Finale 2006c - [L'assaut sur la raison.mus]

Finale 2006c - [L'assaut sur la raison.mus]Volume 3
Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy
Produced on acid-free paper
TO WHOM IT MAY CONCERN
This is to certify that
(i) the thesis comprises only my original work towards the PhD except where indicated in the Preface*,
(ii) due acknowledgement has been made in the text to all other material used,
(iii) the thesis is less than 80,000 words in length, exclusive of tables, maps, bibliographies and
appendices or the thesis is [number of words] as approved by the RHD Committee.
Signature:
Date: 2 March, 2007
Dedicated to my father,
(b. Slovenia, 1926; d. Australia, 2000)
Table of Contents
Recordings – Folio of Compositions 2003-2007: Volume 3 ................................................................................vii
1. L’assaut sur la raison for Symphony Orchestra, no. 386 (2003) ........................................................... 1
2. Digressioni modali for Tenor Saxophone and Pianoforte, no. 387 (2003) ................................... 71
3. La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 ......................... 97
(2003, Rev. 2004)
4. Bénédiction d’un conquérant for Symphony Orchestra, no. 390 (2004) ................................. 175
5. Zambalogy for Harp, no. 391 (2004) ........................................................................................................ 245
6. Aequilibrium for Flute, Clarinet, Viola, Cello, Trombone, Piano and Percussion, no. 395 ............. 257
(2006)
Recordings
Compact Disc 2
à L’assaut sur la raison for Symphony Orchestra, no. 386 7:23
Performance at the Indiana State University 38th Annual Contemporary Music Festival, ‘Plugged In: Music
With an Electric Edge’, November 10-12, 2004
In celebration of the 2004 ISU Contemporary Music Festival/Louisville Orchestra Composition Competition
Recorded live at Tirey Hall, Tilson Music Hall, Indiana State University, Terre Haute, Indiana, USA, 12
November, 2004
Don Gottlieb – piccolo; Kathleen Karr, Jennifer Hackett – flute; Marion Gibson, Trevor Johnson – oboe;
Marianne Petersen – English horn; Andrea Levine, Timothy Zavadi – clarinet; Ernest Gross – bass clarinet;
Matthew Karr, David Horn – bassoon; Roger Soren – contrabassoon; Kenneth Albrecht, Stephen Causey,
Dennis Hallman, Diana Wade Morgen – French horn; J. Jerome Amend, James Recktenwald, Daniel
Kassteen – trumpet; Patricia McHugh, Joseph Parrish – trombone; Raymond Horton – bass trombone;
Daryl Johnson – tuba; James Rago – timpani; John Pedroja – percussion; Grace Baugh – keyboard; Mary
Julian Rapier – harp; Michael W. Davis, Sarah Reed, Katheryn S. Ohkubo, Cheri Lyon Kelley, Keith Cook,
Stephen Taylor, Scott Staidle, Nancy Staidle, Barbara Meek, Patricia Fong, Tamara Meinecke – violin 1;
Marcus Ratzenboeck, Clinton Grosz, Devonie Freeman, Elisa Spalding, Kimberly Griffiths, Charles Brestel,
Heidi Tracy, Judy Pease Wilson, Blaise Jessop Poth, Karen Lord-Powell – violin 2; Jack Griffin, Melinda
Odle, Jennifer Shackleton, Clara Markham, Joanne Wojtowicz, Jamie Hofman, Shannon Farrell, Fan Xiao –
viola; Susannah Onwood, Joseph Caruso, Christina Hinton, Alan Rafferty, Louise Harris, Deborah Caruso,
Julia Preston – violoncello; Sidney King, Patricia Docs, Robert Docs, Karl Olsen, Michael Chmilewski –
contrabass
á Digressioni modali for Tenor Saxophone and Pianoforte, no. 387 7:47
Recorded at Bias Studios, Springfield, Virginia, USA, 17 September, 2006
Noah Getz – tenor saxophone; Jeffrey Chappell – pianoforte
â La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 17:18
Performance at the International Society for Contemporary Music (ISCM) World Music Days 2005 / 23rd
Music Biennale Zagreb, 15-24 April, 2005, Zagreb, Croatia
Recorded live at Muzej Mimara, Zagreb, Croatia, 17 April, 2005
The Sonemus Ensemble (Bosnia-Herzegovina): Ališer Sijaric – Artistic Director; Vedran Tuce – bass
clarinet; Boris Previšic – flute; Julia Gubaidulina – pianoforte; Petar Haluza – violin; Conradin Brodbek –
violoncello
ã Bénédiction d’un conquérant for Symphony Orchestra, no. 390 (2004) 11:15
Recorded live at Theatro Municipal do Rio de Janeiro, Rio de Janeiro, Brazil, 27 July, 2006
Orquestra Petrobras Sinfônica conducted by Rodolfo Fischer
Marcelo Bomfim, Murilo Barquette, Luís Cuevas, Sammy Fuks – flute; Carlos Fernando Prazeres, José
Francisco Gonçalves, Janaína Peroto, Victor Astorga – oboe; Cristiano Alves, José Freitas, Paulo Passos –
clarinet; Elione Medeiros, Ariane Petri, Vadim Klokov – bassoon; Philip Doyle, Ismael Oliveira Jr., Josué
Silva, Antônio José Augusto, Francisco de Assis – French horn; David Alves, Nelson Oliveira, Vinícius
Lugon – trumpet; Jacques Ghestem, João Luiz Areias, Marco Della Fávera, Gilberto Oliveira – trombone;
Eliezer Rodrigues – tuba; Pedro Sá – timpani; Lino Hoffmann Filho – Percussion; Felipe Prazeres, Antonella
Pareschi, Gustavo Menezes, Dhyan Toffolo, Catherine Hazan, Fernando Pereira, Carla Rincón, Andréa
Moniz, Flávia de Castro, Nelson Abramento, Her Agapito, Verônica Gassler, Lesuratinan Lobato, Sérgio
Struckel, Wagner Rodrigues – violin 1; Carlos Mendes, Ricardo Menezes, Márcio Sanchez, Ubiratã
Rodrigues, Daniel Passuni, Camila Bastos, José Eduardo Fernandes, João Menezes, Henrique Eduardo,
Bailon Pinto, Cremilda Marques, Sérgio Rosendo, Vinícius Amaral – violin 2; Ivan Zandonade, José Ricardo
Taboada, Flávio Mota, Noemi Uzeda, Isabela Passaroto, Ana Maria Scherer, Helena Buzack, Sérgio
Bernardo, Daniel Prazeres, Fernando Thebaldi – viola; Hugo Pilger, Macelo Salles, Diana Lacerda, Mateus
Ceccato, Fábio Coelho, Lylian Moniz, Eleonora Rodrigues, Eduardo Menezes, Cláudia Grosso –
violoncello; Jorge Soares, Ricardo Cândido, Saulo Generino, Gael Lhoumeau, Sonia Zanon, Cláudio Alves
– contrabass
Recorded at Andrián Pertout Studio, Richmond, Melbourne, Australia
Programming by Andrián Pertout
å Aequilibrium for Flute, Clarinet, Viola, Cello, Trombone, Piano and Percussion, no. 395 (2006)
11:14
Performance at the Ljubljana Festival 2006, 19 June – 31 August, 2006, Ljubljana, Slovenia
Ensemble MD7 conducted by Steven Loy
Sunday, 30 July, 2006, Ljubljana Castle, The Estate Hall, Ljubljana, Slovenia
Ensemble MD7: Pavel Mihelcic – Artistic Director; Anamarija Tomac – flute; Joe Kotar – clarinet; Katja
Krajnik – viola; Igor Mitroviç – violoncello; Uroš Polanc – trombone; Luca Ferrini – pianoforte; Franci Krevh
– percussion
Compact Disc 3
à L’assaut sur la raison for Symphony Orchestra, no. 386 6:57
Performance at ACOF 2003 (Australian Composers’ Orchestral Forum) composition workshops with
Brenton Broadstock, Andrew Schultz, and the Tasmanian Symphony Orchestra
Recorded at the TSO Studio, Federation Concert Hall, Hobart, Tasmania, Australia, 19 December, 2003
The Tasmanian Symphony Orchestra conducted by Kenneth Young
Emma Sholl, Lloyd Hudson – flute; Joseph Ortuso, Dinah Woods – oboe; Duncan Abercromby,
Christopher Waller – clarinet, Lisa Storchheim, John Panckridge – bassoon; Wendy Page, Roger Jackson,
Doris Grant, Frits Harmsen – French horn; Yoram Levy, Bruce Lamont – trumpet; Donald Bate, Craig Russell –
trombone; Robert Clark – bass trombone; Timothy Jones – tuba; Matthew Goddard – timpani; Gary Wain
– percussion; Genevieve Lang – harp; Lynn Cole-Levy, Alison Lazaroff-Somssich, Susanna Lazaroff, Yue-
Hong Cha, Cherelle Gadge, Anthea Hetherington, Michael Johnston, Christine Lawson, Christopher
Nicholas, Rebecca Bertoncello, Rachel Bremner, Marina Phillips, Christina Sigrist, Stephen Tooke – violin;
Janet Rutherford, Rodney McDonald, Michael Muldoon, Elizabeth O’Connor, Anna Roach – viola; Sue-
Ellen Paulsen, Brendan Conroy, Ivan James, Brett Rutherford – violoncello; Stuart Thomson, Michael
Fortescue, Stephen Martin – contrabass
á L’assaut sur la raison for Symphony Orchestra, no. 386 ‘MIDI’ 5:09
Recordings ×Ø
â Digressioni modali for Tenor Saxophone and Pianoforte, no. 387 8:02
Performance at the First American University Saxophone Symposium Composition Contest, 25 March,
2005, Washington, DC, USA
In celebration of the 2005 American University Saxophone Symposium Composition Contest
Recorded live at Harold and Sylvia Greenberg Theatre, American University, Washington, DC, USA, 26
March, 2005
Adam Muller – tenor saxophone; Matthew Van Hoose – pianoforte
ã Digressioni modali for Tenor Saxophone and Pianoforte, no. 387 8:08
Recorded live at Rolston Recital Hall, The Banff Centre, Banff, Alberta, Canada, 9 November, 2005
Barry Cockroft – tenor saxophone; Marc Ryser – pianoforte
ä Digressioni modali for Tenor Saxophone and Pianoforte, no. 387 ‘MIDI’ 7:42
å La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 14:51
Performance by the Sonic Art Ensemble
Recorded live at the Music Workshop, Sydney Conservatorium of Music, Sydney, Australia, 1 April, 2006
Sonic Art Ensemble: Marshall McGuire – Artistic Director; Christine Draeger – flute; Margery Smith – bass
clarinet; Rowan Martin – violin; Adrian Wallis – violoncello; Bernadette Balkus – pianoforte
Compact Disc 4
à La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 16:18
Performance at the XV Festival de Música Contemporánea Chilena (15th Chilean Festival of Contemporary
Music), 21-27 November, 2005, Santiago, Chile
Salón Fresno, Instituto de Música, Facultad de Artes, Pontificia Universidad Católica de Chile, Santiago,
Chile, 27 November, 2005
bass clarinet; Alexandros Jusakos – pianoforte; Davor Miric – violin; Celso López – violoncello
á La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 17:12
Performance by the Omni Ensemble
Recorded live at Dorot, New York, NY, USA, 30 April, 2006
David Wechsler – flute; Paul Garment – bass clarinet; Olivier Fluchaire – violin; Deborah Sepe – cello; Jim
Lahti – pianoforte
â La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 ‘MIDI’ 12:48
ã Bénédiction d’un conquérant for Symphony Orchestra, no. 390 (2004) 10:43
Performance at ACOF 2004 (Australian Composers’ Orchestral Forum) composition workshops with
Brenton Broadstock, Andrew Schultz, and the Tasmanian Symphony Orchestra
Recorded live at the Federation Concert Hall, Hobart, Tasmania, Australia, 2 December, 2004
The Tasmanian Symphony Orchestra conducted by Kenneth Young
Emma Sholl, Lloyd Hudson – flute; Joseph Ortuso, Dinah Woods – oboe; Duncan Abercromby,
Christopher Waller – clarinet; Lisa Storchheim, John Panckridge – bassoon; Wendy Page, Roger Jackson,
Doris Grant, Frits Harmsen – French horn; Yoram Levy, Bruce Lamont – trumpet; Donald Bate, Craig Russell –
trombone; Robert Clark – bass trombone; Timothy Jones – tuba; Matthew Goddard – timpani; Gary Wain
– percussion; Genevieve Lang – harp; Lynn Cole-Levy, Alison Lazaroff-Somssich, Susanna Lazaroff, Yue-
Hong Cha, Cherelle Gadge, Anthea Hetherington, Michael Johnston, Christine Lawson, Christopher
Nicholas, Rebecca Bertoncello, Rachel Bremner, Marina Phillips, Christina Sigrist, Stephen Tooke – violin;
Janet Rutherford, Rodney McDonald, Michael Muldoon, Elizabeth O’Connor, Anna Roach – viola; Sue-
Ellen Paulsen, Brendan Conroy, Ivan James, Brett Rutherford – violoncello; Stuart Thomson, Michael
Fortescue, Stephen Martin – contrabass
Recordings Ø×
ä Bénédiction d’un conquérant for Symphony Orchestra, no. 390 (2004) ‘MIDI’ 10:13
å Aequilibrium for Flute, Clarinet, Viola, Cello, Trombone, Piano and Percussion, no. 395 (2006)
‘MIDI’ 9:02
No. 386
Andrián Pertout
No. 386
Composed between March and July, 2003
Composed for the Tasmanian Symphony Orchestra as part of the 2003 Australian Composers' Orchestral Forum
The Australian Composers' Orchestral Forum is a joint project of Symphony Australia,
the Australian Music Centre and the Tasmanian Symphony Orchestra with assistance from the Commonwealth Government through
the Arts Council, its arts funding and advisory body
Winner of the 2004 ISU Contemporary Music Festival/Louisville Orchestra Composition Competition (Indiana, USA) and the APRA Encouragement Award –
2004 3MBS FM National Composer Awards (Melbourne, Australia)
Premier: 12 November, 2004 (38th Annual Contemporary Music Festival, Tirey Hall, Tilson Music Hall, Indiana State University, Terre Haute, Indiana, USA) –
The Louisville Orchestra conducted by Robert Franz
Duration: 5’06”
PROGRAMME NOTES
‘L'assaut sur la raison’ was composed for the Tasmanian Symphony Orchestra as
part of the 2003 Australian Composers' Orchestral Forum – a joint project of
Symphony Australia, the Australian Music Centre and the Tasmanian Symphony
Orchestra with assistance from the Commonwealth Government through the Arts
Council, its arts funding and advisory body.
Philosophically, the work represents not only a personal statement in
condemnation of the general act of war, but a collective reaction encompassing
the artistic world at large. In time ‘L'assaut sur la raison’ will be incorporated into a
multi-movement symphonic work – essentially a war symphony – with this first
movement although directly inspired by the 2003 Iraq war, also intended of having
a connection with more general world events, and the illogical thought process
behind war, hence ‘The assault on reason’.
In the first ACOF (Australian Composers' Orchestral Forum) diary entry of May, 2003
the composer states: “I began to think about what was emotionally driving me, and
could see that just like many other people around the globe my grey matter was
being seriously disturbed by the current oil rush. I began to think about how I
could express my disillusionment in mankind, and decided that I could best do
this via the protest words ‘L'assaut sur la raison’ or simply, ‘The assault on reason’.”
The issues then revisited in the third diary entry of August, 2003 with the following
comments: “In my first diary entry I spoke of the desire to ‘express my
disillusionment in mankind’ via the protest words ‘L'assaut sur la raison’. Have some
of the philosophical issues of war, its initiating framework, and what I termed as
‘The assault on reason’ been adequately addressed by the music? Most probably
not, as the brutality of war and the actual preceding mindset – of the protagonists
of war, which is what ‘The assault on reason’ was primarily concerned with – can
never be musically interpreted with the appropriate amount of dignity and
conviction. It may be simple to say that the colour of blood is red, but is the
colour red musically speaking, a particular collection of exclusive pitches, a
formulated harmonic language, or an impressionistic musical landscape dedicated
to the depiction of the anguish that this kind of inhumanity no doubt delivers? And
to complicate matters even further, what colour is the foreword, or overture? Is it
some lesser degree of magenta and yellow in the process colour spectrum of
cyan, magenta, yellow and black?”
4 L’assaut sur la raison
Perspectives: Music and War
Inspirational. Defiant. Soothing. Triumphant. Somber. Music takes on many special roles when the realities
of war take precedence over life's everyday concerns. Below are NPR News features that define the place
of music during wartime.
Iraqi Musician
A profile of Iraqi lutist Naseer Shamma, who fled war in 1991 to live and teach in Cairo. He performs music
he wrote for children who died in the 1991 Gulf War, and a new song for his brother-in-law, who died in a
marketplace bombing in Iraq over a week ago.
An American on Tour Abroad
In his NPR War Diary, violinist David Harrington describes what it's like to play with the Kronos Quartet in
wartime. As the group travels across Europe, Harrington has been asked to address some difficult questions
about America's involvement in Iraq.
All Songs Considered Photo Essay
The most recent edition of NPR's online music program features music played during our special war
coverage set to striking photographs taken since March 20.
Classical War Music
Fred Child, host of NPR's Performance Today, discusses selections of classical music inspired or affected by
war, including Krzysztof Penderecki's "Threnody for the Victims of Hiroshima" and Aaron Copland's "Fanfare
for the Common Man."
Protest Music for a New Generation
Veteran protest singers of the antiwar movement from a generation ago say that society and the media have
changed significantly since the Vietnam era. Listen to some live tracks recorded at a recent New York City
concert against the war in Iraq.
Dixie Chick Dust Up
Commentator Paul Schwartz, a composer and producer, talks about the controversy created when Dixie
Chicks lead singer Natalie Maines criticized President Bush during a concert appearance in Britain earlier this
year. Schwartz says the country music trio should not be punished for expressing an opinion.
L’assaut sur la raison 5
Chumbawumba's Anti-War Song
Chumbawamba, the British musical collective best known for the 1997 hit "Tubthumping" ("I get knocked out,
but I get up again...)," previews its new anti-war song "Jacob's Ladder (Not in My Name)" for NPR's Scott
Simon.
Special War Coverage Theme
The music that introduces NPR's special coverage on the war in Iraq was written and recorded by Jeffrey
Freymann-Weyr, a producer in the NPR Arts Information Unit. He wrote an essay on the piece for npr.org.
Iraqi National Symphony: The Show Goes On
Well before the shooting began, hard times had befallen the Iraqi National Symphony. Financial resources
have dwindled, and many of the best musicians have fled the country. Still, the orchestra's concerts are a
regular feature of Baghdad's nightlife.
Marine Band Preps for War
The First Marine Division band now finds itself in the Kuwaiti desert preparing for battle. Some musicians are
a bit surprised by this change in assignment, but all say they will fulfill the mission. NPR's John Burnett reports
from Kuwait.
Songs of War
Just after the U.S. sent troops into Afghanistan in September 2001, Charles Hamm, professor emeritus of
music at Dartmouth College, talked to NPR's Liane Hansen about popular music that has accompanied
America's conflicts from the Civil War through two World Wars and Vietnam.
Radio Sawa
Burt Kleinman, a consultant for Voice of America, talks about VOA's switch from its mostly talk format in the
Middle East to Radio Sawa, a mix of Western and Arabic music and news. Radio Sawa, which began in
March 2002, has been a great success.
War Diaries
In a continuing series, NPR Online shares the personal accounts and reflections of individuals affected by the
Iraq war, from the combat zone to the home front.
David Harrington – Violinist
APRIL 2, 2003 · The Kronos Quartet plays contemporary music from all over the world. David Harrington, a
violinist with the quartet, says their music resonates differently, depending on what's going on in the world.
The quartet began its tour of London, Amsterdam, Germany and Italy soon after the bombs started to fall in
Iraq. In his War Diary entry, Harrington talks about playing music during a war.
Kronos has toured around the world for 30 years now and I've never been asked in my life before whether I
was embarrassed to be an American. But it has happened on this tour.
“…this desire to make every note count and to just find more of the humanity in each piece that we play
and each phrase has become a major part of our work right now.”
The kinds of questions that I've been asked from members of the audience, you know, 'Do Americans really
agree with this?' and 'Do they really know what's going on?' and how informed are we… And so I do feel
that audiences that we have played for here in Europe were perhaps looking for a wider answer than the
one that you can see on television every minute of the day right now.
I think of music as the result of the friction between people and the world. As a bowed-string player, we
rely on that friction of the bow against the string. And for me, a note is this amazing opportunity to put
everything that we know and feel and believe in into. I think that is affecting the way we play as well
because this desire to make every note count. And to just find more of the humanity in each piece that we
play and each phrase has become a major part of our work right now.
National Public Radio, Inc., 635 Massachusetts Avenue, N.W., Washington, DC 20001-3753, USA
Technical Aspects of the Work
‘L’assaut sur la raison’ employs pitch material based on a two-octave scale constructed of dissimilar
tetrachords, and is therefore a scale featuring a tonic not repeated at the first octave. This fourteen-note
scale presenting the following series of primary pitches: G, AÝ, BÝ, CÚ, D, F, G, GÚ, A, B, CÚ, D, EÝ, F.
Basic Two-Octave Scale
The inclusion of secondary or auxiliary pitches into the basic two-octave scale then generating the following
pitch series: G, AÝ, BÝ, (BÜ), CÚ, D, (EÝ), F, (FÚ), G, GÚ, A, B, (BÝ), CÚ, D, EÝ, F, (FÚ). The notes in brackets
representing acceptable deviations from the basic or pure form – altered during the actual compositional
process for practical reasons, and also, to bring about resolutions to certain harmonization dilemmas.
Altered Two-Octave Scale
Rhythmically on the other hand, the piece explores additive rhythms, via the adoption of a 5/8 meter
augmented by the additions of 3, 4, 5, 6, and then 7 quavers in an expanding and contracting sequence.
Literally: 5/8; 5/8, 3/8; 5/8, 7/8 (3/8 + 2/4); 5/8, 7/8, 5/8; 5/8, 7/8, 5/8, 3/4; 5/8, 7/8, 5/8, 3/4, 7/8; 5/8, 7/8,
5/8, 3/4; 5/8, 7/8, 5/8; 5/8, 7/8; 5/8, 3/8; and 5/8. The rhythmic design – utilized on three separate
occasions in the piece – is illustrated below via the presentation of a contrabass excerpt from the score:
INSTRUMENTATION
2 Oboes, Ob. (1 doubling on English Horn, E. Hn.)
2 BÝ Clarinets, BÝ Cl. (1 doubling on Bass Clarinet, Bs. Cl.)
2 Bassoons, Bsn. (1 doubling on Contrabassoon, Cbsn.)
4 F Horns, Hn.
3 BÝ Trumpets, BÝ Tpt.
3 Tenor Trombones, Trb. (1 doubling on Bass Trombone, Bs. Trb.)
Tuba, Tba.
Percussion 1:
36” Bass Drum, Bs. Dr.
Harp, Hp.
5 Violas, Vla.
4 Violoncellos, Vlc.
PERFORMANCE NOTES
All instruments, with the following exceptions, sound as written in the score: the piccolo sounds an octave
higher than written; the English horn sounds a fifth lower than written; the BÝ clarinets sound a major second
lower than written; the bass clarinet sounds a major ninth lower than written; the contrabassoon sounds an
octave lower than written; the F horns sound a fifth lower than written; the BÝ trumpets sound a major
second lower than written; the xylophone sounds an octave higher than written; the contrabasses sound an
octave lower than written.
It should be noted that if the desired tempo of Ê=198 (or Ê.=132) is not obtained in performance, a
compromise of Ê=171(or Ê.=114) should at least be reached, with section [E], marked Ê=174(or Ê.=116)
performed as Ê=150(or Ê.=100). The unreasonable nature of the first tempo of course alluding to the
philosophical objective of ‘L'assaut sur la raison’ (or ‘The assault on reason’) and its political anti-war
statement outlining the “illogical thought process behind war.”
In this score, accidentals apply throughout the bar.

Andrián Pertout, No. 386 (2003)
L'assaut sur la raison Copyright © 2003 Andrián Pertout www.pertout.com • PO Box 4172 • Richmond East • Victoria 3121 • Australia
Made in Australia International Copyright Secured
Composed for the Tasmanian Symphony Orchestra
for Symphony Orchestra L'assaut sur la raison

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AP • 386

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[32", 29", 26" & 23" Timp. in Eß, G, B and D]
modo ordinario (snares off)

gliss
pizz.
pizz.

Finale 2006c - [L'assaut sur la raison.mus]

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