BRUSENTSEV - Threads

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T H R E A D S

for flugelhorn, harp, and strings

[you]

j o.l 9————————————————————————————————————————— 9—

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This score belongs to [

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brusenta.com

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i ——————— published do by dots m u s i c ————— music, art, & words © 2018 Aleksandr G. Brusentsev

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score design by Aleksandr G. Brusentsev

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first edition, 2018

printed in u.s.a.

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9 Threads was made possible by a grant from the

with funds provided by the

as part of the CONNECT . THE . DOTS . 2 Project. The premiere of the piece, as well as the recording of that performance, was

thanks to the generosity of forty-six donors. ————— The music was written throughout 2017 and completed in the first days of January 2018. Minor revisions took place throughout February 2018, reaching completion in March. ————— The first performance was given by

Imogen Hancock & Ensemble Eroica, conducted by Toby Thatcher at St. John’s Church Waterloo, London, UK, on 25 January 2018.

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Threads would not be possible without the very generous support of Andrew Kurowski & Salvatore Scalici Vyna & Jit Shetty The Wilken-Simon Family Thank you.

for Imogen Hancock & Toby Thatcher

vi

Program Note —— ——————————————

4————————————————————————————————[ the listener ]

In Short Written in close collaboration with the dedicatees, Imogen Hancock and Toby Thatcher, Threads, for flugelhorn, harp, and strings, is about the process of mending.

Background // how this came to be I wrote this piece as part of ‘Connect . The . Dots . 2’, the second iteration of a series of projects which seek to contextualize premieres within transparent creative arcs. Beyond just ‘opening the doors’, these experiments invites the curious to create a meaningful, self-directed, and effortlessly-educational experience for themselves. More information about this venture, along with detailed documentation of the entire creative process behind the music, can be found at brusenta.wixsite.com/ctd2.

Music // what you might hear Threads consists of five movements that progress without pause or transition. The structure is jagged and iterative: build, crest, crash, repeat. In a sense, it is very monotonous - but that very monotony allows for a different kind of variety, that of perspective: while every section follows the same arc, the story it tells is different; or, more accurately, the story is the same, but the viewpoint and the context are different. Movements I – IV, offer individual, largely homogenous, outlooks. In movement V, those outlooks are interwoven, allowing each to find a resolution.

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§ § §

second layer: lower strings

‘Threads’ is composed of two musical layers that unfold independently. I have provided a few notes on these to clarify the structuring of the piece.

first layer: violins

{ There are five movements that

Through texture and color, the

The harmonic and thematic

progress without pause. Though

violins articulate the shifting

foundations of the piece reside

thematically connected, each is

sense of space and intimacy in

here. Though often split into

a self-contained scene intended

the piece. Rarely progressing in

individual

to sound as if it could stand on

a true musical sense, each

strings work as a group to

its own. Transitions between

violinist is a soloist steeped in

deliver

them

treated

repeating gestures that mark a

material of the composition,

unceremoniously; there should

kind of ‘subjective’ cyclic time.

while

be a sense of truncation, like

As a group, they act as a filter

‘objective’ linear time.

one is snapping out of one

through which the rest of the

dream only to find themselves

music is heard.

overall structure

Working Parts —— ————————————————————————————————————————————

4————[ the performer ]

1 2 3

should

be

the

voices, more

marking

the

lower

traditional

a

sense

of

in another. While the structure is

intentionally

jagged,

the

intended effect is that of a single immersive where

experience, four

one

perspectives

(movements I – IV) are offered separately

and

then

woven

together (movement V).

*

————————————————————————————————— Note: Though not structural in the same sense as the layers, the flugelhorn is an independent entity that moves through the layers to connect them and help bring about the individual-to-collective-experience narrative that defines the piece. Similarly, the harp moves freely to color and comment on the proceedings.

-

}

§ § § § § §

Handling Instructions - general ———————————————————————————————————————————————————————————————————————

viii

Before

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This piece makes significant use of spatial impressions. To realize these impressions, the ensemble must set up in the following manner: 1. Cb. 1. Vc.

2. Vc.

4. Vc.

STAGE

2. Vla. 1. Vla.

2. Cb.

Hp.

3. Vc. 4. Vla. 3. Vla.

Flug. Cond.

3. Vln. II

6. Vln. II 3. Vln. I

6. Vln. I

2. Vln. II

1. Vln. II

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AUDIENCE 2. Vln. I

5. Vln. I

1. Vln. I

4. Vln. I

5. Vla.

5. Vc.

4. Vln. II

3. Cb.

Note 1: If necessary or desired, Violin Is can be peppered throughout the audience (inside aisles), so long as the left/right and front/back relationships are maintained. Note 2: If at all possible, Violin IIs should be spaced as far to each side as possible without any audience members behind them. Note 3: The trio at the back of the audience should be out of sight. Depending on the location, this could be in a balcony or outside of the hall doors on the main floor.

Notation Quirks

Dynamics

. . . . .

Arrows (

) suggest a smooth transition between defined states.

Solid slur lines ( ) signify legato. Dashed slur lines ( function as phrase marks. Triangle noteheads denote the highest ( note, given the circumstance.

) or lowest (

)

) comfortable

Breath marks ( ) specify a very short break taken in time. Commas ( ) indicate a longer break, taken out of time. Hairpins connecting to new dynamics should reach the designated level. Hairpins without a destination show fluctuations within the last dynamic. Note 1: Flared hairpins ( ) specify a dramatic and nonlinear change in the dynamic (i.e., they should sound how they look.) Note 2: Hairpins starting or ending with a circle express from ( or to ( ) nothing (niente), respectively.

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)

Dynamics not preceded by a hairpin should be regarded as ‘subito’ dynamics, with no implied gradation: iq iq iq should be seen as iq iq iq p

. Time & Tempo

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f

p

f subito

Dynamics appearing in quotations ( ‘ f ’ ) refer to the intensity of action, rather than loudness of sound. They are used on non-standard techniques with a limited dynamic range Tempo fluctuations (rit., accel., etc.) connected by a dashed line denote a continuous transition from one to the next until a destination, such as ‘A tempo’ or a new metronome marking, is reached (first occurrence: bars 299 – 304). Tempo changes that are not connected signal an immediate shift, with no implied gradation (first occurrence: bar 191). In either case, tempo fluctuations carry until they reach a destination or are negated by another instruction. Feathered beams demonstrate an accel. ( ) or rit. ( the given time, with no changes to the overall tempo.

) within

§ § §

Handling Instructions - for flugelhorn & harp ——————————————————————————————————————————————————————————————————————— § § §

ix Flugelhorn Techniques

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There is one ‘non-standard’ articulation: - Tongue stop Performed by forcefully smacking the tongue against the mouthpiece, as if to say ‘HT!’, resulting in a percussive attack.

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There are four ‘non-standard’ colors achieved with the embouchure: - Wide vibrato Performed either with the lips or by physically shaking the trumpet causing the pitch to fluctuate. Though actual width of the vibrato is left to the performer, it should be markedly different from a regular vibrato. - Distorted tone Performed by pulling trumpet away from the lips to break the seal and introduce some grit into the tone. The notated pitch should still sound. - Pinched buzz Performed by tightening the lips as much as possible and then squeezing a minuscule amount of air through the mouthpiece to create a compressed fizzle. Pitches are approximate. (Often paired with wide vibrato.) - Pinched tone (labeled with text) Performed by tightly pursing the lips inside the mouthpiece to create a gritty tone. The notated pitch should still sound.

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There is one ‘non-standard’ technique performed with the valves: - Valve flick (cross in ad lib. box) Performed by slightly pushing down an unused valve and allowing it to snap back to position, resulting in a percussive sound.

Flugelhorn Performance

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. .

This piece uses quarter tones based on 24 equal divisions of the octave (each note being 50 cents above/below its neighbor). Because these notes can be achieved numerous ways, the specifics of their execution are left to the performer. Their spellings are below.

In addition to the quarter tones, this piece makes extensive use of the 31-cent flat 7th harmonic of the natural overtone series. When these are desired, a specific fingering is given, and the note is marked with an altered accidental ( ) This piece sometimes requires singing while playing. These notes are written on the small staff below the flugelhorn part and are performed by humming the written note, providing a drone that adds harmony and changes the timbre. Note: In the (transposed) part, the flugelhorn’s vocal line is transposed up a 2nd along with the flugelhorn line to aid pitch matching.

————————————————————————————————————————— Before (for harp)

Harp Techniques

. . . .

The lowest string must be tuned to C§. The harp must be ‘prepared’ by hanging a standard A440 tuning fork from the F3 string such that the fork lies flat on the soundboard and can vibrate freely. This placement will cause a buzzing/distortion effect during the performance. It may be advisable to dampen the fork partially by wrapping a rubber band around one of the arms. Notes with a ‘z’ stem should spend a substantial amount of time between the notches, allowing a pedal buzz to sound. The exact balance of note to noise is left to the performer. Notes with a Bartók/snap pizz. symbol ( ) should be executed by playing p.d.l.t. and allowing the finger to fall off the string and ‘snap’ onto the soundboard, resulting in a percussive attack, as in Berio’s Sequenza II.

§ § §

Handling Instructions - just for strings ——————————————————————————————————————————————————————————————————————— § § §

x

Before

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The achieve the microtonal harmonies in this piece, the following instruments must be tuned ¼-tone flat: 1. Violin I 2. Violin I 3. Violin I 4. Violin I

1. Violin II 2. Violin II 3. Violin II 4. Violin II

Note: Despite the scordatura, playing – not sounding – pitches are notated in both the score and the parts.

Notation Quirks

. . .

All players in the Violin II section will require wooden mutes (ideally ebony) instead of the more common rubber mutes. Violas 3 and 4, cellos 3 and 4, and contrabass 2 will require heavy rubber practice mutes. In addition to the standard clefs, a ‘string clef ’ ( ) is occasionally used to show which string(s) must be bowed. It is used when the right hand operates independently of the left, when it activates the string(s) in a non-traditional manner, or both. Note: If the clef appears as a replacement for a traditional clef (i.e., it stands alone), the player should assume that the left hand is not in use. It should not mute anything.

. .

Diamond noteheads ( ) are used to indicate harmonic pressure by the left hand regardless of whether a harmonic is possible there. There are five bow placement indications used throughout the piece: m.s.t. s.t. ord. s.p. m.s.p. d.p.

String Techniques

.

- molto sul tasto; as close to the l.h. finger as possible. - sul tasto; ‘standard’ near the fingerboard placement. - ordinario; standard playing position. - sul ponticello; ‘standard’ near the bridge placement. - molto sul ponticello; on the bridge. - dietro il ponticello; behind the bridge.

Movement between the above positions is used to create two distinct glissandi. A non-standard, fist-like bow grip, with the middle, ring, and pinky fingers wrapped around the frog and the index on top of the stick, is suggested whenever possible. This grip should allow the bow to comfortably lie at a 45° angle to the strings and facilitate the pressure changes: Crackling gliss. Performed by pressing the bow firmly against the string and moving it down and towards m.s.t. The elbow should be locked in a right angle and the wrist should be completely immobile. All movement for this gesture should come from the shoulder. The resulting sound is that of the bow hairs skipping across the winds of the string – the sound should be very crude and noisy.

Note: When four beams are used (as above), a steady glissando is desired (actual number of ‘crackles’ is unmeasured). All other rhythms notated in this manner are meant to be performed as written using the given technique. Timbral gliss. Performed by very lightly brushing the string in a large circular motion that travels from ‘m.s.p.’ to ‘m.s.t.’ and back without pause. The result should be a faint sibilation whose timbre changes with the position of the bow and which can further be altered by the speed of the bow. Though no ‘proper’ notes should sound, occasional wisps or crackles are welcome (and sometimes specifically called for).

Note: Under no circumstances should this sound like a ‘proper’ note or ‘normal’ harmonic.

§ § §

Handling Instructions - just for strings ——————————————————————————————————————————————————————————————————————— § § §

xi String Techniques (continued)

.

There are four ‘non-standard’ effects achieved with the bow: - Ricochet Performed by throwing the bow against the string on a down bow and letting it naturally come to rest. If the ricochet note is tied to another note, bow through the gesture. Note: At dynamics greater than f 6the ricochet should occur naturally as a result of a forceful downbow. The weight of the initial attack must not be compromised in attempt to get more bounce. - Bouncing bow (quadruple staccato dot) Performed by setting the bow bouncing with an undulating motion and then maintaining it with whatever movement is necessary. The resulting sound should not be measured. Instead, allow the natural movement of the bow to dictate the resulting rhythms.

Note: The ‘x’ noteheads represent the transition from string sounds to knocking sounds, an inevitable conseqence of performing this gesture. - Bow screw gliss. (violin only) Performed by lightly touching the bow screw against the E string, activating the string with a left-hand pizzicato, and sliding the screw so that the resulting pitch approximately matches the wavy line.

Note 1: The portion of the string that sounds during this technique is between the nut and the bow screw. Consequently (and somewhat counter-intuitively ), moving the screw towards the bridge lowers the pitch, moving it towards the nut raises the pitch. Note 2: A buzz may sound between between the string and screw if the note is plucked hard or the contact between the two is insufficient to maintain a sustained tone. This effect is desired and should be considered part of the color pallete for this technique. Its use is left to the discretion of the performer. - Circular bowing Performed by making small circles with the right hand while the tip of the bow is in contact with the string. This will result a pulsing sound with an extra noise component. Tremolo dashes represent the desired rate of pulsing.

Note: Video demonstrations of all the above string techniques can be found at brusenta.com/threads.

§ § §

Performance

.

This piece makes extensive use of repeated musical cells (see repeat barlines preceding musical examples). Any music appearing within these barlines should be played soloistically, with liberties taken in all musical parameters (ad lib. is always implied). Durations should be acknowledged, but by no means played precisely. With the exception of entrances and cutoffs, this music should never be in time. Note 1: There are two types of endings for these cells: - Free ending Performed in one’s own time, ending at a logical point in the gesture or musical phrase. - Timed ending Performed by either adjusting the phrase to fit the indicated time or by simply cutting the phrase off. Note 2: Regardless of the type, all endings must sound intentional.

.

In addition to the repeated material described above, the piece makes use of secondary ad lib. ‘colors’ which appears in parenthesis (see ‘Valve flick’ on page ix). Note: These techniques should be free regardless of whether the music upon which they are layered is free or not.

. .

To aid coordination, circled cue numbers appear throughout the score on downbeats. Relevant cue numbers are marked in parts. There are two instructions for optional player movement. None, one, or both of these instructions may be implemented based on the space and the desires of the performers: 1. The soloist is instructed to leave the stage for the duration of movement IV. 2. Violins I and II are instructed to shift towards the stage during movement V. Though their exact positioning is left to the conductor, the left/right relationships must be maintained so that the antiphonal effects continue to be audible clearly.

a few more

Handling Instructions - for all ———————————————————————————————

xii

o

Duration: ca. 23'00''

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LED 22.03.2018

Score in C

for Imogen Hancock & Toby Thatcher

Flugelhorn

Harp

1. Violin I (con scordatura)

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Aleksandr G. Brusentsev

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4 q=48, Wondrous 4 gliss. e pizz. ad lib. *

f °í ™ œ ‰ œ ‰ ‰ œ œ ‰ ™¢ J J J+ J+ + + p

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Continue in an increasingly animated conversation with 4. Vln. I.

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gliss. e pizz. ad lib. *

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1. Violoncello

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2. Violoncello

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1. Contrabass

4. Violin I (con scordatura)

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gliss. e pizz. ad lib. *

f °í ™ œ ‰ œ ‰ œ œ ‰ œ ¢™ J+ J+ + + J+

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2. Contrabass

5. Viola 5. Violoncello 3. Contrabass

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4 q=48, Wondrous 4

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* Improvise speech patterns ad libitum: make bold statements, ask questions, listen, interrupt. ** Continue repeating this sequence of gestures in the given order. Boxed instructions hereafter act as one-time variations to the indicated gestures. They should be executed whenever reaching the indicated gesture and not earlier. The rest of the sequence should remain unchanged.

© 2017 Aleksandr G. Brusentsev

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irregular trem. ad lib.

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6. Violin II

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irregular trem. ad lib.

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dolce

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dolce

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4. Violin II (con scordatura)

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6. Violin I

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5. Violin I

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3. Violin I (con scordatura)

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Threads I

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Note: All dynamics in the violins should act as a kind of external fader, raising and lowering the volume but never negating the original dynamics.

3. Vln. I (scord.) 1. Vln. II (scord.) 2. Vln. II (scord.) 3. Vln. II (scord.)

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Variation 1

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4. Vln. I (scord.)

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6. Vln. I

4. Vln. II (scord.)

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6. Vln. II

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Variation 1

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p

f

p

f

p

f

p

f

p

f

p

¥ ¥ ¥ ¥ ¥ ¥

3. Vla.

B

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

4. Vla.

B

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3. Vc.

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

4. Vc.

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 ¢

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

°B

∑

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

5 ¢

∑

∑

∑

∑

∑

∑

∑

∑

2. Cb.

5. Vla.

5. Vc.

3. Cb.

œ

Variation 1

2. Vln. I (scord.)

1. Cb.

3

&

w

˙

o

Ó 5

&

Œ Œ

˙™

o

∑

w

˙ ∑

o ∑

Ó

?

3

B Fragile, aglow 22

?

˙™

°

bœ

5

œ œ œ œ 3

3

œ>

œ™ ˙

œ

œ5 ˙

œ bœ

3

œ bœ

œ

œ

bœ

3

˙™

f

w

p

œ œ œ

5

>O.

arco

nœ

œ

5

˙

˙™

bœ

œ+ œ œ+ >œ œ ˙≥. . ... & ‰

‰

œ

+ > ‰ œJ œ œ 5 ‰

œ œ œ œ œ™ œ

œ œ bœ œ œ œ 5

3

bœ

b˙

b˙

j œ œ-

j f ‘f’

5

b œ b˙

bœ

3

œ

pizz.

n˙ >

3

˙

≥ œÆ x J xxx A

arco

¥ ¥

Variation 2

¥

Variation 2 mormorio

¥

Variation 2 mormorio

¥

Variation 2 mormorio

¥

mormorio con sord.

B Ó B œ

˙o

Œ

bœ

p delicato, secco

? ?

3

˙ pizz.

œ

Œ

°

œ

œ b ˙-

w

Œ

œ

bœ

dolce

˙-

5 ¢ Ó

b ˙-

w

Œ

con sord.

con sord.

o

˙

p

Œ

Ó

œ>

Œ

Ó

œ>

˙ Œ

œ œ-

3

œ

Œ

b ˙-

w

œ

Œ

˙ Œ

w Ó

œ

˙>

p

Œ

œ b ˙-

œ

Ó

w

p

o

p

w

˙

œ

bœ

Œ

>œ ™

Ó

Œ

œ

-œ ˙

˙ > Œ

b˙

œ œ J

Œ

Œ

œ

bœ

bœ

Œ

Œ

˙>

p

œ ˙

bœ

˙

w

w

b˙

3

bœ

Œ

Œ

˙

3

p

Œ

bœ

Œ

˙

w œ

˙

Œ

o

Ó

Œ

Π3

bœ p

b œ- ˙ Œ

œ

Œ

bœ

Œ

w

¥

Variation 2 mormorio

¥

Variation 2

6. Vln. I mormorio

¥

Variation 2 mormorio

¥

Variation 2

5. Vln. II mormorio

¥

6. Vln. II mormorio

4. Vla.

B œ

Œ

Œ

bœ

p delicato, secco

3. Vc.

4. Vc.

2. Cb.

5. Vla.

5. Vc.

3. Cb.

? ?

˙ pizz.

œ

5 ¢ Ó

° &

3

con sord.

Œ

œ

œ b ˙-

w

Œ

œ

dolce

˙-

bœ

con sord.

o

b ˙-

w

˙

p

Œ

Ó

œ>

Œ

Ó

œ>

˙ Œ

Œ

b ˙-

w

œ

Œ

˙ Œ

w

˙

œ œ-

3

œ

Œ

Ó

o

œ

˙>

p

Œ

œ b ˙-

œ

Ó

w

p

o

p

Ó

w

˙

œ

bœ

Œ

Œ >œ ™

Œ

Œ

œ

-œ ˙

˙

˙ > Œ

b˙

bœ

œ œ J

Œ

Œ

œ

bœ

bœ

Œ

Œ

˙>

p

œ ˙

bœ

˙

w

w

b˙

3

3

p

Œ

bœ

Œ

˙

w œ

Ó

Œ

ê

pizz.

˙o

ê

con sord.

B Ó

o

¥

mormorio

5. Vln. I

3. Vla.

o

o

Fragile, aglow

4. Vln. II (scord.)

œ

b˙

mormorio

pizz.

4. Vln. I (scord.)

w

œ

Ϫ

‰ œ bœœœ œ œ -

mormorio

3. Vln. II (scord.)

1. Cb.

œ

Fragile, aglow

2. Vln. II (scord.)

2. Vc.

bœ

pizz.

1. Vln. II (scord.)

1. Vc.

˙

3

Ϫ

œ œ

œ >

Variation 2

3. Vln. I (scord.)

2. Vla.

3

5

œ

œ bœ

rigido

2. Vln. I (scord.)

1. Vla.

œ œ œ œ

p

˙

/

1. Vln. I (scord.)

{

5

œ

& œ

˙

˙

Ó

ê

Hp.

˙-

j œ

b ˙-

Ó

ê

Flug.

Ó

ê

Ó {&

4

œ

Π3

bœ p

Œ

b œ- ˙ Œ

bœ

˙

Œ

o

o

via sord.

o

Ó

Fragile, aglow ∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

5 ¢

∑

∑

∑

∑

∑

∑

∑

∑

#

4

C

5

{& Ó 30

Flug.

Hp.

1. Vln. I (scord.)

2. Vla.

1. Vc.

2. Vc.

1. Cb.

4. Vln. I (scord.)

4. Vla.

3. Vc.

4. Vc.

5. Vla.

5. Vc.

3. Cb.

˙™

w

via sord.

B

2. Vln. I (scord.)

3. Vln. I (scord.)

2. Vln. II (scord.)

?

°

3. Vln. II (scord.)

∑

∑

∑ via sord.

∑

∑

∑

∑

∑

∑

∑

» œ– Œ

∑

° Ó &

˙ææ

? Ó

Œ

¢# Ó

˙-

o

bœ

5

œ

˙ 3

˙

» œ– Œ

b˙

¥

≥.^ . ... & œ™

≥.^ . ... ¢& œ ™ °

≥.^ . ... & œ™

≥.^ . ... ¢& œ ™

∑

∑

∑

∑

∑

∑

∑

Œ

arco

Œ

arco

œ

o

∑

f

œ

o

∑

œ œ f

o o

Œ Œ

∑

∑

» œ– Œ » œ– Œ

f

» œ– Œ » œ– Œ

pizz.

bœ

œ

Œ

œO w

œ>

Œ

b˙ ææ

w ææ œ-O o

Ó

˙O ™™

Œ

˙ æ

bO œO b ˙ oo b˙

œ

œO ˙

œ

Œ

-æ w Œ ‰ œ œ™ J f o f œO

w

˙O ™™

œ

Ó

o

‰

Œ

˙

bœ

o

‰ ‰ # œJ o o o

‰ Œ Ó Ó Ó Ó

b b œO

˙O oo

>. œ J ‰ Œ

Ó

j œO. ‰ Œ >

f

w

w

w

¥

w f

˙

b ˙^ æ

b˙

f

b˙

arco

b˙

b˙

^ æ ˙æ

˙

˙

b˙

f

b ˙^ æ

p

f

^ æ ˙æ

arco

b˙ p

b˙

arco

p

b˙

˙

b˙

˙

f

^æ b ˙æ f

accel. ‰ # œJ o

œ

w ‰ #œ o

¥ w

™

f

#˙

w f

w

¥

w f

‰ # œJ o

w

w f

arco

b˙

˙

b ˙^ æ

b˙

p

f

^ æ ˙æ

arco

b˙

arco

b˙

b˙

˙

˙

b˙

f

b ˙^ æ

p

f

^ æ ˙æ

arco

b˙ p

Ó

f

w

o

p

» œ– Œ

f

b˙ ææ

˙ ææ œO

Œ

#w

arco

‰ Ó

pizz.; senza sord

f

∑

o

‰ Œ

pizz.; senza sord

f pizz.

f

p

Ó

f

b˙

arco

p

b˙

˙

b˙

˙

accel.

f

^æ b ˙æ f

∑

∑

Ó

∑

∑

Ó

∑

∑

f

b˙

>. œ ‰ Œ J

f

œ

w

arco

f pizz.; senza sord

°

w

b˙

Ó

f

dolce

#œ

Ó

» œ– Œ

5.Vln. II

∑

∑

Œ

b˙

p

pizz.

6.Vln. I

∑

∑ Œ

‰ Œ

Ó

f

6.Vln. II

∑

5 ¢ œ

b˙

3

f

f

Ó

» œ– Œ

5.Vln. I

~~~~~~~~~~~~~~~~~~~~~~~~~~

?

o

‰ Ó

‰ #˙ o o o

#œ

suddenly frantic

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

?

‰ Œ

pizz.; senza sord

Improvise freely using the established gestures. Pitches may not change, but all other parameters are free. p

via sord.

o

f

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

B

o

» œ– Œ

cooling, slowing p

via sord.

œ

3

œ

f pizz.

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

B

œ œ5 œ œ œ

3

pizz.; senza sord

∑

∑

≥.^ . ... & œ™

≥.^ . ... ¢& œ ™

‰ œJ œ Ó o f o

∑

∑

°

arco

∑

≥.^ . ... & œ™

≥.^ . ... & ¢ œ™

arco

∑

∑

°

‰ œJ œ Ó o f o

∑

∑

∑

∑ via sord.

œ

6

suddenly frantic

~~~~~~~~~~~~~~~~~~~~~~~~~~

5 ¢

bœ

>Æ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. ≈ œ. Bb -œ. b œ.

accel.

cooling, slowing p

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

?

˙

˙™

bœ

Improvise freely using the established gestures. Pitches may not change, but all other parameters are free. p

B

5

Note: Cutoff cue for violins 2, 3, 5, and 6 (both I and II) occur at rehearsal letter C. Players should stop on their own time after completing their phrase.

senza sord. pizz.

2. Cb.

œ

/

3. Vla.

œ™ ˙

3

/

6. Vln. II

œ>

3

œ

œ bœ œ

5 œ œ œ œ œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

4. Vln. II (scord.) 5. Vln. II

w

œ b œ œ5 œ œ œ

/

6. Vln. I

3

3

bœ

œ 5œ œ œ œ

œ

‰ œ-

5

5

f

/

5. Vln. I

˙

˙

/

1. Vla.

˙™

b˙

/

3. Vln. II (scord.)

b œœ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

1. Vln. II (scord.) 2. Vln. II (scord.)

Ó

˙

p

3

f dolce

°

˙

p

5 5 œ nœ & bœ œ nœ œ nœ bœ œ œ œ œ

?

b˙

/

3. Vln. I (scord.)

j œ

w

accel.

/

2. Vln. I (scord.)

{

˙-

Bb ->œ ≈ œ Bb œ. b ->œ ‰ œ b œ ™ J J R

B

5

II

Flugelhorn

{&

8 e=144, Perverse 8

¥ ¯¯¯¯¯¯¯¯ >. . . >. . . > b œ œ b œ œ œ œ œJ ‰ b œÆ œ œ œ . . . . œ. œ œ œ . . . . . œ. œ 3

3

Harp

1. Violin I (con scordatura)

{&

B

1. Viola

1. Violoncello

?

2. Violoncello

?

1. Contrabass

4. Violin I (con scordatura)

B

8 8

?

3. Violoncello

?

4. Violoncello

œ œ

Ϫ bϪ

œ œ

Ϫ Ϫ

p

nœ ™ bœ™

bœ œ

ê

2 8

Ϫ Ϫ

^ flt. æ b œ œæ

1 ord.

ê

œ bœ

r≈ j œ. b f. >

5 8

¯¯¯¯¯¯ ‰ b œ œ œ œJ ù ‰ bœ

Ÿ~~~~~~~ (ord.) œ bœ ‰ œ

3

f

‘f’

Ϫ bϪ

œ bœ

bœ ™ bœ™

œ œ

œ œ Û

*

6 8

p

bϪ

œ

nœ n œ

Œ

œ bœ b œ

p

Œ

b b Oœ

Oœ

Oœ

Œ

b b Oœ

Oœ

Oœ

Œ

b b œO

œO

œO

p

p

p

Ϫ

bϪ

p

Ϫ

Oœ ™™

Oœ ™™

Oœ ™™

Oœ ™™

Oœ ™™

Oœ ™™

Ϫ

œ

œ

œ

œ

bϪ

Oœ

Oœ

b b Oœ ™™

Oœ

Oœ

Oœ

Oœ

b b Oœ ™™ b b œO ™™

Ϫ

nœ

œ™ Oœ ™™ Oœ ™™

bϪ

Oœ

b b Oœ ™™

œ™ Oœ ™™ Oœ ™™

b b œO ™™

œO

2 8

Ϫ

b b Oœ ™™

Oœ

œO ™™

Ϫ

bœ

œO ™™

œ

œ

bœ

œ

b b Oœ

b b Oœ

b b Oœ

b b Oœ

b b œO

b b œO

5 8

Û œ™

Ϫ

œ

Ϫ

bœ ™

œ

b b Oœ ™™

Oœ

b b Oœ ™™

Oœ

b b œO ™™

œ

b b Oœ ™™

Oœ

b b Oœ ™™

œ

Oœ

b b œO ™™

œO

5 ¢

6 8

p

bœ

Œ

œ

bœ ™

œ bœ œ

œ

Œ

b b Oœ

Oœ

Oœ

Œ

b b Oœ

Oœ

Oœ

Œ

b b œO

œO

œO

p

p

p

p

Ϫ

bœ ™

p

2 8

œO Û

deride flugelhorn line p

Œ

2 8

o

e=144, Perverse

B

4. Viola

Ϫ Ϫ

f

deride flugelhorn line p

Œ

°

3. Viola

2. Contrabass

8 8

5 ¢

4. Violin II (con scordatura)

bœ ™ œ> ™

o

p f

¥ ¯¯¯¯¯¯¯¯¯¯ > œ ™ œ. ù ‰ ≈ 3 J b œ œ.

e=144, Perverse

B

2. Viola

3

p

∑

°

1. Violin II (con scordatura)

3

3

f

6 8

¥ ¯¯¯ œ ™ œ û ‰ Bb >œ œ J J

Ϫ

Oœ ™™

Oœ ™™

Oœ ™™

Oœ ™™

Oœ ™™

Oœ ™™

œ

œ

œ

œ

Oœ

Oœ

Oœ

Oœ

Oœ

Oœ

bœ ™ œ™

b b Oœ ™™ b b Oœ ™™ b b œO ™™

bœ ™

nœ

Ϫ

œO ™™

Oœ

b b Oœ ™™

œO

b b œO ™™

Oœ ™™ Oœ ™™ œO ™™

5 8

bœ ™

bœ

bœ

œ

œ

b b Oœ

b b Oœ

b b Oœ

b b Oœ

b b Oœ ™™

b b œO

b b œO

b b œO ™™

Ϫ

b b Oœ ™™

Oœ

Oœ ™™

Ϫ

Ϫ

œ

Oœ ™™

bœ ™

2 8

Û

Ϫ

b b Oœ ™™

œ

Ϫ

œ

œ

Ϫ

œ

b b Oœ ™™

Oœ Oœ

b b Oœ ™™

œO

b b œO ™™

2 8

Oœ Oœ œO

* Violin I’s should freeze just before the next downboeat (wherever they are in their gesture), muting the violin with the bow (secco). The same effect is desired at the end of m. 62.

= {& 46

Flug.

Hp.

1. Vla.

2. Vla.

1. Vc.

2. Vc.

3. Vla.

4. Vla.

3. Vc.

4. Vc.

{& °B

2D 8

≈ b œ. œ. ‰

2 8

o ≈ bœ – R bœ J

p sempre secco

œ J

p sempre secco

‰

‰

œ J

‰

œ J

‰

bœ J

pizz.

pizz.

B

‰

‰

b œ. œ. o r bœ —

≈

≈

‰

≈ b œ. œ.

‰

o ≈ bœ – R

b œ. œ. œ. œ. œ œ > b œ.

bœ J

‰

œ J

‰

nœ J

‰

œ J

œ J

‰

œ J

‰

bœ J

>œ œ b œ … ®

‰

‰

3 > b œ. b œ. œ. œ. œ. œ œ. b œ. > b œ. . 3 > 3

. >. . . >. . >œ. b œ. b œ b œ œ œ œ b œ. œ

‰

bœ J

‰

3

3

f

‰

‰

œ.

bœ ®

‰

bœ J

nœ J

‰

‰

nœ J

‰

bœ J

> b œ. œ ≈ ‰ œ> – b œ. –

3

‰

bœ J

nœ J

‰

œ J

‰

œ J

‰

bœ J

‰

bœ J

‰

bœ J

∑

≈ ‰

b œ. œ. o r bœ —

∑ œ J

≈ ≈

≈ ≈

œ J

‰

œ J

‰

bœ J

‰

œ J

œ J

‰

‰

‰

‰

‰

‰

‰

bœ J

‰

bœ J

‰

‰

p

œ J p

?

bœ J

? ¢

bœ J

‰

œ J

bœ J

‰

bœ J

‰

bœ J

‰

bœ J

‰

bœ J

‰

œ J

‰

bœ J

‰

‰

bœ J

bœ J

‰

‰

bœ J

‰

bœ J

‰

bœ J

‰

nœ J

‰

œ J

‰

bœ J

‰

‰

bœ J

bœ J

‰

‰

bœ J

‰

nœ J

‰

nœ J

‰

#œ J

‰

œ J

‰

‰

bœ J

bœ J

‰

‰

œ J

‰

bœ J

‰

bœ J

‰

bœ J

‰

bœ J

‰

‰

œ J

œ J

‰

°B

pizz.

p sempre secco pizz.

2 8

p sempre secco

pizz.

p sempre secco pizz.

B

bœ J

?

œ J

‰

bœ J

bœ J

‰

œ J

? ¢

p sempre secco pizz. p sempre secco pizz.

p sempre secco

p

p

p

p

p

p

œ. œ. o r œ—

8 8 8 8

8 8

6

{& 55

Flug.

8E 8

> > b œÆ œ. œ. œ. . . . . œ. œ. œ. œ. . . . . . œ. œ. 3

Hp.

1. Vln. I (scord.)

2. Vla.

B

Ϫ Ϫ

f

°

1. Vln. II (scord.)

1. Vla.

bœ ™ œ> ™

{&

8 8

B

arco

bϪ

Ϫ

œ

œ

barco Ϫ

Ϫ

œ

œ

Oœ ™™

?

2. Vc.

?

arco

5 ¢

arco

3. Vla.

4. Vla.

Oœ ™™

B

8 8

2. Vla.

1. Vc.

2. Vc.

1. Cb.

3. Vla.

4. Vla.

3. Vc.

4. Vc.

Oœ ™™

Oœ

Oœ

Oœ

Oœ

b b Oœ ™™

Oœ

Oœ

b b œO ™™

Oœ ™™ Oœ ™™

≈ b œ. œ. ≈

2 8

o ≈ bœ R

b œ. œ.

o ≈ r bœ

f

bœ

œ

pizz.

œ f

#œ

œ

pizz.

o ≈ bœ R

bœ

œ

pizz.

f

bœ J

‰

œ J

‰

œ J

‰

bœ J

∑ pizz.

bϪ

Ϫ

œ

œ

bœ

#œ

#œ

?

pizz.

œ

œ

f

f

bœ

pizz.

Oœ ™™ Oœ ™™

Oœ ™™

Oœ ™™

Ϫ bϪ

œ œ

œ

Oœ ™™

#œ ™

˙

Ϫ

˙

8 8

O˙

6 8

ê

2 8

^ æ b œ œæ

Ϫ

bϪ

Ϫ

2

flt. ord.

Ϫ Ϫ

Ϫ

œ bœ

2 8

ê

r≈ j œ. b f. >

5 8

¯¯¯¯¯¯ œ ‰ b œ œ œJ ù ‰ bœ 3

‘f’

Ϫ bϪ

œ bœ

œ

œ

bœ

œ

5 8

œ œ

Ÿ~~~~~ ‰ œ œ bœ nœ ™ bœ™

œ œ

œ

Ϫ

Ϫ

bœ ™

f

œ

f

b b Oœ

b b Oœ ™™

Oœ

b b Oœ ™™

Oœ

b b Oœ ™™

Oœ ™™

b b Oœ

b b Oœ

b b Oœ ™™

Oœ

b b Oœ ™™

Oœ

b b œO ™™

œO ™™

b b œO

b b œO

b b œO ™™

œO

b b œO ™™

Oœ

f

Ϫ

b b Oœ

Oœ

o

Û Û

Oœ ™™

Oœ

2 8

(ord.)

b b Oœ ™™

Oœ

Ϫ

œ

œ

bœ ™

Ϫ

œ

œ

Oœ ™™

Oœ ™™

Oœ

Oœ

Oœ

Oœ

b b Oœ ™™

Oœ

Oœ

b b œO ™™

bœ ∑

Oœ ™™

Oœ ™™

˙O

8 8

∑

‰

bœ

bœ J

œ

bœ J

œ

œ

œ J

œ

œ

bœ J

bœ

‰

œ J

‰

bœ J

‰ ∑

œ

œ

‰

Oœ ™™

bœ œ bœ œ

bœ J

¥

œ

œ

3

œ J

∑

Œ Œ

œ

arco

Ϫ

œ™ Oœ ™™ Oœ ™™ œO ™™

‰

2 8

‰

o

2 8

‰

œ

2 8

œ Oœ

f

Oœ

f

œO

f

œ

b b œO

b b œO ™™

3 > b œ. b œ. œ. œ. œ. œ b œ. . œ. b œ. > 3 > . >. . . >. . >œ. b œ. b œ b œ n œ œ œ b œ. œ 3

3

3

nœ J

‰

œ J

‰

bœ J

‰

bœ J

‰

œO

œO

Œ

bœ

œ

bœ

pizz.

œ

œ

pizz.

pizz.

2 8

∑ bœ J

œ J

‰

nœ J

‰

œ J

‰

œ

œ

bœ J

‰

Œ

bœ

bœ

œ J

‰

Œ

b b Oœ

Oœ

Oœ

nœ J

‰

#œ J

‰

‰

Œ

b b Oœ

Oœ

Oœ

bœ J

‰

bœ J

‰

Œ

b b œO

œO

œO

bœ

bœ ∑

bœ J ∑

p arco

p

arco

p arco p

pizz.

pizz.

pizz.

∑

∑

Oœ

7 8

Ϫ Ϫ

b b Oœ ™™

Oœ

b b Oœ ™™

œO

b b œO ™™

G.P.

∑

œ

f

2 8

œ

f

Oœ

f

Oœ

f

œO

f

3 8

G.P.

7 8

∑

G.P.

∑

3 8

G.P.

∑

G.P.

∑

G.P.

∑

G.P.

∑

‰

pizz.

p

œ

b b œO

Oœ

b b œO

arco

b b Oœ ™™

Oœ

Œ

arco

b b Oœ

‰

Oœ

p

b b Oœ

œ

b b Oœ ™™

nœ J

Oœ

p arco

b b Oœ

‰

b b Oœ

arco

b b Oœ

œ

Ϫ

nœ J

Œ

p

œ

bœ

‰

arco

œ

‰

p

bœ ™

bœ

bœ J

bœ

Û

bœ

3

pizz.

p arco

5 8

‰

œ

Œ

‰

Ϫ

2 8

bœ J

œ

‰

8 8

bœ ™

b b Oœ ™™

b b Oœ

∑ œ

8 8

‰

bœ J

∑

‰

œ J

∑

6 8

bœ ™

Oœ ™™

O˙

∑

∑

f pizz.

œ œ

œ

Oœ ™™

∑

‰

f

bœ

p

Ϫ

f

f

œ

pizz.

2 8

Ϫ Ϫ

¯¯¯¯¯¯¯¯¯ > Bb œ ™ œ. ù ‰ ≈ 3 J b œ œ.

3

p

bϪ

f

B

5 ¢

8 8

˙O

b b Oœ ™™

≈ b œ. œ. ‰

f

2. Cb.

7 8

Oœ ™™

2F 8

?

?

b b œO ™™

œ

Oœ ™™

?

°B

Oœ

Oœ

œ

Oœ ™™

B

5 ¢

O˙

Ϫ

5 ¢

°B

b b Oœ ™™

bœ ™

arco

1. Vla.

Oœ

Oœ

œ

4. Vc.

{&

˙

œ

arco

Hp.

bϪ

Ϫ

arco

?

{&

˙

bœ ™

arco

63

Ϫ

O˙

Oœ

resume f

?

Flug.

7 8

bœ ™ œ> ™

˙ ˙

3

3

6 8

Û

arco

B

=

Oœ ™™

Ϫ bϪ

>. . . >. . . . ‰ b œ œ œ . . . . œ. œ œ œ . . . . . œ. œ 3

p

b b Oœ ™™

Oœ

resume f

3. Vc.

2. Cb.

Oœ ™™

Oœ ™™

°

4. Vln. II (scord.)

Oœ ™™

f

œ œ

resume f

1. Vc.

4. Vln. I (scord.)

p

œ œ

8 8

¥ ¯¯¯¯¯¯¯¯ b -œ ™ œ œ û ‰ J

3

p

resume f

arco

1. Cb.

3

3

f

7 8

7 8

∑

G.P.

∑

G.P.

∑

G.P.

∑

G.P.

∑

G.P.

∑

3 8

7

{& 71

Flug.

3 8

>œ b œ.

≈

‰

‰

2 8

nœ

f

Hp.

n >œ – b œ. –

{&

œ #œ

œ

#œ

f

≈

‰

nœ

‰

4 8

3

œ #œ

œ

#œ

®

œ #œ

‰

‰

b œ.

≈

œ.

n œ.

œ. b œ.

œ. n œ.

n >œ.

> b œ.

> n œ.

œ.

œ.

œ.

p

… ® ‰

œ #œ

‰

b >œ. R

≈

> œ.

^r bœ

f

1. Vln. I (scord.)

° &

3 8

2 8

∑

∑

∑

∑

^r bœ

4 8

∑

≈

‰

Œ

… ≈

‰

Œ

arco, m.s.t.

# ˙˙≤ o

arco, m.s.t.

2. Vln. I (scord.)

∑

&

∑

∑

∑

b ˙˙≤ o

∑

arco, m.s.t.

3. Vln. I (scord.)

∑

&

∑

∑

∑

∑

˙˙≤ o

∑

# ˙˙≤ o

∑

b ˙˙≤ o

arco, m.s.t.

1. Vln. II (scord.)

∑

&

∑

∑

∑

arco, m.s.t.

2. Vln. II (scord.)

∑

&

∑

∑

∑

arco, m.s.t.

∑

3. Vln. II (scord.)

&

1. Vla.

B

bœ J

B

œ J

2. Vla.

1. Vc.

2. Vc.

1. Cb.

4. Vln. I (scord.)

f

f

?

bœ J

?

bœ J

f

f

5 ¢

° &

∑

∑

∑

˙˙≤ o

‰

‰

œ J

‰

œ J

‰

‰

bœ J

‰

#œ J

#œ J

‰

Œ

‰

‰

œ J

‰

œ J

‰

‰

œ J

‰

œ J

nœ J

‰

Œ

‰

‰

bœ J

‰

bœ J

‰

‰

bœ J

‰

œ J

œ J

‰

Œ

&

‰

‰

œ J

‰

œ J

‰

‰

bœ J

‰

bœ J

bœ J

‰

Œ

&

bœ J

‰

Œ

∑

3 8

∑

∑

2 8

∑

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

#

4 8

&

arco, m.s.t.

˙˙≤ o

arco, m.s.t.

5. Vln. I

˙˙≤ o

arco, m.s.t.

6. Vln. I

˙˙≤ o

arco, m.s.t.

˙˙≤

&

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

6. Vln. II

&

∑

∑

∑

∑

∑

˙˙≤ o

3. Vla.

B

bœ J

‰

‰

bœ J

‰

bœ J

‰

‰

bœ J

‰

#œ J

nœ J

‰

Œ

B

bœ J

‰

‰

bœ J

‰

bœ J

‰

‰

bœ J

‰

œ J

œ J

‰

Œ

?

œ J

‰

‰

bœ J

‰

bœ J

‰

‰

œ J

‰

œ J

#œ J

‰

Œ

bœ J

‰

‰

œ J

‰

œ J

‰

‰

bœ J

‰

bœ J

bœ J

‰

Œ

bœ J

‰

Œ

4. Vln. II (scord.)

o

arco, m.s.t.

5. Vln. II

˙˙≤ o

arco, m.s.t.

4. Vla.

3. Vc.

4. Vc.

2. Cb.

? 5 ¢

f

f

f

f

∑

∑

∑

∑

∑

#

&

&

8

G

77

Flug.

Hp.

1. Vln. I (scord.)

{

p

& b œf

? ˙

°

bœ

œ

œ

b œb ˙-

œ J

˙

b -œ œj n œ> ˙

bœ

œ

b œ- ™ b ˙-

œ J

bœ

œ

b œ-

œ

n œj

œ

œ

# -œ #œ

œ

# œ.

≈

… œ. ≈ R

¥ ¥ ¥ ¥

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

¥

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

≤ & b˙ ≤ B ˙

b ˙-

arco

b ˙-

Ϫ J

≈

j Ϫ

≈ bœ

œ

≤ & b˙

˙-

Ϫ J

≈ bœ

≤ & ˙

b˙

Ϫ J

≈ bœ

≤ ¢# ˙

b˙ -

j Ϫ

≈ bœ

arco

arco

arco

5. Vln. I

bœ

ê

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free.

arco

4. Vln. I (scord.)

bœ

œ

bœ

b -œ J

ord.

p

3. Vln. II (scord.)

1. Cb.

œ

bœ

≈ ‰ æ œæ b œ. >

flt.

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free.

2. Vln. II (scord.)

2. Vc.

bœ

4 8

p

1. Vln. II (scord.)

1. Vc.

bœ

œ

œ ^ æ æ œæ b œ- œæ æ r ≈ æ æ b œ b œ œ. ≈ bæœ bæœ æ bæœ œæ æ æ œ œ bœ bœ b œ. œ bœ bœ .

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free.

3. Vln. I (scord.)

2. Vla.

œ

‰

3 8

p

2. Vln. I (scord.)

1. Vla.

œæ æ æ ‰ b œæ b œæ b œ œ æ œæ b œæ b œæ æ ‰ bœ b œ b œæ œ .

æ æ æ æ æ Œ bœ œ æ { & œ. œ. b œ. œ. . . b œ b œæ æ œ œ b œ œ b œ b œ œ . simile

°

b˙

b˙

b ˙-

b ˙-

Ϫ J

≈ bœ

j Ϫ

≈ œ

3 8

¥ œ

-œ J

bœ

-œ J

bœ

-œ J

˙

˙

b˙

b˙

˙-

Ϫ J

˙

˙

b˙

Ϫ J

≈ ?œ

bœ

-œ J

˙

˙

b ˙-

j Ϫ

≈ œ

bœ

j œ-

≈ bœ

4 8

¥

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

¥

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

6. Vln. I

¥

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

4. Vln. II (scord.)

5. Vln. II

¥

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

¥

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

6. Vln. II

React to the music around you by improvising on the established pitches. Keep the bow moving and bouncing. Pizzicato interjections are encouraged. Given parameters are fixed. Unstated parameters are free. p

≤ & b˙

arco

3. Vla.

4. Vla.

≤ B ˙

3. Vc.

≤ & b˙

Ϫ J

≈

œ

b˙

b˙

b ˙-

b ˙-

j Ϫ

≈ bœ

˙

˙

˙-

j Ϫ

≈ bœ

b ˙-

arco

arco

? b ˙≤

b ˙-

≤ # ˙ ¢

b˙ -

arco

4. Vc.

arco

2. Cb.

Ϫ J

≈

j Ϫ

≈ bœ

œ

Ϫ J

≈

b ˙-

j Ϫ

≈ bœ

˙-

j Ϫ

≈ bœ

b˙

b˙

b˙

b˙

b ˙-

˙

˙

b˙ -

bœ

3 8

¥

œ

j œ-

bœ

j -œ

bœ

-œ J

Ϫ J

≈ œ

bœ

œJ

j Ϫ

≈ œ

bœ

j -œ

4 8

9

{& 85

Flug.

Hp.

1. Vln. I (scord.)

{

4H 8

≈ b œæ œæ b œæ b œæ æ æ æ bœ bœ œ p

# >œ n œ ™

&

‰

bœ

œ

b˙

?

>œ. b œ œJ ù ≈ bœ æ

r ŠϾ

f

œ œ 7

n œj

œ

œ

‰

p

bœ œ 7J

. b ->œ æ æ æ b œæ b œæ œ b œæ æ æ æœ b œ œ bœ bœ œ œ œ 7J

œj

œ

‰

bœ œ 7

°

4. Vln. I (scord.)

‰

œ J

˙ 7

Œ ∑

¥ ord.

‰

œ J

j b œ

Œ

&

4 8

B

¥ ord.

bœ ™

Ϫ

bœ ™

≥ œ^ J

Ϫ

Ϫ

&

bœ ™

?

bœ ™

¢#

f

&

f

≥ b œ^ J f

≥ œ^ J

f

≥^ j œ

f

≥ œ^ J

œ

≥ œ^

˙≤

≥ œ^ J

œ

≥ œ^

˙≤

Ϫ

≥ b œ^ J

œ

≥ b œ^

˙≤

Ϫ

≥ œ^ J

œ

≥ œ^

˙≤

Ϫ

≥^ j œ

œ

≥^ œ

≤ ˙

°

ê ê ê ê ê

¥ ord.

f

∑

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

1>. J 1>. J 1>. J 1>. J 1>. J

‰

Œ

∑

‰

Œ

∑

‰

Œ

∑

‰

Œ

∑

‰

Œ

∑

b ˙≥ ≥

b˙ ˙≥

&

≥ b˙ ≥ b˙

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

m.s.t.

¥

f

¥ ord. f

¥ ord. f

¥ ord. f

¥ ord. f

& B & ? ¢#

4 8

¥ ord. f

b˙

≥^ bœ

≥^ œ

≤ ˙

≥^ #˙

≥^ œ

≥^ œ

≤ ˙

≥ b ˙^

≥ b œ^

≥ œ^

˙≤

≥ œ^

≥ œ^

˙≤

≥^ œ

≥^ œ

≤ ˙

≥^ b˙ f

˙

f

˙

f

b˙

≥ ˙^ f

b˙

≥^ ˙

f

ê ê ê ê ê

‰

b˙

f

≥ # œ^ J

b œ œ b œ. œ .

b˙

f

6. Vln. II

2. Cb.

‰

œj

f

5. Vln. II

4. Vc.

œ J

¥ ord.

4. Vln. II (scord.)

3. Vc.

œj

p poss.

f

6. Vln. I

4. Vla.

bœ

¥ ord.

5. Vln. I

3. Vla.

œ

o

p

f

3. Vln. II (scord.)

1. Cb.

œj

¥ ord.

2. Vln. II (scord.)

2. Vc.

o

. ùb œR ≈ ≈

f

1. Vln. II (scord.)

1. Vc.

‰

¥ ord.

3. Vln. I (scord.)

2. Vla.

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ O O O O J J ‰

f

2. Vln. I (scord.)

1. Vla.

≈

> b œ. -œ

1>. J 1>. J 1>. J 1>. J 1>. J

b ˙≥

‰

Œ

∑

‰

Œ

∑

≥ b˙

‰

Œ

∑

≥ ˙

‰

Œ

∑

‰

Œ

∑

b ˙≥ ≥ b˙

B

10

I

rit.

b œ œ. œ. . ≈ bœ ≈ ‰ & œ { bœ bœ . 92

Flug.

Hp.

{

f

æ æ œ b œ b œ. >

flt.

ord.

®bœ bœ œ œ œ

˙

bœ

œ

? b˙

œ 7

œ 7

&

°

œj

œ.

® b œæ œæ ‰ œ œ ® œ. b œ. flt.

≈ ®bœ œ

œ

b œ.

‰

‰

p

bœ

œ

œ

œ 7

œj

œ

œ

œ

œ

rit. build to a frenzy

build to a frenzy

¥ m.s.p.

3. Vln. I (scord.)

build to a frenzy

¥ m.s.p.

1. Vln. II (scord.)

build to a frenzy

¥ m.s.p.

build to a frenzy

¥ m.s.p.

build to a frenzy

¥ m.s.p.

2. Vln. I (scord.)

2. Vln. II (scord.)

3. Vln. II (scord.)

1. Vla.

& b˙

2. Vla.

& b˙ ˙

arco

1. Vc.

&

2. Vc.

& b˙

1. Cb.

¢# b ˙

arco

4. Vln. I (scord.)

°

5. Vln. I

6. Vln. I

4. Vln. II (scord.)

5. Vln. II

6. Vln. II

3. Vla.

4. Vla.

3. Vc.

4. Vc.

2. Cb.

&

b˙

≥ b œ^

≥ n œ^

œ

≥ œ^

œ

≥ œ^ ™

≥ œ^

≥ œ^

œ

≥ œ^

œ

≥ œ^ ™

≥ b œ^

≥ œ^

œ

≥ b œ^

œ

≥ b œ^ ™

bœ

nœ

œ

≥^ œ

œ

œ

≥^ œ

œ

œ

œ ≥^ œ

œ

œ

œ

œ

build to a frenzy

build to a frenzy

¥ m.s.p.

build to a frenzy

¥ m.s.p.

build to a frenzy

¥ m.s.p.

build to a frenzy

¥ m.s.p.

build to a frenzy

¥ m.s.p.

≥^ bœ ™

B ˙

¢# b ˙

≥^ j nœ

≥ b œ^ ™

& b˙ B ˙

≥^ j bœ

≥^ bœ™

b˙

bœ ™ ≥^ œ™

≥ œ^ J bœ ™

nœ ≥^ j œ

#œ

nœbœ œ œæ æ

f

æ bœ b œ æ æ ® ≈ næœ æ nœnœ œj

bœ œ 7

œ J

U ∑

bœ

Ϫ

¥

U b œ>œ Œ & nœ ≈ ‰ R

U ∑

pizz.

¥

&

r œœ ≈ ‰ UŒ œ>

¥

&

# œ>œ ≈ ‰ UŒ nœ R

U ∑

U b œœ> Œ & nœ ≈ ‰ R

U ∑

pizz.

pizz.

&

‰

?

‰

?

‰

5

≥^ j œ

Ϫ

Ϫ

r œœ ≈ ‰ UŒ œ>

» j #œ

¥ ¥ ¥

U ∑

‰

Œ

U ∑

‰

U Œ

U ∑

‰

U Œ

U ∑

‰

U Œ

U ∑

pizz.

&

œ>œ ≈ ‰ UŒ œ R

U ∑

&

œ>œ ≈ ‰ UŒ œ R

U ∑

» j #œ # œ» J

pizz.

# œ» J

pizz.

# œ» J

pizz.

pizz.

pizz.

&

r œœ ≈ ‰ UŒ œ>

U ∑

pizz.

&

œ>œ ≈ ‰ UŒ œ R

U ∑

&

œœ> ≈ ‰ UŒ œ R

U ∑

pizz.

r œœ ≈ ‰ UŒ œ>

pizz.

¥

œ

Ϫ

œ

≥ b œ^

≥ b œ^

≥ œ^

Ϫ

#œ

œ ≥^ œ

nœ

Ϫ Ϫ

&

» j #œ

B

Œ

U ∑

‰

Œ

U ∑

‰

Œ

U ∑

# œ» J

‰

Œ

U ∑

# œ» J

‰

Œ

U ∑

» j #œ

pizz.

‰

?

‰

?

‰

5

U ∑

‰

pizz.

‰

Ϫ

U ∑

Œ

pizz.

¥

U ∑

‰

pizz.

¥

‰

o

U ∑

B

bœ ™

bœ

p

pizz.

‰

bœ œ

nœ bœnœ

U # œœ> Œ & nœ ≈ ‰ R

Ϫ Ϫ

nœ

U

¥

≥^ œ J

≥ œ^

œ

Œ

B

≥^ œ

≥^ œ

‰

# œj #œ

‰

≥^ œ

≥^ œ

U ∑

Ϫ

Ϫ

œ

Œ

≥ b œ^ J

œ

œ

‰

¥

≥^ œ

œ

j #œ

bœ J

‰



pizz.

≥ œ^ J

¯¯¯¯¯¯¯¯¯¯¯ O U

‰

¥

≥^ bœ

#œ

j b œ

bJ œ J

æææ ^ j œ œ œ #œ

very slow gliss.

3

˙

≥^ bœ

œ

bœ

bϪ

pizz.

Ϫ

¥ m.s.p.

˙

œ

sim.

≥^ œ™

rit.

arco

œj

œ

¥ m.s.p.

1. Vln. I (scord.)

ord.

# œ» J

pizz.

pizz.

pizz.

11

III

1. Contrabass

2. Contrabass

3. Contrabass

°5 ¢ °5 ¢ ° ¢#

4 q=60, Reverent 4 4 q=60, Reverent 4 4 q=60, Reverent 4 ∑

∑

∑

∑

∑

≤ #w o

∑ ≤ #w o

∑

#

w

#

≥ w

w

w

∑

sempre simile

w

p

sempre simile

∑

o

≤ #w o

arco

p

sempre simile

w

∑ ≥ w

arco

≥ w

w

∑

∑

o ∑

#w o

∑

∑

o

w

#w o

w

w

#w o

w

p

∑

∑

w ∑

o w

=

J { & #˙ ™ o

Flug.

2. Vc.

1. Cb.

œ

°?

∑

¢# w

2. Cb.

5. Vc.

3. Cb.

∑

¢# # w o ∑

¢# w

o

∑

∑

∑

∑

∑

o

w

w

# w≤

w

o

∑

o

∑

arco

arco

∑

# w≤

arco

o

∑

∑ w≥

w

o

Œ

# w≤

p

∑

p

o

∑

w

w

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ O™

O

œ

∑

#w o

w

#˙ o o

o o

∑

w

°?

w

O

∑

∑

o

∑

O

∑

w

°?

#œ oo

oo

∑

p

4. Vc.

O™

O

˙™

112

∑

∑

∑

=

{

K ˙™

119

Flug.

1. Vc.

2. Vc.

1. Cb.

3. Vc.

4. Vc.

2. Cb.

& Ó

#˙ o

& #w

°?

w

∑

3. Cb.

Œ

#˙ ™ o

˜˙ ™

#w

∑ w

∑

°?

#w o

∑

∑

? w≥

sempre simile

w

p

∑

°? w

∑

¢# # w o

∑

o w

o

à

arco

o

#w

à

#w o

w

#w

w

w≥

#w

∑

j ˜œ ‰ œ

sempre simile

w

w

o

p

∑

∑

∑

∑

arco

w

w

w

o

w

∑

∑

#w

w

w

o

o

w

w

#w

p

∑

w p

w

∑

o o

o

sempre simile

p

∑

w

f

#w

w≥

w

o

#w

r ^j œ. ≈ # œ ˙ >

o o

w ∑

o

# w≤

w

˜˙

Œ

p

w

#w o

o

Œ

p

w

∑

˜˙ ™

w

o

o

w

Œ

# w≤

sempre simile

p

¢#

o

w

∑

w≥

sempre simile

5. Vc.

à

p espress., sempre hide breaths to achieve effect of an endless drone

? w

¢#

o

Œ

∑

o w ∑

∑

12

{

L

127

Flug.

1. Vc.

3. Vc.

5. Vc.

3. Cb.

œ

˙

˙

œ

p espress., sempre

o

Œ

Ó

port.

à

#˙

w

Ó

Œ

œ o

à

#w

o

p

∑

∑

∑

¢#

∑

∑

∑

°? # w

w

o ? w

œ

˙™

˙

w

w

?

4. Vc.

2. Cb.

& œ

#˙

°? w

2. Vc.

1. Cb.

& ˙

˙

¢#

∑

°? w

∑

∑

#w o

¢#

∑

o

œ

œ

œ o

œ

o

w

p

∑

∑

∑

∑

∑

∑

#w o

w

∑

w

à

#w

∑

∑

Œ

∑

∑

∑

o

˙™

∑

∑

w

Œ

∑

∑

#w o

Œ

w

∑

∑

o

p

∑

w

o

˙™

˙

œ

∑

∑

w

œ o

∑

p

o

Œ

∑

∑

w

o à

Ó

∑

w

∑

o

=

{

M

134

Flug.

1. Vla.

2. Vla.

& Œ

p

& w

°B B

2. Vc.

? w

4. Vla.

˙

o

w

∑

w ∑

∑

∑

∑

∑

∑

3. Vc.

?

∑

∑

∑

4. Vc.

?

∑

∑

2. Cb.

¢# w

w

p

5. Vla.

5. Vc.

3. Cb.

°B

∑

o ∑

?

∑

∑

¢#

∑

∑

µ˙ ™ p

≤ #w o

Œ

o

w

≤ #w o

arco

o

˙

o

≤ #w o

∑

∑

∑

∑

∑ ≤ #w o

∑

∑

∑

∑

∑

∑

∑ ≥ w

∑

∑

∑

∑

n˙

j œ> œ™

U

˙

˙

w

U≥ w

≥ w

U w

#w

U w

o

o

w

U≥ w

≥ w

U w

#w

U w

o

w ∑

#w o

o

U ∑

o

U #w

∑

o

o

U ∑ U ∑

sempre simile

#w

lip gliss. into whistle tone

p

∑

w

o ¯¯¯¯¯¯¯¯¯¯¯ O

U #w

∑ ∑

o

Ó

p

p

∑

w

à

U ˙

arco

w

arco

Ó

p

∑

arco

Œ

arco

w

∑ ≤ #w o

Bœ o w

∑

∑

p

∑

à

∑

∑

o

Œ

∑

w

¢# w

B

à

∑

∑

°B

˙™

‰ #˙

∑

∑

?

3. Vla.

˙ ∑

1. Vc.

1. Cb.

Ϫ

˙

œ >

U w U w

{

N

141

Flug.

1. Vln. I (scord.)

13

1

rit.

& ‰ œj œ &

j j ‰ ‰ j œ œ œ œ o o o p ¯¯¯¯¯ ¯¯¯ O à Oà J ˙ œ #œ™ œ

#˙

w

°

rit.

∑

‰

o

˙

1. Vc.

B

∑

w

2. Vc.

? w

4. Vln. I (scord.)

¢#

∑

°

rit.

∑

w

w

√ w

w

w

w

√ w

w

w

w

w

#w o

w

w

w

w

w

w

w

√ w

#w

w

#w

w

√ w

w

w

#w o o

w

√ w

w

w

w

√ w

w

w

w

√ w

w

w

w

√ w

w

w

w

√ w

w

w

w

√ w

w

w

w

√ w

w

w

w

w

#w o

w

w

w

w

w

w

w

√ w

#w

w

w

w

√ w

w

w

#w o o

w

√ w

#w o

w

w

w

w

√ w

w

w

w

w

w

√ w

#w o o

w

w

w

w

∑ #w o

∑

∑

∑

∑

4. Vln. II (scord.)

∑

∑

∑

∑

3. Vla.

4. Vla.

3. Vc.

B w B

∑

∑

o

? w

∑ w

? w

∑ #w o

#w

o o

p

4. Vc.

∑

∑

w

w

p

2. Cb.

5. Vla.

5. Vc.

3. Cb.

¢#

°B ? w ¢# w

∑

rit.

#w o

∑

w

∑

o

Ó w

#˙ o

arco

b˙ o

arco

w o

Ó

arco

b˙ o

arco

w o

∑

˙

arco

o

arco

w o

arco

w o

o o

p

o

arco

∑ Ó

o

arco

∑ Ó

o

arco

∑

p

∑

6. Vln. II

Ó

∑

∑

arco

∑

o o

w

∑

∑

√ w

w

∑

6. Vln. I

5. Vln. II

# w-

√ w

∑

∑

5. Vln. I

√ w

w

w

#w o

˙

w

p

1. Cb.

poss.

j œ œ o

bw

o o

w

¯¯¯¯¯ O à

‰

√ w

#w

p

Œ

w

∑

? w

˙- ™

œ

w

∑

∑

¯¯¯ Oà J

j œ œ o

w

∑

2. Vla.

f

‰

√ w

∑

o

‰

w

∑

∑

Ϫ

w

1. Vln. II (scord.)

B w

# ˙- ™™

j œ œ o

w

∑ ∑

1. Vla.

¯¯¯ Oà J

‰

√ w

∑

∑

# ˙- ™™

‰

w

∑

3. Vln. II (scord.)

à

Ϫ

œ o

w

∑

∑

j Œ œ œ o p o

∑

3. Vln. I (scord.)

2. Vln. II (scord.)

‰

bw

∑

∑

2. Vln. I (scord.)

Œ

Optional: move offstage

˙

arco

o

o

poss.

√ w √ w

5

√ w √ w

√ w

5

5

14

IV

Bleak 0"

Time

5"

10"

m.s.p.

¢

~

20"

¥ m.s.t. ~≥

° I II °í ™ ~≤ ™ III IV ¢

5. Violin I

15"

‘ p ’ flaut. sempre

¥

25"

30"

35"

40"

45"

50"

55"

1'00"

™™ îü †

¥

2 (always in contact)

=

O

1

1'00"

1'05"

1'10"

1'15"

1'20"

1'25"

1'30"

1'35"

1'40"

1'45"

1'50"

Time * ¥ m.s.t. U, ™™ îü † o

°í ™ I 4 4ì 4ì 4ì 4ì ¢™ III IIIV m.s.p.

3. Vln. I (scord.)

‘

’ opprimente

¥

* Bow past the nut, allowing the bow to fall off the instrument.

5. Vln. I

°¢

(marked intentional crackle)

44444

¥

=

P 2 1'50"

1'55"

2'00"

2'05"

2'10"

2'15"

2'20"

2'25"

Time

3. Vln. I (scord.)

5. Vln. I

¢

æ æ ˙˙ ™ >

ê‘ f ’

¥ d.p. ˙˙

ê

1. Vln. I (scord.)

æ æ -æ ˙˙ oo

o

I II III IV

œ™ ææ

ad lib.  œœ

p espress.

œ™ æ

œ œœ œ œ œ ™ >œ. U∑ æ æ ææ R

-æ & ˙˙ ™ o ord.

æ æ -æ ˙˙ oo

æ æ ˙˙ ™ >

ê‘ f ’

ê

æ ° & ˙˙ ™ o solo

¥ d.p. ˙˙

o

I II III IV

œ™ ææ

ad lib.  œœ

p espress.

œ™ æ

œ œœ œ œ œ ™ æ æ ææ ¥

°¢

¥

=

Q 2'25"

2'30"

2'35"

2'40"

2'45"

2'50"

2'55"

3'00"

Time

1. Vln. I (scord.)

° I II °í ™ œ≤ œ œ œ œ œ œ œ œ œ œœ ™ III IV ¢ f agitato

3. Vln. I (scord.)

5. Vln. I

û ≥ œ™ œ œœ J J

™™ îü †

slowly grow increasingly wild

¥

¢

¥

°¢

¥

15

R 3

4

5

3'00"

3'05"

3'10"

{

Time

Hp.

wildy bouncing bow; primarily knocking sounds

°I II °í ™ ~≤ ™ III IV ¢ ‘ ’ flaut. sempre ~ ¢&

¥ m.s.t. ~≥

¥

∑

∑

Ó

Œ

Œ

4 4

¥ Û

poco

° &

˙˙

o

¥ d.p. û ≤ œ œ œ≥ œ œ ™ îü ° ™ I œ II í ™ œ œ œ œ œ œ ™† III IV ¢ ¥ d.p. û ≥ ° ≤ ü œœ IIII IIIV í¢™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™ î† o f agitato ¥ d.p. û ≤ œ œ œ≥ œ œ ™ îü ° ™ I œ II í ˙˙ ™ œ œ œ œ œ œ ™† III IV ¢ o f agitato

˙˙ ˙˙

∑

2.Vla.

&

∑

∑

1.Vc.

&

∑

Ó

Œ

2.Vc.

&

∑

ææ ™

2.Cb.

5 ¢

æ Oæ o I

∑

Œ

æ Oæ o I

∑

Ó

Œ

I II III IV

Ó

O æ o

ææ ææ Ó

6. Vln. I

æ ææ ˙˙ ™ >

ê‘ f ’

¥ d.p.

4. Vln. II (scord.)

5.Vln. II

6.Vln. II

3.Vla.

* Everyone should stop together. Violin I’s should freeze wherever they are in their gesture, muting the violin with the bow (secco). The rest of the ensemble should aim for a maximally-resonant sound and allow their instruments to ring (laissez vibrer).

œ™ æ

ad lib.

o

I II III IV

p espress.

° & & & &

œœ

≤ œ œœ œ °™ œ œ œ œ œ œ æ æœ æ æœ ™ í¢™ œ œ œ œ œ œ

™ ææœ

f agitato

5 4 q=60 Œ Œ Œ

-æ ww o -æ ww o -æ ww o

æ æ æ

ææ ˙˙ >

ê‘f’

ææ ˙˙ >

ê‘f’

ææ ˙˙ >

ê‘f’

∑

o

&

3.Vc.

&

∑

Ó

Œ

4.Vc.

&

∑

ææ ™

2.Cb.

5 ¢

æ Oæ o

∑

I

Œ

∑

æ Oæ o I

OO≤. ee " 0 >O.

e

" 0

>O.

Ge

ææ

≤ O™

>. O

Ge

Œ

5 “e A r ‰ ≈ O 0

ê ê ê

Ó

Œ

Œ

poco

Û

poco

Û

molto

Û

OO ™™ æ ¥& o

Ó

O æ o

OO ™™ ¥ &æ o

ord.

OO ™™ ¥ &æ o

ord.

Œ

e

" 0

b

pizz. III

ord.

¥ d.p. û ≥ ° ≤ ü œœ IIII IIIV í¢™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™ î† o f agitato ¥ d.p. û ≤ œ œ œ≥ œ œ ™ îü ° ™ I œ í II ˙˙ ™ œ œ œ œ œ œ ™† III IV ¢ o f agitato

4.Vla.

OO≤. ee " 0

≤ O™

f agitato

∑

O≤ ™

OO≤. ee " 0

ææ

¥ d.p. û ≤ œ œ œ≥ œ œ ™ îü ° ™ I œ II í ™ œ œ œ œ œ œ ™† III IV ¢

∑

Œ

I

&

>O.

û ≥ œ ™ œ œ œ ™™ îü J J †

∑

OO ™™ æ ¥& o

ord.

I

poco accel.

ê

æ °í ˙˙ ¢& o solo

ê

¢

ê

’ delicato

ê

° I II °í ™ 4 4ì 4ì 4ì 4ì ™ III IV ¢

OO ™™ ¥ &æ o

ord.

&

o ≤ O™

¥ m.s.t. U , ™™ îü † o

m.s.p.

OO ™™ æ ¥& o

ord.

f agitato

∑

&

1.Vla.

poco accel.

- æ ææ œœ ww > o ‘f’ -æ æ œœ ww > o ‘f’ -æ æ œœ ww > o ‘f’

&

Û

poco

5 q=60 4

&

3. Vln. II (scord.)

5. Vln. I

?

™™ îü †

2. Vln. II (scord.)

‘

Œ

2 (always in contact)

1. Vln. II (scord.)

4. Vln. I (scord.)

Œ

ê

2. Vln. I (scord.)

¢

Ó

œ> œœ b œ ‰ ≈ R >o ‰ ≈ œR

molto

molto furioso

m.s.p.

3. Vln. I (scord.)

∑

ê

°

∑

4 4

*

poco accel.

ê

1. Vln. I (scord.)

&

5 4 q=60

I

O≤ ™

&

I II III IV

&

OO≤. ee " 0 OO≤. ee " 0 OO≤. ee " 0 >O.

e

" 0

o ≤ O™

>O.

ææ

≤ O™

>O.

Ge

ææ

ææ

≤ O™

>. O

Ge

Ó

Œ

ææ

ê

I

ê ê

Œ

e

" 0

b

pizz. III 5 “e A ‰ ≈ Or 0

4 4

16

4 q=48 4 S

{&

191

Hp.

1. Vln. I (scord.)

°

2. Vln. I (scord.)

4. Vln. I (scord.)

4 q=48 4

&

∑

∑

∑

∑

∑ f œ ‰ Œ J+

Ó ¥

~≤

m.s.p.

∑

∑

∑

∑

∑

∑

¢& ° &

∑

4 q=48 4

∑

~

~

∑

Ó

∑

5. Vln. I

∑

O œ œ ‰ ‰ œ J+ ‰ J+ J+

Œ

∑

&

5. Vc.

3. Cb.

=

4 q=48 4 ~I

o

∑

∑

∑

∑

∑

∑

OO≤. J ‰ Œ

e

" 0

~ Ge o b III 5 “e A ~ 0 o I

& 5 ¢

∑

~≤

¥ m.s.t. ≥O

Hp.

1. Vln. I (scord.)

{& ° & I II III IV

&

~

~

~

~

p

~

~

¥ m.s.p. ~≤

~ ~

f œ ‰ Œ J+

∑

Ó

∑

¥ m.s.t. ≥ Oœ œ œ œ œ œ ~

O

~

∑

~

o

~

p

o

p

o

O w S 00 œ T

o

irregular trem. ad lib.

≥. . ... ˙

Ó

¥

œ œœœœœ ~

1

∑

∑

∑

∑

∑

∑

∑

∑

∑

5

œ bœ œ œ œ œ 3

p

°í ™ ~≤ ¢™ ~

∑

Œ

œ œ5 œ œ œ

¥ m.s.t. ~≥

œ bœ

Û

∑

o

˙ææ

Ó

p

∑

?

Ó

Œ

∑

#

Ó

˙-

œ-O o

p

3

∑

¥

Optional: flugelhorn return onstage

œ5 œ œ Œ

∑

3

∑

™™ îü †

∑ f œ ‰ Œ J+

∑

∑

∑

Œ

œœ œœ

2. Vla.

¢B

∑

∑

Ó

‰ œœJ œœ o f

∑

∑

f œ ‰ Œ J+

m.s.p.

O

¥ m.s.t. ≥O

∑

3. Vla.

B

∑

∑

∑

4. Vla.

¢B

∑

∑

w

∑

∑

∑

∑

I II III IV

f

∑

™ îü j œœ œœ ™ † o f o arco

o

Œ

∑

™™ îü †

¥ arco

∑

Ó

∑

‰ œœJ œœ o f o

∑

∑

arco

Œ œœ o Ó

œœ f

o

Œ

Ó

∑

∑

∑

∑

∑

&

I II III IV

¥

2 (always in contact)

∑

œO

¥

~

∑

?

o

o

Ó

&

w ææ

arco

arco

6. Vln. I

° &

∑

2 (always in contact)

∑

°í ™ ~≤ ¢™ ~

Ó

∑

¥

B

¢#

∑

o

∑

∑

1. Vla.

3. Cb.

∑

o

∑

‰

5. Vc.

Û

∑

°í ™ Ó ¢™

5. Vla.

w

~œ œ œ œ œ œ p

irregular trem. ad lib.

¥

~œ≥ œ œ œ œ œ

m.s.t.

1

∑

∑

&

~

∑

∑

5. Vln. I

¥

∑

∑

I II III IV

∑

∑

&

° &

∑ ¥ m.s.p. ~≤

~

O S 00 œ T

∑

p

3. Vln. I (scord.)

4. Vln. I (scord.)

Ó

∑

2

m.s.p.

2. Vln. I (scord.)

O

‘ p ’ flaut. sempre

∑

~

T 200

œ œ J ‰

¥ m.s.t. ~≥

~≤

1

œj

/

5. Vla.

° &

Œ

œ

f œ ‰ Œ J+

m.s.p.

∑

2

Œ

bœ

œj

p

~ ≥. . ... ˙

œ

gliss. e pizz. ad lib. *

I II III IV

¢&

∑ ¥

m.s.p.

6. Vln. I

∑ ~≥

‘ p ’ flaut. sempre

∑

∑

m.s.t.

2

&

∑

/

3. Vln. I (scord.)

ÛÓ

˙

I II III IV

∑

œj

b˙ æ ˙O ™™

bO œO b ˙ oo

b˙

Ó

˙ æ œO ˙

Œ

- æ w Œ ‰ œ œ™ J f o f œO ˙O ™™ w

°í ™ ‰ arco ¢™ œœj œœ Ó o f o arco

o

œœ

o

f

o

Œ

∑

‰ œO

o

arco

‰ œœJ œœ o f o Ó

Ó

œœ

™™ îü †

Œ

Ó ∑

¥ ∑ ∑

arco

∑ Œ

arco

œœ œœ o

f

o

Œ

‰ œœJ œœ Ó o f o ∑

∑ ∑

&

B

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5

17

V

Flugelhorn

{

1 q=46, Unraveling ∑

&

∑

∑

&

Ó

∑

Œ

Œ #˙™ o

#œ o

¥ m.s.t.

° I II 4 4ì 4ì 4ì 4ì III IV

2. Violin I (con scordatura)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

3. Violin I (con scordatura)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

3. Violin II (con scordatura)

∑

&

2. Violoncello

1. Contrabass

∑

& # w≤

&

o

∑ ∑

∑ ˙

œ ™™

port.

#˙

p

sul tasto, flautando

?

∑

5 ¢

# ˙≤ o

˙

∑

¥ m.s.t.

° I II 4 4ì 4ì 4ì 4ì III IV

’ delicatissimo

6. Violin I

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑

&

2. Contrabass

5. Viola

5. Violoncello

pinched tone

¥

Continue in conversation with 1. Vln. I. and 4. Vln. I

‘f’

&

∑

∑

Œ #˙ ™

p

œ Œ o

Ó

? 5 ¢

°B ?

# w≤ o

˙ p

∑ ∑

Ó

# ˙≤ o

∑

∑ ∑

5 ¢

∑

∑

∑

con sord. sul pont.

b˙ o

3 4

con sord. sul pont.

b˙ n˙ o

∑

˙

con sord. sul pont.

˙ ˙ o

˙™

œ

˙ ˙ ˙ ˙

4 4

œ œ

˙™ ˙™

œ œ

˙™ ˙™

˙

O m.s.p. bO p

˙ ˙ ˙ ˙

O m.s.p. bO

¥ m.s.t. ~

¥R

¥

¥ m.s.t. ~

¥R

¥

¥ m.s.t. ~

¥R

¥

p

O m.s.p. O

∑

∑

∑

∑

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

o

≤ #˙ ™ o

∑

¥ d.p. û °í ™ œ≤ œ œ œ≥ ¿ ¿ ™ îü ¢™ œ œ œ œ ¿ ¿ ™ †

˙

œ #˙

˙

p

3 4

∑

∑

∑

∑ ˙

p

o

∑

˙™

o

˙™ ˙™ o

con sord. sul pont.

∑

∑

con sord. sul pont.

˙™ ˙™ o

Ó

(ord.)

p

(ord.)

# ˙- ™

∑

Œ

∑

(ord.)

# wp

˙

˙™

# ˙- ™

O m.s.p. O

˙

p

˙ ˙

˙™ ˙™

˙ ˙

˙ ˙

˙™ ˙™

˙ ˙

4 4

O m.s.p. O

¥ m.s.t. ~

¥R

~

¥

¥ m.s.t. ~

¥R

~

¥

¥ m.s.t. ~

¥R

~

¥

p

O m.s.p. O p

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 4

w

3 4

con sord. X - practice sul pont.

∑

Œ # -œ

2 4

con sord. sul pont.

o

Œ

Û

Continue in conversation with flugelhorn.

f agitato

Ó

p

sul pont.

w

∑

2 4

∑

con sord. -Xpractice sul tasto, flautando

q=46, Unraveling ∑

o

3 4

∑

∑

∑ ˙

Û

Continue in conversation with flugelhorn.

r #œ Ó o

p

3. Contrabass

#L ˙ ™

∑

∑

∑

∑

∑

& &

∑

∑

&

con sord. - practice sul tasto, flautando

4. Violoncello

∑

∑

~

O

o

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

4. Viola

4 4

∑

∑

5. Violin I

6. Violin II

∑

valve flicks ad lib.

∑

gliss.

˙

p

∑

‘

5. Violin II

∑

Û B¿ ™™ îü Œ °í¢™™ #f f f f f f †

∑

q=46, Unraveling

4. Violin II (con scordatura)

3 4

4

f agitato

∑

m.s.p.

4. Violin I (con scordatura)

o

Œ

¥ d.p. û °í ™ œ≤ œ œ œ≥ ¿ ¿ ™ îü ™¢ œ œ œ œ ¿ ¿ ™ †

∑

∑

&

sul tasto, flautando

2. Viola

o

p

p

~

O

o

’ delicatissimo

‘

2. Violin II (con scordatura)

˙

˙™

pinched tone

q=46, Unraveling

1. Violin II (con scordatura)

œ

2 4

3

Note: Cutoff cue for violin I’s 2, 3, 5, and 6 occur at the start of the movement. Players should stop on their own time after completing their phrase.

m.s.p.

1. Violin I (con scordatura)

3 4

2

o

2 4

≤ #˙ o

˙™

3 4

Ó

# ˙- ™

œ

# ˙- ™

˙

Πo o

#˙ ™

˙

p

∑

∑

∑ ∑

4 4

o

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

18

U {&

218

Flug.

1. Vla.

2. Vla.

2. Vc.

o

&

B

∑

4. Vla.

&

∑

? ¢

∑

Ó {&

227

Flug.

˙

Û

∑

o

Ó

#f f f f f f f f f f f f

B¿

Œ

∑

w

w

o

p

Œ

3

lontano

>O. exaggerated bouncing bow pizz. ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥. . ... + J ‰ œ >œ œ ‰ œJÆ ‰ œJÆ ‰ œÆ œÆ œÆ œÆ œÆ œÆ œÆ ˙ arco

ê

œ ˙™

~≤

°í ™ ¢™

∑

˙

≥ œ œ ˙™ >

Ó

˙ O ≤ S œT 00

ê

~≤

ê

w

˙

˙

#˙

∑

™™ îü †

Û

≥

o O ≤ S œT 00

o

˙

w

∑

Œ

‘ mf ’

w

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ O™ O™ o

o

p

™™ îü †

o

w

j œ w

˙

#˙

Œ

¥

#˙

#˙ o

˙

#˙

Û

≥

con sord. - practice

∑

>œ≥ ™

˙

¥

irregular trem. ad lib.

∑ œ œ

™™ îü †

O ≤ S œT 00

3

>ϳ

˙

Û

≥

>O. pizz. ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ . ... + J ‰ œ >œ œ ‰ œÆ ‰ œÆ ‰ œÆ œÆ œÆ œÆ œÆ œÆ œÆ W≥. J J lontano

¥

irregular trem. ad lib.

3

∑

w

#˙

arco exaggerated bouncing bow

o

w

irregular trem. ad lib.

>O. pizz. ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ . ... + J ‰ œ >œ œ ‰ œJÆ ‰ œJÆ ‰ œÆ œÆ œÆ œÆ œÆ œÆ œÆ W≥. lontano

˙

#˙

#˙ o

w

#˙

3

∑

p

3

lontano

arco exaggerated bouncing bow

x

o

¥

arco >-. exaggerated bouncing bow O pizz. + > œ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ w≥. . ... œ J ‰ œ ‰ J ‰ J ‰

o

lontano

˙

Û

~≤

ê

o

>O. exaggerated bouncing bow pizz. + > œ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ œ≥Æ W≥. . ... œ J ‰ œ ‰ J ‰ J ‰

1 6

°í ™ ¢™

Ó

>ϳ

#˙

#f f f f f f

‘f’

ê

∑

# ˙≤ o

Ó

Û

6

˙

o

w

∑

p

∑

6

°í ™ ¢™

o

˙

o

valve flicks ad lib.

o

∑

# ˙≤

Ó

o

™™ îü †

Û

≥

arco

x

Ó

~

~≤

∑

~≤

Û

∑

B¿

°í ™ ¢™

°í ™ ¢™

∑

#˙

p

∑

~

Œ

irregular trem. ad lib.

3

∑

w

# w≤ o

~

∑

O ≤ S œT 00

≥ ≥ ≥ ≥ ≥ ≥ ≥≥ œÆ ‰ œÆ œÆ œÆ œÆ œÆ œÆ œÆ W≥. . ... J

∑

Poco più mosso (q=48) o

≥ œÆ ‰ J

∑

#˙

∑

> œ œ ‰

arco exaggerated bouncing bow

∑

∑

∑

∑

lontano

o

˙

Û

œ+

pizz.

Û

p

~

V

ê

o

~

∑

>O. J ‰

x

∑

& ~

=

~≤

o

w

∑

Optional: Vln. Is proceed towards stage. Be set by W.

∑

~

3. Vla.

4. Vc.

Û

~

# w≤

° ~ &

œ b œœœ ≈Ó b œ. œ. œ. œ. œ œ . b œb œ œ B œ > > o

/

6. Vln. II

? ¢

°í ™ ¢™

∑

∑ o

p

x

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ O™ O™

4

/

5. Vln. II

Û

& ~

&

ê

‰ ≈ b œ. œ.

Œ

Poco più mosso (q=48)

& ~

B

ê

>œ.

3

/

4. Vln. II (scord.)

° ~ &

o

2 3

/

3. Vln. II (scord.)

∑

>œ. B œ J‰ o

1

/

2. Vln. II (scord.)

˙

ord.

/

1. Vln. II (scord.)

Poco più mosso (q=48)

∑

∑

Gesture 1 d.p.

1. Vln. II (scord.) 2. Vln. II (scord.)

3. Vln. II (scord.)

1. Vla.

2. Vla.

1. Vc.

2. Vc.

4. Vln. II (scord.)

I II III IV

°

û °í ™ œ≤ œ œ œ≥ ¿ ¿ ™ îü ¥ œ œ œ œ ¿ ¿ ™† ¢™ f agitato

O S 00 œ T

™™ îü †

irregular trem. ad lib.

& &

w w™

B #˙ &

Û

≥

o

O ≤ S œT 00

™™ îü †

irregular trem. ad lib.

#˙

w

o

˙

?

Û

≥

œ #œ p

? ¢ w

3. Vc.

4. Vc.

¥

Transition to Gesture 1 ad lib., but not before 2. Vln. II

˙

˙

#˙

w

∑

∑

≥ œ œ™ œ >

œ

#œ

˙

∑

w

˙

°

#˙

˙

˙

˙

#w

∑

˙

œ #œ

œ

˙

∑ ˙

œ

#˙

#˙

#˙ o

#w

˙

#w

w

#w ∑

w

˙

˙

#˙

#˙

w

#w

¥

Transition to Gesture 1 ad lib.

¥

Transition to Gesture 1 ad lib., but not before 4. Vln. II

6. Vln. II

4. Vla.

¥

Transition to Gesture 1 ad lib., but not before 1. Vln. II

5. Vln. II

3. Vla.

¥

Transition to Gesture 1 ad lib.

B ˙

#˙

#˙ ™

& ˙

˙

w

? ? ¢ ˙

#œ p

#˙

∑ ˙

w

∑ ˙

˙

˙

≥ œ > œ™ ˙

w

#œ

w

∑

˙™

w ˙

∑ #˙

¥

Transition to Gesture 1 ad lib., but not before 5. Vln. II

#˙

˙

∑ ˙

w

˙

#œ

˙™

œ

#˙

˙

˙

∑

Ó

#˙

˙

#˙ o #˙

#˙

#˙

˙

#˙

#˙

˙

˙

˙

19

W Poco più mosso (q=50) . ü ° Œ í¢™™ œ ™ µ œ ™™ î† {&

235

¥B

*

f

¯¯¯¯¯¯¯¯¯¯¯¯ , °™ O ™™ îü í & ¢™ †

2

Û

Œ

3

oê

> ≥.^ . ... œ œ J o f

™™ îü ¥ †

Poco più mosso (q=50) Transition to Gesture 2 ad lib.

grow increasingly frenzied

2. Vln. II (scord.)

Transition to Gesture 2 ad lib.

grow increasingly frenzied

3. Vln. II (scord.)

Transition to Gesture 2 ad lib.

grow increasingly frenzied

1. Vla.

B #˙

2. Vla.

&

1. Vc.

2. Vc.

1. Cb.

4. Vln. II (scord.)

?

# ˙≤

œ #œ

#w

˙

#˙™

#œ

? #w 5 ¢

∑

˙

#˙

w

w

>ϳ

# w≤

˙

Ó

≥ œ > œ™ œ

˙

sul tasto X

œ

Œ

œ™ ˙

œ

#œ #˙

w

#œ

˙

˙

w

>ϳ

w

˙™

w

w

œ

#˙

œ

˙

œ ˙™

#œ

œ ˙

œ

≥ œ > œ ˙™ # œ>

œ

Transition to Gesture 2 ad lib.

grow increasingly frenzied

6. Vln. II

Transition to Gesture 2 ad lib.

grow increasingly frenzied

# ˙≤

4. Vla.

& ˙

#˙

w

? #˙

#˙

œ #œ

? ˙

#˙

˙

3. Vc.

4. Vc.

2. Cb.

=

5 ¢

1. Vla.

2. Vla.

1. Vc.

∑

˙

# ˙≤

w

∑

≥ œ > œ™ ˙

œ™ œ

˙™

con sord. - practice sul tasto

>ϳ

˙

œ

#œ

˙™

˙™

w

#œ

w

#˙

Œ

2 4

X {&

nK w 5

°B # ˙ & ?

Œ

#˙

Œ

œ

f

5

w

#œ

˙ #œ

w

˙™

#œ

#˙ ™

#œ

°B ˙

#˙ ˙

& ˙

5 œ ¢

2 4

p

f

˙

˙

˙

w #œ

œ œ

#œ

w

˙

w

#œ

œ

˙™

œ

w

#˙

w

œ™ œ

#˙

w œ

f

˙ ˙™

w

≥ œ > œ™ œ

œ

œ

œ

œ

œ

#œ

œ

#œ

˙ ˙

4 4

∑

œ

˙™

œ

œ

œ

#˙

œ

œ

œ

w

˙

>ϳ

œ™ œ

œ

œ

˙

˙™

#˙

˙™

˙™

#œ p

˙

#w

#˙

œ

≥ œ > œ™ ˙

œ

œ

˙

˙

˙

˙

˙

˙™

w

4 4

Œ

w

#˙ ™

3 4

#œ

˙

˙

dim. poco a poco

˙

∑

#œ

≥ œ > œ œ

w

˙

˙

w #œ

œ

Œ

œ

œ

w

#œ ˙

˙™

œ o

p

œ

êf

w œ

˙

˙™ ˙

˙

œ ˙

˙™

˙™

5

Œ

Œ

j‰ Œ #œ ' f

#˙

,

#˙

#˙

B

#w #œ

˙™

#œ

#œ

˙™

œ

poco rit. #˙

œ

œ

˙

#w œ

˙

#˙

˙

˙™

˙

#˙

#˙

5

#œ

#˙

#˙

˙

bJ œ œ b ˙‰ J

#˙

w

˙

œ

poco rit.

w

˙

˙™

poco rit. 5

˙ #œ

Û

œ

Œ

œ

Û

œ #œ œ ˙ >

bJ ˙ ™

˙

œ Û

˙

w

#˙

˙

#˙

#˙

˙

4 4

dim.X poco a poco

f

? #˙

2. Cb.

3 4

dim.X poco a poco

5 ¢ w

? ˙

˙

>ϳ

1. Cb.

4. Vc.

o

Œ

˙

#˙

f

f

˙

Bœ

3 4

dim. poco a poco

w #˙™

2 4

w

3. Vc.

>ϳ

˙

? w

4. Vla.

˙

#˙

2. Vc.

3. Vla.

w

* Repeat as fast as possible. Slowly allow pitch to sag using tuning slide.

243

Flug.

œ #œ

˙

#˙

#˙

˙

˙™

w

œ

#˙

5. Vln. II

#˙

5

Û

w

grow increasingly frenzied

B ˙

œ œœ

Û

œ

#˙

˙™

#œ

˙

Transition to Gesture 2 ad lib.

3. Vla.

&˙

Û

x Poco più mosso (q=50)

°

quasi gliss.

Optional: Vln. IIs proceed towards stage. Be set by Y.

x

°

Œ

maestoso

#œ

#˙

êf

˙

œ

#˙

˙

˙

œ

œ

ê

1. Vln. II (scord.)

O≤

/

° & í¢™™

ی

grow increasingly frenzied

Improvise downward wails ad lib.

Gesture 2

4

ê

Flug.

E™

lip up

˙ œ

#˙ #˙

#˙ ™

B

2 4

20

Poco più mosso (q=52)

1

251

5. Vln. II

6. Vln. II

3. Vla.

4. Vla.

3. Vc.

4. Vc.

2. Cb.

Œ

?

∑

∑

∑

∑

Œ

2 4

x

∑

Œ

∑

&

Œ

∑

&

Œ

∑

&

Œ

&

∑

&

∑

B

,  œ # ˙> #œ #œ

#˙

? 5 ¢

° &

 œ #œ #œ

≤

≥. . ... ˙^ ™

≤

≥. . ... b ˙^ ™

≤

≥. . ... b ˙^ ™

œ œ

≤

≥. . ... ˙^ ™

≤

¥

ê ˙

∑ ∑

∑

∑

#˙

Ó

∑

˙

,  œ # ˙> #œ #œ

Ó

# ˙> ™

œ

f

# ˙≥

˙ œ

˙ #˙ ™

#œ

˙ #œ

êf

êf

˙ ˙

˙™

p

˙ ˙

≥ # >œ ™ œ œ

œ

#˙

w

Œ

Œ

5

Œ

5

Œ

#œ o

#˙™

Œ

#1

Œ Œ

Ó

Œ

o o o

Œ

Œ

Œ

Œ

Œ

Œ

œ ˙ #œ >

# œo f

Ó

4 4

f nœ ‰ J+

f œ ‰ J+

œ J+

O æR ˙ O ææ R w

w

˙

O æR # ˙-

˙ ¥ ord.

êf> œ

˙

˙≤

˙™

˙≤

˙™

o o

˙≤ o

˙

˙≤

˙

o

˙≤ o

êf

ϳ

êf

ϳ

êf

˙≥

êf

˙≥

êf

˙ ≥ # >œ

œ ˙

#˙ ≥ # >œ ™ œ œ

œ

¥ ord. #˙

êf

w

˙

œ

#œ

êf

2 4

˙ ˙

œ J+

˙™

êf>

4 4

p

l.h. pizz. ad lib.

œ J+ œ J+ œ J+

l.h. pizz. ad lib.

œ J+

l.h. pizz. ad lib.

#˙ irregular trem. bursts ad lib.

œ

˙

œ

˙

œ

˙

˙

˙

˙

˙

œ

O ææ R w O æR w

o o o o

Œ Œ Œ

3 4

Œ

Ó

OO≤. J ‰ Œ

Œ

Ó

OO≤. J ‰ Œ

Œ

Ó

OO≤. J ‰ Œ

Œ

Ó

OO≤. J ‰ Œ

Œ

Ó

OO≤. J ‰ Œ

Œ

Ó

irregular trem. bursts ad lib.

O æR ˙

irregular trem. bursts ad lib.

p

O æR #˙ O ææ R p

˙™

p

irregular trem. bursts ad lib.

? #˙

irregular trem. bursts ad lib.

˙

irregular trem. bursts ad lib.

#œ

˙™ ˙™ ˙™ ˙™ ˙™

Û

Û

OO≤. J ‰ Œ

p

p

˙

œ

Û

Û

˙™

irregular trem. bursts ad lib.

o

œ

˙™

irregular trem. bursts ad lib.

˙

>ϳ

˙™

> œ #œ œ

irregular trem. bursts ad lib.

o

Û

˙™

irregular trem. bursts ad lib.

#˙

œo

Œ

œ J+

˙

˙

˙

#œ

œ

œ #œ

œ J+

p

˙

˙ ¥ ord.

O æR

˙

ϳ

˙≥

O ææ R w

˙

˙

˙™

˙≤

o

#˙

?

œ

œ J+

l.h. pizz. ad lib.

p

˙

3 4

œ J+

œ J+

˙

œ

l.h. pizz. ad lib.

œ J+

f œ ‰ J+

3 œj

œ J+

œ J+

f œ ‰ J+

Œ

o

Œ

l.h. pizz. ad lib.

œ J+

f nœ ‰ J+

# œo ‰ J

œ J+

œ J+

o

˙™

“ #œ

Œ

œ J+

f œ ‰ J+

!

f

∑

# œ»

3 4

p

#œ

p

Ó

˙™

w ˙

Ó

˙™

w

f

˙ œ

Ó

∑

p

˙≥

˙™

Ó

∑

∑

˙

êf

f

Ó

∑

#˙

b ˙≥

o

˙™

ord.

Ó

∑

∑

#˙

êf

p

∑

 œ #œ #œ

b ˙≥

#w

Poco più mosso (q=52)

o

˙

≥ # >œ ™ œ ˙

˙

,

êf

o

˙

˙≥ ™

˙

w

œ

êf

˙

p

#œ

˙

b ˙≥ ™

˙

w

œ

êf

˙

˙

#œ

b ˙≥ ™

˙

êf

˙

&

5 ¢

œ

# w≥

w

&

?

≥. . ... b ˙^ ™

≤

f

&

B

f

# ˙> ™

&

&

œ

p

&

B

Œ

w

& B

Œ

≥. . ... b ˙^ ™

ê

4. Vln. II (scord.)

&

∑

° &

Œ

p

∑

Poco più mosso (q=52)

Œ

f

ê

6. Vln. I

œ

ê

5. Vln. I

#w

ê

4. Vln. I (scord.)

Œ

4 4

f

ê

1. Cb.

Œ

Π5

#1

#˙ ™ o

5

Œ

ê

2. Vc.

Œ

ê

1. Vc.

˙™

ê

2. Vla.

5

ê

1. Vla.

œ

Œ

∑

/

3. Vln. II (scord.)

f

#œ

Œ

∑

/

2. Vln. II (scord.)

œ

˙™ o

Œ

/

1. Vln. II (scord.)

5

Œ #˙ o

/

3. Vln. I (scord.)

Œ

5

5

/

2. Vln. I (scord.)

Œ

/

1. Vln. I (scord.)

{

∑

&

Œ

ê

Hp.

∑

&

ê

Flug.

2

ê

{

Y

Û Û Û Û Û

4 4

Œ

Ó

∑

Œ

Œ

Ó

∑

Œ

fœ J+

Œ

Ó

∑

Œ

2. Vln. II (scord.)

&

fœ J+

Œ

Ó

∑

Œ

3. Vln. II (scord.)

&

fœ J+

Œ

Ó

∑

Œ

1. Vla.

B

œ

#œ

˙

œ

#œ

œ

˙™

&

w

1. Vc.

?

˙™

2. Vc.

?

w

˙™

≥ œ ™ œ >

w

˙™

˙™

≥≥. . ... ˙^

˙

/

5. Vln. II

4. Vla.

B &

≥≥.^ . ... ˙

#˙ ™

3. Vc.

œ

4. Vc.

?

w

2. Cb.

>œ≥ ™

˙

?

5 ¢

œ

p

˙™

œ

#œ

œ

˙

˙™

œ

#˙ ™

˙™

p

#œ j œ

˙™ œ ˙™

˙™

˙™

O 7R œ O 7R ˙

˙™ # œ>

œ

œ ˙ w

Bœ

µœ

#œ

˙

µœ

#œ

˙

µœ

irregular ‘drunken’ trem.

Bœ

Bœ

irregular ‘drunken’ trem.

nœ

f

˙

nœ

Bœ

˙

O 7R ˙

irregular ‘drunken’ trem.

#˙

œ

irregular ‘drunken’ trem.

irregular ‘drunken’ trem.

#œ

˙

œ

œ

#˙

w œ

œ

O 7R œ

#œ

˙

œ

˙

#œ

#˙ irregular ‘drunken’ trem.

˙

w

w

w

rit.

Bœ

n˙

Bœ

n˙

irregular ‘drunken’ trem.

f

w

irregular ‘drunken’ trem.

Bœ

irregular ‘drunken’ trem.

f

n˙

œ

Bœ

n˙

œ

Bœ

œ

Bœ

n˙

œ

Bœ

œ

Bœ

n˙

œ

Bœ

Û Û

Û

n ˙≤ ≤ n˙

w

w

˙

˙≤

≥.^ . ... ˙™

w

w

˙

≤ ˙

O 7R #˙

#˙ ≥ œ > œ œ

irregular ‘drunken’ trem.

#˙

#˙

O 7R #˙ O 7R w œ

irregular ‘drunken’ trem.

˙

irregular ‘drunken’ trem.

#˙

w

#˙

w

w

#˙

#˙

˙

irregular ‘drunken’ trem.

w # œ>

O 7R ˙

irregular ‘drunken’ trem.

w

w w

ss.

n ˙≤

≥. . ... ˙^ ™

O 7R

Û

Û

˙≤

œ

Û

Û

irregular ‘drunken’ trem.

˙

œ

≤ nœ

Û

w

êf

Û

# ϲ

w

w

êf

Û

&

n ϲ

œ

≥. . ... ˙^ ™

êf

Û

#˙

f

w œ

œ

≥. . ... w^

êf

˙™

˙

O 7R w

/

3. Vla.

&

œ

O 7R œ

p

/

6. Vln. II

&

O 7R

/

˙

ê

≥.^ . ... w

p

˙

≤ œ

/

≥≥. . ... ˙^

˙™

nœ

˙™

/

&

˙

/

4. Vln. II (scord.)

&

≥≥.^ . ... ˙

Bœ

w

O 7R œ

êf

p

˙

w

≥. . ... w^

êf

p

˙™

˙

/

6. Vln. I

&

˙™

nœ

≥.^ . ... œ œ œ

ê

/

≥≥. . ... ˙^

4 4

rit.

Bœ

irregular ‘drunken’ trem.

-

# ϲ

#˙

ê

˙

/

5. Vln. I

3 4

¥?

Thunder gliss. ad lib. Pedal buzz ad lib.

-

˙™

/

° &

≥.≥ . ... ˙^

/

4. Vln. I (scord.)

4 4

Œ

w

#˙

#˙

Ó

o

w

ê

1. Cb.

5 ¢

˙™

œ

°í ™ 7 ™ îü ¢™ & ò ™ † ö “™

∑

o

Ó

Œ

≥. . ... œ œ^ œ

ê

#˙

˙

^ #˙

^ ^ ^ #œ œ œ ˙

Œ

œ

ϲ

ê

2. Vla.

O 7R ˙

^ œ

5

5

j #œ #œ

˙™

≤ œ o œ

O 7R ˙

‰

w

# ϲ o

brutale sempre

j Œ œ

w

ϲ

≥. . ... œ œ^ œ

o

œ

ê

œ

#Ϫ o

f

≥.^ . ... œ

/

fœ J+

≤ ˙ o

/

&

ê

o

O 7R ˙

» ˙ “™

^ œ

5

Œ

f

≥. . ... œ^

/

1. Vln. II (scord.)

# ˙≤

ê

&

ê

o

ê

3. Vln. I (scord.)

Œ

≥. . ... œ^

ê

&

fœ J+

∑

brutale

Ó

/

Ó

o

5

∑

/

Œ

˙≤

˙

j œ #œ o

g li

∑

‰

ss.

∑

j #œ #œ

g li

∑

^ #w

5

∏∏∏∏

3 4

Œ

5

∑

fœ J+

2. Vln. I (scord.)

Œ

f

Ó ∑

Œ

5

ê

° &

‰

bJ œ b œ œ

ê

Œ

?

4 4

‰ Œ

5

œ

‰

ê

&

<“> © #œ

Œ

bJ ˙

∑

/

1. Vln. I (scord.)

{

Œ

bJ œ ™

∑

rit.

ê

Hp.

&

∑

4 4

ê

Flug.

&

3 4

ê

{

258

4Z 4

21

#˙

˙

Û Û Û Û Û

22

AA {&

264

Flug.

Hp.

{

& &

b ->œ ™ J

Poco più mosso (q=54) 5

>-œ . >bJ œ b -œ ≈ R J ≈ J ≈ nK œJ ≈ œR œR ≈ n œR ≈ nK œR 5

5

5

œ bJ œ. ≈ œJ. œ n œ- ≈ nK œ- ≈ -œ ≈ œ- >œ. b œ. J J 5

5

5

>. bJ œ. >>- b -œ œ œ. -œ bJ >-œ bJ œ b ->œ ≈ n œJ ≈ nK œR œR ≈ œJ ≈ ≈ œJ ≈ œR œR ≈ n œ ≈ Kn œJ ≈ J ≈ J ≈ J ≈ œR ≈ œR

5

5

5

5

5

5

5

5

“> # œœœœ

˙˙˙˙ ™™™ ææ o Œ

© wwww ææ

bisbig. - random, shifting, messy

> # œœœœ

wwww ææ

wwww ææ

Ó

∑

∑

poss.

1. Vln. I (scord.)

Œ

Ó

∑

∑

∑

2. Vln. I (scord.)

&

>œ. R ≈ ‰

Œ

Ó

∑

∑

∑

3. Vln. I (scord.)

&

Œ

Ó

∑

∑

∑

1. Vln. II (scord.)

&

r œ. ≈ ‰ > >. œ ≈ ‰ R

Œ

Ó

∑

∑

∑

2. Vln. II (scord.)

&

>. œ ≈ ‰ R

Œ

Ó

∑

∑

∑

3. Vln. II (scord.)

&

r œ. ≈ ‰ >

Œ

Ó

∑

∑

∑

≥ B ˙

#˙

œ

f

1. Vc.

2. Vc.

& ?

# >œ-

˙

œ

# ˙>-

œ

# >œ-

œ

˙

dolce, luminoso

w≥

# ˙≥ ™

w

w

w

w

w

w

w

w

w

w

w

w

f dolce, luminoso

#œ

&

f dolce, luminoso

? w≥

f dolce, luminoso

1. Cb.

?

Poco più mosso (q=54)

>. œ ≈ ‰ R

2. Vla.

o

∑

° &

1. Vla.

5

implorante

5 œ≥ ¢

œ

˙

f dolce, luminoso

4. Vln. I (scord.)

° &

Poco più mosso (q=54)

>. œ ≈ ‰ R

5. Vln. I

&

>œ. R ≈ ‰

6. Vln. I

&

>. œ ≈ ‰ R

4. Vln. II (scord.)

&

5. Vln. II

&

>œ. R ≈ ‰

6. Vln. II

&

>. œ ≈ ‰ R

3. Vla.

>. œ ≈ ‰ R

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

≥ B ˙

#˙ ™

˙

> # -œ

f

4. Vla.

3. Vc.

&

Ϫ

#˙

> # -œ J

x dolce, luminoso

w≥

˙

f dolce, luminoso

≥ ? #˙

#˙

œ

˙

w

#œ

#˙ ™

˙

w

w

˙

w

w

w

w

w

w

w

w

> # -œ

f dolce, luminoso

4. Vc.

?

≥ #˙

f dolce, luminoso

2. Cb.

5 ˙≥ ™ ¢

œ

œ

˙™

f dolce, luminoso

5. Vla.

5. Vc.

°B ?

Poco più mosso (q=54) ∑ ∑

w o &

Œ

> # -œ

œ

dolce, luminoso

3. Cb.

5 ¢

∑

w

o

# œ>

œ w

> # -œ

o

dolce, luminoso

œ

# œ>

> # -œ

œ w

dolce, luminoso

œ

# œ>

?

o o

cresc. poco a poco a m. 276

ê

5 w ¢

˙

Ϫ

œ

≥.^ . ... œ

˙™

≥ #œ œ >

˙

#œ

œ

œ

#œ

œ

w

ê

2. Cb.

? ˙

&

>ϳ

o

œ