Through Frail Shadows (for string quartet and fixed media)

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for String Quartet and Fixed Media

by

Haodong Wang Full Score 2023

Commissioned by Valette Ensemble

II

Instrumentation: Pre-recorded tape Violin I Violin II Viola Cello Pre-recorded Tape: The pre-recorded tape is created by mixing recordings of the prepared string quartet itself. In the full score, the pre-recorded string quartet part is notated in the top four systems. The quartet may choose to record themselves and mix their own fixed media part, or they can use a complete tape recorded by Valette Ensemble and edited & mixed by Emmy Lambert (https://www.hothousediscord.com).

Electronic files, which include the click track and fixed media are available at: https://www.dropbox.com/scl/fo/pa5car9do25flfh6i8yjr/h?rlkey=flny3no9l2bvquami8cepkhq7&dl=0 If you chose to create the pre-recorded tape yourself, the quartet should play along with a click track and record the entire piece in multiple segments. This is necessary due to changes in string preparations and detuning in the pre-recorded part. The full score and pre-recorded part have time codes for coordinations.

Afterward, these recorded segments will be mixed into a synchronized track, with some bars being reversed during this process.

The thick arrows in the full score, positioned above all systems, serve as references for the sections that need to be reversed. Smaller-sized staves included in the full score indicate the approximate sonic result after reversing.

Mixing Marks: = reverse the indicated bar(s) when mixing. Always start from the beggining of the bar to the end. = reversed samples overlaps with the normal samples.

Amplification: A small amount of amplification should be used for the live quartet, the primary sound of the quartet should be natural, from the instruments themselves. A stereo mix is sent to the speakers and the click track is sent to the musicians. The quartet is to be panned as follows: 1 st Violin = pan far left, Viola = pan mid left,

2 nd Violin = pan far right, Cello = pan mid right.

Balance: Achieving the right volume balance between the live quartet and the pre-recorded tape is crucial. The amplified live part should be slightly louder than the tape, but it should not deviate too much from their natural acoustic sound. Even during overlapping sections, the details from the tape should remain audible. It is recommended that the volume balance of approximately 55% for the live quartet and 45% for the tape.

Performance Requirements: A 3-channel playback device with stereo output (fixed media) and mono output (click track).

A mixer with 6 inputs.

2/4 high frequency response speakers.

4 headphones or in-ear monitors for the performers to hear the mono click-track.

III

String Preparation: In both the pre-recorded track and live part, all instruments should have their strings prepared with a small amount of blu-tack**, attached at the indicated harmonic nodes. It is essential that the Blu-Tack covers the entire surface around the string to which it is attached.

The following charts indicate the nodes of harmonics for each instrument when normal tunned. A4 = 441HZ

When adding Blu-Tack to a string, it's important to note that the fundamental tone is lowered. Careful balancing of the amount of blu-tack is necessary to ensure that the strings vibrate as close to their normal state as possible. When bowing the prepared open strings, you'll perduce a inharmonic spectrum. For both the pre-recorded and live parts, it is recommended using blu-tack with the following diameters: Violin I 1 st string = 0.3 – 0.4 cm, 2 nd string = 0.4 – 5 cm, 3 rd string = 0.5 – 0.6 cm, 4th string = 0.6 – 0.7 cm.

Violin II 1 st string = 0.5 – 0.6 cm, 2 nd string = 0.6 – 0.7 cm, 3 rd string = 0.7 – 0.8 cm, 4th string = 0.8 – 0.9 cm.

Viola 1 st string = 0.3 – 0.4 cm, 2 nd string = 0.4 – 0.5 cm, 3 rd string = 0.6 – 0.7 cm, 4th string = 0.7 – 0.8 cm.

Cello 1 st string = 0.9 – 1 cm, 2 nd string = 1 – 1.1 cm, 3 rd string = 1 – 1.1 cm, 4th string = 1.1 – 1.2 cm.

*If the performance consists of Valette Ensemble’s pre-recorded tape, a fee might need to be negotiated, please contact them. *Blu-tack is reusable putty-like pressure-sensitive adhesive commonly used to attach lightweight objects (such as posters or sheets of paper) to walls or other dry surfaces. It’s produced by Bostik. Similar products are ‘‘Patafix’’ -produced by UHU, and “Tack-it” produced by Faber-Castell. ** when putting blu-tack on the detuned string, detune first, then attach it at the same hormonic node as where the hormonic position of the normal tuned string.

Notes for Performers:

The three-line staves system indicates the register of the instrument in coordination with the left-hand positions. It represents a range from very low to very high register, with Roman numerals indicating which string(s) to be played. In this system, it's essential to emphasize the register and gestures over the actual pitch = bowing with almost no bowing pressure, slightly behind the bridge and before the tailpiece, the sonic result is constant airy noise with undefined pitch. = glissando, always as even as possible. = gradually move from one technique to another.

Left hand pressure = ordinary pressure. = half pressure, less pressure than normal, not touching the fingerboard. = lightly touching, as if playing harmonics.

Right hand pressure = almost no bow pressure. = ordinary pressure. = half overpressure. = overpressure.

Bow positions AST = alto sul tasto. ord = ordinary position.

MSP = molto sul ponticello.

ESP = extremely close to the bridge, the last partial tone of the string. When bowing on the prepared string at this position, the sonic result is constant distorted multiphonic.

Other techqinues c.l. = col legno, tapping the string(s) with the wood part of the bow. = changing pitch when playing col legno, by moving the striking positions of the bow. The relative pitch changing is notated as gliss line.

R.H. pizz = pizzicato should be performed between the blu-tack and bridge. = left hand pizzicato, anywhere in between the nut and blu-tack. = as high as possible, very close to the blu-tack, between the nut and blu-tack.

IV

V

Program Notes: I've always been fascinated by the dual nature of shadows, both in their visual and symbolic aspects.

Shadows, whether cast naturally by light and obstructions or symbolically by our past experiences, hold a unique intrigue. When we examine an object under specific lighting conditions, its darker sides often blend into other surfaces, escaping our attention. However, its shadows are ever-present, no matter how inconspicuous they may appear. Their existence completes the object and visually, gives it a sense of vitality.

Similarly, every individual has their own shadows, both in the visual and metaphorical sense. We all have memories from our past, some are more ambiguous and unpleasant. Often, we cannot recall the details of those darker memories, and tend to forget or ignore them. Those are the shadows in our minds, they play an important role in shaping our personalities, for better or worse. And they contribute to what makes us unique, complex, and human.

Based on this abstract concept, I envisioned the metaphorical shadows as a tangible cage. I began to imagine what it would be like if I were trapped inside. When I whisper, speak, laugh, cry, or scream, what sound will come out? Will that still be my voice? In some way, ‘Through Frail Shadows’ is more like a requiem for the long-gone shadows of the past, where you can find those voices resisting, struggling, suffering—the intention of escaping but also a sense of rebirth.

Duration: Approximately 10 minutes

rough Frail Shadows

Haodong Wang (b.2001)

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+ + ++ ‰ j ‰ j ‰™ œ œ œœ

7

Ó

Ó sim.

5

6

5 œ ‰ œJ ‰ ™ œ œ

c.l.

III

Vln. II _ Live

œ

sim.

ad lib.

7 7‰

ord

?

IO ™ ‰ œR p

¢? 44

œ œ

)

7 ' p

Cello _ Pre.

5

‰

œ œ ‰ œ œ ‰ œœ ‰ 3 œ œœ 4

ad lib.

III [q]

?4 4

‰™

mf R.H. pizz.

5 0 6 0 sim.

‰

2--2 6I

œ œr

R.H. pizz.

0 0

Œ

5

3 4

p

6

œœ≈œœ

6

6

œ œ r œ œ ≈œ œ œ

mf

œ

2--2 )I

6

œ ‰ ‰™

5

‰

sim.

I

c.l.

III

Œ

œ œ 43 œ œ

Œ

7

Œ

7Æ 7Æ

Œ

+ œ

Œ

+ œ

3 4

‰ 77Œ

3 4

‰

3 4

pp

Viola _ Live

4 4

∑

∑

like raindrops c.l.

II

Œ

7

Ó

I

II

7

Œ

II ÆÆ Æ 77 ‰ ‰ 7

pp

Cello _ Live

4 ¢ 4

∑

∑

p

Oœ ™™

p

3

arco ord

?

IO œ

B

™™ O Ó œ pp

like raindrops c.l.

I

7

p

Œ

sim.

II

K 89

° 3 4 Vln. I _ Pre.

13

)™

q=60

4 4

3 5 & 4 œ œ ‰™

+ +œ +œ œ

3 & 4 Œ

I II

7

Œ

Œ

+œ

‰™ œ R

‰

p

™

Viola _ Pre.

Œ

++++ +++++ + + + ++ ? œ‰ ‰ œ œ œ œ œ œ œ arco 0 œ œ œœ œœ œ 5

++ ‰ œ˙ œ

0 III

R.H. pizz

˙

pp

?3 Cello _ Pre. ¢ 4Œ c.l.

° 3 I7 ‰ Vln. I _ Live 4 J

4 œ 4

mp

p II

77‰ 7

‰ & 44 ‰

ord

?

‰

Vln. II _ Live

Œ

3

#œ ™

4 3 ‰ 7Æ 4 7

+ &œ

mp

mp

p

Viola _ Live

+ œ

mp

4 Π4 w

Œ

+ œ

˙

?

Oœ R

™™

arco I

? Πw

+ œ

Œ

ord

+ œ

++ ‰ œ œ

Œ

j ‰ œ

mp

™™

Oœ R

p

? ˙

arco IV

Œ

mf

mp

MSP

ord II

Oœ 4 ™ 4 ‰

? œ ™

˙

mp ord

3 ™ ¢ 4‰

ESP

p

pp

Cello _ Live

mp

+ + arcoESP III ‰ œ ˙ œ

0

œ

œ ™

˙ ?

ESP

2--2 arco 3 Œ B4 ˙™

AST

ord

p

ad lib.

II [q]

III

7Æ 7Æ ‰

arco

mf

IV arco

p

Æ 3 4 ‰ 7

+++ ++ 5 6 +++ ++++ 6 III œ œ œ ‰ ™ œ œ œ œ ‰ œ œ ≈≈ œ œ œ œ ‰ œ œ r ≈ 0 œ œ œ œœ œ œ œ œJ ˙™ œ

Πw

˙

mp I

mf mf

6

5

mp

+ œj

5

œ ‰ œ œ œœ ≈ œ

sim.

?

+I œj ‰

œœ

mp 6

arco 0

Œ

3

III

pp

ESP

j ‰ œJ Œ

I

p

œœ

œ ‰ œœ ≈œ + + +5 + + 6+ + +

5

mp

+ + +6+ >+ ≈ œœœœ œ

mf

ord arco 0

+ + +6 + 5 sim. + +œ + +œ + +œ œ 4 œ œ œ œ> œœ œ I œ™ J 4 ‰ œ ≈ ≈œ œ œ R ≈ œ œ œ œ œ œ ≈ œ œ ‰ ‰ œ 6 œ 6

‰

æ œ mf

+ +5 + + œj ‰ œ˙ ‰ œ œ

mp

œ B 43 ‰ J

0

pp ord

R.H. pizz.

R.H. pizz.

0

?

ææ ™

œ

œ

p 6

6

4 ≈ œ œ ‰ ‰™ 5 œ 4 œœ 5

6 p

7

III arco

3

R.H. pizz.

ESP

2--2

I

77‰

mp

6

Vln. II _ Pre.

I

4 7 4

œœŒ

Œ

ord I c.l.

III

Oœ Œ

mp

AST

? [h]

3

p

@ O

3

O

p

f

= R.H.

6'56'' mp

√

16'' improvise use previous material, becoming increasingly agitated

pizz 6 + 6 5 ° ‰ + + +œ + +œ + +œ + +œ œ +œ + ≈ œ œ œ & ˙ œ œ œ œ œ ≈ œ œœ ææ œ 93

Vln. I _ Pre.

mf

f

? & œ ™

Vln. II _ Pre.

™

√

18'' improvise use previous material, becoming increasingly agitated

Ò œ? mf

3 4

√

20'' improvise use previous material, becoming increasingly agitated

Viola _ Pre. L.H. slap pizz.

Cello _ Pre.

3 4

3 4 √

16'' improvise use previous material, becoming increasingly agitated

f 5 6 7 > > ≈œ œ œœœœ ? ‰ œ œ ≈œœ œœ ¢ wæ œ œ œœ œ œ æ

3 4

mf

Vln. I _ Live

°

™

™ œ ‰

III

Ò ? œ R

™ & œ ˙™

˙™

? æ œ

p

mf

mp

mf

mp

ord

ord

?0

ESP

Ò ?

ord

Ò ? œ

Vln. II _ Live

™

mf

? œ

Ò œ? ™

mp

mf

II

O™ ˙™

B œ

Viola _ Live

p

œ p

Cello _ Live

¢

3

O

?

III

[h]

3 p

O

?

III r IV æ æ ‰ ™ œO œ æR æ p

sf

p

p

p ord

mf

mp

æ

æ

æ

æ

æ

æ

æ

ord

AST

@ ™ 1

mp ord

æ

3 4

3 4

™&œ ˙

ord ? ? ™ œ œ ‰ Iœ R R

æ

œ

?

Ò ? œ ™

æ

?

ESP

AST

ord

MSP

™ bœ

f

?

mf

ord

AST

ord

O ≈ œ ™

œ ™

@ ‰ ™ œR

AST

III

@ ™ œ

?

III ? ™ ™ œ ‰ œr mp

≈

æ ˙ æIV

ord

AST

ord

ESP

? ™ 0œ

3 4

f

Ò ?

Oœæ æ™™ æ œ ™ ææ æ

? ord r II O ™ œO ™ ? œ ‰ R

œo

mf

mp

p

mp

3 4

14

L

7'24''

4 4

7'16'' Vln. I _ Pre.

°

∑

ord I

5 4 ‰

mf

?

3 4

Vln. II _ Pre.

∑

5 4

œ

R.H. pizz

‰ &œ

f

3 4

Viola _ Pre.

∑

f

‰ œ

œœ

œ‰

?

I

œ

5 4 ‰ œ

∑

√

16'' improvise use previous material, rhythmicly more active and playful becoming increasingly agitated

√

17'' improvise use previous material, rhythmicly more active and playful becoming increasingly agitated

ord

sim.

5

2 4

∑

f

I

mf

ord 5

‰

f

œ

mf

?I R.H. pizz > >œ > œ œ œI ‰ œ &J >œ æ

IV II III 5

œ æJ

œ

ord II

∑

@

?

3 4

∑

@ œ R ≈

aroc

sf

√

15'' improvise use previous material, rhythmicly more active and playful becoming increasingly agitated

@ ?

IIIœ II I œI ≈ œR ≈ œ œ œR ≈ BR ≈ æ IV

5

mf

ord

Cello _ Pre.

¢

3 4

∑

?

II

œ

mf

f

5 4 ≈œ

R.H. pizz III

mf

f

√

14'' improvise use previous material, rhythmicly more active and playful becoming increasingly agitated

6

> œ ‰ ?œ ≈ œ œ œ œ

? ° 3 Vln. I _ Live & 4 ˙™

sf

f

æ ææ 5 æ 4 œO ™™™ œ æ æ ææ III IV

mp

f

ææ

ææ

ææ

æ

æ

æ

ææ œO 4 æœ 4

p

ESP

2--2 Vln. II _ Live

3 & 4 ˙™

5 4œ

pp

Ò ?

Oœ Ȯ œ≈

ord

?

Oœ I II J ‰ œO ™™ œ ™

ord

f

mf

mp

Ò ? æ™ O O ™ ™ œ 4 œ™ 4 æ

AST

? æ æ

ææ æ O ™™ œ æ IV æ æ mp

f

ord

Viola _ Live

B 43

˙™

5 ˙™ 4

œ J

p

mf

III IV

?

æ ‰ œO ™™™ 44 æœ mp

?3 Cello _ Live ¢ 4

5 4

˙o

œo J mp

‰

3 p

mf

æ æ æ ™ O œ œæ ™ æ æ ™œœ œ ™ æ æ ææ æ

ææ ææ

mp

ord

f

mf

Ò ? æ ææ œœO ææ

@ œœO œœO ™™ ™

O

4 4æ æ æ æ

ææ æ

@ 3 O

œ ™ œ ™

f

æ æ

? ? r œ IIIIIr 2 œ‰ 4R œ œ R mf

mf

ord

? ææ æ @ Oœ ™™ ™™ œO œO œO ™œ œ œ ≈ 2 ææ æ 4 ff

ord

æ

Oœ ≈

MSP ord

@ œ œ œ œ

ff

AST

!

2 Oœ 4

ff

ord

?

?

@ 1 Oœ

œO ™™ œ ™

MSP

[h]IV

AST

?

AST

AST

o ˙™

ord

?

2 II [q] 4 3 O

?

mf

ord

?

[q]

III IV

mp

mp

™ r 3 O ‰ œœ R

II III IV

2 4

œ ™

15

M 7'50''

Ò ? r I œ æ 3 ‰ ™ II Oœ 4 Ræ

Vln. I _ Pre.

°

AST

ord

ord

sfp

æ

æ

æ

æ

2--2 œO ≈ œ

Oœ

c.l.

I

7 ‰™ R

2 ‰™ 4

pp

7 R

? æ æ œ ™™ œ æ æ

Œ

p

c.l.

I

2 7 4

mp

ææ ææ

ææ ææ

ææ 4 4 æ æ

III IV arco

@ œ œ

f

7

p

ord II III

@ æ 3 œœ 4 æ

Vln. II _ Pre.

ord

™ & bœ œ ™ œ œ

sfp

ord

œ ™

I

™ ™

B bb œœ

Viola _ Pre.

bœ ™ œ

ord III [q]

@ 3 O

4 4

O

3

pp

p

AST

?

2--2 ≈ 2 œ 4 ˙ æ

p

f

AST

?

II III

MSP

?

œœ ™ ™

3 4

mp

@ œœ œ

Œ

B

Œ

‰

ff

+œ J Œ

+œ J

2 Π4

p

arco

‰ Œ

ord

@ œæ œ æ

AST

? œ 4 œ 4 II III

mp

+œ J

2 ‰ 4

‰

+œ J

œœ ™ ™

™ ™

œ ™ œ ™

mp

ff

Œ

mp

ord

AST

Cello _ Pre.

@ [e] 3 3 O ‰ Œ 4

¢

c.l.

I

7

f

sim.

I

Œ

7 7 ‰ Œ

II

7

2 Π4

mp

3

‰

Œ

arco I II

II

ord

?

œœ ™ ™ 4 4

mf

7

2 ‰ 4

? œœ

æ æ œœ æ æ

æ æ

mp

Π3

mp

°

3 4

∑ ord

Vln. I _ Live

!

∑ MSP

?

2--2 1 J ‰

!

3æ 4

mf

mp

œ

Vln. II _ Live

@ œ œœj ™™ œ 3 ™ œ 4 œJ ‰ Œ

™

ff

Viola _ Live

+œ

+ 2œ 4

? ≈ œ ™

˙

ff

ord

@r æ œO ‰ ™ æœ R

?

IO œ

mp

+

Œ

4Π4

sfp

p

ord

?

Oœ

2--2

mp

pp

2≈ 4

AST

?

3 4 O æ 4 æ

p

p

æ

p

ord

?

ord

2 Oœ ™™ 4J

mf

II

Oœ ™™ œO

2--2 ™ II O œ ™ ≈æ æ

Ò ? œO œ

? r O œ 4 ™ ‰ 4‰ œ R II III

Ϫ

I arco

Oœ ™™

I II

pp

ord

Œ

2--2 æ æœ œ

mp

2--2 Ȯ ™™

Œ

4 4

œ

2 ™ 4

pp

@r œ œ 3 œR ‰ ™ 4

+œ

MSP

MSP

3 ™ 4 Ȯ ™

)

p

p

MSP

¢

Œ

?

mp

Cello _ Live

& Œ

ord

&œ

)

pp

II 0 III

AST

™™ b?

Bb O œ Oœ

2 4

pp

AST

I II III

2--2 I )™

ææ

æ ™™

æ4 æ œO 4 œO pp

r IIIII Oœ ‰ œr œ R p

æ

16

ord

?

II III

building connections between notated bars

Vln. I _ Pre.

MSP

@ æ 4 Oœ 4 æ

12'' √ improvise use previous material,

™™

Oœ

3 4

sfp ord

ord

?

O

3

Vln. II _ Pre.

‰™

mf

?

æ™ ™™ æ

Viola _ Pre.

3 4 œ œ

mf

Cello _ Pre.

I @ II æ æ 2 œO ™™ 4 œ ™ æ æ ord

œ Oœ

‰™

Ó

@r æ œ Oœ 3 æR 4

II III

@j œ Oœ J ‰

mp

æ

3 4

?

2 œO 4 œ

f

AST

™ ™™

æ

sfp

√

?

3 4

f

√

14'' improvise use previous material, building connections between notated bars

ord

@ œœ œœ œ œ

™™ ™

2 4

15'' improvise use previous material, building connections between notated bars

f

™ ™™

3 4

mp

17'' √ improvise use previous material,

3 4

becoming increasingly agitated

f

@ œO œ

Vln. II _ Live

™™ ™

™™ ™

f

? œO œ

17'' √

improvise use previous material, becoming increasingly agitated

3 4

mf

ord

19'' √

@

improvise use previous material, becoming increasingly agitated

[h]

3

Viola _ Live

™ ™

f

@ œœ

Vln. I _ Live

™

œ

ord

AST

æ™ æ™

I II III

mp

@ œœ

™ ™

AST

II III

mp

? æ œ ™™ æœ

æ æ

√

ord

MSP

æ B æ

p

?

12'' improvise use previous material, building connections between notated bars

œ Oœ

sfp

3 4

ord

MSP

@r æ œO æ œ æR æ

2 4

O œ

O

3 4

f AST I II III

™™ ™

™

œ

Cello _ Live

@ œœ œ

17'' √

improvise use previous material, becoming increasingly agitated

3 4

ff

= Vln. I _ Pre.

ord

Ò ? ° 3 Oœ ≈ & 4 R

AST

æ O [h]

?

O 4 æ 4

f

3 4

mp

˙™ 3 ˙™ 4 œ

Vln. II _ Pre.

O

c.l.

2 I7 7 ‰ 4

∑

pp

? ˙œ 4 ≈ & 4

I

æ ˙

3 4

2--2 ˙

& 4

mp f

mp

?

3 æ 4 ™™™ æ

Viola _ Pre.

Cello _ Pre.

¢

Ò ? œ 4 Oœ 4

æ

æ œ Oœ æ

Ò ? œ 3 Ȯ ™ 4 ™

æ

™ ™

I II III

œ

™

™ ™

II III IV

œ

™

@r œœ 4 œ ‰™ 4 R ff

MSP

AST

? œ ™ œ 3 ™ 4

¢

I II III

œ

™

@ 4 œr ‰ ™ 4 œ œ R

mp

ff

MSP

AST

?

III œ IV 3 œ ™™ 4 mp

‰

2 Ȯæ 4

Ȯ ™™

Œ

3 4

∑

2 ‰ 4

∑

3 4

c.l.

ad lib.

II [q]

Æ 7

3 4

‰ 5

mp II

7 '

2 ‰ 4 c.l.

I

Œ

Ó

3 4

7Æ

∑

sim.

Œ

‰

7Æ J

p

mp

II III

Cello _ Live

+œ J

3 4

I

II

2 7 7 ‰ 4

‰ mp

II

7

3 4

‰ 3

pp

AST

?

Viola _ Live

@r œœ 4 œ ‰™ 4 R

‰

ff

ord

Vln. II _ Live

3 4 Ȯ ™™

AST

mp

3 4 œ œ

≈

+ j œ

7

mp

p

II

III IV

2--2

7

pp

4 Ȯ ™™ 4

mf

3 III 4 œ œ

œȮ

+ r œ

2 ‰™ 4

p

?

œ ≈

?

°

™™ ™

? œO œ

mf

mp

ord

Vln. I _ Live

pp

ord

MSP

‰ 3

+œ J

2 ‰

∑

3 4

‰ 3

I

p

Œ

7

7

p

2 ‰ 4

ord

I II

œ ≈

8'25''

2--2 O™

II III IV

œ

™

@ 4 œr ‰ ™ 4 œ œ R ff

c.l.

III

Œ

Ó

3 4

Œ

Ó

3 4

∑

∑

B

Œ

7 ' p

Œ

Œ

‰

+ œ

j 7 '

2 ‰ 4

2 Π4

p

Œ

Ó

3 4

∑

∑

2 Π4

j 7 '

3 4

Œ

+

3 4

œ

‰

c.l.

IV

7

p

3

3 4

q=50

N ° 3 Vln. I _ Pre. 4

17 I

4 4

∑

∑

∑

Œ

7

‰

Ó

3

p

3 4

Vln. II _ Pre.

2--2 I )™

)™ 4æ 4

7

Œ

+œ R Ó

∑

Œ

&

‰™

p +

œ ‰™ R

∑

∑

∑

∑

∑

∑

c.l.

I

p

4 4

∑

∑

Œ

Æ Æ ‰ 7 7 Ó

Œ

7Æ 7Æ ‰ Œ

Ó

∑

∑

p

c.l.

I

3 j 4 4 œO ‰ Œ Œ 4

3 ¢ 4

∑

‰ Œ

p 3

Ó

Cello _ Pre.

∑

I

Ó

pp

Viola _ Pre.

∑

7Æ R Ó

‰™

Œ

p

I

p c.l.

I

Ó

7Æ ‰ ™ R

Œ

p

c.l.

II

° 3 Vln. I _ Live 4

4 Œ ‰ 7Æ 7Æ Ó 4

∑

∑

Œ

‰

7

Æ 7

Œ

3

p

3 4

Vln. II _ Live

4 Π47 '

∑

Œ

7 '

II

r ™ œO ‰ Œ

mp

Œ

p

?

Oœ Oœ ™™

3 4

Viola _ Live

? œ ™

4Ó 4

∑

O œ‰ R R

+

™ O ŒB Œ pp

pp

II III

p

? œ

IV

ord

Oœ ™ ™ mp ESP

œ ™

œ

p

™™ O œŒ

mp

Ó

æ

æ

æ

0

æB

p

œ

pp ord

?

IIO œ ‰™ R

Œ

æ

2--2

p ord

?

IIIO œ Oœ ™™

4Ó 4

∑

+

Œ

œ

ord

3 ¢ 4

p

ord II

p

Cello _ Live

2--2 ™œ

Oœ ‰ ™ Œ R

mp

ord IV

œ? ™

ord

?

Oœ ‰™ R

Œ

Ó

p

ord

III arco

sim.

ord I arco

II

I

r œO ‰ ™ Œ

mp

?

Oœ ™™

2--2 r ™ O‰ Ó œ pp

I

p

= q=47 rit. ord

Vln. I _ Live

°

?

III œ ™ ‰ R

Oœ œ ‰ R R II

mp

p

Oœ ≈

mp

˙˙

&

˙w

3 & 4 Œ

p

ESP 0

Vln. II _ Live

9'07'' AST 2--2

p

mf

?

B

Viola _ Live

w

˙

‰

Ϫ

Cello _ Live

¢

? Ó

?

3 4 ˙™

˙

˙™

‰

ord III

#œ

˙™

? œ ™

3 4

˙

æ

æ

æ

4 4

4 œ ™ 4

pp

ord

˙™

pp

ESP

IV

œ mp

MSP III 0 IV

p

ESP

?

œ ™

bIV ˙

pp

3 4 Ϫ

œ ≈

ord

˙œ ≈

Œ

4 4

p

ord III 0

˙™

p mp

˙ ™œ ™

4 4

18

MSP

132

° 4 Vln. I _ Live & 4 æ

ord

?

2--2 œ ‰™ œ ™ R pp

pp

0

III 0

˙

˙˙

˙

? w ˙

2--2 j‰ œ

˙™

œ≈

?

mp

Viola _ Live

B 44 Ó

MSP

‰ #œj ˙ ™

p

p

0

˙

2--2 ˙

∑

3 4

œ Œ Ó

3 4

œ ˙™ œ≈

p

pp

O? ™

2--2 0

p

pp

= q=40

2-o-2 ™ I˙

138

Vln. I _ Live

° 3 &4

˙o ™

O

ppp

2--2 ˙o ™

Vln. II _ Live

3 &4

∑

Viola _ Live

B 43

∑

O

pp

˙o

ppp

2--2 IV ˙o ™

[h.]

™

4 4

∑

III

O

™

U ~

ppp

O

4 4

pp

[h]

O

Ó

ppp

˙o ™

o 4 ˙™ 4

o ˙™ ˙™

o 4 ˙™ 4 ˙

Œ

∑

Œ

∑

ppp

2--2 III

?3 Cello _ Live ¢ 4

∑

o ˙™ ˙™ IV ppp

3 4

ppp

˙œ ™

˙

II

III

2--2

O ™

?

III IV0

o œo ˙™ ‰ J

ord

?4 ¢ 4 ˙œ ™ ≈

ord

pp

pp

p

?

2--2 r ‰ ™ IV bO ˙

O ™

p

Cello _ Live

Œ

pp

ord

? bO

IV

œ˙™≈

wœ ™

#˙˙

IV

? ˙o ™

2--2

II III 0

4 &4

& 4

mp mp

Vln. II _ Live

3

∑

œ ≈