Cabinet of Curiosities Concerto for Saxophone Quartet and Orchestra

Cabinet of Curiosities

Concerto for Saxophone Quartet and Orchestra

by

Matthew Aaron Browne

A composition submitted in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts (Music Composition)

in the University of Michigan 2016

Doctoral Committee: Professor Michael K. Daugherty, Co-Chair Associate Professor Kristin P. Kuster, Co-Chair Professor Evan K. Chambers Associate Professor Mark Clague Professor Terry G. Wilfong

ii

Written for and dedicated to my good friends of the Donald Sinta Quartet:

Dan Graser, Zach Stern, Joe Girard, and Danny Hawthorne-Foss

iii

ACKNOWLEDGMENTS

I would like to thank all of the composition teachers with whom I have

had the pleasure to study during my years at the University of Michigan: Kristin

Kuster, Michael Daugherty, and Evan Chambers. Without their insight I would

not be the composer, nor indeed the person that I am today. Id also like to thank

my other amazing teachers during my time here: Mark Clague, Walter Everett,

Kevin Korsyn, and many more. Finally, I would like to thank all of the

wonderfully talented, generous, and admirable saxophonists with whom I have

had the honor to work and befriend over the course of my life: Raleigh Eversole

IV, Steven Stowe, Elizabeth Ridsdel, Tim DAmour, Neal Postma, Tom Myer,

Luis Zuiga, Christian Noon, Donald Sinta, Timothy McAllister, Jonathan

Hulting-Cohen, Edward Goodman, Dan Graser, Zach Stern, Joe Girard, Danny

Hawthorne-Foss, Lisa Keeney, Andrea Voulgaris, Brendan Kelly, David Foley,

and so many more.

iv

TABLE OF CONTENTS

DEDICATION ii

ACKNOWLEDGMENTS iii

PROGRAM NOTE v

INSTRUMENTATION vi

CABINET OF CURIOSITIES

PRELUDE 1

I. THE ART OF NOISES 7 II. FARTHEST SOUTH 45 III. VINEGAR SYNDROME 66

v

PROGRAM NOTE Cabinets of curiosities (known also as Kunstkammern), emerged first in the wealthy and royal homes of the sixteenth century. The cabinets held collections of various wondrous and thought-provoking objects with no obvious categorization or curation. Many of these collections included archaeological relics obtained by explorers during their voyages to the new world (Exotica), impressive and curious works of Art (Artificialia), technologically advanced mechanical automata (Scientifica), and obscure and exotic specimens from nature (Naturalia). These collections served primarily as a status symbol for the wealthy patrons that owned them, but were also viewed as a kind of proto-museum displaying, in one room, objects once unknown (and sometimes unbelievable) to European audiences at the time. To these visitors, the cabinet was a microcosm of the world.

What strikes me most about these early collections was not only the breadth of objects, but also the haphazard curation and organization of them. All of these disparate and eclectic objects were sitting beside one another almost arbitrarily. The purpose of these cabinets were not (at first, anyway) to present an easily followed narrative through science and history, but more generally to display all of the amazing and wondrous stuff the owner has in their collection. There is a kind of gleeful and passionate randomness that I really love about this idea, which is echoed in much of the music that I like as well the music that I write.

This piece is my fictional curiosity cabinet. Prelude The cure for boredom is curiosity. There is no cure for curiosity Ellen Parr. I. The Art of Noises These dozen or so wooden cylinders, measuring four feet high with an eleven inch diameter, are operating instructions to a long lost mechanical marvel, namely Johann Nepomuk Mlzels Panharmonicon. This invention was a behemouth automatic orchestra machine complete with pipes for wind sounds, imbedded kettledrums, and could even simulate the sounds of muskets. Mlzel, known for perfecting the metronome was also a good friend of Ludwig von Beethoven. In fact, it is well-known that Beethoven composed a version of his work Wellingtons Victory (op. 91) for the Panharmonicon. After a falling out between the two, their collaborative relationship effectively ended or so we thought.

Scribbled on each of these cylinders is Beethovens unmistakably flowery yet crude signature. Although no panharmonicons exist to play back the music on these cylinders (the last was destroyed in an air raid in Stuttgart in World War II), is it clear that the music embedded in them is not from Wellingtons Victory. A team of experts have analyzed the cylinders and speculate that the music is unlike anything in Beethovens oeuvre. The curious gestures seem to not be ordered by or centered on any harmonic or melodic means, but more by that of timbre and rhythm, as if Beethoven were playing around with the mechanical nature of the instrument. This uniquely 20th century approach was first detailed in Luigi Russolos futurist music manifesto The Art of Noises in 1913.

Could Beethoven, always the revolutionary, have predated many of our modernist musical aesthetics by ninety years? II. Farthest South The term farthest south refers to the most southerly latitudes reached by explorers during the so-called Heroic Age of Antarctic Exploration prior to the conquest of the South Pole in 1911. Ernest Shackletons Nimrod Expedition of 1907-09 reached a latitude of 88 23' S. This was, by far, the farthest south reached at that time.

What is largely unknown about this expedition, however, is the unusual encounter made by Shackleton and his company. While traversing atop Beardmore Glacier, a monumental discovery by the Nimrod Expedition (which sits at approximately 83 S, farthest south at that time), they came into view of an awesome sight; an expansive and glorious field of curious glass structures, between four and fifteen feet in height. They were immaculate, crystalline, impeccably smooth, and laid out with meticulous and symmetrical coordination, reminiscent of the quiet solemnity of a cemetery. When the sunlight rose above the surrounding mountain ranges and hit these fantastic monuments, a brilliant diffusive gleam of light filled the glacial valley, and illuminated everything it touched with the brightest white light imaginable. Even more curious is that the arduous Antarctic weather seemed to have no erosive effect on the cleanliness of these structures. Analysis shows that they have been sitting like this, unblemished, for at least the past 4,000 years. It is still unknown who built or arranged them.

It seems that a change is needed in the farthest south record book. III. Vinegar Syndrome This old and rusty film canister contains (allegedly) one of the rarest and most enticing feature films ever made. Thought to have been an urban legend, in the mid-seventies a (presently unidentified) group of the most famous and successful Hollywood filmmakers (including directors, actors, cinematographers, and musicians) embarked on a parodic project to re-appropriate a popular Italian superhero film genre, which was itself a re-appropriations of established American superhero films. An example being 1967s I fantastici 3 $upermen (The Three Fantastic Supermen).

This parody, a misappropriation of a misappropriation, was allegedly screened only once in an empty theater (even its creators disowned it), and was said by the projectionist to have been a two-hour bridge collapse masquerading as a movie. The film was subsequently thrown away and lost to time, until last year when this discarded canister bearing only the words Vinegar Syndrome appeared in a dank storage unit in the Victorville Film Archives. This curious title, Vinegar Syndrome, probably refers to a form of decay for acetate based film, which has poetically befallen the reel sitting inside the canister.

Although the degradation of the film is strong enough to make any viewing impossible, careful analysis of a handful of individual frames seem to vaguely display the visages of famous actors such as Harrison Ford, John Wayne, and even Marlon Brando all dressed in colorful and over-the-top superhero costumes. In addition, the composition of each shot was of stellar quality, obviously the work of a master director. People rumored to have been involved in the project range from Steven Spielberg to Martin Scorsese to Frank Zappa to Alfred Hitchcock.

Could this film be our lost parody?

vi

INSTRUMENTATION

Piccolo Flute 1-2 Oboe 1-2 English Horn Clarinet in Bb 1-2 Bass Clarinet in Bb (Dbl. Clarinet in Bb 3) Bassoon 1-2 Contrabassoon

Horn in F 1-4 Trumpet in C 1-3 Trombone 1-2 Trombone 3 (Bass) Tuba

Timpani (32, 29, 26, 23) Percussion 1

Marimba (4.5 octave) Xylophone Crotales (Eb6-Ab7) Concert Bass Drum (may be shared with Perc. 3) Cowbell (mounted)

Percussion 2 Two Bongos Suspended Cymbal Glass Wind Chimes Brake Drum Tam-tam (with bass bow) Vibraslap (mounted) Tambourine Triangle

Percussion 3 Vibraphone Snare Drum Concert Bass Drum (may be shared with Perc. 1) Five Temple Blocks Suspended Cymbal

Harp Piano

Solo Soprano Saxophone in Bb Solo Alto Saxophone in Eb Solo Tenor Saxophone in Bb Solo Baritone Saxophone in Eb Violin I Violin II Viola Violoncello Contrabass PERFORMANCE NOTE All trills are to be performed as half-step trills, unless otherwise indicated.

Duration: c. 23 min. www.matthewbrownecomposer.com

{

{

Full Score (Transposed)

Matthew Browne

4.11.16

for Saxophone Quartet and Orchestra

CABINET OF CURIOSITIES

Prelude

Copyright 2015-16 Maestoso Music

Dedicated to the Donald Sinta Quartet

Piccolo

Flute 1.2

Oboe 1.2

English Horn

Clarinet in Bb 1.2

Bass Clarinet

in Bb

Bassoon 1.2

Contrabassoon

Horn in F 1.2

Horn in F 3.4

Trumpet in C 1.2

Trumpet in C 3

Trombone 1.2

Trombone 3

(Bass)

Tuba

Timpani

Percussion 1

Marimba (4.5 octave)

Xylophone

Crotales (Eb6-Ab7)

Concert Bass Drum

Med. Cowbell (mounted)

Percussion 2

Two Bongos

Suspended Cymbal

Glass Wind Chimes

Brake Drum

Tam-tam (with bass bow)

Vibraslap (mounted)

Tambourine

Triangle

Sm. Cowbell (mounted)

Percussion 3

Vibraphone

Snare Drum

Concert Bass Drum

Five Temple Blocks

Hi-hat

Harp

Piano/Celesta

Solo Soprano Saxophone

Solo Alto Saxophone

Solo Tenor Saxophone

Solo Baritone Saxophone

Violin I

Violin II

Viola

Violoncello

Contrabass

Mysteriously q = 63

mp

pp

p

mp

pmp

p

mp

pp restrained mp

Mysteriously q = 63

pp restrained mp

pp restrained

mp

pp restrained mp

2 3 4 5 6

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

/

&

Marimba, medium-soft mallets

- - - - -

3

/

&

Tam-tam, bowed

&

Vibraphone, soft mallets

- - - - -

3

&

o o- - - - -

3

&

D#CBb EFGA

&

Piano

mute with the pad of your finger as

close to the keyboard as possible

+ + +

-

+

-

+

-

+

-

+

-

3

?

&

non vib.

3

- - - - -

3

&

non vib.

&

non vib.

&

non vib.

3 3

&

&

B

?

?

w

b w b

n

# w # w

# w # w

w

w w w w w w

w w w w

w

# n

1

{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vib.

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

11

n f n

n f n

n f n

n f n

p

mf

pp

p

p

p

p

pp

n pp

11

pp mp n pp

pp n n pp

pp n n pp

7 8 9 10 11 12 13

&

&

&

&

&

&

?

?

&

&

&

&

?

slowly use hand to cover (+) and

uncover (o) hole in mute

muted (harmon)

+ o +

?

muted (harmon)

slowly use hand to cover (+) and

uncover (o) hole in mute

+ o +

?

muted

?

Place a large suspended cymbal upside-down on the

head of the 32" timpano and proceed to roll on it

with soft mallets while moving the pedal as indicated.

Move the cymbal to the 26" timpano

&

-

3

&

&

-

3

3

&

-

3

o o o o o

&

&

+

-

3 +

+ + + +

?

&

-

3

non vib.

3

&

ord. non vib.

3

&

non vib.

&

non vib.

3

&

&

B

?

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b w

w

b

w

b

w

Yb

b

j

w

w #

w w #

b

wn

# w

w w w

# w

w w

wb w

b

Cabinet of Curiosities - Full Score (Transposed)2

{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vib.

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

n f n

n f n

n f n

n f n

n f n

n f n

mp p

pp mf

mp p

mp p

mp p

mp pp mp pp

mp pp mp pp

mp pp n

mp

pp mp

14 15 16 17 18 19 20

&

&

&

&

&

&

?

?

&

muted

&

muted

&

&

?

+ o +

remove harmon mute,

insert straight mute

?

+ o +

remove harmon mute,


?

?

As before, on the 26" timpano

&

- - - - -

3

-

3

- - -

3

-

&

&

- - - - -

3

-

3

- - -

3

-

&

o

- - - - -

3

-

3

- - -

3

-

&

&

+ +

-

+

-

+

-

+

-

+

-

3

+

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3 +

-

+

-

+

-

3

+

-

?

&

- - - --

3

ord.

-

3

&

ord.

&

&

3

ord.3

3

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#

#

w

w

n

w

w

#

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w

w

w

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j

b

b

b

b

b

b

w

wb

b

b

b

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b

b

b

b

b

b

w

wb

b

b

b

b

#

b

#

b

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w

wb

#

b

#

b b b wb b

w #

b

wn w

w w w# #

w# w w

w w w w w

#

# w w w# #

#

Cabinet of Curiosities - Full Score (Transposed) 3

{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vib.

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

21

mf

pp restrained

mf

pp

pp

pp restrained

pp restrained

pp restrained

pp restrained

mp p

pp mf

mp p

mp p

mp

p

n pp p mf

21

npp p mf

pp p mf

n

mf

pp restrained

mf

pp restrained

mf

pp restrained

pp restrained

21 22 23 24 25 26 27

&

&

&

&

&

a2

3

&

?

b

3

?

&

2.

1.

&

3.

4.

3

&

&

?

?

?

?

&

- - - - -

3

-

3

&

Tam-tam, bowed

&

- - - - -

3

-

3

&

- - - - -

3

-

3

&

&

+

-

+

-

+

-

+

-

+

-

3

+

-

3 +

?

&

&

3

&

3

&

&

non vib. div.

3

ord.

&

non vib.

div.

3

ord.

B

non vib.

div.3

?

non vib.

div.

3

?

b

b

n

w

w

w w

#

w

n

w

w

#

w

w#

w w w

w

b w

w

w

w

w w

w

w

w

w

w

w

wb

w

w

w

w

w

w

w

w

#

b

n

n

#

w

#

n

#

b

wn #

b

wn

w

#

wb w w w

www

ww

b

wb w

w

b

w

w

b

n

w

w

b w ww ww ww

b

w

w

b w

w

w

w


{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vib.

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p f

30

f

f p f

p f

f

f

f

f

fp

f

ff f

f f ff f

p f

mf f

mf f

mf f

mf f

ff

pp f

ff

ff

ff

fn

30

f n

f n

fn

f

f

f

mf f

28 29 30 31 32 33

&

soli (with trumpet/oboes)

&

&

a2 soli (with trumpet/piccolo)

&

3

&

3

&

?

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.

>

&

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. > . . . .>

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. . . . > .>

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.>

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&

. .>

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. . . .>

. . . .>

.

>

.

>

.

>

.

>

&

1. soli (with oboes/piccolo), muted (straight)

&

?

muted (straight)

b

. . >

?

muted (straight)

.

>

?

(muted)

.

>

?

ord.

>

&

(Marimba), hard mallets

>

&

Sus. Cym., soft mallets

&

(Vibraphone), hard mallets

>

&

>

&

>

&

>

?

&

>

&

&

&

&

&

&

unis.

3

B

ord.

b

?

ord.

unis.

?

.

>

wb nn #

w

w

w

w

w

w

b

b

w

w

w

w

w

w

w

w

w

w

b

wb nn #

w b

w w

w

w

w

w

w

w

w

w

w w w w w

w

w

w

w w

wb

b w

w

w

w

w

w

wb

b w w

w

b

ww

b

w

w

w

w

wb nn #

w

b

w

w

w

w

wb

b w w

wb

b w w

wb

b

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w w

w

# w#w w

#

# w w

wn

w

w w w

w

w

w

b w

w

b

b

w

w

w

w

w

w

b

w w

ww

ww

w

w

w

w

w

w

w

w

w

ww

wb w w w

wb b

b w w


{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vib.

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff n

rit. attacca34

n

ff n

n

n

n

n

ff n

ff n

rit.

ff n

ff n

ff n

ff n

ff n

rit.

ff ff ff

ff

ff

ff

ff ff ff

ff ff ff

rit. attacca34

n mp n

n mp n

n mp

n

n

n

n

ff n

34 35 36 37 38 39

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

&

U

&

U

&

U

&

U

&

U

&

U

?

U

?

U

&

>

U

&

>

U

&

U

&

U

?

U

?

U

?

U

?

U

&

>

> >

U

&

U

&

>

> > U

&

>

> > U

&

>

> >

U

&

>

>

> U

&

>

> >

U

&

U

&

U

&

U

&

--

-

U

-

&

U

&

U

B

U

?

U

?

U

wb

w

w

wb

w

w

w

w

w

w

w

ww

w

w

wb

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

#

b

n w

# b

n w

# #

w

w

w

w

w

w

w


{

{

I. The Art of Noises

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vib.

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Rigid, like clockwork q = 126

n mf

f mp n

f p

mf

ff

ffp mf

mf

ff

ff

ff

Rigid, like clockwork q = 126

p n

n mf n

n mf n

1 2 3 4 5 6 7

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

&

&

1. solo

&

&

&

&

?

?

&

a2 stopped

>

+insert mute

&

a2 stopped

>

+insert mute

&

&

?

?

?

?

&

&

Vibraslap, mounted

>

Sm. Cowbell, hard mallets >

>

5

&

&

>

&

>

&

>: ;

&

>

&

&

&

&

&

sul G

&

sul A

B

?

?

#

#


{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf sfz

nmf sfz

mf sfz

mf sfz

mf sfz

sfz sfz

p mf sfz mf sfz

mf sfz p mf sfz

f

f

f

8 9 10 11 12

&

. . . . . .>

5

&

. . . . . .>

5

&

. . . . . .>

5

&

. . . . . .>

5

&

. . . . . .>

5

&

?

?

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&

&

&

?

?

?

?

&

(Marimba)

.

>

.

>

&

(Cowbell)

Brake Drum, hard mallets

>

(Cowbell) (Vibr.)

(Br. Drum).>

5 5 5

& /

Snare Drum, on rimrimshot

>

(rim)

> >

(rimshot)

>

6 6

&

&

&

&

?

.

>

.

> .

>

.

>

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>

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&

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&

&

B

?

on the string

.

>

.

>.

>

.

>

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>

?

on the string

.

>

.

>.

>

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>

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>

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J

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#

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j

#

n

#

n

h

J

h

j

j

j


{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

sfz f

sfz f

sfz f

sfz f

sfz f

mf pp mf pp

mf pp mf pp

f

sfz sfz

sfz

sfzmf

p mf sfzmf

p sfz

f

p mf

sfz f

sfz

13 14 15 16 17 18

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

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4

3

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3

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3

4

5

4

3

4

5

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3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

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4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

4

3

4

5

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3

4

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3

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5

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3

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5

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3

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/

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o

choke

(ord.)

>

6

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{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

sfz

f ff

19

sfz f ff

sfz sfz sfz f

ff

sfz sfz sfz f

ff

sfz sfz sfz f

ff

p f

ff

p f

ff

f ff

f

ff

f

ff

f ff

f ff

f ff

p f

ff

p f

ff

ff

sfz

sfz sfz

mf ff

sfz p sfz

mf

p sfz

mf

p sfz

mf

f

mf ff

sfz mf p mf mf

f

mf ff

ff

19

f

ff

f

ff

f

ff

f

ff

f

ff

19 20 21 22 23 24 25

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

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>

/

Med. Cowbell, with sticks

> > > >

&

(Br. Drum) >

> > >

3

> >

5 5 5

/

(Hi-hat) >

o

choke

o

(S.D.)

>

o

o

3

> > > > >

6 3 5

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n

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j

#

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j

#

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n

#

n

n

#

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n

#

n

#

n

#

#

n

#

j

J

#

n

#

J

J

n

n

#

#

n

#

#

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#

n

n

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#

n

n

#

#

j

#

#

j

n

n

#

#

n

n

j

J

J

J

j

#

j

n

J

#

J

n

#

j

#

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J

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n

# n


{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f crisp

26

f crisp

f p f crisp

f crisp

f p f crisp

mf

mf

p f

p f

f crisp

f crisp

mf

mf

mf f crisp

mf f

mf f crisp

mf

mf

fp bold f fp fp f

26

fp bold

f fp fp f

fp bold f fp fp f

fp bold

f fp fp f

mf

mf

26 27 28 29 30 31

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

6

8

3

4

&

.>

. . . . .

5

&

.>

. . . . .

5

&

--

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. . . . .

5

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5

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--

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5

&

.

.

.

.

.

.

.

.

?

a2

.

> . .

.

>

.

> . .

> .

.

> . .

.

>

.

> .

.

> .

?

&

remove mute

open

-

--

-

&

remove mute

open

-

-

-

-

&

(muted)

.>

. . . . . .

6

&

(muted)

.>

. . . . . .

6

?

remove mute

?

.

> . .

.

>

.

> . .

> .

.

> . .

.

>

.

> .

.

> .

?

?

/

>

5

&

Vibraslap

Br. Drum

/

(S.D.)

>

6

&

?

.

.

.

.

.

.

.

.

&

?

.

> . .

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>

.

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.

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>

.

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.

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&

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flz.

.

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. .

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flz.

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flz.

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>>

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flz.

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>

&

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B

?

pizz.

?

pizz.

b

b

b

b

n

nb

b

b

n

n

j

j

j

j

j

j

j

j

#

n

j

j

# n

#

n

j

j

# n

b

b

b

n

b

b

n

b

#

n

j

j

# n

#

n

j

j

# n

J

j

j

j

j

j

j

j

j

#

#

n

n

j

j

#

#

n

n

#

#

n

n

j

j

#

#

n

n

n

j

j

n

J

#

#

n

#

J

n

j

#

#

n

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{

{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

32

f

f

f

f

mf

f

f

mf

mf f

mf

mf f

fp

f

fp

fp f crisp

32

fp

f

fp fp f crisp

fp

f

fp

fp f crisp

fp

f

fp fp f crisp

32 33 34 35 36 37

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

3

4

4

4

3

4

&

.>

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5

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5

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5

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5

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5

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6

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6

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.

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>

.

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.

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/

(Cowbell)

>

5

&

Vibraslap

/

(S.D.)

>

6

&

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.

.

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~~~~~~~~~~~~~~

.

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33 3

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~~~~~~~~~~~~~~

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3 3

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3 3

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3 3

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{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

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{

Picc.

Fl. 1.2

Ob. 1.2

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Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f f mechanical

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{

Picc.

Fl. 1.2

Ob. 1.2

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Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

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fp f ff

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f ff

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fp elegant mf fp mf

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fp elegantmf fp mf

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ff

fp f ff

fp f ff

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ff

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{

Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

accel. 62

p

p

p

f

accel. 62

p mp

p

p

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Picc.

Fl. 1.2

Ob. 1.2

Eng. Hn.

Cl. 1.2

B. Cl.

Bsn. 1.2

Cbsn.

Hn. 1.2

Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

Sop. Sax.

Alto Sax.

Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

Vc.

Cb.

As before q = 12667

ff

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mf

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ff

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mf

mf

mf

ff

mf

ff mf

fff bold fp

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ff f bold fp

ff

f bold fp

ff

f bold fp

fp bold

f

fp bold

f

fp bold

f

ff

fp bold f

ff

mf

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C Tpt. 1.2

C Tpt. 3

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Ten. Sax.

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Vln. I

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Vla.

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Cbsn.

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Hn. 3.4

C Tpt. 1.2

C Tpt. 3

Tbn. 1.2

B. Tbn.

Tba.

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Perc. 1

Perc. 2

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Hp.

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Ten. Sax.

Bari. Sax.

Vln. I

Vln. II

Vla.

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Documents

Cabinet of Curiosities Concerto for Saxophone Quartet and Orchestra