Bára Gísladóttir
Prussian blue
for violin and piano
2017
Explanations for Prussian Blue Violin s.p. – sul ponticello m.s.p. – molto sul ponticello s.t. – sul tasto m.s.t. – molto sul tasto ord. – ordinario c.l.b. – col legno battuto c.l.tr. – col legno tratto o.p. – overpressure (the levels of o.p. are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p., and 4/4 is a full o.p. with as little pitch-audibility as possible) o.p. 0 – no overpressure (as an indication that o.p. is no longer to be used) gradually move from one technique to the other vertical bowing between m.s.p. and m.st.
vertical bowing from m.s.p. to m.s.t.
vertical bowing from s.t. to m.s.t. bow as you interpret the graphic Move bow in the mode of a pendulum swinging from side to side, where the strings serve as a springboard. This creates an arpeggio-like effect where the motion happens mainly in the wrist. The bow should not be moved horizontally, but is to stay in the same position.
arrowed noteheads indicate which direction to bow in, when using vertical bowing harmonic artificial harmonic
“half” harmonic. Press down half-way towards fingerboard. artificial harmonic with a half-way pressed down fundamental
Place 1st finger on the fundamental and vary the position of the harmonic trill by differing rapidly the use of 2nd, 3rd and 3th finger, creating a tremolo-effect between a fundamental and a flickering artificial harmonic.
Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
When tremolo contains glissando, the glissando is to be performed back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes. Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible. It should be kept in mind that the any technique indicated in the piece should be sustained until the occurrence of a next one.
Piano trem. – tremolo reg. – register c.-i.fr. – cast iron frame during vertical movement, arrowed noteheads indicate which direction to move in tap strings
hit or whip strings (further information in the score) hit interior of instrument (further information in the score)
Harmonics: the diamond head indicates which note to be pressed on the keyboard. The note above shows the resulting pitch. The numbering given indicated where the harmonic can be found on the string. For instance, 11/2 means the 2nd node of the 11th harmonic. In Prussian Blue, the harmonics are mainly performed by the items used in the piece, and not finger. In the occasional use of finger, an image of an index finger occurs above the harmonic.
Bouncing should be natural and effortless, the notation given is more of an example and should not be followed exactly.
Items used on strings rag
thunder drum th.dr.t. – thunder drum tail th dr.b. – thunder drum bottom fist craft roller without cross: use rubber roll on strings with cross: use edge of handle-top on strings cake server without cross: use whole bottom on strings with cross: use edge on strings large paint brush without cross: use hairs on strings with cross: use edge on strings small flat paint brush without cross: use hairs on strings with cross: use top of handle on strings
Movement The movement of items used on strings are indicated with arrows. The lines in background indicate the strings.
When it comes to the thunder drum, more specific images are given bottom: rub
edge of bottom: rub
side: roll
side: rub
Movement is often indicated in the form of graphic. Perform movement as you interpret the graphic.
Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible. The sustain pedal is to be pressed down throughout the whole piece. It should be kept in mind that the any item, movement and technique indicated in the piece should be sustained until the occurrence of a next one.
Prussian blue The idea behind the piece is to paint a musical painting with the pigment Prussian blue. Prussian blue is a dark blue pigment with the idealised chemical formula Fe7(CN)18. The music depicts the colour itself as well as the creative process of a painting; preparation, pigment mixing, failed attempts, splashing despair, detailed manual dexterity, from unfocused overview to a focused zoom in on the finest textures, and the question of where and how to end it all. Prussian blue was composed for Elfa Rún Kristinsdóttir and Mathias Susaas Halvorsen in the summer of 2017 on the occasion of the festival “Deilt með tveimur” (E. Divided by two) held by the Icelandic National Broadcasting Service the same year.
Prussian blue Bára Gísladóttir 2017
q = 60 Violin
° 9 ¢& 4
6 4
∑
2 4
∑
∑
3 4
4 4
∑
3 4
∑
ææ ˙™ #˙ ™
2 4
p low reg. mid reg.
9 4
Pno. - strings {
6 4
2 4
4mid reg. 4
3 4
3 4
2 4
pp f
ff
° (sempre)
=
s.p. I
Vln.
m.s.p. 7 ° 2 #˙˙ ¢& 4 # ˙˙
(I)
˙ ˙˙ ˙
3 ˙ææ™ 4 #˙ ™
æ ˙™ #˙ ™
5 4 o
mp
O™ 3 #˙ 4
∑
Œ
⪠3 Ϫ 8
6 4
3 8
6 4
3 4
∑
II p
let vib. Pno. - str. {
2 4
3 4
5 4 mp
3 4
3 4
p
=
Vln.
m.s.p. 14 ° 3 #˙˙ ™™ ¢& 4 # ˙˙ ™™
s.p.
˙ ™™ ˙˙ ™ ˙™
Kr 2 œ 4 #>œ
∑
∑
1 4
∑
3 ˙™ 4 mf
O˙™™
2 4 ff
f sfzp (bottom) low reg. (dampen) let vib. Pno. - str. {
3 4
2 4
f ?f R ff Ô
1 4
3 4
2 4
∑
s.t. c.l.b. c.l.tr.
q = 90
m.s.p. s.p. ord.
21
Vln.
° ¢&
O™ 3 ˙™ 4 o
∑
~
O
2 4
œ‚œ‚
4 4
2 4
∏∏∏∏∏∏∏∏∏
2
≈ >œ #œ
p
œ #œœ œ œ 4 Ó 4 œ œ µœ
œ Œ œœ œ o
pp ff
mf
œ œœ œ
low reg.
let vib.
3 ?f ?f 4
Pno. - str. {
2 4
ææ ˙
> 4 V ®≈ ‰ Œ Ó
ææ œ
æ œæ >
(dampen)
?4
2 4‰
4 4
p fff
=
mp
f
mp
II III dampen strings
q = 60 m.s.p. 27
° - 1 - 1 1 - - 1 1 - 1 - 4 ~II ¢& - 1 - 1 1 - - 1 1 - 1 - 4 ~ III p
3
mp
~ 4 ~~ 4 ~ o
3 ™ 4 OO ™
2 4 OO
f
pp
4 4
Pno. - str. {
2 4
pp
3 4 p
~ ~~ ~
~ ~~ ~
~ ~~ ~
2 4
pp
4 4
2 4
pp
= I
>œs.p.‚ œ ‚ œ ‚ œ ‚ ‚
(I) 33
Vln.
° 2 OO ¢& 4 OO
O O™ OO 3 O 4 O II
Πo
⪠3 Ϫ 8
O O™ 2˙ ˙ 3 4 4
pp
O
4 4
7 4
ppp
sfzp
pp
sfzp in same reg. as cluster
2 4
Pno. - str.
3 4 ppp
3 8
2 4
3 4
o
p
ææ ˙™
3
4 - 1 _ 4
ppp
1 1 - 47
p
inaudibly Pno.
{
?2 4
∑
3 4
3 2 3 8 ∑ & 4 Œ nbnœœœ 4 nbn˙˙˙ ™™™
∑
=
4 nw 4 nb ww
7 4
op. 2/4 s.p. I
m.s.p.
Vln.
39 ~ ° 7 w ¢& 4
‚ œ ‚œ‚œ‚
O ™™ # 4 Œ 4 OO ™ #O ™
5
O ™™ O ≈‰ O ™™ œ O >œ
~
6 µ~ ™ 4
∑
2 µ‚ ‚ 3 4 4 pp
ff mp
II #~w
6 4 µµ~w ™™
2 4
p th.dr.t., low reg. whip, let vib.
in same reg. as chord
7 4 _
Pno. - str.
_™
4 4
!
pp
mp
Ó
6 ≈ 4 ?> ‰ Œ Œ Ó™
p
2 4
3 4
ff
inaudibly Pno.
{
7 & 4 nbnw ww
Ó™
4 4
∑
∑
bw ww
6 4
∑
2 3 4 ∑ 4
II
Vln.
‰ œ3 ‰ Œ O
45 ° 3 O™ ¢& 4
2 4
OO™
3 4
Œ
3
œ‚œ‚œ‚œ‚œ
2 4
∑
3 4
Π9
(I) fp
≈ 3 4? ‰ Œ
Pno. - str. {
2 4
Œ
3 4
2 4
3 4
f
=
Vln.
O OO O
° 3Œ ¢& 4
II s.p.
>œ
50
O OO O
®≈ ‰ Œ
3 ‚ O 4‚
Œ
f
p
p th.dr.t., whip, let vib. bounce
≈ 3 4?
Pno. - str. {
3 4
. . . . . . . . . . . . . . . . . . . . o
ff
= 3
I m.s.p.
O ˙O ™™
53
Vln.
° ˙O ™™ ¢&
œ ‚ œ ‚ œ ‚ œ O™
O 2O 4 bOO
O OO 5 O 8
mp pp in same reg. as D6 and E6
th.dr.b. whip, let vib.
bounce
ææ . . . . . . . . . . . . . . . . . . . . ˙™ o mp œ™ ∑ &
≈ ?>
Pno. - str.
ff
Pno.
{
&
ææ ˙™
2 4
ææ ˙
5 8
ppp
Ϫ
2 4
∑
∑
5 8
p
= m.s.p. s.p.
Ϫ
57
Vln.
œ
° 5 ¢& 8
‚œ‚œ‚œ‚œ‚œ ‚
2 4
O™ 3 bOO ™™ 4 O™
O™ OO ™™ O™
5 4
3 4
∑
9
(II) ppp in same reg. as cluster
æ 5 œ™æ 8
Pno. - str.
ææ œ
th.dr.t., mid reg. whip, let vib.
æ 2 ˙æ 4
æ 3 ˙™æ 4
pp
5 ≈ 4 ?> ‰ Œ o fff
Œ
Ó
3 4
mid reg
5 4
3 4 ff
inaudibly
Pno.
{
5 &8
œœ™™
œœ
˙˙™™
˙˙
2 4
3 4
5 4
∑
3 4
q = 90
q = 60 s.p. m.s.p.
b ˙I >O
s.p.
‚‚‚ ‚ O b‚‚ ‚‚ ‚‚ ‚‚‚
∏∏∏∏∏∏∏∏
Vln.
° 3 ¢& 4
∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏
61
4
b ˙ ™ ˙O ™™
2 4
b w~
3 4
4 4
b ˙O ™™
w~
˙
5 4
4 4 mp
f
ff
mf
≈ ‰ Œ Œ 3 4 ?
2 4
3 4
≈ ≈4 5 4 ? ‰ Œ Œ Œ ‰ ? 4
4 4
mp
mf
mp
Pno. - str. let vib.
{
3 4
2 4
3 4
mp
4 4
5 4
f
4 4
ff
= m.s.p. 9
m.s.p. 66
Vln.
° 4b~ ¢& 4
b~ ~ ææ
bœ ‚ œ ‚ œ ‚ œ ‚ œ Œ 2 O 4
(II)
5 ™ 4O
3 ™ 4 O˙ ™
~w
4w 4
nO˙
4 4
pp fp
pp
in reg. around E1
ææ w
4 4
Pno. - str.
in same reg. as trem.
ææ ææ 5 œ 4 ˙™
11/2
2 #œ ≈ ‰ &4
ppp
Pno.
{
4 &4
∑
ææ ˙
ææ ˙ o
4Ó 4
ppp
∑
?2
≈ ‰
4
5 4
Œ
∑
4Ó
3 4
ææ ˙™
4 4
pp
˙™
b˙ ˙ 43 b˙ ™
&4
4 4
‚ p
pp
p
= 72
Vln.
° 4 s.p. ™ ¢& 4 œ O
5 4 o
p in same reg. as cluster
2 4
∑
Pno. - str.
3 4
∑
th.dr.t. bounce whip
(dampen) let vib.
æ 4 wæ 4
7 4
∑
3
5 f ≈ ‰ Œ Œ f ≈≈ f Œ 2 f ≈f ‰ Œ 7 ? r 4 4> > 4 > . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ó™ o mp p mf fff
p
3 4
inaudibly Pno.
™ 4 & 4 Œ b˙˙ ™
{
5 ™ 4 ˙˙™
2 4 ˙˙
˙˙
˙˙™™
7w 4w
3 4
= o.p. 0 o.p. 4/4 76
Vln.
° 3 ¢ & 4 b˙ ™ mf
o.p. 1/4
‚
‰
Œ
Œ
‚ ‚™ O™ b‚ b 3 O™ b‚ 4b O ™ n˙ ™
∏∏∏∏∏∏
s.t. o.p. 3/4
f
O™ O ™™ O ˙™
œ bœ mp
œ
œœ
‚‚
f
p
2 4
sffzpp Place th.dr.t. between strings of mid reg. in a zigzagging manner. Make as much noise as possible for this action Pno. - str. {
3 4
3 4
2 4
m.s.p. wait until sound fades out 5
s.p.
Vln.
81 ° 2 bOœ ¢& 4
O™ 3 O™ 4
œ
O 2 O 4˙ ˙
pp
O O O˙
O 2 O 4
O™ 3 O™ 4
U ∑
3 4
p
o mid reg. (roll over th.dr.t.)
2 4
Pno. - str.
3 4
ææ ˙
2 4
wait until sound fades out
hit strings in reg. around Bb5
hit cast-iron frame let vib.
U
3 ≈ ‰ Œ 4 >¿
2 ≈ 4 ? ‰ Œ
Œ
f
3 4 o
p
b˙ Pno.
{
2 &4
3 4
∑
2 4˙
∑
3 4
2 4
∑
3 4
p
= s.p. 87
Vln.
° 3 ‚ œ‚ œ‚ œ‚ œ O ¢& 4 7
2 4
∑
4 4
3 4
∑
bIIO˙ ™™
4 4
pp pp hit cast-iron frame mid reg. let vib. mid reg.
3 4Œ
4¿ ≈ 4>
2 4 pp
mf
3 4
4 4
f
th.dr.t., mid reg. whip
Pno. - str.
bounce 3
{
3 4
4 ®? ≈ ‰ Œ Ó 4 >
2 4
f
3 ≈ 4 4 ?> ?> . . . . . . . . . . . . . . . . . . . . 4 o f ff
= m.s.p.
b(II) ~
91
Vln.
° 4 ¢& 4
<b> ~w
3 G™ 4
b OG ™™
b ~G
4G 4
p
5 4
pp
p
ææ w
11/2
in same reg. as trem.
4 4
Pno. - str.
3 4
ææ ˙™
4 4
œ ≈ ‰
Œ
Ó
5 4
≈ ‰
Œ
Ó
&4
&
pp
Pno.
{
4 &4
˙™
3 ˙™ 4
∑
˙™
4 ˙™ 4
5
?
Œ
pp
b‚ o p ( ‚)
=
7 9 5
(all on II)
® b‚ ® ® ® ® ≈ ≈ ® ® ® ® ® ®b O ° 5 G™ G ¢& 4 95
Vln.
(II)
3G 4
‚
mp
s.p. ˙ ™ O˙ ™™ 4 b˙ ™ 4 p 13/3 let vib.
in same reg. as coming trem.
æ 5 ˙™æ 4 o
Pno. - str.
Pno.
{
5 & 4 Ó™
O˙ ™™ Œ 3 4
æ ˙
ææ ˙™
3 ˙™ææ 4
mp
b˙ b˙ 3 4
œ
4 &4 ‰
≈Œ
Ó
3 4
˙ ™ ˙™ ? 4 ‰ 4
≈Œ
Ó
&4
p
∑
#‚ pp p
3
‚ 99 ° 3 b®˙ ‚® ® ® ® ® ® ® ® ® ® ® 4 b w® ® ® ® ® ® ® ® ® ® ® ® ® ® ® ® 3 bO˙ ‚g 7 4 4 4 ¢& 4 ™ ( )
6
Vln.
pp
in same reg. as trem.
æ 3 ˙™æ 4
Pno. - str.
æ 4 wæ 4
3 4
7 4
ppp
n˙ ™
˙™ Pno.
{
3 &4
˙˙™™
˙
˙
4Ó 4
3 4
o
pp
7 4
pp
= s.p. m.s.p. (II)
b O˙
102
Vln.
™™
° 7 b~w ¢& 4
O™
2 4
œ œ œ
3 4
O
˙™
4 4
O˙™™
3 4 mp
2 4
pp
in same reg. as cluster
in same reg as trem. 13/3
7 4
Pno. - str.
ææ w
ææ ˙™
œ
2 &4 Œ
≈ ‰ 43
ppp
ææ ˙™ o
4 4
ææ w
3 4
ppp
ææ ˙™
2 4
mf
inaudibly
˙™ Pno.
˙™
{
7 &4 ∑
?2
≈ ‰ & 43 Œ
4 Œ
“˙” ˙
˙™ 3 ˙™ 4
w 4w 4
2 4
#‚ pp
= “” (I) 107 ° 2 bO &4
(0)
bO ™ ‚
˙ O˙
Vln.
2 ¢& 4
b˙
O
O ˙
O˙™™ ‚œ
˙™
O˙
O˙
4 4 mp
æ 2 ˙æ 4
f
‚ b~ 7 4 ˙™ O˙™™ ~ 3 7 4 4 b˙
4 ˙™ 4
ff
æ 4 ?> ‰ Œ ˙æ 4
pp
ææ w
æ 3 ˙™æ 4
æ 7 wæ 4
f ff
pp
Pno. - str. mid reg. hit strings
{
hit cast-iron frame, let vib.
2 4
4 4
3
3 5
¿ Œ Œ ¿ ≈? ‰ ¿ ≈? ? ? ? ? ‰ ¿ ? ¿ ≈¿¿¿¿¿¿ ? ‰ 43 ff
O™
3 4
O
2 4 O™
3 4 O
2 4
3 4 ppp
ææ ææ 2 ˙™ 4 ˙ 43
:“; q = 80 ° 3 b‚ O G 3 &4 8
7
113
(III)
∑ 44 #~
∑
w
3 #‚ 4 µ‚ ˙ O
1 8
3 4‚
1 8
m.s.p. 3
mp
œ œœ œ
œ œœ œ
œœ œœ œœ >œ >œ
∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏
bœ œ 3 bœœ œœ 8 >œ œ
3
œ œœ œ
bœ bœœ nœ
œ œœ nœ
bœ bœœ œ
∏∏∏∏∏∏∏∏∏
3 ¢& 4
∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏
‚g OG G
∏∏∏∏∏∏∏∏∏
Vln.
œ (IV) œœ 4 ~ 4 œ
ff
µ ‚ ˙ B ˙˙
nw
sfffzpp
p
in same reg. as cluster
3 4
Pno. - str.
in same reg as trem.
3 8
!™ mp
?> ?> ‰ mf
#œ &
4 4
3 4
ff
1 &8 mp
inaudibly Pno.
{
3 b ˙™ & 4 b ˙˙ ™
3 8
4 4
?
∑
3
#˙ Œ
& 4 #˙
∑
‚ R
?
1 8
p
ff
=
3
118
s.p.
° 1 #‚ & 8 µ‚ µ‚ ≈
4 4 µw
µw~
bbœ‚ 2 4 µœ µœ‚
3 bb˙O 4
2 4
3 4 ‚
‚
7 4
Vln. 3
ff
∏∏∏∏∏∏∏
mf
œ‚
∏∏∏∏∏∏∏
µB œ‚
nœœ µ‚ µB œ‚ µ ‚
1 & 8 ¢
œœ 4 ‚ 4 ‚ µ~ f
>4 1 & 8 #œ #œ ® ?> ? 4 ff
{
Œ
7 4
pp
#13/3 œ
2 4 ! mf
œ Œ
µ‚
in same reg. as chord
9/2
Pno.
‚
3
≈ ‰
Œ
Œ
7 4
4 ‚ ≈ ‰
Œ
Œ
7 4
&4
pp
inaudibly
?1 8
® ‚ #‚
4 &4 ## w ww
2 4œ œœ
Œ
?3
pp 3
mf
s.p. III
g g g‚ O
122
8 Vln.
° 7 ¢& 4
‚ ‚ b‚ 3 4
4 4
∑
3
mp
p
freak out a bit in the various reg. with what would be considered as too much effort in same reg. as chord
7 4
4 4 ff
mf
hit c.i.-fr. in various places, let vib.
Pno. - str.
5
3
3
7
7 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈≈ ¿ ≈≈ ¿ ‰ ¿ ¿ ¿ Œ ¿ ¿ ¿ ≈ ¿ ¿ ¿¿ ¿ ¿ ¿¿ ≈ ¿ Œ 4 > > > mf
Pno.
3 4
ff
mp
f
{
?7 4
4 4
3 4
fff
nwinaudiby w n b w 4 &4
∑
3 4
= “” bO
124
O™
™ 1 b‚ ‚ 3 bO 8 µ‚ 4
bO ™ ∑
mp (IV) 3
O˙™™
‚ 43 ˙™
3 4
” “m.s.p. b‚ ‚ ‚ ‚ ‚ ‚ O b‚ ‚ ‚ 42 ‚ ‚ ‚
∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏
3
1 8 ‚
bO ™
2 4 ∏∏∏∏∏∏∏∏∏
Vln.
° 3 bO ™ ¢& 4
6 4
3 O™ 4
6 4
bO ™
µ‚ 3
f
in same reg.
3as trem. 4
Pno. - str.
mp
Pno.
p
mf
◊ÿ 4/1 œ œ œ 3 1 &8 4
pp
∑
◊ÿ œ 2 1 - 1 4 ≈ ‰ Œ
3 4
∑
œœœ 2 ‚ 4 ≈ ‰ Œ
3 4
4/1
6 4
mf
˙™
˙™ 3 &4
{
1 ‚ ‚ ‚ 3 8 4
6 4
∑
3 3
pp mf
pp o.p. 3/4
o.p.0 m.s.p.
=
o.p.0 m.s.p.
q = 60
“” b~
130
° 6 &4 :“;
∑
∑
4 4
b~
4 4
(0)
w
3 4
3
let vib. ~ b >œ ~ 3 œ ≈‰ Œ Œ 4 ~ 4 bœ 4 ~ œ
∏∏∏∏∏∏∏∏∏
b~ Ó b~~ ~ o
O™
(II) 4 œ ‚œ ‚ Œ 3 4 4
3
mf
p
pp
in same reg. as chord
3 ≈ 4 4 ? ‰Œ Œ 4
6 4
∑
“” >œ >œ ≈œ œ œ O 3 Ó ‰ 4 ‰
mp
in same reg. as chord Pno. - str.
∑
bO ™
pp
Vln.
6 ¢& 4
3 4
b >œ ‰ >œ ≈ œ œ ‰ œ 3 4
ææ w
ææ w
3
≈ 3 4 ?> ‰ ?> ?> ‰ ‰ ?>
ææ ˙™
4 4
ææ w
p p
pp
mp
pp
3 4 o
inaudiby
Pno.
™™™ w b n w w 6 &4
{
˙˙ ™™™ ˙ 3 4
w 4 ww 4
∑
3 4
∑
4 4 w ™ b ˙ nb ˙˙˙ ™™ bn w ww
3 4
I II IV
(gliss. down)
:“; b O ™ ° 3 &4 ˙™
6 4
:“; O bœ 3 ¢& 4
6 4
(II)
b O ™ ˙ ™ bb ~~ 3 4 4 4 n~ o III bn ˙O ™ 3 4 4 4 w pp o
b~™
137
Vln.
b~™
p
~~ b O 3 6 ™ ™ ™ 4 b‚ 4 b˙ O bO ~
2 4 bO
3 Œ 46 4 w ˙ ˙™
2 4
mp
9 s.p.
Ó™
4 4
∑
4 4
ppp
4/1
3 4
Pno. - str.
Pno.
œ
ææ ˙™
6 4 -
pp
mp
let vib.
-‰ 1 1-≈‰Œ ! 43
4 4
3 4 o
{
3 6 & 4 <b> ˙˙ ‰ ™ bœœ 4 w nb ˙˙ nb >œœ bn w ww ™™™
3 4
∑
6 4
2 o
pp
4 4
3 4 ˙˙ ™™
∑
≈‰Œ 44
&4
6 4
2 4 4 ‚ ≈‰Œ 4
∑
p
pp
ff
= m.s.p. 3
b ~w
144
3 ™ 4 b‚
b‚‚ 1 b‚ ‚ 8 ‚‚ b‚ ‚
Ϫ ⪠Ϫ
‚ O™ ‚ 3 ‚ 4 ‚
bw
∏∏∏∏∏∏∏∏∏
w
∏∏∏∏∏∏∏∏∏
b~
∏∏∏∏∏∏∏∏∏
° 4<b>œ bO ™ &4
4 4
3 4
pp Vln. III
4 œ O™ ¢& 4
3 4 b˙O ™™
~
1 8
3 4
∑
~
4 bw 4
∑
3 4
mp p
in reg around harm. make sure not to touch 13/3 D#2, so the harm. can vib.
low reg
ææ w
4 4
Pno. - str.
œ
3 &4
ppp
œ œœ 3 ≈ 4
1 &8
≈‰
in same reg. as chord
æ 4 wæ 4
∑
p
3 4
ppp inaudibly
Pno.
{
4 &4
∑
?3
∑
≈‰ Œ
4
1 8
Œ
#‚
≈ #‚
3 4 ‚‚
w 4 bwbw
∑
3 4
&4 pp
p 3
ppp
= III IV o.p. 3/4 m.s.p.
~
s.p.
b ˙ ™ b O˙ ™™
150
° 3 &4
b~™
b‚ ‚ œ œ ‚ b ~ 4 4
6 4
b O ™™ O 3 bbOO ™™ 4
O ™™ O O ™™ 5 bœ ‰ œ œ œ œ ‰ Œ 3 O 4 bœ œ œœ œ 4 p
Vln.
~
3 ¢& 4
b˙ ™ O ™ 6 b~ ™ 4
4 n‚ bœ œ O 4
pp
p
calmly cover whole reg. of pno.
3 4
ææ ˙™
6 4
3 4
b~
∑
3<b><b> ˙˙ ™™ &4 ˙ ™
{
3 4
∑
ppp
4/1 same as before, but a little less calmly
œ
4 &4
in same reg. as chord
3 4
≈‰
5 3 4 >- ‰ >- - >- - ‰ Œ 4
pp
Pno.
5 4
p
6 ˙˙ ™™ 4 bn˙˙ ™
Ó™
4 ≈‰ Œ Ó 4 n‚
∑
3 4
∑
5 ™ 4 bn˙˙ ™ ppp
pp
bn˙˙
3 4
m.s.p. o.p. 0
b ‚ ™™ ‚ ™™ ‚ ™™ ‚ ™™ ° 3 b‚œ ™ œ‚ ™ ‚œ ™ œ‚ ™ 2 bO bœ ™ œ ™ œ ™ 4 b O ¢& 4 156
10 Vln.
fp
4 4
O bO
p
3 4
~ b~
bO ™
2 bO 4
bO ™
2 4 bO
3 4
ææ 2 œ. œ. œ. œ. 4 ˙
3 4
O™
˙
3 4
pp
3 4 bO ™ æ 3 ˙™æ 4
Pno. - str.
3
2 4
mp
Pno.
4 4
pp
3 ™ & 4 bn˙˙ ™
œ. œ. œ. ˙
Œ
p
2 ˙ 4 bn˙˙
{
3 4
Œ
mp
3 ˙™ 4 bbn˙˙˙ ™
w 4 bnww 4
2 ˙ 4 bn˙˙˙
3 4
˙O ™™
3 4
=
161
s.p.
° 3 &4
bO˙ ™™
3 & 4 ¢
bO ™
b˙ ™
O˙™™
O˙
2 b˙ 4
4 ‚ 4 œ
Vln.
˙™
3
4 4
3 4 O™
b‚ “” b4/1 œ
3
œ ≈ œ œœœ≈ Œ
3 4
Pno. - str.
3
2 4 bO
bO ™
œœœ≈ ‰
˙™
2 4˙
˙™
˙
4
≈ ‰ Œ
Ó
3 4
4 b‚ ≈ ‰ Œ 4
Ó
3 4
&4
pp
Pno.
3 ˙™ & 4b<b>n˙˙˙ ™
bn˙˙˙˙ ™™
{
2 4
∑
ppp
=
s.p. m.s.p. O ™™ ° 3 b OO ™™ O & 4 bO ™ O ™™ b Oo ™ O 3 ∑ & 4 ¢ 165
Vln.
b‚ 4 n ‚ ‚ g b‚ ‰ ng 4 mp
4 4
m.s.p. 2 OOO 4 bO o
2 4
∑
OO OO
3 ⪠Ϫ 8
3 4
3 8‚
‚ œ ‚ œ 3 4
≈ ‰ Œ
3 8
∑
3 4
2 4‚ ≈ ‰ Œ
3 8
∑
3 4
∑ 4/1
œ
æ 3 ˙™æ 4
Pno. - str.
4 - ‰ 4
ppp
Pno.
{
3 &4
- ‰ Œ
1 ‰
2 &4
mp
∑
4 4
∑
pp
s.p. 169
11
° 3 O™ &4
˙™
3 O™ 4
m.s.p. 3b(II) œ‚‚‚ ™™™™ œ‚‚‚ ™™™™ 4 8 4 œ™ œ ™
˙™
∑
4 4
∑
4 4
Vln. mp
3 ˙ ™ ˙O ™™ ¢& 4
3 ‚ œ#œ‚ œœ‚ œœ‚ œœ‚ œ‚ ‰ 3 4 œœ 8
∑
4 4
low reg. fpp
p gently stab 4/1 sounding board
3 4
∑
3 4
3 8
∑
∑
?4
4 bœ ≈ ¿ ¿ ¿ ¿ Œ p
Pno.
{
3 &4
∑
3 4
3 8
∑
∑
?4
≈‰
4
hit c.-i.fr., let vib.
ææ 4 œ ¿¿¿¿¿ ≈ 4 > pp mp
Œ
4 4
Ó
b‚ “‘ pp
=
s.p.
m.s.p. 173
° 4 œs.p. ‚ bœ‚ œ‚ œ‚ œ‚ nœ‚ 3 ˙ ™ ˙O ™™ ‚ œ &4 4
2 bbOOO 4 p˙
4 b‚ b‚ n‚ #‚ ‚ ‚ b‚ 3 b˙ ™ & 4 ¢ 4
2 4
OO 3 O ™ O 4 ˙
4˙ 4
O Ó
1 4
3 4 bO ™
4 bO 4
Ó
1 4
Vln.
p
mp
O™
∑
o
p
ppp
sfzpp
low reg.
4 4
Pno. - str.
ææ ˙ p
Pno.
{
?4 4
œ. ‰ œ. ‰ 43 mp
∑
ææ ˙™
4/1
?2
3 4 œ ≈ ‰ Œ 4 œ. œ.
pp
3 4
p
∑
2 4
≈ ‰ Œ 43 ‚ “pp‘
ææ ˙æ
ææ Œ œœœ ˙
pp
p
∑
mid reg.
4 4
pp
∑
1 4
12 s.p. m.s.p.
‚ b œ‚ nœ‚ œ‚ nœ‚ bœ>‚ œ nœ‚ ‚ ‚‚ 4 4 ‚ mp pp
178
° 1 b ‚‚ & 4 b‚ n‚
2 4
‚ bn œ‚ œ‚ œ‚ ‚œ ‚œ 4œ ‰ 43 4
∑
mp
Vln.
1 ¢& 4
4 œ 4
∑
‚ œ
2 4 b˙
‚ œ ‚ œ ‚
O
4 bœ ‚ œ ‚ œ ‚ bœ ‰ 3 4 4
b4/1 œ ææ œ
ææ w
&4
2
≈ ‰ Œ
4 4
∑
3 4
2
≈ ‰ Œ
4 4
∑
3 4
G™ G ™™ G G™
O 2 bOO 4b O
o
p
inaudibly
? 1 bœœœ Pno. { 4
4 ˙˙˙ 4
Ó
& 4 b‚ pp
=
182
Vln.
° 3 ‚œ ¢& 4
‚œ b ‚œ ‚œ
O˙ ™™ b 4 4
p
m.s.p.
‚
G™ 3 G™™ 4 bb G G™
pp
p
O OO O
3 4 o
2 4
∑
in same reg. as chord
bœ
3 &4 Œ
≈ ‰ 44
Œ
ææ w
3 4
ææ ˙™
2 4
ææ ˙
3 4
ææ ˙™
2 &4
ppp
inaudibly Pno.
{
3 &4 Œ
≈ ‰ 44 bnw ww w
Œ b‚ pp
3 ˙ ™™ 4 bn˙˙˙
2 ˙ 4 bn˙˙˙
3 œ Œ 4 bnœœœ
Œ
2 4
13 187
I Vln.
° 2 ¢& 4
˙™
˙O ™™
˙O
3 4
∑
˙O
2 4
™ 4 ˙O ™ 4
s.p.
‚
5 4
II
3 ˙™ 4
O™
2 O 4
pp high reg.
4 4
5 4
~
mp
pp
in same reg. as chord
4/1
bœ
2 &4
O
œ
nœ ≈ ‰
≈ 43
≈
ææ ˙™
æ 2 ˙æ 4
ææ w
4 4
5 4
pp
Pno.
bn ˙˙˙
{
2 &4
≈ ‰ ≈ ≈ 43 ‚ b‚ n‚
w bn ww
2 4
∑
4 4
5 4
ppp pp
=
191 ° 5 œ ‚ œ ‚ ‚ &4
O
2 4
p
∑
m.s.p. 3 bbOOO ™™™ 4 nO ™
OO ™™ OO ™™
2˙ 4
O
3 4
∑
3 4
∑
ppp p mp
Vln.
5 O™ & 4 ¢
2 4
O
∑
3 4
∑
2 4 b˙
O˙
mid reg.
æ 5 ˙™æ 4
Pno. - str.
œ Œ &
≈ ‰ 42
ppp
Pno.
{
5 &4
ææ ˙
3 4
2 4
p
3 4 mp
ææ ˙™ p
bn ˙˙˙ ™™ Œ
≈ ‰ 42 ‚ ppp
∑
3 4
∑
2 4
∑
3 4
∑