ploughshares, redactions, and Pinter pauses (2020)

ploughshares redactions and

Pinte r pauses for violin, violoncello, and piano

isaac barzso (

)

performance notes strings



   

lateral bowing rapidly move the bow parallel to the fingerboard with light pressure, obscuring discernable pitch.



triangle notehead play an extremely high and indistinct pitch.

  





harmonic gliss.



 s.p. 



 

ss. gli



thrown bow a rhythmically uncontrolled thrown bow.





  

harmonic glissando solid diamond noteheads indicate light-touch ("harmonic") fingering, and will sometimes result in resonant harmonics during glissandi.

fast glissando glissando very quickly from an on-the-beat grace note of the highest possible pitch on the string (upward triangle notehead) to a note about an octave below.

sul pont./ s.p. = sul ponticello m.s.p. = molto sul ponticello s.t. = sul tasto

piano

piano preparation the piano should be prepared with museum-quality putty so that the specified strings (C to F# if middle C is C ) sound as the specified harmonics.



(resulting pitches are non ba)

  

 

























(example of piano preparation)

pedaling pedal should only be used where marked, and the absence of a pedal marking should be taken to mean senza pedale.

full ensemble   

 



 

grace notes two types of grace notes are used, one type before the beat and one on the beat. grace notes played on the beat are only used in the strings for the fast glissando gesture.

"redacted" sections certain sections of the piece are to be pantomimed (redacted) silently finger notes and mime playing

    





 ord.  

sul pont.

pantomimed (redacted) silently finger notes and mime playing



             sul tasto

pantomimed (redacted) silently mime playing without touching keys











 

spoken calmly



 







They are all there for a reason.



additional notes

 



gliss.







 

   







 













   





sul tasto





treated as if they have been redacted from the score. strings should finger notes and mime bowings without playing, while the piano should mime playing without touching the keys. the string players should, at their discretion, touch the bow to the string silently for shorter separate notes, and keep the bow airborne for longer notes; thrown bows should be performed lightly on muted strings. these sections will be marked with the direction pantomimed (redacted) and with the use of x noteheads. note that in some sections only one or two players will be pantomiming. this optimally will result in some sound, namely the "silent fingering" of the strings and the light touching of the keyboard; it should be an audible effect in addition to being a significant visual one. these slight sounds should be intentional, and great care should be taken that the "silent fingering" does not become left hand pizzicato and that keys on the piano are not actually depressed.

spoken text speak the given text in a free, natural speech rhythm, starting at the arrow with the designated character and dynamic. register can change according to your natural speaking voice. the performers should treat the speech as if they are in conversation amongst themselves. in live performance, certain spoken phrases will not carry as clearly to the audience as others - this is intentional, and care should be taken so as to not overemphasize these phrases. the speech should assert itself more and more as the piece progresses, and especially becomes important in the stretch from mm. - and at mm. .

duration ~7 text the text is adapted from and inspired by Olivia Cole's interviews with playwright Harold Pinter, writer Per Wästberg, and director Peter Hall from the documentary Working With Pinter (

).

for Longleash

ploughshares, redactions, and Pinter pauses

Violin

Violoncello

Piano

Vc.

Pno

   



  





                  



 

 sem.  



   











  

 



  



   



       s.p. arco

  













sul pont.

      

    4

Vln

 = 



 





 

 

   







 

 





pizz.







  



 

ord.

  

 

   

  











  





 

 arco    



ord.

  









             

 

 







pizz.



 







   

  







  

 pizz.   



    



 

sul pont.      

 



 

 







  





s.p.

      





  ord. arco





   



 



 

   



 







    

 









  





 sub. 

  

 





 

 







 

 

. gliss



pizz.

 

  

 

pizz.





gl iss .

isaac barzso ( )

 

arco   s.p.





ord. arco



gliss.



 



 



 

 











 

 







   





s.p. arco

   

 

 



  

   

ploughshares, redactions, and Pinter pauses pantomimed (redacted) silently finger notes and mime playing

Vln

Vc.

Pno

Vln

Vc.

Pno

7      



 

ord.



 



gliss.



  sul tasto

   





























  



 











          



ord.    



  



play normally



 sem.



play normally





 











 

 

ord.    

 

 

 



 





    











  

  





  





 





  

 

 











 



 









 



 

  





  

 

 



















  





   



 

 

   

 



 

sul pont. arco









   













    



 





  

 

    

 

 



 ord.    

 

















  

  

sul pont.

pizz.

 





 

   



 

 





   

 

   

  



 







sul pont.





   

 

 

 



      

   





sul tasto



play normally

 

  





pantomimed (redacted) silently mime playing without touching keys

 

 







pantomimed (redacted) silently finger notes and mime playing

10   





s.p.

 

 

    



 

  



   

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

Vln

Vc.

Pno



   13         

   



   16

  



 

















   







 











   

 



ord.    

  



sul pont.

 

ord.   



play normally

 

  



 

    





 

   







play normally







 



play normally 

 sem. 







  



 



pantomimed (redacted)







pantomimed (redacted)



 

 



  

     







 

  





 



 



 













  



 

 

sul pont.







  

 



sul tasto

   



 



  

pantomimed (redacted)



 









 

 





 



ord.    

 



  





 



  



  





ord.





  











(harmonic gliss.)



 



 



















 

 







 









sul pont.



 









 







 





   





   







 



 







 

 sub.















  

  





 



    





 





      







 

 





 

 

    

 



 

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

Vln

Vc.

Pno

19        



   

IV.



 













(redacted)



    



pizz.





 

















arco



 



  

 



     



 

   





   





 



  









ss. gli

 











(harmonic gliss.)

 







pizz.















pantomimed (redacted)



























ord.

















 

















 

 





 





    

play normally



play normally





sul pont.









    



   









 











 





 













 

 



 





 

  











   

 

  sul pont.

 

   

play normally







sul tasto



  ord.  

play normally

 

 

  

 

 





 







 

sul pont. arco

 



  

 

 





 





    

 

col legno battuto



play normally

pantomimed (redacted)



sul tasto

 





  







IV.



 

 

sul pont. arco



pantomimed (redacted)



 







 





pizz.







 

   



 pantomimed

     



  

pantomimed (redacted)

  

 

 

   





ord.



 

22    

 





(harmonic gliss.)

pantomimed (redacted)





play normally     



  





   

 



 

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

 

   28



ord.







 

 

   















 



  





 

sul pont.







play normally









ord.   





 









 







  

 



  







  





 

ss. gli



 







   



  

 

   

   







  

sul pont.

pantomimed (redacted)

  



  

  





  



  sub.



 

 

 

 

sul pont. 







ord.



 











  

ord.   

  



 

sul tasto





 







 

 

 

 









 

sul pont. 









pantomimed (redacted)





sul pont.

 

 

sul tasto

      30  



  



pantomimed (redacted)



sul pont.



 

 

 

 ord. 



 





  

 





  







 

gliss .



ord.  



 



 



    







sul pont.



 

   

play normally

ord.



  

sul pont.





. gliss





  

     







 













 

 









 

ss. gli

  

 







play normally

  

 







gli ss.

ss. gli

Pno



  









ss. gli

Vc.

  







glis s.

ss. gli

Vln

25        



ord.

 









 





      



 

ploughshares, redactions, and Pinter pauses

34     



   





   



   



 

 

 

 

   

 

















sul pont. 







 



 









   sub.









sul tasto

 sub.



 

 

















 



sul tasto



  

 



 

 



 

     

 









sul tasto

 sub.

  











 

 





ord.

    





 





 











 

    

sul pont.

 

 

sul pont.

 

  



  

  





  







sul pont.







 





 











 







 







ord.







 sub.

 



  

sul tasto

sul pont.

  

 













sub.

 

gli ss.

sub.

 

 













         



  



 ord. 











   

 



 

        

sul tasto

    







 

 

  

sul tasto















gli ss.

 









 

ss. gli



 sub.

 







 

ss. gli

Pno

 



ss. gli

Vc.

 

 

 

sul tasto

ss. gli

Vln







 

 



ss. gli

Pno

 

   sub.

sul pont. 

ss. gli

Vc.





sul tasto

ss. gli

Vln



ss. gli

    31



ord.

 

  

 

  

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

     

 

sub.



  

 

gli ss.



sub.    



 sub.

gliss.

 

harmonic gliss; bow freely





  sub.



 



 





 











 



 





  



  





 

  

  

    sub.



 



     







gliss.





gli ss.



 

 

































 



     sub.



























gliss.

 



gliss.

  





      sub.

gliss .

III.

   



ss. gli

  







ss. gli

  

gliss.

gli ss.



IV.





abruptly different character









  





harmonic gliss; bow freely



ss. gli



 

  



ss. gli

   







40   



 

  



ss. gli

Pno



  

ss. gli

Vc.







  

ss. gli

Vln



37  

II.















gliss.



 

glis s.



 















gliss.























   

     

  



  

   







   

     

  



  

   











 







   

 





 













 

 





 



gliss.





 

gli ss.













gliss.













 

   

ploughshares, redactions, and Pinter pauses





    46

 



















 sub.

I.









 

 





 

















(harmonic gliss.; bow freely) ord.



 sub.   







gliss.

 sub.

abruptly different character



















 

gliss.

   













m.s.p.









 



 

 



 























 



  





  



gliss.



 = 47  

ss. gli



 



   









  

  













ord.



















gli ss.









sub.



gliss.





m.s.p. 





















sub. gli ss.













 











m.s.p. 









 

 



 









 



 



 

ss. gli

sub.



 





(harmonic gliss.; bow freely)

ss. gli







I.

ss. gli

Pno

gli ss.



ss. gli

Vc.





ss. gli

Vln



sub.







ss. gli

Pno

 

 

gli ss.

ss. gli

Vc.

m.s.p. 



 

ss. gli

Vln

 

ss. gli

  43

m.s.p. 









   





ploughshares, redactions, and Pinter pauses

Vln

49  









spoken calmly

Vc.

Pno

Vln

 







Pno



sim.

















 



































 





spoken calmly





 

  



 





 





They are all there for a reason.





52   







A silence happens when it says "silence", or a pause happens when it says "pause."

m.s.p.

Vc.







 

 



 







 

sim.





 









  



 



 



 





 





spoken urgently







 





 

 

 

 

   



 

 

They are all there for a reason.









 



 







 





 



 



 



 





ploughshares, redactions, and Pinter pauses

 = 

Vln

 

Vc.

  

55

Pno

















 













Vc.

   













 





 

Vln







58  

Pno













 





 ord. 

spoken urgently

      

 





 

 



  





 

 





















 



 















 



 











 













  







   

  



 



 

 



























  



 







 









    



 



 



 

A pause is a fairly mundane crisis.











 











 



 







 









ord.













  

 

spoken calmly









A dangerous story has been censored.

 





note: A is not prepared.

 

 





ploughshares, redactions, and Pinter pauses

Vln

Pno

Vln

Vc.

Pno

  



 







 



 







spoken calmly Three dots is a hesitation.







     

 



 

 















 

s.p.



















 



     







note: A is not prepared.





spoken urgently

There is an unwillingness to communicate other than superficially.









Communication is too alarming.





























There is an unwillingness to communicate other than superficially.



spoken urgently





  



spoken urgently

 





A silence is some sort of crisis.



 





s.p. 

spoken calmly



66 







 

 









  

 =

ss. gli

Vc.

    







ss. gli

  61









 



  









note: Bb is not prepared.





   

 

s.p.

 

















ord.

 









  

 







   

ploughshares, redactions, and Pinter pauses

accel.

Vln

Vc.

Pno

Vln

Vc.

Pno

69   



   



    





harmonic gliss.



 





 

72   

 





 

pizz.







gliss.











  

   











 





 



 



 



 

ord. arco







    



  

 







    

 

     ord.



 



 

      



















sub.





 

    





  



 







    



 









 

  

 



  



  

  













pizz.   





 

 



 

  





 

 

      

 

   







 =







 



  





 

















sub.

     





 



 sub.   







 

mute open strings non pitched sounds

































 

 







   

    



gliss .

s.p.

 

note: senza pedale.

s.p. arco



   





s.p.

   







 



 sub.  



 

  

 

 

   

   

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

Vln

 

75       



   

Pno

 





  



ord.



 

 

  

ord.

       



 

 



 



 







 







 









A silence is a torrent of language being employed.

 



  sub. 

sul tasto

 sub.





 

spoken calmly





Speech is a constant stratagem to cover nakedness.

 



 



 



 





Communication is far too alarming.



 



 

 



 

 



  spoken calmly







    



pizz.



spoken calmly

spoken calmly



 = 

   

 





 



  





  

 

78   



 

s.t.

Vc.

 

sul tasto





 

   



s.p.



 













    



 



       

 

s.t.





  

 







 

 





  

    



   



Speech is a constant stratagem to cover nakedness.

s.p.

  



 





pantomimed (redacted)

  

 







 







 



  pantomimed (redacted)

  

   







 







 



 

 



 

 

   

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

Vln

Vc.

Pno

81     









 







   

  







s.t.



 



play normally













ord.

 







  



 



play normally





 

   





 s.p.



play normally       



 



  ord. 

  









    

  

      







 







 

 





 





   



 

s.t.





 

   









    

 





 





 

           

 

   



 



 













 

 





spoken calmly

84   





(continue speaking)





We have an unwillingness to communicate, other than superficially.





 



  

spoken calmly





To disclose the poverty within us is too fearsome a possibility.





pantomimed (redacted)





 

pantomimed (redacted)

 





pizz.

 





 









  

Speech is a constant stratagem -









Communication is far too alarming.







spoken calmly

spoken urgently

    









 







 

  



 













ploughshares, redactions, and Pinter pauses



play normally

Vln

Vc.

Pno

87    





Vc.

Pno



   







 









pizz.

 

s.t. arco



s.p.



  

 

  













 

    







 







 

 

s.t.

 

/ pedal

  





   











 





  

ord.









spoken calmly











Communication is far too alarming.





 











 

 

   



 

  

 

 sub.



 

    

 

   





pantomimed (redacted)

 











  

 



 







                 











/ pedal



  

     

    ord.

s.p.

  

  

begin to raise the pedal slowly



/ pedal













ord.

play normally

   





 



play normally





  

 

  

s.p.

 

pantomimed (redacted)

     

 



   

play normally



       











90

Vln

s.t. arco





   





     

  

   





s.p.









     

 

   



















 

   

       

ploughshares, redactions, and Pinter pauses

   93

Vln

Vc.

Pno

Vln

Vc.

Pno









 



96 96     





 

 



   

 







s.t. 



s.t.

























 







  

  



 



 











 





  

 









 

   



 







 sub.



   

 



  sub.

    



 sub.





s.p.

 



 



 





   

   

  





 



Si - lence

is

 



Si - lence



is

 





spoken urgently

 

 





 

s.p.











  

 

















 



 



 





     

  

  













s.t. 



s.t. 





 sub.



 sub.









Si - lence



















    







a

a













of







of

a





tor - rent

















  



























lan - guage

of





lan - guage





 





tor - rent



is





tor - rent



spoken urgently







spoken urgently









lan - guage













     

    

     

   

   

ploughshares, redactions, and Pinter pauses

Vln

    

Vc.

    

99

Pno

Vln

Vc.

Pno

















  

      

 

  





 ord.







 

  



    









 



sub.

















               





      ord.















 

 

     

  















If they don't make any sense, then I always say cut them.

  

 





 



 



 

spoken calmly; begin together but continue independently If they don't make any sense, then I always say cut them.



   

spoken calmly; begin together but continue independently

  

     

   

   









 



    

  

  

If they don't make any sense, then I always say cut them.

 



 

spoken calmly; begin together but continue independently





   

 

sub.

s.p.



 



ord.







 

102   











 

















 









  



    

 





s.p.





 

 





 

 

        







 

   

 

         

       

   

ploughshares, redactions, and Pinter pauses

   105

Vln

Vc.

Pno

Vln

Vc.

Pno

  



 





   

   108

  





 sub.

   







s.p.







s.p.

 sub.

    sub.



   



remain in playing position, as if frozen, yet about to play; hold tension



remain in playing position, as if frozen, yet about to play; hold tension



remain in playing position, as if frozen, yet about to play; hold tension

 





   









  

   

ord.



ord. 

   



  



  



















     





 

 



 

  



 





  



  



 

 

  











   

 







 

 



 

 

 

 

 sub.

 





 



 sub.

  

 

 











 



 





  

   

 

 

            

 

 













 sub.





gliss.































  











 



ord.

sub.

ord.









  

  



sub. 



 









cut

 



 

  

cut

them

    





them



   

cut



them

 

 

  

 



s.p.

  

 



 





spoken urgently



 





spoken urgently

 

 



  









spoken urgently









 

 







 



s.p.







 



 

 

   

ploughshares, redactions, and Pinter pauses

111

   111

Vln

Vc.

Pno

Vln

Vc.

Pno

 =









To enter into someone else's life is too frightening.









 



 



 



 











  





 



III.

 

 



 

ord.





harmonic gliss; bow freely

spoken calmly, with enough presence to be heard in the texture





Callous is something that hardening leaves behind what will be soft.

    

114 



     



  





spoken calmly, with enough presence to be heard in the texture

  





m.s.p.

  

 

 



 

 

 



    sim.















  

IV.



















 

 













   







 



 





  

 

 

 

 

 



  



  















s.p.





   

 











gradually lift pedal



















 





ploughshares, redactions, and Pinter pauses

 

117

Vln

 



                    sim.

 





spoken quickly



 

Speech is constant -

Vc.

Pno

Vln

Vc.

Pno









120   















 

 



 

 



  



continue speaking









           









sim.





 





spoken quickly





Speech is constant -









 







 











 















 

               

  















       







               sub.        



     



 



 

spoken calmly

               

Communication is far too alarming.

s.p.



  

spoken quickly













To disclose the poverty within us is too fearsome a possibility.

spoken calmly





To enter into someone else's life is too frightening.





  



       

ploughshares, redactions, and Pinter pauses spoken with urgency but not rushed

Vln

Vc.

Pno

Vln

Vc.

Pno



123  















            





 

 















 

















                                 sub.



                        sub.  









    sub.

              

 



















   





























 

It must have also happened to you.

126   





ord.

How can you say that when I'm looking at you now?

spoken calmly

 



spoken with urgency but not rushed

  





To disclose the poverty within us is too fearsome a possibility.











 

ord.

 sub.



















                      



 





















 sub.



 











                      

                       sub.

























    









  

   





   

     

                         

ploughshares, redactions, and Pinter pauses

   129

Vln

Vc.

Pno

Vln

Vc.

Pno

  



130

    



relax tension

spoken calmly

 



relax tension









            





To enter into someone else's life is too frightening.



   



 

 



 

 



 

spoken calmly

   

  









pantomimed (redacted)

















           





To disclose the poverty within us is too fearsome a possibility.



relax tension

132      



 =

s.p.





 





 





pantomimed (redacted)





























 



 



 









 

               

play normally



s.p. 

 





 











 



 



play normally



  







 

  





 

   















 





 

 

 





ord.

pizz.

 





  







 



 



   

   

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

Vln

Vc.

Pno

135  



pantomimed (redacted)



 













  

pantomimed (redacted)

 

pantomimed (redacted)



 





    138











like

    





 





 









 

















 















 





 

 





 





arco   





  

 

 

of



me?

 

rea - son,



wel - comes.







  







 

What do you think?

 



they

 

are all



there







for

arco s.p. 

  

    a



rea - son

 





play normally





  





         







  





At

  



 



spoken calmly, in rhythm but in a normal conversational manner

  



my



house

s.p.



 



 s.t.  















in



the





 



coun - try



you would







re - ceive

 









 



 

the

spoken calmly, in rhythm but in a normal conversational manner

 





Would they

spoken calmly, in rhythm but in a normal conversational manner



         



Really?

 

  





 

  

            





  

play normally







  





play normally

war - mest

   















All

 

     





si - lenc - es

  

  











s.p.

     





  

are

ord.



 



  

 





 



 

 



for

there



 





 

a



 

 

  

 

 

 

 

   

ploughshares, redactions, and Pinter pauses

   141

Vln

Vc.

Pno



 

Vc.

Pno





  















Rea - lly?



 





Some













     ord. 



          









 

s.p.

 

  







 







 





  

Has been



   











a





Al







spoken calmly



Communication is too alarming.





spoken calmly Communication is too alarming.



 





rea - son.







as before

spoken calmly, in rhythm but in a normal conversational manner









sort.



s.t.





play normally

pantomimed (redacted)

spoken calmly, in rhythm but in a normal conversational manner pantomimed (redacted)

 

  

  

pantomimed (redacted)

   

143

Vln

 

spoken calmly, in rhythm but in a normal conversational manner





 

  



-

 



 

ways.

  

 



 





ord.

 sub.























play normally 

 

 









 

 

 









q





s.p.

 

 

s.p.     



play normally

  

















 ord.    





















 



  









   

 



 

   

 

    

   

    





   

spoken calmly

 



Communication is far too alarming.



 



 



 

spoken calmly

 



I have known this before - the voice unheard.

  



 















 







 

  

























   

ploughshares, redactions, and Pinter pauses spoken calmly

   147

Vln

Vc.

Pno

Vln

Vc.

Pno

  





If they don't make sense, then I always say cut them.



 



   





150

   

ta

    





   





-



ken











to



 







 much  

  in

    





ex - press









too

far;

 a

 



























 

 













 

 





   





To

what



is

  









  





is

in

in

    

in

    



ex - press









    



what



what is



-

ex - press

-

-





-



-





ex - press

-





i

-



ex -

-

 i

ble;

-

-

ble;

 

     















 





in

-

i

 

si

 

ar

-

 



-

ble;

-



lence;





 

- press





 



a



  





In

way;



a



way;

  

    



To ex - press



they’ve been



ti -

  



  

- fi

in

    



-

-





and





ex - press

-

  

-



   

in - ex - press - i - ble;



cial







what is

mea

 i

-



ble

 

 

 

spoken calmly, in rhythm but in a normal conversational manner





   

in - ex - press - i - ble;

     













spoken calmly, in rhythm but in a normal conversational manner



way;





 

ord.





  

          



pantomimed (redacted)

 



pantomimed (redacted)

spoken calmly, in rhythm but in a normal conversational manner

ning

  vi

 

 

-

-

 

less;





 





 



brat - ing



si - lence

and

 

ploughshares, redactions, and Pinter pauses

    153

Vln





pause.

   





Pno

Vln

Vc.

Pno



pause.

  



pause.

 





   



  























 

  





ord. 









 



 

























 

 













 

  





 

 

 

 

  

 





 



 













 













pizz.











 

 





















play normally

 

      s.p.

play normally





 

ord.    





hold tension through end of m. 154 and suddenly release into m. 155

 156  







play normally





hold tension through end of m. 154 and suddenly release into m. 155

Vc.

155





hold tension through end of m. 154 and suddenly release into m. 155

















 

ploughshares, redactions, and Pinter pauses



    159

Vln

Vc.

Pno

Vln



 





arco



162    



    



spoken urgently

Pno



Pause.

   

spoken urgently

Pause.

 







spoken urgently

Pause.

Vc.









 

 s.p. 







           



















 









   





   sub.

   







s.t.





 



 

    

           

    





  

pantomimed (redacted)









 

  





  



 













 

 







s.p. 



      

            

       

 

 



s.p.





 

 sub.



 





 











 







 sub.

 







 

  



pantomimed (redacted)





sul pont.



















 



 

 



pizz.

 

 









arco ord.





 





       

   



  







 

























   













   sub.

pantomimed (redacted)





s.t.



   

ploughshares, redactions, and Pinter pauses

Vln

Vc.

Pno

Vln

Vc.

Pno

165     



167   







  

 



   



sul pont.







 

 





 pizz.



 







remain in playing position, as if frozen, yet about to play

remain in playing position, as if frozen, yet about to play

remain in playing position, as if frozen, yet about to play

 







 

arco s.p.



 



 





 





pizz.





arco ord.



gliss.



 



 

 

 

 









   



 



     



 

   





pizz.









arco s.p.









 















 











 

 





ord.

 

 

 