OnDemand
Nyman, Michael Drowning by Numbers for Chamber Orchestra
Score for sale (North America): http://www.halleonard.com/product/viewproduct.do?itemid=14023605&lid=43&l Score for sale (UK, Europe and other territories): http://www.musicroom.com/se/ID_No/00019340/details.html?kbid=1296 Information about work and materials for hire: http://www.musicsalesclassical.com/composer/work/11402
Chester Music Limited Part of the Music Sales Group
Michael Nyman
DROWNING BY NUMBERS for Violin, Viola and Chamber Orchestra (1998)
arranged by the composer from his sound-track for the film by Peter Greenaway (1988)
WARNING: the photocopying of any pages of this publication is illegal. If copies are made in breach of copyright, the publishers will, where possible, sue for damages. Every illegal copy means a lost sale. Lost sales lead to shorter print runs and rising prices.
CH 61649
CHESTER MUSIC (A division of Music Sales Limited) 8/9 Frith Street, London W1D 3JB tel. +44 (0)20 7434 0066 fax +44 (0)20 7287 6329 Exclusive distributor: Music Sales Ltd. Newmarket Road, Bury St. Edmunds, Suffolk IP33 3YB tel. +44 (0)1284 702600 fax +44 (0)1284 702592 www.chester-novello.com e-mail: music@musicsales.co.uk i
ii
DROWNING BY NUMBERS for Chamber Orchestra I composed the sound-track to Peter Greenaway’s film Drowning by Numbers in 1987. The director’s instructions for the music for The Draughtsman’s Contract (1982) had concerned the provision of a (Purcell-based) composition for each of the twelve drawings, and for A Zed and Two Noughts (1985) the provision of a composition for each of the eight stages of Darwinian evolution. The instruction for Drowning by Numbers was even more direct: all my music should be derived from Mozart’s – from the slow movement of the Sinfonia Concertante in E flat K364 which Greenaway used in its untransformed form to ‘celebrate’ the deaths of the three husbands each murdered by his wife. Peter Greenaway and I had already plundered this music for his 1979 film The Falls where the brief titles music for each of the ninety-two characters was derived from the gorgeous tune in E flat that ends the ‘exposition’ (bars 58 – 62) with a chord progression (an interrupted I–VI–IV–V–I) which marginally links classical music with doowop. For the Drowning by Numbers sound-track I decided that while I would obviously revisit this favourite theme (which I also pilfered to represent “The Woman Who Had Three of Everything” in my first theatre piece The Masterwork/Award-Winning Fishknife, also in 1979) the whole of this rich and suggestive movement was ripe for recomposing. Like the majority of my film scores, Drowning by Numbers was written for the Michael Nyman Band, and for the chamber orchestra version I have reworked six movements from the original of which half (nos 1, 3 and 5) feature solo violin and viola, which in the sound-track appear only in Trysting Fields.
1. Trysting Fields
(p.1)
When I started analysing the musical structure of the slow movement I noticed that Mozart consistently used two decorative tricks of which the first – accented appoggiaturas – provides the complete substance of Trysting Fields. Basically, I ‘sampled’ each of these appoggiaturas (for instance, from bars 10, 12, 14, 18, 20, etc.) repeated it three times (to represent the three wives?) and moved on to the next one so that a totally new harmonic/melodic continuity is created which is so familiarly Mozartian but yet which self-evidently is not. A short coda introduces another familiar trick of this score – the use of the E flat , C, A flat, B flat, etc. sequence simultaneously in diminution (melody) and in real time (harmony).
2. Sheep ’n’ Tides
(p.9)
Follows Trysting Fields without a break and grows from The Harmony and The Melody. From time to time it shifts into an apparent harmonic retrograde (C, E flat, B flat, A flat, etc.).
3. Wedding Tango
(p.25)
Related melodically to Mozart’s opening theme, and harmonically to its first C minor form and its later (bar 62ff) E flat major reading. Middle section: The Melody and The Harmony meet their rock ’n’ roll destiny.
4. Wheelbarrow Walk (p.52)
The Harmony seen from yet another viewpoint, now in C major.
5. Fish Beach
(p.66)
The Bass Line simultaneously as bass line and melody in diminution (taking its cue from the end of Trysting Fields). Also in quasi-retrograde mode.
6. Knowing the Ropes
(p.72)
Like Trysting Fields this movement is built from the other decorative elements with which Mozart (subconsciously?) unifies his slow movement, this time not harmonic/melodic (the appoggiatura) but purely melodic, a little twisting figure which drifts towards the barline (whereas the appoggiatura is always placed on the downbeat). Again I sampled all occurrences of this figure, repeated each three times and arranged them in a cut-up form in the order of their appearance. The second half of the piece develops this same material autonomously so to speak, and ends with a combination of the prevailing figuration laid over The Theme in its most elevated C major manifestation.
Michael Nyman 2001 iii
DROWNING BY NUMBERS pour orchestre de chambre J’ai écrit la musique du film de Peter Greenaway Drowning by Numbers en 1987. Ses instructions pour la musique de The Draughtsman’s Contract [Meurtres dans un jardin anglais] (1982) concernaient les dispositions pour une composition (d’après Purcell) destinée à chacun des douze dessins, et pour A Zed and Two Noughts [Z00] (1985), les mesures pour une composition consacrée à chacun des huit stades de l’évolution selon Darwin. Les consignes relatives à Drowning by Numbers étaient encore plus directes : je devais composer une musique reposant entièrement sur le lent mouvement de la Sinfonia Concertante en mi bémol K 364 de Mozart, utilisé par Greenaway dans sa forme initiale pour ‘célébrer’ la mort des trois maris noyés par leurs femmes. Peter Greenaway et moi-même avions déjà détourné cette œuvre pour son film The Falls (1979) dans lequel la musique de chacun des 92 personnages provenait de la magnifique mélodie en mi bémol qui clôt ‘l’exposition’ (mesures 58 à 62) par une progression d’accords (I–VI–IV–V–I sans interruption) reliant accessoirement musique classique et doowop (forme de scat du rock and roll des années 1950). Pour la bande sonore de Drowning by Numbers, je décidai que même s’il me fallait remanier ce thème de prédilection (que j’ai également chipé pour représenter «The Woman Who Had Three of Everything» dans ma première pièce destinée au théâtre, The Masterwork/Award-Winning Fishknife, 1979), l’ensemble de ce mouvement riche et suggestif devait être recomposé. Comme la majeure partie des mes musiques de film, j’ai écrit Drowning by Numbers pour le Michael Nyman Band, et dans la version pour orchestre de chambre j’ai remanié six mouvements de la version initiale, dont trois (No 1, 3 et 5) comprennent un violon seul et un alto qui, dans la bande originale, n’apparaissent que dans Trysting Fields.
1. Trysting Fields
(p.1)
Lorsque je me suis mis à analyser la structure musicale du lent mouvement, j’ai remarqué que Mozart utilisait invariablement deux artifices ornementaux dont le premier – les appoggiatures accentuées – fournit toute la substance de Trysting Fields. A la base, j’ai ‘samplé’ chacune de ces appoggiatures (par exemple, à partir des mesures 10, 12, 14, 18, 20, etc.) en la répétant à trois reprises (symbole des trois épouses ?) et suis passé à la suivante de telle sorte qu’on se trouve en présence d’une continuité harmonique/mélodique totalement nouvelle et si mozartienne bien qu’elle ne le soit évidemment pas. Une courte coda introduit un autre artifice familier de cette partition – l’emploi de la séquence mi bémol, do, la bémol, si bémol, etc., simultanément en diminution (mélodie) et en temps réel (harmonie).
2. Sheep ’n’ Tides
(p.9)
Suit Trysting Fields sans interruption, surgissant de l’Harmonie et de la Mélodie. De temps en temps, il passe en récurrence harmonique apparente (do, mi bémol, si bémol, la bémol, etc.).
3. Wedding Tango
(p.25)
Relié au thème d’ouverture de Mozart du point de vue mélodique, et harmoniquement à sa première forme en do mineur et à son interprétation suivante en mi bémol majeur (mesure 62ff). Partie centrale : la Mélodie et l’Harmonie rencontrent le rock ’n’ roll.
4. Wheelbarrow Walk (p.52)
L’Harmonie à partir d’un autre point de vue, ici en do majeur.
5. Fish Beach
(p.66)
La Ligne de Basse simultanément comme ligne de basse et mélodie en diminution (qui s’aligne sur la fin de Trysting Fields). Egalement en mode quasi rétrograde.
6. Knowing the Ropes
(p.72)
A l’instar de Trysting Fields, ce mouvement est construit à partir des autres éléments ornementaux par lesquels Mozart consolide (de manière subconsciente ?) son lent mouvement, cette fois-ci non de façon harmonique/mélodique (l’appoggiature) mais uniquement mélodique – une petite figure sinueuse flottant vers la barre de mesure (alors que l’appoggiature est toujours placée sur le frappé). Ici encore, j’ai ‘samplé’ toutes les occurrences de cette figure, chacune répétée à trois reprises, puis les ai agencées sous forme découpée dans l’ordre où elles apparaissent. La seconde moitié de la pièce exploite cette même matière de façon autonome et s’achève par une combinaison de la figure dominante placée sur le Thème dans son expression en do majeur la plus haute.
Michael Nyman 2001 iv
DROWNING BY NUMBERS für Kammerorchester Die Filmmusik zu Peter Greenaways Film Drowning by Numbers [Verschwörung der Frauen] komponierte ich 1987. Der Regisseur hatte von mir für die Filmmusik von The Draughtsman’s Contract [Der Kontrakt des Zeichners] (1982) eine auf Purcell basierende Komposition für jedes der zwölf Bilder verlangt: Bei A Zed and Two Noughts [Ein Z und zwei Nullen] (1985) hatte er um eine Komposition für jede der acht Evolutionsstufen nach Darwin gebeten. Und bei Drowning by Numbers waren seine Vorgaben schließlich sogar noch präziser: Die Musik sollte ausschließlich aus dem Werk Mozarts abgeleitet sein, nämlich aus dem langsamen Satz der Sinfonia Concertante in Es-Dur KV 364. In der Mozart’schen Originalfassung „zelebrierte“ Greenaway mit diesem Satz jeweils den Tod der drei von ihren Ehefrauen ermordeten Männer. Peter Greenaway und ich hatten schon 1979 musikalische Anleihen bei dieser Komposition Mozarts gemacht, nämlich für seinen Film The Falls. Die kurzen Zwischentitelmusiken für jede der 92 Figuren werden dort aus der wunderbaren Es-Dur-Melodie am Ende der Exposition (Takte 58–62) abgeleitet, wobei die dort zu findende Akkordfolge (eine unterbrochene kadenzielle Wendung I–VI–IV–V–I) die klassische Musik eher beiläufig mit dem doowop verbindet. Für die Filmmusik zu Drowning by Numbers entschied ich mich für eine kompositorische Neufassung dieses ganzen reichhaltigen und beziehungsvollen Satzes. Dabei war ich mir durchaus bewusst, bei diesem Vorgehen erneut ein altes Lieblingsthema zu verwenden (ich hatte mich dieses Themas auch zur musikalischen Charakterisierung der „Woman Who Had Three of Everything“ [Der Frau, die von jedem drei hatte] in meinem ersten Theaterstück The Masterwork/ Award-Winning Fishknife, ebenfalls 1979, bedient). Wie der größte Teil meiner Filmmusik-Partituren wurde auch Drowning by Numbers für die Michael Nyman Band geschrieben. Für die Fassung für Kammerorchester bearbeitete ich sechs Sätze aus der Originalpartitur, von denen die Hälfte (die Nummern 1, 3 und 5) mit Solo-Violine und Solo-Bratsche besetzt sind (in der Filmmusik gilt dies nur für Trysting Fields).
1. Trysting Fields
(p.1)
Als ich mich mit der musikalischen Struktur des langsamen Mozart-Satzes näher zu beschäftigen begann, merkte ich, dass Mozart durchgehend zwei musikalische Elemente einsetzte, deren erstes – Vorschläge auf den Schlag – die Grundlage für Trysting Fields ist. Ich machte eigentlich nichts weiter, als jeden dieser Vorhalte (beispielsweise aus den Takten 10, 12, 14, 18, 20 etc.) zu „sampeln“ und dreimal zu wiederholen (ein Hinweis auf die drei Frauen?), um dann mit dem nächsten genauso zu verfahren. Auf diese Weise entstand ein völlig neuer harmonischer und melodischer Komplex, der die Musik Mozarts suggeriert, zugleich aber doch ganz offensichtlich kein Mozart ist. Eine kurze Coda führt einen weiteren formalen Aspekt der Vorlage ein, nämlich die Sequenz Es, C, As, B, etc., und zwar zeitgleich in diminuierter Fassung (in der Melodie) wie im Originaltempo (Harmonik).
2. Sheep ’n’ Tides
(p.9)
Das Stück folgt übergangslos auf Trysting Fields und entwickelt sich aus Harmonik und Melodik der Mozart’schen Vorlage. Gelegentlich gibt es eine scheinbar krebsgängige harmonische Bewegung (C-Dur, Es-Dur, B-Dur, As-Dur, etc.).
3. Wedding Tango
(p.25)
Von der Melodik her ist das Stück mit dem Eingangsthema bei Mozart verwandt, harmonisch mit dem ersten Auftreten dieses Themas in c-Moll und der späteren Variante (Takte 62ff.) in Es-Dur. Mittelteil: Melodik und Harmonik der Mozart’schen Vorlage ereilt hier ihr Schicksal als Rock’n’Roll.
4. Wheelbarrow Walk (p.52)
Eine weitere Abwandlung der ursprünglichen Harmonik, hier in C-Dur.
5. Fish Beach
(p.66)
Die Bass-Linie ist zugleich unterste Stimme und Diminution der Melodie (das Motiv wird am Ende von Trysting Fields aufgenommen). Auch in einer quasi-krebsgängigen Bewegung.
6. Knowing the Ropes
(p.72)
Ähnlich wie Trysting Fields beruht auch dieser Satz auf den weiteren formalen Elementen, die Mozart (unbewusst?) zur Vereinheitlichung seines langsamen Satzes einsetzt. In diesem Fall geht es nicht um die Kombination harmonischer und melodischer Elemente (den Vorhalt), sondern um ein ausschließlich melodisches Element, ein kleines Motiv, das jeweils zum Ende des Taktes hinweist (während der Vorhalt immer auf der ersten Zählzeit platziert ist). Auch hier benutzte ich das moderne Verfahren des Sampling, indem ich jedes Erscheinen dieser Figur aufnahm, dreimal wiederholte und die einzelnen Abschnitte in der Reihenfolge ihres Auftretens in einer Art Collage miteinander verband. Im zweiten Teil des Satzes verselbständigt sich dieses musikalische Material dann im Grunde – der Satz schließt mit der Verbindung der bis hierher vorherrschenden Figuration mit dem Hauptthema in seiner strahlendsten Manifestation in C-Dur.
Michael Nyman 2001
v
This work was commissioned by the London Mozart Players. The first performance was given on 9th December 1998 at the Warwick Arts Centre, by the London Mozart Players, conducted by David Gibson.
Instrumentation Solo Violin Solo Viola 2 Flutes (2nd doubling Piccolo) Oboe Cor Anglais* 2 Clarinets in Bb (both doubling Bass Clarinet in Bb)* 2 Bassoons 2 Horns in F* 2 Trumpets in C Bass Trombone Piano Strings (recommended: 8.6.4.4.2) * Notated in the score at concert pitch
Duration: c. 20 minutes
Score and parts available on hire from the Publishers
A recording by the Michael Nyman Band of music from the sound-track to Peter Greenaway’s film, Drowning by Numbers, is available on Virgin Venture, CDVE 23.
vi
DROWNING BY NUMBERS for chamber orchestra
Michael Nyman (1998)
1. Trysting Fields = c.60 – 72 Flutes
1 2
Oboe
Cor Anglais
Clarinet
Bass Clarinet a2
1 Bassoons 2
Horns
1 2
Trumpets
1 2
Bass Trombone
Piano
= c.60 – 72 Solo
Violins 1
*
non espr. Gli altri
Violins 2
Solo
Violas
Gli altri
pizz.
Violoncellos
pizz.
Double Basses * Phrase marks only: do not affect indicated bowing. © Copyright 2001 Michael Nyman Limited./ Chester Music Limited. All Rights Reserved. International Copyright Secured.
2 10
B. Clar. a2
Bsns.
1 2
Hns.
1 2
2.
Solo
Vlns. 1 Gli altri
Vlns. 2
Solo
non espr.
Vlas.
Gli altri
arco
Cellos arco
D.B.
19
B. Clar.
Bsns.
1 2
Hns.
1 2
2.
Solo
Vlns. 1
Gli altri
Vlns. 2
Solo
Vlas.
Cellos
D.B.
.
Gli altri
3 25
Clar.
B. Clar. 1.
Bsns.
1 2
Tpts.
1 2
a2
1.
Solo
Vlns. 1
Gli altri
Vlns. 2
Solo
Vlas.
Gli altri
Cellos
D.B.
33
Clar.
B. Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
2.
1.
Solo
Vlns. 1
Gli altri
Vlns. 2 Solo
Vlas.
Cellos
D.B.
.
Gli altri
4 43
Clar.
B. Clar. 1.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
2.
2.
2.
Solo
Vlns. 1 Gli altri
Vlns. 2 Solo
Vlas.
Gli altri
Cellos D.B.
52
Clar. B. Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
1.
2.
Solo
Vlns. 1
Gli altri
Vlns. 2
Solo
Vlas.
Cellos
D.B.
.
Gli altri
5 61
C.A.
B. Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
Solo
Gli altri
Vlns. 1
Vlns. 2 Solo
Vlas.
Gli altri
Cellos
D.B.
70
C.A.
B. Clar.
Bsns.
1 2 2.
1 Hns. 2 Tpts.
1 2 Solo
Vlns. 1 Gli altri
Vlns. 2 Solo
Vlas.
Cellos
D.B.
.
Gli altri
6 79
C.A.
Clar.
B. Clar.
Bsns.
1.
1 2
Solo
Vlns. 1
Gli altri
Vlns. 2 Solo
Gli altri non div.
Vlas.
Cellos D.B.
87
Fls.
a2
1 2
C.A.
Clar.
B. Clar. 1.
Bsns.
1 2
Tpts.
1 2
a2
2.
Solo
Vlns. 1
Gli altri
Vlns. 2
Solo
Vlas.
Cellos
D.B.
.
Gli altri
7 95
Clar.
B. Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
1.
2.
Pno
Solo
Vlns. 1 Gli altri
Vlns. 2 Solo
Gli altri
Vlas.
div.
div.
Cellos
D.B. a2 103
Fls.
1 2
B. Clar. a2
Bsns.
1 2
Pno
Tutti Vlns. 1
Vlns. 2 Tutti (div.) Vlas.
Cellos
D.B.
.
8 a2 111
Fls.
1 2
B. Clar. a2
Bsns.
1 2 1.
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
a2
(senza rit.)
118
Fls.
1 2
B. Clar. a2
Bsns.
1 2
Tpts.
1 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
attacca .
9
2. Sheep ’n’ Tides 124
=
= c.60 – 72
Clarinet
a2 1 Bassoons 2
1.
1 2
Horns
Piano
=
= 60 – 72
Violins 1
Violins 2 div.
Violas
(arco)
pizz.
arco
pizz.
arco
pizz.
arco pizz.
arco
pizz.
arco
pizz.
arco
pizz.
Violoncellos
pizz.
Double Basses
131
Clar. a2
1 Bsns. 2
Hns.
2.
1 2
Pno
Vlns. 1
Vlns. 2
Vlas. arco pizz.
Cellos
D.B.
.
arco pizz.
arco pizz.
arco
pizz.
arco pizz.
arco pizz.
arco pizz.
arco
pizz.
arco pizz.
10 140
Clar. Bsns.
1 2
Hns.
1 2
a2
1.
Pno
Vlns. 1
Vlns. 2
Vlas. arco pizz.
arco pizz.
arco
arco pizz.
arco
pizz.
arco pizz.
arco pizz.
arco pizz.
arco
pizz.
arco pizz.
arco pizz.
arco pizz.
arco
pizz.
arco pizz.
Cellos
D.B.
148
Clar. Bsns.
1 2
Hns.
1 2
a2
2.
Pno
Vlns. 1
Vlns. 2
Vlas. arco pizz.
Cellos
D.B.
.
pizz.
arco pizz.
11 156
a2
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas. arco pizz.
Cellos
D.B.
.
arco pizz.
arco
pizz.
arco pizz.
arco pizz.
arco pizz.
arco
pizz.
arco pizz.
12 164
a2
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
sord.
1 Hns.
(open)
2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
arco pizz.
Cellos
D.B.
.
arco pizz.
arco
pizz.
arco
pizz.
arco pizz.
arco pizz.
arco
pizz.
arco
pizz.
13 172
a2
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
1 Hns. 2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
arco pizz.
Cellos
D.B.
.
arco pizz.
arco
pizz.
arco
pizz.
arco pizz.
arco pizz.
arco
pizz.
arco
pizz.
14 a2 180
Fls.
1 2
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
Pno
Vlns. 1
Vlns. 2
Vlas.
arco pizz.
Cellos
D.B.
.
arco
pizz.
pizz. arco
arco
pizz.
pizz. arco
pizz.
pizz. arco
arco
arco
pizz.
15 188
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
1.
Pno
Vlns. 1
Vlns. 2
Vlas.
arco pizz.
Cellos
D.B.
.
arco pizz.
pizz. arco
arco
pizz.
arco pizz.
arco
pizz.
arco pizz.
pizz. arco
16 196
a2
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2 (
)
2nd time
1. Play 2nd time only senza sord.
Hns.
1 2
Tpts.
1 2
Pno
Vlns. 1
Vlns. 2
Vlas.
pizz. (sempre)
Cellos
arco
D.B.
.
17 a2 204
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar. ( ) 2nd time a2
Bsns.
1 2 ( )
Hns.
1 2
Tpts.
1 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
18 a2 212
1 2
Fls.
Ob.
C.A.
Clar.
B. Clar.
a2
1 2
Bsns.
1 Hns. 2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
legato
19 a2 220
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
1 Bsns. 2
Play 2nd time only 1 Hns. 2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
20 a2 228
1 2
Fls.
Ob.
C.A.
Clar.
B. Clar.
a2
1 2
Bsns.
1 Hns. 2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
21 a2 236
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
1 2
Bsns.
1 Hns. 2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
22 a2 244
1 2
Fls.
Ob.
C.A.
Clar.
B. Clar.
a2 1 2
Bsns.
1 Hns. 2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
arco pizz.
Cellos
pizz.
D.B.
.
arco pizz.
arco
pizz.
arco pizz.
arco pizz.
arco
pizz.
arco
pizz.
arco
pizz.
23 252
a2
1 2
Fls.
Ob.
C.A.
Clar.
B. Clar. a2
1 2
Bsns.
1 Hns.
2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
arco pizz.
Cellos
D.B.
.
arco pizz.
arco
pizz.
arco
pizz.
arco pizz.
arco pizz.
arco
pizz.
arco
pizz.
24 260
a2
1 2
Fls.
Ob.
C.A.
to B.Clar.
Clar.
B. Clar. a2
1 2
Bsns.
1 Hns.
2
1 Tpts. 2
Pno
Vlns. 1
Vlns. 2
Vlas.
arco pizz.
Cellos
D.B.
.
arco pizz.
arco
pizz.
arco
pizz.
arco pizz.
arco pizz.
arco
pizz.
arco
pizz.
25
3. Wedding Tango = c.80–92
a2
1 2
Flutes
Oboe
Cor Anglais
a2
Bass Clarinet
1 2
Bassoons
1 2
a2
1 Horns 2
1 Trumpets 2
Bass Trombone
Piano
6
6
6
6
6
6
6
6
6
6
= c.80–92 2 Soli
Violins 1
Gli altri
Violins 2 6
2 Soli
Violas
Gli altri
arco
Violoncellos arco
Double Basses
.
6
26 4
a2
1 2
Fls.
Ob.
C.A. a2
B. Clar.
1 2 a2
1 Bsns. 2
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
6
6
6
6
6
6
6
6
6
6
6
6
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
6
6
Gli altri
6
6
6
6
27 7
a2
1 2
Fls.
Ob.
C.A. a2
B. Clar.
1 2
Bsns.
1 2
a2
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
Gli altri
6
6
28 10
a2
1 2
Fls.
Ob.
C.A. a2
B. Clar.
1 2 a2
Bsns.
1 2
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
6
Vlas.
Cellos
D.B.
.
Gli altri
6
29 13
a2
1 2
Fls.
Ob.
C.A. a2
B. Clar.
1 2
Bsns.
1 2
a2
1 Hns. 2
1 Tpts. 2
B. Tbn.
6
6
Pno
6
6
6
6
6
6
6
6
2 Soli
6
Vlns. 1
6
Gli altri
Vlns. 2 2 Soli
Vlas.
6
6
6
6
Gli altri
Cellos
D.B.
.
( )
6
6
30 16
a2
1 2
Fls.
Ob.
C.A. a2
B. Clar.
1 2 a2
Bsns.
1 2
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
6
6
6
6
6
6
6
6
6
6
6
6
6
6
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
6
6
Gli altri
6
6
31 19
a2
1 2
Fls.
Ob.
C.A. a2
B. Clar.
1 2
Bsns.
1 2
a2
1 Hns. 2
1 Tpts. 2
B. Tbn.
6
6
Pno
6
6
6
6
6
6
6
6
6
6
6
6
2 Soli
6
Vlns. 1
6
Gli altri
Vlns. 2 2 Soli
6
Vlas.
Gli altri
6
Cellos
D.B.
.
( )
32 22
1 2
Fls.
Ob.
C.A. a2
B. Clar.
1 2
Bsns.
1 2
a2
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
6
Vlas.
Cellos
D.B.
.
Gli altri
33 a2 25
1 Fls. 2 molto marcato
Ob. molto marcato
C.A. to Clarinet
1 B. Clar. 2 marcato
a2
Bsns.
1 2 marcato
1 Hns. 2
1 Tpts. 2
B Tbn.
Pno
6
6
6
6
6
6
6
6
6
6
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
6
Gli altri
6
molto marcato
34 29
1 Fls. 2 Ob.
C.A.
B. Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
1.
Pno
Tutti
Vlas.
Cellos pizz.
D.B.
36
Fls.
1 2
Ob.
C.A.
B. Clar. a2
Bsns.
1 2 1.
Hns. 1
Tpts.
Pno
Vlas.
Cellos
D.B.
.
1 2
35 43
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
1.
B. Tbn.
Pno
Tutti
Vlns. 1
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Vlns. 2
2
2
2
2
2
2
2
2
2
2
Vlas.
2
Cellos 2
D.B.
.
2
2
36 50
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
1.
a2 Soli
B. Tbn.
Pno
Vlns. 1
2
2
2
2
2
2
2
2
2
2
2
Vlns. 2 2
2
Vlas. 2 2
Cellos
D.B.
.
pizz.
2 2
2
2
2 2
2
37 57
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
a2
1 Hns. 2 1.
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
2
2
molto marc.
Vlns. 2 2
2
molto marc.
2
Vlas. 2
molto marc. arco
Cellos
D.B.
.
( )
38 a2 64
Fls.
1 2
Ob.
2
2
2
2
2
2
2
2
2
2
2
2
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
a2
2.
1.
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
39 a2 71
1 Fls. 2
2
2
2
2
Ob.
2
2
2
2
2
2
2
2
2
2
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
2.
2
2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
( )
(
)
2
2
40 a2 77
Fls.
1 2
Ob.
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
( )
(
)
41 83
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
1 Hns. 2
1 Tpts. 2
B. Tbn.
6
Pno
2 Soli
Vlns. 1
6 6
6
6 6
6
6
6
6
6
6
non trem.
Gli altri
8va
Vlns. 2 2 Soli
Vlas.
non trem.
Gli altri
div.
Cellos arco div.
D.B.
.
(
)
42 86
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
1 Hns. 2
1 Tpts. 2
B. Tbn.
6
Pno
6 6
6 6
6 6
2 Soli
Vlns. 1
Gli altri
(8va)
Vlns. 2 2 Soli
Vlas.
Gli altri
Cellos
D.B.
.
(
6
6
6
6
6
)
43 89
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
2 Soli
Vlns. 1
Gli altri
(8va)
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
Gli altri
6
6
6
6
6
6
6
6
6
6
6
6
44 92
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
Hns.
1 2
1 Tpts. 2
B. Tbn.
6
Pno
6
2 Soli
Vlns. 1
Gli altri
(8va)
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
6
Gli altri
6
6
6
6
6
6
6
6
6
45 95
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
Hns.
1 2
1 Tpts. 2
B. Tbn.
6
6
6
6
Pno
6
6
6
2 Soli
Gli altri
(8va)
Vlns. 2 2 Soli
Vlas.
Gli altri
Cellos
D.B.
.
6 6
6
Vlns. 1
6
(
)
6
46 98
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
Hns.
1 2
1 Tpts. 2
B. Tbn.
6
Pno
2 Soli
Vlns. 1
Gli altri
(8va)
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
6 6
Gli altri
6
6
6
6
6
6
6
6
6
47 101
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
Hns.
1 2
1 Tpts. 2
B. Tbn.
6
Pno
6 6
6
6
6
6
6
6
6
6
6
2 Soli
Vlns. 1
Gli altri
(8va)
Vlns. 2 2 Soli
Vlas.
Gli altri
Cellos
D.B.
.
(
)
48 104
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
1 2
Bsns.
Hns.
1 2
1 Tpts. 2
B. Tbn.
Pno
2 Soli
Vlns. 1
Gli altri
(8va)
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
Gli altri
6
6
6
6
6
6
6
6
6
6
6
6
49 = 107
1 Fls. 2 cresc.
Ob. cresc.
C.A. cresc.
Clar. cresc.
B. Clar. cresc. a2
1 2
Bsns.
cresc.
Hns.
1 2
1 Tpts. 2
B. Tbn.
6
Pno
2 Soli
Vlns. 1
6 6
Gli altri
(8va)
cresc. 6
=
cresc.
cresc.
Vlns. 2 cresc. 2 Soli (sempre non trem.)
Vlas.
cresc. Gli altri
cresc.
Cellos cresc.
D.B. cresc. .
50 110
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
1.
a2
B. Tbn.
Pno
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
Vlas.
Cellos
D.B.
.
Gli altri
51 113
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar. to B Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
1.
a2
B. Tbn.
Pno
2 Soli
Vlns. 1
Gli altri
Vlns. 2 2 Soli
Vlas. Gli altri
Cellos
D.B.
52 = c.90 – 102
molto marcato
Piano
= c.90 – 102 div.
Violins 1 molto marcato div.
Violins 2 molto marcato div.
Violas molto marcato
Violoncellos molto marcato
Double Basses molto marcato
5
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
4. Wheelbarrow Walk
53 a2 10
Clar.
1 2
Bsns.
1 2
Hns.
1 2
a2
a2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
15
C.A.
a2
Clar.
1 2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
a2
1.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
54 20
Fl. 1
Picc.
Ob.
C.A.
a2
Clars.
1 2
Bsns.
1 2
Hns.
1 2
a2
a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
55 25
Fl. 1
Picc.
Ob.
C.A.
a2
Clars.
1 2
Bsns.
1 2
a2
a2
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
arco
D.B.
.
56 30
Fl. 1
Picc.
Ob.
C.A.
a2
1 2
Clars.
a2
Bsns.
1 2
Hns.
1 2
a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
57 8
35
Fl. 1 8
Picc.
Ob.
C.A.
a2
1 2
Clars.
a2
1 Bsns. 2
a2
1 2
Hns.
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
58 (8)
40
Fl. 1
(8)
Picc.
Ob.
C.A. a2
Clars.
1 2 a2
1 Bsns. 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
59 (8)
45
Fl. 1
(8)
Picc.
Ob.
C.A. a2
Clars.
1 2 a2
1 Bsns. 2
a2
1 Hns. 2
a2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
60 (8)
50
Fl. 1
(8)
Picc.
Ob.
C.A. a2
Clars.
1 2 a2
1 Bsns. 2
Hns.
1 2
a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
61 (8)
55
Fl.
(8)
Picc.
Ob.
C.A.
a2
Clars.
1 2
Bsns.
1 2
a2
a2
Hns.
1 2
a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
(
)
62 (8)
60
Fl.
(8)
Picc.
Ob.
C.A. a2
1 2
Clars.
a2
1 2
Bsns.
a2
1 Hns. 2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
63 (8)
65
Fl.
(8)
Picc.
Ob.
C.A.
a2
1 2
Clars.
a2
1 Bsns. 2
a2
1 2
Hns.
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
64 (8)
69
Fl.
(8)
Picc.
Ob.
C.A. a2
1 2
Clars.
a2
1 Bsns. 2
2.
1.
1 2
Hns.
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
65 (8)
73
Fl. to Flute (8)
Picc.
Ob.
C.A. a2
1 2
Clars.
2. to Bass Clarinet a2
Bsns.
1 2
Hns.
1 2
a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
(
)
66
5. Fish Beach = c.64 Bass Clarinet
1.
Bassoons
1 2
Horns
1 2
1. Solo
= c.64 Solo
Violins 1
Solo
Violas Gli altri
Violoncellos
pizz.
Double Basses
9
B. Clar. 1.
Bsns.
1 2
Hns.
1 2
2. Solo
Solo
Vlns. 1
Solo
Vlas. Gli altri
Cellos
D.B.
.
67 17
B. Clar.
Bsns.
1 2
Tpts.
1 2
1.
2. Solo
1. Solo
Solo
Vlns. 1
Gli altri
Solo
Vlas.
Gli altri
Cellos
D.B.
22
B. Clar. 1.
Bsns.
1 2
Tpts.
1 2
2.
Solo
Vlns. 1
Gli altri
Solo
Vlas.
Cellos
D.B.
.
Gli altri
a2
68 27
B. Clar. 1.
Bsns.
1 2
Tpts.
1 2
a2
Solo
Gli altri
Vlns. 1
Solo
Vlas.
Gli altri
Cellos
D.B.
a2
32
1 Fls. 2
Clar.
B. Clar. a2 1.
Bsns.
1 2
Tpts.
1 2
a2
Pno
Solo
Vlns. 1
Gli altri
Vlns. 2 Solo
Vlas.
Gli altri
Cellos arco
D.B.
.
69 a2
38
1 Fls. 2 Clar. a2
Bsns.
1 2
Pno
Solo
Gli altri
Vlns. 1
Vlns. 2 Solo
Vlas.
Gli altri
Cellos
D.B.
44
Fls.
a2
1.
1 2
Clar. a2
Bsns.
1 2
Hns.
1 2
a2
Pno
Solo
Vlns. 1
Gli altri
pi첫 espress.
Vlns. 2 Solo
Vlas.
Gli altri
Cellos pizz.
D.B.
.
70 50
1.
1 Fls. 2 Clar. a2
Hns.
1 2
Solo
Gli altri
Vlns. 1
Vlns. 2 Solo
Gli altri
Vlas.
Cellos D.B.
55
Fls.
a2 1.
1 2
Clar.
B. Clar. 1.
1 Bsns. 2
Hns.
1 2
Tpts.
1 2
a2
1.
Pno
Solo
Vlns. 1
Gli altri
Vlns. 2 Solo
Gli altri
Vlas.
Cellos
D.B.
.
71 a2 60
Fl. 2 to Picc.
1 Fls. 2
Clar.
B. Clar.
1.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
1.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
72
6. Knowing the Ropes = c.126 Bass Clarinet
Bassoons
1 2
Piano
molto marc. / non legato
= c.126 Violins 1
Violins 2
Violas
Violoncellos arco
Double Basses marcato
7
B. Clar.
Bsns.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
1 2
73 12
B. Clar.
Bsns.
1 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
17
B. Clar.
Bsns.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
1 2
74 22
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
2.
1.
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
75 27
1 Fls. 2
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
2.
1.
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
76 32
B. Clar.
Bsns.
1 2
Hns.
1 2
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
37
B. Clar. a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
2.
2.
Pno
Vlns. 1
Vlns. 2
Vlas. Cellos
D.B.
.
(
)
77 43
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar. a2
1 Bsns. 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
78 47
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
79 51
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
80 55
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
81 59
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
82 63
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
83 68
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
84 73
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
85 78
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
86 83
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
87 88
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
88 93
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
89 98
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
90 103
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
91 108
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
92 113
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
93 117
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
94 122
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
95 126
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
96 130
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
97 135
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
98 139
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1 div.
Vlns. 2
Vlas.
Cellos
D.B.
.
99 145
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
100 152
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
101 159
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
102 166
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
103 173
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
a2
1 Hns. 2 a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
104 180
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
a2
a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
105 187
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
a2
1 Hns. 2 a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
106 194
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
a2
1 Hns. 2
a2
Tpts.
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
1 2
107 201
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
a2
1 Hns. 2 a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
108 208
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
a2
1 Hns. 2 a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
109 215
Fl. 1
Ob.
Clar.
B. Clar. a2
Bsns.
1 2
Hns.
1 2
a2
Pno
Vlns. 1
Vlns. 2 Vlas.
Cellos arco
D.B.
220
Fl. 1
Ob.
Clar.
B. Clar. a2
Bsns.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos D.B.
.
1 2
110 225
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
111 230
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
a2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
112 235
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
a2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
113 240
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
a2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
114 246
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
115 252
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
Hns.
1 2
Tpts.
1 2
a2
a2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
116 258
Fl. 1
Picc.
Ob.
C.A.
Clar.
B. Clar.
a2
Bsns.
1 2
a2
1 Hns. 2 a2
1 Tpts. 2
B. Tbn.
Pno
Vlns. 1
Vlns. 2
Vlas.
Cellos
D.B.
.
( )