ABSTRACT. Juan Martín Gendelman, Doctor of Musical Arts, A growing interest in the theatrical side of musical performance has been the

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1 ASTRACT Title o Dissertation: NOLDING: OR MIXED ENSEMLE uan Martín Gendelman, Doctor o Musical Arts, 007 Dissertation directed by: roessor Larence K. Moss School o Music A groing interest in the theatrical side o musical erormance has been the genesis o this dissertation. Although intended as a iece that should make sense musically (in a concert situation, that is) nolding as created as a multi-discilinary ork, here I have exlored some o the ays in hich a musical iece is erceived hen ut together ith elements that belong to other artistic ields. Within the scoe o this dissertation, those ields included Dance, the Visual Arts (reresented by the live video,) Architecture, and Theatre (acknoledging here that, even though Theatre never layed an active role in the develoment o the iece, dierent kinds o theatrical resources stand out hen nolding is erormed). Some concets ere careully treated throughout the creation rocess. The idea o considering Dancers and Musicians simly as erormers, and thus trying to make less obvious the division naturally imosed by their roles in the iece, as resent at all times. Also, both comoser and choreograher orked closely rom the very beginning

2 o the roect, in an attemt to achieve a balanced inluence rom each ield over one another. Architecture as also very imortant rom the beginning as both acoustical and visual characteristics o the hall (Dance Theatre at the Clarice Smith erorming Arts Center) shaed the iece. The video, on the other hand, as treated in a more comlimentary manner. Its creation took lace only ater music and choreograhy had their inal aearance. ormally, the iece as originally conceived as a main develoment that starts ater a relude and evolves through sections I, III, and V, being interruted tice, in II, and IV. In reality, hoever, the mentioned develoment does not haen in a classical ashion. Instead, musical gestures and ideas unold (hence the title) throughout I and III, reaching its highest oint o tension shortly beore the second aearance o the trumet at the end o V. Instrumentation as also lanned early, trying to orce dierent erormance situations beteen dancers and musicians through the use o a dierent number o instruments on each section. Consequently, the iece starts ith a solo that soon becomes a duet (in the relude), olloed ith a trio that becomes a quartet (in I, considering the ercussion as only one art), continues as a quartet throughout III, and gros u to a setet (in V) and eventually an octet hen the trumet aears. At the same time, the solo o II and the duet o IV, hich is comositionally an extension o II, interrut the groing nature o the grou. The abrut aearances o the trumet in II, and III, and its inal emergence at the end o the iece, are treated as means o ormal unity. ecause o the artistic nature o this roect, its inal conclusion may have many readings. As a comoser, hoever, I have been taught by this exerience that hen

3 dealing ith a multi-discilinary ork, the earlier the creators (comoser and choreograher, in this case) start orking together, the stronger and more organic the connections beteen the discilines ill be in the iece.

4 NOLDING: OR MIXED ENSEMLE by AN MARTIN GENDELMAN Dissertation submitted to the aculty o the Graduate School o the niversity o Maryland, College ark in artial ulillment o the requirements or the degree o Doctor o Musical Arts 007 Advisory Committee: roessor Larence K. Moss, Chair roessor Thomas Delio roessor Robert Gibson roessor ames Ross roessor Meriam Rosen

5 Coyright 007 by uan Martín Gendelman All rights reserved ii

6 AKNOWLEDGEMENTS Several eole have been instrumental in alloing this roect to be comleted. I ould like to exress gratitude to Tzveta Kassabova, in irst lace, or sharing this creative ourney ith me. I ould also like to thank dancers Sarah Anne Austin, Lillian, Cho, Yoko einman, and Sarah Levitt; as ell as musicians Sarah Schramm, Evan R. Solomon, ustin land, Lee Hinkle, Scott Craord, Sally Sarles, enamin Meeker, and Colin Chatield; and conductor Shy-Luen Chen. Their enthusiasm and dedication as amazing and layed a key role in the success o this roect. aul ackson and Mustaha Amego ere very imortant or the visual asects o this ork. I ant to acknoledge my advisor, roessor Larence Moss, and roessor Meriam Rosen, ho ere not only suortive, but also encouraged each and every idea e roosed; to roessor Thomas Delio or oering his sincere and obective eedback every time I needed it; and to roessor Robert Gibson or his unconditional suort on the ractical side o this roect. Secial thanks go to my amily, in Neuquen and in Rauch, hose love and understanding have been invaluable in every ste o this ourney. inally, I ant to dedicate this ork to my ie, Yanina, ho has shon the greatest o all hearts, accomanying me throughout this eort, during the many months that this roect lasted, during the several years that my studies have taken, and rom hom I have learned more than rom any score I have studied, any book I have read, or any class I have ever taken. Thanks! iii

7 TALE O CONTENTS Coyright ii Acknoledgements iii Table o Contents iv 1 Music Score About the erormance and Coyright o the iece 1. Instrumentation 1. Notation Score 6 Stage setting lans 89 iv

8 uan martín gendelman unolding or mixed ensemble, dancers, and live video 007 1

9 a note about the remiere nolding as comosed beteen the month o October o 006 and the month o ebruary o 007 as art o the dissertation roect or the doctoral degree. Its remiere, hich also included choreograhy, costumes, and live video, took lace at the Clarice Smith erorming Arts Center's Dance Theatre, in the niversity o Maryland, College ark (nited States), on March 9, 007, and as immediately olloed by three more erormances. Tzveta Kassabova created the choreograhy and the cosutmes. The live video as realized by Mustaha Amego. erormers included dancers Sarah Levitt; Lillian Cho; Sarah Anne Austin; and Yoko einman; and musicians Sarah Schramm (lute/alto lute); Evan Solomon ( b clarinet / bass clarinet); ustin land (trumet); Lee Hinckle (ercussion); Scott Craord (ercussion); Sally Sarles (viola); enamin Meeker (violoncello); Colin Chatsield (contrabass). The remiere as conducted by Shy-Luen Chen. The duration o this iece, in its original version, as about 40 minutes. The coyright o this iece is administered by the American Society o Comosers, Authors, and ublishers (ASCA).

10 instrumentation lute / Alto lute b Clarinet / ass clarinet b Trumet ercussionists Viola Violoncello Contrabass Vibrahone ercussion Shakers () Tambourines () Susended Cymbals () Temle locks (set o ) ongos 4 Tom toms (small to large) ass Drum With the excetion o the contrabass, all instruments sound as ritten.

11 notation [l. / a. l. / cl.] Click random keys as ast as ossible, avoiding reeated atterns. [a.l. / l.] Li izzicato (should be alays accentuated). / / [l. / a. l. / cl.] lo through the instrument ithout roducing itched sounds. [Tt.] Imrovisation during indicated eriod. Materials on age 17a may be emloyed as a starting oint in the imrovisation, but the erormer ill be by no means restricted to them. 4

12 nolding relude Viola and Vibrahone I - Out o Nothing Alto lute, ass clarinet, Viola, and ercussion II - Detours ercussion III lute / Alto lute, ass clarinet, Viola, Violoncello IV - More Detours Contrabass and ercussion V - nolding ull grou Total duration: about 0 minutes.

13 relude Viola Vibrahone 6

14 relude Viola Lento ma liberamente (q = ca ). l.. n.. r bb - uan martín gendelman - Vib. Vib. m b 4 m m b bb. m 6 > ( o o o ) () ( b ) 4 4 m. n oco iu mosso e con misura (q = ca. 6) b m > b. - o ȯ b m o o bo b nb - - b > l b >. b. n n m,, - m b n.. R n @ Score in C uan Martín Gendelman. All rights reserved.

15 9 4 4 r b... b - - m - - b > > q bb / 4 4 Vib. Vib. Vib Giusto (q = ca. 76) b b ( * ) m b b cresc. * Slurs indicate edal hrases. b m. m m b b b m n b mnb n b m. b m n bb n n sul onticello - m m 8 b m b - b b b n n m m b m > bb b bb bb - m m m n m / b 4 b nn b mm

16 18 b m m. b dimin. b 4 m n - b 4 Vib. Vib. 4 n b. b nm Temo I (q = ca ). [Sot mallets] b. m m b. b. b l.. 6 b b n.... b., m m b b m,, b. bb b. b b bb r bb - 4 m > 4 ( o [o] ) 4 b o o ( b () ) b - m ( b ) b o o ( n ) n 4 4 9

17 I Alto lute ass Clarinet Viola Sus. Cymbal ercussion 1 Shakers Tambourine Sus. Cymbal ercussion Shakers Tambourine 10

18 I Out o nothing Alto lute 9 q» 4 ass Clarinet 4 Viola 4 erc. 1 Sus. Cymbal Shakers 4 4 arco l.v.. [rushes] arco Tambourine 4 erc. Sus. Cymbal Shaker Tambourine arco. l.v.. 11

19 A A. l. Key Clicks (*) Ad libitum ~~~~~~~~~~~~~~~~~. Cl. [lo ithout itch] Shkr. Tamb. Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~ > R. Shkr. Tamb. * Click random keys as ast as ossible, avoiding reeated atterns. 1

20 A. l.. Cl. 8 Kc. Kc. ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~. q q [lo ithout itch]. q [rushes]. Shkr. Tamb... [rushes] Shkr. Tamb. 1

21 A. l.. Cl. 4 ~~~~~~ [. /o.] Kc. ~~~~~~~~~~~~~ q q. q Key Clicks r. ossibile Shkr. Tamb. Ÿ~~~~~~~~~~~~~~. l.v. Shkr.. Tamb. 14

22 A. l.. Cl. 47 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > r. r #> > b # > r > > # # > b # b > [. /o.] Key Clicks Kc.. ( ) q. Shkr. Tamb.. Shkr. Tamb. 1

23 A. l.. Cl. 1 ~~~~~~~ r > # > Kc. [. /o.] ~~~~~~~~~~~~ q ord.. oss. q q ord. breathy.. ord. b.. Shkr... Tamb. Shkr. Tamb. Ÿ~~~~~~~~~~~~~~~~~.. 16

24 A. l.. Cl. r > ß Kc. b - ~~~~~~~~~~ b - breathy > > # > > b n # n Ÿ~~~~~~~~~~~~~~~~~~~ b. ( b ) con sordino b Shkr. R Tamb. Shkr. Tamb. R 17

25 A. l.. Cl. 8 Kc. oss. ~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) #. b b b b b n n b b # n # # b b b arco [Get ready or II] Shkr. Tamb.. R. R Shkr. Tamb. 18

26 Attacca Detours A. l.. Cl. 61 # b b >. > b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b.. >. # b b breathy #. ( ) b # n # # (*) (*) (*) b b b Shkr. Attacca Detours Tamb. Shkr. Tamb. Ÿ~~~~~~~~~.. * As soon as drums are heard, lay a coule more beats, ading out, and sto. 19

27 II ercussion (Drums) ongos 4 Tom-toms [ [ 0

28 II - Detours to I.X. ongos 4 Tom-toms [ [ 64 Giusto q» º... crescendo 6 Reeat boxed material until dancer's cue. x = x.. > *) > > > > 66 > > > 67 > > > > > > > > > 68 > > > > > > > > > > 69 > > > > > > > > > > > > > > > **) 70 > diminuendo > > > dim. > > * eaming is only intended or easiness o reading. It does not reresent accentuation. ** Do not slo don at the beginning o each accelerando. Instead, continue the temo o the revious beat and seed u rom there. 1

29 71 > > 7 > 7 > > dim. > > 74 Imrovisation T 7 > Temo. I cresc > x = x > > > ***) *** rom this oint on, all notes ritten as rolls ),shall be thought o in the context o the irst temo (q = 60).

30 79. The reetion o this section is ad libitum. > > > 80 > > > 81 > temo giusto (q» º) q > >. > > > > r r r ( ) ( R ) ( ) 8 x = x Imrovisation T 8 ca. 10'' q 84. ca. - 8'' Reeat until Dancer cues to sto. 8.. Attacca III

31 III Alto lute ass Clarinet Viola Violoncello 4

32 III lute / Alto lute 87 q» Alto lute [. /o.] Key Clicks ~~~~~~~~~ ( ) r > q # > ( ) breathy. oss. ass Clarinet Viola 4 b con sordino b. Violoncello 9 b b n b n. b breathy oss. b b b # # #.

33 9 b - b n b.. > b # b b. - # - - b - b > # # b h. b b n b # # # # # # 99 b b b n b > #. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) # # # # # -. # n b. b n - b - b # n. # # n 6

34 b. - # # # n ~~~~~~~~~~~~~~~ b b b b b b r # > # b b b # Í ~~~~~~~~~~~~ Glissando. - b b # b oco a oco # n. n b. b b b # # # n n b b crescendo b n n # b n b. b b b - - # #. n # n b b # # # 7

35 109 accellerando. b b # # n.. b.. b b b n #. n. b b.. # # #. b n b b b.. n. III ( o ) #. II 11 q»96 b. C Kc. Temo I [. /o.] b # b b n h # n b b b b b. R b b # # # 8

36 116 b #. # b # n # b. R Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) R # n b # h n # # # # b b b b b b r # b # n b #... # n # # #. b - # 9

37 1 b # b # n b # # - 6. # b. b b - b oss. b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # ( ) vibrato # # # # n b b n b b b - - ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) ( ) (. ) ( ) #

38 (Imrov.) 18. # #. b - - # # b b. - Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) b # # n o II crescendo # b b n b - - b # III o #. # b # # b b # (Imrov.) 10 D. b. # # senza sordino, sul onticello. b. b. # b b n b # # b n b b n -. b. # 1

39 (Imrov.) 1 -. crescendo # b n n # # n n n b b b b - -. voce rinciale con sord.. b b # # con sord. b b 16 Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ # # Í ( b ) ( b ) # #. ( ) b. # # # n b # n b b b # # # n # # # b b b # - b b. Í # # b b b b b. ( o ) b #

40 19 Change to C lute. # # oco a # oco # # n n # > R # # b b n # # crescendo b b b b b n # # # b b # b b # #. n > R b b b n n b 14 stringendo # # b b b b n. b R # # n # # # n b b b b n n. # n b b b #

41 144 # #. # # > q»104 Change to Alto lute # b b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b # # # # # n # n # n # b b b 146. b - Temo I b b b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~ b R > b b n n.. # # b # subito #.. r # > #. b. subito. b. r b > 6 b b n 4

42 10 Ÿ~~~~~~. b - - # # n b # -. # #.. R b b b # b # 1. # n # n # # h # b #. b n. > # # # b b # b b # # >. # # # # # # # # n b. #

43 1 b b n b # n # n. - b b n b # # b b b b n r b b # # n # # > # n # b n b b 17 b #.. r b n # b b b b b n b b b n n b # n # # b n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Glissando b b ( o ) ( ). ( ) 6

44 160 E # b # #. b # b b n b Ÿ~~~~~~~~~~~~~~~~~~~~ b b b # # R > ( ) # n #. # # #. #. b R. b b b. b. b b b b b 16 b > # > # # > # b b. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( b ) # > > # # b b > R b r # > b r b. > b b r b o # # b I 7

45 16 Lento q»6 r Kc. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Change to C lute b b b > R b b b b.. o. b b b.. b b b h b b subito.. # b b b b b subito b b b diminuendo b b b b subito b diminuendo b 8

46 Temo I #. #. #. R. R #. #. r # -. b.. b.. b b > b. # > # Ÿ i ~~~~~~~~~~~~ R b b b b b izz. b b b b izz. # # Reeat rom to to our times. Sto as soon as ercussionist starts IV..... #. R # # > b b. - ( ) -. b. b. # # b # # b >. #. b b > # b. b. b b # > b n #... # #. #. #. R. R #. #. r. i # Ÿ ~~~~~~~~ Ÿ i ~~~~~~~ R b # R b. # n # b. #. b #.... 9

47 IV Tambourine Susended Cymbal ercussion Temle blocks Drums ongos Toms ass Drum [ [ Contrabass t 40

48 IV - More Detours ercussion [Tambourine] 180 q» º Ÿ~~~~ Ÿ~~~~ x = x.... Contrabass t Tamb. 181 Ÿ~~~~~~~~~~~~~~~... Taing on the body o the instrument t Tamb. 18. Ÿ~~~ t Tamb. 18 Ÿ~~~~~~~~~~ t... 41

49 Tamb ( ).. ( ) ( ) Temo I ( q = 60 ) Drums [sticks] t ord. Drums 18 t.... ta Drums 186 t. crescendo r R R. izz. x = x Drums G t 187 ß izz..... #.. # 4

50 Drums Drums Drums t 189. t 190 t R > r..... b... r r battuto semre ( * ). > (. ß. ) ord. ( )... > > (*) Ater hitting the strings, let them vibrate. ( ). (.. ß ). >... # Drums 191 # t. >. > R. #. Drums 19 > >.... t. ß. (*) An alternative to battuto, hich indicates that the oen strings indicated ithin the box should be strucked by the bo, may be slaing the strings ith the hand, letting them vibrate i ties are added ater the box. 4

51 T. l. Drums 19 H arco t.... r >. Drums Drums 194 t 19 t.. I. b # crescendo. n b.. b. b ~~~~~ Gliss.. b # n Drums 196 > > > > > > sub. t IV # ( ) r. Drums 197 > t > b b n # 44

52 T. l. Drums 198 t b > R V I o ( ) ( )... T. l Drums V 199 t b b b b b # n # # Í T. l. Drums 00 [Sus. ] t b b. b.. b.. [T. lks.].... 4

53 T. l. Drums 01 t R ta... ta and sla. S. Tamb. 0 T. l. Drums t [Sus. ]. [Sus. ] Imrovise or about 10 seconds (based on this idea and sitching beteen col legno battuto and let hand slaing), ading out, hile ercussionist starts imrovisation on tambourine. 46

54 Ÿ~~~~~~. R. R. Ÿ~~~~~~. R Ÿ~~~~~~~~~~~~. 4. > > > > > > > 6 7 Ÿ~~~~~~~~~~~~~. > * These rhythms are to be erormed on tambourine in random order. An alternative instrumentation o this could be the use o ood blocks and to (or more) susended cymbals, scattered on stage. 47

55 V lute / Alto lute b Clarinet b Trumet ercussion 1 Vibrahone erc. 1 Sus. (Tamb.) ercussion Sus. ( Tamb.) erc. ass Drum Conductor's Cue Viola Violoncello Contrabass t 48

56 lute / Alto lute 0 Soseso Alto lute. q»70 - V - nolding (to LKM) r - r Clarinet. # - oss.. sub.. # - oss. sub. Trumet Vibrahone ercussion 1 Sus. Cymbal Sus. Cymbal ercussion ass Drum 4 Soseso q» Viola con sordino -. oss. sub. Violoncello Contrabass t 49

57 l ṗ r Ÿ È ~~~~~~~~~~~~~~~~ Ÿ È ~~~~~~~~~~~~~~~~~. Cl. # - #. # # Tt. Vib. erc. 1 arco l.v.. l.v. erc.. Dr. 4 Vc.. # -. con sordino oss. - oss... R # oss.. # t 0

58 l. 1 r Ÿ È ~~~~~~~~~~~~~~~ Ṗ r.. Cl. # Ṗ r oss. # Ṗ r Tt. Vib. erc. 1 arco. erc.. Dr. [rushes] l.v. Vc. R R b. R oss.. b R t V r 1

59 l. Cl. 18. b. b. b. b.. # b. - #... # #. b > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r ( # ) b b.. Tt. Vib. erc. 1.. [rushes] b erc.. Dr.. b. b b. b b. b b Vc. V t.. R R V

60 l. Cl. b. b b Ÿ~~~~~~~~~~~~~~~~~~~~~ ( b ) b. b Tt. Vib. erc. 1 arco. l.v. b erc.. Dr. [rushes] Vc. b V b. b.... b - b b R r b b. b

61 l. Cl. 7 Change to C lute K Imrov. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. # b..>...>... Ÿ i ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r b oss. Tt. Vib. erc. 1 # b [Mallets] # b n b b b n erc.. Dr. l.v. Tambourine Vc. sub. sub... b> R b > R Ÿ i ~~~~~~~~~~~~~~~~~~~~ oss. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( # ) R oss. oss. V sub.. r >. I o o 4

62 l. Cl. 1 ~~~~~~~~~~~~~~~~~. ṗ. Ÿ i ~~~~~~~~~~~~~~~~~~~~~~~~~~~~. b Tt. Vib. erc. 1 b. b b r b.. erc.. Dr. Ÿ~~~~~~~~~~~~ Ÿ~~~~ Ÿ~~~~~~. Cymbal Vc. ~~~~~~~~ oss. b oss. b b.. b b.. Ÿ È ~~~~~~~~~~~~~~~ b V oss.. I o o

63 l. Cl. Ÿ È ~~~~~~~~~~~~~~~~~~~~~~~~~~~. b ṗ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. n. # #.> n. b. r.. b ṗ Imrov. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Tt. Vib. Imrov. (rhythmically similar to mm.10-1) b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ erc. 1. l.v. erc.. Dr. [rushes] l.v.. [Sticks] sub.. Vc. Ÿ È ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ senza sord. izz. V o o senza sord. izz. b b R b b b. n b # 6

64 l. 9 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Cl. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Tt. Vib. ~~~~~~~~~~~~~~~~~~~~~~ erc. 1 erc.. Dr. l.v. 4 4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vc. b V Imrov. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 7

65 L l. Cl. 4. oss.. r. b Tt. Vib. erc. 1 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.. b b erc.. Dr Vc. V arco con sord. # oss. oss.. arco con sord. #... r #. # b b 8

66 l b # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Cl. # n.> # # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Tt. Vib. erc. 1. b. b. b. b erc.. Dr. Vc senza sord. izz. b b V t 9

67 l. Cl. 1 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ crescendo ~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b b b b ~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~ Tt. Vib. erc. 1 # # b b n # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ erc.. Dr. l.v. Vc. t izz. n.. #. izz. senza sord. senza sord. # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # # # #. n. # b... # ~~~~~~~~~~ # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ crescendo ~~~~~~~~~~~~~~~~~~~~~~~~ b b ~~~~~~~~~~ 60

68 l. Cl. # # ~~~~~ b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~ > R #> R b n b b b b 6 ~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~ Tt. Vib. ~~~~~~~~~~~~~~~~~~~~~~~~~ erc. 1 erc.. Dr. l.v. Vc. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ arco o R ȯ o o # ~~~~~~~~~~~~~~~~~~~~~~~~~ o t~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b> R b ~~~~~~~~~~~~~~~~~~~~~~~~~~ 61

69 l. Cl. 9 ( ) ~~~ R > ( ) ~ # > R #.. Tt. Vib. erc. 1. b #.. erc.. Dr... R Shaker. Vc. ( ) arco ~~~ R. b b o o R t ( ) ~~ 6

70 l. Cl. 6 M. - #. b - -. b b R b n # Tt. Vib. erc. 1 #.. b - b b -.. con sordino + - b b erc.. Dr. [rushes]. Vc. o ȯ b b - o - o - - o o- III o t arco b b - - V 6

71 l. Cl. 67. b Ÿ I ~~~~~~~~~~~~~~~~~~~. # n # b b > b b b n > # > >. R # # > > Ÿ È ~~~~~~~~~~ b # # > Tt. - b + Vib. erc. 1 b b b b b b erc.. Dr. Vc V o o o o o o o o o o o o o # II o o o o o # o o o o o o o o o # o 64

72 l. Cl. Tt. 70 b.. È ~~~~~~~~~~~~~~~~ Ÿ b Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ( b ) sub. rit. Vib. erc. 1 # # # > sub. erc.. Dr. rit. 8 Vc. V o o # o o o o o o o o o t o o - b - b b. 6

73 l. 7 iu Mosso q.»76 Cl. Tt. Vib. erc. 1 Tamb. erc.. Dr. 8 iu Mosso 8 q »76 Vc. t 66

74 l. 78 breve.. Cl. breve.. Tt. breve.. Vib. breve.. erc. 1.. Shaker. Cymbal [Sticks] breve breve.. erc.. Dr sub. breve. breve.. Vc. breve.. t breve.. 67

75 l. 8. # #. #. #. #. # # # n. #. #. #. Cl. # #... #. # #.. sub.. sub. #. Tt. Vib. erc. 1. Tamb erc.. Dr.... l.v.. #.. #.. #.. sub. #. Vc. t.. #. #. #. #. # sub. Ÿ I ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #... Ÿ I #. ~~~~~~~~~~~~~~~~~~~~~~~~~~. sub. 68

76 l. Cl. 87 #. #.. #. #.. #. #. #. #. R Tt. Vib. erc erc.. Dr. Vc... # #. #. #. #.... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ t. Ÿ I ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #... #. 8. #. 4. #.. 69

77 l. Cl R b b R b b # n b b b b. Í b. Í Tt. Vib. erc. 1. Ï b b b b b b b b b > b erc.. Dr... Ï Vc. -. glissando > R # b. # # R R t. 70

78 l. Cl. 99 b. # # # > n. r # b - b. b b #. Tt. Vib. erc. 1 b b b b b b b erc.. Dr #.. # # # # Vc. t r # # r > # # #. # b. b b n b 71

79 l. 04 n b. N. b > R R > Cl. b.. b b # > r b > R Tt. Vib. erc. 1 b b b b b b. #. # #. crescendo. erc.. Dr. Vc. r.. b. b.. b. b. t b b b. #.. 7

80 l. Cl. 10 # # #. Ḟ n. b.. b. # n #. #. # > b > Tt. Vib. erc. 1 # #. #. b # # b 4:6 : b b erc.. Dr. b b b b b. b Vc. b b b b b. t b 7

81 l. Cl. 16 b b b R b R #. b. b > # b > b b # # n # n # # Tt. Vib. erc. 1 # r b b b b b b b b.. b erc.. Dr. b.... Vc. # # # n.... b t b b b - # b

82 l. Cl. 4 n #.... b b.. b b b b.... Tt. Vib. erc. 1 # b 4:6 : b b b erc.. Dr. Vc. t # b b b b b. b. b. # n n # # # 7

83 l. Cl. # O. # b -. Tt. Vib. erc. 1 b b b b b erc.. Dr... Vc.. b. t. b. 76

84 l. Cl > R > R Allegro q»16 # ( ) - ( ) Tt. senza sord. b - Vib. erc. 1 erc.. Dr.... >.. Í 4 Allegro q»16 Vc. t izz. izz. b ç ç # # 77

85 l. 0 Cl. Tt. b n b b b b b b. n # n n b b. n b Vib. erc. 1 erc.. Dr.. Vc. t # b # b b > 78

86 l. Cl. 4 b b b # b b n.. b #. b b b b Tt Vib. erc. 1 erc.. Dr.. b b #. b b. Vc. b b n # b... t b b # # 79

87 l. Cl b # - # -. # > b > b > # > # > b b > b > - Tt. b b b b. b b b > n b > > > > b.. Vib. erc. 1 erc.. Dr. Vc. b - b b b # n b b b b b n #. n b b n b b b > > b # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Glissando t b b b 80

88 l. Cl. 60 # >. b - b b b b # b b n.. b # Tt. b b Vib. erc. 1 erc.. Dr. Vc. b # > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Glissando - b b b. b n #. # t b b b b b b # # 81

89 l. ( ) 64. b b b. # > > Cl. b - b # - # -. b b > Tt. Vib. erc. 1 erc.. Dr. b b. b b b # n b b n #. n b Vc. b... b - b b b b n b b b t b 8

90 l. Cl. 67 # > # > b b > b > - # >. b - R R Tt. Vib. erc. 1 Tamb. Ï sub. erc.. Dr. Tamb. Ï Vc. > # > b - b # > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Glissando. n - R r t izz. arco b r 8

91 l. Cl. Temo I (q» 70 ) 7. Tt. Vib. erc. 1 Cymbal [Mallets] erc.. Dr. R Cymbal [Mallets]. b crescendo Ï Vc.. b. crescendo Ï t # crescendo Ï 84

92 l. ( ) 8 R Q Cl. Ï Ï R Tt. Solo -. b... Vib. erc. 1 Ï l.v. erc.. Dr. Ï.. sub. Vc.. sub. t. sub. 8

93 l. 88 Cl. Tt. b... b n b b n Vib. erc. 1 # b b erc.. Dr.. > Vc. t 86

94 l. 9 > R R > Cl. r > R > Tt. # b. #. n.... ḟ Vib. erc. 1 sub. # crescendo b # erc.. Dr. > 4 izz. b # Vc. t izz. b b 87

95 l. Cl. Tt b > R b > R b n n b b > R R. ß sub.. un oco rubato. b b b Vib. erc. 1 b erc.. Dr. > b Vc. izz. b Tt. t # #. b b b Ÿ~~~~~~~ b n b n b. n b b College ark ebruary o

96 Stage Setting lans 89

97 relude vla = Viola = ercussion (vibrahone) 90

98 I Al = Alto lute cl = ass clarinet vla = Viola vc = Violoncello 1; = ercussion Ctr = Conductor 91

99 II = ercussion (Drums) Tt = Trumet (o stage) 9

100 III l = lute cl = ass clarinet vla = Viola vc = Violoncello Tt = Trumet (o stage) Ctr = Conductor 9

101 IV Cb = Contrabass = ercussion 94

102 V l = lute cl = clarinet Tt = Trumet vla = Viola vc = Violoncello cb = Contrabass 1; = ercussion Ctr = Conductor 9