Corigliano SYMPHONY NO. 2 FOR STRING ORCHESTRA by ScoresOnDemand

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John Corigliano Symphony No. 2 (2000) for string orchestra Score begins on the next page

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John Corigliano

SYMPHONY NO. 2 for String Orchestra

Awarded the 2001 Pulitzer Prize in Music Symphony No. 2 was commissioned by the Boston Symphony Orchestra. The first performance was given November 30, 2000, by the Boston Symphony Orchestra, Seiji Ozawa, conductor. A recording is available on Ondine 1039â&#x20AC;&#x201C;2 featuring the Helsinki Philharmonic, John StorgĂĽrds, conductor.

ED 4153 First printing: May 2004 ISBN 0-634-04817-1

Symphony No. 2 Having proclaimed as a young composer that I would “never write a symphony,” I look with some surprise at the premiere of my second. My thought then was that there were so many great symphonies in the repertoire that I could satisfy only my ego by writing yet another. Only the death of countless friends from AIDS prompted me to write in our largest orchestral form. Mahler once described writing a symphony as creating a world. My Symphony No. 1 was about world-scale tragedy and, I felt, needed a comparably epic form. This Second Symphony has a different genesis. The Boston Symphony contacted my publisher with a request that I write a second symphony to honor the 100th anniversary of their justly famous Symphony Hall. At first I declined, stating my earlier reservations about writing in this form, and offered another kind of orchestral piece, but they were quite insistent. I started thinking about what I could do that would feel truly symphonic, and my thoughts turned to the String Quartet I composed for the farewell tour of the Cleveland Quartet in 1996. Two things about the quartet-as-symphony intrigued me. Firstly, the Quartet, like Symphony No. 1, drew from very intense human feelings. The symphony dealt with inadvertant loss: death. The quartet, written as it was as the valedictory piece for the disbanding Cleveland Quartet, dealt with chosen loss: farewell. Secondly, I knew even as I was composing it that the string writing had acquired a very orchestral quality. Just as Beethoven’s Grossa Fuga stretches quartet playing past its limits, so does my quartet stretch the players’ range, dynamics, emotional energy, and technique. And, interestingly, the Beethoven is often played by orchestral strings in the concert hall. Once I decided that the Quartet was indeed ripe for orchestral expansion, I wrested with how that should best be accomplished. Rescoring it for full orchestra—or even strings and percussion—would certainly expand the piece’s timbral palette. But wouldn’t that in fact diminish the intensity of the work, even as its dynamic range widened? Part of the intensity of strings derives from their relatively limited (say, compared to brass) dynamic range. Fortissimos must be achieved by intensity, not volume. If even the Grossa Fuga were redone for full orchestra, tension would yield to bombast. So my final choice was to leave the work in the strings, rewriting it when necessary and adding to it when the opportunity arose. And, to come full circle, this also satisfied my reservations about writing another symphony in a repertoire of masterpieces: the string symphony is another animal entirely, and there aren’t many of them. It was not a simple task. My Quartet is in five movements, three of which are notated in spatial notation. This means that the players do not count beats, but play more freely rhythmically, coordinating at various points but totally independent in others. Obviously four lines of quartet can do this wonderfully well. Freed from beat, the players can do individual fluctuations relying on their musicianship and the eye-to-eye coordination that a solo quartet can maintain to align at just the right moment. This is the sort of a thing that a great quartet can do magically, but with 50 strings playing instead of four (and a two-orthree-day preparation period instead of the extended rehearsals chamber music demands) three of the quartet’s five movements would be quite chaotic if they were not re-thought and completely re-written. On the other hand, the number of violins, violas, and violoncelli in the string orchestra (as well as the addition of contrabassi) made it possible to augment chordal passages by dividing the sections and thus achieve new and thicker harmonies. Virtuoso passage work could be simplified for playability by dividing the runs between members of the orchestral sections. And the textures benefitted as well. For example, in certain sections of the Quartet (such as the center section of the third movement’s “night music”) the four players strained somewhat to give the illusion of many answering voices. Now I could use a vast orchestral complement of strings soloistically to echo each others’ calls. The result of this is a work that deals with the string orchestra as a whole body of sound unique in itself, and this transforms the string quartet to symphony and the string section to string orchestra. Architecturally, the 40-minute work is in five movements that bear a superficial resemblance to the arch-form principles of Bartók’s fourth quartet (movements I and V are related and movements II and IV are related, with III as central “night music”), but in fact all five movements of the Symphony are also united by similar motives and thematic content. Specifically, the Symphony is based upon a motto composed of even repetitions of a single note, and a sequence of disjunct minor thirds. There are also four pitch centers recurring throughout the work: C, C , G and G .

I. Prelude This short movement utilizes two kinds of muted playing. It opens and closes using a practice mute (which reduces the sound to a whisper) while the central section employs a standard mute. Threads of sound gently appear from and disappear into silence. They have an unfocused and ambient feel because each of the players is playing very slightly out of synchronization with the others. Gradually the texture becomes clearer, and the basic elements of the Symphony are introduced: two of the pitch centers (G and C ), the disjunct minor thirds (here ascending), and a serene chordal fragment based upon the repeated single-tone motive. The movement ends as the ascending thirds disappear into silence. II. Scherzo Slashing evenly repeated chords for full strings begin the movement and are counterpoised against a suddenly faster solo quartet playing in a manic, almost pop-like manner. They alternate and build into a rapid 16th-note passage using both the repeated single-tone motive and the disjunct minor thirds. A recapitulation of the slashing chords leads to a gentle trio: a chaconne based upon the chordal fragments in the prelude is played by a concertino group, while the other players provide lyrical counterpoint. A return to the opening material and an even larger and wilder recapitulation of earlier material brings the movement to a frenetic end. III. Nocturne Some years ago during a vacation in Morocco, I stayed at the Palais Jamais in Fez. My room overlooked the Old City and during the night (about 4 a.m.) I was awakened by the calls of the muezzins from the many mosques in the city. First one, then another, and finally dozens of independent calls created a glorious counterpoint, and at one moment all of the calls held on to a single note (pure accident) and the result was a major chord. The calls died away, a cock crowed and a dog barked to announce the sun. This Nocturne recalls that memory—the serenity of the Moroccan night, the calls (here composed of motivic fragments of repeated notes and minor thirds) and the descent to silence and the dawn. IV. Fugue I have always been fascinated by counterpoint. In this process, a theme set against a steady beat is given a highly individual rhythmic profile with long notes, short notes and syncopation, so that when it is played against other material its line will stand out clearly. An opposing theme, also set against this same steady beat, will have a different rhythmic profile; it will rest when the first theme plays and vice versa. This enables us to hear both themes independently, note against note. I always wondered if voices could be made independent by exactly the opposite method: the themes would all be composed of even beats, with absolutely no rhythmic profile. Instead of both themes set against a common beat (which would result in chords) each voice would travel at a different speed (or tempo). The misalignment that occurs when two rhythmically identical themes travel at two different speeds (say, 60 versus 72 beats per minute) would separate them as surely as syncopation does within a common beat. The problem comes in trying to execute such a technique. One cannot simply instruct the players to play at these different tempi, for it is impossible to sustain them precisely for any length of time. Therefore, these independent lines must be accurately notated in common rhythm, even though they are not heard that way. While this is difficult to play, it is not hard to hear; listen, for example, to the opening viola subject answered by a slightly slower second violin while the viola continues at its own tempo. The movement is marked “severe,” and there is a starkness to this music brought about not only by the dissonant material (the subject is composed of both the repeated tone and the disjunct minor thirds, this time descending), but also by the total independence of the voices. They seem to travel alone, unrelated to each other, yet identical to each other. There are two sections in the Fugue where the string choirs unite in a common rhythm. This is usually accomplished by one or another of the sections “catching up” with the others. Other elements include asynchronous “chases” in the violins and violas and a serene (and synchronous) slow section. Formally the Fugue is traditional, with an exposition, central section, and strettoed recapitulation. V. Postlude The ending of the Fugue is joined to the Postlude. In this movement, the lower voices are spatially offset by a solo violin entrance, muted, on the highest C . The registral distance between the solo violin and the other strings remains vast in this first section: this quality of separation is meant to impart a feeling of farewell to the entire movement. An ornamental recitative-like section in the lower choirs follows, and in time the solo violin joins them in a unity of emotionally charged playing. An impassioned climax leads to a long descending passage, which gradually changes into the asynchronous ambient-sounding threads of the first movement, and with the addition of practice mutes and an exact retrograde of the opening music, the symphony fades into silence. —JOHN CORIGLIANO NOVEMBER 2000

6.5.4.4.2 players minimum duration ca. 40â&#x20AC;&#x2122;

Performance material is available on rental from the publisher. G. Schirmer/AMP Rental and Performance Department P.O. Box 572 445 Bellvale Road Chester, NY 10918 (845) 469-4699 - phone (845) 469-7544 - fax www.schirmer.com

to Susan Feder

SYMPHONY NO. 2 for String Orchestra

John Corigliano I. Prelude *

Free, asynchronous ( = 72–80) ca. 5"

ca. 4"

ca. 3½"

Violin I div.

practice mute ***

Violin II div.

** (an undulation) practice mute ***

Viola div.

(an undulation) ** practice mute ***

practice mute ***

Violoncello div.

(an undulation)

(an undulation) practice mute ***

(an undulation) ** practice mute *** Contrabass

(an undulation) * Numbers in triangles indicate the number of cued events that occur in a “bar.” Dashed barlines separate the events. ** Lines between systems highlight the fact that each group enters an instant after the previous one. *** = one quarter-tone flat. = three quarter-tones flat.

Copyright © 1995 by G. Schirmer, Inc. (ASCAP), New York, NY This arrangement Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by federal law and subject to criminal prosecution.

ca. 18â&#x20AC;&#x201C;20" 2

(senza sord.)

1 solo

1 solo, via sord.

practice mute senza vib. Vn. I gli altri (div.)

practice mute senza vib.

senza vib.

Vn. II (div.) senza vib.

senza vib.

Va. (div.) senza vib.

Vc. (div.) *

senza vib.

Cb.

* These figures are asynchronous and should not be aligned. Be sure to play the entire figure until it is completed.

1 solo, senza sord., con vib.

to practice mute

1 solo

Vn. I gli altri (div.)

Vn. II (div.)

Va. (div.)

Vc. (div.)

Cb.

* These figures are asynchronous and should not be aligned. Be sure to play the entire figure until it is completed.

ca. 8"

Vn. I (div.)

tutti

ca. 15"

(breve)

Vn. II (div.)

(breve)

Va. (div.)

(breve)

Vc. (div.)

(breve)

Cb.

ca. 20" 5

change to standard mute

unis.

Vn. I

change to standard mute

unis. Vn. II

change to standard mute

unis. Va.

unis. Vc.

change to standard mute Cb.

ca. 15" (5)

con sord.

Vn. I

con sord. Vn. II

Va.

change to standard mute Vc.

Cb.

indicates to continue â&#x20AC;&#x153;noodlingâ&#x20AC;? asynchronously (and independently of the conducted meter) at a speed of = 72â&#x20AC;&#x201C;80, utilizing a variety of intervals (quarter-tone flat, three quarter-tones flat, half tone, whole tone) within and including the two indicated pitches.

(

= 60 = 72–80)

(

= 60 = 72–80)

(vib.)

Vn. I

(vib.)

Vn. II

= 60

(

= 72–80)

(

= 72–80)

con sord. (vib.)

= 60

Va.

con sord. (vib.) Vc.

( 10 3

= 72–80) (vib.)

Vn. I

( 3

= 72–80) (vib.)

Vn. II

(vib.) ***

Va.

***

Vc.

indicates to “noodle” asynchronously, independently of the conducted meter, utilizing a variety of intervals (quarter-tone flat, three quarter-tones flat, half tone, whole tone) within and including the two indicated pitches. ** “Noodle” asynchronously, as before, maintaining a minor third as the extreme range. *** Very slowly ascend, maintaining the minor third.

(vib.)

7 ca. 10"

ca. 10"

( = 72–80)

1 solo, via sord.

Vn. I

( = 72–80)

1 solo, via sord.

Vn. II

( = 72–80)

1 sola, via sord.

Va. 1 solo, via sord. Vc. con sord. (vib.)

Cb.

= ca. 60 senza sord., senza vib.

Vn. I 3

(“ancient” sound) senza sord., senza vib.

Solo Quartet

Vn. II

(“ancient” sound) senza sord., senza vib. Va. 3

(“ancient” sound) senza sord., senza vib. Vc. 3

(“ancient” sound) change to practice mute Vn. I

change to practice mute Vn. II

(standard mute) Va.

take over vc. note Vc.

rall. 22

a tempo

to practice mute

to standard mute

Vn. I

Solo Quartet

Vn. II

Va.

Vc.

rall. (standard mute)

a tempo to practice mute

vib.

Va. espr.

(standard mute)

vib.

espr. Vc. div. (standard mute)

vib.

espr.

(standard mute)

vib.

espr. Cb. div. (standard mute)

vib.

espr.

ca. 15"

= 72–80 29

tutti practice mute

Vn. I tutti div.

= 72–80 practice mute

= 72–80 tutti practice mute

Vn. II tutti div.

= 72–80 practice mute

tutti standard mute

Vc. tutti div.

via sord.

Cb. (div.) via sord.

= 60 30

( = 72â&#x20AC;&#x201C;80)

via sord.

Vn. I (div.)

Vn. II (div.)

( = 72â&#x20AC;&#x201C;80) practice mute *

Va. tutte div.

via sord.

( = 72â&#x20AC;&#x201C;80) practice mute *

= 60 (standard mute)

Vc. (div.)

via sord.

espr.

= 60 (standard mute)

via sord.

espr.

Cb. (div.)

* Expand to an interval of a minor third. Continue playing freely while ascending and keeping the general pitch range of a minor third.

II. Scherzo = 144

Solo Quartet

Violin I

Violin II

Viola

Violoncello

sost.

Violin I div.

sost.

Violin II div.

sost. 0 0

sost.

Viola div. 0 0

sost.

Violoncello sost. div. Contrabass sost.

4:3

(

= 192)

( = 144) 4:3

4:3

4:3 IV

Vn. I

Solo Quartet

manic

Vn. II manic pizz.

4:3

Va.

pizz.

4:3

Vc.

Vn. I (div.)

Vn. II (div.)

0 0

Va. (div.)

0 0

Vc.

(div.) Cb.

pizz.

Vn. I 4:3

Solo Quartet

pizz.

4:3

Vn. II

arco

4:3

Va. hard and heavy arco

4:3

growl 4:3

Vc. hard and heavy

growl

Vn. I (div.)

Vn. II (div.)

0 0

Va. (div.)

0 0

Vc.

(div.) Cb.

* Non-pitched.

4:3

arco

Vn. I

4:3 IV

Solo Quartet

arco Vn. II

pizz.

4:3

Va.

pizz.

4:3

Vc.

Vn. I (div.)

Vn. II (div.)

0 0

Va. (div.)

sost. 0 0

sost.

Vc.

(div.) Cb.

pizz.

unis., arco

4:3

Vn. I

Solo Quartet

Vn. II

pizz. arco

pizz.

arco

Va. 4:3

4:3

arco Vc.

Vn. II (div.)

Va. (div.)

Vc.

pizz. 0

Cb.

arco

pizz. 0

arco

4:3

24 0

Vn. I

4:3

Solo Quartet

Vn. II

pizz.

arco

Va. 4:3

Vc. 4:3

Vn. II (div.)

Va. (div.)

Vc.

pizz.

Cb.

arco

pizz.

4:3

Vn. I 4:3

4:3

Solo Quartet

Vn. II

pizz.

arco

pizz.

arco

Va. 4:3

4:3

Vc.

sost.

Vn. I (div.)

sost.

Vn. II (div.)

sost. pizz.

Va. (div.)

arco

sost. pizz.

arco

sost. pizz.

arco

Vc.

div., arco

sost.

Cb. sost.

Solo Quartet

Vn. I

Vn. II

Va.

Vc.

Vn. I (div.)

Vn. II (div.)

0 0

Va. (div.)

0 0

div.

unis.

Vc.

(div.) Cb.

4:3

Vn. I 4:3 4:3

Solo Quartet

4:3

Vn. II

arco

4:3

Va. 4:3

hard and heavy 4:3

Vc. 4:3

hard and heavy

Vn. I (div.)

Vn. II (div.)

Va. (div.)

Vc.

Cb.

0 0

40 Vn. I 4:3

Solo Quartet

4:3

Vn. II

4:3

Va.

4:3

Vc.

Vn. I (div.)

Vn. II (div.)

Va. (div.)

div. Vc.

(div.) Cb.

In time 44

tutti, unis.

punta d’arco

tutti, unis.

punta d’arco

tutte, unis.

punta d’arco

Vn. I leggiero

Vn. II leggiero

Va. leggiero punta d’arco tutti, unis. Vc. leggiero punta d’arco unis. Cb. leggiero

48 Vn. I

Vn. II

Va.

Vc.

Cb.

52 Vn. I sempre

Vn. II (

sempre)

(

sempre)

Va.

Vc. sempre

Cb. sempre

56 Vn. I

Vn. II

Va. sub.

Vc.

Cb.

Vn. I div.

Vn. II

Va.

Vc.

pizz. Cb.

sub.

ord.

Vn. I (div.)

ord. 0

Vn. II

ord.

Va. div.

ord.

ord. Vc. ord. arco Cb.

68 Vn. I

Vn. II

Va. (div.)

Vc. div.

Cb.

unis.

Vn. I div. *

Vn. II div.

Va. (div.)

growl **

growl unis.

Vc.

growl **

Cb.

growl * Match levels to create a single crescendo (or diminuendo). ** Non-pitched, as in m. 13.

* *

Vn. I (div.)

ossia:

* * *

Vn. II (div.)

unis. Va. sim.

Vc. sim.

Cb. sim. * Match levels to create a single crescendo (or diminuendo).

80 Vn. I 4:3

4:3

Solo Quartet

Vn. II

4:3

Va. hard and heavy 4:3

4:3

Vc. hard and heavy

unis. Vn. I growl unis. Vn. II growl

Va. growl

Vc. growl

Cb. growl

4:3

84 0

Vn. I 4:3

Solo Quartet

4:3

Vn. II

4:3

Va.

Vc. 4:3

4:3

2 stands 0

4:3

Vn. I sub. 2 stands

4:3

Vn. II

sub. 2 stands Va. 4:3

sub. 4:3

2 stands Vc. sub.

Cb.

Solo Quartet

Vn. I

Vn. II

Va.

Vc.

tutti, div. a2

Vn. I div.

molto

(2 stands)

molto 4:3

4:3

tutti, div. a2 0

Vn. II div.

molto

(2 stands)

tutte

molto

Va. 4:3

molto 4:3

(2 stands)

tutti

Vc.

molto div. Cb.

molto

4:3

92 0

Vn. I

Solo Quartet

4:3 IV

Vn. II

4:3

Va.

4:3

Vc.

sost.

Vn. I (div.)

sost.

Vn. II (div.)

sost. 0 0

Va. div.

sost. 0 0

sost.

Vc. sost.

Cb. sost.

4:3

Vn. I

Solo Quartet

4:3 IV

Vn. II

4:3

Va. growl 4:3

* Vc. growl

Vn. I (div.)

Vn. II (div.)

0 0

Va. (div.)

0 0

Vc.

(div.) Cb.

* Non-pitched

101

Vn. I tutti div.

sost. IV

sost.

Vn. II tutti div.

tutte unis.

Va.

div., pizz.

tutti Vc.

(div.) Cb.

107

unis.

Vn. I

unis.

4:3

Vn. II

Va.

Vc.

Cb. (div.)

4:3

111 (IV)

1 solo, al sord.

Vn. I dim. 4:3

1 solo

Vn. II

Va. dim. (div.)

ord., pizz.

Vc.

(div.) Cb.

= 60–72

rall. solo, con sord. (vib.) 116 Vn. I

Vn. II div.

tutti * practice mutes

senza vib. (“viol” sound)

tutti * practice mutes

senza vib. (“viol” sound)

standard mutes

senza vib. (“viol” sound)

standard mutes

senza vib. (“viol” sound)

Va. div.

Cb.

* Due to the practice mute, Violin II must play louder than Viola to maintain dynamic balance.

(vib.) ossia:

(solo)

121

(vib.)

Vn. I

Vn. II (div.)

Va. (div.)

tutti, senza sord.

127 Vn. I

Vn. II (div.)

Va. (div.)

unis., arco Vc.

(vib.)

133 Vn. I

via sord.

Vn. II (div.)

via sord.

Va. (div.)

non div., con sord. senza vib. (“viol” sound) Vc.

138 Vn. I

unis., senza sord. vib. Vn. II

Va. (div.)

cresc.

(cresc.)

cresc.

(cresc.)

cresc.

(cresc.)

div. Vc.

35 143

1 solo, al sord.

Vn. I 1 solo, al sord. Vn. II

(in time)

dim.

Va. (div.)

(in time)

dim. non div.

div. (in time)

Vc. dim.

div. Cb.

dim.

148

con sord. (vib.)

Vn. I

Solo Quartet

con sord. (vib.) Vn. II

con sord. (vib.) Va. con sord. (vib.) Vc.

pizz. via sord.

senza sord.

via sord.

senza sord.

Va. (div.)

pizz.

via sord.

unis. senza sord.

pizz. 3

Vc. (div.) col legno batt. Cb. 3

36 153

senza sord.

Vn. I senza sord.

Solo Quartet

Vn. II

senza sord.

pizz.

Va. cresc. 3

senza sord.

pizz.

Vc. cresc. (senza sord.) Vn. I (senza sord.) Vn. II

unis. (pizz.) 3

Va. cresc. 3

(pizz.)

Vc. (div.)

cresc.

(col legno)

Cb. 3

157

= 90â&#x20AC;&#x201C;108 accel. poco a poco al Tempo primo

tutti

4:3

Vn. I

tutti Vn. II tutte arco Va. cresc. tutti arco Vc. cresc. (div.) Cb.

pizz.

4:3 IV

Tempo primo

(accel.) 162

= 144

4:3

4:3 0

Vn. I div.

4:3

4:3 0

Vn. II div.

4:3 IV

0 0

Va. div. 0 0

Vc.

(div., pizz.) ord. Cb.

ord.

166

4:3 Vn. I (div.)

4:3

Vn. II (div.) 4:3

0 0

4:3

Va. (div.) 0 0

div.

4:3

div.

unis.

Vc.

(div.) Cb.

ord.

unis. 4:3

170

sost.

4:3

sost.

4:3

Vn. I (div.)

4:3

sost. Vn. II (div.) 4:3

sost. 0 0

4:3

sost. Va. (div.) 0 0

4:3

sost.

div. Vc. sost. (div.)

ord.

arco

Cb. sost.

4:3 unis.

div.

175

unis.

Vn. I sub., leggiero

Vn. II (div.)

sub., leggiero

Va. (div.)

sub., leggiero

sub., leggiero unis. Vc. sub., leggiero unis. Cb.

178 Vn. I

Vn. II (div.)

unis. Va.

Vc. div.

181

Vn. I div.

Vn. II (div.)

Va. unis. Vc.

184

Vn. I (div.)

(non dim.)

(non dim.) *

Vn. II (div.)

(non dim.) *

(non dim.) 0

Va.

Vc.

Cb.

* Match levels to form a continuous crescendo. ** While preserving the interval of a minor third, very slowly move upwards (slow glissando), always articulating the 16th note rhythm. The minor thirds will climb upwards.

, 187

Vn. I (div.)

, ,

Vn. II (div.)

* Va. sim.

sim.

* Vc. sim.

* Cb. sim.

Slightly slower 190

= 132â&#x20AC;&#x201C;138 (quasi

)

unis.

Vn. I

Vn. II (div.)

* Va. sim. * Vc.

* Cb.

* While preserving the interval of a minor third, very slowly move upwards (slow glissando), always articulating the 16th note rhythm. The minor thirds will climb upwards.

43 193 Vn. I soli

Vn. II (div.)

soli

4:3

sole

Va. div.

4:3

sole

Vc. div.

Cb. sim.

196 0

Vn. I 4:3

soli

* sim.

Vn. II (div.)

4:3

soli

* sim.

Va. (div.)

4:3

sim.

Vc. (div.)

Cb.

* While preserving the interval of a minor third, very slowly move upwards (slow glissando), always articulating the 16th-note rhythm. The minor thirds will climb upwards.

199 Vn. I cresc.

cresc. unis. Vn. II cresc.

cresc.

unis. Va. cresc.

cresc. unis.

Vc. sim. cresc. * Cb. sim. cresc.

4:3

(

= 184)

202 Vn. I sub.

4:3

Solo Quartet

4:3

Vn. II sub. 4:3

Va. sub. 4:3

Vc. sub. ** Vn. I cresc.

(cresc.) ** Vn. II

cresc.

(cresc.) ** Va. (cresc.)

cresc. **

Vc. (cresc.)

cresc. **

Cb. (cresc.) * While preserving the interval of a minor third, very slowly move upwards (slow glissando), always articulating the 16th-note rhythm. The minor thirds will climb upwards. ** Ascending minor 3rd pattern continues from approximately where it left off.

cresc.

205 Vn. I sub.

4:3

Solo Quartet

4:3

Vn. II sub. 4:3

Va. sub.

Vc. sub.

4:3

* Vn. I

* Vn. II

* Va.

* Vc.

* Cb.

* Ascending minor 3rd pattern continues from approximately where it left off.

208

( = 132â&#x20AC;&#x201C;138) accel.

Tempo I

Solo Quartet

Vn. I

Vn. II

Va.

Vc.

marc.

sost.

Vn. I div.

marc.

sost. 0

Vn. II div.

sost.

marc.

sost.

marc.

Va. sost.

marc.

Vc. sost.

Cb. div.

marc.

sost.

marc.

sost. marc.

= 144

ord. 214

4:3

Vn. I

4:3 IV

Solo Quartet

ord. Vn. II

pizz.

4:3

Va.

pizz. Vc.

Vn. I (div.)

marc.

Vn. II (div.)

marc.

Va. marc.

Vc. marc.

Cb. (div.)

marc.

48 accel. poco a poco 219

sul D

Vn. I tutti div.

tutti

Vn. II tutti div.

sul D

sim.

sost.

cresc. poco a poco

sost.

cresc. poco a poco

tutti

cresc. poco a poco

cresc. poco a poco sul A arco

tutte

arco pizz.

sul D

Va. cresc. poco a poco sul D

tutti

arco

sul A

Vc. cresc. poco a poco

Cb. (div.)

225

Vn. I (div.)

(accel. poco a poco)

(cresc. poco a poco)

(cresc. poco a poco) unis. Vn. II (cresc. poco a poco) Va. (cresc. poco a poco) Vc. (cresc. poco a poco)

Cb. (div.)

cresc.

* slow asynchronous oscillations between F and F

(accel. poco a poco) 231

Vn. I (div.)

(sempre cresc.)

(sempre cresc.) 0

Vn. II div.

(sempre cresc.) 0

(sempre cresc.) Va. div. 0

(sempre cresc.)

Vc. div.

(sempre cresc.)

Cb. (div.)

(sempre cresc.)

III. Nocturne Improvisatory, free

= ca. 60

(II) con sord.

(free bows)

con sord.

(free bows)

Violin I

Violin II

1 sola con sord.

vib.

senza vib.

(vib.) 3

Viola

Violoncello

Contrabass

senza vib.

vib.

8 Vn. I

senza vib.

vib.

Vn. II tutte, con sord. Va. con sord. Vc.

15 Vn. I

Vn. II

Va.

Vc. con sord. Cb.

51 23

senza sord.

Vn. I sub. gliss.

senza sord. Vn. II

sub. gliss.

senza sord. Va.

sub. senza sord. Vc. via sord. Cb.

gliss.

Vn. I

Vn. II

Va. 1 solo Vc.

3 soli unis.

36 3 soli

3 3

front Â˝ con sord.

Vn. I echo solo strings

gli altri div.

back Â˝ con sord. 3

echo solo strings Vn. II 3 sole, unis.

Va.

le altre

(1 solo)

Vc.

gli altri

41 0

3 soli 3

(front) Vn. I 3

gli altri div.

(back)

gliss. Vn. II

3 sole Va. le altre tutti

gliss.

Vc.

46 3 soli 3

(front)

Vn. I gli altri div.

(back)

3 soli, unis.

Vn. II

3 sole Va. le altre

Vc.

50 3 soli

(front) Vn. I gli altri div.

(back)

gli altri Vn. II tutte Va.

Vc. 3 soli, senza sord. Cb. 3

cant.

54 3 soli

Vn. I gli altri div.

(front)

via sord.

(back)

via sord.

3 soli Vn. II gli altri

Va.

Vc.

tutti unis., pizz., vib. senza sord.

58 Vn. I

sul pont. 3 soli Vn. II sul pont. gli altri

Va.

Vc.

tutti, senza sord. Cb.

stringendo poco a poco

62 Vn. I

tutti, ord. Vn. II

Va.

sul G Vc.

div. a3 Cb.

arco

= ca. 72

Vn. I cant. front

echo, cant. middle Vn. II div. a3

echo, cant. back

echo, cant.

Va.

Vc.

8va

soli arco

¼ section, pizz.

cant. 8va

soli arco

¼ section, pizz. Cb. div.

cant. 8va

½ section

soli

cant.

72 Vn. I

sim.

Vn. II (div. a3)

sim.

cant.

Va. div. a2

cant. 3

Vc. div. a2

echo

cant.

Cb. div. a2

75 Vn. I 3

Vn. II (div. a3)

Va. (div. a2) 3

Vc. (div. a2)

Cb. (div. a2)

8va

accel.

77 Vn. I

Vn. II (div. a3)

Va. (div. a2)

Vc. (div. a2)

Cb. (div. a2)

( = ca. 72)

rall. reduce speed of repeated figures

(echoes)

Vn. I cant. B

A **

cant. B

A ** Vn. II (div. a3)

cant. B

A **

cant. A **

cant. Va. (div. a2)

A **

B 3

cant. B

A **

Vc. (div. a2)

cant.

A **

Cb. (div. a2)

cant.

* First violins play on cue, then repeat asynchronously. The repeats should “echo” each other. ** Play the boxed figures freely and asynchronously. The repetitions should “echo” each other. Pause between repetitions. Play figure A, then B, then vary the order of the figures.

(rall.) 80 Vn. I

(div. a3) Vn. II

Va. (div.)

Vc. (div.)

Cb. (div.)

unis.

(rall.)

lunga

81 Vn. I

lunga

Vn. II

lunga

Va. (div.) lunga

lunga

Vc. (div.)

,(asynchronous)

unis.

Cb.

lunga

= 60

div.

82 Vn. I

Vn. II

unis.

vib.

Va.

unis, pizz, vib.

88 Vn. I

sul pont. 3

Vn. II

Va.

unis. Vc.

Cb.

93 Vn. I

sul tasto, vib. 3

to practice mute

Vn. II

Va.

Vc.

div. a3 Cb.

arco 98

al sord.

Vn. I

practice mute front

practice mute

middle Vn. II div. a3

practice mute back 3

con sord. 3 sole Va. le altre

Vc. unis. Cb.

64 1 solo, senza vib. con sord. 104

al sord.

Vn. I

Vn. II (div. a3)

al sord. 3 sole Va.

al sord.

le altre al sord. Vc. al sord. Cb.

110 (1 solo) front Vn. I gli altri div.

back

(con sord.)

tutte, con sord., senza vib. Va.

con sord, senza vib. Vc.

div., con sord, senza vib. Cb. * Each player should repeat the figure ad lib., freelyâ&#x20AC;&#x201D;do not synchronize entrances.

111

via sord.

Vn. I tutti div.

via sord.

front

(practice mute)

middle Vn. II (div. a3)

each player should slow down, little by little

(practice mute)

back

Va.

Vc.

Cb.

via sord.

each player should slow down, little by little

via sord.

Vn. II (div. a3) each player should slow down, little by little

via sord.

via sord. Va.

via sord. Vc.

via sord. Cb.

* Each player should repeat the figure ad lib., freelyâ&#x20AC;&#x201D;do not synchronize entrances.

(practice mute)

IV. Fugue Severe

= ca. 70

Violin I * Violin II sostenuto

* Viola sostenuto

sim.

Violoncello

Contrabass

5 Vn. II

Va.

9 Vn. I 3

sostenuto

Vn. II

Va.

12 Vn. I 3

Vn. II

Va.

* Brackets indicate implied measures.

15 Vn. I 3 3

Vn. II 3

Va.

17 Vn. I 3

3 3

Vn. II 3 3

Va.

(= 84)

19 Vn. I 3

Vn. II 3

Va. 3

(= 84)

Vc. sostenuto

Cb. div.

(= 84)

sostenuto

(= 84)

sostenuto

rall.

23 Vn. I

Vn. II

Va.

sim. Vc.

sim.

Cb. (div.)

sim.

on the string (asynchronous)

= ca. 60

rall.

(

Vn. I

) molto

sost.

violent

on the string (asynchronous) rall.

(

Vn. II

sost.

Va. sost. = Vc. sost. =

div.

Cb.

cresc. sost.

violent

) molto

69 on the string (asynchronous)

accel. poco a poco

rall. e dim. poco a poco

III

Vn. I on the string (asynchronous)

molto * rall. e dim. poco a poco

III

Vn. II on the string (asynchronous) molto * rall. e dim. poco a poco Va. violent molto

Vc. div.

violent and interruptive

violent and interruptive div.

unis.

div.

Cb.

= 140

(accel.) 35

Tempo I

= 70

IV arco

pizz.

Vn. I

pizz.

IV arco

Vn. II sostenuto Va. unis. 0

Vc.

(div.) Cb.

39 Vn. I sostenuto

Vn. II

* Violins cut off abruptly when Bass, Cello, and Viola enter.

( = 56)

( = 84)

43 Vn. I

Vn. II

Va. sostenuto pizz. arco

(arco) 3

Vc.

(div.) 3

Cb.

1/2 pizz., 1/2 arco

Vn. I

Vn. II

Va. (sost.)

Vc.

Cb. div.

unis., pizz.

molto accel. poco a poco

= non div.

tutti arco

52 Vn. I

sost. IV Vn. II sost. Va. sost.

Vc. sost. arco

Cb. (div.)

arco

(molto accel. poco a poco) 57

Presto possibile

pizz.

Vn. I (asynchronous) (IV) Vn. II

pizz. Va. 3

(asynchronous) Vc.

* [ 8va 61

(loco) ]

arco, sul ponticello, asynchronous

(breve)

sim.

Vn. I as fast as possible (tremolo)

*[8ba

* [ 8va (arco), sul ponticello, asynchronous

(loco) ]

(breve)

]

sim.

Vn. II as fast as possible (tremolo)

*[8ba

*[ 8va arco, sul ponticello, asynchronous

(loco) ]

(breve)

]

sim.

Va. pizz.

as fast as possible (tremolo)

* [ 8ba

]

Vc.

unis., pizz. Cb.

ca. 12â&#x20AC;&#x201C;15" (61)

* [8va

]

Vn. I * [8ba * [8va Vn. II

Va.

Vc.

Cb.

* Violins and Viola play pianissimo, sul ponticello, as fast as possible. Each player should â&#x20AC;&#x153;chaseâ&#x20AC;? the other, with Violin I initiating the chase. The players should be asynchronous. Play the indicated octave changes (shown in brackets) on the repeat.

(61)

slowly change to ord.

Vn. I [ 8ba

] cresc.

slowly change to ord. ] [ 8va Vn. II [ 8ba cresc. slowly change to ord. [ 8va

]

Va.

cresc.

[ 8ba

]

Vc.

Cb.

= 70 accel.

= 70

accel.

ord.

Vn. I (cresc.) ord. Vn. II (cresc.) ord. Va. (cresc.) ca. 3–5" Vc.

sost. div., arco Cb.

ca. 2–3"

( = 70) accel. to m. 67

(on the string, asynchronous; as fast as possible)

66 Vn. I senza dim. (on the string, asynchronous; as fast as possible)

Vn. II

senza dim.

(on the string, asynchronous; as fast as possible)

Va. senza dim.

Vc.

(div.) Cb.

67 Vn. I

Vn. II

Va.

(on the string, asynchronous; as fast as possible) Vc. senza dim. (div.)

Cb.

(67)

Vn. I

Vn. II

III * Va. II

Vc.

Cb.

( = 60)

rall. **

Vn. I

sub.

sost. ( = 60)

rall. ** Vn. II

sub.

sost. ( = 60)

rall. ** Va. sub.

sost. rall. **

( = 60)

Vc. sub. = 60

I, II

arco

Cb. div.

sost. ( = 60)

sost. = 60 arco

( = 60)

sost.

* Finish repeated figure and play â&#x20AC;&#x153;Gâ&#x20AC;? as soon after the cue as possible. ** Slow down evenly so that by m. 70 all parts are rhythmically aligned.

Vn. I

* Vn. II

* Va.

* Vc.

unis., non div. Cb.

73 Vn. I emphasize the melody

Vn. II emphasize the melody

Va. emphasize the melody

Vc. emphasize the melody Cb.

* Emphasize grace notes.

76 Vn. I (

)

(

)

(

)

(

)

Vn. II sost. sempre

Va. sost.

sempre

Vc.

Cb.

rall. al sord.

79 Vn. I sost.

al sord. Vn. II

Va.

pizz. Vc. sost.

78 Slower

= ca. 52 (52.5)

con sord. 85 Vn. I legato, floating

con sord.

Vn. II legato, floating

con sord.

Va. legato, floating con sord. arco Vc. legato, floating

arco

pizz.

Vn. I

Vn. II senza sord. Va. sost. pizz. Vc. con sord. Â˝ section, pizz. Cb.

= (= 70) via sord.

soli, senza sord.

Vn. I sost. via sord. Vn. II

Va. arco

via sord.

Â˝ section, arco

via sord.

Vc.

Cb.

stringendo

101

(= 84)

Vn. I soli, senza sord. 3

Vn. II 3

sole Va. senza sord.

heavy div.

Vc. 3

heavy senza sord., pizz. tutti

arco

Cb. 3

106

a tempo

accel. poco a poco

Vn. I cresc. poco a poco heavy, legato Vn. II heavy, legato cresc. poco a poco

slow, even gliss.

Va. cresc. poco a poco

(marc.) (arco)

heavy

slow, even gliss.

cresc. poco a poco

(marc.)

Vc. div.

(marc.) arco

3 3

cresc. poco a poco

Cb. div.

heavy

arco

pizz.

cresc. poco a poco

heavy

slow, even gliss.

(accel.) 111

div.

Vn. I (cresc.)

Vn. II 5

(cresc.)

pizz.

slow, even gliss.

Va. 3

(cresc.) pizz. (tutti)

arco

slow, even gliss.

arco

slow, even gliss.

Vc. (cresc.)

pizz.

(cresc.)

pizz.

(cresc.) Cb. div. a4

pizz.

= ca. 184

unis.

115 Vn. I wild!

Vn. II wild!

arco

non div. *

div.

Va. wild!

* Vc. wild!

* 0 0

arco * 0 0

Cb. (div. a4)

arco *

* grace notes slightly before the beat

non div.

div.

non div.

div.

120 Vn. I

wild! 3

div. Vn. II (asynchronous)

non div.

div. sole

Va. 3

wild! (asynchronous) pizz. Vc.

Cb. (div. a4)

0 0

pizz.

(asynchronous) 124 Vn. I

unis.

(asynchronous)

div. Vn. II

Va. 3

(pizz.)

non div. arco 3

Vc. 3

pizz.

arco

pizz.

col legno batt. 0 0

3 0

non div. 3

arco

Cb. (div. a4)

non div.

col legno batt. 0 0

3 0

col legno batt. pizz.

0 0

pizz.

col legno batt. pizz.

0 0

pizz.

84 arco

accel. e cresc. 129 Vn. I 3

cresc. 3

3 3 unis.

Vn. II

cresc. pizz.

arco

Va. 3

cresc.

non div. 3

Vc.

cresc. non div. 3

(arco)

Cb. div. a2

3 0

cresc. (pizz.)

cresc.

= 60 * sul ponticello, poco a poco al ordinario (breve) asynchronous

133

(breve)

sim.

Vn. I as fast as possible (tremolo) sul ponticello, poco a poco al ordinario * asynchronous (breve)

cresc. poco a poco

(breve)

sim.

Vn. II as fast as possible (tremolo) sul ponticello, poco a poco al ordinario * asynchronous (breve)

cresc. poco a poco

(breve)

sim.

Va. as fast as possible (tremolo)

cresc. poco a poco

ca. 5" Vc. 0

pizz. (div.)

ca. 5"

Cb.

(133) Vn. I (cresc.) Vn. II (cresc.) Va. (cresc.) ( = 60)

accel. molto (Vc. and Cb. only)

Vc.

arco (div.) Cb.

(ord.)

(133) Vn. I (cresc.)

(ord.)

Vn. II (cresc.) (ord.) Va. (cresc.)

= 160

ca. 1–2"

a tempo

breve

Vc.

(div.) Cb.

ca. 1–2"

breve

86 rall. (from as fast as possible to at m. 135)

ten. as fast as possible, asynchronous 134

= ca. 160

Vn. I senza dim. poss. ten. as fast as possible, asynchronous IV Vn. II

poss. senza dim. ten. as fast as possible, asynchronous

Va. poss. senza dim. ten.

as fast as possible, asynchronous

Vc.

poss. senza dim. non div.

ten. as fast as possible, asynchronous

Cb. *(

)

poss. senza dim.

= ca. 160 135

rall.

Vn. I poss. pizz.

arco IV

Vn. II

poss. pizz.

arco III

Va. poss. pizz.

arco

Vc. poss. div., arco Cb. poss.

* Play the low "C" if a five-string bass is used.

( = ca. 60)

occasionally and independently figure, ad lib. add this figure con sord. 141

( = ca. 60)

= 69

1 solo

Vn. I

impressionistic and hazy * free, asynchronous bows

gli altri

impressionistic and hazy * free, asynchronous bows

con sord.

Vn. II

impressionistic and hazy occasionally and independently add this figure, ad lib. ( = ca. 60) 1 sola

impressionistic and hazy

Va. * free, asynchronous bows le altre

impressionistic and hazy * free, asynchronous bows Vc.

impressionistic and hazy

Cb.

attacca * Continue even legatissimo pulses, with gradual rallentando and diminuendo.

V. Postlude

= ca. 69 (con sord.) 1 solo espr. espr., floating

Violin I gli altri (con sord.) Violin II

tutte unis., con sord. Viola

Violoncello

Contrabass

8 1 solo Vn. I gli altri

Vn. II

Va. con sord. Vc. con sord. Cb.

14 1 solo Vn. I

con sord.

gli altri (vib.) Vn. II (vib.) Va.

pizz.

1 solo

Vc. (slow) pizz. Cb.

21 1 solo 3

Vn. I gli altri

Vn. II

Va.

1 solo Vc. arco gli altri

arco

28 1 solo 3

Vn. I gli altri

Vn. II

Va.

tutti Vc.

35 1 solo Vn. I IV

gli altri

Vn. II

Va. sost.

sost.

Vc. div.

sost. div., arco Cb.

Faster

= 84â&#x20AC;&#x201C;86

, (pressez)

Va. 3

unis.

, (pressez)

Vc. 3

49 1 solo Vn. I

gli altri

Vn. II sost.

Va. 3

sost.

, Vc.

sost. unis.

Cb. sost.

senza sord.

rall.

(interrupted)

1 solo Vn. I

, unis.

gli altri

Vn. II

Va.

div. Vc.

Cb.

Tempo primo ( = 69)

1 solo Vn. I

via sord.

gli altri

Vn. II

Va.

Vc. div.

div. Cb.

unis.

( = ca. 80)

accel. poco a poco

( = ca. 96) (vib.)

1 solo Vn. I

senza sord. (vib.)

gli altri senza sord. (vib.)

via sord. Vn. II via sord.

senza sord. (vib.)

Va. (vib.)

Vc. (div.)

senza sord. (vib.)

(vib.)

via sord. Cb.

(accel.) ( = ca. 112) ( = ca. 56)

( = ca. 60)

A tempo

= ca. 69

tutti

Vn. I 3

cresc. sost.

Vn. II 3

cresc. sost.

Va. cresc. unis.

sost.

Vc. cresc.

sost.

senza sord., div. Cb. sost.

79 Vn. I

, Vn. II

, Va. 3

Vc.

div.

unis. Cb.

a tempo = 69

accel.

84 Vn. I

poss.

, 3

poss.

Vn. II div.

poss.

, Va.

poss.

Vc.

poss. unis.

div.

unis.

Cb. 3

poss.

95 Tempo primo

= 69

88 Vn. I (

poss.) passionate

unis. Vn. II passionate

Va.

Vc. div.

(

poss.) passionate

(

poss.) passionate

(

poss.) passionate

(

poss.) passionate

Cb.

con sord.

1 solo Vn. I con sord. gli altri

con sord. Vn. II senza dim.

con sord.

Va.

con sord.

pizz.(vib.) 3

con sord.

pizz.(vib.) 3

Vc. (div.)

con sord. pizz. Cb.

102 1 solo Vn. I gli altri

Vn. II

pizz. Va. unis. arco Vc.

arco Cb.

to practice mute

109 1 solo Vn. I gli altri

pont.

ord.

to practice mute

Vn. II

arco

to practice mute

Va.

Vc. to practice mute Cb.

116

(asynchronous)

tutti practice mute

Vn. I

practice mute

rall.

practice mute

rall.

Vn. II

Va.

to practice mute Vc.

117

( = 72–80)

1 solo: change to standard mute

(asynchronous)

Vn. I

( = 72–80) (asynchronous) Vn. II

( = 72–80) (asynchronous) Va.

practice mute

(asynchronous)

Vc.

practice mute Cb.

(asynchronous)

118

standard mute (not practice mute)

(vib.)

1 solo

Vn. I (practice mute) gli altri

(practice mute) Vn. II

(practice mute) Va.

(practice mute) Vc. (practice mute) Cb.

119 Vn. I

Vn. II

(an undulation) (barely audible)

Va. (an undulation) (barely audible)

Vc. (an undulation) (barely audible) Cb. (an undulation) (barely audible)