Yukiko Watanabe
Cities and Memory for Ensemble (2020)
Instrumentation Flute Clarinet in Bb Piano with preparation* Percussion Snare Drum (always on), Three small (high, low) Glasses, Three middle size Woods (high, middle, low), Two middle size metal cans (high, middle, low. Empty metal can or metal vessel), Sand paper - a little bit coarse (higher), Suspended Cymbal (middle size), Triangle, Finger Cymbal, Two different Roly-poly toys, Two different musical greeting cards, Music box on the Timpani or Bass Drum, Soft Mallet (Preferably soft so that the stroke cannot be heard), Middle Mallet and Sticks for Snare Drum Violin I Violin II with hairclip on 3rd and 4th strings (Tune the 3.4. Strings after the clip is fastened. The pitch will be approximate.)
Viola Violoncello Contrabass
[Notation – Percussion] Musical greeting card Two different Roly-poly toys Hand cranked music box Spring Drum
*Preparation for Piano
Blutack with the strings from A1 to A2 on the point, 7th overtone
Blu-tack - Blu-tack is a reusable putty-like pressure-sensitive adhesive produced by Bostik, commonly used to attach lightweight objects (such as posters or sheets of paper) to walls or other dry surfaces.
Special notes [in general] Bars -
Dynamics and resonance -
Interval and pitch Microtones -
The bar line is used in with a special idea. The bars written with normal line make the final beat of the previous bar written seem just a little slower; it is desirable to produce a habit like the second beat of Viennese waltz. The double lines make the next bar feel new as a completely different piece. The bars written in dots are normal and played as if the music were to continue. < > = always small crescendo and decrescendo from zero to specified dynamics to zero. Ex. < p > means crescendo from zero to piano and then decrescendo again to zero. The harmonics of piano are at the core of this work. Therefore, the other instruments need to adjust their dynamics accordingly. Do not stop the resonance, unless staccato written on the note. If no crescendo or decrescendo is specified, carefully keep the written dynamics to the end of the sound The intervals are played sensitively so that each note in different harmony, mostly simple major or minor chord. Chords are written on the first line as a rough example of the intervals that should be expected. ↓↑ - Slightly different pitches, a bit lower, a bit higher. - Quarter tone (quasi ¼ lower or higher)
Harmonics For strings
ex.vib.
Natural harmonics used in the work are written mostly with the number of strings and overtone. For example, 7/II means that seventh overtone is played on the second string. There are two types of notation on the harmonics, one is the case where the position to be touched is written in a diamond shape and the other is the pitch to be sounded as a result. In the case of the former, string players are required to press down at the point on the specified string. And in the case of the latter, the written pitch should be sounded, but the place to press down is free to choose. Extreme vibrato
Flute, Clarinet: Flz. Slap ▢
Flatterzunge Slap tonguing Air sound
Zahntone Tongue ram
Teeth on the reed (any very high tone) Explosive percussive sound produced by sealing the embouchure hole completely with the lips and strongly propelling the tongue into the embouchure hole. Harmonics Harmonics are written with fingering in a diamond shape and pitch as a result is indicated with normal notehead. Multiphonics Fingerings are written in the score with numbers. Piano: preparation
The notes written in a diamond shape in the left hand mean prepared strings, and sound 2 octave and minor seventh higher (seventh harmonic, see preparation*). Arpeggio: start always with the bottom note first.
Pedal
Unless otherwise stated, without pedals.
Strings: crini batt. ◆
crini battuto Half harmonics (finger pressure between ordinary and flageolet tones.)
msp./mst. h.gliss.
Molto sul ponticello/Molto sul tasto Harmonics-glissando: Lightly touch the strings and glissando them with sulponticello, letting the overtones be clearly heard.
Program Note (Japanese・日本語)
Memory’s images, once they are fixed in words, are erased. Perhaps I am afraid of losing Venice all at once, if I speak of it. Or, perhaps, speaking of other cities, I have already lost it, little by little.
記憶のイメージは一度言葉に固定されると消されてしまう。ヴェネツィアについて言葉にすることで、それを一 瞬で失ってしまうことを私は恐れているのかもしれない。あるいは他の都市について話すことで、既に少しずつ 失っているのかもしれない。 見えない都市（イタロ・カルヴィーノ）より引用
何かを言語化しようとするとそれは指の間からほろほろとこぼれ落ちてしまう。記憶も然り。どこかに行ったと ・・ ・
きの風景や小さい頃に見た何かは常に上書きされて、覚えているようで覚えていない。そして、何気ない日常の 中でふと思い出し、そこに付随して別のさまざまなことを思い出す。頭の中で認識する「机の上にあるコップ」 はあの時の思い出ともどこか繋がっているから、物と記憶はきっと同じように並列できる。モノ派が素材そのも のを提示するように、「モノ」と「こと」はある次元では陳列することができるんだろう。そこに確実に「あ る」存在として、それらは同じだ。あらゆる「モノ」「こと」は点であり、その存在を繋げるのは（繋げてしま うのは）我々「人」のほうであると思う。
(English) The piece consists of sound and memories for invisible home. It refers to the concept of the art movement Mono-ha, which originated in Japan in the late 1960s. "Mono" means "object" or "thing," and the mono-ha artists tend to present mostly found or natural materials, or simple everyday objects. I am very interested in this concept, and I will try not to apply it to visible objects, but to "private unknown memories". Our private memory is usually invisible, sometimes inexplicable, but it certainly exists in all of us. Memory’s images, once they are fixed in words, are erased. Perhaps I am afraid of losing Venice all at once, if I speak of it. Or, perhaps, speaking of other cities, I have already lost it, little by little. Italo Calvino, Le città invisibil
Premiere 9.10.2020 Operacity Recital hall
70th Ensemble Nomad Concert
荒木田隆子基金委嘱
Score
Cities and Memory for Ensemble(2020)
Yukiko Watanabe
Important notes on playing this work! < > = always small crescendo and decrescendo. ex. < p > means crescendo from zero to piano and then decrescendo again to zero. About the resonance for each note, please see footnote*.
ca. 72
Flute
Flz. (Flatterzunge)
3 8
3 8
Flz. (Flatterzunge)
Clarinet in B
3 8
Percussion
3 8 Piano
3 8
S.D.
Violin II
Viola
Cello
2 4 Glass 2 4 2 4 2 4
3 8 3 8
3 8
2 4
3 8
2 4
3 8
2 4
7/IV
Flz.
Perc.
Metal cym. Wood
Pno.
Vln. I
Vln. II
Vla.
Vc.
<>
<> 7/III 3 3
3 16 3 16 pizz. III
3 16
3 4
.......
4 8
3 4
crini batt.
3 4
pizz.
arco
II < > III
3 4
3 4 3 4
<>
3 8
Slap
2 8
2 8
3 8 3 8
3 4
3 8
3 4
3 8
3 4
pizz.
arco
3 4
3 4
I
3 4
7/II < >
3 8 5/I
3 8
pizz. 7/IV
4 8
4 8
4 8
4 8
2 8 2 8 2 8
2 8
2 8
2 8
5/III
3 8
3 8
<>
<>
3 8
II
pizz.
3 8
3
<>
3 8
3 8
2 8
2 3 8 4 2 3 8 4 3 2 4 8 3 2 8 4 extreme vibrato (moving a quarter tone almost) 3 2 8 4 extreme vibrato (moving a quarter tone almost)
2 8 2 8
pizz.
3 8
2 8 3 2 8
3 8
3 8
5/IV
II
<>
2 4
2 8
3 8
2 8
2 8
<>
Flz.
3 8
3 8
3
arco 7/III
3 8
3 8
2 8 2 8
arco
3 3
3 8
<>
3 8
3 8 3 8 3 8
*Do not stop the resonance, unless staccato written on the note. If no crescendo or decrescendo is specified, carefully keep the written dynamics to the end of the sound. The intervals are played sensitively so that each sounds in a different harmony, -1-that should be expected. mostly simple major or minor chord. Chords are written on the first line as an rough example of the intervals The harmonics of piano are at the core of this work. Therefore, the other instruments need to adjust their dynamics accordingly.
<>
3 8
arco
Flz.
3 8
<> 3 ① 8
arco 7/II 9/III
3 8
IV
4 8
2 8
3 8
4 8
Slap
3 8
III arco < > IV
2 8
4 8
pizz.
3 8 <>
3 4
<> <> <> <> <> <> <>
<>
4 8
3
3 8
Flz. <>
4 8
6/III 4 3 8 4
4 8
4 3 8 4
3 4
pizz. IV
3 4
4 8
Sandpaper
4 3 8 4 4 3 8 4
Flz.
<>
4 8
3 4
3 4
3 4
crini batt.
Slap
3 ....... 16
3 4
3 16 3 3 16 3 5/II 3 16
5/II
D.B.
3 16
4 8 Wood
3 16
3 4
3 4
3 4
10
3 16 3
4 8
simile
8
B Cl.
pizz. IV
2 4
3 4
↓ (just a little lower)
3
2 4
IV 3
3 4
4 8
3 4
III
arco
DB. - notes in written as actually sound
Fl.
3 4
Piano: harmoincs - always with accent unless not written.
pizz. 7/II
Double Bass
2 4
pizz.
Violin I
<>
arco 7/IV
3 8
I
①
2 4
2 4 2 4
2 4
16
Fl.
2 4
B Cl.
2 4
*) 3 16 (xxxxxx)
Vln. I
3
2 4
2 4
3
3
2 4
Vln. II
2 4
Vla.
2 4
Vc.
D.B.
2 4
2 4
B Cl.
4 8
4 8
Vln. II
4 8
Vla.
4 8
< > <>
②
2 4
3 4 3 4 3 4
2 4
2 4
3 4
2 4
3 4
2 4
3 4
(ord.)
3 8
3 8
3 8
3 8
<>
3 8
3 8
<>
③
7/IV
2 4 2 4
3 4
3 4
③
3
<>
4 4
4 4
3 8
4 4
3 8
4 4
3 8
3 16 !
3 16
3 16
3 16 3 16
3 16
2 4
4 4
3 8
3 16
4 4
3 3 8 16
2 4 2 4
4 4 4 4
pizz. 3 3 8 IV 16
3 8
④ -2-
④
3 16
2 16 2
msp <>
16
2 16 2 16
3 16
3 4
3 16
3 4 5/III <> 3 4 arco < > 7/III, IV
pizz. II
3 16
2 16
2 16
3 8
4 8
3 8
4 8
3 8
4 8
3 8
4 8
3 4 8 8
3 4 8 8
pizz. 4/III
3 16
3 4 8 8
msp
3 16
3 4 8 8
3 16
3 4
3 16
2 16
3 4 8 8
3 16
3 4
2 16
3 16
arco < > 5/I
3 4 8 8
2 16
arco <> 7/III
7/IV
3 16 3 3 4 16
2 16
<>
3 8
30
Flz.
3
3 4
3 8 3 8 3 8
3
arco 5/IV < >
4 4
3 8
5/II
4 4
<>
3 16
3 4
<> IV 3 arco III
3 8
pizz.
2 4
2 4 <>
3 4
2 4
<>
3 16
3 4
②
Flz. <>
IV
III
6/III
Slap
<>
(ord.)
3 8
<>
arco
4 8
6
D.B.
2 < > 4
poco
4 8
6/III
2 4
3 3
4 8
Slap
2 4
2 4
2 4
Flz. <>
Vln. I
Vc.
3 16 4/III 3 16 pizz.
3 4 Slap
3 4
2 4
20
4 8
3 16
4 8 Pno.
3 16
3 16
7/II
4 8
Perc.
Flz.
25
Fl.
3
2 4
3 16 G.Card 3 16 3 16 3 16
*) say something quickly with whisper voice into the instrument, fingering C4.
Sp.Dr.
Pno.
3
2 4
Perc.
3 4
3 4 3 4
3 3 16 4 3 3 16 4
3 8
3 16
3 8
3 16
3 8
3 16
3 8
3 16
3 8
3 16
crini battuto msp
3 16
3 4
3 8
3 16
3 4
3 16
3 4
. ......
3 16
3 8
3 8
3 16
pizz. 3 3 4 16
3 8
3 16
3 3 4 16
3 8
3 16
pizz. 5/III
3 16
Fl.
B Cl.
Vln. I
3 16
3 16 3 16
Perc.
Pno.
34
molto dim.
Vla.
3 16
Vc.
D.B.
3 16 3 16
B Cl.
3 16
Pno.
Vln. I
Vln. II
Vla.
Vc.
D.B.
3 8
arco
IV
3 16
3 16 3 16 3 16 3 16 3 16
(ord.) IV
3 16 5/II 3 16
3 16
5/II
3 16
2 8
4 4 4 4 4 4
2 8 2 8 2 8 2 8
!
4 4 4 3 4
4 4
4 4
4 4 4 4
3 8
3
3 8
3 8
4 4
3 8
4 4
3 8
4 4
5/III 4 4
3 8
arco
7/IV
3 8
arco I
3 8
3
(ord.)
6/I
3 8
IV
(ord.) 7/I
3 8
2 8 2 8 2 8
3
3
.......
crini battuto
3
3 4 3 4
3
2 8
2 8
3 4
pizz.
arco 7/IV
3 16 3 16
3 16
(ord.) <>
2 8 pizz. 2 8
3
<> <> <> <> <> <> <> <> 3 3 4 16 3 3 3
2 8
3 16 3 16
3 4
3 16
3 4
3 16
IV 3 4
3 16
3 4
3 16
3 8 3 8
2 4
3 8
2 4
2 4
pizz. 4/IV
3 8
2 8
2 8
3 8
2 8
3 8
2 8
3 8
2 8
3 8
2 8
3 8
2 8
3 8
2 8
3 8
2 8
3 16 3 16
2 8
2 4 2 4
3 8
-3-
2 4
3 8
2 4
3 8
2 4
3 8
3 8
3 8
2 4
2 4
Zahnton
4 4
3 8
4 4
4 4
Flz.
7/IV 2 8
3 8
4 4
2 8
<>
3
3 <> <> <> <> <> <> <> <> <> 4 3 4
<>
4 4
3 16
I
poco
⑦
3
2 8
poco
3 8
ossia
⑤⑥
40
3 8
<>
3 16 3 16
2 8
⑦
3 16
arco
2 8
crini battuto 7/II 3 16 ⑥
4 4 4 4
3 16
2 8
. ......
3 16
Finger cymbal
. ......
3 16
3 8
2 8
crini batt.
Flz.
⑤
3 8
msp
3 16
Perc.
3 8
Fl.
3 8
3 8
3 16
41
3 16
3 16
3
3 16
3 8 3 3 8
pizz.
Vln. II
3 8
3 16 3 16 3 16
3 16 3 16 3 16 3 16 3 16
Fl.
B Cl.
3 16
Vln. I
Vln. II
Vc.
D.B.
2 16
3 8
2 16
3 8
Vln. I
3 16
2 16
2 16
<>
3 4
Vla.
3 4 3 4 3 4
2 4
➈
3
III
<>
3
3 3 16
3 < > 16 3 16
<>
<>
II 3 4
2 4
3 4
2 4
3 4
3 4
3 < > 4
⑧
3 8
3 4
3 4
3 4
3 4
<>
3
3
3
3 4
3
3 8 3 8
3
3 8
4 4
3 8
4 4
vib.
3
3 8
3 8 3 8
3 8
3 4
3 8
IV
3 4
3 8
3 4
3 8
3 4 Slap
3 16 3 16
4 4
<> 7/III
arco 5/I
3 16
4 4
4 4
3 4
3 16 <> ➈ 3 16
4 4 4 4
4 4
4 4
3 8
3 8
4 4
3 8
Play carefully to balance the multiphonic with the clarinet!
-4-
3 8
<>
3 8
3 arco 3
7/III
3 8
3 4 on the hair-pin (noise without clear pitch)
<>
<>
arco
3 8
3 4
3 4
3 4
3 4 <> 3 4 3 4
3 4
3 8
3
msp
3 8
3 4 3 4
3 4
3 16
IV
2 4
2 4
3 16
3 16
3 4
7/IV
2 4
3 8
3 16 I 3 16
3
3 16
<>
3 4
3
3 4
2 4
3 16
3 4
3 8 6/III 3 8
3
3 4 3 4
⑧
pizz. 5/III
2 4
3 4 3 4
7/II
2 16
Flz. <>
Vln. II
D.B.
3 4
3 8
Slap
2 4
2 4
arco
3 16
(ord.)
3 8
pizz.
2 16
3 16
3 4
Vc.
2 16
Flz.
Pno.
3 16
Perc.
3 8
pizz. 3 16
B Cl.
2 16
3 16
54
Fl.
2 16
pizz. II
Vla.
3 8
Slap
2 16
3 16
Perc.
Pno.
3 16 3 16
50
48
3 16
3 16 I 3 16 pizz. II
3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4
3 16
3 4
3 16
3 4
<>
60
Fl.
B Cl.
3 4 3 4
<>
2 4
2 4
small musicbox on the Bass Drum or Timpani
Pno.
3 4
Perc.
3 4
3 4
II < > III
Vln. I
Vln. II
Vla.
3 4
3 4
D.B.
3 4
<>
2 4
3 16
2 4
3 16
Perc.
2 4
3 16
2 4 2 4
<>
. . .....
crini battuto
3 16
Vln. II
3 4
arco 7/III
D.B.
2 4
➉
⑪
3 16
pizz. IV
3 16
⑫
3 4
3 4
3 8
3 4
3
(ord.) mst <>
arco < >
3 4
2 4
3 4
2 4
3 4
2 4
<>
3 8
3
3
3 16
3 16
3 16
4 4
4 4
2 4
3 16
2 4
2 4 2 4 2 4
3 16
2 4
3 16
2 4
3 16
2 4
3 16 pizz. 5/II 3 16 pizz. 5/III
2 4 2 4
3 4
3 8
3 4
3 4
3 8
3 4
3
2 4
2 3 4 wind up extremely slowly 4 2 4
2 4
3 4
3 8
3 4
3 8
3 4
3 8
2 4
3 4
3 8
2 4
3 4
3 8
-5-
2 4
3 16 3 3 16
arco
arco 6/III
3 4
3 8
(ord.) < >
3 16
3 16
4 4
2 4
<>
3
➉
3 4 16 4
3 8
3 8 arco <>
3
4 4
3
3 16
crini battuto
5/II
4 4
3 ....... 4 16 4 3 4 16 4
2 4
3 4 16 4
(pizz.)
3 16
3 4 16 4
2 4
2 4
arco 5/III
2 4
⑫
3 8
3 16
2 4
70
3 4
2 4
2 4
3 8
3 4
IV
3 4
3 16
3 4
Vc.
2 4 2 4
3 4
3 4
3 8
3 16
2 4
2 4
Vla.
3 4
Vln. I
pizz. 5/IV
2 4 pizz. 5/III
3 4
3 16
⑪
B Cl.
Pno.
2 4
<>
Slap
Fl.
2 4
Vc.
Slap 2 4
(pizz.) 5/III
3 4
67
3 4 3 4 3 4 3 4
2 4 2 4 2 4 pizz. 2 4
wind up extremely slowly
3 4
3 4
2 4
2 4
3 4 3 4
III
3 4
poco
3 4 3 4
3 4
3 8
3 4
3 8
3 8
arco
IV
3 8
3 8
poco
3 4 3 4
Fl.
B Cl.
3 4
3 4
Vln. I
3 4
Vln. II
3 4
Vc.
.......
crini battuto
3 4
3 4
3 4
3 4
3 16
3 4
5/III
5 16
5 16
3 2 8 4
3 8
<>
5 16 5 16
. ......
Vln. I
Vln. II
5 16
5 16 pizz. III
Vla.
4 4
Vc.
D.B.
5 16
5 16
⑬
4 4
<>
2 4
arco
3
3
3 8
3 8
msp
IV
.......
3 8
I
arco 6/II
<>
⑭ -6-
3 8
2 8
3 8
2 8
3 8 3 8 3 8
<>
<>
<>
<>
<>
<>
<>
<>
<>
4 16
3 8
4 16
3 8
5 16
5 16
2 8
3 8
3 8
3 8
7/II 2 8
5 16 5 16
5 16
4 8
3 8
<> 4 8
4 8
5 16
3 8
4 16 4 16
3 8
4 8
4 16
5 16
2 8
5 16
3 8
5 16
4 16
4 16
(ord.)
3 8
5 16
4 16
4 16
2 8
3 8
<>
2 <> 8
2 8
7/III < >
2 8 2 8
.......
crini batt. 5/I
3 8
6 3 8 6 3 8
<>
3 8
⑭ < > 3 8 3 8
3 8
3 8
2 4
6 Slap
3 8
3 8
3 8
arco
3 8
⑬<>
3 8
poco
<>
4 4
3 2 4 8
4 4
5/III
2 4
mst <>
4 4 4 4
4 4
2 4
3 8
4 4
3 8
3
3 2 8 4
5/III
crini battuto
5 16
<>
2 4
3 8
2 4
(ord.)
3 4
4 4
3 8
Flz. <>
4 4
2 4
Flz.
5 16
Perc.
3 4 3 4
3 16
3 4
<>
80
3 8
3 4
3 16
Slap
Pno.
B Cl.
3 4
3 4
82
Fl.
3 16
3 16
pizz. 5/III
D.B.
3 4
3 16
pizz.
Vla.
3 16
3 16 3 16 3 16
3 4 3 4
Slap
3 4
Perc.
Pno.
74
4 8
3 8
3 8 3 8 3 8
4 8
3 8
4 8
3 8
mst
4 8
4 8
3 8
4 8
3 8
4 16
3 8
87
Fl.
B Cl.
3 8
3 8
3 16
3 16
3 16
Slap
3
3 8
Perc.
Vln. I
Vln. II
Vla.
Vc.
D.B.
3 8
3
3 8
3 8
3 16 3 16
3
3 8
<>
Fl.
B Cl.
Vc.
D.B.
3 16
7 8
3 16
3 16
3 16
II
arco 5/III < >
7 8
3
Slap
3 8 3 8
3 8
III IV
3 8
3 8
<>
<>
h.gliss.
3 8
ss. h.gli
3 8
. . .....
crini batt. I
3 8
-7-
arco 5/IV
2 4
arco
2 4
3 8
3 8
<>
s. h.gl is
3 8
6
h.gliss.
poco
poco
2 4
2 4
5/I
<>
3
2 4
2 4
2 4
2 4
2 4
<>
unnaturally
<>
2 4
pizz.
ex. vib.
unnaturally
3
quasi extrem. vib.
quasi extrem. vib.
<>
II
closed embouchure hole
<>
3 8
mst <>
3 8
arco 5/I
Slap
2 4
3 8
3
2 4
Slap
3 8
2 4
3 8
3 8
2 4
3 8
II
2 4
3 8
pizz. 5/II
ex. vib.
<>
3 8
5/III
2 4
pizz.
3 8 IV
3 8
3 8
Tongue ram
3
3
2 <> 4
3 8 3 8
3 8
3 8
2 4
5/I < >
3 16 3 16
I
3 8
<>
IV < >
3 16 3 16
90
3 8 molto dim. 3 8
mst
7 8
3 16
3 16
pizz.
Vla.
<>
7 8
3
pizz.
Vln. II
3 16 pizz. I 3 16
<>
7 8
Vln. I
<>
7 8 7 8
3 16
93
Pno.
3 8
I
(ord.)
IV
3 8
Perc.
3 16 3 16
<>
7 8 Metal
3
3 8 Pno.
wind up extremely slowly
<>
7 8 7 8
5/III < >
6/II
<>
3
2 4
2 4
100 Fl.
B Cl.
2 4 2 4
Perc.
2 4 Pno.
2 4
Vln. I
Vln. II
2 4
Vla.
2 4
2 4
5/II < >
D.B.
2 4
B Cl.
Perc.
Seagull Effect
3 16 3 16
2 4
Vln. I
3 8
Vln. II
3 8
D.B.
pizz.
3 8
3 8
Vc.
3 II 2 16 8
2 4
Vla.
<>
3 8 3 8 3 8
3
3
2 4 2 4 2 4
2 4
arco
ex. vib.
III
arco
I
2 4
2 4
3 8
2 8
2 8 5/III <>
2 4
5/I
110
3 8 3 8 <>
pizz. IV
2 8
3
3
3 16
3 16
arco 5/III
3
3 4
3
3
3
3
3 8
3 8
3 4 3 3 4
3 4
3 4
2 8
3 4
2 8
3 4
4
3 16
3 16
3 8 3 8
pizz. I
pizz.
3 8
3 8 3 8
Flz.
5 8
5 8
5 8 ex. vib. 5 8
3
3
3
ex. vib.
3 16
3 16
3 16
5 8 5 8
5 8
3 4 3 4
III
2 4
-8-
2 4
2 8
3 8
3 8 3 8
3 16
arco
3 8
2 <> 8
2 4
3
IV
3 16
3 16
3 8
2 <> 8
2 4
3 4
<> 3 8
3 16
3 16
3 8
Slap
4
2 4
2 8
<>
3 16
2 4
3 8
msp
6
3
2 8
2 4
3 8
3
3 8
2 8
2 4
2 4
3 8
2 8
3 8
3 8
3 8
arco <>
II
3
3 8
2 4
. . ..... 3 8
2 4
3
crini batt.
pizz.
bisb. <>
3 8 3 8
2 4
2 4
2 4
2 4
2 4 2 4
<>
2 4
2 4
pizz.
ex. vib.
arco
ex. vib.
<>
3 8
3 8
2 4
(pizz.)
3 8 Pno.
3 2 16 8 3 2 16 8
3 8
3 8
<>
3 2 16 8
108
Fl.
3
3 16
2 8
2 4
3 2 16 8 3 2 16 8
3
2 4
Vc.
<>
Slap 3 2 16 8 ossia ⑤⑥
2 4
3 16
3 16
5 8
5/III
3 16
5 8 5 8
3 16
3 16
3 16 3 16
115
Slap
3 16
Fl.
3 8
B Cl.
3 16
Perc.
3 16
3 16
3 8
3 8
Pno.
3 16
Vln. I
Vln. II
3 16
3 16
3 16 pizz. I 3 16 I II
Vla.
Vc.
3 16
D.B.
Fl.
3 4
B Cl.
3 4
Perc.
Pno.
Vln. I
3 4
3 4
3 4
3 4
Vln. II
3 4
Vla.
3 4 3 4
Vc.
D.B.
⑮
3 4
2 8
3 8
2 8
3 8
3 8
pizz.
3 8
3 8
3 8
3
<>
msp <>
2 8
2 4
3 8
2 4
3 8 3 8
3 8
3 8
5/II
3 16
2 8
2 8
2 8
3 16
2 8
3 16
2 8
3 16 3 16
ex. vib.
III IV
2 < > 4 2 4
<>
7/III h.gl iss.
3 16
3 8
3 8
3 16 3 16
3 8 3 8
3 16
3 8
3 16
3 8
pizz. 3 16
3 16
3 8
3 8
3 8
2 8
3 4
2 8
3 16
3 4
2 8
3 16
3 4
3 16
3 4
pizz. III
3 16 3 16
3 16
3 16
5/IV
3 16 3 16
5/II
130
3
2 8
4 4
2 8
4 4
2 8
4 4
3
2 8
I
2 8
pizz.
2 8
3 16
2 8
3 16
2 8
4 4
2 8
. . .....
Slap
2 4 8 4
crini battuto
3 4
3 16
3 4
3 16
3 4
arco <> 5/III
5/IV
2 8
3 16
2 8
3 4
2 8
3 16
3 4
3 16
3 16
3 16
pizz. I
2 8
⑮ < >
2 8
Slap
3 4
3 16 3 16
pizz.
arco
2 8
3 16
3 16 IV
3 8
-9-
3 16
2 8
poco
(ord.) 3 16
pizz. 6/III
2 8
3 16
III
3 16 3 16
3 16
Flz.
3 16
arco mst
3 16
3 16
<>
2 4
3 16
2 <> 4 III
2 8
3 16
arco
ex. vib.
<> 2 4
2 4 2 4
2 8
<>
2 4
3 8
<>
3 8
3 16
Slap
120
crini batt.
2 8
. ...... 2 3 16 8
3 8
3 8
3
2 8
3 8
IV
arco 5/III
4/III 6/IV
2 8
2 8
vib. <>
3
3 16
3 16 3 16
2 8
3
2 8
pizz.
II
2 8
123
<>
2 8
3 8
4 4 4 4
4 4
IV pizz.
4 4
4 4
131
quasi extrem. vib.
Fl.
B Cl.
Perc.
Pno.
4 4 4 4
3
3
⑯
4 4 4 4
4 4 4 4
Vln. II
Vc.
D.B.
⑯
3 4 3 4 3 4
4 4
3 4
arco
3 4
4 4
arco
⑰
IV
3 4 7/III
3 16
2 8
2 8
3 16
2 8
3 16
2 8
2 8
2 8
2 8
2 8
h.gli
ss.
h.gliss.
3
2 8
⑱
-10-
3 16 3 16
3 16
3 16
3
3 16
3 16
2 8 2 8
on the hair-pin through G string
7/IV
vib.
3 16
2 8
II
2 8
2 8 2 8
III
3 4
3 4
3 4
2 8
<>
2 8 2 8
5/II <>
Flz. <>
2 8
4 4
msp
3 4
arco
Vla.
3
3 4 3 4
arco
Vln. I
3
poco rit. Flz.
3 4
⑰
<>
4 4
3
2 8
3 4
3 4
3 4
3 4
3 4 IV 3 4
⑱<>
mst
IV <>
<>
6/II 3 4 7/III