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Amaranthine Violin, Cello and Piano (optional flute, clarinet, harp and french horn)
Dedicated to NAT 28 and the Longleash Trio
-
-
2017 Duration: 6’
Peter Kramer
1
PROGRAM NOTE Amaranthine was written during the Winter and Spring of 2017. There are two performance versions, one for piano trio premiered by the Longleash trio, and another for piano trio + flute, clarinet, harp and french horn commissioned and premiered by NAT 28. I would like to thank my good friends Jean-Patrick Besingrand and Zoe Sorrell of Nat 28 for commissioning this piece. Amaranth/amaranthine
1. An imaginary, undying flower. 2. Unfading, everlasting: a woman of amaranthine loveliness.
As I row over the plain Of the sea and gaze Into the distance, the waves Merge with the bright sky … As certain as color Passes from the petal, Irrevocable as flesh, The gazing eye falls through the world Haiku - Fujiwara no Tadamichi (Trans. Kenneth Rexroth) Phoenix and the Tortoise (fragment) – Kenneth Rexroth
2
NOTE TO PERFORMERS Pay close attention to the more articulate, accented and dynamic subito moments in the texture, these should stand out. The more gradient and white-noise sounds should act as a second layer of counterpoint to these articulate moments, always blending with the piano resonance. Additionally, be mindful of moments of synchronicity, where one part ends and another begins (marked by vertical lines between parts), and where the sounds discussed above pass among the trio itself. OPTIONAL FLUTE, CLARINET, HARP & FRENCH HORN There are three possible performance versions of this piece, one for piano trio, another for piano trio + flute, clarinet and harp, and a third that incorporates an off-stage french horn (see below). The piano trio should be arranged in the center of the stage, if the flute, clarinet and harp are being used they should be arranged around the piano trio itself, the french horn should be positioned off-stage possibly behind the audience. The flute, clarinet and harp “mime/double” the members of the piano trio (flute doubles violin, clarinet doubles cello, and harp doubles piano), this mime-trio should not play in strict time with the piano trio, rather they should phase in and out of synchronicity sometimes compressing or elongating their musical material. OFF-STAGE FRENCH HORN At mm.61-62 the off-stage french horn should sustain the note B3 or possibly B4 (whichever is most comfortable). Begin at a pp dynamic and crescendo to the loudest possible dynamic, sustain the note for as long as physically possible while maintaining a clear and cutting tone.
3
GENERAL TECHNIQUES Table of Fermati:
=2-5”
=5-8”
=8-13”
Where a mute sign is present (never in the piano) suddenly/abruptly mute the sound of your instrument.
Dynamics in parenthesis denote a sound (i.e. toneless, muted, percussive) which will not sound at the written dynamic, however the intensity of the dynamic within the parenthesis should be executed.
Stable/non-fluctuating dynamics should be sustained without any cresc. or descres.
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Recitivo (freely, not too fast)
en presence d'un revé (continued)
29
58 3132 128
128 88 38
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{Romance : einfach, semplice e=100
I. Prelude, tenere "to hold" fortune
Prelude (tempo 1) q=50_55 Furioso (tempo 2) a little slower
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* This material "Romance" should sound as if coming from very far away (echo), and should be immediately interupted by the material in m.2 "torn off"!** Release the sos. pedal before the attack of the sustain pedal, this should produce a slight reverberation/echo in the piano.
(sos.)
ped.
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(1/2)
∑
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(slide foot off)
∑
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**see note
percussive!
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Œ œ# œœ# œœœ# OOOJ ® œœb# ≈ ™ ®
œ œjœ œ œ œ œ œ
2
{Copyright © 2016
Bookend IBegin by capturing the given notes in the sostenuto pedal (assuming a playing position), these notes should be held into the following page. While holding these notes read sonnet 116 silently to yourself, as a sort of prayer or ritual before moving on to the first movment attacca.
Not Sorrowfor Yingying Su
Peter Kramer (b.1989)
Piano
616&
SONNET 116 - ShakespeareLet me not to the marriage of true mindsAdmit impediments. Love is not loveWhich alters when it alteration finds,Or bends with the remover to remove:O no! It is an ever-fixèd markThat looks on tempests and is never shaken;It is the star to every wandering bark,Whose worth's unknown, although his height be taken.Love's not Time's fool, though rosy lips and cheeksWithin his bending sickle's compass come;Love alters not with his brief hours and weeks,But bears it out even to the edge of doom.If this be error and upon me proved,I never writ, nor no man ever loved.
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Œæææœ 6 66
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Œæææœ 6 66
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Œæææœ 6 66
4
STRINGS m.s.t. / s.t. / ord. / s.p. / m.s.p. (molto sul tasto / sul tasto / ordinary position / sul pont / molto sul pont) The string players are encouraged to move as close to the fingerboard or bridge as possible, creating an airy sound near the fingerboard and exciting different partials near the bridge. c.l. / c.l.b. (col legno / col legno battuto)
Molto vibrato (m.v.), create a wide and wild vibrato up to a quarter-tone sharp and a quarter-tone flat. Throughout the piece vibrato ad lib. unless the abbreviation (s.v.) senza vibrato is indicated.
Unmeasured tremolo, should always be unmeasured and never predictably rhythmic, and should always contain added accented impulses within the given dynamic.
Toneless sounds, noted with square note heads are played on the open strings by muting/resting the left hand on the indicated strings in such a way that when bowed the sound contains next to no pitch resulting in an airy/toneless sound. See the musical example below, when a square note head is found in this position on the stave it indicates for the tailpiece to be bowed, also creating an airy/toneless sound.
{
{
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2
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Pno.
44
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œ œb œb œn œ œb œn œb œb œb œn œb œ œ œn œb œ œb œb œn œn œb œb œn
Œæææœ 6 66
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Œæææœ 6 66
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Œæææœ 6 66
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≈ 66 ™™ œœ Œ Ó 6J ≈ ‰™
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5
PIANO Pedal Abbreviations: ped. (sustain pedal) sos. (sostenuto pedal) u.c. (una corda pedal) Pedal Markings: 1/2 (denotes a half pedal, when half-pedaling, previous sounds should still be ringing "quasi-echo") full (denotes a full lift of the pedal, all previous sounds should be eliminated)
Percussive pedaling, slam the foot down onto the pedal, creating a loud percussive sound, this should also excite the strings to resonate throughout the piano creating a resonant sonority from the piano itself.
“flutter pedaling” this technique is notated with a trill-like symbol and is performed by rapidly depressing and releasing the sustain pedal with the right foot, creating a percussive noise that excites and elicits the resonant sound of the piano to speak.
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2
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Œæææœ 6 66
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3
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WINDS
Flutter tongue
Ord tone (full pitch) / air tone (mostly air with some pitch)
Molto vibrato (m.v.) create a wide and wild vibrato up to a quarter-tone sharp and a quarter-tone flat.
Air tone sounds are notated with square note heads and should contain no pitch (air tone sounds in the flute will always be accompanied by the “closed embouchure” symbol described below). See the musical example below, when a square note head is accompanied with a wedge symbol above it, finger the notated pitch and inhale (as opposed to exhaling) through the instrument, creating a toneless sound.
Closed embouchure (flute only), this symbol indicates that the embouchure should be entirely covered, the resulting sound should be completely toneless.
{
{
Pno.
2
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44
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Œæææœ 6 66
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Œæææœ 6 66
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Pno.
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44
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Œæææœ 6 66
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Œæææœ 6 66
Copyright © 2017
Part I q=50_55
Peter Kramer (2017)
Amaranthine
Fl.
3 °¢™™Fl.
7 ü†™™Fl.
11
Fl.
14 104 38
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sub.
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œ œb œb œn œ œb œn œb œb œb œn œb œ œ œn œb œ œb œb œn œn œb œb œn
Œæææœ 6 66
°
¢
{Copyright © 2017
Part I q=50_55
Peter Kramer (2017)
Amaranthine
Vln.
Vc.
Pno.
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104
104
38
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(on tail)
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m.s.p.
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(IV)
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sfz
Æ >
(mf-f)
. #ÿ◊
5
&ped.
(full)
.>
ødolciss.
"mf"
sub.-percussive!
"ff"
∑"f"¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
≈Oœ# OOb OOnb OOb OO## OO ™™j
fiœ œnOOæææOOn OObb ≈ 66n ‰ 6
J ‰ ≈ æææOOn OObb
fiœn œ œOOn# OObb On
æææœJœBbæææœj ≈ æææ
OObb OO# ‰™fi
œn œOOb OO# OO# OO ‰™ æææ6 æææJ Œ 66r
fiœ œ‰™ OO#
fiœ# œb œ œb œn
OOæææOO## ≈
œœ#J œœ ‰™ œ œR œ œœJ œ œR œ œœ
œœœœœbbbb J Œ œn ™J Ó ‰
2
°
¢
{
7 ü†™™
ü†™™
ü
†
™™™™
Vln.
Vc.
Pno.
516
516
24
24
34
34
18
18
34
34
&
m.s.p.
pp
IIIIV
mf
IIIIIII
>sub.fp
#"mp"
>
(bridge)6 ord.
pp ûù ff …
¯¯¯¯¯¯¯¯m.s.p.
fp
IVIII
IIIIV
>3
?m.s.t.
IV (trill)III
p pp
Ÿ~~~~~~~~~~ Öord.
sfz …
.>m.s.p.
fp
IIIII
> pp
ord.
p
b gliss.
(very airy)m.s.t.
ppp
m.s.p.
pp
IIIIV
3
&p (mf-f)
.
percussive!
##.> (mf-f)
sfzÿ◊
pp
>
dolciss.
5
&(ped.) ¯¯¯¯¯¯¯¯¯¯¯¯
∑sfz
(full)ø
"mf" (1/2)ø
Œ ≈ ≈ OO OObb
fi
œ œœn
OOn#æææOObb On OOn OOn# OO# 66
æææOO ™™j ≈œ
≈ œO OObb
œœb O# ≈ 66R ‰ OO#r fi
œ œ œnOO OO## ™™ ˙ ™˙ ™ œB ‰ OO#
r
Œ œR œ œœœR ‰™ Œ œ œœ ™ œ ‰
Œ ≈ Ó Œ œjœJ
3
°
¢
{
11
Vln.
Vc.
Pno.
34
34
24
24
34
34
38
38
&....
pp mp
IIIIIII
>f
IIIII
>pp
Upizz.
sfz
.>arcom.s.p.
p
IV
pp
poco rit.
∑>
5
?mf
ord.IV (trill)III
p
> ùûmp …
Ÿ~~~~~~~~~~~~~~~~~~ Uc.l.(ord.)
p
æææ
pp (freely)
(unmeasured tremolo)
>
poco rit.
∑
&(mf-f)
#sub.
: ;
(mf-f)
U
sfz
>
: ;
poco rit.
>
>
ÿ◊.
5 5
5 5 5
&(ped.)
∑"f" sempre¯¯¯¯¯¯¯¯¯
"ff"
∑
(1/2)ø
∑fpp sub.
OOn# OObb Onfi
œ œOOnæææOOn# OO# OO OO## ≈
œ#≈
Oœn#æææOOb ™™
fiœ# œ œn œb
fi
œ œœnOO<#> æææOO## ™™ œœb Ob Œ ® œb œn œ œb œ# œ œn œ# œ# œ œb ‰
œœ fiœ œ œ œ Œ œ œœ œr fiœ œ œ œœ œ# ™ œ œ œ#R œb œœ ™™ œœ œ# r
4
°
¢
{
14
Vln.
Vc.
Pno.
38
38
34
34
44
44
&
a tempo m.s.p.
pp
IIIII
p
¯¯¯¯¯¯¯5
ord.
pp
o l.r.
ûù ff
poco rit.
∑ ∑
?a tempo ....I
II
pp
c.l.b.ord.
#c.l.s.p.
p pp
> . . .poco rit.
∑ ∑
&
a tempo
(mf-f)
sfz > 5
poco rit.ÿ◊loco
pp
5
5 5 55
&dolciss.
(+una corda)
pp
∑
(senza una corda) "mf"ø
decresc. poco a poco
∑ ∑
Œ ™ ≈ æææOO# OO# OO ≈œ
Œ ™ œœ œ˜ Œ œ# œ# œ œb œ# œb œn ®
Œ ™ Œ œ œœr œ œ œ# ™ œ# œ
œnR œ œb ™ œ œnR œ œb ™ œ œ
œœ ™™œ ™
5
°
¢
{
18
Vln.
Vc.
Pno.
44
44
58
58
316
316
24
24
&"mf_"
s.p.
sub.sfz …
...molto rit...
.>
√ a tempo
pp ùû"mp" …
55
?"mp"
...molto rit...
>ppp
5
√ a tempo
arcos.p. (flau.)
œIII (trill)IV
p
Ÿ~~~~~~~~~~~~~~~~~~#
pp
m.v.¯¯¯¯¯5
&loco
pp sfz
. >5
...molto rit... √ a tempoÿ◊5
&(ped.)
(1/2)ø
slowly up...
decresc. poco a poco
sos....off
pp
(hold)
ped.
(p/mf)
"mf"
percussive, a little softer dolciss.
pp
#¯¯¯¯¯¯¯5 5
≈ 66 ™™ œœ Œ Ó 6J ≈ ‰™
Œ æææ6R æææJ ‰™ Ó ‰ Œ œœ## OO## ™™jœ
œbR œ œ œœ ™™ œœœ# œœœ ‰ œ œn ‰™Ó ‰™ œbJ œ œœb ™™ œœœb ‰ Ó œœ ™™jœœ ™™J
6
°
¢
{
21
Vln.
Vc.
Pno.
24
24
38
38
58
58
&ord.
mf_
- s.v.
≈ m.s.p.
fp>
ppmp
IIIIV
>
ord.
sfz
Æ√
3
?m.s.t.
mp
#pp
Öord.
sfz ….> .5
≈ (ord.)
fp
#(III)
>
m.s.p.
mf pp
>gliss.
"mf_"
s.p.
sub.sfz …
√.>
5
&(p/mf)
sfz
ÿ◊ ≈loco
f
>/0
(p/mf)
.> sffz >
(p/mf)
>5ÿ◊ √
5 5
&(1/2)
(ped.)
∑¯¯¯¯ ø
"ff"ø
(full)
.> ø"ff"ø
?
Œœ
≈ Oœ OObb
fiœn œO
æææOOn# OOb ‰ œœnn
œœ œBb ‰ 66 66 ≈ æææœJæææœj œ œµœj ≈ 66 ™™ œœ
œ œœ œœ ™™ œ
œœ#J Œ œœbbr
‰ œnœnr œœ#
œœœœœ#j Œ ‰ Œ
7
°
¢
{
24 °¢™™
°¢™™
°
¢
™™™™
Vln.
Vc.
Pno.
58
58
24
24
516
516
24
24
&m.s.p.
fp> mf
IIIIV
III
>
IIIIV
pp (freely)
c.l.ord.
p. . .
ppp
1. tutti2. vln+vc. play as written
3 5
?m.s.p.
p
#ùû
(III)
f
>ppp
gliss.
(m.s.p.)
pp
III
mp
IIIII>
fp
(III)
sub. …
c.l.ord.
>sfz
(full bow)
(II)
ppp
(III)
1. tutti2. vln+vc. play as written>
≥
(pitched)
arco
"f"
>
5
&loco
p (p/mf)
/0.
ÿ◊?
loco
sffz (p/mf)
&' . >5
(p/mf) pp (pp)
>.
ÿ◊. . . . .
5 5 5
?
NOTE TO PIANO: play mm.26-35 as written during the 1st repeat, during the 2nd repeat play only m.26 as written, mm.27-33 perform only the percussive pedaling, do not touch the keyboard!
(ped.)(full)
.
ø ‘“ '"mf"
"f"
∑¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 1. tutti
2. vln+vc. play as written (pno. see note below!)
∑percussive!
5
≈œOb Oœb
fiœn œ œ œO
æææOOn# ™™ OOb O OO## OOn ≈ œ# œb œn œ# œ œb œ# œ# œn œn œ# œn œb ® Œ ≈
œJœj
æææœ œBb ≈ æææOn ™ OO#Æœn œ œnOO# OO## Ob ® œ# œ# œ œ œ# œb œ Œ 6R
œnœœœœ## j Œœœnr
œ# r œ œœ ™ œ# œœ œb ™ œn œ œ œ œ œœœ## J Œ œœ
r Œ
8
°
¢
{
27
Vln.
Vc.
Pno.
24
24
34
34
18
18
&
arcom.s.p.
pp
IIIIV
mf
IVIIIII
p
IIIIV
>
c.l.ord.
pppp
. . . ."mf"
arcom.s.t.
…
5
pp ùû5
?pp
m.s.p.
fp
IIIIIIII
>mp
,
ppp
c.l.ord.> (II). . . . .
arco
p_ …
5
5
&(p/mf) sfz (p/mf)
.>>
ÿ◊loco
p
>
calm
5 5 5
?ped.
∑ ∑¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
"mf"
∑ &
≈ OO# ™™ OOb
fiœn œO
æææOO## OO ‰ œ# œb œn œ#Œ 66 ≈ Œ Œ 6
≈fiœ œ œ
O ™ OO# OO# æææOO## ™™ œ# œ œ œ# œb ≈ ™ Œ æææ6R æææ æææ Œ
œ œ# œ# r œœ œ# ™ œœ œb ™ œ Œ œ œ œ
9
°
¢
{
30
Vln.
Vc.
Pno.
18
18
44
44
34
34
&"mp" ppp
5"mf"
m.s.t.
>pp
5
p_ …
m.s.p.
IIIII
fp pp
IIIII5
?"fp"
ord.>5
pp
m.s.p.
sfz …
.>5 pp ùû
(pitched)
"mf" pp
m.s.p. IIIII
p
>
fp
II
sub.
>5
&pp
p sfz
. >
5 p p dolce
(poco)>
&dolciss.
(ped.)(1/2)
.
.
ø"ff"
"f"
>
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯"mf"
∑5 5
J R Œ Œ Œ æææ66r æææ ≈ Ó 6 ≈
fi
œn œæææOO# OO#
‰ ≈ 66 ™ œœ ≈ Œ 6R
fi
œ œ‰™ OO
Æœn œOO## æææ
OO## On
‰œ#R
œ# œ œŒ œ œn œœ œœ
œœRœœr ≈ Œ œb œR œ œ ™ œ# Œ
10
°
¢
{
33
1.
1.
ü†™™
ü†™™
ü
†
™™™™
Vln.
Vc.
Pno.
34
34
14
14
34
34
&
pizz.ord.
mf
.>
p
arcom.s.p.
IIIIV IV
sub.fp
IIIII
pp>
5 U
(from vc. sound)
s.p.
pp ûù sfz ….>
55
?III
pp5
,
mf
pizz.ord.
b>
p"mp_"
arcom.s.p U
(quivering/rustling) sfz ….>
5 5
&: ;
.pp
U.
dolce
5
&(p)
(ped.)"ff"ø> ?
dolciss..&
p ppp
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯5 5
5 5
œ Œ
fiœ œ œ OObb
rOn æææOOn# OO#n ≈ Œ 66 œœ
‰™ Œ
OO#ROOb
Æœ œn œœ œµ ‰ æææ66n ™™
j æææ æææ œœr Œ Œ
œ# œ œn œR œœr ‰™ œ œ
Œ
≈fiœ œ œ œœ ™ œb œ œ œb ™ œœœnnR ‰™ œb œb ™ œ œ ™ œ#
Œ
11
°
¢
{
2.
2.
36
Vln.
Vc.
Pno.
44
44
34
34
&"mp" pp
5
pp
IIIII
m.s.p.
IIIII
p
ord.
pp
IIo l.r.
ùû ff
poco rit.m.s.p.IIIIV
p
III
>
IIIIV
pp
55
?pp
5
m.s.p.
IIIII
p
>
sub.mp
III
III>
5
poco rit.
mf
s.t.
>pp
Ÿ~~~~~~~~~~~~~~~~~~ m.s.p.
p
>5
&p dolce mf
poco rit.
>”“
pp5 5
&"mf"
∑
"ff"ø
sub. > .5
6 J ‰™ Œ ≈
fi
œ œ œ
æææOOb OO# œn Œ OObbr
On æææOOn# OO# ≈
æææ ≈ Œ ‰™ fiœ œ œ
OORÆœn œOO## OO## O OO#R æææOOb œœnn OB ‰ 66n ™™J
œ œ œ Œ ≈ œ# ™ œb œ œœ ™
œ œ# œn œ œR
12
°
¢
{
°¢™™
°¢™™
°
¢
™™™™
ü†™™
ü†™™
ü
†
™™™™
38
Vln.
Vc.
Pno.
34
34
14
14
38
38
316
316
58
58
&1. tutti2. cello alone3. tutti
...molto rit... 6m.s.t.
p
5
œ
ppp
a tempo
,m.s.p.s.v.
fp
.> pp mp
¯¯¯¯¯¯>
3
?(m.s.p.)
...molto rit...
p_
a tempo6m.s.t.
p5
ppp
œ ,
mf
ord.s.v.
b> m.s.p.
pp …
&
...molto rit...
p
>
pppp
a tempo
dolciss.
,
f sffz
#.> >ÿ◊
pp.
&
1. tutti2. cello alone3. tutti
5
? &
"ff"ø
(full)
.> ø?
dolciss.
&.
Œ Œ ≈ æææ66 œœŒ ≈
Oœ# OOb OOnb OOb OO## OO ™™j
R æææ66 œœ
æææœJœBbæææœj ≈ æææ
OObb OO# ‰™
˙ ™œœ
œœJœœœ œœ œœ
Œ Œ ≈ œ œœœœ œœœœœbbj Œ œœœœ#n œœœn
13
°
¢
{
42
Part II (much slower, very free)
Vln.
Vc.
Pno.
58
58
14
14
316
316
24
24
18
18
34
34
&fp
IIIIV
>"mf_"
ord.5
…
≈
TACET
√∑
U
?IIIIV
fp pp
IIIII
>… "mp"
≈
TACET
√∑
U
5
&mf-f sfz
. >5
sffz
ÿ◊ ≈
p
Æ
(pizz.)
√
(normal)
p
∑pp
U
&"mf"
sub.percussive!
"ff" (sos.)
? ....off
(+una corda)
tenderly
fiœ œnOO<#><#>
æææOOn OObb ≈ 66n ‰ Œ ‰™ ‰
fi
œn œOOb OO# OO# OO ‰™ æææ6 æææJ Œ ‰™ ‰
œ œR œ œœJ Œ ‰™ ‰
Ó ‰ œ ‰™ œ œœœ ‰
14
°
¢
{
47
Vln.
Vc.
Pno.
34
34
18
18
516
516
54
54
18
18
& ∑ ∑
≈
? ∑ ∑≈
&pp
∑f
.>
sffz
#>
ÿ◊
"f" , pp
∑...very slow...
≈
?
(+una corda)
tenderly
# &
(senza una corda)
.>(strike lowest strings with fist/palm)
(full)ø
? åå‘“(+una corda)
b.>
‰ Œ ≈
‰ Œ ≈
œœ#J œœ ≈
œœœ œœœ œœœœœœœœbb J Œ
œr œœœ œœ
œœœœ
œœœ
œnœœ
15
°
¢
{
51
Vln.
Vc.
Pno.
18
18
104
104
34
34
& ∑
? ∑
&p.
mp
(freely, swiftly)
pp mf
.>ÿ◊
9
?
(ped.)
(+una corda)
.
(senza una corda)
(full)
bbø‘“
slowly up... ...off
‰
‰
œœœœœ##j ® œ œb œn œb œ
œn œ# œ# œ Úœœnb j
œœœŒ Ú
16
°
¢
{
Part III (tempo 1)
53
Vln.
Vc.
Pno.
34
34
516
516
24
24
34
34
&p_
m.s.p.
mf
IIIIV
>sub.
fpmp
(IV)
…>
m.s.p.
pp
IIIIV
mf
II
>
?s.t.
p>
m.s.p.
sub.fp
IIIIV
>mf
pp
m.s.t.IV (trill)III
p pp
Ÿ~~~~~~~~~~~~ Öord.
sfz …
.>m.s.p.
fp
IIIII
> pp
5
&sfz
>
(mf-f)
. #p (mf-f)
.
percussive!
##
ÿ◊
.>
5
?ped.
∑¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑sfz
(full)ø
6J ‰ ≈ æææOO OObb
fiœn œ œOOn# OObb On Œ ≈ ≈ OO OObb
fi
œ œœn
OOn#æææOObb On
Œ 66r
fiœ œ‰™ OO#
fiœ# œb œ œb œn
OOæææOO## ≈ œœb O# ≈ 66R ‰ OO#
rOO OO## ™™
œ œR œ œœ Œ œR œ œœœR ‰™Œ ≈
17
°
¢
{
56
Vln.
Vc.
Pno.
34
34
18
18
34
34
24
24
&IIIII
sub.fp
#"mp"
>
(bridge)6ord.
pp ùû ff …
m.s.p.
fp
IVIII
IIIIV
>
....
pp mp
IIIIIII
>f
IIIII
>pp
U3
?ord.
p
b gliss.
(very airy)m.s.t.
ppp
m.s.p.
pp
IIIIV
mf
ord.IV (trill)III
p
> ûù mp …
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ U3
&(mf-f)
sfzÿ◊
pp
>
dolciss. (mf-f)
#sub.
: ;
(mf-f)
ÿ◊ U5
?(ped.)
"mf"
?
(1/2)ø
∑¯¯¯¯¯¯¯¯¯¯¯¯
"ff"
OOn OOn# OO# 66æææOO ™™j ≈
œ≈ œO OObb OOn# OObb On
fi
œ œOOnæææOOn# OO# OO OO## ≈
fiœ œ œn
˙ ™˙ ™ œB ‰ OO#r
fi
œ œœnOO
æææOO## ™™ œœb Ob Œ
Œ œ œœ ™ œœœj œœ fiœ œ œ œ Œ œ
Ó Œ œœœœJ
18
°
¢
{
59
Vln.
Vc.
Pno.
24
24
34
34
14
14
&IV (sempre)
ord.
pp freely, expressive, vib. ad lib.
poco rit.
>
IVIIIo
œIV
ûù
#
(poco)…
5 55 5
?c.l.(ord.)
p
æææ
pp
(unmeasured tremolo)
>
poco rit.
∑
&sfz
>
(mf-f): ;
poco rit.
>
>
ÿ◊.
5 5
5 5 5
?(ped.)
∑
(1/2)ø
∑fpp
Œ Œ œ# rfiœ œ œœ œ ™ œ œ œr œœ œ ™ O
® œb œn œ œb œ# œ œn œ# œ# œ œb ‰
œœ œr fiœ œ œ œœ œ# ™ œ œ œ#R œb œœ ™™ œœ œ# r
19
°
¢
{
Coda (tempo 1)
61
Vln.
Vc.
Pno.
14
14
104
104
&
a tempo
∑TACET
√
?
(bow the body of the instrument, very slowly and deliberately)
a tempo
p
≤ (full bow!) /w w+ + h 0
pppp
√…
&
a tempo
pp dolciss.
. ∑TACET
√
?
(no pedal!)
. ∑final draft 02/24/17score 03/17/17New York, NY
Œ
6 Œ
œœnr ‰™
œœœœ#r ‰™
20
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