FAITHFUL TO MY LAND

A DISSERTATION

SUBMITTED TO THE GRADUATE SCHOOL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE

DOCTOR OF ARTS IN MUSIC

WITH A PRIMARY EMPHASIS IN MUSIC THEORY AND COMPOSITION

AND A SECONDARY AREA IN CONDUCTING

BY

WIBOON TRAKULHUN

DISSERTATION CO-CHAIRS:

DR. ELEANOR TRAWICK DR. KEITH KOTHMAN

BALL STATE UNIVERSITY

MUNCIE, INDIANA

MAY 2011

-ii-

FAITHFUL TO MY LAND

A DISSERTATION

SUBMITTED TO THE GRADUATE SCHOOL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE

DOCTOR OF ARTS IN MUSIC

BY

WIBOON TRAKULHUN

APPROVED BY:

_________________________________ Date _____________________ Dr. Eleanor Trawick Chairperson

_________________________________ Date _____________________ Dr. Keith Kothman Co-Chairperson _________________________________ Date _____________________ Dr. Duane Karna Member

_________________________________ Date _____________________ Dr. James Helton Member _________________________________ Date _____________________ Dr. Lisa Huffman Member

_________________________________ Date _____________________ Dr. Robert Morris Dean of Graduate School

Ball State University

Muncie, Indiana

May 2011

-iii-

ACKNOWLEDGMENTS

I would like to express my most sincere gratitude to Dr. Eleanor Trawick, my

doctoral committee chair and advisor, for her guidance in the preparation of this

dissertation and her very generous support in my studies during the past years. It is

difficult to fully convey in words the level of gratitude for her enthusiasm and for the

countless times she devoted to the severe task of reading this dissertation. Her patience,

advice, and encouragement have contributed immeasurably to my composition,

dissertation, and education.

I would also like to acknowledge and appreciate Dr. Keith Kothman, my doctoral

committee co-chair, for his instruction and support of my composition. This piece would

not have been accomplished if not for his invaluable suggestions. Special consideration is

extended to Dr. Duane Karna, a member of my doctoral committee, who provides me with

his emotional support and thoughtfulness in my education in conducting. I would also like

to thank Dr. James Helton and Dr. Lisa Huffman, the members of my DA committee, for

their generosity and help.

Finally, my deepest appreciation and gratitude are also extended to my composition

professors, Dr. Jody Nagel and Dr. Vera Stanojevic, for their encouragement and valuable

suggestions to improve my composition skill, and every professor in the School of Music

for his/her generosity and consistent help to me.

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ABSTRACT

DISSERTATION: Faithful to My Land

STUDENT: Wiboon Trakulhun

DEGREE: Doctor of Arts in Music

COLLEGE: School of Music, College of Fine Arts

DATE: May 2011

PAGES: 127

Faithful to My Land is a composition for orchestra in three continuous movements

that reveals my deep admiration for my country, Thailand. This composition expresses my

belief in the nation of Thailand, its religion, and its constitutional monarchy. The main

materials of each movement refer to source ideas that relate to these three institutions of

my country. This composition, which is around fourteen minutes in length, is globally

organized within a tonal framework; both diatonic and chromatic notes are employed. The

music does not embody traditional common practice but neo-tonality. This composition

integrates various musical styles—neoclassicism, nationalism, and minimalism.

The first movement refers to the Thai national anthem. This movement mainly

grows from a subject, a countersubject, and two main motives. The music of the movement

is largely tonal. The main materials are pervasive throughout the movement, and it is thus

largely homogeneous, with little thematic contrast. The entire movement continues with a

driving rhythm in various alternations. The near-continuous sixteenth notes in the viola

and other string parts contribute to this energy and rhythmic drive and reinforce the

orchestral color.

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The second movement deals with the two religions—Buddhism and Christianity—

that are prevalent in Thailand. The music of this movement derives from the three main

sources: Miserere mei, Deus by Josquin des Prez, a specially constructed “Buddha

motive,” and an anonymous Buddhist prayer. Some compositional techniques derive from

the Renaissance period. The movement also employs number symbolism relating to

significant numbers in the Buddhist and Christian traditions.

The third movement alludes to the constitutional monarchy with high respect. The

music of the last movement is based on a twelve-note compositional idea, but it is not truly

serial: a twelve-tone row with its developments—retrograde and inversion—occurs in

some local areas. The last movement concludes with an epilogue, which derives from the

significant materials presented in all three movements.

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TABLE OF CONTENTS

Page

CHAPTER 1: INTRODUCTION …………………………………………. 1

CHAPTER 2: REVIEW OF COMPARABLE WORKS …………………. 3

CHAPTER 3: METHODOLOGY ……………………………………….... 17

CHAPTER 4: THE FIRST MOVEMENT ………………………………… 23

CHAPTER 5: THE SECOND MOVEMENT ……………………………... 28

CHAPTER 6: THE THIRD MOVEMENT ……………………………….. 34

CHAPTER 7: CONCLUSION …………………………………………….. 39

APPENDIX ………………………………………………………………… 41

BIBLIOGRAPHY ………………………………………………………….. 43

FAITHFUL TO MY LAND: TITLE PAGE ……………………………….. 46

INSTRUMENTATION ……………………………………………………. 47

FAITHFUL TO MY LAND: SCORE ……………………………………… 48

CHAPTER 1

INTRODUCTION

This dissertation is an orchestra composition in three continuous movements that

reveals my deep admiration for my country, Thailand. Since the beginning of the twenty-

first century, my country has confronted many problems––political discord, religious

disputes, and royal decline. Thailand has been a democratic country for more than

seventy-five years. Throughout the country’s history, the Thai people have had great faith

in both our religion and our royalty. Regretfully, the three institutions are being

simultaneously challenged within the community’s belief at this time. This historical

moment, along with my intense love for my country, are the inspiration for composing

Faithful to My Land, which mirrors my belief in nation, religion, and the constitutional

monarchy.

This composition is globally organized within a tonal framework; both diatonic

and chromatic notes are employed. However, tonality and modality are constructed

explicitly in each area by using local tonal organization or tone centers throughout the

composition. The main materials of each movement refer to source ideas that relate to the

three crucial institutions of my country. These materials are transformed and modified in

an effort to serve the local and global organization, both melodic and harmonic, of each

movement of the piece.

2

The first movement refers to the nation. Thailand is a country where people with

various ancestry and ethnicity coexist. Some people descend from original Thai

ancestors. Some emigrated from other countries many generations ago. Previously,

Thailand has been a land where people have existed together in peace, but now the

political deadlock affects the overall development of the country. For this movement, the

main source material is from some portions of the Thai national anthem.

The second movement deals with the main Thai religion, Buddhism. There are

many religions––Buddhism, Christianity, Islam, Hindu, etc.––that people in my country

have a freedom to believe in. Every religion has independent freedom to propagate their

beliefs in Thailand. However, Buddhism is the principal religion of Thailand in which

most people have faith. For the second movement, the name Buddha is transformed into

musical notes, and this motive constitutes the main thematic material.

The third movement alludes to the royal institution with high respect. Siam, as

Thailand used to be called, had been governed by absolute monarchy for more than seven

hundred years. In 1932, Thailand replaced the absolute monarchy with a constitutional

monarchy. The Thai people, however, continue to revere the royal institution. The last

movement is composed with high respect; the principal material is from some portions of

the Thai royal anthem.

Finally, I wish that, with great concentration and deliberation, I will succeed in

leaving a positive impression on those who hear the piece. I hope that composers, conductors,

performers, singers, educators, learners, and audiences, who are interested in any aspect of

music, are able to touch the pleasure and beauty of the work, understand the components

of the composition, and eventually perceive the significance and conviction of the piece.

CHAPTER 2

REVIEW OF COMPARABLE WORKS

During the first half of the twentieth century, modern orchestral works employ

many musical styles—impressionism, expressionism, nationalism, neoclassicism,

neoromanticism, serialism, and aleatory or chance music. During the second half of the

twentieth century, minimalism was a new musical style that came out first in the United

States in the 1960s. “Minimalism emerged as an effective alternative to the rigors of

serialism and the randomness of indeterminate, or chance, music.”1 The composers

LaMonte Young, Terry Riley, Philip Glass, and Steve Reich made up the first generation

of this style. Their works were mostly composed for solo instruments, duets, and small

ensembles. John Adams’s well-known Nixon in China (1972) is an early minimalist

opera. Its music is characterized by stasis and repetition of the melodic passages. Most of

Adams’s works are composed for classical instrumentation, including full orchestra.

Meanwhile in Eastern Europe, particularly, Polish composers Witold Lutosławski

(1913–94), Krzysztof Penderecki (b. 1933), and Henryk Mikolaj Gorecki (1933–2010),

Hungarian composer György Sándor Ligeti (1923–2006), and Estonian composer Arvo

Pärt (b. 1935), were affected by and also reacted against the avant-garde music of

Western Europe and the United States. Their compositions are more textural music,

1 Douglas Lee, Masterworks of 20th-Century Music (New York: Routledge, 2002), 1.

4

which takes more advantage of the density, intensity, dynamics, range (width between

lowest and highest pitches), and the timbre of the instruments or voices. Penderecki’s

Threnody for the Victim of Hiroshima (1960) was composed for fifty-two string

instruments. It challenges the abilities of performers, using them to produce the highest

pitches on their instruments, to bow behind the bridge, to play quarter-tones, and to create

sound masses and tone clusters in the ensemble.

Minimalist and related music also spread into Eastern Europe. Górecki’s

Symphony No. 3 “Symphony of Sorrowful Songs,” opus 36, for soprano and orchestra

(1976) is influenced by minimalism and nationalism. Beyond the minimalist style, the

piece refers to many facets of his heritage related to religion, folk culture, and ancient

chant.2 Pärt’s Te Deum for chorus, prepared piano, aeolian harp (or wind harp), and string

orchestra (1984) employs his compositional style, tintinnabuli, which is often described

as a compositional technique of minimalist music.

From the last decade of the twentieth century until the first decade of the twenty-

first century, many composers wrote orchestral works that were more popular in order to

communicate more easily to their audiences, especially American composers, such as

Christopher Rouse, Jennifer Higdon, Gregory Hutter, Michael Daugherty and John

Adams. Their works sometimes reflect original American music styles, such as jazz

and/or rock in some ways as well as integrating classical compositional manners. They

frequently use orchestral tuttis or large groups of instruments throughout almost the entire

piece. In the rapid pieces and/or movements, the rhythmic pattern and power of the

2 Josiah Fisk, “The New Simplicity: The Music of Gorecki, Tavener and Part,” The Hudson Review 47, no. 3 (Autumn 1994): 399.

5

orchestra are mostly aggressive, including short melodic fragments. In the slower pieces

and/or movements, however, the melody is more impressive like a neo-romantic idiom.

Christopher Rouse’s Symphony No. 2 (1994) is very aggressive. An articulation of

staccato is pervasive throughout the composition. The piece integrates various augmented

and diminished chords, including parallel harmonies, to create twelve-note aggregates.

John Adams’s Lollapalooza (1995) employs rhythmic syncopation; the main motive that

is introduced at the beginning continues throughout the piece. Another work by Adams,

Slonimsky’s Earbox for Orchestra (1996), features an abundance of small motives and

arpeggios, including polyrhythmic figures, to create richly textural music in the orchestra.

This composition is similar to Stravinsky’s sounds. Jennifer Higdon’s Blue Cathedral

(1999) is more delicate and produces an atmosphere of floating sound, joined with

impressive solos. Gregory Hutter’s Still Life (2004) was composed for oboe and string

orchestra. The music is very sweet and impresses with the color of the harmony and

melody by using traditional musical manners. The music has neo-romantic sensibilities as

well.

In the past twenty years, European composers have continued to write more

texturally and spectrally based orchestral music than their American counterparts.

Actually, spectral music or “instrumental synthesis”3 was composed since the 1970s

mainly in Europe, especially in France and Germany. The music employs “the acoustic

properties of sound itself (or sound spectra) as the basis of its compositional material.”4

European composers often employ a wider range of orchestral dynamics than do

3 The term was used by French composer Gerard Grisey (1946–98), cited in Julian Anderson, Spectral Music, http://www.oxfordmusiconline.com (accessed March 17, 2011). 4 Julian Anderson, Spectral Music, http://www.oxfordmusiconline.com (accessed March 17, 2011).

6

American composers. This contrast is due in part to European composers’ tendency to

take advantage of the timbres of individual instruments and small groups of players—as

opposed to American composers, who favor the use of orchestral tuttis. European

composers perhaps wish their audiences to pursue meaning in their compositional ideas

and music more than American composers.

Orchestral pieces by British composer George Benjamin, Sudden Time (1993),

Palimpsest I (1999), and Palimpsest II (2002), employ different compositional techniques

in each work. His pieces are characterized as textural music because they used more

complex instrumental techniques. Two orchestral works by French composer Marc-

André Dalbavie, Color (2001) and Ciaccona (2002), are very mysterious with the longer

held notes and more repetition. Some local areas of these two pieces reveal the sensuous

delight of French impressionist music. Matthias Pintscher, a German composer,

composed a concerto, Reflections for Narcissus (2005) for cello and orchestra. The

composition is more energetic and has more expression of each melodic line, especially

the cello solo, which is mixed between the Romantic and modern sensibilities.

In addition to the orchestral works mentioned above, there are several others from

the twentieth century that inspired and informed particular aspects of my new

composition. The initial conception of the composition relies on a tonal framework,

which deals both with quotation and with translation of letters into musical notes. As

introduced above, the first and the third movements quote from two anthems of my

homeland. Faithful to My Land uses components of these anthems in order to create a

new composition for a symphony orchestra. The second movement uses a technique of

translating letters into musical notes. This technique has been used by many composers

7

throughout history as a way of honoring a person or referring to something outside the

music. Furthermore, this composition is influenced by many composers, both Western

and Eastern, who embody their own specific style by integrating both cultures.

Therefore, with the precompositional decisions about the boundaries of the

compositional techniques I designed to use, it is necessary to review some works of other

composers. Many more compositions could be examined, but the proposed study will use

these sources to gain some ideas for composing my own new piece. The following review

is brief to fit the scope of the project. There are four main concerns of mine in composing

this work. First, composers (both Eastern and Western) use materials that relate to their

own nations: local instruments, folk tunes, anthems, or even a sonority that reflects the

atmosphere of their own nations. Second, Asian composers who compose major works

for large ensembles integrating traditional Eastern and Western music will be an

important model for this project. Third, composers employ a variety of translation

techniques that allow them to honor someone or something through their music. Finally, I

also take as models composers’ orchestral works that employ a Classical or modified

Classical orchestra.

Igor Stravinsky’s Petrushka (1911) employs a number of Russian folk tunes and

uses other elements from his own country. Douglas Lee writes, “More subtle and

significant were quotations from Rimsky-Korsakov, Tchaikovsky, a popular Parisian

song by Émile Spencer (La jambe en bois), and other musical references familiar at the

time. A number of Russian folk tunes appear in part, if not in their entirety.”5 Lee

continues:

5 Lee, 419.

8

In Petruskha, the music overwhelms the dance. This may derive from the original conception of the score as a concert piece for piano and orchestra to which choreography was added. But more important, it grows from the significant incorporation of Russian folk tunes and other materials current at the time, all carrying their attendant connotations and cast in the most imaginative orchestral setting. The work was successful as an artistic endeavor drawing on many sources, in the process setting a new standard for ballet as an art form equal to drama and opera.6

Claude Debussy was a French composer who quoted both his own national

anthem and those of other countries. One of the Préludes from Book II (1912–13), Feux

d’artifice (Fireworks), contains “a quotation from the Marseillaise, the French national

anthem, sounding de très loin (from far away).”7 The third movement of the Cello Sonata

(1915) uses motivic variation based on a Lutheran hymn “and hidden quotes of the

French anthem, La Marseillaise.”8 Moreover, En blanc et noir (1915) for two pianos

employs both the French national anthem and a folk tune.9

Besides quoting the French anthem, another Prélude in Book II, Hommage à S.

Pickwick Esq. P.P.M.P.C. (Homage to S. Pickwick), “quot[es] the first line of the British

national anthem God Save Our Gracious King in the lowest strand of the piano texture.”10

Berceuse héroïque (1914), which was first composed for King Albert’s book and was

dedicated later to the King of Belgium, employs several measures that are drawn from the

Belgian national anthem. The Berceuse héroïque was originally for piano before Debussy

6 Ibid., 421. 7 Siglind Bruhn, Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Debussy, Ravel, and Messiaen (Stuyvesant, NY: Pendragon Press, 1997), 16. 8 Janelle Suzanne Ragno, “The Lutheran Hymn Ein’ feste Burg in Claude Debussy’s Cello Sonata (1915): Motivic Variation and Structure” (D.M.A. diss., University of Texas at Austin, 2006), i. 9 Marianne Wheeldon, Debussy’s Late Style (Bloomington: Indiana University Press, 2009), 47–53. 10 Bruhn, 121.

9

later orchestrated it for the occasion of the Concerts Colonne-Lamoureux.11

The English composer Ralph Vaughan Williams employed quotation in A London

Symphony (1913), dedicated to the place where he lived. Vaughan Williams’s work

incorporates a signature London sound, the Westminster chimes. Michael Kennedy

writes:

He had already made some sketches for a symphonic poem about London, a city he loved and where, since his marriage to Adeline Fisher in 1897, he had lived. … All composers are children of their time and Vaughan Williams was no exception. The folk-song revival is imprinted on this symphony in various ways, that is obvious. … Writing a programme note in 1920 Vaughan Williams suggested that a better title might have been ‘Symphony by Londoner.’12

Besides composers from the West, there are many excellent Asian composers in

the twentieth and twenty-first centuries who use their own countries’ materials as sources

and as inspirations for their compositions. I will briefly examine representative works by

four Asian composers––Chinary Ung, Toru Takemitsu, Chen Yi, and Tan Dun––focusing

on the issue of combinations of cultures. They have composed many orchestral works, as

well as compositions for other kinds of ensembles, and for solo instruments, furthered by

their own motherlands’ elements. They represent the successful integration of the music

of Eastern and Western traditions. Eventually, the results of these endeavors are musical

styles that are unique and individual within each composer’s oeuvre.

11 Jane F. Fulcher, “Speaking the Truth to power: The Dialogic Element in Debussy’s Wartime Compostitions,” in Debussy and His World, ed. Jane F. Fulcher (Princeton: Princeton University Press, 2001), 214. 12 Ralph Vaughan Williams, A London Symphony, Centenary ed., intro. Michael Kennedy (New York: Galaxy Music, 1972), v.

10

The Cambodian-American composer Chinary Ung accomplishes the integration

of the music of Asia, especially his native land, and Western music in his composition.

Ung himself describes, “if East is yellow and West is blue, then my music is green.”13

Grand Spiral: Desert Flowers Bloom (1992) is combination of both the traditional

Eastern and Western music cultures. John Kays writes, “Ung has not ventured into

symphonic-style compositions since writing Grand Spiral. This doesn’t reflect on his

ability to create large works; it speaks volumes about his philosophy, ‘to explore my

inner rhythms and feelings before I say (something) directly.’ Grand Spiral was

dedicated by Ung to the Cambodian people.”14

Japanese composer Toru Takemitsu represents the spirituality of the Japanese

associated with the musical techniques of traditional Western art. “Takemitsu blends the

music of the East with that of the West … Takemitsu’s music is a synthesis of Eastern (or

Japanese) traditions with Western contemporary music.”15 Yoko Nakatani’s dissertation

explains:

The use of Japanese traditional instruments, biwa and shakuhachi, with orchestra had never been attempted until Toru Takemitsu (1930–96) composed November Steps (1967) and Autumn (1973). This instrumentation presented a challenge for Takemitsu because combining the two worlds, East and West was not his intention. In other words, he believed that they were too disparate to be blended but that coexistence was however possible. … but Takemitsu succeeded in finding a way to embrace two different cultures in his compositions. Takemitsu made a major contribution to the world of music through his successes with November Steps and Autumn.16

13 John Kays, “The Work of Cambodian-American Composer Chinary Ung,” www.newworldrecords.org/linernotes/ 80619.pdf (accessed Octorber 1, 2010), 1. 14 Ibid., 3. 15 James Siddons, Toru Takemitsu: A Bio-Bibliography (Westport: Greenwood Press, 2001), 12. 16 Yoko Nakatani, “November Steps and Autumn: A Comparative Analysis of Two Orchestra Works by Toru Takemitsu” (Ph.D. diss., Brandeis University, 2005), v.

11

Takemitsu himself expresses his care in the integration of traditional Eastern and

Western musical art:

What I and my fellow composers are not doing is simply, in a facile way, adapting Japanese tradition to Western form. What we’re trying to do is to study very deeply, and very carefully, the essence of traditional music, to explore unknown worlds, and to recreate, or reelucidate, in new, modern forms, what we’ve learned from our traditions.17

Hideaki Onishi’s dissertation portrays an inspiration for the orchestral “garden

series” of Takemitsu, Dream/Window (1985), Fantasma/Cantos (1991), and Spirit

Garden (1994), as the Japanese garden that he mentions as a source of his major thematic

work.18 From me flows what you call Time (1990) makes use of both Eastern and Western

influences, and further evolves a formal plan for the piece by transposing the main

melodic idea, introducing percussion cadenzas, and leaving some improvisations for the

performers themselves.19

Dana Richard Wilson’s dissertation focusing on Takemitsu’s orchestra work

Choral Island (1962) and various chamber works explains, “the role of texture in the

chamber works is similar to that in the orchestral works … The dramatic thrust of the

orchestral works appears to be missing, however, while the aesthetic of certain traditional

Japanese musics prevails.”20

17 Toru Takemitsu, “Contemporary Music in Japan,” Perspectives of New Music 27, no. 2 (1989): 203. 18 Hideaki Onishi, “Toru Takemitsu’s Japanese Gardens: An Application of Superset/Subset Networks to the Analysis of Three Orchestral Compositions” (Ph.D. diss., University of Washington, 2004). 19 Louis Conti, “Color Variation: An Analysis of Takemitsu’s From Me Flows What You Call Time” (Ph.D. diss., New York University, 2010), vi. 20 Dana Richard Wilson, “The Role of Texture in Selected Works of Toru Takemitsu” (Ph.D. diss., University of Rochester, 1982). vii.

12

Chen Yi, a Chinese composer now living in the U.S., composed Momentum for

Orchestra (1997). She describes, “… the gesture of the exaggerated dancing lines in

Chinese calligraphy … made such a deep impression on me that I wanted to translate it

into music …”21 In Momentum, Chen Yi creates her own musical vocabularies, which

display a fusion of the Eastern and Western in the past and present. Chen Yi approaches

traditional Chinese manners by arranging phrases of different lengths in such a way as to

create and emphasize the musical climax. Her music includes melodic figures derived

from the Beijing opera within the manners of traditional Western music, especially the

orchestration of Romantic and twentieth-century styles.22 Frederick Lau states that the use

of Chinese elements also appears in Piano Concerto (1992), The Points for Pipa (1991),

and As in a Dream (1988), two songs for soprano, violin, and cello.23

Another Chinese composer, Tan Dun, composed Symphony 1997: Heaven, Earth

and Mankind in ten movements by not only using the technique of quoting preexistent

folk tunes, but also including ancient Chinese instruments and the Western orchestra

within the framework of a large-scale symphony.24 Lee Alexander Steward’s study

focusing on an opera work states that Tan Dun’s Marco Polo (premiered 1996) is “rooted

in and yet breaks the mold of traditional Beijing opera and of traditional Western

21 Cited in Jiang Liu, “An Analysis of Chen Yi’s Orchestral Work Momentum” (D.M.A. diss., University of Nebraska, 2005), 10. 22 Jiang Liu, “An Analysis of Chen Yi’s Orchestral Work Momentum” (D.M.A. diss., University of Nebraska, 2005), 10–14. 23 Frederick Lau, “Fusion or Fission: The Paradox and Politics of Contemporary Chinese Avant-Garde Music,” in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau, 22–39 (Middletown: Wesleyan University, 2004). 24 Yayoi Uno Everett, “Interculture Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy,” in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau (Middletown: Wesleyan University Press, 2004), 19.

13

Romantic opera composition and combines the vocal and theatrical styles and

instrumentation of both into a unique union.”25 Steward continues:

Tan’s compositions all have Eastern sounds including Beijing opera and Chinese folk music and incorporate various Western techniques. He bridges East and West and enhances and combines the emotional possibilities of both traditions in his music. Tan’s opera creates a unique fusion of the two starkly contrasting cultures. One world is lost in the other and is as interdependent in sound as are the Eastern and Western hemispheres in the 21st Century.26

The achievement of integration between Eastern and Western musical art is

reflected in these composers’ music. Traditional Eastern music is deliberately introduced

by various means into Western music. The result is colorful and distinctive music in

which the original voice of the composer can be clearly heard.

The practice of translating letters of the alphabet into notes for a theme usually

serves to honor someone. The best known of such themes is probably B-A-C-H (Bb-A-C-

B), which was employed by J.S. Bach himself and which has subsequently appeared in

many other composers’ works. A published catalogue for the 1985 exhibition 300 Jahre

Johann Sebastian Bach lists about four hundred works by at least three hundred

composers that are related to Bach, especially the B-A-C-H motif.27 Many composers in

the twentieth century, such as Arnold Schoenberg and Arvo Pärt, have used Bach-

inspired elements.

25 Lee Alexander Steward, “A Discussion of Tan Dun’s Opera, Marco Polo” (D.M.A. diss., University of Miami, 2002), i. 26 Ibid., 5–6. 27 Cited in Shu-Ting Yang, “Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’s Bachianas Brasileiras No. 4” (D.M.A. diss., University of Cincinnati, 2007), 7.

14

Variations for Orchestra Op. 31 (1926) by Schoenberg is an excellent example of

the use of the B-A-C-H motive within atonal music. The twelve-tone piece comprises an

introduction section, nine variations, and a closing finale. Marija Benić Zovko asserts

that:

The B A C H motif is made up of various combinations of a row, or several rows. The last section of the Finale shows that its diastematic structure is related to that of the row: tones 2 3 4 5 of the antecedent, when permutated, create the B A C H motif (or one of its transpositions). It shows the extent to which the developing variation technique can transform the row content, providing it with new meanings and contexts.28

Arvo Pärt, an Estonian composer, composed Collage über B-A-C-H for oboe and

strings in 1964. “The first appearance of a reference to Bach, although this is only

explicit in the work called Collage, which is both based on the B-A-C-H motif and also

quotes actual music by Bach. But the B-A-C-H motif, variously transposed and inverted,

can also be traced in several other works, suggesting a potential link between them.”29

The inspiration for using the B-A-C-H motif has various reasons and depends on

each composer. The use of the motif has very different approaches, relying on each

composer’s style as well. Other composers, Krzysztof Penderecki’s St Luke Passion

(1966), Charles Ives’s Three-Page Sonata (1949), and Anton Webern’s String Quartet,

Op. 28 (1938), are also inspired by the B-A-C-H motif. Even, Bach himself also marked

his signature in a number of his works, such as the Art of Fugue and Vom Himmel hoch

da komm’ich her.

28 Marija Benić Zovko, “Twelve-Tone Technique and Its Forms: Variation Techniques of Arnold Schoenberg’s Variations for Orchestra Op. 31,” International Review of the Aesthetics and Sociology of Music 38, no. 1 (2007): 50. 29 Paul Hillier, Arvo Pärt (New York: Oxford University Press, 1997), 47.

15

The composers’ works reviewed above relate to the two initial conceptions of

mine. First, in regard to the issue of quotation, both Eastern and Western composers

brought up their own traditional materials from their individual homeland, such as folk

tunes, song tunes, national anthems, and traditional musical instruments. Second,

concerning translation technique, many composers honor Bach by translating Bach’s

name to the notes of the motive.

The various ways these composers manipulate their components is similar to my

purpose in this project. When composers quote folk tunes and/or anthems, they do not

usually employ the entire melodies. They deliberately make a selection of some portions

from them. Then they adapt and transform the materials to be appropriate for their works.

When composers mention their cultures, they shape the characteristics of their traditional

music to create some significant meanings from them. Some composers deal with their

traditional musical instruments, although this dissertation will not. These composers

perfectly integrate two traditional music cultures into their own music. Eventually, the

results of these endeavors are beautiful and colorful art music. The wonderful

characteristics of music are unique with an individual’s own style.

Faithful to My Land is composed for an orchestra. Therefore, the orchestra setting

and learning from other composers’ styles also furthers my project. Sergei Prokofiev’s

Symphony No. 1 in D, Op. 25, Classical Symphony (1916) follows the traditional outlines

of a classical symphony. It opens with theme that is an ascending rush, with a crescendo,

through the tonic chord, and especially the score pursues an outline of a classical orchestra.30

Stravinsky’s Pulcinella (1920) uses an ensemble setting similar to “an eighteenth-century

30 Lee, 270.

16

concerto grosso,”31 and the “recycled tonal materials are transformed” to appropriate a

new stylistic framework at the time.32 Dmitri Shostakovich’s Symphony No. 5 in D minor,

Op. 47 (1937) is “a work of obvious artistic conviction, expressive power, and technical

accomplishment.”33 Vaughan Williams’s A London Symphony, with its huge orchestra,

features an abundance of thematic material more than defined harmonic operations or

structural designs, including the sequence of the basic motto.34

The works of these composers provide models that deal with a classical orchestra

setting, symbolism, thematic and motivic transformation, tonality, and related

compositional tools. The orchestral settings and the stylistic characteristics of each

composer are appropriate to the purpose of my work. The score of each piece provides

program notes explaining the piece and the detail of performance setting for the ensemble

that can support the organization of this work. All of these composers and their works

provide some examples furthering my new composition. Additionally, examination of

other modern works is equally necessary for perceiving other composers’ ideas and

concepts. However, this dissertation will apply and adapt their ideas and concepts to

compose a new composition in my own style.

31 Ibid., 424. 32 Robert P. Morgan, Twentieth-Century Music (New York: Norton & Company, 1991), 410. 33 Ibid., 248. 34 Lee, 436–38.

CHAPTER 3

METHODOLOGY

Faithful to My Land is an orchestral work in three movements––the number of the

colors of Thailand’s flag. The flag employs the colors of red, white, and blue that reflect

the three main institutions. The red is for the nation, the white is for the religion, and the

blue is for the monarch. The formal structure of each movement grew out of my

compositional process. This composition is about fourteen minutes in length. The texture

of this piece comprises both Eastern and Western aspects. Homophony, monophony, and

polyphony belong to traditional Western music, and heterophony belongs to the Eastern

tradition. Even though this composition is organized on the tonal system, the harmonic

language does not follow common-practice traditions.

Furthermore, the orchestral forces for this composition are similar to the classical

orchestra that consists of two flutes (the second doubling on piccolo), two oboes, two

clarinets, two bassoons, four horns, three trumpets, two trombones, a bass trombone,

timpani, other percussion, and strings. This orchestra is large enough to afford me a wide

variety of registers, sounds, textures, and tone colors. Each instrument has a distinctive

color and offers its own special percussive effects. Combinations of instruments will

allow a particularly wide variety of dynamics, textures, timbres, and power of sound.

18

The main materials of each of the three movements are, as mentioned above, the

two anthems and the letters of the name Buddha, all of which relate to the patriotic

programme of the composition. However, the entire anthem melodies do not appear in

this work. This composition employs some portions of them. The selected parts are

transformed and modified in an effort to support the local and global organization, both

melodic and harmonic, of each movement of the piece. The manipulation of musical

components and the instrumentation are carefully designed in this composition.

Movement I

The first movement employs quoted fragments from the Thai national anthem

(see Appendix). This movement deals with some portions of the anthem, particularly in

the sensibility of rhythmic and melodic patterns. The initial conception for this

movement, for example, is to bring up a rhythmic pattern of a dotted eighth and a

sixteenth note (shown in Example 1). This rhythm pattern is pervasive throughout the

anthem. This movement employs the motive in various manners, such as staccato,

marcato, retrograde, and so forth.

Example 1: Rhythmic pattern

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19

Other concepts deal with melodic patterns and structural pitches of some portions

of the anthem. At this moment, pre-composition will demonstrate some conception of the

ideas. First, a melodic pattern will quote the first few notes of the anthem, such as the

notes G, C, E, and G´, as its main motif, but with different rhythm patterns. In addition,

the main motif may be transposed to another tone center, or the internal intervals may

change while the spanning G–G´ remains the same. Second, the original melody in the

first four measures is transformed from the major mode to the Phrygian mode, including

reforming its rhythmic pattern. Third, concerning structural pitches, the first two

measures are reduced to principal structural pitches (shown in Example 2). This structure

will be a main element as well.

Example 2: Principal structural pitches

The group of the structural pitches will be treated in various ways, such as

transposition to another tone center, manipulation of the rhythmic pattern, and so on.

Moreover, the interval structure of this group of notes implies a subset of this pentatonic

scale that this work will use as an element for serving the traditional Eastern sound.

Finally, an ascending melody, especially the dotted eighth and sixteenth notes from the

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20

fourth beat of m. 12 through the first two beats of m. 14 (see Appendix), is very vigorous

and energetic and could be appropriate for the brass section, for example, in the sense of

moving forward and driving with aggressive power to a climax.

Movement II

The second movement employs a technique of translation that employs the name

Buddha as a symbol of this movement. This work takes all six letters of the name and

translates them into six musical notes by using the methods of German musical

nomenclature, Latin solmization (Ut-Re-Mi), and English letter names. Thus, the name

Buddha is translated into the pitch motive Bb-C-D-D-B-A (shown in Example 3).

Example 3: Buddha motive

This group of notes, the Buddha motive (with respect), pervades the second

movement of this dissertation. The initial conception in this movement is to treat the

motive as a cantus firmus, thus making a connection with the sacred music of the

Western culture in the Renaissance era. The movement references a preexisting melody

from the Renaissance as well. The movement thus employs two cantus firmi. However,

the movement does not always employ the complete Buddha motive. Some local areas of

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21

the movement or some instrumental parts take only some notes of the motive.

Furthermore, the motive does not need to be in sequence every time.

Movement III

This movement is based on new material and is a separate, independent

movement; it ends with an epilogue that refers to all three movements. The final

movement employs the quotation technique as well, but makes use of the Thai royal

anthem, which is provided in the Appendix. As in the first movement, the complete

melody of the royal anthem does not come into view in this movement or the whole

piece. This movement also deals with some portions of the anthem, both rhythmic and

melodic patterns. The initial conception for the movement, for example, is to bring up the

motives of mm. 1-2 and mm. 5-6 of the anthem to employ the technique of retrograde,

but to disregard the notes’ values (shown in Example 4). Other rhythmic patterns for the

new motives also appear.

Example 4: Retrograded motives

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22

Other transformations of the anthem are more abstract and thus less audible. First,

the group of melodic pitches in mm. 15-16 (shown in Example 5 with brackets) is

established to be a fundamental chord, and other chords will be built by considering the

relevance of the interval of this chord. Second, the notes in m. 21 will be developed to be

a motive. The new motive still maintains the outline of step-skip-step in the opposite

directions of the group of these notes, but uses various rhythmic patterns.

Example 5: A harmony and a motive

Epilogue

The epilogue is the last section of the third movement. It is a short section, around

one minute or less. The main idea of the section is to bring out the significant elements of

each of the three movements to make a recapitulation of all of them at the same time. The

purpose is to remind the audience of where all of the components are from. Therefore, the

two anthems will probably appear as longer melodies, though still not both entire

melodies. Furthermore, the last chord of the composition is the notes Bb, F, and C (two

perfect fifths) that these notes are the main key centers of the original materials, the

anthems and the name Buddha.

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CHAPTER 4

THE FIRST MOVEMENT

The first movement refers to the Thai national anthem. This movement grows

from a main arpeggio motive, a main subject, and a countersubject, (see examples on the

following pages). The movement develops and varies these materials simultaneously in

many different ways. The main arpeggio motive contains the principal structural pitches

(shown in Example 2 on page 19) of the national anthem. Another motive is the first four

notes of the arpeggio (pick up notes) of the anthem (also see example 2, original). They

are subjected to inversion and retrograde, the rhythms are altered and they are changed in

dynamics, register, articulation, and instrumentation. All of these materials are pervasive

throughout the movement. Therefore, the formal structure comes not from thematic

contrast, but mostly from contrasts in texture between different sections. The movement

comprises three main sections—A, B, and A´—with an introduction and a closing section.

The first movement is around four and a half minutes in length. Its motives and

musical ideas are made up of several meaningful intervals: major and minor seconds, the

perfect fourth and fifth, and the tritone. Some melodic figures, harmonic materials, and

rhythmic ideas are used not only in the first movement, but in the rest of the piece as

well. Additionally, some musical characteristics of this movement will recur in the

epilogue of the third movement.

24

The texture of this movement is a combination of homophony and rhythmic

heterophony. The entire movement features a continuous driving rhythm with various

alterations. The near-continuous sixteenth notes in the viola and other string parts

contribute to this energy and rhythmic drive and reinforce the orchestral color. The

driving sixteenth notes principally reflect the tonal centers in each local area in this

movement. However, the repetitive viola also moves to other pitches. Other tonal centers

in some local areas are revealed by other features, such as an auxiliary motion on the low

instruments in the introduction. The movement is essentially organized around the main

tone center, E.

The movement begins with an Allegro con brio introduction in mm. 1–18. Some

portions of this introduction and its primary idea recur in the middle and at the end of the

movement. The introduction employs rhythmic heterophony and an extremely wide

register in the orchestra. Measures 1–6 increase the dynamic from piano to fortissimo in

the whole orchestra to reach the notes E in different registers. These opening measures

are based on the E Phrygian scale, with the raised note D# for creating a leading tone.

The first time the main arpeggio motive occurs is in mm. 9–10 in the low strings

(shown in Example 6 on the following page). The strings’ tremolo in mm. 9–12 and mm.

14–16 move around an E minor triad adding the note C, also considered as a C major-

major 7th chord. Meanwhile, the brasses play the E minor triad with the longer held notes

in mm. 10–12, but change their character in mm. 14–16. The woodwinds play staccato on

the same triad. They also increase the dynamic from mezzo piano to fortissimo that leads

to a C major-major 7th chord bass on B in m. 13. The orchestra continues the same idea in

mm. 14–17 (but louder) to reach the same chord again in m. 18.

25

Example 6: The main arpeggio motive

The energy of the introduction leads to section A (mm. 19–45), which basically

grows from the two motives with their transformations and the main subject. The viola

continues moving throughout this section. The first time the main subject emerges,

however, is in mm. 26–31 on the low strings (the cello and double bass), doubled in the

bassoons and the first violins, then imitated by the first horn (shown in Example 7).

Additionally, the first trumpet plays staccato doubling the viola during these measures.

Example 7: The main subject

The main arpeggio motive during mm. 34–42 is expanded into the entire orchestra

with the energy of repetitive sixteenth notes. It is played antiphonally between the whole

string section and the woodwinds, supported with the brasses, timpani, and percussion.

Moreover, the arpeggio motive is played by the whole orchestra during mm. 43–45.

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26

Besides the large aspect of the arpeggio motive, the orchestral color is provided with a

dynamic increasing to fortissimo.

Section B consists of mm. 46–81. It begins with a two-beat measure of rest. The

tempo is slower and pesante. The timpani, tam-tam, and bass drum support the power of

the orchestra. This section continues from the previous section with the timpani playing

the arpeggio motive on E minor triad at fortissimo followed by the monophonic texture of

the main subject on the whole strings. The section switches back and forth between the

main subject and the perfect fourth and fifth of the countersubject (shown in Example 8)

in various tone centers.

Example 8: The countersubject

Actually, the first time the countersubject is introduced is in mm. 21–22 in the

unison of the first and second horns. Furthermore, a variation of the countersubject

during mm. 58–64 moves within the key of F#m against the repetition of the viola on the

note B. Another variation during mm. 67–77, which is developed from the pentatonic

collection of the principal structural pitches, plays on the flutes and the xylophone. This

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27

section concludes with imitation between the cello and the double bass pizzicati,

punctuated by accented chords in the violins.

The A´ section comprises mm. 82–125. The tempo is the same as that of section

A. The viola continues almost throughout the section. However, because the introduction

interrupts this section, the orchestration needs to be manipulated to create some musical

figures to be in accordance with the idea of the introduction. Especially during mm. 98–

100, the music is creating obvious bitonality of the tone centers E and F on the low

instruments supported by the open fifths E-B and F-C in the woodwinds.

After that, mm. 126–27 are interrupted by a slower tempo. The first horn plays a

solo melody accompanied by the low strings’ tremolo. The melody imitates the first two

measures of the anthem but transposed from C major to E minor. This passage leads to

the closing section during mm. 128–37. The closing section concludes as it began with

the introduction idea. Moreover, the movement ends with an attacca indication that the

music should immediately continue to the second movement.

CHAPTER 5

THE SECOND MOVEMENT

Buddhism is the principal religion of Thailand in which most people have faith.

Thai people have a freedom to believe in other religions as well. Muslims are the second

largest religious group and Christians are the third largest religious group in Thailand.

The main idea of the second movement employs materials referring to both Buddhism and

Christianity. The second movement is the longest movement, around five minutes in

length. The movement can be divided into a binary form, A and A´, with a codetta. The

tempo of the movement is an Adagio sereno.

Beyond the Buddha motive (Bb-C-D-D-B-A, shown in Example 3 on page 20),

this movement quotes two other preexisting melodies: a devotional motet by Josquin des

Prez, Miserere mei, Deus and an anonymous Buddhist prayer (shown in Examples 9–10

on the following page). Miserere mei, Deus (Have mercy upon me, O God) was

composed for Duke Ercole I d’Este of Ferrara around 1503.1 Patrick Macey writes:

Continuing with other important musical material in the motet, Josquin generates four distinct and unadorned melodic motifs ... The first, motif A, is the plaintive semitone that opens the work; this forms the essential element of the repeated-note introductory subject which the first tenor subsequently takes over as the soggetto ostinato. The expressive inflection of the ascending semitone effectively highlights the most important word, Deus.2

1 Patrick Macey, “Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets,” in The Josquin Componion, ed. Richard Sherr (Oxford: Oxford University Press, 2000), 487. 2 Ibid., 495.

29

Example 9: Josquin des Prez, Miserere mei, Deus, mm. 7–113

Example 10: Anonymous melody, Buddhist Prayer

The two original melodies, Miserere mei, Deus and Buddhist prayer, are certainly

similar with the repeated notes and the minor seconds, except the perfect fourth at

beginning of the Buddhist prayer. These two melodies are the main materials of each

section. Therefore, the formal structure of this movement could be considered as section

A and A´ rather than section A and B.

The movement also employs number symbolism relating to significant numbers in

the Buddhist and Christian traditions. The six notes of Buddha motive stand for Prince

Siddhartha Gautama’s six-year search for enlightenment. The prince left his palace to

seek Dharma, the right path to awakening, at the age of twenty-nine. He attained

enlightenment when he was thirty-five years old. Jesus Christ died on the cross around

thirty-three or thirty-five years of ages. The climax of this movement occurs in m. 35.

3 Edward E. Lowinsky, ed., Monuments of Renaissance Music: The Medici Codex of 1518, Vol 4, (Chicago: University of Chicago Press, 1968), 270.

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30

Finally, Buddha passed away in peace at the age of eighty years. The end of section A´ is

m. 80. Moreover, this movement employs the number three, which relates to both

religions. The foundations of Buddhist tradition and practice are the Three Gems—the

Buddha, the Dharma (the teachings of the Buddha), and the Sangha (the Buddhist

community). The Christian doctrine of the Trinity believes in the union of three divine

persons—the Father, Son, and Holy Spirit. The composition techniques in this

movement—free counterpoint, paired duet, point of imitation, variations, and repetition

—in each local area are used three times. Thus, the music is determined by relating to

these numbers (3, 6, 33–35, and 80).

The composition’s techniques, such as free counterpoint, paired duet, and point of

imitation are manipulated for this movement. They were developed in the Renaissance

period. Free counterpoint is the relationship between two or more parts that are

independent in contour and rhythmic figure and are also less strictly constrained than

imitative counterpoint; the harmonies are produced by the individual lines and are not

functional. Paired duet refers to a texture that employs two contrasting pairs of voices

(parts). Finally, point of imitation is a short melodic figure used as a subject for imitation.

The music in this movement grows from the only intervals in the two subjects, a

minor second and a perfect fourth, supplemented by the perfect fifth (inversion of P4)

and the tritone (m2 + P4). Furthermore, the variations of the two subjects and other

melodic figures principally move by very small intervals, such as minor seconds. Their

harmonies and other accompaniments mostly use these intervals. The Renaissance

composition techniques and these intervals are used throughout the movement.

31

Section A comprises mm. 1–35. The Buddha motive is divided into two groups of

three notes played by the strings, as at the beginning of the movement. The first three

notes of the motive are in mm. 1–3, and the last three notes are in mm 4–5 (shown in

Example 11). The motive continues as a background throughout this section but with

various alterations.

Example 11: The Buddha motive at the beginning of the movement

The subject, Miserere mei, Deus, emerges in mm. 6–10 in the first horn followed

by its two variations (mm. 10–14 in the first bassoon and mm. 14–18 in the first violins).

The first three appearances of the subject are accompanied by various instruments in free

counterpoint. Then, the statements of the subject are further developed and they employ

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32

the technique of paired duet three times between the subject’s variations and their

countersubjects during mm. 18–32. Additionally, the tone centers of the subject and its

five variations are each note of the Buddha motive in order. The section concludes with a

climax for the entire orchestra. The harmonic progression is built gradually from m. 33

until the fermata on the first two beats of m. 35. The climax is created by a harsh

dissonance consisting of two tritones and two minor seconds (the notes B, C, F and F#).

After that, the tension is released by using the Buddha motive that leads to the notes Bb in

different registers on the third beat in the same measure. This point is the beginning of

the A´ section.

The A´ section takes up mm. 35–80. This section begins with a little variation

from the preexisting Buddhist prayer. The subject of this section is introduced in mm.

36–39 in the strings. The Buddha motive is also a background of this section, but not of

the entire section. The timpani’s tremolo, however, plays on the note Bb for almost the

whole section. The music begins to play the subject, Buddhist Prayer, in a Buddhist

chant-like manner. Then, the subject is developed three times. Measures 40–47 use a

double canon at the octave in the strings and the woodwinds followed by a point of

imitation in mm. 48–52 in the flute, oboe, and the solo violin. In the second variation, the

solo violin continues and accompanies the woodwinds in mm. 54–59. The third variation

employs a duet between the cello and the double bass in mm. 60–68. After that, the

Buddhist prayer recurs three times at the end of the section. The section concludes in the

low register and at a softer volume in mm. 79–80 with a cadence using parallel harmonies

of B and Bb major triads.

33

Finally, mm. 81–89 is the codetta. The movement ends with the strings growing

softer and playing in a very gentle texture and with wide intervals, both major and minor

sevenths, including a perfect fourth. The conclusion employs the notes of the Buddha

motive and ends with an attacca indication that the music should immediately continue to

the final movement.

CHAPTER 6

THE THIRD MOVEMENT

The third movement refers to the royal anthem. This movement principally grows

from a few main elements (see examples on the following pages) that are developed from

the retrograded motives from the anthem and another motive also derived from the royal

anthem (see examples 4 and 5 on pages 21–22). Among the musical components and

ideas of the final movement are significant intervals: the tritone and the major third.

Additionally, the meaningful harmonies are augmented triads, diminished seventh chords,

French augmented sixth chords, and others. The chords used in this movement convey

either or both of the two intervals. The texture is mostly homophony with the power of

the full orchestra. This movement consists of three main sections—A, B and A´—with an

epilogue. The epilogue derives from the main materials presented in all three movements.

The music of the last movement, which is around three and three quarters minutes

in length, is based on a twelve-note compositional idea, but the music is not serial. A few

measures employ a twelve-note row with its retrograde and inversion. The tone centers in

each local area are revealed by the lowest pitch, a pedal note, or an ostinato of a motive.

The compositional techniques employ portamento of the trombones and the strings,

parallel harmony, ostinato, and arpeggio. The third movement is essentially organized

around the main tone center, F.

35

Section A consists of mm. 1–38. The movement begins with a Moderato con

energico. The music is established by a tritone on the trombones supported by the double

bass and timpani in m. 1, and a descending motive on the trombones and timpani in m. 2–

3 (shown in Example 12). Furthermore, grace notes are used to indicate quick portamenti

in the trombone and string parts. The music gradually expands until it completes a twelve-

note aggregate in m. 14. Section A principally employs variations of the descending motive

in various alterations and significant chords that mostly contain one or two tritones.

Example 12: A tritone and a descending motive at the beginning of the last movement

The first time the twelve-tone row occurs is in the cello’s pizzicato in m. 20 (shown

in Example 13 on the following page). The meaningful intervals of the row are the tritone

and major and minor seconds. The row is not used for creating a serial composition. It is

represented as a summary of the previous musical elements—intervals, triplets, and the

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36

descending motive—and the contour derived from a part of the royal anthem. The row,

however, is developed by using canons of its retrograde and inversion in mm. 25–26.

Example 13: A twelve-tone row

The B section comprises mm. 39–57. This section is softer than the A section,

which plays fortissimo almost throughout the section. The first subject of the section is in

mm. 39–42 in the flute. There are six melodic fragments played by the woodwinds in this

section. All of them are transformations of the descending motive. The accompaniment of

the section employs imitation between the bassoons’ staccato and the strings’ pizzicati,

punctuated by accented chords on the horns and the strings.

Section A´ takes up mm. 58–74. The music of this section employs the same idea

and texture as those of section A, but shorter and with altered orchestration. The end of

the section in mm. 73–74 is in parallel harmony of augmented triads in the whole

orchestra with antiphonal treatment of the wind and the string sections. Actually the

parallel harmony emerges before this area, but not for the entire orchestra. The parallel

augmented triads lead to the last section of the composition.

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37

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38

The epilogue consists of mm. 75–99. The section employs the main materials

presented in all three movements. It begins with the repetitive sixteenth notes, the main

arpeggio motive, and the countersubject of the first movement, including the Buddhist

prayer of the second movement (shown in Example 14 on the previous page), all

presented simultaneously.

At the end of the epilogue is a codetta. The tempo is ritenuto in mm. 88–89 and

Andante in mm. 90–99. The music is very gentle with pianissimo and softer. The codetta

employs the longer held notes of the perfect fifths (Bb-F-C) by the strings until the

music’s gradual niente with the fermata mark.

CHAPTER 7

CONCLUSION

Faithful to My Land, which is around fourteen minutes in length, is composed for

an orchestra in three continuous movements—each movement is connected to the next by

an attacca indication in between. The main materials of each movement are manipulated

from source ideas that relate to the three crucial institutions of my country. This

composition is globally organized within a tonal framework; both diatonic and chromatic

notes are employed, including a twelve-tone compositional idea. However, tonality and

modality are constructed explicitly in each area by using local tonal organization or tone

centers throughout the composition. The most significant intervals in the composition as

a whole are major and minor seconds, the perfect fourth and fifth, and the tritone. The

global and local harmonic framework of this piece is the result of these intervals and the

relationship of all subsequent tonal areas.

The composition’s subjects, countersubjects, motives, and melodic and harmonic

fragments do not directly quote the source melodies. The original sources are transformed

and modified in various alterations. The use of those sources is deliberately considered on

their significant intervals, melodic contours, and rhythmic patterns. The main materials of

each movement, however, maintain and relate to each original source quoted.

40

The composition follows a more eclectic approach of construction by using neo-

tonal practice, classical treatments, and a twelve-tone compositional idea. The harmonic

passages, however, do not necessarily embody traditional progressions. The pre-existing

melodies and compositional techniques of the Renaissance period provide a means of

creating melodic relationships. The twelve-tone material employed in some local areas

serves as a melodic source, and its treatment is not serial.

The end of the composition employs an epilogue, which derives from the

significant materials presented in all three movements. The structure of the epilogue

symbolizes the unity of my country, which is constituted by three crucial institutions—

nation, religion, and the constitutional monarchy. Therefore, I composed Faithful to My

Land in order to honor these beliefs. Eventually, I hope this unity will be eternal together

with my country.

Appendix

!!

THAI NATIONAL ANTHEM

Phra Chen-Duriyang (1883–1968)

1

" #$ # !

# # # ! ## ! ## !

# % # # ! # # ! ## # ! ## !

# # ! # % # !

#

5

" # # # ! # # !

# % ! # ! # # ! # # # !

# # !

# % #& ' # ! #

9

" # # % # !

# # # % # !

# # # ! # # # ! # % #& ( #$ # !

#

13

"

W.L. Reed and M.J. Bristow, National Anthems of the World, 9th ed. (New York: Cassell Publishers Limited,1997), 524–25.

# # # !

# # !

# % #) ( #* # ! # # ! # # ! # # ! # # ! # % #) (

42

!!

HUVITZEN

THAI ROYAL ANTHEMSanrasoen Phra Barami

"# $ % % % % $ % & % ! %' % % % % $ % &

5

"# % % % % % % % % % $ % & % ! %' % % % % $ % % % %

9

"# % !

%( % % % $ % & % ! %' % % % % % $ % &

13

"# % ! %' % % % $ % & % ! %' % % % % $ % ! %(

17

"#

Martin Shaw and Henry Coleman, National Anthems of the World, 2nd ed. (New York: Pitman PublishingCorporation, 1963), 342–43.

$ % % % % $ !

% !% $ $ % %%% % $ % % % % % ! %' $ % &

Bibliography Adams, John. Lollapalooza for Orchestra. New York: Boosey & Hawkes, 1995. –––––. Slonimsky’s Earbox for Orchestra. New York and Milwaukee: Boosey &

Hawkes, 1996. Adler, Samuel. The Study of Orchestration. 3rd ed. New York: W.W. Norton, 2002. Anderson, Julian. “Spectral Music.” www.oxfordmusiconline.com

(accessed March 17, 2011). Atlas, Allan W., ed. Anthology of Renaissance Music. New York: W.W. Norton &

Company, 1998. –––––. Renaissance Music. New York: W.W. Norton & Company, 1998. Bruhn, Siglind. Images and Ideas in Modern French Piano Music: The Extra-Musical

Subtext in Piano Works by Debussy, Ravel, and Messiaen. Stuyvesant, NY: Pendragon Press, 1997.

Burt, Peter. The Music of Toru Takemitsu. New York: Cambridge University Press, 2001. Conti, Louis. “Color Variation: An Analysis of Takemitsu’s From Me Flows What You

Call Time.” Ph.D. diss., New York University, 2010. Everett, Yayoi Uno, and Frederick Lau, eds. Locating East Asia in Western Art Music.

Middletown, Conn.: Wesleyan University Press, 2004. Fisk, Josiah. “The New Simplicity: The Music of Gorecki, Tavener and Part.”

The Hudson Review 47, no. 3 (Autumn 1994): 394–412. Fulcher, Jane F., ed. Debussy and His World. Princeton: Princeton University Press, 2001. Hang, Xing, ed. Encyclopedia of National Anthems. Lanham: The Scarecrow Press, 2003. Hillier, Paul. Arvo Pärt. New York: Oxford University Press, 1997. Hutter, Gregory J. Still Life for Oboe and String Orchestra. Boston: ECS Publishing, 2007. Josquin, des Prez. New Josquin edition. 30 vols. Edited by Willem Elders et al. Utrecht:

Vereniging voor Nederlandse Muziekgeschiedenis, 1987.

44

Kays, John. “The Work of Cambodian-American Composer Chinary Ung.” www.newworldrecords.org/linernotes/80619.pdf (accessed Octorber 1, 2010).

Koh, Hwee Been. “East and West: The Aesthetics and Musical Time of Toru Takemitsu.”

Ph.D. diss., Boston University, 1998. Lee, Douglas. Masterworks of 20th-Century Music. New York: Routledge, 2002. Liu, Jiang. “An Analysis of Chen Yi’s Orchestral Work Momentum.” D.M.A. diss.,

University of Nebraska, 2005. Lowinsky, Edward E., ed. Monuments of Renaissance Music: The Medici Codex of 1518.

Vol 4. Chicago: University of Chicago Press, 1968. Morgan, Robert P. Twentieth-Century Music. New York: Norton & Company, 1991. Nakatani, Yoko. “November Steps and Autumn: A Comparative Analysis of Two

Orchestra Works by Toru Takemitsu.” Ph.D. diss., Brandeis University, 2005. Nettl, Paul, ed. National Anthems. 2nd ed. Translated by Alexander Gode. New York:

Frederick Ungar Publishing, 1967. Onishi, Hideaki. “Toru Takemitsu’s Japanese Gardens: An Application of

Superset/Subset Networks to the Analysis of Three Orchestral Compositions.” Ph.D. diss., University of Washington, 2004.

Penderecki, Krzysztof. Threnody for the Victim of Hiroshima for 52 Strings. New York:

Edwin F. Kalmus, 1961. Prokofieff, Serge. Classical Symphony: Op. 25. Scarsdale, NY: Edwin F. Kalmus, 1936. Ragno, Janelle Suzanne. “The Lutheran Hymn Ein’ feste Burg in Claude Debussy’s

Cello Sonata (1915): Motivic Variation and Structure.” D.M.A. diss., University of Texas at Austin, 2006.

Reed, W. L., and M. J. Bristow, eds. National Anthems of the World. 9th ed. New York:

Cassell Publishers Limited, 1997. Rouse, Christopher. Symphony No. 2. New York: Boosey & Hawkes, 1994. Shaw, Martin, and Henry Coleman, eds. National Anthems of the World. 2nd ed.

New York: Pitman Publishing Corporation, 1963.

Sherr, Richard, ed. The Josquin Companion. Oxford: Oxford University Press, 2000.

45

Shostakovich, Dmitri. Symphony No. 5 in D minor, Op. 47. Boca Raton, FL: Edwin F. Kalmus, 1980.

Siddons, James. Toru Takemitsu: A Bio-Bibliography. Westport: Greenwood Press, 2001. Steward, Lee Alexander. “A Discussion of Tan Dun’s Opera, Marco Polo.” D.M.A. diss.,

University of Miami, 2002. Stravinsky, Igor. Pulcinella: Ballet in One Act for Small Orchestra with Three Solo

Voices. Rev. ed. New York: Boosey & Hawkes, 1966. Takemitsu, Toru. “Contemporary Music in Japan.” Perspectives of New Music 27, no. 2

(1989): 198–204. Vaughan Williams, Ralph. A London Symphony. Centenary ed. Introduction by Michael

Kennedy. New York: Galaxy Music, 1972. Wheeldon, Marianne. Debussy’s Late Style. Bloomington: Indiana University Press,

2009. Wilson, Dana Richard. “The Role of Texture in Selected Works of Toru Takemitsu.”

Ph.D. diss., University of Rochester, 1982. Yang, Shu-Ting. “Salute to Bach: Modern Treatments of Bach-Inspired Elements in

Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’s Bachianas Brasileiras No. 4.” D.M.A. diss., University of Cincinnati, 2007.

Zovko, Marija Benić. “Twelve-Tone Technique and Its Forms: Variation Techniques of

Arnold Schoenberg’s Variations for Orchestra Op. 31.” International Review of the Aesthetics and Sociology of Music 38, no. 1 (2007): 39–53.

FAITHFUL TO MY LAND FOR ORCHESTRA

FULL SCORE

WIBOON TRAKULHUN MARCH 2011

INSTRUMENTATION

2 Flutes (2nd doubling Piccolo)

2 Oboes

2 Clarinets in Bb

2 Bassoons

4 Horns in F

3 Trumpets in C

2 Trombones

Bass Trombone

Tuba

Timpani (5)

Percussion (2 players) Marimba, Xylophone, Crotales,

Bass Drum, Snare Drum, Tam-Tam, Cymbals, Suspended Cymbal, Tambourine

12 First Violins

10 Second Violins

8 Violas

6 Violoncellos

4 Contrabasses

Score in C

Duration: ca. 14 minutes

Allegro Con Brio q = 126

Faithful to My LandWIBOON TRAKULHUNI.

Flutes I&II

Oboes I&II

Clarinets in BbI&II

Bassoons I&II

Horns in F I&II

Horns in FIII&IV

Trumpet in C I

Trumpet in CII&III

Trombone I&II

Bass Trombone& Tuba

Timpani

Percussion I

Percussion II

Violin I

Violin II

Viola

Violoncello

Contrabass

Score in C

Fl. I.

mf cresc.

f

Picc.

ff

I.

mf cresc.

a2

ff

I.

mf cresc.

a2

ff

I.

mp cresc.

simile

ff

a2

f ff

ff

fff

a2

ff

a2

mp cresc.

staccato

ff

B. Tbn

p cresc.

staccato

ff

p

f ff

5

mp cresc.

ff

mp cresc.

ff

mp cresc.

détaché

ff

mp cresc.

détaché

ff

p cresc.

détaché

ff

7

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

mp

3

3 3 3

mp

I.

5

5

5

I.

mp

3

3 3 3

a2

mp mf

mp

3 3 3

p

mp

p

mp

a2

p

mp

a2

p

mp

a2

p

mp

mf

3

p cresc.

mp

div.

p cresc.

mp

p cresc.

mp

mp mf

pizz.

mp

3 3 3

mp mf

pizz.

mp

3

49

11

e = e

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

Fl. II.

mf

5

I.

3 f

ff

I.

mf

5

5

7 3

II.

ff

f

I.

3

3 3

3 3 3 3 3

3 f

ff

mf

I.

3 3 3 3 3 3 3

3

f

ff

I.

f

stacc.

3 3 3 3

f mf

f

ff

f

f mf

f

ff

f

mf f

ff

f

5

f mf

f

ff

f

f mf

f

ff

f

f mf

f

ff

B. Tbn.

f

stacc.

3

f

ff

3 5

mf

f

ff

f

unis.

5

73

3

cresc.

non div.

f

ff

f

3

cresc.

non div.

f

ff

f

3

3

mf

arco and div.

f

non div.

ff

33

3

f

arco

ff

f

détaché

3

50

e = e

14

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

II.

f

5

I.

3

3

3 3 3

5

5

7

II.

I.

5

II.

mf

5

5 3

3 3

3

3 3 3 3 3 3 3 3 3 3 3 3 3

a2

3

3 3 3

3

mf

f mf

f

mf

f mf

f

a2

mf

f mf

f

a2

mf

f mf

f

a2

mf

f mf

f

mf

f

3

3

div.

5

7

f

pizz.

3

arco and div.

3 3 3 3

pizz.

3

3

3

51

17

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

I.

mf

f

3

5 5

3

I.

mf

3 3 3

3 f ff

I.

mf

3

ff

3 3 3

ff

3

ff

3

f

ff

mf f

5

3

5

ff

3

f

ff

f

ff

ff

ff

3 5

ff

unis.

mf

f

p

3

35 5

non div.

ff

mf

f

3

55

non div.

ff

mf

p

non div.

3

non div.

ff

f ff

mf

pizz.

p

3

arco

ff

pizz.

p

52

21

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

I.

5

p

a2

mp p

mf

mf

5 3 5

mp

mf

mf

5

B. Tbn.

mp

mp

mf

5 3 5

p

cresc.

mf

5

3

5

cresc.

mp

mp

mp

53

25

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

mp

I.

mp

mf

a2

mp

I.

mf

3

mp

a2

mf mp

mf

mp

mp

mf

mf

3 3

mp

a2

mf mp

mf

mp

mf

3 3

mf

3 3

p

mp

mf

mp

mf

.mf

mf

mf

arco

mp

arco

mf

54

30

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

mf

5 5

I.

mp

mf

5

6

I.

mf

p

3

mf

III.

mf

f mp

3

3

3

3

mf

3

3

3

3

div.

mf

6

35

6

mf

5

mf

5

55

33

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

3

simile

simile

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

mf

mf

mf

mf

mf

I.

mf

p

Marimba

mp

3

mf

5

mp subito

mf

pizz. and div.

mp

56

35

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

mf

mf

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

a2

unis.

mf

pizz.

mf

mf

arco

cresc.

cresc.

mf

div.

cresc.

arco and unis.

mp cresc.

mf

cresc.

cresc.

mf

cresc.

57

37

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

a2

f

f

mf

a2

f

p

I.

cresc.

a2

mf

f

p

I.

mp

mf

f

a2

mf

f

mf

a2

f

f

f

II.

f

a2

mp

f

p cresc.

B. Tbn.

f

Xylophone

f

f

mp

f mp

f

f

mp subito

f

f

5

f

f

5

58

40

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

II.

p

pp

I.

p subito

p

p

pp

pp

p

I.

pp

p

p

pp

pp

p cresc.

f

p cresc.

f

mf f

mf

f

p subito

mp cresc.

f

p cresc.

f

59

43

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

a2

f

ff

a2

mf

f

ff

cresc.

a2

mf

f

ff

p

I.

mp

mf

f

ff

a2

mf f

ff

a2

mf

f

ff

f

ff

a2

f

ff

a2

mp

f

ff

p cresc.

f

a2

ff

f ff

Cymbals

ff

Suspended

p cresc.

ff

p cresc.

mf f

ff

non div.

mf

non div.

f

ff

cresc.

mf

f

ff

mp cresc.

f

ff

non div.

p cresc.

f

ff

60

Pesante q = 10446

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

l.v.

Bass Drum

ff

ff

ff

ff

unis.

ff

ff

61

51

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

f

ff

mf

f

ff

ff

f

ff

ff

ff

fff f

a2

ff

fff f

a2

ff

fff f

B. Tbn.

ff

fff f

f

ff

Tam-Tam

ff

ff

ff

ff

f

f

62

55

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

a2

f

mf

mf

mf

mf

p

mf

a2

f

mf

mf

mf

mf

f

mf

mf

f

mf

mf

f

mf

mf

p

mf

B. Tbn.

f

mf

mf

mf

mf

mf

mf

mp

mf

p

mf

f

mp

5

3

mf

p

f

mp

5

3

63

59

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

p

I.

(# )

mp

mp

I.

5

mp

mp

mp

mp

Xyl.

mp

5

mp

5

mp

5

pizz.

mp

mp

arco

mp

pizz.

mp

arco

64

63

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp mf

5

I.

mp

mf

mf

I.

mp

a2

a2

mp

mf

mf

mp

mf

mf

5

mf

5

mf

5

mf

mf

mp

mp

65

67

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

pp

flutter

p

pp

p pp

II.

p

pp

flutter

3 3 3 3 3 3 3 3 3 3 3 3

I.

mf

p

pp

mf

a2

mf

p

pp

p

pp

div.

mf

p

gliss.

pp

mf

p

pp

pizz.

p

5 3 3 3

p

pp

pizz.

p

3

5

66

72

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

I.

p

p

3 3 3 3 3 3

mf

mf

mf

I.

mf

mf

mp

mf

p

p

3 3 3 3 3 3

mf

Sus.

mf

p

mf

non div.

mp

mf

non div.

mp

p

mf

arco

mf

arco

mf

67

77

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

p

pp

p

pp

3 3 3 3

mp

mp

mp

mp

p

mp

pizz.

3

3

3 3 3

3

33

3 3

3 3 3

3

3 3

mp

pizz.

3

3

3

3

3

3 3 3

68

Con Brio q = 126 82

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

p

I.

p

p

p

cresc.

cresc.

p

mp

p

mp

69

86

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

Fl I.Picc.

p

(§)

mf

I.

mp

5

3

5

mp

mf

5

3 5

mp

mf

3

3 3

mf

mp

mf

mf

mp

mf

3

B. Tbn.

mp

mp

mp

mf

mp

p

5 3 5

mf

mp

mf

5

3

5

mp

mf.

arco

mf

33 3

arco

mf

33 3

70

90

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

fmf

3

f mf

a2

mf

33 3

mf

f mf

3

mf

3 3

3

mf

3

3 3

mf

3

3

3

mf

3

3

mf

div.

3

3

3

71

94

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

Fl. I.

mf

ff

Fl.Picc.

5

5

I.

mp

mf

ff

5

6 5

I.

mf

ff

mf

I.

ff

mf

ff

I.

mf

III.

mf

f

mf

mf

ff

mf

3

mfff

mf

6

ff

mf

3

ff

mf

3

ff

B. Tbn.

f

stacc.

3

ff

mp

3

ff

6

3 5

6

ff

ff

mf

ff

mf

ff

mp subito

détaché

72

98

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

(only Fl. oct. above)

stacc.Fl.

Picc.legato

mf

mf

ff

ff

mf

3

3

3

5

3

5

3

5

3

5

3

5 6 3 6 6

I.

ff

I. stacc.

mf

mf

II. legato

3

3

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

ff

stacc.

3

3

ff

a2

f ff

ff

ff

ff

flutter

I.

ff

II. stacc.

3

ff

ff

unis.

ff

33

ff

3

ff

ff

détaché

ff

73

101

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

ff

I.

mp

mf

5

a2

f

ff

mp

3

a2

ff

mp cresc.

a2

3

ff

p cresc.

stacc.

a2

f

ff

mp

3

a2 stacc.

ff

a2

mp cresc.

3

f ff

5

a2

ff

stacc.

stacc.

a2

mp cresc.

stacc.

stacc.

B. Tbn.

ff

mp cresc.

mp cresc.

5

p subito cresc.

mp cresc.

pizz.

mp cresc.

div.

3

stacc.

détaché

mp cresc.

stacc.

p subito cresc.

détaché

74

104

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

ff

I.

f

5

7

I.

f

ff

I.

f

5

5

7

f

ff

mp legato

3 3

5

ff

a2

f

ff

mp

mf

mp

3

f

ff

mp

mf

mp

3

mf

f ff

mp

63

3

mf

ff

mp

3

3

ff

ff

f ff

5

mf

f

f

div.

ff

f

mp cresc.

6

f ff

div.

ff

5

f

arco

ff

non div.

f

ff

ff

75

107

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

5

7

cresc.

mf

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

f

mf

f

II.

f cresc.

mf

IV.

f

cresc.

mfp

f

f

mfp

f

mfp

f

cresc.

f

cresc.

mp cresc.

Sus.

mp cresc.

f ff

5

7

f

pizz.

f

cresc.

3

arco and div.

3 3 3 3

pizz.

f

3

3arco

3

76

109

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

a2

5 7

ff

a2

5

7

a2

ff

marcato

5 7

a2

ff

marcato

57

ffp

ff

a2

marcato

ffp

ff

a2

ffp

ff

marcato

75

ffp

ff

a2

7

7

ffp

ff

a2

flutter

marcato

ffp

ff

flutter

a2

marcato

ffp

ff

marcato

5

Cym.

ff

p

ff

marcato

unis.

5 5

ff

marcato

unis.

5

5

ff

ff

unis.

div.

marcato

unis.

5

5

ff

marcato

5

5

77

113

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

mf

5

I.

mf

3

mf

a2

mf

mf

mf

mf

mf

p

Mar.

mp

mf

mf

mf

pizz.

mp subito

cresc.

pizz. and div.

mf

arco

mp cresc.

mp

cresc.

78

116

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

f

p

I.

f

f

mf

arco

cresc.

f

mf

div.

cresc.

f

f

f

79

118

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

(only Fl. oct. above)

Fl.stacc.

Picc.legato

p

p

3

3

3

5

3

5

3

5

3

5

3

5

3

5

I. stacc.

II. legato

p

p

3

3

3

5

3

5

3

5

3

5

3

5

3

5

cresc.

a2

mf

f

mf

a2

f

f

I.

f

p

I.

mp

mf

f

B. Tbn.

p

mp

mf

f

Xyl.

f

f

f

f

f

5

f

5

80

120

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

p

II.

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

a2

f

a2

f

mp

mp

mp

p

p

f

f

f

f

f

81

122

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

3

5

3

5

p

I.

f

3

5

3

5

f

I.

p

a2

mf

mp cresc.

Sus.

mp cresc.

f

f

f

f

82

124q = 96

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

a2

f

ff

a2

f

ff

a2

f

ff

ff

a2

mf

f

ff

I. Solo ed. espress.

p rubato

a2

mf

f

ff

f

ff

a2

f

ff

f

ff

f

ff

f ff

Cym.

ff

ff

ff

non div.

f

non div.

ff

ff

ff

non div.

p subito

ff

p subito

83

A Tempo q = 126128

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

Fl. I.

mf cresc.

I.

mf cresc.

I.

mp cresc.

simile

a2

mp cresc.

stacc.

Tba.

p cresc.

simile

p cresc.

mp cresc.

mp cresc.

unis.

mp cresc.

détaché

détaché

mp cresc.

détaché

cresc.

84

132

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

Picc.

ff

I.

mp

3

3 3 3

I.

mf cresc.

a2

ff

f

I.

5

5

5

a2

ff

I.

mp

3

3 3 3

ff

a2

f

3 3 3

a2

f ff

mp

mf

mp

mf

f ff

a2

mp

mf

ff

a2

mp

mf

ff

a2

mp

mf

fff

f

3

ff

f

div.

ff

f

ff

f

ff

f

pizz.

3 3 3

ff

f

pizz.

3

85

135

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

Fl. II.

f

5

I.

3

ff

5

5

7 3

II.

ff

3

3 3

3 3 3 3 3

3 f

ff

3 3 3 3 3

3

f

ff

3 3 3 3

f mf

f

ff

f mf

f

ff

mf f

ff

5

f mf

f

ff

f mf

f

ff

f mf

f

ff

3

ff

3 5

ff

5

73

3

cresc.

non div.

ff

3

cresc.

non div.

ff

3

3

arco and div.

non div.

ff

3

3

3 arco

ff

attacca3

86

Adagio Sereno q = 72

II.

Flutes I&II

Oboes I&II

Clarinets in BbI&II

Bassoons I&II

Horns in F I&II

Horns in FIII&IV

Trumpet in C I

Trumpet in CII&III

Trombone I&II

Bass Trombone& Tuba

Timpani

Percussion I

Percussion II

Violin I

Violin II

Viola

Violoncello

Contrabass

I. con sord.

pp espress.

Miserere mei, Deus

div.

pp

div.

pp

pp

div.

pp

pp

8

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

pp espress.

ppp

ppp

pp

a2 con sord.

ppp

III.

pp

con sord.

pp espress.

unis.

3

div. a3

pp

cresc.

cresc.

88

16

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

p espress.

3

3

I.

p espress.

3

3

I.

p

pp

p

pp

p

pp

unis.

p

pp

p

2 stands

pp

unis.

p

pp

half

pp

p

half

pp

89

22

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

pp

I.

p espress.

3

pp

pp

p espress.

3 3 3

I.

p espress.

pp

3 3

a2 senza sord.

I.

p cresc.

half

n

p

2 soli

p

3

pp

cresc.

tutti

p

90

29

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

p espress.

mp

mfp

fmp

ff

6

mp

mfp

fmp

ff

pp

mp

mfp

fmp

ff

mp

p

mp

mfp

fmp

ff

pp

p

mp

mfp

fmp

ff

senza sord. a2

p

mp

mfp

fmp

ff

fmp

ff

mp

mfp

fmp

ff

mp

mfp

fmp

ff

mp

mfp

fmp

ff

pp

fmp

ff

Crotales with brass mallets

ff

Xylophone

f ff

6

tutti

mp

p

mp

mfp

div.

fmp

unis.

ff

f

tutti

mp

p

mp

mfp

div.

fmp

unis.

ff

f

tutti

mp

p

mp

mfp

fmp

ff

f

pp mp

p

mp

mfp

fmp

ff

f

tutti

mp

p

mp

mfp

fmp

ff

f

91

36

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

p

mp

I.

p

mp

f

mf

p

p

pp

half

pp tranquillo

p

mp

pp

mf

p

pp

mf

p

p

mp

pp

mf

p

pp

92

44

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

p

I.

p

3

I.

p

ppp

p

3

p

I.

p

ppp

pp tranquillo

I.

p

ppp

pp tranquillo

p

a2 con sord.

II.

pp

pp

I.

ppp

ppp

III.

p

a2 con sord.IV.

pp

pp

III.

ppp

ppp

p

ppp

pp

tutti

p

ppp

I. solo

n

p

espress. ed rubato

sul Dpp

3

3

3

p

div.

pp

p

ppp

2 soli

p

3

p

pp

p

ppp

p

pp

p

ppp

p

pp

p

pp

ppp

93

53

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ppp

3 3 3 3 3

ppp

3 3

sul Dpp

3

3

3

3

33

ptranquillo

ptranquillo

94

60

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

p

pp

3 3 3 3 3 3 3 3 3

pp

3 3

pp

pp

pp

pp

pp

half

pptranquillo

95

67

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

pp

I.

f

3

ppp

I.

f

I.

pp

ppp

ppp

ppp

a2 senza sord.

I.

f

ppp

ppp

mf

mp

f

II.

f

I.

f

Tba.

f

p

mp

p

mf

f

3

Sus.

p

mp

p

Cym.

f

B.D.

mf

f

tutti & slow vibrato

mf

mp f

tutti & slow vibrato

mf

mp f

mf

slow vibrato

mp f

mp p

mf

slow vibrato

mp f

mp p

slow vibrato

f

96

76

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

p

mf

p

mf

p

p

pp

a2 senza sord.

III.

p

pp

mf

p

mf

p

mf

p

mf

p

mf

p

ppp

mf

p

mp

half

n

pp

mf

p

mp

p

pp

mf

p

mp

p

div.

pp

mf

p

mp

p

pp

mf

p

mp

p

pp

97

82

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ppp

pp

ppp

unis.

pp

ppp

pp

ppp

attacca

ppp

98

Moderato con Energico q = 108

III.

Flutes I&II

Oboes I&II

Clarinets in BbI&II

Bassoons I&II

Horns in F I&II

Horns in FIII&IV

Trumpet in C I

Trumpet in CII&III

Trombone I&II

Bass Trombone& Tuba

Timpani

Percussion I

Percussion II

Violin I

Violin II

Viola

Violoncello

Contrabass

ffmp

ff

*

f

a2

ff

ffmp

ff

33 3 3

ffmp

ff

3

ffmp

ff

3 3 3 3

metal handle (scrape)

ff

Cym.

ff

Tambourine &Snare (Rim Shot)

ff

tutti

* Grace notes are used to indicate quick portamenti in Trombone and String parts.

ffmp

ff

*

ffmp

ff

6

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

3 3

ff

ff

II.

3 3

ffmp

ff

f ff

a2

ffmp

ff

33 3 3

B. Tbn.

ff

ffmp

a2

ff

3 33

ffmp

ff

3

ffmp

ff

3 3 3 3

ff

ff

div.

ffmp

non div.

ff

3

3 3

ffmp

ff

ffmp

ff

33

100

11

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

f

f

3

3

I.

ff

f

3

3 3 3

III.

f

3

3

ffmf

ff

ffmf

ff

f

3

Tam-Tam

ff

ff

non div.

ff

non div.

non div.

ff

ff

ff

101

16

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

f

I.

3

I.

f

3 3 3

3

3

3

I.

3

3

3

f

3

f

f

f

f

f

pizz.

f

arco

3 3 3

f

f

102

20

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

Picc.

3

ff

Fl.Picc.

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

a2

3 3 3

f

3

simile

simile

div. simile

pizz.

arco

simile

3 3 3 3

pizz.

3

arcosimile

3 3

3

103

e = e23

e = e

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

3

3 3 3

3

3 3 3

3

I.

mp

3 3 3

3 3 3 3

3

3

I.

mp

3

3

3 3

3

3

3

3

3

3 3 3

3

3 3 3

3

3 3 3

3

3 3 3

pizz.

mp

3 3

3

3

104

26

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

Picc.

mp

3

f

Fl I.&II

f

3

mp

I.

f

3 3 3 3

3

f

f

a2

3

a2

f

f

3

3

f

3

3

f

3

3

f

3

non portamenti

3

f

f

simile

arco

f

simile

f

simile

f

simile

f

simile

105

29

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

3 3

3 3

3 3

a2

3

port.

3

3

f

B.Tbn port.

Tba. stacc.

3

3

port.

3

3

3

3

f

Cym.

f

106

33

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

a2

ff

a2

ff

a2

ff

3 3

ff

3 3

ff

3 3

ff

ff

ff

non div.

ff

non div.

ff

non div.

ff

non div.

ff

107

e = e

37

e = e

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I. Solo

p espress.

3

3

pp

3

3 pp

I. Solo

p espress.

3

3 pp

p

f

3

3

pp

3

3

pp

3

3

pp

f

3

3

pp

B. Tbn.

f

3

3

pp

pizz.

p

pizz.

p

3

3

p

pizz.

3 3

108

43

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

3

pp

I. Solo

p espress.

I. Solo

p espress.

pp

I.

mp

mp

arco

p

pizz.

p

mp

arco

3

mp

arco

pizz.

p

p

mp

arco

3 3

arco

mp

p

pizz.

arco

mp

3

mp

109

49

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

pp

p espress.

I. Solo

3

3

3

pp

3

3

ppp

p

pp

3

3 ppp

p

p

pizz.

p

arco

p

pizz.

p

3

pizz.

p

pizz.

p

3 3

110

54

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I. Solo

p espress.

mf

ff

ff

ff

pp

p

ff

3

ff

ff

ff

ff

fmf

ff

port.

ppp

ff

Sus.

ppp

ff

ff

divisi a3

pp

mp

ff

divisi a3

p

f

ff

arco & divisi

p

f

ff

arco & divisi

pp

mf

ff

arco

pp

ff

111

59Marcato

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

3 3 3 3

ff

f ff

ff

f ff

ff

3 3 3 3

ff

3 3 3 3

ff

3 3 3 3

ff

3 3 3 3

ff

f ff

ffmp

ff

f ff

ff

3 3 3 3

ffmp

ff

3

3 3 3 3

ff

ff

mp

ff

a2

3 3 3 3

mp

ff

3 3 3 3

mp

ff

3 3 3 3

mp

ff

3 3 3 3

mp

ff

3 3 3 3

112

64

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

3

ffmp

ff

ff

f ff

ffmp

ff

ff

f ff

3

3

3

3

ffmp

ff

ff

f ff

ffmp

ff

ffmp

ff

f ff

3

ffmp

ff

ffmp

ff

3

3

Tam-Tam

ff ff

B.D.

ff

Tamb.& Rim

ff

a3

ffmp

ffff

a2

3

a2

a3

ffmp

ff

a2

a3

3

ffmp

ff

3

ffmp

ff

3

ffmp

ff

3

113

68

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

3 3 3

ffmp

ff

ffmp

ff

3 3 3

3 3 3

3 3 3

3 3 3 3

ffmp

ff

II.

3

ffmp

ff

ffmf

ff

ffmf

ff

3 3 3

ffmp

ff

3 3 3

Tam-Tam

ff

B.D.

Tamb.& Rim

non div.

3 3 3

a2

non div.

3 3 3

3 3 3

non div.

3 3 3

3 3 3

114

72

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

33 3 3 3 3

33 3 3 3 3

33 3 3 3 3

33 3 3 3 3

I.

3

3

3 3 3 3 3

33 3 3 3 3

33 3 3 3 3 3

33 3 3 3 3 3

33 3 3 3 3

33 3 3 3 3

33

3

Tam-Tam

3

3

3 33

3

3 3

3

non div.

3

3 3

3

3

3 33

3

3 3 3

115

Epilogue75

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

mf

mf

mf subito

mf

mf f

mf subito

5

mf f

5

116

78

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

I.

mf

mf

I.

f

p

p

mf

f

a2

mf

f

mf

p

mf

p

mf

mf

117

82

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

(only Fl. oct. above)

Picc.legato

Fl.stacc.

pp

pp

3

3

3

5

3

5

mp

mp

mp

II. legato

I. stacc.

pp

pp

3

3

3

5

3

5

mf

I.

mp

mp

mp

mp

mp

mp

mf

mp

mp

mp

mp

mp

mp

118

85

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ppp

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5 5 5 5 5

mp

p

3 3

ppp

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5 5 5

p

mp

p

mp

p

mp

mf

p

mp

p

mp

p

3 3

mp

3 3

3 3

119

Rit. 88

Andante q = 92

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

- - - - - - - - - - - - - - - -

I.

pp

pp

ppp

I.

pp

ppp

Mar. (soft mallets)

pp

l.v.

l.v.

p

pp

p

pp

p

pp

5

p

pp

5

120

93

Fl. I&II

Ob. I&II

Cl. I&II

Bsn. I&II

Hn. I&II

Hn. III&IV

Tpt. I

Tpt. II&III

Tbn. I&II

B. Tbn.& Tba.

Timp.

Perc. I

Perc. II

Vln. I

Vln. II

Vla.

Vc.

Cb.

ppp

pp

ppp

ppp

l.v.

pppp

l.v.

ppp

l.v.

pp

ppp

ppp

n

ppp

n

ppp

n

ppp

n

ppp

n

121