Balázs HORVÁTH. Double Cadence avec deux Doubles

Balázs HORVÁTH Double Cadence avec deux Doubles pour deux altos seuls et orchestre 211 à Rivka et Péter Balázs Horváth, 211

2 Bemutató: Olasz Intézet, Budapest, 212. szeptember. Rivka Golani, Bársony Péter brácsa, Magyar Rádió Szimfonikus Zenekara, vez.: Vajda Gergely First performance: Italian Institute, Budapest, Hungary. September, 212. Rivka Golani, Péter Bársony vla., Hungarian Radio Symphony Orchestra, cond. by Gregory Vajda

Orchestra Flauto 1. (anche Flauto piccolo) (anche Fl. picc.) Oboe 1. Clarinetti 1. in Sib Fagotto 1. Corno 1. in Fa Tromba 1. in Do Trombone 1. Violino 1/1. Violino 1/2. Viola 1. Violoncello 1. Contrabbasso 1. Changing position Viola sola 1. Viola sola 2. Center Percussioni 1. Percussioni 2. Flauto 2. (anche Flauto piccolo) (anche Fl. picc.) Oboe 2. Clarinetti 2. in Sib Fagotto 2. Corno 2. in Fa Tromba 2. in Do Tr. 2. Trombone 2. Violino 2/1. Violino 2/2. Viola 2. Violoncello 2. Contrabbasso 2. Cb. 2. Partitura in Do / Tutti strumenti suoni reali / All instruments are written in C (concert pitch) Durata / Duration: ca. 1 min. A darab ajánlása a megrendel! Rivka Golani és Bársony Péter brácsam"vésznek szól. A m" létrejöttét a Nemzeti Kulturális Alap támogatta. The piece is dedicated to Rivka Golani és Péter Bársony violists that commissioned it. The composer was supported by the National Cultural Fund (Hungary) for the composition.

4 A zenekar két oldalra osztva helyezkedik el a színpadon szimmetrikusan. A színpad közönség fel!li szélén üljenek az els! heged"k ( ill. ), közepén pedig egymás mellett a gordonkák ( ill. Vlc. 2.). A nagyb!g!ket a színpad bal és jobb oldalán érdemes elhelyezni. A fúvósok a vonósok mögött egy hosszú vagy két rövid sorban is elhelyezhet!k. Az üt!hangszerek a színpad hátulján, középt!l a színpad oldala felé foglalják el helyüket tetszés szerint. A zenekar (és a kompozíció) sztereó elhelyezése az üt!hangszereket helyét nem befolyásolja. A brácsa szólisták minden tételben más térbeli pozíciót foglalnak el. A tételek során lépésr!l lépésre egyre közelebb kerülnek egymáshoz. Az I. Cadence 1-ben a termen kívülr!l (bal oldal), míg a Vla. sola 2. a színpad jobb els! sarkában játszik. Dinamikai jelzéseik ennek megfelel!en lettek kialakítva, azaz a dinamikái azért magasabbak egy-két fokozattal, hogy ezáltal a Vla. sola 2-vel nagyjából egységes hanger!n szólljon. A II. Cadence 2. el!tt a színpad bal els! sarkába megy, a II. tételt a Vla. sola 2-vel szimmetrikus pozícióban játssza. ( az I. tételben elfoglalt helyén marad.) A III. Double 1. el!tt a szólisták a színpad szélén, a és 2/1. el!tt, a karmestert!l egy-két méterre helyezkednek el. A IV. Double 2. el!tt a szólisták a végs! pozíciójukba mennek: a karmester el!tt, egymáshoz közel helyezkednek el. Dinamika: A kottában szerepl! dinamikák az el!adó által kifejtett dinamikát jelentik. Ezért egyes szólamokban a dinamikai jelek id!nként segédjelzéssel láthatók: mf (= p). Ez azt jelenti, hogy a játékosnak mezzoforte dinamikával kell játszani, ami az adott körülmények között piano fog szólni. Ennek oka a sordinok használata vagy a különböz! hangszerek együttes játékából adódó dinamikai egyensúly. Vonós szólamok osztása (divisi) ill. szólók esetén mindig arányos legyen a szólamszám. The orchestra is divided into two sections and is distributed on the stage symmetrically. 1st violins ( and ) should sit on the edge of the stage, the celli ( and ) should sit by the imaginary center line of the stage, close to each other. The double basses should possibly be placed at the left and the right side of the stage. The winds are either to be in one longer line or in two shorter lines behind the strings. The percussions should be placed at the very back of the stage from middle to both sides. The stereo distribution of the orchestra are not valid for the placement of the percussions. The viola ists are playing from different spatial position in each movement. As the movements are played, they tend to get closer to each other step by step. In I. Cadence 1. is placed outside the hall (left side), is placed at the right front corner of the stage. Their dynamic markings are composed with counting with this fact. So the dynamic markings of Vla. sola. 1. are always one or two level higher than those of Vla. sola 2, so that they can be heard at the same level in the audience. Before II. Cadence 2. moves to the left front corner of the stage so that this movement is to be performed in a symmetric position with ( stays at the position of the 1st movement.) Before III. Double 1. the ists move to the edge of the stage, in front of and 2/1., 1-2 meters from the conductor. Before IV. Double 2. the ists take their final position: they stand in front of the conductor very near to each other. Dynamics: The dynamic markings in the score are playing dynamics. Therefore one can see auxiliary dynamics at certain moments of some parts, e.g. mf (= p). This means that the musician must play mezzoforte that will sound piano with the given circumstances. The reason for this are the mutes (sordino) in use or the balance of the different type of instruments. In case of string divisions (divisi) and ists playing the number of performing musicians should always be equalised.

Jelmagyarázat / Explanations of the special signs Tutti Negyed-, nyolcadhangok sora / The series of quartertones and eight-tones Az el!jegyzések a teljes ütemre vonatkoznak, de segítségképpen gyakran többször ki vannak írva. A k mindig hangtól hangig tastsanak, azaz az a teljes adott id! alatt csúszni kell. Minden olyan speciális jelzés magyarázatára a kottában kerül sor, mely a darabban csak elvétve fordul el!. The accidentals are valid throughout the whole measure, although they can be seen more in a bar sometimes as a help. The glissandi are always to be played from note to note so the slide must happen in the given time. All the special signs that must be played only a very few times are explained in the score. Fl., Cl., Fg., Vibr. IV. tétel 99. ütemt!l a keretben lév! hangokat bármilyen sorrendben (Vibraphone) és véletlenszer" ritmussal kell játszani a megadott id!n belül, mindig secco. 4th movement from measure 99 the given notes in frame should be played in any order (Vibraphone) and with random rhythm within the given time and always secco.

Fafúvók / Woodwinds Lassú, széles (-szer") vibrato Slow, wide vibrato, almost like a Bisbiglando: hangszín-trilla (félhangnál kisebb amplitúdójú trilla) Bisbiglando: timbre-trill (the amplitude of the trill is smaller than a semitone) Rézfúvók / Brass Rézfúvós sordino-k / Brass mutes: Cor.: hagyományos sordino / normal mute (con s) Tr.: straight, cup, wawa, harmon (wawa tüske nélkül / wawa without stem) Trb.: cup, wawa, harmon (wawa tüske nélkül / wawa without stem) blow Leveg!-zaj az adott hanghoz tartozó ventil lenyomásával és leveg! befújúsával. Mindig kövesd az ajak feszültségével az adott hangmagasságot, hogy változzon a zajos hang magassága a sz"rés által. Ahol magánhangzók vannak megadva (Trb.: O, I) ott az ajkat az adott hangzóra formálva tartsd. A nyíl átmenetet jelöl egyik ajakpozícióból a másikba, tehát folyamatosan sz"kítsd az ajakrést a val együtt. Blow air into the intrument using the valve connected to the given pitch. Always follow the pitch direction with the tension of your lips so that the pitch of the noise changes parallel with the filtering technic. The arrow between the given vowels (Trb.: O, I) shows a continuous shift from one lip position to the other filtering of the noisy sound. ; Gestopft; : fojtva (kézzel), normális módon (Cor. ). A jeleket összekapcsoló vonal folyamatos átmenetet jelent. (Az adott hangmagasság a hangzást jelöli, azaz a hangszín változásával a hang magassága ne változzon.) Gestopft; : closed (with hand), ordinarily (Cor. ) The line connecting the signs means continuous change. (The given pitch is to be heard. So when the timbre changes the pitch should not change.) ; Nyitva; csukva (wawa vagy harmon sordino Tr., Trb.) a jelzés a következ! változásig érvényben van. A jeleket összekapcsoló vonal folyamatos átmenetet jelent. Open; closed (wawa or harmon mute Tr., Trb.) keep the position until the next new sign. The line connecting the signs means continuous change. Lassú, széles (-szer") vibrato Slow, wide vibrato, almost like a A nyíl átmenetet jelöl egyik pozícióból a másikba. The arrow between shows shift from one position to the other.

7 Üt!k / Percussions ét lasciare vibrare: hagyd zengeni lasciare vibrare: let it vibrate Étouffez: némítsd el a kicsengést (fogd le a hangszert) Étouffez: mute the sound (stop the vibration of the instrument) Dörzsöld a hangszert (általában körkörös mozdulat). Rub the instrument (generally circular motion). Stop-ütés Stop-beat Vonók (Vla. is) / Strings (Vla. as well) Amennyiben a hangok között nincs köt!ív, mindig válts vonót! Köt!ívvel összekötött hangok esetében, ha szükséges a vonóváltás, az a lehet! leghalkabban, észrevehetetlenül történjen. In case there is no slur between notes, change bow! When the notes are connected with slur and you need to change the bow, do it as softly and unrecogniseably as possible. Lassú, széles (-szer") vibrato Slow, wide vibrato, almost like a Nagyon magas hang (esetenként flagolet) Very high sound (sometimes flagolet) egész vonó / whole bow A nyíl átmenetet jelöl egyik pozícióból a másikba. The arrow between shows shift from one position to the other. skálaszer" mozgás az adott irányban bármilyen hangmagassággal quasi scales in the given direction with free pitches lasciare vibrare: hagyd zengeni lasciare vibrare: let it vibrate

8 Percussioni (Üt!hangszerek / Percussion instruments) Percussione 1. 2 Timpani, Vibraphone (with motor), Wood-block (medium high), Tam-tam (nagy méret" / large), Piatto on Timpani (helyezd réztányért fejjel lefelé a timpani b!rére és játssz trillát a tányéron, miközben a timpanin t játszol nagyjából a megadott hangok között / place the cymbal upside down on the Timpani and play trill on it, while moving the pedals for approximately between the given pitches), Piatto sospeso (Suspended cymbal), Crotals (h, d, e, g, a, e-flat ), Bamboo-chimes (függesztve / suspended), Ver!k / Beaters: soft timpani beater, soft beater, very soft mallet, soft mallet, medium soft mallet, medium hard mallet, hard mallet, rubber headed mallet, medium hard crotale beater, wooden stick, brush, superball, (vonó / bow). Notáció / Notation: Percussione 2. Marimba (C-c ), Glockenspiel, Triangolo, Bottle (boros- vagy bef!ttesüveg / that of wine or one for preserved fruit), Hi-hat (closed), Shatic (apró falap vagy kocka, magas, éles, wood-blockszer" hanggal / small wooden key or cube with the sound of a high, acute wood-block), Shell-chimes (állványra lefektetve ütve / placed on a stand beaten), Shell-chimes (függesztve / suspended), Gran Cassa, Wind-chimes (függesztve / suspended), Small pebbles (kis kavicsok m"anyag tálban vagy tenyérben tartva / in a plastic plate or hold in hand), Tamburo piccolo (con corde) felfordítva, hogy a húrokon lehessen kézzel t játszani / turned upside down that one can play across the strings), Plastic flacon (M"anyag flakon üresen, ujjakkal nyomogatva / empty, to press with fingers), Sizzle cymbal (Sizzle cintányér), Nipple Gong (d, e-flat, g-flat), 1 Crotale (a a Perc. 1 játékos hangszerét is használhatod / you can use the instrument of ) Ver!k / Beaters: very soft beater, soft beater, medium soft beater, hard beater, soft timpani beater, soft mallet, medium soft mallet, medium hard mallet, hard mallet, wooden headed mallet, metal stick, (vonó / bow). Notáció / Notation:

Flauto 1. (anche Flauto piccolo) Oboe 1. Clarinetto 1. in Si Fagotto 1. Corno 1. in Fa Tromba 1. in Do Trombone 1. Violino 1/1. Violino 1/2. Viola 1. Violoncello 1. Contrabbasso 1. Viola sola 1. Viola sola 2. Percussione 1. Percussione 2. Flauto 2. (anche Flauto piccolo) Oboe 2. Clarinetto 2. in Si Fagotto 2. Corno 2. in Fa Tromba 2. in Do Trombone 2. Violino 2/1. Violino 2/2. Viola 2. Violoncello 2. Contrabbasso 2. 1 "" némán tartsd a vonót / keep the bow silently 2 senza vibr. vibr. molto lento 4 vibr. accel. 7 vibr. 8 vibr. veloce 9 à Rivka et Péter Double Cadence avec deux Doubles I. Cadence 1 Balázs HORVÁTH (*197) Partitura in Do / Score in C Viola sola 1. plays from out of the hall (left side), Viola sola 2. plays at right front corner of the stage.

2 1 11 senza vibr. 12 1 quasi vibr. lento 14 1 1 17 "" come prima (pizz.) 18 19 rit. 2 21 sul pont. 22 2 sul pont. 7 ricochet come prima "" 24 2 2 27 détaché némán tartsd a vonót / keep the bow silently 7 détaché 9 9 9 28 7 7 7 29 7 7 7 rit. molto 1 spicc. lunga 9 9 9 9 2 a tempo nat. 4 nat. 7 7 7 7 9 7 8 dolce 7

9 7 7 4 sub. nat. 41 molto vibr. vibrato+ molto vibr. vibrato+ 42 4 44 7 7 4 4 sub. vibr. 47 48 rit. 49 (rit.) 1 2 4 sim. sim. 7 8 9 1 2 flautando 4 7 8 9 7 71 1/2 flag. ( ) ( ) ( ) ( ) 1/2 flagolet lento Viole sole: move to the positon of II. Cadence 2 Viola sola 1. left front corner of the stage, Viola sola 2. stay at right front corner of the stage.

4 Flauto 1. (anche Flauto piccolo) Oboe Fl. grande II. Cadence 2 Clarinetto 1. in Cl. Si 1. Fagotto Corno 1. Cor. in Fa 1. Tromba 1. in Tr. Do1. Trombone con s wawa con s wawa con s con s straight Violino Violino Viola Viola Violoncello Violoncello Contrabbasso Contrabbasso senza vibr. Viola Viola sul tasto Percussione Percussione 1 2 4 Vibr. soft mallet motor OFF 7 7 Flauto 2. (anche Flauto piccolo) Oboe Fl. grande Clarinetto 2. Cl. in Si 2. Fagotto Corno 2. Cor. in Fa 2. Tromba 2. Tr. in Do 2. Trombone con s wawa con s wawa con s con s straight Violino Violino Viola Violoncello Contrabbasso Cb. 2.

senza vibr. sola trillo+ sim. (sul IV sim.) 7 8 9 1 11 12 Wood-block hard mallet Trgl. metal stick ét ét 1

9 1 14 1 1 17 18 Vibr. hard mallet 1 Glsp. hard mallet ét senza s Tr. 2. con s cup = senza s 9 9 9 9 9 9 9 Cb. 2. 9 Cb. 2.

con s cup pizz. 4 soli pizz. 4 soli = senza s con s cup = = 4 sole tutte tutti tutti tutti 7 vibr. tremolo rit. al 1 19 sempre 2 sempre ( ) 21 hard mallet 22 hard mallet hard mallet 2 Tr. 2. con s cup = Cb. 2. sul III

8 rit. molto sul III ( ) ( ) ( ) (trem. rit. al) poco a poco meno vibr. senza vibr. 24 rit. molto 2 2 27 28 29 Mar. soft mallet Cb. 2. sul II 4 4 4 ( )

in 1 in 1 9 "blow" = con s (con s cup) = flautando ad lib. (poco rubato) senza vibr. vibr. vibr. molto senza vibr. ad lib. (poco rubato) sul I senza vibr. vibr. vibr. molto senza vibr. in 1 in 1 1 2 4 Tr. 2. "blow" = (con s cup) senza s = "O" = flautando

1 senza s "blow" "O" = "blow" = "I" senza s = "blow" con s "O" = "I" flautando ( ) ( ) Ptto. on Timp (on the drumhead upside down, tremolo on the cymbal) soft mallet (Mar.) ( ) flautando flautando 7 ( ) flautando 8 flautando flautando ( ) ( ) ( ) 9 flautando Tr. 2. = "I" "blow" "O" = = "I" con s "O" = ( ) "I" flautando Cb. 2. ( ) flautando flautando flautando flautando flautando ( ) ( )

Tempo I. 11 "O" = flautando ( ) senza s "blow" = ( ) "I" ( ) ( ) ( ) 4 41 Tempo I. Bottle (bottom) Hi-hat (closed) Shatic (small) Shell-chimes (placed on a flat) wooden headed mallet 42 7 : 4 44 Tr. 2. senza s "O" = flautando "blow" = ( ) ( ) flautando "I" Cb. 2. ( ) ( ) ( )

12 sul II sul III sola sul II 4 4 47 48 49 Timp. wooden stick ( ) sempre extreme high! Edge (sempre al m. 1. - approx. pitches) (Bottle, Hi-hat, Shatic, Shell-chimes) sul II sul II sola sul II

1 senza s ( ) ( ) 1 7 : sempre poco marcato 2 sul III ( ) ( ) ( ) ( ) ( ) nat. 4 sul II = sul III e IV = 7 ( ) ( ) Tr. 2. senza s sul III sul III sul IV sul II nat.

14 sempre sempre sempre sempre sempre sempre sempre sul III ( ) 8 (Timp.) 9 extreme low! 1 2 Center ( al m. - exact pitches) ( ) ( ) ( ) ( ) dim. al 4 7 G. C. soft beater sempre sempre sempre sempre Tr. 2. sempre sempre sempre sul III sul III

Tempo I. 1 "hotel-s" = "hotel-s" = 7 7 quasi Tam-tam rubber headed mallet ét 8 9 7 71 72 7 Tempo I. 74 7 7 ét Tr. 2.

1 tutti non tutti non tutte non tutti non molto vibr. 77 78 79 8 81 82 8 Vibr. soft mallet STOP Mar. soft mallet STOP tutti non tutti non tutte non tutti non Cb. 2.

17 : : sempre simile (rövid, éles, halk motívumok / short, acute, soft motives) senza s 84 8 8 87 88 89 9 Timp. medium soft mallet medium soft mallet con s = Tr. 2. "blow" = "blow" "blow" = sola Cb. 2. 2 soli

18 con s = "blow" = "blow" = "blow" sola senza s 91 92 : : 9 sempre simile (rövid, éles, halk motívumok / short, acute, soft motives) 94 9 9 Vibr. Wind-chimes (metal) fingers medium soft mallet

19 "blow" : : 97 98 99 1 11 12 Timp. medium soft mallet Shell-chimes (suspended) fingers

2 1 14 1 1 17 Mar. medium soft mallet = Tr. 2. "blow" = "blow" = Cb. 2.

21 = "blow" = 18 19 Timp. medium soft mallet 11 Pebbles (small) morzsolgasd a kavicsokat a tenyeredben vagy egy tálban / crumble the pebbles in hand or in a plate 111 : 112 Vibr. medium soft mallet : 11 Tr. 2.

22 "blow" = 114 11 11 117 118 Timp. medium soft mallet Snares of T-picc. fingers kapard a kisdob húrjait lassan ide-oda / scratch slowly the snares of the snare-drum back and forth

2 = "blow" = "blow" = : : 119 12 121 122 12 Plastic flacon (empty) gyûrögesd a flakont (1-2 ponton nyomogasd egy kézben tartva) / crease the flacon (hold it in one hand and press it on 1-2 points) = Tr. 2. "blow" = "blow" = "blow" "blow"

24 "blow" "blow" "blow" free free 124 12 12 127 128 (Timp.) (Plastic flacon) (prepare very soft beater) Tr. 2. "blow"

2 free poco 7 7 7 poco 7 129 1 11 12 1 Perc. poco a poco rit. (più pause) G. C. very soft beater Tr. 2. Viole sole: move to the positon of III. Double 1 Viola sola 1. 1-2 m left from the conductor (in front of ), Viola sola 2. 1-2 m right from the conductor (in front of ).

2 III. Double 1 Flauto 1. (anche Flauto piccolo) in 1 Fl. grande Oboe Clarinetto 1. Cl. in Si 1. Fagotto Corno 1. Cor. in Fa 1. Tromba 1. in Tr. Do 1. Trombone Violino Violino Viola Violoncello Contrabbasso Viola hosszanti irányú csúszás a vonóval és ujjakkal (érintve) a nyaktól a hídig a középsõ húrokon / lengthwise slide with the bow and l.h. fingers (touch) on the middle strings from the neck to the bridge molto sul tasto a hídon húzd a vonót / move the bow on the bridge = Viola in 1 1 sul IV 2 4 Percussione Percussione Ptto. sosp. Flauto 2. (anche Flauto piccolo) Fl. gr. muta in Fl. picc. Oboe Clarinetto 2. Cl. in Si 2. Fagotto Corno 2. Cor. in Fa 2. Tromba 2. in Tr. Do 2. Trombone Violino Violino Viola Violoncello Contrabbasso Cb. 2.

27 con s = con s cup = con s cup = sul IV sul II vibr. sul III sul tasto G. C. soft beater 7 8 9 1 11 12 1 Cb. 2.

28 ( ) poco poco poco poco poco poco poco poco poco sim. ( ) sim. sim. sim. sim. sim. sim. sim. sim. poco poco poco sim. sim. poco sim. poco sim. 14 9 poco 1 sim. 1 17 7 poco 18 19 1 1 Vibr. motor ON sempre Fl. picc. Fl. picc. muta in Fl. gr. con s senza vibr. con s senza vibr. con s senza vibr. con s con s senza vibr. senza vibr. con s senza vibr. con s senza vibr.

29 7 ( ) 7 7 7 2 21 22 2 24 very soft mallet motor speed UP to MAX mute with fingers softly vibr. vibr.

sul III sul II nat. 2 2 27 28 29 Tam-tam superball Mar. soft mallet con s con s cup = senza s pizz. vibr. pizz. vibr. pizz. vibr. Cb. 2. con s pizz. vibr.

( ) vibr. vibr. sul II sub. vibr. 1 pizz. sola con s harmon vibr. lento = ricochet sul II nat. 2 con s wawa vibr. = ricochet molto vibr. senza s bisbigl. = frull. 4 sub. ricochet 1 Tr. 2. ( ) Fl. grande = con s cup bisbigl. = ( ) bisbigl. bisbigl. Cb. 2. () (gli altri) pizz. vibr.

2 vibr. ricochet ricochet ricochet vibr. vibr. lento ricochet ricochet ricochet ricochet ricochet G. P. vibr. nat. come prima vibr. nat. 7 vibr.+ 8 9 G. P. (T-t) (Mar.) Sizzle fingers ét bisbigl. bisbigl. Tr. 2. Cb. 2. () (gli altri) ( )

sub. con s con s harmon = tutti gli altri tutte tutti nat. sub. molto vibr. vibrato+ ricochet 4 41 42 4 44 Vibr. MED. speed medium hard mallet STOP sim. soft mallet Mar. soft mallet sub. senza s con s harmon tutti sul tasto sul tasto sul tasto sul tasto Cb. 2. senza s

4 con s cup () () (Vibr.) (Mar.) = 4 sul III ( ) ( ) 4 molto vibr. sub. con s con s pizz. pizz. 47 senza s con s con s con s 1 molto vibr. Crot. rubber headed mallet tutti tutti tutti vibr. 48 sub. tutti 49 sul IV = Tr. 2. Cb. 2. pizz. sul tasto sul tasto vibr. senza vibr. senza vibr. pizz. senza s pizz. pizz. =

vibr. senza s senza s 1 1 détaché non pizz. 2 non non non sul III e IV sul II sul II Vibr. motor OFF sim. sim. 4 vibr. lento medium hard mallet Nipple Gong soft mallet vibr. Tr. 2. con s senza s senza s non sim. Cb. 2. con s non pizz. non sul III e IV non sim. vibr. lento

Fl. gr. muta in Fl. picc. vibr. bisbigl. lento Fl. picc. ( ) ( ) senza s non molto vibr. molto 7 8 9 Tr. 2. (Vibr.) (Nipple Gong) vibr. Timp. medium hard mallet con s cup = 1 ( ) ( ) Cb. 2. sim.

bisbigl. lento bisbigl. lento 7 con s cup = vibr. lento sim. 1 2 sul III 4 1 Mar. soft mallet Crot. medium hard crot. beater Vibr. medium soft mallet bisbigl. lento bisbigl. lento very soft beater dim. al Tr. 2. = vibr. lento senza s non molto vibr. molto vibr. lento Cb. 2. sul IV pizz.

8 vibr. lengthwise bow-motion molto sul tasto (the wood of the bow knocks on the scroll) 7 8 9 7 (Vibr.) motor ON medium soft mallet MED. speed, motor slow DOWN to MIN (Mar.) (dim. al) Cb. 2. Viole sole: move to the positon of IV. Double 2 Viola sola 1. very near to center, at the left hand of the conductor, Viola sola 2. very near to center, at the right hand of the conductor.

Flauto 1. (anche Flauto piccolo) Oboe 1. Clarinetto 1. Cl. in Si 1. Fagotto Corno 1. Cor. in Fa 1. Tromba 1. Tr. in Do 1. Trombone 1. Violino Violino Violino Viola Violoncello 1. Violoncello 1. Contrabbasso 1. Percussione 1. Percussione 2. Flauto 2. (anche Flauto piccolo) Oboe 2. Clarinetto 2. Cl. in 2. Si Fagotto Corno in 2. Fa Tromba 2. Tr. in Do 2. Trombone 2. Violino Violino Violino Viola Viola Violoncello 2. Violoncello 2. Contrabbasso Cb. 2. 2. Contrabbasso Cb. 2. 2. senza s soft beater 1 senza s senza s Fl. picc. senza s senza s senza s senza s senza s 1 Timp. Glsp. hard beater Fl. grande senza s senza s senza s senza s senza s non non non pizz. 2 non IV. Double 2 Mar. rubber headed mallet frull. 4 7 vibr. lento ét (Glsp.) sul II frull. 7 brush STOP 9

4 frull. Fl. picc. muta in Fl. gr. non non 8 (Timp.) Shatic wooden headed mallet Mar. 9 Mar. Shatic wooden headed mallet 1 STOP 11 12 superball 1 ( ) non non non non non 14 vibr. lento 1 Tr. 2. Cb. 2. non vibr. non vibr. non vibr. non vibr. pizz. sul III e IV

Tr. 2. Cb. 2. non soft mallet 1 sub. non non Fl. grande non non non 17 Ptto. sosp. (prepare s straight) (prepare s straight) 18 Nipple Gong soft mallet sul IV sul IV sul III 19 Vibr. brush motor OFF 7 frull. frull. 7 (put s straight in then pull out) (put s straight in then pull out) trillo+ 7 nat. frull. frull. con s straight frull. con s straight molto vibr. Mar. soft mallet non non non non sul IV molto vibr. trillo+ 2 nat. Tam-tam fist (ököl) senza s senza s 21 Fl. gr. muta in Fl. picc. pizz. sul IV pizz. come chitarra pizz. come chitarra pizz. come chitarra pizz. come chitarra 41

42 Fl. gr. muta in Fl. picc. poco sub. Fl. picc. (senza s) (senza s) non non pizz. 22 2 24 2 2 27 28 secco 29 (Mar.) rubber headed mallet Fl. picc. ( ) frull. Shatic Mar. wooden headed mallet Fl. picc. muta in Fl. gr. hard mallet Ptto. sosp. hard mallet "black keys" "white keys" Fl. grande Tr. 2. non Cb. 2.

Tr. 2. con s straight frull. bisbigl. veloce frull. frull. non Bamboo-chimes Timp. soft timp. beater sul IV 1 Sizzle fingers frull. frull. frull. frull. 2 Snares of T-picc. fingers 4 non non vibr. lento vibr. lento vibr. lento vibr. lento vibr. lento vibr. lento con s straight Vibr. hard mallet G. C. hard mallet vibr. non non vibr. lento pizz. 7 "black keys" 4 "white keys" Cb. 2. non non sul IV sul III pizz. vibr. ricochet ricochet ricochet ricochet non non non

44 non non non non Tr. 2. Cb. 2. "white keys" "black keys" 8 (Vibr.) Mar. gli altri rubber headed mallet (non ) (non ) non (non ) pizz. "black keys" "white keys" 9 "black keys" "white keys" 4 non non (non ) non non sim. 41 sim. 42 sub. sub. 4 44 sub. sub. (non ) 4 4 sub. sub. 47

poco a poco rit. al 4 sul II sul I sempre poco marcato sempre poco marcato poco a poco rit. al 48 49 1 2 4 7 8 rubber headed mallet STOP rubber headed mallet STOP sola Cb. 2.

4 (rit. al) () (rit. al) 9 1 2 4 7 (Vibr.) soft mallet rubber headed mallet STOP soft mallet rubber headed mallet STOP STOP 1 (Mar.) soft timp. beater rubber headed mallet STOP soft timp. beater rubber headed mallet STOP STOP ( ) (sola) Cb. 2. sim. sim. 8 9 7 71 72 7 74 7

frull. 47 con s harmon = () tutti (pizz.) molto vibr. molto 7 77 78 79 8 81 vibr. 82 8 1 Crot. rubber headed mallet Nipple Gong medium soft beater 1 tutti sul II col legno tratto tutte Cb. 2. tutti sul II pizz. vibr.

48 con s wawa con s wawa = = = = sola 84 8 7 7 8 87 88 1 Vibr. medium hard mallet Timp. soft timp. beater Glsp. hard beater frull. Tr. 2. Cb. 2. con s wawa con s wawa sola = = tutti sul III sul tasto tutti sul tasto tutte sul IV sul tasto sul III sul tasto (pizz.)

49 tutti sul tasto tutti sul tasto tutte sul tasto tutti sul tasto sul tasto 7 7 7 sul IV 89 9 7 91 92 9 7 Shell-chimes (suspended) 1 Glsp. hard beater Shell-chimes (suspended) Glsp. 1 hard beater Shell-chimes (suspended) 1 Cb. 2. con s

G. P. = Fl. picc. muta in Fl. gr. con s con s cup 94 9 9 = G. P. 97 sub. ricochet (veloce, secco) sub. ricochet (veloce, secco) 98 (Timp.) 1 Glsp. hard beater Shell-chimes (suspended) Glsp. hard beater 1 ét Shell-chimes (suspended) G. C. soft beater con s cup Cb. 2.

random rhythm secco random rhythm secco 1 random rhythm secco random rhythm secco con s cup con s con s con s tutti 7 9 99 1 11 12 Vibr. medium soft mallet random order & rhythm secco random order & rhythm secco random rhythm secco random rhythm secco random rhythm secco random rhythm secco random rhythm secco Tr. 2. con s cup con s con s con s tutti

2 Fl. grande random rhythm secco frull. lunga (all'estinzione del Crotale) random rhythm secco frull. random rhythm secco al niente 1 (Vibr.) 14 9 9 random order & rhythm 9 1 lunga (all'estinzione del Crotale) al niente al niente secco Crot. (G. C.) 1 al niente random rhythm secco frull. random rhythm secco frull. random rhythm secco Tr. 2. Schladming - Ócsa - Amsterdam - Debrecen - Budapest, January-April, 211