EP 10959R, Rebecca Saunders, rubricare

Page 1

Contemporary

saunders rubricare for baroque string orchestra Full Score

EP 10959R



ob_b``^=p^rkabop= = =

êìÄêáÅ~êÉ= = EOMMSF= =

Ñçê=Ä~êçèìÉ=ëíêáåÖ=çêÅÜÉëíê~= = = êìÄêáÅ~êÉ=i=ÑK=êìÄêáÅ~=EíÉêê~F=êÉÇ=EÉ~êíÜ=çê=çÅÜêÉF=~ë=ïêáíáåÖ=ã~íÉêá~äI=êÉäK=íç=êìÄÉìë=êÉÇK=

= = = = = = = =

pÅçêÉ= = E~äëç=çêÖ~å=é~êíF= = = = = = = få=ÇáÉ=bÇáíáçå=mÉíÉêë=~ìÑÖÉåçããÉå=

= bfdbkqrj=abp=sboibdbop=·=^iib=ob`eqb=slo_be^iqbk= ^ii=ofdeqp=obpbosba=

ebkov=ifqliccÛp=sboi^d=L=`K=cK=mbqbop= co^khcroqLjK=·=ibfmwfd=·=ilkalk=·=kbt=vloh=

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

16

= 60

1

2 Vln. I 3

4

6½ 1

2 Vln. II 3

4

arco

1 Vla. arco 2

fl. arco

sub. vib.

fl. arco

sub. vib.

ord. non vib.

1 Vc. ord. non vib.

2

6½ Db.

non vib.

8

non dim.

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

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

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

2

pizz.

I II

1 III

Vla.

pizz.

I II

2 s.p.

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

3

2 ½-s.p.

sub. ord.

arco Db.

½-s.p. 3

sub. ord.

s.p.

batt. viol.

8

sub.

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

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.

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.

1 sempre

secco pizz.

Vla.

warm

II

arco 2 sempre

secco

s.p.

batt. viol.

pizz.

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.

8

3

Org.

off

32528


22 ½-s.p.

108 5

III II I

6

II

III

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

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

fl. warm

pizz.

arco

1 3

Vla. fl. warm

pizz.

arco

2

5

6

s.p.

1 Vc.

heel vert.

f.b.

s.p.

2

5

6

Db.

8

sempre

5

Org.

sub. slow vib. (finger trill)

arco

off

sub.

6

½-8’

-8’

32528


23

112

fl. IV

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.

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.

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.

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

1 sempre Vla.

s.p. flaut. pizz.

arco

2 sempre sub. s.p.

III IV

ord.

3

s.p.

batt. viol.

s.p.

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.

3

Db.

8

sub.

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


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.