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MAZEDONIA Mario Bürki
DAS LAND UND SEINE MUSIK
Mazedonien liegt im Zentrum der Balkan-Halbinsel und war die
südlichste Teilrepublik der früheren Bundesrepublik Jugoslawien. Es
grenzt im Norden an Serbien, im Osten an Bulgarien, im Süden an
Griechenland und im Westen an Albanien. Der Staat Mazedonien
entspricht etwa der nordwestlichen Hälfte der historischen Region
Makedonien. Mazedonien hat eine Geschichte von tausenden von
Jahren, wie anhand Spuren des menschlichen Bestehens von der
Paleogeschichte in der Petralona Höhle in der Chalkidhiki Halbinsel
gefunden werden können. Der Höhepunkt dieser griechischen
Nordregion waren die Herrschaften von Phillip II und von seinem
Sohn Alexander der Große im 300s B.C.E. Ihr Beitrag zur
Menschheitsgeschichte war unermesslich und die Verbreitung der
griechischen Sprache und der Kultur zur damaligen bekannten Welt
hat den Kurs der Geschichte geändert.Die Region von Mazedonien ist
eine der reichsten im Bezug des Musikausdrucks und des Tanzes. Die
Musik von Mazedonien gehört den musikalischen Idiomen des
Festlandes Griechenland an, stellt aber auch eine interessante
interne Verschiedenartigkeit dar, welche an der großen Masse von
Flüchtlingen liegt, welche nach Mazedonien imigrierten. Die Musik
Mazedoniens wird durch regelmäßige Rhythmen und harmonische
Melodien gekennzeichnet, jedoch gibt es in den verschiedenen
Regionen starke Unterschiede der traditionellen Musik, welche auch
durch die Vielzahl der verschiedenen Instrumenten geprägt wird:
Zusätzlich zum üblichen Ensemble der Violine, des Clarinet und des
Laouto (Laute), finden wir Kombinationen von Zournas
(Oboenähnlich), von Dudelsack mit Drohne und Daires (ein großes
Tambourine), von Lyra (birnenförmige Geige) und von Trommeln.
DAS WERK
Schon länger hat mich die Musik des ehemaligen Jugoslawien
fasziniert, nach langem Suchen nach geeigneter Musik für meine
Komposition bin ich zufällig auf traditionelle Musik von Mazedonien
gestossen und ich entschied mich, darüber ein Werk zu schreiben.
Mein Werk Mazedonia ist dreiteilig aufgebaut: Während der erste
Teil nur im Stile von mazedonischer Musik nach meinem Empfinden
komponiert ist, zitiere ich in den beiden folgenden Teilen
traditionelle Volkslieder: Im langsamen Mittelteil das Lied „Jovano
Jovanke“ welches in der Übersetzung folgenden Text hat: „Jovana,
Jovanke, du sitzt am Vardar, bleichst das weiße Leinen und schaust
nach oben. Jovana, ich warte auf dich, dass du in mein Haus kommst.
Aber du darfst nicht, mein Herz, Jovana. Jovana, deine Mutter läßt
dich nicht zu mir kommen, mein Herz, Jovana.“ Und im letzten Teil
das Lied „Dunje Raike“.
DER KOMPONISTMario Bürki wurde am 26. Oktober 1977 geboren. Er
studierte Blasmusikdirektion am Konservatorium in Bern und
erreichte am Diplom sowie dem Höheren Studienaus-weis das Prädikat
„Sehr Gut“. Bürki besuchte Meisterkurse bei U.P. Schneider
(Komposition) und Toshiyuki Shimada / Andreas Spörri (Dirigieren).
Sein erstes grosses Werk - Szenen aus: Max und Moritz - erreichte
am Kompositions-wettbewerb der World Association for Symphonic
Bands and Ensembles (WASBE) in Luzern den zweiten Preis und seine
Komposition Indian Fire wurde am Wettbewerb Flicorno d’Oro Junior
(Italien) mit dem Spezialpreis für das orginellste Konzertstück
ausgezeichnet. Zwei seiner Werke (Cap Hoorn und 1405: Der Brand von
Bern) wurden an der Mid-Europe in Schladming uraufgeführt. Im
November 2005 wurde 1405: Der Brand von Bern vom weltbekannten
spanischen Blasorchester „La Artistica Buñol“ in Valencia
aufgeführt.Mario Bürki ist Musikschulleiter an der Musikschule der
Jugendmusik Ostermundigen. Als Instrumentalist spielt er Trompete,
Klavier und Orgel. Mario erhält regelmässig
Kompositionsaufträge.
D
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MAZEDONIA Mario Bürki
THE COUNTRY AND ITS MUSICMacedonia is situated in the centre of
the Balkan Peninsula and was the most southern republic in the
former Yugoslav Federation. Its neighbours are Serbia in the north,
Bulgaria, in the east, Greece in the south, and Albania in the
west. The State of Macedonia lies in the northwestern half of the
ancient kingdom of Macedonia. Macedonia’s history stretches back
for thousands of years. Archeological finds discovered in the
Petralona cave on the Halkidiki Peninsula, have proven human
existence in that region as far back as the Paleolithic Period.
This northern region of ancient Greece was at its peak in 300 BC,
during the reigns of Philip II and his son Alexander the Great.
Their contribution to the history of humankind is immense and the
expansion of the Greek language and its culture to the then known
world has defined the course of history.
The Macedonian region is one of the richest in regards of dance
and musical expression. Macedonian music is part of the musical
idioms of the Greek mainland, but it also displays many interesting
internal nuances, influenced by the many refugees who emigrated to
Macedonia. Regular rhythms and harmonic melodies are typical for
Macedonian music. However, there are many regional differences,
also seen in the multitude of different regional instruments. In
addition to the usual ensemble of violin, clarinet and “Laouto”
(lute), we also find combinations of “Zournas” (similar to the
oboe), bagpipes with drones, “Daires” (a big tambourine-like
instrument), “Lyra” (a pear-shaped violin), and also drums.
THE PIECEI have been fascinated by the music of former
Yugoslavia for a while now. After extensive searches for suitable
music for my compositions I came across the traditional music of
Macedonia and I decided to write a piece about it. My composition
Mazedonia is written in three parts. The first part is written
merely in the style of how I perceive Macedonian music, whereas in
the second and third parts I directly quote two traditional
Macedonian folk songs. In the slow middle part I quote the song
„Jovano Jovanke“, whose lyrics translate to: „Jovana, Jovanke, you
sit at the Vardar, bleaching the white linen and gazing upwards.
Jovana, I wait for you, to come to my house. But you mustn’t, my
love, Jovana. Jovana, your mother won’t let you come to me, my
love, Jovana.“ And in the last part I quote the song „Dunje
Raike“.
THE COMPOSERBorn the 26 October 1977, Mario Bürki studied wind
orchestral conducting at the Berne conservatory. He also followed
courses in composition with Urs Peter Scheider and conducting under
the direction of Toshiyuki Shimada and Andreas Spörri. His first
grand scale work Scenes of Max and Moritz gained a second place in
the composition contest in Lucerne organized by the World
Association for Symphonic Bands and Ensembles ( WASBE). During the
Flicorno d`Oro junior contest (Italy), Indian Fire was awarded a
special prize in acknowledgement of its originality. Mario Bürki is
regularly commissioned to write for Wind and Brass Band. Two of his
works (Cap Hoorn und 1405 : Der Brand von Bern) were premiered at
the Mid-Europe Conference in Schladming and several have been
chosen as set test-piece for contests. Alongside his composing he
conducts various Wind Bands and teaches trumpet and theory. Mario
himself plays the trumpet, the piano and the organ.
E
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DEMO
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MAZEDONIA Mario Bürki
Dauer / Durée / Duration: 9.00´´Schwierigkeitsgrad / Degré de
difficulté / Grade: 4
Blasorchester / Musique d´harmonie / Wind Band
Piccolo1st Flute2nd FluteOboeBassoonClarinet Eb1st Clarinet
Bb2nd Clarinet Bb3rd Clarinet BbBassclarinet Bb1st Alto Saxophone
Eb2nd Alto Saxophone EbTenor Saxophone BbBaritone Saxophone Eb1st
Trumpet Bb2nd Trumpet Bb3rd Trumpet Bb1st Horn Eb/F2nd Horn Eb/F3rd
Horn Eb/F4th Horn Eb/F1st Trombone Bb/C 2nd Trombone Bb/C3rd
Trombone Bb/CEuphonium Bb/CTuba Bb/Eb/CContrabassPercussion
1Percussion 2Percussion 3Percussion 4
musikverlag frank, Industriestrasse 30, CH-4542 Luterbachphone
+41 (0)32 685 48 80 fax +41 (0)32 685 48 [email protected],
www.musikverlag-frank.ch
Inst
rum
enta
tion
© 2010 by
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© 2010 by musikverlag frank, Industriestrasse 30, CH-4542
Luterbach (Switzerland)
Piccolo
1st Flute
2nd Flute
Oboe
Bassoon
Clarinet Eb
1st Clarinet Bb
2nd Clarinet Bb
3rd Clarinet Bb
Bass Clarinet Bb
1st Alto Saxophone Eb
2nd Alto Saxophone Eb
Tenorsaxophone Bb
Baritonsaxophone Eb
1st Trumpet Bb
2nd Trumpet Bb
3rd Trumpet Bb
1st Horn F
3rd Horn F
2nd Horn F
4th Horn F
1st Trombone C
2nd Trombone C
3rd Trombone C
Euphonium
Tuba
Contrabass
1st Percussion
2nd Percussion
3rd Percussion
4th Percussion
f ff
Con Fuoco (q=144-168)2 3 4 5 6 7 8
f ff
f ff
f ff
fff f
fff
f ff f
f ff f
f ff f
fsfz sfz
f ff fp
f ff fp
f ff f
fsfz sfz
f ff
f ff
f ff
f f
f f
f f
f f
f f
f f
f sfz sfz
f f
fsfz sfz
fsfz sfz
f sfz sfz
f sfz sfz
p f f
f ff f
3 3 3 3 3 3 3 3
MAZEDONIA Mario Bürki
3 3 3 3
3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3
3 3
3 3 3 3 3 3 3
3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3
3 3 3
3 3
3 3
3 3
3 3
3 3 3
3
3 33 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3
Timp.
S.D.
S.C.
C.C.
Xylophon
3 3 3 3 3 3 3 3
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f f
9 10 11 12 13 14 15 16
f f
f f
f f
f f
f f
fp f
fp f
fp f
sfz sfz
f
f
sfz sfz
f f
f f
f f
sfz sfz
f f
sfz sfz
sfz sfz
sfz sfz
sfzsfz
f f
f f
B.D.
H.H.
2
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
p cresc. mf
2017 18 19 21 22 23 24 25
p cresc. mf
p cresc. mf
p cresc. mf
mf
p cresc.mf
p cresc. mf
pcresc. mf
p cresc. mf
p cresc. mf
mf
mf
p cresc.mf
p cresc. mf
mf
mf
mf
mf
fp
mf
mf
f
mf
fp f
f
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3
3 3 3
3 3 3
3
3 3 3
3
3 3 3
3
3
3 3 3
33 3 3
3 3 3
3
S.C.
3 3 3 3
3
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f
3626 27 28 29 30 31 32 33 34 35
f
f
f mf
f mf
f
f mf
fmf
fmf
fmf
f mf
f mf
f mf
f mf
f
f
f
f mf
f mf
f mf
f mf
f mf
f mf
f mf
f mf
mf
f mf
f mf
f mf
f f
f
3 3
3 3
3 3
4
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
4437 38 39 40 41 42 43 45 46
f
f
mf
mf
f
f
f
mf
mf
mf
f
mf
mf
mf
f
f
33 3 3 3 3 3 3 3 3 3 3 3 3 3 3
33 3 3 3 3 3 3 3 3 3 3 3 3 3 3
33 3 3 3 3 3 3 3 3 3 3 3 3 3 3
5
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
mf
5247 48 49 50 51 53 54 55 56 57
mf
mf
mf
mf
mf
mf
mf
mf
mf
f
f
mf
f
f
f
f
mf
mf
mf
mf
mf
mf
mf
f
mf
3 3 33 3 3
3 3 33 3 3
3 3 33 3 3
6
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
f fp
cresc.60
58 59 61 62 63 64 65 66 67
f fp
ffp
f fp
f p
f fp
f fp
ffp
ffp
f p
f fp
ffp
f
f fp
f fp
f fp
f
f
f
f
f p
f p
f p
f
f p
f p
f
p
f
fp
3 3 3 3
3 3 3 3
3 3 3 3
3
3
3
3 3 3
3 3 3
3
3 3 3
3
3 33
3
3
3 3 3
3
3 3
3 3
3
3 3 3
3
3 3
3
3 3 3 3
7
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
3rd Perc.
4th Perc.
ff f
68 7669 70 71 72 73 74 75 77
ff f
ff f
ff f
sfz sfzmf
ff f
ffff f
ff f
ff f
sfz sfzmfmf
ff f mf
ff f
ff f
sfz sfzmf
ffff f
ff f
ff f
f
f f
f f
f f
f f mf
f f mf
sfz sfz mf
f
sfz sfzmf
sfz sfz mf
sfz sfz mf
sfz sfz mf
f f mf
ff f
Solo
C.C. Tamburin
8
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
Tamb.
4th Perc.
78 79 80 81 82 83 84 85 86 87 88
mf mf
mf
mf
mf
mf
mf
mf
mf
mf mf
mf
mf
mf
mf
mf
mf
Solo
all
Solo
muted
muted
muted
muted open Solo
muted
muted
muted
muted
9
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
Tamb.
4th Perc.
p
89 90 91 92 93 94 95 96 97 98 99
p
p
p
p
p
f p
f p
f p
f
f p
f p
f p
f
f
f
f
f
f
f
f
f
f
f
p
f
f
p f p f p f p f p
f p f p p f
f
p f p f p f p f p
3 3
3 3
3 3
3 3
3 3
3 3
all 3
3
3
3
3
3
all
3 3
3 3
3 3
open
open
open
all
open
open
open
open
3 3
sus. Cymb
3 3
10
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
Tamb.
4th Perc.
f
100 101 102 103 104 105 106 107 108 109 110
mf f
mf f
mf f
mf f
mf f
mf f
mf f
mf f
mf f
mf f
mf f
mff
mf f
f
f
f
mf f
mf f
mf f
mf f
f
f
f
mf f
mf
mf f
f f
mf f
mf f
ff
11
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DEMO
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
Tamb.
4th Perc.
rit. Rubato q=80120111 112 113 114 115 116 117 118 119 121
122
mf
mf
mf
mp mf
mf
mf
mf mp mf
mf
mf
mp mf
mf
mf
mf
mf
mf mp
mf mp
mf mp
mp
mp
pp
pp
freelySolo ad lib.
freelySolo ad lib.
freelySolo ad lib.
freelySolo ad lib.
freelySolo ad lib.
freelySolo ad lib.
S.C.
Wind Chimes
12
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DEMO
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Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
Schlgz.
Schlgz.
123 124 125 126 127 128 129 130 131 132 133
mp mf dim. mp mf
mp mf dim. mp mf
mp mf dim. mp mf
mp mf dim. mp mf
mp mf dim. mp mf
mp mf mp mf
mp dim. mp mf
mp mf dim. mp mf
freelySolo ad lib.
freely
Solo ad lib.
13
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DEMO
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RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
2nd Perc.
Schlgz.
Schlgz.
rit.Lamentoso q=116
136134 135 137 138 139 140 141 142 143
mf
mf
mf
mp
mp
mp
mf
mp
mp
mp
mp
p mf
mp
one
all
one
all
Bongos
14
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DEMO
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RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
Bongos
Schlgz.
Schlgz.
146144 145 147 148 149 150 151 152 153 154
p mp
mp mp
mp
mf
mf
mp
mp
mp
mp
p mp
p mp
p
p
p mp
p mp
p
p mp
mp mp
solo
Solo
solo
solo
Xylophon
Soft Mallets
15
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
Bongos
Schlgz.
Xyl.
158155 156 157 159 160 161 162 163 164 165
mf
mf
mf
mf
mf
mf
mf
mf
mp mf
mp mf mf
mp mf mf
mp mf
mp mf
mp mf
mf
mf
mf
mf
mf
mp mf
mp mf
mp mf
p mf
mf
all
5
5
all
5
5
5
5
5
all
all
S.C.
Glockenspiel
16
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
Bongos
Schlgz.
Glsp.
mf
168166 167 169 170 171 172 173 174 175
mf
mf
mf
mf
mf
mp mf
mp mp mf
mf
mf
p
p
mf p mf
mf p mf
mp
mp
mp
mf
mf
mf
mf
mf
mf mf
mf
p mf
mf
mpmf
mf mf
mf
Solo all
solo all
all
all
B.D.
Tamburin
17
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
1st Perc.
Bongos
Tamb.
Glsp.
180176 177 178 179 181 182 183 184
p mf
p mf
mf
p
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf mf
mf mf
mf
mf
B.D.
18
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
Schlgz.
Bongos
Tamb.
Glsp.
192185 186 187 188 189 190 191 193 194
mf
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
mf cresc. f
pmf cresc. f
mf cresc. f
mf
Drum Set Ride
19
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
Schlgz.
Schlgz.
Tamb.
Glsp.
f cresc. ff
195 196 197 198 199 200 201 202 203
f cresc. ff
f cresc. ff
f cresc. ff
ff p
f cresc. ff
f cresc. ff
f cresc. ff
f cresc. ff
cresc. ffp
cresc.ff
cresc.ff
cresc.ff
cresc.ff p
cresc.ff
cresc.ff
cresc.ff
cresc.ff p
cresc.ff
cresc.ff p
ff
ff p
ff p
ff p
ff
cresc.ff
cresc.ff p
ff p
p
ff p
f cresc. ff
Timpani
B.D.
Xylophon
20
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
Pk.
Schlgz.
Schlgz.
Xyl.
205204 206 207 208 209 210 211 212
mf
mf mf
p
p
Bongos
Glockenspiel
21
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
Pk.
Schlgz.
Bongos
Glsp.
213214 215 216 217 218 219 220 221 222 223
mp mp
mp
p
p
p
p
p
mf
mf
mp
mp
mp
mp
mp
mp
p
p mp
p mp
p
mp
mp mp
solo
Solo
solo
solo
solo
22
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
Pk.
Schlgz.
Bongos
Glsp.
rit. Con Temperamente (q=132-144)228224 225 226 227 229 230 231
232
mp
mfmp
mf
mp
mp
mf
mf
mp
mp
mp
mp
mp
mf
mf
Tenor Drum (or Snare with snares off)
B.D.
23
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
Pk.
Perc.
Schlgz.
Glsp.
mf cresc. f
236233 234 235 237 238
mf cresc. f
mf cresc. f
mf cresc. f
cresc.f
mf cresc. f
cresc.f
cresc. f
cresc. f
mfcresc.
f
mfcresc.
f
mf cresc. f
cresc. f
f
f
f
f
f
f
f
mfcresc.
f
mf cresc. f
cresc. f
f
cresc. f
cresc. f
cresc. f
f
f
all
all
all
all
24
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
Pk.
Perc.
Schlgz.
Glsp.
f
244239 240 241 242 243 245
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
3
3
3
3
3
3
3
3
3
3
Belltree
Xylophon
3
25
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
F. Bec.
Perc.
Schlgz.
Xyl.
252246 247 248 249 250 251
f
f
f
f
f
f
f
f
f
f
f
f
mf
mf
mf
mf
mf
mf
mf
f
f
f
mf f
f
f
3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3
3 3 3 3 3
3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
26
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
F. Bec.
Perc.
Schlgz.
Xyl.
f
256253 254 255 257 258 259 260
f
f
f
f
f
mf f
mf f
mff
mf f
f f
f f
f
f
f
f
f
f mf
f mf
f mf
f mf
f
f
f
mf f
mf f
mf
mf
mf
f
3
3
3
3
3
3
3
3
3
27
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
F. Bec.
Perc.
Schlgz.
Xyl.
264261 262 263 265 266 267
mf
mf
mf
mf
mf
mf
mf
mf
f
f
f
mf
mf
mf
mf
f
f
f
f
mf
mf
f
f
f
mf
28
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
F. Bec.
Perc.
Schlgz.
Xyl.
Più mosso (q=144-158)272268 269 270 271 273 274 275
mf
mf
mf
f mf
fmf
fmf
mf
f mf
f mf
f
mf
mf
mf
mf
mf
mp
mp
mp
mf
mf
mf
mf
mf
mf
29
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
F. Bec.
Perc.
Schlgz.
Xyl.
280276 277 278 279 281 282 283
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
30
-
DEMO
SCO
RE
Picc.
1st Fl.
2nd Fl.
Ob.
Bssn.
Eb-Cl.
1st Cl.
2nd Cl.
3rd Cl.
Bkl.
1st Asax.
2nd Asax.
Tsax.
Barsax.
1st Trp.
2nd Trp.
3rd Trp.
1st Hrn
3rd Hrn.
2nd Hrn.
4th Hrn.
1st Trb.
2nd Trb.
3rd Trb.
Euph.
Tb.
Cb.
F. Bec.
Perc.
Schlgz.
Xyl.
288284 285 286 287 289 290 291
f
f
f
f
f
f
f
f
f
f
f
f
f
f
mf f
mf f
mf f
mf f
f
f
f
f
f
f
f
f
f
f
