El Pulso de lo Inmovil

8/6/2019 El Pulso de lo Inmovil

1/32

eduardo moguillansky

el pulso de lo inmovil

for string quartet

2005


2/32

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 a4/4 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 isthat 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 caseof 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. Thespeakers should be placed circling the audience, with a mixing-desk in the centre.


3/32


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6/32

Bow position

MT: molto sul tasto.

T: sul tasto

ORD: ordinario. Normal position.

P: al ponticello

MP: 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.

t: ON the bridge. No audible pitch.

Bow pressure

molto flaut.: 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 orderto make any sound at all.

flaut.: flautando.

NP : normal bow pressure. Cancels all sings related to bow pressure.

Scratch: extra bow pressure. If the notes are between bracketsethen 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 offlaut. ormolto flaut. then the transition shouldfrom 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.


7/32

b 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. Whenperformed over a chord using the technique described above of pressing down one string, circular bowing does not imply that all pitches are audible all thetime. 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.

10 the same as above, but fast.

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

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

6 very violent down stroke, like ripping off the string. Begin ON the string and violently produce the down-bow.# 2 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.


8/32

&

&

B

?

45

45

45

87

45

Violin IViolin IViolin I

Violin II

Viola

Cello

q=

. KAKbB

bT

flaut. molto

col legno tratto 1)

1) play with the wood of the bow. A portion of the hair of the bowmight be used depending on the dynamics indicated in order toachieve more sound.

depress the III string (D) atthe position indicated withthe X, allowing the bow toreach the IV and II string

without touching the III string.

,da lontanissimo 4)

4) unless otherwise indicated, dynamics are absolute: they indicatenot the effort but the dynamic level and are independent from thecontext. Thus, to make some sound at all in such extreme situationas in the beginning, it might be necessary, if amplification is notused, to counterbalance col legno and the lack of bow pressurebyusing 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)

2)

2) the amount of bow pressure is relative to the context: when usedtogether with col legno tratto, a little more bow pressure is needed

than in connection to normal bow (crini). A hint of pitch should beaudible.

II, 3III, 1IV, 2

3)

3) if there is no indication above the harmonics as to which resultingpitch is asked for, it means that only the action of playing with verylittle finger pressure is needed, independent from the result (seeprologue)

ALL measures last the same amount oftime: 5 seconds. The tempo changes shouldbe made subito, without any kind ofritardando between measures.

. KAKbB -

5

IKAKb

B-

e=

3

KAKbB T

KfK

ORD

by moving the bow in direction to the bridge,the D string is reached by the bow andbegins sounding. The left hand doesn't move.

el pulso de lo inmvil / B eduardo moguillansky2005

for string quartet

("the pulse of the immobile)


9/32

&

&

B

?

45

44

87

45

44

Vn. IVn. IVn. I

Vn. IIVn. IIVn. II

Vla.

Vc.

q=

KAKbB T

KfK

ORD

3

K-bMP

flaut. molto

III

col legno tratto 1)

1) play with the wood of the bow. A portion of the hair of the bowmight be used depending on the dinamics indicated in order toachieve more sound. This does not apply in the caseamplification is used.

, da lontanissimo 3)

3) unless otherwise indicated, dynamics are absolute: they indicatenot the effort but the dynamic level and are independent from thecontext. Thus, to make some sound at all in such extreme situationas in the beginning, it might be necessary, if amplification is notused, to counterbalance col legno and the lack of bow pressurebyusing more bow (bow speed). The sound should be on the limitof audibility for the audience (that means, louder than the"environmental" sounds in the hall)

2)

2) the amount of bow pressure is relative to the context: whenused together with col legno tratto, a little more bow pressure is

needed than in conexion to normal bow (crini). A hint of pitchshould be audible.

q=

KAKbB T

KfK fP

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

5

5-P

K-

III

e=

5

KAKbB T

KfK f

MP

.

. fP

KfK

T

.

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

II, 3III, 1IV, 2

5B( )&

3

K5BB b

flaut. molto

MT

.col legno tratto 1)

1) play with the wood of the bow. A portion of thehair of the bow might be used depending on thedinamics indicated in order to achieve more sound.

2)

2) the amount of bow pressure is relative to thecontext: when used together with col legnotratto, a little more bow pressure is needed thanin conexion to normal bow (crini). A hint of pitchshould be audible.

q=

3

3

KAKbB

T

KfK K

MP

fP KfK

T

fP

5 IK5BB

IJ

K5 . .

- 4 -


10/32

&

&

B

?

44 43 45 44 87

Vn. IVn. IVn. I

Vn. IIVn. IIVn. II

Vla.Vla.Vla.Vla.

Vc.

q=

9

3

3

KAKbB

T

KfK

MP

K Kk

5

fP K

fK

T

fKP

5B( 5 )&

. K5BB

K5

q=

KAKbB

T

KfK

MP

K Kk

5

fP

KfKKK

T

KfK K

P

5

K5BB

K5

q=

3

KAKbB

T

dolcissimo

KfK

K

o

MP T

Kk

3

fP

dolcissimo

KfK

KK

T

KfK K

o

MP

. K5B B -

5 K5-

q=

3

KAKbB

o

T

KfK

K

o

MTMP

Kk

3

K

o

P

KfK

5

KMT

KfK .K

MP

oKm

3

K5BBb

5 K5

`

- 5 -


11/32

&

&

B

?

87 86 45 44 87

Vn. IVn. IVn. I

Vn. IIVn. IIVn. II

Vla.Vla.

Vc.

e=

13

.3

KAKbB

o

T

KfK

f

MP

K

o

MT

Kk

. K

o

MP

K- KfK

K

T

KfK K

MP

oKm

. 3

K5BBb

dolcissimo

K5

5 K5

`

o

e=

3

KAKbB

b

o

T

5

KK

KfK f

MP

K

`

o

MT

Kk

Kb

o

MP

K- KfK 3

KK

MT

5:4

KfK K

- - -`

o

MP

Km

. KK5BBb

MT

o

KK5

35 ...KK5Bm`

o

q=

. KAKbBb

o

T

5

KfK

f K

MP

o

T

Kk

`

3

Kb

o

MP

K- KfK 3

KK

T

5:4

KfK f- K-

MP

- Km-`

o

T

55b[ 55m ]&

5

...KK5bbb

o

T

KK5

3...KK5mb

`

o

q=

. KAKbBb

o

T

5

KfK

f K

MP

`

o

T

Kk

3

Kb

o

MP

KKfK

3

KK

T

5:4

KfK f K

MP

Km

`

o

T

55b55m

...KK5bbb

&

T

o

KK5bb

`

5

KK5mb

MT

o

- 6 -


12/32

&

&

B

?

87

86

45

89

87

Vn. IVn. IVn. I

Vn. IIVn. IIVn. II

Vla.Vla.

Vc.

~~~~~~~~~~~~~~~~~~~~~~~~~~

e=

17

KAKbB

b

o

T

KfK-f-

oK-

MP

Kk

`

K

.

JKb

o

KKfK

3

KK

K5K

D

`

Dm

o

55

55k

55

5l

55m

&

3

KK5kkk

b

o

P

KK5

KK5

`KK5

lll

KK5 Kl

MT

whole hand gliss.

e=

55[

555m ] 55

5mn&

KAKb

o

T

KAKbB

5

KfK- Kf- K- Kk

MP

.Ko

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

JKb

o 3K

KfK

KK-

`

o

KfK-

f-

f-

MP

5

5

5

555kb

55

55b&

Ko

. K5K

o

P

K5K 3:2

K5Kkkk

oKKMT

IIIIV

55555

BB

[&

3

JK5Kkk

bflaut. molto

MT

o dolcissimo

punta

(only a shadow of the viola)

q=

punta

55

5555m

m 555m

n

KAK[o

T

KfK

3

KfKbb -

Kf-f- K

MP

Kk}]

3K

o

55L[55

5 55L ]&

. KBo 3

b

MP

f

KfK 3

KfK`

MT

5

Kf K- - Kb-

ORD

o

5

5

55

m

&

3

JK5K>

P

55}} K5K

5

...K5Km MT

3jK5K

o

pressure trill

555

m ]

55555

bn

JK5K

`ORD

o

3

JK5Kkkmb

o

MT3K5K

dolcissimo

JK5K`

e=

55

5555m

m 555m

n 5m555m

m

.3

KAK

KfKbb f ifib

b -

if-f- -

KMP

.Kk iK J5jKmpunta

o

P

K( ) J5jK

VERY LITTLE bow

fb

MP

o

flaut.

f

ifi

ii

ifib- MT

o5

ifi- if- - K-

P

.

. . K5KmmK5K

MP

S55}}

jK5K K5Kmm

MT

o

555

m

55m

55

3

K5Kmm

o

ORD

JKKmm

b

&flaut.

o

ORD

KKl

l( )( ) KK`

o

III

- 7 -


13/32

&

&

&

B

?

8

7

4

5

4

3

8

4

Vn. IVn. IVn. I

Vn. IIVn. IIVn. IIVn. II

Vla.

Vc.Vc.

()

e=

555

m 55

5555m

m555m

n

21

K5J o

3

3

KAK-

- - KKbb- f

5

i5iibb -

i5i- i5- 5P

5 ..K5l K5t

I

(natural harmonic)

55

f

flaut. molto

o

MP

fKfK

5

KK

f5fib-MT

3

ffi-

o

ffi- f-

K-MP

5Kmb

!p

MT

K`

P

flaut.

3

K K5m

5

K5KmmMP

S

flaut.

55}}j 5 ...K5Kmm

flaut. molto

jK5Kdolcissimo

ADG

C

same speed

5

55

-

5

55-

55-

55-

55

-55-

5

55-

55-

55-

55-

55-

5

55-

55--

55-

55-

55-5

555m

b&

K5Klkl

P

oJK5K

o

q=

3

5:4

KAKb-T

flaut. molto

o- - - KfKbb

f f5fibb - f5f- f5- f-

MP

3

K ..Kz

MT

p o

55

55m

5

...KAKb

flaut. molto

o 5

KK

KKn

m

ii

3

i5fimn

MT

p o5:4

ifi- if- - K-

MP

55m 55mm

7

K5K

MT

o .

3K5Kmm

t

flaut.

F55

m}( ) JK5KP

K5Kmm

same speed

7

55-

55-

55-

55-

. . 6

55

55

-55-

55-

55-

55-

6

55-

55-

55

55

55

55

6

55

55

55

55

55

55

legatissimo, brushing the strings

55mb

IK5K . 3

K5Kb bb

Pflaut.

oK5K

q=

3

ifib -MT

flaut. molto

- - - f

MP

5ifib

Sii

oKK

MT

. IKAKm

m

o

flaut.

3

ifi f

3

f5fimnm

S

MT

5:4

f5fim- ff-

o

- KK-MP

K5K

flaut. molto

5

K5Ko

MT

. 5

55J

k!!

NP

Fn

55

P

KK

&

5

55

55

55

55

55

5

55

55

.55b

55555

lm

n

J555bbb o

K5Klkl

F

P

K5K

flaut.

soft accents on the tremolo

same speed

> > > >

- 8 -

release


14/32

&

&

&

?

8

4

16

7

4

5

8

6

Vn. IVn. I

Vn. IIVn. II

Vla.

Vc.

e=

24

3

5Aib -MT

p

flaut.

3

- - - 5f5bb - f

MP

3:2ifibb

S

T

KK

P

3

fim%%%%

flaut. molto

fif5fi

>MT

p

NP

5

f5fib-

ffi- - KK-

MP

o

flaut. molto

5

KKJ

P

.KAKm

m flaut. molto

3

KK

ifi

5

nfi

IJJifim

b! NP

F

.

24

555555mmmm 5

55m

n555555

mb

J

S

3

K5K}

o

7

. Kk-MP

NP

K- K- KKB-

in same speed

24 6

>

p

> > > > >

x=

5555m

m

&

. ff5ib -MT

p

flaut.

ff5i- ff5- ff- ff

P

3 ifibb

ji5>

3:2

ifi

Sii KK

P

NP

III

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

1)

fim MP

flaut.

fif5fi%%%%MT

Sp

f5fibf5fi- f5f- f5- 5- 5-

o

II

IIIIIV

fKbflaut. molto

ofK

KfK

JKfK

mm I

KfK

`

AD

GC 5

55

55

5 5 5

55 5

5 5 5

5

555b

KKB

k-

p

KK- KK-K- K- - - - - 5-

MT

. . K5Kb

o

P

IK5K

q=

55555m

m

3

f5fib-

flaut.

pf5fi- ffi-

3

ff- ff- f- f

punta ifibb

ifib

i5 if5b

Sii

3

KK

F

NP

3

JAi5

m

flaut.

i53f

if 5m%%%%

pJf5fim

3

f5fif5fi-

MT

p

NP

f5fi- f5f

- f5f- ff-

o3

ff- f-P

II, 3I, 0III, 1

open string!

3

KfKb

P

3

ifi

m ( )( )

-MP

o

flaut.

- - -

3

- - ifinm- i

fi- i

fi- i

fi-

noteheads between parenthesis: only fingering, do NOT play withthe bow. They indicate the beginning position of the hand, which

remains constant. The notes become audible through the shift inbow position.

same speed

55

555555

mn

3K5K

P o

KKn

MT

flaut. molto

KKKK

( )( )

IIIII

- 9 -

1)

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


15/32

&

&

&

?

8

6

8

4

8

7

8

5

Vn. IVn. I

Vn. II

Vla.Vla.Vla.

Vc.

e=

27

5

. i5fib-

flaut.

oi5fi-

5

ifi-p

ifi- if- f- f- .f

ifibb

ifi

m

P

NP

i5

ifi

..fi

o

MP

fim

III

IIIIIIV

...JAi5

m o

..i5 ifi 5m 1pS

flaut. molto

i5fim

i5fi3

f5fi-

P

NP

f5fi- f5f-

7

f5f- f5- f5- f-

flaut.

f-

II, 3

III, 1I, 0

open string!!

bow vib. faster than before

5m

5

55m

5

ifim-

p

T

ifi-

o

ifiifi- ii-

5

iiii- i-

MT

i- i-

3

ifim

NP

F

ifi

3f

K

P

Kk( )K

very fast, no morethan 3 bounces

with the same finger

II

5m

3

KK

q }

P

NP

JKK

P o

KK

3

55m( )

flaut. molto

MT

55( )

K5

&

e=

IiAi

flaut.

oiib

p 3ifi f

ifib

m ifib

NP

f5n

m

>!

P5

Ai5

III

IIII

bow vibrato

.fo

ifibm>pS

ifib

ii

3

f5finb-

F

f5fi- f5f-

7

f5f- f5- f5- f- f-

55

m

K

o KKm

o

P

KK KKP o

6

ifib.

f

MT

ifi. ifi. 5fi.f.P

f.

IIIII

I, 3II, 1III, 2

555mn

m

3

K5

MP

K5k

NP

o

7

K5mn-P

flaut.

-

7

- - 55m}- 5- 5- 5- K5n-

7

5- 5- 5- 55}-

same speed

5- 5- 5-I

flaut. molto

e=

s f $

3

i5

o

5

iAibm

f

ii

p

punta

ifi

3

f

flaut.

ifimii

m

5

i

o

fi5

3 i5

IIIIII

IIII

5

3

f

o

MP

ifibm>

T

fp 3ifib

n .f

P

i5ib

m

T

ii

55n 55 5

IJ5o

.

III

. f-flaut.

of- f- ifi

m - ifiifi-

ifiifi- ii-

o5

iiii- ii-

5

o

2)

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

(normal bow)

5-MT

o

flaut. molto

5- - - - - - D- 5

D

z-

MT

D

z- D

z- D- D-

same speed

release

very rythmic, autistic

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

1)

I

- 10 -

whole hand gliss.


16/32

&

&

&

&

85

84

83

45

Vn. I

Vn. IIVn. II

Vla.

Vc.

e=flaut. molto

s ff

555m

kl

30

3 DDb

flaut.

p 3 DD

!

3

Dm

flaut.

T`

5

3

Dm

53

KK5lm

PNP

fIIIII II I

like a shadow of vn. II

3

iAim!

T

Ff

MP

3

f ifim%%%%

T

3

ifi ifim Jff5i ,op

3

5ifi

m

3

iAi iAi

m ifi

Ff

ifi

ii

mMT

ii

iff5

m

3

5 5n

MP

K

5555b

7

D-}

p

- - - D-

D-ORD

..55

l

P

5m K5Kkk

dolcissimo

AD

GC

same speed

?

5

5

-5

5

-5

5

-5

5

-5

5

-5

5

-

flaut. molto

e=

punta

f

MP

flaut.

f5m F

.

..i

fi

b

iib

b MT ii

ifip

3

5

P

D oDm

5555m

m

iAimm

!

T

f

f

MP

3f KfKmm

p

KfK3

ifi

T

ifim%%%%

....ff5io

5

5

m

3

ftflaut.

5f

...ifinmT .

..iif

m

p o

K5KmPNP

o

5m 5m5m

5m

J55l5mK5Kkk

5

K5Km

o

p 3

K5m

o

MP

flaut.

K5

K5

55}

o

T

5

5

5

-5

5

-5

5

-5

5

-5

5

-

5

5

5

-

flaut. molto

e=

flaut. molto

MT

5555m

m

&3

iAi

m

! i

i

!

>

F 3

KfKm

m

KfK

m

KfK D>

MP

p oDb( )

3

f

flaut.

MP

o 3f KfKm

m

P 3KK

ii

T

iimm 3

ifi fi f5i

II, 3I, 0III, 1

open string!

5

5

m

K5KF

K5Km

o

3

f

o

flaut.

ifinm

3

ifiifi

m

P

iif 55

p5

5

5555m 5 5 5[ 5m 5 55

. ijKKJK

o

P

3

KK KKF

KnK}

3

K Kz

Kz

fawcett: mute the C string with first finger, the pitches above are partials of theE 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 bedesirable, however, that the upper pitch (C#) is made audible, as indicated.

- 11 -


17/32

&

&

&

&

?

4

5

4

3

8

4

4

5

Vn. I

Vn. II

Vla.

Vc.

q=

55km

33

3

tAtm

T

flaut.

ott

f

3

Jtt 55nm tft3

ifi

MP

f Kbp

II, 3III, 1

IV, 2

3

5imo

KAKm

mflaut.

o

3KK J

tft

P

tft f

MP

ifimm

3

ifi

T

ii

o

312

3

55bMP

o 3 Jfn

flaut.

P

o 3f

Jif5b

b tfi

5fin

ti

T

KK

p o

312

3

55

5 5 5 5m] 5555m 5n[ 5b 5b 5 5 ]3

Kz

t

o KKJK

o

MP

KKp

3jKK K

Kzb Kz

T

K

MP

P fawcett: mute G string with 1. finger, the 2. finger remains

in the same position. The pitches on the upper staff are tobe produced by the position of the bow, as indicatedabove.

punta

flaut. molto

q=

flaut. moltofinger-pressure trill

3

KAKT

o

flaut.

3

Jii ifip 3

ifinm .f

Kb

MP

p

II, 3IV, 2

312

&

JiAi

mo 3

ii

...ifiifi

p 3

ifi

Ai

i5

II, 3III, 1IV, 2

III, 1I, 0

*) 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 thestring is being pressed down is not important since this string is notbeing played.

*)

*) move the bow in the direction of the bridge tosound only the III string. As you do that, the 3. fingerdepresses the II string to let you play simultaneouslyon the I and II I string, as indicated.

. IfMP

of

ifi

p 5

ifi

iiT

KK

m F

II, 1

312

555 5 5b

555

m 5m[ 5 5

K K

3jK Km

NP

D} Km D} jK KB||

Kznp

punta

IIIIV

flaut. molto

e=

flaut. molto

MT

55k[ ]

fo

P

flaut.

3

f ifimii

mT

i5

p

ii fiS

P

KKb

MP

III, 1

II

I

IIIV

IIIIV

EADG 5

5 5 5 ij5 55[ ]

3

K5

F

3

iAim

o

T

ifiifi

55m

p

MP

3

A55

K5

o(3)10

3

fMP

Ff

...KfK

m

3

ifi

T

ifi

m%%%%

ifim

slow (as smooth as possible)

5 5m ]5b 5

iKz

T

KKb

b

F

3

KK

m

o

P

K5m

P

NP

KmII III

- 12 -


18/32

&

&

&

?

45

44

43

87

Vn. I

Vn. II

Vla.Vla.Vla.

Vc.

flaut. molto

q=

resulting rythm

Ss ff

36 3

f

o

flaut.

3

f Jifi

3

Jifi

ifi

ji

i

m

33

i

5

m

F

NP

i

i

i5

ii

ifi

3

Jf ,DD

flaut.

P

f

III

IIIV

EADG

5 5 5 5 5 5 5 5 5

3JK5 3

KAKT

NP

oJii

3

ifi

p.f fm

MP

3f

ifi

iim

iAi( )

T

555m

o

*)

*) Bow remains SUL TASTO!! Releasefinger-pressure on the III string (G#) inorder to make it touch the bow.

3

ifim

55b>flaut.

T

355 J55m

o 3 DDp

3DD DD

`!

f .

III

5k 555 55b 55 55b

555m

&

K5m Km3

J K5kkF

Kk K5 K

o

3

...K5Km

>P

f

K5Kn

3 K5Kbbb KJ

3o2

5[3

j 5 j5 ]

flaut. molto

q=MT

s ff

MT

J oDDb

3

.f

o

NP

ifi

m

3

i

fi 5

m

f

i

fi

m

3

f

..55 55mMP

o

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

III, 1IV, 4

3

.5 5553

555 55

555555

555

3j5 5 5

3

iAim flaut.

oii

3

Jifi ifi%

T

3

ifimn ff5i ff5im

1) apply the bow on the 4 strings. Throughthe circular bowing, the number of stringssounding at the same time should variatebetween 2 and 4.

1)

5m 5&

35Km>

P

PNP

K( )3

J5jK

o

3

iAi

o

.

.ii

bifi

3

Jifi

5

MP

K5J

harmonic trill:ALTERNATE between 3.

and 4. finger

5[ 5b 5b 5 5] 5K[ 5b 5 5b 5b ]

K Kzt

( )3

KzMP

JKz5

..Kzbo

3

5 5b

5bK

F

ORD

Kb( )

ON the bridge, no pitch

2

o

punta

flaut. molto

s ff

flaut. molto

s ff

q=

vib

punta

flaut. molto

3 J

f5fi

TNP

5

.3

f

5if

>

3

3

f

fi .f

MP

pD}

Dm

( )


*)

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

keep the 1. finger always down

5

ffi5

o fmbNP

3

Jf ffi5m

`

3

ffi5nm

NP

f

5

5b

5 K5J

F . 5 ....

jK5K5bbb

&

f

ORD

3

K5K5K5K5

F o

MP

K5K5

5b 5

3K5

J5( ) J5( )MP

o

5

K5bbP

o

NP

K5b

1) play as near to the bridge as possible(not on the bridge), as to get only the

upper partials of F, no fundamental.

1)

- 13 -


19/32

&

&

&

&

&

?

87

45

44

87

Vn. I

Vn. II

Vla.

Vc.Vc.Vc.

ddddddddd

flaut. molto

e=

39

Jf

f5im

NP

o

f

f5i

n

m

>

f

f

f5im

.D

MP

5 Dm F


try to keep all four strings soundingtrill with the open D string(results in a sort of vertical trill)

f

F jfm !

f

P

ifim

T

if5

ifimm

f

KK

K K5

NP

MP

F

1) I, open string

1)

5m

5m 5555bn

&

3

KmP

pJ K5mm

fJK

p

K5 K

f

K5

pJK K5 K5KLK

...K5K%%%%

K5K

II

*)

*) use the whole bowfor the indicated note

this multiphonic is very unstable. Other notesrather than the indicated might appear. Moreimportant than the exact pitches are the dinamicsand the smooth change between a violentdownbow and the circular bow which follows.

5

55b 55b 5m[ 5n 5m ] 5m 5m

3

K5bK

F

K5Jb

o J

K5Bm

P

o 3

5

Km K.5

f

pitches are only approximative, onlyshow the area of the spectrumwhich should be rendered audible.

punta

flaut. molto

s ff

q=

punta

3

fbMP

NP

o

3i

fib

b

Ji

in

T

5

i

i

i5

ii

i

5

i

i 5 5 5

gliss

3

i

i

b

i

fib fb

MP

3

D

5 jD5mNP

IIIV

III

5[ 5m 5 5 5m 5 5m 5m 55 5m 5m ]5 5m 555nn

555n

&

IK5o

3Kz-

F

MP

3

- - - - K

MPP

J

Km3

JKJ

fKK JK K

o

pitches are only approximate,but should give you an idea ofwhich part of the register isbeing asked for.

3

iAim

mK

!

3

KK

KfKm f

f

ifi

m

5

Iiif

mm

iif%

3iif i 5

f

MP

5b 5b

5 5m

5 5m 5n 5 5 5 5m

K5bb>P

fK5

35m K Kn J5m K

Kn

P5K K K

5

.

KKMP

FKB( )

3

K K

ORD

5

q=

55m5m

3

Km

MP

Pfm 5

ifim

n i

fi

n i

i

T

3

5

i

f

5

5

5i

5

5

5

i

5 5 5 53

i

i

b

n

i

ifm f

MP

II

IIIV

III

55

KAKmmm !

[ ]

ii

3ifi ifim f

3

f

ffi 5

ffi 51

flaut.

5555mn%%%%

1) 1) It is not important if you do not getthe indicated pitches. There shouldbe, however, a subtle change intimbre due to the transition fromharmonic to real note in the l.h.

transition from fast toslow circular bowing

5m555

m 55555

n

n

b

&7I5

o

K5m -P

5-

7

5- 5- 5-FK5J - K5- K5-

5

5

b !6

. KKJk[ ]

P

very violent downstroke(like ripped off). Begin ON

the string

B

5555mb

5m 55 5m5m 5m 5 5 5

5555n

n

J

3

KmP

o

K( ) K

F

K

o

3

5

p

K

P

Km( ) Km>

f

Kn( ) Kn Km( )5 5 Kk

K

MP

F

III

I

- 14 -


20/32

&

&

B

&

?

87

43

84

85

Vn. I

Vn. II

Vla.

Vc.Vc.Vc.

MT

e=

flaut. molto

punta

MT

42

.5

t

o Jfm

flaut.

Jf

fi55

f

f5 i

.NP

. . fif5

b1

.

f

i5fm

%%%%

flaut.

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

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

gliss. with all3 fingers!

fm

t

o 5f ifi

pii Jiif

Jffi 5

3

fif5b

fif f

MP

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

55

b

&

KK

KK>

3

DD

T

pf

f

DDm

p .

5

KKn

-PNP

psame speed

- - - -III

& B

5L[ 5m 5 5 K5 5m 5 5]

K

..Kz

flaut.

pIKz o

. 5

K5Kb-P

NP

-

p

- - -

5

K5Kkbj-

f

- -

MT

q=

f

5ifo .

f

MP

o

flaut.

f

i

fi3

f

f5 i

-NP

- - fif 5m

1

p

5:4

KmMP

of ifi

T

ifi if57

i-

i-

flaut.

fi- fi- ifiifi 5- ifi 5-

IIIIII

IIIIIIV

II

5555

nb5 5 5k

55

7

- -

F

KKJ

B- -- - 55J

B-

p

3KJ( )

jKn

MP

3

K K5kk

p

Kk

harmonic trill, alternatebetween the two fingerings

IVIII

5 5

7

K5>

MT >

>

>

7

>

>

>

f

>

K5b

>

P sempre

K5b K K5b KI sempre

J J

3

f

i5f

%%%%

flaut. molto

5( ).K

f

MP

whole hand gliss.

IV

pressure trill, very fast: the finger goesup und down letting the E sound ashalf-flageolet, flageolet and incidentallyallowing the open string to sound.

5

if5 im 6

iif5b.

NP

iif5

. iif5.

iif5

!

fi>

}MP

IIIIV

stop the ricochet violently byadding bow pressure (mainlywith the index finger of the R.H.)

5k

55

5

5l

3

K5kkKk

oFJKK5lkl 5n( )( )

JDj5flaut.

o

II

III

pressure trill, very fast: the finger goesup und down letting the E sound ashalf-flageolet, flageolet and incidentallyallowing the open string to sound.

5

5

..K5b

P

.K

flaut.

K5n K

NB: keep the bow-speed constant,

the dynamic changes should be theresult of the change in bow-pressure.

- 15 -


21/32

&

&

B

?

85

167

84

165

87

Vn. I

Vn. II

Vla.

Vc.

e=

S

45

f

t

}

flaut. molto

.ff

f5 i

T 5f5 i

f

f5 i

fif5

b 1flaut.

P

poco scratch

K

Jfm

o

MP

flaut.

ifi

ii

T

i59:8

ii

i5 ifi if5 ifi if5 ffi 5

( )

>

MT

.

.

IV

II

I

II

IV

IIIII

IV

IIIII

I

5

555

m55mm

&

5JD IJD

f

5>

.jKKjMP

p

jKK

FKKm

MT

flaut. molto

KK5

mmm

NP

P

III

5 5

3

K5

f

NP

K K5

flaut.

K

.K

.K

harmonic trill: alternate the fingers

J J If

i5f

b

m

%%%%

D

5

IV

6

. . . . . .

NP

ffi5b .

. . ffi5b . .

. .

iffi5b

!

j5m 5>#

flaut.

5

MP

j55m

IIIIV

55mm

KK5mmm

oFJKK5

KK5

. K5K}}!

f

T

5

5

55m

5

55m 5n

Km

Kl

f

NP

.Kl

p

.KmI II

e=

S

S

D>MP

f .

3

f

MP

flaut.

i

fi

b

i

fi

3

f

55i

>MT

6

f

fi5

n

m

>%%%%

flaut.

p

poco scratch

fm

flaut.

MP

5

f

ifi

ii

T

i55

ii

i5 ifim if5 ifi5

if5 ffi 5>

NP

. . .

II

I

II

IV

5

e

55b

K5K

NPP

p

...5K5

!

p

P

5

5K5

KK5bb

flaut.

f

T

6

KK5

fm

ORD

flaut.

i fin

resulting dynamic, compensateloss of bow-pressure with anincrease in bow-speed ("fff").

I, 1

II, 4

III, 2

I55555mm 55m 5m

JKKk

5IJ5m

6

5MP

pKm

3

5K 5

fKm

1) the lower harmonic is a very unstable multiphonic:

of the pitches present in this multiphonic, the moreimportant is the F#. It has been proved helpful to playfirst the normal node for F# and then go down withthe finger to find the multiphonic.

1)I II

&

3

> > >3

> > >

f5m

i

i

n

55 Ii

5fim

m

bow accents (keep the circular bowing)

6

. .

. . . . ffi5b

.>

. . ffi5b

.>

. . . iffi5b

!

p

3

ifn MT

f

fK

I55 iK5K

}}!

T

f

555b&

5Km

p KKm

MP

pKKb

1)

1) always tremolo. Try to achieve a very continuous

texture, as if you could play continuously on threestrings at the same time. Bowing is only a suggestion.

- 16 -

begin ON the string


22/32

&

&

B

&

&

8

7

8

4

8

4

8

3

8

5

Vn. I

Vn. II

Vla.

Vc.

q=

s ff

NV

49

3

K

flaut. molto

MP

f

ifi

m

ii

ifi

>MT

if5

ifi

if5 f f f f f f

ffi5m

m%%%%>

flaut.

fp

scratchpitch always audible

555

555 555

555 555

555 555

555 555

5555555

55b

P

o

fm

flaut.

MP

p 3f

ifi

ifi

3

ii

T

i5 ii

3

i5 ifi if5

3

ifi if5 ifi>

3

ffi 5>

f

- -III

IV

poco scratch

j

iK5K

P

p

NP

55K55

!p

MP

fI5K5

3

JKK5bb

T

flaut.

fIKK5

p

555

JKKKmb J

KKK

JKKK

KKKm 5 !

. . iAimnn

T

p( as loud as possible)

I, capo tastoII, 3III, 2

tremolo segue

MV NV

> > > > > >

555m

..f5..

fim

m

..55n

JKfKmmT

bow accents (keep circular bowing)

7

- -

- - - 3

3

ffi5b .

NP

. .3

ffi5b .

. . ffi5b!

#5 ( )j55m

1) stop the bouncingwith extra bow pressure

1)

3

555

m%%%%

flaut.

MT

. K5K

ORD

K5K

p

3

ifi

f>

MP

f

ifKm

ORD

7:4

ifKn

B -

p

ifK- if

K- if

K- 55- 55- 55-

same speed

e=

NV Vib molto

I II

S

s ff

3

KKKKf

mORD

6

f

( )flaut.

KKf

m

6

iif

m 555

>

56

5 5 5 5ffi5

mm

>1flaut.

P

scratch

1)

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

3

ee

5556

5 555555

555555

6

555

555 555

555 555

555

6

555

555 555

5555555

5

iiflaut.

p

i5

ii

5

i5

ii i5 ifim if5

5

ifi if5 ifi> if5> ifi> Jf5

fi>

55

poco scratch

5:4

5555

> - -

3

5K5

6

MPNP

5K5

5

. .. .. .5K5

5K5

3 J

KK5bb

p

5 )(&

11:8

5B >MP

f

5> 5 5> 5

p

Km- 3 Jiim

p

T

flaut.

(stay beneath viola in balance)

the last note still audible

I

II

as near the left hand as possible

..f5..

fim

m

(..

55n)P

J JNP

p

ffi5b!

5

ffi5

!

5

etc.

11:8

3

ifi

m%flaut.

MT

3 JKfK

p

P1)

I, 1II, 4III, 3

555

mmm )(

555mb })(&

3

KKMP

NP

s fff

3

JKK

o K5Kmmm

MP

p- 17 -

same speed


23/32

&

&

B

&

85

84

45

43

Vn. I

Vn. II

Vla.

Vc.

scratch

e=

NV Vib molto

s ff

53 f5fimm f

MP

f

f

p

ifim

T

f f f Jififfi5mm

>

> >>> > 1ffi5>

flaut.

f

f5fi 5

5

p

j555

*) pitch always audible

molto scratch *)

555

555 555

555 555

555 555

5555555

7

ifi

flaut.

p

if5 ifi if57

ifi if5 ifi if5 ifi if5 ifi>if5>fi>f5 > fi >f5>f5m

55

J I

p

iffi5bm 5 J

#

5555

5555 5555

5555

5555

5555

5555

5555

5

555

555 555

555 555

5

555 555

555 555 555

5555

3

> > >

5:3

...5K5

MP

p

NP

5K5

5:3

.

KK5bb

p

ORD

3

ifin

m1flaut.

MT

p

. KfK

P

bow accents

555

mm 555

3

K5K

K5K

>

s fff 3

K5K

KK

[KK

]K Kf

5

m

}

flaut. molto

T

5

KKf

55

K

}

touch the III string only slightlywith the bow, like a shadow

highly unstable harmonics, thepitches indicated are only a r eference

2)

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

(completely covered by the other instruments)

?

e=

s fff

MV

i i i

5

f

j

p

MP

NP

f f f JfiiMT

55

j

5

ffi5mm>

>>

j

5

..Jf5..

fi

1

..55

j

p

j5555m

n

flaut.

f

sim.

molto scratch

5

555

555 555

555 5555

555 555

555 555

5555555

10

ffi

NP

P

ff5 ffi ff5 ffi ff5 ff ff5 ff ff510

ffi>f5>fi>f5>fi>f5> f5>

scratch

f5 55

..Jf5..fi ..

55

f

NP

....5fi5mB >

!

5

f

5

#

10:8

5555

> 5555> 5555

> 5555>

11:8

5555

>5555>5555

- 5555- 5555

- 5555-555

555 555

555 5555:4

555 555

555 555 555

5555

5

5 3> > >

55b

3

KfK

p

. KK

p

P

..KK

KK5bm

3

ifin

m1T

flaut.

P

. ifi

>NP

III, 2IV, 2

III, 2IV, 3IV, 1

I, 3II, 1III, 2

(as loud as possible)

&

jKf

55

K

}

5

Kf

5

}5

KKf

5

f

NP

o

5

Km

jKf . i

j55!

flaut. molto

MP

1)

1) keep bow speed constant, make cresc. only with bow pressure

I, capo tasto!!

q=

molto scratch

SVib

NV

3

5#

,>

P

f5

T

55

fm

p

fi

3

fif5 55

ffi5mm>

ffi5>

3

>

3

ffi5

1>NP

3 p

.>Jf

fi5m sim.

IV III

molto scratch

3

5 5555

555 555

555

3

555

555 555

5555555

....Jff5in

F

..f5\ f5

fi 55

.

f

NP

ffi5Bm!#

tremolo sigue

555555 555

555 555

555 555

555 555

555 555

5555555

> 5555> 5555

> 5555> 5555

> 5555> 5555

> 5555> 5555

> 5555>

555

- 555-555

- 555-555

- 555-555

555 555 555 555

555 555 555

5555

> >>> >

5

ifi ..KK

P

3

KK

JKK5bm

s fffIKK5

IfMP

p

3

Jf ifinm1

ORD

f

ifi

>


number of bow accents does not have to be exact

ifim

T

5}

3

fiim if

e

B 5iif

if

5

f

NP

55

o KKm

p

MP

K KKb

(as long as the 3 notes sound simultaneously)

stop tremolo, only open string

?

- 18 -


24/32

&

&

&

&

43

85

44

84

165

89

Vn. I

Vn. II

Vla.

Vc.

molto scratch

molto scratch

Vib molto

q=

56

..f5m..

fi ..

55p

ffi5mm

>

> > > > >

555

555 555

555 555

5555555

5

....Jff5i

p

5

f5\ If5fin

55

5

555 555

555

5

555

555 555

555 I5555

>

5

5555

> 5555> 5555

> 5555> 5555

>

7

> }>>> >>>

3

ifi

5K5

MP

p

3

J5K5

5K5

...KK5bnb

P

s fff p


3jKKK

KKKm

s fff

3

KKK

p

K

3

JiAi

m

flaut.

T

//stop trem.

1) as usual, the indications for bow-position becomerelative in the context of playing on non-adjacentstrings. In this case, TASTO means as near to thefingerboard as possible as long as only the stringsindicated are reached by the bow.

1)

keep tremolo

S

S

Vib

> > > > ffi5mm

>1

( )

NP

ffi 5m>

P

3

!

f

ffi5m

5

5555

> 5555> 5555

> 5555>I555

-

5

555-555

- 555-555

- 555

3

555

555

3

}

> > >

5

. fMP

FJf ...ifimm1

ORD

ifi

II, 1

Jifif

ifip

...ifi

mm

f

MP

compensate flaut. with bow speed

molto scratch

q=

molto scratch

S

Vib molto

NV

MVNV

..f5m

.

.fi ..

55

ffi5m

>

ffi5

> ffi5

> ffi5

> ffi5

> ffi5

> ffi5

> ffi5

> ffi5

> ffi5

> ....

ffi5

>1NP

j555m

555

555 555

5555

5

ff5im

f

5

I f5fin 55

5

....ffi5m ffiBb!

f5

555

555

555 5555

I555

5555

> 5555> 5555

> 5555>

5

5555

> 5555> 5555

> 5555> 5555

>

5

I5555

>555

- 555-

555

555

8

}> > > > >>> >

3

ifi

5K5f

MP

5K5

KK5bnb}

s fff

5

KK5} . f!

>

MP

f

Vib molto

3

f...

ifim

m1ORD

ifi

>

Vib molto

same speed

>


poco

3

f

f

p

ifim

m

5

.

.ii

ORD

i

3

i

jif

5

f

3

if

5

...ifim

p

NP

ifi

!#)(

poco scratch

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

?

molto scratch

e=

molto scratch

NV

55mB

55

mn

55n

55m

ffi5

Bm

ffi5mm

ffi5

ffi5

ffi5

5

....ff5im

f

f5

fiB 55

J

5

555

555

5555555

5555

5

5555

5555 5555

5555 5555

5:43

> >>

iAi

T

f

ifi

5

f

..5fB

}ORD

5.... . . . . .

I, 3II, 1III, 2

III, 2II, 1

1) very regular, clear tremolo, quasispiccato. Number of repetitions ad lib.

1)

poco

3 Jf

MP

3

ifim

m

F

.

.ii

T

i

I, capo tasto

II, 1III, capo tasto

MVNV

ffi5mm

ffi5

ffi5

Jffi5

>1NP

J5

ffi5nm 5 j}

5 5 5fibm!

3

f!>

5

Jfiimm1

55 3

iif

B

>

Vib moltosame speed

> >

i if

5

ifim

p

NP

I, 3II, 1III, 2

?

- 19 -


25/32

&

&

&

&

89

87

86

45

Vn. I

Vn. II

Vla.

Vc.

e=

sempre

molto scratch

NV

molto scratch

NVMV

61ffi5m

B

>

ffi5mm

( )

ffi5

ffi5

ffi5

ffi5

ffi5

ffi5

ffi5

>0

5

Jffi5m fiB

55

fiB 55

f f5

ffi5>

ffi bB

the gliss. begins here

5:4

555

5555

5555 5555

5555

5:4

5555

5555 5555

33

> > >

iAi

T

f

ifi

ORD

55B}

....... .

555

B.

3

f!

Vib molto

f!1

5

fiin 5

5n I

iif

B!#

1)

1) transition to very regular, short tremolo

3)

3) as short as possible

III, 2II, 1IV, 2

2)

2) the 2. finger plays on both III and IV strings. As the strings are ratherfar apart from each other at such a high position, the intonation of eitherthe lower or the upper pitch might not be very accurate.

poco

61

5

ifi

!#

. 5!

P

f

...if

i

f

fii if

imm ORD

55

)( T j55

5

5

.5 5

5

?

e=

ffi5mm

#

ffi5

#

ffi5

#

ffi5

#

ffi5

#

ffi5

#

ffi5

#

molto scratch sempre

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

5

f5m 55

fiB 55

fi

f

5

ffi5

molto scratch sempre

sim.

sempre

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

1)

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

5:4

5555

5555 5555

5555

5

5555

5555 5555

5

I5555

3

Jifi

T

f

5 )(55B . . ... 55

5 . ... .}

3

f!

Vib molto

f!1

3

Jfii

55

n Iiif

mm!#

3

if

5

ifim NP

f

ifi

!

ifi!

.

fii1

f

ifim

m if

3

i ifm if

5

?

e=

NV Vib

MV

3

ff55mm

( )

3

ff55

3

ff55

3

ff55

3

ff55

3

ff55

1)

1) begin the stroke ON the strings: fi rst apply extra pressure, thenproduce a very violent down-stroke, like ripping off the strings.

mute with the bow

5

f5m 55

fi f5fiB 55 5

. ffi5

always on the four strings

5

5555

# 5

# 5

5 # 5 # 5 #

5

5 # 5

#

3

ifi

f

ifB} . . . .

3

Jif . . . .

.3

3

fn!

f!

ifim

n 5555m

1

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

if

5

m

. . . . . . .3

i5im

NP

f

i5im

!

! ! . ifim

n1

!

5

ifim

m3

ifi

fi5

II, 1III, capoI, 0

open string

always mute in then pauses

- 20 -


26/32

&

&

&

&

45

84

84

163

84

165

Vn. I

Vn. II

Vla.Vla.Vla.

Vc.Vc.Vc.

q=

molto scratch

64 Iff55mm>

. Iff55>

. Iff55>

. Iff55>

. Iff55>

.

5

f5M( )>sempre

fi

m

55

fi

5

f5M( )fiB

55

fi .

5

f5M

.f5M

5

.f5M

5

ffi5 M

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

1)

2)

2) mute with the bow

like before, always with the open II and IV strings

5b

3

555

5

b #!

3

555.

. .3

3

. . .3

. . 555n .

3

.f!

f!

3

f i

fi

. i

ff

5

Bm

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

I, 3II, 1III, 2

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

3

fi5

3

fi5m

...

3

. . .

33

if

5

m

. 5. 5.

f

NP

...ifim

m1

ifi

bn

5

5b

f

55555

5

I, capoII, 2

III, capo

I, capoII, 2

III, 1

?

e=

Vib molto

MV

Iff55mm>

. Iff55>

.

5

.ffi5B M

5

f5M

5

555.2

.# .5

. . . . . 5IJ555!

II, 3 !!III, 2IV, 1

3

555

55 55

55 53

if

5.

.

.

33

.

.

.

"

NP

f

?

+

Iff55mm>

. ff55#

!

>5 . iff555

#

!

>

the bouncing of the bow should begin almost unnoticed andshould be always as fast as possible. The number of repeatsare not ment to be exact, they give only an approximateindication of the relative size of each gest ure.

5

f5M

.

5

f5M .f5M I

ffi5 M

mutates into ric. (always extra bow pres sure)

3

.f!

sempre

f!

ffi5

ffi5m

m!#


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

3

ifimm1

NP

ifim

ifi

5

5n

55m5555

e=

. iff55mm 5#

! . iff555

#!

5

Iffi5m M .

5

if5

M!

#

. if5

M

!

#ric.

mordente mutates into molto vibrato

5

. 555.#

.2

5

. . . . 555m !

555m

555n

m IJifib!#

. .

A

DGC

II, 2I, capoIII, 3

1) regular tremolo, continue thegesture of the previous measure

1)5 55

- 21 -


27/32

&

&

&

&

16

5

8

5

8

4

8

3

16

12

Vn. I

Vn. II

Vla.Vla.

Vc.

68 iff55mm

#

! .always mute at the pauses

5

.iffi5

!

#

always mute at the pauses

.3

f!

ff55

!

e=

SHAKE

Vib molto

ff55mm >

#

!

sempre

5

ff55>

#

!5 ff55>

#

!5

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

1)

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

5

.ffi5

m

#

!5

5

ffi5

m

#

!5

5

ffi5

#

!

transition from vib. molto to shake

5

5555mm !#

5552! #! ! !

5

! 555nm!# .

6

ff55!5

ifibn

!

NP

...ifib

1

6

ifi55n - 55b

-

6

55- 55b-

6

fiim. fiin . fi . fi . fiib

!#

I, capoII, 2III, 1

II, 2I, capoIII, 3

e=

gliss

(SHAKE)

SHAKE

MV

5

IJff55mm

#

>!

6

5

#

>!

6

5

#

>!

1) gliss with the whole hand, unperceptible

1)

2)

2) ric. + bow tremolo: the bow is thrown violently against the strings (as ifyou were to play a ricochet, just like before) and at the moment of firstcontact with the strings, a tremolo is played (always with extra bowpressure).

5

ffi5

#

!5

5

ffi5

#

!

sempre

5

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

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

1)

5

5555mm !2

555!#

!2 555nm !#

.

3

ifib

NP

6

ifi

55>

sempre

55b. .

6

f5im!#

!

f5i!2 f5!#

f5!2

6

f5!#

f5ib!2

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

e=

MV

MV

tonwolf mute (metal)

5#

>!

. 5#

>!

5

ffi5

m

( )!

#

5

5

IJJ

ffi5

#

!

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

1)

5IJ555m!

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

6

ifib!#

sempre

!2

! !

6

fiim! fii! fi! fi! fi! fiib

!

6

fii! !

always mute on the pauses

- 22 -


28/32

&

&

&

&

1612

169

169

168

84

165

165

Vn. IVn. I

Vn. IIVn. IIVn. II

Vla.

Vc.Vc.

ek=

72 . . . Iff55#

!

. ffi5#

>!

. .

. .5:3

fiim!#

fii!2 fi!

q .}fi! fi!

. . Iff55#

!

ffi5#

>!

. .

555 55

. KK-

K

MP

KK- KK

- - KK-o

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

5:3

fiimb! ! ! fiin

! .

ek=

. . IJff55#

!

8

. . ff55m !

#!

. .

.5:3

fiim!# fi!#

fi!#

s=s

IJff55#

!

.

3

ff55 !

#!

5

fiimm-T

5fii ...fii-

5

..fi- fi-1)

1) rythmic precission is not important: thewritten gesture is a continuation of thequintuplets in cello. Just keep this samespeed, even throughout the bar.

gliss. of the 3. finger only

NB: dynamics always absolute, youmight need to compensate the effectof the mute by using more bow-speed.

like a shadow

same speed

555

m&

5:3

fiimb!# !#

!#

fiimn!#

2)

2) this chord requires a big extension of the 2. finger and thethumb. If you cannot reach all three notes, drop the lowestone (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 isto play the chord given as ossia insted of this last chord.

OSSIA

( )

II, 2I, capo

III, 1

e=

IJJff55

#

!

!

. .

IJJff55 !

#!

. .

13:8

fi ..fim-} ..fi- ...fii- ...fii-

o

3

fiim!# sempre

3

fi!

.

.

7

. ff55!

>#

3

fiimb!

!

3

fiin m!

- 23 -


29/32

&

&

&

&

165

164

166

44

Vn. IVn. I

Vn. IIVn. II

Vla.

Vc.Vc.

MV

x=

78

IJJ

ff55

#

!

!

.

IJJff55 !

#!

. . .

...ifi

flaut.

o

.>

.>

>

very subtle accents, inppp

.

3

fiim!

.> .>

same speed

3

fiimb!

IJfiim! sempre

.

x=

IJJ

ff55

!

#!

.

3 I55m o

flaut. molto

I55

III, 1IV, 2

in one bow, if possible(VERY slow bow)

NB: dynamics are absolute

55B

>%%%% >

o K5K5BBB

o

MP

NP

-

- - - -only the insinuation of a pulse

same speed

3

fiimb !

3

fiimm!

q=

IJ

ff55

m

!#

! . .

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

J55 ....if5f ....5555 55MT

55 5555m


avoid a cresc. (very slow bow)

1)

1) the bow position doesn't change!! Theinner strings come in contact with the bowthrough the increase in bow pressure.

55

m

&

3

- - 3 JK5Kbb}}

punta o

T

3K5K J

K5K

P

B

3

I55m!

IJ

ff55

m

!#

! . .

55553

J5555o 3 5fi

flaut. molto

T

oEADG

legatissimo, bowing ad lib.

5555

m )(

K5K

3

K5K

K5KP

KK

KKl o

3

55m!

IJ

ff55

m

!#

!} . .

.p

3J 5fi

fi5mB

o

55m

MP

punta

o5

flaut.3

55

J55

o//&

3

I5m!

- 24 -


30/32

&

&

&

&

Vn. IVn. IVn. I

Vn. IIVn. II

Vla.

Vc.

bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbAT

tonwolf mute (metal)

84

IJ

ff55

m

!#

. .

fD5

flaut.

Dm fD

as near to the L.H. as possible

accents with bow-pressure

84

7:4

> > > > > > >

..55iff

5}

T

iff

5

iff

5

iff

51)

1) barely touch the IV string with the bow, enoughonly to make the C sound in the octave indicated

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

legatissimo 2)

2) if you need to change bow, then use circularbowing, trying to avoid any interruption in the sound.

molto fragile

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

NV

IJ

ff55

m

!#

. .

fD

p

7..JfD

. ...Jfi5m

o

flaut.

II, 3 or 4III, 2 or 3I, 0

in one bow

7:4

> > > > >

555

5

555

5

555

5

iff

5

IJ

ff55

m

!#

} . .

fi5 fi5

fi5 fi5

molto fragile, instabile

poco vib.

55kl

&3i

ff

5o

. iK5K5lkk k

o

PNP3

K5K5 jK5K5

p1)

1) more important than the exact intonation of the1/8-tones is the fact that they are an inflection of thepitches in cello, and thus they should be interpreted as"slightly higher".

5

5m

&

3K5

}o

P

NP

JK5K5m

3

JK5K5

K5K5p

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

&

NV

dolcissimo

MV

IJ

ff55

m

!#

. .

fi5

fi5 fi5 fi5

3

K5K5 jK5K5

3

K5K5

o

5 )(

o

55m

&

K5K5

3

J55

K5K5nm

....J

K5K5 o

IJ

ff55

m

!

. .

fi5

%%%%

fi5 fi5 fi5

5

fiim-

flaut.

T

-

5

- - fiinm m -

III, capoIII

legatissimo, only subtleaccents with bow pressure

55m&

3 J55o

T

55 IJ55I!

P

. . . IKKb%%%%

o

III

I

II

slow and continuous

?

- 25 -

5


31/32

&

&

&

&

?

Vn. IVn. IVn. I

Vn. II

Vla.Vla.

Vc.

bbbbbbbbbbbbbbbbbbb

89

IJ

555

!

. .

Ifi5o

. 5

iAA5m

flaut.

oIiff5

5

....iff5 ff2)

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

legatissimo, very slow bow ( in one bow)

5

fii fiimm -

o

5555b 55555mm )(

KK KKKJ

KKKKKK

KKKB

+III

1)

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

/ (small variations in dynamics, always very slow changes)

IJ

555

!6

. .

55 55MP

KK

55m

&

3

K5Kmm

o

MP

3

JK5Kp

K5K

555555mmn

3KKK JKK

KK KK3J KK

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

legatissimo, bowing ad lib., very slow and continuous

IJ

5

5

!6

. .

555

n

m

..JKKo

KK5

MP

NP

oKK5

balance: the IV stringshould be louder thanthe III string (the mainpitch is the lowest one).

...K5K o

3

K5mm

flaut.

o

MP

K5

3jK5

o

KK KK KK

3

KKo

555}

IJ5K5K!6

. .

I, 0II, 1-4III, 2

555mn

3

KK5o

KKmKo

KK

3 KK5

o

MP

NP

KK5

...KK5o

5

5&

...K5K

o

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- 26 -


32/32

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Vn. IVn. IVn. I

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duration: ca. 7' 10''

salzburg, 27.III. 2005

- 27 -

Date post:	07-Apr-2018
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