FAITHFUL TO MY LAND
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE
DOCTOR OF ARTS IN MUSIC
WITH A PRIMARY EMPHASIS IN MUSIC THEORY AND COMPOSITION
AND A SECONDARY AREA IN CONDUCTING
BY
WIBOON TRAKULHUN
DISSERTATION CO-CHAIRS:
DR. ELEANOR TRAWICK
DR. KEITH KOTHMAN
BALL STATE UNIVERSITY
MUNCIE, INDIANA
MAY 2011
FAITHFUL TO MY LAND
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE
DOCTOR OF ARTS IN MUSIC
BY
WIBOON TRAKULHUN
APPROVED BY:
_________________________________
Dr. Eleanor Trawick
Chairperson
Date _____________________
_________________________________
Dr. Keith Kothman
Co-Chairperson
Date _____________________
_________________________________
Dr. Duane Karna
Member
Date _____________________
_________________________________
Dr. James Helton
Member
Date _____________________
_________________________________
Dr. Lisa Huffman
Member
Date _____________________
_________________________________
Dr. Robert Morris
Dean of Graduate School
Date _____________________
Ball State University
Muncie, Indiana
May 2011
-ii-
ACKNOWLEDGMENTS
I would like to express my most sincere gratitude to Dr. Eleanor Trawick, my
doctoral committee chair and advisor, for her guidance in the preparation of this
dissertation and her very generous support in my studies during the past years. It is
difficult to fully convey in words the level of gratitude for her enthusiasm and for the
countless times she devoted to the severe task of reading this dissertation. Her patience,
advice, and encouragement have contributed immeasurably to my composition,
dissertation, and education.
I would also like to acknowledge and appreciate Dr. Keith Kothman, my doctoral
committee co-chair, for his instruction and support of my composition. This piece would
not have been accomplished if not for his invaluable suggestions. Special consideration is
extended to Dr. Duane Karna, a member of my doctoral committee, who provides me with
his emotional support and thoughtfulness in my education in conducting. I would also like
to thank Dr. James Helton and Dr. Lisa Huffman, the members of my DA committee, for
their generosity and help.
Finally, my deepest appreciation and gratitude are also extended to my composition
professors, Dr. Jody Nagel and Dr. Vera Stanojevic, for their encouragement and valuable
suggestions to improve my composition skill, and every professor in the School of Music
for his/her generosity and consistent help to me.
-iii-
ABSTRACT
DISSERTATION:
Faithful to My Land
STUDENT:
Wiboon Trakulhun
DEGREE:
Doctor of Arts in Music
COLLEGE:
School of Music, College of Fine Arts
DATE:
May 2011
PAGES:
127
Faithful to My Land is a composition for orchestra in three continuous movements
that reveals my deep admiration for my country, Thailand. This composition expresses my
belief in the nation of Thailand, its religion, and its constitutional monarchy. The main
materials of each movement refer to source ideas that relate to these three institutions of
my country. This composition, which is around fourteen minutes in length, is globally
organized within a tonal framework; both diatonic and chromatic notes are employed. The
music does not embody traditional common practice but neo-tonality. This composition
integrates various musical styles—neoclassicism, nationalism, and minimalism.
The first movement refers to the Thai national anthem. This movement mainly
grows from a subject, a countersubject, and two main motives. The music of the movement
is largely tonal. The main materials are pervasive throughout the movement, and it is thus
largely homogeneous, with little thematic contrast. The entire movement continues with a
driving rhythm in various alternations. The near-continuous sixteenth notes in the viola
and other string parts contribute to this energy and rhythmic drive and reinforce the
orchestral color.
-iv-
The second movement deals with the two religions—Buddhism and Christianity—
that are prevalent in Thailand. The music of this movement derives from the three main
sources: Miserere mei, Deus by Josquin des Prez, a specially constructed “Buddha
motive,” and an anonymous Buddhist prayer. Some compositional techniques derive from
the Renaissance period. The movement also employs number symbolism relating to
significant numbers in the Buddhist and Christian traditions.
The third movement alludes to the constitutional monarchy with high respect. The
music of the last movement is based on a twelve-note compositional idea, but it is not truly
serial: a twelve-tone row with its developments—retrograde and inversion—occurs in
some local areas. The last movement concludes with an epilogue, which derives from the
significant materials presented in all three movements.
-v-
TABLE OF CONTENTS
Page
CHAPTER 1: INTRODUCTION ………………………………………….
1
CHAPTER 2: REVIEW OF COMPARABLE WORKS ………………….
3
CHAPTER 3: METHODOLOGY ………………………………………....
17
CHAPTER 4: THE FIRST MOVEMENT …………………………………
23
CHAPTER 5: THE SECOND MOVEMENT ……………………………...
28
CHAPTER 6: THE THIRD MOVEMENT ………………………………..
34
CHAPTER 7: CONCLUSION ……………………………………………..
39
APPENDIX …………………………………………………………………
41
BIBLIOGRAPHY …………………………………………………………..
43
FAITHFUL TO MY LAND: TITLE PAGE ………………………………..
46
INSTRUMENTATION …………………………………………………….
47
FAITHFUL TO MY LAND: SCORE ………………………………………
48
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CHAPTER 1
INTRODUCTION
This dissertation is an orchestra composition in three continuous movements that
reveals my deep admiration for my country, Thailand. Since the beginning of the twentyfirst century, my country has confronted many problems––political discord, religious
disputes, and royal decline. Thailand has been a democratic country for more than
seventy-five years. Throughout the country’s history, the Thai people have had great faith
in both our religion and our royalty. Regretfully, the three institutions are being
simultaneously challenged within the community’s belief at this time. This historical
moment, along with my intense love for my country, are the inspiration for composing
Faithful to My Land, which mirrors my belief in nation, religion, and the constitutional
monarchy.
This composition is globally organized within a tonal framework; both diatonic
and chromatic notes are employed. However, tonality and modality are constructed
explicitly in each area by using local tonal organization or tone centers throughout the
composition. The main materials of each movement refer to source ideas that relate to the
three crucial institutions of my country. These materials are transformed and modified in
an effort to serve the local and global organization, both melodic and harmonic, of each
movement of the piece.
2
The first movement refers to the nation. Thailand is a country where people with
various ancestry and ethnicity coexist. Some people descend from original Thai
ancestors. Some emigrated from other countries many generations ago. Previously,
Thailand has been a land where people have existed together in peace, but now the
political deadlock affects the overall development of the country. For this movement, the
main source material is from some portions of the Thai national anthem.
The second movement deals with the main Thai religion, Buddhism. There are
many religions––Buddhism, Christianity, Islam, Hindu, etc.––that people in my country
have a freedom to believe in. Every religion has independent freedom to propagate their
beliefs in Thailand. However, Buddhism is the principal religion of Thailand in which
most people have faith. For the second movement, the name Buddha is transformed into
musical notes, and this motive constitutes the main thematic material.
The third movement alludes to the royal institution with high respect. Siam, as
Thailand used to be called, had been governed by absolute monarchy for more than seven
hundred years. In 1932, Thailand replaced the absolute monarchy with a constitutional
monarchy. The Thai people, however, continue to revere the royal institution. The last
movement is composed with high respect; the principal material is from some portions of
the Thai royal anthem.
Finally, I wish that, with great concentration and deliberation, I will succeed in
leaving a positive impression on those who hear the piece. I hope that composers, conductors,
performers, singers, educators, learners, and audiences, who are interested in any aspect of
music, are able to touch the pleasure and beauty of the work, understand the components
of the composition, and eventually perceive the significance and conviction of the piece.
CHAPTER 2
REVIEW OF COMPARABLE WORKS
During the first half of the twentieth century, modern orchestral works employ
many musical styles—impressionism, expressionism, nationalism, neoclassicism,
neoromanticism, serialism, and aleatory or chance music. During the second half of the
twentieth century, minimalism was a new musical style that came out first in the United
States in the 1960s. “Minimalism emerged as an effective alternative to the rigors of
serialism and the randomness of indeterminate, or chance, music.”1 The composers
LaMonte Young, Terry Riley, Philip Glass, and Steve Reich made up the first generation
of this style. Their works were mostly composed for solo instruments, duets, and small
ensembles. John Adams’s well-known Nixon in China (1972) is an early minimalist
opera. Its music is characterized by stasis and repetition of the melodic passages. Most of
Adams’s works are composed for classical instrumentation, including full orchestra.
Meanwhile in Eastern Europe, particularly, Polish composers Witold Lutosławski
(1913–94), Krzysztof Penderecki (b. 1933), and Henryk Mikolaj Gorecki (1933–2010),
Hungarian composer György Sándor Ligeti (1923–2006), and Estonian composer Arvo
Pärt (b. 1935), were affected by and also reacted against the avant-garde music of
Western Europe and the United States. Their compositions are more textural music,
1
Douglas Lee, Masterworks of 20th-Century Music (New York: Routledge, 2002), 1.
4
which takes more advantage of the density, intensity, dynamics, range (width between
lowest and highest pitches), and the timbre of the instruments or voices. Penderecki’s
Threnody for the Victim of Hiroshima (1960) was composed for fifty-two string
instruments. It challenges the abilities of performers, using them to produce the highest
pitches on their instruments, to bow behind the bridge, to play quarter-tones, and to create
sound masses and tone clusters in the ensemble.
Minimalist and related music also spread into Eastern Europe. Górecki’s
Symphony No. 3 “Symphony of Sorrowful Songs,” opus 36, for soprano and orchestra
(1976) is influenced by minimalism and nationalism. Beyond the minimalist style, the
piece refers to many facets of his heritage related to religion, folk culture, and ancient
chant.2 Pärt’s Te Deum for chorus, prepared piano, aeolian harp (or wind harp), and string
orchestra (1984) employs his compositional style, tintinnabuli, which is often described
as a compositional technique of minimalist music.
From the last decade of the twentieth century until the first decade of the twentyfirst century, many composers wrote orchestral works that were more popular in order to
communicate more easily to their audiences, especially American composers, such as
Christopher Rouse, Jennifer Higdon, Gregory Hutter, Michael Daugherty and John
Adams. Their works sometimes reflect original American music styles, such as jazz
and/or rock in some ways as well as integrating classical compositional manners. They
frequently use orchestral tuttis or large groups of instruments throughout almost the entire
piece. In the rapid pieces and/or movements, the rhythmic pattern and power of the
2
Josiah Fisk, “The New Simplicity: The Music of Gorecki, Tavener and Part,” The Hudson
Review 47, no. 3 (Autumn 1994): 399.
5
orchestra are mostly aggressive, including short melodic fragments. In the slower pieces
and/or movements, however, the melody is more impressive like a neo-romantic idiom.
Christopher Rouse’s Symphony No. 2 (1994) is very aggressive. An articulation of
staccato is pervasive throughout the composition. The piece integrates various augmented
and diminished chords, including parallel harmonies, to create twelve-note aggregates.
John Adams’s Lollapalooza (1995) employs rhythmic syncopation; the main motive that
is introduced at the beginning continues throughout the piece. Another work by Adams,
Slonimsky’s Earbox for Orchestra (1996), features an abundance of small motives and
arpeggios, including polyrhythmic figures, to create richly textural music in the orchestra.
This composition is similar to Stravinsky’s sounds. Jennifer Higdon’s Blue Cathedral
(1999) is more delicate and produces an atmosphere of floating sound, joined with
impressive solos. Gregory Hutter’s Still Life (2004) was composed for oboe and string
orchestra. The music is very sweet and impresses with the color of the harmony and
melody by using traditional musical manners. The music has neo-romantic sensibilities as
well.
In the past twenty years, European composers have continued to write more
texturally and spectrally based orchestral music than their American counterparts.
Actually, spectral music or “instrumental synthesis”3 was composed since the 1970s
mainly in Europe, especially in France and Germany. The music employs “the acoustic
properties of sound itself (or sound spectra) as the basis of its compositional material.”4
European composers often employ a wider range of orchestral dynamics than do
3
The term was used by French composer Gerard Grisey (1946–98), cited in Julian Anderson,
Spectral Music, http://www.oxfordmusiconline.com (accessed March 17, 2011).
4
Julian Anderson, Spectral Music, http://www.oxfordmusiconline.com (accessed March 17, 2011).
6
American composers. This contrast is due in part to European composers’ tendency to
take advantage of the timbres of individual instruments and small groups of players—as
opposed to American composers, who favor the use of orchestral tuttis. European
composers perhaps wish their audiences to pursue meaning in their compositional ideas
and music more than American composers.
Orchestral pieces by British composer George Benjamin, Sudden Time (1993),
Palimpsest I (1999), and Palimpsest II (2002), employ different compositional techniques
in each work. His pieces are characterized as textural music because they used more
complex instrumental techniques. Two orchestral works by French composer MarcAndré Dalbavie, Color (2001) and Ciaccona (2002), are very mysterious with the longer
held notes and more repetition. Some local areas of these two pieces reveal the sensuous
delight of French impressionist music. Matthias Pintscher, a German composer,
composed a concerto, Reflections for Narcissus (2005) for cello and orchestra. The
composition is more energetic and has more expression of each melodic line, especially
the cello solo, which is mixed between the Romantic and modern sensibilities.
In addition to the orchestral works mentioned above, there are several others from
the twentieth century that inspired and informed particular aspects of my new
composition. The initial conception of the composition relies on a tonal framework,
which deals both with quotation and with translation of letters into musical notes. As
introduced above, the first and the third movements quote from two anthems of my
homeland. Faithful to My Land uses components of these anthems in order to create a
new composition for a symphony orchestra. The second movement uses a technique of
translating letters into musical notes. This technique has been used by many composers
7
throughout history as a way of honoring a person or referring to something outside the
music. Furthermore, this composition is influenced by many composers, both Western
and Eastern, who embody their own specific style by integrating both cultures.
Therefore, with the precompositional decisions about the boundaries of the
compositional techniques I designed to use, it is necessary to review some works of other
composers. Many more compositions could be examined, but the proposed study will use
these sources to gain some ideas for composing my own new piece. The following review
is brief to fit the scope of the project. There are four main concerns of mine in composing
this work. First, composers (both Eastern and Western) use materials that relate to their
own nations: local instruments, folk tunes, anthems, or even a sonority that reflects the
atmosphere of their own nations. Second, Asian composers who compose major works
for large ensembles integrating traditional Eastern and Western music will be an
important model for this project. Third, composers employ a variety of translation
techniques that allow them to honor someone or something through their music. Finally, I
also take as models composers’ orchestral works that employ a Classical or modified
Classical orchestra.
Igor Stravinsky’s Petrushka (1911) employs a number of Russian folk tunes and
uses other elements from his own country. Douglas Lee writes, “More subtle and
significant were quotations from Rimsky-Korsakov, Tchaikovsky, a popular Parisian
song by Émile Spencer (La jambe en bois), and other musical references familiar at the
time. A number of Russian folk tunes appear in part, if not in their entirety.”5 Lee
continues:
5
Lee, 419.
8
In Petruskha, the music overwhelms the dance. This may derive from the original
conception of the score as a concert piece for piano and orchestra to which
choreography was added. But more important, it grows from the significant
incorporation of Russian folk tunes and other materials current at the time, all
carrying their attendant connotations and cast in the most imaginative orchestral
setting. The work was successful as an artistic endeavor drawing on many
sources, in the process setting a new standard for ballet as an art form equal to
drama and opera.6
Claude Debussy was a French composer who quoted both his own national
anthem and those of other countries. One of the Préludes from Book II (1912–13), Feux
d’artifice (Fireworks), contains “a quotation from the Marseillaise, the French national
anthem, sounding de très loin (from far away).”7 The third movement of the Cello Sonata
(1915) uses motivic variation based on a Lutheran hymn “and hidden quotes of the
French anthem, La Marseillaise.”8 Moreover, En blanc et noir (1915) for two pianos
employs both the French national anthem and a folk tune.9
Besides quoting the French anthem, another Prélude in Book II, Hommage à S.
Pickwick Esq. P.P.M.P.C. (Homage to S. Pickwick), “quot[es] the first line of the British
national anthem God Save Our Gracious King in the lowest strand of the piano texture.”10
Berceuse héroïque (1914), which was first composed for King Albert’s book and was
dedicated later to the King of Belgium, employs several measures that are drawn from the
Belgian national anthem. The Berceuse héroïque was originally for piano before Debussy
6
Ibid., 421.
Siglind Bruhn, Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in
Piano Works by Debussy, Ravel, and Messiaen (Stuyvesant, NY: Pendragon Press, 1997), 16.
8
Janelle Suzanne Ragno, “The Lutheran Hymn Ein’ feste Burg in Claude Debussy’s Cello Sonata
(1915): Motivic Variation and Structure” (D.M.A. diss., University of Texas at Austin, 2006), i.
9
Marianne Wheeldon, Debussy’s Late Style (Bloomington: Indiana University Press, 2009),
47–53.
10
Bruhn, 121.
7
9
later orchestrated it for the occasion of the Concerts Colonne-Lamoureux.11
The English composer Ralph Vaughan Williams employed quotation in A London
Symphony (1913), dedicated to the place where he lived. Vaughan Williams’s work
incorporates a signature London sound, the Westminster chimes. Michael Kennedy
writes:
He had already made some sketches for a symphonic poem about London, a city
he loved and where, since his marriage to Adeline Fisher in 1897, he had lived. …
All composers are children of their time and Vaughan Williams was no exception.
The folk-song revival is imprinted on this symphony in various ways, that is
obvious. … Writing a programme note in 1920 Vaughan Williams suggested that
a better title might have been ‘Symphony by Londoner.’12
Besides composers from the West, there are many excellent Asian composers in
the twentieth and twenty-first centuries who use their own countries’ materials as sources
and as inspirations for their compositions. I will briefly examine representative works by
four Asian composers––Chinary Ung, Toru Takemitsu, Chen Yi, and Tan Dun––focusing
on the issue of combinations of cultures. They have composed many orchestral works, as
well as compositions for other kinds of ensembles, and for solo instruments, furthered by
their own motherlands’ elements. They represent the successful integration of the music
of Eastern and Western traditions. Eventually, the results of these endeavors are musical
styles that are unique and individual within each composer’s oeuvre.
11
Jane F. Fulcher, “Speaking the Truth to power: The Dialogic Element in Debussy’s Wartime
Compostitions,” in Debussy and His World, ed. Jane F. Fulcher (Princeton: Princeton University
Press, 2001), 214.
12
Ralph Vaughan Williams, A London Symphony, Centenary ed., intro. Michael Kennedy (New
York: Galaxy Music, 1972), v.
10
The Cambodian-American composer Chinary Ung accomplishes the integration
of the music of Asia, especially his native land, and Western music in his composition.
Ung himself describes, “if East is yellow and West is blue, then my music is green.”13
Grand Spiral: Desert Flowers Bloom (1992) is combination of both the traditional
Eastern and Western music cultures. John Kays writes, “Ung has not ventured into
symphonic-style compositions since writing Grand Spiral. This doesn’t reflect on his
ability to create large works; it speaks volumes about his philosophy, ‘to explore my
inner rhythms and feelings before I say (something) directly.’ Grand Spiral was
dedicated by Ung to the Cambodian people.”14
Japanese composer Toru Takemitsu represents the spirituality of the Japanese
associated with the musical techniques of traditional Western art. “Takemitsu blends the
music of the East with that of the West … Takemitsu’s music is a synthesis of Eastern (or
Japanese) traditions with Western contemporary music.”15 Yoko Nakatani’s dissertation
explains:
The use of Japanese traditional instruments, biwa and shakuhachi, with orchestra
had never been attempted until Toru Takemitsu (1930–96) composed November
Steps (1967) and Autumn (1973). This instrumentation presented a challenge for
Takemitsu because combining the two worlds, East and West was not his
intention. In other words, he believed that they were too disparate to be blended
but that coexistence was however possible. … but Takemitsu succeeded in finding
a way to embrace two different cultures in his compositions. Takemitsu made a
major contribution to the world of music through his successes with November
Steps and Autumn.16
13
John Kays, “The Work of Cambodian-American Composer Chinary Ung,”
www.newworldrecords.org/linernotes/ 80619.pdf (accessed Octorber 1, 2010), 1.
14
Ibid., 3.
15
James Siddons, Toru Takemitsu: A Bio-Bibliography (Westport: Greenwood Press, 2001), 12.
16
Yoko Nakatani, “November Steps and Autumn: A Comparative Analysis of Two Orchestra
Works by Toru Takemitsu” (Ph.D. diss., Brandeis University, 2005), v.
11
Takemitsu himself expresses his care in the integration of traditional Eastern and
Western musical art:
What I and my fellow composers are not doing is simply, in a facile way,
adapting Japanese tradition to Western form. What we’re trying to do is to study
very deeply, and very carefully, the essence of traditional music, to explore
unknown worlds, and to recreate, or reelucidate, in new, modern forms, what
we’ve learned from our traditions.17
Hideaki Onishi’s dissertation portrays an inspiration for the orchestral “garden
series” of Takemitsu, Dream/Window (1985), Fantasma/Cantos (1991), and Spirit
Garden (1994), as the Japanese garden that he mentions as a source of his major thematic
work.18 From me flows what you call Time (1990) makes use of both Eastern and Western
influences, and further evolves a formal plan for the piece by transposing the main
melodic idea, introducing percussion cadenzas, and leaving some improvisations for the
performers themselves.19
Dana Richard Wilson’s dissertation focusing on Takemitsu’s orchestra work
Choral Island (1962) and various chamber works explains, “the role of texture in the
chamber works is similar to that in the orchestral works … The dramatic thrust of the
orchestral works appears to be missing, however, while the aesthetic of certain traditional
Japanese musics prevails.”20
17
Toru Takemitsu, “Contemporary Music in Japan,” Perspectives of New Music 27, no. 2 (1989):
203.
18
Hideaki Onishi, “Toru Takemitsu’s Japanese Gardens: An Application of Superset/Subset
Networks to the Analysis of Three Orchestral Compositions” (Ph.D. diss., University of
Washington, 2004).
19
Louis Conti, “Color Variation: An Analysis of Takemitsu’s From Me Flows What You Call
Time” (Ph.D. diss., New York University, 2010), vi.
20
Dana Richard Wilson, “The Role of Texture in Selected Works of Toru Takemitsu” (Ph.D.
diss., University of Rochester, 1982). vii.
12
Chen Yi, a Chinese composer now living in the U.S., composed Momentum for
Orchestra (1997). She describes, “… the gesture of the exaggerated dancing lines in
Chinese calligraphy … made such a deep impression on me that I wanted to translate it
into music …”21 In Momentum, Chen Yi creates her own musical vocabularies, which
display a fusion of the Eastern and Western in the past and present. Chen Yi approaches
traditional Chinese manners by arranging phrases of different lengths in such a way as to
create and emphasize the musical climax. Her music includes melodic figures derived
from the Beijing opera within the manners of traditional Western music, especially the
orchestration of Romantic and twentieth-century styles.22 Frederick Lau states that the use
of Chinese elements also appears in Piano Concerto (1992), The Points for Pipa (1991),
and As in a Dream (1988), two songs for soprano, violin, and cello.23
Another Chinese composer, Tan Dun, composed Symphony 1997: Heaven, Earth
and Mankind in ten movements by not only using the technique of quoting preexistent
folk tunes, but also including ancient Chinese instruments and the Western orchestra
within the framework of a large-scale symphony.24 Lee Alexander Steward’s study
focusing on an opera work states that Tan Dun’s Marco Polo (premiered 1996) is “rooted
in and yet breaks the mold of traditional Beijing opera and of traditional Western
21
Cited in Jiang Liu, “An Analysis of Chen Yi’s Orchestral Work Momentum” (D.M.A. diss.,
University of Nebraska, 2005), 10.
22
Jiang Liu, “An Analysis of Chen Yi’s Orchestral Work Momentum” (D.M.A. diss., University
of Nebraska, 2005), 10–14.
23
Frederick Lau, “Fusion or Fission: The Paradox and Politics of Contemporary Chinese AvantGarde Music,” in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick
Lau, 22–39 (Middletown: Wesleyan University, 2004).
24
Yayoi Uno Everett, “Interculture Synthesis in Postwar Western Art Music: Historical Contexts,
Perspectives, and Taxonomy,” in Locating East Asia in Western Art Music, ed. Yayoi Uno
Everett and Frederick Lau (Middletown: Wesleyan University Press, 2004), 19.
13
Romantic opera composition and combines the vocal and theatrical styles and
instrumentation of both into a unique union.”25 Steward continues:
Tan’s compositions all have Eastern sounds including Beijing opera and Chinese
folk music and incorporate various Western techniques. He bridges East and West
and enhances and combines the emotional possibilities of both traditions in his
music. Tan’s opera creates a unique fusion of the two starkly contrasting cultures.
One world is lost in the other and is as interdependent in sound as are the Eastern
and Western hemispheres in the 21st Century.26
The achievement of integration between Eastern and Western musical art is
reflected in these composers’ music. Traditional Eastern music is deliberately introduced
by various means into Western music. The result is colorful and distinctive music in
which the original voice of the composer can be clearly heard.
The practice of translating letters of the alphabet into notes for a theme usually
serves to honor someone. The best known of such themes is probably B-A-C-H (Bb-A-CB), which was employed by J.S. Bach himself and which has subsequently appeared in
many other composers’ works. A published catalogue for the 1985 exhibition 300 Jahre
Johann Sebastian Bach lists about four hundred works by at least three hundred
composers that are related to Bach, especially the B-A-C-H motif.27 Many composers in
the twentieth century, such as Arnold Schoenberg and Arvo Pärt, have used Bachinspired elements.
25
Lee Alexander Steward, “A Discussion of Tan Dun’s Opera, Marco Polo” (D.M.A. diss.,
University of Miami, 2002), i.
26
Ibid., 5–6.
27
Cited in Shu-Ting Yang, “Salute to Bach: Modern Treatments of Bach-Inspired Elements in
Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’s Bachianas
Brasileiras No. 4” (D.M.A. diss., University of Cincinnati, 2007), 7.
14
Variations for Orchestra Op. 31 (1926) by Schoenberg is an excellent example of
the use of the B-A-C-H motive within atonal music. The twelve-tone piece comprises an
introduction section, nine variations, and a closing finale. Marija Benić Zovko asserts
that:
The B A C H motif is made up of various combinations of a row, or several rows.
The last section of the Finale shows that its diastematic structure is related to that
of the row: tones 2 3 4 5 of the antecedent, when permutated, create the B A C H
motif (or one of its transpositions). It shows the extent to which the developing
variation technique can transform the row content, providing it with new
meanings and contexts.28
Arvo Pärt, an Estonian composer, composed Collage über B-A-C-H for oboe and
strings in 1964. “The first appearance of a reference to Bach, although this is only
explicit in the work called Collage, which is both based on the B-A-C-H motif and also
quotes actual music by Bach. But the B-A-C-H motif, variously transposed and inverted,
can also be traced in several other works, suggesting a potential link between them.”29
The inspiration for using the B-A-C-H motif has various reasons and depends on
each composer. The use of the motif has very different approaches, relying on each
composer’s style as well. Other composers, Krzysztof Penderecki’s St Luke Passion
(1966), Charles Ives’s Three-Page Sonata (1949), and Anton Webern’s String Quartet,
Op. 28 (1938), are also inspired by the B-A-C-H motif. Even, Bach himself also marked
his signature in a number of his works, such as the Art of Fugue and Vom Himmel hoch
da komm’ich her.
28
Marija Benić Zovko, “Twelve-Tone Technique and Its Forms: Variation Techniques of Arnold
Schoenberg’s Variations for Orchestra Op. 31,” International Review of the Aesthetics and
Sociology of Music 38, no. 1 (2007): 50.
29
Paul Hillier, Arvo Pärt (New York: Oxford University Press, 1997), 47.
15
The composers’ works reviewed above relate to the two initial conceptions of
mine. First, in regard to the issue of quotation, both Eastern and Western composers
brought up their own traditional materials from their individual homeland, such as folk
tunes, song tunes, national anthems, and traditional musical instruments. Second,
concerning translation technique, many composers honor Bach by translating Bach’s
name to the notes of the motive.
The various ways these composers manipulate their components is similar to my
purpose in this project. When composers quote folk tunes and/or anthems, they do not
usually employ the entire melodies. They deliberately make a selection of some portions
from them. Then they adapt and transform the materials to be appropriate for their works.
When composers mention their cultures, they shape the characteristics of their traditional
music to create some significant meanings from them. Some composers deal with their
traditional musical instruments, although this dissertation will not. These composers
perfectly integrate two traditional music cultures into their own music. Eventually, the
results of these endeavors are beautiful and colorful art music. The wonderful
characteristics of music are unique with an individual’s own style.
Faithful to My Land is composed for an orchestra. Therefore, the orchestra setting
and learning from other composers’ styles also furthers my project. Sergei Prokofiev’s
Symphony No. 1 in D, Op. 25, Classical Symphony (1916) follows the traditional outlines
of a classical symphony. It opens with theme that is an ascending rush, with a crescendo,
through the tonic chord, and especially the score pursues an outline of a classical orchestra.30
Stravinsky’s Pulcinella (1920) uses an ensemble setting similar to “an eighteenth-century
30
Lee, 270.
16
concerto grosso,”31 and the “recycled tonal materials are transformed” to appropriate a
new stylistic framework at the time.32 Dmitri Shostakovich’s Symphony No. 5 in D minor,
Op. 47 (1937) is “a work of obvious artistic conviction, expressive power, and technical
accomplishment.”33 Vaughan Williams’s A London Symphony, with its huge orchestra,
features an abundance of thematic material more than defined harmonic operations or
structural designs, including the sequence of the basic motto.34
The works of these composers provide models that deal with a classical orchestra
setting, symbolism, thematic and motivic transformation, tonality, and related
compositional tools. The orchestral settings and the stylistic characteristics of each
composer are appropriate to the purpose of my work. The score of each piece provides
program notes explaining the piece and the detail of performance setting for the ensemble
that can support the organization of this work. All of these composers and their works
provide some examples furthering my new composition. Additionally, examination of
other modern works is equally necessary for perceiving other composers’ ideas and
concepts. However, this dissertation will apply and adapt their ideas and concepts to
compose a new composition in my own style.
31
Ibid., 424.
Robert P. Morgan, Twentieth-Century Music (New York: Norton & Company, 1991), 410.
33
Ibid., 248.
34
Lee, 436–38.
32
CHAPTER 3
METHODOLOGY
Faithful to My Land is an orchestral work in three movements––the number of the
colors of Thailand’s flag. The flag employs the colors of red, white, and blue that reflect
the three main institutions. The red is for the nation, the white is for the religion, and the
blue is for the monarch. The formal structure of each movement grew out of my
compositional process. This composition is about fourteen minutes in length. The texture
of this piece comprises both Eastern and Western aspects. Homophony, monophony, and
polyphony belong to traditional Western music, and heterophony belongs to the Eastern
tradition. Even though this composition is organized on the tonal system, the harmonic
language does not follow common-practice traditions.
Furthermore, the orchestral forces for this composition are similar to the classical
orchestra that consists of two flutes (the second doubling on piccolo), two oboes, two
clarinets, two bassoons, four horns, three trumpets, two trombones, a bass trombone,
timpani, other percussion, and strings. This orchestra is large enough to afford me a wide
variety of registers, sounds, textures, and tone colors. Each instrument has a distinctive
color and offers its own special percussive effects. Combinations of instruments will
allow a particularly wide variety of dynamics, textures, timbres, and power of sound.
18
The main materials of each of the three movements are, as mentioned above, the
two anthems and the letters of the name Buddha, all of which relate to the patriotic
programme of the composition. However, the entire anthem melodies do not appear in
this work. This composition employs some portions of them. The selected parts are
transformed and modified in an effort to support the local and global organization, both
melodic and harmonic, of each movement of the piece. The manipulation of musical
components and the instrumentation are carefully designed in this composition.
Movement I
The first movement employs quoted fragments from the Thai national anthem
(see Appendix). This movement deals with some portions of the anthem, particularly in
the sensibility of rhythmic and melodic patterns. The initial conception for this
movement, for example, is to bring up a rhythmic pattern of a dotted eighth and a
sixteenth note (shown in Example 1). This rhythm pattern is pervasive throughout the
anthem. This movement employs the motive in various manners, such as staccato,
marcato, retrograde, and so forth.
Example 1: Rhythmic pattern
!! ! !! !
19
Other concepts deal with melodic patterns and structural pitches of some portions
of the anthem. At this moment, pre-composition will demonstrate some conception of the
ideas. First, a melodic pattern will quote the first few notes of the anthem, such as the
notes G, C, E, and G´, as its main motif, but with different rhythm patterns. In addition,
the main motif may be transposed to another tone center, or the internal intervals may
change while the spanning G–G´ remains the same. Second, the original melody in the
first four measures is transformed from the major mode to the Phrygian mode, including
reforming its rhythmic pattern. Third, concerning structural pitches, the first two
measures are reduced to principal structural pitches (shown in Example 2). This structure
will be a main element as well.
Example 2: Principal structural pitches
!
!
# " ! " " " ! " "! " "! "
"
original
structural pitches
" " "
"
$
"
The group of the structural pitches will be treated in various ways, such as
transposition to another tone center, manipulation of the rhythmic pattern, and so on.
Moreover, the interval structure of this group of notes implies a subset of this pentatonic
scale that this work will use as an element for serving the traditional Eastern sound.
Finally, an ascending melody, especially the dotted eighth and sixteenth notes from the
20
fourth beat of m. 12 through the first two beats of m. 14 (see Appendix), is very vigorous
and energetic and could be appropriate for the brass section, for example, in the sense of
moving forward and driving with aggressive power to a climax.
Movement II
The second movement employs a technique of translation that employs the name
Buddha as a symbol of this movement. This work takes all six letters of the name and
translates them into six musical notes by using the methods of German musical
nomenclature, Latin solmization (Ut-Re-Mi), and English letter names. Thus, the name
Buddha is translated into the pitch motive Bb-C-D-D-B-A (shown in Example 3).
Example 3: Buddha motive
! #"
"
"
" $"
"
This group of notes, the Buddha motive (with respect), pervades the second
movement of this dissertation. The initial conception in this movement is to treat the
motive as a cantus firmus, thus making a connection with the sacred music of the
Western culture in the Renaissance era. The movement references a preexisting melody
from the Renaissance as well. The movement thus employs two cantus firmi. However,
the movement does not always employ the complete Buddha motive. Some local areas of
21
the movement or some instrumental parts take only some notes of the motive.
Furthermore, the motive does not need to be in sequence every time.
Movement III
This movement is based on new material and is a separate, independent
movement; it ends with an epilogue that refers to all three movements. The final
movement employs the quotation technique as well, but makes use of the Thai royal
anthem, which is provided in the Appendix. As in the first movement, the complete
melody of the royal anthem does not come into view in this movement or the whole
piece. This movement also deals with some portions of the anthem, both rhythmic and
melodic patterns. The initial conception for the movement, for example, is to bring up the
motives of mm. 1-2 and mm. 5-6 of the anthem to employ the technique of retrograde,
but to disregard the notes’ values (shown in Example 4). Other rhythmic patterns for the
new motives also appear.
Example 4: Retrograded motives
mm. 1-2
% &
mm. 5-6
retrograde
'
$
" # !! $
!
" #! $
%%%% $
%%%% $
%%%%%
% %%% $
%%%%% % $
% &
'
22
Other transformations of the anthem are more abstract and thus less audible. First,
the group of melodic pitches in mm. 15-16 (shown in Example 5 with brackets) is
established to be a fundamental chord, and other chords will be built by considering the
relevance of the interval of this chord. Second, the notes in m. 21 will be developed to be
a motive. The new motive still maintains the outline of step-skip-step in the opposite
directions of the group of these notes, but uses various rhythmic patterns.
Example 5: A harmony and a motive
$
%
!" #! # # # # #
mm. 15-16
!"
##
#
#! # # #
$
&
# # #! #
m .21
####
Epilogue
The epilogue is the last section of the third movement. It is a short section, around
one minute or less. The main idea of the section is to bring out the significant elements of
each of the three movements to make a recapitulation of all of them at the same time. The
purpose is to remind the audience of where all of the components are from. Therefore, the
two anthems will probably appear as longer melodies, though still not both entire
melodies. Furthermore, the last chord of the composition is the notes Bb, F, and C (two
perfect fifths) that these notes are the main key centers of the original materials, the
anthems and the name Buddha.
CHAPTER 4
THE FIRST MOVEMENT
The first movement refers to the Thai national anthem. This movement grows
from a main arpeggio motive, a main subject, and a countersubject, (see examples on the
following pages). The movement develops and varies these materials simultaneously in
many different ways. The main arpeggio motive contains the principal structural pitches
(shown in Example 2 on page 19) of the national anthem. Another motive is the first four
notes of the arpeggio (pick up notes) of the anthem (also see example 2, original). They
are subjected to inversion and retrograde, the rhythms are altered and they are changed in
dynamics, register, articulation, and instrumentation. All of these materials are pervasive
throughout the movement. Therefore, the formal structure comes not from thematic
contrast, but mostly from contrasts in texture between different sections. The movement
comprises three main sections—A, B, and A´—with an introduction and a closing section.
The first movement is around four and a half minutes in length. Its motives and
musical ideas are made up of several meaningful intervals: major and minor seconds, the
perfect fourth and fifth, and the tritone. Some melodic figures, harmonic materials, and
rhythmic ideas are used not only in the first movement, but in the rest of the piece as
well. Additionally, some musical characteristics of this movement will recur in the
epilogue of the third movement.
24
The texture of this movement is a combination of homophony and rhythmic
heterophony. The entire movement features a continuous driving rhythm with various
alterations. The near-continuous sixteenth notes in the viola and other string parts
contribute to this energy and rhythmic drive and reinforce the orchestral color. The
driving sixteenth notes principally reflect the tonal centers in each local area in this
movement. However, the repetitive viola also moves to other pitches. Other tonal centers
in some local areas are revealed by other features, such as an auxiliary motion on the low
instruments in the introduction. The movement is essentially organized around the main
tone center, E.
The movement begins with an Allegro con brio introduction in mm. 1–18. Some
portions of this introduction and its primary idea recur in the middle and at the end of the
movement. The introduction employs rhythmic heterophony and an extremely wide
register in the orchestra. Measures 1–6 increase the dynamic from piano to fortissimo in
the whole orchestra to reach the notes E in different registers. These opening measures
are based on the E Phrygian scale, with the raised note D# for creating a leading tone.
The first time the main arpeggio motive occurs is in mm. 9–10 in the low strings
(shown in Example 6 on the following page). The strings’ tremolo in mm. 9–12 and mm.
14–16 move around an E minor triad adding the note C, also considered as a C majormajor 7th chord. Meanwhile, the brasses play the E minor triad with the longer held notes
in mm. 10–12, but change their character in mm. 14–16. The woodwinds play staccato on
the same triad. They also increase the dynamic from mezzo piano to fortissimo that leads
to a C major-major 7th chord bass on B in m. 13. The orchestra continues the same idea in
mm. 14–17 (but louder) to reach the same chord again in m. 18.
25
Example 6: The main arpeggio motive
mm. 9-10
Vc. & Cb.
# "! $
% %
"" &) * % $
&
&
&&
('
mp
mf
The energy of the introduction leads to section A (mm. 19–45), which basically
grows from the two motives with their transformations and the main subject. The viola
continues moving throughout this section. The first time the main subject emerges,
however, is in mm. 26–31 on the low strings (the cello and double bass), doubled in the
bassoons and the first violins, then imitated by the first horn (shown in Example 7).
Additionally, the first trumpet plays staccato doubling the viola during these measures.
Example 7: The main subject
Hn. I
Vc. & Cb.
" !!
mm. 26-31
#
#
#
$ %
(Vc. & Cb.)
mf
arco
" !! &- + % & + % && + % % & ! & ) & ,
&$
&, &
,
) mf
mp
I.
(&'(' (&' )
&
mf 3
& & )! & +
*
& +% $
#
The main arpeggio motive during mm. 34–42 is expanded into the entire orchestra
with the energy of repetitive sixteenth notes. It is played antiphonally between the whole
string section and the woodwinds, supported with the brasses, timpani, and percussion.
Moreover, the arpeggio motive is played by the whole orchestra during mm. 43–45.
26
Besides the large aspect of the arpeggio motive, the orchestral color is provided with a
dynamic increasing to fortissimo.
Section B consists of mm. 46–81. It begins with a two-beat measure of rest. The
tempo is slower and pesante. The timpani, tam-tam, and bass drum support the power of
the orchestra. This section continues from the previous section with the timpani playing
the arpeggio motive on E minor triad at fortissimo followed by the monophonic texture of
the main subject on the whole strings. The section switches back and forth between the
main subject and the perfect fourth and fifth of the countersubject (shown in Example 8)
in various tone centers.
Example 8: The countersubject
! !#
"!
mm. 51-54
Tpts.
*!
Tbns.
" !#
$
ff
$
ff
% $#
&
% $#
&
fff
fff
% ( ) #
'
f
%
' ( ) #
f
Actually, the first time the countersubject is introduced is in mm. 21–22 in the
unison of the first and second horns. Furthermore, a variation of the countersubject
during mm. 58–64 moves within the key of F#m against the repetition of the viola on the
note B. Another variation during mm. 67–77, which is developed from the pentatonic
collection of the principal structural pitches, plays on the flutes and the xylophone. This
27
section concludes with imitation between the cello and the double bass pizzicati,
punctuated by accented chords in the violins.
The A´ section comprises mm. 82–125. The tempo is the same as that of section
A. The viola continues almost throughout the section. However, because the introduction
interrupts this section, the orchestration needs to be manipulated to create some musical
figures to be in accordance with the idea of the introduction. Especially during mm. 98–
100, the music is creating obvious bitonality of the tone centers E and F on the low
instruments supported by the open fifths E-B and F-C in the woodwinds.
After that, mm. 126–27 are interrupted by a slower tempo. The first horn plays a
solo melody accompanied by the low strings’ tremolo. The melody imitates the first two
measures of the anthem but transposed from C major to E minor. This passage leads to
the closing section during mm. 128–37. The closing section concludes as it began with
the introduction idea. Moreover, the movement ends with an attacca indication that the
music should immediately continue to the second movement.
CHAPTER 5
THE SECOND MOVEMENT
Buddhism is the principal religion of Thailand in which most people have faith.
Thai people have a freedom to believe in other religions as well. Muslims are the second
largest religious group and Christians are the third largest religious group in Thailand.
The main idea of the second movement employs materials referring to both Buddhism and
Christianity. The second movement is the longest movement, around five minutes in
length. The movement can be divided into a binary form, A and A´, with a codetta. The
tempo of the movement is an Adagio sereno.
Beyond the Buddha motive (Bb-C-D-D-B-A, shown in Example 3 on page 20),
this movement quotes two other preexisting melodies: a devotional motet by Josquin des
Prez, Miserere mei, Deus and an anonymous Buddhist prayer (shown in Examples 9–10
on the following page). Miserere mei, Deus (Have mercy upon me, O God) was
composed for Duke Ercole I d’Este of Ferrara around 1503.1 Patrick Macey writes:
Continuing with other important musical material in the motet, Josquin generates
four distinct and unadorned melodic motifs ... The first, motif A, is the plaintive
semitone that opens the work; this forms the essential element of the repeatednote introductory subject which the first tenor subsequently takes over as the
soggetto ostinato. The expressive inflection of the ascending semitone effectively
highlights the most important word, Deus.2
1
Patrick Macey, “Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets,” in The
Josquin Componion, ed. Richard Sherr (Oxford: Oxford University Press, 2000), 487.
2
Ibid., 495.
29
Example 9: Josquin des Prez, Miserere mei, Deus, mm. 7–113
Soprano
" ! #!
Mi
$
-
se
#
-
re
-
#
#
re
me
-
#
%
i
de
Example 10: Anonymous melody, Buddhist Prayer
" !! $#
%!
Bud - dhang
Dham - mang
Sang - ghang
# #
%!
Sa - ra - nang
Sa - ra - nang
Sa - ra - nang
#
-
us
%!
&
Kat - cha
Kat - cha
Kat - cha
%
-
mi
mi
mi
The two original melodies, Miserere mei, Deus and Buddhist prayer, are certainly
similar with the repeated notes and the minor seconds, except the perfect fourth at
beginning of the Buddhist prayer. These two melodies are the main materials of each
section. Therefore, the formal structure of this movement could be considered as section
A and A´ rather than section A and B.
The movement also employs number symbolism relating to significant numbers in
the Buddhist and Christian traditions. The six notes of Buddha motive stand for Prince
Siddhartha Gautama’s six-year search for enlightenment. The prince left his palace to
seek Dharma, the right path to awakening, at the age of twenty-nine. He attained
enlightenment when he was thirty-five years old. Jesus Christ died on the cross around
thirty-three or thirty-five years of ages. The climax of this movement occurs in m. 35.
3
Edward E. Lowinsky, ed., Monuments of Renaissance Music: The Medici Codex of 1518, Vol 4,
(Chicago: University of Chicago Press, 1968), 270.
30
Finally, Buddha passed away in peace at the age of eighty years. The end of section A´ is
m. 80. Moreover, this movement employs the number three, which relates to both
religions. The foundations of Buddhist tradition and practice are the Three Gems—the
Buddha, the Dharma (the teachings of the Buddha), and the Sangha (the Buddhist
community). The Christian doctrine of the Trinity believes in the union of three divine
persons—the Father, Son, and Holy Spirit. The composition techniques in this
movement—free counterpoint, paired duet, point of imitation, variations, and repetition
—in each local area are used three times. Thus, the music is determined by relating to
these numbers (3, 6, 33–35, and 80).
The composition’s techniques, such as free counterpoint, paired duet, and point of
imitation are manipulated for this movement. They were developed in the Renaissance
period. Free counterpoint is the relationship between two or more parts that are
independent in contour and rhythmic figure and are also less strictly constrained than
imitative counterpoint; the harmonies are produced by the individual lines and are not
functional. Paired duet refers to a texture that employs two contrasting pairs of voices
(parts). Finally, point of imitation is a short melodic figure used as a subject for imitation.
The music in this movement grows from the only intervals in the two subjects, a
minor second and a perfect fourth, supplemented by the perfect fifth (inversion of P4)
and the tritone (m2 + P4). Furthermore, the variations of the two subjects and other
melodic figures principally move by very small intervals, such as minor seconds. Their
harmonies and other accompaniments mostly use these intervals. The Renaissance
composition techniques and these intervals are used throughout the movement.
31
Section A comprises mm. 1–35. The Buddha motive is divided into two groups of
three notes played by the strings, as at the beginning of the movement. The first three
notes of the motive are in mm. 1–3, and the last three notes are in mm 4–5 (shown in
Example 11). The motive continues as a background throughout this section but with
various alterations.
Example 11: The Buddha motive at the beginning of the movement
mm. 1-7
div.
! #
"
Vln. I !
"
pp
"
"
"
"
#
! "
%"
$"
$"
"
"
%"
%"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
div.
Vln. II
pp
Vla.
Vc.
Cb.
"
&
#
'
'
,
#
'
( -
%* "
, #
( -. +
pp
(
)
)
* ) * # %* "
+
pp
"
pp
* $) #
#* "
* div.
* "
+
"
"
"
"
) *# %* /* %) * ) /* %*
+
The subject, Miserere mei, Deus, emerges in mm. 6–10 in the first horn followed
by its two variations (mm. 10–14 in the first bassoon and mm. 14–18 in the first violins).
The first three appearances of the subject are accompanied by various instruments in free
counterpoint. Then, the statements of the subject are further developed and they employ
32
the technique of paired duet three times between the subject’s variations and their
countersubjects during mm. 18–32. Additionally, the tone centers of the subject and its
five variations are each note of the Buddha motive in order. The section concludes with a
climax for the entire orchestra. The harmonic progression is built gradually from m. 33
until the fermata on the first two beats of m. 35. The climax is created by a harsh
dissonance consisting of two tritones and two minor seconds (the notes B, C, F and F#).
After that, the tension is released by using the Buddha motive that leads to the notes Bb in
different registers on the third beat in the same measure. This point is the beginning of
the A´ section.
The A´ section takes up mm. 35–80. This section begins with a little variation
from the preexisting Buddhist prayer. The subject of this section is introduced in mm.
36–39 in the strings. The Buddha motive is also a background of this section, but not of
the entire section. The timpani’s tremolo, however, plays on the note Bb for almost the
whole section. The music begins to play the subject, Buddhist Prayer, in a Buddhist
chant-like manner. Then, the subject is developed three times. Measures 40–47 use a
double canon at the octave in the strings and the woodwinds followed by a point of
imitation in mm. 48–52 in the flute, oboe, and the solo violin. In the second variation, the
solo violin continues and accompanies the woodwinds in mm. 54–59. The third variation
employs a duet between the cello and the double bass in mm. 60–68. After that, the
Buddhist prayer recurs three times at the end of the section. The section concludes in the
low register and at a softer volume in mm. 79–80 with a cadence using parallel harmonies
of B and Bb major triads.
33
Finally, mm. 81–89 is the codetta. The movement ends with the strings growing
softer and playing in a very gentle texture and with wide intervals, both major and minor
sevenths, including a perfect fourth. The conclusion employs the notes of the Buddha
motive and ends with an attacca indication that the music should immediately continue to
the final movement.
CHAPTER 6
THE THIRD MOVEMENT
The third movement refers to the royal anthem. This movement principally grows
from a few main elements (see examples on the following pages) that are developed from
the retrograded motives from the anthem and another motive also derived from the royal
anthem (see examples 4 and 5 on pages 21–22). Among the musical components and
ideas of the final movement are significant intervals: the tritone and the major third.
Additionally, the meaningful harmonies are augmented triads, diminished seventh chords,
French augmented sixth chords, and others. The chords used in this movement convey
either or both of the two intervals. The texture is mostly homophony with the power of
the full orchestra. This movement consists of three main sections—A, B and A´—with an
epilogue. The epilogue derives from the main materials presented in all three movements.
The music of the last movement, which is around three and three quarters minutes
in length, is based on a twelve-note compositional idea, but the music is not serial. A few
measures employ a twelve-note row with its retrograde and inversion. The tone centers in
each local area are revealed by the lowest pitch, a pedal note, or an ostinato of a motive.
The compositional techniques employ portamento of the trombones and the strings,
parallel harmony, ostinato, and arpeggio. The third movement is essentially organized
around the main tone center, F.
35
Section A consists of mm. 1–38. The movement begins with a Moderato con
energico. The music is established by a tritone on the trombones supported by the double
bass and timpani in m. 1, and a descending motive on the trombones and timpani in m. 2–
3 (shown in Example 12). Furthermore, grace notes are used to indicate quick portamenti
in the trombone and string parts. The music gradually expands until it completes a twelvenote aggregate in m. 14. Section A principally employs variations of the descending motive
in various alterations and significant chords that mostly contain one or two tritones.
Example 12: A tritone and a descending motive at the beginning of the last movement
Tbn. I&II
!
#!
!, !
Timp.
" !
mm. 1-4
$ ##
%$
ffmp
%%
(
%
ffmp
Cb.
, !! %
%
%$ #
ffmp
&& && &&$' $#
(
% ff
%* %3* %* %* %3* %* %* %3* %* %
)&* & & !" )& & & & & & & & & $' $ #
+& + $ #
% %* %* $#
&
%%
%
ff
a2
*
f
3
3
3
3
3
% %
%%&$& & & &- & & & & !" & & & & & & & & &
%%%%%%%%%
3 %%%
%&
ff
*%
% % $' (%
& %& & %
ff
!"
%
$%#
ffmp
$% # $ #
ffmp
%
$%%#
ffmp
* Grace notes are used to indicate quick portamenti in Trombone and String parts.
The first time the twelve-tone row occurs is in the cello’s pizzicato in m. 20 (shown
in Example 13 on the following page). The meaningful intervals of the row are the tritone
and major and minor seconds. The row is not used for creating a serial composition. It is
represented as a summary of the previous musical elements—intervals, triplets, and the
36
descending motive—and the contour derived from a part of the royal anthem. The row,
however, is developed by using canons of its retrograde and inversion in mm. 25–26.
Example 13: A twelve-tone row
m. 20
pizz.
$
!" ! % # # # $
&# $ &# # $# &#
# %#
#
Vc.
!
'#
3
3
3
3
%$#
# $# ) &# * 3) # $# ) )
!
"
(
)
(
( #
Cb.
( (
" !
(
$
3
3
3
pizz.
The B section comprises mm. 39–57. This section is softer than the A section,
which plays fortissimo almost throughout the section. The first subject of the section is in
mm. 39–42 in the flute. There are six melodic fragments played by the woodwinds in this
section. All of them are transformations of the descending motive. The accompaniment of
the section employs imitation between the bassoons’ staccato and the strings’ pizzicati,
punctuated by accented chords on the horns and the strings.
Section A´ takes up mm. 58–74. The music of this section employs the same idea
and texture as those of section A, but shorter and with altered orchestration. The end of
the section in mm. 73–74 is in parallel harmony of augmented triads in the whole
orchestra with antiphonal treatment of the wind and the string sections. Actually the
parallel harmony emerges before this area, but not for the entire orchestra. The parallel
augmented triads lead to the last section of the composition.
37
Example 14: The beginning of the Epilogue
Hn. I&II
Hn. III&IV
Vln. I
!
!
"
&
!
!
Vla.
"
#
$
"
"
#
$
"
(
'' ##
(
%%
mf
&
Vc.
"
"
&
"
!
! **/
/
,
,
& **/
/
Hn. III&IV
"
Hn. I&II
Vln. I
"
! %%%%%%%%%%%%%%%% %%%%%%%%%%%%%%%%
mf subito
(
(
)
"
#
'' #
%%
Vln. II
Cb.
mm. 75-79
(
!
! **/
/0
,
mf
"
(
'' ##
%%
mf
%%
mf
(
%%
% % % %%%%%%%%%%%%%
(
(
#
'' #
%%
*% ,+
*%*%% *%%- % % % % % % % % % %
mf
5
f
mf
5
f
mf subito
%*% ,%+
*%*% *%- . #
"
/
/
/
/
1
/
/
p
p
p
Vc.
! % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % %
(
1
) */
/
* /0
/
p
,
& % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % %
Cb.
& *% % % % % % % % % % % % % % % % *% % % % % % % % % % % % % % % %
Vln. II
Vla.
"
mf
38
The epilogue consists of mm. 75–99. The section employs the main materials
presented in all three movements. It begins with the repetitive sixteenth notes, the main
arpeggio motive, and the countersubject of the first movement, including the Buddhist
prayer of the second movement (shown in Example 14 on the previous page), all
presented simultaneously.
At the end of the epilogue is a codetta. The tempo is ritenuto in mm. 88–89 and
Andante in mm. 90–99. The music is very gentle with pianissimo and softer. The codetta
employs the longer held notes of the perfect fifths (Bb-F-C) by the strings until the
music’s gradual niente with the fermata mark.
CHAPTER 7
CONCLUSION
Faithful to My Land, which is around fourteen minutes in length, is composed for
an orchestra in three continuous movements—each movement is connected to the next by
an attacca indication in between. The main materials of each movement are manipulated
from source ideas that relate to the three crucial institutions of my country. This
composition is globally organized within a tonal framework; both diatonic and chromatic
notes are employed, including a twelve-tone compositional idea. However, tonality and
modality are constructed explicitly in each area by using local tonal organization or tone
centers throughout the composition. The most significant intervals in the composition as
a whole are major and minor seconds, the perfect fourth and fifth, and the tritone. The
global and local harmonic framework of this piece is the result of these intervals and the
relationship of all subsequent tonal areas.
The composition’s subjects, countersubjects, motives, and melodic and harmonic
fragments do not directly quote the source melodies. The original sources are transformed
and modified in various alterations. The use of those sources is deliberately considered on
their significant intervals, melodic contours, and rhythmic patterns. The main materials of
each movement, however, maintain and relate to each original source quoted.
40
The composition follows a more eclectic approach of construction by using neotonal practice, classical treatments, and a twelve-tone compositional idea. The harmonic
passages, however, do not necessarily embody traditional progressions. The pre-existing
melodies and compositional techniques of the Renaissance period provide a means of
creating melodic relationships. The twelve-tone material employed in some local areas
serves as a melodic source, and its treatment is not serial.
The end of the composition employs an epilogue, which derives from the
significant materials presented in all three movements. The structure of the epilogue
symbolizes the unity of my country, which is constituted by three crucial institutions—
nation, religion, and the constitutional monarchy. Therefore, I composed Faithful to My
Land in order to honor these beliefs. Eventually, I hope this unity will be eternal together
with my country.
Appendix
THAI NATIONAL ANTHEM
Phra Chen-Duriyang (1883–1968)
" !!
$ # ! # # # ! # #! # #! # %
#
1
" # # #! # #! # % !
5
9
" # # %
13
#! # # # %
%
" # # #! # #! #
# # ! # # ! # # #! # #! # #! # %
#! #
# # ! #! # %
#! # #! #
#
&
# ' #! #
# #! # %
# ! # # #! #
&
# ( #$ # ! #
# ( # #! #
#! !
) *
#! # #! # # # # %
#(
)
W.L. Reed and M.J. Bristow, National Anthems of the World, 9th ed. (New York: Cassell Publishers Limited,
1997), 524–25.
42
THAI ROYAL ANTHEM
Sanrasoen Phra Barami
HUVITZEN
" # !! $
% % % % $
% &
"# % % % % % % % % % $
% &
5
9
" # %!
% % %
(
%
"# %!
'
% % % %
$
% % % % $!
13
17
"#
'
% % % % % $
%!
'
%! % % % % % $
% &
% % % %
$
% &
%!
'
% % % % %% $
% &
$
% &
%!
'
% % % % % $
%!
%!% $
$
% %% % % $
% % % % % ! %' $
%
(
% &
Martin Shaw and Henry Coleman, National Anthems of the World, 2nd ed. (New York: Pitman Publishing
Corporation, 1963), 342–43.
Bibliography
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Company, 1998.
–––––. Renaissance Music. New York: W.W. Norton & Company, 1998.
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Subtext in Piano Works by Debussy, Ravel, and Messiaen. Stuyvesant, NY:
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44
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45
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FAITHFUL TO MY LAND
FOR ORCHESTRA
FULL SCORE
WIBOON TRAKULHUN
MARCH 2011
INSTRUMENTATION
2 Flutes (2nd doubling Piccolo)
2 Oboes
2 Clarinets in Bb
2 Bassoons
4 Horns in F
3 Trumpets in C
2 Trombones
Bass Trombone
Tuba
Timpani (5)
Percussion (2 players)
Marimba, Xylophone, Crotales,
Bass Drum, Snare Drum,
Tam-Tam, Cymbals, Suspended Cymbal, Tambourine
12 First Violins
10 Second Violins
8 Violas
6 Violoncellos
4 Contrabasses
Score in C
Duration: ca. 14 minutes
Score in C
Faithful to My Land
WIBOON TRAKULHUN
I.
Flutes I&II
 

Oboes I&II



Picc.

 







 


 

 
            
   

ff
q = 126
Allegro Con Brio


Fl. I.






mf
cresc.

f
Clarinets in Bb
I&II




Bassoons I&II

 


 





Horns in F
III&IV






Trumpet in C I



Horns in F I&II





Trombone I&II




Bass Trombone
& Tuba
 
 
Percussion I
Percussion II
Violin I

Viola
Violoncello
Contrabass



mp cresc.





 




 




 

 









détaché


  
cresc.
cresc.
détaché
      
mp cresc.
  détaché
           
p
cresc.
ff

   
 

ff

         
ff
f
a2
       

 

    




ff

    

ff
    

         


ff
5
 



       
 


f
ff







  


  
mp
f

       
mp


      





a2 staccato

 

     

ff

a2


  

   
       
       


ff

        


             







p cresc.
p
ff
cresc.
a2
cresc.


B. Tbn staccato
 
 
  
 

mf
cresc.
mp cresc.
Violin II

mf



I. 

      
               
simile
mp
Trumpet in C
II&III
Timpani

I.
I.


 a2       






 

   
 
 



 
  


 




       
       






 

   
ff

     


ff

   
 

ff
 

     

ff


     

ff
49
 

7
Fl. I&II
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II










 

 













I.




     

mp
I.
I.


a2


   
 
mp


mf

3
5



3



3
   

mp



3

 



5
mp


 
 
3

 


3
  
5

 



  


3
 
3

mp
3
3
   


3


 





p


mp









 

Tpt. I









Tpt. II&III







a2



mp







a2






 








 
 




Hn. III&IV
Tbn. I&II
B. Tbn.
& Tba.
Timp.

 
Vla.
Vc.
Cb.




mp















 



 













p cresc.




mf




3




div.
mp

  

 
 





mp



p cresc.


a2




 
p

p cresc.



p

 
Vln. I   

Vln. II
mp
p
 
Perc. I  
Perc. II

p

mp




mp


 
   
 

mp
pizz. 3



pizz.

  
  

mp
mf

mp
mf

 


mp



3
 


3
 3
 


50
I.


7
11
 
 

 
   
 







 
Fl. II.
Fl. I&II
5
5

3
      


mf
II.
Ob. I&II

       

3
Cl. I&II
3
3
3
5
3
 

 

3


3
      
Bsn. I&II




3
Hn. I&II
 
 
Hn. III&IV




3
e=e






f
3


3

3
3


f mf


3



 




 

 
Tpt. II&III

 
Tbn. I&II




mf





f mf







f mf
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I



 
 





f mf
3
  



Vla.

cresc.




cresc.
 





 



     
 

7
5
3
3

3
  

  3




mf 
f






 





mf


f
non div. 3
   
  
  
non div.
  
   

3
3
3
I. stacc.
  



   



f
f
f



   
  
  
   
f
 

 
     





ff

3
5


       

 

   
 
f
ff



non div. 3

  
      
ff
f

I.
f
  
 


  
 
3
    



    
    
   3 


I.


ff
f
arco and div.
 




   
ff
 
f



  

ff
f
f
mf



  

ff
 






  

f
 

  
ff



 
Vc.

f

  





mf 

 
      


f

 
 





ff
I. 
ff
f



Vln. II
Cb.

3


  




3
 
   



 
ff

  
 
 

f
5


3

  
      
 
      
 
 
3
3
f
      

  
f mf
Tpt. I
  
    
 

3


  
 


ff
  
 

ff
  
 

ff
f
B. Tbn. stacc.

f
  







f
f









f
détaché
    




       
f
ff
arco




f












unis.
ff
  
 


 





51



 



e=e
14
Fl. I&II
Ob. I&II
Cl. I&II
II.

   
 

    



3
I.
5
II.



7
 
 


         
 


 


 


   


mf
3
3
3
5
   II. 
I.

 
3
           5    
       


f


5
5
mf
3
3

                                   

              
3
3
3
3
3
3
3
3
3
3
3
5
3
 



 


3
3
a2
3

3
3



          



Bsn. I&II






         
 



 


3
3
 
Hn. I&II
 
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn.
& Tba.
Timp.

 
       

 
        

 
  
Vla.
Vc.
Cb.


    

 
  



mf

 
 

 


 
 









mf




            




a2
a2



mf



f

  





            



f mf
f
mf



            




f mf
f
 

 
    
       

f mf
f
 


 
mf
f

3



  


 
  
   

 

pizz.

f

 

3
  





3

 

  



 


div.
pizz.


  





           

f mf

  


 
 



  
f

a2




f mf



            








mf

  



            

 
Vln. I   

Vln. II


 
        

 





       


     


 
Perc. I  
Perc. II

 
       

  

3
 
3


 
 
3
3











 


3

3

3
  

  3












 
  






7
5
arco and div.
 




52


 
  

 3 
    
 

17
Fl. I&II
Cl. I&II
3
3



ff 3
f
3
   

mf

 


 

         
Bsn. I&II


3
3

I.
3
       

 


 
     
 
Ob. I&II

ff
3
3
  
 
 
 
ff
3


 





Cb.


 

ff



 

 
     




f
ff
ff


3



    
 
 ff
5
 




 
Vln. I   

Vc.








Vla.


  




Vln. II

 
    
 

Timp.
 
Perc. II


f
Perc. I


  


arco
  


 

3
    



    
    
  ff 3 


non div. 3



ff



non div. 3


ff 
non div.
  
  





ff 3



  


 


 



 
f

  



  

ff
   
   
ff



 

   


      
 
ff 3
 

f

 

 
  

mf
5

  
  

 
  
f
B. Tbn.
& Tba.




   
        
ff 3
Tbn. I&II

 
 
ff
5
Tpt. II&III

  
 
I.
 

ff 3
Tpt. I
mf 5

   



      
       

Hn. I&II
Hn. III&IV
 
I.
5

    


f
mf




  

















 
 
unis.
mf
5
5
 
mf


  
5
mf



  
  



p




f

mf

  
f


5


  
            
non div.
p
  





pizz.



pizz.

p

p


53



















21
Fl. I&II
Ob. I&II
Cl. I&II
Bsn. I&II

 a2

Hn. I&II



mp
p
Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II


 
p




















Vln. I  


mf

      
mf
5
  



3
 


5
5



mf
mf




























mp



mp
5
I.



      
mf

5
5

                                               

p
cresc.
mf
Vln. II
3

3

 
 

B. Tbn.
mp
 

mp
     
5
 

5


                                                                
Vla.
mp
cresc.

Vc.
Cb.











 

 
 

  


 

 
 

  
mp
mp
54
Fl. I&II

25
 I.     
 
 
mp
 
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II






Timp.











 
a2

 






 
mf
mp
mp
mp






  
 



 
 


 
mf
mp

a2
 





mf
mf

 3  
 
 

 
mp



 





mf

3 
   
 


3
3 
   
 
 

mp

mf


 
 

3
3 
   
 











mf
 



Vln. I 

  
  
mp
mf






          
mp
mf
           
Vla.
.mf
Vc.
Cb.


p
Vln. II
  

mf 3


Perc. I 
Perc. II
I.

mf
mp
B. Tbn.
& Tba.

          

Tbn. I&II



a2



Tpt. II&III

mf
mp
Tpt. I

mp

   
 
  
Hn. III&IV
I.
 
   


  

 


  


   

  

mf
  


  


  




mf



arco
mf
arco

mp

55





30
Fl. I&II
Ob. I&II

I.


5
 



 
  

6
mp
Bsn. I&II
Hn. I&II


Cl. I&II


 


   



B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II

  










   


 


 


 
3
3
   

mf


   
3







3
mf

f


 3 
     




 
3


 

 3 
   












   

   
Vln. I 

 

 
3
             
Vln. II 
Cb.



6
 

 


 
 



mf
Vc.
 
mp


3




 


                                 

3
III.





5

 
p
div.
Vla.




  

 


 
Tbn. I&II
mf

 

 
Tpt. II&III
5


 
mf
Tpt. I



 
Hn. III&IV
mf
I.
mf

I.


  


  




 
6
5
      
                     
  


 
  




5

  



mf



5
   



mf


















56





33
Fl. I&II
Ob. I&II
Hn. I&II

Tpt. II&III
 
mf
3
3
3




 

  
5
5
5
3
3




 
mf
5
5



  








  

 


  


  

  


  


  



 


 



 




  



 

mf
mf
I.
mf






p
















 






mp

 
 

  





 
 
  
 
  
 
mf
5

   





















 
  

                           
Vla.
mp subito
 
Vc.




  






  


 






Vln. II
simile 5
mf
 
 

 

 
Vln. I  

Cb.
3

  
 
Marimba
Perc. II




 
  
 
Tbn. I&II
Perc. I
5
mp 3

  

simile
 
Tpt. I
Timp.
5

 
Hn. III&IV
B. Tbn.
& Tba.
3


  
                                                         
Cl. I&II
Bsn. I&II
3



pizz. and div.



mf












 






  
mp
 3

    

 
  
    

    
57





35
Fl. I&II
Ob. I&II


  
 
 

mf
mf

 
 

mf
3
3
5
5
3
3
3
3
3
3
5
5
5
5
5
  
                                                         
Cl. I&II
5
 





 


 


 


 


 


Tpt. I
 


  


  


  
Tpt. II&III
 


  



 



  
Tbn. I&II
 


  


  



  

Bsn. I&II
Hn. I&II

Hn. III&IV
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II







Vln. I  
 
 


 


unis.
          
 








             
mf



pizz.
mf


arco and unis.

 


 





 



arco
            
mf
cresc.
div.
   
               
mf
cresc.
               
               
                
               
mp




cresc.
Cb.

  


  



                




 
Vc.


 
Vla.


 


Vln. II
a2
cresc.
cresc.
mf
mf
cresc.
cresc.
58
     


37
Fl. I&II

f

f
 
Cl. I&II
Bsn. I&II
Hn. I&II

B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I
f
                       
                               
mp

mf


f
a2



f
mf


 




a2


mf
f







mp


II.
 
   
f




f

f
B. Tbn.



p


a2
f





cresc.










         
       

         
       

f


Xylophone

     
f


f
Vln. II
f
mf
cresc.
p


           
mf
I.


Tbn. I&II

a2
a2
p

 
Tpt. II&III
a2
                                          

Tpt. I

I.


Hn. III&IV
    

f
   

 
Ob. I&II





mp
f

mp

f
Vla.
                                                
        
f
Vc.

mp subito
        

         


f
Cb.
f

   
 

f

5
  
  
f
5


59





Ob. I&II




Cl. I&II


40
Fl. I&II
Bsn. I&II
Hn. I&II


 





p
Hn. III&IV
II.
I.

p


 
p
pp



 






p




p

 
p
pp

p subito
pp
pp
I.

         

pp
 


pp

Tpt. I




Tpt. II&III

















Tbn. I&II
B. Tbn.
& Tba.
Timp.

                               



Perc. I 
p cresc.
Perc. II
Vln. I





         
f
           
mf


f
                                                
                
Vla.
mf

Vc.
Cb.


p cresc.

f

                               


 
Vln. II
         

 

 
mp
cresc.
f
p subito
 
f
                                
p
cresc.
f
60


43
Fl. I&II



            

f


ff


a2
a2
mf

                                
Cl. I&II
mf
cresc.
f
p
Hn. I&II


Timp.

 
Tbn. I&II
p
cresc.
  
mf
f


a2


p
   


 




ff

 

ff
 

ff

     

     


 








Cymbals




   

      
      

       
            

f




mf

ff


ff



non div.
  

mf

f
non div.
f
ff
     
          
   

ff
    
              



ff
non div.
   
                
  
                                
                
 
Vc.
Cb.

f
ff
a2


     
     
  


  


cresc.
  
 
ff
  


  

f
                               
               
Vla.
     
  


  

mf


  

   


  
ff

  

  



Vln. II
     


 

  

cresc.

  
 


  
                  


Vln. I  
p

     


 

  
cresc.

f
f



  


 
f
Suspended
 

ff

   

  


    

  

ff


              
            
ff
ff
  


  

Perc. I 
Perc. II
  
f
  

mp

  

 

mf
  
a2

 
a2
 
  




a2


Tpt. II&III
f



Tpt. I
mf


Hn. III&IV
B. Tbn.
& Tba.
mp
     
          
   

                
                 

                       
                                
I.
Bsn. I&II
      
      

f

Ob. I&II
      

a2
p
mp
cresc.
cresc.
f
f
ff
ff
61
Pesante q = 104
 








Ob. I&II









Cl. I&II









Bsn. I&II

 







 








Hn. III&IV









Tpt. I
 







Tpt. II&III









Tbn. I&II









B. Tbn.
& Tba.

 







 
 


 








46
Fl. I&II
Hn. I&II
Timp.
Perc. I
l.v.
ff
 







 

 
Vln. I  










 













 




Perc. II
Vln. II
Vla.
Vc.
Cb.

 

Bass Drum


ff


 






 














 













ff

ff
unis.
ff
ff
ff
 





62

 
51
Fl. I&II
 


I.

 
ff
f





Ob. I&II



Cl. I&II



mf
Hn. I&II





 
Tpt. II&III
Tbn. I&II
Perc. I
Perc. II
Vln. I


ff
 
a2
 
a2
 
B. Tbn.



  


ff

ff

ff







  




     
ff

     


ff


     
ff






 



 



fff

 
f



fff
 


 


f
f

Tam-Tam
f




ff












ff



ff















 











Vla.
Vc.


f
 



f



 

fff





f

fff


 




Vln. II
Cb.


Tpt. I
Timp.



Hn. III&IV
B. Tbn.
& Tba.

 
 

ff
Bsn. I&II




ff
 




 




ff




 


 


 


 






 


 

f
f
63











55
Fl. I&II
Ob. I&II
a2




mf





 


mf
Cl. I&II
Bsn. I&II
Hn. I&II

   
 


mf

Hn. III&IV

  
 
p
a2







mf

 










f
mf




mf





f
mf


     
















   

mf


     



mf
Tpt. I
Tpt. II&III





B. Tbn.
& Tba.

Timp.


 
  





mf

mf
Tbn. I&II

mf
   

p





mf
B. Tbn.






mf














Vln. II




Vla.




Perc. II
Vln. I
f
mf



f
mf



f
mf









mf
mf




mf
   

mf

  

 
Cb.
   
  

Vc.


f

Perc. I

mf
p
p




mf



mf





 



 



 


mf






 

mf









  


  
  


mp
3
     
 


f
5
mp
f
5
mp
3
     
 


64

          

        (# )
I.
 




59














Bsn. I&II
 




 




      
 






Tpt. I
 






Tpt. II&III








Tbn. I&II








B. Tbn.
& Tba.

 

     
 





 


 

 


 

  

 
 

 
 









Fl. I&II
Ob. I&II
Cl. I&II
Hn. I&II
Hn. III&IV
Timp.
Perc. I
Perc. II
Vln. I
Vln. II
Vla.
Vc.
Cb.
mp

  

mp

 

mp



5



  
I.


 

 
 
mp




 


  



 


 

 
     

  



 


  



 


 


     
 

  



   
5


 



mp



    
 
  

5
     


                  


 



    

    
    
    


 




Xyl.


 

             
      




  
  

mp

mp
mp
mp
p
mp
    



 
   
5


     
 


     
 
                               

    

   
 

   
 
   
 

pizz.
  

mp
pizz.
  

mp

 

mp
 

 

mp


 


arco
arco
  


65


63
Fl. I&II

Tpt. II&III



 
Tbn. I&II
Timp.



 

Vla.


       


mf

   
      


  

mp
I.

 



  










       


mf
  
      







 
  

 



       


 




 
mf



5
     
 

mf


5
     




 

  

  


mf








      



  








 


mf





     

  




5
     




 

 

  

mp



mf

 




     


mf
                
 


  
mf
Cb.

mf


  
    


mp


     
Vc.

 

 



Vln. I 






Vln. II
  
   



 
Perc. I 
Perc. II





mp


 
mp

mf
5

a2
       


Tpt. I








a2
 


    
Hn. III&IV
B. Tbn.
& Tba.


    
 


I.

       

Cl. I&II
Hn. I&II


Ob. I&II
Bsn. I&II





   



   




     

mp


  

mp
66

 
67
Fl. I&II
II.

    

                       flutter
          






flutter
I.
pp
3
3
3
p
3
3
3
pp
3
p
pp
3
3
p
3
3
3










Cl. I&II
















    
Bsn. I&II
 

p
pp



I.

mf



Hn. I&II










Hn. III&IV
























Tpt. I

Tpt. II&III
Timp.
Perc. I
Perc. II
Vln. I
Vln. II
Vla.
Vc.








mf



a2
mf











































 

   
 




    


p
pp







 

div.
pp

 

   




    


p
      
 


      



 
      

p
pp
       


pizz.


     

p



 

pp
5
5

  
       
p



mf



pp
Cb.




Tbn. I&II
B. Tbn.
& Tba.







gliss.
p



mf
pizz.
3
3
3
p
3
 


pp
Ob. I&II










67
I.
        

 

72
Fl. I&II
mf 3

Cl. I&II
 

3

Ob. I&II
Bsn. I&II
3


         



3
3



3

  




p

 
  
p





   





mf

 




 
  


Hn. I&II


     




          


 
       



       









          



   





   

         




   

mf
Hn. III&IV
mf
Tpt. I
 
  

Tpt. II&III
 
  

I.
       


Tbn. I&II

 
mf
B. Tbn.
& Tba.
Timp.




   


 
mf






  

          
     
Perc. I 
mf 3
Perc. II

 
3
3



 
3



 

p


     


non div.
Vln. II
mf
 
Vla.
p
arco 


 
     


Vc.
mf
Cb.







mf


      


  





mf


     



3

 



        

              



mf


Vln. I 




 


p
3






Sus.

  














          



       
  

mf




           




arco


mf



mp
p


   










  

non div.



 

mp

 



mp
 


 



 


 


 



68
 

77
Fl. I&II
 
 
 
    

mp
p
3
3
        

3
pp
3
p


pp
Ob. I&II






Cl. I&II












Bsn. I&II


Hn. I&II

Hn. III&IV




  



 
  
mp
mp

 
      

  
      
Tpt. I






Tpt. II&III
































Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I






Vln. II

Vla.


Vc.
 
 




mp

mp


 
      

 

 

 
      

 
 
 

 








 


  


  




pizz.
3
 3
    3
        

  
3
3

mp
Cb.
 

pizz.
3
   3
       

 3
 
mp



   






    


 




   
3
3


    




   



 


 
   
 
 
 
 


 

 
     
  
 

 
    
 
  
 
     
p
3
3
      3 3 3    3

     
         



3
3
3

 

3    3    
              
 

3
3
3
69


Con Brio
82
Fl. I&II
q = 126




I.


p
Ob. I&II





Cl. I&II










Bsn. I&II


 
 
Hn. I&II
 
    
Hn. III&IV
I.

  






p






Tpt. I





Tpt. II&III


















Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I


 














 


p


Vln. II

 
  








 
p
cresc.
                                                               
Vla.
cresc.
Vc.
Cb.

   



  

 





   
 




   
p
p

mp
mp
70



86
Fl. I&II
 
Ob. I&II

 
Cl. I&II
Bsn. I&II
Hn. I&II


mp



 3 

  

    



mp

     
      

     
      
mf 5
mf
5
  
 
 
3

5
mp


     


  
 
  

mf
3


B. Tbn.
& Tba.







Perc. I
Perc. II



 
Vln. I  
mp
mf
  

  
 

mp


             
mf





 
      
mp

    
mp












  
mf
5

mf
 

 
     
 
  


     
3
3
5
5

      
  
 
mp





B. Tbn.
3
3

5

           

Vln. II
3


Tbn. I&II



        

    





mf

Timp.

mf





    


mp
5



Tpt. II&III

   
 
(§)
I.
mp

 
Tpt. I



Hn. III&IV



 

p 
Fl I.
Picc.

p
                               
mp
mf
                                                                
Vla.
mf
.
mp
Vc.
  

 
Cb.
  

 


  
  

  
  



arco

mf

arco

mf
    
3
3
  
3

       
3
3
3
71
Fl. I&II





90







Ob. I&II


Cl. I&II


Bsn. I&II
Hn. I&II


 
   
    
 
3
 
   

 

f

Hn. III&IV
mf
   
   


mf









 


  

mf

Tpt. I
 
Tbn. I&II
B. Tbn.
& Tba.
Timp.


mf
f

  


a2

    
 
   
mf 3
3

  
 
f
mf
3 
   
 
 



3 
   
 
mf

 
   





   
 


3
 



3
mf
3
mf



 
   
 

 
   
3
3
3
 
 




   


3



   


  


   
 
3











Vln. I 

Vln. II
    
    
div.
3


mf 3
   
   




  


                                                               
                                                                
Vla.

Vc.
Cb.

mf

3

Perc. I 
Perc. II
3
                                                               
 
Tpt. II&III

 








 
    
 

   



  

    
 

   



  

3
3
72


 Fl. I.
94

 
 

Fl. I&II 

  
5

mf



5

I.
    
 
 

Ob. I&II  
6
mp
Cl. I&II
Bsn. I&II
Hn. I&II

 

 

 
Hn. III&IV
III.

mf

Tpt. I
 
Tbn. I&II
 
Timp.


     
 


mf
I.



mf
f
 



3


   


   

 


3


    
  

5




  





  



  






 

    

  


  


mf

   
  



  

ff

    
  

ff
  


ff










I.



   


 
   

mf

 

  
   
 
ff


ff
ff
6


ff
3
 
ff

mf


  


ff
 

mf
ff
ff




  
3
   








  
Vln. I 


 
 
mf
Fl.
Picc.

  

 
 
 
  


 


  


Perc. I 
Perc. II
   

             
  
Tpt. II&III
B. Tbn.
& Tba.


mf


3
mf
I.
  

5


6




  
 








   
  
        


  
ff

5
 


mp
mf
mf




  

mf
B. Tbn. stacc.
 
 
f



6








3
Vln. II
Vla.

                            
  
ff

                               
ff
Vc.
 

Cb.
 



     


mf

 
       
 
mf
 







 


ff
détaché
  

            

mp subito
ff

(only Fl. oct. above)


   

 
 

 





      
      
       


       
              


 
3
Fl.
98 stacc.
Fl. I&II
mf
Picc.
legato
mf
 
mf

5
 3 
  


  
3
 

Tbn. I&II
B. Tbn.
& Tba.

Timp.
 
 
ff

5
3

5
   

3
5
ff
  
3
ff
    

ff


Vln. I 
Cb.
5
5




5
stacc.


5



a2


 
6
6
  
   

3
3
5






5












ff
 
  




II. stacc.


















flutter








5



 



 




 






   



  












  

 



 


5





































ff

  






 



 
3


3

    
ff
   


   
ff

 

mf
3

  




3
unis.
 
Vc.
6
3
ff
Vla.


3
f
3




 


Vln. II
ff

3



  


Perc. I 
Perc. II





I.

3
  


ff

 
  

ff

  
 



3
ff
Tpt. II&III

5
I.

3
 

Tpt. I
3
 
 

 







 
                             
     
         
        
  
  

Hn. III&IV
5
3
ff
Hn. I&II

3
ff
II. legato
Bsn. I&II

3
I. stacc.
Cl. I&II
3

mf
 
Ob. I&II
73

ff

    



 

3







détaché


ff







































74

5

   

   
  
   



 

101
Fl. I&II
Ob. I&II
 
Cl. I&II
 
Bsn. I&II
 
   
   
a2

 
          
a2



 
Hn. III&IV


Perc. I
Perc. II



stacc.
 

 




















 
f





  


5
f
a2








 





5




Cb.
   
   




 
 

stacc.
 



       
 cresc.
mp
   




  
  














3
a2
3
    
    


  

a2
mp cresc.
 3

  

 3

   






  



  



ff


  




  

 ff

 





    








B. Tbn.



  
a2 stacc.
mp cresc.
stacc.
mp cresc.




mp
  

ff
   
   
       

Vc.
   




mp

ff

stacc.


ff
 
  


  
mf

stacc.
   
   



     
Vln. I 
Vla.

mp


       
    


p
cresc.


Vln. II
  

ff



 
Tbn. I&II
a2 

stacc.
Timp.


Tpt. II&III
B. Tbn.
& Tba.

 
Tpt. I




   


I.


ff
 
Hn. I&II
a2 stacc.



  
ff
f


ff
f
 


  

mp cresc.









  

p subito cresc.

  


  






    







mp cresc.

 
   

pizz.
mp
détaché



mp
div.

cresc.

 

3
    



    



cresc.
détaché

       
 p subito cresc.
75



         
104
Fl. I&II
f
5
5
 


   
     

  
 
Bsn. I&II
     
Cl. I&II


Hn. I&II
 
Hn. III&IV

 
Tpt. I





a2 



Tpt. II&III
 
Tbn. I&II
B. Tbn.
& Tba.





Timp.
 

Perc. I 
Perc. II








 
   

ff

   
 

f




  
ff





   


ff

     



 
f
6
ff














 









f
5



  

Vc.

Cb.












I.
    


f
3
 3
         
mp legato

5


 


mp
mf
 




mp

mf
 
 
mp
3
mp
3
 
 
3

 

 
mp











mp




3


3


3



ff
   
  


ff







div. 

   



  
 
     
Vln. I 
   


6
ff
f
f
 
mf
 f

div. 
5
   
   


Vln. II  
 
 
f
ff

Vla.


f
ff

   
 

ff
   







     


    

ff
 
   

f
mf

  

 mf






I.

ff
f


   
     

ff

I.
       







 
 
 

f
7
5
 
Ob. I&II

7

 



  
   
 









mp cresc.


ff











f



   
 

ff
 
   

arco
ff
 
   

ff

 
non div.
             
f




 
76


 
     
 

 
107
Fl. I&II
Ob. I&II
 
Cl. I&II

     
3

3
3
5

B. Tbn.
& Tba.
Timp.

IV.
 
cresc. 5


 

mfp
f
mfp
f

Vla.




3

f

 
 


mp

f
Sus.


f
  
  

  
cresc.




  
  

  
  
 
  


cresc.

  
cresc.
 
   cresc.



  

 
  




cresc.



 
   
 
7
f
5







f
                             

 




f
 
Cb.
 
pizz.
f



 
3





pizz.



mp




  



5



   


  
f




  
5
mf

 
 
cresc.
Vc.
3
f



 
5
II.

 
Vln. I  

Vln. II

cresc.


mfp

  
f


Perc. I 
Perc. II
5

f
 

Tbn. I&II
7



3



mf
Tpt. II&III



3


 


3
5
mf
Tpt. I

 
   
 

5
  
 



 
Hn. I&II
Hn. III&IV

                                     

        
   
 
 

5
Bsn. I&II



    
 



3
 


3
 3
 



3

3

3
  

  3







arco and div.

arco
















ff

77

 
109
Fl. I&II
Ob. I&II

     
a2 

   
       

  
a2 
     
       


        

ff
 
5
ff 5
 
a2

Bsn. I&II
 
a2
Cl. I&II
5
Tpt. I
Tpt. II&III
ff
Timp.
Perc. I
Perc. II

 


 

Vln. I  



  

  
  
 
 


     

  





    


 
ff
Cym.



    
ff





  


flutter

  
ff
5


5



7


7

  
   
marcato





marcato
   7    
        

       
flutter

  







  
ff

     

  



5
       


              
 

ff
Vla.

ff
p
Vln. II


a2

   

 
ffp


marcato

ff
 
 



  a2
 


a2 
   


ffp


  
ff

B. Tbn. 

& Tba. 

 

   
marcato

ffp
ffp

 


   
 



ff

 


ffp





  a2
 
ff
ffp
Tbn. I&II

5

 

7
7


  
                




ffp
Hn. III&IV
7
   
  
 
          
  











ff

 
Hn. I&II
7


  




  




marcato



marcato









a2

5


        
marcato










    
   
 
   
5
marcato

unis.
 

  
unis.
5

  

        
marcato
              
       

5
div.
   unis.
     
                      


                   
Vc.



     
5
ff
marcato

     
5


                     
Cb.
 


     
ff 5
marcato
ff



 

 

  
unis.










78

 
 

  
 
113
Fl. I&II
I.

I.
 
Ob. I&II
Hn. I&II
mf

  
  
mf

 
Timp.
Perc. I






 










  


  






a2







 


  









 


  


 


  


   




   



   


  



  

  



  








 
 
   


p



 
 








 



 


 





 
















 

mf

 


mf

 






 



















        
 

mf

pizz.



           
Vla.
mp subito
 
Vc.
Cb.







Vln. II



  
mf
mp
Vln. I

3

  
Mar.
Perc. II
    



mf
B. Tbn.
& Tba.
mf



mf
Tbn. I&II
 



  

 

Tpt. II&III




  

mf

  
 
Tpt. I
 

 

 

Hn. III&IV
5
    
  


Cl. I&II
Bsn. I&II

mf

     


  


pizz. and div.
mf












cresc.





arco
 
mp
cresc.
    
mp
cresc.
79

 
116
Fl. I&II

 




 
 
Hn. III&IV

 
 

 
 

  
 

  


 


 

  
 

  



  
Tbn. I&II
 

  



  

Timp.
Perc. I
Perc. II
Vln. I

f

Tpt. II&III

 
  
  


  
B. Tbn.
& Tba.

f

 
Tpt. I
 
  
  


Cl. I&II
Hn. I&II
  
 
Ob. I&II
Bsn. I&II





I.
p
         



 





 
 







f










          
 



        
       
f
 

Vln. II

arco
           
mf
cresc.
       
f
div.
                
               
Vla.
mf

Vc.
Cb.

cresc.
               
                

       
       
f
        
f
        
f

80

(only Fl. oct. above)

 
118
Fl. I&II
Fl.
stacc.
p
Picc.
p
legato

Ob. I&II
p
 
Cl. I&II
Bsn. I&II
Hn. I&II

I. stacc.
p
II. legato
3







3

3





5




3





5


3

3





3




5




3




5


Timp.
Perc. I
Perc. II




3




5







5

3



5







5









5



3



5





3




5


               
mf
f
a2

mf
           
f

I.

   
       
f
       
               
I.
mp
B. Tbn.
               
p
mp
mf
f
               
mf
f



 
               
               




Vln. I  





f

   
f















f


Xyl.







                                
Vla.
 
Vc.
Cb.





Vln. II

3
f
p
B. Tbn.
& Tba.


a2




5

3




Tbn. I&II




Tpt. II&III

3

cresc.
Tpt. I




                
Hn. III&IV


3











f


   
 




    

f


f
5
5
81
Fl. I&II


 











                                        
120

3

5
3


5

5
3


5
3

5


Ob. I&II
3
3


5


5
3
5

II.

3
3
3
3
3
3
3
3
























                                        
Cl. I&II
5
Bsn. I&II
3

 

Hn. I&II  
5
a2
5








5
p
5
5
5














5






f
a2

f
Hn. III&IV


Tpt. I





mp
 

Tpt. II&III
Timp.
Vln. I
p
mp
















 

Vln. II
              
 
p


            
f

              

 
            
f





   
f
                                
       
Vla.

Vc.
Cb.



Perc. I  
Perc. II
mp

Tbn. I&II
B. Tbn.
& Tba.
 


 

       
f
 
             
 
             
f
82
Fl. I&II


 


           
122

3

5




p
5






Tpt. I

Tbn. I&II

B. Tbn.
& Tba.




I.
       
               










a2

mf








               









mp
cresc.


  






  


 

     



Sus.






mp cresc.
              
f

 

  


  
 

  


 

  

 

  

  

 
               

Vc.

p

Vla.


 
 
Vln. I 
Cb.



 
 

Vln. II
               


Timp.

Perc. II


 

   
f
f
Hn. III&IV
Tpt. II&III
I.
5
 
Hn. I&II
Perc. I


3
3
 
  

           
Cl. I&II
Bsn. I&II

5
 
Ob. I&II
3
       
               
f
f
       
f
83

 
124
Fl. I&II

 


 

 

 
               

Hn. I&II


 
a2

Hn. III&IV
 
mf
a2
Tpt. II&III

f

Perc. I 
Perc. II

f






 

 
Vln. I 




 










 


  



 





















       
   






ff



ff
 










 


 



Vc.
Cb.

   


non div.
               
 





ff
f
Vla.



 
Vln. II



Cym.
 





ff


ff





non div.
 
 




      
 

ff
f




ff
    

ff



 
 


 









Timp.
 



 

f
B. Tbn.
& Tba.



ff
f


    

                



Tbn. I&II




 


         


ff


a2

            








            




          



f

 
   
 
             
ff


f
mf



ff
q = 96
ff






 
Tpt. I

ff
f
f
Bsn. I&II

f
a2
a2
Cl. I&II



 
Ob. I&II




     

a2
ff

            
            
ff
non div.
                

                
ff
p subito
                


ff
p subito
I. Solo ed. espress.
p
rubato




84


128
Fl. I&II



Ob. I&II




Cl. I&II







Bsn. I&II
Hn. I&II



   


A Tempo q = 126
I.

mf
cresc.


   
       
mp

 
Fl. I.


cresc.


I. 


mf
    
    


simile








Tpt. I





Tpt. II&III








Hn. III&IV
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I

 

Tba.
 
p cresc.



   
       



       
       
simile
    
    












p cresc.
mp cresc.


















mp cresc.
Vla.
Vc.









unis. détaché




détaché
       
cresc.
   
   





mp
cresc.
   
    



   
       
    



       
       
    




mp cresc.
détaché
mp
Cb.


a2 stacc.


Vln. II


    

   


cresc.
cresc.
85
Picc.

 
  





 




  

ff
132
Fl. I&II
I.






  
I.

           5    


mf
  
 a2
 



 
  
I.
Ob. I&II


mf
ff
cresc.
 a2

  
     

Cl. I&II

I.

 
 








 
Hn. I&II



ff

       
f







Timp.
 











Perc. I 



Perc. II











f

ff


   

f



   



5
3
3
mp


3
3
   
 




 



ff



    




 

Vln. I 
  
ff
f



 




Vln. II 

 


ff
f









Vla. 
 
   
ff
f



   
Vc.
         

ff

    
Cb.

        


ff




mp


mf


mf



a2




a2








mf




mp
mp


mf












f



 


div.








 
 



f
f
3


  
    


 
 



mf
a2
mp

3
3
3
ff
 
   



3
mp


3
 



 
   


3
 
        






a2

ff
B. Tbn.
& Tba.




 
Tbn. I&II

       

f


Tpt. II&III
 
   

ff

 
Tpt. I




a2


Hn. III&IV


mp
5
f
ff
Bsn. I&II

         




 
3

pizz.

pizz.


3
 




3
 


3
 3
 


86


135
Fl. I&II


I.
Fl. II.
5


5

 
II. 
3
      
 
Ob. I&II
f
Cl. I&II
3
Hn. I&II

3


 










3


3
      


3
 
Hn. III&IV
3

 



     


7

3
3


3


3


f mf




 
Tpt. II&III
 
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I

3














cresc.

cresc.

 
3
3






f mf



 

  3
f



 
 
 
arco




 

f
 



  


  


ff

  






  

 
   


f





ff
3


5
 



  


ff



3
   



    
   
  3 
non div. 3




ff




non div. 3
 





  


  



ff

  




  


ff


  


  

ff
   
  
  
non div.
  
      
3


ff

5

  

ff





f


 



     
 


ff
 


7



  
ff








  


ff

  

    
f



  

f

arco and div.
3
 


 
f
 
 
 
 

 

Vc.




3
 
 

Vla.


f mf


mf


  


3

ff
5
f mf
 
 
Vln. II
Cb.




3
  



 
  


3
 


   


3
f
  


3


3


  
ff


  

          
f mf
Tpt. I


 3 
    
 

5
3

       

3
Bsn. I&II
 
ff
ff

attacca
II.
 
Flutes I&II  


Oboes I&II


Clarinets in Bb
I&II
Bassoons I&II
q = 72
Adagio Sereno

























 








 
 







Horns in F
III&IV










Trumpet in C I










Trumpet in C
II&III










Trombone I&II










Bass Trombone
& Tuba

 
































Horns in F I&II
Timpani
Percussion I
Percussion II
 
 
 


 
I.
Miserere mei, Deus
con sord.
pp
 
espress.
  

Violin I  













 
 
















div.
pp

div.
Violin II
pp
Viola
Violoncello
Contrabass
 






 
  



 
 
pp




pp



pp
   

  




div.





   





 
88










Ob. I&II









Cl. I&II












8
Fl. I&II
Bsn. I&II
Hn. I&II

 


 
I.  

 
 

 



   
ppp
pp espress.



ppp
pp
a2 con sord.





 
   

ppp

con sord.








Tpt. I









Tpt. II&III




























































Hn. III&IV
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I





 




  
 
 



 


div. a3

Vln. II

 
Vla.


Vc.
 

Cb.
 
 
 


pp








 
  



 

 
pp
 
unis.
 

pp espress.
3





III.



cresc.



 
cresc.

89



Ob. I&II




Cl. I&II




16
Fl. I&II
Bsn. I&II




Hn. I&II


I.



p espress.





I.







pp
p



p
pp
    
 
3
3

I.

3
3
 
   
 
p espress.
 
Hn. III&IV

 


 









Tpt. I







Tpt. II&III















































Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I




 

 
Vln. II

unis.

p


 

p


p


 
Vc.



  
 

Vla.
Cb.

pp


pp



p



p
pp


half
pp


half




2 stands
unis.


pp




pp
90
 

22
Fl. I&II


Ob. I&II

Cl. I&II
Bsn. I&II
 




pp
I.
   

  


3

       


3

  

       
3
3
espress.


































































Tpt. I



Tpt. II&III



Tbn. I&II



Vln. II

Vla.

Vc.
Cb.



Vln. I

I.  
   
Hn. III&IV
Perc. II

p
pp

Perc. I


3

Timp.

   
    
  

I.

B. Tbn.
& Tba.
pp
pp
p espress.



Hn. I&II

  

3
p espress.





   


  



2 soli
p
3
half
a2 senza sord.


p

  



 









 
tutti 
  
  



pp
cresc.

cresc.

p
n





p




91
 



 



29
Fl. I&II
I.
p

Ob. I&II

Cl. I&II
Bsn. I&II
Hn. I&II


Tpt. II&III

B. Tbn.
& Tba.
Vln. I









p

  
senza sord. a2


mp

mp
p
 
p



mp
 
  
mp

  
mp




mp
      
  











tutti
mp


tutti

mp


 






 
 
























mp
tutti

mp



p




p

mp









mfp
fmp
ff


 




mfp
 
  
ff
 
 
fmp


 




mfp
fmp
ff


 




mfp
 
fmp
ff
 


 




mfp
fmp
  
fmp
ff
ff

 


 
 



mfp

 
fmp
ff

 
 



mfp
 

ff
fmp
 
 
 



mfp
fmp



 
   

fmp



Xylophone


mp

mp

p



p
 
mfp
6



        



ff
fmp


  

 
 
 


p
mp
mp

mp



mfp
 
 


 
div. 
 









 

mfp



mfp


mfp
  
div.
fmp
fmp
 
 

fmp
 
 

fmp

 


 


 

 

 
 


 
 


 
ff
   
ff
 

 


 

  

 

 
ff
f
unis.
fmp




 
mfp
6


 
 
  
ff
Crotales with brass mallets












tutti
pp mp
Cb.


mp
pp

Vc.

   


  

 

Vla.

mp

Vln. II
mp

 
 


 



pp


pp



 



Tbn. I&II
Perc. II



Tpt. I
Perc. I

 
Hn. III&IV
Timp.
espress.




  

ff
unis.

 

f


ff
f
 

ff
f
ff
f
ff
f
 

 





92
 







Ob. I&II








Cl. I&II









 








 





Hn. III&IV










Tpt. I










Tpt. II&III










Tbn. I&II










B. Tbn.
& Tba.

 








 
 





 










 








36
Fl. I&II
Bsn. I&II
Hn. I&II
Timp.
Perc. I
Perc. II


 
f


   
  
  

   

  
  



  
  



Vla.
Vc.
Cb.

 
 

 
   
  
  
pp


 













mf
  

 
  

mf
half

 
mf




 





 
p



p
   
  
mf



   
Vln. I  
Vln. II
 



p
p

p


p



p

pp

p

 
mp


I.

p

 

pp tranquillo
 
  

pp



 


mp



  
 

 
I.

mp



  
  


  
 

pp
  

pp
mp
93
 

44
Fl. I&II


 
 
Cl. I&II
Bsn. I&II

p

Ob. I&II
 



I.
I.
p
I.




    



p
p
   


ppp

 



 

p
   




pp
a2 con sord.
IV.



3

a2 con sord. pp I.
II. 

 



pp
ppp




   
p
ppp
p


3
 




  
I.


p
  



Hn. I&II

 pp III.
  


 
 
   


  


 

  
tranquillo
pp


 
tranquillo

 
ppp
ppp

 
ppp




Tpt. I










Tpt. II&III







































Hn. III&IV
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I


p
pp





ppp


ppp
























Vln. II

Vla.

Vc.
Cb.
III.

p
 

    tutti
 
  
pp

p

p

p
 
p
   
   
   
n

 


I. solo


p


3
3

   


 
sul D

pp
p
ppp








   





p



   
ppp








p



   








div.


pp
pp
pp
   


pp
p
p

 
pp


 
3
   
p
ppp
ppp
   

2 soli
espress. ed rubato

3
  
   

  
ppp
94









Ob. I&II








Cl. I&II
 
53
Fl. I&II
Bsn. I&II

  


 
 

  

  

3

  


3  

3  3  3    

  
  


 
  
 
  


3  

  
 

ppp
3
ppp
Hn. I&II








Hn. III&IV








Tpt. I








Tpt. II&III
























Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II

 
 
























     
  
   
  
 
3
  
 
sul D
 pp

  

3
3
Vln. II

Vla.













Vc.

    
    
3

Cb.




3
Vln. I










 
     


3
 
  















p
tranquillo


p
tranquillo
95



Ob. I&II


Cl. I&II
 



60
Fl. I&II
Bsn. I&II





  


p


 pp
   

3
     


pp


Hn. I&II
Hn. III&IV

  


pp

pp


pp
3  3  3     
  
 


pp

 


  
 
 
3  





  3  3  3     3  
  

 


 





  
 
  
 



  

 


 
 3    

 3 


  


 

  


Tpt. I








Tpt. II&III
























Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II

 
 




pp

























half 


Vln. I  






pp
tranquillo
Vln. II








Vla.








Vc.
 
 


Cb.
 
 

  
 


    








 

 
  

    
 

 
  

    


96
3

    




67
Fl. I&II










Cl. I&II

 
  






 













Bsn. I&II

 
I.


ppp
pp
 
Hn. I&II

 
 
Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II
B. Tbn.
& Tba.
Timp.




Cb.


 
I.
 

f

a2 senza sord.





I.



 
 




 




   

 

f





B.D.





  

mf

 




mp p
  

 

mf

 
 
  
 
 


 

 
   
 
 
 

 
  

 




f

Cym.
f

  
f







f
II.

 
f
 


 










  
    

 

 
  

 
   
 
  
 
 
   
 
 


 
  
 
   
 
   
 
 
   

mp f
mp f
mp f
mp f
mf

  

  
 


Tba.


   
 


 
 
 

 
  
slow vibrato

 

  
 
 
mf
slow vibrato


 
   
mf
tutti & slow vibrato



 

I.
 





 
tutti & slow vibrato




f
mf
p
mp
mp p

   
 

mp


 3  
        



p
mp


 



mf





 




 

f

   
Vln. I 
Vc.
ppp

p
Vla.



Sus.



Perc. I  
Vln. II


  
ppp

 
 
 

  

f
ppp
ppp
p
Perc. II

pp
Ob. I&II
ppp
I.

slow vibrato
f
 
 


 
 


 
 

97
 

76
Fl. I&II
mf

  





p
Ob. I&II







Cl. I&II
 

  












  





mf
p

  







  






  










Bsn. I&II


mf
 
Hn. I&II
mf

Tpt. I

Tpt. II&III
Tbn. I&II

B. Tbn.
& Tba.



mf

mf

mf
Perc. I
Perc. II
 
 


mf
p
p
  

p

  
p












  

 
 
 
 




  
 
 




  
mf


 



 









  

mf


 
 

 

pp



  

p
mp
mp
p


 
p

 
pp



p




III.

 

mf
Vc.

   
mf
Vla.
a2 senza sord.


ppp
 



p

  
mf
Vln. II







 
 
Vln. I 
Cb.
p

Hn. III&IV
Timp.
p
mp


  

p
mp


  

p
mp

 


 


 



 

p


  

div.
p
p
p

 












half
  

n
pp

 


pp
  
 



 

 

pp
pp

pp
98










Ob. I&II









Cl. I&II


















Hn. I&II









Hn. III&IV









Tpt. I









Tpt. II&III
























































82
Fl. I&II
Bsn. I&II

Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II


 
Vln. I 
Vln. II
Vla.
Vc.
Cb.



 
unis.








ppp








pp



pp













pp












ppp
ppp
ppp


ppp
attacca
III.
 










Oboes I&II











Clarinets in Bb
I&II
 









Bassoons I&II

 









 










Horns in F
III&IV











Trumpet in C I











Trumpet in C
II&III











Trombone I&II


Moderato con Energico q = 108
Flutes I&II
Horns in F I&II
 

 

ffmp
Bass Trombone  

& Tuba 
Timpani





ff
f


 
  



ffmp
 

ff

Percussion II
Violin I

 
 



   
ff


ffmp





 
ffmp


ff


           
       
ff

 



















  



   
 



 

   



   
 
Tambourine &
Snare (Rim Shot)
ff
tutti


3
3
3
3


               
 
3
metal handle (scrape)
Percussion I
 3   3   3 
3
            
   

ff
a2
*
Violin II











Viola
 









Violoncello











Contrabass
 
  

ffmp

 



*


ff
 
 
* Grace notes are used to indicate quick portamenti in Trombone and String parts.

 
ffmp
   
 

ff


 
Cym.
ff
100





  














6
Fl. I&II
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II

Hn. III&IV
Tpt. I
Tpt. II&III
Timp.




   






    

































ff

ff

   


   




ff


   
ff
 






ff
 3   3   3 
3
            
   

ff
f

B. Tbn.

 
 


  

ff





      
      
ff       
 
3
3
3


              
3
3
3
3

   


    

3

     
3
II.
ffmp
3

   
 








ffmp

 
ffmp

  

 ff
  


ff

  














 
 
ff


 
       
 

 













Vln. II










Vla.












   
 


   
 


Perc. II
Vln. I
Vc.
Cb.

 

 
ffmp


 





ff


3
    3 
    




 
3

ff
   
 


 
3
3


 
div.



 

ffmp




ffmp



3
ff
a2


3
     
ff

  
  





ff

a2
 


 
  
ffmp
Perc. I



 
ff
ffmp
B. Tbn.
& Tba.

ff


Tbn. I&II

ff

 
 
   



non div.
ff
ff
101

 
11
Fl. I&II
 
Ob. I&II
Hn. I&II


  



 

Tpt. I

Tpt. II&III
Tbn. I&II

  




     



     

I.


  
 

     




Hn. III&IV
B. Tbn.
& Tba.

 

    
Cl. I&II
Bsn. I&II
 
  
       
 
ff 3


 

  
  
  

       

          


  
3

      
   

ffmf

ff
ffmf




  
 
 

Vc.

 

Cb.
 


  

ff

  

ff


  




    


 



  
Vla.

 



  
ff


    


 

  
     

    


  
Vln. II


 


  
Vln. I  
ff
non div.


ff


  


  


 


 


non div.

  





ff


  


 


  

 


  



  






 


 



  


  


 



  



 



  








  

  


3
 

 
 

3
3
 
    
    
3

III.
3
 

f



  
       
f






  

f
 




  


 

 



 
 



   

non div.

  
 



 



3

                 
    
      

Tam-Tam 


   
  

Perc. I    



I.
f

 
Timp.

Perc. II



 

ff





          






        
f

      
           
3
 


      





 



 


102


16
Fl. I&II
Ob. I&II

Cl. I&II

Bsn. I&II



3

   
 
  
f
 
 
         
f
3
   
   
 
3
3


      
     
3
3
3
     






Hn. III&IV
Hn. I&II



3





        





f

Tpt. II&III




Tbn. I&II



Timp.
Perc. I
Perc. II
Vln. I
    


   
   



        





        
        




 

 
 



  



 

  
 

  








 




  

f
 
 


 

 
   




  



     
I. 

   





  





  



f


f

3


 





 
 
     
I.
  
     




  





















       
       
       
 
  
 

       
       
       
 

 
 

       
       
       
 
  
 



f

Vln. II



pizz.

Vla.

f

Vc.
Cb.
 
  




B. Tbn.
& Tba.


  
 
 

Tpt. I





3
           





     
  
 

3

I.

    


I.


        

3
3
3

f
arco


       
       
       


       
       
f
f
 
  
 

 
  




 
103

 
Fl. I&II
Cl. I&II
Hn. I&II

3

  


 







Tbn. I&II




Tpt. II&III



Tpt. I
Timp.
f


Hn. III&IV
B. Tbn.
& Tba.
 

Ob. I&II
Bsn. I&II
  
       


3 
Picc. 

20







ff


Fl.
Picc.

  
f
     
       

3
   

3
  
  
 












 
 
 

 










3






3

3
  
a2
3
3








f



3
3
3
3

3
  
  
3
     
     



3



 








Vln. II


Vla.


    simile
      
      
    simile
      
      
      
 

 
 


pizz.
Vc.
3
3
    simile
      
      
div.
3
3
pizz.

3

           
Cb.




3
3
3
    simile
      
      
arco
simile
      
arco




Vln. I






Perc. II
3
3
3


Perc. I
3
 

      
 








3
  
  
 
 3
 




3
 
 








3




3

3
  
  
3
    
      

3
3
      
 



  
  


  

















































































104
Fl. I&II
           e = e
23
            
 






 
 
   
            





 

 
  

 

3

Ob. I&II
Cl. I&II
Hn. I&II

3
3
3
3

  
 

  

Perc. I
Perc. II
Vln. I
3
3
3
mp




 




          

             




















3





3
3
 
    
3
  
  
  
3






3

3

  

3
3
3

 

3

 

 
   
 

mp

3
I.
     
   




3
3


 





3
3
 
  
          



3



3

3
Tbn. I&II

I.


3
Tpt. II&III
3
   
 
3
   
  
  
 

Tpt. I
 
3
3


3
Timp.
3
3

3
           
 
 
 
3
Hn. III&IV
B. Tbn.
& Tba.
3
3
3
Bsn. I&II
e=e






















 















 
 
















 















Vla.
 
















 









Vc.
 















 
 











 







 








Cb.



3
pizz.
3
3
3



   
       



3

 

Vln. II
3


mp

105
Picc.



 
26
Fl. I&II
mp
I.

  
       



3
3 
 
3
Fl I.&II

f


3

  
     
     


mp
Ob. I&II
3
3
3
Cl. I&II
Bsn. I&II




    

 

   
3



 
a2



 



 


 



f




 





f
f

 



 



 

 






 


f
 

   



      
 

  

   
 



       

Hn. I&II 





    
 



  

   



    
      
   

     






Hn. III&IV
Tpt. I
Tpt. II&III
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I

a2

f
3
          
    
f
f
f
3
3
3
3
3
3
     
     
f
 





 
   
non portamenti














 



 
Vln. II





f
























arco
f
 
Vla.





f
Vc.
Cb.
3

 


 





f


f


























 


simile
   
   
f


 

 




 

 


 

 

 


 





     
     


     




     
     
   


     
   


     
simile
   
simile
   
   
simile
simile
106

 
29
Fl. I&II
Ob. I&II
 
Cl. I&II
 
Bsn. I&II
Hn. I&II


 




 




 



 







 
Tpt. I
 

 
    

   
 
 


Tpt. II&III
 
Tbn. I&II
Perc. I
Perc. II

  










                    
 
Timp.

  

  
               
Hn. III&IV
B. Tbn.
& Tba.

 
  

 


f






  
 
  

a2


port.
Tba. stacc.
3
    
       
3

3




  

3
3
3
       
       
3



3
3
    
    
 3   
    
    




3
       




3






                
               

       
       
f


       



3

       



3

       



port.

       



    
3
  
B.Tbn port.











 


 
Cym.
f




         
        
                
               



Vla.
                
               


         
        
Vc.
                
               



         
        
        


 
Vln. I
Vln. II
Cb.

       

        
        
       
107
33
 


 
a2
Fl. I&II

a2

Ob. I&II

Cl. I&II
 
a2



 
ff

 



 
 



  

ff
ff


        
Bsn. I&II

      
 

        




      
 

Hn. I&II
3
3
         
 
Hn. III&IV
Tpt. II&III
       


       
         


3
3
3
B. Tbn.
& Tba.
Timp.




 

Perc. I 
Perc. II
3
 
Tbn. I&II




 


 

 
Vla.
 
Vc.
Cb.

 



      


  

 


   

  

        







        



 

 




 
  
    




  


 


 


  

 




      

 


  









      
ff
ff









ff


       
       





        
       
        
       
      



    
 

 



        
       
 


   
      






Vln. I  
Vln. II





 



Tpt. I


  





ff


   


non div.
  



  


  


 



  



  



  



  



 




  





  


  


 



  


ff
non div.
ff
non div.

  


ff
non div.

  

ff

  

ff

  



  


  



  


 



 



  






  


108
 


     

37
Fl. I&II

Ob. I&II


      
Cl. I&II
Bsn. I&II
Hn. I&II

Vln. I






  


  

p espress.



   
             


3
3

            


 
 
 
3
3

  

   

  
pp

  

I. Solo
p
espress.

pp





  
     
         


 

p 





 





3
            3  

         


         





 







  
       
3
3
f



           3   3


pp
pp
pp


      
      
    






     



















 

3
B. Tbn.

3


 

  




 
          







 

 

          


 


  

 

  





        

3
 
f

  

        
 
pp
   


  


  

3
f

 

pp
3



Vc.
3



 
    


Vla.






Vln. II
Cb.



   
Tbn. I&II
Perc. II
I. Solo


        

       
    



  
Tpt. II&III
Perc. I


Tpt. I
Timp.

e=e
 


          


                  
    
      
Hn. III&IV
B. Tbn.
& Tba.


     
e=e

 
 
pp

pizz.


pizz.


 


 

  
          


 




         
pizz.
p


 
3

p




p
   

3
3
 
   

3

109


43
Fl. I&II

Ob. I&II


 
3


Cl. I&II

pp











I. Solo

p




Hn. III&IV

Tpt. I
Tpt. II&III
Bsn. I&II
Hn. I&II

Timp.
Perc. I
Perc. II
Vln. I
espress.
  
 
         


       
   
 

p espress.

  




pp
I.
  
 

































































 
       



  
 
       
 

3

   





 
 
     
 
arco  
     
 
 
 
  
 
Vln. II
mp
Vla.
Vc.

mp

mp

p
 
  
mp

pizz.

 

p
    
arco
 
         
3

pizz.
mp
arco
Cb.

I. Solo

Tbn. I&II
B. Tbn.
& Tba.
 
  



pizz.
p

p
p
         


arco
3
mp
3
   

  


arco  
  
 
mp
   
      
arco
mp
   
       
110


49
Fl. I&II
 
Ob. I&II
Bsn. I&II


 



 





    


Cl. I&II

pp









I. Solo

 

3
    
p espress.

3
3


  

 
   
 

  

 
   
 



  
 
 
  

 





  
 
  




Tpt. I






Tpt. II&III


















































Hn. I&II
Hn. III&IV
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I

Vln. II
Vla.
Vc.
Cb.



 



pp
pizz.
   
p
pizz.


p



p
 
3
 

3



ppp
 
3
pp

pizz.
3


p
ppp
3
  
p



   

  

p



     
  
arco
  


     
  
  
p


 

pizz.

 3
     
3
p


111











54
Fl. I&II
Ob. I&II
Cl. I&II
     
3
Bsn. I&II
Hn. I&II

p espress.


pp









  

  
ff
 

ff
ff





 
ff
 




         








 
 
ff
 
 
















  
Tbn. I&II
B. Tbn.
& Tba.










Sus.




 
 
Vln. II

Vla.

Vc.
Cb.

mf

  


  

  


Vln. I
  
 

 
p 

 

Tpt. II&III
Perc. II






          
Tpt. I
Perc. I



Hn. III&IV
Timp.
  

   
I. Solo











ppp
port.



fmf







ppp





  


ff



ff



 
ff

   
ff
ff


ff

  



ff
  

 pp


    



  

divisi a3
    
 


  


divisi a3



arco & divisi









pp
arco

pp
 
 
  





       
       
       
mp


p
ff
f


 












arco & divisi

p
f
mf
   
         
        

ff
       
        

ff
      
       

ff
       

ff
112
Fl. I&II



 
  


   
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II




Tpt. II&III
Tbn. I&II









Timp.

 


 
   


  


 

 

 
  

 
   
 
ff
f

 


   





    






 

ffmp
 








ff


ff



   

ffmp

ff

  

    
    
  










 


  


 
 
 
    
  
    
    
    
  




 

 
 
mp


 
mp
                
                     
 mp
                  
                 
 mp
                

                  

 mp
 
 


 
















  
ff



3
3
3
ff 3
3
3
3





3



3
3
3
          
         
         








a2

  
     
3



  






  



3
3
3
3
           
            
3
3
3
            




3
ff
3
3
3
ff


        
          
           
            
3
ff
ff
ff 3
ff


  

3
3
3
3
3


      
     
3


  



3
ff




3

  


ff
    
  
    
3
ff



           
   

          

  


f


           
     

f
 

3
3
3
3
 3
            
           
ff
           
            


ff
3
ff

  

3

  




Cb.
 



Vc.

  


f

  


Vla.
ff 3
        
  
      

ff


 
   
 
ff


Vln. II

  
   



   
Vln. I  
 

    


   

Perc. I 
Perc. II
  
    
Marcato
ff

Tpt. I
 



Hn. III&IV
B. Tbn.
& Tba.

  


59
3
3
3
            
           
3
3
3
3
113


64
Fl. I&II

 

   

Ob. I&II


  



  
 

ff

  
 

 ff

  
 

ffmp

Cl. I&II
Bsn. I&II
Hn. I&II




 

ffmp

 







Hn. III&IV

Tpt. I

 

   

Tpt. II&III
 
 


 
 

 



 
 

ff

 
 



ffmp

Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II








Vln. I 

Vln. II

Vla.

Vc.
Cb.



 



 












 
ffmp
ff
f
ff
f




  

 






 



 





 

    
ff
f
ff
f




 


 


 

 

   
 
 


 




   
 




   

ff


   
 


   
 


   
 
a2

   


ff




a3

 


 



ffmp

ffmp



ffmp

 
   
ff
a3


 




 











Tamb.
& Rim

 a2 
 

 
 
 
ff
 a2 
    

   
  

  





3



3



  
 



3


ff
3

 
3
  

  
3
  
  




ff





  
     


3
a3
  
  
3
ff

  
  

 
  
 

  


  













ff
Tam-Tam
ffmp

ff


ffmp

 
 





ffmp






           
       
B.D.
 

ffmp

  


3


  

3
ff

ff


ff
ff
ffmp
  
    

 
    

  

3
ff
3
ff


ff
3
  
  
114
        
 
 
 
          

68
Fl. I&II
3
Ob. I&II
Cl. I&II
3



3



Tbn. I&II
Timp.


 

3




3
3
3
3








3




3

3




   
 


   
 

   


        
 
 
 
 



   
 






 




ffmp




 

3
3
         
 


        
3
3
   3
     




        


 



ffmp



  


ff


  




 
ffmp
   
 
 



Perc. II  




B.D.   
 


 
   

3
Vln. II
3
 
   
    
     
     



        
          

          






          

3
Vla.
3
Vc.
3
3
3
3
3
3
3
Cb.
3
3
3
3




  



  







 
    
 
3
II.

3


  


  


  


  



  

   
 

   


  

ff



ffmf

Tamb.
& Rim



ff
 
 






 


 









non div.


  



     


  
non div.






ff

   
 




 


   
 
 
ffmf
Tam-Tam
a2

   

    
     
  


 

        
ff

        
 
 
 
          
Vln. I  

ff
 

Perc. I
 
  
ff
ffmp
3
      
      
      
3
B. Tbn.
& Tba.

 

3
  3
     
   
   
     
Hn. III&IV

Tpt. II&III

 


ffmp
Hn. I&II
Tpt. I




 
 
Bsn. I&II
 

3


   



   
 

ff

   
 





















non div.
















115







72
Fl. I&II
Ob. I&II
Cl. I&II
Bsn. I&II
Hn. I&II


       
  





 
 
   
           


          
           



             
          


 




  
  
  
 

      
  

3
3


           
 
 
 
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II

       












 
Vln. II
Vla.
Vc.

 
   

 

 

 


 


 




 


 

non div.

 




3
 
 
 

3
3




 
 
3
           



3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3



3
3
   
   
3




3
 
 
 

3



3
3
      
   
      


3



3
3


  3
         




Vln. I  
Cb.
3

3
3
3
Tpt. II&III
3

        
      

       


Tpt. I

3
      
      

3
3
3


3
    
      

3
3
I.
        



Hn. III&IV

       
  


           



3
3
3
3
3
 


3

3
3


3
3
  
  

3
          
         
 
 
 


3
  
     
 
3


Tam-Tam


 
3


      
        



     

      





     

      














3
3












3
   
   

3
3
3
  
  
3




3
3

 


 

3
3
        
       

3
3
     
 
3
3

 


3
  

     
 
3
3
3
3
3
   

  
 

 


  

 


3
3
 


3
     
 
3
116
Epilogue





Ob. I&II




Cl. I&II














Tpt. I




Tpt. II&III




Tbn. I&II

















75
Fl. I&II
Bsn. I&II
Hn. I&II

Hn. III&IV
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I






Vla.


 




mf


 


 





 
 
mf
Cb.






      
mf subito
mf
Vc.

mf



mf


Vln. II



 
mf


 


 


5
5
f
f
mf
subito

117



Ob. I&II


Cl. I&II




78
Fl. I&II
Bsn. I&II
Hn. I&II

Tpt. II&III






I.


mf






p

mf
Perc. I
Perc. II
Vln. I





f








f


f


























Tbn. I&II
Timp.

a2
mf
B. Tbn.
& Tba.


p








 

Tpt. I
  

  
I.
mf

 


Hn. III&IV




 



Vln. II
p





mf


  
 

mf

 

                                                               

 
 

Vla.







p



  

mf

 

Vc.
                                                                
Cb.


                                                                

mf
118

(only Fl. oct. above)
 


82
Fl. I&II


Fl.
stacc.



mp
Picc. pp
legato
  
Ob. I&II

mp

 
Cl. I&II
mp
Bsn. I&II
Hn. I&II

 

mf






mp
  
  







I.
 
 


 


B. Tbn.
& Tba.


3



II. legato pp 3














 









 





 

    
     

mf



 

  
  mp



mp


mp







 











  
  
5



3



  
  
5









3













 




5

5




3






 


Perc. I 
Vln. I



Timp.
Perc. II



3

mp
Tbn. I&II
mp

 

3
I. stacc. pp



 


 
mp
Tpt. II&III




 



mp
Tpt. I

mp

 
Hn. III&IV

3
pp






                                               
  




  
  


 mp
Vln. II
mp
Vla.
                                                
Vc.
mp
Cb.


                                                
mp
119
Fl. I&II

 
 











                                       
85
3

5

Ob. I&II
5
 
 
  

mp 3

 
 
3
5
Hn. I&II
3


5
3
3


5

5
3
3


5

 

 

5




p
5

5












5




5




5




 
Tpt. II&III
5
5


5




5




5
ppp


mp
  

    
   
p
p


p





 

mf
p













Perc. I 


 

Vln. II





mp







mp


p




p
3
3
                                             
 
Vla.


5
ppp




5

Tbn. I&II
Vln. I
5
5










Tpt. I
Perc. II
5

mp
Timp.
3

5
mp
 
Hn. III&IV
B. Tbn.
& Tba.

 3
3
3
3
3
3
3
3
3
3













 














 
                                       
Cl. I&II
Bsn. I&II
3




mp






Vc.
                                              
Cb.


                                              
3

3
3
3
120


88
Fl. I&II
Rit. -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
q = 92
Andante



I.



pp

 
Ob. I&II






Cl. I&II
















Bsn. I&II
Hn. I&II




Tpt. I


Tpt. II&III

Hn. III&IV
Tbn. I&II
B. Tbn.
& Tba.
Timp.
Perc. I
Perc. II
Vln. I


ppp

























pp



 



 

 
p
 
p

 
    


    


5
5


I.


pp


ppp











p

Mar. (soft mallets) l.v.




  


p
Cb.
 



Vc.
pp





Vla.






 

Vln. II




l.v.

 


 














pp
pp
pp
pp
 
121


93
Fl. I&II

 

ppp












Ob. I&II


Cl. I&II




























Bsn. I&II
Hn. I&II


Hn. III&IV










  

pp

ppp
Tpt. I








Tpt. II&III
































Tbn. I&II

 

ppp
B. Tbn.
& Tba.
Timp.





Perc. I 
Perc. II
Vln. I






l.v.





































Vc.


pppp
l.v.

 







l.v.


Vla.







Vln. II
Cb.


pp

ppp





  

ppp






ppp















ppp
ppp
ppp
ppp
n
n
n
n
n