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Gfor Cla
GUMarinet (B
RE
David
MBBass Clar
(sc
ED BALL
d Bruc
BOrinet) an
core)
LOON M
ce
OOTnd Strin
MUSIC
TS g Quart
tet
Perusa
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Program Note
There is a paradox in music, and indeed all art, that life-enriching works have been produced, even inspired, by conditions of tragedy, brutality and oppression. A famous example is Messiaen’s Quartet for the End of Time, written while he was imprisoned in a prisoner of war camp. “Gumboot dancing” bears this trait. It was born out of the brutal labour conditions in South Africa under Apartheid, in which black miners were chained together and wore gumboots (wellington boots) while they worked in the flooded gold mines because it was cheaper for the owners to supply the boots than to drain the floodwater from the mine. Slapping the boots and chains was used by the workers as a form of communication, which was otherwise banned in the mine, and this later developed into a form of dance, characterized by a huge vitality and zest for life. For me this is a striking example of how something beautiful and life-enhancing can come out of something far more negative. Of course this paradox has a far simpler explanation—the resilience of the human spirit.
My Gumboots is in two parts of roughly equal length: the first is tender and slow, at times “yearning,” at times seemingly expressing a kind of tranquillity and inner peace. The second is a complete contrast, consisting of five, ever-more-lively “gumboot dances”; often joyful and always vital.
Although there are some African music influences in the music, I don’t see the piece as being specifically “about” the gumboot dancers. If anything, it could be seen as an abstract celebration of the rejuvenating power of dance, moving as it does from introspection to celebration. I would like to think, however, that the emotional journey of the piece, specifically the contrast between the two parts, will force the listener to conjecture some kind of external “meaning” to the music. The tenderness of the first part should “haunt” us as we enjoy the bustle of the second. That bustle should force us to question or re-evaluate the tranquillity of the first part. But to impose a meaning beyond that would be stepping on dangerous ground. The fact is you will choose your own meaning, hear your own story, whether I want you to or not.
—DAVID BRUCE
Performance Note It is important that Part feels like an almost continuous single movement. Therefore, the gaps between the individual dances should be as short as possible (without feeling rushed!). They should not feel like the breaks between movements, the effect should rather be something more like a wedding band that has to quickly start the next number to avoid losing the attention of the crowd.
Gumboots was commissioned by the Carnegie Hall Corporation for
Todd Palmer and the St. Lawrence String Quartet.
The premiere performance was given at Zankel Hall, Carnegie Hall, on October , Todd Palmer, clarinet, and the St. Lawrence String Quartet.
Perusa
l
Copyright © 2008 by Red Balloon Music
Bass Clarinetin Bb
Violin I
Violin II
Viola
Violoncello
pp very tender, with great melancholy,like a distant harmonica
h. = 50
pp
Bs. Cl.in Bb
Va.
9
Bs. Cl.in Bb
Va.
rall.19
ostinato figures sempre legato,unless marked otherwise.
poco accel.
Bs. Cl.in Bb
Va.
ppp (echo)
Poco meno mosso28
ppp (echo)
Bs. Cl.in Bb
Va.
rall. accel.33
ppp
(Clarinet in Bb)
Like two players playing the same melody at the same time,but each with subtly different style, sense of embellishment, etc.Sparingly use an exaggerated, slow vibrato throughout introduction.
all grace notes are very fast ‘folk-like’ grace notes—the note written should be fingered, but the actual pitchof the grace-note should not be allowed to speak fully.
GUMBOOTSDavid BrucePart 1
0
poco vib., molto sul tasto sempre
very wispy and distant throughout the introduction
0 0 3
0
3
0 0 0 II
together in gesture, but not precisely together
0
3 3 3 3
lunga
3 3 3
keep grace notes fast3
0
3 3 3 3 3 3 3
Peru
sal
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
pp p
A tempo h. = 50 A37
pp p
pp
pp
pp
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
44
p
sempre legato
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p mp
50
p mp
poco p
p
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
III
II3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0III
mp
3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3
2
Perusa
l
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
56
p
mf
poco
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
B61
p
sempre legato
p
p
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
66
3 3 3 3 3 3 3
pp
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
33
3 3
3 3 3 3 3 3
3 3 3 3 3 3
3
Perusa
l
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
70
non legato
sim.
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
C75
sempre legato
legato non legato
sim.
legato
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
81
f
legato
III II III II
3 3 3 3 3 3 3
3 3
3 3 3 3 3 3
0
3 3 3
3 3 3
III II III II 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
4
Perusa
l
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
86
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
sfz ppp
h = 100D91
ppp p p
sfz p
pp f
ppp
mfpp
Vn. I
Vn. II
Va.
Vc.
cresc. in and out of the texture, ad lib.
99
3 3 33 3 3
3 3 3 3 3
3 3 3 3 3 3
cross-fade with Vn. I
cross-fade with clarinetsenza vib., imitating a violfreely, quasi-cadenza, colla parte
3 3
5
0
0
0
0
0
irregular, activetremolo
00
5
3
irregular, active tremolo
senza vib., imitating a viol.freely, quasi-cadenza, colla parte,
3
3
3
0 0 0
0
0
0
5
5
3 3
5
Perusa
l
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
E105
p
p
p
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf
pochiss.
mf
pochiss. rall.109
pochiss.
pp cresc. poco a poco, non troppo
p
pochiss.
cresc. poco a poco, non troppopochiss.
pochiss.
poco a poco cresc, non troppo
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f full, expressive, use lip vib.ff
Tempo primo h = 50F
114
mf
mf
mf
mf
senza vib., imitating a viol.freely, quasi-cadenza, colla parte
mf
3 3 5
5 5
5
(emphasize the D)
6
Perusa
l
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
126
legato
legato
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
132
ff mp
ff legatomp
ff mp legato
ffmp
Cl.in Bb
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
ossia; it is preferred that this passage be played on bass clarinet, if possible.G139
f
mfinwardly intense
legato
mflegato, inwardly intense
mfinwardly intense
mfinwardly intense
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
7
Perusa
l
Cl.in Bb
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
(ossia:)145
legato
legato
Cl.in Bb
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
H151
ff
legato
mfinwardly intense
mfinwardly intense
mfinwardly intense mp
Cl.in Bb
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
molto
I156
molto
molto
molto
molto
molto
3 3 3
3 3 3
03 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
IIIIV
3 3 3
8
Perusa
l
Cl.in Bb
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
(ossia:)
ff molto vibrato (lip), intense, full of yearning
Poco meno mossoh. = ca. 44
165
ff molto vibrato (lip), intense, full of yearning
ff ff
ff f ff
ff ff
ff ff
Cl.in Bb
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
176
ff
f
f
f
f
Cl.in Bb
Bs. Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
185
f
ff f
ff f
ff f
ff f
III
9
Perusa
l
Vn. I
Vn. II
Va.
Vc.
mf
h = 100J195
mf
mf
mf
Vn. I
Vn. II
Va.
Vc.
mp dim.
201
mp dim.
colla parte, freely, quite relaxed
mf`
mp dim.
Vn. I
Vn. II
Va.
Vc.
ppoco
206
p poco
p p dolciss.
p p dolciss.
Vn. I
Vn. II
Va.
Vc.
pp
212
pp
pp
colla parte, freely, senza vib., viol-like
0
3
0
3 3
0 3
0 5 5
0
answering cello3
0
3 3
0 0 3
5 6
“taking over” as solo, from viola, not rushed
3 3
5
0 0 3
3
10
Perusa
l
Vn. I
Vn. II
Va.
Vc.
dim. p
217
dim.
pp dim.pp distant
p becoming fainter
Vn. I
Vn. II
Va.
Vc.
ppp
224
ppp
ppp dolciss.
ppp
Vn. I
Vn. II
Va.
Vc.
230
dolciss.
Vn. I
Vn. II
Va.
Vc.
Tranquillo h = 76K237
ppppemerging from nothing, becoming only a little more than nothing
Vn. I
Vn. II
Va.
242
pp
3 3
ppp like an echo
3
3
* Hold (if necessary) for viola (page turn spot in part).
*
*
always use open strings where poss.sul tasto, tenuto
*
11
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ppp
246
ppp
Cl.in Bb
Vn. I
Vn. II
Va.
250
pp dolciss.
pp dolciss.
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ppp
255
ppp
Cl.in Bb
Vn. I
Vn. II
Va.
259
pp
pp
Clarinet
swell like on a viol
12
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ppp
L263
pp
ppp
Cl.in Bb
Vn. I
Va.
like an echo267
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ppp
fast but relaxed, still echo-tone271
p
Cl.in Bb
Vn. I
Vn. II
Va.
274
00
col legno battuto
l.h pizz.: tap both strings with a flat finger of the left hand
7 7 7 7
fast as possible,before the beat
13
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
M278
pp
sim.
pp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
282
as before
p
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
N286
III IV
3 III
II
3
3
3
3
3
II III II
3
3
3
pp
00
col legno battuto
pizz. IIIII
14
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
290
p
pp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf
293
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
pp poco
296
ppp
4
4
IV
4
4
4
(tap finger on fingerboard)
IV
tremoloprestissimo
II
4
15
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
pp
O300
pp
pp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf pp
306
ppp
pp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
pocopoco
ppp
312
ppp
ppp
(not harmonic)
IV
IV
instead of a traditional flutter tongue, articulate “tktk” as fast as possible.
III
16
Perusa
l
Vn. I
Vn. II
Va.
Vc.
ffmf
Dance 1. Angry, “with attitude”q = 108
320
ff
ff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
325
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
A329
mf
short,spikey, with military precision
Part 2
short,spikey, with military precision
short,spikey, with military precision
pizz arco
pizz arco
pizz
grace notes always before the beat
* don’t articulate the note in parentheses
arco
pizz *
arco
pizz
pizz
*
arco
pizz
*
arco
pizz
*
arco
arco
pizz
arco
pizz
17
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
333
ff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
337
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf flippantly
B341
ffmf
mf
mf
mf
pizzarco
pizz
arco
arco
pizz
arco
pizz
pizz arco
pizz arco
arco
pizz
arco
pizz
3
3
3 3
3 3 3
3 3 3
pizz arco
arco
pizz arco
arco
pizzarco
18
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff sub. agressivo mf sub.
346
pagressivo
ff mf sub.
pagressivo
ff mf sub. p
pagressivo
ff mf sub.
ff mf sub.
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff p ff
AgressivoC D351
ff p ff
ff p ff
ff p ff
ff p ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
fff shrill
mp
E359
p ff f
p ff ( ff )
p ff ( ff )
p ff ff
3 3
3 3
3 3 3 3
3
0
arco
3
3
3 3
0
pizz
19
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
pagressivo
ff mf
365
ff sub. agressivof
pagressivo
ff
pagressivo
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
369
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ppoco
F373
mf intense
mf intense
mf intense
mf intense
3 3
3 3 3 3 3 3
3 3
6 3
3 3
3
3
3
3
3
0
0
0
3 3
3 3
flz.5
3 3
3
3
3
53 3
arco
20
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
pocomf
378
mf
mf
fmf
mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
G383
ff
ff
ff
ff
flz. flz.
pizz.
arco
pizz. arco
pizz.
21
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
387
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
390
attacca(if possible)
pizz. arco
pizz. arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz. arco
pizz. arco
IV
gliss.
22
Perusa
l
Vn. I
Vn. II
Va.
Vc.
pp mf
Dance 2. Presto q = 208393
sffz mf
sffz mf
mf
Vn. I
Vn. II
Va.
Vc.
pp mf
400
sffz mf
sffz mf
fmf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
407
pp
sffz sffz
f sffz
f
0 (l.h.pizz.)
pizz.
0 arco
pizz.
pizz.
pizz.
arco
pizz.
0 arco
5
5 55
5
arco
pizz.0
pizz.0
23
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
412
pdark, rich
poco mf
pdark, rich
poco mf
pdark, rich
poco mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
418
mf poco sffz
mf poco sffz
mf poco sffz
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf
H424
mf pp
mf sffz
mff
mff
5
55 5
arco5 5
arco 5 5
arco 5 5
5
5 5 5pizz.
0
5 5 5
pizz.
5
5 5
5 55
arco
arco pizz.0
pizz.
pizz.
24
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
431
sffz
mp f
mp f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
I437
mf p cantabile
mf p cantabile
mfp cantabile
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
443
f
molto f mf like silver
molto f p sub. f
molto f p sub. f
5 5
5
5
5
pizz.
0
arco5
pizz.
arco
5
pizz.
5 5 5
arco
5 5 5 5
arco
5
5 5 5
arco
5 5
5 5
55 5
5
pizz.
p sub.
5
sul pont.
7 75
5 pizz.
5
pizz.
25
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
449
sfz
p molto f mf like silver
p molto f p sub.
pmolto f p sub.
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
455
f sfz
f mf f
f mf f
f mf f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
J461
p f
p f
p f
p f
55 5
arco
(arco)
(l.h. pizz.)
arco
ord.
p sub.
5
sul pont.
7 7
arco
5
arco
5
5
5 5
5
55
pizz. arco
ord.
5
5 5
5
pizz. arco
5 5
5
pizz. arco
5 5 5
5
5 5
5 5
5
5 5
3
5
5 5
5
5 5
3
5
5 5
5 5
3
5
5
26
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
p sub. f p
468
p sub. f
p sub. f p
p sub. f p
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f p
476
f p pp
f p mf mf molto ff
f p mf mf molto ff
f p mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf
K482
mf
f non troppo
pp
5 3
5 5
5
5
3
5 5
5 5
5
3
5
5 5
5
3
5 5
I
5
5 5
5 3
5
55
5
5
3
5
3 5 5
5
5
3 5 5 5
5
3
5
5 5
5
5 5 5 5 sensuous, in foregroud
5 5 5 5 pizz.
5
5 5 5 pizz.
27
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
487
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f mf
492
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f mf
497
cresc.
5
5
5 5 5 5 5
5
5
5
5 5 5 5
5
5
5 55 5 5
3 3
3 3
28
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
502
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
507
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
L512
f
f
5
5
5 5 5 5 5
55 5 5 5 5 5 5 5
3
3
33
5
5
5
55 5
5 5
5 5 5
5 5
57
arco
5 5 5
3 3
29
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
più f
stringendo al fine
518
più f
più f
più f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
(string.)525
ff
ff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
(string.)532
5 5
5
55 5
5 5 5 5
5 5 5
5
5 5
5
5
5 5 5
5 5 5
arco
5
5 5
5 5 5 5 55
5 5 5 5
5 5 5
5
5 5 5
5
5 5 5
5 5 5
5
5 5
5
5 5 5
5
5 5 5
5 5
5
5 5 5
5
5 5 5
5 5
5 5 5
5 5
30
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
Dance 3. q. = 144
540
f
f
f
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
546
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
551
gliss.
31
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
M557
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
562
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
567
3
pizz.
pizz.
3
arco 3
32
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
571
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
N576
f
f
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf f
581
mf f
mff
mff
mf f
gliss.
pizz.
pizz.
pizz.
3
3
3
3
arco
arco
arco
arco
3
3
33
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
586
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
O591
f
f
comically dying f
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
597
33
5
34
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
602
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
P607
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
612
pizz.
5 5 5
pizz
7
arco
arco
35
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p f
With growing intensity to the endQ618
p f
p f
p f
p f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p f mf
622
p f più f mf
p f più f mf
p f più f mf
p f più f mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
627
ff
ff
ff
ff
pizz.
5
pizz.
36
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
R631
mf ff
mfff
mf ff
mf ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
635
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
639
arco
5
arco
37
Perusa
l
Vn. I
Vn. II
Va.
Vc.
p
Dance 4. Light and joyful q. = 144643
p
f
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mp light hearted
650
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
656
mf
pizz.pull off l.h. to strike the two open strings
pizz.
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss.
gliss.
gliss. gliss.
38
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
662
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
S667
mf
mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
672
gliss. gliss.
prominent, but always under the clarinet
prominent, but always under the clarinet
gliss. gliss.
gliss.
gliss.
gliss.
39
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
677
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
682
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
T687
mf
mf
f
sim.
sfz sfz sfz
ff sfz sfz sfz
gliss.
gliss.
gliss.
gliss.
gliss.
4
4 4 4 4 4
pizz.
r.h. should deaden the open string immediately after the first pizzbefore playing the second pizz. on the open string normally
ff
IIIII0
arco pizz.
0
arco pizz.0
pull off l.h. to strikethe open string
arco pizz.0
arco(ossia:pizz.) pizz.
0
40
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p ff p
694
ff
ff
ff
sfz sfz sfz ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p sub. ff
q. = q701
sfz sfz sfz
sfz sfz sfz
sfz sfz sfz
sfz sfz sfz sfz sfzsfz
Cl.in Bb
Vn. I
Vn. II
Vc.
Relaxed q = 96U707
f
p
mf sim.
4
ff
4
4
4 4 4
pizz.
arco pizz.
4
3
3
3 3
IV
III
arco 0 0
arco
(damp)
pull off on to open string0
41
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Vc.
ff
712
fp
Cl.in Bb
Vn. I
Vn. II
Vc.
717
fp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
p
722
f p
mp
mp
0
0
0
arco
42
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
727
f
f
f
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
731
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
q = q.735
* The main theme alternates between Clarinet and Vn. I
*
*
IV
gliss.
IV
gliss.
43
Perusa
l
Vn. I
Vn. II
Va.
Vc.
mp
Driving on q. = 144V739
mp
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
746
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
751
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
756
pull off to open string0
3 3 3 3 3 3 3 3
pizz.
0
0
3 3 3 3 3
3 33 3 3 3 3 3 3
0
0
3 3 3
3 33
3
33 3
3 3 33
0
0
0
0
44
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
761
p
p
mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
sfz sfz sfz
766
sfz sfz sfz p
sfz sfz sfzp
f mf
sfz sfz sfz
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
771
sfz sfzsfz
sfz
sim.
sfz sfz sfz
sfz sfz sfz
3 3 3
3
3
arco
4
4
pizz.
sfz sfz ff
pizz.
like a clucking chicken
0 0 4 4 4 4 4
pizz.
ff
45
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
sfz f
(Stesso tempo)W778
p
fp sub.
sfz sfz sfz mf sim.
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
783
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
788
fp fp
4
sfz
sfz
omit, ifnecessary
( )
0 arco
44
arco
pull off on to open string0
arco 0 0
0
0
0
46
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
X793
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
797
mf
mf
mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
801
gliss.
0
* notes in parentheses may be omitted.
*
47
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
805
mfmf f
mf
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
809
mf mff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
ossia: legato
sim.
813
f
f
f
48
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
817
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
821
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
825
49
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
Dance 5. Jubilante e = 132
829
ff
ff
ff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f really bring out all accents
835
f
f
f
Cl.in Bb
Vn. I
Vn. II
Va.
840
really bring out all accents
really bring out all accents
really bring out all accents
50
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
Y845
più f
più f
più f
mp sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
849
sfzmp
sfz sfz sfz sfz sfz sfz sfz sfzff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
853
ff
ff
ff
quasi-tremolo: start from the written E and trill both the 2 fingers of the r.h and the 3rdfinger of the l.h. randomly and crazily to produce something like the pitches shown.
*
pizz., very driven,
like a jazz slap bass
3 3
*
51
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
857
Vn. I
Vn. II
Va.
ff
Z861
ff
ff con fuoco
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
865
mf sub. f
mf sub. f
mf sub. f
fmp f
3 3 3 3
(pizz.)
sul G
sul G
0
sul G
* Very quickly, before the beat; the “1” of the dance must not be held up!
*0 0
arco
52
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mp
AA870
mp sfz sfzsfz
mp sfz sfzsfz
mp sfz sfzsfz
mp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
874
f
f
ff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f f
BB878
ff
ff
pizz.
4
4
53
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mp
CC883
sfz sfz sfz mp
sfzsfz sfz mp
sfz sfz sfz
mp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
887
mp
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
mf
DD891
f mf
f mf
f mf
f mfsfz
sfz sfz
pizz.
33
(pizz.)
arco, sul pont.
ord.
pizz.
sul pont.
ord.
arco, sul pont.
ord.
sul pont.
ord.
arco
54
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
cresc. poco a poco
895
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
sfz sfz sfzcresc. poco a poco
sfz sfz sfz sfz sfz f sfz mp sfz sfz
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
(cresc.) ff
899
(cresc.) ff
(cresc.)ff
(cresc.) ff
(cresc.) sfz sfz sfz sfz sfz sfz ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
903
3 3 3 3 3 3
pizz.
3 3 3 3 3 3
55
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
EE907
ff
ff
ff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
911
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
f
916
f cresc.
f cresc.
f cresc.
f cresc.
(pizz.)
arco
56
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
920
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
FF924
ff
ff
ff
ff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
928
3 3
3 3
57
Perusa
l
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
ff
932
fff
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
935
sffz sffz sffz
sffz sffz sffz
sffz sffz sffz wild
f
Cl.in Bb
Vn. I
Vn. II
Va.
Vc.
938
ff f ff
quasi tremolo, as before
bring out the accents
bring out the accents
bring out the accents
pizz.
3 3
3 3
58
Perusa
l
