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David
d Brucce

GUM
G MBBO
OOT
TS
for Claarinet (B
Bass Clarrinet) an
nd String Quarttet

l
(sccore)

sa
ru
Pe

RED
E BALL
LOON MUSIC
 Program Note
There is a paradox in music, and indeed all art, that life-enriching works have been produced, even inspired,
by conditions of tragedy, brutality and oppression. A famous example is Messiaens Quartet for the End of
Time, written while he was imprisoned in a prisoner of war camp. Gumboot dancing bears this trait. It was
born out of the brutal labour conditions in South Africa under Apartheid, in which black miners were
chained together and wore gumboots (wellington boots) while they worked in the ooded gold mines
because it was cheaper for the owners to supply the boots than to drain the oodwater from the mine.
Slapping the boots and chains was used by the workers as a form of communication, which was otherwise
banned in the mine, and this later developed into a form of dance, characterized by a huge vitality and zest
for life. For me this is a striking example of how something beautiful and life-enhancing can come out of
something far more negative. Of course this paradox has a far simpler explanationthe resilience of the
human spirit.

My Gumboots is in two parts of roughly equal length: the rst is tender and slow, at times yearning, at

l
times seemingly expressing a kind of tranquillity and inner peace. The second is a complete contrast,
consisting of ve, ever-more-lively gumboot dances; often joyful and always vital.

sa
Although there are some African music inuences in the music, I dont see the piece as being specically
about the gumboot dancers. If anything, it could be seen as an abstract celebration of the rejuvenating
power of dance, moving as it does from introspection to celebration. I would like to think, however, that the
emotional journey of the piece, specically the contrast between the two parts, will force the listener to
conjecture some kind of external meaning to the music. The tenderness of the rst part should haunt us
as we enjoy the bustle of the second. That bustle should force us to question or re-evaluate the tranquillity of
the rst part. But to impose a meaning beyond that would be stepping on dangerous ground. The fact is you
will choose your own meaning, hear your own story, whether I want you to or not.
ru
DAVID BRUCE

Performance Note
It is important that Part feels like an almost continuous single movement. Therefore, the gaps between the
individual dances should be as short as possible (without feeling rushed!). They should not feel like the
breaks between movements, the eect should rather be something more like a wedding band that has to
quickly start the next number to avoid losing the attention of the crowd.
Pe

Gumboots was commissioned by the Carnegie Hall Corporation for

Todd Palmer and the St. Lawrence String Quartet.

The premiere performance was given at Zankel Hall, Carnegie Hall, on October ,
Todd Palmer, clarinet, and the St. Lawrence String Quartet.
 GUMBOOTS
Part 1 David Bruce
Like two players playing the same melody at the same time,
but each with subtly different style, sense of embellishment, etc.

Sparingly use an exaggerated, slow vibrato throughout introduction.
h. = 50



in Bb
Bass Clarinet

(Clarinet in Bb) pp very tender, with great melancholy, all grace notes are very fast folk-like grace notes
like a distant harmonica the note written should be fingered, but the actual pitch

of the grace-note should not be allowed to speak fully.

Violin I

Violin II

poco vib., molto sul tasto sempre

0



0

0

Viola

l

pp very wispy and distant throughout the introduction 3


Violoncello

Bs. Cl.

Va.

9

in Bb

sa

0



0

rall.

II

ru


together in gesture, but not precisely together


19

Bs. Cl.
in Bb

poco accel.



0

Va.

3 3 3 3
ostinato figures sempre legato,
unless marked otherwise.
Pe

Poco meno mosso

lunga

28

Bs. Cl.
in Bb
ppp (echo)

Va.
3 3 3 ppp (echo)

rall.

accel.

33

in Bb
Bs. Cl.

keep grace notes fast



0

Va.
3 ppp 3 3 3 3 3 3 3

Copyright 2008 by Red Balloon Music

2

A
A tempo h. = 50
37

Bs. Cl.
in Bb

pp p

Vn. I
pp p

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Vn. II
pp

3 3

3 3 3 3

Va.

3 3 3 3 3 3 3 3 3 3
pp




Vc.

pp

l



Bs. Cl.

Vn. I

Vn. II
44

in Bb

3

3
sa

3
p

III
II
3

3

3

3 3 3

3
ru

Va.

sempre legato

Vc.

50

Pe

Bs. Cl.
in Bb

p mp

III

0
3 3 3 3 3 3 3


Vn. I

mp

3 3 3 3 3 3 3 3 3

3 3 3
Vn. II

p mp
3 3 3

Va.

poco p

Vc.

p
 3

56

in Bb
Bs. Cl.

3 3 3 3 3 3 3

Vn. I

3 3 3 3 3 3

Vn. II

pp
p
3 3 3 3 3 3 3 3 3

Va.
mf

Vc.

l
poco

Vn. I

Vn. II

in Bb
Bs. Cl.
61

3
sa 3

3 3

ru
3 3 3 3

sempre legato

Va.
p

Vc.



p

Pe

66

in Bb
Bs. Cl.

3 3 3 3 3 3

Vn. I

3 3 3 3 3 3

Vn. II

Va.



Vc.

4

70

in Bb
Bs. Cl.

Vn. I

sim.
III II III II

3 3 3 3

3 3 3

3
Vn. II
3

non legato

3 3 3 3 3 3
Va.

Vc.

l

in Bb
Bs. Cl.

Vn. I

Vn. II
75

sa
sim.

3
3

3
3 3 3

3 3

legato
3 3 3 3 3 3
III II III

3
non legato
II

3 3
3

3 3

sempre legato
3

0 3

3 3
ru
legato

3 3 3 3 3 3
Va.

Vc.

81

in Bb

Pe

Bs. Cl.

3 3 3 3 3 3 3 3 3


Vn. I

f
3 3 3 3 3 3

3 3 3

Vn. II
legato

Va.

Vc.
 5

86




Bs. Cl.
in Bb

3 3 3

3 3
3

Vn. I
3 3 3 3

3 3 3 33 3 3

Vn. II

Va.

Vc.

l
h = 100

sa
91

in Bb

cross-fade with Vn. I
Bs. Cl.

sfz ppp

cross-fade with clarinet irregular, active

senza vib., imitating a viol tremolo

freely, quasi-cadenza, colla parte

3

0


0 0 0 0 0

Vn. I

ppp p 3 3 5 5 p

irregular, active tremolo senza vib., imitating a viol.

freely, quasi-cadenza, colla parte,


ru
Vn. II

pp f 3

sfz p



Va.
ppp




Pe

Vc.

mfpp

99

Vn. I
cresc. in and out of the texture, ad lib.

3
3 3

5 0 0

0 0

0 0

Vn. II

3

5

Va.



Vc.

6

105 E

in Bb
Bs. Cl.

Vn. I

p

Vn. II
p
senza vib., imitating a viol.

freely, quasi-cadenza, colla parte

5 5

Va.
mf 3 3 5

Vc.

l
p

sa
pochiss. rall.

109 pochiss.

in Bb
Bs. Cl.

mf

pochiss.


mf
Vn. I
pp cresc. poco a poco, non troppo

pochiss.

Vn. II
p

ru
cresc. poco a poco, non troppo

pochiss.

5

Va.

pochiss.

Vc.







poco a poco cresc, non troppo
Pe

Tempo primo h = 50

F


114

in Bb


Bs. Cl.


f full, expressive, use lip vib.

ff

Vn. I

mf

Vn. II
mf


Va.

mf

Vc.



mf

(emphasize
the D)

7




126


Bs. Cl.

in Bb
f

3 3 3 3 3 3 3 3 3

Vn. I

legato

3 3 3 3 3 3


Vn. II

legato

Va.

Vc.

l

132

Bs. Cl.
in Bb

Vn. I

Vn. II

sa

3 3 3 3 3 3 3 3

3

ff

ff legato

mp

mp

ru
Va.
ff 3 3

mp legato

Vc.
mp
ff

139 G


ossia; it is preferred that this passage be played on bass clarinet, if possible.
Cl.

in Bb

Pe

Bs. Cl.
in Bb

f
3 3 3 3 3 3

3 3 3 3 3 3

Vn. I

mf legato
inwardly intense
3 3 3 3 3 3

3 3 3 3 3 3


Vn. II

mf

legato, inwardly intense


3 3 3
Va.

mf
inwardly intense



Vc.

mf
inwardly intense

8
145



(ossia:)
Cl.


in Bb

Bs. Cl.
in Bb



3 3 3



3 3 3

Vn. I

3 3 3 3 3 3 legato
3 3 3 0 3 3 3

Vn. II
legato

3 3 3
Va.

Vc.

l

151 H


Cl.

sa
in Bb

ff

Bs. Cl.
in Bb

ff


Vn. I

legato 3 3 3

Vn. II
mf
ru
3
inwardly intense

3 3

3 3 3
Va.

mf

inwardly intense

3 3 3

Vc.

mf
mp

Cl.
inwardly intense

I


156

Pe

in Bb

molto

Bs. Cl.
in Bb

molto

Vn. I


molto

Vn. II



molto



Va.


molto




III

IV

3 3 3
Vc.
molto
 Poco meno mosso
9
165
h. = ca. 44

(ossia:)







Cl.

in Bb
ff molto vibrato (lip), intense, full of yearning

Bs. Cl.

in Bb

ff molto vibrato (lip), intense, full of yearning




Vn. I

ff ff

Vn. II

ff f ff




Va.

ff ff





Vc.

l

ff ff
176

sa


Cl.

in Bb

ff

Bs. Cl.
in Bb

ff


Vn. I

f





Vn. II

f


ru



Va.

Vc.

185

Cl.

in Bb

Pe

Bs. Cl.


in Bb

Vn. I

ff f

Vn. II


ff f

Va.

ff f

III

Vc.

ff f
10

h = 100



195 J


Vn. I

mf


Vn. II

mf

Va.
mf colla parte, freely, senza vib., viol-like
0

0


0 0

Vc.
5
mf 3 3 3 5 3

201

Vn. I

mp dim.

l


Vn. II

Va.

Vc.

206

mp

mf`

mp
0

3
answering cello
3

sa dim.
colla parte, freely, quite relaxed

dim.

3
ru

Vn. I
p

poco

Vn. II
p

poco

Va.

p p dolciss.

taking over as solo, from viola, not rushed

Pe

Vc.

3 3 p dolciss.
p

212

Vn. I
pp

Vn. II
pp

0
0
Va.

5 3 3

Vc.
pp

11

217




Vn. I

dim.

Vn. II

dim.




Va.
pp

dim.


pp distant

Vc.

p becoming fainter 3 3
224

Vn. I

ppp

Vn. II

ppp

l



Va.

Vc.

Vn. I

Vn. II

Va.

230

ppp

sa

ppp dolciss.

ru


Vc.
ppp like an echo 3 3
dolciss.

*
K
237 Tranquillo h = 76

*
Vn. I

Vn. II
Pe

sul tasto, tenuto

always use open strings where poss.

Va.

*

pppp

emerging from nothing, becoming only a little more than nothing

Vc.

242

Vn. I

Vn. II


Va.

pp
* Hold (if necessary) for viola (page turn spot in part).
12

246 Clarinet

in Bb
Cl.

ppp

Vn. I

Vn. II

Va.

swell like on a viol

Vc.

ppp

250

in Bb
Cl.

sa
Vn. I

pp dolciss.

Vn. II

pp dolciss.



Va.

255

in Bb
Cl.
ru
ppp

Vn. I

Vn. II


Va.


Pe

Vc.

ppp

259

Cl.

in Bb

Vn. I
pp

Vn. II

pp

Va.


 13

263 L

Cl.
in Bb

ppp

0 col legno battuto

0

Vn. I
pp

l.h pizz.: tap both strings with a flat finger of the left hand
Vn. II

Va.

Vc.

ppp

267 like an echo

in Bb

l

Cl.

Vn. I

Va.

Cl.

in Bb
271

sa
ppp

fast but relaxed, still echo-tone

7 7 7

ru


Vn. I

Vn. II

p

Va.

Pe

Vc.

fast as possible,
before the beat

274

Cl.
in Bb

Vn. I

Vn. II

Va.

14

278 M

in Bb


Cl.

II

3 sim.
III IV
3 3 3
3
3



III

Vn. I

pp



Vn. II

Va.

II



III II











Vc.
pp

l
Vn. I

Vn. II

in Bb
Cl.
282

sa 3

pp

as before

0
col legno battuto
ru

Va.

III
II
pizz.


Vc.

Pe

N

286

in Bb


Cl.

Vn. I

Vn. II

Va.


Vc.

 15

290

in Bb


Cl.





Vn. I


4 4

Vn. II















p

Va.

IV
Vc.

pp

l

Cl.
in Bb

Vn. I

Vn. II

293

sa

mf

ru


Va.


IV

Vc.

(tap finger on fingerboard)

Pe

296

Cl.

in Bb

poco

pp

II

tremolo
prestissimo
Vn. I
ppp
4

Vn. II

Va.

Vc.
16

300 O

Cl.
in Bb
pp


Vn. I

Vn. II

pp

Va.

pp

Vc.

l

306

in Bb

sa

Cl.



mf pp

Vn. I

(not harmonic)

Vn. II ppp
ru

Va.

IV

IV





Vc.

pp

instead of a traditional flutter tongue,


articulate tktk as fast as possible.

312

Pe

Cl.
in Bb

ppp
poco
poco

III

Vn. I

Vn. II

Va.




ppp





Vc.

ppp
 17

Part 2
Dance 1. Angry, with attitude

short,spikey, with military precision

q = 108
320

Vn. I

mf
ff

short,spikey, with military precision

Vn. II


ff


short,spikey, with military precision



Va.

ff

pizz arco pizz arco pizz
Vc.

l
ff

Cl.
in Bb

Vn. I

Vn. II

325

sa

f
grace notes always before the beat

ff

ru





Va.

arco pizz * arco pizz

Vc.

Pe

329 A

in Bb




Cl.

pizz * arco


Vn. I




pizz * arco


Vn. II

mf

pizz *

arco

Va.

arco

pizz arco pizz

Vc.

* dont articulate the note in parentheses

18

333

in Bb





Cl.

arco

pizz

Vn. I



ff

Vn. II

ff

pizz


arco


Va.

pizz

pizz


arco arco


Vc.

l

337

Cl.
in Bb

Vn. I

Vn. II

pizz
sa

pizz

arco

ff

ru

arco


Va.

pizz

pizz

arco

arco


Vc.

341 3

B 3 3 3 3 3 3


Pe

Cl.
in Bb
mf flippantly 3 3 3

arco

pizz





Vn. I

ff

mf

arco


Vn. II

mf

pizz

arco

Va.

arco
pizz mf

arco



Vc.

mf
 19

3 3
346


3 3


Cl.

in Bb
3 3 3
3 3

ff sub. agressivo mf sub.

Vn. I


p ff mf sub.

agressivo

Vn. II

p ff mf sub. p

agressivo
Va.


p ff mf

agressivo sub.




Vc.

ff
mf sub.
D

351 C Agressivo

l
in Bb

Cl.

Vn. I

Vn. II

ff
ff

ff

sa

0
ff

ff

ff

ru




Va.

ff
p ff


arco

Vc.

p ff

ff
359
E
in Bb


Cl.

Pe

fff shrill


mp

3 3 3 3




Vn. I



p ff f

Vn. II

0
p ff ( ff )





Va.

( ff )

p ff

pizz

Vc.

p ff ff
20

365

in Bb


Cl.

p ff mf

3
agressivo

3 3 3

3 3



Vn. I

3 3 3 3
f
ff sub. agressivo





Vn. II

p ff

agressivo

Va.

p ff
agressivo




Vc.

l

369

in Bb

3

sa
6



Cl.
3
3
f

3 3

3

Vn. I
3
3

Vn. II


0

0

ru
0

Va.
3 3

Vc.

F

373

3

in Bb
5 3 flz.

Cl.

3

Pe

3 3 p

poco

Vn. I

mf intense




Vn. II




mf intense






Va.
5
3 3 3
3
mf intense

arco

Vc.

mf intense
 21

378

in Bb
flz. flz.

Cl.

p mf
poco

Vn. I

mf



Vn. II

mf

Va.

l
f
mf

Vc.

sa



mf

ru

383 G

in Bb

Cl.

ff

Vn. I

Pe

ff
arco


pizz.


Vn. II


ff


arco
pizz.

Va.

ff

pizz.

Vc.

ff

22

387

in Bb




Cl.

pizz.

arco



Vn. I

arco arco

pizz. pizz.


Vn. II


arco
pizz. pizz.

l
arco

Va.

Vc.

sa

ru
390



in Bb


Cl.

Vn. I

Pe

pizz. arco

Vn. II



pizz.



arco

Va.

IV
gliss.

Vc.

attacca
(if possible)
 23

Dance 2. Presto q = 208

0
393 (l.h.pizz.)

Vn. I
pp mf

pizz.
0
arco

Vn. II
sffz mf

pizz.

pizz.
Va.
sffz mf

pizz.


Vc.
mf

sa
400arco

Vn. I
pp mf

pizz.
0
arco

Vn. II
sffz mf



Va.
sffz mf

ru



Vc.
mf
f

407


5 5

5 5


5


Cl.

in Bb

ff

Pe

arco

Vn. I
pp
pizz. pizz.
0
0

Vn. II
sffz sffz

Va.
f sffz

Vc.

f
24

412

in Bb

5 5 5 5



Cl.

Vn. I

arco

5 5

Vn. II

p poco mf

dark, rich

arco

5 5
Va.

p poco mf
dark, rich

arco




5

5
Vc.

l
p poco mf
dark, rich

418

in Bb

sa
5

Cl.

Vn. I
pizz.





0
5 5 5

Vn. II

mf poco sffz

pizz.

5 5 5
ru
Va.

mf sffz

poco

5

5


Vc.
5
mf poco sffz

H

424

in Bb

Cl.
Pe

5 5 5
mf

arco
Vn. I
mf pp

pizz.
arco

0

Vn. II
mf sffz


pizz.

Va.

mf
f

pizz.

Vc.

mf
f
 25

431

in Bb

5 5


Cl.

5 5 5

Vn. I
pizz.


0

Vn. II
sffz

pizz.

arco

5
Va.
mp f

arco

pizz.

Vc.

5
mp f

l

437 I

sa
5 5

Cl.
in Bb

Vn. I

arco

5 5 5 5

Vn. II

p cantabile

mf

arco

5 5 5

ru
Va.
5
mf p cantabile

arco





5

5


Vc.
5 5
mf
p cantabile

443

in Bb

Pe

Cl.
5 5
p 5 5

pizz.

Vn. I
sul pont. f



5


Vn. II
7 7
5
molto f mf like silver
p sub.


5 pizz.

Va.

molto f p sub. f




pizz.

Vc.


5
molto f p sub. f

26


449


Cl.
in Bb 5 5

(l.h. pizz.)

arco arco



Vn. I

(arco) sfz sul pont.

ord.
5

p
Vn. II
7 7
molto f mf like silver
p sub.

5
arco


Va.

p molto f
p sub.

arco

Vc.
5

l
molto f p sub.
p

sa
455

in Bb

5 5 5 5


5


Cl.

5


pizz. arco

Vn. I
f sfz

ord.
5 5
Vn. II

5 5

f mf f

pizz. arco

5

ru
Va.

5 5

mf f

f



pizz.


arco

Vc.
5 5 5
mf f
f

461 5

in Bb
J

5 5

Cl.

Pe

5
p

Vn. I
5 5

p f

3

5 5 5




Vn. II
5 5
5
p f





5

5 5 3
Va.

5 5
p f

5 5 5

3
Vc.
5 f
p
 27




468

5 3 5 5

Cl.

in Bb
5
p sub. p
f

f




Vn. I

5 3 5 5 5 5

p sub. f


5



Vn. II
5 3 5 5 p
p sub. f


I

Va.

5 3 5 p

p sub. 5


f


Vc.

l
5 5 5
f

sa

476



3 5 5 5

5


Cl.

in Bb
p

f

Vn. I
5 3 pp
p

f

5


Vn. II

5 3 5 5
ru
p

f mf

mf molto ff


Va.


5 3 5 5 5

f p mf

mf molto ff

Vc.


5 3 5
f p mf

482 K

in Bb
Pe

Cl.

mf
5 5

Vn. I


5 5 5 5 sensuous, in foregroud

Vn. II

mf

5 5 5 5 pizz.
Va.

f non troppo

5 5 5 pizz.
Vc.
5
pp
28

487

in Bb
Cl.

5 5 5 5 5
5 5

Vn. I



Vn. II

Va.

Vc.

l
Vn. I
5
in Bb
Cl.
492

Vn. II

sa
mf


5

5

5

5 5

5
ru

Va.


Vc.

Pe

497

5

Cl.

in Bb 5 5
5
5 5
5 mf
f

Vn. I

3 3
Vn. II



cresc.

Va.

3

3


Vc.
 29

502

Cl.

in Bb
5 5
5 5 5 5

5
f

Vn. I




Vn. II

Va.




Vc.

Vn. I

Vn. II
507

in Bb
Cl.

5
f

5 5

sa

5


ru
Va.

3


Vc.

3 3 3

L




512

in Bb

Pe

Cl.
5

5 5
5 5 5 5

5 f

Vn. I


5 5 5

Vn. II 5


f
5 5

arco


Va.

f
5 5 5

Vc.
3
3
30
stringendo al fine





518

in Bb
Cl.
5 5 5 5 5 5

pi f

5 5 5 5

Vn. I

5 5 5

pi f



5
5

Vn. II



5 5

pi f






5 5 5
Va.
5 5 5 5

pi f
arco





5

5

l
Vc.
5

Cl.

Vn. I

Vn. II

in Bb
525

(string.)

sa

5
5

ff

ff

5

ru

5 5 5

ff




5 5 5


Va.
5 5 5 5
ff





5

5
Vc.
5

Pe

(string.)
532

in Bb
5 5 5 5

Cl.

5





5


5

Vn. I
5 5

5

5 5 5

Vn. II

5 5

Va.

5 5

5

5 5


Vc.
5 5 5
 31

Dance 3. q. = 144





s.
glis

540


Cl.
in Bb
f

Vn. I

f

Vn. II

f


Va.


f

l

Vc.

Cl.

Vn. I

in Bb

Vn. II
546

sa

ru




Va.

Vc.

Pe

551

in Bb

Cl.

Vn. I

Vn. II






Va.

Vc.
32



M

557

in Bb
Cl.

ff




Vn. I

ff 3


pizz.

Vn. II

Va.

Vc.

l


562




in Bb

sa
Cl.

pizz.

Vn. I
3




arco

Vn. II

ff 3

ru



Va.

Vc.

567


in Bb
Pe

Cl.

Vn. I

Vn. II










Va.

Vc.


 33


571

in Bb
gliss.

Cl.

Vn. I

pizz.

Vn. II






pizz.



Va.

pizz.


3 3


Vc.

f
3 3

l


N

576


Cl.

sa
in Bb

arco


Vn. I

f

arco




Vn. II
f


arco



Va.

ru
f

arco





Vc.

581

in Bb
Cl.
Pe

mf f







Vn. I
f

mf

Vn. II


3
3 f
mf






Va.
f
mf




Vc.
mf f
34








586

in Bb
Cl.

Vn. I

Vn. II
3
3

Va.

Vc.

l
Vn. I

Vn. II

in Bb
Cl.
591

sa
O

ru


5


Va.

f
comically dying

Vc.


f

597

Pe

in Bb
Cl.








Vn. I




Vn. II

Va.

Vc.


 35



602

in Bb


Cl.

Vn. I


Vn. II

















Va.

Vc.

l


Cl.

Vn. I

Vn. II
607

in Bb

sa

pizz.

ru


5 5 5


Va.

pizz

Vc.

612

in Bb
Pe

Cl.

arco




Vn. I

Vn. II

Va.

arco


Vc.






36

618 Q With growing intensity to the end

in Bb

Cl.

p f

Vn. I

p f




Vn. II


p f








Va.

p f






Vc.

p f

l


622

in Bb
Cl.

Vn. I

Vn. II


p

sa

pi f

pi f

mf

mf

mf

ru



Va.

p f pi f mf





Vc.

p f pi f mf

627

in Bb


Pe

Cl.

ff




pizz.

Vn. I

ff






Vn. II

ff

5
Va.


ff





pizz.




Vc.

ff

37

R

631

Cl.


in Bb

arco

Vn. I
ff
mf





Vn. II
ff

mf

Va.

mf ff


arco

Vc.

l
mf ff

Cl.

Vn. I

Vn. II

in Bb
635

sa

ru







Va.

Vc.

639

Pe

in Bb


Cl.

Vn. I









Vn. II





Va.

Vc.
38

Dance 4. Light and joyful q. = 144

643

Vn. I
p

Vn. II

p

pull off l.h. to strike the two open strings





pizz.


Va.

f

pizz.


gliss. gliss. gliss. gliss.
Vc.

l




650

Cl.
in Bb

Vn. I

Vn. II

Va.

sa
mp light hearted

ru






gliss. gliss. gliss.
Vc.

656

in Bb


Cl.



Pe

Vn. I





Vn. II

mf




Va.

gliss.

gliss. gliss.
Vc.
 39

662

in Bb
Cl.


f




Vn. I

Vn. II







Va.

gliss. gliss.
Vc.

l




667 S

in Bb

sa
Cl.






prominent, but always under the clarinet

Vn. I
mf

prominent, but always under the clarinet

Vn. II
mf





ru


Va.

gliss. gliss. gliss.
Vc.

672

in Bb




Pe

Cl.

Vn. I

Vn. II

Va.

gliss. gliss.
Vc.
40

677

in Bb


Cl.

Vn. I






Vn. II

Va.

Vc.

gliss. gliss. gliss.

l



682

in Bb

sa
Cl.

Vn. I

Vn. II







Va.

ru




Vc. gliss. gliss.

687 T

in Bb
4
4 4 4 4
4

Cl.

Pe

ff

Vn. I


mf
pizz.

Vn. II

mf
r.h. should deaden the open string immediately after the first pizz

before playing the second pizz. on the open string normally

II

III 0
sim.


Va.

f ff
sfz sfz sfz arco

0 0
pull off l.h. to strike (ossia:



arco
pizz. pizz. the open string arco pizz. pizz.) pizz.
0
arco

Vc.

ff sfz sfz sfz

 41






694

Cl.

in Bb

ff 4 4 4
4
4
p ff p

pizz.

Vn. I
ff

Vn. II

ff

Va.
ff




arco

pizz.

Vc.

l
sfz sfz sfz ff

Vn. I

in Bb
Cl.
701

sa
sfz sfz

sfz

3
p sub.

ff

q. = q

ru
Vn. II

sfz sfz sfz

Va.

sfz sfz sfz

IV

III

Vc.
Pe

sfz sfz sfz sfz sfz

sfz

707 U Relaxed q = 96

in Bb


Cl.

arco
0 0
Vn. I
f

arco

Vn. II

p
pull off on to open string
0





Vc.

mf sim.
(damp)
42

712

in Bb


Cl.

ff



0 0 0

Vn. I

fp

Vn. II






Vc.

l

717

in Bb

Cl.

Vn. I

Vn. II

sa

fp

ru





Vc.

722

in Bb


Cl.

Pe

p




Vn. I

f p

mp
Vn. II



arco

Va.

mp







Vc.


43

727 *

Cl.

in Bb

f






Vn. I

f

Vn. II



f

Va.

f






Vc.

l

f

731

in Bb
Cl.

Vn. I

Vn. II

sa

ru

Va.



Vc.







q = q.


735


in Bb

Pe

Cl.

Vn. I

IV


Vn. II gliss.

IV
gliss.
Va.

Vc.

* The main theme alternates between Clarinet and Vn. I
44
q. = 144


Driving on

739 V

Vn. I



mp

Vn. II




mp



Va.

pull off to open string

0





Vc.

746

in Bb
Cl.


f 3 3 3 3 3 3

3 3

Vn. I

l
Vn. II


0

sa
pizz.


Va.

0

f

Vc.

751

in Bb
Cl.
3 3

3 3 3 3 3 3 3 3 3


3 3 3

ru
Vn. I

Vn. II

0




Va.

0




Vc.

Pe

756

in Bb


Cl. 3
3 3 3 3 3
3 3 3 3 3 3

3 3

Vn. I




Vn. II

0 0




Va.

0 0





Vc.

 45


3
761

Cl.


in Bb

3 3 3
3



ff



Vn. I

Vn. II

p



arco



Va.

mf

Vc.

sa
766


4
Cl.



in Bb

sfz sfz sfz

Vn. I

sfz sfz sfz p

Vn. II

p


sfz sfz sfz


ru

Va.


f mf




Vc.

sfz sfz sfz

4
771

in Bb
Cl.


Pe

pizz.



Vn. I

sfz sfz

sfz
sim.
0 0
pizz.

ff 4
Vn. II

sfz sfz
4 4 4 4
like a clucking chicken

sfz

pizz.



ff
Va.

sfz sfz sfz

Vc.

sfz sfz sfz

 omit, if
46
( )

necessary
778 W (Stesso tempo)

in Bb

4
Cl.



sfz sfz
sfz f

Vn. I

0

arco

Vn. II

4
4

p


arco

Va.

p sub.
f pull off on to open string

0





Vc.

l
sfz sfz sfz mf sim.

Cl.
in Bb

Vn. I

Vn. II
783

sa

arco

0
0

ru

Va.

0



Vc.

788

in Bb

Pe

Cl.

ff




Vn. I
fp fp

Vn. II



Va.

0




Vc.

 47

793 X




Cl.

in Bb

gliss.
Vn. I
f

Vn. II




Va.

0





Vc.

l




797

sa

*


Cl.

in Bb

Vn. I

mf

Vn. II

mf

ru
Va.


mf

Vc.

801

in Bb

Pe

Cl.

Vn. I

Vn. II





Va.

Vc.

* notes in parentheses may be omitted.
48


805

in Bb
Cl.

f






Vn. I

mf

f


mf

Vn. II







Va.



Vc.


mf

l







809

in Bb

Cl.

Vn. I

Vn. II

mf

sa

mf

ru
Va.

ff





Vc.

ossia: legato

813

in Bb
Pe

Cl.

f
sim.

Vn. I

Vn. II

f




Va.

f



Vc.

f
 49

817
in Bb
Cl.

Vn. I

Vn. II












Va.

Vc.

l


Cl.

Vn. I

Vn. II
821

in Bb

sa

ru

Va.








Vc.

825

in Bb


Pe

Cl.












Vn. I

Vn. II










Va.






Vc.
50
Dance 5. Jubilante e = 132








829
Cl.


in Bb


ff





Vn. I

ff












Vn. II

ff


Va.







ff

l

Vc.

Vn. I

in Bb
Cl.

835

ff

sa

f really bring out all accents

f really bring out all accents

ru




Vn. II

f really bring out all accents





Va.

f really bring out all accents

Vc.


Pe

840


in Bb
Cl.

Vn. I

Vn. II



Va.

 51

Y

845


in Bb
Cl.

Vn. I

pi f

Vn. II


pi f

Va.


pi f

Vc.

mp sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz f

l




849

in Bb

sa
*
Cl.









Vn. I

Vn. II

ru
Va.

pizz., very driven,



like a jazz slap bass


Vc.

sfz sfz sfz sfz sfz sfz sfz sfz

ff
mp
sfz

853

Pe

Cl.
in Bb
ff

Vn. I
3 3
ff



Vn. II

ff



Va.

ff

Vc.

* quasi-tremolo: start from the written E and trill both the 2 fingers of the r.h and the 3rd
finger of the l.h. randomly and crazily to produce something like the pitches shown.
52

857

in Bb
Cl.

3 3 3 3

Vn. I

Vn. II

Va.

l





(pizz.)


Vc.

Vn. I

Vn. II

861

*0

sa

sul G


ff

ff

0

0

sul G

sul G

ru
Va.
ff con fuoco

865

in Bb









Cl.

Pe

Vn. I

f
mf sub.

Vn. II






mf sub. f








Va.

mf sub. f

arco

Vc.

f
mp f

* Very quickly, before the beat; the 1 of the dance must not be held up!
 53

AA
870


Cl.
in Bb
mp

Vn. I

mp sfz sfzsfz

Vn. II
mp sfz sfzsfz




Va.

mp sfz sfzsfz

pizz.


Vc.

l
mp

Cl.
in Bb

Vn. I

Vn. II
874

sa

4
ru
f




Va.


ff




Vc.

ff

BB
Pe

878

in Bb
Cl.
f f




Vn. I
ff





Vn. II

ff







Va.

Vc.
54



CC

883

in Bb
Cl.
mp

pizz.
Vn. I 3
3 sfz sfz sfz mp

Vn. II

sfzsfz sfz mp

Va.

sfz sfz sfz

(pizz.)

mp
Vc.

l
Vn. I

Vn. II

887

in Bb
Cl.

sa

arco, sul pont.

ord.

pizz.

ru

sul pont.

ord.

Va.
mp

Vc.

DD


891

in Bb

Pe

Cl.
mf

Vn. I
f mf

arco, sul pont.

ord.



Vn. II

f mf

sul pont.


ord.
Va.
f

mf




arco
Vc.
f mf sfz sfz
sfz
 55






895




Cl.
in Bb

cresc. poco a poco


Vn. I
cresc. poco a poco







Vn. II

cresc. poco a poco








Va.

cresc. poco a poco

Vc.

l
sfz sfz sfz sfz sfz sfz sfz sfz f sfz mp sfz sfz
cresc. poco a poco

Cl.
in Bb

Vn. I

Vn. II


899

(cresc.)

(cresc.)


(cresc.)
3

sa

ff

ff
3

3
ru
ff







Va.

(cresc.) ff

pizz.


Vc.

(cresc.) sfz sfz sfz sfz sfz sfz ff

Pe

903

in Bb
Cl.
3 3 3 3 3 3

Vn. I



Vn. II








Va.

Vc.

56
EE






907

in Bb
Cl.
ff





Vn. I

ff

Vn. II

ff

Va.

ff

arco

l

(pizz.)



Vc.

Cl.
in Bb

Vn. I

911

sa

ff

ff

ru

Vn. II

Va.

Vc.




Pe

916

in Bb
Cl.

f

Vn. I
f



cresc.

Vn. II
cresc.
f

Va.

f cresc.

Vc.

f cresc.
 57




920

in Bb
Cl.
3 3
3 3

Vn. I




Vn. II

Va.

Vc.

l



FF

sa
924

in Bb
Cl.


ff

Vn. I



ff




Vn. II
ff

ru

Va.
ff








Vc.

ff

Pe

928

in Bb
Cl.

Vn. I


Vn. II


Va.

Vc.
58




quasi tremolo, as before
932


in Bb
Cl.

ff


bring out the accents

Vn. I
fff

bring out the accents

Vn. II

bring out the accents


Va.

pizz.

l

Vc.





Cl.

Vn. I

Vn. II
935

in Bb

sa

sffz sffz sffz

sffz



sffz


sffz

ru
Va.


sffz sffz sffz

wild

Vc.

938

in Bb

Pe

Cl.
3 3

3
3

Vn. I







Vn. II

Va.

Vc.

ff f ff