pre-echo
DESCRIPTION
Pre-echo (2012) for string quartetTRANSCRIPT
Pre-echo for string quartet
Tyler Futrell (2012)
Glossary of Terms and Symbols
µ 1/4-tone sharp (50 cents sharp)
˜ 3/4-tone sharp (150 cents sharp)
i 1/4-tone flat (50 cents flat)
I 3/4-tone flat (150 cents flat) l L j J k K 1/6-tone (33 cents) up/down
S.P. (sul ponticello) – bow near the bridge S.T. (sul tasto) – bow near the fingerboard flaut. (flautando) – “like a Flute” – a light, breathy tone c.l. (col legno tratto) – touch the wood to the string c.l. batt. (col legno battuto) – tap strings with the wood of the bow + left-hand pizz. (only affects notes with this sign above them)
1 [notehead] highest note possible on designated string(s)
R (ricochet) throw the bow at the designated string(s) so that it bounces
(molto vibrato) – without this indication (or “vib. norm.”) play senza vibrato muffled muffle string(s) by lightly touching at a non-harmonic node (accompanying x noteheads usually indicate string, not pitch) overpress. (overpressure) [square notehead] – draw bow with much friction (a scratching/crunching sound – no pitch) tap / knock tap with two fingers, or knock with knuckles, on the body of instrument slap [with a downward triangle] slap finger down hard on designated note. Prevent the strings from ringing (a “dry” slap) W.P. (“woodblock” pizz.) a very dry sounding pizz., extremely high on the 1st string grind (“bow grind”) – press bow against wood of instrument and twist the bow with the hair down. Resultant sound is a wooden creaking. mime Bow just above the string so that no sound is produced. For better stabilization (when there is time): cover the “c bout” (waist) of the instrument with the hand and bow the hand between two knuckles. Preceding notes can be played higher up on a lower string to make this switch easier. “Trans. to …” (transfer note to…) With the other instrument indicated, co-ordinate a fade- out/ fade-in pair, so as to give the illusion that the note passes from one instrument to the other.
tails “trill tail” (up) “trem. tail” (down) * Trill tails go up to the highest note on the string; trem tails go down ½ step.
indicates that the quarter-tone change produces 5½ interference beats per second in relation to the note in the cello.
pizz. behind the bridge (x indicates string)
bow screw vib.: with bow held upright, move the bow screw back and forth on the string, articulated with a left-hand pizz.
Performance Notes Seating Arrangement Viola Cello Violin 1 Violin 2 Double bar lines The piece is constructed using 8 repeating blocks of static texture, which over time influence each other and combine, eventually becoming fluid. Double bar lines represent the borders between these static blocks, and they should be reflected in the performance. “Small pause” or “attacca” are indicated. The score is marked with roman numerals, representing: I. “Passing Game” II. “Creaking sound” aleatory III. Bouncing pizz. IV. Interference beats V. “Speak with your instrument” VI. “Tails” VII. Natural harmonics VIII. Slaps “Creaking sound” aleatoric sections Also notated with a square notehead. Players draw bows extremely slowly, and with extreme bow pressure, so that they lose control over the rhythm produced (but approx. 3-4 per second in the whole group, preferably single sounds). The bow is even slower and harder pressed
than a regular “overpressure” articulation, although the pressure is at a different angle. The effect when all 4 players do this should be a complex free-polyrhythmic structure of bouncing around the ensemble, with the rhythm resembling that of drips of water after rain has stopped. Where possible, players should mute the strings not being bowed to prevent them from ringing. “Speak with your instrument” sections Players are given a text which they should “read” aloud using their instrument instead of their voice. What is played should imitate the intonation of the text as the player would speak it, which means using microtones, varying articulations, and fairly complex (but natural) rhythm. Often the players are asked to engage in a “conversation” this way, so should “speak” the lines as is appropriate for their context regarding what the other players “say”. The pitch given
is the “root” around which the intonation of the text is centered. The actual pitches may stray as far away from the root as the player sees fit, with regard to how they would speak. “Alternate randomly and as fast as possible” sections The various cells (differentiated by brackets above them) should be played in irregular rhythm, with very little time in between them and in a seemingly random order, over the indicated duration of time. The total effect should be an impressive cacophony of varying texture.
Pre-echo (2012) form
&
&
B
?
86
86
83
83
86
86
83
83
Violin I
Violin II
Viola
Cello
Π.
œ-
‰ ‰
‰œ-
‰ ‰œ-
‰
œ
-
‰ ‰ ‰ ‰œ
-
‰‰
œ-
Π.
I. q. = 54
p
p
p
p
con sord.
con sord.
con sord.
con sord.
‰œ-
‰ ‰ ‰œ-
Π.
œ-
‰ ‰
Œ . ‰œ
-
‰
œ-
‰œ-
Π.
‰ ‰œ-
œ-
‰‰
Π.
‰œ-
‰
Π.
œ-
‰ ‰
‰œ-
‰ ‰œ-
‰
œ
-
‰ ‰ ‰ ‰œ
-
‰‰
œ-
Π.
œ-
‰œ-
Π.
Π.
œ-
‰ ‰
Œ . ‰œ
-
‰
‰œ-
‰‰
‰œ-
&
&
B
?
83
83
86
86
83
83
44
44
Vln. I
Vln. II
Vla.
Vc.
6
‰ ‰œ-
œ-
‰‰
Π.
‰œ-
‰
Π.
œ-
‰ ‰
‰œ-
‰ ‰œ-
‰
œ
-
‰ ‰ ‰ ‰œ
-
‰‰
œ-
Π.
‰œ-
‰ ‰ ‰œ-
‰ ‰œ-
Π.
Œ . ‰œ
-
‰
œ-
‰‰
œ-
‰‰
‰ ‰œ-
œ-
‰‰
Π.
‰œ-
‰
small pause
–
–
U
–
–
U
–
–
U
–
U
II. (senza misura, 19")attacca
creaking sound
Pre-echo
Tyler Futrell(2012)
© MMXII Tyler Futrellcomposed with support from Arts Council Norway
for Quatuor Bozzini
&
&
B
?
44
44
86
86
Vln. I
Vln. II
Vla.
Vc.
11
Œ
œ
‰Œ
‰ .
œ
!œ
! !œ
! Œ Œ
œ ‰ Œ ‰ œ Œ
‰ .œ
Œ Ó
pizz.
pizz.
pizz.
pizz.
F
F
F
F
µ
µ
µ
µ
III. q = 60
‰œ#
Œ Œ
œ
‰
Πj
œ#
>
Œ Ó
3
œ#
>
‰ œ ‰ œ ‰ Œ
‰
œ#>
‰ . .œ
‰ . .œ
Œ
3
��˜
p
p
p
‰œ
Œ !œ
! Œ
œ‰ ‰
œ
Œ
œ
‰
! œ ‰ ‰ ® .œ Œ Œ
3
!! œ‰
Œ
œ‰
Œ
3
��˜
��˜
��˜
F
F
F
p
attacca
Œ
.˙
"
w
Ó Œ
œK
arco
arco
arco
p
p
p
5.5 against vla.
IV.
w
Ó j
œ .œ
.˙ œ
.˙ œn
K karco
p
5.5 against vla.
˙ ˙
w
w
w
µ
i
F
F
8.0
8.5
16.5 against vla.
against vc.
13.0 against vln. II
against vc.3.0 against vln. II
w
w
w
w
F
F
attacca
&
&
B
?
86
86
Vln. I
Vln. II
Vla.
Vc.
18
‰
œ-
‰
œ-
‰ ‰
Π. Π.
œ
-
‰ ‰ ‰ ‰ œ
-
Œ .‰ !
œ
+
‰
.#‰ ‰ œ
-
‰ œ-
‰
creaking sound
vib. norm.
vib. norm.
IIIIV
P
P
P
I - IV q. = 54vib. norm.
œ-
‰ ‰
œ-
‰ ‰
‰ !œ
+
‰ Œ .
‰œ
-
‰ ‰ ‰œ
-
Œ . !œ
+
‰ ‰
.#‰ ‰ œ
-
‰ œ-
‰
µ œ-
‰ ‰
œ-
‰ ‰
Œ . !œ
+
‰ ‰
‰ ‰œ
-
‰ ‰œ
-
‰
œ
+
‰ Œ .
.#‰ œ
-
‰ ‰ œ-
‰
µ
IIIII
‰
œ#-
‰ ‰
œ-
‰
Π. Π.
‰ ‰œ
-
‰ ‰ œ
-
‰
œ
+
‰ ‰ !œ
+
‰
œ
-
‰ ‰
œ
-
‰ ‰
.#creaking sound
vib. norm.P
œ#-
‰
œ-
‰ ‰
œ-
!œ
+
‰ ‰ Œ .
Π.
œ
-
‰ ‰
Œ . ‰
œ
+
‰
‰
œ
-
‰ ‰
œ
-
‰
.#
‰
œ-
‰
œ-
‰
œ-
!œ
+
‰ ‰ Œ .
‰ ‰œ
-
‰œ
-
‰
‰ ‰
œ
+
.œœ
-
‰ ‰
.œ
.#
small pause
i
&
&
B
?
44
44
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~24 "
œb
"
"
V. (senza misura)
She'll never come home from Australia again.
p
"
"
œ
"
What do you mean? of course she'll come again.
Fsenza sord.
"
œ
"
"
In the event she goes back of course she'll come againbut she'll never come back for the first time agian.
senza sord.P
"
"
œ#
"It's all this waiting.
senza sord.p
attaccaÓ Œ
œ
"
".˙ œ
æ
j
œ#
VI. q = 100
p
p o
œ ˙
j
—
Œ
Π. j
œ ˙
˙ œ
æ
j
œ# Œ
Ó
˙
p
p o
p
senza sord.
2
&
&
B
?
42
42
44
44
48
48
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~
Ÿ~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~
Ÿ~~~~~~~~
30
Ó
˙#
œ
>
j
—
Œ Œ
œ
Ó ˙#
˙ œ
æ
j
œ#
Œ
R˙˙
S.T.
F
p
p
o
˙ ¿
œ
œ#
æ
j
œn Œ ¿ ¿
Œ
œj
œ#
Ó
muffle
muffle
ord.
p
p
o
o
˙( )
.—
‰
œ œ
>
j
—
Ó
œ
æ
j
œ# Œ ˙
æ
wo
R˙˙
ord.
$"
Œ
œ
œ! ‰
Œ
œ œ
æ
j
œ#
arco
o
p
w
j
—
w
j
—
w
j
—
w
æ
j
—
o
o
o
op
small pause
&
&
B
?
48
48
46
46
44
44
44
44
Vln. I
Vln. II
Vla.
Vc.
~~~~~
m.v.~~~~~~~~~~
m.v.
35
W
W
O
O
#
W
W
O
O
#
W
W
O
O
#
Œ Œ Œ Œ Œ .˙
$(senza vib.)
VII. q = 60
p
p
p
.
.
w
w
.
.
O
O
#
#
.
.
w
w
.
.
O
O
#
.
.
w
w
.
.
O
O
#
˙
˙ ˙&
F
w
w
O
O
#
#
w
w
O
O
#
j
œ
œ
>
.
.
œ
œ
.
.
O
O˙
˙
O
O
˙
Ó
S.P.
S.P.
Kp
attacca
œ#
‡
œ
‡
œ#
‡
œ
‡
œ#
‡
œ
‡
œ#
‡œ
‡
œ#
‡œ
‡
œ#‡ œ
‡
œ#
‡
œ
‡
œ#
‡œ
‡
?
slap
f
VIII. (senza misura)ad lib. fast, irregular rhythms, 10"
slap
f
slap
f
slap
f
attacca
&
&
B
?
44
44
86
86
83
83
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~
39
œ#
‡
œ
‡
œ#
‡œ‡
˙ œ
@
œ#
! .
œ
w
w
O
O
#
œ
Speak with your instr.
She says that, but it wouldn't be if she didn't know she was being met, and there we just were, or there I was if you insisted on not coming - she'd like it when it happened, the moment she caught sight she'd be delighted.
arco
ad lib.
arco
P Po
F
P
F
V - VIII q = 60
œ œ@
œ#
‰ . .
œ
— ! ‰
˙
˙
O
O
#
˙
˙
O
O
Po o
—>
Œ
œ#æ œ
‰ .
˙
˙
O
O˙
˙
yy
Fp
R˙˙
Π.
œ-
‰ ‰
‰œ-
‰ ‰œ-
‰
œ
-
‰ ‰ ‰ ‰œ
-
‰‰
œ-
Π.
I. q. = 54
p
p
p
p
arco
arco(senza vib.)
(senza vib.)
(senza vib.)
(senza vib.)
attacca
‰œ-
‰ ‰ ‰œ-
Π.
œ-
‰ ‰
Œ . ‰œ
-
‰
œ-
‰œ-
Π.
3
* prevent strings from ringing
&
&
B
?
83
83
86
86
83
83
86
86
83
83
44
44
Vln. I
Vln. II
Vla.
Vc.
44
‰
O
œ
œ-
‰‰
‰ ‰œ
-
‰œ-
‰
P
.
.
O
˙
‰œ-
‰ ‰œ-
‰
œ
-
‰ ‰œ
-
‰œ
-
‰‰
œ-
Π.
.
.
O
œ
O
œ œ
- ‰
œ-
‰œ-
.
.
O
œ
O
œ
.
.
O
œ
O
œ
Œ . ‰œ
-
‰
œ-
‰œ-
Π.
p
P
‰ ‰œ-
œ-
‰‰
‰œ
-
‰
"
p
‰ ‰œ-
‰ ‰œ-
‰œ-
‰ ‰œ-
‰
œ
-
‰ ‰œ
-
‰ ‰
.
.O
˙
‰œ-
‰œ-
‰ ‰
œ-
‰ ‰ ‰œ-
‰
.
.O
˙
-
.
.O
œO
œ
#
#
‰-
œ-
‰‰
œ-
‰ ‰œ-
œ-
‰‰
O
œO
œ
#
#
‰
‰œ-
‰
attacca
&
&
B
?
44
44
Vln. I
Vln. II
Vla.
Vc.
51
#
#
####
II. q = 60 creaking sound
#
#
####
‰
œ
+ Œ Ó
#Œ Œ Œ
‰ .
œ
+
#Œ
œ
+
‰
Ó##¬
¬
F
F
!œ
+
‰
Œ
œ
+
‰
Œ
#ΠΠ!
œ
+
‰
Œ
#Œ Œ
‰ œ
+
Œ##œ
+
‰ Œ Ó##
attacca
F
F
Œ
œ
‰Œ
‰ .
œ
!œ
‰ !œ
‰Ó
œ ‰ Œ ‰ œ Œ
‰! œ
Œ Ó
pizz.
pizz.
pizz.
pizz.
F
F
F
F
III.
! ®
œ
‰Œ Œ
œ
‰
œ
‰ .Œ Œ Œ
® œ ! ‰ œ ‰ œ ‰ Œ
! œ
‰ ‰ . .œ
‰ . .
œ
Œ
ß
ß
ß
ß
µ
µ
µ
p
pF
p
IV.
IV.
III.
&
&
B
?
43
43
86
86
Vln. I
Vln. II
Vla.
Vc.
~~~~~~~~~~
m.v.%57
‰ ‰
œ
Π! .
œ
‰Œ
3
O
w
b
b
‰ œ ‰ Œ Ó
3
œ
‰
Œ
‰
œ
Œ
arco
o $
µ
µ
µ
attacca w
O
w
œn œ ˙
wn
$
iarco
arco
arco
8.0
p
p
IV..˙ œ
.
.O
˙
O
œ
n
n
Œ œn œ œ
w
µµ
µ
i9.0 17.0
f
f
.œ
J
œb ˙
.
.O
œ
J
O
œ
b
b
O
œ
O
œ
.œ
J
œb ˙
w
IIsubito $
subito $
9.0
$
$
˙ œ
O
˙O
œ
˙ œ
˙ œn
0.0
P
P
P
P
attacca
4
&
&
B
?
86
86
Vln. I
Vln. II
Vla.
Vc.
62Π.
‰ ‰ !œ
+
‰ ‰ œ
-
Π.
Π.
‰ ‰
œ
+
.#
.˙ .˙
Π.
œ-
‰‰
creaking sound
IIIIV
IIIIV
vib. norm.
vib. norm.
I - IV q. = 54
p
Π.
‰ ‰
œ
+
‰ œ
-
‰ œ
-
‰ ‰
‰ ‰ !œ
+ Π.
.#
.œ.œb
.œ .œ
‰‰ œ
-
Π.
I9.0
Ó .
Œ . œ
-
‰ ‰
‰
œ-
‰ ‰ ‰
œ-
.œ.œ.œ .œ
‰‰ œ
-
‰ œ-
‰
arco
vib. norm.
0.0
Π.
‰ ‰
œ
+
.#Π.
‰ ‰ .
œ
+
Œ . œ
-
‰œ
-
.˙b
.˙
‰‰ œ
-
‰ œ-
‰
creaking sound
18.0
Π.
œ
+
‰ ‰
.#
‰ ‰
œ
+ Π.
Œ .‰ œ
-
‰
.˙b
.˙
œ-
‰ ‰ .œi
I9.0
8.0(senza vib.)
‰ ‰
œ
+ Π.
Œ .‰ œ
-
‰
‰ ‰ !œ
+ Π.
Œ .‰ ‰ œ
-
œ
j
œb .œœ
J
œ .œ
.˙
I
small pause(except vln. II)
&
&
B
?
44
44
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~
Ÿ~~
68
˙
œ
"
V. (senza misura)
2"
Well we didn't, so I don't see the point of worrying about it now.
p
"
œ
"
She'll never come home from Australia again.
p
"
Ͼ j
œ#
œ
"
What do you mean? of course she'll come again.
iF
o
"
œb
œbæ j
œ
"o
In the event she goes back of course she'll come againbut she'll never come back for the first time agian.
P
"
œ
J
—
small pause
o
Ó Œ
œ
"
".˙ œ
æ
j
œ#
p
p
S.P.
VI. q = 100
o
œ
˙
j
—
Œ
Π. j
œ ˙
˙ œ
æ
j
œ# Œ&
Ó
˙
p
p
S.P.
ord.
I.
p
o
&
&
&
?
46
46
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~~~~~~~~~~~~~~~~~~%
Ÿ~~~~% Ÿ~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~
~~~~~
~~~~
75
Œ
œ
+œ>
j
—
Œ Œ
œ
+œ>
j
—
Œ
O&
œ' (
œo (
œo (
œo (
œo
O#
Ó
˙o
˙ œ#
æ
œ
c.l.R˙˙
I.
f P
c.l.R˙˙I.
S.P.F
F
P
P
œ>
.˙
Œ Œ
œ
œ !‰
œ
Œ Œ
. .œ
—
B
œ
Œ
˙o
˙
R˙˙
arco
R˙˙
p
p
$
$˙ œ
j
œ ‰‰ ¿ ‰
3
Œ
œ
œ !‰
‰ ‰
¿
3
Œ Œ ˙
˙o
˙o
˙
˙
R˙˙c.l.
S.P.
arco
pizz.
pizz.
Œ ‰
œ
+>
Ó
Œ ‰! œ
+>
œ
‰ Œ
Œ! .œ
+>
Ó
bow screw vib.
bow screw vib.
bow screw vib.
p
p
p
5
&
&
B
?
46
46
44
44
Vln. I
Vln. II
Vla.
Vc.
~~~~~~~~
m.v.~~~~~~~~~~~~~~
m.v.
79œ
œ
O
O
oo
œ
œ
O
Ob
oo
œ
œ
O
O
#
#
n
oo
œ
œ
O
O
oo œ
œ
oo
œ
œ
oo
‰
œ
œ
O
O
#
#oo
œ
œ
O
O
oo
œ
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oo
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O
O
oo œ
œ
oo
J
œ
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oo
.
.
w
w
.
.
O
O
#
œ ‰ . Œ Œ .˙
$
p
(senza vib.)
IIIIV
p
p
VII. (like bells) q = 60
IIIIV
arco
$
arco
arco
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œ
#oo
J
œ
œ
œ
œ
oo
œ
œ
oo
œ
œ
#oo
œ
œ
oo
œ
œ
oo
J
œ
œ
oo
.
.
w
w
.
.
O
O
#
˙
˙ ˙&
F
F
F
œ
œ
oo
œ
œ
#oo
œ
œ
oo
œ
œ
oo
J
œ
œ
œ
œ
oo
œ
œ
oo
œ
œ
#oo
J
œ
œ
oo
j
œ
œ
>
.
.
œ
œ
.
.
O
O˙
˙
O
O
˙
Ó?K $
attacca
p
p
&
&
B
?
44
44
86
86
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~
82
œ#
‡
œ
‡
œ#
‡
œ
‡
œ#
‡
œ
‡
œ#‡ œ
‡
VIII. alternate randomly and as fast as possible: 4" 6"
slap
slap
slap
slap
f
f
f
f
¿
˘
¿
˘
¿
˘
3
¿
˘
¿
˘
¿
˘
3
¿
˘
¿
˘
¿
˘
3
grind
grind
grind
J
¿
.
¿
.
¿
.
J
¿
.
¿
.
¿
.
J
¿
.
¿
.
¿
.
J
¿
.
¿
.
¿
.
knock tap
knock tap
knock tap
knock tap
J
—
j
œ
>
J
—
j
œ
>
J
—
J
œ
>
J
œ>
c.l. batt.
c.l. batt.
c.l. batt.
c.l. batt.
W.P.
W.P.
W.P.
R˙˙
R˙˙
R˙˙
R˙˙
attacca
œ
‡
œ
‡
¿
˘
¿
˘
¿
˘
J
¿
.
3
˙ œ
@
œ#
! .
œ
œ
w
w
O
O
F
S.T.
f
F F
grindknockslap
alternate as fast as poss.
She says that, but it wouldn't be if she didn't know she was being met, and there we just were, or there I was if you insisted on not coming - she'd like it when it happened, the moment she caught sight she'd be delighted.
arco
arco
arco
V - VIII q = 60
˙
— ! ‰
Œ
w
w
O
O
f
S.P.
p
œ>
j
—
Œ
œ>
j
—
Œ
w
w
O
O
ƒ
R˙˙ R˙˙c.l.
f
6
* The "slap" cell is not limited to 2 slaps each time; in fact, a different number of slaps each time is best.
&
&
B
?
86
86
83
83
86
86
83
83
86
86
83
83
Vln. I
Vln. II
Vla.
Vc.
86
Π.
œ-
‰ ‰
‰œ-
‰ ‰œ-
‰
œ
-
‰ ‰ ‰ ‰œ
O
j
O-
Π.
I. q. = 48 (poco riten.)
c.l.R˙˙
arco
arco
arco
F
F
F
F
(senza vib.)
(senza vib.)
(senza vib.)
‰ ¿ ‰‰ ‰
œ-
Π.
—.
‰ ‰
Œ . ‰ ¿ ‰
œ-
‰œ-
Π.
knock
knock
arco
W.P.
(senza vib.)
‰ ‰œ-
œ-
‰‰
Π.
‰œ-
‰
arco
Π.
œ-
‰ ‰
‰œ-
‰
‰
—.
‰
œ‰ ‰ ‰ ‰ ¿
‰‰
œ
Π.
c.l.R˙˙ knock
c.l. batt.
W.P.
‰œ-
‰
‰ ‰
—.
Π.
œ-
‰ ‰
Œ . ‰ ¿
˘
¿
˘
¿
˘
‰
3
œ-
‰œ-
Π.
grind
arco
arco
W.P.
‰ ‰œ-
œ‰
‰
Π.
‰œ-
‰
knock
arcoΠ.
œ-
‰ ‰
‰œ
‰ ‰œ-
‰
œ
-
‰ ‰ ‰ ‰œ
–
‰‰
œ-
Π.
overpress.S.P.
c.l.R˙˙ arco
arco
‰
—.
‰
‰ ‰
–
–
–
‰ ‰œ-
Π.
Œ . ‰ –
–
–
‰
œ-
‰‰
œ-
‰‰
overpress.arco
W.P.
&
&
B
?
83
83
43
43
44
44
Vln. I
Vln. II
Vla.
Vc.
94
‰ ‰
–
–
–
–
–
‰ ‰
Π.
‰ ¿ ‰
overpress.
knock
attacca
.
.
##
.
.
##.
.
##
.
.
##
II. q = 60 creaking sound
‰ .
–
–
>
.
.
##
##>
! .
.
–
–
>
.
.
##
‰ –
–
>
.
.
##
##‰
–
–
>
.
.
##
! .
.
–
–
>
.
.
##
‰ . –
–
>
.
.
##
Œ Œ
‰
œ
+ Œ
#Œ Œ
œ
+
‰
Œ
#Œ
‰ . œ
+
Œ Œ#
##
Œ
—
‰
Œ ‰ .¿
!œ
! !œ
! ‰
œ
Œ
œ ‰ Œ Ó
‰! œ
Œ Ó
pizz.
pizz.
c.l.R˙˙
pizz.
pizz.
W.P.
F
F
F
F
III.
Œ Œ‰
œ
Œ
Œ Œ
œ
‰‰
‰ ¿
3
œ ‰ œ ‰ ! œ ‰ Œ
‰ . .
œ
‰ . .
œo
‰! œ
Œ
pizz.ß
ß
ß
ß
7
&
&
B
?
44
44
Vln. I
Vln. II
Vla.
Vc.
~~~~
~~~~~~~~~~~m.v.
Ÿ~~
Ÿ~~
Ÿ~~
Ÿ~~
101œ
+
‰O
œ
#
#
O
˙
‰ O
œ
O
˙
O
œ
#
#
Œ ‰ œ ‰ œ Œ
Œ
! œ ‰
Ó
bow screw vib. arco
arco
p
p
.
.
O
œ
j
O
œ
b O
˙
O
w
.œ
j
œ ˙b.œ
J
œ ˙
.˙ œ
Ó Œ
œ
+
µarco
arco18.0
p
p F
IV.
O
˙
b O
œ
O
œ
n
#
O
œ
.˙n œ
œ
œ ˙b
œ
œ ˙
w
Ó ‰œ
+
Œ
26.0
f
f
f
O
w
˙ ˙
œ œœb>
j
—
—
Ӝ
˙ ˙��˜
R˙˙
ƒ
ƒ
ƒ
attacca
œ#
œn
œ
œ
V. (senza misura)
It's not that you don't have a sense of occasion.You know exactly what an occasion is and you deliberately set out to ruin it. I've thought for forty years you were a stupid woman, now I know you're simply nasty.
Ignore the others. At the end of each line, execute a "trill tail" before continuing
It's not that you don't have a sense of occasion.You know exactly what an occasion is and you deliberately set out to ruin it. I've thought for forty years you were a stupid woman, now I know you're simply nasty.
It's not that you don't have a sense of occasion.You know exactly what an occasion is and you deliberately set out to ruin it. I've thought for forty years you were a stupid woman, now I know you're simply nasty.
It's not that you don't have a sense of occasion.You know exactly what an occasion is and you deliberately set out to ruin it. I've thought for forty years you were a stupid woman, now I know you're simply nasty.
P
P
P
P
. .œ#
—
. .œ
—
. .œ
—
&
. .œ
—
&
attacca
&
&
&
&
44
44
Vln. I
Vln. II
Vla.
Vc.
%
Ÿ~
Ÿ~~~~~~~~~~~Ÿ~~~~~~~
%
%
109 O
w
O
w
.
.
O
˙
œ � �
O
˙
˙
VI. q = 60
F
F
F
F
.
.O
˙
O
œ
.
.O
œ
J
O
œ
>
O
œ œ
� � � � �.œ œ . .œ
@
œ#
œ œ .œ@
œ#! ‰ Œ
R˙˙arco
p
p
p
p
Œ
O&
œ
'o (
œo (
œo (
œo (
œo
O#
‰
œ
œ
oo
. .œ
—
Œ
.O.œ
o
J
O#
Œ
. .œ
@
œ#
Œ
œ
@‰
B
‰ œ . .�
—
‰ œ
>
œ ‰
f P
S.P.
R˙˙
F
IIIIV
F
.
.
œ
œ
œ
œ
oo
œ
œ
#oo
J
œ
œ
oo
‰
œ
œ
#oo
œ
œ
oo
œ
œ
oo
J
œ
œ
oo
œ
œ
O
O
oo
œ
œ
oo
œ
œ
O
O
b
oo
œ
œ
O
O
oo
&
œ
œ
O
O
o
o
o
œ
œ
O
O
oo
œ
œ
O
O
#
#
#
#
oo
œ
œ
O
O
oo
F
F
III
VII. (like bells)
8
* don't syncronize
&
&
&
&
Vln. I
Vln. II
Vla.
Vc.
113
J
œ
œ
œ
œ
oo
œ
œ
#oo
œ
œ
oo
J
œ
œ
oo
J
œ
œ
œ
œ
#oo
œ
œ
oo
œ
œ
oo
J
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œoo
œ
œ
#
#
oo
œ
œ
oo
œ
œ
oo œ
œ
oo
J
œ
œ
œ
œ
oo
œ
œ
oo
œ
œ
oo
J
œ
œ
#oo
J
œ
œ
œ
œ
#oo
œ
œ
oo
œ
œ
oo
J
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œoo
œ
œ
oo
œ
œ
#
#
oo
œ
œ
oo
œ
œ
oo
œ
œ
ooo
J
œ
œœ
œ
oo
œ
œ
#oo
œ
œ
oo
J
œ
œ
oo
J
œ
œ
œ
œ
oo
œ
œ
oo
œ
œ
#oo
J
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œ
oo
œ
œoo
œ
œ
oo œ
œ
#
#
oo
œ
œ
oo
œ
œ
oo
J
œ
œ
œ
œ
oo œ
œ
#oo
œ
œ
oo
J
œ
œ
oo
J
œ
œ
œ
œ
oo
œ
œ
oo œ
œ
oo
J
œ
œ
oo
œ
œ
oo œ
œ
oo
œ
œoo
œ
œ
oo
œ
œ
oo œ
œ
#
#
oo
œ
œ
oo
œ
œ
oo
J
œ
œœ
œ
#oo
œ
œ
oo
J
œ
œ
œ
œ
oo œ
œ
#oo
œ
œ
oo .
.
œ
œ
oo
B
œ
œ
oo
.
.
œ
œ
#
#
oo
?
small pause
&
&
B
?
44
44
43
43
Vln. I
Vln. II
Vla.
Vc.
Ÿ~
118
œ#
‡
œ
‡
œ#
‡
œ
‡
œ#
‡
œ
‡
œ#‡ œ
‡
VIII. alternate randomly and as fast as possible: 4" 6"
slap
slap
slap
slap
f
f
f
f
¿
˘
¿
˘
¿
˘
3
¿
˘
¿
˘
¿
˘
3
¿
˘
¿
˘
¿
˘
3
grind
grind
grind
J
¿
.
¿
.
¿
.
J
¿
.
¿
.
¿
.
J
¿
.
¿
.
¿
.
J
¿
.
¿
.
¿
.
knock tap
knock tap
knock tap
knock tap
J
—
j
œb
>
J
—
j
œb
>
J
—
J
œb
>
J
œb>
c.l. batt.
c.l. batt.
c.l. batt.
c.l. batt.
R˙˙
R˙˙
R˙˙
R˙˙
W.P.
W.P.
W.P.
œ#
‡
œ
‡
œ#
‡œ‡
˙ œ
@
œ#
! .
œ
w
w
O
O
#
œ
She says that, but it wouldn't be if she didn't know she was being met, and there we just were, or there I was if you insisted on not coming - she'd like it when it happened, the moment she caught sight she'd be delighted.
arco
ad lib.
arco
P Po
F
P
slap
P
V - VIII q = 60
œ œ@
œ#
‰ . .
œ
—! ‰
˙
˙
O
O
#
˙
˙
O
O
Po o
—>
Œ
œ#æ œ
‰ .
˙
˙
O
O˙
˙
yy
Fp
R˙˙
9
&
&
&
B
B
?
43
43
86
86
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~~~~~
122.#
œ
‡
œ
‡ !œ
‡
œ
>‡
œ
‡
‰ ‰ .
œ
‡
‰ œ
+
Œ œ
+
‰
˙ œ.˙
Œ
œ
+
‰ ‰œ
+
œ
+
‰ ‰ œ
+
Œ
.
.
˙
˙
.
.
O
O
Œ
œ œ
!
j
œ# ! œ
slapsul A
S.P.
rhythm of l.h. pizz. is much more important than slaps!
Everything (I - VIII) q = 48attacca
creaking sound
F
f
F
F
P
P
.#
‰
œ
‡
œ
‡
œ
‡
œ
‡
œ
‡
‰ !œ
‡
œ#
‡
œ
‡3
œ
+
‰ ‰ œ
+
Œ
œ ˙œ ˙
Œ
œ
+
‰œ
+
‰
‰ œ
+
Œ ‰ œ
+
œ
œ
O
O ˙
˙
O
O
œ ! œ œ œ#‰ ‰ .
œ
��˜i
ord.
��˜ µ
.#
œ
>‡
œ
‡
‰ Œ !œ
‡
œ
‡
œ
‡
œ
‡
œ
‡3
‰ œ
+
Œ œ
+
‰
˙ œ˙# œ
œ
+
‰ ‰œ
+
Œ
Œ œ
+
‰ ‰ œ
+
˙
˙
O
O œ
œ
O
O
œ# œ ! œ
!
œ ! ‰œ œn œ
3
µ
��˜ i µ
.#
œ
‡
œ
‡ !œ
‡
‰
œ
‡ !œ
‡
œ
‡
œ
‡
‰
3
Œ œ
+
‰ ‰ œ
+
.˙.
˙n
œ
+
‰ ‰œ
+
Œ
‰ œ
+
Œ œ
+
‰
.
.
˙
˙
.
.
O
O
œn
@
œ ! . ‰œ .�
—
S.T.
o
small pause
&
&
B
?
86
86
83
83
86
86
83
83
86
86
42
42
Vln. I
Vln. II
Vla.
Vc.
126
Π.
–-
‰ ‰
‰
–-
‰ ‰
–-
‰
–-
‰ ‰ ‰ ‰ –-
‰ ‰ –
-
Π.
F
F
F
F
I + II q. = 54 creaking sound
‰
–-
‰ ‰ ‰
–-
Π.
–-
‰ ‰
Œ . ‰ –-
‰
–
-
‰ –
-
Π.
‰ ‰
–-
–-
‰ ‰
Π.
‰ –
-
‰
Π.
–-
‰ ‰
‰
–-
‰ ‰
–-
‰
–-
‰ ‰ ‰ ‰ –-
‰ ‰ –
-
Π.
‰
–-
‰ ‰ ‰
–-
Π.
–-
‰ ‰
Œ . ‰ –-
‰
–
-
‰ –
-
Π.
‰ ‰
–-
–-
‰ ‰
Π.
‰ –
-
‰
Π.
–-
‰ ‰
‰
–-
‰ ‰
–-
‰
–-
‰ ‰ ‰ ‰ –-
‰ ‰ –
-
Π.
‰
–-
‰ ‰ ‰
–-
‰ ‰
–-
Π.
Œ . ‰ –-
‰
–
-
‰ ‰ –
-
‰ ‰
10
&
&
B
?
42
42
44
44
45
45
86
86
Vln. I
Vln. II
Vla.
Vc.
~~~~~~~~~
m.v.
~~~~~~~
m.v.
~~~~
m.v.
~ ~
m.v.
134
Œ! œ
>
&œ>
'
‰ œ>
&œ>
'œ
‰! œ
>
&œ>'
Œ
œ>
&.œ
>
'
q = 54 (q. = q )mime
mime
mime
mime
"f "
"f "
"f "
"f "
œ ˙ œ
>
. .œ œ œ
!œ œ œ
˙
‰
œ œ˙ œ œ œ
.œ
J
œ œ ! œ œ
i
µpizz. arco
S.T.
p
p
S.T.
pizz. arcoS.T.
p
µp
S.T. pizz. arco
sound
sound
sound
sound9.0
8.0
17.0against vln. II
against vla.
III + IV
˙˙
‰
œ
Œ
‰ . .
œn
Œ
œ
‰
œ
!œ
Œ
˙˙b ..
˙˙
Œ
œn ! .œ
Œ
! œ ‰ œ
pizz.
��˜
pizz.
I
pizz. arcoµ
9.0
9.0 ! .
œ
‰ ‰
œn œ
‰
œ
‰
œ
œ
! ‰ ‰
œn œ
‰
œ
‰
œ
® .œ ‰œb œœ ‰ œ ‰ œn
! œ ‰ ˙ œ œ
‰
ß ß
µarco
ß ß
µarco
Iarco
ßß P
arcoµPß
µ
p
µ
$µ
i$
$
pizz.
pizz.
$
pizz.
ipizz.
attacca
&
&
B
?
86
86
83
83
86
86
83
83
Vln. I
Vln. II
Vla.
Vc.
138
Π.
–
–
‰ ‰
‰
œ
‰ ‰
œ
‰
œ ‰ ‰ ‰ ‰œœb
-
‰‰
œœbo
Π.
arco
arco
arco
p
p
p
p
I
I - IV q. = 54
œ
‰ ‰
.
.
O
œ
.
.
O
œ –
–
‰
O
œ
‰ ‰ œ ‰ œ ‰
‰–
–
‰‰
‰œœb
o
arco
pizz.
pizz.arco
�� �̃�˜
I
iO
œ
‰
œœb
-
.
.O
œ
–
–
‰ ‰
‰ œ ‰
arco
pizz.
Π.
–
–
‰ ‰
‰œœb
-
‰ ‰œœ
-
‰
œ ‰ ‰ ‰ ‰ –
–
‰‰ œ
Π.
P
P
P
P
pizz.arco
arco
‰œœb
-
‰ ‰ ‰
œ
.
.O
œ
b
b œœ-
‰ ‰
.
.
O
œ ‰ –
–O
œ
œœbo
‰ œ
.
.O
œ
b
pizz.arco
pizz.
arcoI
i
&
&
B
?
83
83
86
86
83
83
Vln. I
Vln. II
Vla.
Vc.
143
‰ ‰
œ
œœb
-
‰‰
.
.
O
œ
O
œ
–
–
‰
i Π.
–
–
‰ ‰
‰
œ
‰ ‰
œ
‰
–
–
‰ ‰ ‰ ‰ œ
‰‰
œœbo
Π.
pizz.
pizz.
I
arco
‰
œ
‰ ‰ ‰œœb
>
‰ ‰œœb
>
Π.
Œ . ‰œœb
>
–
–
‰ ‰–
–
‰ ‰
arco
pizz. arco
arco
f
‰ ‰œœb
>
.
.
œ
œ
b>
.
.œœ
‰
–
–
ç
attacca
11
&
&
B
?
44
44
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~
Ÿ~~~~
Ÿ~~~~
Ÿ~~~~
147
œb
>
œ
>
œ
>
œ#>
µ
It's all this waiting!
It's all this waiting!
It's not that you don't have a sense of occasion.You know exactly what an occasion is and you deliberately set out to ruin it. I've thought for forty years you were a stupid woman, now I know you're simply nasty.
Ignore the others. At the end of each line execute a trill tail; after finishining text, ad lib. trill tails and slaps until violins are ready -->
Ignore the others. At the end of each line execute a trill tail; after finishining text, ad lib. trill tails and slaps until violins are ready -->
It's not that you don't have a sense of occasion.You know exactly what an occasion is and you deliberately set out to ruin it. I've thought for forty years you were a stupid woman, now I know you're simply nasty.
ƒ
ƒ
ƒ
ƒ
V + VI + VIII (senza misura)
œ
>
—
œ
‡
œ#
‡
œ
>
—
œ
‡
œ#
‡
slap
slap
ad lib. 20 sec.alternate randomly as fast and loud as poss.
ad lib. 20 sec.alternate randomly as fast and loud as poss.
œ
‡
¿
˘
¿
˘
¿
˘
¿ ¿
.
¿
.
3
œ
‡
¿
˘
¿
˘
¿
˘
¿ ¿
.
¿
.
3
grindknock tap
grindknock tap
J
—
œ
>
J
—
œ
>
œ
—
œ‡
œ#‡ œ
‡
œ
—
œ‡
œ#‡ œ
‡
c.l. batt.R˙˙
c.l. batt.R˙˙
slap
slap
W.P.
W.P.
attacca
&
&
B
?
44
44
43
43
45
45
Vln. I
Vln. II
Vla.
Vc.
149œ&
œ'
œ œ&
. .œ œ'
‰
œ'
œ&
œ'
œ&
œ .œ'
œ&
œ'
J
œ œ&
J
œ'
‰œ'
œ&
œ'
œ&
œ .œ'
mime
mime
mime
mime
"ff "
"ff "
"ff "
"ff "
q = 100
arco
arco
arco
arco
IIIIV œ
œ
oo
œ
œ
oo
œ
œ
>
oo
J
œ
œ
#
>
oo
œ
œ
>
oo
3
œ
œ
œ
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ.
.
œ
œ
>
oo
.œ
œ
œ
oo
œ
œ
J
œ
œ
œ
œ
>
oo
œ
œ
>
o
3
&
œ
.
.
œ
œ
#
#
oo
œ
œ
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
œ
œ
.
.
œ
œ
>oo
&
sound
sound
sound
sound
ƒ
ƒ
ƒ
ƒ
III
IIIIV
IIIIV
against vln. II
œ
œ
>
oo
œ
œ
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
œ
œ
>
oo
! .
.
œ
œ
#
>
oo
œ
œ
oo
œ
œ
oo
œ
œ
œ
œ
oo
.
.
œ
œ
>
oo
œ
œ
oo
œ
œ
œ
œ
o
>o
œ
œ
o
>o
œ
œ
o
>o
œ
œ
o
>o
œ
œ
! .
.
œ
œ
>oo
.
.
œ
œ
oo œ
œ
oo
œ
œ
.
.
œ
œ
#
#
oo
against vln. I
poco accel.
12
&
&
&
&
45
45
44
44
Vln. I
Vln. II
Vla.
Vc.
152w
w
#
>
oo
œ
œ
w
w
œ
œ
>
oo
w
w
˙
˙
>
oo
œ
œ
3
˙
˙ w
w
>
oo
œ
œ
3
q = 108˙
˙
oo
˙
˙
#oo
˙
˙
oo
˙
˙
oo
œ
œ
˙
˙
oo
œ
œ
oo
œ
œ
˙
˙
#
#
oo
œ
œ
oo
VII. (elongated) q = 80 (h triplet = q )
˙
˙
oo ˙
˙
oo
˙
˙
oo ˙
˙
#oo
œ
œ
˙
˙
oo
œ
œ
oo
œ
œ
˙
˙
#
#
oo
œ
œ
oo
˙
˙
#oo
˙
˙
oo
˙
˙
oo
˙
˙
oo
œ
œ ˙
˙
oo
œ
œoo
œ
œ
˙
˙
oo œ
œ
oo
˙
˙
oo
˙
˙
oo
˙
˙
oo
˙
˙
#oo
œ
œ
˙
˙
oo
œ
œ
oo
œ
œ˙
˙
#
#
oo
œ
œ
oo
˙
˙
oo
˙
˙
oo
˙
˙
oo
˙
˙
oo
œ
œ
˙
˙oo
œ
œ
oo
œ
œ
˙
˙
oo
œ
œ
#
#
oo
&
&
&
&
Vln. I
Vln. II
Vla.
Vc.
158˙
˙
#oo
˙
˙
oo
˙
˙
oo ˙
˙
oo
œ
œ
˙
˙
oo
œ
œ
oo
œ
œ ˙
˙
oo œ
œ
#
#
oo
˙
˙
#oo
˙
˙
oo
˙
˙
oo
˙
˙
#oo
œ
œ ˙
˙
oo
œ
œoo
œ
œ ˙
˙
oo
œ
œ
oo
˙
˙
oo
˙
˙
oo
˙
˙
oo ˙
˙
oo
œ
œ
˙
˙
oo œ
œ
oo
œ
œ
˙
˙
oo œ
œ
#
#
oo
˙
˙
#oo
˙
˙
oo
˙
˙
oo
˙
˙
oo
œ
œ
˙
˙oo
œ
œ
oo
œ
œ
˙
˙
oo
œ
œ
oo
˙
˙
oo
˙
˙
#oo
˙
˙
oo
˙
˙
oo
œ
œ
˙
˙
oo œ
œ
oo
œ
œ ˙
˙
oo œ
œ
#
#
oo
˙
˙
oo
˙
˙
oo
˙
˙
#oo
˙
˙
oo
œ
œ
˙
˙
oo
œ
œ
oo
œ
œ ˙
˙
oo œ
œ
#
#
oo
˙
˙
#oo
˙
˙
oo
˙
˙
oo
˙
˙
oo
œ
œ
˙
˙oo
œ
œ
oo
œ
œ
˙
˙
oo
œ
œ
oo
&
&
&
&
43
43
44
44
43
43
45
45
Vln. I
Vln. II
Vla.
Vc.
165˙
˙
Ó
U
˙
˙
Ó
U
˙
˙Ó
U
˙
˙Ó
U
?
œb .œ ˙
"
œb .œ œ œ œb
"
i
i
P
P
con sord.
con sord.
IV. (senza vib. & carefully tuned) q = 54
14.0against vln. I
o
o
w
"
w
"
w
˙ œ œ
w
w
Po
Po
µ
con sord.
con sord.
11.0against vc.
w
w
w
w
wb
˙ œ œn œ
˙ œ œb œ
w
j
k
j
10.5
8.0 0.0
0.0
against vla..˙
.˙
.˙
.˙
13
&
&
&
?
45
45
44
44
43
43
44
44
45
45
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~
172
œ œb �
— ! ‰
Ó
˙
˙
o
Ó Œ
.˙ ˙
.˙ ˙
o
o
p
p
wb
œb œ .˙
œ Œ Ó B
œ
Œ Ó
senza sord.
p
i7.0against vln. I
p
senza sord.
.˙
.˙
.œ# œ ˙
.˙#
p
p
µ5.5
against vc.
œ
Œ Ó
œ
Œ Ó
Ó Œ
œw#
.œ# œ .˙
senza sord.
senza sord.
��˜F
o
0.0
5.5against vla.
11.0(against self)
&
&
B
?
45
45
44
44
46
46
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~
Ÿ~~~~
176
Œ Œ
œ œ
œ
o
œ
œ
o
"
˙ .˙˙.
˙
˙ .˙
Fo
F
œ
œ
o
.˙b
w
ww
w
iF
14.0against vln. II
w
.˙ œ
.˙
Œ
w
.œ#
J
œ# ˙
P
i
w
�
œ# .˙
w
Π..
O˙
#
w
P
P
P
˙ .œb
j
œw
w
w
Ow
˙ œ# œ
p
po
p
p
p
26.0(against self)
˙ ˙œ œ# ˙
˙
˙ Ó
˙
Ó
O˙
Ó
˙
Ó
��˜P
13.0
14
&
&
B
?
46
46
45
45
44
44
43
43
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~
Ÿ~~~~~~~~~~~
Ÿ~~~~~~~~~~~
%
Ÿ~~~~~~~~~%
~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~m.v.
~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~
m.v.
182
.w
.w
Ó ‰
œœ ..
˙˙
! ..
œœ ˙˙ ..
˙˙
Ó‰
œœb ..
˙˙
F
F
��˜
��˜8.0
13.0
18.5(against self)
(against self)
˙b
— ! ‰ Ó
˙ .˙
˙
— !‰ Ó
˙ .˙
˙
—!
‰ Ó
˙ .˙
.œb
—
Œ Ó Œœ
O
w
��˜
��˜
F
F
˙
˙o
.œ
.œo
J
œo
˙
˙o
.œ
.œo
J
œo
˙
˙o
.œ
.œo
J
œo
O
˙
O
˙ .
.
O
œ
.
.O
œ
j
O
œ$
$
$
$
attacca
œ&
œ'
œ œ&
. .œ œ'
‰
œ'
œ&
œ'
œ&
œ .œ'
œ&
œ'
J
œ œ&
J
œ'
‰œ'
œ&
œ'
œ&
œ .œ'
&
mime
mime
mime
q = 60
"ff "
"ff "
"ff "
"ff " mime
&
&
B
&
43
43
44
44
Vln. I
Vln. II
Vla.
Vc.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~
~~~~~~
m.v.
~~~~~~~~~~
m.v.
~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~
m.v.
186.œ
J
œb>
œ
œJ
œb>
˙
3
J
œ œb>
˙
3
&
.˙b>
sound
ƒ
ƒ
sound
ƒ
sound
ƒ sound
.œ
J
œ
œ
#
o
>o
œ
œ
œ
J
œ
œ
no
>o
˙
˙
3
J
œ
œ
œ
o
>o
œ
œ
œ
œ
œ
œ
oo
3
˙
˙
#
#
o
>o
œ
œ
œ
œ
o
>o
.
.
œ
œ
J
œ œ
œ
œ
J
œ ˙
3
j
œ
œ
œ ˙
3
.˙
mime
"ff "
"ff "
mime
"ff "
mime
"ff "
mime
œ
œ
o
>o
œ
œ
o
>o
œ
œ
o
>o
œ
œ
o
>o
œ
œ
.
.
œ
œ
J
œ
œ
o
>o
®
œ
œ
#o
>o
œ
œ
o
>o
œ
œ
o
>o
œ
œ
o
>o
œ
œ
.
.
œ
œ
J
œ
œ
o
>o
˙
˙
oo
œ
œ
J
œ
œ
o
>o
œ
œ
3
˙
˙
oo
J
œ
œ
œ
œ
#
#
>
oo
œ
œ
3
ƒ
ƒsound
ƒ
sound
ƒ
sound
sound
against vln. I
15
&
&
&
&
43
43
45
45
Vln. I
Vln. II
Vla.
Vc.
~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
Ÿ~~~~
Ÿ~~~~~~
Ÿ~~~
Ÿ~~~~
Ÿ~~~
Ÿ~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~m.v.
~~~~~~~~~~~~~~~~~~m.v.
~~~~~~~
m.v.
190˙
˙
J
œ
œ
œb>
œ
3
˙
˙
œ
œ
J
œb>
œ
3
œb>
œ>
œ>
œ>
˙ œ œ>
®œb>
œ>
œ>
œ>
˙ œ œ>
?
against vla.
ç
ç
‰ œ'
œ&
œ œ' ! . .œ
& —
Œ
œ&
œ'
. .œ& —
‰ œ
'œ
&œ œ
' ! œ
&œ
'
œ& —
‰ .
—'
—&
&
"f "
mime
"f "
mime
"f "
mime
"f "
mime
! .œb>
œ . .œ
—
‰œb>
œ . .œ
—
‰ .œb>
œ œ
Œ. .œb
—
Œ?
ç ç
ç ç
ç
ç
sound
sound
sound
sound
&
&
&
?
45
45
44
44
42
42
Vln. I
Vln. II
Vla.
Vc.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~
m.v.~~~~~
m.v.~~~~~~~~
m.v.
~~~~~~~m.v.
~~~~~~
m.v.~~~~~~m.v.
~~~~~
m.v.~~~~~
m.v.~~~~~~~~
m.v.
~~~~~~~~
m.v.~~~~~~
m.v.~~~~~~
m.v.
193 ! .œ>
&œ œ
®
. .œ>
&œ ! .œ
>
&
˙>
& ! .œ>&
œ œ>
&
®. .œ
>
&œ ˙
>
&®
. .œ
>
&
! .œ>
&œ ! .
œ>
&œ œ ! .
œ>&
œ
&
"ff "
"ff "
"ff "
"ff "
mime
mime
mime
mime
! .œb>
œ ! .œ>
œ œ
˙b>
œ .œ>
œ
! ®œb>
œ œ®
. .œ>
œ
®
. .œb>
œ ˙>
Ï
Ï
Ï
Ï
sound
sound
sound
sound
œ .œb>
œ
˙
˙
>
oo
˙b> ! .
.
œ
œ
>
oo
œ
œ
®
. .œb>
œ ! .
œ
œ
>
oo
œ
œ
œ
œ
! ®œb>
œ œ
®
. .
. .
œ
œ
>
oo
œ
œ
?
16
&
&
&
?
42
42
43
43
44
44
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~~~
Ÿ~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~
~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
196œ&
œ>
œ>
œ>
.œ>
œ
3
‰
œ'
œ œ
œ
&œ
>
œ
>
œ
>
.œ
>
œ
3
‰œ'
œ œ
Ferociously q = 75
"ff "
"ff "
"ff "
"ff "
mime
mime
mime
mime
J
œ
.œb>
œ
˙b>
œ
œ
.œb>
œ œ œ œ
.œœb>
œ œ œ œ
&
Ï
Ï
Ï
Ï
sound
sound
sound
sound
œb>
œ>
œ>
œ>
œ œ œ œ œ
3
œ œb>
œ>
œ>
œ>
œ œ œ .œ
œb œ œ œ œ œ œ
˙b œ .œ œ œ
i
against vln. I
I
&
&
&
&
43
43
44
44
43
43
44
44
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~m.v.
~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~
m.v.
199œ œ œ œ .œ œ
>œ>
œb>
.œ œ>
œ>
œ>
œ œ œ
3
œ .œb>
œ œ œ>
œ>
œ>
œ
.œ œb>
œ œ œ œ
I
i œ>
‰ O
œ Œ
œ
Œ
.
.
O
œ !œ œb œ œ œ .œ
œ œb>
œ>
œ>
œ œ
i‰
œb>
œ> . .œ œ œ
œb>
œ .œ>
œ œ œ
! .œb>
œ œ œ>
œ>
œ>
œ>
œ
‰ .œb>
œ œ>
œ>
œ>
œ>
œ œ
against vc.
. .œb œ> . .œ œ
>œ
.œb œ œ .œ œ œ
. .œ œb>
œ .œ œ>
œ
œ œb œ .œ œ . .œ
&
&
&
&
44
44
43
43
42
42
44
44
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
m.v.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~m.v.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~
m.v.
203O
œ
O
œ ‰ .
œb œ
‰ .
O
œ
O
œ ‰
.œb œ œ œ
œb œ œ œ œ œ œ œ
3
œb>
œ .œ ˙ œ .œ
(senza vib.)
œb>
œ>
œ>
œ>
œ> .œ œ œ œ
5
! .œb>
œ œ œ œ
‰! œ
>œ œ
>œ>
œ>
œ>
œ>
5
‰œb>
œ .œ œ
i
œ .œb œ
J
œ
3
œb œ œ
Œ
œb
œ œb œ
œb .œ œ .œ .œ œ œ .œ
œ œb œ œ œ œ œ œ œ
3
.œ œb œ ! .œ>
®
.œ>
œ !
wb
17
&
&
&
&
45
45
42
42
45
45
Vln. I
Vln. II
Vla.
Vc.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~
~~~~~~~~~~~~~~~~~~~
m.v.
Ÿ~~~
207 .œ œb>
œ œ .œ œ .œ
J
œ œb
J
œ �
J
œb œ
J
œ œ œ
œb œ-
˙ œ
®œb>
œ>
œ œ .œ œ œ œ œ œ
œb œ-
œ œ
>
œ
>
œ œ
>
œ
>
œ œ .œ
œb>
œ>
œ œ œ . .œ œ œ .œ
œb œ œ œ ® œ
>
œ
>
.œ ® œ
>
œ
>
.œ œ
against vla.
f
(senza vib.)
f
(senza vib.)
against vln. II f
vib. norm.
œb œ-
œ œ
œ .œb œ œ
. .œb>
œb .œ œ
B
œb œ .œ
f
R˙˙arcovib. norm.
œ œb œ
.œb
&j
œ
'
œ œb .œ œ
œb œ œ œ œ
3
Meno mosso q = 70
&
&
B
&
45
45
44
44
43
43
44
44
Vln. I
Vln. II
Vla.
Vc.
~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~m.v.
~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~
Ÿ~~
~~~~~~~~~~~~~~~~~~~~~~~~~m.v.
211
œ œb
>
œ œ
>
.œ œ
>
‰ œ œ œ
œ œb œ œ œ œ .œ
j
œ
œ œb œ œ œ
‰
œ œ
3
œb
>
œ
>
œ
>
.œ œ œ
F
(senza vib.)
œb œ œ œ œ
œb
œb œ-
œ œ
œ œb œ
œœb œ œ
j
œ œb œ œ œ !.œb
>
3
vib. norm.
R˙˙
extrem. slow gliss.
vib. norm.
(senza vib.)
(senza vib.)
˙( )
œb œ-
œb ˙ œ
œ ˙b œ œ
j
œb
œ
J
œ œ œ .œ?
F
F
F
arco
˙b œ
œb œ œ œ œb
œb œ œ œ
>
.œb
J
œ œ œ>
rit.
(senza vib.)
I6.0 0.0
&
&
B
?
44
44
Vln. I
Vln. II
Vla.
Vc.
215
œb .œ œ œ œ
˙b ˙
œb œ œ œ œb
œb œ .œ ˙
p
q = 60
p
p
p
I6.0 0.0
wb
œb
Œ Ó
œbŒ Ó
œb
Œ Ó
$
o
o
o
I - IV (molto sostenuto, senza vib. q = 60)
w
wb
"
"
o
o
trans. to vln. II "
w
"
wb
o
o
trans. to vc.
p
"
"
wb
w
o
o
(senza vib.)
f
trans. to vla.
Ó Œ
‰
œb
!
wb
w
Ó Œ‰ .
œb
of
trans. to vln. II
oI
pizz.
F
pizz.
F
6.0 against vla.
wb
w
!œb
‰ Œ !œ
‰ Œ
Œ Œ
œb ! ‰Œ
o
oIarco
pizz.
F
P
18
&
&
B
?
43
43
Vln. I
Vln. II
Vla.
Vc.
222
w
‰ !œb
Œ
œ
‰
Œ
‰œb
Œ Ó
wb
o
F
pizz.
o
arco6.0 against vln. I
trans. to vc.
P
! —
–
®
—
–
®
‰
œb
Ó
3
—
– ! —
– !Œ
œb
Œ
wb
w
of
o
arco
pizz.
ß
arco
ß
pizz.
F
overpress.
overpress.
trans. to vla.
arco
œb
>
‰
Œ! –
–
‰
.˙
.˙
! œb œ !Œ
–
– ! ‰
ß
f o
pizz. arco
arco
ß
io
overpress.
arco6.0 against vla.
trans. to vln. II
.˙n
.˙
Œ Œ ! œ
‡
œ
‡ !
Œ Œ
œ‡ ! ‰
o
f o
6.0 against vln. II
slap
slap
trans. to vln. I
F
F
.˙
¿
.
¿
.
‰ Œ Œ
3
"
.˙
f
io
6.0 against vln. Iarco
trans. to vc.
F
tap
.˙n
"
.˙
.˙
f
o
io
6.0 against vla.
arco
.˙
.˙b
.˙
.˙n
f o
f
o
o
12.0 against vc.arco
&
&
B
?
42
42
43
43
44
44
Vln. I
Vln. II
Vla.
Vc.
229
Œ
œ-
œ-
œ-
œ-
œ-
œ-
œ
6
.˙
.˙
.˙
f o
f
io
i$f
6.0 against vc.
* attempt to line up with interference beat
.˙
.˙
.˙
"f o
o
io
0.0
trans. to vln. II
trans. to vln. II
Œ
‰
œ
>
Œ
.˙
Œ !.œ
>
Œ
Œ
œ>
‰Œ
i
i
i
R˙˙
R˙˙
R˙˙c.l.
c.l.
c.l.
F
f
f
f
"
˙
"
"
‰œ> �
— !
˙
œn
>
— !‰
! .œn>
— !‰
R˙˙
R˙˙
R˙˙
"
˙ œ
@
œb
!
.˙
"
io
trans. to vla.
i I$arco
"
"
w
wb
P o
o
12.0arcoI
Œ Œ
œb-
œ-
œ-
œ-
œ-
œ
5
w
"
w
oP
o
5.0
IP
* attempt to line up with interference beat
5.0arco
&
&
B
?
Vln. I
Vln. II
Vla.
Vc.
237
w
w
Œ. .œb
@
œ
Ó
Œ
œo
Ó
P
P
p
I
˙
Ó
˙
Ó
"
"
o
o
ww
w#
ww
w
��˜
k
8.0
12.0
10.0 against vln. II
o
o
o
o
Swell gradually, like a great wave q = 60
tune purely with D
��˜
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
Ï
Ï
Ï
Ï
19
&
&
B
?
Vln. I
Vln. II
Vla.
Vc.
245
w
&w
w#
&
w&
w
w&µ
K
K
5.5
8.0
7.0
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
ww
w
o
o
o
o
'̇ &̇
'̇ &̇
'̇œ&
œ'
œ&
'̇ &̇
Full, elegant strokes q = 54
"p"
"p"
"p"
"p"
mime (until end)
mime (until end)
mime (until end)
mime (until end)
J
œ .œ'
J
œ&
.œ'
'̇ &̇
.œ
J
œ'
.œ&
J
œ'
œ œ' &̇
œ&
œ'
œ&
œ'
J
œ œ'
J
œ&
œ œ'
œ&
œ'
œ&
œ'
J
œ œ'
J
œ&
œ œ'
&
&
B
?
43
43
44
44
46
46
Vln. I
Vln. II
Vla.
Vc.
254œ& '̇
œ&
œ œ&
œ œ'
œ&
.œ œ&
œ œ œ'
œ&
œ .œ&
œ œ'
œ œ&
"f "
"f "
"f "
"f "
œ'
œ&
œ' &̇
'̇ &̇
œ'
œ&
œ' &̇
'̇ &̇
œ'
œ& '̇
œ œ'
œ& '̇
œ'
œ& '̇
œ œ'
œ& '̇
.&̇
.&̇
œ&
œ' &̇
.&̇
"p"
"p"
"p"
"p"
w'
w'
w'
w'
.w&
.w&
.w&
.w&
durata: 16 min.
20