Zoltan Paulinyi (10/2004) KALEIDOSCOPE n. 2

—  Zoltan  Paulinyi  —  

(10/2004)  

 

KALEIDOSCOPE n. 2

 

Historical  variations  for  5  orchestral  groups  

 

Work dedicated to my friend maestro Marcio Steuernagel, who

premiered it at Centro de Convenções de Brasília with the National

Symphonic Orchestra at 30 June 2015.

   

Duration:  14  minutes  

 

 

INSTRUMENTATION:  

 

Winds  1  

Winds  2  

Winds  3  

1  flute  

1  oboe  

1  clarinet  (Bb)  

1  bassoon  

2  horns  (F)  

1  trumpets  (C)  

1  tenor  trombone  

1  flute  

1  oboe  

1  clarinet  (Bb)  

1  bassoon  

2  horns  (F)  

1  trumpets  (C)  

1  tenor  trombone  

1  piccolo  

1  English-­‐horn  

1  bass  clarinet  

1  contrabassoon  

1  tuba  

1  bass  trombone    

 

 

Group  4  (Percussion)  

Group  5  

With  3  players:  

 

4  timpani,  marimba,  xylophone,  vibraphone,  glockenspiel,  

bells,  2  tom-­‐toms,  snare-­‐drum,  gran  casse,  big  tam-­‐tam,  

crash  cymbals,  suspended  cymbal,  triangle,  rattle,  whip,  

tambourin,  2  agogô  bells,  reco-­‐reco  (guiro),  2  woodblocks.  

Strings:  

 

violins  1  e  2  

violas  

violoncellos  

contrabasses  

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CALEIDOSCÓPIO  n.2  

 

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“Dominus  est  sabbati  

Filius  hominis”-­‐  Lc  6,5.  

 

 

 

 

 

 

 

 

 

BULA  

z  =  trêmolo  (cordas)  /  frullato  (sopros).  

>>  =  corda  esmagada  (sobre  a  tastiera).  

 

 

LEYENDA  

z  =  trémolo  (cuerdas)  /  frullato  (vientos).  

>>  =  cuerda  presionada  sobre  la  tastiera.  

 

 

BULA  

z  =  tremolo  (strings)  /  frullato  (winds).  

>>  =  crush  string  over  tastiera.  

A   disposição   da   orquestra   envolve   parcialmente   a   audiência,   sem   isolar   os  

grupos.  "Sopros  3"  e  Percussão  devem  ficar  num  plano  mais  elevado:  

 

 

Percussão  

 

Sopros  3    

 

contrabaixos  

violas  

 

 

 

cellos  

violinos  1  

 

 

 

 

violinos  2  

   Regente      

 

 

 

 

 

 

 

 

 

AUDIÊNCIA  

 

 

 

 

 

 

 

"Sopros   1"   deve   ser   espelhado   ao   "Sopros   2",   aproximando   os   instrumentos  

graves  ao  centro  do  palco.  

 

O   distanciamento   dos   grupos   não   deve   segmentar   o   corpo   da   orquestra,   nem  

isolar  quaisquer  músicos.  

 

Não  havendo  espaço  nas  laterais  do  teatro,  é  possível  esta  outra  disposição:  

 

Percussão  

Sopros  1    

 

 

Sopros  2  

Sopros  3  

 

 

violas  

 

 

cellos  

 

contrabaixos  

 

violinos  1  

 

 

 

 

 

 

violinos  2  

   Regente      

 

 

 S

op

ro

s  

1

   

 S

op

ro

s  

2

 

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CALEIDOSCÓPIO  n.2  

 

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“Kaleidoscope”   is   a   voyage   through   time,   describing   the   saga   of   an  

european  family  from  a  history  that  starts  in  the  Middle  Age,  crossing  

the   world-­‐wide   wars   and   finally   arriving   at   the   brazilian   wasteland.  

The   unconventional   disposal   of   the   musicians   on   stage   enhances   the  

music   space   structure,   not   only   amplifying   the   antiphon   of   the  

beginning,   but   also   aiming   at   the   involvement   of   the   spectator   in   the  

central   atonalism   of   the   piece   and   illustrating   the   dialogue   of   the  

melody  at  the  end  of  music.  

 

Each  variation  represents  a  historical  period,  starting  from  the  paths  of  

the   faith   in   the   gregorian   meditation,   passing   through   the   medieval  

dance,  treading  the  crooked  paths  of  the  baroque  escape  to  the  extreme  

romanticism  and  atonalism,  entering  in  the  twelve-­‐tone  system  of  the  

European   conflict,   and   coming   back   to   the   impressionism   that   has  

marked  so  well  the  Brazilian  arts,  eventually  arriving  at  the  inward  of  

Brazil,  freezed  in  time  and  space  under  the  scalding  tropical  sunshine.  

 

Appearing   almost   at   the   end   of   the   piece,   the   theme   is   built   on   the  

northeastern  melody  style  (cantiga).  It  has  two  motives:  an  ascending  

arpeggio  and  descending  joint  degrees.  The  alternation  of  all  the  modes  

has  structural  character.  

 

The   fugue   is   the   cantiga   inversion:   descending   arpeggio,   tonal.   After  

the   rigorously   baroque   development,   we   arrive   at   a   surprisingly  

precipitated   pedal.   Immediately   the   next   romantic   bridge   dissolves   in  

the  free  atonalism  of  the  central  session,  where  the  frame  of  the  subject  

and  its  answer  are  seen  under  the  optics  of  the  XX-­‐th  century.  There  we  

have  again  the  five  subject  entrances  (one  also  in  augmentation),  and  

another   romantic   bridge   leads   back   to   the   ending   stretto,   which   is   a  

fade-­‐out  for  the  following  variation.  

 

The  twelve-­‐tone  variation  is  based  on  the  same  set  of  intervals  of  the  

“cantiga”,   swapping   the   third   of   the   subject   perfect   chord   with   a  

second,  originating  the  series:  7  8  2.  11  10  9.  1  0  6.  5  3  4  

 

Coda  is  a  great  popular  feast,  freely  inspired  from  the  “frevo”.  

& & & ? & & B & & & ? & & B & & & ? ? ? ? & & & & B ? ## # ## # # ## c c c c c c c c c c c c c c c c c c c c c c c c c c c 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 c c c c c c c c c c c c c c c c c c c c c c c c c c c 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 c c c c c c c c c c c c c c c c c c c c c c c c c c c 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 c c c c c c c c c c c c c c c c c c c c c c c c c c c 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 Flauta 1 Oboé 1 Clarinete em Bb 1 Fagote 1 2 Trompas em F (1) Trompete em C 1 Tenor Trombone 1 Flauta 2 Oboé 2 Clarinete em Bb 2 Fagote 2 2 Trompas em F (2) Trompete em C 2 Tenor Trombone 2 Piccolo Corne Inglês Clarone Contrafagote Trombone-baixo Tuba Percussão 1 Percussão 2 Percussão 3 Violino I Violino II Viola Cello ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙b ˙ ∑ ∑ ∑ ∑ Sinos Sinos Var.1: gregoriano Var.1: gregoriano Var.1: gregoriano Var.1: gregoriano Var.1: gregoriano ca. ca. ca. ca. ca. q»§• q»§• q»§• q»§• q»§• Andante (recitativo) Andante (recitativo) Andante (recitativo) Andante (recitativo) Andante (recitativo) ƒ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ œbœœ ‰3 ∑ ∑ ∑ ∑ ƒ ∑ wb ∑ ∑ ∑ ∑ ∑ ∑ w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ f f ∑ .˙ ∑ ∑ ∑ ∑ ∑ ∑ .˙ ∑ .˙ b ∑ ∑ Jœb Jœb œ Jœb Jœ ∑ ∑ .˙ n ∑ ∑ ∑ ∑ ∑ ∑ ∑ .˙ ≥ p p P F P p ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙b œb œ ∑ ∑ Jœb -Jœb Jœ -Jœb -Jœb- Jœ-œ ∑ ∑ ˙b œb œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙b œb≤ œ sempre rubato ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ wb ∑ ∑ Jœ Jœb JœbJœ 3 œ œb œ_{Jœ Jœ} ∑ ∑ wn ∑ ∑ ∑ ∑ ∑ ∑ ∑ w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œb ˙b ∑ ∑ œb ˙ , ∑ ∑ œb ˙n Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ œb ≥ _˙ ∑ ∑ ∑ œ b .œ jœjœ œn jœ ∑ Jœb Jœ œb Jœ ∑ ∑ ∑ œ Œ. ∑ ∑ ∑ ∑ ∑ œ Œ. œb b .œ ∑ ∑ ∑ œb ≤ .œ b ∑ œ ≤ .œ b œ Œ. a 1 p P F p p P ∑ ∑ ∑ œ .œ 3 œb œ œ .œ ∑ 3 œb œ œ .œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ b .œ ∑ ∑ ∑ œ ≥ .œ b ∑ œ ≥ .œ ∑ a 2 ∑ ∑ ∑ ˙b b .œ jœb jœ jœn jœb jœ- jœ jœ ∑ Jœb Jœ Jœb Jœb Jœ-Jœ Jœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙b b .œ ∑ ∑ ∑ ˙b b .œ ∑ ˙b b .œ ∑ accel. rit. accel. rit. accel. rit. ∑ ∑ ∑ ˙ _˙ œb œ ˙, ∑ œb œb ˙, ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙b _˙ ∑ ∑ ∑ ˙b ≥ ˙ ∑ ˙≥ _˙ ∑ ∑ ∑ ∑ œb Ó. ∑ ∑ ∑ ∑ ∑ ∑ ∑ jœ œ n jœb jœ_œb œ œœœjœ 3 œ œn b œ_œœœ Jœ Jœb Jœ œb Jœ 3 œb-œœ Jœ Jœb Jœ œb Jœ 3 œb-œœ ∑ ∑ wn ∑ ∑ ∑ ∑ œ Ó. w≤ ∑ wb≤ a tempo p a tempo p a tempo p p p p Zoltan Paulinyi Brasília, Outubro de 2004. Paulinyi@yahoo.com http://Paulinyi.com

CALEIDOSCÓPIO n. 2

Variações históricas para 5 grupos orquestrais

Partitura

& & & ? & & B & & & ? & & B & & & ? ? ? ? & & & & B ? ? ## # ## # # ## 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 c c c c c c c c c c c c c c c c c c c c c c c c c c c c 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 42 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 Fl. 1 Ob. 1 Cl.Bb 1 Fg. 1 Tpa. F 1 Tpt.C 1 TbnT. 1 Fl. 2 Ob. 2 Cl. Bb 2 Fg. 2 Tpa. F 2 Tpt.C 2 Tbn.T 2 Pc. C.Ing. Clr Cfg. Tbn.bx. Tb. Perc.1 Perc.2 Perc.3 Vln.I Vln.II Vla. Vc. Cb. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

13

∑ ∑ ∑ ∑ ∑ ∑ ∑

13

∑ ∑ ∑ ∑ . .œœ #b nœjœb jœœbjœœœjœ .œ b Jœ Jœb Jœ Jœ .œ b Jœ Jœb Jœ Jœ

13

∑ ∑ œ ˙b jœ ∑ ∑ ∑

13

∑

13

∑ œ≥ ˙b jœ ∑ œ≥ ˙b jœ œ≥ ˙b jœ dim. cresc. cresc. cresc. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 œ œ œœnbn jœœœœb jœœbjœœ 3 œ œb œ Jœ Jœb Jœ 3 œ œb œ Jœ Jœb Jœ ∑ ∑ ˙ b .œ ∑ ∑ ∑ ∑ ∑ ∑ ˙ b .œ ∑ ˙ b .œ ˙ b .œ accel. accel. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ jœ œn b n_œjœb œœ_{œbœ œœ}3 jœ œœœ.. Jœb Jœ 3 œb œ œ Jœ .œ Jœb Jœ 3 œb œ œ_Jœ .œ ∑ ∑ wn ∑ ∑ ∑ ∑ ∑ ÷ ∑ ÷ ∑ wb ∑ wb wb rall. rall. rall. ∑ Jœ ˙# jœ# jœJœ ∑ ∑ jœ œ ˙˙ #œ#jœœjœœjœ Jœ˙b Jœb Jœ Jœ Jœ˙b Jœb Jœ Jœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œb œ_>œ ˙ œb œ_>œ ˙ œb œ_>œ ˙ œb œ_>œ ˙ ∑ w ∑ ∑ jœ ≥_˙ Jœ≤ Jœ jœ Jœ ≥_˙ Jœb≤ Jœ Jœ œb œ#>≥œ ˙ œb œ#>≥œ ˙ Tam-tam a tempo P a tempo Pa tempo P a tempo P P P P P π P P P P ∑ 5 œ œ œ# œ# œ ∑ ∑ 5 œ œœœ# œœœ## œœ#œ 5 œ œ œb œb œ 5 œ œ œb œb œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙ ∑ ˙ ∑ ∑ 5 œ œ œ œ œ 5 œ œ œb œb œ ˙ ˙ Œ Œ Œ ‰ Jœ œ œ Jœ# Jœ# Jœ jœ#- .œ Jœ Jœ Jœ ∑ ∑ jœ œ# # jœ œ# # jœ œ#_œ#-jœœœ.. œjœœjœœjœ Jœb Jœb Jœ Jœb- .œ Jœ Jœ Jœ Jœb Jœb Jœ Jœb- .œ Jœ Jœ Jœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ _{œ œb> ˙} ˙ _{œ œb> ˙} ˙ _{œ œb> ˙} ˙ _{œ œb> ˙} ∑ .˙ _˙> ∑ Œ Œ Œ Jœ≤Jœ Jœb Jœ jœ ≤ _{jœ jœ Jœ-}≥ _.œ ≤_{jœjœ jœ} jœb ≤ _{jœb jœ Jœb-}≥ _.œ ≤_{jœjœ jœ} ˙ œ œb> ˙# ˙ œ œb> ˙# accel. accel. accel. accel. accel. accel. P accel. accel. accel. accel. accel. accel. accel. accel. P P œ#- œ# 3 œ œ œ# jœ#- jœ# 3 œ œ œ# ∑ ∑ jœ œ-#œ#jœ 3 œ œœœ#œœ# Jœb -Jœb 3 œ œ œb J œb- _Jœb 3 œ œ œb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙ ∑ ˙ ∑ Jœb -Jœb 3 œ œ œb Jœ -Jœ 3 œ œ œ Jœ -Jœb 3 œ œ œb ˙ ˙ 3 œ œ# œ# œ œ# 3 œ œ# œ# œ œ# ∑ ∑ 3 œ œ œœ## œ# œœ#œ#œœ# 3 œ œb œb œ œb 3 œ œb œb œ œb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙b ˙b ˙b ˙b ∑ ˙ ∑ 3 œ≤ _{œb œb œ œb} 3 œ≤ œ œb œ œ 3 œ≤ œb œb œ œb ˙b ˙b œ# ˙, œ# ˙, ∑ ∑ œ œ# # ˙ ˙ , œb ˙, œb ˙, ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ> œ œb> œ œ œ_{> œ} œb > œ œ œ_{> œ} œb > œ œ œ> œ œb> œ ∑ ˙ Œ ∑ œb œ.. _≈ œb œ.. ≈ œb œ.. ≈ œ œ#> œ œb> œ œ œ#> œ œb> œ rit. rit. rit. rit. rit. rit. rit. rit. rit. rit. Jœ jœœ jœ jœ Jœ œb Jœ jœ Jœ œn Jœ .œ œb jœ œn œ_œnjœ_œœjœ Jœb Jœ œb Jœ Jœb Jœ œb Jœ Jœ jœœ jœ jœ Jœ œb Jœ jœ Jœ œn Jœ .œ œb jœ œn œ_œnjœ_œœjœ Jœb Jœ œb Jœ Jœb Jœ œb Jœ ∑ ∑ .œ œn .œ œb .œ œb .œ œb ∑ ∑ ∑ Jœb ≥ _{Jœ œb Jœ} Jœ ≥ _{jœœ jœ} .œ ≥ _œb .œ ≥ _œb .œ ≥ _œb F F F F F F F F F F F F F F F F F F F F F F F 3 œ œb œ .œ 3 œb œ œ .œ 3 œn œ œ .œ .œ _{Jœ Jœb} 3 œ œb œœœbœnœœn.. 3 œb œ œ .œ 3 œb œ œ .œ 3 œ œb œ .œ 3 œb œ œ .œ 3 œn œ œ .œ .œ _{Jœ Jœb} 3 œ œb œœœbœnœœn.. 3 œb œ œ .œ 3 œb œ œ .œ ∑ ∑ .œ jœ jœn .œ jœ jœb .œ _{Jœ Jœb} .œ jœ jœb ∑ ∑ ∑ 3 œb ≤ _{œ œ .œ} 3 œ ≤ œb œ .œ .œ _Jœ jœb .œ _{Jœ Jœb} .œ _{Jœ Jœb} 01/07/2015 - CALEIDOSCÓPIO n. 2

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Partitura

PREVIEW

& & & ? & & B & & & ? & & B & & & ? ? ? ? ÷ ÷ & & B ? ## # ## # # ## 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 c c c c c c c c c c c c c c c c c c c c c c c c c c c 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 c c c c c c c c c c c c c c c c c c c c c c c c c c c 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 c c c c c c c c c c c c c c c c c c c c c c c c c c c 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 89 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 Fl. 1 Ob. 1 Cl.Bb 1 Fg. 1 Tpa. F 1 Tpt.C 1 TbnT. 1 Fl. 2 Ob. 2 Cl. Bb 2 Fg. 2 Tpa. F 2 Tpt.C 2 Tbn.T 2 Pc. C.Ing. Clr Cfg. Tbn.bx. Tb. Perc.1 Perc.2 Perc.3 Vln.I Vln.II Vla. Vc.

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∑ ∑ ∑ ∑ ∑ ∑ ∑

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jœ jœ jœ jœ jœ-jœJœb Jœb Jœ Jœb jœbJœ- jœ jœ Jœb Jœ Jœn Jœb Jœ- Jœ jœ ˙b b .œ jœ œnœnjœœjœœjœ_œ-jœœjœbœbjœ Jœb Jœ Jœb Jœb Jœ- Jœ Jœ Jœb Jœ Jœb Jœb Jœ- Jœ Jœ

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∑ ∑ ˙b n .œ ˙b b .œ ˙b b .œ ˙b b .œ

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∑ ∑ ∑

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Jœb Jœ Jœb Jœb Jœ-≤ Jœ Jœ jœ jœ jœ jœ jœ-≤ jœJœb ˙b b .œ ˙b b .œ accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. accel. rit. ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ ˙, œb œb ˙, œb œn ˙, ˙ ˙, œ œ œœn˙˙n , œb œb ˙, œb œb ˙, ∑ ∑ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ∑ ∑ ∑ œb œb ..œ ≈ œ œ ..œ ≈ ˙ ˙ ˙ ˙ Jœ Jœ 3 œ œ œ Jœ Jœ Jœ jœœb œ œ3 jœ jœ Jœ jœœ œ œ3 jœ jœ ∑ jœ jœœ# œ œ jœ jœ3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Jœ Jœb œb œ œ Jœ Jœ3 ∑ ∑ ∑ ∑ .˙ b .˙ b ∑ ∑ ∑ ∑ jœ ≥ jœb 3 œb œ œ jœ ≤ jœ .˙ b ∑ a 2 a tempo P a tempo P a tempo a tempo P a tempo P a tempo P a tempo P a tempo P ponticello a tempo P ponticello .œ _{Jœ J}œ-_{Jœ Jœ Jœ} .œ b jœb Jœb- Jœ Jœ Jœ .œ jœ Jœ- _{Jœ Jœ} jœ ∑ .œ # jœb j_œ#-œjjœ jœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .œ b _{Jœb J}œb-_{Jœ Jœ Jœ} ∑ ∑ ∑ ∑ œ .˙> œ .˙> ∑ ∑ ∑ ∑ .œ b jœb jœb- jœ≤ jœ jœ œ .˙> ∑ accel. accel. accel. accel. accel. dim. dim. accel. dim. 3 œ œ œ œ œ 3 œb œb œ œ œ 3 œ œ œ œ œ ∑ 3 œb œ# œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 œb œb œ œ œ ∑ ∑ ∑ ∑ w w ∑ ∑ ∑ ∑ 3 œb œb œ œ≤ œ w # ∑ rit. rit. rit. rit. rit. rit. rit. rit. .˙ .˙ .˙ ∑ .˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .˙ ∑ ∑ ∑ ∑ .˙ b .˙ b ∑ ∑ ∑ ∑ .˙ .˙ # ∑ dim. ∑ ∑ ∑ ∑ Œ Œ _{Œ ‰ Jœn Jœb Jœ} ∑ Jœb Jœb 3 œ œb œ ˙ Œ ∑ ∑ .˙ ˙ .˙ ˙ ∑ Œ Œ Œ ‰ JœbJœb Jœ œ œ# 3 œ# œ œ ˙# _Œ ∑ ∑ .˙ ˙ .˙ ˙ ∑ ∑ ∑ ∑ ∑ ∑ jœ‰ ∑ ∑ ∑ a 2 P a tempo p cresc. a tempo π a tempo π P a tempo pcresc. a tempo π a tempo π ∑ ∑ ∑ ∑ Jœb Jœn œ Jœ Jœ ∑ ∑ ∑ ∑ ˙ œ ˙ œ ∑ Jœ# Jœb œb Jœ Jœ ∑ ∑ ∑ ˙ œ ˙ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ rubato senza cresc. rubato ∑ ∑ ∑ ∑ Jœ -Jœn Jœ Jœb .œ Jœb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Jœ# -Jœ -Jœ# -Jœ .œ jœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F a 1 ∑ ∑ ∑ ∑ Jœb Jœ Jœb jœbJœ- jœ jœœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Jœ Jœ jœ jœ jœ- jœ jœ#œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ rall. rall.

PREVIEW

& & & ? & & B & & & ? & & B & & & ? ? ? ? ÷ ÷ & & B ? ? ## # ## # # ## 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 43 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 88 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 86 Fl. 1 Ob. 1 Cl.Bb 1 Fg. 1 Tpa. F 1 Tpt.C 1 TbnT. 1 Fl. 2 Ob. 2 Cl. Bb 2 Fg. 2 Tpa. F 2 Tpt.C 2 Tbn.T 2 Pc. C.Ing. Clr Cfg. Tbn.bx. Tb. Perc.1 Perc.2 Perc.3 Vln.I Vln.II Vla. Vc. Cb. Ÿ~~ Ÿ~~ Ÿ Ÿ~~~~~ Ÿ

34

∑ ∑ ∑ ∑ .˙ n ∑ ∑ ?

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∑ .˙ ∑ ∑ ∑ .˙ ∑ ?

34

∑ ∑ ∑ ∑ ∑ ∑

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∑ ∑ Œ Œ ‹ œ>

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∑ ∑ ∑ ∑ ∑ baqueta de metal p Prato susp. f raspado batido ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ. œ œ œ .˙ ∑ ∑ ∑ ∑ ∑ Var.2: dança medieval

Var.2: dança medieval

Var.2: dança medieval

Var.2: dança medieval

Var.2: dança medieval

ca. ca. ca. ca. ca. qk»¶™ qk»¶™ qk»¶™ qk»¶™ qk»¶™ Pandeiro F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .œ œ œ œ jœ Jœ > Œ ‰ œ œ ∑ .œ> œ. œ#. œ#- _Jœ. ∑ ∑ ∑ ∑ baqueta dura solo F F F Tímpanos ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .œ .œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ jœ Jœ > Œ ‰ œ œ ∑ œ#> œ#. œn. œ#. œ#. œ-Jœ. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .œ jœœ Jœ > Œ ‰ œ œ ∑ .œ> œ. œ#. Jœ# œ. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ .œ .œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ. b .œ ∑ ∑ .œ .œ œœ Jœ > Œ ‰ œ œ ∑ œ# œ œ. .œ ∑ ∑ ∑ Œ. b .œ F F ∑ ∑ ∑ Œ. œ˘ œ# œ œ œ ∑ ∑ ∑ .œ- œ. œ#. œ#- _Jœ. ∑ ∑ ∑ ∑ ∑ ∑ .œ- œ. œ#. œ#- _Jœ. ∑ ∑ .˙> ∑ ∑ .œ œ œ œ jœ .œ> _{œ> œ ‰} ∑ ∑ ∑ ∑ ∑ .˙ P p F ∑ ∑ ∑ .œ b œ œ œ ∑ ∑ ∑ œ#- œ#. œn. œ#. œ#. œ Jœ. ∑ ∑ ∑ ∑ ∑ ∑ œ#- œ#. œn. œ#. œ#. œ _Jœ. ∑ ∑ .œ b .œ ∑ ∑ œ œ œ œ jœ œ>œ œ ‰ .œ œœ ∑ ∑ ∑ ∑ ∑ .œ b .œ ∑ ∑ ∑ .˙ ∑ ∑ ∑ .œ- œ. œ#. Jœ#- œ ∑ ∑ ∑ ∑ ∑ ∑ .œ- œ. œ#. Jœ#- œ ∑ ∑ .˙ ∑ ∑ .œ œ œ jœœ Jœ > Œ ‰ œ œ ∑ ∑ ∑ ∑ ∑ .˙ ∑ ∑ Œ Œ Œ œ œ# œ œ .œ œb œ#>jœ_œ> jœ_œ> ∑ Œ Œ Œ œ œ# œ œ ∑ œ#> œ œ œ. œ. .œ> ∑ ∑ ∑ ∑ ∑ ∑ œ#> œ œ œ. œ. .œ> ∑ ∑ .œ œb œb> œ> œ> ∑ ∑ .œ jœ jœ .œ Jœ > Œ Jœ ‰ œ œ œ ∑ ∑ ∑ ∑ ∑ .œ œb œb> œ> œ> sord. (harmon) p cresc. F ∑ ∑ Jœ#- œ œ œ# œ. œn _{‰ Œ.} ∑ Jœ#- œ œ œ# œ. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ- _{‰ Œ.} ∑ ∑ jœ# œ œ œ œ Jœ > Œ ‰ œ œ ∑ œ _{. Œ}jœ . Œ. .œ œ jœ. .œ œ œ œ œ# œ œ œ jœ_{b .}≤ œ- _{‰ Œ.} pizz. TUTTI pizz. ponticello ponticello P F F p p F F 01/07/2015 - CALEIDOSCÓPIO n. 2

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Partitura

PREVIEW