RNY 1311 - Michael Gordon - The sad park

MICH A E L GO R D ON THE SAD PARK FOR AMPLIFIED STRING QUARTET WITH ELECTRONICS AND AUDIO BACKING TRACK

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FULL SCORE

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duration ca. 40 minutes

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Commissioned by the Kronos Quartet, through the generosity of Mrs. Ralph I. Dorfman with additional support from the Barbican, London (UK), and the National Endowment for the ArtsQuartet

Š 2006 by Universal Music Corp. (ASCAP) International Copyright Secured. All Rights Reserved.

RNY 1311 ISMN 979-0-041-61311-6 Warning : Unauthorized reproduction of this publication is prohibited by Federal law, and subject to criminal prosecution.

RNY 1311

program note: The Sad Park

Part 1: Two evil planes broke in little pieces and fire came.

Part 2: There was a big boom and then there was teeny fiery coming out.

Part 3: I just heard that on the news that the buildings are crashing down.

Part 4: And all the persons that were in the airplane died.

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The recordings used in this piece are of children, ages 3 and 4, and were made by Loyan Beausoleil, a pre-kindergarten teacher at University Plaza Nursery School in Lower Manhattan, between September 2001 and January 2002. (My son Lev was in Ms. Beausoleil’s class during this period.) Her ongoing work with these children is chronicled at http://www.youngestwitnesses.com

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When I heard these recordings I was struck by the raw tunefulness of the children’s speech. These specific segments were chosen for their musicality as well as for their content. I worked with sound designer Luke DuBois on the post-production of these tapes. In Parts 1 and 3, the sound clips are gradually slowed down to reveal the hidden acoustical properties of the speech. Parts 2 and 4 use an electronic music technique called granular synthesis, in which tiny ''grains'' of sound from the original source are captured and compacted together.

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The Sad Park

Part 1

Michael Gordon

'Two evil planes broke in little pieces and fire came' Driving, but inexpressive.

(Audio Track begins at :00) With groove and drive.

28" q = 113 Do not accent the beat.

Violin 1 28" Violin 2 Click begins@:29 gritty dry sound: all upbows

28" Viola

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mp

Yo

28"

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Cello

N

4

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Vla.

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by

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14

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yr

Vla.

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19 Vla.

24 Vla.

29 Vla. gritty dry sound: all upbows

Vc. mp RNY 1311

(continue similarly throughout)

2

34 Vla. sim.

Vc.

39 Vla.

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Vc.

Yo

44

ew

Vla.

or di

N

Vc.

(M51-bell@2:14)

49

by

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Vla.

Vc.

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54

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Vla.

C

Vc.

59 Vla.

Vc.

64 Vla.

Vc.

RNY 1311

3

69 Vla.

Vc.

74

gritty dry sound: all upbows

Vln. 1 mp gritty dry sound: all upbows

Vln. 2

Yo

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mp

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Vla.

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N

Vc.

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79

by

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Vln. 1

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Vln. 2

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yr

Vla.

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Vc.

84

sim.

Vln. 1 sim.

Vln. 2

Vla.

Vc.

RNY 1311

4

89

Vln. 1

Vln. 2

Vla.

Vc.

94

Yo

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Vln. 1

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Vln. 2

or di

N

Vla.

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Vc.

99

R

(M101-bell@3:57)

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Vln. 2

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Vla.

Vc.

104 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

5

109 Vln. 1

Vln. 2

Vla.

Vc.

114

Yo

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Vln. 1

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Vln. 2

or di

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Vla.

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Vc.

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119

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Vln. 2

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Vla.

Vc.

124 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

6

129

Vln. 1

Vln. 2

Vla.

Vc.

134

Yo

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Vln. 1

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Vln. 2

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Vla.

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Vc.

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139

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Vln. 1

yr

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Vln. 2

op

Vla.

C

Vc.

144 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

7

149

(M151-bell@5:39)

154

Gradually slowing down and a bit less dry

Vln. 1

Vln. 2

Vla.

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Vc.

Yo

Vln. 1

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Vln. 2

or di

N

Vla.

q = 96

R

159

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Vc.

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Vln. 1

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Vln. 2

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Vla.

Vc.

164

Slowing down and a bit more sound from the bow

Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

8

169 q = 78 Vln. 1

Vln. 2

Vla.

Vc.

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174

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Vla.

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Vc.

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Vln. 2

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Vla.

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Vc.

184

Slowing down and becoming more sustained and legato by M190

Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

q = 55

189

9

(glissando occupies full value of note)

legato sul tasto

Vln. 1 3

p

3

3

3

3

Vln. 2

Vla.

Vc.

Vln. 1 3

3

3

3

3

3

3

3

N

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Vln. 2

3

Yo

3

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or di

Vla.

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Vc.

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Vln. 1

3

3

3

3

3

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3

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Vln. 2

op

Vla.

C

Vc.

(M201-bell@8:08)

201 Vln. 1 3

3

3

Vln. 2

Vla.

Vc.

RNY 1311

10

205 Vln. 1 3

3

3

3

3

3

3

3

3

3

3

3

Vln. 2

Vla.

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Yo

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Vc.

N

209

3

3

3

3

3

3

3

3

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Vln. 1

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Vln. 2

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Vla.

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Vc.

213 Vln. 1 3

3

3

3

Vln. 2

Vla.

Vc.

RNY 1311

11

217 Vln. 1 3

3

3

3

3

3

3

3

Vln. 2

Vla.

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Yo

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Vc.

221 3

3

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Vln. 1

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Vln. 2

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(Audio Track continues, Click stops.)

224

15"

3 4

Vln. 1 3

3

3

3

15"

3 4

Vln. 2

15"

3 4

Vla.

15"

3 4

Vc.

RNY 1311

12

Part 2 'There was a big boom and then there was teeny fiery coming out.'

Play expressively with the contours of the audio track, building the sound gradually through M53. q = 60

(M2-bell@10:06)

3 4

Vln. 1

(Click begins)

3

3

3

3

3 4

Vln. 2

Vc.

3 4

Yo

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N

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Vla.

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mp

or di

6 Vln. 1 (phrase glisses similarly)

3

3

Vla. 3

3

3

3

3

3

3

3

3

3

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mp

3

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(phrase and gliss. like vln.2)

by

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Vln. 2

3

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3

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Vc.

10

(phrase and gliss. like vln.2) 3

Vln. 1 3

3

3

3

mp

Vln. 2

Vla. 3 3 3 (phrase and gliss. like vln.2)

3

3

3

3

3

3

3

3

3

Vc. 3 mp

3

3

3

3

3

RNY 1311

3

3

3

3

3

3

13

14

3

3

3

Vln. 1 3

3

3

3

Vln. 2

Vla. 3

3

3

3

3

3

3

3

3

3

3

3

Vc. 3

3

3

3

3

3

3

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3

(M18-bell@10:50) very gradual increase 3

3

3

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Vln. 1 3

3

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Vln. 2

3

3

3

3

3

3

3

3

3

3

3

3

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3

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Vla.

3

3

3

3

3

3

3

3

3

3

3

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Vc.

22

3

3

3

Vln. 1 3 3

3

3

3

Vln. 2

Vla. 3

3

3

3

3

3

3

3

3

3

3

3

Vc. 3

3

3

3

3

3 RNY 1311

3

3

3

3

3

3

14

26 (M26-bell@11:33) 3

3

3

Vln. 1 3

3

3

3

3

Vln. 2

Vla. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

Vc. 3

3

3

3

3

3

3

3

3

30

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3

3

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Vln. 1

3

3

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Vln. 2

Vla. 3

Vc.

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34

3

3

3

Vln. 1 mf

3 3

3

3

3

Vln. 2 mf

Vla. mf

3

3

3

3

3

3

3

3

3

3

3

3

3

Vc. mf 3

3

3

3

3

3 RNY 1311

3

3

3

3

3

15

38

(M38-bell@12:28) 3

3

3

3

Vln. 1 3

3

3

3

Vln. 2 3

3

3

3

3

Vla. 3 3

3

3

3

3 3

3

3

3

3

3

3 3

3

3

3

3

Vc.

42

3

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Yo

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3

3

3

N

3

3

3

3

3

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Vln. 1

R

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Vln. 2

3 3

3

3

3 3

3

3

3

3

3

3

3

ht

3

by

Vla.

3

3

3

3

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3

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Vc.

3

3

3

3

46

3

3

Vln. 1 3

3 3

3

3

3

Vln. 2 3

3

3

3

3

3

Vla. 3 3

3

3 3

3 3

3 3

3 3

Vc.

RNY 1311

3

3

3

3

3 3

3

16

50

3

3

3

Vln. 1 3

3

3

Vln. 2 3

3

3

3

3

3

Vla. 3

3

3

3

3

3

3

3

3

3

3

3

Yo

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Vc.

(Audio Track continues through tacit...)

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6

N

Vln. 1 3

3 3

3 3

6

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Vc.

3

sul tasto / floating

ht

3

3 p

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Vla.

sul tasto / floating

6

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3

3

p

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Vln. 2

sul tasto / floating

6

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3

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3

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3

62

(M63-bell@14:09)

Vln. 1 3

3

3

3

Vln. 2

Vla. 3

3

3

3

3

3

3

3

3

3

3

3

Vc. 3

3

3

3

3

3

RNY 1311

3

3

3

3

3

3

17

66

Viola: Big Hall Reverb (on)

sul tasto / floating 3 3

3

3

3

3

3

3

Vln. 1 p

3

3

3

3

Vln. 2

ord.

Vla. 3

3

3

3

3

3 mf

Vc. 3

3

3

3

3

3

3

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3

3

3

3

3

3

3

3

3

3

3

3

3

N

70

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Yo

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Vln. 1 3

3

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Vln. 2

3

Vla.

3

Vc.

3

yr

3

3

3

3

3

3

3

C

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3

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3

73

(M74-bell@14:39) 3

3

3

3

3

3

3

3

3

Vln. 1 3

3

3

Vln. 2 3

Vla. 3

3

3

3

Vc. 3

3

3

RNY 1311

3

3

3

3

18

76

3

3

3

3

3

3

3

3

3

Vln. 1 3

3

3

Vln. 2

Vla. 3

3

3

3

Vc. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

N

79

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Yo

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3

or di

Vln. 1 3

3

ic

Vln. 2

3

R

3

by

Vla.

3

ht

3

3

3

3

3

3

3

3

3

C

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3

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Vc.

82

(Audio Track: I just heard...@15:03) 3

3

3

3

3

3

3

3

3

Vln. 1 3

3

3

Vln. 2 3

3

Vla. 3

Vc. 3

3

3

3

3

RNY 1311

3

3

3

3

19

85

Viola: Reverb Off 3

3

3

3

3

gradually move to ord.

3 3

3

3

Vln. 1 3

3

3

gradually move to ord.

Vln. 2 gradually move to ord.

sul tasto / floating

Vla. 3

p

3 gradually move to ord.

Vc. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

N

Vln. 1

3

ew

88

Yo

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3

3

or di

3

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Vln. 2

3

Vla.

ht 3

3

3

3

3

3

3

3

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91

op

yr

3

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Vc. 3

3

by

3

3

3

3

3

3

3

3

3

3

Vln. 1 3

3

3

Vln. 2

Vla. 3

3

3

Vc. 3

3

3

3

3

RNY 1311

3

3

3

3

20

94

3

3

3

3

3

3

3

3

3

3

3

3

Vln. 1 mf

3

3

3

3

Vln. 2 mf

Vla. 3

mf

3

3

3

Vc. 3

3

3

3

3

3

3

3

3

3

3

3

3

rk

3

98

3

3

3

3

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Yo

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3

3

3

3

N

Vln. 1

3

3

3

3

or di

3

R

ic

Vln. 2

3

Vla.

3

by

3

3

ht

3

3

yr

3

3

3

3

3

3

3

102

3

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op

3

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Vc.

3

3

3

3

3

(Audio Track continues, Click stops.)

3

3

3

3

3

12"

4 4

Vln. 1 ppp 3

12"

3

4 4

Vln. 2 ppp

12"

4 4

Vla. 3

3

ppp

3

12" Vc. 3

3

3

3

3

3

RNY 1311

3 ppp

3

4 4

21

Part 3 'I just heard that on the news that the buildings are crashing down' legato, but every note with energy

Vln. 1

q = 180 (Click@16:16 - cue only)

e = 360

4 4

7 8

sim. (opposite bowing, staggered phrasing)

p

4 4

Vln. 2

sim. (opposite bowing, staggered phrasing)

7 8 p sim. (opposite bowing, staggered phrasing)

Vla.

7 8

rk

4 4 4 4

7 8

N

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Vc.

Yo

p

or di

6

R

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Vln. 1

by

Vln. 2

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ht

Vla.

C

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yr

Vc.

11 Vln. 1

Vln. 2

Vla. expressive

Vc. p RNY 1311

22

16

a little more

Vln. 1

Vln. 2

Vla.

Vc.

rk

21

Yo

Vln. 1

ew

Vln. 2

or di

N

Vla.

ic

Vc.

R

26 mp

ht

Vln. 2

by

Vln. 1

4 4 4 4

yr

ig

mp

Vc.

4 4

mp

4 4

C

op

Vla.

mp

(Click@17:04 - cue only)

30

4 4

7 8

Vln. 2

4 4

7 8

Vla.

4 4

7 8

Vc.

4 4

7 8

Vln. 1 ppp

ppp RNY 1311

23 a tempo

36

sim. (opposite bowing, staggered phrasing )

7 8

Vln. 1

p

sim. (opposite bowing, staggered phrasing )

7 8

Vln. 2

p

Vla.

7 8

Vc.

7 8

sim. (opposite bowing, staggered phrasing )

p

rk

41

ew

Yo

Vln. 1

N

Vln. 2

or di

Vla.

R

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Vc.

by

46

ht

Vln. 1

yr

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Vln. 2

C

op

Vla.

Vc.

4 4 4 4 4 4 4 4

50 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

24

54

sim. (opposite bowing, staggered phrasing )

2 4

Vln. 1

7 8 p

2 4

Vln. 2

sim. (opposite bowing, staggered phrasing )

7 8 p

Vla.

2 4

7 8

Vc.

2 4

7 8

rk

59

Yo

Vln. 1

N

ew

Vln. 2

or di

Vla.

R

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Vc.

by

64

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

69 Vln. 1

Vln. 2

Vla. sim. (bow with vln. 2)

Vc. p RNY 1311

p

sim. (bow with vln. 1)

25

74

4 4

Vln. 1

mp

Vln. 2

4 4

Vla.

4 4

mp

mp

4 4

Vc.

mp

rk

79

Yo

Vln. 1

ew

ppp

ppp

N

Vln. 2

or di

Vla.

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Vc.

R

a tempo

sim. (opposite bowing, phrase together)

by

85 (Click@18:24 - cue only)

7 8

ig

ht

Vln. 1

op

yr

Vln. 2

C

Vla.

Vc.

p

sim. (opposite bowing, phrase together)

7 8 p

sharply articulated

7 8 mf

7 8

90 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

26

95 Vln. 1

Vln. 2

Vla.

Vc.

rk

100

Yo

Vln. 1

sim. (opposite bowing, phrase together)

ew

Vln. 2

p

N

ord.

or di

Vla.

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Vc.

by

R

105

ht

Vln. 1

p

4 4

yr

ig

Vln. 2

expressive

4 4

C

op

Vla.

Vc.

109

4 4 4 4

sim. opposite bowing, phrase with cello

Vln. 1 p

Vln. 2

Vla. sim. opposite bowing, phrase with violin

Vc. p RNY 1311

p

sim. (opposite bowing, phrase together)

27

113

molto rit.

(Click@19:15 - cue only)

7 8

Vln. 1 ppp

7 8

Vln. 2 ppp

7 8

Vla. ppp

7 8

Vc.

ew

Yo

rk

ppp

a tempo

119

sim. opposite bowing, phrase together

Vln. 1

N

7 8

or di

mp

Vln. 2

sim. opposite bowing, phrase together

R

mp

by

7 8

Vla.

ic

sim. opposite bowing, phrase together

7 8

mp

ht

sim. opposite bowing, phrase together

C

op

mp

yr

Vc.

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7 8

124

sim.

Vln. 1 p sim.

Vln. 2 p

Vla. p

Vc.

RNY 1311

sim.

28

129 Vln. 1

Vln. 2

Vla.

Yo

rk

Vc.

mp

N

4 4

Vln. 1

ew

sim.

134

mp

ic

4 4

Vln. 2

or di

sim.

mp

by

Vla.

R

sim.

4 4

mp

139

C

op

yr

ig

Vc.

ht

sim.

4 4

(Click@19:54 - runs through M177)

a tempo

5 4

Vln. 1 ppp

sim. opposite bowing, phrase together

5 4

Vln. 2 ppp

mp sim. opposite bowing, phrase together

5 4

Vla. ppp

mp

5 4

Vc. ppp RNY 1311

29

144 Vln. 1

Vln. 2

Vla. sharply articulated

rk

Vc.

ew

Yo

mf

N

147

or di

Vln. 1

by

R

ic

Vln. 2

ig

ht

Vla.

C

op

yr

Vc.

150 Vln. 1 mf

Vln. 2

Vla.

Vc.

RNY 1311

30

153 Vln. 1

Vln. 2

Vla.

ew

Yo

rk

Vc.

N

156

or di

Vln. 1

R

ic

Vln. 2

ht

by

Vla.

C

op

yr

ig

Vc.

159 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

31

162 Vln. 1

Vln. 2

Vla.

ew

Yo

rk

Vc.

N

165

or di

Vln. 1

R

ic

Vln. 2

ht

by

Vla.

C

op

yr

ig

Vc.

168 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

32

171 Vln. 1

Vln. 2

Vla.

ew

Yo

rk

Vc.

N

174

or di

Vln. 1

R

ic

Vln. 2

ht

by

Vla.

177 Vln. 1

C

op

yr

ig

Vc.

(Click@21:16 - cue only.)

4 4 ppp

Vln. 2

4 4 ppp

Vla.

4 4 ppp

Vc.

4 4 ppp RNY 1311

33

(Click Track ends here.)

185 a tempo

sim. opposite bowing, staggered phrasing

Vln. 1 mp sim. opposite bowing, staggered phrasing

Vln. 2 mp

expressive (continuous glissando)

Vla. mp

rk

sim. opposite bowing, staggered phrasing

Vc.

N

ew

Yo

mp

or di

189

ic

Vln. 1

by

R

Vln. 2

ig

ht

Vla.

C

op

yr

Vc.

193 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

34

197 Vln. 1

Vln. 2

Vla.

ew

Yo

rk

Vc.

N

201

or di

Vln. 1

R

ic

Vln. 2

by

Vla.

205

C

op

yr

ig

ht

Vc.

slowly move to sul pont.

Vln. 1 slowly move to sul pont.

Vln. 2

Vla. slowly move to sul pont.

Vc.

RNY 1311

35

209

sul pont.

Vln. 1 sul pont.

Vln. 2

Vla. sul pont.

ew

Yo

rk

Vc.

N

213

or di

Vln. 1

R

ic

Vln. 2

ht

by

Vla.

C

op

yr

ig

Vc.

217 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

36

221

ord. expressive

Vln. 1

Vln. 2

Vla.

Vc.

rk

225

Yo

Vln. 1

N

ew

Vln. 2

or di

Vla.

ic

Vc.

by

R

229

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

233 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

37

237 Vln. 1

Vln. 2 (continuous glissando for 1' 30")

Vla. p

241

Yo

rk

Vc.

(continuous glissando joining viola for 1' 30")

ew

Vln. 1 p

or di

N

(continuous glissando joining violin 1, viola for 1' 30") ord. expressive

Vln. 2

ic

p

R

Vla.

by

(TACIT)

tune C string to B-flat

ig

ht

Vc.

*continue as indicated below

op

yr

245

*continue as indicated below

C

Vln. 1

Vln. 2

*continue as indicated below

Vla. *continue as indicated below

Vc.

1'30" 3"

250 Str. p *Cue: "And all the persons that were in the airplane died" is heard 3X. After the 3rd time, Cello starts a long slow glissando from the bottom note to the extreme top of the instrument. Violins 1-2 and Viola immediately sneak in with the cello so that the whole group makes one large glissando, fading out when reaching the top. This long glissando lasts 1' 30". Take a slight pause (3") and continue on to Part 4.

38

Part 4 'And all the persons that were in the airplane died' End Audio Track suddenly at downbeat of Part 4.

Distortion on all instruments*

Driving, full throttle q = 170 non vib.

4 4

Vln. 1

fff non vib.

(sim.)

fff marcato off the string

(sim.)

Yo

Vla.

4 4 fff non vib.

scordatura

ew

Vln. 2

rk

4 4

N

4 4

Vc.

or di

fff

ic

5

by

R

Vln. 1

ht

Vln. 2

(sim.)

9

C

Vc.

op

yr

ig

Vla.

marcato

Vln. 1

Vln. 2

Vla. marcato

Vc. *A distortion effect, similar to the type of distortion an electric guitar player uses, should be added to all instruments.

I prefer the sound of an Ibanez Tube Scream, but any quality distortion unit is fine.

RNY 1311

39

13 Vln. 1 (as before)

Vln. 2

Vla. non vib.

Vc.

rk

17

Yo

Vln. 1

N

ew

Vln. 2

or di

Vla.

ic

Vc.

(sim.) marcato

by

R

21

ht

Vln. 1

yr

ig

Vln. 2

op

Vla.

C

marcato

Vc.

25 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

40

29 Vln. 1

Vln. 2

Vla. marcato off the string

Vc.

rk

33

Yo

Vln. 1 (as before)

N

ew

Vln. 2

or di

Vla.

ic

Vc.

by

R

37

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

41

marcato

Vln. 1

Vln. 2

Vla. marcato

Vc.

RNY 1311

41

45 Vln. 1

Vln. 2

Vla.

Vc.

rk

49

Yo

Vln. 1

N

ew

Vln. 2

or di

Vla.

ic

Vc.

by

R

53

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

57 Vln. 1 (as before)

Vln. 2

Vla.

Vc.

RNY 1311

42

61 Vln. 1

Vln. 2

Vla.

Vc.

65

rk

marcato

Yo

Vln. 1

ew

Vln. 2

N

marcato

or di

Vla.

ic

Vc.

by

R

69

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

73 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

43

77 Vln. 1

Vln. 2

Vla.

Vc.

rk

81

Yo

Vln. 1

N

ew

Vln. 2

(as before)

or di

Vla.

ic

Vc.

by

R

85

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

89

marcato

Vln. 1

Vln. 2 marcato

Vla.

Vc.

RNY 1311

44

93 Vln. 1

Vln. 2

Vla.

Vc.

rk

97

Yo

Vln. 1

N

ew

Vln. 2

or di

Vla.

ic

Vc.

by

R

101

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

105

marcato

Vln. 1

Vln. 2 marcato

Vla.

Vc.

RNY 1311

45

109 Vln. 1

Vln. 2

Vla.

Vc.

rk

113

Yo

Vln. 1

N

ew

Vln. 2

or di

Vla.

ic

Vc.

by

R

117

ht

Vln. 1

yr

ig

Vln. 2

C

op

Vla.

Vc.

121 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

46

125 Vln. 1

Vln. 2

Vla.

ew

Yo

rk

Vc.

N

129

or di

Vln. 1

R

ic

Vln. 2

ht

by

Vla.

C

op

yr

ig

Vc.

Feedback On - All instruments should begin feeding back into the system. Sudden stop at end.

133 Vln. 1

Vln. 2

Vla.

Vc.

RNY 1311

ht

ig

yr

op

C by or di

ic

R N

ew

Yo

rk

ht

ig

yr

op

C by or di

ic

R N

ew

Yo

rk