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eduardo moguillansky

re equestri


fr Bariton, Klavier Obbligato und Ensemble






2006-2007
re equestri

'Theseus wird absurd', sagte Ariadne, 'Theseus wird tugendhaft -! (Der Held sich selbst bewundernd,
absurd werdend.) Eiferuscht des Theseus auf Ariadnes Traum. Dionysos ohne Eifersucht: ' Was ich an dir
liebe, wie knnte das ein Theseus lieben? Man ist nicht eiferschtig, wenn man Gott ist: es sei denn auf
Gtter.' 'Ariadne', sagte Dionysos, 'Du bist ein Labyrinth: Theseus hat sich in dich verirrt, er hat keinen
Faden mehr; was ntzt es ihm nun, dass er nicht vom Minotaurus gefressen wurde? Was ihn frisst, ist
schlimmer als ein Minotaurus.' -'Du schmeichelst mir', antwortete Ariadne, 'aber ich will nicht mitleiden,
wenn ich liebe; ich bin meines Mitleids mde: an mir sollen alle Helden zugrunde gehen. Das ist meine
letzte Liebe zu Theseus: ich richte ihn zugrunde.' Dionysos: 'Sei klug Ariadne!... Ich bin dein Labyrinth...'
Nietzsche, Dionysos-Dithyramben

ber das Leben haben zu allen Zeiten die Weisesten gleich geurtheilt: es taugt nichts ... Immer und berall
hat man aus ihrem Munde denselben Klang gehrt, einen Klang voll Zweifel, voll Schwermuth, voll
Mdigkeit am Leben, voll Widerstand gegen das Leben. Selbst Sokrates sagte, als er starb: leben das
heisst lange krank sein: ich bin dem Heilende Asklepios einen Hahn schuldig. Selbst Sokrates hatte es satt.
Was beweist das? Worauf weist das? Ehemals htte man gesagt ( oh man hat es gesagt und laut
genug und unsre Pessimisten voran!): Hier muss jedenfalls Etwas wahr sein! Der consensus sapientium
beweist die Wahrheit. Werden wir heute noch so reden? drfen wir das? Hier muss jedenfalls Etwas
krank sein geben wir zur Antwort: diese Weisesten aller Zeiten, man sollte sie sich erst aus der Nhe
ansehn! Waren sie vielleicht allesammt auf den Beinen nicht mehr fest? spt? wackelig? dcadents? Erschiene
die Weisheit vielleicht auf Erden als Rabe, den ein kleiner Geruch von Aas begeistert?...
Nietzsche, Gtzendmmerung

Nietzsche wollte Karriere beim Militr machen. Er wurde 1868 aus dem Militrdienst aufgrund eines Sturzes vom Pferd entlassen.
Nach einem Zusammenbruch in Turin, wo Nietzsche schluchzend ein Pferd umarmte, welches zuvor vom Kutscher geschlagen war, wurde er in
eine Basler Nervenklinik gebracht. Der zustndige Arzt berichtete: Patient war zuerst Theolog, dann Philolog, philosophische Studien dann in
Basel, exzessiver Verkehr mit Wagner und seiner Musik. Er hat die ganze Nacht nicht geschlafen. Urin klar, sauer, ohne Zucker und Eiwei. Es
fllt auf, dass Patient, der doch lange in Italien war, oft die einfachste Wrter in seinen italienischen gesprochen Stzen falsch oder gar nicht
wei. Inhaltlich fllt die Ideenflucht seines Geplauders auf, gelegentlich spricht er von seinen groen Kompositionen und singt Proben aus
denselben. Hlt oft stundenlang seine Nase fest. -Ergeht sich in Wortspielen. Zerbricht ein Wasserglas, um seinen Zugang durch Glassplitter zu
schtzen.
Nietzsches Gtzendmmerung, vor allem seine Kritik an Sokrates, aber auch Ausschnitte aus seinen Briefen an Cosima Wagner und
aus den Dionysos-Dithyramben werden im Stck zerstckelt, aufeinender gelagert und wieder fragmentiert. Eine zweite Textquelle sind die
Schriften Xenophons, Jngling des Sokrates und Autor einer zweiten Sokrates-Apologie und des ersten und noch anwendbares Lehrbuch ber
Pferdekunst und Pferdepflege. Der Text greift ebenfalls auf Urkunden des Basler Anstaltes zurck.

Eduardo Moguillansky
re equestri


for bass, piano and small ensemble


eduardo moguillansky

(2006-2007)

a Frank Wrner

Two performance modes
This piece can be performed in its full form or as a version for voice and piano solo. In the case of the
version for voice and piano, the disposition should follow the disposition of the full version: the piano must be placed
in the same line with the singer but as far as possible from the audience.

Disposition

Percussion 1 <<<< as far appart as possible >>>> Percussion 2
(Crotales, 4 Glass-Bottles, (Glockenspiel, 4 Glass-Bottles,
2 Wood Boxes, Tam-Tam, Gran Cassa) 2 Wood Boxes, Tam-Tam, Gran Cassa)
Piano
Bass Trombone <<<< as far appart as possible >>>> Cello
Bass Flute <<<< as far appart as possible >>>> Trumpet






Bass



Bass

Signs and abbreviations

Dynamics

Dynamics in this piece are absolute, unless otherwise indicated:

Any two gestures having the same dynamic sign should sound at the same level of loudness, independent
of the techniques used. Since textures are generally very dense, balance becomes of capital importance in order to
render an understandable performance of the piece. The other relevant issue in relation to absolute dynamics is that
certain techniques, like playing col legno, or molto flautando, sound naturally softer than the same gesture
performed in the ordinary way. These natural tendencies should be compensated as long as possible.
effort dynamics: they are written between quotation marks, like f. They are to be interpreted as playing
with the effort normally involved in playing forte even if the result does not reproduce this effort.

NB: the dynamics written indicate which dynamic the audience should hear.

Accents

Particular attention should be paid to the differentiation of accents: the size of the accent is an indication of
its strength
! : Play as short as possible (independent from the rythmic value above which it is written.


Microtones

Ordered from low to high, they represent intervals of 1/8 tone. The 1/8 tones are mostly used to indicate the exact
position of a node for playing a harmonic multiphonic.
D J b j B K n k L m l


< > < > < > : crescendi und decrescendi around the given dynamic. Avoid regularity or pulsating effects. Try to
perform the gesture as organic as possible.

<
<


a
s

f
a
r

a
p
p
a
r
t

a
s

p
o
s
s
i
b
l
e


>
>

























< > < > < > : cresceni und decrescendi accompanied with the appearance and dissappearance of flatterzunge
(in the winds) or tremolo (in the strings).


suono mobile: mobile sound. With the given note/notes and dynamics variate the colour of the sound. For
multiphonics, variate the brightness/darkness of the multiphonic, bringing different pitches to the front. For multiple
harmonics, variate the balance of the notes, changing the focus from one to the other. For single notes, variate the
vibrato and different types of vibrato, timbral mordents, etc. For strings variate also ad lib. the speed and the amount
of bow used. All transitions as smooth as possible, try to avoid any patterns. Move slowly and try to react to the
environment.
The amount of mobility, or the speed of the variations in sound should follow the dynamics.


Bariton

2 : sing normally
_ : sing with air
g : falsetto
: falsetto + air
k : spoken. Also used as modifier of other actions to indicate a sprechgesang type of intonation, where the
beginning of the action is fixed but then the intonation drops.
O : throat growling voice. Do not exaggerate. It should be seen as a way of colouring the voice rather than a pathos-
loaded action.
J : nose growling, like normal growling but focusing the voice to resonate almost only in the nose.
I : tremolo, like laughing
f : inhaling (einatmend)
+ : close throat. Two methods can be used: through elevating the palate (Gaumen) or through retracting the tongue
: open throat (normal), cancels the previous sign
[ i ] or [ u ]: form the lips as if pronouncing this vowels, even if the text has different vowels.


Piano

Preparation (ad lib.): It is highly desirable to apply the following preparation to the piano. Only in the case where it
proves to be highly impractical (because of concert-order, for example) should the preparation be left aside.
All notes in the range given below should be prepared as follows: the two rightmost strings should be muted
as much as possible with tape and/or rubber. The leftmost string should be either left unprepared or muted slightly.


Also, some extra notes must be fully muted, so that almost no pitch is audible.


Una Corda: the preparation is intended to enhance the effect of the 1C pedal. Notes/Chords played una corda are
indicated with a n arrow on the stem, like in the following example:

: Cluster. All clusters are chromatic.




X: muted. If no indication is given, mute with the hand on the
strings. Later in the piece, as the muting actions become
independent from the actions on the keyboard, the x is used to
clarify when a note/chord is being muted by the left hand.





For clarity, when a whole chord is muted, the X is applied to the stem. In this case a cluster from E
to G# must be played while muting the strings, and the lowest note of the cluster remains.




Play, then mute the strings. If nothing is indicated, mute with the hand.




Mute the indicated string/s by hitting them.





The same action can be applied to scraping along the strings (see
below). In this case the action begins by hitting the indicated strings
with the piece of wood and then scraping along the strings as
indicated.


: Use a piece of wood to perform the muting/scraping actions



---> a special case of muting: mute at the attack, then quickly release
the mute to let the harmonics of the note/chord resonate. If the muting
action does not apply to all of the notes in a chord, crosses are used to
indicate which strings are to be muted. In this case the E remains
unmuted, while the other strings are muted and quickly released.


In some cases where the actions of the hand playing on the keyboard and the hand performing muting actions are
independent, and where the range of action of the muting is different from the notes played by the hand on the
keyboard, a spetial notation is used to indicate the range of action of the muting hand:

In this case, the muting actions are fixed to the strings in the lowest 5
th
of the piano, whereas the actions on the
keyboard extend over a wider range. While, for instance, the right hand plays a big cluster on the keyboard, the
action of muting and letting resonate limits itself to the lowest part of the cluster. The three following chords are
muted violently with the left hand, but not all notes are affected (the G# is outside the range) by the muting.

Muting actions can have also different grades of muting pressure: by minimum pressure, the result is a harmonic of
the strings corresponding to the keys pressed, by maximum pressure almost no pitch should be audible, only the
noise of the hammer hitting the strings. This is notated as follows:

In the above example the chords played by the right hand become more and more muted, so that at the end
hardly any pitch is distinguishable.


Play the indicated notes while at the same time touching the strings lightly with the piece of wood, to produce a
harmonic. No specific harmonic is asked for. Do not press very hard against the strings so that some residue of the
played pitches still can be heard. Notice that the written notes are the ones played, not the resulting harmonic
(which is ad lib.)


Play the indicated notes (in this case a cluster) and then touch the strings with a piece of wood to produce
harmonics. If no indication is given (as in this example) the resulting pitch is ad libitum.

Scrape (gliss along the strings) the indicated string with
nails or plastic card. Ad lib. and depending on the
dynamic and the context given, other neighboring
string could be scraped together with the indicated one
(for example, all strings between lowest A and lowest
C). If not indicated otherwise, the action is performed
always in the direction TOWARDS THE PLAYER, on
the portion on the string between the further end and the dampers. If the key corresponding to the scraped string is
simultaneously played (on the keyboard, of course), this action should produce an overtone of the given note or the
note played should sound muted, depending on the dynamic/pressure of the scraping action (if the scraping is ppp,
an overtone should result, if it is fff the note played on the keyboard should sound muted).
In the cases where different directions are asked for, the following signs are used:
d scrape in the direction TOWARDS THE PLAYER
f scrape in the direction AWAY FROM THE PLAYER


: The same as above, apply extra pressure on the string
as indicated by the black shape






: The scraping actions are performed with the piece of
wood. The range is approximate.






: used together with scratch indicates a slow scratch, where the individual rings of the
string are audible as individual attacks, as regularly as possible. Variations in dynamic are produced through
variations in the scratching pressure and not in the speed.
: Only one attack (scratch over only one ring of the string/s). NB: the dynamic, as usual, indicates
the effect in the audience. Therefore, a ff might be needed to make this gesture audible at all.

A variation of this gesture is where two notes are played on the
keyboard, each stopped at a different flageolet position. Also here
only one of the nodes is notated with precission, the other one is left
ad lib., but, again, the relative range (higher or lower than the given
flageolet) should be preserved. In all cases where this double
flageolet is asked for, the accurately given flageolet corresponds to
the higher to be played in the keyboard, whereas the ad libitum
flageolet should be stopped on the lowest one.

Middle-Pedal

Notes or chords included in a box must be captured by the middle-pedal. The pedal must be held down
until either a new box appears or until the sign to lift the pedal appears:


Different sizes for the noteheads

The different sizes of the noteheads should be interpreted as difference in dynamics,
showing which notes are more important in a chord. In this case it is made obvious
thorugh the use of dynamic signs.



In this case the dynamics are not shown. Still, the G must be played en dehors while the other notes in
the chord stay in the background, as a sort of shadow of this G.

Clusters of undefined size


Large clusters -played with the arm-, are not meant to be accurate in terms of the boundaries
and in including all notes in between. However, if a small arrow is present at the side of the
m
cluster (either at the highest or at the lowest note) then this boundary is to be interpreted a being fixed, and the
length of the cluster if defined by the length of the players arm, trying, but not having, to match the range given.
In this case the cluster must have its lowest note in the C2, whereas the upper bound does not necessarily have to
match the highest note written.



Wind Instruments

: airy and unfocused. Some pitch should remain audible.

: multiphonic. Find a multiphonic which includes the given note. Preferably, the given note should be the
most important note in the multiphonic. Also, if the sign is below the note, the given note should be the highest in the
multiphonic. If the sign is above the note, the note should be its lowest note. Unless indicated otherwise,
multiphonics with few (2 or 3) notes are widely preferable. In particular should the notes of a multiphonic be
percievable as such and not so much as a general timbre: for this reason, noisy multiphonics are not desirable. If a
second note is given (between parenthesis) a multiphonic should be looked for, which has also this pitch or a pitch
close to it. If this is not possible, it serves at least as an orientation regarding the range and harmonic content of the
desired sonority.
coco~~~~~~~~~~~~~~~~~~~ : bisbigliando. Alternate between two fingerings with different timbre.
coc : timbral mordent. Like a normal mordent, but alternating between two different fingerings (with different
timbre) for the same pitch.


: (flute) tremolo between two different harmonics.



p :.growl (pitch ad lib., preferably unisono with the note played).

Glissandi

Two different types of glissando are used, in order to indicate which action is asked for.

________ : used when bending a note, doing a valve gliss, slide gliss, etc.

--------------: overtone gliss; no finger action; transition between one overtone (or multiphonic) to another.

This line is also used to indicate a smooth transition between two notes, a blending from one sound
into the other, which might need both changes in embouchure AND FINGERING.

Flute

: overblown accent: overblow, then come back to the main note. The amount of overblowing depends on
the dynamic. In the highest register, if it turns impossible to actually achieve a higher note than the
written one, this sign should be interpreted as a strong accent, trying to achieve a type of sound as bright
as possible.




Brass
A Bass Trombone with a D attachment is needed to play this piece

Lip Multiphonics (Spaltklnge)

Multiphonics allow to sound two adjacent overtones. They are not expected to be either stable nor to last
the exact length which is prescribed by the notation. By force a rather unstable and not totally reliable sound will be
produced. This is expected but not desired and, in fact, every effort to develop a controlled production of multifonics
will be welcomed.
If the player cannot produce the indicated lip-multiphonics, it is possible to achieve a rather similar sound by
singing one of the notes and playing the other while at the same time producing a flatterzunge.

Mutes

The players are encouraged to try different mutes.
For the bass trombone, great results where obtained with a Bucket Mute from Stonelined, allowing for good
dynamic control and still preserving the dark colour needed for the piece. The criterium in general should be: 1)
dynamic control, 2) colour (as dark as possible, try to avoid edgy mutes like straight, harmon with stem (harmon
without stem is also a good option, but is sometimes a bit too loud). A good compromise is also a cup mute of the
ones which let you regulate the opening.

K

Fingerings

[1]~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~ or [3] :
Fingerings between brackets mean half depressed and are used either for ventil vibrato (where
one of the ventils is played fast as if playing a trill but not pushed down all the way) or for cases where the
normal fingering should be avoided in order to achieve a more unstable sound or to produce a gliss.
which in other case would not be possible.

Trombone:
B6 play normally on 6
th
position
F3 with F trigger on 3rd position
B1+ play in B between 1
st
and 2
nd
position
F4- play in B between 3
rd
and 4
th
position


Pedal notes:

Pedal notes are written which could prove unplayable or, at least, unplayable in the context where they are written.
Particularly for the bass trombone, the lowest possible tone is asked for. If it proves not possible to play this tone or,
even if the tone is played, there is too narrow dynamic control of it, it could be substituted by the lowest tone you
can achieve with the dynamic range indicated.


: Shake (hand vibrato).




: Tongue vibrato. Move the tongue to change the oral cavity and touch the air stream, in order to
produce changes in timbre.



: During the harmonic gliss. press the valves half the way down.


: play the written note, overblow (try to get to the highest harmonic in this position) and return to the
written note



: A form of suono mobile, but limited to the oral cavity: variate the oral cavity slowly. Should
not resemble tibet singing!



O : voice. Sing the given note. For transposing instruments the voice IS ALSO TRANSPOSED. In all cases it is
supposed to be an enrichment of the spectrum of the instrument and has no polyphonic function. Try always to
blend in, always coming from the sound of the instrument and submerging again into it.



Cello

Scordatura

II C# (one semitone lower)

The score is written as it should be played, all notes played on the II string sound a semitone lower.


Signs for finger pressure
K
: harmonic.
D
: false fundamental. Press the string as a harmonic but mute it between the finger and the
tuning peg in order to prevent it from sounding as a natural hamonic (in many cases it is enough just to press a
bit more than for playing a normal harmonic). The indicated pitch for the harmonic turns into an unstable
fundamental, thus making it possible to sound the different partials of this note depending on the position and
pressure/speed of the bow.
The result has been notated through the desired overtone to be made audible with the bow: 1 represents
the fundamental, 2 the second overtone (octave), 3 the third (fifth+octave) and so on. The arrow pointing up
indicated the highest overtone of the given false fundamental.

qwerty
This indications are to be understood as an ORIENTATION, and the smoothness of the transitions between
positions is of much greater importance than the rigour of finding the exact overtone and maintaining it
unchanged throughout.
The approximative nature of these indications is particularly obvious where they are notated as the
beginning or ending point of a harmonic gliss. In these cases it is expected to serve as bounding range, giving
an idea of which portion of the spectrum of the given note is desired to be made audible.

The zero (0) means play as near the left hand as possible, almost on the finger (almost no pitch
discernible, only bow noise).

: bow position vibrato. Around the given position (in this case, the highest position)
produce a vibrato like movement in the direction of the string (paralel to the string),
resulting in an irregular sound. Best produced near to the frog.
: the same but slower

Bow position

MT: molto sul tasto.
T: sul tasto
ORD: ordinario. Normal position.
P: al ponticello
MP: molto al ponticello
MP!!: extremely near to the bridge

legno: play with the wood of the bow
crini: normal bowing, with the hair
legno: play with half hair, hald wood. The wooden part should the nearer to the tuning peg, the
hair should be facing the bridge
tall.: frosch (tallone)
punta : tip of the bow

Bow Pressure

Indicated through a black shape
In this case, the gesture starts with normal bow pressure (which is always dependent of the kind of action
performed) and increases the bow pressure to return to normal pressure. If the notehead IS NOT between brackets,
it is expected that the pitch will be audible. On the contrary, if the notehead IS between brackets, no clear pitch
should be audible, only bow noise.
The higher the shape, the stronger the pressure of the bow on the string. Unless specified, the pitch, even if
faintly in cases of strong dynamics, must remain perceptible throughout.

Scratch on a node

: scratch (extra bow pressure) on the given note
(small notehead) on the indicated string
(notehead with an X). The result is a low and
dark band of noise. Play with slow bow, pay
attention to dynamics. Notice that if you want to avoid playing so high in the tasto (and get all the fingers sticky
afterwords!), the same can be achieved on the other end of the string.

Bow vibrato

Different types of bow vibrato are used, indicated through a line which describes graphically the kind of
movement asked for. In can fluctuate from smooth and slow to irregular and fast. They are indicated as follows,
orderer from sparse to dense.



Arco mobile

Do not play as chord: play as an irregular tremolo between the different combinations of 2 strings. If the
chord has 3 notes, you should alternatively play the two upper strings and the two lower strings, the middle string
being always present (do not tremolate between one single string and the other 2). If it is a 4 note chord, just
tremolate between the upper two and the lower two, no string is repeated.




Percussion





Grosse Trommel + pedal

Notes played with pedal are indicated by a down stem.

When played with superball, It is notated freely, only giving an approximate time-line. The black contours
give a general idea of the sound, which is to be achieved through variation of speed/pressure of the superball. This
contour indicates mainly the dynamic, but changes in pitch could also be applied ad libitum, either with the pressure
of the superball itself or, in the cases where the other hand is free, through changes in the tension of the skin. In any
case it should be always played rather freely and with attention to the context, since it is almost always in
connection with some other instrument playing a similar gesture.
A special case of free notation is like the one seen in the next example, where the time frame is given in
space notation. The vertical lines indicate the beats in the bar and the dynamic below indicates within which range
the black contours are to be interpreted





: Variate the tension of the skin of the Grosse Trommel to
change its pitch. The arrows indicate the movement on the
skin. A downward arrow means press the skin, the upward
arrow indicates a release of the tension. The pitch goes up
as the skin is pushed down, and it returns to its original lower pitch by releasing the tension.

_ Crotales: sound two octaves higher
] Glockenspiel: sounds an octave higher.
- : Bottles. 4 Glass (wine, for example) bottles of different sizes



Tam-Tam: scrape the side with a metal bar of preferably porous
texture in direction perpendicular to the plane of the tam-tam, so
that the metal bar bows the tam-tam (one legato movement, no
tremolo). In this example, the movement is performed up-bow,
meaning moving AWAY from the player. The result is a high
screeching sound.

Tam-Tam: rub the center with a metal stab.






Reibestock




: dead stroke







Post-scriptum for the voice:

The voice part has been given no dynamic indications in this piece. Only the beginning has the indication
pppp. However, It is desirable that the singer lets himself be influenced by the outbursts of the accompaniment and
from this point of view he should feel free to alter this dynamic. He should always come back to it and particularly at
the end of the piece he should by all means stay in this dynamic. It should give the impression that the voice and the
accompaniment do not share the same room, and only through the insistence of these outbursts is it possible for the
accompaniment to make contact with the voice. These influences should be short and an attempt should be made
to give the audible impression of these beeing something alien to the voice, a sort of sudden reflection, a short gaze
beneath the surface of the singer.

V
t
&


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&


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V
4
5
Bass Flute
Bass Trombone Bass Trombone
Trumpet in C Trumpet in C
Cello
Piano
Percussion 1
Percussion 2

q=38_54
re equestri
eduardo moguillansky (2007)
gran cassa + pedal
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mute with the hand


mute at the attack, then remove the mute immediately and let reson ate

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un- - -ter ge - - nannt die- - - se Un - nenn - ba- - - re Bes - - tre - bung, wenn eins der Ver - - hll - - ter! Kop- - - f letz- - -te ple- - - -
For the singer:
rhythm: it's NOT a priority to perform the rhythmic figures in a very precise manner. These should be indeed sung according to the tempo chosen and keeping a general synchronicity with the pulse. Attention must only be paid to coordination points with the other
instruments, particularly with the piano.
pitch: even in the pitched sounds written, and even in spite of the very precise use of microtones, the pitch written should be seen as a center, or even as a whish: in very fast passages, where very big changes in register take place or in very high or very low
tessituras, an accurate performance of the written pitches might prove to be a very difficult task and it is indeed not intended.
Dynamic: see post-scriptum in the explanations.
Great attention must be paid to the different colours, and, particullarly, to the degree of "stylization" of the voice, that is, to all intermediate shadings between a highly artificial kind of singing (as in the beginning) and the spoken word (as in the end).
as short as possible
not fully defined pitch, quasi sprechgesang
alterations last for the whole bar
3

-

-

-
o
3

-

-

, , r j
5

-

, r
-

, n
-

,
-

,
-

MP!!

,
,
,
&
>

,
,

w
> >> >
>

, n
&
>
,
, s
&
>
,
,
> >> >
>
. ,

&
x

&
x s
&
x
+
&
x
n
&
x

&
x

&
x
D
&
x

&
x

&
x
s
&
x

&
x

&
x
s
&
x

x x
&
+
x x
&

x x
&

x x
&

J
s

x x
&

x x
&

x x
&

x x
&

J
s

x
&

s
x x
&
+
x x
&
=
x x
&
x x
&

x x
&

be - jisch - ean- - blick - t! Phan - ta - - sie, Ich D - mon, Hss - li - - che Ent - setz - - li - cher! zwingt mich als ob sich schmerz zu be - tau- ben.
( )
~~~~~~~
( )
V
t
&
&
?
&
&
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
3

,
i
j
, . .
> >> >
,
, b
&
>
, ,
, s

> >> >


w
>
,
,

.
,
, n
&
>
,
,
, s

w
> >> >
,
&
>
,
&
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&

&
&

&

&

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9

&
s
&

&
&
d
&
s
&

&
s
&
d
&

&

&

&
s
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+

=
s
&
x
&
=
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n
&
=
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s
&

+
&

'

&
du hast mei - - - ne Oh - - ren: klu - - ge klei - - ne Men- - - schen, ein dun - - kler Oh- - - ren- - - lei - - - den, du! heu- - - te will ich so- - - - viel mein Herz straubt sich zu
sigue

i
j
,
&
>

. .
3
,
,
, s
&
>

,
, n
s
&
>

,
s
> >> >

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,
b
b
&
>
j
, b
,
&
>
5

.
,
,
,
,
n
s
n
n
&
>


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=
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n

9
s
&
=
&
s
&

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n

&

&

&

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9
s
&

&
n
&

n
&

&

b
&
n
&
10

b
x
&

n
&
b
&
b
&

&

&

&
10
n
&

J
n
n
&

&

&

die - sem der ge- - - mei - ne an- - - - blickt! dir ein - - - - ge- - wur - zel - - -ter seuf - - - zer, dei - - ne Oh - ren, steck ein Irr - - - tu- - - mer, der Au - ge stirbt, nicht doch
V
t
&
&
?
&
&
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

,
,
,
, s
s

w
> >> >
f
,
,
b
b
&
>

.

,
,
b
b
&

w
,
,
b
b
&
>
,

, n
n
&
>

.
n
3

,
,
w

,
>

ossia: play the E an octave highe.
& &

&

+
&

&

&
n
&
=
&
=
&

b
&

&

n
&

=
&
n
&

s
&

&
s
&
10

&
n
&

s
&

&
n
&

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=
&
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9
=

&
+
&

&
+
&

in mich Zu h- - nisch Schre- cken wird und Blitz. so stirb mit, So- - - kra- - - tes letz - - - - te La - - - by - rinth das Auge, das sicht - bar. sei - - ner


,
,
,

w
s

&

.

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s
,

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J
,
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. .

.
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poco
i
j

. .
?
9

&
n
&

&

&
s
&

+
&
s
&

&
+
&

&

s
&
n
&

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+
&

+
&

&
s
&
s
&
+
&
&
&

&

&

&
s
&

&
D
&

s
&
=
&

&
Ein - - sam - keit hin - weg und mei - - ne Sti - - mme und kann doch und soll?... in die - - sem das D- - - mo - nion schla - fen. steck sich hin- - - ein. A- - - - - riad- - - ne!
undefined pitch
- 3 -
V
t
&
&
?
&
&
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

,
,
&
>

s
&

,
,
s
x xx x
,
, s
&

,
,
n

w
> >> >

,
,
&
>

.
,
&
,
&
,
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&
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.

.
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'

&

s
&
d
&

D
&

&

=
&
=
&

&

s
&
s
&
n
&

&

&

s
&

&

&
n

&

&

&

&
+
&

&

&

&

&

&

&
wird kommt wie die sicht - bar, herr - - -schen - den Verh - hll - - ter! Oh - - ren un- - - ter ei - - - ner in Dun - - klem sma- - rag- - - de- - - ner klu - ge Mann Ent - - -

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&

,
,
,
,
,
s
s
&
,
,
,
3
j
,
,
,

5

.
.
.

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s
s
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5
i ,
,
,
,
b
s
n
s
&
x xx x
&

.

> >> >
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,
&

&
s
&

+
&

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&

&
s
&

,
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9
=

&

,
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&

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+
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10


s ,
&

s
&
, n
, +
&

=
& 10

&
n
+
&

n
&
,
&
x

setz- - - lic- - - cher das be- - - - tau- - -ben sei - - - ner Un- - - nen- - -ba - rer l- - - ge Krank- - heit - - - Schn - - - heit mei - ne sich mich aus: Dio - ny - - sos nicht schla - - fen, heu- - te letz - - - te Blitz.
( )
- 4 -
V
t
&
&
?
&
&
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

j
,

s
s

,
&

,
&

?
&

,
,
&


> >> >

,
&

.
=
&

&

&
=
&

J
,
,
&

&

&

&

&
,
n
&

&

&
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&

&

j

&

&
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&

M
&

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&

&

&

&

&
,
&

mei - - -ne letz- - - te Wol - ken! sie ge - - blitzt sich als ob und nur du So- - - kra- - - tes, stirbt: ver- birgt von dir, gehrt dem Oh - - ren, das

.
,
,
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&
>
,
&

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,
&

j

,
,
,
,
,
,
,
,
s

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.
w
x xx x

.
,
, b

w
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,

i
j
,
,
,
b

. .

&
,
M
&

&
,
s
&

.
J
,

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j
,

&
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=
&

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,
das ge - nannt Dar - - nie- - -der schlaf Es mit - - - tel ver - - - lie - - - re ich sich steckt stockt. hin- - - ter der letz- - - te D - - mon
- 5 -
V
t
&
&
?
&
&
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

11

, ,
, n
> >> >
.
.
,
,
w
!

i
j
,
,
,
s

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. ,
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&
>
3

I
J
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b
b
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s
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+
j
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&

9
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j

&
n
&

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&

&
.

&
9

&
.
,
j

s
&

&

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von klu- - - ges hh- - - nisch wel - che sei - - nen Muss ver - - birgt grau, auf ein Wol - - - ken! steck blick hin - - -
ddefedd

s

.
,
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s
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,
,
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f

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,
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f

.
9

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s
&
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j
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M


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s
9
,
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=



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,
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,
M
> >> >

, b
espressivo
j
+
10

&
n
&
&

+
.
ter mei - nem Auge sich mich selbst ein Erb - - - a - - - del ver - blitzt hin - - - - ein s - - - ich die nack- - te Nacht und johlt dort smar - te schwein hin - auf!
close the throat
- 6 -
V
t
&
&
?
&
&
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

dddddddef
13

,
,
,
,
b
&
>

,
,
&

x xx x
. .
,
,
,
,
,
b
s
&

.
.
.
..
,
,
,
,
,
b
s

,
,
,
,
,
b
s
b
&

.
,
,
,
&

n
s

i
j
,
,
,
,
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&
. .

ad lib.

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&
,
&

&
+

&

&

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+ o
J
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=
s

&

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> >> >
,
> >> >

&
,
M

+
,
o







er-zwingt sich putzt den has-sen, nm-lich mich man isst mein schla-fen. du! dieklugs-te Frmmig-keit mit -

,
,
,
,
,
b
b
&

.
,
,
, ,
,
s
s
n
&
>

,
,
,
,
b
&
>
,
,
, b
&
>

3
,
,
,
,
b
b
&
>

,
,
,
,
,
b
b
&

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,
,
&
>

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,
,
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b
&

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i
j
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.
J
, s
,
, =

, n
&

&
s


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+
&


b
, +

&
n
&
&

+
,

+
s


steckt sich froh deinOh - ren - lei - dennicht als klei - neGlck glht erst wenn an - ders, aus ver - - - gasst hin- ein! ver-taubt mein letz- tes ich

,
&

,
,
,
,
b
&
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n
,
,
,
,
,
b
b
&

,
,

i ,
,
,
,
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b
s
n
&

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&


i
j

> >> >
. .
i ,
,
,
, s
&
.
,
,
,
,
&

&

&

&
,
&

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,
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+


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o

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M
.
,

, - -
,
&

n ,
> >> >

&

&
, s
o - der krank... sichdnktdas lee-re an-blickt aus ein-sams-ten sma-rag - de-ner La - by-rinth ges - - - - - euft um mich,aus dun -
- 7 -
V
t
&
&
?
&
&
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

16

,
,
,
,
, s
s
&

M-Pedal

. ,
,
,
,
b
&

,
,
,
,
b
n
&
,
,
,
,
b
s
&

j

b
n
i
j
,
,
,
,
b
n
&

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I
J
> >> >

. .

,
, b
&

,
,
&

,
,
, s
&
,
,
,
,
&
. .
&
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s
> >> >

,
> >> >
,
M
,
+
9

, n


, b

,

10

,
> >> >
,

s
&

=
&
s
&
s
&
n
&

J
, s
o

&
+

klem herz, der Au- ge, strmt A-riad - ne! dein B-cher, sicht-bar taub Ein heb er-zwingendu Kopf noch Ei - neraus-ser mir

3
,
,
&
> >> >
,
&
> >> >
, b
&
> >> >

,
,
b
b
&

,
,
,
,
,
b
n
&

,
, n
&

. ,
,
,
,
,
b
b
&

,
,
,
,
,
b
b
&
,
&

M-Pedal

&
3

3

> >> >

> >> >

> >> >

i ,
,
,
,
,
s
b
&
.
, s
,
> >> >
&

, s
> >> >
&

,
, s

n
3

> >> >

> >> >
9

, s
M

> >> >


> >> >
, s
> >> >

.
=
+
s
> >> >

,
o
> >> >
M
,
&
,
&

&

.
,
> >> >


s
> >> >
s
,
&

9
,
o

'

'

'
s
'
+

, s
M
o

klug, mein un-be - kann-ter Gott! Ent-setz - li - cher! dir glht sie von dei - - - - - - - - - nem Irr - tu - mer Dio - ny - sos der ple - be-jischhss - li - - - - che

,
,
&
>
, ,
,
,
,
w


,
,
&
.
,
,
/
%
&
,
,
$
&
i
,
,
&&
f
i,
,
,
,
,
,
, s
b
&
,
,
,
,
,
, s
b
b
&
.
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&

> >> >
.

> >> >

> >> >

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&
,
&
.

&

&

j
,

o
,
+

,

,

&

s
&

&

j
s
s
> >> >

s
&

, b
+
,
o

&

> >> >

&
j
s

n
&

Ver - hllt floh sich selbst dir lei - se letz - tekrankver-blitztnoch erst mich tuscht die Bei - - - - ne singtsich satt stinkt nur
- 8 -
V
t
&


&
&
?
&


&
?
V
B. Fl.
Tbn. Tbn.
Tpt. Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

dddef
19

,
,
,

s
/

,
,
,
,
,
,
s

3

,
,

s
-

3
,
,

n
-

-

-

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3

-

-

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3

-

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b
, b
S
,

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,

3
,
.
.

,
o

,
,
x xx x
x xx x
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!
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3
,

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,
3
,
,
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J
,
x xx x

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*
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,
&
> >> >
p
, s
o
3
,

. ,
o

,
,
j
,
3
,
,
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tall.

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,
2
,
,
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2
3
S
,
b
&
,

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5
I
r
-
MP

5
n
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r
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n
-
r
-

III
IV
3
,
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!

,
,
,
> >> >
x xx x

I
,
x xx x

(
3

.
(
o


o

,
,
,
,
,
b
b
&

,
,
> >> >

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,
/
,
,
,
,
f
I
J
,
> >> >

M-Pedal
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&
.
.
.
.
.
.
.
.
,
,
,
,
,
,
,
,

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.


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f

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.

J
=
,
,

9
,

,

,
+

s
o
,
M
s

. j
s

,
M

,
> >> >

.

steck mein Au - - ge, kleinwird. hh-nischdie das I - ris, Krank, nichthass als dir, auch So ver -
3
,
,

s
-

-

-
3

-

-
3

.

-
3

-
o

,
,
,
j
j
, , r j
5

r
-
n
-
r
-
n
-
5

r
-

MP!!
5

,
-


9
.
,
,
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w
> >> >

,
,
,

&

,
, s
&

,
,
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&
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.

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}
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,

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+

,
o
&

+
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s
&

&
,
&
9

,

,
> >> >

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> >> >
,
> >> >



s
> >> >




,
> >> >

.
,
M

birgtsichnochundstirbt mit D-mon,nm-lich du hin-auf. hin- ein! ver- - - sagt an-ders,den als her-zensflam-mig Gift Du.
dddef ddefedd

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-

,
, s
}
> >> >
.
,
,
&

i
,
, s
&
$
>
. .
,


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.
,
&

,
,
&

j
s
s


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o

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+
s

,
o
9
.
,
> >> >
,

'

'

+


, s
M

,
> >> >
,
> >> >

j
n

> >> >


steck mein Au - ge, kleinwird. hh-nisch die das I - - ris, Krank,nicht hassals dir, auch So ver-birgt sich noch und stirbt
~~~~~~
( )
+
- 9 -
V
t
&
&
?
&
?
?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

()

22


> >> >

.

,
> >> >
&

.

.
.
.
.
.
,
,
,
,
,
s
s
s
&
,
,
,
, s
n
&

M-Pedal

.
&
?
&
?

, s
.
,
,
,
,
,
,
,
,
> >> >

s

.
,

, ,

,
&

, b
&
.
.
s

> >> >


> >> >

> >> >



9
s


> >> >
,

&

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mit D-mon,nm- - - lich du hin - - - - - - - auf. hin - - - ein! ver-sagt an-ders, den als her - - - zens - flam- - migGift Du.

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hier bin Wol-ken! und O - ra- - - kel - pries - ter; sich hin - ter steckt sei - ner selbst, doch die Tod al - lein johl - - - t
- 10 -
V
t
&
&
?
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?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

25

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ge-blitzt von has-sen, erst nur ganznicht wennund du man ein- ge-wur-zel - ter Wol-ken! zwingt:sich Irr - tu - mer,


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mein letz - tesGlck! Da - - - - - - - - - - - - - - - - - - von! Da doch die dem Wa-rum? un - ter dem Erb - a - del das aus - ser Dreck-heit der Dar - nie - der
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nicht mich We-he-mens-chen has-sen,aus Un-nen-nba-rer! WahnsinnMuss erstDunklem an-blickt!, derNie-der - re-den- de
- 11 -
V
t
&
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?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

28

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un- - - ter sich neh-me je-nem der Weisheit aus- ge-prgt: All mei - ne Thr-nenWahn-re - den-de D-mons Au- - - - ge,

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steck hin-ein! mein hin- - tern ei - ne Ent - setz - li - che! Oh-ren:Nicht an-ders stirbt wur - de, Ver-hull - - - - - - - - - -
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tes wort war nur lan - ge jetzt ge - sche-hen un - ter ei - ner StadtvonSchmerzmeinletz- tes Gluck!... zer - - - - - bre-chen





- 12 -
V
t
&


&
?
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?
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

dddef
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gen - - - blicksma-rag - de - ner wird aus-ser als der Hss- li - cheRth-sel der Mo - ra - - - li - - tt in Gift,
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Muss die- ser Un-nenn-ba- rer anblickt! Wort Klugs-te hin-ein! be-grif-fen, Du und Vor-neh-men, der stirbt un - ter
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- 13 -
V
t
&
&
?
&
?
t
V
B. Fl.
Tbn.
Tpt.
Vc. Vc.
Pno.
Perc. 1
Perc. 2

34

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MP!!

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selbst noch ein klu-ges Tod der Mensch - en, wel-che Ver-hll-ter! Ent-setz - li - cher! Nein! komm zu - ruck!

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soll?...als Mr -der lie - ben den von dir bin dein die Bs-heit ir -gend sich Gift - be- cher So - kra - tes

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zummich ge-blitz - t floh sel-ber,Seiwol - - - - ken!Ich Er-mat-tun-gen,Ent-z-ckungendesHei - li - gen.

- 14 -
V
t
&
&
?
&
?
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2


37

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von dir, sich den klei - nezwang du Oh-ren,hast das Gift - be-cher, letz- tesGluck!Da-von! ge - blitzt er du
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suono mobile


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sichtbar. al - lein sma - rag-de- ner zu Dunklem anblickt! in die Zun-ge "derTod" wird


- 15 -
V
t
&
&
?
&
?
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2



40

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on the keys

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wel - - - che Gat -te der sich: klu - ge Mannmit je- nem Au-gen-blick ein Ver-hll -ter! Feind meine klei-ne, A- riad-ne!

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ls - te lei - se hast Nein! ko- - - - mm Hss - lich un - ter Dun-klem a - - n - - b - - li - ckt!
- 16 -
V
t
&


&
?
&


?
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

43
.
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,

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nur Du, dop - pel -ge - - - ar- - - te - - ten Sphyn - x die - - se Oh-ren, Nein! war dir Kri - ton von das Gift krank lan- - -
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ge klei - ne Wortdem Erb - a - del ver-birgt Zu-letzt. Tod o - der Du ver - blitz-tes loch
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ist dein Gift-becherSo-kra-tes bin kein ir-gendEt-was Ich viel-leicht soll?


+
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
suono mobile

- 17 -
V
t
&
&
?
&
?
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2


46


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sicht-bar. o - der die Bss-heit je - ner lst, ein Ohren - - lei -den, aus Dunklem Le- ben
ddefedd

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gliss. along the C-string until you reach
reach the position to play the flageolet .

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den ihn? Sie wer-den zwangdie Frm-mig-keit zum Gift - be-cher... sei - nes Pes - si - mis-mus
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,

,
,
,

> >> >
,
,
,
,
,
,

x xx x
,
,
,
> >> >
x xx x


> >> >

,
,
,
,
,
,
&
> >> >


hit the strings and stay
on the strings to mute
the next chord


> >> >
f


> >> >
,
+

=
+

o
. . s

> >> >

> >> >



> >> >
, s
> >> >

> >> >

> >> >



.
in ihm, auf Grund des Va-ters und Gat - te der Gif - t Da Au- ge, das letz - te











- 18 -
V
t
&


&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

49

&
,
,
,
,
,
,
,
,
> >> >

.

,
,
,
> >> >
x xx x
,
,
,
,
,
,
&

> >> >



,
,
,
&
x xx x

> >> >

, b
& >

. .

.
,
,
,
,
,
s
&
> >> >

muting action applies to the


indicated region (approx.)
.
.
.
> >> >


. .
i
j
,
,
,
,
,
,
,
,
,


. .
i
j
> >> >
w


> >> >


> >> >


s
+

j
s
+

o
> >> >

> >> >



b
M
,


> >> >

> >> >


s


.
ster - - ben: steck nicht Zun- ge War zu set-zen, um ihn woll - te
M-Pedal

?
&

,
,
,
,
&
> >> >
,
,
,
&
> >> >
,
&
> >> >

,
,
,
,
&
> >> >


,
,
,
,
s
s
&

,
,
, s
&
>

.
.
.

> >> >



> >> >

> >> >


.

&
> >> >

s

> >> >




,
> >> >

+

> >> >

j
, s
,
> >> >

=
=

s

je- ner ent - setz-li -chenDreiheit der Oe-di - pus schick-sa - le ge-blitztvon Wahn - sinn und Scho - nen Oh-ren:Lauf
.
3
,
,
,

s
s
s
> >> >



,
,
,

n
> >> >
,
,
s
s
> >> >
.
3

,
,

s
-

5
,
,
n
n
-

-

-

-
5

-

-

-
5

-

-

-

.
i , b

,
, b
> >> >> >> >> >> >
S

, ,
, b

, ,

,
o

,

.

.
_
3
,

,
,
, s
3
,

, ,
3
, ,
, ,
.
'

!
(
, ,
x xx x


.
o
.


> >> >
,

.
b
> >> >
p

> >> >


/

> >> >
, b
,

E
&
S

.
, s
o
,

,
o
,
o

.
1
2
3 open
,
,
,
j
j
, , r j
&
.
I
,
,
,
> >> >

tall.
6
,
,
> >> >
,
#
MT
, +
2
b

&

MP

&
n
&
n
&
.
5

r
-
MP


-

-
5

-

-

-

,
-
MP!!

-

.
]
3
,

,
,
3
,
, s
,
,
> >> >
3
,

,
,
3
,
, ,
.
'

.
!
I
,
pedal
I
,
x xx x

.

(

3

J
?
&

.
,
,
,
,
,
s
&
> >> >


.
.
.
,
,
,
,
, s
x xx x

,
,
s ,
,
,
, n
i
j
,
,
b
&

. .

&


1)

. .
,
,
,
,
,
,
&
,
,
s
&

> >> >



> >> >
&

.

extremely violent

. , +


.

.
s

s
> >> >

n

. .

s

> >> >
,

.

+

+
j

.
ei - - - n be- - - grif - fen, die - ser Blitz. o - der noch mich dun-klem






- 19 -
V
t
&
&
?
&


t
t
V
B. Fl. B. Fl.
Tbn.
Tpt.
Vc. Vc.
Pno.
Perc. 1
Perc. 2

52
5

-
o

-

5

-


-
5


o
.
&

,
,
}


,
,
,
%

w

,
,
,

> >> >


,
,
,
,
,
,
,
&
,
,
s
&
3


> >> >


> >> >

,
&

,
> >> >


+
.


n

> >> >


> >> >
s
,
. .
s
> >> >
n
> >> >

> >> >

> >> >


n
> >> >

mein als Mr-der auch Herz der Erb - a - del ver-birgt Zu-letzt. Oh Kri - ton

,
,
,
,
,
,
s
&

,
,
b

,
,
s
,
,
,
,
b

, s
> >> >


> >> >

, s

b
&


> >> >


> >> >

.

,
, n
n

,
, b
b
,
, n

s
s
s

> >> >


+

> >> >



n

,
> >> >

j
, s
.


o
i
j

. .
klug, das Sei zu-letzt, in dir, du ver-birgt sei - nen geschlugt,

,
,
,
,
b
b
&

,
,
,
b
&
,
,
,
,
,
b
n
b
&

,
,
,
,
b
b
b

&




,
,
&

.
,
, n
b
&


, s
> >> >


,
> >> >

,
+


o
,


s
+

> >> >

> >> >


.

> >> >


n
> >> >
b

o - der fin - det dasSchicksal ei - ne auch als Mr-der Wis-sen, Phan-ta - sie, Krankheit! A- riad - ne!






























- 20 -
V
t
&


&
?
&


&
t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2


55

,
&

. .

. .
,
,
b

,
, n
,
,
,
b
b

,
,
,
,
,
s
s

,
,
,

,
,
,
,
,
,
,
&
,
,
s
&

,
,
,

&
> >> >
.
,
,
,
,
,
s
s
&
w

&
sempre
,
,
,
$

&

,
,
,
,
,
,
,

&

,
,
s %
&

.



.
,
,
,
n
b
ad lib.
,
,
n
,
,
b


.
.

all scratching and


muting actions with
wood



. j

, s

> >> >



o
,

> >> >


J
, =

.
has - se - - n, zum To - - de? viel-leicht nun in st-cken,und


,
,
,
,
,
s
s
&
> >> >
,
,
,
&
> >> >
,
,
&
> >> >

,
,
,
,
,
s
s
&
> >> >
,
,
,
&
> >> >
,
,
&
> >> >

&
> >> >


,
,
,
,
,
,
,

,
,
,

,
,
,
,
,
,
,
&
,
,
,
&
,
,
&

&

.
&

> >> >


> >> >


> >> >

> >> >

i
> >> > > >> > > >> > > >> >> >> >


> >> >

> >> >

+
> >> >
j
,
> >> >


> >> >



> >> >


> >> >

> >> >




, +
> >> >
, =
> >> >

.
er erst ei - nen Hahn als Mr-der dei-nes Va- ters Oh Kri -ton, ei - neKrank - heit
.
3
,
,
,

> >> >

> >> >


,
,
,

s
> >> >

> >> >


.
3

,
,

n
-

,
,

s
-
3

-
3

-

-

-
.
i , b

,
, b
p
> >> >> >> >> >> >
S
. ,

, ,
, b

3
,

_

.
3
,

,
,
3
,
,
,
, s
3
,

, ,
3
, , ,

'
.


.
b

,
> >> >
> >> >
> >> >
, b
> >> >
, d
3
,
> >> >
c o c
,
> >> >
,
> >> >
.
&
> >> >
p
different fingerings
S

.

, s
o
,

3
, ,

1
2
3
,
,
,
j
j
&
.
,
,
,

> >> >> >> >> >> >


6
, ,
,
> >> >
,
#
MT

2

#
b

3
n
> >> >
S
MP

b

5
.

r
-

MP

-
5

-

-

-

-

-

]

.
3
,

,
,
3
, s
,
,
3
,
,
,
,

.

' . .

!
.
I
,
x xx x
> >> >


5

o
ad lib.

I
J
> >> >

. .

. .
,
,
s
s


&
. ,
,
,
,
,
,

,
,
,

> >> >> >> >> >> >> >> >> >> >
,
,



t

.
,
,
,
,
,
,
j


j
,

, s


j
,
> >> >

.
n

s
> >> >

w- - - - enn auf-schlit - zen schul-dig. man vers -
































+
o
- 21 -
V
t
&
&
&
?
&
t
t
V
B. Fl. B. Fl.
Tbn. Tbn.
Tpt. Tpt.
Vc. Vc.
Pno.
Perc. 1
Perc. 2

ddefedd
58
3

-

-

-
5

-

-
5

-

-

5

-
o

-

-

I

o
.

.
, , r j
5

,
-

-

-


-
5


-
MP!!

5

-


-
o
5

,
,
, s
&

,
,
, s
$
&

&
> >> >

.
,
,
,
,
,
,
&

,
,
,
,
,
s
s
&
> >> >
,
,
,
&
,
,
&

. .
,
,
,
,
,
,
&
,
,
,
,
,
s
s
&
> >> >
. .
i
j
> >> >


> >> >

> >> >

i
j

. .

> >> >


,
> >> >

.
. s

, s


> >> >

> >> >

+
> >> >

=
+

d
o
> >> >
s
n

i
s

j

.
teckt ge-blitzt von der auch die Lip-pen mei-nes Va- - - ters und je - ner Hahn
ddefedd

,
,
,
,
s
s
&
,
,
,
&
,
,
&
,
&

.
.
.
.
.

s
s

,
,
,
,
s
&
> >> >
,
,
&
,
&
,
,
,
,
,
,
&

,
,
,
,
,
s
&
> >> >
,
,
,
&
> >> >

> >> >

> >> >

> >> >

> >> >

> >> >

> >> >

> >> >

> >> >

'


....



.
.
.
,
,
,

,
,
,
> >> >

> >> >



> >> >

. .

j
,

> >> >

> >> >


s
n

+


s

,
j

> >> >

j
, s

j


,
+



hi - nei - - - n! Kri - - ton, ich un- - - - d lan - ge kran- - - k ihn l - cher - li - che an-blickt die

&
,
,
&
> >> >
,
&
> >> >
,

,
, b
&
,
,
b
&

,
,
,
,
,
n
s
> >> >
&

,
,
,
&
,
,
&
,
&

,
,
,
,
,
s
&
> >> >

,
,
,
,
&

,
,
&
,
&

, s
,
,
,
,
,
,
> >> >

,
,
,
,
,
s
&
> >> >

,
,
&
,
&

.

> >> >

> >> >

,
,
,

Sp
,

,
,
,


.

> >> >


> >> >


> >> >


> >> >


> >> >

,

+

+ o
j


b


,




n

. =

n
s

d


.
bin un-nenn-ba- - - rer Wort Wei -ber Oe - di - pusschick-sa - le aus - ge-prgt: klu - - - - - - - - - - ges Po - ny

































- 22 -
V
t
&


&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2


def
61

&
,
,
,
> >> >


x xx x
,
,
,
,
,
,
> >> >
&

,
,
,
,
,
,
,
&
> >> >
. ,
,
,
,
&
> >> >

, s
&

,
&

> >> >

s
&
,
,
&
,
,
,
s
&

,
,
,
,
,
,
&
,
,
,
,
,
,
,
&

, ,

,
, b
> >> >
/


, s

&

> >> >

> >> >

,
,
,

,
,
,

I
J

> >> >

> >> >

j
,
> >> >

s

o


j
n
. ,

> >> >


.

schul dig. klei - - - ne Hahnwie
klamm
das aus - ge -

.
3
,
,
,

> >> >

> >> >


,
,
,

s
> >> >
,
,
,
s
s
> >> >

.
3
,
,

,
,

,
,

s
,
,

,
,

s
3

,
,

,
,

-
3

-

-

-
.
, b

,
> >> >
> >> >
> >> >, b
p
> >> >
S
. ,
3

, ,
, b
,
3

,
s

,

3
J

.
_
3
,

,
, s
3
,
, s
,
3
,
,
,,
S
,
, , , , ,

.
'

.
!
I
J
,
x xx x

.
, b

> >> >> >> >> >> >


, +
3
, n
> >> >
c o c
,
> >> >
,
> >> >
, s
.
&
> >> >
p
different fingerings
S

.
3

, s
o
,

o
3

o
,

3
j
,

1
2
3
.
&
.
I
,
,
,

> >> >> >> >


> >> >

6
, ,
,
> >> >
,
2
,
#
,
2

#

2
6
b

S
MP

3


MP!!

.
]
3
,

,
,
3
, s
,
,
3
,
,
, s
,
,
S
.

.
'

!

I
J
,
x xx x
.

(

.

(
o
3

I
> >> >

& &

,
,
,
,
s
s

,

,
,
,
,
x xx x

M-Pedal

.
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
s
> >> >

,
,
,

&
,

&

5
.


.

,
, s


n
&

.
5


prgt: l - cher- li - che Schn-heit der- - -sel - - - be, Gift ls- - - - - - - - t
3

-

-

&

,
,
,
,
,
,
s
s
> >> >
&

,
,
,
,
&
x xx x

,
,
,
&
x xx x
,
,
&
x xx x
,
&
x xx x
,
,
,
,
,
,
s
s
&
> >> >

,
,
,
,
&

,
,
,
,
&
,
,
,
,
&

. .

,
, s
f


j
,
,
,
,

> >> >


,

'
,
,

'
,

'
.
.
.
> >> >

. .

s



n

,
+

j
=

o
b

,

> >> >


,

+
s
> >> >
o


.
As- - - kle - pios ei - - - nen La- - by - rinth schul - - dig. pu - - pi - - len fi - - - xi - - ert. drei























- 23 -
V
t
&


&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2

64

&
,
,
,
,
,
,
,
,
,
,
,
, . ,
,
, s

s
s
s

.
,
,
, s

J
, ,
,
,

&
,

&
, s
> >> >


.
,
,
,
,
,
,
s
s
> >> >
&
,
,
,
,
> >> >
&
,
,
> >> >
&
,
>
&

,
,
,
,
,
&
> >> >
,
,
,
&
> >> >
,
,
&
> >> >
,
&
> >> >
p

&
> >> >

,
,
,
> >> >

,
> >> >

&
,
,
,
> >> >

&

.

I
J


,
,
,
,
,
&

.
.
.
p

> >> >


> >> >


> >> >

> >> >
.

j
,
> >> >

3

d
b


,
> >> >
, =
s


, s



n
.
krank dein ein l - - cher - li - ches Hahn pa - ra - - ly - - se

&

.
,
,
,
,
,
,
s
s
> >> >

,
,
,
,
,
,
> >> >
,
,
,
,
,
,
> >> >

,
&
> >> >

j
,
,
,
,
s
s

,
,
,
,
,
,
s
s
&
> >> >
,
,
,
,
,
&
> >> >

,
,
&
,
,
b
&

> >> >

> >> >


> >> >

,
,
,
,
,
,
,
> >> >

> >> >
,
,
,
> >> >

,
,

,
,
,
,

&



,
,
,
,

> >> >


,
,

'
,
,
,
,

'
,

'


> >> >





+
j
s
.
, s

o
d


ei - - - - nen ves - sel ers-tarr - - ung der
6
,
,
,

> >> >

> >> >


,
,
,

s
> >> >

> >> >

,
,

n
-

-
3

-
3

-

,
,

-
3

-

3

, b
o
,
> >> >
p
S
3
, ,

,
, b
,

,
s

,
,
,
,
lip multiph. (ev. sing the upper note)
I
,
o
.
3
, s
_
'
!

,
,
3
,
,
,
3
,
,
,
,
> >> >
S

3
,

, , ,
x xx x

.
I
,
x xx x
pedal

> >> >> >> >> >> >> >> >

, b
/

, b
,
,
*
, s
. }

, s
o
,

,
o
,
p

i
,
o

.
it is important that you are done with this gesture on time, since the last note
must be together with the other instruments. If you are unable to play all the
gesture in the given time, feel free to reduce it (for instance by letting out the
ventil-mordent, or by letting out some of the appogiature which are less
audible in the context.
try to match the
colour of trombone
.
.
.
,
,
,

> >> >> >> >> >> >> >> >

,
> >> >
,
#

2
3
b

S
MP

n
6

MP!!
.
3
,
,
]
'

, s
,
3
,
,
, s ,
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ln - - - - - - ge dei - nes Hahns schul - dig. Ge - heim- niss? A- riad-ne!

















[u] [u]
[i]
o
+
[u] [i] [u]
- 24 -
V
t
&


&
?
&


t
t
V
B. Fl. B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
67
3

-
o
3

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i - ner -tes pferd b - - - lei - - - - - - bt




































+
- 25 -
V
t
&


&
?
&


t
t
V
B. Fl. B. Fl.
Tbn.
Tpt.
Vc. Vc.
Pno.
Perc. 1
Perc. 2
70
5

-
5

-

.


-
MP!!


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o

,
,
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suono mobile
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=-
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+

sich frisst tot Po - - - - - - - - - ny




















1
/2
v
a
lv
e
[u] - [i]
+
. ||||||||||||||| |||||||||||||| |||||||||||
...........
........... ..........
...........
|||||| ..............................

- 26 -
V
t
&

&
?
&


t
t
V
B. Fl. B. Fl.
Tbn.
Tpt.
Vc. Vc.
Pno.
Perc. 1
Perc. 2
73
3

-

-

-
3

-
o

-

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,
,
,
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s
&
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von Dreck da has - - - - - - - - - sen
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||
- 27 -
V
t
&

&
?
&

t
t
V
B. Fl. B. Fl.
Tbn. Tbn.
Tpt. Tpt.
Vc. Vc.
Pno.
Perc. 1
Perc. 2
76

.
,
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n

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ossia:

3

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3
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,,
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b

,
,
,
,
b
b
b
> >> >
sim.
,
,
,
,
n
,
,
n

,
,
,
,
n
b
b
> >> >
,
,
,
,
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,
, ,
,
n ,
,
b
,
,
,
,
n
b
b
> >> >
,
,
,
, n
,
,
,

,
,
,
,
n
n
> >> >
,
,
,
b
, b

,
,
,


> >> >

,
,
, ,
> >> >



...


,
,
,

,
,
,

+
j

o
s ,
> >> >

+o
,
j

.
, =
zu zh-ne-fletschen war zu- - - - - -

6
,
,
,

,
,
,

,
,
,

,
,
,


3
,

,
x xx x
,

3
,
> >> >
z

E
,
> >> >


-


-

6
,
,
> >> >
,
,
> >> >
,
#
MT
,
2
,
#
,
2


6
,
,

,,,
,
,

I
J
,
x xx x pedal

,
,
,
b
b
> >> >
,
,
,
> >> >

, ,
,
n
s
b
> >> >
,
,
,
b
,
,
> >> >
,
,
n

,
,
,
, n
b
s
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,
,
,
,
> >> >
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,
n
,
,
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,
n ,
,
> >> >
,
, s

,
,
,
b
n
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,
,
b ,
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,
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,
,
n
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. .

,
, s
&
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.

,
&

> >> >


> >> >


,
,
,
> >> >
,
,
,

,
,
,
> >> >


,
,
,

,
,
,
x xx x

. .
,
,
,
,
,
,

.
=

+
.
6
=

&

,

n
=

b
+
.

.

&

.
grun - - - de letz - - tes ab - - - - - - - - - ge-weich-teswurm selbs - t

~~~~~~~ ococ
||||||||||| ||||||||| ||||||||||||||||||||||| ||||||||||||||| ||||||||||||| |||||||| ||||| ||| ||||||||
- 28 -
V
t
&

&
?
&

t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
79

3
,
,

,
,
s


,
,

,
,

s
3

, b
o
,

p
> >> >
S
feeddddddd
.
3
,

[u]
,
[i]
,
[u]
,
[i]
,
[u]
,
[i]
3
,
[u]
o

6
, '

,
,
,
,
,
6
,
,
> >> >

,
,
,
, , i
j
,

. .

!
I
J
,
x xx x
pedal

S
. ,

, ,
> >> >

.
, , n j
&
6
,
#
,
2
,
#
,
2
b
4
MP
ad lib.

ad lib.
,

6
,
MT
S

b
MP


i
j

. .
3

,
> >> >
MP
o

> >> >

3

> >> >

> >> >


> >> >

since the written speed is already almost as fast as a normal tremolo,


the idea of playing the passage tremolo is to uncoordinate the
movement of the hands. If this proves too problematic for the player,
he/she could play the passage just as written, without the tremolo, or to
play tremolo in the sections of the passage where this could be more
easily done.

6
,
'
!
S
,
,
,
,
,
6
,
,
, ,
,
,
6
, ,
,
,
,
, ,
> >> >
x xx x

, b
f

,
b

,
,
,
,
,
s
> >> >
&

,
,
,
,
,
n
x xx x
&

,
,
,
,
,
n
x xx x
&

,
,
,
,
,
s
b
> >> >
&

,
,
,
,
,
&

,
,
,
,
,
n
x xx x
&
,
,
,
n
x xx x
&
,
,
b
x xx x
&
.
,
,
,
,
> >> >
sim.
,
,
,
,
,
s
,
,
,
,
,
,
,
,
n
,
,
,
,
,
,
,
> >> >


,

,
,
, ,

,
,

'

,
,
,
,
&
> >> >

,
,
,
suono mobile

x xx x
.
.
.

.
+

> >> >


> >> >

b

+
j


.

3

vor pu-pil - len


pf - - erd
dddef
3

3

3

> >> >


> >> >

,
,
,
,
n
,
,
,
,
b
,
,
,
,
b
.
,
,
,
,
b
n
s
> >> >
,
,
,
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n
,
,
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,
b
n
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,
,
,
,
b ,
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,
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,
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b
,
,
,
, n
> >> >
,
,
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n
> >> >

,
,
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,
,
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,
,
, b
> >> >

,
, s
> >> >
,
,
n ,
,
> >> >
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, n
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,
,
b
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,
,
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,
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,
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.

,
,
,

x xx x
...


,
,
,
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,
,
,
> >> >
,

,
,
,
> >> >
,
,
,
, ,
> >> >

6

j

6
=
+
+

mit - - - lei - - - - den;
ich
die Thr - nen
def

,
,
> >> >
, ,
,
bn ,
,
b
,
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,
,
,
n
s
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,
,
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,
,
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b
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.
,
,
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,
,
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s
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,
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,
,
,
,
,
,
,
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,
,
n

,
,
,
> >> >
x xx x


.
.
.

> >> >


,
,
,
,
,
, ,
> >> >

x xx x

5

=
D

> >> >


,

6

.
=

i
j
,
j


. .
zur wel - - - - - - che
||||| ....
....
.....
...............
.
.
.
.
.
.
.
.
...
.
.
.
.
.
.
|||||||||||||| | | .....
......
......

o
+
o
[u] - [i]
... . . .
.
.
.
.
.
|||||||||||||||||||||

|||||| ||||||||||||||||
- 29 -
V
t
&


&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
82

,
,
,
b
> >> >
,
,
,
,
,
,
b

,
,
,
,
b
n
> >> >
,
,
,
b ,
,
, ,

.

,
,
,
,
b
> >> >
,
,
,
n
,
,
,
b
,
,
,
> >> >
,
,
,
,
,
n ,
,
b

,
, s
> >> >
,
,
n ,
, n
> >> >

,
, b
> >> >
,
,
> >> >
,
,
n

,
,
,
> >> >
,
,
,
b
,
,
,
> >> >
,
,
,
,
,
n

`
,
,
,

> >> > > >> >
,
,
,
&
> >> >

,
,

,
,

`

.
`

,
,
,
,
,
,

> >> >


,
,
,
,
,
,
S

,
,
,
x xx x

> >> >



> >> > > >> > > >> >
j
, =

+

3


ihn
dei - ne a- dern her - zens- flam - me

J

o
,
> >> >

,
,
,

s
s
s
> >> >
,
,
,

n
> >> >
,
,
,

n
> >> >
,
,

s
> >> >
&

.
3

,
,

,
,


j
, b
o
,

p
diaphragm accents
S
,

i
j
,
&
> >> >

. .

'

6
.
,
,
,
6
,
,
,
,
,
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6
,
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S
,
,
,
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6
,
> >> >
, ,
p
.

!

I
J
,
x xx x
pedal


,
> >> >
z

E
o

,
> >> >

p
diaphragm accents
S
. ,

i
j
,
. .
&

6
,
> >> >
,
#
MT
,
2
,
#
,
2
,
# 6
b
> >> >
MP


> >> >

6
,
#
> >> >
MT
,
2
,
#
,

> >> >


MP
, ,
6
,
n
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> >> >

> >> >

6
,

> >> >


b

s
.
S
]


'
6
,
> >> >
, ,
,
,
,
6
,
,
,
,
, ,
,
.

6
, , ,
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,

!

I
J
,
x xx x
pedal
. .

,
, s
> >> >
,
, n
,
,
b ,
,
> >> >
, , , , ,

, s
> >> >

,
, s
> >> >
,
,
,
b
,
,
n
,
,
,
,
,

`
,
,
,


x xx x

,
,
,
,
,
,
&
> >> >
.


`

`
x xx x
`
,
,
,
II
I
i
j

. .
6


.
=

=
+

.

zu - grun- - - de u - - - - - - - - - - vu - - la
3

-

-

-
3

-

-

-
3

-

-

-

(
3

o
3

J

.
o

,
,
,
j
, , n j
&

3

r n
-
MP

-
3

-
, , nr
y
-


-
3

-

-

-

-

-

-
3
r
-

-

3

.

&

-
o
3


-


-


-

,
,
,
b
s
> >> >
, , bn , ,
, n
b n

.
,
, s
> >> >
,
,
,
, n
,
,
, b
,
,
,
n
> >> >
,
,
,
b

.

.
,
, s
> >> >
,
,
n
,
,
,
> >> >
,
, n

.
,
,
> >> >
,
,
b ,
,
> >> >
, ,
,
,
,
&
S

,
,
,


...

,
,
,
...

.

`
,
,
,

.
`

`
j

.
j

s
d
noch
sei - - - - - - end
|||||| .........
.........
||||| ||||| |||||||||| ||||||||||||||||| |||||| |||||||||||||||||||||||||||||||| |||||||||
a x xx x
||||||
a x xx x

1
/2
v
a
l
v
e
~~~~~~~~~ ococ
[u] [u]
[i]
o
+
;;;;;;;;;;;;;;;;;;;;;;
[u] - [i]
- 30 -
V
t


&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
85

.
I
,
> >> >
z

3
,
,
,

s
s
s
> >> >
,
,
,

> >> >


,
,
,

n
> >> >
,
,

s
> >> >

> >> >


S

> >> >

ad lib: double-tonguing
.
, b

3
,
[i]

[u]
,
3
,

E
diaphragm accents
,

'
_
.
3
,

, ,
6
,
,
, , ,
,
6
,
, ,
,
,
,
i
j
,
,
. .

!
.
I
J
,
x xx x
. .

3
> >> >
4
S
,
> >> > > >> > > >> > > >> >
3

,
E
,
*
,

E
> >> >

,
> >> >

2
diafragm accents
voice: falsetto, pitch ad lib.
3

.
3
,
> >> >

,
#
,
2
6
,
#
,
2
,
#
b

> >> >

> >> >


6
,
S
, ,

> >> >


n

> >> >

> >> >


,



6
,

,
,
,
,
6
,
,
,
,
, ,

J
,
x xx x pedal


-
o


-
3

(
o

> >> >

}

I
J
,

. .

,
,
b
> >> >
,
,
> >> >
, ,
,
,
> >> >
, ,
> >> >
,
.
,
> >> >
,

,
,
> >> >
, ,

, s
&
> >> >


` `
.
.
.
,
,
,
,
,
,


` `
,
,
,
,
&
> >> >


i
j
,
,
&
> >> >
. .
(quasi niente, da lontanissimo)


.

wel - - - - - - che pfer - - - - de- - - - kauf

.
,
,


-

-

-

-

-

-

-

-

,
[u]
,
[i]
,
[u]
, b

,
s

3
,
,
,
o
,

(

J

o

J
o


, s
o
3
,


,
,
,
j
, ,
&
6

> >> >


> >> >


> >> >


b

> >> >

r n
MP

, ,
y

III
IV

6
,
,
,
,
,
,
6
, , , ,


.
o
.
o

.
,
,
,
b
s
> >> >
.
,
,
,
b
s
> >> >
,
, ,

,
,
b
> >> >
,
,

,
,
,
b
s
> >> >
,
,
,
,
,
, n
b ,
, s
n
,

,
, s
> >> >
,
, ,
.
,
,
,

.
,
,
,
,
, ,
,
,
, ,
,
,
,
> >> >


> >> >

`
x xx x

.
` `
,
,
,
,
,
,
&
S

> >> >

3
s
d
+


j

o +

mich: et - - - - was an
||||||||||||
a x xx x
a x xx x
...
....
.
.
.
.
............ ............
............
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.....
....
.
.
.
.
.
.
.
.
.
..... ....
.
.
.
.
.
....
....
.
.
.
.
.... ....
.
.
.
.
|||||||||||
x xx x
||||||||
x xx x x xx x
1
/2
v
a
lv
e
~~~~~~ ococ

+ +
o
+
o
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
- 31 -
V
t
&


&
?
&

t
t
V
B. Fl. B. Fl.
Tbn. Tbn.
Tpt. Tpt.
Vc. Vc. Vc.
Pno.
Perc. 1
Perc. 2
87

.
,
> >> >
z

s
> >> >
,
,

> >> >


,
,
,

s
> >> >
,
,
,

> >> >


3
, b
> >> >
f
,
> >> >
,
> >> >


(
o 3


o

but audible, louder if the piano completely covers it

o
> >> >
E

,
+
o
, , , ,
o p
I
, ,

.

,
> >> >
,
> >> >
/

,
> >> >
,
> >> >
b
4
> >> >

> >> >

4
# 2
> >> >

> >> >

> >> >sim.

, ,

'
]

!
(

6
,
>

, , , , ,
6
,
, , ,
,
,
a precise rythm is given here to control the coordination of the attack in
measure 88, beat 2 1/2. As long as this coordingation point is respected, it is
not necessary to pay great attention to regularity or even to the exact number
of attacks as long as the general gesture and its direction are respected.

,
, s
> >> >
,
,
,
, n
,
,
b
,
,
,
n
> >> >
,
,
b ,
,
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,
,
b
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,
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,
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,
,
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.
,
> >> >
,
> >> >

. .
, s
&
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.
,
&
> >> >

.
,
,
,

. ` `
,
,
,

`
x xx x
,
,
,


&
> >> >

,
,
,

. `
,
,
,
,
,
,

> >> >



`

. .
,
,
,
,
. .

3

o
> >> >

3
D

=
j


zu - grun - - de wund,wenn pfun- - d.

,
,
,

,
,
,

n
,
,

s
possibile


-

-

-

-

-

-

-

-
.
,

> >> >

> >> >


,
[u]

[i]
,
[u]

,
, b
,

,
s
,
,
,
o

F2

_

'


pedal
6
,
,
, , ,
, ,
6
,
,
, , ,

3
,
}
possibile

,
*
,
*
,

> >> >


,
*
,

> >> >


,
*
,
> >> >
&

.

,
,
j
,
,
,
j
j
&

r


quasi bow-vibrato

.
6
,
,
, ,
,
,
6
,
,
,
,
, ,
5
,
,
,
, ,
,
,
> >> >
I
J
x xx x
pedal
.

,
,
,
> >> >
,
,
,
b
,
,
,

,
,
,
,
n
s
> >> >
,
,
,
,
n

,
,
,
> >> >
,
,
,
,
b ,
,
,
,
b
,
,
,
,
,
, b
,
,
, n
> >> >


,
,
,

. `
,
,
,
suono
mobile
,
,
,
> >> >
`


,
,
,

` . `
,
,
,
III
IV

> >> >

> >> >


5

> >> >


+ o


.

Fei - - - - - - - ge

.
o

, , j r

, r

,
,
, s
b ,
,
,
, n
,
,
,
,
b
,
,

,
,
n
> >> >
,
,
, b ,
,
> >> >
,
,
, s
,
,
, n

,
,
, s
> >> >
,
,
,
,
,
,
> >> >
,
,
, n
,
,
,
,
b
> >> >
,
,
> >> >
,

,
,
,
> >> >
,
,
,
,
n
> >> >

.
,
,
b
> >> >

,
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. `

,
,
,

`
,
,
,
.
.
.
,
,
,
> >> >

,
,
, `
,
,
,
> >> >

> >> >

,
,
, `

.
`


.
.
.
,
,
,
x xx x
suono
mobile
S

5

.
=
+

un - - - ge- - - -
|||||
x xx x
||||||||||
x xx x
|||||||| ||||||||||||||||
x xx x
||||||||||||

x xx x x xx x ` x xx x x xx x `
||||||||||||||
x xx x

1
/2
v
a
lv
e
+
o
+
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

- 32 -
V
t
&


&
?
&

t
t
V
B. Fl.
Tbn.
Tpt. Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
90

,
> >> >
z

,
,
,

s
> >> >
S
,
,
,

> >> >


,
,

n
> >> >

,
,

,
,

,
,

,
,
,

o

,

j
, b
+
o
5
,
S
,

> >> >

> >> >


possibile
,

> >> >


5
,

> >> >


,

> >> >


. ,
3

. ,
[u]
, b
,
[i]

.



or mute as soon as you can

_
'
!
(

,
,
L
/
, , ,
,
, , ,
,
,
,
> >> >
> >> >
S
I
J
,
x xx x
pedal
,
,
x xx x
, , ,


(
3
o
J

3
.
o

always clearly beneath cello

+
f
.

E
> >> >
o

,
*
,

E
> >> >

j
, s
,
*
,

> >> >


&

. ,
,
j
,
,
,
j , , r j

,
#
> >> >
/
tall.
MT
,
2
> >> >
b
> >> >
4
MP!!

> >> >

,
#
> >> >

4
n

> >> >

> >> >


b
> >> >


> >> >

> >> >
}
3
r
-
sim.
MP
o

-

-

-

-

3

,
sul G
sul III + II

.

,
/
, , , ,
,
, , ,
,
,
,
> >> >
I
J
,
, ,
,
,
,
, , , ,

3

0/98
.

3
J


.
o

, s
&
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,
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,
, s

.

.
,
,
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,
,
,
, n
,
,
,
,
,
, b

,
,
,
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&


,
,
,
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&



. .
,
,
,
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,
,
,
&

.

.
,
,
,
> >> >
`
,
,
,

+
j
s


n

o
j
d

5

.
bn - - - dig- - - - ten
das
steh- - - end.
diaphragm accents

,
s

,
[u]
o


o

3



3
J
o
3
J

,
,
,
> >> >
,
,
, b
,
,
,

,
,
,
> >> >
,
,
,
b

,
,
,
> >> >
,
,
,
,
,
,
b ,
,
,
> >> >
,
,
,
n
,
,
,
,
,
,
,
,
,
,
,
,
b
> >> >
,
,
,
,
,
n
> >> >
,
,

,
,
> >> >
,
,
> >> >
,
,
b

, ,
,
n
> >> >

,
,
b
> >> >
, , ,
,
,
,
,
,
,
> >> >
`

`
> >> >

,
,
,
> >> >
`
,
,
,
> >> >
.
` `
,
,
,
> >> >

> >> >

` `

`
> >> >

,
,
,
> >> >
.
`

> >> >


> >> >

pfer - - - - - de- - - - - kauf dreck,



,
,
,


,
,

possibile

,
,

,


j
, b
+

3
,

> >> >


,

> >> >


,

> >> >


,

> >> >


3
,

> >> >


,

> >> >


,

> >> >

, ,

, ,
, b




,
,
/
> >> >
, , , , , , ,
,
,
,
, , ,


J
x xx x

> >> >

> >> >


E
,
*
,

> >> >


,
*

. .


,
,
,
j
&

,
> >> >
/
#
MT
tall.
,
2
b
> >> >

MP!!

> >> >

> >> >

> >> >

> >> >

r
-
MP

-
o

sim.

sul G


,
/
, , , , , ,
,
,
,
,
,
,
, ,

J
,
pedal

,
,
> >> >

,
,
> >> >
, ,

, s
&
> >> >

,
> >> >

.
.
.
,
,
,
S
,
,
,
&
> >> >

`

,
,
,
&
> >> >

.
,


> >> >


> >> >
s

> >> >
=
> >> >
+

j
n

braun,
close the throat completely
||||||||

|||
a x xx x
|||||||||||| ||||||||||
x xx x
|||||||||||||
a x xx x
a x xx x
|||||||||
.............

~~~~~
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
- 33 -
V
t
&


&
&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc. Vc.
Pno.
Perc. 1
Perc. 2
93

j
, b
o

,
y
, , , ,
o
, ,


(

o


o

only a shadow of cello

,
> >> >
,
, b
,
, n

.

. .
,
, b
> >> >
,
, n
,
,
, s
,
,
,
,
,
,
, n
> >> >
,
,
,
,
,
b

,
,
,
n
> >> >
,
,
,
,
,
b
,
,
> >> >

,
,
,
> >> >
,
,
,
, ,

,
,
,
&
> >> >
`
x xx x

.

. .
,
,
,
> >> >
`
,
,
,
> >> >
`
,
,
,

,
,
,
&
> >> >

. `

,
,
,
> >> >
. `

3

o
,

w- - - - i - - - - - - - ll
dddefeddd
defed

,
,
,

s
&
> >> >

,
,
,

n
&
> >> >

,
,

,
,

s
6



, b
+

, ,

, ,

, ,

_


'
,
,
/
,
,
,,
,
,
, ,,
> >> >

!
>

J
x xx x
p
pedal

> >> >


p
,
*
> >> >
,

E
> >> >


,
,
j

,
> >> >
#
MT
tall.

b

> >> >
MP!!

> >> >

> >> >

> >> >

> >> >



3
r
-
MP
o

-

-
sul G

]

'

,
/
,
>
,
x xx x
,
> >> >
>
,
> >> >
>

!

J
pedal
.

u
0/98

-
(

3

(

o
.
f

> >> >
p

,
,
> >> >
,
,
,
b
> >> >

,
,
,
n
> >> >
,
,
,
b
,
,
> >> >

,
,
> >> >

,
> >> >
i
j
,

. .
, s
&

. .

,
,
,
> >> >


`
,
,
,
,
,
,
> >> >

`
> >> >
`
. .
,
,
,
&
> >> >
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II, 3
III, 1
IV, 2
*)
6

5
=
> >> >
s
> >> >

> >> >
, =

> >> >
6
, s

'

a- - - der - - ge - sch - wu - - - - - - - ste Au - - - - - - gen - be - - we - gun - - g
6


.

,
.
.

,
o
i
,

.

voice, also transposed


u
0/98

.


(
o
3
J

,
6
r
-

-

-
,
y


-

-
6

-
o

-

-

-

-


.

tension of the skin


.
,
,
> >> >
,

,
,
> >> >
,
,
,
,
,
,
,
, s
,
, ,

.
,
,
,

suono
mobile
,
,
,

S
`
x xx x
`

.
, s
krhn, ge - - - - -
|||| |||||||||||||
....... .....
..... ||||||||||||||
a x xx x
a x xx x
x xx x
x xx x
||||||||||||||||||||||||||

- 34 -
V
t
&


&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
96


,
,
> >> >
,
,
,
,
,
,
b
,
,
,
,
n ,
,
b

,
,
> >> >
,
,
,
n ,
, ,
,
, s
,

.
,
> >> >
,
,
,
,
,
,
,
, n
b ,
,
n
> >> >

.

.
,
, s
> >> >
,
,
,
,
,
,
, n
> >> >
,
,

,
,
,
> >> >
`
.
`

`
> >> >

...
,
,
,

.
,
,
,
> >> >
.
`
,
,
,

...
,
,
,
> >> >
`
,
,
,
> >> >
`
+
+

.
rit - - - - te - - nes fort - - - - - - satz

.
,
,
,

,
,

n
try to keep the B natural always audible
possibile

3

, b
o
,

,
o

'

,
,
/
,
,,
,
, , ,
,
,
, ,

!

.
J
,
x xx x

pedal


,
E
> >> >

,
E


i
j

> >> >

> >> >

b
> >> >

> >> >

> >> >

n
> >> >

> >> >> >> >> >> >> >> >

> >> >

tall.
MP!!

} }

]

'
,
,
/
,
,
,,
,
,
,
,
,
,
x xx x

!

.
J
,

pedal
J
,

,,
,
n b
> >> >
,
,
> >> >
,
,
b ,

,
,
n
> >> >
,
,
,
b
> >> >

.

, , n b
> >> >
,,
,
n b ,
,
,
,
b ,
,
> >> >
, ,

, s
&
> >> >

,
,
,
> >> >
,
> >> >
,
,
,
> >> >
,
,
, ,
> >> >
,
,
,
> >> >
,
> >> >

.

,
,
,
> >> >
` `
,
,
,
> >> >
`
3
,
,
,


o
,
,
,

,
,
,
&
> >> >

d

stal - - - - - - - le Ir - - - - - - is


3

:
0/98

5
,

o
, ,

,

1
3 - tr
,
&
}
J
,
y
o
. , ,

,
o
I
,

.

sul G
.
(
3

o
J

3
J

o
.

5
.
j
,
,

suono mobile

3

j
o

without expression


pflas - - - tern de - - - - - s
....................
...
.
.
.
...
.
.
.
|||||
...
.
.
.
...
.
.
. .
.
.
.
.
||||||||||||| ||||||||||||||| |||||||||||||
a x xx x
a x xx x
x xx x `
x xx x ` x xx x `
x xx x
x xx x ` x xx x `
.................................................................
.................................................................

- 35 -
V
?
&


&
?
&
t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
99

3
J !

.
,
,
> >> >
,
,
, s

,
,
, s
> >> >

,
,

,
,
, n
,
,
.

.
`

> >> >


,
,
,
suono mobile


,
,
,
&
> >> >
` `
.

defed
dddefeddd

6

.
,
,
&
> >> >


,
,
> >> >
2 / 0
,
,
,
b
,
,
,
,
n



,
&


. `
,
,
,

+
3

o

5

> >> >


D

pf - - - erds ein lacht man un - - - - ter - - - scheidt den - - - noch

,
, b
> >> >
,
,
,
n
,
,
,
b ,
,
n , ,
,
b n ,
,
b
,
. .
,
,
> >> >
,
,
,
,
n
.
, b
> >> >
,
, b
,
,
,
,
,
,
,

,
,
,
-
> >> >
x xx x
` . `
,
,
,


3
,
,
,
> >> >
.
`
> >> >

,
,
,

.
.
.
,
,
, `

+
j



steh- - - en- - - den schl - - - - - ge nur
|||||||||||||||||||||||||||||||||||||
x xx x

a x xx x
|||||||||||||||||||||||||||
a x xx x
|||||||||||||||||||||||||||||||||| ||||
a x xx x
|||||||||||||||||
a x xx x
6 66 6

- 36 -
V
?
&


&
?
&

t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
102

,
,
b
> >> >
,
,
,
b ,
,

,
,
b
> >> >
,
,
b

,
,
b
b
> >> >
,
,
,
,
> >> >
,
,
,
,
, ,

.
, b
> >> >
,
, ,

,
,
,
n
> >> >

. .

`
,
,
,


`
,
,
,

,
,
,
> >> >

,
,
,
> >> >

` |
.
` `

`

> >> >


&

6

in - - - ne- - - re ab - - - - - - - - wei - - - - - - - chung



,
z


, b
o
,
S

'

,
,
/
,
, ,
,

.
!
(

J
,
x xx x pedal

(
o

,
E

,
E
&
> >> >

> >> >

tall.
MP!!
b

> >> >

> >> >

> >> >


n

> >> >

]

'
,
,
/
, ,
,
,
,
x xx x
,
x xx x

!
(

J
,
x xx x

pedal

,
,
,
b
> >> >
,
,
,
,
b
, ,
, ,

,
,
,
b
> >> >

.

, s
> >> >

`
. |

`
.


,
,
,

suono mobile
3

> >> >


[hm]
air-noise through the nose

o

3
,
o


o

.

,
,
j
&

r
MP
o
3

.
J

o

sul D
3

u
o

o

3
,
,
, , ,
. .


,
&
6 66 6

|||||||||||||||||| .....
...
.
.
.
...
.
.
.
.
|||||
a x xx x
x xx x
||||||||||||||
a x xx x
..............
..............
.............. ...... ......
......
...... ......

- 37 -
V
?
&
&
?
&
t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
105

&


zun - - - - ge

s
?


i
j
,
,
, s
&
> >> >

. .
. .
,
,
> >> >
,
,
,
b
.


. .
`

> >> >



`

> >> >

+
=

+
o
5
i


we - - - - nig - - - stens al - - - - - s


,
,
, s
> >> >
,
,
,
,
,
, n
, ,
,
bn
.

,
,
,
> >> >-
x xx x
.
`
,
,
,
3

o

||| |||||||||||||||||||||||||
a x xx x

- 38 -
V
?
&
&
?
&
t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
108

s

i
j
,
,
,
&

. .
5
I

.
,
&

o


5

> >> >


+

5
i

re- - - - - - - ch- - - - tes schen- - - kel al - - - - s

.
,
, s
> >> >
,
,
,
,
,

,
,
, s
> >> >
,
, ,
,
,
b
n

.
,
,
,
-
> >> >
`



,
,
,
> >> >
-
`
,
,
,
S

> >> >


=
j

+
> >> >
=
j

> >> >


=
o

kno - - - - che-n au- - - gen-k- - - nei - - - fen


,
,
,
> >> >
x xx x
,
,
,
b , ,
,
n ,
,
b

,
,
,
> >> >
.
,
,
, `
,
,
,


sich
||||||||||||||||||||||||||||||||||||||||||||||||||||
x xx x
...
...
.
.
.
.
a
x xx x
6 66 66 66 6

- 39 -
V
?
&
&
?
&
t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
111

,

. .

, b
> >> >
,
, ,

,
,
,
b
> >> >
,
,

,
> >> >
S

.
, ,
,
,
,
> >> >

`



,
,
,
,

,
,


spri - - - - - - ch

. .
,
,
> >> >

x xx x

.

.
,
,
b
> >> >
x xx x
,
,
,
b
,
,
,
,
b
,
,
,
b
> >> >
,

.


,
,
,

> >> >

,
&

> >> >


.
,
,
, `
.
`
,
,
, `
.


mir

,
,
b
> >> >
,
,
,
,
,
b ,
,

,
,
> >> >
,
,
,
,
,

.
,
,
> >> >
,

.

` `
.
.
.
,
,
,
S
,
,
,
> >> >
-

`



,
&
6 66 6

.
,
,
,
> >> >
`
.

.
..
.
.
....................... ............
x xx x
.
.
.
.
.
.
.
x xx x
..
..
...
.
.
.
.
a x xx x
||||||||||||||||
a x xx x x xx x

- 40 -
V
?
&


&
?
&


t
t
V
B. Fl.
Tbn.
Tpt.
Vc.
Pno.
Perc. 1
Perc. 2
114


,
,
b
> >> >

,
,
,
> >> >


,
&
6 66 6

. .
3


hei - - - - - - li - - - - - - g lan - - - - ge ap- - - pe - - - ti - - - - t

.

> >> >


&


j
, b
o
3
,
j
,

.
j
,
o

_

'
,
,
> >> >
,
/
,
,
> >> >
.
!

J
,
x xx x
&


,
E
&
> >> >

.


b

> >> >

MP!!
tall.

> >> >


'

,
/
, , ,
,
,

!
,
,
'
x xx x


, s
> >> >
&


,
&
> >> >
.

,
&
6 66 6

. .


5

> >> >


.

e - - - - - pi - - - - lep- - - - to - - - - for - - - me

,
&

. .

,
&
6 66 6

. .

6 66 66 66 6
+

- 41 -
t
V
Pno.

,
&

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- 42 -
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- 43 -
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- 44 -
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- 45 -
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ich bin dem heilende Asklepios einen Hahn schuldig


senza tempo
ad lib .
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- 47 -