GYORGY LIGET| «© ATMOSPHERES

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Gyorgy Ligeti: Atmosphéres

VETS So

© Copyright 1963 by Universal Edition A.G., Wien

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 Gyorgy Ligeti

Atmospheres
fur groBes Orchester
(1961)

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 Kompositionsauftrag des SUdwestfunks, Baden-Baden, 1961

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 in memoriam Matyds Seiber

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
ORCHESTER

4 Floten (auch 4 Piccolofloten)

4 Oboen
4 Klarinetten in B (4. auch Klarinette in Es)
3 Fagotte
Kontrafagott

6 Horner in F*
4 Trompeten in C
A Posaunen
Tuba

Klavier (2 Spieler — moglichst nicht Pianisten, sondern Schlagzeuger)**

14 Erste Geigen
14 Zweite Geigen
10 Bratschen
10 Violoncelli
8 Kontrabasse (1., 2. und 3. mit funfter Saite)

Klarinetten, Es-Klarinette und Horner sind notiert, wie sie klingen; Piccolofloten bzw.
Kontrafagott und Kontrabdsse sind in der Ublichen Oktav-Transposition notiert (auch die Fla-
geolett-Tone der Kontrabasse).

Die Taktstriche sind in diesem Stuck bloB Mittel zur Synchronisation der einzelnen Stimmen
und Hilfsmittel zur zeitlichen Gliederung. Takte im Sinne einer metrischen Pulsation gibt es
keine. Daher bedeutet der Taktanfang keineswegs eine Akzentuierung. Das Stuck soll — mit
Ausnahme einiger besonders bezeichneter Stellen — vollig akzentlos gespielt werden.

* AuBer dem ublichen Dampfer wird fur die Horner auch ein ,,Fetzen” (ein weiches Tuch, dicht
in die Schalloffnung gestopft) verlangt (siehe Studierziffer J).

** Der Flugel soll mdglichst nahe den Posaunen aufgestellt werden. Der Deckel ist abzuneh-
men. Das Klavierpedal wird bereits vor dem Anfang des Stuckes niedergedruckt und mit
einem Holzkeil bzw. Gewicht fixiert. Der Klavierpart wird von zwei Spielern ausgefuhrt, die
folgendermaBen stehen:

Wenn moglich sind aber statt eines Flugels zwei zu verwenden. In diesem Fall steht der Spie-
ler des zweiten Flugels am gleichen Platz wie Spieler 1.

Der Klavierpart besteht ausschlieBlich aus Klangen, die durch Streichen der Saiten erzeugt
werden. Die dazu erforderlichen Werkzeuge sind: je ein Paar Jazzbesen, dicke, weiche, Zu-
sammengeknullte Tucher und zwei Paar Bursten fur jeden Spieler. Fur die tiefen und mittleren
Saiten verwende man am besten groBe Kleiderbursten aus Pferdehaar, sehr dicht und nicht
weich, fur die hohen kleinere Bursten, z.B. Nagelbursten, ziemlich hart, in Ubereinstimmung
mit dem zur Verfugung stehenden Platz im Flugel. Die Streichbewegungen sind so auszu-
fuhren, daB ein sanfter, vollkommen kontinuierlicher und ausgewogener Klang erzeugt wird,
ohne jede Glissando-Wirkung und ohne Spuren jeglicher Periodizitat. Dies laBt sich am be-
sten auf folgende Weise verwirklichen: Die Saiten werden von beiden Spielern gleichzeitig in
Gegenbewegung sehr langsam schrag gestrichen:

a
2

1
Die Bursten sind mit ihrer ganzen Flache zu verwenden, so daB sie gleichzeitig moglichst viele
Saiten in Schwingung bringen. Der Klang soll deutlich horbar sein, deshalb werden die Bur-
sten ziemlich kraftig auf die Saiten gedruckt. Die Werkzeuge sind, je eines in jeder Hand, nicht
parallel, aber kontinuierlich zu benUtzen, wobei der Ubergang von einer Hand zu der anderen
unmerklich sein soll. Wenn eine Hand zirka die Mitte der Bewegung erreicht hat, beginnt die
andere; wenn diese zur Mitte gelangt ist, endet die erste und fangt sofort wieder an:

==

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 Das Ansetzen der Besen an die Saiten soll unhorbar sein. Genau so unmerklich soll das Wech-
seln von Besen zu Bursten und von Bursten zu Tuchern erfolgen: wahrend eine Hand noch
mit einem Besen streicht, bereitet die andere schon eine der Bursten vor, usw. Bei einem FIU-
gel mit zu groBer Resonanz, bei welchem die Jazzbesen zu grell auffallen, kann man die
Jazzbesen weglassen und sofort mit den Bursten anfangen. Bei Flugeln dagegen, die einen
schwachen Klang haben, soll man die Tucher weglassen und das Schlu8-Diminuendo allein
mit Bursten ausfuhren.

Falls nur ein Flugel zur Verfugung steht, wird die Stelle, wo die hdchsten Saiten erklingen
(T. 93-96) nur vom Spieler 1 gespielt; wenn es zwei Flugel gibt, soll auch diese Stelle von bei-
den Spielern gleichzeitig gespielt werden.

Bemerkungen zur Einstudierung

Alle Einsatze sind dolcissimo, ganz unmerklich zu spielen. Besonders die Blaser sollen stets
unmerklich einsetzen. Bei den Streichern sollen die Unterschiede ,sul tasto” — ,ordinario” —
,Sul ponticello” Ubertrieben exakt eingehalten werden. Bei den Streicher-Stellen ,,con sordino”
soll bei keinem einzigen Instrument der Dampfer fehlen (das bezieht sich besonders auf die
Kontrabasse!), da wegen des totalen divisi jedes Instrument zu horen ist und ein einziger un-
gedampfter Streicher bereits auffallt.

Die Gesamtform des Stuckes ist wie ein einziger, weit gespannter Bogen zu realisieren, die
einzelnen Abschnitte schmelzen zusammen und werden dem groBen Bogen untergeordnet.

Studierziffer A, Takt 8-9: Beim Ubergang zum neuen Abschnitt kein Bogenwechsel in Viola
5-10 und Violoncello 5-10. Bogenwechsel in Viola 1-4 und Violoncello 1-4 unmerklich, so
daB der Eindruck eines legato entsteht. (Eventuell auch Vla. 1-4 und Vc. 1-4 ohne Bogen-
wechsel binden.)

Studierziffer G, Takt 39-40: Den KontrabaB-Einsatz unmittelbar, ohne Zasur zu den Piccolo-
floten anschlieBen.

Studierziffer H, Takt 44: Es kann auch in 4/4 geschlagen werden (J = 60 oder langsamer).

Studierziffer P, Takt 76-77: Die ,,Luft-Stelle” in den Blechblasern ist nicht als Beginn eines
Abschnittes, vielmehr als die Fortsetzung der vorangehenden Viola-Stelle aufzufassen. Dem-
nach soll die Blechblaser-Stelle noch leiser als die Viola-Stelle klingen; alles sehr zart, an der
Schwelle des Unhorbaren, selbst die crescendi sollen sehr leise sein und innerhalb des pppp
Stattfinden.

Sollte in den Hornern bzw. der Tuba die Stelle nicht genug leise gelingen, sind diese Instru-
mente wegzulassen. In diesem Fall ubernimmt Trompete 3 die zwei Takte aus der Stimme von
Horn 1, Posaune 3 die von Horn 3 (die Stimmen Horn 2, 4, 5, 6, Trompete 3, Posaune 3 und
ad tib. Tuba bleiben weg). Die ubrigen Blechblaser spielen ihre ursprungliche Stimme. Der Ein-
druck eines Neubeginns soll erst mit dem Klaviereinsatz, Takt 77, entstehen.

Studierziffer T, Takt 88: Es kann auch in 4/4 geschlagen werden (, = 80). Die Auffthrungs-
praxis zeigt, daB dieser ganze Abschnitt (ab Studierziffer T) meist noch immer zu laut gespielt
wird. Doch sollen nur die Floten, dann das Klavier, schlieBlich Posaunen, Tuba und Klavier
deutlich wahrgenommen werden — die Streicher-Flageolett-Glissandi sollen an der Grenze
des eben noch Horbaren ausgefuhrt werden, ,,noch leiser als mdglich”, so daB der Bogen
kaum die Saite beruhrt und ubertrieben sul tasto gespielt wird. Wenn einzelne Tone nicht
ansprechen, ist das bei weitem nicht so schlimm, als wenn einzelne Tone lauter herausra-
gen. Einzelstinmen durfen gar nicht als solche wahrnehmbar sein, alle sollen zu einer zarten
Klangwolke verschmelzen. Besonders die Kontrabasse sind leise zu spielen, auBerdem die
Bratschen (deren C-Saite leicht klanglich Uberwiegt), und ganz besonders die Violoncelli 2
und 3, deren C-Saite noch lauter anspricht und den Eindruck eines Septimakkordes auf C
erweckt. Diese Septimakkord-Wirkung ist aber unbedingt zu vermeiden (die Klangwolke ist
sonst, durch die Kombination aller Stimmen, neutral-chromatisch). Falls Vc. 2 und 3 gesondert
horbar sind und nicht noch leiser spielen kOnnen als die ubrigen Streicher, sollen diese zwei
Instrumente hier lieber pausieren.

Takt 98-102: Die tiefsten Pedaltone der Posaunen konnten zu Beginn Schwierigkeiten in der
Ausfuhrung verursachen, doch sind sie nach einigem Uben stets tadellos zu spielen. Die In-
tensitat soll in den vier Posaunen und in der Tuba ausbalanciert werden, so daB ihr pp ganz
gleich ist und kein Instrument hervortritt. Das Klavier spielt eine Nuance lauter, doch sollen
die Posaunen und die Tuba, als eine gemeinsame Einheit, auch deutlich horbar sein.

Zum Ausklang des Stuckes: Bis Takt 106 soll das Klavier noch deutlich horbar sein, dann er-
folgt ein allmahliches diminuendo und im Takt 107 ein Verschwinden gleichsam im Nichts.

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 INSTRUMENTATION

4 flutes (1-4 also piccolo)

4 oboes
A clarinets in Bb (4th also clarinet in Eb)
3 bassoons
contrabassoon

6 horns in F*
A trumpets in C
4 trombones
tuba

piano (2 players — if possible percussionists)**

14 first violins
14 second violins
10 violas
10 violoncellos
8 contrabasses (1st, 2nd and 3rd with fifth string)

The clarinets, clarinet in Eb, and horns are notated as they sound. Piccoli, contrabassoon
and contrabasses are notated in the usual octave transpositions (even the harmonics in the
contrabasses).

The bar-lines in this piece are purely a means of synchronization of the individual parts and
an aid to temporal articulation. There is no such thing as a beat in the sense of metrical pul-
sation. Therefore, the beginning of a measure does not mean an accentuation. The piece
should be played completely without accent, with the exception of a few places which are
specially marked.

* Besides the usual mute, ‘scraps’ (a soft cloth, tightly stuffed into the bell) are required for
the horns (see cue J).

** The piano is to be placed as near as possible to the trombones. The top is to be removed.
Before beginning the piece, the piano pedal is to be depressed and secured with a wood
wedge or a Suitable weight. The piano part is to be performed by two players standing as
follows:

If possible, two pianos should be used instead of one. In this case, the second player stands at
the second piano in the same manner as the first player at the first piano.

The piano part consists entirely of sounds made by sweeping across the strings. The neces-
sary tools are: a pair each of wire brushes (those used by jazz drummers), thick, soft, wadded
cloths, and two pairs of brushes for each player. For the lower and middle strings it is best
to use large clothes-brushes of horse hair, very compact and not soft; for the higher strings
smaller brushes, for example rather hard nail brushes, their size depending on the available
Space in the piano. The sweeping motions are to be so performed that a soft, completely con-
tinuous and balanced sound is created, without any glissando character and without a trace
of periodicity. This is best achieved in the following way: the strings are swept very slowly by
both players at the same time, diagonally and in contrary motion:
2

OA 1
The full surface area of the brushes is to be used, so that they cause as many strings as pos-
sible to vibrate at the same time. The sound should be clearly audible; therefore the brushes
ought to be pressed rather forcefully against the strings. The tools, one in each hand, are to
be employed continuously, not in a parallel fashion. Passing over from one hand to the oth-
er should not be noticeable. When one hand has reached approximately the mid-point of the
motion, the other begins; when this one reaches the mid-point, the first ends and begins
again immediately:

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 The placing of the jazz brushes on the strings should not be heard. The changing from jazz
brushes to brushes and from brushes to cloths should be unnoticeable: while one hand still
uses a jazz brush, the other switches to one of the brushes, etc. If the piano is too resonant,
the jazz brushes will stand out too harshly; therefore, they can be omitted, the player using
clothes brushes from the beginning. On the other hand, with pianos that have a weak tone,
one should leave the cloths out and perform the closing diminuendo with clothes brushes
only.

If only one piano is used, the passage where the highest strings are played upon (meas.
93-96) is performed by the 1st player only. If two pianos are used, this passage is also played
by both performers at the same time.

Remarks concerning rehearsal

All entrances are to be played imperceptibly and dolcissimo. The winds especially must always
enter unobtrusively. The differences between ‘sul tasto’ — ‘ordinario’ — ‘sul ponticello’ in the
strings are to be maintained with exaggerated exactness. Not a single instrument is to play
without mute in the ‘con sordino’ places for strings (this applies especially to the contrabasses!),
since, because of the total divisi, every instrument is heard and a single unmuted one will
Stand out readily.

The overall form of the piece is to be realized as a single, wide-spanning arch — the individual
sections melting together and subordinate to the great arch.

Cue A, meas. 8-9: At the transition to the new section, no change of bow in Viola 5-10 and
Violoncello 5-10. Imperceptible change of bow in Viola 1-4 and Violoncello 1-4, so that the
impression of a legato is created. (Perhaps Vila 1-4 and Vc 1-4 could also tie without change
of bow).

Cue G, meas. 39-40: The contrabass entrance follows the piccoli immediately, without a
caesura.

Cue H, meas. 44: This can also be conducted in 4/4 (J = 60 or less).

Cue P, meas. 76-77: The ‘air passage’ in the brass is not to be treated as the beginning of a
new section but as the continuation of the viola passage. For that reason the brass passage
must sound still softer than the viola passage; everything very delicate, on the threshold of
inaudibility; even the crescendi must be very quiet and stay within the dynamic level (pppp).
If the passage cannot be played softly enough by the horns and tuba, those instruments
should be left out. In this case, trumpet 3 plays the two measures in the horn 1 part, and
trombone 3 plays the horn 3 part (horns 2, 4, 5, 6, trumpet 3, trombone 3 and tuba are thus
left out). The other brass instruments play their parts as written. The impression of a new be-
ginning should not be created until the piano entrance in meas. 77.

Cue T, meas. 88: This can also be conducted in 4/4 (J = 80). In performances so far, this whole
section (from cue T on) has usually been played too loud. The listener should perceive only a
few instruments distinctly: the flutes, then the piano, and finally the trombones, tuba and pi-
ano. The glissando harmonics in the strings must be played at the borderline of inaudibility,
‘softer than possible’, the bow scarcely touching the string and exaggeratedly sul tasto. Even
if one tone or another does not speak, this is not nearly so bad as for a tone to stand out by
being too loud. Individual parts must not be noticeable as such; they must all fuse into a del-
icate veil of sound.

The contrabasses must play softly, as must the violas (whose C string is too much audible);
and especially the violoncellos 2 and 3, whose C strings speak still louder and could give the
impression of a seventh-chord on C. The seventh-chord effect must be avoided at all costs
(since the combination of parts makes the sound veil neutrally chromatic). If violoncellos 2
and 3 are separately audible and cannot play more softly than the other strings, they had bet-
ter be left out here.

Meas. 98-102: The lowest pedal tones in the trombones may be difficult to play at first, but
they can be played faultlessly if practiced a little. The intensity of the four trombones and
tuba must be so adjusted that the pp is completely equal, and no instrument stands out. The
piano plays a shade louder, but the trombones and tuba must be distinctly audible too, as a
unit.

The ending: The piano should be distinctly audible until meas. 106, after which a gradual di-
minuendo follows; in meas. 107 the piece fades away as it were into nothingness.

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
Atmospheres
fiir groBes Orchester
(1961) Gyorgy Ligeti
(1923-2006)

4 MOLTO SOSTENUTO
4-: 40 (oder ee / or slower

FL
1.2. == Se eee = = : == = + = ——SSSSSS

3.4. == = Se : = = 4 zs 5
PP
— - - - - morendo
———— == = + —

Cl.
és é ¢ == 3 — = === —————— + = =

pp dolcissimo» dim. . . . . morendo

con sord.
1. 2. R= pee —— = = = = = 7 =
Fg.

3 ae —= == =
- morendo } |
Cfg. = = > = = ~ = = = seer = = + —
Pp dolcissimo” dim. 2 2. morendo . - - -

con sord. = = ——F = = = ee

+ =

Cor. — : = SS <=

ea} 7 —— ————..—..—__—. + = = = = ——= = — + a =|

ve S = = =

pp dolcissimo” dim. . ._ . . .morendo

MOLTO SOSTENUTO
4 @- 40 (oder langsamer / or slower)
4 con sord., s. tasto
aaa So ae eames es aa oo eo . —_ °
1.2 = = == = = = = = = = = = == = i= = 4

3.4.
ee a ee ae =a
eerie
= ==
———
—=
llitt ;
——————— = ES ————
| 4 = 4
Vv. na a
div. ae 2S =

5.6. == = = = == = = == = — = SSS = sts SS

div, VF
tio
VILL] 7.8. = = = = = Ss == —————— SSS SS Sees

div,bBo So Se 22 £> = as Be
9. 10. re —— —————

div, So
Qn = 25, ‘2a
11.12. = SSS

= ; mea
div, Nr, a

13.4)e== = = =
pp dolcissimo” dim.. _ morendo
con sord., s. tasto
div. ee ee oN
SS ——————— : = eS — =

Pee = abe < . eg

VIL 7.8. eas SS == = : = SSS SS

We ee Ss
a a =i = = 1 ee: toed
pp dolcissimo” dim. _ - morendo
av. con sord., s. tasto senza colore, non vibr. poco a poco vibr. e Ss. pont.
12 Wy —— rea «

div.
3.4. — —————— = =

div. ¥
Vie.} 5.6. = ae =

div. Vv —aaooeoee

7.8. ==

div. y
9. 10. 7 = => = — = SSS = ee as 5 =

pp dolcissimo” dim. - - - ~ ppp pee ao

con sord., s. tasto senza colore, non vibr. poco a poco [Link]. pont.
iv. Se ee ee esee

f —===— [ppp
‘ {I
3.4 =e = =
div, ——===. f§ |
Vv iii
Vc. | 5.6. = = : 3 = =— ——— = = = = =
| —= fF =
div. Vv —_—_oe~

di = sf

PP dolcissimo”
con sord., s. tasto
div. Sage ee aeTS eo —_—— Se eS
1.2. = a a = aE = = = = 3

lly
3.4. == 3 = =——— = : = 4

5.6, [p= — a ——<———— > —— ==

div. Vv ==
= = = : — a = ¥
18.1

PP dolcissimo” dim: _ .morendo-

') Den Ton halten, falls méglich, aber keinesfalls noch einmal anblasen. (Wenn die Luft nicht ausreicht, lieber etwas frijher aufhdren.) / Hold the tone if possible, but in no event attack again. (If the breath does not suffice, it is better to stop a bit early. }
?) Bogenwechsel unauffallig, selten und alternierend (méglichst nicht nach dem Taktstrich). / Change of bow inconspicuously, seldom and alternating (as much as possible not with the bar-line).

© Copyright 1963 by Universal Edition A.G., Wien Universal Edition UE 13590

Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 dim. |-~ ~~ PPPP..----morendo Pi dim. _
£ a

ae, PPPP-—-.._-morendo pppptt fr dim aes

Pee eo * PP be ry o

__.-pppp------- morendo pppp’ Sf dim

at b 2 Dn
a PPPP----—---morendo pppp'\——————fF dim... -
aa
E— —= = ———— > ——————— at
= —— —— = = = =
ergs! e ey
ig ——— 18
b= —— —8 ——— —
=. = i = = = =

-3-

== dim... . - Pppp morendo

SF dim.. - — - pppp morendo

—t Lf dim.. _ _ . pppp more)

pppp!) ————_-————. dim... . . pppp morendo

eS. a
tl
Ul
A
ppp (modglichst unmerklich einsetzen)
(attack as imperceptibly as possible}

ll

== ¥ i4

PPP’ wos
con sord. (cartone)

dim.. morendo ppppl) cresc. | - ee oes a. PPPP morendo 2).

—
= = =
2. = t =F 5 T

|||
Tr dim.. morendo pppp’ crese. ~ 2. 2 = -pppp morendo 2:2). _

3. = =
=
: = =
= =
dim..morendo “pppp!) —screse. |. - - - - = je . . ae pppp morendo 2). .

4, = + = = =
Ppp dolcissimo dim. morendo ppp - of im... = =~ Pppp morendo 2). .
con sord. (cartone)
.E_\ —= en a — =
eee
———
= == S =
dim.. . morendo ppp pochiss cresc.- - ~ PPP dim. _ morendo FPRE. eres. - - - - ff dim.. .|. - - - - Pppp morendo 2). .
a ~ + PS am ~
2. = = = 4 === = = =
dim. — morendo PPPP !pochiss cresc... ppp dim. . morendo pppp!) cresc.. . . - fF dim. .|... ~~ Pppp morendo 2). -
Tbn. : cacti Diweaaa
3. He + ="
9 re = = = =
morendo pppp')pochiss cresc. — lppp dim..morendo _ppppi} cresc, - - = -f dim.. -|- . . ~~ pppp morendo2). .
—. nae ——————— ee.
He a SS SS aa EES EEE
ee 5 = 7 SF
See SS ee
—————E|=~“~=E>E>E>E>E>Eyx(A(x(xy—_yeyeyeEeS>>E>E>y>yEcE>E>EL*L*(€(€(€l€l€l~E>AEL€(€(>(€E€E*E*E*E*E*E*E*E*E>E~E~E~E™~™AH™9I9A9IR>9E9ar9E~E~E™7™A™~_—_—_—E
4.
dim.. morendo ppp ’pochiss cresc. - - PPP dim..morendo pppp!) crese. _ . . f dim.- - - - - ~~ pppp morendo 2). _
dolcissimo
con sord. Fd —I-—
Tba. =
” Se * — ~

ppp') dolcissimo dine morendo Ppp) crese, - — ~~ mp Se Sa. eee morendo?)_ _ _ pppp!)——=———— prpp') one ee ee ae ohn eine eee e omorendo ) ie

9. 10. Hid

11.12.45

13.14. [i&
—— ee nf Ppp

poco a poco s. tasto”

ae 3 poem
|F mf nn
2 e zs j

PPPP i mf PRP

——<—_= mf PPP =|

PPPP = == PPP

—=———— | ff Ppp
6

PPPP ppp

PPPP — = PPP

ee a
poco a poco s. tasto”
“en a "en OO ee

PPpp mf PPP
fas
— "|r mf PPP
<— =|
PPPP mf PPP |
a aaa

Ne = nf ——+ — PPP

PPPP

——<—<—<—— ee

eo 26 ae ae _ 2s aS 2S 2S OS ae ny
4.2. —= eo
——— —— S eS ee = PPPP nf Ppp

3.4, ———
PPP f Sele = PPPpP nf PPP

5.6.

Ve.

10.

1.2.15

3.4.
Cb.
5.6. |

78.E f
B Ppp’)
‘) unmerklich einsetzen / imperceptible attack
2) siehe FuBnote |) auf Seite 1 / see footnote ') on page 7
3) gleichzeitig poco a poco non vibr. / simultaneously poco a poco non vibr.

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 ae ae a 3 i
7 = = ad 2
4 12 10 9 7
= = = —=t a sage ee ee
nn iS 5 een a ee ? 6 EEE TE

erring = = = == = # a JSS ote # jag

; ; s : =s

4 2. io 6. 3 5
== = = no geesedre = as IZ # =
PPP dolcissimo 15 B u io >
dim.

ao = as = a ee aa sts ea se : Pees F238 5s corer sree rae aos pee

2 es a if 2 10 2 7 6
t
aL Se — = = ee ; oe ; -
ul 9 2 5
Fos —— ———— <= == j + SS SS SS =
st oe eed, ae = ok i4 i? iv. 6 3 es
a == SS = = = : - —S ramon Bevgisvavsvevstees sear eevee es —s 2
dim
PPP dolcissimo
Ss. pont., molto vibr. poco a poco Ss. tasto 4, ets Sh eels Oe 1 IS

# £ [ae * fe f aot t afe« £ ¢ sete siete fetatetet fetctatatetetatatatetatatetatn fatatatatatela ffata tele "
ar. a — 3 9 70 77 72 3 14 15 =
x z te Ept ret oteot ot oF eke E ete tote totet of etofslot of elolol elo te Foleo Ppl eteteletoto: ett atololofofof of
9 10 fi a2. 13 4 WT

fateaet efetafetatatat| efafatatet ptaetetetetatetetetetet| atetatatatet

etaAnfetntafaintn tetate tat |
o a ne 0 u 12 Zi a 7
et et ot ot $ Fetetetetefes Petetetetetet "pe fetete tel rlelel efeletetetel| ef etelefet
etal ofolefetetetete feletereferetotes
; 9 A il 2 4 5 77
be ba 2 fet patatatetatatata re tatat. fafatatatata fatatatatatetetet®
_— = — eS ES =====:
9 10 i 22 7B 74 15
eto tp te pt et Fo Pp tet ote
eter et p tet ele Met ot pret
eteH, tet Peter, Petal elatetoP etetoF, H re
- = i“ 7 3
tbe t at aptat atafatatatetate |Pmtetetatetetatetet afetatatatetalatatatalel Mhateteta tele atatalatatatatatatatatatatd’s
fatehataAdlal ats

Vi. at
eH
a
> ry Bi 9 19 77 P : if 5
tutu te Pe So Pip Fo Pp Po Pg fof ett Fe Fe te Po PePe Pot ot ote l elt otelot
Pololotet el otaletetelof et et "ete
Fee
5 9 0 7 if 1S
—— =
aR
ep

AE
bee =
a = a. #. = =

*r 3
£ =f
Bye

a = a es
3
2 ee LS
3
sempre ppp
s. tasto, non vibr.
[Link].,motto vibe =~
be v ——j— 7
= = — = SS
[Link]., molto yibr.
Ves ——
>
[Link]., molta vibr.
v —3—
+
—— 7 = = ==
[Link]., molto vibr.
a S
== 2
[Link]., molto vibr
—3——
= t: = = =e
[Link]., molto vibr.
— 3; 6 Ht 12
— =
S,pont., molto vibr.
i 5
——F— ‘ = a = — =
—— —— rs =
[Link]., motto vibr.
i 3 2
: —= ——— = ao = +
——
$;Pont., molto vi 3 9

= = : == *
$.pont., molto vibr,
a SVE aes Sa
= Seer cs

- 23 _ spent » molto vibr. 3

——— —_--— Z = —
See
S-pont.,mole via = —}

ie 3 5:pont., molto vibr.

= = = = = : = = 7

[Link]., molto vibr.

= = ———— =

sempre Ppp
s. tasto, non vibr. [Link]., molto vibr.
poco a pocos. tasto. - -- .--.-
_
2. os

ae :
S-pont., molto vibr.
——
= — —— [SS ee = Se oa & =
Vie. = —i— S-pont., molto vibr,
; a
— = <=
a = eS oa ri = == Sse
: [Link]., molto vibr.
7 —— Se aaa ——— :
———— = == re Ss

= = t = ——
a4
[Link]., molto vibr.
— = ————. — — 2 6
SSS : = =a wy es es Soe eee eevee
= Sepont.,: mol ito vibr.
3: i 3 = :
pass
— = =
= = OS = = “== F = + ie + ff i = we a a a
sempre ppp == = iat dim

s. tasto, non vibr. sents Ve. 1-8: [Link]. - - - - - - -

Te =e Te ee ees De ates A ey ay ed
= = — — oo = = == —s = — Se a> a a
ty nN $.pont., moito vibr.
= -

hs - sone. * [Link]., molto vibr,

; — —= — =

——— = ==
i ___98:pont., molto vibr
“ta
= ——— a =
— == 4 NV
—— -

te = = =——
————————— = = = a = :
is Eypont, molto vibr.
a — =r —— = ———————
sempre PPP 3S:POnt, molto ‘vibr

P= === ———
—— = = a 4

—_ 7 == = =
== = = = = 4
= = a —— —= = =

. = =

= 7 aes =
= = +
= == = z
N
WwW
&
WM
NO
= = =
ppp Sempre , dolcissimo

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 28 ID prende Fl. piccolo (E] FI. piccolo

% a
prende Fl. piccolo Fl. piccolo

prende FI. piccolo FI. piccolo

prende Fl. piccolo FL. piccolo

_ morendo _ Pppp’ pochiss. cresc, -

3. = = = =
prende [Link] (Mi?) PPPpP 4pochiss. crese. -
4

- morendo -
senza sord. jegatiss,
tutto s. tasto ord., vibrato_;

L 18

-~ = — -morendo -
-[Link] _ gir siet ats nee oe ey ;

- - -morendo. - - - pochiss, cresc.. . PPP cresc. -

_ . tutto s. tasto Ss. tasto, non vibr. Jegatiss.
2 3
1. = SSS SS

2.

3. —

4 |B eo i

Vie. = A] att

8. PMavavgral dravardeevsr see = e —_ —__ — “= pote -

9, ig = — = = ae _— = —

i ite ee SP S OSS a Suse se eeeases ree see itr eee > " c— 7 7
7 ii —_ — _ Ae ;
w es A3é.
vee ee wz
-ae étotvgicey
viseeeees Fe +easet = ae ee —---———+ —— —— — — —— —

dim). . ~ ~ 2. 2. . ~ ~ ~morendo. - - PRPP” POCO <2: ==

- - - [Link] / s. pont., punta d’arco
1. = ae ; 5 : S — = —— === :

3. : . ——————T see — —— ——
4. === : — SE t —— ; petals Saaeenee? eee —— peek, Se. meng
5. = ’ 3 } : ser Sess Jee
eer 2

Vc. 7 Ts i 7
—————————————— = ————————— ee
6. ? — sae te : E a

7, = a === ————————— ——= = SSS

Zz : 2 (Tang Terme nt 8 Seed a te

_ he UU morendo -| . eee ica f

fe Ee er a ee ee 87 = < Pa pS ee a ee 1 i

dolcissima Zane . :

10. |= SS== = ————— ——> S ———$—> = = =

a ae

~ doicissimo te
z oe : * ans es es : foes : —_
dolcissimo 2 ec
———— 00 0 . i.
3. ———— == SS os = —— TSS SET
! dolcissimo “
9 See OS ;
4. - : J = = = <= ———— ==F

dolcissimo morendo
c b:
= — 9 9-9 5. ac S
5. : ==
dolcissimo morendo

6. = SSS

7,

28 morendo

1) unmerklich einsetzen / imperceptible attack 3) die Tremoli so dicht wie méglich / the tremolos as thick as possible
2) ohne Haare / without the hair of the bow 4) kaum hérbar / scarcely audible

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
Fi.
Picc.

Ob.

Pppp pochiss. [Link] ““-—= — ~~

prende Clarinetto

pppp!) [Link].. - . . . PPP ORES vo 5 ee Eh er cin

(con sord.) pace

{ = = ¥
cresc, poco - PPPP<p pp cresce.- - - p= f ———————_ pppp
* . ze morendo
a
2. Fs = = + = == — =
Tr. = PPPP
morendo
3. j =f

4 = = —= =
pppp) 1 . poco - - 7 _ = a as OES - PP cree. - ~ ~~ .~
0S EE ones eer eonene

te 2 2
di
= = -| PPPP morendo
3
_~ eae be *
2 2 =
2 3 £ -|
=
Pppp morendo
a 7
3. = =

4 = = = 3:
: =|
—_ 2 = b,
5
3:

6. ==
—~ a

b, ee a: Sl ee ee ‘a. ee ee ee ‘= —===—morendo
FO = = =
7.
vi I - oo = 2 = _|morendo
. DQ oe ee = = =
8. =
— —_—_——— 8. = _mgrendo _ ca
2 2 a :
a = =

9.
—_—— ee == morendo
+ Sf
= : gs
10.
‘e eee morendo
“2 “2

11.
hy os = morendo

12.
Te = zt
13.
> ay == morendo

eee
we

==
a

‘aite= +t
ie
i == Hil
.
Lt
1.12. 3 ==
3.14|¢—= 4 =e = UiAh

1. + =— = == = =

2. + = = - | 7 4
3. : = = + = i
* = 3 =f = = SS S
5. == = =
Vie. | : = 7
. : = = = = = | ame
1. = = = : : = ——
8. = = + = = =

e = : = : - = = =
10. = = = : = =z f

1. + = = = = = ¥ 7 = = 4

2. = = = = = 4 = 4

3. = = i = = 7 == =

. = : . ===
4. + == = = 2 i

Vc. 6. : ena 7 s < L _

7. : a = = = = al —
8. | = =5 = = 7 = = = =
9. h = am == = —s — — — S|

10.2 = == == = : = + = 5

1. = = = = =

Cb. | 2.18 = = — = = i

3. ik = = = + = =

1) unmerklich einsetzen / imperceptible attack

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 2 d= 30] (oder langsamer / or slower)
S. tasto legatissimo
5
[J 60] (oder langsamer / or slower) 5 : : (senza sord.) aSS £ ave oe
v= oS

| —_
= =
<

ul
1.

: E E poe
=
1

fob et
Neo oy
a a

= ; > =
a, ;

=
|
=

a
iKS
a 1
‘ he
[ nr ihe te

Hut
Sut
Pppp”)
arco
(con sord.) 5+Va!aSt© legatissimo ee ee
= = = = == SS
=
Vv — Ib -———~—~!

Ss
, :SS Sa ae
i

= ==
— 1
SS eS Ss I

f z £ = > === Se

= | | : (SS Sea

PPPp')
(conor) : tasto eseiSimio =

a ; + = = == =e —"
£ Z = = Bie =
bs : : j =e Bi = 2S
fp : z 5 : ee SS
P - : : / oe
-P j = 0
= = a ee Ss SS
ik = 4 —SSS
cod
s $ : = $ ESS SE ss
| a ae poi aac
PPpp'
s
senza sord., tutta la forza, ten.”
= = — i = co |
yea == 4 = = S
Eg = +3 = = = i = 4

2 — = = = i 4
SS =—= = = = =
|e == : 3 = = = =|
: = [ = = =

= = = =
40
SSSF
') unmerklich einsetzen / imperceptible attack
?) Bogenwechsel aiternierend / alternating change of bow

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
Vi.

10.

12.

1 3.

Vi.

10,

11,

12.

13.

14.

dim. poco @ poco ad ASD, wtf SEA 3, aly oe ES Se GER lee, fae ey Get Se pe - Pppp morendo- ~ -~ -~ -
') unmerklich einsetzen / imperceptible attack

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 1a ee p= = = Iv Spont. Se 3 3
SSS = =
a 5 a ee —— SS SS

#
: == =
> 4 ==
=
= =, 5b iS —— ea — wis
ttt v —
—
oe Bieta a
hea =
oe =
==
1a ea SS Se
WY He
SSS SSS SSS
5

' Dy —5 ut 7 ie spont. 3 aia = yo

: 7 3 ae —— — fo i -sI- Poco cresc. - — 1
2 Dv = 7 Z Ti a oS ~ a ord. PPPE,pont ey
. 7 — Ww a pace tonk Sy pococrese. mf = 2 o = 7 3 :
Ny iV itt —, bey i ~~ — [Link] meen Rly
a + +s He : —iss
3. = ra Fe oo = 7 POCO cresin =.pa wissen IS i Lee —, eae

(/ fF SS =e
i ; aaa i —_7 oe ee poco a poco ord. T, s. oe 1 ord.

= ~~ -. ~ ae 5 iii a pe RR eae eS Pe eee ee Aes PER rae gee == SSS .

ee re ge ee ee
=Soe
jm day —~
+f Via
he _
‘__s.po [Link].
Fe ‘ saint ores
5. ——— a ae — —= Ss : —-
poco a ord 1 3 pppp j
TT , i ord.
Vie a = [Link].
as = +e
6. bE = ===s+ —= = = x ;: :
==
2 ——— Wea cid — POO CMM: saa pe uo ewe Rb Te a eee Ee oe =e - 1 + —
= t Vv —3— 3 in 1 .
7. ES Se
:= SSS
IV ‘ I

weed Te = — are Se 3 See ER ST RS EPS yh RES

-norn.......IL_ LL Bee IW a

2 — a =——F mat an Res — — a poco cresc.. =. 2 ee iets its ee De OE ga a .

1V3 t = il a pont | Lord.
10. —* ———— —
; a
oS = = =e = Z =
= = OCO CR ESCs =) acpi coreee, eh Golan ble Maen eeGets ™Pye jay ob. dp tera E aye eee oe alts ben ke Be
nof i
PPpP = =

oe —€,
, 7 or 3———_—— 3 —————__—_—-3
Se ul
a = “ ft Z === =
—>> Zz ne
3 —3— | ; ; poco a poco ord. cies iuige: eine ied ieee
a eee ee ee oo pppp t n

2.
———— Tl Le a
‘

=
NS

ie
SS os
a=: Ty by

SS
yg

SSS SS
¥
= «pont.

Co wes =
r 3--—

eS
‘ ——

—————
= ——_j3—

a"
Pp . 1 s. pont
= a bee PheeS 5 Spe PO 3 ‘ ee
3 BS SS eee fs
= — poco_a
= = poco ord.
SSS git
SSS SS SS SS SSS SS SS SSSS :
ee
e ie : [Link]. 1 U
aah —_ ss b,
4. Se ss = — = = +e Sys Ee = =
: ooh
! —_——~ i ba <a
ee ee
eR OPE ee as= $.pont.
ee a!
a0 35
=
Cannot =—_—_

Vc. : ‘*.
5 ord. is oe -
i
rf [Link],
mf pppp =e it
4 t', pate — |

6. POCO Chea ars Site BS HEL es ee Ee Ta SSS : = = = = —- F

# aan
FS be >.
if
te te & , [Link]. ' ae ae
—s t
|
. [Link]. : U (
“e he > b
8. ot —_ wie = = SSS ES SS Se z f 4g
E 4a Li [Link]. i Ui —_3—_
9, ——=== = f ie SSS SS a Pee = = = = te

hee 4 SPOR: SS = 4 tl ———_—. =i

2 = = ae é —- = 4
es a SSS Ss —<——=—=s

s. tasto
1. = rs =4
2. — = cao =
3. =p == a

: $= 7
cb. |
5. == —— ae
6. = a == =|
7. = —
$e ——— =
8. = $a S65 SSS SSS)
48 Pppp»)
‘) unmerkiich einsetzen / imperceptible attack

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
Fi.

Cl.

PPpp’)
con sord. (Fetzen /scraps)

pppp!)

Se ae
= z

Il ord,

SSSSS
ZS

‘} kaum hérbar / scarcely audible

Streicher: plétzlich aufhéren
Strings: stop suddenly
ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 10

[J = 60] (oder langsamer / or slower)

@ 3 3 r 3 2 I
1. = ee a = ~~
+ re—- SS = Se
})pppp< mp 1)
pppp- —__——_-—_-———
: — ; 3 1 eee
FI. 2. eS = - = << m
Pppp mp PPPP a cel
j= t ——— SSS
3. —— 3 = ; —— —
aed | eppp —— of
4. == ——F = ‘
So — arene,

= = = = = a.
) pepp
_ =

0
Ppppgases
Ci.

morendo

(con sord,) 2a

1. : a= SS SS : =
Fg ) pppp-——— mp '
eee =e Seas Pest ethet gene PatBe, | (con sord.) pean |
2. — oe = — = ¥ —— = = Z j
ppp ———— mp

senza sord, “feco} — ‘ Ve 2g

=
— 2
————
;
1. = SS SS
‘)pppp-—p »a — —— Pp

Cor, |[Link]
senza sord. eco) = e ee j= 5 ,
: a SSS = ;
== j
1) ) oo
Pppp< p )pppp ——=——=p

3 = =e SSS = = |
morendo. - 2 2 2) -

{can sord,)

Tr. ) pppp
<<pp
(con sord.)

{con sord.) moe

Tbn. })pppp ————— pp

(con sord.) 7 oe ae i——
a ———— 5
Ypppp ———————— pp

40= 60] (oder langsamer / or slower)

consord. flautato = 5 7 5 1 os 3 , om 5 roms s
1

‘peep? ")pppp<p "erpp——= p ‘bpp ——=——— p

Vi. | 3. —— con sord flautato

iia eel = —

Vprpp—=p —")ppppep )pppp ——== p ppp : )ppppep

[Link]?)
altri = — v
ss ; ——— = = =
triMetin te a es -” 7
) pppp ———$________———— np

z ivy.) ce ¢.legno 2 2)
“i ‘
Vi. H [4 =

=~ = . . x == > == SS
a 7 r ee ne Pn

pppp po pepe : == Ses =

¢. legno2)
Vie. (ee = aN ‘a
tutte = SSS = "poppp——-=
== = ae —S see ; 4
——= pp 1)pppp ————p__ pppp _ 1. = _ _ '-

senza sord. IV ¥ y 4 . legno 2)

i
=1)pppp ————= P
é — \pppp ————--_—— p
===“pppp == os
= =
ec. legno 2)
Vc. 2. FE = - = = = = SS
ae v
iL = — ee — ===
“epee 4 mp
div, _c. Jegno2) |
altri = _ es (
SSS EE ss =
) pppp ————— p lpppp ™p

— WW
: v
c. legno”
° ° o
1. fis = ie = = peVv =e == =
¥}Pppp —————_— P ))pppp P Vppp 7
[Link] | 2.. fe = - = = = ae
v —= re —=——

1ppp ——___4 —___—___-—___— mp

sf
altri|é= = = =
: ————
div
) ppp—__— =p
—
1) unmerklich einsetzen / imperceptible attack
2) ganz ohne Haare / entirely without the hair of the bow

ME AT3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 11

rT
———— orendo

2 oI

FI. morendo

_—
4 Ly S34

1
opp

1. = — ==
7
morendo

“ :
1 — z
Ci. £ morendo

3. = = =: = z = = =
)
|
——_—_
hd f morendo

: _ :
4. i :
) pepe tf
morendo

{con sord)
3 ~~ ~ ——
1. 7 = *
) pppp nf
morendo
(con sord.) — \

= = = ¥ =
z =
)
ner morendo

3. = =
(con sord.)
———
mt
— = = —
)
FRE dl morendo

SS ee
- ‘

= 7
senza sord :

5
§

a
con sord, 5 ~——>
)
t)pppp —— mp —— PPR LEE ten
5
senza sord
SS SS
a oe ee 2 = =
ee ——

y'PPPP —_______ 'P Sk

——_—_—_—_—_—_—_—_—_——— ) PPPP Se SE LF ten 5
senza sord. a ;
|§————-5-—_, 5
con sord.(ord.)
3 SS i = = 5 — =F
yPPPP =p 4 PPP OF ten
Cor. morendo Sengh ‘eaidl
con _sord. ms : + S +
=—— == =F Fad: Ld 2 24 =
)|pppp ——___—_—_———-_ =p sa 4 PPE SO LIL ten,
senza sord.
(con sord.) ———5 ——_,
= SSE ——————————
)pppp ™p —— ) ppp=p—-— ——$—$ LS SIGef ten.
morendo
senza sord. i. 5 :
con sord. -————§ —— ——s5———

)——— iN ae eae
PPPP ———— =p SS moreno ———e

LE ten

2. SSeS =F
PB bar
bi ~ ~ Sot k res

Tr. SEES ten SELF ten

—0 Saas : = —

cerairree np a ee eee ee en ee ay
nln
SSS
F oe eee ann Soren eee eee
SSS
ee
if
:
: FF

fff (possibile) LL ten. Len

pppp ————
con sord. (metallo) — :—. aie

$$ $$
))ppp —— —— fF Lf ten
ear
ig

Tbn.

Tea: eer!
TF i #
SS
\pppp

con sord. ———— § .

Tba. = =a 4 |
t
) ppp. ————_——

senza sord., arco, s. pont.”

a2
1.2,
Vi. tl PPpP = mp

+ el eran? 6.0 =
Od be = j
De
Deane
tn 0
GB tenn nnn nn nnn nn nnn nnn nn nnn nnn nn nnn nnnnnn nnn nna

arco, s. pont.”
ae:
1.2.

Vie. 5.6. |B a — —e——EEEEE SSS SSS

mp

7.8. |B = ~ 3
rot ee nnn nn
en

9.10. = == = = =
Se Me i enegy SS Pr ny ee a ie ee py ee A,

senza sord., arco, Ss. pont.”

a2 --- - + -- - - -- - - - - ree ee rr eee ‘
1.2. + = y
“pppp i
a2 ean - ~~ ~~~ ~~ 5 ++ ~~ ~~ = = 5 eo Sew Deb o e o e e _
3.4. eS =
)ppp ™P
a2 z
Ve. 5.6. =+ = 2 = =
‘ppp a -
senza sord., arco, s. pont.2)
7.3. |e f
a2 g
—— J == SS
perp ve senza sord., arco, [Link].2}
a ae |

9.10. = ——= = = i
38
') unmerklich einsetzen / imperceptible attack
2) die Tremoli so dicht wie mdglich / the tremolos as thick as possible

ME AT3390
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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 12

Cl.

5PPPP —==_ mp
senza sord.

Fg.

Cfg.

Cor.

eS = I 3 : = a 4
SIGS ten. Lf ten. LIL ten. LL ten. LES ten.

Tr.

Tbn.

Tba.
=e Lften. Sf ten. Sf ten. SF ten. £f ten. Sften.

Pf. f aaa: ee . ans

t Pedal niederdriicken und fixieren. Yon nun an bleibt das Pedal! wahrend des ganzen Stiickes
niedergedritckt.
Press down the pedal and secure it. From here on the pedal stays down throughout the entire
piece.

Vi.N

=F

——

morendo

1.2. = ——

3.4. ye

Vie. | 5.6.

7.8, : SSS

9.10. —————
fsIR anor gn Ne hn A fatheeheen yt tnDee teeta te aPre ms

morendo

1.2.

3.4.

Vc. | 5.6.

7.8.

9.10.

1) unmerklich einsetzen / imperceptible attack morendo

UE 13590
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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 13

66 TEMPO PRIMO [O]

2 = 40 (oder langsamer
/ or slower)
Cl. yee =
3.4,
—morendo
morendo
Cfg.
morendo

1.2.
Cor. |3.4.
5.6.
morendo

=—_—-
morendo

Tr. ; < morendo

Tbn.
===

2). crs = = ~ — : 7 r 5
Tba. Bo == a z = = z

TEMPO PRIMO
@ = 40 (oder langsamer / or slower)
ord., senza sord.

— o Th har Ai Wa Dias ere, SEES a er fe BES = 2 ; e = porendo t =

E
=
:
2

2. : == =
—_—_ ; morendo
1 =
=: ’

3. a i Z =

‘ : | Sf
v ! 2 oe aren mands

Vv. : i | - } = ee morendo

5. ee —
= ersten ee 3
—— : ase ee eee
ee =
| j
6. ———————————— SSS SSS SES = ; SS =
Vv as - Be vores _ morendo
= f 2 - gee
. = ———— =

Vi. | 2 ———— Py 2 ; i ; morendo

= oe |= = morendo

mmorendo

Ppp”
ord., senza sord.

morendo

Sa morendo

So OS morendo
oO

Vi. I. =Ss
8 Fe ann

9, bey a

10, ==
11. ——————— == morenda
I
12. ——— = = ¥ =
—-. FE — morendo i
13. ———— — ain ———
—|morendo
== :
=
14.18 rs 7 = =a
=—S
¢ e
=a —_— hes se ef. —- ee Sis —
= morendo
Ppp i

— SSS :
2.
i —==—— marendo

~ ‘ 2" 2 iz? é = z : og er — morendo

3. ———=_E <= —
—— 2 49. 2 Me s : Z 7 i is = oe lo

= —SSSSS oe = ——— __
4.
~ - Loeheoy: 4.9 . _ oS = => morendo
5. —<—<— : =
Vie. | | == === morenda
6.
i 5 ie 5 _ ; == morendo |
= > eee om e —— morendo -

—f——— morendo

——==—|morendo

1
=== morendo

1. a = = SS = —————————

4,p= : = =o

Ve. = : 2. Bos E Mota : ' ie morendo

6. = — = —— = = ——_

- . Ma bo ee . = morendo
7. ot J icp RE sch

ne : | : 5 === morendo
8. ——= SS 2 Qs 7 e = = - —2

OF ne i i 8 ====— morendo
rs
——=—=— morendo
10. =

{ Bis ° 2

: | i 2 == morendo

: iFeRe eae Nr tateeee a —==— morendo

3. - 5 pe - <== morendo
4. a ;
Cb. . é {$< ==: morendo
5. ===
Ss oo oo morendo
=
6. =

===— morendo
7.
= morendo
8.
—==—— morendo
66 j
Ppp”
‘) unmerklich einsetzen / imperceptible attack
?}Den Ton halten, falls méglich, aber keinesfalls noch einmal anblasen. {Wenn die Luft nicht ausreicht, lieber etwas fruher aufhdren.) / Hold the tone if possible, but in no event attack again. (If the breath does not suffice, it is better to stop a bit early.]

ME A3590
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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
14

[Q] @~ 60 (oder langsamer/ or slower)

oe to a. ~ PO na age gy
* : = = SSS
pochiss, pochiss.

3
——5 ———5 a

fee _———— ote SS ==

5 5 esas — : ——s-——
5 SS
_— > = = Es x —= = =e
4 ‘pochss. : pohiss.
Cor. SS —_3—>
== -—{- = 3 =
a pochiss. pochiss
——3— :
= = | = = =e : 4
we

— == pe Et z —
Fakes pochise morendo
senza sord.” eee
= + = =— == : = =
pochiss. ;

¥ = = == = 4

Se =
: £ — 4
PPpp”
senza sord.”—;-_
= - + zs i ~ 4
1.

2. = =e == j 4
25 pochiss. ;
Tbn.
3. |= = z = = = : =
—_—
pochiss.
BO ny

4. = j = : : j =
PPpp ’ aie a. morendo
senza sord) fee
Se ~~ x
Tha. = = eat == = = = =
pppp ') ae = poche z morendo
Mit Biirsten im mittleren und hohen Register die Saiten keicht streichen
(ca. vom d’ hinauf- nicht aber im héchsten Register )
Sweep the strings lightly with brushes in the middle and high registers
fe. from the middie d upwards, but not in the highest register })
jz ee 1
Pf. (; t af +-# se fe 7 |
pp —————— mp = =" were
2 = 60 (oder langsamer / or slower)
gettato (senzasord.) [Link] ord. s. tasto
; = : eae 2S
3. i == SE
7a ——SS eae

4.[é = _ ee eee
PPp
Ss. pont Ss. tasto
Vi.
5. 6.[ —
7. 8.16
9.10. |ié

44.12.
13.14. | ;
PPP
s. tasto ord.
———
gettato (senza sord.)
ee
—3—7_ =——3—5—-
= 3 a3
|

SS

=
=
Vit
—_—__—S

——
f

= c :
-
= =:

s. tasto c. legno”
: (senza sord.) ——3—_._ -———3———_ -——_j—
1. = ———— = =
2 = . =
3. = =

4. £ + — = = =

= He — = = =
5.
Vie.
6. ae = eos = =
7. a == — = =
8. EF £ = = ——

2 ———— =
10. a r = = =
morendo
soo

SSS = = =
o 31
SS == = =
==— morendo
o ‘3

= ——-

: ji
Ve.
= a a + = =

= f

i == a aia

') kaum hérbar; unmerklich einsetzen / scarcely audible; imperceptible attack 3) P, ™ = Griff-Finger nicht ganz niederdriicken; den Bogen ganz ohne Druck ziehen; fast ohne Ton (eher Streichgeréusch) / Do not put the finger
2) | =ohne Tonerzeugung sehr zart hineinblasen / very soft blowing, without production of tone of the left hand all the way down; draw the bow without pressure; almost without tone {more of a bowing noise)
4) ganz ohne Haare / entirely without the hair of the bow

ME T3390
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
Fl.

Vi. I.

Vi

arco, s. pont
— tutto s. pont. s. tasto
1.
2 — =
3. 3 : 3
4. 3 Ss 3 SS SS SSS SSS

5. = = =titel 3 = = = == = f = SS = = = 4
Vie.
ney — : ——= = = = ee: 7 £ = ===
6 3
gel paciaene eee! ee z
: 3 = = : : = = =— = ®
8. |i ss.—= 3 sats 3 = == = = = == = =F

= 5 = = - = = =H
9. ~2 = za ee

10. == — oa = Ss = £ = = 3
ppp ————___f mf PPP —— Ppppp
arco
s. tasto ord. s. pont. tutto s. pont.”
= 3 = = :

= - =
E = = = = G
= = = :

arco tutto.
kate Ss. pont. Ss. pont.’ ord. s. tasto
= SS — SS = =
= $$ as SSS SSS = 3 = } =
— SS =F 7 =
= er == == - Se
PP Ppp Ppp<™p ppp P>PPpP
s.. tasto c. 1legno ‘ pont P
S.
con sord. a po ee —s—

Ppp Ppp Ppp—mp

Cb. arco
c. legno” s. tasto S. pont.
con sored: oS OOS So

pp<mp P?PPP Ppp<—mp

‘) unmerklich einsetzen / imperceptible attack
2) ganz ohne Haare / entirely without the hair of the bow
4) ganz am Steg (fast ohne Ton) / entirely su/ ponticeilo (almost without tone!

ME AT3390
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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
16

d = 40 (oder langsamer / or slower)

é ae
So ees ee Oe
—— ————— = = =
a 2.
Fl. = = =
a = = =

Se SS 2)
2 = 40 (oder langsamer / or slower) morendo
con sord., gliss. arm.»
See 5 Pa §$— ee ee. eee ee —— aa
IV sgato ged 7 2223222 2. go e220 2222 goade seeeeees
A. oe == SS SS SSS
| Sa gre ae to gee! Boe
2. == % ¥ — z ¥ = ——— = — ———— = 7
* eae, \ § gbeece :
3. = SS = Ss = —— SSS
“3 = ot 1 Soe oSage
4. [SSeS SE = SF icoer Bers = SS eS EE =
ae wet re ae ere
5. ee es ees i = = Fe — ie == =
tH ears
etege Ft 2 s = 32
restsetssy bes ogee
#3
ape:
£2 3 :
|
0 = SSS Sp
eS
ie3 —
; as =
wag?
Soe
——
Se
y —= Se
itr ae!a
oe lee wa >
==
Py wits
yr
=
Vi. 8. SS SSS = a = = E SE ——————— oe —

a es £@ @ é aza3 #ea £ #22 aif ffl @aée Eagita sa egaziag ene ris fas a ffeg at
'° = z z = 6 3

14, aa51 =
—— = == = Eee
Se = x =
SF Bs
E $ ————S
d
PPPp”
con sord., gliss. arm.”
sas
8 yaen base 55330003802 8 sEksaveedeiane.
: a Se aa cae > roe Ng eee

Vi. Il
8

Pppp’ . ‘
con sord., gliss. arm.
3 rn NI ee ed on SS ooo aOS
eer SETS RTS ee ewe rae sSie cs idiace SEPTe
wv apmabeeaead cii222 Ateecesteaseatagze 22222 i2a2a2 282 a2 a2 222138

Vie.

To bab aaes

10. [B= I
—— = w= 7
5= ————_—
fe ay: = = = a? re
Fag 3 — =
nd

PPpp '

Ve.

{i¢

con——
sord., J gliss. arm.”
3———_, ——_ a J ——_ 3—— Ir ei el ee ee J————
é Ss ———S et z =
a= 3 3 3 3 3 3 3 J

Cb.

i t WH
i
!
A
I a 2 2 * a 3 2 73 3 TE :
8. == — ——— er = —— Sf eee
33 PPPP”
1) unmerklich einsetzen / imperceptible attack 3) Die Flageolettglissandi sind sehr zart zu spielen. Die einzeinen Streicher sind untereinander so auszugleichen, The flageolet glissandi are to be played very delicately. The individual stringed instruments are to be balanced
2) siehe FuBnote ') auf Seite 1 / see footnote ') on page ft da keine Einzeistimme hervortritt. ,,Melodische” Linien diirfen nicht zu héren sein; die Einzelstimmen sollen So that no single part predominates. “‘Melodic”’ lines are not to be heard. Individual voices should be
in dem alles umschlingenden zarten chromatischen Gewebe vollkommen aufgehen. / completely absorbed in the all-embracing delicate chromatic texture.

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 7" ;
17

cal owl]
ye lel od om ‘i
fo i out onli] [ou
: om ow joa IjL
As
+\e oul | OHH Feel |ot
x» od! od! odd, oq
w om jou I om Sowttll) Sow
ow
be
sty vow,t ft
1Iefo
nde
fo
‘To
° #
oO
’ “fee me
r+ at he
«Log
red
oe
1» ee owt
bh
wy
H
wy
id
ols. + ‘|
:
+
°
&Ig‘lea
4~
) VS 7 .
pe

Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
* ‘oa
o
if
‘fo
if o@

ination or o ther use of the material is pro hibited.

if
‘|
og!
aT
ey
‘jo
Yo
ty opie \ot« be
No
%
+
B
{
| { *Toa to
\
\| i |
|i \
a
a un | "
ow
1
|
od oe
! i !
|| |
7 ° oul
ost. |ost
of
jai |
‘| 0
|
i t
8
| of oq
of. |
“i
HI tt : :or 1h

ME AT3390
fe|
os

other exploitation. Any copying, distribution, d Issemina

' of +
(or : | oti °
o jm Jef ot
° tHE ||oy
oa He Jo
od n ry yo
°
oui, :
fm toa!
° |‘Jo oN
° ‘| ©
* oat
° le,
° low
oO
a
°
oul ou
oO 9
or hm og
of 4
° Jo oul |
Om ot
Si : ~
‘o
eal. 4
'04 ‘lo
:ow
oall
og.
call tt
3
ss
a
!
PH, a Pr y * hy
‘
t 5
”
i wl # bh Hy lay
18 tox Ponies osu « oat] og
‘(° bo si (ou he. at ‘\og | is
So Soll | Soa] seth Noa t | ri
a2
|Eat
}oe
Es
oul
I
| i;
ft fot Inti pH
yy
[
py
It:
Die Saiten mit kleinen Bursten im hochsten Register

Sweep the strings lightly with brushes in the highest

{ca. in der letzten Oktave) leicht streichen

register (¢. the last octave}

VII

Vie.
Pf.

Cb.
Ve.
vi
 3 ——3 —_ 1 —_—3—
. 2/3 od
Tbn. p
3. 4, (25 == ES z
s =
con sord. 1)
Tha. ———————
8 Oe OO Oe s aenen—enwnknke—ee—e=s=ceeeee— Eee SF ——_——_—— _ = — — - SS SSS SSS ey

pp doicissimo, lontano, tenuto dim._ _ _ _— _pppp morendo

Mit Jazzbesen im tiefsten Register die umsponnenen Saiten leicht streichen {gut hérbar spielen)
Sweep the wound strings of the low register lightly with jazz brushes (should be clearly audible}

Pf. {2 # — Pe P= ==
P dolcissimo |

(|

if H4

TH
mmr
beh
prep LlMt
4 iy
tit +H} UI

ated!
H!
| ,
HI
Vi.
l
if
—Hie

Lu

"
Lu
4444)

‘
Hi
—_————— ttt UL

SG
So [Link] oko 2008880088 So oo
eae fo
PeossAses sess ceo 2

222222 £22222222222
Sa a po 6 hae Oro coe On a Ol Oa eee ole.

fe
_#3ne 322222228233
ay 2 Z —
22222322as
dasa

ores! Soo coe sgos oe OT Cake

he ea eo oo
eee) <3 Ss
fe 22% sig2422323 Seo ae2tez weeee

Vie. |

= = :

ta2#2,22 232 g 22 2 3 234 as: 2 “ew 2 2a 2 3 |

9. = = 2 i
3 x 3 ——=_ TO = =
10.18foe = —— 2 — *
— ¥ x¥ = —— =z =EE = SSb 4|
= = = = =

*) siehe FuBnote ') auf Seite 1 / see footnote ') on page 1.

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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
 1, Spieler wechselt ohne zu 2. Spieler wechselt ohne zu 1. Spieler wechselt von Biirsten 2. Spieler wechselt von Biirsten
unterbrechen von Besen zu Birsten unterbrechen von Besen zu Biirsten zu Tiichern (oder zu weichen Biirsten) zu Tiichern (oder zu weichen Biirsten)
103 18t player changes withouta break. 2°d player changes without a break 15t player changes from brushes player changes from brushes
from jazz brushes to brushes from jazz brushes to brushes to cloths (or to softer brushes) to cloths (or to softer brushes}
PF. {== dim. poco a poco sin al Fine 2
“ea Ppp
pe a =
Pppp morendo re

ME AT3390
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other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.
Please note that this material is for perusal purposes only and must not be used for any kind of performance or any
other exploitation. Any copying, distribution, dissemination or other use of the material is prohibited.