Oxford Concise Dictionary of Music page 741
for string quartet
Evan Gardner 2010
The Oxford Concise Dictionary of Music is an ongoing compositional project in which the definitions found on a given page from the actual Oxford Dictionary of Music, fourth edition, published in 1996, are used as the basis for musical thought. The forms, techniques, people, and instruments found therein define the palette of musical material from which I am then “allowed� to use. The challenge is to create a coherent musical work from an essentially arbitrary catalogue of words, to find meaning from an absurd premise while embracing the various kinds source materials, stylistic differences, and general diversity found on a given page. The inspiration for this piece came as I was reading the works of Jorge Luis Borges, a gifted Argentinian writer well known for his quirky, creative, genre defying short stories in which fact and fiction become impossible to distinguish from each other. He once remarked that what fascinated him most about literature was its ability to inspire the imagination of the reader. It got me to thinking, "how could I something like that with music?" And so began my project with the Oxford Concise dictionary of music. I read the entire volume and looked for interesting ideas that converged on a given page. Most pages were hopeless, but there were many pages that contained concepts I would have never dreamed of putting together and that offered a unique and stimulating compositional challenges. Suddenly, whole new world of musical possibilities began to unfold. The ultimate goal is to someday write a piece for each page, by either doing so myself over the course of many, many years, and/or by recruiting other composers to start adding their own contributions to the catalogue. Pages can be written for any kind of instrumentation and be programmed as a single piece or as a modular collection of movements.
741
ton (Fr.). Pitch, key, mode, tone, crook, sound, note; e.g. donner le ton, to give the pitch; ton de cor, horn crook. Ton (Ger.). Pitch, key, mode, note, sound, mus., e.g. Tonfarbe, tone-colour; Tonkunst, tonal art (i.e. mus.), Tondichtung, tone-poem. tonada (Sp.). (1) Diminutive of *tonada. (2) Cantata with vocal solos, usually incl. choral and instr. movts. Such works were used as satirical intermezzi in the th.: their popularity was est. by Luìs Misón, Sp. fl. virtuoso and cond. (who from c.1757 wrote over 100), and others. Form revived by Granados. Originally a topical solo song, with guitar acc., added to Sp. theatrical interludes. tonal. (1) Opposite to real in such technicalities as *answer and *sequence. See fugue. (2) Of keys, as in tonal basis. (3) Of *tonality, i.e. the opposite of *atonal, as in tonal comp. tonality. Key, meaning particularly observance of a single tonic key as basis of comp., thus bitonality, use of 2 keys at once; polytonality, use of several keys at once; atonality, loyalty to no key.
TOOVEY
tonic sol-fa. Eng. system of sight-singing and notation first mooted by D. Sower in 1832, developed by Sarah Ann Glover (1785-1867) as Norwich Sol-fa, and pioneered by John Curwen (1816-80) in the 1840's. Based on movable-doh system of *solmization. Notes of major scale are named (in ascending order) doh, ray, me, fah, soh, lah, te, where doh is the tonic, other notes being thus related to tonic of the moment, not fixed in pitch. Minor is treated as mode of the major, first note being lah, 2nd te, 3rd doh, ect. In notatation notes are written as d, r, m, f, s, l, t. Sharps and flats are indicated by change of vowel, sharps to 'e', flats to 'a' (pronounced 'aw'). E.g. doh sharpened is de; me flattened is ma. Double dots (:) separate beat from beat; single dots are used when a beat has to be divided into a half-beat, commas to divide half-beats into quarters. Horizontal lines show that notes are held; blanks indicate rests. Tonkunst (Ger.). 'Sound art', Music. tono (It., plural toni). Tone-in all the various senses of the English word (see tone). Also mode, key. tono (Sp.). Type of part-song or madrigal, of 2 or 3 stanzas, sung before play in 17th cent. Tonreihe (Ger.). *Note-row.
Tonart (Ger.). Mode, scale, or key. Tondichter (Ger.). Sound-poet, i.e. composer. Tondichtung (Ger.). Tone-poem; term preferred to *symphonic poem by R. Strauss. tone. (1) Mus. sound, as in analysis to show that a vn. note has several different tones. (2) Interval of major 2nd, e.g. C-D, E-F#. (3) Quality of sound, as in 'sweet tone', 'harsh tone', 'dry tone'. (4) Plainsong melody, as in Gregorian tone. (5) Amer. usage for 'note', hence 12-tone mus. and tone-row instead of 12-note and note-row. tone-cluster. Amer. term for *cluster, i.e. group of notes on pf. played by placeing the forearm flat on the keys. tone-colour. See timbre. tone-poem. See symphonic poem. Tone Roads. Name of 2 work by *Ives. No1 for small orch., comp. 1911; No.3 for chamber orch., comp. 1915. tonguing. Use of the tongue to articulate certain notes in playing of wind instr. Thus, single-, double-, and triple-tonguing refer to increasingly fast playing. flutter-tonguing (ger. Flatterzunge) is used chiefly by flautists, but occasionally by clarinettists and trumpeters, for a trilling effect required by composers from R. Strauss and Mahler to the present day. tonic. First degree of the major or minor scale. The 'key-note' from which the key takes its name, as Key of A ect.
Tonus Peregrinus (Lat.). Foreign tone. (1) Medieval term for minor scale. (2) Plainsong for Psalm 114 (When Istreal wnet out of Egypt). Tooley, (Sir) John (b Rochester, 1924). Eng. administrator. Secretary, GSMD 1952-5. Ass. to gen. admin., Royal Opera House, CG, 1955-60; ass. gen. admin. 1960-70; gen admin. 1970-80; gen. dir. 1980-7. Knighted 1979. Toovey, Andrew (b London 1962). Eng. composer. Dir. of Ixim, contemp. mus. ens., from 1987. Compl. incl.: OPERA & MUSIC THEATRE: The Spurt of Blood, 3 singers, 4 players (1988-90): Ubu (1991-2). ORCH.: Ātē, chamber ens. (1986); Black Light, chamber ens. (1989); Mozart, str. (1991). VOICE(S) & ENS.: Winter Solstice, v., 7 players (1984, rev. 1988); An die Musik, mez., vib. (1989); Adom Adamah, sop., ens. (1991); Ja ja ja ja ja, nee nee nee nee nee, vv., ens. (1991). ENS.: White Fire, cl., opt. dbn., pf., vn., vc. (1988); Adam, ob., cl., 2 tb., vc., db. (1989); Splice (for Bridget Riley), bcl., hn., pf., vn., vc. (1991). CHAMBER MUSIC.: Untitled String Quartet (1985); veiled Wave I, fl. (with picc. and alt. fl.), II, cl. or bcl. (1985); Cântec, va., pf. (1986): Shining, vn., vc. (1987); Shining Forth, pf.,vn., vc. (1987); String Quartet Music (1987); (nobody'll know), vc., pf. (1988); Shimmer Bright, str. trio (1988); Lament, Strathspey, Reel, vn. (1988); Whisper(ingly) Crumbling (into) Silence, perc. trio (1988); Snow Flowers, picc., va., hp. (1988); Whirling, pf., perc. trio (1989); Still Far Off, fl., ob., pf. (1990); Fallen, v., vn. (1991).
poem by e.e. cummings moon over gai -‐té.a sharp crone dodder be-‐ tween taxis swirl hues crowds mov -‐ing ing ing among who dreams whom mutterings dream & :the moon over death over edgar the moon over smellings of gently smell of deads (lover grip sprawl twitch lovers & one dog?piglike big!sorrows always;finally and always, the if like moon over moving me—the moon m ov—in g over(moving)you beautifully also;at denfert the fat strongman has put down his carpet from which rise slim curving mighty children while a python over the way freezes a serpent becomes a rod smile the liontamer nearby hieroglyphs soar dip dip soar equalling noise solemn dolls re -‐volve whirlswans rabbitsare: swimswim painted-‐with-‐horses-‐with-‐painted-‐ with eyes and the.m oon over juillet moon over s -‐unday
O: m o o n o (ver no(w ove(r all; o ver pinkthisgreen acr)o)greenthatpink) acrobata mong trees climbing on A pi llarofch airso vertheseu pstareth oseings over (a hard a hard a girl a girl)sing -‐ing ing(ing sing)ing a soft a song a softishsongly v o i c e o ver (whi!tethatr?apidly legthelessne sssuc kedt oward black,this )roUnd ingrOundIngly rouNdar(round)ounDing ;ball ;balll ;ballll ;balllll
Performance Notes Quarter tone sharp Three Quarter tones sharp Quarter tone flat Three quarter tones flat
n.v. p.v. v.n. v.m.
x.s.t. a.s.t. s.t. nat. s.p.. a.s.p. x.s.p. a.l. a.n. crini legno
Unless specified, all tones are to be performed non vibrato. non vibrato poco vibrato (a little) vibrato normale vibrato molto Bowing abbreviations extreme sul tasto alto sul tasto sul tasto naturale sul ponticello alto sul ponticello extreme sul ponitcello arco lento (very slow bow speed) arco normale (normal bow speed) use hair of bow to perform specified action use wood of bow to perform specified action Dynamic markings with quotation marks indicate the intensity of the performance action and not the resulting absolute volume of the action. Niente All tremolos are unmeasured. Perform as fast as possible.
Notes in parentheses with a trill sign above indicates the note that is to be trilled. Downbow Upbow Mute, dampen. A sudden stopping of sound as if cut short electronically. For string instruments, silently dampen all other strings such that they are prevented from vibrating. A harmonic notehead that is half filled-in indicates a muted action. The player is to finger the note like a natural harmonic, but also add an finger behind that note to dampen the sound. Excessive bow pressure. A noisy, non pitched sound results.
A darkened triangle above the staff indicated an increase in bow pressure. Althought his is a similar technique to the excessive pressure leading to noise technique described above, this technique mantains a degrees of the original tone. Exactly how much depends on the relative intensity of the darkened mass.
Indicates a adjusment of bow placement and pressure to create the specral content of a tone and even jump into higher overtones such as the octave or the fifteenth. The effect should be explored in a gradual manner and not be exaggerated. By all means eplore the resulting sounds, but do so in the context of the musical situation at hand.
A toneless, airy sound created by bowing directly on the bridge while covering the strings. The bow pressure and the speed of the bow must be sensitively balanced to obtain a direct and audible result. Played with pressed bow. The result should be a dry rattling sound, strongly "perforated." A whining, smudged, or otherwise distorted tone should be avoided at all costs. The bow can be held with the fist. JetĂŠ technique, or bouncing the bow on the strings.
Bridge clef Replace the traditional clef and depicts the shape of the instrument's fingerboard-stringsbridge. Wherever is occurs, it indicates the approximate position on the instrument where the action is to be performed rather than specific pitches. Body clef Represents the shape of the instrument and signifies action to be performed on the instrument. String clef Indicates actions to be performed behind the bridge on the strings. Each of the four spaces between the line represents a string.
Wood Block pizz
Tail clef Indicates actions to be performed on the tailpiece of the instrument.
Hammer pizz. Indicates left hand "slapping" string to achieve sound. The right hand does not perform this action.
Peg clef Indicates actions to be performed on the tuning pegs of the instrument.
The multiphonic sign indicates the player should bow the string such that two or more clear tones result. This can be achieved by exploring the angles of the bow meeting the string, bow pressure, and location. This kind of legno technique is to be performed on a muted string, such that the resulting sound is veiled and woody. The fingers should stop the strings as if playing a harmonic but all the reall harmonics should be muted with secondary fingers. Stopped pitched should be heard as a weak shading of the brightness of a bowed sound. Applies to both the battuto and tratto variations. Can also be performed crini.
Oxford Concise Dictionary of Music page 741
q»80
Vln I
Vln II
Vla
& 44
2 a.s.t. flaut.
∑
4 4
Vln II
a.s.t. a.l.
#˙
& 43 Œ
‰
bœ
P
legno
. ..
‰.
œ
p
arco legno
. ..
. ..
5
P
#œ o & 43 ‰ . Œ B ≈ œ ‰ 44 . ..
F
pizz.
p
s.t. a.l.
Vlc
44
8
& 43 ‰ . œ gliss œ ‰ . 44
crini
45 ˙
bœ 4 w 43 ‰ . Œ ? ‰ . 4 ∏
9
∑
∑
˙o .
45 ‰ . œ
P
pizz.
45 ‰ . œo
p
. ..
45 b œ ‰ . p
Œ
¬
“F ”
arco
Œ
¬
s.t.
crini IV tratto
œ ‰. Œ
Œ
. ..
F
Ÿ~~~~ œo 54 œ ‰ . & ‰ œo ( ) œo ‰ . Ó s.p.
I
F
s – – 3
s3 – –
“F ”
s.p.
3
I II III IV
43 ¿ ¿ ‰ . S
F
œo
woodblock pizz.
—
‰ 85 Œ
±±
pizz. secco
P
hammer-on III pizz.
Œ B ≈ ‰ 85 ≈ œ œ œ p
p
& 4
‰ – S “ƒ ”
“ƒ ”
11
I
98 – ‰ .
Ó
Œ . & 44 Œ ‰
98 – ‰ .
a.s.t. Ÿ~~~~~~~~~~~~~~~~~ 44 ‰ . Œ Œ& # · ( ·) · . #·
s.p. Ÿ~~~~ ·( ·) · #
π
43
‰. Œ
—
pizz.
≈ ‰ Œ
F
π
3
Œ.
trace curve of instrument with lateral and horizontal stroke
3
“ƒ ”
3 4
‰. ‰
“f ”
arco
10
“ƒ ”
p
“f ”
“F ”
3 {}{‰ ‰ & 4
‰ Œ @S @ @ ‰ 85 Œ
pizz.
43 ≈
‰ 85 ‰
Œ
“ƒ ”
pizz.
bow grind on body belly
6 legno tratto
III
3 4 ‰
o 44 œ ‰ . Ó .
crini
arco s.t.
∑
44 œ ‰ . Ó .
˙.
. ..
43 œ ‰ .
4 ‰. Ó. 4 œ
˙.
o 54 ˙
arco
. ..
π
sub.
5
44 w
˙.
π
wo
∏
45 ˙
π
Ó
o B 44 w
4
a.l.
5 4 ˙
& w
∑
p
Vla
p
a.s.t. a.l.
7
Vln I
3
3
π
a.s.t. a.l.
Vlc
3
s œ œ œ glis s œ œ
∑
B 44
q»92
for Arditti Quartet
Evan Gardner 2010
p
III legno tratto
‰ 98 S s . 44 ≈ ‰ ‰ . B S 5
“F ”
3
“f ” . ..
98 – ‰ Ó “ƒ ”
3
p
“ƒ ”
Œ.
p
“ƒ ”
> pizz. ˘ 44 –@ –@ – ≈ Œ ? ‰ . · p
“ƒ ”
P
2
q»60 q»92
Rit.
12 II III legno tratto
13
46 Œ
≈ Œ Ó
Vln I
. ..
–‰ Œ
Vla
B ‰.
I
— ±.
?
· · · ‰ · ·· ‰ . ‰ · ·· ‰ . ‰ ·
16
‰ .
Vln I
{}{
∏
Vln II
Vla
6 4
“ƒ ”
‰ .
‰ .
q»80
s 3s Œ Œ Œ & œ œ œ bœ œ œ œ. bœ 3
π
B
Ó
Œ Œ
a.s.t. a.l.
o o Œ œS œ 3
π
Ÿ~~ Ÿ~~~~~~~~ œo (œo) ? b œ œ œ œ (œ) œ œ ‰ . Œ B ‰ Œ π3
4 ‰ . 4
3
4 Ó 4
‰ .
18
19
w
w
˙o
w
P
P
Œ
‰.
IV
P
b œo b wo π
π
III
B ≈
p
bœ œ Œ Œ Œ
≈
@ @ —— ‰ œ@œ @ @ ‰ Œ @
Œ
43 ˙ .
45 œ œ # œ ˙ .
π
3
“ƒ ”
Ÿ~~~~~ 5 3 ≈ b œ( œ)œS Œ Ó s.t. legno tratto
· (œ)· · ≈
5 4 ˙.
sub.
iss gl
p
III Ÿ~~~~~~~~
3 4 n˙.
p
3
arco a.s.p.
20
3
s.p. punta
“f ”
?
Ÿ~~~ Œ s œ( œ)
pizz. trill
6
œ bœ bœ
Ÿ~~~~~~~~~~~~~~ # œ .(œ) œ œ œ
3
b
P
U
q»92
Ÿ~~~~~~~~~~~~~~~~~~~~ 4 œ nœ œ œ 4 ˙. Œ () 21
+
44 ˙.
Œ
3 3 œ œ œ œ 5 # œ œ œ œ œ . œ œ gl is#s œ 4 ˙ . 4 4 4 S
Œ
π
sub.
s.t. flaut.
s.t. a.l.
s.p. III
π
3
Accel.
17 s.t. flaut.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 a.s.p. s ‰. Œ bœ ˙ & ˙ œ œ œ π
punta s.p.
Vlc
III arco legno tratto
{}{}{}{} ‰ }{}{}
Ó
π
Œ ‰
IV not aggressive
legno tratto
III IV crini
“f ”
U
œ œ bœ nœ bœ ‰ Ó
π
“f ”
6 — 4 ‰.
∑
15 3
≈ ‰ ≈ ‰ ≈ 44 œ œ # œ ≈ Œ ·. · ·. · ·. œ
“f ”
Vlc
punta s.p.
5
3
3
p
legno tratto
– ‰ & 44 Œ
6
punta s.p.
s.t.
3 ‰ ≈ Œ Ó & 46 ‰ {} #·
Vln II
14
. ..
–‰ Œ
“f ”
“ƒ ” arco
. ..
P
π
sub.
œo œo 3 œo œo ˙o . 34 54 S π
sub.
5
˙o
44
˙o .
Œ
b
3
III 23 IV s.t.
±± ±± 5 ‰. Œ & 43 ≈ Œ ‰ # ·· 8 ··
22
Vln I
Vln II
&
&
‰ – – ‰.
Œ
3
“f ”
‰
6
“ƒ ”
≈ Œ “f ”
Œ ≈ ‰ Œ B S crini II
3
3
6
Vla
“F ”
“f ”
Vlc
B
legno tratto II
s.t.
‰
d · · ≈ Œ d· ·
“f ”
“ƒ ”
Ÿ~~~ 4 Œ · .( ·)· Ó 4 & ·. · 27
Vln I
‰ .
3
III IV
s.p.
Vln II
& 44
—
P
3 5 4 ‰ – – ‰ . Œ & 8 ≈ œ@. œ@ Œ . œ. œ “f ”
3 4
‰ . ·@. ·@ Œ ·. ·
“ƒ ”
. ‰. ¿ Œ
legno bat. I
“f ”
7 œ œ ŒŒ 8 S 3
P
woodblock
p
P
4 Œ I II ‰ . }{} ‰ . Œ B 7 Œ ≈ ‰. ‰ 4 III IV 8 b · P
P
L.H. pizz.
Vlc
3 3 44 Œ s Œ ? ‰ is s ‰ . ¿ œ gl
P
F
78 Ó
. ..
s – Œ.
±
5 8 Œ
p P
—
44 ≈ ¿ Œ & ≈ ‰ Œ P
“F ”
F
F
3
sŒ œ
F
p
+
Ÿ~~~~~~~~ 6
4 Œ ≈ · ( ·)· · ‰ . Œ 5 4 4 · · · F
—
woodblock pizz.
P
P
œ gl. iss = œ B 44 Ó nat.
F
¿ 43 Œ ‰ ≈ ‰ . ¿ 44 knock
p
p
F
43 Œ ‰ œ g li ss= œ ≈ 44 Ó
∑
‰ . ¿ 44
knock on body
‰ g liss Œ œ3 ÿ
arco nat.
P
p
5
3
L.H. pizz.
31
∏ P
4 ‰ . œ œ œ .= œ ‰ . I II ‰ . }{ 3 4 4 III IV
Œ
P
3 œ œ œ ≈ Œ 4
Π{} {} {}{} 44 S III
‰
“ƒ ”
nat.
L.H.
rapid gliss IV w/ harmonics
30
Œ
F
5 4 {} Œ B ‰ b · S 3
4 4
‰ · (·) · · ≈ Œ · · ·
5 ? 4 –‰ Œ
“F ”
woodblock pizz.
. ..
I II III IV
–.
“f ”
F
III s.p. IV
‰ . ‰ 45 ‰ ‰ Œ
∑
“F ”
Ÿ~~~~~~~~~6
—
P3
7 ≈ ‰ 8 Ó
legno bat.
P
woodblock pizz.
π
6
3 ≈ ¿ ‰ ¿ ≈ ? 44 Œ s Œ œ
knock
—
crini IV
II
∏
≈ ¿ 44 IV. . .
Œ
II
I legno tratto
7 8
“ƒ ”
F
3
œ œ œ ≈ Œ 45 ‰ .
∑
29 Ÿ~~~~~~~~~~~~~ Ÿ~~~~ s · ( ·) 44 · ‰ ≈ · . (· )· ‰ . · · ·. ·
6
Vla
5
“f ”
3 4 Œ
π
5 8 Œ
—pizz. œ œ gl is s= œ ≈ 78 Œ ‰ . Œ ‰
‰. Œ
7 8
“ƒ ”
s.t.
26
“ƒ ”
5
arco nat.
woodblock pizz.
ΠS Š78
25
3
a.s.p.
28
F
24
“F ”
“ƒ ”
III legno tratto
Œ
s.t.
P
∑
‰ . Œ 45
5 4
B 5
4
4
32
Vln I
a.s.t.
33
5 & 4 œ . gl iss= œ ‰ Ó . p
Vla
Vlc
& 45 Œ ≈ œ . glis s = œ ‰ . Œ
Vln II
B 45 Ó
3 œ gl iss œ gli ss ‰ . = œ ‰ 46 Œ Œ Œ S S = œ ≈ Œ
B5 Ó 4
Œ ‰
P
F
œ
a.s.t. 3
f
@@ ‰ ·· ·· ≈ 6
& 43 # œ ‰ .
“ƒ ”
III legno tratto
3 & 4 Œ
gli ss ≈
“f ”
Œ
“f ”
44 ‰ . Œ Ó
4 4 ˙
π
Œ BŒ
“f ”
a.l. Ÿ~~~~~~~~~~~ s.t. I n·. œ · o o ( ) 3 ‰ – ≈ ? ≈ 4 B ‰. 4 Ó ‰ œ œ 4 s.p.
#
π
3
5 4 ≈
∑
40
46 ˙ .
3
∑
2 3 4 œ gl iss 4
∑
42
∑
43
‰ . Ó 42
∑
3 4
∑
3 4
œ . gliss= œ s.p.
p
œ . gli ss = œ π
3
41
˙.
44 ˙
˙.
4 4 ˙
nat.
π
s.p.
5 4 Œ
∑
3 6 œ œ œ œ gl iss œ 4 œ œ . œ œ œ 4 ˙ .
. ..
“ƒ ”
a.s.t. a.l.
3 & 4 ≈ œ . ˙ π
legno tratto flaut.
¿. ‰ . 4 Ó 4
legno bat. III
39
36
p
p
38 IV legno tratto
35
≈ œ gli ss# œ ‰ 45
œ . 3 gliss = œ ≈ S ‰ 44
6 =œ 4 ‰. Ó
6
± B 43 ‰ @ glis s @ ≈ #· @ p
gliss
s.p.
4 4
3
flaut. IV bowing
Vlc
44 Œ Œ
F
a.s.t.
“f ”
Vla
s 46 ‰ . œ gl iss = œ ≈ Ó .
3
5 4
π
5
P
37
Vln I
4 Œ œ gliss ‰ Œ 4 = œ 6
f
arco a.s.t.
Vln II
34 s.p.
6 4 ≈ œ . gli ss= œ ‰ . Ó .
3
‰ Ó 42
42
3 ˙ 4 ˙.
45
3 ˙ 4 ˙.
5 4
n.v.
v.m.
F
π
sub.
n.v.
v.m.
F
π
sub.
n.v. v.m. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . ˙. 44 ˙ ˙ 43 ˙ . ≈ œ (œ )43 ˙ . 46 ˙ 45
6
+
F
o 3 ˙. 4
6 ˙. 4
˙.
π
sub.
4 œ œ œ œS # ˙ 3 ˙ . 4 4 v.m.
F
3
n.v.
ƒ p
sub.
5 4
5 Accel.
43
Vln I
a.s.t. flaut.
5 & 4 ‰. œ œ œ. œ Ó
4 4
π
a.s.t. flaut.
5 4 ‰. œ œ œ. œ Ó
Vln II
a.s.t. flaut.
B 45 ‰ . # œ œ œ . œ Ó
o 44 w
˙o 45
48
&
&
Ÿ~~~ · ( œ)· ≈ Œ · ·
‰. ¿ Œ
P
p
Vlc
43
49
“ƒ ”
≈ . . Œ
43
pizz.
43
· ‰. ‰. Œ ‰. · d·
p
p
œ.
P
3 · 4 ·‰ Œ “f ”
˙o œo . ‰ s.p.
51
∑
— — 3
“F ”
II legno tratto
44 Ó
“ƒ ”
IV
52
F
“f ”
II
4 Π4
‰
“f ”
43 Œ
‰
s.t.
3
p
III crini
. ..
≈ ¿ ‰ 43
Œ
P
˘
Œ ≈ ¿ Ó 6
“F ”
s.p. pizz.
. ? 4 ‰ 4 Œ
‰ ‰ œ. p
“ƒ ”
arco s.t.
· ·
Œ
3
√ 3 œo œo œo œ o œo
≈ Œ Œ 44 Ó
Œ ·s Ó F
Œ
6
p
œo œo .
π
44
punta
Œ
‰
π
“ƒ ”
IV
∑ & 98 Œ
IV
Ÿ~~~~~~~~~~~~~~~~~~~~~~~6 s.p. 6 3 3 9 ‰‰ 4 8 b œ ≈ Œ œ (œ) ˙ . œ œ œ #œ nœ œ π
p
6 4 . @ @ ∑ B Œ @S 4 ‰ Œ Œ b œ b œ œ b œ n œ ‰ 43 3
3
53
L.H. tap trill
punta s.p.
∑
F
s.p.
50
∑
— ±. ‰ @ @ @ ‰ Œ ‰ . 43
“ƒ ”
?
q»108
legno tratto I
Œ
Vla
legno bat. III . . .
π
I
“ƒ ”
gliss
a.l.
··
6 6 — — 3 ‰ – – ‰. ‰ @ 4 @ ‰ . Œ ≈ # · · · ≈ Œ 4 & 4 # · · · 3
π
5 œ œ œ ˙ œ ‰ . 4
3 s Œ – – ‰. &
‰
legno tratto
5 4 ≈ + œ . œ ˙ œ ‰ .
π
4 & 4 #· ·
“ƒ ”
4 w 4
π
Vln II
π
a.l.
∑
arco 47 crini s.t.
legno tratto III
3 4 ‰ . ≈ Œ
œ ˙ œ ‰.
B 45 ‰ . œ œ œ . œ Ó
a.s.t. flaut.
Vln I
46
a.l.
5 4 Œ
∑
a.l.
π
Vlc
45
4 4
π
Vla
44
44 Ó
‰ ≈ Œ œ. p
3
F
43
nat.
F
a.s.t.
∑
98 b œ ‰ Œ
∑
98
. ..
œ.
poco vib.
d œ .
œgliss S
P
Π. 44
Œ
F
‰.
Π. 44
œ.
p
‰.
Π. 44
6
Vln I
Vln II
& 44
(√)
54
œo
‰. Œ Ó
& 44
∑
Vln II
(w)
B 44 ··
? 44
œ.
π
‰. Ó.
‰ . d · Œ Œ ≈ ‰ œ. F
5 4 œ ‰.
B ‰ ‰Œ‰ 3
œ.
‰. Ó
s.p. II
bœ Ó
o o o œo œo œ ˙ # œ œ œo œo o 3
3 4
œo
‰ Ó
43
¤€
3
π
d œ
œ œ.
œ gliss S
P
¿ Œ
3 4
Ó
“F ”
punta s.p. 6
6
bœ œ bœ œ œ œ bœ π
punta s.p.
p
P
. ..
‰.
. ..
≈ Œ
3 4
Ó
61
5 ≈ Œ œ bœ œ 4 œ œ bœ bœ 5
∑ & Œ
π
45 ≈
π
pull-off
d œ
œgliss S
≈ b œ œ ‰ Œ ‰ . d ¥ 43 . œœ œ.
∑
d ·.
F
‰.
partials
nat.
‰.
. ..
Œ
‰.
œ.
≈ b œ œ œ b œ n œ ‰ . œ
partials
˙.
π
π
6
f
IV
bœ nœ œ œ bœ œ
P
π
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ œ .( œ)˙ 43 ˙ œ œ œ ‰ . b
a.l.
5
bœ
P
‰
∑
IV
Œ
‰. Ó
d œ . ·
œ gliss S
b œ n œo b œ n œ œ b œ œ n œ b œ b œ œ 44
s.t.
5
punta s.p.
arco punta s.p.
62
∑
˙.
π
43 Œ
legno bat.
& ˙.
œ
≈
p
5 4 œ ‰.
π
‰ . & 43 ≈ œ bœ bœ œ nœ ˙
‰
‰
60
p
Vlc
p
58
a.l.
6
3
“ƒ ”
Œ
F
& ˙.
?
‰
punta s.p.
57
III legno tratto
Œ
π
·. · Œ Ó ·. ·
.o..
Vla
6
Œ ‰ œ bœ œ ‰ bœ œ bœ bœ
F
59
Vln I
Ó
‰. · · · · · · · ·
p
Vlc
56
3
s.t.
s.t.
Vla
punta s.p.
55
63
wo
P
partials
5
6
Œ
4 4
Ÿ~~~~~~~~~ 3 s.p.
# œ (œ ) œ œ F
s.p. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (h) 44 · ‰ . Œ # · (· )
F
d œ .
œ gliss S
π
5 4
b œ œ 44 œ.
œ.
F
‰. ‰
3
œ.
π
‰Ó
5 4
Ó
45
‰Ó
45
7
a.s.p.
œo & 45 ‰ .
≈ œ@œ @ ≈ @ @
64
Vln I
Œ
p
Vln II
& 45 Œ
‰
bœ
P
√
ooo o œo œo œ œ œ o œ o B 45 ≈œ œ ‰
Vla
F
π
6
? 45 d O ‰ .
Vlc
F
≈
d œ .
π
b
b
F
f ∏
sub.
43
≈ Œ
d œ œ.
œ gliss S
≈
‰
ŠΠ44
œ.
arco nat.
w
43
w
∏
44
˙.
s.p. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 78 & 44 s 85 46 s 43 w #œ œ œ. œ œ œ œ. œ œ. œ œ œ ˙ ˙ œ œ œ. œ œ œ œ 70
71
& 44
72
73
π
f
Vln II
f ∏
sub.
π
œ. œS d œ œ œ.
69
Vln I
‰ œb œ œb œ 43 b œ
nat. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 . .. ¿ Œ B œ œb œ œ œ 3 4 44 43 ˙ . œ( ) 4 œ œ œ œ 4 œ œ. ˙. w
“F ”
œ gliss S
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 44 44 43 œ( œœ) œ œ œ œ œ. ˙. w ˙.
nat.
6
6
3
IV
∏
punta s.p.
‰.
IV
68
f
sub.
punta s.p.
Œ
67
f ∏
3
‰ Œ
66
nat.
6
“F ”
. .. 3
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 34 ≈ 44 44 s 43 œ œ œ b œ b œ # œ ( œ)œ œ œ œ. ˙ œ. œ œ œ œ ˙ ˙.
@ glgislisss @ @ ‰ @ @ @ ‰
punta s.p.
65
3
π
f
π
ƒ
ƒ
π
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s.p. 3 3 3 3 3 5 78 s s s s 8 s s 46 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ˙. œ œ œ œ. œ œ œ œ œ œ. π
F
f
π
f
π
ƒ
π
ƒ
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 s 3 4 5 6 78 3 B4 œ œ œ ˙ 8 4 ˙ œ œ œ. œ œ. œ ˙. œ. œ œ œ œ œ œ œ œ. œ 4 s.p.
Vla
F
π
f
π
f
π
?4 4
w
w
5 8
œ
œ.
6 4
π
ƒ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 7 3 8 4 ˙( œ ) ˙ ˙ ˙ œ. s.p.
Vlc
f
d
a.s.p.
8
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 44 ‰ . &4 #œ œ œ œ 74
Vln I
75
π
ƒ
Vln II
ƒ π
ƒ
ƒ
P
π
~~~~~~~~~~~~~~~~~
?3 4
˙
œ
ƒ
78
5 &4 Œ
‰ . 44
p
‰.
œ.
3
¿. .. Ó . S
‰
“P”
Vln II
{} ‰ Ó
Ÿ~~~~~~~~~~~~~~ 5 B 4 ‰ # · ( œ) · . ·Œ P
Vlc
?5 ‰ 4
œ.
p
≈ b œ œ
œ.
F
Ó
bœ
F
‰
œ( œ ) œ
p
b
F
bœ
5
π
≈ ‰ ≈ b œ œ ≈ Œ œ. œ.
œ ‰.
d œ œ.
œ gliss S
‰
45
‰ Œ
¤€
o o œo œo œo # œ 5 o œ œ #œ 4 n œo œo o 6 P
s.p.
3
punta o œo s.p. o o 5 œ o 6 œ oœ œo œ œ o B ≈ œ ‰ Œ Œ œ b œ b œ œ œ ≈ Ó œ
œ bœ œ œ bœ
Ÿ~~~~~~~~~~~
a.s.t.
‰. Œ
œ œ .
‰.
‰
√
d · ≈ Œ
œ.
P
F
‰.
œ.
p
œ‰
œ œ .
‰.
œ.
5 4
‰.
6
F
p
IV
& ‰ bœ nœ œ bœ ‰. Œ œ π
‰
‰ .
II
Œ
{} {}{}
p
œ.
bœ
o o 80 wo oœ œo œo œo # œ # œ 4 Œ ‰ œ œo # œo 4 œo o 6
6
≈ b œ œ
5 4
π
3
6
√
o œo œo œo # œo ˙o . o œ 4 œ œo œo 4 œ o œo 6 6
F
√
≈
Œ
f
œ. f
‰.
s.p. IV
Œ
d œ
œ gliss S
p
o o o o œo œo œ œ # œ ˙ œ B 44 œo œo o œ o œo 3
a.s.t.
s.p.
Vla
Œ
III
3
Œ
P
IV
œ.
F
π
. ..
punta s.p.
IV
5 &4 Ó
œ.
≈ Œ
F
s.p.
punta s.p.
79
legno bat.
Œ
‰. ‰
bœ œ œ bœ bœ œ
√
Œ
. ..
π
6
6
arco IV s.p.
“F ”
pizz.
œ.
legno bat.
punta s.p.
77
. · ( ·) · · ‰ Œ
&‰
P
≈ ¿ ‰ Ó
III
π
a.s.p.
Vln I
Œ Ó
b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 B 43 œ œs œ œ œs œ 44 œ ‰ . π
Vlc
}{ ‰
Ÿ~~~~~~~~~
dampeneds.t. trill IV
punta Ÿ~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ s.p. 6 s.t. 3 3 3 4 ‰. s &4 4 œ bœ œ œ bœ œ ‰. Œ s œ œ œ œ œ œ œ( œ )œ œ
π
Vla
Œ
π
ƒ
76
IV
6
p
F
bœ
œ
4 4
œ.
≈
d œ
œ gliss S
œ.
‰.
Ó
9
(√) o o o # œo o œo œo œo # œ œ ˙ o œ o o #œ & ≈ œo œ œ 6 81
Vln I
F
p
6
Vln II
Vla
Vlc
&
B
(√) # œo
œo
o o o œo œo œo œo œ œ œ
6
≈
œ œ œo o œo o
F
(√) # ˙o
?
78
o œo œo # œo ˙o . œ œ œœo 78 œo œo o o œo 3 6
F arco
d·.
·.
M
85
4 &4 Œ
—
a.s.p. I
p
3
+ œ ‰. S f
a.s.p. (√) — I 4 Dœ ‰. œ ‰. Œ S &4
p
Vla
Vlc
? 44
Œ
‰.
f
‰
78 Ó .
98 Œ
98 œo
≈
—
a.s.p. I
p
pizz.
bœ œ p
œo
84
III
‰ {} ‰ Œ
Œ
P
‰.
3 98 ¿. ≈ ¿ Œ Œ . S
P
98
œ.
√ b œ. D œ ‰ ≈ ‰ ‰ . pizz.
F
legno bat. followed by immediate legno legno tratto II . ..
4
∑
s.p. Ÿ~~~~~~~~~~~~~ 3 Œ Os Os O O ‰ .
œ dœ ‰. ‰.
π
Œ
& 4
‰.
œ.
‰. ‰
‰ . b œ œ ‰ . ‰ b œ œ ‰ . b œ œ 44 œ. œ. œ. œ. œ. œ.
88
44
B 44
∑
3
87
IV crini
89
s 7 8
5 4
∑
√ 5 bœ ‰. Dœ ‰. œ ‰. dœ ‰. bœ ‰. 4 4 4
∑
5 4
}{}{}{}{}{}{} {}{}{}{}{}{}{}{}{}{}{}{}{}{} }{}{}{}{}{ {}{}{}{}{}{}{}{}{}{}{}{}}{}{}{}{}{}{}{}{}{}{
π
4 4
pizz.
+œ ‰. f
3
B 44 Ó
·.
86
arco
Vln II
83
p
p
Vln I
˙o ..
˙o ..
78
p
6
82
+ œ f
Ó
∑
7 8
≈ Ó
∑
7 8
‰. Œ Œ ‰.
7 Ó. d· 8
‰ . ‰ ≈ b œ ≈ b œ ≈ Ó œ œ gl issd œ œ œ œ gl issd œ œ œ gl issd œ . œ œ . . . . . S S S f
œ.
p
F
π
∑
4 4
5 ‰. ‰. Ó. œ 4 œ œ. . p
44
bœ
10
90
91
92
≈ I II 4 {}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{ 3 }{}{}{}{}{}{ }{}{}{}{}{}{}{}{}{}{}{}{}{}{}{ 4 4 III IV }{
Vln I
F
Vln II
(√) Dœ 4 & 4 ‰.
œ . ‰
legno tratto III IV
44 Œ
Vla
dœ . ‰
œ ‰.
dœ bœ ‰. Dœ ‰. 43 ‰ .
œ ‰.
? 4 4
94
Vln I
&
œ. d œ œgliss S
bœ
œ œ .
+ œ ‰. ƒ
44
œ œ .
95
3 4 ≈ d · ‰ Œ
≈ Œ
Œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ.
# w(œ )
œ
∏
ƒ
b
∏
legno
Vla
. .. B ¿ ≈ ‰ . 3
“f ”
Vlc
? ‰
œ.
≈ Œ
œ.
π
≈ b œ œ 44
≈
≈IIII II Œ IV {}
. ..
¿ 3 gli ss Œ 3 S
Œ
d œ œ.
œ gliss S
≈ b œ
œ œ .
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ 3 ‰ œ( œ ) ˙ œ ‰. ∏
‰.
œ bœ
π
Œ
6
6
œ. f
Œ
≈ ‰
‰
œ.
≈ b œ
œ œ .
F
o o œo œo œo # œ 6 o o œ Œ ‰. œ#œ œo œo F
¿. ≈ ¿3 s Œ . ..
6
√ bœ
pizz.
Œ
π
π
crini s.p. punta 3
Œ
“f ”
≈ ‰ ≈ b œ œ b œ œ ‰ . ≈ b œ œ ‰ . ‰ d O ≈ bœ œ issd œ œ. œ. œgl isds œ œ œ œ œ gl . . . S S F
. ..
¤€
6
‰ œ Œ Œ œ bœ œbœ bœ 6
f
π
œ.
‰.
‰
≈
45
& ‰ bœ ‰ Ó
s.p.
legno
ƒ
ƒ
Œ
√ s.p. o œo œo œo IV o o œ œ o œ B œo œ Œ f
6
3
Œ
arco s.p.
b
π
Œ
f
Œ
Ó
P
ƒ
44
97
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 ‰ Œ ‰. & œ bœ œ œ( œ ) w œ f
—
s.p. punta
. ·‰
·
96
3
Vln II
3
“f ”
≈ b œ
‰
Ÿ~~~~~~~~~~~~~~~~~~
‰·
3 ¿. ≈ 4
“ƒ ”
Vlc
‰ {} & Œ
s.p.
arco s.p.
legno bat.
93
IV
Œ
II
‰.
Dœ
45
‰.
¿. ≈ .¿.. 5 4
legno
“F ”
3
≈ b œ œ ≈ b œ œ 45 œ œ. œSgl isdsœ
f p
11
Vln I
Vln II
Vla
Vlc
& 45
—
98 s.p. I
B 45
?5 4
œ.
‰.
p
Vln II
Vla
Vlc
& ‰
B
?
œ.
b œ.
≈
≈ ¿. ≈
‰.
≈ b œ
d œ œ.
œ gliss S
—
œ œ gl issd œ œ . S
‰ }{ Œ ‰ }{
I II III IV
P
D å œ.
101
≈ b œ
3 4 {} ‰ P
. . ≈ ‰ œ ≈ ‰ d œ ≈ 43 ‰
43
IV
7 ‰. Œ œ 8 O
Œ.
f
œ.
œ.
œ.
‰ }{ Œ
D å œ.
œ.
‰ }{}{}{} ‰ F
p
d œ
œgliss S
œ.
≈ ‰
3 4
{} ‰ F
‰. Œ
œ. p
d œ .
œ gliss S
≈ b œ œ
œ.
‰.
œ.
≈ b œ œ
π
6
œ.
‰.
œ.
≈ ‰
d œ.
≈
4 4
œ.
‰.
3
3
œ.
‰.
gradual crescendo to mm 120
œ.
‰.
œ.
bœ
œ
s 7 }{}{}{}{ 44 8 }{}{}{}{}{}{}{}{}{}{}{}{ }{}{}{}{}{}{}{}{}{}{}{}{}{
‰
3
≈ ‰
105
IV
3
π
I II III IV
. .. . .. III . . . 44 ‰ ¿ ≈ ¿. ≈ ¿. ≈ ¿. ≈ ¿
P
p
œ. ≈ ‰ d œ. ≈ ‰ b œ. ≈ ‰ D å œ ≈ ‰ œ ≈ ‰ d œ ≈ 7 ‰ D å œ ‰ 8
6
43
∏
III
p
3
104
3
≈
√. bœ
‰ {}
legno bat. followed by immediate legno tratto
∑
3
‰.
I II III IV
44 ‰
∑
. .. . .. . .. ¿. ≈ ¿. ≈ ¿. ≈ ¿. ≈ ¿ 3 ≈ ¿. ≈ .¿.. ≈ ¿. ≈ ¿ ≈ ¿ ≈ ¿ ≈ 4 .
‰.
44 Œ
∑
“F ”
103
IV
‰
Œ.
f
≈ b œ
100
43
∑
78 + œ ‰ . Œ
p
œ œ .
43
∑
78
s.p.
3
‰.
+ œ ‰ . S f
I
99
pizz.
3
p
. ≈ ¿ ≈ Œ
}{}{} ≈ (√)
3 I — S Œ arco s.p.
78
Œ
f
(√) œ & 45 ‰ .
I II III IV
+ œ ‰ . S
3
p
102
Vln I
‰.
“F ”
œ
4 4
‰ dœ ‰
. .. . .. 78 ¿ ≈ ≈ ¿. ≈ ¿ ≈ 3
3
“ƒ ”
6
78 ‰ . ‰ ≈ b œ œ ‰ . œ ≈ œSglœ isds œ œ. œ. œ.
3
s œ œ gl isbs œ S
44
44
12
106
Vln I
107
44 {}{}{}{}{ }{}{}{}{}{} Œ I II ‰ 3 III IV {} 4 Œ (√)
Vla
& 44 œ ‰ d œ
Œ
‰
? 4 4
s {}≈ {}≈ 85 }{}{}{}{}{}{}{}{} p
(√)
dœ 5 & 8 ‰
‰.
3 . .. 58 ¿. ≈ ¿ ≈ ‰ 3
Vlc
œ
dœ
‰
78 ‰
{} ‰
‰ }{ ‰ }{
{}{ 85 }{}{}{}{}{} 43 {}{}{}{}{}{}{}{
œ
dœ
bœ Då œ ‰ 43 ‰
F
bœ.
111 II
Œ
S
}{}
œ
‰
‰
‰
78 ‰ {}
Œ
œ
œ.
P
‰ 78 ‰
œ.
œ.
≈ œ. œS glœ issd œ .
I II III IV
bœ
≈ b œ
‰
{}
Då œ
‰
P
≈ b œ
IV }{}
F
‰
3
3 4
≈ œ œ œglœ isds œ . . S
≈ b œ
œ.
3
6
‰ ‰. œ œ ≈ œglœ isds œ œ . S
113
‰
‰
œ
I II III IV
85 }{}{}{}{} Œ
bœ 5 8 ‰
‰
3
3
≈
‰
5 8
s 3 }{} 4 III
p
3
3
85
¿. .. ≈ 3 ¿. ≈ .¿.. ≈ ¿ ≈ .¿.. ≈ 5 4 8 6
œ œ .
œ
‰
p
. .. . .. 78 ¿. ≈ ¿ ≈ ¿. ≈ ¿. ≈ ¿ ≈ 85
“ƒ ”
‰.
7 8
‰.
p
‰ œ ‰
3
112 III
‰ .
“F ”
s ? 5 ‰ ≈ b œ œ 8 œ œ œ œS gl issd œ œ œ. S
6
3 ‰. 4 ‰ ≈ œ œ œS gl isds œ œ.
s ‰. ‰. ‰ œ œ ≈ s is œ. œ œSgl d œ œ œ. S
F
Vla
π
‰
6
III
Vln II
bœ 3 Då œ 4 ‰
6
110
Vln I
F
109 IV
III
3 3 . .. . .. . .. . .. 44 ¿. ≈ ¿ ≈ ¿ ≈ ‰ ¿. ≈ ¿. ≈ 43 ¿ ≈ ¿. ≈ ¿. ≈ ¿. ≈ 78 . ≈ ¿ ≈ ¿ 3
Vlc
‰
78 ‰ }{}{}{} ‰ }{
P
F
Vln II
108
Då œ
‰
3 4
3 4
“F ”
7 8
≈ b œ œ ≈ b œ œ ‰. œ. œ. œ ≈ œS glœ issd œ
5 8
≈ b œ œ ≈ œ œ. œ. œS gl issd œ .
3 4
13
114
115
3 }{}{}{} ≈ I II ‰ 4 {}{ III IV
Vln I
F
Vln II
(√) œ & 43
‰
43
Vla
“ƒ ”
Vlc
I II III IV
98 }{}{}{} ≈ (√)
Vln II
bœ & 98 ‰
Vla
98 ‰
“F ”
Vlc
? 9 8
œ.
≈ b œ œ
‰
Œ
¿
p
3
44 ‰ b œ
‰ }{
Då œ
‰
F
Då œ
œ
‰
‰
bœ
‰
II
Då œ
f
bœ
Œ
I II III IV
}{
F
P
bœ
≈ Œ
III
3
4 ‰ ≈ b œ ‰. œ 4 œ. ≈ œœs gli ssd b œœ œ œ œ ≈ œ glœ issd œ . S S
œ.
≈ b œ
118
Då œ
‰
‰
œ
‰
3
P
dœ
‰
85 ‰
bœ
f
‰
‰
Då œ
‰
‰
I II III IV
78 }{}{}{} ≈ F
78 ‰
bœ ƒ
3
6
≈ ‰ bœ ≈ œ. œS glœ issd œ œ ≈ ‰ œ œ. œS glœ issd œ .
3
6
5 8 ‰ ≈ œsgli ssd œ ≈ œs gli ssbn œœ . œ œS d œ œ œS .
}{
II
9 8
98
6
3
‰
ƒ
Då œ
‰
‰ ¿ ≈ 5 ¿ ≈ ¿. .. ≈ ¿. .. ≈ 7 ¿ ≈ .¿.. 8 8 “ƒ ”
3
‰ ‰ bœ ≈ œ œ. ≈ œ glœ issd œ œœ œ. ≈ œ œ œœs gli ssd d œœ .. . S
119
85 {}{}{}{}{}{}{}
‰ }{ ‰ Œ IV
‰
‰ }{ ≈ ‰
}{}{}{}{}{} ‰
3
6
3
‰. œ ≈ œSglœ isds œ .
III
f
116
¿. ¿. .. ≈ ¿. ≈ ¿. ≈ ¿. ≈ ¿. .. ¿. . ¿. .. ≈ ¿. .. ≈ ¿. ≈ ¿. .. ≈ 9 ≈ ≈ 44 ≈ ≈ ¿ ≈ 8
“f ” “ƒ ”
‰
f
4 {}{}{}{}{} ‰ }{}{}{}{} ≈ IIII IVII ‰ 4 {}{}{}{}{}{}{}{}{}{}{
. ..
? 3 ‰. 4 ≈ œ œ œSgl isds œ
117
Vln I
dœ
{}≈
IV
3
7 ‰ s ss 8 ≈ œ g li ssb œœ œ œS g li
9 8
III
s 5 }{}{}{ }{}{}{}{} 8
P
‰
œ
‰
85
¿. ≈ ‰ .¿.. ≈ 5 ≈ 8 3
6
≈ b œ œ ≈ œ œ. œ. œS gl issd œ .
5 8
14
120
(√)
& 85 ‰
dœ
¿. 85 ‰ .
Vla
Vlc
? 85
œ.
≈ b œ œ
‰
123
I II III IV
‰ Œ 3 }{}{}{} 4
Då œ
f
p
‰
43 ‰
bœ π
‰
œ
‰
œ
44 ‰
3 44 ‰ }{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{} 43 4 ppos.
bœ
‰
œ
‰
œ
‰
Vla
≈ sglissb œ . œ. œœS b œ .
43
œ.
p
‰.
œ.
‰. Œ
126
Œ
5 4 Œ
44 ‰ . Œ O
œ.
127
}{}{}{} ‰ {}≈ Ó
Vlc
¿. 3 5 4 ¿. ‰ . ‰ . ¿. ‰ . 4 ¿. ‰ . ¿. ‰ .
œ.
‰. Œ
43 ‰
Œ
45 d O ‰ . Œ
3 5 4 ‰ {}≈ Œ Œ & 4
. 3 ¿. ‰ . ¿. ‰ . ¿ ‰ . 5 . . . ‰ ‰ ‰ ¿ 4 ¿. ¿. . 4
bO
‰. Ó.
43
œ.
‰. Œ
œ.
43
‰. Œ
œ œ œ 5 œ œ œ œ œ 3 œ œ œ 5 3 ‰ ‰ ‰ 4 ‰ ‰ ‰ & 4 ‰ ‰ ‰ 4 ‰ ‰ 4
? 43
œ
œ
‰
œ
‰
œ
44 ‰
œ
‰
œ
œ
‰
‰
œ
43
p
6
(√)
Vln II
124
I
. . ¿. ≈ .¿.. ≈ 3 ‰ ¿. ≈ ‰ ¿≈ ‰ ¿. ≈ 4 ‰ ¿. ≈ ‰ ¿. ≈ ‰ ¿. ≈ ‰ ¿. ≈ 3 ‰ ¿. ≈ ‰ ¿. ≈ ‰ ¿. ≈ 4 ‰ ¿. ≈ ‰ ¿. ≈ ‰ . ¿ ‰ . 3 ¿. 4 4 4 4 4
125
Vln I
122
≈ 43 }{ ‰ Œ I II 4 }{} 85 {}{}{}{}{}{}{}{}{}{}{ III ≈ 4 Ó IV }{}{}
Vln I
Vln II
121 II
‰ . 45
128
œ.
‰.
œ.
44 d O ‰ . Œ
‰. Œ
Ÿ~~~~~~~~~~~~~~~~~ 6 s.t. ≈ Œ b œ( · ) œ œ
Ó
4 4
o o oœ œo œo œo œ œ o ‰ œœ ‰. Ó œo o œo 6
4 4
b
P
arco s.p. IV
3
F
¿. ‰ .
π
crini
‰
“F ”
œ.
‰.
Œ
œ.
‰. Œ
43
∑
3 4
∑
3 4
129
3
4 . 4 ‰ . Œ Ó “ƒ ”
3 4
“F ”
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w 44 ( ) 43 # · . ( ·) ·
IV s.p.
π
15
130
43 ‰ }{ Œ III
Vln I
F
Vln II
Vla
& 43
s.t.
. ..
œ
F
132
∑
s 4 b· · 4 · 3
F p
. .. 34 ‰ ¿. ≈ ¿ ≈ Œ
44
∑
6
IV pizz. ~~~~~ 3 ? 3 ‰. Œ s Œ 4 d· ·
4 4
f
F
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ 5 ‰. Ó & 4 ·) ( bœ œ œ 136
Vln I
Vln II
Vla
Vlc
b
45
5 4
? 45
√
P
o o o œo œo œo œ œ o œ ‰ œ ‰. Ó · œ œo œo o 6 s.p. IV 6
F
Œ
‰
crini
“F ”
tap on body w/ fingertips
“F ”
¿¿¿¿¿¿¿¿¿
Œ
4 4
∑
5 4
Œ
∑ & 44 œ œ . œ œ œ œ 43 œ ‰ Ó
7 8
· ‰. ·
∑ & 44 Ó
6
s ¿ ¿ ¿ ‰ ¿ ‰ ¿ Œ ¿ ‰ 43 ¿ ‰ ? Œ d · Œ f
“F ”
139
3 4 –‰ Œ “ƒ ”
∑
43 Œ ··
“f ”
F
140
˙
œ
π
œo
F
141
‰.
s.p.
‰ # œ œ 43 œ ‰ Ó 3
π
∑
œo
a.s.p. a.l.
‰ . 44 Ó
Œ
œo ˙o
a.s.p. I a.l.
pizz.
B
legno tratto flaut.
π
œ 3 4 ‰ . B “f ”
q»80
legno tratto III
legno tratto
45
45
pizz.
. ..
5
& 4
∑
3
138
a.s.t. a.l.
3
F p
tap on body w/ fingertips
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 43 ‰ . Œ · # · .( ) · · π
F
‰
“ƒ ”
IV arco
Ó
œ
IV
∑
44
s.t.
“F ”
s 4 b· · 4 ·
legno . . . 34 ‰ ¿. ≈ ¿ ≈ Œ
. 4 ‰ . Œ Ó 4 “ƒ ”
. ..
∑
∑
3
Œ
s.t.
43
137
44
Œ
∑
Ó
4 4
F
44
135
Œ
¿¿¿¿¿¿¿¿¿
“F ”
¿¿ ¿
43 ‰ }{ III
∑
“F ”
tap on body w/ fingertips
∑
134
¿¿¿¿¿¿
‰.
·
133
tap on body w/ fingertips
Ó
a.s.t. a.l.
IV s.p.
‰ Œ
“ƒ ”
Vlc
44
Œ
131
44 Œ ‰ .
3 4
43
œo π
œo π
‰Ó
78
7 8
‰ Ó ? 78
16
142 legno tratto II flaut.
Vln I
143
œ œ œ œ 44 w
& 78 ‰ œ œ 3
∏
3o o & 78 ‰ œ ˙
œo S
44 wo
œo . œo S ≈
wo
a.s.t. a.l.
Vln II
Vla
Vlc
a.s.t. a.l.
B 78 Ó
a.s.t. a.l.
? 7 Ó. 8
# # ·œ S
148
Vln I
Vln II
44
IV
I a.s.t. II
149
3
π
145
w
œo ‰ . Ó .
wo
œo
∏
·w
∏
. œœ ‰‰ . Œ
Vla
B 44
p
wo & 44
a.l.
Vlc
π
π
III
45
œ ‰. Œ
p
‰. Ó.
Ó
IV
œo p
˙o
&
π
151
œo
Ó
Ÿ~~~~~ 54 ≈ Ó · ( ·)·
II
œo
a.s.p.
f
œo 5 ˙o . 4
π
45 Œ
œo
152
legno tratto
a.s.t. a.l.
Œ Œ b œS 44 ˙ . 3
a.s.t. a.l.
˙o
˙o
4 4
œo œo
P
˙.
o 44 ˙ .
≈ Œ
153
3 œ 4 ‰. Ó
œ
œ 43 ‰ . Ó
π
œ π
œo
44
o o3o ‰ œ œS œ 44
œ œ
π
a.s.p. 3 œo œo œo œo œo œo S 5 ≈ ‰. Ó 4
F
π
ss ≈ œ . œ œ œ œ gli 44 ˙
5 4 Œ
œo œo œo
#
π
Ó
partials
√ Ÿ~~~~~~~~~~~~~~~~~~ · ˙o .( ) 44
3 œo ‰ . ‰ . œo 5 œo œo œo ‰ Œ 4 S
a.s.t. flaut.
p
wo
a.s.t. II
a.s.t. flaut.
‰. Œ
44
∑
45 Ó
s.p.
. ..
147
pizz.
150
œo
Ó
·œ ‰ . Ó .
f
wo
œ ‰. Ó.
wo
√) (~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ a.s.p. IV Ÿ~~~~ o o 3 w w sŒ ‰. & 44 · ( ·)· œo œo ˙o
146
w
∏
4 ·w 4
˙ . gliss ˙ d œ gliss ˙ ˙ S
4 &4 Ó
144crini + legno
3 4
œ
‰. Ó
œo 43 ‰ . Ó ?
17
154
Vln I
Vln II
Vla
Vlc
&
crini a.s.t. a.l.
˙o .
π
&
·.
44
( ·)
B
wo
· wO
wO
bO 4 bw 4
∑
˙o .
44
œo
161
Vla
B
∑
wO
Vlc
œo œo 3
Oœ
.o..
s.p.
a.s.t.
œ ‰ . ≈ ‰ Ó
O 3 ˙ 4
Oœ
F
‰
œo
3
√. bœ p
œo
pizz.
π
P
‰ Ó
3 4 Ó
5 4 ≈ .
. ..
5 4 –
œo ≈ “F ”
≈ . ‰ B 43 ‰ · · · · ‰ Œ œ œ œ œ
44 Ó
legno tratto II
‰ 3
“ƒ ”
p
s liss — ‰ Œ g # œœ@ @ @ s.p.
Œ
3
—
b œ. Œ S Œ
s.t.
f
‰. Œ
43 Œ
π
‰ Œ
± 3 @ 4
“ƒ ”
. ..
bœ
P
‰ Œ
. ..
F
3
@ ‰ Œ
gli 3 ss s b·
5 4 Ó
44 dampened trill s.p.
crini s.t.
“ƒ ”
π
F
F
‰ . ≈ B 45 ‰ b · ≈ Œ bœ
‰ ¿‰
s.p.
3 II o œo œo # œo 54 ‰ ‰ œ # œo œo œ Ó œo œo o 6
45
s pizz. ¿
Ÿ~~~~~ Œ s ‰ · ( ·) ·
s.p.
“ƒ ”
π
3
¤€
164
II legno tratto
I II III IV
flaut. bowing III
‰ Ó
P
œo
f
pizz.
B
‰
3
3 4 O ‰. Ó œ
‰ ‰ B O O œ ˙ œo
a.s.t. a.l.
woodblock 159 pizz.
arco
3
. Œ
gliss
43
‰ Ó
legno tratto IV 3
˙o
crini s.t.
œ
s.p.
3
‰.
‰. Œ
.o..
“ƒ ”
‰.
pizz.
F
legno tratto IV 3
‰ Œ
π
π
dampened trill s.p.
“ƒ ”
œo 5 œo S 4
a.s.t. a.l. 163
43 Ó
n
≈
“ƒ ”
162
p
œ œ gliss ‰ Œ 45
“ƒ ”
π
crini s.t.
158
3
a.s.t. flaut.
‰. ‰.
Ÿ~~~~~~~~~ Ÿ~~~~~ 3 — 3 44 ≈ ≈ ≈ @ ‰ Œ s 43 ‰ . Œ · . ( ) · · # œœ @ @ ·( · ) ·
∑ ? 44 Œ
π
O 3 ˙ 4
“ƒ ”
B
œ œ
II
gli ss
∑
·
‰. ‰.
legno tratto
π
s.p.
?
&
œo
157
43
·
dampened trill s.p.
Vln II
43
π
s.p.
4 4
∑
&
wo
156
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
dampened trill s.t.
160
Vln I
44
155
q»92
Œ
‰.
Ÿ~~~~~ ‰ · ( ·) ·
44
F
√ 6 œo œo œo b œ o œo œo œ Œ ‰ o œo œ o 3
IV s.p.
44
F
arco a.s.t.
Ó
?‰
. ..
bœ p
≈ 44
18
Vln I
166
‰ . Ó
44
167
∑
44 Œ s . ≈ Ó
∑
&
44 Œ
‰ ‰ . Œ IV legno tratto
p
“F ”
“f ”
√o ˙
II legno tratto
Vlc
? 44 Ó
Vln II
Vla
3 & 4 Ó
3 & 4 Œ
43 Œ
‰ ‰ . “f ”
¿. 43 ‰ . Ó
‰ .
“F ”
± ? ‰ @ ‰ Ó #· @ @ 3
5 œ
Ó
& 4
“ƒ ”
Ó
∑
5 ˙o & 4
–. – Ó
? ‰ @ @
“ƒ ”
>
. ..
“F ”
œ3œ ˙ S
π
a.s.t. a.l.
3 o o Œ œ œ S
a.s.t. a.l.
“ƒ ”
“F ”
@
œ ‰
œo
π
˙o
. 45 @ ≈ Œ π
b b ·œ
s.t.
œo ‰
œo ‰
π
“ƒ ”
Œ
— ≈ ‰ Œ
œ F
‰.
Œ
‰.
43
p
.
≈
“F ”
II s.p. III
s.t.
F
p
s3 II .o.. · Œ & #œ ‰. Ó ·
“ƒ ”
5 4 Œ
“F ”
p
173 legno tratto
flaut. bowing III
Ó
x.s.p.
flaut. bowing III
y 3 ss gli ‰ @ ≈ Ó & b ·@ @
≈ Œ B ‰ .
crini IV
legno bat. III
“F ”
‰
‰ Œ
crini IV
172
crini III
“ƒ ”
“f ”
Vlc
171
√ 3 bœ œ &Œ S
“ƒ ”
“f ”
‰
3
– ‰ Œ
‰ – ‰ – ‰. Ó fl fl
43
woodblock pizz.
“ƒ ”
. ..
. ..
3
π
170
Vln I
wo
‰
“ƒ ”
≈ Ó
III
“ƒ ”
Ó
crini
‰.
∑
“f ”
y 3 s Œ b ·@s glis @ ‰ . Œ @
‰. Œ
œ3‰ Ó a.s.t.
–@ –@ ‰ Œ & Œ
‰.
arco flaut. bowing
pizz.
“ƒ ”
Vla
œo
169
Œ
F
“ƒ ”
3
Vln II
‰ }{ Ó
Œ
IV legno tratto
168
gl iss
165 III legno tratto
œœ
π
·œ ‰ .
4 4
a.s.p.
43
q»108
174
5 4
∑
—
woodblock pizz.
4 Ó 4
p
‰. Œ
crini IV
3 44 Πs3 ΠΠ3 s ΠS S 3
“ƒ ”
44 Œ
43
“F ”
“ƒ ”
‰.
“ƒ ” “F ”
5 4
45
45
19
175
45 Œ
Vln I
Vln II
. ..
– ‰ Œ
“ƒ ”
& 45
π
‰. Ó
43
s s 45 ΠS ΠΠS ΠΠ3
3
“ƒ ”
y ? 5 ‰ . @ gliss . 4 O @ @ O@ flaut. bowing
“ƒ ”
“ƒ ”
180
legno tratto IV
y s 3 Ó glis . @ @ 4
crini III
&
b ·@
gl iss
Vln II
Œ
‰ . ã 44 Œ
Vlc
B
?
· · · · · · ·
·
do
do
5:4
re
mi
182 legno tratto II
5 ˙
whisper voice
“ƒ ”
Vla
“ƒ ”
& 4
do re mi fa sol la ti do
y
‰.
“ƒ ”
“ƒ ”
“f ” flaut. IV bowing
‰ . Œ
whisper voice
5
fa
sol
la
ti
‰
∏
‰
Œ
—
p
‰
Œ
. ..
s3 – Œ
Ó
II III
woodblock pizz.
3
“ƒ ”
‰ . B Œ
“ƒ ”
s РΠ3
crini
arco
179
. ..
Œ
“ƒ ”
4 ã 4 · · · · · · · · Ó
∑
178
s3 ‰ . Œ & ·· Œ
‰. Œ
181
Vln I
– ‰
legno tratto
43 Œ
3
“ƒ ”
Vlc
. ..
Ó
“ƒ ”
3
Vla
– ‰
arco
Ó
177
. ..
43 Ó
– ‰ Œ
woodblock pizz.
—
176
. ..
arco s.t.
s Œ ·· 3
‰Œ
3
“ƒ ”
3
· ‰. Ó · @
4 ã 4 Œ
3
· · · · · · · · Œ S S 3
3
do
re
mi fa
sol la
3
· · S
Œ
flaut. bowing III
± ? @ gliss ‰ . ≈ ≈ ≈ · @ 3
“ƒ ”
ti
do
Œ S ‰ . ã 44 Ó “ƒ ”
s Oo · · · · · · · 5 ˙. & 4 whisper voice
do
7:4
do re mi fa sol la ti
“f ”
∏
3
“ƒ ”
œ œ œ . œ gliss œ 4 w 4 S
a.s.t. a.l.
≈ d œ œ 6
˙o
4 œo 4
3 œo œo ˙o S
4 œ 4
œ œ ˙ S
44 ˙o .
· · @S
P
‰ ‰ . ?
183
Ó
a.s.t. a.l.
Œ
3
“f ”
3
a.s.p. 3
crini II
“ƒ ”
3 o 5 · œ ˙o 4 ‰. & Œ Œ S
‰
3
3 SŒ
Œ
p
“ƒ ”
a.s.t. a.l.
5 4 Ó
‰
“ƒ ”
“f ” whisper voice
Œ
s.t.
—
woodblock pizz.
∏
3
∏
œo ‰
20
184
Vln I
œ
&
. ≈ ¿ ‰
‰.
legno bat.
Vln II
Vla
o & œ
B · ≈ ‰ Œ
“ƒ ”
“ƒ ”
43 Œ
6
˘¿
Vlc
189
Vln I
“f ”
“ƒ ”
≈ ≈ Œ
3
s.t. II gli ss
‰.
sotto voce legno tratto
& bœ
π
Œ
?Œ
· · ‰. S
“f ”
bœ
œ
s –
arco s.t.
s.t. II
P
‰
· ·
. ..
44 ‰ #·
‰.
Œ
F
“ƒ ”
˘¿ ¿. 4 Œ 43 ‰ ≈ Œ ‰ . 4
“ƒ ”
“F ”
“f ”
3 SŒ Ó
legno bat. I
arco
– ‰. Œ
‰. – – ‰ Œ ?
F
P
“f ”
6
π
B
“ƒ ”
. .. 34 ˘¿ ‰ . Œ ?‰ ≈ 44 Œ ·
. ..
Ó
arco
legno bat.
– ‰ . Œ B 44 Œ ·S ‰ . Œ · ‰
“ƒ ”
190
bœ
45 b ˙
& O O b O œO b O œO n O n O # # œO # # œO œOn n œOn n œO # # œO œO b O œO n O n O # # œO 45 bœ nœ œ œ œb œ b œ n œ n œ ∏
5
∏
s.p.
s.t.
˙
43
Œ
s.p.
s.t.
3 O O #O #OO nO nO #O O O # O gliss 4 œO œOb b œO œb b œO œ n n œO n n œO # œ# œ œn œn œ# œ œb b œO œ n n œO n œO# œ 5
∏
6
π
∏
5
π
∏
s.p.
s.t.
B # # œO œO n n œO œO b b Oœb b Oœ Oœn n Oœn n Oœ# # Oœ# # Oœ Oœ # # Oœ Oœn n Oœ# # Oœ# # Oœ Oœ# # Oœ 45 # # œO œO n n œO œOb b Oœ b b Oœ Oœn n Oœn n Oœ # # Oœ# # Oœ Oœ # # Oœ Oœn n Oœ# # Oœ# # Oœ Oœ# # Oœ gl iss 43 ∏
π
œ #O ? œ b Oœ # œ s.t.
Vlc
‰·‰ Ó ·
F
“ƒ ” p
“ƒ ”
3
s.p. 5
Vla
‰
≈ – . – ‰ . ‰ ≈ & 43 Œ
“ƒ ”
. ..
188
. ..
43 ≈ ·· ‰ Œ ≈ ·· ‰ 44 Œ
±
44 Œ
3
s.t.
Vln II
. ..
pizz.
“ƒ ” “ƒ ”
bœ
187
“ƒ ”
43 ‰ · · ‰ . ‰ @ 44 @ ‰ . Œ
s.t. 3
‰.
“f ”
≈ ≈ 43 Œ ‰Œ # ·. ·. #·
“ƒ ”
186
‰ 4 Ó #· 4
arco s.t. III
‰ ‰ & Œ
œ
ã
Œ & œ ‰. o
crini IV
. ..
43 Ó
π
“f ”
arco s.t.
185
pizz.
∏
3
5
∏
∏
6
#O œ n œ# n Oœ œ n œ# # Oœ œ œ# œ b b Oœ n n Oœ œ b b Oœ b b Oœ n n Oœ 5 4 s.p.
π
6
∏
5
π
∏
π
5
∏
5
6
s.t. Oœ b O # # Oœ Oœn n Oœ n O O b O# # Oœ Oœ n Oœ# # Oœb b Oœ n n Oœ Oœ b b Oœ b b Oœn n Oœ gli ss œ # œ œn œ 43 s.p.
∏
3
π
6
∏
5
π
∏
6
21
Vln I
& 43
191
œ
bœ
bœ
œ
192
s.t.
& 43 glissO O b O œO b O œO n O n O # # œO # # œO œO n n œO gli ss nœ nœ œ œbœ bœ 5
Vln II
π
s.t.
Vla
B 43 # #sœO œO n n œO glis
∏
Vlc
?3 4
Oœ
gliss
s.t.
∏
œO b b œO b b œO œO n n œO n n œO # # œO # # œO 5
π
∏
gliss
6
π
∏
42
‰
s.p.
& 78 ® œO b O œO n O O # # œO # # œO œO n n œO n n œO # # œO œO b O œO n O n O # # œO bœ nœ œ bœ nœ œ 5
Vln II
π
Vla
5
6
∏
B 78 œO œO b b Oœ b b Oœ Oœ n n Oœ n n Oœ # # Oœ # # Oœ 5
Oœ # # Oœ
π
∏
s.p.
Oœ n n Oœ # O # # Oœ Oœ # # Oœ # œ
6
π
5
∏
5
‰Œ
3 24 Œ ¿. Œ S
. ..
bœ
¿. ‰ .
legno bat. IV
43
‰Œ
3 . Œ ¿S Œ
Œ
5
6
196
. ..
bœ
197
‰Ó
¿. ‰ . 3 Œ 4
. ..
bœ
π
3 . ¿ 43 Œ S Œ
“f ”
42 Œ
Oœ n n Oœ n O O b O # # Oœ Oœ n Oœ # Oœ #œ œnœ 7 8
b Oœ # # Oœ
195
. ..
7 8
¿. ‰ .
¿. ‰ . Œ
‰Ó
3. Œ ¿S Œ
Œ
¿. ‰ .
π
¿. ‰ . ‰ ¿. ‰ π 3
“f ”
O O O #O bO nO O bO bO nO ? 78 ≈ # # Oœ œ n n Oœ # Oœ Oœ n b Oœ # # Oœ œ n œ # œ b œ n œ œ b œ b œ n œ 3
194 crini
f
œO b b œO b b œO œO n n œO n n œO # # œO # # œO
3
legno bat. IV
6
s.p.
Vlc
Oœ
b Oœ
bœ
3
œO œO n n œO
3
193
Vln I
Oœ
5
& 78 ˙ .
5
# # œO œO
Oœ n n Oœ n O O b O # # Oœ Oœ n Oœ # # Oœ b b Oœ n n Oœ # œ œn œ
b Oœ # # Oœ 3
∏
7 Oœ œO b b œO n n œO œO b b œO œO b b œO œO n n œO n n œO # # œO # # œO œO n n œO 8 5
6
∏
78
˙.
42
∑
Œ
legno bat. IV
‰ ¿. ‰ 43 Œ 5
“f ”
5
‰ ¿. ‰ Œ
Œ
5
‰ ¿. ‰ Œ π