Mémoire Involontaire

::: full score :::

for the JACK Quartet

MĂŠmoire Involontaire for string quartet

Louis Goldford (2017)

[ duration ca. 16:00 ]

i

Louis GOLDFORD (2017) — M É M O I R E

I N V O L O N T A I R E —

(ideal setup)

lo

60

60 60

V

60

Louis GOLDFORD (2017) — M É M O IolR i E I N V O L O N T A I R E — Score — Draft #1 — 2/19/17 4:55 AM Louis GOLDFORD (2017) — M É M O I R E I Nn V O L O N T A I R E — Score — Draft #1 — 2/19/17 4:55 AM

II

C el

violin I violin II viola cello

[Tempo I° eď Ľ = ca. 144] 3 4 3 4 6 16Violin I 16 Viola 3 4 6 [Tempo I° eď Ľ = ca. 144] 16 16 8 đ?†´đ?†´ [Tempo[Tempo I° eď Ľ = I° 163 16 86 small tables = ca. 144] 4 with rosin bowls đ?†´đ?†´ ca.eď Ľ144] 528 î&#x;Łâ€Ś (see explanation below...) I. đ?†´đ?†´ 3 4 6 ‌ 16 528 16II. 8 4 Ă? 6 % Ă…ďƒ… ‌ 3 I. î&#x;Ł Ă? Ă? Ă? 528 Ă…ďƒ… Ă…ďƒ… 16 I. î&#x;Łî˜¸đ?†´đ?†´ 16 8 II. Ă? Ă? I % ! 16 8 Ă…ďƒ… %‌ 16 đ?†´đ?†´Ă? II. Ă? Ă? Ă? Ă? Ă…ďƒ… Ă…ďƒ… Ă? 528I Ă…ďƒ… ! î&#x;Ł Ă? Ă? Ă? Ă? đ?†´đ?†´ Ă…ďƒ… Ă…ďƒ… Ă? ! 528 I. % î&#x;Łâ€Ś Ă? II. ‌ Slight amplification by means of DPA contact mics or with overhead

Louis GOLDFORD (2017) — M É M O I R E I N V O L O N T A I R E — Score — Draft #1 — 2/19/17 4:55 AM Louis GOLDFORD (2017) — M É M O I R E I N V O L O N T A I R E — Score — Draft #1 — 2/19/17 4:55 AM Louis GOLDFORD (2017) — M É M O I R E I N V O L O N T A I R E — Score — Draft #1 — 2/19/17 4:55

[Tempo I° eď Ľ = ca. 144] 60 [Tempo I° 60 eď Ľ = ca. 144]

! I Ă…ďƒ…

I

I

(amplification) Ă…ďƒ… Ă? Ă…ďƒ…%Ă? Ă? %Ă? Ă? Ă? Ă? Ă?Ă? Ă…ďƒ…Ă? ! đ?†´đ?†´ đ?†´đ?†´ (pitch) đ?†´đ?†´ đ?†´đ?†´ Ă…ďƒ… 528

!

Ă?Ă?

I.

I

I.

î&#x;Ł II. Ă?Ă?

Ă?Ă?

Ă…ďƒ… Ă…ďƒ… Ă? Ă? đ?†´đ?†´â€ŚĂ…ďƒ…Ă…ďƒ…

Ă…ďƒ…

condenser mics will be useful, especially in noisy performance situations.

II.

î&#x;Ł

Louis GOLDFORD (2017) — M É M O I R E

Although only a few of the 8th-tone accidentals are ever IV. î&#x;Łâ€Ś used, pitch is primarily represented on the 8th-tone grid: IV.

I N V O L O N T A I R E — Score —

4 % 3:2 3 Ă? Ă? Ă…ďƒ… % 3:2 16 Ă? Kď ‹rď ˛ ¨ď‚¨ Ă? 16 ¨ď‚¨ Ă? Ă? Ă? 3:2 Ă? Ă? +2/4%Ă…ďƒ… Ă? Kď ‹rď ˛ Ă? Ă?Ă? äďƒ¤ äďƒ¤Ă? äďƒ¤Ă? 4 Ă? đ?†´đ?†´ II ! -1/4 Ă? +1/Ă?4 Ă…ďƒ… ¨ď‚¨ IV. ¨ď‚¨ -2/ ¨ď‚¨ î&#x;ŁĂ?‌ ‌ II Ă…ďƒ… ! 3:2 Ă? Ă? Ă…ďƒ… Ă? Ă? Ă? Ă…ďƒ… Ă? Ă? Ă? 3:2 -7/8 Ă?IV. -5/8î&#x;Ł -3/8 -1/8 +1/8 +3/8 Ă…ďƒ… 3:2Ă? Ă? +7/8 %Ă?Ă?rď ˛Kď ‹ äďƒ¤3:2 Ă?äďƒ¤ % äďƒ¤ äďƒ¤ Ă? Ă? Ă? s (î ˇ< Ă? ¨ď‚¨ Ă? < Ă? Ă? Ă? Ă? Ă? Ă?Ă?+5/8 Ă? ! 4 IV. Ă? Fî”­ď † 3:2 < !II Ă…ďƒ… Ă…ďƒ… ¨ď‚¨ Ă?(¨ď‚¨ Ă? ( Ă? Ă? IĂ? 3Fî”­ď †Ă? Ă? Ă…ďƒ… Fî”­ď †Ă? Ă…ďƒ… Ă? Ă…ďƒ…Ă? Ă? Ă? Ă…ďƒ… ¨ď‚¨Ă?¨ď‚¨Ă? Ă?¨ď‚¨Ă? Ă? ¨ď‚¨Ă? Ă?Ă…ďƒ…Ă? Ă? Ă?Ă…ďƒ… Ă? Ă…ďƒ… 744Ă?Ă…ďƒ…Ă…ďƒ…Ă?Ă? Ă?7Ă?Âľ Ă?äďƒ¤Ă? Ă? Bäďƒ¤Ă?Ă?Kď ‹rď ˛ äďƒ¤b Ă? äďƒ¤Ă?đ?†´đ?†´Ă¤ďƒ¤ Ă…ďƒ…äďƒ¤Ă?rď ˛Kď ‹ äďƒ¤ Ă? III. Ă?Ă? Ă?Ă? Ă? Ă? Ă? Ă?¨ď‚¨ Ă? Ă?Ă? Ă? Ă? Ă…ďƒ… Ă? Ă? B‌Ă? Ă? äďƒ¤ ! II ! Ă…ďƒ… Ă? ¨ď‚¨ Ă? Ă? Ă…ďƒ…Ă? Ă? đ?†´đ?†´ 4 7 ( Fî”­ď † -1/2 4 î&#x;Ł2 Pď ? sî”¤ď łđ?†?đ?†?đ?†?đ?†?đ?†? đ?†´đ?†´â€Ś î&#x;Łâ€Ś +1/2 pizz. III. 7 ( Fî”­ď † III. 7 -8/8 +8/8 1/1 ( Fî”­ď † III. pizz. î&#x;Łî˜¸đ?†´đ?†´ III. 60 đ?†´đ?†´ pizz. Vla. ! î ´ III. Ă…ďƒ… Ă…ďƒ…III.î&#x;Łâ€Ś đ?†´đ?†´â€Ś Ă? Ă? Ă…ďƒ… đ?†´đ?†´ Ă…ďƒ… Ă…ďƒ… Ă? Ă? Ă? Ă? Ă…ďƒ… The bridge clef is invoked when it is useful to show lateral bow shifts or III. Vla. ! pizz. Ă…ďƒ… Ă?¨ď‚¨in Ă?addition ' III. Ă…ďƒ… î&#x;Łâ€Ś Ă…ďƒ…to more III. Ă? Ă? Ă…ďƒ…î&#x;Ł I° eď Ľpizz. = ca. Ă…ďƒ…144] ![Tempo Ă…ďƒ… Ă…ďƒ… Ă? Ă? Ă…ďƒ… ¨ď‚¨ articulations: Ă…ďƒ… ¨ď‚¨ ¨ď‚¨ ¨ď‚¨elaborate Ă…ďƒ… b Ă? Âľ Ă? B Ă? (n Ă? Ă…ďƒ… movements of the left hand, II 3 šî”Ťď‚š pizz. ' Ă? III. Ă? Ă…ďƒ…( 3 ' 4 6 III. Ă…ďƒ… Ă…ďƒ… !16 Ă…ďƒ… Ă…ďƒ… Ă? Ă?/ đ?†´đ?†´â€Ś 16 Ă?/ Ă?/) (Ă? Ă? Ă? Ă? Ă?/Ă? Ă?8Ă…ďƒ…Ă?/ Ă?Ă…ďƒ…Ă? Ă? Ă…ďƒ… Ă…ďƒ…Ă?/ Ă…ďƒ… Ă…ďƒ… Pď ? šî”Ťď‚š 2 Vla. ! Ă…ďƒ… Ă…ďƒ… đ?†´đ?†´ I. î&#x;Ł ! Ă…ďƒ… Ă…ďƒ… Ă? Ă? šî”Ťď‚š' Vla. đ?†´đ?†´ ( đ?†´đ?†´ ‌ đ?†´đ?†´ ( 528 šî”Ťď‚š ‌ 'î&#x;Łâ€Ś I. î&#x;Ł ' ( I. î&#x;Ł đ?†´đ?†´ î ´ ' Ă…ďƒ… Ă? Ă…ďƒ… šî”Ťď‚š î ˇ Ă? Ă? Ă? Ă? Ă? Ă? ¨ď‚¨ Ă? Ă?Ă? Ă? ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ 4Ă?Ă?< Ă? Ă? Ă?Ă?¨ď‚¨ Ă…ďƒ… Ă…ďƒ… s rď ˛ ‌ šî”Ťď‚š đ?†´đ?†´ Ă? Ă? Vc. ! Ă? Ă? Ă? Ă?Ă…ďƒ…< Ă? Ă?Ă? ! I. î&#x;Ł 4 đ?†´đ?†´ Ă? Ă? Ă? Ă? Ă? Ă? Ă? Ă? ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ Ă…ďƒ… äďƒ¤ ‌ Ă…ďƒ… Ă? Ă?Ă…ďƒ… Ă?Ă…ďƒ…Ă? Ă…ďƒ… Ă? Ă? Ă…ďƒ… Ă? Ă…ďƒ…äďƒ¤ Ă? äďƒ¤ b Ă?äďƒ¤ Ă?äďƒ¤ Ă…ďƒ…äďƒ¤ äďƒ¤ @ Ă?Ă?Vla.Ă? Ă?Ă? Ă? ¨ď‚¨ord. Ă? Ă? ¨ď‚¨r.S.T.(¨ď‚¨Ă?S.T. Ă?E.S.T. Ă?Ă? ¨ď‚¨ Ă…ďƒ… Ă?(b)Ă…ďƒ… Ă…ďƒ… Generic ‌ E.S.P. 4 activity Ă? Ă? Ă? Ă? S.P. Ă? !Vc. ¨ď‚¨! Ă? I. Ă?î&#x;ŁĂ?Ă? Ă? ¨ď‚¨ I.Ă? ¨ď‚¨î&#x;Ł(a) notation for Ă?/ Ă? Ă?Ă? ¨ď‚¨ ) Ă…ďƒ… Ă? Ă? ¨ď‚¨ Ă? Ă? Ă? Ă? ¨ď‚¨ Ă?/¨ď‚¨ Ă? 3:2 orĂ?4Ă? Ă…ďƒ… äďƒ¤4Pď ? bäďƒ¤Ă? äďƒ¤ [2 dur. ( (a) Ă?behindĂ? the bridge, ¨ď‚¨ ¨ď‚¨ äďƒ¤ sî”¤ď łđ?†?đ?†? !Vc. (Ă?¨ď‚¨ đ?†´đ?†´Ă? Ă? Ă? ¨ď‚¨ Ă?Ă?¨ď‚¨Ă?Ă? Ă? Ă? Ă? Ă? Ă? sî”¤ď łđ?†?đ?†?đ?†?đ?†?đ?†?Ă?Ă? ¨ď‚¨Ă? Ă?Ă?¨ď‚¨ Ă? Ă? Ă? Ă? ¨ď‚¨ (b)Ă? atĂ?Ă…ďƒ… the Ă?scroll Ă? Ă? 3:2Ă…ďƒ… Ă? Ă…ďƒ… äďƒ¤ äďƒ¤ or peg box. Ă? Ă? Ă? Ă? dur. ! Vc. Ă…ďƒ… 14: äďƒ¤Ă¤ďƒ¤ Ă?February [2017 Ă? |ca. Ă? ¨ď‚¨ Ă? Ă?¨ď‚¨ Ă? Ă? Ă? Ă? Ă?đ?†´đ?†´ Ă? ¨ď‚¨ Ă? ¨ď‚¨ Ă? Ă? Ă? ¨ď‚¨ ( !Ă?î&#x;Łâ€Ś ¨ď‚¨ Ă? Ă? [ 18 New 3:2 î ´ '[ 18 February dur. ca. 14: ( 2017 |[ New York, 3:2 ( 3:2 Ă? B Ă? B Ă? [ dur. c rď ˛Kď ‹ ord. A

II

II

î&#x;Łâ€Ś

î&#x;Łâ€Ś

IV.

wound

I.

rď ˛ Ă?

rď ˛ Ă?

rď ˛ Ă?

rď ˛ Ă?

rď ˛ S.P. rď ˛ Ă?rď ˛ 3:2 Ă? Ă?

rď ˛ rď ˛ 3:2 Ă?Ă?

I N V O L O N T A I R E — Score — Draft #1 — 2/19/17 12:38 PM

IV.

su l po nt po ic ell (v ntic o ell er so o su l po nt ic ell o) re ct o su l ta st o su l ta st o es tr em am en te su l ta st o

Vla.

rď ˛ Ă?

II.

p (lateral positions) p p ppp

Vla.

rď ˛ 3:2Ă?

rď ˛ 3:2Ă?

356

Louis GOLDFORD (2017) — M É M O I R E

rď ˛ 3:2Ă?

S.P.

rď ˛ 3:2Ă?

S.P.rď ˛ 3:2Ă?

rď ˛ 3:2Ă?

wo

IV.

am

II.

(duration)

Vc.

III.

appx. 16:00

IV.

18 February 2017

— ! — ! ¨ď‚¨â€š

‚

Vc.

www.louisgoldford.com

†â€

hhm louisgoldford " !v 0 louis.goldford > f Ă? 4Ă… Ă? Ă? ¨Ă… Ă? einbahnstrasse l einb0hnstrasse 4 i Ă? ljgoldford

Louis GOLDFORD (2017) — M É M O I R E

—

9

Ă… >0Ă? ! Ă… Ă?

Ă…

II.

Kr Ă?

I

î&#x;Łâ€Ś

rK Ă?

Ă?Ă?

mR

Å‚

[ ca. 11" ]

[ ca. 11" ]

"

î&#x;Łâ€Ś

Ă?

IV.

Ă… Ă…

!

>0Ă?

r 3:2Ă?

R

âˆ? NA Ă?Ă? rK Ă? Ă?! Ă? Ă… Ëš Ă? & I. N ™ & ž " ‌ 0 r î&#x;Ł Ă?

II

aut. punta

∑"

î&#x;Łâ€Ś

Ă?

IV.

arco

III. pizz.

! Ă…Ă?

p Vla.

( š

3:2

°

Ă? Ă? > Ă…

I.

Kr Ă?

"

Ă…

>0Ă?

r 3:2Ă?

â€

‌

III. î&#x;Ł

I. > > > Ă? Ă? Ă? Ă? Ă? Ă? ¨ 4Ă… [ ca.Ă? 11" ] Ă? ¨ Vc. > Ă? ! Ă? Ă… Ă? Ă?Ă?Ă… r Kr 5:4Ă?

r 3:2Ă?

3 8

12

I

î&#x;Łâ€Ś

"‌ î&#x;Ł

¨ Ă? Ă?ä ä ! Ă? Ă…Ă? Ă? II.

IV.

rK

5 16 r Ă?

ä >�

III. IV.

Ă?

3:2Ă?

Ă?Ă?

Ă…

ä Ă…

S.T.

rď ˛ 3:2Ă?

III.

II.

wound

364

ord.

ord. Spazzolare bowing. Rapid movement 363 of the right-hand wrist. "Windshield wiper" bow.

(other actions/locations)

p q

wound

r

p

s

rď ˛ Ă?

� ¾�

ord.

ord.

ord.

wound

Ă? nĂ? Ă…ďƒ…

ord.

Ĺ’

: r

Ă?

Kr Ă?

�

Ă…

!

Short pause; appx. 0.5-1"

Ëš

I. arco

N™ ž °

°

: Ă…

Ă…

: Ă?Ă?Ă…

" ‌ IV. î&#x;Ł 0 ä r >Ă? Ă… Ă… Ă?

Ă? R

âˆ? NA Ă?Ă? Ă?Ă?

aut. punta

&

p

Ă…

S.P.

rď ˛ Ă? bowing direction rď ˛ Often is used to reset both the Ă? and contact point of the Ă?bow to normal positions.

II. ^ î ś3 3444444555 ™ ™ s î ˇ< < < < #Ă? Ă? Ă…ďƒ… Ă…ďƒ… ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ z Ă? Ă…ďƒ… \Ă?] Ă? Jď Š I ‌ bowing. (See below.) 3 ‚ Pulled bow hair reibestock. (See below.) mR Reibestock ‌ 6 + + ‚ Ă? Ă? ¨ď‚¨ mR¨ď‚¨ Ă? Ă? Ă? Ă? ¨ď‚¨ ¨ď‚¨ Ă…ďƒ… šî”Ťď‚š Ă? Ă? ¨ď‚¨ Ă? Ă? Ă? Ă?2 Ă…ďƒ… sî”¤ď łđ?†?đ?†?äďƒ¤đ?†?đ?†?đ?†? äďƒ¤ IV.äďƒ¤ äďƒ¤ äďƒ¤ Ă? Ă? Ă? Ă? Ă? Ă? Ă? Ă? IV. Ĺ’Ă? đ?†´đ?†´ †đ?†´đ?†´ * Ĺ’ †‚ Ĺ’ 3:2 î ´ rď ˛ [ dur. ca. 14:00 rď ˛ 3:2Ă?] î ´ ‚ 3:2Ă? Âľ ™ ™ fingers. î&#x;¤ Fingertip. Ĺ’î&#x;Ł Use of the palm or flesh of the Ă? ¨ď‚¨ Ă…ďƒ… î&#x;Ľ Knuckle. Ă…ďƒ…[Âľ 18Ă? February Ă…ďƒ…2017 Ă…ďƒ… | Ă…ďƒ…New York, NYĂ…ďƒ… ] II 3 rď ˛ Ĺ’e.g. Percussive Jď Š IV. Ĺ’ striking of the †î&#x;Ľ Ă? Ă? ) e.g./Ă?Pizzicato insidešî”Ťď‚šthe peg box. ÂľĂ? †scroll with knuckle, as indicated. / /pizz. /Ă? /Ă? 2 + II. sî”¤ď łđ?†?đ?†?đ?†?đ?†?đ?†? II. sî”¤ď łđ?†?đ?†?đ?†?đ?†?đ?†? be đ?†´đ?†´ Behind the bridge;N may II. rď ˛ followed by "wound" Near the top Toward s theî ˇbottom of the ^ î ś 3:2Ă?to in3 3 4 4444 s î ˇ< < dicate an action that is Ă…ďƒ…to Ă…ďƒ… of the body. body; near the tailpiece. Ă? \ ] ) @ Ă…ďƒ… Ă…ďƒ… Ă…ďƒ… ¨ď‚¨ / ≤ ¨ď‚¨ ∑ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ Vla. take place on the Ă? wound âˆ? part of the string.ĂŞî”´ďƒŞ (a) (b) + sî”¤ď łđ?†?đ?†? đ?†?đ?†?đ?†? đ?†´đ?†´II.relatively (a) fast and (b) slow bowsî”¤ď łđ?†?đ?†?đ?†?đ?†?đ?†?speeds. âˆ? ∑ Transition between rď ˛ â€Śî˜¸ Damped with the left hand. ^ î ś3 3444 3:2Ă? N A [ ca. 11" ] : (a) 0(b) Ă…ďƒ… Ă…ďƒ… Ă…ďƒ… in Ă…ďƒ…brackets \ Ă? ] Ă…ďƒ… Ă…ďƒ…Individual Ă…ďƒ… Ă? noteheads Ă…ďƒ… b Ă? Vc. 4 : >Ă? rK Overpressure possibile: indicate that their attacks should (a) down bow, and (b) up bow. Ă… rď ˛ Ă?î˜? Ă? 3:2Ă? + be relatively ĂŞî”´ďƒŞ soft; in order to blend+

Ă?

III. p pizz. 4Ă… [ ca. 11" ] ( š

rď ˛

Ă? rď ˛ 3:2Ă?

Ă…ďƒ… ¨ď‚¨Ă? Ă?Ă? Ă? ¨ď‚¨ Ă…ďƒ…Ă? Ă? Ă? Ă? Ă? ¨ď‚¨Ă? Ă…ďƒ…Ă…ďƒ… Ă? [ Ă?18Ă…ďƒ…Ă? February Ă…ďƒ… äďƒ¤ Ă? ) äďƒ¤ ¨ď‚¨Ă¤ďƒ¤ 2017 äďƒ¤ |äďƒ¤ New B Ă? b |Ă?York, Ă?/ / Ă? Ă?/ Ă? Ă?/6 [ /18 February 2017 New rď ˛ [ 18 3:2February 2017 9 sî”¤ď łđ?†?đ?†?đ?†?đ?†?đ?†? 2 Pď ? Ă? — - ≤đ?†´đ?†´

S.P.

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

16

Vc. Ă?

rď ˛ Ă?

rď ˛ Ă?

≤ May be followed by îŤƒîŤƒ îŤƒîŤƒîŤƒîŤƒîŤƒ î&#x;Łâ€Ś to depict changing speed + width. ≤- bowing. -— Circular 3 No horizontal movement whatsoever. Targets Ă? Ă? Ă…ďƒ…the 4sound ≤ bowing. -Ă…ďƒ… Lateral Ă…ďƒ… ofĂ…ďƒ… bow hairs. Ă…ďƒ… Ă? Ă? 16 mR 16 ‌ ≤ by to depict quasi-ordinario (i.e. somewhat angled) bowing. ≤ —mR May ‌be—cancelled * đ?†´đ?†´

‌ đ?†´đ?†´ ‌ mR I. î&#x;Łâ€Ś

(web)

Ă?

rď ˛ 3:2Ă?

(actions of theFî”­ď † bowing arm)

p

Louis Goldford ) +1.415.967.3531 mR louis.goldford@columbia.edu šî”Ťď‚š Vla.

Ă…ďƒ…

Lateral positions and their transitions may also be shown above normal staff notation: Ă?

III. pizz.

(contact info)

2 4

¨ď‚¨ Ă? Ă? *

! Ă…ďƒ…

II

(completed)

su

es

Vc.

II.

l

tr

em

I

wound

en te

I.

O I R E

ä

(performance notes)

(instrumentation)

Ă…

6 16

Ă…

IV.

"‌ î&#x;Ł

Ă?

5 16 r Ă?

III. IV.

>Ă?

Ă?

Ă?Ă?

Ă…

: 1-5" 4 Longer pause; appx. [ ca. 11" ]

r

Ă?

∑

�

p 4 [ ca. 11" ]

:

4 [ ca. 11" ]

:

Ă…

°

"

‌0

î&#x;Ł r

> Ă… Ă… Ă?Ă? IV.

r 3:2Ă?

6 16

with overlapping events into a global gesture.

Ă?

¾�

3:2Ă? 4 % Ă?3:2Ă…ďƒ…Ă?rď ˛ äďƒ¤ äďƒ¤ äďƒ¤ äďƒ¤ äďƒ¤ Ă…ďƒ… Ă? Ă? ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ ¨ď‚¨ Ă? Ă? Vc. ! Ă? Ă? Ă? Ă? Kď ‹rď ˛ Ă? Ă? Ă…ďƒ… Ă? Ă? Ă? Ă? äďƒ¤ äďƒ¤ äďƒ¤ äďƒ¤ äďƒ¤ Ă? Ă…ďƒ… ¨ď‚¨ Ă…ďƒ… ¨ď‚¨ II ! Ă? Ă? Ă? Ă? Ă? Ă? Ă? Ă? 3:2Ă?Ă?rď ˛ Ă? Ă? ( 4 [ dur. ca. 14:00 (slow perforations) 7 ( Fî”­ď † [ 18 February 2017 | New York, NY 15 4 đ?†´đ?†´ For perforated sounds in which the xi bow]or fingers are slow enough to bring out individual "grains" (above), rubato 8 [Veiled,

Ă? Ă? Ă?

Ă? Ă? Ă?

IV.

Ă? Ă? Ă?

Ă? Ă? Ă?

1 1 1 1 1 2 2 2 23 3 355578990844587459830 39842341 1 1 1 1212373586964321212890127610 10 289432 1 1 1 Louis GOLDFORD (2017) — M É M O I R E

III. pizz. 116

p

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

sequences of dots may be used to show the approximate speed of the overall gesture. 115

!

I Vla.

:

!

Ă…ďƒ…

Ă…ďƒ…

III.

(reibestock bow — infinite jetĂŠ) —' - ≤ šî”Ťď‚š đ?†´đ?†´

‚

IV.

!

&

‌ p speed The symbol mR indicates a tremolo on the wood of the bow,™ of variably slow š Ă? Ă? Ă? Ă? Ă?with many high frequency Ă? Ă? comandVc. extremely light pressure, Ă? producing perforations Ă? d'arcoshort Ă? the midpoint Ă? Ă?maximize mR ponents. May be performed punta or between and punta to : " ™ bounce. This method ensures no damage will be done to the strings. The result should be a R Vla. ! jetĂŠ- or saltando-like ž žaction ž ž of potentially infinite length; as long as the player tremolos for. ™

¨ď‚¨ ¨ď‚¨ 2 2 Ă?2 21 1 1 2 2 24562Ă?567981 ¨ď‚¨ 212671¨ď‚¨231323467897 ¨ď‚¨ Ă? ! ¨ď‚¨ Ă?3 3 2 21 1 44555648867545543 ‚ ( š : â€

™ š

F "‌

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(pulled bow hair reibestock) Vc.

!

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≤

-

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wound

I.

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squeal aut.

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0

noise

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<

Ă?

˜

R

4 Ă?

Ă?

Ă„

R

Ă„ ä

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II. 10° III. 10°

w ™K rď ˛ ä ä ä z Äą Ëš3:2Ă?

[ dur. ca. 14:00

sÄ 2017 | New York, NY [ 18 0February

Ă? Ă? ä ä ä Ă? Ă? Ă?Ă? Ă? Ă? Ă? >Ă? š Ă„ come sopra

Violin I and Violin II should tie a well-rosined single bow hair around a single string. Violin I should tie their bow hair around the E-string; and Violin II should tie theirs around the G-string. 5 [Frenetic xi] glissandi sempre Ć’ through mm. 132 9 8 of the 16 The knot bow hair shouldn't be tight; it should be loose enough to form a loop and IV. IV. I. 22° 22° 7° freely124 move laterally that it martellato can be lightly pulled by the > 13° along the string,>8°but3°tight enough > z ™ Âľ Äą N Äą 7° Ă? 8° right-hand fingers BmR Äą and not ‌ come loose. ^ ^

—

s

56488675455432 2 2 21 1 1 2 2 245625679812126712313234678975431 1 1

Violin I and : Viola should wind soft, malleable, and lightweight "craft wire around ‌ the wood of their bows. r I. î&#x;Ł Recommended: 1/16" (0.063 mm) gauge aluminum wire. II

‌

î&#x;Ł

¾Ĺ

II.

Ă€

WĂ€

r 3:2Ă?

7 16

Äą

13°

9°

™ Ă… Ă… Ă… Ă… ™ z™ Ă? The bow hair may drape along the side of the instrument. The knot's contact point may II. " I ™ will not interfere with ™^the actions of the bow. stay closer to the bridge,III.where it likely ™ Ă… ™ Ă… ¨ Ă… ¨ & ‚ Ă€ The symbol indicates that the string be pulled with the right-hand first finger and thumb, which must also be well-rosined. Ă„ sĂ„ Ă„ ĂŹ Ĺ’IV. Ă„ II. IV. Doing so (again†with extremely light pressure), will cause the> string to vibrate in slow ¾Ĺ > z Äą the bow hair continually wĂ? perforations. The aimz Äąis not N Äąto pull the string tightly but to let Äą BÄą Ă… slip from Ëš the fingers, as a resultJ of not pinching the string too much, in order to causeĂ… Ă… w ™ repeated perforations. I. " " II ™ II. ™ ÀÀ Ă… Based&on a Ă…Roma¨ folk violin technique popularized by Nicolae NeacČ™u (of Ă… Taraf de Ă€ HaĂŻdouks) in the 1994 film “LatchoIII.Drom," in a performance of the Romanian song J "Balada Conducatorolui.â€? — https://www.youtube.com/watch?v=IlWLuchrMuQ. sĂ„ Ă„ P Ă„ Ă„ II. II. II. Äą III. ^Äą Äą small The pulled hair reibestock requires w well-rosined fingers. ForÂľ Äąthe premiere performance we used j > Ă… Ă… Ă… prepa™ bowls of rosin dust positioned next to the violinists (see setup diagram), allowing for quick Ëš #™ ™ mart. ration of the fingers by dipping them ^into the bowls (with or without bow in hand). Red bass rosin ™ ™ Vla. j Âľ ^Ă? provides the stickiest dust. A fine cheese grater was used; the rosin cakes were grated into a powder Ă? B Ă… and collected into the bowls. Ëš

J

U

4°

3°

arco

22°

20°

c.l. batt. gettato

arco 4°

U

10°

(rosin bowls)

U

5°

16°

4° 4°

13°

3°

21°

13°

12°

3°

11°

5°

P

ĂŹ

ĂŞ

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f

(extremely high nodal approximations) III.

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11°

&

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For very naturalz Äąharmonics that are difficult 16° to isolate, Ă… arrowed stems are used (a) toÄą Ă…indicate ideal but approximate nodes. Often these J positions are above the fingerboard near the bridge. Here, approximate shape of the6° line takes precedence ™ target these partials. over exact pitch. Still, please 28°

&

Diamond noteheads without arrows (b) indicate sÄ f be more more precisely-desired harmonics that may easily isolated.

(complex articulations)



The following 7 articulations are indicated with circled numbers. Audio samples for the first 6 are available at the following QR codes: • fast bow • heavy pressure • ordinario contact point • lascio (maximum contact of bow hairs with string, initiating all hairs evenly) • au talon Sound should resemble the binary onset / termination of pure white noise:



 

0 Hz.

• subharmonic of indefinite pitch (approximately low pitch indicated) • variably slow bow, and • heavier pressure • May have a distinctly “guttural” sound. Possibly hand-damped as long as pitch remains clear.

Å

˚

III. pizz.

p ( ¹

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r 3:2Ï

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>0Ï

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rK Ï

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°

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flaut. punta

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4 [ ca. 11" ]

:

4

:

[ ca. 11" ]

r

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:

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• RIGHT HAND (bow): sempre E.S.P. • varying flautando and normal pressure • slower bowing • LEFT HAND: pinch string between the 1st finger and thumb Should sound like a veiled, noise-inflected harmonic glissando; vaguely resembling the sound of a comb filter.

Additional details about the techniques employed at mm. 467 (p. 50 of score) are given as footnotes on that page.

Å

IV.

same as [4], but heavier pressure even slower bow first 3rd of bow but possibly nearer to the frog more extremely perforated sound behind the bridge.

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Å "

• • • • A



M É M O I R E

…

22050 Hz.

• slow bow 0 Hz. 22050 Hz. • flautando pressure • contact point: the first 3rd of the bow starting au talon Typically used behind the bridge; moves between a squeal and white noise with varying pressure.



Kr Ï

22050 Hz.

• same as [2], but • even slower bow • sul ponticello contact point gives it a “nasal” quality:



>0Ï

0 Hz.

• slower bow • heavy pressure • sul tasto contact point • normal/horizontal bowing • au talon Slower bow should bring out more “grains” of perforation. Spectral centroid should be low, resembling pink noise:

IV.

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Resultant pitches (a) of all multiphonics are indicated in brackets, notated above the finger positions (b). These resulting pitches should appear "in theory" if the indicated harmonic is played pure. However, much of the time, additional acoustic factors prevent this purity of a multiphnic from emerging. The noisy components are espeically to be brought out during bow shifts.

(program note) cel Proust and the Recall the story of Mar bit into the cake madeleine cake: Proust flood of childhood and its taste released a sly, Proust rememmemories. Instantaneou with his aunt when bered a madeleine shared emory interrupting he was young, each m ring the next. This the previous and trigge n of his À la recherbecame the chief concer embrance of Things che du temps perdu (Rem by the philosopher d te sla an tr r te la ), sed as P uprooting between Walter Benjamin. While own to jot down cities, Benjamin was kn ories of Berlin in his own childhood mem self against homeorder to “immunize him sickness.”

For three years now, my day-to-day thoughts have often been invaded by sharp flashes of formative memory: abrupt visions of my grandparents’ house, where my brothers and I spent time as young kids. Grandma was the last to leave us, not long ago, after which the house was sold and bulldozed. Her plight with Alzheimer’s disease is not the first in our family, reminding me that our memories are ultimately all we have. I’ve slowly grown to realize that everything in that house contribute d to my first encounters with otherness — shag carpet, my parents’ 1950s-era toys, their 60 s-era records, 20s- and 30s-era provisions from Grandpa’ s liquor store, my uncle’s paints and unfinished canvases — all quite foreign and shocking to a young kid in the late 80s (and sometimes scary). These first encounters with the vastness of the outside world reappeared yea rs later in my dreams: their house appeared larger than life, infinite.

dden and invasive imsu e es th s ke ta ire ta lon vo Mémoire In variety of audio and a g sin U ls. ia er at m w ages as its ra covered es, sounds and voices re qu ni ch te is ys al an ch ee sp realyzed, transformed, and an e ar ies or em m e es th from the gusts of wind, rain, lls ca re g in en op s It d. te construc conditioner one night r ai r ou t ns ai ag g in at and hail be g a first memory of rin ge ig tr hm yt rh its , in New York hands g and brushing with his in m um dr r he at df an gr y m r.) a drummer before the wa s wa e (H e. bl ta s as gl on a s uction transforms into hi tr ns co re t an bi am is th Steadily llows. If Benjamin was fo st re e th d an f, el its drumming ing toward a varirk wo am I , ss ne ick es m fending off ho sses of Benjamin, all of the exce r Fo . al go is th on n io at the ian dreams are found in op ut its d an e lif s oi ge bour are g collective.” Today we in m ea dr e th of us io sc “uncon ge.” Ultimately I hope ile iv pr r ou ck he “c to encouraged rough self-reflection. th ss ce ex is th of f el ys to purge m ything entering an era unlike an y nl ai rt ce t os m e ar e W and memories are precious, ur O . st pa e th in en se e we’v nnot be taken by force. ca ey th d, ea ah s lie er —Louis Goldford whatev March 2017 New York City

(thank you) Many professional string players were consulted over the course of two years, as this piece was composed and began to take shape. I’d like to acknowledge the ir generosity, enthusiasm, expertise, and patience, without wh ich I never could have arrived at such a clear picture. I am in your debt.

premiere performance given by

The JACK Quartet 25 March 2017 DiMenna Center for Classical Music 450 W. 37th Street New York, NY 10018

Score

M É M O I R E

for the JACK Quartet

I N V O L O N T A I R E

for Alice & Sam

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

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6 16 I

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

5 16

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Louis GOLDFORD (2017) — M É M O I R E

4 5 16 [Tempo I°]

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3"

5"

ÏÏ

p

ÏÏ

P

Louis GOLDFORD (2017) — M É M O I R E

!

I

& !

II

˚

∏

&

Vla.

˚

∏

B ! Vc.

˚

∏

&

4

Ï R ∏

sim.

r Ï

∑

∑

III.

N™ ¾R

∏

15"

r ™

°

r Ï ∑

NÏ NÏ & ÏÏ ? III.N ™ ¾R

20"

°

° r Ï

r Ï

∑

∏

4

r ™ 27"

°

sim.

4

r ™ 28"

p

AÏ Ï #Ï Ï 21" II. A ™ ¾R r Ï

∑

22"

Ï R ∏

°

r Ï

∏

Ï AN Ï ÏÏ

sim.

r ™ 13"

p

r Ï

°

∏

∑

°

r Ï ∑

r Ï

p

r ™

sim.

° ∑

∏

p

∏

4

r Ï

r Ï

AÏ Ï #Ï Ï III. 18" A™ ¾R

r ™ 10"

p

5

[ ca. 30" — …cont. from previous page ]

°

˚

!

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

r Ï

∏

p

° r Ï

∑

26"

p

r ™

°

4

Louis GOLDFORD (2017) — M É M O I R E

6

2 8 [Tempo I°]

"… 

I

II

p pizz.

Vla.

!

( ¹

r 3:2Ï

Å



! ¨ Ï P III.

Vc.

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Vla.

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F

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À

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( ¹ " II. À ¨ ä

c.l. batt. gettato

r 3:2Ï

( p

(

ä

¨

(

W

p

III.

À Å

W

Å ¨

Å Å Å

r 3:2Ï

¨ Å Å

(

À

s< ¨ ¨Å Å Å Å

( p

P

Å

II. pizz.

r

Ï

Kr

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7 16

¨ Ï

p

Å

0 ¨ ÏKr >Ï

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p

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IV. 

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6 16

Å Ï ¹ ¨ Ï p

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IV.  r 3:2Ï

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0 ¨ ÏKr >Ï Ï P

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ä

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¨

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p

s <pizz. II.

Å

"…

39

I



Å II. Ï Ï >0Ï ä ! p II. s pizz. < Å ¨ Å ! ¹ III.

35

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

(

¨Å Å

À Å Å R F

IV.

W

Å

Å

Å

IV.

( ¹ "…

I.



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P

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"

( ¹

Å

Å

( Å

W

¨Å

Å

Å

¨

( P

¨ "r À p

c.l. batt. saltando IV.

Å

V

Louis GOLDFORD (2017) — M É M O I R E

" IV. À

c.l. batt. gettato

! Å Å

43

I

ä

p

"… 

ä

" … "  q  s II.pizz. III. 0 IV. < À ¨ ¨Å Å Å Ï ÏÏ Å Å Å Å > À P p " "… … IV.  IV. 0 rK 0 Å Å Å Å ÏrK >Ï Å Å ¨ Ï Ï Ï ¨ Å Å Ï >Ï

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5 16

p À ¹

0 rK > Ï Ï ¨ ¨ Å Å Å Å Ï ! Ï Ï p IV.

II

W

j 3:2Ï

p

¨ Å Å Å ( ( ( ( ¹ p " … I. K II. À Å Å Ïr Ï Ï Ï Å Å ! Å p ¹ !

c.l. batt. gettato

Vc.

Å

(

come sopra

7 16

! Å

"…  rK

0 > ¨ ! ÏÏ p III. IV.

Vc.

¨ Å

p pizz.

Vla.

Å

!

( ¹

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s> <

IV. pizz.

c.l. batt. saltando

flaut. punta

¨

Å

(

Å Å

Å Å Å ä

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Å

Å

Å c.l. batt. saltando

ä

j 3:2Ï

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Å

" À p

IV.

Å

V

>< Å Å Å

Å

Å rK Ï

Å

r 3:2Ï

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W

p

Å Å

¨ Å ¨ ¨ ¨ Å ¨ ¨ ( ( ( ( ( ( P ¹ " "IV. IV. I. II. K À Å Å À Å Å ¨ ¨ Å À Ïr Ï Ï Ï p ¹3:2

48

!

II

W

" IV. À

come sopra

7

p

4 16

47

I

Å ¨ ¨ ( ( ((

" I.  II. À Å Å Å ÏKr Ï Ï Ï Å Å p ¹

W

c.l. batt. gettato

W

III. pizz.

Vla.

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Å ¨ Å

˚

I. arco

c.l. batt. gettato

V

∏

NÏ Ï #Ï Ï N™ ¾R ¹

P

Å

( p " … I. 

Ï ¹

W V

r Ï

6 16

Ï— R ∑

come sopra

¨ ÏÏÏ

:

rK Ï

∑ rK ™

° :

: :

Louis GOLDFORD (2017) — M É M O I R E

8 4 16

6 16

51

50

!

I

! Å

"… 

! ¨ Ï !

Vla.

!

Vc.

p

II

Vla.

Å

¨ Å

Å

Å

Å

( ¹

Å

Å

"…

 Kr Ï

¨

"

>0Ï Ï ! Å ¨ Ï ¨Å p "… IV. 0Ï Kr > Å ! Å Å Ï p … rK

(

p III. pizz.

Å

( ( ( ( ( ¹ p " II. IV. À ¨ Å ¨À ! ¨

W

p

…0

 Kr Ï

c.l. batt.

¨

c.l. batt. saltando

"

V

III. saltando

ÏF

S Å

Å

Å

4

[ ca. 4" ]

(

4

4

[ ca. 4" ]

4

:

—Ï

J ∏

rK Ï

∑

AN ÏÏ ÏÏ N™ ¾J S sim. Kr 0 ¨ Ï >Ï

Kr ™

Å

—Ï R ∏

( P

W



¨ Ï ÏϨ Å ¹ "… IV.  0 > Å ¨Ï Ï

p III. pizz.

( ¹

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Kr

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° :

c.l. batt. saltando

II. K

V

Å

Å

>0Ï ¨Ï

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∑

Å Å >Ï Ï Å

Å

p

r Ï

arco

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: K

flaut. punta

NÏ Ï # Å ˚ ÏÏ N™ I. ¾R S Å

F

IV.

°:

¨

F

c.l. batt. gettato II.

55

[ ca. 4" ]

I. arco

r 3:2Ï

Å 5 16

˚

Å

Å

[ ca. 4" ]

Å

Å Å

Å

> K ¨ Ï Ïr ¨

IV.

><

>0Ï R

Å

II.

!

IV.

¨

!

c.l. batt. gettato

Vc.

Å

p III. pizz.

53

I

ÏÏ

flaut. punta

>< R

s ><

IV. pizz.

IV.

II

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Å

r Ï

F

¨

( ( p

Å

Kr Ï

IV.

r 3:2Ï

Ï Å ¹

Å

Å

L.H. III. pizz.

p ¨

>Ï Ï Ï Ï >Ï > R P

ÏÏ

II. c.l. tratto

( ¹



¨ Ï ¨ Å Ï ÏÏÅ ¹ F

V

( (

come sopra

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s ><

IV. pizz.

III. IV.

III.

 À À Å Å Å Å Å Å Ï Ï Ï Ï >Ï Ï Ï Ï ¨ r 3:2Ï P F f

W

II.

W

Louis GOLDFORD (2017) — M É M O I R E

s>pizz. <

I

II

!

! Å

"… 

III. IV.

"

… Kr Ï

p

III.

Vla.

Vc.

! Ï >Ï p ! Å

!Å

61

I

"

p

Å

>Ï0

>Ï

II.

Ï Ï Ï> Ï Ï Kr

Kr

I.

P

" … II.  Ï >Ï ¨

( p

(

>Ï

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Ï

P

Å Å Ï >Ï Kr

r 3:2Ï

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(

(

ÏÏ

Å

s> pizz. < Å IV.

r 3:2Ï

Å

rK Ï

¨

II.

p

Å

( ¹

¨

r 3:2Ï

(

Ï Å ¹

Å I.

III. pizz.

p (

"

Å

( ( P Å

II.

Å …



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Å

III. pizz.

p ¨

( ¹

Å

Å

( ¹

0 Ï Å Å Ï > Ï P

Å

IV.

ÏÏ

0 Ï Ï ¨Ï ¨ > Ï Ï Ï P



Å Å



Å

r 3:2Ï

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( "…

( (

> ¨Ï Ï Å Ï

Å

Å

( P

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Å Å

Å

Kr Ï

>Ï

Å

Å Å Ï

Vc.

(

Å

(

Å

Å

…

III. 

>0Ï

Ï Å Ï Ï > Ï p F

F

Ï Ï

0 >Ï p

4 16

Å

¨

Å ¨ Å ( ( ( P

…

I. II.

III. IV.

Å

(

I. II.

r Ï

Vla.

r 3:2Ï

III. "… IV.  III. 0 0 0 0Ï 0Ï I. 0 K IV. Kr 0 IV. 0 > r Kr > Kr > IV. K r > Ï > > > K r Ï Ï >Ï Å Å Å Å Ï Å Å Ï ! Ï Ï >Ï ¨ Å Å Å Ï Ï Ï Ï Å ¨ Ï Ï ¨ Ï Ï Ï Ï Ï ÏÏ ¹ 3:2 3:2 P F ¹ ¹ P F "…  "… 0 III. I. III. 0 Kr 0 IV. Kr II. II. rK > IV. rK > K I. r ÏÅ Ï Ï Ï Å Ï ¨ Ϩ Å >Ï Ï >0 Å Å Å Å Ï Ï Ï > Å Å ¨ Ï Ï Ï Ï Ï Ï Ï Ï Ï ! Ï Ï > P p F P " "…  III. … K K r r IV. IV. III. 0 rK rK rK Ï rK Ï > Ï Ï Ï Ï Å Å Å Å Å Å ¨ Å Ï Ï Ï Ï Ï Ï Ï Ï Å ! p 3:2 P F ¹ p

…

II

Å

9

7 16

III. [R.H. — put down bow & position bow hair string on I…] r pizz. r 3:2Ï 5:2Ï

IV.

58

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

r Ï

r Ï

Louis GOLDFORD (2017) — M É M O I R E

10 4 16

s> pizz. <

64

I

! IV.

II

Vla.

Vc.

!

III. pizz.

p

IV.

"…  rK Ï

>0Ï

p

Å

!

rK Ï

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Å

rK Ï

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Å

III.

>0Ï

rK Ï

>0Ï

ÏÏ

¨

Å

( ( p molto cresc. to 69…

r 3:2Ï molto cresc. to 69…

Å

!

¨

r 3:2Ï

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Kr Ï

Å

>0Ï

Å >0Ï ¨ Kr Ï

¨

III.

¨ Ï

p molto cresc. to 69…

(

Å

p molto cresc. to 69… III. IV.

( (

s> pizz. < IV.

r 3:2Ï

rK Ï

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>Ï

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"

… rK Ï

r Ï >Ï Ï Å

Å Ï

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Å Kr Ï

r 3:2Ï

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Å

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rK Ï

Å

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Å

Kr Ï

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Å

IV.

4

ÏÏ

[ ca. 5" ]

∏ ∑ ‚ 1 1 1 1 2 2 2 2 3 3 3 3 4444444456789 ˜ I. ™ Rï & R ¸ S 69

67

I

! I. II. III. IV.

II

Vla.

Vc.

!¨

!Å !Å

" >0Ï

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rK Ï

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>Ï P "

III. IV.

…

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P

>0Ï ¨

Å

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0 rK > Ï Ï ¨ Ï Ï Ï Ï

>Ï

0

>Ï

Kr Ï

I. II. III. IV.

I. II. III.

Å

>Ï

¨ Å

Kr Ï

Å

I. II. III. IV.

>0Ï

ÏÏ

>0Ï R

Ï

0> ¨ Ï Ï Ï

Ï

Ï

f

4

:

4

:

[ ca. 5" ]

>0Ï R f

[ ca. 5" ]

ÏÏ

f

4

:

[ ca. 5" ]

:

¨

Louis GOLDFORD (2017) — M É M O I R E

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

11

[Tempo I°]

s pizz. 71 < > ! IV.

I

II

Vla.

"…



p À À p

sim.

Å Å

Å

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sim.

c.l. batt. IV. gettato

W

F



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Vla.

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p

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76

I

Å

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rÀ Å Å Å ¹

r 3:2Ï

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F

r 3:2Ï

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Å

Å

Å

Å

Å

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r 5:2Ï

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P

Å

À

p

Å Å

r 5:2Ï

Å ¨ Å Å Å Å ¨ Å ÅÅ ¨ À À À À À À À À À À À À c.l. batt. saltando " "… …0 0Ï IV. K > q < rÏ rK > Ï Å Å Ï Å Å Å Ï Å À P P III. ¹ F pizz. Å

W

¨

sim. r 3:2Ï

79

r 3:2Ï

" Å Å À Å r 3:2Ï

À p

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c.l. batt. saltando

(toward wound part)

Å

c.l. batt. I. gettato II.

À

><

h

Å

À I. 

><

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Å

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< > j Å

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r 3:2Ï

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p

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s> pizz. <

rÀ ¨ Å ! Å Å Å ( ¹ " II. À Å ! p

sim. r 3:2Ï

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c.l. batt. gettato

Vc.

À

Å

r 3:2Ï

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À

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come sopra

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Å

I. II.

Å

V

p r 3:2Ï

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W W

Å

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¹

Louis GOLDFORD (2017) — M É M O I R E

12

!¨

¨

81

I

II

Vla.

À

r 3:2Ï

Å

À

Å ¨ Å À À p

À

Å Å Å Å

r À À

V

" II. À Å Å Å ! 3:2 P r Ï

r Ï

Å Å À

r 3:2Ï

r 3:2Ï

W

 IV. Kr Ï

>0Ï Å Å Å Å 3:2 ¹ P III. pizz. À À Å ¨ Å ¨ Å Å ( ¹ c.l. batt. saltando

Å Å À

! !

r 3:2Ï

III.

c.l. batt. gettato

Vc.

r 3:2Ï

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

p

Å

À

W

Å Å

À ¹

¨

À

À À

¨

sim.

Å Å Å

¨

Å ¨

À

Å

p

Å

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r 3:2Ï

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À

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À

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( p

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F

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come sopra

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F

88 86

I

II

Vla.

Vc.

! ! ! !

À

Å

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 r ÅÅÀ À r 3:2Ï

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À

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À

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come sopra

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p

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À

À

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p

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(

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F

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rK Ï

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r 3:2Ï

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( IV.

WU

f

À

Louis GOLDFORD (2017) — M É M O I R E

!Å Å ¨

¨

91

I

À À À

c.l. batt. saltando III.

II

"

V

V

p

r 3:2Ï

Vc.

Vla.

Vc.

"…

Å ¨ ÏÏ Ï Å P

! ¨

¨¨

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r 3:2Ï

Kr Ï

pÀ molto cresc. to 114… c.l. batt. saltando



À

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À P

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r 3:2Ï

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p

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r 5:2Ï

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Vp

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À



rÀ À Å Å Å ¨ " II. Å ¨À

c.l. batt. I. gettato

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F

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0 Å Ï Ï Ï> ¨ (

III. IV.

Kr Ï

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r 3:2Ï

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r 3:2Ï

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F

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IV.

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À Å Å À À

p F IV. " pizz. > s < II. À Å Å ¨ ¨ Å Å ¨À

c.l. batt. saltando

s> pizz. < Å Å Å

Å ÅŨ À À À À À ¨Ï p

rÀ À Å ¨ ¨

13

r 5:2Ï

IV.

IV.

III. c.l. batt. pizz. r I. saltando 3:2Ï

V p

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r 5:2Ï

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rÀ Ï ! Å ( p molto cresc. to 114… !

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IV.

II

IV.

!

96

I

Å Å

>0Ï Å ! Å Å Å ¨Ï Å ¨ ¹ F  r À III. Ï ¨ ¨ !Å c.l. batt. saltando

Vla.

 IV. rK Ï

93

r 3:2Ï

À

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

III. pizz.

r À

p (

Å

III. IV.

…

Kr Ï

À À

Å Å Å ¨À ¨ ¨À

P molto cresc. to 114…

III. pizz.

p

¨Å

Å

U W U I. II.

III. IV.

¨¨À

¨

Louis GOLDFORD (2017) — M É M O I R E

14

104

!¨

102

I

II

Vla.

(cresc.) IV. pizz.

À

À

Å Å ¨

p p

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Å Å

À

IV.

( (cresc.)

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(

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Å

r 3:2Ï

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come sopra

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Vc.

À À

Å

s> pizz. <

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Ï

¨

Ï

¨

À

¨Å

p

II. r pizz. 3:2Ï

¨ Å Å ¨ Ï ÏϨ Å Å ¨

(

À

(

r 3:2Ï

r 5:2Ï

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:

115

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4 8 [Veiled, rubato xi]

zı

6°

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16 7 16 126

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14° 7° 12°

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Louis GOLDFORD (2017) — M É M O I R E

5 8

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ä

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5°

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Å

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Louis GOLDFORD (2017) — M É M O I R E

18

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

4 8 [Veiled, rubato xi]

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Louis GOLDFORD (2017) — M É M O I R E

145

I

II

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Vc.

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bÏ

bÏ

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

¨ Å

Ï

bÏ

j bÏ

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Ï Ï

>Ï

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r 3:2Ï

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bÏ Å Å

r 3:2Ï

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bÏ

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bÏ

Louis GOLDFORD (2017) — M É M O I R E

20

Å ¨ & Å bÏ P (decresc.)

149

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II

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Vc.

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r 3:2Ï

152

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P (decresc.)

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Å Å ä

Å ¨

Ï Ï

ÅÏ

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r 3:2Ï

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Louis GOLDFORD (2017) — M É M O I R E

156 I

II

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

¨

Å

" À.

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À : R p : À. ¨

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p

Louis GOLDFORD (2017) — M É M O I R E

22 3 16

7 16

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

ä ä

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Louis GOLDFORD (2017) — M É M O I R E

[Sempre flautando (homorhythmic) q i] 7 16

2 8

bı

III.

14°

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

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Louis GOLDFORD (2017) — M É M O I R E

24 6 16 186

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ä

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Ï

µÏ Å Å µÏ r 3:2Ï

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ord.

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Louis GOLDFORD (2017) — M É M O I R E

5 16

4 16

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µÏ.

ord.

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ê BÏ.

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r 3:2Ï

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ord.

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ord.

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F µÏ

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bÏ

ord.

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3 16

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195

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Ï> sÄ

r

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3 3444444555555669 Ï.

p

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Louis GOLDFORD (2017) — M É M O I R E

26 5 16

& Å Å

206

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" 

IV.

II

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

ord.

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Louis GOLDFORD (2017) — M É M O I R E

7 16

5 16

219 I

II

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" 

IV. ord.

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&

IV.

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

ord.

ord.

b Ÿ> sF

bÏ ¨ ¨

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r Ï Ï #Ï P ord.

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Louis GOLDFORD (2017) — M É M O I R E

28 4 8 [Boundless xi]

232 I

& µÏ >

Ï

ord.

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ord.

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j 3:2Ï

j BÏ F

poco a poco decresc…

j 3:2Ï

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? ˛ ¾

(decresc.)

xÏ Ï

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poco a poco decresc…

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(decresc.)

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poco a poco decresc…

(decresc.)

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wÏ Ï

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(decresc.)

Vc.

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j 3:2Ï

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Ï

µÏ

qÏ qÏ

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r Ï

z˛ Ï

r Ï

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ä

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r Ï

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j 3:2Ï

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fix barlines in AI?

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j 3:2Ï

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r Ï

J

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BÏ J qÏ

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fix barlines in AI?

Å

Ͼ B Ï . j 3:2Ï

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q˛

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fix barlines in AI?

x x ™Ï Ï

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j Ï

Ͼ w Ï .

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r 3:2Ï

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Louis GOLDFORD (2017) — M É M O I R E

243 I

™ & Ï

x x ™Ï ™˛

™Ï ..

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

! ä

™˛

ä

™Ï

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B B ™Ï

™˛

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B ˛˛ ¾

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j 7:4Ï

!

!

! ä

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™˛ & ¾

Ï ÏÏ Ï Ï j 7:4Ï

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q w ÏÏ

êp ˛˛ ¾

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j Ï

b b ™Ï ™˛ J

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j Ï

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z z ™˛

êp poco a poco cresc…

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3:2Ï

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µ ÏÏ

S.P.

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Ï.

Ï wÏ. Ï Ï. ¾

™˛ ™˛ êp poco a poco cresc… ˛˛

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poco a poco cresc… j 3:2Ï

ä

ÏÏ .. µ ÏÏ ÏÏ ¾

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3:2Ï

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™˛

! ä

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j 5:4Ï

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252

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q ÏÏ ¾J

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µ ÏÏ ÏÏ ÏÏ b ÏÏ J j 3:2Ï

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ä

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S.P. punta

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˛˛

˛ ˛ ¾

punta

™Ï .. ™Ï ™Ï

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™˛ ¾

S.P. punta

j 3:2Ï

! ä ä ä ä Ï

29

™˛

Ï

Ï J

™Ï Ï

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B B ™Ï Ï

µ ÏÏ µ ÏÏ Ï.

ÏÏ b ÏÏ .. Ï µÏ

Louis GOLDFORD (2017) — M É M O I R E

30

™Ï ™Ï µ ™ ™ µÏ ˛ & J

260 I

(cresc.)

II

!

ä ä Ï

¾ & ™Ï q q ™Ï B ÏÏ ..

(cresc.)

Vc.

q ÏÏ J

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I

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Ï z˛ 3:2Ï

B Ï. µÏ Ï ? Ï. zÏ Ï

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j 3:2Ï

j 3:2Ï

j 3:2Ï

j Ï qÏ Ï qÏ.

n ÏÏ

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269

j 3:2Ï

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z z ÏÏ

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w w ™Ï ¾

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r 3:2Ï

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j Ï nÏ j 3:2Ï

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j 3:2Ï

r 3:2Ï

(cresc.)

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n ÏÏ q ÏÏ ÏÏ ÏÏ J

˛˛

Ï Ï. Ï Ï wÏ. µÏ Ï ? Ï Ï. qÏ Ï Ï. Ï qÏ R R

267

Ï

Ï

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(cresc.)

Vla.

™Ï

j 3:2Ï

(cresc.)

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

bÏ µÏ

j 3:2Ï

j 3:2Ï

j 3:2Ï

r Ï

Ï

˛

x ÏÏ ÏÏ ÏÏ n ÏÏ # ÏÏ J J

wÏ Ï BÏ J µÏ Ï xÏ J

j 3:2Ï

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j wÏ Ï µÏ qÏ Ï nÏ. zÏ. BÏ xÏ wÏ µÏ

j 3:2Ï

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nÏ Ï zÏ xÏ Ï wÏ. µÏ. nÏ µÏ qÏ zÏ J

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5 16

j µ >Ï . f j q >Ï . f IV. "  q >Ï Ï f > sÄ j xÏ . > f

Louis GOLDFORD (2017) — M É M O I R E

5 [Vulgar xi] 16 IV.

" 

273 I

4 16

" r r  3:2Ï 3:2Ï Å Å Ï #Ï µÏ Ï P >Ï Ï sÄ IV. IV. " "   r r 3:2Ï 3:2Ï ¨Å Å ÅÅ Ï Ï µÏ Ï Ï >Ï . > P sÄ IV. sÄ sII. " r  < 3:2Ï ¨ ¨ Å #Ï Ï µÏ Ï Å J P >Ï >Ï S sÄ IV.

ord.

r 3:2Ï

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3 16

Å Å 

b Ÿ> sF

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s < B

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

4 16

µÏ. µÏ Ï Å µÏ. µÏ Ï Å µÏ. µÏ Ï Å ord.

Ï.

µÏ Ï Å

5 16

Louis GOLDFORD (2017) — M É M O I R E

32 5 16 286

I

&

" >Ï ¨ .

4 16

I.

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Å

sÄ

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B Å ? Å

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291

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b ^Ï

ord.

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qÏ Ï P ord.

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µÏ. ¨ µÏ Ï

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ord.

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wound II.

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ord.

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

<

R S III. "  ¨Ï ¨Å > sÄ

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Louis GOLDFORD (2017) — M É M O I R E

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

" " r ^ 3:2Ï 1 1 1 1 1 1 1 12 2 2 2 2 3 3444444555 1 1 1 1 1 1 1 12 2 2 2 2 3 344 r 3:2Ï bÏ Å j ¨ Å Å# Ï Å >Ï #Ï Ï Ï [ Ï Ï [ r . \ \ sÄ F p p 3:2Ï IV. " ^ 3:2Ïr  r ^ 3:2Ï Ï Å Å Å Å µ Ï r µÏ Ï Ï 3:2Ï > II. p F sÄ " 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 3 3444444555 ^ 3:2Ïr ^ 3:2Ïr bÏ Ï Å bÏ #Ï Å Å ¨ [ Ï \ ÏJ # Ï bÏ Ï p F r 3:2Ï p P r 3:2Ï ^ #Ï ^ Å Å µÏ Ï Å #Ï µÏ Å Å P r r 3:2Ï 3:2Ï F I.

IV.

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Louis GOLDFORD (2017) — M É M O I R E

34 310 I

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Ï !ä Å

q Ͼ #˛ Ï Ï µÏ. ˛ ¸ P ¸ poco a poco cresc… Ï

3:2Ï

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r Ï

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r Ï

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Louis GOLDFORD (2017) — M É M O I R E

330 I

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I

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

¨

>Ï

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ord.

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Louis GOLDFORD (2017) — M É M O I R E

36

& Å

Å

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

r 3:2Ï

[bŸ \ p

r Ï #Ï r µ Ï Ï r µ Ï BÏ B Ï µ ÏR

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Louis GOLDFORD (2017) — M É M O I R E

s < < Å ¨ Å

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363

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II.

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

µÏ qÏ f

^r 3:2Ï r µÏ Å BÏ bÏ #Ï êbÏ f ^r Ï ord.

ord.

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Louis GOLDFORD (2017) — M É M O I R E

ord.

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

IV.

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Louis GOLDFORD (2017) — M É M O I R E

4 16

I

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I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

¨

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Louis GOLDFORD (2017) — M É M O I R E

40

&

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Å µ ¾™ ™Ï¾ Å ™¾ ¨ µ Ï Ï P-f

Å ¨ ¨ Å >Ï

ı wı IV. " ˚ ¾ ¾¾  " J  Å > ¨ ¨ ™ Å. & Å Å ™¾Ï ™Ï¾ Å b ™¾ ¨ Å Ï Ï b Ï Ï . ¾ > P-f sF- sÄ sF- sÄ I. II. I. ı wı ı µ ı wı µı ı Å Å Å Å ˚ ¾ ¾ ¾¾ III. ¾ ¾ IV. " " ¾   ™Ï Å Å B Ï>. Å Å >Ï ¾ P-f sF- sÄ P - f sFsÄ P f IV. BÏ & III. ™Ï x ™ ™Ï ™Ï ™Ï ™Ï ™Ï ™Ï  ? ¨ ¨ Å Å Å ¨ Å ¨ ¨ b Ÿ>. sP - sF P - f P-f III.

12°

II

12°

Vla.

11°

9°

10°

10°

10°

ı wı

II. 9°

403 I

II

Vla.

Vc.

! Î

c.l. batt. gettato

W

" Ï Î ! Ï f ° IV.  B Î b™ p … III.

? Î

ı ı

 b™ p

IV.

î. î.

Î

r n™

r n™

n™ . n™ .

Å.

11° 12°

¾ ¾

¨

P-f

8°

9°

" ¾ ¾  Å Å Å .. Å Å. Ï Ï > sF- sÄ P - f IV.

ı wı

¾ ¾

Å.

¨

ı wı

Å.

Å Å Å ..

Å Å

Å Å Å ..

¾ ¾

Å Å Å ..

11° 12°

[Gradually; Emerging from haziness q = ca. 60] 6 3 4 4

"IV. À ä Î §

10°

¾ ¾

" 

IV.

¨

13°

Vc.

µı ı

II.

III.

II.

I

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Å ™¾Ï

™¾Ï

™Ï

™Ï

Ï >sFsÄ

™Ï

Å

˛

S.T.

& Î

¨

Å

4 4

arco

" 

IV.

°

>Ï . sF- sÄ

™Ï

Å

™Ï ..

¨ Å

˛S.P. ¾ p

w¾ p

¨ Å Å Å ..

S.T.

î

°

S.P.

S.T.

& N˛. °

Î ¹

nÏ

Î ¹

Î

r b™

r b™

S.T.

°

˛. ¾ p

S.P.

&

IV.

Ï NÏ Ï

q ¾Z . p

v.S.P.—S.P.

S.T.

°

Î

S.T.

°

Î

°

Louis GOLDFORD (2017) — M É M O I R E

6 4 c.l. batt. saltando

& Î

406

I

II

hî . b˛

" Ï Î ! Ï f °

nZ ¾ P

î.

Î

A˛

˛.

°

IV.

arco

S.T.

¹

§

… III.

5 4

Î

IV.

Vla.

Vc.

B Î

 bZ .

IV.

? Î

¹

r b™

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

Î r ™ S.T.

Z.

Ï

¹° r n™

nZ ¾

¾

r b ¾™

Î P

c.l. batt. gettato

4 4

" À

W

&

§

II

&

Vc.

?

S.T.

î

°

Î

w ¾ P

AÏ Ï Ï Ï

IV. v.S.P.—S.P.

B ™¾ p

Z¾ P

S.T.

° S.T.

°

°

4 4

B &

°

î

˚ Vla.

˛¾. P

˛

&

3 4

S.P.

S.P.

409

&

arco

S.T.

˛.

3 4

I

˛ ¾ P

S.P.

41

v.S.P.—S.P.

NÏ ÏÏ

A Ïo A ÏÏ

v.S.P.—S.P. IV. III.

A™ c™ °

P

°

N Ï A ÏÏ Ï NÏ Ï Ï

x x ™Z III. ¾ P II.

°

Louis GOLDFORD (2017) — M É M O I R E

42 IV.

n "™ & ¾

mR

412 I

II

Vla.

Vc.

4456789114456783453612342 3712r3 ¾

¾

¾

3 4

b ™¾

Î

Vla.

B î

IV.

 bZ . ¹

IV.

? Î

˛. & ¾ P

S.P.

˛. & ¾ P

Vc.

B &

?

°

° 445671 4 456783 4 53 612342 3 r n "Z

¾ p

b ¾™

° S.T.

°

Î

N˛

Î

Î

˛˛¾.. P¾

˛. ¸

AÏ Ï Ï Ï

°

î

S.T.

°

Î

°

î

˛

î w

Î

°

°

Ï

IV. v.S.P.—S.P.

w ¾Z p

°

w ¾ p

S.P.

S.P.

w¾ p

S.P.

w¾ p

2 4 S.T.

° S.T.

° S.T.

°

NÏ NÏ Ï Ï

IV.

IV. v.S.P.—S.P.

°

N ¾Z p

3 4

A˛ .

NÏ Ï

4 4

Ï

Î

S.T.

˛¾ p

° &

S.T.

°

S.P.

p

S.P.

A Z¾ . p

arco (ord.)

S.T.

r n™

S.T.

S.T.

˛. ¾ p

¾ ¹˛

¾

wS.P. ¾ p S.P.

mR

S.P.

II

S.T.

S.T.

3 4

I

NÏ

arco (ord.)

4 4

˛.

&

416

Î

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

°

Ï

Louis GOLDFORD (2017) — M É M O I R E

420 I

&

[R.H. — with bow in hand, position bow hair string on I…]

˚

& !

Vla.

Vc.

&

B

&

III.

AZ

Ï Ï Ï Ï Ï

Ï

wZ

Z

III.

& Î 

Z

! Ï °

B Î

IV.

Ï

R f III.  bZ

Z

R

°

î.

Î r #™

°

 bZ

III.

? Î

Z

˜

Å ä

°

Ï

Z¾ NZ Ä

r #™

#Z . F

#Z . F

A Ïo A ÏÏ

III. IV.

3 4

˛

Î

°

arco

N˛.

S.T.

¹ r b™

¹

Î Î

j 3:2Ï

Z Z ¾

¾ A ZZ Ä

Ï

NÏ NÏ Ï Ï

Ï

j 3:2Ï

Ï

Ï

Ï

Ï

Ï

r Ï

Ï

r 5:4Ï

Ï Ï Ï Ï Ï Ï

Ï

j 3:2Ï

4 4

˛S.P.

p

Ï

˛.

S.P.

&

p

Ï NÏ Ï

xZ . ¾ p

III. v.S.P.—S.P.

Ï

°

r

Ï

°

˛

S.T.

î

°

Nw

S.P.

Î

Ï

Ï

Nw

°

°

j 3:2Ï

ZZ¾

N˛.

S.T.

r

Ï

!

p

nÏ

Ï

Ï

Z¾ Z

N Ïo ÏÏ

°

r b™

Ï

Ï

r 5:4Ï

˛

arco

S.T.

Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï

N Ïo Ï

III. IV.

N Ïo Ï #Ï Ï

Ï

F

s pizz. <

B™ Z ¾ Ä Ã

NÏ Ï Ï

AÏ Ï #Ï Ï

II. III.

Z

III.

Ã

I.

III.

Vc.

AÏ Ï #Ï Ï

‚™ 75455432 2 2 21 1 1 2 2 2456256712126712313234678975

426

Vla.

Ï

Z

6 4

II

Ï

AÏ A ÏÏ

? cZ ê

I

Ï

ê

ê

Ï

!

43 6 4

!

II

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

S.T.

°

˛.

S.T.

Î

°

Î

°

Louis GOLDFORD (2017) — M É M O I R E

44

3 4

429 I

II

Vla.

Vc.

II

[R.H. — with bow in hand, position bow hair string on IV…]

!

AÏ A ÏÏ

˚

B cZ P

˚

?

v.S.P.—S.P.

& &

B

a ZZ . . ¾ f ÃÏ

NÏ ÏÏ

I. II.

N ZI. .

&

A˛

A˛

S.T.

q ™Z .. ¾ f

‚ 1 1 1 1 2 2 3 3 34444445678469114456783453612342 379808512371 " ˜ IV.

R

™

#Z P

 ? bZ . p

r b™

r #™

Z.

c.l. batt. gettato

Î !

" À

W

§

#Z

r b™

w

P

Î

arco

&˛

˛

°

w

S.T.

p° r #™

4 4

î

A˛

S.P.

A˛

S.P.

˛. P w

S.P.

AÏ Ï & Ï Ï III.

N™ ¾ p

v.S.P.—S.P.

P

Z ¾ P

°

S.T.

î

P

S.T.

°

ZZ ¾

˛.

˛.

°

ZZ ¾

NÏ # Ï

P

III.

Vc.

AÏ Ï # ÏÏ

II. III.

Z.

III. v.S.P.—S.P.

III.

Vla.

5 4

&

432 I

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

°

S.T.

˛.

°

w

Î

S.T.

°

°

Louis GOLDFORD (2017) — M É M O I R E

435

I

3 4

AÏ Ï NÏ Ï

&

Î

&

?

&

ä z™ ê

ÃN Ï Ï Ï

z ™I. v.S.P.—S.P.

ê

f

Ï NÏ # Ï

NÏ Ï Ï

I. z ™ q™ II.

f

NÏ NÏ Ï NÏ Ï Ï Ï

˚

N™ N™ f

N ™I.

II. v.S.P.—S.P.

ÃN Ï

III. IV.

NÏ ÏÏ

AÏ A ÏÏ

B Î

w™ x™ f

x™ ê

N™ ê

˚

III. IV.

IV. v.S.P.—S.P.

III. v.S.P.—S.P.

&

Vc.

Ï A ÏÏ NÏ Ï Ï

NÏ NÏ Ï Ï

II

&

ä

45

ÃN Ï

Ã

˚

Vla.

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

NÏ ÏÏ

AÏ A ÏÏ

N ™I.

z™

II.

¹ NÏ Ï Ï

z ™I. ¹

Louis GOLDFORD (2017) — M É M O I R E

46

AÏ Ï NÏ Ï

&

&

˚ II

Vla.

Vc.

&

Ï A ÏÏ NÏ Ï Ï

NÏ NÏ NÏ NÏ Ï Ï Ï Ï

NÏ NÏ Ï Ï

III. IV.

IV.

N™ N™ F

N™ ¹

NÏ AÏ ÏÏ A Ï Ï

N ™I. II. z™

¹

NÏ Ï Ïo NÏ Ï# Ï

F

¹

ä

F

? II.z ™I. q™

ä Î ¹

w™ x™ F

x™ ¹

B

4 4

III. IV.

IV.

˚

&

ÃN Ï

Ã

438

I

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

¹

Î

Louis GOLDFORD (2017) — M É M O I R E

4 4

II.

441 I

II

Vla.

& Î & Î

1 1 12 2 3 355554456114456785r #Z . mR

¾ p

p

#Z ¾ p

III.

B î  bZ .

mR

? Î

3 4 445

I

&

A˛ . P

˛.

S.P.

II

&

P

˛. ˛ B . P

S.P.

Vla.

Vc.

&

˛.

arco

˛.

1 1 12 2 3 35555445611445678r ¾

Nw p

°

p

b ™¾

¹

arco (ord.)

˛

S.T.

˛

˛

S.P.

° &

p ÃN Ï

˛.

S.T.

Î

°

N˛

°

Î ˛.

Î

4 4

S.P.

Ï Ï

w p

°

w ¾ p

S.P.

¸

III.

Ïo NÏ # Ï

II.

°

Nw

S.P.

p

S.T.

˛.

î î w

î

S.T.

°

°

w Zv.S.P.—S.P. ¾ p

°

S.T.

Î

3 4

A˛ .

A˛ . °

˛

˛

°

Î w

cÏ

Ï

IV.

N˛

S.T.

°

˛

Î

47

Ï

p A˛ .

S.T.

°

˛.

˛S.P..

r #™

AÏ Ï NÏ Ï

. A Zv.S.P.—S.P. ? ¾ p

Î

Nw

S.P.

°

¹

S.P.

Î S.T.

III.

Vc.

NÏ NÏ

arco (ord.)

¹

Åä î

4 4

S.T.

b ¾™

IV. pizz.

¹(

3 4

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

qZ ¾ p

°

Nw

S.T.

2 4

°

w

S.T.

° S.T.

°

°

3 4

Louis GOLDFORD (2017) — M É M O I R E

48 3 4

449 I

II

Vla.

Vc.

ä

& Î

>

ä

& Ï Å ä s >ff

˜

IV. B ™> s ff

&

? ä

2 4

(A Ï ) Å AA ™ Z Ï ˛ Î ê II.

f ™Ï>

ê

R

Å Ï. > I.

>Ï

Ï

ê

Î

&

Î

Vla.

&

Î

&

Î

Vc.

B Î ˛.

& ? Î

Î

Î

P P

AÏ Ï ÏÏ

µZ ¾ s ff

IV. v.S.P.—S.P.

Ï ¾

™Ï ¾ Ä

453

II

¾™ ˛˛ ¾ Ä ˛ ¾ Ä Ã

Z˛

3 4 I

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

s ff

(A >Ï ) ™Ï II. A ™ Ï A ä ê

Î ˜

ä ™>

R

˛.

ä Ï + (p) s ff

P

Î

f

˚

ê

Î ä ˛

ä

ä

Z˛ .. ¾ F ˛. ¾ AÏ c ÏÏ

F

˛ ¾ Ä

>Ï

˛ ¾ Ä

ê

j 3:2Ï

come sopra

Å Î

+Ï s ff ( P )

2 4

Z˛ ¾

flaut.

¹

˛. ¾ F

p

NÏ ÏÏ

IV. v.S.P.—S.P.

Ï ¾

Ï ¾

p p

∑

0

3 4

Ä

¹

o

∏

p

B ™> . R ä ¾ s ff f

˜

™> s ff

ord.

>v.S.P.—S.P. c ™ Z. ä ¾ ê F

IV.

j 3:2Ï

∏

x Ï>. Å ê

P

ä ä

N >Ï Ï

¹

ord.

&

˛ ¾

flaut.

¹

∑

0

Ä

Louis GOLDFORD (2017) — M É M O I R E

3 4

457 I

II

Vc.

à AÏ Ï

ord.

& Î

Î

& Ï Å ä > s ff

ä ˜ R

& ™ > s ff & ä

P

à AÏ Ï Ï

Î

Ï Ï ˛

˛

P

ord.

P

3 4

II

Vla.

Vc.

˛

S Ï

Ï

f

à AÏ Ï > ä xÏ Ï

Î (Ã) #˛.

& Î &

˛

ord.

&

&

˛

f

? Î

ê

x˛. ¾

∏

à AÏ x >Ï ¾ ¾ ê ord.

˛.

Î

Î

Î ¹ ä ™ > s ff

come sopra

ä Ï + s ff

>˛I..

ê

Î

˜ R

Î P

˚

AÏ A ÏÏ

v.S.P.—S.P. III.

Z. II.

ä cZ > S

x˛. ¾ ∏

ord.

Z¾

∏

˛.

ord.

ä

¹

A˛

∏

461

I

A˛

˛

f

Ï

P

Î

III.

Vla.

2 4

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

ä

P

¹

A˛ . ¾ A˛ . ¾

∑

0

Ï

f

f

f

Ï

˜

R

Ï

(¹)

+Ï Å s ff

P

Ï

à AÏ Ï > ä xÏ Ï ¾¾¾ ¾ ê molto cresc. ∑

x˛. ¾

à AÏ x >Ï x˛. ¾ ¾ ¾ ê molto cresc. ord.

Î

∑

>˛I..

Î

˜ R

Î

˚

v.S.P.—S.P. III.

P

ord.

fê Î Î ä Ï molto cresc. + s ff

AÏ A ÏÏ

Z. II.

III. v.S.P.—S.P.

B ™¾ . s ff

˛

A˛ . ¾

A˛ . ¾

∑

ord.

ä c Z Z¾. > Smolto cresc. ˛. ¾

f

NÏ ÏÏ o

f

ord.

Î

ä

¹

˛

#˛ ˚

3 4

N˛

N˛

∑

come sopra

0

ä #Ï 3:2 P

™ > s ff

∑

0

Ï

come sopra

∑

0

P

Ï

j Ï

?ä

ä™ > f s ff

Z.

j 3:2Ï

Î

¹

Ï

ä NÏ

NÏ

49

x˛. ¾ x˛. ¾

P

˛

¹

A˛ . ¾

A˛ .

˛. ¾

0

∏

¾

∏

0

Z¾. Z. ¾

∏

0

ë

0

∏

Z. ¾

ë

Louis GOLDFORD (2017) — M É M O I R E

50

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

[Savage; sempre marcato q i]

f E.S.P. (to mm. 486) flautando f overpressure

v.S.P. * I. / 4°—18°

#Ï

467 ** I

˚

tremolo between g ¾ Z rapid harmonic and half-harmonic

Ï Z Z Z Z JZ JZ Z Z JZ Z Z Z Z

***

r 5:4Ï decresc.

v.S.P.

Ï

J

r 6:4Ï

Z Z R

Z JZ JZ R R

r 6:4Ï

q

f E.S.P. (to mm. 486) flautando f overpressure

Z Z Z Z Z R r

r 6:4Ï

5:4Ï

* II. / 5°—18° **

II

˚ wÏ Z Z Z Z Z JZ Z ***

Vla. Vc.

tremolo between g ¾ Z rapid harmonic and half-harmonic r 5:4Ï decresc.

Vla.

Vc.

Z Z JZ JZ JZ R r

6:4Ï

q

r 6:4Ï

J

Z JZ Z Z Z R r 3:2Ï

˚ z ÏI. / 8°—14° Ï

˚ Z

J ...

II

r 6:4Ï

Z Z

˚

469

I

Z Z Z Z JZ

˚ Z ˚

Z

j 3:2Ï

J

Z

Z J

Fdecresc. cont...

j 3:2Ï

ÏII. / 9°—18° Ï

Z Z Z JZ Z

r 5:4Ï

Z

...

r 3:2Ï decresc. cont...

F

Z

Z

Z

Z Z Z

r 5:4Ï

Z

J

Z

Z JZ J j

Z

Z Z J j

Z

3:2Ï

J

3:2Ï

J

q

j 3:2Ï

J

Z

Z Z J

Z Z Z Z r 6:4Ï

J

Z Z

˚ *Indicates a string (e.g. I.) and a cluster of partials (e.g. 4°—18°) that will naturally & freely permutate with movement of fingers of the left hand. **A cluster of partials, all natural harmonics on a single string, expanding or contracting as indicated with control of the fingers of the left hand. ***Bowing rhythm. To some extent this will naturally influence the pressure shape of the phrases, but generally there should be enough consistent pressure and a stiff enough right arm to make each bow change audible, resulting in some extraneous noise. As indicated above, the overall dynamic scheme should vary from flautando to overpressure.

Louis GOLDFORD (2017) — M É M O I R E

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

N z ÏÏ

I

II

Vla.

Vc.

˚ Z .

Z Z

r 5:4Ï

˚ Z Z Z

Z

Z JZ.

Z Z R r

p

ZZZ

r 6:4Ï

J

r 5:4Ï

5:4Ï

Z JZ

Z

Z Z.

Z.

Z

h

N ÏÏ r 5:4Ï

Z Z. Z Z

ZZ Z Z Z R j 3:2Ï p

and half-harmonic g ¾ Z harmonic v.S.P. f E.S.P. (to mm. 486) * II. / 4°—18° flautando f overpressure Ï

˚

r 5:4Ï

h

Ï

Z

Z

r 5:4Ï

Z ZZ Z R r 3:2Ï

476

Î °

II. / 18°

II

Vla.

Vc.

˚ Z ˚ ˚

Z J

j 3:2Ï

j 3:2Ï

Z

Z J

Z h

Z h

Z.

Z h

*For an explanation of playing techniques, see FOOTNOTES on p. 50.

°

Z

r 5:4Ï

Z.

r 6:4Ï

rapid tremolo between

Ï Z ¹ cresc.

Z Z Z

j 3:2Ï

Z J

Z ZZZ

r 6:4Ï

˚

˚ Z .

Z Z

II. / 13°—18°

474

I

ÏI. / 12°

473

I. / 11°—14°

471

51

Z q

Z

j 3:2Ï

Z Z J

Louis GOLDFORD (2017) — M É M O I R E

52

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

477 I

˚

II

˚

Vla.

˚

Vc.

Z. ... p cresc. cont...

tremolo between g ¾ Z rapid harmonic and half-harmonic v.S.P. f E.S.P. (to mm. 486) * III. / 9°—32° flautando f overpressure Ï

˚ Ï Z ¹ cresc.

Z JZ Z Z Z .

Z.

Z Z Z r 3:2Ï

Z Z JZ r 5:4Ï

Z

Z

Z Z.

r 5:4Ï

Z Z.

r 6:4Ï

Z

r 5:4Ï

Z

Z

ZZ Z Z r 3:2Ï

J

480

I

˚

II

˚

Vla.

˚

Vc.

˚

Z

Z Z Z JZ Z Z.

Z Z ... P cresc. cont...

J

r 6:4Ï

Z

r 5:4Ï

Z

Z Z JZ Z JZ Z r 3:2Ï

*For an explanation of playing techniques, see FOOTNOTES on p. 50.

Z

Z JZ JZ Z r 6:4Ï

Z

J

Z Z

Z Z Z Z JZ Z

r 5:4Ï

Z

Z Z J j 3:2Ï

Louis GOLDFORD (2017) — M É M O I R E

II

Vla.

˚

wound squeal flaut.

˚

# II.Ï / 8°—15° ˚ Ï Z Z JZ Z Z Z Z .

I

Vla.

> & Ï & ä

B >0 Z

ì

Vc.

& >0 Z ?

° molto cresc.

ì

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J

Z Z

J

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arco (ord.)

r 5:4Ï j 3:2Ï

#Ï ì

ì

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Z

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j 3:2Ï

Z Z J

j 3:2Ï

J

Z ZZ

j 3:2Ï

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r 3:2Ï

Z Z Z j 3:2Ï

[Violent; sempre marcato; molto espressivo q i]

ì

II

< ..

Z Z Z J J j

Z Z JZ j 3:2Ï

3:2Ï

III. /18°

f molto cresc.

486

0

noise

II. / 12°

f molto cresc.

N III. Ï /15°—25° #Ï ˚ Z JZ Z JZ Z

s < .. I.

!

r 6:4Ï

Vc.

53

484

483

I

I N V O L O N T A I R E — Score — Draft #3 — 6/14/17 12:25 AM

#Ï

bÏ bÏ

Ï

bÏ

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poss.

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r 6:4Ï

j #Ï

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r 6:4Ï

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poss.

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Louis GOLDFORD (2017) — M É M O I R E

54 487

I

II

Vla.

Vc.

&

II

poss.

#Ï Ï

nÏ

j Ï

Ï

&

&

?

ii r r — iiiii S.P. 6:4Ï 6:4Ï j r — iiiiiii — iiiiiiiiii r j n Ï n Ï ¾ ¾ # Ï # Ïj n Ï b Ï Ï j Ï Ï #Ï n >Ï j nÏ #Ï Ï ¾ b >Ï Ï Ä nÏ Ï> ¾ Ä r ê Ï 3:2 ê ê — iiiiiiiiiiiiiiiiii r — iiiiiiiiiiii S.P. 6:4Ïr 3:2Ï

#Ï

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j Ï

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iiiiiii

&

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B

488

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Ͼ

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j Ï

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r

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iiiiii

n >Ï j ¾ 3:2Ï ê

Ï Ï

¾ ¾ #Ï Ï >

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— iiiiiiiiii j ¾Ï RÏ r 6:4Ï Ä ê j Ï

j Ï

j Ï

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j 3:2Ï

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S.P.

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r 5:4Ï

b Ï Ï Ïj Ï

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S.P.

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iiiiiiiiii

Ͼ.

r 6:4Ï

Ͼ n Ï Ä

Ï S.P.Ï Ïj Ï ¾ Ä

n >¾Ï ê

iiiiii Ï ¾

j iiiiiiiiiiiiiiiiiiii Ï

r 3:2Ï

ê

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