Fletch (extract)

Page 1

Contemporary

SAUNDERS Fletch

for string quartet Score

EP12702


Fletch

e = 120-128

Vn 1

½ - sp

 *            

   

pp

½ - sp

 *           

Vn 2

Vc

    

pp

  

Va

5

 

sp

   

+

   



p



p

**

*       

 



  

slow silence

         

silence



ff

 *       

espr ½-sp flaut



+

    

**

   

mp

   

pp



sp

 

pp sp

+ 

  

sp

     

espr ½-sp flaut

 



silence

        mp

mp

ord sim

       

  

 

 

  

  

     pp

      

pp

        

mp

   

3

 

ord sim

     mp

pppp

 

ff

    

  

sp

    

3

ff

     mp 3

sp

 

   

     

 

       

3

    

     

sp

pp





ff

         ff

sim

**

espr sp flaut

 

 

+

espr sp flaut

silence

     



**

sp

sim

ff

sp

  

Rebecca Saunders

Furious & with poise

A

    

   

sp



ff

   ppp

 

ppp

 

+

 +

* double harmonic trills are always maximum speed, whether cresc or decresc, pp or ff. Imagine the bow reveals a sound which is always there, hidden beneath the surface of silence. ** freeze frame, hold still, between gestures. Litolff / Peters

Nr. 12702

33358

8/12

© 2012 by Henry Litolff ’s Verlag


2

a tempo

 

        

9



ff

     

II III

  

   ff

II III

sp

 

      

3

ord

     ff 

3

   

II III

3

ord

       

 ff



 

ord

ff

sp

     ff 

III IV

         

ord

     

sp

ord

  

                ff 

sp

ord



 

3

   





  ff sp

  

 

ff sp  



 

ff

sp   

 

ff

 ½ - sp flaut

 12                   ff  ff

 

 

III IV

 

           ff  ord

4 III IV

     

 



II III

    

sp ord

ff

sp

  

  

ppp

      sp+

ff

ord. IV             ff  ff sp

            

                     ff

  

  

sp

ff

4

        

III IV

sp

sp+

          

pp

8va bassa

*

 

espr vib



sub. ppp



f

   

pp

33358

ff

             ff sp

 

ord    sff

sp I II    ff

ff

* nb.: Vc IV scordatura 8va down. Notated at playing pitch. f / ff attack is naturally delayed through low tension of string. f / ff also changes pitch significantly - do not adjust.

ord

 


   16

II III

½ - sp

½ - sp

     

    

sp

½ - sp



 

ff

       

 

     

 

ff

ord

       

   

     3

   

   

mp

ppp



   

mp

sp

  

pp

       

 

 

 

vib

 



 

ff

pp



ord

mp

ppp

3       

        ½ - sp

sp+

     

                     ff  ff  ff

3

mp

 



ppp

 21            



                



sffpp

sff

pp

½ - sp                            ½ - sp

sfpp



sfpp

½ - sp

         ff

 

+ 

I sp III II  IV   

ff

          lv ff

III IV 



III ½ - sp IV

 

  

sff

ff

ord

  

vib

   

    

pp

vib

       ff

sp

    



3

sffpp

mf

 sp ord I   II II   III 

 II III

 

"

    



+

½ - sp

½ - sp

+

             ff ff III IV

  

sff

  

mf

II²III³

      ff ½ - sp III IV

           ff

ord

 

ff

33358

 



f


4

      26

 

ppp

½ - sp

     

3

 

sub ppp

3

 

   II III

    



3

ppp



  

f



  

  

f

 



f

+ 

sff

ord

 

    

+ 

  ff

 

            ppp

 

ppp

½ - sp III IV

+ 

½ - sp II III

ff

ord II 

 



 

ff

   30

IV III 

 

3



 

ppp

ord II IV III  III    



 ff

  

ord II  I III  II  

  

sff

ff

 

     

 

ff

IV III

    sff 

ff

f

ord I II/III II   



       

    

sff pp ½ - sp

          ff sff 

  

III I IV II  

ff

           

 

  

                           

I III II  IV   

sff pp

    ff ½ - sp II III

      

       ff

½ - sp

    

ppp

33358

f

 ½ - sp

 sff

       

ff

      

  

½ - sp III IV

pp

½ - sp

     

 

f

    





 

½ - sp I II II III   

ord

+

+ 



III IV

  

ff

 

ord

ff

½ - sp I II

  

III  IV

ff

 

3

ppp



+ 

 

sp

   



ord

   

mf sff

    

sp





sff



 

mf sff

+

+ 

ff

  ½ - sp

I II

 

 

      

pp



mp

3



f

+ 

 ff

 


Photo © H Joosten

Fletch

Rebecca Saunders studied with Wolfgang Rihm at the Musikhochschule in Karlsruhe, Germany, and for a PhD in Composition with Nigel Osborne at Edinburgh University. She lives in Berlin. Saunders’ composition prizes include the 1996 Ernst von Siemens Komponisten-Förderpreis and the 2008 Royal Philharmonic Society Composition Award for Chamber Music. Her works have been performed at festivals including the Huddersfield Festival, the Berlin Biennale and the Darmstadt Ferienkurse. In 2009 she became a member of the Berlin Academy of Arts. Saunders’ works include chroma, for chamber groups distributed throughout the performance space, albescere, written for Ensemble Modern and the Neue Vocalsolisten Stuttgart, and a double concerto for trumpet, percussion and orchestra.

SAUNDERS

Rebecca Saunders

Rebecca Saunders studierte Komposition bei Wolfgang Rihm an der Musikhochschule Karlsruhe und promovierte an der Universität Edinburgh bei Nigel Osborne. Sie lebt in Berlin. Saunders erhielt unter anderem den KomponistenFörderpreis 1996 der Ernst-von-Siemens-Musikstiftung sowie den Royal Philharmonic Society Composition Award 2008 in der Kategorie Kammermusik. Ihre Werke erklangen bei zahlreichen Festivals wie dem Huddersfield Festival, der Berlin-Biennale und den Darmstädter Ferienkursen. 2009 wurde sie zum Mitglied der Berliner Akademie der Künste ernannt. Zu ihren Werken zählen chroma für im Raum verteilte Kammergruppen, albescere (entstanden für das Ensemble Modern und die Neuen Vocalsolisten Stuttgart) sowie ein Doppelkonzert für Trompete, Schlagzeug und Orchester.

Edition Peters 12702

w w w.e d i t i o n p e t e r s .c o m


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