Hind maya sesha

C op

ht

yr ig

by di

R ic or Lo n

nd o s

ht

ig

ll r

/A

ed

rv

se

re

or

/F

ru s

pe

al

Maya-Sesha (2007)

Rolf Hind

on

ly

It is requested that markings are made in light pencil (HB) only. All markings should be removed from the score before the material is returned.

rv

Maya-Sesha

ed

/F

or

pe

ru s

al

on

ly

Photocopying, or any other form of duplication, is strictly prohibited.

re

se

For Piano and Orchestra by Rolf Hind

ig

ht

s

Commissioned by the BBC

C op

yr ig

ht

by

R ic or

di

Lo

nd o

n

/A

ll r

First Performance on 15th March 2008 at City Halls, Glasgow with Rolf Hind (piano) and the BBC Scottish Symphony Orchestra conducted by Martyn Brabbins

Typesetting and Music Preparation by Peter Readman

This material remains the property of G.Ricordi & Co. (London) Ltd. All requests for performance should be directed to the publisher. +44 (0)20 7835 5380 www.ricordi.co.uk

Maya-Sesha (2007) For Piano and Orchestra Instrumentation 2 Oboes (doubling treble recorders)

ly

2 Clarinets in Bb (1. doubling Eb Clarinet; 2. doubling Bass Clarinet) Bassoon Contrabassoon Soprano Saxophone

on

2 Horns in F

ru s

al

2 Trumpets in Bb Tenor Trombone Tuba

pe

2 Percussion:

/F

or

Player 1: snare drum, metal sheet, ratchet, policeman’s whistle, bicycle bell, dustbin lid, 3 motor horns (high, medium, low), whip, bass drum, clash cymbals, tambourine, paper for tearing, gong (E below middle C, dipped in water).

ed

Player 2: whirly tube (G above middle C), whistle, high motor horn, metal sheet, anvil, 3 stones (high, medium, low) bass drum, snare drum, 3 rototoms, wind machine, paper for tearing, gong (B below player 1’s E, dipped in water).

se

rv

Accordion (free-bass) Celesta Harp

re

Piano solo

ll r

ig

ht

s

4 Violins soli (see layout) 10 Viole 8 ‘Celli(8) 6 Contrabassi

/A

6 Voices

Fl.



nd o

Lo

         





3.

  F-F 

















4.









 F-G

     









Score in C







     



       



 







   





 



 

  

 



















         



         



 5.&6. F-Bb  (8ve plus 4th)





 



 





 

ht

yr ig



C op





 Ab-Bb (9th)  

2.Fl.





F-F

Fl.

by



1.







 of the humming is: The Fl. range

  





R ic or





Fl.



 



  They are required to whistle and hum, very quietly and subtly. No vocal training is required!



Fl.





di

piano 4 soli violins celli 1-4 bassi  percussion

n

These can be any of the orchestra, including the conductor, except:





















Stage Layout Piano stage left Strings stage right Accordion beside piano Eb Clarinet and Soprano Saxophone near piano

ru s

al



on





Piano Preparation

ly

The four violins should be spaced apart from each other and behind the other players.



     

 

   



or



  Fl. at the near The following notes are damped end with Blu-tac, without distorting the pitch.

pe

The piano is treated in the following way:

ed

/F

Blu-tac should be ready so that, as indicated in the score at bars 53-69, the remaining notes in the range F2-D4 are also muted. This block of Blu-Tac is then ALL removed in the indicated passage before the 2nd movement. Blu-tac is applied to the far end of the strings of the top two notes, resulting in a whip-like, near pitchless sound. This is left on throughout.   Fl.    A large piece of blu-tac is placed further along  the string of F(below the stave: bass  clef) to distort and  give a gong-like sound. This is removed at the bottom of p. 71.





rv



se





re

 = this symbol indicates a metallic scrape with the fingernail on this string. Use plenty of string!

ll r

ig

ht

s

Harmonics are notated (in the second movement) with the fundamental on the keyboard and showing the resultant. Page 71 (bars 443-446) are 5th harmonics located just beyond the dampers. Pages 75-77 of score (bars 462-478) are 4th harmonics; Pages 78-80 (bars 479-499) are third harmonics which are easy to locate in front of the dampers. All the harmonics are designed to be reached sitting down. Hand stopping (approximates the muted effect of blu-tac) is indicated by the following notehead:   



/A



   

     notes silently with the left hand and tremolo over them with the brush to hear the chord. Also (last A wire brush is needed: hold the requisite bar of Ist movement) allow the brush to beat on the piano soundboard (snare drum-like.) Observe the duration of the sounded chord!

nd o

n

 

p.158





Accordion techniques 



Lo







R ic or





di





 effect in the final section  of the piece. Fl. (silently!) place 6-8 ping pong balls on the top section of strings to create a subtle and random tinkling 



Bar 5 and c. = Bellows tremolo

yr ig

ht

by

Bar 364 – make pitchless sound f possible! Bellows slap or “hit”

C op



Fl.







 









 



MAYA-SESHA for piano and orchestra

Rolf Hind

7  6

Intrada

 



 

Clarinet 2 in Bb

Soprano Saxophone



 

 



 





 

 



 







 

 



 





Bassoon



 

 



 





Contrabassoon



 

 



 



 

 



 





 

 



 

/F

 

x=x



 

 



 

1 2

Trumpet in Bb

1 2

Tenor Trombone

mp

al

on

  

ru s

 



(very gentle attacks) 7



pe

Horn in F







or

Clarinet in Eb







ed

1 2





 





 





 





rv

Oboe

ly

 

tempo libero

q = 90 lontano, volante, molto delicato, ma ritmico





 

 



Harp



 

 



Celesta



 

 

 

 7             



 

 e-bow

   

Viole

Violoncelli (div. a 2)

Contrabassi



 





 



 



 



 

Copyright © 2007 G. Ricordi & Co. (London) Limited

   



 



 



p

   

 

  

7

7

 





7

(p)

 

7

7













( mp )

 





7

   ped 3



 







 







 





con sord. IV

  

p



7



    



con sord. III

 

re    

p

 

s



( mp)

mf



ht

rig /A ll

n

 

 



yr ig

C op

 4 Solo Violins 

 

7

p quasi improvisando (ma giusto!)

harmonics

ht



 

by

Solo Piano

7

do

 

rd

Accordion



7

ic o

2

whirly tube

R

Percussion (2 players)



on

snare drum: snares off

iL

 rim 1  near edge centre

se

Tuba

 





 

 

7  6  x=x

Maya-Sesha

2

q e. = q

  Eb Cl.   

q = 105

5

q = 60

 



 

 

simile



 



(poco)

mp

7 7 6  1                                                                  S.D.             

 



  





III



 



p

  

p



 

 



IV     



re



 





ht

s







ly

 



on





ru s

 

mp

 IV  

Vc. (div. a 2)





pe



  

   

or

Pno

  

e-bow

  



/F

 



(come sopra)

ed



pp

 

 

7

rv

 

Accord.

7

7

se

(Bellows tremolo)

7

al

7

/A ll

rig



 7  6   

do

q = 70

8



on

(mf)

ic o

rd

7 1                      S.D.   

R

7

C op Pno

7

  







 













   

   

     



I





7

7





 



6

 

by



      

e-bow

7

 

q = 41

                                                   

   

ht

 

7

yr ig

Accord.

  



iL

Eb Cl.

q e. = q

n

x=x

 





7

7



 



   

   

 

sempre flautando, ma poco cantando

Vc. (div. a 2)













IV

 

III

 RICL 101



 







 

7   6 

Maya-Sesha

x=x



q = 47

  

  1                                S.D.         7

 

2



 





 





ru s

al





ed

  

rv





     



 

 

IV



 



  

se



  

   





IV

re



 



   

7



  

 

/A ll

rig

Vc. (div. a 2)



dim. sempre

s

Pno



  e-bow

7

ht

Accord.

7

7

or

     

7

 



6                  

/F

7

dim.

  



ly

7

on

11

pe

  Eb Cl.      

Whirly Tube

3

on

do

n



14

with fingertips



ppp

    

ht



yr ig

Whirly Tube

 

by

2

 

ic o

1   S.D.   

rd

q. = 60 calmo, irreale

   

e-bow

C op Pno

 

 



     

 

  







     

   molto ped: blur sounds while maintaining ebow durations (manual stopping of ebow notes if necessary)

A

Vc. (div. a 2)



R

A

iL

x=e

 



   

 

       



  





















 





 

IV

calmo, irreale



  



 

 

pp





 

  

  pp

RICL 101

 



 



  



 















(sim.)

 











    III

IV

     

   

    



Maya-Sesha

 

pp

Cb. (div. a 2)









  

   



 



(pedal to change dynamic)

 











  

  

 





 



 

  



 





con sord. sounding pitch



 

II

pp

re









IV















III

 Vc. (div. a 2)









ly

 

(l.v.!)



on

 





al

pp





ru s



 



pe

  



or



(accents in p sempre)

  

Vla (div. a 2)







/F



ed

Pno

e-bow

rv



     

19

se

4





1 



Cb. (div. a 2)

on iL





 

  







  





 

 

 

 

III



 

 















con sord. sounding pitch



 



II

 

    RICL 101

p

sulla tastiera!

  



 IV

 

  

 













 

Vc. (div. a 2)

  



C op

Vla (div. a 2)





yr ig

 



ic o



rd



by

Pno

e-bow



R





  

ht

S.D.



n

24

/A ll

 Eb Cl.  

do

rig

ht

s





 



 



 



 





  

  

 

mf

    





  



 

 

  

  

   

 

   

 







   

Maya-Sesha

5

B

   Eb Cl.     

poco a poco rit.

28

 



     



p







 





 



poco a poco soloistico

  



1      

  





pp

sotto voce, tentativo







pe



ru s



/F

or

S.D.

al

on

ly

S. Sax.



p

   



p

s

re

p





ed

Accord.

rv

     

ord.

se

     









 poco ped

 



         

      mp

     



ht

by

  











C op

B

R

ic o

rd

iL

on

 

n

mf e-bow off!



/A ll

 

do

Pno





rig

ht



 











poco a poco rit.

yr ig

  





   



Vla (div. a 2)

 

               

   

              

     

  

sempre ppp flautando, sul tasto

Vc. (div. a 2)

sempre ppp flautando, sul tasto

RICL 101



   

     

 

           

III

ord.

pp





     

 

Maya-Sesha

6

rit. sempre

34







mp

 



  

 



  



 

    

mf

 

     







 

       

     

   



 

  



quasi f





     





  

   

 



 

 

pe





rv

re

se





 



(mute lower note with right hand)

        





     

do





 





ic o









  







  

 pp

   



             



        

yr ig





    



 

 

Vc.

(div. a 2)





 

 

pp

by



ht

 

C op





 



R



rd

(div. a 2)



  

/A ll n

rit. sempre

Vla





mf

s





iL





e-bow off



ht

             

 

e-bow

 

on

Pno

e-bow on!

rig





ed

/F

or

Accord.

ru s

al

on

S. Sax.

   

ly

 Eb Cl.   







    II



   

     

   



       



   III



II



 

 

pizz. molto vib.(wide)







 



senza sord.





poco sfz

 

Cb.

(div. a 2)









 RICL 101



   



 

senza sord.

pizz. molto vib.(wide)

 







poco sfz

 

Maya-Sesha

7

* note to conductor: between bars 41 and 54 the E flat clarinet leads

C sempre

               

sempre molto accel.

Eb Cl.

           

            f e sempre cresc.

quasi cadenza *

  

 S. Sax.      

 

  Whirly Tube  





 

  

  

 

  

 

 



 

 

or

     



/F

( p)









re



 

s

 

e-bow





ht



 



 

rig



/A ll

e-bow on!









    

do

n



se

rv



 

C sempre



sempre molto accel.

iL

  

accel.

rd



on

Pno

 

 

ed

2

pe

ru s

al

p

  

  

     

ly

41

on

q. = 40 accel.













  



ic o

mp





by





mp



 

 

yr ig

ht

    

R

Vla (div. a 2)

   

C op

I

     



 







IV

      



 

 





 

 

pp

tutti

  Cb. 



p

Vc. (div. a 2)

 



 

 









 

sim.

 RICL 101







   

Maya-Sesha

48

  S. Sax.    

 

  

    

  

 

     

 

 

 

 

 



       







con sord.

mp, minaccioso













 



 



mp, minaccioso





 

   





ht





( p)

 

 









do on





iL







 

R

by 

 

yr ig

Vla (div. a 2)

C op





       

    











 

 

ic o

rd





apply blu-tac to these pitches too















   ppp

  



ppp

ht

Pno



n



 

/A ll

rig



s

whirly tube

2

Whirly Tube

re

se

rv

Hn 2





pe



or





/F



con sord.

ed

 Hn 1 

ru s

al

poco a poco cresc...

     

       

ly

   Eb Cl.            

on

8

 

























   







Vc. (div. a 2)



Cb.













 RICL 101

Maya-Sesha

9

* note to conductor: between bars 55 and 68 the soprano sax leads

molto più moderato e = 100 più accel! (ie a steeper curve)

q. = 42

                          Eb Cl.  55

3

3

3

3

ff delirante, poco libero (not too strict)





mp

  Whirly Tube    2





 

 





9:6

9:6

















 





 



/F



simile



ed

 



rv

   



se







 

  



 

rig

ht

s

Vla (div. a 2)



sempre cresc.

  

Accord.

3

  

ly

 

3

re

S. Sax.

3

     

on

quasi cadenza *

3

  

al

3

 

ru s

3

 

     

pe

3



or

q. = e

/A ll



            6:4

9:6



   





 

ic o

 













      9:6



                 9:6















poco a poco cresc.

ht

  



yr ig

Hn 1

by

R

S. Sax.

rd

iL

9:6

    

do

 

on

    Eb Cl.  58

n

sempre molto accel. (q. = 60)

mf

 

C op Hn 2

Whirly Tube

Accord.



 

 





 





 















 

mf

 

  RICL 101





 



 

Maya-Sesha

10

S. Sax.

Hn 1



  











  

 





        

 

(Conductor suggestion: Beat in 1)

repeat 2-3x ad lib. accel e cresc sempre

 





    



  

 



mf (poco a poco cresc.)

  

 









  



 

 

 

   

f

al

pe

 



or





/F



metal sheet

ed





 

take Ratchet



 







  



 



rig

ht

s

Accord.

f

rv

Whirly Tube



  

se

Sheet





re

Metal 



ru s







f

f

Hn 2



ly

Eb Cl.



  

on

   61

                

  











 





on





iL

 S. Sax.  

 

  







 





 

 

ff

R

C op

  Whirly  Tube  2

Accord.

 

 

by

  

yr ig

Hn 2

  

ht

Hn 1

ic o

rd

65

do

n

/A ll







 





 



 

  

  

 

   

   

 

 

 

 

  

   

 



 

 

RICL 101

Maya-Sesha

11

D e = 120 molto più moderato

                     69                   S. Sax.    7

7

  





 

mf







  

ly on al ru s

 

  

 











 

se



 

 







rig

ht

s

mp

 



re







rv



   



72

Accord.









ic o



rd







R













 

 

 



senza sord.













cresc. possibile

 

 















  

   

 



C op

yr ig

ht

 

 

by





      

on

 

iL

Hn 2





 





ratchet

pe





   



or

f

 Hn 1   

Pno

 



/A ll





                   

/F



   



 





 

Pno



 

repeat 2-3x ad lib. accel e cresc sempre

ed

  

quasi cadenza *

Accord.





   

f

1

Ratchet

   



n

Hn 2

7

do

Hn 1

(Conductor suggestion: Beat in 1)

e sempre accel possibile



w + q. = 110

75

Accord.

        



 

  

   

 

                

        





Pno



ff

 

  

  

  RICL 101





   

 

  

 

12

Maya-Sesha

E molto più moderato e = 110

     78

Hn 2

sempre accel!!

 

 

ff

(tempo di trem.)                                                           play as much of these two bars as poss: stop IMMEDIATELY on whistle

   

 Whistle

                  



ic o

R



on

ru s

   

 





 



  



    

 





  

/A ll

iL





rd



81

do



fff

n

 

 Hn 1 



  



fff

  

   





 



   

 



  



 





 



 

 



  



fff







 

  



                                                                                                          poco meno f , oscuro                                             

ht

by

fff

yr ig

Hn 2

 

19:16

 



 

on



  

fff



Pno

ly

ff

1   Whistle   

Accord.

  

se

Hn 2

pe



smanioso, sempre accel. quasi cadenza

re

Hn 1

 

 

or

    79

  

/F

fff

 

 

 

ed

   

rv

  

al



s





 

ht

Pno

46:40

rig

Accord.

C op

Pno



 Hn 2    



85



 

Pno

  

         

             





 

                                        RICL 101

                      

 

 



                     

                                  attacca

Maya-Sesha

13

I Maya q. = 69 molto energico, ruvido, caotico

  Oboe 1  

90



  









Oboe 2

 





   



   





ly

ff ruvido, quasi nagaswaram







al

  

ru s

Bassoon

on

ff ruvido, quasi nagaswaram

pe

ff ruvido, quasi nagaswaram

     Horn 2 in F    gliss.  



  gliss.  

se

rv

ed

ff













  gliss. mf

/A ll

rig

ht

s



  gliss.  

re

ff

 Tenor Trombone  



or



/F

     s.  Horn 1 in F    glis  

1   

on

do

n

bicycle bell ratchet dustbin lid



ff sempre

  



2



ic o R by



                                                       

Viola

C op

  



 



  



 



 



fff

note to conductor: orchestra starts 1st movement any time during this bar (ad lib.)

Piano

      

ht

yr ig



  Accordion   

   

  

ff sempre

rd

iL

whistle car horn (highest) metal sheet

     

    

     

   

        



    

ff RICL 101





Maya-Sesha

 Ob. 1 





 



 











 



 







 

ff con forza



3:5



Percussion whistle car horn metal sheet



  

  



 Accord.    

yr ig

ht

   

C op Db. (div. a 2)

  

ff

  



ff

   

senza vib.

 

     

no dim on long notes!

ff

senza vib.

 

     

no dim on long notes!

senza vib.

 

 

  

senza vib.

Vc. (div. a 2)



        

by

 Vla.     

        

R





ff







         

   

s f

3

3

rig 

 

3

3

  







 

f



   

 gliss.     



 

ff



rv



3

   

 

ff

  gliss.





mf

 

  

 



 



         

     

 

  

 



 



 



         



pizz.             

 

   



  

    

   



  

    

   



  

     

     

 

  









ff

    

no dim on long notes!

        



ff

ht

ff



 

 

         



re

 



se

ff

 

        3 3

 

        

no dim on long notes!





/A ll

  

2

 

   f

 .        gliss   

 1  



n



 s.     glis  



  





do







 

on







iL

bicycle bell ratchet dustbin lid



 

Hn 2

Tbn



rd

Hn 1





ic o

Bsn



 

    3

 

on

  

 

al



   

    

ru s

   

ff con forza





ff

3:5

S. Sax.

   

 

      

pe





B. Cl.

   

  

or





Eb Cl.

     

   

/F

Ob. 2

ed

93

ly

14

RICL 101

   





    arco



 







 



 







 

 







 

  







 





 





 

Maya-Sesha



 



99

Ob. 2

 

   

   





Eb Cl.

   





    

  



  









    



   







        











Tbn

1  

 



 

   gliss.  



    

 

        Accord.       

       

by



yr ig

ht

Vla.

Db. (div. a 2)

 



  



f

on al 





      



















  

   



do



  

 







      

     





      



p dolce, al fondo

pizz.

ff

    





  

  

    

  

  





    

  

   

  

     

  



  

  

    

  

    

  

    



  

     



RICL 101

       

      

 







on

ff

 



  

mf





C op Vc. (div. a 2)

R

 1 sola



    

ic o

meno f



iL

2

ff

rd

 



n

     

meno f

Percussion





 

s



  

gliss.

or



     



3

/F

  



   

altre

3

ed

  





rv





 

   

   

whistle car horn metal sheet





 

  

se



     

bicycle bell ratchet dustbin lid



pe



re

  



 

ff soloistico

 

Hn 2

 

ht





rig

Hn 1



/A ll

Bsn

     ff soloistico



S. Sax.





ru s



B. Cl.



     

ff soloistico



       

ly

 Ob. 1   

15

 

   







   

f

   

f



         

 







 

            



 

            



 

            



 

            



Maya-Sesha

106

 

Ob. 2





         









    

    







Eb Cl.

   

    

   



  

    

  

   

  

      



  

     







 

ly

 Ob. 1   

on

16

fff





     

al





   



  

     

ru s





B. Cl.

bicycle bell ratchet dustbin lid

 



   

  



mf

Db. (div. a 2)



 



 



 



 



 



 



      



ff

    

   

    

      











ff

n do

ff

       



  





  

 

     



     



     



     



     



 

     

 



 

or







/F 

ff



rd

by

ht

yr ig C op 



ic o

     Vla.   





on

mf



  

   

ed







tutte arco

Vc. (div. a 2)





iL

 



  



  

R

Accord.

2



 

Percussion

whistle car horn metal sheet

    



f





 

f

1  



rv





     

se



  

 

re

 





s

    

ht

Hn 2

 

rig

Hn 1



/A ll

Bsn

pe

fff

RICL 101



     

  

 





     



  



     



     





  



      



     

  

 

 



Maya-Sesha

17











B. Cl.

5:6



 

5:6

 

 

 

 

   





S. Sax.

  

5:6

5:6

 

             

fff









  



                  

  

  5:6

5:6

                      



 

re s ht









  







  



































rd

2

iL







on

Percussion whistle car horn metal sheet



  

se

rv

1   

3 motor horns

high medium low

rig

 









yr ig

ht

by

R



ic o

 Accord. 

     

   

 

  

 

   



 

  



C op

  

Vc. (div. a 2)

Db. (div. a 2)













  RICL 101



 

 

/A ll



 



n

Hn 2

 

do

Hn 1

  

   

   

    5:6







   

 

5:6



ed

Bsn

  

        

     



/F

      

Eb Cl.

   

    

  



ly



Ob. 2

  

on



al



ru s



pe



112

or

 Ob. 1 

Maya-Sesha

18



S. Sax.

Bsn

Hn 1































  



  







          





 

   







whistle car horn metal sheet

2

gliss.

mp

n 

do





re



s





ht



rig



 



















   

 











     

 









 



 



 

 

 

3

   

3

yr ig

ht

by

R









mf

ic o

 Accord. 



  



molto f

/A ll



1 









on

Percussion



iL

3 Motor Horns





rd

Tbn



se

molto f

Hn 2

ly



on



al



5:6

       

 



    

   5:6



ru s



B. Cl.

 



/F



Eb Cl.

  

   



pe



 



or



Ob. 2

 

ed



116

rv

  Ob. 1  

F

C op

 

Vc. (div. a 2)

 

Db. (div. a 2)





F  

 









        RICL 101

   

  

 











 

 

   

3

Maya-Sesha



 

  



 



 





  

 













 





 





  

se re









 

 molto f

 







  





 







ff

Percussion whistle car horn metal sheet

2

 



 



 



 





 



 





ic o





  









3

 

 

fff molto marcato



by







3 3



   

yr ig

ht





R

Accord.



rd

iL

on

ff



rig



/A ll



n

 1  

do

3 Motor Horns

ht

s

Tbn



 

rv





 







 





 







ly

 



 

on

 

   Hn 1  

Hn 2



al



  

ed

Bsn

 





B. Cl.



ru s





pe

 

Ob. 2

 

or



120

/F

 Ob. 1   

19

 

 

 



 



 





 



 











 

 

 







C op



Vc. (div. a 2)

Db. (div. a 2)





 









RICL 101













 





 





 





    



 

 



 

 



    



3

3

     

Maya-Sesha











Ob. 2



Eb Cl.







      











        



 

   

 5:6    

  

 

5:6

  



     



  







 5:6

5:6

Hn 1





















 



ff

Hn 2



   

pe

 

 

   

5:6

    

   

or









/F

Bsn



  

 

ed

molto f

   



 

 

  

rv

  

se





  mf

  

re



  

s

 

S. Sax.

   

    

  

 

          

     

molto f

 



  

molto f

             

B. Cl.



 

ly



on



124

al

 Ob. 1 

ru s

20



 

gliss.

1 



/A ll











ht

yr ig



    

3

C op

 







Vc. (div. a 2)

Db. (div. a 2)



 



 



 







 



 







 



 

rd

 

Accord.

ic o



   

3

3

3

R

 



iL

 2

by

whistle car horn metal sheet

on

Percussion

 

n

3 Motor Horns



do

Tbn

rig

ht

f

 









3

     

  

3

 

  3

   





3

3

 3

    

 

 3

 

 





 





 

 RICL 101

   

3

3

       

  



 



3

 

 

      

           



   

         

       

Maya-Sesha

21

128



 



pp silky



  



  









 

 

 



 

pe

   

or

 

con sordino (cup)

ru s

al

 

 







  



pp



do

  



on

    Cel.   

/A ll

rig

ht

s

re

se

pp silky



ed

con sordino (cup)

rv



 Tpt 2    

n

/F

Tpt 1





on

   Hn 2    

ly

G Saccade 1

 

  

 

 

 





   



ic o R 



yr ig





5:6

  

pp

sff

      

C op



by



      

ht

Pno

rd

iL

con Ped.

  



molto ped



 

5:6



 

5:6

 



5:6



  

5:6





   



sff

Vln 4 soli

  4   

 

con sord.

G   1 

 



ppp

 

 

con sord.



 

ppp RICL 101





 

Maya-Sesha

22

H   

violente

130

Ob. 1

Ob. 2



 











  



  



                ff

     

    

      

ff

whip bass drum

1       2     

   ff



     



  

    



   

  



 



ly

on al 

 





 





 



 









 

iL

5:6



H

  

by ht

C op

 

     



ff

 Db.  

/A ll



 





 



 







pizz.



   

    

pizz.



pizz.



ff



    



    



  

   f

ff

   

 

   



ff

        

Vc. (div. a 2)

f





pizz.



yr ig

Vla. (div. a 2)

5:6 5:6     5:6                     5:6

ic o

rd



R

Pno



n

      

do





on

  Accord.   

rig

ht

anvil metal sheet





  

  

s

Percussion

  

 

 



ff



   

f pesante



     





      







ru s







pe

 



  

or

  



  

  

 

/F

Tba

mp dolce

 



ff non legato

  

ed

  



    

rv

   Tbn 





      

  

  

se



 

re

 1 Cl. 2  

a 2: bells up!



   



    

    

   



      

    

sounding pitch       

p lontano RICL 101







   



 



    

 



 







     

  

  



Maya-Sesha

 Ob. 1  135





23









       ff

 

 











 gliss. 







    





1 





ht

by

     

ic o

rd





    









n ff

C op

yr ig

 





 

  



    



    









    

    



    



ff



 







mf

 

  









sempre con forza



 



sempre con forza

   



   









ff

Vc. (div. a 2)

















   

     

    RICL 101

 

sempre con forza





ff

Db.

 







ff





5:6 5:6                   5:6 

5:6

ff

R

 Accord.  

Vla. (div. a 2)

 



do

meno f











on

2  



ht

 



 

rv







se

     



re



Percussion anvil metal sheet

ff

mf



s



  



  



rig

 



/A ll

whip bass drum



 



iL

Tba



al







Tbn

  

ru s



mf



  



pe



Hn 2

 



ly



  





on





or

Hn 1



 



/F

1 2

 



ed

Cl.





Ob. 2







Maya-Sesha

whip bass drum













 

Percussion









  



  





  



 



ly

on

al ru s



pe

      



 

 







     















       









   





 









   











 

       

  



       















sempre con forza

Db.





(div. a 2)

 







p dolce lontano



 



/A ll



 









by ht

C op Vc.

 

arco

yr ig

 

1 solo

  



  



5:6

R

Vla. (div. a 2)

Solo Vc.



 

ic o



     



         5:6







n

5:6

5:6



do

 

 







            



on

    

  



iL

Accord.

2

rd

anvil metal sheet



mp dolce



 1





 

    



or





rv





molto marcato

 Tbn

Tba



 

 



/F

 





se



  



re

1 2



   

  

ht

Cl.

               





rig



Ob. 2

  

    

s

               Ob. 1  141

ed

24

  



 RICL 101

   



      

 

   



    



    





  

Maya-Sesha

Vla. (div. a 2)

    

(upper desk)

 





 





 





 













 

   



  



 



 



















 

 1



yr ig

whip bass drum



Percussion

 2

C op

anvil metal sheet

do

on



iL rd





    

  



5:6

   

f e cresc.





 

Vc.

Db.

   





 

 

f e cresc.





  







 





 











 













 







    



 

 





  



5:6

5:6

5:6

                         Accord.                         Vla.   



mf

R

Tba



by

Tbn





ht

1 Cl. 2

 

ic o

Ob. 2

/A ll



153

n

 Ob. 1 

rig

ht





  



f





 

 





   

















ly



  

 

on





  

 Db.   



al











  





ru s



  

 

pe





 

Vc.





  

 

or





 



/F

 

   

 



f soave







 

ed

1  

 

 

rv

Accord.

 







se

whip bass drum





 

re

 Tbn

Tba

  

s

  1 Cl. 2 

(a 2)

148

25

 

  







cresc.



  RICL 101

         

 

 





Ob. 2

1 2





     

   

 

 

    

5:6

 









      

  5:6

   

5:6

 



 









 fff

5:6



 



 

    



5:6



5:6

1. change to E flat Clarinet



 



 



fff



 





 

 

 

 

 

 





 





 





 



 



pe

 

fff

ed 







2   







rig

n



on    

iL

   

       

rd

 

 

  

 

 

  



ht

by



yr ig

Vla. (div. a 2)

C op







 









Vc. (div. a 2)





 Db.   

 







  

   

     fff

R





ht





rv



ic o

Accord.



 1  

Percussion anvil metal sheet



se

 

re

  

fff

s

 



/A ll

whip bass drum





do

Tba





Hn 2

/F

or

Hn 1

ru s

al

Cl.



on

  Ob. 1   157

ly

Maya-Sesha

26

 

 RICL 101



 

 





 







 



 







 



 







 



 







 

 

 

Maya-Sesha

I

  

 



p

 







  



 

 

  

on







 



 



 





 





     



5:6

on

pp

  



                       

   

5:6

5:6

5:6

5:6

 



 



ic o by

   

ht

yr ig C op

   

 



(con sord.)



   

ppp

 

(con sord.)







 

ppp

 

(con sord.)

  

 4  











   

Vln 4 soli

3

5:6

rd



iL

molto ped

Saccade 2

2

5:6

                

I 1

5:6

R

Pno

5:6

do



   

n

/A ll

rig

ht

    

re



s

        Cel.      p

se

rv

ed

/F

or

Tpt 2

 

al

p

 





ru s

Tpt 1

Saccade 2

pe

      161

ly

27

 

ppp

 RICL 101

 

(con sord.)

ppp





 









 

 

 

 

Maya-Sesha

28

J

  



 



 







  

 







  



 





 

 

ff ruvido



 



 











 



 

    





f



   





  







  

 



 

pe



do

n

/A ll

rig

ht

s

re

se

rv

ed

/F

or

Cbsn

ru s

al

on

f meccanico



  

ly



  

S. Sax.



meccanico smanioso

on

  Eb Cl.   164

Bicycle Bell 2 Motor Horns

1    





 



f













ic o









 

 



  





  





f possibile



 

C op

yr ig

ht

by

R

3 Pitched Stones

3 pitched stones

high    medium low

2

rd

Percussion



iL

bicycle bell 2 motor horns: medium and low

     Vla.   arco

p senza espress.

 







 

 

arco

 Vc.  



 





 RICL 101



 

III

p



 





Maya-Sesha

 Ob. 1  169







29







 









ff molto ruvido





Ob. 2











 





     





  



      



   



   

on

 



 



  





al

ru s





 

pe

 

 



   





or







/F

         

 

 

ed

    

 

 





 

   

Percussion





 2

ht rig /A ll 

    

n

  

 









             

     





  



 















 



  

Db.

 





  



f



   



   







III

Vc.



 

C op Vla.



by



ht

 

yr ig

Accord.

R

ic o

3 pitched stones









f minaccioso

on

1            



do



iL

bicycle bell 2 motor horns

 

rd

Hn 2

s

re

se



 



 

rv



S. Sax.

Cbsn





Eb Cl.



  

ly

ff molto ruvido

III

    



 







   



    







 

 





   

 

p

RICL 101

   













Maya-Sesha

 

 

S. Sax.



 

ff

 



 



 







     





     









          

   

   



   



   

      

  



      





rv



se



s



re

 Hn 1 

   



  



p soave e legato

1   

   



   



 



 



   

 

  



      

   



    









rd

 

   



ossia



        





 





   

   





ht

 

C op

yr ig

Accord.

by

R

ic o

 2

iL

Percussion

3 Pitched Stones

   



f

  

ht

 



rig





/A ll



n



do

bicycle bell 2 motor horns





    

on

Tbn



  

ly





 









on



 

ed

Cbsn



 



al

 

Eb Cl.

 



ru s

       

Ob. 2



pe

176

or

    Ob. 1     

/F

30

 Vla.  

Vc.

Db.





  



 





   





 

p

  

IV





  

   



 RICL 101



   









  



  

IV





 

Maya-Sesha

bicycle bell 2 motor horns





      







f

1   

  



  

 



 

   

   

 

ly

on



     

 

 



   

 





 



 





 





  



 

 

 

 

 





 

rd



se



      

re





         





 

    

 



      



    

 

  



 



 





 



 

R

ic o



 



     



 

   

 

s

           

 

2

  

  

al

         



Percussion

3 Pitched Stones

   

ht



  

     





ru s











  

pe

 

 

 

 



 

rv

 



rig

Hn 2

     



  

/A ll

Hn 1





   

on

Cbsn

 

 



n

S. Sax.







 

do

Eb Cl.



iL

Ob. 2

 



  

or

 







/F

182

ed

 Ob. 1  

31

ht

by

   



C op

yr ig

Accord.

 Vla. 



 

 

   



 







     





     



  



mf

Vc.

 







 





mf

Db.

    

 



 RICL 101





 

   

mf

 

 

 

Maya-Sesha

32

K  

  

 

 

 

 



  







   



 

  







   











   



           





  



   







    



    





     



rv

      

al





ru s

     

   

pe

Cbsn

 

or



/F



ed

   











s

ff

8:7

        

/A ll

ff

     

ht



rig

  

1  bicycle bell  2 motor horns    bass drum



n



    



      

           

     

(2 Motor Horns)

   



ic o

rd



ff

      

by

R

Accord.

iL

on

do

Hn 2



  ff con forza

S. Sax.

Hn 1



 



 

se

Eb Cl.

 

re

Ob. 2



 

ly

 

188

on

  Ob. 1   

K



C op

yr ig

ht

     Vla. 

  



 





 



 



 IV  



 



 





 



 



Vc. (div. a 2)

 

Db.

  





 

 





 

 RICL 101



  





 



 

 

Maya-Sesha











193

Ob. 2



  

  



 









 

 

 









 

fff

fff





 



on

Eb Cl.



 

ly

 Ob. 1 

33

  





  



 



8:7



  

ff con slancio

Hn 2











    





8:7



8:7

 

 

 



 



   

 

   

   







     

  

 

 





8:7

   8:7

 

  

(bass drum)

Vla. (div. a 2)

Vc. (div. a 2)

 

ht rig



 



 

/A ll 



  

on

yr ig

 

C op



 













  



iL

ic o

 

arco





rd

    

  



R

 



n

     



do



by

Accord.

1  

 











  (poss.)





ht

bicycle bell 2 motor horns bass drum

s

re

ff con slancio



al



ru s



pe

 

or



/F

 Hn 1



ed



rv



se

Cbsn



  





mf

 

 

  (poss.)

 



  IV



 

I





III



 

 

(poss.)

 



 









  (poss.)

  Db. (div. a 2)

 

 



 





 



  (poss.)

  

 



 



 

 



 



 

  (poss.)

RICL 101

Maya-Sesha

ly

34

on

L Saccade 3 8:7

  

    



 

 











    

     

e=e

 



 

 

           

 



  

    

s



re

   

/A ll



                                   

do

n

   

pp grazioso

  





on



    

                                    

  

   

p molto legato



 

 

              

 

             

   (con sord.)    1    I



 IV  

by

L

ic o

rd

iL

poco ped. sempre

R

Pno

     

rig

p

   

ht

            Cel.     

se

rv

pp

 



ru s



pe

pp

Tpt 2





or

     

/F

Tpt 1

ed

q. = 78

197

al

q. = q.



   





 

  



IV! (slightly flat!)



 

yr ig

ht

ppp

 

e=e



  



   



C op 2



Vln 4 soli

3

 

4  

(con sord.)

(con sord.)

 

ppp

 

(con sord.)



IV!

  



IV!

 



ppp





   





 



ppp



 

   

 RICL 101

IV!

 

 



 



 IV!   

 



 

Maya-Sesha

q = 120

   Hn 1   (  )  201

pavillons en l'air

  (  ) 

 

Hn 2

Tbn

 

   





 







 



 

  





 







 





 







ff ruvido

pavillons en l'air

 

35

ff ruvido

  ()   

 

con sord.











Vln 4 soli

al ru s pe

or

  



re s ht





































/A ll







do on iL







ht

  3  () 



rd

  2  () 





  

ic o

    1  ()







 

n

  (  )



 

 





R



        

 







  

f ma quasi lontano

   



 



 

f



by

Pno



f

      (  )



clash cymbals

rig

 

bass drum

  B.D.    (  ) 





2

  (  )



 

/F



Percussion





f legato, senza accento

1   Cl. Cym.   (  )

Accord.

 

ed



rv

con sord.

se

   Tba   ()

on

f legato, senza accento

 

ly

M

yr ig



C op

  4  () 

Vla.

  (  )





con sord. 3

            



ff martellato

Vc.

  (  )

  

con sord. pizz.











ff martellato

  Db.   (  )  

 

col legno battuto





f marcato



  RICL 101





 



3

arco          3

3



 

Maya-Sesha













 











 











 





 1



   

Percussion



rd

2  

ht   







  

 







    

by

    

  











yr ig

ht

Accord.

R

ic o

B.D.





rig





/A ll



n



do



on

Cl. Cym.



iL

Tba

s

re

Tbn



 

al





ru s



 

pe



Hn 2



 

or



/F



ed



rv



205

se

 Hn 1 

on

ly

36

C op

 Vla. 

    

Vc.

Db.



 







  



   









  

  

3

                    3

      RICL 101

3

3



        

  

    3

3

 

 







 

   3



Maya-Sesha

 Cl. 1   210



37

1.



 



 







 

   



 



 



 



   



 

 



 



 



   



















 



ru s

  

/F

ed rv

  







 

re

Tbn

 

se

Hn 2

or

pe

Hn 1

al

on

ly

mf capriccioso

   





ht

s





/A ll

rig



   



 

n

 1 





iL

Percussion











  





 

  





R

ic o

rd



2

B.D.



do

Cl. Cym.



on

Tba

by

  Accord.  









 



 

C op

yr ig

ht



 Vla. 



Vc.

Db.









                   3

3

3



3

3



 



          



   

       



   RICL 101

             





  







 







Maya-Sesha

38

N

 Ob. 1 







215



     







 

 







 



   



 









   

 1







C op 

Vc.



se



re s

   







   





 

ic o R

by

ht







  

 

  

  



  

  











 





  









   



  

  

  





 

 



 





                             

quasi







   

 

  



 

N

         



  

ht

rig

/A ll





yr ig

 



on



n

   



do





iL





ed

 

   

    



ff marcato



  



ru s





 

ly



    

on

         

pe



 

or

    

   

 Vla. 

Db.



/F



2

Accord.

 

ff marcato

Percussion

B.D.





Tbn

Cl. Cym.



 

Hn 2

Tba

  



al



rd

Hn 1







ff marcato

      Cl. 1 

Bsn





rv

Ob. 2





 

 

        





                 3 3

  





    

 RICL 101

  

3



Maya-Sesha

 





Cl. 1

 

   

  



 



 Hn 1  

 







  

 



 



 

 

 

 

 



        



   

 





 

 





   



 









   











 

 

















  







  





by

ht

  

/A ll 



C op Vla.



Vc.







 



Db.





 

  

   



3



     







 















/F

rv





 

 



 

RICL 101

 

 

  









         

 







3





          3



ed ht

 

rig



yr ig

 Accord.  



R

2

B.D.

se

s

 1 





n



 

do





 

on





rd

Percussion





ic o

Cl. Cym.





iL



Tbn



 

re

 

Hn 2

Tba

 

or

pe

Bsn





ly

Ob. 2



 

on



  

al



 

ru s

221   Ob. 1 

39





 



                              3

3

 

 

3

      

3

 

3



3







Maya-Sesha

Ob. 1



 



 













 



 







 

 

      

 

 



 

      

 

 













 





 



 



 















e=e

 

 

 







pe



 

/F

or

 



 

 



 



 



re



se

rv

ed





 

 

 





 









Percussion

   



ic o

by

   

   





 

   



 



 

 

  

 

 

 

 

C op

yr ig

ht

    Accord.  



R

2

B.D.

on



iL

1 

rd

Cl. Cym.

do

n

Tba





s



Tbn



ht

 

Hn 2

rig

  

/A ll

Hn 1

ru s

al







 

Ob. 2

Bsn



ly

  226

on

40

     Vla. 

Vc.



e=e





















 



      



f cresc.

     Db.     arco, ord.

f marcato

      

       RICL 101



quasi 



 







 

   

  





 

 

Maya-Sesha



 





 Bsn  





 

 

 

   



 

 

   



 











 







 

mf

   



mf

 

f

 

 

  



 

f

 

 

 

 

 





 





 



 





 1    



2   



do 





 

  

  





  

  

 

C op

yr ig

ht

      Accord.   

rd



ic o

B.D.



mp

R

Percussion

 

by

Cl. Cym.

iL

mp



/A ll

 

n



rig

senza sord.

on

 Tba  

ht

s

mp

senza sord.

re

Tbn

  

se

rv

Hn 2

  



pe

 

or



/F

   

ed

Hn 1

ru s

al

Ob. 2

 

 

ly



232

on

  Ob. 1  

41

  Vla.  

Vc.

     





   

  Db.   

cresc.

 

 

   



 

 









 

 











 RICL 101









 

 

  

                            

               

f cresc.

  





     



       

      

         



                 

Maya-Sesha

42

O Saccade 4

pp



Tpt 2



  





   





 







      Accord.  

 

ff poss.





 

al ru s

pe 





  

 



ht

   

on

 

ppp

 

4



iL  

4

4

n

4



 

rig