NamastĂŠ for String Quartet
Ethan Wickman
Note The literal meaning of the Nepali greeting “namasté” is “I bow to you.” A broader understanding signifies a profound acknowledgement between two people that suggests: “the divine within me salutes the divine within you.” Practitioners of yoga in the west have understood and used the greeting for some time, often at the end of a practice. Regardless of its common use, the expression represents the hope that two people with distinct histories and experiences can find peace and reconciliation by recognizing the sacred and humane within the other. Titles from each movement are drawn partly from stories featured in the Vedas, a
body of ancient and sacred Sanskrit texts. The first movement, “Kingdom of Sorrows,” tells the story of a wealthy merchant and a king who are respectively forsaken and left
destitute by their families and ministers. In search of enlightenment, the advice of a sage is sought so that they might learn to detach themselves from worldly possessions. The first movement moves without pause into an interlude entitled “Descent,” suggestive of a descent into meditation. The second movement, “Vishnu Awakens to Destroy Madhu and Kaitabha,” depicts the destruction of evil by Vishnu, the Hindu Supreme Being. According to the Vedas, two Asuras (the aforementioned demons) form from the earwax of Vishnu while
he sleeps. Awakened by the Devi (the female aspect of the divine) Vishnu destroys the demons. “The Incarnation of the Divine,” refers in part to the incarnation of the Devi as she protects the faithful from the demons, and in part to the meaning of “namasté.” A lush exploration of the string quartet, much of the movement is built around a conversation between different combinations of the instruments. “Time, Matter, Light…Prana” evokes some of the visceral elements of meditation. This movement portrays a narrative of textures and colors, interspersed throughout with a descending syncopated chordal motive. The latter idea represents a diminution of the opening figure in the cello in the first movement—a figure that signifies “prana” or an ever-present life force. “Exhileration; Reconciliation” reveals a kind of ecstasy achieved throughout the spiritual journey of the work. Note the return of the theme associated with sorrow in the first movement. In order for the journey to be complete, the material must reconcile the coexistence of sorrow and joy, yielding a new understanding.
Namasté is commissioned by the
Barlow Endowment for Music Composition at Brigham Young University
Instrumentation 2 Violins Viola Violoncello Performance directions: 1.
Signifies a slow trill that eventually becomes unmeasured and then slows. The entire figure should fill the duration of the time designated, and may not indicate the precise number of notes to be played. 2.
Like the above, it is a measured trill that becomes increasingly faster (unmeasured), then slower. This figure is repeated through the measures indicated and ends with the rest following the arrow. Additional directions are featured in the score. Duration: c’ 22:00
Šcopyright 2008 by Ethan Wickman
Namasté I. Kingdom of Sorrows
Violin I
Violin II
Viola
Violoncello
p
6
gliss.
gliss.
p
pp
*
pp
Vc.
pp
III' con sord. *
Vla.
bouncing off the string
Vln. II
II'
pp
IV'
Vc.
Vln. I
Vla.
bouncing off the string
...As from the depths of meditation (q = 60)
Ethan Wickman (2007-08)
mf
mf
mf
p
mf *While constantly moving finger, apply bow in proportional duration only when gliss. line is emboldened
2
Vln. I
18
Vln. II
sub. p
Vla.
Vln. I 23
Vln. II
Vln. I
a
a
a
poco
poco
cresc.
cresc.
poco
poco
dramatically!
f
poco
poco
poco
poco
a
Vla.
mf
sub. p
Vln. II
Vc.
27
mf
Vla.
Vc.
mf
sub. p
mf
sub. p
Vc.
cresc.
cresc.
30 f
f
f
3
33 Vln. I
Vln. II
Vla.
Vc.
p
p
p
Vln. I 38
f
p
p
41 sul tasto
pp sul tasto
Vln. II f p pp Vla. p f sul tasto Vc. pp p f
Vln. I 43 (on the beat)
Vln. II
Vla.
Vc.
sfzp
7
5
3
sfzp
5
3
3
sfzp
6
gliss.
47
4
Vln. I
47
Vln. II
mp
ord.
pp
pp
pp
mp
Vln. I 53
Vln. II
n
pp
mp
f
mp
ss. gli
pp
mp
59 Vln. I
solo, espressivo
off the string
Vln. II
Vla.
3
n
p
mp
mp
f
p
mp
n
p
mp 5
p
6
.
liss
g
mf
7
p
6
mf
5
3
pp
mp
60
pp
ss. gli
*toward highest note possible
mp
pp
mp
pp
mp
pp
Vla.
Vc.
*
f
mp
ss. gli
mp
pp
mp
ord.
Vla.
Vc.
ord.
ord.
Vc.
I.(a) Descent
pp
mp
off the string
3
pp
p
5
6
7
gliss.
mp
6
5
3
pp
62 Vln. I
with utmost lyricism
mp
mf
3
5
Vla.
3
5
Vln. I
Vla.
3
6
6
7
Vln. I 66
3
5
5
3
3
pp
5
5
6
7
6
7
mp
6
5
3
pp 6
5
3
mp
Vla.
6
mp
3
Vln. II
6
pp
5
5
più
7
mp
mp
Vln. II
3
3
Vc.
7
64
Vc.
6
6
mf
mp
Vln. II
Vc.
mp
5
p 7
6
sim.
mf
pp
6
5
5
3
pp 3
pp
6
Vln. I
68
5
Vla.
3
5
Vln. I 70
6
7
7
mp
5
5
3
pp
6
5
3
pp
mp
7
6
mf
6
5
3
mp pp
Vln. II
Vla.
3
5
6
7
72 Vln. I
p
3
mp
5
3
mp
6
pp
5
6
7
6
5
3
pp
Vln. II
mp
Vla.
3
Vc.
6
p 3
Vc.
6
mp
Vln. II
mf 3
Vc.
5
6
7
mp
6
5
3
pp
7
Vln. I 74
pp
3
Vln. II
5
6
7
6
5
3
mp
pp
Vla. mp pp Vc. 3
77
Vln. I 77
7
6
3
sfz
f
mp
6 6
sfz
sfz
3
6
più f
6
6
sfz
sfz
Vc.
f
sfz
f
6
6
Vla.
più f
6
f
6
79
mp
f
6
Vln. I Vln. II
5
With energized focus (q =100)
Vla.
6
II. Vishnu awakens to destroy Madhu and Kaitabha
Vln. II
Vc.
5
più f
6
6
più f
8
3 3 Vln. I p
3
80
Vln. II
3 3
3
6
3
6
3
6
6
sfzp
Vla.
Vc.
3 3 p
3 3
p
sfz
3 Vln. I
81
3
Vln. II
3 3
3 3
3 3
6
6
Vc. 3
3
3
3 3 ff cresc. 3 3 3 3 3 3 3
3
3
3
ff
ff
3 3
3
6
cresc.
Vla.
3
3
3 3
cresc.
6
3
3
3
3
cresc.
3
3
ff
83
Vln. I 83
9
Increasingly intense....
Vln. II
Vla.
pizz.
p pizz.
Vln. I 87
p
Molto tumoltuoso arco 6 3
III'
sffz
Vc.
6 Vln. I
90
Vln. II
Vla.
Vc.
II'
6
sffz
3
6
3
6
6
6 3
sffz
Molto tumoltuoso III' arco 6
Vla.
sffz
Vln. II
Vc.
I'
6
sffz
3
sffz
10
92 6 Vln. I 6
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Vc.
6
mf
6
96
Vla.
Vln. I Vln. II
6
6
6
mf
6
94
6
6
6
6
6
Vln. II
6
6
6
6
11
98 Vln. I
6
6
Vln. II
6
Vla.
6
Vc.
f
Vc.
6
6
6
6
6
6
f
6
6
6
f
arco
6
f
6
100
Vla.
Vln. I
Vln. II
6
sffz
6
arco
6
6
12
101 Vln. I
Vln. II
Vla.
mf
p
102
sul pont.
sul pont.
mf
p
p
mf
p
mf
p
mf
Vc.
Vln. I
104
Vln. II
f
Vc.
p
sul pont. p
f
sul pont.
f
p
sul pont.
Vla.
sul tasto
sul tasto
p
p
p
13
107
Vln. I
Vln. II
Vla.
p
f
p
p
p
p
f
p
f
f
p
p
p
p
f
Vc. Vln. I 110
Vln. II
p
f
p
Vla. Vc. p
f
113
Vln. I
Vln. II
Vla.
Vc.
114
6
sfz
sfz
sfz
sfz
ord.
6
14
Vln. I 115
3 3
3
Vc. 3
117
Vln. I
Vln. II
3
3
6
6 6
6
6 6 6
Vla.
Vc.
118
3
3
Vc.
6
Vla.
3
6 6
3
6
Vln. I Vln. II
3
3
Vla.
Vln. II
3
6
6
6
6
6
15
119
Vln. I
Vln. II
Vla.
ff
ff
ff
6
6
6
6
6 Vc. ff
120
Vln. I
Vln. II
6
6
6
Vla.
6 6 6 6
Vc.
6 6 6 6
16
3 3 Vln. I
3
121
sfffz
Vln. II
6
6
3
6
6
p
3 3
3 3
sfffz
Vc.
3
p
sfffz
Vla.
3 3
3
p
3 3 p
sfffz
3
3
3 3
3
3 3
3
3
123 With abandon 3 3 3 3 Vln. I
122
3
Vln. II
6
3
3
cresc. 6
6
3
6
ff
ff
cresc.
6 6 6 3 3 3 3 3 ff 6 3
Vla.
pizz.
3
3
cresc.
3 3 3 3 3 3 Vc. 3 3 cresc.
ff
124 Vln. I
17
6 6 sfz 6
Vln. II
Vla.
3
sfz 3
Vc.
3
6
Vla.
6
Vc.
6
6
128 Vln. I
Vla.
6
Vc.
6
6
6
6
6
6
6
6
6
6
6
Vln. II
6
II'
126 Vln. I
Vln. II
6
6
6
6
6
6
6
18
3 Vln. I
130
3
sub. p arco
Vln. II
3
3
Vln. I
3
6
6
poco
6
6
3
p
3
3
3
3
3
3
3
3
mf
3
mf
3
3
3
6
6
3
3
mf
3
3
3
3
3
p3
6
arco
p
6
6
6
3
6
f
f
p
6
pizz.
3
134
Vln. I
Vc.
3
f
6
Vc.
3
sub. p
sfz 3
Vla.
Vln. II
3
3
3
f
I'
Vla.
pizz.
3
3
3
132
Vln. II
sub. p
Vc.
3
sub. p
Vla.
3
6
mf
137 Vln. I
136
p
Vln. II
Vla.
Vc.
6
6
6
III'
6
6
6
mp
6
p
140
Vla.
mp
p 3
Vln. I Vln. II
sul pont.
f
mp
mp ord. sul pont. sub. p
ord. I'
3
Vla.
6
sul pont. arco 6 sub. p
p
pizz.
mp
Vc. 145 Vln. I Vln. II
arco
p
19
I'
3
poco p
pizz.
3
p
pizz.
3
3
3
Vc.
20
149
Vln. I
Vla.
Vln. I
Vla.
Vc.
p
ppp
arco
arco
III. Incarnation of the Divine
p
Serenely q = 60
p
Vln. II
158 158
Vln. II
Vc.
154
dim. poco a poco
Vla.
Vln. I
Vln. II
Vc.
p
mp
mp
mp
mp
21
163
Vln. I
Vla.
Vc.
mfp
Vln. II
mp
mp
mp
mp
167
sub.p
mf
sub.p
mf
Vc.
sub.p
cresc. poco f Vln. II 172
Vla.
Vc.
mf
174
Vln. I
cresc.
mf
sub.p
p
p mf
sub.p
sub.p
Vla.
mfp
p
Vln. I Vln. II
p
166
mf
p With delicate swagger sim.
poco f
3 3 p
fp cresc. cresc.
poco f
With delicate swagger sim.
3
poco f
3
22
176
Vln. I
3 3
Vln. II
3
mp
Vla.
Vc.
poco accel.
(OVER)
3
mp
Piú mosso
Vln. I
q = c. 94
180
6 6
Vln. II
6
6
Vla.
6
Vc.
6
Molto allargando
Vln. I 184
Vln. II
Vla.
q = c. 60
Vc.
f
f
f
f
5
p
5
rall.
5
p
5
5
190
3 3 Vln. I p
188
Vln. II
Vla.
Vc.
3
p
p
p
Vln. I
Vla.
Vc.
Vla.
mp
sub.p
sub.p
sub.p
f
f
5
3
f
f
Vc. f
mp
sub.p
f
mp
cresc.
sub.p
sub.p
cresc.
Poco più mosso
mp
sub.p
f
Vln. I poco accel.
Vln. II
A tempo
f
197
193
Vln. II
3
poco rit.
23
sub.p
cresc.
cresc.
24
Vln. I 200
3
meno f
3
3
meno f
Vln. II
più f
3
Vln. I
cresc.
cresc.
dim.
3
Vla.
Vc.
dim.
3
dim.
dim.
3
più f
ff
3
3
Tempo I
p
ff
ff
ff
p
p
p
3
3
3
3
207
206
Vln. II
3
più f
Vc.
cresc.
Vla.
3
3
più f
3
3
3
Vc.
cresc.
3
3
203 Vln. I
più f
più f
3
3 3 3 3
3
meno f
3
meno f
Vla.
3
3 3
Vln. II
mp
3
mp
mp
mp
Vln. I
211
mf
5
3
Vln. II
mf
Vc. mf
215
Vla.
Vc.
3
p
p
p
219 With abated momentum (q = 94)
Vc.
dim.
dim.
6
6
solo, with dynamic presence:
spicc. pp
mf
6
5
3
pp
dim.
IV. Time, Matter, Light...Prana
Vln. I
Vla.
dim.
3
p
219
Vln. II
3
rit.
Vln. I Vln. II
mf
Vla.
25
6
6
p
mp
mp
26
poco rall.
3 Vln. I
q = 84
222
Vln. II
Vln. I
Vc.
pp
6
mp
off the string 6
6
p
6
p
sfzp
arco
arco
mf
3
sfzp
3
sfz
pp
pizz.
pizz.
pizz.
p
p
mf
p
p
off the string 6
arco
226
Vla.
Vln. II
Vla.
Vc.
sfzp
mf
27
Vln. I pizz.
Vla.
mf
Vc.
3
3
pizz.
p
mf
arco
6
p
sfz
pizz.
6
mf
6
p
6
p
Vla.
p f
arco Vc.
3
p
IV'
p
sfzp
f
sempre stacc.
arco
233
6
pp
mp
Vln. I p Vln. II
sempre stacc.
p
Vln. II
232
230
3
f
p
sfz
p
sfz
n
p
mf
sfz
mf
sfz
n
28
238 Vln. I
Vln. II
Vla.
3
f
f
p
mf
Vc.
p
mf
n
241 Poco meno mosso (q = 76)
Vln. I 241
molto espressivo e legato
non stacc.
Vln. II
p
Vla.
p
Vc.
244 Vln. I
Tempo 1
sfzp
Vln. II
Vla.
Vc.
sfzp
sfzp
Vln. I 249
Vla.
p
mp
q = 100
cresc.
poco accel.
Vln. II
Vc.
p
sfzp
cresc.
cresc.
cresc.
rit.
Vln. II
p
molto espressivo
poco
poco
a
a
a poco
poco
a
255
ff
ff Vla. ff poco Vc. poco
poco
p
q= 76 Vln. I
253
poco
29
Poco meno mosso (q = 76)
ff
30
257 Vln. I
Vln. II
Vc.
f
263
pp
pp
mp
mp
mp
pp
ppp
pp
ppp
ppp
mp
no vibrato
p
Vc.
mf
mf
p
267
Vla.
Vln. I Vln. II
mf
mf
f
Vln. I p Vln. II p Vla. Vc.
f
f
Vla.
ppp
271
V. Exhileration; Reconciliation
Vln. I 271
Vln. II
Briskly (q. = 132)
(tacit. 1st time)
p
(tacit. 1st time)
3
p
3
mf arco off the string
Vla.
mp
2 2 Vc. mf
pizz.
31
mf
mf
mp
mp
(tacit. 1st time)
Vln. I 276
p
3
p 3
Vla.
Vc.
mf
(tacit. 1st time)
Vln. II
off the string
mp
pizz. mf mp mf mp
arco
2
2
mf
2
mf
2
mp
282 Vln. I
mf
Vln. II
Vla.
Vc.
mp
2
2
289
32
Vln. I 288
Ecstatically
f
f
off the string arco
Vln. II
f
off the string
Vla.
f
Vc.
arco
f
Vln. I
294
Vln. II
Vla.
Vc.
piu f
Vln. I Vln. II 300
Vla.
Vc.
più f
più f
ff
ff
33
Vln. I 306
Vln. II
Vla.
mp
mp
pizz.
mp
Vc.
mp
312 Vln. I mf mp Vln. II
mp
Vla.
Vc.
2
2
Vln. I
Exuberantly!
318
Vln. II
Vla.
Vc.
318
f
f
2
2
f
2
2
2
2
mp
f
arco
2 2
2
2
pizz.
2
2
2
34
Vln. I 324
Vla.
2
329
Vln. I
Vln. II
Vc.
2
335
2
2
2
2
2
2
2
più f
più f
più f
ff
2.
2
1.
arco
pizz.
Vla.
Vln. II
Vc.
2
335
Vln. I
Vla.
Vc.
arco
Vln. II
più f
ff
2
2
2
2
ff
ff
solo:
2
2
Vln. I 341
Vln. II
Vla.
Vc.
35
2 2 2 2
2
2
2
349 348
Vln. I
Vln. II
q = 120 rall.
meno f
q = 112
meno f
2 2
Vla.
Vc.
353
Vln. I
Vln. II
Vla.
Vc.
meno f
rall.
meno f q = 100
36
358 gliss. Vln. I
Vln. II
359
q = 72
p
poco
p
Vc.
Vln. II
sfz
Vla.
Vc.
sfz
sfz
3
p
p
p
6
mp
mp
mp
6
p
p
p
p
poco accel.
q = 60
q = 60
molto rit.
sfz
3
6
367
6
Vln. I
3
rit.
362
Vla.
p
Vln. I
3
poco
Vln. II
p
Vla. Vc.
Somewhat freely
6
6
369
Vln. I
Vln. II
Vla.
Vc.
6
mf
6
6
f
f
f
mf
6
6
6
f
Vc.
mf
mf
Vln. I
Vla.
6
373
Vln. II
6
mf
6
mf
Vc.
mf
Vla.
371
Vln. II
371 Vln. I
6
37
f 6
6
6
6
6
poco
6
6
6
poco
poco
6
poco
6
38
375 Vln. I
Vln. II
Vla.
Vc.
6
Vln. I
mp
Vla.
dim.
mp
6
379
p
6
mp
p
p
dim.
dim.
p
dim. 6
mp Vc.
6
376
Vln. II
6
Vln. I 380
Vc.
sul tasto, no vibr.
sul tasto, no vibr.
Vln. I 391
Vln. II
Vla.
sim.
ord.
395 gliss.
sul tasto, no vibr. sim.
sim.
III'
Vla.
Vc.
sul tasto, no vibr.
384
Vc.
Vln. I Vln. II
sul tasto, no vibr.
Vla.
Vln. II
39
sul tasto, no vibr.
off the string
7
5
3
off the string p
7
5
3
pp
40
Vln. I 396
Vln. II
pp
Vc.
Vln. I
Vla.
Vc.
5
7
5
3
3
pp
pp
p
p
.
gliss
7
Vln. II
7
p
p
Vla.
398
5
3
p
pp
p
7
5
3
n
n
n
n