INSTRUMENTATION

-
2 Flutes (lst-Piccolo) . .. .*
Oboe gt"s*rf,
(2 crystal
English lIorn (2 crystal glasses --5-
2 Be Clarinets :
2 Bassoons

4 Horns in F
2 Trumpets in C
3 Trombones (3rd-Bass)
Tuba

Piano/Celesta th! *h Fft r)

drum 6m-B

Timpani

Violins I
Violins 2
lnstruftnB harcd by both pcrcurionists: b.phon., tlftthsp.t.
Violas mlmb, arottlB (antiqua cybls) fchrom(ic daw *!
'Cellos mountcdl, elr (phycd by pcrcussionisr I)

i C. Basses (2 C. Bus bows rcquicd for .arco- playing of vibcs. crotalca and bm{am.)

WINDS

Score is in C. Instruments are notated where they sound except for instruments which transpose at the octave or double octave:
i.e. piccolo, glockenspiel, crotales, celesta, contrabass.
"Celestial Choir" at various moments throughout the score the orchestral members are required to sing: l-11,4246,
[measures
I8G I 95. 237-2441. The choral effect should be that of a distant "ethereal chorus.' It ii important that the orchestral
players
sing the pitches in the exact notated register. Men may need to sing'falsetto' in order to sing in the register indicated.
No
vibrato should be employed. A pure, delicate child-like quality, like that of a boy's choir, is what is intended.
Oboe and English Horn also double on crystal glasses. The crystals should be taped to small stools next to each player.
The glasses
should be of high quality and pitched closely to the specified pitches or slightly above. The crystals can e tuned exactly
by
adding an appropriate amount of water to each glass. The glasses are played by rubbing the edge of the glass with .,wetiedi'
fingertips. The fingenips and glasses should be free of any oil in order to maximize the crystal'iresponse and projection
of
sound.
Notation: Accidentals apply only to the notes they immediately precede. Accidentals also remain in effect for all tied and
immediately repeated notes.

X - cancels previous meter music is timed

- framed in
- 'li I | = fs, .,fffi : f5 aspossible
seconds and the rhlthm is interpreted proponionately.

harp octave harmonics sound an octave higher than written

,J. = subtraction dot subtacts % the durational value of the
t-----r - dot following the note, i.r. .d.= !7iT
string octave harmonics 1f; sound where wrirten
)_ sneak entrance: {-)
P teIl<p
l.v. = let I'ibrate (lasc. vibr.)

ffi = depress keys silentiy (piano)

2 boards ('clusterboards'!) must be constructed which cover the
entke keyboards for both piano and celesta.
l-- = no distinct.ut on,.pn- .

r-l : grace notes just before the beat

-fr)
dynamic values are not absolute but are relative to the context in
which they occur.

f-r : grace notes on the beat.

l
' ,J = square nores indicate string pizzicato.
 /or bkos Fos and thc Ameicon Composen Ochestra
JOSEPH SCHWANTNER
coxcT scoiE RTONES OF TNFINITY l#rrio . ..,ril
(coLtJoned b! the Ameen Composers Concerrs)

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.. Aftertones of Infini0..
Dreams fmm a dark millennium-
empyreal Yisions,
yague myriad tendrils floating
on an eternal voyage,
journeying primordial pathways
through cosmic cauldrons,
to afterworlds beyond the edge of forever.
celestial voices echo the lost dreams
of the children of the uniyerse- (opn8hr c t979 bt C F pcr Crparon
the aftertones of infinity. l7l P!'t 4\.E Solrh N.r Yort. N y tmt
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