MAZEDONIA Mario Bürki
Transcription
MAZEDONIA Mario Bürki
D MAZEDONIA Mario Bürki DAS LAND UND SEINE MUSIK Mazedonien liegt im Zentrum der Balkan-Halbinsel und war die südlichste Teilrepublik der früheren Bundesrepublik Jugoslawien. Es grenzt im Norden an Serbien, im Osten an Bulgarien, im Süden an Griechenland und im Westen an Albanien. Der Staat Mazedonien entspricht etwa der nordwestlichen Hälfte der historischen Region Makedonien. Mazedonien hat eine Geschichte von tausenden von Jahren, wie anhand Spuren des menschlichen Bestehens von der Paleogeschichte in der Petralona Höhle in der Chalkidhiki Halbinsel gefunden werden können. Der Höhepunkt dieser griechischen Nordregion waren die Herrschaften von Phillip II und von seinem Sohn Alexander der Große im 300s B.C.E. Ihr Beitrag zur Menschheitsgeschichte war unermesslich und die Verbreitung der griechischen Sprache und der Kultur zur damaligen bekannten Welt hat den Kurs der Geschichte geändert. Die Region von Mazedonien ist eine der reichsten im Bezug des Musikausdrucks und des Tanzes. Die Musik von Mazedonien gehört den musikalischen Idiomen des Festlandes Griechenland an, stellt aber auch eine interessante interne Verschiedenartigkeit dar, welche an der großen Masse von Flüchtlingen liegt, welche nach Mazedonien imigrierten. Die Musik Mazedoniens wird durch regelmäßige Rhythmen und harmonische Melodien gekennzeichnet, jedoch gibt es in den verschiedenen Regionen starke Unterschiede der traditionellen Musik, welche auch durch die Vielzahl der verschiedenen Instrumenten geprägt wird: Zusätzlich zum üblichen Ensemble der Violine, des Clarinet und des Laouto (Laute), finden wir Kombinationen von Zournas (Oboenähnlich), von Dudelsack mit Drohne und Daires (ein großes Tambourine), von Lyra (birnenförmige Geige) und von Trommeln. DAS WERK Schon länger hat mich die Musik des ehemaligen Jugoslawien fasziniert, nach langem Suchen nach geeigneter Musik für meine Komposition bin ich zufällig auf traditionelle Musik von Mazedonien gestossen und ich entschied mich, darüber ein Werk zu schreiben. Mein Werk Mazedonia ist dreiteilig aufgebaut: Während der erste Teil nur im Stile von mazedonischer Musik nach meinem Empfinden komponiert ist, zitiere ich in den beiden folgenden Teilen traditionelle Volkslieder: Im langsamen Mittelteil das Lied „Jovano Jovanke“ welches in der Übersetzung folgenden Text hat: „Jovana, Jovanke, du sitzt am Vardar, bleichst das weiße Leinen und schaust nach oben. Jovana, ich warte auf dich, dass du in mein Haus kommst. Aber du darfst nicht, mein Herz, Jovana. Jovana, deine Mutter läßt dich nicht zu mir kommen, mein Herz, Jovana.“ Und im letzten Teil das Lied „Dunje Raike“. DER KOMPONIST Mario Bürki wurde am 26. Oktober 1977 geboren. Er studierte Blasmusikdirektion am Konservatorium in Bern und erreichte am Diplom sowie dem Höheren Studienaus-weis das Prädikat „Sehr Gut“. Bürki besuchte Meisterkurse bei U.P. Schneider (Komposition) und Toshiyuki Shimada / Andreas Spörri (Dirigieren). Sein erstes grosses Werk - Szenen aus: Max und Moritz - erreichte am Kompositionswettbewerb der World Association for Symphonic Bands and Ensembles (WASBE) in Luzern den zweiten Preis und seine Komposition Indian Fire wurde am Wettbewerb Flicorno d’Oro Junior (Italien) mit dem Spezialpreis für das orginellste Konzertstück ausgezeichnet. Zwei seiner Werke (Cap Hoorn und 1405: Der Brand von Bern) wurden an der Mid-Europe in Schladming uraufgeführt. Im November 2005 wurde 1405: Der Brand von Bern vom weltbekannten spanischen Blasorchester „La Artistica Buñol“ in Valencia aufgeführt. Mario Bürki ist Musikschulleiter an der Musikschule der Jugendmusik Ostermundigen. Als Instrumentalist spielt er Trompete, Klavier und Orgel. Mario erhält regelmässig Kompositionsaufträge. E MAZEDONIA Mario Bürki THE COUNTRY AND ITS MUSIC Macedonia is situated in the centre of the Balkan Peninsula and was the most southern republic in the former Yugoslav Federation. Its neighbours are Serbia in the north, Bulgaria, in the east, Greece in the south, and Albania in the west. The State of Macedonia lies in the northwestern half of the ancient kingdom of Macedonia. Macedonia’s history stretches back for thousands of years. Archeological finds discovered in the Petralona cave on the Halkidiki Peninsula, have proven human existence in that region as far back as the Paleolithic Period. This northern region of ancient Greece was at its peak in 300 BC, during the reigns of Philip II and his son Alexander the Great. Their contribution to the history of humankind is immense and the expansion of the Greek language and its culture to the then known world has defined the course of history. The Macedonian region is one of the richest in regards of dance and musical expression. Macedonian music is part of the musical idioms of the Greek mainland, but it also displays many interesting internal nuances, influenced by the many refugees who emigrated to Macedonia. Regular rhythms and harmonic melodies are typical for Macedonian music. However, there are many regional differences, also seen in the multitude of different regional instruments. In addition to the usual ensemble of violin, clarinet and “Laouto” (lute), we also find combinations of “Zournas” (similar to the oboe), bagpipes with drones, “Daires” (a big tambourine-like instrument), “Lyra” (a pear-shaped violin), and also drums. THE PIECE I have been fascinated by the music of former Yugoslavia for a while now. After extensive searches for suitable music for my compositions I came across the traditional music of Macedonia and I decided to write a piece about it. My composition Mazedonia is written in three parts. The first part is written merely in the style of how I perceive Macedonian music, whereas in the second and third parts I directly quote two traditional Macedonian folk songs. In the slow middle part I quote the song „Jovano Jovanke“, whose lyrics translate to: „Jovana, Jovanke, you sit at the Vardar, bleaching the white linen and gazing upwards. Jovana, I wait for you, to come to my house. But you mustn’t, my love, Jovana. Jovana, your mother won’t let you come to me, my love, Jovana.“ And in the last part I quote the song „Dunje Raike“. THE COMPOSER Born the 26 October 1977, Mario Bürki studied wind orchestral conducting at the Berne conservatory. He also followed courses in composition with Urs Peter Scheider and conducting under the direction of Toshiyuki Shimada and Andreas Spörri. His first grand scale work Scenes of Max and Moritz gained a second place in the composition contest in Lucerne organized by the World Association for Symphonic Bands and Ensembles ( WASBE). During the Flicorno d`Oro junior contest (Italy), Indian Fire was awarded a special prize in acknowledgement of its originality. Mario Bürki is regularly commissioned to write for Wind and Brass Band. Two of his works (Cap Hoorn und 1405 : Der Brand von Bern) were premiered at the Mid-Europe Conference in Schladming and several have been chosen as set testpiece for contests. Alongside his composing he conducts various Wind Bands and teaches trumpet and theory. Mario himself plays the trumpet, the piano and the organ. Instrumentation MAZEDONIA Dauer / Durée / Duration: Schwierigkeitsgrad / Degré de difficulté / Grade: Mario Bürki 9.00´´ 4 Blasorchester / Musique d´harmonie / Wind Band Piccolo 1st Flute 2nd Flute Oboe Bassoon Clarinet Eb 1st Clarinet Bb 2nd Clarinet Bb 3rd Clarinet Bb Bassclarinet Bb 1st Alto Saxophone Eb 2nd Alto Saxophone Eb Tenor Saxophone Bb Baritone Saxophone Eb 1st Trumpet Bb 2nd Trumpet Bb 3rd Trumpet Bb 1st Horn Eb/F 2nd Horn Eb/F 3rd Horn Eb/F 4th Horn Eb/F 1st Trombone Bb/C 2nd Trombone Bb/C 3rd Trombone Bb/C Euphonium Bb/C Tuba Bb/Eb/C Contrabass Percussion 1 Percussion 2 Percussion 3 Percussion 4 © 2010 by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach phone +41 (0)32 685 48 80 fax +41 (0)32 685 48 81 mf@musikverlag-frank.ch, www.musikverlag-frank.ch MAZEDONIA 2 Con Fuoco (q=144-168) Piccolo f 1st Flute f 2nd Flute 1st Clarinet Bb 3rd Clarinet Bb Bass Clarinet Bb 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ff 3 ff 3 3 3 3 ff 3 ff f 3 3 3 3 3 3 3 ff 3 3 f 3 3 3 3 3 3 3 sfz 3rd Trumpet Bb 1st Horn F 1st Trombone C 2nd Trombone C 3rd Trombone C Euphonium 3 3 3 1st Percussion 2nd Percussion 3rd Percussion 4th Percussion ff f f f f 3 3 3 3 3 3 3 3 3 3 3 3 3 f ff f f f f Timp. S.D. 3 sfz sfz sfz 3 3 p f 3 3 3 3 f 3 3 3 3 sfz sfz ff © 2010 by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach (Switzerland) sfz f sfz sfz sfz f S.C. f f sfz f p f p sfz f f f f f ff sfz 3 f f 3 ff f Contrabass ff 3 f f Tuba 3 3 3 3 3 3 3 3 f 4th Horn F f 2nd Horn F 3 f 3rd Horn F ff 3 3 f 2nd Trumpet Bb f 3 3 8 f 7 3 3 3 3 3 3 3 3 f Mario Bürki 6 ff 5 3 3 3 3 3 3 3 3 3 3 3 f sfz 1st Trumpet Bb Baritonsaxophone Eb ff 3 3 3 3 3 3 3 f Tenorsaxophone Bb 3 3 f 2nd Alto Saxophone Eb 3 3 f 1st Alto Saxophone Eb 3 3 4 f 2nd Clarinet Bb 3 3 f Clarinet Eb 3 3 f Bassoon 3 3 f Oboe 3 3 3 3 ff 3 ff C.C. f Xylophon 2 9 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. 2nd Perc. 3rd Perc. 4th Perc. f f f f f f f p p f p f f f f sfz sfz sfz f f f sfz f f sfz sfz f f sfz f sfz sfz B.D. H.H. f f f f 16 f f 15 f f 14 sfz 13 f 12 f 11 Tb. Cb. 1st Perc. 10 sfz sfz sfz sfz f f 17 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. 18 3 3 cresc. 3 p3 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. 2nd Perc. 3rd Perc. 4th Perc. p 3 p 3 3 3 mf cresc. 3 mf mf mf 3 p 3 p 3 3 cresc. 3 mf mf S.C. fp mf mf fp mf mf 25 mf 3 3 cresc. mf 24 3 3 3 cresc. mf 3 3 mf p p 3 Cb. 1st Perc. mf 23 3 3 3 cresc. mf Tb. 3 3 cresc. 3 3 3 cresc. mf 3rd Trp. 3 cresc. p 1st Trp. 2nd Trp. 3 3 22 3 3 mf 3 3 3 cresc.3 p3 p3 3 cresc. 3 Barsax. 21 p3 3 20 19 mf mf 3 3 3 f 3 mf f f 4 26 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 27 28 29 30 f f f f f 32 33 34 35 f 31 f 36 mf mf 3 3 mf 3 3 f mf 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3 3 f f mf f f f f 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. f f f mf mf f f f f f f f f f mf 4th Perc. 3rd Perc. f 1st Perc. 2nd Perc. mf mf f 4th Hrn. mf mf f 2nd Hrn. f 3rd Hrn. mf mf mf mf mf mf mf mf mf mf f 37 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 38 39 40 41 42 43 5 44 45 46 f f 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 mf mf 3 3 3 3 3 3 3 3 3 3 f f f 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. 3rd Perc. 4th Perc. 1st Perc. 2nd Perc. mf mf mf mf f mf mf f f 6 47 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. 1st Perc. 2nd Perc. 3rd Perc. 4th Perc. 48 49 50 51 52 53 54 55 57 56 mf mf mf mf mf mf 3 3 3 3 mf 3 3 mf 3 3 3 3 3 3 3 3 3 3 3 3 mf mf f f mf f f f mf mf mf f mf mf mf mf f mf 60 59 cresc. 61 Picc. 58 3 3 Eb-Cl. 3 3 3 f 3 3 f 3 3 f 3 3 fp fp fp p fp fp fp 3 3 3 f 3 Bkl. 1st Asax. 2nd Asax. Barsax. Tsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. f 3rd Perc. 4th Perc. 3 3 f p f 3 f fp 3 3 3 3 f 3 3 f fp fp fp f fp f f f f f 3 3 3 f 3 f 1st Perc. 2nd Perc. 3 Tb. Cb. f Euph. f 3rd Trb. fp fp 3 3rd Cl. 7 3 3 3 f 2nd Cl. 3 3 f 3 3 3 3 f 1st Cl. 67 f Bssn. 66 f Ob. 3 3 3 64 65 3 2nd Fl. 63 3 1st Fl. 62 f 3 3 p p p 3 3 3 p p 3 f 3 f p fp 8 68 Picc. 69 ff 1st Fl. 71 Ob. Eb-Cl. sfz Bkl. 1st Asax. f f 1st Trp. 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. Tb. mf ff sfz sfz f f f f f f f f f f f f f f ff f sfz sfz C.C. f sfz sfz sfz f mf mf mf mf mf sfz sfz f f mf f sfz f mf Solo sfz f sfz 4th Perc. sfz 1st Perc. 3rd Perc. Cb. 2nd Perc. sfz Euph. f 3rd Trb. f 2nd Trb. ff 1st Hrn 77 ff 3rd Trp. ff 2nd Trp. 76 ff Barsax. sfz ff Tsax. 75 ff 2nd Asax. 74 ff 3rd Cl. f ff 2nd Cl. f 73 ff 1st Cl. f ff Bssn. ff 72 ff 2nd Fl. 70 mf mf mf Tamburin mf 78 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 9 79 80 81 Solo 82 83 84 85 86 87 88 all mf Solo mf mf mf mf mf muted muted open mf muted mf muted mf mf muted mf muted mf muted mf Solo mf 1st Trb. 2nd Trb. 3rd Trb. Euph. muted mf Tb. Cb. 1st Perc. 2nd Perc. Tamb. 4th Perc. mf mf 10 89 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. Bkl. 1st Asax. 2nd Asax. Tsax. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 3rd Cl. 2nd Trp. 2nd Cl. 1st Trp. 1st Cl. Barsax. 90 91 92 Tb. open open open 99 f f 3 3 3 3 3 p 3 3 p 3 3 p 3 f f open open open 3 3 f 3 3 3 3 f 3 p f 3 p f 3 p f all 3 p f f 3 p 3 p 3 p 3 p p all 98 97 all f f f f open f p f sus. Cymb p f f f 4th Perc. 96 Tamb. 1st Perc. 2nd Perc. 95 f Cb. f Euph. f 3rd Trb. 94 f 2nd Trb. 93 p f p p f f p f p p f p p p f p 3 3 p f f p 3 3 100 Picc. 1st Fl. 2nd Fl. Ob. 101 mf mf 1st Cl. mf mf 105 106 107 108 109 110 f f f 104 mf Eb-Cl. 103 mf Bssn. 102 f f f 11 f 2nd Cl. mf 3rd Cl. mf f f Bkl. 1st Asax. 2nd Asax. mf mf 1st Trp. 2nd Trp. 3rd Trp. f f mf Barsax. mf Tsax. mf f f f f f f 1st Hrn 3rd Hrn. mf 2nd Hrn. 4th Hrn. mf f 1st Trb. 2nd Trb. f mf f f mf 3rd Trb. Euph. mf Tb. Cb. mf 1st Perc. 2nd Perc. Tamb. 4th Perc. mf f mf f f f f f f f f mf f f 12 112 113 114 115 Picc. 111 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 117 120 119 Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. mf mf mf mf 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. mf 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. 1st Perc. 2nd Perc. Tamb. 4th Perc. mf Solo ad lib. freely mf Solo ad lib. freely mp mf Solo ad lib. freely mp mf Solo ad lib. freely mp mf mf mf mf mf mp mp mf mf Solo ad lib. freely mf Solo ad lib. freely 122 mf 3rd Cl. 121 118 Rubato q=80 rit. 116 mp mp mp S.C. pp Wind Chimes pp Picc. 123 13 124 1st Fl. Ob. mp Bssn. mp 1st Cl. mp 2nd Cl. 3rd Cl. Bkl. Tsax. Barsax. 1st Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. 1st Perc. 2nd Perc. Schlgz. Schlgz. mf dim. mf dim. dim. mp dim. mf mp 130 131 mp 133 mp 132 mf mf mf mf mp mf mp 2nd Trp. 129 2nd Asax. 128 1st Asax. 127 mf Eb-Cl. 126 mp 2nd Fl. 125 dim. mp mp mf mf mp mf dim. Solo ad lib. freely mp mf Solo ad lib. freely mp mf mp dim. mf 14 134 Picc. 1st Fl. Bssn. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. 136 Lamentoso q=116 137 143 142 mf all mf mp mp mp 141 140 139 mf 138 one Tsax. Eb-Cl. 1st Trp. Ob. Barsax. 2nd Fl. 135 rit. one mf 1st Trb. 2nd Trb. 3rd Trb. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. Euph. mp mp mp mp all p mf Tb. Cb. Bongos 1st Perc. 2nd Perc. Schlgz. Schlgz. mp 144 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. 1st Perc. Bongos Schlgz. Schlgz. 145 15 146 147 148 149 150 151 152 153 154 mp p solo mp mp Solo mp solo solo mf mf mp mp mp mp mp mp p mp mp mp Xylophon Soft Mallets mp p mp p p p p p p 16 155 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 5 mf all 5 mp all mp mp all mp mf mf mf mf mf mf mf mf mf 1st Perc. mf mf Cb. Tb. 2nd Trb. mp mf mp 5 mf 5 mf 165 164 5 mf 163 162 161 mf 5 160 5 mf Xyl. all 159 Schlgz. mf Bongos 158 Euph. 157 1st Trb. 3rd Trb. 156 mp mf mp S.C. p mf mp mf mf mf mf Glockenspiel mf 166 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 3rd Trp. 1st Hrn 2nd Hrn. mf mf mf mp 174 mp 175 mf all mf all mf mf mf mf p p p p Bongos p mf mf mf all mf mp all mp mf mf mf mf mf mf mp B.D. mf mp mf Glsp. Tb. Schlgz. solo 173 1st Perc. 172 1st Trb. Cb. 171 Solo 170 mf mp Euph. 4th Hrn. 3rd Trb. 169 mf mf 2nd Trb. mf 3rd Hrn. 17 168 1st Trp. 2nd Trp. 167 mf Tamburin mf mf 18 176 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 177 178 179 184 183 p 182 181 180 p p mf mf mf mf mf mf mf 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. Tamb. Glsp. mf mf mf mf mf mf mf mf mf mf mf 1st Perc. Bongos mf B.D. mf mf mf 185 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. 186 187 188 189 190 191 192 19 193 194 mf cresc. mf f 1st Trp. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 2nd Trp. 3rd Trp. 1st Hrn mf cresc. f mf cresc. f mf cresc. f mf cresc. f mf cresc. f mf cresc. f mf cresc. f mf cresc. f mf cresc. cresc. mf f 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. 3rd Hrn. 2nd Hrn. 4th Hrn. Cb. Schlgz. Bongos Tamb. Glsp. p Drum Set mf cresc. mf cresc. f Ride mf f f 20 Picc. 195 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. 196 197 198 199 f cresc. ff f cresc. ff ff cresc. f cresc. f ff ff ff cresc. ff cresc. f ff cresc. f 201 202 203 f ff cresc. f 200 p 1st Asax. p ff cresc. cresc. 2nd Asax. Bkl. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. ff ff p ff Euph. ff cresc. 3rd Trb. ff ff p p ff ff Timpani cresc. cresc. 2nd Trb. Glsp. ff cresc. ff Tamb. ff Schlgz. cresc. ff cresc. 1st Trb. Schlgz. ff p cresc. Cb. ff cresc. Tb. cresc. 4th Hrn. ff p p ff cresc. ff cresc. ff p p B.D. Xylophon p ff f cresc. ff p Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 205 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. 206 207 208 209 210 211 212 mf mf mf p 2nd Hrn. 21 204 p Euph. Tb. Cb. Pk. Schlgz. Schlgz. Xyl. Bongos Glockenspiel 22 Picc. 213 solo 1st Fl. Ob. Bssn. Eb-Cl. 1st Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 216 217 218 219 220 221 222 223 215 mp Solo mp p p p p 2nd Cl. 214 mp 2nd Fl. p mf solo mf solo mp mp mp mp 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. p Cb. Pk. Schlgz. Bongos p p mp mp p mp mp solo Glsp. mp mp mp rit. 224 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 227 228 23 Con Temperamente (q=132-144) 229 230 231 232 mf 3rd Cl. 226 mf 2nd Cl. 225 mf mf mp mp mp mp 1st Trp. 1st Trb. 2nd Trb. 3rd Trb. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. Euph. Tb. Cb. Pk. Schlgz. Bongos Glsp. Tenor Drum (or Snare with snares off) mf B.D. mf mp mp mp mp mp 24 233 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. Euph. Perc. Schlgz. Glsp. cresc. mf mf cresc. cresc. f f f f f all f f cresc. f all f f f mf cresc. f cresc. f f f f cresc. f f f mf f cresc. mf f mf f cresc. 238 f 237 cresc. cresc. f cresc. cresc. Pk. mf Tb. Cb. cresc. 236 cresc. all cresc. mf all mf 235 cresc. mf 3rd Trb. 234 cresc. cresc. f f f f f 239 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 240 241 242 243 244 f f f 3 3 3 3 f f 3 3 f f f f f 3 3 f 3 25 245 3 2nd Trp. 3rd Trp. 1st Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. Tb. Cb. Pk. Perc. Schlgz. Glsp. f f f f f Belltree f Xylophon f 3 26 Picc. 246 1st Fl. Ob. Eb-Cl. 1st Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 3 249 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 f f 3 f f 3 f 3 f mf mf mf mf mf mf mf 2nd Trb. Tb. f f f 3 3 3 3 3 f f mf 3 f f 3 3 3 f 3 3 3 3 f 3 3 3 3 f 3 3 f 3 3 3 Xyl. 3 3 3 3 Schlgz. 3 Perc. 3 F. Bec. 252 3 Cb. Euph. 251 3 3 1st Trb. 3rd Trb. 250 3rd Cl. 248 2nd Cl. Bssn. 247 2nd Fl. f 3 253 Picc. 1st Fl. 2nd Fl. Ob. 1st Cl. 2nd Cl. Bkl. 1st Asax. 3 3 3 3 3 f f f f mf f mf f f f mf mf mf 3 mf mf mf f mf f f f f f Tb. f f Euph. Xyl. f Schlgz. f f Perc. F. Bec. f mf Cb. mf 3rd Trb. 2nd Trb. f f 1st Trb. 260 f f 4th Hrn. 259 f 3 f 2nd Hrn. 258 f 257 f 1st Trp. 3rd Hrn. Tsax. 1st Hrn 2nd Asax. 3rd Trp. 255 mf mf 3 3rd Cl. 2nd Trp. 3 Eb-Cl. Barsax. Bssn. 27 256 254 f 28 264 262 263 261 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 2nd Asax. Tsax. Barsax. mf mf mf mf mf mf mf 1st Trb. 2nd Trb. 3rd Trb. Euph. f f mf mf mf F. Bec. Xyl. f Cb. mf Schlgz. Tb. Perc. 4th Hrn. 2nd Hrn. 3rd Hrn. 1st Hrn 3rd Trp. 1st Trp. 2nd Trp. 1st Asax. 267 Bkl. 266 3rd Cl. 265 f mf f f f mf f mf f f mf Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 29 270 268 269 mf mf mf mf 1st Trp. 1st Trb. 2nd Trb. 1st Asax. 2nd Asax. Tsax. Barsax. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 3rd Trb. mf mf mf Cb. mf mf Tb. Xyl. mf Euph. Schlgz. f mf Perc. f f F. Bec. mf 275 mf 274 mf f f f 272 Più mosso (q=144-158) 273 271 mp mp mp mf mf mf mf mf mf 30 276 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 283 mf mf mf mf mf mf mf mf mf mf mf mf mf mf Tb. Xyl. 282 3rd Trb. Schlgz. 281 2nd Trb. Perc. 280 F. Bec. 279 Cb. 278 1st Trb. Euph. 277 mf mf 284 Picc. 1st Fl. 2nd Fl. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 2nd Trb. 3rd Trb. Euph. Tb. Cb. F. Bec. Perc. Schlgz. Xyl. 290 291 f f f f f f f f f f f f f f f f f f f f mf 1st Trb. 289 mf 4th Hrn. 31 288 mf 2nd Hrn. 287 mf 3rd Hrn. 286 Ob. Barsax. 285 f f f f f f f f Più mosso (q=158-164) 32 292 Picc. 1st Fl. 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. f 1st Trb. 2nd Trb. Schlgz. Xyl. f f f Perc. f f f f f f f f f f f f f f f f f f f f f F. Bec. Cb. Tb. Euph. 3rd Trb. 4th Hrn. 2nd Hrn. 3rd Hrn. f f f 1st Hrn f f 3rd Trp. 2nd Trp. 1st Trp. f f 298 299 accelerando 296 297 f 295 f 294 f 293 f f f 301 Picc. 1st Fl. 300 2nd Fl. Ob. Bssn. Eb-Cl. 1st Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. 2nd Asax. Tsax. Barsax. 1st Trp. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. f f Xyl. Schlgz. Perc. 33 304 Più mosso (q=164-172) 305 F. Bec. Tb. Cb. 303 302 34 306 307 308 309 310 311 Picc. accelerando ff 1st Fl. 2nd Fl. Ob. ff ff ff Bssn. ff Eb-Cl. 2nd Cl. 3rd Cl. Bkl. 1st Asax. Tsax. 2nd Trp. 3rd Trp. 1st Hrn 3rd Hrn. 2nd Hrn. 4th Hrn. 1st Trb. 2nd Trb. 3rd Trb. Euph. ff ff ff 2nd Asax. 1st Trp. ff 1st Cl. Barsax. ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff Tb. Cb. F. Bec. Perc. Schlgz. Xyl. ff ff ff ff ff