Bára Gísladóttir
Split thee, Soul, to Splendid Bits (attn.: no eternal life/light this time around) i.
a dirty prelude to get started
I.
“Virgin” Mary
II.
Mr. Saint Nice Guy
III.
Uomo in disguise
IV.
Revelation: wave-crushed stones and primitive despise
ii.
interlude: OMFG have mercy on us
V.
Amma in the skies
for violin, viola, cello and harpsichord 11’23’’
commissioned by Nordic Affect 2018
Explanations Strings s.p. – sul ponticello m.s.p. – molto sul ponticello m.s.t. – molto sul tasto c.l.tr. – col legno tratto gradually move from one technique to the other continue the technique indicated
vertical bowing from m.s.p. to m.s.t.
harmonic
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.
Gliss 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. Gliss from the very start of the tremolo.
Gliss while altering the artificial harmonic.
Randomly vary between the notes given as fast as possible. Bowing is free, but should be used sparely.
Gliss from one set to the other.
Overpressure The overpressure is indicated by black graphics above staves:
! The overpressure is on different levels. At its fullest, there should be as little pitch-audibility as possible. The overpressure can increase and decrease. This is for instance indicated in the following way:
! !
Things to keep in mind: Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.
Harpsichord Preparation: Remove the damper from the jack of Bb1<>E2 Tie a piece of fishing line (length: ca. 1.5 m) close to the jack of Bb1, B1, E2, and place one that spans Bb1<>E2. Rub the fishing lines well with rosin. Place a contact microphone to the sound board, close to the bridge. Other props: a handful of thimbles When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written. A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner.
This notehead shows an approximate area for the technique indicated to take place r.h. – right hand l.h. – left hand
Split thee, Soul, to Splendid Bits (attn.: no eternal life/light this time around) was commissioned by Nordic Affect and written in the summer of 2018. The piece is divided into five movements, as well as a prelude and interlude, played through continuously. Each movement is dedicated to a certain character or incident, staged in a somewhat religious rollercoaster for atheists. The piece should preferably be performed on baroque instruments. Tuning: A 415 Hz
Written with support from the Artistsâ&#x20AC;&#x2122; Salary Fund of the Iceland State
for Nordic Affect
Split thee, Soul, to Splendid Bits (attn: no eternal life/light this time around) i. a dirty prelude to get started II s.p.
Bára Gísladóttir 2018
III
q = 60 m.s.p. Violin
° 7 &4
4 ~≤ 4
∑
O™ ˙ O 44 O ˙ œ ‚ œ ‚ 43 ™ ˙
5 4 ˙™
~
ppp
p
pp
ff III IV
II m.s.p.
B 47
Viola
≤ 4 ~ 4
∑
5 O™ 4
~
O
4 4w
4 4
p
3 4 ˙™ µ˙™
∑
~
5 4 ˙™ >
7 4
∑
O™ O
3 4
nO BO
7 4
∑
3 4
7 4
∑
3 4
fpp
4 ~ n~ 4 n~ B ~
5 4 O™ µ O™
ppp ff III IV
I m.s.p.
Violoncello
?7 ¢ 4
≤ 4 b~ 4
∑
~
5 bO ™ 4
O
4 4
p
3 ™ 4 ˙˙ ™
∑
pp
5 ™ 4 OO ™
4 ~~ 4
OO
ppp ff Strings arco Harpsichord
{
fingers - all arco 5 fastæcircular movement 4 æ Ó 4 æ 4 æ ™ bw U o p pp
let vib.
?7 4
4 4 bw
∑
˙™
bw
ff
p
let vib.
3 4
throw thimbles rapidly at strings
4Ó 4
ææ 45 ææ U U™
b˙™ ff
mf
ææ 47 ææ U U
ææ U™
3 4
pp
I. "Virgin" Mary I II
10
Vln.
° 3 bII˙ ™ &4 o
O˙ ™™
2 4
(II)
3 œ ‚ œ ‚ œ ‰ œ œ‚ œ ‚ œ ‚ œ œ ‚ ‚ œ‚ 4 O™
∑
4 w nw~ 4
b˙O
˙O ™™
3 4
4 w~ 4
3 ™ 4O
4 4
4 4
3 4
4 4
4 n~w 4
3 4 O™
4 4
3 5
p
pp f
f m.s.p. s.p.
III 3
B 43 ˙ ™ b˙˙ ™™ 42 b˙O o f pp
Vla.
3 4 ˙™
b˙O ™™
bœ ‚ œ ˙ O 44 bw~
bO ™
w
3 4 œBb‚b‚ B‚ n‚
mf
pp
m.s.p.
s.p.
# O˙ ™™
(IV) Vc.
?3 ¢ 4 ˙O ™™ o
2 4 ˙O f
3 4 ˙™
˙O ™™
˙O ™™
4 ‚ 4 ~w
O
# ~w
3 4
pp ff arco let vib.
pizz. let vib. Hpsd.
{
?3 4
2 4
ææ U™
ææ 43 ææ U U
œœ ‰ Œ
Œ
Œ
4 4
∑
&
pp
?3
∑
4 4
4
∑
3 4
∑
4 4
b˙™
mp
ff
# ˙ O˙ 2 ˙ O˙ 4 ˙ O˙ 7 4 4 4
19
s.p. Vln.
° 4w &4
~
m.s.p.
3 4O
œ‚ 4 4
w
mp
pp s.p.
O˙ ™™
3 4
I
3 œ‚ œ‚ œ‚ œ Œ Œ 2 4 4
∑
5
B 44
3 4 O™ mp
Vc.
4 4
ff m.s.p.
3 4 œ‚ ‚#‚˜‚
~
~
2 4
3 4 O™
4 œµ‚ ‚ µ‚ #‚ 4 o o
p
?4 { 4
3 4
∑
3 4
2 4
4 4
7 4
3 4
2 4
- fingers fast circular movement 2 ææ 4 ææ 4U 4U
7 4
pp
∑
4
‰ Œ Ó
&4
œœ
˙ Vln.
3 4
2 4
3 4
∑
œ ‚ œ ‚ œ b œ IIœ ‚
O™
27
˙
° 2 &4
7 4
pp
pizz. let vib. Hpsd.
4 4
o
pp
?4 w ¢ 4
pp
ææ U
O™
ææ 3 ææ U™ 4 U
#˙ ™ O ™
˙ O
O™
5 4 ff
p
Ó o
3 4
∑
4 4
3 4 p
2 4 o
3 4
2 4
Vla.
5 4 œn‚ ‚#‚˜‚
2 4 4O ˙ 4
ff
∑
4 4
pp
s.p.
B 42 œ œ œ#œ˜œ
Π? 42
m.s.p.
3 4
4 4
3 4 bO ™
2 4O
3 ™ 4 O
3 4
4 4
3˙ O ‚ 2O 4 4
3 4 O™
™ 3 æU 4æ
3 4
pp
s.p. Vc.
?2 ¢ 4
5 4
œµœ œµœ#œ ff arco let vib.
?2 Hpsd. { 4 ff
2 4O
4 4
2U 4 ææ
4 4
pp
5 &4 b˙
œµ‚n‚µ‚#‚
Ó™
stir thimbles around -gently ™ 4U æU 43 æU 4 ææ æ æ pp
2U 4 ææ
™ æU æ
2
# ˙ ™ O˙ ™™
I
œ œ
° 4 #O &4 35
Vln.
#O ™
#~
3 4
O˙
#˙
4 4
2 4
3 4
p
~w ™™
#w™
O˙ ™™
#˙ ™
6 4
(IV)
œ 2 ∑ 4 4 4
4 4
pp
3 4 b˙O ™™
∑
ff
pp
(III) Vla.
3 O™ 4
~
B 44 ~
4 b~ 4
2 4
˙ 43 bO ™ ˙™ 46 b~ ™
bO
4 4
w™
2 4 4 ∑ 4
w
bw
3 4 ˙™ ˙O ™™
∑
ff
o
pp
(III) Vc.
3 O™ 4
?4 ~ ¢ 4
4 O 4
2 4 b‚B‚ ‚ µ‚
bO
3 4
6 4
4 bœBœ œµœ 4
2 4 4 ∑ 4
3 4 ˙™ O™
∑
ff
4 Hpsd. { & 4
arco let vib.
™ 3 æU 4 4æ 4 o
U æ æ
2 4
∑
∑
o
pp arco
?3
6 4
4
4 4
∑
b˙™
2 4 4 ∑ 4 ææ b wo
bw
3 4 ææ b˙™ pp
ff
II. Mr. Saint Nice Guy 45
Vln.
° 4 & bO ™ 4
3 2 4 4 bO ™ 4 bœ nœ 4
b~
7 4
∑
∑
p IV
B ∑ 44
Vla.
3 4
2 4
4 4
œ µ‚ ‚ µ‚ #‚
œµ ‚ ‚µ ‚# ‚
o
‚ µ‚ ‚ µ‚
7 4
>œ b œ ‚ ‚ ˙ ™ O ™ n>œ ‚ ™ œ ‚ O 4 3 4 4 f pp o f p 4 3 4 4
O™
~
4 4
3 4 o
4 4 pp
4 4
3 4
4 4
4 4
3 4
4 4
nœ
p ‚ µ ‚n ‚µ ‚
Vc.
? ∑ 4 4 ¢
3 4
‚ µ‚ ‚ µ‚
o
2 4
4 4
7 4
‚ µ‚ ‚ µ‚
4 4
p
3 4 pizz. let vib.
pizz. let vib.
œ
œ arco
? æ 4 Hpsd. { æ 4 b˙™
55
Vln.
3 2 4 4 ∑ 4 ∑ 4 o
ææ bw
~
O™
O
° 4 &4
2 4
3 4
∑
4 &4
∑
3 4
B 44
2 4
3 4
2 4
3 4 f
4 4
‚ µ‚ ‚ µ‚
4 4
œ
m.s.p.
O™
˙™ O™
ææ 4 ˙™ 4 o
˙ O˙
2 4
3 4
pp
3 4
‚ µ‚ ‚ µ‚
2 3 4O ˙ 4
‚ µ‚ œ ‚ µ‚
œ
o mp
s.p.
3 4 o
3 4
4 ∑?3 4 4
≈‰ Œ Œ
~
w
mf
Vla.
≈‰Œ Ó f
O™
O
2 4
7 4
pp
mf
‚µ ‚ ‚µ ‚ ‚ µ‚ ‚ µ ‚ Vc.
4 ¢? 4
2 4
3 4
2 4
3 4
4 4
3 4 ‚ µ‚ œ ‚µ ‚
mp
mf
mf
o
{
?4 4
2 4
ææ w pp
ææ ˙
3 4
ææ ˙™
2 4
ææ ˙
3 4
4 4
ææ ˙™
∑ w
mf
-fingertips fast circular movement 3 ææ 2 3 ææ 4 ™ 4 ææ 4 ™ U U U o pp
ff
pizz. “” œ bœ
O™ 65
Vln.
° 3 &4
4 4
≈
‰Œ Ó
3 b˙ ™ 4
mf
Vla.
B 43
O
4 œ 4
O™
fp
3 4 ˙™
w~
˙O ™™
2 b˙ ˙ 4 o #O 2 4 ˙O ˙
3 bn˙O ™ 4
3 ¢? 4
4 ‚ n‚ ‚ µ‚ 4
3 4
2 4
˙ 4 4
~w
#O
4 4
#~
s.p.
sfzp
Vc.
˙
2 4
p
3 #O ™™ 4 ˙
2 4
pp
3 4
p
2 4 ‚n‚ ‚µ‚
4 ‚µ‚#‚˜‚ 4
‚µ ‚ ‚µ‚ œ p pizz. let vib.
œ ?3 Hpsd. { 4
ææ U
Π& 44
≈
‰Œ Ó
œ 3 ≈‰ Œ 4
-rapidly stir thimbles ™ U 3 ææU 2 Œ 42 ææ 4 4 p
mf
3 4
pp
let vib. Hpsd.
2 4
ææU
- fingertips fast circular movement U 4 ææ 4
3
Vln.
72 :“; ° &
~
~
w
~
~
O™
3 4
˙™
4 4
I II
˙
3 4
4~ ˙ 4~
2 4
5 O™ 4 ˙™
f
6 ~™ 4 bw ™
O b˙
7 4
p
m.s.p.
B
~
Vla.
O
˙ O
3 4 O™
~
4 4~
3 4 O™
2 4 bO
4 4 bw
5 4 b˙ ™ O™ ˙
f
6 7 4 b˙ ™ O™ b˙ ™ O™ 4
O
pp
s.p.
~™
˙™ O™ œ ‚ œ ‚
3 4 O™
? n‚µ‚#‚˜‚ Vc.
¢
œ ‚ œ ‚ ‚ O™
~
4 4~
3 4 O™
2 4˙
4 4w
5 4
U ææ Hpsd.
U ææ
U ææ
{&
pp
arco
3 4
∑
∑
?2
4
4 4
ææ ˙o
Vln.
° 7~ &4
b ~w
w
b~
~
bw
b˙™
4 4
ææ ˙™
” n“~
O™
3 4
4 4
5 4 mf
s.p.
m.s.p.
~
~
B 47 b~
Vla.
4 b~ 4
O™
p
~ Vc.
3 4
O™
~
w
?7 ¢ 4
<n> ~w
µn‚w
w
3 4
{
?7 4
5 4 O™
~
#O ˙ O s.p. ~
4 4
ææ ˙™
ææ w
ææ w
3 4 ˙ O
m.s.p.
4 4
5 4 O™
~
w ææ w
3 4
∑
pp
4 4 #O ™ O™
4 4 p
Hpsd.
#~ ~w
pp m.s.p.
7 4
ææ w™
>œ b œ ‚™ O™
pp
n~
6 4
ææ ˙
mp
m.s.p.
s.p.
b ~w
5 4
ææ w
82
b O˙ ™™
7 4
~
f
U™ æ æ 3 4 4 4 o
6 4
3 4 O
pp
ææ w
3 4 o
ææ w
pp
- palm slow circular movement 4 æ æ 4 U U o pp
∑
5 4
3 æ 4 U o
æ U™
III. Uomo in disguise
Vln.
:“; 91 ° 3 ∑ &4
O™
~ 4 #w 4
O™ 3 #˙ ™ 4
4 4 ~
3 4 nµ ‚˙ ™
b ˙O ™™ b˙O ™™
w~
‚œ
œ‚
4 4
~w
w
2 4
4 4
2 4 bO
4 bw 4
~w
O™
3 4
2 4
3 4 bn˙O ™
2 4
3 O˙ ™™ 4
2 4
p s.p. Vla.
B 43 O™
O™
b˙O ™™
m.s.p.
4 b~ 4 w
p
Vc.
?3 ¢ 4 O™
4 4 ~
O™
3 4 ˙™
pizz. let vib.
O™
p
~
pp
˙O ™™
p
O˙
bO 4 2 4 ˙O ˙ 4 µn‚˙
4 4 w~
pp
&
3 4
∑
∑
∑
4 4
2 4
∑
~w
fingertips with thimbles drum Sound board
≈ ‰ Œ Œ 44
∑
<n>w
p
œ ?3 Hpsd. { 4
bw
4 4
∑
∑
/
ææ w
ææ 3 ˙ &4 ™
2 4
pp p
m.s.p. s.p. 101
Vln.
Vla.
Vc.
<n> O˙ ™™
µn‚˙
° 2 &4
‚œ # ‚œ O˙ ™™
3 4
B 42 b˙
bn˙O 43 bn˙O ™
?2 O ¢ 4
5 4
3 4
4 4
4 bnœ‚ b˙ ™ bn˙O ™ bn˙O <n>O 4
5 4 ‚ µ‚ ‚ ‚
3 4 n‚µ‚ ‚ ‚
4 ‚µ‚#‚˜‚ 4
5 4 ‚ µ‚ ‚ µ‚
3 n‚µ‚n‚µ ‚ 4
4 ‚µ‚#‚˜‚ 4
#O ™
3 ˙™ O™ 4 ‚ 4 4 œ Strings
∑
3 4
∑
<n># ~w
µn‚˙™
O
4 4
pizz. let vib.
2 &4
O™
~
4 4
≈‰ Œ ? mp
˙™
w
~w
throw thimbles at strings reapidly and repeatibly (r.h.)
ææ U p
ææ U
5 4
ææ U™
ææ 43 U
ææ U™
ææ ˙™
ææ ˙ 43
ææ ˙™
4 4
ææ U
Ó o
Hpsd. (l.h.)
ææ 2 &4 ˙
{
æ 3 ˙æ™ 4
4 Ó 4
ææ ˙ pp
ææ w
5 4
4 4
ææ ˙
Ó o
s.p.
#>‚œ n ‚œ ‚œ™™
4 108
Vln.
w # ~w
# O˙ ™™ O ™™ ˙ 2 3 4 4
° &
‚œ
sfz
Vla.
O˙™™
4 4
p
3 4
B
# ‚œ
mf
2 4
pp
O
w~
œ
O
3 4
4 4
2 4
4 4
3 4 ‚µ‚#‚˜‚
4 b ‚ B‚ n ‚ µ ‚ 4
2 4
4 4
3 4
4 4
2 n‚µ‚n‚µ ‚ 4
4 4
p
4 4 pp
3 4
? Vc.
¢
2 4 ‚µ‚#‚˜‚
4 ‚ µ‚ ‚ µ‚ 4
‚ µ‚ ‚ µ‚
pp arco Hpsd.
{
3 4 ææ ˙™ pp
? æ æ wo
2 4
4 4
ææ ˙
3 4
ææ w
4 4
ææ ˙™
2 4
ææ w
4
∑
&4
IV. Revelation: wave-crushed stones and primitive despise
“” ° 4~ &4
m.s.p.
115
Vln.
O œ œ œ ‚™ O
˙
b˙
3 4
pp
bO ™
4 bnw~ 4
p
Vc.
œ
4 ≈‰ Œ Ó Hpsd. { & 4 mp
U™ 3æ 4
~w
pp
4 4
b˙˙ ™™ 42
˙˙ ™™
3 4 o
∑
3 4 o
∑
3 4
∑
7 4 bw w
bw ˙™ 4 bw w n w nb˙˙ ™™ n˙ ™ 4 bœœ
˙˙ ™™
˙˙ ™™ nb˙˙ ™™ 42
fff (as strong as possible)
~w
pp
U™ æ
˙˙ ™™ 4 4 œ ™ ˙˙ ™ bœ
bnw~
4 4
p throw thimbles at strings slowly and repeatedly
w b w bw w
˙˙ ™™
fff (as strong as possible)
pp
O˙™™
3 O™ 4 pizz. let vib.
7 4 w bw
ppp
3 4
4 ¢? 4
<n> O ™
3 4
p
B 44
Vla.
bn w~
O
4 4
U æ
7 4 bw w
bw bw w w
4 ˙˙ ™™ ˙˙ ™™ 4 bœœ œ ˙ ™ nœ ˙ ™
bw w
˙˙ ™™
2 4
fff (as strong as possible)
arco
∑
7 4 w bw
?
o
p
˙˙ ™™
˙˙ ™™
4 4 w bw
2 4
fff (as strong as possible)
124
Vln.
° 2 j &4 œ b >œ
> bœœ ™™ 43 b˙˙ ™™ œœ ™™
b ˙˙™™
B 42 bœj n >œ
> œœ ™™ nbœœ ™™ 43 b˙˙ ™™
nb˙˙ ™™
Vla.
n˙ ™
2 4 ˙ b˙
4 4 #w w
™ #˙˙ ™
2 4 b˙˙ #˙˙
4 bw 4 w
nnw w
3 4 ˙™ b˙™
b˙˙ ™™
3 4 b˙˙ ™™
b˙˙ ™™
4 b˙˙ 4
b˙˙
4 b>˙˙ 4
b˙˙
3 4 b˙˙ ™™
4 4 w
#w
3 4 b˙˙ ™™
3 4 b˙˙
4 4 w bw
b œœ
4 bw 4 w
(III, IV)
b ˙˙ ™™ bœœ 3 b˙˙ ™™ ? 2 bœ œ œ œ 4 4 ¢ œ œœ œ œ œ >
Vc.
b ˙˙ ™™ b˙˙ ™™
3
n˙
#w
2 4
4 4
3 4 b>˙
œ
4 bw 4n w
b˙˙ ™™
nw w
let vib.
?2 Hpsd. { 4 ˙ b˙
3 4 ˙™ b˙™
2 4 ˙ b˙
b ˙˙ ™™
4 4 w bw
3 4 ˙™ b˙™
4 4 w bw
3 4 ˙™ b˙™
4 4 w bw
ii. interlude: OMFG have mercy on us II m.s.p.
133
Vln.
° & w bw
3 4 ˙™ b˙™
4 4 o
mp
∑
3 4
∑
2 4 O bO
4 4
3 ™ 4O
#~
∑
p
2 4 #œ
pp
œ
4 nw 4
p
III m.s.p.
3 4 b ˙˙ ™™
B bw w
Vla.
4 4 o
mp
∑
3 4
∑
2 4 bOO
4 4
∑
s.p.
~
p
3 4 O™
2 4O
4~ 4
Vc.
nw w
3 4 b˙˙ ™™
mp
n˙˙ ™™
4 4 o
∑
3 4
∑
2 4 bOO
3 4 O™
2 4O
4 4~
4 4
let vib. Hpsd.
{
∑
3 4
ææ ˙ b ˙ ™™ o
4 4 w bw mp
s.p.
∑ ~
p
?
3 4
pp
(IV) m.s.p.
? ¢ bw w
3 4
3 4
pp let vib.
3 4
∑
2 4
ææ ˙ b˙ o
4 4 w bw pp
∑ ff
3 4
∑
2 4
∑
4 4
∑
3 4
5 143
Vln.
° 3 O™ &4
3 ™ 4 #O
4 #œ œ #œ œ œ œ ‚ ‚ 4
O™
4 #~ 4
#w
w~
3 O™ 4 #O ™
4~ 4
O
3 O˙ ™™ 4
O˙
˙
4 4
3
pp p
p m.s.p.
pp
m.s.p. s.p.
B 43 O™
Vla.
4~ 4
˙™
3 4 O™
w
4~ 4
˙™
p
~
w
3 4 O™
4~ 4
w
3 4 O™
4 s.p. 4~
~
3 4 ˙™
O
3 4 ˙™
˙O ™™
4 4
O™
4 4
pp m.s.p.
m.s.p. Vc.
?3 ¢ 4 O™
4 4~
˙™
3 4 O™
w
4 4~
˙™
p
~
O
pp
throw thimbles at strings ligthly and rapidly Hpsd.
{
?3 4
4 4
∑
3 U™ æ æ
∑
4 4
&4
U æ æ
3 4
U æ æ
™ æU æ
4 4
U æ æ
™ 3 4 ææU
U æ æ
4 4
pp
152
Vln.
~w
° 4w &4
O˙
O
mp
pp
2˙ 4
3 O˙™™ 4
O
O˙ ™™
B 44 ˙O
#˙O
#~
2 4 #O
3 4 #O
bb˙O
2 4 bO
3 ™ 4O
4 w~ 4
3 ˙™ ˙O ™™ 4
2 ˙O 4
3 O™ 4
2 4 #O˙
4 #~ 4
3 4 #˙ ™
O™
2 4 ˙
3 4 O™
3 ˙™ 4
O™
2 O 4
m.s.p.
s.p. Vla.
2 ‚œ œ‚ 4
˙™ #˙O ™™
‚
m.s.p. s.p. Vc.
?4 ¢ 4 ˙O
bO ˙O b ˙
O
pizz. let vib.
pizz. let vib.
œ
4 ™ Hpsd. { & 4 æU æ
Œ
˙O ™™
‰ Œ
2 4œ ‰ Œ
Ó
3 4
2 O 4˙
O
4 ˙O 4
-rapidly™ stir thimbles 2 4 ææU ææU o pp
∑
p
O
™ 3 4 ææU
4 U 4 ææ
3 ™ 4˙
O
™ 3 4 ææU
2 4 ææU
mp
pp
V. Amma in the skies 162
Vln.
° ˙™ &
O™
™ 3 b O˙ ™ 4
4 w b ~w 4
2 O 4
bO ™
b˙™ O ™
b˙
b ~ 4b w 4
bœ‚
mf
2 4 <n>O˙
B µn‚O™
Vla.
4 bw 4
2 O 4 ˙
Vc.
¢
™
b˙O ™™
bO 2b ˙ 4
4 4
pp
O˙™™ ˙™
O˙
bO ™
bO ™
3 4 bO˙ ™™
w~
O™ #O˙ ™™
4 nO˙ 4
bO ™
4 bw 4
‚
mf
? ˙™
3b˙ 4 ˙
3 ˙™ 4
O™
2 µn‚O 4
4 4
~
3 b˙ 4
b ‚œ
bO 2b˙ 4
4 4
pp
4 4~
3 4 O™ ˙™
w
O™
mf pp attack throw let vib.
pizz. let vib. Hpsd.
rapidly throw thimbles at strings
Œ 42 œ ‰ Œ
{ & ææU ppp
4 4
pp
3 æU ™ 4æ
U ææ
™ ææU
™ ææU
™ ææU
4 4
> > 3 ? ≈‰ Œ Œ 2 ? ≈ ‰ 4 4
∑
Π44
mf f
Vln.
° 4b~ &4
~
bw
bO ™
nb ‚~ 4 4
3 4
2 4
c.l.tr. b ‚. . . . b ‚.
bO ™
bb O˙
172
3 4
b ‚. . . . . . b ‚. Œ
Π42
Œ
5
p
Vla.
Vc.
~ B 44 nw
w
b~
bw
b~w
3 4
∑
4 b~w 4
~
2 bO 4
O™
p
pp
3 4 b˙O ™™
˙™
mp
˙O ™™
˙™
fp
4 4
∑
7
mp
3 bO ™ 4
3 4
p
2 4 ˙O
3 ™ 4O
p
pp
4 4
b~
?4 ¢ 4
3 4
∑
4 4
2 4 O
b˙O ™™
™ 3 b˙O 4 ˙™ ˙O ™
2 4 ˙
4 4
p attack throw let vib.
4 Hpsd. { & 4
181
Vln.
“” bw
-rapidly™ stir thimbles 3 4 U 4 ææU 4 ææ o pp
> ?≈‰ Œ Ó
∑
~
~
bœ œ
b~
° 4 &4
> > 2 ?≈‰ Œ 3 ?≈‰ Œ 4 4
2 4
4 4
~
b w~
Œ
b w~
> ?≈ ‰
Œ
> Œ 42 ? ≈ ‰
b~
Œ
3 4
4 4
∑
b~
3 4
∑
3 4
∑
3 4
∑
~ #~ Vla.
B 44
O
O
2 4 O
4 4
n‚ œ b ‚O ™
~w
~
2 O 4
4 4 ~
w
b~w
b‚ ˙ ™ bO˙ ™™ œ
b~w
~
b~
~ Vc.
?4 O ¢ 4
O˙
~
pp pizz. let vib. rapidly throw thimbles at strings
4 Hpsd. { & 4
U æ æ pp
U æ æ
2 4 ææU
4 4
U æ æ
U æ æ
U æ æ
U æ æ
bœ ‰ U
™ 3 4 ææU o