CONCERT FULL ORCHESTRA Grade 5

Transcribed for Full Orchestra

Serenade for Strings

Mvt. IV (Tema Ruso)

PETER ILYICH TCHAIKOVSKY

Arranged by VICTOR LPEZ (ASCAP)

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INSTRUMENTATION

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1 Conductor 1 1st B b Trumpet 2 Percussion I
2nd B b Trumpet

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1 1st Flute 1 (Snare Drum, Bass Drum)
1 2nd Flute 1 3rd B b Trumpet 2 Percussion II
(Triangle/Crash Cymbals,
1 Oboe 1 1st Trombone

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1st B b Clarinet
Tambourine)
1 1 2nd Trombone
1 Piano
1 2nd B b Clarinet 1 3rd Trombone
8 1st Violin
B b Bass Clarinet
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1 1 Tuba es 8 2nd Violin
1 Bassoon 1 Mallet Percussion
(Glockenspiel (Opt. Bells))
5 Viola
1 1st F Horn
1 Timpani (C-G) 5 Cello
1 2nd F Horn
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5 String Bass
1 3rd F Horn
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1 4th F Horn
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NOTE FROM THE EDITOR

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All Belwin string parts have been carefully bowed and fingered appropriately by level. The Yellow Very Beginning series
includes many bowings as well as reminder fingerings for first-time readers. The Red Beginning series includes frequent
bowings to assist younger players. Fingerings for altered pitches are often marked. The Green Intermediate series
includes appropriately placed bowings for middle-level students. Fingerings and positions are marked for notes beyond
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first position. The Blue Concert series includes bowings appropriate for the experienced high school player. Fingerings
and position markings are indicated for difficult passages.
Bob Phillips
Belwin/Pop String Editor

Please note: Our band and orchestra music is now being collated by an automatic high-speed system.
The enclosed parts are now sorted by page count, rather than score order.
 PROGRAM NOTES
Serenade for String Orchestra (the correct Russian title, although in the West it is customarily called Serenade for Strings), is
not a truly classical piece in its musical contentit is as romantic as any of Tchaikovskys other works, and unlike Mozarts
serenade for a small group of strings, Eine kleine Nachtmusik, Tchaikovskys serenade requires a full string choir to do
justice to its sonorities. But though it does not sound precisely like Mozart, Tchaikovsky intended his work to be classical
in form and spirit, especially in the stately opening theme of the first movement, recapitulated at the close of the final
movement. This, he wrote to von Meck, is my homage to Mozart; it is intended to be an imitation of his style, and I
should be delighted if I thought I had in any way approached my model.

This transcription by Victor Lpez for full orchestra highlights the fourth movement of Tchaikovskys Serenade in C Major

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for String Orchestra, Op. 48. It is a condensed version of the original work, which is twice as long, with much of the
developmental section omitted. Consequently, only the most memorable components and integrity of the original work
have been retained. The Finale is subtitled Tema Ruso, and includes two Russian folk tunes, both catalogued by composer

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and musicologist Mily Balakirev. The first, a slow tune sung by Volga draymen, appears in the Andante introduction.

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The second is an animated Russian dance, which Tchaikovsky scores at points with some quickly pulsing, balalaika-like

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pizzicato in octaves. Contrasted with this second theme is a third, lyrical motif by Tchaikovsky that provides broadly
sweeping movement against the vivacious dance. The theme from the first movements Andante makes its reappearance,
then Tchaikovsky cleverly transforms the descending portion of this stately theme into the pulsing descending scale of

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the dance, ending the piece with vigor.

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NOTES TO THE CONDUCTOR

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In this orchestral transcription, the string section will sound full on its own as it has been scored true to form to the original
composition. However, Tchaikovsky noted that the larger number of players in the string orchestra, the more this shall

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be in accordance with the authors wishes. Therefore, the winds have been scored to serve as a support mechanism
for the intended sonority and control. Depending on the size of the string section and where deficiencies are most fully
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exposed, the wind parts should complement accordingly. So, in actuality there is some flexibility for performance either
by a string orchestra or full orchestra. At the Andante (measures 142), based on the level of experience and size of the
string section, the conductor may want to feature the string section and leave out the winds. The fermata at measure 43
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should not be too long. It should serve as a resting point before continuing; more like letting all ambient sound cease
before going on. The Allegro con spirito at measure 44 has a much slower metronome marking than the original version,
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but it is just as effective. Pay much attention to the articulations and dynamic levels. As most of us know, moving with the
music, anticipating tempos, listening to the ensemble as a whole, and simply looking at one another throughout a piece
are all basic axioms for any chamber music group, but not always ingrained habits for orchestral playing. It is suggested
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that time be set aside for talking through articulation ideas, bowings, phrasings, and tempo changes. Rehearsal number
52 is very transparent and should be played lightly, gradually building up to measure 60 where the dynamic level is now
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marked at a forte. The challenge will be to play at that level while keeping the light feel throughout. Note that usually
the dynamic levels for the strings are marked a notch higher than the rest of the orchestra because the intent is to always
hear the strings on top. Pay close attention to the dynamic changes starting at measure 68 until measure 84, where the
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luscious melody is introduced by the cello and French horns. This section modulates to Eb Major like the original, but yet
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another modulation is introduced at measure 92 to get the sonority back to C Major. This technique is quite effective and
will not violate the integrity of the melody line. At rehearsal number 101, there is a short transition leading to rehearsal
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number 108 where a counter melody is introduced and the melody continues in the Violin I, Violin II, and upper winds.
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At 124, pay attention to the dynamic level and continue to crescendo to measure 132 where it stays double forte in the
strings and forte in the rest of the orchestra. Work with the lower brass and strings for rhythmic clarity throughout this
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section. The C Major scale pattern at measure 145 should be balanced with the emphasis on the lower brass, woodwinds
and strings. The fermata at measure 154 should not be too long. It should serve as another resting point. The Molto
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meno mosso should be loud but not overpowering. Note that measures 169 and 170 denote triplets and are to be played
at a forte volume. Four measures before 183, there is a gradual accelerando, which leads to the Tempo I. At rehearsal
number 195, the Piu Mosso, the tempo picks up and then again with additional accelerandos. This fluctuation in tempos
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continues until measure 211 where it should be at the fastest point. As always, the tempo markings are suggestions, and
depending on the maturity level of the group, they will vary. Ultimately, please note that the arrangement of first violins
and brass to the left, basses centered and second violins and brass to the right has long been a familiar one for authentic
music ensembles. Yet, in this work, it will make a difference in the total sonority of the orchestra and at the same time be
an added factor in the musics vitality.

May this work be a musical inspiration for you and your students.
 Transcribed for Full Orchestra 3
Serenade for Strings
CONDUCTOR SCORE Mvt. IV Finale (Tema Ruso) Peter Ilyich Tchaikovsky
Duration - 4:35 Arranged by Victor Lpez (ASCAP)
Andante ( = 72) 9
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2009 BELWIN MILLS PUBLISHING CORP. (ASCAP),

a division of ALFRED PUBLISHING CO., INC.
31558S All Rights Reserved including Public Performance
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63 64 65 66 67
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31558S
 11
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71 72 73 74 75 f 76 77 F 78

31558S
 12
. . . . . . . . . . . . . . . . . .
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Fls. F
II & . . . . . . . . . . . . . . . .
. . . . . b . . . . b . . . b . b . . .
F
Ob. & . . . . . . . . . . . . . . . . . . . . . b . . . . b . . . b . b . . .
# F
I & #
n n
Cls.
## P
II &
n n
# P

y
B. Cl. & # . . . . j j
n n
. . . . P
? j j

e
nl
Bsn.
b b
P

as
#
a2
b j
I
II & n n.
Hns. F
#
a2
b j
&

ch
III
IV n n.
F

O
# (Hns.)

I & # n
n n .

ur
J
F
#
Tpts. II & #
#

P
III & #
. . . . b b
?
e w

Tbns.
I

II
? . .

. .

es
P
b b
P
ir
? b b
III J J
e
P
qu

? j j
. . . .
Tuba
b b
P
b b b
s i

Mlt. Perc. &

F
? j j
v

Timp.
P
Perc. I
e
e

Tamb.
Perc. II
F
. . . . . . . . . . . . . . . . . . . . .
. . . . . . . b . b . b . .
lU

&
r

Pno. F
& . . . . . . . . . . . . . . . . . . . . . b . . . b . . . b . b . . .
.
P
a

84

& b b b
eg

I
Vlns. F
II & b b b b
F
L

arco

B
b b
Vla.
b b
F

. . b b b.
Cello
? J J J
F
. .
? J
pizz.
Str. Bass J b b
79 80 81 82 83 F 84 85 86

31558S
 . . . . . . . . . . 13
. . b . b . . . . . 92 . N . . # . . # . . .
. .
b . .
. .
. b . . b .
I &
f . b . . . b .
Fls. . . . . .
. . . . . b .
.
N . .
. .
. . . . b . .
& b .
. . . .
II
. . . . f
. . . . . . . . .
Ob. & b
. . . .
. . . . . . . b . b . . . . b . . . . . # . . # . .
. .
# f
I & #


n .
Cls. F
##
& j
n.
II
n b b
# F

y
B. Cl. & # j j j
j

j j j
n n n a a
j N
? j j j J J N
Bsn.
b b b J

e
nl
# b > . j j j > .
b b

as
I
& . n. b
II J . J
# b > . > .
Hns.
j j j
III
IV & b . b
J n. b .
J

ch
#
& # b .

O
I n . n
> J J n. b
J
#
& #

ur
Tpts. II

#
III & #

P
? b . #
b N
I J
e w

Tbns. II
? b b . es
#
J N

? b b b j j j N
N
ir
III J J J J
e
? j j
j j j j N j
qu

Tuba
b b b N
& b b b b b

N






# #
s i

Mlt. Perc.

f
? j j

v

Timp.
Perc. I
e
e

Perc. II
f
. . . . N . . . . .
b . . . b . . . . .
lU

& . . . . b . b . . .
. b . . . . . . # . # . . .
r

Pno. f
& b
. . . . . . . . . . . . . . . . . . b . N . . . . . . . . . b . . . . b . b .
P

.
a

.
92
b
eg

b b b
I & b # #
Vlns. f
& b # #
L

II
b
f #
j
B b
Vla.
b b . #
>
b . > .
b . b
? J J b. b . J
Cello J J
?
Str. Bass b b b
87 88 89 90 91 92 93 94 95

31558S
 14 100
. . . . . . . . . . . . .
. . . # . N . . J .
I &
Fls.
. . . . . . . . . . .
II & N . . . . . # . . . .

. . . .
Ob. & . . . . . . . . # . . . . N . . . . J
#
& #
. . . .

. . . . . . . .
. . . .
I

Cls.
#
& # j . .
. . . . . n # .
II
N . . . . . . . .
.

y
## j
B. Cl. & j j j

F
? j J . b
J .

e
J J J

nl
Bsn.
F

as
# j j
I
& . .
Hns.
II
> > >
# j j
&

ch
III
. .
IV
> > >
# > .

O
Play

& # j n a
I
J J
P F

ur
##
Tpts. II &
#
& #

P
III

? . b
.
e w
I
es J J
F
Tbns. II
?
ir
? j j j
III
J
e
qu

? j j
Tuba j
J
F

s i

Mlt. Perc. & # N J
v

?
R

Timp.
F
Perc. I
e
e

Perc. II J
. . . .
lU

# . . . . . . . .
& . . . . . . . . . . . .
r

. . . . . . . . . . . .
. . . . . . . . . . .
. . . b . # .
Pno.
& ?

N . . . . . . . . . # . . .
. . . . . . . .
P
a

100
> .
eg

arco

I & # N
j j

b
J
N
J

Vlns. F f
L

& #
N
II

f
j
pizz.

Vla. B b #
f
> > . > .
?
Cello J J . J b . J
f

arco
?
Str. Bass
96 97 98 99 F 100 101 102 103 104
31558S
 15
>. 108 > .
b N # .
.
& J J J J
I J > .
F F
Fls. .
. J J J
II &
F > .
j
& . . J
Ob.
F J
# b
I & # . . . . .
n # N # b
Cls.
. . . F
##
&
II
. . . . . n # .
. .

y
## j j j j j j
B. Cl. &
f
? N. b j j j
J j j j

e
Bsn.

nl

F

as
# a2
I
II &
b j
N
F
Hns.
#
a2 j
& b
III
N #

ch
IV b n
# F

O
I & #

ur
#
Tpts. II & #
#
& #

P
III

? N. b
J
e w
I

Tbns. II
?
es
?
ir
III

? j j j
e
Tuba j j j
qu

F
Mlt. Perc. &
s i

? j j j j j j
Timp.
F
v
R

Perc. I
Cr. Cyms.

e

Perc. II

e

F
& . . # # b
. . . . . #
. . # .
lU

Pno.
. . . . . f
r

? b .

P

>. 108 > .

a

b N # . . .
& J . .
eg

I J J J J
F f
Vlns.
arco j > .
.
& .
J J
II

L

f

B
arco
# # # b
Vla. b #
f
b arco
# # b
Cello
? N.
J #
f
?
pizz.
Str. Bass
105 106 107
f 108 109 110 111 112 113

31558S
 16 116 > . >
> .
. b . N J
I & J J J
b N > . >
Fls.
. J . J >. j
II & J
j j > . >. j >

Ob. & . b . N J
# a b n
I & # # n n n #
b N b n
N # n #
Cls.
#
& # n # b n b

II
N b n N # n #
#

y
B. Cl. & # j j

j j

j j j j j j j
j

? j j j j j
j j j j j j
J

e
Bsn.

nl

# j

as
I
& a j
II # n n # b N # n #
Hns.
# j
III
& j

# N
j
b n

ch
IV

#
& #

O
I

ur
Tpts. II & #
#
& #

P
III

?
e w
I

Tbns. II
?
es
ir
III
?
e
j j
qu

? j j
Tuba j j j j j j j J


s i

Mlt. Perc. &

? j j j j
v

Timp.

Perc. I
e
e

Perc. II

lU

# n b N

# #
& # # N # n #
r

Pno.
?

P

116 > . > . >

eg

. b
. N
.



I & . b . N J .
J J J
Vlns.
j j > . >. j >

L

II & . b . N J
# n b N #

# #
Vla. B # N # n #

# n b N # #
Cello
? # # N # n #

?
Str. Bass
114 115 116 117 118 119 120 121 122

31558S
 17
> . 124
> . > .
128
. . . .

I & J J J
> . F
. . . .
cresc.
Fls.
> . > .
II & J J J
F . . . .

cresc.
j
Ob. & .
>
# j j
I & #
J J
J

J J J
Cls. F cresc.
## j j
& j j j j j j
II

F
#
cresc.

& # j j j j j j j j j

y
. . n . . n
B. Cl.

(F ) cresc. . . . . b
? j b
J J
Bsn. J J J J J J

e
(F ) cresc.

nl
# j j j j j j j j
I
& j

as
II
(F )
Hns.
# j j j j j j j j
III
&
IV
(F ) cresc.

ch
#
I & #
. .

. .

O
F
#
& # j j
j J
j j
j

ur
Tpts. II
J
# F
III & #

j

j j

j

j j

j j

P
F cresc. . . b
. .
I
?
b J J

J J J J

J J
e w
F cresc. . . . .
Tbns. II
?
F cresc.
b es
b J J
J

J

J J
J J
. . . .
? b b J J
J J J J J
ir
III J
F cresc.
e
? j j j j
. . b . . b
j j j j j
qu

Tuba
(F ) cresc.


&
s i

Mlt. Perc.
F cresc.
? j

v

Timp.
R

Perc. I J J J J J J J J
F
e

cresc.

e

Perc. II
F j cresc. j j j j j
j j

lU

&

r

Pno. ( f ) cresc.
? j j j


b

b
j

j j
j j

P
a

124 128
> . > . > . . . . .

eg

I & . J J
J
( f ) cresc.
Vlns.
j
& . j j . .
II . .
.
.
L

>
( f ) cresc. > >

B J
Vla.
J J J J J J J
( f ) cresc.
. . . .
? b b J
Cello J J J J J J J
( f ) cresc.
. . . .
?
arco
b b J
Str. Bass J J J J J J J
( f ) cresc.
123 124 125 126 127 128 129 130 131
31558S
 18
> > > 136 # . .
# b > # b n # # #
I &
f > > >
Fls.
# b > # b n # #
# . . #
II &
f >
b
>
b n
>
# # # . . #
Ob. & # #
>
f > > >
##
& # n > b n n # # #
J
j
n #
I
J J J J
Cls. f
## j j j j n j
II & # # #
j
#
## f

y
j j
B. Cl. & n # j
j j j
n # # #
f b n j
? b # # j j j

e
J j

nl
Bsn. #
fa2

as
# a2
j j j j j b j
# # #
a2 a2
I
& #
II
f #
Hns.
# a2 a2
a2
# #
a2
j j j j j
# # j n b #

ch
III
&
IV
f #
> > > # . .
n >

O
## b n n # # # n
I & #
f

ur
# # n a
Tpts. II & # n # # J J J J J J
f
# j j j j
& # #

P
III # # J J
f b # n #
? b # # # b # J J

J J
b n
J J

e w
I

Tbns. II
?
f
b # # # b # b # n
es
J
J
J
J #
J J
f b n
ir
? b # # # J j
J J # #
III
J J
e
f
qu

?
b n
j
j
j j j j
Tuba
b # # #
f
# b
# # b # n
s i

Mlt. Perc. &

b # N # # # b N
f
?
v

Timp.

Perc. I J J J J J J
e

f
e

Perc. II

f
j
# #
lU

#
& # # # #
r

J J J J J
Pno. j j j j
?
b n # # j
b # # J #
P
a

> > > 136

b > # #
eg

# # b n # . . #
I &
j j
>
> j j j
Vlns.
> # # # # # j
b b n #
L

II & # #
>
j
# # #
B # # #
J J # J J
Vla.
J

. . . . . . # # j
? .
b . # N # # # b # # # # #

j

j
# #
Cello
J J
J
,
b n j j
? b # #
j j j
Str. Bass
J #
132 133 134 135 136 137 138
31558S
 145 19
N # . . . N . . .
J J J J J J J J
I &
# . . N . . .
N .
Fls.
J J J J
II & J J J J

N .
& J # . . N J. .
J J J J J J
Ob.
.
# j j
I & # b J n
J
# J J
J J J
J
Cls.
# j j j j j j j
II & # a
#
j j
j

#
& # j

y
j j j j
B. Cl.
. . . .

? j
Bsn. J J J J . . . .

e
nl
# j j j j j j
j # j
j
j j

as
I
& #
II
Hns.
# j j j j j j
III
& j

j
j j j
IV # #

ch

.
# N #
& # . . N . . .
j
j

J J J

O
I J J J
# . . j j j j j j
& # b J # n . N J . . J

ur
Tpts. II
# j j j
III & # j #
j

j

j j


j

j j

P

? # J J J J J J J J J J
I J
e w

Tbns. II
?
J

J
#
J
J
J
J
es
J

J

J
J

J


? j # j J J
ir
J J J J
III
J J J
e
? j j
qu

j j . . . .

Tuba

& # N
s i

Mlt. Perc. J J
? j j j j j j j

v
R

Timp.
f
j j

Perc. I
J J J J
e
e

Perc. II

j j j j j

lU

& # n #
# J J J

r

J J
j j
Pno.
j j
?

j j

j
j
j
J
P
a

145

eg

N # N
I & J J J J J J
Vlns.
j j j j
j
L

& # #
J J J J J
II
#
j 4
j 4
j 4
j
B # #
# J J J J
Vla.
J J
. .
4 4

# j
3
. .
2
? j
o

Cello J J
. .
. .
o
? j
Str. Bass j J J

139 140 141 142 143 144 145
31558S
 20 >
J # > > > > > U
I &
S
J > b > > b > b > b > U
Fls.

II &
> S
J > # > U
Ob. & >

>

>

S
# J > > > > > > U
I & #
S
# J U
Cls.
II & # n n n n
> > > > > >
## S U
&

y
B. Cl.
n # # #
> > > > > >
S
? b > > > # > # > # > U

e
Bsn.

nl
S
# > > > > > U
#

as
I
&
II >
Hns. S U
#
& n b b b b
III
> # # #
IV
>

ch
> > > S>
# > > > U
& # J

O
I #
> > > S
## U

ur
Tpts. II & n n n n
> > > > S>
## U
&

P
III
> > > > > S>
> b > > b > b > b > U
e w
?
I

> > >

es > >
S
> U
Tbns. II
?
ir
S
? b > > > # > # > # > U

e
III
qu

S U
? b
Tuba
j > >

>
# # #
> > S >>
> > > >
s i

# > U
Mlt. Perc. & #
f S
v
R

Timp.
?
> > > > > >


e

Perc. I
e

> > > > > >

S

Perc. II

lU

> > > > > S>

r

> > >

# > >
b
b b

U

& J b #
> S
>
P

>
j bb U
a

Pno.
? # # #
# # #
> > > >
eg

> > > > > ,

J # > U
I &
> S
L

,
b > > b > b > b > U
Vlns.
J
II & #
S
> > > > >

,
Vla. B J > b b b b U

> > S ,
Cello
? j b > # > # > # > U

> > S ,
Str. Bass
? j b > # > # > # > U

146 147 148 149 150 151 152
S 153 154
31558S
 155 Molto meno mosso ( = 72) 21
163
I &
Fls.
&
II N

Ob. &

# 3

& #
3

I
Cls.
##
II &

#
& #

y
3
3
B. Cl.



Bsn.
?

nl
3
3
#

as
I
II &
Hns.
#
III
&
IV

ch
#
& #

O
I

#
& #

ur
Tpts. II

#
III & #

P
I
?
e w

Tbns. II
? es

III
?
ir
e
?
3

3

qu

Tuba


Mlt. Perc. &
s i

?
Timp.
v

Perc. I
> > >
e

Perc. II
> > >

lU

&
r

Pno. 3

?
3

3


P
a

155 Molto meno mosso ( = 72) 163

eg

&
I

Vlns.
3
&
L

II


Vla. B


?

Cello
3

3

?

Str. Bass
3
3
155 156 157 158 159 160 161 162 163 164
31558S
 22 171
(Violin I) ! !
Play

j ! ! !
& ! !
I J
S f
3
3 3 3 3 3 3 3
Fls.
& j
II
S f 3
3

&
Ob. J
S f
#
(Violin II)

& #
Play
J
! ! ! ! !
I
Cls. S !
!3J 3 3 f
#
3
j
3 3 3 3

& #
3
II
S f
#

y
& # j 3

.
B. Cl.
S
f
? . j

e
Bsn.

nl
S f
#
3

as
I
II &
Hns.
#
III
&
IV

ch
#
I & #

O
#
& #

ur
Tpts. II

#
III & #

P
I
?
?
e w

Tbns. II

III
?
es
? j
ir
3
Tuba
.
e
S f
qu

Mlt. Perc. &

? r j
Timp. .
s i

S
Perc. I
v

J
R

> S > >

f

Perc. II
J
e

f >
Choke
> >
e

S


&
J
Sj
lU

Pno.
?
3

3
r

.

171

! ! !

P

I & J !J ! ! !
S 3 3 3 3 3 3 3
3
eg

Vlns.
3
& !j ! ! ! ! ! !
II
J
S 3 3 3 3 3 3 3
L

B
Vla. J
S 3

.
?

Cello
J 3
S
.
Str. Bass
?
J
S 3
165 166 167 168 169 170 171 172 173 174 175
31558S
 Stringendo (gradually getting faster) 183 Tempo I ( =
. 112) 23
.
I &
.
.
3
Fls.
II &
3
3

Ob. & . .
#
I & #
3
Cls.
## 3
II &
##

y
&
3
B. Cl.

Bsn.
?

e
nl
3

#
&

as
I
II
Hns. f
# a2
III
&
IV
f

ch
## .
& .

O
I
f
# .
& #
.

ur
Tpts. II
f
#
III & #

P
f
?
I
e w
es f
?
Tbns. II
f
?
ir
III
e
f
?
qu

Tuba


s i

Mlt. Perc. &

f
?
v
R

Timp.

Perc. I
e
e

Perc. II


lU

&
r

Pno. 3
? 3

P
a

Stringendo (gradually getting faster) 183 Tempo I ( = 112)

eg

. .

I & 3
Vlns. 3
L

II & . .

Vla. B

3

Cello
?
3

Str. Bass
?
3
176 177 178 179 180 181 182 183 184 185
31558S
 24
. . . . . .
. . . . . .
I &
.
Fls. . # # # # #
II &

Ob. & . .

#
I & #
Cls.
#
II & # # # # # #

y
#
B. Cl. & # j j j j
n # n # n # n # n # #
? # # # # # #
J J J

e
J

nl
Bsn.

as
# j j
&
I
II b n b n b n b n b n J
Hns.
# j j j
III
& j

ch
IV b n b n b n b n b n #
## . . . . . . .
. . . . .

O

J
I & J J J

ur
# . . j j
Tpts. II & # # # # # #

J J
# j j j

P
III & # N j


? J J
e w
J J
I

? # # # #
es #
J J

J J
Tbns. II
ir
? # # # # # #
J J J J
e
III
qu

? j j j j
Tuba
# # # # # #

s i

Mlt. Perc. &

v
R

Timp.
?

J J J J
Perc. I
e

Perc. II
lU

j j j
r

j
& # # # # # N

Pno.
? j j
P

j j
a

# # # # # #
eg

. . . . . .
. . . . . .
I &
Vlns.
# # # # # j j j j
L

II & . . N


B # # # # # N
Vla.
J J J J
#
? # # # # #
Cello J J J J

? # # # # # J #
Str. Bass J J J
186 187 188 189 190 191 192 193

31558S
 195 Piu mosso 25
poco a poco acc.
J J #
I & J J J J J J
#
Fls.
J J
II & J J J J J J

b
Ob. & J J J J J J J J
# j j j j j j j #
I & # J
Cls.
#
II & #
j j

j

j
j j

j

j n
#
& # j j # n
. . . . # n
B. Cl.

y
# . .
? # J . . # n
Bsn. J # n

e
# j j

nl
#
a2
&
. . . .
I

as
II
Hns.
# j j a2
III
& N . . . . n
IV
#
# J

ch
I & # J J
#

O
# j
Tpts. II & # J J
#

ur

# j
III & # j j

#

P
. .
? J J
. . # n
I # n

e w
. .
?
J J
. .
es # n
Tbns. II # n
. .
. .
? J N J # n # n
ir
III

?
e
j j . . . .
Tuba
# # n
qu

# n

Mlt. Perc. & J
s i

? j
Timp.
v

j

Perc. I J J J

e
e

Perc. II


j j j
&

b #

lU

J J J J J J J
r

Pno.
j j
? j j
j j

j j j

j
# # n # n
P

poco a poco acc.

a

195 Piu mosso

J







b
#

eg

I & J J J
J J J J
Vlns.
j j j j j j
&
II b
L

J J J J b
#
B
Vla.
J J J J J J J J J J

. .
? # J
. . # n
Cello J # n

. .
? # J . . # n
Str. Bass J # n
194
195 196 197 198 199 200 201
31558S
 26 Presto ( = 120)
207 poco a poco acc.
. . . . . .
I &
Fls.

& J J J
II J J J
j j j

Ob. & J J J
# j j j

I & # J J J
Cls.
#
II & # N n

j j

j j

j j

y
#
B. Cl. & # #

j j

j j

j j
b n
? j j j j
# #
j j

e
Bsn.

nl
# j j j j j j

as
I
&
II n
Hns.
# # j j j j j j
III
&
#

ch
IV

#
& # . . . . . .

O
I

# j j j

ur
& # b n
Tpts. II J J J
# n j j j j j j
& # N

P
III

?
# J J J J J J
I #
e w

Tbns. II
?
# #
es

J J

J J

J J
? j j j j j j
#
ir
III #
j j
e
? j j j j

qu

Tuba
#
#
Mlt. Perc. &
s i

? j j j
Timp. j j j
v
R

J J J J J J
Perc. I
e

Perc. II




& J J J J J J
lU
r

Pno.
? j j
j j j j
#
#
P
a

207 Presto ( = 120)

poco a poco acc.

eg

I &
j j j
j j j
Vlns.

b
L

II &


#
B
Vla.
J J J J J J
j j j

?
#

Cello #
J J J
j
?
#
J
J J J J
Str. Bass #
202 203 204 205 206 207 208 209
31558S
 ( = 126) 27
. . Prestissimo

& J J J
U

I J
Fls.
j U
& J J J J
II J
j j j U
Ob. & J J J
# j j j j U
I & #
J J
Cls.
# j j j U
II & # j j
j
# U
B. Cl. & # j j
j

j

j j





j

y

? j j
j j
j j
j U
Bsn.
# j U

e
j j j j j j

nl
I
II &

as
Hns.
# j j U
III
& j j j j

j

IV
# . . j j U

ch
I & # J

j

O
# j j U
& # J j j j
Tpts. II

ur
# U
III & # j
j j
j j j

U

P
I
? J J J J J J J

U
e w
? J
Tbns. II

?
J J
j j
J J
j j
J J
j j
es
U
III J
ir
? j U
j j j j j j
e
Tuba

qu

J J J
U

Mlt. Perc. & J
j j j j j j U
s i

? j
Timp.
j j j j j
U
v

Perc. I J J J J J J
U

e

Perc. II

e

J

U
& J J J J J J
lU

j j j j j j U
Pno.
? j
r

Prestissimo ( = 126)
j
P

U
a

I & J J J j

eg

Vlns. j j j
j j j U
& j
II

L

j
B
U
j
J J J J
Vla.
J
j j j j j

?
j U
Cello J
U
Str. Bass
? J J J J J J J
210 211 212 213 214 215 216 217 218
31558S
L
P
eg
a
r e
lU v
e
s i
R e
e w
qu
ir
es O
P
ur nl
ch
as y
e