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UNIVERSITY OF SUSSEX

Fung Lam – DPhil in Musical Composition

PORTFOLIO OF COMPOSITIONS

ABSTRACT

The main objective of this compositional research is to explore and develop different

methods to create a clear narrative of the spiritual journey in Buddhism in my music.

This portfolio of compositions consists of six works, predominantly for orchestra,

written between the years 2005 and 2010, accompanied by a commentary.

2

STATEMENT

I hereby declare that this portfolio of compositions and commentary have not been

and will not be, submitted in whole or in part to another University for the award of

any other degree.

Signature:………………………………

3

CONTENTS

List of Compositions & Performance History 4

Introduction 5

Chapter 1: The Depiction of Spiritual Journey

1a Introduction 9

1b Case Study: Illumination 11

1c Case Study: BE 15

1d Case Study: Four Movements for String Quartet 16

1e Case Study: Unlocking 18

1f Case Study: Yong 22

1g Case Study: Rong 26

Chapter 2: Creating a Compositional System

2a Introduction 30

2b Case Study: Four Movements for String Quartet 35

2c Case Study: Unlocking 38

Conclusion 42

Select Bibliography 43

Select Discography 44

4

LIST OF COMPOSITIONS & PERFORMANCE HISTORY

Illumination for orchestra (2005) 12 minutes

2+pic.2+ca.2(II=Eb cl)+bcl.3/4331/timp.3perc/harp/strings

BBC Philharmonic, James MacMillan, 24 November 2005

New Zealand Symphony Orchestra, Xin-cao Li, 16 February 2007

Hong Kong Sinfonietta, Wing-sie Yip, 25 May 2007

Unlocking for orchestra (2007-08, revised 2010) 25 minutes

2(II=pic).2(II=ca).2(II=bcl).ssax.2/4330/3perc/harp.pf/strings

BBC Concert Orchestra, Charles Hazlewood, 6 May 2008

Hong Kong Philharmonic Orchestra, Perry So, 20 & 21 May 2011

BE for orchestra (2008) 1.5 minutes

1+pic.1+ca.2.2/4330/3perc/harp/strings

BBC Concert Orchestra, Charles Hazlewood, 17 February 2009

Yong for orchestra (2009) 3.5 minutes

2+pic.2+ca.2(I=Eb cl)+bcl.2+cbn/4331/timp.2perc/harp.pf/strings

London Symphony Orchestra, François-Xavier Roth, 5 October 2009

Tokyo Philharmonic Orchestra, Fung Lam, 3 October 2010

Four Movements for String Quartet (2010) 16 minutes

Borealis String Quartet, 15 May 2010

Rong for orchestra (2010) 6 minutes

2+pic.2+ca.+bcl.2+cbn/4331/timp.3perc/strings

Hong Kong Philharmonic Orchestra, Edo de Waart, 4 September 2010

* A CD recording of all pieces except Rong is enclosed with the portfolio.

5

INTRODUCTION

I consider the act of attending concerts, and to a lesser extent listening to music in

private, as a special experience to allow oneself to detach momentarily from the often

hectic modern world. Much of my music, therefore, has a reflective nature which

allows the audience opportunity for contemplation, hence the often slow pace and

transparent texture. Furthermore, I believe that music has a moral purpose, as

articulated by the composer Aaron Copland:

‘Art particularizes and makes actual … fluent emotional states. Because it

particularizes and because it makes actual, it gives meaning to la condition

humaine. If it gives meaning it necessarily has purpose. I would even add that

it has moral purpose.’1

As a result, I am interested in creating the sense of a spiritual journey to enlightenment,

by evoking the heightening of senses during the course of a work. Although it does not

have to adhere to any particular religious practice, as I consider spiritual

enlightenment more as a personal and philosophical journey in the mindset, I refer the

concept of enlightenment to that as described in traditional Buddhism. The main

concern spanning the portfolio is to explore and develop different methods to create a

clear narrative of the spiritual journey in Buddhism in my music.

A great number of composers have taken inspirations from a diverse range of religions

in the past. For the purpose of this compositional research, I decided to concentrate

primarily on exploring music by the composers who have written a substantial number

of compositions explicitly on Buddhist themes, while remaining keenly informed by

works inspired by subjects of other religions.

1 Copland. Music and Imagination. p.111.

6

Coherence in my music is of high importance to me. Prior to the commencement of

my DPhil in Musical Composition studies, I often relied heavily on writing music with

little changes in both texture and harmony throughout to create a sense of coherence.

While it may not necessarily be a significant issue for short pieces, it is my objective to

develop other compositional techniques that would aid me in producing a clear sense

of structure in compositions.

I have developed an original compositional system to represent metaphorically Self-

Realisation, an important stage in the spiritual journey to Enlightenment in Buddhism.

The system was also crucial in creating a coherent underlying structural framework

within which I could work intuitively.

I enjoy composing music with utmost clarity that is evocative, intense and above all

highly lyrical, often working with a self-imposed limited amount of raw materials and

simple ideas. While some musical ideas are taken from existing musical sources, I

mostly construct my music using simple musical motifs. Some of them have significant

symbolic meanings, which I will highlight in my commentary.

As a composer originating from Hong Kong, China, I have spent a substantial amount of

time considering my position as a Chinese composer in an essentially Eurocentric

Western classical music world. It is evident that there is a considerable amount of

pressure on non-Western composers to create works that are audibly, or at least

conceptually, inspired by their own culture. The composer Chou Wen-Chung, for

example, wrote that:

‘As composers of Asian heritages we can hardly consider it our aspiration to

merely make an impact on Western music in Western societies according to

Western practices. With a different heritage, our role demands, more than raw

7

talent, a true knowledge in our own heritage – a critical constituent for the

future of music that we, and only we, can offer.’2

While I agree that arts should reflect one’s heritage to some extent, I also believe that

composers are first and foremost individual artists, and therefore developing personal

styles in composition should be of a higher priority than fulfilling expectations from

others based on our nationalities. Many of the composers to whom I am most

attracted have all looked beyond their own traditions and reached some new approach,

therefore I feel it is of utmost importance that I should develop my music as an

individual artist, while trying to find a personal way to reflect my cultural heritage

when the right opportunity arises.

The traditional pentatonic scale is one of the most prominent features of traditional

Chinese music. While many contemporary Chinese composers have employed it

extensively in their compositions, I have always been wary of using it in my music. I

feel that it lacks the intervallic tension that the subject matter of my music often calls

for, but more importantly I am aware that its usage could easily be perceived as a

cliché, especially for a Chinese composer. Instead of consciously avoiding it, however, I

decided to confront it by using various pentatonic scales of my design as raw materials

in some of my pieces, having already experimented with other unusual six-note and

seven-note scales. Aesthetically speaking, the exercise, which involved the same

aforementioned compositional system, has earned me the right to employ the

traditional pentatonic scale in my subsequent compositions. More importantly, it was

one of my personal methods to fulfil my self-imposed responsibility to investigate my

cultural heritage and reflect it in my music.

While my output ranges widely, orchestral compositions have been at the core of my

composition career in recent years. As a result, all but one of the works included in

this portfolio were written for orchestra. They were written for specific occasions,

2 Chou. Beyond Identity. p.13.

8

thus the circumstance of the commissions had a considerable effect on each

composition’s conception. I will illustrate how I adapted my compositional techniques

in these pieces.

I will use the pieces in my portfolio to demonstrate the various compositional

aesthetics and techniques I have developed during the research process. In the first

chapter I will provide examples of the techniques I employed to create a clear

narrative of the spiritual journey in Buddhism in my music, with some references to

other composers’ musical works. The second chapter will introduce and explain the

compositional system that I have designed and how its different application, when

combined with my other compositional techniques, created the two core pieces in my

portfolio, Unlocking and Four Movements for String Quartet. The commentary also

includes supplementary information on each composition, to provide an insight into

the musical vocabulary I have developed through my compositional research.

9

CHAPTER 1

The Depiction of Spiritual Journey

1a Introduction

The depiction of spiritual journey in Buddhism is the common theme that permeates

my serious musical output. I am interested in exploring ways to represent musically

the spiritual journey to enlightenment, by evoking the heightening of senses. The

meaning of enlightenment itself is not easily definable, however, it is often associated

with the attainment of true happiness, and it is the ultimate goal for an individual who

practises Buddhism. To reach the state of full enlightenment, it is commonly believed

that a person would have to proceed through a number of progressive stages. I did

not intend to depict each specific stage in the path to enlightenment in Buddhism, but

instead I drew inspirations from the general theory regarding ways to achieve

enlightenment.

The terminology in Buddhism is somewhat confusing with many terms having different

means according to different divisions of Buddhism. For the purposes of this

commentary, the three terms I am using to describe the key stages in the journey to

enlightenment are Self-Realisation, Awakening and Enlightenment. Self-Realisation is

the first stage of the process, where the person is said to have made connection with

oneself and had the first encounter with reality. I envisaged the moment of Self-

Realisation to be the most dramatic one of all, as it signifies the moment where a

whole new dimension within oneself opens up for the person. As a result, this

moment is often represented by a dramatic resolution in the music. After Self-

Realisation, the next stage of the journey is Awakening. I am using this term to

describe the gradual progression towards Enlightenment after Self-Realisation.

Awakening is believed to proceed in many levels, with each change bringing the person

a greater level of the heightening of senses. The music representing this stage often

10

has a more reflective nature, as it is a highly spiritual journey that can only be achieved

through the method of meditation.

For this research, I have examined the music by composers such as Jonathan Harvey,

Peter Lieberson, Akira Nishimura, Somei Satoh and Claude Vivier, all of which have

written a substantial amount of Buddhism-inspired music. One of the composers I

admire most is the Japanese composer Satoh and his music has influenced aspects of

my own compositions. Deeply influenced by the indigenous spirituality of Japan,

Shintoism, a form of Buddhism, his music is often highly meditative in nature and it

progresses at an extremely slow pace, giving the listeners the chance to digest each

single sound.

My music is also informed and inspired by my research into the highly-spiritual music

of Harvey. I was particularly impressed by the effectiveness of the relatively simple

compositional devices that he employed to depict aspects of a spiritual journey in his

music. In his orchestra work Body Mandala (2006), for example, he set a high solo

clarinet line against a deep bass note on the insistent trombones, which imitate the

sound of tungchens (Tibetan low horns). The clarinet solo attempts to break away but

is overtaken by the return of the bass note twice. However, in its third attempt, it

persists and the bass note begins to ascend to the top slowly, giving the impression of

a significant enlightening moment after some initial struggles. I will describe how I

employed a similar technique in Four Movements for String Quartet later.

I will use Illumination as an example to demonstrate some of the key techniques I

have devised to represent the spiritual journey in Buddhism. I will then outline how

these and other techniques were applied to some of the other works in the portfolio.

11

1b Case Study: Illumination

During my research, I discovered Satoh’s evocative work Incarnation II (1982) for solo

piano with delay. It is a prime example of his work where he demonstrated his interest

in prolonging a single unit of sound through repetition. It is made up entirely of

tremolos on both hands in the lower range of the piano throughout the piece, centring

on an E-flat major tonality. It has a highly meditative nature through the use of drones.

It begins as if emerged from nothing, and develops through a succession of wave

swells with harmonic progression restricted mostly to stepwise motion (often one note

at a time). The music flows in long and sustained melodic contours over an

uncomplicated harmonic progression, and reaches two powerful climaxes, indicated by

two clear cadences, before fading away slowly to nothing at the end. Interestingly,

despite having written around twenty orchestral works to date, Satoh has not written

one that is comparable to Incarnation II, in terms of its single-mindedness of musical

idea. Around the same time, I was also examining the music of another Japanese

composer Nishimura, namely his powerful orchestral work Heterophony of Two Pianos

and Orchestra. Informed by his highly elaborated orchestration, I was inspired to

compose a monody for large symphony orchestra, using minimal amount of harmonic

and melodic materials.

As the title suggests, Illumination was directly influenced by the idea of spiritual

enlightenment. The specific sections in the music correspond to the key stages Self-

Realisation, Awakening and Enlightenment, marked by several dramatic cadences.

Although I had a clear idea of the overall structure, the core harmonic framework was

developed organically following my intuition. In addition to the core sustained

harmonic progression, specific short melodic phrases were incorporated into the piece

to help further depicting the spiritual journey. The music goes through several stages

representing the various stages of the spiritual journey to enlightenment as described.

The harmonic progression from the beginning to Rehearsal Figure J (Fig. J) is illustrated

in Example 1.1.

12

Example 1.1 – Harmonic progression of Illumination from beginning to Fig. J

The first section of the piece, from the beginning to Fig. F, uses only the seven pitches

from the harmonic minor scale in A. Crucially, apart from three strokes on the crotales,

G-sharp is not introduced to the core harmony until after the first dramatic moment at

Fig. E. It was not until six bars before the climax that the first octave doubling of

pitches from the core harmonic progression occurs in this piece. It supports a simple

upward melodic contour (A - B - C) at the top that leads the music seamlessly into the

next section.

At Fig. E, the first cadence takes place, with the bass note shifting down from the long-

held F to D. The pitch G-sharp is introduced to the harmony at bar 56, giving the music

an extra sense of unease. Although there is a very slight ease of tension harmonically

when the bass line shifts up to E at Fig. F, the music remains intense. With the bass

moving back down to D one bar before Fig. G, the tension is immense and the need to

relieve becomes inevitable. This is where the music arrives at the first tension-

releasing climax of the piece, depicting the moment Self-Realisation.

The melodic phrase (G-sharp - A - G-natural) is accompanied by a number of new

elements in terms of orchestration. The sizzle cymbal is crucial in giving the moment

13

the desired magical quality, while the flutter-tongue effect on the wind instruments

gives the music a great sense of brilliance. The mood calms down rapidly following a

reprise of the phrase, as it arrives at the stillest and calmest section in the piece at bar

83 for a moment of peaceful reflection.

The pizzicato note on the first violin at Fig. H very gently breaks the dreamlike state, as

it enters a new section which depicts the process of Awakening, with the bass line

descending to a newly-introduced pitch B-flat centring on an F major tonality.

Awakening is represented by three stages with similar pattern of events and clearly

differentiable harmony, identified by the stepwise changes of the bass note. It first

descends to A-flat, centring on an E-flat major tonality (without B-flat), before arriving

firmly on G at Fig. J where the mood becomes affirmative and noble. This is

significantly the second resolution point of the work.

From Fig. J onwards, the music represents the final journey towards Enlightenment.

The harmony progresses upward slowly, using only pitches from the C major scale.

The vital notion here is that the span of the chords slowly diminishes as the music

descends, from an interval of two octaves and a major 3rd to a narrow minor 3rd. This

represents the stage where the mind of a person becomes one with the mind of god,

which makes the person technically enlightened. With pitches being dropped one by

one near the end, we are left with just two main pitches B and D (with a much quieter

C), resembling the opening passage. Significantly, the pitches are now an octave

higher than those at the beginning. Coupling with the three strokes on the crotales at

the end, which resolve from A to B on the last note, it symbolises the end of a spiritual

journey to Enlightenment.

In addition to the harmony progression, the short melodic phrases I composed were

carefully designed and placed to effectively represent the state of mind before and

after an enlightening moment. I used the interval of minor second in a phrase to

represent before and major second to represent after. It is because a major second

has an “opened up” quality in opposed to the denseness of a minor second. A key

14

concept of this work, therefore, is the transformation of the minor second phrases into

major second ones. In the opening passage at Fig. C, three minor second phrases are

presented. At Fig. G, to represent a key step towards Enlightenment, the melody

crucially moves up a minor second before moving down a major second. From Fig. H

to Fig. K, above the still but shimmering texture, the three stages each features a pair

of short phrases made up of two pitches a major or minor second apart. The first two

pairs are made up of one major second and one minor second (E/F & G/A, and G/A-flat

& E-flat/F), while the last pair at Fig. J are both major seconds (C/D & A/B). Coupling

with the solo trumpet line that goes up from C to D, it represents an important step

towards Enlightenment. Finally, when the high A returns on the crotales at the end, it

ascends up a major second to B at the very last moment of the work.

As illustrated above, the three main compositional devices that I have employed in

Illumination to depict the spiritual journey to Enlightenment are as follows:

1. Create dramatic resolution moments in music that correspond to the stages in

the path to enlightenment, supported by appropriate harmonic progression

and orchestration, as well as a well-proportioned structure.

2. Design short, recurring and easily-recognisable musical motifs or chords that

represent the before and after of an enlightening moment, and place them

strategically in the music to reflect the “opened up” concept of enlightenment.

For example, the “opened up” section would consist of lines or harmony with

wider and/or purer intervals than the “before enlightening” section.

3. Relate higher register as to being closer to the goal that is Enlightenment, and

use ascending lines to depict a positive journey towards Enlightenment. To

create the narrative of a positive spiritual journey, a piece should end at a

higher place compared to the opening.

15

1c Case Study: BE

To demonstrate how I applied the same techniques as above in a much shorter work, I

will outline them in my 80-second orchestral miniature entitled BE.

The entire piece was based on one six-note scale, and the main opening section was

built upon an ostinato with chords made up of the six different modes of the same

scale in G. The basic harmonic progression is illustrated in Example 1.2.

Example 1.2 – Harmonic progression of BE

It begins with the bottom four lines, with the top two lines being added one at a time

in the next two repetitions, before a melody based around G minor was introduced as

the music approaches the climax. Similar to the first resolution in Illumination, this

climax represents the moment of Self-Realisation even though it does not resolve

harmonically. It drops down in dynamic and intensity abruptly as the music is left with

a bare perfect fourth interval on the vibraphone (tremolo) and violas, a familiar and

calm sonority that begins the piece. Significantly, it is now a semitone higher on the C

and F (which naturally hung over from the last chord of the ostinato) compared with

the opening B and E. Similarly, all the pitches used in the last seven bars, which

corresponds to the Awakening stage, were made up of a six-note scale that is a semi-

tone higher than the first chord of the ostinato. After a brief period of calmness, the

piece ends elegantly on the highest note in the entire work. These are examples of my

compositional devices designed to represent the heightening of spiritual senses, as

even with a miniature I wanted to create the narrative of a spiritual journey.

16

1d Case Study: Four Movements for String Quartet

As the title suggests, Four Movements for String Quartet is in essence an abstract non-

programmatic work. Nevertheless, the idea of a spiritual journey was depicted in the

work as a whole and especially in the fourth movement using several techniques.

Written with the compositional system that I designed, which will be explained in

chapter two, the first three movements represent metaphorically the journey towards

an enlightening moment, represented by the ethereal fourth movement. The first and

last movements were designed to complement each other and they represent the

difference of before and after Enlightenment. Although they are both slow, delicately

scored and share a similar overall shape regarding dynamics, there have many

opposing qualities. The blissful harmony in the fourth movement contrasts greatly

with the mostly dissonant chords in the first. The ensemble works as a harmonious

whole in the fourth movement, while there are several independent lines and

opposing forces in the first. The overall contour is directly opposite, with the fourth

movement beginning and ending at the top.

While the fourth movement itself already represents an enlightening moment, it also

contains within itself the narrative of a spiritual journey to a higher state of

enlightenment. The structure of the fourth movement is in fact very similar to that of

Illumination. It begins with the first violin alone, before it was joined by the rest of the

ensemble one by one over time as the music slowly descends. The music goes through

a sequence of gentle tension and resolution moments, with some of the cadences

deliberately written to evoke earlier classical music to suggest a sense of timelessness.

The solo first violin line beginning at bar 24 has a particularly sentimental quality, as it

represents the notion of struggle. Above the static harmony in A major it reaches

upward while each time it was being pulled back down to the pitch A from a minor

second and then major second above. On the third attempt, however, just like the

clarinet solo as described in Harvey’s Body Mandala, it manages to hang on to the C-

sharp and invoke what I consider as the most important moment in the entire piece.

For the first time in this movement, two instruments (the violins) come together in

17

octaves, and move up in unison to D. For a moment, it is as if time stands still as the

union of two voices is being treasured. It is intended as a fond recollection of the folk-

line melody (also in octaves) from the second movement. Eventually the violins settle

back down on the C, and the music slowly and gradually grows in intensity towards the

key moment at bar 34. With the bass line firmly arriving on the G from A-flat, this

resolution has exactly the same implication as the cadence at Fig. J in Illumination.

With the two violins finally pulled apart, the music slowly and gradually ascends, with

the first violin playing an important role in the final moment. In a similar manner to

the melody beginning at bar 24, it once again climbs upward, this time from the F-

sharp, initially by a minor second followed by a major second. Just as the viola fades

away, the first violin leaps up a major third to a sustained A-sharp. The movement

starts on the same F-sharp as the penultimate note but never reaches up to the A-

sharp, only a major third higher, until the end. Similar to the ending of Illumination,

this symbolises the final moment of the journey to spiritual enlightenment.

The final melody at bar 39 relates to several elements in the other movements. The

movement between F-natural and F-sharp, which represents the guiding light for the

mind to reach upwards, first appears in the high melody on the first violin in the first

movement, and then in the second movement on the viola on harmonics. The first

violin melody ascending from F-sharp to A-sharp at the end of the second movement is

conceived as a dreamy foresight to the eventual moment of enlightenment. The

“opening up” process of these intervals in the short melodic phrases from a semi-tone

to a major third is yet another technique I employ to create a narrative of the spiritual

journey in my music.

18

1e Case Study: Unlocking

Unlocking was commissioned by the BBC Radio 3 for their Discovering Music

programme. The commission stated that the work should take its initial inspiration

from an exhibit from the Victoria and Albert Museum in London. After visiting the

museum several times, I was especially drawn to the Ironwork Gallery within the

Metalwork Collections, where there is a large collection of locks and keys ranging from

the 15th to the 18th century. In particular, I was most attracted to one specific lock

entitled the “Puzzle Padlock” in the gallery. In addition to its decorative exterior

design, I was intrigued by the fact that there were in fact two layers of locks hidden

within. I learnt that the extra layer of mechanism was added sometime after the

padlock was initially made to make it more secure. In order to open the padlock, one

must first unlock the first layer which was a combination lock, before unlocking the

inner lock with a traditional key. It inspired me to compose a new work that would

represent the unlocking process of a giant imaginary lock with many layers of different

mechanism added on top over time.

While the piece was originally inspired by locks and keys, it is designed to draw a

parallel between the unlocking process and the various stages in a spiritual journey

towards enlightenment. I used the same compositional system that I employed in

Four Movements for String Quartet to represent the spiritual journey metaphorically

at a deeper level, and I also employed the three aforementioned main compositional

devices as outlined below.

Since locks and keys were the core idea of this composition, I began by devising a way

to represent them musically. Inspired by the physicality of inserting a key into the

keyhole of a lock, I decided that a “key” would be represented primarily by horizontal

lines, while a “lock” would be represented by a succession of parallel chords,

highlighting the shape, with a gap in the middle representing the “keyhole”. As the

lock is a metaphor for the state before enlightenment, the chord I designed to

represent “locked” were made up of a denser collection of pitches, constructed

19

symmetrically above and below the central “keyhole” pitch. To depict the idea of

“unlocked”, the “unlocked chord” was then constructed by symmetrically “opening

up” the “locked chord” and replacing it with pitches forming purer and wider intervals.

After considering various options and insisting that these chords would contain

collectively all the pitches within an octave, I eventually settled on the two chords as

illustrated in Example 1.3. The “locked chord” consists of six notes made up of internal

intervals of two minor seconds and four major seconds, and the “unlocked chord” is a

four-note chord made up of two minor thirds and a major third (which is essentially a

minor seventh chord).

Example 1.3 – “Locked chord” and “unlocked chord”

The piece is divided into three main sections, representing “locked”, the process of

“unlocking” and unlocked”. The “locked chord” and “unlocked chord” are used

extensively in their respective sections, most noticeably in parallel movements to

mimic the shapes of locks and keys. With the harmony of the “locked” section

dominated by the denser “locked chords”, it possesses an air of uncertainty and

darkness. In vast contrast the “unlocked chord”, sometimes used in conjunction with

the “key” note, provides the desired blissful and spacious atmosphere to the

“unlocked” section. The contrast between the two is one of the devices I employ to

represent the difference before and after the spiritual journey to enlightenment.

Within the “unlocking” section in Unlocking, each of the seven sub-sections represents

one layer of lock mechanism in the imaginary multi-layered lock, and hence also

represents seven stages towards Enlightenment. Like a set of Russian Mitryoshka dolls,

the inner layers are only revealed one by one when the previous outer layer is opened.

This relates to the many stages of the path to Enlightenment, as according to

Buddhism, a person often only realises there is a greater level of enlightenment (or

Awakening as I defined earlier) achievable when the person reaches the level before.

20

Each of the sub-section has its own distinctive texture and contains a tension-releasing

resolution moment (which is sometimes at the very end of a sub-section) to suggest

the moment the next stage is reached. These seven resolution points are located at

bars 107, 150 (third beat), 188, 249, 301, 345 and 353.

There is a “flash of light” motif in Unlocking and it takes place three times. The first

two “flashes of light” appear in the “locked” section, while the third is at the end of the

“unlocked” section, that is, the end of the entire work. Similar to the high melody in

the first violin in the first movement of Four Movements for String Quartet, these

“flashes of light” represent the guiding light for the unlocking process. They always

emerge from a single unison pitch and expand upwards. For the first two appearances,

at Fig F and Fig. J, they provide a noticeable contrast to the denser harmony that

precedes them. The beginning of the motif is always marked by the tuned cowbells

doubled by the muted horns playing a five-note phrase of the same shape using

different scales. The harmonic field is then sustained by a group of instruments from

the same instrument family, which then creates a distinctive dreamy soundworld. The

motif ends with a four-note zigzag-shaped gesture, which is connected to the five-note

phrase by a common pitch, in the high register performed by a solo instrument with

each of the notes punctuated by the glockenspiel. While the three “flashes of light”

follow the same pattern, there are two key differences between the first two and the

last. The pitches used in the three “flashes of light” are illustrated in Example 1.4.

The first two five-note phrases contain the interval tritone in its construction, while the

last one does not, giving it a purer sonority with less tension. Secondly, the last note of

the four-note gesture in the last “flash of light” goes upwards instead of downwards as

are the cases in the first two. In a similar manner to the ending of Illumination, this

final “flash of light” motif symbolises the end of the spiritual journey and the moment

it reaches Enlightenment.

21

Example 1.4 – Comparison of the three “flashes of light”

In additional to the above motif, throughout the “unlocking” section there are many

other upward movements in both the melodic lines as well as the harmonic

progression, depicting the journey towards Enlightenment. The most obvious example

is the sixth sub-section at Fig. BB where the pair of soli trumpet zigzag shaped

melodies consistently climb up and reach new heights.

22

1f Case Study: Yong

Yong was inspired by the often-heard accelerando rhythmic motif, a powerful and

dramatic musical idea which is featured in the opening of many Chinese and South-

east Asian traditional music and particularly in Peking operas. An impression of the

rhythm is notated in the solo bass drum part at the beginning (bars 1-7). Acting as the

stimulus and the leader of the orchestra, the bass drum seemingly urges the rest of the

orchestra to follow and move forward. The rest of the work is what I conceived as a

hugely elaborated orchestral rendition of this important Asian motif. The title means

surge, emerge, rise and rush in Chinese, as the other key musical idea alongside the

rhythmic motif is an ascending motif.

The ascending motif I used is the zigzag shaped line, which has an important role in

four of the six works in my portfolio, including the two core pieces. It is a simple yet

easily recognisable idea that is versatile and flexible, as it can vary from a small

chromatic turn to a cross-octave melody. On a pure musical level, I found it to be a

great way to inject interest into a simple ascending or descending melodic line.

However there is another reason I use this motif so frequently in my music. It is used

to convey the struggles and hurdles one faces in any spiritual journeys, as I do not

envisage any journey of this kind and magnitude to proceed completely smoothly, not

unlike most journeys in real life. The usage of this motif is always linked with the idea

of higher notes being closer to the goal, hence the majority of the zigzag shaped lines

in my compositions are in ascending motion.

The overall structure as well as most of the rhythm of individual elements in Yong was

influenced directly by the structure of the accelerando motif. On a macro level, it

dictates the duration of each repeating cycle in the main section as, similar to BE, it

was built upon the repetitions of a specific sequence of musical events. In this case,

the duration of the cycles decreases as the piece progresses. The accelerating idea

also influenced the rhythm of specific musical events within the cycle on a micro level.

For example, the speed of the rising motifs on both the strings and woodwinds

23

increase massively during the course of the nine cycles. Similarly, the repeated notes

motif on the trumpets accelerates from triplet quavers to sextuplet semi-quavers. All

the musical events either speed up or their frequency of recurrence increases.

With Yong being a piece driven largely by gestures, the entire piece was constructed

with only one seven-note scale, the ascending melodic minor scale with four

consecutive major seconds. The tonality of the piece is left deliberately ambiguous

throughout by using all seven modes of the scale.

The opening five bars consist of three main elements layered on top of each other.

One of which is the bass drum solo (which continues until bar 7), which I incorporated

a numerical representation of a zigzag shape into, combining the two key musical ideas

into one. If we consider the notes with a grace note attached as the beginning of a

mini-phrase, then the number of notes per mini-phrase changes as it accelerates as

follows: 1, 1, 3, 2, 5, 4, 7, 6, 9 and 8.

The second element is the ascending motif as punctuated by the pizzicato notes on

upper cello and then upper viola parts. Following the third note it descends briefly

onto the fourth note before continuing to ascend, creating a zigzag shape as illustrated

in Example 1.5.

Example 1.5 – Ascending motif at bar 1

The third element is the leading melody, also zigzag shaped, performed in unison by

the first flute, first oboe and first clarinet. As the three elements combined together

with other surges in the orchestra, the music dramatically plunged to the bottom with

multiple layers of zigzag shaped descending lines, landing on a single unison low A-flat.

The bass line at Fig. A is an important bridging passage that connects the unison A-flat

24

to the start of the nine cycles.

At first, the elements within each cycle can be heard one after another clearly.

However, as the cycles become shorter progressively, the elements become more and

more compressed and they eventually overlap with each other.

The beginning of each cycle is signalled by a new fixed bass note, upon which all other

musical elements are then built, and a new scale of a different mode to the one

precedes it. For the first few transitions between two cycles, the bass note moves

towards the next bass note via other pitches from the new scale in a zigzag shaped line.

To counter balance the rising movements of all the musical events above, the main

bass notes of the cycles move downwards overall. Over the course of the nine cycles,

plus the bass note of the next segment (the climax), they form another zigzag shaped

line as illustrated in Example 1.6.

Example 1.6 – Descending movement of the main bass notes

The first element of each cycle is the “blurry” rising motif on the strings. I first

designed the ascending zigzag shaped line out of the pitches from the scale I have

chosen, always following the same shape in groups of 3s and 2s until it reaches the top.

The line for this element in the first cycle is illustrated in Example 1.7.

Example 1.7 – Pitches of the first “blurry” rising motif on strings at Fig. B

The line is then divided into eight, with tuplets in different subdivisions, and layered on

top of each other. Collectively, this creates an atmospheric “blurry” accelerando effect.

This rising motif is always accompanied by another zigzag shaped line on the harp on

25

the same pitches, accelerating independently.

The three trumpets then join in with a four-note ascending zigzag shaped motif, which

dominates the soundworld increasingly towards the climax. Above the trumpets

enters a complementary decorated piccolo solo line, articulated by the crotales. It too

is always zigzag shaped and its first entry at bar 15 resembles the opening melody.

The opening ascending motif then returns as a new mode of the same scale is

introduced. A short piano solo line with an otherworldly quality is added above the

thick texture. It too always appears in a similar shape, which is an ascending zigzag line

spanning a wide interval.

The next event is the “blurry” rising motif on six of the woodwind instruments, which

creates a similarly atmospheric “blurred” accelerando effect as the “blurred” rising

motif in the strings. The end of a cycle is marked by the five-note ascending motif,

again zigzag shaped, on the four horns and tubular bells.

Following the wild and almost brutal outburst at Fig. G, the unison opening melody

returns, this time echoed by a new solo line on the first trumpet (muted) beginning at

bar 51, and the piece finishes with a final flourish.

This work demonstrates how I create the narrative of a spiritual journey by working

with a very limited amount of musical ideas. Additionally, it illustrates how the

deliberate abstraction of tonality through the continuous changes of modes helped

emphasising the various gestures in the piece. It is a technique I have used in the

other pieces in the portfolio at places where I wanted to highlight certain motivic

gestural ideas, especially those designed to help depicting the spiritual journey to

enlightenment.

26

1g Case Study: Rong

Rong was commissioned by the Hong Kong Philharmonic Orchestra, specifically to

represent Hong Kong at the World Expo in Shanghai in 2010. It depicts Hong Kong as a

vibrant city that is connected by ideas, creativity, technology, cultural diversity and

closeness to nature. It is a piece with many contrasting musical ideas juxtaposed

among the many short sections. The title means mixed and harmony in Chinese.

While Rong does not follow the clear narrative of a spiritual journey like the rest of the

portfolio, it nevertheless presents a different kind of journey that leads towards its

climax at Fig. M. Within its six-minute duration, Rong consists of no less than ten short

and highly contrasting sections with more than ten musical motifs from diverse

sources as the basic materials. The motifs I used in this piece are as follows:

1. To represent the nature in Hong Kong, I have transcribed four fragments of

birdsongs of two common birds found in Hong Kong as illustrated in Example

1.8 to Example 1.11.

Example 1.8 – Birdsong motif 1

Example 1.9 – Birdsong motif 2

Example 1.10 – Birdsong motif 3

27

Example 1.11 – Birdsong motif 4

2. The Buddhist chant Amitabha (Example 1.12), to represent Hong Kong as a

multi-religion and culturally diverse city.

Example 1.12 – Buddhist chant “Amitabha”

3. One of my personal favourite traditional Christian hymns, Abide with Me, also

to represent Hong Kong as a multi-religion and culturally diverse city.

4. To represent the city’s technology, I have derived some rhythms from the

Morse code translation of “HONGKONG” and “HK”, as illustrated in Example

1.13.

Example 1.13 – Rhythms derived from Morse code translation of “HONGKONG” and “HK”

5. An original majestic melody with a strong Chinese flavour when accompanied

by the harmonic progression I composed.

6. Several short musical motifs from my previous compositions, to signify the

coexistence of things of all ages in Hong Kong.

The work opens energetically with the “blurry” rising motif from Yong. The

accelerando rhythmic motif, also from Yong, is then combined with the Birdsong motif

28

1 to create a powerful surge forward. The birdsong motif flows seamlessly into the

Birdsong motif 3, before the music collapses down to the bottom in a similar manner

to the opening of Yong. The passage at Fig. B too resembles the corresponding

passage in Yong although the key pitches (F - G - E) of the unison melody remain

unaltered when it is repeated. Two grace notes are added to the second phrase to

form the first four notes of the Buddhist chant melody (E-flat - F - G - B-flat), and with

the second grace note, the descending tritone motif from an early composition of mine

(B-flat - E) appears for the first time at bar 13. The passage at Fig. C then combines a

fragment of my original majestic melody with the rhythm derived from the Morse code

translation of “HONGKONG” on the solo crotales.

Supported by the delicate and shimmering texture at Fig. D, this passage juxtaposes

two sustained upward-aspiring zigzag shaped lines (main melody and the bass line)

with the short Morse code rhythm derived from “H”. The ascending zigzag shaped line

paired with the “HK” rhythm on trumpets and trombones at bar 30 then leads the

music to next section. The passage at Fig. E has a strong “urban feel” to it, with the

sharp attacks, dark-sounding chords, large interval leaps and a harsh orchestral palette.

While it concentrates mainly on highlighting the “H” and K” rhythms, it also features

the second appearance of the descending tritone motif with glissando at bar 38.

Both the texture and mood change abruptly at Fig. F, as it enters a distinctive section

of music. Unlike all previous sections, the various elements in this section, marked

“otherworldly”, appear to simply coexist without any interaction among them. This

includes a distorted version of the Buddhist chant on the solo bassoon (doubled on

viola), a distorted version of the Abide with Me melody on the solo bass clarinet

(doubled on cello), a “jazzed up” version of Abide with Me’s bass line on solo pizzicato

double bass, two pairs of wandering melodies in the woodwinds, as well as the short

zigzag motif with the “K” rhythm played by the trumpets and horns alternatively. This

section represents the harmonious coexistence of different cultures and ideas in Hong

Kong.

29

Following a gentle acceleration towards the end at the last section, the rhythmic

pattern derived from “HONGKONG” returns at a high tempo and gives this next section

the intensity and momentum required for a final build-up towards the climax.

Interlocked among the agitated rhythm are three other motifs, the Birdsong motif 2

(on piccolo and crotales), the tritone motif (both ascending and descending) and the

sustained zigzag melody in three-part harmony. My original majestic melody then

appears in full and in harmony for the first time at Fig. M. Significantly, the Buddhist

chant acts as the counter-melody at first, while when the main melody is reprised on

the solo trumpet, the melody of Abide with Me becomes the counter-melody. This

again symbolises the peaceful coexistence of different cultures.

After the melody disintegrates at the end of the reprise and dramatically plunges to

the bottom, the rhythm of “HK” is played forcefully for the last time, before the music

ascends with a much slower “blurred” rising motif to the high C. Accompanied by the

cacophony produced by a collection of cheap electric toys commonly found in local

Hong Kong street markets, the Birdsong motif 3 returns at Fig. Q as a duet between

the solo piccolo and solo cello. The piccolo then proceeds into Birdsong motif 4 as the

piece finishes with a final flourish with the rising motif from Yong combined with the

descending tritone glissando motif.

Rong illustrates how I create a coherent structure with neither a consistent harmonic

language nor a consistent texture. The sense of coherence is constructed by the

strategically devised juxtaposition of contrasting and recurring musical motifs among

the different sections in a piece. It is a technique that I often employ to assist me in

devising the structural framework of my music. It has proved to be particularly useful

for the more substantial multi-section pieces, such as Four Movements for String

Quartet and Unlocking, where I was able to work with a wider range of musical ideas,

textures and harmonies.

30

CHAPTER 2

Creating a Compositional System

2a Introduction

This original compositional system that I have designed has three main purposes: to

impose certain restrictions on myself regarding the choice of pitches and scales I may

use at any given time during the composition process; secondly, to generate a

sequence of pitches, following the rules I invented, which then in turn form the basis

of the last section or movement of the work; and lastly, to create a coherent harmonic

and structural framework. The idea of working with pitch materials generated

essentially subconsciously during the composition process as “found” materials

appealed to me hugely, as it represents metaphorically the “treasure within” and the

important spiritual concept of self awareness or Self-Realisation. This compositional

system was used in both Four Movements for String Quartet and Unlocking.

To generate the pitch materials for the middle “unlocking” section in Unlocking, I

looked to the “unlocked chord” as I wanted the new pitch materials to be related to

this chord. I realised that, together with the central “key” pitch, the resultant chord

representing “unlocked” is made up of the five pitches from the traditional pentatonic

scale as illustrated in Example 1.3. Since I had not in the past explored the possibilities

of composing with pentatonic scales, I decided to compose the “unlocking” sections

solely using pentatonic scales as the pitch materials. However I was keen to avoid the

traditional anhemitonic pentatonic scale, or at least reserve it for the final section of

the piece, therefore I decided to create my own set of unusual pentatonic scales. I

decided that these pentatonic scales should be close to the traditional pentatonic scale,

as I wanted them to be just one step away from the goal represented by the “unlocked

chord”.

31

I first moved each of the five notes of a traditional pentatonic scale (G-A-B-D-E) both

up and down a semi-tone one at a time. It results in a set of ten scales as illustrated in

Example 2.1.

Example 2.1 – A set of ten scales created from G-A-B-D-E

Closer inspection reveals that there are two pairs of identical pentatonic scales when

transposed, one of which being the traditional pentatonic scale. Therefore, the

number of new scales created from the above exercise was seven. Knowing that I

would be using all twelve transpositions of each of the newly-created scales to keep

the tonality ambiguous throughout like in Yong, I needed to assign the seven scales to

a group named by a specific pitch. From the musical example above, I realised that the

two pairs of identical scales were one whole tone apart, so I transposed all the pitches

in the right column down a major second. As these two columns would now both

contain the traditional major pentatonic scale in C, I grouped the seven new scales

under “C”, and assigned each of them a number from 2 to 8, reserving 1 for the

traditional scale. These scales, or chords when used vertically, are referred as C2, C3,

C4, C5 and so on. The other eleven groups of pentatonic scales are then created by

32

straightforward transpositions. The seven newly-created scales under “C” are

illustrated in Example2.2 together with the traditional pentatonic scale in C.

Example 2.2 – A set of eight scales grouped under “C”

I then constructed an initial 7x7 matrix of numbers (Example 2.3) to organise the seven

different pentatonic scales, and give them more or less equal importance. The

numbers are distributed in a specific way to depict the process of decoding.

1 3 7 5 4 6 2 1

2 3 7 2 4 6 5 1

3 3 4 5 1 6 2 7

4 6 7 3 4 2 5 1

5 3 4 1 2 6 7 5

6 5 6 7 3 1 2 4

7 1 2 3 4 5 6 7

Example 2.3 – The initial matrix

Concentrating on the 7x7 matrix on the right, I regard the sequence at the top

“3 7 5 4 6 2 1” as the starting point with seemingly randomly arranged numbers, and

the bottom sequence “1 2 3 4 5 6 7” as the password to a combination lock. The seven

rows in the matrix may then be perceived as seven stages of decoding. As the

sequence of numbers works its way down row by row, some seemingly become

33

attached to numbers that would eventually end up adjacent to them, as illustrated by

the bold digits in Example 2.3. This is my representation of the unlocking process.

Although this metaphor is not apparent to the average listener, as these numbers are

translated into music in many different ways, I used this matrix as the underlying

blueprint for the two pieces. Its role in my pieces is similar to that of the fundamental

laws of physics that govern the world which often appears chaotic.

The italic numbers on the left play a different role in the two pieces, but they tend to

affect the entire sequence to their right. In Unlocking, they often dominate the overall

harmony in the entire corresponding section, while the sequence on the right interacts

with it in various manners.

For that reason, I then ranked the seven pentatonic scales roughly in the order of

“pureness”, as for Unlocking it is a metaphorical journey towards the pure-sounding

traditional pentatonic scale. It was mainly an intuitive decision, although the internal

intervals among the five pitches were also a factor. From the least to the most “pure”,

the order is 8, 5, 2, 6, 3, 7 and 4. The final matrix that I used in my compositions was

then produced with the original sequence of 1 to 7 being substituted by the new

sequence of “pureness” from 8 to 4 as illustrated in Example 2.4.

8 2 4 3 6 7 5 8

5 2 4 5 6 7 3 8

2 2 6 3 8 7 5 4

6 7 4 2 6 5 3 8

3 2 6 8 5 7 4 3

7 3 7 4 2 8 5 6

4 8 5 2 6 3 7 4

Example 2.4 – The final matrix

The matrix is central to my compositional system. As I compose, specific types of

scales would be used in the order determined by the sequence of numbers on the

matrix, which is read left-to-right, top-to-bottom. Since the matrix only indicates the

34

type of scale, I would have the freedom to compose with any one of its twelve

transpositions. The decision is based solely on the five pitches in the scale, with no

consideration given to the group to which the scale belongs. Once a specific scale is

selected, the pitch name under which it is grouped is noted separately. With most

pitches determined by this process, over the course of the composition, a sequence of

pitches is generated and used in order, as much as possible, in the final section or

movement of the work.

35

2b Case Study: Four Movements for String Quartet

The first three movements of Four Movements for String Quartet were constructed

with pitch materials governed by the matrix, going through the 49 numbers in a

15/15/19 split, while the last movement was constructed with the pitches generated.

The focal point of the extremely slow first movement is the pair of fragmented melodic

lines which interact with each other. The viola often carries the primary melodic line,

which mostly proceeds in the upward direction with relatively large interval leaps. The

secondary melodic line, which is presented on the first violin, floats above the rest of

the ensemble. With the exception of the secondary melody, which stays on the same

scale (G8) for two thirds of the movement before shifting to another one (F5), pitches

were applied from the matrix-determined scales strictly in the order of their

appearance in time across all four instrumental parts. Example 2.5 illustrates how the

scales are distributed in the first four bars. In this movement, the italic number on the

left hand side of the matrix acts as the binding force, as it precedes each of the

number in the sequence, e.g. the first ten scales employed were F#8, F

#2, A

b8, F

#4, B8,

Ab3, D8, D6, E

b8 and D7.

Example 2.5 – Distribution of scales in the first four bars of the first movement

36

The scales are employed solely horizontally in the second movement, which

contributes to its unmistakable modal character. The melodic lines often appear in

pairs, either in octave unison or in harmony. There are usually two different scales in

separate layers, as a scale determined by the number in the matrix is always

accompanied by a scale associated with the italic number on the left of the

corresponding sequence. Towards the end where different thematic ideas are

superimposed, as many as three different scales are used simultaneously. The

distribution of the scales in bars 1-9 is illustrated in Example 2.6.

Example 2.6 – Distribution of scales in bars 1-9 of the second movement (violin I & cello parts only)

The restless third movement provides the much needed contrast after the first two

movements. It depicts the hectic, mundane and often repetitive routine in the

modern life, with only a handful of recurring musical motifs. There is only one scale

present in the music at any time and the chord changes always take place sharply at

the end of each phrase (except bars 1-6) affecting the entire quartet. The italic

numbers on the left of the matrix does not interact with the scales but a “3” scale (G3)

and two “4” scales (Bb4 and A

b4) have been added to the beginning and ending of this

movement to represent the journey the music goes through.

The sequence of pitches generated with my compositional system is illustrated in

Example 2.7. The fourth movement was composed with these pitches in order, except

37

in one instance where I swapped the order of two pitches for artistic reason. The last

pitch is omitted as the music has already reached a natural end.

Example 2.7 – Sequence of pitches generated in Four Movements for String Quartet

38

2c Case Study: Unlocking

In Unlocking, the sequence of the seven numbers on the left of the matrix (which is

identical to the bottom line of the matrix) first makes its impact to the piece on its own

without the matrix from Fig. E to the end of the “locked” section at bar 101, as this

section represents the lock itself. The pitches from the scales determined by these

numbers are sometimes combined with the “locked chord” (Example 1.3). For the first

number in the sequence, the top pitches of the five “locked chords” used in bars 43-53

were taken from an “8” scale (Ab8). At Fig. F, where the first “flash of light” takes place,

the scales A5 and C2 were used to generate the pitches. The same rule applies until it

reaches the second “flash of light” that brings the “locked” section to an end.

The harmony of each of the seven sub-sections in the middle “unlocking” section is

dominated by the specific scale determined by the italic number on the left of the

sequence, while the sequence of numbers in the matrix interacts with the music in

various ways. To reflect the initial idea that the layers of different mechanism of the

imaginary lock are added on top over time, each of these seven sub-sections has a

distinctive texture that contrasts vastly with the others.

The first sub-section at Fig. K demonstrates how the numbers in the matrix may

interact with the music. The seven four-note chords at bars 102-113, corresponding to

the seven numbers in the matrix, were all constructed using four out of the five pitches

from an “8” scale as 8 is the italic number on the left of the matrix. The melody was

composed by applying the seven numbers in the matrix in two ways. Firstly, it dictates

the number of notes in each short melodic phrase, following the sequence 2, 4, 3, 6, 7,

5, and 8 from the top row of the matrix (Example 2.4). The numbers also determine

the pitches in each phrase. In addition to the one pitch from the “8” scale not included

in the four-note chord that always appears in the melody, pitches from both the “8”

scale as well as another specific scale in the same pitch group determined by the

number in the matrix are used freely. For example, at bar 105, the fourth phrase of

the sub-section, the chord consists of four pitches from the scale A8 (G-sharp - B - C-

39

sharp - E - G). The pitch not used, E, was then embedded in the melodic phrase

together with pitches from the scale A6 (G-sharp - C - C-sharp - E - F-sharp). After the

seventh phrase, with the C in octaves sustained by the violins, the music goes through

all five chords made up of the “8” scales that contain the pitch C in succession. It is a

compositional device I also employed in BE where I worked with different modes of

the same scale.

The woodwinds take over the overall soundscape in the second sub-section, where the

general harmony is dominated by the “5” scales. Only five “5” chords were used, as

several musical ideas determined by the seven numbers in the matrix were

superimposed on top of these five segments. This includes a code-like rhythm on the

crotales, doubling the pitches in the melody in octave. The code-like rhythm is

generated by converting a sentence (in English) into Moss code. The same rhythm was

later used again in the fifth sub-section (Fig. U) at a faster tempo where it is easier to

be recognised as codes. This code-like rhythm is suggestive of secrets and hidden

messages which relate to the theme of locks and keys. Unlike Rong, the sentence used

to generate the rhythm in Unlocking is not revealed to conspire with the theme of this

work.

The sequence of numbers in the matrix continues to interact with the music in similar

ways as described in the previous two sub-sections as well as the first three

movements of Four Movements in String Quartet. At the end of the “unlocking”

section, the sequence of pitches generated by my compositional system is illustrated in

Example 2.8.

40

Example 2.8 – Sequence of pitches generated in Unlocking

Using this “key” sequence “discovered” during the composition process, the final

“unlocked” section (Fig. EE) was composed with a technique similar to that employed

in Four Movements for String Quartet. However, instead of always using the pitches

on their own, as is the case with the piece for string quartet, they are combined with

the “unlocked chord” (Example 1.3). Each of the pitches in the sequence is either

assigned to the melodic line on the first violin, or employed as the root of the

“unlocked chord”. While some of the pitches were eventually omitted (as illustrated in

Example 2.8 with brackets) and the order of two pitches (the C and F-sharp from the

seventh sub-section) was switched for artistic reason, the entire section was largely

constructed with the process described above.

41

Unlocking demonstrates my ability to compose a coherent substantial work with

interconnected sections. Using my original compositional system, I was able to work

with some very contrasting textures and harmonies within the piece while producing a

composition with a clear sense of structure. The flexibility of my compositional system

allows me to work intuitively and creatively within its strict core structural framework.

Furthermore, this work illustrates that, by combining my system with the techniques I

highlighted, I am able to create a clear narrative of the spiritual journey towards

enlightenment in Buddhism effectively.

42

CONCLUSION

As I mentioned in the introduction to this commentary, the main area of my research is

to develop methods to create a clear narrative of the spiritual journey in Buddhism in

my music. My portfolio of compositions demonstrates the compositional aesthetics

and techniques I have developed to date to achieve this objective. Through the

process of exploring different ways to evoke the heightening of senses, it has led me

into thinking critically about the importance of structural frameworks. And in pursuing

coherence in my music, through the use of both technical and aesthetic frameworks, it

has in turn opened up new approaches to represent the concept of the spiritual

journey in my music.

In preparation for composing the more substantial works in this portfolio, I have

equipped myself with various techniques that enable me to create a coherent

structural framework within which I could work intuitively and creatively with a wide

range of musical materials. Devising and working with the compositional system has

been a fruitful experience. Not only does it impose certain helpful restrictions and

rules during my composition process, it also encourages me to explore and create

some unusual and interesting harmonies. My deliberate confrontation with working

with pentatonic scales has guided me to some new ways of working with scales, and as

mentioned, I feel it has, aesthetically speaking, earned me the right to embrace the

traditional pentatonic scale in my subsequent compositions (e.g. the majestic melody

in Rong). Considering the flexibility within the rigid framework at the core of my

original compositional system, it has presented me with new opportunities in further

developing the idea of working with materials “found” subconsciously during the

composition process in the future. The metaphorical meaning of discovering the

“treasure within oneself” continues to appeal to me immensely.

My music reflects not only my cultural heritage, but also me as a scientifically-minded

person with a spiritual side.

43

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44

SELECT DISCOGRAPHY

Adams, John. The Dharma at Big Sur; My Father Knew Charles Ives. Nonesuch, 2006.

Adams, John. “The John Adams Earbox” 10-CD box set retrospective. Nonesuch, 1999.

Adès, Thomas. Asyla; Concerto Conciso; These Premises are Alarmed; Chamber Symphony; …but all shall

be well. EMI 1999.

Andriessen, Louis. Quartet in Two Movements; Facing Death; Garden of Eros; … miserere…. Attacca,

2009.

Birtwistle, Harrison. Theseus Game; Earth Dances. Deutsche Grammophon, 2004.

Bryars, Gavin. Cello Concerto “Farewell to Philosophy”; One Last Bar, Then Joe Can Sing; By the Vaar.

Point Music, 1996.

Bryars, Gavin. Piano Concerto “The Solway Canal”; After Handel’s Vesper; Ramble on Cortona. Naxos,

2011.

Bryars, Gavin. String Quartet No.1-3. Black Box, 2008.

Chen, Qigang. Extase; Sam Xiag; Yuan; L'éloigment. Virgin, 2006.

Chen, Qigang. Iris dévoilée; Reflet d’un temps dosparu; Wu Xing. Virgin, 2003.

Chin, Unsuk. Violin Concerto; Rocaná. Analekta, 2009.

Chou, Wen-chung. Clouds. Simithsonian Institution, 1998.

Chou, Wen-chung. Echoes from the Gorge; Yü Ko; Yün; Suite for Harp & Wind Quintet; Windswept Peaks.

Albany, 1995.

Crumb, George. A Haunted Landscape; Echoes of Time and the River; Star-Child. Bridge, 2003.

Danielpour, Richard. Celestial Night; Towards the Splendid City; Urban Dances. Sony, 1999.

Dean, Brett. Beggars and Angels; Amphitheatre; Ariel’s Music. ABC Music, 2004.

Dean, Brett. Viola Concerto; Twelve Angry Men; Intimate Decisions; Komarov’s Fall. BIS, 2008.

Eötvös, Peter. Chinese Opera; Shadows; Steine. Kairos, 2000.

Feldman, Morton. Coptic Light; Piano and Orchestra; Cello and Orchestra. Decca, 1998.

Finnissy, Michael. Red Earth. NMC, 1996.

Górecki, Henryk. String Quartet No.1 “Already It Is Dusk”; String Quartet No.2 “Quasi una Fantasia”.

Nonesuch, 1993.

Gruber, HK. Cello Concerto; Timescapes; Manhattan Broadcasts. BIS, 2003.

Gubaidulina, Sofia. String Quartet No.1-3, String Trio. CPO, 1994.

Gubaidulina, Sofia. Seven Words; Silenzio; In Croce. Naxos, 1995.

Gubaidulina, Sofia. The Canticle of the Sun; Music for Flute, Strings and Percussion. EMI, 2001.

Guy, Barry. After the Rain. NMC, 1993.

Harvey, Jonathan. Bhakti. NMC, 1989.

45

Harvey, Jonathan. Body Mandala; Timepieces; Tranquil Abiding; White As Jasmine; …Towards a Pure

Land. NMC, 2008.

Harvey, Jonathan. Cello Concerto; Curve with Plateaux; Ricercare una Melodia; Three Sketches; Philia’s

Dream. Etcetera, 1993.

Harvey, Jonathan. Madonna of Winter and Spring; Percussion Concerto; Song Offerings. Nimbus, 2000.

Henze, Hans Werner. Requiem. Sony, 1994.

Kancheli, Giya. Midday Prayers; Caris Mere; Night Prayers. ECM, 1997.

Kancheli, Giya. Morning Prayers; Abli ne viderem; Evening Prayers. ECM, 1995.

Kancheli, Giya. Lament. ECM, 1999.

Kernis, Aaron Jay. Air for Violin; Double Concerto for Violin & Guitar; Lament and Prayer. Decca, 1999.

Kernis, Aaron Jay. Second Symphony; Musica Celestis; Invisible Mosaic III. Decca, 1997.

Knussen, Oliver. Flourish with Firework; The Way to Castle Yonder; Two Organa; Horn Concerto; Music

for a Puppet Court; Whitman Settings; “…upon one note”. Deutsche Grammophon, 1996.

Lieberson, Peter. King Gesar. Sony, 1996.

Lieberson, Peter. Drala; Three Songs; Ziji; Accordance; Fire; Raising the Gaze; Free and Easy Wanderer.

Deutsche Grammophon, 2002.

Ligeti, György. “Clear or Cloudy” 4-CD box set retrospective. Deutsche Grammophon, 2006.

MacMillian, James. The Confession of Isobel Gowdie; Tuireadh; The Exorcism of Rio Sumpul. BIS, 2002.

MacMillian, James. A Scotch Bestiary; Piano Concerto No.2. Chandos, 2006.

MacMillan, James. Seven Last Words from the Cross; Cantos Sagrados. BMG, 1995.

MacMillian, James. Veni, Veni, Emmanuel; After the Tryst; “… as other see us…”; Three Dawn Rituals;

Untold. BMG, 1993.

Messiaen, Olivier. Quartet for the End of Time. Deutsche Grammophon, 2000.

Messiaen, Olivier. Turangalila-Symphonie; L’ascension. Naxos, 1998.

Nishimura, Akira. Padma Incarnation; Canticle of Light; Melos Aura; Heterophony of Two Pianos and

Orchestra; Monody for Orchestra; Concerto for Flute, Wind Instruments and Percussion.

Camerata, 1998.

Nishimura, Akira. Cello Concerto; Into the Lights of the Eternal Chaos. Camerata, 1991.

Reich, Steve. Daniel Variations; Variations for Vibes, Pianos and Strings. Nonesuch, 2008.

Reich, Steve. You Are (Variations); Cello Counterpoint. Nonesuch, 2005.

Rouse, Christopher. Trombone Concerto; Gorgon; Iscariot. BMG, 1997.

Sakamoto, Ryuichi. Discord. Sony, 1998.

Salonen, Esa-Pekka. LA Variations; Five Images after Sappho; Giro; Mania; Gambit. Sony, 2001.

Satoh, Somei. From the Depth of Silence; Burning Meditation; Kyokoku; Kisetsu. Mode, 2004.

Satoh, Somei. Incarnation II; The Heavenly Spheres are Illuminated by Lights; Birds in Warped Time II;

A Gate into the Stars; Litania. New Albion, 1988.

Satoh, Somei. Homa; Ruika; Toward the Night. New Albion, 1993.

46

Sheng, Bright. Flute Moon; China Dreams; Postcards. BIS, 2000.

Sheng, Bright. Four Movements for Piano Trio; String Quartet No.3; String Quartet No.4 “Silent Temple”;

Three Songs for Pipa and Violoncello. BIS, 2002.

Sibelius, Jean. Symphony No.1-7; Violin Concerto; etc. EMI, 2007.

Sibelius, Jean. Finlandia; Karelia Suite; Tapiola; En saga; etc. Decca, 1997.

Sigur Rós. Ágætis Byrjun. Fatcat, 2000.

Sigur Rós. ( ). Fatcat, 2002.

Sigur Rós. Takk…. EMI, 2005.

Skempton, Howard. Lento. NMC, 1992.

Szymanowski, Karol. Stabat Mater; Litany to the Virgin Mary; Symphony No.3 “Song of the Night”. EMI,

1994.

Takemitsu, Toru. November Steps; Viola Concerto “A String around Autumn”; Ceremonial for Orchestra

with Sho. Philips, 1997.

Takemitsu, Toru. From Me Flows What You Call Time; Twill by Twilight; Requiem for Strings. Sony, 1998.

Takemitsu, Toru. Day Signal; Quotation of Dream; How Slow the Wind; Archipelago S.; Dream/Window;

Night Signal. Deutsche Grammophon, 1998.

Takemitsu, Toru. I Hear the Water Dreaming; Toward the Sea I-III; Le Fils Des Etoiles; And I Knew ‘Twas

Wind; Air. Deutsche Grammophon, 2000.

Tan Dun. On Taoism; Orchestral Theatre I; Death and Fire. Koch, 1993.

Tavener, John. The Protecting Veil; Wake Up… and Die. Sony, 1998.

Turnage, Mark-Anthony. Drowned Out; Kai; Three Screaming Popes; Momentum. EMI, 1994.

Tüür, Erkki-Sven. Violin Concerto; Aditus; Exodus. ECM, 2003.

Vasks, Pēteris. Violin Concerto “Distant Light”; Voices. Teldec, 1999.

Vasks, Pēteris. String Quartet No.1-3. BMG, 1999.

Weir, Judith. The Art of Touching the Keyboard; I Broke Off a Golden Branch; The Bagpiper’s String Trio;

etc. Collins, 1995.

Yoshimatsu, Takashi. Piano Concerto “Memo Flora”; And Birds Are Still…; While an Angel Falls into a

Doze…; Dream Colored Mobile II; White Landscapes. Camerata, 1998.

Yun, Isang. Symphony No.1-5; etc. CPO, 1993.

Zorn, John. Aporias. Tzadik, 1998.

“Buddhist Music of Tianjin / Naxi Music from Lijiang”. Nimbus, 2000.

“First Contemporary Chinese Composers Festival 1986”. Works by Chan Wing Wah, Huang Aulun,

Qu Xiaosong, Tan Dun, Tang Jordan, Ye Xiaogang. Marco Polo, 1987.

“New Music from China”. Works by Chen Qigang, Guo Wenjing, Mo Wuping, Qu Xiaosong, Tan Dun,

Xu Shuya. Zebra Records, 1994.

“Nine Horses – New Music from China”. Works by Chen Qiangbin, Liang Liang, Ye Xiaogang, Zhao Li,

Zou Hang. Wergo, 1996.

Delicate, lyrical e = 56

Delicate, lyrical e = 56

Full Score in C Illumination Fung Lam (born 1979)for James MacMillan and the BBC Philharmonic

Piccolo

1st Flute

2nd Flute

1st Oboe

2nd Oboe

Cor Anglais

1st Clarinet

2nd Clarinet /Eb Clarinet

Bass Clarinetin Bb

1st Bassoon

2nd Bassoon

3rd Bassoon

1st Horn in F

2nd Horn in F

3rd Horn in F

4th Horn in F

1st Trumpet in C

2nd Trumpet in C

3rd Trumpet in C

1st Trombone

2nd Trombone

3rd Trombone

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Harp

Violin I

Violin II

Viola

Cello

Double Bass

ppp

ppp

ppp

Bb Clarinet

ppp

pp

Vibraphone - fast motor

ppp

always with half-pedal

pp

C-D-E-F-G#-A-B

1-8 ppp

gliss. gliss. 9-14

ppp

1-6 ppp

gliss.

7-12

ppp

1-6 7-10

1-4

5-8

Outside

Inside

7

A

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

p

pp

p

pp

pp

p

pp

3 p

3 3

pp

pp

pp

pp

p

3

Crotales

p

l.v. sempre

Tubular Bells

ppp

sounds 8va higher

p

pp

gliss. p

pp

3

pp

gliss. gliss. gliss.

pp

gliss. gliss. gliss.

pp

gliss. p

pp

3 gliss.

pp

pp

2

13

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

p

pp

mp

3 pp

3

p

p

mp

p

mp

p

p 3

p

p 3 3

p

mp

3 3

pp

p

sim.

p

p

gliss. gliss.

mp

3

p

p

gliss. gliss. gliss.

p

pp

p

gliss. gliss.

3

p

gliss. gliss. gliss.

p

gliss. gliss.

p

gliss. gliss.

pp

p

gliss.

pp

p

gliss.

3

19

B

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

Db.

mf

p

mp

p

mp

mp

3

mp

3

mp

mp

mp

3

3 3

mp

mp

mf

p

pp

p

mp

mp

gliss. gliss. gliss.

gliss. mp

gliss. gliss. gliss.

gliss. mp

gliss.

gliss. gliss.

mp

mf

gliss. mp

gliss.

gliss. mp

gliss. 3 5

gliss.

mp

gliss.

mp

3

4

25

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

Db.

mf

p mf

p mf

3 p

mf

p

3

mf

f

mf

mp

mf

mp

3

mf

f

mp

3

mf

mf

mf

mf

mp

3 mf

f

mf

mp

3

mf

mp

mf

mp

3 3

mp

l.v.

p

mf

mp

gliss. f

mf

mp

gliss. gliss.

mf

gliss.

f

3

mf

mp

gliss.

mf

mp

mf

gliss. gliss.

f

3

5

mp

mf

gliss. gliss. gliss. mp

gliss. 6

mf

mp

p

5 3 5

mf

gliss. mp

mf

mp

3 6

mf

mp

3 3

pp

5

C

31

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

Db.

mp

pp

p

p

mp

mp

mf

3

p

mp

mf

3

mf

p

mp

3

p

mp

3

mf

3

mf

p

p

mp

p

mp

mf

3

p

mp

mf

3

mp

mf

p

mp

mf

3

p

mp

p

mp

p

mp

mf

p

mp

mf

5

3

p

gliss.

mp

p

3

mp

mf

gliss. 5

p

3 gliss. mp

gliss. mf

gliss.

p

mp

gliss.

mf

5 3 6

gliss.

mp

mf

6 5

3

p

gliss.

mp

gliss. mf

6

p

mp

mf

gliss.

5 6

p

mp

mf

6 3 5 5

p

mp

mf

6

37

D

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

Db.

mf

p

mf

p

p

mp

mf

mp

p

mp

p

3 mp

mf

3

p

mp

p

mp

f

p

mp

mp

3 mf

3

p

mp

p

mp

p

mp

3

p

3

p

mp

p

mp

mf

p

mp

mp

p

mp

p

mp

3 3

p

p

mp

p

mp

mf

p

mp

p

mp

p

mp

p

mp

p

gliss.

mf

p

gliss. mp

3 3 6 5

p

mp

gliss. gliss.

p

gliss. mp

3 6 3

p

mp

gliss. p

gliss. mf

mp

35

5

p

gliss. mp

p

mp

3 3 5 3

p

mp

gliss. p

mp

gliss. 3 3 5 5 3 3

p

mp

p

gliss. mp

5

p

gliss.

mp

p

gliss. mp

3 5

gliss.

p

mp

p

mp

3 3 5 6

p

mp

p

mp

7

43

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

Db.

f

mp

f

cresc.

3

mf

mf

cresc.

f cresc.

3

mf

cresc.

3 f cresc.

mf

mf

ff f

cresc.

3

mf

cresc.

f

cresc.

mf3

cresc.

f

cresc.

3

mf

f

mf cresc.

f cresc.

cresc.

f

cresc.

3

mf

cresc.

f

cresc.

3 3

mf

3

cresc.

f cresc.

mf

3 cresc.

f cresc.

mf

cresc.

f

cresc.

mf cresc.

f cresc.

3

f cresc.

mf

cresc.

3

mf cresc.

f

3

mf cresc.

mf

cresc.

mf

cresc.

f

cresc.

3

p

mp

f

suspended cymbal (medium)

p

mf

f

mf

f

mf

f

mf cresc.

f cresc.

3

3 5

mf

cresc.

gliss. f cresc.

gliss. 3 5

gliss.

mf

cresc.

f cresc.

3 3 5 6

mf

gliss. cresc.

gliss. f cresc.

gliss. 6 3

mf

gliss. f

mf

3

f cresc.

5 6 3

mf

gliss. cresc.

gliss. gliss.

f cresc.

non div. 5 3

mf

cresc.

f cresc.

gliss. 5 3 6 3

mf

cresc.

f cresc.

6 5 6 5 6 5

mf

cresc.

f cresc.

mf

cresc.

f cresc.

8

48

E

With passion

With passion

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

Db.

ff

ff

5 3 3

ff

5 3 3

ff

5 3 3

ff

5 3 3

ff

ff

ff

ff

ff

ff

ff

ff

f

ff

f

ff

3

f

ff

ff

f

cresc.

3 ff

cresc.

ff

f

cresc.

ff

gliss. gliss.

f

cresc.

ff

gliss. gliss.

f

cresc.

ff

ff

mf

f

ff

l.v. suspended cymbal (small.)p

ff

l.v.

ff

ff

5 3

3

gliss. ff

3 gliss.

ff

gliss. gliss. 3 gliss.

ff

gliss. gliss. 3

3

ff

gliss.gliss.

3 6

3

ff

gliss.gliss.

6 5

3

non div.

ff

gliss.

gliss.

5

3gliss.

non div.

ff

gliss.

gliss.

6

3 gliss.

ff

ff

9

53

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

Db.

dim.

f

3 3 5

dim.

f

3 3 5

dim.

f

dim.

f

3 3 5

dim.

f

dim.

f

dim.

f

dim.

f

dim.

f

dim.

f ff

dim.

f

dim.

f

dim.

f ff

dim.

f

dim.

f ff

gliss. gliss.

gliss.

gliss. gliss.

gliss.

dim.

f ff

dim.

f

mf

mf

l.v.

f

f

dim.

f

dim.

f

gliss. gliss.

dim.

f

gliss.

dim.

f gliss.

dim.

gliss. f

dim.

f

gliss. gliss.

dim.

f ff

gliss.

gliss. gliss.

dim.

f

gliss.

dim.

f

dim.

f

10

58

F

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

ff

5 3 3

ff

5 3 3

ff

ff

5

ff

ff

3 3

ff

3 3

ff

ff

ff

ff

ff

ff

ff

ff

gliss.

gliss.

gliss.

gliss.

ff

f

mp

ff

l.v.

ff

ff

ff

3 3

ff

ff

gliss. ff

ff

gliss. gliss. gliss.

ff

gliss. gliss.

ff

gliss.

ff

gliss.

ff

ff

11

63

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

5 3 3 3 5

5 3 3 3 5

5 3 3 3 5

5 3

3 3 5

5 3 3 3 5

gliss.

gliss. gliss.

gliss. gliss. gliss.

gliss.

gliss. gliss.

gliss.

gliss.

12

68

rit. > > > > > > > > > > > e = 52

rit. > > > > > > > > > > > e = 52

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

molto cresc.

molto cresc.

3 3 3 5 3 3 3 3 3 3 3

molto cresc.

3 3 3 5 3 3 3 3

molto cresc.

molto cresc.

molto cresc.

molto cresc.

3 3 3 5 3 3 3 3

molto cresc.

3 3 3 5 3 3 3 3 3 3 3

molto cresc.

molto cresc.

molto cresc.

3

molto cresc.

molto cresc.

molto cresc.

molto cresc.

molto cresc.

molto cresc.

molto cresc.

molto cresc.

molto cresc.

molto cresc.

3

molto cresc.

f molto cresc.

molto cresc.

p

tam-tam

molto cresc.

suspended cymbal (large)

p

l.v.

fff

molto cresc.

3 3 3 5 3 3 3 3 3 3 3

gliss.

molto cresc.

gliss. molto cresc.

gliss.

gliss. molto cresc.

gliss.

molto cresc.

molto cresc.

gliss. gliss.

gliss. gliss. molto cresc.

molto cresc.

gliss. gliss.

molto cresc.

3

molto cresc.

molto cresc.

13

G

Enlightened e = 64

Enlightened e = 64

73

rit.

rit.

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

fff

flutter

f

norm.sff

flutter

fff

f

norm.sff

fff

f sff

fff

f

sff

fff

f dim.

3

fff

f

sff

fff

f sff

fff

f dim.

3

fff

f sff

fff

f

sff

fff

f

sff

fff

f

sff

fff

f

fluttersff

fff

f

sff

fff

f

fluttersff

fff

f

sff

flutter

fff

norm.

sff

fff

f

sff

flutter

fff

norm.

sff

fff

sff

fff

sff

fff

sff

fff

sff

ff

mf sf

ff

l.v. Sus. Cym. (Med)

mp

f

ff

fff

mf

l.v.

sff

Sizzle Cymbal

f

ff

mp

l.v.

f

ff

G>G#

G#>G

fff G#>G

f sff

fff

f sff

fff

f sff

fff

f

sff

fff

f sff

fff

f sff

fff

f sff

fff

f sff

non div.

fff

f sff

fff

f sff

fff

f sff

14

79

Tempo primo e = 56

Tempo primo e = 56

rit.

rit.

e = 54

e = 54

Picc.

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

C. A.

1st Cl.

2nd Cl./Eb Cl.

B. Cl.

1st Bsn

2nd Bsn

3rd Bsn

1st Hn

2nd Hn

3rd Hn

4th Hn

1st Tpt

2nd Tpt

3rd Tpt

1st Tbn.

2nd Tbn.

3rd Tbn.

Tba

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

f

pp

f

pp

f

pp

f

pp

mf

pp

f

pp

f

pp

mf

pp

f

pp

f

pp

f

pp

f

pp

f

norm.

mf

pp

mf

pp

f

norm.

mf

pp

f

mf

pp

mf

mp

pp

mf

pp

mf

mp

pp

f

mp

pp

mf

pp

f

mp

pp

f

pp

mf

mp

p

pp

f

mf

mp

l.v.

pp

f

mp

pp

l.v.

mf

p l.v.

pp

quasi winding down

f

mf

mp

p

l.v.

7 3 3 3 3 35

f

mf

mp

pp

f

mf

mp

pp

f

mf

mp

pp

f

mp

pp

f

mf

mp

p

dim.

f

mf

mp

p

dim.

f

mf

mp

p

dim.

f

mf

mp

p

dim.

f

mf

mp

p

f

mf

mp

pp

15

85

HReflective, magical, relaxed

Reflective, magical, relaxed

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

1st Cl.

2nd Cl./Eb Cl.

1st Tpt

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

Vibraphone

pp

pizz.

pp

ppp

pp

p

pp

pp

p

pp

pp

p

pp

3

pp

p

pp

pp

p

pp

pp

pizz.

p

16

91

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

1st Cl.

2nd Cl./Eb Cl.

1st Tpt

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

pp

pp

pp

pp

con sord. (harmon without stem)

ppp

pp

ppp

3 3

Crotales

pp

(Tubular Bells)

pp

pp

div.

pp

arcodiv.

pp

pp

gliss. gliss. gliss.

17

97

I

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

1st Cl.

2nd Cl./Eb Cl.

1st Hn

2nd Hn

1st Tpt

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

p

p

p

p

ppp

pp

ppp

3 3

p

p

p

cresc.

p

cresc.

p

cresc.

gliss. p

gliss.

cresc.

p

gliss. gliss.

cresc.

p

cresc.

p

pizz.

p

18

103

J

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

1st Cl.

2nd Cl./Eb Cl.

1st Hn

2nd Hn

1st Tpt

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

mp

mp

pp

p

mp

p

mp

p

mp

p

mp

mp

p

mp

pp

ppp

p

ppp

3 ppp

p

ppp

3 3

p

mp

mp

mf

mp

mf

mf

mp

p

mp

p

mp

mp

gliss. mf

mp

mf

gliss. mp

mf

gliss.

mp

gliss.

mf

gliss.

mp

mf

mp

mf

pp

p

mp

mf

mf

19

109

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

1st Cl.

2nd Cl./Eb Cl.

1st Hn

2nd Hn

1st Tpt

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

Db.

mp

mp

mp

mp

mp

mp

mp

mp

ppp

3 p

ppp

ppp

mp

mp

mp

mp

mp

mp

mp

gliss. gliss. gliss.

mp

mp

mp

mp

gliss.

mp

mp

pp

20

115

K

1st Fl.

2nd Fl.

1st Ob.

2nd Ob.

1st Cl.

2nd Cl./Eb Cl.

1st Hn

2nd Hn

1st Tpt

Perc. 1

Perc. 2

Perc. 3

Hp

Vln I

Vln II

Vla

Vc.

pp

pp3

pp

3

pp

pp

pp

p

3 ppp

Sus.Cym (Sm.)

pp

Marimba

pp

pp

unis.

pp

gliss. gliss. gliss.

unis.pp

gliss. gliss.

pp

gliss. gliss. gliss.

gliss.

pp

gliss. gliss.

pp

gliss. gliss.

pp

gliss. gliss.

pp

gliss.

pp

gliss.

21

121

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

3

3

pp3

Eb Clarinet pp

3 3

p

pp

l.v. pp

gliss. gliss.

gliss. gliss. gliss.

gliss. gliss.

gliss. gliss. gliss. gliss.

gliss. cresc.

gliss.

cresc.

cresc.

cresc.

127

L

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

3 p

3

3

3 p

3

p

3 3

p

pp

l.v.

pp

p

p

cresc.

p

gliss. gliss.

cresc.

gliss. gliss. p

gliss.

cresc.

gliss. gliss.

p

gliss.

cresc.

gliss. p

gliss. gliss.

p

gliss.

p

gliss.

p

p

22

133

M

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

3 3

p

3 3

3 3

p

pp

l.v. p

gliss. gliss. gliss. gliss. cresc.

gliss.

cresc.

gliss.

gliss. gliss. gliss. gliss. gliss.

gliss.

gliss.

gliss.

cresc.

gliss. gliss.

cresc.

gliss. gliss.

139

N

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

3 mp

3 mp

3

3

3 3 3

mp

p

l.v.

mp

mp

gliss. gliss. gliss. gliss. gliss.

cresc.

gliss. gliss. gliss. gliss.

mp

cresc.

mp

gliss.

cresc.

gliss. mp

gliss.

cresc.

gliss. mp

gliss.

mp

gliss.

mp

gliss.

23

145

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

3 3

3

mp

3 3

mp

3 3

p

mp

l.v.

p

p

mp

gliss. gliss. gliss. gliss. gliss.

gliss.

mp

gliss.

cresc.

gliss.

gliss. gliss. cresc.

gliss. gliss.

cresc.

gliss.

cresc.

gliss.

gliss. cresc.

gliss.

gliss. cresc.

gliss.

151

O

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

3

mf

3

mf

3

3 3 mf

3

3

mp

p

l.v. mp

mf

mp

l.v.

mf

mf

cresc.

gliss. gliss. gliss. mf

gliss.

cresc.

mf

gliss.

mf

gliss. gliss. gliss. mf

gliss.

gliss.

gliss. gliss.

mf

gliss.

mf

gliss.

24

157

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

cresc.

3

3

3 cresc.

3

cresc.

3

mf

3 cresc.

3 3

mp

mf

mp

l.v. mp

f

f

cresc.

gliss. gliss.

gliss.

cresc.

gliss.

gliss.

cresc.

gliss. gliss.

cresc.

gliss. gliss. gliss.

mf

gliss. gliss. cresc.

gliss. gliss.

mf

gliss. cresc.

gliss. f

gliss.

gliss. gliss.

cresc.

gliss.

gliss. gliss.

cresc.

gliss. gliss.

163

P

1st Fl.

2nd Fl.

1st Cl.

2nd Cl./Eb Cl.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vla

Vc.

f

mf

3

mp

3 p

ppp

3

mf

mp

f

mf

mp

p

pp

3

f

3

mf

3 mp

p

3

pp

ppp

3

3

mf

mp

f

l.v. Crotales

p

l.v. pp

l.v. ppp

l.v.

mf

mp

p

ppp

mf

mp

p

ppp

l.v.

f

mf

mp

p

ppp

f

gliss. mf

gliss.

mp

p

pp

ppp

f

gliss. mf

mp

p

gliss. ppp

f

mf

gliss. mp

gliss. p

ppp

f

mf

gliss. mp

p

ppp

mf

mp

gliss. p

pp

f

gliss. mf

mp

gliss.

p

pp

ppp

f

gliss. mf

gliss.

mp

p

pp

25

Full Score in CGlowingly q = 60

Glowingly q = 60

BE Fung Lam (born 1979)for the BBC Concert Orchestra

Piccolo

Flute

Oboe

Cor Anglais

Bb Clarinet 1

Bb Clarinet 2

Bassoon 1

Bassoon 2

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Trombone 1

Trombone 2

Trombone 3

Timpani

Percussion 1

Percussion 2

Harp

Violin I

Violin II

Viola

Cello

Double Bass

ppp

pp cresc.

ppp

pp cresc.

pp cresc.

pp cresc.

Vibraphone (w/ fast motor & half pedal)

ppp

pp cresc.

ppp

pp cresc.

ppp

pp cresc.

pp cresc.

pp cresc.

6

Picc.

Fl.

Ob.

C.A.

Cl. 1

Cl. 2

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Timp.

Perc. 1

Perc. 2

Harp

Vln I

Vln II

Va

Vc.

Db

p cresc.

p cresc.

p cresc.

p cresc.

p cresc.

p cresc.

p cresc.

ppp

pp

p cresc.

Db Cb Bb / Eb F§ G§ A§

sounds 8va

p cresc.

p cresc.

p cresc.

p cresc.

p cresc.

p cresc.

2

11

Picc.

Fl.

Ob.

C.A.

Cl. 1

Cl. 2

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Timp.

Perc. 1

Perc. 2

Harp

Vln I

Vln II

Va

Vc.

Db

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

mp cresc.

pp

p

mp cresc.

Tubular Bells

pp cresc.

norm.

D§

mp cresc.

mp cresc.

mp cresc.

3

mp cresc.

mp cresc.

mp cresc.

mp cresc.

3

16

Picc.

Fl.

Ob.

C.A.

Cl. 1

Cl. 2

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Timp.

Perc. 1

Perc. 2

Harp

Vln I

Vln II

Va

Vc.

Db

mp

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mp

mf cresc.

mf cresc.

mf cresc.

mf cresc.

mf cresc.

p

mf

mf cresc.

mp cresc.

Db

C§

D§ / E§ mf cresc.

sul E

mp

mf cresc.

mf cresc.

mf cresc.

5

mf cresc.

3 mf cresc.

mf cresc.

mf cresc.

4

21

Picc.

Fl.

Ob.

C.A.

Cl. 1

Cl. 2

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Timp.

Perc. 1

Perc. 2

Harp

Vln I

Vln II

Va

Vc.

Db

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff f

ff

f

ff

mf

ff

f

ff

f

ff

f

ff

f

ff

mf

damp

ff

f

p

Suspended Cymbal

l.v.

mf

f

damp

ff

ff

damp

Db

f

D§

f

ff

f

ff

5

f

3 ff

pp

5

f

ff

pp

3

f

ff

3

f

ff

f

ff

5

26

Picc.

Fl.

Ob.

C.A.

Cl. 1

Cl. 2

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Timp.

Perc. 1

Perc. 2

Harp

Vln I

Vln II

Va

Vc.

Db

mf

3

ppp

pp

ppp

mf

3

ppp

pp

ppp

pp

ppp

pp

ppp

pp

ppp

pp

ppp

Crotales

mp

3

pp

Vibraphone

ppp

Tam-tam (with triangle beater on side)

pp mp

3 l.v.

pp

l.v.

l.v.

Eb Ab

pp

front desk only, div. ppp

mf

3

ppp

front desk only, div.

pp

ppp

ppp

ppp

pp

solo

ppp

pp

solo ppp

knock front of instrument with hand

f

6

Uncertain q = 46

Uncertain q = 46

Full Score in C Unlocking Fung Lam (born 1979)for Charles Hazlewood and the BBC Concert OrchestraFlute 1

Flute 2 /Piccolo

Oboe 1

Oboe 2 /Cor Anglais

Bb Clarinet 1

Bb Clarinet 2 /Bass Clarinet

Soprano Saxophone

Bassoon 1

Bassoon 2

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Trombone 1

Trombone 2

Trombone 3

Percussion 1

Percussion 2

Percussion 3

Harp

Piano

Violin I

Violin II

Viola

Cello

Double Bass

ppp legato

3

3

D§ C§ Bb / Eb F§ G§ Ab

front desk onlyppp

(exact pitch)

ppp

7

A

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

3

ppp legato

3

3

ppp

front desk only

2

12

B

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

3

3

sim.

3

3

3

3

3

17

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

3 3

3

3

4

22

C

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

3

3

3

ppp legato

3

pp l.v. sempre

front 2 desks only

ppp

3

3

5

27

D

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

flutter

mp

3

sim.

3

ppp legato

Bb Clarinet

3

3

3

ppp legato

ppp legato

3

ppp legato

3

p

sounds 8va

3

pp

hold pedal until faded completely

front 2 desks only

ppp

3

front 2 desks only

3

front 2 desks only

3 3

6

32

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mp

mp

3

ppp legato

Cor Anglais

3

pp

sim.

3

3

3

pp

3

pp

3 pp

sim.

3

3

3

3

pp

pp

3

3

sim.3

pp

3

3 pp

pp

sim.

3

pp

pp

3

3

pp

sim.

pp

3

pp

3 mp norm.

p

mp

3

sim.

3 pp

3

3

pp

3

pp

pp

7

37

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

flutter

mp

mp

3

p

pp

3

3

p

3

pp

p

3

pp

p

p

3 pp

p

p

pp

p

3

pp

3 ppp

3

n

sim.

p

3

3

p

3 pp3

sim.

ppp

p

3

p

3

p

ppp

p

pp

ppp

3

p

3

pp

3

p

8

E

Slightly warmer q = 56

Slightly warmer q = 56

43

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

tutti

p

ppp

p

mp

ppp

3

tutti div.

p

ppp

p

mp

ppp

3

tutti div.

p

ppp

p

mp

ppp

3

tutti

p

ppp

p

mp

ppp

3

ppp

3

9

50

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

pp

3

p

3

mp

mf

3 n

p

3

mp

mf

3

n

p

3

mp

mf

3 n

p

3 mp

mf

3 n

10

F

Like a flash of light

q = 86

Like a flash of light

q = 86

55

Delicate q = 52

Delicate q = 52

rall

rall

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

Piccolo

mf

mp

p

3

pp dolce

ppp

pp dolce

3

ppp

to Bass Clarinet

pp dolce

3

ppp

pp dolce

ppp

pp dolce

3 ppp

sf

sf

3

sf

sf

sf

Glockenspiel

mf

p

damp

3

Almglocken (with medium hard felt mallet)

mf

l.v. sempre

11

G

Forceful q = 68

Forceful q = 68

60

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Vln I

Vln II

Va

Vc.

Db

mf

f

mf

3

f

mf

mp

mf

f

mf

3

f

mf

mp

mf

f

mf

3

f

mf

mp

mf

f

mf

3 f

mf

mp

mf

f

mf

3 f

mf

mp

mf

f

mf

3 f

mf

mp

12

66

H

Slightly slower q = 58

Slightly slower q = 58

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Vln I

Vln II

Va

Vc.

Db

soloBass Clarinet

mp espress.

3

mp

mf

f

mf

3

f

pp

3

mp

mf

f

mf

3

f

pp

3

mp

mf

f

mf

3

f

pp

3

mp

mf

f

mf

3 f

pp

3

mp

mf

f

mf

3 f

pp

3

mp

mf

f

mf

3 f

pp

3

13

72

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Harp

Vln I

Vln II

Va

Vc.

Db

p

p

3

3

p 3

mp

3

p 3

p

p

3

damp

3

damp

D# C# / E§

mp

3

3

14

78

rall.

rall.

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Vln I

Vln II

Va

Vc.

Db

solo

mp espress.

3

p

mp

p

3

mp

p

to Bb Clarinet

p

3

mp

p

3

mp

p

15

I

Intense q = 64

Intense q = 64

83

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Vln I

Vln II

Va

Vc.

Db

f

3 3

mf

f

mf

3

f

3 3

mf

f

mf

3

mf

f

3 3

mf

f

mf

3

mf

mf

f

3

3

mf

f

mf

3

f

3 3 mf

f

mf

3

f

3

3

mf

f

mf

3

16

89

J

Another flash of light

q = 86

Another flash of light

q = 86

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

mp

mf

ppp

3 3 3

mf

mp

mf

ppp

3 3 3

mp

mf

ppp

3

3

3

pp

3

sf

sf

sf

sf

sf

pp dolce

pp dolce

pp dolce

pp dolce

pp dolce

(Glock.)

mf

mf

(Almglock.)l.v. sempre

Eb

p

3

l.v.

mp

mf

ppp

3 3

3

mp

mf

ppp

3 3 3

mp

mf

ppp

3 3

3

17

Delicate

q = 52

Delicate

q = 52

96

rall.

rall.

A tempo

A tempo

’

’

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

p

mp

f

ff

f

3 ff

mp

f

ff

mp p

pp

3

mf

3

f

ff

3

Bb Clarinet

mp

3 f

ff

ppp

ppp

3

ppp

ppp

3

ppp

p

l.v. to Crotales 3

Vibraphone (with medium hard mallets)Motor off

pp

mp

f

ffff

damp

to Tubular Bells

p

f

ff

damp

Db

pp

3 mp

f

ffff

mp

f

ffff

3

pp

mp

18

K

Coolly expressive

Rubato q = c.56

Coolly expressive

Rubato q = c.56

102

poco accel.

poco accel.

q = 60

q = 60

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

p dolce

mp dolce

mf

mp

pp

p dolce

mp

div.

p

div.

p

19

107

rit.

rit.

q = 56

q = 56

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

mf

mp

mf

mp

mf

mf

sim.

mp

p

mp

p

mp

mp

mp

20

113

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

pp

ppp

pp

ppp

p

to Suspended Cymbal

pp

pp

p

pp

p

mf

p

mf

p

mf

p

mf

p

pp

p

mf

p

mf

p

mf

p

mf

21

L

Shimmering q = 54

Shimmering q = 54

119

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

p legato

3 3

3

p

mp

p

p

mp

p

p legato

3

3

p legato

3

p legato

3

3 3

3

p legato

3 3

p legato

3 3

p legato

3

3

3

Crotales

mp

3l.v. sempre

3 3 3 3 33 3 3 3 3

Tubular Bells

mp

l.v. sempre

half deskflautando

mp

half deskflautando

mp

22

125

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

3 3

3

p

mp

p

p

mp

p

p

mp

p

p

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

23

131

M

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

3 3 cresc. poco a poco

3 3

mp

p

p

mp

p

p

mp

p

cresc. poco a poco

3

3

3 cresc. poco a poco

3

3

cresc. poco a poco

3

3 cresc. poco a poco

mp

3

3 cresc. poco a poco

3

3 mp

cresc. poco a poco

3

mp

3 3 3 3 3

3 3 3 3

24

137

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

mp

3

3

dim.

p

mf

p

p

mf

p

p

mp

p

mp

3 dim.

3 3

mp

3

3 3

dim.

3

mp

dim.

3

3 3

dim.

3

3 3

dim.

3 3

3

3

mp

3

3

dim.

3 3 3 3 3 3 3 3 3

3

3 3 3 3

25

N

143

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

p

cresc.

3 3

p

mp

p

p

mp

p

p

3

cresc.

3 3

p3

3

cresc.

3

3

p

3 cresc.

3

p3

3 cresc.

p

3 cresc.

3

p

3 3

cresc.

3

3 3 3

3

3

3

33 3 3 3 3 3

26

149 rit.

rit.

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

3 mp

3 3dim.

p

3

p

mp

p

p

mp

p

mp

3 3

dim.

p

mp

dim.

p

mp

dim.

3 p

3

mp

dim.

p

3

mp

3 dim.

3 p

3

mp

3 p

3

3

3

3

3

3

3

33

27

154

accel.

accel.

O

With energy q = 78

With energy q = 78

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

pp

n

mp

3 3

pp

n

pp

n

pp

n

mp

3

3

con sord. (straight)

mf staccato

con sord. (straight)

pp

mf

mf staccato

con sord. (straight)

mf staccato

mp

mp

mp

3

l.v.

to Timpani

p

1,4

3,6

2,5

div. a 3

mp

pizz.

mf

pizz.

mf

28

161

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

p

3

3

p

3

mp

3 3

mp

3

mp staccato

mp staccato

mp staccato

mp staccato

mf

mf

mf

p

mp

p

mp

p

mp

p

mp

mp

mf

29

168

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

p3

3

p3

3 3

3

mp

mf

mp

mf

mp

mf

mp

mf

mute off

mute off

mute off

p

mf

p

mf

p

mf

p

mp

30

P

174

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

mp

mf staccato

mp

mp

mf staccato

mp

mp

mp3

3

mf

3

mp3

3

mf

3

mf

3

l.v. sempre

3

3 3

3 3

D§ C§ B§ / E§ A#

F# Ab

mf staccato

tutti

tuttimf staccato

div. a 2

mp

arcodiv. a 2

mp

mp

3 3 mf

3

mp

3 3 mf

3

mf

31

182

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

f

poco

f

mp cresc.

mf

f

poco

mf cresc.

mf

cresc.

f

poco

mf cresc.

mf

cresc.

poco

f

mf cresc.

3

3

3 f

mf cresc.

3

3

3

f

3

3 3

mf

cresc.

cresc.

mf

cresc.

mf

mf

cresc.

senza sord.

mf

poco

mf cresc.

senza sord.

mf cresc.

senza sord.

mf cresc.

mp

mp

mp

mp

Crotales mf

p

Suspended Cymbal

mp

f

l.v.

p

Timpani

mp cresc.

mf

3

f

3

f

3

3

mf cresc.

3

3

mf cresc.

3

3

3

mf

poco

mf cresc.

div.

cresc.

div.

unis.

mf

cresc.

pizz.unis.

mf

3 3 3 f

mf cresc.

3

3

3

f

3

3 3

arco

mp cresc.

mf

32

Q

188

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

mf

f

mf

f

f

mf

f

mp

to Flute

f

mf

f

mf

f

f

mf

f

mf

f

f

mf

f

mf

f

f

mf

f

mf

f

mf

f

mf

f

f

3

3

3

3

3

3

3 3

f

mf

f

(breath imperceptibly) mf

f

f

mf

f

mf

f

f

mf

f

mf

f

f

mf

f

mf

f

f

mf

f

(breath imperceptibly) mf

f

f

mf

f

mf

f

f

mf

f

f

mf

f

mf

f

f

mf

f

mf

f

f

mf

f

(breath imperceptibly)

mf

f

f

mf

f

(breath imperceptibly) mf

f

f

damp to Sizzle Cymbal

f

Sizzle Cymbal

mf

f

mf

l.v.

f

Suspended Cymbal

f

mf

f

mf

3

3

3

C#

3

3

3

3

3

f

mf

f

mf

f

f

mf

f

mf

f

f

mf

f

mf

f

f

3 3

3

3

3

3

arco

3 3

f

mf

f

mp

33

195

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

mf

mf

mp

mf

mf

mf

mf

mf

mf

mp

mf

mf

mf

mf

con sord. (straight)

mf

mp

mf

mf

mf

mp

mf

mp

mf

mp

mf

mp

p

to Vibraphone

mp

p

to Tubular Bells

mf

mp

mf

mf

mf

mp

34

R

202

rit. poco a poco

rit. poco a poco

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

f

mp

mp

dim.

p

mp

dim.

p

mp

dim.

p

to Bass Clarinet

f

f

mp

mp

dim.

p

solo

mp

mp

dim.

p

mp

dim.

p

mp

dim.

p

mute off

p

con sord. (cup)(breath imperceptibly)

p

con sord. (cup)(breath imperceptibly)

p

con sord. (cup)(breath imperceptibly)

mp

dim.

p

mp

p

div. a 31,2

5,6

3,4

p

35

209

q = c.60 rit. poco a poco

q = c.60 rit. poco a poco

q = c. 44 rit.

q = c. 44 rit.

q = 32

q = 32

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

p

3

pp

3 3 3 3 3 3

pp

mute off

ppp

pp

mute off

ppp

pp

mute off

ppp

Bb p damp

pp

ppp

36

S

Hauntingly beautiful q = 48

Hauntingly beautiful q = 48

216

Hn 1

Perc. 3

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

ppp

Tubular Bells

pp

l.v.

Eb pp

l.v.

l.v.

pp

hold pedal until faded completely

sim.

pp

senza vibrato 3

pp

senza vibrato

pp

senza vibrato

pp

unis.senza vibrato

225

T

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

pp

Fb p damp

cresc. poco a poco

3

nat. vib.

p

cresc. poco a poco

3

cresc. poco a poco

nat. vib.

p

cresc. poco a poco

cresc. poco a poco

nat. vib.

p

cresc. poco a poco

cresc. poco a poco

nat. vib.

p

cresc. poco a poco

p

senza vibrato nat. vib.

mp

gliss.

37

235

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mp

gliss. p

3

mp

gliss. p

3

mp

p

mp

p

243

Fl. 1

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

pp

cresc. poco a poco

mp cresc.

mf

ppp

cresc. poco a poco

3

mp cresc.

mf

ppp

cresc. poco a poco

mp cresc.

mf

ppp

3

cresc. poco a poco

mp cresc.

3

mf

ppp

38

U

Steady, with momentum q = 98

Steady, with momentum q = 98

252

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mp

Flute

mp

mp

mp

Bass Clarinet

mp

mf

Vibraphone

sim.

mf

mf

sim.

pp

pp

pp

pp

half pizz., half arco

mf

39

259

V

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Perc. 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

A§

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

40

266

W

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tbn 1

Perc. 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mf

mf

mf

mf

mf

f

mp cresc.

mf

mf

mf

mf

mf

mf

mf

senza sord.

mf

mf

senza sord.

f

f

B§

C§

f

p

p

p

p

f

41

274

X

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tbn 1

Perc. 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

p

mp

f

mp

f

p

mp

mp

ff

mp

mf

f

f

p

mp

mp

f

f

f

f

f

ff sub mp

mf

mp

mf

ff sub mp

mf

mf sub p

mp

mf sub p

mp

mf sub p

mp

mf sub p

mp

ff

mp

mf

42

282

Y

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tbn 1

Tbn 2

Perc. 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mp

mf

mf

mf

mf

mf

f

mf

mf

mf

mf

mf

mf

mf

mf

f

senza sord.

f

f

Db

f

mf

mf

mf

mf

f

43

290

Z

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Perc. 1

Perc. 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

ff

ff

f

ff

ff

ff

f

f

ff

f

f

f

f

mf

f

f

f

f

ff

ff

Sizzle Cymbal

p

ff

D§

ff

ff

f

f

f

f

ff

44

297

AA

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

fff f

(breath imperceptibly)

fff f

(breath imperceptibly)

ff f

mf

ff

f

fff

f

fff

f

fff

f

ff

f

ffff

ff

f

ff

ff

ff

ff

mf

f

f

ff f

mf

ff

ff

fff

senza sord.

f

ff f

mf

l.v.to Suspended Cymbal

fff ff

(T. Bells)

f

l.v.

f

D# C# / E§ F#

Bb G#

fff ff

ff f

ff f

ff f

ff f

fff

tutti arco

f

45

304

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Tpt 1

Tpt 2

Tbn 2

Perc. 2

Perc. 3

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

dim.

mf

dim.

dim.

mf

dim.

f

mf

mf

mp

mf

dim.

mf

dim.

mf

dim.

dim.

mf

dim.

dim.

mf

dim.

dim.

mf

dim.

dim.

mf

dim.

dim.

mf

dim.

mp

mf

mp

mf

f

mf

mf

mp

mf

f

dim.

dim.

f

dim.

l.v.

mf

l.v.

l.v.

mf

B# E# G§ A#

dim.

f

dim.

dim.

mf

dim.

dim.

mf

dim.

dim.

mf

dim.

dim.

mf

dim.

dim.

mf

dim.

46

311poco rit.

poco rit.

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Tpt 1

Tpt 2

Tbn 2

Perc. 2

Perc. 3

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mp

mp

p

to Piccolo

mp

dim.

mp

p

to Oboe

mp

p

mp dim.

p

mp

p

mp

p

mp

dim.

p

p

mp

mp

mp

p

mf

dim.

mp

to Almglocken

mp

l.v.

mp

D§ B§ G#

mf

dim.

mp

mp

p

mp

p

mp

p

mp

p

mp

p

pp

47

BB

Glowing q = 64

Glowing q = 64

318

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

p legato

p legato

p legato

p legato

sim.

p legato

p legato

sim.

mp dolce

Soli (with Tpt 2)

3

3

3

mp dolce

Soli (with Tpt 1)

3

3

sim.

3

3 3

p

Eb F§

mf l.v. sempre

mf

pp

3

3

div.

pp

div.

pp

pp

mp

cresc. poco a poco

48

poco accel.

poco accel.

325

Slightly faster q = 68

Slightly faster q = 68

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mp

sim.

cresc.

sim.

mp

sim.

mp

cresc.

mp

mp

sim.

cresc.

mp

sim.

3 3

mf

3 3

mf

3 3

3 3 3 3

F#

f

A§

G§

f

cresc.

p

3

cresc.

mp

3

cresc.

p

cresc.

3

mp

3

cresc.

3

3

p

cresc.

mp

3

cresc.

p

3

cresc.

mp

mf

49

332

poco accel.

poco accel.

CC

Moving forward q = 72

Moving forward q = 72

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

Piccolo

f

3 3

mf

mf 3 3

f

3 3 3

cresc.

mf

mp cresc.

mf

dim.

mf legato

Oboe

dim.

mp

cresc.

mf

mp cresc.

mf

dim.

cresc.

mf

dim.

mp

mf dim.

mf dim.

mp cresc.

mf

mf dim.

mp cresc.

mf

3 3 3

f

mf 3 3

f

3

f

3 3

mf

f

3 3

Bb

ff

B§

Ab

f

E§

Db ff

C§

ff

f

ff

cresc.

3

mf

dim.

mp cresc.

f

dim.

5

3 3

3 3

cresc.

3

mf

dim.

3 mp cresc.

3 f

dim.5

cresc.

mf dim.

3 mp cresc.

f

dim.

5

cresc.

mf

dim.

mp cresc.

f dim.

3 3

f

mf

ff

50

340

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Perc. 1

Harp

Pno.

Vln I

Vln II

Va

Vc.

Db

mf

3 mf

3

3

fp

mf

3

3 f

3

mp

mp mf

f

mf dim.

sim.

mp

mf

mp

mf

f

mp

to Bb Clarinet

mp

mf mp

mp

mf

mp

mf

mf

f

p

p

p

p

mf 3 3

fp

p

mf

3 mf

3 3 f

3

p

p

Suspended Cymbal

f

ff

Bb

f

D§ ff

f

ff

mf

ff

mf

fp molto cresc.

f

ff

3 3 3 3

mf

3

fp

molto cresc.

f

ff

5 5

5

mf

3

fp

molto cresc.

3

f

3

ff

5

mf

fp molto cresc.

3

f

ff

f

ff sub mp

mf

ff

51

DD

Explosive q = 76-80

Explosive q = 76-80

345

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

ff

improvise fast-running lines with given pitches (any octave)

sim.

ff

6

6 6 3

ff

improvise fast-running lines with given pitches (any octave)

sim.

ff

improvise fast-running lines with given pitches (any octave)

sim.

ff

improvise fast-running lines with given pitches (any octave)

sim.

ff

Bb Clarinet

improvise fast-running lines with given pitches (any octave)

sim.

ff

improvise fast-running lines with given pitches (any octave)

sim.

ff

improvise fast-running lines with given pitches (any octave)

sim.

ff

improvise fast-running lines with given pitches (any octave)

sim.

ff

6

mf

ff

3 mf

6 6

ff

6

mf

ff

3

mf

6 6

ff

ff

ff

6 mf

ff

3

mf

6

6

ff

6 mf

ff

3

mf

6 6

ff

6 mf

ff

3 mf

6 6

ff

6

mf

ff

3

mf

6 6

ff

6

mf

ff

3

mf

6 6

ff

f

damp mp

f

damp

mp

ff

Almglocken (with wooden sticks)

6 3 6 6

gliss.Tubular Bells (cluster - with wooden hammers)

ff

l.v. ff

l.v.

div.

fp

fp

fp

fp

fp

fp

fp

fp

fp

div.

fp

fp

fp

fp

fp

fp

52

349

Fl. 1

Fl. 2 /Picc.

Ob. 1

Ob. 2 /C.A.

Cl. 1

Cl. 2 /Bass Cl.

Sop. Sax.

Bsn 1

Bsn 2

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

fff

approx. 10-15"

fff

6 3 6 6

fff

fff

fff

fff

fff

fff

fff

ff

mf

ff

fff

6

3

6

6

ff

mf

ff

fff

6 3 6 6

fff

fff

ff

mf

ff

fff

6 3 6 6

ff

mf

ff

fff

6 3 6 6

ff

mf

ff

fff

6

3 66

ff

mf

ff

fff

6 3 6 6

ff

mf

ff

fff

6 3 6 6

fff

f

damp

mf

f

damp

mf

damp

f

to Crotales

to Vibraphone6 3

6 6

ff

l.v. ff

l.v.

ff

l.v. to Almglocken

fp

fp

fp

unis.

fp

fff

graudally slow downfrom tremolo tolong-held notes

approx. 10-15"

p

fp

fp

fp

fp

fff

fp

fp

fp

fp

fff

fp

fp

fp

fp

fff

fp

fp

fp

fp

fff

53

EE Delicate, and very expressive q = 42-44

Delicate, and very expressive q = 42-44

354

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

Crotales

p

l.v.

take bow

3

VibraphoneMotor on

p

3 l.v.

p

l.v.

C#

l.v. 3

3 3

pp

unis.

pp

unis.

pp

362

FF

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

Crotales (bowed)

pp

mp

l.v. pp

mp

l.v.

p

sim.

B§

l.v. l.v.3

cresc. poco a poco

3

3

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

54

369

Perc. 1

Perc. 2

Perc. 3

Harp

Vln I

Vln II

Va

Vc.

Db

pp

to Glockespiel

l.v.

mp

to Tubular Bells

l.v.

G#

l.v.

mp

3

33

p

p

p

376

GG

Last gentle flash of light (slower)

q = 76

Last gentle flash of light (slower)

q = 76

Delicate (slightly slower)

Delicate (slightly slower)

molto rit.

molto rit.

Hn 1

Hn 2

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Vc.

Db

approx. 8-10"

mp

mp

mp

mp

mp

mp

Glockenspiel

p

3

Crotales

pp

l.v.

Tubular Bells

pp

l.v. (damp)

l.v. sempre

mp

Almglocken (medium hard felt mallet)

(damp)

p

pp

approx. 8-10"

solo

mp

p

3 pp

3

pp

ppp

half desk

pp

n

pp

ppp

div. a 2

pp

3

n

pp

ppp

pp

div. a 2

3

n

pp

55

With raw energy q = 64-68

With raw energy q = 64-68

Full Score in C Yong 湧for the London Symphony Orchestra Fung Lam 林丰 (born 1979)

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Cor Anglais

Bb Clarinet 1

Bb Clarinet 2 /

Eb Clarinet

Bass Clarinet

Bassoon 1

Bassoon 2

Contrabassoon

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Trombone 1

Trombone 2

Trombone 3

Tuba

Percussion 1

Percussion 2

Timpani

Harp

Piano

Violin I 1

Violin I 2

Violin II 1

Violin II 2

Viola 1

Viola 2

Cello 1

Cello 2

Double Bass 1

Double Bass 2

f

mf

f

mf

f cresc.

ff cresc.

fff

3

3

f

cresc.

3 ff cresc.

fff

3 3 3

f

mf

f

mf

f cresc.

ff cresc.

fff

3 5

6

f

cresc.

3 ff cresc.

fff

3 3 3

pp

f

pp

f

3

p

f

ff

fff

3

mf

f

ff

fff

3 3

f

cresc.

3 ff cresc.

fff

3 3 3

Bb Clarinetmf

cresc.

ff

fff

mf

f

ff

fff

mf

3

3

3

f cresc.

fff

3 3 3 3

mf

p

f

ff

fff

3

mp

3 3

3

mf

f

3 3 3 3

mp

3

3 3

3 mf

3

ff

mp3

3

mf

3

f

mp

3 3 mf

3 ff

pp

f

pp

f

3

p

ff

ff

fff

3

pp

f

pp

f

3

p

ff

ff

fff

3

mf

ff

fff

3 3

mf

f

ff

fff

f

ff

fff

f

ff

fff

mf

f

ff

SOLO*Bars 1-5 is a notated accelerando. The exact rhythm may differ slightly.

ff

Large bass drum (with wooden sticks - Taiko style)

3

cresc.

3

fff

5 7 6 10:8 6

mf

Tam-tam (with triangle beater on side)

Crotales

f

l.v. sempre ff

mp

l.v. l.v.

sim.

mf

f

ff

damp

D# C# B§ / E§ F# G§ A§

f

f

ff

f

mf

l.v. sempre mf

damp

fff

f

f

3

ff

fff

3

mf

mf

f

mf

f

mf

f cresc.

ff cresc.

fff

3 3

mf

f

mf

mf

f

mf

mf f cresc.

ff cresc.

fff

3 5

6

mf

f cresc.

3

ff

fff

mf

f cresc.

ff fff

6

pizz.mf

f

arco

ff cresc.

fff

6

arco

mf

3 3 3

f cresc.

ff fff

3 3 3 3

pizz.

mf

arco

f

ff

fff

3 3

arco

mf

f

ff

fff

6

mf

pizz.

arco

ff

fff arco

mf

ff

fff

A

6

poco rit.

poco rit.

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

p

mp

f

p

f

ff mp

pp

mp

mf

3 f

sub p

f

ff mp

pp

mp

mf

3

f

sfffp

fffz

SOLO ends

Ab

p

damp

f

mf

p

ff p

pp

ppp

p

mp

f

gliss.

p

ff p

pp

ppp

p

mp

f

gliss.

sub p

f

ff mp

gliss. pp

mp

mf

3

sub p

f

ff mp

gliss. pp

mp

mf

3

2

B

A tempo

A tempo

12

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

p

pp

ppp

3

ppp

3

p

pp

3

p

pp 3

p

pp 3

ppp

3

p

l.v.

p

mp

mp

333

E# G# A§

3 5

p

7

pp

7 7

p

3 pp

3 3 3

p

5 pp

5 5

p

pp

5 5

p

pp

p

pp

3

p

3 3

3

pp

3

p 3

3

pp

fp

pp

fp

pp

3

C

18

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

mp

p

mp

p

mp

p

5

5 5

p

mp

p

p

mp

p

p

mp

p

3 3 3 3

p

p

mp

3

p

3

dim.

pp

3 3

3

3 3 3 3 3

p

dim.

pp

3

p

dim.

pp

3

3 3 3 3

p

mp

3

p

3

3

p

pp

p

pp

pp

3

3 p

pp

3 3

pp 3

p

pp

3

pp

3

p

3

pp

3

pp

3 3

p

3 pp

pp

mp

p

pp

mp

p

p

Tubular bells

p 3 3

p

mp

3

A#

D§ / E§

mp

mf 5

p

mp

3

3

mp

p

mp

7

7 7

mp

p

mp

3

3 3 3

p

mp

3 5 5

p

3

mp

5 5

p

mp

p

3 mp

pizz.

p

arco

mp

3

3

3

p

p

mp

3

p

pizz.

p

arco

cresc.

mp

p

p

cresc.

mp

p

4

24

D

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

mp

p

mf

mp

mp

mf

mp

mf

5

p

5 5

mp

mf

p

mp

mf

p

mp

mf

p

3

3

3

mp

mf

pp

mf

3 3

mp

mf

3

p

dim.

pp

3

3

3 3 3 3

mp

p dim.

pp

3

mp

p dim.

pp

3 3 3 3

mp

mp

mp

pp

p

pp

p

3

3

3

3

mp

pp

3

p

3

3 mp

pp

3 3

p

mp

pp

3 3

p

3 3 3 mp

pp

3

pp

pp

mf

3

p

3

pp

pp

mf

3

pp

mf

p

3

pp

p

3

mp 3

mp

l.v. mf

l.v.

mp

mp

mf

mf

3 5

C§ Bb / G§ A§

mp

mp

5

mp

mf

mp

mf

3

mp

6

6

p

3 mf

mp

p

mp mf

mp

gliss.

77

p

3 mp

3

3 3 3 3

p

3 mp gliss.

3

3 3

p

pizz.

mp

arco

55

p

mp

3

3

3

3

3

5

p

3

5

pizz.

mp

arco

gliss. 3

3 3 p mp

mp

gliss. 3 3

p

pizz.

mp

pizz.

mp

arco

gliss. p

pizz.

mp

mp

gliss. p

mp

5

30

E

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

mf

mp

mf

mp

mf

f

mf f

mf

mf

mp

mf

mp

f

mf

f

6

3

66

mp

mf

5

mp

mf

f

5

5

3

6 3

mp

mf

mp

mf

f

mp

5 5 5

mp mf

mp mf

3

mf f

mp

f

3

mp

mf

mp

mf

mp

dim.

p

mf

f

5 53 3 3 3

55

mp

mf

mp

dim.

3

p

mf

f

mp f

3

3

mp

dim.

3

3 p

3

mf

3

3

mp

mf

3

mf

f

3

mf

p

mp

p

p

mp

p 3

3

mp

3

p

mp

3

33 3 3 3

p3

3

3

mp

p

mp3

3

mf

3 3

p

3

mp

3

p

mp

mf

3 3

p

3 3 mp

p

mp

3

mf

3

pp

3

mf

pp

mf

3

mp

pp

mf

3

3 3 3

pp

3

mf

pp

mf

3

mp

pp

mf

3

3

33

pp

3

mp

pp

mf

3 3 3 3

p

mf

gliss. mp

mf

gliss.

p mf

gliss. mp

mf

gliss.

3 3

mf

mf

f

F§

mf

f

C#

mf

5

B§ / F# G#

3

53

mf

mp

mf

3

mf f

mf

3

3

6 6

p

mf

mp

mf

mp

mf

f

mf

f

mf

5 5

5

p mp

mf

mp

mf

mp

mf

f

mf f

mf

p mp

3

mf

3 pizz. 3 3

p mp gliss. 3

mf

3 3 3 3 3 3

p mp

3

3

3

mf 5

3 3

5

pizz.

mp

mf

arco

5

5

mf

arco

mf

pizz.

arco

arco

mf

gliss. mp

pizz.

mf

arco

mf

gliss. mp

mf

6

35

F

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

mf

f

mf

f

mf

f

ff

f ff

f

f

mp

f mf

f

7

mf

ff f

ff

mf

7 7

7

mp

mf

f

mf

f

ff

7

mf

66

7

mf

f

mf

f

ff

mf

5

5

3 6

mf

f

mf f

f ff

5 53

53

mf

f

mp

dim.

p

mf

f

mf

f

ff

mf

3 3 3 3 63

3 6

mp dim.

p

mf f

mf f

f

ff

3 5 35 5

3

mp dim.

3

p

3 mf

f

3 3

mf

f

f

ff

3

3

mf

f

p

mp

mf

mp

mf

f

mf

p

3 mp

mf

3

mp

3 mf

f

3 3 3 3 3 3

3

p

3 mp

3

mf

3

mp

3 mf

f

3

p

3 mp 3

mf

mp

3 mf

3

f

3 3 3

p

3 mp

3

mf

mp

3

mf

3

f

3

mp

pp

mf

6

f

mf

f

6

ff

3

mf

3

3

6 3

mp

pp

mf

6

f

mf

f

6

ff

3

mf

3

3

6 3

mp

pp

mf

6

f

mf

f

6

ff

3

mf

3 3 6 3

mp

f

gliss.

mf

f

gliss.

mp

f

gliss.

mf

f

gliss.

f

f

p

mp

p

mp

mf

mf

3 f

3 3 3 3

mf

f

f

ff

f

mp

mf

F§

G§

f

Bb Ab Gb Eb C§

ff

f

A§5

6

E§ G§

3

3 3 3

f

3

6 3 3 33

ff

f mf

f

mf

f

ff

f ff

f

3

6 6

7 7

7

5

f mf

f

mf

f

ff

f

5

5

3 6

3

arco

3 3

f

ff

f

3 5 5 5

3

pizz.

f

arco

3 cresc.

5 5 5

f

cresc.

3 3 3

3 f

cresc.

3 3

5 f

cresc.

5 3 3

33

pizz.

arco

f

cresc.

5 3 3

mp

pizz.

mf

arco

mp

f

mf

f

cresc.

gliss.

mp

mf

f

mf

f

cresc.

gliss.

7

40

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

ff

cresc.

fff

f cresc.

ff

cresc.

fff

9

f cresc.

ff

cresc.

fff

9

f cresc.

ff

7 cresc.

fff

7

7

7

6 6

6

f cresc.

ff

7 cresc.

fff

3 3 7 6 6

6

f cresc.

ff

cresc.

fff

6

6 6

f cresc.

ff

cresc.

fff

7

7

7

7

f cresc.

ff

7 cresc.

fff

3

3

6

7

f cresc.

ff

cresc.

fff

f cresc.

ff

cresc.

fff

3

3f cresc.

ff

cresc.

fff

3 3

f

ff

ff

3 3 3

3

ff 3 3

ff 3 3 3

3 3

ff

3

f

6

cresc.

ff

6

6 3 6

f

6 cresc.

ff

6

6 6

f

6 cresc.

ff

6

6 6

mf

f gliss.

ff

gliss.

3

gliss.

3

gliss.

mf

f

gliss.

f

gliss. ff

gliss.

gliss. 3

mf f

gliss. f

ff

gliss. gliss. 3

mf f

f

ff

ff gliss.

cluster

l.v. 3 3 3

3

ff

l.v.

Tam-tam (tam-tam beater)

ff

l.v.

f

ff

F#

ff

G#

Cb

5

6

fff

3 3 6 6

cresc.

7

ff

cresc.

fff

7

7 93

5

cresc.

ff

cresc.

fff

6

6

7

73

5

cresc.

ff

cresc.

fff

5

56

6 7

3

5

ff

7

cresc.

fff

5 6 6 3

5

ff

cresc.

fff

5

5 3 3 3

gliss. ff

cresc.

fff

5 5 5 3 3 3

ff

5

gliss.

3

gliss.

5 3

ff

gliss.

gliss. 5

3

ff

gliss.

gliss. 3

ff

gliss.

gliss. 3

8

G

Wild outburst

Wild outburst

44

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

ppp

3

ppp

3

ppp

ff

5

5

5

fff

5 5 5 5

5

5 5

ff

5

5 5

fff

5 5 5 5 5 5 5

ff

5

fff

55 5 5 5 5 5 5 5

ff

5

5

fff

5

5 5 5

5 5

5

5

ff

flutter

sim. 7

fff

7

7 7 7 7 7 7

ff

flutter

7

sim.

7

7

fff

7

7 7 7 7 7

ff

flutter

sim.

7

7

fff

77

7 7 7 7 7

ff

gliss. flutter

6

sim.

gliss. gliss.

3

fff

6

6 6 3 6 6 6 6

ff

gliss. flutter

gliss.

3

sim.

gliss.

3

gliss.

fff

6 6 6 6 6 3 6

ff

gliss. flutter

6

sim.

6

3

gliss. fff

6

6 6 6 6 6 6

ffp

Bass drum (B.D. beater)ff

p

ff

p

ffp

damp!

ff

p

Suspended cymbal

ff

p

ff

p

ff

damp!

ff

chromatic cluster

l.v.

ff

ff

ff

ff

ff

ff

9

H

Coda

Coda

49

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

f

mp

f

mp

mf p

mp

mp

mf

mp

mf p

mp

3

3

3

3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Eb Clarinet

mp

f

mp

mf p

mp

3

3

3

3

3 3 3 3

33 3

3 3 3 3 3 33 3

ppp

con sord. (harmon without stem)

ppp

p

ppp

3 ppp

3 p

Xylophone

f

p

(if no xylophone)

f

(if no xylophone)

p

pp

f

gliss.

pp mf

p

gliss.

pp

f

gliss.

pp

mf p

gliss.

p mp

pp

p

mp 3

p

mp

pp

p

mp 3

3

p

3

mp

pp

p

mp

pizz.

p

p

10

54

I

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2 /Eb Cl.

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Timp.

Harp

Pno.

Vln I 1

Vln I 2

Vln II 1

Vln II 2

Va 1

Va 2

Vc. 1

Vc. 2

Db. 1

Db. 2

p

3 mp

ff

9

mf mp

ff

mp ff

mf mp

ff

mp ff

mp

7

ff

3

3

mp ff

3 3 3 3 3 3 3 3 37

mf mp

ff

3

3

ff

3 3 3 3 3

3 3 33

3

ff

ff

pp f

pp f

pp f

pp f

ppp

ppp

mp

p

f

3

(senza sord.)

pp

3 f

(senza sord.)pp f

f

f

f

p

ff

Tubular bells

ppp

f

damp 3

ff

Metal plate

Upside-down cymbal on timpani

pp

mfpedal gliss. let fade completely

moto rit., independently

f

ppp

y=76

B§mp

damp

moto rit., independently

f

ppp

y=72

pp mf

pp

ff

pp

mf

pp

mp ff

9

mp ff

mp

ff 7

7

pp

mp

ff

3 6

mp

ff

5 5

pp

mp

ff

pp

mp

ff

3

mp

arco

ff

mp

ff

11

Vibrant and with raw energy q = 66

Vibrant and with raw energy q = 66

Full Score in C Rong Fung Lam (born 1979)VERSION 2for the Hong Kong Philharmonic OrchestraA

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Cor Anglais

Bb Clarinet 1

Bb Clarinet 2

Bass Clarinet

Bassoon 1

Bassoon 2

Contrabassoon

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Trombone 1

Trombone 2

Trombone 3

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3(Bass Drum)

Violin I

Violin II

Viola

Viola

Cello

Cello

Double Bass

Double Bass

mf ff

mp cresc.

3 ff

5

3 5 73

mf ff

mp cresc.

3

ff

5 3 5 7 3

mf ff

mp cresc.

3

ff

9

3 5 7 3

mp ff

mp cresc.

3 ff

3 5 7

3

mp ff

mp cresc.

3 ff

7

3 5 7 3

ff

mp cresc.

3

ff

3 5 7

mp ff

mp cresc.

3 ff

3 5 7

3

mp

ff

mp cresc.

3 ff

7 7

3 5 7

fp

ff

mp

3 ff

ff

mp cresc.

3

ff

3 5 7

fp

ff

mp

3 ff

fp

ff

mp

3 ff

f

mp cresc.

3

ff

3 5 7

f

mp cresc.

3

ff

3 5 7

f

mp cresc.

3

ff

3 5 7

f

mp cresc.

3

ff

3 5 7

f

mp cresc.

3

ff

3 5 7

3

f

mp cresc.

3 ff

3 5 7 3

f

mp cresc.

3

ff

3 5 7

f

mp cresc.

3

ff

3 5 7

f

mp cresc.

3

ff

3 5 7

fp

ff

mp

3 ff

ff

mp

3

ff

l.v. F# to F§

Suspended cymbal

p

l.v.

f

sf

l.v.

Bass drum

p

sff

l.v.

mf

ff

mp cresc.

3 ff

3 5 7

mf

ff

mp cresc.

3 ff

7 7

3 5 7

div.

mp

ff

mp cresc.

3 ff

3 6

3 5 7

div.

mp

ff

mp cresc.

3 ff

5 5

3 5 7

div.

mp

ff

mp cresc.

3 ff

3 5 7

div.

mp

ff

mp cresc.

3 ff

3 3

3 5 7

div.fp

ff

mp

3 ff

div.fp

ff

mp

3 ff

6

B

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Tpt 1

Tpt 2

Tbn 3

Tba.

Timp.

Perc. 3

Vln I

Vln II

Va

Vc.

Db

Db.

mf

f

6

3 3

mf

f

3

3 3

mf

f mf

7

mf

f

5 5

mf

f

5 6

mf

f

p

35

mp

f

p

6

mf

pp

mp

3 f

3p

f

3

mf

p

f

mf

p

f

mp

3

f

3

mp

mf p

3

mf

pp

pp

f

p

pp

mf

unis.

p

f

gliss.

unis.

p

f

gliss.

mf

unis.

p

f

gliss.

mf

2

11

rit.

rit.

C

Still q=56

Still q=56

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Tba.

Perc. 1

Perc. 2

Vln I

Vln II

Vln. II

Va

Vc.

Vc.

Db

p

p

p

f

mf

p

ppp

p

f

mf

p

ppp

p

p

p

p

p

f

mf

pp

Crotales

mf

Sus. cym (scrap with coin)

p

l.v.

half desk

p

gliss.

div.

p

f

mf

p

pp

div.

p

f

mf

p

pp

p

f

mf

p

pp

front desk

1.

mp

p

f

mf

p

gli altri

pp

p

f

mf

p

pp

3

16

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Tpt 1

Perc. 1

Vln I

Vln II

Vln. II

Va

Vc.

Vc.

Db

p

p

3 p

3

p

p

3 p

3

mp

3

p

mp

3

con sord. (harmon w/o stem)

pp

mp

3 pp

mp

2.mp

3

3

3

3

4

D

Gentle and magical

Gentle and magical

22

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 2

Vln I

Vln II

Va

Vc.

Db

Db.

p

7

7

7 7 7 7 7

p

7

7

7

7 7 7 7 7

p

p

3

p

6

66

66

66

p

6 6 3 6 3 3 6 6

p

pp

3

pp

pp

3

pp

pp

6

pp

pp

3

pp

pp

pp

pp

pp

Sizzle Cymbal

pp

unis.

p

tutti

p

div.

div.

5

25

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 2

Vln I

Vln II

Va

Vc.

Db

Db.

7

7

cresc.

77 7 7 7 7

7

7

cresc.

7

7 7 7 7 7

cresc.

3 mp

p

cresc.

3

3

3 mp

3 3

cresc.

6 6 6

66

3 6

cresc.

6 6 3 3 3 3 3 6

p cresc.

5

5 5 5

cresc.

3

mp

cresc.

3

3

p

p

3

p

3 3

3 3

3

p

cresc.

cresc.

cresc.

3

p

3

p

tutti

pp

cresc.

cresc.

3

mp

pp

3

3

3

cresc.

3 mp

3 p

3 p

6

28

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 2

Vln I

Vln II

Va

Vc.

Db

Db.

mp

cresc.

7mf cresc.

f

7

ff7 7 7

7

mp

7

cresc.

mf cresc.

7

f

7

ff7 7 7 7 7

7

mf

3

f

ff

p cresc.

mp cresc.

mf

f

ff

3

mf

f

ff

3

mp cresc.

3

mf cresc.

f

6

ff

6

6 6 6 6 6

mp

cresc.

6 mf cresc.

f

ff

6 3 6 3 6 3 6

mp

cresc.

mf cresc.

f

5 5

5

5 55

mf

3

f

ff

p

mp

f

ff

3

mp

mf

mp

3

mf

f

mp

f

3

p

mp cresc.

mf

6 6

p

mp cresc.

mf

f3 3

senza sord.

p

3 mp

3

mf

cresc.

mf

3 6

p

mp

mf

3 6

p

mp

mf

3

3 36

p

mp

mf

33

6

mp

mf

mp

mf

pp

p

mp

mf

p cresc.

mp

cresc.

3 mf

3 f

3

ff

3

3

cresc.

mf

f

ff3

3

3

mp

mf

3

f

mf

3

f

mp

mf

mp

mf

7

E

Forceful q=60

Forceful q=60

31

Picc.

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 3

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Va.

Vc.

Vc.

Db

ff

ff

ff

ff

ff

sffp

sffp

ff

mf

sffp

sffp

sfp

sfp

f p

sfp

f

f p

sfp

fp

f p

f p

sfp

sfp

f

mp

sfp

sfp

sfp

sfp

sfp

sffp

sffp

f

Maracas 1

p

mf

p

mf

Maracas 2p

mf

mp

ff

mp

pizz.

ff

pizz.

ff

div.

sffp

sffp

div.

sffp

sffp

div.

sffp

sffp

div.

sffp

sffp

unis.

sffp

sffp

8

36

F

Otherworldly

Otherworldly

Picc.

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 3

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Va

Va.

Vc.

Vc.

Db

fff

fff

sffp

ff

fff

fff

sffp

ff

fff

ff

fff

sffp

sff

fff

ff

fff

p

3 3

ff

p

sffp

sff

fff

sffp

sfp

f p

ff

sffp

f p

f

f p

ff

sffp

f p

f p

ff

sffp

sfp

ff

ff p

sfp

ff

sffp

sfp

ff

sffp

sfp

ff

sffp

sff

fff

f

ff

damp

mp

f

mf

f

mf

ff

f

mp

f

mf

ff

ff

mp

ff

arco

p ff

gliss.

pizz. Bartok pizz.

arco

p ff

gliss.

pizz. Bartok pizz.

sffp

front half

sffp

3

3

sffp

back half

sffp

ff

sffp

sffp

ff

sffp

sffp

ff

sffp

sff

ff

9

42

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Vln I

Vln II

Va

Va.

Vc.

Vc.

Db

p mp

p

p mp p

mf

p mp

p

mf

p mp

p

p mp p

mf

p mp

p

p mp

p

mp mf

p mp

p

mf

p mp

p mp

p

mp mf

p mp

p

mf

p mp

3

3 3

3

3

3

3

front half

3

3 3

solojazz pizz.

mf

10

45

G

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Vln I

Vln II

Va

Va.

Vc.

Vc.

Db

p mp

p

mf

mp mf

p

5

mf

p mp

p

mf

mp

mf

5

p

5

mf

3

mf

3

p

mp

p

mf

p mp

p mp p

5

5

p

mp

p

mf

p mp

p mp p

5

3 3

3

3 3 3

p

p

con sord. (harmon w/o stem)

p

con sord. (harmon w/o stem)

p

3

3 3

3 3

3

3

11

48

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Vln I

Vln II

Va

Va.

Vc.

Vc.

Db

mp

p

p mp p

mf mp

mf

mp mf

mf

3 3

mp

p

p mp p

mf mp mf

mp mf

mf

6

mf

3

3 3

3 3

mp mf

mp

p mp p

mp

mp

p

mp mf

3

3

6

mp

mf mp

p mp p

mp

mp

p

mp

mf

36

33

3

cresc.

3 mp

3

cresc.

3 mp

cresc.

3

mp

back half

p

3

cresc.

3 mp

3

back half

p

3

3

12

51

H Agitated and intense q=116-120

Agitated and intense q=116-120

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

mp

mf mp

f mf

fp

77 7

mp

mf mp

f mf

fp

7

mp mf

mf mp mf

mf

mp f

f mf

f fp

3 7

mf mp mf

mf mp

mf

7

mf mp

f

f mf

fp

6 7

p

mp p

mp

mf

7

mf

f

mf fp

7

mp p

mp mf

mf

f

mf fp

7

3

mf

3

3 mf

mp

3

mf

3

mp

3 mf

3

mp

3

mf

3

mp

3 mf

3

senza sord.

cresc.

mp

mf

3

senza sord.

cresc.

mp

mf

3

p

mf

3

p

3 mp

3

p

3 mp

3

div.arco

p

mfp

3

div.arco

p

mfp

3

div.arco

p cresc.

mp

mf

3

div.arco

p cresc.

mp

mf

3

3 mf

mp

3 mf

3

3

mf

3

mp

3 mf

3

half desk

f

13

54

I

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Vln I

Vln. I

Vln II

Va

Va.

Vc.

Db

mf

p

p

p

mp

mp

p

damp

sim.

Crotales

mf

l.v.

unis.

p

norm. div.p

norm. div.p

tuttinat. pizz.

mp

14

59

J

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Vln I

Vln. I

Vln II

Va

Va.

Vc.

Db

cresc.

mp

cresc.

mp

p

cresc.

mp

cresc.

mp

mp

p

cresc.

mp

cresc.

mp

cresc.

mp

cresc.

mp

pp

pp

pp

cresc.

mp

cresc.

mp

mp

p

mp

p

mp

p

p

unis.

half deskarco

mp

15

64

K

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Db

Db.

f

cresc.

cresc.

mp

mf

mp cresc.

cresc.

cresc.

mp cresc.

cresc.

cresc.

cresc.

cresc.

mf

p

mp

p

mp cresc.

p

mp

p

mp cresc.

mp cresc.

mp cresc.

mp cresc.

p

mp

p

mp cresc.

mp cresc.

mf

mp

mf

Sandpaper

mp

mp cresc.

mp cresc.

mp

mf

div.

mp cresc.

div.

mp cresc.

mp

mf

mp cresc.

mp

mf

mp cresc.

mp

mf

mp cresc.

tutti div. cresc.

tutti div.arco

mp cresc.

16

68

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Db

Db.

ff

mf

cresc.

f

mp

mf

cresc.

f

mp

mf

cresc.

f

mp

3 3

mf

cresc.

f

mp

mf

cresc.

f

mp

mf

cresc.

f

mp

3 3

mf

cresc.

f

mp

mf

cresc.

f

mp

mf

cresc.

f

mp

mf

cresc.

f

mp

f

mf

cresc.

f

mp 3 3

mf

cresc.

f

mp

3

mf

cresc.

f

mp 3

mf

cresc.

f

mp

3

mf

cresc.

f

mp

3 3

mf

cresc.

f

mp

mf

cresc.

f

mp

p cresc.

mf

mp

3

p cresc..

mf

mp

3

p cresc.

mf

mp

3

f

mp

3

mf

f

ff

mf

f

mp

mf

cresc.

f

mp

3 3

mf

cresc.

f

mp

3 3

mf

cresc.

f

mp

3 3

mf

cresc.

f

mp 3 3

mf

cresc.

f

mp

3

mf

cresc.

f

mp 3

mf

cresc.

f

mp

3

mf

cresc.

f

mp

mf

cresc.

f

mp

17

L

72

rit.

rit.

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Db

Db.

f

ff

f

sffmp cresc.

f

ff

f

sffmp cresc.

f

ff

f

ff

f

sffmp cresc.

f

ff

f

sffmp cresc.

f

ff

f

ff

f

ff

f

ff

f

sffmp cresc.

f

ff

f

ff

f

sffmp cresc.

f

ff

f

ff

f

ff

f

ff f

ff

f

ff f

ff

f

sffp

f

ff

f

sffp

mf

ff

f

sffp

f

ff

f

sffp

mf

ff

f

sffp

ff

f

sffp

ff

f

sffp

ff

f

ff

f

ff

f

ff

f

ff

pp

f

ff

Sus. Cym.

p

p

f

sffmp

ff

f

sffmp

ff

f

sffmp

f

ff

f

sffmp

ff

f

sffmp

ff

f

ff

sffp

ff

f

ff

sffp

ff

f

ff

f

ff

18

M

Majestic q=96-100

Majestic q=96-100

76

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vln. II

Va

Vc.

Vc.

Db

f

5 5 5 5 5 5 5 5 5 5

55 5 5

f

5

5 55 5

5 5 55 5

5

5

5 5

f

f

f

3 3 3

f

5 5 5 5 5 5 5 5 5 5 5 5 5 5

f

5 5 5 5 5 5 55

5 5 5 5 5 5

f

f

f

f

3 3 3

f

3 3 3

f

f

3 3

f

3 3

f

f

f

f

f

f

ff

l.v.

ff l.v.

f

unis.

f

f

f

unis.

front desk

f

3 3 3

gli altri

f

unis.

f

19

80

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vln. II

Va

Vc.

Vc.

Db

5

5 5 5 5 5 5 5 5 5 5 5 5 5

5

5 55 5

5 5

5

5 55 5

5 5

3

3 3 3

5

5 5 5 5 5 5 5 5 5 5 5 5 5

5 5

55 5 5 5 5 5 5 5 5 5 5

3

3 3 3

3

3 3 3

3

3 3

3

3 3 3 3

20

N

84

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln II

Vln. II

Va

Vc.

Vc.

Db

5 5 5 5

55 5 5 5 5 5 5 5 5 5 5

5

5

5

5

5

5 5 55 5 5

5

5

5 55

cresc.

ff

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

3 3 3 3

3 3 3 3

ff

cresc.

ff

cresc.

ff

cresc.

ff

cresc.

ff

cresc.

ff

cresc.

ff

21

89

accel.

accel.

O

More flowingly q=104-108

More flowingly q=104-108

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

ff

p

f

5 5 5 5 5 5

ff

p

f

55

5

5

55 5

5

ff

p

f

ff

f

6

f

ff 6

ff

p

f

5 5 5 5 5 5 5

f

5 5 55

5

5 5

5 5

mf ff

6

mp

f

mp

f

mp

f

mp

f

mp

f

mp

f

solo

ff espress.

mp

f

mp

f

mp

f

ff

gliss.

mp

f

ff

gliss.

mp

f

ff

gliss.

mp

ff

p

f

f

p

Sus. cym.

ff

Sizzle cym.

mf

p

f

f

div.

ff

f

6

div.

ff f

3 3 3 3 3 3 3

f

ff

f

6

f

ff

ff f

6 3 3 3 3 3 3 3

f

ff

div.

f

6

div.

f

ff

ff

div.

f

6

f

ff

div.

f

6

mp

f

22

94

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 2

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

f

f

f

f

f

f

f

f

f

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

23

98

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 2

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

f

f

f

3

3 3

f

f

3

3 3

f

f

3

3 3

f

3

3 3

f

f

3

3 3

f

f

3

3 3

f espress.

cresc.

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

24

102

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 2

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

ff

f

ff

3

3 3

ff

f

ff

3

3 3

ff

f

ff

3

3 3

ff

f

ff

3

3 3

ff

f

ff

3

3 3

ff

f

ff

ff

3 3 3

ff

mp

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

25

106

P

q=63-66

q=63-66

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 2

Perc. 3

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

3 fff

3

fff

3

ff

3

fff

3

ff

3 fff

3

ff

3

fff

pp

3

ff

3

fff

fff

pp

ff

fff

sfff

mf sfff

mf sfff

mf

pp

3

3 3

sfff

mf sfff

mf sfff

mf

pp

3

3 3

sfff

mf sfff

mf sfff

pp

3

3 3

ff

ff

ff

3

ff

3

f

3 ff

3

f

3

ff

3

sfff

mf sfff

mf sfff

mf

pp

3 3

f

3 sfff

mf sfff

mf sfff

mf

pp

3

3 3

f

3 sfff

mf sfff

mf sfff

mf

pp

3

3 3

f

sfff

mf sfff

mf sfff

mf

pp

3 3 3

Sus. cym.

mf

l.v.

p

ff

l.v.

3 3

cresc.

ff

f

mf

mp

3

cresc.

ff

f

mf

mp

3 3

3

cresc.

ff

f

mp

p

3

cresc.

ff

f

mp

mp

3 3 3 3

senza vib.

ff

gliss.

f

mp

nat. vib

mf

5

senza vib.

ff

gliss.

f

mp

nat. vib

mf

5

3

senza vib.

sfff

mf sfff

mf sfff

mf

nat. vib.

3 33

3 3

3

senza vib.

sfff

mf sfff

mf sfff

mf

nat. vib.

3 333 3

senza vib.

sfff

mf sfff

mf sfff

mf

port.

3 3 3

port.

26

111

Q

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

solo

f

Switch toy on! (TBC)

Switch toy on! (TBC)

Switch toy on! (TBC)

Switch toy on! (TBC)

Switch toy on! (TBC)

Switch toy on! (TBC)

Switch toy on! (TBC)

Crotalesp

l.v.

Maracas 2 (or small rainstick?)p

mp

p

mp

p

7

7 7

mp

p

3 3

3

p

3

3 3

p

5

5

p

p

3

solo

f

p

mp

port. port. p

27

116

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn 1

Bsn 2

Cbsn.

Hn 1

Hn 2

Hn 3

Hn 4

Tpt 1

Tpt 2

Tpt 3

Tbn 1

Tbn 2

Tbn 3

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Vln I

Vln. I

Vln II

Vln. II

Va

Va.

Vc.

Vc.

Db

fmp

ff

mp

ff

mf ff

5

mf ff

mp ff

7

mp ff

5

mf ff

9

mp ff

6

mp

ff

mp

ff

3 3

mp

ff

p

ff

Switch toy off

p ffz

Switch toy off

p

ffz

Switch toy off

p3

f

Switch toy off

p

ffz

Switch toy off

p ffz

Switch toy off

p ffz

Switch toy off

p ffz

mp sffz

gliss.

mp sffz

gliss.

mp sffz

gliss.

mp sffz

p ff

mp

Metal plate

ff

damp!

Sus. cym.

pp

ff

damp!

p

ff

damp!

sffz

mp sffz

9

mp sffz

mp

sffz

7

7

mp

sffz

3

6

mp

sffz

5 5

tutti div.

mp

mf sffz

gliss.

tutti div.

mp

mf sffz

gliss.

3

pizz.

mp

Bartok pizz.

sffz

28

I.

Pensively e = 42-44

Four Movements for String Quartet Fung Lam (born 1979)

Violin 1

Violin 2

Viola

Cello

ppp

pppp

ppp

ppp

pppp

ppp

pp

ppp

pp

ppp

pp

ppp

pppp

ppp

pp

5

pp

ppp

ppp

pp

ppp

p

ppp

pp

ppp

p

pp

p

ppp

pp

ppp

p

9

© Copyright 2010 by Fung Lam

pp

poco

pp

p

pp

p

pp

p

pp

p

pp

14

pp

mp

mp

mp

pp

p

mp

mp

p

mp

mp

18

mf

mp

pp

p

mf

p

pp

mf

p

mp

mf

p

pp

mp

p

22

pp

pp

ppp

pp

ppp

pp

ppp

pp

pp

ppp p

ppp

pp

ppp

pp

ppp

2

26

pp

ppp

ppp

ppp

pp

p

pp

II

gliss.

ppp

ppp

30

pp

ppp

ppp

pp

pppp

ppp

p

pppp

ppp

pp

pppp

3

1

II.

Surreal, with rubato q = c.60

p dolce

3

* grace notes always on the beat

3

3

5

p dolce

3

* grace notes always on the beat

3

3 5

pp

6

poco

3

cresc.

3

3

poco

3

cresc.

3 3

p

cresc.

10

mp

mf

G.P.

6 9 9

mp

mf

G.P. 6

9 9

G.P.

p

3

3

mp

mf

G.P.

4

15

mp dolce

3

3 5

p

3

mp dolce

* grace notes always on the beat

3

3

5

19

p

3

cresc.

3 3 5 3

6 5 3

3

cresc.

p

p

3

cresc.

3

3 5 3 6 5 3

23

mp

poco

mf

f

3 3 3 6

mp

f

cresc.

3

mp

f

mp

poco

mf

f

3 3 3 6

5

27

f

3

3 3

f

3

3 3

mf 3

mf

3

31

mf

dim.

3 3 3

mf

dim.

3

3

3

f

mp

dim.

3

f

mp

dim.

3

34

mp

mp

p

5

3

9

mp

mp

5 3 9

p

f

3

3

p

f

3 3

6

Slightly slower38

mp

pp

p

flautando

p

flautando

43

3

cresc.

3

cresc.

3 3

48

mf

3

3

mp

3

p

3

3

norm.

3

3

norm.

3

7

53

mf

3

p

3

3

poco

p

3

3

dim.

pp

p

3

pp

p

3

57

p

cresc.

3

pp

p

mp

pp

pp

dim.

3

3 3

pp

pp

dim.

3

3

3

61

mp

p

3

3

p

ppp

III

p

I

III

pp

II

ppp

II

p

II I

pp

II

8

1

III.

With energy q = 108-112

mf

mp

4

mp

mf

7

mf

mf

9

10

13

f

*phrase mark (not pause)

più f

f

*phrase mark (not pause)

più f

f

*phrase mark (not pause)

più f

f

*phrase mark (not pause)

più f

18

mf

mf

mf

mf

10

21

24

mp

sub p

mp

sub p

mp

sub p

mp

sub p

27

f

f

f

f

11

31

più f

f

mf

più f

f

mf

più f

f

mf

più f

f

mf

35

mp

mp

mp

mp

38

mf

sub p

mf

sub p

12

42

cresc.

mf

mp mf

mp dim.

cresc.

mf

mp mf

mp dim.

46

p cresc.

p cresc.

p cresc.

50

mf

mp

mf

mp mf

mp

mf

mp mf

mp

13

54

p cresc.

mp cresc.

fp

cresc.

mp cresc.

f

f

58

mf

mf

62

mpmf

mp dim.

p

mpmf

mp dim.

p

14

66

p

mp

f

mp

mf f

p

mp

mf f

p

mp

f

71

mf

mf

mf

mf

f

78

f

f

f

mf

mf

15

81

mf

mp

mf

84

mf

mp

mp

mp

87

mp molto cresc.

molto cresc.

molto cresc.

molto cresc.

16

91

f

f

f

gliss.

ff

pp

f

93

G.P. f sffz

G.P. f sffz

G.P. mf f

sffz

G.P.

mf

sffz

17

1

IV.

Delicate, expressive, hauntingly and intensely beautiful q = c.46

p dolce

poco

3

p dolce

8

p dolce

3

poco

3

3

15

dim.

3

dim.

dim.

3

p dolce

dim.

18

23

pp cresc. poco a poco

p

pp

3

pp

p

pp

pp

3

pp

30

p

poco

3

p

poco

p

3

3

p

poco

p

p

poco

ppp

38

p

ppp3

ppp

ppp

19