Contemporary
saunders rubricare for baroque string orchestra Full Score
EP 10959R
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10/07
Explanatory Notes 4 violins I (A = 415 Hz) 4 violins II 2 violas 2 violoncelli 1 fretted double bass - Viennese tuning system V-I = F-A-D-F#-A. Baroque organ with 8- and 4-foot stops.
Instrumentation
Semi-circle layout from left to right: violin 1 1.-4.; viola 1.-2.; organ; double bass; violoncelli 1.-2.; violin II 4.-1. If necessary place violoncelli slightly further forward, keeping sight-lines to leader of violinII, double bass and organ. Violins and violas standing.
All strings: fl.
Sul tasto extreme and flautando at half-way node on string.
s.p.
Sul pont:
½-s.p.
SP-colouring, but at all dynamics written tone remains audible and noise/overtone content is heard but not dominant. Microtonal adjustment always by a quarter-tone - a timbral and expressive function which need not be exact.
+ s.p.
a. at pp/ppp, hear overtones - written tone inaudible; b. p-f distortion and noise content grow; c. at ff complete “noise“.
Bow stop onto next beat. fl.
Gradual and constant change of timbre. Crescendo from silence, or decrescendo to silence.
A wide and clearly rhythmic vibrato at sul pont. Hear rhythmically moving overtones.
Vibrato pulse at start of note, like an expressive accent, then subito non vibrato.
Heavy bow, without decrescendo, flat left hand finger fast glissando. Near sul pont. and very loud for complete distortion.
”Noise” attack, marcarto extreme accent, deep in the string, and then subito ordinary, unless otherwise indicated.
Double stops: on long notes bring out interference beats between the two tones by controlling speed of bow, and allowing open string to ring.
Glissando to highest pitch.
s.p. extreme
B. 49-53, viola 1 and violoncello 1: Explore timbre and overtones, seeking, and staying on, very high complex overtones - written tone not audible - extremely quiet and beautiful.
Percussive texture b. 1-137 - violoncelli and double bass
Very heavy bow. Extreme marcarto and staccato. Play like harmonic at non-harmionic node around area of 4th-8th harmonic. Avoid ”proper“ overtones and seek double layers of overtones, distortion and sul pont timbre for very loud and complex noise component.
Vertical bow motion on open string from fingerboard (f.b.) to bridge (s.p.) increase noise distortion with crescendo.
Gradually to tremelo of maximum speed.
Barrée glissando to top of strings bringing out distortion and overtones.
Bartok pizzicato with immediate glissando to top of string.
Left hand ”release“ pizzicato of all open strings as fast as possible.
Battuto violently sff (crini) on the fingerboard and hear wood of bow hit fingerboard. Sempre secco.
Pizzicatos all strings All pizzicatos are very percussive. Actual pitch is less important.
Finger chords with flat fingers and strike where possible the strings from above, hitting the fingerboard for a percussive “wood“ timbre III/IV-strings most important. I to IV as fast as possible:
All glissandi immediately after pizzicato attack. LH fingers flat. III/IV most audible.
Violoncello: first finger I-IV as fast as possible, nearly barrée. High tones barely audible. Extremely percussive and dry.
RH pizzicato of LH barrée first finger chord, followed by LH barrée attack with second (or third) finger aiming for III/IV. LH pitches only approximate. Percussive and dry.
Long pizzicato. Find most effective mid-speed for most audible glissando. III/IV most important.
Double bass left hand slap onto IV and V. As loud as possible. Frets clearly audible.
Baroque organ With basic 8-foot and 4-foot stops, and combination of both. Simple lever or knob moves between off and on position. Gradually arrive at full sound at rhythmically indicated point. Hear air sound at start and allow very gradual timbral transformation.
Gradually to air and then to silence.
½-8' & ¼-8'
To balance carefully with string ensemble. Sound not yet full, but tone is audible. Timbre clearly full of “air“.
General 1.
B. 1-137 In central first part of the work, the sound material and function of the two instrumental groups are clearly separated: 1. Continuo of violoncelli, double bass and organ – percussive palette; 2. violins - the violas play a double role bridging the two distinct sound worlds. The pauses indicate a minimum duration.
violins and violas Es The first part is an exploration of timbral and expressive potential of a single tone. The quarter-tones have a timbral and expressive function and need not be microtonally exact. Imagine the quarter-tones make up a reduced melodic line. And think Bach (remember the Chaconne from Bachs D minor Partita)! Within this very reduced palette of sounds, the extremes of articulation are very important, and absolute contrast of timbre, attack and intent. Take every opportunity to explore soft, expressive, warm sounds. Percussive texture (viola), violoncelli and double bass The percussive and distortion potential of the sul ponticello palette are taken here to a further extreme. 2.
B. 136-178 – pizzicato section The pizzicato palette capitalises on tension of strings and particular chamber-playing techniques of the ensemble observed in rehearsal and performance. The given tempi are absolute maximum.
3.
B. 178-end Tutti chords aim for a luminous and calm quality. A chorale-like sequence of chords. The single thread of melody in violoncelli, double bass and organ, is discreet and contained, framing the soli As. From bar 185 soli violin and viola expressive and warm exploration of As. Again, a reduced melodic line where microtonal adjustments are timbral rather than tonal. And again - Bach!
Duration With given tempi and pauses, minimum 16 minutes. General Change bows freely and often on long notes. Many bowing are given, but adapt and change as necessary. Silence is the canvas. Despite choleric nature of main sound material, all sounds surface out of and disappear into silence. Pauses are minimum. Please extend (but do not shorten) pauses if you need to. Pauses have different roles depending on context – absolute silence, hiatus, resonance, framing sound, re-focusing the ear ... Pauses are critically dependent on acoutic, tempi and interpretation.
Satz und Layout:
for hilda may Kompositionsauftrag des Siemens Arts Program für das Freiburger Barockorchester
rubricare (2005) Rebecca Saunders (* 1967)
= 46
5
1
2 Violin I 3
4
5 1
2 Violin II 3
4
s.p.
5
sub. flaut.
ord.
warm
1 Viola
sempre warm 3 ord.
s.p. flaut. 2
sempre s.p. flaut. molto vib.
5 ord.
non vib.
ord.
non vib.
1 s.p. flaut. molto vib.
Violoncello 2
5 Double Bass
V IV
pizz.
8
= 54
Organ
5
-8’, -4’
off
½-8’
off
off
chr.
Litolff/Peters Nr. 10959 R
chr.
32528
8’
-8’
non dim. © 2005 by Henry Litolff’s Verlag 10/07
2
= 54
8 1
2 Vln. I 3
4
1
2 Vln. II 3
4
pizz. 1
Vla.
3
pizz. 2
s.p. flaut. pizz.
3
1
Vc.
s.p. flaut.
s.p.
3
2
s.p. flaut. arco IV
Db.
ord. free bows
s.p.
sub. fast vib. (arm)
sub. ord.
3
8
V
sub.
sempre
= 54 Org. off chr.
32528
8’
3
6½
16
= 60
1
2 Vln. I 3
4
6½ 1
2 Vln. II 3
4
6½
arco
1 Vla. arco 2
fl. arco
sub. vib.
fl. arco
sub. vib.
6½
ord. non vib.
1 Vc. ord. non vib.
2
6½ Db.
non vib.
8
non dim.
6½
Org.
= 60
chr.
chr. (½-8’) ½-8’ chr. 32528
8’
sim.
4
wait
23
½-s.p. flaut. II
II
s.p. flaut. III II
III
1 3
3
fl. III
2 Vln. I
fl. III
3 fl. III
4
s.p. sub. II flaut.
wait 1
3
fl. III
2 Vln. II
fl. III
3 fl. III
4
wait
s.p. IV
3
1
wait s.p.
Vla.
IV
3
2
sub. s.p. III IV
(s.p.) II III
fb. batt. viol.
3
vert. heel
s.p. wait
ord.
II
1 3
wait Vc.
sub. s.p.
vert. heel fb.
batt. viol.
s.p.
ord.
2 sub. sub. s.p. ord.
Db.
wait s.p. max. trem.
sub. ord. sub. slow vib. (finger trill)
8
sub. sub. 4’ + 8’
Org.
wait
-8’, -4’
32528
IV (
)
(
vib.
)
5
= 54 s.p.
30
= 66 ½-s.p. I
5
ord.
II III
GP
s.p.
o IV III II
1 3
s.p.
s.p. sub. ord.
GP
III II III
II III II
3
3
2 Vln. I s.p. sub. ord.
GP
o IV III II
s.p.
3 3
s.p.
s.p. sub. ord.
GP
III II III
II III II
3
3
4 s.p.
5
ord.
fl.
GP
IV
1 sempre
s.p. sub. ord.
fl.
GP
IV
2 sempre Vln. II
s.p. sub. ord.
fl.
GP
IV
3 sempre s.p. sub. ord.
fl.
GP
IV
4 sempre
5
pizz.
GP
arco
fl.
1 sempre
3
Vla.
G P pizz.
arco
fl.
2 sempre
5
pizz.
GP
s.p. arco
I II
fl.
1 3
Vc. pizz.
GP
s.p. arco
sempre
I II
fl.
2 3
5 Db.
sempre pizz.
GP
8
5
= 54
= 66 GP
Org.
GP
32528
off
¼-8’
6 s.p. flaut.
38
5½
II
2
o
II
III II o
II
III
o/II
II
0
II III
II
o
II III
1 3
s.p. flaut.
non flaut.
II
I
0 II III
2 Vln. I
s.p. flaut. I
3
s.p. flaut. I
4
5½
2
s.p.
s.p.
½-s.p.
III
0 II
1
s.p.
½-s.p.
III
0 II
2 Vln. II
½-s.p. 0 II
3 ½-s.p. 0 II
4
5½
2
pizz.
I II
1 III
Vla.
pizz.
I II
2 s.p.
5½
I II
2
III
½-s.p.
s.p.
s.p. flaut.
1 3
s.p.
Vc.
sub. ½-s.p. ord.
I II
s.p.
s.p. flaut.
2 3
5½
3
2 ½-s.p.
sub. ord.
arco Db.
½-s.p. 3
sub. ord.
s.p.
batt. viol.
8
sub.
5½
¼-8’
Org.
2
8’
+8’
chr. 32528
+4’
4’ + 8’
-8’, -4’
7
III
44
II
o
½-s.p.
s.p.
s.p. flaut.
III
III
o
II III
ord.
1 3
3
sempre ½-s.p.
II o II
IV III II
o II
s.p.
III
II
ord.
2 3
3
Vln. I
sub.
non flaut. II o
II
o
II III
ord.
IV III II 0
3 3
3
sub.
ord.
4
III
II
ord.
o III IV II
II III II o
II
s.p.
o o II
III
o IV III II
ord.
1 3
3
ord.
3
3
3
sub.
IV III II o
s.p.
o
s.p.
2 Vln. II
sub.
s.p.
s.p.
III
III
3 s.p. III
s.p.
o
4
ord. arco
II
ord. arco
II
sub. s.p.
1 Vla.
sub.
2
s.p.
ord. 1 Vc.
s.p. flaut.
ord.
IV
2 ½-s.p. 5
Db.
sub. ord.
8
sempre
Org.
32528
8 (s.p. flaut.)
48
II
ord.
III II o
II III II
3
3
s.p. II III II III II
o
II
ord. III II
II III II o
II
o
s.p.
II III II
IV III
II/o
=60 12
flaut. col legno
1 3
s.p. flaut. o
II
3
3
3
II
III II o
3
s.p.
ord. III
3
II III II
flaut. col legno
ord.
III II o
II
III
II
III II o
II o
II
III II
2 3
3
3
3
3
sempre
Vln. I
3
3
s.p.
flaut. col legno
ord.
III II o
II III II
3
3
III II o
II
3 3
3
flaut. col legno
s.p.
o IV III II
IVIII II
4 (ord.)
s.p.
ord.
II III II
III II o
II III II
3
3
3
III II
o
II
o
sub.
II III II
s.p. II III II
12
1 3 3
3
3 IV III
s.p.
o II
II III II
ord. 2 IV III o II
Vln. II
IV III o II
3
ord.
3
IV III o II
IV III
o II
ord. 4 s.p. extreme flaut. * [see notes]
12
1 sempre
Vla. 2 s.p. extreme flaut. I * [see notes]
ord.
12
1 sempre Vc.
s.p.
ord.
III IV
2 sub. sub. ½-s.p. ord. Db.
sub. trem.
s.p.
12
8
sub.
=60 12
Org.
off
8’
+4’
chr. 32528
4’ + 8’
-8’, -4’
9
52
s.p. (flaut.) crini
= 66
s.p. sub. ord.
s.p. sub. ord.
ord.
o
II
o
s.p.
ord.
II
o II
o
II
IV II III
3
1 3
s.p. (flaut.) crini
3
3
3
s.p. sub. ord.
s.p. sub. ord.
ord. II
s.p. o
II
2 3
Vln. I
s.p. (flaut.) crini
s.p. sub. ord.
s.p. sub. ord.
ord. II
3
s.p. o
II
3 3
s.p. (flaut.) crini
3
s.p. sub. ord.
s.p. sub. ord.
s.p. III
4
sub. s.p. fl.
o II III
ord.
s.p.
o
III
II
arco
pizz.
1 3
IV
sub. s.p.
sub. fl.
s.p. o II III
3
3
3
III
pizz.
arco
2 3
sub.
Vln. II
IV
sub. s.p.
fl.
s.p. o II III
III
pizz.
arco
3 3
sub.
IV
sub. s.p.
fl.
s.p. o II III
III
pizz.
arco
4 3
IV
sub. ½-s.p. 1 3
Vla.
½-s.p.
2 3
s.p. I II
ord.
1 s.p.
Vc. I II
ord.
2 batt. viol. Db.
8
off
8’
chr.
= 66 -8’
Org.
32528
IV II III
10
58
5
4
s.p. ord.
1 s.p. III II o II
sub.
III
ord. 2 3
Vln. I
3
sub.
s.p. ord.
3 s.p. III II o II
sub.
III
ord. 4 3
3
sub.
5
4
III
ord.
1 s.p. flaut.
ord.
2 Vln. II
III
ord.
3 s.p. flaut.
ord.
4
5
s.p. flaut.
4
ord.
/
1 Vla.
s.p. flaut. ord.
/ 2
5
4
5
4
poco vib. sempre
s.p. flaut.
1 Vc.
poco vib. sempre
s.p. flaut.
2
5
sub. slow vib.
4 ord.
Db.
8
sempre
5
4
Org.
32528
11 s.p.
½-s.p. II
64
o
II
III II
o
II
o II
III
II
o
II
III
II
o
sub. s.p.
fl.
III
II
1 3
3
sempre
sub. s.p.
s.p.
IV III o/II
II o II III II o
II III II
II
3
3
fl.
flaut.
II
½-s.p. 2 3 3
s.p.
Vln. I
3
3
sempre
½-s.p.
I
fl.
o/II
II
3
3 sempre s.p.
½-s.p.
fl.
IV III o/II
II
4 sempre s.p.
½-s.p. IV III o/II
IV III
o/II
½-s.p. sub. flaut. warm III
1 3
s.p.
½-s.p. IV III o/II
3
2 3
o/II
Vln. II 3
o/II
4
½-s.p. I
1 ½-s.p.
Vla.
I
II I
2 3
ord. 1 sub. ord.
Vc.
sempre
2 sub. sub. flaut. Db.
s.p.
sempre
8
off
Org.
8’
off
chr. 32528
12 ½-s.p. flaut.
sub. ord. II III II o
67
II
III
II o
II III II o
II
o
ord.
II III
III
1 3
3
3
3
3
s.p. flaut.
sub.ord. II
3
o
II
III
II
o
ord.
II
III
2
sub. ord.
Vln. I
ord.
III II o
III
3 3
ord.
½-s.p. II
III
II
o
ord.
II
III
4
ord.
½-s.p.
III II o
fl.
o II III II III
II III II sim.
1 3
3
3
3
3
3
3
3
3
sempre III II o
ord. 2 3
Vln. II
fl.
3 sempre
sub.
sempre
sub.
fl. 4
II I
II sim.
1 3
Vla.
(
3
3
3
3
3
sempre)
2 ½-s.p. s.p. flaut.
ord. 3
1 sub.
Vc.
s.p. flaut.
ord.
s.p. flaut.
3
2 sub. ord. Db.
8
sempre
Org.
+8’
8’
32528
13 sub. fl.
70
ord. II
III II o
II III II
III
3
3
3
II
o
o
II
III
II
1 sub.
3
sub. fl.
ord.
3
3
½-s.p. II
o
II
o
II
II
II
2 sub.
3
Vln. I
sub. fl.
ord.
sub. fl.
ord.
II
3 3 II
4 3
fl.
½-s.p. flaut.
ord.
III
II
o
II
III II
II
III
II
o
II
III
1 sub.
3
fl.
sempre
ord.
III
II
o
2 sub.
Vln. II
ord.
I
3 I
ord. 4
3
pizz.
½-s.p. flaut. arco
pizz.
½-s.p. flaut. arco
1
Vla. 2
pizz.
ord.
arco s.p.
1
Vc.
s.p.
pizz.
IV
2 ½-s.p.
s.p. Db.
sub. ord.
8
sub.
Org.
-8’
32528
3
14 s.p. o II III
73
½-s.p. flaut. II III sim.
ord. II o II o
III III
II
o II
wait
1 3
3
3
3
3
3
3
3
3
3
3
s.p. III
II
o
II
III
II
III
II
II
(s.p.) flaut.
o
2 3
Vln. I
½-s.p. II
3 3
½-s.p. II
4 3
½-s.p. flaut. II III sim.
s.p.
wait
1 3
3
3
3
3
3
3
3
sempre
s.p.
2 s.p. Vln. II 3
4
sub. s.p.
wait
3
1 Vla.
sub.
sub. s.p. 3
2 sub. s.p.
ord.
s.p.
3
3
1 sub. Vc. arco
s.p.
ord.
s.p.
3
3
2 non vib. IV V
Db.
s.p. wait
8
IV V
sempre
wait
chr.
Org.
IV V
I II III
off
chr.
chr.
8
chr.
chr.
4+8
32528
chr.
15
5
76
fl.
s.p. flaut.
IV
1 s.p. flaut. 2 Vln. I s.p. flaut. 3 s.p. flaut. 4
5
ord.
1 sub. ord. 2 Vln. II
sub.
3
4
fl.
5
IV
vib.
1 Vla.
flaut.
½-s.p. (non vib.)
II
2
s.p. flaut.
5 1 ord.
Vc. 2 sub.
ord.
sub.
5 Db.
8
sempre
5 -4’, -8’
Org.
32528
sub.
sub.
sub.
ord.
16 ½-s.p.
83
ord. vib.
s.p.
IVIII o/II
o
II III II o
II
o
non vib.
1 3
3
3
½-s.p. s.p.
ord. vib.
IV III II
o
II
III
II
non vib.
2 3
Vln. I
½-s.p. s.p.
ord. vib.
IV III o/II
non vib.
3 ½-s.p. ord. vib.
s.p.
IV III o/II
non vib.
4
s.p. 1 s.p. 2 Vln. II
ord.
s.p.
3 s.p. 4
ord. non vib.
s.p.
ord.
s.p.
pizz.
1 Vla.
pizz.
2
s.p. ord. 1 sub.
Vc.
s.p. pizz.
arco ord.
2
III
sub.
s.p.
ord.
3
Db.
8
8
loco sub. off
Org.
8’
4’ + 8’
-8’, -4’
chr.
off chr.
32528
8’
17
90
II
III
II
o
II
s.p.
ord.
III
o
II
s.p. III
II
o
ord.
II III
II
o
II
III
II
o
s.p.
ord.
II
II
1 3
3
3
3
3
ord. III II o
II
o
II o
II
o
II
3
3
3
s.p.
ord.
III
II o
3
II
III
3
II
3
3
s.p.
ord.
o
II o
II
II
2 3
3
3
3
3
3
Vln. I
3
3
ord. II
o
II o
II
o
II
3
3
s.p.
ord.
III
II
o
II
3
o
II
o
II
3 3
ord. II
3
3
3
3
3
3
s.p. o
II
o
II
o
II
III
IV III o/II
ord. 4 3
3
3
3
3
ord. IV III o/II
s.p.
IV III II
II
IV
III
1 3
s.p.
IV III o/II
IV
II III
ord. 2 3
Vln. II
3
s.p. II
III
3 3
3
s.p. II
III
4 3
s.p. arco
III
1 s.p. II
Vla. arco 2
3
s.p. heel f.b. vert.
3
s.p.
L.H. pizz.
II III
1 3
Vc.
sub. s.p.
heel f.b. vert. II/III
2
pizz. Db.
8
Org.
off
32528
s.p.
18 sub. s.p. ord.
92
o
II III
II
III IV
3
3
s.p. ord.
1 3
s.p. III
II
sub.
III IV
IV
3
ord.
2 3
Vln. I
3
s.p. III IV
3
ord.
3 s.p. II
o II III
II
III IV
3
3
3
ord.
4 3
ord. s.p.
flaut.
s.p.
flaut.
ord.
s.p.
flaut.
ord.
s.p.
flaut.
ord.
s.p.
flaut.
ord.
ord.
s.p.
flaut.
ord.
I II III IV
1 ord. I II III IV
2 Vln. II 3
4
1 Vla.
III
2
batt. viol.
ord.
1 Vc.
ord. 2 batt. viol.
Db.
8
sim. off
8’
Org.
32528
19 I
97
sub. ord.
s.p.
o II
ord. s.p.
1 sempre
3
s.p.
o II
ord.
sub. ord.
s.p.
I
2 sempre
3
Vln. I
s.p.
ord.
s.p.
ord.
o/II
3 sempre o/II
4 sempre
s.p.
ord.
ord. o/II
1 sempre
s.p.
ord.
s.p.
ord.
ord. o/II
2 sempre
Vln. II
ord.
I
3 3
ord.
sempre
ord.
s.p. I
4 3
sempre
1 Vla. 2 s.p.
s.p.
I II
s.p. I
I
II
1 3 3
s.p.
Vc.
I II
s.p. arco
pizz.
I II
2 batt. viol.
pizz. Db.
3
8
sim.
-8’
Org.
32528
off
4’
20 ½-s.p.
½-s.p. flaut.
s.p.
102
II III II
III
3
sub.
III II
II III II
o
II
o
II
o
II
III
II
1 3 3
3
3
3
½-s.p. flaut. o
II
III
o
II
III
II
o
II
o
2 ½-s.p. Vln. I
II
II III II
III
3
sub.
o
sempre
3 ½-s.p. flaut. o
III II o
II
II o
II o
II
III
II
o II
4 3
3
3
3
3
½-s.p. II III II III
III II o
1 ½-s.p. flaut.
3
sub.
II
3
o
2 ½-s.p.
Vln. II
II III II III
3 s.p.
3
sub.
III
4
s.p. fl.
III
sim.
1 3
3
3
3
3
sempre
Vla. fl. I
s.p.
sim.
II
I
II
I
2 3
3
3
3
3
3
sempre I II
ord.
s.p.
(s.p.)
ord.
s.p. flaut.
arco ord.
s.p. flaut.
1
Vc.
ord.
heel fl. vert.
s.p.
pizz.
2 ½-s.p. arco Db.
ord.
½-s.p.
slow vib.
3
8
sempre
3
sempre
-4’
Org.
non vib.
off
8 chr.
32528
sempre
21
105
o
II
o
II
III
II
o
II
½-s.p.
pizz.
III
5½
I II III
II
o
II
o
II I
II
III
arco
1 3
3
3
IV
3
3
3
3
3
sempre II
III
II
o
pizz.
II
arco
o
II
III
2 5
Vln. I
3
pizz. I II III
arco
o/II
3 IV
pizz.
arco o/II
4 3
sub. s.p. II o
II o
II
III
II
½-s.p.
5½
III
II III II
1 3
3
3
3
sub. o
II
III
II
½-s.p. II III II
o
2 Vln. II
3
3
4 pizz.
vib. warm
II
arco fl.
5½
1 sempre
secco pizz.
Vla.
warm
II
arco 2 sempre
secco
s.p.
batt. viol.
pizz.
3½
3
arco
1 sempre Vc.
f.b. heel vert.
s.p.
pizz.
I II
arco
2 sempre
3
ord.
Db.
s.p.
batt. viol.
pizz.
3½
8
3
Org.
5½
off
32528
22 ½-s.p.
108 5
III II I
6
II
III
4½
s.p.
ord.
½-s.p.
III
III II o II o II
III
1 3
3
3
s.p.
s.p.
3
3
ord.
½-s.p.
III II o II o II
III
III
2 Vln. I
3
3
3
½-s.p. III II I
II
III
s.p.
fl.
III
IV
3 3
sempre
3
s.p.
s.p. III
fl. IV
4
5
II o
6
II III
4½
sempre
ord. III
1 3
IV
3
3
ord. III
pizz. 2 IV II o
Vln. II
3
II III
arco
III
3 3 3
3
pizz.
arco
III
4 3
5
6
4½
fl. warm
pizz.
arco
1 3
Vla. fl. warm
pizz.
arco
2
5
6
4½
s.p.
1 Vc.
heel vert.
f.b.
s.p.
2
5
6
Db.
8
sempre
5
Org.
4½
sub. slow vib. (finger trill)
arco
off
sub.
6
½-8’
4½
-8’
32528
23
112
fl. IV
9½
½-s.p.
ord.
IV
II
o II
s.p.
o
II
III II III II
o
II
III
II III II
III II
ord.
1 3
sempre fl. IV
3
3
3
3
3
3
½-s.p.
9½
IV
o II
s.p.
II III II
II
ord.
III II
2 3
sempre Vln. I
sub. s.p.
3
ord. II
10½
o
II
III
II
o
II
o
II
III
II
III
II
III
I
ord. 3 sub. sempre
ord.
I
4
10½
½-s.p.
ord.
IV
III II o
o II
s.p. II
o II III II II III II
sub. ord. o
1 3
3
3
3
3
3
½-s.p. IV
ord.
o II
I
2 3
Vln. II
s.p.
I
3 3
I
4
10½
s.p.
ord.
I
I
II
3
s.p.
1 Vla.
s.p.
3
I
II
I
ord.
s.p.
2
s.p.
10½
ord.
II III
s.p.
I
ord.
I II
1
Vc.
s.p.
ord.
II III
s.p.
I
ord.
sempre sub.
I II
2
Db.
ord.
8
4
off
Org.
½-s.p. ord.
batt. viol.
10½
sempre sub.
5½
¼-8’
3
-8’
32528
sempre sub.
24
II
115
o
II
o
II
s.p.
½-s.p. flaut.
III
II
o
II
III II
o
II
o
II
III
II
o
II
III II
o
II
III II
o
II
III
II
o
II
1 3
III
3
II
3
o
3
II
III
3
3
3
3
3
3
3
3
3
sempre
II
I
2 s.p.
Vln. I
II
III II
ord.
I
3 3
s.p. II
III II
ord.
I
4 3
ord. II
½-s.p. flaut.
s.p.
III II
III II
o
II
III
II
o
II
III II
o
II
o
II
III
II
o
II
III II
1 3
3
3
3
s.p. II
III II
2 3
ord.
Vln. II
II
o
II
o
II
o
II
III
II
3 sempre s.p. II
III II
4 3
pizz. 1 Vla.
pizz.
2
3
L.H. pizz.
batt. viol.
arco ord.
1
Vc.
3
s.p.
ord.
2
pizz. Db.
8
off
Org.
arco
8’
chr.
32528
o
II
III
II
3
3
3
3
3
25 s.p.
117
III II
o
II
III
II
ord. III
II
II
1 3
3
3
3
s.p. I
II
I
2 3
Vln. I
ord. I
II
3 s.p. I
4 o
II
III II o
II
III
II
o
II
III II
o
1 3
3
3
3
3
sempre III
II
o
II
III
II
o
II
o
II
II
2 s.p. sub. I ord.
Vln. II
3 sub.
3
sempre
s.p. sub. I ord.
4 3
sub. s.p. II
arco 1 3
s.p.
Vla. arco
II
2 s.p.
s.p.
3
I II
3
(s.p.) sub. ord.
1 3
Vc.
sub. s.p.
heel vert. f.b.
3
s.p.
ord.
2 s.p.
ord.
3
Db.
8
sempre
Org.
sempre
8’ chr. 32528
26
120
sub. s.p.
ord.
5½
s.p. flaut.
I
1 sempre
ord.
s.p. flaut.
2 sempre Vln. I
sub. s.p.
ord.
s.p. flaut.
I
3 sempre
ord.
s.p. flaut.
4 sempre fl. warm
sub. s.p.
II
vib.
II
4
1 sub.
sempre
arco fl. warm vib.
II
pizz. 2
sempre
3
Vln. II
fl. warm
sub. s.p.
II
vib.
II
3 sempre
sub. pizz. 4 3
pizz.
s.p. flaut.
arco
5½
1 sempre Vla.
s.p. flaut. pizz.
arco
2 sempre sub. s.p.
III IV
ord.
3
s.p.
batt. viol.
s.p.
5½
3
1
Vc.
batt. viol.
III IV
ord.
s.p.
pizz.
I II
arco f.b. heel vert.
s.p.
2
s.p.
ord.
sub. s.p.
ord.
s.p.
5½
3
Db.
8
sub.
5½
off
Org.
-8’
off
8’
8’
chr.
32528
-8’
27 tip fl.
125
ord.
II o II o II
III II o
II
III II
III
IV
III II
o
II
III II
o
II
III II
o
II
III
IV
1 3
3
3
3
sempre o
3
sub. ord.
fl. II
III II
III II
o
II
III
II
o
II
3
3
3
III
3
II
III
2 3
3
3
3
3
3
3
Vln. I o
II
III
II
o
II
o
II
III
II
ord. 3 ord. IV III II o
II
III
4 3 3
ord. II
s.p. III
II
o
II
III
II
III
1 3
3
3
3
ord. o
II
III II
s.p.
o
III
IV
2 3
3
Vln. II
s.p. III
3
4 ord. 1 3
Vla.
ord.
2 3
non flaut. s.p.
sub. s.p.
ord.
flaut.
L.H. pizz. batt. viol.
II III
1 3
Vc.
s.p. ord.
pizz.
arco
II III
2 3
ord. Db.
8
sempre
sempre sub.
Org.
off
8’
32528
-8’
28 ½-s.p.
128
II
ord.
s.p.
o
II
o
II
IV-I
III II
1 3
s.p.
3
3
3
ord. III II
3
ord.
s.p. o
IV-I
II
2 3 3
Vln. I
s.p.
3
ord.
I
III II
s.p.
3 3
s.p.
ord.
I
III
s.p.
II
4 3
ord. IV
II
o
ord.
I
III II
s.p.
III II
o
II
III II
o
II
III II
III
II
o
1 3
3
ord. IV
3
3
3
3
s.p. o
III II
II
ord.
II
o
2 3
Vln. II
ord. IV
III
o
3
s.p. I
II
pizz.
3
IV
s.p.
3
ord.
II
o
III II
I
pizz.
4 3
pizz. 1
Vla.
pizz.
2
ord.
pizz.
1 sub. s.p. Vc.
ord. 2 3
s.p. sub. ord. Db.
8
sempre
Org.
off
8’
+4’
8’ + 4’ chr. 32528
sub. s.p.
29 I
ord.
s.p.
s.p.
132
II
III
s.p. I II
II o
1 3
(
3
3
II )
3
3 I
s.p.
II
2 3
(
3
II )
Vln. I
3
ord.
s.p.
II
I
3 3
3
ord.
3
s.p.
s.p.
II
I
4 s.p.
3
3
I II III
IV
o/II
II I
II
I
1 3 3 IV
3
s.p.
o/II
I
ord.
2 3
Vln. II
s.p. non flaut.
s.p. arco
III II III
I
II
flaut.
3 3
ord. arco
o
3
3
s.p. II
III
I
flaut.
4
sim. 1 Vla. sim. 2 s.p.
sub. ord.
s.p.
3
II III
arco
pizz.
1 s.p.
Vc.
ord.
s.p.
3
batt. viol. 2
ord. Db.
heavy
non trem.
s.p. sub. ord.
max. trem.
8
sempre
Org.
sub. ord.
3
off
off
8’ chrom. 32528
sub. off
8’
s.p. sub .ord. sub. ½-s.p.
30
136
sim.
pizz.
1 sempre sim. pizz. 2 Vln. I
sempre
3
4 sim.
pizz. 1
5
ord.
5
s.p.
II
5
sempre
2 3
Vln. II
3
ord.
s.p.
II
3 3
3
s.p.
II
4 3
3 3
arco
3
pizz.
1 sempre
Vla. arco 2 sempre ½-s.p. arco
batt. viol.
ord.
sim.
1 sempre Vc. ½-s.p.
ord.
2 sempre ord. Db.
Org.
s.p.
ord.
8
-8’
32528
31 sim.
141 1 sub. sim.
2 sub.
Vln. I
pizz.
3 pizz. 4
sim.
sim.
1 5
5
5
5
5
5
sub.
sim. 2 5
Vln. II
5
sub.
3
4
3
sim.
3
3
3
3
3
3
3
3
3
3
3
1 sub.
Vla. 2
1. slap 3
sim. 3
3
3
3
3
3
3
1 Vc. pizz. 2 sempre pizz. Db.
8
sempre
Org.
32528
3
3
3
32 sim. 11
11
145 1 sempre
sim. 2 sempre Vln. I
sim.
3 sempre
sim.
4 sempre sim. 1 5
5
sempre sim.
5
5
2 5
5
sempre
Vln. II
3
sim.
3
3
3
3
3 sempre 4
3
sim.
3
3
1 Vla. 2
sim. 3
3
3
3
3
3
3
3
1 Vc. 2 R.H. batt. viol. Db.
8
L.H. slap IV V
Org.
32528
sim.
3
33 sim.
11
149 1 sempre 3
3
sim.
3
3
3
3
3
3
3
2 sempre
Vln. I
sim. 1.
3 3. sim. 1. 4 2.
sim. 1 1.
sempre 2
3.
Vln. II 3
4
3
sim.
3
3
3
3
3
3
3
1 Vla.
sempre
2
sim.
3
3
3
3
1 Vc.
1. slap sim.
sempre
3
2 sim. Db.
barrĂŠe
8
sempre
Org.
32528
34 sim.
5
sim.
5
5
153 1 3
3
3
sempre
sub.
3
sim.
3
3
2 sempre
Vln. I
sim.
sim.
3
sim.
sim.
4 sim.
1 sim.
sim.
2
Vln. II sim.
1.
sim.
3 2. 4 sim.
3
3
3
3
3
3
1 sim.
6
6
Vla. 2 sub.
sim.
sempre
3
1 Vc.
sim. 3
3
3
3
3
3
3
3
2 sempre sim.
pizz.* Db.
8
sempre
Org.
* pluck with 4 separate fingers. 32528
3
3
3
3
7
3
3
35 sim.
5
5
5
5
7
7
157 1 sim. 3
3
3
3
3
3
3
3
2 Vln. I 3
4
sim.
7
7
1
sim. 2 Vln. II 3
4
3
sim.
1 Vla.
sempre
2
1 Vc.
sim. 1. slap 2 barrĂŠe I
sim. Db.
8
sempre
Org.
32528
3
3
3
36
sub. faster
sim.
5
3 o II III
161
3
sim.
3
3
3
1 IV
R.H. palm
sim.
I
sempre
II III
2 sempre
Vln. I 3
4
sim.
7
1 3
3
3
sim. 2 Vln. II
sempre
3
4
3
sim.
sub. faster 3
1 Vla. 2 3
sim. 1. slap 1 barrĂŠe Vc.
sim.
sempre
2
Db.
8
sub. faster
Org.
32528
3
3
37
sub.
= 68
finish this pulse and join 3
165
3
3
3
3
3
3
3
3
= 68 pulse in next bar
3
sim.
1 finish this pulse and join
sim.
= 68 pulse in next bar
2 *
Vln. I
sim.
I II III
3 5
*
5
5
5
5
5
5
sempre sim.
I II III
4 5
sempre Vln. I 1. + 2. Vln. II 1. + 2. Vlas. 1. + 2. Vc. 1.
finish this pulse and join
sim.
I II III
finish this pulse and join = 68 of Vlns. I pulse in next bar.
= 68 pulse in next bar
1 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
sempre
3
sim.
finish this pulse and join
= 68 pulse in next bar
finish this pulse and join
= 68 pulse in next bar
2 Vln. II 3
4
I II III
sim.
1 5
5
5
sempre
Vla.
I II III
5
finish this pulse and join
sim.
= 68 pulse in next bar
2 5
5
5
5
sempre
finish this pulse and join
sim.
= 68 pulse in next bar
1 Vc. 2
Db.
8
sub.
= 68
Org.
* use large plectrum if necessary! 32528
38 *
169
I
sim.
sim.
II III
1 5
*
5
5
5
5
sempre sim.
I II III
2 sim.
5
sim.
Vln. I
sempre
5
3 5
5
5
5
5
sim.
5
sim.
4 5
5
5
5
sempre
sim. *
1 3
3
3
3
3
3
3
sim.
* 2 3
Vln. II
3
sim.
*
3 3
* 4 3
sim.
1.
1.
sim.
1 2.
Vla.
2.
1.
sim.
1.
sim.
2 2.
2. 3
1 sim.
3
Vc.
3
2 sempre
3
3
batt. viol.
pizz. ord. Db.
8
sempre
Org.
* use large plectrum if necessary 32528
sim. 3
3
pizz.
3
39 sim.
172 1 5
5
5
5
5
5
5
sim.
2 5
5
5
sim.
5
sempre
Vln. I 3
5
5
5
sim.
4 5
5
sim.
1 3
3
3
3
3
sub.
3
3
3
3
sim. 2 sim.
Vln. II
3
3
3
3 3
3
3
3
3
3
3
3
3
3
sim. sim. 4 3
3
3
sim.
1.
sim.
1.
1
Vla.
3.
2. sub.
sim.
1. 2 2. sim.
3
3
1 sempre
sim.
sempre batt. viol.
sim.
Vc. 2
3
Db.
3
pizz.
3
8
Org.
32528
3
40 sim.
175 1 5
5
5
5
5
5
5
5
5
5
sempre sim.
2 5
Vln. I
sim.
sempre
5
sempre
3 5
5
5
sim.
4 5
5
5
sim. 1 3
3
3
3
3
sub.
3
3
sim.
2 sim.
Vln. II
3
3
3 3
3
3
3
3
3
3
3
sim.
4 3
3
1.
3
sim.
1.
sim.
1
2.
Vla. 1.
2.
sim. 1.
2 2.
2. 3
1 Vc. 2 3
batt. viol. Db.
pizz.
batt. viol.
sim.
pizz.
8
3
3
3
Org.
32528
41 sim.
178
con sord.
1 5
5
5
5
5
sempre
sim.
con sord. 2 sempre
Vln. I
5
sempre
sim.
arco
5
5
I/II
3 5
5
sempre sub. arco
con sord.
II III
4 sempre sim. con sord. 1 3
3
3
3
3
3
3
sub. con sord. 2 sim.
Vln. II
3
3
3
con sord. arco
3 3
3
3
3
sempre
sub.
con sord. arco
II
4 sempre
3
arco
con sord.
IV
1 sempre Vla.
sim.
1.
sim.
con sord.
2 2. sub.
1 Vc.
3
3
2 3
3
batt. viol. Db.
3
sim.
pizz.
batt. viol.
8
3
3
3
Org.
32528
3
42
= 50 181
I II
arco
1
2 sempre
non dim.
arco 2
3 sempre
Vln. I
non dim.
Vln. I III
con sord. 3
4 non dim.
4
Vla.
2
non dim.
IV
arco
1
1 sempre
non dim.
arco 2
2 sempre
non dim.
Vln. II
Vln. II
3
3 non dim. III
4
4 non dim.
IV
1
Vln. I 1 non dim. Soli
Vla. arco 2
Vla. 1
arco
[ ]
1 Vc.
1 Vc.
arco
[ ]
2
2
ord. arco Db.
I
Db.
8
loco
= 50
Org.
Org.
32528
43
186
I II
2 sub.
non dim. III
Vln. I 3 sub.
non dim.
sub.
non dim.
4
IV
Vla. 2 sub.
non dim.
IV
II
III IV
IV
1 sub.
non dim.
II
2 sub.
non dim.
Vln. II II
3 sub.
non dim. IV
4 sub.
III
IV
III
sub. fl.
o
expressive
non dim.
III
III
ord.
s.p. III
vib.
non vib.
vib.
non vib.
o
III IV III
3
Vln. I 1 fl.
Soli expressive Vla.
II
III II
3
o
III
½-s.p.
1
fl.
warm
1 sempre Vc. 2
Db.
Org.
32528
44
I II
193 2 sempre
sub.
III
Vln. I 3 sempre sub. 4 sempre IV
Vla. 2 sempre sub. I II
II III
II III
1 sempre sub. III IV
III
IV III
II
2 sempre
Vln. II
II
sub.
IV
3 sempre
4 sempre ½-s.p. flaut. o
o
III
3
IV
III
o
s.p.
o/III
3
Vln. I 1 sempre Soli
ord.
Vla.
s.p.
1
ord. 1 Vc. 2 I
Db. sempre
Org.
32528
45
III IV
203
I II
2
III
Vln. I 3
4
I
IV
Vla. 2
III
1
2 Vln. II II
3
IV
II
4
ord. III
ord.
s.p. IV
III
o
o
3
Vln. I 1 3
Soli
sempre
(
)
ord.
fl.
II
II
3
Vla.
III
II
o
II
o
1
espr. 1 Vc. 2 sempre Db.
off
Org.
32528
III
46
II III
212
I II
2 sempre IV III
Vln. I 3
non dim. III
sempre
non dim.
sempre
non dim.
IV
4
IV
Vla. 2
I II
sempre
non dim.
sempre
non dim.
sempre
non dim.
sempre
non dim.
sempre
non dim.
II
1
IV
2 Vln. II I II
3
III II
III
4
s.p. o
III
IV
III
3
o
3
III
3
o
3
Vln. I 1 Soli
sub. II
Vla.
o
II
III
1 sub.
1 Vc. 2 sempre Db.
8’ -8’
Org.
32528
47
221 2 non dim. Vln. I 3 non dim.
4 non dim.
Vla. 2
I II
1 non dim. II
I
2 non dim. Vln. II II III
IV
3 non dim. III
IV
4 non dim. fl. III
ord. IV
3
III
IV
o
3
3
o
III
3
IV
III
3
o
III
o
3
III
IV
III
3
Vln. I 1 III
Soli
ord. vib., warm
Vla.
1
(non vib.) 1 Vc.
I
2
IV
Db.
off
Org.
32528
8’
48
228 2 sempre
non dim.
sempre
non dim.
sempre
non dim.
sempre
non dim.
I II
Vln. I 3
III
4
Vla. 2
II III
I II
1 sempre
non dim.
III
II
IV
2 Vln. II
sempre
non dim.
sempre
non dim.
sempre
non dim.
3
4
III
o
III
3
Vln. I 1 Soli II
Vla.
s.p. non vib.
II
1
1 sempre
Vc. 2
Db.
Org.
32528
49
235
I II
I
2 sub.
III
III
Vln. I 3
sub. 4 sub. IV
IV
Vla. 2 sub. IV III
II
1 sub. IV
2 Vln. II 3 sub. 4 sub. ½-s.p. flaut. IV
III
o
III
IV
III
3
IV
III
o
III
3
3
Vln. I 1 ord.
Soli 3
Vla.
fl.
sub.
III
III
3
1
1 sempre
Vc.
II
2 sempre Db. loco
off
Org.
32528
8’
o
II
III
II
3
50
242 2 non dim.
sub.
sempre
non dim.
sub.
sempre
non dim.
sub.
sempre
non dim.
sub.
sempre
Vln. I 3
4
Vla. 2
II III
I II
II III
III
1 sub.
non dim.
sempre II III
II
I II
2 non dim.
Vln. II
sub.
sempre III
III
IV
3 non dim.
sub.
sempre
sub.
sempre
I
4 non dim. ½-s.p. o
III IV
3
poco vib. air warm ord.
tone
Vln. I 1 Soli
o
II
III II
3
Vla. 1 poco vib. warm 1 sempre Vc. 2
Db. loco
Org.
off
32528
51
I II
253 2
sub. sempre
III
Vln. I 3 sub. sempre 4 sub. sempre IV
Vla. 2
II III
II
1 sub. sempre
IV
II
II
2 sub.
Vln. II
sempre
3
4
fl. III
fl. o
III
IV
III
o
III
IV
3
3
o III
o
3
III IV
III
IV
Vln. I 1
Soli
½-s.p. o
II
3
III II
o
fl.
ord.
II
3
III
o/II
Vla. 1
flaut.
½-s.p.
fl.
ord. I (non vib.)
1 sempre
sempre
Vc. 2
sempre Db.
silent R.H. arm
Org.
(+8’)*
chr.
32528
[full crescendo 45 - 50 seconds] * very very gradually, at first indiscernable, to full 8-foot stop arriving in bar 275.
52 III IV o o
261
I II
2 sub. III
II
Vln. I 3
sub. II
4 sub.
IV
I
Vla. 2 sub. IV
1 sub. III IV
2 sub.
Vln. II 3
sub. 4 sub. ½-s.p. IV
III
3
o
III IV
ord.
½-s.p.
III
o
III
IV
o
3
3
Vln. I 1
Soli
½-s.p. II
III IV III
fl. II
III
II
o
II
3
ord.
III
3
Vla. 1
fl. 1 sempre Vc. 2
I
I
Db.
Org.
32528
III
3
sub. vib.
fl. o
III
53
271
18
sub. silence
18
sub. silence
18
sub. silence
18
sub. silence
18
sub. silence
2
Vln. I 3
4
Vla. 2
1
2 Vln. II 3
4
(fl.) IV
3
III
o
III
IV
3
Vln. I 1 fl. non vib.
Soli
III
Vla. 1
1 Vc. 2
Db.
8’ max. volume
18
sub. 8’ off
sub. silence
Org.
32528
notengrafik berlin
(+8’)
Edition Peters For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing. Established in 1800 with the keyboard works of J. S. Bach, Edition Peters had by 1802 acquired Beethoven’s First Symphony as well as several solo piano and chamber works. In the second half of the nineteenth century, an active publishing policy enabled the company to develop the catalogue through the promotion of contemporary composers such as Brahms, Grieg and Liszt. This policy continues today: as the publishers of composers such as John Cage, James Dillon, Jonathan Dove, Brian Ferneyhough, Bernd Franke, Anders Hillborg, Mauricio Kagel, Rebecca Saunders, Richard Strauss and Erkki-Sven Tüür, Peters continues its historical role as a champion of new music. This is accomplished in conjunction with the continuing development of the traditional catalogue.
The offices of Edition Peters in Talstraße, Leipzig Geschäftssitz der Edition Peters in der Leipziger Talstraße
Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Klavierwerken. Schon zwei Jahre später waren die Rechte an Beethovens erster Sinfonie sowie an diversen Klavier- und Kammermusikwerken hinzugekommen. Durch enge Zusammenarbeit mit zeitgenössischen Komponisten wie Brahms, Grieg und Liszt gelang es in der zweiten Hälfte des 19. Jahrhunderts, den Katalog beständig zu erweitern. Dieser Tradition ist das Unternehmen bis heute verpflichtet: Als Verleger von Komponisten wie John Cage, James Dillon, Jonathan Dove, Brian Ferneyhough, Bernd Franke, Anders Hillborg, Mauricio Kagel, Rebecca Saunders, Richard Strauss und Erkki-Sven Tüür ist die Edition Peters weiterhin Anwalt neuer Musik, während zugleich das angestammte Verlagsprogramm kontinuierlich ausgebaut wird.
w w w.e d i t i o n p e t e r s .c o m