Fluchtpunkt Score

ELIS VESIK (1986*)
Fluchtpunkt
For orchestra
2017

ORCHESTRA
2 flutes
2 oboes
2 clarinets in B♭ (one of whom also the bass clarinet)
2 bassoons (one of whom also the contrabassoon)
2 horns in F
2 trumpets in C
3 trombones (one of whom is bass trombone)
1 harp
1 percussionist:
Gongs:
one preferably low (on C3 octave or lowest available)
one soft mallet for a gong and water can or bucket where to glide the gong
strings 7/6/5/4/3
contrabasses with 5 strings (if not possible with five strings, then contrabasses just end their glissando series before)
General marks:
µ note raised 1/4 tone
˜
B
Bb
note raised 3/4 tone
note lowered 1/4 tone
note lowered 3/4 tone
NOTATION
The score is written in C. If necessary, contrabasson and contrabasses are shown in octave transposition
key.
The pitches within the glissando lines are there to show the approximate speed of the glissandi, and are
not to be played with any accentuation or tenuto.
Glissandi should always be played very evenly, starting at the beginning of the note values and end,
where the audible note tone ends.
The tempo in the beginning of the piece (to measure 31) is very generally marked. The processes may even
take less time, so the faster tempo could be under consideration.
Harp has one microtonal accord and one additional interval, that could be played variously, as long as the
sound is rather damped:

Comments and further ideas:
I would suggest to try stopping the woodwind and brass or the string section or whole orchestra once or
twice during a piece for some moments. After a pause, there is possible to agree, where exactly to continue
together, if for example, only one section had stopped.

Ad libitum (q = 46-72}
Flûte 1
Flûte 2
Hautbois 1
Hautbois 2
Clarinette en B♭
1
Clarinette
basse en B♭
Basson 1
Contrebasson
Cor 1
Cor 2
Trompette 1
Trompette 2
Trombone 1
Trombone 2
Trombone
basse
Violin I 1, I 2
Violon I 3, I 4
Violin I 5, I 6, I 7
TO WOODWINDS AND BRASS:
1. Choose notes from playing range.
2. Avoid leaps bigger than major second.
(moving in quarter- and halftones is advisable)
3. Prefer longer note durations.
4. Try to avoid playing the same tone that is already sounding.
Combine breath with tone. simile
4
&
—
—
Playing range π
Combine breath with tone.
&
4
—
—
Playing range
&
4
œ
b œ
Playing range
&
4
b
œ
œ
Playing range
?
4 œ
b œ
Playing range
?
4
œ
œ
Playing range
?
4
œ
œ
Playing range
t
4
?
4 œ
Playing range
?
4 œ
Playing range
&
&
&
4
4
4
œ
œ
œ
Playing range
œ
œ
œ
Playing range
B œ
œ
Partitura in C
simile
simile
simile
simile
simile
simile
simile
simile
simile
simile
simile
&
4
œ
œ
Playing range
?
4
œ
simile
œ
Playing range
? 4
œ
simile
œ
Playing range
?
4
œ
simile
œ
Playing range
TO ALL STRINGS PLAYING:
Con sord. (night mute) throughout the piece
molto sul ponticello.
Without practically any bow pressure.
Try to achieve a bit crushed sound ▀
with the right bow angle.
Playing is expected to be with
no particular phrasing.
&
4
œ
œ
FLUCHTPUNKT
(2017)
TO ALL STRINGS PLAYING:
Very slow glissando.
1. Do not try to move in perfect unison,
the small driftage creates necessary tension.
2. When scale ends, wait for the conductor´s
sign to continue with the new scale.
b œ
b œ
b œ
Elis Vesik
œ
(1986*)
Violin II 3, II 4
&
4
B œ
b œ
œ
Altos
B
4
B œ
b œ
œ
b œ
Violoncelles
?
4
B œ
b œ
œ
Contrabasse 1, 2
Contrebasse 3
t
4
t
4
B œ
b œ
B œ
b œ
œ
œ

Fl. 1
5
&
Fl. 2
&
Hb. 1
&
Hb. 2
&
Clar. 1
?
Clar. b.
?
Bas. 1
?
Cbs.
t
Cor 1
?
Cor 2
?
Trp. 1
&
Trp. 2
&
Trb. 1
?
Trb. 2
?
Trb. b
?
Vln I 1, I 2
&
œ
b œ
Vln I 3, I 4
&
œ
b œ
Vln I 5, I 6, I 7
&
b œ
œ
Vln II 3, II 4
&
œ
b œ
Altos
B
j
œ
Vlc.
?
b œ
œ
Cb. 1, 2
t
œ
b œ
Cb. 3
t
œ
b œ
2

Fl. 1
Fl. 2
Hb. 1
Hb. 2
Clar. 1
Clar. b.
Bas. 1
Cbs.
Cor 1
Cor 2
9
&
&
&
&
b
œ
œ
Playing range
? œ
b œ
Playing range
?
?
t
?
?
œ
A
œ
œ
œ
œ
œ
œ
œ
TO WOODWINDS AND BRASS:
ADD glissandos on downward movement.
œ
Playing range
œ
Playing range
b œ
Playing range
œ
Playing range
œ
Playing range
œ
Playing range
Use hand to produce glissando.
œ
Playing range
Use hand to produce glissando.
œ
Playing range
∑
Trp. 1
&
œ
Playing range
œ
Trp. 2
&
œ
œ
Playing range
Trb. 1
Trb. 2
Trb. b
?
œ
Playing range
?
œ
œ
Playing range
?
œ
œ
Playing range
œ
Vln I 1, I 2
&
œ
œ
b œ
Vln I 3, I 4
&
œ
œ
Vln II 3, II 4
&
œ
b œ
Vlc.
?
œ
b œ
œ
Cb. 1, 2
t
œ
b œ
j
œ
Cb. 3
t
œ
3
b œ

Fl. 1
Fl. 2
Hb. 1
14
&
&
&
œ
œ
œ
B
œ
Playing range
œ
Playing range
b œ
Playing range
TO WOODWINDS AND BRASS:
Move very slowly from
initial playing range to another.
1. Choose notes from NEW playing range.
2. Avoid leaps bigger than major second.
(moving in quarter- and halftones is advisable)
3. Prefer longer note durations.
4. Try to avoid playing the same tone that is already sounding.
5. KEEP glissandos on downward movement.
œ
œ
œ
# œ
# œ
# œ
Hb. 2
&
œ
b œ
Playing range
œ
# œ
Clar. 1
Clar. b.
Bas. 1
Cor 1
?
?
?
?
œ
œ
b œ
n œ
# œ
œ œ # œ
œ œ œ # œ
œ
Playing range
œ
Playing range
œ
Playing range
# œ
Cor 2
?
œ
œ
œ
Playing range
# œ
Trp. 1
Trp. 2
&
&
œ
œ
œ
œ
œ
Playing range
œ
Playing range
# œ
# œ
Trb. 1
Trb. 2
?
?
œ
œ
œ
œ
œ
Playing range
œ
Playing range
# œ
# œ
Trb. b
?
œ
œ
œ
Playing range
# œ
Vln I 1, I 2
&
œ
b œ
Vln I 3, I 4
&
b œ
œ
Vln II 3, II 4
Vlc.
&
?
œ
b œ
œ
œ
Cb. 3
t
j
œ
‰
4

5
Fl. 1
18
&
Fl. 2
&
Hb. 1
&
Hb. 2
&
Clar. 1
?
&
Clar. b.
?
Bas. 1
Cor 1
?
?
Cor 2
?
Trp. 1
&
Trp. 2
&
Trb. 1
?
Trb. 2
?
Trb. b
?
Vln I 1, I 2
&
j
œ
‰
Vln I 3, I 4
&
b œ
j
œ
‰ Œ
Vln II 3, II 4
&
b œ
œ
Vlc.
?
œ
b œ
œ

6
Fl. 1
&
C
22
œ
TO WOODWINDS AND BRASS:
Move very slowly from
initial playing range to another.
1. Choose notes from NEW playing range.
2. Prefer longer note durations.
3. Try to avoid playing the same tone that is already sounding.
4. Keep glissandos on downward movement.
# œ
œ n œ
Fl. 2
&
œ
# œ
œ n œ
Hb. 1
&
œ
# œ
œ n œ
Hb. 2
&
œ
# œ
œ n œ
Clar. 1
&
œ
# œ
œ n œ
Clar. b.
?
œ
# œ
œ n œ
Bas. 1
Cor 1
Cor 2
Trp. 1
Trp. 2
Trb. 1
?
?
?
&
&
?
œ
œ
œ
œ
œ
œ
# œ
œ n œ
# œ
œ n œ
# œ
œ n œ
# œ
œ n œ
# œ
œ n œ
# œ
œ n œ
Trb. 2
?
œ
# œ
œ n œ
Trb. b
Vln II 3, II 4
?
&
œ
# œ
œ n œ
b œ
j
œ
‰ Œ
Vlc.
?
b œ

Fl. 1
Fl. 2
Hb. 1
Hb. 2
Clar. 1
Clar. b.
Bas. 1
Cor 1
Cor 2
Trp. 1
Trp. 2
Trb. 1
Trb. 2
Trb. b
Vlc.
25
&
&
&
&
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
gliss. molto lento simile
&
œ œ µ œ nœ B œ
n
Playing range
?
?
?
?
&
&
?
?
?
?
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
gliss. molto lento
µ B n
œ œ œ ( œ œ n œ œ œ
)
Playing range
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
µ B n
œ œ œ ( œ œ n œ œ œ
)
Playing range
µ B n
œ œ œ ( œ œ nœ
œ œ
)
µ B n
œ œ œ ( œ œ nœ
œ œ
)
œ œ ( œ
)
Playing range
gliss. molto lento
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
Playing range
gliss. molto lento
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
gliss. molto lento
œ
simile
simile
simile
simile
niente
niente
niente
7
∑
∑
∑
b œ
D
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
œ œ œ ( œ œ n œ œ
Playing range
∑
∑
∑
∑
∑
gliss. molto lento
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
∑
gliss. molto lento
µ B n œ
œ œ œ
( œ œ n œ œ
Playing range
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
µ B n œ
œ œ œ
( œ œ œ œ
Playing range
gliss. molto lento
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
∑
∑
gliss. molto lento
µ n B n œ
œ œ œ ( œ œ œ œ
Playing range
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
gliss. molto lento
µ n B n œ
œ œ œ ( œ œ œ œ
µ n B n œ
simile
simile
simile
simile
Playing range
Move very slowly from
previous playing range to solely one note
and do very slow quartertone glissando.
gliss. molto lento
œ œ œ ( œ µ œ n œ B œ
n œ
Playing range
simile
simile

8
Clar. b.
Cor 1
Cor 2
28
?
?
?
&
&
Trb. 1
Trb. 2
Trb. b
?
?
?
Vlc.
Clar. b.
Vln I 1, I 2
Vln I 3, I 4
Vln I 5, I 6, I 7
?
ª
31
?
&
&
&
œ
E
bœ
œ
bœ
œ
bœ
œ œ
œ
accel.
b b œ
b b œ
niente
œ
∑
b b œ
b b œ
ª
Vln II 1, II 2
&
Con sord. (night mute) throughout the piece
molto sul ponticello.
Without practically any bow pressure.
Try to achieve a bit crushed sound with the right
bow angle.
Playing is expected to be with Do not try to move in perfect unison,
b no particular œ
phrasing.
b b the small driftage creates necessary tension.
œ
œ œ œ
b œ
Vln II 3, II 4
&
bœ
œ
Vln II 5, II 6
&
Con sord. (night mute) throughout the piece
molto sul ponticello.
Without practically any bow pressure.
Try to achieve a bit crushed sound with the right
bow angle.
Playing is expected to be with Do not try to move in perfect unison,
no particular phrasing. the small driftage creates necessary tension.
bœ
œ
b b œ
Alto solo
B
▀
≠ ≠
∏
≠
≠
µ≠
–
3
–
–
n –
≠
–
3
–
µ –
–
n –
–
µ –
.
–
n –
–
–
µ –
Vlc.
?
b œ
œ

9
Vln I 1, I 2
35
œ
&
œ
Vln I 3, I 4
&
bœ
œ
œ
b b œ
Vln I 5, I 6, I 7
&
œ
b b œ
Vln II 1, II 2
&
b b œ
b b œ
œ œ
œ
Vln II 3, II 4
&
b b œ
œ
Vln II 5, II 6
&
œ
b b œ
œ
Alto solo
B
∑
µ
– n
– – – –
µ
. .
–
n –
–
–
µ –
–
n –
µ
– n
– – 3
–
µ n –
. –
µ –
–
–
n –
–
–
– µ –
. –
n –
–
µ –
∑
Vlc.
?
b œ
j
œ
‰ Œ
∑
ª ª
q = 144
39 b b œ
Vln I 1, I 2 &
œ
Vln I 3, I 4
&
bœ
œ
œ
.
b w
Vln I 5, I 6, I 7
&
œ
œ
Vln II 1, II 2
&
b œ
b b œ
b bœ
œ
Vln II 3, II 4
&
b b œ
œ
Vln II 5, II 6
&
œ
b b œ
Alto solo
B
–
µ n – µ – n – µ – –
5 6
n µ – n – µ – n – µ – n – µ – n – µ – n –
≠ ≠
j
µ –
–
n µ – –
3 3 3 3
n – µ – n – – µ – n – – –
µ n –
–
µ n – µ – n – µ – –
5 6
n µ – n – µ – n – µ – n – µ – n – µ – n –

10
Vln I 1, I 2
43
b b œ
&
ritenuto
n œ
Vln I 3, I 4
&
w
w
w
b w
Vln I 5, I 6, I 7
&
b b œ
œ
b b œ
Vln II 1
&
œ
œ
Œ
w
b œ
Vln. II 2
&
œ
Œ
w
w
b œ
Vln II 3, II 4
&
œ
b b œ
Vln II 5, II 6
&
œ
b b œ
œ
Alto solo
B
j
–
µ –
∑
∑
∑
Cb. 1, 2
t
∑
∑ ?
œ
ª
Vln I 1, I 2
&
47
œ
q = 70
œ
∑
ª
Vln I 3, I 4
&
w
w
w
j
b œ
‰ .
Vln I 5, I 6, I 7
&
œ
b b œ
Vln II 1, II 2
&
b œ
œ
Vln II 3, II 4
&
œ
b b œ
Vln II 5, II 6
&
b b œ
bœ
œ
Vlc.
?
∑
∑
∑
b w
Cb. 1, 2
?
b œ
œ

11
Vln I 1, I 2
51
Œ
œ
&
accel.
œ
b b
Vln I 3, I 4
&
w
w
w
Vln I 5, I 6, I 7
&
nœ
b b œ
Vln II 1, II 2
&
œ
Vln II 3, II 4
&
œ
b b œ
Vln II 5, II 6
&
b b œ
œ
Altos
B
œ
b b œ
Vlc.
?
w
w
w
Cb. 1, 2
?
b œ
œ
Fl. 1
Fl. 2
Vln I 1, I 2
54 ☼ œ
&
P
&
&
q = 144
#
☼
b œ
P
F
TO ALL WOODWINDS AND BRASS:
☼ Play as piano as possible, except
for some more dynamics with mp.
Playing is expected to be with
no particular phrasing.
ª ª
œ
œ œ
œ b œ
b b œ
Vln I 3, I 4
&
b w
∑
∑
œ
Vln I 5, I 6, I 7
&
∑
b œ b
œ
Vln II 1, II 2
&
œ
œ
Vln II 3, II 4
&
œ
b b œ
Vln II 5, II 6
&
b b œ
œ
œ
Altos
B
œ
b b œ
œ
Vlc.
?
b w
w
j
œ
‰ .
∑
œ
Cb. 1, 2
?
b œ
œ
Cb. 3
?
∑
w
w
w
b w

Fl. 1
59
œ
&
œ
ritenuto
b œ
œ
Fl. 2
&
œ œ
# œ
œ
Trb. 1
Trb. 2
?
?
∑
∑
∑
∑
∑
∑
☼
µ œ-
œ- œ- œ- œ-
P
☼
# w
P
5
Vln I 1, I 2
&
n n œ
∑
Vln I 3, I 4
&
b b œ
œ
Vln I 5, I 6, I 7
&
b b œ
œ
œ
Vln II 1, II 2
&
œ Œ
Vln II 3, II 4
&
b b œ
œ
Vln II 5, II 6
Altos
&
B
b b œ
œ
b b œ
n
n œ
œ
Vlc.
?
b b œ
œ
Cb. 1, 2
?
œ
b œ
Cb. 3
?
j
œ
‰ .
∑
12
∑
∑

Fl. 1
Fl. 2
Hb. 1
Hb. 2
Bas. 1
Bas. 2
Cor 1
Cor 2
Trp. 1
Trp. 2
Trb. 1
Trb. 2
Trb. b
63
&
&
&
&
&
&
&
&
&
&
?
?
?
b œ
# œ
∑
∑
∑
∑
∑ ?
∑ ?
µ œ-
œ- œ- œ- œ-
w
5
∑
∑
∑
G
b œ
P
w
P
B w
P
w
P
☼
B
w
P
☼
☼
b
œ
# œ
&
µ w
P
☼
w
P
☼
w
Pµ œ
# w
˜ ˙ .
P
q = 70
P
☼
P
j
œ
‰
&
w
If notes are too high to play in measure 65-71,
then transpose octave lower.
b œ
œ .
‰
If notes are too high to play in measure 65-71,
then transpose octave lower.
œ .
‰
# œ
j
œ
j
œ
∑
∑
‰ Œ
‰ Œ
w
∑
P
P
˙ .
# œ
˙ .
∑
∑
∑
∑
∑
Vln I 1, I 2
&
Œ b b œ
œ
Vln I 3, I 4
&
œ
b b œ
Vln I 5, I 6, I 7
&
b b œ
œ
Vln II 1, II 2
&
∑
œ
œ
j
‰ ∑
Vln II 3, II 4
&
b b œ
œ
Vln II 5, II 6
&
œ
J
‰ Œ
b b œ
Altos
B
b b œ
œ
œ
b b
Vlc.
?
b b œ
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
œ
Cb. 1, 2
?
œ
13
b œ

Fl. 1
67 œ b œ
&
4
H
œ
# œ
Fl. 2
&
4
œ œ
œ
∑
Hb. 1
Hb. 2
Clar. 1
Clar. 2
Bas. 1
&
&
&
&
&
4
4
4
4
4
œ b œ
œ
∑
∑
Œ
œ
# ˙
.
œ b œ
∑
∑
œ
b œ .
.
∑
∑
∑
œ
˙
b .
J
☼
µ w
P
B
w
P
œ
≈ Œ
∑
w
# œ .
‰
˙
˙
˙
#˙
œ
Bas. 2
&
4
œ œ
œ
Cor 1
Cor 2
Trp. 1
Trb. 1
Trb. 2
Arp.
Vln I 1
&
&
&
?
?
t
&
4
4
4
4
4
4
4
∑
∑
∑
∑
∑
∑
b b œ
∑
∑
∑
∑
∑
∑
∑
∑ ?
∑
∑
∑
∑ ?
œ +
˜ w
P
b w
P
b w
P
#
B µ Œ
œ
F
P
œ
∑
œ Œ &
Œ
œ .
œ .
b
˙
‰
‰
∑
œ
Vln. I 2
&
4
b b œ
œ
∑
Vln I 3
&
4
œ
b b
œ
œ
Vln. I 4
&
4
œ
b b
œ
œ Œ
Vln I 5, I 6, I 7
&
4
b b œ
œ
œ
b b
Vln II 3, II 4
&
4
œ
b b
œ
œ
Vln II 5
&
4
œ
Œ
œ
b œ
Vln II 6
&
4
Œ
œ
œ
b œ
Alto 1, 2
Alt. 3, 4, 5
B
&
4
4
Œ
œ
Œ
œ
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
Π&
œ
œ
b œ
b œ
Vlc.
Cb. 1, 2
?
?
4
4
œ
œ
œ
14
b œ
b
œ
Div.

Fl. 1
72
&
œ Œ
∑
Hb. 1
&
˙
œ
˙
œ .
.
J œ ≈ .
Hb. 2
&
∑
b
˙
˙
∑
Clar. 1
&
œ
.
Œ
Œ œ
P
Bas. 1
&
œ
Bas. 2
&
# œ
Cor 1
&
œ œ +
Cor 2
Trp. 1
&
&
Œ
˙
#
˙
b .
J œ
≈
˙+
J œ œ + .
b œ .
J œ
.
J
J œ ‰ .
Œ
˙
b .
J œ
≈
Trp. 2
&
œ
P
Vln I 1
&
b b
œ
Œ
∑
œ
Vln. I 2
&
Œ
b
œ
œ
Vln I 3
Vln. I 4
&
&
Œ Œ Œ
œ
Œ
b b
b œ
∑
Vln I 5, I 6
Vln. I 7
&
&
∑
b œ
œ
Œ
∑
Vln II 1, II 2
&
∑
œ
b œ
Vln II 3, II 4
&
œ
b b
Vln II 5, II 6
Altos
&
&
œ
b œ
œ
b œ
Vlc.
Cb. 1, 2
?
?
œ
b œ
Unis.
œ
b b
Cb. 3
&
Œ
Œ
œ
15
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
b œ

16
Clar. 1
75
&
I
# œ
œ
Clar. b.
Bas. 1
?
&
œ œ
∑
µ ˙
˙
P
j
. œ
Bas. 2
&
œ œ
Cor 1
&
# œ
œ +
Cor 2
Trp. 1
&
&
Œ ˙-
∑ ?
w
P
˙
œ .
&
œ œ ˙- j
œ
Trp. 2
&
œ
#˙
œ .
Œ
b˙
œ
Trb. 1
Trb. 2
Trb. b
Arp.
Vln I 1, I 2
Vln I 3
Vln. I 4
Vln I 5, I 6
?
?
?
?
&
&
&
&
Œ
Œ
∑
∑
∑
∑
∑
œ
&
t
# ˙
œ .
‰
˜
w
P
µ
w
P
µ –
F
œ
œ
œ
˙
j
œ
Π.
b œ
∑
∑
Vln. I 7
&
œ
b œ
Vln II 1, II 2
&
œ
œ
Vln II 3, II 4
&
œ
Vln II 5, II 6
&
œ
œ
Altos
&
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
œ
Vlc.
?
œ
Cb. 1, 2
?
œ
Cb. 3
&
œ

Clar. 1
78
&
# œ
∑
Bas. 1
&
# œ
œ
Bas. 2
&
b œ
œ
Cor 1
&
œ
# Œ
œ +
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
œ
Cor 2
Trp. 1
Trp. 2
Trb. 1
Trb. 2
Trb. b
Vln I 1, I 2
Vln I 3, I 4
Vln I 5, I 6, I 7
Vln II 1, II 2
Vln II 3
Vlm II 4
Vln II 5, II 6
Altos
Vlc.
Cb. 1, 2
Cb. 3
&
&
&
&
?
?
&
&
&
&
&
&
individual bowing
fast change of bow
dynamics is unchanged
≤
b ≥ œ
&
&
?
?
&
œ
œ
∑
∑
∑
∑
∑
∑
individual bowing
fast change of bow
dynamics
≤
b ≥ is unchanged
individual bowing
fast change of bow
dynamics is unchanged
œ ≥ ≤
individual bowing
fast change of bow
dynamics is unchanged
b bœ
b bœ
Œ
œ
individual bowing
fast change of bow
dynamics is unchanged≥
≤
B
individual bowing
fast change of bow
dynamics is unchanged
≤
b œ
≥
individual bowing
fast change of bow
dynamics is unchanged ≤
b
≥
∑
∑
∑
∑
œ # œ
b b œ
∑
individual bowing
fast change of bow
dynamics is unchanged ≤
b ≥
œ
b ≥
≤
œ
œ
individual bowing
fast change of bow
dynamics is unchanged
? œ ≥ ≤
individual bowing
fast change of bow
dynamics is unchanged
∑
Œ
Œ
˙
b +
œ
˙ .
œ .
œ .
œ
b
œ
≥ ≤
œ
œ
œ
17
∑
∑ ?
Œ
˙
œ
# Œ Œ
œ
œ
œ .
œ .
b œ
3
ΠΠ?
Œ
œ
b œ
b
œ
b œ
b b œ
œ
∑
Œ
Œ

Hb. 1
Hb. 2
82
4
&
&
4
∑
∑
∑
∑
‰
œ
‰
b œ .
Clar. 1
Clar. 2
Bas. 1
&
4
&
&
4
4
w
P
w
P
# œ
b œ
˙
˙
j
œ
j
œ
‰ Œ
‰ Œ
∑
∑
Bas. 2
&
4
b œ
# œ
Cor 1
Cor 2
Trp. 1
Trp. 2
Trb. 1
Trb. 2
Trb. b
&
&
&
&
?
?
?
4
4
4
4
4
4
4
b . +
∑
œ
j
œ
7 6 5 6
˜ œ
r
œ
# ‰ .
œ œ-
b œ .
b œ
b œ .
.
3
œ œ .
J
œ œ .
J
œ
J
œ
J
œ
˙ b +
#-œ
Œ
b-œ
.
˙
∑
œ
j
œ
œ
˙ b œ .
3 3
œ
J
œ # œ + n œ œ .
œ
œ
œ
b-œ
j
œ- œ
j
œ œ # ˙
# œ
J
‰
b œ
∑
∑
3
j
œ œ
j
œ
‰
œ
J
‰
# +
Vln I 1, I 2
&
4
≥ ≤
œ
Vln I 3, I 4
&
4
≥ ≤
œ
œ
Vln I 5, I 6, I 7
&
4
≥
≤
œ
Vln II 1, II 2
&
4
≥ ≤
b œ
œ
Vln II 3
Vlm II 4
&
&
4
4
≥ ≤
individual bowing
fast change of bow
dynamics is unchanged œ ≥
Œ
œ
≤
œ
œ
Vln II 5, II 6
&
4
≥ ≤
œ
b œ
Altos
&
4
≥
≤
b œ
œ
Vlc.
?
4
≥ ≤
b b œ
Cb. 1, 2
?
4
≥ ≤
œ
Cb. 3
?
4
≥ ≤
œ
18
œ

Fl. 1
Fl. 2
Hb. 1
85
&
&
&
J
∑
Œ ‰
œ
# œ
b
accel.
˙
# œ
n œ
J
‰
œ
q = 144
œ
J Π.
∑
∑
Hb. 2
&
œ .
‰ Œ
b œ
œ
J
‰
b œ
œ
Clar. 1
Clar. 2
&
&
µ w
P
B w
P
˙ .
˙ .
œ
œ
.
.
Bas. 1
&
œ
b œ
Bas. 2
&
œ œ
Cor 1
Cor 2
&
&
b œ +
P
w
P
œ
˙ .
œ +
j
œ
‰ Œ
Trb. 1
Trb. 2
Trb. b
Arp.
Vln I 1, I 2
?
? B
?
&
?
&
œ
P
w
P
w
P
œ
œ
F
≥ ≤
∑
œ
œ
˙ .
œ .
‰ Œ
∑
∑
Œ
Œ
# œ
œ
# œ
P
P
œ
∑
∑
Vln I 3, I 4
&
≥
≤
œ
Vln I 5, I 6, I 7
&
≥
≤
b œ
œ
Vln II 1, II 2
&
≥ ≤
œ
œ
Vln II 3, II 4
&
≤
≥
œ
Vln II 5, II 6
&
≥
≤
œ
b œ
Altos
&
≥
≤
œ
B
Vlc.
Cb. 1, 2
≥ ≤
?
≥ ≤
?
b b œ
b œ
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Cb. 3
?
≥ ≤
19
b œ

20
Fl. 1
88
&
∑
∑
∑
K
q = c 70
˙
Hb. 2
&
∑
∑
∑
b˙
œ œ
Clar. 1
&
∑
∑
∑
w
P
Bas. 1
Bas. 2
&
&
œ
œ
? œ
? # œ
œ
œ
Cor 1
&
œ
˙ b +
Trp. 1
Trp. 2
Trb. 1
Trb. 2
&
&
?
?
∑
∑
∑
∑
∑
∑
œ n œ
œ œ
B
w
P
B
w
P
Trb. b
Perc. 1 Gong
Vln I 1, I 2
?
&
w
≥ ≤
Low gong - use can of water, to
slide gong into the water and back
using mallet just to create the resonance,
if not possible then try to create same effect on timpani, with gliss.
œ
œ
b w
P
w
Vln I 3, I 4
&
≤
≥
œ
œ
Vln I 5, I 6, I 7
&
≥
≤
œ
œ
Vln II 1, II 2
Vln II 3, II 4
&
&
≥ ≤
≥
≤
œ
œ
œ
œ
Vln II 5, II 6
&
≥
≤
œ
b
œ
Altos
B
≥ ≤
œ
œ
œ
Vlc.
Cb. 1, 2
≥ ≤
?
n nœ
≥ ≤
?
œ
b
b
œ
œ
Cb. 3
?
≥
≤
œ
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
b œ

21
Fl. 1
&
92
œ ˙ œ .
J
≈
∑
˙
b œ ˙ n œ .
J
≈
Hb. 1
Hb. 2
&
&
b œ
b˙
b˙
œ œ b œ
˙
˙ œ œ
∑
œ ˙
∑
Clar. 1
Clar. b.
Bas. 1
&
?
?
w
œ
∑
Œ
b˙
œ
P
œ
# œ
∑
b˙
œ œ
œ
Bas. 2
?
œ
b œ
œ
Cor 1
&
œ ˙ œ b +
∑
∑
∑
Cor 2
&
˙
+ # œ
œ +
# œ
˙+
œ ˙ œ +
Trp. 1
&
˙ .
Œ
∑
∑
∑
Trp. 2
&
˙ .
Œ
∑
∑
∑
Trb. 1
?
b œ
n œ
Trb. 2
?
b œ
œ
Trb. b
?
˙
∑
∑
∑
Perc. 1 Gong
Vln I 1, I 2
&
≤ |
≥ œ
œ
Vln I 3, I 4
&
≥ ≤
œ
œ
Vln I 5, I 6, I 7
&
≥≤
b œ
b œ
Vln II 1, II 2
&
≥≤
œ
œ
œ
Vln II 3, II 4
&
≥≤
b œ
b œ
Vln II 5, II 6
&
≤ |
œ ≥
b œ
œ
Altos
B
≥ ≤
œ
œ
Vlc.
Cb. 1, 2
?
?
≥
≥
≤ |
b b
œ
≤ |
œ
b b œ
œ
Cb. 3
?
≥ ≤
œ
œ

22
Fl. 1
&
96
∑
b˙
œ ˙ b œ .
J
≈
∑
Hb. 1
&
œ œ œ
˙
b œ
œ
n œ
˙
b œ
œ n œ
Hb. 2
&
˙
# ˙
∑
∑
b˙
˙-
Clar. 1
Clar. b.
&
?
œ œ œ
# œ
Œ # œ
∑
∑
w
P
œ b œ
Bas. 1
?
# œ
œ
Bas. 2
?
b œ
# œ
Cor 1
Cor 2
&
&
∑
∑
∑
∑
∑ ?
#˙
b œ
+ œ .
J
œ Œ
œ ˙+ # œ
+
Trp. 1
&
∑
∑
∑
Œ
œ
Trb. 1
Trb. 2
?
?
# œ
Œ
b œ
œ
∑
# œ .
œ- œ Œ
J
b-œ .
œ
œ
J
œ œ .
J
# œ
Trb. b
Vln I 1, I 2
?
&
œ
∑
∑
∑
b œ
w
P
Vln I 3, I 4
&
≤
≥
œ
œ
Vln I 5, I 6, I 7
≥ ≤
&
œ
b œ
Vln II 1, II 2
&
≥
≤ |
b œ
b œ
Vln II 3, II 4
&
≤ |
≥
œ
b œ
Vln II 5, II 6
&
œ
b œ
œ
Altos
B
≥
≤ |
œ
b œ
b œ
Vlc.
?
œ
b b œ
Cb. 1, 2
?
b œ
œ
t œ
Cb. 3
?
≥
≤ |
b œ
œ
t œ

23
Fl. 1
&
100
b˙
œ ˙ b .
J œ
≈
∑
˙
Fl. 2
Hb. 1
&
&
˙
∑
b œ
œ
œ ˙
∑
b œ
œ n œ
∑
# ˙
n œ œ-
∑
Hb. 2
&
∑
∑
b-˙
b˙
∑
Clar. 1
&
w
∑
∑
∑
Clar. b.
Bas. 1
Bas. 2
?
?
?
œ
œ
b œ
# œ
œ # œ
œ
œ
Cor 1
?
Œ ˙ b J œ+
‰
œ +
j
j
# œ
Œ
∑
∑
&
Cor 2
Trp. 1
Trp. 2
& # w
&
&
P
b œ
Œ ˙- œ
˙
w
n œ
Œ
œ œ- œ-
Œ
∑
b œ
P
œ œ
P
∑
Trb. 1
?
‰ œ .
œ-
b-
œ
J
j
# œ
P
œ
∑
Trb. 2
?
œ
∑
Trb. b
Vln I 1, I 2
?
&
˙
œ
œ
j
Π.
œ .
j
# œ
Œ
b œ
œ
Vln I 3, I 4
&
≥
≤ |
œ
œ
Vln I 5, I 6, I 7
&
≥
œ
≤ |
b œ
œ
Vln II 1, II 2
&
œ
b œ
œ
Vln II 3, II 4
&
œ
b œ
Vln II 5, II 6
&
b œ
œ
Altos
B
œ
b œ
œ
Vlc.
?
œ
œ
Cb. 1, 2
t
b œ
œ
Cb. 3
t
b œ
œ

24
Fl. 1
Fl. 2
Hb. 1
Hb. 2
Clar. 1
Clar. b.
Bas. 1
# œ ˙ .
&
J œ
&
&
&
&
?
?
104
∑
# œ ˙
∑
∑
∑
≈
w
P
n œ ˙ # œ
b˙
w
P
œ
.
∑
∑
˙
L
w
b w
P
w
P
j
µ œ
# ˙
j
œ
j
B b œ
j
# ˜ œ
w
w
P
P
b œ
j
B b œ
q = c 60
∑
∑
∑
∑
∑
∑
Bas. 2
?
∑
∑
# œ
Cor 1
Cor 2
Trp. 1
&
&
&
b ˙
+
b œ
∑
œ
œ
b œ
+ œ + œ
Œ
∑ ?
w
P
∑
∑
&
∑
∑
∑
Trp. 2
&
œ
Œ
∑
∑
Trb. 1
?
˙
b œ ˙ œ
˙
j
œ œ µ œ
Œ
Trb. 2
Trb. b
Vln I 1, I 2
?
?
&
∑
b œ
∑
œ
Œ
# w
P
µ w
P
œ
B œ
J Π.
∑
∑
Vln I 3, I 4
&
b œ
B œ
J Π.
Vln I 5, I 6, I 7
&
œ
b œ ‰ Œ
J
Vln II 1, II 2
&
b œ
œ
j
µ œ
‰ Œ
Vln II 3, II 4
&
œ
œ
J
‰ Œ
Vln II 5, II 6
&
b œ
œ
j
œ
‰ Œ
Altos
B
b œ
œ Œ
∑
Vlc.
?
b b œ
œ
Cb. 1, 2
t
b œ
œ
J
‰ Œ
Cb. 3
t
b œ
œ
J
‰ Œ

25
Fl. 1
Fl. 2
108
&
&
accel.
∑
∑
œ
P
q = 80
˙ .
# œ .
J
≈
∑
∑
Hb. 1
Hb. 2
Clar. 1
Clar. b.
&
&
&
?
∑
∑
∑
∑
B b w
P
˜ w
P
B b œ
PB
˙ .
Œ
j
n œ
j
œ
∑
∑
∑
∑
∑
∑
Bas. 1
?
œ
œ
Bas. 2
?
œ
œ
Cor 1
&
∑
Œ
˙ œ +
∑
∑
Cor 2
Trp. 1
Trp. 2
Trb. 1
&
&
&
?
∑ ?
Œ ‰ b J œ
∑
∑
w
P
w
P
w
P
œ
Œ
˙
&
j
œ
∑
∑
∑
∑
∑ ?
∑
∑
∑
Trb. 2
?
∑
# w
∑
∑
Trb. b
Vln I 1, I 2
?
&
∑
∑
µ
˙ .
B
œ
b œ
Œ
∑
∑
∑
∑
Vln I 3, I 4
&
∑
B œ
b œ
∑
∑
Vln I 5, I 6, I 7
&
∑
b œ
j
µ œ
‰ Œ
∑
Vln II 1, II 2
&
∑
µ œ
j
œ
‰ Œ
∑
Vln II 3, II 4
&
∑
œ
B œ
J
‰ Œ
∑
Vln II 5, II 6
&
∑
œ
j
œ B
‰ Œ
∑
Altos
B
∑
œ
B œ
J
‰ Œ
∑
Vlc.
?
b b œ
œ
Cb. 1, 2
t
∑
œ
œ
Cb. 3
t
∑
∑
œ
œ

26
Fl. 1
&
M
112 œ
Œ
∑
∑
Fl. 2
&
# ˙
j
œ ˙ # œ
∑
Hb. 1
Hb. 2
Clar. 1
&
&
&
œ
Œ
∑
∑
b-
Œ Œ œ
Œ Œ
œ
∑
P
P
∑ ?
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
Clar. b.
Bas. 1
?
?
w
P
˙ .
# œ
œ
b œ
Bas. 2
?
b œ
œ
Cor 1
Cor 2
&
?
n w
P
˙ b +
b œ
˙ .
j
‰ Œ
b œ +
œ
∑
Trp. 1
Trp. 2
Trb. 1
&
&
?
œ
P
P
œ
˙
b œ
œ
# œ
b œ
n œ
J
‰ Œ
∑
∑
∑
Trb. 2
Trb. b
Vln I 1, I 2
?
w
P
?
B w
P
&
œ
b
˙ .
˙ .
œ .
j
œ
‰ Œ
‰ Œ Œ
œ
Vln I 3, I 4
&
∑
Œ
b œ
Vln I 5, I 6, I 7
&
µ œ
n œ
Vln II 1, II 2
&
œ
b œ
Vln II 3, II 4
&
B œ
b œ
Vln II 5, II 6
&
B œ
b œ
œ
Altos
B
B œ
b œ
œ
Vlc.
Cb. 1, 2
?
t
b b œ
b œ
Cb. 3
t
b œ

27
Hb. 1
115
&
4
Hb. 2
&
4
Bas. 1
?
œ
4
Bas. 2
?
œ
4
Cor 1
Trp. 1
Trp. 2
Trb. 1
Trb. 2
&
&
&
?
?
œ
P
∑
∑
∑
∑
Œ
Œ
Œ
Œ
œ
b
P
b œ+
# œ
P
‰ b J œ
b œ
œ
œ
Œ
4
4
4
4
4
Vln I
Vln. I 2
Vln I 3
Vln. I 4
Vln I 5
Vln. I 6
Vln. I 7
Vln II 1
Vln. II 2
Vln II 3
Vln II 4
Vln II 5
Vln II 6
Alto 1, 2
&
&
&
&
b
&
&
&
&
&
&
&
&
&
B
b
Occasionally (not less than after fifth bar) make a port gliss:
1. Start with octave portamento gliss. (from whatever note you are)
2. Stop initial note octave higher with artificial forth harmonic. So the destination note sounds three octave higher.
3. Hold note for two beats, continue with the gliss written.
port.
j
J
J
J
port.
j
port.
j
b œ
b œ
b œ
œ
œ
J
J
J
port.
j
J
j
b
j
J
œ
port.
j
j
j
j
j
j
j
j
j
œ
œ
port.
j
b œ
b œ
port.
j
port.
port.
To altos: occasionally (not less than after fifth bar) make a port gliss:
1. Start with octave portamento gliss. (from whatever note you are)
2. Stop initial note octave higher with artificial forth harmonic.
So the destination note sounds three octave higher.
3. Hold note for two beats, continue with the gliss written.
b œ
j
j
j
port.
port.
J
j
J
j
J
œ
œ
œ
œ
J
j
b œ
J
J
J
J
J
port.
port.
j
J
j
port.
œ
j
j
b œ
j
J
J
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Alt. 3, 4, 5
B
b œ
J
J
port.
j
4
Vlc.
?
bœ
œ
4
Cb. 1, 2
t
œ
b œ
4
Cb. 3
t
œ
4

28
Hb. 1
118
&
4 œ
∑
∑
Hb. 2
&
4
œ
∑
∑
Clar. b.
Bas. 1
?
?
4
4
œ
∑
∑
∑
Bas. 2
?
4
œ
Trp. 1
&
4
œ
b œ
Trp. 2
&
4
œ œ
Trb. 1
?
4
∑
∑
Œ Œ ‰ # J œ
P
Trb. 2
Vln I 1, I 2
?
&
4
4
∑
b œ
∑
Œ Œ ‰ # œ J
P
Vln I 3, I 4
&
4
œ
Vln I 5, I 6, I 7
&
4
b œ
Vln II 1, II 2
&
4
œ
Vln II 3, II 4
&
4
b œ
Vln II 5, II 6
&
4
œ
œ
Altos
B
4
œ
œ
Vlc.
?
4
j
j
Occasionally (not less than after fifth bar) make a port gliss:
1. Make a portamento gliss. to highest possible note (from whatever note you are)
2. Stop with artificial forth harmonic.
3. Hold note for two beats, continue with the gliss written.
b bœ
Cb. 1
t
4
J
port.
j
To contrabasses:
Occasionally (not less than after fifth bar) make a port gliss:
1. Make a portamento gliss. to highest possible note (from whatever note you are)
2. Stop with artificial forth harmonic.
3. Hold note for two beats, continue with the gliss written.
J
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
œ
Cb. 2
t
4
b œ
J
port.
j
J
Cb. 3
t
4
J
port.
j
J
J
J
œ

29
Clar. b.
121
?
∑
4
N
∑
∑
Bas. 1
?
b œ
Œ
4
Œ œ
Bas. 2
?
b œ
Œ
4
Œ
# œ
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
Trp. 1
&
4
Trp. 2
&
4
Trb. 1
?
4
J
œ
J
∑
Trb. 2
?
4
J
œ
J
∑
Vln I 1, I 2
&
4
œ
Vln I 3, I 4
&
b œ
4
œ
Vln I 5, I 6, I 7
&
œ
4
œ
Vln II 1, II 2
&
œ
4
b œ
Vln II 3, II 4
&
œ
4
œ
Vln II 5, II 6
&
4
b œ
œ
Altos
B
4
b œ
œ
Vlc.
?
4
œ
Cb. 1, 2
t
4
œ
Cb. 3
t
œ
4
œ

30
Bas. 1
124
?
4
œ Œ
Œ œ
Bas. 2
?
4
œ Œ
Œ
# œ
Trp. 1
&
œ
Œ
Œ
4
∑
∑
∑
Trp. 2
&
œ
Œ
Œ
4
∑
∑
∑
Trb. 2
?
Œ Œ ‰ J œ
4
J
b J œ
œ
b œ
Œ Œ
Vln I 1, I 2
&
b œ
4
œ
Vln I 3, I 4
&
4
b œ
Vln I 5, I 6, I 7
&
4
b œ
œ
Vln II 1, II 2
&
œ
4
b œ
œ
Vln II 3, II 4
&
4
b œ
œ
Vln II 5, II 6
&
4
b œ
j
œ
‰ Œ
Altos
B
4
b œ
œ
Vlc.
?
4
b bœ
Div.
œ
œ
Cb. 1, 2
t
4
b œ
œ
Cb. 3
t
4
b œ

31
Bas. 1
128
?
œ Œ b œ
*Dopo da capo diminuendo al niente
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6
da capo*
œ
Bas. 2
?
œ Œ # œ
œ
Trb. 1
?
‰
œ œ
J
∑
∑
∑
Trb. 2
?
# œ
œ .
J
w
.
œ
b œ .
Vln I 1, I 2
&
b œ
œ
œ
Vln I 3, I 4
&
œ
b œ
œ
Vln I 5, I 6, I 7
&
b œ
œ
Vln II 3, II 4
&
b œ
œ
Altos
B
b œ
œ
œ
Vlc.
?
œ
b œ
œ
Cb. 1, 2
t
b œ
œ œ
Cb. 3
t
œ
b œ
œ