[duo]

viola and piano

John Rot

2012

piano - preparation

In measure 42, an object is placed across the strings of C - B inclusive, fully muting these notes while leaving all others unaffected. A cloth-wrapped book of appropriate size is recommended, though any object that effectively mutes the required strings is acceptable.

all

m

B

Â

µ

bB

b

n

L

G should be tuned down 31 cents to match the seventh partial of A

A should be tuned down 49 cents to match the eleventh partial of D

both notes are still notated as and

3 0

5 2m

4 4

The four quadrants of the piano are numbered I.-IV. from right to left (highest to lowest, as with the strings of the viola). The strings of the piano are numbered 1-88 from lowest to highest (A = 1, B = 2, C = 88) 0 0 7

1 88

IV. III. II. I.

mark the necessary positions (see general notes for piano 1 and 2 for explanation of positions) on relevant strings, the composer recommends the following:

piano 1, 2 - general

Pianists 1 and 2 stand at either side of the lidless piano (specific locations are noted in the music), and manipulate the strings of the piano directly. The parts for pianists 1 and 2 are written on a single-line staff. On this staff, the horizontal dimension represents time, with rhythmic values and durations notated traditionally. The vertical dimension represents relative position between the keyboard and non-keyboard ends of the piano. The line of the staff corresponds to the midpoint of any string, designated as position 2 (since touching the string at this point allows the 2nd partial to be produced). Positions 3, 4, 5, 6, and 7 (as well as their “negative” counterparts) correspond similarly to the locations of their respective partials. Non-integer positions correspond to points in between integer positions (e.g. 3.5 is halfway between positions 3 and 4, -2.2 is between 2 and -3, etc.) All positions are relative, determined by the locations of natural harmonics on each individual string, so the physical distance between positions on shorter/higher strings is less than on longer/lower strings.

All struck, articulative activity is notated using the following noteheads: - pluck the indicated string with a plastic plectrum (or the handle of a mallet, if necessary) - strike the indicated string with the hand

- strike the target (string, plate, rim, tuning pins, etc.) with a mallet The mallets used in this piece are constructed by poking two holes in opposite poles of a ping-pong ball and inserting a thin dowel through the center.

ric = ricochet, performed using the weight and rebound of the mallet, as with a bow

exam

ple

strin

g

B (bridge)

D (damper)

3

-3

4

-4

2

5

-5

6

-6

7

-7

piano 1, 2 staff notation:

(“positive” half)

(“negative” half)

(on line, arabic numeral)pluck or strike

sounding portion of indicated string

(above line, roman numeral)pluck or strike

portion between bridge and hitch pin

of any string in indicated quadrant

61 61(on line, roman numeral)

pluck or strike sounding portion of any string in

indicated quadrant

(above line, roman numeral and pitch)pluck or strike

portion between bridge and hitch pin of

whatever string yields indicated sounding pitch

(on line, two numbers)slap indicated range

of strings with palm of hand

2013

strike anywhere on cast-iron plate

inside piano

plate

strike anywhere on top surface of

wooden rim of piano

(below line)strike tuning pins

pinsrim

(on line, single number)strike indicated string

with fleshy part of finger

7

o

(see explanation of implement notation below)

IV. IV.IV. IV.

G7G7IV. IV.

(notated on line for sake of convention)

The following implements are used:

- rubber squeegee, roughly 12 inches across

- wooden dowel, at least 1 inch in diameter (the composer recommends having several available of various lengths for different moments, ranging roughly from 5 to 14 inches)

- the palm of the hand, or a single finger if target it so small for palm (e.g. single string)

- a hammer or mallet consisting of a metal cylinder on the end of a wooden handle, or some equivalent. The metal portion is placed against the string; the handle is merely for added control.

piano 1, 2 - struck notation

piano 1, 2 - non-struck notation

All non-struck, non-articulative activity is notated using horizontal or sloped bolded lines to indicate position on a given string. Rhythm is notated using traditional stems and beams above the bolded lines, as well as rests on the staff line. The string to be manipulated is indicated by bolded numbers below thebeginning of the line in the following manner (see explanation of measure 1 - 6 below for further details):

- (single number) only string 5 is manipulated

- (two numbers, vertical) all strings in the range 14 - 20 inclusive are manipulated

- (two numbers, vertical, with separating line) string 11 is manipulated according to the top bolded line, string 8 is manipulated according to the bottom bolded line

- (two numbers, horizontal, with comma) strings 13 and 15 are manipulated according to the single bolded line

The position on the string at which the activity is to be performed is indicated by unbolded numbers next to the beginning of the bolded line in question (as well as at other critical points such as the termination of motion along the string). The use of any implement is specified by an image next to the bolded string number; if no implement is specified, the fingers are to be used.

measures 1 - 6 with explanation:

5

2014

11 8

13,15

Piano 1

Piano 2

13 1

7+

21

3

2013

ff

11 8

76.5

2013

63

19,20

4.53.5 3.5

3

2221

-5-6

2013ff

-3.5

6.5

18

5 7

4 1,15

3

prior to the downbeat of measure 1, press rubber squeegee against strings 1 - 13, past position 7 (in between 7 and bridge). lift fromstrings on second eighth-note of measure 1 to allow maximum resonance of multiphonics

place fingers on string 11 at position 7, and on string 8 at position 6.5 (halfway between 6 and 7). on second eighth note of measure 3, start moving both fingers toward keyboard end of piano, arriving at position 4.5 on string 11 and 3.5 on string 8 by the third beat, at which point the fingers are lifted

place fingers on strings 19 and 20, both as position 3.5. immediately begin moving both fingers toward keyboard end of piano, arriving at position -3.5 on both strings (rest)

(rest)

place finger on string 4at position 5 and holdfor notated duration

place finger on string 18at position 6.5 and holdfor notated duration

etc.

etc.

use the palm of the hand to loudly slap strings 13 - 20. this should create enough vibration to cause a loud rattle when the dowel is placed on the strings in thenext measure.

on downbeat, placewooden dowel horizontally againststrings 13 - 20 (perpendicular to string) at position 6. immediately begin moving dowel toward keyboard endof piano, arriving at position 3 before dowel is lifted. increase pressure over course of measure, creating clearly audible friction that rises in pitch throughout

place fingers on string 22 at position -5, and on string 21 at position -6. hold this position until lifting on the final eighth note of measure 4. additionally, use the palm of the hand to slap strings 13 - 20 when written

location of performers around piano

piano 1, 2 - other

For non-struck activities, dynamics (including hairpins) refer to intensity of pressure.

Accents during a dowel slide (e.g. measures 31-32) should be performed using short, sudden changes of pressure and direction to create a clearly heard articulation.

The use of a wavy line in conjunction with the dowel symbol indicates a “tremolo.” The dowel should be rubbed vigorously back and forth perpendicular to the strings within the indicated range.

During the solo viola passage (measures 55 - 59), pianists 1 and 2 should go to the keyboard to assist pianist 3 in depressing the large chord notated in measure 59, so that it may be sustained with the middle pedal. The muting object should then be removed.

Using the palm of the hand to rub along the length of a set of strings (e.g. measures 10, 14-15, etc.) should yield clear, high partials similar in timbre to a waterphone.

In measure 24, as well is in measures 65 - 86, the following technique should be used:

Every note that is played by pianist 3 should sound as a rich, resonant multiphonic. This is accomplished by lightly touching the string in a (random, varying) location between integer positions (e.g. 2.3, 4.8, various locations in the range of 7+, etc) before it is struck, and lifting immediately once struck to allow maximum vibration. Pianist 1 is responsible for strings 1, 8, and 11; pianist 2 is responsible for strings 13, 17, and 20. The multiphonics should be as varied complex, and beautiful as possible.

viola

bow pressure

- light

- normal

- slight overpressure, not yet a scratch tone

- overpressure, scratch tone

bow position mst - molto sul tasto

st - sul tasto pst - poco sul tasto

ord - ordinario (applies only to bow position)

psp - poco sul ponticello sp - sul ponticello msp - molto sul ponticello ob - on bridge

finger pressure

- normal pressure - half pressure (between normal and harmonic) - harmonic pressure

techniques

clb - col legno battuto

clt

- use both wood and hair of bow

- col legno tratto

pizz

- pizzicato

- left hand pizzicato (applies only to indicated note)

ric - ricochet

an

- arco normale

harmonics

Harmonics are notated at fingered pitch with a harmonic-pressure notehead. The following fingered pitches (relative to the G-string in this example, though the same intervals are applicable to any string) correspond to the given sounding partials. Any interval above the open string that is not included here should sound as a relatively unfocused multiphonic.

scordatura The C-string should be tuned to C for the entire piece. All music utilizing this string is written at sounding pitch.

From measure 70 through the end of the piece, the D string should be tuned to C (in tune with the fifth partial of A )

other measure 15 - The bow (top staff) and left hand (bottom staff) are notated independently of each other for the first two beats. Follow the glissandi on strings II. and III. in the left hand, leaving strings I. and IV. open for these two beats.

measure 23 - Find a bow position over the fingerboard that allows the realization of the notated triad. Use the lowest possible dynamic and bow pressure that achieves the triad.

b mµ

µ

second third fourth fifth sixth seventhsounding partial:

1

B

piano 3

Pianist 3 sits at the keyboard.

pedals and - indicate the use of the right pedal

and - indicate the use of the middle pedal

other

- indicates the key should be silenty depressed and held for the notated duration

(p.)

(m.p.)

m.p.

L

º|

Viola

Piano 1

Piano 2

Piano 3

13 1

7+

q = 33, e = 66

21

µ

5

B

III.

IV.

3

2013

ff

ff

ff

3

11 8

76.5

2013

63

µ

3sp psp

19,20

4.53.5 3.5

3

2221

-5-6

2013

3

ff

ff

m

-3.5

mb n

6:4 6:4

6:4 6:4

mp mf ff mf

3

3

B

pst(sub.)

6.5

18

35

f ffmp+

sfz sfz-sub. f

Âpst psp

5 7

4 1,15

f+

ff

Vla.

1

2

3

7

n

5psp

3

6.2

6IV.

3

5.7

12,15

76

1819

5

b

m

5

(p.)

f

mf

ff f ff

mf

ff

mf+

fff

21

ffÂ

3

B

4

7

14 7

7+

14 7 -2.5

33

mf+

fff

ff

5 3

B

III.

mst

cresc.

3

57+

4,1IV.

13 6

3 5 3

II. IV. (sim.)G 7

5

f

f ff ffmp

mf+

f ff

mf+

µ n

3

B

msp

2

3

(m)23

(any multiphonic)

4236

-3

3

ff

f ff

fff

B

35

3

msp (pst)

+ +

3

IV. 4.4

3,7,16,20 lift each once struck for maximum resonance

B

61

5 4

26 3421

-6 -5

5

26,30,32

(light pressure)

m

m b

3 3 3

m

ff

ff fff

mf+

ff

f f poss.

ff mfff

[duo] John Rot

heavy pressure

3

3

q

Vla.

1

2

3

12

B

33pst

msp

3

52

116

B6

15 8

15 8

IV. 2.5

5 5 5 7

32 31,33 35,39 12

b n

3 53

(p.)

mf fffff

fffff

ff

21

3

3

µ µ

5 3 3

B

ord psp

3

37+

21

hold dowel at angle to strings, as though chiseling along their length(contact should be between strings and edge of dowel's circular face)

lightpressure

3

-3

B53

5

2732

9 4236

b

3 3

fmf

ff

ff

mf ff mfff

µ m Â3 3

B

n

pst mst+

3

20 1

or

3

7+mute fully

19

IV.D

3834

m

m

n

33 5

f fff

ff

ff

ff

Vla.

1

2

3

15

Â

mµ

B

µ n

µ n

n

 n

B

5

3

54

n

3 (bow)

II.III.I. III.

IV.

+

3 55

5

5

3

53

B

61

drag across strings past bridge

(high) (low)

m

b

5

6:4

(p.)

ff ff ff

f ff fffff

21

Â

3

B

psp

msp psp pst

7+

2013

fff

fff

fff

m

B

nµ B

n

53 3 5sp psp pst

14 6

7+ 3.23.2

4

25-4

m

5

bb

3

f ff

mf+ ff f

-2-

IIIIIIIV

n

III.

Vla.

1

2

3

18

µ

Âm

nb

µ

b

B

n m

B

35psp

3

B

IV.

51

76

68

(p.)

21

ff ff+

ff

ff

m

B

µ

m Â

Â3 3

5 3

3

3

43

3 3

4.5

1811 fff

f+ mf ff mf ff mf ff mf

ff f

ff

m

B

3msp mst

1811

4 3

-2.24 5

3

3

7

810 5

3

fff

ord sp (overbridge)

3

27 50

7

3

m.p.

f

pp

mf+

f

f

mpB

bB n

µ

3 3mst psp sp pst

67+

5

610 1

7+

3 4

20 37

5

mm

3

ff mf

ff

mf+

f+f

f+mf+ ff

Vla.

1

2

3

23

B

m

35

mst st*

II.III.IV.

"minimum" dynamic, bow location, and bow pressure necessary to achieve triad

3

3.9 3.1

13 13

5

(p.)ff

p mf

21

m  m n L

35

33 3

f f+

B

b B

5 3pststpsp

7

4

5

15

3 3

m.p.

f+

f

mff

1214

75

5

2015

-2.7

bb

b

5

m.p.

mf

f f

f

B

bbB

5clb, ricsp mst psp

an

3

21

D

33

12 8

9, 8

4.5 5.5 7

m

3

b

m.p.

ffmp+

B µ53

II.

pizz

+

1612

35

47+

3

2016

b b

5 5

b

mf+ mf mp mp+

mf+

p

mfmp

f

-3-

B

(see performance notes)

3

3

Vla.

1

2

3

29

B b m Â

b b

n

B B

bµ

µn B n n

B

bb

36:4 6:4 6:4 7:4 3

Â

3

anIII.

IV.staccato

psp psp msp

20

2.37+

3435

73

20

mm

n

b

6:4

b

m

(m.p.)

mf f+ mpp pp

f

mp

mf

p

mf

21

b B

m33pizz

anord

pizz

6

5.5

7

5755

(mute)

B

3

mf mpp

mf

mp

B

m µ

3clb, ricpstan

ob obmsp

33 5 4

51

7+heavy pressure

2

D

G 7B

5

m.p.

mp mf mf p

mp

mp+mf

pf+

mp

µ B µ m

3 35 5 5msp ob msp clb, ric

written rhythm applies to left hand only

º|

3 5

3.5

3

ric

F 7µ

bm

7:83

3 3

mp

p

mf p

p

1

Vla.

1

2

3

33

µm m

b

n

m3 7:8 3 3

pizzclbst sp

anmst

drag across strings past bridge

(high) (low)

III.(move around player 1 as needed)

3 5

65

III. II.

m

b

m n43

3

m.p.

p p mp p

mppp

p

pp

pmp

21

m

b Bb

µm

35

6:4staccatopizz an

ordI.II.

7:8

III.

35-3

3431

b

m

m

53

m

bb

3

m.p.

mp p pp

mp pp ppp

p

mp

n

µ

µ

B

b

bb n3

5 3

5 3clbsp pizz

anpsppst

I. II.

3

I.

33

3

n

m

b m

53

n3 3

m.p.

p mf p

pp ppp

p

-4-(pizz)

3

3

Vla.

1

2

3

36

µ b n  µ

B m n mnm

Bn3

3 53 3

6:4 3

pizz

anord

II.III.

pspmspI.

II.

pstI.

3 3

53

I.plate

E6IV.

(low)

3

7

15

5

24

I.

m m bb

m3 5

5 5 3

b3 5 5 3

(m.p.)

21

p mp pmp pp p+ pp mp

ppp

p mp pp ppp pp

p

pp

mp p

b B B µ m m  µ m n b µ5 5 5

III.

against bridge, very slowly

(high) (low)

5 5

30 26

b

b

n bb m3 3

5 5

n b5 5

p

mp+ mp+pp

mf mf

Vla.

1

2

3

38 µµ

m m m m µn B B n n

nn5

5 5 53:4µ

5

obpizz clb

anpst II. I.

IV. +pizz

3 3

IV. IV.7+

18 1517

75

5 3 4 4 3

I. II. II.

(slow)

(high) (low)

ric (allow mutiple strings/pitches)II.

m b b b b b m m n m m3

5 6:4 4 4

lightly

m3

21

mf pp p mpp

mp mf

p mp pp ppp

p

pp

pp p+ pp

mp+ mp

µ Bb B

bB n µ B B n µ

m B B nb

53 3 5 3

clb, ricpsp pst

anpsp st pizz an

pst

lightly, slightly detached

sp

3

3

pinsII.

21–24 (exposed at non-keyboard end of piano) drag in circular motion within area past bridge

3 5 3

55

ricII.I.

I.

m m m n5 5(loco)

m.p.

mp p+ ppmf

ppp

p+

p

mf mppp

1

-5-

3

3

!

f

f

�

�

� �

Vla.

1

2

33

40 � �B x ± � � �m ��m � ��µ � ��Bµ ���� ± ±� �m �B �� x

�b ®n � x �m �µ �n3 3 5 3

36:4 5

3 +pizz

anord

pst msp ordpsp�

� ± � �5 3

19,20

4.53.5 3.5

76.5

11 8

IV.

� � � � � x � � � � � � � � ± 5 3

5

II. / I. (alternate freely) pins

plateIII.

against bridge

(low) (high)

-5-6

2221

± � �m x��m �m ��n x ± �b �b x ��n � � �b �m �n � ��n ±

5

3

4 3

���� ��� ��� ��

± ��� ��

�3

(m.p.)

pp p pp p pp

p mp

pp ppp

mp+

pp

p

x � ®µ ��µ x �m � �µ �n ® x �B � ��m � �m ���x � �µ x

�m �n x �µ � x�� � �n �B � �m �m �µ 5 5

4

5 3 35 5 5

+

®�ÈÈÈÈÈÈÈÈ�

pizz

anord st

III.

clbmsp sp pst msp

ric

�ÈÈÈÈÈÈÈÈ������������������������

anpst

� � � � � � � � 3 3 3

-3.5pins platepins

� � � � � � ±3 5 3

pinsric

���������������������������������������

I.

�

�m � � �b � � � � � � � � � � � � � � � �n � 6:4 6:4

6:4 6:4

p pp+ p+ ppp

p p+ ppp+

p+ pp

pp

!

f

f

�

�

�

Vla.

1

2

3

42

x� � �B �b � �B ��µ ®B x ��n ��µ x �®m ��n �µ � ��µ x �� x � �B �m �µ x � ��µ x ��Bn ��m ��µ x ��µn �� � �µ �6:4 6:4

3

5

6:43

5 3

very lightly, always short and detached (unless otherwise notated)

sp pizz anord

pspclbord

(clb) sp+

� � � ± � � ± � � � � � �5 3 5 3

IV. II.

pins

6.5

18 platepins

± � � � � � � �II.

(high) (low)

I.

against bridge place object across strings 40 – 51, muting fully

± �� x� �b ��n � G�b ��b ��mn � � �� x ��n �m ��m �G��m

�� ��b ± x � �n ��b � �m �m �� �n x �m � ��n �n �m3 5

3

3 5 5 5 53

3

very lightly, always short and detached (unless otherwise notated)

� � � ± �� ±� �� �3

5

ppp pp

pp+ ppp pp p

pp

pp ppp

p ppp pp

ppp

± ± ®� x �m � ®�x ± � �B � �m �µ � �b �B �B5

5 3

III.

ansp

I. pstpizz

� � � 3

5 7

4 1,15rimric �����������������������������������������������

IV.

± � G� � � � �3

II I. II. I.�����������������������������������������������ric

�� � x �b��b �

x ��b� ��m x � �m �n �b �n x �m ��m ��nb x �� ��

�b3 5 3

3

6:4 5 3

� ± ��± � �3

ppppp ppp

p

pp ppp

p

pp+ ppp

p+

-6-

21

3

21

3

!

f

f

�

�

� �

Vla.

1

2

3

44

± ®B ®� ®� � �B �n �b ± x ®B ® x3

5 3anpsp

II. IV. III.

� � ± �3 3

6.2

6

IV.rim

±3

5.7

12,15

76

1819

��� ±

�b � �x � x ��

��

x ��n �

���m �

±3 5

5

5 3

��x �� ��b �

5

pp ppp

pp

pp pp

ppp

pp

±� �B �B �µ � ± �n �B ± x ��µ5 3:5 3

pizz clbst an

mst pizzclbpst psp

ric ������������������������������������

� � �4

7

14 7

� � � 3

7+

14 7

-2.5rim ������������������������������������������������ricpins

� �m � �n x �b �b �n �b � �n � ±��m �b x � � �m � �n �b6:4 5

33

3

5 5

� ��� ��

����

�33

p ppppp

pp

pp

pppp

pp

ppp

�� ± ± � � � (� � � �BÅ3 33

3pizz

clbpsp msp an

� ± � 3

57+

4,1IV.

13 6

± � ± ± � ± � � ± � � ±3 5 3

II. IV.G7

(mute)

�� �x � � � � �m �m � � �m ��n

� � � �3 5

4 7:83

� � ±��± ± � x � ��

3 5

mf+

p

p ppp

pp

(pp)

!

f

f

�

�

� � �

Vla.

1

2

3

47

± �b � �B � � �B3 3pizz

anpst

�2

� G 3

(m)23 42

36

-3

� �b � x �m � �b �5 5

G� ���

�� �3

p+

p poss.

p

ppp

�B� �µÅ

� (� x � � x � � � �B x �b � �b �µ �µ

5

35

3 5 6:4

msp

clb

mute stringZLWK�ÀQJHUV

�ÈÈÈÈÈÈ�clt

clbanpst

� ± � 3

IV. 4.4

3,7,16,20

� ± B

61

5 4

26 3421

-6 -5

5

26,30,32

� x � �b � � �b x � � x �m � �b �n � �b� ± �3 5 5

� �� ± ± ��mm � � � � �b � ��3 3 3

� � �m �

ppp+ pp

p

pp

pp+ppp

p

�Å ��µÅ ± x �µ �m � x x � ± ®B� � �m ± ��µm x ��µ ��µ ��Bb¬À �n � À �µ �n �5

3 35

6:4 7:8psp clbpst

anord

pizz

an

� �5 5 5

32 31,33 35,39

± � �b �b �b � �m � �n �n �n �b �b � �n �n � � �n �b � �m �m � � �m �5 11:8 13:8

continue similarly, with roughly 10-14 notes per beat

don't maintain strict rhythm

� � (�� ± �b � �� ± ��� �3 5

mf

mf pp+ p ppmp+

pp

ppp

-7-

21

3

21

3

Vla.

1

2

3

50m

b

B

µ m

n

mB

µ

m µ

n

3 33

35 6:4

º|clb

pizz

III. IV.

clb,º| II.ric

an

3

pins

ric

3

II.

mf+ f pp

p

pp

b B

B

B B

µµ

m nB

n

3 5 311:8an

y

3

IV.

3

ricII.pins

p pp

mp pp p

pp

3

ric

pp

p mp

Vla.

1

2

3

53

3 3

5

IV.

mp pp p

p pp

5 5

p pp p+

mp

B

bµ

µn m

mb

µ

µ

5 37:4

psp

f+(pp)

-8-

21

3

21

3

(Vla.)

Vla

ord

B µµ

n

B

b

6:4 7:8

(should be light and detached, but prioritize dynamic level over clarity of articulation)

increase rate of notes, maintain tempocontinue similarly (rest)

ord

pp(pp)

B

n

3(ord)

ff

n

B

Bn nÂ

3 st

n

B

mf

B

nn

B

nÂ

5

mp+

56b

n

m nn

3ord

decrease rate of notes, maintain tempopsp

f

nm

n

ff

nn

m

m

5 pst

pst

f ff

B

m nµ

n

µn

µ

5 mst ord

mf+ ff

n

n 3

ppp

ppp

pst

pspdetached

cresc.

sptenuto

56cB

µ µm

7:4 6:4msp mst

mf p mfm

µ

5msp

f f+

B

3 psp

ff

msp

Vla.

3

59 ord pst

m

m

silently depress (with assistance of 1 and 2) and sustain with middle pedalm.p.

psp

f

mp

B

µ

µ

B

6:4 5

pspord

II.I.

psp

hold to end of piece

mf mpb n µ µ n

Bb B

6:4 5 3ord

5

-9-

Vla

VlaB

B

31 2

n

56a

top staff should interrupt bottom staff as briefly, and insistently, as possible

Vla.

63B

B b

B

3 3

3II.III.

pspIII.IV.

mf

msp

3

(random variation within range)

q = 44

pp – mp

mp

L

p+

3 3

33 3

B

µ3

3pizz, let each ring

m

mp+

Vla.

3

3

70scordatura: D C L

m

3

m

L

3ob

m

3

p

oscillate slowly (ca. 5" – 10" per cycle) between:

let each parameter vary independently of the others and of (maximally unobtrusive) bow changes

m

3

m

3

3

m

3

3

m

3

3

m

3

3

m

3

m

33

3

m

3

viola concludes

3

m

3

m

3

-10-

21

3

21

3

21

3

an

continue if necessary(see performance notes)

78

(covered by pianist 1)

(covered by pianist 2)

µ