 

 
String Quartet

Composed, using the Twelve-Tone Technique

  
 Andante     
Violin I             
 

    
  
        
Violin II 
  

      
    
Viola       


      
      
Violoncello


  

          
         
     
2


8

   
          
     
 5  


espress.
dolce

         


       
  
 


     
  



 

 


               
        
   

14

       
            
    
espress.  


            
  
espress. 




      

         
 


  

   

21     
         
3

 
 
       
           


                        
  


     
                 


     
 

29   
      

         



        
                        
      
 


                   
               
    




 

37             

4

 


    
         


  
        
 

            
  
Violin I

String Quartet

Composed, using the Twelve-Tone Technique

     
         
Andante

 

    
 
            
6

 5 
espress.
dolce

    
                    
  
11

 espress.




         
   
      
17

 


     
     

23



       
  
38


  
 

Violin II

String Quartet


Composed, using the Twelve-Tone Technique

   
       
 


Andante

 

   
  
       


6


                  
 

 




11


espress.

  
            
      


17




 

  
  
      
   
22



    
         
37


Viola

String Quartet

Composed, using the Twelve-Tone Technique

      
   
    
Andante

           
     
6

 

  
        
        

 
11




        
    
        
  
20

 
                      

  
26

     
        
       
32



            


37


Violoncello

String Quartet

Composed, using the Twelve-Tone Technique

    
   
  
 

Andante

  
  
        
 
8

       
      
    
16



    
           
    
  
23

 


              
               
 
30

              

36

 

 
42