Gauthier Dupertuis

Postcards
from tomorrow
(2021)
for Wind Band

Premio di Composizione Originale per Banda “La Bacchetta d’Oro”

Sezione B - Trofeo “Benito Pica” (2021)

© 2021 Gauthier Dupertuis - All rights reserved

Ed. Musicali ACCADEMIA2008 - Via Arno,16 - 67057 Pescina (AQ)
Tel: 328 4854736 - Webmail: [email protected]
Website: www.accademia2008.it
 Postcards from tomorrow
for wind band
(2021)

Grade : 3
Duration : ca. 7'

I. Abandoned Blockhouses
II. Pagoda at the lake
III. Building up the bridges

INSTRUMENTATION
Piccolo (opt.)
Flute I
Flute II (opt.)
Oboe
Bassoon (opt.)

Eb Clarinet (opt.)
Bb Clarinet I
Bb Clarinet II
Bb Clarinet III (opt.)
Bb Bass Clarinet (opt.)

Eb Alto Sax I
Eb Alto Sax II
Bb Tenor Sax
Eb Baritone Sax

Bb Trumpet I
Bb Trumpet II
Bb Trumpet III (opt.)
F Horn I
F Horn II

Trombone I
Trombone II
Trombone III (opt.)

Euphonium
Tuba

Double bass (opt.)

Percussion (4 - 6 players)

3 Timpani (+ reverted cymbal)

Percussion I : Rain Stick, Snare Drum, 4 toms, Triangle*, vibraslap

Percussion II : Wind Chimes, Bass Drum, Triangle*, Cabasa
Percussion III (opt.): Rain stick (opt.), Tam-tam, 2 Bongos, Susp. Cymbal*, 2 temple blocks, Crash Cymbals
Percussion IV (opt.): Suspended Cymbal*, Tambourine, Glockenspiel*, Claves
Mallets : Vibraphone, Glockenspiel*, Xylophone, Cowbell

All percussion instruments (*) are shared among percussionists.

Additional parts included :

Eb Horn I - II
Bb Trombone I - II - III (TC)
Bb Euphonium (TC)
Eb Tuba (TC )
Bb Tuba (TC)

Percussion Score
Percussion I + III
Percussion II + IV

If any needs or questions, please contact me on my website :

gauthierdupertuis.com
Program Notes
When they are children, some people put their toys, drawings and wishes for the future in a box that
they bury somewhere in order to dig it up when they are adult. The title "Postcards from tomorrow"
was inspired by this tradition. what wishes would we put in those boxes for the future, what kind of
postcards would we send to our grandchildren ?

To write this piece, I was inspired by three pictures that have some symbolic meaning linked to that
question : each movement, played atttaca, refers to one of them.

I. Abandoned blockhouses

The title refers to the war and other horrors in the history of humanity. It is of absolute importance
that we never forget what has been done before : like abandoned blockhouses, the reliques of the
war will remain for a long time. but we must go forward.

The movement starts with an aleatoric passage and with the exposition of the earth theme (low
instruments m. 5), that will come as a leitmotiv throughout the piece. The theme develops into a cry of
despair in d minor (A), preceeding a section representing the horrors the war, figured by the
aggressive percussions and low brass (m. 22). The ostinato at winds and vibraphone foreshadow the
last section, a fanfare based on the well-known gregorian dies irae, whose text asks god for pardon.

II. Pagoda at the lake

The second movement was inspired by the pagoda, a religous building that is aimed to house relics of
saint people, in some asian worships. This could symbolise the fact that we humans need introspection
and have to look back to our roots. This calm, peaceful movement gives the lead to some solists in the
ensemble and follows an arch-form (abcba), symbolising the well-balanced architecture of a pagoda.

III. Building up the bridges

The last movement is a call for hope. Once our past remembered, we must now be "building up the
bridges" between each other and towards a better world, facing much danger (war, climate change...),
but with the faith to make this world better.

The rythmic pattern set in the first few measures is used like a "bridge" between the different sections
of the movement, implying a rondo form. The first two sections remind the material of the previous
movements. Then, the motif is developped in a more funky way, aiming to an exhuberant finale in D major.

In July 2021, this piece was awarded the "Benito Pica" Trophy (section B) by the Premio di Composizione
Originale per Banda “La Bacchetta d’Oro”.

Performance notes
Concerning the senza misura part in the beginning of the first movement : try to build a misterious
atmosphere gradually. The notes in the boxes are to be played staccato or tenuto, variating the tempi
and dynamics. Make sure that the musicians enter and stop gradually, not all at the same time, taking a
break between their motives. Use of additional rain sticks by non-percussionists is possible.

notes on percussion : Timpani, Percussion I, Percussion II, and Mallets are obbligati. When more
percussionists are available, Percussion III should be added first, and then Percussion IV. Mixed parts
(percussion I + III and II + IV) and a percussion score are also included to provide more flexibility. In any
case, it is up to the conductor to adapt this to the technical and logistical possibilities of the band.

For obvious reasons, the writing for ensembles with optional parts requires a lot of doubling.
Please make sure to adjust the harmonic and dynamic balance to your ensemble.

I tried to compose a piece full with contrasts, also with interesting challenges for a grade 3.
I hope that you as well as your musicians will enjoy playing it !

About the composer

Gauthier Dupertuis (1997*) is a young composer from
Switzerland. He holds a bachelor degree in musicology and
philosophy from Fribourg University and a certificate in
conducting from Fribourg Conservatory. He is currently
heading for his Master degree and studies orchestral
conducting at the Bern School of Arts. He also teaches music
and conducts bands in the region.

More information on gauthierdupertuis.com.

Full Score
Postcards from tomorrow
Premio di Composizione Originale per Banda “La Bacchetta d’Oro” Gauthier Dupertuis
Sezione B - Trofeo “Benito Pica” (2021)
I. Abandoned blockhouses
Senza misura (ca. 20-25 sec.)
1 2 3 4 5
Piccolo
° ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ 4
(opt.) & 4

∑ œ œ œ œ œ 4
Flute I & 4

Flute II ∑ ∑ ∑ œ œ œ œ œ 4
(opt.) & 4

∑ ∑ ∑ œ œ œ œ œ 4
Oboe & 4
(breathe when necessary)
>œ >œ
w w w w w œ™ œ œ™ œ 4
Bassoon ?
(opt.) ¢ 4
mp

° œ œ œ œ œ
Eb Clarinet ∑ ∑ ∑ ∑ ∑ 4
(opt.)
& 4

∑ œ œ œ œ œ 4
Bb Clarinet I & 4

∑ ∑ œ œ œ œ œ 4
Bb Clarinet II & 4

Bb Clarinet III ∑ ∑ ∑ œ œ œ œ œ 4
(opt.)
& 4

Bb Bass Clarinet ∑ ∑ ∑ ∑ ∑ ∑ 4
(opt.) ¢& 4

° #>œ œ™ œ 4
Eb Alto Sax I & ∑ ∑ ∑ ∑ ∑ œ œ™ œ 4
>

∑ ∑ ∑ ∑ ∑ ∑ 4
Eb Alto Sax II & 4

∑ ∑ ∑ ∑ w w 4
Bb Tenor Sax & 4
mp

∑ ∑ ∑ ∑ ∑ ∑ 4
Eb Baritone Sax ¢& 4

I. Abandoned blockhouses
Senza misura (ca. 20-25 sec.)
harmon mute
° œ œ œ œ œ 4
Bb Trumpet I & ∑ ∑ 4

harmon mute
∑ ∑ ∑ œ œ œ œ œ 4
Bb Trumpet II & 4

harmon mute
Bb Trumpet III ∑ ∑ ∑ ∑ œ œ œ œ œ 4
(opt.)
& 4

(breathe when necessary)

œ œ œ œ œ 4
F Horn I & w w w w 4
mp

∑ ∑ ∑ ∑ w w 4
F Horn II ¢& 4
mp

°? ∑ ∑ ∑ ∑ ∑ ∑ 4
Trombone I 4

? ∑ ∑ ∑ ∑ ∑ ∑ 4
Trombone II 4

Trombone III ? ∑ ∑ ∑ ∑ ∑ ∑ 4
(opt.) 4

? ∑ ∑ ∑ ∑ ∑ ∑ 4
Euphonium 4

? ∑ ∑ ∑ ∑ ∑ ∑ 4
Tuba ¢ 4

Double Bass
°? 4
∑ ∑ ∑ ∑ ∑ ∑
(opt.) ¢ 4
cymbal reverted on medium timpani
adding free glissando effect (w/timpani medium mallets)
3 Timpani : A, [cymbal], D
° / wæ æ æ æ æ
Timpani wæ wæ wæ wæ ∑
? 4
4
sim.
ppp
rain stick
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4
Percussion I / w 4

wind chimes
w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4
Percussion II / ∑ 4
mp

Rain Stick (opt.) To Tam-Tam

Percussion III w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4
(opt.) / ∑ 4
mf

æ Susp. Cymbal æ æ æ æ
Percussion IV
/ ∑ wæ wæ wæ wæ wæ 4
4
(opt.)
sim.
ppp
Vibraphone
motor on, soft mallets
æ w ˙ ˙ 4
Mallets ¢& wæ w ˙ ˙ 4
mp
° © 2021 Gauthier Dupertuis - All rights reserved - gauthierdupertuis.com
Ed. Musicali ACCADEMIA2008 - Via Arno,16 - 67057 Pescina (AQ)
Tel: 328 4854736 - Webmail: [email protected] - Website: www.accademia2008.it
 Postcards from tomorrow - full score

11

D
° 4w œ™ œ œ œ™ bœ œ j œ^. œ^. œ^. œ^. œ œ w 2 4 5
Picc. &4 œ ‰ ∑ 4 ∑ 4 ∑ 4
mf
w œ™ œ œ œ™ bœ œ
4 œ™ œ œ œ œ œ w 2 4 5
Fl. I &4 ∑ 4 ∑ 4 ∑ 4
mf
œ œ œ™
4 œ œ œ™ bœ œ œ™ œ œ œ œ œ w 2 4 5
Fl. II &4 Œ œ ∑ 4 ∑ 4 ∑ 4

4 œ œ œ™ œ œ œ™ œ œ œ œ œ w >œ >œ >œ >œ 2 >œ >œ 4 >œ >œ ˙ ™ 5

Ob. & 4 œj ‰ œ bœ œ œ™ 4 4 4
- f

>œ >œ >œ >œ > >

? 44 w œ œ œ œ œ ˙ w 2 >œ >œ >œ 4 œ œ ˙™ 5
Bsn. ¢ œ œ œ œ 4 4 4
f

° 4w #œ œ œ ™
Eb Cl. &4 œ™ œ #œ œ ‰
J œ^. #œ^. œ^. œ^. œ œ w ∑ 2
4 ∑ 4
4 ∑ 5
4
mf

4w œ™ #œ œ œ ™
œ œ œ™ œ #œ œ œ œ w 2 4 5
Cl. I &4 ∑ 4 ∑ 4 ∑ 4
mf

4 œ #œ œ™ #œ œ œ ™ œ #œ œ œ œ w 2 4 5
Cl. II & 4 œj ‰ œ œ œ œ™ ∑ 4 ∑ 4 ∑ 4

4 2 4 5
Cl. III & 4 œj ‰ Œ ˙ œ™ #œ œ œ™ œ #œ œ œ œ w
∑ 4 ∑ 4 ∑ 4
œ œ œ™

4 j ‰ Œ Ó 2 ∑ 4 ∑ 5
B. Cl. ¢& 4 ˙- ˙- œ #˙ #œ ˙ œ œ œ >œ
4 4 4
˙- œ œ œ œ œ
f

° 4œ ‰ #-œ œ œ œ œ œ œ #>˙
A. Sax. I &4 J œ œ œ œ ‰ œ™ œ #œ œ œ œ œ™ J ∑ 2
4 ∑ 4
4 ∑ 5
4

4 œ- œ œ > 2 4 5
A. Sax. II & 4 œJ ‰ #œ œ #œ
#œ #œ œ œ ˙ œ #œ œ #œ ™ œ ˙ ∑ 4 ∑ 4 ∑ 4
J

4 j -œ >
T. Sax. & 4 œ- ‰ œ œ œ œ œ œ œ œ œ #˙ œ œ #œ œ™ œ ˙ ∑ 2
4 ∑ 4
4 ∑ 5
4
J

4- -˙ #-˙ œ œ™ >œ ‰ 2 4 5
œ œ œ #œ œ œ œ
¢& 4 ˙
Bari. Sax. ˙ œ #œ œ œ Œ Ó 4 ∑ 4 ∑ 4
J
f

D open (tutti)
° 4 >œ #>œ >œ
Tpt. I & 4 w ∑ ∑ ∑
>œ 2 #>œ >œ 4 >œ >œ ˙™ 5
4 4 4
- f

open
4 ^ ^ ^ ^ ^ ^ ^ ^ 2 4 œ œ ˙™ 5
Tpt. II &4 Œ œ. #œ. œ. œ Œ œ. #œ. œ. œ Ó ∑ ∑
>œ #>œ >œ 4 #œ 4> > 4
ff
. . f >œ > >œ
open
4 ^ ^ ^ ^ ^ ^ ^ ^ 2 4 5
Tpt. III &4 Œ œ. #œ. œ. œ Œ œ. #œ. œ. œ Ó ∑ ∑ 4 œ 4 œ œ ˙™ 4
. . >œ >œ >œ >œ > >
ff f
> >œ
(muted) open
4 œ^. œ^. œ^. œ^. Œ œ^. œ^. œ^. œ^. >œ >œ >œ 2> 4 >œ >œ ˙ ™ 5
Hn. I &4 Œ Ó ∑ ∑ œ
> 4 œ >œ 4 4
ff f

(muted) open
4 œ^. œ^. œ^. œ^. Œ œ^. œ^. œ^. œ^. 2 4 œ œ ˙™ 5
¢& 4 Œ
Hn. II Ó ∑ ∑ ∑ 4 ∑ 4> > 4
ff f

>œ >œ >œ >œ > > > ™

°? 4 w œ œ œ œ œ ˙ œ œ œ w 2 œ >œ 4œ œ ˙ 5
Trb. I 4 4 4 4
f

>œ >œ >œ >œ > >

? 44 bw œ œ œ œ œ ˙ œ œ œ w 2 >œ >œ >œ 4 œ œ ˙™ 5
Trb. II 4 4 4
f

? 44 w œ œ œ œ ˙ >œ >œ >œ œ > 2> >œ 4 >œ >œ ˙™ 5

Trb. III œ
œ- œ- -œ œ-
w œ 4 œ 4 4
f
w œ™ œ œ œ™
? 44 bœ œ œ™ œ œ œ œ œ >œ >œ >œ œ > 2> >œ 4 >œ >œ ˙™ 5
Euph. ˙ œ œ œ œ œ 4 œ 4 4
mf f

?4 -˙ ∑ 2 ∑ 4 ∑ 5
Tba. ¢ 4 ˙- b˙- œ œ ˙ œ œ œ œ w
4 4 4

°? 4 -˙ b-˙ ˙- œ ˙ œ œ œ œ
œ w ∑ 2 ∑ 4 ∑ 5
Db. ¢ 4 4 4 4

°? 4 j >œ 2 4Œ j 5
Timp. 4 ∑ ∑ ∑ Ó ‰ œ œ œ œ œ Œ Ó 4 ∑ 4 ‰ œ œ œ œ œ œ œ 4
f

Snare Drum j > j

4 ∑ ∑ ∑ Ó ‰ œ œ œ œ œ œ Œ Ó 2 4Œ ‰ œ œ œ œ œ œ œ 45
Perc. I /4 4 ∑ 4
f
on bass drum frame
> (normal)
4 2 4 5
/4Œ ¿ ¿ ¿ ¿ Œ ¿ ¿ ¿ ¿ Ó Œ ¿ ¿ ¿ ¿ Œ œ Œ Ó 4 4 4
Perc. II ∑ ∑ ∑
meno
f f

Bongos (w/ snare drum sticks)

4 ‰ j >œ Œ 2 ∑ 4Œ ‰ j 5
Perc. III /4 ∑ ∑ ∑ Ó œ œ œ œ œ Ó 4 4 œ œ œ œ œ œ œ 4
f

Glockenspiel (metal mallets)

4w> œ^ œ^ œ^ œ^ Œ 2 4 5
Perc. IV &4 ∑ Œ ∑ ∑ 4 ∑ 4 ∑ 4
f

glockenspiel (perc. iv)

> œ^ œ^
4 w
∑ Œ œ^ œ^ Œ ∑ ∑ 2 ∑ 4 ∑ 5
Mall. ¢& 4 4 4 4
f

43 44 45 46 47 48 49
 Postcards from tomorrow - full score

18

bœ™ œ œ
bœ œ™ œ- ™ œ bœ bœ œ bœ™ œ œ bœ Calmando
° œ
J œ œ bœ œ œ w Ó Œ
œ bœ w ∑
Picc. &

bϪ
bœ œ™ œ- ™
œ œ œ bœ bœ œ bœ™ œ œ bœ
œ œ œ bœ œ œ w œ bœ w
Fl. I & J Ó Œ ∑

bœ™ œ œ
bœ œ™ œ -œ ™ œ bœ bœ œ bœ bœ
J œ œ bœ œ œ w œ bœ w
Fl. II & Ó Œ ∑

bœ ™ œ œ j -œ™ œ bœ œ bœ ™
œ bœ w
Ob. & bœ œ™ œ œ bœ bœ œ œ œ œ bœ œ w Ó Œ ∑

? œ bœ bœ œ œ œ bœ œ bœ
bœ œ bœ n œ bœ bœ œ bœ œ bœ ˙ œ bœ œ ˙ w
Bsn. ¢ bw ‰ J ‰ J ‰ J

™
œ œ™ œ- ™
œ œ
° œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ w œ œ w
Eb Cl. & J Ó Œ ∑

œ™ œ œ
bœ œ ™ œ
-œ ™ œ œ bœ œ œ™ œ œ bœ Ó Œ ∑
Cl. I & œ œ œ œ œ w œ œ w
J

Ϫ
bœ œ ™
œ œ -œ ™ œ œ bœ œ œ
Cl. II & œ œ œ œ œ bœ œ œ bœ œ œ w ∑
J œ œ ˙™

j
Cl. III & œ™ œ bœ œ œ œ ˙ œ œ œ œ bœ œ œ œ w Ó Œ œ œ w ∑

B. Cl. ¢& b w b˙ ‰ bœj œ œ bœ œ

˙ ˙ ˙ w
w w

° œ™ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ bœ œ œ œ œ œ œ œ œ w w
A. Sax. I & J œ

& œ™ œ œ œ œ œ b˙ ˙ ‰ j bœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ
A. Sax. II J œ œ w w

j j bœ œ œ ˙™ œ œ
T. Sax. & bw ‰ œ bœ œ ˙ ‰ œ œ bœ bœ bœ œ œ œ œ ˙ œ œ œ bw

b˙ ˙ ˙ bw w
Bari. Sax. ¢& w ˙ w w

Calmando
° œ™ œ œ
bœ œ ™ œ
-œ ™ œ œ bœ œ œ™ œ œ bœ bw Ó Œ
Tpt. I & œ œ œ œ œ œ œ w w
J

œ bœ œ ™ -œ ™
& œ œ œ œ bœ œ œ bœ œ œ œ
Tpt. II
J œ œ œ œ w ˙™ w w

Tpt. III & bw ˙ ˙ b˙ ˙ w ˙™ œ w bw

bw bœ œ œ bœ bœ
Hn. I & ‰ j œ œ bœ œ œ œ bœ bœ bœ œ œ œ œ œ œ bœ ‰ j œ ˙ w
œ bœ œ œ œ

œ bœ bœ œ œ œ œ
¢ & bw
‰ j œ bœ b˙ b˙
Hn. II
œ bœ œ
œ œ b˙ œ bœ œ w w

b˙ b˙ b˙ bœ b˙™ b˙™
°? bw ˙ bœ w w
Trb. I

? w b˙ b˙ b˙ ˙ bw
Trb. II ‰ bœ œ œ bœ œ œ bœ ˙ bw
J

? b˙ ˙ ˙ bw w w w
Trb. III bw b˙

bœ œ bœ bœ
? bw b˙ b˙ œ bœ bœ n œ œ bœ œ bœ b˙ œ bœ
œ œ
œ œ
œ bw
Euph. ‰ J ‰ J

?
Tba. ¢ bw b˙ ˙ ˙ bw w w w
bw b˙

°?
b˙ ˙ ˙ bw w
Db. ¢ bw b˙ w w

°?
Timp. ∑ ∑ ∑ bw ∑ ∑
w
mf

ææ ææ
Ó ˙ œ Œ Ó Ó Œ œ œ Œ Ó
Perc. I / ∑ ∑ ∑
mf mf

Perc. II / ∑ ∑ ∑ w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ ∑ ∑
mf

ææ ææ
Perc. III / ∑ ∑ Ó ˙ œ Œ Ó Ó Œ œ œ Œ Ó ∑
mf mf

bœ ™ œ œ j
Perc. IV & bœ œ™ œ œ™ œ bœ bœ
œ œ bœ œ
œ bœ bœ œ w Ó Œ œ bœ w ∑

bœ ™ œ œ j
Mall. ¢& bœ œ™ œ œ™ œ bœ bœ
œ œ bœ œ
œ bœ bœ œ w Ó Œ œ bœ w ∑

88 89 90 91 92 93 94
 Postcards from tomorrow - full score

29

° 4w> >˙ œ ‰ Œ œ. œ. œ. >œ #œ œ. œ. n>œ #œ œ. >œ œ^. ‰ Ó

Picc. &4 J J
ff
> >˙
w œ œ. œ. œ. >œ # œ œ. œ. n>œ # œ œ. >œ œ^.
4 J ‰ Œ J ‰ Ó
Fl. I &4
ff
> >˙ œ. œ. œ. >œ # œ œ. œ. n>œ # œ œ.
4
w œ
J
>œ œ^.
Fl. II &4 ‰ Œ J ‰ Ó
ff

Ob.
4 >
&4 w
>˙ œ >œ
b>œ
>œ œ. œ. œ. >œ #œ œ. œ. n>œ #œ œ. >œ œ^. ‰ Ó
J
ff

>œ >œ > œ. œ. œ. >œ # œ œ. œ. n>œ # œ œ. >œ œ^.

? 44 b˙ ™
> w
Bsn. ¢ ‰ œ^ œ^ œ^ Œ
ff

> >˙ œ. œ. œ. >œ # œ œ. œ. n>œ # œ œ.

° 4w œ
J #>œ œ^.
Eb Cl. &4 ‰ Œ J ‰ Ó
ff

> #>˙ > >

4w œ
J ‰ Œ œ. œ. œ. œ #œ œ. œ. nœ #œ œ. >œ œ^. ‰ Ó
Cl. I &4 J
ff

> >˙ œ. œ. œ. > œ. œ. > œ. > ^

4w œ ‰ Œ œ #œ nœ #œ œ œ. ‰ Ó
Cl. II &4 J J
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4 > >˙™ ^j
Cl. III &4 w w
>
Œ
œ œ.
‰ Ó
ff >

4 ^ ^ ^
B. Cl. ¢& 4 Œ >œ
∑ Œ ‰ œ œ œ Œ
>œ >œ >˙ >œ >œ >˙
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° 4Œ >œ >œ #>œ >œ #>˙ ™

>œ >œ >œ œ^.
A. Sax. I &4 œ #œ #>œ >œ >œ
#>œ ‰ J ‰ Ó
ff

4 #œ >œ >œ #>œ #>œ

>œ >œ >œ #>˙ ™ #>œ >œ #>œ œ^.
A. Sax. II &4 Œ œ #>œ ‰ J ‰ Ó
ff

>˙ œ. œ. œ. > œ. œ. > œ. >œ œ^.

4> >œ >œ œ >œ
b>œ
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T. Sax. & 4 ˙™ ‰ J ‰ Ó
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4 œ^ œ^ œ^
¢& 4 Œ >œ
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>œ
Bari. Sax. #>œ #>œ
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° 4w> #>˙ œ >œ >œ >˙™ >œ >œ >œ œ^.

Tpt. I &4 b>œ ‰ J ‰ Ó
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> >˙ >œ >œ > ^

Tpt. II
4w
&4
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J
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4 > ^j
Tpt. III &4 w w #>˙ ™ ‰ ‰ Ó
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> >œ >œ œ
>
œ.

>œ >œ >œ >œ > ^

4
&4 Œ œ >œ b>œ #œ.
Hn. I œ
>œ >œ >œ
Œ
>œ >œ
bœ J ‰ Ó
ff furioso

>œ >œ >œ >œ ^j

4 >œ
¢& 4 Œ œ œ >œ Œ œ. ‰ Ó
>œ b>œ nœ
Hn. II
ff
>œ >œ
b>œ
>
furioso

>˙ >œ >œ >œ b >œ b >œ œ # œ^.

°? 4 b>˙ ™ >œ >œ œ b>œ n>œ J
Trb. I 4 ‰ Œ ‰ Ó
ff furioso

>˙ >œ
b>œ
>œ
b>œ b >œ n>œ œ œ^.
Trb. II
? 44 >˙ ™ ‰
>œ >œ œ Œ
>œ J ‰ Ó
ff furioso

? 44 Œ b>œ b>œ b>œ œ nœ^.

Trb. III b>œ œ >œ Œ œ œ^ œ^ œ^ Œ
ff
>œ >˙ >œ > >˙ >
furioso

>œ >œ ^
? 44 >˙ ™ >œ >œ >˙ >œ
b>œ b>œ b>œ nœ.
Euph. ‰ Œ œ œ^ œ^ œ^ Œ
>
furioso
ff

?4 ^
¢ 4Œ
Tba. bœ œ œ œ œ ˙ ∑ Œ ‰ ^ ^ Œ
˙
b >œ
>œ >˙ >œ >œ >œ >˙
œ œ œ
ff

°? 4 Œ
œ >œ ∑ Œ ‰ œ^ œ^ œ^ Œ
Db. ¢ 4 b>œ
>œ >˙ >œ > >˙
ff

dampen
°? 4 >œ ™ > >œ ™ > >œ
Timp. 4 œ œ >œ œ œ ‰ Œ Ó Œ ‰ œ^ œ^ œ^ Œ
J >œ >œ J >œ >œ >œ J
ff

> > æ ^j
4 j Ͼ
Œ j Œ
Perc. I /4œ ‰ Ó Ó ‰ œ œ œ œ œ œ Ó œ ‰ Ó
ff

> >j > j > ^ ^ ^ dampen

/ 4 Ϫ
Perc. II
4 œ Ó œ Œ ‰ œ œ œ œ Œ Ó Œ ‰ œ œ œ Œ
ff

dampen
4 > > >
Perc. III /4w w w ∑
ff

æ
Perc. IV
4
/4œ
Œ Ó Ó ˙æ œ Œ Ó ∑
ff

4œ œ œ œ >œ #œ œ œ n>œ #œ œ >œ œ^

Œ Ó ∑ æ ‰ Ó
Mall. ¢& 4 J
ff

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ISBN : 979 12 59 830 77 7
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