Saunders Fletch for string quartet
EP 12702
REBECCA SAUNDERS
Fletch for string quartet (2012)
Unter der Nr. 12702 in die Edition Peters aufgenommen EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED
HENRY LITOLFF’S VERLAG / C. F. PETERS Ein Unternehmen der EDITION PETERS GROUP FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK
REBECCA SAUNDERS
Fletch (2012) /flɛtʃ/ n. (archery); the feather placed on the arrow, providing the arrow with the capacity of flight; the feathered vane towards the back of the arrow, used to stabilise during flight. ME f. OF flech(i)er f. fleche arrow. OE -flycge , as in unflycge unfledged; Old High German flucki able to fly.
for the Arditti String Quartet
EIGENTUM DES VERLEGERS • ALLE RECHTE VORBEHALTEN • ALL RIGHTS RESERVED
HENRY LITOLFF’S VERLAG / C. F. PETERS Ein Unternehmen der EDITION PETERS GROUP FRANKFURT/M. • LEIPZIG • LONDON • NEW YORK
Commissioned by ORF-Musikprotokoll Graz, the Wigmore Hall London with the support of AndrĂŠ Hoffmann (President of Fondation Hoffmann), and by the Arditti Quartet with the kind support of the Ernst von Siemens Foundation for Music.
Fletch (2012) General This is a furious ongoing exploration of a specific and extremely reduced palette of timbres and of a specific physical gesture. Enjoy the moments of respite from the furious ongoing energy, bringing out the warmth of tone and lyricism of line, and thereby emphasising the extreme contrast of sound material. Also bring out the melodic lines – ordinary tones and the double-harmonic glissandi lines – as well as the close difference tones. From bar 362 onwards the violoncello’s leading line defines tempo. Quasi-melodic, exploring subtle shades of timbre. This final section is fragile and delicate, without rubato. Tempi Tempi given are only guidelines. Interpretation and acoustic of performance space are key. Important is a driven and flowing line, whereby rhythmic coherence and articulation of timbral contrast are clearly defined. Fluctuations of tempi are necessary to maintain the extreme energy. The slower tempi are principally defined by how the cello’s C-string reacts to the octave scordatura. (s. below) Expand fermatas and resonance-like moments accordingly. Scordatura At all times playing pitch is given in score and parts. At key moments the string or harmonic node is also given for additional and exact clarification. Each instrument has a single quarter-tone scordatura (see bar 1) for main body of work. Further scordatura IV-string in violin 1, 2 and viola from bar 321 onwards: sounding a 5th lower (vn 1), an augmented 4th lower (vn 2), and a 3rd lower (va). In addition, violoncello scordatura IV throughout sounding an octave lower. This significant scordatura alters timbre and playing possiblities: an attack at f / ff is naturally delayed due to low tension of string; f / ff also changes pitch of string significantly; an increase of bow speed at louder dynamics is necessary. Vc: C-string should experiment with speed of bow and bow contact points – a C-string lyrical line – enjoy! Since the scordatura of IV is naturally quieter, all players need to consider overall balance carefully.
Legende fl. s.p. ½-s.p. sp+ or +
Sul tasto extreme flautando bow stroke well over fingerboard, as near to half-way node as possible; hollow, floating, beautiful. Sul pont: pp / ppp bring out overtones. f / ff sound towards distortion. Sul pont colouring, but actual written tone heard clearly. Sul pont extreme: complete distortion. Continuous and even transition from one timbre to the next.
flaut
flautando. Glissando. Glissando to top or bottom of string.
p vib sv
Poco vibrato. Senza vibrato.
m vib
Molto vibrato. accents are always biting, hard-edged.
Shows which harmonic of open-string spectrum on given string – e.g. 5th harmonic, B, on open G, as opposed to the finger playing position of the basic sound material.
Unspecific and high harmonics.
Gradually from ord. tone to harmonic; gradually releasing finger pressure.
This elemental sound or gesture is explored in the string quartet. It’s purest form is an up-bow double-harmonic trill moving towards sul pont, with a fast and smooth glissando. It is immediate and present, but also unstable and unpredictable. Freeze-frame, hold still, between the gestures e.g. during rests in bar 2 and 3. The double-harmonic trills are always extremely fast and regular, whether ff or pp, direct subito ff or gradually surfacing from, or into, silence. Alternate upper and lower trilling fingers (1st/2nd with 2nd/3rd). Imagine the bow merely reveals an almost mechanical manic trilling sound, which lies hidden beneath the surface of silence. Varying degrees of sul pont explore possible layers of overtones. Play where possible with fast and fluid up-bow gesture. The fingered harmonics trace a quasi-melodic line – bring out relative differentiation of pitch, tracing this line up and down the strings. Glissandi are very fluid. In fastest sections, e.g. bar 163 onwards, the glissandi are so fast, flowing and continous that I do not give the exact trilling harmonics. Play these trills with 2nd or 3rd finger sounding highest partials possible. The short-note interjections of ordinary single tones, open strings, and chords, trace a second and clear melodic line stretched through the piece. The harmonic nodes or contact points to be played are given in the part/score. The chart below shows actual sounding pitches of some the harmonics. Exact pitches are not critical, and it should be added that addition of sul pont creates additional layers of overtones.
Natural harmonics
Duration 14-15 minutes
RS, Berlin June 2012
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
sp
II III
ff ½ - sp III IV 34
1.
2.
fpp
I II
III IV
sff ff 3 3
sp II III sff ff
ord
I II
f
ppp
sff ff
ord
mf
ff
pp
B
sp+
ord vib IV
1.
ff
½ - sp flaut
2.
sp ord II/III
ord II III
II III
5
½ - sp vib
sp+
sp
sul IV
ppp
ord
pp
3
faster
39
ord II III
pp
I II ff
sp ½ - sp
sff
molto vib
ff
4 II III
½ - sp
sp flaut
pp
½ - sp III IV
p
sp III IV
ff
st vib espr
sul IV
ff
ff fl
ppp
33358
ord IV
ppp
mp st
(mv)
mp
III espr
ord
mp vib ff I II
ord
ff
ff
sp
pp
sp
ff
6
a tempo
sp
+
45
ff sempre
sp
sff
sff pp
ord poco vib
mp
ff
vib
nv
fp
p
ff
ff
ff
ff
ff
ff
ff
ff
III/IV
sp
3
III
ord
ff
ord
sp
ord
ord
sff ff pp
I II
ff
III I IV II
ord sp I III II IV
ff
49
II sp III
ord sp
sff
ff
ff
sff
sp II III
sff
ff
sp ord
I II
ord
ff
ff
ff
vib
ff
ff
f
3
pp
sp II I³ III
ff
ord
sp flaut
fl p vib
sp
sul ½ - sp III IV
flaut
+
III ord
p
ord
mp
33358
III
mp
54 ppp
ord I III II IV
sp
sff
ff ord
sff
sp
ff
sff ppp
ff
ppp
p
½ - sp
pp
½ - sp
ff
pp
non gliss.
flaut
3
non gliss.
p
sp
espr ½ - sp flaut
I II II III
espr ½ - sp flaut
ff
f
+
ppp
sp
7
espr ord
II III
3
C sp ord
sp
ff 60
ff
sul sim. III IV
ff sff sp ord I II
ord
sp
ff
I II
ord
ff sp
ff sp
ff
ff ord
ff
sp ord
ord
ord II III
½ - sp sffpp sim
II III
ff
ppp
ord
sp
II
ff sp
ff
33358
ppp
½ - sp
ff
3
ff
f
ff
III
f
ord
sff
ord
I II
ppp
½ - sp
III²
f
8
65
ff
ff
ppp
ff
ppp
5
sp
ff
3
ff
flaut III IV
sp
sff
ppp
sp
ff
½ - sp flaut
sp
sfppp
ff
+
½ - sp III II IV III
ff
½ - sp
ff
ff
III²
ff
pp
sp
½ - sp II III
sp
II III
sff
ord
½ - sp
ord
sp I II
ppp
69 sim.
sffpp
III IV
½ - sp II III
sp
ff
½ - sp
ff pp
sp
ff
ff
3
+
ff
sp
ff
33358
ff
ppp
ff
pp
sp
ff IV
3
sp
ff
sp
ff
3
ff ½ - sp III IV
ord I II
½ - sp
ord
II III
warm & espr fl III
slow
73
ppp
ord vib IV
9
mp
fl espr vib
mp
½ - sp espr
pppp
ppp
ord
III
5
fl espr IV
fl espr
p
pp
mp
½ - sp II III
pp
fl
fl
II
ppp
pppp
vib
fl vib
IV
3
½ - sp flaut
ord
p
vib
pppp
½ - sp n vib
IV
ppp
½ - sp flaut
III IV
espr ord
sp+
mp
m vib
ppp
poco p
80
fl IV
p
ppp
ppp
ord flaut
pp
pp
vib
ff
p
(n vib)
pp
½ - sp flaut
ppp
½ - sp flaut
½ - sp flaut
+
sfp
sff
ord
ppp
½ - sp
mp
33358
I II
ord
3
p
sp 3
p
sp+
10
a tempo
86
sp
D
ff
ff
sff
sp ord II III
ff
ff
I II
sp
ff
ff
sul sp II III
ff
ord
ff
sp
II III
sff
sff
ff
f ord vib
I
ff
ff
ff
sp
sp+
sffpp
ff
sffpp
sff ord nv
½ - sp
sffpp
½ - sp
sp
ff
ff
sffp
III I ord IV II
II III ff
ord I II
½ - sp
sp I III II IV
ord II III
ff sffpp
II II III III
ord
sp+
ord
½ - sp I II
ff
III sp 91 IV
3
p
½ - sp
espr
" I II
mp
mp
III ½ - sp IV
sp+
sffpp
ord II espr
33358
ppp
ff
sp
pp
ff
ord
vib
ff
½ - sp II III
sffpp
sp
ff
ord
sp
ff
sp
96 ff
½ - sp
II III
ff
sff
pp sempre
pp ord II III
sff
ff
ord
sp
sff
ff
ff
I II
ff
sp
½ - sp
ff
sff
I II
ff
ord
+
pp
ff
sp
sp ord
sp
ord p vib
mp
sff ord II III
ff
III IV
ppp
½ - sp flaut
sp
pp
III IV
½ - sp II III
11
101
sp ½ - sp III IV
ff pp
ff ord
ff
sp
III IV
ff
ord
sp
ord II III
sp
sp ord
ff
½ - sp
sff
II I III
ord II III
sp+
ff
pp
sp+ ord I II
ff
ord III IV
sp+
pp
pp ord
sp+
ff
33358
sp+
ff
pp
pp
ord sp+ II III
ff
sp+ ord
ff
ff
ff
sp+ ord II III
ff
sp+ ord
ff
sp+ ord
ord II III
pp
ord
sp+
pp
ff
sp+
pp
sp+ ord I II
ff
ff
pp
sp+
ff
12
105 ff
ord
sp+
sp+ ord
pp
ord
ff
f
ff
pp
ord II
p
ff
III ff
f
½ - sp
IV III
IV
ff
pp
ff
ff
ff
sff
mp
III
3
f mp sp
ff
ord
ff
pp
vib
ff
ff
vib
3
ff
I II
ord
ff
½ - sp I III II IV
sp
ff
sp
ord
II III
ord
sp
ff
½ - sp
110
sff
sff
sp+
ff
p
III
½ - sp
sffppp
II III
ord
ff
ff
½ - sp
ff
ord
I
p
ff
33358
pp
ord
ord
ff
sffppp
sp+
½ - sp
114
ord
f
warm fl
ff
f
½ - sp I II II III
sffpp
3
sp III IV
f
I
ff
(IV )
I II
ppp
III
espr
3 ppp
fl espr
II
ppp
espr
3
ppp sempre
fl espr
13 IV
ppp sempre
f
slow
warm fl III II
ord
3
ff
ppp
119
½ - sp flaut I II
I II
½ - sp flaut
E a tempo
½ - sp III IV
sp
pp
pp
pp
3
3
ff
sp
ord
III IV
ff
ff
ff
ff ord II III
ff
ff sp II III
sp
sp
33358
I II
ff
ord
ff
14
ord
sp III IV
I 122 II
III
ff ord
sul III IV
pp
3
sffpp
ff
pp
ff ord
ff
sp
I II
sp
sp
I II
ff
sp
ord II III
ff
ff
vib
nv
sp
III
ff
ff
II
vib
ord I
ord
sp
ff
ord
ff
ff
ff
ord
sp
ff
126
ord IV
III IV
ff
sp ord II III
sp
ord
ff
II III
sp
ord
sp
ord
sff
ff
sp ord
ff
ff
f
ord vib
ff
f
III
ff
,
IV
ff ord
,
ord
vib
sp
,
ord I II II
ff ord
33358
ord I³
sp
,
sp
I
wait
sp
ff 3
ff vib
sp
ff ord
vib ff
ff
131
ff
½ - sp
ff
ff
1.
3
ord
ord sp sff ff ½ - sp
sp
sp
ff
IV
ff f
3
ff
3
p
ff
ff
sp
III
½ - sp
sp
ff
ff
ff ff
ord
ff
sp
ff
ord
sp+
ord
ord
ff
3
ff
sp+
sp
sff ff
IV
II III
15
sp
ord vib
135
½ - sp II III
sff
½ - sp
sp
ff ppp sempre
½ - sp III IV
ppp sempre
ord III
pp
ord
pp
sp
sff
p
sp
f
II
pp
ff
33358
ppp
II III
sp
sff ord
ff
3
ff ppp ½-sp
ff
ff
I
ord
ff
II III
ff
II III
ff
ff
ff
sub ½-sp
3
sp
sp
II III
ff
ff ord
ff
ff
16
ff ff
ord
140
III ff IV
sp
ff
ff
sub ½-sp
sff ord
sp
ff
sp
ff
sp
ff
ff
ff
ff
½-sp I II
sff
sp
ff
ff
II ff
ff
ord
ord
sp
ff
ord
ord IV
sp
ff
ff
ff
ord III
ord
I ½-sp
sp
ff
IV vib espr
ff
144
f
ff
3
ppp
sp
ff
pp
ff
ff
½-sp flaut
ff ff
ord vib
sp
f II III
IV
½-sp
(sp) III IV
ff
ff
3 pp
½-sp flaut
pp 3
33358
ff
sff
I II
II⁴ I III⁴ II
ff sp
ff
ord
sp
ff
III IV
148
sp
II III
ord III
ord
sub ff
ord
ff
sp
sp II III
ord
ff
ff
pp
ord III§
ff vib
f
3
p
III²
ff
p
vib
ff
3
ord IV
pp
pp
pp
½-sp
II III
II III
ff
ord
ff
I ½ - sp II
sp+
17
f
ff
slow (q ca 54)
espr III ½-sp flaut IV
152
mp
espr ½-sp
ppp
mp
mf
f
sp flaut
mp
p
pppp
pp
½-sp flaut
3
espr II ½-sp flaut III
3 mp II III
sp+
p
f
33358
mp
½-sp flaut
3
vib espr
mp ½-sp
3
mf
ppp
ppp
ppp
ord
sp+
p
18 ord
157
III IV
ppp
½-sp
non gliss
sp
3
pp
½-sp flaut II III ppp
III IV
½-sp flaut
sp+
p
mp
ord
ord
non trem
3
ppp
p vib
st
ppp
non
p
trem + trill
½-sp flaut
ppp
ord (non trem)
½-sp
sp+
ppp
sp flaut
ord
mp
162
F
wait for cello
,
faster e = 132
I ½-sp flaut II
pp sempre
sff
,
mp
ord
½ - sp flaut
pp sempre
molto vib
f
,
sff
sff
sff
sff
ff 33358
sff
sff pp sempre I II
I ½-sp flaut II
,
sff
sff
f
3
165
sp ½-sp
ff sp
19 sp
pp
½-sp
pp
ff
3
pp sempre
3
½ - sp flaut 3 III IV*
flaut
3
3
sp
pp
ff
3
pp sempre
pp sempre
½ - sp flaut III 3 IV *
ff
ff sp
½-sp flaut III IV*
3
sp+
mp
168
5
5
5
sff
sp
sp
ff
sff
sff
ord
p
* continuous flowing left-hand glissandi! Trill with 2nd or 3rd finger always highest partials possible.
ff
½ - sp flaut II III
pp sempre
ff
½-sp flaut sff
pp sempre
ff sp
I II
½-sp flaut
pp sempre
lv IV
33358
sff
sff
½ - sp flaut II III
pp
sff
sff
sff
sff
sff
e=e. faster e = 176
20
172
III IV
3
III IV
II III
sff
ff
pp sempre
3
ff
3 3
ff
pp sempre
II III
III IV
ff
pp sempre
I II
pp sempre
sub sp
sub ff sempre
sub sp
sub ff sempre sub sp
sub ff sempre sub sp
sub ff sempre
sub II ord 176 III
sub pp sempre sub II ord III
3
½-sp flaut
sub pp sempre sub II ord III
III IV
3
sp III IV
3
non dim
½-sp flaut
ord
sp+
ff
non dim
ff sempre
I II
non dim
½-sp flaut
sub pp sempre
½-sp flaut
3
pp sempre
33358
non dim
pp
ff pp III IV
sp
ord
sp
ord
ff
pp ord
sp+
ff sp+
ff
sp+
ff
ord
180 pp
I II
pp pp
ff sempre
pp
sp+
I II
½-sp
ff
sff
pp sempre
½-sp
p
sp+ ½-sp
sff
ff
½-sp
sffpp
sp
sp
ppp
21 sp
ff
sp
ppp
ff
sp
ord
ord III IV
ff
ppp ff
ord II III
ff
sp
ff
ord II III
I II
II III
ff
ord II III
ff
ff sempre sp+
sp II III
II ord III
ord
pp sempre
½-sp
sp+
ord
ff sempre
ord
ord
½-sp
sp+
½-sp
ppp
sp
ff
186
I II
ord
sp ord III IV
ff
pp
ord
sp
pp
½-sp
ff
IV sff III
f
ff
ord
IV8vb sff
lv
p
ff
33358
3
½ - sp
mp
II III
ff
III IV
ord
½-sp
ff
ord
f ff
III IV ½ - sp II III
ord
sff
ord
ff II III
f
ff
ord
ord
sp
½-sp
ff
mf
vib
ff ½ - sp III IV
lv
ff
22 III ord IV
191 sff pp
sp
sub ff
pp
sp
ord
sp
sff pp
p
ff
pp
sub ff
p
1. / 2.
sub 1. / 2.
pp
ff
3
ff
p
3
sp
ff
3
pp sempre
sp ½-sp flaut
pp
vib
III ½-sp flaut IV
ff
½-sp
"
sp
½-sp
sub ff
½-sp
sub pp
sff pp
III IV
3
sub pp sempre
3
ord
3
II
sff
ff
sub 3
195
sff
3
3
ff
sub 3
sff
III IV
3
3
½-sp
3
sffpp
ff
sub 3
3
ff
ord
ff sp
3
II/III sff
ff
ord II² III³
3
33358
ff
sp
ff
3
ord II III
ord
ff
½-sp
ord
I II
198
ord II III
½ - sp I II
sp
ff
sub ppp
sp
III IV 3
½-sp
3
ff
ppp
½-sp
sp
ppp
ff
3
½-sp I II II III
sff ppp
IIIII
3
ff
ff
ord
ff
½-sp
3
ord
sp
ff
sp
3
I II
3
III IV
I II
3
23
sp
ff sp
ord
ff
ff
pp
ff
ff
½-sp
II III
ff
ord II III
sp
202
sp
sffpp
3
sff pp sempre
sp
ff
sffpp
ff
½-sp
ord
ff
ff
ord
ff sempre
½-sp
ord
ff
II III
f
½-sp
sffpp
sff
sp
ff
33358
½-sp
I II
ff
24
206 ½-sp
ff sempre
ord
sp
ff
ff
p
ff
ff
ff
pp p ff
ord
½-sp
ff
ord vib
sp+
vib
ord
ff
pp
ff
ff
½ - sp II III
sp
II III
½-sp
ord
ord
sp
ord
vib
sub ff p
sp
ff
ff
211
sp
sffppp
ord
½-sp flaut III IV
non gliss ff
II III
ff
sp
ff
ff
ff
ppp
pp
G
e = 112
non gliss
p
st
p
ord flaut II III III IV
p
sp flaut
33358
trem + tr
3
ppp
sp flaut
p
215
II III
mp
½-sp flaut
ppp
ord III³ IV²
ppp
sp
25 long
ord
sp
p
ord
long
p
p
sp
long
ff
sp
ff
long
ff
long
ord III³ II²
fl
ff
3
e = 120
sp
II III
ff
long
long
long
pp
221 ff ord III IV
ord
sp
sp
ff
II III
ord
ff
ord
IV ff pp III
sp
ff
ord
sp
ord
ord
sp
ff
ord
3
3
sp
sp
ff
sp ff
½-sp
ff
ord IV 3
f
sff ff
ord
ff
sp II III
I II
ff
ff
st vib espr
ord
ff
33358
pp
26
a tempo I e = 120-128 ord
slow
226
IV
vib
ff
ff
½-sp flaut
p
ppp
II III
mp
p
III
f
fl p vib
IV
ff
ppp
ord
sp
ord
½ - sp
ord
fl
IV8vb
pp
lv
ff
233
ppp
5
pp
ppp
fl
ppp
III
pp
H
ff
ord
IV
ord
ord
sff
ff
ff
½-sp
I
ff
33358
ff
sp
ord
ff sff
III IV
ff
sp
ff
sp II III
ff
sp
ff
sp ord
ff
240
ff
ord
ff
ord
ff
ff
ord
ff sp
sff
ff
p
sp
ord
ff
ff
p
ff
III IV
sp
3
ord
sp
pp
ff
ff
II III
II
sff I²
II III
I II
II III
27
ff
ff
ff
½-sp
I II
ff
ff
sff
ff
½-sp
3
ff
sp
sfpp
ord
ff
ff
244 III
ff
ord III§
ff
sffpp
sp
I II
sffpp
ord
II§
sp
sp
ff
ord
ff
ord II/III
mf ff
ff
ord
ff
mf ff
ppp
I II
ppp
33358
sp ff sp
ff
sp
ff
ff
ord
II
sff sp
ff ord
ord
sp
ff
II sff
ff
ff
28
ff 249
ord
ff
ff ½-sp
II III
sff
ff
mf II III
3
3 III IV sff
I II
ord
ppp
mp
sff ff
½-sp
ff
sff ff
½-sp
IV fl nv
mf
sp
ff ord
sp
III
ff
ff
III
vib ord
254
ff
½-sp
ppp
f
f
3
II ppp
ppp
I
ppp
f f ppp
f ppp
f
f
33358
sf sp
½ - sp
f
pp
IV
IV
ff
ord
mp
ord
f
ffp
sfpp
ff
ff
ffp
ord sfpp sff
f
ff
sp
ff
ff
ff
sff
259 ff
½-sp
sp
ord
sp
ff
sff ord
sp
29
ff
ord
sp
ff
½ - sp
ord III§
ff
ppp
sff ff ½-sp
sp
ff ff I II
ff
ff
sff ord
sp
ff
ff
ff
p
ff ½ - sp
ff
ord
½ - sp
ff
sff
ff
ppp
f
ord
II III
ff
mp
ff
263
ff ff ½ - sp
ord
I II
pp
pp
ff
II III
ff
3
sff
sff
ff
ord
I³ II³
ff
f sempre
½-sp III IV I/II
ff
ppp
½-sp III IV
ff
3
ff
sp
3 sff
½-sp
ord II III
sp
3
f sempre
3
½-sp II III
sffpp
33358
3
sffpp sempre 3
sff
sffpp sempre
sffpp
ord
sff
ff
sp
30
267
sp ord
ff
ff
sp
ff
ff
p
ff
long *
long *
II III
p ½-sp
ff
sp
ff
ppp
ff
II III
ppp
long *
sp
ff
I ½-sp II
ff
ord
sp
IV
ord
long *
ff
½-sp II III
sp
ff
272
ff
I
3
3
ord
ff
ord
ff
sffpp I II
ff
½-sp
ff sp+
½-sp
IV
ord
ff
f
ff
33358
IV
sp+
ff
f
f
II III ord
* Out of silence. Sound in motion. Hold extreme tension.
ff
ff sff ppp
III II
sff ppp
sp
f
IV III
pp
½-sp III IV
ff pp
ff
ff
31 ord
276
sp
f
ff
sff
non gliss.
sp
f
p
ord
sp ord II
sf
ff mp
ff
mp
ff
ff
½-sp ord II
ff
IV
ord sff
p
III
ff
ff
ff
sff mp
sp I II II III
ff
sp
sp ord
IV§
ff
ff mp
ff mp ff
ord
½-sp III 3 IV
I II
ff
ff
p
ff
ord I² II II² III
sff
sp
ord
ff
sp
ff
282
3
ff
mp III§
3
ff
mp
½-sp
II III
III IV
ff
p
ff
III
p
ord
II
p
ff
½-sp I II
II
sff ppp
3
ff
½-sp flaut
ppp I II
33358
sff
sff
½-sp
ord
ff
3
sff ppp
ff I II II III
ff
ff
pp
flaut
sff sp
ff
sff
ff
32
286
II III
sp
½-sp III IV
ff
II III
II
ord
sff
III
pp
ord I III II IV
sp ord
ff
sp
ff ord
ff
f
ord
sp
ff
ppp
½-sp
pp
ppp
sp
½-sp
mp
sff
sff
ff
sff
3
sp
ff
ff
ff
ord
sp
3
pp
ord II III
ord ½-sp flaut II I II III
pp
I II
espr ord III
ppp
mp
espr
ff
ord
mp
pp
mp
291
ppp
mp
ppp
mppp
sff
III IV
ff
mf
p
mf sff
½-sp
sp
III IV
ffpp
sff ord
sp
I II
sff
sff pp
ff
ff
ff
33358
pp
ff
sff pp
I II
sff
ff
pp
pp
sp
ff
sp
ff
ff
ff
ord III 295 IV
ord
sp
ff
ff
mp
ff
sp
III§
ff ff ord
sp
sff
ff
sffp ord
ff
sff
sff
sp
ff
ord
sp
I II
ord
ord
sp
II III sff
ff
½-sp
sff
ord
I II
f
ord
sp
vib
ff
ff
III IV
sp
mp
ff
II III
IV sff ff ff ff
sp
ff
ord vib
½-sp
33
sffp
ff
3
sff
300
ff
ff
½-sp flaut
ff
sff
sffpp sempre
ord III IV
ff
III p
sp
IV
pp
ff
II III
pp
sffpp
33358
ff
½-sp
sp
sp
III IV
ff
sff
sp
3
½-sp
sff
pp
3
ff
ff
34
J
304
ord
IV III
3
ff
ord
sp
ppp
½-sp
III
ff
II
ff
3
ppp
ord
ff
sffp
ff
ord
ff
ff
f
½-sp
II
3
ppp
I II
ord
ppp
ff
sp
ff
ff
ord
sp
III
ff
½-sp II III
3
ff
ord
sp
II
ff
f
ff
sp
f
ff
f
308
pp
II
½-sp
III IV sff ppp
pp
ff
ff sp
IV f ff III
ff
pp
3
ff
f
ord
ff
f
ord
ord
sp
II III
ff
ord
sp+
p
½ - sp
f
33358
ff
sp+
ff
ord II² III³
ff
ff
II² III²
½-sp flaut
311
ff
½-sp
f
III IV
ff
½-sp flaut II III
ff
mp
3
sp
½ - sp flaut
sp
ppp
mp
ppp
3
ppp
mp
3
3
ppp
ppp
ff
2.
mp
1.
½-sp
vib
sffpp
ord
3
ord
35
f
III ord vib
sp+
sp+
315
ppp
f
st flaut trem+tr
ord
ord
pp sempre
f
q = 50
f
f
mp
sp flaut vib
3
ppp
* scordatura IV also written as played, sounding 3rd lower (Va), 5th lower (Vn I), aug. 4th lower (Vn II) 33358
3
f
ppp
36
321
K
*
IV
p
p
III:
ord
2½"
2½"
III open string
st delicate
2½"
3
vib
f
2½"
327
st vib
ppp
IV
st vib
3
p
p
p
* less hair of bow on III: balance III/IV carefully 33358
(vib)
3
tr+ trem
p
37
331
pppp sempre
pppp sempre
½ - sp non tr+trem mv
mp
pppp sempre
sp+
st
pppp sempre
fl. espr
III
335
vib
lv mf
3
faster
vib
mp
mp
p
sp
pp
mf
st
tr + trem
pp
33358
3
mf
fl
ord
f
38 vib
f 340
lv
III³
B
IVppp sempre
ff
f
ff
ppp sempre
ff
nv
ppp sempre
sp+ ord nv III
vib
IV
ff
lv
nv
vib
ff
p
ppp sempre
q = 50
espr p vib
345
p vib
5
3
sp flaut
p espr
5
p
sp flaut
ord
III
IV 3 f sempre 3
IV
3
pp
sub
IV
ff *
3
ff *
IV
3
f sempre
* ff balance carefully 33358
sub
III
ppp
3
f sempre
ff *
III sub
ff *
ppp
ord
p
sp flaut
ord
f sempre
espr
III:
ppp
ppp
39
350
sub tr
ppp
ppp
mp
ppp
p
flaut sempre fl tr+trem
p
flaut sempre fl tr+trem
tr
ord
ff
ppp sempre
355
ppp
IV sounding:
tr+trem fl
tr+ trem sp flaut
3
non tr
sub tr
ppp
ppp
pp
non tr
sp flaut
pp
pp
ppp
33358
non tr
L
ppp
sub tr
ppp
q = 54
sub tr
ppp
espr
con sord
40
360
con sord
3
sounding:
ppp
3
ppp non dim
sub
ppp
espr - a melody! I II *
pp
sp flaut vib
sub pp
3
ppp
sp flaut
ossia till end:
sub tr
III IV
sounding:
pp
espr
fl.
ppp
ord nv
non tr
366
sub tr sim
3
ppp non dim
ppp
½-sp
sub ½-sp
sub
ppp
3 ppp ppp p pv
nv
ppp sempre
p
sub
sp
ppp
ord
3
pp
* Vc: very fragile, fluctuate between I and II at lines. Unstable. Tempo defined here by Vc line. 33358
ppp
fl
ppp
ord
ppp
ppp non dim
mp
ppp
sub sp
ppp
vib
3
ord pv
41
370
sub
sp flaut
ppp
ppp non dim
3
ppp
fl
sub tr
pp
non tr
ppp
sp
/
ord
0 p
3
pp
pp
ppp non dim ord nv
pp
sp flaut
sp+
ppp
pp
ppp
silence
silence
ord
non tr
ppp
ppp
ppp
vib
3
mp
ppp sempre
sp flaut
ppp non dim
vib
ppp
33358
sp flaut
silence
silence
notengrafik berlin
374
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