visionplace of soulskevelimusic.com/wp-content/uploads/2017/01/visionplace... · 2017. 1. 15. ·...
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Visionplace of SoulsF O R W I N D E N S E M B L E
composed by
Kevin M. WalczykI N S T R U M E N T A T I O N & S U P P L I E D P A R T S
Full Score 1Piccolo 1Flute 1 2Flute 2 2
Oboe 1-2 2Eb Soprano Clarinet 1
Bb Clarinet 1 3Bb Clarinet 2 3Bb Clarinet 3 3
Eb Alto Clarinet 1 *Bb Bass Clarinet 1
Bassoon 1 1Bassoon 2 1
Bb Alto Saxophone 1 2Eb Alto Saxophone 2
Bb Tenor Saxophone 2Eb Baritone Saxophone 1
F Horn 1 2F Horn 2 2F Horn 3 2F Horn 4 2
Bb Trumpet 1 2Bb Trumpet 2 2Bb Trumpet 3 2Trombone 1 2Trombone 2 2Trombone 3 2
Euphonium B.C. 2Euphonium T.C. 2
Tuba 2Piano 1
String Bass 1 *
P E R C U S S I O Nall percussion parts require only one player
Percussion 1 2bass drum & timpani
Percussion 3 2vibraphone, xylophone & suspended cymbal
Percussion 2 2marimba, chimes & glockenspiel
Percussion 4 2suspended cymbal, crash cymbal & large tam-tam
£ K E V E L I M U S I C �•�†¢
1368 NW Zinfandel Ct., McMinnville Oregon 97128(971) 237-2318 [email protected]
All rights reserved. Printed entirely in the U.S.A.Unauthorized duplication prohibited
kevelimusic.com
*optional parts KM
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KM
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Visionplace of Souls was composed as a memoriam to all individuals who - unwavering in resolution and undaunted in courage �– sacrificed their lives during rescue efforts surrounding the events of September 11, 2001. When the world became transfixed on the images resulting from this one day�’s tragic course of events and people from afar made pilgrimages to these transformed sites, I suddenly remembered a passage from the memoirs of a citizen soldier of the American Civil War whose words, written over a century ago, have found meaning in our collective tribulation that is �“9-1-1�” and embodies the ideal of heroism. The passage reads:
In great deeds something abides. On great fields something stays. Forms change and pass; bodies disappear; but spirits linger, to consecrate ground for the visionplace of souls. And reverent men and women from afar, and generations that know us not and that we know not of, heart-drawn to see where and by whom great things were suffered and done for them, shall come to this deathless field, to ponder and dream; and lo! the shadow of a mighty presence shall wrap them in its bosom, and the power of the vision pass into their souls.***
The �“deathless field�” of Joshua Lawrence Chamberlain�’s battlefield �– Gettysburg - has been transformed to that now lifeless, sterile, and inert region simply referred to as �“ground zero;�” and to a peaceful, rural landscape in the heartland of America; and to a national icon in the very epicenter of freedom. The heroes of these new battlefields have certainly demonstrated that, �“In great deeds,�” hope, life, and liberty will prevail forever.
£ PROGRAM NOTES �•
*** �“The State, the Nation, and the People,�” in Maine at Gettysburg: Report of the Maine Commissioners, Prepared by the Executive Committee (Portland Maine, 1898), pp. 558-59.
£ REHEARSAL NOTES �•
ms. 1-9Visionplace of Souls utilizes a four-note melodic motive that expands and contracts throughout the work. This motive, introduced in measures 2-4 by flute 1, piano, and vibraphone, is rooted in the work�’s primary tonal center of E-flat, and the works primary aeolian modality. Collectively, the clarinets also perform the initial motive, but their detached presentation and sustaining pattern (along with those of the piano and vibraphone) introduces another compositional device featured throughout the work �– a sonic residue. This built-in sonic residue, which represents Chamberlain�’s prose (�…Forms change and pass; bodies disappear; but spirits linger�…), should be thought of as an ensemble �‘sustain pedal�’ that, like a piano�’s, has a natural decay cycle. In measure 9 the bass drum introduces a faint �‘heartbeat�’ that provides a pivotal, recurring role throughout the work. A sterile (lifeless) quality, aided in part by no-vibrato and one-on-a-part designations, should be sought in the ethereal opening of this work.
ms. 10-21The two melodic statements (measures 10-15 and measures 16-21) grow in length, texture, and intensity but subside and capitulate to the sustained pitch of E-flat in the marimba and the heartbeat of the bass drum. K
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ms. 22-29The melodic motive evolves to its most expanded point thus far in the work, and intensity increases through dynamic strength, orchestrational density, and an accelerando that leads to a faster tempo at measure 30. This section centers, primarily, around B-at aeolian.
ms. 30-38The melodic motive, now centered in G aeolian, is presented in the low winds, low brass, and string bass. The dissonant chords above the melodic statement should not overpower the melody, yet should never lose intensity until the appearance of the decrescendo markings that begin in measure 33. The timpani heartbeat must also be strong. A two-part counterpoint line begins in measure 36 (refer to the piano part). The brass, flutes, and clarinets provide the sustaining sonic-residue effect that was introduced at the outset of the work, and sets up the next section.
ms. 39-48The melodic statement is performed in C aeolian by the bass clarinet, saxophones, bassoons, trumpet 1, and vibraphone. The doubling of the melodic statement a P5th above these instruments in the oboe and vibraphone should maintain a lighter presence, hence the lighter scoring. The sonic residue effect continues in the flutes, clarinets, and piano. Paramount importance must be placed on dynamics, especially in the sonic-residue parts, so that the concept of evaporation is clearly communicated. A transition to D aeolian in measure 44 also mirrors a transition of the melodic statement to the upper register while the brass section inherits the sonic residue. A final transition brings the work back to E-at aeolian in which the next section of the work begins.
ms. 49-63With a return to the tonal center of E-flat, the heartbeat is found in the timpani part. Two statements of the melodic motive (once again) try to build. The first statement (measures 51-54) fades away while the second statement (beginning in measure 55) arrives at a stable harmonic center (G-at major). The melodic motive is passed to the low winds and low horns at measure 61.
ms. 64-76This transitional section of the work begins a dissonant harmonic progression and dynamic climax. Although this climax seems to stall out in measure 69, this 13-measure passage serves as a dynamic climax to the next section that begins at measure 77. The melodic motive is repeated three times in the baritone saxophone, bassoons, euphonium, tuba, and string bass. These three statements are echoed (as mirrored inversions) by the alto and bass clarinets, tenor saxophone, and 2nd and 3rd trombones. All half-note durations (beginning at the stark! designation �– beat 4 of measure 69) must maintain dynamic intensity �– no fading away! All dynamic energy will be augmented by the percussion in measure 76.
ms. 77-86In this intense section that is rooted in C phrygian, the baritone saxophone, all brass, and string bass parts must keep a constant rate of decrescendo throughout each duration so that the dissonant harmonic punctuation remains powerful through measure 82. These players must not interpret the sforzando markings as forte-piano markings but, rather, they should accent each duration, remain dynamically strong and gradually fade away. The �‘last gasp�’ of harmony in measures 84-86 by these instruments is a true forte-piano and should be interpreted as such. The winds and marimba provide the melodic motive, which ascends in registration to measure 84. The ritardando in measure 86 is necessary to accommodate the grand pause for the release of (or the maintaining of) tension that has built up in the work to this point. Allow for enough silence so as to begin the next section (measure 87) in a more calm, yet ethereal manner. K
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ms. 87-95The melodic motive is presented in parallel minor and major seventh intervals. The use of one-on-a-part instrumentation, orchestration, and high registration gives this F-aeolian passage its ethereal setting. No dampening must occur in the piano so as to maintain the concept of sonic residue. Tempo may be expanded and contracted throughout this section.
ms. 96-106The melodic motive, now in C minor, loses momentum as it becomes truncated in two statements by the alto clarinet, low horns, euphonium, tuba, and string bass. An accompanied statement of the melodic motive appears in the opening key of E-flat aeolian by the bass clarinet, baritone saxophone, and euphonium at measure 102.
ms. 107-115The first two notes of the melodic motive, both in its original (ascending) form and inverted form begins a gradual building of melodic and harmonic consonance to E-at major.
ms. 116-125The four-note melodic motive is heard for the first time in the major mode and the sustained pitch of E-flat in the timpani and marimba provide a point of resolution in the major mode in contrast to the intense, apprehensive qualities of the work�’s opening aeolian mode. With the continual addition of instruments in stretto fashion, the contrapuntal complexity heightens.
ms. 126-133The build up of intensity increases as the rhythms of the melodic motive are presented in diminution. As is the case at measure 77, strive for a sforzando that is followed by a constant decrescendo in the brass �– not a forte-piano. The initial climax occurs at the downbeat of measure 131 only to be followed by an even greater dynamic climax that leads to measure 133. Allow percussionists some dynamic license in measures 132 & 133! The fermata at measure 133 must be sustained long enough (at least 20 seconds) to allow the tam-tam and suspended cymbal to decay and for the timpani part to emerge in the foreground (although still maintaining a dynamic level of piano).
ms. 134-143Begin this E-flat major section only when the melodic statement in the brass can be executed at a calm level. The brass statement should be performed in one breath (measures 134-137) with careful attention given to the tenuto (beat four of measure 136) in the 1st horn part. The timpani provides the heartbeat and, in terms of balance, should be interpreted as important as the melodic motive. E-flat aeolian elements from the beginning of the work (measure 10) are brought back in measure 138. In measure 143 all parts fade away with the exception of the horns who execute a �‘last gasp�’ molto crescendo on a dissonant, minor-second interval.
ms. 144-149These six measures bring back the very opening of the work. Once again, one-on-a-part instrumentation and no vibrato will help gain the sterile (lifeless) ethereal setting.
ms. 150-endBecause of the mode shift from aeolian to ionian (major), this last statement of the melodic motive leaves the work with a sense of hope and optimism. The last five measures should be executed in one breath. Again, the timpani heartbeat must be interpreted as equal in stature to that of the melodic motive.
Kevin M. WalczykFebruary 2002, McMinnville OregonKM
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© Copyright 2001 & 2008 by Keveli Music �• 1368 NW Zinfandel Ct., McMinnville Oregon 97128 �• All rights reserved. Printed entirely in the USA. �• for inquiries contact: [email protected]
Kevin M. WalczykVisionplace of SoulsComposed for the North Salem High School Wind Ensemble, Harry Blake & Bill Snyder, Directorstransposed score
duration = 10' 00"
KM
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�• 2 �•Visionplace of Souls KM
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�• 5 �• Visionplace of SoulsKM
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1
2
Pic.
Ob.
Eb Cl.
1
2
3
A. Cl.
B. Cl.
A. Sx.
T. Sx.
B. Sx.
Bsn.
1-3
2-4
Euph.
Tuba
1
2
3
4
Bass
Fl.
Hn.
Tpts.
Tbns.
Perc.
Piano
Cl.
j�œ �‰ �œb �œb �œb J�œ �‰
j�œ �‰ �œb �œb �œb j�œ �‰
J�œ �‰ �œb �œ �œ J�œ �‰j�œ �‰ �œb �œb �œ j�œ �‰
ww
wæ
wæ
56
�œb �œb �œb b
�œb �œb �œb b
�œb �œ �œ b
�œb �œb �œ b
ww
wæ
wæ
57
w
w
w
w
�œ�œbb bb �œ�œbb
wæ
wæ
58
J�œ �‰ �œb �œb .�œ J�œ
J�œ �‰ �œb �œb .�œ J�œ
Ó �‰ J�œ�œbb �œ�œbb
J�œ �‰ �œb �œb .�œ J�œ
J�œ �‰ �œb �œb .�œ J�œÓ �‰ J�œb �œb
wbÓ �‰ J�œb �œb
wb
wb
wwbb
Ó �‰ J�œb �œb
Ó .�œb j�œb
59
wb ≤
P
P
pP1.
p(bssn. cues)
p1.
1. mute
pmute
p2.
p
.�œb J�œb .�œ J�œ
.�œb J�œb .�œ J�œ
�œ�œ �œ�œbb �œ�œbb �œ�œ �œ�œ �œ�œ
.�œb J�œb .�œ J�œ
.�œb J�œb .�œ J�œ�œ �œb �œb �œ �œ �œ
w�œ �œb �œb �œ �œ �œ
w
w
ww
�œ �œb �œb �œ �œ �œ
.�œb j�œb .�œ j�œ
60
wb
w
w
ww
w
ww
�Œ 3
�œ# �œ# �œ# �œn�Œ 3
�œ# �œ# �œ# �œnw
�Œ 3�œ# �œ# �œ# �œn
�Œ3
�œ# �œ# �œ# �œn
�Œ3
�œn �œ# �œn �œn
ww�Œ 3
�œ�œ## �œ�œ## �œ�œnn �œ�œnnw
wb
61
PP
P
P
Pa2
P
J�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
J�œ�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
�œ# �œ �œn 3
�œ# #�œn �œ �œn 3
�œ# #
J�œ �‰ �Œ Ó�œn �œ �œn 3�œ# #
�œ# �œ �œn 3�œ# #�œn �œ �œn 3�œ #
j�œ�œ �‰ �Œ Ó�œ�œnn �œ�œ �œ�œnn
3
�œ�œ ##
J�œ �‰ �Œ Ój�œ �‰ �Œ Ó
62
Ó �œ�œ> �œ�œ## >
Ó �œ> �œ#>
Ó �œ> �œ#>
Ó �œ> �œ#>wwÓ �œ> �œ#>
w
w
w
wwÓ �œ�œ> �œ�œ## >
wæ
63
F
F
F
F
Fa2
Fopen1, 2.
sus. cym.
p
�œ> > J�œ �‰�œ> > J�œ �‰�œ> > J�œ �‰�œ�œ> ..>
�œb> b> J�œ �‰�œ> .#>
�œ> .#>
�œ> .#>
�œ> .#>
�Œ 3
�œ#> �œ#> �œ#> �œ>
�Œ 3
�œn> �œ#> �œ> �œ>Ó �Œ �œb>
Ó �Œ �œb>## > >
Ó �Œ �œb>
�Œ 3
�œn> �œ#> �œ> �œ>
�Œ 3
�œn> �œ#> �œ> �œ>
�Œ �œ Ó÷
w
64
�Œ3
�œn>≥ �œ#>≤ �œ>≤ �œ>≥
64 with growing intensity
F
F
F
F
F
F
Fa2
Fa2
F1.
F
F
bass drum
F
let ring
F
F
q»§ª> J�œ �‰ �œ>
.> J�œ �‰> J�œ �‰ �œ>
#>
b> J�œ �‰ �œn>
�œ> �œ>
#>
�œ> �œ>�Œ �œ#> �œ> �œ#> �œ#> �œ�Œ �œ> �œ> �œ#> �œ#> �œ �œ#> �œ>
�Œ �œ> �œ> �œ#> �œ#> �œ Ó
Ó
w
w�Œ ..## >
Ó #>w
�Œ �œ> �œ> �œ> �œ#> �œ
Ó
Ó
Ó æ¿ �Œ Ó
65
Ó
F
F
F
F3.
F2, 3.
P
Fcr. cym.
�œ# J�œ �‰�œ> #> J�œ �‰ J�œ �‰ �Œ�œ�œ> ..## >
�œb J�œ �‰�œ#> .#>
�œ#> .#>
�œ#> .#>. �Œ
. �Œ�œ#> .#>
. �Œ
�Œ 3
�œ#> �œ#> �œ#> �œ#>
�Œ 3
�œ#> �œ#> �œ#> �œ>�œ Ó �œb>
�œ �Œ �Œ �œb>> #>
�œ �Œ �Œ �œb>
. �Œ
�Œ 3
�œ#> �œ#> �œ#> �œ>
�Œ 3
�œ#> �œ#> �œ#> �œ>
�Œ �œ Ó
w
66
�Œ3
�œ#>≥ �œ#>≤ �œ#>≤ �œ>≥
f
f
f
f
f
let ring
f
f
�• 6 �•Visionplace of Souls KM
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4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
1
2
Pic.
Ob.
Eb Cl.
1
2
3
A. Cl.
B. Cl.
A. Sx.
T. Sx.
B. Sx.
Bsn.
1-3
2-4
Euph.
Tuba
1
2
3
4
Bass
Fl.
Hn.
Tpts.
Tbns.
Perc.
Piano
Cl.
> J >
> J > J >
>
> J >
> >
>
> >
> > > > > > > > > >
> > > >
>
>
> > > >
æ
67
J > > J J > >
J > >
> >
> >
> >
> > >
> > > >
>
>> >>
> >
> > >
> > >
68
≥ ≥ ≥
let ring
> J >
> 3> > >
> J >
3> > >
> J >
J >
J 3> > >
3> > > > >3> > > > >
3> > >3> > > > >
>
>
>>
3
> > > > >
>
>
69
≥
stark!
> >
> >
> > > > > >
> >
> >
> >
> >
°
70
chimes
> >
> >
> > > >
> >
> >
> >
> >
>
71
> >
>>
> > > > > >
> > > >
> > >
>
>
>
> >
> >> >
> >
> >
72
a2
a2
> >
>
>
> >
> > > >
> > > >
> > >
>
>
>
> >
> >> >
> >
> >
73
> > > > > > > > > > > > > > > >
> > > > >
> >> >
> >
> >
> >
74
> >
> >> > > >> > >
> > > > > > >
> > > >
> >
> >> >
> >
> >
÷
75
≥ ≥
poco accel.
j j j j j j j j j
j j
J j j j
ææ
76
J
sus. cym.
tam-tam
>> > > >
> J > j >
> >
>
>
>
>
> >
°
>>
77
>
77 violently q»¶§
1.
2, 3.
1, 2.
3.
let ring
let ring
j >> > > >
> J
> j J >
j > J
>
J >
J >
j >
> > > >
>
78
j >
�• 7 �• Visionplace of SoulsKM
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4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
1
2
Pic.
Ob.
Eb Cl.
1
2
3
A. Cl.
B. Cl.
A. Sx.
T. Sx.
B. Sx.
Bsn.
1-3
2-4
Euph.
Tuba
1
2
3
4
Bass
Fl.
Hn.
Tpts.
Tbns.
Perc.
Piano
Cl.
�œ> �œ> �œ> �œ>�œ> �œ> �œ> �œb>
�œ> �œ> �œ> �œ>�œ> �œ> �œ> �œb>
j�œ �‰ .>�œ�œb> �œ�œ> �œ�œ> �œb>
.> J�œ �‰
.> j�œ �‰ J�œ �‰ �œ>
j�œ�œ �‰ �œ�œbb >�œ�œ J�œ�œ �‰
>
J�œ �‰ .>
J�œ �‰ .>
j�œ �‰ .>
�œ�œb> >�œ�œ�œbbb >�œ�œ �œ�œ>
>
�œ> �œ> �œb> �œb>
79
j�œ �‰ > �œ
ff
fa2
f
ß
ß
ßß
ßß
ß
ß
ß
f
marimba med. soft mallets
ß
�œ> �œb> �œ> �œ>
�œ> �œb> �œ> �œ>
�œ> �œb> �œ> �œ>
�œ> �œb> �œ> �œ>
j�œ �‰ .>�œ�œb> �œ�œ> �œ�œ> �œb>
.> J�œ �‰
.> j�œ �‰ J�œ �‰ �œ>
j�œ�œ �‰ �œ�œbb >�œ�œ J�œ�œ �‰
>
J�œ �‰ .>
J�œ �‰ .>
j�œ �‰ .>
�œ�œb> >�œ�œ�œbbb >�œ�œ �œ�œ>
>
�œ> �œb> �œb> �œ>
80
j�œ �‰ > �œ
ß
ß
ßß
ßß
ß
ß
ß
ß
Ó3�œb �œ �œb
Ó 3�œb �œ �œ
Ó 3�œb �œ �œ
Ó 3�œb �œ �œ
Ó 3�œ �œ �œ
Ó 3�œ �œ �œ
Ó 3
�œ �œ �œ
Ó 3
�œ �œ �œ�œ> �œ> 3�œ �œ �œ�œ> �œb> 3�œ �œ �œ
�œ> �œ> 3�œ �œ �œ�œ> �œb> 3�œ �œ �œ
j�œ �‰ .>�œ�œb> �œ�œ> �œ�œ> �œb>
.> J�œ �‰
.> j�œ �‰ J�œ �‰ �œ>
j�œ�œ �‰ �œ�œbb >�œ�œ J�œ�œ �‰ >
J�œ �‰ .>
J�œ �‰ .>
j�œ �‰ .>
�œ�œb> >�œ�œ�œbbb >�œ�œ �œ�œ>
> &
�œ> �œb>3
�œ�œbb �œ�œ �œ�œ
Ó3
�œ�œbb �œ�œ �œ�œ&
81
j�œ �‰ > �œ
f
f
ff
a2
f
f
ff
ff
ff
ß
ß
ßß
ßß
ß
ß
ß
fxylo.
med. soft mallets
ß
3�œ �œ �œb3
�œ �œb �œb �œ �œ3�œ �œ �œ
3
�œ �œb �œb �œ �œ3�œ �œ �œ
3
�œ �œb �œb �œ �œ3�œ �œ �œ
3
�œ �œb �œb �œ �œ3�œ �œ �œ
3
�œ �œb �œ �œ �œ3�œ �œ �œ
3
�œ �œb �œ �œ �œ
3�œ �œ �œ3
�œ �œb �œ �œ �œ3�œ �œ �œ
3
�œ �œb �œ �œ �œ3�œ �œ �œ J�œ �‰ �Œ3�œ �œ �œ J�œ �‰ �Œ3�œ �œ �œ
3
�œ �œb �œ �œ �œ3�œ �œ �œ J�œ �‰ �Œ
j�œ �‰ �Œ Ó J�œ �‰ �Œ
J�œ �‰ �Œ
j�œ�œ �‰ �Œ�œ�œ J�œ�œ �‰ Ó
J�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
j�œ �‰ �Œ Ó3�œ�œb �œ�œ �œ�œb
3
�œ�œ �œ�œbb �œ�œbb �œ�œ �œ�œ3�œ�œb �œ�œ �œ�œb
3
�œ�œ �œ�œbb �œ�œbb �œ�œ �œ�œ
3�œ�œ �œ�œ �œ�œb3
�œ�œ �œ�œbb �œ�œbb �œ�œ �œ�œ3�œ�œ �œ�œ �œ�œb
3
�œ�œ �œ�œbb �œ�œbb �œ�œ �œ�œ
82
j�œ �‰ �Œ Ó
w
w
w
ww
w
w
w
w
ww
ww
wwww
83
J�œ �‰ �Œ ÓJ�œ �‰ �Œ ÓJ�œ �‰ �Œ ÓJ�œ �‰ �Œ ÓJ�œ �‰ �Œ ÓJ�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
J�œ �‰ �Œ Ó
�Œ .>
w>
w>Ó �Œ �œ>
Ó �Œ �œ�œbb >Ó >
�Œ .>
�Œ .>
�Œ .>ww
ww
84
�Œ .>≤
Í
Í
ÍÍ
ÍÍ
Í
Í
Í
Í
j�œ �‰ �Œ
�œ J�œ �‰ Ó�œ j�œ �‰ Ów
ww.. J�œ�œ �‰ J�œ �‰ �Œ J�œ �‰ �Œ
j�œ �‰ �Œ
85
j�œ �‰ �Œ
J�œ �‰ �Œ Ój�œ�œ �‰ �Œ Ó
86
rit.3�œb �œ �œb �œ
3�œ �œ �œb �œb
3�œ �œ �œb �œ3
�œ �œ �œ �œb
3�œ�œb �œ�œ �œ�œbb �œ�œb3�œ�œb
°�œ�œ �œ�œbb �œ�œb
3�œ �œ �œb �œb3�œb �œ �œb �œ
87
87 ethereal q»§§
F1o
F1o
F1o
F1o
F
Fsoft mallets
F
med. soft mallets
J�œ �‰ �‰ J�œ- �œ �œ
J�œ �‰ �‰ J�œb - �œ �œ
J�œ �‰ �‰ J�œ- �œ �œ
J�œ �‰ �‰ J�œb - �œ �œ
�œ�œ �‰ J�œ�œb - �œ�œ �œ�œ
�œ�œ �‰ J�œ�œb- �œ�œ �œ�œ
J�œ �‰ �‰ J�œb - �œ �œ
J�œ �‰ �‰ J�œ- �œ �œ
88
3�œb �œb �œb �œ3�œb �œ �œ �œ
3�œb �œ �œ �œ3
�œ �œ �œ �œ
Ó �œ
Ó �œ
3�œ�œbb �œ�œb �œ�œb �œ�œ3
�œ�œbb �œ�œb �œ�œb �œ�œ
3�œb �œ �œ �œ3�œb �œb �œb �œ
89
mute
p1.
mute
p1.
J�œ �‰ Ó
J�œ �‰ Ó
J�œ �‰ Ój�œ �‰ Ó
.
.
..
..
J�œ �‰ Ó
J�œ �‰ Ó
90
Ó �œ-
Ó �œb -
Ó �œ-
Ó �œb -
.
.
�œ�œb -
�œ�œb -
Ó �œb -
Ó �œ-
91
P
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�• 8 �•Visionplace of Souls KM
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4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
1
2
Pic.
Ob.
Eb Cl.
1
2
3
A. Cl.
B. Cl.
A. Sx.
T. Sx.
B. Sx.
Bsn.
1-3
2-4
Euph.
Tuba
1
2
3
4
Bass
Fl.
Hn.
Tpts.
Tbns.
Perc.
Piano
Cl.
�œ �œb 3�œb �œ �œb
�œ �œ 3�œb �œb �œ
�œ �œ 3�œb �œ �œ
�œ �œ 3�œ �œb �œ
j�œ �‰ Ó
J�œ �‰ Ó
�œ�œ �œ�œb3�œ�œbb �œ�œb �œ�œb
�œ�œ �œ�œb3�œ�œbb �œ�œb �œ�œb
�œ �œ 3�œb �œb �œ�œ �œb 3�œb �œ �œb
92
�œ
�œ �œb �œb
�œ
�œ �œ �œb
.
.
�œ�œ �œ�œ�œ�œbb �œ�œbb
�œ �œb �œb
�œ
93
p
p
b �œb
�œ
b �œ
�œ
.
.
bb �œ�œbb
�œ�œ
�œ
b �œb
94
�œ
.
�œ
.
.
.
�œ�œ ..
.
�œ
95
�Œ �œ
�Œ �œ
�Œ .w�Œ .w�Œ ..
Ów
�Œ �œ
Ó �Œ �œww
wwww
?
96
96 distant q»§º
Ptutti
Ptutti
Ptutti
Ptutti
PP1.
P
P
P
P
PP
mute2.
mute
P1, 2.
w
w
. j�œ �‰
. j�œ �‰
3
�œ- �œ- �œ-
j�œ �‰ �Œ
�œ j�œ �‰ Ó
j�œ �‰ �Œ�œ j�œ �‰ Ó j�œ�œ �‰ �Œ
�œ J�œ �‰ Ó3
�œ- �œ- �œ- bw
w�œ�œ J�œ�œ �‰ Ó
3�œ- �œ- �œ- b3�œ- �œ- �œ- b
wwww
wb æ
wb æ
97
3
�œ-≥ �œ-≤ �œ-≤ b
p
p2.
p
p
timpani
p
p
p
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p
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P1.
popen1.
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b
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103
b �œ �œb �œb
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b b
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�• 9 �• Visionplace of SoulsKM
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1
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Pic.
Ob.
Eb Cl.
1
2
3
A. Cl.
B. Cl.
A. Sx.
T. Sx.
B. Sx.
Bsn.
1-3
2-4
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Tuba
1
2
3
4
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Fl.
Hn.
Tpts.
Tbns.
Perc.
Piano
Cl.
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�œb .
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wæ
107
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107 with incessant resurgence
1.
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w
w
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wæ
108
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w
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wæ
109
w
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1.
2.
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113
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�• 10 �•Visionplace of Souls KM
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1
2
Pic.
Ob.
Eb Cl.
1
2
3
A. Cl.
B. Cl.
A. Sx.
T. Sx.
B. Sx.
Bsn.
1-3
2-4
Euph.
Tuba
1
2
3
4
Bass
Fl.
Hn.
Tpts.
Tbns.
Perc.
Piano
Cl.
�œ J�œ �‰ �œ �œb
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Popen1, 3.
Popen2.
P3.
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j�œ �‰
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æ �œb>æ
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>
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�• 11 �• Visionplace of SoulsKM
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1
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Pic.
Ob.
Eb Cl.
1
2
3
A. Cl.
B. Cl.
A. Sx.
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Bsn.
1-3
2-4
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