2
String Quartet No. 1 ‘Tributes’
Hyung-ki Joo
(1990)
(* 1973)
I – à Henry Purcell (1659 – 1695) Without accents or vibrato except where indicated
° 4 &4
∑
5 4
∑
3 4
∑
4Ó 4
4 &4
∑
5 4
∑
3 4
∑
4 4
Tranquillo (q = 80)
Violin I
Violin II
B 44
Viola
Violoncello
¢
with a Baroque bow hold (freely, as if tuning)
w0
mf
? 44
∑
° #w &
œ
& #w
˙
7
w
w
? w
˙™
B
¢
° #œ #˙ ™ & 13
B ?
¢ #w
˙™
#œ ˙
3 4
∑
b˙
˙
˙ w >œ
˙™
˙
#˙
ww w
bœ
w
∑
Ó
4w 4 4 4
w w with a Baroque bow hold
∑
Œ œ
Ó
mf calore
#˙ ™
œ b˙ ™
w
œ
w
w
˙
w
w
sul II
w
˙™ ˙™
,
µœœ
˙˙ ™™
**)
œ b˙ ™
sul I
w
w
w w
˙™ ˙™
#˙ >
˙
w
˙
˙™
mf calore
∑
w
#œ #œ
#˙
mp sempre
œ
,
with a Baroque bow hold
w
w
w
w
mf calore
0
∑
w
w
& ˙™ Ów
5 4
#˙
sul I *)
œ 3 œœ ˙˙ 4
5w 4
with a Baroque bow hold
˙
#œ w
nb˙˙
w w w bœ
w
*) (Bar 4) Viola: Bow changes should be inaudible and take place out of time with the ensemble. **) (Bar 11) Cello: This is D quarter-tone sharp. Tune the pitches sufficiently in order that this interval will produce ‘beats’ (interferences).
© Copyright 2016 by Universal Edition A.G., Wien
Universal Edition UE 36 966
5
TRIBUTES: II – á Samuel Beckett (1906 – 1989)
° 8 &4
Tempo meno mosso di prima *)
8 &4 B 48
œ
5
...M
Ú
O
T
I
O
Ú
N
L
E
Ú
O
T
I
O
Ú
N
L
E
Œ Ó
?8 ¢ 4
°&
...M
...M
O
q = ca. 56
√ S Ú
T
Ú
I
**)
S... until bar 5
**)
√
Ú
O
N
Ú
L
E
Ú
S... until bar 10
Ú
with practice mute
place bow on lap, then pick up METAL PRACTICE MUTE very slowly using an exaggerated circular arm movement. Make NO SOUND and place mute quietly on bridge. (see footnote in score**)
∑
Ú
√ S Ú
√ S Ú
∑
p
Ú
S... until bar 10
**)
Ú
q = ca. 56
n-œ≥ -œ≤ #-œ≥ ≤ Œ #-œ
Œ
Ú
≤ ≥ ≤ ≥ #œ œ nœ Œ Ó #œ with practice mute
&
Ó
place bow on lap, then pick up METAL PRACTICE MUTE very slowly using an exaggerated circular arm movement. Make NO SOUND and place mute quietly on bridge.
Œ
mp
B
¢? ° & 9
& B
¢
?
keep bow held up and remain motionless until bar 10
Ú
Ú Ú Ú Ú Ú
Espressivo dolente
Ú
≥ n# W W
≤
f calore
≥ W W
≤
f calore
≥ n#W W
≤
≥ # W nW
≤
f calore
f calore
Ú
Violin II and Viola take off their mutes using slow synchronized movements leaving them on the floor (or music stand), then PICK UP BOW from LAP/STAND
≥ W W ≥ W W ≥ W W ≥ W W
Ú
niente
4 4
Ú
4 4
niente Violist prepares to jump, landing on both feet together niente
niente
*) As there is a lot of silence, a feeling of pulse will be lost. At bar 10, the leader may give a large up-beat. **) Every movement must be made to look significant, the larger and slower the gesture, the better.
UE 36 966
Ú
Ú
attacca
4 4 4 4
6
TRIBUTES: III – à L. v. Beethoven (1770 – 1827)
° 4 &4
U ∑
4 &4
U ∑
Vigoroso e molto ritmico
**)
≤ ≥≤ ≥ ≈ œ œ œ#œj ‰ V
≤ ≥≤ ≥ ≈ j ‰ # œ œ œ n œ V **)
sf fff
Œ
T œ≤ œ≥ œ≤ #œ≥ U B 44 ≈ J ‰ Ó
sf fff
*)
?4 ¢ 4
sf fff
**)
Ó
Œ
V≤ ≥ ≤ ≥ œ œ œ #œ ≈ J
sf
U ∑
Ó
‰
Œ
≈nœ œ œ Œ
Ó
≈
j ≈ œ œ œ bœ ‰ V
Ó
≤ ≥≤ ≥ ≈ j ‰ V bœ œ œ œ sf
Œ
**)
Œ
≈nœ œ œ bœ œ œ Œ
Ó
sf fff
° Ó & 4
≈
œœœ
3 4 4 ≈ œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ 4 ≈ œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ V
Œ
f cresc.
mp
& Ó
≈bœ œ œ 43 Œ
Œ
mp
3 4Œ
mf
? ≈œœœŒ
3 4
Ó
mf
ff
° 3 œ œ &4 œ œ > fff
sf
f cresc. ff
œ œ
œ œ
œ œ
molto cresc.
œ œ
œ œ œ œ œ œ >œ >œ >œ >œ
œœ
œœ
œœ
œœ
œœ
B 43 ##œœ >
œœ œœ œœ œœ œœ > > > >
œœ
œœ
œœ
œœ
œœ
œœ
œœ œœ œœ œœ œœ > > > >
?3 ¢ 4 >œ
œ
fff
molto cresc.
molto cresc.
œ
œ
œ
œ
molto cresc.
œ
3 4
r œœ
œ >œ >œ >œ >œ
4 ≈ 4
œœ œ œœœ
b >œ >œ >œ
˙™
ffff
sfp
ffff
≥ molto sf 4 4 nw nw
4 ≥ 4 w w
≤
, , ,
≤
Pull tip of bow with left hand to strengthen sound
*) JUMP up and land on both feet firmly on the 1st beat. **) Right or left FOOT (or even BOTH if possible) to be STAMPED ON THE FLOOR AS HARD AS POSSIBLE.
UE 36 966
, U
sfp
ffff
3 4
œœ
4 ≈ 4 b>œ >œ >œ ˙ ™
ffff
3 4
sf
4≈ 4 œœœœ V
∑ Molto ritardando
œ œ
r r œœ ≈ œœ œœ œœ œœ ‰
3 4
≈##œœ œœ œœ 44 ≈##œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ V
Œ
3 & 4 bœ œ >œ œ
fff
ff
sf ff
7
fff
sf
≈ bœ œ œ ≈ œ œ œ 44 ≈ bœ œ œ œr ‰ n œœœ œœœ V œœœœ f cresc.
≈ bœ œ œ Ó
B Œ
¢
Ó
&
attacca
9
TRIBUTES: VI – à Arnold Schönberg (1874 – 1951)
° 6 & 16
∑
6 & 16
∑
Fast (with wit and charm)
normal bow hold sul pont.
‰™
œ œ
œ
mp normal bow hold sul pont.
‰™
# œ bœ œ
‰™
bœ
œ #œ œ
œ bœ ‰ ™
∑
3 8
∑
3 8
mp
normal bow hold sul pont.
6 ‰™ B 16
#œ œ #œ
∑
‰™
∑
∑
œ #œ nœ ‰ ™
3 œ œ #œ 8
mp
?6 ™ ¢ 16 œ œ #œ ‰
normal bow hold sul pont.
° 3‰ &8
∑
3 8
mp
5
‰
3 &8
‰
∑
#œ #œ ∑
#œ
#œ œ ‰
#œ œ ‰
‰
∑
‰
nœ
#œ n œ 9 8
‰
9 #œ œ ≈ # Or 8 œ p
B 83 ‰
‰
#œ œ
?3 œ ‰ ¢ 8 #œ
° 9 ‰ #O & 8 # >œ 9
(x = x)
p
œO ™™
œO
9 O™ &8
NO ACCENTS
9 ¢& 8 O ™
NO ACCENTS
œO
‰ œ œ
œ nœ ‰ ∑
‰
NO ACCENTS
9 & 8 #O™ ˙™
‰
‰
3 4Œ
‰ 43 Œ
‰
‰
‰
œ #œ
nat.
4 #œ #œ œ œ 4
Œ
‰
&
O ≈ R
‰
&
≈ Or 98
p
mp nat.
#œ #œ œ œ Œ
4Π4
‰
O
‰ B 43
O
‰ ? 43 œ bœ nœ bœ Œ
∑
4Π4
œ #œ œ œ Ó
Œ
mp
UE 36 966
4 œ #œ œ œ Œ 4
nœ nœ œ œ œ œ >
Œ
9 8
p
3+3+2 16
∑
mp
nat.
œ #œ
‰
Œ
3+3+2 16 3+3+2 16
bœ. œ. #œ #œ . .
3+3+2 16