Flauto piccolo
Flauto I, Flauto II (Flauto alto)
Oboe I, II, Corno inglese in Fa
Clarinetto I, II, Clarinetto basso
Fagotto I, II, Contrafagotto
Corno I, II, III, IV in Fa
Tromba I, II in Do
Trombone I, II
Trombone basso
Tuba
Timpani
Percussioni (3 esecutori):
Waterphone grande*, Shaman’s drum*, Pietre piccole, Fischietti per uccelli, Fischietto, Templeblocks, Triangolo, Piatti, Campane tubolari, Bicchieri di cristallo*, Vibrafono, Marimba grande,
Glockenspiel
Arpa I, II
Celesta
Pianoforte
Violini I, II
Viole
Violoncelli
Contrabbassi
All instruments are written in concert pitch with the exception of Piccolo and Celesta (an octave higher), Glockenspiel (2 octaves higher), Contrabassoon and Contrabass (an octave lower).
*See percussion’s performance notes for more details.
Performance Notes
All harmonics are notated at actual pitch, except for the harp’s harmonics, which sound an octave higher than written.
All glissandi must be molto ad libitum and generally very slow.
All tremoli are unmeasured unless otherwise indicated.
The sul ponticello sound must be extremely distorted.
All flautandi must sound very airy.
The differences in tone color between ordinario, flautando, sul tasto, and sul ponticello must be exaggerated. Here, tone color is more important than precise pitch.
All glissando poco indications for the woodwind instruments are to be executed by bending the pitch through changes in embouchure. These glissandi should be free, slow, and resemble a sigh. The expressiveness of the glissandi is more important than pitch accuracy.
Follow dynamic and articulation markings precisely. In some sections, these vary greatly between instruments; it is important to resist the naturaltendency to always blend the sound.
Piano, celesta, vibraphone, and tubular bells: Follow pedal markings exactly; do not “clean” the harmonies.
Waterphone: Preferably use the Megabass 16-inch diameter (40.64 cm) model. This instrument plays a solo role and is essential to the soundscape of this piece. It may require a specialized performer. The Waterphone can exercise rhythmic and interpretative freedom, aiming to create an imaginative and magical soundscape. Explore and discover the most unusual, imaginative, and otherworldly sonorities.
The Waterphone may explore rhythmic and interpretative freedom to create an imaginative and magical soundscape, seeking unusual and otherworldly sonorities.
Shaman Drum: If a Shaman drum is not available, a talking drum or a medium-sized tom-tom may be used as a substitute.
Crystal Glasses: Crystal glasses should be filled with water to achieve specific pitches. They are played by gently rubbing the rim of the glass with the fingers while pressing down lightly. Amplification may be necessary. Use the highest quality crystal glasses to achieve the best sound.