DAS LAND UND SEINE MUSIK...das Lied „Jovano Jovanke“ welches in der Übersetzung folgenden Text...
50
DEMO SCORE MAZEDONIA Mario Bürki DAS LAND UND SEINE MUSIK Mazedonien liegt im Zentrum der Balkan-Halbinsel und war die südlichste Teilrepublik der früheren Bundesrepublik Jugoslawien. Es grenzt im Norden an Serbien, im Osten an Bulgarien, im Süden an Griechenland und im Westen an Albanien. Der Staat Mazedonien entspricht etwa der nordwestlichen Hälfte der historischen Region Makedonien. Mazedonien hat eine Geschichte von tausenden von Jahren, wie anhand Spuren des menschlichen Bestehens von der Paleogeschichte in der Petralona Höhle in der Chalkidhiki Halbinsel gefunden werden können. Der Höhepunkt dieser griechischen Nordregion waren die Herrschaften von Phillip II und von seinem Sohn Alexander der Große im 300s B.C.E. Ihr Beitrag zur Menschheitsgeschichte war unermesslich und die Verbreitung der griechischen Sprache und der Kultur zur damaligen bekannten Welt hat den Kurs der Geschichte geändert. Die Region von Mazedonien ist eine der reichsten im Bezug des Musikausdrucks und des Tanzes. Die Musik von Mazedonien gehört den musikalischen Idiomen des Festlandes Griechenland an, stellt aber auch eine interessante interne Verschiedenartigkeit dar, welche an der großen Masse von Flüchtlingen liegt, welche nach Mazedonien imigrierten. Die Musik Mazedoniens wird durch regelmäßige Rhythmen und harmonische Melodien gekennzeichnet, jedoch gibt es in den verschiedenen Regionen starke Unterschiede der traditionellen Musik, welche auch durch die Vielzahl der verschiedenen Instrumenten geprägt wird: Zusätzlich zum üblichen Ensemble der Violine, des Clarinet und des Laouto (Laute), finden wir Kombinationen von Zournas (Oboenähnlich), von Dudelsack mit Drohne und Daires (ein großes Tambourine), von Lyra (birnenförmige Geige) und von Trommeln. DAS WERK Schon länger hat mich die Musik des ehemaligen Jugoslawien fasziniert, nach langem Suchen nach geeigneter Musik für meine Komposition bin ich zufällig auf traditionelle Musik von Mazedonien gestossen und ich entschied mich, darüber ein Werk zu schreiben. Mein Werk Mazedonia ist dreiteilig aufgebaut: Während der erste Teil nur im Stile von mazedonischer Musik nach meinem Empfinden komponiert ist, zitiere ich in den beiden folgenden Teilen traditionelle Volkslieder: Im langsamen Mittelteil das Lied „Jovano Jovanke“ welches in der Übersetzung folgenden Text hat: „Jovana, Jovanke, du sitzt am Vardar, bleichst das weiße Leinen und schaust nach oben. Jovana, ich warte auf dich, dass du in mein Haus kommst. Aber du darfst nicht, mein Herz, Jovana. Jovana, deine Mutter läßt dich nicht zu mir kommen, mein Herz, Jovana.“ Und im letzten Teil das Lied „Dunje Raike“. DER KOMPONIST Mario Bürki wurde am 26. Oktober 1977 geboren. Er studierte Blasmusikdirektion am Konservatorium in Bern und erreichte am Diplom sowie dem Höheren Studienaus-weis das Prädikat „Sehr Gut“. Bürki besuchte Meisterkurse bei U.P. Schneider (Komposition) und Toshiyuki Shimada / Andreas Spörri (Dirigieren). Sein erstes grosses Werk - Szenen aus: Max und Moritz - erreichte am Kompositions- wettbewerb der World Association for Symphonic Bands and Ensembles (WASBE) in Luzern den zweiten Preis und seine Komposition Indian Fire wurde am Wettbewerb Flicorno d’Oro Junior (Italien) mit dem Spezialpreis für das orginellste Konzertstück ausgezeichnet. Zwei seiner Werke (Cap Hoorn und 1405: Der Brand von Bern) wurden an der Mid-Europe in Schladming uraufgeführt. Im November 2005 wurde 1405: Der Brand von Bern vom weltbekannten spanischen Blasorchester „La Artistica Buñol“ in Valencia aufgeführt. Mario Bürki ist Musikschulleiter an der Musikschule der Jugendmusik Ostermundigen. Als Instrumentalist spielt er Trompete, Klavier und Orgel. Mario erhält regelmässig Kompositionsaufträge. D
Transcript of DAS LAND UND SEINE MUSIK...das Lied „Jovano Jovanke“ welches in der Übersetzung folgenden Text...
DEMO SCORE
MAZEDONIA Mario Bürki
DAS LAND UND SEINE MUSIK
Mazedonien liegt im Zentrum der Balkan-Halbinsel und war die südlichste Teilrepublik der früheren Bundesrepublik Jugoslawien. Es grenzt im Norden an Serbien, im Osten an Bulgarien, im Süden an Griechenland und im Westen an Albanien. Der Staat Mazedonien entspricht etwa der nordwestlichen Hälfte der historischen Region Makedonien. Mazedonien hat eine Geschichte von tausenden von Jahren, wie anhand Spuren des menschlichen Bestehens von der Paleogeschichte in der Petralona Höhle in der Chalkidhiki Halbinsel gefunden werden können. Der Höhepunkt dieser griechischen Nordregion waren die Herrschaften von Phillip II und von seinem Sohn Alexander der Große im 300s B.C.E. Ihr Beitrag zur Menschheitsgeschichte war unermesslich und die Verbreitung der griechischen Sprache und der Kultur zur damaligen bekannten Welt hat den Kurs der Geschichte geändert.Die Region von Mazedonien ist eine der reichsten im Bezug des Musikausdrucks und des Tanzes. Die Musik von Mazedonien gehört den musikalischen Idiomen des Festlandes Griechenland an, stellt aber auch eine interessante interne Verschiedenartigkeit dar, welche an der großen Masse von Flüchtlingen liegt, welche nach Mazedonien imigrierten. Die Musik Mazedoniens wird durch regelmäßige Rhythmen und harmonische Melodien gekennzeichnet, jedoch gibt es in den verschiedenen Regionen starke Unterschiede der traditionellen Musik, welche auch durch die Vielzahl der verschiedenen Instrumenten geprägt wird: Zusätzlich zum üblichen Ensemble der Violine, des Clarinet und des Laouto (Laute), finden wir Kombinationen von Zournas (Oboenähnlich), von Dudelsack mit Drohne und Daires (ein großes Tambourine), von Lyra (birnenförmige Geige) und von Trommeln.
DAS WERK
Schon länger hat mich die Musik des ehemaligen Jugoslawien fasziniert, nach langem Suchen nach geeigneter Musik für meine Komposition bin ich zufällig auf traditionelle Musik von Mazedonien gestossen und ich entschied mich, darüber ein Werk zu schreiben. Mein Werk Mazedonia ist dreiteilig aufgebaut: Während der erste Teil nur im Stile von mazedonischer Musik nach meinem Empfinden komponiert ist, zitiere ich in den beiden folgenden Teilen traditionelle Volkslieder: Im langsamen Mittelteil das Lied „Jovano Jovanke“ welches in der Übersetzung folgenden Text hat: „Jovana, Jovanke, du sitzt am Vardar, bleichst das weiße Leinen und schaust nach oben. Jovana, ich warte auf dich, dass du in mein Haus kommst. Aber du darfst nicht, mein Herz, Jovana. Jovana, deine Mutter läßt dich nicht zu mir kommen, mein Herz, Jovana.“ Und im letzten Teil das Lied „Dunje Raike“.
DER KOMPONISTMario Bürki wurde am 26. Oktober 1977 geboren. Er studierte Blasmusikdirektion am Konservatorium in Bern und erreichte am Diplom sowie dem Höheren Studienaus-weis das Prädikat „Sehr Gut“. Bürki besuchte Meisterkurse bei U.P. Schneider (Komposition) und Toshiyuki Shimada / Andreas Spörri (Dirigieren). Sein erstes grosses Werk - Szenen aus: Max und Moritz - erreichte am Kompositions-wettbewerb der World Association for Symphonic Bands and Ensembles (WASBE) in Luzern den zweiten Preis und seine Komposition Indian Fire wurde am Wettbewerb Flicorno d’Oro Junior (Italien) mit dem Spezialpreis für das orginellste Konzertstück ausgezeichnet. Zwei seiner Werke (Cap Hoorn und 1405: Der Brand von Bern) wurden an der Mid-Europe in Schladming uraufgeführt. Im November 2005 wurde 1405: Der Brand von Bern vom weltbekannten spanischen Blasorchester „La Artistica Buñol“ in Valencia aufgeführt.Mario Bürki ist Musikschulleiter an der Musikschule der Jugendmusik Ostermundigen. Als Instrumentalist spielt er Trompete, Klavier und Orgel. Mario erhält regelmässig Kompositionsaufträge.
D
DEMO SCORE
MAZEDONIA Mario Bürki
THE COUNTRY AND ITS MUSICMacedonia is situated in the centre of the Balkan Peninsula and was the most southern republic in the former Yugoslav Federation. Its neighbours are Serbia in the north, Bulgaria, in the east, Greece in the south, and Albania in the west. The State of Macedonia lies in the northwestern half of the ancient kingdom of Macedonia. Macedonia’s history stretches back for thousands of years. Archeological finds discovered in the Petralona cave on the Halkidiki Peninsula, have proven human existence in that region as far back as the Paleolithic Period. This northern region of ancient Greece was at its peak in 300 BC, during the reigns of Philip II and his son Alexander the Great. Their contribution to the history of humankind is immense and the expansion of the Greek language and its culture to the then known world has defined the course of history.
The Macedonian region is one of the richest in regards of dance and musical expression. Macedonian music is part of the musical idioms of the Greek mainland, but it also displays many interesting internal nuances, influenced by the many refugees who emigrated to Macedonia. Regular rhythms and harmonic melodies are typical for Macedonian music. However, there are many regional differences, also seen in the multitude of different regional instruments. In addition to the usual ensemble of violin, clarinet and “Laouto” (lute), we also find combinations of “Zournas” (similar to the oboe), bagpipes with drones, “Daires” (a big tambourine-like instrument), “Lyra” (a pear-shaped violin), and also drums.
THE PIECEI have been fascinated by the music of former Yugoslavia for a while now. After extensive searches for suitable music for my compositions I came across the traditional music of Macedonia and I decided to write a piece about it. My composition Mazedonia is written in three parts. The first part is written merely in the style of how I perceive Macedonian music, whereas in the second and third parts I directly quote two traditional Macedonian folk songs. In the slow middle part I quote the song „Jovano Jovanke“, whose lyrics translate to: „Jovana, Jovanke, you sit at the Vardar, bleaching the white linen and gazing upwards. Jovana, I wait for you, to come to my house. But you mustn’t, my love, Jovana. Jovana, your mother won’t let you come to me, my love, Jovana.“ And in the last part I quote the song „Dunje Raike“.
THE COMPOSERBorn the 26 October 1977, Mario Bürki studied wind orchestral conducting at the Berne conservatory. He also followed courses in composition with Urs Peter Scheider and conducting under the direction of Toshiyuki Shimada and Andreas Spörri. His first grand scale work Scenes of Max and Moritz gained a second place in the composition contest in Lucerne organized by the World Association for Symphonic Bands and Ensembles ( WASBE). During the Flicorno d`Oro junior contest (Italy), Indian Fire was awarded a special prize in acknowledgement of its originality. Mario Bürki is regularly commissioned to write for Wind and Brass Band. Two of his works (Cap Hoorn und 1405 : Der Brand von Bern) were premiered at the Mid-Europe Conference in Schladming and several have been chosen as set test-piece for contests. Alongside his composing he conducts various Wind Bands and teaches trumpet and theory. Mario himself plays the trumpet, the piano and the organ.
E
DEMO SCORE
MAZEDONIA Mario Bürki
Dauer / Durée / Duration: 9.00´´Schwierigkeitsgrad / Degré de difficulté / Grade: 4
Blasorchester / Musique d´harmonie / Wind Band
Piccolo1st Flute2nd FluteOboeBassoonClarinet Eb1st Clarinet Bb2nd Clarinet Bb3rd Clarinet BbBassclarinet Bb1st Alto Saxophone Eb2nd Alto Saxophone EbTenor Saxophone BbBaritone Saxophone Eb1st Trumpet Bb2nd Trumpet Bb3rd Trumpet Bb1st Horn Eb/F2nd Horn Eb/F3rd Horn Eb/F4th Horn Eb/F1st Trombone Bb/C 2nd Trombone Bb/C3rd Trombone Bb/CEuphonium Bb/CTuba Bb/Eb/CContrabassPercussion 1Percussion 2Percussion 3Percussion 4
musikverlag frank, Industriestrasse 30, CH-4542 Luterbachphone +41 (0)32 685 48 80 fax +41 (0)32 685 48 [email protected], www.musikverlag-frank.ch
Inst
rum
enta
tion
© 2010 by
DEMO SCORE
© 2010 by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach (Switzerland)
Soprano Cornet Eb
Solo Cornet Bb
Repiano Cornet Bb
2nd Cornet Bb
3rd Cornet Bb
Flugelhorn
Solo Horn Eb
1st Horn Eb
2nd Horn Eb
1st Bariton Bb
2nd Bariton Bb
1st Trombone Bb
2nd Trombone Bb
Bass Trombone
Euphonium
Bass Eb
Bass Bb
1st Percussion
2nd Percussion
3rd Percussion
4th Percussion
fffff
Fast (q=144-168)2 3 4 5 6
f ff
f ffff
f ff
f ff
f ff
f ff
f ff
f ff
f f
f f
f f
f f
f sfz
f
fsfz
fsfz
f sfz
f sfz
p f
f ff f
3 3 3 3 3 3 3
3
MAZEDONIA Mario Bürki
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3
3 3
3
Timp.
S.D.
S.C.
3 3 3 3 3 3 3 3
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
7 8 9 10 11
p
f
f
f
f
sfz sfz
p f
sfz sfz
sfz sfz
sfz sfz
sfz sfz
f f
f
one
B.D.
H.H.
C.C.
2
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f p
12 13 14 15 16
f f
f
f
f
sfz
fp
sfz
sfz
sfz
sfz
f
f
all
3
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f p
cresc.
mf
2017 18 19 21 22
p cresc. mf
p cresc. mf
mf
mf
p cresc. mf
mf
mf
mf
fp mf
fp mf
mf
mf
mf
f p cresc. mf
mf
mf
f
mf
fp f
f
3
3 3 3
3 3 3
3
3 3 3
3
3 3 3
3
3
3 3 3
S.C.
3 3 3 3
4
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f
23 24 25 26 27 28 29 30
f
f
f
f
ff
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
5
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
3631 32 33 34 35 37 38
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
f
3 3 3 3 3 3
6
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f
39 40 41 42 43 44 45 46
f
f
f
f
f
f
f
f
f
f
f
f
f
mf
f
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3
7
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
5247 48 49 50 51 53 54
f
f
f
mf
mf
mf
mf
mf
mf
mf
f
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
8
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
6055 56 57 58 59 61
f
f
f
f
f
3
3 3 3
3 3 3
3
3 3 3
3
3 3 3
3
3
3 3 3
3 3 3 3
9
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
fp ff
62 63 64 65 66 67 68
fp ff
fp ff
fp ff
fp ff
fp ff
fp ff
fp ff
fp ff
ff
ff
p f
pf
psfz
ff
psfz
psfz
sfz
p sfz
f
fp ff
3
3 3
3
3 3
3
3 3
10
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
69 70 71 72 73 74 75
f
f
f
f
f
f
f
f
f
f
sfz
f
sfz
sfz
sfz mf
sfz
f
f
C.C.
11
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf
76 77 78 79 80 81 82 83
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
muted
muted
muted
muted
muted
Solo
Solo
muted
muted
2nd, muted 1st Solo,open
Muted
Tamburin
12
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
84 85 86 87 88 89 90 91
mf
mf
mf
mf
p
p
p
open
Solo, open
open
open
open
open
Solo
Solo
open
open
2nd, muted
open
sus. Cymb
13
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
92 93 94 95 96 97 98
f
f
f
f
f
f
f
f
f
f
f
f
f
f p f p f p f
f p f p p f
f
f p f p f p f
open
14
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
p
10099 101 102 103 104 105 106
mf
pmf
mf
mf
pmf
mf
mf
mf
p mf
p mf
p mf
mf
mf
p f
mf
mf
p f
3 3
3
3
3
3
3 3
3 3
3 3
3 3
15
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f
107 108 109 110 111 112 113 114
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
16
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf
rit. Rubato q=80
120115 116 117 118 119 121 122 123
mp mf
mf
mf
mf
mf
mf
mf
mf mp
mf mp
mf mp
mp
mp
pp
pp
freelySolo
freelySolo
S.C.
Wind Chimes
17
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf dim.
124 125 126 127 128 129 130 131
mp mf dim.
mf
mp mf mf mp mf
freelySolo
freelySolo
18
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
rit.Lamentoso q=116
136132 133 134 135 137 138 139
mf mf
mf
mp
mp
mp
mp
one
one
Bongos
19
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
146140 141 142 143 144 145
mp
p
p
p
p mf
p
p
p
p
mp
solo
one
Xylophon
Soft Mallets
20
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
147 148 149 150 151 152 153 154
mf
mp
mp mp
mp
mp
mp
mp
p
mp
mp
mp
a2
Solo
21
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf
158155 156 157 159 160 161 162
mf
mp mf
mp mf
mf
mf
mp mf mf
mp mf
mf
mf
mf
mf
mp mf
mp mf
p mf
mf
Muted
5
Muted
5
S.C.
Glockenspiel
22
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mp
168163 164 165 166 167 169 170
mp mp
p
p
p
p
mf
mp
mf
Open Solo
solo
Open
B.D.
23
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf
171 172 173 174 175 176 177
mf
mp
mp
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
all
Tamburin
24
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
4th Perc.
4th Perc.
p
180178 179 181 182 183 184
p mf
mf
mf
mf
mf
mf
mf
mf
mf
p
p
p
mf mf
mf
mf mf
mf
mf
B.D.
25
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
4th Perc.
4th Perc.
185 186 187 188 189 190 191
p
p
26
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
4th Perc.
4th Perc.
f cresc.
192 193 194 195 196 197
f cresc.
f cresc.
f cresc.
f cresc.
cresc.
mf cresc. f cresc.
mf cresc. f cresc.
mf cresc. f cresc.
mf cresc. f cresc.
mf cresc. f cresc.
ff
ff
ff
mf cresc. f cresc.
mf cresc. f cresc.
mf cresc. f cresc.
ff
mf
ff
f cresc.
Timpani
Drum Set Ride
B.D.
Xylophon
27
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
ff
198 199 200 201 202 203
ff
ff
ff
ff
ff
ff
ff
ff
ff p
ff
p
p
p
ff
ff
ff
p
p
p
ff
28
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf
205204 206 207 208 209 210
mf mf
p
29
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mp
213211 212 214 215 216 217
mp mp mf
p mp
p mp
p mp
p p
mp
p mp
p
mp
mp mp
Solo
solo solo
one
Bongos
Glockenspiel
solo
30
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf
rit. 218 219 220 221 222 223 224 225
mf
mp
mp
31
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
Con Temperamente (q=132-144)228226 227 229 230 231 232
mp
mp
mp
mp
mp
mp
mp
mp
mf
mf
Tenor Drum (or Snare with snares off)
B.D.
32
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf cresc. f
236233 234 235 237
f
f
f
f
mf cresc. f
cresc.f
cresc. f
cresc. f
mf cresc. f
cresc. f
mfcresc.
f
mf cresc. f
cresc. f
mfcresc. f
cresc. f
cresc. f
cresc. f
f
f
33
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
238 239 240 241 242
34
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f
244243 245 246 247
f
f
f
f
f
f
f
f
f
f
3 3
3 3
3 3
3 3
Belltree
Xylophon
3 3
35
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
252248 249 250 251
mf
mf f
mf f
mf f
mf
f
f
f
f
f
f
f
f
f
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3
3
3
3 3 3 3 3
36
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
256253 254 255 257
f
f
f
f
f
f
f
f
mf
mf
mf
mf
mf
mf
mf
mf
3
3
3
3
37
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f
258 259 260 261 262 263
f
f
f
f
f
f
f
f
38
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
264 265 266 267 268
f
f
f
f
mf f
mf f
mf f
mf
mf
f
f
f
mf
mf
f
f
f
mf
one
all
one
all
39
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
Più mosso (q=144-158)272269 270 271 273 274
mf
mf
mf
mf
mf
mf
f
f
mp
mp
mp
f
mf
mf
mf
mf
mf
40
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
280275 276 277 278 279
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
41
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
281 282 283 284 285 286
mf
mf
mf
mf
42
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f
288287 289 290 291
f f
f f
f f
f f
f
f
f
f
f
f
f
f
f
f
f
f
f
43
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
fff
Più mosso (q=158-164)296292 293 294 295
ff
f ff
f ff
f ff
ff
ff
ff
ff
f
f
f f
f f
f f
f
f
f
f
f
f
one
all
one
all
44
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
accelerando297 298 299 300 301 302
45
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
Più mosso (q=164-172)304303 305 306 307
46
DEMO SCORE
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass Eb
Bass Bb
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
ff
accelerando308 309 310 311
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
47
