CHRISTOPHER LOWRY

R om anza
For Four V iolas

Opus 15

VIOLA 1

©2011-12 Christopher Lowry

 Additional Notes and Performance Instructions

- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.

 3 
Example: 
     

- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).

Examples: (s)pp (s)p (s)mp (s)mf (s)f (s)ff

- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
Viola 1 Commissioned by David Bynog for the American Viola Society

R om anza
for Four V iolas

Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)

 
2

     
           
3
    

  
f con bravura

      
quasi cadenza A On the forward edge poco rall.

           
rit.

  
(q=100)

7

        
    
6 3 mf mf
ff
ad libitum
  
    
Vla. 4

     
      
 cresc.
5
f edgy

rit.
 
B Tempo I (h=60)
 

            
10

 
     
  
f fp cresc.


16
  
     
ff


      
Vla. 3

  
rit.
 
     
            
     
     

ff 3   
cadenza, dim. p
con molto rubato

Copyright © 2011-12 Christopher Lowry

 Viola 1
4
Flowing
C
(q=112)

 
Slowly, senza tempo 2

  
1

            


pizz. espressivo
mf

Vla. 4

         


      
pp
p

23
D

     
3 pizz.

        
 mf con vib.
rich and full arco

30

           
   
mp

   
E
    
36

        
3 3
cantabile

    
43

   




   
  
mp mp pp mp pp

   
            
50 F
   



mp n p legato 3 3 3

            
55
 
              
3 3 3 3 3 3 3

59
  G     
                        
3 3


3 3 p 3

    
rit.

          
63

                   
 3 p mp p 3 3
 Viola 1
5

 
molto rit. H Allegro (q.=120-126)

67
            
       pizz.

    /0 
 
   

3 5 (s)f
3 mf ff

71


  
arco non legato
                 

                
fff

f ff

74
         
 
   

      
cresc.

  
I
    
                                     
  
77

 
mf

           
             
            
81

  
f f

   
J
           
 
           
85

      
  
 
(s)mp

non cresc.   
(s)ff
            
88

               
 (s)mp 
(s)mp (s)ff

    
  
K

      

91
 
 
                
(s)ff non dim. p

94

              
pizz.
      



(s)mp mp

L
98
     leggiero
                 
2 0

  
p (s)mp (play open string in
order to turn page)
 Viola 1
6

101  col legno

 
     
                           
       
p
arco


M

104 sul pont.

             

  
  

pp

107

               
          

110 to ord.

         
                          
cresc. poco a poco

  
       
113 N
       
ord.
 



  
 
    
ff f sim.

     

116

                              
  ff

         
O
            
120

      

non legato mf

P
            
123

             
   
ff
 Viola 1
7

   
    
L'istesso tempo (q.=q)
       
  
127
     
2
fff fff

quasi cadenza

      
    
slowly, con rubato

     
  
132 rall.

     3

  3  
3
mp mf p


Q Tempo I (h=60)
    
     
134

      
 
mf

molto rit.
 
R Flowing (q=112)

  
  
con sord

  
138

  
 

  
mp p n
 Viola 1
8

     

(con sord)
144

       
  
 

pp cresc. p

S
     
150

                             
pizz.

   
p

155
T
   
         
resonant
       
        
mf p mp

161

       

         
       

 
167 arco

          
3

   
3

   
    
p n mf

   
U
             
173


3
3

V
       
   
179 poco sul pont.

                      

pp

rit.
to ord.

182


                         
6 6

cresc.
 Viola 1
9
A tempo W


186 ord.
 
                
6 6


mp
mf

 
rit. molto rit.
191
 
   5  
  
1 3


  
     

 3
mf

X A tempo rall.
 
     
195

    
       
mp 3

 
199
   pizz.
      

 
  

p l.v.
p

-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY

R om anza
For Four V iolas

Opus 15

VIOLA 2

©2011-12 Christopher Lowry

 Additional Notes and Performance Instructions

- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.

 3 
Example: 
     

- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).

Examples: (s)pp (s)p (s)mp (s)mf (s)f (s)ff

- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.

- The false harmonics at S should sound two octaves higher than the written bottom note.
Viola 2 Commissioned by David Bynog for the American Viola Society

R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60)
 
CHRISTOPHER LOWRY (b. 1988)
con sord
  
        
       
mf f mf f
Vla. 1
 
    
           
3
    

  
f con bravura


A On the forward edge
 
poco rall.
 
(q=100)
     
senza sord

7

       
ff mf mf
       
            
rit.
     
Vla. 4
 
(Vla. 1)

                 
 6 3  5
ff ad libitum f edgy cresc.
quasi cadenza

rit. B Tempo I (h=60)

                  
10

      
 3 3

ff espressivo f mf cresc.

15
       
   

  
ff

     
Vla. 3

        
rit.

           
3
   
ff cadenza, dim.
con molto rubato

 
17 Slowly, senza tempo Flowing (q=112)

     



pizz.
   
Vla. 4

    
(Vla. 3)
   


        
    
p pp
p
Copyright © 2011-12 Christopher Lowry
 Viola 2
4

        
C
20

                   
3 3 3 3 3 3 3
3 mf

p sim.


         
25 D
      
mf 3

     
31 pizz.

  

  

  
mp

36 E

arco

      
pizz.

  
3

       
mp mp

        

   
     
          
42 arco

 mf
3 3

          
    
47

   
 
dim. 3 3  
mp n

     
52 F

       
pizz.
     
p legato    
mf



G
  
  3
57

      
3

          
3
  
mf

      
rit. molto rit.
63
 

     
arco

  
  

mfp
 mf 3 
fp
 Viola 2
5

69  H Allegro (q.=120-126)
  non legato
arco

    
pizz.
  /0     
                

mp
(s)f ff f 
 
                         
72


ff

   
  


         
                 
75

  
cresc.

   
I
   
78

  
mf
81
      
            

   
      
J
84
     
                      

(s)f
    ff


        
 
   
K
  

  
88  
    
2   
ff non dim. p


93 arco

                    
pizz.

              
 

mp pp

                 
              
97 

 2
mp

100

L
        
pizz.

                      




(s)mp leggiero mp
 Viola 2
5a (fold-out)
M arco


col legno sul pont.
104

                               
p pp

107

                                   

110 to ord.

                                    
cresc. poco a poco

N
                
113

  
ord.

   
 
         
 
fff fiery!

   O

     
       
    
   
117

    
2

ff non legato

     
121

          
mf

P
       
L'istesso tempo (q.=q)
124

                      
  

ff fff

         
130

   
  
3
 
    

        3  
rall.

 
Vla. 1

 3  
mp mf p
quasi cadenza
slowly, con rubato
 Viola 2
6
Q Tempo I (h=60)
  molto rit.
  
134 (con sord)

             
mp

mf mp

mp mf

     
          
(Vla. 1)

      
  

mf

R Flowing (q=112)

         
        
139 arco
pizz.
   
p p mp
3

(Vla. 1)
   

  


 
mp p n


        
145 S
    
3

     
3 mp

      
151

          
3

  

mf

T
       
 
157

   
p

163              
 

             
169 U
     
mp slightly separated
 Viola 2
7

                        
174

          

     
V
   
      
179

           


pp p cresc.


rit. A tempo

       
      
184



mf


rit.

W molto rit.
   
189

 
   
mp

     
mf mp fp

X A tempo rall.


 
195

       
 

mp p

    
201 pizz.

       
 p
pp l.v.
-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY

R om anza
For Four V iolas

Opus 15

VIOLA 3

©2011-12 Christopher Lowry

 Additional Notes and Performance Instructions

- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.

 3 
Example:       

- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).

Examples: (s)pp (s)p (s)mp (s)mf (s)f (s)ff

- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
Viola 3
Commissioned by David Bynog for the American Viola Society

R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)

  
 

      
con sord

       
mf f mf f


Vla. 1

     
           
3
    
  
f con bravura

A On the forward edge poco rall.


(q=100)
        
7 senza sord

        
ff mf mf


                  
rit.

  
(Vla. 1) Vla. 4

            
     
ff
6 3  cresc.
5
ad libitum f edgy
quasi cadenza

rit. B Tempo I (h=60)

   
   
10

     

  
       
 

 
fp cresc.
f


       
rit.
  
             
16

        
3         
ff cadenza, dim. p
con molto rubato

Copyright © 2011-12 Christopher Lowry

 Viola 3
4
Flowing C

   
17 Slowly, senza tempo (q=112)
              
3 3 3 3
p sim.

pizz.

Vla. 4

       



     
pp
p

  
            
22
          
3 3 3 3 3 3 3 3
sempre p

      D          
      
26
   
3 3 3 3 3 3 3 3
p sim.

    
          
30

         
3 3 3 3 3 3 3 3

  
34 E
     

    
        
(s)mp p più p

40

     
 
 
  
  
 
    
mp 

 3 
F

  
   
48 arco
 
pizz.
           

mp pp mp pp p mp mf


53

      
3

        
 Viola 3
5

       
           
59 G

 

      
 
p 3 3 3
legato

    
63 rit.

                    
 
mp p
3 3 3  
mfp

H Allegro (q.=120-126)

molto rit.
 pizz. 
68 arco

  
    /0 
      
                  
 mp (s)f ff f non legato
fp

                             
72

ff

    
75

               

cresc.


I

                
78

  
mf
    

                                    
81

     
       
J
                        
84


      
(s)f V.S.
 Viola 3
6


        
87
       
       
ff
 
ff

              
K
91
   
       
       p

    
                                 
94

(s)pp mp

                              
97
 

2
(s)p

  
pizz.        
100
              
col legno


mf p

M
 
pizz.
  
            
104 arco

           

mf mp

109
  
  

                
 
   
2 cresc. poco a poco


N
    

114

                              
  

ff f sim.
 Viola 3
7
O
118
 
         
 
 
      
     
 

ff non legato

121    

     
        
        
mf

P
124
  
                   

ff

L'istesso tempo (q.=q)

128
 6 6 6 6 6 6 6 6
       
                                  
       
ff vibrant!
ad lib.

6 6 6 6 6 6 6 6
130
      
                                 
       

6 6 6 6 con sord
132
 
   
 
            
    
Vla. 1    
     rall.
         3  
 3  
mp mf p
quasi cadenza
slowly, con rubato
 Viola 3
8
Q Tempo I (h=60)
   
   
134 (con sord)

     

 
mp mf mp mf
(Vla. 1)
   
    
        
 
mf

molto rit.

        
R Flowing (q=112)
  
138

                   
pizz.

 
mp p mp dim.
    
     
(Vla. 1) 

  
mp p n


                   
142
 
           
 
p

   
                           
146

   
                             
150 S

T
            
arco
    
154

      

    
p mp 3
mf cantabile

 
  
           
158
    
  
3 mp 3 3

               
164

    
mp 3
 Viola 3
9

                   
170 U
   
       
mp slightly separated

    
176

               
 
            

V
        
poco sul pont.
181
               
 
pp

rit.
to ord.
           
ord.

   
184
  
cresc. 6 6 6 6
mf

A tempo W rit.
188
    
         

  

  3
mf
mf mp

molto rit. X A tempo rall.


    
193

   


      
  
fp mp mp

199
      pizz.
           

    
pp p l.v.

-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY

R om anza
For Four V iolas

Opus 15

VIOLA 4

©2011-12 Christopher Lowry

 Additional Notes and Performance Instructions

- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.

 3 
Example:       

- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).

Examples: (s)pp (s)p (s)mp (s)mf (s)f (s)ff

- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
Viola 4 Commissioned by David Bynog for the American Viola Society

R om anza
for Four V iolas

Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)

       

       
con sord

         

mf f mf f

Vla. 1

     
           
3
    
  
f con bravura

A On the forward edge poco rall.

   
(q=100)

    
     
7 senza sord

  

    


 cresc.
5
ff f edgy

               
rit.
(Vla. 1)

    


6 3
ff ad libitum
quasi cadenza

  
rit. B Tempo I (h=60)
   
10

3
   
  
 
 
  3
 
   
 
 
     

 cresc.
f fp
ff

  
16

    




      
Vla. 3

  
             
rit.

        
        

ff cadenza,
3 
dim. p
con molto rubato

Copyright © 2011-12 Christopher Lowry

 Viola 4
4
Flowing C

Slowly, senza tempo pizz.
  senza vib.
(q=112)
   
17

con vib.
    


       

 
pp slow roll mf rich and full
lontano p
22

         
       

 
D arco
28

                              
3 3 3 3 3 3 3 3 3 3
p sim.

33 E
         











  
3 3 (s)mp p più p


40

     


 
 
 
   
   
  mp


  
arco
 
48 F
             
pizz.



mp n 3 legato 3
mp pp mp pp mp mf p

54     
                              
 

3 3 3 3 3 3 3
3

   
G

        
59

            
3

3
mf


rit.
  
molto rit.
              
64

   


   


 

p 3 3
fp mp
 Viola 4
5
H Allegro (q.=120-126)

70

  
 /0                                

(s)f non legato

ff
73

             


        

      
76 I
  
  
                bold!  
cresc. fff each note strongly articulated

80 2  
                         

 
J
   
                       
85

   
  
(s)mp non cresc.   
(s)ff
       
                    
88

         
   
(s)mp   (s)mp
(s)ff

        
K

                           
91

  p
(s)ff non dim.

 
94

 
                                     

(s)pp

    
97

  
pizz.

       
         

mp


L
    
arco
       
col legno
   
                                     
100

     
(s)mp leggiero p
 Viola 4
5a (fold-out)

pizz.
103   
                
            
mf

106 M pizz.
    
            
   
p mp like bells cresc. poco a poco

N
112 arco   
                     

    
ff f

116      


                 
            
 
sim.
 
ff
120
O
  
                               
 
non legato mf

123
P
  
                
          
ff

127 L'istesso tempo (q.=q)

    
   
                 
 
fff

132 con sord

 
    
 
Vla. 1  
    rall.
        3
 
  
    
3
mp mf p
quasi cadenza
slowly, con rubato
 Viola 4
6
Q Tempo I (h=60) molto rit.
134 (con sord)
    
              
   
mp mf mp mp
mf

(Vla. 1)
     
    
  
   


      
mf

R Flowing (q=112)
139 pizz.
                      

     

      
dim. p
p mp
 
(Vla. 1)     
    
  
mp p n

143

                        
         

S arco
147
      
         
          3
mp

151              
    
mf


157 T
         

     


p

164

             
 
 Viola 4
7
U
170 ad lib. pizz.
 5
               
           
(s)mp mf

174 arco pizz. arco pizz. arco pizz. arco  

  
               
     

(arco) V
179   
 
              
       
p mp pp pp

rit. A tempo
184     
 
            

cresc.

mf mp

W rit. molto rit.

189
    
         
      
mf mp 
fp

X A tempo rall.
195 
 
    
   p
mp

200 pizz.
  
  
  
       
pp p l.v.

-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY

R om anza
For Four V iolas

Opus 15

©2011-12 Christopher Lowry

DURATION: Approximately 8 minutes.

NOTES BY THE COMPOSER:

Inspired by the rich vocal qualities of the viola, Romanza attempts to combine two very
different musical idioms: English pastoral and Italian opera. As a violist myself, I have always
been drawn to the beauty and complexity of the viola’s tone; it can be dark and brooding, idyllic
and nostalgic, or even bright and joyful. These are just some of the many facets of this unique
instrument that encouraged the creation of this work. Romanza deals with the implications of
writing for four of the same instrument by experimentation with close spacing of voices, as well
as pairing the opposite extremes of range, simultaneously utilizing the richness and power of the
C-string and the plaintive singing qualities of the upper register. The piece consists of one
primary theme with very little deviation from it; most of the development occurs through means
such as motivic variation and changes in tessitura, texture, harmony, counterpoint, and tempo.
That said, the piece can essentially be viewed in ternary form, with two slower sections separated
by a faster lively section, contrasting the lyrical with the fiery and virtuosic. It exploits many of
the viola’s wonderful effects and timbres, a variety of bowstrokes, a broad range of dynamics,
and even the challenge of balancing voices. The melodic material is evenly shared among the
four players, and therefore all four voices should be thought of as equals. Romanza was
commissioned by David Bynog for the American Viola Society.

— Christopher Lowry
ABOUT THE COMPOSER:
Hailing from Nashville, Tennessee, Christopher Lowry (b. 1988) has extensive
experience as a performer and a composer. A classical violist, Lowry is an active soloist,
orchestral musician, and chamber musician. He holds a Bachelor’s degree in viola performance
and composition from Vanderbilt University’s Blair School of Music and is currently working
toward his Master’s degree at Louisiana State University. Lowry has received prizes in several
competitions, including First Place in the Junior Viola Division of the 2007 American String
Teachers Association (ASTA) National Solo Competition and awards in the Nashville
Philharmonic Orchestra Concerto Competition (2012), Vanderbilt University Concerto
Competition (2008), Curb Youth Symphony Concerto Competition (2007), and Eastern Music
Festival Concerto Competition (2006). Lowry is also a member of the Ars Nova String Quartet,
which participated in the Aspen Music Festival’s Center for Advanced Quartet Studies (2011)
and the Robert Mann String Quartet Institute (2012), and was the professional quartet-in-
residence for the 2012 Rendezvous Music Festival in Moscow, Idaho, and the McCall
SummerFest in McCall, Idaho. Lowry’s primary viola teachers have been Elias Goldstein,
Kathryn Plummer, John Kochanowski, Daniel Reinker, and Mary Helen Law.
Christopher Lowry’s music has been performed by the Nashville Symphony Orchestra,
Nashville Philharmonic Orchestra, Vanderbilt University Wind Symphony, Middle Tennessee
State University Orchestra, New York All-State String Orchestra, Quad City Youth Symphony,
and the Curb Youth Symphony, among others. His orchestral work Celebration Overture, Opus
1 No. 1, has seen much success, having been performed twelve additional times since its
premiere in December 2006. His Suite for Viola and Piano, Opus 5, won the TN State Round of
the 2010 MTNA Composition Competition and Honorable Mention in the New York Art
Ensemble Competition; his composition Cascades, Opus 8, won First Place in the 2010 Anton
Stadler Basset Clarinet Composition Competition, and it will soon be published by Edition
Lyrique and recorded by clarinetist Marc Maylor. His string orchestra piece The American
Dream – An Anthem, Opus 10, was premiered December 2011 at the Eastman School of Music
as part of the New York State School Music Association Winter Conference. Most recently, his
composition Livewire! Opus 7, for flute, clarinet, and horn, won the Collegiate Division of the
2012 National Association for Music Education (NAfME) Composition Competition, and it was
premiered June 2012 at the John F. Kennedy Center for the Performing Arts in Washington, DC,
by members of “The President’s Own” U.S. Marine Band. Lowry’s primary composition
instructors have been Michael Kurek, Michael Slayton, Michael Alec Rose, Stan Link, and Carl
Smith.
 Additional Notes and Performance Instructions

- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.

 3 
Example:       

- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).

Examples: (s)pp (s)p (s)mp (s)mf (s)f (s)ff

- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
 Commissioned by David Bynog for the American Viola Society

R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)

   
2

 
con bravura
              
3
    

  
f

      

    
   
con sord
     
mf f mf f

  
 

       
   
con sord
   
mf f mf f
       

       
con sord
        
 
mf f mf f

A On the forward edge

        
quasi cadenza

rit.
        
(q=100)
        
7 
    
6 3
ff mf


ad libitum

     
senza sord

    
ff

mf
     
senza sord

  

ff

mf
  
senza sord

  


         
  cresc.
ff f edgy
Copyright © 2011-12 Christopher Lowry
6

  
 
poco rall. rit. B Tempo I (h=60)

 
9
  
     

mf f

            
         
 3 3
 
mf espressivo

ff
   
   
      
mf
  
       
f
 
        

 


5 
f

     
  
12

        

      
fp cresc.

            
  
f mf cresc. ff
   
  

   
  

  
fp cresc.

 
3
    
  
   
   
3

  
 
   
fp
 cresc.   
ff

  
  
16

   

 
ff

   

    

     
rit.
  
           
      
3         
ff cadenza, dim. p
  
  
con molto rubato
 




 Flowing
(q=112) C 7

17 Slowly, senza tempo
 
1 2

              

    
mf espressivo
 
         
     

 
3 3
p3 3
sim. 3 3

 
               
 
3 3
p3 3 3 3
  senza vib.
pizz.

   

sim.
     


        
con vib.

  
 mf rich and full

pp lontano p slow roll
23
   
 
3
     
 
    
           
  
3 3 mf mf

     
        
         
3 3 3 3 3 3 3 3 3 3
sempre p

    
      



D con vib.
28
  pizz. rich and full

      
   

     
mf

  
     
 
  
3


                           
3 3 3 3 3 3 3 3 3 3
p sim.
arco 

                              


3 3 3 3 3 3 3 3 3 3
p sim.
8 arco E
  cantabile   
33
 
 
        

mp 3


arco
  
pizz.

     
 3
    
mp  mp

           
  







3 3
(s)mp p più p

        


 
 
 

   
3 3 (s)mp p più p

         
39

     
3

mp

        


arco
         
pizz.
    
  
mp  mf 3

    
 
 
 

      
 


     





    
 

 
44

  




   
 
mp pp
    
mp pp
              
  
  


3 dim. 3 3

      



   
mp  mp pp mp pp

       
 

    
mp  mp pp mp pp
   
9
 
F
 
            
50

 




mp n p legato 3 3 3

       
      
pizz.
 
  
  p legato 
n
 3 
mp mf

     
arco

  
pizz.

        
3

  
p mp mf

 
arco
 
                 
pizz.

 
mp n mp mf p 3 legato 3 3


              
55

         
    
3 3 3 3 3 3 3 3 3

             
   
3

   

   
           

    
                             
 

3 3 3 3 3 3 3
3


          

60 G
 
             
3 3


p 3
   3
    
3

        
mf
  
   
             
          
p 3 3 3
legato
  
           
3

  
mf
 
 
molto rit.
rit.
    
10

              
               
64

p 5

      
mp p 3 3 3 3 3
mf
 
    
arco

 
 

mfp
 mf 3
fp

 
              

   
mp p 3 3 3 
mfp
 fp

       

      
    
 


p 3 3
fp

     
H Allegro (q.=120-126)
     non legato
arco

69
 

    
pizz.
  /0              
(s)f ff fff f
 
     
arco non legato
      
pizz.

           

 /0
mp f

ff
    
(s)f arco
  
pizz.

  /0 
 
   

mp (s)f ff f non legato

   /0                
   
 

 (s)f non legato
mp

                               
72

  
  
                        
ff


ff

               
         
ff

     
                         
ff
 11

        
    
    
75
     
   

           
cresc.

        
             

    
cresc.

       
     
cresc.
     
 
   
  
cresc.
           

I

       
78
   
         
 mf

      

     


mf

                   
mf
    

          
 
fff bold!
each note strongly articulated

      

                 
81

     
  
f

               



                                    

 2
       
    
  
         
                   
12
84 J
 
  
f (s)mp

          

                      
    
   
(s)f ff

     
                         
         
    
(s)f

   
            


 
  
(s)mp

                 

87

   
            


    
(s)mp

non cresc.

(s)ff
   
(s)ff
 


  
ff 2

        

    
   
ff
         
              
        
non cresc.    (s)mp
(s)ff (s)ff

           

K
  
90

                
(s)mp
     (s)ff non dim.
 
p

 
  



            
 
          
non dim. p

     
    
         p

        
ff
   
                               

    non  dim. p
(s)mp (s)ff
 13
93
     
           
 

(s)mp

    
pizz.

     
              
mp
     
           
                   
(s)pp

   
 
                               
(s)pp
96
   
       
pizz.
          
     
mp p


arco
      
  
     
                  
2
pp mp
                 
       



mp 2
(s)p

                 
pizz.
 
           
mp

                          
99 L
     
     

          
(s)mp leggiero
      
            
(s)mp leggiero

      

           
 pizz.
     


mf
                 
 
arco
                          
  
(s)mp leggiero
14
 col legno      
         

102

             

         
p
col legno

 
 pizz.
             
     


mp p

                    
col legno

p

           
col legno
          
pizz.
         
                     
p mf
arco

sul pont.
  
105 M
           
                   
pp
arco


sul pont.

                                  
pp


pizz.
   
arco
    
      
mf mp

       
      
p
108
 
        
      cresc. poco a poco

                         

     
cresc. poco a poco
      
 
pizz.   
2 cresc. poco a poco

      

mp like bells

cresc. poco a poco
111 to ord. 15
  ord.
   
  
   
                
        

 
to ord.

                      
ord.
  
  
   
 
     

             

  
arco

 
 
 
 
 
  
   
  
        
114 N

                       
  
ff
       
f sim.


        
           
    
fff fiery! 2



                                  

    
ff f sim.

                             

 

 sim.
ff
f
  O
              
 
118

            
  ff non legato
              
         
  
  
ff non legato
          
         
  
  ff non legato

   
                 
    
  
   
 non legato
ff
16

           
                 
121

  
mf

   

                

              
mf

         

mf

                        
         
mf
   

    
P
  
124

     
      

 fff 2
ff
  
              
   


ff
  
              
   



   
ff

      
                





ff
fff

     
L'istesso tempo (q.=q)
128
    




fff

       

 fff

   
6 6 6 6
   
6 6 6 6

                                  
       
ff vibrant!

  
ad lib.
 
 
     
130     
17

  
 
 
      

   
6 6 6 6
   
6 6 6 6

                                 
       
 
   
    
quasi cadenza

        rall. 3
slowly, con rubato
    
        
132
  

  3  
3

 
mp mf p

       
3

     
6 6 6 6


           
    


 
    
  


Q Tempo I (h=60)
      
molto rit.
 
    
134
    
     

mf

 

  
con sord
          
mp

mf mp mf mp

    
            
con sord
 
mp mp
 mp

mf mf
    
           
con sord

       
mp mf mp mf mp
  
  
18 R Flowing (q=112)

 
139
   


 
mp p n


               
pizz. arco
  
p

                        
p mp 3

         
pizz.

    
p mp dim. p

                              
pizz.

       
p dim. p
mp

   

143
   
 
con sord 



pp cresc.
        
    

 
3

                             
   

                       
         
 

 
       
S
 
147
 
pizz.
  



p p

     
3

     
mp

                          
       

   
arco
           
           

3 mp
 19
     
151
    
        

       
  

 
3



         

        
        
    

mf

155 T
      

             
 
mf p mp resonant

      
  

mf p

    
arco

      
         
cantabile
  
mf p mp 3 3

     

       
  
p
160
   
                     
 
           
 

 
            
 
 
   
 
mp 3 3 mp 3

        



 

20

arco
 
166

        
3

   
3

   
     
   
p

 
          
  

            
 

 
     
     
 
     
  
(s)mp

      
U
172
      
   
 3
                  
n mf

           
mp slightly separated

   
                     
 
      
mp slightly separated

   
           
5 ad lib.
pizz. arco pizz. arcopizz. arcopizz.
       

        
mf

   
          
  
177

       
    
       
3

             
          

               
          
     
           
(arco)

  
arco

     
p
 21

 
181
V poco sul pont.

                  
     
pp cresc.
        
 

pp p cresc.

 poco
 
sul pont.
 
 
pp cresc.

 
         
    
mp pp cresc.
pp

rit. A tempo
to ord. ord.
 
185


                          
6 6 6 6



mf
    
       


mf
to ord.
      
ord.

    
6 6
    
6 6 mf

       

   
mf mp
  
rit. molto rit.
 
22 W
  5
         
1 3


189

    
mp   mf
 
3

   
   


mp 
   
 

mf fp
mp
     
           
 
 
   

mf mp
mf
3
fp

   
            



mf mp

  
fp

X A tempo rall.
           
195

             
p

mp
 
3

      
 p
mp
     
            
 mp


mp

    
    p


mp
200
     
       
pizz.
  
p l.v.

      
 
pizz.
    
  p

l.v.
 
pp

         
pizz.
 

p

pp l.v.
 
  
   pizz.
 

      
pp p l.v.
-CDL
August 30, 2012; Baton Rouge, LA