1
1
[Kr]5s
18d
:}{:Fr.I.a-k
f(f(4))
This 11-movement piece is, in a sense, two pieces simultaneously:
1
1
[Kr]5s 18d , a piece metaphorically exploring the collision of quantum and
classical physics, and Fr.I.a-k, a collection of short fragments written in one
sitting in various locations in the manner of diary entries. The f(f(4)) part
of the title however, points to another aspect of the structure—the large
scale composition contains several smaller pieces which are, at least
theoretically, completely separable from the larger composition. The
pieces contained within this piece are:
1.
IIII
(al-Gharaniq IIII, movement a)
2.
brokenAphorisms_32-36 (movements b-c, & e-g)
3.
IIIII
4.
p@|_iMps3s+ Θ (two movements, both contained in larger
movement g)
(al-Gharaniq IIIII, movement e)
1, 3 and 4 are really probably too short to actually be worth performing on
their own, but brokenAphorisms_32-36 can absolutely be performed
without the rest of the collection.
remainder of a program, the final two movements can be omitted
(including, of course, the Tuning Transition).
For fun, here are brief descriptions of each movement:
Fr.I.a
This was the first “diary entry” piece I ever wrote, and it was written
during a trip my wife and I took through several European countries (as
were most of the other movements). This particular piece was written in
Augsburg, Germany, and, like all al-Gharaniq pieces, it is structured such
that implicit aspects of one section take over and become the dominant
characteristic of the next. The (012) harmony of the opening takes over,
with an implicit sense of pulse. This regular accentuation then takes over
to create the harsh middle section, until repetition itself comes to
dominate in turn. The implicit independence of notes in this part takes
over until the total chaos and independence of “brain zaps” is at the fore.
The tiny silences in between these bursts of sound ultimately overtake the
soundworld until the piece becomes total silence. Oh, and this is apropos
of nothing, but the apartment we rented in Augsburg had a happy cat
named Deuter who often played with a little toy pig.
Fr.I.b
At the end of movement i, all three instruments are asked to tune one of
This piece was started in Vienna, Austria—in honor of which I used Anton
their strings down one semitone, and the final two movements are
performed in this manner. The notes in the score show fingerings, not
actual pitch, but colored notation is used to clarify which notes are played
on the detuned string. If the detuning causes a major problem for the
Webern’s tone row from his Symphonie, Op. 21. This row is a palindrome,
and I tried to emphasize this by using an actual mirror image of the row in
the score itself. The piece was conceived and notated so that it follows the
shape of a Bohr model of a hydrogen atom with occasional excitations of
the “electron” into so-called Rydberg states. That probably doesn’t make a
lot of sense, and I won’t belabor the details here, but you should really
read up on Rydberg atoms, which are extremely, extremely cool. Anyway,
this is a particularly overt example of the overriding themes of the
1
1
[Kr]5s 18d part of the full composition. Obviously, this particular score is
rather difficult to read, so performers should feel free to use the
performance version of the score in the appendix. Although initially
conceived in Vienna, the actual piece was composed on a roof terrace
above our apartment in Budapest on an absolutely gorgeous Hungarian
morning.
Fr.I.c
This piece was written in my father’s house in Ponca City, OK, at the first
piano I ever played on as a very young boy. I don’t remember much about
those days, but I definitely remember when my mom put labels on a few of
the keys to help teach me the letter names of the notes (these labels are
still there and can be seen in the photo page). I also remember learning
how to play Heart and Soul and my first ever “composition” which was
mostly just me banging around on the piano trying to loosely tell the story
of David and the Phoenix, one of my favorite childhood books. Anyway,
the visual layout of this piece was inspired by George Crumb’s Black
Angels, and should be possible to read from in performance. A warning
however, unlike every other movement, the instruments are notated with
the cello in between the two violins. If preferred, the performance version
in the appendix can be used instead.
Fr.I.d
Written in Salzburg, Austria.
I couldn’t resist quoting Mozart’s
“Confutatis” from his Requiem mass, and I doubt he would have approved
of the crazy treatment of his themes. I was writing Fr.I.a-k with Jean Cook
and Hubert Chen in mind as the violinists, and I correctly thought Hubert
would be perfect playing a demented version of the primary theme. Jenny
and I were only in Salzburg for a brief time, so this piece was written just
before going to bed on our one night at the hotel. I had downloaded a PDF
of the Mozart score on my phone, and I remember how excited I was when
I realized that I could do a version of the “voca me” part of the song
entirely in natural harmonics. Yes, I get excited about those kinds of
things.
Fr.I.e
I wrote this movement in Vienna, and it was another entirely visual
conception. I wanted to write a piece that sounded like a machine preprogrammed with a certain sequence of pitches that has each one
switched on gradually until the entire pattern is revealed. The ending is a
reverse of this process, as the notes of the concluding cluster are
systematically turned off. Like the a movement, this fragment is an alGharaniq piece, with a motive taking over, then the implicit duple
structure during the 12/8 becomes the dominant 4/4 accentuation.
Occasional fifths turn into constant fifths until the rhythm dies exposing
pure interval. The desk in our apartment that I wrote this on was the best
goddamn composition desk ever. Much like movement b, this piece would
be very difficult to read directly from the visual score, and a performance
version is provided in the Appendix.
Fr.I.f
Jenny and I took a train from Budapest to Prague, and I listened to several
pieces by Leoš Janáček to get myself in the mood for the Czech Republic.
Something about his Sinfonia inspired me to scribble down the basic idea
for this movement, wherein a constantly-streaming melodic motive flows
like a river throughout the fragment, shifting between each instrument
and eventually spawning tributaries until all three instruments are playing
it asynchronously. The stream motive simply repeats over and over when
an instrument has the wavy staff notated in its position, the performers
shouldn’t try to have exactly the same number of repetitions as notated,
and in fact they will almost certainly play it many more times than it
appears. A performance version of this score is provided in the appendix,
but I doubt that it’s actually necessary.
Fr.I.g
This fragment was written at my mom’s house the day after the
movement written at my dad’s. It was composed at the piano I used
throughout my school years before college, and is a member of my
Palimpsest series of pieces. These pieces are always in two movements,
and that’s still the case here, but the two movements are cut up and
distributed throughout the actual fragment. Both sections deal with
cluster harmonies, but the first “movement” represents the classical
conception of atomic physics—discrete particles moving in a paradoxically
orderly chaos. The second “movement” shifts to a quantum perspective,
as continuous structures gradually meld into each other before diverging
again. This is the last purely visual score of the collection, and a slightly
more straightforward version of the score is in the appendix, but it
probably won’t be necessary.
Fr.I.h
Jenny had to go to a reception in Washington, D.C. for her architecture
firm (a fancy-ass dinner party featuring players from the Washington
Nationals!), and I joined her since she’d have lots of spare time to visit a
few museums and just generally hang out. During the party itself, I stayed
at our hotel in Rosslyn, VA and went to the lounge downstairs to have
some wine and write a new fragment. Both Jenny and I are enormous fans
of The West Wing by Aaron Sorkin, and were totally geeked out when we
discovered that the (SPOILER ALERT!!) attempted assassination scene from
the end of Season One was filmed directly outside our window. I don’t
know if thinking about this scene inspired me to write a mournful tune that
climaxes with angry cluster chords, but let’s just say that it did.
Fr.I.i
During an earlier stage in our European trip, after our stay in Augsburg, we
stayed at a hotel in a town named Füßen, apparently so named because
it’s at the feet of the Austro-German Alps. We stayed there because we
wanted to hike on a mountain named Tegelberg and see the famous
Neuschwanstein castle, easily accessible from a cable car near the town.
The morning of our hike, I wrote this fragment on a little table in the
garden outside of our hotel room, with tons of little sweat bees
occasionally swarming around me. After this particularly short fragment,
there’s a tuning transition which is a separate tiny piece that provides an
opportunity for the instruments to detune one string each for the final two
movements.
Fr.I.j
Our apartment in Prague had a curious desk with one side supported by
an aquarium, and I couldn’t resist using it to write this fragment. I had
already decided that the last pieces in the collection would be written with
detuned strings, and it was primarily the profusion of unique natural
harmonics allowed by the new tuning that I wanted to explore. This
fragment is almost exclusively made out of these harmonics, including the
difficult double-stops during the climax. Blue notes indicate pitches that
are played on the detuned strings.
Fr.I.k
The final stop in our 2011 European vacation was the new home of my
close friend and fellow ASM member Andrea La Rose and her wife Jen
Michalsky in Erlangen, Germany. I blame Andrea for the difficult meters
and metric shifts during the beginning and ending of the fragment. She
more than made up for it when she introduced me to the gustatory
wonder that is Rauchbier, a beer that is truly made by the gods
themselves. What noble Prometheus introduced this glorious libation to
our mortal realm? Anyway, this movement takes advantage of the raucous
open-string discordance made possible by the half-step detuning, which is
again indicated by colored notation, though red instead of blue. I was
particularly looking forward to hearing Jean shred through the violin solos,
and she did not disappoint.
a. IIII

Bold

&œ
>
>œ
B
non vib.
 
IV'
molto vib.
Vln. A
Vln. 1
Vc.
Ï

~

œ
0
~~~~
Cello
œ
#œ
Ï
f
o
œ
ñ. p
œo
~~~~
Violin 1
#œ
ñ.
molto vib.
IV'
~~ ~
&
Violin A
- Augsburg, Deutschland - Montag, 23. Mai
ñ. p

n œ- œ b œ œ- n œ b œ


œ- b œ œ n œ- b œ œ

b œ- œ n œ b œ- œ n œ
suddenly slightly
slower
# >œ >œ œ >œ
b œ- œ œ- œ
groaning
- ? bœ œ œ œ
(q. = 60)
œ bœ œ nœ bœ œ nœ bœ œ
>
>
>
f
b >œ œ n œ b >œ œ n œ b >œ œ n œ

^
—^ —^ — — —^ — — ——^ —— — ——
—
vicious
>
‰
œ
œ
œ
œ
œ b œœ > ..
#
œ
œ
œ
.. # œ œ ‰ œ œ œ œ ‰ Œ
#œ
J
3
3
nœ œ 3
nœ
>
Î
groaning
&
j
& œ bœ œ œ œ œ œ œ œ
> > > > >
b >œ œ n œ b >œ œ n œ b >œ œ
B
(q. ≈ 40)
continue these cells under
both runs of the violin solo
f
œ œ
>f > ..........................
no quarter notes aligned
œ œ œ œ
>f > > > .............................................
>œ >œ >œ >œ ................................................
f
ƒ PƒP
Slower & Broader (q = 60)
Vln. A
Vln. 1
Vc.
&
&
cello cues
sudden alignment
speed up ever
so slightly
(not accel)
œ œ œ œ
> > > > ......................................................
#œ
>
? >œ
somewhat
detached
œ
>
>œ
œ
>
>œ
maintain tempo
BRAIN
ZAPS
(random bursts of static-y sixteenth
notes, completely asynchronous. Like
the spitting of a downed power line.)
BRAIN
ZAPS
œ
slow down ever
> .......................................................
so slightly
>œ ........................................................
(not rit.)
# œœ BRAIN
ZAPS
ƒ
P
b. bA_32..Budapest, Magyar Köztársaság - 2011. V. 30, hétf
α
β
s
17
Ï
e-
no
Ï
Ï
Ï
-
αe
-
no
qq×
£
P 18f P 18p p
sfffz
sfffz
F
U αe+q
·
£
F
e
£q
+
βe e
fp
α
x
leave out
last note
β
e+
x
α
e+
leave out
last note
double
last note
+
x βe x
Vlns on IV'
+
αe q
fff
ä
leave out
last note
fff
ff
U- U- U
Î 17d Î 18f Î 18p Î 17s Î
×
×
`
17d `
+
+
+
+
αe x β e x αe x β e x β e q
-
fp
fff
U
no
Å e+ e+ e+ e+ e+
no
î U
· α x β x α x β x α +q
17s ff
fp
leave out
last note
Ï Ï
βe
sfffz
+18f
U
·
e+
?
U
·
q
β
martelé
Ï
p
sfffz
P
α
e+
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q+
18p
β
U î
·
e+
f
Vc.
P
α
e+
18
Vln. 1
no
e+
Ï
Vln. A
U
·
(q ≈ 70)
Ï
sul pont.
U - U-
fff
Ï
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Ï=Ï
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Ï=Ï
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17Ïd
Ï
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& Ï Ï ~~~~ ~~~ Ï ~~~~
~ Ï ~~
~Ï
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18p
Ï
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Ï== b
&
ÏÏ
e+
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Ï Ï ÏÏ
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?Ï Ï
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Ï = n Ï = #b for Vlns
for Vc
Ï
non vib.
& ÏÏ
U
& ÏÏ
non vib.
?
Ï
non vib.
ord.
Ä
maintain volume to end
Violin A
Cello
Violin 1
Violin A
c. bA_33..2 Hillcrest, Ponca City, OK - 8/20/2011 8:01 AM
Vlns - IV'
Vc - I'
U
Ï bÏ Ï Ï
.
Vc
&
Vln. 1
Vc.
&
ÏÏ
Vln. A
Vc.
Vln. 1
still Vln A
and Vc
U
#Ï Ï Ï Ï
&
# ÏÏ
slightly slower
than Violin A
Ï #Ï nÏ #Ï
F
slightly faster
than Violin A
Ï #Ï Ï nÏ Ï #Ï nÏ
F
3
ì
3
p
p
¹ sempre
64 # Ï>Ï ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ
êp
sub.
slow,
o
ÏÏo
sub. f
o
ÏÏo
(q ≈ 80)
# # ÏÏ
sub.
64 Ï>Ï ÏÏ ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ ÏÏ Ï>Ï ÏÏ ÏÏ ÏÏ
êp
Ïo
# n ÏÏ
o
n ÏÏo
Ï #Ï Ï nÏ Ï #Ï nÏ
#Ï Ï Ï Ï
F
Ï
Ï
Vlns add open
E string throughout
this measure
Vln. A
Vln. 1
#Ï
nÏ
n1
Violi
& #Ï
p
(q ≈ 75)
light, random pulsing
o
ÏÏo
painf
ul gli
s
o
ÏÏo
¹
Vlns independently join cello on open
strings at roughly the same tempo, but
with dynamics and quarter-note attacks
completely asynchronous
s.
ss.
ul gli
painf rd)
,
w
o
sl
nwa
(dow
Vln. I joins
Vln. A, but the
cells should not
be synchronized
U
·
add Vln 1
II'
non vib.
U
·
U
then Vln A
¹
all insts stop independently,
Vln A is last to stop
d. Såizburg, Österreich - Dienstag, 26. Mai 18:45


c
&
œ œ b œ œÿ œÿ œ œ œ œ œ œ œ œ œÿ œÿ œ œ œ œ œ œ b œ œ œÿ œÿ œ œ œ œ œ œ œ œ œÿ œÿ œ œ œ œ œ
ÿ ÿ
ÿ ÿ
ÿ ÿ
ÿ ÿ
f
œ
heavy and a little wild b œ
œ.
# œœ
#œ œ
bœ
Œ
œ
.
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œ
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nœ
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œ
 œ b œ œ́ œ́ ƒœ œ
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?c œ
f
Andante
Violin A
Violin 1
Cello
Vln. A
&
Vln. 1
bœ
& 45 œ
Vln. A
Vln. 1
Vc.
?
&
&
?
b œœ œ # œ œœ œœ œœ n œ œ œœ œœ
b œœ ..
b œœ b œœ ..
Œ
n œ n œ . n n œœ 5
œ # œ.
4
œœ œ b œ œœ œœ œœ œ œ œœ œœ œœ œ œ œœ œœ œœ œ œ œœ œœ
maintain tempo
mmmmmmmmmmmmmmmmmmmmm
APESHIT
SOLO
bœ œ œ. bœ œ
# œ œ œ œ . œ œ # œœ 42
œ
nœ œ nœ 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 bœ œ œ œ œ œ œ œ
24 # œœ œ b œ œœ œœ œœ œ œ œœ œœ # œœ œ b œ œœ œœ œœ œ œ œœ œœ œœ œ œ œœ œœ œœ œ œ œœ
œ
œ œ œ #œ œ
barely slower
Vc.
barely faster
mmmmmmmmmmmm
#t
I'
c
Πc T
III'
f
II'
Πc T
f
t. t
J t.
jt ΠT
t
p
# I't t
t. t t J J t ΠT
J
p
IV'
t. t
t Œ
J t . tj
#t t
t. t t J J t Œ
J
p
t
t
I'
t
t
II'
t
mild
harm. gliss toward bridge
‡‡‡‡‡‡‡‡‡
‡‡‡‡‡‡‡‡‡‡
‡
t
#t
maintain volume to end
t
II'
‡‡‡‡‡‡‡‡‡‡
‡
‡‡‡‡‡‡‡
:}{:bA_34..Wien, Österreich - Freitag, 27. Mai, 11:31
e. IIIII
( q . = 80)
12
8 pizz.
&
#Ï
bÏ nÏ bÏ nÏ nÏ bÏ
nÏ
arco
Vln. A
Vln. 1
Vc.
& b # ÏÏ
B
²²
(e = e)
bÏ
Ï
4
#
Ï
Ï bÏ
& 4 Ï #Ï Ï
poco cresc.
>Ï ÏÏ
b
Ï
n
>
Ï
ÏÏ b Ï
ÏÏ b # ÏÏ ÏÏ
Ï
b Ï Ï b # ÏÏ
>
Ï
>
>
>Ï # # ÏÏ
#
Ï
b
Ï
Ï
Ï n n ÏÏ b Ï ÏÏ b # ÏÏ
ÏÏ b # ÏÏ Ï
>
>b Ï >
>
>Ï b # ÏÏ >Ï b Ï >Ï
#
Ï
ÏÏ b Ï Ï
Ï Ï Ï b b ÏÏ Ï b # ÏÏ
Ï
>
>
(q =q . )
ÏÏÏÏ
98
F
>Ï
Ï
#
Ï
>Ï # Ï Ï
#
Ï
b
Ï
ÏÏ
Ï
Ï
>
sffP
Ï
>
>Ï b ÏÏ n Ï Ï Ï
Ï
Ï
Ï b b ÏÏ ÏÏ b # ÏÏ
>
>Ï # # ÏÏ
#
Ï
b
Ï
ÏÏ
Ï n n ÏÏ b Ï Ï b # ÏÏ
bÏ Ï
>
>
#Ï
#Ï
bÏ Ï bÏ Ï Ï bÏ
Ï
#Ï
? 4 bÏ Ï bÏ Ï # Ï Ï
4 Ï
bÏ
b ÏÏ
Ä
ÏÏ
>Ï b ÏÏ n >Ï b Ï # >ÏÏ
Ï
Ï
sffP
²
#
Ï
>Ï # Ï ² B b # >ÏÏ ÏÏ
#
Ï
b
Ï
ÏÏ
Ï
n n ÏÏ
>
sffP
«« ««« ««« ««« ««« ««« ««« ««« ««« « «« ««« ««« « « «« « « «
ÏÏ
Ä
ÏÏ
Ä
««
«
nÏ
& nÏ bÏ nÏ nÏ #Ï
Vln. 1
Vc.
#Ï
>Ï # # ÏÏ
#
Ï
b
Ï
Ï n n ÏÏ b Ï
& Ï b # ÏÏ ÏÏ
Ï
>
>b Ï
> Ï >Ï b Ï
b
Ï
Ï
Ï
&Ï
> bÏ
# ÏÏ >Ï b Ï >Ï
>
b
Ï
#
Ï
? Ïb Ï Ï
Ï Ï Ï b b ÏÏ
Ï
&
98
arco
4
&4
F
Vln. A
arco
f. bA_35..train from Budapest to Praha - 2011. VI. 1
(q ≈ 90)
Cello
Vln. A
Vln. 1
Vc.
Vln. A
Vln. 1
Vc.
&
p
≥ ≤ ³≥
44 œ b ŠÏœ
>œ
ƒ ³
b ŠÏœ
>
œ
4 œ
4
ƒ
U
∑
U
∑
?
≤ ≥
‰Œ
œ # œ
>
> # ˘œ
œ ‰Œ
œ bœ #œ ‰ Œ
œ
œ
bœ
œœ
&
œœ n œ
œ‰
p
n œ ‰ œœ b b œœ n œ b b œœ œœ œœ œœ œœ n n œœ ‰ œœ b b œœ n œ b b œœ œœ œœ œœ œœ n n œœ ‰
œœ
œœ
œ
œ
œœ
U
&
œ
43 œ
∑
bœ œ
43
œ ‰ 4 œœ œ b b œœ n œ ‰ UŒ 3
4 œ
4
œœ
Œ
?
œœ ‰
œœ p
p
Œ œœ œ
œ
Ï
&
&
œ #œ ‰ Œ
p
b œœ œ n œ
b
œ
4
œ œ‰ Œ
‰
œ̆ 4 œ œ
œ
b b œœ n n œœ œœ b b œœ
b
œ
œ
œ
n
œ
œ
œ
b
œ
œ
44 œ œ
œ œ ‰ Œ 43 œ œ œ œ
œ
œ
ƒ
&
p
œœ œ b b œœ
3
&4 œ
ƒ
bœ
? 43 œœ œ b œ
œ
Ó
œœ
Ï
œ
Œ œ
Ï
œœ
œœ
48
8
4
b b ww
~ b ˙ ..
œœ ~~~~b ˙
~
Violin 1
&
~~~
Violin A
3
4œœ
>
ƒ
Ó
³
b ŠœÏ >œ
bb›
›
b˙
84 b ˙
.
n n ww .
≤ ≥ l.v.
44 œœ œœ Œ Ó
≤ ≥ l.v.
# œœ
44
b œœ Œ Ó
≥ l.v.
44 ≤ b œœ Œ
# œœ
Ó
g. bA_36:}{:p@|_iMps3s+ Θ..2809 Kingston, Ponca City, OK - Sunday 8/21/11 8:03
nÏ
#Ï nÏ nÏ
bÏ
3
bÏ Ï
All I sections maintain
a steady beat of MM 75
and the same exact beat
is shared between any
players asked to play I
at the same time
II.
nÏ
& bÏ
& Ï
& nÏ
Ï
nÏ nÏ bÏ nÏ #
p
arco
#Ï
pizz.
5
Vln A
I
Vln I
II
Vc TACET
#Ï bÏ
I. &
nÏ
nÏ nÏ
bÏ
3
nÏ
#ÏnÏ
#Ï
nÏ
Î
¹
nÏ
nÏ
nÏ #Ï nÏ nÏ
I
II TAC TAC I I
I I faster TAC I I I
II
II
I I II
I
f
#Ï
ì
# Ïn
I II
II II
II II
Ï
II
II
II
¹
nÏ b
Ïn
Ïb
5
Ï
Ï
qarcoq
I
I
I
ì
3
nÏ nÏ bÏ
Just two final
beats of I, arco
and everyone
should choose
a chunk that is
a triplet or faster
nÏ
bÏ
nÏ
#Ï
h. Rosslyn, VA (outside of Washington D.C.) - Sat. June 18th, 21:48
›
Mourning (q ≈ 55)
Violin A
& 48
Violin 1
& 48 
Cello
& 48 
Vln. A
Vln. 1
Vc.
Vln. A
Vln. 1
Vc.
& 74
b w ..
p
p
œ ˙
7
Œ
&4
œ ˙
& 74 b w ..
45ˆ38

˙.
œ.
œ œ. bœ 5 3 œ bœ
œ œ . œJ 4ˆ8
bœ ˙ .
45ˆ38 ˙
p
#œ.
& 49
nœ
#œ.
? 49 ››
f
46
w.
w.
 ( ) 5
j ¯
j
Œ bœ ˙
4 œ . œ œ n œ Œ 46 œ . b œ œ ˙
p
f sempre
6
bw
45 n w
œ 4 w.
p
f

nœ
nœ
œ
expressive

& 49 n œ

45
w
œ
J
œ
œ
J
œ

œ.
œ nœ ˙
bœ
bœ
œ œ .
J
bœ
bœ
j
œ œ
Œ
48
44
 nœ œ. œ œ bœ
J
Œ nœ
b œ 48 ˙ .
›
f
48 w
f
ww
48 ›
f
n˙.
Í
>
b˙ .
Í
>
œœ˙
œ œ œ œ 44
-
w
w
fÍ
41 Œ
48 ›
w.
48
›
#w
10
4 w
˙
˙
10
4 ww
˙˙
10
4 w
˙˙
Œ
48 
Œ
48 b ›
p
Œ
48 Œ
ww
fÍ
ww
fÍ
41 Œ
41 Π?
p
˙
F
74
74

44 
7
œ b œ . œj œ œ 4
F
nw
bœ
p
œ œ œ
bœ
w
44 b ˙˙ ..
Ï
44
b˙.
˙.
Ï
44# ww
Ï
Œ
49
Œ
49
49
i. Füßen, Deutschland - Mittwoch, 25. Mai
Incisive (q = 75)
œ bœ œ œ œ œ œ œ œ
œ œ œ œ
œ œ
& œ #œ œ œ œ œ œ œ œ
ƒ
bobsessed
œ œ œ
œ œ œ# œœ
&
ƒ
obsessed
Violin A
Violin 1
bœ œ
œœ œ # œœ œ
# œœ n œ œœ # œ
œ œ
O
Vln. 1
Oœ Œ
Oœ
Slow and Pensive
Vln. A
Vln. 1
Vc.
& Œ
& bœ
P
?
bœ
P
n œ0
f
tune string down one half-step
Œ
j
nO
œO .. œO œO # # œO # # Oœ Oœ n œ
b Oœ .. Oœ Oœ n # Oœ
J
Oœ U
Œ
molto molto
vib.
IV'
œ œ ~~~~~~~~~~ b œ œœ
œ b œ b œ œ œ >œ œ # œ œ # œ œ - 
ƒ
f
molto molto
molto vib.
III'

vib.
œ œ #œ ˙
# œœ n œ
~~œ- œ ~~~~~~n œ
œ œ ˙
>

f
ƒ
molto molto
molto vib.
>
vib.
œ œ
œ
œ œ œ ˙
# œ œ ˙
œ
f

Tuning Transition
bœ
P
# Oœ b Oœ Oœ
Oœ UŒ
molto vib.
nœ
f
0
tune string down one half-step
44
~~
Vc.
# Oœ Oœ
J


44
~~
Ruminative (q = 55)
44
j
‰ œO œO
Bœ
Oœ # # Oœ Oœ Oœ Oœ Œ n n Oœ .. Oj O # # Oœ # # Oœ Oœ # # Oœ # # Oœ Oœ UŒ
œ œ
. j
& 44 b b Oœ . b œO œO n n Oœ
p
j
bO
& 44 œO .. œO œO # # œO # # Oœ Oœ b œ
p
O O #O O
B 44 # Oœ .. # Oœ Oœ b œ b œ n œ œ
J
p
‰ b b Oœ Oœ
J
nœ œ œ œ
# œ>œ œ œ>œ œ œ>œ œ œ UŒ
&
Cello
Vln. A
n œ>œ # œ œ>œ œ œ>œ œ œ UŒ
œ œ œœ
bœ
P
nœ
f
0
tune string down one half-step
bœ
P
ƒ
j. Praha, Ceská republika - ctvrtek, 2. cervna 12:50
All notes written
as fingered
Ï
Smoky (q ≈ 40)
Violin A
= detuned I'
Violin 1
Ï = detuned II'
Cello
Ï = detuned
II'
33
&
¹
3
&3
¹
?
3
expressive and very free
3 3 3#
F 3
3
3 3 33
33
#
Î
Vln. 1
Vc.
Ï b Ï b Ï Ï b Ï Ï n Ï Ï b Ï b Ï . Ï Ï . Ï0 Ï
J
&
J
3
F
sul pont. b Ï
# Ï Ï Ï Ï Ï b Ï Ï Ï Ï . Ï0 Ï
&
J
3
F
Vln. 1
Vc.
ä # 3J #
P
333 333
3#
. 3#
3
3
3
3
3
3
3
ä
Î
&
J
J
P
333 333
3 #
? 3 3 3 3 3 3J ä 3 3 3 #
P
Î
3 #.
3 3 3 3 3.
ä 3
3 3 3 3 #3 3
3
¹
3
># >#
# ##
>#
#
Ä
3 33 #
î
Ï 3 33 #
Ä
3 3 3 3 3.
3 3 3. j 3 #
33 #
3
33 #
j ä
3
3
3 3.
3
f
Ä
3
¹
>3
3
ê
3
Î
Î
3 ~~~ 3
p
p
~~ 3
33 #
#3 3 #
î
¹
3 3 3 3
murmur
3 3 3 3
ì
># >#
# ##
ì
3
3
3
~~
Vln. A
3 >##
3
33#
3 3 3 3
3 3 3 3
?
333 333
#
& 3 3 3 3 3 3J ä Î
3 #
3 3J #
murmur
sul pont.
Vln. A
3
~3
,
Ï
‰
sffp
, 0
Ï
‰
sffp
0
( ² ) Š0
Ï
~~~~~~ ~~
ì
0
Š
Ï
~~~~~~~~ ~
ì
3 3 3 3 3 3 3 # #.
P
3
3
3
3
3
3
3
3
3
k. Erlangen, Deutschland (Andrea and Jenn's) - Sonntag, 5. Juni 11:03
Vigorous (q. = 80)
Violin A
Ï = detuned
I'
Ï = detuned II'
Violin 1
Cello
Ï = detuned
II'
Vln. A
Vln. 1
Vc.
Vln. A
Vln. 1
Vc.
3 ³ÏÏ .. ³ÏÏ Ïϲ ÏÏ .. ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
& 68ö16
ì
3
& 68ö16
? 68ö16
3
# ÏÏ
& ww
&Ï
Ï
<
?Ï
Ï
<
ÏÏ
<
# ÏÏø
Ïø
Ï
Ï<Ï
ÏÏ
Ïø 3ø
Ï<Ï Ï 3
øÏ 3ø
ÏÏø Ï 3
ÏÏ
3
ÏÏ
ÏÏ
< b # ÏÏ
<
ÏÏ
< b ÏÏ
<
Funeral March (q ≈ 60)
68ö41 Ïϲ .. ³ÏÏ Ïϲ ³ÏÏ .. ³ÏÏ Ïϲ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ .. ÏÏ ÏÏ ÏÏ .. ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 68ö16
3 ³ÏÏ .. ³ÏÏ Ïϲ ÏÏ .. ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 68ö81 Ïϲ .. ³ÏÏ Ïϲ ³ÏÏ .. ³ÏÏ Ïϲ ÏÏ ÏÏ 74 implacable
# ÏÏ ÏÏ
ww
ÏÏ .. J ÏÏ
ë
ø 3ø
Ï
ø
# ÏÏ
Ïϳ . Ïϳ Ïϲ ÏÏ . ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 6ö 3 ³ÏÏ . ³ÏÏ Ïϲ ÏÏ . ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 6ö 1 Ïϲ . Ïϳ Ïϲ Ïϳ . Ïϳ Ïϲ ÏÏ ÏÏ 7
68ö41
Ï<Ï Ï 3 ÏÏ< # Ï
.
.
.
.
8 16 .
88 .
4 Ï ÏÏ
bÏ
Ï <
<
<
ø
ì
ø
Ï 3
Ä
² ³²³ ³²
ø
68ö41
68ö16
3
68ö81 Ï . Ï Ï Ï . Ï Ï Ï Ï 74 Ï ÏÏ ÏÏ ÏÏø Ï 3 ÏÏ Ï
Ï. Ï Ï Ï. Ï Ï Ï Ï Ï <
< bÏ
<
ì
<
Ä
~~~~~~
~
pull out
~
~
~
of tempo
~~~ ~~~
ÏÏ ÏÏ 3 ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ## ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ~~~~~~~~~
WILD !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
SOLO
# ww
ÏÏ b ÏÏ J J 3b ÏÏ 3
3
Ïø 3ø
Ïø 3ø
# Ïø
ø
ø
ø
# ÏÏ
#
Ï
Ï ÏÏ
44 Ï ÏÏ Ï Ï
Ï<Ï Ï 3 ÏÏ< # Ï Ï
Ï 3 ÏÏ< # Ï
Ï ÏÏ
ÏÏ
<
Ï
Ï b b ÏÏ
<
bÏ Ï
bÏ
Ï <
<
< <
< <
<
<
øÏ 3ø
øÏ 3ø
ø
øÏ # Ï
Ïø ø
Ïø ø
Ï
3
Ï
Ï
3
Ï
Ï
Ï
44
ÏÏ Ï
Ï Ï Ï
ÏÏ
Ï
Ï Ï
Ï ÏÏ b Ï
Ï Ï<Ï
Ï<Ï
Ï
<
<
b
Ï
b
Ï
Ï
<
< b Ï<
< Ï<
<
<
brain
I' zaps
II'
//||||//\\\xxxxxx++++\+\+''':///|:/
33ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
!!!!!!!!!!!!!!!!!!!!!!!!!!!
&
f
implacable
7
# ÏÏ
ÏÏ
# ÏÏ
ÏÏ
&
4 ww
J
ÏÏ ..
ÏÏ
ww
ÏÏ
ÏÏ
3
ë
3
3
3
3
ÏÏ
ÏÏ
ÏÏ Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
3
3
Ï
Ï
Ï
Ï
Ï
Ï
?
74 ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï 3 3 ÏÏ ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ Ï
ÏÏ
ÏÏ
Ï
ÏÏ
Ï
b Ï ÏÏ
bÏ
ì
Vln. A
Vln. 1
Vc.
Vln. A
ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/
//||||//\\\xxxxxx++++\+\+''':///|:/
& ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
pull out
~~~~~~~~~~~~
~
~
of tempo
~
~
Ï
Ï
~
~
Ï
Ï
Ï
Ï
#
Ï
Ï
Ï
3
ÏÏ
ÏÏ
ÏÏ ÏÏ
ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï # Ï Ï Ï Ï Ï ~~~~~~~~~~~~
WILD !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
& # ww
J
J
SOLO
b ÏÏ
b ÏÏ
ÏÏ
3
3
ÏÏ33
ÏÏ33
ÏÏ Ï
ÏÏ Ï
Ï
Ï
Ï
Ï
Ï
Ï
3
3
Ï
Ï
Ï
Ï
Ï
Ï
3
3
Ï
Ï
Ï
Ï
? ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏ
Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï
ÏÏ ÏÏ Ï ÏÏ
ÏÏ
ÏÏ
Ï
b Ï ÏÏ
bÏ
Ï
68ö41
ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/
//||||//\\\xxxxxx++++\+\+''':///|:/
//||||//\\\xxxxxx++++\+\+''':///|:/ ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/
& ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
I' brain
II' zaps
Vln. 1
Vc.
3
68ö41
ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/
//||||//\\\xxxxxx++++\+\+''':///|:/
//||||//\\\xxxxxx++++\+\+''':///|:/ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
//||||//\\\xxxxxx++++\+\+''':///|:/
& 3 ÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀÀ
f
(q ≈ 50)
II'
3 . Ïj Ï .
# . II' Ï III'
Ï
.
III'
b
Ï
n
Ï
Ï
º
Ï
b
Ï
b
Ï
b
Ï
b
Ï
Ï
ú
Ï
Ï
ú
Î
Ï
ä
Ï
#
3
#
?mournfully· expressive
64
4
J
Jä
Ï
Ï
Î Ï. Ï ú
ú
Î Ï
Ï
3 33 33
#
4
J
P3
Vigorous (q. = 80)
Vln. A
& 68ö41 î .
³
6
1
ö
& 8 4 Ï.
ë
0
Vln. 1
Vc.
?
³ ²
Ï Ï Ï.
³ ³ ²
²
6
3
ö
Ï Ï Ï Ï 8 16 Ï . Ï Ï Ï . Ï Ï ÏÏ ÏÏ ÏÏ 68ö81 ÏÏ ..
ë
³ ³ ²
6
3
ö
Ï Ï Ï Ï Ï Ï 8 16 Ï . Ï Ï Ï . Ï Ï Ï Ï Ï 68ö81 Ï .
0
33 3
³Ï ϲ ³Ï . ³Ï ϲ Ï Ï 6 1 Ï . Ï Ï Ï . 3 3 3
R
Ï Ï Ï . Ï Ï Ï Ï 8ö16 Ï . Ï Ï Ï .
Ï Ï Ï . Ï Ï ÏÏ ÏÏ 68ö161 ÏÏ .. ÏÏ ÏÏ ÏÏ ..
68ö161 î .
33 33 33
R
0
pizz.
Ï
R
•
dampen
immediately
Appendix
Performance-Version Scores for Movements b-c & e-g
(otherwise known as the brokenAphorisms_32-36 portion of the larger composition)
Performance Score - b. bA_32..Budapest...

& œœ œ œ œ
p
Violin 1
(q ≈ 70)
~~
~~~
~~~
Vln. A
&Ó
Vc.
Vln. A
& œ œ œ #œ œ #œ
œ bœ œ œ bœ #œ
F
?
Vln. 1
Vc.
&
nœ #œ œ bœ œ nœ nœ
sfffz
œ œ œ #œ œ #œ
œ bœ œ œ bœ #œ œ œ bœ œ œ bœ
F
3
3
Vln. 1
#œ nœ
44 n œ b œ n œ b œ b œ n œ
P
3
3
3
3
bœ #œ œ nœ
P
3
nœ #œ #œ nœ bœ œ
3
3

œ œ bœ œ œ bœ nœ #œ #œ nœ bœ œ
& œ
n œ. # œ # œ. n œ. b œ. œ. n œ. œ.
œ
b
œ
. . .
.
.
. .
B b œ. œ. œ. b œ. n œ. # œ. # œ n œ b œ. œ n œ.
sfffz
# œ. œ # œ
. . n œ. b œ.
œ. # œ. œ. # œ. .
nœ
œ. b œ. # œ.
œ.
b œ.
œ.
P
3
 œ œ œ #œ
. . . . œ. # œ. œ b œ œ.
. .
Í
œ. œ. œ. # œ. œ. # œ. . .
B
‰
œ bœ
œ. n œ b œ n œ.
. .
œœ œ œ œ
p
œ. b œ. # œ. n œ. n œ. b œ.
œ. œ. b œ. # œ. n œ. n œ.
#œ nœ
œ. b œ. n œ. # œ. . . b œ.
œ. n œ b œ n œ. œ
. .
.
œ. b œ. # œ. œ. n œ. b œ. n œ.
œ. b œ. # œ.
3
Ó
œ. œ œ. # œ. œ # œ
.
. . œ. b œ. œ. œ. b œ. # œ. n œ. n œ. b œ. n œ.
Í
Í
œ
#œ nœ
œ #œ
œ. b œ. n œ. # œ. . . b œ. . n œ. . . œ. # œ. n œ. b œ. n œ.
#œ nœ bœ œ
œ #œ
#œ œ œ bœ œ #œ nœ nœ œ
#œ
nœ
3

#œ
~~~
Cello

nœ nœ œ #œ œ #œ œ œ
P
sfffz
~~~
?
bœ bœ
nœ nœ
~~~
&
Violin A
44 n œ
nœ nœ bœ nœ bœ œ #œ œ nœ bœ
P
sfffz
P
œ.
12
4
œ.
œ
#œ nœ
b œ. n œ. # œ. . . b œ. .
. . # œ. n œ. b œ.
n œ. b œ. n œ # œ
12
4
?
12
4
Vln. A
Vln. A
&
Vln. 1
&
Vc.
?
œ
â
bœ
â
œ
â
bœ
â
bœ
â
œœ œ ~~~œ~~~ œ
ƒ
j œ œ~
œ œ # œj b œ n œ b œ
b
œ
œ œ ~~~ ~~ œ
œ
œ
b
œ
œ
bœ
fl fl fl â â â
â
â
ƒ
â
â
˘œ b ˘œ âœ̆ n äœ œ .â ä . b äœ œ . n äœ œ . ä
b
ä
œ œ
äœ b äœ b œ n äœ
nœ œ
U

~~~
Vc.
& 12
4 œ œ
â
Ï â
äœ b äœ
? 12
4
Ï
œ bœ
â â âœ
~~~
Vln. 1
& 12
4 œ œ œ bœ
â
â â
Ï â
U
non vib.
œœ
non vib.
#œ œ œ
U
Œ
œ
non vib.
ord.
ƒ
œœ
U
sul pont.
bœ bœ œ
Ï
U
Œ
#œ œ bœ œ
maintain volume to end
U
Œ
œ bœ œ bœ
U
Œ
Performance Score - c. bA_33..2 Hillcrest, Ponca City, OK
& #œ
p
Violin A
IV'
#œ
& #œ
p
Violin 1
&
Vln. 1
&
Vc.
&
#œ
œ
œ
œœb œ œ œ
œ
œœb œ œ œ
# œœœ œ œ
œ bœ œ œ
sub.
Ï
Vln. A
&
# n œœ
Vln. 1
œ
& #œ
# # œœ
&
o
n œœo
64 œ>œ œœ œœ
Íp
>œ œ œ
46 # œ œ œ
Íp
œo
œ #œ nœ #œ
F
Ï
3
p
œ #œ œ nœ œ #œ nœ
Ï
p
U
œ>œ œœ œœ œ>œ œœ œœ œ>œ œœ œœ œ>œ œœ œœ œ>œ œœ œœ œ>œ œœ œœ œ>œ œœ œœ
U
Vlns independently join cello on open
strings at roughly the same tempo, but
with dynamics and quarter-note attacks
completely asynchronous
slow, painful gliss.
~~~~~
œ œ
~~~~~~
~~~~~
~~~~~~
~~~~~~~~~
~~~~
~~~~~
~~~~~~
~~ œ œ
sub. f
slow, painful gliss.
~~~~~~~~
~~~~~~~~~
œ
~~~~~~~~~~~
~~~~~~~~~~~~~~~~
~~~~~~~~~~~
~~~ œ
sub. f
oo oo oo oo
œœ œœ œœ œœ
f

3
sub.
œœ œ>œ œœ œœ œœ œ>œ œœ œœ œœ œ>œ œœ œœ œœ œ>œ œœ œœ œœ œ>œ œœ œœ œœ
 sempre
sub.
3
slightly slower
than Violin A
nœ
sub.
œœ
Vc.
œ
#œ
sub.
œ #œ œ nœ œ #œ nœ
F
light, random pulsing
Vlns add open
E string throughout
this measure
Vln. A
slightly faster
than Violin A
IV' light, random pulsing
& #œ
p
Cello
#œ œ œ œ
F
light, random pulsing
Vln I joins
Vln. A, but the
cells should not
be synchronized
œ #œ œ nœ œ #œ nœ
(q ≈ 75)
œœ œœ

œœ œœ œœ

œ
II'
non vib.


œ
II'
non vib.


all insts stop independently,
Vln. A is last to stop
Performance Score - e. IIIII al-Gharaniq:}{:bA_34..Wien, Österreich...
(q. = 80)
Violin A
& 12
8 Ó.
Œ.
Violin 1
& 12
8 Œ.
‰ ‰ œ Ó.
F
œ
? 12
8 ‰ ‰ Œ.
F
pizz.
Cello
Vln. A
Vln. 1
Vc.
pizz.
& ‰ ‰#œ ‰ ‰
Ó.
.
‰‰ Œ
pizz.
œ
F
Ó.
œ‰‰
‰ œ ‰ Œ.
Ó.
Ó.
‰‰
Œ.
bœ
#œ ‰ ‰ Œ.
œ‰‰
Œ. ‰ ‰ œ Œ.
Œ.
Ó.
(e = e)
 
‰ œ # œ ‰ 98
bœ œ #œ
‰
b
œ
b
œ
œ bœ
œ
œœ
bœ œ œ
œ
poco cresc.
 
arco
#
œ
#
œ
9
#
œ
bœ œ
& bœ ‰ ‰ Œ. bœ ‰ ‰ œ ‰ ‰
‰ ‰ ‰ ‰ ‰ ‰ bœ ‰ n œ ‰ bœ ‰ bœ œ ‰ œ 8
‰
‰
b
œ
œ
œ
œœ
bœ
bœ œ
œ
œ
poco cresc.
#œ
#
œ
bœ
arco
bœ œ
bœ œ 
œ #œ
b
œ
b
œ
œ
œ
œ
œ
œ
œ
œ œ
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
? Œ.
‰bœ ‰
‰œ‰
98 b œ œ
‰ bœ œ ‰
‰ ‰ bœ Œ.
‰ ‰ bœ ‰ ‰ œ ‰ ‰ ‰ ‰ œ Œ.
bœ
arco
poco cresc.
Vln. A
Vln. 1
Vc.
>œ # # œœ
#
œ
b
œ
œ
œ n n œœ b œ
& œ b # œœ œ
œ
>
>b œ
> œ >œ b œ
œ
& œ bœ œ
> bœ
# œ >œ b œ
? œ b # œœ >œœ b œ œ œ >œœ b œ
bœ
œ
b œœ n >œ œœ œ
>
œ
œœ b # œœ œ
œ
œ b b œœ œ b # œœ
>
œ
>
>
>œ # # œœ
#
œ
b
œ
œ
œ n n œœ b œ œœ b # œœ
œœ b # œœ œ
>
>b œ >
>
>
>œ b # œœ œ b œ >œ
#
œ
œœ b œ œ
œ œ œ b b œœ œ b # œœ
œ
>
>
>œ
œ
#
œ
>
œ
œ
#
œ
#
œ
œœ b œ œ
œ
>
sffP
œ
>
>œ b œœ n œ œ œ
œ
œ
œ b b œœ œœ b # œœ
>
> #œ
œœ b # œœ œœ # œ n n œœ b œ œ b # œœ
bœ œ
>
>
‰ ‰bœ ‰ ‰ œ
#œ ‰ ‰
.
Œ.
bœ ‰ ‰ Œ
‰‰
œ‰‰
œ
#œ
‰ ‰ ‰œ‰
‰ œ ‰ ‰bœ ‰
‰bœ ‰ Œ.
Œ.
‰ ‰ œ bœ ‰ ‰ Œ.
‰œ‰œ‰
‰ Œ.
Ó.
‰ ‰ bœ ‰ ‰ ‰ ‰ bœ Œ.
œ
bœ
44 # œ œ # œ œ œ
bœ
œ
44
#œ
bœ œ bœ œ œ bœ
œ
#œ
44 b œ œ b œ œ # œ œ
bœ
œ
b œœ
>œ b œœ n >œ b œ # >œœ
œ
œ
sffP

> # œ  # >œ œ
œœ b # œœ œœ # œ n n œœ B b œ œ
>
sffP
ƒ
œœ
ƒ
œœ
ƒ
œœ
Vln. A
&
Vln. 1
& b # œœ
Vc.
B
(q = q.)
œœœœ
98 œ œ œ œ œ œ œ œ œ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ ‰ œ́ œ́ ‰ œ́ œ́ œ́ œ́ œ́ ‰ œ́ œ́ ‰ œ́ œ́ ‰ œ́ œ́ ‰ œ́ ‰ ‰ œ ‰ œ œ́ ‰ ‰ ‰ œ́ ‰ ‰ œ ‰ Œ . Ó .
‰œ‰
ÿ ÿ
ÿ
ÿ
F
98 # œ b œ œ œ œ œ œ œ œ b œ´ # œ´ œ́ ‰ œ́ œ́ œ́ œ́ œ́ # œ´ b œ´ œ́ ‰ œ́ œ́ ‰ œ́ œ́ ‰ # œ´ b œ´ ‰ œ́ œ́ ‰ œ́ œ́ ‰ b œ´ ‰ ‰ # œ´ ‰ œ́ œ́ ‰ ‰ ‰ b œ´ Œ . ‰ ‰ œ́ ‰ ‰ # œ´ Ó .
F
œ œ œ œ œ œ œ œ œ œ́ ‰ œ́ œ́ œ́ œ́ œ́ œ́ œ́ œ́ ‰ œ́ œ́ ‰ œ́ œ́ œ́ œ́ œ́ ‰ œ́ œ́ ‰ œ́ œ́ ‰ œ́ ‰ œ́ œ́ œ́ ‰ œ́
‰ ‰
‰ Œ.
98
F
œ́ ‰ œ́ ‰
‰ ‰ Œ.
œ́ ‰ ‰
Œ.
Performance Score - f. bA_35..train from Budapest to Praha...
Violin A
U

44 œ b äœ
>œ
ƒ
b äœ
>
œ
44 œ
ƒ
œ œ bœ #œ ‰ Œ
œ
‰Œ
œ # flœ
>
> # ˘œ
œ ‰Œ
œ œ bœ #œ
œ ‰Œ
œ
43 œ

bœ œ
œ ‰ 4 œ b b œœ n œ
4 œ œœ
œœ ‰ Œ
b œœ n n œœ œœ b b œœ
b
b
œ
œ
44 œœ œ b œ œ n œœ ‰ Œ 43 œœ œœ œ œœ
œ
œ
ƒ
43
43
œ ‰ êêêêêêêêêêêêêêêêê
êê êêê
& êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê
œœ œ
p
p
œœ œ b b œœ œœ n œ ‰ êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê
3
œ
&4 œ
ƒ
p
bœ
bœ œ œ œ œ nœ
bœ œ œ œ œ nœ
? 43 œœ œ b œ n œ ‰ œœ b b œœ n œ b œ œ œ œ œ n œ ‰ œœ b b œœ n œ b œ œ œ œ œ n œ ‰ êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê
œ
œ
œ
œœ
œœ
œœ
p
& êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê
Vln. 1
& êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê
? êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê
Œ œœ œ
œ
Ï
Œ
œœ œœ
Ï
Œ œœ œœ
Ï
48
b b ww
›
84 b b ›
b˙
84 b ˙
~~
œœ ~
~b~ b ˙˙ ..
~
U
Vln. A
Vc.
Ó
p
êêêê
êêêêêê
Vc.

êêêêêê
êêêêêê
Vln. 1
U
~~~
Vln. A
?
ä >
34 œ b œ œ œ̆ ‰ 44 œœ œ b b œœ œœ n œœ ‰ Œ
œ
>œ
ƒ
ê
êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê
êêêê
œ êêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêêê Ó
êêêêêê
ê
êêêê
Cello
&
p
bœ bœ bœ
êêêê
Violin 1
œ
& œ #œ œ #œ
êêêêê
êêêêê
ê
(q ≈ 90)
.
n n ww .
44 œœ œœ Œ
Ó
44
# œœ Œ
b œœ
Ó
44 b œœ Œ
# œœ
Ó
Performance Score - g. bA_36:}{:p@|_iMps3s+ Theta..2809 Kingston...
I.
nœ
pizz.
#œ nœ nœ
#œ nœ
#œ nœ nœ
3
5
nœ
nœ nœ nœ bœ
II.
3
nœ nœ bœ nœ bœ
#œ bœ
bœ
nœ nœ bœ
#œ
3
nœ #œ nœ nœ
nœ nœ bœ nœ #œ
5
bœ œ
œ
#œ nœ
arco
& bœ
~~~~~~~~~~~~~~~ # œ
~~~~~~~~~~~~~~~~~~~~~~~~~ b œ
~~~~~~~~~~~~~~~~~~~~~~~~ # œ ~~~~~~~~~~~~~~~~~~~~~~~
& œ
& nœ
Vln A
I
Vln I
II.2
Vc TACET
p
Œ
~~~~~~~~~~~~~~~~~~~~~~~~ n œ
~~~~~~~~~~~~~~~~~~~~~~~~~~~ n œ
I
II.2 TAC TAC I I I II.1 II.1
I I faster TAC I I I II.2 II.3 II.1
II.2 II.1
I
I I II.2 II.3 II.2 II.1
f

Ï

qarcoq
I
I
I
Ï
~~~~~~~~~~~~~~~~~~~~ n œ ~~~~~~~~~~~~~~~
All I sections maintain
a steady beat of MM 75
and the same exact beat
is shared between any
players asked to play I
at the same time
The ending is
just two final
beats of I, arco,
and everyone
should choose
a chunk that is
a triplet or faster