Pietà. Violin, Cello and Piano For the Longleash Trio Duration: 18 Peter Kramer

Transcription

1 Pietà Violin, Cello and Piano For the Longleash Trio Duration: 1 Peter Kramer

2 PROGRAM NOTE Pietà was written during the Sring and Summer of 01 for Pala Garcia, ohn Poham and Renate Rohlng for the Loretto Festival 01. Our father who art in heaven, Hallowed e thy name. Thy kingdom come. Thy will e done On earth as it is in heaven. Give us this day our daily read, Pour the unhainess out From your too itter heart, Which grieving will not sweeten. Poison grows in this dark. It is in the water of tears Its lack looms rise. I m tired now. Sometimes I talk too much. That s hainess. Give us this day our daily read (Fragments from: Lord s Prayer English vernacular version, Another Weeing Woman Wallace Stevens, Three Views of a Mother ohn Ciardi) 1

3 NOTE TO PERFORMERS Pietà is arranged as a set of three tritychs (tritych I, tritych, and tritych ), each tritych is divided into three arts, the entire iece is erformed attacca. fermati may e freely interreted, although suggested durations are given in the General Techniques section elow, the overall flow of the iece is left to the discretion of the erformers, the instruments at hand and the resonance of the erformance sace. Pietà is a suect of many scultures from the renaissance and aroque eras, where the Virgin Mary cradles her son esus after he has een taken down from the cross. This iece for iano trio deals with a three-art form that reeats itself three times. Every time it reeats there is some element of change, some aint chiing off the surface of the original, or something like stone eing removed from the sculture itself. The weight of esus ody is addressed, as well as the internal sound of the mother who is holding her son for the last time. Pay close attention to the more articulate, accented and dynamic suito moments in the texture, these should stand out. The more gradient and white-noise sounds should act as a second layer of counteroint to these articulate moments, always lending with the iano resonance. Additionally, e mindful of moments of synchronicity, where one art ends and another egins (marked y vertical lines etween arts), and where the sounds discussed aove ass among the trio itself. TRIPTYCH I Part 1: The seech rhythm in the cello should not e erformed too quickly, erform this as if actually seaking the text, taking time to reath and clearly annunciate the given text. The iano edal noise should not e so loud that it oscures the cello. Part : The iano material should always e very resonant and lend with the strings, enroing them. The strings here are asked to lay etween m.s.. and m.s.t. Bow osition in this section can e erformed rather freely. Oen string grace notes are always erformed s.. The violin and cello should always strive to lend with one another. Part of tritych I is erhas the most active art of this iece.

4 Part : This section should e erformed a little slower than the oening temo, ut not so slow that the quarter note ulse etween arts and are oscured. The cello and iano should lend, while the violin acts as an echo of this duo. TRIPTYCH Part 1: Same as aove Part : This section is a reetition of art of tritych I, although there are slight changes to the texture. The strings here are asked to lay etween s.. and s.t. Oen string grace notes are always erformed ord. While this section is largely a reetition of art of tritych I, it should have a different feel to it, like returning to a familiar lace after many years aroad. Part : Same as aove with the same affect as descried in art of tritych. TRIPTYCH Part 1: The iano here lays alone, no decrescendo, like linding light! Part : This section is much like art of tritych I and, although here the strings lay col legno + ow (with a little it of ow touching the strings). The strings here are asked to lay in an ordinary osition, while oen string grace notes are always erformed s.t. This section should have a very different affect from art of tritych I and, ecause of the col legno owing there should e the sense that this is familiar territory with a very different sound, like looking at an oect through water Part : This section serves as a coda, and redominantly features the iano. The ianist may interret this section very freely, y no means should a strict ulse e adhered to!

5 GENERAL TECHNIQUES Tale of Fermati: U - w ~ ~ Í f_ ~~ ~ "f" =- =- =-1 Where a mute sign is resent (never in the iano) suddenly/arutly mute the sound of your instrument! Stale/non-fluctuating dynamics should e sustained without any cresc. or decresc. think of a hissing radiator Dynamics in arenthesis denote a sound (i.e. toneless, muted, ercussive) which will not sound at the written dynamic, however the intensity of the dynamic within the arenthesis should e executed!

6 STRINGS m.s.t. / s.t. / ord. / s.. / m.s.. (molto sul tasto / sul tasto / ordinary osition / sul ont / molto sul ont) The string layers are encouraged to move as close to the ngeroard or ridge as ossile, creating an airy sound near the ngeroard and exciting different artials near the ridge. c.l. / c.l.. (col legno / col legno attuto) m.s.. - m.s.t. The symol aove asks for the erformer to change ow ositions (at the erformers discretion) etween the two given ositions, in this case m.s.. and m.s.t. 6 ø 6 6 Molto virato (m.v.), create a wide and wild virato u to a quarter-tone shar and a quarter-tone flat. Throughout the iece virato ad li. unless the areviation (s.v.) senza virato is indicated. Unmeasured tremolo, should always e unmeasured and never redictaly rhythmic, and should always contain added accented imulses within the given dynamic. Toneless sounds are notated with square note heads and are layed on the oen strings y muting/resting the left hand on the indicated strings in such a way that when owed the sound contains next to no itch resulting in an airy/toneless sound. This symol, found only with square note heads, indicates a sweeing motion of the left hand over the muted strings, resulting in a toneless sound with some dynamic contour. At times the natural harmonics of the oen strings will sound while executing this technique, this is encouraged!

7 VIOLIN Scordatura: The rst string of the violin should e tuned down a semi-tone to E-flat (G, D, A, E-flat). Molto virato and unmeasured tremolo, as found aove the stave. This symol is found aove the stave and denotes a laying style in which the erformer areggiates or rushes with the ow over the given material. See the musical examle elow (violin only), when a square note head is found in this osition on the stave it indicates for the tailiece to e owed, creating an airy/toneless sound. In mm. 1-1 the violinist is asked to lay on the chin rest. (on tailiece) 6 6 _ non-fluctuating dynamic, soft, tender, like an echo 6

8 CELLO See the musical examle elow (cello only), the cello here is asked to ow in the rhythm of the text given. With the left hand, mute the indicated strings very near the ridge, leaving enough sace to lace the ow on the strings etween the left hand and the ridge. When owed, the sound should result in an airy/toneless sound. / 0 6 m_ (ow freely/seech rhythm) "Our father who art in heaven, Hallowed e thy name. Thy kingdom come. Thy will e done On earth as it is in heaven. Give us this day our daily read..." U ÿ

9 PIANO Pedal Areviations: ed. (sustain edal) (una corda edal ad li. throughout!) Pedal Markings: (1/) Denotes a half edal, when half-edaling, revious sounds should still e ringing "quasi-echo." (full) Denotes a full lift of the edal, all revious sounds should e eliminated. Flutter Pedaling: This technique is notated with a trill-like symol and is erformed y raidly deressing and releasing the sustain edal with the right foot, creating a ercussive noise that excites and elicits the resonant sound of the iano to seak. (ed.)

10 Tritych I : Part 1 / 0 6 Part (same temo) Pietà For Longleash Trio (q=0_60) Peter Kramer (01) m_ Scordatura: (G, D, A, E-flat) (ow freely/seech rhythm) "Our father who art in heaven, Hallowed e thy name. Thy kingdom come. Thy will e done On earth as it is in heaven. Give us this day our daily read..." U vi. ad li. m.s.. - n vi. ad li. m.s.. ~ - m.s.t. (semre) # ~ r ~ ' f m.s.t. (semre) ~ r ' f m.v. m.v. Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ ~ # ~ (s.. semre!) n ~ ~ (s.. semre!) Ÿ~~~~~~~~~~~~~~~ n ~ ~ ~ ÿ r ## R sffz U (ercussive!) ÿ ÿ r ## ## R n sffz (very resonant throughout) sffz loco su. ed. "f" (like thunder!) ø (full) ø (1/) (hold)

11 B n6 n ~ ~ ~ ~ ~ ~ ~ f su. (ort.)... ~ f (ort.) Ÿ~~~~~~ # ~ ~ 6 f... m.v. ~ 9. r m B~ su. o... ~ 6 B~ m.v.. Ÿ~~~~~~~~~~~ r ~ ~ n 6 sfz o 9 loco - - "f" (simile) (ed.) ø (full) l.r. dolce (edal freely, sustaining) 9 9

12 "rushing" o 9 n~ ~ n ~ ~ ~ ~ Ó ~ ~ 6 l.r. f ~ ~ ~ ~ ~ ~ ~ ~ 6 6 n 9 ~ Ó 6 f 6 # ~ r # ' f Æ 9 9 Ó ÿ sffz loco.... dolce Ó (ed.) "f" ø (full) (off!)

13 10 f n~ r ' n ~ ~ ~ µ m Ÿ~~~~~ 6 6 ~ ~ # ~ # ~ n n... n n~ r ' f n ord. molto esressivo ff su. Ÿ~~~~~~~~~~~~~~... n su. Æ Ÿ~~~~~~~~~~~~~~~~ # ~ ~ Ÿ~~~~~~~~~~~~~ ~ # ~ r ' ~ ~ f ord. molto esressivo n ff_ ÿ n (ell-like) n 6 6 n n n.... Ó : ; su. ed. ø (1/)

14 m.s.. - m.s.t. (semre) 1... n 6 ~ ~ ~ ~ ~~~ ~ n ~ r n ' f U r ~ ~ ~ ~ ~ ~ B m m.s.. - m.s.t. (semre) 6 o 6 su. U. r ~ ~ m su. Ÿ~~~~~~~~~~ B ~ Æ su. B Ó U (ed.) (off!)

15 6 16 ~ n ~ ~ Ÿ~~~~~~~ n n ~ r ~ ~ n ~ # # r ~ ~ ~ ' ' 6 6 f f ord. molto esressivo ff 1. lay as written. lay as echo (Piano Tacet) m.s.. - m.s.t. n ~ ~ n ~ n ~ o ~ n ~ n ~ ~ r ~~ m Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~ ~ ~ ~ r # ' f ord. molto esressivo R. m.s.. - m.s.t. 6 f su. o m 1. lay as written. lay as echo (Piano Tacet). R ed. ø (1/)

16 19... Ÿ~~~~~~ ~ ~ ~ 1 ~ ~ # ~ ~ su. 6 n ~ ~ ~ ~ ~ n ~ ~ 6 6 ~ ~ 1. r ~ Ÿ~~~~~~~~~~~~~ ~ # ~ ~ sfz f I 6 o n. r B n~ 6 6 f m Æ ~ r (ed.) ø (full) (off!)

17 < ~ o ~ f B~ Æ ff Ÿ~~~~~~~ Ÿ~~~~~~~ n~ n~ 6 ~ B~ m ü 6 6 su. sfz (over ressure) Ö ü Ÿ~~~~~ 6 f su. r 6 ~ ~ ~ ~ f ~ ~ ~ n Ÿ~~~~~~~~~~~~ ~ 6 r # ~ ~ su. o

18 9 ord. molto esressivo Ÿ~~~~~~ ~ ~ ~ ~ ~ n~ ~ # ~ n f I su. m.s.. - Ÿ~~~~~~ ~ ~ f m.s.t. n~ ~ ~ ~ ~ ~ ~ ~ f su. ~ B ~ ~ Ÿ~~~~~~~~~ n~ ord. molto esressivo 6 m.s m.s.t. o o r f f

19 10 m.s.. - m.s.t. 0 6 ~ ~~ ~ ~ 6 6, (m.s.. m.s.t.) n n f ~. r sfz Ÿ~~~~~~~ # 6 6 n ~ ~ ~ ~, r ~ B~ (m.s.t. m.s..) m.s.. - m.s.t. l.r. Ÿ~~~~~~~~~~~~~~~~~

20 11 ~ 6 ~ ord. molto esressivo Ÿ~~~~~~~~~~~~~~ n~ ~ ord. molto esressivo f 6 m.s.. m.s.. - m.s.t. f n ~ ~ su. - m.s.t. I. r B~ sfz ~~ ~ n ~ ~ ~ 6 o 6 ~~ ~ o Æ Æ ~ n n ~ ~ ~ ~ ~ su. ~ ~ R f f

21 1 [1x total] 6..., 1 ü Ÿ~~~~~ ~.. ~ n6 ~. ~. ~ ~ ~~ ~ ~ ~ ~ n~ n~ 1 6 (as if stuck...) (as if stuck...), ü m.s.. - m.s.t.. r sfz ord. molto esressivo ord. molto esressivo Ÿ~~~~~~~ ~ n~ o f ~ ~ m.s.. - m.s.t. f o 6 f 66 ~R B~ m.s.. f n~ - m.s.t. ~

22 1 1. lay as written (Piano Tacet). lay as echo (Piano Tacet) ord. molto esressivo m.s.. - m.s.t. 1 n ~ ~ ~ m su. 6 f n ~ ~ ~. r f ord. molto esressivo m.s.. - m.s.t. f su.

23 1 n B 6 ~ ~~ ~ ~ f ü ~ ~ ~ ~ ~ 6 6 Ÿ~~~~~~ n~ ~ Ó ~ ~ n~ 6 _ non-fluctuating dynamic! ü Ÿ~~~~~~ ~ f ^ ff_ (forceful!) o ü Ó Ó.... f ^ (very forceful!) ed.

24 1 B n ~ ~ ~ ^ R (cutting and dissonant!) ^ ^ ^ ^ ^ ^ ^ R 11 f sffz ff_ non-fluctuating dynamic! sffz ff_ o f l.r (ed.) (full) "f" (like thunder!) ø

25 16 Part (a little slower) 0 ^ 11 R sffz ^ ^ ^ ^ ^ ff_ (arut sto!) (on tailiece) 6 6 _ non-fluctuating dynamic, soft, tender, like an echo 11 unsung text: [our] ord R Ô (match the cello dynamic semre) ( "f" ) (ed.) ø (1/)

26 1 (oco semre) (arut sto!) _ [the] W senza vi. 1 [un- # ~ _ W W # (ed.) (hold...)

27 1 (oco semre) _ ^ R sffz 1 -ha- l.r. # # ~ -i-, # ~ -ness] I 1 6 f m (dark) 1 1 #- (ed.) (hold...) (ed.) (off!)

28 19 # _ [out] # _ senza vi. senza vi. [from Ó I your ~ ~ U too i- -tter 6 heart] s.v. ~ ~ n ~ R erdendosi erdendosi attacca trytic! attacca trytic! # # ed. Ó n (off!) attacca trytic! Tritych I (arts 1-) nal draft 06/06/1 score 06/6/1 New York, NY

29 0 9 Tritych : Part 1 (q=0_60) (like a cadence) Ó Part (same temo) vi. ad li. s.. -s.t. (semre) ~ ~ n ~ ~ ~ ~ ~ ~ # ~ r ~ ' f (ord. semre!) Ÿ~~~~~~~ ~ n ~ ~ # ~ ~ ~ / 0 6 m_ "Which grieving will not sweeten. Poison grows in this dark. It is in the water of tears Its lack looms rise." s.. ~ - s.t. (semre) vi. ad li. ~ r f ' Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ ~ ~ (ord. semre!) n ÿ ÿ # # r l.r. # R # r R n sffz loco sffz su. ed. ø (1/) (hold)

30 6 B n6, n o f U (continue freely, out of time, getting lost) (gradually to nothing...) s.. - s.t. (semre) (ort.)... (ort.) ~ ~ ~ ~ ~ ~ ~ f 1 9. r B~ o... U, ~ 6 B~. r 9 m su. sfz (ed.) U - - (off!) ed. dolce 9 9

31 6 9 ~ 9 m.s.t. flautando very hushed! m.s.t. flautando very hushed! Ÿ~~~~~~~~~~~~~~~~~~ ~ n6 ~ ~ n n 6 B f o Æ su. ~ µ n 6 B Ÿ~~~~~~~~~~~~~~~ n6 ~ n 6 m Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ n m (trill) Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ~ 9 9 _ non-fluctuating dynamic, hushed, sumerged... su. (ed.) (edal freely, sustaining) (ed.) ø (full)

32 6 < m.s.t. flautando very hushed! m.s.t. flautando very hushed! n 6 f Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~ 6 ~ s.. s.. - s.t. Ÿ~~~~~ # ~ # ~ - Æ s.t. su. ~ n ~... ~ n ~ ~ ~ n ~ ~ n~ r ~ ~ ~ ~ ~ ' f Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~ # ~ ~ ~ # ~ r ' ~ ~ f 1. lay as written. m.s. agitato fff! ~ n ord. molto esressivo ord. molto esressivo ff su. n ÿ 1 n 1 ff_ (ell-like) 6 6 n n (ed.) ed. (off!)

33 s.. - s.t. 1 ~ ~ ~ n ~... ~ ~ ~ 6 ü n ~ r n ' f U r B m s.. - s.t. 6 o 6 ü. su. m U r ~ ~ su. Ÿ~~~~~~~~~~ B ~ Æ su. B

34 n Ÿ~~~~~~~ n n ~ r n # # r ~ ~ ~ ' ' f 1. lay as written. m.s. agitato fff! f 6 6 ord. molto esressivo ff ü s.. - s.t. n n n n n o r m Ÿ~~~~~~~~~~~~~ Ÿ~~~~~ ~ ~ ~ r # ' f ord. molto esressivo R. 6 f su. ü s.. - s.t. o m ü. R ed. ø (1/)

35 6 1. lay as written. m.s. agitato fff!... 1 (m.s.t. m.s..) n s.. - su. s.t. n 6 6 ~ ~ 1. Ÿ~~~~~~~~~~~ r ~ ~ ~ # ~ sfz f I 6 o n. r B n~ 6 6 f m Æ ~ r 1 1 (ed.) (off!)

36 1 o ~ f B~ Æ Ÿ~~~~~~~ Ÿ~~~~~~ n~ n~ ü 6 6 r 6 su. sfz n f < ~ ff 6 6 ~ B~ m Ö ü Ÿ~~~~ 6 f su. ~ Ÿ~~~~~~~~~~~~~ ~ 6 r # ~ ~ su. o

37 ord. molto esressivo Ÿ~~~~~~ n~ # ~ n f I su. s.. - s.t. Ÿ~~~~~~ f n f su. ~ B ~ ~ Ÿ~~~~~~~~ n~ ord. molto esressivo 6 s.. 6 o - s.t. o r f f

38 Ó n ~ ~ ~ f ~. r sfz Ÿ~~~~~~ # 6 6 n ~ ~ r ~ B~ Ó l.r. Ÿ~~~~~~~~~~~~~~~~~~~~ no cresc. - ed. (edal freely, sustaining) (ed.) ø (full) (off!)

39 ord. molto esressivo Ÿ~~~~~~~~~~~~~~~~ n~ ~ ord. molto esressivo f 6 n s.. f s.. -s.t. sfz - su. I. r B~ s.t. n 6 o 6 o Æ Æ ~ su. ~ ~ R f n n f

40 1 9,, 1 ü Ÿ~~~~~~~~~~~~~~.. n6.. ~ n~ 1 6 [x total], ü (continue freely, out of time, getting lost) U (gradually to nothing...) U o ord. molto esressivo ord. molto esressivo Ÿ~~~~~~~~~~~~~~~~~~~ ~ n~ f o

41 9 o ~ ~ s.. f - s.. f f s.t. - s.t. n ~ ~ R B~ n f ~ m. r 6 su. 6 ~ ~ ~ f (suddenly susended!) ~ (suddenly susended!) ord. molto esressivo ord. molto esressivo s.. - s.t. n s.. - s.t. f su.

42 10 n B 6 f 6 Ÿ~~~~~ n~ ~ Ó n 6 _ Ÿ~~~~~~ ~ f ^ ff_ (forceful!) o Ó.... Ó f ^ (very forceful!) ed.

43 10 B n ^ ~ ~ R (cutting and dissonant!) ^ ^ ^ ^ ^ ^ ^ R 11 f sffz ff_ non-fluctuating dynamic! sffz ff_ o l.r. 11 f - ÿ n (ell-like) cresc! (ed.) (off!) ed.

44 Part (a little slower) ^ R sffz I n o R Ô f l.r. (reaching!) 11 unsung text: [I'm] ord. ~ < n molto cresc! ff (match the cello dynamic semre) (ed.) ø (full)

45 _ I o non-fluctuating dynamic, tenderly... [tired] oco vi. [now] [some I l.r. ff,.. (ed.) (off!). ~ 6

46 11 (on tailiece) 6 6 (oco semre) _ non-fluctuating dynamic, soft, tender, like an echo _ -times] [I...] W senza vi. 1 _ n WW W W G F E 1 1 (ed.) (hold...)

47 11 1 (oco semre) [talk] # ~ [too] l.r. # # ~ [much] # ~, f m. 1. n 1. # (ed.) (hold...)

48 9 11 K r attacca trytic! I / 0 6 "...that's hainess..." attacca trytic! m_ # # ÿ # # r R sffz attacca trytic! (ed.) (off!) Tritych (arts 1-) nal draft 06/0/1 score 06/9/1 New York, NY

49 0 Tritych : Part 1 (q=0_60) Part (same temo) 119 / 0 ord. _ [x total] (ow freely, continuous) ü senza vi! ord. col legno+ow n # ~ r ' f Ÿ~~~~~~~ ~ # ~ (s.t semre!) n ü <# <# # # ÿ ff_ [x total] ü senza vi! ord. col legno+ow no decresc! linding... ~ ' f # # ff_ ~ r sffz Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~ ~ ~ l.r. (s.t. semre!) n (ed.) ø (hold)

50 1 B n6 6 n f su. (c.l..) (ort.)..., f su. very long... (ord. ow osition, continue freely, out of time) ff 1,. r B~ (c.l..) o... ~ 6 B~ m su. (ed.) "f" (like thunder!) ø (full) (hold)

51 1 senza vi! ord. col legno+ow (ort.) Ÿ~~~~ U # ~ ~ 6 f (suddenly susended!) (c.l..)... n n o f Ó 6 U. Ÿ~~~~~~~~~~~~ r ~ ~ n Ó6 (suddenly susended!) o sfz ~ Ó 6 dolce U (suddenly susended!)...very freely, with exression! 6 6 (ed.) (edal freely, sustaining)

52 1 6 U 6 6 U 6 f 6 6 oco rit. Æ ÿ.. U a temo! sffz (ed.) (simile) (ed.) ø (1/) ø (full) (off!)

53 n n~ r ' f n µ m 6 Ÿ~~~~~ 6 # ~ # ~ n n (c.l..)... n f n~ r ' 6 # ~ r # ' Æ (c.l..) f Ÿ~~~~~~~~~~~~~~~... n su. Æ Ÿ~~~~~~~~~~~~~~~~~ # ~ ~ Ÿ~~~~~~~~~~~~~~~ ~ # ~ r ' ~ ~ f 6 Æ dolce 6 (always efore the eat, somewhat free of the temo) ed. (hold)

54 senza vi! ord. col legno+ow 1 n ord. molto esressivo ff su. n 6 (c.l..)... U ord. molto esressivo n senza vi! ord. col legno+ow o 6, ~ r ~ 6 ff U r ~ B~ f.... : ; Ó su. Æ dolce U (ed.) ø (1/) ø (full) (off!)

55 6 1. lay as written. lay as echo 1 B m n Ÿ~~~~~~ n n ~ r n # # r ~ ~ ~ ' ' 6 6 f f ord. molto esressivo ff ord. molto esressivo Ÿ~~~~~~~~~ ~ Æ su. B Ÿ~~~~~~~~~~~~ Ÿ~~~~~ ~ ~ ~ r # ' f R. 6 f su. Ó 1. lay as written. lay as echo Æ dolce Ó (simile) Æ ed. (hold) (ed.) (hold edal through oth reeats)

56 1 senza vi! ord. col legno+ow n n (c.l..) o... r 1 m n n n Ÿ~~~~~~~ ~ ~ # senza vi! ord. col legno+ow o m ~ ~ 1. r ~ Ÿ~~~~~~~~~~~~~~~~~~ o ~ # ~ ~ sfz f (simile) Æ Æ (ed.) ø (full) (off!)

57 1 n su. I 6 n 6. r B n~ 6 6 f m n 6 Æ o ~ f ~ r 6 ~ B~ Æ ff Ÿ~~~~~~~ Ÿ~~~~~~~ n~ n~ ~ B~ m 6 (freely, very quiet, almost not sounding, like mist) Ó Ó ed. (hold)

58 r 6 su. sfz ü n f Ÿ~~~~~~ n~ # ~ n f su. Ÿ~~~~~~ ~ ~ ü 6 Ÿ~~~~~~~~~~~~~~~~~~~ r # ~ ~ ~ ~ su. o Ÿ~~~~~~~~~ n~ B ~ ord. molto esressivo ü dolce Æ (ed.) ø (full) (hold)

59 0 1 ord. molto esressivo I f su. senza vi! ord. col legno+ow Ÿ~~~~~~~~~ n f f su o o r f senza vi! ord. col legno+ow f r ~ ~ 1 B Ó Ó 1 1 (ed.) ø (full) (this material asses to the strings in m.1, and should match their dynamic) (edal freely, sustaining) (ed.) ø (full)

60 1 ord. ow osition 1 I (sul A) _ non-fluctuating dynamic (ick u from iano material mm.1-11) 9 n, : ; (as echo from m. and m. 9) ord. ow osition (sul G) _ 9 non-fluctuating dynamic (ick u from iano material mm.1-11), 1 6 : ; (as echo from m. and m. 9) r R r (freely, very quiet, almost not sounding, like mist) R 9 R R n 9 r r r n ( ) ( ) r r 1 r 1 (ed.) ø (1/) ø (1/) (off!)

61 1 6 f_ su. 6 o f_ su. r ( ) r (simile) 6 r r r R f 6 R R ( f ) (simile) r r ( f ) ed. ø (full) ø (full) ø (full)

62 19 n, (semre!) ( f_ ) ff_ su., (semre!) ( f_ ) ff_ su. (simile) r r r : ; dolce r ( ) dolce (ed.) ø (full) (hold)

63 16 ( ff_ ) n (cut off suddenly!) o. r ( ff_ ) ^ sffz (let ring for a long time...) (forceful!) Ó ( ) dolce : ; (ed.) ø (full) (hold)

64 16 TACET,. r. r o ( ff_ ) fff_ su. Ó su. Ó (ed.) (hold)

65 6 16 Part : coda (getting slower and slower) ( fff_ ) (cut off suddenly!) TACET # (like wind assing through a graveyard...) # (ed.) (edal freely, sustaining)

66 11 n oco cresc. oco a oco descrec. oco rit. (getting slower and slower until the end) (ed.) (simile)

67 1 1.. ~. ~. ~ : ; (as echo) 1 6 : ; (as echo) 1 1 oco a oco cresc. (ed.) (off!) (simile)

68 9 1 U U U # n m (dark) n su. (ed.) ø (full) (edal freely, simile)

69 60 11 (ed.) oco rit. (getting slower and slower until the end) (simile) (lilting, falling, dancing...) n # n l.r. n r n ( ) oco a oco decresc.

70 61 1 U U., R (on chin rest) caressing erdendosi Long Pause I U / 0 6 m_ "Give us this day our daily read..." Long Pause U Long Pause (ed.) (quiet, ut felt...) n- (full) "m" (like snow...) ø (off!) Tritych (arts 1-) draft 06/10/1 score 0/01/1 New York, NY