CAN I BREATHE? for string quartet
YIFAN GUO
for Quatuor Diotima
Yifan Guo: Can I Breathe? (for string quartet, 2020) In my comprehension to this world, everyone, every group of people, every race, even every country is an independent and unique gearwheel in a giant machine. We have different gifts and duties for serving the prosperity, stability and balance to this world. Others influence me in various ways every day, and vice versa. If there’s a gearwheel unduly interferes with other gearwheels’ gifts and duties, it definitely will be one of the reasons for chaos. However, not everyone can keep his nose clean and truly respect other’s talents and responsibilities. Those innocent people who had their throats choked by this enormous political struggle couldn't breathe just like George Floyd when he was under the police officer's knee. The genuine respect and equality are not superficially special treatment, but understanding others by heart and treating others as usual (like treating oneself). In front of the political battle, although the small gearwheels are so weak as an ant who is struggling in the crevice, they should live wonderfully. At the technical level, I was discovering the relationship between time and event. Through the same events that are presenting with different timing or the equal time value that is filling in various activities, they show the multi-dimensional perception of human to time. Moreover, by asking performers to control their own breath, feel the heartbeat, and play back and forth precisely between synchronous and asynchronous passages, to make the performers can fully listen to each other and participate in the music interpretation in multi-aspect instead of mechanically playing the notes on the score. Because for me, performers are not only the bridge between composer and audience, but they also even can show their more stereoscopic status to the audience and have more connections with each other performers psychologically and physically when they're performing this piece. Can I Breathe? was written for Quatuor Diotima, who gave its premiere remotely at the Ticino Musica Festival (Switzerland) on July 30th, 2020 during the COVID-19 pandemic.
Yifan Guo 06/15/2020 Boston, USA
Performance Notes Bowing:
General: 10"
The timings are approximate and don't require exact accuracy.
msp. sp.
sul ponticello
po.
posizione ordinaria (ordinary position)
irregular rhythm
as fast as possible
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ or
or
or
st.
transform very gradually from one repeated passage to another as high as possible
= 100
= 100
individual time signature or tempo (vc. only)
sul tasto
mst.
molto sul tasto
clb.
col legno battuto
clt.
col legno tratto
ord.
arco ordinary (cancellation of clb. and clt.)
global time signature or tempo
5 incomplete tuplet
/
molto sul ponticello
flaut.
flautando
norm.
normal pressure (cancellation of flaut.)
time signature for incomplete bar (2 eighths + 3 fifths of a quintuplet)
fast circular bowing
"sf " relative intensity (play in the general dynamic context)
fi
vertical bowing (with the strings muted by left palm)
...
Jeté
fi
Mute the strings with left palm and throw the woodside of the bow to the indicated string(s) then shift the bouncing bow vertically as the indicated direction.
When playing long sustained tones the bow changes should always be made imperceptibly and independently of the other player.
...
duration: 7’30”
r
¯ ¿
subharmonic (decrease the bow speed and increase the bow pressure simultaneously only to obtain a lower pitch. Eliminate the noisy sound as much as possible. The subharmonic pitch doesn’t have to be specific and can be any pitch below the fingered pitch.)
r
gradually change from normal pitch to subharmonic
¯
gradually change from subharmonic to normal pitch
V
draw the bow extremely slow and increase extreme bow pressure to make the “crackle” sound “crackle” sound indication (page 10 of the score)
Left-hand fingering:
fi Ÿ~~~ fi
II III §[[[[[[[[[[[[[[[[ «
mf
O
mute the string(s) with palm on the indicated place irregular trill with multiple fingers in the mute position
The thick wave shape indicates the range of the mute trill.
harmonic pressure (even if there is no harmonic at the fingered place) half harmonic pressure (multiphonic)
±
or
±~~~~~~~~~ j P ¿ ¿¿ ¿
3
5
Various repeat signs are found throughout the piece, in some cases with nested repeat brackets. Changes in dynamics apply only to individual sections. The dynamics reset each time on the repeat. Roman numerals in boxes show the repeat section. The number of repeats given indicate the total number of repetitions. The repetition examples are as follows:
Normal repeat:
™™
™™
10x
Strike the string to the fingerboard with a finger during the bowing motion. Use left hand fingers (or palm) to strike the middle of strings on the fingerboard to create percussive sound.
Other:
f f f f f f f
Repetition signs:
Mute the string with left-hand and raise the instrument to the face, blow to the left “f-hole” then slightly rotate the instrument clockwise to make the air passing through the strings then going into the right “f-hole,” and go the other way around. The rhythm of air passing through the strings as shown.
Pingpong repeat: The pingpong repeat shows as a nested repeat bracket sign with arcs. The method of playing this repeat is to play the entire passage from left to right first, once you meet the second I , play backward (reversely) to the first I , then play forward to the second II , then play backward to the first II , and so on so forth. During the backward playing, every musical parameter should be reversed. For example, crescendo should be performed as diminuendo in backward playing.
° ° ü ° ° ü ü í¢™™ í¢™™ í¢™™ í¢™™ ° í¢™™ ™™îü† ™™î† ™™î† ™™î† I
II
III
IV
IV
V
V
III
II
I
ü
™™î†
Pingpong repeat example:
° I
°
° í ™™ í ™™ œ ¢œ ¢œ
í¢™™ œ
pp
II
III
III
pp
IV
œ
œ œ œœœœ œ œ œ œ œ
ü
I
ü
ü œ™ œ œ œ ™ œ ° ü œ œ ™ ™ œ í î ™† ™î† ™î† œ ¢™ œ
II
IV
5
œœœœ œ œ œ œ œ œ 5
ff
5
œœœ œ œ œœ
ff
œ œ œœœœ œ œ œ œ œ
pp
œ œœœ R œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œ œ œ œ
f
5
p
f
p
mf
mp
for Quatuor Diotima
Can I Breathe? for string quartet
Yifan Guo
* Violin I
* Violin II
Viola
Violoncello
*
*
* Each repeat should be slightly faster than the previous one, the tempo at the last repeat should equal to the beginning of rehearsal A. Move to the next passage right away and independently after finishing the repetition. Š Yifan Guo 2020
2
A
Vln. I
! op. B
q = 66
& í ™™ µ
#˜n
norm. sp.
" sf "
>norm. 1 & í ™™
q = 74
Vln. II
arco
q = 76 norm.
Vla.
II III
!™ norm. ? í ™™ ¿¿ ¿¿ P " sf " RÔ
q
q.
pp
! ,
œ
" sf "
p
Vln. I
+
&
Vla.
Vc.
?
™™î
po.
™™ II III
o
" sf "
™™ Kr µœ
I II
pizz. III p
™™ ‰
®
arco
#œ
5
O1 ™™
p
J Œ
3x.
x. 5
≈™ 5
j P ¿¿ Œ ¿¿ mp
O œ
™™ ™™ ™™
pp mst. II III
o
pizz.
j µœ ‰
sf
poco accel.
f
1™
po.
" sf "
≈™ 5
≈™ 5
®
p
5
j P ¿¿ Œ ¿¿
> æJ
mp
* In Rehearsal B, the total time value of each measure is the same. Time signatures only change the beat proportion.
™™î
™™î
œ x3
poco
1
J ™™î
B œ x3
sf
œ
o
≈™
‰ clb. mst.
5
st.
II III ....................
J
p (non dim.)
≈™ 5
sf
ææJ
j P ¿¿ Œ ¿¿
mp
> æJ
æ
mp
ææj
œ
≈™ o5 ‘
™
œ
1 ™ J ææJ
Bœ
(mf)
4
‘ mst.
op.
II III
‘ Œ
œ
(mf)
‘
‘
+
sf
sf
poco
‘
1™ ææJ
1
poco
#œ
1+3 5/ 3 8 8
(mf)
™
œ x3
sf
™ æJ
sf
poco
poco
O œ
arco II flaut. III
æ
™™î
#œ x3
Bœ
sf
3 3 8+161 ™
1
sf
poco
o
O1 ™™
Œ
œ
#œ
5 poco mp
5
1
poco
1 ‰ ‰ í ™™
(vln. II cues the next bar)
x7 -. - - -. -. -. ™™ µ-. n # . ˜-. n . B
o
5 poco mp
5
II
B
B
™™ µ . # ˜ . n (po.)
pp mst.
Vln. II
f
cresc.
œ
sf
1 ‰ í ™™
poco accel.
p cresc.
1+3 5/ 3 B * 8 8 - -. -. - -. -. -. -. 1 ™
&
™™î
più f
(vln. II cues the next bar)
BI
q = 83
Vc.
™™î
1 sf
poco
1 ‰ ‰ ‰ í ™™
x1 0-1 5
cresc.
" sf "
1> > œ
™™îÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍí ™™
I II
#œ
f sf
x1 5-20
p
pizz.
poco accel.
q = 86
>-œ
mp
» B í ™™ Kr µœ
™™î bœ - cresc. p #œ
5 poco
5
pp
1 í ™™
q = 86
(vln. II cues the next bar)
Ϊ
o I > II ææJ mp
" sf " œ
≈™ o5 ‘
®
O1 ™™ >
ææ Oœ
5
mp
Ϊ
+
1+4 5/ 2+4 5/ 8 -8-
- -. 1 .µ n . # . ˜-. n-. -. . B-. n
B6
Vln. I
Vln. II
Vla.
Vc.
&
‘ approximate intonation, separated bow flaut. œ œ œ œ œ
≈
& approximate intonation, separated bow * œ bœ œ œ
B ≈
œ œ
* #œ
pp
‰
pp
pp
p
?
I II
‘
mp
-. -. n-. 1 . . . . B .n . &µ # ˜ n
+
Vln. I
Vla.
5
5
5
Vln. II
J
nœ œ œ œ #œ #œ #œ & #œ
nœ œ bœ œ bœ œ µ œ # œ ˜ œ œ µœ #œ p
B nœ
&
œ nœ œ b œ bœ bœ œ œ bœ bœ nœ
5
Vc.
?
J
sempre
‰ 5
Pj ¿¿ ¿¿
mp
2 2+83 5/ 8 - -. -. - -. -. -. -. n-. -. 1 B
µ. n # ˜. n 5
˜
‰
* follow vln. I & vc. to find the downbeat and "upbeat" of each measure
‰
5
J
p (non dim.)
™ R 5
5
Œ
˜œ nœ µœ œ
(mp)
sf
#œ
sf
Pj ¿¿ ¿¿
mf f
Pj ¿¿ ¿¿
‰ 5
‰
‰
5
mp
5
f
5
≈™
5
nœ œ œ nœ #œ
µœ œ œ Bœ
5
™ R
mp
norm. sp. asynchronous with vla.
p cresc. poco norm. sp. asynchronous with vln. II
nœ œ nœ
œ œ
p cresc. poco
sf
sp. st. ...............................................
mp
-. -. n-. ˜-. 1 . . . . n B µ. n # ˜. n
nœ bœ nœ bœ Bbœ œ Bœ nœ Bœ
p
st.
5
mf
(mp)
II III ........................
‰
nœ œ œ
œ œ œ #œ Bœ nœ Bœ #œ &
mst.
‰
#œ œ œ œ #œ
‰
(mp)
p
(mp) mst. .....................st.
#œ
p
‰
sf (non dim.)
B9
œ nœ œ œ
#œ
5
5
‰
Pj ¿¿ ¿¿
J
mf
bœ œ œ œ œ œ
po. ........................
J
nœ #œ œ œ #œ œ pp
≈™
œ œ
≈
- -. 1 .µ n-. #-. ˜-. n-. -. . B-. n
o sempre5
5
5 poco mp
5
œ #œ
mp
(p)
J
#œ
3
‰ ≈™ 5
po. mst. ................................................
(f)
Pj ¿¿ ¿¿
mp
‰
≈™ 5
#œ
4
1 >. n>. #>. ˜>. n>. >. n>. B>. n>. ˜>. µ &
™ R
B12
Vln. I
5
p
Vln. II
Vla.
Vc.
5
& B
œ
œ
œ
œ
œ nœ
œ
po. mst. .....................................................
5
mf
°
p
Pj ¿ ® ¿¿ 5 ¿
C Vln. I
&
5
mp
°
“” í¢™™ n n
B
po.
œ
‰
sf
nœ
sf sp.
œ œ
œ œ œ œ
p
Pj ¿ ® ¿¿ 5 ¿
po. mst. .....................................................
5
f
p
‰
≈ 5
ff
III
IV
IV
V
5
5
5
5
mp
III
5
5
5
ff
V
5
mf
I
III
5
5
IV
5
5
5
ff
5
mf
ü ° œ n œ b œ n œ b œ œ œ n œ ün œ b œ œ n œ # œ ° ü nœ b œ bœ œ nœ œ * ™™îü& ™™î ™î #œ #œ nœ í¢™™ œ µœ #œ˜œnœ í¢™™µœ#œ ˜œ œ œ#œ œ #œ œ œ nœ ° í¢™™ ™™î† † † œn œ ™ † synchronous with vln. II
mp
II
5
IV
5
p
I
II
III
j P mst. po. ................................................. ¿ ? ® ¿¿ J ¿ 5 ff
œ œ œ œ œ
œ
II
II
° rhythmically
5
f
p
œ
#œ
ü ° ü ° n B b Bb ü : ” ; “ n # n B B b °Bb n B b Bb n n b n ü b n n # n ° ™ ™™îü n ™™î n b b n ™™î í¢™™ í¢™™ í¢™™ ¢í ™ † † †
n n # # #
n #
IV
5
œ
œ œ µœ
5
5
R
I
III
I
Vc.
ff
5
nœ
≈
II start with vc., then rhythmically be synchronous with vln. II & vla. approximate intonation
II
mp
Vla.
5
œ
ü ° # œ # œ n œ b œ ün œ # œ œ œ n œ üb œ n œ ° n œ bœ b œ nœ b œ nœ po. * ™™î ™™îü í¢™™ í¢™™#œ œ#œ œnœ #œ#œnœ ° í¢™™ ™™î† ™™î† & ≈ í¢™™ œ † † œ œ µ œ œ µ œ # œ ˜ œ œ #œ I
Vln. II
5
5
#œ*
R
‰
f
I
U1 > . > . > > . . > > > b > > . n˜ >. > . µ. n #. ˜. n. n B
nœ œ œ
1 >. > > >. >. >. >. >. b>. µ>. n # . ˜>. n . n B n ˜ mp
B nœ
f sub.
≈™
‰
5
mf
µœ µ œ nœ
œ
#œ
R
œ
mp
Pj ¿¿ ¿¿
5
5
f sub.
œ
p mf
(mp)
5
p
œ
mp
œ œ bœ Bbœ
po. mst. .....................................................
?
nœ œ µœ
œ œ
&
1 . > > >. >. >. >. >. b>. µ>. n # . ˜>. n . n B n ˜
5
mf
#œ œ #œ
#œ
+
2+1 5/ 2+2 5/ 8 8 >
ff
5
U ‰
IV
5
® 2+81 5/ 5
III
5
with vln. I po.
j
IV
............................ ff sempre
* Move to the next passage right away and independently after finishing the repetition. ** The total time value of this 2/4 bar should be the same from each measure in rehearsal B.
5
ff
j P ¿ ® 42 í ™™¿¿ ¿ 5
5
5
q ≈ 74 **
‰
po.
P
™™îÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 28 í ™™ ¿¿ ¿
x1 0-1 5
.......................
mf
j
¿ ..................................
≈ ™™îÍÍÍÍÍÍÍÍ x6-1 0
& í ™™
C2
Vln. I
Vln. II
D q = 92
“” b n fff
™™î
5
5+1 8
(vc. cues the next bar)
#>œ œ œ œ œ œ œ œ B-œJ J p sub.
#œ #œ œ n œ b œ (vc. cues the next bar) ™™î & í ™™ fff
precise intonation rhythm tutti sp. 3
precise intonation rhythm tutti sp. 3
j j Bœ µœ œ œ œ µœ œ œ nœ>
5
p sub.
2 4
Bœ nœ œ œ œ œ œ 7
2 3 /
2
po.
œ >œ
sff
µœ œ œ œ œ Bœ œ 7
Vla.
œ œ ™™î (vc. cues the next bar) & í ™™ nœ nœ sp. P ¿
q = 92
? ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ í ™™ ¿
j
D5
Vln. I
Vln. II
Vla.
&
& B
+
¿ ¿ .................
1 4 5 4 2/ µœ mf
Vc.
≈ ™™î
œ œ #œ œ œ œ
3
p
5
Bœ œ œ œ œ œ œ mf
sp.
5
p
sp.
p
5
sp.
bœ œ œ œ œ œ œ mf
3
p
+
2 83
2 3 /
#>œœ
po.
sff
5
B
> œœ BBœœ ™™ > 3
BB>œœ BbBœœ n>œœ ™™ > 3
> > BbBœœ BBœœ nœœ ™™ >3 po.
sff
po. > > b b œœ bbœœ Bµœœ ™™ >3 sff
œ œ bœ bœ œ œ Bœ
#>œ œ œ nœ œ œ œ #œ B-œ J J
7
3 4
p
Bµœœ. œ œ œ œ Bœ œ œ > p sub. 3 sp.
5
Bœ œ œ BBœœ. œ œ œ œ > p sub. sp.
sp.
5
5
3
3
bbœœ. œ œ nœ œ œ œ œ > p sub. sp.
5
3
rhythm tutti sp.
ord. po.
(ff)
po.
sff
œ Bœ œ œ œ œ œ 3
j P ¿ 3 8 ¿¿ ¿
x8-1 6
sp.
3
mf
B
p sub.
5
fff
Vc.
B
>œ œ œ œ œ œ #œ œ µœJ J
3
nœœ. œ œ nœ œ œ œ œ > p sub.
+
3
3 4 5 8 4/ - Bœ œ œ
bœ œ œ œ œ œ œ 7
BbB>œœ BbBœœ >
nœ œ œ œ œ œ #œ
b>œœ bbœœ >
œ œ œ œ œ œ 5
b-œ œ œ œ œ œ œ Bœ œ 5
µ-œ œ œ œ œ œ œ œ œ 5
B-œ œ œ œ œ œ œ œ œ 5
b>œœ
op.
3
po.
#œœ >
sff
1 4
3
po.
sff
7
3
po.
sff
precise intonation rhythm tutti sp.
œ >œ
5 8
9 16 bb>œœ œ
#œœ >3
œ œ œ
1 4 5 2/ 4 >. #œ œ œ œ œ œ œ µ-œ ™
#œœ
sp.
#>œœ
sff op. Bµ>œœ
p sub.
>. sp. Bœ œ œ œ œ œ -œ™ B B œœ œ J 5
p sub.
>. sp. BBœœ œ œ Bœ œ œ œ œ œ™ J 5
p sub.
>. sp. bœœ œ œ œ bœ œ œ œ BœJ ™ 5
p sub.
œ œ œ œ
op.
sff
3 8
µœ œ œ -œ J
sp.
3
p
nœœ œ œ #œ œ œ œ œ œ >
#œ Bœ œ œJ
n>œœ œ œ œ œ œ œ #œ œ
#œ œ ˜œ -œ J
3
b>œœ œ œ œ œ œ œ œ œ
sp.
p
sp.
3
sff
BbB>œœ
J
5
sff op.
+
5
p
œ œ œ µ-œJ
sp.
3
p
6 7 /
2
6
D12
Vln. I
Vln. II
Vla.
Vc.
&
6 7 /
2
µœ œ œ œ #œ œ 7
Bœ œ œ œ œ œ
&
7
œœœ œ œœ
B
7
#œ œ œ #œ œ œ
B
2 3 /
2 #>œœ
op.
#>œœ
sff
Vln. I
Vln. II
Vla.
Vc.
&
&
&
&
œœ #œ œ œœ Bœ œ
molto
7
sff
p
b>œœ
ff sempre
µœ œ œ œ n œ œ œ œ
ff sempre
bœœ. > #œ œ œ œ œ œ œ µœ
molto
sp.
>œ œ
œœ œ œ
3
molto
œœ
7
p
µœ
nœ J ‰ 3
>. BB œœ J ‰
œ˜œ œ œ 5
3
3
œ œ œ œ œ œ µœ 5
3
µœ œ œ œ œ #œ 5
3
sff p sub.
b >œœ ™™ op.
&
> sp. µµœœ. œ œ œ œ œ œ#œ œ &
#>œ µœ
sffp
sff p sub.
6 3+1 3/ >. 4 # œ œ œ œ œ œ œ œ œ 16 J
µ >œ. µœ œ œ œ œ œ œ œ J
b>œœ. ‰ J
Bœ. µœ œ œ œ œ œ œ µœ > J
j œœ. ‰ >
3 5 3 œ. #œ œ œ œ œ œ #œ œj >
3
3
5
poco
>œ ˜ œ
3
3
2 3 4/ >œ.
bœ J ‰ 3
>œ œ œ
3
3
5
3
3
3
5
poco
>. BBb œœ J ‰ 3
µ>œ œ œ nœ µ>œ
7
sff
sffp
sffp
5
op. µB>œœ µœ n#>œœ Bµ>œœ µ >œ 7
5
op. > µ>œ n#œœ #œœ µ œ > 7
sff
molto
sffp
sff
molto
4 b>œ 4
7
nœœ >
sffp
œ œ œ œ œ œ œ œ Bœ œ œ œ #œ œ œ
sp.
5
p sub.
5
3
3
B>œ Bsp.œ œ œ œ œ œ œ b œ œ œ œ œ œ B œ œ 5
p sub.
5
3
3
>. BBbœœ ‰ J
sp. Bb>œ Bœ œ œ œ œ œ œ œ œ nœ œ nœ œ œ œ
b>œœ. ‰ J
sp. n>œ œ œ œ œ œ œ œ œ œ Bœ œ œ œ œ µœ
3
3
9 16
op. > b >œœ bn>œœ µ˜ œœ ##>œœ
molto
b œœ. œ œ œ œ œBœ œ µœ > p sub.
> >œœ Bµ œœ b >œœ
sff
5
µ>œ œ
sff
5
op.
>œ˜œ
3
5
+
2 41 b>œœ
3 7 /
molto
poco
sp.
sffp
5
poco
œœœ BBœœ. œ œ œ œ œ > 3 5
>œœ™™
2 3 4/ #>œ.
3
5
+
3 3 5 16 4/ µ>œ œ
sp.
sffp
5 molto
sp.
sff p sub.
op.
poco
3
5
5 molto
µœ œ œ œ œ œ œ œ œ
5
#œœ œ œ œ œ µœ œ µœ œ
op. µ˜>œœ ™™
œ œ bœ
poco
3+2 3/ 4 >.
sffp
molto
œ œ œ Bœ œ œ œ œ œ
3 1 4+8 ˜ œ œ œ œ œ
>œœ™™
op.
5
poco
7
3 8
molto
Bœ œ œ œ œ œ ˜œ œ œ
p sp.
3
#œ œ µœ œ œ œ œ
1 4 œœ
poco
œœ œ œ
op.
9 16
7
p
>œœ > bœœ
œœœœœœ œœ
ff sempre
sp.
sp.
op.
ff sempre
>. BbBœœ
molto
sff
>. n# œœ n œ œ œ œ œ œ ˜ œ œ n>œœ.
3
>œœ BBœœ >3
7
9 16
2
op.
sff
D21
3 7 /
5
p sub.
5
p sub.
5
5
3
3
3
3
3+2 5/ 4
7
D28
Vln. I
3+2 5/ 4 #œ
&
œ œ ˜ œ œ œ œ >œ œ œ œ œ œ œ op.
œ œ œ œbœ œ œ œ œ œ
5
5
(mp)
6 8
3
Vla.
&
(mp)
œ µœ œ œ œ œ œ >œ œ œ œ œ œ œ op.
&
5
5
(mp)
Vc.
5
5
7" 4"
U ∑
D31
Vln. II
Vla.
Vc.
&
7
3
3
3
3
3
4E q = 60 4 Œ
≈
&
U ∑
-œ œ- B -œ
sp. sempre non vib.
3
4"
Kœ
* the beating occurring between vln. I and vla. = x, when q = 60
5
∑
o
ffff
4"
ffff
œ
œ
non vib.
ffff
norm. B-œ ™ n-œ n-œ J
Ϫ
5
-œ Bb-œ 5
p 3
4"
5
3
sempre non vib. ˜ -œ B -œ # -œ -œ -œ #œ- -œ J
U ∑
** the beating occurring between vc. and vla. = y, when q = 60
#-œ J
µ-œ b œ-
-œ œ- b -œ J ‰ J
Kœ
“œ”
ffff
7
st. sempre non vib.
p
-1 0hz **
Œ
7
3
5
œ
3"
-4hz *
nnon vib. œ nœ
3
3
5"
slightly heavier bow pressure
nœ
œ œ œ nœ œ œ œ œ œ œ œ#œ
4"
&
ffff
7
p
U ∑
&
3
µœ œ œ œ œ œ µœ œBœ
5
5
(mp)
Vln. I
3
op. µœ œ œ œ œ œ #œ >œ œ œ œ œ œ œ
&
nœ
œ œ œBœ œ œBœ œ œ œ µœ
B œ n œ œ œ œ œ œ >œ œ œ œ œ œ œ op.
Vln. II
3
12"
non vib.
3
#-œ ™
3
B-œ
œ
3
-œ J
œ
J
flaut.
3
œ
pp
#-œ
µ-œ ™
norm.
5
∑
µ-œ ™ -œ
-œ
norm.
j Bœ-
5
mp
norm.
œ
∑
-œ b-œ
3
-œ™ œ- œ5
flaut.
pp
∑
-œ
norm.
pp
norm.
J
flaut.
∑
œ-
J œ
mp
3
8
-œ Bœ-
E6
Vln. I
Vln. II
Vla.
Vc.
&
&
µ-œ
œ-
5
-œ 3
p
-œ
&
J œ 3
p
-œ
p
-œ
J
" "
p
± flaut. œ± ± ± ± ± ± ± ± ± # œ
3
mp *
œ ‰™ R
˙œ
E12
‰
Vla.
norm.
œ- ™
‰ ≈ o o5 œ J ‰ o3
mp
Ó
-œ
Bœ œ ±±±±±±±±±±±± ±±±±
pp *
pp *
œ R
B ˙œ II
±± ± ± ± ± ± ± ± ± ± ± p
ppp
6
* sightly louder than vc.
6
‰™
5
ppp
œ ±±±±±±±±
œ
œj Œ
pp
3
-œ b -œ ™ µnorm. J o
flaut.
b -œ b œ- ™ J
œ
flaut.
5
œ
ppp
B œ-
n -œ
œ
ppp
œ-
pp
flaut.
5
pp
œ
ppp
∑
J
flaut.
norm.
&
µ -œ
5
-œ ˜ -œ ™
ppp
œ
3
R
-œ
∑
flaut.
pp *
&
o
norm.
œ œ ±±±±±±±±±±±±±±±±
&
(clt.)
Vc.
Œ
‰ o
mp
> ˙ J
# œJ
∑
œ
∑
B
o
norm. Vln. II
3
-œ
norm.
J
" "
p
œ J
±± ±6 ± ± ± ± ± ±6 ± ± ±mp
R
mp
norm.
#-œ
Ϫ
µ >œ
± ± flaut. nœ ™ œ± ± ± ± ± ± ± ±
clt.
& Œ
5
p
mp *
œ
" "
norm.
5
p
Vln. I
mp *
µœ- ™
b-œ J
>œ
flaut. ± ± ± ± ± nœ ± ± ± ± ± nœ norm.
‰ o
± ± ± ± ± ± flaut. œ
J
ppp
∑
3
J œ
Bœ- ™
norm.
5
3
œ
cresc. poco a poco
poco
5
-œ
5
B-œ
œ-
µ-œ
µ-œ
-Ϫ
poco
µœ-
-œ ™ -œ
3
œ-
µ-œ R
J
n-œ ™
-œ
5
3
-œ bœpoco
3
B-œ
j3
-œ
norm.
3
œ-
cresc. poco a poco
-œ b-œ J R 5
∑
-œ cresc. poco a poco
∑
j nœ
9
E16
Vln. I
&
-
™
& j & ™
norm.
Vla.
Vc.
-œ
po.
- #-œ
œ
œ± ± ± ± ± ± ± ± ± ± œ
-œ œ
<> mp
3
Vln. II
-œ
-
rit.
(sp.)
J
3
-
5
5
3
-™
B
J
3
5
œ-
5
-™
3
™
&
œ± ± ± ± ± ± ± ± ± ± œ ™
Bœ-
<> mp
III
#œ
˙œ
± ± ±6 ± ± ± ± ± ±6 ± ± ±
™ œ œ -
<> mp -
µ-œ
5
<> p
-œ œ
<> mp
(clt.)
∑
œ œ± ± ± ± ± ± ± ± ± ± œ
po.
œ
œ
<> mp -
# -œ
(st.)
-œ J J
™ b-œ œ œ ™
<> non dim.! p
œ
œ
<>
œ
œ œ Œ o
non dim.!
p
™ µœ œ œ™ -
œ- œ
<> mp -
p <>
mp
F
Vln. I
(rit.)
& bœ- œ ˙ ™
E21
<> p -
Vln. II
œ œ œ Œ o
œ<> Bœ-
& œ œ <>
Bœ-
p -
9
œ
œ ± ± ± ± ±poco± ± ± ±
pp
& µœ œ <> p -
Vla.
non dim.!
œ
po.
<> pp
<> pp
po.
œ ± ± ± ± ± ± ± ± ± ± ± ± poco
œ
7
œ
&
œ- œ <> p -
œ-
<> pp
œ
7
œ ± ± ± ± ± ± ± ± ± ± ± ± ± ± poco II
Vc.
po.
6
po. 6
6
œ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± poco
œ œ Bœ Œ o
œ œ ‰ ‰™ µœr œ œ ™ o <>
œ
<> non dim.! mp -
ord. ˜-œ
˙
7 4
q = 45 st. non vib.
#Bœœ
ppp sempre st. non vib.
µbœœ
ppp sempre st. non vib.
µ œœ
ppp sempre st. non vib.
˜ œœ
ppp sempre
4 4
10
F2
Vln. I
Vln. II
Vla.
Vc.
&
Vln. II
Vla.
r
hold the breath
™™ j
3
&
°
° ™™
™™
r
™™ ™™
3
j
°™ ™ III
™™ ¯
&
&
¢ ™™
¢™™ r
&
&
&
5
r
r
™™
™™** ¢™™
**
¿
¯
¯ 5
< V> #œ ∑
∑
∑
∑
∑
∑
r
1 R ‰™ Œ
pizz.
p
B
M
pp
M
Vc.
&
∑
∑
∑
∑
√ Œ o √
M M
stop the bow on the strings
∑
stop the bow on the strings
∑
stop the bow on the strings
∑
" sf "
4 5 / +1
2
5
f f f f f j f f f 3
p
f fpp f
Œ
R
M
‰™
5
Œ
" sf "
IV √ ˜˙ Bœ ‰™ R ±pp~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
* Vln. I should concentrate to feel his/her heartbeat. ** Repeat this passage until vln. I can't breathe, then continue to the next passage. *** Repeat this measure until vln. II can't breathe. Each $ becomes longer, the last time should be in 2.5".
#œ
" sf "
clt.
?
V
(IV)
" sf "
™™
O œ
II
#III
™™
pp
O!
3 4
free to breath
(ppp)
√ Œ
" sf "
o
11 4
™™ †
(IV)
∑
∑
o
™™ †
™™
1 J ‰
r j ™™ ™™
ü
q = violin I's heartbeat
G
™™
III
3
¿
I
II
™™**
™™
3 4
ü ™™ ü
r
* **
II
™™
G2
Vln. I
4 4
I
" sf "
5
Œ
‰ Œ
pp
f f 5
f
p
3
j ‰
f f pp
***™
™
f f f f f f f
5
hold the breath
f
3
sempre
™™ Œ
f f fsempre
™™ r ‰™
Œ
˜˙ ™™Bœ ‰™ R ±~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Œ
III IV
pp
pp
f
$ j ‰ ‰ ‰ ™™
5
$ f f j ‰ ™™ f
f
3
$
5
5
™™
$ ˜œ ™™ ™ J ™ ±~~~~~~~~~~~~~~~~~~~~~
11
Vln. I
&
f f f
f f
3
f f f
Vla.
Vc.
& Œ B r ‰™ ? Bœ ‰™ R
f f f
√ f f f ‰ Œ f j f f f f
free to breathe Vln. II
√ j ‰ Œ
5
5
Œ
5
Œ
5
3
II
#III M
o
√
M
√ f f Ó
f f
3
5
f √ Ó f f f 5
pp
M
p
5 M
R
M
√ ‰™ Œ
" sf "
√ 5 √ ˜˙ Bœ ‰™ Œ R ±o~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ " sf "
20200708 St. Johnsbury, VT, USA
G9