Page 1

Largo desolato for Violoncello solo Jacob Mashak

Rhythms are free throughout, but the total effect should be always be of an expansive and desolate Largo. Dynamics should be such that the harmonics speak at a relatively similar volume, allowing for the expressive whims of the performer. The performer should endeavor to let the harmonics vibrate as long as possible, avoiding touching the string until the next note on it is played. When retuning a string between movements (there is a one-string change between each movement, all of a half step) the perfection of the intonation is less vital than performing this technical alteration quickly and quietly.


Largo desolato Jacob Mashak

for Violoncello solo

I.

  

            

    

  2

   

 

 



 

 



 

  

  

  

  

 



   

 









 





 



   

 





 

   

 

 



 

 

 

 



    

  

 

   

 

 



 

 



 

 

 

 







 

 

  

 





  



  



  

 

 















 



 

  

 

       


  

 



 

      



    

  

    

   



 







 

 



 

    

 

 

    

 

 

 



 



 

  

    







    



 

   

 

 



 

 

  

   

  

  





 

    

  

  

 

 





 

 







  

 

 



 

 



 





 



 

 













 

 







 



  







 

 

 



  

 



 

     3


   

II. 



            

 

 

 

 

 

4



   



 

  

 

 

 

  



  

 

 







   

    

 

    

  

 

  

 

 

 







 





 



 

  



      



 

 



 







 

 

 

 

 

 

 



 

 

 

  

 



 

 

 

 







 

   





 

 

 









 





 



 



 

 



   



 

 

 

 



     


   

 

    

 



     

  

 



 

 

 

  

   

 

 

 

 

   

 

  

  



  

  



 

     



   

 



 

 

 





 

 

 

 

 

 



 

 





 

   



 





 

 

 

  

 

 

 

 





  

 



 







 



  



 









 

 

 

 



 

 

 



   



 

 

   



     

  5


III.  

   

       

  

    





    6





 

 





 







 



 

 



 





 

  

 





 

 





 

 

  

 



 

   

 





 

 





 

 



 

 

 

 

 

 



 

 

 

 



 



 

 

 

  





 



 

 

 

 



 

 



 





    



     

 



 

 

 



 

 

 



 



  

 

 



 

 

 

 

  



 

 



 

 




          

   



  

 

  



           



 



 

 

   

   

  



 

 

 

    

 

  

 

    

 

 

 

 



 





 



 

 

 

 

  

 

 



 

 



 





  



  

 

   

 







 

 

 

 

 

  





 



 





   

  

  



 

   

 

 

 





 



 

 



 



 

 

  

 

 

  

 

 7


    

IV. 

 

        



  

   



   8

 

  



 

 

      

 



 

 

  



 

 

 

  



  

 





 

 

  



 



   

    

 







 

 

  

 

 

 





 

 

  

 

   



 

 

       

 

 

 

 

   

 

  





 

 

 



 



 

   









 

 





 







 

 





 

 





 





 



 

  






 

      

 

    

  

 

     



  

  





 

 





     

 





 

 

   

 



  

 

 







 

 

   



 



  

 



   

 



 



  

 

 

 





 

 

   

 

 

   

     





    

 

     

 



 

 





 

 



 

 

 

   



 

 



 



 

 

  

 

 





 

 

 



 



  

 

 

    

 

fin. 9

Largo Desolato  

for Violoncello solo

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