Hannibal WB

D
HANNIBAL Mario Brki

DAS WERK
Jugend und spanisches Kommando

Hannibal war der lteste Sohn des karthagischen Feldherrn Hamilkar Barkas, der sich im Ersten Punischen Krieg und im
Sldnerkrieg ausgezeichnet hatte. Hannibals jngere Brder waren Hasdrubal und Mago, die ebenfalls als karthagische
Feldherrn dienten. Die rmische Geschichtsschreibung berichtet davon, dass der neunjhrige Hannibal zusammen mit
seinen Brdern den Rmern ewige Feindschaft schwren musste, doch handelt es sich hierbei um eine Legende. Hannibal
wurde von einem Spartaner namens Sosylos erzogen, der spter zu seinen Beratern gehrte.
237 v. Chr. begleitete Hannibal als erst neunjhriger Junge seinen Vater in das damals noch wenig zivilisierte Spanien,
das reich an Bodenschtzen war. Dort eroberte Hamilkar Barkas groe Gebiete, die zum einen die territorialen Verluste
Karthagos im letzten Krieg gegen Rom ausgleichen und zum anderen die Machtgrundlage seiner Familie, der Barkiden,
sichern sollten. Nach Hamilkars Tod in einer Schlacht gegen aufstndische iberische Volksstmme bernahm Hannibals
Schwager Hasdrubal das Kommando in Spanien. Dieser vergrerte die neue karthagische Provinz erheblich, grndete mit
Cartagena eine regionale Hauptstadt und schloss mit Rom den Ebro-Vertrag, der den Fluss als Grenze zwischen beiden
Mchten festlegte. Hannibal hatte sich mittlerweile wieder nach Karthago begeben, kehrte jedoch 224/3 auf Wunsch seines
Schwagers nach Spanien zurck. Als Hasdrubals Kavallerie -Kommandant konnte sich Hannibal in mehreren schweren
Kmpfen gegen iberische Stmme hervortun.
Nach Hasdrubals Ermordung 221 v. Chr. wurde Hannibal Oberbefehlshaber des Heeres. Sogleich fhrte er einen
ausgedehnten Feldzug gegen die noch unabhngigen iberischen Stmme. In einer Schlacht am Tajo errang Hannibal zum
ersten Mal einen Sieg in offener Feldschlacht gegen einen zahlenmig weit berlegenen Gegner. Die Stadt Sagunt an
der Mittelmeerkste verweigerte ihm aber die Unterwerfung. Hannibal entschied sich, die Stadt ab 220 v. Chr. zu belagern,
auch um ihren Einfluss auf die iberischen Stmme einzugrenzen. Die Sagunter schlossen daraufhin ein Bndnis mit Rom.
Sogleich forderten rmische Gesandte Hannibal auf, die Belagerung der Stadt abzubrechen. Dieser lehnte jedoch aufgrund
der klaren Rechtslage ab, da Sagunt weit sdlich des Ebro gelegen war. Hannibal fragte in Karthago bezglich eines
weiteren Vorgehens an, dessen Ratsherren ihm aber freie Hand lieen.
Im Konflikt um Sagunt wiederholten sich die Ereignisse, die zum Ausbruch des Ersten Punischen Krieges gefhrt hatten,
als Rom die Stadt Messina als Anlass fr einen Krieg mit Karthago genutzt hatte. Hannibal schuf daher Fakten und lie
219 nach achtmonatiger Belagerung Sagunt strmen und die Bevlkerung tten. Die Rmer hatten nichts zur Hilfe Sagunts
unternommen, lieen dem karthagischen Rat nun aber ausrichten, dass diese einem Krieg nur durch die Auslieferung
Hannibals entgehen knnten. Wiederum standen die Ratsherren aber zu ihrem Kommandeur.
Krieg gegen Rom
Hannibal zeichnete sich durch ein fr seine Zeit ungewhnliches Bewusstsein ber die Mglichkeiten und Grenzen von
Zeit und Raum fr militrische Manver aus. Um einem rmischen Angriff auf Spanien zuvorzukommen, berschritt er
mit wahrscheinlich mehr als 50.000 Soldaten, 9.000 Reitern und 37 Kriegselefanten auf einem heute nicht mehr genau
zu bestimmenden Pass (vielleicht Col de Clapier[1]) die winterlichen Alpen und gelangte durch das Gebiet der Salasser
nach Aosta und Ivrea. Das Heer erlitt in den Alpen schwere Verluste, konnte jedoch mit Kelten aus der Po-Ebene verstrkt
werden.
Durch diesen berraschenden Zug gelangte Hannibal fr die nchsten Jahre gegenber den militrisch berlegenen Rmern
in die strategische Offensive, da er das rmische Bundesgenossensystem als Basis der rmischen Macht direkt bedrohte.
In taktisch defensiven, aber selbstgewhlten berlegenen Ausgangspositionen konnte er die taktischen Schwchen des
rmischen Militrsystems mehrfach mit enormem Erfolg ausnutzen und in den Schlachten am Ticinus, an der Trebia (beide
218) und am Trasimenischen See (217) die meist deutlich berlegenen rmischen Legionen schlagen. Schlielich traf
Hannibal am 2. August des Jahres 216 v. Chr. bei Cannae auf eine rmische Armee von 16 Legionen (etwa 80.000 Mann),
die er mit seinen etwa 50.000 Soldaten durch ein Umfassungsmanver fast vollstndig vernichten konnte.
Hannibal unternahm jedoch trotz seiner militrischen Erfolge keinen Marsch gegen die Stadt Rom. In der Geschichtsschreibung
wurde ihm dies hufig als strategischer Fehler angelastet. So wurde dem karthagischen Reitergeneral Maharbal in den Mund
gelegt: Du verstehst zu siegen, Hannibal. Den Sieg zu nutzen aber verstehst Du nicht! Hannibals Zielsetzung war allerdings
nicht die Eroberung der Hauptstadt des Rmischen Reiches sondern die Vernichtung seines Bundesgenossensystems. Er
hoffte darauf, die italischen Stdte von Rom zu lsen und dadurch die Grundlage der rmischen Gromachtstellung zu
zerstren. Zwar gingen einige italische Bundesgenossen Roms im Jahre 212 v. Chr. zu Hannibal ber, darunter auch Capua,
doch wurde der Krieg dadurch nicht entschieden. Die Rmer hatten ihre anfngliche Strategie unter Einfluss des Zauderers
Fabius Maximus gewechselt und griffen die Karthager in Italien und Spanien nur noch in Hannibals Abwesenheit an. Als
Capua 211 v. Chr. durch rmische Truppen belagert wurde, unternahm Hannibal doch noch einen Scheinangriff auf Rom,
um dadurch die Belagerer Capuas zum Rckzug zu bewegen. Laut Cicero (der rund hundert Jahre spter lebte) soll dabei
der berhmte Ausruf Hannibal ad portas (Hannibal [ist] bei den Toren), zum Teil auch zitiert als Hannibal ante portas erfolgt
sein. Hannibal konnte jedoch den Fall Capuas nicht verhindern, was schon von antiken Historikern als Wendepunkt des
Krieges angesehen wurde. Nach jahrelangem Kleinkrieg in Italien, wurde Hannibal schlielich in die Heimat zurckbeordert,
da der rmische Feldherr Scipio nach der Eroberung Spaniens in Afrika gelandet war. Diesem war es zudem gelungen,
den numidischen Reiterfrsten Massinissa zum Seitenwechsel zu bewegen, so dass Hannibal nicht mehr die fr seine
Taktik wichtige Kavallerie zur Verfgung stand. In der Schlacht bei Zama erlitt Hannibal 202 v. Chr. die erste und auch
kriegsentscheidende Niederlage gegen die Rmer.
Reformator und Exil
Nach dem Friedensschluss Karthagos mit Rom musste sich Hannibal zunchst mehrerer innenpolitischer Gegner aus der
Aristokratie erwehren. Diese warfen ihm vor, einerseits den Marsch auf Rom verweigert und andererseits Beute unterschlagen
zu haben. Der weiterhin beim Volk beraus populre Hannibal wurde aber in allen Punkten freigesprochen. Damit erlitt er
ein gnstigeres Schicksal als viele andere karthagische Kommandeure, die als Sndenbcke fr Niederlagen herzuhalten
hatten. Auf rmischen Druck verlor Hannibal aber 200 seine Stellung als karthagischer Stratege.
Hannibal wandte sich von nun an der Innenpolitik zu, um die politische und militrische Macht der Stadt wieder aufzubauen.
Er wurde 196 zum Sufeten gewhlt und reformierte Politik und Wirtschaft Karthagos zu Ungunsten der Aristokratie. Er
brachte ein Gesetz durch, das den bisher aristokratisch dominierten Gerichtshof der 104 schwchte: Die bisher auf
Lebenszeit ernannten Mitglieder mussten von nun an durch die Volksversammlung gewhlt werden und durften gem dem
Annuittprinzip nach rmischen Vorbild nur fr ein Jahr und dann erst wieder nach einem weiteren Jahr Pause kandidieren.
Hannibal verschaffte somit einer deutlich breiteren Schicht den Zugang zu hohen politischen mtern.
Die karthagische Bevlkerung hatte wegen der Kriegsreparationen an Rom hohe Abgaben zu tragen, welche die Wirtschaft
belasteten. Hannibal senkte die Abgaben, indem er hart gegen die Korruption in Karthago vorging. Dadurch vergrerte
er den Kreis seiner innenpolitischen Gegner noch einmal. Diese konnten ihn schlielich 195 ins Exil treiben, indem sie
flschlicherweise behaupteten, er wrde gegen Rom konspirieren. Hannibals Reformen blieben jedoch bestehen und hatten
einen groen Anteil an dem raschen konomischen Wiederaufstieg Karthagos nach dem Zweiten Punischen Krieg.
Hannibal floh aus dem rmischen Machtbereich. Im stlichen Mittelmeerraum war er unter anderem als Feldherr fr Antiochos
III. den Groen von Syrien ttig. Als der Seleukidenknig den Kampf um die Herrschaft ber Griechenland gegen Rom
annahm, schlug ihm Hannibal vor, einen Zweifrontenkrieg zu fhren. Dieser Plan htte vorgesehen, dass Antiochos einen
Teil der rmischen Streitkrfte in Griechenland binden sollte, whrend Hannibal mit karthagischen und fremden Truppen ein
zweites Mal in Italien landen wrde. Antiochos zeigte sich dem gegenber zunchst nicht abgeneigt, lehnte jedoch letztlich
ab: Er frchtete, dass Hannibal bei dieser durchaus vielversprechenden Strategie der ganze Ruhm zukme, was mit seinem
Selbstverstndnis als hellenistischer Knig nicht zu vereinbaren war.
Anstatt von Hannibals militrischen Fhigkeiten Gebrauch zu machen, bertrug ihm der Seleukide nur den Bau einer Flottille
in Phnizien, welche die seleukidische Hauptflotte in der gis verstrken sollte. In der Seeschlacht von Side wurden
Hannibals Schiffe aber durch eine rhodische Flotte geschlagen.
Nach der endgltigen Niederlage des Antiochos gegen Rom musste Hannibal 190 das Seleukidenreich verlassen. Er hielt sich
ein Jahr lang in Kreta auf, bis sich auch dort der rmische Einfluss vergrert hatte. Hannibal floh nun in die hellenistischen
Monarchien Kleinasiens. Zunchst trat er in die Dienste des armenischen Knigs Artaxias, fr den er die Leitung des Baus
einer neuen Hauptstadt bernahm. Auf rmischen Druck hin musste Hannibal jedoch weiter zu Knig Prusias I. von Bithynien
fliehen. Dieser befand sich in einer militrischen Auseinandersetzung mit dem rmischen Bundesgenossen Eumenes II. von
Pergamon. Hannibal wurde wiederum als Flottenkommandant eingesetzt, versuchte aber auch in Kleinasien Verbndete fr
die Sache Bithyniens zu gewinnen.
183 v. Chr. wurde schlielich der in Griechenland beraus populre Titus Quinctius Flamininus bei Prusias vorstellig und
forderte Hannibals Auslieferung, welcher der bithynische Knig schlielich nachkam. Hannibal entzog sich jedoch der
Gefangennahme durch Gift und beging in der Festung von Libyssa (Gebze) Selbstmord.
DER KOMPONIST
Mario Brki wurde am 26. Oktober 1977 geboren. Er studierte Blasmusikdirektion am Konservatorium in Bern und erreichte
am Diplom sowie dem Hheren Studienausweis das Prdikat Sehr Gut. Brki besuchte Meisterkurse bei U.P. Schneider
(Komposition) und Toshiyuki Shimada / Andreas Sprri (Dirigieren). Sein erstes grosses Werk - Szenen aus: Max und Moritz erreichte am Kompositions-wettbewerb der World Association for Symphonic Bands and Ensembles (WASBE) in Luzern den
zweiten Preis und seine Komposition Indian Fire wurde am Wettbewerb Flicorno dOro Junior (Italien) mit dem Spezialpreis
fr das orginellste Konzertstck ausgezeichnet. Zwei seiner Werke (Cap Hoorn und 1405: Der Brand von Bern) wurden
an der Mid-Europe in Schladming uraufgefhrt. Im November 2005 wurde 1405: Der Brand von Bern vom weltbekannten
spanischen Blasorchester La Artistica Buol in Valencia aufgefhrt.
Mario Brki ist Musikschulleiter an der Musikschule der Jugendmusik Ostermundigen. Als Instrumentalist spielt er Trompete,
Klavier und Orgel. Mario Brki erhlt regelmssig Kompositionsauftrge und mehrere Werke wurden als Wettstcke im Inund Ausland gespielt.
Ton- und Notenbeispiele seiner Werke knnen auf der Homepage des Verlages eingesehen werden: www.musikverlagfrank.ch
Besuchen Sie die Homepage von Mario Brki: www.mariobuerki.ch
2008 Copyright by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach, SWITZERLAND
www.musikverlag-frank.ch
HANNIBAL Mario Brki

THE COMPOSITION
Hannibal, the son of Hamilcar Barca, was born in 248 BC. His father commanded the Carthaginian land forces during the
later stages of the First Punic War. He kept his army intact and led a successful guerrilla war against the Romans in Sicily.
As soon as he was old enough, Hannibal joined his fathers army in the invasion of Hispania. Hamilcar Barca died in battle
in 228 BC. Hannibals brother-in-law Hasdrubal the Fair succeeded to his command of the army with Hannibal serving as
an officer under him.
Hasdrubal signed a treaty with the Romans where Carthage promised not to expand north of the Ebro River. Hasdrubal also
endeavored to consolidate Carthaginian power through diplomatic relationships with native tribes. This included arranging
the marriage between Hannibal and an Iberian princess named Imilce.
Hasdrubal the Fair was assassinated by a Celtic assassin in 221 BC. Hannibal was now proclaimed commander-in-chief by
the army. In 218 BC Carthage decided to hit back. Defeated at sea, the Carthaginians decided this time to attack Italy by
land from their base in Hispania. Hannibal led an army made up of 30,000 Spanish infantrymen, 9,000 African cavalry and a
team of elephants. To attack Rome from Hispania meant that Hannibal had to take his soldiers and animals over the snowcovered Alps.
The Romans did not believe it was possible and were taken by surprise. However, the journey had taken its toll and by the
time Hannibal reached Italy, he only had 26,000 men left alive.
The first battle between the two sides took place at Trebia. Although they had many more men, the Romans were heavily
defeated by the Carthaginians. One of the reasons for this was that the Romans had trouble coping with Hannibals elephants.
The elephants were used at the front of the Carthaginian forces (similar to the way tanks were used in the First World
War). Because of the elephants size and trumpeting, the Romans had great difficulty in persuading their horses to charge
Hannibals forces.
The Romans tried several different tactics against elephants. They were extremely difficult to kill, so the main aim was
to make them panic and run amok amongst the Carthaginians. They tried to do this by killing their driver or by stabbing
them with javelins in the soft skin under the tail. The Romans also discovered that elephants were frightened of the sound
of squealing pigs. Therefore pigs were covered in tar, set alight and let loose amongst the elephants. The Carthaginians
attempted to counteract this tactic by giving wine to the elephants before battle and stabling them with pigs so that they would
get used to the squealing.
Although Hannibals elephants survived the Battle of Trebia, most of them died soon afterwards from the cold weather.
However, the lack of elephants did not stop Hannibal inflicting a series of defeats on the Romans. The most important of
these was at Cannae where over 50,000 Roman soldiers were killed and a further 19,000 were captured. Hannibal, on the
other hand, lost less than 6,000 men.
Even though they suffered these losses, the Romans refused to surrender. As Hannibal was never strong enough to attack
Rome itself, he failed to obtain a total victory over the enemy.
The Roman Senate responded to these military reverses by ordering an attack on Carthaginian held Spain. This was a
success, and Scipio Africanus, who organised the campaign, became a national hero. Scipio now started to plan an attack
on Carthage, and Hannibal was forced to abandon the territory he controlled in Italy in order to defend his homeland.
Scipio and his troops landed in Africa in 204 BC. Instead of attacking Carthage, Scipio visited King Masinissa of Numidia,
whose cavalry had played such an important part in Hannibals victories over the Romans. In exchange for promises of
Carthaginian territory, King Masinissa agreed to join forces with Scipio.
The Battle of Zama took place in 202 BC. Hannibal had 40,000 men and 80 elephants while Scipio had 25,000 Romans
and 11,000 Numidians. Hannibal started the battle by ordering an elephant charge. However, the Romans had learnt by
bitter experience how to deal with elephants. Instead of pigs they now used men blowing trumpets. The noise frightened the
elephants and many of them turned and stampeded, trampling to death large numbers of Carthaginians. Hannibals troops
were scattered and they were gradually hunted down by the Numidian cavalry.
The Romans were extremely harsh on the defeated Carthaginians. All but ten of their ships were destroyed, vast amounts of
money had to be handed over and all overseas territories had to be abandoned. Carthage also had to promise that in future
it would gain permission from Rome before forming alliances or going to war with other countries.
Hannibal now decided to become a politician and he was elected as suffete, or chief magistrate. He reformed the way
Carthage was governed, stipulating that membership of the Hundred and Four be chosen by direct election rather than cooption. He also changed the term of office from life to a year with a term limit of two years.
The Romans became concerned by Hannibals growing power and in 195 BC they demanded he retired from office. Hannibal
moved to Ephesus, where he met Antiochus III of Syria and later became his military adviser.
In 190 BC Hannibal was placed in command of a Seleucid fleet but was defeated in a battle off the Eurymedon River. He fled
to Crete, before seeking refuge with King Prusias I of Bithynia, who was engaged in warfare with Romes ally, King Eumenes
II of Pergamon. Hannibal went on to serve the Bithynians in this war.
The Romans became concerned about Hannibals naval victories and demanded that Prusias I hand him over. Hannibal was
determined not to fall into his enemies hands and at Libyssa he took poison.
THE COMPOSER
Born the 26 October 1977, Mario Brki studied wind orchestral conducting at the Berne conservatory. He also followed
courses in composition with Urs Peter Scheider and conducting under the direction of Toshiyuki Shimada and Andreas
Sprri. His first grand scale work Scenes of Max and Moritz gained a second place in the composition contest in Lucerne
organized by the World Association for Symphonic Bands and Ensembles ( WASBE). During the Flicorno d`Oro junior contest
(Italy), Indian Fire was awarded a special prize in acknowledgement of its originality. Mario Brki is regularly commissioned
to write for Wind and Brass Band. Two of his works (Cap Hoorn und 1405 : Der Brand von Bern) were premiered at the MidEurope Conference in Schladming and several have been chosen as set test-piece for contests. Alongside his composing he
conducts various Wind Bands and teaches trumpet and theory. Mario himself plays the trumpet, the piano and the organ.
2008 Copyright by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach, SWITZERLAND
www.musikverlag-frank.ch
Full Score
HANNIBAL
"Karthago"
Lento q = 89
Mario Brki

Piccolo
Flute 1
Flute 2
1st Oboe
2nd Oboe
Cor Anglais
1st Bassoon
2nd Bassoon
pp
pp
3rd Clarinet in Bb
Alto Clarinet in Eb
2nd Clarinet in Bb
Bass Clarinet
in Bb
Contrabass
Clarinet in Bb
ff 3
ff 3
ff 3

pp

Clarinet in Eb
1st Clarinet in Bb
ff 3
pp
pp
pp
pp
pp
pp
pp
ff 3
2nd Alto Saxophone
Tenor Saxophone
Baritone Saxophone
1st Alto Saxophone
1st Horn in F
pp
2nd Horn in F
3rd Horn in F
4th Horn in F
1st Trumpet in Bb
1st Trombone
Baritone
Tuba
Double Bass
Piano
Harp
Timpani
Percussion 1
Percussion 2
fff
fff
fff
ff
ff
fff
ff
fff
fff
ff
ff
div
ff
mp
B.D. 2 Sticks

Percusion 3
mute
pp
one mute
one mute
pp
mp
f
Tubular Bells

mp
ff
mp
pp
ff
(motor on)
Vibraphone

ff

ff
ff
ff
ff
ff

ff
2nd Trombone
Bass Trombone
1st Cornet in Bb
2nd Cornet in Bb
ff
3rd Trumpet in Bb
ff
2nd Trumpet in Bb
2009 by musikverlag frank, Schulhausstrasse 22, CH-4528 Zuchwil (Switzerland)
S.D.
14
Picc.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
ff
3rd Hn
2nd Tpt
3rd Tpt
1st Cor.
ff
Tba
Perc.2
Perc.3
fff
fff
fff
fff
3
fff
3
3
fff
fff
ff
ff
fff
fff
ff
fff
fff
fff
fff
fff
ff
fff
3
3
ff
3

3

3
3
ff
3

3
fff
fff
fff
ff
3
fff
mf
fff
fff
mf
mf
C.C.

ff
ff Tubular Bells
fff
ff
ff
mute
ff
fff
mf
fff
fff
ff

fff
fff
mf
ff
fff
mf
ff
fff
ff 33
ff
ff
ff
6
6
6
3
3
3
3
3 3 3

3
3
fff mf
ff
3
3
3
3
3
6
3
3
6
6
3

3
ff
fff
mf
3
3
fff
ff 3
Perc.1
fff
Timp.
ff
Hp.
Pno.
fff
fff
D.B.
ff
fff
Bar.
ff
open
3
3
open
2nd Tbn.
ff
2nd Hn.
ff
fff
ff
fff

3
ff 3

3
3
ff 3
ff

ff
T. Sax.
B. Tbn.
2nd A. Sax.
1st Tbn.
2nd Cor.
1st Tpt
Cb. Cl.
4th Hn.
1st Hn.
Bar. Sax.
B. Cl.
1st A. Sax.
Alto Cl.
3rd Cl.
2nd Cl.
1st Cl.
2nd Ob.
1st Ob.
2nd Fl.
1st Fl.
mf
S.C.
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
16
1st Bsn.
mf
mf

2nd Bsn.
Eb Cl.
1st Cl.
2nd Cl.
mf

mf
Alto Cl.
Cb. Cl.
B. Cl.
1st A. Sax.
tremolo
3rd Hn
4th Hn.
2nd Hn.
mf
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
2nd Tbn.
mf
mf
6
3 3 3

Bar.
3
3
3
6
B. Tbn.
Tba
D.B.
mf
mf
Hp.
Timp.
Perc.1
Perc.3
6
3 3

3 3
6
6
mf
mf
6
3 3 3

3 3 3
6
mf
mf
6
6
3 3

3 3
6
mf
mf
Perc.2
Pno.
1st Tpt
tremolo
mf
Bar. Sax.
1st Hn.
T. Sax.
mf
3rd Cl.
2nd A. Sax.
Xylo (Soft sticks)
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
22
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
24
2nd Cl.
Cb. Cl.
Bar. Sax.
1st Hn.
2nd Tpt
1st Cor.
2nd Cor.
Perc.3
ff
ff
ff
T.B.
f
B.D.
Tam tam
f
ff
3
ff
open
6
6
6
6
3
3
6
3
3
3

f
mf
Perc. 1
Perc.1
Timp.

B. Tbn.

f
Bar.
Hp.
Pno.
D.B.
Tba

1st Tbn.
2nd Tbn.
3rd Tpt
1st Tpt
3
3 3 3 3
3 3 3
4th Hn.
3rd Hn
2nd Hn.
B. Cl.
T. Sax.
3
3
3
3
3
3
3
3

2nd A. Sax.
1st A. Sax.
3
3
3
3
3
3
3
3
3
3
3
3

6
Alto Cl.
ff
3
3 3 3 3
3 3 3
3
3
3
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3rd Cl.
Picc.
1st Ob.
2nd Ob.
C. A.
29
1st Fl.
2nd Fl.
31
1st Bsn.
2nd Bsn.
3
3
ff
Cb. Cl.
1st A. Sax.
Bar. Sax.
1st Hn.
Tba
D.B.
Pno.
Hp.
Perc. 1
Perc.3
ff
ff
ff
ff
Glockenspiel
mf
S.D.
mf
ff
3
3

Timp.
Perc.1
f
3
2nd Cor.
Bar.
3
3
3
3
1st Cor.
3
3
3rd Tpt
f
6
6
B. Tbn.
ff
2nd Tbn.
6
6
6
6
2nd Tpt
1st Tbn.
ff
4th Hn.
1st Tpt
3rd Hn
3
6
3
3
3
3
2nd Hn.
T. Sax.
2nd A. Sax.
ff
B. Cl.
Alto Cl.
ff
3rd Cl.
ff
2nd Cl.
Eb Cl.
1st Cl.
ff

Picc.
34
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
1st Cl.
2nd Cl.
3rd Cl.
6

6
3
3

3

3
3
3
3
3

3
3

3
3

3
3
3
3

3
3
3
6

Cb. Cl.
Bar. Sax.
T. Sax.
2nd A. Sax.
1st A. Sax.
B. Cl.
Alto Cl.

Eb Cl.
3

3
2nd Hn.
3rd Hn
4th Hn.
1st Hn.
1st Tpt
2nd Tpt
3rd Tpt
1st Tbn.
2nd Tbn.
B. Tbn.
Tba
D.B.
Pno.
Perc. 1
Xyl.
3
3
mf
ff
ff
ff

Timp.
Perc.1
Hp.

Bar.
2nd Cor.
1st Cor.
39

Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
1st Bsn.
Eb Cl.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
3
3
3
1st Hn.
2nd Cor.
1st Tbn.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
mf
mf
3
3
3 3 3 3 3 3 3

3
mute 3
mf

mf

mf
3 3 3 3 3 3 3

mute 3
mf
mute 3
3 3 3 3 3 3 3

mf
6
6
6
6
6
6

6
6
Rimshots
6
6
6
6
6
6
6

mute 3
mute 3
ff
mf
mf
mf
ff
Bar.
ff
B. Tbn.
2nd Tbn.
1st Cor.
3rd Tpt
ff
2nd Tpt
ff
1st Tpt
ff
4th Hn.
3rd Hn
2nd Hn.
Bar. Sax.
ff
T. Sax.
ff
2nd A. Sax.
ff
C. A.
2nd Bsn.
ff

ff

Xylo
(hard Sticks)
Picc.
45
1st Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.

Eb Cl.
2nd Cl.
3rd Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
Bar. Sax.
1st Hn.
4th Hn.
open
Perc.1
Xyl.
ff
mf
mf
ff
mf
3
3
3

mute 3
3
3
3
3

mf
mf
3 3 3
mf
mf
mf
3 3 3
3 3 3
ff
ff
mf
mf
mf
ff
f C.C.
ff
mf
ff
mf
ff
ff

mf
mute 3
ff
3 3 3
ff
S.C.
ff
mf
mf
3
3 3

mf
ff
3
3
3

mf
mf
6
6
6

6
6
6
6
f
cue
6
3
3
3
3

mf
mf
3
3
3
3

mf
3
3

Perc. 1
Timp.
Bar.
Hp.
3
B. Tbn.
Pno.
2nd Tbn.
D.B.
2nd Cor.

Tba
open

1st Cor.
open
open
1st Tbn.
open
3rd Tpt
2nd Tpt
1st Tpt
3rd Hn
2nd Hn.
T. Sax.
2nd A. Sax.
Alto Cl.
1st Cl.
2nd Fl.
mf 3

Picc.
53
"Hannibal in Spain"
q = 60
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
mf
mf
2nd Bsn.
56
rit.
mf
mf
mf
mf
Eb Cl.
3rd Cl.
Alto Cl.
1st Cl.
2nd Cl.
mf
Cb. Cl.
mf
mf
B. Cl.
1st A. Sax.
mf
59 q = 152
mf

mf
2nd A. Sax.
T. Sax.
Bar. Sax.
1st Hn.
6
6
3
3
1st Tpt
mf
open
open
mf
mf
mf

mf
harmon mute
Bar.
Tba
mf
mf
tutti
mf

mf
mf
mf
solo
2nd Tbn.
Xyl.
Perc. 1
mf
Perc.1
mute 3
Timp.
Hp.
open
mute 3
1st Tbn.
Pno.
1st Cor.
D.B.
mf
3rd Tpt
B. Tbn.
2nd Tpt
2nd Cor.
3rd Hn
4th Hn.
2nd Hn.
open
mf
Vibraphone (motor on)

castagnets
mf
10
Picc.
64
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.

2nd Bsn.
Eb Cl.
71

mf
mf
mf
mf
3rd Cl.
Alto Cl.
Cb. Cl.
1st A. Sax.
2nd A. Sax.
T. Sax.
Bar. Sax.
1st Hn.
Timp.
Perc.1
Perc. 1
Xyl.

mf
mf
harmon mute
mf
mp
mf
mf
mf
open

mp
mp
mp
pp
mf
mf
mf
open
mf
mf
mf
mf
open
mf
mp
mp
mp
mf
mf
mf
mf
mf
pp
cup mute
mf
mf
open
mf
pp
cup mute
open
cup mute

Tba
Hp.
Bar.
Pno.
2nd Tbn.
D.B.
1st Cor.
B. Tbn.
3rd Tpt
1st Tbn.
2nd Tpt
2nd Cor.
3rd Hn
1st Tpt
2nd Hn.
4th Hn.
mf
B. Cl.
2nd Cl.
1st Cl.
mp
mp
Xylo
11
Picc.
76
1st Fl.
2nd Fl.
mf
mf
mf
mf
2nd Tbn.
B. Tbn.

Bar.
mf
mf
mf
3

3

3
3

3 3
fp
mp
Floor Tom
mp
mf
mf
fp
mf
3 3
mf
p 3
S. C.
3 3
3 3

Tba
mf
3 3
mf
mf
3 3
mf
83
3 3
mf
mf
Xyl.
1st Tbn.
Perc. 1
1st Cor.
Perc.1
3rd Tpt
Timp.
2nd Tpt
Hp.
3rd Hn
Pno.
2nd Hn.
D.B.
mf
mf
T. Sax.
2nd Cor.
2nd A. Sax.
1st Tpt
B. Cl.
Alto Cl.
4th Hn.
3rd Cl.
1st Hn.
2nd Cl.
Bar. Sax.
1st Cl.
1st A. Sax.
1st Bsn.
Cb. Cl.
C. A.
Eb Cl.
2nd Ob.
2nd Bsn.
1st Ob.
12
3
Picc.
86
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
3rd Cl.
2nd A. Sax.
T. Sax.
3rd Tpt
3
3
3
3
3
3
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
mf
ff
ff
ff
ff
fz
fz

ff
ff
ff
3
3
3
3

3
3
ff
3
3
3
3
3
3
3
Tba
3
3
3
3
3
3
3
Bar.
3
3
3
3

div.
2nd Cor.
ff
div.
ff
3
3
3
3
3
3
3
3
3
ff
B. Tbn.
ff
ff
1st Cor.
2nd Tbn.
1st Tbn.
ff
ff

3
3
3
3
3

3
3
3

3
3
3
3
3
3

3
3rd Hn
2nd Tpt
2nd Hn.
1st Tpt
4th Hn.
Alto Cl.

3
3

B. Cl.

3
3

Cb. Cl.

1st Hn.
3
3

2nd Cl.
Bar. Sax.
1st Cl.
1st A. Sax.
Eb Cl.
1st Bsn.
2nd Bsn.
3
3
3
3
mf
mp
13
Picc.
1st Fl.
2nd Fl.
1st Ob.
str.mute

95
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
97
mf
mf
Alto Cl.
B. Cl.
fz
Cb. Cl.
fz
2nd A. Sax.
T. Sax.
1st A. Sax.
Bar. Sax.
1st Hn.

mf
p
3

mf
mf
mf
3
3
3

mf
euph solo
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3

3
3
3
3
3

3
3 3
mf
mf
mp
mp
mp
mf
3rd Tpt
mp
3
3

2nd Tpt
str. mute
f
str. mute
f
str. mute
mf
1st Cor.
3
3

3
3

2nd Tbn.
Bar.
mf
mf
3 3

B.D.
mf
mf
3
3
3
3
3
3
3
3

f
str. mute
3 3
mf
mf
3 3
mf
3 3
Xyl.
mf
f
str. mute

3 3 3 3 3 3
mf
3
3
3
3
3
3
3

6
3
3
3
3
3
3
solo
mf

mf
fz
str. mute
3
3

6
3
3
3
3
Perc. 1
fz
Perc.1
Timp.
Hp.
mf
Pno.
4th Hn.

D.B.
3rd Hn
Tba
B. Tbn.
1st Tbn.
3
3
3 3

2nd Hn.
2nd Cor.
mf
1st Tpt
3 3

3rd Cl.
mf
3
3
3
3
3
3
3
3

3
3
2nd Cl.
mf
fz
1st Cl.
str. mute
High Splash
Castagnets
3 3 3 3 3 3
middle Splash
3 3 3 3 3 3 3 3
14
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
106
1st Bsn.
2nd Bsn.
107
117
3
3
3
3

1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
Eb Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
2nd A. Sax.
T. Sax.
3
3
3
3

mf
Bar. Sax.
mf
Kadenza, freely
3
3
3
3
2nd Hn.
3rd Hn
4th Hn.
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Hn.
1st Tpt
1st Tbn.
2nd Tbn.
B. Tbn.
Bar.
Tba
D.B.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
3 3 3 3
mf
3
3
3
3
3

3 3 3 3 3
3 3
Pno.
mf
3
3 3
Kadenza, freely
3
3
3
3

3 3 3 3

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

15
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
118
124
q=172
3
3
3

3
3
3
mp
mf
3
3
3
mf
mp
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
Eb Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
2nd A. Sax.
T. Sax.
Bar. Sax.
acc.
slow
mf
mf

mp

mf
mf
mp
mf
3
3
3
mf
2nd Hn.
3rd Hn
4th Hn.
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Hn.
1st Tpt
mp

mf

mf
1st Tbn.
2nd Tbn.
B. Tbn.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
acc.
slow
mf
mp
pp
mp
Triangle
mp
mf
mf
mp
mp
3
3
3

3
3
3
3
3
mf
mf
3
3
mf
mp
mp
cresc.
mf
16
Picc.
131
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
mf 3
mf
B. Cl.
Cb. Cl.
1st A. Sax.
1st Hn.
1st Tpt
2nd Cor.
fp
Xyl.
Xylo
mf
sfz
mp
ff
ff
ff
ff
fp
ff
mp
ff
ff
mp
1st
3
3
3
3
3
3
3
2nd
ff
mp
f
3
mp
ff
3
3
3
3

3
3
fp
3
3
3
ff
fp
fp
ff
mp
ff
f 3
mf
3
3 3

3
mp
ff
fp
3
3
3
3
3
3
3
3
3
3
3

3
3
ff
ff
ff

mp
ff
3
3

3
3

ff
3
3

mp
ff
f

3
3

3
3
3
ff
ff
ff
sfz
ff
3
3
ff
Perc. 1
sfz

Bar.
Perc.1
ff

3
3
ff
ff 3
f
ff
fp
ff
open
Timp.
Hp.
open
Pno.
D.B.
open
3
3

3
Tba
3
3
3

3
3
3
3
3
3
mp
f
3
ff
3
3

mp
ff
3
3
3

3
3
3
fp
3
3
1st Tbn.
B Trb.
2nd Tbn.
ff
fp
1st Cor.
fp
3rd Tpt
2nd Tpt
ff
fp
ff
4th Hn.
3rd Hn
fp
2nd Hn.
T. Sax.
Bar. Sax.
ff
"The Hannibal-Theme"
fp
2nd A. Sax.
3
3
3
3
mf
Alto Cl.
3
3
3
3rd Cl.
2nd Cl.
137
Eb Cl.
1st Cl.
ff
mp
ff C.C.
ff
mp
3
3

3
ff
mp
ff
ff
mp
mf
mf
17
Picc.
141
1st Fl.
2nd Ob.
C. A.
Eb Cl.
mf
mf
mf
mf
B. Cl.
2nd A. Sax.
T. Sax.
mf
f
3
f
3
mf
3rd Hn
2nd Hn.
3
3
3
3
3
mf
3

p 3
3
3 3

3
3

3

3
3
3
3

Alto Cl.
1st Tpt
3rd Cl.
4th Hn.
1st Hn.
Bar. Sax.
2nd Cl.
1st A. Sax.
3
3

1st Cl.
Cb. Cl.

3

3

1st Bsn.
2nd Bsn.
mf
1st Ob.
mf
2nd Fl.
3

f
3
mf
3
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
2nd Tbn.
3
both

3

3

3

Bar.
B Trb.
Tba
D.B.
mf
Hp.
Timp.
Perc.1
Perc. 1
p 3
Xyl.
mf
mf
3
3
3
3
mf
B.D.
3

3
mf
mf
Pno.
18
153
Picc.
150
1st Fl.
2nd Fl.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
1st Ob.
3 3

Eb Cl.

ff
2nd Cl.
1st A. Sax.
1st Hn.
2nd Tbn.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
ff

3
3
3

3
3

3
3

3
3
3
3

3
3

3
3

3 3 3
3 3 3 3 3
3 3 3 3 3 3
f
3
3
3

3 3
3 3
3
3
3

Xylophone
ff
3
3

3
3
3

ff
3 3

ff
ff
3
3
3
3
3
3
ff
3
3
3
3
3
3

3
3

3
3

ff
3
3

ff
3
3
3
3

ff
ff
3
3
3
3

3
3

Glockenspiel
3
ff
3
3
3
3
ff
3
3
3

ff
3
3

3
3
3
3

ff
3
3
3
3

ff
3
3
3
ff
3
3
3
3
3

3
3
3
ff
3
3
3
3
3
3
3
ff
3
3
3
3
3
3
ff
3
3
3
Pno.
2nd Cor.
D.B.
3
3
3
ff
ff
ff
ff
Tba
159
3
3
3
ff
1st Cor.
Bar.
ff
3
3
ff
3
3
3
3
3
3
ff
3rd Tpt
B Trb.
3
3

3
3

ff
2nd Tpt
1st Tbn.
3
3
3
ff
3rd Hn
1st Tpt
2nd Hn.
4th Hn.
Bar. Sax.
T. Sax.
3
3
ff
2nd A. Sax.
ff
ff
Cb. Cl.
ff
ff
B. Cl.
3
3
3
ff
Alto Cl.
ff
1st Cl.
3rd Cl.
ff
ff
3
3
3
ff
Floor Tom
3
19
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
168
162
3rd Cl.
Alto Cl.
1st Cl.
2nd Cl.
Cb. Cl.
1st A. Sax.
Bar. Sax.
1st Hn.
2nd Hn.
3rd Hn
4th Hn.
1st Tpt
2nd Tpt
3rd Tpt
1st Tbn.
2nd Tbn.
B Trb.
D.B.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
mf
mf
mf
C.C.
mf
st. mute
st. mute
st. mute

3
3
fp
3 3
3 3
3

f
mf
fp
fp
mf
mf
mf
mf
mf
mf
3 3 3 3
3 3
3 3 3

f
mf 3
3

3
mf
mf

3
f
3
mf
3

3
3
3
3
mf
3 f
3

3
mf
mf
mf
mf
mf
3

mf
3

mf
3 3 3
Pno.
Bar.
Tba
mf
2nd Cor.

f
mf
3
3

mf
mf 3
mf
mf 3
f3
mf

f
mf

mf
mf
1st Cor.
mf
T. Sax.
2nd A. Sax.
B. Cl.
3

3
mf
mf

mf

mf
Eb Cl.
mf

3
f
mf

3
20
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
173
1st Bsn.
176
1st Cl.
2nd Cl.
3rd Cl.
2nd Bsn.
Eb Cl.
Alto Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
mf
mf
3
3

f
mute
mute
fp
mf
mf
mf
fp
mf
fp
mf
mf
fp
fp
3
3

3 3
3
3

ff
ff
ff
open
open
open
mf
Woodblock
mf
f
Floortom
Xylophone
mf
Glockenspiel
mf
fp
mf
f
mute
mute
mf
Tba
2nd Tbn.
Bar.
1st Cor.
B Trb.
mf
3rd Tpt
1st Tbn.
2nd Tpt
2nd Cor.
3rd Hn
1st Tpt
2nd Hn.
4th Hn.
T. Sax.
1st Hn.
2nd A. Sax.
Bar. Sax.
"Hannibal leads to the Alps"
21
188
Picc.
1st Ob.
2nd Ob.
184
1st Fl.
2nd Fl.
1st Bsn.
2nd Bsn.
2nd Cl.
3rd Cl.
3 3 3 3
3 3
3
3
3
3
3
3

3 3
3 3
3 3
3 3 3

3 3 3

mf
mf
3
3
3
3 3
3 3 3
3

3
3
f 3
f 3
3 3
3 3
3

2nd Tbn.
3
3
3 3 3

3
3

3
3
3
3

3
3

3
3

3 3
open
3
3
3
3
3
3
3
3 3
3
3
3
3 3
3 3 3
mf
3
3
3 3
cresc.
mf
3
cresc.
3

mf
cresc.
3

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

3 3
mf
mf
3 3 3 3
3
3
3
3
3

3
3 3 3 3

B.D.
3 3 3 3 3 3
3
3
3 3 3
3 3 3 3

3
f

3 3
3

3
3
3
3

3
3
3
f
open
3 3 3 3
3
3
3
3 3

3
3
3
1st Tbn.
f
open
mf
2nd Cor.
open
3
3

3 3 3 3

mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mf
mf
192
3
3
Xyl.
Perc. 1
Perc.1
1st Cor.
Timp.
mf
Hp.
mf
3rd Tpt
Pno.
2nd Tpt
D.B.
3rd Hn
Tba
2nd Hn.
Bar.
T. Sax.
B Trb.
2nd A. Sax.
1st Tpt
4th Hn.
Cb. Cl.
1st Hn.
Bar. Sax.
B. Cl.
1st A. Sax.
Alto Cl.
Eb Cl.
1st Cl.
mf
C. A.
22
Picc.
195
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
cresc.
mf
mf
cresc.
mf
cresc.
1st Hn.
3rd Tpt
1st Cor.
2nd Cor.
B Trb.
Bar.
Tba
D.B.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
ff

ff
ff
f
cresc.
cresc.
cresc.
cresc.
3
cresc.
mf
cresc.
mf
cresc.
cresc.
mf
cresc.
mf
ff
ff
3

3

mf
ff
ff
ff
ff
ff
mf
mf
ff
ff
ff
mf
ff
3
3
3
3
3
3

3
mf
ff
3
3
3
3

3
ff
ff
3
3
3
3
3
3

3
cresc.
3 3 3 3
mf
cresc.
ff
3 3
ff
ff
ff
3
3
ff
C.C.
cresc.
C.C.
ff
ff
ff
ff

ff

f 3
ff
f 3
ff
ff
3
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
3
3
3
3
3
3
3
cresc.
3
3
3
3
3
3
3
3
3
3
3
3
3

ff
ff
3
3
3
3
3
3
3

ff
ff

ff
ff

ff
ff
ff
mf
ff
mf
ff
3
3
3
3
3
cresc.
ff
3
3
3
3
mf
3
3
3

3
ff
ff
ff
3
3
3
3
3
3

3
ff
ff
ff
ff
mf
3 3
mf
ff
mf
3
3
3
3
3

mf
3
3
3

mf
ff
ff
f
cresc.
mf
mf
3
3
cresc.
mf
ff
Pno.
mf
2nd Tbn.
cresc.
2nd Tpt
mf
1st Tbn.
mf
3
3
3
3
3

3
3 3
mf
3
3
3
3
3
3
3
3rd Hn
1st Tpt
2nd Hn.
4th Hn.
T. Sax.
Bar. Sax.
ff
2nd A. Sax.
3
3
ff
3
1st A. Sax.
ff
Cb. Cl.
3 3 ff
ff
B. Cl.
poco a poco crescendo
f
3
3
3
3 3 3 3
Alto Cl.
ff
200
3rd Cl.
3 3
2nd Cl.
f
3
Eb Cl.
1st Cl.
3
3
ff
ff
23

Picc.
206
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
2nd Cl.
3rd Cl.
Alto Cl.
Cb. Cl.
1st A. Sax.

ff
ff
div.
3 3
both
3 3
Tam Tam
Glockenspiel
ff

Bar.

2nd Tbn.

1st Tbn.
1st Cor.
3rd Tpt
ff
2nd Tpt
Xyl.
Perc. 1
Perc.1
4th Hn.
Timp.
Hp.
Pno.
3rd Hn
D.B.
Tba
B Trb.
2nd Hn.
2nd Cor.
1st Tpt
T. Sax.
1st Hn.
2nd A. Sax.
Bar. Sax.
1st Cl.
B. Cl.
mf
24
Picc.
212
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
2nd Cl.
Cb. Cl.
1st A. Sax.

mp
3
3
3
mf
3

3
mf
mf
3

3
mf
3
3

3
3
mp
3
3

3
3

mp
3

3
mp
3
3

mp
mp
3 3

mp
3 3
3
3

3
3

3
3

mp
mp
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
2nd Tbn.
B Trb.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
3 3
mp
mp
3
3

3 3
p
mp
3 3
3
3

3
3

3
3

mp
mp
mp
3
3

mp
mp
mp
mp
mp
3
3
3

mp
mf
3
3

mp
3
3

3
3

mp
Bar. Sax.
1st Tpt
T. Sax.
4th Hn.
3rd Hn
2nd Hn.
1st Hn.
2nd A. Sax.
B. Cl.
Alto Cl.
3rd Cl.

Eb Cl.
1st Cl.
mp
Xylophone
3
3

3
3

mp
3
3

25
217
Picc.
calmando q =86
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
f-pp
2nd Cl.
f-pp
3rd Cl.
f-pp
Alto Cl.
Cb. Cl.
1st A. Sax.
f-pp
B. Cl.
mp
mp
Pno.
Timp.
Perc.1
Perc. 1
Xyl.
f-pp
f-pp
one, Cup mute

p
one, Cup mute
p
one, Cup mute
mp
open
mf
mf
open
mf
mf
open
mp
mute
mp
mp
mf
mute
open
mp
mute
mute
mp
mp
mf
mp
mf
mf
solo

mf
mp
mp

mp
mf
mp
pp
mf
mf
open

mf
mf
pp
p3
p 3
p 3
mf
pp
pp
mute
pp
mf
pp
mute
pp
pp
mute
mute
pp
mp
Hp.
pp
mp
D.B.

Bar.
Tba
mf
2nd Tbn.
B Trb.
1st Cor.
1st Tbn.
mp
f-pp
2nd Cor.
3rd Tpt
2nd Tpt
mf
f-pp
1st Tpt
pp
f-pp
4th Hn.
mp
3rd Hn
2nd Hn.
f-pp
1st Hn.
f-pp
Bar. Sax.
T. Sax.
2nd A. Sax.
226 "Crossing the Alps" q = 86
mp

mf
Vibraphone (motor off)
pp
Congas
mp
mf
mp
26
Picc.
1st Fl.
2nd Fl.
228
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
mf
Alto Cl.
B. Cl.

mf 3
T. Sax.
Bar. Sax.
mf
mf
mf

mf
p
mf
mf
mf
mf
mf
mp
mf
mf
mf
mf
mf
mf mp
mf
mf
mf
3

p
Solo
mf
mf
mf
mf
mf 3
mf
mf
mf
mf
mf 3
mf
mf
3
3
3

3
3
mf
mp
3
3
f
mf
mf
Xyl.
mf
1st Tbn.

3
mf

2nd Tbn.
Perc. 1
1st Cor.
Perc.1
3rd Tpt
Timp.
2nd Tpt
Hp.
234
3rd Hn
Pno.
mf
p
2nd Hn.
D.B.
mf
mf
Tba
mf
Bar.
B Trb.
mf 3
2nd Cor.
mf 3
1st Tpt
4th Hn.
1st Hn.
2nd A. Sax.

3
f
3
f

1st A. Sax.
mf
p

Cb. Cl.
mf 3
3rd Cl.
mf 3
2nd Cl.
mf
Eb Cl.
1st Cl.
mf 3

mf
p

3
mf 3

3
mf 3
mf
mf
Xylophone
mf
mp
27
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
236
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
B. Cl.
Cb. Cl.
mf
mf
p
3

p
mf
242
mf

mf

mf
Solo
2nd A. Sax.
T. Sax.
Bar. Sax.
1st A. Sax.
1st Hn.
2nd Hn.
3rd Hn
4th Hn.
1st Tpt
3rd Tpt
1st Cor.
mf
3
3

3
3
mf
mf
mf
3
3

3
3
3
3

mf
mf
mf
mf
str. mute
str. mute 3

str. mute

2nd Tpt
2nd Cor.
3
3
p3
str. mute 3
p
p3
3

3
1st Tbn.
2nd Tbn.
B Trb.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
p 3
mf
mf
mf mp
28

Picc.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
B. Cl.
245
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
p 3
p 3

p 3
p 3

p 3
3
3
3
3
mf
mf
mf
mf
mf
mf
mf
mf
mf
3
3
1st A. Sax.
Cb. Cl.
250
2nd A. Sax.
T. Sax.
Bar. Sax.
2nd Hn.
3rd Hn
1st Hn.
4th Hn.
1st Tpt
Str. mute

mf
2nd Tbn.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
mf
1st Cor.
D.B.
mf
Tba
3rd Tpt
Bar.
mf
mute
mf
B Trb.
mf
2nd Tpt
1st Tbn.

mute

mf
2nd Cor.
mute

mf
mute
mf
mf
3
p
Str. mute
3
p
Str. mute
mf
mf
mf
Xyl.
mf

mf
mf
29
Picc.
2nd Ob.
C. A.
255
1st Fl.
2nd Fl.
1st Ob.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
Cb. Cl.
mf
p
mf 3
mf
mf
mf
mf
mf
mf
mf
mf
B. Cl.
1st A. Sax.
mf
258
T. Sax.
Bar. Sax.
2nd Hn.
3rd Hn
4th Hn.
1st Tpt
p 3
mf

mf
mf
mf
mf
mf
mf
mf
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
2nd Tbn.
B Trb.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
Xyl.
mf
Perc. 1
mf
mf
mf
2nd A. Sax.
1st Hn.
mf
30
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
263
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
264
2nd Cl.
3rd Cl.
Alto Cl.
B. Cl.
Cb. Cl.

mf

mf
mf

1st A. Sax.
string. e cresc.
T. Sax.
Bar. Sax.
2nd Hn.
3rd Hn
4th Hn.
3

mf
mf
3
3
3
3
mf

mf
3
3
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
open
open
2nd Tbn.
open
B Trb.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
Xyl.
Perc. 1
1st Tbn.
1st Tpt
2nd A. Sax.
1st Hn.
f
Glockenspiel
31

Picc.
269
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
270
fp
fp
fp
fp
1st Bsn.
2nd Bsn.
Eb Cl.
2nd Cl.
fp
B. Cl.
fp
fp
T. Sax.
Bar. Sax.
1st Hn.
2nd Hn.
3rd Hn
4th Hn.
1st Tpt
fp
fp
ff
ff
ff
ff
ff

ff
ff
ff
ff
fp
ff
tutti

ff

ff
fp
ff
ff
fp
fp
ff
fp
fp
2nd A. Sax.
ff
fp
Alto Cl.
1st A. Sax.
3rd Cl.
Cb. Cl.

fp
fp
fp
1st Cl.
Con Fuoco q=144
fp
272
fp
ff
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
2nd Tbn.
B Trb.
Tba
D.B.
Hp.
Timp.
Perc.1
ff
fp
fp
ff
ff 3
ff
ff
ff
ff
fp
fp
fp
Xyl.
Perc. 1
Pno.
fp
Bar.
ff
fp
f
C.C.
f
Xylophone
ff
32
276
Picc.
ff 3
1st Fl.
2nd Fl.
1st Ob.
ff

ff
C. A.
1st Bsn.
1st Cl.
Cb. Cl.
ff
ff

4th Hn.
2nd Tpt
3rd Tpt
ff
3
3
ff
ff
1st Cor.
2nd Cor.
1st Tbn.
ff
2nd Tbn.
ff
B Trb.
Pno.
Hp.
Timp.
ff
ff

p
f
C.C.
fff
Xyl.

Perc.1
Perc. 1
D.B.
ff

Bar.

Tba
1st Tpt
3rd Hn

Bar. Sax.
2nd Hn.
1st Hn.
ff
T. Sax.
3rd Cl.
ff
2nd A. Sax.
1st A. Sax.
B. Cl.
2nd Cl.
Alto Cl.
ff
Eb Cl.
ff
2nd Bsn.
2nd Ob.
280 "Hannibal fights against Romanian Imperium"
Woodblock
33
290
1st Ob.
2nd Ob.
C. A.
283
Picc.
1st Fl.
2nd Fl.
1st Bsn.
Eb Cl.
1st Cl.
3rd Cl.
Alto Cl.
2nd Hn.
3rd Hn
4th Hn.
1st Tpt
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.

Bar.
Perc.1
Perc. 1
Xyl.
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf

mf
mf
mf
3
f p
mp
mf
mp3
mf
f 3
mf
mf
f 3

p
f
mf
mf
mf
mf
3
3
3
mp
f p
mf
mf
mf
f

p
mf
f
p
mf
f

p
f
Timp.
Hp.
p
f

Pno.
D.B.
Tba
B Trb.

1st Tbn.
2nd Tbn.
1st Hn.
Bar. Sax.
Cb. Cl.
T. Sax.
2nd A. Sax.
B. Cl.
1st A. Sax.
2nd Cl.
2nd Bsn.
mf
mf
34
296
Picc.
294
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
fp
fp

fp

fp
mf
3
3

3
f
3
mf
3

fp
2nd Hn.
3rd Hn
1st Hn.
4th Hn.
1st Tpt
fp
Perc.1
Perc. 1
Xyl.
fp

fff
fff
fff
fff
fff
Tambourin
3
3

3
f
3
fff

mf3
f 3
mf
mf
mf
mf
mf

p3

mf
mf
mf
3
3
3

fff
mf
fff
mf
mf
mf
mf
fff
fff
mf
mf
mf
fff
mf
fff
fff
mf
3
3

3
3
mf
fp
f
3
3
3
f
3

mf
fp
mf
Timp.

Tba

fp
Hp.
2nd Tbn.
Pno.
1st Tbn.
D.B.
1st Cor.
Bar.
3rd Tpt
B Trb.
2nd Tpt
2nd Cor.
fp
T. Sax.

3
f
3
mf
Bar. Sax.

2nd A. Sax.
fp
1st A. Sax.
mf
Cb. Cl.
B. Cl.
fp
f
3
3

Alto Cl.
fp
3rd Cl.
Eb Cl.
2nd Cl.
fp
1st Cl.
fp
2nd Bsn.
1st Bsn.
C. A.
fp
mf
mf
35
309
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
307
Picc.
2nd Bsn.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
2nd time only

2nd time only

fff
2nd time only
2nd time only
both times
both times
fff
both times
fff
fff
fff
fff
fff
fff
fff
fff
fff
both times
both times

fff
both times
fff
both times
fff
fff
both times
fff
both times

3
3
3
3
f
Xyl.
2nd Cor.
Perc. 1
2nd time only

Perc.1
1st Cor.
2nd time only

3rd Tpt
Timp.
2nd time only

Hp.
2nd time only

2nd Tpt
Pno.
legato
D.B.
Tba

Bar.
B Trb.
2nd Tbn.
1st Tbn.
3
3
3
3
legato

f
2ndtime only
Bar. Sax.
1st Tpt
3
3
3
3

1st A. Sax.
legato
Cb. Cl.
4th Hn.
3rd Hn
2nd Hn.
1st Hn.
legato
T. Sax.
2nd A. Sax.
3
legato

B. Cl.
Eb Cl.
1st Bsn.

f
3

3
f

36

Picc.
1st Fl.
316 1.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
2.

2nd Bsn.

1st Bsn.
1st Cl.
Eb Cl.
2nd Cl.
3rd Cl.
Alto Cl.
1st A. Sax.
2nd A. Sax.
T. Sax.
Bar. Sax.
1st Hn.
3rd Hn
4th Hn.
2nd Tpt
3rd Tpt

2nd Cor.
1st Cor.
1st Tbn.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
mp
mp

mp
mp
mp
div.

mp

Xyl.
Perc. 1
2nd Tbn.
B Trb.
2nd Hn.
1st Tpt

Cb. Cl.

B. Cl.
318
solo
ff
mf
f
mf

f-mf
Marimbaphone
mf

Xylophone
mf
37

Picc.
326
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.

2nd Bsn.

1st Bsn.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
Cb. Cl.

1st A. Sax.
B. Cl.
2nd A. Sax.
T. Sax.
Bar. Sax.
Cue Trumpet Solo
mp
hit with metal on your stand
p
p
p
p
mf
p
2nd Cor.
1st Tbn.
Tba
D.B.
Pno.
Hp.
Perc. 1
Xyl.
cup mute
cup mute
mp
hit with metal on your mute or stand

p

p
metal on your mute or stand

hitwith

mf
p
p
p
p
p
cup mute
Solo Stand up

Perc.1

Timp.
Bar.
p
B Trb.
2nd Tbn.
p
1st Cor.
3rd Tpt
2nd Tpt
1st Tpt
p
4th Hn.
3rd Hn
2nd Hn.
1st Hn.
Eb Cl.
333
38

Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
335
C. A.

2nd Bsn.

1st Bsn.
Eb Cl.
1st Cl.
mp
3rd Cl.
Alto Cl.
Cb. Cl.

1st A. Sax.

2nd Cl.
B. Cl.
2nd A. Sax.
T. Sax.
Bar. Sax.
2nd Hn.
3rd Hn
4th Hn.
1st Hn.
1st Tpt
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
Bar.
Tba
D.B.
Pno.
Hp.
Perc. 1
Xyl.
mp

Perc.1

Timp.
2nd Tbn.
B Trb.
39

Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
345
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
3rd Cl.
Alto Cl.
T. Sax.
2nd Hn.
3rd Hn
4th Hn.
2nd Tpt
3rd Tpt
1st Cor.
1st Tpt
2nd Cor.
mf
Bar.
mf
mf
mf
mf
Perc.1

Xyl.
mf
mf
Perc. 1
Timp.
mf
2nd Tbn.
Hp.
mf
Pno.
mf
mf
mf
D.B.
Tba
mf
1st Tbn.
B Trb.
mf
1st Hn.
2nd A. Sax.
Bar. Sax.
mf
mf
Cb. Cl.

1st A. Sax.
2nd Cl.
B. Cl.
rit.
354 Maestoso q=86
349
40

Picc.
355
1st Fl.
2nd Fl.
2nd Ob.
C. A.
1st Bsn.
Eb Cl.
1st Ob.
2nd Bsn.
Alto Cl.
mf
mf
mf
mf
mf
mf
1st Cor.
2nd Cor.
mf
mf
Timp.
Perc.1
Perc. 1
Xyl.
mf
mf
mf
mf
Hp.
mf
mf
mf
mf
Bar.
Pno.
mf
mf
mf
mf
mf
mf
mf
D.B.
3rd Hn
Tba
B Trb.
2nd Tbn.
1st Tbn.
3rd Tpt
2nd Tpt
1st Tpt
mf
2nd Hn.
4th Hn.
T. Sax.
2nd A. Sax.
1st Hn.
B. Cl.
3rd Cl.
2nd Cl.
Bar. Sax.
1st A. Sax.
1st Cl.
Cb. Cl.
mf
Tubular Bell
mf
41

Picc.
364
363
ff
1st Ob.
2nd Ob.
B. Cl.
Cb. Cl.
1st Fl.
2nd Fl.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
1st A. Sax.
2nd Hn.
3rd Hn
molto espressivo
molto espressivo
mp
mp
mf
mp
mf
molto espressivo

Bar. Sax.
1st Hn.
T. Sax.
molto espressivo
2nd A. Sax.
mp
mf
mp
mf
mf
B Trb.
Bar.

mp
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
mf
mf
mf
mf
Pno.
mf
Tba

D.B.
2nd Tbn.
1st Tbn.
2nd Cor.
ff
1st Cor.
1st Tpt
3rd Tpt
2nd Tpt
ff
mf
ff
mf
ff
ff

4th Hn.
mf
mf
S.C.
mf
42
"Hannibal near Roma" q = 168

Picc.
375
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
ff
mp
mp
mp
mp
ff
ff
ff
mp
mp
mp
mp
mp
mp
mp
mp
mp

mp

mp
ff
mf
mf
mf
mf
mp
mf
mp
mf
mp
mf
mp
mf
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mp
mf
mf
mp
mf
mp
mf
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
mp
mf
mp
mf
1st Cor.
ff
ff
ff
2nd Tbn.
ff
Tba
ff
div.
mp
mp
mp
mp

mf
mf

mf
mp
mp
div.
mp
mp
p
mp

p
mp

p
mp
mp
mp

mp

mp
mp
mf
mf

mp
mf

mp
mf

mp
mf
mf
mf

mp

mp
mp
mf

mp
mf
mf

mp
mf
mp
mp
mf

mp
mp
mf
mp
mf

mf
mp
mf
mf
mp
mf
mp
mf
mp
mf
mf

mf
mf

mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
mf
mf
mp
mp
mf
mf

mf
mp
mp
mf
mf
mp
mp
mf
mf
mf
mf
ff
3rd Tpt
mf
mf
mf
mf
ff
mf
mp
mf
2nd Tpt
mf
ff
mf
ff
mp
mf
mf
mf
mp

mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
mp

mf
mf
ff
mf
mp
ff
4th Hn.
mp
mp
mp
mf
mp
3rd Hn
ff
ff
2nd Hn.
Xyl.
Bar. Sax.
Perc. 1
T. Sax.
Perc.1
2nd A. Sax.
Timp.
Hp.
Cb. Cl.
Pno.
D.B.
Bar.
B. Cl.
B Trb.
1st Tbn.
Alto Cl.
2nd Cor.
mp
3rd Cl.
1st Tpt
2nd Cl.
1st Hn.
mp
1st Cl.
1st A. Sax.
2nd Bsn.
Eb Cl.
mf

mf
mf
mf
mf
mf
mf

mf
mf
mf

mf
43
399

Picc.
1st Ob.
2nd Ob.
390
1st Fl.
2nd Fl.
391 piu mosso
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
2nd Cl.
Alto Cl.
B. Cl.
Cb. Cl.
mp
mp
3rd Cl.
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mf
mp
mp
mp
mf
mf
4th Hn.
2nd Tpt
3rd Tpt

mf
mf
mp
mf
mf
mf

mp
mf
mp
mf
mf
mp
mp

mf
mf

mp

mf
mf
mp

mf
mp

mp
mf

mp
mf

mf
mp
mf
mf
mp
mf

mp
mf
mp
mf
mp
mf
mp
mf
mp
mp
mp
mf
mf
2nd Cor.
1st Tbn.
2nd Tbn.
B Trb.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
mp
mf
mp
mf
mp
mf
mp
mf
mf

mf
mf
mf
mf
mf

mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
f-p
f-p
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mp
mf
mf
mp
mf
mf
mf
f
mp
mf
f-p
mf
mf
mf
mf
mf
mf
mf
1st Cor.
mf
mf
mf
mf
mf
mf
mf
mf
mp
piu mosso
mp
mf
mf
mf
mp
mf
mf
mf
mf
mp
mp
mf
mf
mf
mf
mf

mp
mp
mp
mp
mp
mp
mp
mp

mp
1st Tpt
3rd Hn
2nd Hn.
1st Hn.
Bar. Sax.
T. Sax.

1st A. Sax.
2nd A. Sax.
mf
piu mosso
piu mosso
mf
mf
mf
Perc. 1
Xyl.
mf
mf
Glockenspiel
mf
mf

mf

mf
44
Picc.
2nd Fl.
1st Ob.
403
1st Fl.
2nd Ob.
C. A.
Eb Cl.
mf
mf
mf
mf
mf
mf
mf
Bar. Sax.
1st Hn.
1st Tpt
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
B Trb.
D.B.
Hp.
Timp.
ff
ff
ff
sfp
ff
sfp
ff
ff
ff
ff
sfp
ff
ff
ff
ff
ff
ff
ff
ff
mf
ff
Perc. 1
Xyl.
mf
ff
ff
ff
ff
sfp
ff
ff

ff
sfp
sfp
ff
ff
ff

sfp
ff
ff
ff
sfp
ff
sfp

ff
sfp
sfp
mf
ff
sfp
ff
sfp

sfp
ff

sfp
ff

ff
sfp
ff
sfp
ff
ff
mf
ff
ff
mf
ff
mf
ff
ff
ff
sfp
ff
mf
ff
ff
ff
mf
mf
ff
ff
sfp
sfp
ff
ff
sfp
sfp
ff
ff
ff
ff
sfp
mf
ff
ff
ff
sfp
ff
mf
ff
ff
sfp
ff
ff
mf

ff
sfp
ff
sfp
ff
sfp
ff
ff
ff

mf
mf
ff

p
ff
ff
mf
ff
ff
ff
sfp
ff
sfp
mf
ff
ff
Tubular Bells
ff
ff
ff
mf
ff
ff
sfp
mf
ff
ff
sfp
mf
ff
sfp
ff
ff
mf
ff
sfp
ff
ff
sfp
sfp
ff
ff
ff
ff
ff
sfp
ff
ff
sfp
ff

ff
ff
sfp
ff
ff
ff
sfp
ff
ff
ff
ff
ff
mf
ff
ff
ff
ff
sfp

ff
sfp
sfp
sfp
sfp

mf
ff
ff
ff
ff
mf
sfp
ff
ff
ff
ff
ff
ff
sfp
mf
ff
ff
sfp
ff
sfp
sfp
sfp
ff

ff
ff
ff
mf
ff
sfp
ff
ff
ff
mf
ff
ff
ff
sfp
ff
ff
mf
ff
sfp
ff
ff
ff
mf
ff
ff
ff
ff
sfp
ff
ff
ff
ff
ff
ff
sfp

p
ff
sfp

ff
ff
sfp
ff
mf
ff

ff
p
mf
ff
mf
mf
ff
mf
Perc.1
mf
ff
mf
mf
q. = 128 e=e
mf
Pno.

Bar.

Tba
ff

mf
2nd Tbn.
mf
ff
molto accel.

4th Hn.
mf
ff
3rd Hn
2nd Hn.
ff

mf

1st A. Sax.
T. Sax.
mf
2nd A. Sax.
ff
407
mf
B. Cl.
Alto Cl.
3rd Cl.
2nd Cl.
mf
mf
mf
1st Cl.
Cb. Cl.
1st Bsn.
2nd Bsn.
piu mosso
sfp
45

Picc.

412
1st Fl.
C. A.
Eb Cl.
ff
mf

mf
Bar. Sax.

ff
2nd Hn.
3rd Hn
4th Hn.
mf
ff
mf
ff
3rd Tpt
2nd Tpt
1st Tpt
T. Sax.
1st Hn.
2nd A. Sax.
B. Cl.
Alto Cl.
3rd Cl.
413 "the last Battle"
2nd Cl.
1st A. Sax.
1st Cl.
Cb. Cl.
1st Bsn.
2nd Bsn.
2nd Ob.
1st Ob.
2nd Fl.
1st Cor.
2nd Cor.
1st Tbn.
mf
2nd Tbn.
mf
ff
mf
ff
mf

Bar.

mf
Tba
D.B.
Pno.
Timp.
Perc.1
Perc. 1
Xyl.
ff
mf
Hp.
mf
mf
B Trb.
ff
Xylophone

ff
ff
f double bassdrum
46
421

Picc.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
Eb Cl.
429
1st Fl.
2nd Bsn.
2nd Cl.
Alto Cl.
2nd A. Sax.
T. Sax.
Bar. Sax.
B Trb.
Perc. 1
Perc.1
Timp.
Hp.
2nd Tbn.
Pno.

1st Tbn.
D.B.
Tba
Bar.
4th Hn.
2nd Cor.
1st Cor.
3rd Hn
3rd Tpt
2nd Tpt
2nd Hn.
1st Tpt
1st Hn.
1st A. Sax.
Cb. Cl.
B. Cl.
1st Cl.
3rd Cl.

Hihat
Xyl.
double bassdrum

47

Picc.
430
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
Cb. Cl.
B. Cl.

Bar. Sax.
2nd Hn.
3rd Hn
4th Hn.
1st Tpt
1st Hn.
T. Sax.
Alto Cl.
2nd A. Sax.
3rd Cl.
1st Cor.
2nd Cor.
2nd Tbn.
B Trb.
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp

fp

Perc.1

Timp.
fp
Hp.
fp
fp
fp
Pno.

Tba
D.B.
fp
fp
fp
3rd Tpt
2nd Tpt
Bar.
1st Tbn.
437
1st A. Sax.
2nd Cl.
Perc. 1
Xyl.
48
446

Picc.
439
1st Fl.
2nd Fl.

2nd Bsn.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
f 3
Eb Cl.
f 3
Cb. Cl.
4th Hn.
1st Tpt
f 3
2nd Hn.
2nd Tpt
3rd Tpt
Perc.1
Perc. 1
Xyl.

f 3
open
sfz
ff
ff
ff
mf
mf
3
3
3
3
3
3
3
3
3
3 3

3
3
3
3
3
3
3
f
f

3
3

3
3
3
mf
ff
3
ff
ff
ff
3
3
3
3
3

sfz
3
3
3
3
3

ff
ff
ff
f 3
3
3
3
3
3

ff
3
3
3
3

3
3

ff
f 3
3
3

3
3

Timp.

f

Bar.
B Trb.
Hp.

1st Tbn.
Pno.
2nd Cor.
D.B.
Tba
2nd Tbn.
1st Cor.
mf
3
3
3
3
3
3
3rd Hn
f 3
1st Hn.
mf
Bar. Sax.
ff
T. Sax.
mf
3

3
3
3 3

3
3
3
3
3
3
3
2nd A. Sax.
f 3

1st A. Sax.

f
3rd Cl.
B. Cl.
2nd Cl.
Alto Cl.
1st Cl.
mf
mf
3
f 3
f Triangel
sfz
Xylo3
3

mf
49
450
449
Picc.
fp
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
ff
ff
fp
ff
fp
fp
1st Bsn.
ff

ff
C. A.
ff
mp
mp
Eb Cl.
1st Cl.
fp
ff
fp
ff
2nd Cl.
fp
ff
1st A. Sax.
ff
ff
ff

3
ff
3

3
1st Hn.
2nd Hn.
ff
ff

ff

ff
3rd Hn
4th Hn.

3
fp
ff
2nd Cor.
ff
fp
fp
2nd Tbn.
mf
Timp.
Perc.1
Perc. 1
f
3 3
3
3

f
3
3
3
3
3

3
3

ff
C.C.
ff
3
3
mf
mf
3

Xyl.

ff
Xylo
ff
ff
ff
3
3
3

f 3
fp
mp
mp
mf
ff
3 3

3
3
3
mp
Hp.
mp
3
3
3

f
p

3

3
3
3

f
3
3
3
3

mf
3
3
3
3
3
Tba

3
f
Pno.
3
3
3

mf
3
3
3
3
3
3
3
3
3
3
3
3
3

Bar.

3
3
3
3
3
f
D.B.
mf
ff
3
3
3
ff
1st Tbn.
Btrb.
ff
fp
1st Cor.
3rd Tpt

ff
fp
2nd Tpt

ff
1st Tpt
Bar. Sax.
T. Sax.
2nd A. Sax.
B. Cl.
Cb. Cl.
ff
Alto Cl.
ff
3rd Cl.
mf
3
3
3
3
3
3
3
2nd Bsn.

3
3

3
3
3
3
3

3

3
mf
fp
mp
mf
mf
3
3
mf
mf
mf
3
3
3 3
3
mf
50
Picc.
459
1st Fl.
2nd Fl.

ff

ff
ff
2nd Ob.
C. A.
1st Ob.
1st Bsn.
2nd Bsn.
Eb Cl.
3
3
3
3

2nd Cl.
3rd Cl.
Alto Cl.
1st A. Sax.
T. Sax.
4th Hn.
1st Tpt
2nd Tpt
3rd Tpt
3
3
3
3
ff
ff
3
3

Bar.

ff
ff
ff
3
3
3
3

3
3
3
3
3
3
3
3
ff
ff
Xyl.
Perc. 1
Perc.1
Timp.
ff
Hp.
Pno.
D.B.
Tba
ff
ff
ff
ff
1st Tbn.
Btrb.
2nd Tbn.
2nd Cor.
1st Cor.
3rd Hn
2nd Hn.
3
3
1st Hn.
Bar. Sax.
2nd A. Sax.

3
3
f
3
3
Cb. Cl.

ff
ff
1st Cl.
B. Cl.
ff
ff
B.D.
Glockenspiel
51
468
q = 168
Sing (div.):
Picc.

Ha - ni-bal
Sing (div.):
1st Fl.

Ha - ni-bal
Sing (div.):
2nd Fl.

Sing (div.):

1st Ob.
2nd Bsn.
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
pp
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Sing (div.):
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Sing (div.):

Alto Cl.
Ha - ni - bal
B. Cl.
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Sing (div.):

Ha - ni - bal
Sing (div.):
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Sing (div.):
2nd A. Sax.
T. Sax.
Ha - ni - bal
Bar. Sax.
Ha - ni - bal
Sing (div.):

2nd Hn.
Ha - ni - bal
Sing (div.):

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
an - te por - tas!
an - te por - tas!
an - te por - tas!
Ha - ni - bal
an - te por - tas!
an - te por
- tas!
Ha - ni - bal
Btrb.
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
an - te portas!
Ha - ni - bal
an - te portas!
an - te por
-tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal

Ha - ni - bal
Ha - ni - bal

Ha - ni - bal

an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal

Ha - ni - bal
an - te por
-tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
an - te portas!
mp
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
mp
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
mp
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por
-tas!
Ha - ni - bal
Ha - ni - bal
an - te por
-tas!
Ha - ni - bal

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
mp
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Sing (div.):
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
an - te por - tas!
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
mp

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Sing (div.):
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Sing (div.):
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te portas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
mp
mf
hose (tuned b)
mp
hose (tuned e)
cresc. poco a poco
cresc. poco a poco
pp
cresc. poco a poco
cresc. poco a poco
mp
cresc. poco a poco
mp
Vibraphone (motor on)
Xyl.
Ha - ni - bal
Perc. 1
Ha - ni - bal
an - te por - tas!
Perc.1
Ha - ni - bal
Ha - ni - bal
Timp.
an - te portas!
Ha - ni - bal
pp
Hp.
Ha - ni - bal
Ha - ni - bal

Tba

Pno.

Bar.
D.B.
Ha - ni - bal
Sing (div.):
an - te por
- tas!
Ha - ni - bal
Sing (div.):
2nd Tbn.
an - te portas!

Ha - ni - bal

Sing (div.):

an - te por - tas!
Sing (div.):
2nd Cor.

1st Tbn.
Ha - ni - bal
Sing (div.):
1st Cor.
Ha - ni - bal
Sing (div.):

Ha - ni - bal
3rd Tpt
Ha - ni - bal
Ha - ni - bal
2nd Tpt
Ha - ni - bal
Ha - ni - bal
Sing (div.):
3rd Hn
1st Tpt
3rd Cl.
4th Hn.

Sing (div.):

2nd Cl.
1st Hn.
Ha - ni - bal
an - te por - tas!
Sing (div.):

Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Sing (div.):
1st Cl.

1st A. Sax.
an - te por - tas!
an - te por - tas!
Eb Cl.
Cb. Cl.
an - te por - tas!
Ha - ni - bal
1st Bsn.
Ha - ni - bal
Ha - ni - bal
Sing (div.):

C. A.
Ha - ni - bal
Ha - ni - bal
Sing (div.):

2nd Ob.
cresc. poco a poco
mf
52
Picc.
491
482
Ha - ni - bal
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
1st Bsn.
2nd Bsn.

Ha - ni - bal
1st Cl.

Eb Cl.
Ha - ni - bal
2nd Cl.
3rd Cl.
1st Hn.
1st Tpt
Tba
D.B.
Hp.
Timp.
Xyl.
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
an - te por - tas!
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
cresc. poco a poco
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
ff

ff
ff
ff
repeat freely
repeat freely
repeat freely
repeat freely
repeat freely
repeat freely
ff
ff
repeat freely
ff
Ha - ni - bal
Ha - ni - bal
repeat freely
Ha - ni - bal
ff
Ha - ni - bal
ff
Ha - ni - bal
Ha - ni - bal
ff
Ha - ni - bal
Ha - ni - bal
repeat freely
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
cresc. poco a poco
repeat freely
ff
repeat freely
ff
Ha - ni - bal
Ha - ni - bal
ff
Ha - ni - bal
Ha - ni - bal
repeat freely
Ha - ni - bal
mf
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
repeat freely
Ha - ni - bal
cresc. poco a poco
mf
cresc. poco a poco
mf
cresc. poco a poco
mf
cresc. poco a poco
mf
ff
cresc. poco a poco
mf
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
mf
Ha - ni - bal
an - te por - tas!
Ha - ni - bal
Ha - ni - bal
ff
Ha - ni - bal
repeat freely
Ha - ni - bal
Ha - ni - bal
repeat freely
Ha - ni - bal
Ha - ni - bal
repeat freely
Ha - ni - bal
Ha - ni - bal
repeat freely
Ha - ni - bal
ff
ff
Perc.1
Perc. 1
Ha - ni - bal
Pno.
2nd Tbn.
Bar.
an - te por - tas!
an - te por
- tas!
Ha - ni - bal
Btrb.
an - te por - tas!
Ha - ni - bal
1st Tbn.
Ha - ni - bal
Ha - ni - bal
Ha - ni - bal
2nd Cor.
Ha - ni - bal
an - te por - tas!
1st Cor.
Ha - ni - bal
an - te por - tas!
3rd Tpt
Ha - ni - bal
2nd Tpt
Ha - ni - bal
Ha - ni - bal
mf
Ha - ni - bal
4th Hn.
cresc. poco a poco
3rd Hn
Ha - ni - bal
Ha - ni - bal
an - te por - tas!
2nd Hn.
Ha - ni - bal
Bar. Sax.
Ha - ni - bal
repeat freely
Ha - ni - bal
T. Sax.
2nd A. Sax.
Ha - ni - bal
Cb. Cl.
1st A. Sax.
Ha - ni - bal
Ha - ni - bal
B. Cl.
an - te por - tas!
mf
poco a poco

cresc.
Alto Cl.
Ha - ni - bal
Ha - ni - bal
poco a poco accelerando
an - te por - tas!
cresc. poco a poco
cresc. poco a poco
ff
Tam
Tam
fff

ff
ff
Anvil (two hammers)
ff
53
Picc.
497
496
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
"Hannibal loses"
2nd Cl.
3rd Cl.
Alto Cl.
Cb. Cl.
1st A. Sax.
2nd A. Sax.
T. Sax.
Bar. Sax.
1st Hn.
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
mf
mf
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.
fff
fff
fff
Xylophone
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
mf
fff
fff
mf
Bar.
Tba
1st Tbn.
fff
fff
Btrb.
2nd Tbn.
fff
fff
fff
fff
1st Tpt
3rd Hn
mf
mf
fff
mf
2nd Hn.
4th Hn.
fff
1st Cl.
B. Cl.
fff
mf
fff
Eb Cl.
fff
54
501
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
2nd Cl.
3rd Cl.
Alto Cl.
B. Cl.
Cb. Cl.
T. Sax.
Bar. Sax.
1st Hn.
3rd Hn
4th Hn.
dim.
dim.
dim.
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tbn.
2nd Tbn.
Btrb.
Bar.
Tba
D.B.
Marimba
3

Xyl.

dim.
dim.
dim.
Perc. 1

C.C.

Perc.1
Timp.
Hp.
Pno.
dim.
dim.
2nd Hn.
1st Tpt

1st A. Sax.
2nd A. Sax.
3
3
molto ritardando
1st Cl.
503
Picc.
55

Picc.
"Hannibal poisons himself"
507 cantabile q = 64
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
2nd Bsn.
Eb Cl.
1st Bsn.
pp
Solo
1st Cl.
mf
2nd Cl.
Alto Cl.
B. Cl.
mp
mp3
mp3
mp3
poco a poco cresc.
poco a poco cresc.
poco a poco cresc.

1st A. Sax.
10
3
3
3
3
3
3
3
3
3
3
3
3

3rd Cl.
Cb. Cl.
515

poco a poco cresc.
2nd A. Sax.
T. Sax.
Bar. Sax.
1st Hn.
3rd Hn
4th Hn.
1st Tpt
cup mute
poco a poco cresc.
open
open
open
poco a poco cresc.
poco a poco cresc.
poco a poco cresc.
cup mute
cup mute
Xyl.
Perc. 1
Perc.1
Timp.
Hp.
pp
Pno.
Tba

D.B.
2nd Tbn.
Bar.
1st Cor.
Btrb.
3rd Tpt
1st Tbn.
2nd Tpt
2nd Cor.
2nd Hn.
mp
mp
mp
mp
mp
mp
mute
3
3
3
3

3
mf
poco a poco cresc.
poco a poco cresc.
S.C.
mf
Glockenspiel

mp3
56
Picc.
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
521
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
poco a poco cresc.
3rd Cl.
B. Cl.
4th Hn.
1st Tpt
D.B.
Pno.
Hp.
Timp.
Xyl.
poco a poco cresc.
poco a poco cresc.
poco a poco cresc.
poco a poco cresc.
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp
open
fp
fp
fp
fp
fp
f
fp
fp
fp
fp
fp
fp
B.D.
mp
mp
fp
mp
fp
fp
mp
fp
fp
fp
poco a poco cresc.
fp
fp
fp
mp
mf
mp
mf
mp
3
3
fp
fp
fp
fp
fp
poco a poco cresc.
fp
Perc.1
Perc. 1
poco a poco cresc.
Tba
poco a poco cresc.
2nd Tbn.
Bar.
1st Cor.
Btrb.
3rd Tpt
1st Tbn.
poco a poco cresc.
2nd Tpt
2nd Cor.
3rd Hn
fp
2nd Hn.
1st A. Sax.
T. Sax.
2nd A. Sax.
Alto Cl.
1st Hn.
fp
poco a poco cresc.
Bar. Sax.
2nd Cl.
Cb. Cl.
527
mp
fp
fp
mp
mp
mf
mp
mf
soft sticks
57
541
Picc.
537
mf
cresc.
mf
cresc.
1st Bsn.
2nd Bsn.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
Eb Cl.
1st Cl.
mf
3rd Cl.
Alto Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
cresc.
mf
cresc.
mf

mf
mf
cresc.
mf
cresc.
mf
cresc.
cresc.
cresc.
cresc.
mf
3rd Hn
mf
cresc.
mf
cresc.
mf
mf
cresc.
tutti

2nd Hn.
4th Hn.
mf
T. Sax.
1st Hn.
2nd A. Sax.
Bar. Sax.
2nd Cl.
1st Fl.
cresc.
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
1st Tpt
1st Tbn.
mf
cresc.
2nd Tbn.
mf
cresc.
Btrb.
Bar.
Tba
D.B.
Pno.
Hp.
Timp.
Perc.1
Perc. 1
Xyl.

mf

mp

mf
cresc.

mf
cresc.
cresc.

mp
mf
cresc.
cresc.
S.D.

mf
Floor Tom
mf
Xylophone
58
550

Picc.
546
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
2nd Tpt
3rd Tpt
1st Cor.
2nd Cor.
mf
mf
mf
Perc.1
Perc. 1

Bar.
4th Hn.
Xyl.
3rd Hn
Timp.
Hp.
2nd Hn.
Pno.
D.B.
1st A. Sax.

Tba
Btrb.
2nd Tbn.
1st Tbn.
1st Tpt
Alto Cl.
1st Hn.
Bar. Sax.
3rd Cl.
T. Sax.
2nd A. Sax.
2nd Cl.
Cb. Cl.
B. Cl.
Marciale q = 120
1st Cl.
ff
3 3 3
3 3 3
mf
59
accelerando
2nd Fl.
1st Ob.
552
Picc.
ff
play
ff
ff
1st Fl.
sing (very loud!)
Ha
sing (very loud!)
C. A.
Ha
1st Bsn.
2nd Bsn.
Eb Cl.
Alto Cl.
tas!
por
tas!
por
tas!
sing (very loud!)

ni
Ha
sing
(very loud!)
ni
ni
ni
al
te
ba
ba
ba
ba
an
al
an
al
an
te
al
an
te
al
por
te
te
por
tas!
ni
Ha
sing (very loud!)
ni
Ha
sing (very loud!)
ni
sing (very loud!)

ni
Ha
sing (very loud!)
ni
Ha
sing (very loud!)
ni
3rd Tpt
Ha
ni
sing (very loud!)
Ha
sing (very loud!)
ni
Ha
ni
ba
ba
ba
ba
ba
ba
ba
te
an
an
te
al
an
te
al
an
al
al
al
an
al
an
al
ba
ba
2nd Tbn.
al
an
al
an
ff
te
por
ba
ba
ba
ni
Ha
sing
(very loud!)
ni
Ha
ni
an
al
an
te
al
an
te
al
an
te
al
por
al
an
te
por
tas!
Ha
sing (very loud!)
ni
ba
al
an
te
por
tas!
Ha
ni
ba
al
an
sing (very loud!)
ba
al
an
ba
al
an
ba
al
an
ba
al
an
por
por
por
tas!
tas!
tas!
tas!
tas!
Ha
sing (very loud!)
ni
Ha
sing (very loud!)
ni
Ha
ni
sing (very loud!)
Ha
sing (very loud!)
ni
Ha
ni
ff
ba
ff
tas!
por
tas!
te
por
tas!
te
por
tas!
te
por
tas!
te
por
tas!
te
por
tas!
te
por
tas!
por
tas!
ff
an
al
tas!
tas!
ba
3 3 3
3 3 3
3 3 3
3
Perc. 1
ba
ni
Perc.1
sing (very loud!)
Ha
sing (very loud!)
ni
tas!
Ha
por
por
Glockenspiel
te
Xyl.
an
al

Timp.

tas!
te
ba
por
an
tas!
al
por
sing (very loud!)
te
tas!
por
ni
por
Hp.
te
al
te
ba
an
Ha
sing (very loud!)
an
play
al
tas!
por
te
ba
te
ba
por
te
ni
Pno.
Ha
ff
te

Tba
D.B.
te
an
3
Btrb.

Bar.
ni
Ha
sing (very loud!)
1st Tbn.
3
Ha
sing (very loud!)
tas!
por
(very loud!)
sing
tas!
tas!
por
ni
Ha
sing
(very loud!)
Ha
sing (very loud!)
sing (very loud!)
2nd Tpt
2nd Cor.
an
por
Ha
1st Cor.
te
4th Hn.
1st Tpt
al
an
Bar. Sax.
3rd Hn
an
2nd Hn.
al
Cb. Cl.
1st Hn.
ba
T. Sax.
Ha
2nd A. Sax.
ba
B. Cl.
1st A. Sax.
ni
ba
te
Ha
sing (very loud!)
3rd Cl.
sing (very loud!)
sing (very loud!)
2nd Cl.
ni
Ha
1st Cl.
ni
Ha
sing
(very loud!)

2nd Ob.
ff
3
3
3 3 3
3 3 3
3 3 3
3

ff
60
561 "destruction of Karthageno" q =144
560
Picc.
ff

2nd Fl.
1st Ob.
ff
ff

C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
2nd Cl.
3rd Cl.
Alto Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
T. Sax.
1st Hn.
ff
ff
ff
1st Cor.
2nd Cor.
D.B.
ff
ff
ff
ff

ff
ff
ff
ff
ff
ff
ff

ff
ff
ff
ff
ff

ff
ff
3
3
ff
ff
ff
ff

ff
ff
ff
ff
ff
ff
sim.

ff
3
3
ff

ff
ff
ff
ff

ff
ff
ff
ff
ff
ff
sim.
ff
sim.

ff

ff
ff

Perc.1
3
3
3

Perc. 1

ff
ff
Timp.
Xyl.
ff
Hp.
Pno.

Bar.
Tba
sim.
ff
sim.
ff
ff
ff
ff
Btrb.
ff
2nd Tbn.
sim.
3rd Tpt
ff

ff

2nd Tpt
ff
sim.

sim.
ff
ff
1st Tbn.
1st Tpt
ff
ff
3rd Hn
4th Hn.
ff
2nd Hn.
ff

2nd A. Sax.
Bar. Sax.
ff
1st Fl.
2nd Ob.
61
569
573

Picc.

1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
1st Bsn.
2nd Bsn.
Eb Cl.
1st Cl.
2nd Cl.
3rd Cl.
B. Cl.
Cb. Cl.
1st A. Sax.
2nd A. Sax.
T. Sax.
3rd Hn
4th Hn.
3rd Tpt
ff
mf
mf
3
3
mf
mf
mf
mf
mf
Xylophone
mf
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3

mf
3 3 3

3 3 3

Perc. 1
Perc.1
mf

Timp.

mf

3
3
3
3
3
3
3
3
3
3
3
3
mf

Tba

Xyl.
ff
ff
Hp.
Pno.
3
3
3
3
3
3
3

D.B.
Bar.
2nd Tpt
Btrb.
2nd Tbn.
1st Tbn.
2nd Cor.
1st Cor.
1st Tpt
2nd Hn.
3
3
3
3

Bar. Sax.
1st Hn.
Alto Cl.
mf
62

Picc.
577
1st Fl.
2nd Ob.
2nd Bsn.
Eb Cl.
1st Bsn.
B. Cl.
Cb. Cl.
fff
ff
fff mp
fff mp
ff
ff
mf
ff
mp
mf
mp
fff
fff
mp
mf
mf

Bar.
mp
mf
mf
mf
ff
fff mp
mf
ff
fff mp
mf
ff
fff
ff
fff
ff
mp
ff
fff mp
mf
ff
fff
ff
fff
ff
fff
ff
ff
ff
ff
fff
fff
fff
mp
ff
fff
ff
fff
mp
mf
mf
ff
mf
ff
mp
mf
mf
mp
mf
ff
mp
mf
ff
mp
mp
mf

Tba
mp
mp

mp
mf
mf
mf
mf
mf
mp
mf
ff
fff mp
mf
mp
mf
ff
fff mp
mf

f
fff
ff
f

mp
f
ff
mf
mp
mf
Perc. 1
Perc.1
Xyl.
ff
Timp.
mp
1st Tbn.
Hp.
fff
Pno.
ff
ff
D.B.
Btrb.
fff
2nd Tbn.
ff
ff
2nd Cor.
fff
1st Cor.
ff
4th Hn.
3rd Tpt
2nd Tpt

mp
f
1st Tpt
fff
mp
3rd Hn
ff
ff
Bar. Sax.
2nd Hn.
fff
1st Hn.
ff
T. Sax.
mf
2nd A. Sax.
mf
mf
mp
1st A. Sax.
mp
Alto Cl.
mp
3rd Cl.
mp
2nd Cl.
1st Cl.
C. A.
1st Ob.
2nd Fl.
mp
mp
mp
mf
mf
mf
ff
mp
ff
mp
ff
mp
ff
fff
mf
mf
mf
63

Picc.
585
1st Fl.
1st Ob.
C. A.
2nd Bsn.
Eb Cl.
B. Cl.
Cb. Cl.
ff

ff
ff
Alto Cl.
ff
3rd Cl.
fff
ff
ff
fff
fff
fff
ff
1st Hn.
2nd Hn.
4th Hn.
1st Tpt
Bar.
Tba
D.B.
Hp.
Timp.
Perc. 1
Perc.1

Xyl.
fff
fff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff

ff
f

ff
fff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
fff
fff
ff
fff
fff
fff
fff
ff
ff
ff

ff
ff
ff
ff
ff
ff
fff
fff
ff
fff
fff

ff
f

ff
ff
fff
fff
ff
fff
ff
ff
ff
ff

ff
f
ff
ff
ff
fff
ff
ff
Pno.
ff

1st Tbn.
2nd Tbn.
ff
ff
ff
fff
ff
Btrb.
ff
1st Cor.
ff
3rd Tpt
2nd Tpt
2nd Cor.
ff
ff
ff
ff
ff
fff
3rd Hn
ff
fff
ff
ff

ff
f

ff

ff
Bar. Sax.
T. Sax.

1st A. Sax.

2nd A. Sax.
fff
fff
2nd Cl.
ff
1st Cl.
ff
fff
fff
ff
fff
ff
fff
f
1st Bsn.
ff
2nd Ob.
ff
ff
2nd Fl.
ff
64
Picc.
ff
ff
1st Fl.
2nd Fl.
1st Ob.
2nd Ob.
C. A.
ff

ff

ff
ff
2nd Bsn.
ff
ff
ff

1st Cl.
Eb Cl.
ff

ff
3rd Cl.
ff
Alto Cl.
ff
T. Sax.
ff
Bar. Sax.
ff
1st Hn.
ff
2nd Hn.
ff
3rd Hn
ff
4th Hn.
ff
1st Tpt
ff
2nd Tpt
ff
3rd Tpt
ff
ff
ff
2nd Tbn.
Btrb.
ff
ff
D.B.
Pno.
ff
Hp.

ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
.
l i ss
ff
ff
iss.
gl
gliss.
s.
glis
ss
gli
ss.
gli
s
gli
s.
glis
s.
ff
ff
Tremolo (2-23)
Tremolo (2-13)
ss.
gli
3 3
3 3
3 3
ff
fff
fff
fff
fff
fff
fff
fff
fff
ff
ff
ff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
ff
fff
ff
fff
ff
fff
fff
fff
gliss.
fff
Tremolo (2-23)
fff
Tremolo (2-23)
fff
Tremolo (2-23)
fff
ff
ff
fff
ff
ff
fff
fff
ff
fff
ff
ff
ff
ff
ff
s.
glis
.
ss
gli
ff
ff
ff
ff
ff
ff
fff
fff
fff
ff
ff
Xyl.
ff
p
ff

Perc.1

ff
Perc. 1
ff
ff

Timp.
ff
ff
p
ff

ff
ff

Tba
ff
ff
ff
Bar.
ff
2nd Cor.
ff
1st Tbn.
ff

ff
1st Cor.
ff
ff
2nd A. Sax.

1st A. Sax.
ff
ff
Cb. Cl.

ff
ff

ff
B. Cl.
molto rit.
1st Bsn.
2nd Cl.
Lento q=80
590
ff
ff
ffp
Tamtam
ff
fff
ffp
fff
fff
fff
fff

Hannibal WB

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D

HANNIBAL Mario Brki

Jugend und spanisches Kommando

2008 Copyright by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach, SWITZERLAND

HANNIBAL Mario Brki

2008 Copyright by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach, SWITZERLAND

2nd Alto Saxophone

1st Alto Saxophone

2009 by musikverlag frank, Schulhausstrasse 22, CH-4528 Zuchwil (Switzerland)

Xylo (Soft sticks)

Vibraphone (motor on)

"Hannibal leads to the Alps"

poco a poco crescendo

one, Cup mute

226 "Crossing the Alps" q = 86

Vibraphone (motor off)

Con Fuoco q=144

280 "Hannibal fights against Romanian Imperium"

2nd time only

2nd time only

2nd time only

2nd time only

2nd time only

2nd time only

2nd time only

2nd time only

Cue Trumpet Solo

hit with metal on your stand

hit with metal on your mute or stand

hit with metal on your mute or stand

metal on your mute or stand

hit with metal on your mute or stand

hit with metal on your mute or stand

hit with metal on your mute or stand

hit with metal on your mute or stand

hit with metal on your stand

hit with metal on your stand

hit with metal on your stand

hit with metal on your stand

354 Maestoso q=86

"Hannibal near Roma" q = 168

391 piu mosso

413 "the last Battle"

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

poco a poco accelerando

cresc. poco a poco

cresc. poco a poco

Anvil (two hammers)

"Hannibal poisons himself"

poco a poco cresc.

poco a poco cresc.