Double Concerto No. 2 by Eric Nathan

ERIC NATHAN

Double Concerto No. 2

For Two Solo Violas and String Orchestra

U B L I S H E D B Y N A T H A N A R T S

WWW.ERICNATHANMUSIC.COM | Providence, RI USA

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Co-Commissioned by Yellow Barn, Seth Knopp, Artistic Director, as part of Yellow Barn’s commissioning project in memory of Roger Tapping

Co-Commissioned by the New York Classical Players

Dongmin Kim, Music Director

Co-Commissioned by Rhode Island Chamber Music Concerts ***

Dedicated to Misha Amory and Hsin-Yun Huang, and to the memory of Roger Tapping ***

Composed during a fellowship residency at Civitella Ranieri Foundation

In five movements: (played without pause)

I. A dialogue; intimately q = 60 p. 1

II. Brilliantly; vibrantly q = 80 p. 16

III. Vigorously; racing q = 126 p. 27

IV. Embracing; with warmth q = 50 p. 57

V. Dancing; joyous q = 104 p. 69

Coda. Freely, with rubato; like wind ( q. = 104) p. 105

Total Duration: c. 23 minutes

INSTRUMENTATION :

Score in C Solo Viola 1

Solo Viola 2

Strings

---

Minimum recommended string section size: 6-5-4-3-2

Minimum string section size: 5-4-3-3-1

Maximum recommended string section: 16-14-12-10-8

If the work is performed unconducted, the Concertmaster should perform/direct the conducted sweeping gestures notated in the bottom staff of the score. A separate Concertmaster part is included with the set of performance parts and should only be used if the work is unconducted, as it contains the conducting staff in this part.

Violin I performance parts are divided into three booklets (Stand 1 / Inner Stands / Last Stand) .

Violin II performance parts are divided into two booklets (Stand 1 / Stands 2-Last Stand).

Violoncello performance parts are divided into three booklets (Stand 1 / Inner Stands / Last Stand). The orchestra librarian or principal players should indicate the partitioning of divisi of a2, a3, a4 as necessary in the performance parts to accommodate the specific string complement used in performance.

Double Bass should use C-Extension, or perform with scordatura tuning of E-string tuned down to C. There should be no octave doublings in the Double Bass section.

PERFORMANCE NOTE:

Seating Diagram (recommended):

The string orchestra should ideally be arranged in the following general spatial setup to achieve the effects of sounds rippling across the ensemble (from ensemble left to right and right to left). It is ideal for the Viola section to be on the right side of the ensemble.

The placement of the Double Basses in the center of the ensemble is not vital, and they may be placed wherever is needed/possible for space considerations of the stage and the logistics of the performance.

LEFT RIGHT

Performance Techniques:

“Wind/Breath Sound”:

Players should finger the pitch indicated (always a quarter-tone sharp, one whole-step above the open string, on each respective string indicated) with light finger and bow pressure so that the result has little to no pitch, imitating a breath-like sound.

The quarter-tone pitches are used because they are in between harmonic par tials and therefore have a more complex spectra which will more regularly result in a pitch-less sound at soft and medium dynamics

If players find a different position on the string on their instrument that results in a more reliable breath-like sound, they may finger that position/partial instead.

Conductor Solo Viola 1 Solo Viola 2

Violoncello

(Section)

Viola

(Section)

Violin

Double Bass (Section)

Violin

II (Section) I (Section)

“Tiny Swells/Shudders” (only in the Violas):

Players should begin performing the “Wind/Breath Sound” (as described above) and then swell in dynamic so that random airy and unstable harmonics sound. This is performed very quickly. Players should perform at the dynamic indicated even if a stable pitch sounds, though they can slightly glissando their fingers in quartertone increments to find a sound that has a more unstable/less pure harmonic sound. After cresc./dim., players should return to the “Wind/Breath Sound.”

“Rustling Sound”:

Players should begin performing the “Wind/Breath Sound” (with tremolo) and then cresc. in dynamic so that a mix of random unstable/airy/broken harmonics sound on the crescendo. The goal should be to find a “gritty/dirty” sound on the crescendo, like rustling leaves/branches/feathers. Players begin with light finger and bow pressure for the “Wind/Breath Sound,” but should increase bow pressure and position (sul tasto/ord.) as needed to achieve a proper crescendo.

Players should perform at the louder dynamic indicated even if a stable pitch sounds, though they can slightly glissando their fingers to find a sound that has a more unstable/less pure harmonic sound.

After cresc./dim., players should return to the “Wind/Breath Sound” technique (light bow/finger pressure/pitch-less)

In sections that include the “Rustling Sound” within boxed notation, players should choose the total duration of each gesture between the durational range indicated. Each time they play this gesture they should randomly choose a slightly different duration within the range, so that the rustling sounds are different each time (players may perform the same duration twice in a row, but not three times).

“Airy/Woody Ric.”:

Perform a ricochet on the strings, with an indeterminate number of bounces (ad lib.), lightly dampening strings so there is a deadened sound with very little to no pitch. The resulting sound should be airy/woody.

“Fluttering Sound”:

Players should bariolage across all four strings while lightly touching the strings where indicated, and then glissando their fingers to the pitches indicated, keeping an approximate hand shape, ad lib. All pitches in these gestures are approximate pitches and will achieve random indeterminate harmonics/sounds. These are not supposed to be natural harmonics, though if natural harmonics sound in the process that is expected. The resulting sound should imitate a flock of seagulls.

Slash Notation:

Players should memorize the figures used in the sections marked by slash notation , and only perform these when cued by the conductor.

In these sections, players should watch the Conductor (or Concertmaster, if unconducted) intently and the Conductor will gesture in sweeping motions across ensemble (Left / Middle / Right) with their hand (or hand/bow/instrument, if Concertmaster).

During these sections, players should play when gestured/pointed at by the Conductor, performing the figures indicated in the boxed figure corresponding to that specific section.

Each player begins the boxed figure(s) independently when cued by sweeping conducted gesture.

Where appropriate, each player chooses a duration from range indicated, playing independently from one another during the duration indicated.

The result should sound like a breeze of rustling leaves rippling across the ensemble.

Conductor Gestures:

There is a Conductor staff at the bottom of the score. The Conductor (or Concertmaster, if unconducted) will use their Left Hand (or Right Hand/bow/instrument as feasible for the Concertmaster) to motion across the ensemble as indicated in the notation.

The goal is for each wave of sound initiated by Conductor’s sweeping gestures to ripple through the ensemble in ways that change slightly each time. It should evoke the sense of wind rustling the leaves in trees in a forest.

Conductor Notation:

Conductor “paints” with gestures sweeping across ensemble.

Staff notation:

Top line of staff: point to left side of ensemble

Middle line: point to middle of ensemble

Bottom line: point to right side of ensemble

Glissando line: Slide hand from starting to end points (L to R; or R to L across ensemble)

Double Bass:

Double Bass should use C-Extension, or perform with scordatura tuning of E-string tuned down to C. There should be no octave doublings in the Double Bass section.

If scordatura tuning is used, the pitches on the C/E String in the “Wind/Breath Sound” and “Rustling Sound” techniques should be transposed down a Major 3 rd, so that the positions touched on the strings are in the correct harmonic series (in between standard partials) a nd so the double-stops in the “Rustling Sound” gesture are possible.

COMPOSER’S NOTE:

I took daily walks as I wrote this piece. I walked along a path that sits atop a ridge in the Italian countryside and is lined with trees on both sides: towering cypresses that stand tall and erect like ancient living pillars or guarding giants, and younger lindens that reach across to each other and gently entwine their branches above. The path stretches straight from a castle on one end across the ridge and through a gate to a forest beyond where the eye can see. Walking down this path evoked in me a sense of a procession through time. It was only after completing this work did I realize how much the experience of my daily walks had seeped into my conception of this concerto, both consciously and unconsciously.

At its heart, Double Concerto No. 2 is an exploration of the intertwining relationships between discrete and opposing forces. I contemplate various acts of weaving-together: of one life with another, of the human and natural worlds, of stasis and movement, of the past and present, and of feelings such as love, loss, joy and remembrance. While the concerto is symphonic in scope, its central focus is the two soloists and their interactions between each other and the orchestra.

The work is structured in five movements and a coda. The movements are woven together without pause by five interludes. In each interlude, waves of sound ripple and rustle across the ensemble, which often are “painted” by the conductor’s sweeping gestures. The two solo violists are often put into conversation with a consort of three violists from the orchestra. In movements II and V, this trio consort introduces quotations from music of the past, which are reimagined and reframed throughout the concerto: 16th-century composer John Dowland’s Flow My Tears (originally Lachrimae Pavan, c. 1596 A.D.), and 11th-century composer Pérotin’s Viderunt Omnes (“All the Ends of the Earth,” c. 1198). Dowland’s lamenting lute song was originally composed in the form of a pavane, which is a slow processional dance for couples that often precedes a faster, joyous dance. Pérotin’s luminous setting of a Gregorian chant is one of the first instances of polyphony in Western European music.

Double Concerto No. 2 was composed for violists Misha Amory and Hsin-Yun Huang and was cocommissioned by Yellow Barn, Seth Knopp, Artistic Director, as part of Yellow Barn’s commissioning project in memory of Roger Tapping; co-commissioned by the New York Classical Players, Dongmin Kim, Music Director; and co-commissioned by Rhode Island Chamber Music Concerts.

Double Concerto No. 2 is dedicated to Misha Amory and Hsin-Yun Huang, and to the memory of violist Roger Tapping. This work was composed during a residency at the Civitella Ranieri Foundation, situated in a 16th-century Italian castle on the site of an 11th-century church.

- Eric Nathan

Co-Commissioned by Yellow Barn, Seth Knopp, Artistic Director, as part of Yellow Barn’s commissioning project in memory of Roger Tapping

Co-Commissioned by the New York Classical Players, Dongmin Kim, Music Director

Co-Commissioned by Rhode Island Chamber Music Concerts

Dedicated to Misha Amory and Hsin-Yun Huang, and to the memory of Roger Tapping

Double Concerto No. 2

intimately, with tenderness, sometimes playfulness; always conversational

Ensemble Performance note: As if wind/breath slowly passes spatially through ensemble (Left-Right-Left) sul tasto

“wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]

Sul IV.

“wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]

                           Sola Viola I Sola Viola II Violin II Violin I Viola Violoncello Double Bass               1 

I. A dialogue; intimately  = 60  div. a3 gliss.             k  2  



             3   

gliss.            k    4  



sul tasto                  5    gliss.

Sul IV.

Eric Nathan (b. 1983)

“wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 6                   k        6  gliss.

div. a3   Sul

div. a3 sul tasto                   7                         8   gliss.                 9   “wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]  sul tasto                        k 10      10  Sul IV. Double Concerto No. 2 2

IV.

Sul IV. “wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note] sul tasto

Sul IV.

“wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 11              k   11  (div. a3) 

  3                    12       3                      k     13  gliss.    

sul tasto                        14                         15     Double Concerto No. 2 3

“wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 16                        16   l  gliss. 

div. a4   Sul IV. (div. a3) (div. a3)

sul tasto sul tasto            3     k            17 

(C-Extension closed)

   Sul IV.                      18      sul tasto        k              19  

 Sul IV.                       20  20   “wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note] sul tasto               k          21    gliss.  Sul IV.  Double Concerto No. 2 4

“wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 22                         22      div. a3 (div. a4) (div. a3)                       k      23     gliss. 

  Sul IV. sul tasto                   24                      25   sul tasto              k             26   “wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]  Sul IV. non vib.                       27  non vib.   Double Concerto No. 2 5

Baroque sound (little vibrato)

singing, pure, plainly, weeping

Baroque sound (little vibrato)

singing, pure, plainly

“wind/breath sound”: no pitch, light pressure (fingers and bow) [See Performance Note]

            Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 28         k             28 



IV.  (div.

(div. a4) Sul IV. sul tasto sul tasto          k               29   

Sul

a3)

          3                   30 

    gl.                      31           3                  32     gl.                 33  Double Concerto No. 2 6

                                                                 Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                     k     34    34  (“wind/breath sound”) Sul IV. (div. a3) div. a3 div. a4 trem. sul tasto                        k    35   gliss.  (“wind/breath sound”) Sul IV. trem. sul tasto                    k           k   36    (“wind/breath sound”) (“wind/breath sound”)  Sul IV. trem. sul tasto sul tasto                         kk   k           k k   37        tiny swells/shudders II. III. tiny

(IV.) tiny swells/shudders II. III.                             kk   k    k   38       II. III. (IV.) (IV.)  Double Concerto No. 2 7

swells/shudders: random airy/unstable harmonics on swells (return to “wind/breath sound”)

                                                                      Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.   3                 k         kk   k          39    39 singing out,

(“wind/breath sound”)      cant., glowing, pure,

gl. (Baroque sound) (Baroque sound) div. a4 (div. a3) (div. a3) simile sul tasto                             kk   k      kk   k     40           simile                 k            kk   k     41  (“wind/breath sound”)       gl. simile sul tasto                       k     k k   k          kk   k     42     (“wind/breath sound”)         sul tasto                                 kk   k     43   l   (“wind/breath sound”)     gl. sul tasto Double Concerto No. 2 8

glowing, pure, plaintive

plaintive

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 44                    k k   k             kk   k    k  44     div. a2        (div. a4) (div. a3)  (“wind/breath sound”) sul tasto                 k          k k   k         k 45      (“wind/breath sound”)      sul tasto (III.)         3                        kk   k        46          gl.                        k              47                               kk   k           48     singing, pure singing, pure    Double Concerto No. 2 9

find airy/unstable/broken harmonics/gritty sounds in cresc.

find airy/unstable/broken harmonics/gritty sounds in cresc. find airy/unstable/broken harmonics/gritty sounds in cresc.

find airy/unstable/broken harmonics/gritty sounds in cresc.

                                                                 Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 49                  k k            49       (last player) (div. a2) div. a3 (div. a3) (“wind/breath sound”)            k      k      k        k     50      trem.

(“wind/breath sound”)        3        k              k k                  51          gl.  Sul III.

(“wind/breath sound”) trem.           k          k         k    k k    k           52        trem. find airy/unstable/broken harmonics/gritty sounds in cresc.                      k      k      k     53       find airy/unstable/broken harmonics/gritty sounds in cresc.                        k k          54  cantabile     più            3               k       55  cantabile       più  gl.               k          k           56          Double Concerto No. 2 10

Strings slash notation:

Each player begins boxed figure independently when cued by sweeping conducted gesture; Each player chooses a duration from range indicated, playing independently from one another during the time period indicated by the slashed notation. (The result should sound like a breeze of rustling leaves rippling across the ensemble.)

Listed in all performance parts:

“Rustling sound”: begin with "wind/breath sound" then find a mix of unstable/airy/broken harmonics on cresc., a "gritty/dirty" sound; light finger pressure; sul tasto/ord. as needed for cresc.

continue trem. (before and after box material)

(last player)

tutti (except last stand)

The conductor (or concertmaster, if unconducted) gestures in sweeping motions across ensemble (Left / Middle / Right) as indicated in the conductor’s staves below, using Left Hand (or R.H./bow and/or instrument if violinist) as indicated.

See Performance Note for instructions.

(sweep hand across ensemble R to L)

(Ens. Left)

(Ens. Right)

             Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.       k    k        k    k         k    k         k    k         l     57  

     choose duration:  – 

57 choose duration:  – 

  cantabile



 

 choose duration:      choose duration:        choose duration:  –   trem. trem. trem. trem. trem. “Rustling sound” “Rustling sound” “Rustling sound” “Rustling sound” unis. unis. unis.           3                 58   cantabile gliss.                       59  (continue trem. after boxed figure is complete) (continue trem. after boxed figure is complete)               60  Double Concerto No. 2 11

Double Concerto No. 2 12

 gl.



use the same boxed material for sweeping gestures

use the same boxed material for sweeping gestures          3                       65

use the same boxed material for sweeping gestures   

             Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.       k    k        k      k    k        k    k         l     61      choose duration:   “Rustling sound”   choose duration:   –   61 (last player)   choose duration:  –    choose duration:     choose duration:       “Rustling sound” “Rustling sound” “Rustling sound” “Rustling sound” (rest of section) (Ens. Left) (Ens. Right)                       62             3          3                 63    gl. gl.           3                 64    gl.

use the same boxed material for sweeping gestures

Double Concerto No. 2 13

gliss. gliss.

use the same boxed material for sweeping gestures gl.

(rest  

 

use the same boxed material for sweeping gestures of section)

 



use the same boxed material for sweeping gestures                          68

                       69

                     70



                     71

  

        Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.          3        66    66 (last player)  gl. (Ens. Right) (Ens. Left)          3                       67    

use the same boxed material for sweeping gestures

(restart boxed figure when pointed at again, even if not yet finished)

to trem. when finished)

(restart boxed figure when pointed at again, even if not yet finished)

use the same boxed material for sweeping gestures

(restart boxed figure when pointed at again, even if not yet finished)

                                        Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B. 72                            72   non vib. non vib.     last player rest of

section

(rest of section)

 pizz. (last player) Sul IV. (Ens. Left) (Ens. Right) (rest of section) ord. ord. last player                     73                          74       k    k          k    k           k    k         k    k           75  75   choose duration:   “Rustling sound” (as before)   choose duration:   “Rustling sound” (as before)   choose duration:  –  “Rustling sound” (as before)   choose duration:   “Rustling sound” (as before)                            76 

(transition

     k                 77        Double Concerto No. 2 14

last played joined by 1/2 of section last played joined by 1/2 of section

                                                                  Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                             78           

 78 

ord. ord. ord. ord. div. a2 div.

      k         k         k        k    79           tutti   lightly

sul pont.

sul pont. sul

sul pont.

                                    80             harm. harm. Sul III. Sul IV. Sul III. Sul IV. Sul III. Sul IV. harm. Sul III. Sul IV. harm. sul pont. sul pont. sul pont. sul pont.                                   81           81 con vib. con vib. (increase pressure) (increase pressure) (increase pressure) (Open C-Extension) ord. ord. ord. ord.                                   82  ord.      ord.  ord.    ord.                                              3 6                        6     83          accel.     ord. ord. (con vib.) (con vib.) intensely, march-like intensely, march-like                      Double Concerto No. 2 15

(change bow as needed) (non vib.) (non vib.) (change bow as needed)

(rest of section) (last player)

damp. lightly damp. lightly damp. lightly damp.

sul tasto ord.

tasto ord.

sul tasto ord.

                                 Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 84                                                                     6 6 6 6                                                          6 6 6 6                                                        6 6 6 6                                                 6 6 6 6                                                 6 6 6 6                                                 6 6 6 6 84                      arco   (accel.) div. a2 (div. a2) (div. a2) (div. a2)                             3                    3                 3                 3       85       3    85 II. Brilliantly; vibrantly  = 80      0                                                          3              86      0  gliss.                                     Double Concerto No. 2 16

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 87                  3                 3               3                 3 3             3           3                 3           3 87       3        0 0               (div. a2) (div. a2) (div. a2) (div. a2)                         3           3                          3                   3 3               3 3 88       gl.                           3 3              3                3                     3                 3       89        con vib.                   gl.                                  3                                3                           3                             3                       3 90             3                     gliss.                                                                                               Double Concerto No. 2 17

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 91                       3                         3                       3 3                                3 3 3                   3 3 91               3 3 3 3   con vib.           (div. a2) (div. a2) (div. a2) (div. a2)         3                  3                  3                 3                                                                       92        3                       gl. gliss.      3                                              6 3                   6 3                                   6 3                                   6 3 93      3                      0 0 0 0 93 gliss. gliss. gl.                        3 3         3 3                         3 3 3 3                         3 3 3 3 94   gl.       Double Concerto No. 2 18

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 95              3                                       3 3 3 3 95              gl. gl. trem. trem. II. (div. a2) (div. a2) (div. a2) (div. a2)                         3           3 3 96         gliss.                    3   3        3 97                            98                                    99        0 non vib.  II.               100  rit.                 101                  Double Concerto No. 2 19

102 Floating; lamenting

= 66

Quotation: from John Dowland, Flow My Tears (originally Lachrimae pavan, c. 1596 A.D.)

                              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.    3    3          3       3   102 

   Baroque sound Baroque sound Baroque sound 1. sola; con sord. 2. sola; con sord. 3. sola; con sord.     intimately,

intimately,





espress.

(div. a2) unis.    3     3                    103        3    3                     104       3    3                    105            3    3                    106                Double Concerto No. 2 20

                                             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 107    3                    107   (2. sola) (3. sola) (1. sola)      3             108            3                 109         3            110         Double Concerto No. 2 21

sord.)

be omitted if only three violas)

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 111                          111           Baroque sound   rest of section (senza

(senza sord.)   Baroque sound    rest of section (con sord.) (con sord.) (con sord.) (1. sola) (2. sola) (3. sola)          3         3           112             (senza sord.) Baroque sound 112  0 non vib. non vib.  non vib. Sul I. last stand unis.                             113                                              114                                       115                          Double Concerto No. 2 22

(may

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                   116             116   (last stand) (rest of section) (2. sola) (1. sola) (3. sola) (rest of section)                             117                            118                                         119                          Double Concerto No. 2 23

            Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 120                              120             (1. sola) (2. sola) (3. sola) (rest of section) (last stand) (rest of section) div. a2                  121                    3          122             122      con vib. con vib. lamenting lamenting        3       3                    123             con vib.           Double Concerto No. 2 24

            Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 124      3      3                    124          trem. (1. sola) (2. sola) (3. sola) (rest of section) (rest of section) (last stand) (div. a2)                         125            trem. ord.                        126          trem. trem. trem. trem. ord. ord. ord. ord. senza sord. senza sord. 3                            127         trem. ord. senza sord.  gliss.                        128                  Double Concerto No. 2 25

With suspense

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 129              129      (div. a2) (last stand) (rest of section) unis. tutte             130       (sneak in)                  131                                    132      132 trem. trem. trem. ord. ord.

                              133                                   Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                       134            134 Churning; waves of sound (start wave; towards Violins) (div. a2) unis.                                            135                    (start wave; towards Violins)                                     136                   U U U U U U U U             Double Concerto No. 2 26 

                                        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                              137               = 92 137 pizz. arco  (start wave; towards Violins)  (div. a2)                                                      138                         (start wave; towards Violins) (catch and restart wave; towards Violas)                                             139          accel.                (catch and restart wave)             140   (ord.) (ord.) (ord.) (ord.) (ord.) grad. grad. grad. grad. grad.                                               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                           141    141        sul pont. sul pont. sul pont. sul pont. sul pont. III. Vigorously; racing  = 126 pizz. grad. grad. grad. grad. grad. (div. a2)                          142            ord. ord. ord. ord. ord.                                 143    0       arco                                     144                                          Double Concerto No. 2 27 

                                        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 145                              145     0  (div. a2)                   146                                              147                     147                                                    148                                                                                                      Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 149                                             149                                (div. a2)                            150                                                 151                                                         152                                                     Double Concerto No. 2 28 

          Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 153                                                   153        0 0       div. a2 div. a3 (div. a2)                                                                   154             154             gliss.                                                                  155        gliss. gliss. gliss. gliss. gliss. gliss. div. a2                                                                  Double Concerto No. 2 29

               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                                                                                156            156        1. solo 2. solo 1. solo   con fuoco con fuoco con fuoco  con fuoco       1. sola 2. sola 1. solo 2. solo 2. solo   (section) (div.) (rest of section) (div.) (section) rest of section rest of section                                                                              157           pizz. pizz. (arco) (arco) pizz. pizz.                                                                                                           158            arco             (2. solo) (2. solo) arco con fuoco con fuoco con fuoco con fuoco     (arco) (arco) unis. pizz. non div.                                                                            159                                                                                                                                                                                                        Double Concerto No. 2 30

               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                                                                          160               pizz. arco arco arco (arco)             (1. solo) (2. solo) (1. solo) (1. sola) (1. solo)    160 pizz. (pizz.) (pizz.) (section) (2. solo) (2. sola) (2. solo) (rest of section) (rest of section) (rest of section)                                                                            161                  espress.                                                                                                                     162                     espress.  pizz. (pizz.) arco (pizz.)                                                                                                                                              163            arco trem.                                                                                                             Double Concerto No. 2 31

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 164                                                                                                                                                                                             164                 arco arco gliss. (1. solo) (2. solo) (1. solo) (2. solo) (1. sola) (2. sola) (1. solo) (2. solo) (rest of section) trem. (rest of section)                                                                                                                                                                                  165                gliss. trem. (rest of section)                                                                                                                           166         trem. trem. trem.                                                                                    Double Concerto No. 2 32

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 167                                                                                                                                                                                                  167                             (rest of section) (rest of section) (rest of section)  div. a2 (1. solo) (2. solo) (1. solo) (2. solo) (1. sola) (2. sola) (tutti) (div.)                                                                                                                                                                                                                                                      168                 div.                                                                                                                                                                                                                                        169                                                                                                                                                                                                                                                     Double Concerto No. 2 33

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                                                                                                                                                                                            170                 170             (2. sola) (1. sola) (1. solo) (2. solo) (1. solo) (2. solo) rest of section (rest of section) (rest of section) (div. a2)                                                                                                                                                                                                                             171                                                                                                                                                                                                                                                                                       172                                 non vib. non vib.                                                                                                                           Double Concerto No. 2 34

                           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 173                                                                              173                        (2. sola) (rest of section) (div. a2)                                           174                 non cresc.                                  175                  175           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 176                                176                 con vib. (ord.) (div. a2)                                                   177              177      con vib. (ord.) With a dancing energy                                                   178                                                                       179                                                          Double Concerto No. 2 35 

        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 180                                                180                  (div. a2)                                               181                                                                      182                                                                     183                                                                               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 184                                                         184                     div. a3                                                                           185                tutte                                                                                  186                                                                                                     187              sub.  sub.  sub. 187   sub.                             Double Concerto No. 2 36 

        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 188                                                                                     188               sub.         (div. a3)                                                                                   189               sub.  sub.  sub.                                                                                           190              sub.  sub.  sub.  sub.                                                                                   191               191          tutti                                                  Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 192                                                                              192                          (div. a3)                                                                              193                                                                                                                         194                           div. tutti                                                                                                  195                                                                                                        Double Concerto No. 2 37 

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                                                                  196             196       (div. a3)                                                                                                  197                                                                                                                  198                                                                                                                        199             199                                                                                                  Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 200                                                                                                                     200                  div. a2 (div. a3)                                                                                                                        201                                                                                                                            202             202                                                                                                  203                 unis.                     Double Concerto No. 2 38 

Quotation: from John Dowland, Flow My Tears (originally Lachrimae pavan, c. 1596 A.D.)

                                                               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 204                                     204                  (div. a2)                                  205         Baroque sound con sord. Baroque sound con sord. Baroque sound con sord.    cantabile cantabile cantabile con sord.  cantabile Baroque sound

tutti div. a2    3     3                               206                 206 A touch quicker  = 132                                                                  207                      warm  warm   lightly lightly           Double Concerto No. 2 39

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 208                                                             208              warm warm (div. a2) (div. a2)                                                             209                                                                            210         210                                                                            211                        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 212                                                                     212               (div. a2) (div. a2)                                                                     213                                                                                        214                                                                                    215                    Double Concerto No. 2 40 

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 216                                                                         216               (div. a2) (div. a2)                                                                       217                                                                                 218                                                                          219                               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 220                                                                        220               (div. a2) (div. a2)                                                                          221                                                                         222                                                             223            con sord.               Double Concerto No. 2 41 

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 224                                                 224            con sord.  (senza sord.)   (div. a2) (div. a2)       3                                225  225                                                 226     lamenting, pure, glowing div.                                              227                   Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 228                                   228     cant., pure (div. a2) unis. (div.)                                      229        senza sord.                                   230           senza sord.         3                                      231           Double Concerto No. 2 42 

        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 232                                       232    (div. a2) (div.)                                             233                                                        234            234                                                       235                           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 236                                          236       (div. a2) (div.)                                            237                                               238                                               239                Double Concerto No. 2 43 

        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                        240     240      (div. a2) (div.)                                         241                                             242                                                243             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                         244   244       (div. a2) div. a2 (div.)                                     245                                                 246                                           247        Double Concerto No. 2 44 

                              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 248                                    248   (div. a2) senza sord. (div. a2) (div. a2)                                       249       ord. ord. senza sord.                                                              250       sub.     ord. ord. senza sord. senza sord.                                                                251                                                                                          Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.        252  252 G.P. G.P. G.P. G.P. G.P. G.P. G.P. G.P. With urgency  = 138                                            253              pizz. pizz. pizz. (div. a2)                                        254             (pizz.) (pizz.) (pizz.)                                                   255     pizz. pizz. pizz.         ord. ord. unis. senza sord. unis. unis.                                                       Double Concerto No. 2 45 

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 256                               256                                                       257            (pizz.)    (pizz.)  (pizz.)  (pizz.) (pizz.) unis.                                          258           arco arco div. arco                                            259     gliss. gliss.                                                                            Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                             260       260   con fuoco con fuoco con fuoco  con fuoco      arco  arco     (pizz.) unis.                                                              261                                                     262          trem. div.    pizz.                                263                                                                                                                               Double Concerto No. 2 46 

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                          264      arco          264 (pizz.)    (pizz.) (arco) (arco) (arco) unis.                                                             265                                                       266            div.                                 267                                                                                                                                         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                              268               268 (pizz.)     unis.                                        269                                                                           270                                                   271                                                                                                                                                     Double Concerto No. 2 47 

                     Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 272                                               272          (pizz.)                                                                                      273              div. div.     pizz. pizz. pizz.  pizz.   273                                                                                                 274                                                                                              275        arco arco arco    unis.                                                                      Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 276                                                                         276          arco arco     unis.                                                                               277                                                                                                       278                                                                                                                          279                                                                                                                                                                                                                                                 Double Concerto No. 2 48 

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                 280           280                                                                                 281                                                                                      282                                                                                                                                                       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 283                                                                                  283                                                                                   284                                      285      285                                                                                                                      Double Concerto No. 2 49 

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 286                                               286                                            287                                                        288                                                            289                                                                                                                           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 290                    290  molto rall.                               291                            292  non vib.    change bow as needed                     293  293  = 100   non vib. non vib. change bow as needed                     294  rall. change bow as needed                   295  intensely intensely    intensely                                  Double Concerto No. 2 50

                                   Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                         296    296  = 66        pizz. (non vib.) ord. (non vib.)    trem. trem.                                297  rit.         non vib.  non vib.                   298                               299       299  = 58         trem. arco                    Double Concerto No. 2 51

301 Waves / Wind (R to L across Ens.)  = 92 (subito)

Repeat figure in quarter-note alternation with other Solo Viola, asynchronously with string orchestra; like a procession.

rall. poco a poco from  = 58 to  = 40 by cue

Repeat figure in quarter-note alternation with other Solo Viola, asynchronously with string orchestra; like a procession.

rall. poco a poco from  = 58 to  = 40 by cue

(like a breeze rustling through the ensemble R to L)

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 300                                           300                          

(non vib.) (non vib.) div. a2 div. a2 div. a2 div. a2 trem. trem.                                                                301                     

  (non vib.)

trem. trem.                                302      (non vib.) (non vib.) (non vib.)                        Double Concerto No. 2 52

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 303                                                                 303                        (non vib.)  (div. a2) (div. a2) (div. a2) (div. a2)                                 304      (non vib.) (non vib.) (non vib.)                       305   rit.                                                                  306                  = 80 306                           Double Concerto No. 2 53

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 307                                307          (dim. general dynamic) (dim. general dynamic) (div. a2) (div. a2) (div. a2) (div. a2)                 308                   309   End on cue (a tempo / in time)   End on cue (a tempo / in time) (  =  ) (  =  )                          310     sub.   310 (  = 80 ) non vib. non vib.          Double Concerto No. 2 54

sustain pitch; change bow asychronously from other soloist; full bows; accel. poco a poco (ad lib., improvised, to approx. rhythms indicated)

fast full bows (con vib.)

sustain pitch; change bow asychronously from other soloist; full bows; accel. poco a poco (ad lib., improvised, to approx. rhythms indicated)

pristine, calm pristine, calm Double Concerto No. 2 55

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 311                     311        unis. unis. unis. unis.                     312        rit.                  313              314    = 60   314           315  lunga lunga   lunga lunga lunga lunga lunga U U U U U U U                          Sola Va. I Sola Va. II    316        316   (ord.) (ord.)    317   Senza misura (c. 8") U 317 (non vib.)  U (non vib.)

fast full bows (con vib.)   

                                                  Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.   3         5                    318  In time  = 66 318 molto espress., agitated   molto espress., agitated (fast full bows) (fast full bows)   sul pont. sul pont. (grad.) (grad.)   sul pont. sul pont. 0 0 (grad.) (grad.) div. a2 (div. a2)          5         3 3                                     319  ( = 40 )           sul pont. sul pont. ord. ord. ord. ord. ord. ord. ord. sul pont. (grad.) (grad.) molto rall. 0 con vib. con vib. con vib. div. a2 non div.                 Double Concerto No. 2 56

IV. Embracing; with warmth

= 50 (subito) 320

                                                       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                        3 3              3 3               3 3              3 3         3 3        3 3               3 3                3 3 320         3 3

molto appassionato, ecstatico         0 0     molto appassionato, ecstatico  div. div. con vib. (con vib.) (con vib.) (con vib.) (div. a2) (div. a2) div. a4                                                          321                        " "

            3 3            3 3           3 3                  3 3 322           3 3           322 unis. unis. unis. non vib. non vib. non vib. non vib. non vib. div. a2                     Double Concerto No. 2 57



" " " " " " " " "

                     Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 323                 3 3         3 3         3 3               3 3 323          3 3           div. (div. a2)               3       3         3             3 3 324        3 3        div.                325     pure, singing  325  gliss.                      Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 326                        326     pure, singing  gliss.             3        3      3              3 327       3          unis.                                 328            gliss.             3 3         3 3        3 3               3 3 329          3 3                poco vib. poco vib. poco vib. poco vib. poco vib. unis. Double Concerto No. 2 58 

        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 330                   330    gliss. div.                        331         gliss.                         332      gliss.                                    333              gliss.                         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 334              334    gliss.              335              336    unis.                 337  rit.    (div. a2)               338                    unis. Double Concerto No. 2 59 

                     Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.        3       3       3      3           3 339       3           339 A touch quicker  = 56 con vib. con vib. con vib. con vib. con vib. (div. a2)                 340     cantabile      gliss.                341                           342    div. gliss.                 343              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                 344      Pushing forward  = 60 344                  345      unis. unis.                 346           gliss.               347                           348                                 349             rit. Double Concerto No. 2 60 

                                             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.          3       350    singing out, glowing, pure, plaintive 350  = 66 singing out, glowing, pure, plaintive div. gl.                  351                 k       352    (“Rustling sound”) trem. gl.                  k      353       (“Rustling sound”) trem.               k     354    (“Rustling sound”) trem. (div. a2) gl.                    k    355        (“Rustling sound”) trem.  Double Concerto No. 2 61

                        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 356                  356     div. unis. unis.              3  k     k       357         gl.                  k k        k k   k    k    358         rough sound rough sound rough sound trem. ("rustling sound")                                  359        sul pont. sul pont. sul pont. (ord. pressure; with pitch) (ord. pressure; with pitch) (ord. pressure; with pitch)               3                            360    molto rall.   ord. ord.   ord.   molto appassionato      ( = 40)  con vib. rest of section 1. solo        Double Concerto No. 2 62

                           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.         3                                                               361           361          molto espress. molto espress. espress., crying out (1. solo) (con vib.) (con vib.) Passionately; raptuously  = 66                rest of section div. a2 trem. gl. div. a2       3                                                     362                       gl.                                             363                                                 364                                        Double Concerto No. 2 63

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 365                                    365       (rest of section) (1. solo) (div. a2) (div.)                                   366                     3        3                                367            gl. gl.      Double Concerto No. 2 64

"airy/woody ric.": deadened sound, very little to no pitch; lightly dampen strings

choose duration:  - 

Fig. A  choose duration:  - 

“Rustling sound” (as before)

Strings with box notation: Each player chooses either Figure A or B each time they are cued by the conductor/leader; randomize your choices; there should be a mixture of both choices each time across the ensemble; like wind rustling through leaves (indeterminately). 

ric.": deadened sound, very little to no pitch; lightly dampen strings

duration:  -  “Rustling sound” (as before)

last player

(white noise/indeterminate pitch/harmonics; dampen strings)

(rest of section: follow rustling gestures)

             Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.               k k          k    k         k k               k    k            k k          k    k         k k          k    k          368   368 

 (1.

  



solo)



 Fig. B   choose

"airy/woody

 choose



 Fig.

  choose

"airy/woody ric.":

Fig. A  choose duration:  -  “Rustling sound”

 jeté (ric.)  Fig. B   choose duration:  -  "airy/woody ric.":

very little to no pitch;

dampen strings Fig. A  choose duration:  -  “Rustling sound” (as before)  jeté (ric.)  Fig. B  rest of section (Ens. Right) (Ens. Left) unis. unis.          3          3                 369      gl. gl.                   370  Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue       3                    371       gl.     Double Concerto No. 2 65

jeté (ric.)

duration:  - 

Fig. A

jeté (ric.)

duration:  - 

deadened sound, very little to no pitch; lightly dampen strings

(as before)

deadened sound,

lightly

Play Fig. A or B on cue

         Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.               3              372      372 tutti Play Fig. A or B on cue Play Fig. A or B on cue (last player) (rest of section) (Ens. Left) (Ens. Right) gl. div. a2                            373   

gliss. gliss.                          374                         375    375 Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue                        376                   377    ord.  ord. div. a2 (full section) Double Concerto No. 2 66

Play Fig. A or B on cue

(Choose between Figs. A or B each time)

(choose Fig. A for first time so there is time to close C-Extension)

(Ens. Left)

(Ens. Right)

                                Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.                        k l          l    k       378    378 

 -  "airy/woody

Fig. A  choose duration:  -  "Rustling

 jeté (ric.)  Fig. B 

choose duration:

ric.": deadened sound, very little to no pitch; lightly dampen strings

sound"

div.

Sul

(div. a2)

II.

                     379                 380  Close C-Ext.                      381     Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue Play Fig. A or B on cue                      382             383  U U U U U U U U U U ( =  ) Double Concerto No. 2 67

Strings with box notation: Each player chooses either Figure A or B or C, each time they are cued by the conductor/leader; For the sake of variety/balance, all (and only) principal players play Figure C this first instance; after this time, if it is up to player choice (keeping a balance of the three figures at all times).

“Fluttering sound”: (like a flock of seagulls) bariolage while lightly touching strings where indicated, gliss. fingers, keeping approx. hand shape, ad lib. all approx. pitches; random indeterminate harmonics/sounds

                                                                                    Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.                                                                               384    

 

  

  

  384 0 last stand (last stand) In the same tempo  = 66

Fig.

Fig. C

Fig. C

(Ens. Left) (Ens. Right) gliss. gliss. gliss. gliss. ’ ’ ’ ’ ( =  )                              385                               386                   387  U U U U U U U U U U U U                                                                                                 Double Concerto No. 2 68

Fig. C gliss. div. div.

Play Fig. A or B or C on cue

(last stand)

Play Fig. A or B or C on cue

(rest of section) (rest of section) (last stand)

Quotation: from Pérotin, Viderunt Omnes (c. 1196 A.D.)

Baroque sound (clear, pure, dancing)

1. sola con sord.

Baroque sound (clear, pure, dancing)

2. sola con sord.

Baroque sound (clear, pure, dancing)

3. sola

con sord.

rest of section

Play Fig. A or B or C on cue (senza sord.)

Play Fig. A or B or C on cue

                                      Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.                              388      388 V. Dancing; joyous  = 104

(div.)                                                                  389      

  

  

                                                        390           Double Concerto No. 2 69

Left)

Right)

Play

Play Fig. A or B or C on cue

             Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B. 391                                                                391     (last stand) (1. sola)    (rest of section) (3. sola)    (2. sola)    (last stand) (rest of section) (rest of section div. a2)

Fig. A or B or C on cue

(Ens.

(div.)                                                                         392                                                                                         393    cant., pure, dancing 393               Double Concerto No. 2 70

             Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B. 394                                                             394    cant., pure, dancing            (last stand) (last stand) (rest of section) (div.) (rest of section div. a2) (rest of section) (1. sola) (2. sola) (3. sola)                                                                        395                 Play Fig. A or B or C on cue Play Fig. A or B or C on cue Play Fig. A or B or C on cue Play Fig. A or B or C on cue Play Fig. A or B or C on cue 2      2                                                                       396                      Double Concerto No. 2 71

“fluttering sound” (lightly touch strings, indeterminate pitches/harmonics)

                Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 397           2 2                                         397   cant.         (div.) (rest of section) (last stand) (last stand) (rest of section div. a2) (1. sola) (2. sola) (3. sola) (rest of section) div. a3                                                                398                                                                                                      399       k l         399 

 



 “rustling sound”            

gliss.

   Double Concerto No. 2 72

gliss.

gliss. gliss.

gliss.

                Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 400         2 2      2                                                                            400      cant. cant.                   (1. sola) (2. sola) (3. sola) (rest of section)   (div.) (rest of section div. a2) (last stand) (div. a3) gliss. gliss. gliss. gliss. gliss. gliss.              2                                                                    401                       gliss.                                                                                       402              ord.     Double Concerto No. 2 73

                 Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 403                                                             403       non vib.  non vib.  non vib.     (last stand) (last stand) (1. sola) (2. sola) (3. sola) (rest of section) (div. a3)    (div.) div. a4 ord. ord. ord.            2                                                    404                                                                                                                               405                           (“fluttering sound”) (“fluttering sound”) (“fluttering sound”) (“fluttering sound”) (“fluttering sound”) gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.    Double Concerto No. 2 74

Double Concerto No. 2 75

(senza sord.) 

senza sord.               

 

cant., joyously, to the fore     

cant., joyously, to the fore 

cant.  senza sord.  "fluttering sound"

 

cant., joyously, to the fore 

                                                                                   Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 406                                                                                                                                         406                  (1. sola) (2. sola) (3. sola) (rest of section) (div.) (last stand) (div. a4) (div. a3) ord. ord. ord. gliss. gliss.                                                                      407                              ord. ord.                                                                              408  408    cant., joyously, to the fore cant., joyously, to the fore  cant., joyously, to the fore  



tutti div. a2

cant., joyously, to the fore                                                                                                              409

sola) (senza sord.)

sound” (lightly touch strings, indeterminate pitches/harmonics)

“fluttering sound” (lightly touch strings, indeterminate pitches/harmonics)

                Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 410                                                                                           410         (senza

(con

(1.

(rest

(div. a4) (div. a2) (last stand) (div. a3) 

 

(senza

                                                                                                  411     gliss. radiantly                                                                                 412    412    gliss.    radiantly    tutte, div. a3 senza sord. ord. ord.      Double Concerto No. 2 76

sord.)

sola)

of section)

“fluttering

(2.

sord.) (3. sola) gliss. gliss. gliss. gliss.

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 413                                                                          413       (div. a4) (div. a3) (div. a3) gl. gliss.                                                              414    unis. tutti  gliss.            2 2                                                                      415       joyously             2 2                                                                        416       joyously          Double Concerto No. 2 77

          Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                                                417     417     (div. a3)  (div. a2)                                                                                     418                                                                                      419       cant., joyous cant., joyous       Double Concerto No. 2 78

          Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 420                                                                             420          (div. a2) (div. a3)                                                                         421                                                                                   422          unis.                                                                                      423         sub.  sub.          Double Concerto No. 2 79

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 424                                                                                                424             gliss. (div. a3) (div. a3) div. (div. a2)  sub.  sub.  sub.  sub.                                                                                                   425             gliss. gliss.  sub.  sub.  sub.  sub.                                                                            426             sub.  sub.  sub.  sub.                                                                                               427          gliss. gliss.  sub. sub. sub.  sub.                                                Double Concerto No. 2 80

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 428                                                                                                             428                  gliss. gliss.    (div.) (div. a2) (div. a3) (div. a3)                                                                                                                                                 429                gliss. gliss.                                                               430         430         pizz. arco         gliss. gliss.  unis. pizz. trem. trem. unis. unis. unis. gliss. gliss.

gl. gl.                                                          431                        gliss. gliss.    gliss. gliss. trem. gl. gl. gl. gl.                                                  Double Concerto No. 2 81

Raucously

                     Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 432                                                             432                          gliss. gliss. gliss. gliss. gliss. gliss.  pizz.                                                               433                     arco   gliss. gliss. gliss.                                                     434         pizz. div.      gliss. gliss. gliss. gliss.                                                   435               strum (up)   gliss. unis.                                                                               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 436                                   436        arco                                  437         437        Playfully                                                         438              Open C-Ext.             Double Concerto No. 2 82 

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 439                                                                   439                                                                       440                                                                   441            Double Concerto No. 2 83

Moving forward decisely; with waves (L to R)

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 442                                                                                              442                          div. a3 div. a3 div. a3                                                              443   443          cant. cant. cant.

cant.                                                                                                                                                               444      (ord.) (ord.) (ord.)     (ord.) sul pont. sul pont. (ord.)  (ord.)  (ord.)   cant. cant. (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (ord.) (grad.)     Double Concerto No. 2 84

               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 445                                                                                                                                                                                                                                                                445           sul pont. sul pont. sul pont.  sul pont.     (ord.)   (ord.) (ord.) sul pont. sul pont. sul pont.         sul pont. ord. ord. ord. (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (grad.) (div. a3) (div. a3) (div. a3) div. a3         2 2                                                                                                    446        ord.  ord. ord. ord. ord. ord.            2 2                                                        447              Double Concerto No. 2 85

               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 448                                                                                                                     448   (ord.)  (ord.)  (ord.)    (ord.)  (ord.) (div. a3) (div. a3) (div. a3)                                                                                                                                                                                                                                                     449     (ord.) sul pont.  (ord.) sul pont.  (ord.) sul pont. sul pont.  sul pont.       sul pont.  sul pont.  sul pont.  (ord.)  sul pont. ord.  ord. (ord.) (div. a3)                                                                                                                                                             450      sul pont.      ord.  ord. ord. ord.  ord.  ord.  ord. ord.          2 2                                                         451         Double Concerto No. 2 86

               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 452         2 2                                                    452      (div. a3)                                                                                                                                                  453       (ord.) (ord.)  (ord.)   (ord.)   (ord.) (ord.) sul pont. sul pont.  (ord.)   (ord.) (div. a3) (div. a3)                                                                                                                                                                                                                                                                         454   sul pont. sul pont. sul pont.         sul pont.  (ord.)  sul pont.  (ord.)  sul pont. sul pont.        (ord.)  (ord.)  (ord.)   sul pont. sul pont.  sul pont.  ord. (ord.) ord. (ord.) ord. ord. ord. ord. (div. a3)  Double Concerto No. 2 87

               Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 455        2 2                                                                                                                                                                                                                               455     sul pont. sul pont. sul pont.  (ord.) sul pont.  (ord.) sul pont.  (ord.) sul pont.  (ord.)        sul pont.         ord. ord. ord. ord. ord.      sul pont.  ord. (ord.) ord. ord. (ord.) (div. a3) (div. a3) (div. a3) (div. a3)            2 2                                                                   456         ord. ord. ord.                                                                                                                                               457     (ord.) sul pont.   (ord.) sul pont.   (ord.)  (ord.)  (ord.)  (ord.)  (ord.) tutti div. a2 div. a2 Double Concerto No. 2 88

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 458                                                                                                                                                                                                         458       sul pont.   sul pont. sul pont.      (ord.)   sul pont.   sul pont.     (ord.) ord. ord. ord. ord. ord. ord.  ord. ord. (div. a3) (div. a3) div. a2 (div. a2) (div. a2)                                                                                                                                                                                                       459    sul pont.    (ord.)  (ord.)     sul pont. sul pont. sul pont. sul pont.  sul pont.    ord.     ord. (ord.) (ord.) ord. (ord.) ord. ord. ord.                                                                                                                                                                                              460          (ord.)   (ord.)              (ord.)   ord.             Double Concerto No. 2 89

461 Turbulent; churning

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                                                                                        461                          (div.) unis. unis.

(div. a2)                                                                                                                                       462                                                                                                                                                                                        463                                                                              Double Concerto No. 2 90

       Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 464                                                                                                                        464                                   unis. unis.                                                                                                                        465                                                                                                                                                    466                    1. solo 2. solo  1. solo                                       Double Concerto No. 2 91

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 467                                                                                                                                                                                                467                   2. solo           1. sola 1. solo     (1. solo) (2. solo) (rest of section) sul pont. sul pont. (1. solo)    rest of section rest of section           sul pont. (ord.) (ord.) (ord.) (ord.) (ord.) rest of section                                                                                                                                                                                                                                                          468                                      sul pont. sul pont. div. div.              sul pont.                                                                                                                                                                                                                                                     469                                     ord. ord. ord. ord. ord.        ord.       469                                       Double Concerto No. 2 92

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 470                                                                                                                                                                                                                                                                       470                                        sul pont.     (1. solo) (2. solo) (ord.) (ord.) (rest of section) (1. solo) (2. solo) (rest of section) (ord.) (ord.) (1. sola) (rest of section) (ord.) (1. solo) (rest of section) (div.) non div. (div. a2)                                                                                                                                                                                                                                                                         471                           sul pont. sul pont. sul pont. sul pont. sul pont.            gliss. gliss.                                                                                                                                                                                                                                                                                     472              non div.               ord.      ord.     ord.     gliss. gliss.  non div. div.                           Double Concerto No. 2 93

              Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 473                                                                                                                                                                                                                                                                        473                       ord.              ord.  ord.        ord. (1. solo) (2. solo) (rest of section) (1. solo) (2. solo) (rest of section)    (1. sola) (rest of section) (1. solo) (rest of section) (non div.)                                                                                                                                                                                                                                                  474                                       gliss. gliss. gliss.                                                                                                                                                                                                                                                                                                                        475                                           475 With growing excitement unis. non div.                                              Double Concerto No. 2 94

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 476                                                                                                                                                                                                                                                        476                               ord.  ord.         (1. solo) (rest of section) (1. solo) (rest of section) (1. sola) (rest of section) (1. solo) (rest of section) div. (non div.) (non div.)                                                                                                                                                                                                                                          477                                                                                                                                                                                                                                             478                                   ord.      div.                                                                                            Double Concerto No. 2 95

           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 479                   4 4 4                      4 4                                                                                                                                                              479                                          (1. solo) (rest of section) (div.) (1. solo) (rest of section) (1. sola) (rest of section) (1. solo) (rest of section) (div.) (non div.) non div.                                                                                                                                                                                                                         480                 480 div.             Soaring gliss.                                                                                                                                                                                                                                                481                        gliss.                           Double Concerto No. 2 96

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 482                                                                                                                                                                      482                     (div.)  (rest of section) (rest of section) (1. solo) (1. solo) (non div.) tutte (div.) (div.) unis.                                                                                                                                                                          483                       gliss.                                                                                                                                                           484                                          gliss.                                                                                                                                                                 485                                                                     Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 486                                                                                                                                   486                                tutti tutti (div.) (div.) (non div.) gliss. gliss.            2 2          2                                                                                                          487                                       2 2          2                                                                                                    488              div.                  Double Concerto No. 2 97 

            Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 489               2 2                                                                                                                                                                                                                                                              489                              (1. solo) (2. solo) (div.) (rest of section) (1. solo) (2. solo) (rest of section) (div.) (div.) (non div.)                                                                                                                                                                                                            490                           gliss.                                                                                                                                                                      491     IV. III. II. I.    491  joyously, dancing  joyously, dancing   change bow as needed change bow as needed change bow as needed Joyous, ecstatic last stand unis.                 tutta forza tutta forza tutta forza tutta forza tutta forza tutta forza                                                                                                                       Double Concerto No. 2 98

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 492                                                                                                                                                                                492           ord.    (1. solo) (2. solo) (1. solo) (2. solo) (rest of section)  last stand Inner Stands div. (div.) (div.)                                                                                                                                                                           493            ord.                                                                                                                                                                                   494       ord.                                            Double Concerto No. 2 99

             Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 495                                                                                                                                                                                         495      ord.        (1. solo) (2. solo) (Inner Stands) (1. solo) (2. solo) (rest of section) (last stand) (div.) (div.) (div.)                                                                                                                                                               496      ord.                                                                                                                                                                      497   ord.    ord.             Double Concerto No. 2 100

            Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 498                                                                                                                                                498      (last stand) (div.) (1. solo) (rest of section) inner stands (div.) (div.) (div.) 2. solo inner stands                                                                                                                                                                                           499       499           (ord.) (ord.) (ord.) (ord.) (grad.) (grad.) gliss. gliss. 1., 2. soli unis.                                                                                                                                                   500        unis.    sul pont. (ord.) sul pont. sul pont. sul pont. ord. ord. ord.   sul pont. ord. (grad.) (grad.) (grad.) gliss. gliss.                                                                                                                                                          501        ord. (ord.) (ord.) (ord.) (ord.)  Double Concerto No. 2 101

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 502          4                                                                                               502   div. a2   sul pont. sul pont. (ord.) gl. tutti div. tutti unis. (div.) (div.)                    4                                                                                                  503          sul pont. ord. ord. gl.                                                                                                                            504     504 (ord.)      ord. (grad.)                                                                                                         505    sul pont. unis. Double Concerto No. 2 102

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 506        4          4                                                                                                        506     ord. (ord.) (ord.) gl. gl. (div.) (div.)                                                                                                                                           507             sul pont. ord. (ord.) (ord.) (ord.) sul pont. sul pont. sul pont. ord. sul pont. (grad.) (grad.)                                                                                                                                    508        ord. ord. ord.                                                                                                                                509     sul pont. sul pont. (ord.) (ord.) (ord.) (ord.) (ord.) gliss. Double Concerto No. 2 103

        Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 510                                                                        510         sul pont. ord. ord. ord. ord. sul pont. gliss. (div.) unis.                                                                  511                                                                                 512                              2                                                   513   513                     2 2 2 2                              2 2 2                                        2 514           Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B. 515                   2 2 2 2                   2 2 2 2                            2 2 2                         2 2 2 2 515     (div.)                   2 2 2 2                   2 2 2 2                         2 2 2 2                         2 2 2 2 516                         2 2 2 2                   2 2 2 2                         2 2 2 2                         2 2 2 2 517                       2 2 2 2                   2 2 2 2                         2 2 2 2                         2 2 2 2 518                         2 2 2 2                   2 2 2 2                         2 2 2 2                         2 2 2 2 519                       2 2 2 2                   2 2 2 2                         2 2 2 2                         2 2 2 2 520        Double Concerto No. 2 104 

Coda. Freely, with rubato; like wind (

= c. 104 )

ric.": deadened sound, very little to no pitch; lightly dampen strings

jeté (ric.)

Fig. A

"airy/woody ric.": deadened sound, very little to no pitch; lightly dampen strings

choose duration:  - 

jeté (ric.)

Fig. B

duration:  -  “Rustling sound” (as before)

Fig. B

“Rustling sound” (as before)

choose duration:  - 

"airy/woody ric.": deadened sound, very little to no pitch; lightly dampen strings

Fig. B

Fig. A  choose duration:  - 

“Rustling sound” (as before)

Fig. A

"airy/woody ric.": deadened sound, very little to no pitch; lightly dampen strings

choose duration:  - 



Fig. B 

choose duration:  - 

“Rustling sound” (as before)  jeté (ric.)



between Figs. A or B each time)

"airy/woody ric.": deadened sound, very little to no pitch; lightly dampen strings

choose duration:  - 

(choose Fig. A for first time so there is time to close C-Extension)

Left)

Right)

            Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.             kk          k    k          k k              k    k          k k             k    k          k k              k    k          k l          l    k        521        choose duration:  -  "airy/woody

Fig. A  choose



 

choose duration:  - 



jeté (ric.) 

 

521 





 

Fig. A  choose duration:   "Rustling sound"  jeté (ric.)  Fig. B  (Choose



(Ens.

unis.

                          522  (change bow as needed) (change bow as needed)           523  U U U U U U U U Close C-Ext.      Double Concerto No. 2 105

(Ens.

Choose Figs. A or B (each time)

         Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B.                                           524       524 last player  rest of section rest of section last player (Ens. Left) (Ens. Right)

                                    525                        526                                                         527        U U U U U U U U U U                                           528      528  (last player)                                     529                                                    530         Double Concerto No. 2 106

         Sola Va. I Sola Va. II Cond. Vn. II Vn. I Va. Vc. D.B. 531                                     531       (last player) (rest of section) (rest of section) (last player)                                       532                                  533   U U U U U U U U U U                                         534  534  gl.   Floating                                             535    gl.                            536                              537  U U U U U U U U U U Double Concerto No. 2 107

         Sola Va. I Sola Va. II Vn. II Vn. I Va. Vc. D.B.                                                     538  1. sola 3. sola 2. sola          538 like a distant, dancing viol consort like a distant, dancing viol consort like a distant, dancing viol consort tutti Dancing tutti                                                     539                                                                 540                                                            541           Double Concerto No. 2 108

Double Concerto No. 2 109

549  

Repeat boxed figure (as a trio) al fine, continuing at .= 104

U  

(sustain note; change bow as needed)      



c. 10-20" 

(sustain note; change bow as needed)              548

  



c. 10"   U U U U



        549

       Sola Va. I Sola Va. II Vn. II Vn. I Va. 542                                   542            (1. sola) (2. sola) (3. sola)                                      543                                             544                                           545                                                546                        Sola Va. I Sola Va. II Va.                             547            

   547   

Senza misura; dancing off into the distance (1. sola) (2. sola) (3. sola)

Double Concerto No. 2

ERIC NATHAN

Double Concerto No. 2

For Two Solo Violas and String Orchestra

TABLE OF CONTENTS

INSTRUMENTATION :

Score in C Solo Viola 1

Solo Viola 2

Strings

PERFORMANCE NOTE:

LEFT RIGHT

“Tiny Swells/Shudders” (only in the Violas):

“Rustling Sound”:

COMPOSER’S NOTE:

Double Concerto No. 2

102 Floating; lamenting

= 66

With suspense

301 Waves / Wind (R to L across Ens.)  = 92 (subito)

IV. Embracing; with warmth

= 50 (subito) 320

Moving forward decisely; with waves (L to R)

461 Turbulent; churning

Coda. Freely, with rubato; like wind (

= c. 104 )

Double Concerto No. 2 109

549  

U  

(sustain note; change bow as needed)      



c. 10-20" 

(sustain note; change bow as needed)              548

  



c. 10"   U U U U



        549