Score
michael-thomas alexander foumai
String Quartet No.1 “String Theory” (2006)
String Quartet No. 1 “String Theory” 1. C4 Variations on “C” | 5:40 2. a2 + b2 = c2 | 6:40 3. The Laws of Motion | 3:10 4. Murphy’s Law | 0:01-3:00 5. The Theory of Every-string |8:20
Duration : 26-28 minutes Movements can be performed as separate pieces.
PROGRAM NOTES The String Quartet No.1 is inspired by a mathematical approach to theoretical physics known as “string theory.” Inherently, the theory of strings is very difficult to explain. Fortunately, string theory as it is known in the realm of mathematics, has nothing to do with this piece. Instead, the theory made for a neat play on words and a great title for a new work. Thus, in keeping with a scientific approach, the quartet is a kind of science experiment in composition.
1. C4 : Va ri at io ns o n C Spanning the entire spectrum of music itself, any tangible musical idea can be varied. Most commonly, a melody is varied, but why not a single pitch. In his Musica Ricercata, Ligeti explored a unique form of serial chromaticism of which his first movement is based on one pitch. Likewise, these variations on C are exclusive to the “letter” C but not limited to its sounding pitch. C can be viewed as having two paths of interpretation: pitch and key. In this movement, C is varied in pitch and performance. C can be performed, especially with stringed instruments, in a multitude of techniques. Violins tuned in scordatura employ exclusive use of bariolage between a fingered C and open C on what would normally be an open E string. Use of left and right hand techniques lend various color changes, yet nowhere is there more a juxtaposition of variation with the source, than with written C itself. Middle C and its location both in treble and bass clef is a pitch with dual identity. Depending on how it is viewed, it is very possible to attain all 12 pitch of the chromatic scale, and maybe a few quartertones here and there.
2. a 2 + b 2 = c 2 The Pythagorean theorem is one of the earliest mathematical theorems known to ancient civilizations. Named after the Greek mathematician and philosopher Pythagoras, the theorem states, “The area of the square built upon the hypotenuse of a right triangle is equal to the sum of the squares upon the remaining sides.” So influential is this theorem, it has gone on to become the center of Geometry and its forerunner. Many composers have used the equation to base their works. This is not one of those pieces. This is a movement that stands to stretch melody to it’s barest component and proposes a new theorem based in music: A + B + C = Melody.
3. Th e La ws o f Mo ti on Written in a “Glassian” style, this movement is inspired by none other than Issac Newton’s three universal laws of motion. Originally written as a separate piece titled Metamorphosis, after the story by Franz Kafka in which a man psychologically mutates into a roach, the piece tended to follow a basic principle of which Newton, with some help, seemed to describe with stunning accuracy: [Music] in motion tends to stay in motion.
4. Mu rp hy ’s L aw Murphy's Law is a popular saying in Western culture that states: things will go wrong in any given situation, if you give them a chance. In other words, if there are multiple possibilities of doing something, and one of those possibilities will end in some sort of disaster, someone will do it that way. Likewise, music is an unfortunate field to which Murphy’s Law has somehow taken a dominant residency. No matter how much rehearsal one can go through, whether it be Bach or Bartok, the final performance never seems to go the way it went in rehearsal. This movement is a game or kind of musical rubiks cube that strives to test Murphy’s Law at its core. Given several parameters, performers will use their instruments and ears in an exercise of telepathic communication, if done correctly the performers should be able to finish the game in under 3 minutes, however there is always a chance for Murphy’s Law to take effect!
5. Th e Th eo ry o f Ev er y-s tr in g. Inspired by a hypothetical theory that fully explains and links together all known physical phenomena, this final movement has nothing to do with the theory, theoretically. The piece, an obvious a play on words, features arpeggiando bowing across “all the strings.” Mathematically, the theory of everything doesn’t apply here, however in the spirit of complete synthesis, it’s very possible to suspect sections taken from previous movements.
PERFORMA NCE NOTES -
Two extra violins are required to perform the first movement. Violins should be located near the performer for quick instrument changes. It is suggested that the violins be tuned accordingly before the piece has begun. Likewise, there should be an extra chair or violin stand put aside so that that the performers primary instrument can be set down between changes.
2
3
6
Vln. I
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
mp
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
mf
0 0
0 0
f
11
B
Vln. I
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
0 0
0 0
0 0
0 0
0 0
0 0
pp
f
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
f
Vln. II
0 0
Sounding Pitch
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
pp
16
6
Vln. I
6
6
6
6
6
6
6
6
6
6
6
6
6
0 0 0 0
0 0 0 0
6
0 0 0 0
0 0 0 0
6
6
0 0 0 0
6
p
0 0 0 0
6
0 0 0 0
6
0 0 0 0
6
pp
0 0 0 0
6
0 0 0 0
6
0 0 0 0
6
0 0 0 0
6
mp
0 0 0 0
6
0 0 0 0
6
6
Vln. II
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
pp
p
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
mp
20
C 6
Vln. I
6
6
6
6
6
0 0 0 0
pp
0 0 0 0
6
0 0 0 0
6
0 0
6
mf
6
6
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
6
0 0
0 0
0 0
0 0
pp
mf
Vln. II
0
pp
0
0
0
0
0
0
mf
0
0
0
0
0
0
pp
0 0
0 0
0 0
0 0
0
0
0 0
0 0
0 0 0 0 0
0
0 0
0 0
mf
0 0
0
4
25
Vln. I
0 0
0 0
0 0
0 0
0 0
pp
mf
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
mf
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
mf
Vln. II
0
0 0
0 0
pp
0 0
0
0
0 0
0 0
pp
mf
0 0
0
0
0 0
0 0
0
0
0 0
pp
mf
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0 0
0
pp
mf
31
Vln. I
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
mp
Vln. II
0
0 0
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0
pp
mp
Vla.
0 0
37
D
Vln. I
0 0
0 0
0 0
0 0
0 0
0 0
mp
0 0
0 0
0 0
0 0
pp
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
p
Vln. II
0
0 0
0 0
0 0
0 0 0 0 0
mp
Vla.
0
0 0
0 0
0 0
0
pp
0
0 0
0 0
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0
pp
p
4 0
mp
0
0
0
0
0
0
0
0
0
0
pp
0
0
0
0
0
0
0
0
p
0
0
0
0
0
0
0
0
pp
0
0
0
0
0
0
0
0
0
0
0
5
42
Vln. I
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
pp
mp
0
0
0
0
0
mf
Vln. II
0
0
0
0
0
0
0
0
0
0
0
0
0
Vla.
0
0
0
0
0
0
0
0
0
0
0
0
pp
mp
0
0
0
0
0
0
0
mf
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
pp
mp
0
0
0
0
0
0
mf
47
E
Vln. I
0 0
0 0
0 0
0 0
0 0
0 0
pp
0 0
0 0
0 0
0 0
pp sub.
mp
mp
0 0
0 0
pp sub.
Vln. II
0
0 0
0 0
0 0
0 0 0 0 0
0
0 0
0 0
0 0
pp
Vla.
0
0
0 0
0 0
0 0
0
0
0 0
0 0
0 0
pp sub.
mp
0
0
mp
0 0
0 0
0
pp sub.
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
pp sub.
mp
pp
0
0
0
0
mp
0
0
0
0
0
pp sub.
52
Vln. I
0 0
0 0
0 0
0 0
0 0
0 0
0 0
pp
mf
cresc. poco a poco
Vln. II
0
0 0
0 0
0
0 0
0 0
0 0
0
pp
mf Vla.
0
0
0 0
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0
0
0 0
0 0
0
cresc. poco a poco
0
mf
0
0
0
0
0
0
pp
0
0
0
0
0
0
0
0
0
0
0
cresc. poco a poco
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
6
58
F
Vln. I
(mp)
f bright
(mp)
Vln. II
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
(mp)
Vla.
Vc.
0
0
0
0
0
0
0
0
f bright
(mp)
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
(mp)
0
0
0
0
0
0
0
0
0
(mp)
0
f bright
0
0
0
0
0
0
f bright
63
Vln. I
fff
(mp)
Vln. II
fff
(mp)
Vla.
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
fff
67
Vln. I
mp sub, ambient
(mp)
Vla.
(mp)
Vln. II
0
fff
(mp)
Vc.
0
mp sub, ambient
mp sub, ambient
7
G Con moto (e = q) 72 to primary Vln. I
ppp
Vln. II
Primary Violin pizz.
to primary
p
p
ppp
pizz.
p
pizz.
Vc.
Primary Violin pizz.
ppp
Vla.
p
77 Vln. I
Vln. II
Vla.
Vc.
sfz
sfz
sfz
sfz
G.P.
H
Fast, q = 170
Vln. I 84
p
Vln. II
p
Vla.
Vc.
p
p
8
Vln. I 90
I
Vln. II
Vla.
Vc.
Vln. I 96
J
Vln. II
Vla.
Vc.
103
Vln. I
Vln. II
Vla.
Vc.
sfz f
sfz f
sfz f
sfz f
K 110 Vln. I dim. 9
p
f
(mp)
Vla.
dim.
p
Vc. dim.
sfz
f
(mp)
p
Vln. II
Vla.
f
arco 0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
mp
Sounding Pitch
mp
pp
to secondary
(mp)
f
q. = q
mp
sfz
L
Vln. I
f
f
sfz
f
117
Vc.
dim. f (mp) p sfz
Vln. II
Secondary Violin arco 0
0
0 0
0 0
0
pp
mp
p
mp
p
Vln. I 122
0
0
0
0
0
pp sub.
Vln. II
Vla.
Vc.
0
0
0
0
0
0
0
0
0
0
0
0
pp
mp
(mp)
to secondary
0
0
0
0
0
0
0
pp
0
0
0
0
0
0
0
0
0
0
mp
arco
0
0
0
0
0
0
0
0
0
p
0
0
0
0
0
0
0
pp
0
0
0
0
0
0
0
0
mp
0
0
0
10
126
Vln. II
0
0
0
0
0
0
0
0
0
0
0
0
0
0
p
mp
Vla.
Vln. I
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
p
mp
0
0
0
0
0
0
0
0
0
0
0
0
p
0
0
Vc.
0
0
0
0
0
0
0
131
Violin Secondary
Sounding Pitch
0
0
0
0
0
0
0
0
0
0
0
p
mp
0
pp
Vln. II
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
p
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
p sub.
mf
0
0
0
0
0
0
0
p
Vc.
0
0
Vla.
0
arco
0
0
0
0
0
0
pp
0
0
0
mf
p sub.
mf
p sub.
0
0
0
0
0
0
0
0
0
0
135
Vln. I
0 0
0 0
0
0
0
0
0
0
0
0
0
0 0
p
mp
0
0
0
0
0 0
0 0
0
0
0
0
0
0
0 0
0 0
p
mp
Vln. II
0
0 0
0 0
0
0
0
0
mp
0
0
0
0
0
0
0
0
mp
p
0
0
0 0
0 0
0
0
0
0
0 0
0 0
0
p
0 0
Vla.
0
0 0
0
0
0
0
0
0
0
0
0 0
p
mp
Vc.
0
0
0
0
0 0
0 0
p
mp
0
0
0
0
0
0
0
0 0
0 0
pp
11
140
Vln. I
mp
p sub.
ff
f
Vln. II
0
0
0
0
0
0
0
0
mp
0
0
0
0
0
0
ff
f
0
0
0
0
0
0
0
0
0
p sub.
0
mp
0
ff
f
mp
Vc.
0
Vla.
p sub.
f
p sub.
ff
144
6
Vln. I
Vln. II
mp
6
6
6
6
6
6
p
6
6
6
cresc.
6
poco
0
Vla.
cresc.
poco
mp
Vc. mp
6
p
mp
6
p
0
0
0
0
0
0
0
0
0
poco
cresc.
poco
cresc.
6
6
6
p
6
6
6
12
147
6
Vln. I
6
Vln. II
Vc.
Vla.
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
ff
ff
ff
6
6
6
6
6
6
6
6
ff
150
6
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
p sub.
pp
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
pp
p sub.
Vc.
Vla.
0
Vln. II
Vln. I
pizz.
pp
pizz.
pp
13
2. a2 + b2 = c2 Viola
Grave, q = 42
p leggiero
Violoncello
pp (mp)
p
3
n
A
mp
p leggiero
Vln. II 8
Vla.
Vc.
pp
p
3
n 3
B
sul D | change bows as needed
mp leggiero
(mp)
3
(mp)
(mp)
Vln. I 14
Vln. II
Vla.
Vc.
sul A | change bows as needed
3
n
(mp)
p (mp)
poco accel.
mp mf cresc.
mp
C
cresc.
cresc.
cresc.
D
20 Vln. I
14
Più mosso, q = 50
f cresc.
Vln. II
f cresc.
Vla.
Vc.
w/ increased vibrato
ff cresc.
Vc.
Vla.
Vla.
ff cresc.
p
5
poco
p
fff
f
poco
mf
fff
p
Cadenza: Viola
ff broadly
fff
p
30
fff
3
3
ff broadly
rit.
3
Cadenza: Cello
29
3
ff cresc. w/ increased vibrato
w/ increased vibrato
ff cresc.
w/ increased vibrato
Vc.
f cresc.
24
Vla.
f cresc.
Vln. I
Vln. II
f
w/ intense vib.
f
p
(ff)
mf
p cresc.
rit. accel.
Vln. I
rit.
31
Slowly, q = 40 - 50
Vln. II
mp
Vln. II
mp
Vla.
mp
mp
p
3
p
pp
Vla.
mp tenderly
mp
pp
mp
pp
mf
poco
poco
poco
mp
poco
mp
poco 3
mf
poco
poco
poco
mp
mp
poco
pp
mp
pp
mp
pp
mp
no cresc. or dim.
pp
pp
poco
pp
poco
poco
mp
mf
mf
poco accel. poco rit.
pp
pp
p
Calm, q = 50
mp tenderly
(ff molto espress.
mp tenderly
poco accel. poco rit.
mf
mp tenderly
40
Vln. II
Vc.
F
p
Vln. I
ff molto espress.
f
Vln. I
Vc.
Vc. 3 35
ff molto espress.
ff molto espress.
15
A tempo, q = 50
mf
Vla.
E
pp
mf
mf
mf
Vln. I
Cadenza: Violin 1
44
16
0
pp
Vla.
(f) dolce
Vln. II
pp Vc.
pp
G Più mosso, Vln. I 45
q = 62
p
p
p
mf
mf
p
p
Vln. II
Vla.
mf
mf
p
p
p
mf
p
p
mf
p
p
Vc.
49
Vln. I
mf
p
Vla.
Vc.
mf
Vln. II
0
p
mf
mf
p
p
mf
Largo, q = Dictated
pp sonore
pp sonore
pp sonore
mf
pp sonore
n
n
n
n
3. The Laws of Motion
17
Violin I Menacingly, q = 250
f con fuoco
Violin II
f con fuoco
Viola
f con fuoco
staccato
f con fuoco
Violoncello
staccato
Vln I 8
Vc.
Vln II
Vla
Vln I 14
Vln II
Vla
A
Vc.
p sub. cresc poco a poco.
p sub. cresc poco a poco.
p sub. cresc poco a poco.
p sub. cresc poco a poco.
19
Vln I
Vla
Vln II
Vc.
18
Vln I 27
Vla
Vln I
Vln I
cresc. poco a poco
cresc. poco a poco
fp
fp
cresc. poco a poco
cresc. poco a poco
(mf)
(mf)
Vla
35
Vln II
Vc.
fp
Vln II
fp
Vc.
43
(mf)
(mf)
B
f molto agitato
f molto agitato
Vln II
Vla
Vc.
f molto agitato
f molto agitato
19
51
Vln I
Vln II
Vla
Vc.
59 C Vln I cresc. poco a poco
Vln II
cresc. poco a poco
fp
Vla
fp
cresc. poco a poco
Vc.
f
fp
più f molto espress.
simile 66 Vln I p
f
Vln II
p
f
f
p
f
p
cresc. poco a poco
Vla
Vc.
f
p
f
p
f
p
cresc. poco a poco
D Vln II 73
ff
Vla
ff
Vc.
ff
20
81
Vln II
Vla
Vc.
Vln I 88
E
Vla
0
0
0
sfmf
Vln II
0
sfmf
sfmf
Vc.
Vln I 95
Vla
0
0
0
0
0
cresc.
Vln II
Vc.
cresc.
cresc.
mf
F 101 Vln I f driving
Vln II
f driving
Vla
Vc.
f driving
f maestoso
21
106
Vln I
Vln II
Vln I
Vla
Vc.
p
p
p
G
114
p sub.
Vln II
p sub.
Vla
p sub.
Vc.
Vln I
122
f
H f vigoroso
Vln II
f vigoroso
Vla
Vc.
f vigoroso
p
f vigoroso
130 Vln I fp
Vln II
fp
Vla
fp
Vc.
fp
22
Vln I 138
Vln II
Vla
Vc.
molto staccato
I 146 Vln I p sub. cresc. poco a poco
cresc. molto
Vln II
cresc. molto
p sub. cresc. poco a poco
Vla
cresc. molto
Vc. cresc. molto 154 Vln I
p sub. cresc. poco a poco
p sub. cresc. poco a poco
(mf)
Vln II
(mp)
Vla
(mf)
(mp)
fp cresc. molto
J
f vigoroso
Vln II
(mf)
(mp)
161 Vln I
f vigoroso
fp cresc. molto
(mf)
f
Vla
Vc.
(mp)
Vc.
fp cresc. molto
f
f vigoroso
fp cresc. molto
f
f
23
169
Vln I
Vln II
Vla
K 177 Vln I Vc.
Vln II
Vla
Vc.
L 185 Vln I
Vln II
Vla
Vc.
193 M Vln I fp f p
f vigoroso
Vln II
p f vigoroso f vigoroso fp
Vla
Vc.
f
fp
f vigoroso
fp
f
f
f vigoroso
p
p
f vigoroso
Vln I 201
mf cresc.
N
fp f vigoroso
f
Vla
mf cresc.
f
f vigoroso
mf cresc.
Vc.
f
fp
Vln II
24
mf cresc.
f vigoroso
fp
fp
f
O Vln I 209
mf cresc.
f scherzando
mf cresc.
Vln II
mf cresc.
Vc.
mf cresc.
f scherzando
pizz.
f scherzando
Vla
f scherzando
Vln I 215
Vln II
Vla
Vc.
25
P 220 Vln I
Vln II
p sub.
p sub.
Vla
p sub.
Vc.
arco
Vln I 227
cresc. poco a poco
f
p
Vln II
cresc. poco a poco
Vla
cresc. poco a poco
Vc.
p
cresc. poco a poco
Q
Vln I f vigoroso f vigoroso f 235
f vigoroso f vigoroso
Vln II
f
f vigoroso
Vla
f vigoroso
Vc.
f
f
26
243
Vln I
Vln II
Vla
R 251 Vln I Vln II Vc.
Vla
Vc.
Vln I Vln II Vla
S f vigoroso ff energico f vigoroso ff energico ff energico f vigoroso Vc. f vigoroso ff energico 266 Vln I f vigoroso sfff Vln II sfff f vigoroso Vla f vigoroso sfff Vc. f vigoroso 259
sfff
27
4. Murphy's Law Directions Without planning, each performer play any pitch that he or she assumes the other will also play. If on the first sounding of the first pitch, all four play the exact same pitch in any octave, the movement is over and proceed to the next movement. However, if all do not play the exact same pitch, all must reach a certain "same" pitch in any octave by glissing to a unified pitch (performers cannot skip pitches while searching) to end the piece. Once all performers have reached a unified pitch, gradually fade out. The approximate duration of this movement should be no longer than 3 minutes.
If for what ever reason, the piece can't be completly performed, all has gone wrong! Stop performing and apologize to the audience for what has just happend.
Graphic Notation Note: This graphic represent only one of many possible outcomes.
Violin 1
sfffp sfffp
Violin 2
sfffp
Viola
sfffp
Violoncello
sfffp
1" - 3'
3"
gliss.
. s s gli . gliss
.
iss
gl
n
28
5. The Theory of Every-string Violin I
Molto Maestoso, h = 66
p
Violin II
p
Viola
p
Violoncello
p
mf
p
mf
p
mf
p
mf
mf
p
mf
p
mf
p
mf
p
mf
p
mf
mf
p
mf
mf
p
mf
p
mf
p
mf
Vln. I
5
p
Vln. II
p
Vc.
p
mf
p
mf
p
mf
p
mf
A
Più mosso, h = 70
p
mf
p
mf
p
mf
p
mf
p
mf
mf
p
mf
p
mf
p
mf
mf
p
p
mf
mf
Vla.
0 0
p
p
mf
mf
p
mf
p
mf
Vln. I 11
pp
Vln. II
pp
Vla.
pp
Vc.
pp
mp
mp
mp
mp
pp
pp
pp
p
p
ppp
ppp
pp
pp
pp
G.P.
n
n
n
ppp
p
pp
ppp
p
pp
n
B
29
Driven, q = 120
Vln. I 18
fff
Vln. II
fff
Vla.
fff
Vc. fff Vln. I 22
Vln. II
Vla.
Vc.
Vln. I 26
Vln. II
Vla.
Vc.
Vla.
Vc.
pp leggiero
pp leggiero
C
pp leggiero
pp leggiero
fpp
fpp
fpp
30 Vln. I
Vln. II
mf
pp
mf
mf
pp
pp
mf
pp
Vln. I mf
(pp)
mf
Vln. II
Vla.
(pp)
Vla.
d
d
d
d
d
d
d
p
mf
d
p
d
mf
d d
p
d
mf
d
p
d
Vla.
47 Vln. I
Vln. II
Vln. II
Vc.
p leggiero
sfz
mf
43 Vln. I
Vc.
p leggiero
sfz
39 Vln. I
p leggiero (pp) mf
Vla.
Vc.
p leggiero
sfz
sfz
(pp) mf
Vln. II
Vc.
30
D
35
mf
d
d
mf
d
d
mf
d
mf
Vln. I 51
Vln. II
Vla.
p
31
f
d
E pp sub.
p
f
d
f
d
p
6
6
0 0
0
0
0
6
0 0
0
Vla.
0
6
0 0
0
0
0
0
6
0
6
0 0
0
0
6
0
0
0
0
6
0
0
0 0
0
0
0
0
0
6
0
6
0
6
0 0
6
0 0
0
6
0 0
0
0
6
0 0
0
0
6
0
0
0
0
0
0
6
0
6
0
0
6
0
6
0
0
0
0
0
0
0
6
0
0
0
0
6
0
0
0
0
6
0
0
0
0
6
0 0
0
0
6
0 0
6
0
0
0 0
0
6
0 0
6
0
0
0
61
0 0
6
0
0
0 0
6
0
0
0 0
6
0
0
6
0
0
6
cresc.
cresc.
6
0 0
0
6
0 0
0
0
6
0 0
0
0
6
0 0
0
0
6
0 0
0
0
6
0 0
0
0
6
0 0
0 0
0
0
0 0
Vla.
cresc.
Vc.
pp sub.
6
0 0
6
0
0
6
0 0
0
0
Vln. I
Vln. II
6
0 0
Vln. II
6
6
6
0
f
58 Vln. I
Vc.
6
Vc.
0
0 0
0
Vla.
0
6
0
55 Vln. I
Vln. II
6
0 0
6
pp sub.
Vc.
6
0 0
pp sub. 0
6
p
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
cresc.
0
0
0
0
0
0
0
Vln. I 64
Vln. II
Vla.
Vc.
0
6
0
0
0
Vla.
Vc.
0
0
Vla.
Vln. II
0
0
0
0
6
0
6
0
0
6
0
f
0
F
6
f
0
f
0
0
0
0
0
0
0
f
0
0
0
6
G
3
3
3
3
f
3 3 3 3 3 3 3 3 3 3 3
3
3
3
3
ff
H
3
p sub.
ff
Vla.
3
Vc.
0
0
76 Vln. I
Vln. II
0
72 Vln. I
Vc.
0
32
0
67 Vln. I
Vln. II
6
6
0
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
ff
3
ff
3
p sub.
p sub.
33
Vln. I 81
p cresc. poco a poco
Vln. II
cresc. poco a poco
Vla.
cresc. poco a poco
Vc.
cresc. poco a poco
I Vln. I 86
f
Vln. II
pp
(f)
Vla.
Vc.
sul A
pp
Vc.
pp
pp
95
pp
Vla.
Vc.
pp
ff
ff
Vln. I
Vln. II
(f)
pp
ff
Vla.
(f)
91 Vln. I
Vln. II
ff
ff
ff
pp
pp
ff
ff
ff
pp
pp
pp
ff
pp
pp
ff
ff
ff
ff
d
d
d
pp
ff
pp
ff
34
sul G pp
pp
100
Vln. I
Vln. II
ff
pp
Vla.
ff
pp
Vc.
pp
104
Vc.
Vln. I
pp
(pp)
pp
ff instrusive
Vla.
sfz
ff instrusive
pp
ff instrusive
pp leggiero
pp
116
Vln. II
sfz
pp leggiero
pp leggiero
sfz
Vln. I
Vc.
pp leggiero
sfz pp leggiero
ff
pp leggiero
Vla.
pp
110
Vln. II
Vc.
pp leggiero
J
Vla.
ff
Vln. II
ff
pp
ff
Vln. I
pp
ff
ff
35
K 122
Vln. I
p cresc. poco a poco
Vln. II
Vla.
pp leggiero
Vc.
Vln. I
Vc.
Vla.
131
p cresc. poco a poco
p cresc. poco a poco
f cresc.
f cresc.
Vln. I
Vln. II
Vla.
pp leggiero p cresc. poco a poco
127
Vln. II
f cresc.
Vc. f cresc. 135 L Vln. I f più
Vln. II
Vla.
f più
f più
Vc. f più
140
Vln. I
Vla.
Vln. II
Vc.
36
cresc.
cresc.
cresc.
mf cresc. poco a poco
sfp cresc. poco a poco
Vla.
145 Vln. I
Vln. II
sfp cresc. poco a poco
Vc. sfp cresc. poco a poco
149 Vln. I
Vla.
Vln. II
Vc.
Vln. I 153
f
f
Vln. II
Vla.
Vc.
f
f
37
M
Vln. I 156
6
ff
6
6
6
6
6
ff
Vla.
6
Vln. II
159
ff
6
6
6
p sub.
6
0 0
p sub.
Vla.
0 0
0 0
6
0
6
0
6
0
6
163
Vln. II
Vla.
p sub.
N
6 0
0
0
Vln. I
165
Vla.
3
3
3
f molto sonore
ff
f molto sonore
3
3
3
Vln. II
f molto sonore
p sub.
6
Vln. I
Vc.
6
0
6
0 0
0
Vln. II
Vc.
6 6
6
Vln. I
Vc.
6
6
ff
Vc.
3
3
3
3
3
3
166
Vln. I
38
Vln. II
Vla.
Vc.
Vln. I 167
3
0 0
Vln. II
Vla.
Vc.
168
3
f più
Vla.
3
3
3
fp
f più marcato et strepitoso
Vc.
3
f più
Vln. II
3
fp
3
3
fp
3
3
Vln. I
3
f più marcato et strepitoso
Vln. I
Vln. II
Vla.
Vc.
170
6
6
6
6
6
6
39
Vln. I 172
sfz pp
sfz pp
Vln. II
Vla.
6
Vc.
6
6
6
6
6
6
6
sfz pp
6
6
Vln. I 175
6
6
6
6
6
6
sfz pp
6
O f con brio
Vln. II
6
f con brio
Vla.
Vc.
f con brio
f con brio
Vln. I 177
Vln. II
Vla.
Vc.
179
Vln. I
Vln. II
Vla.
Vc.
Vln. I 181
Vln. II
Vla.
Vc.
Vln. I 183
40
P
Vln. II
Vla.
3
ff with rage!
ff with rage!
Vc.
ff with rage!
ff with rage!
186
Vln. I
41
Vln. II
3
3
forcefully, molto marcato
sfz
ff
sfz
3
3
forcefully, molto marcato
sfz
ff
sfz
sfz
ff
sfz
Vla.
Vc.
3
forcefully, molto marcato
sfz
ff
forcefully, molto marcato
Q
Vln. I 190
mf cresc. poco a poco
Vln. II
mf cresc. poco a poco
Vla.
sfz
mf cresc. poco a poco
Vc.
Vla.
Vc.
Vla.
Vc.
199 Vln. I
Vln. II
mf cresc. poco a poco
195 Vln. I
Vln. II
cresc. molto
cresc. molto
cresc. molto
cresc. molto
42
Vln. I
203
Vln. II
Vla.
Vc.
fff
fff
fff
fff
Vln. I
210
Vln. II
sfffz
sfffz
G.P.
R
fff molto vibrato
sfffz
Moderato Maestoso, h = 50
Vla.
Vc.
sfffz
fff molto vibrato
fff molto vibrato
0 0
fff molto vibrato
Vln. I
w/ less vibrato
w/ less vibrato
215
Vln. II
Vla.
Vc.
0 0
pp
pp
dim.
dim. w/ less vibrato
dim. w/ less vibrato
dim.
rit.
pp
pp
n
n
n
n April 2006, March 2008 Honolulu, Hi.