AMERICANCOMPOSERSEDITION

ROBERT CARL

SEARCH

forpianoquintet

PublishedbytheAmericanComposersAlliance,Inc.(BMI)2013
www.composers.com
info@composers.com

Piano Quintet, Search (2012)

Robert Carl

Written for the Locrian Ensemble, dedicated to their director David Macdonald,
in appreciation of his support over the years for my work and in memoriam
John Kreckler, co-founder of the ensemble
Instrumentation:
2 Violins
Viola
Violoncello
Piano
Duration: c. 20'
Special techniques:
String players consistently use a technique of double-stopping where an open string is
held while a second fingered string is continuously glissandoed to an indicated target pitch.
Glissandi begin on the attack of notes in parentheses. The most logical string for the slide
should be used as a default in every case, unless instructions direct otherwise.
In mm. 278-295, an additional slide emerges, this one vocal. The players progressively
move from humming, to mouth half-open, to fully open. The sound should be crafted
to blend as closely as possible with the instrument (so no bel canto sound!).
The effect should be that the audience does not realize what is happening until well
into the passage. (Also, octave displacements are allowed due to gender-dependent range.)
The pianist plays a few notes muted with fingers (+). S/he also places two wedges in section #6,
into the indicated low C and E strings to create a prepared sound, and removes them quickly
and quietly at section's end. At the very end of the piece, an indicated chord is held and caught
with the sostenuto pedal, and then the pianist brushes the strings lightly with fingertips al niente.
Descriptive Note:
My quintet comes out of the experience of meditation, which is a constant search for a balance
between the incessant chatter that the mind generates (the monkey mind of the opening piano solo),
and something more open, spacious, and calm (embodied in the glissandoing chorales for strings).
Along the way, there is struggle. And indeed, the monkey mind has much to give us, in terms of
inspiration, energy, and creativity. The form of the piece also suggests this struggle by its diversity
of formations, including two duos (violin and cello), solos (piano and viola), piano trio, and
piano quartet. The quintet is used as a fully integrated ensemble in the large middle
Contemplative Space and at the end of the piece. By that point, I hope some reconciliation
is achieved between the two, and that the sense of mental and spiritual growth suggested has use
beyond any narrowly sectarian outlook or practice.
-----Robert Carl

Piano Quintet, "Search" (2012)

1. Introduction: Beautiful Monkey Mind

(q)

R. Carl

Violin 1

& 44

6
4

4
4

Violin 2

4
&4

46

44

Viola

B 44

6
4

4
4

Cello

? 44

46

44

Piano

4
&4

# > b b b N b > b >

#

(nervous, driving, forceful)

46

w.

S f
S f
S
3
3
4 # > b b b N b > b > 46 w .
&4
#

# >
5
& 44 #
Pno.

Pno.

4
&4
>

>
8

& 44
S

& 44 #
>

b b b
3 >

b

#
b

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f
3
3
3
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N

b
3

b
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b # # # .
# #
f
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b
3

>

43
S

43 #
>

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44

w.
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6
4 w.

4
4

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3
b

b 4
4
f
3

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4
&4

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4
&4

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Vlc.

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11
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Pno.

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4

3
4 .

43

3
4

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& (w )

(sul D)
(s. v.)

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#

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(

j
j
& . .
(U.C.)

(c.v.)

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b .

17 (like a ripple in the water of the strings...)

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b . . . . . . .
p
3

w)
p

(senza vibr.)

3
#

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n
11
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n

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17

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2. Chorale 1
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(l.v.)

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cresc.

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p
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b .

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(

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(con vibr.)

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Vln. 1

& w (w)

Vln. 2

& ww

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w n
P

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(w )

(c.v.)

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p

) .

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30
Vln. 1

Vln. 2

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(s.p.)

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j j
& b . . . . b
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30

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&

(ord.)

( )

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n
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(c.v.)

cresc.

3
j j 3
j j 3
j
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p
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j
j
j
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( )

(sul D) (s. v.)

24

Pno.

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( )

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( )

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f

(s.p.)

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ww

3
j
j 3
j
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b . . . . b . . . . . b
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F
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p
3

>
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S

(ord.)

35
Vln. 1

Vln. 2

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Vlc.

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.
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F

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( )

35

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f

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f
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(ord.)

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3 .
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3

n
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&

3. Trio
38
Vln. 1

Vlc.

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f
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&

b .
b

P
&

(U. C.)

38

Pno.

n - .

n
n

b b
#

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42

b .
42

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24 # #

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46

n .

b .

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46
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&4
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40
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(q)

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3
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F. 3. . . . . . . . .
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3

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.

. # .

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(no pedal!)

. . .
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4

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4

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44

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4
&4
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(skittering, always off the string)

42
Vln. 1

Vlc.

& 44

42

Pno.

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44

Vln. 1

Vlc.

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44

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b

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...
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2
4

46

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&
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49
Vln. 1

Vlc.

Pno.

&

Vln. 1

&

Vln. 2

&

Vla.

. . . . # .

. b . . .

. . . . . . . . . . . .
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4

4
4

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(q)
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Pno.

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49 .
b . . . .
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51

Vlc.

2
4

&

. 3. . b . 3. . b . . . . . . . . . . . . n . b . . n . b . .

44
f
>
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4
Sf

42

42

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24

.
b

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b

b
42
.
24 # #

4. Chorale 2
(q)

n .

# >
44 J .
S
44 (A:w Sul G)
w
p
44 ww
p
>
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S

44

# a . 4

ww

ww

( )

ww

ww

56
Vln. 1

&

Vln. 2

& # ww

Vla.

Vlc.

w
w

w
B w
?

& 45 w

Vln. 2

Vla.

Vlc.

5
& 4 # ww
F
& 45 w

? 45 w(w)

Pno.

5
&4

? 45

68

w
w

w
w

(A: Sul G)
w
w

w
w
F
w
w

w
w
p

w
w

w
w
p
ww
p

w
w

ggg b w
ggg b w
ggg ww
g
F

#w
w

( )

w
w

w
w

( )

(Poco Rubato; tutti colla piano)

68
Vln. 1

ww

w
w
w
w
w
w

.
.

.
.

.
.

..

p
(A: Sul D)

&

ww
P
ww
P

ww
P
ww
P

F
ggg b # ..
ggg .
gg .

(all left hand arpeggios anticipate beat; right hand on beat)

45

ww

( )

( )

ww

. .
p
. .
p

(D: Sul G)

5
4
5
4

(A: Sul D)

3
3

3
# n b # b b n b n n # n - b b b
b

5
4

w
w

( )

(A: Sul G)

ggg n n
gg
F
ggg b #
ggg
gg

72
Vln. 1

Vln. 2

Vla.

Vlc.

&
& w
P

.
F

( )

B w
P

.
F

( )

w
w
f

ww
f

72
b n b b n n # n - b b b
b
n b
&
P

.
P

gg wwww
gg
gg
gg f
ggg # b ww
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3
g

b gggg ww
3

Pno.

b b

43 . .

.
P

3
4

3
4 . .

# # # b n - b
b
F

43

b ..
b
g
g
3 gg b ..
4
f
gg b # ...
43 gg
b
b
3

- b -

4
4

44 w w
( )
p
4 w(w)
4
p
44

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

w(w)
P

Pno.

ww
F

b 3

& J

b. .

3
? J . .

78

(l.v.)

# ww
F

w(w)
P

w(w )
p
w(w)
p

w
w
F

w(w)
P

w(w )
p

&

w (w )
w (w )
w(w)
w( w)

3
3
.
.

J J

p3

3
.

j
j
#
#
# . .
?

. . .
J
J
3
3
(l.v.)
p

bw
w
P

ww
P

(like a faint telegrtaphic

message)

4
4

44

(U.C.)

(all left hand arpeggios anticipate beat; right hand on beat)

78

5 ww
4
P
45 # ww

45 ww
P
w
45 b w
P

F
F

4
4

44

44

44

3
54 #

5
4 .

44

& 44
p

Vln. 1

Vln. 2

Vla.

Vlc.

4
&4

Pno.

& 44

Vln. 2

Vla.

Vlc.

Pno.

>

>>

>

>

( )

w
(w )

P
N ww

w
( )

# ww

&

>
>

b > .

( )

j
3
j
N

. b# b .b . n

b . . J
J
3

#.

# #
3

b
J 3
3

w(w)

w(w )

w (w )

w (w )

w(w)

w (w )

. .
b

w
w

ww

( )

( )

#
p 3

..

( )

w (w )

w .

w (w )

# . ww
. #.

( )

w
.

w
w

w .

#w #
#. .
J

b.
w
F

w
w

( )

# ww

w ( .)

( )

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ww

ww

b ww

# w ( .)

? w
b.
p

.
w

( )

B ww
p

&

>3 > > >

#
f > 3 >>
>

b
>J >

w
P

w
& w
p
& # ww
p

94

ww

..
J
p
.
b J .
p
3
>
>

#.
.
>
>
>
.
.

94
Vln. 1

ww
F
b ww

ww

# ..
J
f p

# ww
F

B 44 w(w )
P
? 44 w (w )
P
86

.
J .
f
p

w
w
F

4
& 4 w (w )
P
4
& 4 w (w )
P

86

ww
F
w
w

46

6
4

g
#

. ggg ggg
b
ggg
ggg
ggg
ggg p
ggg
ggg
p
P

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N

46

46
46
6
4

10

Vln. 1

6
&4

5
4

Vln. 2

6
&4

5
4

Vla.

B 46

45

Vlc.

?6
4

5
4

103

6 gg b
& 4 gg n
ggg J
ggg
g
? 6 gggg #
4 J

103

Pno.

Vln. 2

Vla.

Vlc.

ww

b.
5 gg b ggg # ... gg n n
4 gg n gg . gg
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gg gg gg
gg gg gg
5 gggg # gggg n .. gggg b
4g
g J

45
B

&

5
4
45 ww

b
w
P

( )

&

Pno.

w
w
P
# ww

( w)
w

w
(w )

44
w
w
p
4
4 w
w
p

w
w

&

( )

w
(w )

4
4

4
4

5. Duo 1
(q)
b 3
b b
5

ww

& ww
p
? w
w
p

. .
gg .. gg ..
ggg . gg .
gg ggg
ggg gg
ggg . ggg .
g . ggg ..

ww

& b ww
p

110

.
ggg # ..
gg .
ggg
gg
gggg ...
g b
ww

w
& w
p

110
Vln. 1

4 w
4 w
p
4 w
4 bw
p

gg b ..
54 gggg ..
ggg
ggg
ggg F
bw
5 gg w
4

P
bw
w
P
bw
w
P

F
F
F
F

w
w

( )

( )

( )

w(w )

P
b

( )

w
w

( )
( )

w
w

( )

.
b b n

j .
#

b n
&

n 3 b b
n n
b

b n 3
b b b g
b
b ggg b
ggg
ggg b
P
ggg
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gggg #
gg
f

b
f

b n b gg b
b # n b ggg n
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#
ggg
P
gg
ggg
gg
.
gg
g b
f
3

b >
b
S

11
3
7
a. # # # . .
# # b 3 3
b

n
J
6
4
f F
F
f F
3
b - . - . n - . A - .
#

3
b
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n. A.
.
n ggg
#
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6 b .

g
4
gg b
gg b
gg
gg
g
ggg f F
g
F
P
F
gg f
gg w
ggg
g
6
ggg b
gggg ww
4
gg
g bw
g

# # b 3 3 b
n

116
Vln. 1

&

116

&

Pno.

# # 3
# #

7
&4

n.

w
7 gggg b www
& 4 gg
gg
ggg
gg f
? 7 ggg # ww
4 gg w
g

119

Pno.

5
4

#
#

? b

6
&4

132
Vln. 1

w>
g
g nw
& 46 gggg b ww
ggg
ggg S f
g
? 46 gggg ww
gg b w
g

132

Pno.

b b
& # #

b.

# ww)

& ww
( )
F

(q)

b # 3
b b
n

b 3 # 3
b # # gg b -
# 45 gg b
gg
gg
F
ggg f F
gg
5 gggg # ww
4 gg w

125

Pno.

ggg n
gg b b
ggg
F ggg f
gg
gg
ggg b
ggg

125
Vln. 1

? .
119

Vln. 1

3 #

# >

>

Sf

>

S
# > b >

(q)

b n
4

4
#
>
>
S
S
3

- - b

4
4

2
4

b .
b # ... ..

w
w
f

w
w

( )

( )

# -

f
b #

3

b
F
3

b # wwww
f
3

#
#

&

A Tempo

6
4

3
gg b w>

g w
b
42
46 gggg b w
ggg
F
ggg S f
P
g
2
6 ggg ww

4
4 ggg b w

4
4

>

>

N 3 b

44

4
4

>

ggg b
ggg b
gg
ggg F
ggg n
ggg
g

>

Sf

>

>
j

6
4

6
# b 4
3

3
b

b n

7
4

>
# n ... b b n n ....
.
Sf F
b > . ..
b .. .

(Pedal on each attack up to m.130)

7
4

3
# 7
n # 4

S
F
b >
j
. .
b
b 44 n . b b . .. b .. ...
b
n . .. ..

Poco Rit.

# ww)

w
w
F

( )

6

4
3

b - n -3 # f

2
4

42

2
4

12

()
137
2
&4

Poco Rit.

Vln. 1

Vln. 2

Vla.

Vlc.

2
&4

137

Pno.

?2
4

6
4
6
4

B 42
?2
4

2
&4

w> .

A Tempo

Sf

46

6
4

b g n b ww> ..
b ggg b w .
3
6g
b
4 gggg b ww ..
gg
b
gg
ggg S f
6 gggg ww ..

4 gg # w .

4
4

4
4

44
4
4

# -

#
P
3

*)

6. Contemplative Space
(q)

w
p

(sord.)

n.

*) Viola holds fermata long enough for (Note in parentheses

4
4
(l.v.)

4
4

~~~~~~~ ~~
b.

pianist to insert wedges on strings of is always trilled TO)

(Bb)
(B)
two inotes indocated below:

(Always note different

dynamics between two hands,
layers of left hand)

w
(w )

( )

< < < <

(sempre)

(no pedal; dark and crisp!)

146
Vln. 1

&

Vla.

Vlc.

~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (Bb)
j
b
.
& ..
p

3
3
?

3
P

(sul pont)

(E)
(F)
~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~ (E)~~~~~~~~~
b

b
b.

146

Pno.

#
#
& # - . . # . . . - . . . - . . . . - . . . . # - . . # . . - . . n . . - . . . . # - . . . . - . . # . .

Vln. 2

13

150

&

Vln. 2

&

Vla.

B
?

Vln. 1

Vlc.

150

Pno.

.
- . . #

Vln. 2

Vla.

Vlc.

&

&

.
p

>
B
J
P
?

. >

(always skittery, off the string)

(B)

(s.p.)

3 b
J
P
F

N.
p

b N 3 3

~~~~~~~~~~~ (B)~~~~~~~~~~
b.

(Bb)

~~~~~~~(C#)~~~~~~~~~~
.
.
P
p

(C)

j > > . . #5. . >3

& .
J J
J
f F
F

(ord.)

ww
p

3
. . >
3

J .
J
J

~~~~ ~~~~~~~ ~~~~~~

& b
p

p
j

(C)

156

Pno.

Vln. 1

# 3.
- .
J

P
?

156

F P

&

>
. >
. . # . b J
J
F
P

3
(Gb)
(E)
~~~~~~~
b w ~~~~~~~~~~~~~~~~~
P3

14

161
Vln. 1

Vln. 2

Vla.

Vlc.

Pno.

&

&

Vln. 1

&

Vln. 2

&

Pno.

F3

.
- . . #

. .5 . .
.
B

F P F

165

&

(spiccato)
3
3
3
>
6. . .
>
>
.
.
n

. # . . . . . . # . # . . . . n b n
J
J
F
P
P
F

p
P
(Gb)
(Ab)

161 ~~~~~~ (G)

~~~~
~~~~~~

~
&
F P
? b

165

Vlc.

3
. . N . . b

&

Vla.

.
#

.
n

. 3 . . . .6
. . .6
. & b . b . . > n b n . b . . >
J
J
F
F

J
P
F

>
J
P

n
# - . . . . . - . . . - . . . . - . . . .
p
(ord.)

j
J
J

. .
J
P

b .
J

(ord.)
. # . . . . . . . # . > . . . . . . . . . . .
FP

(col legno battuto)

15

# . ("breathy"; bow noise) .

-.
. b . n .
J
b

J
&
J
FP
F P P

169
Vln. 1

Vln. 2

Vla.

Vlc.

N .

&

Pno.

. .

& R

169

&

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

Pno.

>
B J
F
?
w( )

(s.p.)

(E)

(F)

.
J

b .
n .
.
. 3 .
b .
. 3 b .
#
# n

J
F
P
P
F

>
6
.
. # . # . . # #
J

P
F
b

~~~~~~~~ ~~~~~~~~~ (F)~~~~~~

b
n
b

P3
b b

3
- . . . .

F P

>
J

.
> . . .

(ord.)

3
. . . . . b . b . n . .

P
F

5
3
. . . .
. 3 . . .

. . 5 .
5. .
. . . . . . . . . . . . . . .
J
J
J J J
P
p
P
p

173

.
. b . n . b . n .
J

b - .

( )

. . n .

.
# R
P

- - -

. 3. . .

173

&

n .
J

3
- n - -

16

b -

Vln. 1

Vln. 2

Vla.

Vlc.

Pno.

&

&

.
B J J
P
?

ww

b > .

J
p

Vln. 2

Vla.

Vlc.

3
. .

S P

>

b -

("breathy")

# - . . - . -
# . . . . . - . . . . J
P
5

(ord.)
3

b > .

&

3
. .3
# .
b - . . . b . n . J

J
&
p
P

&

- - - 5 - - - - 5- - B

p
? n
&

b >

n # n #
@
S P

P
3
? b

n . . b . b . . . n . b . .

J
p
P
b b
n

-5
- .

#

3

- (s.p.)

F fP

- -

# -

(ord.)

&

.
# #

.
. .
P
3
b
n

.
. . # .

n # n

SP

176

180

Pno.

(s.p.)

180
Vln. 1

.
J
p

.
. . b . n .

b - .

("breathy")

176

P
. . ..
. n . # . . #

.
J
p

F
n

17

183
Vln. 1

Vln. 2

Vla.

&
&

n .

# . n .

J

P
b 3

? b

n

3

.
J

. .

# >

SP

. n . . b . b .

&

Vln. 2

& # . . . # . .

S P

&
?

~~~~~~~~~~~~~~~~~~~~~~~~~
n
(F)

b >
#

?
186

Pno.

&

Vln. 1

Vlc.

SP

186

Vla.

n # n # > @

fP

183

Pno.

(ord.)

Vlc.

- -

3
.
("breathy")
-.
. . b . n . .
J
b

p
P
3
3
b b
n

. . n . b . .
J
p
3
#
. . . .
<

( )

.
J

.
<

(E)
(F)
~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
b

n .
5

# . .

. . .

b n # n # >

(Gb)
~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

(F#)

# n n #

. 3
b - . . . b . n . # J. J
p
P
3

# . . . . .

SP

&

~~~~~~~~~~~~~~~~~ (F)~~~~~~~~~~
.
b.

(F#)

18

188
Vln. 1

Vln. 2

Vla.

Vlc.

&
&

&

b n # n >
?

Vln. 2

Vla.

Vlc.

. . . .

j
&
F

ww

# . . . .

. . . .

. # .
...
p
3

w( )

n
3

5
.
.
. . # . # .

# n b

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
# .
(A)

. . .
b - . . . b . J

("breathy")

p
b b n

(s.p.)

3 3

. . . .
. . # . . . . . .

J
F
#

( )

&

( )

. ....
b . b . n .
P p
.

(F)
~~~~~~ w~~~~~~~~~~~~~~~~~ (A)~~~~
~~~~~~~~~ ~~~~~~~~~~~
~~~~~~~~ ~~~~~~~ ~~~~~~~~~~
~~~~~~~~~~~~~
#.
#

.
n.

#.
b.
J
& # # #
P
P
p
p
p
?

190

Pno.

. . .
.

bb n b n b n b # n n

&

&

p
b

190
Vln. 1

b
J

188

Pno.

(ord.)

(E)

(F)

(Gb)

(F#)

(G)

(A)

(Bb)

19

194
Vln. 1

&

Vln. 2

&

Vla.

Vlc.

Pno.

b b n

b 3 b 3 n

Vln. 2

Vla.

Vlc.

P
...
3
. . . .
J J
p

b .
&
F

&

B
?
198

&

Pno.

&

w
p
P
3
3
(B)
(A)
(B)
(B)
194 ~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~~~~~~~(Bb)
~~~~~~~~~~~~ ~~~~ ~~~~~~~~~~~~~~

bw
n bw
&
P sub 3 p
3
3
3
? b b b

3
p
3
P
?

b b 6b n .
J
P 3
F

("breathy")

n.

>
b> n # n # # n n .

S P (no cresc)

SP

(ord.)

3
. # .

w( )

("breathy") (ord.)
198
Vln. 1

.
. . . 3. . . . #

.
. .
. . . J

~~~~~~~~~~~~~~~~~~~~~~~ (A)
~~~~~~~~~~~~~~~~~
b

(Bb)

# .
J
p
3

() #

3

# . . . . .

>
b> n n # n # # n n .

SP

SP

~~~~~~~~~~~~ (C)
~~~~~~~~~~~~~~~~~~~~~~~ (B)~~~~~~~~~~ (B)
~~~~~~~~~~~~~~~~~~~
b
n.
.
bw
p
3

(Bb)

b b

sub P
3
F

20

201

&

Vln. 2

&

Vla.

Vln. 1

Vlc.

( ) #
?

Vln. 2

Vla.

Vlc.

b b

&
& #.
p<

(F)

(C#)

(Gb)

(E)

b n # n .
J
P
p
4
3
3
3
3
>
b
#

#
.
.
# J
J

. . .

# > > >

P
p
P F
P
S P
b.
p

("breathy")

? .

( )

# .

. . # .

b n3
3

(ord.)

.
.
p
# # n > .
@
P
SP
&

( )

P F
>
3
b

Jb
F
. .
. .b b
B

F>
.
F

(s.p.)

204
~~~~~~~~~ ~~~~~~~~~ (A)
9
9
9
~~~~~~~~~~~~~~~~~~~~~

# n # # #

&
#w

(A)

Pno.

#
. . . . . . . . . . . . . . # . . . . . . . . . . . . . . .
P

# . . . . . .

204
Vln. 1

~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~ ~~~~~ (F)~~~~~~ (E)~~~~~~~~~~~~~~~~~~

~~~~ (D)
~~(D)~~(C#)
~~~~~ ~~~~~~~~~~~~
5
b
n
#
b
n # b
& # n
p

p
P
P

201 (Db)

Pno.

(Bb)

21

207
Vla.

Vlc.

B
?

&

209
Vla.

Vlc.

&
&

209

Pno.

&
?

w>

Vlc.

& 44

& 44
?4
4

8. Duo 2

8
4

6
4

46

8
4 W

5
4 .

8
4

5
4

(Take out wedges,

quietly!)

8
4
(q)

4
4

44
p

3
4

(con vibr.)

#w.

46 # w .
6
4

(senza vibr., very still)

5
4

(start when you hear the

piano sound about to die)

U
w

4
&4

U
J .

W> .

215

Pno.

>
b
b

b
b
Sf

(l.v.)

(q)

215
Vln. 1

& .
?

.. b b # b n b b n n # n # #
R

7. Solo

&

. .

207

Pno.

>
J
Sf

Rit.

44 b
p
4
4

5
4

4
4

4
4 b

4
4

4
4

4
4

7
4

7
4

3
4

44 b
b # ww
3

4
4

4
b . # j 4

b. #
J

4
4
4
4

(sempre Ped.)

w
cresc.

3
3
? 4 b #w
34
& b
b - # . j 4
#
P
F P

34 # # . j
# .

7
4
.

7
4

4
4

3
b # a
# # #

# 3 #

# n # #
b
3

3
4
&

43
43
3
4

22
3
&4

222
Vln. 1

Vln. 2

Vla.

Vlc.

Pno.

(q)

(senza sord.)
3 .
&4
cresc.
& 43
& 43

4
4
4
4
44

F
222
n 3
b
3
& 4 # # #
? 43

3
&4

226
Vln. 1

b ..

Vln. 2

3
&4

Vla.

& 43

Vlc.

& 43

b
b
F
3

3 # b n n
& 4 # #
b
3

226

Pno.

?3
4

4
4

# # - ..

44 #
F

# # 4
4 b
3

4
4

43

w
cresc.

&

3
4

# # b a A# b #
# n # b
F

# #

b
n #

n
f

.
J b P
3

- .

&

j3 b .. n ....
# # .. # .
n .
b
#

P

# # - # 3

#
- b
-

#
b -

.
>S
P

# #
-b
f - n - - 3

#
f
ww
f
>
w
S

ww>
b
# # ww
S
w>
nw

b
- -

6
4

6
4

w
w

sub

w
w

sub

46 w .
(w .)

46 (w .)
w.

6
4

6
4

w.
wp .
bw.
w.
P
w.
w.
P

3
4
3
4
3
4

9. Chorale 3

n ...
>
3
# # a 4 n b # b # > ...
n N 4 # #
Sf
3

A
b

#

J

4
4

b b - ..

# # 3
b
J
f
P

3
4

w
w

#w
p

# F
# # F

ww

p
w
w
p

4
4

- ..

P
..

ww

3
4 n
4 # # #
b

..

..
P

4
4

ww

4
4

4
4

44

44

4
4

4
4

23

6
4 w.
( )
w.

233
Vln. 1

Vln. 2

Vla.

Vlc.

& w
w
p
& w
w
p
B w
w
p
?
w
w
p

2
&4

244
Vln. 1

bw.
w.
P
#w.
w.
P
w.
w.
P
w.
w.
P

6
4 (w .)
w.
46 w .
(w .)

6
4 (w .)
w.

5 w
4 (w )

Vla.

B 42

45 (ww)

Vlc.

? 42

45 w
(w )

& 42

45

? 42

45

Pno.

p
p

45 ww
( )

4
4

44

4
4

f
bw
w
f

f
w
w
f
# ww

244

bw
w

(q)

& 42

Vln. 2

4
4

(q)

5
4 (ww )
P
5
4 ww
( )
P
45 ( ww)
P

w
w
p
w
w
p
w
w
p

n.
.

64 ( ..)
S F f

.
64 . b .
( .)
SF f

64 . # ..
( .)
SF f
64 b .
. .
( .)
S Ff
46

46

w
F
#w
w
F
ww
F

5
4 (w )
w
P

w
w
p

bw

w
w
F

3
4

P
3
4
P
3
4

43

.
.
P

4 w
4 ( w)

.
.
P

44 w
( w)

4 w
4 ( w)

.
.
P

Nw
w
F
w
w
F
# ww
F
bw

4
4 ( w)
w

..

2
4
2
4
42
2
4

w
F

10. Quartet
(q)

5
4

45

&

45

44

b > . 3
44
J

S
# >
44
.
S

45

&

>
ggg bn w
w
54 gggg b n www
gg # ww
ggg
gg Sf
g
54 gggg b www
ggg w
g w

b b
>
S

# 3. # 3
J

F
n >

44 n

b - # .
J
3

6
4

3
- # -

46

3. 3
J 46
>
F
b. >
J 46
S

# . j ?
F
>
> ..

b
# > 3
- -3

44 J
# # 46
- # - - b
F
S
44

46

24

>
6
& 4 ww ..
S

251
Vln. 2

B 46
S
3

Vla.

Vlc.

?6
4
F

6
&4

251

Pno.

Vla.

Vlc.

&

5
4

45

b
&
J>

S
n>
ggg b

5 ggg b n
4 ggg #
gg
gg
ggg
5 ggg b www
4

w
S>

> b >
?6

4
> ww
>
Sf

>

S
>
b # B
4

&4

F
S
b 6
?

& 44 #

>
F
S

4
&4

& 44

256

Pno.

w
w

256
Vln. 2

5
4

b > . .
# #

# >

? 4 .
4

> .
.
S

b > ..

- # -

3 b 3 #
4
F
43 # .
F

# > >

3
4
F

>

f
S
3
>
j
B

f
S

3
>

S
F

3
3
# #
#
b

3
4

&

>
&
S

3
#

b 3
# #

46

4
4

# > n >

4
4
44

b b n
J >
S
n> >
ggg b b >
gg b n
ggg #
gg
ggg
ggg
gg b ...
g
3

>

F
S
3
3

#
n

6
>
# B
& 4

F
S
3
3
>
3
b
B
?
6
& 4 b b n #

F
S
n >.
g
ggg b ..
3
3

ggg b n ..
6
.
# #
4
ggg # ..
b
gg
>
ggg f
ggg b ..
b
6

g .
4 ..

Sf

>

F
# > . n > .

3 J
4

# #

4
4
4
4

&

&

&

25
258
Vln. 1

Vln. 2

Vla.

&
&

&

& b
F
b >
258

Pno.

&

# n 3 b

Vlc.

b n #

b >
3

>
n

&

O
& O
3
# 3

&
f

3
#
#
3

3 b

b n

260
Vln. 1

Vln. 2

Vla.

Vlc.

&
&
260

Pno.

&
?

O
O

>
# #
#

>

S
Sf
>

# n 3 b #3

B

& 4

f
>

S
Sf
3
>
b

?
?
5

& 4 b b #

f
>
S

Sf 3
n >
3
3
# # b
b
5

#
4 .

>
Sf

3
b

..

? 5 .

.

4
#
..

f>

# #
3

O ( OO )
5 O
4
3
# 3

5
4
f

I, II; sounding pitches:

# #
#

>
Sf
# n 3 b # 3

f
>
Sf
3
b

?

b b #

f
>
Sf

b b 3 n b
n b n # # b n 5 #
b #
f
>
Sf

O
O

O
44 O

Rit.

44

45

45

44

&

45

44

&

45

44

44

O
O

(sotto voce)

#.

(sotto voce)

O
O

b b n #
J
p
n w>
gg
54 gggg b n b wwww
ggg # ww
ggg
gg
g
54 gggg b www
ggg w
g w
(sotto voce)

n >
b

&

11. Chorale 4
(q)

O
44 O
44

&

O
O

#w

O
O

(ord.)

n.

44 n w

B
n.

44
w

(ord.)

(ord.)

n.

44

44

bw
bw

n.

ww

w
w

26
#

&

w
w
&

.
.

B ww

.
.

..

266
Vln. 1

Vln. 2

Vla.

Vlc.

w
w

266

Pno.

&

276
Vln. 1

&

Vln. 2

&

Vla.

Vlc.

Pno.

&
?

# w)
w
P
w
( w)

( w)
w
P

w
( w)
P
# w
276 g b b ww
gg n w
& gggg n w
ggg
ggg p
? gggg www
ggg w
g w

..

R
L

#w.

46 w .
F
bw.
64 w .
F
64 # w .
w.
F
6 #w.
4 w.
F

b b

b # ww
[n b ww
n w

44 w w w
( )( )
f sub P
44 w w w

46

w
w
p

w
w

( )

( )( )

P
w (w)(w)
B 4
4
f sub P
4 w (w)(w)
4
P
f sub
sub

mp
44 (V:
w (w)
F
44 w
w

w
w
w
w

(simile)

*)

46

w
w

( )

p
( )
p

p
bw
w
p

46

(hum)

46
46
6
4

# www ... -V
F
w.
ww .. -V
F
# ww .. -V
w.

F
# w . -V
ww ..

F
>
# # n wwwwww ....
.
mf)
64
w
( )
sF
46 # ww ..
w.
>

b ( ) w

p
n ww

w(w )

b ww

w(w )

P
w #

( )
p

( )

b # ww
n bn www

P
n

p P

p P

P
b #
b
n n
P
.
...
.

#
n
pP
b

w.
ww .. -V
f

(mouth 1/2 open)

44
w(w)(w) w
f
sub F
44
w(w)(w) w
f
sub F
44 w(w)(w) w
f
sub F

46
46
46

4 w(w)(w) w
4
f
sub F
?

(V:
w wmf

44 w ( )
F
44

*) Starting here, all string players begin vocal slides.

Make sound as seamlessly integrated with timbre
of your instrument as possible.Make it so that the
audience will wonder where the sound is coming from.
Registal transposition allowed based on individual
range and gender.

6
4

f)

( )

&

46
46

# # www ... -V
f
w.
n ww .. -V
f
ww .. -V
nw.
f
w.
n n ww .. ] ?
b # wwww ... ]
.
f in(arpeggiate
three blocks)
w.
[ ww ..

bw
w
F
b ww

( w)
w

ww

( )

F
ww

w
w

w
w

w
F
b # ...
b
n n ..

( )

www
w
w

44
44

&

F
bw

( )

(fully open)

w (w) -V
sub F
w (w)
sub F

46

w
w

46

w
w

44
w(w)(w ) w
sub F

46

4
4 w(w)(w) w
sub F
w
44 w
w
F
44
w

(V: mf
( )

6
4

f)

( )

&

46
46

27
6
&4

286
Vln. 1

Vln. 2

& 46

Vla.

B 46

Vlc.

Pno.

# ww ..
w .-V
f
n ww ..
286
b w. ]
6
& 4 # ww ..
# w . ]
f
?6
4 #w.
[ ww ..
?6
4

293
Vln. 1

Vln. 2

Vla.

Vlc.

&
&

w(w)(w)
S F

(w)
w
F

w
w
F

( )

w. &
F

# w)(w)
w
F
N ww (w)
(

-V

ww w
F

( )
( )

w
n w -V
w

# # www -V

f
(w)
ww

( )

( )
( )

ww
w
f

# b

#w
ww -V
f
b ww
w

w (w)
(w)
F
#w
3
gg b b www
ggg ww
gg w b # b # b b b n
ggg
ggg
F
ggg ww

ggg ww
ggg w
g

-V

f
bw
ww
-V
f
ww -V
w
f

b b n n
- - - 3

- . J

P b

g (A) w
ggg # b wwww
gn w
gggg b b # www
ggg w
ggg
ggg
ggg
gg ww
ggg w
gg ww
g (C)

..
.

b ww -V
w

# w w( )
w
S
N ww w( )

..

( )( )

..
.

b # www -V

w
ww

( )
( )

w
ww
f

b ]
4 b n
4
]

4
4

w.
w.

& # # b - - b b - # n - # b -
?

4 b ww
4 w -V
f
4
4 www
-V
f
44 w
w -V
w
f
44 b # ww
-V
w
f

w(w)(w)
S F

ww
w -V

b ww
w

bw
& ww
-V

? ww
w -V

293

Pno.

nw.
b w . -V
w.
f
b ww .. -V(Eb)
w .
f
b ww .. -V
w.
f

&

..

.
F

# - - a >
b A

f -
# b

ww w( )
S
( )

w w( )
w
S
( )

Sf
>
&

# #
- F

b b 3 n

3 b -
J
b P

# -

b 3
# n
b

28
b N

&

298
Vln. 1

Vln. 2

Vla.

Vlc.

Vln. 2

Vla.

Vlc.

46

46 .

&
&

N -

N
3

& b - .
p
?

(U.C.)(Sempre Ped.I)

n.

.
.
.

b
3

w-

- .

6
4

6
4

44

46

44

46

4
4

(sord.)

(sord.)

4
4

(sord.)

3 b

4
4

44 .

44 #
3

44 b

- .

b w-

6
4

4
4

b - w

- .

6
4

(sord.)

n.

b - w

b - .

n.

& # w?

4
4

n.

6
4 w.
w.

&

304

Pno.

#
#
p

b
p
3
3
3
j
j
6
& b # N 4 w.
p
3
- b
n 6 w
? b b 4
w
p

304
Vln. 1

6
4 ww ..

& b b b

298

Pno.

12. Quintet

44 b
.
4
4

3 b

b w-

- .

w
wU

6
4

64 .

46 .

64 b .

46 b .

w
w

6
4 .

bU .
bU .

3
4
43

#.

43

43

43

3
4

29
- .

(flautando)

3
&4

310
Vln. 1

Vln. 2

& 43

(flautando)

# -

- .

b - .

# b

Vla.

Vlc.

?3
4

& 43

?3
4

310

Pno.

(flautando)

3
&4

- 3

(flautando)

# - .

&

&

(sempre U.C., Ped. I)

6
&4

317
Vln. 1

Vln. 2

w.

& 46 w .

Vla.

& 46

Vlc.

& 46

w.

w.

& 46 w .

317

Pno.

? 6 w.
4

&

#U .

U
.

b.

bU .

#.

b.

4
4
44

&

44

4
4

N
p

(col legno arco) 3

44

44

w-

(col legno arco)

- 3
# w -3

bw
p

(col legno arco)

3

(col legno arco)

# w+
P

b w3

N p

# -

(finger mute)
3

+
bw
p
3

&

46

6
4

- b

6
4

b ? -

w-

+ ? w+

-3 N

6
4

3- 6
4

b - .

3
- ?

b - # 3 b 3 b

- .

# -

3
- b

b -

# -

+
b

?
3

U-

Uw

b -

6
4

&

U
b w-

Uw

U+
#
w
# w
p

30

Vln. 2

Vla.

Vlc.

&
&
&
&

327

b w-

U-

.
ww

n.

n.

n.

n.

(b wwwwwww

(finger pizz.)

(Depress these
keys silently)

&

(b b b wwwww)

(brush lightly with fingertips)

~~
~~~~
~~~~
~~~~~~~
~
~
~
~~~
~
~
~
~~~

Pno.

&

U-

~~~
~
~
~~~

Vln. 1

~~~
~
~
~
~~~

327

# w-

(continue for 15",

dying away)

n.

Ped II
6/17-10/24/13