Concerto for Organ and Chamber Orchestra
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1 University o Iowa Iowa Research Online Theses and Dissertations Fall 201 Concerto or Organ and Chamber Orchestra Stas Omelchenko University o Iowa Coyright 201 Stas Omelchenko This dissertation is available at Iowa Research Online: htt://ir.uiowa.edu/etd/02 Recommended Citation Omelchenko, Stas. "Concerto or Organ and Chamber Orchestra." PhD (Doctor o Philosohy) thesis, University o Iowa, 201. htt://ir.uiowa.edu/etd/02. Follow this and additional works at: htt://ir.uiowa.edu/etd Part o the Music Commons
2 CONCERTO FOR ORGAN AND CHAMBER ORCHESTRA by Stas Omelchenko A thesis submitted in artial ulillment o the requirements or the Doctor o Philosohy degree in Music in the Graduate College o The University o Iowa December 201 Thesis Suervisor: Associate Proessor Lawrence Fritts
3 Coyright by STAS OMELCHENKO 201 All Rights Reserved
4 Graduate College The University o Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL PH.D. THESIS This is to certiy that the Ph.D. thesis o Stas Omelchenko has been aroved by the Examining Committee or the thesis requirement or the Doctor o Philosohy degree in Music at the December 201 graduation. Thesis Committee: Lawrence Fritts, Thesis Suervisor David Gomer William LaRue Jones Jennier Iverson Gregory Hand
5 To Kira ii
6 ACKNOWLEGMENTS I would like to extend my deeest gratitude to the ollowing individuals without whom this work would not have been ossible. First and oremost, I would like to thank the members o my dissertation committee Pro. Lawrence Fritts, Dr. David Gomer, Dr. Jennier Iverson, Dr. Gregory Hand, and Dr. William LaRue Jones or their guidance and suort with this dissertation. This roject aside, their ongoing encouragement and suort over the years has been the bedrock o my develoment as a comoser, erormer, educator, and an overall musician. I would also like to thank the College o Arts and Letters o The University o Tama or granting me an unrestricted access the Dobson Ous 89 organ located at the Sykes Chael and Center or Faith and Values. I have sent countless hours at the console o this magniicent instrument, studying its ranks and ossibilities. This comosition is written seciically or this organ. Finally, my heartelt gratitude goes to my wie, Kira Omelchenko, and my amily or their continuous suort throughout this long and laborious roject. Thank you or reminding me why I comose music. iii
7 TABLE OF CONTENTS PROGRAM NOTES SOLOIST NOTES CONDUCTOR NOTES INSTRUMENTATION LIST OF SYMBOLS v vii viii ix x CONCERTO FOR ORGAN AND CHAMBER ORCHESTRA 1 Part 1 1 Part 2 74 Part 10 Part Part 201 iv
8 PROGRAM NOTES The ollowing comosition rooses a way in which to incororate the organ into a contemorary instrumental setting. Considering the instrument s wide use in concert halls today and its relative oularity with contemorary music, it is a mystery why much o the timbre-based music has evaded incororating it into contemorary settings; or one reason or another, there are currently no timbre-based works comosed or organ and a chamber ensemble. By using the well-established rocess o sectral analysis, this comosition demonstrates one ossible way o doing so by investigating timbre similarities and dierences between selected ranks o the organ and selected orchestral instruments and maing them into itch structures. The ollowing is a brie descrition o the rocess o itch generation or the comosition as well as a descrition o the comosition s orm, temi, and the soloist-orchestra relationshi. The rocess o generating itch structures or this comosition was based on a sectral analysis o ive organ and ive instrumental samles. In order to establish a closer connection between both tyes o samles, both organ and instrumental samles consisted o similar timbres. Corresonding to ive chords o a simle harmonic rogression I-vi-ii6/-V-I, each organ and instrumental samle was layed and recorded into ProTools sotware. By using Sear sectral analysis sotware, these samles were then analyzed or their overtone content, roducing two sets o ive samles (one organ and one instrumental set). Following the analysis, each air o these organ-instrument samles was comared or similar and dierent overtones. Using maing rocedures, similar itches resulting rom similar overtones o samles were combined together to create one tye o sonority, while itches resulting rom dierent overtones, another tye o sonority. As a result, ten sonorities were roduced: ive sonorities consisting o similar overtones o samles and ive sonorities consisting o dierent overtones. v
9 Following the rocess described above, the ive sonorities consisting o similar overtones became the main harmonic material and center o each o the ive arts o the comosition, while chords consisting o dierent overtones, secondary and suorting harmonic material. Both o these materials were then develoed via more traditional develoment techniques, borrowed rom both acoustic and electronic music ractice, among which were transosition, inversion and retrograde, crossading, interolation, layering, and shading. To relect the concet outlined above, the orm o this comosition conveniently alls into ive arts, at the heart o which lays one o the main sonorities. Throughout each o the arts, the sonorities are develoed in various ways. Parts 1 and 2 resent two contrasting ways o develoing materials; Part is a Cadenza o sorts, where the organ contemlates the material. Parts 4 and draw on materials resented earlier in the comosition, urther develoing and transorming them. The overall orm o the comosition can be characterized as a alindrome. Following the ractice o Beethoven and Brahms, this comosition also utilizes a master temo ( = 72), which seeds u and slows down as the comosition rogresses. Besides the obvious advantage o racticality in erormance, this master temo gives the comosition temoral coherence and low, and serves as a connecting device between the arts and various thematic materials o the comosition. The soloist-orchestra relationshi in this comosition is ortrayed rimarily via timbre. More seciically, their rotagonist-antagonist relationshi is ortrayed through how well (or not) the timbres o both agents blend together: in assages where both organ and orchestra emloy similar timbres, their relationshi is ositive; in assages where they emloy dierent timbres, their relationshi is negative. In order to create this blend, a very seciic organ registration was chosen or all assages o the comosition. vi
10 SOLOIST NOTES For reasons outlined in the Program Notes, the registration o this comosition has been re-determined by the comoser. Undoubtedly, the soloist may substitute esecially when erormed on other instruments registration i deemed necessary, though it is reerred that the new registration be ket as close to the original as ossible. Many assages o this comosition require a very aggressive, ercussive, toccatalike organ-laying, which entail a lot o accented staccato laying. It is requested that the soloist exercise extra care when erorming those, so as not to become sluggish. I necessary, certain substitutions in registration may be done, to make the instrument roject better. Part o this comosition eatures an extended technique or the organ, which simulates the eect o a sorzando. The art that executes this eect is notated on singleline staves above or below the assages which it enhances, and has a seciic duration associated with it; some durations are longer, some are shorter. In order to execute the eect correctly, the soloist is to ull out and then back in the required sto according to the duration o the note. Thus, staccato sixteenth notes should sound much shorter than longer, tenuto ones. vii
11 CONDUCTOR NOTES This score is notated in C: with the excetion o octave-transosing instruments, all other instruments are notated at concert itch. With the excetion o the last section, this comosition eatures a master temo, which seeds u and slows down as the comosition rogresses. In the event o any temo adjustments, all other temos should be adjusted accordingly so as not to distort the temoral logic o the comosition. Secial attention should be given to arts 1 and, where aster or slower temos may cause the music to rush or slug. Though not oicially labeled as such, Part o the comosition should be treated as a cadenza. Thereore, the soloist should be given as much liberty with and control over the music as ossible. I ossible, this art should be erormed without conductor altogether, the latter only cueing the orchestra when necessary. In order to achieve roer balance between the organ and the orchestra (esecially in loud moments), it is recommended that the numbers o stings in the orchestra be signiicantly larger than the minimum suggested. I not ossible, some adjustment in organ registration may be necessary, to avoid organ overtaking the orchestra. Several o the ercussion instruments in this comosition are intended to be shared by both erormers. In order to decrease movement on stage during the erormance, it is recommended that the shared ercussion instruments be laced in the middle o the stage, while all other, non-shared ercussion instruments on oosite sides o the stage. viii
12 INSTRUMENTATION Flute (doubles Alto Flute and Piccolo) Oboe (doubles English Horn) Clarinet 1 in Bb Clarinet 2 in Bb Bassoon (with low A extension) Horn in F Trumet in C Trombone Percussion 1 (see below) Percussion 2 (see below) Har Grand iano (reerably with lid o) Solo Organ Violin 1 Violin 2 Viola Cello Double Bass (with extensions or low C strings) Percussion 1 Percussion 2 Shared Percussion Vibrahone Marimba Bass Drum Bass Drum Bass Drum Tam-Tam Tam-Tam Tam-Tam Glockensiel Tubular Bells Wood Block (high) Tom-Tom (low) Susended Cymbal Claves * Minimum number o strings: * Duration: 2 minutes ix
13 LIST OF SYMBOLS General Transormation rom one state to another Phrase slur Niente: begin or end as quietly as ossible Staccatissimo Short ermata Long ermata trem. sim. sem. solo SOLO Tremolo Simile Semre The instrument is laying an imortant line and should be brought out The instrument is laying the most imortant line; all other lines accomany that instrument cluster The individual notes o these chords are not imortant as long as they are layed within the given range Winds con sord. English Horn: insert a iece o cloth inside the bell Brass: use tye o mute as instructed + Flute, Clarinet: sla tongue Horn: stoed note Percussion, Har, Piano l.v. Let vibrate x
14 + Piano: damen the string with one hand inside the iano, lay with the other hand on the keys Percussion: dead strokes Har: damen all strings Strings s.. s.t. m.s.. m.s.t. ord. vib. div. ric. unis. gliss. tutti altri Sul onticello Sul tasto Molto sul onticello Molto sul tasto Ordinario Vibrato Divisi Richochet Unison Glissando All lay The rest o the section Sna (Bartok) izzicato Organ Sw Gr Ch P (o) (cl) Swell Great Choir Pedal oen closed xi
15 1 CONCERTO FOR ORGAN AND CHAMBER ORCHESTRA Clarinet 1 in Bb Clarinet 2 in Bb Horn in F Trombone Bass Drum Tam-tam Har Solo Organ Pedals Violin I Violin II Viola Violoncello Contrabass con sord. Slow, misterious, lowing q = 72 con sord. m Ch Part 1 Stas Omelchenko (201) l.v. sem D, C, B, Eb, F, G, Ab Sw. (cl): 8' Voix Celeste, Viola, Tremulant Gr: 8' Princial, Harm, Gamba, 4' Sire Ch. (cl): 8' Unda Maris, 16' Bourdon, sw. to ch. P: 16' Bourdon, 2' Contra Bourdon con sord. non vib. l.v. sem. s.. con sord. non vib. con sord. non vib. s.. s.. con sord. non vib. con sord. non vib. m s..
16 2 A. solo Eng. con sord. m m solo m B. D. m T.-t. Solo Org. Ped. vib. m sim. vib. sim. m vib. m vib. m sim.
17 A. 10 solo Eng. m m m m m C Tt. solo, con sord. (straight) m B. D. m T.-t. H. sem. imitate har izz. sem. Solo Org. 8' Lieblich Gedeckt solo m m m sim. con sord. non vib. vib. sim. m m m vib. sim. m m m
18 4 A. 16 solo Eng. solo m m C Tt. solo m B. D. m T.-t. m H. Gb G Solo Org. + 8' Clarinet solo m m m m m m m norm. vib. norm. vib. m
19 A. Eng solo solo solo m C Tt. m B. D. H. To T.-t. Solo Org. Ped. + 4' Fugara m solo + 16' Princial 8' Octave m norm. vib. m m m m norm. vib. norm. vib.
20 6 A. solo 2 m Eng. Marimba H. Gb Solo Org. Ped. + 4' Recorder, 8' salicional, Gemshorn + 8' Gedeckt, m m m m m m
21 7 A. 27 Eng. m m m C Tt. m H Solo Org. Ped. + 8' Flute 7 m m m norm. vib. m norm. vib. m
22 8 A. 29 solo Eng. m m C Tt. H. m 6 m 6 m Solo Org. + Sw: 8' Bourd., 8' Oboe m + Sw: 8' Dia, Mix III, 2' Piccolo m Ped. + 16' Oen Dia., Mix Iv m m m m
23 9 Eng. 1 m m m C Tt. m m H. Solo Org. Sw Ped. m m m
24 10 A. 2 sem. oco Eng. sem. oco sem. sem. oco sem. oco sem. oco C Tt. sem. oco H. Solo Org. sem. sem. oco Ch 1 layer altri SOLO sem. sem. oco izz. sem. oco Ch senza sord. 1 layer senza sord. Gr sem. 1 layer altri senza sord. sem. oco izz. izz. sem. div. izz. sem. senza sord. div. sem. sem. oco sem. oco
25 11 A. 6 Eng. oco H. sotest mallets ossible sem. Solo Org. (1 layer) (altri) m (1 layer) (altri) (1 layer) izz. (altri) 1 layer arco, senza sord. (altri) (div.)
26 12 A. 9 Eng. C Tt. sem. H. Solo Org. div. arco (1 layer) (altri) Gr m izz. izz. Ch (1 layer) (altri) (div.) arco
27 1 A. 42 m Eng. C Tt. Solo Org. Gr Ch unis. (div.) arco izz. (1 layer) (altri) unis.
28 14 A. 4 Eng. m m C Tt. m m m m Solo Org. Gr m m unis. (1 layer) (altri) 6 6 m
29 1 Eng C Tt. m Solo Org. Ped. m arco m m m
30 16 Eng m m m m C Tt. m m m Ped.
31 17 A Eng. m C Tt. m Ped. arco
32 18 A. 2 Eng C Tt. m m Ped. m
33 19 A. 9 9 Eng C Tt. Ped. arco senza sord. arco senza sord arco, senza sord.
34 20 A Eng C Tt. m
35 21 A Eng C Tt m 9 9
36 22 A Eng C Tt
37 2 A < e = q > Eng. C Tt. To Tub. B. solo Solo Org. m m
38 24 A. 4 Agitated, moving orward q = To Eng. m m C Tt. senza sord. Tub. B. Tubular Bells To H. D, Cb, B, E, F#, G, Ab Solo Org. Ch to Gr Gr m m
39 2 6 Flute C Tt. solo senza sord. gliss. gliss. H. Solo Org. Ped. m m
40 26 68 Oboe solo cant. solo cant. senza sord. C Tt. sim. m H. F Ped. ord. s.. ord. ord. s.. sim. ord. m sim.
41 27 71 C Tt. H. Solo Org. Ped. Marimba sim. m ord. ord. m cant. m cant. m
42 28 74 solo m m solo sim. H. Solo Org. Ped. Gb izz.
43 29 77 solo solo m m C Tt. solo m H Ped. m 1st desk
44 0 80 m H. sim. m Solo Org. + Sw to Gr solo cantabile Ped. solo altri cantabile solo altri cantabile
45 1 8 m sim. m C Tt. sim. To B. D. Bass Drum H. Ped. G, F# (D, Cb, B, E, F#, G, Ab)
46 2 8 m C Tt. B. D. H. sim Ped.
47 86 solo C Tt. solo B. D. H. To 6 6 solo m Ped.
48 solo solo H. Ped. m Marimba
49 90 C Tt. sim. H
50 6 92 C Tt. H
51 7 9 m m C Tt. H Solo Org. Sw (o) m solo
52 8 C Tt. 9 m m con sord. m H m Solo Org. Ch (o) Gr
53 9 97 C Tt. sim. H m Ped.
54 40 99 C Tt. H
55 C Tt. H. Db, Cb, B, Eb, F#, G, Ab gliss.
56 42 6 Playull, light (q = 144) 104 C Tt. m m H. m gliss. sem
57 m m H. Solo Org. Sw m
58 m H. Solo Org. Gr m solo solo sola solo solo izz.
59 C Tt. senza sord. H. Solo Org. l.v. izz. tutti izz. tutti izz. tutti izz. tutti m tutti
60 C Tt. H. m solo
61 m C Tt. con sord. (harmon) H.
62 C Tt. H. 6 6 Solo Org. m Ped. m
63 m C Tt. To B. D. H Solo Org. Ped.
64 sub. m m C Tt. m B. D. Bass Drum H. Solo Org. 6 arco div. m izz. unis. 6 arco div.
65 Exlosive! q = 144 sem. sem. sem. sem. C Tt. B. D. H. Solo Org. Ped. Sw (o): all oundations, reeds, Mix III Gr: all oundations, reeds, Twelth, Fiteenth, Sw to Gr, Cr to Gr Ch (o): all oundations, reeds, Mix II P: all oundations, reeds Gr Gr arco div. arco div.
66 sem. C Tt. B. D. H. gliss. Solo Org. Ped. arco div. izz. unis.
67 12 C Tt. B. D. H. Solo Org. Ped Mixtures arco div. izz. unis. izz. unis.
68 4 127 C Tt. B. D. To /Glock. H. Solo Org. Ped. m arco div. arco div.
69 129 C Tt. Glockensiel Vibrahone ord. ord. H. 6 6 Solo Org. Ped. m - Reeds m arco div.
70 6 11 con sord. C Tt. H. Solo Org. Ped. div.
71 7 1 m C Tt. senza sord. m H. Solo Org. Ped. izz. unis. izz. unis. arco div.
72 8 1 m C Tt. H. Solo Org. Ped. arco div. izz. unis.
73 9 17 C Tt. H. Ped. arco div.
74 60 8 Slowly winding down h = < h = h > solo m C Tt. H. m m
75 solo solo C Tt. sem. sem. H. Ped. m sem.
76 62 14 solo senza sord. solo C Tt. con sord. (harmon) to the end H.
77 6 14 solo solo C Tt. solo H. l.v.
78 solo m solo C Tt. solo con sord. solo
79 6 12 solo solo m solo solo m m C Tt. m con sord. to the end con sord. to the end
80 66 17 oco rit. < h = q > m solo C Tt. m con sord. to the end con sord. to the end
81 Calm, relaxed q = 72 m m C Tt. Solo Org. Sw (cl): 2' Piccolo, 2 2/' Nasard, 1 /' Tierce, Mix. III Ch (cl): 8' Vox Hum., Lieb. Gedecht, Sw to Ch Ch solo izz. arco m izz. m izz. izz. m arco con sord. to the end
82 C Tt. senza sord. H. m m Solo Org. arco m izz. 1 solo altri izz. m
83 C Tt. H. Solo Org. Ch: + 8' Gemshorn arco m arco
84 70 17 con sord. m C Tt. m m H. m Solo Org. Ch: + 16' Bourdon non cresc. ord. s.. ord. non cresc.
85 m m m C Tt. m Solo Org. Ch
86 m m m m m C Tt. m non cresc. Solo Org. Sw Ch non cresc. non cresc. non cresc.
87 solo m Solo Org. arco izz. sul ont. m izz. 192 solo < e = q > Solo Org. arco arco m
88 74 12 Fast, with great roulsion q = Part 2 C Tt. Solo Org. Sw: 8' Trumet, 2' Piccolo, Mixture III Gr: 16' Princial, 8' Princial, Ch to Gr Ch: 16' Bourdon, 8' Gemshorn, 8' Unda Maris, 8' Salicional 8' Lieblich Gedeckt, 4' Recorder P: 2' Cont. Bourdon, 16' Posaune, 16' rincial, 16' Oen Diaason, 16' Bourdon, 8' Octave Ch (cl) Ped.
89 7 202 C Tt. H. Solo Org. Ped. D, C, Bb, E, F, G, A izz. arco izz. arco izz. arco
90 76 20 C Tt. H. Solo Org. Ped. (oen) izz. arco izz. izz.
91 sub. 1 C Tt. H. Solo Org. Ped. B + 4' Suer Octave arco izz. Gr izz. arco arco izz. arco arco
92 C Tt. H. Solo Org. Ped. 211 izz. arco izz. 78
93 C Tt. H. Solo Org. Ped. D arco
94 C Tt. m m m m m m m H. Db Solo Org. Ped. Gr: +4' Octave, 2' Fiteenth + Mivture IV izz. m m m m m m m
95 81 C Tt. 220 m m m m m m m m m m m H. Solo Org. Ped. m arco m m m m m m m m m m izz.
96 C Tt. H. Solo Org. Ped. Ch (o) D izz.
97 8 C Tt. H. Solo Org. Ped. 226 izz. izz. arco arco izz. arco
98 84 C Tt. H. Solo Org. Ped. m m 229 arco 16 m To W.B. D#, E Gr until ' Sub Bass arco Gr: + 2 2/ Twelth, 1 / Seventeenth solo m m m m
99 8 22 m m m m m C Tt. H. Solo Org. Ped. m div.
100 86 2 C Tt. Solo Org. m Ped. div. div. div.
101 87 28 m 17 m m m m C Tt. H. Solo Org. Ped. m Gr: + Mixture IV, Sw to Gr Sw (o) m m Wood Block Gb + 16 Trombone izz. izz. arco arco izz. unis div.
102 C Tt. W.B. H. Solo Org. Ped. izz. izz. arco izz. arco unis. div.
103 89 C Tt. W.B. H. Solo Org. Ped m m m m m m To G m div. m izz. arco izz. izz. arco m izz. soli arco m m arco izz. arco m
104 m m m m m C Tt. H. arco izz. arco m m izz m arco izz. arco izz. izz. arco arco izz. izz. arco arco m
105 m m C Tt. W.B. H. Ped. Vibrahone m m Bb izz. m + 8' Flute arco izz. arco izz. arco arco m
106 92 2 C Tt. H. Ped. izz. izz. izz. arco arco arco izz. izz. izz. izz. arco arco
107 C Tt. H. Ped. + 8' Gedeckt B arco izz. arco izz.
108 94 27 C Tt. To Cym. H. Ped. arco arco izz. izz. izz. arco arco izz.
109 C Tt. Cym. H. Solo Org. Ped. Cymbals Vibrahone To Eb, D Sw: + 16' Bourdon, 8' Diaason, 4' Octave Solo + 8' Trumet m m arco m m izz. arco
110 C Tt. H. Solo Org. Gb Sw: + 4' Clarion, 2 2/ Nasard Ped. arco izz. m m izz. arco m m m m m m arco
111 m C Tt. m H. Solo Org. Ped. Claves To Clv. To B. D. Bass Drum sub. Sw izz. m m m m m m m m m izz. arco
112 m m m m m m m m m m C Tt. Clv. H. Solo Org. Ped. m m m m
113 99 C Tt. Clv. B. D. H. Solo Org. Ped. 2 solo ' Clarion m m m m m m sem. Sw: +8 Borudon, 8' Viola To m m m m izz. m izz. Marimba Bb Gr sem. To B. D. G#
114 C Tt. H. Solo Org. Ped. div. arco div.
115 C Tt. H. Solo Org. Ped. Db unis.
116 C Tt. B. D. H. Bass Drum C#, D Solo Org. Ped. + 2' Contra Trombone
117 10 C Tt. 28 sub. B. D. H. E Solo Org. Ped. arco arco
118 C Tt. B. D. H. Solo Org. Ped. sem. sem. sem. sem. Sw: + 8' Oboe, 8' Voix Celeste arco
119 10 C Tt. 289 B. D. H. Solo Org. Ped. D# G, Ab
120 106 C Tt. B. D. H. Solo Org. Ped. 292 A
121 < h = h > C Tt. B. D. H. Ped. B D Eb E
122 Sudden dro in tension, gradually build it back h = 72 m C Tt. m B. D. solo To Solo Org. Ch (o) cresc. s.. s.. s.. m s.. m m
123 m m m m C Tt. Solo Org. m izz. izz. m
124 m C Tt. Solo Org. m m m cresc. m Ch: + 8' Clarinet, 8' Vox Humana, 8' Trumet, 2' Flageolet m izz. m m izz. arco izz. arco
125 C Tt. m m m Solo Org. arco arco izz.
126 C Tt. B. D. Vibrahone m Solo Org. izz. solo
127 To Picc. Solo Org. Ch: + Mixture II, Sw to Ch m cresc. arco m arco m arco m
128 114 Picc. Piccolo 12 m C Tt. Solo Org. m m m m m
129 11 Picc. 14 m C Tt. Solo Org. m m
130 116 Picc. 1 < q = q > m C Tt. Solo Org. m m
131 117 Picc. Very agressive q = To Picc. H. D#, C#, B, E, F#, G, A Solo Org. Sw: 16' Bassoon, 8' Dia., Bourd., Viola, Voix Cel., Trumet,, 4' Clarion, Octave, 2 2/ Nasard, 2' Picc., Mixture III Gr: 16' Princial, 8' Princial, 4' Octave, 2' Fiteenth, 2 2/' Twelth, 1 /' Seventeenth, Mixture IV, Sw to Gr, Ch to Gr Ch: 16 Bourd., 8' Salicional, Gemshorn, Unda Maris, Lieb. Gedeckt, Trumet, Clarinet, Vox Hum., 4' Recorder, 2' Flageolet P: 2' Cont. Bourd., Cont. Tromb., 16' Oen Dia., Princial, Subbass, Bourd., Tromb., Poseune, 8' Octave, 8' Flute, Gedeckt, Trumet, 4' Su. Octave, Clarion, Mixture IV Gr Ped. m m m div.
132 m m senza sord. m C Tt. senza sord. m senza sord. m H. Bb Solo Org. Ped. m m m
133 119 Picc. 21 Piccolo m m C Tt. H. Solo Org. Ped. m m m D m m m m gliss. gliss.
134 H. B Solo Org. Ped. m m m div.
135 121 2 m m m C Tt. m H. m Solo Org. Ped. m m m
136 122 Picc. 27 < h = h > m C Tt. H. Solo Org. Eb m m m m m m m m
137 12 Picc Dro, and gradually build tension h = 72 To Flute Solo Org. Sw (cl) Sw: 16' Bassoon, 8' Voix Celeste, 8' Viola, 8' Bourdon, 8' Harm. Flute, 8' Diaason, 8' Oboe 8' Trumet, 4' Octave, 4' Clarion solo m sul E gliss. gliss. m sul A gliss.
138 124 1 C Tt. m m H. Solo Org. m gliss. gliss. sul C gliss. gliss. sul G gliss. gliss.
139 12 C Tt. H. Solo Org. m m C, E m m m (oen) sul D sul C gliss. gliss. gliss. sul D gliss. gliss. gliss. gliss.
140 126 To Picc. C Tt. H. C# Solo Org. sul A gliss. sul E gliss. gliss. gliss. gliss. gliss. gliss. unis. gliss.
141 127 7 Piccolo C Tt. m H. m m m Solo Org. Sw: + 2' Piccolo, 2 2/ Nasard, Mixture III m sul E gliss. gliss. gliss. gliss. gliss.
142 128 Picc. 9 C Tt. H. Solo Org. gliss. gliss.
143 129 Picc C Tt. H. Solo Org. Ped. C, B, F Ch (cl) m m Ch: 16' Bourdon, 8' Salicional, 8' Gemshorn, 8' Unda Maris, 8' Lieb. Gedeckt, 8' Trumet, 8' Clarinet, 8' Vox Humana sul E izz. m izz. m gliss.
144 10 Picc. 4 C Tt. H. Solo Org. (oen) izz. izz. izz. m izz. m arco sul C m sul A gliss. gliss. gliss. gliss. gliss.
145 11 Picc. C Tt. H. Solo Org. 4 m arco sul G gliss. gliss. gliss. gliss. arco sul C izz. gliss. izz. gliss.
146 12 Picc. 47 C Tt. H. Solo Org. m C#, F# Ch: +4' Recorder, 4' Fugara, 2' Flageolet, Mixture III gliss. arco sul D arco sul D gliss. gliss. arco sul G gliss. gliss. gliss. gliss. gliss.
147 1 Picc. 49 C Tt. H. Solo Org. arco sul E gliss. arco sul A gliss. gliss. gliss. gliss. gliss. gliss.
148 14 Picc. 1 C Tt. H. Solo Org. Gr: 8' Gamba, 8' Harm. Flute, 8' Chim. Flute, 8' Trumet, 8' Princial, Ch to Gr Gr gliss. gliss. gliss. gliss.
149 1 Picc. C Tt. H. Solo Org. B Gr: + 4' Sire Flute, 4' Clarion, 4' Octave, 2 2/ Twelth, 2' Fiteenth, 1 / Seventeenth, Mixture IV
150 16 Picc. 1 H. Solo Org.
151 17 Picc. 9 H. Solo Org.
152 18 Picc < q = q > Suddnely moving, agressive q = 144 H. Solo Org. (Gr) Same registration as 27 Ped. m m
153 19 C Tt. 6 m m m m H. Solo Org. Ped. m m m m m
154 140 Picc. 67 m m C Tt. m H. m Solo Org. m m
155 C Tt. H. Solo Org. Ped. m m
156 142 C Tt. 71 m m m senza sord. m senza sord. senza sord. H. Solo Org. Ped. m m G# m
157 14 Picc. 7 To < h = h > m C Tt. m m H. C Solo Org. m m
158 144 Picc. 4 7 Same temo, relax tension h = 72 Flute sem. 7 sem. 7 C Tt. H. Ab, G sem. izz. arco arco, ric. izz. izz. arco s.. izz. arco s.. s.t. sem. izz. arco ric. 7 s.. ord. m
159 C Tt. H. C# izz. arco, ric. arco izz. ric. arco izz. ric. 7 ric. s.t.
160 H. izz. arco, ric. ric. arco, ric. izz. arco izz. izz. arco arco ord. m.s..
161 H. izz. arco, ric. izz. arco ric. izz. izz. izz. arco ord.
162 m m m arco, s.. izz. arco izz. arco s.. ric. s.t. s.t.
163 rit. < w = h > 7 7 C Tt. H. izz. arco ric. arco izz. ric. izz. izz. izz. arco s.t.
164 10 Part A. Very slow, no sense o ulse h = 6 9 Alto Flute Org.. Ped. ORGAN SOLO legatissimo P: 16' Trombone 2' Contra Trombone 2' Contra Bourdon, 16' Subbass, 16' Princial + 8' Flute arco s.. izz. izz. A. 96 (trem.) m Org.. Ped. 16' Trombone + 16' Bourdon, 8' Gedeckt izz. arco 16' Trombone 16' Posaune Sw. (cl): 4' Octave div. arco s.. m izz.
165 11 A. 99 Org.. Ped. arco izz. A m m Ped. 2' Cont. Bourd., 16' Sub Bass + 16' Princial arco izz. s.. arco arco s.. m s..
166 12 7 Suddenly aster, moving orward h = 72 A. 40 < q = h > m m m con sord. C Tt. con sord. con sord. Org.. Ped. P: 8' Trumet 16' Posaune Sw (cl): 8' Oboe, 8' Trumet, 8' Diaason 4' Octave, 4' Clarion, Mixt. III m + 16' Posaune m Gr: 8' Princial, 8' Sire Flute solo arco izz. m izz. s.. m m.s.. izz.
167 1 409 < w = h > m C Tt. m m Org. P: 2' Cont. Tromb. Ped. - 16' Trombone + 8' Octave arco izz. div. ord. izz. unis. m arco s.. arco m.s..
168 14 A. Suddenly slower, but stil moving h = Org. (Sw. oen) 16' Tromb. P: 2' Cont. Tromb. Ped. + 16' Trombone - 16' Trombone heavy m arco izz. izz. izz. con sord. A div. m
169 1 A C Tt. Org. Ch (cl): 8' Clarinet arco s.. izz. arco con sord.
170 16 A. 422 solo C Tt. Org. Gr: 8' Harmonic Flute arco izz. arco div.
171 17 A. 41 Flowing (do not rush) h = < q = h > To Picc. C Tt. H. D, Cb, Bb, Eb, F, G, A damen hard Org. Gr: 16' Princoal, 8' Princial, 8' Gamba, 8' Harm. Flute, 8' Chimney Flute, 4' Octave, 4' Sire Flute arco con sord. div. sub. sub.
172 m m m m m C Tt. m m H. m Org. m arco con sord. div. m m
173 19 Picc. 429 Piccolo oco accel. m C Tt. H. m m C, B m m Org. m m arco con sord. div. m
174 160 Picc. 41 To A. < w = h > C Tt. H. Org.
175 161 T.-t Initial temo, absolutely no sense o ulse h = 6 Tam-tam bow the rim with Double Bass bow sem. Org. Ped. All reeds available, couled 1 layer retune lowest string to A A Alto Flute T.-t. Org. Ch (cl): 8' Vox Humana 4' Recorder 2 Flageolet - Vox Humana arco izz. izz. Ch: 8' Gemshorn arco m s..
176 162 A T.-t. Gr: 2' Fiteenth 1 /' Seventeenth Ch to Gr (Ch: 2' Rec., 2' Flag.) Org. arco m izz. div. arco s..
177 16 A. 448 m Org. - Ch: 4' Recorder izz. arco izz. m arco A. 4 To G.P. G.P. < e = q > G.P. G.P. Org. - 1 /' Seven. G.P. G.P. solo arco G.P. G.P.
178 164 Part Suddenly ast and agressive q = 144 C Tt. gliss. T.-t. H. D, C#, Bb, Eb, F, G, Ab Org. 2 Same registration as Gr: - Sw to Gr Gr orearm chromatic cluster (use both arms) Ped. (cluster) sul C div. gliss. unis. gliss. sul C (E) gliss. gliss.
179 C Tt. T.-t. H. gliss. Org. Ped. arco
180 C Tt. T.-t. H. Org. Ped.
181 T.-t. bow with DB bow H. Org.. P: 16' Trombone Ped. same reg. as solo heavy ' Posaune, Ch to P -16' os., ch to P + Gr to P div. div. solo s.. solo s solo s.. 7
182 m 7 7 m 7 m 7 C Tt. T.-t. 7 H. m Org.. Ped.
183 C Tt. T.-t.
184 To Picc. C Tt. T.-t. To H. A Org. Ped. Gr: - Ch to Gr SOLO Gr agressive tutti div. tutti div.
185 Piccolo C Tt. H. Org. Ped. + Sw to Gr B, C
186 172 Picc C Tt. T.-t. H. Vibrahone Org. Ped.
187 H. E Org. Ped. gliss. gliss.
188 174 Picc H. Org. Ped. Gb G gliss. gliss. gliss. gliss. + Ch to Gr gliss. div. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
189 17 Picc H. Org. Ped. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
190 Picc. C Tt. H. Ped. 492 gliss. gliss. gliss. gliss. gliss. gliss. gliss. 176
191 177 Picc C Tt. To B. D. Bass Drum on the side, with two beaters H. Org. C#, F# To Tom-t. Tom-tom with two beaters Same reg. as 2 + Gr: 8' Hor. Trumet, 16' Pos., Pricial Fast bowings, do not coordinate!
192 178 Picc. 499 C Tt. B. D. Tom-t. H. Org.
193 179 Picc. 0 C Tt. B. D. To Tom-t. H. Org. To
194 C Tt. m senza sord. m senza sord. m senza sord. m H. Vibrahone Marimba G#, A D# Org. Ped. Same reg. as 28 m m m m arco
195 181 Picc. 10 C Tt. H. Org. Ped. D G
196 C Tt. H. D# m m Org. Ped. m
197 18 14 m m m C Tt. m m m m H. m m m m G# Org. Ped. m m m
198 184 Picc. 16 C Tt. H. To T.-t. C# Tam-tam Org. Ped.
199 18 Picc. Gradually relax (q = 144) 18 C Tt. T.-t. Org. Same as 0 but subtract reg. instead o adding div. div.
200 186 Picc. 20 C Tt. T.-t. H. gliss. sem. D, C, B#, E, F#, G#, A Org. sem. izz. div. izz. unis.
201 C Tt. T.-t. H. Org. m arco div. izz. unis. izz. unis. div.
202 188 2 C Tt. T.-t. To H. Org. sem. arco div. arco div.
203 189 Picc. 2 C Tt. Vibrahone ord. H. Org. sim. arco div.
204 190 Picc. 27 To C Tt. H. Org. sim. sim.
205 Flute m senza sord. C Tt. senza sord. H. Org. izz. unis. izz. unis. arco div. sim.
206 192 1 m m m C Tt. H. sem. Org. arco div. izz. unis.
207 19 m m m m m C Tt. m m H. Org. arco div.
208 194 < h = h > Relax even more h = 72 m m 4 solo m m C Tt. m H. Org. sim.
209 19 7 solo solo C Tt. H. sem. Org. sim. m m
210 196 9 solo senza sord. solo C Tt. non cresc. H. Org. m m
211 solo solo C Tt. solo H. l.v. Org. m m m m
212 solo C Tt. solo con sord. (harmon) to the end solo con sord. solo Org. m m m m
213 solo solo m solo solo m m C Tt. m con sord. to the end m con sord. to the end m m con sord. to the end m m
214 200 rall. < h = q > m solo C Tt. To Tub. B. m m con sord. to the end m m con sord. to the end m
215 201 Very steady, do not rush q = 72 8 Part m m m m m C Tt. con sord. m m Tub. B. Org. Tubular Bells Ch (cl): 8' Vox Humana 8' Lieblich Gedeckt solo izz. m m izz. m izz. m m izz. m + 8' Gemshorn + 16' Bourdon arco arco m
216 m solo m C Tt. m m m senza sord. Tub. B. H. Org. m m m m m To T.-t. + 8' Unda Maris arco m m izz. tutti izz. m m
217 20 66 m solo m m m C Tt. m m H. Org. - Bourdon m arco m m arco m m
218 m < q = q > m (con sord.) C Tt. solo m con sord. m H. m Org. - Vox Humana non cresc. m m m non cresc. ord. s.. ord.
219 A bit slower, colo residue q = 66 m m m m m m C Tt. m Org. Sw (cl): 8' Voix Celeste, 8' Bourdon 4' Harm., Tremulant solo cantabilissimo m m m m
220 m m non cresc. m m C Tt. m non cresc. Tub. B. Tam-tam but gently l.v. H. Org. F, G - Bourdon m l.v. quasi echo m non cresc. m non cresc. m m m
221 non cresc. non cresc. H. m m non cresc. 89 To Glock. Glockensiel solo H. solo Tutti 96 G.P. G.P. G.P. G.P. G.P.
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