four per cent of the participants in this study acknowledge this material as angry, with the remaining group incorrectly identifying this material as either fear or disgust.37 By associating ?bitter? with anger, all of these qualities were applied to the first movement. The primary theme group, closing section and codetta of Bitter include a g-minor tonality, loud dynamics and fluctuations in tempo. Further, dissonance is present in this movement on both a melodic and harmonic level as well as the broader formal dissonance of distant key relationships throughout the movement. By the definitions of ?sour? as listed above, the emotion of anger and its musical equivalents also apply to the Sour movement. Thus, this movement is entirely dissonant and contains loud volume levels. The sadness excerpts in this study feature slower tempi, tempo variations, moderate volume levels, consonant harmony, stepwise intervals and minor mode tonalities. This emotion was perceived by 87 per cent of the participants, with the bulk of the remaining answers also found in the disgust and anger categories.38 By associating ?bitter? with sadness, these qualities 34 Christine Mohn, Heike Argstatter, and Friedrich-Wilhelm Wilker, ?Perception of Six Basic Emotions in Music,? Psychology of Music 39 (2011): 509. 35 Ibid., 511. 36 Ibid. 37 Ibid., 509. 38 Ibid. 24 also apply to the first movement. Both the subordinate theme group and a majority of the development section of Bitter include slow tempi, variations in tempo, moderate dynamic levels and minor mode tonalities (see FIGURE 5). FIGURE 5 The expression of sadness in Bitter (mm. 86 ? 92) The excerpt portraying the emotion of disgust in this study features ?screeching tones,? variations of material with changing expression and emphasis, uncontrolled tones in rapid succession, and ascending and descending motion.39 By associating ?bitter? with disgust, these techniques appear in first movement. Variations of changing expression and emphasis are present in Bitter with the incorporation of a single theme in numerous guises throughout the movement. In equating disgust with ?sour?, all of these ideas appear in the Sour movement. Sour begins with ?screeching tones? created by dissonant chords and accompanying artificial harmonics as sounded by the string section. The glissando figures (mm. 4-9, 20-25, and rehearsal 5 to the end) and natural harmonic glissandi at rehearsal 1 articulate the concept of ascending and descending motion. Finally, uncontrolled tones in rapid succession with varying timbres are prominent in the final section of this movement (mm. 36-49). In Mohn?s study, the musical expression of fear is most often mistaken, by participants, with the expression of disgust due to the similarities in musical content. The fear excerpt in this study is characterized as shivering and irregular vibrato, fast tempi, medium volume including crescendo and decrescendo passages, and ascending tempi.40 These musical qualities are similar to disgust and thus apply to both the Bitter and Sour movements. Both of these movements feature ?shivering? (tremolo and sul ponticello) figures and passages of increasing 39 Mohn, ?Perception of Six Basic Emotions in Music,? 507. 40 Ibid. ????Fl. Hp.Db.Andantino q = 848634343434& ? ?p1?pp3 3&p? ?? ? ? ??p?? ? ? ? ?# ? ?# ? ? ?# ? ? ? ?? ?? ?j ? ? ? ?? ? ? ?j ? ? ? ?? ? ? ?j ?# ? ? ? ? ?j ? ? ? ?# ? ?# j ? ?# ? ?? ?? ?j ? ? ? ?? ? ? ?j ? ? ? ? ?# ? ? ?? ? ?? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? 25 and decreasing volume. As well, ascending tempo is present in Bitter via marked acclerando and in Sour by a gradual increase in attack density. Vivid expression, broad timbres, fast tempi, dance-like rhythms, triple meter, and consonance characterize this study?s musical excerpt for happiness.41 By equating happiness with the emotional definitions of ?sweet?, these elements apply to the Sweet movement. Timbre in this movement is varied and melodically pointillistic. The harmonic progressions and melodic material are mostly consonant. The middle section of this movement includes fast tempo and a dance-like rhythm in triple meter. The participants in Mohn?s study often misidentify surprise as happiness. The surprise excerpt in this study features by short and staccato tones, major modes, ascending disjunct melodies, crescendo passages, and moderate volume.42 By considering surprise a ?positive? emotion, these elements appear in the Giocoso section of Sweet (mm. 89-156). This section includes major key material, short and staccato accompaniment figures and a disjunct ascending melodic line for the solo violin (mm. 97-112, 121-124). Finally, as a contrast to the preceding material, the arrival of the Giocoso section expresses a certain degree of ?positive? surprise.43 Mohn?s study provides descriptive examples of different emotions in music and has test results that confirm the effectiveness of each one. Ultimately, this study is beneficial in shaping the character of musical material within each movement of Taste. 3.6 Conclusion A link between the senses of taste and hearing is possible if one considers the power of music to represent emotions. The emotional implications of three of the primary tastes provide a link between the expressive musical material and the different physiological tastes. Philosophical arguments and empirical data related to emotions in music have supplied materials for this piece that complement the ideas inspired from the physical properties of each taste. However, the taste of salty has been mostly absent from this discussion as it lacks a definite emotional association. The next chapter will focus on the concept of musical style as it applies to each taste and the polystylistic procedures as they appear in this work. 41 Mohn, ?Perception of Six Basic Emotions in Music,? 507. 42 Ibid. 43 ?Negative? surprise was not tested in this study. One might assume its musical qualities would be similar to gestures in Sour (i.e. sudden sfortzando figures, etc.) 26 ?The polystylistic tendency has always existed in concealed form in music, and continues to do so, because music that is stylistically sterile would be dead.? Alfred Schnittke44 Chapter 4 | POLYSTYLISM Polystylism or ?stylistic polyphony? is a term that is associated with the work of Alfred Schnittke (1934-1998), among others. This technique combines different styles of music, formal constructions and harmonic languages among other musical elements. This chapter examines variety of these elements and the resulting emergence of a polystylistic fabric within Taste. Included in this discussion are the emotional implications of musical style and an explanation of Schnittke?s polystylistic method and its applications in this piece. 4.1 Musical ?Taste? Different styles of music create an additional level of meaning in this work. While Taste is a musical presentation of the four physiological tastes, the presence of diverse styles of music suggests a composition containing varied musical or aesthetic ?tastes.? In addition to connecting the concepts of taste and sound, this additional reference justifies the requisite polystylistic approach already occurring as a result of the physical and emotional ideas derived earlier. Thus, different musical ?tastes? are presented as each movement of this work is a distinct stylistic contrast to the others 4.2 Genre and Emotion Several studies of music and emotion include contrasting musical styles as test data for different emotional cues. A study by Tesoriero and Rickard in 2012 uses four contrasting pieces 44Alfred Schnittke, ?Polystylistic Tendencies in Modern Music? in A Schnittke Reader, ed. Alexander Ivashkin (Bloomington: Indiana University Press, 2002), 89. 27 of orchestra music as test data assessing the effective representation of emotions in music (see TABLE 5).45 The collection of pieces in this study exhibits a diversity of musical styles or genres. A nineteenth century march represents happiness, the cacophonous, ?organized sound? of Var?se is indicative of fear, while the lush orchestration and Impressionist harmonic ambiguity of Debussy?s symphonic poem denote calmness. Similar to the excerpts of Mohn?s study containing musical expressions of emotional elements, the so-called style of music in any work is an amalgamation of these elements. Style is thus capable of musically expressing equal and contrasting emotions in a broader context. The technique of polystylism in Taste enables different emotional associations relating to each taste to be governed by a unique style. Further, the presence of numerous musical styles within a single movement creates variety of both musical content and emotional expressivity. The next section of this chapter explores Schnittke?s polystylistic approach and discusses polystylism in Taste in Schnittke?s terms. TABLE 5 Test data repertoire in Tesoriero and Rickard?s study of music and emotions (2012) 4.3 Schnittke and Polystylism In Polystylistic Tendencies in Modern Music (1971), Schnittke describes two tenets operating in polystylism: the principle of allusion and the principle of quotation.46 The principle of allusion involves musical ideas that ?hover on the brink of quotation but do not actually cross it.?47 Taste applies this principle to enhance the expression of the implied taste emotions as well as to provide a work portraying different aesthetic ?tastes.? Bitter explores the elements of the romantic and neo-romantic styles of writing: it is a tonal sonata-allegro form 45 Michael Tesoriero and Nikki Sue Rickard, ?Music-Enhanced Recall: An Effect of Mood Congruence, Emotion Arousal or Emotion Function?,? Music? Scient? 16, no. 3 (2012): 356. 46 Schnittke, ?Polystylistic Tendencies? in A Schnittke Reader, 89. 47 Ibid., 88. Emotion Representative Work Happiness Strauss, Radetzky March (1848) Sadness Albinoni (attrib.) Adagio in G Minor Fear Var?se, Arcana (1925-27) Calmness Debussy, Pr?lude ? l'apr?s-midi d'un faune (1894) 28 unified by the presence of a recurring motive. While the harmonic language in this movement is moderately conventional, the expressive device of dissonance is achieved by unconventional harmonic progressions and modulations to remote key areas. Sour is post-tonal in style and thus features the notation, textures, pitch-set relationships and rhythmic techniques reminiscent of the avant-garde works Ligeti and Penderecki. Sweet is an Ambient48 movement and contains allusions to impressionism, minimalism, jazz and popular music. Salty contrasts with the other movements by featuring varying styles including minimalism, neo-classical orchestration, as well as popular music and Latin-American musical elements (see TABLE 6 for a summary of the polystylistic elements in Taste). TABLE 6 Summary of polystylism in Taste 48 Ambient music is a style and musical philosophy attributed to Brian Eno after the ?furniture music? of Erik Satie. Included are elements of harmonic stasis, loose rhythmic profiles and some spatial effects. Principle of Quotation Movement Principle of Allusion (principal musical style) Quotation Adaptation Free Development 1. Bitter Romantic Neo-Romantic ? ?Exoticism? (30-33) ? Latin-American (double bass, 28-37) ? Post-rock (41-48) ? Impressionism, Ravel (107-114) ? Film score (115-122) ? Minimalism (129-136) ?12-bar blues (145-148) cyclic structure 2. Sour European Avant-garde Modernism loose serial processes 3. Sweet Ambient ? Minimalism (A-sections) ? impressionism (A-sections) ? jazz, popular music (C-section) Klangfarbenmelodie 4. Salty Unspecified ? Minimalism (A-sections) ? Latin-American (Transition and B-sections) Debussy, La Mer 29 Schnittke?s second principle, the principle of quotation includes three important sub-techniques: ?quotation,? ?adaptation,? and ?free development of an alien technique?. Schnittke describes the first sub-technique, ?quotation,? as ?the quoting of stereo-typical micro-elements of an alien style, belonging to another age or tradition to exact or reworked quotations or pseudo-quotations.?49 While moments of suggested alien musical styles occur frequently in Taste, the sub-technique of quotation is predominantly present in the Bitter movement. The transition section in the exposition offers hints of both jazz music and nineteenth century European ?exotic? musical interpretations. Latin-American rhythmic elements are present in this section as well (see FIGURE 6). A fragment of a 12-bar blues pattern also appears near the end of the development (mm. 145-148). Bitter also features suggestions of post-rock50 and film score within the second theme group (mm. 41-60). Sweet references popular and jazz music in the middle of the movement (mm. 89-156) as well as chorale style composition (mm. 47-50, 167-178). Salty features stylistic rhythmic and harmonic elements of minimalism, neo-classical orchestration, as well as popular music and Latin-American musical elements. The second sub-technique from the principle of quotation is ?adaptation.? This is described by Schnittke as the ?retelling of an alien musical text in one?s own musical language.?51 The brief quote of Debussy?s La Mer in the middle of the Salty movement is an example of this technique (mm. 135-143). In this movement, the Debussy quote is adapted to serve as a brief interlude. The quote is further adapted to serve as a retransition to the main section of the movement. Schnittke describes ?free development of an alien technique? as the reproduction of a form or technical process from another style or period of music.52 Two specific techniques from other periods are developed freely in the Sour and Sweet movements of this work. Appropriated from mid-twentieth-century European composers, the technique of loose serial organization applies to pitch and texture in Sour. Sweet, on the other hand, utilizes a pseudo-Klangfarbenmelodie technique that includes the addition of repetitive rhythmic figures and additional octave doublings (see FIGURE 7). 49 Schnittke, ?Polystylistic Tendencies? in A Schnittke Reader, 87. 50 Post-rock is a modern subgenre of rock music emphasizing less strict formal constructs, textural and timbral variety and the absence of lyrics and vocal lines, among other traits. 51 Schnittke, ?Polystylistic Tendencies? in A Schnittke Reader, 87. 52 Ibid, 88. 30 FIGURE 6 Exoticism, Latin-American Rhythms and Jazz in Bitter (mm. 31 ? 33) FIGURE 7 Free development of Klangfarbenmelodie in Sweet (mm. 3 ? 8) ??????Fl. Ob. Cl. Bsn. Tpt. Vib.Vln. IVln. IIVla.Vc.Db.A Tempo poco rall. 31?poco rall. &ppmp pp& ? ?mp 3&pp? ?? 1?pp mp pp&pp1? con sord.mp>pp3&&ppp mp pp3&pppizz (non div.)&pp mp ppBpp mp pp?pp mp pp?w w w w ? ? ?? ? ? ? ? ? ? ? ? ? ?www w w w ? ? ?w ? ?? ?b ? ? ? ? ?j ?wwnn ww ww? ?n ? ? ? ? ? ? ? ? ?? ?? ?? ? ?? ?? ? ?? ?? ? ?wn w w w w ww wn w w w w???w ???w ???w? ? ?J ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 8&Flute Violin ICelestab bOboebHarpSolo Violin (15va)Violin I (8vb)Clarinetb bBassoon bFlute ?b ? ? ???? ? ?e ? eb ? ? ???? ?b ?e ? eb ? ????? ? ?e ? eb ? ? ???? ?b ?e ? e ?? ???? ? ?e ? eb ? ? ???? ?b ?e ? eb ? ? ?e ? e ? ? ?e ? e ? ? ?e ? e ? ? ?e ? e ? ? ?e ? e ? ? ?e ? e ? 31 4.4 Conclusion The presence of diverse styles of music in this work evokes an additional level of meaning by implying different aesthetic ?tastes.? This last concept provides an approach to unify the various elements derived from the physical properties of each taste and the musically expressive devices and broader styles of music associated with the emotions associated with each taste. In essence, polystylism and the idea of different ?tastes? are another critical tool in the connection of the sense of taste to the sense of hearing through music and organized sound. 32 ?It is recognized that musical theory has a retrospective as well as a descriptive character. First came the music itself; only later could the principles of its creation be deduced.? Knud Jeppesen53 Chapter 5 | MUSICAL ANALYSIS This dissertation has described the three conceptual devices necessary in presenting a musical portrait of each physiological taste. Outlined above were the physical properties of each taste and the derivative musical ideas, the implied emotional connections to each taste and the expression of these emotions through music, and finally, the role of polystylism. This chapter will describe the applications of these devices as they appear in Taste along with other analytical points of interest. 5.1 Musical Analysis of Bitter Bitter, as a physiological taste, is generally considered extremely unpleasant. As the strongest taste, Bitter appears as the first movement of this work in accordance with the taste-sensitivity spectrum. This movement?s sonata-form design is a reflection of the complex processing of this taste via secondary messengers. The human heart-rate response to the unpleasant taste of bitter relates proportionally to the primary tempo of this movement. Bitter?s unpleasantness is also the basis for textual density as well as aggressive articulations and orchestration. These elements of unpleasantness complement the emotional association of bitter with anger while their absence contributes to the bitter-related expression of sadness. The remaining analysis of this movement will focus on the stylistic aspects of Neo-Romanticism that contribute to Bitter?s presentation of general unpleasantness. This discussion includes thematic unity, complex key relationships, and the instability caused by harmonic dysfunction and asymmetrical phrase construction. 53 Knud Jeppesen, Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century, trans. Glen Haydon (New York: Prentice-Hall, 1939), ix. 33 5.1.1 Thematic Unity in Bitter The first three measures of Bitter introduce a theme consisting of two motivic ideas. The primary motive (motive-a) of this theme consists of the first four notes of a descending natural minor scale in a short-short-short-long rhythmic configuration. The melodic profile of the theme resembles a sadness excerpt from Mohn?s study outlined in Chapter 3. The short-short-short-long rhythmic gesture evokes an association with other Romantic works laden with emotional tension: specifically, the opening movements of the fifth symphonies of Beethoven and Mahler. A brief secondary motive (motive-b) serves as a link between the two successive statements of the first motive. An embellishment of motive-b also completes the gesture (see FIGURE 8). FIGURE 8 Motivic analysis of the primary theme in Bitter (mm. 1-3) Similar to the cyclical structures found in numerous works from the romantic era, the formal sections of Bitter are unified by the repetition, variation and transformation of these two motives. Further, the persistent appearance of these figures throughout the work creates a connection to an emotional conception of bitter, as this emotion is often both enduring and pervasive. Throughout the movement, this gesture appears at varying pitch levels and in various transformations including inversion (I), retrograde (R) and retrograde-inversion (RI). Other variations include alterations of rhythm, embellishments of pitch content, and the augmentation of the intervallic content in motive-a. The gesture is incorporated into in the main theme groups, transition sections, and closing sections of the first movement. FIGURE 9 illustrates some of the more prominent examples of this gesture in Bitter. 44&motive a3motive brepeat of motive a(transposed a perfect-fourth lower)3motive b (expanded)3 3 ? ? ? ?b ? ? ?J ? ? ?b ? ? ? ? ? ? ? ? 34 FIGURE 9 Examples of thematic unity in Bitter 38 2438 24 444434 444444&mm. 13-17woodwindsmotive bpicc, fl, vln Imotive amotive bmotive a (altered) 3Primary Theme (second part)&mm. 23-27woodwindsviolinsmotive amotive bmotive a (R)> > violinsmotive b(expanded)> > > >motive a (R)3motive b(expanded)> motive a3 > picc, flmotive a (RI)33Pre-transition section&mm. 28-31solo violinmotive a (altered rhythm)motive aclar. 1motive bmotive a 3Transition&mm. 41-32 motive a (altered rhythm)similar material applied in development (mm. 86-128)flutemm. 49-50 &similar material applied in development (mm. 137-143)piccolomotive a (expanded)motive b 33Secondary Theme&mm. 58-62 vln Imotive a (RI)3motive a (I)3motive b (expanded)motive a (RI) motive a3motive b motive awith augmentation of intervals:- M2 expanded to m3- m2 expanded to M23motive a mm. 67-69 &winds, violins motive a(successive overlapping statements)> 3 > > >3 > > >3motive b> Codetta? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?b ??? ? ?# ? ?n ?# ? ? ? ? ? ? ? ? ???w ??b ??# ??? ? ? ? ? ?# ? ? ? w ? ?# ?# ? ? ? ? ? ? ??? ? ? ? ?# ? ? ? ?J ?# ?# ? ? ?# ?# ? ?# j ??#J ? ? ? ? ? ? ?# ?# ? ?J ? ? ? ? ?# ? ? ? ? ? ?# ? ?# ? ?# ?# ? ?# ? ? w#? ? ? ?# ? ? ?# ? ? ?# ?# ? ? ? 35 5.1.2 Formal Design and Key Relationships Bitterness results from gustducins that interact with secondary messengers and is ultimately an indirect chemical process. Bitter is a sonata-form structure, reflecting the additional complexity in the human chemical processing of this taste. The formal sections of this movement are remotely related though distant keys, enhancing relative complexity of Bitter?s formal construction. Remote key relationships also convey an emotional sense of unpleasantness through instability. In Bitter, the remote key relationships create a larger schematic dissonance within the movement and thus portray the general emotion of unpleasantness associated with bitterness. TABLE 7 below shows the large-scale tonal design of this movement. TABLE 7 Large-scale formal and tonal design of Bitter and associated emotional content Bars Formal Unit Tempo, time signature Emotion Key 1 ? 85 1-27 1-12 13-27 28-40 41-66 41-48 49-66 67-85 86 - 162 86-136 137-148 149-162 163-207 163-187 163-172 173-187 188-207 188-195 195-207 208-232 208-217 218-225 226-229 230-232 Exposition Primary Theme Part 1 Part 2 Transition (Bridge) Secondary Theme Part 1 Part 2 Closing Section Part 1 Part 2 Development Development Part 1 Development Part 2 Retransition section Recapitulation Primary Theme Part 1 Part 2 Secondary Theme Part 1 Part 2 Coda Part 1 Part 2 Part 3 Part 4 Allegro Con fuoco Tranquillo Andante Moderato Andante con moto [Allegro] Con fuoco Andantino Andantino Lacrimoso Pi? Mosso Allegro Con fuoco Andante Moderato Andante con moto Allegro Moderato Quasi Misteroso Allegro 4/4 3/8 4/4 3/4 4/4 4/4 3/8 3/4 4/4 4/4 3/8 3/4 4/4 4/4 Anger - Sadness Anger Sadness - Anger Sadness Anger Sadness Suspense Anger g D - B c# - b - f# B C# e - Bb - C a - A - g (Bb) g G - (Bb) d (Eb) - g 36 5.1.3 Harmonic and Rhythmic Instability and Phase Asymmetry as ?affect? Ambiguous tonality and asymmetrical phrasing create another aspect of instability and unpleasantness in Bitter. Unconventional harmonic progressions at the phrase level along with shifting tonality between phrases and smaller formal sections create a general sense of distress. Further, phrase asymmetry in combination with these complex harmonic progressions interrupts the continuity of the work and creates a sense of discomfort and dysfunction. Modification of tempo, dynamics and articulation retains this quality of unpleasantness while altering the unpleasant emotion being expressed. In Bitter, the main emotions of expression are anger and sadness. The primary theme (mm. 1-27) of Bitter expresses the emotion of anger. Harmonic ambiguity, rhythmic irregularity and phrase asymmetry combine with predetermined ideas of texture, dynamics and articulation to coalesce into an expression of ?bitter? anger. While the theme opens by establishing the key g minor, it features a mediant-related chord progression and lacks a functional confirmation of this key. Further, rhythmic irregularities such as irrational rhythms and syncopation merge with the five and seven-measure phrases to create an asymmetrical periodic structure (see FIGURE 10). FIGURE 10 Reduction of the first phrase of the primary theme in Bitter (mm. 1-5) The eventual abandonment of the primary key area is conventional in any sonata-form movement. Typically, this involves a transition section or bridge. In Bitter, the tonal center of the primary theme destabilizes before the onset of the transition section. This begins when the second phrase modulates to the dominant key of D major. Modal mixture undermines the confirmation of this key and a shift in meter adds to the overall tone of instability. This D major tonal center is neither the key nor the dominant of the subordinate theme group. Thus, the Allegro q = 120444444&ff3 3 3 3mf mp3ff &ff mp ppnb 3 3 3 3 3 3 3 3 3 3 3 3 6 6?g: i pedal______________________________________________________( V ) ( i )7 ( P )VI 13 IV 7 nffi 3 3 3 3 3 3 3 3 3 3 3 3? ?? ?? ??bb ?? ?? ??J ?? ?? ??bb ?? ?? ?? ?? ? ? ? ? ? ?# ? ? ?# ? ?# ????b ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ?????b# ???????????????????? ??????????????????????????????????? ????bn ???? ???? ???? ???? ???? ???? ???? ???? ???? ???? ???? wwwwwwb ? ????? ?# ? ?# ?? ?# ? ?# ?? ?# ???bww?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ww?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ?? ?? ??? ?? ?? ? ? ? ? ? ? wwwwbbbb ?? ?? ?? ??? 37 primary theme continues to modulate, concluding with a segment (mm. 25-27) that functions as a bridge to the transition-section proper. This pre-transition section begins with a shift in meter and features a mediant-related harmonic progression that ?resolves? by tritone to the real transition section in measure 28 (see FIGURE 11). FIGURE 11 The end of primary theme and ?pre-transition? in Bitter (mm. 10-25) The transition section (mm. 28-40) transforms the character of this movement from anger to sadness. As is expected with any transitional material, harmonic and rhythmic instability are prominent. The transition follows an altered sequential plan with the meter consistently interrupted by decelerations of tempo. This section also lacks a conventional dominant preparation before the arrival of the second theme. Instead, a dominant-substituting subtonic harmony precedes the secondary key of B major at measure 41 (see FIGURE 12). The second theme of Bitter expresses the emotion of sadness. Similar to the primary theme, the elements of minor mode, shifting tonality and changes of meter create a sense of instability. However, the musical elements drawn from the physiological properties of taste are absent. Thus, the loud dynamics, thick textures, aggressive articulations and fast tempo from the primary theme recede to less dramatic qualities to express an emotion of sadness. ????????1.2.( q = 120 ) Con fuoco q. = 60 poco rall.3.poco rall. Moderato q = 88rit. Tranquillo( q = 104 )44 38 24 2444 38 24 2424 4424 44&stringsharpwinds3sf pp sfp+ violin I3ff#+ brass#mfb> > > > 310?D:g:bIIVI1313tri-tone progressionV#7+ timpI pedal________________________( IV )64 ivb(modal mixture)b v7n&mfb> >fviolins> > > > > > ## mediant progression: E - G - Bb3 ###> > > > > . . .3ff>flutes3# 324Pre-transition Section Transition Section????ivbbA:vi77nnVn47 _____________ # bVII##74 _________ 3 bII>#aug.75tri-tone progressionVp7 wwwwwb ?? ? ?b ww#? ? ? ? ? ? ??# ????? ?b ?b ????? ???? ? ? ? ?????? ??? ????? ???? ? ? ? ?n ?????? ? ? ? ?????? ? ?wb wwbb wwwww www???? ??? ? ? ????? ?? ?J ? ????? ?? ????? ??????????? ? ? ? ?????? ? ? ????? ?b ? ? ? ? ????? ? ?n ????? ? ? ? ? ? ????? ? ? wwwwb# ??b ??n ??????? ????? w? ? w? ? ? wwwb< b> ?????#n 38 FIGURE 12 Reduction of transition section in the exposition of Bitter (mm. 28-41) The second theme group (mm. 41-67) begins in the key of B major with the primary gesture of this movement as the basis for the melodic material. An inner descending chromatic line challenges the relative stability of the tonic pedal in this eight-measure phrase (mm. 41-48). As the theme progresses through other keys, the inner chromatic line and pedal technique appear with thicker textures in c-sharp minor (m.49-52) and f-sharp minor (mm.57-40). At the end of this section, the subordinate theme group accelerates towards a perfect cadence in B major, confirming this key and initiating the codetta (see FIGURE 13). FIGURE 13 Reduction of secondary theme in Bitter (mm. 41-67) Tranquillo( q = 104 ) ( q = 72 )rit. Andante Moderato&28 31 34 37 41 ?A:SEQUENCE MODELV 7 ivdesc . 4thE: VSEQUENCE COPY7B: ? VIIIV ?77 I www# ??# wwwn ?n? www# ?#? wwww# ??#? www#ww# ww< n> ?n w w ww#Andante Moderato q = 72 Andante Con Moto q = 8441 49 53accel. q = 12057 61 6734 4434 44& ## n# # n# ## # # ##?B: I pedal__________#(ii )? 7 ( VII )IVn 8 - 76 - 54 - 364 IV7c# : i pedal____ b: vii ? 7 i vii ? 65 f# : V 65& ## ##n ?(f # :) i pedal____ E: vii ? 7 I43 nVI7aug I 7 vii ? /V7B:VI add 6add 6 IV V7 I ???? ?# ?n ???? ??? ?# ??? ??? ?? ?n ? ?#??? ??? ?# ?#??? ????## ?# ? ??## ??##?? ?# ?n ?# ww?w ?n ?# ?# ????# ??? ???## ???##???## ?# ? ?n ? ?# ? ? ?# ? 39 The onset of the codetta (mm. 67-85) restores the emotion of anger with the reprise of material from the primary theme. This codetta begins with a confirmation of B major, but quickly modulates to C-sharp major and simultaneously changes meter. This section concludes with a descending semi-tone sequence (mm. 82-85). The variability of key and meter in the closing section contribute to the emotion of anger and blur the formal boundary between exposition and development sections. The development in Bitter divides into three smaller sections. The first section (mm. 86-136) of the development is a single phrase that contains varying elements of instability. To some extent, this phrase is markedly more stable as it features a reduction in harmonic rhythm, and static harmonic areas. Further, while smaller phrase units are asymmetrical at the beginning of the section, they stabilize into units based on two-measure-multiples as the phrase progresses. However, complex harmonic relationships increase instability in this section. After ?resolving? by tritone from the codetta section, the first part of the development begins in e minor. The section moves through B-flat major and F major, ultimately arriving on a dominant pedal prolongation in C major. The second section of the development (137-148) is a 12-measure phrase initiated by deceptive motion (C: V ? vi). It is also relatively stable in terms of phrase rhythm and tonality as it is twelve measures in length and tonally centered in A. Elements of instability include unconventional harmonic progressions and a weakened tonal confirmation by a fragment of a retrogressive 12 bar-blues pattern54 in measures 145 through 148. Following is the last section of the development (mm. 149-162). This section is a retransition that remains harmonically ambiguous until the arrival of a brief dominant preparation of g minor that initiates the return home key and concludes the development section. The recapitulation section in Bitter, by convention, restates both the primary and secondary themes in the tonic key of the movement. Following the recapitulation is a coda (mm. 208-232) with both conclusive and developmental properties. The phrase-rhythm in this section is almost entirely symmetrical and thus, conveys a level of stability often associated with a concluding section. On the other hand, shifting tonality and changes in meter and tempo undermine these aspects of closure. The coda begins on the tonic major key of the movement and modulates to f minor. The Moderato section (mm. 218-225) modulates, anticipating a perfect cadence in E-flat major that never arrives. Instead, a deceptive cadence follows, initiating the Quasi Misterioso section (mm. 226-229). These measures articulate the schematic 54 A harmonic ?retrogression? is the opposite of a harmonic progression; in this case, the fragment of the 12-bar blues harmonic pattern is analyzed as A: V ? IV ? I 40 dissonance of this movement by contrasting a B tonality with the dominant of g. The final three measures of Bitter reprise the opening gesture, restating the emotion of anger, and confirm the key of g minor to conclude the movement (see FIGURE 14). FIGURE 14 Reduction of coda in Bitter (mm. 208-232) 5.2 Musical Analysis of Sour Sour is a relatively unpleasant taste and in accordance with the taste-sensitivity spectrum, Sour appears as the second movement of Taste. The human heart-rate response to this taste relates proportionally to the tempo of this movement. A variety of aggressive articulations and extended techniques also reflect the intensity of sour as experienced by humans. These elements combine with the atonal framework of this movement to establish the emotions of anger and irritation that are associated with the word ?sour.? Further, a representation of the musical definition of sour appears in the form of a glissando figure, representing detuning. The analysis below will focus on the process-based structural aspects that liken this movement to musical style of the twentieth century avant-garde. Allegro q = 120Moderato q = ca. 84 Quasi Misterioso q = ca. 80 Allegro q = 120&208bb bbb212bbbb216b < n>b < n>U?G: I pedal____________________( ii )?7 ( b VI )6 ( P )F: I pedal______________________64______ 53 V / IV7 ( )? 7 ( )?7IV V7&218bb bb bb224 226 230?Eb : ii ii pedal____________________ i 77 V 43 ii 7 V 43 ii 7 ?7V864___________73 b VI(enh.) g: V7 i V7 i ???? ? ?b ????b ? ? ?b ????? ?? ???? ?? ???? ?b ?b????b ?b ? ?n ?????? ?b ????b ?? ?b ????? ?b ?b ? ???? ?b ?b ? ???? ??ww ?? ??bb ww ?? ??bb ?????? ??b ???? ??b ???? ?b ????bbb ?????b ????#nn# ????#n ???b ???# ???bwwwwbb wwnn ww ? ? ? 41 5.2.1 Formal Design of Sour The human ability to perceive sourness is the result of a direct process of chemical absorption and this is reflected in the formal design of this movement. Thus, Sour is a process-generated piece with loose serial procedures governing the pitch content and texture. A description of these processes is included in section 5.2.2 and 5.2.3. Sour also includes the elements of a theme-and-variation movement. This formal designation results from the inclusion of a developing motivic idea, clear formal boundaries and the consideration of the position of this movement within the traditional sonata cycle. Thus, while intended as a process-based continuous form, Sour includes a brief introduction, a theme, two successive variations and two ?interlude? sections. The introduction and interlude sections relate to one another as a theme and two variations, but for the sake of clarity in this document these sections will be referred to as ?interludes?. Henceforth, the analysis of this movement will refer to formal sections in terms of a theme-and-variation form (see TABLE 8). TABLE 8 Large-scale formal design of Sour Bars Formal Unit Pitch Content 1 Introduction [0146] 2 - 9 Theme cycle-1 10 - 17 ?Interlude? 1 Aggregate 18 - 25 Variation 1 cycle-2 26 - 35 Interlude 2 Aggregate 36 - 49 Variation 2 Open-string notes; last statement of cycle-1 and 2 5.2.2 The Musical Definition of ?Sour? and Thematic Content A recurring glissando motive appears throughout this movement. This motive is a representation of the musical definition of sour, ?detuning,? as mentioned above. It is also the basis for the theme and subsequent variations in this movement. Solo pairs of string instruments in measures 4 through 9 first introduce the theme by presenting this motive. The first variation (mm. 18-25) features a thematic restatement by pairs of violas and celli while a varied form of the motive appears in the violins via natural harmonic glissandi. The third variation (mm. 36-49) is the final section of Sour and features the glissando motive in all instruments. 42 5.2.3 Textural Process The general textural process in Sour involves an increase in texture and an affective corruption of sound. This process appears in numerous forms throughout the movement. One example is the growth-and-decay vibrato figures accompanying the glissando motive in both the theme and the first variation. A second example involves the relationship of the introduction and the two ?interlude? sections that appear between statements of the theme. A one measure ?introduction? containing an all-interval tetrachord [0146] precedes the first theme in measure 1. The first interlude (mm. 10-17) features pitch and textural development of the introduction. This section features a gesture similar to the opening measure, but with an expanded aggregate cluster collection in multiple voices (literally an ?all interval? chord). The second interlude (mm. 26-35) features a similar collection of pitches and voicing, but with significantly intensified sound corruption: a cacophonous sonority results from randomized sul ponticello and sul tasto bowings, deceleration of tremolo and additional statements of the growth-and-decay vibrato figures. The gradual corruption of sound also applies to the theme and subsequent variations in this movement. The first variation of the theme presents a thematic restatement by pairs of violas and celli while a varied form of the motive appears in the violins and contributes additional texture with natural harmonic glissando figures. The second variation of the theme constitutes the final section of Sour (mm. 36-49). In this section, the glissando motive appears in varying string instrument combinations resulting in a seemingly randomized texture. Elements of antiphony and stretto in this section are a textural development of the loose unison texture initially stated by solo pairs of instruments in the initial presentation of the theme. Execution of the glissando motive articulated by numerous extended string techniques also contributes to this development of texture. 5.2.4 Pitch Process A predetermined organization of pitch governs the musical material accompanying the theme and its variations in Sour. The organization of pitch in this movement is based on a scale of alternating major-second and minor-third intervals (see FIGURE 15). The notes of this scale organize into the pentachord [02479]. This pentachord is the basis for a loose serial procedure (cycle) that contains four different forms of this collection that together complete the aggregate. This process supports the glissando theme (mm. 2-9) and the first variation (mm. 18-25) where the ordering appears in an inverted form under T4I. 43 FIGURE 15 Scale basis for pitch in Sour The fifth pentachord of both series includes the same collection of pitches: (DEGAC). This is a special group as it corresponds with open-string tunings. The theme and first variation feature the glissando motive with open string pitches. The second variation (mm. 36-49) features this ?open-string? pentachord exclusively. Supporting the string instruments in this section are additional glissando figures in the timpani and harp. The harp is tuned [DCB#EFbGA] thus combining the open-string pentachord with the motive of glissando. This comprehensive gesture concludes the movement. FIGURE 16 illustrates the pitch design of this movement showing the initial scale and the resulting pentachord cycles. FIGURE 16 Pitch process in Sour & ?Pentachord 5-35 [02479]m3 M2 ?# ?# ?# ?# ? ?# ? ?# ??? ? ? ? ?b ? ?b ? ?b?b&cycle-1 THEME (mm. 2 - 9)mm. 2-3mm. 4-5mm. 6-7mm. 8-9SECOND VARIATION (mm. 36 - 49)mm. 36-49D - Ab axis of symmetry?cycle-2FIRST VARIATION (mm. 18 - 25)mm. 18-19mm. 20-21 mm. 22-23 mm. 24-25mm. 36-49? ? ? ? ?b ? ?b ??b ?b?# ?# ?# ?# ? ?# ? ?#? ? ?n ? ? ? ?? ? ? ? ?# ? ?# ? ?# ?#?b ?b ?b ?b ? ?b ? ?b ? ?? ? ? ? ?&Voiceleading and orchestration of the cycle-12Violin II (b)Violin I (b)Viola (b)b4 6n#8? Cello (b)Bass??? ?b ??? ?n?? ?b?#? ?n 44 5.3 Musical Analysis of Sweet Sweet, as a physiological taste is enjoyable and pleasant. As a weaker taste, Sweet appears as the third movement of this work in accordance with its position in taste-sensitivity spectrum. While roughly equal to the taste of salt in terms of physical sensitivity, the slow tempo of Sweet and the implied sonata-cycle organization of Taste warrant its position as an inner movement. The complex processing of the taste of sweetness is reflected in Sweet?s modified arch-form design. The pleasantness of this taste is also the basis for the legato and laissez vibrer articulations, ?sparkling? metallophone orchestration, thinner orchestral textures, and sustained figures that are featured in this movement. These elements also complement the association of sweet with pleasant feelings and the emotion of happiness. Further, the harmonic, melodic and stylistic properties of Sweet agree with both the emotional associations and musical definitions of ?sweet.? The analysis of this movement will focus on Sweet?s presentation of pleasantness and happiness. Discussed will be the formal design of the movement, key relationships and the relative stability resulting from stable tonality and symmetrical phrase groupings. Also included is an analysis of the digressive sections in Sweet and their relationship to the first movement of this work. 5.3.1 Formal Design and Key Relationships The taste of sweet results from gustducins that interact with secondary messengers and is ultimately an indirect chemical process. Sweet is a modified arch-form structure, reflecting the additional complexity in the chemical processing of this taste. An arch-form design is not inherently complex. However, the formal modifications, key relationships, and absence of any direct procedural element, render the structure of this movement more elaborate than the simple process-based structure found in the Sour movement of this work. Sweet, like Bitter includes a variety of keys within its form. In Bitter, the remote key relationships among formal sections create a schematic dissonance and ultimately convey a sense of unpleasantness and instability. In contrast, the relationships of the key areas in the formal sections of Sweet, while varied, create a less pronounced disparity. With the exception of the middle section, this movement contains closely-related keys among its formal sections. This tonal design creates a complexity of form reflecting the physical processing of sweetness, but the reduced schematic dissonance accommodates both the physical and emotional pleasantness associated with this taste. TABLE 9 below outlines the formal design and tonal centers in Sweet. 45 TABLE 9 Large-scale formal and tonal design of Sweet Bars Formal Unit Tempo, time signature Key 1 ? 42 A-section Larghetto 6/8 Eb mixolydian 43-60 B1-section f - c - Eb 61-70 A-section Eb mixolydian 71-88 B2-section F# (d#) enharmonic: Gb (eb) 89-156 C-section Giocoso 3/8 C - Bb 157-162 (transition) Larghetto 6/8 bb 163-178 B1-section bb - c - Ab 179-188 B2-section Ab ( f ) 189-195 A-section Eb mixolydian 5.3.2 Harmonic Stability and Phrase Symmetry as ?affect? Major-modal tonality and symmetrical phrase units create an environment of stability and pleasantness in Sweet. Static harmonic pedal points, simple harmonic progressions and a slow tempo represent the emotional concepts of ?agreeable? or ?pleasing? as well as musical definitions such as ?harmonious.? In addition, predictable phrase rhythm maintains the continuity of this music and confirms the quality of stability. These techniques factor prominently in the A and C-sections of this movement. The initial A-section of Sweet (mm. 1-42) features two phrases containing an extended E-flat harmonic pedal. Each phrase features some acceleration of harmonic rhythm before arriving at a point of cadence. The first phrase is sixteen measures in length, while the second measure contains an internal interpolation resulting in an eighteen-measure phrase, mildly weakening the symmetry between the two phrases. The conclusion of A-section section (mm. 38-42) is a six-measure phrase that functions as both a closing section and a transition to the B-section of this movement. Harmonically, this section consists of a stable dominant pedal. Functionally transitional, there is a small harmonic disruption in these measures involving a shift in the harmonic quality from major to minor. In every other respect, this transition section is relatively placid. The remaining statements of the A-section in this movement (mm. 61-70, mm. 189-195) are essentially abbreviated restatements of the first A-section. As in the first A-section, these 46 restatements are tonally stable and employ a pedal point technique to affirm the E-flat tonal center. In spite of a modification of tempo, articulation and gesture in the Giocoso (C-section, mm. 89-156), the musical qualities of harmonic stability and phrase symmetry continue to represent the emotions associated with sweet. This middle digressive section features two consecutive extended pedal points. From measures 89 through 140, a repetitive ascending-second harmonic progression appears over a tonic pedal in C major. Simple scale-like melodic figures contrast with the wandering contour of the featured solo violin passages. Phrase symmetry in these measures is maintained through the repetition of several eight-measure units. At measure 141, the tonality of this section shifts from C to B-flat. The B-flat pedal point continues in a 12-measure phrase containing a slightly developed harmonic progression. This section concludes at measure 156 and is followed by a restatement of the transition material found earlier in the movement. 5.3.3 Harmonic Instability and the ?Bitter? in Sweet The B-sections in Sweet provide contrast to the movement and include an ambiguity of tonality comparable to the Bitter movement. While these sections feature stability through phrase symmetry that is consistent with the adjacent sections of the movement, the inclusion of an ambiguous harmonic language weakens the equanimity of these sections, providing contrast to the movement. The shifting tonality between major and minor modes along with a slower tempo liken these sections to an expression of sadness similar to that found in the second theme and development sections of Bitter. In addition, the primary motivic gesture from Bitter is the basis for the melodic material in these sections (see FIGURE 17). The first B-section (B1, mm. 43-56) is a single 14-measure phrase that begins in f minor and moves through c minor before modulating back to E-flat major/mixolydian. The harmonic language in this section assists this fluctuation of key areas. Measures 43 through 46 employ a mediant progression similar to the opening phrase of Bitter. A similar progression is repeated in the key of c minor (mm. 51-53) before the phrase modulates back to E-flat. The first B-section concludes with a four-measure retransition with ambiguous harmonic motion between the mediant-related subtonic and dominant-minor triads. 47 FIGURE 17 The Bitter gesture in Sweet The second B-section (B2, mm. 71-88) begins with an expanded restatement of the opening harmonic progression from the first movement along with melodic material based on Bitter?s primary theme. The harmonic material in this section embraces ambiguity between relative major and minor modes of d-sharp minor and F-sharp major, respectively. This section concludes as a transition section to the Giocoso C-section in C major. The final B-section combines the previous B1 and B2 and presents them consecutively (mm. 163-188). The last statement of B1 (mm. 163-178) is expanded to a 16-measure phrase. Beginning in b-flat minor, this phrase moves through c minor in a similar fashion as before, but is no longer goal-oriented toward E-flat. Instead, though an expansion of the original phrase the section ends on half-cadence in A-flat major. Following is the final statement of B2. Initiated by deceptive motion, this section embraces the ambiguity of relative major and minor keys before dissolving harmonically into transition material leading to the final A-section of the work. 5.4 Musical Analysis of Salty Compared with the tastes of bitter and sour, salty has a relatively weak effect upon the human palate. While roughly equal to the taste of sweet in terms of physical sensitivity, Salty appears as the final movement of this work because of the comprehensiveness of its materials and the conclusive qualities of its overall musical character. Further, as a final movement with a quick tempo, Salty complements the implied sonata-cycle organization of Taste. 4468686 8&Bitter mm. 1 - 4motive a3motive bmotive a3motive b (expanded)3 3&Sweet mm. 40 - 43bsn. vlc.fl. Imotive bTo motive a - varied &Sweet mm. 53 - 55 fl I. vln I.motive a - expanded &Sweet mm. 79 - 82 picc. fl I. glock. vln I.motive a - altered motive a - RI motive a ? ? ? ?b ? ? ?J ? ? ?b ? ? ? ? ? ? ? ?? ? ? ? ?b ? ? ? ? ? ? ?? ? ?b ? ?b ? ? ?b ? ? ??b ? ? ? ? ? ?b ? ? ? ?b ? ? ? ?b ??# ? ?# ? ?# ? ?# ? ?# ? ?< n > ? ?# ? ?# ? ?# ? ?# ? ?# ? ? ? ?# ? ?# ? ?# ? ?# ? 48 The taste of salty lacks both emotional associations and musical meanings. Thus, the creation of a musical portrait for this taste requires a different approach in order to present this taste among the other three movements in this work. The analysis of this movement will focus on the alternative methods applied in its composition. Included in this discussion will be an examination of the relationship between the physiological processing of this taste and the musical processes within the work. As well, the depiction of salt through word painting and the incorporation of a musical quotation will be explained. Lastly, this analysis will examine the characteristics of Salty that unite it with the other movements of Taste and provide closure to the entire work. 5.4.1 Form and Process in Salty As with sour, the taste of salty is a result of a direct chemical process. However, unlike Sour this movement is not a continuous form. Salty is a seven-part rondo with closely-related keys, a form of mild complexity compared to the formal designs of Bitter and Sweet and thus, representative of the simple physical processing involved in the mechanics of salty taste (see TABLE 10). TABLE 10 Large-scale formal design of Salty Bars Formal Unit Tempo, time signature Key 1 - 20 A-section Vivace 4/4 e dorian 21 - 42 Transition section - 43 - 100 B-section G major 101 - 116 A-section e dorian 117 - 134 Transition section - 135 - 143 C-section q = 116 6/4 ; 4/4 (c#) 144 - 159 A-section Vivace e dorian 160 - 181 Transition section - 182 - 217 B-section e dorian 218 ? 235 A-section e dorian In lieu of a process-based formal construction, Salty includes the integration of two musical processes into the body of the movement. The first is a process of textual development. Through repetition, the A, B and transition sections feature an accumulation of texture. A subtractive textural process occurs at the end of this movement (mm. 218-235), with wind and 49 string instruments gradually disappearing until only a solo maraca is audible. The second process is harmonic and melodic sequence. The transition sections in Salty show a combination of sequence and textural development. Built upon a variation of descending-fifths, the sequence in the transition section is based on four-bar units and is scored with relatively light texture. As the sequence proceeds, the musical texture and general dynamic level increase, culminating with a climatic heavily orchestrated gesture (m.33). A doubling of the harmonic rhythm and a second form of sequence enhance this moment of climax (see FIGURE 18). FIGURE 18 Sequence in the transition section of Salty (mm. 21-39) While the most prominent sequential moments appear in the transition sections of this movement, there are other less substantial sequences to consider in Salty. In the B-section, descending melodic figures appear in a sequence based on two-measure units over static harmony (mm. 47-54). As well, in the third statement of the A-section (mm. 144 ? 159) the first &SEQUENCE MODEL-1#COPY21?e: iv7G: ii7pV7mpg: v7C: ii7 V7&COPY bfSEQUENCE MODEL-2> >>29?C: v7F: ii7mfV7 E bf : i7bb>: ii7 V7b>&COPY >COPY 35?D : ii7bbbbV7bbG: V7b II7nn#n>CT-half-dim7pV43 ??# ? ???? ???? ?? ? ? ? ???? ???? ?? ?# ? ? ????# ???? ??????? ????? ??# ?? ????? ?? ?? ?? ? ? ????< n> ???? ?? ? ? ? ???? ???? ?? ? ? ? ???? ???? ??? ?????? ????????? ??? ??? ??? ??? ??? ???? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?????b ??? ????b ???? ??? ? ? ????b ???? ?? ??? ????b ???? ????? ?? ???? ??????????????????bb ???????? ??????? ????bb ?? ?? ???? ?? ?? ??J?? ?? ?? ????J? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ???? ??? ???? ? ???j ????J ???b ?? ?b ?b ? ?b????bb ?? ??bb ???? ?? ??bb ??j??bb ?? ?? ?n ?# ? ? ? ? ? ? ? ? ? ?# ?# wn???? ??? ???? ? ???j ????J ? ??b ?? wwww?b ?b ? ?b w www# www 50 four measures of the theme are sequenced downward by seconds before the arrival of the transition section. 5.4.2 Salt and Musical Representation The transition section of Salty also features the musical representation of salt. Primarily though orchestration and articulation, the transition includes several secco effects including: staccato articulations and pizzicato strings. Also included are maracas having internal seeds that resemble an amplified salt dispenser. Reprises of this orchestration appear at measure 87 and 210 incorporating additional instruments. The harp and celesta with staccato markings in these passages create a sonority evoking images associated with the sprinkling of salt. The final measures of this movement feature solo maraca, reinforcing the importance of the sound of salt in this movement. 5.4.3 Debussy?s La Mer as an Additional Reference to ?Salt?? The secondary meaning of salty relates to the sea. This idea provides the opportunity to include a brief homage to Claude Debussy with a quotation of La Mer, one of his most well known and frequently performed pieces. Vivid musical illustrations of the ocean saturate this work making it a suitable quotation in this work as an interpretation of the secondary meaning of salty. The quotation of La Mer forms the C-section of the seven-part rondo structure of Salty. Essentially a brief interlude, this material provides contrast to the other sections of this movement. In terms of polystylism, this is an adaptive quotation, or a ?retelling of an alien musical text in one?s own musical language.?55 The quote is adapted in a number of ways. It is transposed to meet the pitch requirements of both the preceding material and that which follows. Slight alterations in orchestration accommodate for differences in ensemble. Taste only includes one harp, while La Mer includes two. Thus, the first harp in La Mer appears in the vibraphone part of Taste. As well, material from Salty continues throughout the quote, interacting with the music from La Mer. Lastly, the quote itself is altered (mm. 142-143) to assist in the retransition to the A-section. 55 Schnittke, ?Polystylistic Tendencies? in A Schnittke Reader, 87. 51 FIGURE 19 Opening measures of La Mer (mm. 1-5) and the C-section of Salty (mm. 135-138) ??????Fl. Cl. Timp.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.A La Mer q = 116135135??A La Mer q = 11613564 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 44&p pp? ? ?3 3 3 3 3 3&p pp? ?3 3 3 3 3 3&p pp? ?3 3 3 3 3 3&p pp? ?3 3 3 3 3 3?pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~&p?& ? ??p& opoglissando (over harmonics) - sul Ao o o o o o o o o o& opoglissando (over harmonics) - sul Ao o o o o o o o o oB ? div.con sord.p?ppcon sord.div.p?div.pizzpp?pp?b ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?b ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ?b ? ? ? ??? ?b ?b ? ? ? ? ? ? ? ? ? ? ?b ?b ? ? ? ? ? ???? ?b ?b ? ? ? ? ? ? ? ?b ?b ? ? ? ? ? ? ? ??wb ? wb ? wb ? wb ?? ??## ? ??## ? ??## ? ??## ? ??## ? ??##?b ?b ? ?b ? ?? ?b ?b ? ?b ? ????bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ??? ? ? ?# ? ? ? ? ? ? ? ?? ? ? ?# ? ? ? ? ? ? ? ??? ? ? ??## ?? ??## ?? ??## ??## ??## ?? ??##???wb ? ??## ??## ?? ?? ?? ?? ??## ??## ?? ?? ?? ??## ??## ?? ?? ??? ? ? ?# ? ? ?# ? ? ? ? ? ?# ? ? ? ? ? ?# ? ? ? ? ?w# ? w ? w ? w ? 52 5.4.4 Salty and the Conclusion of Taste By including characteristic elements from the other movements, Salty functions as a summary of Taste. The motive introduced in the primary theme of Bitter is included in the themes of this movement. In the A-section, a retrograde form of this motive is embedded into the melody and the theme of the B-section includes a permutation of the original four-note collection. In both instances, the short-short-short-long rhythmic motive remains intact. A Reference to Sour occurs in this movement with the appearance of harmonic glissando figures supporting the quoted music by Debussy. While the secco articulations and orchestration represent the physical element of salt, Salty also contains a variety of articulations and orchestration appropriated from Bitter and Sweet. Pedal point and sustained figures in the opening measures of Salty reference the A-section of Sweet and the development section of Bitter. The dramatic conclusions to the transition sections reference the character and rhythmic profile of the primary theme of Bitter. As well, the intermittent scalar passages at the climax are reminiscent of the Giocoso section of Sweet. The phrase symmetry in this movement is stable, creating predictable and conclusive properties that complete the work. The first A-section consists of two 16-measure statements. The transition and B-section, while not as symmetrical, still includes phrase groups of units of 2 and 4. As based on the taste sensitivity spectrum, the four movements of Taste have moved from heightened intensity to relative calm. Bitter introduces this work with a loud and aggressive gesture while Salty concludes this work with a subtle diminuendo. In tonal complexity and emotional associations, the movements in this work have moved from instability to relative formal consonance: Bitter and Sour feature structural dissonance through distantly related keys and atonality, while Salty includes tonal contrast limited to two key areas in the entire movement. As the variety of musical styles, techniques and procedures in Taste result in the creation of four distinct musical portraits of taste, the last movement, Salty, is both summary of these ideas and a conclusion to this piece. 53 Chapter 6 | CONCLUSION Taste is a musical illustration of each of the four basic human tastes. The music contained in this work stems from the unification of three conceptual devices that are necessary to successfully present each taste musically and thus, link the human sense of taste to the human sense of hearing. The first device assimilates the physical properties of the tastes into musical elements that apply to formal construction, texture and other surface details of the work. The second device assumes the emotional meanings of each taste in the English language and appropriates similar expressive qualities found in music as additional resources for composition. The third device employs a polystylistic technique that reinforces the differences between the tastes, provides variety throughout the work and ultimately defines Taste as a composition of musical or aesthetic ?tastes.? This dissertation has identified, described and presented arguments for each of these points. An analysis has been provided to illustrate the application of these devices and to supply additional insight regarding the composition process, as well as the technical, artistic and academic decisions involved in the creation of this work. The remainder of this supporting document will include reflections on the challenges of this project, assessments of artistic growth and contemplations of the relevance of this undertaking within the community. The creation of Taste presented numerous challenges. The conception, execution and revision of the intricate details in this work required a lot of time, patience and motivation. However, the concentration of personal energy on a project of this extent resulted in the development of my artistic craft, interpersonal communication, time management and organizational skills. The undertaking of this project revealed various personal strengths to be showcased as well as areas that needed improvement. Further, this process led to the discovery of new ideas, influences and inspirations for future works. One such idea is the pursuit of more in-depth research on the impact of sound on human emotions as related to the development of music from the perspective of studies in human evolution. The creation of this supporting document was an arduous endeavor. A detailed discussion of the concepts, techniques and processes of my own work greatly exceeds the two hundred words required for the program notes that I have become accustomed to writing. However, the practice of discussing my own works with accuracy and comprehension enables me to think critically about my own music. This, in turn, enhances my understanding of other contemporary works and will inform my artistic decisions and processes in the future. 54 Finally, the opportunity to have this work both commissioned and performed has been very gratifying. Music is a living art and I strongly believe in the performance of all new musical creations. Sharing my work with the young musicians of the Kitchener-Waterloo Youth Symphony aligns with the high value I place upon mutual learning experiences and youth education in the arts. It is my hope that this work contributes to their artistic development as well as their appreciation and understanding of new Canadian music. 55 BIBLOGRAPHY Adams, John. Harmonielehre. Schirmer, 1985. ___________. Fearful Symmetries. New York: Boosey and Hawkes, 1988. Alder, Elliot, Mark A. Hoon, Ken L. Mueller, Jayaram Chandrashekar, Nicholas J.P. Ryba, and Charles S. Zucker. ?A Novel Family of Mammalian Taste Receptors.? Cell 100 (2000): 693-702. Beethoven, Ludwig Van. 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The Quarterly Musical Magazine and Review 3 (1821): 34-36. Hanslick, Eduard. On the Musically Beautiful. Translated and Edited by Geoffrey Payzant. Indianapolis: Hackett Publishing Company, 1986. Ivanshkin, Alexander, ed. A Schnittke Reader. Translated by John Goodliffe. Bloomington: Indiana University Press, 2002. Jeppesen, Knud. Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century. Translated by Glen Haydon. New York: Prentice-Hall, 1939. Juslin, Patrik N. ?Cue Utilization in Communication of Emotion in Music Performance: Relating Performance to Perception.? Journal of Experimental Psychology 26 no. 6: 1797-1813. 56 Kaernbach, Christian. ?Dynamical Systems Approach in Emotional Psychology.? Paper presented at the International Conference on Automatic Face and Gesture Recognition, Santa Barbara, CA, March 21-25, 2011. Kivy, Peter. New Essays on Musical Understanding. Oxford: Oxford University Press, 2001. _________. The Corded Shell: Reflections on Musical Expression. 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Swiss Yearbook of Musicology 28-29 (2008): 13-28. 58 Appendix 1 | PROGRAM NOTE 59 Appendix 2 | FULL SCORE IN C TASTE FOR ORCHESTRA (2013) FULL SCORE IN C RYAN TREW 60APPROXIMATE DURATION:INSTRUMENTATION:23 minutesI: BITTER 8.5 minutes II: SOUR 2.5 minutesIII: SWEET 6 minutesIV: SALTY 6 minutes2 Flutes, 2nd doubles Piccolo (sounds 8va than written)2 Oboes2 Clarinets in Bb2 Bassoons2 Horns in F2 Trumpets in C3 Trombones (2 Tenor, 1 Bass)1 TubaTimpani2 Percussion: Triangle, Suspended Cymbal, Crash Cymbals, Claves, Maracas, Glockenspiel (sounds 15va than written) VibraphoneHarpCelesta (sounds 8va than written)Strings (Double Bass sounds 8vb than written)??????????{{{Piccolo2 Flutes2 Oboes2 Clarinets2 BassoonsHorn I, IIHorn III, IV2 Trumpets 2 Tenor TrombonesBass TromboneTubaTimpaniTriangleCymbalsGlockenspielVibraphoneHarpViolin IViolin IIViolaVioloncelloDouble BassAllegro q = 120?Allegro q = 1204444444444444444444444444444444444444444444444& ? ? ? ?Full Score in C I: Bitter& ff > > > mp> pp3 3 3 3 3 3 3 3 3& ff mp> pp3 3 3 3 3 3 3 3 3& ff > > > mp> pp3 3 3 3 3 3 3 3 3? ff mp pp& ff > n mp pp3 3& ff > b mp pp3 3& ff > 3 # > > >3 pp ?3? ff 1? pp ?? ff pp ? ?? ff pp ? ?? ff> p ??~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ?/ ff p ? ?/ ff> > ? ?& ? ? ? ?& ? ? ? mp pp& ? ? ? ?b ? ?b ? ? ? ? ?b? ? ? ? mp pp& ff> 3 > 3 > 3 3 mf pp mp>& ff> 3 > 3 > 3 3 mf pp mp>B ffnon divisi> > > > > mfdiv.b pp unis.mp>3 3 3 3 3 3 3 3 3 3 3 3? ffnon divisi mfdiv.bb pp3 3 3 3 3 3 3 3 3 3 3 3? ff> > > > mf> pp?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??b ?? ?? ?? ?? ?? ?? ?? ww??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??b ?? ?? ?? ?? ?? ?? ?? ww??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ??n ?? ?? ?? wwww ww w? ? wb??b ?? ?? ?? ?? ??# ?? ?? ?? ?? ww w??b ?? ?? ?? ?? ?? ?? ?? ?? ?? w? ? w?? ??b ?? ??b ?? ? ? w ? ? ?b wwbww ww wbw ww ww w???w ???w? ? ? ? ? ? w w? ?b ? ?b ? ? ? ?? ? ? ?b ? ? ?J ? ? ?b ? ? ? ? ? ? ? ? ? ? ?#J? ? ? ?b ? ? ?J ? ? ?b ? ? ? ? ? ? ? ? ? ? ?#J??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??n ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ????? ? ?n ? ? ?#J?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ? ? ww ww w ? ? wb61??????????{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vib.Hp.Vln. IVln. IIVla.Vc.Db.5& a 2mf ff > > > > > > > > 36 6 3 3 3 3 3 3 3 3& a 2 mf ff 3 36 6 3 3 3& mfa 2 ff > 36 6 3 3 3 3 3 3 3 3? mf ff b& mp f> sf> ff f> sf> ff b& mp f> sf> ff f> sf> ff 4? ?& mp sf> ff sf> ff bb pp? mp> sf> ff sf> pp ?? mp> sf> ff sf> pp ?? mp> sf> ff sf> pp ?? sf> mf?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ff 3 3/ ? ff p/ ? ff> > ?& ? ? ? ?& ? ? ? ?? ? ? ? ?& > > >3 ff? ? ? ? ? ? ?> ? ?> ? ?> ? ?> ? ? ? ? ? ?> ? ?> mf? ?> ? >3 3 3 3 3 3 3 3 3& > > >3 ff? ? ? ? ? ? ?> ? ?> ? ?> ? ?> ? ? ? ? ? ?> ? ?> mf? ?> ? >3 3 3 3 3 3 3 3 3B > > >3 ffnon divisi?> ? ? ? ? ? ? ? ? ? ? ? ?> ? ? ? ? ? ? ? ? ? ? ?3 3 3 3 3 3 3 3 3 3 3 3? sf> mf> ffunis.> ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '3 3 3 3 3 3 3 3 3 3 3 3 3 3? sf> mf> > ff? ? ?# ? ?# ? ? ?# ? ?# ? ? ?# ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??bb ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??<n>b ?? ??b ??b ?? ??b ??? ? ?# ? ?# ? ? ?# ? ?# ? ? ?# ? ??b ?? ??b ??# ?? ??J ??# ?? ??<n> ??b ?? ?? ?? ?? ?? ?? ??? ? ?# ? ?# ? ? ?# ? ?# ? ? ?# ? ??b ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ??? ??b ?? ? ??b ?? ? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ??? ??b w? ?b ? w? ? ? w? ? ?? ?? wb ? ? ? wb ? ?# ? ?b ?? ?? ? ?? ?? ? ??# ?? ?? ? ??? ??b ww ww#? ? w w? ? w w? ? ? ? ? ? ? ? ? ? ? ? ? ? ????w ???w ???w? ? ? ? ? ?? ? ?# ? ?# ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ?<n> ? ?b ? ? ?b ? ?? ? ?# ? ?# ?b ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ?? ? ?# ? ?# ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ?62??????????{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vib.Hp.Vln. IVln. IIVla.Vc.Db.9?& p pp 1? mp 3 sf> pp& p pp 1? mp 3 sf> pp& p pp 1? mp 3 sf> pp? p ? ?& p pp ? ?& p pp ? ?& ? ? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?/ ? ? ?/ ? ? ?& p pp ?& ??b ? ?b ? ? ? ? ? ?b ? ?b ? ? ? ? ?b? p pp ?& mp sf> pp& p div.sf> ppB div.pb b sf#>> pp? div.pbb bb sf>> pp? p sf> ppw? ? ? ? ? ? ? ? ?b ? ? ? ? ?w ? ? ? ?b ? ? ? ? ?? ? ? ? ? ? ? ? ?b ? ? ? ? ???bb ? ?wwwbwb w w w? ?b ? ?b ? ? ? ? ? ?b ? ?b ? ? ? ?? ? ? ? ? w ? ? ? ? ?w w w w ww# w???ww w ???ww w w ww www w ww w ???ww wwb w w63??????????Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.Con fuoco q. = 60 A Tempo( e = e )poco rall.12Con fuoco q. = 60 A Tempo( e = e )poco rall.38 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 38& mf 3 ff> > > mf> > > > ff> > > > > >3& mf 3 ff flz.> > > mf> > > > ff> > > flz.> > >3& mf 3 ff> > > p mf> ff> > >& mf 3 ff> > > p mf> ff> > >? sfpa 2> ff>> >> >> mf >> ff>>& mf ff> > > mf > ff>& mf# ff> > > mf > ff>& mf ff> > > mf > ff>? mf# ff> > > mf > ff>? mf ff> > > mf > ff>? ? ff> > > mf > ff>? sfp>?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ff > mf>?~~~~~~~~~~ ff/ ? ff ? ff/ ? ff> ? ? ? ff>& div.mf 3 ff> > mf> ?> ? ? ?> ? ?> ? ff?> ?> ?> >3& mf ffnon div.> > > mf ff>B mp ffnon div.> > > mf ff>? sf pnon div.> ffnon div.> > > mf ff>? sf p> ff> > > > > mf > ff> > >? ? ?b ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?b ?b ? ? ???? ???? ? ???? ? ? ? ? ? ? ? ? ? ? ? ? ? ????? ?? ??bb ??bb ?? ?? ?? ?? ?? ?? ?? ? ?? ?? ?? ??? ?? ??bb ??bb ?? ?? ?? ?? ?? ?? ?? ? ?? ?? ?? ??w ? ?? ? ? ?? ? ? ?? ? ?? ?? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ??? ?? ??# ?? ??# ?? ?? ?? ??b ?? ??# ??? ? ??# ??# ?? ??# ?? ?? ?? ?? ?? ??# ??? ? ?? ? ?? ?? ?? ?? ?? ?? ??b ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?w ? ? ? ? ?J ? ? ? ? ? ? ????? ? ???? ? ???? ? ???? ?? ? ? ?? ?? ??bb ??bb ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ????? ??# ?? ?? ?? ?? ?? ???# ? ??? ? ??? ??? ??# ?? ?? ?? ?? ??? ?????# ?? ??# ?? ?? ?? ?? ?? ????# ?? ???? ?? ????b ??# ?? ?? ?? ?? ?????ww ?? ?? ?? ?? ?? ?? ???? ?? ???? ?? ????b ???? ?? ?? ?? ?? ?? ??w ? ? ? ? ?J ? ? ? ? ? ? ?64??????????Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.poco rall. A Tempo18poco rall. A Tempo24 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 3824 38& mf> > > > ff> > > > > >3& mf> > > > ff> > > flz.> > >3& p mf> ff> > >& p mf> ff> > >? >> >> mf >> ff>>& > > mf > ff>& > > mf > ff>& > > mf > ff>? > > mf > ff>? > > mf > ff>? > > mf > ff>? > mf>?~~~~~~~~~~~~~~~~~~~~~ ff/ ?/ ? ? ? >& mf> ?> ? ? ?> ? ?> ? ff?> ?> ?> >3& > > mf ff>B > > mf ff>? > > mf ff>? > > mf > ff> > >? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ????? ? ???? ? ? ? ? ? ? ? ? ? ? ? ? ? ?????? ?? ?? ?? ? ?? ?? ?? ???? ?? ?? ?? ? ?? ?? ?? ??? ?? ? ? ?? ? ?? ?? ? ?? ??? ?? ?? ?? ??b ?? ?? ????# ?? ?? ?? ??b ?? ??# ????# ?? ?? ?? ?? ?? ??# ???? ?? ?? ?? ??b ?? ?? ??? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?? ?J ? ? ? ? ? ? ????? ? ???? ? ???? ?? ????? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?????# ? ??? ? ???n ???n ????# ??????# ?? ???? ?? ????b ????# ?????? ?? ???? ?? ????b ???? ???? ??? ?J ? ? ? ? ? ? ?65??????????Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Vln. IVln. IIVla.Vc.Db.poco rall. Moderato q = 88 rit. 22poco rall. Moderato q = 88 rit. 24 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 4424 44& mf > > > > <n>ff> > > >?~~~~~~~~~~~~~~~~~~~~~~~~~~ pp <n>f> pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p 33& mf > > > > <n>ff> > > >?~~~~~~~~~~~~~~~~~~~~~~~~~~ pp <n>f> pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p 33& mfa 2 > > > > <n>ff> > > >?~~~~~~~~~~~~~~~~~~~~~~~~~~ pp <n>f> pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ?3& mfa 2 > > > > <n>ff> > > >?~~~~~~~~~~~~~~~~~~~~~~~~~~ pp ? ?3? >> mf >> a 2ff> > > > pp& > mf ff>> pp ? ?& > mf ffn>> pp f 3?mf pp& > mf <#>a 2ff>?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f# mfb# pp? > mf ff>> f 1? mf pp? > mf ff> f p ?? > mf ff> p ? ?? > ? ? ? ?/ ? ? ? ?& > mfunis.> > > > ff> > > > 3 > 3 sul ponticello> pp3& > mf ff> > > > 3 > 3 sul ponticello> pp3B > mf ff>> > ff> sul ponticello poco a poco pp? > mf ff> > ff> sul ponticello poco a poco pp? > > mf > ff> > > > pp? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# w# ? ? ?# ????? ? ???? ? ? ? ? ? ? ? ? ? ? ? ? ?# w# ? ?b ? ??? ?? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ?# w#?? ?? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ?#? ?? ? ? ?? ? ?? ?? ? ? ? ?#J ? ? ? wb?? ?? ?? ?? ??b ?? w? ?#??# ?? ?? ?? ??b ?? w? ? ww w??# ?? ?? ?? ?? ?? w w? ? ww?? ?? ?? ?? ??b ?? w? ?# wwn wb? ? ? ? ? ? w w? ? ? ? ? ? w? ?J ? ????? ? ???? ????? ?? ?? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ?# ? ?n ?# ? ? ? ? ? ? ? ? ???w????# ?? ???? ?? ???n ? ? ? ? ?b ? ? ? ? ?# ? ?n ?# ? ? ? ? ? ? ? ? ???w????# ?? ???? ?? ????b ???w???? ????n ???ww ???w#???? ?? ???? ?? ????b ???? ?n ? ???ww wwb? ?J ? ? ? ? ? ? ? ? ? ?b ? ?66????????{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Vib.Hp.Vln. IVln. IIVla.Vc.Db.Tranquillo q = 104 poco rall. poco rall. A Tempo2828? ?Tranquillo q = 104 poco rall. A Tempo poco rall. 28& pp ? ? ? ? ?& pp ? ? pp mp pp& ? 1?pp mp pp ? ? mp 3& ? ? 1? mp pp ? ?3? ? ? ? 1?pp mp pp& ? ? ? ? ? ?& ? ? ? ? ? ?& ? ? ? pp1? con sord. mp > pp3? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?& p& ? ? ??# ? ?# ? ?# ? ?# ? ?# ? ?# ?? p & ? ? ? ?& solo - sul Ap mp pp ppp mp pp3& ord. p mp pppizz (non div.)& ord. p mp pp mp ppBord. p mp pp mp pp?ord. p mp pp mp pp? mppizzww# w w w w ? ? ?w w ? ? ? ? ? ? ? ? ? ? ?? ? ? ?# ?# ? ? ? ? ? ? www w w w ? ? ?w ? ? ? ?b ? ? ? ? ?j ??# ?# ?? ??# ?? ??# ??# ??# ?? ??# ??# ??# wwnn ww www ? ?# ? ? ? ?# ? ? ? ?# ? ??J ? ? ? ? ? ?# ? ? ? w ? ?n ? ? ? ? ? ? ? ? ????w ???w ???w ? ?? ?? ? ?? ?? ? ?? ?? ? ?w# w w# w w# w wn w w w w ww w# w w# w w# w wn w w w w???ww# ???w ???w ???w ???w ???w? ? ?# ? ?J ? ?J ?# ? ?J ? ? ? ? ? ? ? ? ?J ? ?J ? ? ?J ? ? ? ?67????{{????{Fl. Ob. Cl. Vib.Hp.Vln. IVln. IIVla.Vc.Db.A Tempo A Tempopoco rall. rit. 34 ? ? ?A Tempo poco rall. A Tempo rit. Fl. Cl. Cel.Vln. IVln. IIVla.Vc.Db.Andante Moderato q = 7241 ? ? ? ? ?Andante Moderato q = 7234343434343434343434343434343434343434343434& pp mp pp pp ? 2? mp 3 pp3& pp ? ? pp mp 3 pp ?& ? ? mp pp ? mp 3 pp3& p& ? ? p? ? ? ??# ? ?# ? ?# ? ?# ? ?# ? ?# ?? p & ? ? ? ? ?& p mp> pp ? mp 33& arcop mp p pp ? ?& p mp p pp ?B p mp div.p pp? p mp p ? ?? mp ? ? (pizz)p& mp1? pp ?3 3& ? ? ? ? p1? 3& ?????? ?????? ?????? ?????? ?????? ?????? ???????? ?????? ?????? ?????? ????????& p #n ? && pp ? ? ? ?& ? ? ? p& ? ? pB (div.)p? div.p?ww# ww ?w ? ? ?# ?# ???? ? ? w# ? ? ? ? w#w ? ? ? ? ? ? w#? ? ? ?# ?# ???? ? ? w# ? ? ?# ?# ? ? ???## ?# ? ?? ?? ??## ?? ??## ?? ?# ? ??## ?# ?# ? ?# ?# ?# ? ?# ? ?# ? ? ? ?# ? ?? ?# ?# ?w ? ?# ?# ? ? ?# ?# ? ? ?# ?# ?w ? ? ? ? ?# ? ? ? ? w# ???w# ? ? ? ????w ???w ???w ???w ???ww# w w# w w# w ???w ???w ???ww w# w w# w w# ww ww# ww ww# ww ww# ww ww#???w ???w ???w w w? ? ?# ?# ?J ? ?J ?# ?# ?J ? ? ? ? ? ? ? ? ?# ? ?? ? ? ? ?# ? ?# ? ? ?# ? ? ?# ? ?# ?? ???### ???## ???### ???### ???### ???### ???# ?? ???# ???<n><n> ? ???### ???##? ?<n>? ? ?# ? ?# ? ? ?# ?# ? ??# ? ? ?# j ??<n> ??? ??? ??? ?# ? ? ?# ? ?# ?????# ? ?# ? ? ??# ? ? ? ?# ??# ? ??# ?? ??n ?? ?? ?? ??# ????# ?? ?? ?? ?? ?? ??# ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ?=68????{{{????{{Picc.Fl. Ob. Cl. Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.Andante Con Moto q = 844946?? ? ? Andante Con Moto q = 8449Picc.Glock.Vib.Vln. IVln. IIVla.Vc.Db.50 ? ? ?4444444444444444444444444444& ? ? ? mp 3& ? ? ? ?& ? ? mp1? pp3& mf pp ?3 3& ? ? ? p& ?????? ?????? ?????? ???????< > ?& ?& ? p???????????????? ????????????? ?? ? ?& sul tasto - at the tippp mp& div. sul tasto - at the tippp mpB pp ?? unis. pp pizzp? (pizz)p& 3& p ?&& pp mp pp mf pp mf pp& p mp p mf p mf ppB ? ? ???? ? ?J ?# ?# ? ? ?#? ? ?# ? ? ?# ? ??# ? ?# ? ? ?# ?# ? ? ?# ? ? ?# ? ?# ?????### ???? ? ???### ???## ???### ????# ? ?# ?# ?# ? ? ? ?# ? ?# ? ? ? ? ?# ? ?????# ???? ????# ????????# ???? ???# ???? ? ? ? ? ? ????# ????? ? ?# ? ?# ? ?????# ???????## ?? ??n ?? ??# ???? ?? ? ? ? ? ?# ? ?? ? ? ? ? ? ? ? ? ?# ? ??# ? ?# j ? ? ?# ? ?J ?# ?# ? ? ? ?# ? ?# j ? ?? ? ? ?# ? ? ??n ? ?# ? ? ? ?# ? ?b ? ?# ?????n ???? ???? ???? ????b ?????????# ????? ?????# ????? ?????# ??????# ? ? ?n ? ? ?# ? ??# ? ? ?# ? ? ?# ? ?=69????{{??????{{{{Picc.Fl. Ob. Cel.Hp.Vln. IVln. IIVla.Vc.Db.53 ? ?Fl. Cl. Hn. I, IITbn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.57?& ? ? ?& mp 3 pp mp 3 pp& ? ? ? ?& ? mp pp ?3& ?????? ?????? ?????? ?????? ?????? ????????&& p????????????? ? ???????????????? ????????????????? ?& ? ? ? mpord. 3 && ? ? ? ?B (div).sul quasi ponticellop? arcomp sul quasi ponticello? arcop& p mf pp p mf pp p mf pp6 6 6 6 6 6 6 6 6& p mf pp p mf pp p mf pp6 6 6 6 6 6 6 6 6 6 6 6& ? pp mf pp pp mf pp6 6 6 6 6 6 6 6& mf pp mf pp mf pp6 6 6 6 6 6& p # mp pp p # mp pp p # mp pp? 1?p mp pp p mp pp p mp pp& mf p mf3 3& mp& mf p mf3 3& mf p mf3 3& div. mf 3 3&ord. p mf p mf p mfB ord.p mf p mf p mf? ord.pizzp? pizz? ?? ?# ?# ? w ? ? ?# ?# w#? ? ?# ? ? ?# ? ?# j ?? ???### ???## www ? ???## ???## wwww###? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ?# ?# ? ? ? ? ? ?# ? ?# ? ? ? ? ? ?????## ? ???## ? ???# ????# ? ???## ? ???### ?? ? ?#J ? ? ????ww# ???ww# ???ww# ???ww#? ? ? ?# ? w ???w# ???w#w w w# w#? ?# ?# ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ?# ?# ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ?# ?# ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ??# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?# ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ??? ??J ? ?? ?? ??J ? ?? ?? ??J ? ???# ? ?# ? ?n ?? ? ?J ?# ?# ? ? ?# ?# ? ? ? ? ?J ?# ?# ? ? ?#?# ? ?# ? ?n ? ?# ? ? ? ?# ?? ? ??#J ??# ?? ??# ?? ?? www## ? ? ??#J ??# ?? ??# ?? ??? ? ??#J ??# ??# ??# ?? ??# ??## ? ? ? ? ??#J ??# ??# ??# ?? ??#? ?? ?? ??## ??## ?? ??J ?? ?? ?? ?? ??## ?? ?? ?? ???????## ????? ?????## ????? ?????# ??????????# ????? ?????# ????? ?????n ??????# ? ? ?# ? ? ?n ? ??# ? ? ?# ? ? ?# ? ?=70??????{{{Fl. Cl. Hn. I, IIHn. III, IVGlock.Cel.Hp.Vln. IVln. IIVla.Vc.Db.60? ? ?& p mf pp ? mp 36 6 6& p mf pp ? ? ?6 6 6 6& pp mf pp ? ? ?6 6 6 6& p # mp pp ? ? ?& 3?p mp ppp ? ? ?& p ? ? ?& p ?????? ?????? ?????? ???????& ? ? ?& p ? ? ?? ? ? ? mp3 3 3 3& unis. mp 3 pp ?& p mf mpB p mf pp ? mp? mp? mp? ?# ?# ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ?# ? ?# ? ? ?j?# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ??J ? ??? ?# ?#?# ? ?www## wwwww### ? ???# ???## wwww##?<n> ?# ? ? ? ? ? ???## ? ? ww? ? ? ?# ? ?# ? ?# ? ? ?# ??? ?#?# ? ?# ? ?# ?# ? ?# ? ? w#?????# ????? ???ww# ww ???ww#?????# ?????# w ww#?# ? ? ? ? ? ? ? ? ? ? ? ??# ? ? ? ? ? ? ? ? ? ? ? ?71??????????{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Cel.Hp.Vln. IVln. IIVla.Vc.Db.accel. q = 1206764? ?accel. q = 12067& ? ? ? ff > 3 > > >3 > > >3& mp 3 mf 3 ff > 3 > > >3 > > >3& ? ? mp 3 ff a 2> 3 > > >3 > > >3& ? mp 3 3 ff a 2> 3 > > >3 > > >3? ? ? pa 2 ff& ? ? mp## ff pp& ? ? mf ff& ? ? senza sord.mp## ff pp? ? ? mp## ff pp? ? ? ? ff pp? ? ? ? ff ?? ? ? ? ff>?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ?/ ? ? ? pp/ ? ? ? ff> ?& ?????? mp???????< > ? ? ?& ? ? ? ?? ? ? ? ?& mp 3 3 mf 3 ffnon div.> > > >3 > > >3 > > >33 3& p mf ff> unis.> > >3 > > >3 > > >33 3 3 3B p ? mfdiv. ffnon div.> > > > > > >3 3 3 3 3 3 3 3 3 3 3? arcop ff> > > >3 3 3 3 3 3 3 3 3 3 3 3? arcop ff> > pp? ? ? ? ?# ? ? ?# ? ??# ?# ? ? ? ?# ? ?# ?# ? ?J ? ?# ?<n> ? ? ? ? ? ?# ? ? ? ?# ? ?n ?# ? ?? ?# ?<n> ? ? ? ? ? ??# ? ? ? ?# ? ?n ?# ? ??# ? ?# ?# ? ?j ? ?# ?<n> ? ? ? ? ? ??# ? ? ? ?# ? ? ?# ? ?? ?# ? ww w# w#? ?? ? ww## ??# ?? ?? ? ??## ww## ww#? ?? ww# ww#? ?? ww# www w#ww???w ???w? ? ????## ??? ? wwwww###?# ?# ? ?# ? ??# ?? ? ?# ? ? ?# ? ?# ? ?n ? ?# ? ?<n> ?# ? ? ? ? ??# ?? ?? ? ? ? ? ? ? ?# ? ? ?# ? ?ww## ???ww# ? ??## ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ? ? ? ?# ? ? ?# ? ?ww# ? ?? ?? ?? ??## ?? ?? ?? ?? ?? ??## ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???# ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ??# ? ? ? ? ? ? ?# ? w w#72??????????{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Cel.Hp.Vln. IVln. IIVla.Vc.Db.Con fuoco q. = 60 poco rall.69Con fuoco q. = 60 poco rall.38 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 38& sf> pp mf 3 ff> > > mf > > > > > > >3& sf> pp mf 3 ff flz.> > > mf > > > > > > >3& sf> pp mf 3 ff> > > p mf>& sf> pp mf 3 ff> > > p mf>? sf pp sfpa 2> ff>> >> >> mf >>& ? mf## ff> > > mf >& ? mf## ff> > > mf >& ? mf ff> > > mf >? ? mf ff> > > mf >? ? mf ff> > > mf >? ? ? ff> > > mf >? ? sfp>?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ff > mf>?~~~~~~~~~~~/ ? ? ff ?/ ? ? ff> ? ? ?& ? ? ? ? ? ?& ? ? ? ? ? ?? ? ? ? ? ? ?& sf> pp div. mf 3 ff> > > ?> ? ? ?> ? ?> ? ?> ?> ?>3& sfdiv.#>> pp mf ff #> > #> mfn #B div.sf #>> pp mp ff> > > mf? div.sf#>> pp sf p ff> > > mf? sf> pp sf p> ff> > > > > > mf >?# ?# ? ? ? ? ?# ?n ? ?# ?# ? ? ? ? ? ?# ?# ? ?# ? ? ? ? ?# ??# ?# ? ? ? ? ?# ?n ? ?# ?# ???? ???? ? ???? ? ?# ?# ? ?# ? ? ? ? ?# ??# ?# ? ? ? ? ??## ??nn ?? ??## ??## ?? ?? ?? ?? ?? ? ??##?# ?# ? ? ? ? ??## ??nn ?? ??## ??## ?? ?? ?? ?? ?? ? ??##w<n>w<n> w# ?# ??# ? ?# ??# ? ?# ??# ? ?#?# ?#?#? ?? ??## ?? ??## ?? ??## ?? ??n# ??#? ?? ??## ?? ??## ?? ??## ?? ??n ??##? ? ??## ??## ?? ??## ?? ??## ?? ??## ??#? ??## ?? ??## ?? ??## ?? ??## ?? ??n# ??##? ?# ? ?# ? ? ? ?# ? ?# ?#?# ? ?# ? ?# ? ?# ?#w# ?# ?# ? ?# ?j ?# ? ? ?#???? ? ???? ? ???? ?? ??# ?# ? ? ? ? ??## ??nn ?? ??## ?? ?? ?? ?? ?? ????## ?? ??## ?? ?? ??## ??## ?? ??## ?? ?? ?? ?? ??## ??? ?# ? ? ?w w ? ?????## ??## ?? ?? ?? ?? ?? ??? ? ??? ?? ??? ???w ww w ? ?????## ?? ??## ?? ?? ?? ?? ?? ????## ?? ????## ?? ????n#???ww w# ???ww## ??## ?? ?? ?? ?? ?? ????## ?? ????## ?? ????n# ????#w<n> w# ?# ?# ? ?# ?j ?# ? ?# ?#73??????????{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Cel.Vln. IVln. IIVla.Vc.Db.A Tempo A Tempopoco rall.75?A Tempo A Tempopoco rall.38 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 2438 24 38 24& ff> > > mf > > > > ff> > > > mf3& ff flz.> > > mf > > > > ff> > > > pp3& ff> > > p mf> ff> pp& ff> > > p mf> ff> pp? ff>> >> >> mf >> ff>> > pp& ff> > > mf > f## >> pp ?& ff> > > mf > f## >> pp ?& ff> > > mf > f> pp ?? ff> > > mf > f> pp ?? ff> > > mf > f> pp ?? ff> > > mf > f> pp ?? ff > mf>?~~~~~~~~~~~ f ?/ ff ? ? ? ?/ ff> ? ? ? f> ? ?& ? ? ? ? ? ? mp??& ff> > > ?> ? ? ?> ? ?> ? f?> ?> ?> >3& ff> #> #> mfn # f>B ff> > > mf f>? ff> > > mf f> > unis.? ff> > > > > mf > f> > > ??# ?# ? ? ? ? ? ?# ?# ? ?# ? ? ? ? ?# ? ?# ? ? ?# ? ? ? ? ? ?# ?# ??# ?# ???? ???? ? ???? ? ?# ?# ? ?# ? ? ? ? ?# ? ?# ? ? ?# ? ? ? ? ???## ??## ?? ?? ?? ?? ?? ? ??## ??## ?? ?? ??## ?? ?? ?? ?? ????## ??## ?? ?? ?? ?? ?? ? ??## ??## ?? ?? ??## ?? ?? ?? ?? ???# ??# ? ?# ??# ? ?# ??# ? ?#?# ?#?# ?# ??# ? ?# ??# ? ? ?? ???## ?? ??## ?? ??## ?? ??# ??# ? ?? ? ? ?? ???## ?? ??## ?? ??## ?? ??n ??## ? ?? ? ? ?? ???## ?? ??## ?? ??## ?? ??## ??# ??## ?? ?? ????## ?? ??## ?? ??## ?? ??n# ??## ??## ?? ?? ???# ? ? ? ?# ? ?# ?# ?# ? ? ??# ? ?# ? ?# ? ?# ?# ?# ? ? ??# ?# ? ?# ?j ?# ? ? ?# ?# ?# ? ?# j ? ????? ? ???? ? ???? ?? ? ? ? ?? ?# ?# ?????## ?? ????## ?? ??## ?? ?? ??## ??## ?? ??## ?? ?? ?? ?? ??## ?? ????## ?? ????## ?? ????## ??????## ?? ??? ? ??? ?? ??? ??? ????## ?? ????# ?? ????## ??????## ?? ????## ?? ????## ?? ????n# ????## ?? ????## ?? ????## ??????## ?? ????## ?? ????## ?? ????n# ????# ????## ?? ????## ?? ???# ??# ?# ? ?# ?j ?# ? ?# ?# ?# ?# ? ?# ?74????{{{{????{{Picc.Fl. Ob. Cl. Bsn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.rit. Andantino q = 848682?? ?rit. 86Fl. Ob. Vib.Hp.Vln. IVln. IIVla.Vc.Db.89 ? ?24 3424 3424 3424 3424 3424 3424 3424 3424 3424 3424 3424 3424 3424 3424 3424 34& > > > pp ? ? ? ? ?3& ? mp> > pp ? ? ? p1?3 3& ? ? ? ? ? ? ?& ? ? 1? mp> > > pp ? ? ?3& ? ? ? 1?mp p pp ?3? ? ? ? ? ? ? ?& ? mp mp p ?3 3& ? ? ? ? p ?& ?< > p ?3 3& ? ? ? ? p ? ?? ? ? ? ? ?& mp p# ppp ?& mp p ppp ?B mp p unis. ppp ?? mp p ppp ?? pizzmp p ?& pp ? ? ? ?3& ? ? ? ? pp1? p3 3 3 3& ? ? ? ? p&? ? ?& ? ? ? ? ? ? ? ?& ? ? ? ? ? ? ? ?B ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ???# ? ? ? ?n ?# ? ??# ? ? ? ?n ? ? ? ? ? ? ?? ? ? ? ?b ? ? ?? ?b ? ? ?b ? ? ?# ? ? ??# ? ? ? ?n ? ? ? ? ?b ? ? ?b ? ? ?n ? ? ????? ???? ???? ?????# ? ? ? ?n ?# ? ? ? ? ? ? ?b ? ? ? ?? ?? ?? ?? ? ?? ?j ? ? ? ?? ?? ?j ? ? ? ?? ? ? ?j ? ? ? ???n ?? ??# ?? ??nb ?? ??# ?? ??bn ?? ?? ?? ??bb ?? ?? ?? O? ??? ? O? ??? ???n# ?? ??# ?? ??n ?? ??# ?? ?? ?? ? ? ?? ?? ?b ? ??n ?? ?? ????n# ?? ?? ?? ?? ?? ?? ?? ? ? ?b ? ?b ? ?b ? ? ? ? ??# ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ?? ? ? ? ? ?b ? ? ? ? ?b ? ? ? ? ?b ? ? ? ?b ? ? ? ? ? ??# ? ?# ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ?b ?b??b ?? ?? ?? ??bb ?? ?? ??? ?? ?j ? ? ? ?? ? ? ?j ?# ? ? ? ? ?j ? ? ? ?# ? ?# j ? ?# ? ? ? ?j ? ? ? ?b ? ?b j ? ? ? ? ? ?j ?b ?# ?b ? ? ?j ? ?b ?# ?b?# ? ? ? ?b ? ? ? ? ? ?# ?? ? ? ? ? ? ?# ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ?b ? ?=75??????{{??????{Fl. Ob. Cl. Bsn. Hn. I, IIVib.Hp.Vln. IVln. IIVla.Vc.Db.Pi? Mosso q = 9297? ?Pi? Mosso q = 92Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVHp.Vln. IVln. IIVla.Vc.Db.106& ? ? ? ? ? ? 1?p pp ?3& pp ? ? ? ? ? ? ? ?& ? ? ? ? ? ? ? 1?ppp? p mp pp ? ? ? ? ?& p mp pp ? ? ? ? ?& mp ? ?& ? mp ? ? ? p? ? ? ? ? ? ? ? ?& ppdiv. mp pp ? ? ?3 3& ? unis.pizzmp ? ? ? ? ? ?B div.pb mp pp ? ? ? ?? p mp pp pizzp? mp p& ? ? ? mp pp ? mp3 3 3 3& ? pp mp pp mp pp3 3& mp pp mp pp ? mp3 3 3 3 3? ? ? ? ? mp> pp ? ? ? mp> pp& ? ? ? 1?p pp ? ? p pp& ? ? ? 3?p pp ? ? p pp&? ?& ? p(div.)b b b b b b b b <n>& ? pB ? p unis.? arcop? ? ? ? mparcodiv.> ? ? ? >? ? ?b ? ? ?? ? ? ? ? ?? ? ?? ?? ?? ?? ?? ??? ? ?? ?? ?? ?? ? ?? ?b ? ? ?b ? ? ?b ? ? ?b ? ? ?b ? ? ? ? ?b ?? ?j ? ?b ? ? ? ?j ? ?b ? ? ? ?b ? ?b ? ?b ? ?b ??b ? ? ?j ?b ? ?b ?b?b ?? ?b j ?b ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ?j ? ?b ? ? ? ?j ? ?b ? ?? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ?b ?b ? ??b ? ? ?b ? ? ?b ? ? ?b ? ? ?b ? ? ? ? ? ?b ? ? ? ? ?b ?b ? ?? ? ? ? ?b ? ? ? ?b ? ? ? ? ? ? ?<n> ? ? ? ?? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ? ? ? ? ?<n> ? ? ? ??? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ?# ? ? ? ? ?? ? ? ? ? ? ? ??b ?? ?j ?b ? ? ? ?n ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ?# ? ? ? ? ? ?# ? ? ? ? ? ?# ? ? ? ??n ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ??b ? ? ? ?b ? ?b ? ? ? ?b ? ? ?n ? ? ? ? ? ? ? ? ? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?b ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ?? ?b ? ?? ?? ?? ??=76????????{{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Glock.Vib.Hp.Vln. IVln. IIVla.Vc.Db.115?115& mf pp ?3 3& mf pp ? ?& mf pp3 3& ? mf ? pp ?3? mf pp mf pp mp pp ? ?& ? mp pp mp pp mp pp ?& mp pp mp pp mp pp ? ?& mp pp mp pp ?33? mp pp mp pp mp pp ? ?? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?? p pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ? ? ?& mf ? ? ?3 3& ? ? ? ? mp pp& ? ? ? ? mp pp? ? ? ? ?& mf pp& divarcomf pp ? ?Barcodivmf pp? mfdiv. pp? mf pp ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ??? ? ? ? ?? ? ? ? ? ?? ? ?? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ?? ? ? ? ?? ? ? ? ? ?? ? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ?? ? ? ? ? ? ?? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ? ? ? ? ? ?? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ?? ? ?? ? ? ?? ? ?? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ????? ??? ? ? ? ? ? ???? ??? ? ? ? ? ? ???? ??? ? ? ? ? ? ????? ? ????? ? ? ? ????? ? ????? ? ????? ? ????? ? ????? ? ????? ? ????? ? ???? ? ???? ? ? ? ? ?? ? ? ????? ??? ? ? ? ? ? ???? ??? ? ? ? ? ? ???? ??? ? ? ? ? ? ????? ? ????? ? ? ? ???? ??? ? ? ? ? ? ???????? ?????? ? ????? ? ????? ? ???? ???? ???? ????? ? ????? ? ????? ? ? ? ? ?? ?? ? ? ?? ? ? ?? ? ?? ? ? ? ?? ? ?? ? ? ?? ? ? ? ???? ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ? ?77????{??????{{{{Fl. Hp.Db.123Fl. Cl. Hn. I, IIHn. III, IVGlock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.129?129444444444444444444444444444444& p mp p3 3& ? ? ? mp p3& p? pizzunisp& pp ? p pp ? p pp ? p pp& pp p pp ? p pp ? p pp ? ?& p& ? p ?& 1?p pp ? pp p pp& ? ? pp p pp ? ? ?& p ?& p?????& p& ? ? ? ? ? ? ? ?& mpunis. pp mp pp p pp p pp& ? unis.mp pp p pp p pp ?B ppunis. p pp? p unis. p pp? arcop pp ?? ? ?b ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ?b ? ? ? ?? ? ?J ?b ? ? ? ? ? ?b ?b ?b? ?? ?b j ? ? ? ?? ? ? ?j ? ? ? ?? ? ? ?j ? ?b ? ?? ? ? ?j ? ?b ? ?? ? ? ?b j ?b ? ? ?? ? ? ?j ?b ?b ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ?j ? ? ? ? ? ? ?j ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?j ? ? ? ?? ? ?j ? ? ? ? ? ? ?j ? ? ? ? ?j ? ? ? ? ?j ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ????? ???? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ?=78????????{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Hp.Vln. IVln. IIVla.Vc.Db.Andantino Lacrimoso q = 84137 44444444444444444444444444444444444444& 1?mp p mp p mp3 3& ? 2?p mp p mp3& ? ? mp1? pp mp3 3& 1?pp mp pp p pp ? ? mp#? ? ? pp1? mp pp ? p mp#& ? ? ? ? ? mp & ? ? ? ? ? mp & ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? pp p pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? pp p pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ? ?& ? p ? ? ?? ? ????????????????? ? ??????????????????? ? ?& ppdiv. mp sul ponticellopp ppord. mp ppsul ponticello ? ?& ppnon div. mp sul ponticellopp ppord. mp sul ponticellopp ? mpord. 3B ? div.pizzp# ? ? arcop## mpn#? pp mp ppsul ponticello ppord. mp ppsul ponticello ord.p mp? pp mp ppsul ponticello ppord. mp ppsul ponticello mpord.pizz ?? ? ?J ? ? ? ? ? ? ? ??? ? ? ? ?J ? ? ? ? ? ? ? ??? ? ? ? ?# ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?J ? ? ?# ? ? ?# ? ?#? ? ? ? ? ? ? ? ?J ?# ?# ? ? ?# wnw ? ? ? ? ? ? ? ? www w wwwww w??? ? ???n ????# ? ???n ?w ? ???ww w? ? ???wwww ???ww ww ???ww ? ? ?J ?# ?# ? ? ?#??? ??? ??? ??? ? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ?? ? ?? ? ? ???? ? ????? ? ? ? ? ?? ?w ??w# wn ??w w# w#w ??w w ??w ?# ? ?79??????????Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.molto rall. A Tempo143molto rall. A Tempo54 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 5454 44 54& mf f# ff > 3 3 > mp ff > 33& mf f## p ff > 3 3 #> mp ff > 3& mf f p ff > 3 3 #> mp ff > 33? mf f p ff mp ff& mf f p ff mp ff& mf f p ff # ? mp ff& mf f p ff mp ff? ? f p ff mp ff? ? ? ff mp ff? ? ? ff mp ff? ? ? ff> mp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ff>?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~/ ? ? ff mp ff/ ? ? ff> ? ff>& mfunis. ord. ff> > > > div.> 3 3 ?# # mp unis.ff> > > > div.> 33 3 3& mf ff> > > > div.> 3 3 ?# # mp ffunis.> > > > div.> 33 3 3B mf ## ff## ## n# . . .. . . mp ff##. . .. . .33 33 33 33 33 33 33 33 33 33 33 33 33? mfnon div. f p ff> . . . mp ff. . . >3 3 3 3 3 3 3 3 3 3 3 3 3? ? arcof p ff> mp ff>??# ?? ??#J ??# ?? ??# ?? ?? ww ??# ??## ??## ?? ?? ??## ?? ??n# ??# ??#n ??## ?? ????# ?? ??# ww ??# ??# ??# ??# ??# ??# ?? ?? ?? ??#n ??# ?? ??#??# ?? ??#J ??# ?? ??# ?? ?? w ??# ??# ??# ??# ??# ??# ?? ?? ?? ??#n ??# ?? ??#ww w# w# ww ?? ?? ?? wwww ww# ww ?? ?? ?? wwww## ww## ww# ?? ?? ? ?# ww#ww# ww# ww# ??# ??# ?? ww#ww# ww# ?? ?? ?? ww#w ? ? ? ww ? ? ? ww ? ? ? w???w ???? ????? ???w? ? ? ? ? ?? ? ?#J ? ? ?# ?# ? ?# ? ?# ? ?# ? ? ?# ? ??# ??# ??# ??# ??# ?? ?? ?? ? ?n ? ?n ??# ??<n> ??#?# ? ?J ?# ?# ? ? ?# ? ? ?# ? ?# ? ? ?# ? ??# ??# ??# ??# ??# ?? ?? ?? ? ?n ? ?n ??# ??n ??#??ww# ?????# ?????????? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ???? ?? ?????ww ???w# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?w w ? ? ? w80??????????{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Cel.Hp.Vln. IVln. IIVla.Vc.Db.molto rall. Pi? Mosso q = 92149148? ?molto rall. Pi? Mosso q = 9214954 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 4454 44& 3 > U pp p1? 3 mf 3& 3 #> Uu pp ? ? ? ?& 3 # Uu pp ? ? 1? mf 3? U pp ? ? ? ?& U pp ? ? ? ?& # #> U pp ? ? ? ?& U pp ? ? ? ?? > Ugliss.gliss. pp ? ? ? ?? > Ugliss. pp ? ? ? ?? U pp ? ? ? ?? U pp?< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ? ? ?/ U pp ? ? ? ?/ U ? ? ? ?& U p??????? ? mf??????? ?& U ?? ? ? ? ? ? ? ? ? ?# ? ? ? ?# ? ?? U p ? ?3 3 3 3 3 3 3 3& 3 ## >> #Uu pp p unis. 3 pp div.mf 3& 3 ## >> #Uu pp p # mpsul quasi ponticello mfB ## n# #Uu pp p # # mpsul quasi ponticello mf33 33 33? U pp div.p ? mp mf3 3 3? U pp ? ? mp mf?? ?? ?? ??n# ??# ? ? ?# ?n ? ?# ? ? ?# ? ?# ? ? ?n ? ? ? ?J ?J ??? ?? ?? ?? ???? ?? ?? ?? ?? ? ? ? ? ? ? ?j ?j ??? ?? ???? ?? ???? ?? ? ?#??# ?? ???? ?? ??#? ?# ?? ? ?? ? ????? ???? ????? ? ?? ? ? wwww### wwwwww? ? ? ? ? ?? ? ? w? ? ? ? w? ? ? ??? ?? ?? ?? ?? ? ? ?# ? ? ?# ? ? ?# ? ?# w ? ?? ?? ???? ?? ?? ?? ?? ???ww#n w ww w ???ww<n> ???ww?? ?? ???? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ??????? ?? ?? ????? w ww w w ww w ???wwn ???ww? ? ? ? ? ? ? ? ? ???? ww ww ww? ? ? w w81????{{??????{{{Fl. Ob. Cl. Cel.Hp.Vln. IVln. IIVla.Vc.Db.rit. 153 ? ? rit. Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.q = 100 accel. 159158? ? ?? ? ?q = 100 accel. 159& mp 3 pp p 3 pp& ? ? mp 3 pp& mp 3 pp ? p 3 3& mp??????? ? ??????? ? ?& mp??????? ? ? p??????? 3 3 3& 3 unis. 3 3 3& mp mf mp unis.pp mpB mp mf mp pp mp? mp mf pp ? pp mp? mp mf pp ? pp mp pp& U mp . . . . p. . . . . mp ?~~~~~~~~~~~~~~~~?~~~~~~~~~~~~~~& U mp pp ? ? mp ?~~~~~~~~~~~~~~~~& ppU mp . . . . p. . . . . mp ?~~~~~~~~~~~~~~~~? U p. . mp. .& U ? ? ? mp& U ? ? ? mpb& U ? ? ? mp ?~~~~~~~~~~~~~~~~? U ? ? ? mp? U ? ? ? mp& U p ?& U p ?& ppU ? mp. . . p. . . . ?& ppU pdiv.pizz arcounis.mp. . . . . . . . .& U pp pizzdiv.p arcounis.mp. . . . . . . . . . . .B U pp ? ? ? & unis.mp. . . . B? U pp pizzp mp arco? U ppizz mp arco? ? ? ?b ?b ? ? ?J ?J ? ? ? ? ? ? ? ?b wb? ? ?b ? ? ? ?j ?j ? w? ? ? ?b ?b ? ? ?J ?J ? ? ? ? ? ?b ?b ? ? ?wwwwwbb wwwwb? ??????bb ?????bb ? ? ? ? ?b ?b ? ? ??? ?? ?? ?? ?? ?b ? ? ? ? ? ?b ? ? ???wb ???w???wwb ???wwb ???wwb ???w ???w???wwb ???wwb ???ww ???wwb ???wwbwwb ww wwb ww? ?b w w w? ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ?nJ ? ? ? ? ? ? ?#? ? ?J ? ? w w? ? ?? ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ?n j ? ? ? ?w ? ?? ? ? ? ? ?b ? ? ?? ? ?? ? ?? ?? ??? ? w? ?#? ? w? ?? ? w? ? ?#? ? ? ??#? ? w? ? ? ?? ?? ? ??b ?? ? ?? ??? ? ? ?? ?? ? ?? ?? ? ?? ??? ? ? ?b J ? ? ? ?b ? ? ?bJ ? ? ????? ? ? ?? ? ? ??b ? ? ? ?# ? ? ? ? ? ? ?? ??<n> ??b ?? ??b ?? ??#???? ? ? ?? ? ? ??b ? ? ? ? ? ?# ? ? ? ? ?? ?? ??b ?? ??# ?? ??????b ? ? ??b ?? ?? ??# ?? ?? ??????? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?=82??????????{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vib.Hp.Vln. IVln. IIVla.Vc.Db.Allegro q = 120163?Allegro q = 120163& ff > > > mp> pp a 2mf3 3 3 3 3 3 3 3 3 6 6& ff > > > mp> pp mfa 23 3 3 3 3 3 3 3 3 6 6& ff > > > mp> pp mfa 23 3 3 3 3 3 3 3 3 6 6? ff mp pp mf& ff > n mp pp mp3 3& ff > b mp pp mp3 3& ff > 3 # > > >3 pp ? mp3? ff 1? pp ? mp>? ff pp ? ? mp>? ff pp ? ? mp>? ff> p ??~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? sf> mf?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~/ ff p ? ? ?/ ff> > ? ? ?& ? ? ? mp pp ?& ? ? ? ??b ? ?b ? ? ? ? ?b? ? ? ? mp pp ?& ff> > 3 > 3 > 3 3 mf pp mp> > > >3& ff> > 3 > 3 > 3 3 mf pp mp> > > >3B ffnon divisi> > > > > div.mfb pp unis.mp> > > >33 3 3 3 3 3 3 3 3 3 3 3? ffnon divisi mfdiv.bb pp sf> mf> >3 3 3 3 3 3 3 3 3 3 3 3 3 3? ff> > > > mf> pp sf> mf> >?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??b ?? ?? ?? ?? ?? ?? ?? ww ? ? ?# ? ?# ? ? ?# ? ?# ? ? ?#??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??b ?? ?? ?? ?? ?? ?? ?? ww ? ? ?# ? ?# ? ? ?# ? ?# ? ? ?#??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ??n ?? ?? ?? ww ? ? ?# ? ?# ? ? ?# ? ?# ? ? ?#ww ww w? ? wb ? ??b??b ?? ?? ?? ?? ??# ?? ?? ?? ?? ww w ? ??b??b ?? ?? ?? ?? ?? ?? ?? ?? ?? w? ? w ? ???? ??b ?? ??b ?? ? ? w ? ? ?b wwb ? ??ww ww wb ? ??bw w ? ?w w ? ?w w ? ????w ???w? ? ? ? ? ? w w? ?b ? ?b ? ? ? ???b ? ? ?n ?b ? ? ?J ? ? ?b ? ? ? ? ? ? ? ? ? ? ?#J ? ? ?# ? ?#?? ? ? ?n ?b ? ? ?J ? ? ?b ? ? ? ? ? ? ? ? ? ? ?#J ? ? ?# ? ?#??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??n ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ????? ? ?n ? ? ?#J ? ? ?# ? ?#?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ? ? ww w ?? ?? ?? ?? ?? ?? ??w w ? ? wb ? ? ?83??????????{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vib.Hp.Vln. IVln. IIVla.Vc.Db.168?& ? ? ? ?& ff > > > > > > > > 3 p pp3 3 3 3 3 3 3 3& ff > > >3 > > > >3 1?p pp3 3 3& ff > > > > > > > > 1? 3 p pp3 3 3 3 3 3 3 3? ff b p& f> sf> ff f> sf> ff b p pp& f> sf> ff f> sf> ff 4? ? p pp& sf> ff sf> ff bb pp ?? sf> sf> pp ? ?? sf> sf> pp ? ?? sf> sf> pp ? ?? ff 3 3 ?/ ff p ?/ ff> > ? ?& ? ? ? p& ? ? ? ?b ? ?b ? ? ? ? ?? ? ? ? p& ff? ? ? ? ? ? ?> ? ?> ? ?> ? ?> ? ? ? ? ? ?> ? ?> mf? ?> ? > mp3 3 3 3 3 3 3 3 3& ff? ? ? ? ? ? ?> ? ?> ? ?> ? ?> ? ? ? ? ? ?> ? ?> mf? ?> ? > p3 3 3 3 3 3 3 3 3B ffnon divisi?> ? ? ? ? ? ? ? ? ? ? ? ?> ? ? ? ? ? ? ? ? ? ? ? pdiv.b3 3 3 3 3 3 3 3 3 3 3 3? ffnon divisi' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' div.pbb3 3 3 3 3 3 3 3 3 3 3 3? ff p? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??bb ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??<n>b ?? ??b ??b ?? ??b ?? ? ?? ? ? ? ? ?? ??b ?? ??b ??# ?? ??J ??# ?? ??<n> ??b ?? ?? ?? ?? ?? ?? ?? w? ??b ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ? ?b ? ? ?n ? ? ? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ? ?? ??bb ? ?w? ?b ? w? ? ? w? ? ? wwwb ? ? ? wb ? ?# ? ?b ? wb? ?? ?? ? ??# ?? ?? ? ??ww ww#w ww w? ? ? ? ? ? ? ? ? ? ? ? ????w ???w ???w? ? ? ? ? ? wb w? ?b ? ?b ? ? ? ?? ? ? ? ? ? ? ? ?n ? ?b ? ? ? ? ? ? ? ? ? ? ? ?<n> ? ?b ? ? ?b ? ? ? ? ? ? ??b ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? w w??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???ww w?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ? ? ww w? ? ? ? ? ? ? ? ? ? ? ? wb84??????????Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.Con fuoco q. = 60 poco rall.172Con fuoco q. = 60 poco rall.38 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 38& ? ff> > > mf > > > > > > >3& mf 3 ff flz.> > > mf > > > > > > >3& mf 3 ff> > > p mf>& mf 3 ff> > > p mf>? sfp> ff>> >> >> mf >>& mfb ff> > > mf >& mfb ff> > > mf >& mf ff> > > mf >? mf ff> > > mf >? mf ff> > > mf >? mf ff> > > mf >? sfp>?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ff > mf>?~~~~~~~~~~~~~~/ ? ff ?/ ? ff> ? ? ?& div.mf 3 ff > > ?> ? ? ?> ? ?> ? ?> ?> ?>3& mfnon div. ff> > > mfB mp ff> > > mf? sfpdiv. ff> > > mf? sfp> ff> > > > > mf >? ?b ? ? ? ? ? ? ?b ?b ? ?b ? ? ? ?b ?b? ?b ? ? ? ?b ???? ???? ? ???? ? ? ?b ?b ? ?b ? ? ? ?b ?b? ??bb ?? ?? ?? ??bb ?? ?? ?? ?? ?? ? ??? ??bb ?? ?? ?? ??bb ?? ?? ?? ?? ?? ? ??wwnn ? ?? ? ? ?? ? ? ?? ? ?b?b ?b?b? ?? ??b ?? ??b ?? ??b ?? ??bb ??bn? ?? ??n ?? ?? ?? ??bb ?? ??bb ??b? ? ??b ??n ?? ?? ?? ??bb ?? ??bb ??? ??b ?? ??b ?? ??b ?? ??b ?? ??bb ??b? ?b ? ?b ? ?b ? ?b ? ?b ?b? ? ? ? ? ? ? ? ? ?b ?bwb ? ? ? ? ?J ? ? ? ?b???? ? ???? ? ???? ?? ?? ??bb ?? ?? ???? ?? ???? ?? ?? ?? ?? ?? ??bb ??bb ?? ??bb ?? ?? ?? ??bb ??bb? ?????bb ??nb ?? ?? ?? ?? ?? ????b ?? ???b ? ???b? ?????n ?? ?? ?? ?? ?? ?? ?? ???? ?? ????b ?? ????bb ???????wwb ??b ?? ?? ?? ?? ?? ????b ?? ????b ?? ????b ????wn ? ? ? ? ?J ? ? ?b ?b85??????????Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.A Tempo poco rall. A Tempo177A Tempo A Tempopoco rall.38 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 3838 24 38& ff> > > mf > > > > ff> > > > > >3& ff flz.> > > mf > > > > ff> > > flz.> > >3& ff> > > p mf> ff> > >& ff> > > p mf> ff> > >? ff>> >> >> mf >> ff>>& ff> > > mf > ff>& ff> > > mf > ff>& ff> > > mf > ff>? ff> > > mf > ff>? ff> > > mf > ff>? ff> > > mf > ff>? ff > mf>?~~~~~~~~~~~~~~~ ff/ ff ? ff/ ff ? ? ? ff& > > ?> ? ? ?> ? ?> ? ?> ?> ?> >3& ff> > > mf ff>B ff> > > mf ff>? ff> > > mf ff>? ff> > > > > mf > ff> > >? ?b ? ? ? ? ? ? ?b ?b ? ?b ? ? ? ?b ?b ? ?b ?? ?b ???? ???? ? ???? ? ? ?b ?b ? ?b ? ? ? ?b ?b ? ?b ?????? ??bb ?? ?? ?? ?? ?? ? ?? ?? ??bb ???? ??bb ?? ?? ?? ?? ?? ? ?? ?? ??bb ??? ?? ? ? ?? ? ? ?? ? ?b?b ?b?b ? ?? ???b ?? ??b ?? ??b ?? ??bb ??bn ??b ???? ?? ?? ?? ??bb ?? ??bb ??b ?? ????n ?? ?? ?? ??bb ?? ??bb ?? ??n ????b ?? ??b ?? ??b ?? ??bb ??b ??b ???b ? ?b ? ?b ? ?b ?b ?b ?? ? ? ? ? ? ?b ?b ? ?? ? ? ? ?J ? ? ? ?b ? ? ????? ? ???? ? ???? ? ???? ?? ? ? ????? ?? ???? ?? ?? ?? ?? ?? ??bb ??bb ?? ??bb ?? ?? ?? ??bb ??bb ???? ????b ?? ?? ?? ?? ?? ????b ?? ???b ? ???b ??b ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ???? ?? ????b ?? ????bb ???? ?? ?? ?? ?? ?? ????b ?? ?? ?? ?? ?? ????b ?? ????b ?? ????b ???? ??b ?? ?? ?? ?? ??? ? ? ? ?J ? ? ?b ?b ? ? ?86??????????Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.poco rall. rit. Moderato q = 88182poco rall. Moderato q = 88 rit. 24 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 3424 44 34& mf > > > > <n>ff> > > >?~~~~~~~~~~~~~~~~~~~~~~~ pp f> pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ mp 33& mf > > > > <n>ff> > > >?~~~~~~~~~~~~~~~~~~~~~~~ pp f> pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ mp 33& p mf> <n>a 2 ff>?~~~~~~~~~~~~~~~~~~~~~~~~ pp f> pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ?& p mf> a 2 <n>ff>?~~~~~~~~~~~~~~~~~~~~~~~~ pp ? ?? >> >> mf >> ff> a 2> > > pp& > > mf > ffn>> pp ? ?& > > mf > ff>> pp fb 4?mf pp& > > mf > <n>ff>?~~~~~~~~~~~~~~~~~~~~~~ fb?~~~~~~~~~~~~~~~~~~~~~~~ mfbb pp? > > mf > ff> f 1?mf pp? > > mf > ff> f p ?? > > mf > ff> p ? ?? > mf>?~~~~~~~~~~~ ? ? ?/ ? ? ? ?/ ? ? ? ? ? ?& > > ?> ? ? ?> ? ?> ? ?> ?> ?> > 3 > 3 sul ponticello> pp3& > > ?> ? ? ?> ? ?> ? ?> ?> ?> > 3 > 3 sul ponticello> pp3B > > ffb>> > > sul ponticello poco a poco pp? > > mf ff> > ff> sul ponticello poco a poco pp? > > mf > ff> > > > pp? ? ? ? ? ?b ?b ? ?b ?b ? ?b ?b ?b ? ?n w ? ?b ? ????? ? ???? ? ? ?b ?b ? ?b ?b ? ?b ?b ?b ? ?n w ? ? ?b ??? ?? ?? ?? ? ?? ? ? w?? ?? ?? ?? ? ?? ? ?? ?? ? ? ?? ? ?b?b ?b?b ?? ?? ? ?J ?b ?b ? wb??b ?? ??b ?? ??bb ??bn w? ??? ?? ??bb ?? ??bb ??b ww ww wb?? ?? ??bb ?? ??bb ?? w? ? w? ? ww??b ?? ??b ?? ??bb ??b wwn wwb wb?b ? ?b ? ?b ?b w wb? ? ? ? ?b ?b w? ?J ? ? ? ?b???? ? ???? ????? ?? ? ? ? ? ?b ?b ? ?b ?b ? ?b ?b ?b ? ?b ? ?b ? ? ?n ? ?n ? ?b ?? ? ? ? ? ? ???w????b ?? ?b ? ? ? ?b ?b ? ?b ?b ? ?b ?b ?b ? ?b ? ?b ? ? ?n ? ?n ? ?b ?? ? ? ? ? ? ???w???? ?? ????b ?? ????bb ???? ???w? ?n ???wwb ???wb????b ?? ????b ?? ????b ???? ? ? ???wwb wwbb? ?J ? ? ?b ?b ? ? ?b ?b ? ?b ? ?87????{{Picc.Fl. Cl. Vib.Cel.Vln. IVln. IIVla.Vc.Db.Andante Moderato q = 72188?? ? ? ? ?Andante Moderato q = 721883434343434343434343434& p ? ? ? ?& pp ?3 3& ? ? ? ? p1? 3& p& p ?????? ?????? ?????? ?????? ?????? ?????? ?????? ?????? ?????? ?????? ??????& ? n b && ? ? ? ord.p& ? ? pord.B pord.? ord.p? pizzp?b ?? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ?b? ? ? ? ? ? ? ? ? ? ? ?b ? ? ?? ??? ??? ???bb ??? ??? ???bb ??? ?? ??? ???bb ? ??? ???? ?b? ? ?b ? ? ? ? ?# ?b ? ?? ? ? ?b j ??<n> ??? ??? ??? ? ? ? ?b ? ? ?? ? ? ?? ? ? ? ? ??n ? ??# ?? ??n ?? ?? ?? ?? ????n ?? ?? ?? ?? ?? ?? ?? ?? ???n ? ? ? ? ? ? ? ? ? ? ? ? ? ?88??????{{{{Fl. Cl. Hn. I, IITbn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.Andante Con Moto q = 84193? ??? ? ? Andante Con Moto q = 844444444444444444444444444444444444& ? ? ? p mf pp p mf pp6 6 6 6 6 6& ? ? ? p mf pp ?6 6 6 6& mf pp ? pp mf3 3 6 6 6 6& ? ? ? mf pp mf pp6 6 6 6& ? ? ? p mp pp p mp pp? ? ? ? 1?p mp pp p mp pp& ? ? ? mf p3& ? ? ? mp& ???? ?????? ?????? ?????? ?????? mf p3& ? ?& ? ???????????? ???????????? mf p3? ? ? ?& div. mf 3& pdiv. mf p mfB (div.)p mf p mf? unis. pizzp? p? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ??b J ? ?? ?? ??b J ? ??? ? ?# ?? ? ?b J ? ? ? ?b ? ?? ? ?? ?b ? ? ?b ?b ? ?????bb ??? ? ??? ??? ??? ??? ? ? ??b J ?? ??b ?? ?? ??b wwwb? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ????b ??? ????bb ???? ? ? ??b J ?? ??b ?? ??b ?? ??b ? ????bb ??? ??bb ??? ? ? ? ? ? ?b ??b ?? ?? ?? ?? ??J ?? ??bb ?? ??? ? ? ? ? ? ????? ????? ?????# ???????# ?? ?? ?? ??bb ?? ?????b ????? ?????b# ??????? ?? ?b ? ?b ? ? ? ? ?# ? ?? ? ? ?b ? ? ?b ? ? ? ? ? ? ? ?89??????{{{{Fl. Cl. Hn. I, IIHn. III, IVTbn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.198? ? ? ?& p mf pp p mf pp ? mp6 6 6 6 6 6& p mf pp p mf pp ? ?6 6 6 6 6 6 6 6& pp mf pp mf pp ? ?6 6 6 6 6 6 6 6& mf pp ? ? ?6 6& p mp pp p mp pp ? ?& ? p3? mp ppp ? ?? p mp pp ? ? ?& mf p ? ?3& ? ? ?& mf p mp?????? ?????? ??????3 ??& ? ? ?& mf p ? ?3? ? ? ? ?& 3 unis. mp 3 pp& p mf p mf mpB p mf p mf pp ? mp? mp? mp? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ??? ??b J ? ?? ?? ??b J ? ??? ? ??n ?? ? ?b J ? ? ? ?b ? ?? ? ?? ?b ? ?? ? ??b J ?? ??b ?? ?? ??b wwwb wwwww ? ???bb ???b?b ? ? ? ? ? ? ?? ? ??b J ?? ??b ?? ??b ?? ?? ? ??? ??bb ?? ?? ?? ?b?b ?? ? ? ? ? ? ? ? ? ?b w?????b ????? ?????b ????? ???ww ???wwb?????bn ????? ?????b ????? wb?n ? ? ? ? ? ? ? ? ? ?b ? ?? ? ? ? ? ? ? ? ? ? ?b ? ?90??????{{{{Fl. Cl. Hn. I, IIHn. III, IVTbn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.accel. 202? ? ?accel. & 3 mp ? ? mp 3& ? ? ? ? mp 3& ? mp 3 pp ?& ? ? ? ? ?& ? ? ? ? ?& ? ? ? ? ?? ? ? ? ? ?& ? ? ? ? ?& ? ? ? ? ?& ????? ???????< > ?????? ?????? ?????? ?& ? ? ? ?& ? ? ?? ? ? ? ? ? ? ?? mp ? ? ? ?3 3 3 3& ? ? ? mp 3 3& pB div. p ???? ? ? ? ? ?bJ ? ? ? ? ? ? ? ? ? ? ?J? ? ? ? ? ?J? ? ? ? ? ? ? ? ? ?b ? ? ?wwww ??? ??? ? ? ? ??? ??? ????b ???? ?? ? ? ? ? ?? ?ww? ? ? ? ? ? ? ? ? ? ? ? ? ?# ????ww ww ww wwb ???wwww ww ww ww? ? ? ? ? ? ? ? ? ?b ? ? ? ? ?? ? ? ? ? ? ? ? ? ?b ? ? ? ?91??????????Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.Allegro q = 120208207Allegro q = 120208& mf 3 ffflz.> > 3 > > 3 > > 3 > 3 > 3& mf 3 slight overblow on accented notesff> > > > > > > >3 3 3 3 3 3 3 3 3 3 3 3& ? ff> > 3 > > 3 3 3 3& ? ffslight overblow on accented notes> > > > > > > >3 3 3 3 3 3 3 3 3 3 3 3& ? ff> > 3 > > 3 3 3 3& ? ffslight overblow on accented notes> > > > > > > >3 3 3 3 3 3 3 3 3 3 3 3? p sf> sf> sf> sf>& mp sf> sf> ff sf> sf> ff sf> sf> ff sf> sf>& mf sf> sf> ff sf> sf> ff sf> sf> ff sf> sf>& mp# sf> ff sf> ff sf> ff sf>? mp# sf> sf> sf> sf>? ? sf> sf> sf> sf>? ? sf> sf> sf> sf>? ? ff 3 3 3/ ? ff ?/ ? ff ?& 3 (non div.) ff unis.> 3 > > 3 > 3 > 3 > 33 3& (div.)mf unis.ff > 3 > > 3 > 3 > 3 > 33 3 3 3B mfdiv. ff> > > >3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3? arcop non div.ff div.3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3? arcop ff? ? ? ? ? ? ? ? ???? ? ? ?b ? ? ?J ? ? ?b ? ? ?J ? ? ? ?b ? ? ?b ?b ?b? ? ? ? ? ? ? ? ?n ? ? ? ? ? ?J ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ?b ? ? ? ? ? ?J ? ? ? ?? ? ? ?b ? ? ?J ? ? ?b ? ? ?J ? ? ? ?b ? ? ?b ?b ?b? ? ? ? ? ? ?J ? ? ? ? ?b ? ? ? ? ? ?J ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ? ? ? ? ? ? ?bJ ? ? ? ?? ? ? ?b ? ? ?J ? ? ?b ? ? ?J ? ? ? ?b ? ? ?b ? ?b? ? ? ? ? ? ?J ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ?? ? ? ww ww ww wwbb? ?? ? w? ? ? wb? ? ? w? ? ? wb? ?b ?? ? ?? w? ? ? w? ? ? w? ? ? wb ? ?b ?? ?? ? ?? ?? ? ??b ?? ? ?? ?? ? ??b ??? ?? ww ww ww wwbbw w w wbw w w wb? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ????w ???w ???w? ? ? ? ? ? ? ? ?? ? ?b ?? ? ? ? ? ??n ?? ?? ?? ?? ?? ? ? ?b ? ? ?J ? ? ?b ? ? ?J ? ? ? ?b ? ? ?b ?b ?b? ??# ?? ?? ??# ?? ?? ? ? ? ? ? ? ? ?n ?b ? ? ?J ? ? ?b ? ? ?J ? ? ? ?b ? ? ?b ?b ?b? ??b ?? ?? ?? ?? ?? ?? ?? ?? ??<n> ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???b ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ???b ??? ??? ??? ??? ??? ???b ??? ??? ??? ??? ???? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??bb ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ?92??????????Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vln. IVln. IIVla.Vc.Db.rit. 212rit. & > > > > > mf pp ?3 3 3 3 3 3 3 3& > ord.> > > > 3 mf pp ?3 3 3 3 3 3& > > > > > mf pp mp3 3 3 3 3 3 3 3& > ord.> > > > 3 mf pp ? ?3 3 3 3 3 3& > > > > > mfb pp ? ?3 3 3 3 3 3 3 3& > ord.> > > > 3 ? ? ?3 3 3 3 3 3? ff pp ? ?& ff> > > mf pp ?3& ff> > > 4?mf pp ?3& ff> > > 2? pp ? ?3? ff> > > 2? pp ? ?3? ff> > > pp ? ?3? ff> > pp ? ? ?? > pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ?/ ff pp ? ?/ > > ? ? ?& > > > >3 > > > >3 mf> div. 3 b b b mp& > > > >3 > > > >3 mf> 3 mpB mfbb bb mp? unis.> > > > > > > > mf mp? > > > > > > > > mf pp ?? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ?b ??b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ?b ?b ?? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ?b ? ? ? ?b ?b ?? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ?b ? ? w? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ?b ? ww?b ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???b ?? ?? ?? ?? wwb wwbb w??b ?? ?? ?? ?? ww w wb?? ?? ?? ?? ?? ww ? ? ???bb ?? ?? ?? ?? ww ? ?? ?? ? ? ? ? w ? ? ?w ww w ? ? ????w ???w ???w? ? ? ? ? ?? ?b ? ? ?b J ? ? ? ? ?J ? ??b ??b ?? ?? ?? ?? ?? ??b ?? ?b ? ? ?bJ ? ? ? ? ?J ? ? ? ?b ?b ?b ?b ?b ?b ?b ? ????wwwwbb ???wwww ???ww???ww ???w???ww ???wwb?? ? ? ? ? ? ? ? ? ? ? w wb? ? ? ? ? ? ? ? ? ? ? ? ?93????{{??????{Fl. Ob. Cl. Bsn. Vib.Hp.Vln. IVln. IIVla.Vc.Db.Moderato (tempo rubato) q = ca. 84218217? ?Moderato (tempo rubato) q = ca. 84218Fl. Ob. Cl. Hn. I, IIHn. III, IVVib.Vln. IVln. IIVla.Vc.Db.221& U U ppb p pp ?& U pp U ? ? mp1? 3 3 3& U 1? pU mp p ?3 5? U U ppb p pp ?& U U p& U U p pp ? p pp? U U ?? ? ??& U pp U unis. p mp mf& U pp U div.pp p b pp p mpB U pp U pp p pp p mp? U pp U ppdiv. p pp p mp? U U pizzp ?& mp mf pp mp& pp ? ?& mp mf pp ?& ? mp b pp& ? mpbb pp& ? ?& pp mf pp3 3 3 3& b pp mfunis. pp3 3 3 3B pp mp mf b pp? pp mp mf pp? ? arcomp mf pp? ? ? ? ?? ? ?? ww? ? ? ? ?b ? ? ?b ? ? ? ? ? ?b? ? ? ? ? ?b ? ? ? ? ?b ?b w? ? ? ? ?? ? ?? ww? ? ? ww ww ww? ? ? ? ? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ww wwbb? ???? ? ?b ? ? ? ? ?J ?b ? ? ?b ? ??<n> ???? ? ?b ? ?? ?b ww ?b ? ?? ?b?????b ????? ? ? ?? ?b ? ww ? ?? ?b ?? ? ? w? ? ?b ww w? ? ?b? ? ? w w? ? ?J ?b ? ? ? ? ?b ? ? ? ??b J ??b ??bb ?? ??w? ? ?J ?b ? ? ? ?b ?ww wwww wwwww ?b ?b ?b ? ? ?b ? ? ? ? ?b ? www ?b ?b ?b ? ? ?b ? ? ? ? ?b ? www wwb? ?b wwwww wb? ? ?b ww? ? ? w=94????{{{Fl. Ob. Bsn. Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.rall. Quasi Misterioso q = 80224?rall. Quasi Misterioso q = 80& pp pp## #<n> #<n> mp# # pp pp66 66 66 66 66 6& ? ? pp1? p 3 pp? ? ? pp mp& ? ? p 3 3 3 3& ? ? p??????? ?& mp ? ??b ? ?b ?b ? ? ?b ?b ? ?? > ? ?3 3 3 3 3 3 3& mf sul ponticelloppdiv. mp& div.mp mf ppsul ponticello mpB p mf sul ponticellopp mp? p mfb ppsul ponticello mp? p mf pp mp??b ??b<n> ??b ??<n>b ?? w? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ??# ? ?# ? www ww?# ? ? ?# ?# ?# ?# ? ? ?# ?# ?# w#wwwwwwww#wb ? ?b ?b ? ?b ? wb ? ? ?b ?b ? ?? ? ?b ? ? ???ww# ???ww? ?? ?b j ? ww ???ww# ???ww? ?b ?? ?b j ? ? www ???ww#n ???ww?b ?? ?j ? ? ? ww ???ww#n ???wwwb wb wn w95??????????{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Tri.Cym.Vib.Cel.Vln. IVln. IIVla.Vc.Db.molto rall. Allegro q = 120228? Allegro q = 120& pp mpU?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pp ff> > > > > > > > sf.>.>3 3 3 3& ? ?U ff> > > > > > sf.>3 3 3 3& ? ?U ff> > > > sf.>3 3 3 3? pp mpU pp ff> > sf.>& ? ?U ff> > sf.>& ? ?U ff> > sf.>& ? ?U ff>> #>> sf.>? ? ?U ff> > sf.>? ? ?U ff> > sf.>? ? ?U ff> > sf.>? ? ?U ff>?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > sf?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .>/ ? ?U ff sf.>/ ? ?U ff> > sf.>& U ? ? ?3 3 3 3& p??????? U??????? ? ? ?& solomp U pp ? ? ?& pp pU pp ord.unis. ff> 3 > > >3 > sfnon div..>& pp pU pp ord.unis. ff> 3 > > >3 > sfnon div..>B pp pU pp ffunisord.?> ? ? ? ? ? ? ? ? ? ? ? ?> ? ? ? ? ? ? ? ? sfnon div.? ? ? .>3 3 3 3 3 3 3 3? pp pU pp ord.unis.ff' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' sfnon div.' ' ' .>3 3 3 3 3 3 3 3? pp pU pp ff> > sf.>? ??b J ??# ww# ?? ?? ?? ??<n> ?? ??b ?? ?? ?? ?? ?? ?? ?? ??# ?j ? ? ?J??b ?? ?? ?? ?? ??nb ?? ??# ?? ?? ?? ?? ?? ?? ??J ? ? ???b ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ??# ??b j ? ? ?ww ww ww ww ??j ? ? ?wwb ww ??j ? ? ?ww ww# ??b j ? ? ?ww ww ??J ? ? ?wwb ww ??J ? ? ?w w ?j ? ? ?w w ?j ? ? ?w w ?j ? ? ????w ???w ?j ? ? ?? ? ? ? ? ? ?j ? ? ?? ?b ? ?# ? ? ?b ? ? ? ?# ? wwwwwwwwbb#<n> wwwwwww#b#?b ?b ? ? ?b w???wwn ???ww ? ? ? ?b ? ? ?b ? ????b ? ????ww# ???ww ? ? ?<n> ?b ? ? ?b ? ????b ? ????wwn ???ww ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???b ? ????ww# ???ww ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???b ? ?w w w w ? ? ?96????{TimpaniHarpViolin IViolin IIViolaVioloncelloDouble Bassq = 96sf pp pp mp ppq = 96sf pp mp ppsf pp pp mp ppsf pp mp ppsf pp pp mp ppsf pp mp pppp mp ppsf pp mp ppsf pp mp pp444444444444444444444444? ? ? ? ? ? ? ? ? ?UII: Sour& ? ? ? ? ? ? ? ? ?U? ? ? ? ? ? ? ? ? ?U& 2 Solo Violins> ? ? non div.sul A, E gliss gliss U& div.> unissenza vibrato molto vibrato poco a poco senza vibrato poco a poco U& 2 Solo Violins> ? ? non div. sul D, A gliss gliss U& div.> unissenza vibrato molto vibrato poco a poco - - - - - - - senza vibrato poco a poco - - - - - - - - U& 2 Solo violas> ? ? B non div. sul G, D gliss gliss U& div.> B unissenza vibrato molto vibrato poco a poco senza vibrato poco a poco U? ? ? ? non div.sul C, G 2 Solo Celli gliss gliss U? > senza vibrato molto vibrato poco a poco senza vibrato poco a poco U? > molto vibrato poco a poco senza vibrato poco a poco U~w# ww w ww w ww wwww w w wb w w w wn w~w## ww w ww w ww wwww## wb w wb w wn w w w~w ww w ww w ww wwww w w w w wb w wb www w ww w ww www w w wb w wb w wn ww w w w w w# w w w97??????{Timp.Vln. IVln. IIVla.Vc.Db.sfp mf pp10 sfp mf psfp mf psfp mf psfp mf psfp mf psfp mf psfp mf psfp mf ppHp.Vln. IVln. IIVla.Vc.Db.p18 ppp pp mp pppp mp pppp mp pppp mp pppp mp pppp mp pp? ?~~~~~~~~~~~~~~~~~~~~~ 1&div a 8: 3412 senza vib.> oglissando (over harmonics)sul E o o o o o&(div.) 5678 senza vib.> oglissando (over harmonics)sul A o o o o o&div a 8:3412 senza vib.> oglissando (over harmonics)sul D o o o o o&(div.) 5678 senza vib.> oglissando (over harmonics)sul G o o o o oBdiv a 8: 3412senza vib.> (div.)143 (3)B(div.) 5678 senza vib.> 76 (div.) (6)? div con sord.senza vib.> unis.? > ? ?& 2& oglissando (over harmonics)sul Eo o o o o& o(div.) glissando (over harmonics)sul Ao o o o o& oglissando (over harmonics)sul D o o o o o&(div.) div. senza vibrato molto vibrato poco a poco - - - - - - - senza vibrato poco a poco - - - - - - - -B ? ? 2 Solo Violasnon div. sul D, A gliss glissB unissenza vibrato molto vibrato poco a poco senza vibrato poco a poco? ? ? 2 Solo Cellinon div.sul D, A gliss gliss? senza vibrato molto vibrato poco a poco senza vibrato poco a poco? senza vibrato molto vibrato poco a poco senza vibrato poco a pocowwwww# ? ? ? ?# ? 1wwww# ? ? ? ?# ? 1wwwwbbb ? ? ? ?# ? 1wwwwbb ? ? ? ? ? 1wwwwb# www# ?wwwww ww ?wwwww# w# ww???? ?# ? ?# ?# ?? ?# ? ?# ?# ?# ?# ?# ? ?<n> ? ?# ?# ?# ?? ? ? ?# ? 1? ? ? ?# ? 1? ? ? ?# ? 1ww ww ww## ww ww## ww wwnn wwww w ww w ww www w w w w# w w# www w ww w ww www w w w w# w w# ww# w w# w wn w w w=98????????{Timp.Vln. IVln. IIVla.Vc.Db.mf pp26 sfp mf ppsfp mf ppsfp mf ppsfp mf ppsfp mf ppsfp mf ppsfp mf ppsfp mf ppTimp.Hp.Vln. IVln. IIVla.Vc.Db.mp pp36 sfsf f p sf f psf f p sff sff sfsf f p sff f psf sf sff sfsf sf? sfp?~~~~~~~~~~~~~~~~~~~~~~~~ ? ?3&div a 8:3412alternate between pont. and tasto> ord.molto vibrato poco a poco (div) 4&(div.) 5678alternate between pont and tasto> ord.molto vibrato poco a poco &alternate between pont. and sul tastodiv a 8:3412 > gradually reducing the speed of tremolo (ad lib) ord.molto vibrato poco a poco &alternate between pont. and tasto7856(div) > gradually reducing the speed of tremolo (ad lib) ord.molto vibrato poco a poco Bdiv a 8: 3412alternate between pont. and tasto> gradually reducing the speed of tremolo (ad lib) ord.molto vibrato poco a poco B 6785alternate between pont. and tasto(div) > gradually reducing the speed of tremolo (ad lib) ord.molto vibrato poco a poco ?alternate between pont. and tastodiv. b# >> unis.non div.sul ponticello? > pizz? gliss. gliss. gliss.?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sim5& ? ? sur la table?? gliss. ?? gliss.? ? ? ?? gliss. ?? ?? gliss.& non div.ord.> gliss.gliss. col legno batt. q x 2> ord.> gliss.gliss. col legno batt. q x 2>& ord.non div.(div) > > q x 4gliss.gliss. col legno batt. q x 2> ord. > q x 4(div) gliss.gliss.& non div. sul D and A (sul A molto vibrato) pizz> gliss.gliss.&(div) non div. sul D and A (sul D molto vibrato)<n> pizz> gliss.gliss.B ? ord. non div.> gliss.gliss. col legno batt. q x 2> pizz> gliss.gliss.B(div) non div. sul G and D (sul G molto vibrato)<n> col legno batt. q x 2>? ? ord.> gliss.gliss. > gliss.gliss. > gliss.gliss.?(div) non div. sul C and G (sul C molto vibrato) pizz> gliss.gliss.? ? ord. gliss. gliss. gliss.w#???wwww# w w# w wn???wwww# w w# w wn???wwwwbbb w# w???wwww w# w???wwwwb w# wn w???wwww## w# wn w???ww???ww ???ww# ???w ???wwnb ???www# ?# ? ? ? ?# ? ? ? ?n ? ? ? ? ? ? ?? ?b ? w ? ? ?w ? ? ?ww ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ???ww ??j ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ????? ??j ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ????? ??j ? ?w<n>w<n> w ww w ww w wwww w ww w ww w ww???ww ??J ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? wwww w ww w ww w ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??J ? ? ?? ??j ? ? ??ww w ww w ww w ? ??? ? ?J ? ? ? ?J ? ? ?=99??{??{Hp.Vln. IVln. IIVla.Vc.Db.sf40 mp mfmff p sf mpf psf f psf sfsf f pf p f p f pHp.Vln. IVln. IIVla.Vc.Db.mp pp43p ppp mpnon div. jete ppsimmpnon div. jete ppmf p ppmp p sim ppmp ppmp p pp& ? ?? * q x 4gliss.? ?? ? ?? gliss.& sul pont.& > gliss.gliss.&(div) > gliss.gliss.B col legno batt.arco q x 2> ord.> sul pont.gliss.gliss.B(div) ? col legno batt. q x 2> ?? > q x 4gliss.gliss. col legno batt. q x 2> ord. gliss.gliss.?(div) > gliss.gliss. > gliss.gliss.? q x 4 gliss. col legno batt. q x 2> gliss.?(div) col legno batt. q x 2> col legno batt. q x 2> col legno batt. q x 2>& ?? q x 2gliss. ?? q x4 gliss. ?? q x 2gliss. ?? q x 4gliss. ?? q x 2gliss. ?6? ?? ?? gliss. ?? ?? gliss. ?? ?? gliss. ?? ?? gliss. ?? ?? gliss. ?? ?& oGlissando over harmonics - alternating randomly between the strings indicatedsul Ao o o o o osul Eo o o o o& osul G(div) o o o o o sul Do o o o o o&B non div. pizz???? ???? ???? ????B(div) ? gliss.gliss. & oodiv.? sul pont. ? non div. pizz???? ???? ???? ?????sul pont.?(div) pizz gliss.gliss.? ? ? w? ? ? w???ww ???ww ???ww??J ? ? ? ww ??j ? ? ???J ? ? ? ww ??j ? ? ???j ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ww ???ww? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???J ? ? ?? ??j ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ????j ? ? ? ? ?? ??J ? ? ???j ? ? ? ?j ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ?# ? 1 ? ? ? ?# ? 1? ? ? ? ? 1 ? ? ? ?# ? 1???ww???wwww???ww??j ? ? ?? ??j ? ? ? wwww???ww ???wwww???ww? ?? ??J ? ? ? ???w=100????????{{{{Piccolo2 Flutes2 Oboes2 Clarinets 2 BassoonsHorn I, IIHorn III, IV2 Trumpets 2 Tenor TrombonesBass TromboneTubaTimpaniGlockenspielVibraphoneCelestaHarpViolin IViolin IIViolaVioloncelloDouble BassLarghetto q. = 56 p ppp p pppp ppp pp? ?p ppp mp?pp p ppLarghetto q. = 5668686868686868686868686868686868686868686868& ? ? ? ?III: Sweet& ? ? 1?& ? ? 2?& ? ? ? ?& ? ? ? ?? ? ? ? ?& ? ? ? ?& ? ? ? ?& ? ? ? ?? ? ? ? ?? ? ? ? ?? ? ? ? ?? ? ? ? ?& ? ? ? ?&& l.v. sempre = h.& ? ? ? ?& ?& ? ? pB p? p? pizzp ? ?? ?b ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ??b ? ?b ? ?b ? ? ? ? ? ? ? ?b ? ? ? ?b ? ?b ? ?b ? ?b ?? ? ?b ? ?b ? ?b ? ?b ? ?b ? ? ?b ? ? ? ?b ? ? ? ?b ?? ? ????b ? ???? ? ???? ? ????b ?????? ??????b ? ?b ? ?b ? ?b ? ?b ? ?b ? ?b ? ?b ??b ? ? ? ? ? ? ??b ? ? ? ?b ? ? ?101????{{{{Fl. Ob. Cl. Bsn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.p ppp5 ppp p ppp pp ppp p pppp pppp ppp? ?pp pp p pp& ? ? ?& ?& ? 1? ? ?& ? ? 1? ?& ? ? 2?? ? ? ? B 1? ?& ? ? ? ?&& ? ?& ? p? ? ? ? ? ?& ? solo& div.bb&B? pp mp? arcop mp? ?b ? ? ? ? ? ? ? ? ? ??b ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??b ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ??b ? ?b ? ?b ? ? ? ?<n> ? ?b ? ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ? ?b ?? ? ?b ? ?b ? ? ??b ? ? ? ?b ? ?b ? ?b ? ? ?O?bb ?? O? ?? O?bb ?? O?bb ?? O?bb ?? O? ?????? ? ????b ? ????b ? ???? ? ????b ? ????b ? ???? ????? ? ???? ?????? ????? ????? ??????b ? ?b ? ?b ? ?b ? ?b ? ?b ? ?b ? ?b ?? ? ?n ? ? ? ? ??b ? ? ? ?b ? ? ? ? ?102????{{{{Fl. Ob. Cl. Bsn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.p ppp p ppp p mp9 ppp p ppp p pppp ppp p pppp ppp p pppp ppp p pppp? ? ? ?p ppp mp? ppp? p mpmpmpmpmp& ? 1?& ? ?& ?& ? ?& ? ?? ? ? ? ? p& ? ? ? ? l.v.&& ??& ? ? ? ?& pp ? ? ?& p b ? ppb& div.b pb b b ppbB p div.pp? ppdiv.b mp ppbb mp pp? pp ? mppizz? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ??? ? ? ?b ? ? ? ?? ? ?b ? ? ? ?b ? ? ? ? ? ? ?? ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ? ?b ????? ? ?????? ???? ? ? ? ?b ? ? ? ? ? ? ?b ? ? ? ? ? ?? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ??? ? ? ?b ? ? ? ?? ?? ? ? ?b ? ? ? ? ? ?b ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ??b ? ??b ?? ??bb ?? ??b ?? ? ? ??b ?? ??b ?? ??b ??? ? ?b ? ?b ? ?b ? ?b ? ?b ? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ?b ? ? ? ?b?b ? ? ? ?b ? ? ? ? ? ? ?O? ?? O? ?? ? ?? ?????? ?b ?? ? ? ? ? ????? ? ? ?? ?????? ??? ? ?b ? ????? ??? ? ?b ? ????? ??? ? ? ? ????? ??? ? ? ? ? ??? ???b ? ?b ? ?b ? ?b ? ?b ? ? ? ?b ? ? ? ? ?? ?? ?? ? ? ?? ? ?? ??? ? ?? ??? ? ? ??b ? ? ? ? ? ?b ? ? ? ? ?103????{{{????{{{Fl. Bsn. Glock.Cel.Hp.Vln. IVln. IIVla.Vc.Db.ppp mp mf ppp14 mf pmf ppp? mp?pp mp mf pp p ppFl. Ob. Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.mp ppp mp ppp19 mp pppmp ppp pp mp ppp pp p?p pppp mp pppp mf pp p19& 2? ? ?? mf ppp ? ?& ?&&& mf pp p& mf pp pB mfb n ppbb p? mf ppbb p? arcop mf pp p& ? ? ?& ? ? ?& 1? ?& ?& ? ? ?& ? ? ?& solo ?& div.ppb b mpb b b b ppb b mpb b& div.ppbb mpbb bb ppbb mpbbB div.ppbbb mpbbb bbb ppb<n> mpb<n>? div.ppb mp ppn mp? pp mp pp pizzmp? ? ? ? ? ? ? ? ? ? ? ? ?b ? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?b ? ?n ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ?b ?b ? ?b ? ?b ? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?b ? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ?b ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ?? ? ?? ??? ? ?? ??? ? ? ??? ?? ? ??? ??? ??? ?? ? ??? ?? ? ??? ?? ? ?? ? ? ?? ?? ?? ? ? ?? ? ? ?? ? ? ??? ?? ? ??? ??? ? ?b ?? ? ?n ?? ? ? ?? ? ? ?? ?? ? ?b ? ?n ? ?b ? ? ?? ?b ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ? ?? ? ? ? ?b ? ? ? ?b ? ?b ? ? ??b ? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?<n> ?b ?b ?<n> ? ? ?? ? ?b ?b ?b ? ?b ?b ?b ? ? ??b ? ?b ? ? ? ? ? ?b ? ? ? ?b ? ? ?? ? ?b ? ???? ? ?b ? ? ? ?b ? ?b ?? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ??? ??? ? ? ? ?? ??? ? ? ? ?? ??? ? ? ? ?? ??? ? ?b ? ?? ??? ? ?b ?????? ??? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ? ???? ?? ? ? ? ???? ?? ? ? ?? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ??b ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ?=104??????{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.p mp ppp24 mpp mp pppp pp p pppp p pp p pppp p pppp p pp p pp? mp? mp ppp? mp ppp?p ppppp& ? ? 1? ? ? ?& ? ? 1? pp& ? ? 1? ? ? ?? ? pp mf pp mf 1?pp& ? ? b b ? 2?pp ?& ? 3? b ? ? ?& ? 1? ? ? ? ?? ? ? ?& ? ? ? ?& ? ? ?& ? ? ? ?& ? ? solopp& b b ppb mfb ppb mpb pp& bb ppbb mfbb ppnb mpb ppB b<n> ppb mfbb ppb mpb pp ? ?? ppbb mf pp mp unis. pp? arcopp mf mp pp?b ? ?b ? ?b ? ?b ?b ? ? ? ? ?b ?b ????? ?????? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?????? ???????b ?? ?? ?? ?? ?? ?? ?? ? ? ? ? ?b ?? ?? ? ?b ? ? ?? ? ? ??b ? ? ?? ? ? ?? ??b ? ? ? ? ? ? ???bb ?? ?? ?? ??b ?? ??b ?? ?? ?? ?? ???b ?b ? ? ? ??b ??? ? ?b ?? ???b ?b ? ? ?? ? ?b ?b ?b ? ?b ?b ?b ? ? ? ? ? ? ? ?b ? ?b ? ?b ? ?b ? ? ? ? ??b ? ?b ? ?b ?b ? ? ? ? ? ? ?b ? ?b ? ? ?b ? ? ? ? ? ? ? ? ?b ? ? ?b?b ? ? ? ? ? O?bb ?? O? ?? ? ? ? ? ? ? ? ?? ? ? ?? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ? ? ??? ? ?? ? ? ?? ??? ??? ? ?b ? ????? ??? ? ?b ? ????? ??? ? ?b ? ????? ??? ? ?b ? ????? ??? ? ?b ? ? ? ? ????? ?? ? ? ? ???? ?? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ? ????????? ? ?b ? ? ?? ?? ? ? ?? ? ?b ??? ?? ? ???b ?? ? ?? ? ?b ? ? ? ? ? ?b ??b ? ? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ?105??????{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Cel.Hp.Vln. IVln. IIVla.Vc.Db.31& ? ? mf1? pp& mpb b mf b& ? ? mf1? pp? mp mf pp& ? ? mp pp& pp3? mpb n pp& ? ? mf b? ? ? ? ?& ? ? ? ?& ?& mp pp ? ? ?& mp mf& mp mfbbB mpb n mfbb n? mp mf? mp mf? ?b ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??b ? ?n ? ?b ? ?n ?? ? ? ? ? ?? ? ? ?? ?? ? ?b ? ? ? ? ?? ? ? ?? ?? ?? ? ?b ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ?b ? ? ? ?b ? ? ?b ? ? ? ?O? ??? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ?? ?? ? ? ?? ? ?? ???? ?? ?? ???? ??? ?? ? ? ?? ? ?? ???? ?? ?? ???? ???b ? ?n ? ?b ? ?n ??b ? ?n ? ?b ? ?n ?106????????{{????????{{{Fl. Ob. Bsn. Hn. I, IITpt. Timp.Cel.Hp.Vln. IVln. IIVla.Vc.Db.35p ppp?Fl. Bsn. Hn. I, IIHn. III, IVTimp.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.4340?? ? ? ? ? ?43& ? ? ? 1? mp& pp ? ? ? ?? ? ? ? ? 2?pp ?& ? ? ? ? 1?pp& pp ? ? ? ?? ? ? ? ? pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~& ? ? ?& ? ? mp????? ????? ????? ?& p pp ? p mp& pb ppb bb mpB p ppb b mp? p div.ppbb mp? p pp mp& pp ? p- - pp? mp mp pp pp ? ?& mp pp mp pp ? ?& 3?pp mp pp ? ? ?? ppp?< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ?& ? ? ? p& p ?& ? ? ? p????? ????? ????? ?????& b b p& bb b ppB pp ? ?? solop pp ? ?? pp pizzunis.mp p? pp ? pizzmp p? ? ? ? ?b ? ?b ?? ? ?b ??b ?? ? ?b ?? ? ?b ? ? ? ?b ? ? ? ?b ? ? ? ? ??? ??? ???b ??? ????bb ???? ? ?? ?? ? ???? ?????? ???? ?????? ???? ??????? ??? ?? ? ??? ?? ? ?? ? ?? ??? ? ?? ??? ?? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ?? ? ? ? ? ?? ? ? ?? ? ? ?? ?? ? ? ? ?b ? ? ? ? ??b ? ? ? ?b ? ?b ? ? ?b ? ? ? ? ?? ?? ? ? ? ? ??b ? ?b ? ? ? ? ??b ? ? ?? ? ?b ? ? ? ? ??b ? ? ??b ? ?b ? ?b ? ? ? ? ?b ? ? ? ?b ? ?b ? ? ? ?b? ? ???bb ??? ???b ??? ???bb ??? ???bb ??? ???bb ??? ???bb ??????bb ??? ???b ??? ???bb ??? ???bb ???????????? ? ????????? ? ????????? ? ????b ? ???? ? ????b ? ????b ??? ??? ? ?? ??? ? ? ?? ? ????? ?????? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ? ?b ? ?b ? ? ? ?b ?? ?? ? ? ?? ? ? ? ?b ? ? ? ? ? ?b ? ?b ? ? ?? ? ? ? ?b ? ? ? ? ? ?b ? ?b ? ? ?=107??????{{????????Fl. Cl. Bsn. Hn. I, IIVib.Hp.Vln. IVln. IIVla.Vc.Db.45?Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Timp.Vln. IVln. IIVla.Vc.Db.51& ? ? ? ? 1?mp& 1?p pp ? 1?mp mf mp& 2?p pp ? ? ? ?? ? 1?p > pp ? ? ?& 1?pp p pp ? ? ? ?& ? ? ? ?& ????? ????? ? ? ? ? ?& pp p mp& p pp p mpB ? ? pb mp? ? arcodiv.p b mp? ? 2 2& a 2mf b& ? ? mfb a 2 b bb& mf p? ? p mfb bb pp ?& ? ? mf b pp ?& ? ? mfb pp ?& ? ? 1?mf p? ? ? mf pp ?? ? ? mp pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ?& p div.mf& ? p mfB pb b mf b? p bb mfb bb? arcomf? ? ? ?J ?b ? ? ? ? ??b ?b ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ?J ? ? ? ? ?b ? ? ?? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ?? ? ? ? ? ? ?b ?b ? ? ? ? ?b ? ? ??b ? ? ??b ? ? ????bn ??? ???nb ????b ? ?b ? ?b ? ?b ? ? ? ?b ? ? ? ?b ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?b ? ? ? ?b ? ?b ? ? ? ? ?? ?? ? ?b ? ? ?? ? ? ?? ? ? ?? ? ? ??n ? ? ? ?b ?? ? ?b ? ? ?? ? ? ?? ? ?? ??n ? ? ? ? ? ?b ? ? ? ? ? ? ?b ? ?b ? ? ? ?? ? ? ? ? ? ?b ? ?b ? ? ? ? ? ?b ? ? ? ?b ? ? ?? ? ? ?? ?? ?? ? ?b ? ? ? ?b ? ?b ? ?b ? ? ? ? ?? ? ? ?? ?? ? ? ? ? ? ?b ? ??bb ?? ?? ?? ?? ?? ??bb ?? ?? ?? ??bb ?? ?? ?? ? ??b ? ? ?? ? ?b ? ? ?? ??b ?? ? ?b ? ? ?? ?? ?? ? ? ?? ??b ? ? ? ?b ? ?b ? ?b ? ? ? ? ? ? ???b ?? ?? ???b ?? ? ?b ? ?b ? ?b ? ??bb ?? ?? ?? ?? ?? ??bb ?? ? ??? ?? ??bb ?? ? ? ?b ??????bb ?? ?????b ?? ?????b ?? ?????b ?? ?????b ??? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ?? ??? ?b ? ? ?? ? ? ?? ? ?b ? ? ?? ? ? ?? ? ?b ? ?b ? ? ? ? ? ? ? ?b ?=108????{{{{Fl. Ob. Cl. Bsn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.p ppp p ppp p ppp p ppp56 p pp p ppp p ppp p ppppp p mfp p p?? p& 1?& 2?& ? ? 1?& ? 1?& ? 2?? ? ? ? mf& mp ?& ? mp& mp?????? ?????? ? ?& ? ? ?& bb ppnb bb b bb b mp& bb ppbb bb bb bbB bbb ppbbb bbb bbb bbb? pp? pp? ? ?b ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ??b ? ?b ? ? ? ?b ? ?b ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ? ?? ?? ? ? ? ?b ? ? ??b ?b ? ? ? ?b ?b ? ? ? ?b ?b ? ? ? ?b ?b ? ? ?? ? ?b ?b ? ? ? ?b ?b ? ? ? ?b ? ?b ? ? ? ???b ?? ?? ???b ? ? ? ? ? ?b ? ? ? ?b ? ? ? ?b ? ? ? ? ??b ? ?b ? ?b ? ?b ? ?b ? ?b ? ?b ? ?b ?? ? ????bbbb ???? ????bb ???? ? ? ?b ?? ?b ?b ? ? ?b ? ?b ? ????? ?? ? ?b ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ???? ?? ? ? ? ???? ?? ? ? ? ?b ??b ??????????? ?? ?? ??? ? ?n ? ?? ??? ? ? ? ?? ??? ? ?b ? ?? ??? ? ?b ?????? ??? ? ?b ? ????? ??? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ??b ? ? ? ? ? ? ? ? ??b ? ?b ? ?b ? ?b ? ?b ?109??????{{{Fl. Ob. Cl. Bsn. Hn. I, IIVib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.mp ppp mp ppp mp61pp pp mp ppppp mppp ppp? p?p ppp?p pp61& ?& mf& ? mf ?? mf ? ?& ? ? ? 1?p&& ? ? ?& ? ?& mf (sempre div)mp& ppbb mpbb bb sul quasi-ponticelloppbn mpbB ppbbb mpb bbb sul quasi-ponticelloppb<n> mpb<n>? div.ppb mpb sul quasi-ponticelloppn mp? pp mp pp pizzmp? ? ? ?b ? ? ? ? ? ? ? ? ? ? ?b ?b ? ? ? ? ?b ?b ? ? ? ? ? ? ? ? ?b ?b ? ? ? ?? ? ? ? ? ? ? ? ?b ?b ? ? ? ? ?b ?b ? ? ? ? ? ??b ? ? ? ? ? ? ? ? ? ? ???bb ?? ?? ?? ??b ?? ? ? ? ??b ? ?b ? ?b ? ? ? ? ? ? ? ?b ? ?b ? ?b ? ? ? ? ? ? ? ?b ? ?b ? ?b ? ? ? ? ? ? ? ?<n> ?b ?b ?<n> ? ? ?? ? ?b ?b ?b ? ?b ?b ?b ? ? ??b ?b ? ? ? ?b ? ? ? ? ? ? ?b ?b ? ? ? ?b ? ? ? ? ? ? ?b ?b ? ? ? ?b ? ? ? ? ? ?? ?? ? ?b ??b ? ? ?? ? ?b ??b ? ? ?? ? ? ??b ? ?b ? ? ? ?b ? ?b ??? ??? ? ?b ? ?? ??? ? ? ? ?? ??? ? ?b ? ????? ??? ? ?b ? ????? ??? ? ?# ?????? ??? ? ? ? ????? ??? ? ?b ? ????? ??? ? ? ? ???? ?? ? ? ? ???? ?? ? ?b ?? ?? ? ? ?? ? ? ??b ? ? ?? ? ? ?? ??b ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ?110????????{{{????{Fl. Ob. Cl. Hn. I, IITimp.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.ppp66 mp pppppp? p pp?p pppp ppFl. Hp.Vln. IVln. IIVla.Vc.Db.71& ? ? ? 1? mf& ? ? ?& ? ? ? ?& ? ? ? ?? ? pp ppp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ?& ? ?& ? ? ?& ? ? ?& ? solomp& b mpbb bn #n# pp& b ord.pbb mpb n #B b<n> ord.pbb mpbb ##? ord.pb mp nb unis.? arcop mp& mp& p?????? ?????? mp?????? ?????? p?????& pp ? ? ? ?& ? p ? mp# p##& p### mp # p#nB p mp p? div.p## # mp <n> p? p pizz mp p?b ?b ? ? ? ? ? ? ? ? ?b ? ?b ?? ? ??b ??b ?? ?? ?? ?? ??b ??b ?? ?? ?? ?? ? ??b ?b ? ? ? ? ? ?? ? ?b ? ?b ??b ?b ? ? ? ?b ? ?b ? ?b ? ? ? ? ? ? ? ?b ? ?b ? ?b ? ? ? ? ? ? ?? ? ?b ?b ?b ? ?b ?b ?b ? ? ??b ?b ? ? ? ?b ? ? ? ? ? ? ?b ?b ? ? ? ?b ? ? ? ? ? ?? ? ?b ? ? ? ?b ? ? ? ? ? ?b ? ?b ??b ? ? ? ????? ??? ? ? ????? ??? ? ? ? ?? ??? ? ? ? ?? ??? ? ?# ????? ?????? ?? ????? ??????? ?? ???? ?? ? ?b ? ? ?? ? ?n ? ? ?? ? ?# ????? ?? ? ?b ? ???? ?????? ?? ???????? ?? ???? ?? ? ?b ? ???? ?? ? ?# ?? ?? ? ? ?? ? ? ?? ? ? ?? ? ?<#> ? ?# ? ?# ??b ? ? ? ?b ? ?b ? ?# ? ?# ? ?# ?? ? ? ? ?b ? ?b ? ?? ? ?b ? ?b ? ? ? ?# ? ?n ? ?# ? ?# ? ?# ? ?# ? ?# ? ?# ? ?# ?????bbbb ???? ?????bbbb ????? ?????bbbbb ????? ??????bbbbbb ?????? ??????bbbbbb ?????????? ? ? ? ?# ? ? ?? ? ? ?? ? ???? ?? ? ?# ??? ??? ? ? ?? ? ? ?? ? ? ?? ? ???? ?? ? ?# ??# ? ? ? ?# ? ? ? ?# ? ? ?? ?? ? ? ?? ? ?# ? ? ?? ? ? ?? ? ?# ??# ??# ? ? ? ?# ? ?# ? ? ? ? ? ?<n> ? ? ? ?# ? ? ?=111??????{{{Picc.Fl. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Glock.Vib.Hp.Vln. IVln. IIVla.Vc.Db.76? ? ? ?& ? ? ? ? mf& ?~~~~~~~ mf>& ? p ? mf ? ?? p pp ? mf& ? ? p1? mf& ? ? p3? mf& ? ? p mf## n ##& ? ? ? mf& p mf& ????? ????? ? mf& ### ## ### # mfdiv.>& # ## ## mf### n ###B # ## mf## #? # # mf## n #? mp mfarco?? ? ?J ?# ? ?# ? ?# ? ?# ? ?# ? ? ??# ? ?# ? ?# ? ?# ? ?# ? ?# ? ?# ? ?# ?#J ?# ? ? ? ?# ? ?# ? ?# ? ? ? ?# ? ?# ? ?# ? ?# ? ?# ? ? ??# ? ? ??# ? ??## ?? ? ?? ? ??## ?? ?? ?? ??## ?? ??## ?? ??## ?? ??nn ??? ? ?# ? ?# ? ?# ? ? ? ? ? ?# ? ?# ??# ? ?# ? ? ? ?# ?? ? ??## ?? ? ?? ? ? ?? ? ? ?? ???# ? ??# ? ??# ? ??# ? ??# ? ?? ? ??# ? ??# ? ??# ? ??# ? ??# ? ?? ?? ? ??## ?? ??## ?? ? ? ??## ?? ?# ?# ?# ?# ?# ?# ?# ?n ?# ?# ?# ?n ?# ? ?# ?# ?# ?? ? ??????bbbb ?????? ??????bbbbbb ?????? ?b ?b ?b ?b ?b ?b ?b ? ? ??? ?b ? ?b ?b ? ?b ?b ? ? ??? ?b ?b ?b ?b ?b ?b ?b ?? ????????????? ?? ???????? ? ???? ?????? ?? ????? ?????? ? ??## ?? ??# ?? ??## ?? ??## ?? ??## ?? ?? ?? ??## ?? ??## ?? ??## ?? ??## ?? ??## ?? ?? ?????? ?? ? ?# ? ???? ?? ? ?# ? ???? ?? ? ? ? ? ??? ?? ? ??? ?? ? ??? ???# ? ?# ? ? ?? ? ?# ? ? ?? ? ?# ? ? ?? ? ? ?? ? ?# ? ? ?? ?? ?? ? ?# ?? ? ? ?? ? ? ?? ? ? ?? ? ?# ? ? ?? ??# ? ? ? ?# ? ? ? ?# ? ? ? ?# ? ? ? ?# ? ? ?112??????{{{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.mp ppp82 mp ppmp pppmp ppmp ppmp ppmp ppmp ppmp pp?&& ?& ? 1?& ? 1? ?? 1? ?& ?& ?& 1? ?? ? con sord. ?& ?& ? ?& ? mp???????? ?? ?& ? ?& ? mp& mp#n #& mp#n# #B # mp# pp ?? n pizzp? pizzp?# ? ?# ? ?# ? ?# ? ?n ? ? ??# ? ?# ? ?# ? ?# ? ?# ?n ? ? ? ? ? ? ? ? ? ?? ? ? ?? ?# ? ? ? ? ? ? ? ? ? ???## ?? ? ? ?n ??# ? ?# ? ? ?? ? ?# ? ?# ?? ?? ? ?# ?? ?? ???# ? ??# ? ??# ? ??# ? ?n ? ? ??# ?# ?# ?# ?# ?# ?????### ??????b ?b ?b ?b ?b ?b ?n ? ? ?n ? ? ? ? ? ? ? ? ?# ? ? ? ?# ? ?# ???## ?? ??## ?? ??## ?? ??## ?? ????????? ? ????????? ?? ??? ?? ?????????? ?? ????????? ?? ?? ? ????????? ?? ?? ? ? ? ? ?? ? ? ? ?# ??# ??n ? ? ? ? ? ? ? ?# ?113????{{{????{{Picc.Fl. Glock.Cel.Hp.Vln. IVln. IIVla.Vc.Db.85 ?Fl. Vib.Hp.Vln. IVln. IIVla.Vc.Db.Giocoso e = e89 ? ?3838383838383838383838383838383838383838& mp pp ?& ? ? mp& mp ?& p???????? ? ? ?& ? ? p???????????????????? ?? ? ? ?& pp ? ? ?& sul pont. poco a poco b b b pp& sul pont. poco a poco nn ppB ? ? ? ?? p? p& pp ? ? ? ? ? ?& mp& ? ? ? ? mp& (div.)pord.. .> . . .> . . .> . . .> . . .> . . .> . . .> . . .> .& (div.)ord.p. .> . . .> . . .> . . .> . . .> . . .> . . .> . . .> .B div.pizzmp ? ? ? ?? unis.p? ? ? ?? ? ?# ? ? ? ?b ? ? ? ? ? ? ? ?# ?? ? ? ? ? ? ? ? ?b ? ? ? ? ?? ? ?# ? ? ? ?b ? ? ? ? ? ? ? ?# ? ? ??????# ????? ????b ??????b ??? ?????????? ? ????????? ? ????????? ? ????????? ?????????? ? ????????? ? ????????? ? ????????? ?? ? ?# ??# ? ? ? ?n ??n ? ? ? ? ?? ? ? ? ?b ??b ?? ? ?# ? ? ? ?n ? ? ? ? ? ? ? ?b ?? ? ? ?? ? ? ? ? ? ? ? ?j ? ?j ? ?j ? ?j ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j?? ?? ? ??j ?? ?? ? ??j ??? ??? ? ??j ?? ?? ? ??j ?? ?? ? ??j ?? ?? ? ??j ??? ??? ? ??j ?? ?? ? ??j? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??j ? ? ? ? ? ? ? ? ? ? ? ? ? ?=114??{{??{{Vib.Hp.Vln. IVln. IIVla.Vc.Db.?97Vib.Hp.Vln. IVln. IIVla.Vc.Db.?105& ? ? ? mp& ? ? ? mp& solomp>& . .> . . .> . . .> . . .> . . .> . . .> . . .> . . .> .& . .> . . .> . . .> . . .> . . .> . . .> . . .> . . .> .B ? ??? ? ? ? ?& ? ? ?& ? ? ? mp&& . .> . . .> . . .> . . .> . . .> . . .> . . .> . . .> .& . .> . . .> . . .> . . .> . . .> . . .> . . .> . . .> .B ? ? ? ??? ? ? ? ?? ? ?j ? ?j ? ?j ? ?j ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j?? ?? ? ??j ?? ?? ? ??j ??? ??? ? ??j ?? ?? ? ??j ?? ?? ? ??j ?? ?? ? ??j ??? ??? ? ??j ?? ?? ? ??j? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ??? ?? ?j ? ?j ? ?j ? ?j ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j?? ?? ? ??j ?? ?? ? ??j ??? ??? ? ??j ?? ?? ? ??j ?? ?? ? ??j ?? ?? ? ??j ??? ??? ? ??j ?? ?? ? ??j? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?=115??????{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn.Glock.Vib.Hp.Vln. IVln. IIVla.Vc.Db.113? ?113& mp. . . . . . . . . . . . . . . .& mp p pp ?& mp. . . . . . . . . . . . . . . .? 1?mp . . . . . . 2?. . . . . . . . . .& ? 1?mp pp ? ? mp pp ?&& ?& > ?& mp> >& ? ? ? ? ? ? ?& . .> . . . . .> . . . . .> . . . . .> . . . . .> . . . . .> . . . . .> . . . . .> . . .& . .> . . . . .> . . . . .> . . . . .> . . . . .> . . . . .> . . . . .> . . . . .> . . .B?? ? ? ? ?? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j ? ? ?J?j? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?J? ? ? ? ? ? ? ??? ?? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ?? ?? ?? ?? ? ? ? ? ? ? ? ? ?? ?? ?? ?? ? ? ? ? ? ?? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ??? ??? ??? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ??? ??? ??? ??? ?? ?? ?? ?? ??? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j ? ? ??J??j? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?116??????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.121??& ? ? ? mp pp mf pp& ? ? mp pp mf pp& ? ? ? ? pp mf pp& ? mp ? pp. mf pp& mp pp ? ? pp mf pp? ? ? ? ? ppa 2 mf& ? ? ? ? pp mf pp& ? ? ? ? pp mf pp& ? ? ? ? ? ? ? ?? ? ? ? ? senza sord.pp mf pp? ? ? ? ? pp mf pp? ? ? ? ? pp mf pp& ? ? ? ? ? ? ?& ? ? ? ? pp mf pp& ? ? ? ? pp mf pp& ? ? ? pp mf pp& mp> . > . > . > . > . > . > . > . > pp ? ? ?& . .> . . .> . . .> . . .> pp mf& . .> . . .> . . .> . . .> pp. mfB ? ? arcopp mf pp? ? non div.arcop mf pp? ? ? arcopp mf pp? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ?? ?? ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ?? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ???? ??? ?? ? ?j ?? ?? ? ?j ?? ?? ? ?j ?? ?? ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ? ??j ?? ?? ? ??j ??? ??? ? ??j ?? ?? ? ??j ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ??J??j ? ? ??J??j ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ?117??????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.129? ?? ?129& p mp pp ? ? p& ? ? ? p mp pp ?& ? ? ? p mp pp ?? 1?pp. . . - - - a 2mp . . . . . . . .& ? 1?p pp ? ? mp pp ?& ? 3?p pp ? ? mp pp ?& ? con sord.pp. . . . . mp. . . > . . . . . > . . . . . > .& ? pp mp& ? pp ? mp& ? pp????? ? mp ????? ?& ? pp mp& pp. . . > . . . . > . . . . > . mp. . . > . . . . > . . . . > . . . . > . . . . > .& pp. . . > . . . . > . . . . > . mp. . . > . . . . > . . . . > . . . . > . . . . > .B ? ? (div)pizzp mp ? ?? ? pizzp mp? pizzp mp?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ???j ? ?j ? ?J ? ?J ? ??j ? ??j ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ??? ?? ?? ?? ??j ? ? ?? ?? ?? ?? ?? ??j ? ? ?? ?? ?? ?? ?? ??j ? ? ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?????? ???? ? ? ? ? ? ? ? ? ???? ???? ? ? ? ? ? ??? ?? ?? ?? ? ? ? ? ? ? ? ? ??? ??? ??? ??? ? ? ? ? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ?J?j ? ?J?j ? ?j ??J ??J??j ? ? ??J??j? ?J ? ?J ? ?J ? ?J ? ? ? ? ? ? ? ? ? ? ? ? ??j ? ?j ? ?J ? ?J ? ?J ? ?J ? ? ? ? ? ? ? ? ? ? ?J ? ?118??????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.137? ?? ?& pp f& pp f& pp f p& pp f? > ? ? ? ?& ? ? mp f b b pp& pp b b fb b ? pp& p. ? ? ? con sord.f. tr. a 2 b pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~? pp f pp? pp f pp? pp f pp& pp f& pp f& pp b b f b b b b b b pp& pp b b f b b b b b b pp& pp f& pp fB arcopp f? ? arconon div.p f? arcopp f pp? ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ?b ? ?b ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ?b ??? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ??b ?? ?? ?? ?? ??b ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ??b ?? ??b ?? ??b ?? ??bb ??? ? ? ? ? ? ?b ? ? ? ? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ?b ? ? ?? ? ?b ? ? ?? ? ? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ?b ? ? ?? ? ? ? ? ?? ? ? ??j ? ? ? ?J ? ? ??b ? ?? ? ? ?? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ?? ?? ?? ?? ? ? ? ?? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ??? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ??b ?? ?? ?? ?? ?? ??b ?? ?? ?? ??b ?? ??b ?? ??b ?? ??b ?? ??b ???? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ??b ?? ?? ?? ?? ?? ??b ?? ?? ?? ??b ?? ??b ?? ??b ?? ??b ?? ??b ??? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ? ? ? ?b ? ? ?? ? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??bb ?? ?? ?? ????? ?? ????? ?? ?????b ?? ?b ? ? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ??????b ??? ??????b ??? ??????b ??? ?????b ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??????b ??? ??????b ??? ??????bbb ??? ????b ??? ?? ?? ?? ?? ?? ????? ?? ????? ?? ????? ?? ???? ?? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ?119??????{{{{??{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVGlock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.145? ?Hp.Vln. IVln. IIVla.Vc.Db.150 68686868686868& mp pp& mp pp& mp pp? 1?mp . . . . . . pp. . .& ? 1?mp pp ? ?& ? 3?mp pp ? ?& p mp& ? > ?& ? ? ?? mp& ? ? ? ? solomp& unis.p& unis.pB unis.p? unis.p? ? ? ? ? mp?& 2?1?two solo violinsb b&& div.B?? ? ? ? ???b ?? ?? ?? ?? ?? ??b ??b ?? ??b ?? ?? ??bb ??? ? ?? ?? ?? ?? ??b ?? ??bb ???b ? ?? ?? ?? ?? ??b ?? ??bb ???b ? ? ? ?b ? ? ? ? ?b ? ? ?b j ? ?? ? ? ?? ? ? ??? ?? ?? ?? ?? ?? ?b ? ? ?b ? ? ?b ??? ?? ?? ?? ?? ??? ?b ? ? ? ? ?n ??b ? ? ? ?b ? ? ? ? ?b ? ? ?b ?b ??b ?? ? ?b ? ? ? ?b ? ?b ??n ? ?b ? ? ? ?b ? ?b ??n ? ? ? ? ? ? ? ?b ??b ? ? ? ? ? ? ? ?b ??b ? ?? ?b ? ? ? ? ?b ? ?b ?b ? ? ? ?b ? ? ?b ?b ? ? ?? ? ?b ? ?b ? ? ??? ?? ? ?? ? ? ?? ? ? ?? ??b ? ? ? ? ? ? ? ? ? ? ? ?????bb ???b ? ? ? ? ? ? ? ?b ? ?b ? ?? ??? ? ? ? ?b ? ? ? ? ? ? ? ? ?? ? ? ? ?b ? ?b ? ? ? ? ? ? ?? ? ? ? ? ? ?b ? ?=120????????{{Fl. Bsn. Hn. I, IIHn. III, IVTimp.Cel.Hp.Vln. IVln. IIVla.Vc.Db.Larghetto e = e157? ? ? ? ?Larghetto e = e1576868686868686868686868686868& ? 1?mp pp ? p- -? ? ? pp ? mp mp pp pp& ? ? 1?pp mp pp mp pp& ? ? ? 3?pp mp pp ?? ? ? pp ppp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~& ? ? ? p& mp????? ? ? ? ? ?& b pp ? ? ? ? ?& div.p mp b b& ppb bb mp bb bB div.ppb b mp pp? ? ? ? solop pp? div.ppbb mp pp ?? pp mp pp ? pizzmp? ? ? ? ?b ? ?b ? ?b ? ? ? ?b ? ?b ??b ? ? ?? ? ? ? ? ??b ? ?b ? ? ? ? ??b ? ? ??b ? ? ? ?b ? ? ? ? ??b ? ? ??b ? ?b ? ?b ? ?b ? ? ?? ? ???bb ??? ???b ??? ???bb ??? ???bb ??? ???bb ??????bb ??? ? ?? ?? ????? ?????? ???? ?????? ???? ?????? ????????? ? ????????? ? ????????? ?? ?? ? ?? ??? ? ?? ??? ? ?? ??? ? ?? ??? ? ? ?? ?? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ? ?b ? ?b ? ? ? ?b ?? ?? ? ? ?? ? ? ?? ? ? ?? ? ? ?? ??b ? ? ? ? ? ? ? ? ? ? ? ?b ?121??????{{{????Fl. Cl. Bsn. Hn. I, IIVib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.163? ??Fl. Bsn. Vln. IVln. IIVla.Vc.Db.167& pp ? ?& ? ? 1?p pp ?& ? ? 2?p pp? ? ? ? B 1?p >& ? ? 1?p pp& p& ? ? ?& p????? ????? ????? ????? ????? ????? ?& p pp& unis. pp p ppB ? ? ? ?? pizzunis. p ?? p ?& ? ? ? ?B pp ? ? ? ?& solop mf mp& p mp& p mpB pb mp? arcodiv. p b mp?? ?b ? ? ? ? ? ?b ?b ? ? ? ? ? ? ? ? ? ?? ? ?b ?b ? ? ? ? ?b ?b ? ? ? ? ? ?? ? ? ? ? ? ?b ?b ? ? ? ??b ? ? ??b ?b ? ? ? ?b ?b ?b ? ? ? ?b ?b ? ? ????bb ??????bb ??? ???b ??? ???bb ??? ???bbb ??? ???bnb ??? ???bn ???????b ? ???? ? ????b ? ????b ? ?b ? ?b ? ?b ? ?b ?????b ? ????b ? ? ? ? ? ? ? ? ??b ? ?b ? ?b ? ? ? ?n ? ? ??b ? ?b ? ?b ? ? ? ?n ? ? ?? ? ? ?? ? ?b ? ? ? ?b ? ? ?J ? ? ? ? ?b ? ? ??b ? ?b ? ? ? ?b ? ? ? ? ? ? ?? ? ?b ? ?b ? ?b ? ?b ? ? ? ? ?? ?? ? ?b ? ? ?? ? ? ?? ? ? ?? ? ? ??b ?? ? ?b ? ? ?? ? ? ?? ? ?? ?? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ?b ? ? ? ? ?=122????????Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Tba.Timp.Vln. IVln. IIVla.Vc.Db.171171& ? ? ? ? a 2mf p& ? ? ? ? mfb p& ? ? ? ? mf p? ? ? ? ? mfb b b pb& ? ? ? ? mfb b bn pb& ? ? ? ? mf ? b pbb& ? ? ? ? ? senza sord.mfbb b pbb? ? ? ? ? mfb bb b pb? ? ? ? ? mf p? ? ? ? ? mp pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ? ?& (rejoin section) ? ? ? ? ?& p div. mf p& ? ? ? ? mf pB pb bb & b bb mf p? arcop bb bb mfb bb b pb? arcomf p?b ? ? ? ?b ? ? ? ?b ? ?b ? ? ? ?b ? ?b ? ? ?? ?? ? ?b ? ? ? ?b ? ?b ? ? ? ?b ? ?b ? ? ? ? ? ?b ???bb ?? ?? ?? ??bb ?? ?? ?? ??bb ?? ??bb ?? ? ? ?b ? ?b ? ? ?? ?? ? ?b ? ? ?? ? ? ?? ? ? ?? ? ?n ? ? ?? ?? ? ? ? ? ?? ? ? ?? ? ?b ? ? ?? ? ? ?? ??b ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ?? ?? ?? ? ?b ? ? ?? ? ? ?? ? ? ?? ? ?n ? ? ?? ? ?b ? ? ? ?b ? ?n ? ?b ??b ?? ? ? ? ? ? ?b ? ? ? ?b ?? ? ?b ? ?b ? ?b ? ? ? ??b ?? ??bb ?? ??bb ?? ??bb ?? ?? ?? ??bb ?? ?? ?? ??bb ?? ??bb ?? ?? ?? ?? ?? ??bb ???????b ?? ?????b ?? ?????b ?? ?????bb ?? ?????nb ?? ??b ??? ?? ? ? ?? ? ? ?? ? ? ?? ? ?????b ?? ?????bb ?? ?????b ?? ?????b ?? ??bb ??? ??? ?b ? ? ?? ? ? ??? ?b ? ? ?? ? ???????? ? ?b ? ?b ??????bb ?? ????? ??? ? ?????? ? ?n ? ? ?? ? ?b ? ?b ? ? ? ? ? ?b ? ?b ? ? ? ? ? ?b ? ?b ? ? ? ?b ? ?n ? ?b ?123??????{{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Tba.Glock.Vib.Hp.Vln. IVln. IIVla.Vc.Db.179pp? ? ? Fb179& ? mf& mf& ? mf& ? ?& ? mf? mf& mfb n& mf b n b& mf n b? ? mfa 2 ?? ? mf ?& mf& mf& mf& mfdiv.>& mfb b nb b& mfb b b? mf b bb? mfarco?? ?b ?J ?b ? ?b ? ? ? ? ? ?b ? ?b ? ?b ? ? ?? ? ?b ? ? ? ? ? ?b ? ?b ? ?b ? ?b ? ? ? ? ? ?b ? ?b ? ? ? ?b ? ? ? ? ??? ?b ?J ?b ? ?b ? ? ? ? ? ?b ? ?b ? ? ? ?b ? ? ? ? ?? ? ? ? ?b ? ?b ? ? ? ?b ? ? ? ? ??? ? ?J ?b ? ?b ? ? ? ?b ? ? ? ?b ? ? ??? ?? ?? ?? ??bb ?? ??bb ?? ?? ??? ?? ? ?b ? ? ?? ? ? ?? ? ?b ? ? ?? ?? ? ? ?? ? ? ?? ? ? ?? ?? ?? ? ?b ? ? ?? ? ? ?? ? ?b ? ? ?? ?? ? ?b ? ?b ?? ? ?b ? ?b ???b ? ??b ? ?? ? ?? ? ??b ? ??b ? ??b ? ??b ? ?? ? ?? ? ??b ? ??b ? ?? ? ??b ? ?? ? ?? ?? ?b ? ? ?b ? ? ?b ?b ? ?b ?b ?b ?b ? ?b ?n ?b ?b ? ?b ?b ?b ??b ? ? ?b ? ? ? ? ? ? ? ? ?b ? ?b ?b ? ?b ? ? ? ? ? ? ? ?b ?b ? ?b ?b ?b ? ? ? ? ? ?b ?b ? ?b ?b ? ?b ? ? ? ? ???bb ?? ??b ?? ?? ?? ?? ?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ?? ?? ?? ?? ??bb ?? ??bb ?? ?? ?? ??bb ?? ?? ?? ?? ??? ??? ?? ? ??? ?? ? ??? ?? ? ??? ??? ?? ? ? ?? ? ?b ? ? ?? ? ? ?? ?? ?? ? ? ?? ? ?b ? ? ?? ? ? ?? ?? ? ? ? ?b ? ?b ? ? ?124??????{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Glock.Cel.Hp.Vln. IVln. IIVla.Vc.Db.mp pp poco rall. 183 mp ppp mp ppmp pp mp ppmp ppmp pp mp ppmp ppmp ppmp ppmp pp? ?poco rall. & ? mp pp ?& 1? ? ? ?& 1? ? ? mp& ? ? ? ? ?? 1? ? ? B ? ?& ? ? ? ? ?& ? ? ? ? ?& 1? ? ? ? ? ?? ? ? ? ? ?& ? mp ?& mp???????? ?? ? p???????? ? ? ?& ? ? ? ? p???????????????????? ?? ? ? ? ? ?& solomp pp ? ? ?& mp#n # sul pont. poco a poco# n # bn& mp## ## sul pont. poco a poco# n nn bb& mp# ? ? ? ? ?? div.pizzp p? ppizz p?# ?# ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ?# ? ?n ? ? ? ?# ? ? ? ? ??# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??# ?# ? ?# ? ? ? ? ? ? ? ? ?# ?# ? ? ? ? ? ? ? ? ? ? ? ? ?b ? ?b ? ?b ? ?b ? ?b ? ?b ??# ? ? ? ? ? ? ? ? ? ? ??n ? ? ? ? ? ? ? ? ? ? ? ? ?? ??# ??# ?? ?? ??n ? ? ? ? ? ?# ? ?# ? ?n ? ? ? ?# ? ? ? ? ? ? ??????#### ????? ?????## ????? ????## ?????? ??? ? ?# ? ? ? ?# ? ? ? ?# ? ?# ? ?# ?????????? ? ????????? ? ????????? ? ????????? ? ????????? ? ????????? ??????????? ?? ????????? ? ????????? ? ????????? ? ????????? ? ????????? ?????????? ?? ? ? ?? ? ? ? ?# ??# ? ? ? ?# ??# ? ? ? ?n ??n ? ? ? ?# ??# ? ? ? ?n ??n ?? ? ? ? ? ? ?# ? ? ? ?# ? ? ? ?n ? ? ? ?# ? ? ? ?n ?125????{{{??{{Fl. Ob. Cl. Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.mp ppp mp pppDolcissimo q. = 50189 mp pppmp ppp pp mp ppmp pppp pp pp pppp mp pppp mf pp pDolcissimo q. = 50189Vib.Cel.Vln. IVln. IIVla.Vc.Db.193 p?& ? ?& ? ?& 1?& ? ? ?& ?& ? ?& ? ?& solo ?& ord.ppb b mpb b b b ppb b& ord.ppbb mpbb bb ppbb& ord.ppbbb mpbbb bbb ppbb? arcoppb mp ppb? arcopp mp pp pp& ??& ? ? ?& ? pp& mpb b b b b?? pp& mpbb bb bb?? pp& mpbb bb b?? pp? mp bb?? pp? mp ? pp? ?b ? ? ? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ?b ? ? ? ? ? ?b ? ? ? ? ? ? ?? ? ? ? ?b ? ? ? ?b ? ?b ? ? ?? ??b ? ?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ?b ?b ?b ?? ? ?b ?b ?b ? ?b ?b ?b ? ? ??b ? ?b ? ? ? ? ? ?b ? ? ? ?b ? ? ?? ? ?b ? ???? ? ?b ? ? ?? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ??? ??? ? ? ? ?? ??? ? ? ? ?? ??? ? ? ? ?? ??? ? ? ?????? ??? ? ? ? ????? ??? ? ? ? ????? ??? ? ? ? ???? ?? ? ? ?? ?? ? ? ?? ? ? ?? ? ? ?? ??b ? ? ? ? ? ? ? ?b ?? ? ?b ?b ? ?b ? ? ? ?b ?b ?b ? ?b ?b ?b ??b ? ?b ? ?b ? ? ? ? ?? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ????? ??? ? ? ??? ??? ? ? ? ?? ??? ? ? ? ????? ??? ? ?b ????? ?? ? ? ? ???? ?? ? ? ? ???? ?? ? ? ?? ?? ? ? ?? ? ? ?? ?? ? ? ? ? ?=126??????????{{{{Piccolo2 Flutes2 Oboes2 Clarinets 2 BassoonsHorn I, IIHorn III, IV2 Trumpets 2 Tenor TrombonesBass TromboneTubaTimpaniTriangleMaracasCymbalsClaves GlockenspielVibraphoneCelestaHarpViolin IViolin IIViolaVioloncelloDouble BassVivace q = 168?Vivace q = 168444444444444444444444444444444444444444444444444444444& ? ? ? ? ? ?IV: Salty& pp mp pp mp pp mp& ? ? ? ? ? ?& ? ? ? 1?mp mf? pp mp pp mp pp mp& ? ? ? ? ? ?& ? ? ? ? ? ?& ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?/ ? ? ? ? ? ?/ ? ? ? ? ? ?/ ? ? ? ? ? ?/ ? ? ? ? ? ?& ? ? ? ? ? ?& p& ? ? ? ? ? ?? ? ? ? ? ? ?& ? ? ? ? ? ?? ? ? ? ? ? ?& ? ? ? ? ? ?& ppdiv. mp pp mp pp mpB ppdiv. mp # pp mp # pp mp #? ppdiv. mp pp mp pp mp? pizzp ? ? ?ww ww ww ww ww ww? ? ? w# ? ? ?# ? ? ? ? ?ww ww ww ww ww wwww## ww ww## ww ww## ww?w ? ? ww ?w ? ? ww ?w ? ? ww? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ??? ?? ? ?? ww ? ?? ? ?? ww ? ?? ? ?? ww? ? ? ? ? ? ? ? ?127????{????{Fl. Ob. Cl. Bsn. Vib.Vln. IVln. IIVla.Vc.Db.7Fl. Ob. Cl. Bsn. Vib.Vln. IVln. IIVla.Vc.Db.12& pp mp pp# mp # pp& ? ? pp mp pp ?&? pp mp pp mp pp&& ? ? ? ? ?& pp mp pp mp pp pB pp mp # pp mp # pp p? pp mp pp mp pp p? ? ?& p pp mp mf& ? ? ? mp mf pp& pp mp mf pp mp mf # pp? p # pp mp mf pp mp mf pp&& ? div.mp mf pp mp mf pp& pp mp mf pp mp mf ppB # pp mp mf # pp mp mf # pp? pp mp mf pp mp mf pp? ? ?ww ww w? ? ? ? ? ? ? ?j ? ??J ? ? ?? www w?# ? ? ? ? ? ?# ? ?# ? ? ? ? ?# ? ? ? ? ? ?# ? ? ? ? ? ? ? ?ww ww ww ww wwww## ww ww## ww ww##?w ? ? ww ?w ? ? ww ?w ? ?? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ??? ?? ? ?? ww ? ?? ? ?? ww w? ? ?? ? ? ? ? ? ? ? ?? ?? ? ?? ?# w ? ? ?# ? ? ? ? ? ? ? ?# ? ? ? ?# ?ww www ww ww ww ?j ? ??J ? ? ???j ? ??J ? ? ?? ww ww ww wwww ww## ww ww## ww?w# ? ? ww ?w# ? ? wwww ?w ? ? ww ?w ? ? ww?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ??ww ? ?? ? ?? ww ? ?? ? ?? ww? ? ? ? ? ? ? ? ?=128??????{{Fl. Ob. Cl. Bsn. Mrcs.Clv.Vib.Hp.Vln. IVln. IIVla.Vc.Db.211721& mp mf pp p<n> .>.> .>.>& mp# mf pp mp mf mp1? p #& mp mf # pp mp mf ## pp p .>.> .>.>? mp mf pp mp mf pp p1?. . . . . ./ ? ? ? ? p/ ? ? ? ? p > >& ? ? ? ?& ? ? ? ? p. .& mp mf pp mp mf pp ? mpunis& mp mf pp mp mf pp ? mp(div) ?. . . . . .B mp mf # pp mp mf ## pnn . . .. . . mp. . . . . . . . .. . .? mp mf pp mp mf pp pizzp? ? pizzp?# ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ?w ? ? w?J ?# ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ?ww ww ww ?? ?# ? ? ? ?# ? ? ? ? ? ? ?? ?ww ?j ? ??J ? ? ?? ww ?j ? ??J ? ? ?? ? ?? ? ? ? ? ?? ? ? ? ? ?? ?ww ww ww ww ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?j ? ? ? ? ? ? ?ww## ww ? ???? ? ? ???? ??w# ? ? ww ?w ? ? w?j ?# ? ? ? ? ? ?#?w ? ? ww ?w ? ? w?j ?# ? ? ? ? ? ? ? ? ? ?? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ? ? ?? ? ? ? ? ? ? ? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ?? ?? ? ?? ww w? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ?129????????{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVMrcs.Clv.Hp.Vln. IVln. IIVla.Vc.Db.23& .> #.> >> # mf> mp >>& # pp mp .>.> .>.> .>.> .>.>& # # .> #.> # .> mp<n>.> .>.> .>.> .>.> .>.>? . . . mf mp2?. . . . . . . . . . . .& 1?p mf pp ? mp mf& ? ? ? ? mp3? mf/ mp/ > > mp> > > > > >& mf> p . . mf>? ?# ? ? ? ? ? ? ? ? ? ?? ? ? ? mp ?& pp ? mpdiv. ?. . . . . . . . .. . . . .. .& # . . .. . . . .. . # mf. . .. . . pn. . . .. . . . . . .. . . mp. . .. . . . . .. . . . . .. . . . . .. . . . . .. . . . .. . . . .. . .B . . . . . mf. . .. . . p. . . .. . . . . (div.)mp. ?. . . . . . ?. . . . . . .. . . . .. . .? mf p? mf p? ?? ? ? ?? ? ?J?j ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ?? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ?? ?? ? ? ? w? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ?? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?w ? ? ? ? w ? ?w ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?j ? ? ? ? ? ? ?j ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?j ? ? ? ?? ??# ?? ?? ?? ?? ?? ?? ?? ????nn ? ? ???? ? ? ?? ?? ?? ?? ?? ?? ???# ? ? ?? ? ? ? w ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ?? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ?? ?? ?? ? ? ? ??? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ?j ? ? ??J ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?j ? ?? ? ? ? ? ? ? ?? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?130????????{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Tri.Mrcs.Cym.Clv.Hp.Vln. IVln. IIVla.Vc.Db.29& mf .>.> .>.> .>.> b a 2f& mfb .> b.> .> .>.> b a 2f& mfb b .> b.> b .> b.> b .>.> b a 2f? mfa 2 f& pp ? mp sfbb >>& pp ? mp sf>>& ? ? mp sfb>> b b? ? ? mp sfb>>? ? ? ? sf>? ? ? ? sf>/ ? ? ? ? ?/ mf/ ? ? ? Crash Cymbalsf ?>/ mf > > > ? ?>& . . ? ? ?& mf unis.f >& mfb .> . . >.> . . > b. .> .. .> . .> . . >.> . . > . .> .. .> . .> . . >.> . . > . . >. . > b unis.fb >B mf.> . . >.> . . > . .> .. .> . .> . . >.> . . > b. .> .. .> . .> . . >.> . . > . . >. . > fb>> bb b? arcomf f>? mf arcof >?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ?? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ?? ? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ??b ?? ?? ? ?? ? ?J?j ? ?? ? ? ? ? ? ? ?b ? ? ? ? ? ?? ? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ?J?j ? ?? ? ? ? ? ? ? ?b ? ? ? ? ? ?? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ?? ?? ??j? ? w ? ? ? ?J?j w? ? ? ?bJ? ? w ? ? ? ?Jj ww? ? ? ?j ? ?? ? ? ?j ??J ? ? ?? ? ?j?Jw? ? ? ?b j ? ?? ? ? ?j ??J w ?b ? ?j? ? ? ?j w? ? ? ?j w? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ?j? ? ?j ? ? ? ? ? ? ? ? ? ? ? ? ??? ????b ? ? ????b ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?b ? ? ?b ? ? ? ? ? ?? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ?? ?? ???? ? ? ? ?? ? ? ?? ?? ?? ?? ? ? ? ? ? ?b ? ? ? ? ? ??? ??? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ?? ?? ?? ??? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?J131????????{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Tri.Mrcs.Cym.Clv.Cel.Hp.Vln. IVln. IIVla.Vc.Db.34? ?& > a 2 > pp ? ?& > > pp ? ?& a 2 pp mf? > > pp ? mp& sfbb >> 1? pp ? ?& sfb>> 3? pp ? ?& b sfb>> b bb b p ? ? ?? sfb>> p ? ? ?? sf> p ? ? ?? sf> p ? ? ?/ ? ? ? ? ? p/ ? ?/ f ? ? ? ? (suspended cymbal) soft malletsp>/ ? ? ? ? ? ?& f?? ? ?& ? ?& ? ? ? ? ? p& > > p& > > div.pB bb b bbb bbb bb bbb bb #nnn # (div.)p#? > > p? > > pp ? ?? ??b ??b ??b ??b ?? ?? ?? ?? ?b ? ?b ? ? ? ?b ? ??bb ??b ??bb ??b ?? ?? ?? ww? ? ? ?b ?b ? ? ? ? ?b ? ?b ? ? ? ?b ? ?b ? ?b ?b ? ? ? w? ??b ??b ??b ??b ??b ??n ?? ?? ?b ? ?b ? ? ? ?b ? ??bb ??b ??bb ??b ??b ?? ?? ww# ? fi? ? ?# ? w?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ??j ?? ??bb ?? ??bb ?? ??bb wwnn w? ?? ? ? ? ?J?j w? ? ? w?bJ ? ? ? wb? ? ? ?Jj w w w?? ?? ?? ? ?J?j ?? ? ?? ? ?j ??J ? ? ?? ??? ? ?b ? ? ?J?j w? ?b ? ?b j ?w ?b ?? ?b ? ? ?j w ? ?b ?? ?b ? ? ?b j w ? ?b ? ???w? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?j ? ? ?? ? ? ?j ???w? ?J ? ?b ?b ? ? ? ?b ? ? ? ?b ? ?b ?b ? ? ? ?n ? ?? ?J ? ?b ?b ? ? ? ?b ? ? ? ?b ? ?b ?b ? ? ? ?n ? ? ?# ? ? ? ? ? ? ??J ? ? ? ? ?J ? ?b ? ?b ? ? ? ?b ?J ?b ? ? ?n ?# ? ? ? ? ? ? ? ? ? ?# ?# wn?j ? ? ? ? ?J ? ?b ? ?b ? ? ? ?b ?j ?b ? ? ?n ?# ? ? ? ? ? ? ? ? ? ?# ?# ww? ? ?? ???? ?? ?? ?? ?? ?? ?? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ?? ?? ?? ??? ?? ?? ?? ? ? ?? ???? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ???? ?? ?? ? w???ww ww? ?b ? ?b ? ?b ? ?b ? ? ? ? ? ? ? ?b ? ?b ? ?b w w# w? ?b ? ?b ? ?b ? ?b ? ?J ? ?b ? ?b ? ?b w132????????{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. B. Tbn.Tri.Cym.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.4340? ?43& ? ? ? ? ? p1? mf -3 - -3& ? ? ? ? ? p mf& pp ? ? ? ? p1? mf -3 - -3? pp ? ? ? p mf& ? ? ? ? p p3 mp pp& ? ? ? p ? p mp pp& ? ? ? ? 1?p mp? ? ? ? ? ? ? ?/ pp ? ? ? ? ? ?/ pp ? ? ? ? ? ?& ? ? ? mp& ? ? ? p& mp??????? ? ? ?& p 3 3 mf& p mfB (div.)p mf? ? ? mf pp mppizz? ? ? pizzmp mf mpw ? ? ? ? ?#w ww w# ? ?# ? ? ?w w w w? ? ? ?J w? ? ? ? ww www w? ? ? ww ww? ?# w w???w???w ?? ?? ? ??j ?? ?? ?? ww ww? ? ?#J ? ? ? ? ?# ? ? ?J ? ? ? ?J ?# ? ? ?J ?# ?#?# ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? wwwwww##w w w w ? ? ? ? ? ?# w www ww ww ww ww ww wwww ww ww ww# ww ww www w w w ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ?133??????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.47??& mp pp ? ? pp mp 3 3 pp& pp mf 3 3 pp ? ? ? ? ?& mp pp mp 3 3 pp ? ? ?? mp pp ? ? ? ? ? ?& ? p mp pp ? ? ? ?& ? ? ? pp p ppp ? ?& mp pp ? ? ? ? ?? ? ? ? ? ? p ppp ?& ? ? mp 3 3 ? ? ?& mp p& mp 3 3 pp ? ? ? ? ?& ? ? ? ? mp 3 3& mp p pp ? ?& mp p ppB mp p pp??w w w# ? ?# ? ? ? ? ? ? ? ? ? ?w ? ? ? ? ? ?# ww w w ? ? ? ? ? ? w#w ww? ? ww ww?w ? ww www w ? ? ? ?w ? ww? ? ? ? ?J ? ? ? ? ? ? w#ww ? ? w ? ? w ? ? w w? ? ? ? ?J ? ? ? ? ? ?# w ??## ?? ?? ?? ??J ?? ??## ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?ww w ww w w w w w# w w#ww ww ww w ww w w w w wwww# www www www www www ww w? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ?? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ? ? ? ? ? ? ? ?134????????{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Clv.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.55? ?55& p 3 3 mp# mp pp ?& ? ? ? ? mp pp ?& ? ? ? ? ? ? mp& p 3 3 mp# pp mp pp ?& ? ? ? ? mp pp ?? ? ? p mf mp pp ?& ? p 3 mp pp ? p mp& p ? p mp pp ? ? ?& ? ? ? ? pp1? con sord. mf 3 3 pp& ? 2? senza sord.p mf 3 3 pp ? pp? ? ? ? ? mp pp? ? ? ? ? ? ? ?/ ? ? ? ? ? ? ?& mp ? ? ?& p ? ? ?& mp??????? ? ? ? ? ? ?& p 3 3 mf mp& (div.)p mf mpB (div.)p mf mp? ? mfarco pp mppizz? mf mpww# ??# ?? ?? ?? ?? ?? ww ww ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?# ?????????????????????ww# ??# ?? ?? ?? ?? ?? ww ww ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?w w ww ww? ? ? ?J w? ? ? ? ww ww w? ? www w? ? ? ww ww w ? ? ? ? ? ?# w? ?# w ? ? ? ? ? ?# w www w ? ? ??? ?? ? ??j ? ?? ?? ww ww? ? ?#J ? ? ? ? ?# ? ? ?J ? ? ? ?J ?# ? ? ?J ?# ?#wwwwwww##w ? ? ? ? ? ?# w w ww w ww w www ww ww ww ww ww ww www# ww ww ww www# www www? ? ? w ? ? ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J135????????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Clv.Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.62??& ? mp pp ? ?& ? mp pp ? ?& pp ? ? ? ? mp> . . >& ? mp pp ? mp . . . > . . >? ? mp pp ? ? mp . . . > . . >& pp ? ? ? ? mp& pp p ppp ? ? mp& ? con sordpp# mf3 3 pp ?& mf3 3 pp ? ? ? ?? ? ? p ppp ? ?? ? ? ? ? ? mp/ ? ? ? ? ? ?& ? ? ? ? ? mp& ? ? ? ? ? mp& ? p pp ?& ? p pp ?& pp mp& pp mp. . . . . . . .B pp mp. . . . . . . .? arconon div.mf. .? arcomf? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ???? ?# ?????????????? ??????? ? ?? ? ? ?? ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ?? w? ? ? ? ? ? ? ?w w w? ? ? ? ? ? ? ?ww w?w ? ww ww ww ? ?# ? ? ? ? w w? ? ? ? ? ? w# ?w ? ww w? ? ? ? ?J?? ?? ? ??j? ? ? ? ? ? ?# ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ?? ? ? ? ?# ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ? ? ? ?w ??ww ??ww ??ww ??ww ?? ?? ?? ?? ??Jww w ??w ??w ??w ??w ?? ?? ?? ?? ?? ?? ?? ??www ??w ??w ??w ??w ?? ?? ?? ?? ?? ?? ?? ???J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ?? ???J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ? ?J ?J ? ?J ? ? ? ? ? ?136????????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Timp.Glock.Vib.Cel.Hp.Vln. IVln. 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Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Cym.Glock.Vib.Vln. IVln. IIVla.Vc.Db.76& ? ? p f& ? ? p f& > . . f. . > . p ff& > . . f. . > . p ff? > . . > f. . > . > . . . p ? ff> . . .& f p sfp& f p sfp& mfsenza sord f pp ? sfp? ? ? p sfp? ? ? ? sfp? ? ? ? sfp? ? ? ? ? ff/ ? ? ? Crash Cymbalsff& ? ? ? ff& ? ? ?& 3 3 p ff >& 3 3 p ff >B pp ? non div.ff? . pp ? ffnon div.? . pp ? ff?# ? ? ? ? ? ? ?# ? ? ? ? ? ??# ? ? ? ? ? ? ?# ? ? ? ? ? ?w? ? ? ? w? ? ? ? w ??# ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??w? ? ? ? w? ? ? ? w ??# ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ?? ? ? ? ? w? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ?? ?? ?? ?? ?? ??ww ww ww wwww ww w ww? ?# j ? ? w www wwww? ? ? ?? ? ??# ? ? ? ? ??? ??## ?? ??? ? ? ? ? ?# w ? ? ?# ? ? ? ? ?# ? ? ? ? ? ?? ? ? ? ? ?# w ? ? ?# ? ? ? ? ?# ? ? ? ? ? ?ww ww ?? ?? ?? ?? ?? ?? ?? ??? ? ? w ?? ?? ?? ?? ?? ?? ?? ??? ? ? w ? ? ? ?138??????????{{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Timp.Cym.Glock.Cel.Hp.Vln. IVln. IIVla.Vc.Db.80& 3 3& 3 3& 3 3& 3 3? ?& ff p sfp f p sfp f& ff p sfp f p sfp f& ff p sfp f p sfp f? ff p sfp f p sfp f? ff p sfp f p sfp f? ff p sfp f p sfp f pp?/ ? ? ?& 3 3 ? f 3 3& ? ? ? ? ?& ? ? ? ? ?& 3 3 mf& 3 3 mfB??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ?# ? ? ? ? ? ? ?b ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ?# ? ? ? ? ? ? ?b ??? ?? ?? ?? ?? ?? ?? ?? ?? ? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ??# ?? ??# ?? ?? ??# ?? ?? ?? ??b ???? ?? ?? ?? ?? ?? ?? ?? ?? ? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ??# ?? ??# ?? ?? ??# ?? ?? ?? ??b ???? ?? ?? ?? ?? ?? ?? ?? ?? ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??ww ww ww ww wwww ww ww ww# wwww ww ww ww wwww ww ww ww www w w w ww w w w w? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ??J ?? ?? ?? ?? ?? ??bb? ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ? ?b ? w ? ? ? ? ? ? ?# ?? ? ? ? ? ? ? ? ? ? ? ?J ? ? ? ? ? ?b ? w ? ? ? ? ? ? ?# ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?139????????{{{Picc.Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Mrcs.Clv.Glock.Cel.Hp.Vln. IVln. IIVla.Vc.Db.878587& pp ? ? ? ? ? ? ?& pp ? ? ? 1?mp . . 3 3& pp ? ? ? p1? pp mp 3 3& pp ? mp1? pp ? ? pp? ? mp1? pp ? ? pp& mp pp ? ? ? ? pp& mp pp ? ? ? ? ? ?& mp pp ? ? ? ? pp1?? mp pp ? ? ? ? ? ?? mp pp ? ? ? ? ? ?/ ? ? p/ ? ? p& ? ? ? ? ? ? ?& ? ? ? ? ? ? p. . . . . . . . . . . . . . . .& ? ? ? ? ? ? p& pp ? ? ? pppizznon div.& pp ? ? non div.pizzppB . . . div.pp. . . .? . . . div.pp. . . .? ppww ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ?? ??# ?? ? ??J ?? ??# ?? ?? ?? ??ww w w ? ? ? ? ? ? ? ?ww w w w w ww ww?? ? ? w w w w ww wwww ?w ? ? w# ww www w? ? ? w www www w ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ?j ? ? ? ? ?j ? ? ? ? ?j ? ? ? ? ?j ? ? ? ? ?j ? ? ? ? ?j?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?w ?? ?? ?? ? ??j ? ?? ?? ? ??j ? ?? ?? ? ??j ? ?? ?? ?w w ?? ?? ?? ? ??j ? ?? ?? ? ??j ? ?? ?? ? ??j ? ?? ?? ??? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? www www www www www www?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ww ww ww ww ww www w w w w w w w140????????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. B. Tbn.Mrcs.Clv.Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.93?& mf pp mf pp mf pp& mf pp mf pp mf pp& mf ppn mf pp mf pp? mf pp mf pp mf pp& mf pp ? ? ? ? ?& ? ? ? ? ? ? ?& mf pp ? ? ? ? ?? ? ? ? ? ? ? ?/ ? ? ? ? ?/ ? ? ? ? ?& ? ? ? ? ? ? ?& ? ? p& . . . . . . . . . . . . pp ? ? ? ? ?. . . .& pp ? ? ? ? ?& ? arcodiv. mf pp ? ? ?& ? ? arcodiv.mp mf pp mp mf pp mpB mfnon div. mpdiv. mf pp mp mf pp mp? mfnon div. mpdiv. mf pp mp mf pp? mf pizzww ww ww w?? ? ww ? ?w ? ? ?w ?w w ww ww ww ww wwww# ww ww ?j ? ??J ? ? ?? ww ?j ? ??J ? ? ?? wwww ww ww ww ww ww www ww w? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ?j ? ? ? ww ww ww ww ww? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?? ?? ??bb ?? ww ww?w ? ? ww ?w ? ? ww ?w ? ?#???ww ???ww ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?????ww# ???ww# w? ? ? ww w? ? ? ww w? ? ?w w ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?141????{????{Fl. Ob. Cl. Bsn. Vib.Vln. IVln. IIVla.Vc.Db.101100Fl. Ob. Cl. Bsn. Vib.Vln. IVln. IIVla.Vc.Db.106& mp pp mp pp mp pp& mp# pp ? ? 1?mf pp& mp p mf? mp pp mp pp mp& p& ? ? ? ? ? ?& ppdiv. mp pp mp pp mfB # pp(div.) mpn # pp mp # pp mf? mp# pp (div.)pp mp pp mp pp mf? ? ?& mf# pp mf pp mf& ? pp mf pp mp mf& mf pp ? ? mp# mf pp mp& pp mp mf# pp mp? mf# pp mf# pp mp mf pp mp&& ? ? p mf pp& pp mp pp mp mf pp mp mfB # pp mp # pp mp mf # pp mp mf? pp mp pp mp mf pp mp? ? ?ww# ww# ww ww# w?# j ? ? ? wwww ? ? ?#J ? w w? ??j ? ? ? ? w# ? ? ?# ? ? ? ? ? ?# ? ? ? ? ? ? ?J ?# ? ?# ? ? ? ? ? ?ww ww ww ww ww w? ? ?# ? ? ? ?ww ww## ww ww## ww ww##w?j ?# ? ? ?w# ? ? ww ?w# ? ? ww ?w# ? ??j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ??? ?? ? ? ?? ? ?? ww ? ?? ? ?? ww ? ?? ? ??? ? ? ? ? ? ? ? ? ? ? ??j ? ??J ? ? ?? w ? ? ? ?# ? ? ?# ? ? ? ? ? ?# ? ? ?# ? ? ?# ? ? ? ?w w w ? ? ? ?# ? ? ? ? ?# ?w ww ww ww? ? ? ? ?# ? ? ? ? ? ? ? ? w ww ?j ? ??J ? ? ?? www?j ? ? ? ww ?j ? ??J ? ? ?? ww ww wwww ww## ww ww## ww ww##? ? ? ?# w ? ? ?# ? ? ? ? ? ?# ? ? ? ?ww ?w# ? ? ww ?w# ? ? ww ?w# ? ??j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ??ww w? ? ? ww ? ?? ? ??? www ? ?? ? ???? ? ? ? ? ? ? ? ? ? ? ?=142????{{Fl. Ob. Cl. Bsn. Vib.Hp.Vln. IVln. IIVla.Vc.Db.112& p mf> . . pp mp pp& p mf.> .> mp mf pp mp pp& mf pp mfmp# mf pppp mp 1?mf pp& mf# pp mpmf# mfmf# pppp mp pp? mf pp mpmf mf# pp mp pp&& mf> ? ? ?& pizz mf ? ? ?& pp mp mf pp mp ppB # pp mp mf # pp mp # pp? mf pp mp mf pp mf# pp? ? ?? ? ? ? ?# ? ?# ? ? ? ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ? ?# w? ? ? ? w w w www w? ? ?# ? ? ? ? w?# ? ? ? ? ? w? ? ? w w? ?# ? ? ??j ? ??J ? ? ?? w? ? ? ? ? ? ? ?j ? ??J ? ? ?? ww ?j ? ??J ? ?ww w? ? ?# ? ? ? ? w?j ? ? ? ww wwww ww## ww ww ww? ? ? ?# ? ? ? ?? ? ?# ?# ? ?ww ?w# ? ? ww ?w ? ?# w?j ?# ? ??j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ?? ? ?? ? ?? ?j ? ??J ? ? ??www ? ?? ? ??? www w? ? ? ? ?? ?? ? ? ? ? ? ? ? ?143????????{Fl. Ob. Ob.Cl. Bsn. Hn. I, IIMrcs.Clv.Hp.Vln. IVln. IIVla.Vc.Db.117117117& p .>.> .>.> .> #.> >> # mf> mp& p # # pp mp .>.>& mp& p .>.> .> #.> # .> #.> # .> mp<n>.> .>.>? p1?. . . . . . . . . mf mp2?. . .& ? ? p mf pp/ p/ p > > > > > >& p. . mf> p .? ?# ? ? ? ?? ? ? ? ?& ? mpunisarco mf pp ?& ? mp(div). . . #. . . . . .. . . . .. . # mf. . .. . . pn. . . .. . . . . . .. . . . . .. . .B p. . .. . . mp. . . . . . . . . . . . . .. . . mf. . .. . . p. . . .. . . . ..? pizzp mf p? pizzp mf p? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ? ?J?j ? ? ? ?? ? ? ? ? ? ? ? ? ?? ? ? ? ? ??# ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ww ? ?? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ?w ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?j ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?j ? ? ? ? ? ? ?j ? ?? ???? ? ? ???? ? ? ??# ?? ?? ?? ?? ?? ?? ?? ????n ??# ?? ? ? ?# ? ? ? ? w? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ?? ? ? ?? ? ? ? ? ? ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ?j ? ? ??J? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?144????????{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVMrcs.Clv.Hp.Vln. IVln. IIVla.Vc.Db.122& >> mf .>.> .>.>& .>.> .>.> .> mfb.> .> b.> .>.>& .>.> .>.> .> mfb.> b .> b.> b .>.>? . . . . . . . . . mfa 2& ? mp mf pp ?& ? mp mf pp ?/ p/ > > > > > >& . mf> . .? ? ? ? ? ?? ? mp ? ? ?& mpdiv.. . . . . . . . .. . . . . mf. .& mp. . .. . . . . .. . . . . .. . . . . .. . . . .. . mfb. . .. . . .> . . >.> . . > b. .> .. .> . .> . . >.> . . > . .> .. .> .B (div.)mp ?. . . . . . ?. . . . . . .. . mf. . .. . . .> . . >.> . . > . .> .. .> . .> . . >.> . . > . .> .. .> .? arcomf? mf? ?? ? ? ? ?? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?w ? ? ? ?w ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ?j ? ? ? ? ? ? ?j ? ? ? ? ? ? ?? ????n ? ? ?? ?? ?? ?? ?? ?? ?? ?? ????bb ? ? ????bb ?? ?? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ?? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?j ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?145????????{{Fl. 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IIVla.Vc.Db.rall. 127?rall. & .>.> b f a 2 pp3 3 3 3& .> b f a 2 pp3 3 3 3& b b .>.> b f a 2 pp3 3 3 3? f& mp f sfbb >>& mp f sf>> bb& mp f sfb>> b? mp f sfb>>? ? sf>? ? sf>/ ? ? f ?/ ? ?/ ? f ? ?>/ > ? ? ?>& ? ? ? f& ? ? ? f& unis.f >& .> . . >.> . . > . . >. . > b unis.fb >B b .> . . >.> . . > . . >. . > fb>> bb b? f>? arcof >? ?? ? ?? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ?? ??b ?? ?? ? ? ?J?j ? ?? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ?? ? ?? ?? ? ? ? ?? ? ?j ? ?? ? ? ? ? ? ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?? ? ? ? ? ? ? ? ? ? ?? ww wwbbw ? ? ? ?J?j w? ? www ? ? ? ?Jj w www? ? ? ?j ? ?? ? ? ?j ??J ? ?? www? ? ? ?b j ? ?? ? ? ?j ??J w ?b ? ?j ?? ? ?b ?? ? ? ?j w wb? ? ? ?j w wb???w? ? ? ? ? ? ? ? ?j ? ? ?? ? ? ?j? ? ? ? ? ? ? ?J ? ?b ?b ? ? ?? ?J ? ?b ?b ? ? ??? ?? ?? ?? ?? ?? ?b ? ? ?b ? ? ? ?b ?b ? ? ?? ? ? ??? ?? ?? ?? ? ?? ?? ???? ? ? ? ?? ? ? ?? ?? ?? ?? ? ? ? ? ? ?b ? ? ? ?b ?b ? ? ??? ???? ?? ?? ???? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ???? ?? ?? ?? ?? ?? ?? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? wb? ? ? ? ? ? ? ? ? ? ? ? ? ?J wb146????????{{Fl. 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IIVla.Vc.Db.A La Mer q = 116135135? ?A La Mer q = 11613564 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 4464 44& p pp ? ? ?3 3 3 3 3 3& p pp ? ?3 3 3 3 3 3& ? ? ? ?& p pp ? ?3 3 3 3 3 3& p pp ? ?3 3 3 3 3 3? pp?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~& p ?& ? ?? p& po glissando (over harmonics) - sul Ao o o o o o o o o o& p o glissando (over harmonics) - sul Ao o o o o o o o o oB ? div.con sord.p? pp con sord.div.p? pizzpp?div. pp?b ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ?b ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ?b ? ? ? ??? ?b ?b ? ? ? ? ? ? ? ? ? ? ?b ?b ? ? ? ? ? ???? ?b ?b ? ? ? ? ? ? ? ?b ?b ? ? ? ? ? ? ? ??wb ? wb ? wb ? wb ?? ??## ? ??## ? ??## ? ??## ? ??## ? ??##?b ?b ? ?b ? ?? ?b ?b ? ?b ? ????bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ?? ??bb ??? ? ? ?# ? ? ? ? ? ? ? ?? ? ? ?# ? ? ? ? ? ? ? ? ?? ? ? ??## ?? ??## ?? ??## ??## ??## ?? ??##???wb ? ??## ??## ?? ?? ?? ?? ??## ??## ?? ?? ?? ??## ??## ?? ?? ??? ? ? ?# ? ? ?# ? ? ? ? ? ?# ? ? ? ? ? ?# ? ? ? ? ?w# ? w ? w ? w ?148??????Ob. Cl. Bsn. Timp.Vln. IVln. IIVla.Vc.Db.molto accel. 139molto accel. 44444444444444444444& p1? ? ?& ? pp1? p pp p>& ? ? ? ? ?? pp p#n pp ?? ?< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ?& pp p pp& pp p pp ?B psul A "seagull effect"downward glissando from highestpitch possible; distance between fingerthat stops the string and the harmonic nodeconstant throughout gliss rangegliss. senza sord. ? ?? pdownward glissando from highestpitch possible; distance between fingerthat stops the string and the harmonic nodeconstant throughout gliss rangesul A "seagull effect"gliss. senza sord. ? ?? unis.? ?# ? ? ? ? ?# ?# ?# ? ?? ?b ? ? ? ?n ? ? ? ? ? ? ? ? ?? ??b ww w? ? ? ? ? ?? ? ?wb wb wb???w# ???w# ????# ???? ????# ????# ????# ???? ????# ????# ????# ???? ????# ???????w# ???w# ????# ???? ????# ????# ????# ???? ????# ????#??nw w w w w149????{????{Fl. Ob. Cl. Bsn. Vib.Vln. IVln. IIVla.Vc.Db.Vivace q = 168144? ?144Fl. Ob. Cl. Bsn. Vib.Vln. IVln. 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Ob. Cl. Bsn. Hn. I, IIHn. III, IVMrcs.Clv.Vib.Hp.Vln. IVln. 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Ob. Cl. Bsn. Hn. I, IIHn. III, IVMrcs.Clv.Vib.Hp.Vln. IVln. IIVla.Vc.Db.164& b mpb b b b b b b bb>> mfb bb bb .> bb.> bb .>.>& mpb b .> b.> b .> b.> bb .> b.> bb .> mfbb.> bb .> bb.> bb .>.>& mpb b .> b.> b .> b.> b .> b.> b .> mfbb.> bb .> bb.> bb .>.>? mp2?b . . . . . . . . . . . . mfa 2& pp ? mp mf pp ?& ? ? 3?mp mf pp ?/ p/ > > > > p> > >& ? ? ? ? ? ?& p . . mp mf> . .? ? ? ? ? ? ?& ? mpdiv.. . . b. . . . . .. . . . .. . b b bb mf& pb . . .. . . mpb. . .. . . . . .. . . bb. . .. . . . . .. . . . .. . bb . .. . mfbbb. . .. . . .> . . >.> . . > bbb. .> .. .> . .> . . >.> . . > . .> .. .> .B ? (div.)mp ?. . . . . . ?. . . . . . b . .. . . b mf. . . .>. . . .> . . >.> . . > . .> .. .> . .> . . >.> . . > . .> .. .> .? p mp arcomf? mp mf? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?? ?? ?? ? ? ? ?b ? ?b ? ? ?b ? ?b ? ? ?b ? ? ? ?b ?b ? ?b ? ? ?b ? ?b ? ?w w ? ? wbwb ? ? w? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ?j ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?j ? ? ? ? ? ? ?j ? ? ? ? ? ? ???b ????bb ? ? ????bb ? ?b ?b ? ?b ?b ? ?b ? ? ??b ??b ??b ?? ?? ?? ?? ??b ?????bbbbb ? ? ?????bbbbb ??b ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ?b ? ?b ?? ?? ??bb ??bb ?? ?? ??bb? ? ? ?b? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ? ? ? ? ? ? ?? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ?? ? ? ? ??? ?? ?? ???b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ?b ? ? ??b ? ? ? ? ? ? ?? ? ? ? ?b ? ? ??b ? ? ? ? ? ? ?? ? ? ??b ? ? ? ? ?b ? ? ? ? ?b ? ?b ? ? ?b ? ? ?b ? ?b ? ? ?b ? ?b ? ??b ? ? ? ? ?b ? ? ? ? ?b ? ?b ? ? ?b ? ? ? ?b ?b ? ?b ? ? ?b ? ?b ? ?152????????{{Picc.Fl. 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Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Tbn. B. Tbn.Tba.Tri.Mrcs.Cym.Glock.Vib.Cel.Hp.Vln. IVln. IIVla.Vc.Db.175?& > pp ? ? ? ? ?& > pp ? ? ? ? ?& > pp ? ? ? ? ?& pp mf pp ? ?? > pp ? mp pp& pp ? ? ? ? ? ?& pp ? ? ? ? ? ?& # pp ? ? ? ? ? ?? pp ? ? ? ? ? ?? pp ? ? ? ? ? ?? pp ? ? ? ? ? ?/ ? ? ? p pp ? ?/ ? ? ? ? ?/ ? ? ? (susp. cymbal)p pp ? ?& ? ? ? ? ? ? ?& ? ? ? ? ? ? ?& f .?? ? ? ? ? ?& . ? ? ? ? ?& ? ? ? mp& > p div.& > p div.B # ## nn p? > p div.? > p ? ? ? pizz? ?# ?# ? ? ? ? ? w? ? ? ?# ?# ? ? ? w? ?# ?# ? ? ? ? ? w? ??# ??# ??# ??# ?? ??# ?? wwn ? fi? ?b ? ?b w w?? ?? ?? ?? ??## ?? ww wwbb w w ww? ?# ?w?? ? ?? ??w ? ?? ? ?? ? ? ???w ???w? ? ? ? ? ? ? ? ?j ? ? ? ???w ???w? ?#J ?# ? ? ? ? ? ?J ? ? ?? ?#J ?# ? ? ? ? ? ?J ? ? ? ?# ? ? ?# ? ? ? ? ?# ? ? ?# ? ? ? ? ?# ? ? ? ? ? ? ? ?# ? ? ? ? ? ? ??J ?# ? ? ? ?#J ? ? ?# ? ? ? ? ? ? ? ? ? ww# ww ww ww?j ?# ? ? ? ?#J ? ? ?# ? ? ? ? ? ? ? ? ? ww# ww ww ww? ? ?? ???? ?? ?? ?? ?? ?? ?? ? ?? ?? ?? ?? ?? ?? ?? ??b ww wwn ww ww ww?? ?? ?? ?? ? ? ? ?# ? ? ? ? ? ? ? ? ?b w w w w w? ? ? ? ?# ? ? ? ?J ? ? ?bJ w ? ? ?154??????{{{{Fl. Ob. Cl. Bsn. Hn. I, IIHn. III, IVTpt. Glock.Vib.Cel.Hp.Vln. IVln. 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IIVla.Vc.Db.190?? ?& ? ? p mf -3 - -3 mp pp mp& ? ? ? ? mp pp mp& ? ? p mf pp ? ? ?& pp ? p mf -3 - -3 mp pp mp& ? ? ? ? mp pp ?? ? ? p mf mp pp mp& ? p p3 pp ? senza sord.p& p ? p pp ? ? senza sord.p& ? p ppcon sord.1? mf 3 3 # pp& ? ? ? ? ? ? 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IIVla.Vc.Db.210204210& 3 pp ? ?& 3 pp ? ?& > 3 pp ? ?& 3 pp ? ?? ? ff ? ?& sfp f p sfp f mp pp ?& sfp f p sfp f mp pp ?& sfp f p sfp f mp pp ?? sfp f p sfp f mp pp ?? sfp f p sfp f mp pp ?? sfp f p sfp f pp ? ? ?? ? ? ?/ ? ? ? ? ? ? ?/ ? ? ? ? ? ? p/ ? ? ? ? ?/ ? ? ? ? ? ? p& ? f 3 3 ? ?& ? ? ? ? ? ? ?& ? ? ? ? ? ? ?& ? ? ? ? ? ? ?& 3 mf pp ? ?& 3 mf pp ?B . . . div.pp. . . .? . . . div.pp. . . .? pp? ? ? ? ? ?# ? ? ? ? ? ? ? ?# ? ? ?# ? ?# ? ? ? ?b ? w? ? ? ? ? ?# ? ? ? ? ? ? ? ?# ? ? ?# ? ?# ? ? ? ?b ? w?? ?? ? ?? ?? ??# ?? ?? ?? ?? ?? ?? ??# ??# ??# ?? ?? ?? ??# ?? ?? ?? ??b ?? ww?? ?? ? ??# ?? ??# ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ww??n ? ? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ? ?ww ww ww ww ww ?w ? ?wwn ww ww# ww w wwwn ww ww# ww ww w? ? ?wwb ww ww ww ww www w w w w ww w w w? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ?j?# ? ? ? ? ? ??J ?? ?? ?? ?? ?? ??bb ?? ? ?? ?# ? ? ?J ? ?# ? ? ? ?n ? w ? ? ?# ? ? ?b ? ? w? ?# ? ? ?j ? ?# ? ? ? ?n ? w ? ? ?# ? ? ?b ? ? w w?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ??# ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? www??b ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ?? ?? www? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? w w w158??????{{Cl. 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Thesis/Dissertation
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Music
Vancouver : University of British Columbia Library
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