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Ji Heng Lee

[ autofocus ] for string quartet

2018


Preface In this piece, I explore the notion of focus in the process of taking a photograph: What constitutes the foreground, and what forms the background? In the first place, what makes the foreground the foreground? (i.e. How did this hierarchical relationship arise?) What happens to the viewer’s perception of depth when the qualities respectively attributed to foreground and background are exchanged?

I juxtapose two distinct entities—pizzicato harmonics (initially the ‘foreground’) versus sul ponticello tremolo (the ‘background’)—and follow their manifestation through, eventually allowing them to exchange places. At every point, the specific compositional decisions I am making (identifying and clarifying the foreground, distancing the background) are analogous to the automated processes within a camera’s autofocus mechanism—hence the title. More significantly, in a metaphysical sense, this is also how a listener might process what one sees and hears—intuitively ‘autofocusing’ on entities which are more visually or aurally prominent, mentally relegating the less prominent to the background.

Furthermore, the performative intimacy and immediacy offered by a string quartet allows a viewer’s focus to be easily transferred from the instruments to the performers’ physique, from the aural to visual (theatrical), and back. As the piece progresses, I allow the ‘foreground’ focus to shift naturally from sounds made on instruments to vocal sounds, and subsequently to silent bodily movements. In this sense, the spatial-temporal aspects of music-making transforms the notion of focus (with its foreground-background hierarchy) from a image-bound concept into something that is dynamic and experiential.

This piece was written for the 2018 Advanced Composition Course (with Eleanor Alberga) at Dartington International Summer School, and was premiered by the Heath Quartet at Dartington Hall.

Duration: ca. 6’



Notation remarks

Tremolo

=

(i.e. measured tremolo)

(b. 118 onwards) unmeasured tremolo — tremolo as quickly as possible

Silent arm movements / ‘mimed playing’ (bb. 126 onwards)

move your arm / bow into the position for the next stroke as you normally would,

but with exaggerated motion in the direction as indicated

make a tremolo gesture with the bow held above the instrument (idem) while gradually raising your arm

make a tremolo gesture with the bow held above the instrument, not touching the string—silent

(e.g. b. 144, viola part) make an up-bow gesture for the indicated duration, as if playing the note

forte on the first string, but with the bow held above the instrument, not touching the string—silent

Other symbols & abbreviations used

l.v.

laissez vibrer (let ring)

left hand pizz.

Crescendo dal niente (‘from nothing’) / Decrescendo al niente (‘to nothing’)


For the Heath Quartet, at Dartington International Summer School

[ autofocus ] for string quartet

q = 112 – 120 With precise movement Ji Heng Lee sempre flautando III

(2018)

Violin I

IV ° 4 Œ IVŒ æ & 4 bœ œ œ œ œœ æ o

æ 3 æ œœ 4 œ Œ Œ Œ æ o ppp

4 æ æ æ æ 4 œ bœœ œœ œœ Œ æ æ æ o pp

æ æ œ œ Ó o

2 4

sempre flautando

≥ IV III IV 4 3 & 4 Œ <n>œ œ œ œ œæ œæ 4 o o ppp

Violin II

4Ó 4 <n>˙ o

˙

p

III B 44 OРΠl.v.

Ó

3 4

4 4

Ó

3 4

4 4

III

2 œ œ œ œ 4 o 2 ∑ 4

˙

pizz.

Viola

IV

f pizz.

? 44 #IIOРΠl.v.

Violoncello

2 4

¢ f

(flautando)

≥ IV

III IV

6

III IV

,

(sim. etc.)

III IV

° 2 U 4 &4 ∑ 4 Ó

Œ Œ bœ œ bœ˙ œœ Œ Œ o o pp

3 4 4 œœ bœœ Œ 4 Œ

Ó b˙ o

bœœ Ó

p smorzato

pp

(flautando)

≤ III IV U 2 ∑ 4 4 <n>œ œ œ œ &4 o pp (sim. etc.)

œ Œ Ó o

≥ 3 <n>œ Œ 4 œ Œ

Ó

≤ Œ œ œ o

4 œ 4œ

pp arco flautando

B 42

U 4 ∑ 4

#IIO– Œ Ó

3 4

4 IV 4 OOOO o 4 4

f II

? 42 U ∑ 44 ¢

O– Œ Ó

3 4

æ æ æ O O O p

f

sul pont. ord.

II III

, æ æ æ 5 œ œ œ Œ 4 o

12

I II

III

sul pont.

° Œ & bœ æ o

æ œœ æ

æ æ œœ œ æ Œ

Œ æœ o

Œ æœ

œœæ æ pp

œœæ æ

æ œæ 44 œæ <n>œæœ Ó Œ o

p ord.

sul pont.

IV

∑ & œ œ œ œ

5 4

Œ

ΠbϾ Ͼ Ͼ 44 bϾ Πo o pp

Ó

o pp (flautando) sul pont. pizz.

( IV )

B æ æ æ Œ O O O o

5 4 Oæ Oæ Oæ Oæ Œ o o p

œ œ œ œ æ æ æ æ 4Ó Œ 4 o o pp

II Π#OРff

I II

? ∑

O– 5 4 #O— Œ

OI – Œ

Ó

4Ó 4

Œ

¢ ff f


A 2 accel.

subito ritenuto

a tempo I II

flautando

17 sul tasto

≥ ‰ œ™

° ≤ & O™ œ™

‰ œœ™ œJ ‰ #œœ™nœJ ‰ œœ™ #œJ ‰ œœ™ #œJ ‰ #œœ™ #œJ ‰ #œœ™ œJ ‰ Ó

æ æ <n>œ œ o

sim.

p 'sospeso' sul pont.

sul tasto

II III

II

æ Œ <n>œŒ o

&

œæ Œ

œœæ æ

œœæ æ

œœæ æ

Ó æœ æœ

p arco sul tasto

II III

B

Œœ æo

œæœ æ

œæœ æ

œæœ æ p

I II

O– Œ #O—

? ∑

Ó

¢ f

, 4 4

22 sul pont.

° æ & œ

(sul pont.)

æ #œæ 43 #œæ Œ o

æ œ

p

5 4 Œ #œ o

Œ

Πo

˙ pp

∑ arco flautando

pizz. sul pont.

& æœ

æœ

æ

3 4 œ æ

æ

5 œ œ œ œ œ >œ— 4

4 ‰ IVj III IV III IV IIIj ‰ 4 œ œ œ œ œ œ

pp pp

sf (sul pont.)

sul pont.

æ B œœ æ

œæœ æ

œæ œæ 43 Ó o

œæœ æ

œæœ æ pp

arco flautando

#œ ? æ ¢ o

5 Œœ 4æ o

Ͼ ΠΠo

4 4

pizz. sul pont.

œ æ

œ œ æ æ

#œ 3æ 4

œ– ‰ J

œ œ œ œ œ >œ– IV

5 4

4 4

Œ

Œ

O— f p

pp

sf f

26

° &

5 4

4 4

4 ‰ IVj Œ 4 œ—

Œ

arco flautando

pizz.

≥III IV III ‰ œj œ œ œ œ œj ‰ ‰ œj 45 œ œ œ œ œj ‰ œ Œ — pizz.

(sim. etc.)

IV

III

Œ & œ— > ff

Œ

(sim. etc.)

IV

III

œ—

l.v.

p sempre pp

(non flautando) sul tasto, senza vib.

III B w o

˙™

5 4˙

w

4w 4

pp quasi lontano . . . arco sul pont.

œœ œ œ æ æ Œ ? ‰

p . . . più vicino a poco a poco . . . pizz.

Ó

>œ– ‰ J Œ

¢

IV

5 4Œ

Œ

‰ j Ó O—

4 4

Œ O—

ff pp f mf

Œ

‰ j O—


B 3 (non flautando) ord., molto vib.

30

° &

≥j œ-— ‰ Œ

Ó

l.v.

f grandisonate

(pizz.) (sim. etc.)

IV

& Ó

III

‰ œj Ó —

Œ

IV

Œ

Ó

‰ œj Ó —

Œ

œ—

Œ

Ó

Œ

œ -œ ™ J

˙

‰ œj —

œ—

pp sempre

molto vib.

B w

w

˙

w

mf

pp

pp f subito

œ– ‰ J Ó

(pizz.)

? ¢ Ó

Œ

Ó

Œ

Œ

Ó

O—

œ– ‰ J Ó

Œ

Œ

O—

O—

pp sempre p

(ord.) sul pont.

35

° Œ &

III IV

≥ j ‰ Œ œ œ— o sf>

Œ

0

bœæœ æ

æ æ œ œ æ æ

æ œ æ

Œ

Ó

0 IV

0 IV 0 IV 0

j‰ Œ æ œ œœ œœ œœœœœ Œ o p

f

& Ó

Œ

Ó

Œ

œ—

‰ j Ó œ— [

B w

II III

w

‰ j Ó Bœ—

Œ

Bœ— Ó

˙w-

pp

? ¢ Ó

Œ

œ– ‰ J Ó

Œ

Ó

(sul tasto)

ord.

w

p

f

œ– ‰ J Ó

Œ

Bœ—

( III )

sub. ff

sub. f

Œ

Œ

p

Ó

O—

B œ– ‰ J

Œ

O— (sul pont.) senza vib.

≤0

40

° &

bœ— Œ

& (

)

[ Ó B b˙ >f

f

p

? Ó

Œ

0

Ó

bœ— Œ

bœ— Œ

Ó

> b˙œ

> æ> ] æ œœ œœ – æ æ —

> Bœœ

mf

Ó

> œ b˙˙ ™ p f

f

B œ– ¢

IV

Ó

n˙™>œ p

0

j‰ j‰ ‰ j Œ œœœœœ œ œ o pp

II III

b˙>œ

IV

p

b œ– Ó

Œ

mf

b œ– Ó

Œ

Œ bœ Ó —

ê ff

f

b œ– Ó

b œ– Œ

œ– Œ

Œ


4

C

arco pizz. ord.

45

(sim.)

≥ ‰ j ‰ j j‰ Œ Ó œ> œ œ œ œ o f

≥ j >œ œ

+

° &

Œ ‰ Bœj Ó —

& Œ bœ— Ó

bœ— Œ Ó

+

Œ œ

f

bœ— Œ Œ

Ó

Bœ— Œ

œ—

( pp )

pizz. arco sul pont.

B

≥ Œ bœ ‰ œJ œJ ‰ Œ

>+ ≥ Œ œ œ

bœ o

p

f

b œ–

b œ–

? ¢ Ó

Œ

œ–

Œ

b œ–

Œ

Ó

b œ–

Œ

Œ

Ó

( pp )

(molto sul pont.)

≥0 IV 0 IV 0 IV 0 IV ‰ j j ‰ Œ œœœ œœ œ œœ

50 molto sul pont.

° ‰ & œœ œæ œæ—Œ

Ó

Œ ‰

æ æ æ œœ œ œ œ

p

ppp

Πo

Ó

f pp lontano

& Ó

Œ

Œ

Ó

œ—

Ó

Bœ— Œ

œ—

Œ

Ó Bœ—

(sul pont.) (sim.) +

B <b>œJ ‰ bœ Œ ‰ œJ œJ ‰ Œ o

Ó

Ó

Œ

>œ+ œ œ œ œ œ œ b ‰J J ‰ æ o f

≥ b>œ œ œ ‰ bœ Œ J

ord.

f

sub.

b œ– ? Ó ¢

Œ

B œ– ‰ J Ó

Œ

B œ–

œ– ‰ J Œ

Ó

œ – æ

no dim.

œ–

Ó

Œ

Œ

Ó

D ord.

55

4 j‰ ≥ j‰ Œ 4 œ œ œ— >sf f +

° 0 IV & œ œ Œ o

5 4

Ó

arco (pizz.) ord.

molto sul pont.

≥ j ‰ B>œ œ œ œ f +

& Œ

5 4Œ

4Ó 4

‰ j j‰ Ó Bœ œ

Œ

≤j ‰ j‰ j‰ j‰ Œ Bœ Bœ œ œ pp

molto sul pont.

II III

B

5 4Œ

œæœ æ

ord.

œæœ æ

ppp

œæœ Œ æ o

4Ó 4

œo

œo

≤ ˙ o

˙

Ͼ

p

lontano pizz. arco, senza vib.

II

? Ó

Œ

>œo ˙≥o ‰ J 45

Œ

4 4

Œ

˙o Œ

Ó

Ó o

¢ f

p

pp

ppp

Ͼ


5 59

° Ó &

≥ œ

Œ

j‰ Ó œ œ— ê sf>

f

3 4

4 4

3 4

4 4

ord.

& Œ Bœ œ œ œ œæ œæ —

sub. f no dim. (ord.)

( IIIII )

æ B <n>œæœ

II III

II

œææœ

– œææœ Œ —

f

Œ œ o œo Œ

Ó

p (senza vib.)

II œo

œo

˙o

? ∑

Œ

Πpp

œæ œæ 44 æ æ ê

pp mf

œo Œ Ó o

¢ p

bœæœ æ

3 4 ˙™

w

3 4

4 4

ppp

E molto sul pont. senza vib.

ord. sul pont.

65

≥0

IV

0

IV

0

IV

0

IV

0

, OI 5 #œ 4æ o

IV

° 4 &4 œ œ œ œ œ œ ‰ œ œ ‰ ‰ œ œ ‰ Œ pp f

3 4 Bœ rf

j ‰ Œ œ

Oœ æ

Oœ æ

Oœ æ

Oœ æ

4 4

pp

[h molto sul pont. senza vib.

h

sul tasto

III

4≥ & 4 bœ

‰ œj œj ‰ Œ

‰ œj œ

Œ Bœ

3 4

5 4Œ

O o

4 4

O pp

pp f

[q

h

sul tasto senza vib.

B 44

>æ œæœ

>æ œæœ – —Ó

IV

3 4

5 4Œ

4 4

ΠO o

ff no dim.

O

[h] [q

q]

sul tasto

[h]

sul pont.

I

? 44

Œ

3 4

Œ

5 4 Œ b Oæ Oæ Oæ bœ œ œ o

¢ O

O

O

O

4 4

æ œO pp

pp f

sul pont. (sul pont.)

69

° 4 &4

2 U 4 4 ∑ 4 Ó

OœI Oœ æ æ o

sul tasto

Oœ Oœ Oœ æ æ æ

Œ

3 4

U ∑

OœI O 4 æ æ #æœ 4

Πo

p p

h. ]

[ h. ] sul pont.

4 & 4 O™

Πo

sul tasto

2 U 4 III ∑ 4 4 #~

Πo

O™

3 4

U ∑

4 III 4~ o

3 4

U ∑

4Π4

3 4

U ∑

p

h. ] sul tasto

[ h. sul pont.

B 44 O™

Πo

pp

IV æ æ Ó 2 U 4 Œ æ æ æ ∑ 4 4 b O O O b O b œ œ œ b œ œO o p

O™ o sul pont.

(sul pont.)

? 44 ¢

2 U 4 4 ∑ 4 ~ <n> w

sul tasto

Ó ˙O

p

4 æ 4O œ p

o

æ æ Œ BBœO o


F 6

,

poco rit.

,

a tempo

[ h. ] ord., molto vib.

≤ III

75

° &

Ó

+ ‰ œJ

Œ

≤ ˙™

5 4 #O ™ o ≤ III 5 4 ˙O ™™ o

Πo

p

f

ord., molto vib. sul pont.

Œ

Œ

& O

≤ Oo ™

O

mf no dim.

Πo

Ó o

4 4

Ó o

4 4

Ó o

4 4

Ó o

4 4

f

f

f

ord., molto vib.

≤ 5 O™ 4 ˙™ o ≤ nn O˙I ™™ 5 4 o

h] sul pont.

B O

Œ

ΠO

≤ #˙O ™™ o

Ó O

III

Πo

p no dim.

f ord., molto vib.

≤ II O # # ˙ ™™ o

? ∑

¢

Πo

f

f

f

sul pont. ord.

,

sul pont.

79

O 5 #æœ 4

3 ˙™ 4

œ œ œ œ bœ œ#œ œ ˙

° 4 &4

#œ œ

bbOœ æ æ

4 bbOœ nnæOœ 4 æ

Ó

Ó

sub.

pp

ppp

œ mf . . . fino quasi senza suono

p ord.

OœI 5 4

sul pont.

bœ œ œ nœ œ œ œ œ œ œ œ œ Œ

4 &4

3 4

sul pont.

4 ~w 4

p p

ppp . . . fino quasi senza suono

ord. sul pont.

<n>œ œ œ bœ

B 44

œœ œœœœŒ

3 4

I 5 Oœ &4 æ

æ

Oœ æ

4 4

Ó

p mf (sul pont.)

OœI 4 æ 4

sul pont.

œ œ œ œ œ œ œ œ bœ œ œ œ ? 44

#œ œ

¢

Œ

3 4

5 4

œ

Oœ æ Ó

pp

p

G sul pont.

ord.

83 ord. senza vib.

° #œ œ œ œ œ œ œ œbœ œ & œ œ œ œ œ œ ˙™ mf

œ

œ #œ œ

œ

Πo

∑ œ

˙™

œ

pp senza vib. sul pont. ord.

& œ

#œ œ œ œ w

w

w ppp

mf

senza vib. sul pont.

<n>œ

Bœ w

w

w

œœ œœœ & ppp mf

ord.

œ bœ

nœ œ œ œ w œ

?

#œ œ

∑ ¢ o

œ

mf pp


7 sul pont.

87

#>œ

° œII &

œ

œ

œ sfz ( pp )

µ >œ

ord.

œ >œ

œ

<#>œ

sfz ( pp )

sul pont.

& pp

sfz ( pp )

sfz ( pp )

sfz ( pp )

sfz ( pp )

sul pont.

ord.

<B>˙

#>œ œ

œ

& pp

sfz ( p ) sfz ( pp ) sfz ( pp ) sul pont.

<b> ˙ ™

œ œ

˙

#>œ

b >œ œ

œ

? ¢ sfz ( p )

sfz ( p )

( pp )

sul pont.

III IV

92 ord.

III

#>œ

B>œ

° &

sfz ( p )

<n>>œ æ

#>œ æ

sfz ( p )

sfz ( mf )

œ œ˙ > >>> mf sfz

sfz ( mf )

(

bœœ > sfz

)

( mf )

ord. sul pont.

II n>œ

III

#>œ

<n>>œ æ

&

>œ æ

œ >

sfz

sfz ( mf )

æ œ >

sfz ( mf )

sfz ( mf )

sfz ( p ) sfz ( p )

Ϫ

sfz ( p )

sfz ( mf )

ord.

>œ J

II

B>œ æ

>œ æ

& sfz ( p )

œ œ >>> œ > >>>> > sfz

sfz ( mf ) sfz ( p )

>œ > >>>>œ >IIœ

ord.

<n>>œ

µ>œ æ

?

( mf )

sul pont.

>>>>œ œ

¢ sfz ( mf )

sfz ( mf )

sfz

( mf )

sfz

pp

hum: ord.

97

° &

æ œœ æ > sfz

œœ >

æ œœ æ >

˙™ ( f )

æ æ œœ œœ æ æ > >

//////////////// & w

æ æ æ æ œœ œœ œœ œœ — – æ æ æ æ > > > > sffz

˙˙ >

sfz

pp

hum:

//////////////// & w

ord.

& æ bœ > > sfz

n>> œ > œæ > > sfz

œ ( f )

æ œ>

æ >

æ >

æ >

æ œ>

æ œ>

æ œ>

æ œ>

æ œ> —

sffz pp

w ord.

hum:

? ////////////////

sul pont.

III

æ œ> sfz

&

œ >œ œ >> > > ( f )

œ >> œ >> > sfz

æ œ>

µ >œ ( f )

æ >

sfz

æ n>œ

æ œ>

æ œ>

æ œ> —

sffz pp

hum:

III ord.

? œ

>œ µœ œ >>>>

¢ ( f )

sfz

( f )

æ œ > sfz

æ æ > #>œ

æ æ > n>œ

? //////////////// w

æ œ > sffz

æ >œ

æ >œ

æ >œ —


8

H Slightly slower ( q = 96 – 104 )

,

101

pp

quasi riverbero

(hum:)

∑ : ∑ ///////////////////////////////////////////////////////////////// & w w w w h h

° &

™™ wo

(subito tacet)

∑ o f

pp

quasi riverbero

(hum:)

w H ∑ : ∑ w w ///////////////////////////////////////////////////////////////// & w h

™™ w -o

& (subito tacet)

∑ o f

pp

quasi riverbero

? w (hum:)

w

w

w H

H

∑ : ∑ /////////////////////////////////////////////////////////////////

B

& (subito tacet)

™™ w -o

∑ o f

pp

quasi riverbero

? (hum:)

∑ : ∑ ///////////////////////////////////////////////////////////////// w w w w h h

? ∑

™™ wo

¢ (subito tacet)

∑ o f

107

∑ ∑ ////////////////////////////////////////////// & w w h

° &

2 4

U ∑

, 4 4

2 4

U ∑

4 4

2 4

U ∑

4 4

Ó o

2 4

U ∑

4 4

Ó

Πo

˙O ™™

˙O p brillare

∑ w w ////////////////////////////////////////////// & w

Ó

Œ

&

Œ b œO

˙O ™™

p brillare

w

w

? ∑ ////////////////////////////////// [ h. ]

[h] III

B

Ó

O™

~

O

Πo

p brillare

? ∑ /////////////////////// w [ h.

h]

I

[ h. ]

[ h. ]

O™ ? IIO™

O

II

O™ Œ

Œ

Œ

¢ p

p mf brillare


9 1.

≤ 113 ° 4 III & 4 #~ o ≤ III 4 & 4 w~ o

≤ [h]

[ h. ] III

Ó o

O

#~ o ≤ III w~ o

f

˙O

Ó o

˙O ™™

Πo

2 U 4 ∑

™™ 44

2 U 4 ∑

™™ 44

p

f

≤ III ~ 4 B4 w o ≤ ~wI ?4 ¢ 4 o

O™

Πo

p

≤ ~I & o ≤I # ~ #w

Ó o

f

O˙ Ó o

[ h. ]

2 U 4 ∑

O™ Œ o

B ™™

4 4

p

O˙™™

2 U 4 ∑

Πo

o

™™ 44

f p

pp

hum:

118

° 42. æ & 4 Oæ™ ˙™ o

Πo

p

////////////////////////// & w w

∑ w~ o pp

hum:

4 &4 Ó

III ‰ b Oj ~ bœ w o

Œ

w ////////////////////////// & w

Πo

˙O ™™ êf

bbw~ o

pp

w

w

? hum:

[ h. ]

//////////////////////////

III

B 44 Œ

O™ ææ o

~ o

o

p

pp

? hum:

?4 ¢ 4Ó

OœI æ o

Œ

O˙™™ æ

////////////////////////// w w

~w Πo

∑ o

mf

IV, III, II, I

123

I wo ææ

∑ ) ( //

° & O™ ˙™

w≥o

I – 3 4 êsf

grad. reduce trem.

æ (no trem.)

Πf

p

[q ≥ œo II J ‰ O

˙o

*

4 4

o o oœ œ œ

p pp

f

[q ∑ ) ( //

grad. increase trem.

≥ O

III

æ &<b><b>w~

ææ b O bœ

˙-O ™™ ê

f

ææ b O b˙

3 4

Ó o

4 4

Ó

Œ

p

sfp

∑ ) ( //

[h

h. ]

III

B O™

Œ

Ó

O™ æ

O æ o

f

Πo

3 4

4 4

3 4

4 4

mf

∑ ) ( //

O˙™™ ? Œ ¢

Œ

O˙™™ ææ o

∑ p

f * silent circular arm movement — see Notation remarks.

o


10 h]

[q

h. ]

128 II

° O &

Ó

Œ æO æ

Ó

O™ ææ

–Œ

—Œ

mf

[q

h. ]

III

h]

Ó

Ó

æ Oæ

Œ

& O

æ Oæ™

mf

≤ II # ~ B o

~

#~ ææ

#~ ææ

2 ææ

#~ ææ

2* ææ Œ

2 ææ

(subito tacet)

p f

I ## O˙ ™™ Œ ææ o

? ∑

¢

## ~w ææ

2 ææ

2* ææ Œ

2 ææ

(subito tacet)

f

[ q. ]

IV, III, II, I

J 134

oo œ œ

° &

h. ]

[q ≥ œo II O J ‰

o o˙ œ

≥ II -O™

≥ ~ o II

O™ Œ o

[h]

‰ O

Ó

Ó

êf

f p

f

h. ]

[q

≥ IV, III, II, I III

III

nO

ææ # ~ # wo

#O #O Π&

Πo

O™

#O O

2 * ææ Œ

2 ææ

ææ2

III

Œ # Oææ #œ

Ó

(subito tacet)

êf

f

p p

≥ #~ o II

B

I <n><n> ~w æ o

? ∑

¢

~

~-

ê fp

ff

2 ææ

o

Œ êf

OœI Œ æ

2 ææ

2 ææ

Ó

(subito tacet)

p

[h] [h

e]

≥I -O

IV, III, II, I

139

O ° &

O J ‰ Œ

*

O

ææ

ææ

ææ

Œ

2 4

4 4

[h]

-O

Œ

Œ

Ó

O O

(tacet)

p p

[h [ h. ]

≤ IV, III, II, I

ææ2

æ & ##˙Oæ™™

2 ææ

2 2 ææ 4

“I”

4 #O#O ™ 4 #O

Œ

O

ææ

ææ

ææ

ææ

Ó

æ

2 æ

(tacet)

pp

B

Ó

2 4

Ó

4 4

æ

æ

æ

2 æ

2 æ

Œ

(tacet)

[ h. ] [h

™ <n><n> O˙ ™ ? ææ ¢

2 æ

2 2æ 4

2 æ

4 4

Ó

silent arm gesture ('mimed playing') — see Notation remarks.

“I”

™ Ó

* silent tremolo arm movement — see Notation remarks.

h]

≥ “ IV ”

Œ


11 At this point, left-hand gradually 'creeps' into position in preparation for the final pizz. note

144

-O≥

° &

pizz.

≥ -O Ó

“I”

Œ

Œ

Ó

ææ

Œ

ææ

ææ

ææ

quasi

“ pp ”

sffz

“ fff ” ]

[

pp

ææ Œ

>+j œ– U ‰

ppp

pizz.

≥ “ IV

h]

[ h. ] III II

I” “I”

≤™ Ó

Ó

Œ

Œ

ææ

ææ

ææ

ææ

>+j ææ Œ #œ –‰

& [ “ pp ”

“ fff ”

sffz

]

quasi “ ff ” pizz.

[q

h. ]

[h]

“I”

≤ “I”

™ B Ó

Œ

Œ

quasi “ f ”

æ

æ

æ

æ

æ

æ

æ

æ

Œ

“ p ”

>+j œ– ‰ sffz

“ fff ”

[

]

h. ]

≥ “I”

≤ ™ ? ¢ Ó

Œ quasi “ f ”

ææ

ææ

ææ

ææ

ææ

ææ

ææ

ææ

Œ

Œ “ p ”

>+j œ– ‰ sffz

“ fff ”

[

]

(London, July 2018)

pizz.

[h] [q

Profile for Ji Heng Lee

[ autofocus ] (2018)  

For string quartet

[ autofocus ] (2018)  

For string quartet

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