eduardo moguillansky

el pulso de lo inmovil
for string quartet

2005

el pulso de lo inmovil / B
(the pulse of the immobile / B) for string quartet

De vrtices quemados de subsueo de cauces de preausencia de huracanados rostros que trasmigran de complejos de niebla de gris sangre de soterrneas rfagas de ratas de trasfiebre invadida con su animal doliente cabellera de lbido su satlite angora y sus ramos de sombras y su aliento que entrecorre las algas del pulso de lo inmvil Alta noche, Oliverio Girondo, 1956

General remarks
el pulso de lo inmvil (the pulse of the immobile) is constructed upon a constant zooming-in. Each measure has a fixed duration of 5 seconds, divided in many different ways. As consequence of this, each measure has also a specific tempo attached to it. For instance, each measure divided into 4 has the same tempo, 48, independent of it being a 4/4 or 4/8 measure. As long as possible should these tempo changes be performed as tempo relationships, sometimes this having been made clear by having an instrument play a continuous rhythm across the bar, showing the metric modulation. The zoom-in is achieved by the following process: each measure takes a fraction of the preceding one and expands it into a full bar (again 5 seconds). The overall process is that of a constant rallentando, each bar being always slower than the preceding one. It is very important NOT to make a rallentando within the measure. The gain in resolution reveals new aspects of the material, at the same time leaving parts of each measure forgotten, since only a fragment is taken as model.

Amplification
Due to the extreme dynamics asked for in this piece, the use of amplification is desired, remaining possible to play it without it, given it is performed in a small hall. In the case of a version with amplification, this should not be set in the same level from beginning to end, but it should accompany and balance the dynamic development of the piece. The speakers should be placed circling the audience, with a mixing-desk in the centre.

Tempo changes
As said before, with few exception, each measure in this piece is divided in different ratios, remaining the duration of the bar always constant. For practice, it might be helpful to use a click-track. A click-track in the form of a MIDI file can be asked from the composer at the following email address: emogui@yahoo.com It should be, however, strongly discouraged to perform in concert with the click-tracks. In such a case it would be better to have a conductor, who could himself be aided by a click-track. One last word about tempo changes: in cases where the ratios are very complex (5/17 or 5/21), the measure has been divided into two measures WITHOUT a tempo change in between. These measures are distinguishes by having a dashed line in between, and should be thought as beeing a unity. In some cases, as mentioned above, the metric modulation is made clear by having an instrument play through the bar-line. In these cases, a bracket joining the measures has been added with the legend same speed.

Playing on non-adjacent strings

A particularity of this work is a technique for playing on non-adjacent strings. This is achieved by pressing one of the two middle strings all the way down to the fingerboard (this procedure works, of course, only in high positions) and fingering the other strings with very little finger-pressure, only enough to make the note sound as a real note and not as a harmonic, but avoiding pressing down the strings. As a result, the different angles of the strings make it possible to play on two non-adjacent strings (G-A, D-E on the violin). More important, depending on the bow position, it is possible to make very smooth transitions between the two outter strings and the inner one (or the other way around), by shifting from tasto to ponticello. Of course it is also possible to play on three strings together and even on four (by depressing both inner strings). Since the instrument is not supported by the hand anymore (the whole hand is on the strings), extra attention must be put in holding the instrument very tight with the chin. The finger pressure is notated by using different noteheads, as following:

f A i K

: press the string all the way down to the fingerboard : Mute sound. The same as above (press the string all the way down to the fingerboard) only to be able to play on the outter strings (play sul tasto). : press the string only slightly (its not a harmonic!). Avoid pressing the string down.

Other signs for finger pressure

: harmonic.

D D

: harmonic, unstable sound (the finger pressure should not be constant)

K
little

f
more finger pressure

NB 1: the resulting pitch of the harmonics is always written on a staff above. If these pitches appear between brackets, it means that the harmonics are very unstable (either are they multiphonic positions or harmonics played with unappropriate techniques for harmonics, such as col legno, molto flaut., etc.) and thus it is not expected that the result reflects the above-written pitches. In the case of multiphonic positions, these are easy to notice because they are mainly natural harmonics with more than one resulting pitches written above. Not all pitches are expected to sound at all times, and some pitches might even not sound at all. NB 2: for very well known harmonic positions there are no indications above the staff. For harmonics which are often repeated in this piece, the resulting pitch is indicated for the first case only, to avoid supperfluous information on the score. NB 3: in some cases where a hamonic notehead is written, the only expected action is, in fact, to play with very little finger pressure, independent of the resulting pitches. This is made clear in the score in each case through footnotes, or can be guessed from the context and the lack of a written resulting pitch.

: mute string. Always used in connection with a harmonic played above. It indicates to mute the string between the harmonic and the tuning peg to avoid it sounding as a harmonic. The indicated pitch for the harmonic turns into an unstable fundamental, thus making it possible to sound the different partials of this note depending on the bow position (this technique is known as fawcett). When played molto sul tasto, it renders the pitch fingered by the harmonic but with a very hollow sound, almost clarinet like. When played sul ponticello, the higher partials can be made clearly audible, and the fundamental should be lost. The pitches indicated in the upper staff show only approximately which part of the spectrum is being asked for, accuracy being with this technique very hard to achieve, and not asked for in this piece.

Fade in - fade out

To avoid a superfluosly complex notation, only a rythmic guide has been given as to how the fade-in-fade-outs should be played. Since they are always achieved with a shifting of the bow position, the hand should be from the beginning already fingering all pitches, the notation showing only which pitches (and thus, strings) are to be played by the bow at each time. Thus, when beginning a gesture with the inner string (for instance, the D string on the violin), it is expected to begin sul ponticello and to go in the direction of the fingerboard to make the other notes appear. For example, the extract appearing in Example 1 should be interpreted as shown in Example 2.

Example

Example 2

To make it again clear, you should place your fingers on the indicated positions even before the strings are sounding. These notes are renderd audible by the shifting of the bow position. In this example, one begins by playing very near to the bridge (only the D string is played). As the bow moves to the ordinario, all three strings are reached by the bow without changing the bow pressure. As the bow moves even more in the direction of the fingerboard, the D string sinks and is not reached anymore, allowing the G and A strings to sound alone. One thing should be said about fingering: unless otherwise indicated, the inner string is always to be fingered by the 1. Finger, allowing fingers 2 and 3 to play on the lower and upper strings respectively.

 Notation of fingerings In some cases where it turns obscure which finger is playing on which string, the following system has been used: For example, II, 3 III, 1 I, 0 IV, 2

means: the highest note written in the chord is to be played on the II string (A on the violin, D on the viola) by the 3. finger. The note that follows is played on the III string by the 1. finger. Then the I string is made sound open (0), and the IV string is fingered by the 2. finger. NB: To be able to differentiate between fingered and open strings when they are playing the same note, notice that fingered notes in this system will ALWAYS have one of the noteheads explained above, whereas the open string will have a normal notehead.

Independent bow and finger movements

In some cases, to make the structure more clear, the movement of the fingers and of the bow have been written independently in two different staffs. In the staff above, the actions of the fingers are indicated by the normal notation used in this piece, also regarding the different types of finger pressure. Below, a 4-lines staff indicate the action of the bow, i.e., which string should be made to sound. That means that the written chords in the fingers-staff do not sound all the time, but are articulated in the manner of the bow-staff. When open strings are also being used, these are notated as well in the finger-staff, even if no finger action is requiered. This is to avoid the misunderstanding of having to sound a string with the bow where apparently no finger action is taking place.

Dynamics
Two different type of dynamics have been used. normal dynamics (written in the traditional way) have been used as absolute dinamics. That means that two gestures having the same dynamic sign should sound at the same level of laudness, independent of the techniques used. Since textures are generally very dense, balance becomes of capital importance in order to render an understandable performance of the piece. The other relevant issue in relation to absolute dynamics is that certain techniques, like playing col legno, or molto flautando, sound naturally softer than the same gesture performed with normal bowing. These natural tendencies should be compensated as long as possible. effort dynamics: they are written between quotation marks, like f. They are always used in connection with one of the above mentioned techniques, like col legno or molto flautando. They are to be interpreted as playing with the effort normaly involved in playing forte even if the result does not reproduce this effort.

Microtones
Ordered from low to high, they represent intervals of 1/8 tone. The 1/8 tones are mostly used to indicate the exact position of a node for playing a harmonic multiphonic.

IJ b jBK n kL m l

Bow position
MT: T: ORD: P: MP:
molto sul tasto. sul tasto ordinario. Normal position. al ponticello molto al ponticello. Play very near to the bridge, but not on the bridge. The tone must be very rich in upper partials, almost no fundamental. ON the bridge. No audible pitch.

Bow pressure
molto flaut.: flaut.:
NP : molto flautando. Very little bow pressure, the bow hardly touches the string. When used together with col legno, some extra pressure must be applyed in order to make any sound at all. flautando. normal bow pressure. Cancels all sings related to bow pressure.

Scratch:

extra bow pressure. If the notes are between brackets

e then only noise should be audible (no pitch)

: transition from extra bow pressure (scratch) to normal pressure. If at the end of the there is a sign of flaut. or molto flaut. then the transition should from extra pressure to the pressure indicated in each case. The amount of bow pressure used for scratch is indicated in context.

Other signs regarding bow actions

tremolo, AS FAST AS POSSIBLE (almost like a texture). If it is indicated together with flaut. or molto flaut., perform always on the tip of the bow.

b
% 10 v 6 # 2
!

col legno. Play with the wood of the bow.

crini. With the hair of the bow, cancels the previous sign

circular bowing. If not otherwise indicated, it is to be performed slow so that all changes in sound are smooth and continuous. The direction is to be respected. When performed over a chord using the technique described above of pressing down one string, circular bowing does not imply that all pitches are audible all the time. On the contrary, the slow shifting in bow position that comes together with circular bowing should result in a very smoothly changing sound. If a bow position is indicated (sul tasto, for example), this should be interpreted as being the centre of the circular bowing.

the same as above, but fast.

quasi perpendicular bow: play with the bow in almost PERPENDICULAR DIRECTION to the strings.

bow vibrato. Perform the indicated bow (up bow or down bow) with a trembling arm. Do not confuse with tremolo!

very violent down stroke, like ripping off the string. Begin ON the string and violently produce the down-bow. up and down-bow with extra bow pressure

very violent down stroke with extra bow pressure. Begin ON the string and violently produce the down-bow with extra bow pressure. as short as possible, independent from the duration of the notes where it is placed.

depress the III string (D) at the position indicated with the X, allowing the bow to reach the IV and II string without touching the III string.

flaut. molto 2)

b
II, 3 III, 1 IV, 2

el pulso de lo inmvil / B
("the pulse of the immobile)

eduardo moguillansky
2005
by moving the bow in direction to the bridge, the D string is reached by the bow and begins sounding. The left hand doesn't move.

col legno tratto 1)

for string quartet

Violin I

&

BK . b A K
T
3)

,da lontanissimo 4)

BK . b A K

B K bA K

BK K b A f K K
T ORD

1) play with the wood of the bow. A portion of the hair of the bow might be used depending on the dynamics indicated in order to achieve more sound. 2) the amount of bow pressure is relative to the context: when used together with col legno tratto, a little more bow pressure is needed than in connection to normal bow (crini). A hint of pitch should be audible. 3) if there is no indication above the harmonics as to which resulting pitch is asked for, it means that only the action of playing with very little finger pressure is needed, independent from the result (see prologue)

Violin II

&

4) unless otherwise indicated, dynamics are absolute: they indicate not the effort but the dynamic level and are independent from the context. Thus, to make some sound at all in such extreme situation as in the beginning, it might be necessary, if amplification is not used, to counterbalance col legno and the lack of bow pressure byusing more bow (bow speed). The sound should be on the limit of audibility for the audience (that means, louder than the "environmental" sounds in the hall)

5 4 q=

5 4

5 4

7 e= 8

5 4

Viola

ALL measures last the same amount of time: 5 seconds. The tempo changes should be made subito, without any kind of ritardando between measures.

Cello

fade in-fade out: the same as before, but this time the bow moves even closer to the bridge, the II and IV strings are not reached by the bow anymore

Vn. I

&

BK A b K
T

ORD

K f K

BK K A f f b K K
T

BK K A f f. bK K
T MP

B K K bA f K KK
T

MP

3 3

col legno tratto 1)

flaut. molto 2)

b
III

by moving the bow towards the fingerboard, the II and IV strings are reached by the bow and begin sounding. Do not move the left hand.

Vn. II

&

K , da lontanissimo 3)
3

MP

- 5 K
P
III
5

II, 3 III, 1 IV, 2

K f f K .

K f f f K
P TP

5 q= 4
Vla.

4 q= 4

7 e= 8

1) play with the wood of the bow. A portion of the hair of the bow might be used depending on the dinamics indicated in order to achieve more sound. This does not apply in the case amplification is used.

&

(B 5 )

5 q= 4
B K K .. B 55
5

4 4

2) flaut. molto

col legno tratto 1)

2) the amount of bow pressure is relative to the context: when used together with col legno tratto, a little more bow pressure is needed than in conexion to normal bow (crini). A hint of pitch should be audible. 3) unless otherwise indicated, dynamics are absolute: they indicate not the effort but the dynamic level and are independent from the context. Thus, to make some sound at all in such extreme situation as in the beginning, it might be necessary, if amplification is not used, to counterbalance col legno and the lack of bow pressure byusing more bow (bow speed). The sound should be on the limit of audibility for the audience (that means, louder than the "environmental" sounds in the hall)

B B K . 5
MT

3 1) play with the wood of the bow. A portion of the hair of the bow might be used depending on the dinamics indicated in order to achieve more sound. 2) the amount of bow pressure is relative to the context: when used together with col legno tratto, a little more bow pressure is needed than in conexion to normal bow (crini). A hint of pitch should be audible.

II J

Vc.

-4-

9
Vn. I

&

B K K b A f K kK KK
T
3

MP

B K K b A f K kK KK
T MP

B K K b A f K kK K K
T MP
dolcissimo

B K K b A f K k K KK
T MP MT
3

Vn. II

&

K K f f fK
5

P T

K K K ffK fK K K
5

KK K f f K f K K K
dolcissimo

MP

K KK K K K f f K . mK
5 o3 o

P MT

MP

4 q= 4
Vla.

&

(B 5 5 )

3 4 q=
BBK K 5 5
5

5 4 q=
- . BB K K 55 5

4 q= 4

7 8

B B K 5K 5

b
3

BB K K 5 5 5

Vc.

-5-

b
13
Vn. I

`
MP MT

b
. B K K bA f f K K K
T MP

`
T

b
T MP

`
T

&

B K K bA f f K KK
T MP
3

MT

kK

B K K K b A K f f K k K K K
T
3

kK

B K K bA f f K K K

kK

o
5

Vn. II

&

K KK KK K K - f f K mK
o

MP

MP

b
MP

MT

KKK K K K K K K - f K f - m-
o

MP

b
MP T MP

`
T

b
MP T MP T

- K K K - - - K K f K f f K m K K K o
3

K K K K K f K f f K m K K K o

5:4 3

5:4

o
m5 5

5:4

o
m5 5

7 e= 8
Vla.

6 e= 8

5 4 q=

b `
dolcissimo

BB K K K 55 5 5
3

b `
MT

&

K K K BB K K 5 Bm K ... 5 5 5
o

K. bb K .. 5
T

b
o K K 5
5

b5 5

K b m K ... 5

`
o

4 q= 4
&

b5 5

7 8
o

b
o

. K b b K .. 5
T

`
K bbK 5

MT

mK bK 5

Vc.

-6-

b
17
Vn. I

`
K-f f K kK K
MP

the pitches indicated between brackets are the theoretical result of the node position indicated, but they are not expected to be audible in the playing conditions asked for (molto flaut.+col legno).

&

BK bA K o

K o

bK B K -K K-` T

& 5

5 5
m5 5

[ ]
o

5 n5 m5

5
o
&

MP

KA b A f f K k K K . KK
5

K K KA Kf
T

m5 5 m5 5

5 n5 m5

- bK K - } f f f K kK K bK
3

m 55 5
5
MP

m5 5

5
n5 m5

m5
m5 m5 5

Vn. II

&

K o

b
J

`

5 5 5 k5

b
K o
5 5 m5 5

K K K K f K 5 D mD K K o

K
3

K K f K K

K-fff K

`
MP

b
MP

L5 5

5 5
MT

L5 5

MP P K bK b i- i KA b f fb f f f K k K . K K i m 5 ( K) 5 K K punta o
3

i j j J J

VERY LITTLE bow

K K K K K - -b BK f f f f K K o

`
3 5

ORD

b
MP

flaut.

o
5 b k 55 5 55 b 5 5
MT

i i bi f f i f i i

`
MT

- - K i i- f f . i
5

7 e= 8
&
Vla.

6 e= 8
&

5 5
P

5 4 q=
&
pressure trill

5
P

b `
B
P
3

l5
MT

m5 5
MT

9 e= 8
K 5 K o

7 8
5 . m m K5 K5 } K5 m m 5 K K K }K 5 K o S
MP MT

kkK K K llK K kK K K lK K lK 5 5 5 5 5 o
whole hand gliss.

K . o

5 5 KK KK

III IV

kK k k K5
3:2

KK o

>} 5 55 5 KK} KK

5 ~~~~~~~~~~~~~~~~~~~~~~~~~~ 5

m 5 K .. K.

B B 55 5 5 5 &
flaut. molto

5 m5 5

Vc.

MT

kkK 5 K

opunta

5 KK

ORD

b

3

n b 55 5 5 5
MT
3

m 55 5

`
K 5 K
dolcissimo

&

5 55 m5

kK K K K mk 5 5

dolcissimo (only a shadow of the viola)

opunta

J J

mmKK 5
3

ORD

bK K ` m
I II

flaut. ORD

(l K ) ( l K)

m K o

J K

-7-

&
21
Vn. I

m5 5 5

()
o

m 55 5
5 m5 5
P

5
n5 m5
flaut. molto

&

JK 5

- - - - - - K K bi i i I lK. K b KA b K f bi5i5 5 5 5 5 . 5 i
(natural harmonic)

flaut. molto MP MT

- - - K b f K b A b f f b f5 bK K i
T

f f5

-f f K K. 5 z. p o
3

3 3

5
5

5 5
flaut. molto MP

5:4 3

m5 5

- i i - - - b i K f f i K bf i i
MT MP MT
3

flaut. molto MP

Vn. II

&

K K f f f K K o

- -- - bf f f K f5 f f f i ii
3

MT

K. b A .. K
5

K K

- - - m K i m i i i K n K i n f5 if f i
MT MP

flaut.

mK m KA o

5:4

i if
3

m f f K f - - - f mn f5 m f5 f K i i
MT MP

5:4

7 e= 8
Vla.

5 4 q=
flaut.

m 55
flaut.

mm5 5
P

3 4 q=
flaut. molto MT

NP

b `
MT

flaut. MP
3 5

flaut. molto MT

mK m m KK5 }5} 5 K 5 m K K 5 S p

dolcissimo
5

A D G C

K K m m 5 ... 5 K K
5
5

K 5 K
7 5

. .

m m KK ( m})KK 5 55 5 F

t
3

&

b 55
5 m 5

5 555555555555555 5 555555555555555 - ---------------

5 5 5 5 . 5555 ---same speed

legatissimo, brushing the strings

6 6

mK m5 K

K 5 K
5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 -- - - - - b m 55

5 5 5 5 5 5 5 . 5555555
b5 5

K . 5 K o
5
5

& k 5 5

!
5

4 8

same speed

J 55 F

K K

Vc.

?
release

l k l KK 5
P

5 KK

5 KK

flaut.

P
3

.
o

5 bb b KK o

5 KK

bbb5 5 5

l k l KK 5
P

5 5 n l 55 m 5

flaut.

5 KK

soft accents on the tremolo

same speed

> > > >

-8-

m 55
flaut.

24
Vn. I

&

- 5 - - - b5 A bf bi 5
MT
3

MP

b K i bf K i
3:2

P - -- f f f f b i i>j i f b 5f 5f 5f f b f 5 f i i f i i
MT

flaut.

II I

5 &m5
NP

55 m
m 55 5
NP
3

i i
3:2

P
II, 3 I, 0 III, 1

K K

- - -- f f f f f - punta b i f i b f5 f5 f f f f b f i ii
1)

flaut.

1) the gesture is that of a filtering of the chord, where finally one note is left alone. When exactly each note ceases to sound is not as important as the clarity of this filtering effect.

ii i i K f5 f bi b5 i K

flaut. molto

NP MT

flaut. molto MP

%
Vn. II

&

m if
3

if

> - - - f f f K fi5 bf5 f K i i p

5

flaut. MP

m i if f
III IV

fi5 Sp

% f
MT

-f f ff-f5 f5 f5 5 5 5 bi i
1)

II I

mA mf 5i 5i fi5

flaut.

NP
3

open string!

-----f ffffffff 5 55555ff m if ififif f f p o

MT

4 e= 8
flaut. molto

7 x= 16
mK K m KA K

1) the gesture is that of a filtering of the chord, where finally one note is left alone. When exactly each note ceases to sound is not as important as the clarity of this filtering effect.

5 q= 4

noteheads between parenthesis: only fingering, do NOT play with the bow. They indicate the beginning position of the hand, which remains constant. The notes become audible through the shift in bow position.

6 8

Vla.

&

K . JK

ni if 5
3

if

! b i m if .

NP

flaut. molto

b
Kf o
5

I J

A D G C

5 5 5

Kf

K Kf

mK m Kf
5

`
J
55 5 5 5 5
5 b5

K Kf

K f bK

24

m5 m5 m5 5 5 m5

F
5 n5 m5
NP MP

5 b 55 m5 5 5

55

m (-)- - - - - i i i i i - - - i)f ( m n if if ifif

3

flaut. MP

o
5 5
flaut. molto II III MT

same speed

n m 55 5 5 5 5

Vc.

?
24

> > > > > >

K 5 } K

-- kK K K K . BK
7 same speed

--kK K K - - - - - - BK K K K K 5 .
MT

S
in

-9-

5 5 b KK KK o
P

5 KK

nK K

( K K) ( KK)

II II I III IV

flaut.

27
Vn. I

&

---bi m i i i iiiii-5 f5 f f f f f f . b f if 5if if .. i . b fi i i i

flaut. NP
5

MP

m if

o p

i i i A f f i bi i
bow vibrato

mi bf i

> A i mf f 5 5 bi n5 i
NP

II I

III I
flaut. molto

5i o
3

m i bA i

f p
5

punta i i mi mi i i f f f i i i
flaut.

f i i 5 5
3

II III III I I

II, 3 III, 1 I, 0

Vn. II

&

m . A 5i ..

bow vib. faster than before

J
o

5i ..

open string!!

- - ----whole hand gliss. i i f f f fffff if5 m i5 i5 i5 i5 5 5 5 5 f f f fff Sp P

3 7

m1 i

flaut. molto

NP

flaut.

f.
o

m> i bf i Sp

- - - f f f f f i i n f5 f5 f5 f5 5 f bi i b ii F
3

--fff 5
7

I > 5 mi n 5 f b f b i f. m i i n 5 5 5 5 . i i i f b5 i 5 o o fp MP T

II

I J

6 e= 8
Vla.

NP MT
3

--------iiiiiiiiii & m ifififif i i i p

5 5

very fast, no more than 3 bounces

i i f m i if IIf K (kK) K K
P
with the same finger

m5

5 5 m5

4 e= 8

m5 5
I, 3 II, 1 III, 2

7 e= 8
flaut.

2) quasi perpendicular bow: play with the bow in almost PERPENDICULAR DIRECTION to the strings.

5 8
5 o

II P III

mK K K K o

K K P

.. .i i. i 5 . . fff fff b iii i

MT

m5

n 5
mm5 5
flaut. NP MP

- - - - - - -- - -m i i i i i i i i i f f f f f f f f i i i i iiiii o o
2)
5

(normal bow)

flaut. molto MT

NP

very rythmic, autistic

Vc.

flaut. molto

K K

3 } q

K K

K K

&
3

MT

5 5 ( m 5) ( 5)

5 5
3

K kK

- - - - -- n m K - - } 5 5 5n K } 5 5 5 5 -m 5 - - - 5 5 5 5 5 5 5
P
7

- - - - - -5 5 D

MT

- - - - D D D D D

same speed

sf$

1)

1) mute the string (between the depressed finger and the nut) to avoid upper partials: very hollow sound

z z z
5

release

same speed

- 10 -

30
Vn. I

&

II III

DD
3

b
p

flaut.

!D D II m D
3

`
3

flaut. T
3

k5 lm5 5
flaut. NP flaut. molto

mD

like a shadow of vn. II

5 mK K l5

f f m 5 F

MP

b i. f .. i

bi i bi i
MT

i f i p

5 D

mD

A i i F

! i! mi

>

m 5
&
5 m5 5
flaut. molto

mK mf K
3

mK f K

K f K

> ( b D) D
MP

m 55

T Vn. II MP T
3

&

mi A i f f f i

% mi

i if
3

mi f if if5

, o

mi A m i
T

m5 5

II, 3 I, 0 III, 1

MP

mK K i f f mf f f K K i p
3

m% i
3

flaut. MP

f. f if .. i 5. o

f f o
3

mK K mf K K P

i mi i i m i if
T
3

f f i i5
3

open string!

5 8 e=
flaut. molto Vla.

4 e= 8

&

5
3

mi i mi f A A i i i

i f f i

MT

MP

flaut.

i mi i f i i i

i f mf 5

5 5 n
3

f n f .. i
5

m i.

m5 5

3 e= 8
K 5 K F

m5 5
flaut.

5 4
o o m i i mi i f n f f if fi 55 i i
3 3

mi. fi .. p

NP

o
m5 m5

s ff

K m5 K o

K m5 K

p
5

b 55 5 5

m5
5

m5

m5 55 5

Vc.

&

} - - - - D D D
ORD

flaut. MP

?
A D G C

K l 5 . kk 5 m K 5.

- - - - 5 5 5 5 5 5 5 5 5 5 5 5
dolcissimo same speed

m5 l5 5 p

kK k5 K
5 5
5

K m5 K
- 5 5 5 5
5

mK 5 o

punta

- - 5 5 5 5 5 5

K K 5 5

5 } 5

JK K K K K K K nK o F
P

[
K }K

5 m5
MT
3

55

flaut. molto

ij

K z

K z

fawcett: mute the C string with first finger, the pitches above are partials of the E produced by the shifting position of the bow. The pitches in the upper staff are an approximation and no accuracy is asked for in this respect. It would be desirable, however, that the upper pitch (C#) is made audible, as indicated.

- 11 -


flaut. T

mk5 5

k 5
5

33
Vn. I

&

II, 3 III, 1 IV, 2

At t

m t t

t t

o f
3 1 2

m5 n5

MP

t f t

i f f bK i

K A K
II, 3 IV, 2 3

flaut. T
3

3 1 2

flaut. molto MP

flaut.

II I T

II IV

III IV

[]
MP

i i

i f i

mi nf i

f. bK
punta

III, 1

f o

f
3

mi f i

mi i i i 5 i p
E A D G

if S
5 5 5

b KK

p
&

55

[]
5K
3

ij

Vn. II

mK K 5 A & mi mK K o o
flaut.
3

t t f f t t

MP

mi f mi

i i f i i o
3

II, 3 III, 1 IV, 2

m i A i o

i i

i. f .. i
3

i i if if p

*)

III, 1 I, 0

flaut. molto

A i
3

i 5

mi A i o

i f i
3

i f i

m 5 5 p

MP

(3) 1 0

A 55

5K

5 q= 4
flaut. MP
3 1 2

3 q= 4
o

*) move the bow in the direction of the bridge to sound only the III string. As you do that, the 3. finger depresses the II string to let you play simultaneously on the I and III string, as indicated.

4 e= 8
MP

slow (as smooth as possible)

5 4
mi f i

Vla.

&

b 55
3
3

nf f

MP

3 1 2

J
o

bi t bf f 5 i
3

5 nf i

t i

K K p

II, 1

i f i p

i i f i i
T

mK K
5

f
3

m K. f Kf ..

i mi if if
3

&
Vc.

555

m5

m 5 55 5

[
K K K

n5 b5 b5 5
T

]
MP

5 5 5
punta

5
NP flaut. molto

b5
finger-pressure trill

JK KK KK K z o p o
3

MP

bz K

K z

j K

fawcett: mute G string with 1. finger, the 2. finger remains in the same position. The pitches on the upper staff are to be produced by the position of the bow, as indicated above.

*) press down the II string so that you can play on the I (open string) and III at the same time. The pitch of the 3 finger when the string is being pressed down is not important since this string is not being played.

|| m K } m K } Kj B K n K D D z p
3 III IV

m5 5 5

m5 5

5 m5
T

b5
MT flaut. molto

i K z

bK F

m K K

`mK5
NP
II

III

mK

- 12 -

flaut.

36
Vn. I

&

f
3

i ii f f f i ii

mi i

JJ

jm i i ii

NP II II I IV

flaut.

NP

II, 3 I, 0 III, 1 IV, 2

II, 3 I, 0 III, 1 IV, 2

*) bow position where it is possible to play on the four strings simultaneously. Adjust also the finger pressure (fingers 1 and 3) in the inner strings (II and III).

flaut. molto MP

NP

i 5 i 5 i if F
3 3

J
f

, DD
P
E A D G

b DD

5 55 55 5 5 5 5

f.
5.
3

mi mi m i f if5 if i
3

*) Bow remains SUL TASTO!! Release finger-pressure on the III string (G#) in order to make it touch the bow.

o
T flaut.

NP

flaut. molto MP T

Vn. II

&

5K

K A K
T
3

i i mf f f . i i f

i mi f i i

i (A ) i

5 m5 5
*)

i mA i o
3

i i

i i f f i i

5 5 5 5 5 5

5 5 5 55 5 5 5 5 5 5

f 55 .. m 55
3

III, 1 IV, 4

f f5 i
T

*)

> f f if5 if s ff
3 5 3

flaut. molto

MP
keep the 1. finger always down

punta } ( mD) f .D
3

ni f f m f if 1)m if i 5 5
3

f 5f m f i o s ff
5

b
NP
3

J
f 5f i

` mf

5 b5
ORD

flaut. molto

nf m if 5
3

NP

5 4q=
Vla.

4 q= 4
3

1) apply the bow on the 4 strings. Through the circular bowing, the number of strings sounding at the same time should variate between 2 and 4.

&

I m i II 5> 55 f 5 i

T flaut.

m5 5

s ff
3

J
o

D D Sp
3

DD

D!D . f

&
3

m5 5

harmonic trill: ALTERNATE between 3. and 4. finger

> m K ( K) K 5 5
NP P

j J

`i ib i i ` .
MT MP
3

3 4 q=
&

7 8
MP

A i

J
if if
3

i.

5 5 JK

5 JK . 5
F

s ff
K 5b5 5b 5 b5

5 b5

b K .. b b 55 .. K f
5

K K 55

K K K K 55 55 F o
b5 5

k5 5 5 5 &

5 b5
P
3 o 2

55

b 55

m5 5 5
ON the bridge, no pitch

[
t
K
2

5b 5b5

5 5

] [
K z

Vc.

mK 5

mK

> 5 5 k k K k K K K m KK ... 5
3

resulting rythm

F
5

n KK 5

b b b KK 5
3

J K

MP

z (K)

K z

J
- 13 -

b K .. z
5

MT

K K b 5 ( b K) 5
ORD

flaut. molto MP 1)
3

vib

punta

1) play as near to the bridge as possible (not on the bridge), as to get only the upper partials of F, no fundamental.

(5 ) ( 5 )

J J

bbK bK 5 5
NP P

try to keep all four strings sounding

trill with the open D string (results in a sort of vertical trill)

5 m
5
NP MP T flaut. molto
II II IV I

39
Vn. I

&

II, 3 I, 0 III, 1 IV, 2

NP

m if 5 o

f
J

> nf f m if m if 5 5 f

NP MP MP

m5

MP

D.
5

mD

bf o
3

bi bf i

i ni

pitches are only approximate, but should give you an idea of which part of the register is being asked for. 1) I, open string

flaut. molto

Vn. II

&

f mf
P

F f

mi f i

i f 5

mi m if f

K K

NP MP

&

[
3

5 5 5 5m
MP

punta i i i i i b i i i 5 i 5 i 55 5 ib if b f D m D
gliss

s ff

5 nn5 5

n II m m f n i ii K mf f i

b i 5 55 5 i i 5 f i i5 i5 i5 5 5 5n i m i
T

II II IV I

MP

m 5 5m 5 m5 m 5 55 5 m5m5

MP

5 n5 5

5
5

[]
!

P
3

1)

1) It is not important if you do not get the indicated pitches. There should be, however, a subtle change in timbre due to the transition from harmonic to real note in the l.h.

transition from fast to slow circular bowing

K K 5 1) F

K 5 o

P
3

&
Vla.

e= 7 8

P
3

K z - - - F

K mK

J K f

KK

K K o

mK i mmA K i

flaut.

i i f m if i
3

f f f if5 if5

m5 n 55 5

m5 m5

this multiphonic is very unstable. Other notes rather than the indicated might appear. More important than the exact pitches are the dinamics and the smooth change between a violent downbow and the circular bow which follows.

&

K K m m m 5 K 5 K K pII f p

&

nb5 5 5 5
*)

5 4 q= %
mi mA Ki
3

4 q= 4
K K
b5

m5
&

m5 5 5

J J

K 5 p

K L 5 K K K 5 K 5 K ... 5 K K K
*) use the whole bow for the indicated note

K mf K
3

m5

punta

mi f i

mi i i i 5 m fi fi fi
5

MP

very violent downstroke (like ripped off). Begin ON the string

m5

b5

I
o
5 b5 5 m5 m5

P
7

&
Vc.

5 b5 5 b 55

pitches are only approximative, only show the area of the spectrum which should be rendered audible.

[ ]
m 5n 5
P

m5 5 5 5 5 J5 5 5 K KKK -- - -- - - F

b5 5

[ ] 6
n 5 5 b n 55 5

7 8

kK
.B JK

5 5 5 m5 m5
P

m5

m5

m5 n5

m5 5 55
MP

J5 m5 5 n5 n5
MP

5 5 ? bK K b J K F
3

mBK 5
o

mK 5

f
3

5. K

> bbK K 5 5
P

mK n K 5
3

m 5 n K 5 K K K K P

ddddddddd . K K (B K) K K 5
5

ORD

m K (K ) K K
P

F
3

III

K ( mK )m> (nK) nK (mK) k K 5 K 5 5 p

3

- 14 -

t
42
Vn. I

flaut.

II, 3 III, 1 I, 0 IV, 2

&

5.

mf

J J

f 5fi

. . bf . f fi 5fi 5
NP

II, 3 IV, 2 III, 1 I, 0

flaut. flaut.

NP MT

1
gliss. with all 3 fingers!

m 5fi

% f

MP

f if5 f . o o

i if

- - - f f m fi5 5fi
3

1
p

flaut. molto

MP
3

whole hand gliss.

f 5fi

IV

. K
( )

*) try to achieve a constant and fluid transition from the II and IV string to all strings together. The number of repetitions of the chord should be respected carefully, but the exact instant in which the new strings (III, I) come into play is only approximate.

pressure trill, very fast: the finger goes up und down letting the E sound as half-flageolet, flageolet and incidentally allowing the open string to sound. III IV

t
Vn. II

MT

&

mf o

i i i f if i i
5

f if5

bf if 5

MP
3

f fi

mK
o

MP

II

f
5:4

i if

- - i i i i i - i if if if if5 if5 - - if 5f i
7

II III IV

II III I

flaut.

. b . . i i i i i m 5fi fi fi fi if 5 5 55
NP

MP

if >

stop the ricochet violently by adding bow pressure (mainly with the index finger of the R.H.)

7 e= 8

Vla. flaut. molto

&

b5 5

3 4q=

5 b n 55 5
harmonic trill, alternate between the two fingerings

5 5
MP

5 5 k5
III

4 8

k5

5 5

5 l5

pressure trill, very fast: the finger goes up und down letting the E sound as half-flageolet, flageolet and incidentally allowing the open string to sound.

5 8

flaut. II III

K K K K >

I T II punta

&

DD

fp

f
3

m DD . p

- - - - K nK
P

NP

- - -- - - BK B5 J K J 5 F
7

&
Vc.

same speed

kK n K JK K kkK 5 p

j
5

IV

( )

kkK 5

kK F
3

lK lkK 5

5D
o

n ( )

j J
5

L5 m 5 5 5K 5

m5 5

5 5

MT

]
o

NP

z . p

K K.

flaut.

K . z

- - - - -j - - b K kb K 5 5 K K
P

MT

I sempre

P > K > > > >> > > > K K 5 b K b K b 5 5 5 sempre

b K .. 5 P

flaut.

K.

nK 5

NB: keep the bow-speed constant, the dynamic changes should be the result of the change in bow-pressure.

- 15 -

bow accents (keep the circular bowing)

3 3

poco scratch

flaut. molto

45
Vn. I

&

f }

f.

f 5 f 5fi 5fi 5fi

T

1 b f
5i f

flaut.

%
J
NP

MP
IV

MT
poco scratch

flaut. MP

bf m 5i f

III IV

D 5

> . D f

bi f i

i f i

> n > f f m 5f 55 i i
3

flaut.

> > > > > >

ni mif 5

Sp

5 5

mi m fi5

flaut. MP

Vn. II

&

IV

mf
o

i if

( MT ) II II I IV i i i i i i . > . i i f i 5 i 5if5fif 5fif5

T II II III III IV I

. . . b . . b ... . f ..bf .. f # > if if if m 55 5 5 5

! i

flaut. MP

flaut. MP

II II I IV T

j
5

m 55

mf

i i i i i > . . . ii i if f if i 5 i 5 m if 5fif 5fif5

5

NP

m 5 55 5

9:8

. . . . . > .b > . . f . . . b f . f . b if if if 5 5 5

! i

5 8 e=
Vla.

mm5 5
flaut. molto NP

7 16

mm5 5
T

4 e= 8
P
NP

5 e

b 55
T flaut.

5D

> 5D

&

flaut. ORD

5 16
MT

7 8
n fi 55 f K
T

I . J
f

MP

jK Sp

j K

j K
K

F
5

mK 5 K mmK mK
MT

I II

J
F
5 5 5 m5
NP

mmK K m5

K K 5

K K 5 . o
5 5 m5 n5

} K 5 K }

!
f

K 5 K p
m 5 m 55 5

harmonic trill: alternate the fingers

I
5

Sp

. 5. K 5.
P

f
m5 5

5 K 5

K bbK 5

K K 5

I, 1 II, 4 III, 2

m fi f ni
m5
3

resulting dynamic, compensate loss of bow-pressure with an increase in bow-speed ("fff").

i K } 5 } !K
f
b 55 5

5
NP flaut.

&
begin ON the string MP
1)

Vc.

K K K 5 5 f
3

K.

K.

mK

lK

l . K
I

II

mK.

K kK

&

m6 5 5 I
I

II
5

mK

K
3

5 f

MP

mK

mK

1)

K mK K bK p

1) the lower harmonic is a very unstable multiphonic: of the pitches present in this multiphonic, the more important is the F#. It has been proved helpful to play first the normal node for F# and then go down with the finger to find the multiphonic.

1) always tremolo. Try to achieve a very continuous texture, as if you could play continuously on three strings at the same time. Bowing is only a suggestion.

- 16 -

scratch pitch always audible

bow accents (keep circular bowing)

5
m5 5
T
1) very fast sf, then back to pp (cello should be audible)

flaut. molto MP

flaut.

49
Vn. I

&

mi Kf f i
3

i i

MT > i i i m> m f . f i f f f f f f f f f f m if m if .. . 5 5 i5i5

%
f5p
5 5 5

> > > > > >

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5. n 5.

mK mf K

ORD

K K
3

5 f i m K m K m > m > 55 5 5 5 5 5if m5 fK f fK fi

6 6 6

( flaut. )

scratch

flaut.

m f. . m if .. 5 (P)

e e
3

5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
6 6

5. n5. bf if 5 5

P
III IV flaut. MP T

poco scratch

Vn. II

&

i i i i > > - - i ii i i i i f b 55 m f f if if i 5 i 5 if 5f if 5f if if5

. . . - - - - - b f . . b f b f # . if if if m(j) 5 5 5 55
NP
1)

1) stop the bouncing with extra bow pressure

S
1)

poco scratch

P
NP

i i i i i i i i > > > >f i i i i i i 5 i 5 i 5 mif 5fif 5f if 5f if 5fi

flaut.

7 q= 8
P
NP MP
5

4 8
flaut. T flaut.

4 e= 8

> - - 5 5 5 5

5 5

J
11:8

etc.

f if 5 5

Vla.

j i !55K K 5 K
p

fp
55 5

5 K 5

K bbK 5 f

J I

K K 5

% m 55 .
5

MT

ORD

NP MP

5:4

3 8
I, 1 II, 4 III, 3

5 8
fK K J

5K 5K K K

K K .. 5 5 5 K .. 5 5 5 ..

NV

Vib molto

5 K

K bbK 5 s ff

% m fi
i
(m 5)

flaut. MT
1) 3

&
tremolo segue

( 5 )
same speed

&
the last note still audible

as near the left hand as possible

&

m m 55
MP

b(m 5 ) 5 } 5

Vc.

&

K K K mK K K bK K K s ff

J J J

K mK K

! 5 .

I, capo tasto II, 3 III, 2

T NV

MP

n m Ai ni p

fi i

MV

f
3

- - - - - - > m fNV B fi fi fi fi 55 55 55 i f K nK K K K
ORD

B> > 5 55
I II

MP

> 5

5m - K
11:8

I II

m i i
3

flaut. T

NP MP
3

( as loud as possible)

7:4

(stay beneath viola in balance)

J
3

K K K K
s fff

m m m KK 5
o

same speed

- 17 -

*) pitch always audible

j
flaut.

j
molto scratch MT
sim.

j
i
flaut.

molto scratch *)

53
Vn. I

&

i mf mi m f5 f f f f f fif i i

MP

>> > > > > f f > f m mif if fi 5 5 5

5 55 5555 5555 5 5

NP MP

fp
flaut.

5 5 55555 55555 5 5 5

5 5 p

55

i f f f fi f

f
scratch

Vn. II

&

>> f i i i i i i i i i i i i > > > m> f f f f f f f f f f f f f f f f5 i 5 i 5 i 5 i 5 i 5 i 5 i5 i5 p

7 7

p
NP

5 5 5 5 55 55555555555 55555555555 5 5 5 5 5 5
5 5

5 5

m m if 5

1 > >>f . f
J
5 5

i
5. 5.

i
n5

molto scratch NP

. if .. 5

j,

P
IV III

T
3 3

m 55 5

# m f ff > 5i 5
p

scratch

f
NP

J
5 5 5 5 5 5 5 5 5 5 5 5

55 55 55 55

5 8 e=
NP MP Vla.

Vib molto

5 5 5 5

5 5 5 5

5 5 5 5

5 5

I
p .

bf m if 5

5 5 5 5 5 5 55555555555 55555555555 5 5 5 5 5 5
5 5

f f f f f f f f f f f f >> > > >> > f . f f f f f f f f f f f f f f f f 5f if .. . i5i5i5 5 5i5i 5i5 5 5 5 5

10

bow accents
3

5 .. K 5.
NV

5:3

5 K 5

ORD

K bbK 5
5:3

> > >

s ff

1 m fi
ni p

flaut. MT

fK K

4P 8 e=
fK K .
III, 2 IV, 2

>>>>555555 5 5 5 5 5 5 5 5 5 5 >>- - - 5 5 5 5555555555555 55 5 5 5 5 5 5 5555555555555 55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

10
10:8

5. 5.

# > B5 . m if ... f 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3

5 5

f 5f i

5 5

> > > > ff f m m ifif if 55 5

sim. 3 3

>.
3

m i5 f

molto scratch NP

f. n if .. 5.

5
5
P

11:8

b 55
3

5:4

NP

highly unstable harmonics, the pitches indicated are only a reference

K K

K. K.

III, 2 IV, 3 IV, 1

bm K K 5

> >>

I, 3 II, 1 III, 2

& ni

1 mi
f

flaut. T

5 F 4 q=

5 5 5 5 5 5 >>>>>>>>>> - 5 - 5 - 5 5 5 5 5 5 5555555555 - - 5555555555555555555555555555555555555 5555555555555555555555555555555555555 5 5 5 5 5 5 55555555555 5 5 5 5 5 5 5

f .. \ 5

f if 5 5 5

tremolo sigue

! Bf m if 5

number of bow accents does not have to be exact

3 4

> i if

(as loud as possible)

s fff

i if K. K. P
5

K K

mbK K K K 5 5

> >>> >

MP

[ ]
m 5 5 5 5 5
Vc.

m 5

(as loud as possible)

s fff

J I

mi Vib f f nf i Sp

ORD
3

IJ

> i f if

2) horizontal trill: alternate between open string and harmonic.The open string must sound like a shadow, allow very little bow-contact. It's ok if, instead of the low G, the octave sounds, at least at soft dynamics

(as long as the 3 notes sound simultaneously) 1) keep bow speed constant, make cresc. only with bow pressure

MP NP flaut. molto MV

flaut. molto

&

K > K K5 K5
s fff
3

K K5 KK
3

K K

K
?

touch the III string only slightly with the bow, like a shadow

K mf

2)

j K f
5 }

1)

j K f K f
f 5

mK

.
o

I, capo tasto!!

ij !5

i i i Bfi fii f f
f mi mi
?

NV

NP
3 5

55

(completely covered by the other instruments)

5 }

5 }

5 }

f e 5

K mK K bK p

MP

5 }

stop tremolo, only open string

- 18 -

molto scratch

molto scratch

molto scratch NP

56
Vn. I

&

f. .. m 5f i . p

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5. 5.

> > > > > > f m if m 5

1 >>>>> f
m m if 5 ( )

NP

> f > f f. m if .. m if5 m 5fi . 5. 5 5. P 5 5 5 5 5 5

5 5 5 5 5

> f if 5

> f if 5

> f if 5

> f if 5

> f if 5

> f if 5

> f if 5

> f if 5

> f if if ... 5 5

1. > f

j 5
m 5 5

molto scratch

nf if 5

5 5

5 f f f f f B m 55 m 5 n 5 m 5 B m if mm if if if if 5 5 5 5 5 5 n5

> f f f f m m if if if if 5 5 5 5

NP

1
J

molto scratch

molto scratch

Vn. II

&

f. f. i5 ..
5

3 p 4 q=
5

5 5 5 5 > >> 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5

\f 5

nf if 5 5 5

I
I

> 5 5 5 5
5

5 5 5 5 5 5 5 5 5
5

! f m if 5
5 5 5 5 5 5 55 5 55 5
3

> 5 5 5 5

> 5 5 5 5

5 8
p

>>>>5555 55555 55555 55555

5

mf if 5

I
I
5

> 5 5 5 5
5

f S

MP
Vib molto i f 5 5 5 & i K K K 5 5 5 p
3 3

Vla.

bbn K ... K 5

> > >> > >>

}
7

(as loud as possible)

s fff

i Vib . f f m f .. if i
II, 1

MP

ORD

SF

m1. i

> > >

}
3

4 f 4 q=

5 5 5 > 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

> 5 5 5 5

5 5

f. m if ... 5
> 5 5 5 5 > 5 5 5 5
5

! Bf b if
5

> 5 5 5 5
}
8

> 5 5 5 5

> 5 5 5 5

> 5 5 5 5

> 5 5 5 5

5 5 5

5 5 5 5 5 5 5 5 5

m f. if ... 5
5 5 5
5

f B if 5
5 5 5 5 5 5
5

5 5 5 5

iVib molto MP if 5 5 K K 5 5 f
3

bbn K K 5

poco

4 e= f 8
I, 3 II, 1 III, 2

5 5 5 5

5 5

J
5 5 5 5

J
5 5 5 5 5 5 5 5
5

! n m 5 f b if m if 5 5 5 5
5 5 5 5

III, 2 II, 1

5 16

5 5 5 5

j }
5

MP

>>>>>>>>

(as loud as possible)

s fff

K . K 5

> > i Vib molto > f m f .. if f i

3

ORD

Vib molto
poco 3

same speed

9 8

1 mi.

Vib molto

> >> i iA
T
3 5:4

ORD
1)

Sf
poco scratch

i . ... . . . . . if f B f5..
5 1) very regular, clear tremolo, quasi spiccato. Number of repetitions ad lib.

! J

> mi f 5 m if

1
5 5
I, 3 II, 1 III, 2
NP

> > > i B fi

3

same speed

1) as usual, the indications for bow-position become relative in the context of playing on non-adjacent strings. In this case, TASTO means as near to the fingerboard as possible as long as only the strings indicated are reached by the bow.

I, capo tasto !! II, 1 III, capo tasto !!

NV

Vc.

&

Kj

K K mK K K
keep tremolo

K K K K
//stop trem.

flaut. 1) T
3

mi A i

s fff

compensate flaut. with bow speed

J
p

i i f f i i

m i. m if ..

MP

ORD

MV
3

f mi f mi
3

i. i.

j i i f f
f 5 5

m i . ( i) f .. if i
3

NP NV

# !

I, capo tasto II, 1 III, capo tasto NV MP

J
F

mi f mi

i. i.
3

MV

i i f
?

mi f i p

NV

- 19 -

molto scratch

61
Vn. I

&

> f B m if 5

(NV ) f m m if 5

f if 5
sempre

f if 5

f if 5

f if 5

f if 5

f if 5

if 5

0 > f

m m if 5

NB: keep in mind that if the notes are not in parenthesis, always some "scent " of pitch should be audible.

1) begin the stroke ON the strings: first apply extra pressure, then produce a very violent down-stroke, like ripping off the strings.

molto scratch sempre

# f

if 5

# f

if 5

# f

if 5

# f

f if 5

f if 5

f if 5

(NV ) 1) f m 5f m 5
3

mute with the bow

5f 5
3

5f 5
3

5f 5
3

5f 5
3

Vib

5f 5
3

the gliss. begins here

molto scratch
5

NB: keep in mind that if the notes are not in parenthesis, always some "scent " of pitch should be audible.

molto scratch sempre

Vn. II

&

m f f 5f B if i

J
5 5 5

9 e= 8
Vla.

5 5 5 5

5 5 5 5
5:4

5 5

f B if
5 5 5 5

5 5 5 5

5 5

f f > B if bif 5
5 5 5 5 5 5 5 5
5

1*) always keep the finger actions, even if the bow actions are short. 5

mf 5f i
5 5 5 5

1)

5 5 5 5

5 5
5 5 5 5
5:4

f B if
sim. 5 5 5 5

5:4

1)

ORD
poco

&
61

>>> i i iA if
3 3

B 55 . .. . . . .B.55 } 5.

III, 2 II, 1 IV, 2 2)

Vib molto

7 8 e=
5

5 5 5 5

5 5

f if 5
5 5 5 5
5

mf f 5i

5 5 5 5

5 5 5 5
5

5 5 5 5

#
5 5 5 5

#
5

5 5

f B if 5

#
5

#
5
5

5 5

.
5

f if 5

#
5

#
5

#
5

sempre

!!

i f f n if

6 8 e=
3

always on the four strings

n5 5

! i B fi

#
3)

Vib molto

i if f

B 55 . . . . . 55

( 5 )

5 . . . . .

mi m fi f f if n 5 5

!! J I

1 i
3

#!

i if f
3

B fi . . . . fi . . . . . }

1
I, 3/4 II, 1 III, 2 IV, 2

5 4

ni 5 n f f m if 55 m5

!!

1) transition to very regular, short tremolo 2) the 2. finger plays on both III and IV strings. As the strings are rather far apart from each other at such a high position, the intonation of either the lower or the upper pitch might not be very accurate.

3) as short as possible

Vc.

&

! i if .

5 i. f f. if i. i f

ORD

j m i 5 5 f
mi 5 5
?

( NV)
T

MV

5 .

! ! m i ii ii . i f f f f i
3

NP

1
if i f mi f mi

i f

i m f i
?

fi

f 5

! always mute in then pauses ! ! MV i m fi . . . . . . .m i m i5 n fi m i 5 f i . mi mi 5

NP

II, 1 III, capo I, 0

1
!

f i 5

fi i

open string

- 20 -

the bouncing of the bow should begin almost unnoticed and should be always as fast as possible. The number of repeats are not ment to be exact, they give only an approximate indication of the relative size of each gesture.

64
Vn. I

&

m m 5f . 5

> f

f 55 .

> f

f 55 .

> f

f 55 .

> f

f 55 .

> f

f m m 5f . 5

>

Vib molto

> f 5f . 5

> f m m 5f . 5

> f f5 5 .

> i f !5f55

f f m m 5 5 . 5

i !

i f 5 !f55

1) begin the stroke ON the strings: first apply extra pressure, then produce a very violent down-stroke, like ripping off the strings. 2) mute with the bow mordente mutates into molto vibrato like before, always with the open II and IV strings

> (M)
5

sempre
1)

() M
5 2)

Vn. II

&

f B fi i f 5i5 i 5 5 . 5 .
5 5
5

mf f

f f

f 5 .
5

f f if 5 5
5

.
5

f B 5f i
5

f 5

f 5 .
5

mutates into ric. (always extra bow pressure)

M f 5 .

M M f f if 5 5

5f i .

mM f
5

M f 5 .

i !

ric.

M
5

i f !5

5 4 q=
Vla.

I, 3 II, 1 III, 2 3 II, 3 !! III, 2 IV, 1

I, 3 II, 1 III, 2 IV, 0

4 #! 8 e=

II, 3 !! III, 2 IV, 1

4+3 8 16
! 2# 5.5 . . . . . . . 55 5 I
5 3

&

. 55 5.5 . . . . . . . n55 b5 5 5 5
3 3 3 3

#! b5

! !

I, capo II, 2 III, capo

i m B ff f . f f if . 5
I, capo II, 2 III, 1

NP

!!

! # mm i f f . f ff f 5i 5
II, 2 III, 3 IV, 1 I, 0

II, 3 III, 2 I, 0 IV, 1

4 e= 8
#. . . . . .m5!5 5 . 55 5
5 5

5 16

sempre

molto scratch

3 3

3 3 3

Vc.

&

m fi f f i mi 5 5. . . . . . f
?

mi.

1 m i .. f

n b fi i

b 5 5 5 5 5 5 5 f
5

NP
3

MV
3 3

5 5 5 5 5 5 fi 5 5 5 5
?

i i n5 5 5 5 m f f f m 5 5 m 55 i mi i 5 5
3

1 mi

NP

II, 2 I, capo III, 3

m 55 n5

b fi .. i

# !

I J

5 A D G C 1)

555 ...

5 .. . . . " .

5 5

1) regular tremolo, continue the gesture of the previous measure

- 21 -

1) shake violently the arm, in a spasmodic movement while the fingers press violently on the fingerboard, trying to stay in position. The result should be a very irregular vibrato which, because of the violence of the movement, also influences the bow. 1)

1) gliss with the whole hand, unperceptible 2) ric. + bow tremolo: the bow is thrown violently against the strings (as if you were to play a ricochet, just like before) and at the moment of first contact with the strings, a tremolo is played (always with extra bow pressure).

68
Vn. I

&

f m m f5 5 .

i !

SHAKE sempre

always mute at the pauses

> f m f5 5 m 5

> f f5 5 5

> f f5 5 5

(SHAKE)

m m 5f 5

#f >

5
gliss 1)

try to produce a transition from ric. to ric. + tremolo

!I J

2)

# >

!5

# >

5
6

# >

5 .

# >

1) shake violently the arm, in a spasmodic movement while the fingers press violently on the fingerboard, trying to stay in position. The result should be a very irregular vibrato which, because of the violence of the movement, also influences the bow. transition from vib. molto to shake

Vn. II

&

f if 5

i !

Vib molto
5

#
5

always mute at the pauses

mf f 5i 5

mf if 5 5

f 5f i

#
f f 5 i 5

SHAKE sempre
1)

1) ric. + bow tremolo: the bow is thrown violently against the strings (as if you were to play a ricochet, just like before) and at the moment of first contact with the strings, a tremolo is played (always with extra bow pressure).

#
1)

f 5 5f i

mf if 5 5 ( )

# f if 5

!I J

try to produce a transition from ric. to ric. + tremolo

5 16
3

5 8 e=
. #! # #! f ff mm 55! ! ! ! ! m n55 . 55 55 5 55 5

4 e= 8
6

3 e= 8
MV

NB: if dynamics fall under the limit of audibility when playing very softly, or if the tonwolf makes the production of harmonics too difficult, then use a normal mute.

12 16

Vla.

&

!!

ff m 5 5 n 5 . 55 5 5

2! # # m 5 55 2m 5! 5 ! ! 5
5

! m 55 5

I J
5

tonwolf mute (metal)

I, capo II, 2 III, 1

II, 2 I, capo III, 3

NP

Vc.

&

n i fi . f b i b i ..

NB: always means as short as possible, independent from the duration of the note where it is placed.

always mute on the pauses

fi i
6

- n 5 5 55 5 5- -b5 b5
6

! . . . . # m ifn ifififbif i i i
6

5. fi fi 5> 5 . b i i b5

NP MV

m 5f5f5f5f5fb5f i ii
6 6

#! 2 # 2! #! !!

2!

MV ! ! !! ! ! i ! ! !m if if if i!f i!f i!f if b fi bii i i

#2
6

sempre
6

sempre

6 6

- 22 -

72
Vn. I

&

# f 5f 5

!I

f 5f 5

!I

f 5f 5

!I J

f 5f 5

!I . J

! f 5f 5 ..

!I J

Vn. II

&

# f > if 5.

f > if 5 .

..
8

m 5f 5

! .

#! f

! f 5f 5

!
3

f ! 5f 5 ..

!I J

f > 5f 5 .

12 ek= 16
Vla.

9 16
.

5 5 5
MP

55

9 16 ek=

s=s

8 16

1) rythmic precission is not important: the written gesture is a continuation of the quintuplets in cello. Just keep this same speed, even throughout the bar.

4 e= 8
} - - - f mf .. f .. if .. if .. i i i i. i.
13:8

5 16
o

5 16

gliss. of the 3. finger only

&

NB: dynamics always absolute, you might need to compensate the effect of the mute.

- - K K K K KK K K K o

- - - m f f f. . f . f m iiii ii . i . i
T
1) 5

NB: dynamics always absolute, you might need to compensate the effect of the mute by using more bow-speed.

5 5 like a shadow same speed

(
Vc.

OSSIA

m 5 III, 1 5 & 5
2)

II, 2 I, capo

&

#! ! ! ! ! m if if if if if i i
5:3

b m if i

! ! !
5:3

! f n ii .

#! #! #! m if if if i
5:3

b m if i

# #! # m #!f ! !
5:3

n ii

} q.

! ! m if if i
3 3

sempre

mf b m if n ii i
3 3

! !

2) this chord requires a big extension of the 2. finger and the thumb. If you cannot reach all three notes, drop the lowest one (the 3. finger on the G string) and then play G# and E. This is valid until the end of the piece. A second possibility is to play the chord given as ossia insted of this last chord.

- 23 -

78
Vn. I

&

! f 5f 5

!I . J

! f 5f 5

! . I J

f m 5f 5 ..

# !

!I J

NB: stay always as still as possible in the pauses. The attacks are to be played as unexpected, sudden outbursts of energy.

f m 5f 5 ..

# !

!I J

f m 5f 5 } ..

# !

!I J

1) the bow position doesn't change!! The inner strings come in contact with the bow through the increase in bow pressure. II, 3 III, 1 I, 0 IV, 2

Vn. II

&

! f 5f 5 .. .

III, 1 IV, 2

avoid a cresc. (very slow bow)

!I J

in one bow, if possible (VERY slow bow)

m5 5 5 5 o
flaut. molto
3

II

i. 5 ff .. 5 5.

5. 5 55 ...

MT

flaut. molto
1)

55 5 5 5 5 5 5 m 55 55

5 5 55
3

NB: dynamics are absolute

fi5
3

E A D G

legatissimo, bowing ad lib.

J fi5
3

m Bif 5

5 16 x=
flaut. Vla.

very subtle accents, in ppp

4 16
>. >.

&

i . >. >. if ..
o

>

6 16 x= % > >

B5 5

4 q= 4
&

m5 5
T

(m5 ) 5 5 5
P
3

MP flaut.

same speed

- - - - BBK 5 BK 5
o o

NP MP only the insinuation of a pulse

- 3

}5 K b b} K 5 K K punta
3

J J
o

same speed

K K 5 5 K K

P
3

K K K 5 5 K K K

K lK

punta

&

5 m 5
o

5 5 55 J
3

o//

Vc.

&

m ii
3

! f

! m !f b m if ii . i

MV

sempre

I J

! b m if i

! mf m ii
3

! m5 5

! m5 5
3

! m5

- 24 -

84
Vn. I

&

f m 5f 5 ..

#!

I J

f m 5f 5 ..

# !

I J

f m 5f 5 ..

# !

I } J

f m 5f 5 ..

#!

I J

f m 5f 5

I .. J

as near to the L.H. as possible

flaut.

flaut.
in one bow II, 3 or 4 III, 2 or 3 I, 0

AT

Vn. II

&
84

5f m D D

accents with bow-pressure

> > > > > > >

7:4

f D

> > > > >

f D

f .. D

bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb poco vib. NV f. f f f f f f f m i. i i i i i i i 5. 5 5 5 5 5 5 5

NV

J
o

molto fragile, instabile

dolcissimo

f i 5

% f
i 5

f i 5

f i 5

f i 5

7:4

VERY slow transition to the outter strings. bow: very slow and steady.

1) more important than the exact intonation of the 1/8-tones is the fact that they are an inflection of the pitches in cello, and thus they should be interpreted as "slightly higher".

lk5 5

Vla.

&

55 ..

i i ffff 5 } 5
1)

legatissimo 2)

i ff 5

i ff 5

5 55 5

5 55 5

5 55 5

i ff 5

i ff 5

&
3

NP P

. k kl 5 5 K K o
1)

j j i K 5K 5K 5K 5K k5 5 K
3 3

5 (MV)

II I, capo III

K K 5 5 p

K K 5 5 oo
m5 5
&

- - - f mnmif i m ii
5

flaut. legatissimo, only subtle T accents with bow pressure

molto fragile

1) barely touch the IV string with the bow, enough only to make the C sound in the octave indicated 2) if you need to change bow, then use circular bowing, trying to avoid any interruption in the sound.

m5 5
&
NP

tonwolf mute (metal)

Vc.

&

NB: if dynamics fall under the limit of audibility when playing very softly, or if the tonwolf makes the production of harmonics too difficult, then use a normal mute

} &

JJ
o

K 5

K m5 K 5

K 5 K 5

NB: dynamics are absolute, compensate the effect of the mute

K 5 K 5

K 5 K 5

J J

5 nm K K 5 5 5

K .. 5. K. 5

55 55
T

J
o

I !5

II I P

& ?

m 55

slow and continuous

5 ..

I J

I II

bK
o

% K
I

- 25 -

89
Vn. I

&

5 5 5 ..

I J

5 5 5 ..

6 !

6 !

5 5 5 }
I, 0 II, 1-4 III, 2

I J

5 5 ..

I J
5 mn5 5

K5 .. 5 K

6 !

I J

K5 .. 5

6 !

I J

2) if you need more time to prepare this fingering, the previous gesture could be ended before.

n m 55 5

Vn. II

f i 5 & .

i m AA 5
2)

flaut.
legatissimo, very slow bow ( in one bow) 5

i i. ff ff ... ff 55 5 5

55

MP

KK

KK ..

balance: the IV string should be louder than the III string (the main pitch is the lowest one).

NP MP
3

K 5 K

K K 5

K K 5

Km K K
o

K K

K. K.

m 55
&
Vla.

ifm m if i i &
5

o
(m 5 ) m 55 5 5

this is a multiphonic harmonic: the listed pitches are the theoretical result of the fingering indicated and serve as orientation. All pitches are not expected to be present at all times, since they are very unstable. An attempt should be made to make the higher partials sound (G# and E).

bbbbbbbbbbbbbbbbbbb K K K .. mmK 5 5 5 5. K K K K o o p
MP
3 3

flaut. MP

K K K mm5 5 5 o o

j
3 3

K 5 K
3

NP MP

K K 5

K. K 5 ..
5 5
&
MP

m m K ... 5 K
o

MP

K K 55 K K

&
Vc.

b 55 55

m5 5 n m 55 5 5

K ?K

K K JK

+III

1) the G string should deserve major attention since these multiphonic harmonics requiere special control.

/
1)

K K K

K K K

K K BK

K K K

K K K K

legatissimo, bowing ad lib., very slow and continuous 3

K K

J KK

K K

K K

K K

K K

K ... 5 K
o

K 5 K

(small variations in dynamics, always very slow changes)

K ... 5 K

K 5 K
o o

K K 5 5 K K

- 26 -

94
Vn. I

I, 0 II, 2 III, 1+3

&

55 .. K 5

6 !

I J

I, 0 II, 2

55 ..

6 !

I J

I, 0 II, 1 III, 4

! 555 ..

I J

! 555 ..

I J

! 555 ..

I J

Vn. II

&

Vla.

K 5 K & .

mmK 5 K
o

K 5 K

K 5 K .

K mK 5 5 o o

K. o o

Vc.

K ... 5 K

K ... 5 K
o

K K 55 K K

K K .. 5 5
o

salzburg, 27.III. 2005 duration: ca. 7' 10''

- 27 -