SILENT QUARTET for string quartet, video, soundtrack & live electronics by Yuval Avital © Yuval Avital 2014
SILENT QUARTETfor string quar tet, video, soundtrack & live electronics
by Yuval Avital
© Yuval Avital 2014
SILENT QUARTET / YUVAL AVITAL
SILENT QUARTET / YUVAL AVITALFOR STRING QUARTET (AMPLIFIED WITH PICK-UPS/CONTACT MICROPHONES)
VIDEO (FULL HD 1080P)
SOUNDTRACK (8 + 2 SPEAKERS OR 4 + 2 SPEAKERS)
LIVE ELECTRONICS
DURATION: 59 MINUTES
CONTAINS:
SCORE
SOUROUND SOUNDTRACK + VIDEO SET CREATED WITH ABLETON LIVE (9 OR HIGHER) & MAX FOR LIVE (MAX/MSP 6.8.1 OR HIGHER).
LIVE ELECTRONICS SET CREATED WITH ABLETON LIVE (9 OR HIGHER) & MAX FOR LIVE (MAX/MSP 6.8.1 OR HIGHER).
PATCHES & EFFECTS FOLDER (MAC OS X.9.4 or higher).
WORLD PREMIERE : EST-OVEST FESTIVAL 2014OCTOBER 24 2014, TURIN, ITALY; PERFORMING: XENIA ENSEMBLE.
I
SILENT QUARTET / YUVAL AVITAL
CONCEPT
THE QUESTIONNAIRE
II
The Silent Quartet is an investigation of nine parallel journeys of nine immigrants living in Italy into their inner memories of home, childhood, family, fears, hopes, confrontation and adaptation and some thoughts regarding their future as well. The basis of this investigation was the Jungian archetype of the hero’s journey, known also as Joseph Campbell's Monomyth, which is based on the analysis of thousands of legends and fairy tales (view The Hero with a Thousand Faces - 1949).Partly inspired by this idea and intuiting that similar life patterns of very different individuals could be told as a tale composed of identical (but of course always different) station, I had decided to base this work on a sort of questionnaire I had made, in which the 9 subjects needed within a precise timeline relive different emotive states connected to their past, present and future.
The Jungian dealing with Monomyth argued that a life story of ANY individual could be summed-up or represented as a cycle of significant stations and transitions of an individual “fairy-tale” parallel and symmetrical to the diverse stages of the life-line (birth-early childhood-childhood-puberty and so on), but the main difference that make the case of an immigrant unique is the fact that his or her entrance to the “unknown” or the “dark world” is concrete and real. It is a significant leap of development which is taking place in an unknown and unfamiliar ambient in which he or she need to cope with the challenge not only of adaptation and integration but also to create a new home, modify their cultural paradigma and set of values to the hosting society and at the same time continue to relate to their “old home”, its culture, collective memory and and set of values - all that without loosing their unique collective and individual identity.
The 59 minutes journey within Silent Quartet is anchored in a parallel timeline in which I asked the 9 subjects to remember, think or aim to a general theme and then to narrate it in silence, rarely saying a word or a name related to these experiences. The Questionnaire was divided to 5 sections (4 of 10 minutes and one of 15+ minutes), which created the general timeline of this work.
The main sections of the Silent Quartet can be summed in the following manner :PART 1 : PRESENT, LOOK AT ME, INTO MYSELF (01’-11’:05”)PART 2 : CHILDHOOD, MOTHER / (FATHER), INTO MYSELF n.2 (11’:05”-21’:30”)PART 3 : INTO MY DARKNESS, MY JOURNEY IN DARKNESS, MY DEMONS (21’:40”-30’:30”)PART 4 : MY BODY, MY SKIN, MY JOURNEY (30’:30”-41’:20”)PART 5 : MY END, MY HOPE, MOTHER n.2 (41’:20”-57’:20”)
a diagram of Joseph Campbell's Monomyth a part my scetch for the Silent Quartet questionnairewritten in a mixture of english & italian.
SILENT QUARTET / YUVAL AVITAL
IDIOMATIC TECHNIQUES
IV
1. Bow positions :
2. Harmonic glissando :
3. Bow pressure :
4. Bow speed, special effects:
5. microtones & special dynamic indications :
6. “X” note-heads and percussive elements :
All “X” note heads represent a non-pitched sound (that could have a relative height though) that could be a sonic effect, an overpressure distorted sound or a percussive element. In cases that a note might “escape” it is advised to dump strings with left hand. Here are the cases in which these note-heads are used:
sul ponte molto sul ponte dietro ponticello sul tasto molto sul tasto dietro e avanti
zona ponticellodietro e avanti zona sul tasto
transizione continua ponticello -> sul tasto
high bow full range
harmonic glissando
high bow small range
harmonic glissando(lower harmonics)
high bow minimal range
harmonic glissando(highest harmonics)
low bow full range
harmonic glissando
low bow small range
harmonic glissando(lower harmonics)
low bow minimal range
harmonic glissando(highest harmonics)
harmonic glissandi Ad . lib.
- - -
molto flautatoflautato(low pressure & fast bow)
poco distorto(overpressure)
molto distorto loco (pressure) variate within the given range freely the bow pressure
- extremely slow bow
("snoring bow")slow bow regular velocity bow fast bow fastest possible bow extremely slow / slow bow seagull effect
vertical bow
fast vertical bow on all strings with dumped strings.fast percussive element on the strings,obtained with a fast rotative movement of the wrist (start high then get lower along the finger board; if there is no immediate necessity of the bow, also right hand could be used).
left hand percussions on the instrument’s body (if there is no immediate necessity of the bow, also right hand could be used).
slow bow (”snoring sound”) on 4th string with portamento of the dumped string.
transition from slow bow on 4th string to fast bowwith clear pitch (open string) remove dumping gradually.
fast vertical bow
example for seagull effectwithin the score.
1/4 bemol
1/4 dies play Ad. lib. within given range
play a continuosrepeating dynamic wavewithin the given range
£ Ø
1/4 dies
ê
3/4 bemol
p-F ppp ff
á± ± ± ±IIIF
YYYYP-F
°
yyæyyæ
°III°IV
ß~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ transition from molto distorto to molto flautato,together
with portamento of the left hand, dumping the strings.
col legno battuto on open strings (without dumping).
a portamento of 2 strings with molto flautato without clear pitch.
ÅÅÅÅÅÅÅÅ
ÅÅÅÅÅÅÅÅ
col legno batt.Jeté L.V.
fYY
YY
pSenza sord.
GGGGGGGG GGGG
GGGG
æ LH
~~~~~
x x x x x x x x x x x x x x x xL.H. percuss. on body
F
ZZ
ZVI°
~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~
Y wF
SILENT QUARTET / YUVAL AVITAL
IX
Toward the end of the piece, from section “N” onwards, I start using ornaments taken from the virtuosic vocal and instrumentaltraditions of different nations. Some of these ornaments might be on the limit of possible, some might be beyond - especially in the given time frame. Do your best, and if needed - simplify. After all performing music should be a challenge not a torture.
** AN IMPORTANT NOTE REGARDING SECTIONS “N” TILL THE END
See the video once, with the stereo soundtrack reduction, then leave the video alone. work acoustically on the score, thenadd the live electronics as soon as possible - the effects will change completely your sound and interpretation. Then start playing with the tape - it will be a third important change. Only at the end, when feeling safe, play with the video as well.
* SUGGESTION REGARDING THE STUDY OF SILENT QUARTET
YUVAL AVITAL 09/09/2014, MILAN
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Time
Vln. I
Vln. II
Vla.
Vc.
584
584 Ó .œ œ œ œ œ .œ
Œ œ œ œ œ œ œ œ œ œ .œ> œ œ œ œ œ œ œ œ œ œ Œ
œ œ œ œ œ œ œ œ .œ> ® œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ‘
ff
f
52':16
w
ww
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w
Ï
Ï
Ï
Ï
w
ww
Œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3
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p
p
fPf
P587
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Timeline
Violin I
Violin II
Viola
Cello OO °III°IV
q = 40 (w=6")
00:00 00:06
Rev 60" ; 80%
Dist. (T) 100% ; (D) 40%
A
YYYYppp-p
00:12
Rev 60" ; 50%
Dist. (T) 100% ; (D) 100%
YYYYppp-p
00:18
Rev 60" ; 50%
Dist. (T) 100% ; (D) 100%
wOwII°
p
00:24
Rev 60" ; 50%
Dist. (T) 100% ; (D) 100%
æÎ
I°
00:30
Dist. (T) 100% ; (D) 100%
wOw
II°
P
Ø
00:36
wOw
OO
P
ppp-p
Ø
Ø
00:42
YYYYP-F
00:48
wOwn
n
np
I°
00:54
Ó R· ‰ ŒwOw
YYYY
Ó R· ‰ Œ
ppp-p
f
III°
01':00
çI°
ç
ã
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Time
Vln. I
Vln. II
Vla.
Vc.
11
11
Ow
wOw
Ó Œ˙
3
Œ ...
˙O
f
I°II°
F
F
loco
loco
loco
B
Rev 30" ; 70%Dist. (T) 100% ; (D) 30%
01':06*
Ow
wOw
. .. .˙Jœœ>
www#
wwwb
F
loco
ƒ
01':12
Ow
wOw
wwbbæ
www#
wOw
p
p
P
f
0
01':24
L.V.
L.V.
L.V.
L.V.
01':4420"
Silent quartetYuval Avital
© 2014 Yuval Avital
Score
for string quartet, video, soundtrack & live electronics
YY
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Time
Vln. I
Vln. II
Vla.
Vc.
15
15
wOwp
II°
01':50C
Rev 30" ; 70%
Dist. (T) 70% ; (D) 52%Grain. (Leg) 2550 ; (Den) % 70
*
01':56
w
p
I°
02':02
w
w
02':08
wOwÓ ˙
wŒ
.œ .œ
w
w
I°
II°
P
P
P
02':14
wOww
w .œJœ
.˙ œb
wœ .˙
open
Í
02':20
wOww
w˙ ˙
w.œb ˙ jœ
w ˙III°
p
Í
02':26
wOww
ww
ww
w ˙F
02':32
wOw
˙Ó
.œ ‰ Ó..œœ
02':42
10"
F
wOwbbb
Ó . .œæ
02':54
Dist. (T) 100% ; (D) 50%
Rev 30" ; 45%
Grain. (Leg) 2550 ; (Den) % 70 ; (Wet) 60%
D
fÍp
02':48
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Time
Vln. I
Vln. II
Vla.
Vc.
26
26
wOw
w
Ó˙O
&
p
03':00
ppp-p
Dist. (T) 100% ; (D) 50%
Rev 30" ; 45%
Grain. (Leg) 2550 ; (Den) % 70 ; (Wet) 60%
...˙O œOœb
Ó˙O#
#
p
03':06
Rev 30" ; 45%Dist. (T) 100% ; (D) 50%
Grain. (Leg) 2550 ; (Den) % 70 ; (Wet) 60%
...˙O œOœ##
#
˙O
˙O
03':12
˙O ˙O
œOœ
.
..˙O#
#
03':18
. .. .. .˙O
JœOœb
œOœ#
# ...
˙O
#
03':24
wOw
wOw
0
03':30
wOw ?
0
03':36 03':42
w
03':50
08"
10"
2 Silent quartet
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Time
Vla.
Vc.
36
YY
04':00E
ppp-pFlang. sine ; Hz 0.1; feedback 90 %
Dist. (T) 100% ; (D) 100%
Rev 60" ; 50%
10"
04':10
YY ppp-pDist. (T) 100% ; (D) 100%
Flang. sine ; Hz 0.1; feedback 90 %Rev 60" ; 50%
25"
VI°
04':30
wb
q = 40 (w=6")
F
always with glissando; sometimes play La
con vibrato cantabile
con vibrato cantabile
+ 1/4 tone, and/or La bemol -1/4 tone
P-F˙ œ ˙n3 .˙b œn ˙ .˙b5
Ó ˙b
.œ jœb ˙
P
always with glissando; sometimes play La
+ 1/4 tone, and/or La bemol -1/4 tone
˙ œn œb œn
.œ œn .œb
05':06 .ca
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Time
Vln. I
Vln. II
Vla.
Vc.
44
44
œ .œ .œb œ œ .œb œ5
5
˙ jœ .œn æ
ÓœOœ
œOœ
œOœ. œ
Oœ. œ
Oœ
ÓœOœb
bb
œOœ
œOœ. œ
Oœ. œ
Oœ
˙ æ
æ Ó
05':18 .ca
P
F
marcato
F
marcato
Jeté
Jeté
Dist. (T) 50% ; (D) 60%Rev 10" ; 60%
Rev 10" ; 60%
Dist. (T) 50% ; (D) 60%
œb œb .œ ˙P-F
œOœb
bb œ
OœœOœ
œOœb
bb
. œOœb
œOœ œœ
œOœb
b
JœOœ. ‰
œOœ
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bb œ
Oœbb
bœOœb
bb
.œœ
œOœ
œOœb
b œOœ jœœ. ‰
œ œb œn ˙
05':30 .ca
sim.
sim.
œ .œ ˙ œ œb œ57
ÓœOœb
bb
œOœ
œOœ.
Œ
ÓœOœ
œOœ
œOœ.
Œ
Ó ˙b
.œ jœb ˙
Jeté
Jeté
simile
P-F
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Time
Vln. I
Vln. II
Vla.
Vc.
Vc.
50
50 ÓœOœb
bb
œOœ
œOœ.
œOœ
œOœ
œOœ.
ÓœOœ
œOœ
œOœ. œ
Oœbb
bœOœ
œOœ.
.œ Jœb ˙bæ
.œ jœb æ
05':48 .ca
Jeté
Jeté
Jeté
Jeté
sim.
sim.
ÓœOœ#
# œOœ#.
RœOœb
bb ‰
ÓœOœb
bb
. œOœb
bb
.RœOœ.
‰
œ œ œ œn ˙7
˙ œ œb œ œn œ .œb5
œ .œ œb œ œ .œ œb5
rœ .œ œ rœ .œb œ7 7
06':00 .ca
œæ Rœæ .œæ œæ œbæ7
œ œ .œn œ œ .œb5 5
w
œæ œæ .œb æ œæ .œæ œæœæ5 6
œ .œ œn œb ˙b6
œb æ jœn æ œæ jœæ œb æ jœæ œæ3 3 3
œb jœn œ jœ œb jœ œn3 3 3
3Silent quartet
con vibrato cantabile
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Time
Vla.
Vc.
Vc.
56
œæ jœæ œæ jœæ œb æ jœæ œæ3 3 3
œb jœn œ jœ œb jœ œn3 3 3
w
06':30 .ca
senza glissando
senza glissando
œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œb œ œ œ œn3 3
œœb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœn œœ œœ œœ œœ œœb œœ œœ œœ œœn3 3
ad- lib. gliss.+ tremolo sulla
°IV corda; frenetico
ad- lib. gliss.+ tremolo sulla
°IV corda; frenetico
f
marcato, senza glissando
marcato, senza glissando
f
10"
10"
07':20
L.V.
L.V.
35"
35"
ã
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Time
Vln. I
59
59
œOœ J
œOœ
œOœ#
# œOœ J
œOœ#
##
œOœ
3 3
sempre III° corda (più possibile), sempre con gliissando
pp-PDist. (T) 50% ; (D) 60%
Rev 10" ; 100%
q = 48 (w=5")
07':20
˙O
˙On
nn
œOœ
œOœ
.
..œOœ
˙O
5
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.
..˙O
7
wOw
.
..œOœ
.
..œOœ œ
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bb5
08':10
JœOœ
. .
. .. .˙Ob
bb
08':20 .ca
JœOœ ‰ Ó .
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Time
Vln. I
Vln. II
Vc.
Vc.
69
69
œOœb
œOœ
œOœ J
œOœ
œOœn
3
Dist. (T) 50% ; (D) 60%
pp-PRev 10" ; 100%
08':30 .ca
‰œOœb
bb
œOœb
bb
œOœ
œOœn
nn
.
..œOœ
œOœn
nn
œOœ R
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bb
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.
..œOœb
5
œOœ œ
OœœOœ
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œOœ
œOœ
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bb
œOœ
7 7
Jeté
JœOœb
bb
. .
. .. .˙O
˙O
˙Ob
bb
æ
˙b œ jœn œ3
w
08':40 .ca
P-Fno change
always with glissando; sometimes play La
+ 1/4 tone, and/or La bemol -1/4 tone
JœOœ ˙
O##
æ RœOœ
œOœn
nb R
œOœ J
œOœ
6
œOœ
œOœ
.
..œOœn
nn
˙O
æ5
œ œ œ œb œæ œ .œn7 5
4 Silent quartet
con vibrato cantabile
con vibrato libero
con vibrato libero
>
>>
>
>
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Time
Vln. I
Vln. II
Vla.
Vla.
Vc.
Vc.
73
73
JœOœ
˙O#
#n R
œOœ
œOœn
nb R
œOœ J
œOœ
6
œOœ
œOœ
.
..œOœn
nn
œOœ R
œOœ
.
..œOœ
5 7
œ œ œb œ .œ .œn œb œ7
w
JœOœ
œOœ R
œOœ
œOœ R
œOœ
.
..œOœ
6
.
..œOœ
œOœ#
# œOœ R
œOœ .
..œOœb
œOœ
.
..œOœ
7 5
œ .˙n æ
JœOœ R
œOœ
œOœ R
œOœ
˙O
6
wOw
œb jœn œ œ jœ œb3 3
w
œ .œb œ œ rœ .œn5 7
09':00 .ca
always with glissando; sometimes play La
+ 1/4 tone, and/or La bemol -1/4 tone
JœOœ
. .
. .. .˙O
wOwæ
œ jœn œ œ jœ œb3 3
œ .œb œ œ rœ .œn5 7
JœOœ
. .
. .. .˙O
.
..˙O
RœOœ
.
..œOœ
7
œ jœn œ œæ œ œ œb3 7
œ .œ œb æ
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Time
Vln. I
Vln. II
Vla.
Vla.
Vc.
Vc.
78
78 JœOœ#
# ˙O
.
..œOœ R
œOœb
bb
J
œOœ
7
œOœ
.
..œOœ
œOœ
œOœ R
œOœb
œOœ
.
..œOœ
œOœ
5 5
œ œb œn œ œb æw
œ .œn œ œæ œ .œb œn5
w
09':15 .ca
J
œOœ
œOœ
.
..œOœ œ
Oœb...
œOœ
5
œOœ
œOœ R
œOœb
˙O
5
œ .œ .œn œb rœ .œn œæ7
œ rœ œb rœ rœ œn rœ rœ œb rœ6 6 6
JœOœ R
œOœ
. .
. .. .œOœb
bb
.
..œOœ
æœOœ
œOœb
œOœ
œOœ
.
..˙O
6
œæ rœ .œb œ œ œn œb œ7
œ œ œn œæ œ œ œ œ œ6 6
J
œOœ
. .
. .. .˙O
wOw
.œ œn œ œ œ .œb5
˙ œ œ œ œ œ6
wOw
rœ .œn œ œ rœb œ7 5
˙ .œ œ œ5
09':35 .ca
ãBB
??
Time
Vla.
Vla.
Vc.
Vc.
83
rœ œn rœb .˙6
w
œ rœ . .œ .œ rœ7
w
09':50 .ca
rœ œn rœ œ œ œ œb œ6 6
w
œ œn œ œ œ rœ œ œ6 5
w
ƒ
ƒ
w
w
15" 10':15 .ca
5Silent quartet
ã
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B
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Time
Vln. I
Vln. II
Vla.
Vc.
87
87
ww
10"
10':25
p
-
G
*
˙˙O
q = 48 (w=5")
loco
F P
con vibrato
10':30 .ca
Rev 10" ; 60%
Œ . jœ .œjœ
Oœ
œOœ ˙b
˙O
3
F
F P
p
con vibrato ...
œœœ
œOœ ˙b J
œOœ
3
Œ ® œ œb œ œ œ- jœb - ‰ JœOœb3
Jeté
pF F p
F p
10':40 .ca
Í P
.
..œOœ œ, œb œ œb œ œb œ œn
œ .œb œ œb
Œ œ# œ œ œ œ œb œ œb œ œn œn
˙˙O
JœOœ œŸi œ#Ÿ
jœœ
F
F P F
F P f P
P
con vibrato
con vibrato
p
F
ã
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B
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Time
Vln. I
Vln. II
Vla.
Vc.
92
92 Œ. .. .. .
œOœb
œŸi œ#Ÿ
.œŸ
œ œb œ ˙n -œOœ
,˙ ˙˙
3
˙O
#
˙# -P F
F f
F P F
F P
Jœ
œ#JœOœ
# ...
œOœ J
œ
œ .œ .œb ‰ œœ# -
Œ ® œ œb œ œ,œ Jœb
‰ JœOœb
3
œœ .œŸ ..œœ# -P F
f P P F
P Í
F P
10':50 .ca
˙ ˙
ww
JœOœ œŸi œ#Ÿ
Jœ# œ
jœœ ˙Ÿi ..œœ-
11':00 .ca
P F
F P
˙ Ÿi
..œœ#>
jœœ ˙Ÿi>
˙O
#
˙#
Jœœ ˙b .œP p
Í Í
P p
.œJœ ˙b
..œœ Jœœ ˙
ww
w
p
P p
11':15
6 Silent quartet
NO VIBRATO !!!
ã
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B
?
Time
Vln. I
Vln. II
Vla.
Vc.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
97
97
á ·· ·#& ppp P (waves)
H
11':15
10" 11':25
* no change
wII°
ppp P (waves)
25" 11':50
wIII°
ppp P (waves)
35" 12':25
w
?
ppp P (waves)
5" 12':30
wOw#
#
#
á ·&
P-F
morse code
morse code
30" 13':00
0
0
0
ã
&
&
B
&
Time
Vln. I
Vln. II
Vla.
Vc.
102
102
wOw
wOw#
#
#
?
pp-P
40"13':40
Grain. (Leg) 1700 ; (Den) % 17
Trasp. high (24/36) ; (Wet) 60%
*
pp-PGrain. (Leg) 1700 ; (Den) % 17
Trasp. high (24/36) ; (Wet) 60%
20"
wOwb
b
b
Ow
pp-P
F 0
20"
14':00
Dist. (T) 50% ; (D) 60%
wOwb
bb
wOwæ
10"
14':10
0
wOw
30"
14':40
*
wOw
15"14':55
Grain. (Leg) 1700 ; (Den) % 17
Trasp. high (24/36) ; (Wet) 60%
wOwØØØ
wOwb
5"15':00
Grain. (Leg) 1700 ; (Den) % 17
Grain. (Leg) 1700 ; (Den) % 17
Trasp. high (24/36) ; (Wet) 60%
Trasp. high (24/36) ; (Wet) 60%
wOwÙÙÙ
10"
15':10
Grain. all (Den) to 70% Trasp. high all to (Wet) 00% -> close Trasp.
wOw°°°
15':2515"
ã
&
&
B
?
Time
Vln. I
Vln. II
Vla.
Vc.
110
110
wOwn
nn
5"15':30
*
wOwn
nn
wOwn
nn
10"
15':40
Grain. all (Den) to 5%
wOw#
##
wOw
5"15':45
wOwØØ
Ø
wOwê
êê
15"
16':00
wOwÙ
ÙÙ
wOw#
##
5"
Grain. all (Den) to 100%
wOw
wOw
5"16':10
wOwê
êê
wOw#
##
2"
wOw
wOwwOwwOwÙ
ÙÙ
8"16':20
wOwn
nn
5"
wOwwOwÙ
ÙÙ
wOwwOwØ
ØØ
5"16':30
0
0
0
0
Grain. all (Den) to 70%
7Silent quartet
con vibrato cantabile
con vibrato cantabile
con vibrato cantabile
con vibrato cantabile
ã
?
Time
Vc.
120
ww
q = 48 (w=5")
F
più legato possibile
16':30
* Rev 06" ; 60%Grain. (Leg) 1800 ; (Den) % 50 ; (Wet) 20%
Dist. (T) 60% ; (D) 40%
wwb ˙˙ ˙ ˙ ˙bF ˙ ˙b ˙ ˙b ww ˙b ˙bbFwwf
ww wwPwwbF
˙˙ ˙ ˙ ˙bbF
ãB
?
Time
Vla.
Vc.
134
ww
17':40 .ca
˙b ˙ ww ˙b œœb œœf ƒww œœbb ..˙˙
F
Ó . œ-
˙b ˙b
f ˙ œ œ œ3
˙ ˙b
.˙b œ
ww
f w
˙b ˙bbF
œ œ- œ- ˙3
..˙ ˙
. .˙ jœb>
˙˙b ˙b
f
ã&
&
B
?
Time
Vln. I
Vln. II
Vla.
Vc.
146
146
˙ œ- œ- œ-3
˙b ˙P
18':40 .ca
˙ ˙b
˙ ˙b
P ƒ
f
˙ œ œ> œ3
˙ ˙b Psubito p
subito pjœ .œ Œ Œ Œ œ œ
œœb ˙ œœ ˙f
˙b ˙
wwbF
Ó jœ .œb jœ
.œ œ œ œb œ .œb .œ Jœ
˙b ˙bb
f
Œ ‰ . œ œ œb œ . .œb
œ .œ œ œ œb œ . .œb
œ .œ œ œ œb œ . .œb
œœ .œ œ œ œb œ . .œb
f
f
œb œ .œŸi .œŸ Œ jœ œ œ jœ œ
jœ .œŸi
.œŸ Œ œ œ œ
jœ .œŸi .œŸ Œ œ œ œ
jœ .œŸi .œŸ Œ œ œ œ
ã
&
&
B
?
Time
Vln. I
Vln. II
Vla.
Vc.
154
154 .œb œ œ œ jœ .œ ‰
.œb jœ .œ jœ
.œb jœ .œ jœ
˙ ˙bF
più legato possibile
19':22 .ca
‰ œ œ jœ œ jœ .œb œ œ Jœ
œ œ œ œ .œb jœ
œ œ œ œ .œb jœ
œœ ˙ œp
˙ Ó
.œ ‰ Œœ œ œ
.œ ‰ Ó
w
.œ ‰ Ó
.˙ œœbF
Ó Œ ˙b3
œœ œœ œœb œœbb
pizz.
P
Œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3
œ Œ Œ ˙5 3
œœ ˙ œœbb
Fœ œ œ œ œ œ œ œ
Ó3 3 3 3
Œ œ Œ jœ ‰ jœ œ3
Œ Œ ˙ œæ3 5
..˙ œœb
pizz.
arco
Í
8 Silent quartet
ã
&
&
B
?
Time
Vln. I
Vln. II
Vla.
Vc.
161
161
Jœ ‰ Œ Œ . Jœb
Œ Œ jœ Ó3
˙ œœb œœbb
pizz.
P
20':00 .ca
Ó ‰ ‰ Rœ œ œ œ œ3 3 3
Jœ ‰ Œ Œ jœ œ
‰ œ Œ ‰ Œ œæ3 9
œœ œœ ˙
F
arco
Í
œ œ œ œ œ œ œ œ œ œ‰ Œ
3 3 3 3 3
œ œ œ œ> œ œ œ œ> œ œ œ> œ œ œæ Œ œb Œ3 3 3 3
Œ Œ ˙ Œ jœœ33
˙ ˙bb
arco pizz.
P f P
Ppizz.
Ójœ œ œ œ œ œ> œ œ œ œ> œ œ œ> œ œ
3 3 3
Ó . œ
Œ Œ ˙˙ œæ3 5
œœ ˙b œœ
pizz.
F
Í
arco
˙æ Ó
˙ Ó
Œ œ œ œ œ> œ œ œ œ> œ œ œ> œ œ œæ Œ3 3 3
ww
ƒ
P F
ã
&
&
B
?
Time
Vln. I
Vln. II
Vla.
Vc.
166
166 Ó˙
Œ .˙
Œ ˙b œæ Œ3 5
˙b œœ œœbb
pizz.
P
F
P
arco
Í
20':25 .ca
˙ ˙b
˙ œb œ
Œ ˙ Œ Œ jœ3 3
œœ œœbb ˙˙P
pizz.
˙Ó
.˙ œ
œ Ó .
œœ ˙b œœb
œ œ œ œ œ œ œ œ œ œ œ œ Œ3 3 3 3 3 3
.˙ œ
Œ Œ ˙ Œ3
..˙ œœb
F
.Jœ ˙b œ
œ ˙b œ
Ó ‰ œæ ‰5
œœ ..˙
arco
fœ Œ Œ œ œœ Ó œ œŒ Œ Œ œ œ
œœœœ ˙
arco
f
f
f
*accelerate if needed to match timeline
˙b ˙
˙b ˙
˙b ˙
wwb
.œ œ œ œb œ .œb .œ jœ
.œ œ œ œb œ .œb .œ jœ
.œ œ œ œb œ .œb .œ Jœ
˙b ˙bb
ã&
&
B
?
Time
Vln. I
Vln. II
Vla.
Vc.
174
174
œ .œ œ œ œb œ . .œb
œ .œ œ œ œb œ . .œb
œ .œ œ œ œb œ .œb œ
œœ .œ œ œ œb œ .œb œ
21':05 .ca
jœ .œŸi .œŸ Œ œ œ œ
jœ .œŸi
.œŸ Œ œ œ œ
jœ .œŸi œŸ Jœ ‰ ‰ œ œ œ
jœ .œŸi œŸ Jœ ‰ ‰ œ œ œP
P
P
P.œb jœ .œ jœ
.œb jœ .œ jœ
.œb jœ .œ jœ
˙ ˙b
œ œ œ œ .œb Jœ
œ œ œ œ .œb jœ
œ œ œ œ .œb jœ
œœ ˙ œœb
f
f
f
F
.œ œ œ œ œb
.œ œ œ œ œb
.œ œ œ œ œb
œœ œœb œ œ œ œbf
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ jœb œ œ œ œ œ œ
œ jœb œ œ œ œ œ œ
œ jœ œ œ œ œ œ œ
œ jœ œ œ œ œ œ œ
w
.˙ Œ
˙ Ó
˙b ˙Fã?
Time
Vc.
182
˙˙ ˙
21':45 .ca
˙ ˙b
22':00
9Silent quartet