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EDGARD VARESE AMERIQUES Revised and edited by CHOU WEN-CHUNG COLFRANC MUSIC PUBLISHING CORPORATION New York General Agent: @.C. KerDy Itd. 196 DAVENPORT ROAD TORONTO 5, ONTARIO, CANADA (416) 922 9994 AMERIQUES Although che manuscript of AMERIQUES beats the inscription of 1922, the composing was apparently completed in 1921. It was revised in 1927 with a reduction in instrumentation, eliminating seven woodwinds, eight brasses and a few percussion instruments. The revision involves a considerable amount of reoschestration and some substantial omissions, addi- tions and replacement of certain passages. There are also some changes in dynamics and performance instructions. ‘The premiére of the original version was given in Philadelphia by Leopold Stokowski and the Philadelphia Orchestra on April 9, 1926 at che Academy of Music; the first performance of the revised version was given in Paris by Gaston Poulet and the Orchéstre des Concerts Poulet on May 30, 1929, at the Maison Gaveau. ‘The original version was published in 1925 by J. Curwen & Sons of London and the revised version in 1929 by Editions Max Eschig of Patis. The Curwen edition is full of misprints, including nor only wrong pitches and time-values but also an excessive number of missing, misplaced and mistaken dynamics, ties, slurs, accents and special signs or instructions. There is no manuscript of the revised version, Instead, there exist two copies of the Curwen edition in which Varése has pasted new pages over the old, inked-over parts or deleted measures, and otherwise made revisions and additions. There is no evidence (and it appears unlikely) that Vardse ever proofread the Curwen edition — certainly not against the manuscript. At any rate, most of the errors found their way into the Eschig edition and some even became incorporated in Varése's revisions or additions. The Eschig edition, appearing to be an improvement, actually represents a further mutilation of the score, contributing an even larger share of misprints and omissions. While there is again no evidence of anything more than a cursory check by Varése, he apparently did make a number of revisions and deletions in the master copy of the Eschig edition after it was prepared. These are mostly in the percussion, out of practical considerations in the disposition of percussion among players. He however also made some revisions in dynamics, some of which may have been influenced by the misprints. In the early 1960's, anticipating proposed recordings, he again made a few corrections (some prove to be misled by misprints), additions and deletions in two reference copies of the Eschig edition, The present edition is based on the Eschig but with corrections made on the basis of collating all details thac are at variance with one another in the following: manuscript, Curwen edition, the two copies used for preparing the revised version, the Eschig master, and Varése’s reference copies bearing his last changes. Also consulted are a copy of the Curwen apparently used by Stokowski for the first performance, and another used by Varése at chac time. In all such matters as dynamics, accents, ties, slurs, numbering of instruments, use of mutes, instructions for percussion, whenever doubts exist an evaluation is made as ii regards their clarity and consistency, their relation to the structure and texture of the passage in question as well as of similar passages. Priority was given, in order, to (1) the manuscript unless there are reasons to believe revisions have been made in subsequent versions; (2) the two copies of the revised version by Varése for added or revised materials unless there is suspicion that further revisions or errors have been made; (3) the Eschig master for revi- sions made therein afterwards unless such changes appear to be questionable; and (4) Varése's reference scores for new additions and revisions made shortly before his death. ‘Whenever such signs are missing, in confusion, or exist in contradictory versions, they are, as the case may be, supplied editorially, clarified, or collated as much as circumstance permits. If not, no new information is added. ‘The composer's style in notation and format for scoring are retained, except where it is fele that common practice today demands modification for ease in performance such as the elimi- nation of the C clef for bass-clarinet. Cancellation and cautionary signs, certain chromatic spellings, abbreviations for instruments, and translated terms for percussion are by the present editor. The percussion parts in this edition still exist in the original format with the instruments assigned to staves regardless of the player in question, conforming to the practice at the time the work was composed. This disposition of instruments (not included in the Eschig edition) involves some problematic doubling by some players. Taking advan- tage of today's practice of employing more than one of the same smaller instruments to be distributed among the players when necessary, and of sharing the same larger instruments by players, a new disposition is devised for this edition. The players are specified in the score by circled numbers. ‘The number of corrections is so large that it is impossible to enumerate them all. The following lists only those that require explanations and those made by Varese in the Eschig master and subsequently: (Legend: V — Varése; MS — manuscript; CE — Curwen edition; RV — the two copies of the revised version; ME — Editions Max Eschig; MEM — Eschig master; RC — Varése's reference copies of the Eschig). Abbreviations for instruments are samé as in score; all page and measure numbers refer to this edition. p8-m3 Throughout this passage (up to p.10-m.2), I. part is often erased or simplified by V in MEM, apparently due to practical consideration as the player according to V's disposition also plays Tab, and G, (actually Tam Tam). Although the new disposition makes it possible to restore some omissions, it is felt V's simplification and consistent omission of certain figures have changed the part's character and therefore no restoration should be attempted. (In m.4, the 4th beat is erroneously copied in ME.) p8-m7 Agité, added in MS in ink, is retained in RV but missing in MEM. Accdo was apparently then added in MEM at next measure. Since placement of Agité seems more logical than that of Accdo, MS version is restored, C.Brn. part, in all versions except ME, is not erased in MEM afterwards. Restored. Its dynamic, missing in all versions, is editorially provided. p9-m.5 LR. part in this measure is added by V in MEM, replacing its part in preceding ‘measure and in p.10-mm.1,2 (erased in MEM). This is again due to disposition of percussion as the player also plays Glock. Restoration of original version is not possible with new disposition for the same reason, p.l0-m4 Left-hand part of Harp 1 should be in G clef which is missing in all versions. Right-hand part of Harp 2 is not in harmonics, an error first appearing in CE. p.ll-m2 Sm. pare is added by V in MEM. p-ll-m3 Rae part in MS is reassigned to B.Ds. in RV. The first cime it appears (p.3-m.2) it is added to B.Ds. part. While V provides brush and stick to differentiate the ewo parts, he does not specify which B.D. is to be played with wire-brush. In ME, however, B.D.1 has “Mailloche” and B.D.2 “Bal, Metall.” ‘This specification, which is important since B.D.2 has tightened head, is accepted as V's decision. In the present passage (p.11-m.3 to p.12-m.2), ME gives no information on Rate part, although in RV, V incorporates most of Rivfe part in B.Ds. part with brush and stick added, This passage has now been revised accordingly, incorporating the complete Rute part of MS (as suggested by the unchanging texture). Although in contrast to previous passage V indicates brush for B.D.1 here, it is decided to follow consistently specification in ME. p.12-m.6 ‘The tempo is given in CE and ME as J = 92, an unlikely one. It should be 4 = 92. The 4 in MS does look somewhat like J. But the return of this passage (p.60-m.3) as added in RV clearly bears the latter tempo. p.l3-m2 Here, two measures later, and at p.18-m.3, p.19-m.5, p.60-mm.4,5, p.61-m.2, W. part is erased in MEM due to disposition. It cannot be restored. p.13-mm3,4 Percussion parts at p.61-mm.1,2 in this new passage in RV are practically identical with those at p.13-mm.3,4. ME leaves out R, (but retains L.R.) on p.13, probably by mistake, as the part is made obscure by the deletion of another part in both RV. At p.61 MEM is same as RV, with R, having a quarter-note in m.1 tied to the whole-note in m.2. Quarter-note is later erased in MEM. L.R. part in m.2 is deleted in RC by V. Both deletions are necessary as R. and LR. are played by same player. Although an identical situation exists at p.13-mm3,4, it is decided not to delete L.R. and restore R. in mA, The cresc. of brasses and gliss. on Trbs. may well justify choice of LR. instead of R, p.l4-m.1_ In Trp.1 solo, transformation of the open Sths motive to the inclusion of a tritone (B’-E), as in ME, is inexplicable. Both MS (for Z’ Trp.) and CE have a perfect 5th (B?-E). There is no indication of tampering with the 2nd note in MEM. p.l4-m3 The number of Bé Cis. is not given in ME. In RV, V adds two Fis, and specifies 43 for Clb. part. But in one RV a3 is replaced by 1° in pencil. 2 Fis. doubling E* Cl. and 1 B® Cl. appears to be a more logical choice, particularly since the other voice consists of Bs. Cl. and 3 Bsns. Also, in MS the distribution is E Cl, 2 B? Cls. and 2 A Cls, against Bs. Cl. and 4 Bsns. p.l5-m3__In transposing Fi. 4 part of MS (G-C*) for Also Fl. V inadvertently spells it as C -C# in one of RV and C -C_ in the other. ME has latter form. The last 8th-note should be F# to conform with the unison here, Octave position is determined according co distribution of instruments in next measure, p.l6-m.1 In RV this measure is pasted over and metrically revised to lead to the added passage. In doing so, V's placement of fluttertongue signs are somewhat different from MS. The two RV copies do not agree with each other either. Obs. now have flutcertongue in this ‘measure but not the last 8th-note of preceding measure. In the return (p.44-m.4) where ‘MS has same distribution of fluttertongue, CE has no such indications for any woodwind; and there are no corrections by V in RV. It is therefore decided to restore MS's distribution for both occasions. (Obs, fluttertongue could not be demanded for timbral reasons, as this is a unison passage involving fluttertongue on Piccs., Fis., muted Trps. and tremolo on strings and Xi.) p.l7-m.1 In this new passage in RV the last quarter-note in S.D. part has a grace-note, It is erased in MEM and replaced by a marcato sign, p.18-m6 Heck, in ME has the same low F# as in MS but with 8e Basse added, which brings it out of range. Examination of MEM reveals that the note was first copied an 8ve too high. The sign was apparently then added, Subsequently the note was moved down an 8ve while the sign was left intact. p2l-m8 W. part is erased in MEM due to disposition. In view of V's simplification of W. part in two similar passages (p.8-m.2 to m6 and p9-m.2 to p.10-m,2) restoration here, though possible, is not warranted. p.22-m5 Percussion parts are added in RV (in a revised passage). Dynamics for these parts are altered by V in MEM. p.23-m2 Tamb. part is added in one RV. First 8th-note is erased in MEM. p.24-m.1 G* for Hn.1 held over from preceding measure is added in MEM. p24-m5 Trill for CI.1 should be G-A*. Mistransposed (from A Cl. in MS) in RV. p.25-m.1 Gliss. in Harp 2 part begins and ends on the same chord. Alll versions have a low A_ instead of B? in the last chord — an obvious slip in MS. p.28-m4 Byn.1 has C* not C . Mistransposed (from A Cl. in MS) in RV. In next measure it drops to B at the 8th-note by mistake in one RV. Con sord. signs for strings are partially removed in MEM, with sans added in place of con. (In all versions, Italian and French terms are used interchangeably or mixed.) This however does not seem to apply at p.31-m3, where strings should be muted, as at p.88-m.4 (MS and CE have con sord. for these passages. In RV and MEM there are conflicting indications, but in each case the cancellation signs for all strings following these passages remain intact.) Mutes off at p.28-m.4 and on at p31-m2 are justified by the texture in each case and seem to be V's intention. It is acknowledged that there is very litele time for putting regular mutes on, p.29-m.1_ In ME Cl.2 has E-E-F-G*. This is because V forgot to transpose Ob.4 part (D-E-E*-F*) of MS for CI.2 in RV, except the firse note. p.29-m4 Tamb. part is erased in MEM throughout this passage due to disposition. Since it is removed for the whole section and its part is duplicated by §.B. (in m.5 it lags one beat behind, an obvious slip by V in MS), no attempt has been made to restore it. The quarter- notes in G. part (in MS and RV) are erased and replaced by sustained notes in MEM. Suspendue for C.Cym, is also erased and sec, added. 8th-notes in C.Cym. and Tri. parts throughout this passage are sometimes misplaced in CE and ME. They are now revised according to MS p30-m3,4 Picc.1 and E* Cl. are added by V in RC. p32-m.1 For this passage and its development at p.88, the question of mutes for Hns. and strings is clearly and consistently indicated in MS. They are less so in CE, erratic and misleading in ME. In MEM, here and at p,88-m.4 where con sord. could have been, there are signs of erasure, some too long for this cerm. Since (1) errors and omissions are so numerous in ME, (2) erasures are frequent in MEM, not all of which can be reasonably attributed co V, (3) some changes by V might have been influenced by inaccuracies elsewhere in MEM, and (4) these passages are clearly conceived with muted Hns. and strings, (the intent of which is clearly indicated in MS), the use of mutes for Hs. is now specified according to MS. p32-m3 In ME gliss, passage for Cl.3 ends with written F. This is because its part is transposed from A. Cl. (in MS) which caused V to put in one note too many in RV. Pice., E® Cl.and Cl.1-2 parts are also corrected. p36-m3 From here to p.40-m.1, Trps. parts have been rewritten in RV. Use of mutes for the 6 Trps. is involved. Because these parts are written on two staves, ME fails to specify clearly when the mute is on or off for each instrument. This is now clarified mostly according to RV but occasionally editorially provided (when it appears uncertain in RV). p37-m.1 Hs, are left out in CE and ME without reason and not erased. p.38-m.1 Last note (dotted 8th) of Timp.t is erased in MEM but restored by V in RC later. p40-m.1 LR. erased in MEM due to disposition as player also plays Glock. Not restored for same reason. p4l-m4 W. part throughout this passage (to p.42-m5) is erased in MEM due to disposition, Can be restored only at p.41-m.4. In view of nature of passage, restoration is not warranted. p-44-m.2 Here, as at p.15-m.2, V replaced all 16th and 8th rests (in MS) by 8th and quarter-rests respectively. ME is mixed up here. Corrections are made according to RV. p47-m6 Here and on p.43 Trps. parts are revised in RV. Ties for the two Dé octaves appear to have been left out by V inadvertently. At p.43-m.2, a tie is found in one of the RVs and in MS (for E' Trp.). p.50-m.3_ In ME the first 8th-notes for Obs., EH, E? Cl. and Bé Cls, ate not tied over from preceding measure. This also happens in the two V/s. parts (with an additional G’ and C respectively on the down beat). This conforms to RV, in which all except Obs. are in V's handwriting. Apparently without checking MS, V used Obs. parts as printed in CE as model (whereas ties are provided in MS) for new unison parts. Therefore, V's handwriting notwithstanding, ties are now added to these woodwind parts and Vs. parts are revised co conform to Harp part. p52-mm2,3 Harp part added by V in RV is left out in ME by mistake and not erased in MEM. At m3 and p.54-m3 R. and LR, parts are erased in MEM, apparently, according 10 V's disposition, because the player also plays Glock, which, with X9l., are added in RV. Not restored for same reason. p.53-m4_ In this and two following measures the added part in RV is specified as for S.D. and W., sharing same note-heads but with different stems, Only 5.D. is copied in MEM. In view of similar doubling on pp. 55,56, W. is restored. G. is revised from tremolo to a single stroke and erased at p.54-m.3 in MEM. p54-m3 Bs.Cl. note is given as F instead of F* in every version — an obvious error in MS. It doubles Trb.2, which has E. (In MS Contra-Bs.Cl. has F* doubling Trb.5.) p55-m.1 Glock. pare is originally for Xyl. as added by V. in RV. Apparently changed for ME (pencilled mark is vaguely visible). p58-m.3 The dynamic signs > < > in MS become < > over the 8th-note (replacing the tie) in CE, and deteriorate into an accent for the second note now without a tie in ME — an example of numerous such cases. Last quarter-note of Harp 2 has to be C’ bur is given as Cin CE and ME. In MS it is copied as C but the natural sign has been partially scratched to look like a flat. p.59-m.1_ Bb of Bs.Cl. and A? of Harp 2 in MS are changed by V to Band A in RV. The E of Harp 2 in ME is an error. It remains E?. p59-m.3 In MS and RV Ve. has p against mp of Trb.5 and Tuba. ME has latter as p erroneously. Apparently Vc. is then changed to pp in MEM (the second p being clearly added afterwards). p.6l-m.3 Dynamic marks throughout this passage have been changed several times. In MS winds and brasses are to play off-stage at very high dynamic levels. In RV off-stage instructions are omitted and these instruments are reassigned very low dynamic values. Levels for strings are also readjusted. There appear to be further modifications for ME. Some marks in MEM also appear to have been altered afterwards. Therefore the marks in ‘MEM are accepted as final, except where misleading errors are detected. For example, at m4 in MEM Vas. part has ponticello and so does Vis.2 next measure. The level for both has been changed afterwards to mf. But ponticello was misplaced over Vas. in CE (naturel for Vias, at p.62-m.1 also appears to be added afterwards). Therefore once this ponticello is removed the mf here must also be changed. p.63-m2 In MS Cym. and Tamb. are in 4/4 and so is Tamb. in next two measures. (Cf p.62.) Most of the quadruplet signs are missing in CE. None appears in ME. Correcting this rhythmic confusion in MEM, V made both parts conforming to 3/4, thereby changing their textural function. His consideration could be that Tamb. and G. (in 3/4) are played by same player and that Gym. doubles Tamb. In view of this, MS version nor restored. p.3-m3 In transposing A Cl. part (in MS) to E.H. in RV, V wrote two wrong notes which are further corrupted in ME, ‘The part simply doubles Vlas. W. in this and next measure is erased in MEM due to disposition. Its part (in 3/4) is probably questionable now that Tamb. is in 3/4, In m4 G. is altered in MEM to begin tremolo one beat sooner than MS, as in one of the RVs. p.63-m4 V added 43 to Hn.4 part and changed dynamic (ff in MS and p in one of the RVs) tof in MEM. V1s.2 is written an 8ve too low in MS. Corrected in ME (Cf. next measure). p.65-m.1 LR. erased in MEM due to disposition. Still cannot be restored. .66-m.2 In RV three Cls. share one stave and their second attack is written as a quarter- note tied to an 8th, followed by an 8th-rest. This would mean Cls. articulate the same chord an 8th sooner than the others. Yet all attacks are lined up vertically including Cls. It is assumed then that the quarter-notes should have been 8ths. p.67-m4 This section is added in RV. Fls.1 and 2 are on separate staves with 8ve sign over F/.1. In ME they are copied on same stave without 8ve sign. p.69-m.2 In this and next two measures woodwinds are added in RC. p.70-m4 In this added passage in RV, the quintuplet figure V has in the first beat of Xyl. part is obviously a slip, since the part is in rhythmic unison with woodwinds and strings p.7l-mm4,5 ME has F for B? Cls, but both RVs have A in this added passage. p.72-m.3_ From here to p.73-m4 Sm, is added in MEM afterwards. p.74-m.1 In MS the tempo is 208 (as at p.83-m.4), not 200 as in RV and ME. There is no indication of revision in either. Tubas are notated in MS in 32nd-notes for ten measures before switching to 16th-notes with staccato signs. They now conform consistently co the other parts, p.74-m2 B.D. and Cym. share same note-heads in MS and SE, ME leaves out B.D. (three times on this page) but retains double /.. signs. On next page B.D. does appear in ME with dynamics (shared with Cym. in MS and CE) still missing — an example of numerous similar omissions. p.75-m.6 Piz. for Vis.1 in MS and CE is transferred to Harp in ME — another example of common occurrence. p.76-m3_ G. has a 16th-note in MS, although ic is consistently in 8th-notes in the rest of passage, p90-m.1 A single attack of W. erased in MEM due to disposition. Now restored due to new disposition p.92-m.1 B.D. 1 missing in MEM, not erased. Restored. p92-m2_ Throughout this passage accents and staccatos for Hs, Trbs. and Tuba are correlated to Timp. parts, although there ate some slips in MS, In ME these have become erratic. Now corrected. In addition to diverse functions assigned to them in MS, B.D. and Cym. are further assigned to double Timp. at times (at a lower dynamic level) in RV. Many dynamic marks are missing in ME (the parts themselves ate missing at p.96-m.1). Now restored according to MS and RV. p93-m3 The first 16th-notes for Trps. (in MS) are missing in ME. In changing the parts of Eb and D Trps. for C Trps. in RV, V recopied preceding measure and pasted new parts over this and following measures. In so doing V apparently left out these notes by oversight. (See Vis.2, Obs. and EH.) p94m.1_ G. cresc. ends with fff in MS and CE. In MEM it is erased and replaced by /. W. erased in MEM due to disposition. An unsatisfactory omission restored by V later in RC. Similarly at p.98-m.1 the third Tamb. triplet is erased in MEM. Following V's precedent this unsatisfactory omission is now also restored. At p.94-m-.1, p.95-m.1 and p.106-m.1 LR. is erased in MEM due to disposition. Cannot be restored. p94-m2 MS,CEand ME all have D for Vlas. It obviously should be D’, Harp part has been enharmonically respelled in MEM afterwards. p.95-m.1 Xyl. part has one quintuplet followed by rests in MS. Rests become repeat signs in CE, Thus, in ME Xyl. repeats this figure three times more after the end of susti passage p.95-m3_W. removed by V later in RC. Although it might have been due to disposition, the omission is consistent with character of passage especially since Rate part (in MS) is now completely eliminated. Likewise, W. at p.106-mm.2,3 is erased in MEM probably because of omission of Rute rather than disposition. p.96-m.3 ff for Glock. and Xyl, erased and replaced by f in MEM. Tamb. erased in MEM because of the presence of Glock. and Xyl? (Cf. orchestration at p.94-m.1, p.107-m.3 and viti p.109-m.1.) Similarly W. at p.98-m.3, p.99-m2 and p.107-m2 is erased and replaced by Tamb. in MEM apparently for orchestration, not disposition. p.97-m.1 In MEM the whole note of R. here is erased and replaced at one beat later, the dotted half-note at p.110-m3 is replaced at two beats later, and completely erased at p.112-m4, All due to disposition. Cannot be restored. p.100-m.1 ‘The repeat attack in W. part is obviously omitted by mistake in MS (see two ‘measures later). Now added. p.105-m.1 The rhychmic figures for Trps.1,2,3; Vls.1,2, and Vlas. are all in sextuplets in ‘MS. Sextuplet sign for Trps.1,2 (6 Trps. in MS) was apparently crossed out later. In CE the top Trps. part is in conformity with a sextuplet but without its sign. In the other two Tops. parts dots after 8th-notes are missing. String parts are the same with dots missing in lower parts, although sextuplet signs are intact. V pasted over Trps. in RV and recopied the three parts on one stave. In his figure the last note now is a 16th. (In one of the RVs there is also a wrong note.) But he did not change string parts. In ME Trps. have a regular quadruple division of the beat, and strings a correct sextuplet figure (although the dot in Vlas. part is still missing). Since (1) at beginning of passage, p.92-m.2, Trps. have the same rhythmic figure, (2) triple subdivision of 8th-note takes place several times in Trps. part throughout this passage, (3) Trps. (doubled by some strings and woodwinds) are in cross thythm with Trbs. and Hrns,, (4) nowhere else are Trps. in 16th-note rhythmic unison with the latter, and (5) the Trps. shythm cannot be at variance with strings, the editor decided that the Trps. figure should be restored to a sextuplet. However, to conform with V's practice in this passage, the figure is now given as it first appears on p.92. p.107-m3 Accidentals for trlls are added by V on MEM. Cl.1 trills with C’, not Cas given by V. (See V's footnote on trills.) P.109-m.2 Trills for woodwinds are left out inadvertently by V in pasting over in RV. He did add an asterisk here for footnote on tills. p-109-m.4 Starting here slurs for strings erased in MEM. p-110-m2 V moved G. one measure ahead and changed its dynamic to f in MEM, probably because of disposition (1. is added; also 2 tremolo for G. at m4 is removed in RV). Gol legno for Vis‘1 is erased in MEM. p.110-m.5 _In one of the RVs Cb. has F* (as in ME) instead of E (in MS). This is because only one C.Tuba is now used (MS has ewo playing G? and E). p.112-m.1 ME has the first notes of Timp. parts a 16th-note ahead of the tutti chord. This is because V pasted over in RV all parts with 16th-rests and changed them to 8th-rests, but overlooked Timp. parts. W. and LR. are erased in MEM for disposition, Cannot be restored, p.1l3-m4 Here and in next measure Xy/, should continue doubling Vins. and Harps. It was left out in these measures in MS but was apparently pencilled in later. Now added. A grant from the Alice M. Ditson Fund of Columbia University which helped make this undertaking possible is gratefully acknowledged. CHou WEN-cHUNG INSTRUMENTATION 2 PiccoLos 2 FLUTES ALTO FLUTE (IN G) 3 Onos ENGLISH Horn HECKELPHONE, CLARINET IN E* 3 CLARINETS IN BP Bass CLARINET IN BP 3 BASSOONS 2. CONTRABASSOONS 8 HORNS IN F 6 TRUMPETS IN C 3 TENOR TROMBONES Bass TROMBONE CONTRABASS TROMBONE TUBA ConTRABASS TUBA 2 HARPS ‘Timpani (2 SETS) PERCUSSION: 9 Players 1 9. STRINGS Xylophone Chimes (Cloches) Triangle Sleigh Bells (Grelots) Low Rattle (Crécelle) affixed to a solid base Glockenspiel Lion’s Roar (Tambour & corde) Low Rattle (Crécelle) affixed to a solid base Whip (Fouet) Tambourine (Tambour de basque) Whip (Fouet) Gong (Tam-tam) Celesta Bass Drum 2 (28 Grosse Caisse) — head extremely tightened (la membrane extrémement tendue) Triangle Gong (Tam-tam) Bass Drum 1 (1¥ Grosse Caisse) Bass Drum 2 (28 Grosse Caisse) — from [3] to [4], with wirebrush (balais métal- Tique) (de [3] 8 [4], incorporer 2® grosse caisse) Crash Cymbal (Cymbale chinoise) attached to Bass Drum 1 Triangle Castanets (Castagnettes) Sleigh Bells (Grelots) Gong (Tam-tam) Siren (Sirénes) deep and very powerful, with a brake for instant stopping (grave et trés puissante, & main avec bouton d'arrét afin de couper net le son) affixed to a solid base Sleigh Bells (Grelots) ‘Cymbal (Cymbales) — both suspended and struck together (suspendue et &.deux) « Snare Drum (Tambour militaire) The following parts are played altermatingly by two or three players: Low Rattle by Players I and 2 Triangle by Players 1,4 and 5 Sleigh Bells by Players 1,6. ard 7 Whip by Players 2 and 3 Gong by Players 3, 4 and 6 Bass Drum 2 y Players 4 and 5 Double-headed.sticks are needed for rolls on Bass Drunes A suspended cymbal is needed for rolls (with sticks) called for the Crash Cymbal part: for best results, it's desirable to have an additional player to play the complete Crash Cymbal part. In the score, each player is identified by a circled number. EDGARD VARESE AMERIQUES evar sd sid by CHOU WEN-CHUNG Moderato poco lento (4-60) 2 Pleaon ‘Ako Mate (a6) 3 Oboe aglah Hore rine in BS hove in BS ant Clarinet i Bb 2 Beeone 2 Conrsbaseons Horm nF 6 Trampete in 1 Tener Trombone Ceca Ranene Conrabans Tae Harp Kags Boos aT Moderno poco lento (4-60) ‘© Timpanic Sounds Therigh hand wrikes the mont smorow part f the sounding ard with he tp of the Se flag. The lft handplaye onal cous © Copyright 1929 by Editions Max Eschig ® Copyright 1973 by Colfranc Music Publishing Corp., New York i ap Re PERF f * (B) animato motto mbit (4.112) Sehito a tempo 1 (J-60) “Morterto poco lento 1 om [ws fa in me Pim, i i crm ' mm: : ty Yay 2 Pn & abr ae Teh e CH ania met ain (4-02) eee tie Mote ps no vi ve o Sebitement awa! 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