Oxford Concise Dictionary of Music p 741

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

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Evan Gardner 2010

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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

≈

‰

≈ Œ 44

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 Œ  s3 Œ Œ 3  s Œ S 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 Œ S  Œ Œ S  Œ Œ 3

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