Rapsodia Camaleónica: A Concerto for Piano, Trumpet and Chamber Orchestra. Mauricio Arias-Esguerra

Transcription

1 Rasodia Camaleónica: A Concerto or Piano, Truet and Chamber Orchestra by Mauricio AriasEsguerra A Research Paer Presented in Partial Fulillment o the Requirements or the Degree Doctor o Musical Arts Aroved March 0 by the Graduate Suervisory Committee: Baruch Meir, Chair ames DeMars Robert Hamilton Caio Pagano Rodney Rogers ARIZONA STATE UNIVERSITY May 0!

2 ABSTRACT This DMA roject (in iano erormance) consists o a concerto coosed or truet and iano duo with orchestra and an analytical document that accoanies it The text ortion o this aer discusses the dierent coositional asects o Rasodia Camaleónica, including instrumentation, orm, inluences and the erormers ersective The work is scored or a medium orchestra: lutes (lute double iccolo), oboes, clarinets, bassoons, horn, trombone, bass trombone, ercussionists (tiani, snare drum, crash cymbals, susended cymbal, castanets, güiro or carrasca, shekere, whi, xylohone, triangle, andeiro, tamtam, wood blocks, congas, glockensiel, tomtoms, bass drum) and strings It is written in one multisectional movement with a duration o aroximately twentythree minutes The ull score is attached as an aendix The inluences in Rasodia Camaleónica range rom the western classical tradition to world music to urban dance music, all o which use together in a work that blends this eclectic mix into a uniied whole This coosition is intended as an addition to the iano concerto reertoire rom Latin America, which includes coositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor VillaLobos (both Brazilian) It is the cooser's desire to add a Colombian iece o universal aeal to this list i

3 ACKNOWLEDGMENTS I would like to thank Dr Rodney Rogers or his advice rom the very early stages o coosition o Rasodia Camaleónica and Dr ames DeMars or his hel with the Sibelius sotware and or the ideas I got rom his coosition seminars Secial thanks also to my riends Antonio Villanueva and Randy Lee, who gave me their advice on truetrelated issues, and to all musicians who layed or me at some oint and who showed me the ossibilities o their instruments I would also like to thank Pro Mauro Boniacio or his observations at Accademia Musicale Chigiana I extend my gratitude to the members o my suervisory committee: Dr Baruch Meir (chair), Pro Robert Hamilton, Dr ames DeMars, Dr Caio Pagano and Dr Rodney Rogers, or their suort throughout my doctoral studies Finally, I would like to thank my arents, osé Noé Arias and Martha Esguerra, and my brother, Danilo Arias, or their suort in my choice o this career and or their constant hel and encouragement ii

4 TABLE OF CONTENTS Page LIST OF TABLES iv! LIST OF EXAMPLES v! INTRODUCTION! INSTRUMENTATION! OVERALL STRUCTURE! ANALYSIS! THE PERFORMERS PERSPECTIVE 7! ABOUT THE CHAMBER VERSION 0! BIBLIOGRAPHY! APPENDIX I RAPSODIA CAMALEÓNICA STRUCTURE! II FULL SCORE FOR RAPSODIA CAMALEÓNICA! III CONTACT! iii

5 LIST OF TABLES Table Page Rasodia Camaleónica General Character Outline iv

6 LIST OF EXAMPLES Exale Page A motive resentation on Violin I, m! B motive resentation on Truet, mm 99! A motive on Violin II, mm! A motive on Viola, mm 5 5! 5 Basic rhythmic cell used in bambuco 7! Truet, mm 5, A motive and B motive! 7 Truet near the end o Transormation II, mm 77! Piano, mm 70 Transormation III! 9 Bambuco rhythm on the tail o the ugue subject Bassoon! v

7 Introduction The idea o writing a concerto or iano and orchestra began with my graduate studies in 00 Ater having many duo erormances with my riend, truet layer Antonio Villanueva, to whom the iece is dedicated, I exanded the initial idea into a duo concerto, which in the end became a onemovement duo concertante rhasody The name Rasodia Camaleónica translates Chameleonic Rhasody I initially conceived the iece as a multimovement work, in which each movement would have its own distinct moods and/or atmosheres As the iece grew, I ound too many character changes to be contained within one movement o a multimovement work That is when I decided to shae the orm o the iece into a substantial onemovement coosition and added the adjective Camaleónica to the title The adjective Camaleónica ilies the element o change: like a chameleon, a creature that can change into many colors The length o Rasodia Camaleónica is aroximately twentythree minutes The work incororates many dierent coositional techniques, including hasing, motivic transormation, motivic coression and augmentation, modality, varied scale orms (entatonic, octatonic, chromatic), sequence, LatinAmerican rhythms (esecially bambuco), ugue and harmonic ostinato Musical inluences include Minimalism, Armenian music, Brazilian concert music, Colombian bambuco and Salsa, among others!

8 Rasodia Camaleónica is a new contribution to the list o existing concerti or truet and iano duo, which corises ieces by Dimitri Shostakovich (Concerto No or Truet, Piano and Orchestra, O 5, 9), André olivet (Concertino or Truet, String Orchestra and Piano, 9), Anatoly Zatin (Double concerto or Truet, Piano and String Orchestra, 90), Lalo Schirin (Double Concerto or Piano, Truet and Orchestra, 007) and others The iece was started in 00 and inished in 0 A remiere in chamber version or eighteen layers was given at Arizona State University on Aril, 0, with the cooser at the iano, truet soloist Randolh Lee and conductor Diogo Pereira Instrumentation Rasodia Camaleónica is scored or truet and iano duo and orchestra The truet soloist requires both truet in Elat and Flugelhorn, along with Harmon mute, cu mute, metal straight mute, wooden straight mute and lunger mute The iano soloist requires a wooden lectrum or a guitar ick with which to luck the strings The orchestra includes: lutes (lute double iccolo), oboes, clarinets, bassoons, horn, trombone, bass trombone, ercussionists (tiani, snare drum, clash cymbals, susended cymbal, castanets, güiro!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Anatoly Zatyn, Coositions htt://wwwanatolyzatinino/ age_id=0 (accessed March, 0) Lalo Schirin, Credits htt://wwwschirincom/creditshtm (accessed March, 0)!

9 or carrasca, shekere, whi, xylohone, triangle, andeiro, tamtam, wood blocks, congas, glockensiel, tomtoms, bass drum) and strings Overall Structure Two motives, resented in the oening, constitute the building units o Rasodia Camaleónica Motive A consists o a scalar ascending motive with a ski between the irst two notes The violins laying izzicato resent this motive in m, as shown in Exale Exale A motive resentation on Violin I, m Motive B consists o a dearture and return to the same itch This motive is initially resented by the long notes o the truet in mm 9 to 9, as shown in Exale Exale B motive resentation on Truet, mm 99 Eight transormations o these two motives constitute the material or the whole iece, along with transitions, cadenzas and a coda The tonal centers were reconceived as a series o ascending thirds, excet or the last transormation and ending, where the intervals between the tonal centers coress The main sectional tonal centers, without taking into account the transitions and cadenzas, ollow the order in Table For a more detailed descrition o the structure, see Aendix I!

10 Table Rasodia Camaleónica General Character Outline Section Main Elements/Character Tonal Center Oening/motive resentation hasing background E Transormation I sasmodic G Transormation II and II b energetic, dynamic B Transormation III reeated notes D Transormation IV chromatic F /Gb Transormation V lyrical Bb Transormation VI ugue, rhythmic C Transormation VII harmonic ostinato Eb Restatement o oening (grandioso) Coda E! Analysis The oening igure by the violins and violas laying izzicato gives the iression o hasing, a technique in which two or more layers all out o synchrony by laying the same attern at a slightly dierent time interval This technique is widely associated with minimalist music In this irst section, which I call Presentation o motives, mm, the hasing eect is achieved by eliminating one note rom the A motive in the second violins and by eliminating two notes rom the A motive in the violas, as shown in exales and resectively Exale A motive on Violin II, mm!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! The Harvard Dictionary o Music, th ed, sv hasing!

11 Exale A motive on Viola, mm 5 This hasing texture based on the A motive stays in the background ater the entrance on m 9 o the B motive on the truet, which makes use o wa eect with the Harmon mute During this motive resentation, the rest o the orchestra and the iano, layed on the strings by means o a ingernail glissando, have a harmonic sustaining role The irst transition starts with the bass drum hit on m, ater which the iano solo states the A motive in a entatonic mode on Gshar, with both hands increasingly dislaced by an eighthnote; a basic rhythmic device insired by the music o Hungarian cooser György Ligeti Transormation I, mm 595, starts with the inverted hasing izzicato A motive in the violas, celli and basses, on the same key o entatonic Gshar which was introduced by the iano during the receding measures The character o this sasmodic section is achieved on the iano by a transormation o the B motive into short quick notes and through rhythmic accents on the weak beats (mm 570) Another element in this section is ound in the iano art on the word Fém; a reerence to Ligeti, who used this word in the title o his etude No I the ianist is not amiliar with the Ligeti etudes (and does not seak!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! György Ligeti, Études our iano, deuxième livre (Mainz; New York: Schott, 99) 5!

12 Hungarian), she/he will, with a little research, ind the meaning o the word and evoke the tye o metallic sound asked or The rest o this section is a develoment o the A motive, mm 0, until the return o the sasmodic B motive character on the iano on m, which is in turn suorted by the quasihasing A motive igure on the strings Imitations based on the last three notes o the B motive, mm 95, connect Transormation I to the irst transition, which goes rom mm 9 to5 Here the iano let hand lays a igure insired by bambuco (mm 999 and 005), a traditional Colombian dance in trile meter rom the Andean region This genre o Colombian traditional music is usually layed with stringed instruments, including guitar, tile and bandola The origins o this dance are not coletely clear, but the strongest evidence oints towards a Hisanic origin 5 This dance became oular during the era o indeendence rom Sain, in the irst art o the nineteenth century Characteristic o bambuco is the rhythm o Exale 5, which may be notated in two dierent ways!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5 Camilo Eduardo Martínez Ossa, Coosición y roducción de bambucos y asillos basado en estilo musical bogotano de la rimera mitad del siglo XX (Bachelor s thesis, Pontiicia Universidad averiana, 009), in Sistema de Bibliotecas averiano, htt://wwwjaverianaeduco/ biblos/tesis/artes/tesisd (accessed March, 0) William Gradante, Colombia, in South America, Mexico, Central America, and the Caribbean, eds Dale A Olsen and Daniel E Sheehy, vol o The Garland Encycloedia o World Music, ed Bruno Netl, Ruth M Stone, ames Porter, and Timothy Rice (New York: Garland Publishing, Inc, 99), 59!

13 or Exale 5 Basic rhythmic cell used in bambuco Measures 99 to 0 are a simultaneous resentation o the A and B motives; the A motive on the ascending double notes o the iano, and the B motive on the truet and xylohone The truet resents an inversion o the A motive, m0, which the strings imitate in the next measure The iano then resonds with the same igure in alternate octaves and exands the igure to two measures, mm 009, to which the orchestra relies The iano now exands the igure to our measures, mm 5, which connects to the next transormation Transormation IIa, mm 79, has an overall energetic and dynamic character This transormation, with tonal center on B, switches between / and 7/ meter or the most art The strings introduce an energetic transormation o the B motive on m, to which a burlesco woodwind counteroint joins in m 0 An alternation o these two elements, starting on m, gradually thins out the texture until the entrance o a lyrical line on the truet and iano (with virtuosic igurations), m 5, which the initial string material o this transormation counteroints rom the next measure The new melodic line on the truet and iano is derived rom both motive A and B, as shown in Exale 7!

14 Exale Truet, mm 5, A motive and B motive Three hrases make u this melody: mm 5, 50 and 55 The soloists lay with the strings during the irst two hrases The woodwinds join in with the burlesco counteroint on the third, ater which the iano kees the momentum by a similar motivic alternation to the one heard on mm to 5 This is ollowed by the A motive on a B minor melodic ascending scale on the iano, mm 7 The time signature then stays in / In the last measures o Transormation IIa, m 779, the truet resents a new element derived rom motive B, which will later become transormation III, as shown in exales 7 and Exale 7 Truet near the end o Transormation II, mm 77 Exale Piano, mm 70 Transormation III The idea or the transition ollowing Transormation IIa, mm0 0, is that o the original ascending scalar A motive resented a minor!

15 third higher in each measure: C Lydian, Elat Lydian, Glat Lydian, A Lydian and back to C Lydian Each coletion o the cycle brings with it increasing rhythmic and instrumental activity A ortissimo wholetone chord on the iano with Fshar on the bass, m 0, unctions as a dominant, which brings the iece to Transormation IIb, mm 05, with its tonal center on B Transormation IIa and IIb share the same thematic material, but with dierent motivic distribution across the instruments, thereore the labels IIa and IIb The energetic B motive transormation is now stated by the truet suorted by the iano, which also lays the A motive in the let hand at mm 009 From the middle o m 09, the orchestral tutti resents the lyrical line rom Transormation IIa, which the iano imitates with ull chords, along with the A motive on the truet The main melodic line kees develoing u to m, where the iano has a astnote alternating run, moving rom the highest to the lowest register, and which is accoanied by a orte interjection o the B motive by the orchestra, mm5 The transition that connects Transormations IIb and III, mm, consists o a dialogue between the two soloists, where the reeated note element that will make an essential art o the next transormation aears (this element had already aeared on m 7, see Exale 7) In this dialogue, a unit o two measures is coressed into one measure, then coressed into hal a measure, which is in turn coressed into 9!

16 two eighthnotes The two soloists inally come together in the last notes, leading to the next transormation Transormation III, mm, with a main tonal center on D and marked Subito meno mosso, starts with the oboe laying an augmented version o the A motive in D Dorian mode Ater this, the iano solo states the main elements o this transormation, consisting o a reeated note igure derived rom motive B (m ) and on an ascending scale derived rom motive A (m 7) The truet and iano alternate the igures until the tutti on m, where they come together From m 9 to 0, the soloists resent a short threevoice imitation o the main element rom Transormation III, arriving at the scalar Lydian A motive on the iano sixteenthnotes on m 0 This motive is then interruted two times by the chromatic Largo igure (mm 050 and mm 090) that reludes Transormation IV Transormation IV, mm, consists o the B motive in a chromatic ashion eaturing the high register o the violins (center on G lat) At the same time, a continuous chromatic scale descends rom F shar5 and arrives almost our octaves lower at A This chromatic line is distributed in units o two measures among the dierent instruments, in the ollowing order: truet, clarinet, cello (two units), bassoon, double bass (two units), iano (lowest voice), iano and double bass (our units) Each unit brings with it a new start o the chromatic line rom Fshar5, resulting in a sonority o descending augmented chords The climax o this 0!

17 transormation aears at m 9, rom where the dynamics recede The solitary A on the double bass at the end o this art, m7, connects with the next transition, mm This long transition starts with a sequence on the strings derived rom motive B, mm 5, and continues with a resentation o the ascending A motive on a wholetone scale rom m 5 The initial idea o hasing, comes back in the quasihasing izzicato, m 57, which accelerates into six seconds o controlled chaos or aleatoricism in m 7 Right ater this little chaos, the strings lay reetitions o a wholetone cluster at the original teo like a machine (come una macchina), mm 777 The transition ends with the izzicato wholetone A motive on the celli This igure connects to Transormation V, where it becomes the accoanimental igure Transormation V (Teo di valzer lento), mm 59, has a lyrical character Its melody, with tonal center on Blat, is a transormation o the B motive in a long hrase introduced by the horn and continued by the muted truet rom m 90 This melody ends on E, the same key o the ollowing iano cadenza misurata or measured cadenza, so named because o its constant eighthnote ulse (mm 09) The idea or the irst art o the cadenza misurata consists o a simultaneous extended resentation o the B motive on the to note o each hand The right hand s high note aears every ive eighthnotes, while the high note in the let hand aears every six eighthnotes This!

18 gives the cadenza a dislacing or quasi hasing eect, which together with the other voices, contributes to the cadenza s relective or hynotic mood The harmony rom m to 5 is the same harmony sustaining the B motive in the oening o the iece The second art o the cadenza consists o the A motive, irst resented in a C Lydianlat7 mode rom m 77, with the two voices dislaced by an eighthnote until they come together in m The closing measures o the cadenza, mm 9, consist o a slightly dierent resentation o the entatonic iano solo heard during the irst transition Transormation VI, mm 959, starts as a ourvoice woodwind ugue This section is introduced by the ercussion, stating the bambucoderived rhythm that accoanies each entrance o the subject The ercussion in this section includes two socalled ethnic instruments, the andeiro (which may be relaced by a tambourine, i not available) and the güiro, which may be relaced by a carrasca (a Colombian variant o the güiro) The ugue subject derives rom the B motive and contains a igure very similar to the one that already aeared in the melody on mm 95 The ugue subject evokes bambuco music, articularly in its tail, as seen in Exale 9 Exale 9 Bambuco rhythm on the tail o the ugue subject Bassoon, m 9!

19 Each entrance o the subject is a ith higher than the receding one, ollowing this order: Cshar (bassoon), Gshar (clarinet), Elat (oboe), Blat (lute) The eisode between the second and third entrance o the subject, mm 5050, consists o the ascending A motive, while the eisode between the third and ourth entrance o the subject, mm 50 50, consists o the tail o the ugue subject The truet resents a ith entrance o the subject on F (a ith higher than the last subject entrance), mm 555, accoanied by ast scale runs on the iano derived rom the A motive Here the woodwinds take on a more accoanimental role The last measures o this section, mm 559, consist o a develoment o the A motive in the iano, while the woodwinds and the truet trade the tail o the subject This section closes on Blat, the key o the next transition, mm 505 This transition consists o the same A motive material reviously heard in mm 00, with the last two measures motivically inverted The ollowing truet cadenza, m 5, starts iù iano ossibile (as sot as ossible) on Blat 5 and makes use o both motive A and motive B with an increasing rhythmic activity This cadenza leads to the last transormation Transormation VII, mm 5559, with center on Elat, consists o eight resentations o a harmonic ostinato, during which dynamics, instrumentation and rhythmic activity gradually increase This transormation goes rom the sile to the colex The irst resentation,!

20 mm555, consists o a iano solo in which the let hand resents the harmonies in sile arallel triads, in a return to silicity, while the right hand resents, in reeated notes, a melody derived rom the B motive The reeated notes on the right hand, reminiscent o a zither or cimbalom, along with the indications Andante libero, meditativo e rubato, give this irst resentation o the harmonic ostinato its relective mood! The second resentation o the ostinato in Transormation VII, mm 5550, consists o a Flugelhorn irovvisato sustained by the chords in the iano har (the truet soloist may also choose to lay his/her own irovisation) The atmoshere or this written irovisation was insired by Armenian traditional music, esecially by the duduk, which is a double or single reed wooden instrument emblematic o this music The strings and the glockensiel join in the third resentation o the ostinato, marked adagio, mm 5555, where the Flugelhorn resents once more the melody heard at the oening o this transormation With the use o a lunger mute, the Flugelhorn soloist lays this exressive melody in waves, while the iano resents a sixteenthnote iguration o the same melody! The rhythmic activity increases in the iano art o the ourth resentation o the ostinato (quarter note = ), mm 5595 The idea or the iano iguration is that o the reeated note element across dierent registers In this resentation o the ostinato, the A motive aears in the woodwinds and truet, also in reeated notes, at the same time as the!

21 long notes o the initial melody derived rom the B motive The last measures o this resentation show an increase in orchestral activity, a eature that will be resent during the ollowing three ostinato resentations! In the ith resentation o the ostinato in Transormation VII, mm 5757 (quarter note = ), the iano lays the A motive in the let hand, while the right hand rhythmic activity increases to ondulando areggios outlining the B motive melody The truet now introduces a circling motive in reeated notes derived rom motive B, which is then distributed among the woodwinds in an imitative ashion! The sixth ostinato resentation, mm 5755 (quarter note = 9), becomes more rhythmic and introduces ercussion instruments gradually The iano right hand resents a new iguration o the initial melody o Transormation VII, while the let hand and izzicato strings resent the A motive in syncoated atterns The reeated note material rom the ormer ostinato resentation now becomes a syncoated igure, introduced by the truet! The seventh ostinato resentation, mm 5590 (quarter note = 00), is the most rhythmic o the eight The congas lay all throughout this resentation in an irovisatory manner, including three beats o salsa tumbao in m 59 Tumbao is the word or the art layed by the conga drums in salsa, a currently very oular urban dance o Cuban and Puerto 5!

22 Rican origin 7 The rhythmic combination o the other ercussion arts, bass drum and shekere (an instrument o West Arican origin consisting on a gourd covered with beads), mm 575, were insired by the ercussion section in the orchestral iece Batuque by Brazilian cooser Oscar Lorenzo Fernandez The syncoated bass drum line enhances the rhythmic eeling o this resentation, along with the iguration on the celli, basses and tenor trombone The iano now has big leas on the let hand, resenting the A motive in mm 555 and 59590, along with a syncoated igure in octaves in the right hand, which outlines the main melody o Transormation VII In this resentation, the truet introduces an even more syncoated version o the melody rom the receding ostinato resentation, imitated and modiied in the last two measures, , creating an eect o hasing echoes! The eighth and last resentation o the harmonic ostinato in Transormation VII is a grandiose restatement o the oening o the transormation, with the strings resenting the melody, while the woodwinds, iano and truet state the A motive The ascending A motive igure in octaves on the iano art alternates with the syncoated igure rom the receding ostinato resentation The iano kees laying this igure into the next section o the rhasody In broad view,!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 Lise Waxer, Salsa, in The New Grove Dictionary o Music and Musicians, nd ed ames Blades and ames Holland, Cabaca, in The New Grove Dictionary o Music and Musicians, nd ed!

23 Transormation VII consists o a very long crescendo that resolves into a grandiose restatement o the oening on m 599 In this restatement o the oening, mm with center on E, the tutti and truet resent the initial B motive, while the clarinets, caana in alto (bells u), resent the scalar ascending A motive, accoanied by the syncoated igure rom Transormation VII on the iano The coda, starting m 0, consists o the same A motive material reviously heard in the transitions in mm 00 and mm 505 Five measures beore the end, the orchestra and soloists state the B motive once more, ortissimo The iece ends with a quick run o the A motive in E Lydianlat7 mode in alternate octaves on the iano The erormers ersective Rasodia Camaleónica was written with a high degree o virtuosity in both the truet and iano arts The iece is intended or advanced erormers Liberties are occasionally given to the erormers: the truet soloist may lay her/his own irovisation on the Flugelhorn, mm 5 550; the ianist lays dynamics at his/her discretion on the iano cadenza, mm 5 The truet soloist must switch instrument between Elat truet and Flugelhorn and viceversa The Elat truet acilitates the execution o assages written in a high tessitura, such as the ending o the cadenza, mm 55, where the line goes u to a high Elat The Flugelhorn adds 7!

24 a dierent tye o timbre and allows or a more comortable execution o assages in the lower register, such as in the second and third resentations o the harmonic ostinato in Transormation VII, mm 5 55, where the melodic line oten goes down to a middle C One secial consideration that the truet soloist must take into account when rearing this iece is the simultaneous use o glissando and wa eect (a gradual oening and closing eect with the let hand on the Harmon mute), as in mm 9 A similar lace to consider is on mm 5555, where the truet soloist lays the Flugelhorn long melodic notes with slow lunger mute waves (a gentle oening and closing with the mute on the Flugelhorn bell) In this section, the erormer is asked to do circular breathing, i ossible, and the lunger mute is to be ready on the let hand rom the beginning o the irovvisato on m 5 There is no other secial technical issue in the truet/flugelhorn art in the rest o the score, aart rom the use o reeated notes, skis and lutter tonguing (mm 09 and 5) Extended techniques in the iano art include a silent chord rearation with the sostenuto edal ollowed by a ingernail glissando on the strings, as in the oening, mm 7 A similar assage occurs on the second ostinato resentation o Transormation VII, mm 5550, where the chords are reared just by the let hand, without the aid o the sostenuto edal Another extended technique occurs on Transormation!

25 IV, mm 90, where the erormer is asked to luck the strings with a wooden lectrum or a guitar ick Other ianistic challenges include double notes, as in mm 000 and alternate octaves, as in mm 05, 5, 5959 and 0 In Transormation IIa, the erormer must be careul to bring out the melodic line with the right hand thumb, which is layed in unison with the truet, mm 557 At the oening o Transormation IIb, the let hand octaves, lus the right hand skis, combine into a virtuosic iguration, mm 009, that adds to the overall energetic character o this transormation Alternating quick notes between both hands aear at dierent oints through the iece, as in m, mm 5 and 50 5 Reeated notes are also a key ianistic element in Rasodia Camaleónica, as they are the generative element o Transormation III and a crucial element in the harmonic ostinato in Transormation VII Here, the reeated notes irst aear in a rubato manner (the number o notes is seciic, though), mm 555; then in a iguration somewhat reminiscent o Czerny exercises, mm 5555; then the same note aears in our dierent registers, mm 5595 Hand crossing aears during Transormation III and IV, mm 5 and 90 resectively, and during mm 7 o the iano cadenza, where the right hand lays a ivenote attern against the sixnote attern o the let Other ianistic devices include areggios, such as 9!

26 the ondulando iguration on mm 5757, and big skis in the let hand with simultaneous syncoations in the right hand, mm 555 and About the chamber version Rasodia Camaleónica exists in orchestral version and in chamber version or eighteen musicians (iano, truet/flugelhorn, lute/iccolo, oboe, clarinet in Blat, bassoon, horn, trombone, bass trombone, ercussionists and string quintet) The cooser may be contacted or obtaining the erormance score and arts or either version 0!

27 Bibliograhy Blades, ames and ames Holland Cabaca, in The New Grove Dictionary o Music and Musicians, nd ed Fernández, Oscar Lorenzo, KeriLynn Wilson, Arturo Márquez, avier Álvarez, Marlos Nobre, Dietrich Buxtehude, Silvestre Revueltas, Alejandro García Caturla, Carlos Chávez, Orquesta Sinónica Simón Bolívar Danzón Troy, NY: Dorian CD 99 Gradante, William Colombia Edited by Dale A Olsen and Daniel E Sheehy Vol o The Garland Encycloedia o World Music Bruno Netl, Ruth M Stone, ames Porter and Timothy Rice, eds New York: Garland Publishing, Inc, 99 Ligeti, György Études our iano, deuxième livre Mainz; New York: Schott 99 Martínez Ossa, Camilo Eduardo Coosición y roducción de bambucos y asillos basado en estilo musical bogotano de la rimera mitad del siglo XX BM thesis, Pontiicia Universidad averiana, 009 Sistema de Bibliotecas averiano, htt://wwwjaverianaeduco/biblos/tesis/artes/tesisd (accessed March, 0) Ministry o Culture, Reublic o Armenia Armenian Duduk Music UNESCO htt://wwwarmeniandudukmusiccom/indexhage= (accessed Feb 9, 0) Randel, Don Michael The Harvard Dictionary o Music Cambridge, MA: The Belkna Press o Harvard University Press, 00 Restreo Duque, Hernán, and Luis Uribe Bueno A Mí Cánteme Un Bambuco st colete ed Medellín: Ediciones Autores Antioqueños, 9 Schirin, Lalo Credits htt://wwwschirincom/creditshtm (accessed March, 0) Shoghaken Ensemble Traditional Dances o Armenia New York, NY: Traditional Crossroads CD 00 Waxer, Lise Salsa In The New Grove Dictionary o Music and Musicians, nd ed Zatyn, Anatoly Coositions htt://wwwanatolyzatinino/ age_id=0 (accessed March, 0)!

28 APPENDIX I RAPSODIA CAMALEÓNICA STRUCTURE!

29 ! Section Measures Descrition Teo/ Character Main Tonal Center Presentation o motives A motive on G Lydian scale on Violin I, Violin II and Viola; izzicato Con moto E hasing B motive on Truet Transition 5 Piano Solo Deciso G entatonic A motive in entatonic mode in Fourths and Fiths, hasing Transormation I 595 Inverted A motive on Viola, Cello, Bass; izzicato hasing Sasmodic G B motive on Piano (sasmodic) Transition 95 Bambuco rhythm on Piano let hand Allegro non troo A motive on Piano ascending double thirds and descending alternate octaves B motive on Truet Transormation II a 79 B motive on Strings Energetic/ dynamic B Cantabile melody on Truet and Piano derived rom motives A and B A motive on Piano, mm 7 In m 7 the Truet anticiates Transormation III + lyrical (soloists) Transition 00 A motive on the Piano and orchestra Energetic/ dynamic C (This transition will aear later on mm 505 and in the coda) Transormation II b 05 A motive on the Piano Energetic/ dynamic B B motive on the Truet, then on the tutti Transition Imitations between Truet and Piano derived rom B motive anticiate Trans III (Motive coression) Transormation III A motive on Oboe, later on Truet Piano solo: elements derived rom motives B and A Orchestral tutti: B motive on mm 9 Anticiation o Trans IV on mm 050 and 090 Transormation IV 7 Canonic imitations at a major third, resulting in arallel augmented triads B motive on Violin I and Violin II Timbrical changes Transition Sequence built on B motive on tremolando Strings sul onticello (mm 5) Motive A on Bass, Cello and Viola Phasing accelerando to controlled chaos + lyrical (orchestra) Forward, coressing = (subito meno mosso), reeated notes Chromatic, descending largo, ianissimo + crescendo Interlude on Strings D F /Gb

30 ! Section Measures Descrition Teo/ Character Main Tonal Center TransormationV 59 A motive on Cello, izzicato Lyrical / melodic Bb Motive B on Bassoon and Truet Cadenza (Piano) 09 Same harmonic sequence as in the oening Use o B and A motives Initial entatonic iano solo rom mm 5 returns on mm 9 Hynotic E Transormation VI 959 Percussion Rhythm derived rom bambuco Fugue subject derived rom motive B Each subject entrance is a ith higher: Cshar, Gshar, Elat, B lat, F A motive on the iano scales o mm 559 Transition 505 The same A motive material as in mm 00 Dynamic B motive aears inverted in the orchestra in mm 505 Cadenza (Truet) 55 Motives A and B Cadenza Transormation VII (divided into eight subsections) 5559 Harmonic Ostinato 555 Piano solo melody derived rom B motive Reeated notes like a zither 5550 Truet and Piano (glissando on strings) Truet irovisation insired in Armenia, derived rom B motive 5555 Truet waves and Piano, lus Glockensiel Harmonic suort o Strings B motive 5595 A motive on Woodwinds, Brass and Truet Reeated notes on the Piano outline the B motive 5757 A motive on the lower voices B motive on the to voices Piano ondulando outlines B motive 5755 B motive, syncoated Percussion enters and gradually lays more 5590 B motive, more syncoated A motive on Piano let hand Congas, irovisatory eeling, including Salsa tumbao Shekere and bass drum insired on Fernandez s Batuque 5959 Tutti motives A and B B motive on Piano alternate octaves Fugue (woodwinds), rhythmic Andante libero, meditativo e rubato, Andante libero, irovissato Adagio = = = 9, rhythmic = 00, rhytmic Majestic C Bb Lydian Eb Lydian

31 ! Section Measures Descrition Teo/ Character Main Tonal Center Restatement o Oening Tutti lays initial B motive Grandioso E The initial A motive hasing igure is now on the clarinets, caana in alto The Piano kees the rhythm rom the ending o Transormation VII Coda 0 Based on the A motive, as in the transitions in mm 00 and Dynamic E 505 B motive: Tutti chords at the end Piano closes with A motive in alternate octaves!!! 5

32 ! APPENDIX II FULL SCORE FOR RAPSODIA CAMALEÓNICA!

33 Flute Oboe Con moto q = 5 0 a mi amigo Antonio Villanueva Rasodia Camaleónica or iano, truet in Eb/Flugelhorn and orchestra (0) Mauricio AriasEsguerra Clarinet in Bb Bassoon Horn in F Trombone Bass Trombone Tiani Percussion Percussion Percussion Truet in Eb / / / Harmon mute (stem in) + (gradualmente) Piano Violin I Violin II Viola Violoncello Double Bass Con moto q = I izz 5 0 j sub * O OO * deress silently and secure daers with sostenuto edal izz j I izz B Ó 7 sub sub ** m O O ** glissando on the strings with the ingernails izz OO O O O

34 Fl Ob < j m m < j m m Cl Bsn Hn Tbn B Tbn Ti Perc j m j m m m < j m m m m j m j / m Perc / Perc / Eb Tt + + Wa! m (molto) sz Pno < <O OO O O O OO O O O OO O O O OO O O O OO O O O OO simile O OO O O O OO O O O OO O O O OO Vln I Vln II Vla Vc Db B quasi quasi quasi j m m

35 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc m quasi j m quasi j j quasi m quasi quasi quasi / m m j quasi quasi quasi m m Perc / Perc / Eb Tt Wa! m n Pno Vln I Vln II Vla Vc Db n B O OO O O subito meno n subito meno subito meno div j j O OO O OO O OO O OO n <n OO O O O O O O O O O O OO O O OO O OO O O 9

36 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc j sz sz j ^ j j sz sz sz sz / ^ ^ j j () () n j a a ^ sz ^ n n sz ^ ^ j ^ j ^ j sz Ÿ~~~~~~~ sz Perc / Perc Eb Tt Bass Drum / + mute out m n Pno Vln I Vln II Vla Vc Db O OO OO O OO O O O j m O O O O O j O O O O O arco ^ m arco ^ n j m sz arco B n ^ m sz arco unis ^ j j Ó m sz m ^ Ó sub sz sz deciso 0

37 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc Eb Tt Pno Vln I / j j j j j Vln II Vla B Vc Db

38 Fl 50 U U Ob U Cl U U Bsn Hn U U Tbn U B Tbn U Ti Perc / U U j j j j j j Perc / U Perc / U Eb Tt Pno Vln I U ^ U ^ U U b n b R Fém! j b n j n n n Vln II U Vla Vc Db B izz U (I metà) m U izz j j j (II metà) m U izz j j (I metà) m izz U oco m (II metà) U izz Ó oco m

39 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc Perc Perc Eb Tt Pno Vln I Vln II Vla Vc Db 59 5 bb b bb b Ó b n n m sz 5 b j m j b j m / / sz m sz m sz B b (oen) b b m n b n bb n s m b n bb n m m b b b b j b n m sz Ó b b b j n m n b sz Ó b n m sz b m Ó b m sz straight mute in straight mute in metal straight mute in s straight mute in / Tomtoms 5 B n n j j j b j j j j b j b j b b b n b b Ó Ó gliss b Ó j

40 Fl Ob Cl Bsn Hn 7 m m m m m j j j m j j m m m B j m j m m Tbn B Tbn Ti Perc / Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / 5 5 j 5 j 5 m cresc m cresc arco B m cresc

41 Fl 7 b n oco m m b b m oco m Ob Cl Bsn Hn b j m oco j b oco m Ó b n oco m m Ó n j m oco m Ó n j Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt Pno Vln I Vln II Vla Vc Db B b n b b n n n b b b n n b n b n n n n n 5 div «sz div «sz m m m

42 Fl Ob Cl Bsn Hn I j I I I Tbn B Tbn Ti j j j j j j j m Perc / Perc / Perc / Eb Tt Pno ^ Ó ij ij i j n n n b 5 j j j n v n n j j b Vln I Vln II Vla Vc B ma energico ma energico ma energico nb n bb j b b bb b j n b b b b n n n b n b b b n n Db

43 Fl 90 oco accel Allegro non troo ( q ca ) Ob Cl Bsn j Hn straight mute b j b j j b b b j b j Tbn B Tbn straight mute b j j b j j j straight mute j j j n j j oen Ti Perc / Perc / j j j Xylohone Perc / Eb Tt Pno Vln I Vln II Vla Vc Db metal straight mute mute out oen b j j j j b b m b b j j b j b bb j n j j b n n n n n n B m marcato oco accel Allegro non troo ( q ca ) izz b j j b j j n j j j b b m marcato m marcato m marcato arco, unis izz b j j n Ó m marcato j j j j n b j n b n n b j m m izz m m m m j b j j b j j n j j j izz j j j j j j j j j j j b arco, unis div izz b b n b j j b n 7 b n

44 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc 00 oen m m a a a a sz sz sz sz m oen ^ ^ j j j ^ sz sz sz / m Perc (Xyl) n n m / Perc / Eb Tt Pno Ó n n b n b n sz m sz bn j b b n b b b j Vln I Vln II Vla Vc Db B m div unis j j j j j j j n m j j b j j j j j m b j j j b j b j j m m arco arco arco arco unis j b arco, unis j b b b b b b Ó div div j m m

45 Fl 09 I lt norm n b j m Ob j m j Cl Bsn Hn Tbn B Tbn Ti Perc () lt norm b < m m b n b j b n j b / m Perc / Perc Eb Tt Pno Vln I / b b b b b b b n b n b n n n j n subito Vln II Vla j n m B m m subito Vc Db unis b b 9

46 Fl Ob Cl Bsn b burlesco b b b burlesco n j b burlesco B 7 n burlesco j Hn j Tbn B Tbn Ti Perc straight mute in b j straight mute in / Perc / Perc / Eb Tt Pno Vln I Vln II Vla Vc Db j 5 b b b b b b nj n B n n n n n n n n deciso n n n n n j j j n j j j n n n j j j j n j j n j div Ó j 7 b b n j n j j b b 0

47 Fl Ob Cl Bsn n 7 b b 7 n b 7 b b b n m B 7 7 b m m m Hn 7 Tbn straight mute 7 7 j b j m B Tbn Ti Perc 7 7 Ó Snare Drum 7 / m Perc 7 / Perc Tomtoms 7 7 / Ó j Ó m Eb Tt Pno Vln I Vln II Vla Vc Db 7 n n n n j bb bb n j b b b b m B 7 j n j n n b b b b b n 7 7 n m 7 n unis div unis 7 7 n j n j j b b b b b b j m m

48 Fl 7 Ob 7 Cl 7 Bsn 7 a b b j n j m Hn Tbn B Tbn Ti Perc 7 mute out 7 m straight mute 7 m 7 m 7 / mute out Perc / 7 Wood Blocks j Ó m Perc 7 / j Ó To Glock Eb Tt Pno Vln I Vln II Vla Vc Db 7 ma cantando 7 7 n b lirico 7 b b n b b 7 n n m deciso 7 n n 7 7 b n j m m div 7 7 j b m b m m deciso B 7 j j j n m

49 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc Eb Tt Pno / simile 7 < j n n nb n b j 7 n n n n j n j b n n n b b Vln I Vln II Vla Vc Db n n n n b n b Ó 7 n n b j j B j j n j n n j j n j b j j j Ó 7 7 n j Ó n j n j j j b b

50 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt Pno Vln I Vln II Vla Vc Db n b n n n n 7 bb b b b b n b b n b n b b b bn n n b n n b n n b b b b b j j b b b n n n b n n 7 b 7 b bbn b b n Ó n b n n bb b n n B 7 7 b j b Ó n 7 7 b b b b j Ó n j 7 7 b b j b j b

51 Fl Ob Cl Bsn 50 7 b b n n b b b b b b B 7 7 n n Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt Pno < n j b j bb n n j n j j b b n b b n n n n b j Vln I Vln II 7 n n Ó n n n n b n 7 n n j j Vla B j j j Ó j j j n j j n j b j Vc Db n j Ó j b div n 7 j n j b b n j n j b 5

52 Fl 5 7 b 7 7 n b b Ob 7 7 b Cl Bsn b 7 b b b b n b B 7 7 Hn Tbn B Tbn Ti Perc 7 / Perc / Perc 7 / Eb Tt Pno Vln I b 7 b b b b n n b n b n n n n n b n b n 7 b b b j j j j j j 7 b n b 7 b j b j Vln II 7 7 j nn b n b j Vla Vc Db B 7 b b j j b j b j b b b 7 b b b b 7 b

53 Fl Ob Cl Bsn B 7 m Hn Tbn B Tbn Ti Perc 7 7 (oen) 7 (oen) 7 7 j 7 m 7 7 / m m Perc / 7 Perc 7 7 / Eb Tt Pno 7 un oco meno marcato e crescendo 7 7 Vln I 7 7 Vln II 7 Vla B 7 Vc 7 Db 7 7

54 Fl 7 7 Ob 7 Cl 7 Bsn Hn B 7 n b j 7 b n b j b j m Tbn 7 j j j j B Tbn 7 j j j j Ti Perc 7 j j 7 / Perc / 7 Perc 7 / Eb Tt Pno 7 n n j b n bbn < 7 7 j oco m j n n n n n j oco n j b n b b bbn j b j j j j n j b b n j m b j j Vln I b 7 b Vln II Vla Vc Db j 7 b j b j 7 b B 7 7 j b

55 7 9 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc n j j j j j j j j / b b b b bb j j Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / n b j j b b b n b bn nb b n n n b b b b b b n n n b b bb b b oco a oco cresc b j j b b b b b b nnn b b b b bb n n n b b b b bb b j j j j j b j 9 izz j izz j izz izz B j b j j izz b j j j j 9

56 Fl Ob Cl Bsn Hn 7 n n j n b b b b b b b b b m m m j b n j n n b j b b b n b b b b b b b b b n b b b b m m b j b b b n Tbn B Tbn Ti Perc Perc Perc Eb Tt Pno Vln I Vln II Vla Vc Db To Cast (snare drum) / / Castanets To S D / n n n n b b b bb bbb n n n n n n n b b b b b b n n n n B (izz) (izz) b b b b b b b b n n j b b 50 m arco arco m m m cresc oco a oco b b b b b b b b b b b j b cresc oco a oco j b b

57 Fl Ob Cl Bsn Hn 9 bb bb b b n b j b b b n j m m b j b j n b b b b b b m b B m B marcato Tbn B Tbn Ti Perc Perc Perc Eb Tt Pno Vln I Vln II Vla Vc Db / / (WB) oco / bb bb b b n n n n bb b b b n n n n b bb bb n n n To izz å j j n b b b n j j m marcato Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SD Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n b b n izz B 5

58 Fl Ob Cl Bsn 99 0 sz sz sz sz j sz sz B b b b sz B n j sz j sz j bb b n j sz j bb b n j Hn Tbn B Tbn Ti Perc sz < Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j < Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ To CCym / j Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / < sz j sz j sz B sz sz j sz 0 ossia b b n b b n bbb b j j j j n b j n j n j j j j b b j n n j j bbn nb n b <b 5 b n b n n

59 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc 07 B b b b B b sere b n sere sere / Ó b b n Ó n b b n b b n b Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / nnbb n bbbbnn b bnbbb b b j b bb n n n j b b b b b b b b b b b nn b m n b n n n n n n n n n b b n n j n n n n n n B arco arco B arco arco b 5

60 Fl Ob 7 sere n b sere b b b n b b b n n n n b b n b Cl b n b B n b b b b b n b b Bsn Hn B n b b b Ó Tbn Ó b B Tbn Ti Perc Ó b b b / Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / b bb b B B m m sere sere sere n n n b n <b b b b b n n b b b b n n n n b bbn n n n b n b n b n bb n b b bb b b n b n b b n n b n b n b b sere n b b b b b b b b b b b b b b b n b b n n n n n bb bb n meno n n n n b n b b b 5

61 Fl Ob 7 To Picc b b Cl n b b b b b b n Bsn Hn Tbn B Tbn Ti Perc Perc Perc B b b n b B b b b n b b b / / C Cym To Sus Cym / b b b b Eb Tt Pno Vln I Vln II Vla Vc Db B nbn nnb n n nbn nnb n n b b b b b b b b n n n n ruvido l t b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b n b ^ bn b iù b bn n b b v n n n m b n B b b b b b b b b b b n b n b n b n n b b b 55

62 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc 0 b Piccolo sz b m sz j m sz b b m sz b b j b m sz j j b b b m sz j j j a j m j j b b j sz n b m b b b b m sz n b j b b j m sz b b sz / Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / n b n b n b n b n b martellato s + nb nb n j n b Ó sere j sere B sere b b j j j sere j b j j j sere 5

63 Picc 7 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt Pno Vln I b n n b b b md md md n n b n n n b n b b ms j j Vln II Vla B j Vc b Db b 57

64 Picc Fl Ob Cl Bsn 5 I I I b b j j j j m j j j Hn Tbn B Tbn Ti Perc b m b b b n j / m Perc / Perc / Eb Tt Pno Vln I b b n b n bb b n b b oco m n n j b b b b b b b b b b n b b b n b b n b oco m j j j b j j n b Ó b b b b b b b b b b Vln II Vla Vc Db B b j b j j j j j j j b j j j j j izz j j j j j j izz 5

65 Picc q= (Subito meno mosso) Fl Ob solo Cl Bsn Hn Tbn B Tbn Ti Perc j / Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / j j (Subito meno mosso) n j n j q= j leggiero B b n n b 59

66 Picc 9 Fl Ob Cl Bsn Hn Tbn B Tbn Ti b b j b b n Perc / Perc / Perc / Eb Tt Pno b n n b n n n b b n n n bb b nn n n bb n b b b b j j j b n b bb n b n n n n n n md n n j Vln I Vln II Vla B Vc Db 0

67 Picc 7 Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / j b b b b b j m b b j b b b j b b j bb b j j b B ms m b b b b b b j b b b b j b b b b b b b j b b j

68 Picc Fl Ob Cl Bsn Hn Tbn B Tbn Ti Perc Perc Perc Eb Tt Pno Vln I Vln II Vla Vc Db b Ó b j j / / b b b b m m m m m vigoroso div b b Ó b b b b Ó bb b b b b b Ó b b b j b b j b j b Ó b b m b j j b b b Ó b j j b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b SusCym b b Ó b j j b j Ó b b å b b b b bb b bb b b b b b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ To S D / b b b bb b B j j b b b b j div b b j b b b b j b b b j b b j bb bb b b j b b b iù b Ó b j b b j j b b b b b b b b b b b b b j bb b b b b j b b b b j j b j b b j Ó b j j arco b b b Ó b b j j arco b b b b Ó b 5 Ó Ó To Pandeiro

69 Picc Fl Ob 9 s s s To Fl b b bb Cl Bsn Hn Tbn B Tbn Ti S D 5 b b 5 j b 5 / s b j b s s s s 5 b 5 (S D) b b To Sus Cym sub 5 Ó Ó 5 Perc 5 / Perc Eb Tt 5 / Pno Vln I Vln II Vla Vc Db m b bb div b b unis 5 j j j Ó j b sz b j b b n s b b s s s s b 5 b b b b b meno cresc 5 md simile md md j j 5 j j j ms ms j ms m unis 5 j Ó j m j unis B b 5 Ó b j j j div b j b m j 5 j j j Ó j j m 5 b j Ó j j j m b b

70 Fl 97 Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt b b b b b b b b b n b b b b b b b b Pno cresc j Vln I Vln II Vla B Vc Db

71 Fl 0 Largo (q = 5) Più mosso (q=00) b b (Flute) I iù ossibile Ob < j Cl Bsn II < j Hn Tbn B Tbn Ti Perc j j Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ / m SusCym Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc / (wooden straight mute in) b B quasi Largo (q = 5) < Più mosso (q=00) unis < n n Db j 5

72 Fl Ob 0 5 Largo Più mosso Largo n j Cl Bsn Hn Tbn II j < j j m m < B Tbn Ti Perc < Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j <, Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, To CCym / Perc / Perc Eb Tt Pno Vln I Vln II Vla Vc Db / Largo Più mosso Largo b b j quasi quasi nn b B 5 wooden straight mute l t j nn nn b b j b b n b n

73 Fl Ob Cl Bsn Hn Tbn B Tbn 5 r n b b b b b b b I n b r b b b b b b b I b b m m m Ti Perc / Perc / Perc / Eb Tt Pno Vln I Vln II Vla Vc Db (deress silentlyms) b luck (one) string with a wooden lectrum or a guitar ick m legato b b n b n b b n b b n b b n b m b b n b b n m n b B b div b b b n b b n b n div b B m m bn n b n n bn m b n n b 7 unis b n b n b b n b m b b b n b n b b O nb O b n O b b O b n b b n n m b b b b bn

74 Fl b b U n b j U b To Picc Ob U Cl Bsn Hn Tbn B Tbn Ti Perc Perc Perc Eb Tt Pno Vln I Vln II b b n b b U b b U U / U / U b b b b j n b b b j U n b U / U Glockensiel To Tomt and BD / U b U b b b b b b nb U b j n b b n n j j n n b n b b b j b n b b n n b nb b molto meno b n b U U bn b n b n n n b b n b n b b n nn b nb n b b b U b n b b n b b n b b n b b n bn b b n b b n b b n b b b U n U U Vla Vc Db B unis div U b b b b n b b b b n b sul ont b b n b b b n b U n U U

75 Fl Ob q=q Piccolo, b b Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc Eb Tt Pno Vln I Vln II / < q=q b sul ont b b n b b div, oco n n b b sul ont div, m b b b b Vla B sul ont b b cresc div b b n n b b b, unis b Vc sul ont b b oco a oco cresc b div b b b b n n b b b, Db div b b oco a oco cresc b b b b b b n n n n b b, b b 9

76 Picc 5 q=e accel al To Fl 7 Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt Pno Vln I <b accel al q=e <b 7 Vln II Vla B <b b b m n izz b b b b Vc unis oco b b izz b b b m Db b b b b unis b b m 70

77 Fl iù resto ossibile, senza misura Teo I (subito) ca ' 7 Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt straight mute out, CUP mute in Pno Vln I iù resto ossibile, senza misura ca ' Teo I (subito) come una macchina b b izz div Vln II Vla B b b b b b b b b b b b b oco a oco cresc come una macchina b b izz come una macchina div b b Vc b b b b b b b b b b b b oco a oco cresc b come una macchina Db Ó izz bb bb bb bb bb b oco a oco cresc come una macchina 7

78 Fl 7 rit Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt Pno Vln I Vln II Vla Vc b b b j rit b b b j B j b b b b b b b b b b b b Db 7

79 Fl Teo di valzer lento (q ca ) Ob Cl Bsn Hn Tbn m esress (otional: octave lower) solo b B Tbn Ti Perc / Perc / Perc / Eb Tt Pno Vln I Vln II Teo di valzer lento (q ca ) bo b arco (norm) O arco (norm) Vla B Vc Db b b b b b b b b b bb b bb b bb b b b b bb b bnbb b b b b b b oco a oco cresc b j b j j b j j b b j b j b j 7

80 Fl 95 Ob Cl Bsn Hn b b n Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt cu mute m b b b b b Pno Vln I Vln II bbo b O b O O O bo O O O O bo Vla Vc Db B arco (norm) b b b b b b b bb b b b b n n n bn b n nbb b m j b j j b j n m m 7

81 Fl 0 Ob Cl Bsn Hn Tbn B Tbn Ti Perc / Perc / Perc / Eb Tt bb b b m b b j n j b j j Pno Vln I O bbo bbo O bo O Vln II Vla Vc Db B O b m O O O oco a oco dim n b b b b b n bn n b bn b bb arco (norm) < b b n b n O n b b bn b b b bb n b 75