Bára Gísladóttir: Prussian Blue (2017)

Bára Gísladóttir Prussian Blue (2017) for violin and piano Dur. 11′

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Bára Gísladóttir Prussian Blue (2017) for violin and piano Dur. 11′

NOTE The idea behind the piece is to paint a musical painting with the pigment Prussian blue, a dark blue pigment with the idealised chemical formula Fe7(CN)18. The music depicts the colour itself as well as the creative process of a painting; preparation, pigment mixing, failed attempts, splashing despair, detailed manual dexterity, from unfocused overview to a focused zoom in on the finest textures, and the question of where and how to end it all.

Prussian blue was composed for Elfa Rún Kristinsdóttir and Mathias Susaas Halvorsen in the summer of 2017 on the occasion of the festival “Deilt með tveimur” (E. Divided by two) held by the Icelandic National Broadcasting Service the same year.

Explanations for Prussian Blue EXPLANATIONS Explanations for Prussian Blue Explanationsfor forPrussian PrussianBlue Blue Explanations Explanations Explanations for for Prussian Prussian Blue Blue Explanations for Prussian Blue

Violin Explanations for Prussian Blue Violin Violin Violin Violin Violin Explanations for Prussian Blue Violin s.p.

– sul ponticello Violin

s.p.

–––sul sul ponticello s.p.–– sul ponticello s.p. sul ponticello s.p. ponticello s.p. ponticello s.p.

–– sul sul ponticello m.s.p.

– molto sul ponticello Violin s.p. sul ponticello s.p.

– sul ponticello Violin m.s.p.

– molto sul ponticello m.s.p.––––– molto sulponticello ponticello m.s.p. molto sul ponticello m.s.p. molto sul m.s.p. molto sul ponticello m.s.p. molto sul s.t.

– sul tasto m.s.p.

– molto sul ponticello ponticello s.p.–––sul sul ponticello m.s.p.

–ponticello molto sul ponticello s.p. s.t. sul tasto s.t.

– sul tasto s.t.

– sul tasto s.t.

– sul tasto s.t.

––– sul sul tasto s.t. tasto m.s.t.

––molto molto sul tasto s.t. sul tastosul m.s.p. molto sul ponticello m.s.p. ponticello s.t.

– –sul tasto m.s.t. molto sul tasto m.s.t.–––––– molto sultasto tastotasto m.s.t. molto sul tasto m.s.t. molto sul m.s.t. molto sul m.s.t. molto sul tasto ord.

– ordinario m.s.t.

– molto sul tasto s.t.

– sul tasto s.t.

– sul tasto m.s.t.– –ordinario molto sul tasto ord. ord.–– ordinario ord.

–––ordinario ordinario ord. ord. ordinario ord. ordinario c.l.b. col legno battuto m.s.t. sulsul tasto ord. ordinario m.s.t.––––molto molto tasto ord. ordinario c.l.b. col legno battuto c.l.b.–––––col collegno legnobattuto battuto c.l.b. col legno battuto c.l.b. c.l.b. col legno battuto c.l.b. col legno battuto ord.

– –– ordinario c.l.tr.

– col legno tratto c.l.b.

– col legno battuto ord. ordinario c.l.b. –– col col legno legno tratto battuto c.l.tr. c.l.tr.––––col –col col legno tratto c.l.tr. col legno tratto c.l.tr. legno tratto c.l.b. legno battuto c.l.tr. col legno tratto c.l.tr.

– col legno tratto o.p.

– overpressure (the levels of o.p. are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p., and 4/4 is a full o.p. with as little pitch-audibility as c.l.tr.

– col legno tratto c.l.b. – col legno battuto c.l.tr. tratto o.p. overpressure (the levels of o.p. are divided into four different groups, from 1/4 4/4, where 1/4 slight o.p., and 4/4 full o.p. with as little pitch-audibility as o.p.––––––overpressure overpressure (thelevels levelsof ofo.p. o.p.are aredivided dividedinto intofour fourdifferent differentgroups, groups,from from1/4 1/4toto to4/4, 4/4,where where1/4 1/4isis isaaaaaslight slighto.p., o.p.,and and4/4 4/4isis isaaaafull fullo.p. o.p.with withas aslittle littlepitch-audibility pitch-audibilityas as o.p. overpressure (the levels of o.p. are divided into four different groups, from 1/4 to 4/4, where 1/4 is slight o.p., and 4/4 is full o.p. with as little pitch-audibility as o.p. c.l.tr. col legno tratto(the o.p. overpressure (the o.p. different groups, from 1/4 1/4 slight o.p., is o.p. as possible) o.p.

––– –overpressure overpressure (theof of o.p.into arefour divided four groups, toand 4/4,4/4 where a slight o.p. overpressure (the levels levels oflevels o.p. are are divided divided into four different into groups, fromdifferent 1/4 to to 4/4, 4/4, where where 1/4 is isfrom slight1/4 o.p., and 4/4 is aaa full full 1/4 o.p.iswith with as little little pitch-audibility pitch-audibility as as c.l.tr. col legno tratto o.p. (the levels of o.p. are divided into four different groups, from 1/4 to 4/4, where 1/4 is aa slight o.p., and 4/4 is full o.p. with as little pitch-audibility as possible) o.p.

– overpressure (the levels of o.p. are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p., and 4/4 is a full o.p. with as little pitch-audibility as possible) possible) possible) possible) o.p.

–overpressure no overpressure an indication o.p.pitch-audibility is nofour longer to be used) possible) o.p., 4/4 is a (the full(as o.p. with asthat little as possible) o.p.0–and levels of o.p. are divided into different groups, from 1/4 to 4/4, where 1/4 is a slight o.p., and 4/4 is a full o.p. with as little pitch-audibility as possible) possible) o.p. no overpressure (as an indication that o.p. no longer be used) o.p. nooverpressure overpressure(as (asan anindication indicationthat thato.p. o.p.isis isno nolonger longertoto tobe beused) used) o.p. no overpressure (as an indication that o.p. is no longer to be used) o.p.

00000–––––no o.p. no overpressure (as an indication that o.p. is no longer to be used) o.p.

0 – no overpressure (as an indication that o.p. is no longer to be used) possible) o.p.

0 – no overpressure (as an indication that o.p. is no o.p.00– –nono overpressure (asindication an indication that is notolonger to be used) longer to be used) o.p. overpressure (as an that o.p. is o.p. no longer be used) gradually move (as from technique theisother o.p. 0 – no overpressure anone indication thattoo.p. no longer to be used) gradually move from one technique the other graduallymove movefrom fromone onetechnique techniquetoto tothe theother other gradually move from one technique to the other gradually gradually move from one technique to the other gradually move from one technique to the other gradually move from one technique to the other gradually move from one technique to the other Gradually move from one technique to the other vertical bowing between and m.st.to the other gradually move from m.s.p. one technique vertical bowing between m.s.p. and m.st. verticalbowing bowingbetween betweenm.s.p. m.s.p.and andm.st. m.st. vertical bowing between m.s.p. and m.st. vertical vertical bowing between m.s.p. vertical bowing between m.s.p. and m.st. vertical bowing bowing between between m.s.p. m.s.p. and and m.st. m.st. vertical and m.st.

Vertical bowing between m.s.p. and m.st. vertical bowing between m.s.p. and m.st.

vertical bowing from m.s.p. to m.s.t. vertical bowing from m.s.p. m.s.t.

Vertical bowing from m.s.p. vertical bowing from m.s.p. to m.s.t. vertical bowing from m.s.p. tom.s.t. m.s.t. vertical bowing from m.s.p. to m.s.t. vertical bowing from m.s.p. toto vertical vertical bowing bowing from from m.s.p. m.s.p. to to m.s.t. m.s.t. vertical bowing from m.s.p. to m.s.t.

to m.s.t.

vertical bowing from m.s.p. to m.s.t.

Vertical bowing from s.t. to m.s.t.

verticalbowing bowing from s.t.m.s.t. to m.s.t. vertical from s.t. to vertical bowing from s.t. to m.s.t.

vertical bowing from s.t. m.s.t. verticalbowing bowingfrom froms.t. s.t.toto tom.s.t. m.s.t. vertical bowing from s.t. to m.s.t. vertical vertical vertical bowing bowing from from s.t. s.t. to to m.s.t. m.s.t. vertical bowing from s.t. to m.s.t.

Bow as you interpret the graphic

bow as youas interpret the graphic bow you interpret the graphic vertical bowing from s.t. to m.s.t. bow as you interpret the graphic bowas asyou youinterpret interpretthe thegraphic graphic bow as you interpret the graphic bow bow as you interpret the bow as you interpret the graphic graphic bow as you interpret the graphic Move bow in the mode of a pendulum swinging from side to side, where the where strings the servestrings as a springboard.

This creates an This arpeggio-like effect where the motion Move bow in the mode of a pendulum swinging from side to side, serve as a where springboard. createsserve an arpeggio-like where the motion Move bow in theofof mode ofasaswinging pendulum swinging from side to side, theThis strings as a effect happens mainly the wrist.

The bow should not be moved horizontally, butwhere is to stay instrings the same position. bow you interpret graphic Move bow the mode pendulum swinging from side side, where the strings serve as aaaspringboard. springboard. creates an arpeggio-like effect where the motion Movebow bow inin the mode ofaaaaapendulum pendulum swinging from side to side, where the strings serve asasame springboard.

Thiscreates createsan anarpeggio-like arpeggio-likeeffect effectwhere wherethe themotion motion Move bow in the mode of pendulum swinging from side to side, where the strings serve as springboard.

This creates an arpeggio-like effect where the motion Move inin the mode side toto side, the serve as happens mainly in the wrist.

The bow should notfrom be the moved horizontally, but is to stay in the position. This Move bow in the mode of pendulum swinging from side to side, where the strings serve as a springboard.

This creates an arpeggio-like effect Move bow in the the mode of creates a The pendulum swinging from side horizontally, to side, where theisis strings serve assame a springboard. springboard.

This createsin an the arpeggio-like effect where where the the motion motion happens mainly in the wrist.

The bow should not be moved horizontally, but to stay in the same position. happens mainly in the wrist.

The bow should not be moved horizontally, but is to stay in the same position. happens mainly in the wrist.

The bow should not be moved horizontally, but is to stay in the same position. happens mainly in the wrist. bow should not be moved but to stay in the position.

Move bow in mode of a pendulum swinging from side to side, where the strings serve as a This creates an arpeggio-like effect where the motion springboard.

This an arpeggio-like effect where the motion happens mainly wrist. happens happens mainly mainly in in the the wrist. wrist. The The bow bow should should not not be be moved moved horizontally, horizontally, but but is is to to stay stay in in the the same same position. position. happens mainly the wrist.

The bow should not be moved to stay in the position.

Move bow in theinmode of a pendulum swinging from side tohorizontally, side, where but the is strings serve as same a springboard.

This creates an arpeggio-like effect where the motion

The bow should not be moved horizontally, but is to stay in the same position.

happens mainly in the wrist. The bow should not be moved horizontally, but is to stay in the same position.

arrowed noteheads indicate which direction to bow in, when using vertical bowing

arrowed noteheads indicate which direction to bow in, when using vertical bowing Arrowed indicate which direction to bow in, arrowed noteheads indicate which direction bow in, when using vertical bowing arrowed noteheadsnoteheads indicatewhich whichdirection directiontoto tobow bowin, in,when when usingvertical vertical bowing arrowed noteheads indicate which direction to bow in, when using vertical bowing arrowed noteheads indicate using bowing arrowed arrowed noteheads noteheads indicate indicate which which direction direction to to bow bow in, in, when when using using vertical vertical bowing bowing harmonic arrowed noteheads indicate which direction to bow in, when using vertical bowing harmonic arrowed noteheads indicate which direction to bow in, when using vertical bowing harmonic harmonic harmonic artificial harmonic harmonic Harmonic harmonic harmonic harmonic artificial harmonic artificial harmonic harmonic artificial harmonic artificial harmonic artificial harmonic artificial harmonic artificial harmonic harmonic artificial harmonic “half”Artificial harmonic.

Press down half-way towards fingerboard.

when using vertical bowing

artificial harmonic “half” harmonic. Press down half-way towards fingerboard. fingerboard. “half” “half” harmonic. harmonic. Press Press down down half-way half-way towards towards fingerboard. fingerboard. “half” harmonic.

Press down half-way towards fingerboard. artificial harmonic with half-way pressed down fingerboard. fundamental “half” harmonic.

Pressaadown half-way towards artificial harmonic with half-way pressed down fundamental artificial harmonicwith withaPlace half-way pressed down fundamental artificial harmonic with aaahalf-way half-way pressed down fundamental artificial harmonic pressed down fundamental Artificial harmonic athe half-way pressed fundamental 1st with finger on fundamental and vary the down position of the harmonic trill by differing rapidly the use of 2nd, 3rd and 3th finger, creating artificial harmonic with half-way pressed down fundamental artificial harmonic with a half-way pressed down fundamental artificial harmonic with aa tremolo-effect half-way pressed down fundamental between a fundamental and a flickering artificial harmonic.

artificial harmonic with a half-way pressed down fundamental “half” harmonic.

Press down half-way towards fingerboard.

“Half” harmonic.

Press down half-way towards “half” harmonic.

Press down half-way towards fingerboard. “half” harmonic.

Press down half-way towards fingerboard. “half” harmonic.

Press down half-way towards fingerboard.

artificial harmonic with a half-way pressed down fundamental Place 1st finger the fundamental and vary the position of vary the harmonic trill by differing rapidly the use oftrill 2nd, 3rd and 3th finger, creating Place 1st on finger on the fundamental and the position of the harmonic 1st finger on the fundamental and vary the position of the harmonic trill by differing rapidly the use of 2nd, 3rd and 3th finger, creating Place 1stfinger fingeron onthe thefundamental fundamental andvary varyathe the positionartificial ofthe theharmonic harmonic trillby bydiffering differingrapidly rapidlythe theuse useof of2nd, 2nd,3rd 3rdand and3th 3thfinger, finger,creating creating Place 1st finger on the fundamental and vary the position of the harmonic trill by differing rapidly the use of 2nd, 3rd and 3th finger, creating Place 1st and position of trill aPlace tremolo-effect between a fundamental and flickering harmonic.

Place 1st finger on the fundamental and vary the position of the harmonic trill by differing rapidly the use of Slurred tremolo is to be played on1st onefinger bow throughout bar.

That is, and the does change with everytrill individual tremolo.rapidly Place 1st finger on the fundamental fundamental and vary the position of the3th harmonic trill by differing differing rapidly the use use of of 2nd, 2nd, 3rd 3rd and and 3th 3th finger, finger, creating creating by differing rapidly the use ofbowing 3rdnot and finger, creating a tremolo-effect tremolo-effect between fundamental and flickering artificial harmonic. atremolo-effect tremolo-effect between fundamental and flickering artificial harmonic. tremolo-effect between aaafundamental fundamental and aaaflickering flickering artificial harmonic. aaaaPlace between aathe aa2nd, artificial harmonic. on the and vary the position of the harmonic by the 2nd, 3rd and 3th finger, creating tremolo-effect between fundamental and flickering artificial harmonic. tremolo-effect between between aa fundamental fundamental and and a flickering flickering artificial artificial harmonic. harmonic. aaPlace tremolo-effect 1st finger on the fundamental and varyathe position of the harmonic trill by differing rapidly the use of 2nd, 3rd and 3th finger, creating

between a fundamental and a flickering artificial harmonic.

a tremolo-effect between a fundamental and a flickering artificial harmonic.

Slurred tremolo is to be played one bow theback bar.and That is,between the bowing doesindicated. not change individual When tremolo contains glissando, the on glissando is tothroughout be performed forth the notes Thatwith is, theevery glissando is not totremolo. be played only from Slurred tremolo is to be played on one bow throughout the bar.

That is, the bowing does not change with every individual tremolo.

Slurred tremolo istoto tobe be played onone one bow throughout thebar. bar.

That is,the thebowing bowingdoes doesnot notchange changewith withevery everyindividual individualtremolo. tremolo.

Slurred tremolo be played on one bow throughout the bar.

That is, the bowing does not change with every individual tremolo.

Slurred tremolo isis on throughout the is, the first note of the tremolo toplayed the second, butbow as a pendulum between theThat two notes.

Slurred tremolo is to be played on one bow throughout the bar.

That is, the bowing does not change with every individual tremolo.

Slurred tremolo is to be played on one bow throughout the bar.

That is, the bowing does not Slurred tremolo is to be played on one bow throughout the bar.

That is, the bowing does not change with every individual tremolo.

Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.

change with every individual tremolo.

tremolo is toare befree played one bow the bar.

That is, the bowing does not change with every individual tremolo.

Bars that initiateSlurred with dashed barlines fromon measure, but throughout should be played as fast as possible.

When tremolo contains glissando, the glissando is to be performed back and forth between the notes indicated. That is, the glissando is not to be played only from When tremolo contains glissando, the glissando isisshould to be performed back and forth between the notes indicated.

That is, the glissando not be played only from When tremolo contains glissando, theglissando glissando tobe beperformed performed back and forth between theone. notesindicated. indicated.That Thatis, is,the theglissando glissandoisis isnot nottoto tobe beplayed playedonly onlyfrom from When tremolo contains glissando, the glissando to be performed back and forth between the notes indicated.

That is, the glissando is not to be played only from It should be kept infirst mind thatof the anytremolo technique in the piece be sustained until the occurrence of a next When tremolo contains glissando, back and forth between the notes the note the to indicated the the second, but asisis atopendulum between the two notes.

When tremolo contains glissando, the is to be back and forth between When tremolo contains glissando, the glissando glissando is to be performed performed back and forth between the the notes notes indicated. indicated. That That is, is, the the glissando glissando is is not not to to be be played played only only from from the first note of the tremolo to the second, but as aaapendulum pendulum between the two notes. the first note of the tremolo to the second, but as pendulum between the two notes. the first note of the tremolo to the second, but as pendulum between the two notes.

When tremolo contains glissando, the glissando is to be performed back and forth between the notes indicated.

That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a between the two notes. the first note of the tremolo to the second, but as a pendulum between the two notes.

When tremolo contains glissando, the glissando is to be performed back and forth between the the first first note note of of the the tremolo tremolo to to the the second, second, but but as as aa pendulum pendulum between between the the two two notes. notes. the When tremolo contains glissando, the glissando is to be performed back and forth between the notes indicated. That is, the glissando is not to be played only from Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible. notes indicated.

That is, the glissando is not to be played only from the first note of the tremolo Piano the first note of the tremolo tofree thefrom second, but as but a pendulum between thefast twoasnotes.

Bars that initiate with dashed barlines are measure, should be played as possible.

Barsthat thatinitiate initiatewith withdashed dashedbarlines barlinesare arefree freefrom frommeasure, measure,but butshould shouldbe beplayed playedas asfast fastas aspossible. possible.

Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible.

Bars Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible.

It should be kept in mind that the any technique indicated in the piece should be sustained until the occurrence of a next one.

Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible. to with thedashed second, butareasfreea from pendulum between two notes. trem.

–that tremolo Bars initiate barlines measure,the but should be the played as fast as possible. should be kept mind that the any technique indicated piece should be sustained until the occurrence of next one.

Itshould shouldbe bekept keptinin inmind mindthat thatthe theany anytechnique techniqueindicated indicatedinin inthe thepiece pieceshould shouldbe besustained sustaineduntil untilthe theoccurrence occurrenceof ofaaaanext nextone. one. should be kept in mind that the any technique indicated in the piece should be sustained until the occurrence of next one.

ItItIt It should be kept in mind that the any technique indicated in the piece should be sustained until the reg.

– register It should be kept with in mind mind that barlines the any any technique technique indicated in the the piece should be sustained sustained until the occurrence occurrence of of aaa next next one. one.

Bars that be initiate dashed are free from measure, butpiece should be played as fast as possible.

It should kept in that the indicated in should be until the occurrence of next one.

c.-i.fr. – cast iron frame It should kept in mind thatdashed the any technique indicated in the piece be sustained the occurrence of a next one. as possible.

Bars thatbeinitiate with barlines are free fromshould measure, butuntil should be played as fast Piano Piano Piano Piano Piano Ittrem. should be kept in mind that the any technique indicated vertical movement, arrowed noteheads indicate which direction to move in in the piece should be sustained until the Piano –during tremolo Piano trem. tremolo trem.–––––tremolo tremoloof a next one. trem. tremolo trem. trem. tremolo occurrence reg.

– register Piano trem.

– tremolo

trem.– –register tremolo reg. reg.––––tap register reg. register reg. register strings reg. register c.-i.fr. cast iron frame reg. register trem.–– ––register tremolo reg. c.-i.fr.

–––cast cast iron frame c.-i.fr. castiron ironframe frame c.-i.fr. iron frame c.-i.fr.

– c.-i.fr.

–– cast cast c.-i.fr. cast iron iron frame frame reg. – register c.-i.fr.

– cast iron frame during vertical movement, arrowed noteheads indicate which direction to move in vertical movement, arrowed noteheads indicate which direction move c.-i.fr.during –during cast vertical iron frame during vertical movement,arrowed arrowednoteheads noteheadsindicate indicatewhich whichdirection directiontoto tomove moveinin in during vertical movement, arrowed noteheads indicate which direction to move in movement, during during vertical vertical movement, movement, arrowed arrowed noteheads noteheads indicate indicate which which direction direction to to move move in in during vertical movement, arrowed noteheads indicate which direction to move in tap strings during vertical movement, arrowed noteheads indicate which direction to move in tap strings tapstrings strings tap strings tap tap strings tap strings tap strings tap strings

Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible.

It should be kept in mind that the any technique indicated in the piece should be sustained until the occurrence of a next one.

Piano Piano

trem.

– tremolo trem.

– tremolo reg.

– register reg.

– register

c.-i.fr.

– iron castframe iron c.-i.fr.

– cast

frame

during vertical movement, arrowed noteheads indicate which direction to move in

during vertical movement, arrowed noteheads indicate which direction to move in

tap strings

tap strings

hit or whip strings (further information in the score) hit orstrings whip strings (further information hit or whip strings (further information inin the score) hit or whip (further information in the score) hit or whip strings (further information the score) hit or whip strings (further information in the score)

in the score)

hit or orof whip strings (further (further information information in in the the score) score) hit interior instrument hit whip strings hit interior instrument (further information inin the score) hit interior instrument (further information in the score) hit interior instrument (further information the score) hitofofofinterior of instrument (further information hit interior instrument (further information information in in the the score) score) hit orofwhip strings (further

in the score)

hit interior interior of instrument instrument (furtherinformation informationinin inthe thescore) score) hit or whip strings (further hit of (further information the score) Harmonics: the head diamond indicates which note to beThepressed thethekeyboard.

The Harmonics: the diamond indicateshead which note to be pressed on the keyboard. note aboveon shows resulting pitch.

Thenote numbering given indicated where Harmonics: the diamond head indicates which note toto bebe pressed onon the keyboard.

The note above shows the resulting pitch.

The numbering given indicated where the diamond head which note to be pressed on the keyboard. note above shows the resulting pitch.

The numbering given indicated where Harmonics: the diamond head indicates which note pressed the keyboard.

The note above shows the resulting pitch.

The numbering given indicated where hitHarmonics: interior of instrument (further information in the score) the harmonic can be found onindicates the string.

For instance, 11/2 means the 2nd node ofThe the 11th harmonic. hit or whip strings (further information in the score) Harmonics: the diamond head indicates which note to be pressed on the keyboard.

The note above shows the resulting pitch.

The numbering given indicated where above shows the resulting pitch.

The numbering given indicated where the harmonic can be the harmonic can be found on the string.

For instance, 11/2 means the 2nd node of the 11th harmonic. the harmonic can be found on the string.

For instance, 11/2 means the 2nd node of the 11th harmonic. the harmonic can be found on the string.

For instance, 11/2 means the 2nd node of the 11th harmonic. hitinterior or whipofstrings (further information in thein score) hit instrument (further information the score) the harmonic the candiamond be foundhead on the string. For instance, means the 2ndkeyboard. node of the 11th harmonic.

Harmonics: indicates which note to11/2 be pressed on the The note above shows the resultinguse pitch.

The numbering numbering given indicated where InHarmonics: Prussian Blue, the harmonics are mainly performed by the itemsthe used in thenode piece,The and not above finger.

In the the occasional of finger, an image of an index finger foundBlue, on string.

For instance, 11/2 means 2nd ofnot the 11th InIn harmonic. the the diamond head indicates which note to be pressed on the keyboard. note shows resulting pitch.

The given indicated where Inoccurs Prussian Blue, the harmonics are mainly performed by the items used in the piece, and not finger. the occasional use ofof finger, anan image ofof anan index finger In Prussian the harmonics are mainly performed by the items used in the piece, and finger. the occasional use of finger, an image of an index finger In Prussian Blue, the harmonics are mainly performed by the items used in the piece, and not finger.

In the occasional use finger, image index finger the harmonic can be found on the string.

For instance, 11/2 means the 2nd node of the 11th harmonic. above the harmonic. hit interior of instrument (further information in the score) the harmonic can be found on the string.

For instance, 11/2 means the 2nd node of the 11th harmonic.

In Prussian Blue, theBlue, harmonics are mainly performed by items used the piece, andnote not finger.

In thein occasional use ofand finger, an image of an index finger occurs above the harmonic. occurs the harmonic. occurs above the harmonic.

Harmonics: the diamond head which note bethe pressed on theinkeyboard. above shows the resulting pitch.

The numbering given indicated where Inabove Prussian theindicates harmonics aretomainly performed

by The the items used the piece, hit interior of instrument (further information in the score) occurs aboveBlue, the harmonic. the harmonic can be found on indicates theare string.

Forperformed instance, 11/2 means the 2nd node of The theand 11th harmonic.

In Prussian the harmonics mainly by the items used in the piece, not finger.

In the occasional use of finger, an image of an index finger Harmonics: the diamond head which note to be pressed on the keyboard. note above shows the resulting pitch.

The numbering given indicated where In not Prussian Blue, In the the harmonics are mainlyuse performed by the items used in the and notfinger finger. In the occasional usethe of finger, an image of an index finger finger. occasional of finger, an image of piece, an index occurs above occurs above can the harmonic. harmonic. the harmonic be found on the string. For instance, 11/2 means the 2nd node of the 11th harmonic. occurs above the In harmonic.

Prussian Blue, the harmonics are mainly performed by the items used in the piece, and not finger. In the occasional use of finger, an image of an index finger Harmonics: the diamond head indicates which note to be pressed on the keyboard. The note above shows the resulting pitch. The numbering given indicated where occurs above the harmonic.

Harmonics: the diamond head indicates to be11/2 pressed the keyboard.

The showsIn thethe resulting pitch. numbering givenofindicated Prussian Blue, harmonics are which mainly performed by means the on items in theof piece, andabove not finger. occasional useThe of finger, an image an indexwhere finger theInharmonic can bethe found on the string.

For note instance, theused 2nd node thenote 11th harmonic. the harmonic can be on the string. For instance, 11/2 means the 2nd node of the 11th harmonic. occurs above thefound harmonic.

Bouncing should be natural notation is more In Prussian Blue, the harmonics are mainly performed by the items used in theand piece,effortless, and not finger.the In the occasionalgiven use of finger, an image of an index finger In occurs Prussian Blue,thetheharmonic. harmonics are mainly performed the items used in the piece, and notgiven finger. the of occasional useand of finger, of an index finger Bouncing should by be natural and effortless, the notation is In more an example shouldan notimage be followed exactly. above Bouncing should be natural and effortless, the notation given is more of an example and should not bebe followed exactly.

Bouncing should bebe natural and effortless, thethe notation given is is more ofof anan example and should not be followed exactly.

Bouncing should natural and effortless, notation given more example and should not followed exactly. of an example and should not be followed exactly occurs above the harmonic.

Bouncing should be natural and effortless, the notation given is more of an example and should not be followed exactly.

Items used on strings Items used on strings Items used on strings Items used on strings Items used on strings Items used on strings rag rag rag ragon strings Items used rag Items used ragon strings

Bouncing should should be be natural natural and and effortless, effortless, the the notation notation given given is is more more of of an an example example and and should should not not be be followed followed exactly. exactly.

Bouncing Bouncing should be natural and effortless, the notation given is more of an example and should not be followed exactly.

Bouncing should be natural and effortless, the notation given is more of an example and should not be followed exactly.

Bouncing should be natural and effortless, the notation given is more of an example and should not be followed exactly.

Items usedrag on strings Bouncing should be natural and effortless, the notation given is more of an example and should not be followed exactly. rag Items used on strings thunder drum thunder drum thunder thunder drum rag drum th.dr.t.

– thunder drum tail thunder drum th.dr.t. drum tail th.dr.t.

–– thunder drum tail th.dr.t.

––thunder thunder drum tail thunder drum ragdr.b. th thunder drum bottom Items used on strings th.dr.t. thunder drum tail th dr.b. drum bottom th dr.b.

–––drum thunder drum bottom th dr.b.

–thunder thunder drum bottom Items used on strings thunder thunder drum th.dr.t.

– thunder drum tail thth.dr.t. dr.b. ––thunder drum bottom thunder drum tail ragth.dr.t. – thunder drum tail thunder drum rag th dr.b.

– thunder drum bottom fist th dr.b. – thunder th dr.b.

– thunder drum bottom drum bottom fist fist fistthunder th.dr.t.drum – thunder drum tail fist th dr.b. – thunder drum bottom th.dr.t. – thunder drum tail fist th dr.b.

– thunder drum bottom craft roller thunder drum fist fist craft roller craft roller craft roller thunder drum without cross: th.dr.t.

– thunder drum tail use rubber roll on strings roller without cross: use rubber roll onon strings without cross: use rubber roll on strings without cross: use rubber roll strings fist – craft th.dr.t. drum tailbottom with cross: use edge of handle-top on strings th dr.b.thunder – thunder drum without cross: use rubber roll on strings with cross: use edge ofof handle-top onon strings with cross: use edge of handle-top on strings with cross: use edge handle-top strings th drum bottom craft roller fistdr.b. – thunder craftcraft roller roller with cross: use edge of handle-top on strings without cross: use rubber roll on strings without cross: use rubber roll on strings cake server craft roller with cross: use usecross: edge of of handle-top handle-top on strings strings without use rubber roll on strings cake server cake server fist cake server with cross: edge on without strings withoutcross: cross:use usewhole rubberbottom roll onon strings fist craft roller cake server without cross: use whole bottom onon strings without cross: use whole bottom on strings without cross: use whole bottom strings with cross: use edge on strings with cross: use edge of handle-top on strings with cross: use edge of handle-top on strings without cross: use rubber roll onon strings without cross: use whole bottom strings with cross: use edge onon strings cross: use edge on strings with cross: use edge strings cakewith server cake server with cross: use edge of handle-top on strings with cross: use edge on strings craft roller without cross: cross: use use whole whole bottom bottom on on strings strings without craftcake roller without cross: useedge rubber roll on strings server with cross: use on strings large paint brush with cross: use edge on strings without cross: use rubber roll on strings cake server large paint brush large paint brush with cross: use edge of handle-top on large paint brush without cross: usehairs whole onstrings strings cake server without cross: use onbottom strings with cross: use edge of handle-top on strings large paint brush without cross: use hairs onon strings without cross: use hairs on strings without cross: use hairs strings with cross: use edge on strings without cross: use whole bottom on strings without cross: use whole bottom on strings with cross: use edge on strings without cross: use hairs on strings with cross: use edge onon strings with cross: use edge on strings with cross: use edge strings large paint brush with cross: use edge on strings cake server large paint brush with cross: use edge on strings with cross: use edge on strings cake server without cross: use hairsbottom on strings strings small cross: flat paint brush without useuse whole on strings without cross: hairs on small flat paint brush small flat paint brush small flat paint brush large paint brush without cross: use whole bottom strings with cross: use edge on strings without cross: use on hairs on strings with cross: use edge on strings with cross: use edge on strings small flat paint brush without cross: use hairs onon strings without cross: use hairs on strings without cross: use hairs strings without cross: use hairs on strings with cross: edgecross: on strings large paintuse brush with use top of handle on strings without cross: use hairs on strings with cross: use top of handle onon strings with cross: use top ofof handle on strings with cross: use top handle strings with cross: use edge on strings large paint brush small flat paint brush without cross: use hairs on strings small flatwith paintcross: brushuse top of handle on strings without cross: use hairs on strings cross: usecross: edgecross: on use strings largewith paint brushwithout use hairs hairs onon strings without strings small flat with paintcross: brush use top of handle on strings largewithout paint brush cross:with use cross: hairs on usestrings top of handle on strings without cross: use hairs strings without cross: use hairs onstrings strings with cross: use edge ononstrings small flat paint brush with cross: use edge on with on cross: useuse tophairs of handle on strings with cross: use edge strings without cross: on strings withbrush cross: use top of handle on strings Movement small flat paint Movement Movement Movement small flaton paint brush The movement of items used strings are indicated with small flat paint brush without cross: use hairs onarrows. strings The lines in background indicate the strings.

Movement The movement ofof items used onon strings are indicated with arrows.

The lines inin background indicate the strings.

The movement of items used on strings are indicated with arrows.

The lines in background indicate the strings.

The movement items used strings are indicated with arrows.

The lines background indicate the strings. without cross: usetop hairs on strings with cross: use of handle on strings The movement of items used on strings are indicated with arrows.

The lines in background indicate the strings. without cross: use hairs on strings with cross: use top of handle on strings Movement Movement The movement movement of of items items used used oncross: strings are are indicated with arrows. The The lines in in background background indicate indicate the the strings. strings.

The on strings indicated with arrows. with use top of handle on lines strings Movement The movement of items used on strings are indicated with arrows. The lines in background indicate the strings.

Movement The movement of items used on strings are indicated with arrows. The lines in background indicate the strings.

Movement Movement The movement of items used on strings are indicated with arrows. The lines in background indicate the strings. it comes to theused thunder drum, are more specificwith images are given TheWhen movement of items on strings indicated arrows.

The lines in background indicate the strings.

When comes toto the thunder drum, more specific images are given When ititit comes to the thunder drum, more specific images are given When comes the thunder drum, more specific images are given When it comes to the thunder drum, more specific images are given bottom: rub edge of bottom: rub side: roll side: rub bottom: rub edge ofof bottom: rub side: roll side: rub bottom: edge of bottom: rub side: roll side: rub bottom: rub edge bottom: rub side: roll side: rub Whenrub comes to to the the thunder thunder drum, drum, more more specific specific images are given When ititrub comes images given bottom: edge of are bottom: rub side: roll side: rub When it rub comes to the thunder drum, more specific images given rub bottom: edge of ofare bottom: side: roll roll side: rub rub bottom: rub edge bottom: rub side: side: When it comes to the thunder drum, more specific images are given bottom: rub edge of bottom: rub side: roll side: rub bottom: rub to the thunder drum, more specific images edgeare of bottom: side: roll side: rub When it comes given rub When it comes to the thunder drum, more specific images are given bottom: rub

edge of bottom: rub

side: roll

side: rub

Movement

large brush withpaint cross: with use cross: edge use on use edge strings on strings without cross: hairs on use strings without cross: use cross: hairs onhairs strings on strings without cross:without use hairs on strings with with cross:cross: use top ofedge handle on strings with use cross: use onedge strings on strings with cross: use edge on strings small flatsmall paintflat brush paint brush without without cross: use cross: hairsuse on hairs strings on strings small flat small paint flatbrush paint brush small flatwith paintcross: brush withuse cross: top of usehandle top ofon handle strings on strings without without cross: use cross: hairs use onhairs strings on strings without cross: use hairs on strings with cross: with use cross: top use of handle top of on handle strings on strings with cross: use top of handle on strings

Movement The movement of items used on strings are indicated with arrows. The lines in The movement of items used on strings are indicated with arrows. The lines in background indicate the strings.

background indicate the strings.

Movement Movement The movement The movement of items of used items on used strings onare strings indicated are indicated with arrows. with The arrows. linesThe in background lines in background indicate indicate the strings. the strings.

Movement Movement Movement The Theused movement of ofused items used strings on are strings are indicated withlines arrows. with arrows.

The lines The inindicate lines background in background indicateindicate the strings. the strings.

The movement ofmovement items onitems strings areon indicated withindicated arrows.

The in background the strings.

When it comes to the drum, more specific When it comes to the thunder drum,thunder more specific images are given

images are given:

bottom: rub edge of bottom: rub When it When comesittocomes the thunder to the thunder drum, more drum, specific more specific images are images givenare given

bottom: rub

side: roll

edge of bottom: rub

side: rub

side: roll

When itWhen comesit to comes the thunder to the thunder drum, more drum,specific moregiven specific images images are given are given When itbottom: comes to bottom: rub rubthe thunder drum, more specific images edge ofare bottom: edge of bottom: rub rub side: rollside: roll rub rub bottom: rub bottom:bottom:

edge ofedge bottom: of bottom: rub rub edge of bottom: rub side: roll

side: rub

side: rubside: rub

side: roll side:rub roll side:

side: rubside: rub

Movement is often indicated in the form of graphic. Perform movement as you interpret the graphic.

Movement Movement is often indicated is often indicated in the form in the of graphic. form of graphic.

PerformPerform movement movement as you interpret as you interpret the graphic. the graphic.

Movement is often indicated in the form of graphic. Perform movement as you interpret the graphic.

Movement is often isindicated often the form in Perform the ofform graphic. of graphic.

Perform Perform movement movement as you interpret as you interpret the graphic. the graphic.

Movement is Movement often indicated in the formindicated ofingraphic. movement as you interpret the graphic.

Bars that initiate with dashed barlines are free from measure, but should be played as fast as possible.

The sustain pedal is to be pressed down throughout the whole piece.

It should be kept in mind that the any item, movement and technique indicated in the piece should be sustained until the occurrence of a next one.

Bars thatBars initiate thatwith initiate dashed withbarlines dashed barlines are free from are free measure, from measure, but should butbe should played beasplayed fast asaspossible. fast as possible.

Bars that initiate barlines arethe free from measure, but should be played as fast as possible.

The sustain The pedal sustain is pedal to be with pressed is to bedashed down pressed throughout down throughout the whole piece. whole piece.

Barswith that Bars initiate that barlines initiate with dashed with dashed barlines are freeare from free measure, from measure, should but be should played be as played fast as as possible. fast as possible. that initiate dashed areany free frombarlines measure, but bebut played aspiece fast asshould possible.

ItBars should Itbe should kept in bemind kept in that mind the any that item, the movement item, movement and technique andshould technique indicated indicated in the in the piecebe should sustained be sustained until theuntil occurrence the occurrence of a nextofone. a next one.

The sustain The pedal ispedal to be is pressed to be pressed downthe throughout down the whole thepiece. whole piece.

The sustain pedal is to besustain pressed down throughout wholethroughout piece.

It should It be should kept be in kept mind in that mind the that any the item, any movement item, movement and technique and technique indicated indicated in the piece in the should piece be should sustained be sustained until the until occurrence the occurrence ofone. a next one. sustain pedal is to down theinwhole ItThe should be kept in mind that the be any pressed item, movement andthroughout technique indicated the piecepiece. should be sustained until the occurrence of a next one.of a next

It should be kept in mind that the any item, movement and technique indicated in the piece should be sustained until the occurrence of a next one.

Prussian blue Bára Gísladóttir 2017

q = 60 Violin

° 9 ¢& 4

6 4

∑

2 4

∑

∑

3 4

4 4

∑

3 4

∑

ææ ˙™ #˙ ™

2 4

p low reg. mid reg.

9 4

Pno. - strings {

6 4

2 4

4mid reg.

4

3 4

3 4

2 4

pp f

ff

° (sempre)

=

s.p.

I

Vln.

m.s.p.

7 ° 2 #˙˙ ¢& 4 # ˙˙

(I)

˙ ˙˙ ˙

3 ˙ææ™ 4 #˙ ™

æ ˙™ #˙ ™

5 4 o

mp

O™ 3 #˙ 4

∑

Œ

⪠3 Ϫ 8

6 4

3 8

6 4

3 4

∑

II p

let vib.

Pno. - str. {

2 4

3 4

5 4 mp

3 4

3 4

p

=

Vln.

m.s.p.

14 ° 3 #˙˙ ™™ ¢& 4 # ˙˙ ™™

s.p.

˙ ™™ ˙˙ ™ ˙™

Kr 2 œ 4 #>œ

∑

∑

1 4

∑

3 ˙™ 4 mf

O˙™™

2 4 ff

f sfzp (bottom) low reg. (dampen) let vib.

Pno. - str. {

3 4

2 4

f ?f R ff Ô

1 4

3 4

2 4

∑

s.t. c.l.b. c.l.tr.

q = 90

m.s.p. s.p. ord.

21

Vln.

° ¢&

O™ 3 ˙™ 4 o

∑

~

O

2 4

œ‚œ‚

4 4

2 4

∏∏∏∏∏∏∏∏∏

2

≈ >œ #œ

p

œ #œœ œ œ 4 Ó 4 œ œ µœ

œ Œ œœ œ o

pp ff

mf

œ œœ œ

low reg.

let vib.

3 ?f ?f 4

Pno. - str. {

2 4

ææ ˙

> 4 V ®≈ ‰ Œ Ó

ææ œ

æ œæ >

(dampen)

?4

2 4‰

4 4

p fff

=

mp

f

mp

II III dampen strings

q = 60 m.s.p.

27

° - 1 - 1 1 - - 1 1 - 1 - 4 ~II ¢& - 1 - 1 1 - - 1 1 - 1 - 4 ~ III p

3

mp

~ 4 ~~ 4 ~ o

3 ™ 4 OO ™

2 4 OO

f

pp

4 4

Pno. - str. {

2 4

pp

3 4 p

~ ~~ ~

~ ~~ ~

~ ~~ ~

2 4

pp

4 4

2 4

pp

= I

>œs.p.‚ œ ‚ œ ‚ œ ‚ ‚

(I) 33

Vln.

° 2 OO ¢& 4 OO

O O™ OO 3 O 4 O II

Πo

⪠3 Ϫ 8

O O™ 2˙ ˙ 3 4 4

pp

O

4 4

7 4

ppp

sfzp

pp

sfzp in same reg. as cluster

2 4

Pno. - str.

3 4 ppp

3 8

2 4

3 4

o

p

ææ ˙™

3

4 - 1 _ 4

ppp

1 1 - 47

p

inaudibly Pno.

{

?2 4

∑

3 4

3 2 3 8 ∑ & 4 Œ nbnœœœ 4 nbn˙˙˙ ™™™

∑

=

4 nw 4 nb ww

7 4

op. 2/4 s.p.

I

m.s.p.

Vln.

39 ~ ° 7 w ¢& 4

‚ œ ‚œ‚œ‚

O ™™ # 4 Œ 4 OO ™ #O ™

5

O ™™ O ≈‰ O ™™ œ O >œ

~

6 µ~ ™ 4

∑

2 µ‚ ‚ 3 4 4 pp

ff mp

II #~w

6 4 µµ~w ™™

2 4

p th.dr.t., low reg. whip, let vib.

in same reg. as chord

7 4 _

Pno. - str.

_™

4 4

!

pp

mp

Ó

6 ≈ 4 ?> ‰ Œ Œ Ó™

p

2 4

3 4

ff

inaudibly Pno.

{

7 & 4 nbnw ww

Ó™

4 4

∑

∑

bw ww

6 4

∑

2 3 4 ∑ 4

II

Vln.

‰ œ3 ‰ Œ O

45 ° 3 O™ ¢& 4

2 4

OO™

3 4

Œ

3

œ‚œ‚œ‚œ‚œ

2 4

∑

3 4

Π9

(I) fp

≈ 3 4? ‰ Œ

Pno. - str. {

2 4

Œ

3 4

2 4

3 4

f

=

Vln.

O OO O

° 3Œ ¢& 4

II s.p.

>œ

50

O OO O

®≈ ‰ Œ

3 ‚ O 4‚

Œ

f

p

p th.dr.t., whip, let vib. bounce

≈ 3 4?

Pno. - str. {

3 4

. . . . . . . . . . . . . . . . . . . . o

ff

= 3

I m.s.p.

O ˙O ™™

53

Vln.

° ˙O ™™ ¢&

œ ‚ œ ‚ œ ‚ œ O™

O 2O 4 bOO

O OO 5 O 8

mp pp in same reg. as D6 and E6

th.dr.b. whip, let vib.

bounce

ææ . . . . . . . . . . . . . . . . . . . . ˙™ o mp œ™ ∑ &

≈ ?>

Pno. - str.

ff

Pno.

{

&

ææ ˙™

2 4

ææ ˙

5 8

ppp

Ϫ

2 4

∑

∑

5 8

p

= m.s.p. s.p.

Ϫ

57

Vln.

œ

° 5 ¢& 8

‚œ‚œ‚œ‚œ‚œ ‚

2 4

O™ 3 bOO ™™ 4 O™

O™ OO ™™ O™

5 4

3 4

∑

9

(II) ppp in same reg. as cluster

æ 5 œ™æ 8

Pno. - str.

ææ œ

th.dr.t., mid reg. whip, let vib.

æ 2 ˙æ 4

æ 3 ˙™æ 4

pp

5 ≈ 4 ?> ‰ Œ o fff

Œ

Ó

3 4

mid reg

5 4

3 4 ff

inaudibly

Pno.

{

5 &8

œœ™™

œœ

˙˙™™

˙˙

2 4

3 4

5 4

∑

3 4

q = 90

q = 60 s.p. m.s.p.

b ˙I >O

s.p.

‚‚‚ ‚ O b‚‚ ‚‚ ‚‚ ‚‚‚

∏∏∏∏∏∏∏∏

Vln.

° 3 ¢& 4

∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏

61

4

b ˙ ™ ˙O ™™

2 4

b w~

3 4

4 4

b ˙O ™™

w~

˙

5 4

4 4 mp

f

ff

mf

≈ ‰ Œ Œ 3 4 ?

2 4

3 4

≈ ≈4 5 4 ? ‰ Œ Œ Œ ‰ ? 4

4 4

mp

mf

mp

Pno. - str. let vib.

{

3 4

2 4

3 4

mp

4 4

5 4

f

4 4

ff

= m.s.p.

9

m.s.p.

66

Vln.

° 4b~ ¢& 4

b~ ~ ææ

bœ ‚ œ ‚ œ ‚ œ ‚ œ Œ 2 O 4

(II)

5 ™ 4O

3 ™ 4 O˙ ™

~w

4w 4

nO˙

4 4

pp fp

pp

in reg. around E1

ææ w

4 4

Pno. - str.

in same reg. as trem.

ææ ææ 5 œ 4 ˙™

11/2

2 #œ ≈ ‰ &4

ppp

Pno.

{

4 &4

∑

ææ ˙

ææ ˙ o

4Ó 4

ppp

∑

?2

≈ ‰

4

5 4

Œ

∑

4Ó

3 4

ææ ˙™

4 4

pp

˙™

b˙ ˙ 43 b˙ ™

&4

4 4

‚ p

pp

p

= 72

Vln.

° 4 s.p. ™ ¢& 4 œ O

5 4 o

p in same reg. as cluster

2 4

∑

Pno. - str.

3 4

∑

th.dr.t. bounce whip

(dampen) let vib.

æ 4 wæ 4

7 4

∑

3

5 f ≈ ‰ Œ Œ f ≈≈ f Œ 2 f ≈f ‰ Œ 7 ? r 4 4> > 4 > . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ó™ o mp p mf fff

p

3 4

inaudibly Pno.

™ 4 & 4 Œ b˙˙ ™

{

5 ™ 4 ˙˙™

2 4 ˙˙

˙˙

˙˙™™

7w 4w

3 4

= o.p. 0 o.p. 4/4 76

Vln.

° 3 ¢ & 4 b˙ ™ mf

o.p. 1/4

‚

‰

Œ

Œ

‚ ‚™ O™ b‚ b 3 O™ b‚ 4b O ™ n˙ ™

∏∏∏∏∏∏

s.t. o.p. 3/4

f

O™ O ™™ O ˙™

œ bœ mp

œ

œœ

‚‚

f

p

2 4

sffzpp Place th.dr.t. between strings of mid reg. in a zigzagging manner.

Make as much noise as possible for this action Pno. - str. {

3 4

3 4

2 4

m.s.p. wait until sound fades out 5

s.p.

Vln.

81 ° 2 bOœ ¢& 4

O™ 3 O™ 4

œ

O 2 O 4˙ ˙

pp

O O O˙

O 2 O 4

O™ 3 O™ 4

U ∑

3 4

p

o mid reg. (roll over th.dr.t.)

2 4

Pno. - str.

3 4

ææ ˙

2 4

wait until sound fades out

hit strings in reg. around Bb5

hit cast-iron frame let vib.

U

3 ≈ ‰ Œ 4 >¿

2 ≈ 4 ? ‰ Œ

Œ

f

3 4 o

p

b˙ Pno.

{

2 &4

3 4

∑

2 4˙

∑

3 4

2 4

∑

3 4

p

= s.p.

87

Vln.

° 3 ‚ œ‚ œ‚ œ‚ œ O ¢& 4 7

2 4

∑

4 4

3 4

∑

bIIO˙ ™™

4 4

pp pp hit cast-iron frame mid reg. let vib. mid reg.

3 4Œ

4¿ ≈ 4>

2 4 pp

mf

3 4

4 4

f

th.dr.t., mid reg. whip

Pno. - str.

bounce 3

{

3 4

4 ®? ≈ ‰ Œ Ó 4 >

2 4

f

3 ≈ 4 4 ?> ?> . . . . . . . . . . . . . . . . . . . . 4 o f ff

= m.s.p.

b(II) ~

91

Vln.

° 4 ¢& 4

<b> ~w

3 G™ 4

b OG ™™

b ~G

4G 4

p

5 4

pp

p

ææ w

11/2

in same reg. as trem.

4 4

Pno. - str.

3 4

ææ ˙™

4 4

œ ≈ ‰

Œ

Ó

5 4

≈ ‰

Œ

Ó

&4

&

pp

Pno.

{

4 &4

˙™

3 ˙™ 4

∑

˙™

4 ˙™ 4

5

?

Œ

pp

b‚ o p ( ‚)

=

7 9 5

(all on II)

® b‚ ® ® ® ® ≈ ≈ ® ® ® ® ® ®b O ° 5 G™ G ¢& 4 95

Vln.

(II)

3G 4

‚

mp

s.p. ˙ ™ O˙ ™™ 4 b˙ ™ 4 p 13/3 let vib.

in same reg. as coming trem.

æ 5 ˙™æ 4 o

Pno. - str.

Pno.

{

5 & 4 Ó™

O˙ ™™ Œ 3 4

æ ˙

ææ ˙™

3 ˙™ææ 4

mp

b˙ b˙ 3 4

œ

4 &4 ‰

≈Œ

Ó

3 4

˙ ™ ˙™ ? 4 ‰ 4

≈Œ

Ó

&4

p

∑

#‚ pp p

3

‚ 99 ° 3 b®˙ ‚® ® ® ® ® ® ® ® ® ® ® 4 b w® ® ® ® ® ® ® ® ® ® ® ® ® ® ® ® 3 bO˙ ‚g 7 4 4 4 ¢& 4 ™ ( )

6

Vln.

pp

in same reg. as trem.

æ 3 ˙™æ 4

Pno. - str.

æ 4 wæ 4

3 4

7 4

ppp

n˙ ™

˙™ Pno.

{

3 &4

˙˙™™

˙

˙

4Ó 4

3 4

o

pp

7 4

pp

= s.p. m.s.p.

(II)

b O˙

102

Vln.

™™

° 7 b~w ¢& 4

O™

2 4

œ œ œ

3 4

O

˙™

4 4

O˙™™

3 4 mp

2 4

pp

in same reg. as cluster

in same reg as trem.

13/3

7 4

Pno. - str.

ææ w

ææ ˙™

œ

2 &4 Œ

≈ ‰ 43

ppp

ææ ˙™ o

4 4

ææ w

3 4

ppp

ææ ˙™

2 4

mf

inaudibly

˙™ Pno.

˙™

{

7 &4 ∑

?2

≈ ‰ & 43 Œ

4 Œ

“˙” ˙

˙™ 3 ˙™ 4

w 4w 4

2 4

#‚ pp

= “” (I) 107 ° 2 bO &4

(0)

bO ™ ‚

˙ O˙

Vln.

2 ¢& 4

b˙

O

O ˙

O˙™™ ‚œ

˙™

O˙

O˙

4 4 mp

æ 2 ˙æ 4

f

‚ b~ 7 4 ˙™ O˙™™ ~ 3 7 4 4 b˙

4 ˙™ 4

ff

æ 4 ?> ‰ Œ ˙æ 4

pp

ææ w

æ 3 ˙™æ 4

æ 7 wæ 4

f ff

pp

Pno. - str. mid reg. hit strings

{

hit cast-iron frame, let vib.

2 4

4 4

3

3 5

¿ Œ Œ ¿ ≈? ‰ ¿ ≈? ? ? ? ? ‰ ¿ ? ¿ ≈¿¿¿¿¿¿ ? ‰ 43 ff

O™

3 4

O

2 4 O™

3 4 O

2 4

3 4 ppp

ææ ææ 2 ˙™ 4 ˙ 43

:“; q = 80 ° 3 b‚ O G 3 &4 8

7

113

(III)

∑ 44 #~

∑

w

3 #‚ 4 µ‚ ˙ O

1 8

3 4‚

1 8

m.s.p.

3

mp

œ œœ œ

œ œœ œ

œœ œœ œœ >œ >œ

∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏

bœ œ 3 bœœ œœ 8 >œ œ

3

œ œœ œ

bœ bœœ nœ

œ œœ nœ

bœ bœœ œ

∏∏∏∏∏∏∏∏∏

3 ¢& 4

∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏

‚g OG G

∏∏∏∏∏∏∏∏∏

Vln.

œ (IV) œœ 4 ~ 4 œ

ff

µ ‚ ˙ B ˙˙

nw

sfffzpp

p

in same reg. as cluster

3 4

Pno. - str.

in same reg as trem.

3 8

!™ mp

?> ?> ‰ mf

#œ &

4 4

3 4

ff

1 &8 mp

inaudibly Pno.

{

3 b ˙™ & 4 b ˙˙ ™

3 8

4 4

?

∑

3

#˙ Œ

& 4 #˙

∑

‚ R

?

1 8

p

ff

=

3

118

s.p.

° 1 #‚ & 8 µ‚ µ‚ ≈

4 4 µw

µw~

bbœ‚ 2 4 µœ µœ‚

3 bb˙O 4

2 4

3 4 ‚

‚

7 4

Vln. 3

ff

∏∏∏∏∏∏∏

mf

œ‚

∏∏∏∏∏∏∏

µB œ‚

nœœ µ‚ µB œ‚ µ ‚

1 & 8 ¢

œœ 4 ‚ 4 ‚ µ~ f

>4 1 & 8 #œ #œ ® ?> ? 4 ff

{

Œ

7 4

pp

#13/3 œ

2 4 ! mf

œ Œ

µ‚

in same reg. as chord

9/2

Pno.

‚

3

≈ ‰

Œ

Œ

7 4

4 ‚ ≈ ‰

Œ

Œ

7 4

&4

pp

inaudibly

?1 8

® ‚ #‚

4 &4 ## w ww

2 4œ œœ

Œ

?3

pp 3

mf

s.p.

III

g g g‚ O

122

8 Vln.

° 7 ¢& 4

‚ ‚ b‚ 3 4

4 4

∑

3

mp

p

freak out a bit in the various reg. with what would be considered as too much effort in same reg. as chord

7 4

4 4 ff

mf

hit c.i.-fr. in various places, let vib.

Pno. - str.

5

3

3

7

7 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈≈ ¿ ≈≈ ¿ ‰ ¿ ¿ ¿ Œ ¿ ¿ ¿ ≈ ¿ ¿ ¿¿ ¿ ¿ ¿¿ ≈ ¿ Œ 4 > > > mf

Pno.

3 4

ff

mp

f

{

?7 4

4 4

3 4

fff

nwinaudiby w n b w 4 &4

∑

3 4

= “” bO

124

O™

™ 1 b‚ ‚ 3 bO 8 µ‚ 4

bO ™ ∑

mp (IV) 3

O˙™™

‚ 43 ˙™

3 4

” “m.s.p. b‚ ‚ ‚ ‚ ‚ ‚ O b‚ ‚ ‚ 42 ‚ ‚ ‚

∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏

3

1 8 ‚

bO ™

2 4 ∏∏∏∏∏∏∏∏∏

Vln.

° 3 bO ™ ¢& 4

6 4

3 O™ 4

6 4

bO ™

µ‚ 3

f

in same reg.

3as trem.

4

Pno. - str.

mp

Pno.

p

mf

◊ÿ 4/1 œ œ œ 3 1 &8 4

pp

∑

◊ÿ œ 2 1 - 1 4 ≈ ‰ Œ

3 4

∑

œœœ 2 ‚ 4 ≈ ‰ Œ

3 4

4/1

6 4

mf

˙™

˙™ 3 &4

{

1 ‚ ‚ ‚ 3 8 4

6 4

∑

3 3

pp mf

pp o.p. 3/4

o.p.0 m.s.p.

=

o.p.0 m.s.p.

q = 60

“” b~

130

° 6 &4 :“;

∑

∑

4 4

b~

4 4

(0)

w

3 4

3

let vib. ~ b >œ ~ 3 œ ≈‰ Œ Œ 4 ~ 4 bœ 4 ~ œ

∏∏∏∏∏∏∏∏∏

b~ Ó b~~ ~ o

O™

(II) 4 œ ‚œ ‚ Œ 3 4 4

3

mf

p

pp

in same reg. as chord

3 ≈ 4 4 ? ‰Œ Œ 4

6 4

∑

“” >œ >œ ≈œ œ œ O 3 Ó ‰ 4 ‰

mp

in same reg. as chord Pno. - str.

∑

bO ™

pp

Vln.

6 ¢& 4

3 4

b >œ ‰ >œ ≈ œ œ ‰ œ 3 4

ææ w

ææ w

3

≈ 3 4 ?> ‰ ?> ?> ‰ ‰ ?>

ææ ˙™

4 4

ææ w

p p

pp

mp

pp

3 4 o

inaudiby

Pno.

™™™ w b n w w 6 &4

{

˙˙ ™™™ ˙ 3 4

w 4 ww 4

∑

3 4

∑

4 4 w ™ b ˙ nb ˙˙˙ ™™ bn w ww

3 4

I II IV

(gliss. down)

:“; b O ™ ° 3 &4 ˙™

6 4

:“; O bœ 3 ¢& 4

6 4

(II)

b O ™ ˙ ™ bb ~~ 3 4 4 4 n~ o III bn ˙O ™ 3 4 4 4 w pp o

b~™

137

Vln.

b~™

p

~~ b O 3 6 ™ ™ ™ 4 b‚ 4 b˙ O bO ~

2 4 bO

3 Œ 46 4 w ˙ ˙™

2 4

mp

9 s.p.

Ó™

4 4

∑

4 4

ppp

4/1

3 4

Pno. - str.

Pno.

œ

ææ ˙™

6 4 -

pp

mp

let vib.

-‰ 1 1-≈‰Œ ! 43

4 4

3 4 o

{

3 6 & 4 <b> ˙˙ ‰ ™ bœœ 4 w nb ˙˙ nb >œœ bn w ww ™™™

3 4

∑

6 4

2 o

pp

4 4

3 4 ˙˙ ™™

∑

≈‰Œ 44

&4

6 4

2 4 4 ‚ ≈‰Œ 4

∑

p

pp

ff

= m.s.p.

3

b ~w

144

3 ™ 4 b‚

b‚‚ 1 b‚ ‚ 8 ‚‚ b‚ ‚

Ϫ ⪠Ϫ

‚ O™ ‚ 3 ‚ 4 ‚

bw

∏∏∏∏∏∏∏∏∏

w

∏∏∏∏∏∏∏∏∏

b~

∏∏∏∏∏∏∏∏∏

° 4<b>œ bO ™ &4

4 4

3 4

pp Vln. III

4 œ O™ ¢& 4

3 4 b˙O ™™

~

1 8

3 4

∑

~

4 bw 4

∑

3 4

mp p

in reg around harm. make sure not to touch 13/3 D#2, so the harm. can vib.

low reg

ææ w

4 4

Pno. - str.

œ

3 &4

ppp

œ œœ 3 ≈ 4

1 &8

≈‰

in same reg. as chord

æ 4 wæ 4

∑

p

3 4

ppp inaudibly

Pno.

{

4 &4

∑

?3

∑

≈‰ Œ

4

1 8

Œ

#‚

≈ #‚

3 4 ‚‚

w 4 bwbw

∑

3 4

&4 pp

p 3

ppp

= III IV o.p. 3/4 m.s.p.

~

s.p.

b ˙ ™ b O˙ ™™

150

° 3 &4

b~™

b‚ ‚ œ œ ‚ b ~ 4 4

6 4

b O ™™ O 3 bbOO ™™ 4

O ™™ O O ™™ 5 bœ ‰ œ œ œ œ ‰ Œ 3 O 4 bœ œ œœ œ 4 p

Vln.

~

3 ¢& 4

b˙ ™ O ™ 6 b~ ™ 4

4 n‚ bœ œ O 4

pp

p

calmly cover whole reg. of pno.

3 4

ææ ˙™

6 4

3 4

b~

∑

3<b><b> ˙˙ ™™ &4 ˙ ™

{

3 4

∑

ppp

4/1 same as before, but a little less calmly

œ

4 &4

in same reg. as chord

3 4

≈‰

5 3 4 >- ‰ >- - >- - ‰ Œ 4

pp

Pno.

5 4

p

6 ˙˙ ™™ 4 bn˙˙ ™

Ó™

4 ≈‰ Œ Ó 4 n‚

∑

3 4

∑

5 ™ 4 bn˙˙ ™ ppp

pp

bn˙˙

3 4

m.s.p. o.p. 0

b ‚ ™™ ‚ ™™ ‚ ™™ ‚ ™™ ° 3 b‚œ ™ œ‚ ™ ‚œ ™ œ‚ ™ 2 bO bœ ™ œ ™ œ ™ 4 b O ¢& 4 156

10 Vln.

fp

4 4

O bO

p

3 4

~ b~

bO ™

2 bO 4

bO ™

2 4 bO

3 4

ææ 2 œ. œ. œ. œ. 4 ˙

3 4

O™

˙

3 4

pp

3 4 bO ™ æ 3 ˙™æ 4

Pno. - str.

3

2 4

mp

Pno.

4 4

pp

3 ™ & 4 bn˙˙ ™

œ. œ. œ. ˙

Œ

p

2 ˙ 4 bn˙˙

{

3 4

Œ

mp

3 ˙™ 4 bbn˙˙˙ ™

w 4 bnww 4

2 ˙ 4 bn˙˙˙

3 4

˙O ™™

3 4

=

161

s.p.

° 3 &4

bO˙ ™™

3 & 4 ¢

bO ™

b˙ ™

O˙™™

O˙

2 b˙ 4

4 ‚ 4 œ

Vln.

˙™

3

4 4

3 4 O™

b‚ “” b4/1 œ

3

œ ≈ œ œœœ≈ Œ

3 4

Pno. - str.

3

2 4 bO

bO ™

œœœ≈ ‰

˙™

2 4˙

˙™

˙

4

≈ ‰ Œ

Ó

3 4

4 b‚ ≈ ‰ Œ 4

Ó

3 4

&4

pp

Pno.

3 ˙™ & 4b<b>n˙˙˙ ™

bn˙˙˙˙ ™™

{

2 4

∑

ppp

=

s.p. m.s.p.

O ™™ ° 3 b OO ™™ O & 4 bO ™ O ™™ b Oo ™ O 3 ∑ & 4 ¢ 165

Vln.

b‚ 4 n ‚ ‚ g b‚ ‰ ng 4 mp

4 4

m.s.p.

2 OOO 4 bO o

2 4

∑

OO OO

3 ⪠Ϫ 8

3 4

3 8‚

‚ œ ‚ œ 3 4

≈ ‰ Œ

3 8

∑

3 4

2 4‚ ≈ ‰ Œ

3 8

∑

3 4

∑ 4/1

œ

æ 3 ˙™æ 4

Pno. - str.

4 - ‰ 4

ppp

Pno.

{

3 &4

- ‰ Œ

1 ‰

2 &4

mp

∑

4 4

∑

pp

s.p.

169

11

° 3 O™ &4

˙™

3 O™ 4

m.s.p.

3b(II) œ‚‚‚ ™™™™ œ‚‚‚ ™™™™ 4 8 4 œ™ œ ™

˙™

∑

4 4

∑

4 4

Vln. mp

3 ˙ ™ ˙O ™™ ¢& 4

3 ‚ œ#œ‚ œœ‚ œœ‚ œœ‚ œ‚ ‰ 3 4 œœ 8

∑

4 4

low reg. fpp

p gently stab 4/1 sounding board

3 4

∑

3 4

3 8

∑

∑

?4

4 bœ ≈ ¿ ¿ ¿ ¿ Œ p

Pno.

{

3 &4

∑

3 4

3 8

∑

∑

?4

≈‰

4

hit c.-i.fr., let vib.

ææ 4 œ ¿¿¿¿¿ ≈ 4 > pp mp

Œ

4 4

Ó

b‚ “‘ pp

=

s.p.

m.s.p.

173

° 4 œs.p. ‚ bœ‚ œ‚ œ‚ œ‚ nœ‚ 3 ˙ ™ ˙O ™™ ‚ œ &4 4

2 bbOOO 4 p˙

4 b‚ b‚ n‚ #‚ ‚ ‚ b‚ 3 b˙ ™ & 4 ¢ 4

2 4

OO 3 O ™ O 4 ˙

4˙ 4

O Ó

1 4

3 4 bO ™

4 bO 4

Ó

1 4

Vln.

p

mp

O™

∑

o

p

ppp

sfzpp

low reg.

4 4

Pno. - str.

ææ ˙ p

Pno.

{

?4 4

œ. ‰ œ. ‰ 43 mp

∑

ææ ˙™

4/1

?2

3 4 œ ≈ ‰ Œ 4 œ. œ.

pp

3 4

p

∑

2 4

≈ ‰ Œ 43 ‚ “pp‘

ææ ˙æ

ææ Œ œœœ ˙

pp

p

∑

mid reg.

4 4

pp

∑

1 4

12 s.p. m.s.p.

‚ b œ‚ nœ‚ œ‚ nœ‚ bœ>‚ œ nœ‚ ‚ ‚‚ 4 4 ‚ mp pp

178

° 1 b ‚‚ & 4 b‚ n‚

2 4

‚ bn œ‚ œ‚ œ‚ ‚œ ‚œ 4œ ‰ 43 4

∑

mp

Vln.

1 ¢& 4

4 œ 4

∑

‚ œ

2 4 b˙

‚ œ ‚ œ ‚

O

4 bœ ‚ œ ‚ œ ‚ bœ ‰ 3 4 4

b4/1 œ ææ œ

ææ w

&4

2

≈ ‰ Œ

4 4

∑

3 4

2

≈ ‰ Œ

4 4

∑

3 4

G™ G ™™ G G™

O 2 bOO 4b O

o

p

inaudibly

? 1 bœœœ Pno. { 4

4 ˙˙˙ 4

Ó

& 4 b‚ pp

=

182

Vln.

° 3 ‚œ ¢& 4

‚œ b ‚œ ‚œ

O˙ ™™ b 4 4

p

m.s.p.

‚

G™ 3 G™™ 4 bb G G™

pp

p

O OO O

3 4 o

2 4

∑

in same reg. as chord

bœ

3 &4 Œ

≈ ‰ 44

Œ

ææ w

3 4

ææ ˙™

2 4

ææ ˙

3 4

ææ ˙™

2 &4

ppp

inaudibly Pno.

{

3 &4 Œ

≈ ‰ 44 bnw ww w

Œ b‚ pp

3 ˙ ™™ 4 bn˙˙˙

2 ˙ 4 bn˙˙˙

3 œ Œ 4 bnœœœ

Œ

2 4

13 187

I Vln.

° 2 ¢& 4

˙™

˙O ™™

˙O

3 4

∑

˙O

2 4

™ 4 ˙O ™ 4

s.p.

‚

5 4

II

3 ˙™ 4

O™

2 O 4

pp high reg.

4 4

5 4

~

mp

pp

in same reg. as chord

4/1

bœ

2 &4

O

œ

nœ ≈ ‰

≈ 43

≈

ææ ˙™

æ 2 ˙æ 4

ææ w

4 4

5 4

pp

Pno.

bn ˙˙˙

{

2 &4

≈ ‰ ≈ ≈ 43 ‚ b‚ n‚

w bn ww

2 4

∑

4 4

5 4

ppp pp

=

191 ° 5 œ ‚ œ ‚ ‚ &4

O

2 4

p

∑

m.s.p.

3 bbOOO ™™™ 4 nO ™

OO ™™ OO ™™

2˙ 4

O

3 4

∑

3 4

∑

ppp p mp

Vln.

5 O™ & 4 ¢

2 4

O

∑

3 4

∑

2 4 b˙

O˙

mid reg.

æ 5 ˙™æ 4

Pno. - str.

œ Œ &

≈ ‰ 42

ppp

Pno.

{

5 &4

ææ ˙

3 4

2 4

p

3 4 mp

ææ ˙™ p

bn ˙˙˙ ™™ Œ

≈ ‰ 42 ‚ ppp

∑

3 4

∑

2 4

∑

3 4

∑