Marc Sabat
33
Marc Sabat Euler Lattice Spirals Scenery for string quartet PLAINSOUND MUSIC EDITION
Transcript of Marc Sabat
M a r c S a b a t
Euler Lattice Spirals Scenery
for string quartet
P L A I N S O U N D M U S I C E D I T I O N
Euler Lattice Spirals Scenery (2011/12) for string quartet written for and premiered by the Sonar Quartett Berlin (Wojciech Garbowski, Cosima Gerhardt, Nikolaus Schlierf, Susanne Zapf) composed during a one-year residency in Rome at the Accademia Tedesca Villa Massimo This work is the third in an ongoing cycle of string quartets in which musical forms emerge as consequences of explicitly notated intonation. The title refers to Leonhard Euler’s discovery of a two-dimensional diagram representing the harmonic space subset based on octave equivalence, pure fifths and thirds: a tonal lattice that models triadic harmony, or in James Tenney’s terminology: (3,5) projection space. An extended portion of this lattice, comprising 99 distinct microtonal pitch-classes organised as a progression of major and minor triads tuned in Just Intonation, forms the basis of the fourth movement, Harmonium for Ben Johnston. Each triad occurs only once, and for the most part connects to its neighbors by a shared common tone, until reaching the small enharmonic seam in the middle of the movement, from which point a retrograde inversion of the triads begins. The triads are ordered in such a way that all possible common-tone progressions are explored, and also that the progression of triads which opens the piece recurs in the middle of the movement, transposed upward by two commas. To realize this modulation into distant regions, the open strings of the quartet must be precisely tuned in 3:2 ratio untempered fifths, so that the comma distinctions and partial unisons between open strings may be optimised. Thus, the composition is completed by four additional movements, which explicitly compose the tuning procedure (Preludio), investigate the Pythagorean sonorities of the lower natural harmonics (Pythagoras Drawing I and II), and present the unisons and commas of higher natural harmonics in the registers they occur (Harmonium for Claude Vivier) as an ecstatic singing melody. Rome, 28 October 2011 / Berlin, 6 March 2012
An informal introduction to the Helmholtz-Ellis Accidentals
by Marc Sabat
Berlin, April 2009
In learning to read HE accidentals, without having to rely on an electronic tuning device, it is important to be familiar with three things:
First, to keep in mind the natural tuning of intervals in a harmonic series, which deviate from the tempered system.
Second, to get to know how the accidentals refer to these overtone
relationships.
Third, to observe that each written pitch may be related to many other pitches by natural intervals, and to tune it accordingly.
In most cases, this approach will allow the player to quickly and intuitively play just intonation (JI) pitches quite accurately. Any remaining adjustments can be
made by ear, based on the specific sound of JI intervals.
Just intervals are readily learned because they are built up from simple, tuneable harmonic relationships. These are generally based on eliminating
beating between common partials, finding common fundamentals and audible combination tones, and establishing a resonant, stable sonority which
maximizes clarity: both of consonance and of dissonance. A well-focussed JI sound is completely distinct from the irregular, fuzzy beating
of tempered sounds. Just consonances, when marginally out of tune, beat slowly and sweetly and may be corrected with the most subtle adjustments of
bowing or breath. Just dissonances produce a sharply pulsing regular rhythm and have very clear, distinct colors.
To become familiar with the notation and sounds of JI, the fundamental
building blocks are prime number overtones 3, 5, 7, 11 and 13, each of which is associated with a specific pair of accidentals and a basic musical interval.
3 is associated with the signs flat, natural, sharp and refers to the series of untempered perfect fifths (Pythagorean intonation). Generally, A is taken as the
tuning reference, and the central pitches C-G-D-A-E can be imagined as the normal tuning of the orchestral string instruments. The just C is rather lower
than tempered tuning because of the pure fifths. The further this series is extended, the greater the deviation from tempered tuning: the flats are lower,
the sharps higher.
5 is associated with arrows attached to the flat, natural, sharp signs and refers
to the pure major third. These arrows correct the Pythagorean intervals by a Syntonic Comma, which is approximately 1/9 of a wholetone or 22 cents. So,
for example, the note E-flat arrow-up is a just major third below G, and the note F-sharp arrow-down is a major third above D. In most music, flats are often
raised by a comma and sharps are lowered. Because of the open string tuning, it is common to sometimes raise F and C (to match A and E) and to sometimes
lower A and E (to match F and C). Corrections by one Syntonic Comma have been used throughout Western music history and are relatively familiar to the ear. However, traditionally these corrections have been hidden by players, for
example in Meantone Temperament where fifths are mistuned narrow by ! comma so that the third C-E ends up sounding pure. More recently, the
currently prevailing Equal Temperament has made us accustomed to beating thirds, so at first the pure intervals may seem unfamiliar. To play the arrows
accurately, one must carefully learn the sound of the consonant major and minor thirds and sixths, and learn to articulate comma differences clearly.
7 is associated with a Tartini sign resembling the numeral. It corrects the
Pythagorean intervals by a Septimal Comma, which is approximately 1/7 of a wholetone or 27 cents. When the Pythagorean minor third is lowered by this amount, it becomes a noticeably low third often heard in Blues music.
11 is associated with the quartertone signs (cross and backwards flat). The
accidental is used to raise the perfect fourth by 53 cents, producing the exact tuning of the 11th partial in a harmonic series. The sound is most easily
learned by playing one octave plus one fourth and raising it by a quartertone.
13 is associated with the thirdtone signs (cross and backwards flat, each with 2 verticals). The accidental is used to lower the Pythagorean major sixth by 65 cents, producing the exact tuning of the 13th partial in a harmonic series. The
sound is most easily learned as a neutral-sounding sixth, one-third of the way between the just minor and just major sixths (closer to minor than to major).
The following table presents the accidentals together with their associated
ratios and cents deviations. To calculate the cents deviation from Equal Temperament of a specific written pitch (if desired) the following shortcut may
be used: 1.) Find the cents deviation of the Pythagorean pitch, by calculating how many
fifths it is away from A, multiplying by 2, and using a plus sign if it is on the sharp side and a minus if it is on the flat side.
2.) For each microtonal accidental, add or subtract its approximate cents value
(as given above), keeping in mind whether the accidental is raising or lowering the pitch.
The resulting value should be a cents deviation within 1 or 2 cents accuracy,
which is an acceptable starting point for fine-tuning by ear.
A C C I D E N T A L S EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION f o r J u s t I n t o n a t i o n d e s i g n e d b y M a r c S a b a t a n d W o l f g a n g v o n S c h w e i n i t z The exa ct intonatio n of each pit ch m ay b e writt en o ut b y means o f the fo llo wing ha rmonically- de fined signs:
E e n v V Pythagorean series of fifths – the open strings ( … c g d a e … )
dmuU Ffow lowers / raises by a syntonic comma 81 : 80 = ci rca 21.5 cent s
cltT Ggpx lowers / raises by two syntonic commas circa 43 cent s
< > lowers / raises by a septimal comma 64 : 63 = ci rca 27.3 cent s
• ¶ lowers / raises by two septimal commas circa 54 .5 cents
4 5 raises / lowers by an 11-limit undecimal quarter-tone 33 : 32 = ci rca 53.3 cent s
0 9 lowers / raises by a 13-limit tridecimal third-tone 27 : 26 = ci rca 65.3 cent s
: ; lowers / raises by a 17-limit schisma 256 : 255 = ci rca 6 .8 cent s
/ \ raises / lowerss by a 19-limit schisma 513 : 512 = ci rca 3 .4 cent s
! ±" raises / lowers by a 23-limit comma 736 : 729 = ci rca 16 .5 cents
In addition to the harmonic definition of a pitch by means of its accidentals, it is also possible to indicate its absolute pitch-height as a cents-deviation from the respectively indicated chromatic pitch in the 12-tone system of Equal Temperament. The attached arrows for alteration by a syntonic comma are transcriptions of the notation that Hermann von Helmholtz used in his book “Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik” (1863). The annotated English translation “On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885) is by Alexander J. Ellis, who refined the definition of pitch within the 12-tone system of Equal Temperament by introducing a division of the octave into 1200 cents. The sign for a septimal comma was devised by Giuseppe Tartini (1692-1770) – the composer, violinist and researcher who first studied the production of difference tones by means of double stops.
V O R Z E I C H E N EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION f ü r d i e n a t ü r l i c h e S t i m m u n g k o n z i p i e r t v o n M a r c S a b a t u n d W o l f g a n g v o n S c h w e i n i t z Die Stimmung jedes Tons is t m it fo lgenden ha rm onisch definier ten Vo rzei chen a usnoti er t :
E e n v V Pythagoreische Quintenreihe der leeren Streicher-Saiten ( … c g d a e … )
dmuU Ffow Erniedrigung / Erhöhung um ein Syntonisches Terzkomma 81 : 80 = ci rca 21.5 cent s
cltT Ggpx Erniedrigung / Erhöhung um zwei Syntonische Terzkommas circa 43 cent s
< > Erniedrigung / Erhöhung um ein Septimenkomma 64 : 63 = ci rca 27.3 cent s
• ¶ Erniedrigung / Erhöhung um zwei Septimenkommas circa 54 .5 cents
4 5 Erhöhung / Erniedrigung um den undezimalen Viertelton der 11er-Relation 33 : 32 = ci rca 53.3 cent s
0 9 Erniedrigung / Erhöhung um den tridezimalen Drittelton der 13er-Relation 27 : 26 = ci rca 65.3 cent s
: ; Erniedrigung / Erhöhung um ein Siebzehner-Schisma 256 : 255 = ci rca 6 .8 cent s
/ \ Erhöhung / Erniedrigung um ein Neunzehner-Schisma 513 : 512 = ci rca 3 .4 cent s
! ±" Erhöhung / Erniedrigung um ein Dreiundzwanziger-Komma 736 : 729 = ci rca 16 .5 cents
Zusätzlich zu der harmonischen Definition der Tonhöhe durch das Vorzeichen für jeden Ton ist auch der Cents-Wert der Abweichung der gewünschten Stimmung von der Tonhöhe des jeweils bezeichneten chromatischen Tons der gleichstufig temperierten Zwölfton-Skala angegeben. Die attachierten Pfeile für die Alteration um ein Syntonisches Terzkomma sind eine bloße Transkription der Notation, die Hermann von Helmholtz in seinem Buch “Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik” (1863) verwendet hat. Die kommentierte englische Übersetzung “On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885) stammt von Alexander J. Ellis, der auch eine enorme Verfeinerung der Tonhöhendefinition innerhalb des Zwölftonsystems der gleichstufig temperierten Stimmung durch die Unterteilung der Oktave in 1200 Cents eingeführt hat. – Das Vorzeichen für die Alteration um ein Septimenkomma wurde von Giuseppe Tartini (1692-1770) erfunden, der als Komponist, Geiger und Wissenschaftler die durch Doppelgriffe erzeugten Differenztöne untersucht hat.
ù
û
ù
û
ù
û
Violin I
Violin II
Viola
Violoncello
mezza voce,tenuto
sottovoce
Tempo ad libitum, take time necessary to sound a precise, stable intonation *Repeat and move through the patterns freely, going back if and when needed
mezza voce,tenuto
sottovoce
sotto voce(s.v.), libero
< > < >< >
mezza voce,tenuto
mezza voce,tenuto
o sottovoce
mezza voce(m.v.)
sotto voce(s.v.)
m.v.
sotto voce(s.v.), libero
< > < >< >
< > pppmolto preciso
< > o
4
< > pppmolto preciso
o < > < > pppmolto preciso
mezza voce(m.v.)
sotto voce mezza voce (m.v.)
s.v. m.v.
pppmolto preciso
mezza voce(m.v.)
o m.v.
6
o m.v.
sotto voce(s.v.), libero
< > < > < >
s.v.libero
< > < > < > < > < >
11 41
11 41
11 41
11 41
&
* in the course of this section, the open strings are to be tuned just; measured in cents relative to 12-tone equal temperament : E +2, A 0, D -2, G -4, C -6
before playing, it is sufficient to have the strings relatively close to a good tuning, with the cello A-string tuned exactly (preferably to 220 Hz) — the written
patterns may be interwoven dynamically and repeated freely in the manner of normal tuning procedure, to achieve the most precise tuning as swiftly as possible;
the sound of actually tuning the strings by adjusting the pegs is intentionally part of the music; accuracy may be facilitated by using fine tuners for each string
∑[ II í ™™
≥≤ad lib.
adjust tuning of open strings as required
î™™ÍÍÍÍÍÍÍÍ í ™™ +2 I î™™ÍÍÍÍÍÍÍ
Preludio : Les Quintes Justes
Euler Lattice Spirals Scenery
Marc Sabat
& ∑[í ™™
≥≤II ad lib.
adjust tuning of open strings as required
î™™ÍÍÍÍÍÍÍÍ í ™™ +2 I î™™ÍÍÍÍÍÍÍ í ™™ ] î™™2˚/Io
, í ™™ î™™2˚/IIo ,í ™™3˚/IIo
IoIIo
oî™™
Io
B ∑ ∑[I
?≥≤
I ad lib. even bow pressure4˚/Io Io
& í ™™ ] î™™2˚/Io
, í ™™ î™™2˚/IIo , í ™™3˚/IIo
IoIIo
oî™™
Io, í ™™í ™™ î™™ -33
even, clearbowing
<III í ™™ î™™ ,2˚/IIo
&, í ™™ II î™™ +16
even, clearbowing
oIII í ™™ I î™™ í ™™ II î™™ oIII o
B í ™™≥≤ad lib.
adjust tuning of open strings as required
î™™ÍÍÍÍÍÍÍÍÍ ] [
?[ í ™™
-2
î™™ÍÍÍÍÍÍÍÍÍÍÍ
&
beating with Vl 2
<III
o o o o o , [
& obeating with Vl 1 , [ í ™™-2
î™™ÍÍÍÍÍÍÍÍÍÍB í ™™
-2î™™ÍÍÍÍÍÍÍÍÍÍ í ™™ ]II î™™
2˚/Io, Ií ™™ î™™
2˚/IIo , í ™™3˚/IIo
IoIIo
oî™™
Io
? í ™™ ]II î™™2˚/Io
, Ií ™™ î™™2˚/IIo , í ™™3˚/IIo
IoIIo
oî™™
Io, í ™™ î™™ í ™™ î™™
œ w w œ ww ww
w w œ ww ww œ~w œ ~w ‚
‚‚
~~
œ
w w w w œ ~ w w w œ ~
œ~w œ ~w ‚
‚‚
~~ w ˙ ˙ w ‚
w ˙ ˙ w w ˙ ww ˙
w w w w w ˙ ˙
w w w w œ ww ww œ ww
~w ~w ~w ~ ~œ
˙ w œ œ ww ww œ ww
œ ww ww œ ww œ~w œ ~w ‚
‚‚
~~
œ~w œ ~w ‚
‚‚
~~ w w
ù
û
ù
û
ù
û
s.v. < > < >< >
8
s.v. < > < >< > < > < >
< > < > < > pppmolto preciso
< > pppmolto preciso
m.v. o o
< > < > m.v. pmolto preciso
10
< > pppmolto preciso
o m.v.
m.v. o m.v.
m.v. pmolto preciso
s.v. < > < >< >
s.v. < >
< >< >
< > < > pppmolto preciso
12
o m.v.
pmolto preciso
pmolto preciso
s.v. < > < >< >
< > < > < > pppmolto preciso
& í ™™-2
î™™ÍÍÍÍÍÍÍÍÍÍ í ™™ ] î™™2˚/IIo , í ™™ î™™2˚/IIIo ,í ™™3˚/IIIo
IIo IIIoo
î™™IIo
& í ™™ ] î™™2˚/IIo , í ™™ î™™2˚/IIIo , í ™™3˚/IIIo
IIo IIIoo
î™™IIo , í ™™ î™™ í ™™ î™™
B, í ™™ î™™ í ™™ î™™ í ™™ î™™
-35
even, clearbowing
<III
? í ™™ î™™ +14oIII o , [
&, í ™™ î™™ í ™™ î™™ [ í ™™
-4
î™™ÍÍÍÍÍÍÍÍÍÍÍÍ -20
m
& í ™™ î™™ , 2˚/IIIoIV
+14
oo o o o
B, [
? í ™™-4
î™™ÍÍÍÍÍÍÍÍÍÍÍ -20
even, clearbowingm í ™™ ]III î™™
2˚/IIo , IIí ™™ î™™2˚/IIIo , í ™™3˚/IIIoIIo IIIo
oî™™
IIo
& í ™™ ] î™™2˚/IIIo ,
III
í ™™ î™™2˚/IVo , í ™™3˚/IVo IIIo IVo
oî™™IIIo , í ™™ î™™ í ™™ î™™
&o , [ í ™™
-4
î™™ÍÍÍÍÍÍÍÍÍ -20
m
B í ™™-4
î™™ÍÍÍÍÍÍÍÍÍ -20m í ™™ ] î™™
2˚/IIo , í ™™ î™™2˚/IIIo , í ™™3˚/IIIoIIo IIIo
oî™™
IIo
?, í ™™ î™™ í ™™ î™™ í ™™ î™™ -18
even, clearbowing
m m
œ ww ww œ ww œ~w œ ~w ‚
‚‚
~~
œ~w œ ~w ‚
‚‚
~~ w w
w w w ww ww
w ww w ww ww w œ
w w œ œ ww ww œ ww
wO w~ w~ w~ ~
ww ww ww w w œ
œ ww ww œ ww œ~w œ ~w ‚
‚‚
~~
œ w~
œ w~ ‚‚
‚ ~~ w w ˙
~œ œ ww ww œ ww
œ ww ww œ ww œ~w œ ~w ‚
‚‚
~~
w w www
˙˙
˙
2
ù
û
ù
û
ù
û
< >
o o
o o
14
s.v. < >
< >< >
< > < >
< > < >
molto preciso
ppp m.v. < > m.v.
om.v.o
s.v. pppmolto preciso
m.v. s.v.
16
< > pppmolto preciso
m.v. o
s.v. < > < > < >
s.v. < > < > < > < > < >
attacca
o s.v.o
18
s.v.o o
< > < > pppmolto preciso
< > o m.v. o
< > pppmolto preciso
o
o o
& í ™™ î™™ 3˚/IIIo o , 2˚/IVo
& í ™™ ] î™™2˚/IIIo , í ™™ î™™2˚/IVo , í ™™3˚/IVo IIIo IVo
oî™™IIIo , í ™™ î™™ í ™™ î™™
B, í ™™ î™™ í ™™ î™™
tune to A harmonic in Vl1+16 o í ™™ î™™ [
?, [ í ™™
-6
î™™ÍÍÍÍÍÍÍÍÍ
&o o o
-18
mIII
o o o oo
& í ™™ î™™-35<
,
B í ™™-6
î™™ÍÍÍÍÍÍÍÍÍÍÍí ™™ ] î™™2˚/IIIo , í ™™ î™™2˚/IVo , í ™™3˚/IVo IIIo IVo
oî™™IIIo
? í ™™ ] î™™2˚/IIIo , í ™™ î™™2˚/IVo , í ™™3˚/IVo IIIo IVo
oî™™IIIo , í ™™ î™™ í ™™ î™™
&o ,
∑I
& ∑ ∑I beating !
B, í ™™ î™™ í ™™ î™™
-20m í ™™ î™™ m
5˚/IVo o beating !o o ,
? í ™™ î™™-20
m , I
˙ ˙ w w ˙On
˙O
w w~
œ w~
œ w~ ‚‚
‚ ~~ w w
w w˙˙
˙˙
˙w œ
ww w œ œ wwn ww œ ww
~ ~ ~ ~w ~w ~w ~w ~
w ww
ww
ww
w
œ ww ww œ ww œ w~
œ w~ ‚‚
‚~~
œ w~
œ w~ ‚‚
‚ ~~ w w
~ wn w w
wn w w w
w w ˙ w ~ ~ ~ ~
w ww
ww
ww
ww
w w wœ
3
ù
û
ù
û
ù
û
™™
™™
™™
™™
o mezza voce,sostenuto
ff
Tempo ad libitum, vary from bar to bar as desired, swinging, like a French Overture
h ca. 66-99
ff mezza voce,sostenuto
( ff ) sempre simile
mezza voce,sostenuto
ff(m.v.) sempre simile
mezza voce,sostenuto
o
ff (m.v.) ( ff ) sempre simile
o
(m.v.) sempre simile
6
o
o
oo
™™
™™
™™
™™attacca
12
o o
o o
o
32
32
32
32
48
48
48
48
&≈
* grace notes placed at beginning and end of bar are not to be deliberately synchronized between the instruments
I≈ ≈∑≈ *
martélé, full bow
2˚/III
∑≈ΩΩo ΩΩ
Pythagoras Drawing (I)
& ∑Älead martélé, full bow
*I
∑≈ Älead
IIIΩΩ ΩΩ IV 3˚/IIIΩΩ o o≈ ÄleadII
III
vo
o I IIΩΩ o≈I ≈ >
B ∑II≈ * martélé, full bow
2˚/I
∑≈ 2˚/IV
ΩΩoo o≈ Älead
n
o
III
II≈
? ≈2˚/II
no o≈ o 2˚/III
o≈martélé, full bow
4˚/IV
* III
ΩΩo o≈ IV III
II
ΩΩo ΩΩo III
no Äo≈lead
o
&III ≈ Älead
no 3˚/IV
o
2˚/III
II
nnΩΩo o IIΩΩ ≈ Älead
II2˚/III
o≈III
n Δ∆IV
∑≈IΩΩ ΩΩ
&3˚/II
n≈o(A-string)
∑≈ IIΩΩ ≈ ≈I
≈ 2˚/II
no o≈
B ∑≈3˚/I
ΩΩ ΩΩo I
∑≈ Älead3˚/IIIΩΩ ΩΩo IV≈ IIIΩΩ ≈
o3˚/III
2˚/IIIΩΩo ≈ II IΩΩ ≈ Älead
?
III
IIo o≈ oI
molto sul tasto
silently press downD-string
III
≈ IVord.
III
ΩΩo
Δ∆IVo o≈ Älead
IV
o
2˚/II 3˚/I
3˚/III
ΩΩo ΩΩo o
6˚/II
oo
o
o≈o
Älead
o
o
2˚/III
3˚/IVo
o gradually shift to open G≈
o o
& ∑≈2˚/IV
o≈ ≈ ≈ III
∑≈ ∑ΩΩ
&II≈ ≈ IIIΩΩ ≈ Älead
2˚/III II
no o
Δ∆∑≈ ∑
B
molto sul tastosilently press downD- and G-strings
IV
I≈ 2˚/IIIΩΩo ≈ Älead
III
no o
Δ∆I
∑≈IIIΩΩ ΩΩo
II
∑
?IV
IIIΩΩo Älead
IV
IV
ΩΩo ≈ IIcome prima≈ I≈ Älead
III
≈ ≈
˙ Ó Ó wn ™ w ™ fifi‚n j fifiœn j
fifiœn j fifiœn j fifiœnj On O On
On fifiœnj ~ ™ n ™ œ ™ œ ™ œn ™
wn ™fifi‚n j
On O O wn ™
w ™ œ ™Œ ™ ‚ ™œ ™ ‚ ™œ ™ ‚ ™œ ™ ~n ™ fifi‚n j ~n ™ fifi‚n jfifi‚n j œn ™Œ ™ ‚ ™œ ™ ‚ ™œ ™ ‚ ™œ ™
n ˙ ˙Ofifi‚‚n
n
j ~ ™w ™ fifiœn j Œ ™ Œ ™ Œ ™ ‰™ ~wn ™™œn ™j ˙ ˙Ó
˙Ó fifi
œnj
fifiœn j
w~ ™ fifiœn j wn ™ w ™ n ˙ O ~ ™w ™
fifiœn jfifi‚n j fifiœn j fifi‚n j
wn ™ fifiœn j wn ™fifi‚‚n
n
jwn ™ fifiœn j wn ™
œn ™Œ ™
œ ™‚n ™
œ ™‚ ™
œ ™‚ ™
w ™w ™ ˙fifi‚n j Ó ˙
Ó O ~ ™ fifi‚n jfifi‚‚n
n
j
Œ ™‚n ™ ‚ ™
‚ ™ ‚ ™‚ ™ ‚ ™
‚ ™ OO
˙O ˙O
~n ™ ~ ™ ~ ™ fifiœnj
wn ™ w ™ fifiœn j Œ ™ Œ ™ Œ ™ ‰™ ‚n ™J ‚ ™œ ™ œ ™Œ ™ ˙ ™Ó™
ww
n ™™ fifi‚n j Œ ™ Œ ™ Œ ™ ‰™ ‚n ™
J ‚ ™œ ™ œ ™Œ ™ ˙ ™Ó™ fifiœn j fifi‚n j wn ™
fifi‚n j wn ™ fifi‚n jwn ™ w
wn ™™ wwn ™™ w
wn ™™ w ™
4
ù
û
ù
û
ù
û
melodicparticell
Vl I
Vl II
Vla
Vlc
Joyeux
e = 288 ( q = 144 | q. = 96 )
sonore e sostenuto possibile
f p f
f sonore e sostenuto possibile
7
sonore e sostenuto possibile
f p
sonore e sostenuto possibile
f p f p
f p f f p f ( f )
p
p
f
p
15
pp
pp
( f ) p f p f p f
f
48 88 138 84 218 138
48 88 138 84 218 138
48 88 138 84 218 138
48 88 138 84 218 138
48 88 138 84 218 138
138 88 138 88 138 52 32 22 12
138 88 138 88 138 52 32 22 12
138 88 138 88 138 52 32 22 12
138 88 138 88 138 52 32 22 12
138 88 138 88 138 52 32 22 12
12 218 34 24 14 24 34 54 138
12 218 34 24 14 24 34 54 138
12 218 34 24 14 24 34 54 138
12 218 34 24 14 24 34 54 138
12 218 34 24 14 24 34 54 138
? (This staff shows the hocketing counterpoint between parts, written at sounding pitch)
Harmonium for Claude Vivier
&
* this section is played on open strings and natural harmonics whenever possible, with the exception of occasional stopped pitches
∑ ∑ ∑ ∑ Ú ∑
& ∑ ∑ ∑ ∑ Ú ∑
B ∑ ∑ ∑ ∑ Ú *≥
? *
(harmonics are mostly written at the nodes asdiamond noteheads inflected by a small circle;the desired partial and string are indicated above:please observe the changing nodes where possible;double-stop harmonics generally take two stems.)
III
2˚/IVo
III
2˚/IVo
?
& ∑ ∑ ∑ ∑ ∑*
& ∑ ∑ ∑ ∑*
B ≥ ∑ ≥ ≤
III
2˚/IV o
?- - 2˚/IVo o ≥
2˚/III
II
o o
?m
& m m m m m
& ∑ ∑ ∑ ∑2˚/IVo o o o o
& ∑ ∑ ∑ ∑2˚/IVo o o o o
Bo IVo o III IVo III IVo 2˚/IIIo 3˚/IVo 3˚/IVo IIIo o
?IIIo
I
2˚/IIo mm
5˚/IVo - 4˚/IVo
I
IIo
m5˚/IVo o
m5˚/IVo
m5˚/IVo m5˚/IVo o
œ œ œ œ ™ œj
˙ w w œ œ ™ œ ™ œ œ ™ w œ œ œ ™ w œ ™ œ ™
Œ Œœj œ w œ ™ Œ ™
œ œ œ œ ™ œj˙ w w œ œ ™ œ ™ œ œœ ™™ ww œ œœ œj ‚
œJœ ww ‚ ™œ ™ œ ™
œ œ œ ˙ œ ™ w œ ™ w œ ˙ œj œ ™ ww œœ œœ ™™œ ™ ˙˙ WWW w ™ww ™™ www
˙ W w ™ w
∑ Œœ ™ ˙ W w ™ w
Œ Œœ ˙ œ ™ œ ™ w Œ
˙ œj œ ™ w œ œ ™ ˙ WW w ™ ~œ Œ Ó
œ œœ œ ˙ œ ™œ ™ ww œ ™ ww œ O ‚j ‰ Œ w œ ‚ ™œ ™ O W ww ™™ w
˙ ˙ œ ™œ ™œ œ ™ œ œ ™ ˙ ™ œ www œœœ œ ™œ ™ ww ˙ ™˙ ™
˙ œœ ˙ ˙ ™˙ ™ ˙ ™˙ ™ ˙
˙∑ Œ Œ ™
w‚ O O ™ O ™ O
˙∑ Œ
œ ™ w‚ O O ™ O ™ O
O ˙ ‚ ™ ‚ Œ ™œ œ ™ ˙ ™ œ w œ œ ™ ~œ Œ Ó ˙ ™ O ‚ E
OO ™ O ™ O
O O e‚ ™™œ œœ ™™ œœ œœ ™™ ww ww œœ œ ™ ~
O ™˙ ™O ‚ O O ™ O ™ O
5
ù
û
ù
û
ù
û
25
( p )
fp p f p
( p ) f pf
pp
( f ) p
pf p p
( f )
31
p
( p )
p
( p )f ( f )
( f )
38
f pf p
p p
p f p f
( f ) p f
138 88 54 138 84 138
138 88 54 138 84 138
138 88 54 138 84 138
138 88 54 138 84 138
138 88 54 138 84 138
34 24 38 84 88 58 88
34 24 38 84 88 58 88
34 24 38 84 88 58 88
34 24 38 84 88 58 88
34 24 38 84 88 58 88
54 138 134 138
54 138 134 138
54 138 134 138
54 138 134 138
54 138 134 138
& m m <e m m m <e ?
<e& m m
&-20
m mII IVo
-37
<eIII
o o
&III
m-20
m(dissonant fourth 27/20)
-37
<e
BIII
IVoo
o
o
o o
o o
-37
<e I IIIo o o o-37
<e
?m5˚/IVo o o o m o
B<e7˚/IVo o
?2˚/IIIo
m5˚/IVo
o o<e
7˚/IVo o o III
o2˚/IV
<eo
7˚/IVo
mo
5˚/IV
mo o
& mm m m m m m m m m mm
& ∑ ∑ ∑3˚/IVo o 3˚/IV
o 2˚/IIIo IVo o o o-18m
& ∑ ∑3˚/IVo o IVo III
3˚/IVo 2˚/IIIo o IVo o
B4˚/IVo IVo o o 3˚/IIIo o sim.o o o o o m
m5˚/IVo o IIIo o
?5˚/III
mmo
o
om5˚/IVo m
III
mIV IIIo o o o sim.
mo o m m
o o omo o o o o
IIomIII
o
o
o
o
& mm <e <e m mm m
&IVo o
-37
<e ∑
&-
m m-20
B-20m IVo o o o o o
mIVo
? mIII
mIV
o
o
o<e
7˚/IVo o o<eo o o I IV
mIVo o o
mmIII
IV
o o o
o o
o IVo
ww œœ œœj
œœœœJ œ www œœœ www œœ œj œœœœJ
œ œ ™œ ™ œj ˙œJ ˙ œ ™ œ œ ™wwww œ ™œ ™ www
œœœ
~ ‚ ‚jœ ww œœ w œ œj œj ‰ ‚ ™ œj ˙‚J O Œ ™ Œ œ ™ œ ˙ ™ œ ™ w œ
~ ‚ œj œ w œ w œ œœj œœn œœ ™™ œœ
j˙ Œ ™ Œ Œ ™ œ ˙ ™™ Œ ™
w œ
~~ ‚‚‚J ‚‚j ‚ w œ ww œ œJ ‚ ‚ ™ ‚J O Ó ‰
œ ™ œ ˙ ™˙ ™
œ ™ Ó Ó Œ
~ ‚ ‚J
‚ ~ ‚ ~ ‚‚J‚j
‚ ‚ ™ ‚j Oœ ™ œ œ ™‚ ™ œ‚ ˙ ™O ™ œ ™‚ ™ ~ ‚
˙ ™˙ ™™ ˙ œ ™œ ™ œ œ œœ œ œ œ ™œ ™ œj w
œJw œ œ œ
œ œ œ œj œ ™œJ
œ ™ œœ œ ™œ ™ œ ™œn ™ œ ™œœ ™™ œœœ
œj ‰ ‚e
‚e ™™ ‰ ~
œj ‰‚ ‰ ‚j ‚ ‚ ‚ ™ œ ™ œ ™ œœ
˙ ™ œj ‰‚ ‚ ™ ‰ ~ œj ‰ ‚
e ‰ ‚J ‚ ‚ ‚ ™ œ ™ œ ™ œ
˙ ™ ˙ ‚ ™ ‰ ‚j ‚ ‚ ™ ‚j ~ ‰ ‚j ‚ ‚ ‚ ‚e‚
e‚ ™™ Œ ™ ‚ ™ ‚
O ™O ™ O ‚ ™ ‚ ‚ ‚ ‚ ™ ‚j ~ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ™ ‚ ™ ‚ ™‚ ™ ‚
‚
œœœœ wwwwwwwwwww
œ ™œ ™ œœœ
˙ ™˙ ™ œ
˙œ W
WWW œœœ ™™™œ
jœ wwww
œ œ œœœœœ œ œ œ ™œ ™ ww
œœ ~ ~ Œ ™ Œ Œœ œ
œœœ
œœ
WW
œœj œ w œj ‰
œ ww ww œ ™ œ Œœ œ œ œ W œ
jœœ ww œœ œ œœ œ ™ ∑
œ ww ww Œ ™ Œœ œ œ œ
‚ ¿¿ ¿¿~ ‚J ‚ ~ ‚J ‰ œ œ ™ ~
‚‚ ~ ~ ‚ ™ ‚ ‚ ‚ ‚œ œ ¿¿ ¿¿~ ‚j ‚ ~ ‚ ‚ ‚‚J ‚ ‚ ™ ~
6
ù
û
ù
û
ù
û
43
f p f p
p pf ( f ) p f p
p f p f ( f ) ( f )
( f )
52
( p ) f ( f ) ( f ) ( f ) p
p p ( p ) ( p ) f
p f ( f ) fp f p f
( f ) p
59
p( p ) f
p f p f
p f p ( p ) f
f p f( f )
84 38 14 24 34 54 58 88 138
84 38 14 24 34 54 58 88 138
84 38 14 24 34 54 58 88 138
84 38 14 24 34 54 58 88 138
84 38 14 24 34 54 58 88 138
138 88 54 84 58 88 98 158
138 88 54 84 58 88 98 158
138 88 54 84 58 88 98 158
138 88 54 84 58 88 98 158
138 88 54 84 58 88 98 158
158 84 98 84 54 34
158 84 98 84 54 34
158 84 98 84 54 34
158 84 98 84 54 34
158 84 98 84 54 34
& m m m m m m m m m<
& ∑ Ú IVo o o o o o
&IIIo
∑IVo o o o o
B mIVo
mIVo IIIo
∑ ∑IVo IIIo o IIo
oIII
o
? msim.o o o m o o
4˚/IIIo
m5˚/IV
omo mo mo o mo
&<<7˚/IIIo
& m <e< < m m m< nu mm m m m
&III o I
2˚/IIo IVo o III
IVo
o∑
IVo o IVo o o
& m-18 III o III
2˚/IIo IVo o I
∑IVo o III IVo o o
BIII
II
o
o
o
o
m5˚/IVo
mo o II IIIo
mIVo o o IIIo
mIVo o II
IIIo o IV III
mIVo o o o
& m5˚/IIIo o ? <e<7˚/III
7˚/IV
o
o
< 4˚/IV Io o o o IIo&
<7˚/III 8˚/IVo o o u5˚/IIo m5˚/III
m5˚/IV
o o
o
o 4˚/IIIo om5/IV IIIo o o o
& m < <e <em
<em mm mu u
&IVo
-35<III
o
o o o IVo o o om
-20
mIIIo
&o o 4˚/IV
o
-
3˚/IIIo
-
IVo o o o o o IIIo o o o o o IIIo
-16
uII
o
I
IIo
B mIVo-
IIIo o3˚/II
-o<e<e
7˚/IV-o
<eo IIIo <e
IVo o2˚/Io o o o o
-18
mo o
II
Io
&o <<
7˚/
-o8˚/o 9˚/
o o-
?
6˚/IVo m
5˚/
o o o IIom5˚/IVo o o o mm
5˚/III
IV
o
o
o
omu
III
5˚/IIo
o
o
o
o
o
uIIo
&
œœ
œ ™œ ™ ww
ww
ww œ ™œ ™ œœ ˙ ˙ ™˙ ™ ˙ ™˙ ™ ˙ œœ
j˙˙
œJ˙ w
w ww
‚ ™ ‚ O O ™ O ™ O œj ˙ w
œ œ ™ ∑w
∑ ‚ ™ O O ™ O ™ O ‚j ˙w
œ œ ™ ~ w ~ ‚ ™ O ™ O ™ O ˙‚J O œ~ Œ Ó
‚ ‚ ™ ~ ~ ~ ‚ ™ ‚ O O ™ O ™ O ‚J Ó %~
œj œœœJ œœœœ ww ww œ œ œ œ ˙
œ œ œ œ ˙œœn ww
w œj œ ™œJ œ ™ œœ œœ www œj ˙œJ ˙ œ ™œ ™ œj ˙œJ ˙ œ œ œ ˙ ™œ œ œ ˙ ™
œ œ œ œ wœj ‰
‚J ‰ Ó œ ~‰
‚ ™ ‚Œ ~~ Œ ™ ‚j O ‰ ‚ ‚ O ™
œ œ œœ œ ∑ œj ‰‚J ‰ Ó œ w
~‰
‚ ™ ‚œ w Œ ™ ‚J O ‰ ‚ ‚ O ™
‚œ œ œ‚ ~~ ‰ ‚j ‰ ‚j O œ ~
‚j ‚ ™ ‚ Œ ~ ‚j O œ ™ ‚J O‚ ‚ ‚ O ™
‰ ‚ ‚ Œ~~ ‚ ‚ œ ‚ O ‚
∑ ‚J ‚ ™ ‚ ‚ ∑ ‚J OO ‚ ™ ‚j O ‚‚ ‚ O ™
œ ™œ ™ œ ™œ ™ œ ™œ ™ œ ™œ ™ œ ™œ ™ œ
œ˙˙
˙ ™˙ ™ ˙˙
œ ™œ ™ œœ
˙ ™œJ œ ™ ˙
˙˙
w ™www ™™™ œœœww
‚ ™ œ ™‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ O O ™ O œ ™ œ œœ œ œ ™ œ œ œ œ w œ ~
‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ O O ™ O ‚ ™ ‚ ‚ ‚ ‚ ™ ‚ ‚ ‚ œ‚ wŒœ w~
‚ ™ ‚ ™ ‚ ™ ‚ ™ e‚ ™™
‚ O O ™ O œ ™ ‚ ‚ ‚ ‚ ™ ‚ ‚œ
‚œ œ w œ
~
‚ ™ e‚ ™™ ‚
e ™™ e‚ ™™ ‚ ™
‚ O O ™ O ‚ ™‚ ‚ ‚ ‚ ™ ‚‚ ‚‚
‚‚ ‚‚ ~~ ‚Œ Œ Œ Œ
7
ù
û
ù
û
ù
û
64
( f ) p f p
p f p ( p )
f p f p f( f )
p f p f p f p f ( f )
71
f p f p
( f )( f )
( f )
76
p f ( f ) p
p( p ) p
p f( f )
( f )
34 38 98 54 84
34 38 98 54 84
34 38 98 54 84
34 38 98 54 84
34 38 98 54 84
84 138 54 98 38 34
84 138 54 98 38 34
84 138 54 98 38 34
84 138 54 98 38 34
84 138 54 98 38 34
34 68 138 84 98 158 24
34 68 138 84 98 158 24
34 68 138 84 98 158 24
34 68 138 84 98 158 24
34 68 138 84 98 158 24
& n m u m u n m u m n <em m
m <
&IVo
-o
-
o
-
o
-
- IV IIIo o
-
o
-
IVo IIIo IVo IIIoIIIm
5˚/IV
m
o o
&I
II IVo o o
o III
∑I
II
o oo
IVoIIo IVo
IIoIII<II
-33
(match cello)
B m5˚/IV
mo
o o oIII
mIVo o o o III
mIVo
-
o o<e
7˚/IVo
-
IIo<e
IVo IIo m5˚/III
mo o
∑ &
&
3/I 8/III
u5/II
8/IIIo-
o o o
- u5/II
3/I
?8/IVo o
-
o
-
o u5/II8/III
&
3/Io-o o o
?
IVo mo o mo IIIo o& <
I
7˚/IIo o o?
&m m <e
mm um
ummu3 3
& m5˚/IV IIIo o o
m5˚/IV IIIo o o o o
m-20
m5˚/IV IIIo o o o
uu5˚/II
II
o3 3
&
*n* artificial harmonic
IIIo o o IIIo o o o III mm5˚/IVo o 5˚/II
uu III
oo o o
m5˚/IV IIIo o
3 3
&8˚/IV -o
3
IV -o
3
<e7˚/IVo m5˚/IIIo m I
II
o
o
o o u5˚/Io
o
?IIIo o o o o o o o o o 4˚/III
m5˚/IV
II
o o o&
uu5˚/Io
? m5˚/III
∑ &
o
3 3
&uu <e
mu
<eu
<e ™™m ™
& -14u IVo
IIo III o o o o o o oIV
o o o o
&IIIo IVo IIIo III o o
-37
<eIVo IIIo
IIo
o
o
o
&
u5˚/Io4˚/IIo <e<e
7˚/IVo 3˚/IIoB
II o o o o IVo o o
-20
mIII
o
6˚/
f
IVo
>
8˚/o
IIIo&
Io o
& uIo ?IIIo
m5˚/IVo u5˚/I
<e7˚/IV
oo o uI
<eIV
oo o o o
mIVo o o o o
œ ™ œ ™ œ ™ œ ™œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™œ ™ œ ™ œ ™ œ ™ œ œ œ œ ™œ œ œ œ ™ ˙ ™˙ ™ œœ
œœ
˙ ™˙™
˙ ™˙ ™
˙˙
˙
˙
˙ ˙ ™˙ ™
‚ ™ ‚ ™ ‚ ™ ‰™‚ ™j ‰™ ‰™ œ ™J ‰ ‚ ‚ ‚ ™ O ™ ‚ ‚ O ™ œ
EO ™™ Œ Œ E
O
Ó
œ œœ ˙ ™œ ™j‚ ™
‚ ™ ‚ ™ ‰™‚ ™j ‰™ ‚ ™ ‚ ™ œ ™‚ ™ O ™ ‚
‚O ™
˙ ™ ˙ œ œ
œ ˙ ™
‚ ™‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ‚ ‚ Œ ™ O ™ ‚
‚O ™ E
O ™™ EO
‚ ™‚e ™™ ‚
e ™™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚‚ ‚ ‚ ™ O ™ ‚ ‚ O ™ O ™ O
œ‚
œ‚
˙ ™O ™
œ œ œ w ™™œ œ œ w ™™
œ œ œ œ
œ œ œ œ
˙ ™˙ ™
œ ™œ ™
œ œ wœ
œœ w œJ œ
œœj
œœ œ ™œ ™ œœ œœJ œ ™œj
œ ™
‚ œ‚ ~ ™™ ‚ œ
‚ ‚ O ™ ‚ ™œ œœ w ‚j ‚ ‚ ™ ‚
e‚J œ ™
œ
eOœ œ‚j ~ ™™
œOœ œ‚j ‚ O ™ ‚ ™ ‰ ‚j
%~e‚J ‚ ‚ ™ ‚ ‚j ‚ ™
‰‚J ‰ ∑™™ ‰
‚J ‰ Œ Ó™ Œ ™ ‚J ‰
~ ‚J œ‚ ‚ ™ ‚
‚
J‚ ™œj ‰ ‰
‚ ‚ ‚ ~ ™™ ‚ ‚ ‚ ‚ O ™ ‚ ™ ‚ ‚~ e
‚J Œ Œ ™ Œ ‚J
œœœ
˙˙
œ ™œ ™ œ ™œ™
œ œ ˙ ™œ œ ˙ ™œJ
˙œj ˙
œœ
œœœ
œ ™œœ ™™ œœ ™™œœ ˙
˙ ™™™˙ œ ™œ ™ ˙ ™˙ ™
˙ ™ ˙ ™˙ ™ œ ™œ ™
œœ
˙˙
‚ ™ ‚ ™œ ‚ O ™ œj O ‚ Œ ‚ ™ ‚ ™ O ™ ‚ ™ Œ ™ Œ ™ O ™ O ™ ‚ ™
Œ O ‚ ™ ‚ ™ œ ‚ O ™ œj ˙ œœ œ œ ™ œ ™ ˙ ™‚ ™ Œ ™ Œ ™ O ™ O ™O ™ ‚ ™‚ ™
‚O e
‚ ™™ ‚ ™ œ ‚ O ™ œJO ‚
‚ ‚ ™ ‚ ™ ˙ ™O ™
e‚ ™™ EO ™™
O ™ O ™ ‚ ™
‚ Ó ‚ ™ ‚ ™‚
‚ O ™ ‚J O ‚ ‚ ‚ ™ ‚ ™ O ™ ‚ ™ O ™ O ™ Œ ™ Œ ™ Œ ™
8
ù
û
ù
û
ù
û
82
f f p ( p ) f
( p ) f p p f p f
( f ) p f p f
( f )
89
f
p p f
( f ) p p f
( f ) ( f )
97
p ( p ) f
p ( p ) p
f ( f )
p f p
( f )
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24 54 38 34 58 24 138 158
24 54 38 34 58 24 138 158
24 54 38 34 58 24 138 158
24 54 38 34 58 24 138 158
158 54 22 32 44 84 158 98
158 54 22 32 44 84 158 98
158 54 22 32 44 84 158 98
158 54 22 32 44 84 158 98
158 54 22 32 44 84 158 98
98 54 138 54 138 98
98 54 138 54 138 98
98 54 138 54 138 98
98 54 138 54 138 98
98 54 138 54 138 98
&
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<
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7˚/o
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I
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oo
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u IVo IIIo
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&
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& <o o o o
∑ ∑IIIo o o o o o o o o o
&II
-18
m m III o
B <o III
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o
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oo <e
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u < <m
u3
3
& m5˚/IVo IIIo o o IIo o o II
III
oo
o
o
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3
& m5˚/IVo IIIo o
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II
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o o III II uu5˚/III
o oo o
3
B m5˚/IIIo IIo o&
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m5˚/IIo o o o o
3
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o
omo mu
o
omIIo o u5˚/IIo o o o
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o o o oII
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&
Io o o o o
3
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‚
e‚ O ‚ ™ ‚ ™ ‚r ‰
‚ ™J ‚ ™ ‚ ‚
‚œ ‚ O œj ‚ ™ ‚ ™
‚‚ ‚J ‰EO
e‚ ™™ e
‚JŒ ‚ ™ ‚ ™ œ ˙
˙œ ™œ ™ œ
œ‚ ‚ œ ‚ O œj ‚ ™ ‚ ™
‚‚ O ‚ ™ ‚ ™ ‚ ™ ‚ ™ ˙ œ œ ™ œ
‚
‚œ ‚ O œJ
‚ ™ ‚ ™
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‚ ‚‚
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œ ™œ ™
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www œœœœ
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wwww
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ww ™™™™™™ww ™™™™™™
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œn ™ œ ™ ˙ ™˙ ™ œ w w ˙EO w
%~ ‚ ‚ O O ™ ‚ ~ ¿¿ ¿¿~ ~ ™™™‚ ™ ‚ ™
‚ ™ O ™ ‚‚ ~~ ~~ O ~ ‚ ‚ O O ™ ‚ ~ ¿¿ ¿¿~ ~ ™™™
œ ™œ ™ œ ™œ ™ œ ™œ ™ ww œœ œœœj wœJ w
œœ ww
wœœœ
œ œ œ wœ œ œ w
œ œ œœ œ œ
˙ ™˙ ™
œ ™œ ™
Œ ™ ‚ ™ Œ ™ ~ ‚ ‚ ‚J ~ ‚ ~~ ‚‚e‚ œ œ w ‚j ‰ ‚ O ™ ‚ ™
Œ ™ ‚ ™ Œ ™ ~ ‚‚ ‚
J~ ‚
~ ‚ ‚Jœ œ ‚ ~ ‚ ‚
e‚
e‚J Œ Œ ™ Œ ™
Œ ™ ‚ ™ Œ ™ ~ ‚ ‚ ‚J ~ ‚ ~ ‚ ‚J ‰ ‚J ~ ‚‚ œ ‚j O ™œJ ˙ ™ ‚ ™œ ™
‚ ™‚ ™ ‚ ™ ‚ ™‚ ™ ~ ‚ ‚ ‚J ~ ‚ ~~ ‚‚
‚ ‚ ‚ ~‚ ‚ ‚ O ™ ‚ ™
9
ù
û
ù
û
ù
û
103
( f )
f
f
p
108
p f
p f
f
116
p f p
f p f p ( p ) f p f p f
p f
p f
98 34 84 218 88 218
98 34 84 218 88 218
98 34 84 218 88 218
98 34 84 218 88 218
98 34 84 218 88 218
218 84 22 54 138 34 54 138 88
218 84 22 54 138 34 54 138 88
218 84 22 54 138 34 54 138 88
218 84 22 54 138 34 54 138 88
218 84 22 54 138 34 54 138 88
88 84 138 158 82 34 98 58 138
88 84 138 158 82 34 98 58 138
88 84 138 158 82 34 98 58 138
88 84 138 158 82 34 98 58 138
88 84 138 158 82 34 98 58 138
&
< n < <mn <e
<<e &
‹ u
&
III II
IIIo
o o IIIo o III II
III
o o o
o
IIoIo <<
7˚/IIIoI
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III
5˚/IV
I
o
IIIo o
o o II
III
uu5˚/IIo
Io
&
8˚/IV-o 4˚/II 3˚/Io o8˚/IV
II
-oo IIo Io <<
7˚/IIIo I IIo o o o<7˚/IIIo o o uu
5˚/II 8˚/IIIo oo
&
*
II
* artificial harmonic
II I
oo o o
II
II
I
oo
o
Io <7˚/IIo Io om5˚/III <e7˙/IV <7˙/II
o oo o o
u5˚/I8˚/II
9˚/
o o o o“
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7˚/I II8˚/
o o o?
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<
3
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&
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3
o o <7˚/IIIo o u5˚/IIo o“
&
u5˚/Io 8˚/IIo Io <7˚/IIo
3
Io o IIIo o o
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&
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3
o o“
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3
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& mn < <
m<
<e < um
<
&IVo IIo o IVo IIo o o
I-o<III7˚/
o <o -o <7˚/o
8˚/o II
m5˚/IIIo
<7˚/IVo o o II
&
*-o * artificial
harmonicII II IVo o IVo 8˚/III II IIIo
-
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4˚/Io oIIIo
Io o
B<7˚/IIo IVo
-
<IIo
III
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o
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o
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œœ
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œ ™ œ ™ œ ™œ ™ œ ™ œ ™
œ
œ
‚ ™J‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ ‚ ™ O ™O ™ ‚ ‚EO ™™
‚ ™ ‚ O‚J‚ ‚n
‚ ™ ‚ w ™™~ ™™ e‚ ™™J ‰™ ‚ ™
Œ
e‚ ™™J ‰™
‚ ™ ‚ ™‰™ ‚ ™J
O ™ ‚ ‚ EO ™™ ‚ ™ ‚ O ‚
J ‰‚ ™ ‚ ~ ™™ e
‚ ™™ e‚ ™™Œ ™ ‚
eOœ ™™™‚ ™ ‚ ™ ‚ ™ ‰™ ‚ ™
JO ™O ™ ‚
Œ
O ™‰™
‚RO
‚ ‚‚ ™ ‚ ~ ™™
‚ ™ ‚ ™ ‚ ™ ‚
‚ ™ ‚ ™ ‚ ™J ‰™ ‚ ™ ‚ ™ O ™ ‚ ‚ O ™ ‚ ™ ‚ OŒ Œ ™ ‚ ~ ™™ ‚ ™ ‚ ™ ‚ ™ ‚
w
w
œ
œ
œ ™œ ™
w
w
œ
œ
˙
˙
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w
w
w
w˙˙
ww œœ
ww
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~ ‚ ‚ ™ ~ ‚Ó
‚ ~ ~ O ~ ‚∑ Œ Œ ™ ‚ ‚
Œ~ ‚
∑ Œ Œ ™
∑ Œ Œ ™ ∑‚ O
Œ ∑~ O ~ ‚ ~ ‚ ‚ ™ Ó
‚ ~ ‚∑ Œ Œ ™
~ ‚ ‚ ™ ~Œ
O ‚ ~ ~ O ~ ‚∑ Œ Œ ™ ‚
Œ ‚ ~ ‚ ∑ Œ Œ ™~ ‚ ‚ ™ ~ ‚ O ‚ ~ ~ O ~ ‚ ~ ‚ ‚ ™
Œ ‚ ‚ ~ ‚∑ Œ Œ ™
œ ™œ ™
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œj ˙
˙ ™˙ ™
œ
œ
w
w
˙
˙
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™™™™˙ ™™ œ
œ
œ œœ ™™œ ™
w ™w ™
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˙
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˙
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‚ ™ ‚J O O ™ ‚ ~ O O ™™‚ ‚ ™ ~ ™ O ¿¿ ¿¿~ ™™
œ O ‚ ™ O ‚ œ œ ™eOœ ™™™œj ˙ O ™™ œ w ˙ ˙ ™™ œ ‚ ™ ~ ™ O ¿¿ ¿¿~ ™™
œ ˙ œ ™ ˙ œ ‚œ ™
‚ ™‚J
OO ™
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‚ ™‚J
OO ™
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‚
O‚ ™‚ ™ O Œ
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10
ù
û
ù
û
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124
p f p
p( p )
p ( p ) f p p f
( f )
133
pp f
f ( f )
p p f ( f )
( f )
attacca
137
p
p f
138 54 34 38 58 88 54 32 138
138 54 34 38 58 88 54 32 138
138 54 34 38 58 88 54 32 138
138 54 34 38 58 88 54 32 138
138 54 34 38 58 88 54 32 138
138 54 58 158 54
138 54 58 158 54
138 54 58 158 54
138 54 58 158 54
138 54 58 158 54
54 98 34 22 54 134
54 98 34 22 54 134
54 98 34 22 54 134
54 98 34 22 54 134
54 98 34 22 54 134
&< m
m<e u <
m m
& -33
<m5˚/IVo o III IVo II I
∑IVo o
IIo
&III IVo II I III o
m-20o
BIII m5˚/IIIo o <e
7˚/IVo o I II
f6˚/IV
IIo
? <7˚/II
I
o o o o o
mIVo o o IIIo u5˚/Io
I
II
o
o
IIo o <e7˚/IIIo m5˚/IVo o mo
& mmu u m< <em
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mIII
o oIII
IIo
IV
IIIo
o
IIo
&I
IIo
IVo o III
IV
o
o
o
o
o
o
Bo o o
-16
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o o
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mo o o IIIo
? mmIV
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o
omu
5˚/II
III
o
o
o
o
o
o & uI
II
o
o
o? <e
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7˚/
o o o IIIo
& mu
m m m m ∑
&IV
o
-20
mIII
om ∑ ∑ ∑ ∑
&IVo o IIIo
∑ ∑ ∑ ∑ ∑
Bo o IVo o II
IV IIIo o o II
∑
? m5˚/IVo o m5˚/IIo o o
mIVo o m
5˚/IIIo m m
IV IIIo o o oIo
∑
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œ
œ
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˙ ™™˙ ™
˙˙
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ww
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ww
w ™w™
œ ™œ ™ œœ œ ™ œ œ ™
O ™ O œ O ˙ ™ œ ™œ ™ œ ™ œ‚ ~
~ ™
œ ™ œŒ ™ Œ œ ™ ˙ ™ ˙ œ O ˙ ™ œ ™ œ ™ œ
w ‚ w~ w ™
œ ™ œ Œ ™ Œ Œ ™ O ™ O ‚ O˙ ™ œ ™ œ ™ œ w
‚ ~ ~ ™
‚ ™œ ™ ‚œ ‚ ™œ ™ ‚œ ‚ ™œ ™O ™ O ‚ O
O ™ ‚ ™‚ ™ ‚ ™ ‚ ~ ‚ ~ ~ ™
œ ™œœ ™™ œ
œœœ ™œœœ ™™™ œœœœ
œ ™œœœ ™™™ œœœ
ww œ œ œ ™œ œœ œœ ™™ œ ™œœ ™™ ˙ ™˙ ™™™ œ ™œœœ ™™™ œ ™œ ™
‚ ™ ‚œ
‚ ™œ ™ œ œ ™ œ
~‰
‚j ‚ ™œ ™ œ ™ ˙ ™ œ ™ ‚ ™
œ ™ œ œ ™ œ œ ™ œ w~ ‰‚j ‚ ™ Œ ™ O ™O ™ ‚ ™‚ ™ ‚ ™‚ ™
‚ ™ ‚ ‚ ™ œ‚ œ ™‚ ™ œ ~‚ ‚ ‚ ™ ‚ ™ O ™ ‚ ™ ‚ ™
‚ ™‚ ™ ‚‚‚ ™‚ ™ ‚‚ ‚ ™‚ ™ ‚
‚‚ Œ Œ Œ ‚ ‚ ‚ ™ ‚ ™ O ™ ‚ ™ ‚ ™
œœ
˙ ™˙ ™ œœ
œœ ™™Œ ™
˙˙ ™™™˙ ™ œœœ
˙ ww œ œ wœ œ w œœ ww
‚ ˙ ™O ™ œ œ ™ ˙ ™˙ ™ œœŒ Œ
‚ O ™ Œ Œ ™ O ™
‚ O ™ Œœ ™ ˙ ™ ‚ O w œ ‚ ~ ‚ w
‚ O ™ ‚ ‚ ™ O ™‚ O ~ ‚ ‚ ~ ‚
~
11
ù
û
ù
û
ù
û
Vl I
Vl II
Vla
Vlc
mezza voce poco fo
sfp
f
Cantabile
h = 72
sfz poco fsfz p
f sostenuto
mezza voce
o f
mezza voce
espr.poco f
o
fom.v. o p m.v.
5
o f o sfp sfz p
m.v. poco f p m.v.
o
fm.v. poco f p
oppp o p
10
pp o mp
p poco pp
ppp
p
pp o
p
o
32 42 54 32
32 42 54 32
32 42 54 32
32 42 54 32
32 22 42 32 52
32 22 42 32 52
32 22 42 32 52
32 22 42 32 52
52 32
52 32
52 32
52 32
&III
o≥ o
IV
o o III3
poco vib. (narrow)
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏+14
omartélé
nn
ΩΩ≥o
Harmonium for Ben Johnston
&
(arco) c.l.b.
+12 fnn
≤
l.h.pizz.+
3
ord.
+12
martélé
fnΩΩ 5
IIIo o
o
oII
III
6:5
BIII
≤n
n- I
o+14
?II
≤ +10
f fIII
no
3
o voo
no
3
&+16
o o3
≤
II
u5˚/Io –o3
-12
u ≤-25
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ut
&
IIo
I
III
≤nnnΩΩ ≤
5˚/II
uIII
n
ΩΩo ≤
uo
n
o5:3
Io
-10
u-o
u
5:3
B o≤Ino
-12
uno5:3
u n oo
u-25
t
? ∑martélé
I
II ºo≥ o 3˚/Io≤ u
5˚/Io u&
Io
-12
uo
u
&-25
t≥
-29
t3
≤ m-18
≤5
&-27t≥ ≤ ∑
≥-18m
3
B t t-14
u u3
& S-41
≤?
5˚/Iu5˚/II
uo≥ o
ou
-16
um5˚/III
o
Œ ‰ ‚n j O ™ ‚n On ™™ œœn jŒ
˙n ˙ ™ ˙ ™ Ó ˙ ™œ
œ Óœj œ ™
Ó Ó œœœJ
˙ w œŒwn w ˙n œ
OnŒ
O~~nn
œn œ w w ˙ œnŒ
œœn w ˙ œœ Œ
nŒ Œ
˙ œ
œn œ w œn ™ œ ™ ˙ ™ Ów ÓO œ ™‚ ™ ‰
‚nJ‚Œ
O ˙ ™ ˙
˙ ˙ ˙Ó
œ ˙ ™ Œ œnŒ ‚œ Œ‚ Ó ∑ Ó w w ˙
Œ ™~n ™ œn ™ ˙ ™ œ ‰ œn j œ Œ œww
Œ Ó∑ O Ó
ÓÓO O ˙
ÓÓO O ˙
Ó
w
Ó Ó
˙ ww w Ow Ó Ow ™ Ó ÓŒ œ ~w O ˙ w∑
œn~n
Œ Ó~
Œ‚ ™ ‚ ™ ˙
Œ Œ ™‚n ™ ‚ ™œ ™ w œ Œ
w Ó Ó Ó Ó ÓŒ˙
Œ œ ˙ ˙Ó
w œ ™œnJ
œj Ó Ó Œ ™ ‰ œjœn œ
˙ W W ‰ œn ™ Ó Ó Œ œnŒ œœ
w Œ œ wW
Ó wŒ‰ œn ™ Œ œn w ™œj ‰ Œ Ó Ó
Ó Ó Ó ˙ ˙ Ó Ó Ó Ó Œ ‰‚j OO ˙ ™ Œ w ™~ ™
12
ù
ûù
ûù
ûù
û
f sfp
m.v. espr.
o
14
poco f o p m.v. espr.
sfz po pp
sfzp
pp
m.v.
(m.v.)
o pp poco f espr.
18
ppppoco f
m.v.
espr. p poco f
p
22
p
sfz
p
p p
p p sfz p
f p poco
26
espr. sost.
o
ppoco f
poco f m.v.
42 74 52 32
42 74 52 32
42 74 52 32
42 74 52 32
32 52 42 32 42
32 52 42 32 42
32 52 42 32 42
32 52 42 32 42
42 32 42 32
42 32 42 32
42 32 42 32
42 32 42 32
32 54 32
32 54 32
32 54 32
32 54 32
& -33t-tm
ΩΩ5-6
≥
+
poco vibr., come prima∏∏∏∏∏∏∏-8
-10
≤
& -33t IVo o I
-8
≥
-103
e
3
B ∑III
IV o
o≤ IVo
-22
mo -10
≤3
? III
5˚/IV
mmo
o
omo 3
-6
-8
≤+6fn
f
&+8
f-
f f g+23
3
+23
g≥
g-
&poco vib. (narrow)∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
-8
≤
f+8
3
f+8≥ ∑
B +4fe≥-
+8
f+23
g f+39
H≤
-
? f- +6f-8n
f III -o≤ +37HIII II
+23
g
&+8
gf^
g+23
≤+41
H-
l.h.pizz.
n+
+12
III
fno≤
& +8
f≤
-
+14onn
+27og≥ ≤
º+27
g≥ fast vibr.
g≤∏∏∏∏∏∏∏∏∏∏∏∏
B Ú +39
H≤
-+27
g
?+22
g-≤+25
g g- +14
onn
-
ºo +27
g-
& +29
g≥
+12
f f+25
g+41
Hg
& g-∏∏∏∏∏∏∏∏∏∏∏∏∏∏
g+14
og gslow bow
+276
+25
gg+39
gH H
B +27
g
≤ f+12
3
+25
gf ggf g+41
H
? g h+43
3
∑ ∑+27
g
œœ œ ™œj ‰ ‰ wÓ Ó ∑ Ó ‰œn ™œnJ
˙ œn w Ó Ó Ó Ó˙e
œ ™œ ™ œJ w On ~ ™ Ó™ Ó Œ ‰ œnJ w e ˙ ™™ ‰ ˙œnJ
˙ Œ
~n~n ~n w~ ˙ ™ Ó Ó Ó Ó e ˙
~ ™~ ™ O ~ Ó Œ Ó ‰œnJ
œ ™œn™ ww œœ œ w
wÓ Œ ‰ œj œ
œ Œœj ‰ Œ ˙ ™ ˙ Ó ˙ ˙
Ó Ów ™ œ ™ ˙ ™ œ ™
w ˙ Ó n œœ w ™ œŒ
wÓ
œw ™ Œ Ó Ó Ó Ó w œœ ‰‰œj w ™™ Œ ˙ Ó Ó
œ ™ ˙ ™ œ ™ ww œœ ˙ ™Ó ‰ ‚n ™ Ó ∑ œ
Œ œœŒœ
Œ Ó
ww œœ ˙ ™ wÓ Ó Œ ™
œ‰ ‰
œJœj Œ Ó Œ ‚œ w ™
Ó˙
∑ ∑ Ó œj
œ ™œœJ
œ ™ w ™ Ó ˙ ™ ˙ ™
˙ Ó ∑ Ów œ
Œ Ó ∑
Ó ˙ ∑ W œ ™ œ ™ Œ Ó œœœJ‰ ‰œjœœ ‰
œj Œ ∑
w ™ ˙ ™ Œ œn œœ œŒ Œ
œŒ œœ w ˙
œ ™ ˙ ™ œ ™ ˙ ™™ Œ ˙ ˙ œj œj ˙œJ
˙ œœ œ w
Ów œ ™ ‰ Ó Œ œn œœ Œ
œ œ ™œ ™ œ ™œœ ™™ œ ™œ ™ œ ™œ ™ ˙ ™˙ ™
Ó œŒ œœ Œ
œ Ó Ó Ó ‰ œ ™
13
ù
ûù
ûù
ûù
û
30
diminuendo
rinf.
m.v. diminuendo
diminuendo
f
34
f sost.
o
o38
m.v.
p sfp poco f
p m.v.
sfz pp
42
ppp poco pp
m.v. espr.o
espr.
32 42 32
32 42 32
32 42 32
32 42 32
32 42 32 52
32 42 32 52
32 42 32 52
32 42 32 52
52 42 32 54 52
52 42 32 54 52
52 42 32 54 52
52 42 32 54 52
52 32 42 32
52 32 42 32
52 32 42 32
52 32 42 32
& ∑ ∑ Ú&
+27
g+43
hg+27
g≤
3
+31
gg3
g3
B+43
hH hgH+14on go Hg
3 +41
H≥
h+45 +29
gh g+33
g-
+18 go-
?+43
h +45
h+43
h h+31
g +33
g+31
g
& ∑ Ú ∑ +4 nnΩΩ≤
+6 nvΩΩ
+8 vvΩΩ3
o+20
v o ov3
5
&+20
oIV
≤
-
I
+4o≥ o3
+6nvov
ov
–no
ov
≤
o+22 v
3 o o5
B g- +47
hg+33
g+35
p o+20
p ∑
? gg ∑ ∑
& o+35
p p+49
h+35
p≤ +49
h3
h ∑
& o o+35
p+37
pp p≤
-
+51
h p h-
B o+20≤ +35
p+33g p
Ú +47
hg5:3
? +33
g≤ p
+35+22 po
-∑
+33
g
&+16on
≥+
+31
g gsul tasto
3
g(slow)
5:3∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏molto sul tasto
g≤
&
sul tasto
+51
h≤
g+29
-
3
g+31
g≥
gg o+18 g5
oo+20
B+47
h- h h+29
g3
oo+18+20
? g+45
h 3 +16
l.h.pizz.
on-
+
on-
+
on+
+33
g
w Ó
˙ ™ ˙ ™˙ ™ ˙ ™ Œ Ó Ó Ó∑
Ó ˙ ˙ Ó Ó Ó Ó ˙
œœ œœœ œœ œœ œœÓœJ ‰ œ ˙ ˙ ˙ w ˙ ‰ œ ™ Ó œ ™w ‰ Ó
œ ™œ ™ Œ ™œ ™ Œ Ó œ ™Œ ™ ˙ ™˙ ™ œ ™Œ ™ ˙ ™˙ ™ Œ Ó œ ™Œ ™ ˙ ™˙ ™ ‰ Œ Ó
œœ œœ œœ œRœ œn œn œn œv œ ˙ œœ
˙ ™ Œ Ó Ó Œ œ ™ ‰ Œ Ó Œ Œ‚n
œn‚
œœ ˙ ™˙ ™ ‰ œj ‚œJ
œ Œ œœ œœ œRœ œ œn œ œv
œ ™œ ™ ˙ ™˙ ™ Œ ™œ ™ ˙ ™˙ ™ ˙ ™˙ ™ Ó w Ó
ww Ó w ™ Ó
˙ ˙ Œœ Œœ ˙ ˙Ó Ó Œ œ w ˙ œœ ˙ ˙
Œ Óœ ˙ Ó Œ
Œœ ˙ ˙ ™˙ ™ œ Œ Ó w ™w ™ œ ™ ‰œŒ œœ ww œ
Œ Ó Œ
Œ ™œ ™ œ ™œ ™ Œ ™ Œ ™Œ ™œ ™ œ ™œ ™ œ
Œœ Œ Ó Ó Ó Ó Ó ˙ w ˙ ™ Œ Œ
Ó Ó Ó Œ œŒ œœ Œ œ ™œ ™ ‰ Ó ∑ ˙ ™ ˙
Ó Ó Ó œœj ‰
œœ ˙ ™Ó Óœ W ˙ ˙ w œ ™ ‰ Ó ∑
Ó Óœ ˙
∑ ∑œœ ™™ ‰
˙ WW WW
˙ ™ Œ Ó Ó ˙ ˙ w ˙ œ Œ Ó Ó ∑ ww
˙ w w ™ œ Œ Ó œ ™œj ‰ ‰ ‰ Ó Ó œœj ‰ Œ œœ
j ‰œŒ
w ™
14
ù
û
ù
û
ù
û
sfz pp o
46
sfz sfz ppp
pp
f sonore
fp
49
fp
p poco f m.v.
o
m.v.crescendo
(senza dim.)
o
m.v. poco f
53
o sfz poco f f sonore
espr.p
f
32 54
32 54
32 54
32 54
54 42 32
54 42 32
54 42 32
54 42 32
42 54
42 54
42 54
42 54
&ord.I
≥ ≤o o -o
∑
&I ΩΩo≥
on +20oΩΩo≥ ≤ o
v+6
o+22
B o+20o
≥
oo +22o5:3
o o5:3
? nnΩΩ
nn+18o
3
n –o9˚/I
3
o no
3
+6 no
3
o+20
v
3 3
v vv-
&
strike the string!
n v v
>≤
-8
u u uu -6
u-6u≤ +8
v54
&-8
u≤
-
3
strike the string!
n v v
>≥
∑ Ú +8
≤o
+2354
B +8
fast ricochetfifi. . . . . . . . . .
+10^
+8
5:354
? ∑ +10
-6
u3 +23o
vo54
&
flautando
o+23
o-
+25
ord.
o o∏∏∏∏∏∏∏∏∏∏∏∏∏ Ú ∑
3
& ∑ o+23
oo
+3
fast ricochet
o+25fifi. . . . . . . . . . .
+55
hslow bow≥ +37
p
B o+22 5:3+10
- - - -5:3 +27
w≤-
+57
q p+39
6:5
? o+25o o
+27
w w+41
p p
œnJ œ ™ OnŒ
‚n ‚ ™‰ Ó Ó
Ó Œ ‰‚nJ Ó œJ ‰
‚j œ ™Œ Œ
œ ˙ ™˙ ™ wv œœvŒ
ww ˙ w ww ˙ w ˙ wwv
œœ œœ œœœœ
ŒOn
Œ Œ œ ‚œ œv ‚œ Œ Œœv ˙ œœ Œ Œ
œv œ ™œ ™ ˙ ™˙ ™ œ ™œ ™
œn œ œ œ œœ œ œ œJ ‰ œ ™œ ™ œ ™‰ Œ ww œœ ˙ ™˙ ™ œ w Œ œ
Œ œœ Œ Ó
Œœœv
Œ œ œ œœn œ œ œ ˙ œv ™Œ ™ œ ™œ ™ Œ Ó
œ ˙v ™ œ œ œ œ œ œ œ œv œ œ œ œ w wv wwvv WW ˙vÓ
˙ ™ ˙ ∑ Ó œvŒ ˙ ww Ó
˙
Ó v œœn œ œ ˙ ™ ˙ ™ ˙
Ó ˙ ™ œœœn j ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ™ Œw œ
˙ W v ˙ ˙ w ˙ Œ ™ œ ™ Œ ∑ Ó ˙Ó ˙
˙ ™ œ ™ œ ™œ ™ w w ˙ ˙ ww œ w
.œv
15
ù
ûù
ûù
ûù
û
o
57
p
p
p
m.v.
o p m.v.
61
m.v.o
m.v.o o o
pppoco f p crescendo
espr. o poco f
66
m.v.
poco f
o o
m.v. espr.
o
m.v.
poco fdiminuendo
diminuendo
70
pp sotto voce
(dim.)
32 42 32
32 42 32
32 42 32
32 42 32
42 32
42 32
42 32
42 32
42 54 42
42 54 42
42 54 42
42 54 42
42 32 42 74 32 52
42 32 42 74 32 52
42 32 42 74 32 52
42 32 42 74 32 52
& ∑ ∑ Ú +23o
&+37
p^
o+23
5:3
B p+23o p
6:5
+53
h-
Ú ∑
? ∑+51
h- h+35
p≤-
p≥
3+22
o
& o+41
p +43
p p p
& +25
ÆÆoo+
. . . . . . . . . . .o≤
5:3+29
w5:3
w≤
p+41
B ∑+25o
+43
p p ∑ p+41
5:3
?+23o
+39
p3
+23
o3 +39
p+27
w w
&+55
h pp+39
3
pp^
ÆÆ+43
pfast ricochet+≥
. . . . . . . . . . .p
&+41
p≤ +39
p p p+39
pp3
p+37
∑
B p+53
h h+39
pp3
pp^
p3
+59
q
? pIII
+39
pp(artificial harmonic cents = sounding pitch deviation)
+37
ppp p p+41
pII
pIII +57
q6:5
& p-
≤
- - -port.
5:3
q+61
q+31
w port.
+43
p p q+61
& Ú ∑ Ú ∑ ∑
B q+59
q+47
pq3
∑ ∑
? q+59 +45
p+47
p pp+29
w+45
wp p+59
q +45
p
w ™
w œ w ˙ w w WÓ Ó Ó Ó
˙
œŒ ww œ
Œœœ ˙
Œ Œ Œ Ó
Œ ˙ Œ Ó œœ ™™ ‰ Ó Ó ÓÓŒ Œ œ œœ ˙ ™Œ Ó
w ˙ w ™ Ów ™ w ™ ˙ ™ ˙ ™
Ó œj‰ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙Ó
wÓ
w ˙ ˙ w ™ ˙ œ ™ œ ™ ˙ ™ œ œ w
˙ ˙ ˙ ˙ ˙ ∑ Ó Ów ™
Œœ œœ œŒw œ Œ
œ ˙ ˙Ó
W w ™ w ˙
œ ™ œ ™ ˙ ™ w ™ Ó ÓO œ‚ ™™ œO
jœO ™™ ‰ œn j ‰ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™Œ Óœ ™
Ó ˙ ™ œ ˙ ™™ œœjŒ O
˙ œO Œ Ó ˙ ˙
w ™ œ ™ œ ™ ˙ ™ wÓ Ó O œO ™™œ ™ ‰ ŒœO
jœO O
˙ ˙ ˙ œ
w ™ w O O ww ˙ œœ ŒŒœ œœ ˙
Ó
˙ ˙ ˙ w ˙ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ˙ ™ w w œjœ ™
WÓ Ó
˙ œœ
œœ Œ Ó ∑
w ™ ‰ œ ™ w ™w ™ Œ ™œ ™ œj w ™œJ
w ™ Œ ™œ ™ œj ˙œJ
˙ Ó˙ œ Ó
˙ ˙ ˙Ó
16
ù
û
ù
û
ù
û
(dim.) o
Un poco largo
h = 57.675
po ppp
poco f e sempre sostenuto
(dim.) sotto voce
o
po ppp ppp
77
o p ppp rinf.
o ppp
78
ppp rinf.
52 62
52 62
52 62
52 62
92
92
92
92
& q= G# -39
+4.2 ¢-35
d√
& ∑*
* l.h.: establish, maintain, fine tune hand positions — hold fingers as long as possible
r.h.: molto flautando, change bows and vary speed often and irregularly — emerging into sharp focus and receding again
repeats as many times as needed to set an accurate intonation of the written pattern, sempre un poco ad libitum
-65
k IliberoU
í ™™ í ™™k
î™™-49
II
l ≈ í ™™l î™™ î™™k ≈
B ∑-49
l-51
ldchange bow as needed √
? +47
p pp+4.2 ¢
+4.2 ¢
-51
l-49
l√
(diminuendo on F only)
&
*
-63
kIV
3
libero≈ í ™™ í ™™k î™™III
-49l ≈ í ™™l î™™ î™™k
≈ in tempo
&l ≈ í ™™ í ™™l î™™
-63
kIII
≈ í ™™k î™™ î™™l ≈ in tempo
lk3 -33
ld ld3
B l lllibero≈
í ™™ í ™™ î™™l llU
î™™l ll≈
lin tempo
ll ll-33
d
? √
& í ™™ í ™™-49
libero
l î™™dII ≈ í ™™ -35
d î™™ î™™l≈
&,
libero
l-49
-33
d, k
-65
l d-35
l í ™™l î™™d ≈
í ™™l î™™d ≈ í ™™d l d l î™™ d5
B d-35
dd √ d dd- - - - ≈- - - -
? √
w w ™ ˙ ™ Œ Ó ∑™
Ó Œ
˙ ™ ˙ œJ
œœ œ œ œ œœj
Œœ œOœ w~w w ™~w ™™
Ó˙
‰œj œ ™œ ™ w ™w ™ w ™w ™ w ™w ™
Œ Œ œ ˙ œ œœj œ œ
Jœ œ œ w
œJ
œ ™ œ œJ œœ œ œj ˙œ œ ˙ œœ ww ˙
œŒ œOœ œOœ
O˙ œOœ
O˙ Œ Œ
œO O
W ™
w œ œœj œ œJ
œ œ œŒ
w∑
˙ œJœ œ œj œœ
Jœ œ œœ
j œœJ
œ œ œ œ œ œ œ œ ˙
œŒ œOœ w~w œO œO œO œO w~œ œ œ œ w
W ™
17
ù
ûù
ûù
û
ù
û
o poco frinf. o
o o m.v.
79
o mp pp poco fppp
sfz
rinf. o
80
o p
o
pppoppp
81
o ppp
poco f sfz rinf.
82
o o orinf.
92 62
92 62
92 62
92 62
62
62
62
62
& í ™™simile (tempo libero)
-35
dIl
-51
≈l
-49î™™
≈í ™™ld î™™l l- -
d l d l d l ≈-35
d l ,
-65
k l , í ™™dl-k-l- -d-k- î™™-5
&≈ í ™™í ™™
-33
simile (tempo libero)
d î™™-51
l-
- IV
î™™≈l í ™™ í ™™ ll î™™ll í ™™
-
î™™ î™™ l l l -35
d ≈ í ™™ ll î™™k- -
-65
k3
7
B d-35
d dl-49
í ™™ í ™™ î™™dl≈ í ™™ î™™ î™™dl≈ dl≈ dl ΩΩ
? ≈ ≈ ≈
&k
-49
l≈ í ™™l k l î™™k l l k-
k l-
l-63
k-
Δ∆& k ≈
-49
l l l k l l l-65
k3
k-61
≈5 5
B-35
dl ≈ dl-47
ll
? ≈
& kmolto tasto
k-61
-63
í ™™ î™™kk> ord. l
-47
lk≈ l
&, í ™™ í ™™k î™™-47
l ≈ í ™™l î™™ î™™-61
k, lk
≈í ™™l î™™
-45
l
B ll√-45
l-47
ll
&-61
k l-47
≈-45
l l≈ í ™™ lk î™™ll-63
kllower E (3 commas down) is dissonant (27/20) with Vln II A !
l- - ≈ l≈ l l-41
≈l k k
≈ l l l k l≈
l5
&, í ™™ í ™™
-61
k î™™l-47
≈ í ™™l î™™-45
l î™™≈ í ™™l î™™-43
l≈
l l l l l5
B l lk lkU lkU lk≈ s-59
k3
˙ œjœ œ œ œjœ œ œ œ œœ œœ œ œ œ œ œ œ ˙ œœJ œ œœJ œ œœ œœ œœ
œœ œœ œœœœ
œŒœ œ
œ œ œjœ ™ œ œ œœ
œœJ œœj œ œj
œœJ œ œ œœ œ œ
œœ œ œ œ œ ™œ œ w ˙
Oœ O O Oœ ~w O
w ™ w ™ w ™
œœJ œ œ œ œ œ ˙‰œj œœ
‰œj œœ ‰œ
j œœ ˙Ó
˙∑
œ œœ
œ ∑œ œ
œœ œ ˙ œ ww
~w ™™ OŒ
Oœ O
w ™ ˙ ∑
˙ ™Ó™ ˙ ™˙ ™ œœ œ ™ œj ˙œJ ˙ œJœ œ
œ œ œœj œ œJ
œ œ œJœœ Œ
œŒœ œœ ˙
~w ™™ O ™™ Œ‰ œO ™™œJ œ ™
˙ œjœ œ œ œjœ œ œ œœ œœ œœ
œœJ œ œœJ œœJ
œ œœœ œ œ
œœjœ œ
œ œ œœj œ œJ ˙œ œ
Œœ œœ ˙ ™ œ œ œ œ œ
‰ œO ™™œJ œ ™ ~w ~w O Oœ
18
ù
ûù
ûù
ûù
û
ppp o ppp
83
ppp
o rinf.
o poco f
84
rinf.
rinf. o m.v. o
85
o poco f o
cantabile, come prima
cantabile, come prima
orinf. o o
88
o o o
32
32
32
32 42
32 42
32 42
32 42
42 54 32
42 54 32
42 54 32
42 54 32
&-41
l l≈ l l-57
s l s-43
l
&-43
l s3
í ™™ í ™™-57
s î™™l ≈ í ™™l î™™ î™™s l l3
Bs
-57
s s-43
l sslU
&l
-57
s , sl≈
s l s l s l s ,≈ sl í ™™ sl î™™ss- -
ss≈
5
& -59
s ≈í ™™s
-43
l
-57
s î™™l s≈ l s≈
B-43
l ls l-45
l3
l ls U
& í ™™ s-61
sk≥
-59
s î™™s ≈
s≥
l4:5
-45
l l-47
l ll-31
d-47
l3
≈
&-43
l-45
l≈ l-31
d-45
l d3
í ™™dl î™™dd-≥ - ≈-33
d-47
l≥ -
l-31
d-
d≥ l d l d5
Bls l
-45
l ≈ ll l-47
l ll≈-45
l ll^
3
? ∑ ∑ l-47l
III
&lin tempo
l-49
,-l≤
-33
d-
,l-45
l-
,l l- l l l l l>
5
-45
l≥ m-29
6:5
m≤
-27
m m35
&l
3
-33
d ld3 -45
l ll3 -45
l-43
l3
l-27
m
B-33
d-47
ll3
ll ll l-43
l-45
l ll ∑
? l-45
l ll-43
l ll3
ll ll ll-41
œJ œ ™œ ™ ˙Ó œ œœJ œ œJ Œ
œ ™œJ œ ™
œŒ ˙ œ œœ
j œ œJœ œ ˙ ™ ˙ ˙ œ
O œœ O ™™˙ ™ ~w ™™
˙ œœJ œ œœ œ œ œ œ œ œ œ œJ
œœ œ œœ œ œjœJ
œœ ˙ œ œ œ œ ˙ œ w
‰ œO ™™œJ œ ™ Ó Ó˙ œJ
œj‰ œJ
‰ œOj
w~œJ w
œœœ∏∏∏∏∏∏∏
∏
œJ œœ
Œ
œ
Œœ œœ ˙ œ
Œ œœ ˙ œ ˙ w
œ ™Œ ™ œ ™œ ™ ˙ ™Œ
œ ˙ œ œŒ ˙
Œ
œœ œœ œ
‰
œj œœ‰œj œœ œJ œ œ œ œ œ
Oœ Oœ O ™™ Oœ O ™™ ‚œ ™™ Oœ ™™ O ™™™™ œJ œO˙
Ó Ó Œ ‰ OœJ
œjœ œ œ œJœ œ œ œJ
œ œ œ œjœ œ œ œ ™ œ œ œ œ œ ‰ ˙ wwÓœ œ ˙ Ó œ
œ ˙Ó˙ œ ˙ œ ˙
Œœ ˙ ˙ ™Ó™ œ ™Œ ™ œ ™œ ™ ˙ ™˙ ™
w∑ O Oœ ™™ OœJ
O Oœ O ‰ œOœJ œ ‰
~w ™™ O Oœ ™™ ‰œJ
œŒ O
˙ ŒœO O ™™ Oœ ™™ Oœ ™™
19
ù
û
ù
û
ù
û
o poco f o m.v.
L’istesso tempo ma giusto, scorrevole
91
o f o m.v. dolce
o m.v.
o o o
94
m.v. o
o o o
98
f
sfz
42 32 54
42 32 54
42 32 54
42 32 54
54 22 32
54 22 32
54 22 32
54 22 32
32 42 54 22
32 42 54 22
32 42 54 22
32 42 54 22
&-41
lII
m-25
m lIII
m>3
3 III
lII
-39
l≥≤ l≤ s-55
l-41
3
IIs-57
≥
-41
l3
& m≤
-25
mm lIII
m>l
-41
II
III
ΩΩll≥ ≤ l
-39
I≤
-57
s-
s-55
s l-41
ss6
B ∑ s-55
IV
s-55
3
? ll3
-25
m ll-55
s l-57s-55
sG# tacetad lib.
3
ls
& m-27
-41
l≤
-45
ll s-59
,
k-61
s-45
l,l
-29
m -31
d3
-45
l m-14
e
,
m-29
em
-27
m me
3
&-43
l-61
kl6:5
,
-43
l-59
s l-45
sport.
-29
m m≤-14
e
3
-27
me,ee
3
B ls-45
ll ll m m3
? ls lm6˚/ =E -41
3-27
m-43
l-45
ll-59
s3
-45
l-29
m m
&-12
me
,m
-27
m-14
e m-27
-12
≤e
3
* B natural is one schisma (circa 2¢) higher than
C flat one comma raised (almost the same pitch)
-12
+2
fe -14
e3
+4
+2-≤*
3
&,
-25
-12
me
-27
m m≤
-14e
3 -12e
,m-27
e
≥3
≤-14 m -12
+2
f
5
-14
+2
f+
55
B
strike the string!
-6-8 -10 -12
>-12
-27
m3
∑
? -10
-6
-12enn
e
º-8
-12
≤+2fe>
f3
œœ Œœ œœ œœ≈œ œ œ œ œ œ ˙œ œ œ œ œ œ ˙
Ó˙ ™
Ӝ
Œœ œœ œœ œ
Œ Ó ˙ Ó
Óœ ™ ‰œj œ œ œj
œJ œJ ‰œj
≈œ œ œ œ œ œ œÆÆœJœ œ œ œ œ œ œ Œ ‰
œ ™ w œœ ‰ œ ™ œœ œœ œœ
∑ w Ó Œ Œ œ œ ™
ÓO œO œOœ ˙ ™
Œ ™œO ™™ œO ™™œ ™ œ w Œ
Oœ Œ Œ œ œO ™™œ ™ ‰
Œ‰ œj œœ œ
Œœœ œ
Œ œœ Œ ™œ ™ œj œ ™œJ
œ ™ ‰œj œœ
œœŒœ œ
œœ œ œ œ
‰œ œœ
j ‰œ œœj ‰ œjœ œ
œœ w œœ œ
Œ‰Œ œœJ œ œ
Œœœ œœ ‰ ŒœJ œ
Œœ œœ œŒ œœ œ‰ ‰ œjœJ
Œ Œ Œ Œ ‰ OœJO ™™ OœJ
Oœ ™™ Oœ ™™ ‰ Ó w ˙
Oœ Oœ Œ ‰œœJ œ
Œœœ œœ
Œœ œ
Ó Œœ ™
‰œJ œ ™œj
‰ Œ ˙ Œ
‰ œJ
œ œ ŒœJ‰ eÓ œœ Œ
œ œœ Œœ œ œJ œe œ Œ Œ
œeŒ
œœœœ
œœ Œœ
Œœj ‰ œœnn Œ
Œœ œœ
‰œ œJœŒ
ŒŒ
œŒ œœ
œœœœ
Œœ ˙
Ó œe œe œ œe‰ œœeJ œ
‰
œ
‰ œe œœ œ ™œnj ‰ ‰
œnœn œe œe œ w
Ó Œ˙e
Œœœ ˙ ™
Œ
œœœœ
œ∑ ∑ Ó Œ
œe ™‰
œj ˙ ™ ˙ œœJ
20
ù
û
ù
û
ù
û
poco f sostenutof
h = 72
Tempo primo, cantabile
101
sfz
rinf. rinf.
frinf.
sfz
sfz f sonore
sfz p espr.
105
o m.v.
sfp espr. poco f
sfz f sonore
m.v. p
m.v.
o
f sonore
m.v.
poco f p
109
p
pp rinf. m.v. p
rinf. o o m.v. p
22 32
22 32
22 32
22 32
42 32 52
42 32 52
42 32 52
42 32 52
52 54 32 42 52
52 54 32 42 52
52 54 32 42 52
52 54 32 42 52
&+2
f≥
+4
f3
-10
+4
f- -25
-10me m-25
& +2
f+4ff≤fe
-12
fe
5
-8
-4
-10enn
n-6
º-12
ee≤
5
e- -10
ee ee -
-23
m -10
e^
B ∑-6
-8 -10 -12
>
-8
e
-10-23
m-6
-8
3
?+4
f +4f-10
e-10
-6
e
n
en
5-12
º-8
∑
&
-4
-6 ΩΩ≥ -8nn
3
-22
m> ΩΩ3
-4
m-20
m≤ — –+
mnn
t-35
3
-49
tsΩΩs .-
&-23
-22mm≤
m≥-33
t≤
.-
3 ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏-51
s .-
BΩΩ
-6
m-22
^ m-37
t5 -35
t-22m tt tt-
?IV
IIInn
-6-22
m3 – —
I+5:3
-22
m t-35
&∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
-37
t .-6
t ∑-39
-25
lm-≤
& s ∑-39
lIII
≤
B-33
t- one comma lower !s-553
-39
l l-55
s 3
-41
sl l-41
-25
m
?-35
t- s-53
s-39
l l3
Ó ˙ ÓÓe œœ Œ ˙ ™˙ ™ ˙ ™Œ Ó
˙ Ó Ó
˙Œ Œ œœ
œœœœ œœœ
œJ
‰ Œ Œœœ œ œJ
œj ‰ ˙ ™˙ ™ Œ œœ œJ ‰ ˙e Œ œeŒ œOœ
œnœn œe œe ˙
‰ œnJ œJ ‰œj œ
‰ ‰we ˙ œ ™Ó
œnJ
œŒ
˙n
˙ ˙ ‰ œ ™œJ œ ™Ó˙ œœœ
œJ
œ Œ Ó Ó
Œœnœn œœ ˙ Œ Œ
œnœn ∑ ‰
œnJ
œ ™œ ™
Óœ ™ ‰ Œ
œnœ
Ó˙
‰œn ™œj‰ Œ
Œ œœœ
œœ œJœj‰ Œ
œœ œ
Ó Œ ˙ ™˙ ™ ww w Ó Ó ˙ ˙ ˙ ™ œ ™ œ ™
ÓœnJ
œn j ‰ Œ ‰œnJœ ™œ ™ Ó ˙
Ó
œ ŒÓ Ó ww œœ ™™ ‰ œœ Œ Ó Ó
w~ Ó Ó∑
Œ ‰ œnJ˙Ó
˙n
˙ WÓ Ó Ó ÓÓ
n‰œ œ
Œœj œ
Ów
Ó
W w ˙ ˙ Œ ∑ Ó œœ Œ
˙ ™ ˙ ™ w w Œ ∑ Œ ˙ ™
Ó Ó Ó ˙ Ó ˙Ó™w Œ
œœ œŒ ˙
Ó˙ ™
Œ
œœÓ
˙
ÓÓ
Ó
˙ ˙
˙Œ
w œÓ
w œŒœ ™
‰œ ™œ ™ ˙ ™ W Ó™™ œJ
21
ù
û
ù
û
ù
û
o o
113
o
p
poco f
p poco f
pp espr.
116
opp espr.
p pp pp
119
52 32 42
52 32 42
52 32 42
52 32 42
42 32 42 32
42 32 42 32
42 32 42 32
42 32 42 32
32 74 54
32 74 54
32 74 54
32 74 54
& l-37
t3
l-23m
3
m-23
3
&tl- -25ml
-≤
l-39
≤m
-23
≥
B-25
m-6
-8
-23mn
-39
lm5
m5
-8 -10
e5
enΩΩº
3
?-53
s-39
l-53
s3
-6
-8-10e ee
-23
meΩΩ ΩΩ - 5
m5
&II
-37
t≤
-35
tt≥ t t-37
3
& lm l-39
-37
t t-51
s t≤
t-22
m5˚/IV
mmo
B
-6
-8
-23mn
l-39
m5
m-37
t5
t-37
-51
s3 t
-22
m m5˚/IIIo
? ∑ Ú
&-49
-35ts sIII
-47
s -31ts t-29
t≥tt
&-33
tmo
t t-33
tS
-45
S S-43
S mu5˚/III
5˚/IV
o
o
B mo ∑ ∑ u5˚/IIo
3
o m5˚/IIIo
? ∑ ∑ ∑ ∑5˚/IIuo t
-29
o3
5˚/IImo t
-31
o3
Ó ˙ ÓÓ ˙ Ó Ó ˙ Ó Œ ˙ w Ó
œ ™œJ œ ™ Ó œ ™œ ™ ‰ ∑ Ó Œ ˙ ™ Ó Œ ˙ ™
Ó Ó Ó Œ ˙ ™ œ ™ ‰œn
œn œ œ
œœ œ
Œ
œ œ œnœn
‰ œœnJ œ ‰œ
‰œœ Œ œn
œnŒ˙ ™
Ó
œœ œŒ
Ó Ó Ó Œ ‰ œJ œœ œ Œ Ó ŒÓ
œn œœn œ œ œœ œ œ œn
œnœn œeJ
˙
W ww ™™ w ww w
œ ™Œ ™ œ ™œ ™ œœ Ó ˙ œ ™Œ ‰œj œ ™œJ
œ ™ ‰ ‰ œ ™ œ ™ ‰ œ ™Œ ‰œj ˙œJ
˙ ‰ œ ™‚ ™
Œœn
‰ œn œ œ
œ œœ œ
‰
œ
‰
‰ œœJ
œÓ
œŒ
Œ
œ œœ œŒ ˙ ™Œ
œ œœ œŒ Ó Ó ‰ ‚ ™
˙Ó ∑
w ™w ™ ˙ ww ww ˙Ó œœ Œ ™œ ™ œ ™œ ™ Œ
œÓ˙ w œ
œ ™‚ ™ Œ ™œ ™ œ ™œ ™ Œ ™œ ™
˙ ™ ˙ ™Œ ™œ ™ œ ™œ ™ Œ ™
œ ™œ ™ ww œœ
Ó ∑ ‚‚
‚ ™ ‰ Ó Ó ∑ Œ Œ Œ ‚ ~ ‚
‚ O‰
‚œj O‰œj
22
ù
û
ù
û
ù
û
p
124
sfp
o
o
129
sfz p
sfz p
sfp
133
sfz
p f sfp
mp poco f o
32 42 32 94 42
32 42 32 94 42
32 42 32 94 42
32 42 32 94 42
42 32 42 52 32
42 32 42 52 32
42 32 42 52 32
42 32 42 52 32
32 52 74 42 32
32 52 74 42 32
32 52 74 42 32
32 52 74 42 32
&
-31
t-18m≤
- t s-47
3 Ú ∑ ∑
&o
omo3
o∑
IIIII
5˚/IVmnn
vo
o om5˚/IVo
∑
B
-33
t3
m5˚/IIIo
5˚/III
mot
-31o
3
o 5˚/II
uo -29
to
3
-27
t3:2w
?5˚/IImo
-31
to o
-45
St S-43
S
&
5˚/Iuo≤
-27
to3
-25
tt3
Iuo≤
-27
to3
+4
Io o3 o
-12
u-10
uu≤
&u5˚/Io o o
∑u5˚/I-o Iu
o≤
-27
to3 Iu
o
-10
uo3 o I o o3 o
B Ú ∑ Ú ∑
? Ú-41
SS- u
5˚/IΩΩo o o∑
&-8
uu-10
u- - -≥∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∑+16on
n
ΩΩ≥o
+14oo +16oIII
.-
&+6vn
+4
+6 I I
IIo
5
IIIIV
ºo
∑
B ∑
Io o+18
oo +14
o +29
g goΩΩ55
? ∑ ∑+2 n
+ +14
o3
+29
g
∑ œœ ŒÓœ œŒ ˙ œ ™Ó ‰
‚‚ OÓ
O ™ Ó O‚‚j
‚ ™ ‰ OÓ Ó
ŒÓ ˙ O ™˙ ™ w œ ‚Œ O ‚ ™Ó ‰ ∑
‚Œ O w∑w w ™w ™ Ó
Œ
w œ ˙ ™Œ Ó ‚ ™ œj w ™‚J ~ ™ ˙ ™
‰œj œœJ œ Œ
œ ™œ ™ ‰œ ™ Œ Ó˙
Œ Ó™
Œ‚ O ˙ ˙ ww w ™
Œ‚ O ˙
Ó˙
Œ‚n
nO
˙O
œ œn ˙ ™˙ ™ ˙ ™˙ ™
‚J O ™™ O ™™ ‰O ™
Œ Œ Œ‚ O œ
Œ‚ O
˙O˙ œ
Œ‚n
nO
˙O
œ
Œ ™ ˙ ™˙ ™ Œ ™ ∑‚J ‚ ™ ‚ ™
‰
w ™w ™ ˙ ˙ ˙ wœœw œ ‰ œJ ˙ ww œœ œ
œœ Œœ w WWvn ˙ wwnn ˙ ™™ n ™ On
œn~nŒ Ó
Ó Ó Ó Ó Œ ‰ Œ ™‚nJ
‚ ™ ‚ ™œ ™ w ∑ Ó Œ ™ ‰œn œ œœJ œ œ ™œj ‰ ‰ œŒ Œ Ó
Ó™ Ó Œ ‰ œnJœj Ó Ó Œ Œ
œn œœ œ ™w ™ ‰ Ó Ó
23
ù
û
ù
û
ù
û
sfz
138
sfz
sfz
142
o
sfz
attacca
146
sfz p
o
sfz
sfz
p
52 32
52 32
52 32
52 32
32 42 22 32
32 42 22 32
32 42 22 32
32 42 22 32
32 54 42 32
32 54 42 32
32 54 42 32
32 54 42 32
&+12f
IV
n of
o
.- f+10
f3 +10f
+23
g g+37
H +14
olower Db by one comma—match cello
+27
g≤
+6f
&III
≤
n
+10
f+10
fIII
≤
- - -3
-3 +22
g g≥
B ∑ n3
III
+23
g^ 3
g- g- -3
o3
?+25
gn+ +25
g+25
g +22
g6:5 3
g +8
f
& +6
f ne5:3
-6
-4
≤
+
+8fn
c.l.b.
f ΩΩ
+
ord.
º-6
3
& +8
f3 -8
n+8
f≥
-4
-6
+8
f≤3
-20
m
3
B+8
fo
3
-6
+8fn
f+10
fIV
n+10f m
5˚/IVo o come prima
IIIV
-
?
o
+8f o3 o3
IV
+8fo
m-22
n
&
change gradually to harmonic
o
IIIo o II
n-
o -14
uIII
n≥
o o ou
IIo IIIo IVo
-
o
&-4
m-18
3
-18
m nn
ΩΩ II
3
I
n≥ ≤
BIV
ono
IIIIV
o
oIIo o o o
Io o IIIun
o
o
5:3
∑
? mmo
o
omn
nm
ºo o
-
II
III
ΩΩo- ∑
w~ ‚Jœj œ ™ wÓ Ó ˙ œ ™œ ™ ‰ Œ ™œ ™ œ ™œ ™ ˙ ™ Ó ‰ œ ™ œœ Ó™˙ ™ ‰
‰≈œn œ œœ
R œ ˙ ™Ó™
Œ
Œ ™ œn ™ œ ™ œ ™œ ™ œnŒ
œœ ˙ Ó Ó ˙ ˙ ˙ w Ó ˙ ™ Œ Ó Ó ˙
Ó Ó Œ Œ œœ œœ Œ Œ Ó Ó Ó ˙ w W Œ Œ ‚n
∑ ‰ œ ™œj Œ œJ ‰ Œ Ó ‰ œ ™ ˙ Ó Ó Ó Ó Œ
œ œœ œ Œ Œ Ó Ó Ó˙ ™
Œœœ
W∑ ∑ O œn ™
œnJ ‰ ‰
œ ™œ ™Œ ™œ ™
‰ œœnœnJ ‰ œn
wwnn ™™ Ó wn˙n˙
∑Ó Œ œ œœ Œœ
‰œ ™ ˙ ™ Œ
‰ œœ
œnœn œ ˙
Œ Ó wn œœ ˙ ™Œ Ó
œ‚ ˙ ˙ Ó œœ œœ O Ó
˙ ˙O ~ Ó Œ
œœn
n
˙ ™ Œ Ó OÓ w~ Œ Œ ‚n w~ Ó ˙ ˙ Ó
Ó ~nÓ Ó ~n ‚ œ‚ Œ œ ™‚ ™ O ™Ó™ œ ™‚ ™ ~ On ‰ ‚n ™ ‚ Œ Ó
˙n ww œ Œ
‰ œnJ˙
œ œÓ
Œ œœœ Ó
˙n˙
˙Ó
˙ ™ ‰ œnJ ˙ w ˙ ™ Œ Ó
Ó∑
Œ ‚n ™ ‰ œ ™‚ ™ ~n~n œnŒ
œ ™‚n ™‰‚ ™Ó‚
∑O On ‚
Œ Ó~~ Ó
~ ™~ ™ ‚ ‰ œœJ‚j
O Œ wn‚n j ∑ Ó™ œn ™ ‰ Œ
24
ù
û
ù
û
ù
ûVilla Massimo, Roma5.7.2011 / 29.11.2011
™™
™™
™™
™™
Vl I
Vl II
Vla
Vlc
ff mezza voce,sostenuto
Tempo ad libitum, vary from bar to bar as desired, swinging
h ca. 66-99
mezza voce,sostenuto
o ffsempre simile
(m.v.)
mezza voce,sostenuto
ff
sempre simile
(m.v.)o
omezza voce,sostenuto
ff (m.v.)
sempre simile
7
o
o
™™
™™
™™
™™
12
o
o o o
o
32
32
32
32
& ∑≈ ∑≈Älead
martélé, full bow
IIIIVΩΩ o≈ o≈ o≈
∑≈
Pythagoras Drawing (II)
& ∑≈ ∑≈II Δ∆
Älead
2˚/III
no -o ≈
martélé, full bow
III IIΩΩ ≈ ≈
B ∑≈ II≈ III
∑≈IΩΩo ΩΩ
II Δ∆Älead
III
no
-o Älead III come prima
IV
IΩΩo ≈
?I≈ Älead
III
come prima≈IV
≈ II ≈ ≈ IVIIIΩΩo Älead
IVΩΩo
&
I
∑≈ Älead
IVΩΩ ΩΩIII Δ∆
II
n
III
II
o≈-
≈ II III
II
nnΩΩ o≈ Älead
oIV
IIIΩΩo
&
II
I
nno≈ o
Δ∆≈ ≈ II
∑≈ΩΩ
B
I≈ IIΩΩ ≈o
II
III
IVΩΩo ≈ Älead
IIIΩΩ ≈ III
∑≈IΩΩo ΩΩ
?III
IV
no
gradually shift to harmonic≈
o o
o
6˚/II
I
ono
o
o≈o
o
o
leadÄoIII
II
o
IVΩΩo ΩΩo o≈
III
n
o
Δ∆Älead
IV I
III
ΩΩo ≈
&III
no
IV
≈ ∑≈I
II
∑≈ΩΩ ΩΩo I≈ ≈∑≈
&I
II
n≈o
(A-string)
> ≈ II≈o
I II
III
ΩΩ o III
o≈ Älead
o IV III
∑≈ΩΩ ΩΩI
∑≈ΩΩ
B
I
∑≈II
ΩΩo ΩΩ ≈ IV
III
nn
o o≈ o∑≈
III ΩΩo
≈ ∑≈
?
IIo o≈ Älead
o III
nno Äo≈ lead
o IIIΩΩo IVIIIΩΩo o≈ Älead
III
ΩΩo o≈ II
no o≈ Älead
o ≈
fifiœnj ~n ™ ~ ™ ~ ™
n ™Œ ™ Œ ™ œ ™Œ ™ ‚ ™œ ™ ‚ ™J ≈ Œ Ó Ó fifiœn j wn ™ w ™
wn ™ fifi‚n j fifiœn j n ™Œ ™ Œ ™œ ™Œ ™ ‚ ™œ ™ ‚ ™J ≈ Œ Ó Ó
fifi‚n jwwn
n ™™
wn ™ wwn ™™ w
wn ™™
wwn ™™ w ™ fifi‚n j wn ™ fifi‚n j
fifiœn j fifiœnj n
Ó˙Ó ˙ ~wn ™™ œ ™j ≈ Œ Ó Ó fifiœn j ~ ™w ™ fifi
‚‚n
n
j
~ ™w ™ O nÓ Ówn ™ w ™ fifiœn j
wn ™ fifiœn j wn ™ fifi‚‚n
n
j
wn ™ fifiœn j wn ™ fifi‚n j fifiœn j
˙O ˙O OO ‚ ™
‚ ™ ‚ ™‚ ™ ‚ ™
‚ ™ Œ ™‚ ™ fifi
‚‚n
n
jfifi‚n j ~ ™ O ˙
Ó˙Ó
wn ™fifi‚n j wn ™
˙O Ó Ó
fifiœn j fifi‚n j wn ™ w ™
w~ ™ œ ™ œn ™ œ ™ ˙ ™ ~ ™ fifiœnj OO
nn O O fifi
œnj fifiœn j
fifiœnj
fifi‚n j fifiœn j wn ™ O ÓO ÓO
fifi‚n jwn ™
œn ™‚n ™
œ ™‚ ™
œ ™‚ ™
œ ™Œ ™ ‚ ™œ ™ ‚ ™œ ™ ‚ ™œ ™ œ ™Œ ™ fifi‚n j fifi‚n j ~n ™ fifi‚n j ~n ™ ‚ ™œ ™ ‚ ™œ ™ ‚ ™œ ™ œ ™Œ ™ w ™
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