Tesis Obra Colombiana

CRITICAL EDITION AND INTERPRETATIVE ANALYSIS OF MÚSICA PARA
ORQUESTA DE VIENTOS Y PERCUSIÓN OP. 152 BY BLAS EMILIO ATEHORTÚA
by
Rubén Darío Gómez P.
A Doctoral Document
Presented to the Faculty of
The Graduate College at the University of Nebraska
In Partial Fulfillment of Requirements
For the Degree of Doctor in Musical Arts
Major: Music
(Wind Band Conducting)
Under the Supervision of Professor Carolyn Barber
Lincoln, Nebraska
May, 2020
ProQuest Number: 27836666
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CRITICAL EDITION AND INTERPRETATIVE ANALYSIS OF MÚSICA PARA
ORQUESTA DE VIENTOS Y PERCUSIÓN OP. 152 BY BLAS EMILIO ATEHORTÚA
Rubén Darío Gómez P., D.M.A.
University of Nebraska, 2020
Advisor: Carolyn Barber
This document presents a critical edition of the band piece called Música para
Orquesta de Vientos y Percusión Op. 152 by Colombian composer Blas Emilio
Atehortúa, as well as an interpretative analysis of it. Until today, the only original written
material of the piece is a set of instrumental parts in manuscript form. The full score and
any form of a reduced or condensed score are missing. Throughout the process of making
the present critical edition, the author clarified and reconciled the original manuscript
parts, create a complete full score, and produced an engraved set (parts and score).
This document also features a biographical sketch of the composer with emphasis
on his production for winds and percussion, some reasons why it is important to edit his
pieces, and some of the unfortunate consequences of the lack of professional editions in a
moment when modern music notation tools are widely available. An explanation of the
editing process, the challenges faced by the author and how they were solved, and a
detailed list of all the errors, discrepancies, inconsistences, and editorial contributions
will be also found. The interpretive analysis has been approached as a list of suggestions
based on Atehortúa’s use of musical materials, his orchestration, and intentions, orienting
conductors and players toward highlighting the most vital aspects of his compositional
voice.
Additional material includes an updated catalogue of Atehortúa’s output for winds
and percussion, and excerpts from an informal conversation between the author, maestro
Atehortúa, and his wife.
iii
Acknowledgments
First and foremost, I want to thank my family: Maria, Emilio, Esteban, and
Emanuel, for being my strongest support and inspiration during my last five years.
Thanks for understanding my absences and for being always present. I also want to thank
my mother Odilia, and my brother and sisters, for understanding the challenge of being so
far away from home and for sending me your positive energy all the time. Thanks also to
Celina and my entire wife’s family for undergoing your “girl’s” absence. We always felt
you present and that helped us go through. To all the kids, families, and team members of
Mochila Cantora in Bucaramanga, Colombia, for waiting patiently and for helping us
carrying this Mochila full of dreams.
I also want to thank all my teachers and mentors during my time at UNL,
especially Dr. Carolyn Barber and Dr. Gregory Simon for showing me new and different
pathways of making music, and for allowing me to discover new ones. Also, thanks to
professors Tony Falcone and Doug Bush, and band staff Rose Johnson and Jan Deaton
for being a model of organization, professionalism, and leadership. Special thanks to all
the members of the band organizations at the Glenn Korff School of Music for showing
appreciation and support in all of my projects, and for being so receptive and sympathetic
with this outside person. Thanks to Sarah Aymond, Chris Brandt, Matt Smoot, Josh
Cutting, Conner Viets, and Leon Zajimovic for the opportunity to share such great
personal and professional moments.
I would like to add professional acknowledges for those offering help during this
project, especially maestro Atehortúa and his wife Sonia, Joaquín Casadiego, and Pedro
Sarmiento. Special thanks to my friend and colleague Juan Carlos Marulanda for being
always available to discuss everything I needed about this project and about my career.
Also, thanks to all my colleagues in Colombia for your continuous support and for being
a constant inspiration to me.
Finally, I want to thank to the Hixson-Lied College of Fine and Performing Arts,
the Glenn Korff School of Music, and the Hixson-Lied Foundation in Nebraska, and
Universidad Autónoma de Bucaramanga in Colombia, for their invaluable support during
the last years.
iv
TABLE OF CONTENTS
List of Figures …………………………………………………………………………....vi
CHAPTER 1 INTRODUCTION
1) Blas Emilio Atehortúa: A Biographical Sketch ………………………………1
2) The Importance of Editing the Music by Blas Emilio Atehortúa …………….6
CHAPTER 2 THE EDITORIAL PROCESS
1) Available Sources ………………………………………………………………...8
2) Editorial Judgements and Decisions ……………………………………………...9
3) Finding and Fixing Errors …………………………………………………….…17
CHAPTER 3 INTERPRETATIVE ANALYSIS ……………………………………..…19
1) Movement I - Preludio ……………………………………………………..……19
2) Movement II - Scherzo-Bambuco ……………………………………………….20
3) Movement III - Canto Lírico ………………………………………………...….24
4) Movement IV - Canto Coral ……………………………………………….……26
5) Movement V - Ostinato …………………………………………………..……..28
CHAPTER 4 EDITORIAL COMMENTARY ………………………………………….30
1) Movement I - Preludio ………………………………………………………..…30
2) Movement II - Scherzo-Bambuco ……………………………………………….33
3) Movement III - Canto Lírico ……………………………………………………38
4) Movement IV - Canto Coral ……………………………………………….……41
5) Movement V - Ostinato …………………………………………………..……..41
LIST OF REFERENCES ………………………………………………………………..46

v
APPENDIX A FULL SCORE OF MÚSICA PARA ORQUESTA DE VIENTOS Y
PERCUSIÓN OP. 152. ………………………………………………………………….47
APPENDIX B INDIVIDUAL PARTS OF MÚSICA PARA ORQUESTA DE VIENTOS Y
PERCUSIÓN OP. 152. ………………………………………………………………….90
APPENDIX C UPDATED CATALOGUE OF WIND PIECES BY BLAS EMILIO
ATEHORTÚA. ………………………………………………………………………...234
APPENDIX D EXCERPTS FROM AN INTERVIEW WITH BLAS EMILIO
ATEHORTÚA AND HIS WIFE SONIA ARIAS BY RUBÉN DARÍO GÓMEZ …....239
vi
LIST OF FIGURES
Figure 2.1. Manuscript of the bassoon 1-2 part, movement V, mm. 15–17.…...……......10
Figure 2.2. Manuscript of the flute 1-2 part, movement II, mm. 18–21……...……….…11
Figure 2.3. Manuscript of the alto saxophone 1-2 part, movement V, mm. 9–10 ..….….11
Figure 2.4. Alto saxophone 1, movement II, mm. 6–9 of the edited part…………...…...12
Figure 2.5. Score of Rapsodia Bambuco para Banda Op. 193, mm. 63–70, manuscript..13
Figure 2.6. Manuscript of the horn 1-2 part, movement V, mm. 29–34……………...….16
Figure 2.7. F horn 1, movement V, mm. 29–34 of the edited part………………......…..16
Figure 3.1. Movement II, mm. 1–18, one-line reduction of the melody...……...……....21
Figure 3.2. Movement II, mm. 19–23, two-staves reduction of melody, countermelody,
and bass line………………………………………………………………………...……22
Figure 3.3. Movement V, mm. 1–22, reduction of the melodic line…………………….28

1
CHAPTER 1
INTRODUCTION
Blas Emilio Atehortúa: A Biographical Sketch
Blas Emilio Atehortúa Amaya was born in Santa Elena, Antioquia (Colombia) in
October 22 of 1943 under unique circumstances. His biological mother Myriam Spinoza
Perez was a Catalan biologist who was in the region of Santa Elena doing part of her
research during pregnancy. Early one morning, while taking some samples of flowers,
she had an accident and the baby was born in the middle of the forest. The mother, who
was suffering a severe hemorrhage, was taken to a hospital in Medellín, quite far from
Santa Elena and the baby was abandoned assuming he was dead.1 He was found and
rescued by Ramón Atehortúa and Gabriela Amaya, who became his adoptive parents.
Atehortúa’s first contact with arts occurred at home due to his family’s fascination
with opera and literature. He received his first formal musical training at the age of 12 at
the Conservatorio del Instituto de Bellas Artes in Medellín and in private lessons. His
first contact with bands happened at the age of 14 when he was hired as a timpanist by
the Banda Departamental de Antioquia, where he was also the music librarian. That job
awakened his interest in band orchestration. His first two pieces for winds date from that
period: a wind quintet and his Trio para Clarinetes y Fagot. His next band jobs were with
the Navy Band in Cartagena and from there he jumped into the most prestigious
1
Pamela Bowen Chester, “A Study of Life and Wind Music of Blas Emilio Atehortúa, Including a
Critical Edition and Stylistic Analysis of Cinco Piezas a Béla Bartók”, DA Diss, University of Northern
Colorado, Greeley, 1997.
2
Colombian band institution of that time, the National Band in Bogotá. In both jobs he
played the timpani.
In 1959 he was enrolled into the National Conservatory where he studied with
José Rozo Contreras, an important band director and orchestrator who brought the Italian
band tradition to Colombia, and Olav Roots, Atehortúa’s most important mentor in his
youth. His Concierto para Timbales y Orquesta de Cuerdas dates from this time. Once he
finished his studies at the National Conservatory in 1963, Atehortúa was awarded with
two scholarships to study at the Instituto Torcuato Di Tella in Argentina, under the main
guidance of Alberto Ginastera. During his first period at the Di Tella (1963) he also
received instruction from figures such as Aaron Copland, Olivier Messiaen, Luigi Nono,
Riccardo Malipiero, and Luigi Dallapiccola.
In 1965, he studied in the United States with one of his teachers from the Di Tella,
Aaron Copland. Copland connected Atehortúa with important figures such as Edgar
Varèse, Lukas Foss and Darius Milhaud. Another important connection made during that
time was with Robert Austin Boudreau, director of the American Wind Symphony in
Pittsburgh. Boudreau premiered his Concerto da Chiesa Op. 28 and that marked the
beginning of a durable and prosperous relationship that spawned several commissions for
winds, including his Concierto para Oboe y Orquesta de Vientos Op. 90, To the
Wonderful Rivers of Pittsburgh Op. 193, Coral y Ostinato Fantástico Op. 200, Concerto
for Two Marimbas and Wind Orchestra Op. 221, among others.
The second half of the 1960’s were busy years for Atehortúa, characterized by
many commissions and an important expansion of his reputation as a composer. His
second stage in Argentina occurred in 1966. His long-lasting relationship with Ginastera
3
provoked pieces such as Sinfonía-Elegía a Ginastera, commissioned by the Consejo
Interamericano de Música to honor his teacher at the first anniversary of his death, his
Requiem a Ginastera Op. 209 (not premiered yet), and his band orchestration of
Ginastera’s piano piece Twelve American Preludes.
Atehortúa returned to Colombia in 1969 with the aim of giving back what he
learned during his years out of his country. However, he found several difficulties and
resistance in his aspirations to plant new seeds and establish a modern school of
composition in his homeland. From 1969 to 1977 he worked for short periods of time at
many institutions, dealing with students and teachers with little interest in talking about
new teaching methodologies, new approaches to composition, and modern repertoires.
His period jumping from one university to another, was also marked by a turbulent
situation, especially at the university level. Groups of revolutionary students confronted
him several times, with regard of his apparent connections with the CIA (United States
Central Intelligence Agency), and accusations of failure to compose ‘Colombian music.’
Despite these circumstances, his production as a composer continued and he received
more commissions and performances from important national and international
organizations.
Atehortúa lived in Spain in 1977 thanks to a scholarship offered by the Oficina de
Educación Iberoamericana and the Ministry of Science and Education of Spain. It was a
time for him to meditate and to think about new stages in his life. In Spain, he kept
composing and arranging popular pieces for the recently founded Orquesta Filarmónica
de Bogotá. This orchestra appointed him as the assistant director from 1979 to 1982. For
them he wrote his Cinco Piezas a Béla Bartók Op. 104.

4
The period from 1980 to 2007 represents years of expansion and consolidation.
His achievements included several commissions by institutions such as the Organization
of American States, Colcultura (today’s Ministry of Culture of Colombia), the Simon
Bolivar Youth Orchestra in Venezuela, the American Wind Symphony, the University of
Northern Colorado, the Denver Brass, the National Youth Orchestra of Spain, Texas
Christian University, Orquesta Filarmónica de Bogotá, and the Chamber Orchestra of
Chile, among others. His guest conducting and teaching schedule was robust, including
appointments in Colombia, Puerto Rico, Chile, Venezuela, and the United States. He also
wrote several scores for television and films.
In 1991, the National University of Colombia awarded him an Honorary Degree
in Music and in 1992 he obtained the Guggenheim scholarship to study composition for
one year in the United States. The main product of this stage was his Piano Concerto No
2, premiered by the National Symphony Orchestra in Washington conducted by Mstislav
Rostropovich in 1993. The rest of the program, fully dedicated to the richness musical
life in the Americas, included pieces by Alberto Ginastera, Carlos Chávez, Heitor Villa-
Lobos, and Aaron Copland.
In 1995 he settled down in Bucaramanga, Colombia, where he worked at the
School of Music at Universidad Industrial de Santander. It was in his time in
Bucaramanga when the author of the present document and maestro Atehortúa started
their relationship as a teacher and pupil. The author studied under Atehortúa in areas
including conducting, composition, orchestration, and special topics in music. Atehortúa
taught using his own pieces, as he said, “not because they are the best, but because these
5
are the ones that I know better.”2 A large component of his classes consisted in analyzing
his music looking at his techniques and musical materials, his structures, and his
coloristic decisions. He also composed more pieces for a variety of ensembles during this
time, including bands, such as Latin-American Fanfare (for brass) Op. 192 #1, Musical
Offering for TCU Op. 195, and Impromptu para Banda Op. 203, among many others.
Atehortúa alternated his duties in Bucaramanga with frequent visits to Venezuela.
He had had initial activities in that country from 1989 to 1991, but from 2007 to 2013 his
relationship with Venezuelan institutions was significantly close. In Caracas, he was
subdirector of the IUDEM (University Institution for Musical Studies) and teacher of the
Simon Bolivar Music Conservatory.3 Another important mission in Caracas consisted in
teaching at the Cátedra Latinoamericana de Composición (Latin American Professorship
in Composition) created by Juan Antonio Abreu, founder and leader of El Sistema. 2008
and 2009 were difficult years for Atehortúa due to a kidney disease and he was forced to
return to Colombia. After the kidney transplant done in Medellín in 2009, he settled down
definitely in Bucaramanga, although some sporadic visits to Venezuela happened until
2013.
Atehortúa spent his last years in Bucaramanga. Although significantly less active,
he kept composing, lecturing, and attending performances of his pieces until his last days.
He passed away in Bucaramanga, Colombia on January 5 of 2020 after a surgical
procedure.
2
Pedro Sarmiento, La Música de Blas Atehortúa: Un Estudio Teórico y Estético de su Música
para Orquesta Sinfónica (Universidad del Bosque, 2010), 87.
3
———, ‘Catálogo’, email between him and the author, March 16, 2020.
6
The Importance of Editing the Music by Blas Emilio Atehortúa
Composer Blas Emilio Atehortúa is arguably the most important academic
composer from Colombia. His studies with some of the most important composers in the
twentieth century allowed him to develop a compositional tone of voice that comprises
many languages and aesthetics. His melodic and harmonic approach ranges from diatonic
elements, either tonal or modal, to serial techniques using small class sets or the whole
chromatic aggregate. Texturally speaking, his mastery in the use of tonal and atonal
counterpoint, homophonic and heterophonic textures, as well as in the use of aleatoric
writing is manifested in his whole output. His timbral and idiomatic approach to
instruments is remarkable, exhibiting knowledge of every instrument’s capabilities at
technical, dynamic, and expressive levels in great detail, almost as if he was a highly
proficient player of each.
The quality and quantity of Atehortúa’s output, however, contrast with the
amount of his published music. From a total of 256 completed opuses (in addition to
some others left unfinished or uncatalogued) less than 10% has been edited or published.
This fact has affected their performances, especially in the last ten years. The high quality
of today’s editions due to the popularity of music notation programs, and the reduced
amount of rehearsal time that ensembles are facing today, create difficulties to playing
music that, like the majority of Atehortúa’s, is still in manuscript form. Another reason
why it is important to edit Atehortúa’s music is to keep his pieces alive, present, and
available for the next generations of musicians. As pointed out by Pedro Sarmiento, an
important Atehortúa’s scholar, much of his music has been premiered by important
7
soloists and ensembles, especially in Venezuela, Colombia and the United States, and
very frequently, the premiere represents the only performance of the piece.
Important editorial projects about Atehortúa’s music are occurring in Colombia
now. Professional editor and composer Juan Carlos Marulanda is editing one of his string
quartets. Two institutions, Universidad Nacional de Colombia and Banco de la
República, are also leading editing projects of some of his solo pieces. Sonia Arias,
Atehortúa’s wife, and her son are organizing the Blas Emilio Atehortúa Foundation, and
one of its first tasks is to undertake some editing projects of his music very soon.
The present critical edition of Música para Orquesta de Vientos y Percusión Op.
152 represents another attempt for more internationalization and preservation of
Atehortúa’s music. This piece is a clear representation of his voice as a composer since it
combines elements of tonality, atonalism, folk influences, aleatoric writing, lyricism,
traditional and modern structures, and rhythmic drive. This piece is also one of his few
written for large wind band but paradoxically, one of very few of his pieces recorded
professionally outside of his country. Atehortúa’s production for winds was large,
however, his output for specific large wind groups comprises only fifteen to twenty
pieces if we include some for brass alone. Having another band piece by Blas Atehortúa
professionally edited and documented in a doctoral product, represents not only a big
impact in the task for more visibility of his name as a composer worldwide, but also a
recognition for Colombia as an important band protagonist in the Latin American
context.
8
CHAPTER 2
THE EDITORIAL PROCESS
Available sources
The main source used for the current critical edition of Música para Orquesta de
Vientos y Percusión Op. 152 was the set of individual parts that exist in manuscript form,
made by the composer. These parts were scanned by Joaquín Casadiego, Atehortúa’s son
in law, who is the person currently in charge of his copyrights. These parts were sent to
the author of the present document in digital form. The original score is missing. In a
conversation with Atehortúa, he admitted to not remembering which conductor he gave it
to. There is a version of the score, digitally engraved, presumably from 2000 or earlier,
but it lacks professional editorial quality, and it does not have the editor’s or the
engraver’s information. This score presents inconsistences, and thus was not the most
reliable source for this edition.
The set of manuscript parts include: piccolo, flutes 1-2, oboes 1-2, English horn,
bassoons 1-2, Eb clarinet, Bb clarinets 1-2-3, bass clarinet, alto saxophones 1-2, tenor and
baritone saxophones, Bb trumpets 1-2-3, horns 1-2-3-4, trombones 1-2-3, fliscorno tenor
in Bb, baritone (euphonium) in C, tuba, contrabass, timpani, percussion 1 (tubular bells,
snare drum, and temple blocks), percussion 2 (xylophone, large suspended cymbal, bass
drum, and maracas), and percussion 3 (gong, crash cymbal, tambourine, and bass drum).
This format comprises a fairly complete instrumentation for a full symphonic band, so
presumably the set of parts is complete. For the fliscorno tenor, the composer agreed on
using a baritone in Bb, so that is the one used in the present edition. Only one significant
9
change was made to the original format: the second oboe and the English horn were
condensed into a single part. The rationale for this decision will be explained in further
detail below.
Two professional recordings of the piece are also available and used at certain
points as reference. One of them was made by the Southern Illinois University-
Edwardsville Wind Ensemble, conducted by John Bell and released in 2002. The other
one was made by the Drake University Wind Symphony, conducted by Robert Meunier,
released in 2003.
Maestro Atehortúa participated in the first stages of the process when the author
was able to interview him and talk about his different professional experiences with
bands, and his inspirations for some of his band pieces. However, his unfortunate health
condition did not allow the author to discuss in detail some decisions in the final stage of
the present project. Blas Emilio Atehortúa passed away on January 5 of 2020.
Editorial judgements and decisions.
According to James Grier, one of the challenges faced by critical editors is “when
to retain notational elements used in the original sources.”4 He also affirms that the
purpose of a critical edition is to “transmit the text that best represents the historical
evidence of the sources.”5 In other words, the critical edition reflects the composer’s
ideas in their most pure and original form. However, some editorial decisions have been
made, generally aiming for more clarity and consistency.
4
James Grier, The Critical Editing of Music: History, Method, and Practice (Cambridge
University Press, 1996), 156.
5
Ibid.
10
An initial step consisted in looking at the parts to analyze them individually.
Atehortúa’s calligraphy was quite clear and easy to navigate, however he used several
shortcuts, such as the repeat sign for ostinatos or even within a measure. He also used
short lines crossing the stems to indicate eight-note subdivisions (fig. 2.1).
Figure 2.1. Manuscript of the bassoons part, movement V, mm. 15–17.
He also combined first and second parts in instruments such as flutes, oboes, bassoons,
alto saxophones, and trombones. There are other combined parts in trumpets 2-3, horns 1-
2, and horns 3-4. Combining parts is usually common in the score in order to save
vertical space, and also some conductors consider that helpful in the score study process.
In the individual parts, however, players prefer one voice per part. In the present edition,
each instrument has its own individual part.
Atehortúa’s use of courtesy and cautionary alterations, not only in this piece but
in many others, is quite unusual and certainly redundant. Several times, he writes these
alterations without an apparent need, as seen in figure 2.2 where the flutes have a
clarification of F6-natural every time it happens, even though there are no sharps or flats
in the key signature, and there are not previous F-sharps (fig. 2.2).
11
Figure 2.2. Manuscript of the flutes part, movement II, mm. 18–21.
In her book Behind Bars: The Definite Guide to Music Notation, noted music editor and
copyist Elaine Gould compiled parameters on what courtesy and cautionary alterations
might be used. According to Gould, courtesy or cautionary alterations may be provided to
clarify pitches occurring at different octaves, to an altered pitch that recurs within a few
bars, when an altered pitch is repeated later in the bar, to confirm whether an accidental
earlier in the bar still holds good or not, to confirm that certain intervals (usually
diminished and augmented) are intentional, to confirm a dissonance with a player seated
close by, and to indicate that the pitch holds altered after a grace note.6 All courtesy and
cautionary alterations were reviewed and only those needed, according to the parameters
described above, were kept. Other times, Atehortúa’s use of these alterations could be
justified by the fact that the part included more than one voice, so certain clarification
was needed (fig. 2.3).
Figure 2.3. Manuscript of the alto saxophones part, movement V, mm. 9–10.
6
Elaine Gould, Behind Bars: The Definite Guide to Music Notation (Faber Music, 2011), 82–84.
12
With all the parts individualized, these clarifications were no longer needed, so they were
omitted as well. Additionally, some cautionary alterations that were already required and
did not appear in the original manuscript were added, such as in m. 8 of the alto
saxophone 1, movement II (fig. 2.4).
Figure 2.4. Alto saxophone 1, movement II, mm. 6–9 of the edited part.
As mentioned above, the oboe 2 and English horn parts were combined into a
single one. One reason for this decision is practicality. It is known from common practice
in bands that most of the time having two oboists is more expected than having three
(with the third player covering the English horn part). Thus, to avoid a potential
limitation of requiring three oboe players, the second oboe and the English horn parts
were condensed. There are some musical considerations that helped to make that
decision. For instance, Atehortúa did not use the English horn in the fourth and fifth
movements. Also, its use in the first movement is quite small, playing only during six
measures doubling roles of other instruments. The second and third movements feature
the most important participation of the English horn, thus, its role in these movements
was prioritized. Additionally, the oboe 2 part in second and third movements includes a
lot of unisons with the oboe 1, or duplications of other instruments. Therefore, the piece
does not suffer significantly by omitting these unison lines.
In the first movement, Preludio, one decision was taken regarding numbering
measures. Atehortúa labeled the anacrusis as measure 1. According to Gould, “the first
13
complete bar (not an up-beat) is bar 1.”7 Based on that argument, the system of
numbering measures was adjusted thus, the first full bar was numbered as 1. As
commonly found in other multi-movement pieces, Atehortúa restarted measure numbers
at the beginning of every new movement, an aspect that was kept in the present edition.
Atehortúa wrote the time signature of the second movement, Scherzo-Bambuco,
as 6/8 = 3/4, probably inclined by some common alternations of these two meters, present
in several songs written in the style of Colombian Bambuco. He also used that type of
time signature in his Rapsodia Bambuco para Banda Op. 193 from mm. 63–79. In this
particular fragment, the musical alternation between the 6/8 and 3/4 meters is very clear
(fig. 2.5).
Figure 2.5. Score of Rapsodia Bambuco para Banda Op. 193, mm. 63–70, manuscript.
7
Elaine Gould, Behind Bars, The Definitive Guide to Music Notation, (Faber Music, 2011), 484.
14
However, an examination of the parts of the Scherzo-Bambuco allows us to see that its
rhythmic content is primarily in 6/8, with only a few moments of 3/4 subdivision.
Therefore, since such meter alternation does not exist, the most accurate way to notate the
second movement is entirely in 6/8. For those few measures in a ‘3/4 feeling’ the meter
grouping was adjusted to 6/8 following Gould’s principles on grouping to contradict the
meter.8
One of Atehortúa’s fingerprints in his entire production is the use of aleatoric
sections. The notation of these sections in Música para Orquesta de Vientos y Percusión
presented certain imprecisions that were also adjusted. The label senza misura, Italian
term for ‘without meter,’ was added at the beginning of the first aleatoric section in the
third movement. As Gould suggests, “an ‘X’ placed on the stave cancels an existing time
signature,”9 thus every time a new aleatoric section started, an X was added.
Consequently, when some metered music returned the new time signature was shown.
Neither the senza misura nor the X symbol existed in the original manuscript.
To indicate each entrance in the aleatoric sections, Atehortúa used circled
numbers, (which were kept), followed by vertical lines. Some editors prefer arrows
instead of the vertical lines for clarity purposes, therefore, arrows were used in the
present edition as well. In the score, dashed vertical lines were used instead of continuous
lines to avoid confusion between regular barlines since each line/arrow crosses the score
to point out the specific instrument that is being cued. When more than one instrument
enters at the same time, the arrow goes until the first instrument down the line.
8
9
Ibid, 611.
15
Spanish and Italian are the main languages used by Atehortúa in the manuscript
for this work. He used Spanish for titles (including movements), for instrument’s names
(except percussion and contrabass) and for one indication in the first aleatoric section in
the third movement (igual, which means ‘the same,’ or simile in Italian). All the titles
were kept in Spanish since this is the composer’s mother tongue. The word igual was
changed for ‘sim’ (abbreviated from simile in Italian, a term commonly used). Instrument
names were changed into English as this is a more standard practice at the international
level.
The composer used Italian for standard musical indications such as presto, poco
meno mosso, adagio, allegretto, among others, and to label percussion instruments and
the contrabass. Musical indications in Italian are widely used and accepted, thus they
were kept. The names of percussion instruments and the contrabass were translated into
English to keep consistency with other instruments in the edition.
In addition to frequent handwriting shortcuts found in the music note shapes,
Atehortúa also used abbreviations for some of the tempo indications. Specifically, he
used Allo for allegro, and Allo Mdto for allegro moderato. These indications were
presented in a correct manner in the new edition (allegro and allegro moderato).
Measures 29–40 in the fifth movement present a challenge because of the
complexity of the rhythmic content and the intricacy of the two lines. That section is even
harder to play due to the way it was originally notated. Both rhythms consist of many
short notes. The composer notated these rhythms using eighth-note rests to convey the
shortness of the sound (fig. 2.6)

16
Figure 2.6. Manuscript of the horn 1-2 part, movement V, mm. 29–34.
However, the number of musical signs that the player has to deal with creates an extra
difficulty in combination with the fast tempo of the movement and the rhythmic intricacy
between the two lines. In order to facilitate this section, the phrase was re-written using
some staccato signs to enable some eighth-note rests to be omitted (fig. 2.7).
Figure 2.7. F horn 1, movement V, mm. 29–34 of the edited part.
The musical result of that phrase does not suffer but the phrase is significantly easier to
perform. Before confirming that decision in the edition, an experiment was made with
players in which they were asked to play these rhythms in both ways. The majority of
them preferred the new notation. An exception occurred with percussionists, who
preferred the original version since they are more familiar with seeing complete
subdivisions. Therefore, the new notation was used for wind players and the original
notation was kept in the percussion parts.
There were other editorial decisions taken for different reasons, for example:
Atehortúa used interchangeably the words Rit and Ritard for ritardando. For consistency,
17
this edition always uses Rit. From measures 4–6 in the first movement, all upper
woodwinds, alto and tenor saxophones, have a phrase made by quick sixteenth sextuplets
with no articulation information in the original manuscript. These sextuplets were tied to
facilitate technical execution and to convey the ‘bubbling effect’ suggested by these
quick figures. From measures 58–62 in the second movement, the composer used the
expression string…molto…al… to indicate an accelerando toward the next presto. For
vertical space reasons, that indication was changed to accel.
Finding and fixing errors
One of the most important and longest steps in the process was to engrave the
parts into a professional music notation software application, in this case Finale version
25. This procedure allowed for listening to the parts either individually, in combination
with members of the same or different instrumental families, or in full ensemble. This
step unveiled the first inconsistences. The most evident ones were wrong notes within
instrumental families, and discrepancies in articulations and dynamics. Some easy-to-find
errors were found in phrases built in unisons or octaves where sporadic notes in certain
voices did not match with the particular context. Other errors like missing dynamics or
some dynamic discrepancies were also found and fixed. Generally speaking, for errors
such as wrong notes or discrepancies in dynamics, the given context or the majority of
instruments playing the ‘correct’ version, was the argument that swayed the final
decisions. Other errors were more difficult to find and to fix. One example is a
transposition error in the alto saxophone 2 in m. 9 of movement V. The phrase is a duet in
minor thirds including almost the entire woodwind section. Three notes in the middle of
18
the phrase in the alto saxophone 2 did not match the pattern in minor thirds, and they
were corrected. For more inconsistences, errors, and discrepancies in articulations,
dynamics, etc., see the critical commentary in Chapter 4.
A deeper level of review included a comparison that combined instruments from
more than one family, for instance all low woodwinds, or all upper brass, etc. This stage
revealed more inconsistences of the same kind, (i.e. wrong notes, different articulations,
and dynamics) as well as new ones, like certain rhythmic discrepancies between pairs of
instruments. As above, they were fixed by analyzing context and seeking to bring the
majority of instruments into agreement.
Common practice in critical editions and music notation books suggest that
editor’s contributions and modifications should be notated explicitly in the musical
materials. The vast majority of the contributions in the present edition are indicated with
square brackets. There are some few ties that were added to the piece, and they were
indicated by using dotted curves.

19
CHAPTER 3
INTERPRETATIVE ANALYSIS
The present chapter contains some interpretative recommendations, provided to
players and conductors, made by the author using different approaches. Sometimes his
suggestions illuminate the understanding of Atehortúa’s use of musical elements:
harmony, melodic construction, orchestration, and form. The author also provides
rehearsal and conducting suggestions, and other times he makes some approaches to the
style and the emotional meaning implied in a particular section. The present interpretative
analysis does not pretend to be a definitive guide or a final approach to the piece. Instead,
it might be considered as a starting point in the path of developing other understandings
of the work and of the Atehortúa’s compositional style. To facilitate navigating and
comprehending the present chapter, it is suggested to follow it looking at the score
included in Chapter 5 of the present document.
Movement I – Preludio
As its title suggests, Preludio (Prelude) is the shortest movement of the piece.
The initial motive, played by the upper woodwinds from the anacrusis to m. 2, is one of
the most crucial sonorities of the work. It contains essential melodic and harmonic
information that will be present throughout the piece such as: an octatonic scale and a
fully diminished seventh chord derived from it. Achieving clarity in this initial collection
of pitches, both melodically and harmonically, is important since it will help establish the
relationships with the subsequent phrases in other movements.

20
Instead of the traditional four-part SATB [soprano, alto, tenor, and bass] writing,
Atehortúa approached the wind band more from the perspective of high-medium-low.10
Quite frequently, he crosses a melody over these three ranges, as seen in mm. 7–8 of the
Preludio. He will use that compositional tactic in other movements as well, thus being
aware of that type of writing from the beginning of the piece is important and it may help
to solve future challenges of the same kind in other movements.
Secondary melodic material appears in bar 9, less rhythmically active, broader
and more sonorous, and orchestrated for all brass. It is important for the conductor and
the players to switch their attention to this new orchestral color, since Atehortúa is
achieving contrast by radically changing orchestration, rhythmic content, and texture.
There are some reminiscences of the initial melodic material from mm. 10–14 that should
not distract from the importance of the new material. The content in woodwinds from
mm. 10–14 is purely accompaniment and it needs to be treated as such. The ‘bell’ effect
in m. 17 will be better achieved if players initiate the sound almost from nothing (niente)
and have a clear point of arrival at m. 18 at B-natural in the low brass. The percussion
section plays an important role as a unifying element in the rising chord (suspended
cymbal) as well as in the arrival point at m. 18 (bass drum).
Movement II – Scherzo-Bambuco
As already mentioned in movement I, the fully diminished chord and the
octatonic scale are the main harmonic and melodic sources used by Atehortúa in this
piece. The fact that these chords and scales are transpositionally and inversionally
10
para Orquesta Sinfónica (Universidad del Bosque, 2010), 46.
21
symmetric is used by Atehortúa in mm. 1–18 to create intricate melodies that do not
necessarily follow a uniform antecedent-consequent pattern. Instead, he superimposes
intricate lines that are wisely differentiated by instrumental colors and ranges (fig. 3.1)
Figure 3.1. Movement II, mm. 1–18, one-line reduction of the melody, in concert pitch.
The conductor’s role is to identify where a new line is entering in order to highlight its
importance in the texture, and then let it play by itself while identifying new lines that
will become part of the foreground.
The second section of the movement, mm. 19–30, is texturally clearer due to the
presence of a single melody in a defined group of instruments (mostly upper woodwinds),
followed by a canonic imitation played by middle-range instruments (English horn,
bassoons, alto and tenor saxophones, and baritone). The challenge of this section is the
rhythmic intricacy resulting from the simultaneous presence of elements in 6/8 and 3/4, a
common characteristic of the style of Colombian Bambuco (fig. 3.2).

22
Figure 3.2. Movement II, mm. 19–23, two-staves reduction of melody, countermelody, and bass line,
in concert pitch.
It is important to the players to identify where each element is, in order to perform with
them as a team. However, since the 6/8 subdivision involves a larger number of players,
it is recommended to the conductor to pay close attention to the few people engaged with
materials in 3/4, and be ready to provide help to that team, if needed. Generally speaking,
it is beneficial to play with the ensemble some rhythmic exercises (either improvised or
previously prepared), where the pulse in one meter is interacting with the subdivision of
the other one, and vice versa. For instance, clapping the pulse in 6/8 versus singing the
quarter notes in 3/4 or any other rhythmic phrase in that meter. Underneath the melody
and the canonic imitation, there is a driving line in trumpets and snare drum that serves as
a unifying item for both rhythmic elements. A slight crescendo in every motive will
provide extra interest to this rhythmic line.
The next section of Scherzo-Bambuco, mm. 31–46, is texturally even more
transparent than the two previous ones. It presents an eight-bar phrase, played three
times, in a clear melody-and-accompaniment texture. The challenge during the first eight
bars is balance. The solo clarinet line is interacting with an accompaniment played by the
remaining clarinets, tenor and baritone saxophone, baritone, euphonium, tuba, double
bass, and tambourine. The current critical edition has provided clarification in dynamics:
forte was added to the solo, and piano was added to tenor and baritone saxophones (the
23
rest of the ensemble was already written a soft dynamic). The next two instances of the
same melody are orchestrated in a way that both elements are going to be heard clearly,
so balance should not be an issue. The rhythmic intricacy of 6/8 vs. 3/4 mentioned before
will continue until m. 54, so both conductor and players should keep their awareness of it
and use those recommendations made for the previous phrases.
The fourth section of the movement, mm. 56–71, and the coda, mm. 73–79, are
filled with tempo alternations, which require good visual and aural communication
among players and conductor. Particular attention is required from mm. 58–63, since the
accelerando and the presto indications might lead to an excessively fast tempo at m. 64,
which will cause the next phrase to be squeezed and disrupted. From mm. 64–67 there is
a phrase in canonic imitation that needs to be clean and clear, which confirms the need to
be not quite as fast in the previous accelerando. Atehortúa did not provide any new
metronomic indication for m. 64 (presto), which opens the door for many options. The
author suggests dotted quarter note = 132–140. Faster than that will cause clarity and
ensemble problems, and slower than that would seem too similar to the initial tempo, thus
not a true presto. The movement has two grand pauses, one at m. 55 and another one at
m. 72. Both of them are followed by a drastically slower tempo. It is recommended to
conduct these measures with a passive gesture in the next tempo, so players have one full
bar to guarantee a solid entrance and total agreement of the new speed.
The effect of moving the melody through high, middle, and low registers in the
ensemble, also used at mm. 7–8 of movement I, happens again at mm. 73–77. As before,
it is imperative to let players know that this is one of Atehortúa’s fingerprints so they can
24
be ready to give and take information from each other, thus these five measures are
interpreted as a whole line rather than as separate bars.
There is a fermata at m. 77. Regarding length, there are contrasting points of
view: from those believing that it has a definite duration in relation to the surrounding
music, to the idea that “the conductor may use his or her discretion as to the fermata’s
length.”11 In the case of m. 77 an ideal length should not be longer than double the length
of the affected note, in order to integrate it with the preceding phrase. With regard to
continuity, the conductor might continue the sound without a break or break the sound
briefly following the fermata. In either case, it is important not to interrupt the
momentum of the phrase to the end of the movement.
Movement III – Canto Lírico
Movement III, Canto Lírico is full of mysteries, enigmas, unanswered questions,
and dualities. One of the most evident dualities in the movement occurs between the
metered and unmetered sections. The other one occurs at each metered section where a
sense of apparent tonality is challenged by either a sudden atonal development of the line,
or by a juxtaposition of tonal and atonal elements between melody and accompaniments,
or by a presence of major-minor ambiguities. The conductor should draw the players’
attention to these elements so they can play these lines with conviction and certainty,
knowing that these dualities and ambiguities were the composer’s intention.
There are two aleatoric sections in the movement, the first one significantly
longer than the second. Aleatoric writing, or controlled spontaneity as he also called that
11
Elizabeth Green and Mark Gibson, The Modern Conductor, 7th ed., (Pearson Prentice Hall,
2004), 85.
25
technique, is one of Atehortúa’s fingerprints and is present consistently in his entire
production. In some pieces, Atehortúa typically specifies the duration of each cue in
seconds, but this is not the case in Canto Lírico. Therefore, one of the challenges for the
conductor is to calculate the appropriate placement of each entrance. The composer gave
us some hints of how to interpret these sections in a set of instructions that he wrote in the
score of his Soggeto da Vivaldi Op. 71. The most applicable to this piece are as follows:
• “the length of each value is up the performer. Each performer gives the note
lengths his or her own interpretation, according to the nature of the notes and the
proportional relations.
• a straight horizontal line to prolong the sound replaces ties when necessary.
• the undulating line means continue with the same effect until the next cue.”12
As mentioned above, the approximate duration of each cue was not given by the
composer, which opens the door for several interpretative decisions, either by the
conductor or by the players. It is recommended to give musicians enough freedom and
power to express every cue at their own discretion, so each aleatoric section will end up
being a diverse collection of thoughts. Particularly important is to warn players about a
desired ‘non-togetherness’ of these sections. In other words, having a lack of rhythmic
alignment is expected and makes the sections richer. The end of the first aleatoric section
leads to a very turbulent and nervous atmosphere that connects, without interruption, with
a new section at m. 14.
12
para Orquesta Sinfónica (Universidad del Bosque, 2010), 75 (translated by the author).
26
The third section of the movement, mm. 14–19, presents an oboe solo line that
should be leading the texture. The canonic imitation in the horn solo may be associated
with Atehortúa’s preferences for antiphonal writing, very present in some of his large
ensemble pieces such as Gaudeamus Op. 180 or Concertante Antifonal Op. 182. Thus,
this echo line should sound distant, ethereal.
The fourth melodic material, mm. 21–33, is preceded by a bridge also using
aleatoric writing (considerations from the first aleatoric section may be applied here as
well). The melody in this section is orchestrated for alto saxophones 1-2, tenor
saxophone, and English horn. Atehortúa’s fascination with coloristic explorations and
enigmatic colors is evident in this phrase. Therefore, a greater prominence of the English
horn’s sound in relation to the saxophones will create a unique color that will enhance the
mystery of the line. This phrase may be performed like a sequence of unanswered
questions, where the phrase is shaped looking for a resolution that never occurs.
Another duality occurs in the accompaniment of this phrase. The static and
seemingly relaxed chordal structure is obnoxiously disturbed by a succession of minor
seconds, primarily in clarinets 1-2. This interval needs to be present enough to alter the
listener’s comfort, but clandestine enough to let the melody be the most prominent
element in the texture. Some rising shape toward the melodic and harmonic climax,
occurring at m. 25, is highly recommended.
Movement IV – Canto Coral
Atehortúa’s fascination with the sonorities and structures of the past is present in
many of his pieces. Some titles make that assertion very obvious, for instance: Concerto
27
Grosso for Percussion, Double Bass and Orquesta Op. 18, Divertimento in the style of
Mozart Op. 43, Pastiche for Strings in the Style of Vivaldi Op. 56 #1, or Pastiche for
Strings in the Style of Haydn Op. 56 #2. Canto Coral evokes elements of the past
(Renaissance and Baroque styles) due to the alternation of homophonic and contrapuntal
textures, its uniform rhythmic construction, and the constant alternation between
instrumental colors, generally associated with the idea of consorts (instruments of the
same family) or with antiphonal writing, commonly used in churches during the
Renaissance and Baroque eras. Atehortúa combined these influences with lines filled
with his own compositional tone of voice, such as mm. 25–30 where a simple diatonic
melody presents a modern chordal harmonization.
Clean and short articulation in trumpets is desired in the first phrase, so they serve
as the role model for the rest of the phrases or sections. The exception occurs at mm. 27–
30 and 34–36 where saxophones might exaggerate their legato and soft dynamic. These
principles of contrast in articulations and dynamics apply also to the last phrase of the
movement, mm. 40–51.
This movement also includes an aleatoric section, and many principles exposed
for those in movement III can be applied here. There is a difference, however, at letters A
and B, where each cue is significantly shorter than those seen in movement III.
Therefore, to obtain a fluid melody, the conductor should give cues almost immediately
one after the other.

28
Movement V – Ostinato
Impetus and propulsion are the most important characteristics to have in mind
when playing the final movement of Música para Orquesta de Vientos y Percusión Op.
152. Even though the movement has well-defined sections differentiated by colors,
melodic and harmonic materials, textures, and densities, there is a sense of ‘endless’
melodies lasting for the entire movement that requires a high level of energy throughout.
Achieving melodic continuity is also a big task in Ostinato. The first line starts in
m. 2, goes until the repetition of the section at m. 1, starts over, and ends at the downbeat
of m. 22 (42 bars total) (fig. 3.3).
Figure 3.3. Movement V, mm. 1–22, reduction of the melodic line.
The challenge interpreting this long line resides in how the melody is orchestrated, since
there is more than one instrumental combination responsible for it. For example,
Atehortúa started with upper woodwinds (m. 2–6), then bassoons and bass clarinet (m. 6),
followed by trumpets, (m.7), then back to upper woodwinds (m. 8–9), then bassoons,
bass clarinets, trumpets, baritone, and euphonium, etc. The conductor has to be the link in
29
this plethora of colors, clearly showing where the line is going and who is going to be
connected with it. Additionally, players have to be visually and aurally engaged in order
to make this strategy work.
From mm. 29–40 Atehortúa wrote a rhythmic duet that he orchestrated in brass,
percussion, and saxophones. Clarity in articulation, absolute rhythmic precision, and
propulsion are required in this phrase.
A similar phenomenon of a melody broken up into colors occurs from mm. 22–
28, with the difference that this time, the melody is leaping among solo players rather
than among sections (i.e. from trumpet, to trombone, to clarinet, to horn, to tenor
saxophone, and back to clarinet). Thus, a similar strategy of visual and aural connection
may be applied in this portion. The idea of impetus and propulsion proposed earlier needs
to continue in the ostinato played by bassoons, baritone saxophone, euphonium, double
bass, and percussion, with a big consideration of balance since soloists are ‘competing’
with at least eight accompanying instruments.

30
CHAPTER 4
EDITORIAL COMMENTARY
The next list of errors, inconsistencies, discrepancies, additions, and omissions
illuminates the complete editorial process for the current edition. Three clarifications are
important to navigate and understand the next list: 1) all the notes correspond to written
pitches, 2) the document uses the C4 system meaning that C4 is the central key on the
piano and 3) all measure numbers correspond to the new edition.
Movement I - Preludio
Piccolo and flutes, m. 6, each group of sextuplets has been tied for technical reasons and
to enhance the ‘bubbling’ character of the line.
Oboe 1, anacrusis, an unnecessary courtesy alteration on B4 was removed.
Oboes, m. 5–6, each group of sextuplets has been tied for technical reasons and to
enhance the ‘bubbling’ character of the line. In the same measures, the number under the
sixteenth notes was 5 (incorrect), and it was changed to 6.
Oboes, m. 10, missing staccatos were added.
Bassoons, m. 3, a wrong note in the downbeat was corrected (A-natural to A-flat)
Bassoons, m. 8, an unnecessary courtesy alteration on C2 was removed.
Eb clarinet, mm. 4–6, each group of sextuplets has been tied for technical reasons and to
enhance the ‘bubbling’ character of the line.
Eb clarinet, mm. 12–17, unnecessary courtesy alterations on all B5s were removed.
31
All Bb clarinets, m. 4–6, each group of sextuplets has been tied for technical reasons and
to enhance the ‘bubbling’ character of the line.
All Bb clarinets, m. 5–6, all the sextuplets were written down, replacing the shortcut.
Clarinet 1, m. 6, a missing accent was added to the last note.
Clarinet 2, m. 17, an unnecessary courtesy alteration on B4 was removed.
Clarinets 2–3, m. 17, a cautionary alteration was added on G4.
Bass clarinet, m. 1, an unnecessary courtesy alteration on F3 was removed.
Bass clarinet, m. 1, the first note of the bar was corrected (C4 to C#4).
Alto saxophones, anacrusis, an unnecessary courtesy alteration on C5 was removed.
Alto saxophones, m. 4–6, each group of sextuplets has been tied for technical reasons and
to enhance the ‘bubbling’ character of the line. Also, every bar was written down,
replacing the shortcut.
Tenor saxophone, anacrusis, unnecessary courtesy alterations on D5 and F5 were
removed.
Tenor saxophone, m. 4–6, each group of sextuplets has been tied for technical reasons
and to enhance the ‘bubbling’ character of the line. Also, every bar was written down,
replacing the shortcut.
Baritone saxophone, mm. 1–6, unnecessary courtesy alterations on all C4s and B3 were
removed.
Baritone saxophone, mm. 3, a cautionary alteration in E4 was added.
All trumpets, m. 7, a missing accent in the second note was added.
Trumpet 1, m. 2, the second note was wrong, and it was corrected (E-flat5 to E5).
Trumpet 1, m. 10, an unnecessary courtesy alteration on A4 was removed.

32
Trumpet 1, m. 17, a missing p indication was added.
Trumpet 2–3, m. 17, a missing f indication was added.
Trumpet 3, m. 15, an unnecessary courtesy alteration on A4 was removed from the part
but was kept in the score.
All horns, m. 7, an unnecessary courtesy alteration on C4 was removed.
Horn 1–3, m. 5, an accent was added to this note. Also, this note was transposed up an
octave; the original note was in a non-practical range.
Horn 1, m. 14, an unnecessary courtesy alteration on A4 was removed.
Horn 1, m. 9, an unnecessary courtesy alteration on C5 was removed.
Horns 1–3, m. 3, an unnecessary courtesy alteration on B4 was removed.
Horn 2, unnecessary courtesy alterations on all C4s in the entire movement were
removed.
Horn 3, m. 15, an unnecessary courtesy alteration on G5 was removed.
Horn 4, All C-natural had unnecessary courtesy alterations that were removed.
All trombones, m. 17, an unnecessary courtesy alteration on F3 was removed.
Trombone 1, mm. 13–14, an unnecessary courtesy alteration on C4 was removed.
Trombone 2, m. 9, an unnecessary courtesy alteration on G3 was removed.
Trombone 2, m. 11, an unnecessary courtesy alteration on A3 was removed.
Trombone 3, m. 12, an unnecessary courtesy alteration on F3 was removed.
Trombone 3, m. 15, an unnecessary courtesy alteration on C3 was removed.
Baritone T.C., m. 1, the first note was wrong, and it was corrected (C5 to C-sharp5).
33
Baritone T.C., m. 2 was incomplete. One beat of rest was missing and added at the
beginning.
Baritone T.C., m. 8, an unnecessary courtesy alteration on D4 was removed.
Euphonium, m. 1 and 18, unnecessary courtesy alterations on B2 were removed.
Euphonium, m. 2 was incomplete; One beat of rest was missing and added at the
beginning.
Euphonium, m. 8, an unnecessary courtesy alteration on C3 was removed.
Tuba, m. 1, an unnecessary courtesy alteration on B2 was removed.
Double bass, m. 8, an unnecessary courtesy alteration on C2 was removed.
Double bass, m. 18, an unnecessary courtesy alteration on B2 was removed.
Timpani, all the tunings, including tuning changes were added to the parts.
Timpani, m. 4, an unnecessary courtesy alteration on E3 was removed.
All percussion parts, in addition to all the instrument names already present in the parts,
when-to-change-instrument instructions were added.
Percussion 1, m. 18, an unnecessary courtesy alteration on B4 was removed.
Movement II – Scherzo-Bambuco
Piccolo, m. 18, a missing G4 at the end of the first beat was added, to keep consistency
with the rest of the woodwinds.
Piccolo, m. 19–20 and 63, unnecessary courtesy alterations on F6 were removed.
Piccolo, m. 23, a rhythmic discrepancy with other instruments was repaired.
Piccolo, m. 65 and 67, an unnecessary courtesy alteration on B5 was removed.

34
Piccolo, m. 78, an unnecessary courtesy alteration on C6 was removed and an staccato
articulation was missing in the last note, D6.
Flutes, m. 19–20 and 62–63, unnecessary courtesy alterations on F6 were removed.
Flutes, m. 65–67, an unnecessary courtesy alteration on B5 was removed.
Oboes, m. 14, a A4 was added to the end of the phrase to better correspond to the
previous semi-phrase in flutes; oboes seem to be answering flutes.
Oboes, m. 39, the 3rd note was wrong, and it was corrected (E5 to F5).
Oboe 1, mm. 19–20 and 60, unnecessary courtesy alterations on F5 were removed.
Oboe 1, m. 65 and 67, an unnecessary courtesy alteration on B4 was removed.
Oboe 1, m. 73, an unnecessary courtesy alteration on E5 was removed.
Oboe 1, m. 78, a cautionary alteration on A5 was added.
Oboe 2/English horn, m. 13, an unnecessary courtesy alteration on C5 was removed.
Oboe 2/English horn, m. 20, a missing sharp on E4 was added.
Oboe 2/English horn, m. 22, an articulation inconsistency was fixed. It was supposed to
be as alto saxophones and bassoons.
Oboe 2/English horn, m. 65 and 67, unnecessary courtesy alterations on B4 were
removed.
Oboe 2/English horn, m. 78, a cautionary alteration on A5 was added.
Bassoon 2, m. 14, an a2 indication was added in the score.
Bassoon, 2, m. 75, two missing accents were added.
Eb clarinet, m. 10, an unnecessary courtesy alteration on D5 was removed.
Eb clarinet, m. 14, a F#4 was added to the end of the phrase to better correspond to the
previous semi-phrase in flutes.

35
Clarinet 1, m. 26, the 1st note was wrong, and it was corrected (F#5 to E5).
Clarinet 1, m. 59–63, every bar was written down again, replacing the shortcut.
Clarinet 1, m. 69–71, every bar was written down again, replacing the shortcut.
Clarinet 2, mm. 31–38 and mm. 59–63, every bar was written down, replacing the
shortcut.
Clarinet 3, m. 14, an unnecessary courtesy alteration on F4 was removed.
Clarinet 3, mm. 31–38, every bar was written down, replacing the shortcut.
Bass clarinet, mm. 15, 16–17, 20–27, 32–35, 37–38, 40–43, 44–46, 48, 50–54, and 59–
62, every bar was written down, replacing the shortcuts.
Alto saxophones, m. 78, an unnecessary courtesy alteration on C5 was removed.
Alto saxophones, m. 8, a cautionary alteration on D5-natural was added.
Alto saxophones, m. 9, an unnecessary courtesy alteration on D5 was removed.
Alto saxophone 1, m. 39–46 and 58–62, every bar was written down, replacing the
shortcut.
Alto saxophone 2, m. 48–50, unnecessary courtesy alterations on F5 were removed.
Tenor saxophone, m. 7, an articulation discrepancy was fixed (the first two notes had
staccato and it was changed to tied).
Tenor saxophone, mm. 33–46, every bar was written down, replacing the shortcut.
Tenor saxophone, m. 53, the spelling of the first note was changed to be consistent with
the context and to use a more familiar interval (B-flat4 changed to A-sharp4).13
13
36
Tenor saxophone, m. 57–60 and 62–63, every bar was written down, replacing the
shortcut.
Baritone saxophone, m. 28, it was an apparent extra bar according to the role played by
similar instruments such as bass clarinet, euphonium, and timpani. It was adjusted
copying m. 28 from euphonium to the baritone saxophone.
Baritone saxophone, mm. 15, 17–18, 20–26, 27–29, 30–38, 41–46, and 48–54 were
written down replacing the shortcuts.
Baritone saxophone, m. 78, an unnecessary courtesy alteration on C6 was removed.
Trumpet 1, m. 20, the note on the downbeat was wrong, and it was corrected (B5 to B-
flat5).
Trumpet 1, m. 17, a cautionary alteration was added on G4.
Trumpet 1, m. 18, an unnecessary courtesy alteration on G4 was removed.
Trumpet 1, m. 27, an unnecessary courtesy alteration on A4 was removed.
Trumpet 1, m. 47, a necessary div indication was added.
Trumpet 1, m. 51, the first note in the upper voice was wrong, and it was corrected (B5 to
B-flat5).
Trumpet 1, m. 61, because of the previous div indication, a unis indication was required,
and it was added.
Trumpet 1, m. 78, an unnecessary courtesy alteration on F5 was removed.
Trumpet 1, m. 78, a div indication was added.
Trumpets 2–3, m. 15, incorrect transposition in the first two notes was fixed.
Trumpet 2–3, mm. 62–63 and 69–71, every bar was written down, replacing the
shortcuts.
37
Trumpet 3, an unnecessary courtesy alteration on F4 was removed from the part but was
kept in the score.
Trumpet 3, m. 78, an unnecessary courtesy alteration on F5 was removed.
All horns, m. 6–7, inconsistencies in articulation were fixed based on context.
Horns 1-2, m. 66, an accent was missing, and it was added.
All horns, mm. 39–54, 57–63, and 69–71, every bar was written down, replacing the
shortcuts.
Horn 1, m. 66, an accent was missing, and it was added.
Horn 3, m. 6, an articulation inconsistency was fixed.
Horn 3, m. 75, an unnecessary courtesy alteration on F4 was removed.
Trombone 1–2, mm. 30, 48–54, and 57–63, were written down, replacing the shortcuts.
Trombone 3, mm. 16, 30, 48–54, and 57–63 were written down, replacing the shortcuts.
Trombone 3, m. 75, an unnecessary courtesy alteration on E3 was removed.
Baritone T.C., mm. 28–29, unnecessary courtesy alterations on G5 were removed.
Baritone T.C., mm. 33–46, 48–54, and 57–62 were written down, replacing the shortcuts.
Euphonium, mm. 21–27, 32–54, and 59–62 were written down, replacing the shortcuts.
Euphonium, m. 76, an unnecessary courtesy alteration on B2 was removed.
Tuba, mm. 13, 33–46, and 48–54, every bar was written down, replacing the shortcuts.
Double bass, m. 10, a down-bow articulation was added to C-sharp 3.
Double bass, m. 29, a missing arco indication was added.
Double bass, mm. 13, 16, 30, 32–34, 36–39, 41–42, 44, 46, 48–49, and 51–54, every bar
was written down, replacing the shortcuts.

38
Timpani, mm. 15–18, 20–27, 40–46, 48–54, every bar was written down, replacing the
shortcut.
Movement III – Canto Lírico
Oboe 1, m. 10, the solo indication was added to enhance the importance of this line
(suggested by the player)
Oboe 1, m. 11, a cautionary alteration on B5-natural was added.
Oboe 2/English horn, m 1, an unnecessary courtesy alteration on C5 was removed.
Oboe 2/English horn 1, m. 1, an unnecessary courtesy alteration on C5 was removed.
Bassoons, m. 24 and 27–30, some missing ties were added.
Bassoon 2, m. 14, a missing p indication was added.
All clarinets, mm. 23–30, inconsistencies in the articulation were found. They were fixed
by looking at the context from previous bars (portato marks were added).
Clarinet 1, #4 of the first senza misura section, an enharmonic spelling was adjusted (F-
flat to E-natural).14
Clarinet 1, #4 of letter C, an unnecessary courtesy alteration on A4 was removed.
Clarinet 1, mm. 16–19 and m. 28, every bar was written down, replacing the shortcut.
Clarinet 1, m. 30 was originally written as A-flat and the next measure it as written as G-
sharp. To avoid confusions, it was unified from m. 26–29 to G-sharp.
Clarinets 2-3, mm. 15–19, every bar was written down, replacing the shortcut.
Clarinet 2, m. 14, unnecessary courtesy alterations on D4 and F4 were removed.
Clarinet 2, #3 of letter C, the indication sim was added.
14
Elaine Gould, Behind Bars, The Definitive Guide to Music Notation, (Faber Music, 2011) 85.
39
Clarinet 3, #2 of senza misura section, the expression simile was added.
Clarinet 3, #4 of letter B, the expression sim was added.
Clarinet 3, # 4 of letter B, an unnecessary courtesy alteration on F4 was removed.
Clarinet 3, # 4 of letter B, a rhythmic inconsistency between clarinets 2 and 3 was fixed.
Clarinet 3, m. 31, a piano indication was eliminated because it seemed out of context.
Clarinet 3, m. 35, a divisi indication was added.
Clarinet 3, m. 43, the indication unis was added.
Bass clarinet, #2 of senza misura section, the expression simile was added.
Bass clarinet, #4 of letter B, the expression sim was added.
Bass clarinet, mm. 15–19 and 22, every bar was written down, replacing the shortcuts.
Alto saxophones, m. 26, an unnecessary courtesy alteration on G4 was removed.
Alto saxophone 1, m. 1, an unnecessary courtesy alteration on D5 was removed.
Alto saxophone 1, m. 7, an unnecessary courtesy alteration on F5 was removed.
Alto saxophone 1, mm. 15–19, every bar was written down, replacing the shortcuts.
Tenor saxophone, mm. 15–19, every bar was written down, replacing the shortcuts.
Tenor saxophone, m. 30, an unnecessary courtesy alteration on C6 was removed.
Baritone saxophone, mm. 15–18 and 22, every bar was written down, replacing the
shortcuts.
Trumpet 1, #4 of letter A, the sustain line was added to the whole notes, to be consistent
with the rest of the phrase.
Trumpet 1, #5 of letter C, the simile indication was added.
Trumpet 1, #4 of letter C, a staccato was missing in the last sixteenth note, and it was
added.
40
Trumpet 1, m. 33, the only note in this bar was wrong, and it was corrected (C5 to C-
sharp5).
Trumpet 2, #4 of letter C, a sim indication was added.
Horn 1, #1 of letter C, an unnecessary courtesy alteration on F4 was removed.
Horn 1, #2 of letter C, a simile indication was added.
Horn 2, #3 of letter C, an unnecessary courtesy alteration on F3 was removed.
Horn 3, #3 of letter C, an unnecessary courtesy alteration on B3 was removed, and a mf
indication was added.
All trombones, letter C, a simile indication was added.
Trombone 1, #1 of letter A, a needed mf indication was added.
Trombone 1, #1 of letter C, an unnecessary courtesy alteration on E3 was removed.
Trombone 2, a con sord indication was added as a reminder.
Tuba, mm. 15–19 and 22, every bar was written down, replacing the shortcuts.
Tuba, m. 40, a missing p indication was added.
Double bass, mm. 15–19 and 22, every bar was written down, replacing the shortcuts.
Timpani, #1 of letter A, a mf indication was added.
Timpani, #3 of m. 37, a simile indication was added.
Timpani, #4 of letter C, an unnecessary courtesy alteration on E3 was removed.
Percussion 1, #1 of letter A and #4 of letter B, an unnecessary courtesy alteration on E4
was removed.
Percussion 1, #1 of letter A, some articulation was added to the tubular bells part.
41
Percussion 1, #5 of letter B, a simile indication was added.
Movement IV – Canto Coral
Flute 1, #4 of letter A, the solo indication was added.
Flute 1, #1 of letter B, this motive was tied to keep consistency with the previous motive.
Flute 1, m. 38, a tutti indication was added.
All clarinets and bassoons, m. 41, a mf was added to be consistent with m. 34, which is
the same phrase.
Clarinet 1, #1 of letter B, an unnecessary courtesy alteration on C5 was removed.
Clarinet 2-3, m. 50, a missing forte indication was added.
Bassoon, 1-2, m. 41, a missing mf indication was added.
Bassoon 1, #5 of letter A, an unnecessary courtesy alteration on F3 was removed.
Alto saxophone 1, m. 42, the second note was wrong, and it was corrected (D5 to D-
sharp5).
Tenor saxophone, m. 36, a missing diminuendo and a p indication were added.
Tenor and baritone saxophones, m. 50, a missing ff indication was added.
Trumpet 1, m. 1, a needed tutti indication was added.
Trumpet 2-3, m. 60, a missing f indication was added.
Percussion 1, #4 of m. 37, a simile indication was added.
Percussion 3, m. 51, a missing fermata was added.
Movement V - Ostinato
Piccolo, m.9, an unnecessary courtesy alteration on the first C6 was removed.

42
Piccolo, m. 47, 3rd and 4th notes were wrong, and they were corrected to G5 and F5.
Piccolo, m. 72, an unnecessary courtesy alteration on E5 was removed.
Flutes 1-2, m. 9, an unnecessary courtesy alteration on C6 was removed.
Flutes, m. 21, a necessary courtesy alteration was added in the first note, B5.
Flutes, m. 42, an unnecessary courtesy alteration on B5 was removed.
Flutes, m. 67, a forte indication was added.
Flutes, m. 70, an unnecessary courtesy alteration on A5 was removed.
Flute 1, m. 6, a missing A5 on the downbeat was added.
Flute 1 and oboe 1, m. 41, the last note was wrong, and it was corrected (G5 to F5).
Oboe 1, m. 9, an unnecessary courtesy alteration on the first C6 was removed.
Oboe 1, m. 67, a missing forte was added.
Oboe 1, m. 68, the last note was wrong, and it was corrected (B5 to B-flat5).
Oboe 2/English horn, m. 9, an unnecessary courtesy alteration on the first A5 was
removed.
Oboe 2/English horn, m. 53, an unnecessary courtesy alteration on B4 was removed.
Oboe 2/English horn, m. 70, an unnecessary courtesy alteration on A4 was removed.
Bassoons, m. 10–11, missing staccatos were added.
Bassoons, m. 15–16, steady eighth notes were written down, replacing the shortcut.
Bassoons, m. 22, an unnecessary courtesy alteration on F2 was removed.
Bassoons, m. 74, every note was written down, replacing the shortcut.
Eb clarinet, m. 9–10, the entire line was fixed; almost all the notes were transposed
incorrectly.
Eb clarinet, m. 67, a missing forte indication was added.

43
All Bb clarinets, m. 53, the note on the down beat does not correspond to the melodic
continuity and the dovetail effect, on flutes and oboes, thus F5 was changed to E5.
All Bb clarinets and horns, mm. 61–62, some accents were missing based on the
rhythmic and harmonic context.
All Bb clarinets, m. 67, a missing forte indication was added.
Clarinet 1, m. 9, an unnecessary courtesy alteration on the first D5 was removed.
Clarinet 1, m. 61, the last note was wrong, G#4 was changed to G4-natural.
Clarinet 2, m. 8, a sharp alteration was missing on the 4th note.
Clarinet 2, m. 21, an articulation inconsistency was fixed.
Clarinet 2, mm. 56–58, every bar was written down replacing the shortcuts.
Clarinet 2, m. 72, a lack of clarity with the second note, F-sharp5, was fixed.
All Bb clarinets, m. 67, a missing forte indication was added.
Clarinet 3, m. 53, a wrong note was corrected (F5 to E5)
Clarinet 3, m. 9, an unnecessary courtesy alteration on D5 was removed.
Bass clarinet, m. 45, the last note was wrong, and it was corrected (D4 to D#4).
Bass clarinet, m. 48, the third note was wrong, and it was corrected (E4 to F#4).
Bass clarinet, m. 61, the third note was wrong, and it was corrected (G#4 to A4).
Bass clarinet, m. 64, the bar was written down to replace the shortcut.
Bass clarinet, m. 72, an inconsistency in the first two notes was fixed.
Alto saxophone 1, m. 9, an unnecessary courtesy alteration on A5 was removed.
Alto saxophone 1, m. 73–74, every bar was written down to replace the shortcut.
Alto saxophone 2, m. 9, three wrong notes.

44
Tenor saxophone, mm. 16 and 74 were written down, replacing the shortcuts.
Tenor saxophone, m. 37, the third note was wrong and changed to B4.
Baritone saxophone, m. 12, an unnecessary courtesy alteration on F4 was removed.
Baritone saxophone, mm. 15–16, 23–27, 63–64, and 74, every bar was written down,
replacing the shortcuts.
Baritone saxophone, m. 22, an unnecessary courtesy alteration on D4 was removed.
Trumpet 1, m. 18, redundant information about the articulation was adjusted.
Trumpet 1, m. 29, a needed tutti indication was added.
Trumpet 1, m. 62, a required accent was added to the last note.
Trumpets 2-3, m. 53–54, every bar was written down, replacing the shortcut.
Trumpets 2-3, m. 73–74, every bar was written down, replacing the shortcut.
Trumpet 2, m. 62, a required accent was added to the first note.
Trumpets 2-3, m. 73, a courtesy alteration was added to the first note.
Horns 1-2, m. 59, an unnecessary courtesy alteration on F5 was removed.
Horns 1-2, m. 1-2, 16, 53–54, 64, every bar was written down, replacing the shortcuts.
Horns 1-2, m. 61, accents on the last two notes were added.
Horns 3-4, m. 59, an unnecessary courtesy alteration on G4 was removed.
Horns 3-4, m. 69, a small circle to indicate that the sound returns to open was added.
Trombone 1-2, m. 6 was incomplete; the first two beats were missing, and they were
added (a half note rest).
Trombone 1-2, mm. 15–16, 63–64, and 74 were written down, replacing the shortcuts.
Trombone 2-3, m. 15 and 63, unnecessary courtesy alterations on E3 were removed.

45
Trombone 3, mm. 63–64 and 74, were written down, replacing the shortcuts.
Baritone T.C., m. 16 was written down, replacing the shortcut.
Baritone T.C., m. 49, an unnecessary courtesy alteration on F4 was removed.
Baritone T.C., m. 61, the fifth note was wrong, and it was corrected (D5 to D-sharp5).
Euphonium, m. 22, an unnecessary courtesy alteration on F3 was removed.
Euphonium, mm. 15–16, 23–27, and 74, were written down, replacing the shortcuts.
Euphonium, m. 59 and 75, unnecessary courtesy alterations on B2 were removed.
Tuba, mm. 15–16, 63–64, and 74, every bar was written out, replacing the shortcuts.
Double bass, m. 22, an unnecessary courtesy alteration on F3 was removed.
Double bass, mm. 15–16, 24–27, 63–64, and 74, every bar was written down, replacing
the shortcuts.
Double bass, m. 75, an unnecessary courtesy alteration on B2 was removed.
Timpani, mm. 23–27, every bar was written down, replacing the shortcuts.
Percussion 1, m. 45, a tie was added to that note.
Percussion 1, m. 75, an unnecessary courtesy alteration on B4 was removed.

46
List of References
Atehortúa, Blas E. Música para Orquesta de Vientos y Percusión, scanned version of the
manuscript of the parts, the composer’s collection, (accessed April, 2019).
Bowen Chester, Pamela. “A Study of Life and Wind Music of Blas Emilio Atehortúa,
Including a Critical Edition and Stylistic Analysis of Cinco Piezas a Béla Bartók.”
DA Diss, University of Northern Colorado, Greeley, 1997.
Friedmann, Susana. Blas Emilio Atehortúa: Tallando una Vida de Timbres, Acentos y
Resonancias. Ministerio de Cultura de Colombia, 2014.
Garrido, Glenn. “An Analysis of Atehortúa’s Music for Winds and Percussion, Opus
152.” WASBE Journal Vol. 11 (2004): 13–26.
———. “Conducting, Teaching, and Interpreting Three Selected Contemporary Wind

Band Works by Latin American Composers.” PhD diss., University of Florida,
2000.
Gould, Elaine. Behind Bars: The Definitive Guide to Music Notation. Faber Music Ltd,
London, 2011.
Green, Elizabeth and Mark Gibson. The Modern Conductor, 7th edition. Pearson Prentice
Hall, New Jersey, 2014.
Grier, James. “Editing” in Grove Music Online. 2001, accessed 26 March 2019.
———. The Critical Editing of Music: History, Method, and Practice. Cambridge
University Press, 1996.
Grupo Interdís. “Blas: El Hombre y su Leyenda.” YouTube, 14 Mar. 2013,

https://www.youtube.com/watch?v=fkdBkJV1sw8
Major Orchestra Librarians’ Association. MOLA Guidelines for Music Preparation.

Major Orchestra Librarians’ Association Publications Committee, 2017.
Sarmiento, Pedro. La Música de Blas Atehortúa: Un Estudio Teórico, Estilístico y

Estético de su Música para Orquesta Sinfónica. Universidad El Bosque, Bogotá,
2010.
———. ‘Catálogo’, email between him and the author. March 16, 2020.
Urchueguía, Cristina. "Critical Editing of Music and Interpretation: Critical Editions for
Critical Musicians?" Text 16 (2006): 113–29,
http://www.jstor.org/stable/30227962.
47
APPENDIX A
FULL SCORE OF MÚSICA PARA ORQUESTA DE VIENTOS Y PERCUSIÓN OP. 152

Blas Emilio Atehortúa
Música para Orquesta de Vientos y Percusión

Op. 152
Critical Edition by:

Rubén Darío Gómez P.
Música para Orquesta de Vientos y Percusión
Op. 152
Instrumentation
Piccolo
Flute 1-2
Oboe 1
Oboe 2/English Horn
Bassoon 1-2
Eb clarinet
Bb Clarinet 1-2-3
Bass Clarinet
Eb Alto Saxophone 1-2
Tenor Saxophone
Baritone Saxophone
Bb Trumpet 1-2-3
F Horn 1-2-3-4
Trombone 1-2-3
Baritone T.C.
Euphonium
Tuba
Double Bass
Timpani
Percussion 1
snare drum, tubular bells, temple blocks
Percussion 2
bass drum, maracas, large suspended cymbal, xylophone
Percussion 3
gong, crash cymbal, tambourine, bass drum (shared with perc. 2)
© of the current edition Rubén Darío Gómez P. - 2020

Program notes by Rubén Darío Gómez P.
Música para Orquesta de Vientos y Percusión Op. 152 (1989) was commissioned by the International Festival for
Contemporary Music in Uster, Switzerland and it was supposed to be premiered in that event by the Perugia Symphonic
Band. However, the ensemble canceled its appearance and the original premiere did not occur. The piece was premiered in
September 25, 1993, in the same event, by the Royal Northern College of Music Wind Ensemble, conducted by Clark
Rundell.
Música para Orquesta de Vientos y Percusión is organized in five movements and they exhibit several of Atehortúa’s
fingerprints, including his recurrent use of octatonic scales, his intense rhythmic activity, passages in aleatoric writing, and
the use of Colombian rhythms, particularly evident in the second movement, Scherzo-Bambuco. As present in other of his
pieces for large ensembles, Atehortúa contrasts big and small forces between movements. For instance, movements 1, 2 and
5 are for full band, with dense instrumentations and loud sonorities, whereas in movements 3 and 4, the band is totally
treated as a collection of chamber ensembles, with lots of solo lines in lyrical style and some instruments of the full
ensemble completely absent.
The piece remained not edited and unpublished for more than 30 years which explains why the piece has had only some
sporadic performances and two recordings, all of them made from manuscripts. The modern critical edition was made by
Rubén Darío Gómez P. as part of his doctoral dissertation in Wind Band Conducting at the University of
Nebraska-Lincoln in 2020. The only existing material was the set of instrumental parts in manuscript; the score was lost.
Blas Emilio Atehortúa (1943 - 2020)
Colombian composer Blas Atehortúa is considered the most prolific academic composer of his generation and the most
internationally acclaimed. Some critics consider Atehortúa the father of academic music in Colombia. In the program notes
of his Second Piano Concerto, commissioned and conducted by Mstislav Rostropovich in 1992 at the Kennedy Center,
Richard Freed affirmed that “Blas Atehortúa personifies the productive interchange of talent and ideas that have made the
musical life of the Americas so rich in our century.”
In 1963, Atehortúa was awarded with a scholarship to study at the Instituto Torcuato Di Tella in Buenos Aires,
Argentina, where he studied with Alberto Ginastera from 1963 to 1964 and from 1966 to 1968. Other important teachers
include Aaron Copland, Olivier Messiaen, Ricardo Malipiero, Luigi Dallapiccola, Luigi Nono, and Bruno Maderna. He also
obtained scholarships offered by the Rockefeller Foundation (Argentina), Ford Foundation (USA), Organization of
American States, Oficina de Educación Iberoamericana and Ministry of Education and Science (Spain), and the
Guggenheim Memorial Foundation, all of them to sponsor his studies in composition outside of his country.
He wrote extensively for big forces, including the regular orchestral and wind band groups, but also even larger
combinations such as double orchestra, orchestra and wind band, and orchestra and choir (sometimes even with double choir
and vocal soloists). He also has a huge catalog of chamber music, pieces for solo instruments (with and without
accompaniment), two film scores, songs, electroacoustic music, and plenty of orchestral arrangements of traditional
Colombian songs.
The Editorial Process

Available sources
The main source used for the current critical edition of Música para Orquesta de Vientos y Percusión Op. 152 was the
set of individual parts that exist in manuscript form, made by the composer. The original score is missing. In a conversation
with Atehortúa, he admitted to not remembering which conductor he gave it to. There is a version of the score, digitally
engraved, presumably from 2000 or earlier, but it lacks professional editorial quality, and it does not have the editor’s or the
engraver’s information. This score presents inconsistences, and thus was not the most reliable source for this edition.
The set of manuscript parts include: piccolo, flutes 1-2, oboes 1-2, English horn, bassoons 1-2, Eb clarinet, Bb clarinets
1-2-3, bass clarinet, alto saxophones 1-2, tenor and baritone saxophones, Bb trumpets 1-2-3, horns 1-2-3-4, trombones
1-2-3, fliscorno tenor in Bb, baritone (euphonium) in C, tuba, contrabass, timpani, percussion 1 (tubular bells, snare drum,
and temple blocks), percussion 2 (xylophone, large suspended cymbal, bass drum, and maracas), and percussion 3 (gong,
crash cymbal, tambourine, and bass drum). This format comprises a fairly complete instrumentation for a full symphonic
band, so presumably the set of parts is complete. For the fliscorno tenor, the composer agreed on using a baritone in Bb, so
that is the one used in the present edition. Only one significant change was made to the original format: the second oboe and
the English horn were condensed into a single part. The rationale for this decision will be explained in further detail below.
Two professional recordings of the piece are also available and used at certain points as reference. One of them was
made by the Southern Illinois University-Edwardsville Wind Ensemble, conducted by John Bell and released in 2002. The
other one was made by the Drake University Wind Symphony, conducted by Robert Meunier, released in 2003.
Maestro Atehortúa participated in the first stages of the process when the author was able to interview him and talk
about his different professional experiences with bands, and his inspirations for this and other band pieces. However, his
unfortunate health condition did not allow the author to discuss in detail some decisions in the final stage of the present
project. Blas Emilio Atehortúa passed away on January 5 of 2020.
Editorial judgements and decisions.
An initial step consisted in looking at the parts to analyze them individually. Atehortúa’s calligraphy was quite clear and
easy to navigate, however he used several shortcuts, such as the repeat sign for ostinatos or even within a measure. He also
used dashes over long notes to indicate subdivisions. He also combined first and second parts in instruments such as flutes,
oboes, bassoons, alto saxophones, and trombones. There are other combined parts in trumpets 2-3, horns 1-2, and horns 3-4.
Combining parts is usually common in the score in order to save vertical space, and also some conductors consider that
helpful in the score study process. In the individual parts, however, players prefer one voice per part. In the present edition,
each instrument has its own individual part.
Atehortúa’s use of courtesy and cautionary alterations, not only in this piece but in many others, is quite unusual and
certainly redundant. Several times, he writes these alterations without an apparent need. In her book Behind the Bars: The
Definite Guide to Music Notation, noted music editor and copyist Elaine Gould compiled parameters on what courtesy and
cautionary alterations might be used. According to Gould, courtesy or cautionary alterations may be provided to clarify
pitches occurring at different octaves, to an altered pitch that recurs within a few bars, when an altered pitch is repeated later
in the bar, to confirm whether an accidental earlier in the bar still holds good or not, to confirm that certain intervals (usually
diminished and augmented) are intentional, to confirm a dissonance with a player seated close by, and to indicate that the
pitch holds altered after a grace note. All courtesy and cautionary alterations were reviewed and only those needed,
according to the parameters described above, were kept. Other times, Atehortúa’s use of these alterations could be justified
by the fact that the part included more than one voice, so certain clarification was needed. With all the parts individualized,
these clarifications were no longer needed, so they were omitted as well. Additionally, some cautionary alterations that were
already required and did not appear in the original manuscript were added.
As mentioned above, the oboe 2 and English horn parts were combined into a single one. One reason for this decision is
practicality. It is known from common practice in bands that most of the time having two oboists is more expected than
having three (with the third player covering the English horn part). Thus, to avoid a potential limitation of requiring three
oboe players, the second oboe and the English horn parts were condensed. There are some musical considerations that
helped to make that decision. For instance, Atehortúa did not use the English horn in the fourth and fifth movements. Also,
its use in the first movement is quite small, playing only during six measures doubling roles of other instruments. The
second and third movements feature the most important participation of the English horn, thus, its role in these movements
was prioritized. Additionally, the oboe 2 part in second and third movements includes a lot of unisons with the oboe 1, or
duplications of other instruments. Therefore, the piece does not suffer significantly by omitting these unison lines.
In the first movement, Preludio, one decision was taken regarding numbering measures. Atehortúa labeled the anacrusis
as measure 1. According to Gould, “the first complete bar (not an up-beat) is bar 1.” Based on that argument, the system of
numbering measures was adjusted thus, the first full bar was numbered as 1. As commonly found in other multi-movement
pieces, Atehortúa restarted measure numbers at the beginning of every new movement, an aspect that was kept in the
present edition.
Atehortúa wrote the time signature of the second movement, Scherzo-Bambuco, as 6/8 = 3/4, probably inclined by some
common alternations of these two meters, present in several songs written in the style of Colombian Bambuco. However, an
examination of the parts of the Scherzo-Bambuco allows us to see that its rhythmic content is primarily in 6/8, with only a
few moments of 3/4 subdivision. Therefore, since such meter alternation does not exist, the most accurate way to notate the
second movement is entirely in 6/8. For those few measures in a ‘3/4 feeling’ the meter grouping was adjusted to 6/8
following Gould’s principles on grouping to contradict the meter.
One of Atehortúa’s fingerprints in his entire production is the use of aleatoric sections. The notation of these sections in
Música para Orquesta de Vientos y Percusión presented certain imprecisions that were also adjusted. The label senza
misura, Italian term for ‘without meter’, was added at the beginning of the first aleatoric section in the 3rd movement. As
Gould suggests, “an ‘X’ placed on the stave cancels an existing time signature”, thus every time a new aleatoric section
started, an X was added. Consequently, when some metered music returned the new time signature was shown. Neither the
senza misura nor the X symbol existed in the original manuscript. To indicate each entrance in the aleatoric sections,
Atehortúa used circled numbers, (which were kept), followed by vertical lines. Some editors prefer arrows instead of the
vertical lines for clarity purposes, therefore, arrows were used in the present edition as well. In the score, dashed vertical
lines were used instead of continuous lines to avoid confusion between regular barlines since each line/arrow crosses the
score to point out the specific instrument that is being cued. When more than one instrument enters at the same time, the
arrow goes until the first instrument down the line.
Spanish and Italian are the main languages used by Atehortúa in the manuscript for this work. He used Spanish for titles
(including movements), for instrument’s names (except percussion and contrabass) and for one indication in the first
aleatoric section in the 3rd movement (igual, which means ‘the same’, or simile in Italian). All the titles were kept in
Spanish since this is the composer’s mother tongue. The word igual was changed for ‘sim’ (abbreviated from simile in
Italian, a term commonly used). Instrument names were changed into English as this is a more standard practice at the
international level.
The composer used Italian for standard musical indications such as presto, poco meno mosso, adagio, allegretto, among
others, and to label percussion instruments and the contrabass. Musical indications in Italian are widely used and accepted,
thus they were kept. The names of percussion instruments and the contrabass were translated into English to keep
consistency with other instruments in the score.
In addition to frequent handwriting shortcuts found in the music note shapes, Atehortúa also used abbreviations for some
of the tempo indications. Specifically, he used Allo for allegro, and Allo Mdto for allegro moderato. These indications were
written down in correct manner in the new edition (allegro and allegro moderato).
Measures 29-40 in movement V present a challenge because of the complexity of the rhythmic content and the intricacy
of the two lines. That section is even harder to play due to the way it is notated. Both rhythms consist of many short notes.
The composer notated these rhythms using eighth-note rests to convey the shortness of the sound. However, the number of
musical signs that the player has to deal with creates an extra difficulty in combination with the fast tempo of the movement
and the rhythmic intricacy between the two lines. In order to facilitate this section, the phrase was re-written using some
staccato signs to enable some eighth-note rests to be omitted. The musical result of that phrase does not suffer but the phrase
is significantly easier to perform. Before confirming that decision in the edition, an experiment was made with players in
which they were asked to play these rhythms in both ways. The majority of them preferred the new notation. An exception
occurred with percussionists, who preferred the original version since they are more familiar with seeing complete
subdivisions. Therefore, the new notation was used for wind players and the original notation was kept in the percussion
parts.
There were other editorial decisions taken for different reasons, for example: Atehortúa used interchangeably the words
Rit and Ritard for ritardando. For consistency, this edition always uses Rit. From measures 58-62 in the second movement,
the composer used the expression string…molto…al… to indicate an accelerando toward the next presto. For vertical space
reasons, that indication was changed to accel.
Finding and fixing errors
One of the most important and longest steps in the process was to engrave the parts into a professional music notation
software application, in this case Finale version 25. This procedure allowed for listening to the parts either individually, in
combination with members of the same or different instrumental families, or in full ensemble. This step unveiled the first
inconsistences. The most evident ones were wrong notes within instrumental families, and discrepancies in articulations and
dynamics. Some easy-to-find errors were found in phrases built in unisons or octaves where sporadic notes in certain voices
did not match with the particular context. Other errors like missing dynamics or some dynamic discrepancies were also
found and fixed. Generally speaking, for errors such as wrong notes or discrepancies in dynamics, the given context or the
majority of instruments playing the ‘correct’ version, was the argument swayed the final decisions. Other errors were more
difficult to find and to fix. One example is a transposition error in the alto saxophone 2 in m. 9 of movement V. The phrase
is a duet in minor thirds including almost the entire woodwind section. Three notes in the middle of the phrase in the alto
saxophone 2 did not match the pattern in minor thirds, and they were corrected. For more inconsistences, errors, and
discrepancies in articulations, dynamics, etc., see the critical commentary in Chapter 4.
A deeper level of review included a comparison that combined instruments from more than one family, for instance all
low woodwinds, or all upper brass, etc. This stage revealed more inconsistences of the same kind, (i.e. wrong notes,
different articulations, and dynamics) as well as new ones, like certain rhythmic discrepancies between pairs of instruments.
As above, they were fixed by analyzing context and seeking to bring the majority of instruments into agreement.
Editorial note
Information indicated with square brackets and with dotted lines (slurs, for instance), means editorial contribution
(corrected errors, missing information, and additions). It does not affect interpretation, it just indicates that this was not part
of the information included in the original parts.
This page has been left intentionally blank
Música para Orquesta de Vientos y Percusión Op. 152
Transposed Score Blas Emilio Atehortúa (1943 - 2020)
1. Preludio Critical Edition by: Rubén Darío Gómez P.
Allegro q =120
. . b œ. >˙ b œ œ n œ. œ. >˙ . bw
Piccolo & ‰ ≈ bœ œ Ó
f
. . b œ. >˙ b œ œ n œ. œ. >˙ . bw
&4 ≈ bœ œ
a2
Flute 1
2
‰ Ó
f
b œ. . . bœ œ œ n œ. b œ. >˙ . bw
œ. œ. b œ. œ.
>˙
& # œ. ‰ # œ œ. œ. b œ œ
Oboe 1
4 f
.
. œ œ n œ. b œ. >˙ .
œ œ. b œ. œ. b œ >˙ . . bœ
‰ # œ œ. œ. b œ œ
Oboe 2
& # œ. . bw
English Horn .
f
? b œ œ œ nœ œ nœ œ
a2
‰ Œ ≈ œ #œ œ Œ œ # œ œ. œ. b ˙ œ bœ
[ ]
. . b˙ .
Bassoon 1
f .
2
> >
.
≈ œ. œ. œ œ œ œ #œ œ >˙ . w
≈ œ. œ.
>˙
Clarinet in E b & ‰ Œ
f
b œ. bœ œ œ # œ. b œ. >˙ . bw
œ # œ. œ. œ.
. >˙ .
Clarinet in B b 1 & .
#œ ‰ # œ. œ # œ œ œ
f
. b œ. bœ œ œ # œ. b œ. > bw
œ. # œ. œ œ. >˙ .
‰ # œ. œ # œ œ œ ˙.
Clarinet in B b 2 &4 #œ.
f
.
œ . . œ. b œ.
œ . œ œ bœ œ œ # œ. b œ. >
Clarinet in B b 3 & 4 # œ. # œ # >˙ ‰ # œ. œ œ #˙ . bw
f
& ‰ Œ ≈ Œ bœ #œ œ #œ œ
Bass Clarinet
# œ. # œ œ. ˙ . # œ # œ œ. œ. ˙ œ œ nœ nœ
f . > >
œ. œ œ œ # œ. œ. >˙ .
œ. # œ. œ. œ.
a2 a2
>˙
& #˙ ‰ œ. œ œ œ #˙ . ∑
Alto Sax 1
2 # œ. # œ.
f
œ. . œ. œ. b œ. >˙ . œ œ bœ œ œ # œ. b œ. >
˙.
Tenor Sax & # œ. # œ ‰ # œ. œ # œ ∑
f
& ‰ Œ ≈ #œ #œ #œ Œ # œ # œ # œ. œ. Ó Œ ‰ n œ nœ
. . ˙. ˙
f .
Baritone Sax
[ ]
> >
œ. > >˙ .
‰ # œ. œ # œ
>˙ .
Trumpet in B b 1 & 4 # œ. # œ œ ∑
f
œ. # >œ # ˙˙ .
‰ # œ. œ œ œ # ˙˙ ..
& 4 # œ.
Unis. Unis.
Trumpet in B b 2
3
∑
> >
f
# œœ œœ ‰ # œœ œœ ≈ œœ œ œ œ œ œ œ bœ œ œ #œ œ œ œ
> a2
& ˙ ˙
. œ. œ. œ. œ. œ. œ.
1
J ˙ J ˙
Horn in F
2
f > > p f
# œœ œœ ‰ # œœ œœ ≈ œ #œ œ œ œ
>
& œ œ œ œ œ œ
a2
# ˙˙ # ˙˙ bœ
3
J J b œ. œ. œ. œ. œ. œ. œ. œ œ
Horn in F
4
f > > p f
˙>˙ .. œ. œœ. œœ. œœ. œœ. œœ. œœ.
? ≈ œ
a2
Trombone 1
2
‰ Œ Œ Ó Ó Œ #œ
f p f>
Trombone 3
? 4 ‰ Œ Œ b˙ .
>
Ó ≈ b œ. œ. œ. œ. œ. œ. œ. Ó Œ #œ
f p f
>
. . . . . . .
& ‰ Œ ≈ [ # œ. ] # œ. œ. ˙ . Ó ≈ œ œ œ œ œ œ œ Ó ˙
Baritone (T.C.)
4 f
>
p p
. . . . . . .
? ‰ Œ ≈ œ #œ œ.
b >˙ . Ó ≈ œ œ œ œ œ œ œ Ó ˙
. .
Euphonium
f p p
? ‰ Œ ≈ œ #œ Œ œ # œ œ. œ. Ó Œ ‰ nœ bœ
. œ. b ˙ . b˙
f .
Tuba
> > f
? ≤ ≤ ≥
‰ Œ ≈ œ b˙ .
>
Œ œ # œ œ. œ. b ˙
>
Ó Œ ‰ nœ bœ
. #œ œ.
f .
Double Bass
f
Timpani
? ‰ Œ ∑ ∑ Ó Œ ‰ œ bœ
Snare Drum f
Percussion 1 ã 4 ‰ Œ ∑ Ó ≈ œ œ œ œ œ œ œ ∑
p f Bass Drum
ã ‰ Œ ∑ ∑ Œ Ó
Percussion 2
4 œœœ
f
Crash Cymbals
>˙ .
Percussion 3 ã ‰ Œ Œ ∑ ∑
f
1 2 3
8 Música para Orquesta de Vientos y Percusión Op. 152
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œbœ nœ œ œ œ
Picc. & J ‰ Œ Ó ∑
f 6 6 6 6
b œ œ œ œ
œ œbœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Fl. 1 & J ‰ Œ Ó ∑ 5
f
2
6 6 6 6
œ œœ#œbœ œ œœœ œ œ œ œœœ œ œ œœœœ œ œ œœ œ œ#œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ob. 1 & J ‰ Œ Ó 4
f [6 ] 6 6 6 6 6 6 6
j ‰ Œ Ó œœ#œbœ œ œœœ œ œ œ œœœ œ œ œœœœ œ œ œœ œ œ#œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ob. 2
& œ
f
E.H.
[6 ] 6 6 6 6 6 6 6
Bsn. 1
?
2 nw ˙ ˙ w
>
œ 6 6 6 6 6 6 6 6 6 6
E b Cl. & J ‰ Œ œœ#œbœ#œœœœ#œ œ#œœ œœ#œbœ#œ œœœ#œ œ#œ œœœ#œ œ#œœœœ#œ œ#œœ œ œ#œ bœ#œ œ œ œ#œ œ#œ œ œ œ#œ œ#œ œ œ œ#œ œ#œ œ
œ
B b Cl. 1 & J ‰ Œ œœ œbœ œœœœ œbœ œœ œœ œbœ œ œœœ œbœ œ œœœ œbœ œœœœ œbœ œœ œ œ œ bœ œ œ œ œ œbœ œ œ œ œ œbœ œ œ œ œ œbœ œ œ
6 6 6 6 6 6 6 6 6 6
œ 6 6 6 6 6 6 6 6 6 6
B b Cl. 2 & J ‰ Œ #œœ#œ nœ#œœœœ#œ œ#œœ #œœ#œ œ#œ œœœ#œ œ#œ œœœ#œ œ#œœœœ#œ œ#œœ #œ œ#œ œ#œ œ œ œ#œ œ#œ œ œ œ#œ œ#œ œ œ œ#œ œ#œ œ 5
6 6 6 6 6 6 6 6 6 6
B b Cl. 3 & œJ ‰ Œ #œœ#œ nœ#œœœœ#œ œ#œœ #œœ#œ œ#œ œœœ#œ œ#œ œœœ#œ œ#œœœœ#œ œ#œœ #œ œ#œ œ#œ œ œ œ#œ œ#œ œ œ œ#œ œ#œ œ œ œ#œ œ#œ œ 4
B. Cl. & Ó ˙ w
#w f
>
a2
6 6 6 6 6 6 6 6 6 6 6 6
A. Sx. 1
2 & œœ#œbœ#œ œœœ#œbœ#œ œœœ œbœ#œœœœ#œbœ#œœ œœ#œbœ#œ œœœ#œbœ#œ œœœ œbœ#œœœœ#œbœ#œœ œ œ#œ bœ#œ œ œ œ#œbœ#œ œ œ œ œbœ#œ œ œ œ#œbœ#œ œ
f
bœ bœ œbœ œœœœ œbœ œœ œœ œbœ œ œœœ œbœ œ œœœ œbœ œœœœ œbœ œœ œ œ œ bœ œ œ œ œ œbœ œ œ œ œ œbœ œ œ œ œ œbœ œ œ
T. Sx. & œœ œ œœœœ œ œœœœ
f 6 6 6 6 6 6 6 6 6 6 6 6
&
#w ˙ n˙ w
B. Sx.
>
B b Tpt. 1 & ∑ ∑ ∑ 5
B b Tpt. 2 & ∑ ∑ ∑
3 4
1.
& œJ ‰ Œ Ó ? bw w
[>]
Hn. 1 &
f
2
3.
Hn. 3 & œJ ‰ Œ Ó ? b[w>] w &

f
4
? œj ‰ Œ Ó bw w
1
Tbn.
2
>
? œj ‰ Œ 5
Tbn. 3
˙ w w
>
& ∑ Ó
Bar.
˙ w 4
f
>
Euph.
? ∑ Ó ˙
>
w
f
?
nw w w
Tuba
D.B.
? nw w w
Timp.
? wæ wæ wæ
Perc. 1 & ∑ ã ∑ ∑ 5
Large Suspended Cymbal
ã ∑ wæ wæ
Perc. 2
F
4
Perc. 3 ã ∑ ∑ ∑
4 5 6
Música para Orquesta de Vientos y Percusión Op. 152 9
˙ œ 9
U . . b œ. . b œ.
Picc. & J ‰ Ó ∑ ∑ Œ n œ. b œ œ Ó ∑ Ó œ bœ œ Œ
˙ œ √ √ b œ.
U . . b œ. .
Fl. 1
2 & 5 J ‰ Ó 4 ∑ 3 ∑ 4 Œ n œ. b œ œ Ó 3 ∑ 4 Ó œ bœ œ Œ 3
˙ œ U
œ . b . œ. b œ.
œ r œ b œ . b œ.
œ
J ‰ Ó ∑ ∑ ‰ #œ . nœ Ó ∑ ‰ ≈ #œ œ œ - œ Œ
[ ]
&
[ ] [ ]
4 4 4 4 . 4 4 . 4
[ ]
Ob. 1
˙ œ U . . b œ. . b œ.
J ‰ Ó ∑ ∑ ‰ # œ œ. n œ. b œ œ Ó ∑ ‰ ≈ # œr œ œ œ- œ b œ œ Œ
[ ]
&
[ ] [ ]
.
Ob. 2
.
[ ]
E.H.
? U
∑ ‰. r ∑ ∑ ∑ ∑
Bsn. 1
2 #œ ˙ .
f
˙ œ bœ . . œ. œ.
œ‰ U # œ. œ n œ # œ œ œ.
E b Cl. & J Œ ∑ ∑ Œ Ó ∑ Ó Œ
f
˙ œ bœ œ . U œ
.
. # œ. œ. œ. b œ r œ œ œ
.
. bœ
B b Cl. 1 & bœ œ ≈ ‰
[>]
∑ ∑ .
‰ #œ Ó ∑ ‰ ≈ # œ œ œ. - # œ Œ
R
. .
U . œ. . b œ œ . bœ
&5 Ó Œ ‰ ≈ bœ œ ≈ ‰ 4 ∑ 3 ∑ 4 ‰ # œ. œ # œ. œ Ó 3 ∑ 4 ‰ ≈ # œr œ œ. œ- # œ œ Œ 3
>
B b Cl. 2
R R
U . . . œ. b œ.
œ r œ .
œ b œ.
Ó Œ ‰ ≈ bœ œ ≈ ‰
>
∑ ∑ œ
‰ # œ. # œ Ó ∑ ‰ œ
≈ # œ œ œ. - # œ Œ
B b Cl. 3 & 4 R R 4 4 4 4 4 4
U
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑
U
A. Sx. 1
2 & ∑ ∑ ∑ ∑ ∑ ∑
U
T. Sx. & ∑ ∑ ∑ ∑ ∑ ∑
U
& ∑ ‰. r ˙. ∑ ∑ ∑ ∑
B. Sx.
#œ
f
œ. U œ ˙.
5 Ó Œ bœ œ ‰ 4 ∑ 3 ˙ #œ 4 œ 3 #˙ 4 ‰ œ 3
[ >]
B b Tpt. 1 & ˙.
J J
f
œ . [ >] U
Unis.
B b Tpt. 2 & 4 Ó Œ bœ œ ‰ 4 ∑ 4 # # ˙˙ # œœ 4 # ˙˙ .. œ 4 # ˙˙ œœ 4 ˙. ‰ œj 4
3 J ˙. œ
f
U j
‰ # œj œ . œ œ # œ #œ nœ # # ˙˙ œ ˙. ‰ n œœ
a2
Ó j‰ Œ Ó # ˙˙ œ ˙˙ ..
3
Hn. 1 & œ œ ˙.
2 œ œ
U
‰ # œj œ . œ œ # œ ‰ œœj
a2
Ó j‰ Œ Ó
3
& # ˙˙ œœ ˙˙ . n œœ # # ˙˙ œœ ˙˙ ..
Hn. 3
4 œ œ .
U # ˙˙ œœ n ˙˙ .. œœ n œœ ˙˙ .. œ
Tbn. 1
? Ó Ó ‰ J
>œ œ . #œ n˙ . # ˙˙ ‰ Jœ
2
f
U
? œ . #œ n˙ . ˙ œ
5 Ó Ó ‰ Jœ 4 3 4 ˙. nœ 3 #˙ 4 ‰ œJ 3
>
Tbn. 3 œ ˙.
f
U
& ∑ ‰ . # œr #˙ #œ n˙ . œ #˙ nœ ˙. ‰ Jœ
Bar.
4 4 ˙. 4 4 4 4 4
f
U
˙ œ ˙.
Euph.
? ∑ ‰ . # œR ˙ . œ ˙. œ #˙ ‰ Jœ
f
? U
∑ ‰. r ˙ ‰ j
Tuba
#œ ˙ . œ ˙. nœ #˙ nœ œ
f
[ ]
˙.
? ≤ U
D.B. ∑ ‰ . # œR ˙ . ∑ ∑ ∑ ∑
f U
? ∑ Œ ≈ œ œ œ œ œ b œ ˙æ ∑ Ó ≈œœœŒ ∑ ≈ bœ œ œ œ ‰ Ó
Timp.
J
ƒ
Tubular Bells
U
ã 5 ∑ 4& Œ 3 ∑ 4 ∑ 3 ∑ 4 ∑ 3
˙.
Perc. 1
f
4 ∑
4 Œ
B.D.
U
Ó
4 ∑
4 Œ Ó
4 ∑
4 Œ Ó
4
Perc. 2 ã œ œ œ
Gong
U
ã ∑ Œ ∑ ∑
Perc. 3
˙. w w
f
7 8 9 10 11 12
b˙
. b œ.
rit.
U
Picc. & ∑ Ó œ bœ œ Œ ∑ ∑ Ó ∑
p f
√
. b œ.
b
n ˙˙ U
Fl. 1
2 & 3 ∑ 4 Ó œ bœ œ Œ 3 ∑ ∑ 4 Ó ∑
p f
. b œ. ˙ U
& 4 ∑ 4 Œ ‰ # œ œ. œ b œ œ Œ 4 ∑ ∑ 4 Ó ∑
.
Ob. 1
p f
. b œ. U
Ob. 2
& ∑ Œ ‰ # œ œ. œ b œ œ Œ ∑ ∑ Ó ˙ ∑
E.H. .
p f
? w U
∑ ∑ ∑ ∑ ∑
Bsn. 1
2 w
p f
œ.
# œ œ œ. ˙ U
E b Cl. & ∑ Ó Œ ∑ ∑ Ó ∑
p f
.
. œ . bœ n˙ U
B b Cl. 1 & ∑ Œ ‰ # œ. œ # œ œ Œ ∑ ∑ Ó ∑
. p f
3 4 . # œ œ œ. b œ
œ 3 4 U
B b Cl. 2 & ∑ Œ .
‰ #œ Œ ∑ ∑ Ó ˙ ∑
p f
.
. œ . bœ U
B b Cl. 3 & 4 ∑ 4 Œ ‰ # œ. œ # œ œ Œ 4 ∑ ∑ 4 Ó [ n ]˙
∑
p f
U
B. Cl. & ∑ ∑ ∑ ∑ w ∑
p f
U
A. Sx. 1
2 & ∑ ∑ ∑ ∑ ∑ ∑
U
T. Sx. & ∑ ∑ ∑ ∑ ∑ ∑
U
& ∑ ∑ ∑ ∑ #w
B. Sx.
w
p f
U
B b Tpt. 1 & 3 #œ ˙ 4 #w 3 n˙ . œ œ bœ œ 4 Œ b˙ . ∑
Í f [ p] f
U
&4 # œœ ˙˙ 4 # ww 4 n # ˙˙ .. 4 Œ n˙ . ∑
Unis.
B b Tpt. 2
3 # œœ œœ n œœ œœ
Í f p [ f]
˙ U
# # œœ # ˙˙ . #œ œ nœ œ
a2
Hn. 1 & ˙ # ww . œ œb œ œ nw
Í f #w
2
p
f
U
# # œœ # ˙˙
a2
Hn. 3 & # n ww ˙. œ œ œ œ w
4
˙. bœ œ #œ œ #w
Í f p
f
?
# œœ ˙˙ # ww b b ˙˙ .. œœ œœ b œœ œœ U
a2
w
Tbn. 1
2 nw
Í f p f
? w U
Tbn. 3 3 #œ n˙ 4 nw 3 ˙. bœ œ nœ œ 4 nw
Í f p f
U
& #œ ˙ #w n˙ . nœ œ bœ œ nw
Bar.
4 4 4 4 #w
Í f p f
U
Euph.
? #œ n˙ nw b˙ . bœ œ bœ œ nw
w
Í f p f
? U
˙ bœ œ nœ œ w
#œ nw ˙.
Tuba
nw
Í f p f
U
? ≥
D.B. ∑ ∑ ∑ ∑ ∑ w
f
? U
Timp. ∑ ≈ bœ œ œ œ Œ œ œ œ œ ≈ œ œ œ œ@ œ œ bœ œ ∑ ∑ ∑
f p
Perc. 1 & 3 ∑ 4 ∑ 3 ∑ ∑ 4 ∑ w
f
U
L. Susp. Cym.
ã 4 ∑ 4 Œ Ó 4 ∑ ∑ 4 wæ ∑
Perc. 2 œ
p f
U
ã ∑ ∑ ∑ ∑
Perc. 3
w w
f
13 14 15 16 17 18
2. Bambuco - Scherzo
Allegro q. = 112 ˙. œ. #œ œ œ
Piccolo & ∑ ∑ ∑ ∑ ∑ ∑ ∑
f
˙. œ. #œ œ œ
a2
Flute 1 & 6 ∑ ∑ ∑ ∑ ∑ ∑ ∑
f
2
˙. œ. #œ œ œ
Oboe 1 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑
f
˙. œ. #œ œ œ
Oboe 2
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
f
English Horn
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ #œ œ œ œ œ œ
œ. œ œ œ.
Bassoon 1
# œ. œ.
2
f
#˙ . œ. #œ œ #œ
Clarinet in E b & ∑ ∑ ∑ ∑ ∑ ∑ ∑
f
Clarinet in B b 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Clarinet in B b 2 & 6 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Clarinet in B b 3 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass Clarinet & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
. œ. œ # œ. # œ. œ # œ œ œ # œ. # œ. œ œ [ n ]œ. ˙.
∑ ∑ ∑ ∑ ‰ # œ. # œ œ œ œ. #œ œ
a2
Alto Sax 1 & J
f
2
f Í
. # œ œ. . œ
. œ œ. # œ. œ # œ œ œ œ. # œ. œ œ n œ. ˙.
Tenor Sax & ∑ ∑ ∑ ∑ ‰ œ œ œ
# #œ œ
J
f Í f
Baritone Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
6 #˙ . œ. #œ œ #œ
Trumpet in B b 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
f
Trumpet in B b 2
3 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
‰ # œ œ. œ. œ. œ. # ˙ . ‰ # œ œ. œ œ œ. œ œ # œ œ . œ œ. œ. œ œ. œ œ œ̆ œ. œ̆ œ. œ.
a2
& ∑
> >
∑ ˙.
Horn in F 1
. . #˙ .
f
2
F Í
‰ # œ œ. œ. œ. œ. # ˙ . ‰ # œ œ. œ œ œ. œ œ # œ œ . œ œ. œ. œ œ. œ œ œ̆ œ. œ̆ œ. œ.
a2
∑ ∑
> >
Horn in F 3 & . . # # ˙˙ ..
f
4
F Í
b ˘œœ œœ. œœ. œœ. >œœ . œ. œ œ- . œ bœ
œ #œ œ b˙ .
? ‰ b œœ œ œ̆J œ ‰ œ. # œ œ
a2
∑ ∑ ∑ J J ∑
Trombone 1
2 J J
f
œ #œ
? 6 ∑ œ̆ œ. œ. œ. œ
>
∑ ‰ œ. œ. œ̆ œ- ∑
.
‰ œ. # œ œ œ bœ J œ b˙ .
J ∑
Trombone 3
J J J
f
j œ #œ
#œ œ
& ∑ ∑ ∑ ∑ ∑ ‰ œ #œ œ œ ˙. ∑
Baritone (T.C.)
8 . . J J
œ #œ
? ∑ ∑ ∑ ∑ ∑
.
‰ œ. # œ œ œ bœ J œ b˙ .
J ∑
Euphonium
J
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
# œ. œ. œ. œ œ œ
Tuba
f
≥
Double Bass
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # œ. œ. œ. œ œ œ.
f
Timpani
? œ ‰ Œ. œœœœ ‰ œ ‰ Œ. ‰ œ œ œ ‰ œ ‰ Œ. ∑ ∑ ∑ ∑
f >
Percussion 1 ã 6 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Percussion 2 ã 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Percussion 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 2 3 4 5 6 7 8 9
12
˙. œ œ œ nœ #œ œ nœ
Picc. & ∑ J ‰ ‰ Œ. ∑ ∑ ∑ ∑
˙. œœ œ # œœ n œ œ œ n œœ ‰ ‰ Œ .
a2
Fl. 1
2 & ∑ œ J ∑ ∑ ∑ ∑
˙. œ œ œ n œ # œ œ œ œ œ œ # œ. n œ. j ‰ ‰ Œ.
Ob. 1 & ∑ [œ ] ∑ ∑ ∑
nœ œ œ
˙. ∑ œ œ #œ œ œ œ œ # œ. œ. [œ
j ‰ ‰ Œ. ∑ ∑ ∑
Ob. 2
E.H. & ]
?
[a 2]
Bsn. 1 œ. œ #œ œ ˙. ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ # œ. œ. ˙. F
2
E b Cl. & ˙. ∑ œ œ #œ œ #œ œ .
œ # œ œ œ # œ œ. # œj ‰ ‰ Œ .] ∑ ∑ ∑
[
œ #œ œ
# œ. œ œ œ œ # œ œ œ # œ. œ. œ #œ œ œ œ
B b Cl. 1 & ∑ ‰ œ œ. # œ œ œ œ œ #œ
J J J #œ . œ œ #œ nœ j
#œ œ œ #œ
.
f
. # œ œJ œ
& ∑ ‰ œ œ #œ œ #œ œ #œ œ #œ œ . #œ .
j
œ œ
œ œ œ œ #œ nœ .
J œ- . #œ j j
œ œ
B b Cl. 2
. . J -
f œ
& ∑ ‰ # œ œ # œ œ œ # œJ n œ œ #œ œ . j
œ j j j
B b Cl. 3
# œ. œ. œ . J nœ . œ œ #œ œ œ œ œ œ
#œ . œ œ #œ nœ nœ
f
& ∑ ∑ ∑ ∑
#œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ
B. Cl.
. œ F
. œ. # œ œœ # œœ # œ
œ
A. Sx. 1
2 & ∑ ‰ #œ bœ n œ J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑
f œ # œ. œ
. œ. # œ
œ J ‰ ‰ Œ.
T. Sx. & ∑ ‰ ∑ ∑ ∑ ∑ ∑
f
B. Sx. & ∑ ∑ ∑ ∑ #œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ #œ œ œ œ
F
œ œ #œ œ #œ œ œ œ
œ # œj [ n ] œ œ
Con sord.
B b Tpt. 1 & ˙. ∑ ∑ ∑ œ J J J #œ . œ œ #œ
#œ
j œ œ œ ] œ #œ j j
Con sord. Unis.
B b Tpt. 2
3 & ∑ ∑ ∑ ∑ n # œœ .. œœ œœ
[
J œ. œ. #œ œ œ #œ
Hn. 1
2 & ‰ # œœ œœ # œœ. œœ. œœ. # ˙˙ .. ∑ ∑ ∑ ∑ ∑ ∑
f
Hn. 3 & ‰ # œœ œœ # œœ. œœ. œœ. # ˙ . ∑ ∑ ∑ ∑ ∑ ∑
˙.
4
f œœ- ..
œœ œœ œœ œœ œœ- ..
? n ˙˙ .. # ˙˙ .. ∑ ∑ ∑ ∑
Tbn. 1
2
J J
F Í f
? œ. œ #œ œ ˙. Œ j j Œ j j Œ j j j j j j j j
Tbn. 3 œ œ œ œ œ œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ
F Í f
& #œ . ∑ ∑ ∑ ∑ ∑ ∑
Bar.
œ #œ œ ˙.
F Í f
Euph.
? nœ . œ #œ œ ˙. ∑ ∑ ∑ ∑ ∑ ∑
F Í f
? Œ j j Œ j j Œ j j Œ j j Œ j j Œ j j
œ # œ. œ. ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Tuba
œ.
Í f F
≥
? œ. œ # œ. œ. ˙. Œ j j Œ j j Œ j j j j j j j j
œ œ œ Œ Œ Œ œ œ œ
pizz.
D.B. œ œ œ œ œ œ œ œ œ œ œ œ
Í f F
? ∑ ‰ œ œ œ œ ∑ ∑ œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ.
J
Timp.
f F
S.D.
Perc. 1 ã ∑ ∑ œ ‰ Œ. œ ‰ Œ. ∑ ∑ ∑ ∑
F
j j j j j j
B.D.
Perc. 2 ã ∑ ∑ œ ‰ Œ. œ ‰ Œ. Œ œ œ œ Œ œ œ œ Œ œ œ œ ∑
F
Tambourine
∑ ∑ Œ Œ ∑
>
ã œ œ œ œ œ œ œ œ œ >œ œ œ >
œ œ œ >œ œ œ >
œ œ œ >œ œ œ
Perc. 3
J J J J
10 11 12 13 14 15 16 17
#œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ] œ œ œ œ œ
19 œ œ œ #œ œ [ #œ
œ.
j œ nœ œ J J J J J J J
Picc. & Œ [œ ]
œ œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ. œ œ œ
œ œ œ œ
a2
Fl. 1 & Œ œ œ J J J J J J J
2
J
j nœ œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ. œ œ œ
Ob. 1 & Œ œ œ J J J J J J J
j
English Horn
∑ ∑ j j ‰ #œ
& #œ # œ œ #œ œ #˙ . #œ #œ œ #œ œ œ #˙ #œ œ #œ
Ob. 2
f
E.H. [ ]
? œ œ œ œ œ #œ œ #œ œ ˙. œ #œ œ #œ œ œ ˙ œ #œ œ #œ
J
Bsn. 1 œ œ ∑ J J ‰
f
2
#œ
œ #œ œ œ #œ œ #œ œ œ #œ œ œ œ #œ œ œ
J
œ #œ #œ œ œ
J
#œ œ œ #œ œ
J
œ. œ #œ œ
E b Cl. & Œ J J J J J
œ œ œ #œ œ #œ œ œ #œ œ œ œ #œ œ œ œ #œ #œ œ œ #œ œ œ #œ œ œ. œ #œ œ
& œ œ œ #œ
Solo
B b Cl. 1
J J J J J J J
B b Cl. 2 & #˙ . ∑ ∑ ∑ ∑ ∑ ∑
B b Cl. 3 & ∑ ∑ ∑ ∑ ∑ ∑
˙.
& #œ œ œ œ Œ j j Œ j j Œ j j Œ j j Œ j j Œ j j
B. Cl.
œ œ œ. œ # œ œ. œ # œ œ. œ # œ œ. œ # œ œ. œ # œ œ. œ # œ
F . . . . . .
∑
a2
j j j j
A. Sx. 1
2 & ∑ #œ ‹œ œ #œ œ #˙ . #œ ‹œ œ #œ œ œ #œ œ . ‰ #œ ‹œ œ #œ
& ∑ ∑ #œ #œ œ #œ œ #˙ . #œ #œ œ #œ œ œ #œ œ . ‰ #œ #œ œ #œ
J
T. Sx.
J J J
& #œ œ #œ œ œ œ Œ œ. œ Œ œ. œ # œ Œ œ. œ # œ Œ œ. œ Œ œ. œ Œ œ. œ
J J # œ. J J . J J . J J # œ. J J # œ. J J # œ.
B. Sx.
B b Tpt. 1 & ˙. b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. [ b]œ. ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ‰ ‰ Œ .

J J J
F
∑ b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
2.
B b Tpt. 2
3 & ˙. J J
F
Hn. 1
2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn.
3
4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
Tbn. 3
? œ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ #œ #œ œ #œ œ #˙ . #œ #œ œ #œ œ œ #˙ ‰ #œ #œ œ #œ
J
J J
Bar.
f
? ∑ Œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ Œ œ œ œ Œ œ œ
J J œ J J J J J J œ J J J J œ
Euph.
F
? ‰ Œ. ∑ ∑ ∑ ∑ ∑ ∑
œ
Tuba
D.B.
? œ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ∑
? œ ‰ Œ. Œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ Œ œ œ œ Œ œ œ œ
J J œ J J J J J J œ J J J J
Timp.
∑
2 3 4 5 6
Perc. 1 ã œ œœœœœ œœœœ ‘ ‘ ‘ ‘ ‘

F
Perc. 2 ã ∑ œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ.
F
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
18 19 20 21 22 23 24
œ œ #œ œ œ œ œ œ œ œ #˙ . œ >œ >œ .
31
J J J ‰ ‰ Œ. ∑ œ ∑ ∑
Picc. & J
f
>œ .
œ œ #œ œ œ œ œ œ œ œ #˙ . œ
>œ
œ
œ.
J J J ‰ ‰ Œ. œ œ
Fl. 1 & ∑ J ∑ ∑
f
2
>œ .
& œ œ #œ œ œ œ œ œ œ œ #˙ . œ ‰ ‰ Œ. ∑
>œ œ
J ∑ ∑
Ob. 1
J J J
f
E. Hn.
& #˙ . #œ
j
#œ œ œ #œ œ œ #œ #œ . œ
œ œ œ œ œ #œ . œ œ œ #˙ . ∑ ∑
œ œ
? ˙. œ #œ œ œ #œ
œ œ
#œ œ . œ œ œ œ œ œ #œ . œ #˙ .
Bsn. 1
2
J ∑ ∑
œ #œ #œ #œ œ œ #œ œ œ œ #˙ . œ >œ >œ .
& J J J ‰ ‰ Œ. ∑ #œ ∑ ∑
E b Cl.
J
f
œ #œ œ œ œ œ #œ œ . ˙. bœ œ œ œ n œ œ b œJ œ œ
Solo
#œ
Tutti
œ #œ #œ [ œ] #˙ . œ . J[ ] J
B b Cl. 1 & J J J ‰ ‰ Œ ‰
∑ ∑ ∑ ∑ ∑ b >œ œ œ >œ œ œ
B b Cl. 2 & nœ œ œ œ œ œ œ œ œ œ œ œ
f p
B b Cl. 3 & ∑ ∑ ∑ ∑ ∑ œ œ œ >œ œ œ
>
œ œœœ œœ œœœœ œœ
f p
& Œ j j Œ j j Œ j j j ‰ ‰ Œ. ∑ ‰ ‰ j j
B. Cl.
œ. œ # œ œ. œ # œ œ. œ # œ #œ œ. œ œ. œ œ. œ. œ. œ. œ- œ. œ. œ. œ. œ-
. . .
f . . p
j
A. Sx. 1
2 & #˙ . #œ nœ œ #œ #œ #œ œ ‹œ #œ . œ
œ #œ œ œ œ #œ . œ œ œ #˙ . ∑ ∑
#œ œ œ #œ #œ œ #œ #œ . œ #œ œ œ œ #œ . œ œ œ #˙ .
T. Sx. & #˙ . #œ
J
œ j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
[ p] - -
œ. œ # œ œ. œ # œ œ. œ # œ j ‰ ‰ Œ.
& Œ J J .
Œ
J J .
Œ
J J . [# œ
‰ nœ œ ‰ œ œ
. . .
‰ œ œ ‰ œ œ
. . . . œ
‰ ‰
œ œ
‰ ‰
œ
f .
B. Sx. ]
[ p]
>œ >œ .
. . . . . . . . . . . Œ. j #œ
B b Tpt. 1 & b œ œ œ œ œ œ œ œ œ œ b Jœ ‰ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ ‰ Œ . ∑ J ∑ ∑
f
. j b >œœ œœ œœ >œ
œ œœ œœ
B b Tpt. 2
3 & b œJ ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ. ‰ ‰ Œ. ∑ ∑ ∑ ∑
f
∑ ∑ ∑ ‰ œ œ œ œ œ #œ . œ œ œ #˙ . ∑ ∑
a2
Hn. 1
2 &
f
∑ ∑ ∑ ‰ œ œ œ œ œ #œ . œ œ œ #˙ . ∑ ∑
a2
Hn. 3
4 &
f
?
a2
∑ ∑ ∑ ∑ ‰ bœ œ ‰ œ œ ‰ bœ œ ‰ œ œ ∑ ∑
. . . . . . .
Tbn. 1
f .
2
? ∑ ∑ ∑ ∑ ‰ bœ œ ‰ œ œ ‰ bœ œ ‰ œ œ ∑ ∑
. . . . . . .
f .
Tbn. 3
#œ œ œ #œ #œ œ #œ #œ . œ œ #œ œ œ œ #œ . œ œ œ #˙ .
Bar. & #˙ . #œ
J
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
- -
? Œ j œ œ œ œ. œ. œ. œ. œ. œ
œ œ œ
J J
Œ œ œ œ
J J
Œ œ œ œ
J J œ ‰ ‰ Œ. ‰ bœ œ ‰ œ œ
. . .
‰ bœ ‰ œ
. œ. . œ. . . . J œ- J -
f .
Euph.
p
? ∑ ∑ ∑ ∑ ‰ bœ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ ‰ ‰ ‰
Tuba
. . . . . . . . œ œ œ œ
f p
≥ ≥ ≥ ≥
[arco]
?
pizz.
∑ ∑ ∑ ∑ ‰ bœ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ ‰
œ
‰ ‰
œ
D.B.
. . . . . . . . œ œ
f p
? Œ j
Timp. œ œ œ
J J
Œ œ œ œ
J J
Œ œ œ œ
J J œ ‰ ‰ Œ. œ ‰ œ ‰ œ
‰ œ ‰ ∑ ∑
f
œ ‰ ‰ Œ. ∑ ‰ œ œ ‰ œ œ ∑ ∑
7 8 9
Perc. 1 ã ‘ ‘ ‘ J
‰ Œ. Œ. Œ. j
Perc. 2 ã œ œ ‰ œ ‰ œ ‰ ‰ Œ. ∑ ‰ œ œ ‰ œ œ ∑ ∑
Cr. Cym.
f Tambourine
∑ ∑ ∑ ∑ %. ∑
2
Perc. 3 ã œ œ œ œ œ œ ‘
f P
25 26 27 28 29 30 31 32
39
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1
2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b œ œ [œ ] œ b œ œ b Jœ œ b œ œ bœ œ œ
Ob. 1 & ∑ ∑ ∑ ∑ ∑ ∑ J J J J
f
œ œ œ œ œ œ œ œ œ œ
Oboe
∑ ∑ ∑ ∑ ∑ ∑ œ J J œ œ
Ob. 2
& J J J
f
E.H.
? ∑ ∑ ∑ ∑ ∑ ∑ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ
J - J - J -
Bsn. 1
P
2
E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ bœ œ œ œ œ Jœ œ bœ œ œ œ œ œ œ bœ œ œ œ œ bœ œ ˙.
B b Cl. 1 & J J J J J J J ∑ ∑ ∑
&œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑
B b Cl. 2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B b Cl. 3 &œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œj j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
‰ ‰ ‰ ‰ ‰ ‰
. . . . œ- œ œ œ
B. Cl.
- - - - - œ œ œ
∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1.
A. Sx. 1
2 &
p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œj j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
. . . . œ-
T. Sx.
- - - - - p
&œ ‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ œ. œ. œ. œ. # œ œ. œ. œ. œ. # œ œ. œ. œ. œ. # œ
B. Sx.
œ œ œ œ œ J - J - J -
P
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 2
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1. 1.
& ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2.
Hn. 1
p
2
p
∑ ∑ ∑ ∑ ∑ ∑
3. 3.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4.
3
Hn.
p
4
p
Tbn.
1 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
Tbn. 3
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& œ œ œ œj j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
. . . . œ-
Bar.
- - - - - - - -
? œ œ œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ
Euph. . . . J œ- J - J - J - J - J - J - J - J -
? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
Tuba
? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
D.B.
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑ œ ‰ Œ. œ ‰ Œ. œ ‰ Œ.
F
Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Maracas
2 3
R.H.
∑ ∑ ∑ ∑ ∑ ∑
> >
Perc. 2 ã œ œ œ œ œ œ
J J ‘ ‘
L.H.
œ ‰ ‰ Œ. ∑ ∑
3 4 5 6 7 8
Perc. 3 ã ‘ ‘ ‘ ‘ ‘ ‘ J
33 34 35 36 37 38 39 40 41
47
bœ œ œ œ bœ œ bœ œ bœ
Picc. & ∑ ∑ ∑ ∑ ∑ J J J
f
√
b œœ œœ œœ œœ b œœ œœ b œœ œœ b œ
Fl.
1
& ∑ ∑ ∑ ∑ ∑ J J J œ
f
2
bœ œ bœ œ œ œ #œ nœ œ œ œ #œ
œ b œ Jœ œ œ œ bœ œ œ œ œ b œJ œ ˙. J
œ
J J
œ
Ob. 1 & J J J J
œ Jœ œ œ œ œ œ œ œ œ œ œ œ œJ œ ˙. œ œ œ œ œ
Ob. 2
E.H. & œ J J
œ
J œ J
œ
J œ œ J J œ
? œ œ œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ j j
. . . J œ- J - J - J - J - œ. œ œ œ. œ œ
1
Bsn.
2
f
œ #œ #œ œ #œ #œ œ #œ
E b Cl. & ∑ ∑ ∑ ∑ ∑ J J J #œ
bœ œ œ bœ œ
Tutti
œ nœ œ J œ
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑ J J
f
# œœ n # œœ œœ # œœ n # œœ # œœ
Div.
& ∑ ∑ ∑ ∑ ∑ b œœ # œœ b œœ
B b Cl. 2
J J J
f
∑ ∑ ∑ ∑ ∑ œ #œ #œ œ œ #œ œ #œ œ
B b Cl. 3 & J J J
f
& ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
œ œ œ œ œ ‰
œ œ œ œ œ
œ œ œ œ œ
B. Cl.
œ œ œ œ œ f
b œœ # œœ œœ œœ n œ œœ b œœ # œœ # n œœ
A. Sx. 1 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J #œ J J
f
2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ #œ œ #œ œ
T. Sx. & J J J
f
. œ. œ. œ. œ. # œ œ. œ. œ. œ. # œ œ. œ. œ. œ. # œ œ. œ. œ. œ. # œ
B. Sx. & œ. œ. œ. œJ # œ- J - J - J - J - œ. œ
j
œ œ.
j
œ œ
f
Senza sord.
b œœ # œœ # œœ b œœ # œœ n œ
[Div.]
œœ n œœ œœ
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑ J J J œ
f
# œœ n # œœ b # œœ n # œœ # n œœ œœ n # œœ n œ
Senza sord.
& ∑ ∑ ∑ ∑ ∑ b # œœ
B b Tpt. 2
3 J J J #œ
f
j j
1. 1. a2
œ œ œ œ œ œ ‰ ‰
2. 2.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2.
Hn. 1
f
2
j j
3. 3. a2
‰ ‰
4. 4.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4.
Hn. 3
œ
f
4
Tbn. 1
? ∑ ∑ ∑ ∑ ∑ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ
f
2
? ∑ ∑ ∑ ∑ ∑ j ‰ ‰ j ‰ ‰
Tbn. 3
œ. œ œ. œ
> >
f
& œ œ œ œj j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
j
œ. œ. œ. œ. œ
‰
œ. œ. œ. œ. œ.
‰
œ. œ. œ. œ. œ.
. . . . œ-
Bar.
- - - - f
? œ œ œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ.
Euph. . . . J œ- J - J - J - J -
f
? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ j j
Tuba
œ œ œ œ œ œ œ œ œ œ
œ. œ œ œ. œ œ
? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ j j
arco
D.B.
œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ
f
? œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. ‰ œ œ œ ‰ œ œ œ
Timp.
J œ J œ
f
∑ ∑ ∑ ∑ ∑
> >
2
Perc. 1 ã œ œ œ œ œ œ ‘
f
B.D.
œ ‰ ‰ Œ.
4 5 6 7
ã ‘ ‘ ‘ ‘ ‰ ‰ ‰ ‰
Perc. 2
J œ œ œ œ
f
Cr. Cym.
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ Œ. ‰ 5 Œ. ‰ 5
f
42 43 44 45 46 47 48
G.P.
œ bœ œ œ œ bœ œ œ bœ œ bœ œ œ œ œ bœ œ œ œ œ bœ œ ˙.
Picc. & J J J J J J J J ∑
(√)
œœ b œœ œœ œœ œœ b œœ n œœ œœ b œœ œœ b œ œœ n œœ œœ œœ b œœ œœ œœ œœ œœ b œœ œœ ˙˙ ..
& J J œ ∑
Fl. 1
2 J J J J J J
œ œ œ #œ œ #œ #œ œ œ #œ œ œ œ œ #œ œ œ œ bœ œ œ #œ ˙.
Ob. 1 & J J J J J J J J ∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ∑
Ob. 2
E.H. & J J J J J J J J
? j j j j j j ∑
Bsn. 1
2 œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
#œ œ œ #œ #œ #œ #œ œ œ #œ #œ #œ œ #œ #œ œ œ œ nœ # œ Jœ # œ #˙ .
E b Cl. & J J J J J J J ∑
œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ œ ˙.
J J J J J œ J J ∑
B b Cl. 1 & J
œ œ œ # œœ # œœ n œœ œœ œ
& b œœ # œ œ n # œœ b œœ œ
#œ
# œœ œœ # œ n # œœ # œœ b œœ œœ b œœ n # œœ b œœ # œ n # œœ b ˙˙ .. ∑
B b Cl. 2
J J J J J J J J
œ œ #œ #œ œ #œ œ #œ œ #œ œ œ œ # œ Jœ # œ
B b Cl. 3 & #œ J J #œ œ
J J
œ
J
#œ
J bœ
J
#˙ . ∑
& ‰ ‰ ‰ ‰ ‰ ‰ ∑
B. Cl.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ b œœ œœ # œœ œœ œ # œœ œœ b œœ # œœ n œ œœ œœ œœ # œœ b œœ œœ œœ # œœ œœ b œœ n # œœ ˙˙ ..
J J #œ J #œ J J J ∑
A. Sx. 1
2 & J J
œ œ #œ #œ œ #œ œ #œ œ #œ œ œ œ # œ Jœ # œ
T. Sx. & #œ J J #œ œ
J J
œ
J
#œ
J #œ
[ ]
J
#˙ . ∑
& j j j j j j ∑
B. Sx.
œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
œœ b œœ œœ # œœ œœ œœ # œœ œœ b œœ # œœ n œ œœ # œœ œœ # œœ b œœ œœ œœ œœ b œœ # œœ ˙˙ ..
& J J œ # œœ J J ∑
[ ]
B b Tpt. 1
J J J J
œœ œœ n # œœ j
& b # œœ b # œœ # n œœ n # œœ b # œœ # œœ n # œœ # œœ b # œœ n œœ b # œœ n # œœ # œœ n œœ # œœ # œœ b # œœ œœJ n # œœ b # ˙˙ .. ∑
B b Tpt. 2
3 J J J J J J
j j j ‰ œ œ œj œ j j
Hn. 1
2 & ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ∑
& ‰ œ œ œj ‰ œ œ j
œ œ ‰ œ œ
j
œ œ ‰ œ œ œj ‰ œ œ œj ‰ œ œ œj ∑
œ œ œ œ
3
Hn.
4
Tbn. 1
? ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ∑
2
? j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j‰ ‰ ∑
Tbn. 3
œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ
> > > > > >
& ‰ ‰ ‰ ‰ ‰ ‰ ∑
Bar.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Euph.
? ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ∑
Tuba
? j j j j j j ∑
? j j j j j j ∑
D.B.
? ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ ∑
Timp.
J œ J œ J J J œ J
∑
3 4 5 6 7 8
Perc. 1 ã ‘ ‘ ‘ ‘ ‘ ‘
Perc. 2 ã œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ ∑
Perc. 3 ã Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 ∑
49 50 51 52 53 54 55
Molto meno mosso
q. = 76 .
œ. # œ. œ œ. œ.
accel. Presto
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰
œ. # œ. œ. œ. œ. œ. # œ. œ. œ. œ.
a2
Fl. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ‰ ‰
f
2
. . . . . . . . . . . . . . . .
Ob. 1 & ∑ ∑ ∑ ∑ ‰ œ # œ. œ œ œ ‰ œ # œ. œ œ œ ‰ œ # œ. œ œ œ ‰ œ # œ. œ œ œ
f
. . . .
Ob. 2
& ∑ ∑ ∑ ∑ ‰ œ. # œ. œ # œ. œ. ‰ œ. # œ. œ # œ. œ. ‰ œ. # œ. œ # œ. œ. ‰ œ. # œ. œ # œ. œ.
f
E.H.
Bsn. 1
? ∑ ∑ ∑ ∑ ∑
˙. ˙. ˙.
2
œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ.
E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ‰ ‰
. . œ. . . . . œ. . . . . œ. . . . . œ. . . . . œ. . . . . œ. . .
B b Cl. 1 & ∑ ∑ ‰ œ #œ #œ œ ‰ œ #œ #œ œ ‰ œ #œ #œ œ ‰ œ #œ #œ œ ‰ œ #œ #œ œ ‰ œ #œ #œ œ
f
. . . . . . . . . . . .
∑ ∑ ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ.
Unis.
B b Cl. 2 &
f
B b Cl. 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ œ. œ. œ. œ. œ. œ.
#œ . #œ . #œ . #œ . #œ . #œ .
B. Cl.
> > > > > >
f > > > > > >
& ‰ # œœ. ‹ # œœ. œœ. # œœ. œœ. .

‰ # œœ ‹ # œœ œœ # œœ. œœ.
.
‰ # œœ ‹ # œœ œœ # œœ. œœ.
.
‰ # œœ ‹ # œœ œœ # œœ. œœ.
.
‰ # œœ ‹ # œœ œœ # œœ. œœ.
.
‰ # œœ ‹ # œœ œœ # œœ. œœ.
.
‰ # œœ ‹ # œœ œœ # œœ. œœ.
.
‰ # œœ ‹ # œœ œœ # œœ. œœ.
. . . . . . . . . . . . . .
A. Sx. 1
2
f
. . œ. # œ. œ. . .
‰ # œ. # œ. œ # œ œ.
. .
‰ # œ. # œ. œ # œ œ.
. .
‰ # œ. # œ. œ # œ œ.
. .
‰ # œ. # œ. œ # œ œ.
. .
‰ # œ. # œ. œ # œ œ.
. .
‰ # œ. # œ. œ # œ œ.
. .
‰ # œ. # œ. œ # œ œ.
T. Sx. & ‰ #œ #œ
f
& ˙. ∑ ∑ ∑ ∑
B. Sx.
˙. ˙. ˙.
> > > >
[Unis.] .
. # œ. œ # œ. œ. . . œ. . . . . œ. . .
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ‰ œ ‰ œ #œ #œ œ ‰ œ #œ #œ œ
f
. . . . . .
‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ.
Unis.
B b Tpt. 2
3 & ∑ ∑ ∑ ∑ ∑
f
Hn. 1 & ‰ # œœ. # # œœ œœ. œœ. œœ. ‰ # œœ # # œœ œœ. œœ œœ
. . . .
‰ # œœ # # œœ œœ. œœ œœ
. . . .
. . . .
. . . .
‰ # œœ # # œœ œœ. œœ
. . .
œœ
.
. . . .
. . . .
2
.
Hn. 3 & ‰ # œœ. # # œœ œœ. œœ. œœ. ‰ # œœ # # œœ œœ. œœ œœ

. . . .
. . . .
. . . .
. . . .
. . . .
. . . .
. . . .
4
.
Tbn. 1
? b >œœ .. œœ ..
b >œœ ..
œœ ..
b >œœ ..
œœ ..
b >œœ ..
œœ ..
b >œœ ..
œœ ..
b >œœ ..
œœ ..
b >œœ ..
œœ ..
b >œœ ..
œœ ..
2
f
> > > > > > > >
?
Tbn. 3
˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙.
> > > > > > > >
f
‰ œ. # œ. œ. # œ. œ. . . œ. . .
‰ œ #œ #œ œ
. . œ. . .
‰ œ #œ #œ œ
. . œ. . .
‰ œ #œ #œ œ
. . œ. . .
‰ œ #œ #œ œ
. . œ. . .
‰ œ #œ #œ œ
. . œ. . .
‰ œ #œ #œ œ
. . œ. . .
‰ œ #œ #œ œ
Bar. &
f
? ∑ ∑
>œ . >œ . >œ . >œ . >œ . >œ .
Euph. nœ . œ. œ. œ. œ. œ.
f
> > > > > >
Tuba
? ∑ ∑ ∑ ∑
˙. ˙. ˙. ˙.
> > > >
f
≥ ≥ ≥ ≥
? ∑ ∑ ∑ ∑
D.B. ˙. ˙. ˙. ˙.
f
> > > >
? ∑ Œ. ∑ Œ. ∑ Œ. ∑ Œ.
Timp. œ. œ. œ. œ.
f
> > > >
Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Gong
ã ∑ ∑ ∑ ∑
Perc. 3
˙. ˙. ˙. ˙.
F
56 57 58 59 60 61 62 63
. .
# œ. œ. œ. œ œ. # œ. œ. œ. œ œ. . .
œ. b œ n œ. n œ. œ. œ œ. œ.
. .
œ. b œ œ. œ. œ. œ œ. œ.
64 >˙ . >˙ .
Picc. &‰ ‰
. . ƒ
# œ. œ. œ. œ œ. # œ. œ. œ. œ œ.
4 4 4 4
>˙ . >˙ . œ. œ. # œ. # œ. n œ. œ. œ.
Fl. 1 &‰ ‰ Œ ‰ ‰ ‰
ƒ
2
. œ. œ. œ. œ. . . œ. œ. œ. b œ. .
œ. b œ œ. œ. œ. b œ. .
œ. b œ œ. œ.
& ‰ #œ ˙. ‰ # œ. œ œ ˙.
> >
Ob. 1
ƒ
. œ. œ. œ. œ. . . œ. œ. œ. b œ. .
œ. b œ œ. œ. œ. b œ. .
œ. b œ œ. œ.
& ‰ #œ ˙. ‰ # œ. œ œ ˙.
> >
Ob. 2
ƒ
E.H.
. .
? # œ. œ. œ. œ œ. >˙ . # œ. œ. œ. œ œ.
Bsn. 1 ∑ ‰ ‰ ∑ ∑
f
2
. . . . . . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
# œ. # œ œ. œ œ # >˙ . # œ. # œ œ. œ œ # >˙ .
E b Cl. &‰ ‰
4 4 4 4
# . # œ. œ.
œ œ. œ. . # œ. œ. œ. œ. . # œ. œ. œ. œ. . # œ. œ. œ. œ.
B b Cl. 1 & ‰ # >˙ . ‰ #œ # >˙ . ‰ #œ ‰ #œ
f
. # œ. œ. œ. œ. . # œ. œ. œ. œ.
B b Cl. 2 & ‰ #œ # >˙ . ‰ #œ # >˙ . ∑ ∑
f
. # œ. œ. œ. œ. . # œ. œ. œ. œ.
B b Cl. 3 & ‰ #œ # >˙ . ‰ #œ # >˙ . ∑ ∑
f
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑
. .
& ∑ ‰ # œ. # œ. œ. œ œ. #˙ . ‰ # œ. # œ. œ. œ œ. ∑ ∑
a2
A. Sx. 1
2
>
f
. # œ. œ. œ. œ. . # œ. œ. œ. œ.
T. Sx. & ∑ ‰ #œ # >˙ . ‰ #œ ∑ ∑
f
B. Sx. & ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ b >œ œ n >œ œ b >œ œ >œ œ

B b Tpt. 1 & J J J J
f
∑ ∑ ∑ ∑ b >œ œ n >œ œ b >œ œ >œ œ
B b Tpt. 2 & J J J J
f
3
‰ # œ œ. œ. œ. œ. ‰ # œ œ. œ. œ. œ.
a2
>œ œ # >œ >œ œ # >œ
∑ œ œ
> >
Hn. 1 & . # [ ˙]. . J J J J
f
2
>
‰ # œ œ. œ. œ. œ. ‰ # œ œ. œ. œ. œ.
>œ œ # >œ >œ œ # >œ
a2
∑ œ œ
> >
Hn. 3 & . #˙ . . J J J J
f
4
>
Tbn. 1
? ∑ ∑ ∑ ∑ ∑ ∑
2
Tbn. 3
? ∑ ∑ ∑ ∑ ∑ ∑
. # œ. œ. œ. œ. . # œ. œ. œ. œ.
Bar. & ∑ ‰ #œ # >˙ . ‰ #œ ∑ ∑
f
Euph.
? ∑ ∑ ∑ ∑ ∑ ∑
Tuba
? ∑ ∑ ∑ ∑ ∑ ∑
D.B.
? ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ‰ Œ. ∑ ∑
Timp. œ
f
Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑
L. Susp. Cym.
Perc. 2 ã %. ∑ ∑ ∑ %.
æ
%.
æ
ƒ f
Cr. Cym.
Perc. 3 ã %. ∑ ∑ ∑ ∑ ∑
ƒ
64 65 66 67 68 69
Poco meno
. . . . G.P. mosso rit. Presto
b œ. œ. œ^
œ. b œ œ. œ. œ. œ œ. œ. œ. b œ œ. œ. œ. œ œ. œ. U œ. œ. œ.
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ‰ J ‰ ‰ Œ.
ƒ
b œ. œ. œ^
# œ. # œ. n œ. œ. œ. # œ. # œ. n œ. œ. œ. n œ. n œ. n œ.
4 4 4 4
U J ‰ ‰ Œ.
Fl.
1
& ‰ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ‰
ƒ
2
. œ. œ. b œ. œ.
œ. b œ. œ. b œ. œ. œ. œ. b œ. œ. b œ. œ. œ. b >œ . >œ .
œ.
U
# >˙ . [ n] œ œ^
∑ ∑ ∑ ‰ J ‰ ‰ Œ.
>
Ob. 1 & #œ .
f >
ƒ . . b œ. œ.
œ. b œ. œ. b œ. œ. œ. œ. b œ. œ. b œ. œ. œ. >œ .
œ.
U
# >˙ . [ n] œ
. œ œ œ^
∑ Œ. ∑ ∑ ‰ J ‰ ‰ Œ.
>
Ob. 2
& œ.
f ƒ
E.H.
>
U
a2 .
. œ œ. b œ. œ. œ^
? ∑ ∑ ∑ ∑ ∑ œ. œ. ˙. ∑ ‰ œ ‰ ‰ Œ.
Bsn. 1
œ. œ. œ
˙. ƒ J
2
œ^
[>
f
>]
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
>
U . œ. # œ.
E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ‰ #œ J ‰ ‰ Œ.
ƒ
œ^
4 4 4 4
. . # œ. œ. œ. œ. b >œ . # >œ .
# œ. # œ. œ. œ œ. ‰ #œ
>œ . U
‰ œ. œ # œ.
. n œ. œ. J ‰ ‰ Œ.
B b Cl. 1 & ‰ ∑ bœ . œ. œ.
∑ ∑
>
ƒ
> >
∑ ∑ ∑
>œ . >œ .
œ. œ.
>
∑
U
∑
.
‰ n œ. œ # œ.
n œ. œ. œ^ ‰ ‰ Œ .
B b Cl. 2 & œ. J
f > œ.
> > ƒ
& ∑ ∑ ∑ # >œ . œ.
>
#œ . œ . ∑
U
∑
.
‰ n œ. œ # œ.
n œ. œ. # œ^ ‰ ‰ Œ .
B b Cl. 3
œ. #œ . J
f > >
ƒ
^j
> >
U . n œ. œ.
& ∑ ∑ ∑ ∑ ∑ #œ . ∑ ‰ œ. œ # œ. œ ‰ ‰ Œ.
B. Cl.
>
œ .] #˙ .
f ƒ
[ > >
# >œœ .. >œ .
#œ . n >œ . U œ^
∑ ∑ ∑ œ. œœ .. ∑ ∑ ‰ #œ œ. # œ œ. œ. #œ ‰ ‰ Œ .
a2
A. Sx. 1 & # # œœ .. n œœ . . .
2
> . ƒ J
b >œ .
> >
>œ . >œ .
#œ .
U
‰ œ. œ. # œ. n œ. œ. œ^
∑ ∑ ∑ ∑ J ‰ ‰ Œ.
>
T. Sx. & #œ . nœ .
#˙ .
> >
ƒ
. œ. # œ. œ. œ.
∑ ∑ ∑ ∑ ∑ ∑
U
∑ ‰ #œ œ^ ‰ ‰ Œ .
B. Sx. & #˙ . J
>
f ƒ
>œ . # >œ . nU
˙. . œ. œ. # œœ^ ‰ ‰ Œ .
[Div.]
b >œ œ >œ œ b >œ œ >œ œ ∑
>œ .
bœ . ∑ ∑ ‰ œ. œ # œ.
B b Tpt. 1 & J J J J J
f >
f ƒ
bU œ. œ. # œœ^ ‰ ‰ Œ .
>œ . .
b >œ œ >œ œ b >œ œ >œ œ b#œ . >œ .
œ. œœ .. n œœ . ˙.
˙. ‰ œ. œ # œ.
Unis.
B b Tpt. 2 & J J J J ∑ ∑ ∑
. J
f
3
>
ƒ
>
>œ U ^j
œ #œ >œœ #œ œœ ‰ ‰ Œ .
& œ œ ∑ ∑ ∑ ∑ ∑ ∑
> > > >
œœ ..
Hn. 1
2 J J J J # œœ ..
>
f
>
ƒ
>œœ # >œ >œœ # >œ U ^j
& œ œ ∑ ∑ ∑ ∑ ∑ ∑ # œœ ‰ ‰ Œ .
> >
J J J J # œœ .. n œœ ..
Hn. 3
4
f
> > ƒ
>œ .
œ. U œœ^
? Œ. # n >œœ .. n # œ>œ .. J ‰ ‰ Œ.
a2
Tbn. 1 ∑ ∑ ∑ ∑ n˙ . ∑ ∑
f ƒ
2
>
? b >œ . œ. U ^j
∑ ∑ ∑ ∑ Œ. œ. ∑ ∑ œ ‰ ‰ Œ
.
> >
Tbn. 3 ˙.
f >
ƒ
>œ .
& ∑ ∑ ∑
# >œ . >œ . >
bœ .
U
∑
.
‰ œ. œ # œ.
n œ. œ. # œ^ ‰ ‰ Œ .
Bar. #œ . œ. #˙ . J
f > > > ƒ
? U œ^
Euph. ∑ ∑ ∑ ∑ ∑ œ.
>
œ.
>
n˙ . ∑ ∑ J ‰ ‰ Œ.
f
>
ƒ
? U ^
Tuba ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ j ‰ ‰ Œ.
˙. œ
f ƒ
>
≥ U ≥^
? ∑ ∑ ∑ ∑ ∑ ∑ ˙. ∑ ∑ j ‰ ‰ Œ.
D.B.
œ
f ƒ
>
U ≥^
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ j .
Timp.
œ ‰ ‰ Œ
ƒ
ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
>
œ ‰ ‰ Œ.
Perc. 1
J
ƒ
^j
B.D.
Perc. 2 ã æ% . %.
æ
∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ‰ ‰ Œ.
ƒ
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ %U. ∑ ∑
70 71 72 73 74 75 76 77 78 79
3. Canto Lírico
Adagio q = 60
Oboe 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙ #œ ˙. nw
b˙ #œ
E.H.
& œ ˙ ∑ ˙.
#˙ .
Oboe 2
P F p P
English Horn
? w
a2
w b˙ . ∑ ∑ w
Bassoon 1 ˙.
2
w
p P p
1
Clarinet in B b 2 & 4 ∑ ∑ 3 ∑ ∑ 4 ∑ ∑ ∑
3
Bass Clarinet & ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 ˙
4 ˙ #œ #˙ . 4 nw œ
œ ˙ ˙.
1.
Alto Sax 1 & #˙ . ∑

P F p P
2
Tenor Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Baritone Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑

1
Trumpet in B b 2 & 4 ∑ ∑ 3 ∑ ∑ 4 ∑ ∑ ∑
+ + + +
3
œœ- œœ- œœ œœ >œœ ˙˙ ..

Horn in F 1 & ∑ ∑ ∑ ∑ Ó ‰ J ∑
2
4 4 4 P 3
+
F
+- +
∑ ∑ ∑ ∑ Ó ‰ œœ œœ- œœ œœ+ >œœ ˙˙ .. ∑
Horn in F 3 & J
F
4
P 3
b œœ-
Con sord. -
? œœ œœ b œœ >œœ ˙˙ ..
Trombone 1
2
∑ ∑ ∑ ∑ Ó ‰ J ∑
P 3
F
? j
Con sord.
Trombone 3 4 ∑ ∑ 3 ∑ ∑ 4 Ó ‰ # œ- œ-
3
œ #œ œ ˙ . ∑
P > F
? ∑ ∑
4 4 4 w
Tuba
w w ˙. b˙ .
p P p
? ≥ ≥
Double Bass w w ˙. b˙ . ∑ ∑ w
p P p
Timpani
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
1
ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
@
Percussion 2
@
3
1 2 3 4 5 6 7
nw œ
[Solo]
∑ ∑ ‰ œ bœ œ. # œ- œ œ œ # œ [ ] J ‰ Œ Ó Œ
Ob. 1 & œ
P F
bœ œ #˙ . œ œ #œ nœ nœ .
œ œ J ‰ Œ Ó ∑ ‰ J œ œ. œ-
E. Hn.
& J
F F
j
? ˙ #˙ 3 œ ‰ Œ Œ 4 ∑ ∑ 5 ∑
Bsn. 1
2
˙ #˙ œ
nœ œ #˙ . œ œ #œ nœ #œ .
#œ œ
J J œ œ. # œ-
& ‰ Œ Ó ∑ ‰ J
A. Sx. 1
2 4F 4 4 F
j
Hn. 1 & ∑ ∑ Ó # ˙˙ œœ ‰ Œ Ó ∑
2
+
F p
j
Hn. 3 & ∑ ∑ Ó ˙ œœ ‰ Œ Ó ∑
+̇
4
F p
? ∑ ∑ Ó ˙˙ œœ ‰ Œ Ó ∑
Tbn. 1
2 J
F p
? ∑ 3 ∑ 4 Ó j ‰ Œ Ó 5 ∑
Tbn. 3
˙ œ
F p
? j ‰ Œ Œ ∑ ∑ ∑
Tuba
˙ #˙ 4 œ 4 4
F
? ˙ #˙ œ
D.B.
J ‰ Œ Œ ∑ ∑ ∑
F
1
Perc. 2 ã ∑ ∑ ∑ ∑ ∑
3
8 9 10 11 12
[senza misura]
1 2 3 4
œ
& œ #œ bœ œ w œœœœ˙ œœw
j
E. Hn.
[X] bœ w
(simile)
&
œ b œ œ b œ[ n]œ b œ
B b Cl. 1
B b Cl. 2 &
(simile)
4
œ bœ œ œ bœ
[simile]
p
B b Cl. 3 & [X] 4
#œ œ œ œ œ œ
p
œ
[simile]
B. Cl. & [X] #œ œ œ
p
œ
A. Sx. 1
2 &
?
Tuba
[X]# w
p
?
D.B.
[X]# w
p
Perc. 1 ã & 4
Perc. 2 ã
4
Perc. 3 ã
13
@ A
@
[a tempo]
1 [(q = 60)] 2 3 4 5
B b Cl. 1 &
B b Cl. 2 & 4
B b Cl. 3 & [X]
4
B. Cl. &
Solo,
Tempo A Piacere
# œ œ œ- w œ. œ. # œ œ œ.
Con sord.
4 ∑ ∑ ∑ bw bw
B b Tpt. 1 & [ ]
P F
Solo,
[Tempo A Piacere]
&
4 ∑ ∑ ∑ w
Con sord.
b œ œ b œ-
#w
B b Tpt. 2
[X]
p
3
F
>+
w+ Œ ∑
>
Hn. 1 & ˙.
w ˙.
2
F
Ó Ó ∑
a2
Hn. 3 &
F >+̇ +̇
4
>
Hn. 4 & Ó Ó ∑
F +̇ +̇
> >
b >˙ b >œ bœ œ œ œ
Con sord.
Tbn. 1
? ˙
>
Œ ˙
>
Œ Œ
[F ]
2
? Ó ‰ b œj n œ Ó ‰ bœ œ œ Ó ‰ bœ œ œ
Timp.
wæ
[F ] π
Tub. Blls.
Perc. 1 & 4 b˙ ˙ Œ bœ ˙ Œ bœ œ œ œ Œ
[X]
F L. Susp. Cym.
ã ∑ ∑ ∑ wæ
Perc. 2
4 π
Gong
ã ∑ ∑ ∑
Perc. 3
wæ
π
B
1 2 3 4 5
[sim.]
B b Cl. 3 & œ œœ œ œ
œ #œ œ
p [sim.]
& œœ œ
#œ #œ #œ œ œ
B. Cl.
p
b œ # œ œ œ. œ. œ œ œ œ. œ œ œ w
B b Tpt. 1 &w
b œ œ b œ. œ. œ b œ œ b œ. œ. œ. œ œ œ.
B b Tpt. 2 &w #w œ w
p
3
F
b ˙- -̇
Con sord.
Tbn. 1
?
2
b b F
? b b b
Timp.
œæ œæ œæ œæ wæ œ nœ œ œ œ œ œ œ wæ
œ œ
f
[simile]
& b˙ ˙
Perc. 1
n˙
p
Perc. 2 ã
Perc. 3 ã
@ @
C
1 2 3 4 5
œ œ
œ œœ
[sim.]
B b Cl. 1 & bœ œ œ
p
bœ œ œ œ œ 4
[sim.]
B b Cl. 2 & œ œ œ
p
B b Cl. 3 & 4
B. Cl. &
Solo
& œ
>
œ 4
[simile]
B b Tpt. 1 #œ
F
> >
Solo
˙
> [sim.]
B b Tpt. 2 & ˙ #˙
3
> f
4
F
>
& ȯ
- -̇
Hn. 1
F -̇ f
[simile]
&
-ȯ
Hn. 2
-̇ -̇ f
F
& œo œ œ
Hn. 3
>
> f
[F ]
>
& œo œ
Hn. 4
> > œ f
F >
? -̇
[simile]
Tbn. 1
f
2
? >œ b >œ
[Con sord.]
œ
[simile]
>
Tbn.
[F ] f
? 4
Con sord. [simile]
bœ œ œ
Tbn. 3
F
> > > f
? " "
œ bœ œœœœ bœ œ œ œ œ
Timp.
œ 4
F f
Perc. 1 &
f
B.D.
Perc. 2 ã wæ
π f
Perc. 3 ã
Adagio
œ. œ œ. œ œ b˙ œ œ #œ œ œ œ . #œ #œ œ œ œ œ œ #œ œ œ œ
Ob. 1 & ∑ J b˙ b˙ b˙ bœ œ œ œ
F
? œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
Bsn. 1
2
#œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ
[ p]
Div.
B b Cl. 1 & # # œœ- œœ- œœ- œœ- # # œœ- œœ- œœ œœ # # œœ- œœ- œœ œœ # # œœ- œœ- œœ œœ # # œœ- œœ œœ œœ # # œœ- œœ œœ œœ
- - - - - - - - - - - -
p
B b Cl. 2 & 4 Div.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
- - - - - - - - - - - - - - - - - - - - - - - -
p
B b Cl. 3 & 4 b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ-
p
B. Cl. & # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
p
& # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ
A. Sx. 1
- - - - - - - - - - - - - - - - - - - - - - - -
p
2
œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
T. Sx. &
p
B. Sx. & # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
p
œ.. œ . #œ œ œ œ # œ œ œ- œ . # œ- # œ œ œ œ œ
1.
Hn. 1
2 & ∑ Ó œ
R ˙ ˙ ˙ œ œ #œ œ ˙
F
? 4
# œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
p
?
pizz.
D.B.
4 # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
p
1
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑
3
@
14 15 16 17 18 19
@
D
1 2 3 4 5
b œ # œ. œ. œ. w
Solo
B b Tpt. 1 & [X]

[ ]
4
F
œ b œ. œ. b œ.
Solo
B b Tpt. 2
3 & [X] #w 4
F
+
& œ- œ
- œ-
Hn. 1
P
[sim.]
& œ- œ
+ - œ-
Hn. 2
P
+-̇
& -̇ -̇
Hn. 3
P
&
+-̇ -̇
Hn. 4
P -̇
? b˙ ˙ ˙ ˙
Tbn. 1
P
2
? œ œ
Tbn. bœ
P
? 4
Tbn. 3
[X] b ˙- -̇
P -̇ -̇
& bw 4
Perc. 1
w
P
B.D.
Perc. 2 ã wæ
Perc. 3 ã
20
Andante q = 76
œ. # œ- œ œ # œ œ # ˙ œ #œ #œ œ nœ . œ- œ œ œ . n œ- œ œ #œ œ œ œ #œ . œ- œ œ # œ œ n œ j œ- œ œ n œ
E. Hn.
& J J #œ œ.
J J œ #œ J . œ
F
[ ]
3 3
? œ œ œ œ œ œ œ œ
a2
1 #œ œ œ œ #œ œ œ- œ- b œ- œ- œ- œ- œ- œ- œ- œ-
œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ-
Bsn.
2
P
# œ- œ- œ- œ- œ- œ # œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ-
J J œ- œ- œ- œ- œ- J
[
B b Cl. 1 & J J J J J J J J J
P
œ- œ- œ- œ- œ- œ- œ- œ- n œ- œ- œ- œ- œ-
œ- œ- œ- œ- œ- œ œ- œ- œ- œ- œ- œ- œ- œ- œ- b œ- œ- J
&4 J J J J
[
J J J J J
[ ]
B b Cl. 2
J J
P
# œ- œ- œ- œ- œ- œ # œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
&
[
B b Cl. 3
4 J J J J J J J J J J J J
P
& # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
œ- œ- œ- œ- œ- œ- œ- œ-
B. Cl.
P
œ. # œ- œ # œ # œ œ # ˙ œ #œ #œ #œ nœ . # œ- œ # œ œ œ . n œ- œ. #œ œ #œ œ œ œ #œ . # œ- œ œ # œ œ n œ œ- # œ œ œ .
a2
& J J J œ #œ J #œ
A. Sx. 1
J J
F
2
3 3
œ. # œ- œ # œ # œ œ œ #œ #œ #œ nœ . œ- œ œ œ . - #œ œ #œ œ œ œ #œ . œ- œ œ # œ œ n œ œ- # œ œ œ
& J #˙ J #œ nœ œ.
J J œ #œ J . œ
T. Sx. J
F 3 3
& # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- # œ- œ- œ- œ-
B. Sx.
œ- œ-
P
?
œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ-
Tuba
œ- œ- b œ- œ- n œ- œ- œ- œ- œ- œ-
P
? œ- œ- œ- œ- œ- œ- œ- œ-
arco
D.B. # œ- œ- œ- œ- # œ- œ- œ- œ- b œ- œ- œ- œ- œ- œ- œ- œ-
P
1
ã ∑ ∑ ∑ ∑ ∑ ∑
@ @
Perc. 2
3
21 22 23 24 25 26
stringendo rit.
#œ œ œ #œ
& œ.
j
#œ œ œ œ œ œ #œ œ. # œ- œ œ # œ œ œ nœ œ œ œ #œ œ œ . nœ
J w ∑ ∑
J
E. Hn.
J
j j ‰ # œj
? œ j j
a2
œ œ- œ- œ- œ- œ œ œ œ nœ œ œ œ #œ œ œ œ œ Œ œ œ œ ‰ ‰ #œ œ œ
Bsn. 1 œ- œ-
[ ]
2 œ- œ- [ ] [ ] œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- #œ œ œ œ # œ- œ- œ-
F
> >
[ ]
[ ]
- œ- œ- œ- ] - - - - œœ- œ- œ- œœ-
# œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- # œ- œ-
[Div.]
# œœ œœ œœ œœ
>œ œœ >œ œœ
œ- œ- œ- œ œ ‰ # Jœ
J œ ‰ ‰ #œ œ
B b Cl. 1 & J J J J J J J J J Œ
F
œ- œ- œ- œ- œ- - œ- œ- œ- ] # œ- œ- œ- œ- œ- œ ‰ ‰ # œ- œ- œ-
œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ œ ‰ # Jœ œ >œ
Œ
>
B b Cl. 2 & J J J J J J J J J J
F
- - - œ- œ- - œ- œ- œ- ] j j
& Jœ œ œ œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ œ ‰ œœj œœ
[Div.]
J J œœ œœ œœ œœ œœ Œ œœ œœ ‰ ‰ œœ œœ œœ
J J J J
B b Cl. 3
J - - - - - > > - - -
F
j j ‰ œj œ
& # œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- Œ œ œ ‰ ‰ œ- œ- œ-
œ- œ- œ-
B. Cl.
> >
j #œ #œ œ #œ œ. # œ- œ # œ # œ œ # œ n œ # Jœ œ œ # œ œ œ . n œ
A. Sx. 1
2 & #œ . #œ œ œ #œ œ #œ #œ
J J
∑ ∑ ∑
#œ œ œ #œ #œ œ. # œ- œ # œ # œ œ # œ n œ œ œ œ #œ œ œ . nœ
& œ. #œ œ œ #œ œ #œ J J J ∑ ∑ ∑
T. Sx.
J
- œ- # œ œ # œ- œ- œ- œ-
B. Sx. & #œ - - # œ- œ- œ- œ- œ- œ- œ- # œ- ∑ ∑ ∑
‰ [ #]œ- .
Solo
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑ # >˙ Ó Ó

F
?
a2
Tbn. 1 ∑ ∑ ∑ ∑ ∑ Œ œ
>
Ó Œ œ
>
Ó
2
F
? j j Œ ‰ j
œ- œ- œ- œ- œ- œ- n œ- œ- œ- œ- # œ- œ- œ- œ- œ- #œ œ œ œ ‰ ‰ # œ- œ- œ-
Tuba
œ- œ- œ- œ- œ- œ-
F
> >
j j ≥j
? œ- œ- œ- œ- œ- œ- n œ- œ- œ- œ- # œ- œ- œ- œ- œ- Œ ‰ # œ œ œ œ ‰ ‰ # œ- œ- œ-
D.B. œ- œ- œ- œ- œ- œ-
F
> >
Timp.
? ∑ ∑ ∑ ∑ ∑ Ó ‰ b œ œ œ Œ ‰ b œj œ Œ
F
& ∑ ∑ ∑ ∑ bœ œ ˙ Œ ‰ bœ œ œ Ó
Perc. 1
w
F
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
27 28 29 30 31 32 33
Meno Mosso q = 60
U
Ob. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙ #œ ˙. nw U
nœ ˙ b˙ ∑ ∑
E. Hn.
& #˙ .
P F
? nw U
∑ ∑ ‰ œ. b œ Ó
a2
Bsn. 1 w ˙. b˙ . J -
p F p
2
U
& ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ œ œ ‰ Œ Ó
B b Cl. 1
J J
p
U
& ∑ ∑ 3 ∑ ∑ 4 ∑ Ó Œ ‰ œ œ ‰ Œ Ó
B b Cl. 2
J J
p
U
‰ œ œ ‰ Œ
[Unis.]
& ∑ ∑ 4 ∑ ∑ 4 ∑ Ó Œ Ó
B b Cl. 3
J J
p
U
& ∑ ∑ ∑ ∑ ∑ ∑ ‰ # œj Ó
. nœ
B. Cl.
p -
˙ #œ #˙ . nw U
˙
nœ ˙ ∑ ‰ # œ. n œ Ó
a2
A. Sx. 1 & #˙ . J -
P F
2
p
. U
T. Sx. & ∑ ∑ ∑ ∑ ∑ ∑ ‰ # Jœ n œ- Ó
p
U
& ∑ ∑ ∑ ∑ ∑ ∑ ‰ # œ. n œ Ó
B. Sx.
J -
p
U
B b Tpt. 1 & ∑ ∑ 3 ∑ ∑ 4 ∑ n >˙ Ó ∑
p
U
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 2
3 4 4
+- + +
œœ- U
a2
œ
œ
∑ ∑ ∑ ∑ Ó ‰ Œ ˙. ∑
>
Hn. 1
2 & J
P p
+- +
∑ ∑ ∑ ∑ Ó œ
‰ œ œœ- ∑
U
∑
Hn. 3
4 & J
P
b œ- œœ- U
? ‰ œ ‰ b œj œ
2.
Tbn. 1 ∑ ∑ ∑ ∑ Ó J Ó ∑
P p>
2
? j U
Tbn. 3 ∑ ∑ 3 ∑ ∑ 4 Ó ‰ œ- œ- ∑ ∑
P
? U
∑ ∑ ‰ j Ó
Tuba
nw w 4 ˙. b˙ . 4 n œ. b œ
-
p P [ p]
? ≥ ‰ n œ. b œ Ó
U
pizz.
nw w ˙. b˙ . ∑ ∑
D.B.
J -
p P p
U
Timp.
? ∑ ∑ ∑ ∑ ∑ Œ ‰ b œj œ Œ Ó bœ Œ
[ p]
U
Perc. 1 & ∑ ∑ 3 ∑ ∑ 4 ∑ Œ ‰ bœ ˙
J
Ó bœ Œ
p
U
ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 2
4 4
U
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
34 35 36 37 38 39 40
4. Canto Coral
Allegretto h = 92
Piccolo & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Flute 1
2 & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
Oboe 1 & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2
Oboe 2
English Horn & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bassoon 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
Clarinet in B b 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Clarinet in B b 2 & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
Clarinet in B b 3 & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2
Bass Clarinet & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Alto Sax 1
2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tenor Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Baritone Sax & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Senza sord.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ ˙
[Tutti]
Trumpet in B b 1 & 2Œ ∑ ∑ ∑ ∑ 3
f
& 2Œ œœ œœ # œœ œ œœ œ œ œ # œ œ œ œ œ œ œ œœ # œœ œœ ˙˙ œœ œ# œ ˙˙ ∑ ∑ ∑ ∑ 2
Trumpet in B b 2
œ ˙ œŒ ‰œ œ . J
J
3
f
o
& ∑ ∑ ∑ ∑ Ó Œ œœ œ œ œ b œ œ œ œ b œ œ œ œœ œ œ bœ œ nœ œ œ ˙ œ
Horn in F 1
œ œ œ œ œ œ œ œ Œ Œ œ œ ˙.
o
2
f
o
Horn in F 3 & ∑ ∑ ∑ ∑ Ó Œ œ œ ˙ œ œ œ œ œ b œœ b œ Œ Œ œ œ œ œ bœ ˙
œ œ œ œ œ. J œ œ œ œ ˙ œ
4
œ
f
Trombone 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
Trombone 3
? 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba
2 2
Double Bass
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timpani
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Percussion 1 ã 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3
Percussion 2 ã 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2
Percussion 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 2 3 4 5 6 7 8 9
10
B b Tpt. 1 & 3 ∑ 2 ∑ ∑ 3 ∑ 2 ∑ Œ œ œ œ œ œœœœœœ 3
& 2 ∑ 2 ∑ ∑ 2 ∑ 2 ∑ Œ œœ œœ # œœ œ œœ œ œ œ 2
B b Tpt. 2
3 œ ˙
& ˙ Ó Ó ∑ ∑ ∑ ∑ ∑ ∑
Hn. 1
2 ˙
Hn. 3 & ˙ Ó Ó ∑ ∑ ∑ ∑ ∑ ∑
˙
4
b œœ b œb ˙œ œ b œ œœ b ˙ œ ˙œ b œ œ œ œ œ œœ
bœ œ œ œ œ œ œ b ˙œ ˙ b œ b œœ
Senza sord.
? œ œ œ œ bœ œ ˙
1.
Tbn. 1 Œ Œ Ó ∑
f
2
? bœ œ œ œ Œ Ó
Senza sord.
Tbn. 3 3 ∑ 2 b˙ ˙ w 3 œ Œ Ó Ó 2 œ ∑ 3
f
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba
2 2 2 2 2
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1 ã 3 ∑ 2 ∑ ∑ 3 ∑ 2 ∑ ∑ ∑ 3
Perc. 2 ã 2 ∑ 2 ∑ ∑ 2 ∑ 2 ∑ ∑ ∑ 2
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
@ @
10 11 12 13 14 15 16
17
œ #œ œ œ œ w
B b Tpt. 1 &3 œ Œ Ó Ó 2 ∑ ∑ ∑ Œ 3
f
œ # ww
B b Tpt. 2
3 & 2 # œœ Œ Ó Ó 2 ∑ ∑ ∑ Œ ˙ œ œ œœ 2
f
œ œ œ œ bœ œ œ œ bœ œ œ œ ˙ œœ œ w
1.
& ∑ Ó Œ œ Œ w
Hn. 1
2 œ œ œ œ œ œ œ ˙
f
3.
∑ Ó Œ œ œ ˙ Ó Œ
Hn. 3 & œ œ œ œ œ b œœ œ ww
f œ bœ œ œ œ. J œ
4
bœ œ œ œ œ œ œ n œœ œœ b ww
œ œ bœ œ Œ b ˙˙
1.
? Œ œ œ Ó ∑ Œ
Tbn. 1
f
2
? 3 ∑ 2 b˙ œ 3
Tbn. 3
˙ œ Œ Ó ∑ Œ œ œ bœ œ œ
Œ
˙
f
? ∑ ∑ ∑ ∑ ∑ ∑
Tuba 2 2 2
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1 ã 3 ∑ 2 ∑ ∑ ∑ ∑ ∑ 3
Perc. 2 ã 2 ∑ 2 ∑ ∑ ∑ ∑ ∑ 2
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑
17 18 19 20 21 22
23
˙ ˙ ˙ bœ ˙ bœ ˙ ∑ ∑ ∑ ∑ ∑ ∑
Picc. &
f
˙˙ ˙˙ ˙˙ bœ ˙ b œœ ˙˙
œ ˙
Fl. 1 &3 2 ∑ ∑ ∑ ∑ ∑ ∑ 3
f
2
˙ ˙ #˙ bœ ˙ œ ˙
Ob. 1 & 2 2 ∑ ∑ ∑ ∑ ∑ ∑ 2
f
˙ ˙ ˙ œ ˙
Ob.
Ob. 2
& ˙ œ ∑ ∑ ∑ ∑ ∑ ∑
f
E.H.
. . œ. .
œ . œ. œ. .
? ∑ ∑ # œœ œ # œ œ œœ œœ œœ œ # œœ # œœ œœ œ œœ œœ.
. œ œ . . . œ . . .
∑ ∑ ∑ ∑
Bsn. 1
2 œ œ
f
. .
œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ.
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑ ∑
f
B b Cl. 2 & 3 ∑ ∑ 2 œ. # œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. ∑ ∑ ∑ ∑ 3
f
B b Cl. 3 & 2 ∑ ∑ 2 # œ. œ. b œ. œ. n œ. œ. œ. # œ. œ. œ. œ. # œ. œ b œ œ. # œ. ∑ ∑ ∑ ∑ 2
f . .
#œ œ #œ œ #œ #œ #œ œ #œ #œ
& ∑ ∑ ∑ ∑ # œ # œ œ # œœ # # œœ # œ œ # # œœ #œ #œ œ œ
#œ œ œ #œ #œ œ #œ
A. Sx. 1
2
p
∑ ∑ ∑ ∑ #œ œ œ œ #œ #œ œ œ œ #œ œ #œ œ #œ #œ œ
T. Sx. &
p
& ∑ ∑ ∑ ∑ œ œ œ
#œ #œ #œ œ œ #œ #œ #œ œ #œ #œ œ œ
B. Sx.
p
1
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3
@ @
23 24 25 26 27 28 29 30
˙ ˙ ˙ bœ ˙ bœ ˙ ∑ ∑ ∑ ∑
Picc. &
f
˙˙ ˙˙ ˙˙ bœ ˙ b œœ ˙˙
œ ˙
Fl. 1 &3 2 ∑ ∑ ∑ ∑
f
2
˙ ˙ #˙ bœ ˙ œ ˙ ∑ ∑ ∑ ∑
Ob. 1 & 2 2
b˙ ˙ ˙ œ ˙
Ob. 2
E.H. & ˙ œ ∑ ∑ ∑ ∑
. œ. œ.
. œ. . . œ. œ œ. œ. œ. œœ.
œ œ. œ. # œœ. œœ. œœ œœ
Œ # œœ œ
? œ
#œ œ #œ œ
Bsn. 1
2
∑ Ó Ó œ œ œ œ #œ œ œ ∑ ∑
f
F
. œ. n œ. œ. œ. œ. œ. œ. œ. œ. .
œ. œ. œ. œ. œ. œ œ œ
B b Cl. 1 & ∑ Ó Ó Œ #œ ∑ ∑
f F
. œ. # œ. œ. œ. œ. œ. œ. œ. . .
B b Cl. 2 & 3 ∑ Ó Ó Œ œ # œ. 2 œ. # œ. œ œ œ. œ. œ œ ∑ ∑
f F
& 2 ∑ Ó Ó Œ # œ œ. 2 # œ. œ. b œ nœ œ œ n œ. œ. œ. # œ. œ b œ œ # œ ∑ ∑
. œ. . . . # œ.
B b Cl. 3
. [ ]
. .
f F
œ œ #œ œ #œ #œ
& ∑ ∑ ∑ Ó Œ œ #œ #œ #œ #œ œ œ
A. Sx. 1
2
œ #œ œ œ #œ
F p
∑ ∑ ∑ Ó Œ œ #œ œ œ œ œ #œ #œ œ
T. Sx. &
F [ ] [ p]
& ∑ ∑ ∑ Ó Œ œ
#œ #œ
B. Sx. #œ œ #œ #œ œ œ
F p
1
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑
3
31 32 33 34 35 36
A B
1 2 3 4 5 1 2 3 4 5 1
j
œ #œ œ œ #œ #œ nw
1. [Solo]
œ
n˙
Fl. 1 &[X] 3
F
2
œ
j
œ #œ #œ nw œ
j
œ #œ nw œ
j
˙ nw
Ob. 1 &[X] #œ #œ
2
F
bœ œ œ #œ
r 1.
#w
? #œ œ œ w #œ #œ nœ nw
Bsn. 1
[X]
F
2
j Solo
#œ
˙ #˙ w
B b Cl. 1 &[X] #œ œ
F
j
#w
1.
A. Sx. 1 &[X]
œ
#œ nœ n w[ ]
#œ #œ nœ n w[ ]
F
2
? .. b œ ‰ œ œ .. œb œb œ œœ
[simile]
Timp.
[X] œ œ œ wæ œ æ œ æ œ wæ
p π æ æ æ
U
T. Blocks
ã [X] .. œ œ œ ‰ œ 5 œ .. œœœ œ " œ œ œœ 3

Perc. 1 œ œ
p
L. Susp. Cym.
F
æ
Perc. 2 ã [X]w 2
π
Gong
Acc. ã [X]wæ
π
37
@ @
Tempo primo
˙ ˙ ˙ bœ ˙ bœ ˙ ∑ ∑ ∑ ∑ ∑
Picc. &
f
˙˙ ˙˙ ˙˙ bœ ˙ b œœ ˙˙
œ ˙
[Tutti]
Fl. 1 &3 2 ∑ ∑ ∑ ∑ ∑
f
2
˙ ˙ #˙ bœ ˙ œ ˙
Ob. 1 &2 2 ∑ ∑ ∑ ∑ ∑
f
b˙ ˙ ˙ œ ˙
Ob. 2
& ˙ œ ∑ ∑ ∑ ∑ ∑
f
E.H.
. œ. œ.
. œ. .œ œ. œ. œ œ. œ. œ. œœ. œ. œ. # œœ. œœ. œ œœ
Bsn. 1
2
? ∑ Ó Ó Œ # œœ œ #œ œ #œ
œ œ œ
œ œ #œ œ œ œ ∑ ∑ ∑
f
. [F ]
. œ. n œ. œ. œ. œ. œ. œ. œ. œ. .
œ. œ œ. œ. œ. œ œ œ
B b Cl. 1 & ∑ Ó Ó Œ #œ ∑ ∑ ∑
f [F ]
. œ. # œ. œ. œ. œ. œ. œ. œ. . .
B b Cl. 2 & 3 ∑ Ó Ó Œ œ # œ. 2 œ. # œ. œ œ œ. œ. œ œ ∑ ∑ ∑
f [F ]
B b Cl. 3 & 2 ∑ Ó Ó Œ # œ œ. 2 # œ. œ. b œ n œ œ. œ. # œ [n]œ œ. œ. # œ b œ œ # œ ∑ ∑ ∑

f
. . œ. . . . . œ. .
[F ]
#œ œ #œ
& ∑ ∑ ∑ Ó Œ œ # œ [ #] œ œ œ # œ œ œ # # œœ ∑
#œ œ œ #œ
A. Sx. 1
2
œ
F
∑ ∑ ∑ Ó Œ œ #œ œ œ œ œ #œ #œ œ ∑
T. Sx. &
F
& ∑ ∑ ∑ Ó Œ œ œ ∑
#œ #œ #œ #œ #œ œ œ
B. Sx.
F
B b Tpt. 1 & 3 ∑ ∑ 2 ∑ ∑ ∑ ∑ Œ œ œ œ
f
B b Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ Œ œœ œœ # œœ
3 2 2
f
1
Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
3
38 39 40 41 42 43 44
Molto meno
46
U
rit. mosso rit.
œ nœ œ œ œ w
Picc. & ∑ ∑ ∑ ∑ ∑ Œ
f
U
œœ n œœ b œœ œœ œœ n ww
Fl.
1
& ∑ 3 ∑ 2 ∑ ∑ ∑ Œ
f
2
U
w
œ œ œ œ œ
Ob. 1 & ∑ 2 ∑ 2 ∑ ∑ ∑ Œ
∑ ∑ ∑ ∑ ∑ Œ œ œ bœ œ nU
w
Ob. 2
E.H. &
f
U
? Œ œ ˙
a2
∑ ∑ ∑ ∑ ∑ Œ
Bsn. 1
2 œ œ bœ œ œ
ƒ
U
w
œ #œ œ œ œ
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑ Œ
[ f]
3 2 œ œ nœ œ #U
w
B b Cl. 2 & ∑ ∑ ∑ ∑ ∑ Œ
[ f]
U
[Div.]
∑ ∑ ∑ ∑ ∑ Œ w
w
B b Cl. 3 & 2 2 ˙ œ
[ f]
U
& ∑ ∑ ∑ ∑ ∑ Œ ˙ œ # ww
A. Sx. 1
2 ˙ œ
ƒ
U
w
T. Sx. & ∑ ∑ ∑ ∑ ∑ Œ ˙ œ
[ ƒ]
U
B. Sx. & ∑ ∑ ∑ ∑ ∑ Œ œ œ nœ œ #œ Œ œ ˙
[ ƒ]
U
w
œ œ #œ œ œ œ
B b Tpt. 1 &œ œœœœœ 3 œ Œ Ó Ó 2 ∑ ∑ ∑ Œ
f
# wU
w
B b Tpt. 2 & œœ œœ œ˙ œœ 2 # œœ Œ Ó Ó 2 ∑ ∑ ∑ Œ ˙œ œ œ œœ
[ f]
3
U
œ œ œ œ b œ œ œ œ b œ œ œ œœ ˙ œœ œ w
1.
& ∑ ∑ Ó Œ œ œ œ œ œ œ œ Œ w
Hn. 1
2 ˙
f
3.
& ∑ ∑ Ó Œ œ œ ˙ œ œ œ œ œ b œœ Ó Œ ww
œ
3
œ œ œ œ
Hn.
f œ. J œ
4
n œœ œœ U
bœ œ œ œ œ œ œ œ œ œ œ bœ œ Œ Ó b ˙˙ b ww
1.
Tbn. 1
? ∑ Œ ∑ Œ
f ƒ
2
U
? ∑ 3 ∑ 2 b˙ œ Œ Ó ∑ Œ Œ œ ˙
Tbn. 3
˙ œ œ bœ œ œ
ƒ
? U
Tuba ∑ 2 ∑ 2 ∑ ∑ ∑ ∑ Œ œ
f ˙
? U
∑ ∑ ∑ ∑ ∑ Œ bœ Œ Œ œ ˙æ
Timp.
œ
f
S.D.
U
Perc. 1 ã ∑ 3 ∑ 2 ∑ ∑ ∑ Œ œ œ œ œ œ œ ∑
f
U
B.D.
Perc. 2 ã ∑ 2 ∑ 2 ∑ ∑ ∑ œ Œ Ó ∑
Cr. Cym.
[ U ]
∑ ∑ ∑ ∑ ∑ ∑
>
Perc. 3 ã w
f
45 46 47 48 49 50 51
5. Ostinato
Allegro Moderato h = 100
b œ^ . b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. . . œ. . . œ. œ. œ. . .
7
J‰ Œ Ó Ó œ. b œ œ. œ. #œ œ œ #œ œ bœ j
œ. ‰ Œ Ó ∑
Piccolo &
f
n b œœ^ . œ. . .
. b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. . . œ. œ. # œ. œ œ œœ œ b œ. œ.
œ. b œ œ. œ.
a2
&2 J‰ Œ Ó Ó #œ œ œ #œ œ œ bœ œ ‰ Œ Ó ∑
[ ]
Flute 1
2
f J
b œ^ . b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. . . œ. . . œ. œ. œ. . .
& J‰ Œ Ó Ó œ. b œ œ. œ. #œ œ œ #œ œ bœ j
œ. ‰ Œ Ó ∑
Oboe 1
2
f
œ^ ‰ Œ Ó . b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. . œ. . . . . . œ. œ. œ. . .
Ó œ. b œ œ. œ. œ #œ œ œ œ #œ œ bœ j
œ. ‰ Œ Ó ∑
Oboe 2
& J
f
English Horn
^j . œ. œ.
? .œ . b œ. œ. b œ. œ. n œ
a2
bœ ‰ Œ Ó ∑ ∑ ∑ ∑ bœ J ‰ Œ Ó
Bassoon 1
2 œ
f .
œ^ œ. n œ. # œ. œ. œ. œ. œ. œ.œ. œ. # œ. œ. œ œ . . œ. œ # œ. œ. n œ. # œ.
J‰ Œ Ó Ó
. . .
œ. b œ œ œ .œ # œ # œ
Clarinet in E b & . . # œ. # œ. J ‰ Œ Ó ∑
f
. . . . . .
œ^ .
œ. b œ œ. œ. b œ n œ # œ. œ. œ œ œ. œ. b œ œ # œ. œ. œ. œ. # œ. # œ. œ. # œ. # œ. œ. œ. # œ. œ. n œ.
Clarinet in B b 1 & J‰ Œ Ó Ó œ. ‰ Œ Ó ∑
J
f
. b œ. n œ. # œ. œ. œ. œ. œ. œ. b œ. œ. # œ. œ. . œ. .
b œ^ ‰ Œ œ. b œ œ. œ. œ # œ # œ. œ. # œ. # œ. œ. œ. # œ. œ. n œ. œ. ‰ Œ
Clarinet in B b 2 &2 J Ó Ó
J
Ó ∑
f
. . . . . . .
œ^ ‰ Œ Ó Ó œ. b œ œ. œ. b œ n œ # œ. œ. œ œ œ. œ. b œ œ # œ. œ. œ. œ. # œ. # œ. œ. # œ. # œ. œ. œ. # œ. œ. n œ. œ. ‰ Œ Ó ∑
Clarinet in B b 3 & 2 J J
f
^ . œ.
b œ. œ. # œ. œ
Bass Clarinet & j‰ Œ Ó ∑ ∑ ∑ ∑
.
b œ
œ. œ . œ
.
J ‰ Œ Ó
œ
f^
j
& bœ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Alto Sax 1
2 œ
f
& œ^ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Tenor Sax
J
f
^j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Baritone Sax & œ
f
2 b œ^ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ œ. œ. œ. # œ. œ. œ. œ. œ.
Trumpet in B b 1 & J
f
^j Unis.
Trumpet in B b 2 & 2 œœ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ œ. # œ œ # œ. œ. œ œ œ.
. . . .
f
3
œœ œœœœœœ œœœœœ œœœ œ ‰ Œ Ó ∑ ∑ ∑ ∑

a2
Horn in F 1
2 & J
f
œœœœœœœœ œœœœœ œœœ œ ‰ Œ Ó ∑ ∑ ∑ ∑
a2
Horn in F 3
4 & J
f . -
b b œœ^
-
œ. œ. œ b œ . œ. œ . œ.
?
a2
Trombone 1 J‰ Œ Ó ∑ ∑ ∑ ∑ Ó ‰ J J
f . -
2
-
œ. œ. œ b œ . œ. œ . œ.
? 2 œ^ ‰ Œ Ó ∑ ∑ ∑ ∑ Ó ‰ J J
Trombone 3
J
f
œ^ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Baritone (T.C.) & 2 J
f
? œ^ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Euphonium
J
f
? ^j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Tuba
œ
f
≥^
? j‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Double Bass
œ
f
? ^j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
Timpani
œ
f
S.D.
Percussion 1 ã 2 œ œœœœœœœ œœœœœ œœœ œ ‰ œ ‰ ‰ œ

J
‰ œ Œ
J
Œ œ ∑ ∑ ∑
f Xylophone
b œœ œ œœ b œœ œœ
Percussion 2 & 2 ∑ ∑ ‰ Jœ Œ ‰ J Œ Œ œ œ #œ œ œ œ œ bœ j
œ ‰ Œ Ó ∑
[ f]
Percussion 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 2 3 4 5 6 7
œ. œ. # œ. n œ. # œ. n œ. œ. n œ. œ.
‰ J # œ. ‰ Œ
Picc. & Ó Œ J Ó ∑ ∑ ∑ ∑
œœ. # œœ. œœ. # œœ. # œœ. n # œœ. n œœ. # # œœ. n œœ. # œœ. n n œœ. # œœ. # œ. > b œ . œ.
& Ó
# œ ‰ Œ Ó ∑ ∑ ∑ b œœ. œœ. œœ œœ n œœ b œ œœ œ
>
Fl. 1
J
f
2
œ. œ. œ. œ. œ. # œ. œ. # œ. n œ. œ. n œ. œ.
# œ. ‰ Œ œ > b œ œ. œ.
& Ó Ó ∑ ∑ ∑ b œ. œ. œ œ
>
Ob. 1 J
f
œ. # œ. œ. # œ. # œ. n œ. œ. # œ. œ. # œ. n œ. # œ.
& Ó # œ. ‰ Œ Ó ∑ ∑ ∑ œ >œ b œ œ. œ.
J œœœ
>. .
Ob. 2
E.H.
b œ- . -
œ. œ . œ.
? J J ∑ # œ œ œ n œ œ b œ œ œ n œj ‰ Œ Ó ∑ ∑ ∑
Bsn. 1
# œ. œ. œ. n œ. œ b œ. œ œ
. . œ. .
2
[ ]
# œ. # œ. œ. # œ. # œ. [ n œ. # œ. œ. # œ. # œ. œ. # œ. > b œ . œ.
& Ó œ.] ‰ Œ Ó ∑ ∑ ∑ œ. œ. œ œ œ œ
E b Cl.
J
f >
# œ. # œ. œ. # œ. n œ. # œ. n œ. œ. bœ . .
B b Cl. 1
. . . .
& œ œ œ #œ œ œ œ œ
j
# œ. ‰ Œ Ó œ œ. œ b œ >œ. œ. œ œ
>.
œ œ. œ œ n >œ œ œ
>.
∑ ∑
f
# œ. œ. n œ. # œ. # œ. # œ n œ # œ œ bœ . .
& œ # œ œ [ #]œ œ. œ. œ. j œ œ. œ b œ >œ. œ. œ œ
>.
œ œ. œ n >œ œ œ
>.
B b Cl. 2 œ. . . . n œ. ‰ Œ Ó ∑ ∑
f
. . . œ. # œ. # œ. œ. # œ. n œ. # œ. n œ. œ. j œ œ. œ b œ >œ. œ. œ œ
>.
œ œ. œ œ n >œ
>. b œ œ. œ.
B b Cl. 3 & œ œ œ #œ œ œ œ # œ. ‰ Œ Ó ∑ ∑
f
œ- . -
œ. œ . œ.
& J J ∑ # œ. œ. # œ. n œ. œ n œ. œ # œ # œ. j ‰ Œ Ó ∑ ∑ ∑
. . .
B. Cl.
f
. . . . . .
- j j # # œœ n # œœ # n œœ ‹ # œœ # n œœ # œœ. # n œœ # œœ. # œ.
œ. œ- . w>
a2 a2
& œ. œ. # œ ‰ Œ Ó # w> ∑ ∑
[
]
J
A. Sx. 1
2
œ- . -
œ. œ . œ. # w> w>
T. Sx. & J J ∑ ∑ ∑ ∑
∑ ∑ ∑ j j j j ∑ ∑
B. Sx. & œ. œ. œ . # œ. # œ . œ. œ . # œ.
f
. œ b œ œ. œ.
& œJ ‰ Œ Ó ∑ ‰ œ. # œ œ œ n œ j‰ Œ Ó ∑ œ œ. œ b œ >œ. œ. œ œ
>.
œ œ. œ n >œ
>.
. . . . œ. # œ. # œ.
B b Tpt. 1
f f
> œ . .
.
& œJ ‰ Œ Ó ∑ ‰ œ. # œ œ œ n œ j‰ Œ Ó ∑ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ # œ œ œ
> >
B b Tpt. 2
3 . . œ #
. . . # œ. . œ
f
>
- j- j w> w> ˙>

& bœ . œ. œ . ∑ ∑ nw Ó
>
Hn. 1 œ.
f
2
f
- j- j w> w> ˙
>
& bœ . œ. œ . ∑ ∑ nw Ó
>
Hn. 3
4 œ.
f
b œ. b œ. œ . b œœ- œ . # œ- œ b œœ- b œœ ..
? J ‰ Œ œ. # œ. n œ . b œ. b >œ . n œ. œœ .. b œœ-
a2
Tbn. 1 Ó ∑ ∑ J J J J J œ . # œJ # œ .. J J
f
2
b œ. b œ. œ .
œ. # œ. n œ . b œ. b >œ . n œ. œ . œ- œ . j
? J ‰ Œ Ó ∑ ∑ J J J J œ- b œ . œ- œ . œ-
Tbn. 3
J J J
f
œ- . -
œ. œ . œ. b œ. n œ . n œ.
∑ # œ. œ. # œ. n œ. œ n œ. œ # œ # œ. j ‰ Œ Ó ∑ ∑
>
& J J #œ . J J
. . .
Bar.
f
? ∑ ∑ # œ. œ. œ. n œ. œ b œ. œ œ n œ. ‰ Œ Ó ∑ ∑ ∑
Euph. . . . J
Tuba
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ #œ nœ #œ nœ nœ nœ œ
#œ ‰ Œ
Perc. 2 & ∑ J Ó ∑ ∑ ∑ ∑
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
8 9 10 11 12 13 14
15 bœ œ. œ. œ b œ œ. œ. œ œ œ bœ œ nœ œ
Picc. & ∑ ∑ ∑ ∑ ∑ .. #œ
˙
a2
œ bœ œ bœ ˙ œ bœ œ bœ œ bœ œ. œ. œ b œ œ. œ. n œ œ œ bœ œ nœ œ
& J ‰ Œ Ó ∑ ∑ .. #œ
[ ]
Fl. 1
2
œ œ. œ. œ b œ œ. # œ. nœ œ œ bœ œ nœ œ
& ˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó ∑ ∑ .. #œ
Ob. 1
J
œ œ. œ. œ b œ œ. . œ œ œ bœ œ nœ œ
œ bœ œ bœ œ bœ œ bœ #œ .
Ob. 2
E.H. & ˙ ˙ œ ‰ Œ
J
Ó ∑ ∑ . #œ
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œ ‰ Œ j ..
Ó ∑ œ. ‰ Œ Ó ∑
a2
Bsn. 1 œ œ. b œ. œ. œ. œ. œ. œ. œ.
2
J
f
˙ œ bœ œ œ ˙ œ œ œ œ œ œ œ. œ. œ b œ œ. . #œ œ #œ nœ œ #œ œ
J ‰ Œ Ó ∑ ∑ #œ .
E b Cl. & . #œ
b œ œ œ- œ. œ. œ b œ œ. œ. .
& ˙ œ bœ œ œ ˙ œ œ œ œ œ. œ- b œ . œ- œ œ œ n œ œ ‰ Œ
J Ó œ
. #œ œ œ nœ œ #œ œ
B b Cl. 1
J J #œ
f
& ˙ œ bœ œ œ ˙ œ œ œ œ j j
œ- œ œ œ # œ
œ œ œ- œ ‰ Œ œ œ. œ. œ œ œ. # œ. .. #œ œ œ nœ œ #œ œ
B b Cl. 2 œ. # œ- œ . J Ó
#œ
f
b œ œ œ-
& ˙ œ bœ œ œ ˙ œ œ œ œ œ. œ- b œ . œ- œ œ œ n œ œ ‰ Œ
J Ó œ œ. œ. œ œ œ. # œ. .. #œ œ œ nœ œ œ
B b Cl. 3
J J #œ #œ
f
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó ∑ j‰ Œ Ó .. ∑
> > > >
B. Cl.
J œ. œ. œ. œ. œ. œ. œ. œ. œ.
f
˙ œ bœ œ œ ˙ œ œ œ œ œ #œ œ #œ nœ œ #œ œ
A. Sx. 1 & J ‰ Œ Ó ∑ w ∑ .. #œ
f
2
f
>
& œ œ œ œ œ œ œ œ
> >
œ œ œ œ œ œ œ œ
> >
œ ‰ Œ Ó ∑ w> ∑ .. #œ œ œ nœ œ #œ œ
T. Sx.
J #œ
f
j‰ Œ Ó ∑ j ..
& # œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ Œ Ó ∑
#œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ #œ
B. Sx.
n œ. b œ œ œ-
& J ‰ Œ Ó ∑ œ . œ- b œ . œ- œ œ œ œ œ ‰ Œ Ó ∑ .. ∑
B b Tpt. 1
J J J
# œ. œ . # œj œ . j œ œ œ-
B b Tpt. 2 & J ‰ Œ Ó ∑
- œ- œ œ œ # œ œ ‰ Œ Ó ∑ .. ∑
3 J
j
j ..
a2
œ ‰ Œ Ó ∑ b œœ œœ b œœ œœ œœ œœ b œœ ‰ Œ Ó ∑
1. 1.
2. 2.
Hn. 1
2 œ œ œ œ œ œ œ œ - . . - . . .
f
f
j
j ..
œ ‰ Œ Ó ∑ b œœ œœ b œœ œœ œœ œœ b œœ ‰ Œ Ó ∑
3. 3. a2
4. 4.
Hn. 3
4 œ œ œ œ œ œ œ œ - . . - . . .
f
f
b œœ- œœ. b b œœ. œœ- œœ. œœ. w>
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œ ‰ Œ ..
Tbn. 1 œ Ó ∑ ∑
J
f
2
? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ j ..
Tbn. 3 œ ‰ Œ Ó ∑ œ- œ. b œ œ-
.
œ. œ
.
w ∑
f >
œ- œ. b œ. œ- œ. œ. w>
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó ∑ .. ∑
> > > >
J
Bar.
f f
œ ‰ Œ œ- œ. b œ. œ- œ. œ. w>
Euph.
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J Ó ∑ .. ∑
f
? j ..
Tuba
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ ‰ Œ Ó ∑ ∑ ∑ ∑
f
? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ j ..
D.B. œ ‰ Œ Ó ∑ ∑ ∑ ∑
f
? ∑ ∑ j ..
œ œœ œœœœ œ ‰ Œ
Timp. Ó ∑ ∑ ∑
f
T. Blocks
Perc. 1 ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ .. ∑
f L. Susp. Cym.
∑ ∑ ∑ ∑ ∑ & .. ∑
>
Perc. 2 & ã w
f
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ .. ∑
15 16 17 18 19 20 21
22
Picc. & œJ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
œ
Fl. 1
2 & J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
œ
Ob. 1 & J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
œ
Ob. 2
E.H. & J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
?
œ œ #œ œ bœ œ œ œ
a2
œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ.
Bsn. 1
2
P f
E b Cl. & œJ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
œ #œ œ œ- œ . # œ- # œ ‰ Œ œ #œ œ
‰ œœ œ œ œ. ‰ #œ œ œ œ œ ‰ Œ
Solo
B b Cl. 1 & œj ‰ Œ Ó ∑ J J J Ó J Ó
f
B b Cl. 2 & œj ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
B b Cl. 3 & œj ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
A. Sx. 1
2 & œJ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑
& œj ‰ Œ Ó ∑ ∑ ∑ ‰ #œ œ œ œ #œ œ œ #œ ‰ Œ Ó ∑
T. Sx.
J
F
B. Sx. &
# œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. œ #œ #œ #œ œ œ œ œ
P Solo f
œ. œ. œ. œ. œ. # œ. œ. œ . œ- # œ . œ- œ. ‰ Œ
B b Tpt. 1 & ‰ J J J Ó ∑ ∑ ∑ ∑
B b Tpt. 2
3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
1.
& ∑ ∑ ∑ ‰ # œ œ œ œ œ œ # œj ‰ Œ Ó ∑ ww
Hn. 1
œ
F
2
Í
Hn. 3
4 & ∑ ∑ ∑ ∑ ∑ ∑ b ww
Í
n œ. œ. œ. œ. œ. œ. œ. œ. b ww
1.
Tbn. 1
? ∑ ‰ J‰ Œ Ó ∑ ∑ ∑
F Í
2
? w
Tbn. 3 ∑ ∑ ∑ ∑ ∑ ∑
Í
Bar. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
? œ œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ. œ. œ œ 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
Euph. J
P
Tuba
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
? œ≥ œ 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
D.B. J
P
? œ ‰ œ Ó œ ‰ œ Ó œ ‰ œ Ó œ ‰ œ Ó œ ‰ œ Ó œ ‰ œ Ó œ ‰ Œ Ó
Timp.
J J J J J J J
P
[T. Blocks]
5 œ œ Œ 5 œ œ Œ 5 œ œ Œ 5 œ œ Œ 5 œ œ Œ 5 œ œ Œ 5 Œ Ó
Perc. 1 ã œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
P
j
B.D.
Perc. 2 & ∑ ∑ ∑ ã Ó Œ œ Ó Œ œ Ó Œ œ œ ‰ Œ Ó
P
j
B.D.
Perc. 3 ã Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ œ ‰ Œ Ó
p P
22 23 24 25 26 27 28
29
Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1
2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 2
E.H. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bsn. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
E b Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B b Cl. 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
j j j
œ. ‰ # # œœ ‰ œ œ ‰ œj œ ‰ # œœ # # œœ œœ ‰ # œœ # # œœ œœ œœ ‰ œj œœ œœ
j
‰ # # œœ # œœ # # œœ œœ ‰ œœ œ œœ ‰ # œœ # # œœ œœ œ œj œj # œœ. # œj œj œ œœ
& #œ # œ œ œ.
œ œ. œ œ. œ . œ J œ. œ œ
A. Sx. 1
2
J . . J . . J . J . J
f
œ. ‰ œJ ‰ œ # œ. ‰ œ # œ.
.
‰ Jœ œ # œ. .
‰ Jœ œ œœ ‰ œ # œ. œ. ‰ œJ œ œ. # œ ‰ œ œ œ ‰ œ œ. œ # œ. œ # œ œ. œ œ œ. œ
T. Sx. & J J J J J J J J J J J J
f
& ‰ j ‰ j ‰ j ‰ j ‰ j ‰ jŒ ‰ j‰ j Œ Œ ‰ jŒ Œ Œ
œ œ. œ. œ œ. œ œ. œ œ œ. œ œ. œ œ œ. œ. œ. œ. œ œ. œ. œ.
B. Sx.
œ. . . œ . œ. ‰ Jœ # œ. œ œ . . œ # œ. œ œ œ œ œ # œ. œ . œ œ. # œ œ œ. œJ
‰ # œJ ‰ œJ œ ‰ œJ œ ‰ J # œ ‰ œJ œ œ ‰ # œJ J œ œJ
[Tutti]
B b Tpt. 1 & J J ‰ ‰ J J J J
œ. j j . . j . . œœ œœ. œj # œœ œœ. œœ œœ œœ. œœ

& #œ ‰ œœ ‰ œœ œœ. ‰ œœ # œœ. ‰ œœ œœ # œœ. ‰ œœ œœ œœ œœ ‰ œœ # œœ. œœ. ‰ œœ # œœ œœ œœ ‰ œœ œœ œœ ‰ # œœ œœ œ
B b Tpt. 2
3 J J J J J J J J J J J J
Hn. 1 & ‰ œœj œœ œœ ‰ œj œ

œ œ.
‰ œj œ
œ œ.
‰ œj ‰ œj œ
œ œ œ.
‰ œj Œ
œ œœ ‰ œj ‰ œj œ
œ œ œ.
Œ œœ œœ Œ œœ ‰ œj Œ
œ œœ
Œ
œœ Œ œœ
. . . . . . . . .
2
f
& ‰ œj œ œœ
‰ j
œœ œœ
‰ j
œœ œœ
‰ j ‰ j
œœ
‰ jŒ ‰ j‰ j Œ Œ ‰ jŒ Œ Œ
œœ œœ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Hn. 3
4
œ œ. . . . . . . . . . . .
f
. œœ. . . . œœ. . œœ. œœ. Œ œœ. œœ. œœ. œœ.
? ‰ œœ œœ ‰ œœJ œœ ‰ œœJ œœ ‰ œœJ ‰ œJœ œœ ‰ œJœ Œ ‰ œJœ ‰ œœJ œœ Œ ‰ œJœ Œ Œ Œ
Tbn. 1 J
f
2
? ‰ œ œ. œ. ‰ œ œ. ‰ œ œ. ‰ œ ‰ œ œ. ‰ œ Œ œ. ‰ œ ‰ œ œ. Œ œ. œ. Œ œ. ‰ œ Œ œ. Œ œ. Œ œ.
J J J J J J J J J
Tbn. 3
f
j j ‰ œj œ ‰ œj ‰ œj œ ‰ œj Œ ‰ œj ‰ œj œ ‰ œj Œ
Bar. & ‰ œ œ. œ. ‰ œ œ. . . œ. .
Œ œ. œ. Œ œ. œ. Œ œ. Œ œ.
f
œ. œ œ œ. œ œ. œ œ. œ. œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ œ œ. œ œ. œ œ œ. œ œ œ. œ
Euph.
? ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J J J ‰ ‰ J J J J J J J
? ‰ j ‰ j ‰ j ‰ j ‰ j ‰ jŒ ‰ j‰ j Œ Œ ‰ jŒ Œ Œ
œ œ. œ. œ œ. œ œ. œ œ œ. œ œ. œ œ œ. œ. œ. œ. œ œ. œ. œ.
Tuba
f
? ‰ œ≤ œ≥. ≤
œ.
≤
‰ œ
≥
œ.
≤ ≥
‰ œ œ.
≤
‰ œ
≤ ≥
‰ œ œ.
≥
‰ œ Œ
≥
œ.
≤ ≤ ≥
‰ œ ‰ œ œ. Œ
≥
œ.
≥
œ. Œ
≥
œ.
≤
‰ œ Œ
≥
œ. Œ
≥
œ. Œ
≥
œ.
J J J J J J J J J
D.B.
f
? ‰ œ œ ‰ œ‰ ‰ œ œ‰ ‰ œ œ ‰ ‰ œ ‰ œ œ ‰ ‰ œ Œ œ‰ ‰ œ ‰ œ œ ‰ Œ œ‰ œ‰ Œ œ ‰ ‰ œ Œ œ‰ Œ œ‰ Œ œ‰
J J J J J J
Timp.
f
S.D.
Perc. 1 ã œ ‰ ‰ œ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ œ ‰ ‰ œ œ ‰ œœ ‰ œ œ ‰ œ ‰ ‰ œ œ œ‰œ ‰œœœ ‰ œ œ ‰ œ œ‰ œ œ œ‰ œ œ œ‰œ

f
Perc. 2 ã œ ‰ ‰ œ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ œ ‰ ‰ œ œ ‰ œœ ‰ œ œ ‰ œ ‰ ‰ œ œ œ‰œ ‰œœœ ‰ œ œ ‰ œ œ‰ œ œ œ‰ œ œ œ‰œ
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
29 30 31 32 33 34 35
41 . .
∑ ∑ ∑ ∑ ∑ œ. b œ. œ. œ. œ. œ. œ. œ. n œ b œ b œ. œ. œ. œ. œ. œ.
Picc. &
f
. .
œœ. b œœ. # œœ. œœ. œœ. œœ. œœ. [œœ. ] œœ b œœ b œœ. œœ. # œœ. œœ. œœ. œœ.
Fl. 1
2 & ∑ ∑ ∑ ∑ ∑
f
. .
œ. b œ. œ. œ. œ. œ. œ. [œ. ] n œ b œ b œ. œ. œ. œ. œ. œ.
Ob. 1 & ∑ ∑ ∑ ∑ ∑
f
œ. . œ. œ. œ. œ. . # œ. œ. œ. œ.
Ob. 2
E.H. & ∑ ∑ ∑ ∑ ∑ œ. # œ. œ œ. œ. œ. œ
f
a2
? ∑ ∑ ∑ ∑ ∑ # œ. œ. œ. b œ œ. œ. œ. œ. œ. # œ. œ. œ. œ. b œ
Bsn. 1
. œ. b œ. .
f
2
œ. œ. œ. # œ. œ. œ. œ. œ. # œ. n œ. œ. œ. œ. œ. œ. # œ.
E b Cl. & ∑ ∑ ∑ ∑ ∑
f
œ. # œ. œ. . œ. œ. . œ. # œ. œ. . # œ. œ. œ. œ.
Tutti
B b Cl. 1 & ∑ ∑ ∑ ∑ ∑ # œ. œ œ #œ
f
∑ ∑ ∑ ∑ ∑
. .
œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ.
B b Cl. 2 &
f
& ∑ ∑ ∑ ∑ ∑ œ bœ œ #œ œ œ
B b Cl. 3
#œ œ #œ œ œ œ œ œ #œ œ
f
& ∑ ∑ ∑ ∑ ∑
B. Cl.
# œ. œ. # œ. œ. œ. œ. œ. œ. #œ
œ. b œ. œ. # œ. . œ. œ. œ.
f
j j
& ‰ # # œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ # # œœ ‰ œœ ‰ œœ ‰ œœ # œ # œœ # # œœ. œœ ‰ œj œœ ‰ œj œœ ‰ œœ # œœ # # œœ ∑ ∑
A. Sx. 1
2 # œ. J œ . œ .
œ ‰ # œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ [ œ ]‰ œ ‰ #œ ‰ œ ‰ œ œ œ. # œ ‰ œ œ. ‰ œ # œ. ‰ œ œ œ
T. Sx. & ‰ J œ. J J J J
∑ ∑
& ‰ j Œ ‰ j ‰ j Œ ∑ ∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ œ. œ œ.
B. Sx.
#œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ #œ œ # œ. œ œ œ. . œ #œ
B b Tpt. 1 & ‰ ‰ œ ‰ œ ‰ Jœ # œ. J J ‰ J ‰ œJ œ ‰ œ ∑ ∑
œ œ
& ‰ œ ‰ # œœ ‰ œœ ‰ œœ ‰ # œœ ‰ œœ ‰ œœ ‰ œ ‰ # œœ ‰ œœ ‰ œœ # œœ # œœ œœ. œœ ‰ œœj œœ. j
‰ œœ # œœ. ‰ œœ œœ œœ ∑ ∑
B b Tpt. 2
3
J . J J
& œœ ‰ œj Œ ‰ œj œ ‰ œj œ Œ ∑ ∑
Hn. 1
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œ. œ œ.
. . . . . . . . . . . . .
2
& œ ‰ j Œ ‰ j ‰ j Œ ∑ ∑
Hn. 3
œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
. . . . . . . . . . . . . .
4
Tbn. 1
? œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. ‰ œœJ Œ œœ. œœ. .
‰ œœJ œœ ‰ œœJ œœ
.
Œ ∑ ∑
2
? œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œ Œ œ. œ. ‰ œ œ. ‰ œ œ. Œ ∑ ∑
J J J
Tbn. 3
& œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œj Œ œ. œ. ‰ œj œ ‰ œj œ Œ ∑ ∑
. .
Bar.
œ‰ œ œ‰œ œ‰œ œ‰ œ œ. œ œ œ œ. œ œ œ. œ œ. œ œ œ
? ‰ ‰ ‰ ‰ ‰ J‰ J œ. J J ‰ J ‰ J ‰ ∑ ∑
Euph.
? ‰ j Œ ‰ j ‰ j Œ ∑ ∑
Tuba
? œ≥. ≥
œ.
≥ ≥
œ. œ.
≥
œ.
≥ ≥ ≥
œ. œ. œ.
≥
œ.
≥
œ.
≤
œ.
≤
‰ œ Œ
≤
œ.
≥
œ.
≤
‰ œ
≥
œ.
≤ ≥
‰ œ œ. Œ ∑ ∑
J J J
D.B.
? œ ‰ œ ‰œ‰ œ‰ œ ‰œ‰œ‰œ ‰ œ ‰ œ‰ œ‰ ‰ œ Œ œ‰ œ‰ ‰ œ œ‰ ‰ œ œ‰ Œ ∑ ∑
J J
Timp.
Perc. 1 ã ‰ œ‰ œ‰œ‰œ ‰ œ‰œ‰œ‰ œ ‰ œ‰ œ‰ œ œ ‰ œ œ‰ œ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ œ ∑ ∑ &
Perc. 2 ã ‰ œ‰ œ‰œ‰œ ‰ œ‰œ‰œ‰ œ ‰ œ‰ œ‰ œ œ ‰ œ œ‰ œ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ œ ∑ ∑
Perc. 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
36 37 38 39 40 41 42
œ. œ. œ. œ. b œ. œ. œ. b œ. œ. ‰ œ. œ. œ. œ. œ. . n œ. b œ. œ. œ. ‰ œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. [ œ. œ. ] œ. œ. b œ. œ. œ. œ. œ. œ. ‰ œ. b œ. œ.
œ. b œ
Picc. & ‰
. œ. . œ. b œœ. œ. œ. b œœ. œ. . .
œ . œ. œ. œœ. œ. œœ. b œœ. n œœ b œœ œœ. œ. . . b œ. . . . .
œœ. œœ. # œœ. œ. œœ. œ. b œœ œœ.
.
œœ. œœ. œœ. # œœ. ‰ œœ. b œœ œœ.
Fl. 1 & ‰ #œ œ œœ œ œ œ #œ ‰ œœ œ œ œ # œ ‰ œœ # œœ œ œœ œœ œœ. œœ œœ. œœ. œ œ
2
œ. œ. œ. œ. b œ. œ. œ. b œ. œ. ‰ œ. œ. œ. œ. œ. . . . . œ. b œ. œ. œ. œ. œ. œ. œ.
œ. b œ n œ b œ œ œ. ‰ œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. ‰ œ. b œ. œ.
Ob. 1 & ‰
.
. . œ. œ. œ. œ. œ. œ. # œ. ‰ œ. . œ. œ. œ. œ. œ. œ œ. œ. # œ. ‰ œ. .
# œ. œ œ. œ. œ. œ. œ. œ. . .
œ. œ # œ. œ. œ œ.
œ. œ. . . œ. .
œ. œ œ. # œ. ‰ œ
Ob. 2
E.H. & ‰ #œ œ œ œ
? ‰ œ. # œ b œ œ œ œ œ œ. œ. ‰ b œ # œ. œ. œ œ. b œ œ. œ b œ œ. œ. ‰ # œ. œ. œ. œ. # œ. b œ œ n œ b œ # œ b œ œ. œ œ n œ œ œ. # œ. b œ œ. œ. ‰ œ œ. œ.
Bsn. 1
2 . . . . . . . . . . . . . . . . . . . . . . .
œ. œ. # œ. œ. œ. œ. œ. œ. œ. ‰ # œ. œ. œ. œ. œ. # œ. œ. # œ. n œ. œ. œ. ‰ œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. ‰ œ. œ. œ.
E b Cl. & ‰
. # œ. œ. œ. œ. œ. œ. œ. # œ. .
œ. œ. œ # œ. œ. # œ. ‰ # œ. . . .
B b Cl. 1 & ‰ # œ . . .
‰ œ # œ. œ œ œ. # œ. œ œ. # œ. œ. œ. œ. œ. # œ. œ. # œ. œ. œ. œ. œ œ. # œ. œ. œ. # œ. ‰ œ. œ œ.
. . . œ. œ. ‰ œ. œ œ œ œ . œ. œ. œ. . . . .
B b Cl. 2 & ‰ œ. œ. œ. œ œ œ. œ . . . . œ. œ œ ‰ œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. ‰ œ. œ œ.
& ‰ #œ #œ œ #œ ‰ œ #œ œ œ œ ‰
œ œ œ œ œ œ œ œ bœ œ #œ ‰ #œ #œ œ œ #œ œ œ #œ nœ #œ nœ #œ œ œ #œ œ œ #œ nœ œ œ œ œ œ
B b Cl. 3
& ‰ # œ. # œ œ. # œ. ‰ œ # œ. œ. œ œ. ‰ ‰
. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. # œ. [ #]œ. # œ. œ. œ. # œ œ œ # œ n œ # œ n œ # œ. œ œ # œ œ. œ.
. . . . . . . . . . # œ. œ. œ. [ #]œ. œ. œ. œ.
B. Cl.
. .
A. Sx. 1
2 & ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. & ∑ ∑ ∑ ∑ ∑ ∑
^ ‰ Œ Ó Œ
^ ‰ Ó Ó Œ
^ ‰ ∑ ∑ Ó
^ ‰ Œ
& j j j j
œ œ œ œ
B. Sx.
f
B b Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑
B b Tpt. 2
3 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 1
2 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3
4 & ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 1
? ∑ ∑ ∑ ∑ ∑ ∑
2
Tbn. 3
? ∑ ∑ ∑ ∑ ∑ ∑
Bar. & ∑ ∑ ∑ ∑ ∑ ∑
Euph.
? ∑ ∑ ∑ ∑ ∑ ∑
? ^j ‰ Œ Ó Œ
^
j‰ Ó Ó Œ
^
j ‰ ∑ ∑ Ó
^
j‰ Œ
bœ bœ bœ bœ
Tuba
f
≥ ≥ ≥ ≥
? b œ^ ‰ Œ Ó Œ b œ^ ‰ Ó Ó Œ b œ^ ‰ ∑ ∑ Ó b œ^ ‰ Œ
D.B.
J J J J
f
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑
Tub. Blls.
& #˙ Ó Œ Œ Ó Œ ∑ ∑ Ó ã
Perc. 1
#˙ #œ #˙
F
Perc. 2 ã œ Œ Ó Œ œ Ó Ó Œ œ ∑ ∑ Ó œ Œ
F
Ó Œ Œ Ó Œ ∑ ∑ Ó
Gong
Perc. 3 ã ˙ ˙ œ ˙
F
43 44 45 46 47 48
49 55
bœ bœ œ œ bœ œ bœ œ nœ
& .. ∑ ∑ ∑ ∑ œ. n œ- b œ . œ- J ‰ Œ Ó
Picc.
J J
œ. n œ- b œ . œ-
a2
Fl. 1
2 & .. ∑ ∑ ∑ ∑
J J J ‰ Œ Ó
& .. ∑ ∑ ∑ ∑ œ. n œ- b œ . œ- J ‰ Œ Ó
Ob. 1
J J
& .. ∑ ∑ ∑ ∑ œ. œ- b œ . œ- J ‰ Œ Ó
J
Ob. 2
E.H. J
bœ œ #œ œ œ nœ n˙
? .. œ . j j bœ bœ œ œ bœ nœ bœ œ Œ œ
Bsn. 1
2 œ- b œ . œ- J ‰ Œ Ó ∑ ∑
f
j j œ #œ bœ œ nœ
E b Cl. & .. ∑ ∑ ∑ ∑ œ. # œ- œ . œ- b œ œ œ œ J ‰ Œ Ó
f
j j bœ œ œ œ œ #œ bœ œ [œ ] ‰ Œ
B b Cl. 1 & .. ∑ ∑ œ. # œ- œ . œ- J Ó ∑ œ œ œ #œ œ œ œ œ
f
j j œ #œ bœ œ
B b Cl. 2 & .. ∑ ∑ œ. # œ- œ . œ- b œ œ œ œ [ œ ]‰ Œ
J Ó ∑ œ œ œ #œ œ œ œ œ
f
j j œ #œ bœ œ
œ- b œ œ œ œ œ ]‰ Œ
B b Cl. 3 & .. ∑ ∑ œ. # œ- œ . [
J Ó ∑ œ œ œ #œ œ œ œ œ
f
œ œ #œ œ œ #œ #˙
& .. œ . j n œ . j bœ œ œ œ œ nœ bœ œ Œ œ ‰ Œ Ó ∑ ∑
B. Cl.
# œ- œ- J
f
a2
A. Sx. 1
2 & .. ∑ ∑ ∑ ∑ ∑ ∑ Ó œ œ #œ #œ
j bœ œ œ œ œ nœ bœ œ Œ œ œ #œ œ œ #œ #˙ œ ‰ Œ
& .. œ . j n œ . œ- J
Ó ∑ ∑
# œ-
T. Sx.
f
B. Sx. & .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
bœ œ œ œ œ œ œ œ œ ‰ Œ
B b Tpt. 1 & .. ∑ ∑ ∑ ∑ ∑ J Ó
f
j
B b Tpt. 2
3 & .. ∑ ∑ ∑ ∑ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ Œ Ó
j
& .. # œ œ œ œ œ œ œ œ # # œœ œœ œœ œœ œœ œœ œœ œœ œ ‰ Œ
1.
∑ ∑ ∑ ∑ Ó
Hn. 1
2 œ
j
& .. ∑ ∑ ∑ ∑ # œ œ œ œ œ œ œ œ # # œœ œœ œœ œœ œœ œœ œœ œœ œ ‰ Œ Ó
3.
Hn. 3
4 œ
Tbn. 1
? .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
Tbn. 3
? .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ bœ bœ œ Œ œ œ #œ œ œ #œ #˙ #œ ‰ Œ
& .. œ . j œ . j
œ- b œ œ œ œ J
Ó ∑ ∑
# œ-
Bar.
f
Euph.
? .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba
? .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
D.B.
? .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
Timp.
? .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
ã ..
S.D.
∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó
Perc. 1
J
f
Perc. 2 ã .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 3 ã .. ∑ ∑ ∑ ∑ ∑ ∑ ∑
49 50 51 52 53 54 55
œ bœ œ #œ œ # >œ # >œ œ # >œ

Picc. & ∑ Ó J ‰ Œ Ó ∑ ∑ ∑
f
œ bœ œ #œ œ œ œ œ œ # >œ # >œ œ # >œ
∑ J ‰ Œ Ó ∑ ∑ ∑ œ œ nœ œ
Fl. 1 &
f
2
œ bœ œ #œ œ œ œ œ œ bœ œ #œ œ œ n˙ .
Ob. 1 & ∑ J ‰ Œ ∑ ∑ ∑
f
œ bœ œ #œ œ œ œ œ œ >œ >œ
Ob. 2
& ∑ J ‰ Œ Ó ∑ ∑ ∑ # œ n >œ
f
E.H.
? œ bœ œ #œ œ œ œ œ œ bœ œ #œ œ œ œ œ œ ‰ Œ #œ bœ œ #œ
Ó Œ œ nœ œ œ œ #œ œ œ œ #œ bœ œ bœ œ bœ œ œ œ nœ Œ Ó
Bsn. 1 J
f f
2
œ œ #œ #œ œ œ œ œ œ ‰ Œ # >œ >œ # œ n >œ

E b Cl. & ∑ J Ó ∑ ∑ ∑
f
j ˙
> œ
> œ # >˙ n >œ œ ˙
& œ œ œ #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
B b Cl. 1 [ n œ]
[ >]
œ œ œ œ œ œ j ‰ >˙ # >œ œ # >˙ n >œ œ #[ >œ

& œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ #œ nœ œ Œ Ó
]
B b Cl. 2
[ >] [ >]
j ˙> # >œ œ # >˙ n >œ œ

& œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ ‰ #[ >œ #œ nœ œ Œ Ó
]
B b Cl. 3
[ >] [ >]
j nœ œ #œ Œ Ó
B. Cl. & œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ ‰ Œ Ó ∑ ∑ b œ œ œ [œ ] # œ # œ
f
& œ œ # œ # œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ # œ # œ œj ‰ Œ # >œ œ #œ œ œ œ
> >
Œ ˙ #œ Œ Ó
>
A. Sx. 1
2
˙ œ
>
j #œ nœ œ #œ Œ Ó
T. Sx. & œ œ œ #œ œ œ œ œ œ œ œ #œ œ ‰ Œ ∑ Œ
œ #œ œ œ #œ #œ œ œ œ #œ œ œ bœ œ bœ œ œ œ #œ
f
∑ œ œ #œ #œ œ œ œ œ œ ‰ Œ Ó ∑
B. Sx. & J ˙ ˙ ˙ ˙ #˙ n˙
> > > > >
f
>
∑ ∑ ∑ ∑ ∑ ∑ # >œ # >œ # œ # œ
B b Tpt. 1 &
[ >]
> >
∑ ∑ ∑ ∑ ∑ ∑
>
B b Tpt. 2
3 & # œœ ˙œ œ œœ
[ >] > >
∑ ∑ ∑ Œ œ œ œ> œ œ> œ ∑
a2
>
& ˙ ˙
Hn. 1
2 œ
f
> [>]
[ >]
œ œ œ œ
a2
∑ ∑ ∑ Œ œ œ ∑
> > >
& ˙ ˙
Hn. 3
4
> > œ
f [ ] >
Tbn. 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
2
Tbn. 3
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
j [ n œ ]œ
œ œ œ #œ nœ œ bœ œ bœ œ œ œ #œ#œ
∑ œ œ œ #œ œ œ œ œ œ ‰ Œ Ó Œ #œ Œ Ó
Bar. & œ #œ œ œ #œ #œ
f f
bœ œ #œ
? ∑ œ bœ œ #œ œ œ œ œ œ ‰ Œ Ó Œ œ œ œ œ œ #œ œ œ œ #œ bœ œ bœ œ bœ œ œ œ #œ nœ Œ Ó
Euph. J
f f
? ∑ j
œ bœ œ #œ œ œ œ œ œ ‰ Œ Ó b˙ b˙ ∑
Tuba
˙ ˙ >
˙ ˙ >
f > > >
f
>
≥ ≥ b >˙
? ∑ j ˙
œ bœ œ #œ œ œ œ œ œ ‰ Œ Ó ∑
>
D.B.
˙ ˙ b˙ ˙
>
f > > >
f
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑
>
ã œ >˙ >
œ
æ
Perc. 1
f
Perc. 2 ã ∑ ∑ ∑ œ Œ Ó ∑ ∑ œ Œ Ó
Cr. Cym.
∑ ∑ ∑ ∑ ∑ ∑ Œ % Œ
>
Perc. 3 ã
f
56 57 58 59 60 61 62
63 69 b >˙ >œ
#œ œ œ œ œ œ #œ œ œ œ œ œ œ b >˙ n >œ
Picc. & ∑ ∑ ∑ ∑ .. Œ
# # œœ œœ œœ œœ œœ œœ # # œœ œœ œœ œœ œœ œœ b >˙ >œ œ b >˙

a2
>œ
œ bœ œ bœ œ bœ œ bœ
a2
Fl.
1
& ˙ ˙ œ ‰ Œ
J
Ó ∑ .. Œ
[ f]
2
F >˙
#œ œ œ œ œ œ #œ œ œ œ œ œ bœ . b >œ œ >˙ n >œ
& ˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó ∑ ] . Œ
Ob. 1
J [
F [ f]
& ˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó ∑ #œ œ œ œ œ œ # œ œ œ œ œ œ[ b œ] .. Œ b˙
>
œ
>
œ b >˙ œ
J
Ob. 2
E.H.
[ f]
>
F
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œ ‰ Œ Ó ∑ ∑ ∑ .. Œ ˙ b >œ œ ˙ bœ
1 œ ˙ bœ œ ˙
J bœ
Bsn.
2
f
> > >
#œ œ œ œ œ œ #œ œ œ œ œ œ b >˙ >œ œ >˙
j # >œ
E b Cl. & ˙ œ bœ œ œ ˙ œ œ œ œ œ ‰ Œ Ó ∑ .. Œ
F [ f]
>˙ b >œ œ >˙
œ œ œ œ œ bœ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ n >œ
&
˙ œ bœ œ œ ˙ œ. œ- b œ . œ- œ œ n œ .. Œ
B b Cl. 1
J J
F [ f]
œ bœ œ œ œ œ œ œ j j œ œœ œ œ bœ œ œ œ œ œ bœ œ œ œ œ . >œ œ # >˙
˙ ˙ œ- œ œ œ # œ Œ b˙
>œ
œ. # œ- œ .
>
B b Cl. 2 & .
F [ f]
˙ œ bœ œ œ ˙ œ œ œ œ œ ‰ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ .. Œ b˙
> >œ œ # >˙ >œ
B b Cl. 3 & J
F [ f]
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó ∑ ∑ ∑ .. Œ œ
J bœ œ ˙>
B. Cl.
˙ >
f> >
œ # b ˙˙ n >œœ œœ >˙˙ # >œœ

>
A. Sx. 1 & ∑ ∑ J ‰ Œ Ó ∑ ∑ ∑ .. Œ
f
2
# >œ œ # >˙
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó ∑ ∑ ∑ .. Œ b˙ œ
> >
J
T. Sx.
f
j ..
B. Sx. & #œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ #œ ‰ Œ Ó ∑ ∑ ∑ Œ
˙ œ œ ˙ œ
>
F
>
f > >
œ b œ œ œ- #œ œ œ œ œ œ #œ œ œ œ œ œ
& ∑ ∑ œ . n œ- b œ . œ- œ œ n œ .. Œ b˙
>
œ
> œ >˙ œ
>
B b Tpt. 1
J J
f
j j œ œ œ œ- # œœ œœ # œ œœ œœ œ # œœ œœ # œ œœ œ œœ œ .
Unis.
œ- œ œ # œ
Unis.
∑ ∑ œ. # œ- œ . Œ ˙ bœ œ ˙
> >
B b Tpt. 2
3 & œ œ œ œ . œ
> >
f
& œ œ œ œ œ+ œ+ œ+ œ+ + j .. Œ ˙ œ
1. 1.
œ+ ‰ Œ Ó ∑ ∑ ∑ b œœ œœ ˙
a2
œ œ œ œ+ œ+ œ+ œ+ œ
2. 2.
Hn. 1
ȯ ˙ nœ
+ + + + + + +
2
> >
F
> >
F f
& œ œ œ œ œ+ œ+ œ+ œ+ + j ..
3. 3.
œ+ ‰ Œ Ó ∑ ∑ ∑ Œ b ˙ b œœ œœ ˙ n b œœ
a2
œ œ œ œ+ œ+ œ+ œ+ œ
4. 4.
Hn. 3
4
+ + + + + + + ˙ >
[o ]
˙ >
F F f
> >
œ ‰ Œ b >œ œ ˙ n >œœ
>
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ
a2
Ó ∑ ∑ ∑ .. Œ ˙
>
Tbn. 1 œ
2
J f
F
j b >œ œ ˙
>
Tbn. 3
? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ ‰ Œ Ó ∑ ∑ ∑ .. Œ ˙
>
b >œ
F f
∑ ∑ œ ‰ Œ Ó ∑ ∑ ∑ .. Œ ˙ bœ
>
œ ˙
> œ
>
Bar. & J >
f
œ ‰ Œ b >œ œ ˙ n >œ
>
Euph.
? ∑ ∑ J Ó ∑ ∑ ∑ .. Œ ˙
>
f
? j .. b >œ
œ ‰ Œ Ó ∑ ∑ ∑ Œ œ ˙
>
Tuba
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ ˙ bœ
>
F >
f
? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ j .. b >œ
nœ ‰ Œ Ó ∑ ∑ ∑ Œ œ ˙
>
D.B.
˙ bœ
F > >
f
Timp.
? ∑ ∑ ∑ ∑ ∑ ∑ .. ∑ ∑
Perc. 1 ã ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ & .. ∑ ∑
Mar.
#œ œ œ œ œ œ #œ œ œ œ œ œ
R.H. simile Xyl.
Perc. 2 ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ & œ ã .. ∑ ∑
L.H.
Tamb.
Perc. 3 ã ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ .. ∑ ∑
f
63 64 65 66 67 68 69 70
œ #œ œ œ #œ #œ
œ # >˙ >œ œ >œ b >œ >œ
Picc. & ∑ ∑ Ó Œ Œ
ƒ
n >œ b >œ >œ œ #œ œ œ #œ #œ
œ # >˙ >œ œ œ bœ œ œ #œ œ œ #œ #œ
Fl. 1 & ∑ ∑ Ó Œ Œ
ƒ
2
>œ œ œ #œ œ œ #œ #œ
œ ˙ >œ b >œ >œ
∑ ∑ Ó Œ Œ
>
Ob. 1 &
ƒ
>œ œ >œ œ #œ œ œ #œ #œ
Ob. 2
& œ #˙ #œ>
nœ >
∑ ∑ Ó Œ Œ
ƒ
E.H.
>
n >œ #œ #œ œ # œœ œœ n œœ œ #œ #œ
? œ
> a2
w Œ Œ
œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ #œ
Bsn. 1
2 œ w
ƒ
>
# >œ n >œ >œ œ #œ œ œ #œ œ
œ # >˙ >œ œ ∑ ∑ Ó Œ
E b Cl. & Œ
ƒ
œ # >˙ >œ œ œ #œ œ œ #œ nœ
# >œ n >œ >œ
B b Cl. 1 & ∑ ∑ Ó Œ Œ
ƒ
# >œ œ [ # ] >œ n >œ n >œ œ #œ œ œ #œ nœ
œ ˙
>
∑ ∑ Ó Œ Œ
B b Cl. 2 &
ƒ
œ #œ œ œ #œ nœ
œ ˙
> # >œ œ # >œ >œ n >œ ∑ ∑ Ó Œ Œ
B b Cl. 3 &
ƒ
# >œ œ [ #] œ œ nœ
& œ nœ #œ ∑ ∑ ∑ Œ Œ
>
B. Cl. œ #œ œ
ƒ
œœ # >˙ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ
œ œœ œ #œ œ œ #œ nœ
a2
A. Sx. 1 & ˙ œ
>
Œ Ó Ó Œ Œ
ƒ
2
œ # >œ œ œ œ œ #œ œ œ œ #œ
˙ Œ Ó œ œ œ œ œ œ œ œ ∑ Œ Œ
>
T. Sx. & œ #œ nœ
ƒ
& œ Œ Ó ∑ #w Œ Œ
#œ œ œ œ #œ œ œ #œ #œ œ œ œ #œ œ œ #œ œ #œ nœ
B. Sx.
ƒ
>
# >œ n >œ œ bœ œ œ œ nœ œ œ #œ bœ œ œ œ nœ œ œ #œ œ #œ nœ
& œ #˙ ∑ Œ Œ
>
B b Tpt. 1 œ œ
> > ƒ
# >œ œ n >œ n œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ œ œ
Unis.
œ œ #œ ∑ Œ Œ
>
B b Tpt. 2 & œ #œ œ œ #œ nœ
˙
[ ]
ƒ
3
> >
˙ œ œœ œ œ œ j b œ- œ #œ bœ
& œœ
a2
∑ ∑ Œ Œ
> > > > >
Hn. 1
2 ˙ #œ #œ œ nœ œ. œ- œ . J
f ƒ
& b œœ # ˙˙ # n œœ œœ # œœ # # œœ œ ∑ j b œ- ∑ Œ œ #œ bœ Œ
a2
Hn. 3
4 œ œ. œ- œ . J
ƒ
> > > > >
œ b œ- n œ . b œ- b œ- œ . b œ- n w> b œ^
? œ œ. œ.
a2
Tbn. 1 Œ Ó ∑ J J J J Ó bœ Œ
ƒ
2
b œ- n œ . b œ- b œ- œ . b œ-
Tbn. 3
? œ Œ Ó ∑ œ. J J œ. J J nw Ó b œ^ Œ
>
ƒ
œ œ #œ #œ œ # >œ # >œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ
# w> Œ Œ
> > >
Bar. & œ #œ nœ
ƒ
Euph.
? œ Œ Ó ∑ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ w Œ œ #œ bœ Œ
>
ƒ
? bœ Œ Ó ∑ Œ Œ
œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ bœ
Tuba
nw
>
ƒ
≥ œ≥ # œ # œ
D.B.
? bœ Œ Ó ∑ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ w Œ Œ
>
ƒ
? ∑ ∑ œ ‰ œj œ ‰ œj œ ‰ œj œ ‰ œj ‰ œ œ œ œ œ œ Œ Œ
Timp.
œ œ œ
f ƒ
[Tub. Blls.]
Perc. 1 & ∑ ∑ ∑ ∑ w ∑
ƒ
B.D.
Perc. 2 ã ∑ ∑ ∑ ∑ œ Œ Ó Ó œ Œ
ƒ
Gong
ã ∑ ∑ ∑ ∑ ∑
Perc. 3
w
ƒ
>
71 72 73 74 75 76
90
APPENDIX B
INDIVIDUAL PARTS OF MÚSICA PARA ORQUESTA DE VIENTOS Y PERCUSIÓN
OP. 152.
Piccolo Blas Emilio Atehortúa (1943 - 2020)
Critical Edition by: Rubén Darío Gómez P.
1. Preludio
. >˙ . >˙ .
Allegro q =120
b .
œ . b œ b œ œ n .
œ œ bw œ
4 œ J‰ Œ Ó
&4 ‰ ≈ Ó ∑
f
b œ œ œ œ ˙ œ
œ b œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U
45 44
J‰ Ó ∑ 43
6
&
f 6 6 6 6
9
. . b .
œ .œ b œ.
b œ b œ
& 43 44 Œ n œ. œ Ó 43 44 Ó 43
∑ ∑ œ Œ ∑ 44
b .
œ b˙
. U
rit.
& 44 Ó œ bœ œ Œ 43 44 Ó
2
∑
14
p f
Allegro q. = 112
˙. œ . #œ œ œ
œ œ œ nœ #œ œ nœ ‰ ‰ Œ .
12
˙.
& 68
7
∑ J
f
œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ #œ œ œ
19
œ
Œ [ œj] œ n œ J J J J J J
14
4
&
[# œ œ œ] œ œ œ . œ œ œ œ œ # œ œ œ œ œ œ œ œ # ˙ . œ >œ œ >œ .
J J J J ‰ ‰ Œ. ∑
23
& J
f
Música para Orquesta de Vientos y Percusión Op. 152 - Piccolo 3
31 39 47
8 8 bœ œ œ œ bœ œ b œJ œ b œ œ b Jœ Jœ œ œ bœ œ œ
& J J JJ
f
Molto meno mosso
G.P. q. = 76
bœ œ bœ œ œ œ œ b œ œ œ œ œ b Jœ œ ˙ .
accel.
2 2 3
∑
51
& J J J
œ. # œ. œ. œ. œ. . .
# œ. œ. œ. œ œ. >˙ . # œ. œ. œ. œ œ. >˙ . . .
64
œ. b œ n œ. n œ. œ. œ œ. œ.
Presto
&‰ ‰ ‰
63
ƒ 4 4
. . . . . .
Poco meno
œ. b œ œ. œ. œ. œ œ. œ. œ. b œ œ. œ. œ. œ œ. œ. œ. b œ œ. œ. œ. œ œ. œ.
G.P. mosso
4 U
∑ ∑
69
&
4 4 4 4 4 4
œ^
.œ œ. œ. b œ. œ.
Presto
&‰ J ‰ ‰ Œ.
78
3. Canto Lírico
(Tacet)
4 Música para Orquesta de Vientos y Percusión Op. 152 - Piccolo
4. Canto Coral
Allegretto h = 92 10 17
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
bœ ˙ bœ ˙
& 22
5 32 ˙ ˙ ˙ 22 6 32 ˙ ˙ ˙
18
f f
1 2 3 4 5
bœ ˙ bœ ˙ 22 4
32
& [X]
A B
1 2 3 4 5 1
Tempo primo
32 ˙ ˙ ˙ bœ ˙ bœ ˙ 22
&
f
Molto meno
œ nœ œ œ œ U
46 mosso rit.
w
& 22
6 32 ∑ 22 3
Œ
40
f
Música para Orquesta de Vientos y Percusión Op. 152 - Piccolo 5
5. Ostinato
b œ^
. b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. . œ. . . . . . œ. œ. œ. œ. .
& 22 J ‰ Œ Ó Ó œ. b œ œ. œ. œ #œ œ œ œ #œ bœ
f
.
j
7 œ. œ # œ. n œ. # œ. n œ. œ. n œ. œ. # œ.
Œ ‰J
4
& . ‰Œ Ó ∑ Ó J‰ Œ Ó
6
15 b œ œ. œ. œ b œ œ. œ. œ œ œ bœ œ œ
22
5
.. nœ #œ œ ‰ Œ Ó 6
& J
. .
œ. b œ. œ. œ. œ. œ. œ. œ. n œ b œ b œ. œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. b œ. œ. œ. b œ. œ. ‰ œ. œ. œ. œ. œ.
29 41
12
&
f
.œ b œ. n œ. b œ. œ. œ. ‰ œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. [ œ. œ.] œ. œ. b œ. œ. œ. œ. œ. œ. œ. b œ. œ.
‰
45
&
49
b œ b œ œ
55
œ . n œ- b œ . œ- b œ b œ œ œ œ nœ œ bœ œ #œ
& ..
4
J J‰ Œ Ó ∑ Ó
J
# >œ # >œ œ # >œ

63
œ 3 4 #œ œ œ œ œ œ #œ œ œ œ œ œ .
& J‰Œ Ó
58
.
f
b >˙ >œ œ #œ œ œ #œ #œ
œ b >˙ n >œ
69
œ # >˙ >œ œ >œ b >œ >œ 2
&Œ Ó Œ Œ
ƒ
Flute 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
. >˙ b œ œ n œ. œ. >˙ .
Allegro q =120
b .
œ . b œ bw œ
& 44 ‰ ≈ œ Ó J‰ Œ Ó ∑
f
b œ œ œ œ ˙ œ
b œ œ œ œ œ
œ nœ œ œ œ œ œ œ œ œ œ œ 5 œ œ œ U
44
J‰ Ó ∑ 43
6
& 4
f 6 6 6 6
√ √ b œ.
. œ. b œ.
9
b œ .
& 43 ∑ 44 Œ .
nœ Ó 43 ∑ 44 Ó œ bœ œ Œ 43
√ b˙
.œ b œ. U
rit.
b œ
& 43 44 Ó 43
∑ œ Œ
2 44 Ó ∑
13
p f
Allegro q. = 112
˙. œ . #œ œ œ
œ œ œ nœ #œ œ nœ ‰ ‰ Œ .
12
˙.
& 68
7
∑ J
f
œ œ 19œ œ œ œ œ #œ œ œ
œ # œ œ #œ œ œ œ œ #œ œ œ
4 œ J J J J J J
Œ J
14
&
#œ œ œ œ œ œ . œ œ œ œ œ #œ œ œ œ œ œ œ œ #˙ . œ
J J J J ‰ ‰ Œ. ∑
23
&
Música para Orquesta de Vientos y Percusión Op. 152 - Flute 1 3
>œ . 31
>œ √
39 47
œ bœ œ œ œ bœ œ bœ œ bœ œ bœ œ œ œ bœ œ œ
& J JJ J J
30
8 8
J JJ
f f
Molto meno mosso
(√) q. = 76
bœ œ bœ œ œ œ œ b œ œ œ œ œ b Jœ œ
G.P. accel.
˙. 2 2 2
∑
51
& J J J
. . 64 . .
œ. # œ. œ œ. œ. œ. # œ. œ œ. œ. # œ. œ. œ. œ œ. >˙ . # œ. œ. œ. œ œ. >˙ . œ. œ.
Presto
&‰ ‰ ‰ ‰ Œ ‰‰
62
f ƒ
Poco meno
# œ. # œ. n œ. œ. œ. # œ. # œ. n œ. œ. œ. # œ. # œ. n œ. œ. œ.
G.P. mosso
4 U
‰ ‰ ‰ ∑ ∑
69
&
. n .
œ . b . œ.
œ œ^
nœ n œ
Presto
&‰ J ‰ ‰ Œ.
78
3. Canto Lírico
(Tacet)
4 Música para Orquesta de Vientos y Percusión Op. 152 - Flute 1
4. Canto Coral
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
˙ ˙ ˙ bœ ˙ bœ ˙
& 22
5 32 22 6 32
18
bœ ˙ bœ ˙
1 2 3 4 5
˙ ˙ ˙
& 23 22 4
31
[X]
f
A B
1 2 3 [Solo] 4 5 1
œ
j
œ #œ œ n˙ œ #œ #œ nw
32
&
F
Tempo primo
˙
[Tutti]
˙ ˙ bœ ˙ bœ ˙ 46
& 23 22 6 32 ∑ 22 3
38
U
Molto meno
mosso
œ nœ œ œ œ
rit.
w
&Œ
50
f
5. Ostinato
b œ^ . œ. œ. œ. .
. . . . . . .
b œ n œ œ. œ. œ œ œ. œ. b œ œ œ. œ. . œ. . . . .
œ # .
œ œ bœ
2
&2 J‰ Œ Ó Ó œ. b œ œ. œ. œ #œ œ œ
f
.
[ œ]
7
œ. œ. œ. œ. œ. # œ. œ. # œ. n œ. œ. n œ. œ. .
#œ
& J‰ Œ Ó
3
∑ Ó J‰ Œ Ó
6
˙
15
œ bœ œ bœ ˙ œ bœ œ bœ œ b œ œ. œ. œ b œ œ. œ.
>. . œ >œ b œ œ. œ.
& bœ œ œ J‰ Œ Ó 2
..
14
n œ œ œ bœ œ nœ œ . .
œ. b œ œ. œ. œ. œ. œ [ œ.]
22 29 41
#œ œ ‰ Œ Ó 6 12
21
&
[ ]
J
f
œ. b œ. b œ. œ. œ. œ. œ. . œ. œ. œ. œ. b œ. œ. œ. b œ. œ. ‰ œ. œ. œ. œ. œ. œ. b œ. n œ. b œ. œ. œ. ‰ œ. œ. b œ. œ. œ. œ. œ. œ. œ.
œ ‰
42
&
.œ œ. œ. œ. œ. . b œ. œ. œ. œ. œ. œ. œ. b œ. œ. bœ œ bœ œ
49
œ . -
œ nœ b œ . - b œ b œ œ œ
‰ ..
4
œ
47
& J J
55
nœ œ bœ œ #œ œ œ œ œ œ 3 # >œ # >œ œ # >œ
& J‰Œ Ó ∑ J‰Œ Ó
f
63 #œ œ œ œ œ œ #œ œ œ œ œ œ
&˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó ∑ ..
J
F [ f]
b >˙ >œ œ b >˙ n >œ b >œ >œ œ #œ œ œ #œ #œ

>œ œ # >˙ >œ œ
69
2
&Œ Ó Œ Œ
ƒ
Flute 2 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
. >˙ b œ œ n œ. œ. >˙ .
Allegro q =120
b .
œ . b œ bw œ
& 44 ‰ ≈ œ Ó J‰ Œ Ó ∑
f
b œ œ œ œ ˙ œ
b œ œ œ œ œ
œ nœ œ œ œ œ œ œ œ œ œ œ 5 œ œ œ U
44
J‰ Ó ∑ 43
6
& 4
f 6 6 6 6
√ . √ b œ.
b œ
9
b .
œ . .
& 43 ∑ 44 Œ n œ œ Ó
.
43 ∑ 44 Ó œ bœ œ Œ 43 ∑ 44
√
.œ b œ. n˙ U
rit.
b œ
& 44 Ó 43
œ Œ
2 44 Ó ∑
14
p f
Allegro q. = 112
˙. œ . #œ œ œ 12
nœ œ œ
˙. # œ
& 68 œœ œ ‰ ‰ Œ.
7
∑ J
f
œ œ #œ œ œ œ œ #œ œ œ
19
œ #œ œ œ œ œ #œ œ œ
Œ œj œ œ J J J J J J
14
4
&
#œ œ œ œ œ œ . œ œ œ œ œ #œ œ œ œ œ œ œ œ #˙ . œ
J J J J ‰ ‰ Œ. ∑
23
&

œœœœœ œ œœœ œ œ œœ œ œœœ

31 39 47
>œ >œ .
œ 8 8 J JJ J J JJ
30
&J
f f
Molto meno mosso
œœœœœ œ œ œ œ œ nœ œ œ œ ˙. G.P. q. = 76 accel.
J J JJ ∑
2 2 2
51
&
œ. # œ. œ. œ. œ. .œ # œ. œ. œ. œ. # œ. œ. œ. œ. œ. >˙ .
# œ. œ. œ. œ œ. >˙ .
Presto 64
.
&‰ ‰ ‰ ‰
62
f
Poco meno
œ. œ. # œ. # œ. n œ. œ. œ. # œ. # œ. n œ. œ. œ. # œ. # œ. n œ. œ. œ.
G.P. mosso
4 U
&Œ ‰‰ ‰ ‰ ‰ ∑ ∑
68
. . b . œ.
œ œ^
. n œ
Presto
nœ nœ
&‰ J ‰ ‰ Œ.
78
3. Canto Lírico
(Tacet)
4 Música para Orquesta de Vientos y Percusión Op. 152 - Flute 2
4. Canto Coral
Allegretto h = 92 10
& 22
9 32 ∑ 22 2 32 ∑ 22
17 23
˙ ˙
32 ˙
& 22
3 32 ∑ 22 5
14
œ ˙ œ ˙ ˙ ˙
22 6 32 ˙ œ ˙ œ ˙ 22 4
24
&
f
1 2 3 4 5
& [X]
A B
1 2 3 4 5 1
32
&
46
˙ ˙
Tempo primo
3 ˙ œ ˙ œ ˙ 22 6 32 22 3
∑
38
&2
f
U
Molto meno
œ œ bœ œrit. œ n w
mosso
&Œ
50
f
5. Ostinato
œ^
. b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. . œ. . .
& 22 J ‰ Œ Ó Ó œ. b œ œ. œ. œ #œ œ
f
œ. œ. # œ. œ. œ. œ. œ. b œ. œj ‰ Œ Ó œ. # œ. œ. # œ. # œ. n œ. n œ. # œ. œ. # œ. n œ. # œ. # œ.
7
∑ Ó J‰ Œ Ó
5
& .
f
˙ œ bœ œ bœ ˙ œ bœ œ bœ œ
15
.
bœ œ.
œ. œ. œ œ œ œ J‰ Œ Ó
11
3 > 2
&
>
b œ œ. œ. œ b œ œ. œ. n œ œ œ bœ œ nœ œ 22 29
.. #œ œ ‰ Œ Ó 6 12
20
&
[ ]
. .
.œ œ. # œ. œ. œ. œ. œ. œ. œ œ. œ. œ. # œ. œ. œ. œ. ‰ # œ. œ. œ. œ. œ. œ. œ. œ. # œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. # œ. ‰ œ.
41
&
f
. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. ‰ œ. œ. œ. ..
49
# œ 4 œ . n œ- b œ . œ-
46
& J J
b œ
bœ bœ œ œ bœ œ œ nœ
55
œ bœ œ #œ œ œ œ œ œ 3
J‰ Œ Ó ∑ J‰ Œ Ó
54
&
63 #œ œ œ œ œ œ #œ œ œ œ œ œ
>œ >œ n œ >
œ ˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó ∑ ..
62
& J
f F [ f]
69
b >˙ >œ œ b >˙ >œ œ # >˙ >œ œ n >œ b >œ >œ 2 œ #œ œ œ #œ #œ
&Œ Ó Œ Œ
ƒ
Oboe 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
. >˙ œ œ n œ. b œ. >˙ .
Allegro q =120
b .
œ . b œ b . œ. b œ
œ bw œ
& 44 # œ. œ. œ œ
. .
‰ # œ œ. œ J‰ Œ Ó
.
f
bœ œ œ œ bœ œ œ œ
œœ#œ œœœœœ œœœœœ œœœœœ œœ œœ#œ œœœœœ œœœœœ œœœœœ œœ 5
5
& 4
f [6 ] 6 6 6 6 6 6 6
˙ œ U
9
. . b .
œ
5 44 b œ
43 44 ‰ œ. n œ œ Ó 43
J‰ Ó ∑ ∑ . ∑ 44
7 [ ]
&4 # œ.
[ ] [ ]
[ ]
. . ˙
b œ œ. b œ b œ œ. b œ
rit.
U
& 44 ‰ ≈ # œ œ œ. œ- œ Œ 43 44 Œ ‰ œ. œ Œ 43 44 Ó
r ∑
2
∑
12
# œ.
p f
Allegro q. = 112
˙. œ . #œ œ œ
œ œ œ n œ # œ œ œ œ œ œ # œ. n œ.
12
˙.
& 86
7
∑
f
œ œ œœ œ
19
j‰ ‰ Œ. 3 j n œ # œ œ # œ œ œ œ # œ œ œJ œ œ # œ œ œJ
Œ œœ
14
&[œ ] J J J J
œ œ . œ œ œ œ œ #œ œ œ œ œ œ œ œ #˙ . >œ œ >œ .
# œ œ œ œ œ ‰ ‰ Œ. ∑
23
& J J J J J
f
Música para Orquesta de Vientos y Percusión Op. 152 - Oboe 1 3
31 39
8 b œ œ [œ ] œ b œ œ b Jœ œ b œ œ b œJ Jœ œ œ bœ œ œ bœ œ bœ œ œ
& J J JJ J
f
47
œ #œ nœ œ œ œ œ #œ œ œ œ œ #œ œ #œ #œ œ
œ œ b œ œ œ œ œ b Jœ œ ˙ .
44
J J J J J J J
& J J
Molto meno mosso
œ #œ œ œ œ œ #œ œ œ œ bœ œ œ #œ ˙.
G.P. q. = 76 accel.
J J J J ∑
2 2
51
&
.
. # œ. œ œ œ.. .
. # œ. œ œ œ.. . .
. # œ. œ œ œ. . # œ. œ œ œ. # œ. œ. œ. œ. œ. > .
. .
64
Presto
œ œ œ œ
&‰ ‰ ‰ ‰ ‰ ˙
60
f
. . b . . b œ. . . b œ. . b œ. . œ. b œ. . b œ. . œ. b œ. . b œ. . G.P.
œ
. .
. œ œ œ ˙. œ . œ œ œ. œ œ œ œ. œ œ œ. œ œ œ. œ ∑
‰ # œ
66
>
&
ƒ
. .
Poco meno
b >œ . U n[ ] œ. œ. œ. b œ œ œ^
mosso rit. Presto
>œ .
œ . #œ #˙ .
J ‰ ‰ Œ.
2 >
‰
73
>
& .
f >
ƒ
3. Canto Lírico
Adagio q = 60 [Solo]
& 44 44 ‰ œ b œ œ . # œ- œ œ œ # œ
43 44 43
2 2 4
∑ œ
P
[senza misura] A [a tempo]
[(q = 60)]
nw œ
1 2 3 4 1
54 J ‰ Œ Ó Œ 44 3
11
&
[ ]
[X]
F
4 Música para Orquesta de Vientos y Percusión Op. 152 - Oboe 1
B
2 3 4 5 1 2 3 4 5
& [X]
C
1 2 3 4 5 Adagio
44 œ. œ œ. œœ
& ∑ J b˙ b˙
F
D
1 2 3
œ œ #œ œ œ œ . #œ #œ œ œ œ œ œ #œ œ œ
b˙ b˙ bœ œ œ œ œ
17
& [X]
4 5 Andante q = 76 Meno Mosso q = 60
44 U
43
13 2 2 44 2
∑
&
4. Canto Coral
2 9 3 ∑ 2 2 3 ∑ 2 3 3 ∑ 2
&2 2 2 2 2 2 2
23
˙ #˙ bœ ˙ ˙ #˙
& 22
5 32 ˙ œ ˙ 22 6 32 ˙
18
f
bœ ˙
1 2 3 4 5
32
œ ˙ 2 4
& 2 [X]
A B
1 2 3 4 5 1
œ
j
œ nw œ
j
œ #œ nw œ
j
˙ nw 3
& #œ #œ #œ #œ
2
F
Música para Orquesta de Vientos y Percusión Op. 152 - Oboe 1 5
Molto meno
U
46
˙ ˙ #˙ bœ ˙ œ
Tempo primo mosso rit.
3 ˙ 22 6 32 22 3 œ œ œ œ œ w
∑ Œ
38
&2
f
5. Ostinato
b œ^
.œ b œ. œ. œ. b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. # œ. . œ. . # œ. œ. œ. œ. œ. .
& 22 J ‰ Œ Ó Ó œ œ bœ
f
7
œ. . . œ. œ. # œ. œ. # œ. n œ. œ. n œ. .
j œœ œ # œ. 3
& œ. ‰ Œ Ó ∑ Ó J‰ Œ Ó
6
f
>. . œ >œ b œ œ. œ.
15 œ œ. œ. œ b œ œ. # œ.
& bœ œ œ ˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó 2
..
14
n œ œ œ b œ œ n œ œ 22 29 41 . .
œ. b œ œ. œ. œ. œ. œ [ œ.]
#œ œ ‰ Œ Ó 6 12
21
& J
f
n œ. b œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. b œ. n œ. b œ. œ. œ. ‰ œ. œ. b œ. œ. œ. œ. œ. . œ.
‰ ‰ œ
42
&
œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. b œ. œ. . 4 bœ œ bœ œ nœ
49 55
. -
œ nœ b œ . - b œ b œ œ œ
‰ œ J‰ Œ Ó
47
& .
J J
œ bœ œ #œ œ œ œ œ œ bœ œ #œ œ œ n˙ .
63
∑ J‰ Œ
3
˙ œ bœ œ bœ
56
&
f F
œ œ œ œ #œ œ œ œ œ œ >˙ b >œ 69
œ bœ œ bœ œ ‰ Œ Ó # œ œ
&˙ ∑ [ b œ] .. Œ
64
J
[ f]
œ >˙ n >œ œ >˙ >œ œ >œ b >œ >œ 2 œ #œ œ œ #œ #œ
Ó Œ Œ
70
&
ƒ
Oboe 2/English Horn Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
. >˙ œ œ n œ. b œ. >˙ .
Allegro q =120
b .
œ . b œ b . œ. b œ
œ
& 44 # œ. œ. œ œ
. .
‰ # œ œ. œ bw
.
f
j œ œ #œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ ‰ Œ Ó
4
f [6 ] 6 6 6
œ œ #œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 ˙ œ 44 U
J‰Ó ∑ 43
6
& 4
6 6 6 6
. .
44 ‰ œ. n œ. b œ. œ. b œ Ó 44 ‰ ≈ r œ œ- œ b œ œ. b œ Œ
9
& 43 ∑ 43 ∑ 43
[ ]
# œ. #œ œ .
[ ] [ ]
[ ]
. b .
œ U
b œ
& 43 44 Œ 43 44 Ó
rit.
‰ # œ œ. œ œ Œ ˙
2
∑ ∑
13
. p f
Allegro q. = 112
˙. œ . #œ œ œ 12
nœ œ œ
˙. # œ œ œ œ œ # œ. œ.
& 68
7
∑ œœ
f
19
j‰ ‰ Œ.
to english horn English Horn
# œ [ # ]œj œ # œ œ # ˙ . # œ # œj œ # œ œ œ # ˙
4
∑
14
&[œ ]
f
j œ
& ‰ #œ #œ œ #œ #˙ . # œ # œj œ œ # œ œ œ # œ # œ . œ œ œ œ œ œ #œ . œ œ #˙ .
24 to oboe

Música para Orquesta de Vientos y Percusión Op. 152 - Oboe 2/English Horn 3
31 39
œœœœœ œ œœœ œ œ œœ œ œœœ œœœœœ œ œœœœ

Oboe
8
& J JJ J J JJ J J
f
47
œ œ Jœ œ ˙ . œœœœœ œ œœœ œ œ œœ œ œœœ œœœœœ œ œœœœ
45
& J J JJ J J JJ J J
Molto meno mosso
G.P. q. = 76 accel.
œœ ˙. . .
œ ‰ œ. # œ. œ # œ. œ. ‰ œ. # œ. œ # œ. œ.
2 2
œ ∑
53
& JJ
f
. b . . b œ. .
œ
.œ # œ. . . # œ. . # œ. œ. œ. œ. œ. > . . . . . œ œ œ. œ
64
œ
Presto
& ‰ œ. # œ. œ ‰ œ. # œ. œ œ ‰ ˙ ‰ # œ. œ œ œ ˙ .
62
>
ƒ
Poco meno
œ. b œ. œ. b œ. œ. œ. œ. b œ. œ. b œ. œ. œ. œ. b œ. œ. b œ. œ. œ.
G.P. rit.
>œ . >
mosso
∑ œ. œ. Œ.
2
69
&
f >
Presto .
. b . œ.
œ
U .
[ n] œ
œ œ œ^
to english horn
.
& #˙ ‰ J ‰ ‰ Œ.
77
>
3. Canto Lírico
Adagio q = 60
˙.
œ ˙ b˙ 34 ˙ # œ 44 n w
& 44 # ˙ . ˙ . #œ
E.H.
∑
P F p P
#˙ . œ nœ nœ . œ
œ œ bœ œ œ # œ -
œ . Jœ
43 44 J ‰ Œ Ó ∑ 54 ‰ J
8
&
F F
[senza misura]
1 2 3 4
œ 44
& œ #œ bœ œ w œœœœ˙ œ œ w
j
[X] b œ w
4 Música para Orquesta de Vientos y Percusión Op. 152 - Oboe 2/English Horn
[a tempo]
A [(q = 60)] B
1 2 3 4 5 1 2 3
& 44
3
[X]
C
4 5 1 2 3 4
&
D
5 Adagio 1 2 3 4 5
44 6 44
& [X]
Andante q = 76
& 44
œ . # œ- œ œ # œ œ œ # œ # œ œ n œ . œ- œ # œ œ œ . n œ- œ . œ œ # œ œ œ œ
21
J [ #]˙ J J
F 3
# œ . œ- œ œ # œ œ n œ œj - œœ
œ j œ #œ œ œ #œ œ
25
& J #œ J nœ . œ œ . #œ œ œ œ #œ
3
# œ- œ œ # œ œ œ n œ œ œ œ #œ œ œ . nœ w
stringendo
œ . 2
29
& J J J
Meno Mosso q = 60
˙.
b˙ 34 ˙ #œ 44 n w U
to oboe
nœ ˙ ∑ ∑
34
& #˙ .
P F
Música para Orquesta de Vientos y Percusión Op. 152 - Oboe 2/English Horn 5
4. Canto Coral
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
32 ˙ ˙ ˙ 32 b ˙ ˙
& 22 22
Ob.
5
˙ œ ˙ 6
˙
18
œ
f
A
1 2 3 4 5 1
32
˙ œ ˙ 22 4
&œ [X]
B
2 3 4 5 1 Tempo primo
32 b ˙ ˙ ˙ œ ˙ 22
& ˙ œ
f
Molto meno
46
nU
mosso
w
& 22
32 22
rit.
Œ œ œ bœ œ
6 3
∑
40
f
6 Música para Orquesta de Vientos y Percusión Op. 152 - Oboe 2/English Horn
5. Ostinato
. b œ. œ. œ. b œ. n œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. # œ. . œ. . # œ. œ. œ. œ. œ. .
œ^ ‰ Œ Ó
& 22 J Ó œ œ œ bœ
f
j
7
œ. # œ. œ. # œ. # œ. n œ. œ. # œ. œ. # œ. n œ. # œ. # œ. 3
& œ. ‰ Œ Ó ∑ Ó J‰Œ Ó
6
> b œ œ. œ.
15
œ œ. œ. œ b œ œ. # œ.
œ
& œ. œ. œ œ ˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó 2
..
14
> J
œ œ œ b œ œ n œ œ 22
.œ œ. # œ. œ. œ. œ. œ. œ.
29 41
#œ œ ‰ Œ Ó 6 12
21
& J
f
œ. œ. œ. . # œ. œ. œ. œ. # œ. . œ. . œ. œ. . œ. # œ. œ. . œ. œ. . œ. œ. œ. œ. œ. # œ. . # œ. œ. œ. . œ. . œ.
œ ‰ œ œ œ ‰ œ œ ‰œ œ œ œ.
42
&
. . b œ œ bœ œ
. œ. # œ. œ. œ. œ. œ œ. œ. œ. œ. # œ. ‰ œ. œ œ. .. b œ œ
49
4 œ . œ- b œ . œ- b œ œ
œ
47
& J J
œ bœ œ #œ œ œ œ œ œ
55
nœ >œ >
œ
& J‰ Œ Ó ∑ J‰ Œ Ó
3
# œ n >œ
f
63
&˙ œ bœ œ bœ ˙ œ bœ œ bœ œ ‰ Œ Ó ∑ # œ œ œ œ œ œ # œ œ œ œ œ œ[b œ] ..
J
F [ f]
œ #œ œ œ #œ #œ
69
>œ œ # >œ n >œ >œ
Œ b >˙
œ œ b >˙
>
œ œ #˙
2
Ó Œ Œ
&
> >
ƒ
Bassoon 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
? 44 ‰ Œ b œ œ nœ œ nœ œ
≈ œ #œ œ Œ œ #œ œ œ [ ]
œ œ bœ nw
. . . b˙ . . . b˙
f > >
U
9
? 45 44 ‰ . r 43 44 43
∑ ∑ ∑ ∑ 44
5
˙ ˙ w #œ ˙ .
> f
? 44 U
43 44 43 44 w
rit.
2
∑ ∑ ∑ ∑
12
p f
Allegro q. = 112 12
? 68 8
# œ. œ. œ. œ œ œ. œ . œ # œ. œ. ˙ .
2
œœœœœœ
f F
œ #œ œ #œ œ
19
?œ œ œ œ ∑
15
œ œ œ œ œ œ œ œ œœœœœœ œœœœœœ J
f
? ˙. œ #œ œ #œ œ œ ˙ œ #œ œ #œ ˙ . œ #œ œ œ #œ
‰ J
21
J J
œ œ #œ œ . œ œ œ œ œ œ #œ . œ œ œ #˙ .
31
? 8
27

2 Música para Orquesta de Vientos y Percusión Op. 152 - Bassoon 1
39
? œ œ œ œ. œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ
. . . J - . . . J - . . . J - . . . J - . . . J - . . . J - . . . J œ-
œ œ œ œ œ œ
P
47
? œ œ œ œ. j j j j j j
46
. . . J œ- œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
f
Molto meno mosso
G.P. q. = 76 accel.
? j j ∑
2
∑ ∑ ∑
53
œ. œ œ œ. œ œ ˙. ˙.
. .
œ .
œ . œ.
œ . .
œ .
œ . œ.
œ
Presto 64
#œ >˙ . #œ
? ∑ ‰ ‰
4
63
˙. f
.œ œ. œ. b œ. œ. œ^
G.P. Poco meno rit. Presto
? U
œ. œ. J ‰ ‰ Œ.
mosso 2
∑ ∑ ‰
72
[> >]
˙.
f >
ƒ
3. Canto Lírico
Adagio q = 60
? 44
43 ˙ . 44 #˙ 43
2
w w b˙ . w ˙
p P p
[(q = 60)]
1 2 3 4 1
? 43 œ ‰ Œ Œ 44 45
2
∑ 44 3
9
J [X]
B C
2 3 4 5 1 2 3 4 5 1
? [X]
Música para Orquesta de Vientos y Percusión Op. 152 - Bassoon 1 3
- - - - œ- œ- œ- œ- œ- œ- œ- œ-
2 3 4 5 Adagio
? 44 œ œ œ œ
[ p]
D
- - - - - - - - - - - -
1 2 3 4 5
?œ œ œ œ œ œ œ œ œ œ œ œ 44
17
[X]
Andante q = 76
? 44 œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ-
21
œ- œ- b œ- œ- œ- œ- œ- œ- œ- œ-
P
? œ- œ- - œ- œ- œ- n œ œ œ œ # œ œ œj œ œj Œ ‰ # œj œ œ
stringendo
œ
27
œ- œ- œ- œ- œ- œ- - - - - - - - - -
[ ] [ ]
F>
[ ]
[ ] [ ]
>
Meno Mosso q = 60
? œj ‰ ‰ # œj œ œ U
rit.
43 ˙ . 44 2
‰ œ. b œ Ó
33
- - - nw w b˙ . J -
p F p
4. Canto Coral
? 22 9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
. .
œ .
23
. . œ œ. œ. œ. œ. .œ œ. œ. œ. œ œ. œ. œ.
? 22 5 32 2 22 œ œ 4 32
18
f . . œ.
.
œ œ œ
? 32 œ. œ. 2 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ 2
∑ Ó Ó Œ
31
2
f F
A
1 2 3 4 5 1 2 3 4
bœ
r
œ œ #œ #w
? [X]
F
B
.
5 1
. œ
Tempo primo
. œ. 2 œ. œ. œ œ. œ. œ. œ.
? #œ œ œ w nw 32 œ
#œ #œ nœ
∑ Ó Ó Œ 2
f
.
.œ œ. œ. œ. œ œ. œ œ
Molto meno
46
U
mosso rit.
? 4 32 ∑ 22 3
Œ œ œ bœ œ œ Œ œ
41
˙
[F ] ƒ
5. Ostinato
Allegro Moderato h = 100 . œ.

.
.œ b œ. b œ. œ. b œ. œ. n œ
œ b œ- . œ. œ- . œ.
7
? 22 b œ^ ‰ Œ Ó 4 J‰Œ Ó J J
J
f
15
? ∑ # œ. œ. œ. n œ. œ b œ. œ œ n œ. ‰ Œ Ó 3 œœœœœœœœ œœœœœœœœ
9
. . . J
[
]
f
22
? œJ ‰ Œ Ó ∑ j‰ Œ Ó .. ∑
17
b œ œ œ œ œ
œ. . œ. . œ. . œ. . . œ n œ œ œ œ œ œ. œ.
P
?
23
œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ.
29
? œ œ
12
27
œ œ œ œ œ œ œ. œ. œ œ # œ œ b œ œ
f
41
? # œ œ œ. b œ œ œ. œ œ œ œ œ œ œ
. . . . . . œ. b œ. œ. # œ. . œ. . b œ. ‰ . # œ. b œ. œ. œ. œ. œ. œ. . ‰ b œ. # œ. . œ. œ.
f
? bœ œ . œ. ‰ # œ. œ. œ. œ. # œ. œ
œ # œ. b œ œ. œ. œ n œ œ. œ. # œ. b œ œ. œ. ‰ œ œ. œ.
45
. œ
. . . b œ b œ
. . n œ b
. . œ . . . . .
49
b œ b œ œ # œ œ œ nœ n˙
b œ
? .. œ . œj b œ . œj b œ b œ œ œ n œ œ œ
- Œ J‰ Œ Ó
-
f
œ bœ œ #œ œ œ œ œ œ bœ œ #œ œ œ œ œ œ ‰ Œ Ó
55
? ∑ ∑
54
J
f
bœ œ
?Œ œ œ œ #œ bœ œ bœ œ bœ œ œ œ #œ nœ
œ nœ œ œ œ #œ
59
? #œ Œ Ó
63
œœœœœœœœ œœœœœœœœ œ‰ Œ Ó 3
..
62
# >œ œ œ #œ nœ
69
?Œ ˙
> b >œ œ >˙ bœ
>
œ n œ
>
# œ
œ œ œ œ #œ œ œ œ
f
? Œ œ #œ #œ Œ
74
œ œ œ œ # œ œ œ œ w>
ƒ
Bassoon 2 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
? 44 ‰ Œ b œ œ nœ œ nœ œ
≈ œ #œ œ Œ œ #œ œ œ [ ]
œ œ bœ nw
. . . b˙ . . . b˙
f > >
U
9
?
45 44 ‰ . r 43 44 43
∑ ∑ ∑ ∑ 44
5
˙ ˙ w #œ ˙ .
>
? 44 U
43 44 43 44
rit.
2
∑ ∑ ∑ ∑
12
w
p f
Allegro q. = 112 12
? 68 8 2
œœœœœœ
# œ. œ. œ. œ œ œ. œ . œ # œ. œ. ˙ . F
f
œ #œ œ #œ œ
19
?œœ œœ œœ œœ œœ œœ œœ œœ ∑
15
œ œ œ œ œ œ œ œ J
f
? ˙. œ #œ œ #œ œ œ ˙ œ #œ œ #œ ˙ . œ #œ œ œ #œ
‰ J
21
J J
œ œ #œ œ . œ œ œ œ œ œ #œ . œ œ œ #˙ .
31
? 8
27

39
? œ œ œ œ. œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ œ œ œ .
œ
. . . J - . . . J - . . . J - . . . J - . . . J - . . . J - . . . J œ-
œ œ œ œ œ œ
P
47
? œ œ œ œ. j j j j j j
46
. . . J œ- œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
f
Molto meno mosso
G.P. q. = 76 accel.
? j j ∑
2
∑ ∑
53
œ. œ œ œ. œ œ
˙. ˙.
. .
# œ. œ. œ. œ œ. >˙ . # œ. œ. œ. œ œ.
Presto 64
? ∑ ∑ ‰ ‰
4
62
˙. f
.œ œ. œ. b œ. œ. ^
G.P. Poco meno rit. Presto
? U
j .
mosso 2
∑ ∑ ‰ œ‰‰Œ
72
œ. œ. ˙.
f >]
[>
> ƒ
3. Canto Lírico
Adagio q = 60
? 44
43 ˙ . 44 43
2
w w b˙ .
w ˙ #˙
p P p
[senza misura]
1 2 3 4
? 43 44 45
j‰ Œ Œ
2
∑ 44
9
œ [X]
A [a tempo] B
[(q = 60)]
1 2 3 4 5 1 2 3 4 5
? 44 3
[X]
C
1 2 3 4 5 Adagio
? 44 # œ œ œ œ # œ œ œ œ # œ œ œ œ
- - - - - - - - - - - -
[ p]
D
1 2 3 4 5
? #œ œ œ œ #œ œ œ œ #œ œ œ œ 44
17
- - - - - - - - - - - - [X]
Andante q = 76
? 44
21
bœ œ
œ- œ- œ- œ- œ- œ- œ- œ- # œ œ œ œ # œ œ œ- œ- - - œ- œ- œ- œ- œ- œ-
P - - - - - -
?
stringendo
Œ ‰ j
27
œ œ œ
- œ
- œ
- œ
- j j
œ- œ- - - œ- œ- œ- œ- n œ œ œ œ # œ œ œ œ œ #œ œ œ
- - - - - - - - -
[ ] [ ]
F
> >
[ ] [ ]
[ ]
Meno Mosso q = 60
? U
43 ˙ . 44 ‰ œ. b œ Ó
rit.
33
2
nw w b˙ .
œ ‰ ‰ # œ- œ- œ- p F
J -
p
4. Canto Coral
? 22 9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
22 # œ. œ. # œ œ. œ. œ. œ. œ. # œ. # œ. œ. œ œ. œ.
23
? 22 5 32 2 4 32
18
. œ. œ. .
f
. . . . .
? 32 Œ # œ œ. 22 # œ. œ. # œ. œ œ. œ. œ œ œ. # œ. # œ œ œ œ. œ œ
2
∑ Ó Ó
31
. .
f F
A
1 2 3 4 5 1 2 3 4
? [X]
B
5 1 Tempo primo
. . . . .
? 32 ∑ Ó Ó Œ # œ œ. 22 # œ. œ. # œ. œ œ. œ. œ œ œ. # œ. # œ œ œ œ. œ œ
. . [F ]
46 Molto meno
U
mosso
? 32 22 Œ œ ˙
rit.
4 3
∑ Œ
42
œ œ bœ œ œ
ƒ
5. Ostinato
. . n .
œ .
œ
7
œ. b œ- . œ. œ- . œ.
b œ
? 22 ^ j ‰ Œ Ó .
œ. b œ. b œ œ. œ
4 J‰Œ Ó J J ∑
œ
f
15
? ‰Œ Ó
3
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ
10
# œ. œ. œ. n œ. œ b œ. œ œ n œ. j
[ . . . ]
f
22
? œj ‰ Œ Ó ∑ j‰ Œ Ó .. ∑
17
œ
œ. b œ. œ. œ. œ. œ. œ. œ. . œ œ œ œ œ œ œ. œ.
P
?
23
œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ.
29
? œ
12
26
œ œ b œ œ œ
œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œ #œ
f
41
? # œ œ œ. b œ œ œ. œ œ œ œ œ œ œ
. . . . . . œ. b œ. œ. # œ. . œ. . b œ. ‰ . # œ. b œ. œ. œ. œ. œ. œ. . ‰ b œ. # œ. . œ. œ.
f
? bœ œ . œ. ‰ # œ. œ. œ. œ. # œ. œ
œ # œ. b œ œ. œ. œ n œ œ. œ. # œ. b œ œ. œ. ‰ œ œ. œ.
45
. œ
. . . b œ b œ
. . n œ b
. . œ . . . . .
49
b œ b œ œ bœ œ #œ œ œ nœ n˙ œ
j
? .. œ . j b œ . œ b œ b œ œ œ n œ Œ
œ- - J‰ Œ Ó ∑
f
œ bœ œ #œ œ œ œ œ œ bœ œ #œ œ œ œ œ œ ‰ Œ Ó
55
? ∑ Œ œ nœ œ œ œ #œ
J
f f
b œ #œ nœ bœ œ #œ
63
œ
? œ œ #œ œ b œ œ œ œ œœœœœœœœ
bœ œ Œ Ó
60
n >œ # œ # >œ
69
? œ œ œ œ b œ œ œ œ œj ‰ Œ Ó 3
.. Œ
64
˙ b œ> œ ˙ b œ œ
f
> > >
? œ #œ œ œ Œ œ Œ
72
œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ w #œ #œ
f >
ƒ
Clarinet in E b Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
4 . . . >˙
œ œ œ œ # œ œ >˙ . w
&4 ‰ ≈ œ œ Œ ≈ œ. œ.
f
4
œ‰ Œ 6
bœ
6
œ
6
bœ
6
œ
6
œ
6
œ
& J œ œ #œ #œ œ œ œ #œ #œ œ œ œ #œ #œ œ œ œ #œ #œ œ œ œ #œ #œ œ œ œ #œ #œ œ
˙ œ bœ
œ‰ Œ 4 U
& œ œ # œ b œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ 45 43
6 6 6 6
∑
6
J 4
. .
œ .
œ
9
œ . œ .
# œ. n œ #œ nœ
& 43 44 Œ 43 44 Ó 43
∑ Ó ∑ Œ ∑ 44
f
.
œ
.
#œ œ nœ n˙
rit.
U
& 44 Ó 43
Œ
2 44 Ó ∑
14
p f
Allegro q. = 112
#˙ . œ . #œ œ #œ
12
œ œ #œ œ #œ œ
& 68
7 ˙. ∑
f
œ #œ œ 19
œ #œ œ œ #œ œ œ
œ œ # œ. œ. # œ # œ
# œ j ‰ ‰ Œ .] Œ Jœ J J J
3
œ
13
& [ # œ
Música para Orquesta de Vientos y Percusión Op. 152 - Clarinet in E b 3
œ #œ œ œ œ #œ #œ œ œ #œ œ œ #œ œ œ . œ #œ œ œ #œ #œ #œ
J J J J J
21
& J
œ œ #œ œ œ œ #˙ . œ >œ >œ .
31
J ‰ ‰ Œ. ∑ #œ 8
26
& J
f
œ #œ #œ œ #œ # œ Jœ # œ # œ # œ Jœ Jœ # œ #œ #œ #œ œ
39 47
J J J J
8
&
Molto meno mosso
q. = 76
œ #œ #œ #œ œ # œ # œ œ œ œ n œ # œ Jœ # œ
G.P. accel.
#˙ .
J
2 2
∑
51
& J J
œ. # œ. œ. # œ. œ. .œ # œ. œ. # œ. œ.64 # œ. # œ. œ. œ. œ. > .
# œ. # œ. œ. œ œ.
Presto
2 #˙ .
‰ ‰ ‰ ‰
60
&
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
67
# >˙ .
&
4 4 4 4 4 4
^
Poco meno
œ. œ. œ. œ. œ. œ. œ. œ. G.P. mosso Presto
. .
. œ #œ .
œ .
œ œ
4 U # œ J ‰ ‰ Œ.
∑ ∑ ‰
71
&
4 4 ƒ
3. Canto Lírico
(Tacet)
4. Canto Coral
(Tacet)
4 Música para Orquesta de Vientos y Percusión Op. 152 - Clarinet in E b
5. Ostinato
œ^
. . . . # .
œ . œ. # œ. œ. n œ.
œ
. . . . . . . . . # œ
2
&2 J‰Œ Ó Ó œ. b œ œ œ œ n œ # œ. œ œ œ œ. œ œ œ # œ. œ œ. œ. # œ. # œ œ.
.
f
# œ. ‰ Œ Ó
7
# . # œ. œ. # œ. # œ. [ n œ. # œ. œ. # œ. # œ. œ. # œ. .
œ
∑ Ó œ] ‰ Œ Ó
6
& J J
f
˙ œ bœ œ œ ˙ œ œ œ œ œ
15
œ b œ œ. .
œ J
3 2
œ ‰ Œ Ó
11
>
& œœœ
>. .
œ œ. œ. œ b œ œ. . # œ œ # œ n œ 22 29
20
#œ . œ #œ œ #œ œ ‰ Œ Ó 6 12
& .
J
œ. œ. œ. # œ. œ. œ. œ. œ. # œ. n œ. œ. œ. œ. œ. œ. # œ. ‰ œ. œ. # œ. œ. œ. œ. œ. œ. œ. ‰ # œ. œ. œ. œ. œ.
41
&
f
. . # œ. n œ.
œ œ. œ. ‰ œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. ‰ œ. œ. œ.
& #œ
45
j bœ œ œ œ œ #œ bœ œ nœ ‰ Œ Ó
49 55
& .. œ . # œj œ .
4
œ- J ∑
-
f
œ œ #œ #œ œ œ œ œ œ ‰ Œ Ó # >œ >œ # œ n >œ
63
œœœœ
3
œ bœ œ œ ˙
57
& J ˙
f F
#œ œ œ œ œ œ #œ œ œ œ œ œ 69
b >˙ >œ œ >˙ # >œ
j‰ Œ Ó .. Œ
∑
65
& œ
[ f]
# >œ n >œ >œ œ #œ œ œ #œ œ
œ # >˙ >œ œ 2
Ó Œ Œ
71
&
ƒ
Clarinet in B b 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
. >˙
Allegro q =120
b œ œ œ # œ. b œ. >˙ .
. . .
œ . œ œ . #œ œ œ bœ bw
& 44 # œ. # œ ‰ # œ. œ
f
œ
& J ‰ Œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ
4
6 6 6 6 6 6
bœ .
b œ b œ b œ b œ ˙ œ œ U
5 b œ œ ≈ ‰ 44
œ œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ 4œ œ ∑ 43
6
[>]
R
6 6 6 6
9
. b .
œ b .
œ
. .
44 ‰ # œ. œ # œ. œ œ Ó .
44 ‰ ≈ # œr œ œ œ- # œ œ œ Œ 43
& 43 43
∑ ∑ ∑ 44
.
b .
œ n˙
. . U
& 44 Œ ‰ # œ. œ # œ œ œ Œ 43 44 Ó
rit.
2
∑
14
p f
œ #œ œ
Allegro q. = 112 12
œ # .
œ œ œ œ œ # œ œ œ # œ. œ.
& 68 ‰ œ œ. # œ œ Jœ œJ # œ
10
.
f
19
œ #œ œ œ œ œ œ œSolo œ # œ œ œ œ #œ œ œ
œ j # œ # œ œ # œ œ
15
& J # œ . œ n œ
#œ #œ œ œ #œ œ œ œ J J J J J
Música para Orquesta de Vientos y Percusión Op. 152 - Clarinet in B b 1 3
22
œ # œ # œ œ œ # œ œ œ # œ œ œ . œ # œ œ œ # œ # œ # œ [ œ] œ # œ œ œ œ # ˙ . œ ‰ ‰ Œ.
& J J J J J
œ. ˙.
31
œ #œ bœ œ œ œ n œ œ bœ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ
Tutti Solo
&‰ J[ ] JJ J J JJ
29
J
[ f]
39 47
œ œ b œ œ œ œ œ b Jœ œ ˙ . bœ œ œ œ nœ œ bœ œ œ œ bœ œ œ
Tutti
& J
8
J JJ J J
36
J
f
Molto meno mosso
q. = 76
œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ b Jœ œ ˙ . . # œ. œ. # œ. œ.
G.P. accel.
œ
& JJ J
2
∑ ‰
50
J J
f
œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ.
. # œ. œ. # œ. œ. # œ. # œ. œ. œ. œ.
Presto 64
œ
&‰ ‰ ‰ ‰ ‰ ‰
59
# . # œ. œ. œ. œ. # >˙ .
œ # . # œ. œ. œ. œ. # œ. # œ. œ. œ. œ. # œ. # œ. œ. œ. œ. # œ. # œ. œ. œ. œ.
œ
& ˙.
# ‰ ‰ ‰ ‰ ‰
65
>
Poco meno
b >œ . . # œ. n œ. œ. œ^
G.P. mosso rit. Presto
# >œ . >œ . U . œ
∑ ∑ ∑ ‰ nœ J ‰ ‰ Œ.
72
& bœ . œ. œ.
>
ƒ
> >
3. Canto Lírico
Adagio q = 60
& 44 43 44 43 44 45
2 2 4 2
∑ ∑
4 Música para Orquesta de Vientos y Percusión Op. 152 - Clarinet in B b 1
[(q = 60)]
1 2 3 4 1
44
& [X]
(simile)
œ b œ œ b œ[ n]œ b œ
p
B
2 3 4 5 1 2 3 4 5
& [X]
C
1 2 3 4 5
œœ
nœ œ œœ 44
&
[sim.]
bœ œ
p
Adagio
& 44 # # œœ œœ œœ œœ # # œœ œœ œœ œœ # # œœ œœ œœ œœ # # œœ œœ œœ œœ # # œœ œœ œœ œœ # # œœ œœ œœ œœ
14 Div.
- - - - - - - - - - - - - - - - - - - - - - - -
p
D
1 2 3 4 5 Andante q = 76
4 # œ- œ- œ- œ- œ- œ # œ- œ- œ- œ-
& [X] 4 J J J J
P
- œ- œ- œ- œ- - - - - - œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- # œ- œ-
[œ
œ- œ- œ- # œ- œ- œ- œ- œ-
J J œœ œ œ œ J J J
23
& J J J J J J J
stringendo rit.
- œ- œ- œ-] œ- œ- œ- œ- œ- >œ œ >œ œœ # œœ- œœ- œœ-

[Div.]
- - - - -
#œ œ œ œ œ œ œ
J # œ œ Jœ œ Jœ Œ ‰ # Jœ œ œ ‰ ‰
29
& J J J
F
Meno Mosso q = 60
U
43
2 2 44 ∑ Ó Œ ‰ œ œ‰ Œ Ó
34
& J J
p
4. Canto Coral
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
œ. . œ. œ. œ. œ. œ. œ.
œ .œ œ. œ. œ. œ. œ. œ. œ.
& 22
5 32 2 22 4 32
18
f
# . œ. 2 n œ. œ. œ. œ. œ. œ. œ. œ.
œ .œ œ. œ. œ. œ. œ. œ œ
& 23
2
∑ Ó Ó Œ
31
2
f F
A
1 2 3 4 5 1 2 3 4 5
j
Solo
#œ
˙ #˙
& [X]
F
B
. œ. 2 n œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ
1 Tempo primo
w 32 # œ
& #œ œ ∑ Ó Ó Œ 2
f [F ]
U
Molto meno
46
œ #œ œ œ œ w
32 22
mosso rit.
4 3
∑ Œ
42
&
[ f]
5. Ostinato
œ^ .œ b œ. œ. œ. b œ. n œ. # œ. œ. œ. œ. œ. œ. b œ. œ. # œ. œ. œ. œ. # œ. # œ.
& 22 J‰ Œ Ó Ó
f
œ. # œ. # œ. œ. œ. # œ. œ. n œ. œ. ‰ Œ Ó œ œ œ # œ œ. œ. œ. œ. # œ. # œ. œ. # œ. n œ. # œ. n œ. œ.
7
∑
5
& J
f
bœ . .
œ œ. œ b œ œ œ. œ œ œ œ. œ œ n >œ œ œ
15
j >. >. >. 2 ˙ œ bœ œ œ ˙ œœœœ
& # œ. ‰ Œ Ó
10
f
œ . œ- b œ . œ- œ œ œ n œ b œ œ œ- œJ ‰ Œ Ó œ œ. œ. œ b œ œ. œ. . # œ œ œ n œ
17
& J . œ #œ œ
J #œ
22
œ œ - œ. -
œ œ
# œ J # Jœ # œ ‰ Œ Ó
œ
‰ œœ œ œ . ‰ #œ œ œ œ #œ œ
Solo
& œj ‰ Œ Ó ∑
J
f
œ
29 41
. . œ. . œ. œ. # œ. œ.
œ
Tutti
. œ. œ. œ. # œ. # œ. œ. . œ. œ. .
12 .
#œ # œ . œ
œ œ . .
#œ # œ œ œ
&J‰ Œ Ó ‰
28
f
œ. # œ. œ. # œ. œ. œ. œ. œ. œ. œ. # œ. œ. # œ. # œ. # œ. œ. œ. # œ. œ. œ. . œ. # œ. œ. # œ. œ. œ. . œ. œ.
‰ ‰ œ œ
44
&
. . . .
œ
49
j œ # œ bœ œ œ
. œ . # œ œ œ. .. j b œ œ œ
& #œ œ ‰ œ . # œ œ . œ- œ
2 [ ]‰ Œ Ó
48
- J
f
55
∑ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ
54
&
j‰ ˙ œ œ # >˙ n >œ œ [ >˙]

63
œœœœ
>
œ bœ œ œ ˙
>
# œ Œ Ó ˙
59
[ >]
&œ [ n œ]
[ >]
F
>˙ b >œ
b œ œ œ œ œ
69
. - b œ - œ
. œ œ œ n œ œ œ # œ œ œ œ # œ œ œ œ
& œ œJ .. Œ
65
J
[ f]
œ >˙ n >œ œ # >˙ >œ œ # >œ n >œ >œ 2 œ #œ œ œ #œ nœ

Ó Œ Œ
70
&
ƒ
1. Preludio
Allegro q =120
b .
œ œ œ # œ. b œ. >
4 . . .
œ # œ. œ œ >˙ . #œ œ œ bœ
œ ˙.
bw
.
& 4 #œ ‰ # œ.
f
œ 6 6 6 6 6 6
& J ‰ Œ #œ œ #œ nœ #œ œ œ œ #œ œ #œ œ #œ œ #œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ #œ œ
4
U
& # œ œ # œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ 45 Ó Œ ‰ ≈ b œ œ ≈ ‰ 44 43
6 6 6 6
∑
6
>
R R
9
. .
œ . b œ. œ . b .
œ
44 ‰ # œ. œ # œ. œ Ó 44 ‰ ≈ # œr œ œ œ- # œ œ Œ 43
& 43 43
∑ ∑ ∑ 44
.
. œ . b œ. rit.
U
œ
& 44 Œ 43
‰ # œ. œ # œ Œ
2 44 Ó ˙ ∑
14
p f
Allegro q. = 112
. œ # œ # œ œJ œ œ # œ .
12
& 68 œ # œ œ # œ . œj œ œ œJ œ œ # œ
10
‰ œ œ #œ
. . J
f
19 31
b >œ œ œ >œ œ œ
& n œ- . œ . # œ œj œj # ˙ .
16
11
- nœ œ œ œ œ œ œ œ œ œ œ œ
œ f p
39
33
8
& œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ
47
œœ n # œœ œ œœ œ œ #œ œ œ #œ #œ # œœ n # œœ # œœ b œœ œœ
Div.
& # bœ #œ b œœ # œ n œ # œœ b œœ # œ œ n œ b œœ # œœ œ œœ
J J J J J J J J
f
Molto meno mosso
G.P. q. = 76 accel.
œœ # œœ # œœ n œœ œœ # œ b œœ # œœ n # œœ b ˙˙ ..
. .
‰ # œ. # œ. œ # œ œ.
2 Unis.
b ∑
52
& J n œ J J
f
. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ. # œ. œ.
. . . . . . . .
Presto
‰ # œ
59
&
. # œ. œ. œ. œ. # >˙ . . # œ. œ. œ. œ. # >˙ .
64 G.P.
# œ # œ 4
&‰ ‰ ∑
f
Poco meno
. n œ. . ^
mosso
>œ . U
rit. Presto
‰ œ. œ # œ. œ Jœ ‰ ‰ Œ .
>œ .
œ. œ. ∑ ∑
73
>
& œ. œ.
f
>
> > ƒ
3. Canto Lírico
Adagio q = 60
& 44 43 44 43 44 45
2 2 4 2
∑ ∑

1 2 3 4 1 [(q = 60)]
44
& [X]
(simile)
œ bœ œ œ bœ
p B C
2 3 4 5 1 2 3 4 5 1
& [X]
2 3 4 5
Adagio
bœ œ œ œ 44 Div.
& œœ
[sim.]
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
- - - - - - - - - - - -
p p
D
1 2 3 4 5
44
17
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ [X]
- - - - - - - - - - - -
- œ- œ- œ- œ- - - - - - b œ- œ- œ- œ- œ- [ n]œ- œ- œ- œ- œ-
Andante q = 76
- - - - - - - - - [œ
& 44 J
œœ œ œ œ œœ œ œ œ J J œJ œ œ œ Jœ J J J
21
J J J J
P
- œ- œ- œ- œ- - - - - - # œ- œ- œ- œ- œ- œ œ- œ- œ- œ-] # œ- œ- œ- œ- œ-
stringendo
œ œ œ œ œ œ Œ ‰ # >œ œ >œ
27
&J J J J J J J J J J J
F
rit. Meno Mosso q = 60
# œ- œ- œ- U
43
œ ‰ ‰
2 2 44 ∑ Ó Œ ‰ œ œ‰Œ Ó
33
& J J
p
4. Canto Coral
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
22 œ. # œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ.
& 22
5 32 2 4 32
18
f
. . . . œ. œ. œ. œ. œ œ
& 23 Œ œ # œ. 22 œ # œ. œ. œ. œ. œ. œ œ œ. # œ.
2
∑ Ó Ó
31
f F
A
1 2 3 4 5 1 2 3 4
& [X]
B
5 1 Tempo primo
32 . . . .
& ∑ Ó Ó Œ œ # œ. 22 œ # œ. œ. œ. œ. œ. œ œ
f
Molto meno
46
. # œ. œ. œ. œ. œ. œ œ #U
w
mosso rit.
32 22 Œ œ œ nœ œ
4 3
œ ∑
41
&
[F ] [ f]
5. Ostinato
.œ b œ. œ. œ. b œ. n œ. # œ. œ. œ. œ. œ. œ. b œ. œ. # œ. œ. œ. œ. # œ. # œ.
2 b œ^ ‰ Œ Ó Ó
&2 J
f
.
œ. # œ. # œ. œ. œ # œ. œ. n œ. œ. ‰ Œ Ó . .
7
∑ œ # œ œ [ #]œ œ. œ œ œ. # œ n œ n œ. # œ. # œ. # œ. n œ. # œ
5
& J . . .
f
bœ . .
œ œ œ œ œ œ œ >œ. œ. œ œ n >œ œ œ
15
>. . b œ >. . ˙ œ bœ œ œ
& n œ. j ‰ Œ Ó
10
2
œ œ œ œ œ . # œj œ . œj œ œ œ # œ œ œ œ- œ ‰ Œ Ó œ œ. œ. œ œ œ. # œ. ..
&˙
16
- - J
22 29
& # œ œ œ n œ œ # œ œ # œ œj ‰ Œ Ó
21
6 12
. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œ œ œ œ. œ. œ. œ. œ. œ. ‰ œ. œ œ œ œ œ. œ. œ. œ. œ. œ. ‰ œ.
41
& œ . . . . . . .
f
49
. œ. œ. œ. œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ œ œ œ ‰ œ. œ. œ. ..
œ
2
œ . # œj œ . œ-
j
46
& . . . . . . . . . . . . -
f
b œ œ œ œ œ # œ b œ œ [ œ] ‰ Œ Ó
55
∑ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ
52
& J
j ˙ # >œ œ # >˙ n >œ œ #[ >œ]

63
˙ œ bœ œ œ
>
œ œ
& œ œ #œ œ œ œ œ ‰ #œ nœ œ Œ Ó
58
F
[ >] [ >]
œ œ œ œ œ . # œj œ . œj œ œ œ # œ œ œ œ œ œ b œ œ œ œ œ œ b œ œ œ œ œ .. Œ b >˙ >œ
69
&˙
64
- -
[ f]
œ # >˙ >œ œ >˙ # >œ œ[#]>œ n >œ n >œ 2 œ #œ œ œ #œ nœ

Ó Œ Œ
70
&
ƒ
1. Preludio
Allegro q =120
b .
œ œ œ # œ. b œ. >
4 . . .
œ # œ. œ œ # ˙ . œ œ œ bœ
œ #˙ .
. ‰ # œ. bw
>
& 4 #œ
f
6 6 6 6 6 6
& œJ ‰ Œ # œ œ # œ n œ # œ œ œ œ # œ œ # œ œ # œ œ # œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ
4
& # œ œ # œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ # œ œ 45 Ó Œ ‰ ≈ b œ œ ≈ ‰ 44
6 6 6 6 6
>
R R
U
9
. .
œ . b œ. œ . b .
œ
44 ‰ # œ. œ # œ. œ Ó 44 ‰ ≈ # œr œ œ œ- # œ œ Œ 43
& 44 ∑ 43 ∑ 43 ∑
8
. b .
œ U
. œ
& 43 44 Œ ‰ # œ. œ # œ œ Œ 43 44 Ó
rit.
2
∑ ∑
13
n˙
[ ]
p f
Allegro q. = 112 12
#œ nœ œ #œ
& 68
10
‰ # œ œ # œ œ œ J œ . n œ . œj œ œ # œj œ
# œ. œ. œ . J œ œ
f
19 31
j j
11
œœœœœœ
16
> >
& œ œ œœœœœœ œ œ œ œ œ œ
#œ . œ œ #œ nœ nœ ˙. f p
39
33
8
& œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ
47
œ #œ #œ œ œ # œ Jœ # œ œ #œ œ œ #œ #œ œ #œ œ œ #œ œ #œ œ
& J J J J J J J
f
Molto meno mosso
G.P. q. = 76 accel. Presto
œ œ
& # œ # Jœ œ œ b œ # Jœ J # œ #˙ . 2 2 3
∑ ∑
52
. # œ. œ. œ. œ. # >˙ . . # œ. œ. œ. œ. # >˙ .
64 G.P.
# œ # œ 4
&‰ ‰ ∑
f
Poco meno
# >œ . >œ . U . # œ. n œ. œ. # œ^
mosso rit. Presto
∑ ∑ .
‰ nœ œ ‰ ‰ Œ.
73
& #œ . œ . J
f > œ . #œ .
ƒ
>
> >
3. Canto Lírico
Adagio q = 60
& 44 43 44 43 44 45
2 2 4 2
∑ ∑

[(q = 60)]
1 2 3 4 1
44
& [X]
[simile]
#œ œ œ œ œ œ
p
B
2 3 4 5 1 2 3 4 5
& [X] œœœ

[sim.]
# œ nœ œœ
œ
p
C
1 2 3 4 5 Adagio
44
&
b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ-
p
D
1 2 3 4 5
44
17
&
b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ-
[X]
Andante q = 76
4 # - œ- œ- œ- œ- œ # œ- œ- œ- œ- [ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
œ
21
&4 J J J J J J J J J J
P
stringendo
- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- œ- œ œ- œ- œ- œ-] œ œ œj œ j
[Div.]
œ
26
&J J J J J J œ- œ- œ- œ- œœ
J J J J -
j U
43 44 Œ ‰ œ œ‰ Œ Ó
[Unis.]
2 2
Œ ‰ œ œœ œœ œœ ‰ ‰ œœ- œœ- œœ- ∑ Ó
32
& œ J J
> >
F p
4. Canto Coral
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
& 22
5 32 2 22 # œ œ œœ œœ
4 32
18
œ
. . b œ. œ. n œ. . . # œ. œ. . . # œ. œ. b œ. . # œ.
f
& 23 Œ # œ œ. 22 # œ œ. b œ n œ œ. œ. # œ [n]œ œ. œ. # œ
2
∑ Ó Ó
31
œ
. . . œ. . . . . œ. b œ. # œ
f F
A
1 2 3 4 5 1 2 3 4
& [X]
B
5 1 Tempo primo
32 ∑ Ó Ó Œ # œ œ. 22 # œ œ. b œ n œ œ. œ. # œ
&
f
. . . œ. . .
Molto meno
46
U
mosso rit. [Div.]
32 22 w
œ w
4 3
& [n]œ. œ. œ. # œ. œ b œ œ # œ ∑ Œ ˙
41
. .
[F ] [ f]
5. Ostinato
. . . . . . .
2 ^‰Œ Ó
œ Ó œ. b œ œ. œ. b œ n œ # œ. œ. œ œ œ. œ. b œ œ # œ. œ. œ. œ. # œ. # œ.
&2 J
f
œ. # œ. # œ. œ. œ. # œ. œ. n œ. œ. ‰ Œ Ó œ œ œ # œ œ. œ. œ. œ. # œ. # œ. œ. # œ. n œ. # œ. n œ. œ.
7
∑
5
& J
f
bœ . .
œ œ. œ b œ œ œ. œ œ >œ. œ. œ œ n >œ œ œ
15
j >. >. 2 ˙ œ bœ œ œ
& # œ. ‰ Œ Ó
10
f
œ œ œ œ œ . œ- b œ . œ- œ œ œ n œ b œ œ œ- œJ ‰ Œ Ó œ œ. œ. œ œ œ. # œ. ..
&˙
16
J J
22 29
& # œ œ œ n œ œ # œ œ # œ œj ‰ Œ Ó
21
6 12
41
& #œ œ #œ œ œ œ œ œ œ bœ œ #œ #œ œ œ œ ‰ #œ #œ œ œ œ œ œ œ #œ ‰ œ #œ œ œ œ
f
‰ ‰ œ
45
& œ œ # œ # œ # œ œ œ # œ œ # œ # œ œ œ œ # œ œ œ
œ œ bœ œ #œ nœ nœ œ #œ nœ œ œ
œ # œ b œ œ [ œ]
49 55
j œ j b œ œ œ œ
& .. œ . # œ . œ- œ œ œ #œ œ œ œ œ
2
- J‰Œ Ó ∑
f
j ˙ # >œ
> œ # >˙ n >œ
& œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ ‰
56
63
& œ #œ #œ nœ œ Œ Ó ˙ œ bœ œ œ ˙ œœœœ œ‰Œ Ó ∑
61
[ >]
J
F
[ >] [ >]
69
b >˙ >œ œ # >˙
œ œ œ œ œ œ œ œ œ . Œ
>œ œ >˙ # >œ œ # >œ >œ n >œ
67
& œ œ œ œ .
[ f]
2 œ #œ œ œ #œ nœ
Ó Œ Œ
73
&
ƒ
Bass Clarinet Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
& 44 ‰ Œ ≈ Œ bœ œ œ #œ œ #œ œ
# œ. # œ œ. ˙ . # œ # œ œ. œ. ˙ nœ nœ #w
f . > >
U
9
45 44 43 44 43 44
&Ó ∑ ∑ ∑ ∑ ∑ ∑ 43
5
˙ w
f
>
U
& 43 44 43 44 w
rit.
2
∑ ∑ ∑
13
p f
Allegro q. = 112
12
& 68
11 2
#œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ
F
19
Œ œj œj Œ œj œj Œ œj œj Œ œj œj
17
&
#œ œ œ œ œ œ #œ œ œ œ œ œ . # œ. . # œ. . # œ. . # œ.
F
& Œ œj œj # œ Œ œj œj # œ Œ œj œj # œ Œ œj œj # œ Œ œj œj # œ # œj ‰ ‰ Œ .
23
. . . . . . . . . .
31
∑ ‰ ‰ j j j j j
29
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ œ. œ . . œ. . œ- . . œ. . œ- . . œ. . œ- . . œ. . œ- . . œ. . œ-
f . . p
Música para Orquesta de Vientos y Percusión Op. 152 - Bass Clarinet 3
39
& œ œ œ œj œ œ œ œj œ œ œ œj ‰‰ ‰‰ ‰‰ ‰‰
36
. . . . œ- . . . . œ- . . . . œ- œ œ œ œ œ œ œ œ
47
‰ ‰ ‰‰ ‰ ‰ ‰ ‰ ‰ œ œ œ œ œ ‰ œœœœœ ‰ œœœœœ
43
&
œ œ œ œ œ œ œ œ f
Molto meno mosso
G.P. q. = 76 accel.
2
& ‰ œœœœœ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ∑
50
œ. .
#œ>
f >
Poco meno
Presto 64 G.P. mosso
8 2
∑
59
& œ . #œ . œ . #œ . œ . #œ . œ . #œ . œ . #œ .
> > > > >
> > > > >
U . # œ. n œ. œ. ^ j
rit. Presto
∑ .
‰ œ œ œ ‰ ‰ Œ.
75
& #œ . œ . #˙ .
[ >
ƒ
>]
f >
3. Canto Lírico
Adagio q = 60
43 44 43 44
& 44 45
2 2 4 2
∑ ∑
[senza misura]
A [a tempo]
1 2 3 4
1 [(q = 60)]
44
& [X] #œ œ œ œ
[simile]
p
B
2 3 4 5 1 2 3
& [X]
4 Música para Orquesta de Vientos y Percusión Op. 152 - Bass Clarinet
C
4 5 1 2 3 4 5
44
[sim.]
& œœ œ œ
#œ # œ # œ œ
p
Adagio
& 44 # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ
14
- - - - - - - - - - - - - - - - - - - - - - - -
p
D
1 2 3 4 5 Andante q = 76
&[X] 44
# œ- œ- œ- œ- # œ- œ- œ- œ-
P
23
& #œ œ œ œ #œ œ
- - - - - - œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
stringendo rit.
j j Œ ‰ j
œ ‰ ‰ œ- œ- œ-
29
& # œ- œ- œ- œ- œ- œ- œ- œ # œ- œ- œ- œ- œ- œ œ œ
- > >
Meno Mosso q = 60
U
43
2 2 44 2
‰ # œj Ó
34
&
p. n œ-
4. Canto Coral
(Tacet)
Música para Orquesta de Vientos y Percusión Op. 152 - Bass Clarinet 5
5. Ostinato
.
^ . œ. # œ. œ œ. œ- . œ. œ- . œ.
7
2 4 b œ
& 2 j‰ Œ Ó œ. œ b œ. œ
. .
J‰ Œ Ó J J ∑
œ
f
15
& # œ. œ. # œ. n œ. œ n œ. œ # œ. j ‰ Œ Ó œœœœœœœœ œœœœœœœœ œ‰ Œ Ó

10
3 > > > >
. . # œ. J
f
22 29
.. 7 12
∑ j‰ Œ Ó ∑
18
&
œ. œ. œ. œ. œ. œ. œ. œ. œ.
f
41
& # œ œ # œ. œ œ œ. œ œ # œ œ ‰ #œ ‰
œ # œ œ
. . . . . . œ. b œ. . . . . . œ. . . œ. . . œ. . . . œ. # œ. œ. œ. œ.
# œ œ œ œ œ # œ
f
‰ ‰ œ
45
& œœ œ # œ # œ œ œ # œ œ œ # œ
# œ
. . œ. b œ. . . [ ] . . . . . œ. . # œ. n œ. . n œ. . . œ. # œ. . . . œ. . . œ. . œ.
# œ # œ œ œ # œ œ [ ]
œ œ #œ œ œ #œ #˙
49
. j œ n œ b œ œ Œ œ‰ Œ Ó ∑
& . œ . # œj n œ . œ b œ œ œ œ J
f - -
55
œ œ œ œ j‰ Œ Ó 2 # œ # œ nœ œ
& ∑ œ œ œ œ
œ #œ œ œ œ #œ œ œ œ œ
b œ œ [œ ]
f
63 69
& #œ Œ Ó œœœœœœœœ œœœœœœœœ œ‰ Œ Ó .. Œ
62
3
J ˙ b œ>
f>
#œ œ
# œ [ #] œ œ n œ 3
n œ Œ œ #œ œ Œ
70
> >
& œ œ
œ ˙> >
ƒ
Alto Sax 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
4 . . . >˙
œ œ œ œ . . >˙ .
œ
& 4 # œ œ. # œ. œ œ ‰
# œ. œ. # œ
œœ #œ ∑
.
f
6 6 6 6
& œ œ #œ bœ #œ œ œ œ #œ bœ #œ œ œ œ œ bœ #œ œ œ œ #œ bœ #œ œ
4
f
6 6 6 6
5
U
& œ œ # œ b œ # œ œ œ œ # œ b œ # œ œ œ œ œ b œ # œ œ œ œ # œ b œ # œ œ 45 44 43
6 6 6 6
∑ ∑
6
U
9
& 43 44 43 44 43 44 3 2 44
rit.
∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑
Allegro q. = 112
. œ . œ # œ. # œ. œ # œ œ œ # œ. # œ. œ [ n]œ.
& 68 ‰ # œ. # œ œ œ œ. œ #œ œ ˙ .
4
J
f Í f
# .
œ
12
œ 19
œ. œ. # œ œ J .
6 j
∑ ‰ ‰ ‰ Œ ∑ #œ nœ œ #œ œ #˙ .
10
&
f
j j j j
& #œ nœ #œ #œ œ œ #œ œ . ‰ #œ nœ #œ #œ #˙ . #œ nœ œ #œ #œ #œ œ nœ #œ .
22

Música para Orquesta de Vientos y Percusión Op. 152 - Alto Sax 1 3
31 39
œ œ œ #˙
& œ #œ œ œ œ #œ . œ
8
œœœœœœ œœœœœœ œœœœœœ
28
.
p
œ #œ œ œ nœ œ œ #œ œ 47
& œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ J J J
42
f
œ œ œ #œ œ œ #œ œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ #œ ˙ . G.P.
& J J J J J J JJ ∑
49
Molto meno mosso

q. = 76
. # œ. . . # œ. . . # œ. . . # œ. . . # œ. . . # œ. .
accel.
‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ
56
& . .# œ #
. . œ #
. . œ #
. . œ #
. . œ #
. . œ
f
Presto
. # œ. . . # œ. . . .
64
œ œ ‰ # œ. # œ. œ. œ œ. # ˙ . ‰ # œ. # œ. œ. œ œ.
4
‰ œ œ ‰ œ œ ∑
62
& . .# œ #
. . œ
>
f
Poco meno
# >œ .
>œ . n >œ . >œ . U ^
∑ ∑ ∑ ‰ # œ œ. # œ œ. œ. œJ ‰ ‰ Œ .
72
& #œ . nœ . . .
> >
ƒ
3. Canto Lírico
#˙ . œ nœ œ 3
Adagio q = 60
˙ # œ
˙ 44 n w œ # œ
4 43
œ ˙ ∑ ˙.
& 4 #˙ . 4
P F p P
[senza misura]
#˙ . œ œ # œ n œ # œ . œ # œ-
1 2
œ
& 43 44 J ‰ Œ Ó 45 ‰ J
∑ œ. J
9
[X]
F F
4 Música para Orquesta de Vientos y Percusión Op. 152 - Alto Sax 1
A [a tempo]
3 4 1 [(q = 60)] 2 3 4 5
44 3
& [X]
B C
1 2 3 4 5 1 2 3 4 5
44
&
Adagio
- - - - - - - - - - - - - - - - - - - - - - - -
& 44 # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ
14
p
D
1 2 3 4 5 Andante q = 76
4 œ . # œ- œ # œ # œ œ œ #œ #œ #œ
&[ X ] 4 J #˙
F
n œ . # œ- œ # œ œ œ . - œ . # œ œ œ # œ . # - œ œ œ
œ #œ nœ œ #œ œ- # œ œ œ .
nœ œ œ
23
& J J # œ J J #œ
3 3
J
stringendo
j œ # œ œ # œ # œ œ # œ # œ # œ œ . # œ- œ # œ # œ œ # œ n œ # œ œ œ # œ œ œ . n œ 3
27
& #œ . #œ œ J J J
Meno Mosso q = 60
#˙ .
nœ ˙ ˙ 34 ˙ # œ 44 n w ∑
U
‰ # œ. n œ Ó
34
& #˙ . J -
P F p
4. Canto Coral
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
& 22
5 32 2 22 2
#œ #œ œ œ #œ #œ œ #œ #œ œ #œ #œ
18
p
#œ œ #œ #œ 3 22 # œ œ #œ œ #œ #œ
2
∑ Ó Œ œ # œ œ
30
& 2
F p
A
1 2 3 4 5 1 2 3
œ
j
#w
&[X]
F
B
4 5 1 Tempo primo
n w[ n w[ 32 22 Œ œ # œ [ #] œ œ œ
2
#œ nœ ∑ Ó
#œ #œ nœ
& ] ]
F
Molto meno
U
46
#œ œ #œ #œ w
mosso rit.
32 ∑ 22 Œ ˙ œ
43
2 3
&
ƒ
5. Ostinato
# œ. # œ. œ. # œ. n œ. # œ. n œ. .
Allegro Moderato h = 100 7
2 b
^‰Œ Ó
œ
5
∑ œ- . œj œ- . œj #œ
&2 J . .
f
˙ œ bœ œ œ ˙ œœœœ œ
15
# .
œ #w w> J‰ Œ Ó
2
& J‰ Œ Ó
10
>
f
#œ œ #œ nœ œ #œ œ
22
.. 6
∑ ∑ #œ œ ‰ Œ Ó
18
& w
J
f
>
. #œ j .
29
œ
& ‰ J‰œ œ ‰ œj œ. ‰ œJ # œ. œ. ‰ Jœ # œ. œ œ ‰ œj œ. œ. ‰ # œ Jœ # œ. œ ‰ œ œ œ
J J
f
‰ œ # . œ œ. œj œ œ. # œ œ œ. œ ‰ # œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ œ
œ
34
& J J J JJ J J # œ.
41 49 55
œ # œ. œ ‰ œj œ. ‰ œj œ. ‰ œ œ # œ 8
..
6
Ó
39
&J J œ œ #œ #œ
j # œ œ # œ
> œ œ œ >
>
‰ Œ Œ ˙ œ
56
>
& œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ ˙
>
œ b >˙ œ œ >˙ # >œ œ >

63 69
œ
>
& #œ Œ Ó
2
J‰ Œ Ó
3
.. Œ #˙ >
62
f
bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
œ Œ œ #œ œ œ #œ nœ Œ
& Œ Ó Ó
72
ƒ
Alto Sax 2 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
4 . . .
œ œ œ œ . .
œ
& 4 # œ œ. # œ. œ œ #˙ ‰ œ. œ œ œ
# œ.
#œ #˙ . ∑
. > >
f
6 6 6 6
4
f
6 6 6 6
5
U
& œ œ # œ b œ # œ œ œ œ # œ b œ # œ œ œ œ œ b œ # œ œ œ œ # œ b œ # œ œ 45 44 43
6 6 6 6
∑ ∑
6
U
9 rit.
& 43 44 43 44 43 44 43
∑ ∑ ∑ ∑ ∑ ∑
2 44 ∑ ∑
Allegro q. = 112
. . œ . œ # œ. # œ. œ # œ œ œ # œ. # œ. œ [ n]œ.
& 68
4
‰ #œ. # œ œ œ œ œ #œ œ
J
f
. #œ
12 19
. œ œ
&˙ J ‰ ‰ Œ. # œ ‹ œj œ # œ œ
6
∑ ‰ # œ œ. œ ∑
9
.
Í f f
j œ œ j ‰ # œ ‹ œ œ # œj # ˙ . jœ
21
& #˙ . #œ ‹œ œ # œ #œ œ . #œ nœ #œ #œ
31 39
œ œ œ #˙
& #œ œ ‹œ #œ . œ #œ œ œ œ #œ . œ
27
8 8
.
bœ œ œ œ #œ œ b Jœ œ # œ œ b Jœ Jœ œ œ #œ œ œ bœ œ #œ nœ œ œ œ bœ œ œ
47
& J J JJ J J
f
Molto meno mosso
œ b Jœ œ ˙ .
G.P. q. = 76 accel.
n œ ∑ ‰ # œ ‹ œ œ. # œ. œ ‰ # œ ‹ œ œ. # œ. œ ‰ # œ ‹ œ œ. # œ. œ ‰ # œ ‹ œ œ. # œ. œ
53
& J . . . . . . . . . . . .
f
.
Presto 64
& ‰ # œ. ‹ œ. œ. # œ. œ. ‰ # œ. ‹ œ. œ. # œ. œ. ‰ # œ. ‹ œ. œ. # œ. œ. ‰ # œ. ‹ œ. œ. # œ. œ. ∑ ‰ # œ. # œ. œ. œ œ.
60
f
Poco meno
G.P. mosso
>œ .
rit.
. # >œ .
‰ # œ. # œ. œ. œ œ. œ. œ.
4
∑ ∑
66
>
& #˙ .
> > #œ . œ .
> >
U ^
Presto
∑ ‰ # œ œ. # œ n œ. œ. # œj ‰ ‰ Œ .
77
& . .
ƒ
3. Canto Lírico
Adagio q = 60
43 44
& 44 43 ∑ 44 45
2 2 4 2
∑

[(q = 60)]
1 2 3 4 1 2 3 4 5
44 3
& [X] [X]
B C
1 2 3 4 5 1 2 3 4 5
44
&
Adagio
& 44 œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
14
D
1 2 3 4 5 Andante q = 76
44 œ . # œ- œ # œ # œ œ # ˙ œ #œ #œ #œ
&[X] J
F
n œ . # œ- œ # œ œ œ . - œ . # œ œ œ # œ . # - œœ œ
œ # œ n œ - #œ
œ
n œ œ œ œ #œ J œ œ . #œ
23
& J J #œ J
3 3
J
stringendo
j œ # œ œ # œ # œ œ # œ # œ # œ œ . # œ- œ # œ # œ œ # œ n œ # œ œ œ # œ œ œ . n œ 3
27
& #œ . #œ œ J J J
#˙ .
Meno Mosso q = 60
nœ ˙ ˙ 34 ˙ # œ 44 n w ∑
U
‰ # œ. n œ Ó
34
& #˙ . J -
P F p
4. Canto Coral
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
& 22
5 32 2 22 2
18
#œ œ œ #œ #œ #œ œ #œ #œ #œ œ #œ
p
& # œ # œ œ œ 32
2 22 ∑ Ó Œ
30
œ # œ # œ #œ œ œ
œ # œ œ
F p
A
1 2 3 4 5 1 2 3 4
&[ X ]
B
5 1 Tempo primo
32 2 22 ∑ Ó Œ
& # œ œ #œ #œ œ œ #œ
œ œ
F
46 Molto meno
U
mosso
32 22
rit.
2
∑
3
Œ #w
44
& ˙ œ
ƒ
5. Ostinato
. .
.
7
2 ^ 5 -œ . œj œ- . œj # œ [n œ # œ. ‹ œ. ]# œ # œ. # œ. # œ.
& 2 œj ‰ Œ Ó ∑ . .
f
˙ œ bœ œ œ ˙ œœœœ œ
15
. #w w> 2
J‰ Œ Ó
& # œJ ‰ Œ Ó
10
>
f
#œ œ #œ nœ œ œ
22
∑ ∑ .. #œ #œ œ ‰ Œ Ó 6
18
& w
J
f
>
29
j j
& # œ. ‰ # œj ‰ œj œ ‰ œj œ ‰ # œ # œ. œ ‰ # œ # œ. œ œ ‰ œj œ œ ‰ # œj
f . . . . .
j j j j
& # œ # œ. œj ‰ œ œ œ ‰ # œ # œ. œ œ œj œj # œ. # œj œj œ. œ ‰ # œ ‰ œ ‰ œ ‰ œ
33
.
j
& ‰ œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ œj # œ # œ # œ. œj ‰ œj œ ‰ j œ ‰ œ #œ #œ
37
. . œ .
41 49 55
..
8 6
& Ó œ œ #œ #œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ
63
# >œ œ œ œ >˙
& œ œ # œ # œ œj ‰ Œ Œ ˙ #œ œ
> 2
#œ Œ Ó
58
>
>
œ
œ
69
.. Œ # ˙ n œ œ >˙ œ œ n˙ # >œ œ Œ Ó
> >
& J‰ Œ Ó
65
3 >
f >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ nœ
Ó Œ Œ
73
&
ƒ
Tenor Sax Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
. b .
Allegro q =120
œ bœ œ œ # œ. b œ. >˙ .
4 .
œ . œ .
œ >˙ œ. œ œ
& 4 # œ. # œ ‰ # œ. # œ ∑
f
œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ
4
& œ
f 6 6 6 6
bœ œ œ bœ œ œ bœ œ œ œ œ œ bœ œ œ
&œ œ œ œ œ œ œ œ œ
5
6 6 6 6
bœ bœ bœ bœ U
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 45 44
∑ ∑ 43
6
6 6 6 6
U
9 rit.
& 43 44 43 44 43 ∑ 44 43
∑ ∑ ∑ ∑ ∑
2 44 ∑ ∑
Allegro q. = 112
. œ. œ . œ œ. # œ. œ # œ œ œ œ. # œ. œ œ n œ.
œ
. # œ œ #œ œ ˙ .
& 68 ‰ #œ
4
J
f Í f
œ # .
œ
12
œ 19
. # œ
∑ ‰ œ. œ J ‰ ‰ Œ .
6
∑ #œ #œ œ #œ œ #˙ .
10
& J
f
& # œ # Jœ œ # œ
œ œ #œ œ . ‰ #œ #œ œ #œ #˙ . #œ #œ œ œ #œ #œ œ #œ #œ .
22
J J J
Música para Orquesta de Vientos y Percusión Op. 152 - Tenor Sax 3
œ
œ œ #œ œ œ œ #œ . œ œ #˙ .
31
j j j j
28
& œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ
- - - -
39
& œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œj œ
œœœœœ œœœœœœ œœœœœœ
35
. . . . œ- . . . . œ- . . . . œ- . . . . œ- p
47
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ #œ œ #œ œ
42
& J J J
f
G.P.
# œ œ œ #œ #œ œ #œ œ œ #œ œ #œ œ #œ #œ œ œ œ # œ #œ œ #œ #˙ . ∑
49
& J J J J J J [ ]
JJ
Molto meno mosso

q. = 76
. # œ. œ. # œ. œ. ‰ # œ. # œ. œ. # œ. œ. ‰ # œ. # œ. œ. # œ. œ. ‰ # œ. # œ. œ. # œ. œ. ‰ # œ. # œ. œ. # œ. œ.
accel.
‰ # œ
56
&
f
. # œ. œ. # œ. . œ. # œ. œ. # œ. . œ. # œ. œ. . # œ. œ. œ. œ. # >˙ .
Presto 64
# .
œ . œ # œ
& ‰ #œ ‰ #œ ‰ #œ ∑ ‰
61
f
Poco meno
b >œ . >œ .
G.P. mosso rit.
# . # œ. œ. œ. œ.
œ 4 >œ . >
#œ . #œ . nœ . U
&‰ ∑ ∑
67
> > #˙ .
. # œ. n œ. œ. œ^
Presto
. œ
&‰ œ J ‰ ‰ Œ.
78
ƒ
4 Música para Orquesta de Vientos y Percusión Op. 152 - Tenor Sax
3. Canto Lírico
Adagio q = 60
& 44 43 44 43 44 45
2 2 4 2
∑ ∑

1 2 3 4 1 [(q = 60)] 2 3 4 5
44 3
& [X] [X]
B C
1 2 3 4 5 1 2 3 4 5
44
&
œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
Adagio
4
14
&4
p
D
Andante q = 76
œ . # œ- œ # œ # œ œ œ #œ #œ #œ
1 2 3 4 5
4 J # ˙
&[X] 4
F
n œ . œ- œ # œ œ œ . - œ . # œ œ # œ . - œ œ œ
œ # œ n œ œ # œ œ- # œ œ œ
J nœ # œ œœœ J .œ
23
& J J J
3 3
#œ œ œ #œ #œ œ . # œ- œ # œ # œ œ # œ n œ œ œ œ # œ œ œ . n œ
# œ œ # œ
& œ . # Jœ œ œ J
27
J J
Meno Mosso q = 60
. -
stringendo
# œ U
43
3 2 2 44 2
‰ J nœ Ó
31
&
p
Música para Orquesta de Vientos y Percusión Op. 152 - Tenor Sax 5
4. Canto Coral
Allegretto h = 92
10 17
& 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22 5 32
23
& 23
2 22 2
#œ œ œ œ #œ #œ œ œ œ #œ œ #œ
p
œ #œ #œ œ 3 2 22 ∑ Ó Œ œ #œ œ œ œ œ #œ #œ œ
30
& 2
F [ ] [ p]
A
1 2 3 4 5 1 2 3 4
&[ X ]
B
5 1 Tempo primo
#œ œ
32 22 Œ œ #œ œ œ œ œ #œ
2
& ∑ Ó
F
Molto meno
U
46
w
mosso rit.
2 32 ∑ 22 3
Œ ˙ œ
44
&
[ ƒ]
6 Música para Orquesta de Vientos y Percusión Op. 152 - Tenor Sax
5. Ostinato

2 ^
œ 5 œ- . œ. œ- . œ. 2 # w> w>
&2 J‰ Œ Ó ∑ J J
f
15
2
œœœœœœœœ œœœœœœœœ œ‰ Œ Ó ∑ w> ∑ ..
13
> > > >
& J
f
22
& # œ œ œ n œ œ # œ œ # œ œj ‰ Œ Ó ‰ #œ œ œ œ #œ œ œ #œ ‰ Œ Ó
3
∑
21
J
F
œ. ‰ œ ‰ œ # œ. ‰ œ # œ. ‰ œ œ. # œ. ‰ Jœ œ. œ œ ‰ œ # œ. œ. ‰ œ œJ œ. # œ ‰ œ œ œ
29
& J J J J J J J
f
‰ œ œ. œ # œ. œ # œ œ. œ œ œ. œ ‰ œ ‰ #œ ‰ œ ‰ œ ‰ #œ ‰ œ ‰ œ ‰ œ ‰ #œ ‰ œ ‰ œ œ
34
& J J J J JJ J [ ]
J .
œ œ. # œ ‰ œ œ. ‰ œ # œ. ‰ œ œ œ
41 49
.. . j n œ j b œ œ œ œ œ n œ b œ œ
39
8
&J J J J œ # œ . œ-
f -
œ œ #œ #˙
55
œ œ # œ œ‰ Œ Ó j
&Œ ∑ ∑ œ œ œ #œ œ œ œ œ œ œ œ #œ œ ‰ Œ
51
J
58
∑ Œ œ œ # œ # œ nœ œ #œ Œ Ó
& œ
œ #œ œ œ #œ #œ œ œ #œ œ bœ œ b œ œ œ
f
63 69
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ Ó .. Œ b >˙ # œ œ # >˙ œ

3 > >
& ˙ œ
œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ
> #> œ Œ Ó ∑ Œ œ #œ nœ Œ
71
ƒ
Baritone Sax Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
& 44 ‰ Œ ≈ #œ #œ #œ
. . . ˙.
Œ #œ #œ #œ œ
. . ˙
Ó Œ ‰ n œ nœ
w
f
[ ]
> >
U 9
45 44 ‰ . r ˙ . 43 44 43 44
∑ ∑ ∑ ∑ ∑ 43
5
& ˙ #œ
˙ w
> f
U
& 43 44 43 44
rit.
2
∑ ∑
13
w #w
p f
Allegro q. = 112 12
& 86
11 2
#œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ #œ œ œ œ
F
19
. . . .
& # œ œ # œ œ œ œ # œ œ # œ œ œ œ Œ œJ œJ # œ. Œ œJ œJ # œ. Œ Jœ œJ # œ. Œ Jœ œJ # œ.
17
F
Œ œ. œ Œ œ. œ Œ . œ
œ Œ . œ
œ Œ . œ
œ j‰ ‰ Œ.
23
& J J # œ. J J # œ. J J # œ. J J # œ. J J # œ. # œ
[ ]
31
& ‰ n œ. œ ‰ œ. œ ‰ œ. œ ‰ œ. œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ
29
f . . . .
39
. . . . .
& œ ‰ ‰ œ œ ‰ ‰ œ œ. œ. œ. œJ # œ- œ. œ. œ. œJ # œ- œ. œ. œ. œJ # œ- œ. œ. œ. œJ # œ- œ. œ. œ. œJ # œ-
37
P
Música para Orquesta de Vientos y Percusión Op. 152 - Baritone Sax 3
47
. . .
& œ. œ. œ. œJ # œ- œ. œ. œ. œJ # œ- œ. œ. œ. œJ # œ- œ . œj œ j j j
44
œ. œ œ œ. œ œ œ. œ œ
f
Molto meno mosso
G.P. q. = 76 accel.
& œ . œj œ œ . œj œ œ . œj œ œ . œj œ ∑ ∑ ∑ ∑
51
˙. ˙. ˙.
> > >
Poco meno
. œ. # œ. œ. œ. œ^
Presto 64 G.P. mosso Presto
U # œ
J ‰ ‰ Œ.
8 3
∑ ∑ ∑ ‰
62
& ˙. #˙ .
f
>
> ƒ
3. Canto Lírico
Adagio q = 60
& 44 43 44 43 44 45
2 2 4 2
∑ ∑

1 2 3 4 1 [(q = 60)] 2 3 4 5
44 3
& [X] [X]
B C
1 2 3 4 5 1 2 3 4 5
44
&
Adagio
& 44 # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
14
p
D
1 2 3 4 5
& [X] 44
4 Música para Orquesta de Vientos y Percusión Op. 152 - Baritone Sax
Andante q = 76
- - - - # œ- œ- œ- œ-
& 44 # œ œ œ œ
21
# œ- œ- œ- œ- # œ- œ- œ œ œ- œ- # œ- œ-
- -
P
stringendo
- - # œ- œ- œ- œ- œ œ œ # œ
& # œ- œ- œ- œ- # œ œ # œ- œ-
26
3
# œ- œ- œ- œ- - - - -
Meno Mosso q = 60
U
43
2 2 44 2
‰ # œ. n œ Ó
34
& J -
p
4. Canto Coral
Allegretto h = 92
10 17
& 22 32 22 32 22 32 22 32
9 2 3 5
∑ ∑ ∑
23
& 23
2 22 2
œ œ œ
#œ # œ #œ œ œ #œ #œ #œ œ
p
& # œ # œ œ œ 32
2 22 ∑ Ó Œ #œ #œ œ œ
30
#œ #œ #œ œ œ
F p
A
1 2 3 4 5 1 2 3 4 5
& [X]
B
1 Tempo primo
32 2 22 ∑ Ó Œ #œ œ œ
& #œ #œ #œ #œ œ œ
F
46 Molto meno
32 22 œ U
mosso rit.
2 3
∑ Œ Œ
44
& œ œ nœ œ #œ ˙
[ ƒ]
Música para Orquesta de Vientos y Percusión Op. 152 - Baritone Sax 5
5. Ostinato

2 ^ 5 4 j jœ. j 2
& 2 œj ‰ Œ Ó . œ . j œ
œ . œ # œ. # œ . . # œ.
f f
15
j j‰ Œ Ó ..
& #œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ #œ ‰ Œ Ó ∑ œ
# œ. œ. œ. œ. œ. œ. œ. œ. .
22
∑
21
& # œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ.
P
29
œ œœ ‰ j ‰ j ‰ j ‰ j
26
&
# œ œ œ œ œ œ œ. œ. # œ œ œ œ œ œ œ. œ. œ # œ # œ # œ œ œ œ. œ. œ œ. œ œ. œ
f
&‰ j ‰ jŒ ‰ j‰ j Œ Œ ‰ jŒ Œ Œ
31
œ œ. œ œ. œ œ œ. œ. œ. œ. œ œ. œ. œ.
‰ j Œ ‰ j ‰ j Œ
36
&
^ ‰Œ Ó ^ ^ ^ ‰Œ .
41 49
2 2 6
& j Œ j‰ Ó Ó Œ j‰ Ó j .
œ œ œ œ
f
œ œ #œ #œ œ œ œ œ œ ‰ Œ Ó
55
2
& J ˙ n˙ ∑
˙ ˙ >
˙ #˙ >
> >
f
> >
63 69
j 3
.. Œ
& #œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ #œ ‰ Œ Ó ˙ œ œ œ
> ˙
F f
> > >
& œ Œ Ó ∑ Œ œ Œ
71
# œ œ œ œ # œ œ œ # œ # œ œ œ œ # œ œ œ # œ # w> #œ nœ
ƒ
Trumpet in B b 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
œ. # >œ >˙ . >˙ . œ.
4 . ‰ # œ. œ # œ œ 45 Ó b œ œ ‰ 44
4
Œ
[ >]
& 4 #œ J
f f
U
9
& 44 43 ˙ # œ 44 ˙ . œ 43 # ˙ œ 44 ˙ . ‰ œ 43 # œ ˙
∑ 44
8
J
f
44 Œ b ˙ . U
& 44 # w 43 n ˙ .
rit.
œ œ bœ œ ∑
14
Í f [ p] f
Allegro q. = 112 12
#˙ . œ . #œ œ #œ
Con sord.
& 68 œ œJ œJ # œ
7 2
˙. ∑
f
œ #œ œ œ œ
19
# œ . œ œ # œ œ # œj [ n] œ œ b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. [ b]œ. ‰ ‰ Œ .
15
& J .
#œ ˙ J
F
. ..... .... . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& b œ œ œ œ œ œ œ œ œ œ b œJ ‰ ‰ Œ .
21
>œ # œ >œ . 31
. j
& b œJ ‰ ‰ Œ . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ ‰ Œ .
8
∑
26
J
f
2 Música para Orquesta de Vientos y Percusión Op. 152 - Trumpet in B b 1
Senza sord.
47
b œœ # œœ œœ # œœ n œ œœ b œœ # œœ n œœ œœ b œœ œœ # œœ œœ œœ # œœ œœ [ b] œœ # œœ n œœ œœ # œœ
39 [Div.]
J œ
8
& J J J J J J J
f
Molto meno mosso
q. = 76
œœ # œœ b œœ œœ œœ # œœ œœ b œœ # œœ . # œ. œ. # œ. œ.
G.P. accel.
˙˙ .. œ
[Unis.]
2 2
∑ ∑ ‰
52
& J J J
f
. .
œ. # œ. œ # œ. œ. œ. # œ. œ # œ. œ.
Presto 64
4 b >œ œ n >œ œ b >œ œ >œ œ b >œ œ >œ œ b >œ œ >œ œ
&‰ ‰
62
J J J J J J J J
f
Poco meno
nU . # œ. œ. œ. # œœ^
G.P. mosso Presto
>œ .
rit.
# >œ . ˙.
[Div.]
>œ . . œ ‰ ‰ Œ.
2
∑ ‰ œ
72
& bœ . J
f f ƒ
>
3. Canto Lírico
Adagio q = 60
& 44 43
44
43
44
45
2 2 4 2
∑ ∑
[senza misura] A [a tempo] Solo,

1 2 3 4 1 [(q = 60)] 2 3 Tempo A Piacere 4
44 bw # œ œ œ- w [
Con sord.
3
&[ X ] [X] ]
P F
B
b œ # œ œ œ. œ. œ œ œ œ. œ œ œ w
5 1 2
bw œ. œ. # œ œ œ. w
&
C
3 4 5 1 2 3 4 5
& œ œ > 44
Solo [simile]
#œ
> >
F
Música para Orquesta de Vientos y Percusión Op. 152 - Trumpet in B b 1 3
D
b œ # œ. œ. œ. w
Adagio 1 2 3 4 5
& 44 44
Solo
14
6 [ ]
[X]
F
Andante q = 76 rit. Meno Mosso q = 60
& 44 ‰ [ #]œ- . Ó 43 44
Solo
11
# >˙ Ó
2 2
21
F
U
& 44 ∑ n >˙ Ó ∑
38
4. Canto Coral
Allegretto h = 92
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ ˙
Senza sord.
2
[Tutti]
&2 Œ
f
10
32 22 32 22 Œ œ œ œ œ œ œ œ œ œ œ 32
4 2
∑ ∑ ∑
6
&
œ #œ œ œ œ w
17 23
3 2 3 3 2 2 6 3
&2 œ Œ Ó Ó 2 Œ 2 2 2
f
1 2 3 4 5
3 2 2 4
31
&2 2 [X]
A B
1 2 3 4 5 1 Tempo primo
& 32 2 22 4
Molto meno
œ #œ œ œ œ U
w
46 mosso rit.
œ œ œ œ œœœœœœ 3 Œ Ó 22 3
&Œ Ó Œ
44
2 œ
f f
5. Ostinato

2 b œ^ ‰ Œ Ó 5 œ. œ. œ. # œ. œ. œ. œ. œ. œ. ‰ Œ Ó ∑ ‰ œ. # œ œ n œ
&2 J J . . œ. . œ. # œ.
f f
. œ. n œ.
15
œ œ b œ œ
j
& # œ. ‰ Œ Ó ∑ œ œ. œ b œ œ œ. œ œ. œ. œ n œ
>. >. >
J‰Œ Ó ∑
11
>
œ . œ- b œ . œ- œ œ œ œ b œ œ œ- œ ‰ Œ Ó . œ. œ. œ. œ. # œ. œ. œ . œ- -
22
œ
Solo
∑ .. ∑ ‰ #œ . œ
17
& J J J J J
29
œ. . . œ # œ. œ. ‰ Jœ # œ. œ œ
. ‰ # œJ ‰ Jœ œ œ œ
[Tutti]
4
& œJ ‰ Œ Ó ‰ J ‰ J
24
œ . œ. # œ œ # œ. œ œ œ œ œ # œ. œ œ. œ œ œ. # œ œ œ. œ # œ ‰ œ œ ‰ œ
œ
&‰ J ‰ J J J‰ ‰ J J J J JJ J ‰ ‰
32
œ # œ. œ œ œ. . œ #œ
41
œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ œ # œ. ‰ Jœ œ ‰ œ
8
&‰ J‰J
37
J J
49 55 63
bœ œ œ œ œ œ œ œ œ ‰ Œ Ó # >œ > #œ #œ #œ
& ..
5 6 2
J
f
[ >]
bœ œ œ œ œ
œ . n œ- b œ . œ- œ œ œ n œ œ œ- # œ œ œ œ # œ œ œ œ .. Œ b >˙
69
œ œ >˙ œ
65
> >
& J J
f
# >œ n >œ >œ b œ œ œ œ n œ œ œ # œ b œ œ œ œ n œ œ œ # œ œ #œ nœ

& œ #˙ ∑ Œ Œ
71
œ œ
> >
ƒ
1. Preludio
Allegro q =120
œ. # >œ . œ.
4 . #˙ ‰ # œ. œ œ œ #˙ . 45 Ó b œ œ ‰ 44
4
Œ
> > [ >]
& 4 #œ J
f f
U
9
& 44 ∑ 43 # ˙ # œ 44 # ˙ . œ 43 # ˙ œ 44 ˙ . ‰ œj 43 # œ ˙ 44
8
U
& 44 # w 43 # ˙ . 44 Œ n ˙ .
rit.
∑
14
#œ œ nœ œ
Í f p [ f]
Allegro q. = 112
12
j [ œ œ œ ]œ # œ
& 68 œ . œ . # œ œj œj # œ ˙ .
Con sord.
11 2
.
#œ œ œ J
19
& ∑ b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ‰ ‰ Œ .
J J
F
. ..... .... .
& b œ œ œ œ œ œ œ œ œ œ b œJ ‰ ‰ Œ . b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ. j ‰ ‰ Œ . b >œ œ œ >œ œ œ
24
2
f
31 39
8 8
&
47
œ # œ Jœ # œ œ # œ Jœ œJ # œ œ #œ œ #œ œ #œ #œ œ œ œ
& # œ # œ # œJ œ #œ œ #œ œ
Senza sord.
J J J J J
f
Molto meno mosso
G.P. q. = 76 accel.
œ #œ #˙ . . . . .
& # œ # Jœ J ‰ # œ. # œ. œ # œ œ. ‰ # œ. # œ. œ # œ œ.
2 2
∑ ∑
53
. # œ. œ.
Presto 64 G.P.
# .
œ
‰ #œ . œ 4 b >œ œ n >œ œ b >œ œ >œ œ b >œ œ >œ œ b >œ œ >œ œ ∑
63
& J J J J J J J J
f
Poco meno
bU . # œ. n œ. œ. # œ^
mosso rit. Presto
73
# >œ . >œ .
œ . nœ .
> 2 ˙. ‰ œ. œ ‰ ‰ Œ.
& J
f ƒ
>
3. Canto Lírico
Adagio q = 60
& 44 43 44 43 44 45
2 2 4 2
∑ ∑
[senza misura] A [a tempo] Solo,

1 2 3 4 1 [(q = 60)] 2 3 4 [Tempo A Piacere]
44 w b œ œ b œ-
Con sord.
3
&[ X ] [X]
p F
B
5 1 2 3
w b œ œ b œ. œ. œ b œ œ b œ. œ. œ. œ œ œ.
& #w #w œ w
p F
C
4 5 1 2 3 4 5 Adagio
˙
> 44 6
Solo
& ˙ #˙
[sim.]
> >
F f
D
1 2 3 4 5
Solo
œ b œ. œ. b œ. 44
& [X] #w
F
Andante q = 76 Meno Mosso q = 60
U
& 44 43
13 2 2 44 2
∑
21
4. Canto Coral
Allegretto h = 92
& 22 Œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ ˙ œ œ ˙
f
10
4 32 ∑ 22 2 32 ∑ 22 ∑ Œ œ œ œ œ œ œ œ œ 32
6
&
17 23
#w
& 23 # œ Œ Ó 22 Œ œ œ œ œ 32 22
3 2
Ó
f
1 2 3 4 5
& 22
6 32 2 22 4
25
[X]
A B
32 2 22 4
&
Molto meno
46
#U
w
mosso
œ œ œ œ œ 32 # œ Œ Ó 22 Œ œœœ œ
rit.
&Œ œ œ œ
3
Ó
44
f [ f]
5. Ostinato

2 ^
œ œ. # œ œ # œ. œ. œ œ œ. œ. ‰ Œ Ó
5
&2 J ‰ Œ Ó . . . . J
∑
f
œ œ. œ. # œ. ‰ Œ Ó
15
œ œ
& ‰ œ. # œ. œ. œ n œ. œ # œ # œ. j ‰ Œ Ó ∑ œ . . . . # œ
10
> > >
œ. œ. œ œ œ œ œ œ œ J
. . .
f
>
22
œ . # œj œ . œ-j œ œ œ # œ œ œ œ- œ ‰ Œ Ó .. 7
∑ ∑ ∑
16
& - J
œ. ‰ œ ‰ œ # œ.
29
. # œ. ‰ Jœ œ. œ œ ‰ œ # œ. œ. ‰ œ œJ œ. # œ ‰ œ œ œ
& J J ‰ œ # œ. ‰ Jœ œ J
J J J
‰ œ œ. œ # œ. œ # œ œ. œ œ œ. œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ œ
34
& J J J J JJ J J .
41 49
œ œ. # œ ‰ œ œ. ‰ œ # œ. ‰ œ œ œ
8
.. 4
39
&J J J bœ œ œ œ œ œ œ œ
J
55 63
j‰ Œ Ó j
œ . # œj œ . œ-
54
6 2
& b œ œ œ œ œ œ œ œ œ œ ˙ #œ
[>] > > -
f
œ # œ œ œ œ- œ œ b œ œ œ œ œ œ b œ œ œ œ . Œ >˙ b >œ œ ˙
69
œ œ
66
& . œ œ ˙ #œ
> > > >
# >œ >œ n >œ n œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ œ œ ∑ Œ œ #œ nœ Œ

72
& œ [ ]
ƒ
1. Preludio
Allegro q =120
œ. # >œ . œ . [ >]
4 . ‰ # œ. œ # œ œ n˙ . 45 Ó Œ b œ œ ‰ 44
4
& 4 #œ n˙ J
> >
f f
U
9
& 44 43 # ˙ œ 44 n ˙ . œ 43 ˙ œ 44 ˙ . ‰ j 43 œ 44
∑ 43
8
œ ˙ w
U
rit.
& 43 ˙ . 44 Œ n ˙ . ∑
15
œ œ œ œ
Í f p [ f]
Allegro q. = 112 12
& 68 j [ œ œ œ ]œ # œ œ .
Con sord.
# œ œj œj # œ
11 2
œ. œ œ J œ.
19 31 39
11
œ œ œ >œ œ œ 8 8
18
>
& ˙.
f
47
b œ # œj œ œ
Senza sord.
& # œ n œ b œ n œJ # œ bœ #œ nœ #œ
J J
bœ #œ œ nœ
J J J
#œ nœ #œ bœ œ
J
f
Molto meno mosso
q. = 76 accel.
G.P.
& b œ Jœ # œ n œ œ œ b œJ # Jœ n œ b˙ .
2 2
∑ ∑
52

64
. # œ. œ. # œ. œ. ‰ # œ. # œ. œ. # œ. œ. ‰ # œ. # œ. œ. # œ. œ.
Presto
‰ # œ 4 b >œ œ n >œ œ
61
& J J
f f
Poco meno
mosso rit.
U̇
G.P.
b >œ œ >œ œ b >œ œ >œ œ b >œ œ >œ œ ∑ b >œ . >œ . 2
.
69
& J J J J J J œ. œ.
f > >
. # œ. n œ. œ. ^ j
Presto
. œ œ ‰ ‰ Œ.
&‰ œ
78
ƒ
3. Canto Lírico
(Tacet)
4. Canto Coral
Allegretto h = 92
& 22 Œ œ œ # œ œ œ ˙ j 4 32
œ Œ ‰ œj œ œ œ œ ˙ œ . #œ ˙
f
10
& 23 ∑ 22 2 32 ∑ 22 ∑ Œ œ œ #œ 32
œ œ ˙
17 23
w
& 32 œ Œ Ó Ó 22 3
Œ ˙ 32 2 22 6 32
œ
f
A
1 2 3 4 5 1
& 23
2 22 4
31
[X]
B
2 3 4 5 1 Tempo primo
32 2 22 4
&
46 Molto meno
U
w
32 Œ Ó 22
mosso rit.
3
& Œ œ œ #œ œ œ ˙ Ó Œ ˙
44
œ œ
f [ f]
5. Ostinato

^j
7
2 5
œ. # œ œ # œ. œ. œ œ œ. œ. ‰ Œ Ó
&2 œ ‰ Œ Ó . . . . J
∑
f
& ‰ œ. # œ. œ. œ n œ. œ # œ j
# œ. ‰ Œ Ó ∑ œ. œ. œ œ œ. œ. œ œ
10
>
. . .
f
>
. œ. # œ.
15
œ œ œ œ . # œj œ . œ-j œ œ œ # œ œ œ œ-
& œ. œ. œ # œ J‰ Œ Ó ∑
14
> >
-
22 29
& œJ ‰ Œ Ó ∑ .. ∑
7
# œ. ‰ œ ‰ œj œ ‰ œj œ. ‰ # œ œ.
19
J . J
. j . j . j
& œ. ‰ # Jœ œ œ œ ‰ œ œ. œ. ‰ œJ # Jœ œ œ ‰ œ œ œ ‰ # Jœ œ œJ œ. œ
31
35
j # œ. œ œj œ. œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
& œ J
J
41
38
‰ ‰ ‰ j # œ œ. œj ‰ œj œ ‰ œj œ. ‰ œ # œ œ
8
& œ œ œ # œ. J .
49 55
& ..
4 j 6
œœœœœœœœ œœœœœœœœ œ ‰ Œ Ó #[œ] œ œ œ
> > >
63 69
œ . # œj œ . œ-j œ œ œ # œ œ œ œ- œ œ œ œ œ œ œ œ œ œ œ œ œ .. Œ ˙ b œ œ ˙
2 > >
& - œ
> >
f
& œ ˙ # œ œ œ œ # œ [ n] œ œ œ œ # œ œ œ œ n œ œ œ œ # œ œ œ œ
n ∑ Œ œ #œ nœ Œ
71
> >
>> >
ƒ
Horn in F 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
& 44 # œJ œ ˙ ‰ #œ œ ˙ b[w>]
>
≈œœœœœœœ œ œ œ‰ Œ Ó ?
J . . . . . . . bœ œ œ #œ œ J
f p f f
> >
U
9
? w
45 Ó ‰ # œ œ . œ œ # œ n œ 44 œj ‰ Œ Ó 43 ˙ # œ 44 ˙ . n œ 43 # ˙ œ 44
j
6 3
&
U
& 44 ˙ . ‰ n œ 43 # œ ˙ 44 w 43 # ˙ . # œ œ n œ œ 44
12 rit.
J nw
Í f p #w
f
Allegro q. = 112
& 68 ‰ # œ. œ. œ. œ œ # ˙ .
. . ‰ # œ œ. œ œ œ. œ œ # œ œ . ∑ œ œ. œ. œ œ. œ œ œ̆ œ. œ̆ œ. œ.
> >
.
f F
12 19
˙. ‰ # œ œ œ. œ. œ. # ˙ . ‰œœ œœœ
7 9
∑
8
&
Í f f
31 39
& #œ . œ œ œ #˙ .
8
∑ ∑
29
œ œ œ œ œ œ œ œ œ œ œ œ
p
47
∑ ∑ ‰ œ œ œj œ ‰ œ œ œj œ ‰ œ œ œj œ
43
&œœœœœœ œœœœœœ
f
50
‰ j ‰ œ œ œj œ ‰ œ œ œj œ j
‰ œ œ œ œ ‰ œ œ œ œ j G.P.
∑
& œ œ
œ œ
Música para Orquesta de Vientos y Percusión Op. 152 - Horn in F 1 3
Molto meno mosso
q. = 76 accel.
. . . . . . . . . .
& ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ.
56
Presto 64
. . . . . . ‰ # œ œ. œ. œ. œ. # ˙ .
& ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ∑
61
.
f [>]
G.P.
‰ œ . .
œ .
œ œ
>œœ # >œ œ
>œœ # >œ œ
>œœ # >œ œ
>œœ # >œ ∑
67
> > > >
& # œ. . œ J J J J J J J J
Poco meno
^j
mosso rit.
U
Presto
œ ‰ ‰ Œ.
2
∑ ∑ ∑
73
& œ. œ.
>
f
>
ƒ
3. Canto Lírico
+ >+ .
Adagio q = 60
+- +-
œ œ œœœ ˙
& 44 43 44 Ó 43 44
2 2 2
‰ J ∑
P 3 F

1 [(q = 60)]
+
1 2 3 4
+̇ +
& 44 Ó 45
œ‰ Œ Ó ∑ 44 Œ ˙. ∑
10
> >
J [X] w
F p F
B
2 3 4 5 1 2 3 4 5
& [X]
4 Música para Orquesta de Vientos y Percusión Op. 152 - Horn in F 1
C
1 2 3 4 5
Adagio
44 ∑ Ó œ.. œ œ . #œ œ
& ȯ
[simile]
- -̇ R ˙
-̇ f F
F
D
1 2 3
+-
œ œ # œ œ œ- œ . # œ- # œ œ œ œ œ #œ œ œ œ
17
&˙ ˙ œ œ ˙ [X]
- œ-
P
+ +
+-
4 5
44 œ œ- Œ >˙ . U
43
13 2 2 44 Ó ‰ ∑
& J
P p
4. Canto Coral
Allegretto h = 92
& 22 Œ œo œ œ œ bœ œ œ œ bœ œ œ œ œ œ bœ œ nœ œ
4
Ó
f
10 17
&œ ˙ nœ 32 ˙ Ó Ó 22 2 32 ∑ 22 3 32 ∑ 22
9
23
& 22 Ó Œ œ œ œ œ bœ œ œ œ bœ œ œ œ Œ ˙ œ w 32 2 22
18
f
1 2 3 4 5
& 22
6 32 2 22 4
25
[X]
A B
1 2 3 4 5 1 Tempo primo 46
32 2 22 6 32 ∑ 22
&
Molto meno
U
rit. mosso rit.
& 22 Ó Œ œ œ œ bœ œ œ œ bœ œ œ œ Œ ˙ œ w
47
œ
f
5. Ostinato

2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ- . œj œ- . œj
3
&2 J ‰ Œ Ó ∑
. .
f f
˙
15
2
nw w> w >
Ó j
œœœœÓ œœœœÓ œ‰Œ Ó
>
9
>
&
f
22
b œ- œ. b œ. œ- œ. œ. b œ. ‰ Œ Ó .. 3
∑ ∑ ‰ #œ œ œ œ œ œ œ
18
& J
F
29
& # œj ‰ Œ Ó ∑ w ‰ j j j j j j
œ œ. œ. ‰ œ œ. ‰ œ œ. ‰ œ ‰ œ œ. ‰ œ Œ
26
Í f
& œ ‰ œj ‰ œj œ Œ œ œ Œ j
œ. ‰ œ Œ Œ œ Œ œ
32
. . . . œ. . . œ. œ. œ. œ.
41
j j j 8
œ. œ. œ. ‰ œ Œ œ. œ. ‰ œ œ. ‰ œ œ. Œ
37
&œ œ œ œ
. . . .
49 55
& ..
4
#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ‰ Œ Ó 3
Œ ˙ œ
>
J
f
>
63
œ œ œ œ ˙ j 3
..
&œ ∑ œ œ+ œ+ œ+ Ó œ œ+ œ+ œ+ Ó œ+ ‰ Œ Ó
60
> >
[>] œ + +
F
[ >]
69
>ȯ
& Œ œ œ ˙
>
œ
>
œ >˙ œ
> œ >œ >œ >œ ∑ j b œ- ∑ Œ œ #œ bœ Œ
> œ . œ- œ . J
f f ƒ
1. Preludio
Allegro q =120
j ‰ œj œ
& 44 œ œ ≈œ
œ œ œ œ œ œ b œ # œ œ
œ œ œ‰ Œ Ó
J
˙ ˙ ....... œ
f p f œ
>
> >
9
U
45 Ó ‰ # œj œ . œ œ # œ 44 j ‰ Œ Ó 43 # ˙ 4 3
5
2 3
& œ 4 n˙ . nœ 4
œ œ
U
& 43 # ˙ œ 44 ˙ . ‰ œj 43 # œ n ˙ 44 43 n ˙ . 44
11
rit.
#w œ œ bœ œ w
Í f p #w
f
Allegro q. = 112
& 68 ‰ # œ. œ. œ. œ œ # ˙ .
. . ‰ # œ œ. œ œ œ. œ œ # œ œ . ∑ œ œ. œ. œ œ. œ
> >
.
f F
12 19
. . .
& œ œ̆ œ œ̆ œ œ
7 9
∑ ‰ œ # œ # œ œ. œ
7
#˙ . . . ˙.
Í f
31 39
& ‰ œ œ œ œ œ #œ . œ œ œ #˙ .
8
∑ ∑
28
œ œ œ œ œ œ
f p
47
j
∑ ∑ œœœœœœ ‰ œ œ œ œ ‰ œ œ œj œ
42
&œœœœœœ œœœœœœ
f
j ‰ j ‰ j ‰ j ‰ j ‰ j
G.P.
‰ ∑
49
& œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ
Molto meno mosso

q. = 76 accel.
& ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ.
56
. . . . .
Presto 64
& ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ∑ ‰ # œ œ. œ. œ. œ. # ˙ .
61
. . . .
f [>]
G.P.
‰ œ . .
œ .
œ œ
>œœ # >œ œ
>œœ # >œ œ
>œœ # >œ œ
>œœ # >œ ∑
67
> > > >
& # œ. . œ J J J J J J J J
Poco meno
^ ‰ ‰ Œ.
mosso rit. Presto
2 U
∑ ∑ ∑ j
73
& œ . #œ . œ
>
f > ƒ
3. Canto Lírico
+- + >+
Adagio q = 60
+-
& 44 43 44 Ó 43
2 2
‰ œ œ œ œ œ ˙. 2
J
P 3 F
[senza misura]
1 2 3 4
& 43 44 Ó # ˙ 45
∑ j 44
œ‰ Œ Ó ∑
9
+ [X]
F p
A [a tempo] B
[(q = 60)]
1 2 3 4 5 1 2 3
& 44 Œ ∑ [X]
w+ ˙+ .
F
> >
C
4 5
4 5 1 2 3
44
&
[simile]
-ȯ -̇ -̇ f
F
D
Adagio 1 2 3 4 5
& 44
6 44
14 [sim.]
œ- œ œ
+ - -
[X]
P
+- +- + U
& 44 43
13 2 2 44 Ó ‰ œ Jœ Œ ˙ . ∑
21
>
P p
4. Canto Coral
& 22
4
Ó Œ œ œ Œ Œ 32 22
o œ œ œ œ œ œ œ œ œ œ ˙. ˙ Ó Ó
f
17
& 22
2 32 ∑ 22 3 32 ∑ 22 ∑
œ œ œ œ œ œ œ œ Œ ˙ œœ
11
f
23
32 2 22 6 32 2 22 4
22
&w
A B
1 2 3 4 5 1 2 3 4 5 1
32
& [X]
Molto meno
Tempo primo 46 rit. mosso rit.
U
& 32
2 22 6 32 ∑ 22 ∑ œ œ œ œ œ œ œ œ Œ ˙ œœ w
38
f
5. Ostinato

2 œœœœœœœœ œœœœœœœœ œ‰ Œ Ó 3
∑
&2 J
f
- j- j w> w> ˙
>
& bœ . œ. œ .
2
nw Ó
8
>
œ.
f
15
j‰ Œ Ó j ..
&Ó œœœœ Ó œœœœ œ ∑ œ- œ. œ. œ- œ. œ. œ. ‰ Œ Ó
f
22 29
6
∑ ‰ j ‰ j ‰ j ‰ j ‰ j ‰ jŒ
21
& w
œ œ. œ. œ œ. œ œ. œ œ œ. œ
Í f
‰ j‰ j Œ Œ ‰ jŒ Œ Œ
32
&
œ. œ œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ.
41
8
‰ j Œ ‰ j ‰ j Œ
37
&
œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ œ. œ œ.
49 55
& ..
5 3
# œ œ œ œ œ œ œ œ œj ‰ Œ Ó
63
œ œ œ œ ˙
& Œ n˙ œ œ ∑ Ó
œ œ œ œ+ Ó
> >
59
>
œ œ œ œ œ+
f
> [>] +++ +++
F
[ >]
69
& œj ‰ Œ Ó .. Œ
65
3
+ ȯ bœ œ ˙ nœ œ ˙> #œ
>
> > >
f
>
∑ j b œ- ∑ Œ œ #œ bœ Œ
72
& œ #œ œ nœ œ. œ- œ . J
> > >
f ƒ
1. Preludio
Allegro q =120
& 44 # œJ œ ‰ #œ œ #˙ ≈ œ œ œ œ œ œ œ bœ œ œ œ‰ Œ Ó ?
>
#˙ J ....... œ # œ œ J
f > >
p f œ
U
9
? bw
45 Ó ‰ # œ œ . œ œ # œ œ 44 œj ‰ Œ Ó 43 # ˙ œ 44 ˙ . n œ 43
w j
5
[>] 3
&
f
j U
& 43 # ˙ œ 44 ˙ . ‰ œ 43 # œ # ˙ 44 n w 43 ˙ . œ œ œ œ 44 w
11 rit.
Í f p #w
f
Allegro q. = 112
& 86 ‰ # œ. œ. œ. œ œ # ˙ .
> >
.
f F
12 19
. . . ‰ # œ œ œ. œ. œ.
7 9
∑
7
#˙ . #˙ .
Í f
31 39
& ‰ œ œ œ œ œ #œ . œ œ œ #˙ .
8
∑
28
œœœœœœ œœœœœœ
f p
47
∑ ∑ ∑ ‰ œ œ œj œ ‰ œ œ œj œ
42
& œœœœœœ œœœœœœ

f
j ‰ j ‰ j ‰ j ‰ j ‰ j
G.P.
‰ ∑
49
œ
& œ œœ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ
Molto meno mosso
q. = 76 accel.
. . . . . . . . . .
& ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ.
56
Presto 64
. . . . . . ‰ # œ œ. œ. œ. œ. # ˙ .
& ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ‰ œ. # œ. œ œ œ. ∑
61
.
f >
G.P.
‰ œ . .
œ .
œ
> >œ œ >
œ J J #œ œ œJ œJ # œ œ œJ œJ # œ œ œJ œJ # œ ∑
67
> > > > > > > > >
& # œ. . œ
Poco meno
^j
mosso rit. Presto
U
#œ ‰ ‰ Œ .
2
∑ ∑ ∑
73
& œ. œ.
f
> >
ƒ
3. Canto Lírico
+- +- + >+
Adagio q = 60
& 44 43 44 Ó ‰ œ Jœ œ œ œ ˙ . 43
2 2 2
P 3 F
[senza misura]
1 2 3 4
+̇
& 43 44 Ó 45
∑ œ‰ Œ Ó ∑ 44
9
J [X]
F p
A [a tempo] B
[(q = 60)]
1 2 3 4 5 1 2
& 44 Ó Ó ∑ [X]
+̇ +̇
F
> >
C
3 4 5 1 2 3 4 5
44
& œo œ
> > >œ f
[F ]
D
Adagio
+-̇
1 2 3 4 5
& 44
6 44
14
[X]
-̇ -̇
P
+- +
œ œ- U
& 44 43
13 2 2 44 Ó ‰ ∑ ∑
21
J
P
4. Canto Coral
Allegretto h = 92
& 22
4
Ó Œ œ œ ˙ 32
o œ œ œ œ œ bœ Œ Œ œ œ œ œ bœ ˙
f
10 17
& 32 ˙ 22 32 22 32 22 Ó
2 3
Ó Ó ∑ ∑ Œ œ
f
23
Ó Œ 32 2 22 6 32
19
&œ ˙ œ œ œ œ œ œ w
A
1 2 3 4 5 1
& 32
2 22 4
31
[X]
B
2 3 4 5 1 Tempo primo 46
32 2 22 6 32 ∑ 22
&
Molto meno
& 22 Ó
rit. mosso rit.
Œ Ó Œ
47
œ œ ˙ œ œ œ œ œ œ w
f
5. Ostinato
& 22 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ Ó
3
∑
f
˙
15
- j- j w> w> >
& b œ . œ. œ . œ.
2
nw Ó œœœœÓ
8
>
f f
&œ œœ œÓ j b œ- œ. b œ. œ- œ. œ. b œ. ‰ Œ Ó ..
œ ‰ Œ Ó ∑
16
J
22 29
6
∑ bw ‰ j ‰ j ‰ j ‰ j ‰ j ‰ jŒ
21
& œ œ. œ. œ œ. œ œ. œ œ œ. œ
Í f
& œ ‰ œj ‰ œj œ Œ Œ ‰ jŒ Œ Œ
32
. . œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ.
41
8
‰ j Œ ‰ j ‰ j Œ
37
&œ œ œ œ œ. œ. œ. œ œ. œ. œ œ. œ œ.
. . . .
49 55
& ..
4
#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ‰ Œ Ó 3
Œ ˙ nœ
>
J
f
>
63
œ œ œ œ ˙ j 3
..
& œ ∑ œ œ œ œ+ Ó œ œ œ œ+ Ó œ+ ‰ Œ Ó
> >
60
> œ +++ +++

F
[ >]
69
Œ b ˙
& [o ] œ œ ˙ b œ
>
b œ # ˙ n
> >
œ œ œ #œ œ
> > >
∑ j b œ- ∑ Œ œ #œ bœ Œ
œ
œ. - œ. J
> > >
f ƒ
1. Preludio
Allegro q =120
j ‰ œj œ
& 44 œ œ ≈ b œ # œ œ
œ œ œ‰ Œ Ó
J
˙ > ˙ b œ. œ. œ. œ. œ. œ. œ. œœ
f > >
p f
U
9
j
45 Ó ‰ # œ œ . œ œ # œ œ 44 œj ‰ Œ Ó 43 ˙ œ 44 ˙ .
2 3 44
5 3
& 4 # ˙ œ
œ
U
& 44 ˙ . ‰ œj 43 # œ ˙ 44 43 44
12
rit.
#w w
n˙ . bœ œ #œ œ #w
Í f p
f
Allegro q. = 112
& 68 ‰ # œ. œ. œ. œ œ # ˙ .
> >
.
f F
12 19
. . .
7 9
∑ ‰ œ # œ # œ œ. œ
7
#˙ . . . ˙.
Í f
31 39
& ‰ œ œ œ œ œ #œ . œ œ œ #˙ .
8
∑ ∑
28
œœœœœœ
f p
47
j
∑ ∑ ‰ ‰ œ œ œj œ
42
&œœœœœœ œœœœœœ œœœœœœ œ œ

œ œ
f
j ‰ j ‰ j ‰ j ‰ j ‰ j
G.P.
‰ ∑
49
& œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ
Molto meno mosso
q. = 76 accel.
& ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ.
56
. . . . .
Presto 64
& ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ‰ # œ. # œ œ. # œ. œ. ∑ ‰ # œ œ. œ. œ. œ. # ˙ .
61
. . . .
f >
G.P.
‰ œ . . œ. >œ >œ œ # >œ
œ œ œJ œJ # œ œ œJ œJ # œ œ œJ œJ # œ ∑
67
> > > > > > > > >
& # œ. . œ J J
Poco meno
U ^ ‰ ‰ Œ.
mosso rit. Presto
2
∑ ∑ ∑ j
73
& œ
#œ . nœ .
f
> > ƒ
3. Canto Lírico
+ >+
Adagio q = 60
+- +-
& 44 43 44 Ó 43
2 2
‰ œ œ œ œ œ ˙.
2
∑ 44
J
P 3 F
[senza misura]
1 2 3 4
& 44 Ó 45
j 44
œ ‰ Œ Ó ∑
10
[X]
+̇
F p
A [a tempo] B
[(q = 60)]
1 2 3 4 5 1 2 3
& 44 Ó Ó ∑ [X]
F +̇> +̇
>
C
4 5 1 2 3 4 5
44
& œo œ
> > œ f
F >
D
Adagio 1 2 3 4 5
& 44
6 44
14
+-̇
[X]
-̇ -̇
P
+ + U
& 44 43 44 Ó ‰ œ- œ-
13 2 2
∑ ∑
21
J
P
4. Canto Coral
Allegretto h = 92
& 22
4
Ó Œ j Œ Œ
œ œ œ œ œ. œ œ bœ œ
œo œ
f
10 17
32 Ó Ó 22 2 32 ∑ 22 3 32 ∑ 22
9
&
œ ˙ œ ˙ 23
& 22 ∑ Ó Œ œ 32 2 22
18
j
œ bœ œ œ œ œ bœ w
œ.
f
1 2 3 4 5
& 22
6 32 2 22 4
25
[X]
A B
32 2 22 6 32
&
Molto meno
U
46
& 32 22
rit. mosso rit.
∑ ∑ j Ó Œ
œ œ bœ œ w
œ œ œ œ œ.
f
5. Ostinato
& 22 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ Ó b œ- . œj œ- . œj
3
∑
. .
f f
˙
15
2
nw w> w> >
Ó Ó œœœœ Ó
9
>
& œœœœ
f f
22
j
& œj ‰ Œ Ó .. 6
∑ œ- œ. œ. œ- œ. œ. œ. ‰ Œ Ó ∑
17
w
Í
29
&‰ j ‰ j ‰ j ‰ j ‰ j ‰ jŒ ‰ j‰ j Œ Œ
œ œ. œ. œ œ. œ œ. œ œ œ. œ œ. œ œ œ. œ. œ.
f
‰ jŒ Œ Œ ‰ j
34
&
œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ
41 49
..
8 5
&Œ ‰ j ‰ j Œ
39
#œ œ œ œ œ œ œ œ
œ. œ. œ œ. œ œ.
55 63
œ œ œ œ œ œ ˙
3
& œj ‰ Œ Ó Œ ˙ ∑ Ó
> > >
œ œ œ+ œ+ œ+
f
> > +
F
>
[ ]
69
j .. Œ
3
&Ó œ œ œ œ+ œ+ ‰ Œ Ó
64
bœ œ ˙ nœ œ ˙ # œ>
+++ ȯ >
>
> >
f
>
[ ]
∑ j b -
œ ∑ Œ œ #œ bœ Œ
72
& œ #œ #œ œ œ. œ- œ . J
> > >
f ƒ
Trombone 1 Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
œ. œ. œ. œ. œ. œ. œ.
Allegro q =120
>˙ .
? 44 ‰ Œ Œ Ó ≈ Ó Œ # œ œj ‰ Œ Ó bw
f p f
> >
U
#˙ œ 4 n˙ . œ 3 ˙ nœ 4
9
? 45 Ó Ó ‰J 44 œ . #>œ
œ 3
6
w n˙ . 4 4 4 4
f
˙. œ #œ ˙ w b˙ . œ œœ œ U
? 44 ‰ J 43 44 34 44 w
12 rit.
nw
Í f p f
Allegro q. = 112
b ˘œ œ. œ. œ. >œ b . œ. œ̆ œ-
œ . bœ œ #œ œ
? 68 ∑ J ∑ ‰ J ∑ ‰ œ. # œ œ œ J J
J
f
12
œ œ œœ œ- . œ- . 19
? b˙ . ∑ n˙ . #˙ . J J
5 10
8
F Í f
31 39 47
? ‰ bœ ‰ œ ‰ ‰
8 8
‰ œœœœœ ‰ œœœœœ
29
. œ. . œ. b œ. œ. œ. œ.
f f
G.P.
? ‰ œœœœœ ‰ œœœœœ ‰ œœœœœ ‰ œœœœœ ‰ œœœœœ ‰ œœœœœ ∑
49

Música para Orquesta de Vientos y Percusión Op. 152 - Trombone 1 3
Molto meno mosso
q. = 76
b >œ . > b >œ . > b >œ . > b >œ . > b >œ . > b >œ . > b >œ . > b >œ . >œ .
accel. Presto
? œ. œ. œ. œ. œ. œ. œ.
56
Poco meno
>œ . œ^
64 G.P. mosso rit. Presto
? n >œ . # >œ . U J ‰ ‰ Œ.
Œ.
8
∑ ∑ n˙ . ∑ ∑
f >
ƒ
3. Canto Lírico
Adagio q = 60
? 44 b œ- œ- œ b œ >œ ˙ .
43 44 Ó 43 44
Con sord.
2 2 2
‰ J ∑
P 3
F
[senza misura]
1 2 3 4
? 44 Ó ˙ œ ‰ Œ Ó
45 ∑ 44
10
J [X]
F p
A [a tempo] B
[(q = 60)]
1 2 3 4 5 1 2
? 44 b ˙ b >œ >˙ bœ œ œ œ
Con sord.
>
˙
>
Œ Œ Œ [X]
[F ]
C
3 4 5 1 2 3 4 5 Adagio
? b ˙- -̇ -̇ 44
Con sord. [simile]
6
F f
4 Música para Orquesta de Vientos y Percusión Op. 152 - Trombone 1
D
1 2 3 4 5 Andante q = 76
? [X] b˙ ˙ 44
˙ ˙ 11
P
Meno Mosso q = 60
b œ- œ-
rit.
? Œ >œ Ó U
43
Œ œ Ó
2 2 44 Ó ‰ J ∑ ∑
32
>
F P
4. Canto Coral
b˙ œ
b œ œ œ œ œ œ œ œ b œ œ
Senza sord.
? 22 9 32 Œ 22 œ œ œ 32
f
b˙ ˙ œ œ œ ˙ bœ œ 17
bœ œ œ œ œ œ œ
? 32 22 Œ Ó 3
∑ 2 Œ 22
13
f
b œ b ˙ nœ œ w
? 22 œ œ œ œ œ Œ Ó
23
∑ Œ 32 2 22
18
1 2 3 4 5
? 22 6 32 2 22 4
25
[X]
A B
? 32 2 22 6 32
Molto meno
nœ œ U
46
œ œœœœ œ w
rit. mosso rit.
? 32 Œ b œ œ 22 œ œ œ b œ œ Œ Ó ∑ Œ
b˙
f ƒ
5. Ostinato

.
b œ^ - -
7
œ. œ. œ b œ . œ. œ . œ. b œ.
? 22 J ‰ Œ Ó 4
Ó ‰ J J J‰ Œ Ó
2
. - - -
? œ . b œJ œ . # œ. n œ . b Jœ. b œ . n œJ. œ . b œJ œ . # œ- œ . b œ .
15
11 > bœ bœ œ œ œ œ œ œ œ œ
J J J J
f
b -
œ œ. b œ. œ- œ. œ. w>
? œ œ œ œ œ œ œ œ œJ ‰ Œ Ó ∑ ..
16
f
22
n . œ. œ. œ. œ. œ. œ. œ.
œ bw 29
œ . œ. œ
œ
? ∑ ∑ ‰ J‰ Œ Ó
3
‰J ‰J
21
F Í f
? œ. ‰ œJ œ. ‰ œJ ‰ Jœ œ. ‰ œJ Œ œ. ‰ œJ ‰ Jœ œ. . œ.
œ œ. ‰ œ Œ œ.
Œ Œ
30
? Œ œ. Œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œ Œ œ. œ. ‰ œ
35
J J
. . 41 49 55 63
? œ ‰ œJ œ Œ 8
.. 6 8 œœœœœœœœ
40
F
b >œ œ ˙ œ œ
69
? œ œ œ œ œ œ œ œ œJ ‰ Œ Ó
> >
3
.. Œ ˙ Œ Ó ∑
64
>
f
b - n œ . b œ-
œ b - n œ . b œ- n w>
œ b œ^
? œ. J J œ. J J Ó Œ
73
ƒ
1. Preludio
Allegro q =120
? 44 ‰ Œ Œ >˙ . . œ. œ. œ. œ. œ. œ.
œ
Ó ≈ Ó Œ # œ œj ‰ Œ Ó bw w 45
f p f
> >
U
œ 4 ˙.
9
˙
? 45 Ó Ó ‰ œJ 44 œ . # œ n ˙ . 43
œ 4 ˙. œ 3 #˙ ‰ Jœ 43
7
>
4 4 4
f
? 43 œ ˙ 44 # w 34 b ˙ . œ œ bœ œ 44 w U
13
rit.
nw
Í f p f
Allegro q. = 112
? 68 œ̆ œ. œ. œ. >œ . . - . . œ œ bœ œ #œ œ
∑ J ∑ ‰ œ œ œ̆J œ ∑ ‰ œ # œ J J
J
f
œ- . œ- .
12 19
? b˙ . ∑ ˙. n˙ . œ œ œœ 5 10
8
J J
F Í f
31 39 47
? ‰ bœ ‰ œ ‰ ‰ œœ
8 8
‰ œ œ œ œ œ ‰ œœœœœ
29
. œ œ
. . b œ œ
. . . .
f . f
G.P.
? ‰ œœœœœ ‰ œœœœœ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ∑
49

Molto meno mosso
q. = 76 accel. Presto
? >œ . >œ . >œ . >œ . >œ . >œ . >œ . >œ .
56
nœ . œ. œ. œ. œ. œ. œ. œ.
f
> > > > > > > >
Poco meno
œ^
? n >œ . # >œ . n >œ . n ˙ . U
Œ. J ‰ ‰ Œ.
8
∑ ∑ ∑ ∑
f >
ƒ
3. Canto Lírico
Adagio q = 60
- -
? 44
43 44 Ó ‰ œ Jœ œ œ œ ˙ . 43 44
Con sord.
2 2 > 2
∑
P 3
F
[senza misura]
1 2 3 4
? 44 Ó ˙ œ ‰ Œ Ó
45 ∑ 44
10
J [X]
F p
A [a tempo] B
[(q = 60)]
1 2 3 4 5 1 2 3 4 5
? 44 3
[X]
C D
1 2 3 4 5 1 2
Adagio
>œ > b >œ
[Con sord.]
? œ 44
[simile]
6
[X]
[F ] f
3 4 5 Andante q = 76 rit.
? œ œ bœ 44 11
Œ œ Ó
>
Œ œ Ó
>
P F
Meno Mosso q = 60
- - U
? 43 44 Ó ‰ œ œJ ‰ b œj œ
2 2
Ó ∑
34
P p>
4. Canto Coral
bœ bœ œ œ œ
Senza sord.
? 22 9 32 ∑ 22 ∑ bœ 32
f
œ œ bœ œ œ ˙ œ
22 b ˙ b œ œ
17
? 32 œ Œ Ó ∑ 32 ∑ 22 3
13
?Œ ˙ œ œ bw 23
32 2 22 6 32 2 22 4
21
A
1 2 3 4 5 1 2 3 4 5
? [X]
B
Molto meno
œ œ bU
1 Tempo primo 46 mosso rit.
w
? 32 22 32 22 Œ ˙
2 6 3
∑
ƒ
5. Ostinato

. - -
œ. œ. œ b œ . œ. œ . œ. b œ.
7
^
? 22 b œJ ‰ Œ Ó 4
2
f
.
? œ . b œJ œ . # œ. n œ . b œJ. b œ . n œJ. œ . œ- œ . # œ- # œ .
15
n œ- œ . œ- œ œ œ œ œ œ œ œ
11 >
J J J J J
f
œ- œ. b œ. œ- œ. œ. w>
? œ œ œ œ bœ œ œ œ œ ‰ Œ Ó j ..
∑
16
f
w
22 29
. . . . .
? ‰ œJ œ œ ‰ œJ œ ‰ œJ œ ‰ œJ ‰ œJ œ ‰ œJ Œ
6
∑
21
Í f
? œ. ‰ œ ‰ œ œ. . .
Œ œ œ Œ œ. ‰ œ Œ œ. . .
Œ œ Œ œ œ. œ. œ. œ.
32
J J J
41
? œ. œ. œ. œ. œ. œ. œ. ‰ œ Œ œ. œ. ‰ œ œ. ‰ œ œ. Œ 8
37
J J J
49 55 63
? .. 6 8
œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œj ‰ Œ Ó
F
˙ - n œ . b œ- - œ . b œ-
69
? ˙ b >œ œ
>
n >œ œ Œ Ó b
œ. Jœ b œ
J œ. J J
3
.. Œ ∑
66
>
? nw b œ^ Œ
>
Ó
75
ƒ
1. Preludio
Allegro q =120
? 44 ‰ Œ Œ b >˙ . Ó ≈ b œ. œ. œ. œ. œ. œ. œ. Ó Œ # œ œj ‰ Œ ˙ w w 45
f p f
> >
U 9
? 45 Ó Ó ‰ Jœ 44 œ . # œ n ˙ . 34 ˙ œ 4 ˙ . nœ 3 #˙ 44 ‰ œJ 43
7
>
4 4 œ ˙.
f
? 43 # œ 44 n w U
43 ˙ . 44 w
rit.
bœ œ nœ œ
13
n˙ nw
Í f p f
Allegro q. = 112
. œ œ bœ œ #œ œ
? 68 ∑ œ̆ œ. œ. œ. œ ∑ ‰ œ. œ. œ̆ œ- ∑ .
‰ œ # œ J
>
J J
J J
f
? b˙ .
12
∑ œ . œ #œ œ ˙ . Œ œj œj œ Œ œj œj œ Œ œj œj œ
8
F Í f
19
? Œ j jœ Œ œj œj œ Œ œj œj œ œ ‰ Œ.
10
‰ bœ œ ‰ œ œ
15
œ œ . . . .
f
31 39 47
? ‰ bœ ‰ œ 8 8
j‰ ‰ j‰ ‰ j‰ ‰
30
. œ. . œ. œ. œ œ. œ œ. œ
f
> > >
?
G.P.
j‰ ‰ j‰ ‰ j‰ ‰ j‰ ‰ j‰ ‰ ∑
50
œ. œ œ. œ œ. œ œ. œ œ. œ
> > > > >
Molto meno mosso 64
q. = 76 accel. Presto G.P.
? 8
∑
56
˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙.
f
> > > > > > > >
Poco meno
^j ‰ ‰ Œ .
mosso rit. Presto
? b >œ . U
∑ Œ. œ. œ. ∑ ∑
73
> >
˙. œ
f
>
ƒ
3. Canto Lírico
Adagio q = 60
? 44 j
43 44 Ó 43 44
Con sord.
2 2 2
‰ # œ- œ- œ # œ œ ˙ . ∑
3
P >
F
[senza misura]
1 2 3 4
? 44 Ó 45
j 44
œ ‰ Œ Ó ∑
10
[X]
Ḟ p
A [a tempo] B
[(q = 60)]
1 2 3 4 5 1 2 3
? 44 3
[X]
C
4 5 1 2 3 4 5
? 44
Con sord. [simile]
bœ œ œ
F
> > > f
D
Adagio 1 2 3 4 5
? 44 6 44
14
[X] b ˙- -̇
P -̇ -̇
U
? 44 43 44 Ó ‰ œ- œ-j
13 2 2
∑ ∑
21
P
4. Canto Coral
? 22 9 32 ∑ 22 b ˙ 32 Œ Ó Ó 22 b œ œ œ
Senza sord.
˙ w œ œ
f
17
?œ Œ Ó ∑ 32 ∑ 22 b ˙
œ Œ Ó ∑ Œ œ œ bœ œ œ
15
˙
f
23
?Œ œ 32 2 22 6 32 2 22 4
22
A
1 2 3 4 5 1 2 3 4
? [X]
B
5 1 Tempo primo 46
? 32 2 22 6 32 ∑ 22 b ˙
˙ œ Œ Ó
Molto meno
U
? Œ œ
rit. mosso rit.
∑ Œ œ œ bœ œ œ
49
˙
ƒ
5. Ostinato
. - -
œ. œ b œ . œ. œ . œ. b œ.
. œ
7
? 22 œ^ ‰ Œ Ó 4
2
J
f
b .
œ . b œ . .
? œ . J œ . # œ. n œ . b Jœ
15
> n œ œ . œ- œ . j - œ . œ- œ œ œ œ œ œ œ œ
œ
11
J J J œ
- b œ .
J J
f
? œ œ œ œ bœ œ œ œ j ‰ Œ Ó ∑ ..
16
œ œ- œ. b œ œ- œ. œ w
. . >
f
22 29
? w
‰ œ œ. œ. ‰ œ œ. ‰ œ œ. ‰ œ ‰ œ œ. ‰ œ Œ
6
∑
21
J J J J J J
Í f
? œ. ‰ œ ‰ œ œ. Œ œ. œ. Œ œ. ‰ œ Œ œ. Œ œ. Œ œ. œ. œ. œ. œ.
32
J J J
41
? œ. œ. œ. œ. œ. œ. œ. ‰ œ Œ œ. œ. ‰ œ œ. ‰ œ œ. Œ
8
37
J J J
49 55 63
? .. 6 8
F
69
b >œ œ ˙
>
b - n œ . b œ-
œ b - œ . b œ-
œ
? 3
.. Œ ˙ bœ œ Œ Ó ∑ œ. J J œ. J J
66
> >
f
? nw Ó b œ^ Œ
75
>
ƒ
Baritone (T.C.) Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
.......
& 44 ‰ Œ ≈[ # œ]# œ. œ ˙ .
. . Ó ≈œœœœœœœ Ó ˙ ∑ Ó ˙
p
>
f p f
>
rU
9
45 44 ‰ . # œ 43 # ˙ # œ 44 n ˙
∑ . œ 43 # ˙ n œ 44
6
& w ˙.
f
U
& 44 ˙ ‰ œJ 43 # œ ˙ 44 # w 43 n ˙ . n œ œ b œ œ 44 n w
.
12 rit.
#w
Í f p f
Allegro q. = 112
& 68 ‰ œ # œ œ # œj œ œJ # œ œ ˙ .
5
∑
. . J #œ . œ #œ œ ˙ .
F Í f
12 19
&
7
#œ #œ œ #œ œ #˙ .
∑ #œ #œ œ #œ œ œ #˙ ‰ # œ # œ œ # œJ
J J
f
œ
& #˙ . #œ #œ œ œ #œ #œ œ #œ #œ . œ œ #œ œ œ œ #œ . œ œ #˙ .
25
J
31
& œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œj
. . . . œ- . . . . œ- . . . . œ- . . . . œ- . . . . œ- . . . . œ- . . . . œ-
39
& œ œ œ œj j j j j j
38
. . . . œ- œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ
- - - - -
Música para Orquesta de Vientos y Percusión Op. 152 - Baritone (T.C.) 3
47
& œ œ œ œj j j ‰ ‰ ‰
44
. . . . œ- œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
- -
f
G.P.
&‰ œœœœœ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ∑
50
. . . . . . . . . . . . . . . . . . . . . . . . .
Molto meno mosso
.œ # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ.
q. = 76 accel.
&‰ ‰ ‰ ‰ ‰ ‰
56
.œ # œ. œ. # œ. œ. œ. # œ. œ. # œ. œ. . # œ. œ. œ. œ. # >˙ . . # œ. œ. œ. œ.
Presto 64
&‰ ‰ ∑ ‰ # œ ‰ # œ 4
62
f
Poco meno
>œ .
# >œ . >œ . > U . . # œ. n œ. œ. # œ^
œ
∑ bœ . ∑ ‰œ ‰ ‰ Œ.
72
& #œ . œ . #˙ . J
f > > > ƒ
3. Canto Lírico
(Tacet)
4. Canto Coral
(Tacet)
4 Música para Orquesta de Vientos y Percusión Op. 152 - Baritone (T.C.)
5. Ostinato

2 œ^ 5 œ- . œ. œ- . œ.
&2 J‰ Œ Ó ∑ J J ∑ # œ. œ. # œ. n œ. œ n œ. œ # œ
f . . .
f
15
. n >œ . n œ.
& # œ. j ‰ Œ Ó œœœœœœœœ œœœœœœœœ œ‰ Œ Ó
2
b œ
11
> > > >
#œ . J J J
f
œ- œ. b œ. œ- œ. œ. w>
22 29
.. ‰ œj œ œ ‰ œj
7
& ∑ ∑
18
. .
f f
j j j j j j Œ œ œ Œ œ ‰ œj Œ œ
& œ. ‰ œ œ. ‰ œ ‰ œ œ. ‰ œ Œ œ. ‰ œ ‰ œ œ.
30
. . . .
j Œ j
& Œ œ. Œ œ. ‰ ‰
35
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ
41 49
œ
j .. . j œ j b œ œ œ œ œ b œ b œ œ Œ œ œ # œ
8
& œ. ‰ œ œ. Œ
40
œ # œ . œ-
f -
55
œ #œ #˙ j
#œ ‰ Œ Ó ∑
2
œ œ œ #œ œ œ œ œ œ ‰ Œ Ó
52
& J
f
63
n œ [ #]œ # œ
nœ œ #œ Œ Ó 2
Œ œ
59
& œ #œ œ œ #œ #œ œ œ œ #œ œ bœ œ bœ œ œ
f
69
3
.. Œ ˙ ˙ œ
> œ >œ # >œ œ # >œ # >œ >œ
& œJ ‰ Œ Ó bœ œ
>
65
>
#œ
>
f
œ œ # w Œ Œ
73
>
& #œ œ œ œ #œ œ œ #œ œ œ œ #œ œ œ œ #œ nœ
ƒ
Euphonium Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
? 44 ‰ Œ . œ. œ. œ. œ. œ. œ.
œ ˙
≈ œ #œ œ b˙ . Ó ≈ Ó ∑ Ó ˙
> >
. . .
f p p f
U 9
? w 34 ˙ œ 4 ˙. œ 3 #˙ œ 4 ˙ . ‰ Jœ 43
45 ∑ 44 ‰ . # œ ˙ .
6
R 4 4 4
f
U
? 43 # œ n ˙ 44 n w 43 b ˙ . bœ œ bœ œ 44 n w
13 rit.
w
Í f p f
Allegro q. = 112
? 68 . # . œ œ bœ œ #œ œ b˙ .
œ J nœ . œ #œ œ ˙ .
5
‰ œ J ∑
J
F Í f
12 19
? 7
Œ œ œœ Œ œ œœ Œ œ œ œ Œ œ œ œ Œ œ œ œ
J J J J J J J J J J
F
?Œ œ œ œ j
Œ œ œ œ Œ œ œ œ Œ œ œœ œ ‰ ‰ Œ. ‰ bœ œ ‰ œ œ
24
J J J J J J J J . . . .
f
31
? ‰ b œ ‰ œ œ œ œ œ. œ œ .
œ œ œ .
œ œ œ .
œ œ œ .
œ œ œ .
œ
30
œ œ œ œ œ
. œ. . œ. . . . J - . . . J - . . . J - . . . J - . . . J - . . . J œ-
œ œ œ œ œ
p
Música para Orquesta de Vientos y Percusión Op. 152 - Euphonium 3
39
? œ œ œ œ. œ œ .
œ œ œ .
œ œ œ .
œ œ œ .
œ œ œ .
œ œ œ .
œ
37
œ œ œ œ œ œ
. . . J œ- . . . J œ- . . . J œ- . . . J œ- . . . J œ- . . . J œ- . . . J œ-
47
? œ œ œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ.
44
. . . J œ- J - J -
f
? ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ.
G.P.
∑
50
Molto meno mosso

q. = 76 accel. Presto
? 2 >œ . >œ . >œ . >œ . >œ . >œ .
56
nœ . œ. œ. œ. œ. œ.
f
> > > > > >
Poco meno
œ^
? U
8
∑
2
œ . >œ .
>
˙. ∑ ∑ J ‰ ‰ Œ.
f ƒ
>
3. Canto Lírico
(Tacet)
4. Canto Coral
(Tacet)
4 Música para Orquesta de Vientos y Percusión Op. 152 - Euphonium
5. Ostinato

? 22 œ^ ‰ Œ Ó 5 3 # œ. œ. œ. n œ. œ b œ. œ œ n œ. ‰ Œ Ó
J . . . J
f
œœœœœœœœ œœœœœœœœ œ‰ Œ Ó
15
œ- œ. b œ. œ- œ. œ. w>
? 3
∑ ..
12
J
f
22
? ∑ œ œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ. œ.
21
P
29 .
œ œ œ œ. œ . œ œ.
œ
?œœœœ œœœœ œœœœ œœœœ ‰Œ Ó
. . . . . . œ ‰J‰J ‰J ‰J
26
J
.
œ œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ œ œ. œ œ. œ œ œ. œ œ œ. œ
? ‰ J ‰J ‰J J J‰ ‰ J J J J JJ J
31
. œ œ. œ œ œ. œ. œ œ œ
? ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œJ ‰ Jœ œ. J J‰J œ
‰J ‰
36
41 49 55
? 8
..
6œ bœ œ #œ œ œ œ œ œ ‰ Œ Ó
2
J
f
b œ œ # œ n œ bœ œ #œ
? Œ œ œ œ œ œ #œ œ œ œ #œ œ bœ œ bœ œ œ Œ Ó
59
b >œ œ ˙ n >œ œ Œ Ó
63 69
œ‰ Œ Ó
>
? 2
J
3
.. Œ ˙
>
∑
f
? œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ w Œ œ #œ bœ Œ
73
>
ƒ
Tuba Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
? 44 ‰ Œ ≈ œ #œ œ Œ œ œœ Ó Œ ‰ nœ bœ
. . . b˙ . #œ . . b˙ nw w
f > > f
U
9
? 45 ∑ 44 ‰ . r 43 ˙ œ 44 . n œ 43 44 ‰ j 43
6
w #œ ˙ . ˙ [] #˙ nœ œ
f ˙.
? 43 44 U
43 44
13 rit.
˙ bœ œ nœ œ w
#œ nw . nw
Í̇ f p f
Allegro q. = 112 12
? 68 8
Œ Œ j j
j j
# œ. œ. œ. œ œ œ œ . œ # œ. œ. ˙ . œ œ œ œ œ œ
f Í f F
19
?Œ Œ Œ Œ ‰ Œ.
10
14
j j j j j j j j
œ œ œ œ œ œ œ œ œ œ œ œ œ
31
? ‰ bœ ‰ œ ‰ ‰ œœ ‰‰œ ‰‰œ ‰‰œ ‰‰œ ‰‰œ
29
œ œ
. . . . b œ œ
. . . . œ œ œ œ œ
f p
39
? ‰‰ ‰‰ ‰‰ ‰‰ ‰‰ ‰‰ ‰‰ ‰‰
36
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Música para Orquesta de Vientos y Percusión Op. 152 - Tuba 3
47
? ‰‰œ ‰‰œ ‰‰œ
44
œ œ œ j j j j j
œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
f
Molto meno mosso
G.P. q. = 76
?
accel.
∑ ∑ ∑ ∑
52
j j j
œ. œ œ œ. œ œ œ. œ œ ˙. ˙. ˙.
f > > >
64 Poco meno
^ ‰ ‰ Œ.
Presto
U
Presto G.P. mosso
? ∑
8
∑
3
∑ ∑
62
j
˙. ˙.
> f > ƒœ
3. Canto Lírico
Adagio q = 60
43 44
? 44 43
2
w w ˙. b˙ . w ˙ #˙
p P p
[senza misura]
1
? 43 j ‰ Œ Œ 44 45
2
∑
9
œ [X] #w
F p
A [a tempo] B
[(q = 60)]
2 3 4 1 2 3 4 5 1
? 44 3
[X]
C
2 3 4 5 1 2 3 4 5
? 44
4 Música para Orquesta de Vientos y Percusión Op. 152 - Tuba
Adagio
? 44
14
# œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ- # œ- œ- œ- œ-
p
D
1 2 3 4 5 Andante q = 76
? [X] 44
œ- œ- œ- œ- œ- œ- œ- œ- # œ œ œ œ
P - - - -
?
24
# œ- œ- œ œ b œ- œ- n œ œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
- - - - œ- œ- œ- œ- œ- œ-
stringendo rit. Meno Mosso q = 60

?
j Œ ‰ j 43
30
j
n œ- œ- œ- œ- # œ- œ- œ- œ- œ- #œ œ œ œ ‰ ‰ # œ- œ- œ- n w w
F p
> >
? 43 44 2 U
‰ Ó
36
j
b˙ . n œ. b œ
˙. -
P [ p]
4. Canto Coral
? 22 9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
? 22 5 32 2 22 6 32 2 22 4
18
A B
1 2 3 4 5 1 2 3 4 5 1
? [X] 32
Música para Orquesta de Vientos y Percusión Op. 152 - Tuba 5
Molto meno
Tempo primo 46 mosso rit.
? 32 2 22 6 32 22 3 U
∑ ∑ Œ œ
38
f ˙
5. Ostinato
Allegro Moderato h = 100 7 15

? 22 ^ j ‰ Œ Ó 5 8
œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ
f f
22 29
? j‰ Œ Ó 3
.. ∑
7
‰ j ‰ j ‰ j ‰ j
17
œ œ œ. œ. œ œ. œ œ. œ
f
?‰ j ‰ Œ ‰ j‰ j Œ Œ ‰ jŒ Œ Œ
31
j
œ œ. œ œ. œ œ œ. œ. œ. œ. œ œ. œ. œ.
? ‰ j Œ ‰ j ‰ j Œ
36
^ ^ ^ ^
41 49
? 2
j‰ Œ Ó Œ j‰ Ó Ó Œ j‰
2
Ó j ‰ Œ ..
6
bœ bœ bœ bœ
f
55
? 2
j
œ bœ œ #œ œ œ œ œ œ ‰ Œ Ó b˙ ∑
˙ ˙ ˙ ˙ b ˙>
f > > >
f
> >
63 69
? j‰ Œ Ó 3
.. Œ ˙ bœ
> >
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ n œ b
˙ > œ œ
>
F f
? bœ Œ Ó ∑ Œ œ Œ
71
œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ nw #œ bœ
ƒ>
Double Bass Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
? 44 ‰ Œ ≤ ≤ ≥
≈ œ #œ œ b˙ . Œ œ œ œ b˙ Ó Œ ‰ nœ bœ nw w
> >
. .. #œ . .
f f
≤U
9
? w
45 44 ‰ . # œ ˙ . 43 44 43 44
∑ ∑ ∑ ∑ ∑ 43
6
R
f
U
≥
rit.
? 43 44 43
∑ ∑
2 44 ∑
13
w
f
Allegro q. = 112
≥ [≥]
12
? 68 œ . ≥
# œ. œ. œ. œ œ œ . œ # œ. œ. ˙ . Œ œj œj œ Œ œj œj œ
8 pizz.
f Í f F
19
? Œ j jœ Œ œj œj œ Œ œj œj œ Œ œj œj œ œ ‰ Œ.
10
14
œ œ
31
? ‰ b œ≥ ‰ œ≥ ‰ b œ≥ ‰ œ≥
[arco]
‰‰œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ
29 pizz.
. œ. . œ. . œ. . œ. œ œ œ œ œ
f p
39
? ‰‰œ ‰‰œ ‰‰œ ‰‰œ ‰‰œ ‰‰œ ‰‰œ ‰‰œ
36
œ œ œ œ œ œ œ œ
Música para Orquesta de Vientos y Percusión Op. 152 - Double Bass 3
47
? ‰‰ ‰‰ ‰‰ j j j j j
44 arco
œ œ œ œ œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
f
Molto meno mosso

q. = 76
≥ ≥ ≥
G.P. accel.
? j j j ∑ ∑ ∑ ∑
52
œ. œ œ œ. œ œ œ. œ œ ˙. ˙. ˙.
f
> > >
Poco meno
Presto G.P. mosso Presto
≥ 64
≥ U ≥^
? ∑
8
∑
3
∑ ∑ j .
œ‰‰Œ
62
˙. ˙.
ƒ
>
f
>
3. Canto Lírico
Adagio q = 60
? 44 w≥ w 43 ˙ . b˙ . 44 2 ≥
w ˙ #˙ 43 œJ ‰ Œ Œ 44
p P p F

1 2 3 4 1 [(q = 60)] 2 3
? 44 45
2
∑ 44 3
10
[X]
#w [X]
p
B C
4 5 1 2 3 4 5 1
?
4 Música para Orquesta de Vientos y Percusión Op. 152 - Double Bass
2 3 4 5 Adagio
? 44 # œ œ œ œ # œ œ œ œ
pizz.
- - - - - - - - # œ- œ- œ- œ-
p
D
1 2 3 4 5
? #œ œ œ œ #œ œ œ œ #œ œ œ œ 44
17
- - - - - - - - - - - - [X]
Andante q = 76
? 44 œ- œ- œ- œ- œ- œ- œ- œ- # œ œ œ œ # œ œ
21 arco
- - - - - - œ- œ- b œ- œ- œ- œ- œ- œ- œ- œ-
P
j j Œ ‰ ≥j
stringendo
? œ- œ- - œ- œ- œ-
œ
27
œ- œ- œ- œ- œ- œ- n œ- œ- œ- œ- # œ- œ- œ- œ- œ- #œ œ œ
F
> >
Meno Mosso q = 60
≥ U
rit. pizz.
? œ ‰ ‰ #œ œ œ 43 ˙ . 44 2
‰ n œ. b œ Ó
33
- - - nw w b˙ . J -
p P p
4. Canto Coral
(Tacet)
Música para Orquesta de Vientos y Percusión Op. 152 - Double Bass 5
5. Ostinato
≥
? 22 ^ j ‰ Œ Ó
7 15
5 8
œ
f f
22
œ≥ œ œ. œ œ œ œ. œ. œ≥ œ œ. œ œ œ œ. œ. œ≥ œ œ. œ œ œ œ. œ.
? ≤ ≤ ≤
..
3
∑
18
P
29
? œ≥ œ 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 ≤≥ ≤ ≤
‰ œ œ. œ. ‰ œ
25
J J J
f
? œ≥. ‰ œ≤ œ≥. ‰ œ≤ ‰ œ≤ œ≥. ‰ œ≥ Œ ≥ ≤ ≤≥ ≥ ≥
œ. ‰ œ ‰ œ œ. Œ œ. œ. Œ
≥ ≤ ≥ ≥
œ. ‰ œ Œ œ. Œ œ. Œ œ.
≥
30
J J J J J J J
? œ≥. œ≥. œ≥. œ≥. ≥ ≥ ≥ ≥

œ. œ. œ. œ.
≥ ≥ ≤ ≤ ≤ ≥ ≤ ≥ ≤ ≥
œ. œ. œ. ‰ œ Œ œ. œ. ‰ œ œ. ‰ œ œ. Œ
36
J J J
41
≥^ ≥^ ≥^ ≥^ 49
? 2
bœ ‰ Œ Ó Œ bœ ‰ Ó Ó Œ bœ ‰
2
Ó b œ ‰ Œ ..
6
J J J J
f
≥ ≥
55
? j‰ Œ Ó ˙ b˙
2 >
∑
>
œ b œ œ #œ œ œ œ œ œ ˙ ˙ b˙ ˙
>
f
> >
f
>
63 69
? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ j ‰ Œ Ó 3
.. Œ ˙
>
b œ
>
œ b
˙ > œ œ
F >
f
œ≥ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ w ≥
? bœ Œ Ó ∑ Œ œ #œ #œ Œ
71
>
ƒ
Timpani Blas Emilio Atehortúa (1943 - 2020)
1. Preludio
Allegro q =120
? 44 ‰ Œ ∑ ∑ Ó Œ ‰ œ b œ wæ wæ wæ 45 ∑ 44
[G - Bb - E] [A - C - Eb]
f
U 9
? 44 Œ ≈ œ œ œ œ b œ ˙æ 43 44 Ó ≈ œ œ œ Œ 43 44 ≈ b œ œ œ ‰ Ó
∑ ∑ 43
8
œ œJ
ƒ
U
rit.
? 43 ∑ 44 ≈ b œ œ œ Œ œ œ œ 43 ≈ œ œ œ œ@ œ b œ ∑ 44 ∑ ∑
13
œ œ œ œ
f p
Allegro q. = 112
? 68 œ ‰ Œ . œ œ œ œ ‰ œ ‰ Œ. ‰ œ œ œ ‰ œ ‰ Œ.
[G - B - D]
5
f >
12 19
?‰œ œ
œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ.
2
Œ œ œœ
11
œJœ J J
f F F
? Œ œ œœ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ
20
J J J J J J J J J J J J J J
31 [B to A] 39
?Œ œ œœ j
œ ‰ ‰ Œ. œ ‰ Œ. œ ‰ Œ.
8
œ ‰œ ‰ œ ‰œ ‰
27
J J
f F
47
? œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. ‰ œ œ œ œ ‰ œœœœ
41
J J
f
Música para Orquesta de Vientos y Percusión Op. 152 - Timpani 3
G.P.
? ‰ œœœ ‰ œœœ ‰ œ œ œ ‰ œœœœ ‰ œœœœ ‰ œœœœ ∑
49 [A to B]
J œ J œ J œ J J J
Molto meno mosso
q. = 76 Presto 64
?
accel.
œ. Œ. œ. Œ. œ. Œ. œ. Œ.
3
∑ ∑ ∑ ∑
56
> > > >

f
Poco meno
≥^
mosso
U
G.P. Presto
?
œ ‰ Œ. j ‰ ‰ Œ.
4 4
∑ ∑ ∑
67
œ
f ƒ
3. Canto Lírico
Adagio q = 60 [G - Bb - E]
? 44 2
43
2 44 4
43 ∑ 44 2
45 ∑

[(q = 60)]
1 2 3 4 1
? [X] 44 Ó ‰ b œj n œ Ó ‰ bœ œ œ Ó ‰ bœ œ œ
[F ]
B
2 3 4 5 1 2 b b
?[ X ] b b b
wæ œæ œæ œæ œæ wæ œ n œ œ œ œœ œ œ œ œ
π f
C
3 4 5 1 2 3 4 5
" "
? œ bœ œ œ œœ 44
wæ œ bœ œ œ œ œ
F f
D
Adagio 1 2 3 4 5 Andante q = 76
? 44 6 44 11
14
[X]
4 Música para Orquesta de Vientos y Percusión Op. 152 - Timpani

?Ó 44 ∑ Œ ‰ b œj œ Œ U
‰ b œ œ œ Œ ‰ b œj œ Œ 43
2 2
Ó bœ Œ
32
F [ p]
4. Canto Coral
? 22 9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23 1
? 22 5 32 2 22 6 32 2 22 4
18
[X]
A
2 3 4 5 1 2 3 4
? .. b œ ‰ œ œ .. b
œæ œæ
[simile]
œ œ œ wæ œæ œæ œæ
p π
B
5 1 Tempo primo 46
? 32 22 32 22
œ œ œ wæ
2 6 3
∑
Molto meno
U
mosso
?Œ
rit.
œ bœ Œ
Œ
50
œ ˙æ
f
Música para Orquesta de Vientos y Percusión Op. 152 - Timpani 5
5. Ostinato
Allegro Moderato h = 100 7 15
? 22 ^ j ‰ Œ Ó
[F - D - E] [F to G]
5 8 2
œ œœœ œœœœ
f f
22
? j‰ Œ Ó 2
.. ∑ œ ‰ œÓ œ ‰ œÓ œ ‰ œÓ œ ‰ œÓ
18
œ J J J J
P
29
?œ ‰ œÓ œ ‰ œÓ œ ‰ Œ Ó ‰ œœ‰ œ‰ ‰ œ œ‰ ‰ œœ‰ ‰ œ
26
J J J
f
?‰œœ‰‰ œŒ œ‰‰œ‰œœ‰ Œ œ‰ œ‰Œ œ‰‰œŒ œ‰ Œ œ‰Œ œ‰

31
J J J J J J
?œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ ‰ œ Œ œ‰ œ‰ ‰ œ œ‰ ‰ œœ‰ Œ
36
J J
41 [G - A - E] 49 55 63
? 8
.. 6 8 6
..
69
? 3
∑ œ ‰ j œ ‰ œj œ ‰ j œ ‰ œj ‰ œ œ œ œ œ œ Œ œ Œ
œ œ œ œ
f ƒ
Percussion 1 Blas Emilio Atehortúa (1943 - 2020)
Snare Drum Critical Edition by: Rubén Darío Gómez P.
Tubular Bells
Temple Blocks
1. Preludio
Allegro q =120
44 & Œ U
Snare Drum [to tubular bells] Tubular Bells
ã 44 ‰ Œ 45 43
4
∑ Ó ≈œœœœœœœ ∑
˙.
p f f
9
& 43 ∑ 44 ∑ 43 ∑ 44 ∑ 43 ∑ 44 ∑ 43 44 ∑
rit. [to snare drum]
2
w
f
Allegro q. = 112 12
19
ã 68 œ ‰ Œ. œ ‰ Œ.
11 S.D.
5
œ œœœœœ œœœœ
F F
œ ‰ ‰ Œ.
20 2 3 4 5 6 7 8 9
ã ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ J
31 39 47
8 8
∑ ‰œœ‰œœ
29
> >
2 3
ã œœœœœœ ‘ ‘
f
Molto meno mosso
G.P. q. = 76 accel.
2 2 3
∑
50 4 5 6 7 8
ã ‘ ‘ ‘ ‘ ‘
Poco meno
Presto 64 G.P. mosso Presto
U
∑
8
∑
4
∑ ∑ œ ‰ ‰ Œ.
63
>
ã J
ƒ
Música para Orquesta de Vientos y Percusión Op. 152 - Percussion 1 3
3. Canto Lírico
Adagio q = 60 [to tubular bells]
ã 44 43 44 43 44 45
2 2 4 2
∑ ∑
A [a tempo]
[senza misura] [(q = 60)]
1
1 2 3 4
44 b ˙
Tub. Blls.
ã [X] & Œ bœ Œ bœ œ œ œ Œ
˙ ˙
F
B C
2 3 4 5 1 2 3 4 5 1
b˙ ˙ n˙
[simile]
& [X]
p
D
2 3 4 5 Adagio 1 2 3
44 6
bw
& [X] w
f P
4 5 Andante q = 76 stringendo rit.
44 10
bœ œ ˙ Œ ‰ bœ œ œ Ó
& w
F
Meno Mosso q = 60
U
43
2 2 44 ∑ Œ ‰ bœ ˙ Ó bœ Œ
34
& J
p
4 Música para Orquesta de Vientos y Percusión Op. 152 - Percussion 1
4. Canto Coral
Allegretto h = 92
10 [to temple blocks] 17
ã 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
ã 22
5 32 2 22 6 32 2 22 4
18
A
1 2 3 T. Blocks 4 5 1 2
ã [X] .. œ œ œ ‰ œ 5 œ ..
p
B
U
3 4 5 1 Tempo primo
œœœœ " œœœœœœ 32 2 22

ã
F
Molto meno
46 mosso rit.
U
ã 22
6 32 22 3 S.D.
∑ Œ œ œ œ œ œ œ ∑
40 [to snare drum]
5. Ostinato
[to temple blocks]
ã 22 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ ‰ ‰ œ ‰ œJ Œ Œ œ
S.D.
2
f
7 15 [1st time,
to snare drum]
8
œœœœœœœœ œœœœœœœœ 4
..
T. Blocks
ã
f
22
5 œœŒ œ 5 œœŒ œ 5 œœŒ œ 5 œœŒ œ 5 œœŒ œ
[T. Blocks]
∑
21
ã œ œ œ œ œ
P
29
5 5 Œ Ó
ã œœŒ œœ œ‰‰ œ‰œœ‰ ‰ œœ‰ ‰œœ‰ œ‰ ‰œœ‰ œœ
27 [to snare drum] S.D.
ã‰œœ‰œ‰‰œ œœ‰œ‰œœœ ‰œœ‰œœ‰œ œœ‰œœœ‰œ ‰œ‰œ‰œ‰œ

32
ã‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ œ
37
41 [to tubular bells]

2 Tub. Blls.
2
ã & Ó Œ Œ Ó Œ Ó ã
#˙ #˙ #œ #˙
F
49 [to snare drum] 55
ã ..
S.D.
4
œœœœœœœœ œ œ œ œ œ œ œ œ œ ‰ Œ Ó
J
f
63
6 4
œ œ œ œ œ œ œ œ œ œ œ œ œ ..
56
> > >
ã œ ˙
æ
œ
f
69 [to tubular bells]
3 3
w ∑
[Tub. Blls.]
&
ƒ
Bass Drum - Maracas Critical Edition by: Rubén Darío Gómez P.
Large Suspended Symbal
Xylophone
1. Preludio
Allegro q =120
ã 44 ‰ Œ 45 44
Large Suspended Cymbal
∑ ∑ wæ wæ
œ Œ Ó ∑ ∑
Bass Drum
œœ
f F
9
U
B.D.
4 43 44 Œ Ó 43 44 Œ Ó 43 44
Œ
ã4 œ Ó ∑ ∑ ∑
8
œ œ
U
rit. L. Susp. Cym.
ã 44 œ 43 44 wæ
[to bass drum]
[to susp. cym.]
2
Œ Ó ∑
14
p f
Allegro q. = 112 12
ã 68 œ ‰ Œ. œ ‰ Œ. Œ œj œj œ Œ œj œj œ
11 B.D.
F
19
ã Œ œj œj œ œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ.
16
2
F
31
j‰ ‰ Œ.
ã œ ‰ Œ. œ ‰ Œ. œ ‰ Œ.
8
∑ ‰œœ‰œœ
25 [to maracas]
œ
f
39 Maracas
[to bass
R.H.
> >
œ ‰ ‰ Œ.
drum]
ã J œJ
œ œ œ œ œ
2 3 4 5 6 7
‘ ‘ ‘ ‘ ‘ ‘ J
L.H.
47
B.D. G.P.
ã œ ‰ ‰ œ œ ‰‰œ œ ‰‰œ œ ‰‰œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ ∑
f
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q. = 76 accel. [to susp. cym.] Presto
2 2 3
∑ %. 3
%.
56 L. Susp. Cym.
ã æ
ƒ f
Poco meno
^j
G.P. mosso Presto
U
B.D.
ã æ% . %. %. œ ‰ ‰ Œ.
4
∑ ∑ ∑
69 [to bass drum]
æ æ
ƒ
3. Canto Lírico
Adagio q = 60
ã 44 43 44 43 44 45
2 2 4 2
∑

[(q = 60)]
1 2 3 4 [to susp. cym.] 1
ã 45 ∑ 44 3
12
[X]
B
2 3 4 5 1 2 3 4 5
L. Susp. Cym.
æ
ã [X] w
π
C
1 2 3 4 5 Adagio
∑ ∑ 44 6
B.D.
ã wæ
π f
D
1 2 3 4 5 Andante q = 76
44 13
B.D.
ã [ X ] wæ
Meno Mosso q = 60
U
43
2 2 44 2
∑
34
4. Canto Coral
ã 22
9 32 ∑ 22 2 32 ∑ 22
17 23
ã 22
3 32 ∑ 22 5 32 2 22
14
ã 22
6 32 2 22 4
25
A B
1 2 3 4 5 1 2 3 4 5 1
æ 32
L. Susp. Cym.
ã [X] w
π
Molto meno
Tempo primo 46 mosso rit.
U
ã 32
2 22 6 32 ∑ 22 3
œ Œ Ó ∑
38 B.D.
5. Ostinato
7
b œœ œœ œœ b œœ œœ œ œ
Xylophone
& 22 œ # œ œ œ œ b œ œj ‰ Œ Ó
2 2
‰JŒ ‰ JŒ Œ
[ f]
œ #œ nœ #œ nœ nœ nœ
œ #œ
[to susp. cym.] 15 L. Susp. Cym. [1st time, to
J‰ Œ Ó
4 4
∑ ..
9
>
&
xylophone]
ã
w
f
[to bass 22 29
Œ œ œj ‰ Œ Ó
3 B.D.
∑ Ó Œ œ Ó Œ œ Ó œ‰‰œ‰œœ‰
21
&
drum]
ã
P
ã‰œœ‰‰œœ‰ œ‰‰œœ‰œœ ‰œœ‰œ‰‰œ œœ‰œ‰œœœ ‰œœ‰œœ‰œ

30
ãœœ‰œœœ‰œ ‰œ‰œ‰œ‰œ ‰œ‰œ‰œ‰œ ‰œ‰œ‰œœ‰ œœ‰œ‰œœ‰

35
41
2 2
ã‰œœ‰‰œœœ œ Œ Ó Œ œ Ó Ó Œ œ Ó œ Œ
40
F
49 55 [to maracas]
ã ..
6 4 2
œ Œ Ó œ Œ Ó
63 Mar.
[to xylophone]
#œ œ œ œ œ œ #œ œ œ œ œ œ œ .
R.H. simile Xyl.
2
ãœœœœœœœœ œœœœœœœœ & .
L.H.
69 [to bass drum] B.D.

3 3
ã œ Œ Ó Ó œ Œ
ƒ
Gong - Crash Cymbal Critical Edition by: Rubén Darío Gómez P.
Tambourine - Bass Drum
1. Preludio
Allegro q =120
U
Crash Cymbals [to gong] Gong 9
ã 44 ‰ Œ Œ 45 44 Œ 43 44 43
>˙ . 5
∑ ∑
˙. w
f f
U
[to tambourine]
ã 43 44 43 44 43 44
rit.
2
∑ ∑ ∑
11
w w w
f
Allegro q. = 112 12
ã 68
11 Tambourine
Œ œ œœ Œ œ œœ
>
œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ
J J J J
19 31
[to cr. cym.] Cr. Cym. Tambourine
2 10
%. ∑
17 2 3 4
ã œœœœœœ ‘ ‘ ‘
f P
39
œ ‰ ‰ Œ. 7
35 5 6 7 8 [to cr. cym.]
ã ‘ ‘ ‘ ‘ J
47 G.P.
ã Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 Œ. ‰ 5 ∑
Cr. Cym. [to gong]
f
Molto meno mosso
q. = 76 accel. Presto 64
%.
Gong Cr. Cym.
7
∑ ∑ ∑ ∑
56
ã ˙. ˙. ˙. ˙.
F ƒ
Poco meno
U
G.P. mosso Presto
∑
4
%. 2
72
3. Canto Lírico
Adagio q = 60
ã 44 43 44 43 44 45
2 2 4 2
∑ ∑

[(q = 60)]
1 2 3 4 1 2 3 4 5
4 3 Gong
ã [X] 4 [X] æ
w
π
B C
1 2 3 4 5 1 2 3 4 5
44
ã
D
Adagio 1 2 3 4 5
ã 44
6 44
14
[X]

U
ã 44 43
13 2 2 44 2
∑
21
4. Canto Coral
ã 22
9 32 ∑ 22 2 32 ∑ 22 3 32 ∑ 22
23
ã 22
5 32 2 22 6 32 2 22 4
18
A
1 2 3 4 5 1 2 3 4 5
Gong
ã [ X ] wæ
π
B
Molto meno Cr. Cym.
U
1 Tempo primo 46 [to cr. cym.] mosso rit. [ ]
32 2 22 6 32 ∑ 22 3
∑
>
ã w
f
5. Ostinato
7 [to bass drum] 15 22
ã 22 ..
6 8 6 B.D.
∑ Ó Œ œ
p
j
ãÓ Œ œ Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ œ ‰ Œ Ó
23 [to gong]
P
29 41
12 2 Gong
2
ã Ó Œ Œ Ó Œ
˙ ˙ œ
F
49 55 Cr. Cym. 63
.. 6 7 4
ãÓ Œ % Œ
48 [to cr. cym.] >
˙
f
[1st time 69 Gong
ã œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Tamb.
3 3
∑
67 to cr. cym.] [to gong]
w
f ƒ
>
233
APPENDIX C
UPDATED CATALOGUE OF WIND PIECES BY BLAS EMILIO ATEHORTÚA
In her doctoral dissertation called A Study of the Life and Wind Music of Blas
Emilio Atehortúa, including a Critical Edition and Stylistic Analysis of Cinco Piezas a
Béla Bartók written in 1997 at the University of Northern Colorado, Pamela Bowen
Chester provided a catalogue of Atehortúa’s pieces for winds and percussion, including
solos, chamber, and large ensembles. No other doctoral document about Atehortúa has
updated that catalogue. The next list provides the titles found in Bowen’s document and it
is enriched with more recent titles including some commissions by the American Wind
Symphony, the Ministry of Culture of Colombia, and commissions by soloists, among
many others.
Intermezzo y Fantasía Op. 1 (1958) (in the interview made by the author, he mentioned
band and orchestral versions of the same piece)
Trio para Clarinetes y Fagot Op. 2 (1959)
Quinteto para Vientos #1 Op. 2 (1959)
Fantasía-Rondó para Quinteto de Vientos Op. 6 (1960)
Concierto para Timbales y Orquesta Op. 12 (1961)
Concerto da Chiesa, for wind orchestra Op. 28 (1965)
Cantico Delle Creature para Barítono, Dos Coros, Vientos y Percusión Op. 29 (1965)
Concertante para Timbales y Conjunto de Cámara Op. 35 (1968)

234
Elegía a un Hombre de Paz, for baritone, bass, children choir, mixed choir, winds,
percussion and audiotape Op. 51 (1972)
Trio para Clarinetes y Fagot Op. 58 (1975) (Revision of Op. 2 composed in 1957)
Música para Fanfarria, Percusión y Orquesta Op. 65 (1977)
Música Elegíaca, para Trompeta y Orquesta de Cuerdas Op. 66 (1977)
Cinco Piezas para Percusionistas Op. 84 (1979)
Cuatro Piezas para Corno y Piano Op. 86 (1979)
Concierto para Oboe y Orquesta de Vientos Op. 90 (1980)
Música para Fanfarria, para el Sesquicentenario de la Muerte del Libertador Op. 91 #1
(1980).
Música de Fanfarria (for Brass) Op. 101 (1981).
Fantasía Concertante para Piano y Orquesta de Vientos Op. 103 (1981).
Cinco Piezas a Béla Bartók, para Diez Instrumentos de Viento y Percusión Op. 104.
(1981)
Concertante para Seis Percusionistas Op. 110 (1982)
Cuatro Contradanzas sobre la Época Patriótica Bolivariana para Banda Militar Op. 112
(1982)
Cuatro Piezas para Vientos sobre un Tema de Giovanni Gabrieli Op. 118, 1983.
Cinco Piezas para Dúo de Saxos Op. 120 (1983)
Siete Invenciones para Dúo de Fagotes Op. 122 (1983)
Sonatina a Cinque para Flauta, Oboe, Clarinete, Fagot y Piano Op. 129 (1984)
Música para Bronces (a Luis Pasos Moncayo) Op. 132 (1985)

235
Cinco Invenciones para Orquesta de Vientos Op. 134 (1985)
Música para Doce Trompetas Op. 136 (1986)
Sonata para Fagot y Piano Op. 144 (1987)
Concierto para Trombón, Orquesta de Cuerdas y Percusión Op. 145 (1987)
Suite Sinfónica para Orquesta de Vientos Op. 147 (1988)
Dúo Concertante para Flauta y Piano Op. 149 #1 (1988)
Dúo Concertante para Oboe y Piano Op. 149 #2 (1988)
Dúo Concertante para Saxofón y Piano Op. 151 #1 (1988)
Dúo Concertante para Corno Francés y Piano Op. 151 #2
Música para Orquesta de Vientos y Percusión Op. 152 (1988–9)
Cuarteto de Bronces Op. 154 (1988)
Concierto #1 para Clarinete y Orquesta Op. 161. (1990)
Coral, Variaciones y Final Op. 163 (1990)
Tres Piezas para Clarinete solo Op. 165 #1. (1990) (later on, it was transformed into his
Concerto #2 for Clarinet and Orchestra Op. 201)
Sonatina para Clarinete y Viola Op. 169 (1991)
Siete Inversiones para un Percusionista Op. 173 (unfinished) (1993)
Saludo a Colorado, Siete Piezas para Tres Grupos Instrumentales Op. 174 (1993)
Fantasy and Latin American Toccata (for Brass) Op. 175 #1 (1993)
Tiempo Fantástico para Flauta Sola Op. 175 (1993)
Fantasía Cantata Op. 183 (1994) (for soprano and tenor soloists, narrator, mixed choir,
wind ensemble and percussion)
Seis Piezas para Flauta Sola Op. 185 No 1. (1994)

236
Trio para Oboes y Corno Ingles Op. 185. No 2. (1995)
Noneto Divertimento (for flute, clarinet, bassoon, horn, viola, cello, and double bass) Op.
188 (1995)
Suite Concertante #2, para Fagot y Piano Op. 189 (1995)
Noneto Divertimento (for pairs of oboes, clarinets, bassoons, horns, and piano) Op. 191
(1996)
Latin-American Fanfare (for brass) Op. 192 #1. (1996)
Tropic-Utopian Op. 192 # 2 (for chamber winds) (1997)
To the Wonderful Rivers of Pittsburgh Op. 193 (1997)
Pieza Fantástica para Flauta Alto, Dos Flautas Sopranos y Cuatro Arpas Op. 194 #1
(1997)
Sonata para Clarinete y Piano Op. 194.
Musical Offering for TCU Op. 195. (for soprano, tenor, mixed choir, wind ensemble, and
wind orchestra)
Bicinium-VII Op. 197 for Oboe and Piano (1998).
Coral y Ostinato Fantástico Op. 200 (1998)
Concierto #2 para Clarinete y Orquesta Op. 201 (1998)
Concerto for Bass Trombone and Wind Symphony Op. 202 (1999)
Impromptu para Banda Op. 203 (1998).
Concierto para Oboe y Doble Orquesta de Cuerdas Op. 207 (2000)
Rapsodia Bambuco Op. 212 (2002)
Sonata para Clarinete y Piano Op. 214 (2002)
Concerto for Two Marimbas and Wind Orchestra Op. 221

237
Concierto para Dos Clarinetes y Orquesta Op. 224
Cuatro Piezas-Estudio para Fagot Solo Op. 232
Cuatro Piezas para Corno Solo Op. 233
Concierto para Marimba y Percusión Op. 234 (2010)
Concentus Op. 237 (for brass, celesta, piano, harp, and percussion)
Voz del mundo (for symphonic band and choir) Op. 246 (2017)
The next are pieces without a clear opus or with little or no references, and some
arrangements.
Torbellino de la Tierra Paisa
El Retablo de los Héroes (he mentioned that piece in the interview, but he did not
mention any opus, and it does not appear in other references).
Motto Perpetuo for Wind Symphony (another piece mentioned in the interview, with no
references).
Tres Preludios de Gershwin (an arrangement made for the American Wind Symphony)
Ocho Cantos Populares Rusos Op. 58 by Anatoli Liádov (an arrangement made for the
American Wind Symphony)
Bambuco for Percussion

238
APPENDIX D
EXCERPTS FROM AN INTERVIEW WITH BLAS EMILIO ATEHORTÚA AND HIS
WIFE SONIA ARIAS BY RUBÉN DARÍO GÓMEZ
During the summer of 2018, the author had the opportunity to visit Colombia and
interview maestro Atehortúa. Below are some excerpts from an informal conversation
made in his house located in Piedecuesta (a small city near Bucaramanga), on July 27 of
2018. His delicate health condition made it difficult to understand some of his responses.
This conversation encompassed many topics, including his connections with the band
world, his first stages as a composer, and anecdotes of all kinds. The author chose only
those fragments that are more relevant to the present project and translated them into
English. Additionally, some clarifications, contextualization, or pertinent additions were
added (they are put in square brackets). Sometimes Sonia Arias, Atehortúa’s wife, also
participated in the conversation, especially when he was not able to answer appropriately
or completely.
The first question was directed toward Sonia Arias, Atehortúa’s wife.
Rubén Darío Gómez: I know that maestro Atehortúa has composed several pieces for
band, around fifteen I believe. How many of them exist in your archives?
Sonia Arias: We only have the originals of about only six of them.
Blas Emilio Atehortúa: We have Música para Vientos y Percusión Op. 152 [the next
year, we discovered that he only had the instrumental parts, and the score was missing]
SA: Yes, we have that one. We do not have many others, but we can find them.
239
BEA: There is also my Concerto for Bass Trombone and Wind Symphony.
RDG: I do not know this piece.
BEA: Nobody knows it yet. It was commissioned by Boudreau about 5 years ago and it
was played in Pittsburgh. [according to his catalogue, the piece was written much earlier
than that]
SA: Sometimes he [Boudreau] sent us recordings but other times he did not. You can also
find some of his pieces in Peters Corporation [she is referring to C.F. Peters].
RDG: in your opinion, what are the most important aspects of your band pieces? What
does make them attractive?
BEA: I always think directly in wind symphony, not in band in its traditional concept,
but in a symphonic work with a sui generis orchestration. I also have a group of pieces
for diverse groups of winds that have given me many gratifications. When a was very
young, I played the timpani in the symphonic band of Medellín… in the university… I
was sixteen years old. The band was conducted by Maestro Matza and I gave him one of
my pieces for band, and he said, ‘this is different than the other pieces I have played with
the band.’ And he told me ‘do me a favor, I will bring you the Dvorak’s Slavonic Dances,
and I want you to make four of them for symphonic band.’ [and then, Blas started
mumbling some lines from them]. I made four and he liked them a lot. [another moment
of mumbling, hard to understand…]
[Blas continues talking randomly about his beginning as a composer]

240
…I also played violin at Radio Libertad in a semi-symphonic orchestra, and one maestro,
Salvatore Arcochan [his last name was hard to understand], said ‘you are going to cover
me because I have an big orchestra in a hotel, we are in a season and I cannot miss it; I
already talked to Arijita [Carlos Arijita, an Spaniard musician in that group] and he
accepted.’ Then he [Arcochan] told me ‘let’s do this: since I conduct zarzuelas and I
while all this material arrives from Spain, I am going to tell you what to do. And he
taught me how to write from the piano part, indicating with color pencils every
instrument…[…]… and what a result!!! He used to bring that material to Bogotá, to be
played in TV programs so I was able to hear what I had written. So Matza, the director of
the [symphonic band] told me ‘Blas, you are going to be a good section’s violinist, but
you will not be in the first place; but if you study composition you are not going to be a
section member, you will be in the first place, but you have to go to study to Bogotá.’
[and then Blas continues talking about his years in the National Conservatory in Bogotá,
his contact with his first mentors Olav Roots and Guillermo Uribe Holguín and how his
pieces got first performances in Bogotá]
…They played two of my pieces for winds, two wind quartets…they were played by the
best musicians in Bogotá [he mentioned each player’s names, some of them hard to
understand]
[Later on, he mentioned a band piece called El Retablo de los Heroes, for symphonic
band].
241
[then he starts with another anecdote, apparently talking about José Rozo Contreras,
director of the National Band]…
and I said, ‘maestro I compose music!’…he was the director of the Sinfonietta at the
National Radio Station and he said: ‘if you write a piece for my orchestra I will play it.’
And I wrote Intermezzo y Fantasía for symphonic band.
RDG: Intermezzo y Fantasía? There are so many titles that I do know, please tell me a
little bit more about that one.
BEA: I made two versions of the same piece, for orchestra and for band. That allowed
me to enroll into the National Conservatory for a third year.
[then, he talks more about other of his first contacts with bands]
…I was seventeen years old and I did not have my military ID. So, a German man came
[…] he was in Bogotá, playing the [hard to understand], and he brought me and other
folks to made part of the Navy Band [in Cartagena]. I also played the viola in the Navy
Orchestra…in the Navy Band I was also the assistant conductor. So, from that moment, I
started to practice. I composed short pieces for symphonic band and […] had to conduct
the Navy Band every Sunday at the 9:00 am Mass, so I wrote the Bach chorales to
practice brass orchestration.

242
RDG: do you remember in what year you played in the Army Band.
BEA: Yes, it was 1960…more pieces for band…[he thinks for a moment] Concentus is a
piece in tribute to Giovanny Gabrieli. Concentus translates harmony. This is an
antiphonal piece, it has a big fugue, quite modern. It was played a month ago in Caracas.
RDG: What ensemble played the piece.
BEA: Members of the wind section of the Simon Bolivar Orchestra, some of them were
my former students.
RDG: Could you tell me what is the piece that you wrote for the Denver Brass?
BEA: It was Fantasy and Latin American Toccata, only for brass and percussion.
[Then, we remembered some other titles such as: Coral y Ostinato Fantástico, and Latin
American Fanfare]
[Then, the author mentioned a piece called Torbellino de la Tierra Paisa and he said…]
BEA: This piece has a story that I like. One day, maestro Luis Uribe Bueno told me, it
was year 1972, and two strong groups MOIR and JUCO [MOIR meant Revolutionary
and Independent Labor Movement, and JUCO meant Communist Colombian Youth] and
they were in assembly because they wanted to … [a fragment hard to hear]… so I had to
compose the hymn of Antioquia. He [Uribe Bueno] said, ‘be prepared for something bad
coming soon to you.’ They started a bad campaign in the newspapers, and they kicked me
out of Medellín saying that I was an unpleasant person for the state.
243
[…after deviating on other topics, he came back to the story about Torbellino de la Tierra
Paisa]
BEA: Luis Uribe Bueno told me ‘Blas, we have a band job made by about 1000 children
that are recovering […from the conflict]. Guerilla people also have children, you know.’
So, I went and worked with band directors of the East part of Antioquia. I taught them
conducting and band instrumentation. The thing is that, for each band I made a written
version with them, so there were like [fifteen] bands which I worked with, and they
interchanged materials, thus these materials became so big. Then they said ‘we want a
Torbellino’ so I wrote Torbellino de la Tierra Paisa, for band.
SA: In Santa Elena, Blas received a tribute a couple of years ago, one of the strongest
emotionally speaking. There were about 5000 kids, the coliseum was full, and everybody
was shouting ‘we love you maestro! we love you!’
[he then talks about a concert that would include only his music]
BEA: so, we are going to give them the piece Música para la Juventud Paisa that
includes five small fanfares for brass, choir, soloists, and antiphonal elements. After each
group’s fanfare, there are bigger fanfares. After this piece, there will be a piece that I am
finishing its materials, called Díptico para Orquesta Sinfónica.
SA: And then Concerto for Viola and Double Orchestra.
RDG: I know that the majority of your band output is not edited, is that correct?
244
BEA: Impromptu para Banda is edited by Colcultura [today’s Ministry of Culture of
Colombia] because of the award several years ago.
SA: are there any other band pieces edited? [He did not answer that question]
[about his Impromptu para Banda and the competition that he won with that piece he
recalls…]
BEA: I had to teach composition in the conservatory on Saturdays, and I told my students
‘I would like to participate,’ and they told me ‘maestro, please do not participate.’ And I
asked why? And they responded, ‘because we are going to win,’ but I responded, ‘I am
going to win,’ and I did. After that, I had a meeting with twelve…no… eighteen students
in the classroom and they said: ‘maestro Blas, we are going to ask you something: do not
close the doors to us; you do not need to win any competition, but we do,’ and I thought,
they are right, are not they…?
BEA: something that I usually include in my symphonic pieces [orchestral pieces] is to
include either a movement for only winds or […]… winds and percussion. I like that a
lot.
RDG: how frequently is your band music played?
BEA: not very frequently, unfortunately.
RDG: which means that we have an obligation with you and with your music that we
need to start dealing with. This project is a small part of this long-term task. Editing your
works will allow them to compete with other symphonic music around the world and it
will make you even more visible at the international level.

245
[The last part of the conversation was mainly about personal aspects, some of them non
musically related, and he also asked the author about his experience in the United States.
The conversation lasted for about one hour and thirty minutes]

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CRITICAL EDITION AND INTERPRETATIVE ANALYSIS OF MÚSICA PARA

ORQUESTA DE VIENTOS Y PERCUSIÓN OP. 152 BY BLAS EMILIO ATEHORTÚA

Rubén Darío Gómez P.

Presented to the Faculty of

The Graduate College at the University of Nebraska

In Partial Fulfillment of Requirements

For the Degree of Doctor in Musical Arts

(Wind Band Conducting)

Under the Supervision of Professor Carolyn Barber

All rights reserved

INFORMATION TO ALL USERS

All Rights Reserved.

Advisor: Carolyn Barber

List of Figures …………………………………………………………………………....vi

1) Blas Emilio Atehortúa: A Biographical Sketch ………………………………1

2) The Importance of Editing the Music by Blas Emilio Atehortúa …………….6

CHAPTER 2 THE EDITORIAL PROCESS

1) Available Sources ………………………………………………………………...8

2) Editorial Judgements and Decisions ……………………………………………...9

3) Finding and Fixing Errors …………………………………………………….…17

CHAPTER 3 INTERPRETATIVE ANALYSIS ……………………………………..…19

1) Movement I - Preludio ……………………………………………………..……19

2) Movement II - Scherzo-Bambuco ……………………………………………….20

3) Movement III - Canto Lírico ………………………………………………...….24

4) Movement IV - Canto Coral ……………………………………………….……26

5) Movement V - Ostinato …………………………………………………..……..28

CHAPTER 4 EDITORIAL COMMENTARY ………………………………………….30

1) Movement I - Preludio ………………………………………………………..…30

2) Movement II - Scherzo-Bambuco ……………………………………………….33

3) Movement III - Canto Lírico ……………………………………………………38

4) Movement IV - Canto Coral ……………………………………………….……41

5) Movement V - Ostinato …………………………………………………..……..41

LIST OF REFERENCES ………………………………………………………………..46

PERCUSIÓN OP. 152. ………………………………………………………………….47

APPENDIX B INDIVIDUAL PARTS OF MÚSICA PARA ORQUESTA DE VIENTOS Y

PERCUSIÓN OP. 152. ………………………………………………………………….90

APPENDIX C UPDATED CATALOGUE OF WIND PIECES BY BLAS EMILIO

APPENDIX D EXCERPTS FROM AN INTERVIEW WITH BLAS EMILIO

Figure 2.7. F horn 1, movement V, mm. 29–34 of the edited part………………......…..16

Figure 3.3. Movement V, mm. 1–22, reduction of the melodic line…………………….28

Blas Emilio Atehortúa: A Biographical Sketch

played the timpani.

Riccardo Malipiero, and Luigi Dallapiccola.

many commissions and an important expansion of his reputation as a composer. His

Ginastera’s piano piece Twelve American Preludes.

new teaching methodologies, new approaches to composition, and modern repertoires.

situation, especially at the university level. Groups of revolutionary students confronted

Central Intelligence Agency), and accusations of failure to compose ‘Colombian music.’

Despite these circumstances, his production as a composer continued and he received

more commissions and performances from important national and international

Atehortúa lived in Spain in 1977 thanks to a scholarship offered by the Oficina de

them he wrote his Cinco Piezas a Béla Bartók Op. 104.

His achievements included several commissions by institutions such as the Organization

of American States, Colcultura (today’s Ministry of Culture of Colombia), the Simon

Christian University, Orquesta Filarmónica de Bogotá, and the Chamber Orchestra of

wrote several scores for television and films.

In 1991, the National University of Colombia awarded him an Honorary Degree

2, premiered by the National Symphony Orchestra in Washington conducted by Mstislav

Lobos, and Aaron Copland.

In 1995 he settled down in Bucaramanga, Colombia, where he worked at the