Page 1

!!!!!!! ! !

!

!

AMERICAN!COMPOSERS!EDITION!

!

E LLIOTT! M ILES! M C K INLEY ! ! !

String!Quartet!No.!5 !

for!two!violins,!viola,!and!violoncello!

!

! ! !

2005! ! ! ! ! ! ! ! ! ! !

! ! American!Composers!Alliance!(BMI)! www.composers.com! info@composers.com!

!


FOR THE MARTIN女 QUARTET

STRING QUARTET NO. 5 for two violins, viola, and violoncello ELLIOTT MILES MCKINLEY 2005 PART ONE I. II. III. IV. V. VI.

Introduction Ragtime Slower, With A Half-Time Feel With Lightness Ritornello I Tango

p. 3 p. 7 p. 9 p. 11 p. 12

PART TWO VII. Still, With Great Breadth VIII. Chorale

p. 16 p. 17

PART THREE IX. With A Touch of Swagger X. Interruptions XI. Ritornello II XII. Conclusion

p. 20 p. 21 p. 25 p. 29

NOTE: ALL ACCIDENTALS HOLD THROUGH THE MEASURE AT THE OCTAVE OF OCCURANCE.

American Composers Alliance (BMI) www.composers.com info@composers.com

i


STRING QUARTET NO. 5 (2005): PROGRAM NOTES Inspired by the success of String Quartet No. 4, the Martinů String Quartet commissioned McKinley to write a new work. The result, String Quartet No. 5, was composed in late summer and early fall of 2005. The Martinů premiered the work on December 5, 2005 in Prague. The quartet as a whole is constructed in an asymmetrical arch form divided into three large sections— parts—and containing a total of twelve short movements. Similar to McKinley’s third quartet, each of the movements are played attacca, without pause. The climax of the entire work comes at the “Chorale” which is heard in Part Two which, despite not functioning as the exact quantitative center of the work, serves as the dramatic summit. Writing a string quartet by means of an arch medium is not an old approach as we hear this type of form used in Bartók’s great fourth quartet. However, perhaps the choice of such a form and the ideas inherent is more suggestive of an influence from McKinley’s former teacher, William Bolcom. A fan of smashing eclectic ideas into tasty combinations, Bolcom’s influence may be partially responsible for the quixotic nature of McKinley’s String Quartet No. 5. Considering its construct/deconstruct nature, many of the themes initially presented in prime form during the first half of the work reappear in varied forms throughout the work’s second half. In particular, the second movement of Part One presents the preliminary ragtime theme. This ragtime theme, distilled to a three-note motive and derived from the opening theme heard in the first violin, is employed in many forms throughout the entire work, and is embodied, if only subconsciously, on a cellular level within the remainder of the quartet. While McKinley doesn’t directly acknowledge influences in the work, he does admit that the ragtime itself is homage to his father; moreover, the development and frequency of the ragtime motive within Part Two of the work certainly suggests the possibility that String Quartet No. 5 is an autobiographical work. More than a simple smattering of father-son joys and sorrows, the quartet’s development can be categorized more broadly as the growing pains, conflicts, loves, and loses of a lifetime. Ultimately, after countless touching moments of exchange and development, McKinley’s propensity for rhythmic drive wins out in a final declamatory statement of defiance. - ANDREW MARTIN NOVEMBER, 2006. MINNEAPOLIS, MN

ii


for my friends, the Martinu String Quartet dedicated to my father

String Quartet No. 5 Elliott Miles McKinley (September-November, 2005)

PART ONE

I.

Introduction - steady (h = 52 - q = 104) Violin I

Violin II p

ppp

poco a poco cresc.

ppp

poco a poco cresc.

p

ppp

poco a poco cresc.

p

Viola

Violoncello

7

pizz. arco mp

13

(mf)

(mf)

(mf) Copyright Š 2005, Elliott Miles McKinley. All rights reserved.

f

mf


2 17

pizz.

f

pizz.

arco

5

pp

f

ppp

23

ff

poco a poco cresc.

ppp

poco a poco cresc.

ppp

poco a poco cresc.

arco (pizz.) sul pont.

ord.

pizz. arco

f

f

p

p

p

pizz.

29

ff

cresc.

cresc.

cresc.

arco

f

5


3 pizz.

34

arco

ff

f

f

f

39

pizz.

p

mp

pp

p

p

p

II. Ragtime - slightly slower

< q = q > 44

(q = 96 - 102)

arco

f

f

f

ppp

ppp

sfp pizz.

ppp

f


4 51

f

p

pizz.

57

mf

f

sfp

arco

mp

(f)

f pizz.

f

pp

f

pizz.

63

arco

fp

3

f

pizz.

f


5 arco

68

mf

f

arco f

sfp gliss.

p

3

f

loco

74 3

3 3

3

3

5

81

gliss.

mf

gliss.

f

fp arco

cresc.

(f)


6 87

gliss.

p

pp

(ff)

gliss.

p

(ff)

pp

p

pp

(ff)

pp

pizz.

mf

(ff)

(p)

sim.

92

pp

p

mf

(pp)

mf

p

p

pp

p arco gliss.

p legato

96

f

subito mp

f

poco cresc. pizz.

mp

pp pizz.

pp

mp

p

arco

f

p arco

mp


7 99

poco cresc.

f

f

mf

subito mp cresc.

mf pizz.

p

f pizz.

f

mp

f

mf

102 3 3

3

mp

3

f

f

f

p

arco

3

3

mp

3

f

III. 3

106

3

slower, with a half-time feeling 3

3

3

f

mp 3

3

3

mp

p gliss.

f


8 110 3

3

p

p

f

3

p

p

3

pizz.

arco

arco

s. glis

pizz.

114

p

ss. gli

mf

ff

p

3

3

arco

p

pizz.

arco

ff

mf

poco rit.

arco

p

ff pizz.

arco

3

p

f

p

ff

3

3

arco

pizz.

arco g

3

s. lis

mf

ff

p

3

3

f

p

meno mosso e poco rubato (q = 80 - 84) 118

p

f

p

f

pizz.

3 3

p

3

3 3

3

3

p

f

3

gliss. 3


9 sul pont.

sul pont.

122

(sul pont.)

mf

ff

sul pont.

sul pont.

(sul pont.)

mf

mp

arco

pizz.

sul G, D

g

ff

3

. 3

5

mp

f

pp

mp

p

sul pont. col legno batt.

mf

f

ord. arco p

f

f pizz.

mp

3

p

f

3 3

f

3

IV. with lightness (q = 92)

sff

f

ord. jete

sul pont.

ord.

pp

sff

arco

f

ff 3

3

3

3

3

3

3

ord. jete

129

3

5

accel.

f

mp

mp

ord. arco

sul pont. col legno batt.

126

5

p

5

pp

ff

arco

3

f

mp s lis

mp

p

f

3

p

f


10 135

3

3

p

pp

3

mp

p 3 3

mp

pp

3

f

3

3

p

3

mp

p pizz.

3

3 3

3

pi첫 f

loco 139

subito mp

f 3

5

3 3

5

3

ff

3

p

f

mp

3

f

p f

3

3

3

3

< q = q > 142

3

3

3

pizz. 3

3

p

pizz.

arco

f

p arco

ff

f

mp 3

3

arco

3

3

pp

arco

f

p 5

pizz.

3

3 3

3

f

ff


11

V. Ritornello I - subito tempo primo (h = 52 - q = 104) 146

sub. ppp

sub. ppp pizz.

pp

ff

p

f

arco

f

sub. ppp

151

poco a poco cresc.

poco a poco cresc. 3

3

p

f

p

poco a poco cresc.

155

f

p cresc.

f

p cresc. pizz.

arco

5

f

f

3

p

p cresc.


12 159

f

f 3

pizz.

3

arco

p

f

f

(f) 3

f

molto rit.

mf p < q = q >

163

poco a poco dim.

3

ppp

3

ppp

poco a poco dim.

3

ppp

poco a poco dim. pizz.

pp

f

VI. Tango - a bit slower (q = 92 - 96) 168

pp

sf pizz.

pp

pp

pp

f

sf pizz.

f

p

sf pizz.

arco pp

f

sf

pp arco

p

pizz.

f

f

p arco pp

pp arco p

mp


13 177

p

sf

pp

pizz.

arco p

f

mp

f

sul tasto

sf

p

pp

fp

pizz.

arco

pp

f

183

pp

f

p

f

f

sf

pp

pizz.

f

f

f

f

f

p ord.

pp

f pizz.

pp

f

pp

sf pizz.

arco p

f

f

f

189

p

sf

p

(pizz.) arco

f

pp

f

sf pizz.

arco pp

f

f

pp

pp

p arco

pizz.

p

mf


14 pizz.

195

pp

f pizz. arco

p

f

p

f

pizz.

arco pp

ff

mf

arco

p

(mf)

201 arco

f

mp

p

arco

arco pp

p

pp

arco

arco pp

pp pizz.

p

p

p

f

arco

pizz.

arco

pp

ff sul A

sf

p

p

sff

pp

208

p

mp cresc. cresc.

p cresc.

mp

mp

p p cresc.

p

p cresc.

(f)


15 sul pont.

216

ppp

(f)

sul pont.

3

f

fp

7

p

(f)

sub. ppp

(f)

sub. pp

pizz.

f

ff

< q = q > ord.

220

f sul pont.

ord.

sf

6

p

sff ord. pizz.

sul pont.

pp

ff ord.

sul pont.

sff pizz.

5

arco

pp

f

ff


16

PART TWO

VII.

with great breadth and motion 225

(h = 42, q = 84)

non vib.

pp

pp

ppp

arco non vib.

pizz.

pp

p

pp

(non vib.)

pp

ppp

pp

pp

(pp)

arco non vib.

(pizz.)

p

pp

229

(arco)

pizz.

ppp

sul pont.

sul A, E

ppp

pp

pizz. pp

pp

sul pont. p sul C, G

arco

pizz. pp

234

sul pont.

mp

ppp

ord. p

p

pp

ppp

pizz.

arco

pp

ppp

arco ppp

p

(ppp)

ord.

pp ord. pizz.

arco

pp

pp

ppp

ppp

(ppp)

ppp

(ppp)


17

VIII. Chorale poco rit.

239

arco (vib.)

pp

arco (vib.)

pizz. mp

pp

sul C, G

(vib.)

pp

poco rubato

244

pp

250

a tempo

pp

cresc.

pp

cresc.

arco

pp

cresc.

pp

cresc.


18 255

f

ff

ff

poco a poco cresc.

f 3

3

f

ff

f

ff

poco rubato 260

pp

3

mf

3

3

mf (non dim.)

pp

3

pp

mf

pp

mf

3

a tempo 265

allarg.

sul G

pp

a tempo

f

mf

pp

pp

pp

f

mf

(mf)

mf

(mf)


19 269

ff

3

3

ff

3

3

ff

f

ff

ff

f

ff

3

allargrando

273

a tempo 3

3

mp

ppp

pp

cresc. non vib.

3

mp

pp non vib. 3

pp

p

non vib.

3

277

3

pp

p

3

3

3

(p) 3

3

3

p

ppp

ppp

(ppp)

ppp

(ppp)

3

3

3


20

PART THREE

IX. with a touch of swagger 281

3

3

3

pp 3

pp

288

pizz.

mf

mp

296

(q. = 69)

pizz.

mf pizz.

mp

mf


21 303

non rit.

< e = e >

309

mf

f

f

mf arco

f

f pizz.

ff

X. 315

energetic arco pp arco pp pizz.

pp

f

p

p f


22 319

f

f < e = e > 325

gliss.

pp

mf

3 3 3

p

mf

f arco

3

p arco

p

3

< e = e > 330

< e = e >

gliss.

f

pp

f

pizz.

3

f pizz.

f

pp


23 more relaxed

a light swing feel

335

3

3

p

pp

f

sfp arco

f

mp < e = e >

again, steady (nont swung)

339

subito pp

f

pizz.

arco

(f)

pp pizz.

p

342

f

f

f


24 346

p

f

ff

(f) < e = e > 349

pp

f

pp arco

3

3 3

p

arco

3

p < e = e > 353

pp

pp pizz.

3 3

ff pizz.

ff

3


25 < e = e > 357

(loco)

XI. Ritornello II 361

pizz.

f 3

3

3

p

3

3

3

f

pizz.

f pizz.

arco

gliss.

ff

f

flessible 363

pizz.

pi첫 f

p

3


26 365

arco

p

arco

f

3

3

con fuoco

3

(f)

3

3

3

pizz.

3

ff 367

f 6

6

6

6

pp 3

3

3

3

3

6

pp

6

6

6

3

arco

sfp

369

6

6

ppp 6

6

6

6

6

6

6

6

6

6

6

6

6

6

3

f

p

6

6


27 371

6

6

6

6

6

6

6

6

pp 6

gliss.

ppp

6

poco a poco cresc.

6

6

6

6

6

6

6

f

373

6

6

6

6

6

6

6

6

poco f

6

375

6

6

6

6

6

6

6

6

pizz.

6

6

6

6

6

6

6

6

arco p

ff

6

6

6

6

6

6

6


28 377

6

6

6

6

6

6

6

6

f

6

6

6

6

6

6

6

6

3

gliss.

f

379

6

6

6

pizz

6

6

6

6

arco

5

(f)

6

6

6

6

6

ff poco a poco dim.

6

6

6

6

mp

381

6

6

6

6

6

6

6

6

p

6

f

6

6

6

6

6

6

6


29 6

383

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

sul G

< q = q > 385

sff

p

f con sord.

ff

pp

arco

6

6

6

6

con sord.

ff arco con sord.

ff

XII. Conclusion 389

pp

pp

pp


30 393

con sord. p

3

3

397

3

pp

mf

pp

mf

401

3

p

pp

pp

5

3

3


31 405

3

3

3

5

mp

409

pizz.

arco

ff

sub. p

pp

p

p

413

3

pp

mp

3

p

p

p

p


32 417

pp

pp sul A

pp sul D

pp

(ord.)

421

sul pont.

pp dim al niente

p

425

(niente)

Fine November 17, 2005 Minneapolis, MN


$40.00 (score and parts)

Profile for Swirly Music

Elliott Miles McKinley: String Quartet No. 5  

Available from www.SwirlyMusic.org

Elliott Miles McKinley: String Quartet No. 5  

Available from www.SwirlyMusic.org