PART I: SOFIA GUBAIDULINAS APPROACH TO PITCH CENTRICITY IN TWO

PATHS: MUSIC FOR TWO VIOLAS AND ORCHESTRA A DEDICATION TO

MARY AND MARTHA (1999)
PART II: CONCERTO FOR CLARINET AND ORCHESTRA

by
Lyudmila Kise

A dissertation submitted to the faculty of

The University of Utah
in partial fulfillment of the requirements for the degree

Doctor of Philosophy

School of Music
The University of Utah
December 2011

Copyright Lyudmila Kise 2011

All Rights Reserved

T he U niv ersi ty of U ta h Gr adua te Sc ho ol

STATEMENT OF DISSERTATION APPROVAL

The dissertation of

Lyudmila Kise

has been approved by the following supervisory committee members:

, Chair

Steven Roens

05/02/2011
Date Approved

, Member

Morris Rosenzweig

05/02/2011
Date Approved

, Member

Miguel Chuaqui

05/02/2011
Date Approved

, Member

Margaret Rorke

05/02/2011
Date Approved

, Member

Thrse De Raedt

05/02/2011
Date Approved

and by
the Department of

Robert Baldwin
Music

and by Charles A. Wight, Dean of The Graduate School.

, Chair of

ABSTRACT

This theoretical study is devoted to the analysis of pitch centricity in Sofia

Gubaidulinas post-tonal composition Two Paths: Music for Two Violas and Orchestra
(1999).
A detailed examination of Gubaidulinas approach to the exploration of axes of
symmetry and sonic organization as a whole, including the generation of referential sets
and their unfolding throughout the piece, will be provided in the four chapters of this study.
A thorough analysis of all seven variations of Two Paths shows a consistency in the use of
dyads as referential centric poles which serve as an example of the principle of dyadic
centricity. This analysis will also show that Gubaidulina is consistent in assigning to these
dyads a cadential function, subjecting them to registral filling (chromatic and diatonic),
placing and sustaining them at climactic points (thus creating registral connections between
corresponding variations) and reinforcing them as dyadic components of pitch class sets.
Despite the fact that the main dyadic structures are not treated identically, they do dominate
the sonic organization of Two Paths and are used as a contextual means of reinforcement
throughout the entire piece.
As a background to Gubaidulinas approach to pitch centricity, in Chapter 4 of this
study, comparisons will be made with the use of inversional axes in pitch class space in her
orchestral piece The Rider on the White Horse. Some insights into the symbolic nature of
these axes will be provided in the same chapter.

TABLE OF CONTENTS

ABSTRACT......iii
LIST OF EXAMPLES.......v
LIST OF FIGURES.viii
LIST OF TABLES........ix
ACKNOWLEDGMENTS......x
PART I: SOFIA GUBAIDULINAS APPROACH TO PITCH CENTRICITY IN TWO
PATHS: MUSIC FOR TWO VIOLAS AND ORCHESTRA A DEDICATION TO MARY AND
MARTHA (1999).................1
INTRODUCTION......2
Chapter
1.

VARIATION I..7

2.

INVERSIONAL SYMMETRY - AN ORGANIZING PRINCIPLE IN THE

SOLOISTS SECTIONS OF TWO PATHS22

3.

VARIATIONS THAT APPLY INVERSIONAL AXIS AND FREE ATONAL

UNFOLDING........37

4.

COMPOSITIONAL STRATEGIES IN VARIATION VII. INSIGHTS ABOUT

THE SYMBOLIC INTERPRETATION...66

CONCLUSION85
SELECTED BIBLIOGRAPHY...92
PART II: CONCERTO FOR CLARINET AND ORCHESTRA93

LIST OF EXAMPLES

Example

Page

1.

Variation I, main motive of Two Paths.8

2.

Variation I, partial expansion of the main pitch class set 10

3.

Variation I, rhythmic profile of the (01267) pitch class set..11

4.

Variation I, chromatic fill of (016) pitch class set....12

5.

Variation I, registral fill of E-F dyad (mm.21-24)....15

6.

Variation I, mm.23-24..16

7.

Variation I, the projection of the figure of the cross (mm.31-37)18

8.

Variation I, soloists Section 2..24

9.

Variation V, first soloists entrance (mm.340-345)..26

10. Variation V, the second soloists entrance (mm.353-360)...29

11. Variation V, the third soloists entrance...31
12. Soloists final cadence (mm.375-379)..33
13. Variation V, registeral crossing.. .33
14. Variation V, common tones between the paired 6/4 chords.34
15. Common tones between all six 6/4 chords explored in Variation V....34
16. The motion from the golden mean of Variation VI to the final cadence..36
17. The prolongation of [B, C, F, F#], (0167) over 5 measures of Variation III...39
18. End of Section A and beginning of Section B of Variation III (mm.192-197).40

19. Variation III, Section B, mm.197-201...44

20. Comparison of (015) and (01457) sets, Section C, variation III...........46
21. Variation III, section C mm.203-205 46
22. Variation III, mm. 216-220....48
23. Variation III, reduction of Section A1, mm.230-23550
24. Variation IV, Section A, beginning...54
25. Variation IV, ending of Section A.56
26. The reinforcement of the D-D# dyad within Variation IV....57
27. Pitch class sets that link Sections A, B and A1 of Variation IV58
28. The application of 1/2 7/8 axis (sum 3) in Section C of Variation IV60
29. The main cadences established in Variation IV.62
30. The beginning of Variation VII, textural layer 1...65
31. Beginning of Variation VII, the other five textural layers.........67
32. The figure of the cross projected across the orchestra in Variation VII....68
33. Variation VII, Section B1, cadence on C-Db..........69
34. Variation VII, the B-C dyadic cadence of section B2...70
35. Variation VII, the cadence of Section B3 placed on the E-F dyad71
36.

Variation VII, the cadence of Section B4 (m.568)..........72

37. Variation VII, the cadence of Section B5 (m.595)...72

38. The most prominent dyads explored in Variation VII......73
39. Variation VII, Section C, mm.637-639.........74
40. Variation VII, the last three measures of Two Paths (mm.645-647).76
41. The cross in the first climactic section of the Rider on the White.78

vi

42. Example 42. The second climactic statement (mm.45-48)80

43. Example 43. The lower part of the cross that occupies the space created by
rests81
44. The projection of the C-C# dyad throughout Two Paths...84
45. The large scale projection of C-C#, E-F and B-C dyads throughout Two Paths..85

vii

LIST OF FIGURES

Figure

Page

1. The principle of semitone offset, Variation I.9

2. Large scale projection of C-C# dyad (mm.58-78).23
3. 0/1-6/7 axis (sum 1) outlined in mm.353-354 of Variation V.27
4. 3/4-9/10 axis (sum 7) outlined in mm.356-360 of Variation V......27
5. Graphical representation of inversional axis 1-7 (sum 2)........30
6. Graphical representation of inversional axis 5/6- 11/0 (sum 11).........43
7. Graphical representation of 0/1-6/7 axis (sum 1).51
8. Graphical representation of the 1/2-7/8 axis (sum 3)...............61
9. Graphical representation of the 1/2-7/8 axis explored in the Rider on the White
Horse........79
10. The eight explored pitches of the 7/8-1/2 axis (mm.41-43).79
11. Gradual exploration of the pitch content outlined in the 1/2 -7/8 inversional axis
used in Rider on the White Horse (mm.41-48)................81

LIST OF TABLES
Table

Page

1. The exploration of the E-F dyad throughout Variation I (mm.1-58).........21

2. Formal design of Variation III...37
3. The layout of the pitch class sets in section D of Variation III......49
4. Summary of pitch material presented in variation III...54
5. The succession of inversional axes in variations III to IV.........65
6. Formal design of variation VII...66
7. The occurrences of the pitch class sets that implement the E-F, B-C and C- C# as
generative dyads..90

ACKNOWLEDGMENTS

This dissertation could not be accomplished without the great contribution of my

faculty members, family and friends. I would like to express my deep respect and
gratitude to my teachers: Steve Roens, Morris Rosenzweig, and Miguel Chuaqui who
supported and guided me in this challenging path by offering their valuable knowledge
and helping me to improve as a musician.
My advisor, Steve Roens, constantly gave me valuable advice, provided excellent
solutions and always guided me in the right direction. I especially thank Dr. Roens for his
tremendous help with my English which is not my native language.
I would also like to thank my husband, David, my parents and my sisters for their
love, support and encouragement.

PART I:

SOFIA GUBAIDULINAS APPROACH TO PITCH CENTRICITY IN TWO

PATHS: MUSIC FOR TWO VIOLAS AND ORCHESTRA A DEDICATION TO
MARY AND MARTHA (1999)

INTRODUCTION

In order to provide a context for this study, I will present brief insights into Sofia
Gubaidulinas compositional style and offer a summary of representative works that
relate to the topic of this study.
Gubaidulina (b.1931) is a composer from the former Soviet Union, whose musical
aesthetics are deeply connected with religious ideas reflected in a wide spectrum of
genres that she explored throughout her life. The stylistic features that characterize
Gubaidulinas voice include gestural symbolism, 1 heterogeneity arising from a mix of
Western and Eastern traditions, a combination of tonal and atonal idioms and
compositional techniques based on mathematical logic, all of which contribute to music
that is at once avant garde and informed by her Christian spirituality.
Many modern composers of post-tonal compositions have been deeply concerned
with questions of centricity or other procedures that would integrate their pieces into
coherent units. From the spectrum of techniques used in post-tonal music, this study will
focus on the framework of pitch structure, particularly on an examination of
Gubaidulinas approach to the concept of pitch centricity, an idea that pertains to the
musical structure of her work Two Paths for two violas and orchestra (1999).

Michael Berry. The importance of Bodily Gesture in Sofia Gubaidulinas Music for Low Strings. Music
Theory Online 15 (Oct. 2009): 1.

3
I have chosen this piece because, just as in the case of any other late orchestral
works of Gubaidulina (due to their complexity and length), it has not been studied as
thoroughly as it deserves. The existing analytical interpretations engage in conventional
motivic analysis which fails to provide an account of the elements of unity in Two Paths.
This paper will examine the role of the half-step dyad in the progressive network
of Two Paths, its functionality in voice leading in general, and its function as an element
of closure (cadence) in particular. Various voice-leading techniques and integrative
procedures will be discussed with particular stress on Gubaidulinas approach to
inversional symmetry. The term dyadic centricity and its application will be explained
in the process of analyzing the piece.
Since Two Paths is a lengthy orchestral piece, a chain of seven variations, the
reader will emerge with a topical view of the piece rather than with a chronological view.
A chronological analysis will be undertaken only in Chapter 3, devoted to variations three
and four. Most variations will be analyzed from the perspective of formal design and
pitch content, both large-scale and small-scale.
The methods that Gubaidulina uses to achieve referential pitch centers will be
examined using several analytical conventions:

Pitch classes will be labeled by integers according to semitones, with 0 as C, 1 as

C#, etc.

The conventions of bracketing pitch classes will be used. Straight brackets [], with
commas within, will indicate the notation of a pitch class set in a normal form and
round brackets (), with no commas, will be used to label prime forms.

4
The variation process and the degree of development to which each variation is
subjected will not be discussed. Instead an analysis will be provided in which variations
will be viewed as separate entities and thereafter the way in which these entities are
bound together to create a coherent whole will be examined. Specific events in these
variations will be examined for their relevance to the idea of centricity in the harmonic
world of Two Paths.2
Early in her career Gubaidulina experimented with serial technique in just a few
works. Just as in the case of other Soviet composers who misunderstood the approach to
serialism, 3 Gubaidulina used serial techniques sporadically in several works, including
Sonata for piano (1965), Five etudes for harp, percussion and double bass (1965) and the
cantata A night in Memphis (1968).
In this early compositional style, Gubaidulina is already preoccupied with
reinforcing pitch centers, despite the fact that serial technique forbids the prevalence of
one pitch over others. In this respect the second movement of her sonata for piano (1965),
which is almost entirely serial, shows an emphasis on E-flat which is eventually
established as a pitch center in the third movement as well. In these two movements
Gubaidulina uses a series of eleven pitches from which E-flat is purposely omitted and
saved for establishing its centric function later.

Variation II follows a similar unfolding to that of Variation I and therefore it will not be subjected to a
detailed analysis.
3

Unlike the canonical Schoenbergian serialism that uses one row and its further transformation Soviet
serialism used a number of independent rows in one composition.

5
Later on in her middle stage Gubaidulina incorporates into her works the element
of theatricality and specifically gestural symbolism.4 This period is marked by the
appearance of the String Trio (1988), one of her first pieces to employ inversional
symmetry as a voice leading strategy and compositional technique. Here all three
instruments introduce the pitch B4, which acts as a central tone and axis of symmetry.
At approximately the same period of time (1987- 88), Gubaidulina produced her
second string quartet which is based on statements of single pitches spanning long
durations with only a few changes in timbre and rhythm. The first movement opens with
the second violin playing a long, sustained G4. The cello interjects with more G4s,
played alternately ordinario and sul ponticello. The first violin enters, also playing short
G4s ordinario and sul ponticello. The only variety in the opening of the work comes from
changing the timbre of the first violin, cello and later viola and the occasional chromatic
neighbor figure that surrounds G4. For nearly a minute and a half, the only pitch we hear
is G4.5
Various kinds of pitch emphasis and reinforcement mentioned in earlier pieces are
presented in Two Paths as well. This work is a major piece that characterizes
Gubaidulinas late compositional style. The piece was commissioned by Tomoko Masur
and eventually premiered on April 29, 1999 by principal violists Cynthia Phelps, Rebecca
Young and the New York Philharmonic Orchestra conducted by the commissioners
husband, Kurt Masur.

Term cited by Michael Berry in The Importance of Bodily Gesture in Sofia Gubaidulinas Music for
Low Strings, Music Theory Online 15/5 (2009): 1.
5

Michael Berry. Sofia Gubaidulinas serial music Problemy muzikalinoy nauki 5 (May 2009): 56.

6
Two Paths is a double concerto that consists of seven variations spanning a total
time of twenty-four minutes. Following the aesthetics of post-tonal composition,
Gubaidulina takes an unconventional approach to the genre of the concerto in that the two
soloists do not have virtuosic passages. The technical element is diminished here in favor
of their symbolic role manifested in the personification of the Biblical Mary and Martha.
Chapter 1 will provide a thorough analysis of Variation I. It will detail the
compositional tools that Gubaidulina uses in Variation I with a particular emphasis on the
generative nature of the pitch class sets.
In Chapter 2, Gubaidulinas approach to the use of inversional symmetry as a
fundamental device for creating and emphasizing pitch centers will be examined, as well
as the role of dyads as referential centers and axes of symmetry explored in the soloists
sections of Variations I, V and VI.
Chapter 3 will feature a detailed analysis of Variations III and IV and examine the
use and exploration of pitch class sets that function as axes of symmetry.
Chapter 4 will discuss Variation VII and its importance in the realization of pitch
centricity as a whole. Insights about the religious concept of this piece will be provided,
particularly the symbolic interpretation of the axis of inversion used in Variation VII.
An example of another late orchestral piece is shown in order to draw parallels
from Gubaidulinas application of the same religious concept in two orchestral pieces
thirteen years apart.
The conclusion of this study will emphasize the importance of the dyads that
Gubaidulina projects throughout the piece and the logical structure that these dyads create
throughout Two Paths.

CHAPTER 1

VARIATION I (mm. 1-78)

This chapter is devoted to a comprehensive analysis of pitch content in terms of

set classes in Variation I of Two Paths. The focus will be on the connection between the
sets used on both a small and large scale. The second section of the variation which is
organized according to the principle of inversional symmetry1 will be excluded.
Variation I, is in a two-part design with Section 1 (mm. 1-55) using the orchestra
exclusively and Section 2 consisting of a solo section (mm. 58-78). The following
analysis will focus on Gubaidulinas treatment of pitch material in Section 1. 2 The main
motive [E, F, A] with its (015) prime form represents the most identifiable set of the
piece, a generic seed from which the subsequent pitch material unfolds. Its first
appearance spans the first seven measures of the variation in which it is subjected to a
repetition through descending registers. The E works as an axis around which all other
sets and subsets are built and unfolded. Two newly formed sets, [E, F, Bb] and [E, D#,
A#] (shown in Example 1) contain the interval of a tritone which Gubaidulina will
subsequently use to define her axes of symmetry. 3
1

The second section of Variation I and others following it that feature the principle of inversional
symmetry are subjected to a detailed analysis in Chapter 2.
2

I will be using a fixed-0 system of pitch-class labeling where pc C is always represented by 0.

The axis of symmetry will consist of two notes or two pairs of notes a tritone apart as poles of the axis.

Example 1. The melodic shape of the main set of Two Paths

In describing the structure of Ruth Crawfords music, Joseph N. Straus uses Charles
Seegers analytical approach, explained in his treatise Tradition and Experiment in the
New Music (1930-31).4 In order to explain the generative structure of the sets of
Variation I, I will use Seegers approach in which he refers to Crawfords motives and
their consequent transformation as neumes.5 The transformation that Seeger finds in
Crawfords music for acquiring new sets is referred to as PE, partial expansion6 which is
the process that occurs when one interval expands or contracts by a semitone and the
other(s) stays the same. Over the span of the first twenty measures of Variation I,
Gubaidulina employs a very economical approach to the development of the material by
operating with only a few sets. The E-F dyad acquires a significant role in the formation
of the sets that are established, particularly as a point of departure and arrival. 7 Thus, as a
result of partial expansion the first three trichords show a consistent shift of their last
notes by only one semitone. In generating the pitch material, Gubaidulina uses a half-step
4

Joseph N. Straus. The music of Ruth Crawford Seeger (Cambridge University Press, 1995), 2.

A succession of three- tone beats (melodic notes) is the basic structural unit in this music.

Ibid., 36.

In one of the sets, the previously established E-F dyad is inverted to E-D#.

9
expansion of the main set (015) throughout Variation I. As the size of the trichords
increases by a semitone, newly formed sets are derived (see Figure 1).
Accordingly, the expansion and unfolding of the first trichords generate larger
sets.8
Note that set d (0167) is a resultant of the combination of two (016) sets (b and c)
in which the E and F are maintained as common tones. The following pentachord e9 also
combines two (016) sets transposed by T7 of which the first 016 trichord is an inversion
of set b (see the inversion shown in Example 2). The content of the pentachord shown
above as set f is a result of adjoin - a new melodic note is adjoined to the top or the
bottom of the existing set. 10 The pentachord is created by adjoining an additional note
which is adjacent to the main structural dyad (E-F). Here the D# creates a new
inversionally symmetrical set (012) which in combination with the tetrachord d forms the
pentachord. Its contour could also be explained as the combination of set b and set c
(compare these sets in Example 2).

E, F, A

(015)

E, F,

Bb

E, F,

(016)
(016)

Figure. 1 The principle of semitone offset.

8

The progress and other occurrences of the sets acquired through partial expansion will be shown in later
chapters as well as in Table 9 of the Conclusion.
9

The set e is classified as a pentachord since the D# is redundant.

10

Ibid., 42.

10

Set e is an
inversion
of set b

Example 2. Partial expansion of the main pitch class set (015)

11
This growth of sets by adjoining semitone is enhanced by four different rhythmic
profiles (m. 11) in all of which the conjunction of (012) and (0167) (to make 01267)
takes place (see Example 3). Note the adjoined note D# that becomes a point of departure
for each of these melodic figures (mm. 11-12).
Another procedure that Gubaidulina explores to fill out the texture and to create
new motivic contours from previously established patterns is the chromatic technique
labeled by Straus as fill - the chromatic completion of a pitch class space. 11
While the strings present the main sets (outlined in Example 3), the piano, celesta
and clarinets elaborate set e by means of chromatic saturation.
The spaces between the members of the set are filled in with a chromatic
collection. Note that the pitch class content of both (016) sets is the same: E, Bb/A#, D#.
They are simply reordered. The (016) is not presented straightforwardly; its pitches being
separated by chromatic fill (see Example 4, mm. 7-8).

Example 3. Rhythmic profile of the (01267) pitch class set.

11

Ibid.

Example 4. Chromatic fill of (016) pitch class set.

12

13
This use of chromatic fill demonstrates Gubaidulinas approach to the variation
principle in which a musical idea is presented as a unit by being simultaneously placed in
a variety of textures and orchestral colors. Gubaidulina particularly emphasizes the D#,
E, A#/Bb (mm. 7-8) by placing these pitches on strong beats. They articulate the content
of sets b and e (shown previously in Example 2). This type of conjunction of chromatic
completion and saturation between the members of the relevant sets in one instrumental
group (mm. 8-15, percussion and winds) with their simultaneous unfolding in prime form
in another instrumental group provides a model of the harmonic world and voice-leading
content of Variation I.
Measure 24 establishes the first climactic point of the piece where Gubaidulina
reestablishes the E-F in a prominent position. The arrival on F6 is realized as unison of
winds and violas divisi a6. Gubaidulina significantly extends the register here and
prolongs these two pitches over the four measures of the climax.
In discussing chromatic saturation in the pieces of Schoenberg, Berio and
Zimmerman, Catherine Losada states: The different elements that contribute to the
process, are not necessarily presented simultaneously, but must be bound by common
membership in a given musical structure.12 Gubaidulina achieves this by realizing a
climax in which the music returns to the E-F dyad, the opening gesture of the piece,
which is a component interval of the (015) set class (articulated as [E, F, A]) presented
throughout Variation I. The registral and pitch gaps are emphasized by textural as well as
coloristic treatment. This first climactic section clearly asserts the E-F dyad as central in
Variation I.
12

Catherine Losada. Between modernism and postmodernism: Strands of continuity in collage

compositions by Rochberg, Berio, and Zimmermann. Music Theory Spectrum 31 (2009): 30.

14
The newly formed sets and supersets in the four measures of this climax (mm. 2124) are projected linearly and sequentially, creating the contour of a consistently
ascending line. The set classes are generated one from another by means of accumulating
new pitches. Thus, within the four climactic measures Gubaidulina builds a voice leading
space where the set classes gradually increase in size mainly by adjoining to their content
a dyad or a trichord. Consequently, the passage consists of trichords, tetrachords,
pentachords, hexachords, octachords and nonachords arranged in ascending order. The
last nonachord [C#, D, D#, E, F, G, G#, A, A#] (012346789) (m. 23 and first beat of m.
24) contains the E6-F6 as its last pitches (see Example 5).
Example 5 shows a consistent linear presentation of the sets which establishes a
gradual systematic filling of the registrally separated E1-F6 dyad over a span of four
measures that constitutes the climax of Variation I. In addition, Gubaidulina fills the
register with an axiomatic sound term that Catherine Losada defines as the systematic
filling in of chromatic pitch space through the use of a chromatic scale,13 in this case,
located in the piano part. The wide registral, metrical and dynamic placement of E (low
register, m. 21) and F (high register reached on the downbeat sffp-ff, m. 26), contribute to
the elevation of these two pitches above others.
In m. 23 there is a restatement of the previously presented sets (01267), (0156)
and a new one (01568) which are arranged here as three stacked chords that emphasize
E1-G4 as the boundary pitches. The motion from G#4 to F6 is mainly filled through the
(012346789) nonachord (as it is shown in Example 5) and the chromatic material
fundamentally integrated into this superset (see Example 6).

13

Ibid., 30.

15

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17
Thus, Gubaidulina bestows a primary role on the E-F dyad both on a small scale (as a
component dyad of presented sets) and on a large scale as framing the register of the
climax. She achieves a two-layered fill of the E-F dyad, linearly by means of sets
connected by a chromatic scale and harmonically by means of the same sets displayed as
chords (Example 6).
The set that acquires prominence and completes the first orchestral section of
Variation I is (012) [F, E, D#]. The pitch content of this set corresponds to the motive that
reflects the symbol of the cross which is important for the idea behind the piece.
In Askews research on Gubaidulinas String Quartet No.4, she quotes from
Alexander Ivashkin who assigns to the four-note semitone-related motif (C-B-Db-C) the
designation of the figure of the cross.14 In m. 33 Gubaidulina introduces the E-F-D#-E
motif which shares the same intervallic content and pitch order as the motif identified by
Ivashkin. Before m. 33, the (012) set is projected linearly and is subjected to rotation. It
would appear that Gubaidulinas intent is to establish the concept of the cross first as a
background by prolonging the (012) over a significant number of measures (see Example
715).
Why would Gubaidulina present the exact contour of the figure of the cross in m.
33? In a program note Gubaidulina mentions that in Two Paths she intends to express a
theme of two ways of loving: the one, to love taking upon oneself worldly cares and by
so doing ensure the foundation of love; and the other, to love dedicating oneself to the

14

Alexander Ivashkin, String QuartetNo.4 A day of Sofia Gubaidulinas Programme Book (Purcell
Room, London, 2001) Quoted in Caroline M. Askew, 394.
15

All transposing instruments are presented in concert pitch.

.-

.-

..

".

-\

,-

; .,

-.

-,

\~

-I

'\

I
~
J

\~

..

.~

-.

.~

,,

1,n.\

"
~

~
t:

Nii ..'

,1_
.m-

"

'$

~
~
...

'0

;~

: -:no
.

'5

TPIo
!r~

., ,-;n.

TPIo
:

:-:no
TPIo

; 11~

'0

-:no
TPIo
<;:

ill 0 I

.,

;'i:

<:

I!DI
~

..ci

4 .
1101

.9

c
1101

<:

..

II C I

- cB

u .9

c:l

~,

~..

~,

- .~
)
- ~,
- ..~
..
IIIII(

"

{:C

Example 7. The projection of the figure of the cross (mm. 31-37).

,-

18

19
sublime, to experience together with the Beloved the route of terrible suffering to the
cross, so as to procure light and blessing for life. 16 It could be assumed that by placing
the first instance of the shape of the figure of the cross in m. 33, Gubaidulina intends to
convey the image of Christ who died on the cross at the age of 33. According to George
Buelows symbolic endowment of numbers, 33 symbolizes the age of Christ at death.17
To summarize the sonic organization of Section 1 up to this point, Gubaidulina
builds a chain of sets including trichords, tetrachords, pentachords, hexachords,
octachords and nonachords generated mainly by the adjoin of a semitone or shift by a
semitone of each set to form the succeeding set. The trichords (012), (015) and (016)
stated in the opening measures become the main subsets for a composing out of larger
sets or supersets. In addition, most of the pitch class sets explored here expand primarily
from the E-F dyad. The C-C# is also important in the formation of several sets (see the
four sets that expand from C-C# in Example 5). It is less present here than the E-F dyad,
but both of them are meant to become centric dyadic structures for the entire piece. 18 The
following chart shows the role of these dyads in various sets used in this piece.

Sets that expand from the E-F dyad

(015) [E, F, A] (mm. 1-6)

(016) [E, F, Bb] m. 8 (Vn. I) last note shifted up a

16

Sofia Gubaidulina. Two Paths: A Dedication to Mary and Martha, Concerto for Two Violas and
Orchestra. Milwaukee, (WI: Hal & Leonard Corporation (distribution of G. Schirmer, Inc.), 2001),
program note.
17

George J. Buelow. "Symbol and Structure in the 'Kyrie' of Bach's B Minor Mass" in
Essays on the Music of J.S Bach and Other Divers Subjects: A Tribute to Gerhard Herz (Louisville,
Kentucky: University of Louisville, l981), 21-42.
18

The entire list of the sets is provided in the Conclusion of this paper.

20

semitone

(016) [E, F, B] m. 21 (Cb.div2) derived from the previous (016)

set with the same last note shifted up a semitone.

(0167) [E, F, Bb, B] m. 8 (Vn. II)

(0156) [E, F, B, C] m. 21, last dyad shifted up a

semitone.

Sets with (012) as a main subset or filled (016)

(01267) [#D, E, F, Bb, B] (m. 12, Vn. I, II) formed of pitch content borrowed
from (012) combined with the content of the (0156) tetrachord mentioned above.

(012378) [E, F, B C, F#, G,] (m. 22, Vn. I div and Va.) formed from the filled
[E,F,B] trichord to which is adjoined the C. This hexachord may also be
interpreted as an 016 sequence.

Sets that expand from the C-C# dyad but are generated from the (0156) tetrachord

(012568)[C, C#, G, G#, A, D#]

(01245689) [C, C#, G, G#, A, D#, E, F]

The last set here is a nonachord that combines previously mentioned tetrachords.

(01245689t) [C, C#, G, G#, A, D#, E, F, B,C ]

In this first part of the variation, Gubaidulina reinforces the E-F dyad both on the

small and the large scale (see Table 1).

Finally, this first orchestral part of the Variation I ends with a D#-E tremolo in the
timpani (m. 56) which is a half-step below the opening E-F dyad or may be viewed as its
inversion.

21
Table 1. The exploration of the E-F dyad throughout Variation I (mm.1-58).

E-F dyad represented on a small scale

E-F dyad represented on a large scale

The E-F dyad anchors most of the sets The prolongation of the E-F dyad with
stated in the first section of Variation I:

new metrical, durational and registral

E,F,A (015) (mm. 1-7, 18-21, 25-27, 23- profiles plays an emphatic role in the
28, 48-51)

climactic section (see example 5 mm. 21-

E,F,Bb (016) (mm. 8, 87, 209-210).

24)

E,F,B (016) (mm. 21-22).

The inversion of the E-F dyad creates
new sets such as E, F, D# (012) (mm. 3138, 38-41, 45-52 )

E1-F6 (prolonged over 4 measures) is

filled in by means of a chromatic scale in
mm. 21-23 (see Example 5).

The D#-E dyad ends the section

(manifested as a tremolo in the timpani,
m.56).

The E-F dyads expansion by means of

E1-F6 is filled in by means of linearly

adjoined pitches (usually a semitone or

presented sets mm. 21-23 (see Example 5).

trichords as subsets creates larger sets).

CHAPTER 2

INVERSIONAL SYMMETRY

An Organizing Principle in the Soloists Sections of Two Paths

Post tonal music has various ways of creating a sense of focus on a particular note or
harmony among the most important of these is inversional symmetry. 24

The concept of pitch centricity in post-tonal music relates to a spectrum of

reinforcement effects such as inversional symmetry, certain referential collections, triadic
transformations or interval cycles. None of them are as characteristic of Gubaidulinas
music as inversional symmetry. This technique pervades Sofia Gubaidulinas late
orchestral works where she explores inversional symmetry as a means of articulating
form and creating a layered texture.
Variation I is in a two-part design with Section 1 (mm. 1-55) devoted to the
orchestra and Section 2 consisting of a solo section (mm. 58-78). The solo section
introduces a dramatic change, a shift from a massive orchestral texture to a transparent
one realized as two-part counterpoint. Accordingly, Gubaidulina subjects this section to a
different manner of pitch organization and elaboration. Unlike the previous orchestral
presentation of the material where the E-F dyad was centric, here Gubaidulina establishes
a direct emphasis and reinforcement of C-C# as a point of departure and arrival. Over the

24

Joseph N. Straus. Introduction to post-tonal theory. 3rd ed. (Upper Saddle River, NJ: Pearson Prentice
Hall, 2005), 130.

23
span of twenty measures, both soloists realize a large-scale motion where the C-C# dyad
is expanded over a range of four octaves (see Figure 2).
This C-C# dyad becomes both the point of departure and arrival. The dyad begins
the passage and expands the texture symmetrically by means of the expanding edge,
where everything converges on the axis notes."25 Thus, the large-scale voice leading that
Gubaidulina achieves here is a registral crossing where viola 1 starts its path at Db5 (m.
58) and ends on C7 (m. 78), whereas viola 2 starts on C5 (m.56) and ends on C#3
reinforced by the cello that plays a glissando from C#3 to C#2 (m.78). From the total of
twelve possible axes of inversion, the solo section employs the inversional axis 0/1 - 6/7
(sum 1). Every new pitch that appears in this section gradually articulates and fulfills the
pitch content of the clock face.
The part of the first viola (mm. 58-78) is realized as a static motion of double
stops26 against the triplet/tremolo part of the second viola.

Solo Va. 1

Solo Va.2

m. 58------78
Db5
C#3 Solo Va.2
extended by solo cello to C# 2

C5 ------- C7 Solo Va. 1

m. 58-----78

.
Figure 2. Large scale projection of the C-C# dyad
25

26

Ibid., 134.

Note that the soloists harmonics are notated as fifth artificial harmonics; however, what we actually hear
is the lowest note an octave higher which would correspond to notation of a regular artificial fourth
harmonic. In artificial 4th harmonics the sounding note is two octaves above the lowest written note.

24
Gubaidulina balances the pairs of the pitch-class clock face not by simply stating
them but by sustaining or embellishing through nonstructural tones every pitch of the
corresponding balancing pair. Thus, over a span of twenty measures the two-voice texture
gradually moves from the 0/1 pole (m. 58) to the 6/7 pole (m. 65) and reaches back to the
0/1 pole (m. 78). Both soloists lines unfold chromatically in opposite directions. In
measure 58 the soloists state the C-C# as the symmetrical center.
The exact pitch unfolding established by the 0/1-6/7 axis starts at m. 65 from the
opposite 6/7 pole (see Example 8).

Example 8, Soloists section 2.

Hle~e

~~ ~
,
..

S.Vla. I

,
I'- - -

w--~"

~----~ ~~ k~

~1Ie ~-t.

B,

G#
,

.-

E. ____

S.Vla.2

~"

... '"

,,
, ,

Il#_

--~---

-~~

---"",-- -

3
',~#

.~"

prolonging Fhy means orGb with

the lunction or ehmm.upper neighbour

to

~
119'

(.I'

~6'

"

prolonging D# by means of E
as chrom.uppcr ncighgour

r-----'l

S.Vla.1

~~r

B
S.Vla.2

* IlF "V~

-1l _____ ---

19 J d j

1j

:iF'

I '

V~If?

! I e~-!

CL ____ _

*1 d J J J

d
prolonging C# by means of D
as chrom.uppcr neighbour

~~.

,=
,-

Back to
011 Axis

25

Example 8. Continued.

ill:

I
I

26
The Exploration of Inversional Symmetry in Variation V
Abandoning the technique of inversional symmetry after Variation I, in Variation
V, Gubaidulina reestablishes inversional symmetry in the soloists lines. The variation is
realized as a single unit with three entrances by the soloists, of which the second and
third exhibit inversional symmetry.
The first entrance (mm. 340-352) starts with the E-F which, joined by C#, create
the [E, F, C#], (014) set. The E-F dyad is stated by the first viola, whereas the C# is
introduced by the second viola (mm.341-347) and is embellished by its upper neighbor
tone, D. It is important to note that the E and C# are established thereafter as axes in the
second soloists entrance (see Example 9).
The solo sections of both Variation I and Variation V establish the 0/1 axis as a
prevalent balancing point. In the second soloists entrance (mm. 353-360), Gubaidulina

Example 9. First soloists entrance (mm. 340-345).

27
states C7 (viola 1, m. 353) and C#3 (viola 2, m.354), pitches from which the soloists
depart. However, the C-C# is reestablished here as the 0/1 axis only for one measure and
a half (mm. 353-354), (see Figure 3). Gubaidulina states only the first balancing pair (BD) of the implied 0/1-6/7 axis of symmetry and thereafter modulates to the 3/4-9/10 axis
(see Figure 4).

C
Viola 1

C#

Viola 2

Bb

D#

E
G#

F
G

F#

Figure 3. 0/1-6/7 axis (sum 1) outlined in mm. 353-354.

C#

Bb

D#

A
G#

E
F
G

F#

Figure 4. 3/4-9/10 axis (sum 7) (mm. 356-360).

28
Once the first viola reaches the E6 (m.354) and viola 2 the Eb3 (m. 354) (which
form a dyad corresponding to the 3/4 axis), the passage shifts its centricity from the 0/16/7 axis to the 3/4-9/10 axis. The pitch material that organizes mm. 355-357 is mostly
presented as contrary chromatic motion which in several instances shows the balancing
pairs of the 3/4-9/10 axis. At the moment when both parts reach the second balancing pair
D-F, they complete the clock face with the 3/4-9/10 axis (sum 7) to which the passage
modulates (compare Figures 3 and 4 with Example 10 on the next page).
In this second entrance Gubaidulina creates a motion towards A. The last three
measures of this passage show the reinforcement of A as a structural pitch versus, G# and
Bb functioning as an ornamental double-neighbor embellishing figure. The motion
towards A is clear in both viola parts and it functions as an important cadential center in
the passage. This prominent arrival on A, shows Gubaidulinas intention to project the
main motive of the piece on a large scale as well. As previously mentioned, Variation V
started with the E-F dyad (see Example 9) and here we come can observe a clear cadence
on A which in sum forms the [E-F-A], (015) set with which Two Paths started.
Additional evidence of the employment of inversional symmetry in Variation V is
provided by the 3rd soloists entrance (mm. 363-379).
In the 3rd soloists entrance the C-C# dyad becomes a point of departure and
arrival, however this does not imply the use of the 0/1-6/7 axis. Here Gubaidulina
partially explores the 1-7 and 1/2-7/8 axes (the latter will be explored in Variation IV as
well). When the 1-7 axis is stated in m. 363 Gubaidulina presents just the axis and the
first balancing pair (see Figure 5). Starting with m. 364 and through m. 370 the axis is
abandoned, both parts unfolding freely.

Variation V

mm.353-360
modulation from 0/1 to 3/4-9/10 axis
\
I

II

Solo Viola 1

($ 2

I \.

l\ I

V ;L

II

~E

DIE,

~) ~r

Db

', r--:-:-I

~r

\1

----

\
\

-,

Solo Viola 2

' - - - - - - - 5 -----~

C# \

E b - - - - - - - D#

F#

F#

5
.,-

S.Vla. 1

, .JI"""_
r_
,

---

:.-

~I
I

S.Vla.2

....
"""-/
~

v~

L..........JBb
1
1
1

.1 """~

f'to_

.IJ-I

1
1

1
1

,..........

- -- -."""- .-n
-.....

.-I

v-

....

.1,...,.

5
.-I

.....

'-

f'to .-I
V'-

r~

1
.-I
'-

.... r-

"""

"""--

.... r-

11"1

G#

.:.
1
1
1
1
1
I

.:.
1

29

Example 10. Second soloists entrance that outlines the modulation from0/1-6/7 axis to 3/4-9/10 axis.

30
In m. 371, the axis is re-established and shifted to 1/2-7/8. The pitch content of
mm. 372-375 is based on the presentation of the 7/8 axis and three balancing pairs of the
1/2-7/8 axis: Bb-F (mm. 372, 373, 374), A-F# (m. 372- 373), G-G# (reinforced axis over
three beats in mm. 372-373) and D#-C (m. 375). The 1-7 is brought back in m. 376 with
the appearance of the D-C dyad as the first balancing pair and the 1-7 axis presented
linearly by the second soloist (mm. 377-378). In m.379 we observe a return to a principal
dyad which was determined as centric in Variation I as well. The C-C# is also reinforced
in the piano part (see Examples 11 and 12 on the next page).
The soloists section in Variation I (mm.58-78) showed a large-scale registral
crossing involving the C-C# dyad. In Variation V, we come across the same
phenomenon. In the second and third entrances, the soloists exchange tessituras. They
depart from opposite registers at C7-C#3 (m. 353), meet in the same register at Db4-C4
(m. 370), and cadence in opposite registers on C-C# (m.379). Thus, over a span of
twenty-seven measures (mm. 353-379), Gubaidulina creates a symmetrical large-scale
registral crossing in Two Paths (see Example 13).

C#

Bb

Eb

Ab

F
G

F#

Figure 5. Graphic representation of inversional axis 1-7 (sum 2).

363

C#

,,
,
,
'f:::
'c- ,

qr-~
f:::
c-

,"~

.Va
~

,,
,
,,
0
I

365

364

-,,

~.

c-

D#

Va. 2
---'

........

F#

ifz

A,

~ J_ _______________G

~.

.... "....

b~.

i..--J

'5

---' , ,,---,

c-

'D

C# '

~. ~~.

,
,,
,
,

,
,
,
,
,

367

366

"

back to 1-7 axis

- - C- - - -B- -

,, 371

370

,,
B,
,-----------

5~

VIa. 2
5

'

oJ
I

.i

, ,

______ 1

31

Example 11, 3rd soloists entrance of Variation V.

E,

Example 11. Continued

32

Example 13. Registral crossing inVariation V

Example 12. Soloists final cadence (mm. 375-379).

33

34
The observations above provide a detailed example of Gubaidulinas approach to the
exploration of dyads as axes around which other pitches unfold. It remains to establish
the degree to which the orchestral accompaniment is integrated into the harmonic world
of these dyads and the pitches surrounding their axes.
The orchestral accompaniment to the soloists uses of 6 six-four chords deployed
in pairs among vibraphone, celesta and divisi violas. Each of these instruments plays two
half-step-related six-four chords at a different metric and rhythmic rate: Vibraphone: F#,
B, D and G, C, Eb (mm. 336-379), Celesta: D#, G#, B and E, A, C (mm. 335-379),
Violas div: C#, F#, A and D, G, Bb (mm. 335-379).
Gubaidulina establishes a connection between all six trichords by setting up a
mediant relationship connecting them through a common tone. Two of the three common
tones shown below (see Example 14) consist of pitch classes that Gubaidulina established
previously as inversional axes throughout the variation.
The A and D# pitch classes extracted from the 3/4- 9/10 axis elaborated in the
second entrance of the solo violas (see Figure 5 and Example 10) become common tones
in the first two pairs of six-four chords (see Example 14).

Example 14. Common tones between the paired 6/4 chords.

Example 15. Common tones between all six-four chords in the orchestral parts from
mm. 334-379 in Variation V.

35
Texturally, all the trichords are half-step related but they progress by thirds (see
Example 15). Thus, Gubaidulinas approach in presenting these triadic formations is to
create and preserve on a larger scale the contour of the generic seed of the piece.
After examining in detail Variations I and V, it can be observed that the pitch
structure of the soloists parts in these two variations emphasizes the C-C# dyad as an
inversional axis and point of departure and arrival while E-F is a principal dyad in
climactic orchestral sections (mm. 21-24, Variation I and mm. 100-104, Variation II).
These two dyads appear in a new context in Variation VI at its golden section (the
variation is 60 measures long and m. 419 is its 37th measure, marking the golden section).
The soloists depart from C-C# (spelled here as C-Db) and eventually cadence on the E-F.
The C-Db is reinforced by the dynamic ff, and the final E-F dyad (mm. 429 - 433) by a
fff.
In comparison to Variations I and II, where the E-F was mainly centric in Section
1 and the C-C# throughout the Section 2, here in Variation VI, the order and the function
of these centric dyads is reversed. The E-F occurs at the soloists cadence, and the C-C#
is located at the climax. The E-F dyad is reiterated throughout the last five measures of
the solo parts (see Example 16). As was previously stated, these are the two prevailing
dyads widely explored in Variations I, (II) III, and partially in IV and V.

E-F

Example 16. The motion from the golden mean of Variation VI to the final cadence (mm. 419-433).

C-Db

36

CHAPTER 3

VARIATIONS THAT APPLY INVERSIONAL AXES AND

FREE ATONAL UNFOLDING

Variation III
This chapter will explore the pitch structure of Variations III and IV. The formal
design of Variation III is sectional, being based on a consistent alternation of solo and
orchestral setting which can be classified as shown in Table 2.
The harmonic world of this variation is ambiguous. However, the variation has
the character of a summary of earlier music. Some sets elaborated in Variation I reappear
here in new contexts.

Table 2. Formal design of Variation III.

A (Orchestral) Rh. no. 37, mm. 188-192

B (Solo/orchestral) - Rh. no. 38-39, mm. 192-202
C (Orchestral) Rh. no. 40-43, mm. 203-220
D (Solo) Rh. no. 44, mm. 221-227
A1(Orchestral) Rh. no. 45-46 mm. 228-235
B1 (Orchestral) Rh. no. 47- 48 mm. 236 -251

38
Generally, every section has its own material with the exception of the Sections
A-B and A1-B1 that frame Variation III. By employing a similar texture, pitch material
and voice leading technique27 in A-B/A1-B1, Variation III constitutes the only unit in the
piece that has a symmetrical design. In the first two sections (A and B) of the variation,
Gubaidulina makes use of the inversional axis 5/6 - 11/0 (sum 11). This is a case in which
Gubaidulina employs inversional symmetry not only in the soloists parts but also in the
orchestral parts. Unlike in Variation I, here the inversional symmetry binds orchestral and
solo parts together. The harmonic content of the first five measures of Variation III is
based on a single tetrachord (0167) being prolonged as [B, C F, F#]. The first violins
present the (0167) tetrachord linearly. The remaining strings, percussion and the winds
prolong segments of this set as trichords, dyads or even single pitches (mm. 187-192).
Presumably, Gubaidulina prolongs and reinforces these four pitches over five measures in
order to establish them as a midpoint around which all other pitches will balance. Thus in
this case, the poles of the axis are the two dyads that make up the (0167) expressed as [B,
C + F, F#] (see Example 17).28
The new pitches that are gradually introduced correspond to other balancing pairs
of the established 5/6 - 11/0 axis (sum 11). Thus, the E-G dyad (presented by the soloists)
which the next is balancing pair after the F-F# (5/6 axis), is prolonged and embellished
by its neighboring tone F# (mm. 193-194). The E-G dyad is also a part of the chord
presented in the winds (m. 193) (see Figure 6 and compare it with Example 18).

27

Sections A-B/A1-B1 explore inversional symmetry.

28

The clarinet part is presented at concert pitch.

,
,
,
,
,

~~

,
,
,
,

,
,,

,
,
,
,

':

(j

,- -

- - - --

---- -

- - - --

,
,
,
,
,
,
,
,
,
,
,
,
,

I
!:

'.

,
,
,
,
,
,
,
,
,
,

,,

"

i'"

a
, -- -

,
,

-'"

oc

,
,
,
,

- - - --

- - - --

-- "

.,

iJ

1 .
"!
~

<

"!

.0

<

.E

~!

c ;;;

<
,.C

;;

<

~
d

;;:

.,

::::
d
;;:

~
~

:;;

"

,2
"i)

Example 17. The prolongation of [B, C, F, F#], (0167) over five measures of Variation III.

39

40

- - - - -

- - - - -

- - --

,,,
,,
,,
,,
,,
,,
,

"-----

-1

"

0;

"l
-'

'"

"

..c

..

i~
',t
.:3

0 05

10 '

i
I

.::: -

c-

. "0

I,

.:::
"0

;c-

--.

,
I

0-

!
-

;1')

,
-1_ J

"

,,
,
,,
,,
,
,,
,

-----

-f,;

I
;

,,

"

--,

'

I"
1Il~~!,

.!
\I

.-

,
,,
,
,,
,,
,,I
,(
,:~

--

-" .'

,,

r-:,
i

- - ---

,
, ,,
,,
,
,
,,
,,
,
,,
,
,,
,
I ,,
,

..L

,,,

- - - -- L-----

..

"

:>

"

"

--

"

::'

;;:

ci

;;:

-..

~---

..

"
"
'0
;.;:

-f,
--

.2

v"

Example 17. Continued

Example 18. End of Section A and beginning of Section B

(mm. 192-197).

41

..,

;'
:l

)\

'. 11

[\

\1

('1

'"

-----.
'-"
0
0

'c

S
0

;::
~

:;

r'l

"I

v,

II

.,

0\

"I

...
I

1\

..

1.

"I

~ <

<
"!
,...,
~

(0167) set
established as
5/6 - 11/0
axes

'Ii
'Ii

"!
,...,
.D

"!
~

cO
<::

<

~ <

N
OJ

"0

OJ

"0

;>

;>

"0
[/J

"0
[/J

.E
'0

:>

..

<

=
<::

'0

>

..
-'

OJ

"0

;>

ci

>

.D

Example 18. E Continued.

Embellished G

Embellished E

42

43
Db

B
Bb

Eb

Ab
F
G

F#

Figure 6. Graphic representation of the inversional axis 5/6- 11/0 (sum 11).

It should be noted that the content of the pitch-class clock face is not complete.
Gubaidulina explores eight pitches of the possible twelve. Thus, within the five measures
of the orchestral section (mm. 188-191) which forms Section A, Gubaidulina presents, by
means of various melodic figures, just the poles of the axis: B, C, F and F# (see Example
17). Thereafter, the soloists add the G-E and restate the F-F#. Skipping one balancing
pair, G#-D# (that should follow after F-F#), the new bass pitches move to D-A (see
Example 18, m. 197). The D-A dyad in the Vc/Cb, which is presented exactly in the
middle of Section B, announces a switch to a different harmonic world. This fifth
establishes a triadic harmony which gives to the thematic material a quasi-tonal character.
The harmonic world presented here may be reduced to just three triads: D-F-A, E-G-B, FA-C. Here it should be mentioned that Gubaidulina purposely chooses an axis in which
the sum of balancing pairs and the axis notes themselves are odd. Only an odd sum
provides as a result the third and fourth balancing pair (after the axis) as a perfect fifth. 29

29

Six of twelve possible inversional axes have this characteristic: 01/-6/7 (sum 1), 1/2-7/8 (sum 3), 2/3-8/9
(sum5), 3/4-9/10 (sum 7), 4/5-10/11(sum 9) and 5/6-11/0 (sum 11).

44
The D-A fifth (appearing in m. 197 in the low strings) establishes the quintal
harmony for the rest of Section B (mm. 197-202) and represents a case in which one
balancing pole (in this case the D-A) not only surrounds the established axis or has a
transitory voice-leading role, but assumes a new harmonic role, which therefore implies a
different voice leading and texture. This quasitonal setting of Section B lasts for six
measures. The low strings move in parallel fifths only (D-A, E-B, and F-C), whereas the
second solo viola doubled by the solo oboe, occasionally adds the triads thirds in order
to create a complete sense of triadic sonorities (see Example 19 on the next page).
At the head of his chapter dedicated to centricity, Straus states that all tonal music is
centric but not all centric music is tonal.30 An examination of Example 19, will show
that this section is a dual case; Gubaidulina uses traditional harmonies such as triads or
quasi-triadic formations which carry a clear tonal affiliation with functional tonality.
Section B and thereafter B1 with their prominent tonal implications introduce a
certain heterogeneity into the musical language of Variation III and Two Paths in general.
These two sections provide a harmonic contrast with both the previous and the following
material. However by introducing such a contrasting texture with prominent tonal
implications, Gubaidulina achieves here a sense of unity by binding the juxtaposed
procedures (tonal/atonal) with a common principle inversional symmetry.
Finally, the D-A fifth which determines the triadic harmonies in the second half of
Section B is symmetrical around the 5/6 - 11/0 axis which was established in Section A.
Section C (Rh. no. 40-43) is the largest section in Variation III and is subdivided
into four subsections: (a), (b) (c) and (d).

30

Ibid., 131.

Example 19. Variation III, Section B, mm. 197-198.

45

Example 19.Continued, mm. 199-201.

46

47
The (a) subsection (mm. 203-207) brings back the main motive of the piece (E-FA as (015) but in a slightly different form from its appearance in Variation I. The (015)
that initiated Variation I is present as a seed here, but it is also subjected to partial
expansion, being transformed into a pentachord, (01457) (see the comparison in Example
20).
The (01457) set may be viewed as the addition of G#- B to the existing (015)
trichord with which this piece starts, G#- B also constituting the double neighbor tone
that embellishes the A. These first three measures of Section C (a) also present a good
example of a texture in which Gubaidulina integrates the melody and harmony while
projecting the same musical ideas simultaneously in two dimensions. Thus, while the
winds present the (01457) as a melodic descent, the strings present the same descending
line but as stacked dyads. In this respect Gubaidulina preserves the unity of musical space
where the melody and harmony consist of the same content. The arrival at m. 205
functions as a local cadence by bringing back the referential E-F dyad explored in
Variation I (see Example 21 on the next page).
The (b) division of Section C (mm.207-212) works almost as an echo of Section
A because it re-introduces the same texture and pitch class sets related by T1. 31

Bb-B-E-F (0167) explored in the solo parts (mm.207-210)

B-C-F-Gb (0167) presented in the oboe and flute parts (mm. 210-212).

Section C(c) (mm.212- 220) contains the climactic point and an important final cadence.
The entire subsection is based on a (0123567) septachord. The C-C# as the starting dyad

31

Since the half-step dyads acquire an important role in the structure of the piece, Gubaidulina applies the
half-step interval on a transpositional level as well.

Example 21. Variation III, Section C mm.203-205.

Local cadence on the E-F

Example 20. Comparison of (015) set with the (01457), Section C, Variation III.

48

49
and the E-F on which the subsection ends call to mind the two centric dyads explored in
Variation I.32 Here the E-F determines two cadences: one local cadence at m.205 (see
Example 21) and the final cadence of the entire Section C in m. 220 (see Example 22 on
the next page). Just as in Section C (a), Gubaidulina preserves the unity of musical space
where the melodic and harmonic layers project the same idea (see Example 22 which
presents a reduction of the last five measures of Section C (c).
Section D (mm. 221-228), being entirely a solo section, spans eight measures. Its
function in the overall formal design of Variation III is as a transition between the
framing larger sections C and A1. Most of the sets that Gubaidulina introduces here are
connected through the previously explored E-F dyad. As can be observed in Table 3,
Section C ends on a cadence based on a B-C dyad. The same dyad is used as a point of
departure for the next section of Variation III.

Table 3. The layout of the pitch-class sets in Section D of Variation III.

Measure
numbers

m.222

m.223

m.224

m.225-226

m.226-227

m.228

Pitch

[A, Bb, F,

[E, F D, G#,]

[E, F C,
B,]

[G, F#,F
,B,]

[F, A, C]

Cadence on
B-C

classes

E]
(0156)

(0126)

(047)

Solo Viola

Solo Viola

Solo Viola

Normal
form

Entrance
order

Relationship
between
presented
sets

32

(0156)
Solo Viola 2

(0236)
Solo Viola 1

Linked through the E-F dyad

E-F as
common
dyad with
the previous
sets

S. Viola 1
S. Viola 2

Prolonged
over the whole
measure

In Variation I the C/C# dyad was used as the pole of the 0/1-6/7 axis (mm. 58-78), (and E-F was
explored in several cases).

Example 22. Variation III, mm. 216-220.

Final cadence

50

51
The pitch classes [B, C Eb] as (014) introduced by the solo flute, initiate Section
A1 (mm.228-235). However, eventually the prevalent pitch formation here becomes C/C#
which spans the majority of Section A1. The C/C# dyad becomes one of the poles of the
inversional axis 0/1 - 6/7 (sum 1),33 a midpoint around which the upcoming material
evolves. Here Gubaidulina applies the same principle used in Sections A and B, the only
difference being that everything is shifted up a semitone (compare Figure 7 with Example
23 shown on the next page). The C-C# is extended throughout three measures. Likewise
in Section A, we experience a textural prolongation of the axis, the difference being that
Gubaidulina

presents at first only one pole 0/1 which is orchestrated as follows: the

timpani play a tremolo on C-Db (mm. 231-233), the winds present the C-Db dyad as a
descending sequence (mm. 230-232) and finally the piano and celesta prolong the C-Db
by filling it with the previously used axiomatic device - descending chromatic and
ascending diatonic scales (mm. 232-233). Thereafter, the soloists introduce the F
(embellished by G) and Ab (shown circled in Figure 7 as G#), this dyad being the next
balancing pair with the opposite pole, F#-G, the pole opposite to C-Db which comes right
after.
B

Bb

C#

G#

Eb
E

G
F#

Figure 7. Graphic representation of 0/1-6/7 axis (sum 1).

33

The same axes were previously explored during the entire span of the solo section of Variation I, C/C#
being one of the poles of the axis.

C C# (pole of
the 0/1-6/7 axis)

Example 23. Pitch reduction of Section A1, mm. 230-235.

F Ab (next G-Gb (the

balancing 6/7 pole of
pair after the the axis)
F#-G axis)

52

53
It is interesting to observe how Gubaidulina connects the heterogeneous sections
of Variation III by bringing back most of the pitch centers explored in Variations I and II.
Local connections between the sections of Variation III occur as follows:
Section A and Section B:
As mentioned before, Sections A and B are connected through the inversional
axes 5/6 - 11/0 (sum 11), where other further explored dyads such as E-G and D-A are
symmetrical around the established F/F# -B/C axis.
Section B and Section C:
The last triadic harmony [E-G#-B] as (047), with which Section B ends (m.202),
establishes the basis for the first use of the pentachord (01457), in Section C (m.205).
Section C and Section D:
Section C ends with the E-F dyad (m. 220), the centric formation explored in
Variation I, and Section D starts with the pitch A (m. 221) as part of the [A, Bb, F, E]
(0156) set introduced by solo viola 2 (mm. 222-223). These three pitches, [E-F-A] form
the (015) set with which Two Paths begins.
Section D and Section A1:
The solo Section, D, works as transitional material between larger sections. The
B-C dyad with which Variation III starts becomes here a cadential point as well as a point
of departure for Section A1 and is included in [B-C-Eb], (014), which is the set that
dominates Section D
Section A1 and Section B1:
The A1 and B1 Sections serve as a recapitulation. The structure of pitch material
in Variation III is summarized in Table 4.

54
Table 4. Summary of pitch material presented in Variation III

Section
mm. No

A
orchestra
188-192

Important
Pitch
formations

(0167)

B
Solo
193-202

[B, C, F, F#]

Db

Bb

Eb

Ab

(01457)
winds/
perc/
piano

(0167)
[Bb, B, E, F]

solo
207-212

(0167)
[B, C, F, F#]

F
F#

The two dyads

of (0167)
become the
poles of the
5/6-11/0 axis
in Section B

Section
mm. No

C(b)

E
G

Function
of sets

C (a)
Orchestra
203-207

C(c)
orchestra
212-220

The D-A balancing pair of

the 5/6-11/0 axis
establishes the triadic
harmonies of section B
(mm.197-202)

D
solo
221-227

Local cadence based on

the E-F dyad
(m. 205)

A1
solo/orchestral
228-235

(0167)
[B, C, F, F#]

The second
transposed set is
the pitch content
of the 5/6-11/0
axis used in
Sections A and B

Mainly based on the

elaboration of (0156)

B1
236-251

Bb

C#

Ab

Eb
G

E
F# F

The Bb- Eb balancing

pair establish the triadic
unfolding in section B1

Based on an
extended chain
(in comparison
with section B
based on only
three triads) of
triadic harmonies

55
Variation IV
The pitch centers and closing structures of Variation IV are particularly
interesting. Here, I will examine the general pace and the characteristics of the main
sections. Comparisons will be made with the previous three variations with respect to
new contexts for previously established sets and dyads. This is a short and coherent
movement having a four-part design which can be shown as follows:
Section A - mm. 252-266
Section B - mm. 267-284
Section A1- mm. 284-296
Section C - mm. 297-334
Section A provides a very clear example of the way in which Gubaidulina
reinforces the half-step-related dyads that were previously prolonged and used in
cadential structures.
The two main lines of this section consist of a continuous chromatic descent
(carried by the bass flute and solo viola II) departing from E-flat and being metrically
displaced by one beat. Every newly introduced pitch is prolonged by its upper or lower
chromatic neighbor (see Example 24).
The arrivals of these two lines present an interesting case as well.

The bass flute cadences on E-F which is prolonged over three measures (mm.
262-264).

The second solo viola arrives on D-C # and establishes the beginning of Section B
on the C#-C dyad (mm. 266-267).

Example 24. Section A, beginning.

56

57
In addition to these two lines the first violins end on B-C (mm. 265-266) (see Example 25
on the next page).
As was observed in the analysis of the previous three variations, these three dyads (EF, B-C, C#-C) are the same three dyads on which most of the cadences were built in
those variations. Here Gubaidulina reinforces them by stating them again.
There are several other pitch formations that Gubaidulina establishes as centric in
Variation IV. The next dyad that acquires prominence is D#-D (or D-Eb). The first and
third sections are bounded by this dyad and explore other dyads in common as well.
Hence, they are labeled A and A1.

The main line in Section A descends from Eb-D stated in unison (one beat apart)
by bass flute and second viola (mm. 255-256).

The cadence of Section A1 is based on D#- D (mm. 295-296).

The strong soloists cadence after their second entrance in Section C is built on
the same D#- D dyad, sharing the same register as in Section A1 (see Example
26).

In addition to the similarities in the placement of cadences, Gubaidulina creates a

consistency in the employment of sets that result both from their location and from their
intervallic relationship. The three sections (A, B, A1) all start with the same tetrachord.
All of the sets are related by half-step which shows the implementation of the half-step
interval on a large scale.34 (see Example 27).
Finally, the last dyadic structure that acquires an emphasis here is C#-D.

34

A principle explored in Variation III as well.

. Example 25. Ending of Section A.

58

Example 26. The reinforcement of the D-D# dyad within Variation IV.

59

.
Example 27. Pitch-class sets that link Sections A, B and A1.

60

61
This dyad appears as a starting point in Section A1 (as a part of the set (0134), (see
Example 27) and eventually becomes prominent in the last section (C) of the variation.
Section C develops mainly through the soloists. After prolonging the C#-D dyad
(mm.305-308), their parts develop as a quasi canon until the C#-D is reached again and
established as a temporary 1/2-7/8 (sum 3) axis of inversion (m. 320). The order of the
pitch class clock face is eventually abandoned in m.327. However, the majority of the
soloists parts here unfold around the established axis. After this second pole has been
restated, the next measure (m. 327) introduces the next balancing pair, (A-F#), after
which the order of the pitch-class clock face is abandoned. Thus we can observe here a
symmetrical chromatic motion around the 1/2 axis (see Example 28 and compare it with
Figure 8).
The procedure here clearly resembles that used in Variation I, where the
elaboration of the 0/1 axis was presented in the same way. In the last section of Variation
IV, the C#-D dyad (in the second solo viola) is emphasized through a repeated tremolo
sustained over three measures.

C#

Bb

D#

E
F

G#
G

F#

Figure 8. Graphical representation of the 1/2-7/8 axis (sum 3).

.
Example 28. The application of the 1/2 7/8 axis (sum 3) in Section C

62

63
The first solo viola plays the same tremolo only a minor sixth above the C#-D on the BbCb. When examining the cadences in previous variations, it was seen that Gubaidulina
placed most of them on half-step related dyads. Just as in Variation III, here she creates a
logical coherence among sections by having the dyad or the pitch class set that ends one
section become a starting point for the next one. Ultimately she builds a large scale halfstep motion over the whole variation (see Example 29).
To summarize, this variation shows an even stronger emphasis on a dyadic
principle at both the small and the large scale than the three previous variations.
Gubaidulina brings back the centric dyad C-C#, but she also shifts it eventually to a C#-D
inversional axis. On an even larger scale, there is also a half-step motion between
Variation III and Variation IV. As previously stated, Variation III started with a B-C dyad
which is part of [B, C, F, F#], the (0156) pitch class set. This tetrachord is the pitch
content of the 11/0- 5/6 axis, (sum 11) explored in Section A and in the opening of
Section B of variation III (mm. 188-197).
Thereafter in Section A1, the piece modulates to the 0/1-6/7 axis (sum 1), and the
C-C# dyad is reinforced (mm. 231-233). In variation IV Gubaidulina follows the same
succession of dyads where Section A starts with B-C as part of [B, C, D, Eb], the set
(0134) (mm. 252-253), and Section B departs from C-C# as part of [C, C#, Eb, E], as the
same set (0134) (m. 267) transposed up a half step. However, by the end of Variation IV
(section C, mm. 320-329), the soloists pitch material is symmetrical around C#-D and
the pitch material unfolds around the 1/2-7/8 axis, (sum 3). By shifting the axis of
inversion from 11/0- 5/6 to 0/1-6/7 and arriving at 1/2-7/8, the pitch material becomes
symmetrical around B-C, C-C# and C#-D.

.
Example 29. The main cadences established in Variation IV.

64

65
In this way, from the beginning of Variation III to the end of Variation IV
Gubaidulina builds a large-scale ascending half-step motion (see Table 5).

Table 5. The succession of inversional axes in Variations III to IV.

Variation

Modulation
of axes
Measure No.

III

11/0 - 5/6
B-C
mm. 187-197

III

IV

0/1 6/7

1/2- 7/8

C-C#

C#-D

mm. 230- 236

mm. 320 - 329

CHAPTER 4

COMPOSITIONAL STRATEGIES IN VARIATION VII AND INSIGHTS

INTO THE SYMBOLIC INTERPRETATION

Variation VII marks the final section of the piece. A comparison of its pitch
material with that from the previous variations indicates a further reinforcement of the
centric dyads. Variation VII also represents one of the most complex movements of the
piece, with a very mixed but clearly layered texture. It articulates a four-section design
which alternates between orchestral and solo passages. The sections are of markedly
different durations (see Table 6). Here Gubaidulina returns to earlier material which is
presented in a new context with:

the reuse of axes

the return of previously reinforced dyads

Table 6. Formal design of Variation VII.

Sections

Part

Measure No.

Duration

Orchestral

442-476

58

Solo/chamber

477-597

522

A1

Orchestral

596-636

107

Solo

637-647

140

67
The first orchestral section brings back the main motive with which Two Paths
started (E, F, A as the set (015) but not until m. 448. Gubaidulina presents a thick
polyrhythmic texture which is made up of seven layers defined by their pitch and
rhythmic organization.
In the earlier variations most of the time the centric dyads were placed at
cadences, established as axes of inversion, prolonged and located in registral extremes of
climactic areas. However, here over the first twelve measures of the variation (mm. 442453), the bass line (assigned to the tuba, contrabassoon, bass trombone and piano, left
hand) presents the Eb-E dyad as a consistent ostinato figure. The same dyad spelled as
D#/E was established as a cadence in the first orchestral section of Variation I (m. 56).
Thus, Gubaidulina brings back a previously reinforced dyad but this time as a point of
departure and prolonged over a larger span (see Example 30).

Example 30. The beginning of Variation VII, textural layer 1.

68
The harmonic consistency of Section A is created by having the other five layers
state a half-step progression in various rhythmic figurations and with contrasting motives.
Thus, every layer has a specific harmonic function.

Layer 1 (as is shown in Example 30) introduces the Eb-E dyad which is
reinforced with a repetitive triadic harmonization (realized in the piano part).

Layer 2 - harmonically reinforces layer 1 but at a different rhythmic rate.

Layer 3 - presents the harmonized E-F dyad (as E and F minor six-four chords) in
two different rhythmic projections.

Layer 4 presents the melodic unfolding of the (015) and (016) pitch-class sets.

Layer 5 is based on a 012 set made up of [G-Ab-F#-G] which brings back the
figure of the cross35. Layer 5 and layer 4 share the same pitch content.

Layer 6 is a melodic version of the sets (0137) and (037) (see Example 31).

Despite the density of its texture, this first part of the variation emphasizes the Eb-E
dyad. The emphasis on Eb-E occurs through orchestration and register. The realization of
this dyad is assigned to low brass and piano which create an intense sonority (mm.452453). Thereafter, the emphasis on the Eb-E dyad is shifted to F#-G and its inversion GAb (mm. 454-459). The combination of both dyads presents the pitch content of the
figure of the cross. Gubaidulina prolongs both dyads by means of diatonic fill. 36 Thus,
she adds two new textural lines that reinforce the pitch content of layer 4 and project the
figure of the cross (G-Ab-F#-G) over eighteen measures (see Example 32).

35

36

The figure of the cross was initially presented in variation I (mm.31 and ff.).

In the analysis of Variation I, the term chromatic fill was discussed, as defined by Catherine Losada.
Here Gubaidulina uses the same procedure but she uses a diatonic scale in order to extend the G-F# and GAb dyads.

mm.442 and it:

L, ~

.~

~....

j!:fI-

fI-

~ .~

fI-

~....

~fI-

fI-

layer 6

MaL

Cilimcs
~

layer 5
~

"

.<

I Gongs

~....

~....

.' I

. I

\fib.

..

'I

-'

..

b....

~::

"I

.,

..

-:.~

I
]

..

b~

..

".

layer 3

b.

Pno~-']~
(right haud)

--

Ite.":='

'.

:
I

-=:.1

~;

~'3

~]--

Ite ..

,,

012)

'

,,
,,
,,
,

f
"-

layer 2

Tpt

(037)

e.... :]

,,
,,
,
,

layer 4

(0137)

-------.

'

--'
----'..

. ..
~

(016)

(03?)

,,
,,

"'_

~]5

,,

0(5)

(037)

Tbn.

doubk>d in octave
by Horns

69

. Example 31. The beginning of Variation VII, the other five textural layers.

I
f

'R.,..,..,-UlIII~:,
,

"~
i

"

,,

'IU
IrA

,e:

,,,

II

Example 32. The figure of the cross projected across the orchestra (mm. 455-459).

70

71
The second section of Variation VII, Section B, is significantly longer than the
first. The soloists alternate entrances. The role of the orchestra is like that of a cantus
firmus consisting of a continuous descending chromatic line. The formal design of
Section B divides into five short subsections clearly separated by dyadic closures and a
Grand Pause. All the dyads that Gubaidulina uses here at cadences have been previously
explored in earlier variations as inversional axes or the pitch material of cadences.
Thus, the first cadence which concludes the B1 Section (mm. 417-517) reestablishes the C-Db dyad which is performed simultaneously by the first solo viola, low
strings and piano and in a further prolongation assigned to the bass flute (mm. 509-511)
(see Example 33). The same dyad notated as C-C# was widely reinforced in:

Variation I as the final cadence.

Variations I and partially in Variations III and VI as the 0/1 inversional

axis.

Variation VI as C-Db placed in m.419 at the point of the golden section.

Example 33. B1 Section, cadence on C-Db.

72
Section B2 (mm. 518-529) shows the same cadential consistency particularly in
terms of orchestration and texture. Here the arrival comes on the B-C dyad. The bass
flute states the G-F# dyad melodically and then as a tremolo. This line does not, however,
replace the B-C dyad, the latter being sustained by the low strings and the piano (m. 529,
see Example 34).
In addition to this particular case, the B-C dyad was also prominent in:

Variation II where the B-C functions as the final cadence.

Variation III where the B-C works as the 11/0 axis for the A Section.

Section B3 (mm. 530-543) cadences on E-F (mm. 541-543), a dyad that was
particularly centric in Variations I and II, and partially in III and VI. The solo viola 1
holds the D# which in combination with the E-F dyad yields the pitch content of the
figure of the cross (see Example 35).

Example 34. The B-C dyadic cadence of Section B2.

73

Example 35. The cadence of Section B3 placed on the E-F dyad.

As it is shown in Examples 36 and 37, unlike the previous three sections, the
following B4 and B5 sections have a solo ending and in both cases they explore the G-G#
dyad. Finally, the succession of cadences in the B section creates a microcosm of the idea
of Two Paths where all three important centric dyads (C-C#, E-F and B-C) are used to
create closure. Summarizing the dyads that Gubaidulina explores in this final section, we
obtain the succession shown in Example 38.
The G-G# dyad is re-emphasized in the last section, C, of Variation VII.
Gubaidulina recontextualizes this dyad and places it as a component of the inversional
axis 1/2 - 7/8 (sum 3). Unlike Variations I, III, IV and V that explore inversional
symmetry, here Gubaidulina introduces a significantly different, rhythmic approach.

Example 37. The cadence of Section B5 (m. 595).

Example 36. The cadence of section B4 (m. 568).

74

Example 38. The most prominent dyads explored in Variation VII

75

76
The presentation of the pitch classes is fairly linear but unlike previous cases
where the inversional symmetry was organized by juxtaposing the lines, here the poles of
the 1/2-6/7 axis do not line up, instead they are shifted two measures apart. Thus, in
m.637 viola 1 states an ascending chromatic line departing from G#, and viola 2 states a
descending line (sul tasto trills) departing from G. In order to emphasize the role of both
poles by means of orchestration, Gubaidulina highlights their pitch content with pedal
tones in the percussion (crotales and gongs at mm. 638-642). Since the poles are a tritone
apart, the pitch content of the pedals is the result of the combination of the poles: G#-D
(crotales) and C#-G (gongs) (see Example 39)
In the last three measures, the violas switch their order of entrance but return to
the previously stated material.
While the violas gradually finish their solos, the strings and the timpani sustain an
E minor triad until the very end of the piece. The triadic and tonal nature of this final
chord is something that is characteristic of Two Paths, the same kind of tonal references
used in Variations III and V. The E-minor triad creates a fresh color for the piece, and its
placement at the final cadence points to a quasi-tonal ending. The E-B (presented by the

Example 39. Section C, mm. 637-639.

77
double basses divisi) is the third balancing pair which appears on the clock face of the 1/2
- 7/8 axis (sum 3).
Just as in Variation I, here Gubaidulina uses symbolic devices such as the figure of
the cross. Its pitch content is located in textural layer 5 of Section A (see Example 31). In
Variation I, Gubaidulina explores the figure of the cross in measure 33. The pitch
material of the last three measures of Variation VII conveys the symbolic and religious
nature of Two Paths as well. Notice that the last statement of the first soloist departs from
G# and arrives on D. The integers designating these two pitches are 8 and 2. According
to Buelows symbolic interpretation of numbers, 2 would correspond to Christ as the
center of the Trinity, and 8 to the number of the Resurrection and Circumcision. 37 As
Gubaidulina mentions in the program note, Two Paths has to do with the biblical story of
Jesus raising Lazarus from the dead. Six days before the Passover Jesus came to
Bethany, the home of Lazarus, whom he had raised from the dead.

38

Thus Gubaidulina

places these two framing pitches, G# and D (extracted from the 1/2-7/8 axis), at the very
end of the piece in order to render metaphorically the resurrection of Lazarus and the
image of Jesus. Furthermore, the 1/2-7/8 axis of symmetry is the only one of the 12
possible axes that features the sum 3. Number 3 in Buelows interpretation is the symbol
of the Trinity, 39 the sum of the numbers 1 and 2, important in their own right, as 1
symbolizes the Father in the Trinity and 2 Christ in the center of the Trinity. The other
pole of the 7/8 axis, as mentioned above, depicts the biblical story, 8 symbolizing Jesus
raising Lazarus (see Example 40).

37

Buelow, Symbol and Structure, 35.

38

From Johns narrative 12:1.

39

Ibid: 34.

78

Example 40. The last three measures of Two Paths (mm. 645-647).

A further compelling example of how the numbers of inversional axes express a

religious concept can be observed in another of Gubaidulinas late orchestral pieces, the
Rider on the White Horse (2002), a work that involves large orchestral forces. The
opening eight measures of this piece explore the G-F# dyad. As the composition unfolds,
G acquires a centric role and becomes, with G#, one of the component dyads used as an
inversional axis. Thus, the first climax in the opening section represents a gradually built
harmonic field in which the divided low strings explore the 7/8-1/2 axis, sum 3 (see
Figure 9).

79

C
B

C#

Bb

D#

G#
E
G
F#

Figure 9. Graphical representation of the 1/2-7/8 axis explored in the Rider

on the White Horse

Just as in Two Paths, here the completion of the clock face is realized by the
appearance of the balancing pairs in an expanding edge departing from G, but
establishing the G-G# as the pole of the axis (sounding together in Vc., div.a 10) and Cb.,
div.a 2). The first statement of this climactic passage (mm.41-43) explores only eight
pitch classes from the total number of twelve around the clock face (see Figure 10 and
compare it with Example 41).

C#
C

Bb

D#
F

G#
G

Figure 10. The eight pitches explored from the 7/8-1/2 axis (mm. 41-43).

80

7/8

1/2

Examples 41.The cross in the first climactic section of the Rider on the White
Horse

81
Graphically, the whole motion can be represented in Figure 11.
In the second climactic statement (mm. 45-48, see Example 42), when the edges
reach C#-D, established as the second pole, the trombones still shadow the pitch content
of the departing pole, while the strings add the missing four pitch classes featuring the
completion of the 1/2 -7/8 inversional axis (sum 3).
By visualizing carefully the graphic representation of inversional symmetry in the
score of this passage, we notice that Gubaidulina places the axis right in the middle of the
texture.

C#
C

Bb

D#
F

G#
G

First statement (m.41-43)

Moving from one pole of the axis to another.

C#
B

E
F#

G#
G
Second statement (m. 45-48)

Figure 11.The gradual exploration of the pitch content outlined in the

1/2 -7/8 inversional axis.

82
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Example 42. The second climactic statement (mm.45-48).

~5~

,
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,

83

Example 43. The lower part of the cross that occupies the space created by rests.

84
The spatial placement G-G# in the first statement of the climax (mm.41-43) and
G# in the second statement (mm. 45-48) illustrates the shape of two parts of the cross. It
is possible to visualize a lower part of the cross that occupies the space created by rests.
The corresponding balancing pairs arise gradually, expanding the opposite sides of the
clock face and therefore completing the content of the established 1/2-7/8 axis (see
Example 43).

CONCLUSION

This study has shown how and to what extent Gubaidulina employs the idea of
centricity in her orchestral work Two Paths. Thorough research into the pitch
organization of each variation led to the formulation of the idea of dyadic centricity.
As observed in Two Paths (and The Rider on the White Horse), inversional
symmetry around some central tone represents a substitute for the organizing power of
the tonic present in traditional tonality, but with two obvious differences. First there is no
single central tone or a pitch class around which a hierarchy is established, but rather a
pair of pitches, dyads related by semitone. Second, the pitch center is literally the center
of an inversional pitch structure, an axis of pitch inversion. Occasionally pitches persist
throughout an extended passage as points of departure and arrival; in some other cases
the centricity is evanescent. Almost all of the referential centers around which
Gubaidulina shapes Two Paths are represented by dyads related by semitone. The three
most explored dyadic formations are: C-C#, E-F and B-C. All three function as cadential
material. Subjected to filling (chromatic and diatonic), they are placed at climactic points,
explored as axes of inversion or become central dyadic components of larger pitch class
sets.35 The C-C# dyad for instance, is used in registral symmetries among variations
which place this dyad as the prevalent pitch formation of the piece (see Example 44).

35

Example 45 shows the occurrence and the degree of prevalence of the three dyads (C-C#, E-F and C-B)
that are most prominent in Two Paths. The cadences are included in boxes. The numbers define the degree
of occurrence of these three dyads.

Example 44. The projection of the C-C# dyad throughout Two Paths

86

Example 45. The large scale projection of C-C#, E-F and B-C dyads throughout Two Paths.

87

Example 45. Continued

88

Example 45. Continued

89

90
As mentioned before, the C-C#, E-F, and B-C dyads acquire a generative
function for most of the pitch-class sets used in Two Paths. The table below provides a
list of the most common pitch-class sets generated from these dyads.
Unlike the previous two examples that showed the primary function of C-C# on a
large scale, the pitch-class sets generated by the three dyads unfold on a rather small scale
which, however, in no way diminishes their role in the harmonic and melodic coherence
of Two Paths. The table below reveals the prevalence of E-F over the other two dyads in
this generative process of building sets (the registral prominence of the C-C# dyad
notwithstanding) and the importance of all three dyads for the impact of dyadic centricity
that Gubaidulina achieves in Two Paths (see Table 7).

Table 7. The occurrences of the pitch-class sets that employ the E-F, B-C and C- C#
as generative dyads.

Pitch class set

[E, F, A] (015)

[E, F, Bb] (016)

[E, F, B] (016)

Location

No. of
occurrences

Var.1

mm. 1-7 orchestra

mm. 18-21 winds/piano/percussion
mm. 25-27 percussion
mm. 23-28 winds/strings/percussion (alternatively)
mm. 48-51 strings
Var. II mm. 80-85 winds/strings
mm. 97 99 winds, percussion
mm. 103-107 0rchestra
mm. 127-130 stings
mm. 174-176 solo viola 1, 2
Var. III mm. 219-220 [E-F tremolo at timpani + A
presented by Solo viola 2]
Var. IV mm. 288-289 first violins group
Var. VII mm. 490-491 solo viola 1
Var.1 m. 8 strings
Var. II m. 87 strings
Var. III mm. 209-210 solo viola 1
Var. I
Var. I
Var. II
Var. II
Var. III

m. 21 Cb. div.2
m. 22 Va/Vc. div.1
m. 100 Cb. div.2
m. 101 Va/Vc. div.1
m. 206 Vc div.2

Table 7. Continued

13

91
[E, F, D#] (012)

Var. I
Var. I
Var. I
Var. II
Var. II
Var. II

mm. 31- 38/winds

mm. 38-41/strings
mm. 45-52 winds & brass
mm. 110-117/winds
mm. 117-120/strings
mm. 124-131/winds&brass

[E, F, A, Bb] (0156)

Var. III m. 222

[E, F, Bb, B] (0167)

Var. I m. 8.V-ni I, div.2& V-ni II div.1

Var. II m. 87 V-ni I, div.2& V-ni II div.1

[E, F, B, C] (0156)

[E, F, B C, F#, G,]

(012378)

Var. I m. 21 Cb ,div.1
Var. II m. 100 Cb, div.1
Var III m. 223, Solo Va. 2

2
3

Var. I m. 22, Vn. I div and Va

Var. IV m. 257-257, Solo Va.1

B-C
[B, C, Eb] (014)

Var. III m. 228-239

[B, C, D, Eb] (0134)

Var. IV mm. 252-253 Solo Va 2

[B, C, F, Gb] (0167)

Var. III mm. 210-212 Winds/Percussion

[B, C, F#, G] (0156)

Var. IV mm. 253-254 Solo Va 1

[C, Db, Eb, E] (0134)

Var. IV m. 267 Fl.1

[C, Db, G, Ab]

(0167)

Var.IV m. 268 Ob.1

C-Db
1
1

SELECTED BIBLIOGRAPHY

Berry, Michael. Sofia Gubaidulinas Serial Music Problemy Muzikalinoy Nauki 5 (May
2009): 56.
Buelow, George J. Symbol and Structure in the 'Kyrie' of Bach's B-minor Mass. Vol. 4
(1981): 21-42.
Gubaidulina, Sofia. Two Paths: A Dedication to Mary and Martha, Concerto for Two
Violas and Orchestra. Milwaukee, WI: Hal & Leonard Corporation (distribution
of G.Schirmer, Inc.), 2001.
______. Two Paths: A Dedication to Mary and Martha, Concerto for Two Violas and
Orchestra. Cynthia Phelps and Rebecca Young, violas; New York Philharmonic; Kurt
Masur, conductor. Kurt Masur at the New York Philharmonic Special Editions CD
Volume 3: New York Philharmonic, 2001.
______. The Rider on the White Horse for Large Orchestra and Organ. Hamburg, KG:
Musikverlag Hans Sikorski GmbH & Co, 2002.
Hasty, Christopher F. On the Problem of Succession and Continuity in Twentieth
century Music. Music Theory Spectrum 8 (Spring 1986): 56-74.
Kurtz, Michael. Sofia Gubaidulina: A Biography. Trans. Christoph Lohmann. Ed.
Malcolm Hamrick Brown. Bloomington: Indiana U. Press, 2007.
Losada, Carmen. Between Modernism and Postmodernism: Strands of continuity in
collage compositions by Rochberg, Berio, and Zimmermann. Music Theory
Spectrum 31 (2009): 30-85.
Straus Joseph N. The Music of Ruth Crawford Seeger. New York: Cambridge University
Press, 1995.
______. Introduction to Post-Tonal Theory. 3rd ed. Upper Saddle River, NJ: Pearson
Prentice Hall, 2005.
______. The Importance of Bodily Gesture in Sofia Gubaidulinas Music for
Low Strings. Music Theory Online 15/5 (October 2009): 1-11.

PART II:

CONCERTO FOR CLARINET AND ORCHESTRA

CONCERTO
for

CLARINET
and

ORCHESTRA

2011

Score in C

Lyudmila Kise

INSTRUMENTATION

Flute Piccolo
2 Flutes
2 Oboes
2 Clarinets in B
2 Bassoons

****************

4 Horns in F
2 Trumpets in B
2 Tenor Tenor Trombones
1 Bass Trombone
1 Tuba
***************
Percussion I
Timpani
Percussion II
Vibraphone
Wind Chimes
Triangle (high)
Castanets
Suspended cymbal
Percussion III
Glockenspiel (orchestral bells)
Tubular bells
Trinagle (low)
Suspended cymbal
Tam-tam
Percussion IV
Triangle (medium)
Sand blocks (large with a soft grain)
Wood blocks (high & low)
Snare drum
Bass drum
Celesta
Solo Clarinet in B

Strings

Duration ca. 16-17 minutes

Concerto for Clarinet and Orchestra

(2011)
Dedicated to my husband David Barrientos

Timpani

Wind Chimes

Vibraphone

Clarinet
Solo

Adagio q = 46
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11

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.

j
b .

b . b . b .
P

b.

b.

b J

b b

b
b n J .

3
b
n . # . b
J >
.
3~~~~~~~~~~~~~~~~~~~~
b.

n
P

j
n.

b.

b
I

.
cresc.

n.

?
# # n.
subito p

.
>

cresc.

cresc.

.
>

.
J

cresc.

cresc.

b.

b.

J b
3

n.

j j
J

n .
J

b b b b
b
. b n J .

b . n

subito

D.B.

subito

Vla.

..

23

Cel.

P cresc.

cresc.

.
.
#

P cresc.

P cresc.

? #

23

Timp.

23

Hn. I, III

# ~

100

J b
3

b
J
3

#
J
n # #
3

n # #
3

&

27

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl.1

&

b
& J
f

n
J

f
b

n
J

f
b

n
J

& # j
#.
f
3

&
b
f

3 Piu mosso q = 76

#
b
b n n
b n b b
44 b b

>
b
44 b

44 # # #

B Cl. 2

Bsn. 1

Bsn. 2

>
4
4 # # b

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

& b
F
?
F

T.T.

B. Dr.

4
4

b b.

44

? b.

?
?

&

27

V-ni I

V-ni II

Vla.

&
B
F

n
J

b
f

n
J
b.

b.

D.B.

b
5

b b.

n
j
b

I, II

b
3

b ww
F

#.

4
4 b n # b

# # .
J
b.

bw
bw

n
J

n
J

@.

n > b . b b b

5
n n
n b #
.
b

b b
# n >
5

4
4

>
J b

4 #.
4

4
4

44

>
J b

#.

a2

n
j
b

? b b # n b n b b b n 44 b n # b
5
F 6
? n

Celli

b
J

II, IV

4
4

&

#
n

>
J

44

44 j
F

I, III

4
4

>
J

b
J

44
bw
bw
F
4 w
4 bw
P

27

Clarinet
Solo

&

>
J

b b.

&

27

Timp.

# >

>
J

5
4
4 # n # # # b b # #

>
5

>

>

4
4 b b

27

Hn. I, III

b
&
b
f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? #.

44
b b

b
b b b n b

>
b
4 b
4

101

n
j
b

b
J

b #

b b n > .

n > b .

b #

b b n > .

. b b
n > b
>

b #

.
n > b b b >

30

Fl. 1

&

Fl. 2

&

Ob. 1

&

Ob. 2

B Cl.1

Bb Cl. 2

&
&

# .

f cresc.

cresc.

cresc.

cresc.
3

cresc.

Bsn. 2

cresc.

cresc.

Hn. I, III

&

Hn. II, IV

&

30

B Tpt.

Tbn.

Tbn III
and Tuba

B. Dr.

Clarinet
Solo

#
J

&

V-ni I

&
& b
V-ni II

Vla.

&
B
?

Celli

D.B.

?
?

F cresc.
3

F cresc.

>
43 J

>

3 J
4

>
3 J
4

3 >J
4

b .

3 j
4 b
>

..

43

b 4 j
>

..
..

...

J

n #
J J

j j

F cresc.

?
b
>
f

30

F cresc.

&

J J

j
b

? b b
J

30

b
b >
J 43 J
3

>

.
J 43 J

F cresc.

&

j
#

30

Timp.

# .
J

& J

Bsn. 1

43

34 # J
a2

3 j .
4
f # J
f
3
4

R
f
j
43 b
3
4

43

>
3
4 J

34 b >
J
43

b >
J

3 j
4 #
>

43 # j

j
43
>

j
43 b

>

43 j
>

>
R

>
R
>
R
>
R

R
>
R
r
r

>
>

102

44

4
4

44

4
4

4
4

4
4

4
4

b
b

4
4

44

>
>
J

44

44

4
4

4
4

44

4
4

Doppio el tempo (q = 92 )

6
6
44 . . . 6 . . . b 6
# . . . . . . . . . . . .
b

. . . . . .
>
b n

P
R

4
4

44

44

4
4

44

44

44

44

103

Fl. 1

&

3
4

Fl. 2

&

43

Ob. 1

&

3
4

Ob. 2

&

3
4

Bb Cl.

&

3
4

43

&

43

43

&

3
4

3
4

43

43

&

43

43

33

Bsn.

33

Hn. I, III

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

33

Timp.

T.B.

B. Dr.

q = 76

b b . n . . .
6
6

&

# b b b b . n
b b n . . # .
3
b
n .
6

>
subito p
f

33

Clarinet
Solo

V-ni II

Vla.

Celli

D.B.

~~~
3
3
3
b
43 b
. b b #
n #
poco a poco diminuendo

&

3
4 .

&

43 .

3
4 .

3
4 .

43 .

33

V-ni I

4 Tempo primo q = 46

&

36

Fl. 1

Fl. 2

Ob.
B b Cl.1
B b Cl. 2

Bsn. 1

Bsn. 2

&

&

Hn. II, IV
B b Tpt.

Tbn.

Tbn III
and Tuba

b.
p
?
b.
p

B. Dr.

b.
J
p

II

&

Cel.

&

44

44

P
* 4

4

Clarinet
Solo

&

&

V-ni I

&

&

V-ni II

&

Vla.

?
j
#
p
pizz.
?
j
#
p
pizz.

Celli

?
j
#
p

pizz.

D.B.

44
44
44
44
44

@J
p

@
P

44

44

Con sord.

arco

p
j

# n
P

Con sord.
J

Con sord.
b

Con sord.

b
J

Con sord.
j

#
Con sord.

arco
Con sord.
j

Con sord.
arco
j

44

Solo II

#
J

@
p

b
J

n.

#.
#.
P
@J
P

# ..

b ..

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
b.

44 J
b
F
p

36

44 ..
P
44
44

b.

II, IV
.

44
b @
p

104

I, III

4
4

Tempo primo q = 46

36

4
4

4
4

44

.
b

4
4

&

4
4

&

36

4 n b.
4

b .

44

~~~~~

T.B.

44

&

36

Timp.

b 4

4 J
6

&

36

Hn. I, III

n.

Sp
ww

r
b

ww

w
w

w
w

ww

w
w

ww

#
3

&

&

39

Fl. 1

Fl. 2

Ob. 1

&
& # j
3

Bb Cl.1

& j

3

Bb Cl. 2

39

Hn. I, III

Hn. II, IV

Tbn.
Bb Tpt.

Tbn III
and Tuba

&

? J
3

D.B.

j
b

ww

j
b
3


C# 

F# 

bw
bw

w
& w

B w
w

& w
w

? .
.
..

Senza sord. unis.

J
j

Senza sord. unis.

j
p #

Senza sord.

j
#
p

# .
3

yy
F

42

42

42

b ..

42

42

42

2
R 4

42

42

# .
3

42

42

2
4

42

w
& w

& .
&

!.

!
J

(high)

@J

&

. . 2
b .
4

39

Celli

39

Vla.

39

V-ni II

V-ni I

J J

T.T.

Clarinet
Solo

S. Bl.

Solo

Trgl.

Cel.

. # . .

&

39

Timp.

Solo.

105

42

42

42

42

2
4

2
4

42

pizz.

24 3
b
pizz.

24 3
b
pizz.

2
4 b

106

Piu mosso q = 72 -108

Fl. 1

Fl. 2

43
J
&

& J

44
44
4
4

3
4

43

3
4

Ob. 1

&

Ob. 2

&

Bb Cl.1

&

&

44

43

44

4
4

43

44

4
4

44

3
4

43

Bb Cl. 2

Bsn. 1

Bsn. 2

43

Hn. I, III

Hn. II, IV

Bb Tpt.

&

?
&

Tbn.

Tbn III
and Tuba

?
?

43

Timp.

Vib.

&

V-ni II

Vla.

&

43

V-ni I

43

Clarinet
Solo

&

&
B

arco

Celli

D.B.

Sp

44
44

44

4 J
4
44
4
4

44

44

arco

arco

arco

Con sord.

pizz. Ricochet

.. . ..
# .
F

44 w

44 w

arco

pizz.

b b .

&

b #

3
4

.
J

43

.
J

43

43

&

j .
b.
J
I
b .

3
4
43
3
4
43
43

Molto accellerando

arco

F n

Con sord.

3
# 44 . # . b J N . # w

# b b

pizz.

? b b #.
J
3
pizz.

4
4

. .
3
J
4
. .
J
43

3
B 4

b
3

# # n n b b.

43

b.
#
J
# n b

43

3
&4

49

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl.1

Bb

Cl. 2

Bsn. 1

Bsn. 2

3
&4
3
&4

b .

Bb Tpt.

Tbn.

Tbn III
and Tuba

Vib.

V-ni II

Vla.

Celli

D.B.

#
J

. . >

#>. . .

3
#>. .

> b . .
b
3

b J
# # # R
3
>
b

.
> b . .
n

b
3

&4
3
> 3
f
. . .
b

& 43
3
f
>

.
? 43 # b n
J
f

? 43

#
f

& 43 j .

I, III

& 43 j .
& 43

b
I

? 43 .

>
.

.
.

j #

J b

IIj

IV

? 3 b
4

#
#

4
J 4
44

Sp

Sp

j b b b

44 J
44 j

44 j

b.

44 j

b.

Sp

b.

b
J

44 b w
w

Sp

j
44
b b

44 ww

44

con vibr.
.

Sp

44 b ww

n .
J
J
3

n .
J
J
44 J
3

5
B 43 b
# n # .
>
>
f

? 43 b

& 43

& 43

n b 4 .
4 .
J
3

44 b j .
b .

Sp

& 43

b .

b . J

4
4

con vibr.

III

con vibr.

?3
4

& 43

b . J

44

b> . .
n 4
4
3
b> . .
4
4

> .
# # . 4
4

?3
4

b .

3
b . b
44

J
.
>
> 3

jI
j
44 .

#.
.

Tempo primo q = 46
4

3
&4

49

V-ni I

3 # # R
&4

49

Clarinet
Solo

49

Timp.

II, IV

Hn. II, IV

# . . . b . .

b .

49

Hn. I, III

b
b b n
J

107

.n
J

# .

j
.

j
.

P
P

F
F

b
p

b
p

108
Fl. 1

&

Fl. 2

&

Ob. 1

&

Ob. 2

&

Bb Cl.1

&

Bb Cl. 2

&

55

Bsn. 1

Bsn. 2

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

Vib.

T.B.

V-ni II

Vla.

Celli

D.B.

45

46
46
46

6
4

44

46

4
4

45

44

6
4

44

5
4

44

45

4
4
44

45

43

5
4

46

46

&

43

45

44

46

43

45

44

46

&

43

45

44

46

3
4

5
4

4
4

6
4

43

45

44

46

.
3
4
p 3

&

b

P

&

& .
B

5
4

p
P

4 j
b
4
P
F

6
4

45

44

46

45

44

46

&

. b
b b
3
#
b 4 b b
J

&

55

V-ni I

43

44

45

3
4

55

Clarinet
Solo

43

55

Timp.

3
4

43

45

43

55

Hn. I, III

43

#.

43 b b b n b
p

43

b n

n.

3 .
4

. #

3
4

? b ..

r
.

? ..
b

r
.

43

b
J

3
4

b b

5
4 J b
F

5
4

# .

5 w
4
5 w
4

j
j
b . b
p
F
5

~~~~~~~~~~~~~
44
w
P

46

4
4

6
4

4 .
4
.
4
4

6
4
&

6
4

45 w

44 .

46

3
4

5
4 w

4
4 .

6
4

6 Un poco piu mosso q = 56

& 46

& 46

59

Fl. 1

Fl. 2

Trgl.

S. Bl.

T.T.

Susp
Cym.

6
4
6
4

Clarinet
Solo

V-ni II

Vla.

Celli

D.B.

Trgl.
T.T.

S. Bl.

6
&4

6
&4

& 46

? 46

w.

? 46

w.

5
&4

p
p

V-ni II

Vla.

Celli

D.B.

w.

w.

5
4

5
4

x x

54 b
.
n
&
b
5
&4

5
&4

o.
54
&
B 45
? 45

n.

4
4

r
b .

44 X

4
4
44
44

44

44

x X
J

44

o
o

44

b
o
w

44 w
44

44
w

4
4

44

b b

42 X

j 42

2
4

2
4

42

42

4
4
4
4

44

44

j b

45
45

43

!
J

#. nb

~~~~~
# j
b ..

45

pizz.

B
3

J 45

45
5
4

5
4

# .

5
4

44 w

J
J

j
# .

xx

45

45

b.b .

44 X

42

4
4

45

b.
J

!
J

2 p
4

b 44

44 j
j

b b

w
44

possibile

2
4 yx

44

n .
J

#. .
n . J 44 J
4
4

!
p R

slide with a softer grain

w .

J 4
4

..

w.

64

V-ni I

64

Clarinet
Solo

X.
p

42

4
4

molto esperssivo e un poco rubato

64

W. Ch.

42

44

j j#. . #

j
b .
F
.

64

Fl. 1

6
&4

59

V-ni I

6
4
59

44

109

#
3

43
43
43
43
43

43

43

43

110

Un poco piu mosso

& 43

3
&4

Bb Cl.1

3
&4

Bb Cl. 2

& 43

?3
4

70

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

3
&4

3
&4

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

Trgl.

S. Bl.

Vla.

Celli

D.B.

. #.

b.

p cresc.

p cresc.

#.

#.

b.
.
i ~~~~~~~~~~~~~~~~~~~~~~
.
.

cresc

~~~~~~~~~~~~
b.

3
&4

?3
4

? 43

?3
4
3
&4
?3
4

!
J

3
4

!
J

!
J

x x

!
J

x x

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

3
& 4 .
b.

& 43 j
.
B 43

cresc

x x

..

sul pont.

& 43 j .
p

sul pont.

V-ni II

#
J

70

V-ni I

70

Clarinet
Solo

b.

70

Timp.

? 43
70

Hn. I, III

#
n

?3
4

b b

?3
4

cresc

sul pont.

#
J

#
J

pizz.

b b
p

cresc

pizz.

b # #

b #

74

Picc.

&

Fl. 1

&

Fl. 2

&

Ob. 1

&

Ob. 2

&

Bb Cl.1

&

Bb Cl. 2

Bsn. 1

Bsn. 2

n.

Hn. II, IV

B b Tpt.

b j .

4
4

5
4

4
4

5
4

44

45

45

44

&

&

#w

&

pizz.

B b n #
#

pizz.

#
#

?

b

pizz.

44

45
45
45
45

45

44

45

44

45

44
44

3
j . j

arco sul pont.

3

J
3

arco sul pont.

45
45

Con bravura

arco sul pont.

J .

44

44

j . j
#
#

45

~~~~~~~~

45

44

44

&

44

D.B.

74

Celli

45

44
#.

&

74

Vla.

#.

74

V-ni II

V-ni I

i ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
.

Tbn III
and Tuba

Clarinet
Solo

B. Dr.

44
&
b.
b.
bw
.
.
w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

? .
44
b
b.
bw

Tbn.

Timp.

74

Hn. I, III

111

7
44

r
b

# # n b.

3

..
f

pizz.

pizz.

44

44

44
44

45

45

45

45

j

3

45

J
3

45

112

.
n
#

Solo

& 45

77

Fl. 1

Fl. 2

& 45

Solo

Ob. 1

Ob. 2

B b Cl.1
B b Cl. 2

Bsn. 1

Bsn. 2

Hn. II, IV

B b Tpt.

Tbn.

Tbn III
and Tuba

b
b b J n

5
&4
?5
4
?5
4
& 45

S. Bl.

5
4 xx

xx

arco

43

3
4

43

43
3
4
43
3
4
43

cresc.

3
4

V-ni II

5
&4

arco

B 45

b.
J

? 5 j

4
p cresc
? 5 b.
4 J
p cresc

j
b .
.
p cresc
j
b .
.
p cresc
b j
p cresc

n
J

. . b b n n b n # n b .
b

.
.

. .
& 45 b r. b ..n # #
43
n

3
4

?5
4

b
J
3

?5
4

b.

43 # b n
p possibile
5
3

?5
4

& 45

D.B.

& 45

p possibile
n #.

3
4
3
p possibile
.
b
3
4 J

#w

V-ni I

Celli

43

?5
4

77

Vla.

w
#w

bw
~~~~~~~~~~~~ w

bw
~~~~~~~~~~~~

77

Clarinet
Solo

& 45
& 45

77

Timp.

5
& 4 b b n b n .

77

Hn. I, III

Piu mosso q = 72

# # r
J

3
4

3
4

r
r

molto espressivo e ben tenuto

3
4 b

j j3
b

j3

# n J
3

molto espressivo e ben tenuto

43 b

43

j
b

.
S

j
b n

j3
# n #
.
3

j3

# n #
.
3

b
n
n

80

Fl. 1

Fl. 2

Ob. 1

Ob. 2

&

& J

&

&

~~~~~~ 8
#
.
J
~~~~~~~~
#
.
J

# n n # >

# n .

b b n n b
J
5

&

Bb Cl. 2

&

&

Tbn.

Tbn III
and Tuba

Bsn. 2

?
80

Hn. I, III

Hn. II, IV

Bb Tpt.

&

80

Timp.

80

Clarinet
Solo

&

i ~~~~~ r
. b.
R

j3

& b b

V-ni I

V-ni II

& j
b
3

B
.
3

Vla.

Celli

?
J
F

D.B.

?
J
F

.
.

j
#

j
# .

j
# .

j
# .

b
3

~~~~~~
n

#.

#
b

~~~
b

i
b ~~~~~
.

80

n > # > # . # b

n
# #

n > b

Bb Cl.1

Bsn. 1

~~~~~

n b
~~~~
b

b # b. n

#.

113

j
n b

j3

j
n b

j3

#.
#.

83

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl.1
Bb

Cl. 2

&
&

. #

& J

& J
n
& J

Bsn. 2

Hn. II, IV

F 3cresc. . 3. .

5
F cresc.

I, III

Tbn III
and Tuba

Clarinet
Solo

V-ni II

Vla.

Celli

D.B.

.
J
44

.
J J 4
4
3

.
J 44

. . 44 b .

F cresc.

3
F cresc.

Senza sord.

Senza sord.

P cresc

&

&

B # .

n.

n.

?
?

. # J

b .

cresc

. # b n # .
5

b
b

#.

# n

43
3
4
3
4
3
4

3
4

4 b.
4

4
4

J
4 F
4
F
44

b
b

3
4
3
4

n 43

F
F

3
4

3
4
j3
4

#.

#
J

3
4

j .

.
b . . b 44 .

J
F
P cresc
I, II
4 b

#
J

4 b ..
4 b

#.

43

~~~~~

# # # #
~~~~~
4 # n

4
J

jP cresc

.
p

b . b 4
4

4
4

#.

#.

4
4

114

r
. . 44 b .

~ # .~

.
>
#
~~~~~
83
# b > n . b b n > # # . n . n .
#

44
n. .
b n
&
83

V-ni I

b.
J

b.
J

F cresc.

P cresc

Timp.

. b
J

Tbn.

83

# b n # > .

&

B. Dr.

Bb Tpt.

F cresc. . . .
. b .

&

. . . b

83

Hn. I, III

&

&

Bsn. 1

b .

J J

b.

j
#

III

3
4

3
4
43

.
#

.
>
.
. 3
# n #

b 4

4 b .
4
r

44 b .
r

#
J

#.

#
J

3
4

#.

43

b . . # 44

# n # #

4 b .
# . 4

4 b .
# . 4

3
4
3
4

.
b .
.
44

f . .
b
44 .

f . .
b
4 .

9 Allegro risoluto q = 132 -144

n
& 43 J
f

& 43 J

87

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2
Bb Cl.1

Bb Cl. 2

Bsn. 1

Bsn. 2

#
3 J
&4

Hn. II, IV

Bb

Tpt.

Tbn.
Tbn III
and Tuba

& 43 J
b
& 43 J
3
&4

3
&4

Trgl.

B. Dr.

Clarinet
Solo

? 43
& 43

Vla.

Celli

& 43 b J b J
f
a3 f
j
? 43 b b j

f
f
? 3 j j
4

? 43

& 43

j
43 x
f

#
87
3 J
&4
non.
> div.

& 43 J
f

>
#
J
f

>
>
& 43 b J b J
f

n b

44 b

# b. b

. # j j j
. . #
.
f
j
j

#
#

Sp

Sp

44

bw

bw

44

43
43
43

44

44

44

43

44

44

43

44

4
4

44

44
44

!
J

4
4

(high)

43

44

43

44

3
b > 4

. . b . . . b .
f
i ~~~~~~~~~~~~~~ pizz.

43

Sp

~~~~~~~~~~~~~~ 3 pizz.
b
43 #
Sp

arco

j
43

# 43
F

#w

43
43
3
4

3
4

j b b .
. .
F

43
43

43

43

j
b

Con sord.

43

43

43

3
4

43
43

4 b n 3
3

4 .. .
4
.

> . >b b b n > > n

44

#
J J

44

J J

arco

43 J j 44
arco

# 3
4

44

arco

44
44

3
4

43 j j 44

4
4

44

? 43 j# # b j b b
J

+
+
44

# #

F+
+

44
44

44

43

3
4

4 j 4
b
p
3 j 4

4
4

p
j
j
43 44

44

43

4
4

43

44

3
4

? 43 j# # b j b b
J
f

4
4

44

f pizz.
f

4
4

44

b
B 43 b j J b j b
b
pizz.

pizz.

D.B.

non. div.

V-ni II

? 43 J J

87

V-ni I

f . .
.

44

43

.
44 b . .

F
. # .
? 43 J J. # .
J

87

Glk.

43

87

Timp.

87

Hn. I, III

115

43 J j 44

arco

J 43

43
J

j b b

pizz.

j
b
j
b

43

43

43

3 .
&4
p
# .
. b . b . n .
3
&4
P
.
b .
3 b . n . .
&4

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

B b Cl.1
Bb Cl. 2

Bsn. 1

Bsn. 2

3 j
& 4 b .
P

3
& 4 b.

Hn. II, IV
Bb Tpt.

Tbn.

Tbn III
and Tuba

? 43

Sp

? 43

W. Bl.

& 43
? 43

& 43 b ..
?3
4

& 43

? 3
4
& 43

43

Vla.

Celli

#
#

& 43 b b n
f

?3
4

b
p

?3
4

Sp

pizz.

# J

Sp

j
Sp

J
j

j
b

# .

J

# # n #

arco

# j
#. n # #

arco

r
b

#
J

> .
J
f

b@ J b
@ @
arco

high

F low

44
44

44
w

44
44
44

4
4

44

Sp

b @

Sp

Sp

43
43

43

3
. . b . 4
p
3

4
b

. . .
p
43

43
43

J
I

43

43

43

3
4

J J J 44

b @ @j @
b b j j 44
b J
P
i ~~~~~~~~~~~~~
.
j j 44
@

3
4

i ~ ~~~~

b n n b.
# b 44 b b r
J

arco

b @

3
4

44
J

3
4

44

b J 44

4
4
44

3
4

44

116

4
4
4
4

j
#. n # # #
f

Sp

I Solo senza sord.

# #

pizz.

& 43 b b n b # # # #

p
f
i ~~~~~~~~~~~.

B 43 J
p

Sp

Sp

b.
S

b.

4
4

~~~~~~~~~~~~~~~~

Sp

D.B.

#
J

j
. J
f
j j
b .

pizz.

V-ni II

pizz.

V-ni I

Con sord.

j
? 3 #
4

Sp

93

Clarinet
Solo

Sp

93

Timp.

.
. . #
J

93

Glk.

b .

Sp

3
& 4 .

.
# . # .
J

93

Hn. I, III

j
& 43 n .

b >. .

93

b
J

P
P

44

44

J
p

arco

43
43
43

#.

43

b b 43
f pizz.
3

# 4
f

pizz.

# 4
f
pizz.

& 43

& 43

98

Fl. 1

Fl. 2

Ob. 1
Ob. 2

Bb Cl.1
B b Cl. 2

Bsn. 1

Bsn. 2

& 43

& 43

Hn. II, IV

Bb Tpt.

?3
4 b.

& 43 b

Tbn.

Tbn III
and Tuba

?3
4

f P

n
J

J
f

n j .

n j .

5
4 J

b
J
3

3
4

# j b n b n
P

j j
43 #

45

Senza sord.

II
34 J J

43

45

45

?3
4

45

43

45

43

43

43

43 j j j

45

b
#
#
J

3 j
4

# n

P
54
3
b b 4 b j
P
54 b
3 j
4
J
P b n b

54 b j
34
# # j
P

54
3
j . b b b 4 n j
b . .

45

3
4

45 j . b b b 43 j
b . .

b
J

45

5 J
4

98

S.Dr.

?3
4
98

Timp.

f P

n
J

?3
4 b.

& 43

# b
J

?3
4

.
# # b n J

98

Hn. I, III

# # J b

& 43
& 43

10

117

43

~ i ~~
6
i ~ ~ ~~~
#

>
#
3 j
# n # # n . n b 45
j
j
j
j
& 43 . # .
4
b . b
. #

.
b

b b
>

.
. . .

>
F
f
Sp
f >>

98

Clarinet
Solo

#
98
#

J
& 43 b J n
pizz.

V-ni I

Vla.

pizz.

Sp

j
& 43 j @
Sp
arco
j
3
B 4 n
#
pizz.

V-ni II

#
J J J

arco

arco

Celli

? 3 j
4 #

D.B.

? 43 j
#

arco

pizz.
@j J
J

n b
p

n b
3

f p

45

45

j
b j
#

arco

pizz.

j j

j #
J

#
J

pizz.

pizz.

43 j j j
b

n
54 b j b # # 43 j j j
#
pizz.

j #

45 # b b 43 J J J
p

arco

arco
54 j# # b b 43

J J J

b
b

#
& J

& J

104

Fl. 1

Fl. 2

Ob. 1
Ob. 2
Bb

Cl.1

B b Cl. 2

Bsn. 1

Bsn. 2

& j

F
& j
F ~~~

&
b
P
~~~~
&
b

Hn. II, IV

B b Tpt.

Tbn.
Tbn III
and Tuba

Clarinet
Solo

&

&

&

45 j

j
45

45

45

43

&

# . . .

+
+
J J

. . .
&
P

? j
#
P

? arco
j

# . . .

Ricochet

pizz.
+

+

J
J

5
4

F3

+pizz.
+

J J

Ricochet

B ##nnb n
p

. . . +
45 J

pizz.

F3

5 b.
4
F

5
4
.

# # 45 # .
@
F

+
J

# . . .

Ricochet

4
4 .

43 z z z zJ Jz
p3

3
4

+
J

3
4

arco

Sp

b j
#

43 j b j j

b j
#

j
43 j b j

pizz.

P
P

3
4

43

3
4

3
4

43
43
43
3
4
43

44 z z z z z z
J
J J
3

+
J

43

>. . . n .
43 . . . b . 44 .
>
3
pizz.

3
4

. . .

3
4

44

pizz.

4
4

pizz.
. . . 3 . . . + +
4
J J

II

44

Ricochet

44 b J .
44

43

3
4

44

4
4

43

43

43

45 J

3
4

5
4
b
J

43

.
>
43

4
4

3
4

44

3
4

3
4

4
4

43

45

3
4

zz z
z z z zJ Jz 45 z z z Jz Jz
3
3
p 3 soft with brushes
.
3
~~~ #
104
. 3. .
#

J
45
# n # #
& # . . .
b

>

arco

D.B.

5
4

arco

Celli

5
4

Ricochet

Vla.

5
4 J

b n J

104

V-ni II

P3

b j

Ricochet pizz.

V-ni I

b
J J

? # n j # # 5 # J
4
#

104

S.Dr.

j
b

104

Glk.

45

45 J
5
4 j # .

104

Timp.

104

Hn. I, III

n. .
. .

#
#
b

J
J 4
J
3
4
4
3
3
3
#

. . #
b
b
44 J
J
J
43
3
3
3 ~~~~~~~~~~~~~~~~ 3

44 J
J

43
~~~~~~~~~~~~~~~~~~~~~~ j
3
4

b 4 b.

b
5
J J
4

118

b > b

43
n 43

+ . . . . . pizz.
+
4 J
J 43
4
3

44 + . . . . . +
J
J

pizz.

43

3
4

44 j j j
#

43

44 j j j

43

4 j
4 # .

3 J J
&4

108

Fl. 1

Fl. 2

Ob. 1
Ob. 2

B b Cl.1
Bb Cl. 2

Bsn. 1

Bsn. 2

3 b J b J
&4
P

& 43

& 43 # j j

Hn. II, IV
Bb Tpt.

Tbn.

Tbn III
and Tuba

W. Bl.

& 43

Clarinet
Solo

? 43

Vla.

& 43

J
J

? 43

& 43

arco
.

#
3
&4

.
& 43

.
B 43 b

poco cresc.

J #

? 43 #

J J
J
n

n >
b J

? 3 #
4 J J
J
J

44
44
44
44

# j
#

j
b.

low

44

44

44

j
j j b j n #
n b
.
. .
.
.
.
3
i ~ ~ ~
i.~~~~~

b
n
#
J
b
Sp

b n
J
J

Sp

44
44

pizz.

44

44

4
4

44
44
44

j J

#
# J

44

pizz.
b j b
J
>
F
pizz.
b J

4
# n b # b n b # # # n n # b 4

# #
J

F saltando

high

n.

b
P .
...
6
108
.
.
b b #

& 43 b b b b . b
.
3

4
4

n b 4
b # n b b J

4

b .
#

Jb

43

?3
4
?3
4

. b.
J

Solo

b b n j

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#.
.

arco

D.B.

arco

Celli

>

J

J

arco

V-ni II

j
j
#

J
? 43 b .
& 43 .

108

V-ni I

j j
b

P
? 3 J J b
4

108

Glk.

b >
& 43 # j j J

108

Timp.

108

Hn. I, III

J J

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.
11 # .

119

n
J

p poco cresc.

j j
j b j

j
# #

# #
J

44
44

4
b # n b # b n b # # # n n # b 4
p poco cresc.

120

4
&4

113

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl.1

Bb Cl. 2

Bsn. 1

Bsn. 2

4
&4

#
J J b
J

34 b

43

4
&4

4
&4

Hn. II, IV
Bb Tpt.

Tbn.
Tbn III
and Tuba

V-ni I

Vla.

Celli

D.B.

7
8

78

78

j
.

78

78

78

43

43

43

b
J

98

43

n
43 J

43

b j .
b.
Sp
+ .
J .

98 j
b b
+

98
J

98

Sp

98

J .

78

78

98

78

78

? 44

43

98

78

4
4

43

98

78

b . . b .
4 # . . . .
b n 43 b
n
&4

> . b .
3
F

. # .

i ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
arco .
113
. > b

4
3
4
&4 J
p

4
#
& 4 # b n n b n

>
34 . b .

#
B 44
# b n n b n

43

arco

V-ni II

113

Clarinet
Solo

7
8

113

S.Dr.

3
9 j .

# b n n b 4 # J b n n # 8

113

Timp.

? 44

? 44
I, II

78

? 44

# # # n J
J

9 #
b n # # 8 J

43

4
&4

4
&4

9
8

? 44

9
8

78

98 j
b
# b n n

4
&4

? 44 J

43

113

Hn. I, III

3
4

98 .

4 j
3 .
& 4 # b n n b n # # 4
p

12 L'istesso tempo q. = 108

# # # b J n b J
98
.

? 44

S
? 44

arco

b j j
J

pizz.

b j j
J

pizz.

#
F>

3
4 j
b
arco

Sp

43 b J

arco

Sp

. .b . .
#

9 # n
7

8
. b . . # . n b 8
P

9 # .
8

p

98 #
J
p

98
#

>
P

9
8
b #
p

b 98

# .
J
#

#
b . .

. # .

j . .
#
P

7
8

78

78

b
J

7
8

b
J

78

J J

#.

pizz.

j j

pizz.

j j

pizz.

J
7
&8

117

Fl. 1

Fl. 2

Ob. 1
Ob. 2

Bb Cl.1

B b Cl. 2

& 78 J
& 78

& 78

& 78

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

Susp
Cym.

8
8

8
8

8
8
88

Clarinet
Solo

& 78

88

78

& 78

?7
8

?7
8

88
88
88
88

78

88

78

78

88

78

78 x x x xJ xJ 88 Jx x x x x x
soft with brushes

& 78

88

78

78

w.
12
8 w.
Sp

12
8 b J . . .
f

j
12
8 b . . .

pizz.
. . . + # +
J J 8 # J #
7

&8
8

... + +
& 78 J J 88
pizz.

pizz.
j
B 78 j j j 88 j j
b
#

? 78 j j 88 j j j
b J
# # #

? 7 j j 88 j # j
8b J
J

arco

78 J

. # # j 78

j
.

# j 78

X.
12
8 @
F

12
8
12
8

8
8
8
8
8
8
8
8
88
88
88
88
88
88
88
88
88

88

88

. .
.
. . . # .n . . b . 8
12
8 b
8
b . .
f

12
8

88

12
8

88

12
8

88

. # j 78 # j j j
J
# n
.
J

12
8

.. .
. b .b

Con sord.

j
12
8 # . . .

12
8 J . . .

~~~
~ i ~
117
~ i ~
~ i ~
88 b
j j # 78 b b . . b
& 78

..
b b . . . . b . . # b

.
.
p

pizz.

D.B.

78

12
8

pizz.

Celli

78

12
8

12
8

?7
8

Ricochet

Vla.

78

. # b 12
J
8 J . . .

b
. . .

78

?7
8

J .
12 J . . .
8

.
. #

12
8

117

V-ni II

Ricochet

V-ni I

78

88

Vib.

7
8

117

S.Dr.

7
8

117

Timp.

i
~ ~ . #
b b .
7
8
p
~ ~~ .
7 b n # . n
8

& 78
117

Hn. I, III

8
8

121

j 78 # j # n
J J

12
8

12
8

88

88

8
&8

Picc.

Fl. 1

Fl. 2
Ob. 1
Ob. 2

Bb Cl.1

Bb Cl. 2

Bsn. 1

Bsn. 2

8
&8

8
&8

& 88

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

8
&8

Susp
Cym.

7
8
7
8

8
&8

V-ni II

Vla.

Celli

78

8
&8

7
8

?8
8

7
8

78

b >
8
&8b
J
?8
8

7
8

?8
8

7
8

?8
8

7
8

& 88

& 88

pizz.

B 88

pizz.

?8
8

b b

Sp

Sp

b
b

J 78

j
#

78 . b .
p

7
8 # n.
p

7
8

8
8
88
8
8
8
8

88

7
8

8
8

7
8

8
8

78

88

8
8

7
8

8
8

88 xJ

78

88

8
8

88 b .

arco

7
8

arco

b.

b.

88 > b #

arco

7
8

8
8

j
#

78

7
8

8
8

pizz.

88

88 b .

78 J

8
8

7
8

arco

pizz.

7
8

8
8

7
8

8 #
8

J
J
F
8 b j j
8

pizz.

arco

.
. # . . .
. b .
.
b b
78

b n # 88

# # n
3

pizz. #
? 8 b n J 7 j
b
8
8
2

122

n J

j 8
n 8 b b ..

88

x.

j
j7
b # n 8 b

.
8 .
8

# >
J

8 # . . . n . . # n b j

8
#
f
~
b

b
88 J
b b
F
~
8
b b n #
8 J
. b
F
>
8 .
j

8
#

88

78 X

j
b # n 78

pizz.

II

123

2
b J 78
& 88

.
.

x
88 J .

D.B.

7
. # . b 8 n

# . . . .
P
?8
7

8
8
? 88

.
.

pizz.

V-ni I

& 88 b . . b . . . # 78
.

123

Clarinet
Solo

78

123

Timp.

7
8

123

Hn. I, III

7
8

123

q. =. 112

. b . b . . .
b

8
8
f . . .
. b b . .
8 b
8
f b . . . .
b . b .
88
f
8 # . . . n . . #
8
#

13

8 > b #

arco
8 > b #
8

arco

# n 88

78

#
J

i ~~~
J J

78

88

78 # .
n

88

.
j
#
>
j
#
>

pizz.

pizz.

pizz.

78 j
b

88

pizz.
7
8

# 8 j

#
n 8

pizz.

j
#

n 88
# 8

Fl. 1

Fl. 2

Ob. 1
Ob. 2

~~~~~~~~~~~ i ~~~~
128
# 6
.
& 88
8
p
>
~~~~~~~~~~~ i ~~~~
.
# 6 b J
8
&8
8
p
F
6
8

&8
8
& 88

& 88 .

B b Cl. 2

& 88

Bsn. 1

Bsn. 2

Hn. II, IV

B b Tpt.

Tbn.

Tbn III
and Tuba

Clarinet
Solo

88 J

6
8

?8
8

6
8

8
8

& 88

68

?8
8

68

?8
8

68

7
8

88

98

78

88

98

78

88

98

78

(3 + 2 + 3)

98

78

98

78

68

& 88 b
p

B 88 #
p
?8
8 #
p
?8
8 #
p

# J
arco

68
F

j n @j 68 @
F

j 6
j
n @ 8 @
F
arco

j 6
j
n @ 8 @
F
arco

j
88 b .
# .
p
88

. .
. .

3
. . b . b . . .

8
9
# b . 78
8 b b . . b . b . n 8
b

.
.
b n
p
F

j
@ @.
P
j
@
P
j
b @
P

(3 + 2 + 3)

b
J
#

9
7
8 # # b j n 8
. .
p

pizz.

98 # n b n . # . 78
J
p

9
8

?8
8

j 78

68

7
8

68

J b . .

2 + 3)

78
J

n
J

n b

9
8

& 88

i .~~~~~~~~~~~~~~~~~~

& 88
p

# #
J

(3 + 2 + 3)

7
8

9 j
8

b 7
J 8
p
J 78
p
78

9
8

8 j
8

pizz.

D.B.

9 b
8 J

98

& 88

pizz.

Celli

8 b
8 J

8
8

8 b(3 +
8
J

8
8

pizz.

Vla.

arco

V-ni II

9 .
8

6
8

128

V-ni I

8 b j n j b
8
p
88

b b n 68 #
& 88 b

n b . .
.
P
.
f

J
J

?8
8

128

123

98 .

128

Timp.

?8
8

128

Glk.

88

j
# J 68 # #
P
6 .
8
b b n
P
68

128

Hn. I, III

6
8

B b Cl.1

>
J

@.
@.

88 J @
p
p
(3 +. 2 + 3)
b . b . .
88 b .

p
88
b.

(3 + 2 + 3)

88 .
@
p

88 .
@
p

@ @.

pizz.

98

# b 78

98

# b 78

98 b b

# # n n 78

pizz.

pizz.

98 j
#
arco

78

98 #
J

78

arco

& 78

132

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl.1
Bb Cl. 2

Bsn. 1

Bsn. 2

& 78

b
J

(2 + 3 + 2)

& 78
& 78

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

& 78
& 78

?7
8

Susp
Cym.

?7
8

?7
8
?7
8

Clarinet
Solo

V-ni I

V-ni II

Vla.

D.B.

88

?7
8

?7 j
8 #

b b
j j

88

b
J

pizz.

pizz.

pizz.

8 b
8

arco

pizz.
88 j

# j
#

b
J

n
J

r I

bII
R

(2 + 3 + 3)

(2 + 3 + 3)

arco

(2 + 3 + 3)

j
b
n

# #
#
3

arco

J
arco

x x.

x.

(2 + 3 + 3)

8 b
n
8 b b b

# .
.
F

.

#

x.

P (soft mallets)

#
7

&8

pizz.

Celli

88

88

(2 + 3 + 3)

B 78 # n #

8
8

#
& 78

arco

88

arco

#.

132

(2 + 3 + 3)

78

b . b .

88 x .

n .

78

7
& 8 #
b
n .

88

(3 + 2 + 2)

# .

132

.
. #

88

132

S.Dr.

8
8

7
&8

88

88

88

& 78

. b .

88

?7
8

88 b .

. # .

88

?7
8

.
88 # .

88

& 78

8
8

88

132

Timp.

132

Hn. I, III

124

j
b
j

(2 + 3 + 3)

j
#

(2 + 3 + 3)

j
b

(2 + 3 + 3)

arco

125

Fl. 1

&

Fl. 2

&

Picc.

Ob. 1

&

Ob. 2

&

Bb Cl.1

Bb Cl. 2

Bsn. 2

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

? b J .

Susp
Cym.

V-ni II

Vla.

Celli

D.B.

b bn b
n
~~~~~~~~~
b
n n

b.

.
.

&

&
&
B
?

#
# .
P

? #.

b
>

j
b
>

..

. .

b
b.
II

(3 + 2 + 3)

tuba

#.
II

(3 + 2 + 3)

~~~~~~~ i ~~~~~~~~ . .

#> .
b

b . n

b.
J

b n
#.
Sp
f
Sp

j
j
j
b J
>
>
>
#
j j j J

b
>
>
>

n
# b .

b . b .

b b n

#
. b . . n .

b b n

. . .

135

V-ni I

135

Clarinet
Solo

&

135

Timp.

135

&

~~~~~~~~~~~~~~~~~

j
.
J
b
~~~~~~~~~~~~~~~~~

# # b
.

J

# # #

i ~~~

& b b b n . # # b b n . .
n
P
~~~~
j
n
& b #
b b n n
b .
#. n
b

Bsn. 1

Hn. I, III

&

135

j
j
.

J J

#
J J

j
#

#
J

j
#

j
b

b .

j
b b .

j
b

#
J

j
b

n .

j
n .

j
b

126

14

.
. b . . . .

&
f
.
. b . . . .

&
f
.
. b . . . .

&
f
i ~~~~~~~~~~~~~ . . .

#
&
f

&

139

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bb Cl.1

&

Bb Cl. 2

&

Bsn. 1

Bsn. 2

.
# . . . . .
f

~~~~~~~~~~~~~~~~~~~~
# .
f
~~~~~~~~~~~~~~~~~~~~
#.

Hn. II, IV

B Tpt.

Tbn.

Tbn III
and Tuba

?
?

Timp.

Susp
Cym.
B. Dr.

b n b

V-ni I

&

V-ni II

Vla.

Celli

D.B.

&
B b .
Sp
?
.
Sp
? b .
Sp

Sp

Sp

# n
.

b n #

.
. b . . . . #

.
Sp
.
Sp

b .

#
J

S
S

b .

n
.

b .

f
b
J
f

J
f
j

y
J
f

>
J

j
n
>

j
n
>

j
n
>

6
8
6
8
68
68

68

6
8

6
8

68

68

68
68
68
68
68
68

x
J

68
68

68

68

68

68

68

>
J

b b

6
8

b .

j
#

b
f
j

F
@

Sp

Sp

# n .

b b

n #

# # n n

y.

b .

# .

# #

@
b ..
P

b
b n b #
&
. . .
n .

139

. . . # n n
#

139

Clarinet
Solo

# n #

#
n

b
. b . . . . # #
.
f
.
. b . . . . #

..
Sp

# #

i ~~~~~~~~~~~~

. F

b ..
Sp

b n b

? .

139

.
J

b.

& .
b.
Sp
? b ..

Sp

&

b n b

b n #
f

139

Hn. I, III

.
J

127

& 68

6
&8

& 68

& 68

& 68

141

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

B b Cl.1

B b Cl. 2

Bsn. 1

Bsn. 2

Hn. II, IV

B b Tpt.

Tbn.
Tbn III
and Tuba

98

& 68

& 68

? 68

i ~~~~~
98
68 .
b # b b
b .
p
~~~~~~~
98
68 .

b

#.
# n
p
98
68 .

? 68

98

68 .

& 68

98

68

& 68

? 68

? 68

? 68
? 68

141

Timp.

Vib.

B. Dr.

6 .
&8
F
6
8

.
. b . . .
b

.

68 > . b . . .
&
# #
P

pizz.

V-ni I

6
&8

V-ni II

pizz.
68
&
P

141

Vla.

Celli

D.B.

B 68

98

F
b b n 7

8
F
# #
#
78
F
# # # 7
8
F

# n # 78
F

# b b 78

b b 78
F
7
#
b b 8
F
78

68

78

68

78

98

68

78

9
8

6
8

7
8

i ~~~~~

98
98

68

98

j j
#

68 .

7
8

98

#
p

pizz.

#.
#.

98 j #

i ~~~~~~

J

j~~~~~~~~~
b
>

# n

p
98 j #

molto espressivo

98

j j
#

68 .

F
# # n n

78

68

molto espressivo

68
J

98

6 J
8

# . 98
.
.
>

? 68
P
? 68

98

141

Clarinet
Solo

68 .

9 #.
8
p
98 .
p
98

141

Hn. I, III

98

# # n n

78

68

78

# 7

8
#
8
. .
# n
F

78

arco

68
#
F

arco

arco

68
#
F

68 .

j
n

78

j
n

78

78

68 .

78

68 .

78

Picc.

Fl. 1

Fl. 2

Ob. 1
Ob. 2

B b Cl.1

B b Cl. 2

Bsn. 1

Bsn. 2

i ~~~~~~~~~~~~~~~
. #

145
7
&8
~~~~~~~~~~~~~~~~ f.

7
&8
f
~~~~~~~~~~~~~~~
b
b .
7
&8
f
i ~~~~~~~~~~~~~~

n

b
. .
7
&8
i
n ~~~~~~~~~~~~ f.
# .
& 78
i ~~~~~~~~~~~~~~
f.

b .
7
&8
~~~~~~~~~~~~~~~

& 78 n
~~~~~~~~~~~~~~

? 78 #
? 78

Hn. I, III

7
&8

Hn. II, IV

? 78

145

B b Tpt.

Tbn.

Tbn III
and Tuba

& 78
? 78
? 78

T.T.

B. Dr.
Cast.

? 78
78

>
J
& 78

& 78 J

V-ni I

V-ni II

Vla.

Celli

D.B.

cresc.

b b n
cresc.

b .

cresc

~~~~~~~~~~~~~~~~~

b b n b n
85
~~~~~~~~~~~~~~~ 3

n b n b
85
b
b . .
i ~~~~~~~~~~~~~~~
5 j
b . n .
8
. b .

.
5
.
8 .

f
.
58

b.

b>

b.
b.
F

? 7 j n j j
8
>
>
f

88
b.

85

85

85

85

n .

# .

# .

# .

# .

b .

n .

b .

n .

b.

85 .
f
85 .
.
f
85

88
>
# .
88

x x x 88
f
88

85

.
8
b 8
>
>
f
8
B 78 j #
8 b .
>
>
f
? 78 j n j j 88
b .
>
>
f

& 78 J

cresc.

88

78 x
P
78

145

88

145

Clarinet
Solo

~~~~~~~~~~~~~~~

n b b n b
b
8
5
8
8
i ~~~~~~~~~~~~~~~
cresc.

n b # #
8
5
8
8
cresc.
~~~~~~~~~~~~~~~~~

b b n #
8 # #
5
8
8
cresc.
i ~~~~~~~~~~~~~~~~~
# b .
n n n
. b .
8
5
8
8
cresc.
i ~~~~~~~~~~~~~~~
. b . b . . n . n

b
88
85
cresc.
i ~~~~~~~~~~~~~~~~

b
88
85

f
. # . 88
f
. n . 8
8
f
i ~~~~~~~~~~~~~~~
88

. .
f
+ +
8

8
# #
f+ +
b
88

f
a2
. b . b

.
.
88
J
f
a2 j
88
. b . .
.
.
f
88

145

Timp.

.
# .

>
b 15
8
8
>
b
8
8

.
# >. .
8
8
3
#>
88
>
#
88
> #

88

> b
b 88

. # .

j
#
f
f

J

b b
#
85 #
#
>

n b
85 # # n #
>

58 j
# # n

#
>

85 j

#
n #
>

>

n . .
85 J #

128

88

88

8
8

# ..
Sp
88 b ..
Sp
88

88 # ..
Sp
88
b n ..
Sp
88

88 . .
F
88

88 . z z z
p
88

88

88

88

88
88

Fl. 1

&

Fl. 2

&

Bb Cl.1

&

Bb Cl. 2

&

149

Bsn. 1

Bsn. 2

.
P

b.
P

Hn. II, IV
Bb Tpt.

& j

Tbn.
Tbn III
and Tuba

S. Bl.

Cast.

Clarinet
Solo

? j

misterioso

78

V-ni II

&
&
&

Vla.

Celli

D.B.

88

j
.
P
.
J

8
8

78

88

z
J

88

z
z
J J

78

#
78
. . . .
7
8

#.
p

..

..

..

78

zz

78 z z z

88

8
8

8
8

zz

88

b j j

j
b

7 j j
8 b

88

z z
z z z
J J J J J
P

78

Div.

88

B #.
.
p
?
.
p
?
#.
p
? #.

.
p

8
8

.
p

b.
p

88

149

V-ni I

. # .
J
~~~~~~~~~~~
# .
J

8
8

& .
P
~~~~
.
149

b .
# .
& b . J . b . n . # .

. . b .
b . . . # . .
. . .
Sp
F
P
&

? j . . j
b
b
p
z z

149

Glk.

?
J

149

Timp.

? J
&

8
i ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.

.
J #
7

8
P
i~~~~~~~~~~~~~~~
7

j
8
b.

. b. n
. .
# n
i ~~~~~~~~~~~~~~
3
78
j

. b. n
.
.
.
.
.
78 J J .

J J
p
j
j
78 b j j .

b . .
.
.
p
I
7

8 j
. .
p
II
#. .
7

8 J
p
7

149

Hn. I, III

129

7
8
7
8
78

. .
b .
P
~~
3
.
b

# b . n b

..

..

78

7
8

7
8

88

88
88
8
8
8
8
8
8
88
88
88
8
8
8
8

8
&8

8
&8

155

Fl. 1
Fl. 2
Ob. 1
Ob. 2
Bb Cl.1
Bb Cl. 2
Bsn. 1
Bsn. 2

8
&8

5
8

& 88
8
&8

? 88 .
J
p
? 88 b j .
p

85

85

85

& 88

85

9 # J
8
p
98 # #
J
p
98

85

85 J

j
85 b

98
98

98

8
8

88

88

98
98
98

88

98

88

98

88

9
8

88

98

#.

98

n#

130

98

88

98

Hn. I, III

8
&8

5
8

9
8

8
8

9
8

Hn. II, IV

? 88

85

98

85

98

98

? 88

88

88

! .
J

155

Bb Tpt.
Tbn.
Tbn III
and Tuba

8
&8
? 88
? 88

Trgl.
Cast.

8
&8 J
P

b
J 85

8
8
155

Glk.

85

!
P J

~~~~~~~~
8
& 8 . # . b 85
.
b .
P

155

Clarinet
Solo

8
&8

155

V-ni I

V-ni II

Vla.

Celli

D.B.

8
&8
8
&8
& 88

B 88 .
.
? 88
? 88

85
5
8
85
85

9
8

(medium)

98

5
8

9
8

85

155

Timp.

5
8

98 zJ Jz
p
98

n b 98

>
b
n
98
9
8
98
98

85

98

.
. 8 b b

.
.
9
j
j

j # n . b 8
b # j 8

Sp
88

..

..

..

88
..

88
.

98

88

85

98

98
.

? 88 .

88

85

9
8

98

98
..

8
8

98

85

j
. # .
.

88

9
8

>
j
b .

z
J

8
8

98 .

8
8
88
88

88

88 .

98
9
8
98
98
98
98
98
98

16
Fl. 1

Fl. 2
Ob.
Bb Cl.
Bsn.

Solo

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

Timp.

Cast.

.
98 @z
p

V-ni II

Vla.

Celli

D.B.

88

98

z
J

& 98

b
. . . . .
p

& 98

9
&8

9
&8

& 98

B 98

?9

8 # @
p

?9

8 @
#

p
? 9 j # j
8
p

88

7
8

8
8

78

88

78

j
j # #

88

78

88

78

88

z z
J
J

88 z .
@

z
J

7
8

j j
b

8 .
8

78

j j
#

78 @
p
b
7 @
8
p

.
@

7
8 # . . . # . # # .
.
.
p

n b

b n

b b
~~~

88
b . b j
F
.

88 @

b.
8 @
8

.
@

.
8 . b . b . . # . .
#
8
88 @
b

j
@ @

78 j
b b b
p

88
b @.

n @.

8 j
8

7 j
8
b b @.

8 @
8 b.

b
@J

@.

n @

8 @
8 b.

@.

n @

non. div.

7 j
8
b b b

7 j j b .
8
@

z.
@
p

#
J
j

j @ .
b @

F
arco
# . .
F

.
b

9
8
98
98
98
9
8
98
98
z
@J
f

n . . # . .
f

arco.
. b b . # .
@

# . . n .
.

78 @
#
p

88 .

98

78

i ~~~ ~~~

n # # 78
b
# .
.
Sp
P

8
8

78

88

7
8

J # J

160

V-ni I

9
& 8 b
p
& 98 # #
p

160

Clarinet
Solo

78

? 98

160

Cel.

78

160

9
8
98

? 98

?9
8

& 98

8
8
88

? 98

?9
8
& 98

78

& 98

7
8

& 98

160

Hn. I, III

#
J

9 #.
&8
P
& 98

160

131

n .

98
9
8
98

#
98

. .
n #

98

n
. # .
.
. #

9
8

. # . # . n b

. # n
.
. b . b . .
b
F
j

@.
@ b
J
>
F
j j
j
@ # @
@ # @ #
>
F
j j
j @
@ # @ #
@ #
>
F
>

@j
@
@
@J J
F

9
8
98
98
9
8
9
8
9
8

& 98

164

Picc.

Fl. 1

Fl. 2

Ob. 1
Ob. 2

Bb

Cl.1

B b Cl. 2
Bsn. 1
Bsn. 2

9
&8
& 98
& 98
& 98
& 98
& 98
?9
8
?9
8

Hn. I, III

& 98

Hn. II, IV

?9
8

B b Tpt.

& 98

164

Tbn.

Tbn III
and Tuba

?9
8
?9
8
?9
8

164

Timp.

Susp
Cym.
Cast.
S.Dr.

Clarinet
Solo

98

J
J

J
J

J J

J J

j j

j j

j
j

j
j

j j

j j

J J

J
J

j
j

f
j
j j

f
j
j
j

f
x.
.
.

f
z
9
8 J
f
164
9
8

z
z
J J

non div.

9
& 8 j
b
f

j j

9
j j
& 8 j

b
f
non div.
9
B8 j
j j

f
non div.

V-ni II

Vla.

non div.

Celli

D.B.

J
p
#
J
p

J
p

p
J
p

J
p
b
J
p

J
p
j
b
p

b
J

8
8

9
8

9
8

8
8

8
8

9
8

7
8

88

98

78

98

88

78

8
8

8
8
8 .
8 .
Sp
&

88
b ..
Sp
b
88 b ..

88

88

@.
x.

Sp

8 j
8 b
f
88 xJ
f
88

? 9 b
8 J
f
? 9 b
8 J
f

J J
J J

X.
p

x.

8 .
8

7
8

7
8

..

78

..
..

78

78

98

78

9
8

7
8

98

78

98 zJ Jz Jz zJ 78

98
78

98

78

pizz.

pizz.

pizz.

7
8

98
..

98 ..

pizz. #

88 .

7
8

9 .
8 .

98

8 .
8

7
8

9
8

7
8

9
8

7
8

9
8

8
8

9
8

8
8

b @.
p
X.
p

132

88 x
J
f
. .
>
.
164
4

#
4
.
.

88

# . . n . #
& 98 b b n .

.
#

.
.
>
#
n # . . . .
4
f

p
164

V-ni I

J
f

J
f

J
f
b
J
fj

f
j

f
j

f
j
#
f
j
#
f
j
b

b
f

J
f
#

J
f
j
b

#
P

98 #
98 #

98 .

#
J J 78

J J 78

78

8
8
#

9 .
8

j 78

88
#

98 .

j 78

pizz.

P
P

133

& 78

168

Picc.

Fl. 1

Fl. 2
Ob. 1
Ob. 2

B b Cl.1
B b Cl. 2
Bsn. 1
Bsn. 2

b
n
7
&8
P
& 78 # n b #
P
7
&8
& 78

& 78

Hn. I, III

Hn. II, IV

B b Tpt.

Tbn.
Tbn III
and Tuba

Cast.

& 78 j

T.B.
B. Dr.

V-ni II

Vla.

Celli

D.B.

# n #
P
F
# n #
P
F

II

.
III R cresc.
p
.

p cresc.

?7
8

?7
8
?7
8
78

Solo I (con sord.)

& 78

.
# . . b . n . . b .

& 78

& 78
78

arco

& 78

B 78

# .

?7
8

# .
#

?7
8

& 78

168

V-ni I

>

44 J

f>

b n

J
4

4
f >
b

b n b 44 J
f >
F
4

4 J
f
44 b >J

f
4 J

4
f
44 # >

J
f
4 j

4 b
>
f
4 j

4
f >
p
cresc.
II
4 j
4 #

..
>
f
IV
..
4 b >

4 J
J

p cresc.
f

& 78

168

Clarinet
Solo

.
.

j
& 78

168

Glk.

?7
8

?7
8

168

Timp.

~~~~~~~ #
# n

& 78

168

i
~~~~~~~ b n

17 Adagio q = 46

arco

# .
#

b
F

. .

arco

.
.

.. b

R
J
3
p

44

4 J
n

4
. .
F
44

b
. .
F arco
b

F
arco

# .

44 .
J
P
.j
44 b w
Sp
44 j
b
f .
44

44 j

f
44

44 >J

b
n

f
>
4

4 J
b
n
b n
f
j
44 b j
.

b n
J
>
f
4 >
4 J
.
b.
f
>
4
4 J
b.
.
f

134

172

Picc.

&

&

J
J

Fl. 2

&

Ob. 1

&

B b Cl.1

&

B b Cl. 2

&

Fl. 1

Ob. 2

Bsn. 2

?
172

Hn. I, III

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

&

?
&
?
?

T.B.

V-ni I

V-ni II

Vla.

Celli

D.B.

j
b
3

J . .
p

&

. .

&

? b j .

? b j .

J J

172

&
J
&

172

Clarinet
Solo

172

Timp.

&

Bsn. 1

j
b
w

. .

b w

# .

j
# n

135
Trgl.

Clarinet
Solo

Celli

D.B.

!
J

177

j
b

pizz.

pizz.

j
b
p

186

Clarinet
Solo

&

  



.
b b . .

i ~~~~~~~~

b b .
n
.
b

# n

J
f
3

.
b

  w
- C# ww -

# n n b
#

b n

& #.

.
. n . . # n .
. . . .
n # . . # . n . . . . . n . #
b b
n b
b
& #
n . . b b n b n
n

. .
&
#

r n
b . .

>
F

197

Clarinet
Solo

& r

208

i ~~~~~~~~
j
# j
b . b

p
f

b b

. .>n . >.

> >

dolce
#
J
b n
p

6
b . > b > >
.

# b
b b
n
. . .
.

rall. 3
r

b
p

vibr.

j3
b .

b n .
F

. .. .
. 5
b

n
n
b b
b b b b
b

b . . .
b b b
n
f
>p > > > >
>
>
>
poco accelerando e crescendo

b b b n n b n b b n 2
b

b
4

& . . b . . b . . .
.

211

Clarinet
Solo

Clarinet
Solo

.
n

. . . . . n . .
b
& b n # n b b . . . . . . . . b . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . .

205

Clarinet
Solo

b n

 
 
-  
 
F# 


guisto e misterioso

. n .
b b b n

b
&
.
b

b b n
7

F
7
Sp

201

Clarinet
Solo

~
# # > .

~~~~
~ ~
r r
b

194

Clarinet
Solo



Eb 






192

Clarinet
Solo

  
ww
C# 
w


    
ww 
ww 
 w - w 177
F

&
b
n
b

n .

r
b

# b .
b b b n b

b b n
b

n
b

#
3

43

136

Picc.

Fl. 1

Fl. 2

Ob. 1
Ob. 2

B b Cl.1

B b Cl. 2
Bsn. 1
Bsn. 2

18 Allegro moderato {q = 92}

214

& 43
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#.

b # n
b

J
& 43
& 43

& 43

. b .

& 43

?3
4
?3
4
& 43

214

Hn. I, III

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

Susp
Cym.

I Solo

II Solo

& 43

?3
4

?3
4

& 43

?3
4
43

& 43

214

Clarinet
Solo

&

V-ni II

Vla.

Celli

D.B.

b b r b R b
#

j j
n #

j j
n #

b .

b .

B 43 j

b .

j
b

? 3 .
4

b n

? 3 .
4

j3

@

b n

#
R b n. b

r
# . . # n . . . n # . # . b . # . . . . # . # . b # .
. . . .
. .
. .
.
p

3
3
3
3
j
j j3
3
& 4 # n j b # b
b

b b

3
3
3
3
3
j
j
j
3

b
& 4 # n j b

#
b

214

V-ni I

214

Glk.

?3
4

214

Timp.

i
~~~~~~~~~~~~~~~~~~~~~~~~~~

.
J

.b

& 43

>
# # b n R

& 43

# >
R

j3

#

#

r
n .
>
f

r
n
>
f

r
#
f

n #. . #

n #. . #

f
f

137

Fl. 1

&

Fl. 2

&

219

42
2
4

.
b . R
42
&
p

&
4
i ~~~~~~~~~~~~~~~~~~~~~~
.
2 J
&
4
P
~~~~~~~~~~~~~~~~~~~~~~~
2 j
& b.
4
P
?
2

4
Solo I

Ob. 1
Ob. 2

B b Cl.1

B b Cl. 2

Bsn. 1

Bsn. 2

.
b b .
R b n . # b n b .
34 J

R
R
P 6
b .

.
.
.
# # n 43 b b # b n
b

.
R
R
P
5
b
b
J
J

43

# #

. b n # .

R
# . n #
R

3
4

3
4

3
4

3
4

42

43

Hn. I, III

&

2
4

3
4

Hn. II, IV

&

42

43

B b Tpt.

&

42

43

42

43

42

43

42

43

42

43

219

Tbn.
Tbn III
and Tuba

219

Timp.

219

Clarinet
Solo

&

& b
p

219

V-ni I

b
24 J
3

pizz.

V-ni II

2
& b R 4
p
3

pizz.

Vla.

Celli

D.B.

B # b 42 . # .
J
p
? .
p

? .
p

arco

43 J

43

43

42 #

43 .

43 # .

42 #

.
b

.
b

j

3

j
b
3

138

19

44

&

44

&

B b Cl.1

&

4
4

B b Cl. 2

&

4
4

&

Fl. 1

&

Fl. 2

&

Ob. 1
Ob. 2

225

Picc.

Bsn. 1

Bsn. 2

? #.
?

#.
P

&

j

j

225

Hn. I, III

Hn. II, IV

B b Tpt.

Tbn.

Tbn III
and Tuba

III p

&

Timp.

&

225

Glk.

Susp
Cym.

. R
p
II

43

44

44

44 w

44 w
44

3
4

43

3
4

. n

43 b j
J

43 J

j
43

..

arco

V-ni I

&

Vla.

Celli

D.B.

? j
#
P
? j
#
P

43

44

43

44

43

44

43

b
R

& b J n
P
B # j
P

44

pizz.

V-ni II

. b . n >
# >
.
b n . .
n R 4 R
# 3
b

b b b # b # #
b

&
4
4
.

3
.
3
5
F
6

225

. b
r #
#

#.

44

# b
J J
b
3

pizz.

#
J
43

pizz.

j . b 44 b n j #
R
b

43 J

44 # b j n b

j
43 n

44

j
43

44 w

j
43

#.

225

Clarinet
Solo

43

44 w

.
p

# .
43
p 3
3
3 b b n
4

J
p
3

4
4

43

b
b b
J
p J

225

43

44

4
4

.
.

pizz.

pizz.

pizz.

arco

b.

arco

b.

j
b
j
b

230

Picc.

&

Fl. 1

&

Fl. 2

Ob. 1
Ob. 2

Bb

Cl.1

B b Cl. 2

. b . .
.
R

P poco a poco cresc.

j
& . b b R
.
P poco a poco cresc.
.
J
&

&
& b
P

& # .

b # .
P

Bsn. 1

Bsn. 2

poco a poco cresc.

Hn. II, IV

Tbn.
Tbn III
and Tuba

Susp
Cym.

V-ni II

Vla.

Celli

D.B.

# .

I Solo

cresc.

&

b b
3

&
&

# ...

P
b.
f

arco

& J .
P

cresc.

?
?

b .
P cresc
3

arco

cresc

cresc.

cresc.

b
J

P cresc

# J
P cresc

42
2
4
2
4

# 42
# . 2

2
4

a2 cresc

&
B

42

42

42

F
b

X.

P
6
b
# . . # . n . . n . . . b . # . n . . J
.
.
P

F
r

# # n
F
3
j
..
b b
F

..
J
3
F
a2 Senza sord.
#
b

j
#

r
b n
F

b
R
F

230

V-ni I

r .
b n .

3
F 3#
n # b.
R

r
b b . .

230

Clarinet
Solo

n b

& J
P 3 cresc.

230

Glk.

II Solo

# b

# b n

&

230

Timp.

r

b n .

n b

b .
R

cresc.
Solo I con sordino

Bb Tpt.

b .
# .
R
b

poco a poco cresc.

230

Hn. I, III

# r

b
R

. . .
# .
# . b .
#

139

I~~~~~
n.

b
J

42

42

# 2
4
3

2
4

b.

#
b b b b n n

F
#
#

#
#
F
.
F
.
F

42
42

#
42

2
4
2
4
2
4
42
42
42
2
4

20 Allegro q = 120
>
2
&4 R
f
>
& 42 R
f
>
2
&4 R
f
>
2
&4 R

234

Picc.

Fl. 1

Fl. 2

Ob. 1
Ob. 2

Bb Cl.1
Bb Cl. 2
Bsn. 1
Bsn. 2

? 42

Hn. I, III

2
&4

Hn. II, IV

? 42

Bb Tpt.

2
&4

234

Tbn.
Tbn III
and Tuba

? 42
? 42
? 42

234

Timp.
Trgl.
S. Bl.
Susp
Cym.
Glk.

B. Dr.
Clarinet
Solo

V-ni I

V-ni II

Vla.

Celli

D.B.

4
4

3
4

44

43

4
4

44

3
4

44

44

43

44

43

f
24 >
&
R
f
>
2
&4 R
f
>
#
2
&4 R
f
>
? 42 n R

2
4

f
>
R
f
r
n n
>
f
>
R
f
>

R
f
n >
R
f
r

R
f

R
f

140

4
4

43

43

3
4

44

43

44

43

44

43

44

43

4
4

3
4

44

43

2 x
4 R
f
234
24

&

2 r
4 y
f
234
2
&4
b

Sp

234
2 R
&4
f

2
&4 R

2
B 4 R
f
? 42 r
#
f
? 42
R
f

44

44
44

4
4

bw

n b n b

b.

43

3
4

43

44

43

44

43

43

43

44

pizz.

pizz.

(low)

yy
F

44

44

!
J
p

43
43

#
j
# . . . b .

43

yy

j
44
# . . # n . .j J
. .
P
44

43

141
Fl. 1

Fl. 2

Ob.
B b Cl.

Bsn.

&

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

Trgl.
S. Bl.

Vib.

Vla.

Celli

D.B.

43

4
4
4
4
4
4
4
4
44

43

44

45

43

44

&

45

43

44

45

43

44

45

43

44

&

#
P

45

#
@

pizz.

&
&

b
@J @

54 @J

b
3

i ~~~~~~~~~~~~~

45

# # .
Sp

J
45 @

45

@J
P

sul pont.

pizz.

pizz.

45

5
4
3

# 45

43

45

&

239

V-ni II

3
4

45

sul pont.

V-ni I

239

Clarinet
Solo

&

239

Timp.

3
4

45

#
3
4
J

5
4

&

5
4

&

b
3 b
4
J

5
4

&

239

Hn. I, III

5
4

239

r
b

J
3

43

43

44

44
44

i ~~
~~~~~~

7
3
3
r
j
34 j

44

j
#

.
#

#
>

#
J

J
3

. R 4

n
J

# R 43 # J

43

#
3

~~
#
J J 44

arco

~~
#
J J 44
arco

43

43 #

44

4
4

# 44

4
&4

243

Picc.

Fl. 1
Fl. 2
Ob. 1
Ob. 2
Bb Cl.1
Bb Cl. 2
Bsn. 1
Bsn. 2

4
&4

& 44

4
&4

Hn. II, IV
Bb Tpt.

Tbn.
Tbn III
and Tuba

& 44

Trgl.

4
&4

S. Bl.

Vib.

?4
4

& 44

43

!
J

4
& 4 b .b j

b.

4 b.
& 4 J

Sp

Sp

3
4

Celli

? 44
J

D.B.

? 44
J

3 .
4

3
4

43

4
4

4
4

4
4

4
4

!
R

44

4
4
44

. b J
.

4
4
4
4
44
4
4
44

4
4

4
4

~~~~~~
n . .
. # . .

.
n b b # 5
#
#
4

3
6

43 #

43

44

3
4

4
4

yy

. ~~~~~
3
# . n 4 J #

(low)

B 44 #
J

Vla.

3
4

sul pont.

V-ni II

43

4
4

3
4

(low)

44 y y

3
4

3
4

43

?4
4

3
4

?4
4

43

3
4

? 44

3
4

4
&4

4
&4

3
4

?4
4

43 J

& 44

243

V-ni I

# # .
3

?4
4

3 J
4

243

Clarinet
Solo

4
&4

3
4

243

Timp.

243

Hn. I, III

142

sul pont.

.
@J

#.
@J

@J

sul pont.

@J

4
4

4
4

pizz.

44

44

44

21 Piu mosso q = 132

4
&4

Picc.
Fl. 1

Fl. 2
Ob. 1
Ob. 2

B b Cl.1
B b Cl. 2
Bsn. 1
Bsn. 2

3
4

4
&4

3
4

4
&4

3
4

& 44

43

? 44

43

247

& 44
4
&4

4
&4
? 44

43

3
4

3
4

43

Hn. I, III

& 44

Hn. II, IV

? 44

? 44

? 44

43

? 44

43

247

B b Tpt.

Tbn.
Tbn III
and Tuba

4
&4

247

Timp.

Trgl.

Susp
Cym.

44

4
&4

247

Clarinet
Solo

b.

.
P

Ricochet

4
&4
P

247

V-ni I

V-ni II

Vla.

. . .
3

pizz.

Celli

pizz.

D.B.

pizz.

? 44 j j
b

43

3
4

3
4

43

43

>
#
J
III f
45 j
>
f
45
45

43

3
4

3
4

43

43

43

43

43

43

43

(high)

!
J
F

x X
43 J
P

. . .
3

43

43

? 44 j j
b

43
43

. . .

3
4

X
45
F

>
45 J
f

43

43

j
45
>
f

43

43

5
4 j
>
f

3
4

espressivo

Ricochet

B 44

43

143

x 3 x
4 J
P
F

.
5
. b . . . b 43 #
. .
43
4
j
..
.. .
b

b .
b . .
n . . .
.
. b .
b b n
>
f
Sp

. . .
& 44 .
3
P

>
5 J
4
f >
45 J
f>
b
5 J
4
f
5
4 J
f
>
5 b J
4
f >
b
5 J
4
f
>
45 J
f
54 j

>
f
54 j

>
f
54 j
b
f b >>
45 J
f
54

b j

b j

arco

pizz.

pizz.

j
43 b
F

3
4 b j
F

43 b j
F

>
54 # J
f
arco

arco

45 j
>
f
arco

arco

144

&

44

Ob.

&

44

Cl. 1

&

252

Fl. 1
Fl. 2

Bb

Bb Cl. 2

Bsn.

&

&

#.

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

Trgl.

Susp
Cym.

44

&

&

&

.
b J
#

&

#
&

252

V-ni I

V-ni II

& #

Vla.

Cello

D.B.

cresc

P cresc

#.

#.

j
#
3

cresc

j
#

P cresc

3
4

43

3
4

3
4

43

43

# #

3
4

43

43 z

3
4

z
J

soft with brushes

~~~~~~
~~~~~~~~~~
4
3
.
4
4
.
#.
. b . b b . . # . . b n Sp
P
f>
. >
# >

pizz.
#
44 J
34 J
J

4
4

43

44

44

4 xJ
4

43

3
4

4
4

44

44

4
4

252

Clarinet
Solo

4
4 j

4
4

252

Glk.

252

S.Dr.

252

Timp.

43
43

44 j

252

Hn. I, III

44

Un poco piu mosso q = 136

>
44 J
f

44 j

>
f
44 # >
J
f

44 # >
J
f

pizz.

43 J
p

pizz.

43 #
p

pizz.

43 #

43 # #

p pizz.
p

# j

145

44

43

Fl. 1

&

Fl. 2

&

44

43

&

44

43

4
4

3
4

44

43

256

Ob.

B b Cl.1

B b Cl. 2

Bsn.

& .

J
j

& .
?

4
4

3
4

44

43

&

44

43

44

43

b J

256

Hn. I, III

Hn. II, IV
B b Tpt.

Tbn.
Tbn III
and Tuba

&

256

Timp.

Trgl.

256

Glk.

&

256

S.Dr.

~~~~ 3
b.
&

>

!
J
P

x
J

256

Clarinet
Solo

V-ni I

&

V-ni II

&

256

Vla.

Celli

D.B.

pizz.

B #
P
?
#
?

. # . # .

J
p

j
b

x x x

i ~~~~~~~~~~~~~~~~~~~~
j

b.
>

J 3

j
#

j
#

# j

b b b

43
3
4
3
4

x
J

4
4

b n b

4
4

sul pont.

44

44

43

44

43

44 # # # b
43
n . . n b

.
44

43

44

43

43

# #

44 j

43

4 j
4

3
4

# #

44
J

146

22

. . n #
.
b

3
&4
p

260

Fl. 1

Fl. 2

Ob.

3
& 4 # n R
p
3

&4
3
&4

#

3
P
#
n

b J

b.

b
J

b.

b
J

? 43

Hn. I, III

3
&4

Hn. II, IV

? 43

B b Tpt.

3
&4

? 43

? 43

? 43

B b Cl.

Bsn.

260

Tbn.

Tbn III
and Tuba

260

Timp.

3
&4

260

Glk.

3
4 x

260

S.Dr.

3
&4

x
J

260

Clarinet
Solo

pizz.

3 #
&4
P

260

V-ni I

V-ni II

Vla.

Celli

D.B.

3
&4
.
P
B 43

b.
F

pizz.

? 43
P
? 43
P

# n

# b
p

x x
J J

~~~~~~~~~~~~
j

b .
#
Sp

. .
f
#

# b

x x

x
J

#
J

x
J

.
b
. >
>
F

# b #
#

b b . #
.
3

arco

j
# .

j j j

j
j j

j j
j

j
#

# #

j
b

# b.
j

x
J

265

Fl. 1
Fl. 2

&

&

Bb Cl.

&

Bb Cl. 2

&

Ob. 1

&

Ob. 2

&

Bsn.

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

# b n b b

&

42

43

42

43

W. Bl.

!
J
F

Jz

z z

265

&

(low)

z.

z
J

j
& b
pizz.

J J

J J

B j j j
b

j
n
b

? j

? j

F
F
F

.
. b .
3

II

42

2
4

z
z

3
4

2
4

2
4

43

b 3
4
3

3
4

3
4

!
J

2
4

3
& . b b . . b n . b . . b . b n # . # . . .
. b .
.
. # .
f

265

j
n

43

(low)

II

42

3
4

2
4

43

&

D.B.

43

Cast.

Cello

Sp

43

Vla.

3
4

V-ni II

Trgl.

V-ni I

r
b

2 J
4

Clarinet
Solo

n
J

42
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
j
#

42
Sp i
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
j

42

265

Timp.

#
#
b

265

Hn. I, III

147

42 z z

2
4

43
3
4

. . > b n 3
#

.
# 43
. . . 42

3
3

arco

j .
P

arco

3
j #

2
4

3
# 4

3
j #

2
4

3
# 4

42

b 43

j .

# #

J 3

# .

3
j b

2
4

3
4

arco

3
j b

42

43

arco

arco

# .
P

148

23
3
&4

270

Picc.

Fl. 1

Fl. 2

Ob.

B b Cl. 1

B b Cl. 2

Bsn.

3
&4

& 43

3
&4

& 43

? 43

3
&4

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

B. Dr.

?3
4
& 43
?3
4

V-ni II

a2

# .

43

?3
4

# ##
f

3
&4

Sp

>
b b # > . #
J
J
3

##
J.
# >J

# >
J
# .
. #

.
# .

#
#

r
b b

r
b b

j
# . .

>
#
J

b . J
J

b . J
J

f j

b j

z z.
J

.
z
J

j3

J

.
.

j
b

.
.

b.

>. .
# # b b .

& 43

Sp

III

b.

>
b b # > . # .
J
J

>
# b n > b . .

> #b n

J J J
J
J

& 43

>
> b b #

J
J

.
>
. . b . . . b b
b J

270

V-ni I

>
J

>
> b b #

J
J

>
b .
. . . . . b b b
J

?3
4

270

Clarinet
Solo

a2

>
J

270

Timp.

j .
>
> .
J

270

Hn. I, III

. . b . . . J
n

f . . .6 . .
# . >
J

3
&4

>
J

#
J

z z

z z

# .

>. b .
. >. n . . b
b . # . .
b
. n .
.

b . .
b # . .
.
>.

.
. # >. . .
# .

#
# . . n . . .
. # . . . # .
. # .
>
>
f

. n
. . .
#

. >.

#
#
. # . . >. # . .

. . . > . . b
. # . n
b .

>
B 43 # # n n b n # n # .

Cello

?3
4 # #n b n # n #
>.

# #

j
#

D.B.

?3
4 # #n b n # n #
>.

#
#

j
#

Vla.

n
# n #
>

# n b >

Picc.

&

Fl. 1

&

275

Fl. 2

Ob.

Bsn.

&

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

Cast.

B. Dr.

&
?

V-ni II

Vla.

Cello

D.B.

a2

#
b

n
#

b
#

j
#

J
f

&
& b .

z
J

j
b
f

2
4

z
J

. . . .
b
. #
>

.
. b
. >.

. b . # .
>

a2

J
f

b .
n .

.
. b .
>.

b .

43 # . . n .
3

3
4

>
>

>
3 b >
4
43
43
43

42

42 z

z
43
F
43 Jz

42

2 #
4 J

43
#
f
43 #
f

b b

>
b >
J

>
n >
J

f
j

z z
J

43

z
J

Jz

z
J

j
#

. >
24 . # b 43 .
3
3
f

j
#

>
b b n
J

#.

? j j
#

#
J

42 . # . b 43 .
>

2
4 # j

j j j
b

b
>
>
>
>
>
>
J b J
J

. >
24 # . # 43
b
.
3
f
3

#.
f

43

42 #

j
#

3
. 3. # . 3

.
. .
# . n . # n
b n b .
3

? j j
#

. b . . # . . . # . n . .
n

b
# n

.
.
.
3 # . . . # . n . . # n . # . . b . . . # . . . #
4

>.
#
#

J
b #

. .
. . . . # . . b . n . .
.
.
# . .
34 # . # . n n . #

2
4

42

& # . . . n # . # .
. >.
.
B b
.

# j

z z
J J
p

.
. # . .
b .
>

I, III

b . b .

. b . b . . # . .
43
3
3
. b . . # . .
b .
3
4

2

4 # j
>

43

2 b
4

42

> #

2
4

n> #

j
J #

42

# b 2
4

II, IV

42

n> #

b b b 2 b>

&

275

V-ni I

>
J

275

Clarinet
Solo

>
J

? j j
#

275

Timp.

>
J

#
J b b b b b
&

275

Hn. I, III

> >
J J

# > >
J J
&
a2

B b Cl.

> >
J J

149

j3
b

j
#

j3

#
J

J b
3

# .

# .

b .

&

280

Picc.

. . b . . . . . # .

.
b n
b
a2

Fl. 1

Ob.

B b Cl.

Bsn.

&

f
.
.
.
. # . # . b . # . # . n

&
3
3
f 3
n . b . . . . b .
.
b
. b . n
&
3
3
3
f
?
3

& j
>

280

Hn. I, III

Hn. II, IV

B b Tpt.

Tbn.

Tbn III
and Tuba

>
? b J

Cast.

B. Dr.

V-ni II

j
#
>

>

>

j

b
J

j
#

>
J

II Solo

z z

& j .

b b
b

>
# # >

>
>
J

b
>
n >

>
>

z
J

44

j

>
>

J

4
4

j

J

b ..

j
b .
.
J

z
J

z
J

z
J

4
4
44
44
44

z
J

4
4

z
J

z
J

44
44
44

j3
b

j
.

44

j3
b

j
.

44

b
J

44

J
3

& j .

. # . . b . # . . . n . . . . # . # .
#

4
n
4

#.

>

z
J

3
? # j

Cello

. .
. # . # . # . . # n . .
44
3

# . . . # . n . b . n . . . # . . n . . # . . b . n . 4
b
.
4

? j3
#

.
.
. # . . b . n . b . .

44

. .
.
. .
. # b . n . b . b n

z
J

Vla.

n . .
# .

&

.
.
. # . # . .

.
.
.
. . # . # . b . # . n

B J

D.B.

I, II

280

V-ni I

>
#

280

Clarinet
Solo

>
J

.
. . b . . b . . . # .
3

# n b b

&

z
J

j
#
>

I Solo

280

Timp.

b
J

150

# .

n
J 3

44

# .

n
J 3

4
4

& 44

284

Picc.

Fl. 1

Fl. 2
Ob. 1
Ob. 2

B b Cl. 1
B b Cl. 2

Bsn.

Hn. I, III

Hn. II, IV

B b Tpt.

Tbn.

Tbn III
and Tuba

& 44
& 44

b . . # .

. # .
b .
3

. 24 Tempo primo q = 46
.
. b n b .

43
3
3
. . b . n . . b .
n

.
.
# n

43
3
3
3
n . # . . . b . .
# . n .

43
3
3
3
.
. # # .
. . . # . n . 3
n

4
3
3
3
.
. # # .
. . .
. n . b n b 43

3
3
3
.
# . # . n . . # . . 3

.
4

3
3
3

.
. .
# .
. # . b n . n # . # 43

3
3

.
4 . b .
&4
3
.
4 . b .
&4
3
.
4 . .
& 4 b
3 .
4 . .
& 4 b
3
? 4 b
4

284
4

& 4
. .

. .
? 44 b

..
f

b
& 44 b b b # n
..
f

? 44
b. .
3

? 44 tuba
bw
? 44

284

Timp.

284

W. Ch.
B. Dr.

Trgl.

Susp
Cym.

44

44 .
& 44

284

Clarinet
Solo

4
&4

284

V-ni I

V-ni II

Vla.

Cello

D.B.

4
&4
B 44
? 44
? 44

b.
b.

b
b
b

43

44

43

44

43

4
4

3
4

4
4
4
4
4
4
4
4

3
4

3
4
3
4
3
4

4
4

3
4

43

44

43

43

44

43

43

44

43

43

44

43

43

44

43

34 X .
p

Ricochet

n
# . . .

. . .

b
p

44

z
J

44 X

#
Ricochet

43
43

!
p J

X.

(medium)

43

# 3

4
3
3

3
b
# b 43
3

b n # # 43

3
4

z z z 43
J
f
x

Sp

44

. . .

44

. . . 4
4

44

44
44 b .

43

34 X .

44 b .

151

43
J

# . . .
3

. . .
3

43

43

3
j
4 .
p

n. b
.

43 .
43 .

152

25

289

Fl. 1

&

I Solo

289

Hn. I, III

&

b ..

sempre

Hn. II, IV

? b ..
sempre

Bb Tpt.

&

I sempre

? #
II

sempre

Tbn III
and Tuba

III

.
.

sempre

b
J

j
b

j
#
J

Tbn.

b
3

#
J

#.

j
b

b
J

#
J

Trgl.

S. Bl.

Timp.

289

Clarinet
Solo

&

sul pont.

#.

&

289

V-ni I
Div.

V-ni II
Div.

&

sul pont.

Cello

#.
.

.
>

. # . . .

b .
b

.
&

sul pont.

.
&

sul pont.

.
.

.
.

.
.

sul pont.

? #.

sul pont.

?
.

sul pont.

sul pont.

B .
#.

D.B.

j
n

Div.

Vla.

r
#

? .

.
.

289

b ..

j
b

153

&

293

Fl. 1

293

Hn. I, III

&

j
b
J
3

?
3

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

&

?
?

#.

zz

b
& J

D.B.

j
b

(high)

!
J

&

#
J

n.

j

b .

# #

# n . #
b b J b b b n
b

b . b
3
.
>
Sp

3
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#
J

b.
b .

&

b.

&

b .

.
#.

.
.

.
.

b .

zz

&

Cello

293

Vla.

.
J

#
#
#
J

S. Bl.

V-ni II
Div.

293

j
b # 3 # .
J #

b.
b .

V-ni I
Div.

Trgl.

Clarinet
Solo

b
J

.
.

293

Timp.

j
#
3

&

297

Fl. 1

297

Hn. I, III

Hn. II, IV

Bb Tpt.

Tbn.

Tbn III
and Tuba

&

j

J

j
# #

Susp
Cym.
S. Bl.

V-ni II
Div.

Vla.

Cello

D.B.

3
b
b
J

.
J

j
b

J
3

!
J

. j
b .
p
P
>

44

44

.
&

#.

#.

& .

B ..

.
.

? .

b.

?
.

#.
.

8
8
8
8
8
8
8
8

8
8
j

J

j

b
J

4
4

j
b
J

&

.
&

4
4

.
.

b
J

4
4

& # .

3 j .
b.

4
4

88

4
4

4
4

j
j

# # b ..
J

J 44

b.

j
b ..

297

V-ni I
Div.

297

Clarinet
Solo

297

Timp.

# #

.
# #. #
J

Trgl.

&

b b b

154

44

44 w

w
44
4 w
4

w
44 w

z z

88

88

4
# 4 .
w

z z 88
J

8
8

88
88
88
8
8
88

44 w

88

b .

4
4 w

8
8

44
w

88

Molto allegro q. = 112-116

68

& 88

302

Picc.
Fl. 1

Fl. 2
Ob. 1
Ob. 2

B b Cl. 1
B b Cl. 2

Bsn. 1

Bsn. 2

8
&8

& 88

8 j
&8

8 j
&8

& 88 J

8
& 8 b J

b
? 88 J

? 88
J

Hn. II, IV

Bb Tpt.

Tbn.
Tbn III
and Tuba

Timp.

Trgl.
Susp
Cym.
Cast.

B. Dr.

68 .

6
8

6
8
68

68

68 .

68 .

6
8

? 8 #
8 J
f
? 8 j
8

f
302
? 88

z
88 J
f
88

7
8

78

7
8

9 ..
8
F

98 ..

F
9 .
8

#

#

9 .
8
98 .

78
j

P
j
P

78

98 .

7
8

68

88

# J

P
# J

& 88 b j
b
f
? 8
8 J
f
j
& 88 b
f

302

Hn. I, III

6 .
8

78

98 .

78

78

cresc.
cresc.

b.

b.

98
98

b
F
b
F

78

98 .

7
8

9 .
8

68

78

98 .

6
8

7
8

9 .
8

6
8

7
8

9 .
8

68

78

98

68

78

7 zJ
8

78

78
78
78
78
78
78
78
78

b j 78
b

.
f
.

I, III

f
II, IV
b
.
J
f
b

.
f
j
.
b b
f
.
j
b
f

78
78
78
78
78
78
78

6 z z
8
F
68

& 88 # j

ord.
& 88 j

68 .

78

98

78

68 .

78

98

78

B 88

ord.

68 .

78

98

78

? 88

j
#

ord.

68 .

78

ord.

68

98

#
J
f
J
R
f

R J
f
#
J
.
f

.
J
f
b
.
J
f

.
J
f
b j
b

.
f
.

155

z
J

9
8

7
8

98

78

.
n .
. 7
# . # . n . . n . 6
.
7
9
8
#

.
b

&8
8
8 # # b .
8

b b b n 8
# #

# . . . n .
f

302

Clarinet
Solo

302

V-ni I
V-ni II

Vla.

Cello

D.B.

ord.

? 88
J

78

98

98

78

78

7
&8

8
8

7
&8

88

7
&8

88

306

Picc.

Fl. 1

Fl. 2

7
&8

88

88

B b Cl. 1

7
&8

8
8

B b Cl. 2

7
&8

8
8

? 78

88

8
8

7
&8

8
8

?7
8

8
8

Ob. 1
Ob. 2

Bsn. 1
Bsn. 2

7
&8

?7
8
306

Hn. I, III

Hn. II, IV

B b Tpt.

Tbn.

Tbn III
and Tuba

& 78

Trgl.

j
# b n n b

I, III

# .

b .

j
#

II, IV #

88

7
&8

# n
b b n #

(2 + 3 + 3)

7
&8
& 78
B 78

8
8

?7
8

8
8

8
8

8
8

?7
8

8
8

j
b

b
.

n .

.
b
.
# .

# .

78

78

78

b .

7
8

b .

7
8

78

7
8

7
8

7
8

78

7
8

7
8

78

.
.

.
b

.
n .

7
8

7
8

n
b b b

b
>

7
8

7
8

7
8

7
8

pizz.

#
J .

pizz.

.
J

pizz.

n
J .

pizz.

7
8

# n
# b n n b n # > b .

7
8

# # n b

# b n n b n
> .

(low)

! .
J

>

b # # b .
b

n
# # b # n b b >

.
. b . . b . .
b

7
8

78

b b

156

n #

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.
.

8
8

j
#

b .

b n # # b .
#

.
.

III tuba

(2 + 3 + 2)
306

n .

b .

. # .

~~~~~~~~~
b
n
.
n

b b
b

? 78

8 .
8

# .

i
b n ~~~~~~~~~ # n .

(2 + 3 + 3)

D.B.

306

8 .
8
# . b . #

7
8

Cello

?7
8

B. Dr.

Vla.

b
n b

V-ni II

I, II
. a3
8 . b . #
8

7
8

V-ni I

# # b # n b b .

Cast.

(2 + 3 + 3)

8 zJ .
8

Clarinet
Solo

b
j i ~~~
88 . # n .
. b .
f> .

?7
8

# .

b
b # #

(2 + 3 + 3)

306

Timp.

b
n .
b

j .

pizz.

b j .