DEREK BERMEL Murmurations for String Orchestra
Co-Commissioned by the New Century Chamber Orchestra, the River Oaks Chamber Orchestra, the Saint Paul Chamber Orchestra, and partner A Far Cry.
MURMURATIONS – PROGRAM NOTE I. II. III.
Gathering at Gretna Green Soaring Over Algiers Swarming Rome
When I listen to and watch a string orchestra play, I'm reminded of a flock of birds. Visually and aurally, the performers seek unity on many levels – attention to tuning, tone, clarity of rhythm, consistency and pressure of bowing. They glide and dive in formation, soaring together or splitting into layers of counterpoint before regrouping into a single unit. During my year living in Rome, I was often treated to the graceful spectacle of a starling murmuration. Their stunning, geometrical displays of aviation prior to settling down for the night are a humbling sight to behold. In fact, starlings' mass motion suggests "emergence", a concept in Game Theory that explains how simple interactions can engender complex systems. In Murmurations I attempted to map onto a musical structure some of the behavior I observed in the starlings' flight. Their collective push and pull, swoop, and parallel movement manifests in the opening movement “Gathering at Gretna Green”, titled for the Scottish village where starlings frequently assemble. The music hovers and swoops, culminating in a cadenza – the lone concertmaster briefly separates from the flock for a rare individual moment, and is again swallowed up into the mass motion. In the middle movement “Soaring Over Algiers”, the melodic line glides alone, then in double, and finally triple layers of counterpoint, over arpeggios in the lower strings. I was inspired to write the third movement, “Swarming Rome”, upon learning that starlings signal and sense subtle directional intent to and from their neighbors seven birds distant. Here the notes travel in loose clusters, darting and fluttering, far enough from each other to maneuver through the air, yet close enough to respond to sudden shifts in the murmuration's rhythm and cadence. Murmurations was co-commissioned by the New Century Chamber Orchestra, the River Oaks Chamber Orchestra, the Saint Paul Chamber Orchestra, and partner A Far Cry. For inspiration, violinists Nadja Salerno-Sonnenberg, Steve Copes, Jae Young Cosmos Lee, and Cho-Liang Lin; writer Siobhan Roberts and Noah Strycker; mathematician Helmut Hofer; and photographer Richard Barnes. Special thanks to Alecia Lawyer, Parker Monroe, Kyu-Young Kim, Todd Vunderink, Anthony Cornicello, and Elizabeth Dworkin. —Derek Bermel
NOTES TO THE PERFORMERS: The concertmaster sometimes plays the part of soloist, notably in the first movement. The cadenza is best achieved by having the various soloists and sections cue each other into each entrance. Quarter-tones are notated as follows: ¼ tone sharp………………. ¼ tone flat…………………
The quarter-tones are used here not meant to be inflections but rather transitional as the performers work their way towards a higher or lower position on the fingerboard. Parts are divided into A and B to facilitate reading extended divisi.
INSTRUMENTATION: Violin I (A&B) Violin II (A&B) Viola (A&B) Violoncello (A&B) Contrabass Optimally the orchestra will consist of at least 8/8/6/6/4 players; a count of at least 6/5/4/3/2 is preferable.
TIMING: 21-22 minutes
Murmurations Derek Bermel (2015)
I. Gathering at Gretna Green
Violin I
3 4
Dynamico misterioso (q = 126)
4 4 mp
Violin II
3 4
2 players pizz.
4 4
mp Viola
3 4
4 4 pp
Violoncello
Contrabass
mp
3 4
4 4
3 4
4 4
4
G.P.
3 4
Vln. I
4 4
pp
Vln. II
Vla.
Vc.
Cb.
Š Copyright 2015 by X Pyre Music All Rights for the World Exclusively Administered by Songs of Peer, Ltd.
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J Quasi cadenza (senza misura)
1 Solo (Concertmaster) 66
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Poco meno mosso (q = 96) 77
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6 16
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6 16
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6 16
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5 8 f
5 8 f
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4 4
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4 4
3 4
4 4
3 4
4 4
3 4
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2 4 2 4 pp
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Cadenza - Tempo I (ma liberamente) q = 126
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115
Cm. p
118
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121
Vln. II p
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15 127
Cm. p
f
130
Cm. mf 133
Cm. f
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p 136
Cm. f
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f
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Cm.
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meno mosso
140
7 8
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7 8
3 4 1 Solo
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3 4 f
16 142
Cm.
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3 4
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4 4 tutti
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O 146
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17
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6
6
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4 4
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6
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Q 157
Cm.
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Vln. II mf
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Vla. mf ord.
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20 170
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4 4
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173
Vln. I
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3 4
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3 4
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3 4
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4 4 4 4
3 4 3 4
1 player
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4 4 4 4
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3 4
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21
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3 4
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3 4 mp
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23
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12 16
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197
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25
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199
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6
6
3
p
p 6
6
6
f
p
3
6
Vln. II 6
6
p
f 6
3
6
p
p
f 6
6
3
3
Vla.
f
p
f 6
6
f
p
6
6
f
6
6
f
Vc.
p
3
6
6
6
f
3
p
6
3
6
Cb. mf
f
mf
6
f
3
28
202
Cm. f
mf 6
6
f 6
6
Vln. I f 6
6
6
f 6
f
6
6
Vln. II f 6
6
f
6
Vla.
6
6
p
f 6
6
p
3
f
6
6
f
6 6
p
Vc. 6
f
p
6
mf
6
6
f
Cb. f
3
f
29
Z
(q = 90)
A tempo (q = 100)
203
3 4
Cm. mp
mf
2 4 f
p unis.
3 4
Vln. I
2 4
f unis.
3 4
Vln. II
f unis.
3 4
Vla.
f
2 4
f unis.
3 4
Cb.
2 4
f unis.
3 4
Vc.
2 4
2 4
f
207
Cm.
Vln. I
2 4
3 4
2 4
3 4 mf
Vln. II
2 4
2 4 2 4
p
pp
mp
p
pp
mp
p
pp
mp
p
pp
mp
p
pp
3 4 mf
Cb.
mp
3 4 mf
Vc.
pp
3 4 mf
Vla.
p
2 4
3 4 mf
II. Gliding Over Algiers
30
Wistful (q = 36)
Violin I
poco vib.
3 4 3 4
Violin II
3 4
ppp 1 solo
pp
ppp
ppp
pp
ppp
3 4 Viola
p
2 soli
3
3
3
3
3
3
3
3
pp
p
pp
p
pp
pp div., pizz.
p
pp
3
3
3
3
3
3
3
pp
3 4 3 4 Violoncello
3
3 4 Contrabass
3 4
3
3
3
3
3
3
3
p pizz.
mp
p
pp
p
pp
3
3
3
A
6
Vln. I mp
Vln. II
3
3
(ppp)
pp
(ppp)
pp
3
3
3
3
3
p
Vla.
3
3
3
3
3
3
3
3
3
3 4
2 4
3 4
2 4
3 4 3
2 4
3 4
3
p 3
3
2 4
3
p
Vc.
3
3
2 4
3 4
2 4
3 4
3
2 4
3
3
3 4
mp
2 4
Cb. p
3 4
10
Vln. I
31
3 4 p
3 4 Vln. II
3 4
ppp
4 4
3 4
4 4
3 4
4 4
3 4
ppp
3 4
3
3
3
3
3
3
3
3 4
3
pp
Vla.
4 4
3
3
3 4
4 4
3 4
4 4
3 4
pp
3 4 pp Vc.
3 4
Cb.
3
3
3 4
3
3
3
3
4 4
p
3
3
3
3
4 4
3 4 3 4
pp
13
Vln. I
B 3 4
5 4
(3+2)
4 4
mp
3 4 Vln. II
5 4
4 4
5 4
4 4
pp
3 4 pp
3 4
3
3
3 4 3 4
3
3
p
3
3
3 4
3
3
4 4
5 4
4 4
5 4
4 4
p
Vc.
3
3
3
p
Vla.
5 4
5 4
3
3
3
3
3
4 4
mp
Cb.
3 4
5 4 p
4 4
32
15
Cm.
C 3 4
4 4
Concertmaster Solo vib. norm
pp intimo Vln. I
Vln. II
4 4
3 4
4 4
3 4
4 4
ppp
p
3 4
ppp
4 4
3
3
3
3
3
3
3
3
3
pp
Vla.
3 4
3
4 4
3 4 pp
4 4
3 4 pp
Vc.
3
4 4 4 4
Cb.
3
3
3
3 4
p
3
3
3
3
3
3
3 4
pp
D
18
Cm.
Vln. I mp
pp
Vln. II
3
3
3
3
pp
3
3 3
Vla.
3
3
p
p
Vc.
p 3
3
3
3
3
3
3
mp Cb. p
3
3
33
21
2 4
Cm.
4 4
3 4
2 4
4 4
3 4
2 4
4 4
2 4
4 4
p
espr. Vln. I
Vln. II
p
3 4
ppp
3 4
ppp 3
3
3
3
2 4
4 4
3
Vla.
2 4
4 4
2 4
4 4
3
3
3
3 4 3
pp
3 4
pp
3 4
pp
Vc.
3
3
3
3
2 4
3
3
4 4
3
3
3
3 4
p
2 4
Cb.
4 4
3 4 pp
24
Cm.
Vln. I
E
3 4 p
3 4
mf
3 4 Vln. II
p
3 4 3 4
3
3
3
3
p
3
3
Vla.
3
3
3
mp
3 4 mp
3 4 Vc.
3 4 Cb.
3 4
3
3
3
3
3
mp 3
3
mf
mp
3
3
34
27
col Vln. I
2 4
Cm. f
più espr.
2 4
Vln. I f
più espr.
Vln. II
2 4 mp
3.
3
4.
3
3
Vla.
2 4
mp
3
3
3
3
3
2 4
3
mf
2 4 mf
2 4 mf
Vc.
3
3
3
3
3
3
3
3
3
2 4
f
2 4
Cb. mf 30
Vln. I
2 4
4 4
2 4
4 4
F
poco rit.
a tempo mp espr.
div.
pp
Vln. II
2 4 2 4
tutti div.
4 4 3
3
4 4
3
pp
3 3
2 4
p
pp
espr.
Vla.
div.
4 4 p
2 4
4 4 p
Vc.
2 4
3
3
4 4
3
3
3
3
3
mp Cb.
2 4
4 4
arco p
3
3
3
33
5 4
Vln. I
35
(3+2)
4 4 mf
Vln. II
5 4
unis.
4 4
5 4
unis.
4 4
5 4
4 4 mp
Vla.
5 4
4 4 cresc.
5 4
4 4 cresc.
Vc. 3
3
3
3
3
3
5 4
3
3
3
4 4
cresc.
5 4
Cb.
4 4 cresc.
35
Vln. I
G (3+2) 5 4
4 4 f
4 4 Vln. II
molto sostenuto
5 4
4 4
f molto sostenuto
5 4
div.
f molto sostenuto
4 4
5 4 mf
Vla.
4 4
5 4
mf
mf (arco)
4 4
5 4
mf Vc.
4 4
3
3
3
3
5 4
4 4
3
3
3
3
3
3
3
3
3
pizz.
f Cb.
3
5 4 mf
36
(3+2)
37
4 4
Vln. I tutti, unis.
4 4
Vln. II
4 4 Vla.
4 4 4 4 3
Vc.
3
3
3
3
4 4 3
3
3
3
3
4 4
Cb.
38
Vln. I
4 4
5 4 mf
Vln. II
4 4
5 4 mf 6
4 4
6
6
6
mp
Vla.
4 4
5 4 mp
6
6
6
6
4 4
5 4 3
3
3
3
Vc.
mp
3
3
3
3
4 4
5 4 3
Cb.
5 4
3
3
3
mf
4 4
3
3
3
3
5 4 mp
40
Cm.
(2+3)
solo
5 4
pp poco espr.
5 4
Vln. I
H
poco rit.
p
4 4 p
4 4
2 soli
Vln. II
mp
5 4 6
Vla.
5 4 5 4
mp
5 4
6
ppp
ppp
6
4 4
3
3
3
3
pp div.
4 4 6
p
6
6
div. unis.
3
6
pp
6
4 4
3
3
3
pp div., 3 arco
3
div. unis.
5 4 Cb.
6
6
p
p
Vc.
4 4
1 solo
5 4
3
mp
3
4 4
3
3
3
pizz. 3 p
3
3
3
3
3
3
4 4
pizz. pp
p 42
Cm.
Vln. I
Vln. II
3
3
3
3
3 4
4 4
3 4
3 4
4 4
3 4
3 4
4 4
3 4
3 4
4 4
pp
3 4
pp 3
3 4
3
4 4
3
Vla.
3 4
4 4
3 4
4 4
3
3
3
3
p
3 4 3 4
p
3 4
p
Vc.
3
3
Cb.
37
4 4
mp eco
5 4
a tempo
3
3
3
3
3
3
3 4
3
3
3 4
3
3
3
3
4 4
3
mp
4 4
3
3
3
3
3
3
3 4
3
3 4 p
45
38 Cm.
3 4 mp
3 4
Vln. I
Vln. II
4 4
3 4
4 4
3 4
3 4
4 4
3 4
4 4
p
3 4
ppp
3 4
ppp
3 4
3
3
3
4 4
3
3
3
3 4 3
pp
Vla.
3 4
4 4
3 4 pp
3 4
4 4
3 4 pp
Vc.
3
3 4
3
3
3
3
4 4
3
3 4
Cb.
3
4 4
p
3
3
3
3
3
3
3 4
3
3 4
pp
47
Cm.
Vln. I
I
3 4 3 4
p mf
3 4 Vln. II
p
3 4 3
3 4 Vla.
3
p
3
3
3
3
3
3
3
3
3
3
mp
3 4
mp
3 4
mp Vc.
3
3 4 3
Cb.
3 4
3
3
3
3
3
3
3
3
3
3
mf
mp
3
3
3
50
39
col Vln. I
2 4
Cm. f
2 4
Vln. I f
2 4 mp
Vln. II
3
2 Soli
3
3
Vla.
3
3
3
2 4
mp
3
3
3
mf
2 4 2 4
mf
2 4 mf Vc.
3
3
3
3
3
3
3
3
3
3
3
3
3
f
3
3
3
3
3
2 4
Cb. mf
53
Vln. I
poco rit.
2 4
4 4 mf
2 4 Vln. II
p
2 4
4 4 4 4
p
2 4
3
4 4
3
mp sub.
pp sub.
pp sub.
3
3
3
p
mp espr.
Vla.
2 4
4 4 mp
2 4
p sub.
4 4
mp
Vc.
3
2 4 3
Cb.
2 4
2 4
3
3
p sub.
3
4 4 mf
mp
3
4 4
mp sub.
p sub.
3
3
3
3
3
3
40 55
J
a tempo poco vib.
5 4
Vln. I pp limpido tutti, unis.
p
5 4
Vln. II p espr. div.
5 4
Vla.
5 4 pp
5 4 pp Vc.
3
3
3 p arco
3
3
3
3
3
3
3
3
3
3
3
3
5 4
3
5 4
Cb. pp
57
Vln. I
Vln. II
piĂš vib.
(3+2)
5 4
4 4
5 4
mp
4 4 mp
mf
5 4 Vla.
5 4 5 4
f
4 4
5 4
4 4
5 4
4 4
5 4
cresc.
5 4 cresc.
5 4 cresc.
Vc.
3
5 4 cresc. 3
Cb.
5 4
3
3
3
3
3
3
3
3
3
3
4 4 cresc.
3
4 4 3
3
3
3
5 4
3
5 4
41
K 59
Vln. I
(3+2)
5 4 molto sostenuto
5 4
Vln. II
molto espr. e sostenuto unis.
5 4 Vla.
5 4
mf unis.
mf
5 4
3
mf Vc.
3 3
5 4
3
3
f
3
3 3
3
3 3
3
3
3
3
5 4
Cb.
mf
tutti 60
4 4
Vln. I
4 4
Vln. II
4 4 Vla.
4 4 4 4 3
3 3
Vc.
3 3
3 3
3 3
3
4 4 3
Cb.
3
3
3
3
4 4
42
(col Vln. I) 61
Cm.
Vln. I
Vln. II
4 4
5 4
4 4
dim.
4 4
dim.
5 4 p
5 4
mf 6
4 4
6
6
6
5 4
mp
Vla.
4 4
5 4 mp
6
6
6
6
4 4
5 4 3
Vc.
3 3
4 4
3 3
3
3
3 3
mp
3
3
3
3 3
3
mf
3 3
3
3 3
3
3
3
3
4 4
Cb.
5 4 5 4
mp
63
Cm.
Vln. I
Vln. II
a tempo
L
(2+3)
5 4
al sord.
5 4
la metĂ
pp dreamlike
5 4
sempre dim.
pp
poco rit.
mp
6
4 4
3 4
4 4
3 4
4 4
6
6
3 4
p
Vla.
5 4
3 4 p
6
6
5 4 p
3
Vc.
mp
5 4
3
6
6
pp div.
3
3 3
3
3 3
3
4 4 4 4
pp
4 4 pp
3
3
3 4 3
3
3 4 p
3
3
3
3 4
3
3
6
(div.)
3 3
5 4
Cb.
3 4
p
6
6
5 4
solo, con sord.
p pizz.
pp
3
3
3
4 4
3
4 4
43 65
Cm.
Vln. I
4 4
3 4
4 4
3 4 ppp
4 4
Vln. II
3 4 mp 3
4 4
3
3
3
3 4
3
3
Vla.
3
4 4
3
3
3
p
3 4 p
4 4
3 4 p
Vc.
3
4 4
3
3
3
3
3
3
3 4
3
3
3
4 4
Cb.
3
3
3
3
3
3
mp 3
3
3
3
3 4 p
68
4 4
Cm. p
pp
ppp
Vln. I pp
4 4
p
4 4
Vln. II 3
3
3
3
3
3
3
3
3
3
pp
Vla.
3
4 4 3
4 4
pp
4 4 pp
Vc.
3
3
3
3
3
3
3
p
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
4 4
3
4 4
Cb. pp
44 72
Cm.
M (col Vln. I), via sord.
4 4 4 4
Vln. I
mp
4 4
Vln. II
pp
4 4
3
3 4
2 4
3 4
2 4
3 4
3
3
3
4 4
3 4
2 4 pp
4 4
3 4
2 4
p
pp
Vc.
3
4 4 mp 3
3
3
3
3
3
3
3 4
3
3
3
4 4
3
3
3
3
p
Vln. I
3
3
3
3
2 4 pp
2 4
3 4
rit. al ďŹ ne
senza sord.
pp Vln. II
2 4
3 4 pp
2 4
3
3
3
3
3 4
2 4
3
3
3
3
3
3
3
ppp
Vla.
3 4 ppp
2 4
3 4 ppp
Vc.
3
2 4 3
Cb.
2 4
3
3
3 4
3
pp
3
3 4 ppp
3
3
2 4
3
3 4 p
75
2 4
pp
p
Cb.
3
3
3
3
p
Vla.
2 4
p
3
3
3 4
3
3
3
3
3
ppp arco
45
III. Swarming Rome Soaring (q = 96)
4 4
Violin I
4 4
Violin II
on the string p on the string p
4 on the string 4
Viola
p
4 4
Violoncello
4 4
Contrabass
4
Vln. I div.
unis.
Vln. II div.
unis.
Vla.
Vc.
Cb.
7
Vln. I div.
unis.
div.
unis.
div.
unis.
Vln. II div. Vla.
Vc.
Cb.
unis.
46
A
10
(non div.)
Vln. I div.
unis.
div.
unis.
div.
unis.
mp div.
Vln. II mp div.
unis.
div.
unis.
div.
unis.
div.
Vla. mp non div.
on the string Vc. p
mp
Cb.
13
Vln. I unis.
div.
unis.
div.
Vln. II
Vla.
Vc.
Cb.
16
Vln. I unis.
div.
Vln. II unis.
div.
Vla. non div. Vc.
Cb.
47
B
19
Vln. I
div.
unis. Vln. II
Vla. unis. Vc.
Cb.
22
Vln. I p
unis.
div.
Vln. II p unis. Vla. p
Vc. p Cb.
25
Vln. I unis. Vln. II
Vla.
Vc.
Cb.
div.
unis.
48 28
Vln. I
div.
unis.
div.
unis.
div.
unis.
div.
unis.
div.
unis.
Vln. II
Vla.
Vc.
Cb.
31
C
(non div.)
Vln. I mp div.
unis.
div.
unis.
div.
Vln. II mp div. Vla. mp unis.
non div.
div.
Vc. mp
pizz.
Cb. p
34
(non div.)
Vln. I unis.
div.
unis.
div.
Vln. II
Vla.
Vc.
Cb. mf
p
49
37
(non div.)
Vln. I mf unis.
div.
Vln. II mf non div.
mf
Vla.
mf div.
unis.
mf
Vc.
mf
Cb. mf
D
39
div.
Vln. I mp
Vln. II mp
Vla. mp
Vc.
mp
mp Cb. mp
mp
50
41
Vln. I
Vln. II
Vla.
Vc.
Cb.
43
Vln. I
Vln. II
Vla.
unis. Vc.
Cb.
div.
51
Concertmaster Solo
45
Cm. mp
Vln. I floating
Vln. II
Vla.
unis.
div.
Vc.
on the string arco Cb. mp
47
E
Cm. mf unis.
div.
Vln. I mf
cresc.
poco
a unis.
div.
Vln. II mf
cresc.
poco
a
mf unis.
cresc.
poco
a
poco
a
poco
a
Vla.
Vc. mf
cresc.
Cb. mf
52
50
Cm. div.
unis.
unis.
Vln. I poco unis.
div.
Vln. II poco unis. Vla. poco unis.
div. Vc. poco
Cb. poco
F 53
Cm. f
3
3
3
3
Vln. I f 1 solo S. Vln. II f oating Vln. II f div. Vla. f div. Vc. f
Cb. f
53
56
Cm. 3
3
mf
Vln. I p 3
S. Vln. II 3
unis.
mf div.
unis.
unis.
Vln. II p unis.
div.
unis.
unis.
Vla. p
Vc. p Cb. p
G
59
Cm.
3
f
3
3
mf
3
f (non div.)
mp Vln. I
non div.
mp S. Vln. II 3
f
3
3
3
f
mf
div.
mf
Vln. II
div.
mf div.
unis.
div.
unis.
div.
Vla. mp unis.
div.
Vc. mp Cb.
54 62
col Vn. I
Cm. mf
p
(non div.)
Vln. I
S. Vln. II mf
p
p
f
Vln. II
mp
mf unis.
f
p
mp
unis.
div.
mf
div.
Vla.
Vc.
Cb.
65
cresc. Vln. I
(non div.)
cresc. unis.
Vln. II
f
p
f
p
unis.
mf unis.
mf div.
Vla. cresc.
Vc.
mf
f
p sub.
mf
f
p sub.
pizz. Cb. mp
mf
cresc.
mp
55 67
Vln. I
(cresc.)
mf
(cresc.)
mf div.
unis. div.
Vln. II
mp
f
f
unis.
mf
mp
mf div.
Vla.
Vc.
(cresc.)
mf
(cresc.)
mf
(cresc.)
mf
Cb. f
H 70
Vln. I
Vln. II
Vla.
Swaying
3 4
p
giocoso ma intimo
p
giocoso ma intimo
3 4
3 4 3 4
giocoso ma intimo
poco
(unis.)
p
Cb.
poco
3 4 p
Vc.
poco
giocoso ma intimo
poco
arco
p
oating
poco
56 73
Vln. I poco
Vln. II poco
Vla. poco Vc. poco Cb. poco
76
Vln. I (non div.) Vln. II
Vla.
Vc.
Cb.
79
Vln. I poco Vln. II poco
Vla. poco Vc. poco
Cb. poco
(div.)
57
I
82
Vln. I mp Vln. II mp unis. Vla. sub. mp Vc. sub. mp pizz. Cb. mp 85
Vln. I
Vln. II
Vla.
Vc.
Cb.
J
88
solo
Cm. mf
mf
Vln. I mf S. Vln. II mf Vln. II mf Vla. mf Vc. mf
Cb. mf
intenso
58 91
Cm.
Vln. I
S. Vln. II
Vln. II
Vla.
Vc.
Cb.
94
Cm.
Vln. I cresc.
S. Vln. II
Vln. II cresc.
Vla. cresc.
Vc. cresc.
Cb. cresc.
59
K Come Prima 97
(col Vln. I al ďŹ ne)
4 4
Cm. f
p
4 4
Vln. I
f
4 4
S. Vln. II f
p (non div.)
4 4
Vln. II
f
4 4
Vla.
div.
unis.
p sub.
f div.
unis.
4 4
Vc.
f
4 4
Cb.
f
100
Vln. I ff p sub. ff
p
unis.
div.
unis.
div.
unis.
div.
unis.
div.
unis.
Vln. II p sub.
Vla.
Vc. ff Cb.
60
L
103
non div.
mp
Vln. I
non div.
mp div.
mf
Vln. II
div.
mf div.
unis.
div.
unis.
div.
Vla. p
mp non div.
Vc. p
mp
Cb.
106
Vln. I
non div.
unis.
Vln. II
f
unis. Vla. div.
Cb.
mf unis.
f
Vc.
p
div.
p
mf div.
div.
f
f unis.
p
p
61 109
cresc. non div.
Vln. I
poco
unis. Vln. II mf
f
div. Vla. cresc. non div.
poco
a
cresc.
poco
a
Vc. non div.
mf
cresc.
arco Cb. mf
M 112
div.
Vln. I mf, p sub. div.
poco
unis.
Vln. II mf, p sub. unis. Vla.
Vc.
poco
mf, p sub.
poco
mf, p sub.
f, p sub.
Cb. f
mp
p
62 115
Vln. I div.
unis.
div.
unis.
Vln. II div.
unis.
div.
unis.
Vla. cresc. Vc.
Cb.
N 118
cresc.
Vln. I
div.
p cresc. div. a 3
div. Vln. II
cresc.
div. Vla. div. Vc. cresc. Cb. p
cresc.
121
Vln. I
ff
ff Vln. II
Vla.
Vc. f (cresc.) Cb. f (cresc.)
63
123
Vln. I
Vln. II (cresc.)
ff
Vla. f Vc. (cresc.)
ff *)
Cb. (cresc.)
ff
125
Vln. I
Vln. II
Vla.
Vc.
Cb.
Brooklyn, NY *) If low C is not available, then play the C up one ocatve.