EXPLANATION OF SIGNS AND NOTATION aoap eeEg © ++ HMOxXO © ) on the Ist string ‘on the 2nd string on the 3rd string on the 4th string The vertical axis of the system (layers) represents the range of the prescribed string or strings (for double stops and actions on several strings). mute on mute off short note fF short note me short note pp other signs accordingly arco, ordinario arco, sul ponticello col legno battuto flageolet ("Fawcet") flageolet (Fourth) flageolet (Fourth) sul ponticello pizzicato pizzicato and glissando upwards pizzicato ("8 ia Barték") flautato repeated tone with simultaneous accelerando, until as fast as possible repeated tone with simultaneous ritardando, until quite slow enuto, sustained tremolando, —HiititHittit crescendo, {HHHHHK iremolando with heavy pressure on the string (raw sound) wendo lissando nervous fremolo (quivering sound), punta fag sagataecata etc. double stops: 7, 3 or 9 fingers, held closely together etc. three Fingers held closely together Ht etc. four fingers held closely together pcrsd etc. two fingers (2, 9 oder 4 ) held as far apart as possible etc. three and four fingers respectively held as far oport as possibleeve som sh tL cob [|| ary be +H] first ond fourth finger (for violin and viola), thumb and fourth finger (for cello and bass) held as far apart as possible sing very lightly with @ closed mouth hiss on "s'" or "sh!" breathe in audibly breathe out audibly on all strings, in all positions, maximum of clustered actions; maximum dynamics, moximum use of varying ways of playing (ord., s. pont, c. I. batt., pizz., etc.) as above, but only three strings (Ist, 2nd, 3rd) on the 2nd, 3rd ond 4th strings maximum density and dynamics of only one type of playing: col legno (x), sul ponticello (0) pizzicato actions on all strings. Density and pitch suggested by the form of notation actions oreo sul ponticello (0) proceeding to harmonies (0); density, dynamics and position suggested by the notation on all strings the preseribed ways of playing. Only a portion of these events are to be performed.SCORDATURA ‘One of the two instruments is retuned thus: Ist string (the highest) ~ 1/2 tone higher 2nd string - 1/4 tone lower 3rd string - 1/4 tone higher 4th string - 1/2 tone lower FORM The five layers of the page are to be read by one of the two players from top to bottom {after E comes A). or DE DE DE DE E The other player reads these layers from bottom to top (after A comes E) EDCBA or DCB or cB or B E E ee EDCB PPD ovo The page is read twice by each of the two players in the prescribed woy: Ist player for example BCDEA’ “BCDEA me 2nd player for example EDCBA\ “EDCBA (exposition) (reprise) Two different tempos are used: T, = 60%, 50", 40", 50", 60" Tz: 40", 50", 60", 50%, 40" These ore applied to the five layers: forexomle B C D £ A —E Dp C B A go" so" 40" 50" 60" % 40" 50" 60" 50" 40" If the player uses T, in the exposition, he then plays the reprise in Tp.IF the Ist player uses T, in the exposition, then the 2nd player performs his exposition in Tos exposition reprise DEA BC 40" 50" 60" 40" 50" q Ist player for example sequence: B duration: 60" 2ndplayer forexample sequence: — D C B A EDC BA duration: 40" 50" 60" 50" 40" — 60" 50" 40" 50" 60" t} q CODA ‘One or several events chosen from the material on the page are used by both players as the coda. The coda will last 20 to 30 seconds. SYNCHRONIZATION OF PLAYING Both players begin simultaneously. Exposition and reprise last approximately 8 minutes and 20 seconds. After conclusion of the reprise the coda is added upon the sign from one of the players after a short or long fermata. THE PERFORMANCE If possible, two different versions of the work should be performed in a single program. DURATION OF PERFORMANCE One version lasts 8 minutes and 50 seconds.multiple 1 1769 by Universal Edition A.G,, Wien roman haubenstock - ramati (1910) Univeral Edition Mr14860 ayood We 8382