Christian Mason
Shadowy fish (Hommage à Schubert) für Violine, Viola, Violoncello, Kontrabass und Klavier for Violin, Viola, Violoncello, Double Bass and Piano
Partitur und Streicherstimmen | Score and String Parts
Edition Breitkopf 9399
Christian Mason
Shadowy fish (Hommage à Schubert) für Violine, Viola, Violoncello, Kontrabass und Klavier for Violin, Viola, Violoncello, Double Bass and Piano
Partitur und Streicherstimmen | Score and String Parts
Edition Breitkopf 9399 Printed in Germany
Christian Mason | Shadowy fish
III
Contents I mysterious, hypnotic, entrancing [c. 5 min.] II slow, with a heavy heart [c. 4 min.] III delicate, mysterious [c. 6 min.]
1 19 23
Performance Notes Note on metre Sometimes the notation distinguishes between “felt metre” (defined by normal barlines) and “practical metre” (defined by dotted barlines). While the smaller metrical divisions (in 2/4) make the music easier to read, the larger metrical structures reveal the compositional intentions. This approach occurs in two sections of the first movement: b.1 [LETTER A] – b.97 [LETTER L]: felt metre = 8/2, practical metre = 2/4 b.181 [LETTER Q] – b.198 [end of the movement]: felt metre = 3/2, practical metre = 2/4 Note on microtones Derivation of microtones is usually based on the tuning of the harmonic series (whether or not it is being expressed as actual natural harmonics). The degree of accuracy required depends on the context. In the cases where precision is most important the score indicates, for example, “tune as 11th harm. of C” or simply “11th of C”. In faster passages the most important thing is the special non-chromatic colour of the intonation. The language overall is heterogenous, mixing “tempered” and “spectral” attitudes to tuning throughout the piece, in order to achieve a sense of ‘shimmering’ sound and harmony (for example, the A natural in the opening violin/ viola figuration is not part of the C-spectrum, whereas the other notes are; or at b.117 we simultaneously here the spectral version in the violin/viola and the tempered version in the piano). The most common spectral root is C:
The piece begins with position 1. Between LETTER D and LETTER E the players should walk (while continuing to play from memory) to position 2, joining the rest of the ensemble on stage. If more time is needed to walk between positions it is fine to begin walking earlier, for example at LETTER C. Voix imaginaire The score includes a vocal line, setting part of a poem by Pablo Neruda: Every Day You Play. This part is not intended for performance but could inform the musical expression and interpretation. All of the melodic lines are included in other parts which are performed. While composing the words and melodies became connected in my imagination. Each movement is related to one stanza, as follows: Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. From Twenty Love Poems and a Song of Despair by Pablo Neruda | Published by Jonathan Cape | Reprinted by permission of The Random House Group Limited. Other performance notes
7th = 31 cents flat (approximately a 1/3 tone) 11th = 49 cents flat (approximately a 1/4 tone) 13th = 41 cents sharp (approximately 2/5 of a tone) There are also cases of microtones used as melodic or colouristic inflections. In such cases the precise tuning is left to the performers discretion. The following accidentals are used:
Sometimes very high natural harmonics are used melodically (e.g. the cello part during the opening of the piece). It is understood that these may be fragile and unstable in performance. What matters is to aim for the written notes, and hope for the best! Glissandi should, as far as possible, last across the entire notated duration; though where the distance is very small compared to the time value the slide can be delayed as needed. Headless stems (with o) = unspecified high natural harmonics:
Layout/Playing Positions The violin and viola players have two playing positions: 1. Off-stage (not too far, but out of view for the audience) 2. On-stage, with the ensemble in a standard seating format (as for Schubert)
Upward arrow note-heads = unspecified pitch as high as possible:
Breitkopf EB 9399
Christian Mason
Hommage à Schubert
Shadowy fish
Christian Mason, 2020
Hommage à Schubert
I fish Shadowy I.
Feel each 2/4 bar as a h beat within a larger 8-beat structure
&
Voix Imaginaire
™™ 82
Mysterious, hypnotic, entrancing q = 108 - 120 THIS PART SHOWS THE POETIC SOURCE OF MELODIC MATERIAL BUT IS NOT PERFORMED
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Christian Mason
∑
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™™
PLAY x2
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VIOLIN and VIOLA OFF-STAGE, OUT OF VIEW, WITHOUT SHOES
° ™8 & ™ 2 œLœœ
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fast light bow strokes, molto sul pont.
Violin
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fast light bow strokes, molto sul pont.
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Edition Breitkopf 9399
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© 2020 by Breitkopf & Härtel, Wiesbaden
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Christian Mason
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WALK CALMLY WHILE PLAYING TO ON-STAGE POSITION...
poco sul pont.
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° Breitkopf EB 9399
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Shadowy fish
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Breitkopf EB 9399
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Christian Mason
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43
Voix Im.
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Sample page
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(tune as 11th harm. of C)
Pno.
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nœ- Lœ œ jœ - J œ- œ -
ord.
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jœ
˙
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ord.
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55
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3
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mp
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r ≈ œ j > œ.
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3
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Breitkopf EB 9399
œ
Jœ
œ-
r ≈ œ > œ. pp
? ‹
j œ.
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ppp
H œ. b œ.
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o
o œ-
œ œR ≈ œ-
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3
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Gradual transformation of articulation
Jœ-
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nœ- Lœ œ ≈ jœ ≈ J œ- œ
f
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poco vib.
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p
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Sample page
° Vc. & ˙
{
p
nœ- Lœ œ jœ - J œ- œ -
poco vib.
& >˙
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nœ- Lœ œ jœ - J œ- œ -
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˙
ord.
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61
Vla.
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3
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6
Christian Mason
6
67
Voix Im.
∑
& ˙
∑
∑
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play
° ≈ nœ. Lœ ≈ jœ. ≈ nœ. Lœ ≈ jœ. ≈ Vln. & nœ - Lœ œ ≈ J œ jœ ≈ nœ- Lœ. œ ≈ J œ jœ. ≈ nœ. Lœ. œ ≈ J œ jœ. œ œ . . J œ J œ . - œ . - œ . . . . œ. œ. œ. . . . .
≈ nœ. Lœ ≈ jœ. . œ. J œ œ . .
molto sul pont. œ. œ r ≈ œ œ. œ r ≈ œ œ. œ r ≈ œ œ. œ r ≈ œ œ. œ r R ≈ R ≈ R ≈ R ≈ B J œ J œ J œ J œ . . . . . R ≈ . Jœ. ≈ œ œ. - . œ - . œ Vla. ¢ œ œ . . . . . œ œ. œ. œ. œ.
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molto sul pont.
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gliss.
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& ˙
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>œo
-œ
3
œ
‰
œ. 3
f
œ > œ b œ. .
f gliss.
> . œ bœ
Œ
f
˙
-œ
>œo
-œ Jœ -
3
gliss.
> . œ bœ
mf
œ
œ. ˙
pp
‰
œ. 3
mf
œ > œ œ. .
œ-
œ.
œ. ˙ ‰
Breitkopf EB 9399
œ. 3
p
pp
mp
œ. 3
œ > œ œ. . mp
œ
œ.
˙
nœ. Lœ ‰ jœ ‰ . J œ. .
-œ
-œ
ord.
-œ Jœ -
L-˙
>œo
œ > œ œ. .
-œ
-œ Jœ -
˙
>œo
œ.
Œ
pp
œ
œ. ˙ p
‰
>œ pp
-œ
poco vib.
œ.
Œ
p
œ
>˙ ‰
senza vib.
poco vib.
Œ
> . œ bœ
>œo
nœ. Lœ ‰ jœ ‰ . J œ. . ord.
-˙
œ
gliss.
light
nœ. Lœ ‰ jœ ‰ . J œ. .
Œ œ.
the
nœ. Lœ ‰ jœ ‰ . J œ. .
mf
œ.
œ > œ œ. .
œ
˙o o Œ
L˙
˙
3
3
p
>œo
p
œ.
‰
nœ. Lœ ‰ jœ ‰ . J œ. .
˙o
mf
œ
> . œ bœ
&
Sample page
jœ. ‰
-œ Jœ -
? Œ ¢‹
œ
3
with
° ˙o Vc. &
Db.
˙
gliss.
Œ
I 73
∑
Leseprobe œ.
Œ
∑
ppp
˙
œ. ‰
>œo
> œ. œ ‰
>œ
œ. ‰
ppp
> œ. œ
Shadowy fish
7 7
79
&
Voix Im.
j˙
3
œ
¢
-œ
ppp
-œ Jœ -
° j˙ Vc. &
senza vib.
{
nœ.
-œ
˙
3
arco IV
∑
& ‹
mf
? ‰
pp
œ. ‰
> œ. œ
Jœ
3
-
-
˙
ni
‰
jœ ‰ J œ. .
molto sul pont.
œ-
Jœ-
molto sul pont.
-
-œ
& ˙ verse
° & ≈ Lœ œ ≈ ≈ jœ ≈ > . > œ. ord.
Vln.
ppp
Vla.
Vc.
Db.
¢
B
œ
ord.
ppp
° & ˙ > ¢& ‹
{
˙o
& ˙
Pno.
Jœ-
œ-
? ‰
-
-
f
> œ œ
-œ Jœ- ™
senza vib.
#˙
-
-
˙
-
-
-
-
œ
-œ Jœ -
J œo
C: 14th
˙o
‰
œ. ‰
J
Ϫ >
j œ >
> œ. œ ‰
>œ
˙
J˙
˙
˙o
˙o
˙o
˙
˙
Ϫ
f
ff
œ. Œ
‰
>œ
œ. ‰
> œ. œ ‰
˙
≈ Lœ ≈ ≈ jœ ≈ œ > . > œ.
≈ Lœ ≈ ≈ jœ ≈ œ > . > œ.
œ
œ
>œ
œ. Œ
œ-
≈ Lœ ≈ ≈ jœ ≈ ≈ Lœj™ œ > > . > œ. -œ
Jœ-
‰
j œ > p
>œ
œ. Œ
œ-
> œœ œ J
Jœ- ™
f
jœ ‰ J œ. >
j œœ œ- J
œ-
f
˙
˙
˙
o ˙
L˙ >
>˙o
˙o
˙o
˙o
˙
˙
p
jœ ‰ J œ. >
≈ Lœj™ > œ-
j œ-
p
>œ
œ. ‰
ppp
> œ. œ
‰
>œ
œ. ‰
> œ. œ
> œ
˙
˙
˙
-
-œ Jœ- ™
pp
˙
Sample page Jœ-
-
K
L˙
˙
œ-
-
3
f
>œ
-
-œ
-œ Jœ -
Leseprobe s.
85
Voix Im.
˙
≈ Lœ ≈ ≈ jœ ≈ ≈ Lœ ≈ ≈ jœ ≈ ≈ Lœ ≈ ≈ jœ ≈ ≈ Lœ ≈ ≈ jœ ≈ œ œ œ œ œ. œ. œ. > . > . > . > . > > > > œ. f
œ-
glis 3 o o o o o o o o o Lœ -˙ œœœ œ œJœ œ p f
˙ >œ
u
poco vib.
& ˙
Pno.
Lœ.
-œ
œ
? Db. ¢ ‹
#˙
˙
the
jœ ‰ J œ. .
ppp
Vla.
3
of
° Vln. & nœ . Lœ. ‰ B
J
œ
˙ ‰
>œ
œ. ‰
> œ. œ
Breitkopf EB 9399
œ™ ‰
>œ mf
œ. Œ
j œ >
f
K
∑
∑
arco
¢
Vla.
° jœ ‰ & nœ. Lœ. ‰ J œ. .
Vln.
j˙˙mf
œ-
ppp
˙o
œnœ.
Lœ.
of
j˙
œ
œ
mf
&
poco vib.
J-œ
œ-
˙o
œ-
#˙
3
œ. ‰
>œ
ff
> œ. œ
˙
J œo
‰
>œ
pp
œ. Œ
˙
˙o
C: 14th
senza vib. f
œ> Pno. œ. Œ
‰
J˙
˙o
Vc.
˙
œ- Jœ -
Vla.
3
>œ
œ. ‰
° & ˙ > ¢
B
> œ
ppp
œ-
œ
ord.
J-œ
u
#˙
-
-
ni
Jœ
-
-
˙
-
ppp
J
3
& ˙
Voix Im.
-
-
-
˙
-
-
-
-
-
˙
Pno.
-
{
-
7pp
? ‰
mf
& ˙
Breitkopf EB 9399
3
? ‰
85
p
79
ppp
˙o Db. ¢& ‹ j œ > & p˙
Ϫ
˙o
œ- Jœ -
> œ œ
molto sul pont.
the
˙
-œ Jœ- ™
˙
{
≈ Lœ ≈ ≈ jœ ≈ ≈ Lœ ≈ ≈ jœ ≈ ≈ Lœ ≈ ≈ jœ ≈ ≈ Lœ ≈ ≈ jœ verse≈ œ œ œ œ > . > . > . > . > œ. > œ. > œ. > œ. ord. f ° ≈ ≈ ≈ jœ molto sul pont. œœ œ- -œVln. & L>œœ œ. > > œ. Jœ- ™
jœ ‰ J œ. .
‰
K
#œ œ #œ œ œ œ œ ˙#œ œ œ œnœ #œ œ˙ œ œ œ #œ œ #œœ œ œœ™ #œ œ œ œ œ j #œ ˙ œ œ œ œ #œ œ˙œ œ œ #œ œ œ > >œ >œ >œ >œ f > œ. > œ. > œ. œ œœ œ œ. œ œ œ . .œ ‰ œ œ nœœ. Œ ∑ œ œ nœ œ œ ‰nœ œ ‰ nœ œ ‰ œ nœ ‰ œœ ‰ nœ œ nœ œ∑ nœ w w w ppp mf mf
Voix Im.
-œ
˙
mf
œ
w
-œ Jœ -
J
f
gliss. IV 3 o o o o o o o o o Lœ ˙œœ œJœ œ
sul pont.
j -œ
B
œœ
˙o
˙
œ-
ppp
j œ >
‰
pp
nœ J ˙
Ó j œœJo œ-
jœ ‰ J œ. >
senza vib.
Ϫ >
>œ
˙
K
w o > ˙
pp
Ϫ
˙˙ -œ
f
≈ÓLœj™ o>
° j˙ &
& ‹
> œ. œ
œ. Œ
˙
ord. p
>˙o
p
L˙ >
f
> œœ œ J
f
tor,
Vc.
-
3
-
∑
-
? ¢‹
p
si
Db.
˙ -
& ˙
‰ f
-
˙j˙
mf
>œ
˙
ppp
Pno.
> œ. œ
œ. ‰
> #-˙
J-œ ™
>œ
‰
Jœ-
œ-
œ. ‰
˙
? ‰
f
ww œ-
pp
L˙
Vary accent patterns ad lib. like distant bells chiming
‰
˙
{
j œ2 j p> 2 ˙ & œ >œ > Pno. œ. Œ 22 >œ bpp˙ ? ‰ œ. ‰
{
˙
-œ
˙
w
Ϫ >
ff
85
˙
jœ ‰ J œ. >
≈ œj™ L >
f
-
Ϫ
¢& ‹
& ˙
jœ ‰ J œ. >
??22 ‰ w “‘
-
verse
f
≈ ≈ ≈ ≈ ≈ œj™ j œ L œ L œ > > . > œ.
j -œ
œ-
2œ &&2 œ˙ œ œ
K
-
Db.
pp
˙o 22
Voix Im.
≈ ≈ ≈ jœ ≈ L œ œ > . > œ.
j œJœ -œ
œ-
o ˙
ord.
œ-
> œœ œ J
ff pp
≈ ≈ ≈ jœ ≈ L œ œ > . > œ.
œ-
˙
b˙
j Jœœ ˙≈w™ ≈ j ˙˙ jœ ‰ œ ≈ œ™ ≈ ≈ j Lœ œ Lœ œ ≈ ≈ jœ ≈ ≈ Lœ ™ > J œ. > > . > . > œ. > œ. œ
#w
molto sul pont.
>œ > œ. .œ ‰ œ ‰ tr.œ. Œ œ™ œ œ bœ
Sample page -œ jwJœw ppp -
œ
° ≈ ≈ jœ ≈ Vln. & ≈ L œ œ > . > œ.
-
ppp
œ
f
Jœ- ™
q=q
œ
vi
œ
L˙
? ‹
f
mf
ord.
œ-
f
œ-
>œ
‰ ˙
≈ verse œ . jœ°™ > 22ord. JVln. œ. > & ≈ >Lœ œ ≈ ≈ j -œ J-œ ™ œ> . ppp -œ j ord.22 œœ œ -œ >JœVla. ¢B ff ppp ˙ 22 ∑ ° Vc. & ˙ > ˙o
œœ J
˙
˙ >
≈ ≈ jœ
œ.
œ-
J-œ
Db.
{{
Pno. Pno.
L
J-œ
ppp
#w
tle
˙
2 & ˙ 2
Voix Im.
J-œ
-
˙
>- ord. ˙w ≈-Lœ ≈ J˙≈ jœ ≈ ˙ ≈ Lœ ≈J˙w≈ jœ ≈ > œ œ ff > . > . ppp > œ. > œ.
2 ord. Vla. ¢B 2 ww œ -œ B JœVla. ¢ ppp ° 2 w≤ °2 Vc. & Vc. & ˙ p dolce molto espress. > ? 2 Db. ¢ ‹ 2 w˙o >Db. ¢& sffz ‹
˙o
∑
∑
ppp
-
∑
85
B
˙
-
˙o
-
¢
˙
-
3
J˙ ∑
-
Vla.
p
L˙ >
-
˙
˙o
-
˙ ∑
-
≈ ≈ Lœ œ. > nœœ . Lœ ™ >œ
˙
#w
˙
-
° Vc. & ˙ >
˙o
°° 2 Vln. 2 Vln. &&
verse Sub
˙o
&2 w & 2 ˙
fmf
˙
-
≈ Lœ ≈ ≈ jœ ≈ ≈ Lœ ≈ ≈ jœ œ œ œ. > . > . > > jœ ™ nœœ jœ ™ L œ ™ . J œ. > J œ. > > œ œœ œJœJœœ œ -œ j j œ- J œ-
Leseprobe p
-
∑
>˙o
q=q
-
o ˙
K
˙
L
∑
-
˙o
˙
85
°
p
j œ >
∑
Voix VoixIm. Im.
97
pp
-
¢& ‹
Ϫ
∑
f
{{
∑molto sul pont.
˙
-
Db.
œ. Œ
>œ
˙
˙ -
˙
-
& ˙
‰
> œ. œ
˙
ni
7pp Pno.
œ. ‰
Jœ
-
° ≈ Lœ ≈ ≈ jœ ≈ nœ. Lœ ‰ jœ. ‰ Vln. & nœ . Lœ. ‰ J œ jœ. ‰ œ . ord. molto sul pont. J œ œ. . . > . ° > j ≈ ≈ ≈ j œ n œœ j œ n œœ j œ ™ n œœ f Vln. & ppp Lœ ™ Lœ ™ >. L>œ ™ J œ. > >. L>œ ™ molto J œ. > J œ. >sul pont. . > > -œ> œ -œ ppœ -œ Jœ œ œJ œ J œ ™ Vla. ¢B - -œ - œmolto sul pont. ord. œœppp -œ œœ -œ j j œœJ j œœJ œœ- f J Vla. ¢B J œ œ œ senza vib. poco vib. senza vib. pp ˙ œ ° j˙ # ˙ Vc.° & ∑ 3 Vc. & ˙ ˙ arco gliss. C: 14th IV o mf 3o o o o o o o o o o J œo ˙ Lœ ˙ œ ? œ C: 11th œ ∑ J œ o Db. ¢ > &o œ œ ‹ L˙ ˙ ‹ ˙ pœ 3 f Db. ¢& o ‹ mf J ˙ œ™ & ˙ j > œ mf f ˙ ˙ ˙ ff> j & œ™ Pno. œ mp mf >œ >œ > > œ. > œ. Pno. pœ 3 œ 3 ‰ œ . Œ ? . . r ‰ ‰ ‰ ‰ œ∑ œ ˙ ? ‰™ œ œ œœ œ & ˙
Voix Im.
>œ
91
-
‰
u
> œ. œ
the
3
œ. ‰
of
#˙
˙
>œ
œ
J
‰
œ
3
> œ. œ
&
Voix Im.
3
œ. ‰
j˙
79
>œ
8
Christian Mason
? ‰
8
{
? ¢‹
>œ
œ. ‰ ∑
> œ. œ
Shadowy fish
99 9
101
Voix Im.
& w
nw
101
° Vln. & ° Vln. & Vla. ¢B Voix Im.
& w
¢°B Vc. & ° Vc. & ? Db. ¢ ‹ ? Db. ¢ ‹
Vla.
Pno. Pno.
{ {
nw
Ó
3
∑ ∑
Ó Ó
ÓI w-
∑
Ó nw
∑
w w
w > w > p
#œ œ œ œ œ #œ œ pp ? & œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ w œ nœ œ nœ ?<“> œ œ w <“>
& w
Pno. Pno.
{ {
I pp
3
pp
w
˙
w
w
w w
w w
w
w
w w
sul pont. mf
sim. and back to ord. with dim. (sempre) p
mf
pp
mf mf
pp
mf
mf mf
œœœ
#œ œ œ œ œ #œ œ mf œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ w œ nœ œ nœ œ œ w
o œIVo f œ-
o wIVo fw
3
3
f
w
o w o w wo
o w o w ˙o
f
wo
w
arr
w w w
-
-
-
w
#œ œ œ œ œ f
-
-
3
Ó
-
#œ œ œ œ œ #œ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ w œ nœ œ nœ œ œ w
-
-
bw
#œ œ œ œ œ
w > p w > p
pp
#œ œ œ œ œ pp
-
-
-
-
-
-
-
-
-
oÓ oÓ
p
f f f
3
-
jw
w
#œ œ œ œ œ
-
poco sul pont. p
w
˙-
f
bw -
Ó 3 o˙ o poco sul pont. Ó o3 jw
w
˙-
f
œœœ
Sample page IV
IV
jw
you
w
#œ œ œ œ œ #œ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ w œ nœ œ nœ œ œ w
arr
˙
w
move towards sul pont. with cresc.
œœœ
jw
you
˙
move towards sul pont. with cresc.
sim. and back to ord. with dim. (sempre)
w > w > p
˙
˙
sul pont. p
w
& w
pp
w-
3
˙
Leseprobe
pp
pp
˙-
ppp
w
& œœœ
& œœœ
3
w
ord. p
° Vln. & ˙™ ° Vln. & ˙™ ˙ Vla. ¢B ˙ Vla. ¢B ° Vc. & w ° Vc. & w ? Db. ¢ ‹ w ? p> Db. ¢ ‹ w > p
˙-
II ppp
nw
ord.
105
Voix Im.
Ó
p
105
Voix Im.
II
w
Ó
bw
∑
-
-
-
-
-
-
∑ ∑ ∑
f
bw f
w
f
w
#œ œ œ œ œ
f f
#œ œ œ œ œ f
#œ œ œ œ œ
#œ œ
& ? œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ w w w w œ nœ œ nœ œ nœ œ nœ œ nœ œ nœ œ œ ?<“> œ œ œ œ œ œ œ nœ œ nœ w w w w <“> Breitkopf EB 9399
10
Christian Mason
10
109
& w
Voix Im.
w
- ive
° w Vln. & o
poco vib. (senza vib. on start of microtones)
Vla.
Vc.
¢
B
∑
° & w
ord. poco vib. (senza vib. on start of microtones)
Pno.
? ¢‹ w > p
{
pp
& œœœ ?
w <“>
113
Voix Im.
Vla. ¢B
˙o
˙-
w
f dolce
˙o
L˙
˙
w
f
w > p
f
f
pp
f
#˙
w
flow
-
-
# -˙
# -˙
w
f dolce
w
-
n˙
3
-
-
-
-
˙
3
o ˙-
˙-o
wo
3
mf
#-˙
#-˙
3
mf
w
pp
& œœœ œ
œ nœ
#œ œ œ œ œ
œ
œ nœ
w
o ˙
o ˙-
ff
œ
œ nœ
œ nœ
w
Breitkopf EB 9399
3
jw >
13th of C 3
ff
∑ o
w
#œ œ œ œ œ
œ
3
ff
pp
#œ œ œ œ œ
13th of C
˙
p
ff
#œ œ œ œ œ
ff
w >
ff
> jw
˙
n˙
w
jw
and
n˙
w
3
er
Sample page mf
wo
w <“>
wo
11th of C
3
w
#˙
? Db. ¢ ‹ w > p
?
˙
#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 œ #œ œ œ œ œ #œ œ œ nœ œ nœ œ œ œ nœ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ w w w
° w Vc. &
{
L˙ in
f
the
° Vln. &
Pno.
o
w
Leseprobe
w
&
p
wo
L˙
˙
11th of C
-˙
w 3
p
Db.
w
ff
#œ œ œ œ œ
œ
œ nœ
#œ œ œ œ œ
œ
œ nœ
w
#œ œ œ œ œ
œ
œ nœ
#œ œ
œ
œ nœ
Shadowy fish
11 11
& n˙ ™
J˙
jœ
117
Voix Im.
the
° & nœ-Lœ ‰
wa
jœ ‰ nœ- œ ‰ jœ ‰ œ-
molto sul pont.
Vln.
J œ-
ppp
Vla.
¢
molto sul pont.
B ‰ œ- ‰ œ
° Vc. & n˙ ™
ppp
Db.
œ œ- ‰
jœ>
J˙
Pno.
? ¢‹ w > p
{
ter.
˙ >-
œ
œ nœ
œ nœ
œ œ œœ>œ œ >
œ >- œ œ
fff
jœ ™ œ >-
w
œ
nœ
pp
œ
œ
#œ œ œ œ œ nœ
Ó #˙
ord.
p dolce
Ó o
˙
Leseprobe œ
Œ o
œ ˙
w
#œ œ œ œ œ
You
œ
w >
#œ œ œ œ œ
œ
œ >-
œ
w
œ
#œ œ œ œ œ nœ
œ
œ
?
w
p
ff
#œ œ œ œ œ
#˙
˙
œ- r ≈ œ œ ≈ œ- r ≈ œ œ œ œ œ- R œ œ œ-
w
& œ œœ w <“>
-
ff
pp
?
-
w
nœ- Lœ ≈ jœ ≈nœ- œ ≈ jœ ≈ nœ- Lœ ™ jœ ™ nœ- œ™ J œœJ œ> > > fff
œ œ œ- ‰ - œ ‰
molto sul pont.
-
˙
ff ff
#œ œ œ œ œ nœ
w >
#œ œ œ œ œ
œ nœ œ> > >
fff
#>œ
œ 3nœ œ> > >
dark, melancholy,
M a little faster, flowing q = 120 - 132
121
Voix Im.
Vln.
& w
° &
Vla. ¢B
Vc.
Db.
Pno.
w
poco vib.
more
3
#˙
than
∑
M
w
w
w “‘
∑
w
3
nw
w
this
∑
˙™
˙-
nw
w
sul tasto senza vib.
Ó
7th of C
Ó 3
w
˙
mf
w
w
∑ w
Breitkopf EB 9399
jw
3
ppp
-œ
˙™ n˙ ™
Œ o
w ∑
w
pp
p subito
Ó
p
pp
∑ ˙
J˙
13th of C
white
p
ppp
mf
∑
∑
3
mf
∑ ˙
˙
œ
senza vib.
∑
#-˙
∑
dark, melancholy, a little faster, flowing q = 120 - 132
˙
Sample page ∑
3
p
?
are
w
? senza vib. ¢‹ w
{
w
∑
°?
&
w
∑ w
12
Christian Mason
12
J˙
127
& w
Voix Im.
¢
˙™
Pno.
J ˙-
B w
˙
#˙ ™
#œ
that
I
w
˙
w
# -˙ ™
Ó o3
˙
∑
∑
Ó ˙
∑
?
w <“>
n˙
˙
tight
∑ ˙
-˙ pp
Lw
w
pp
Leseprobe w
w
f
∑
∑
˙
w
w
mp
11th of C
˙
p
∑
&
˙
˙
∑
# œ-
∑
w
w
mp
∑
n˙ hold
f
? ¢‹ w-
{
œ p
°? Vc. Db.
w
head
° w Vln. &
Vla.
˙
p
˙
∑
w
f
∑ w
N Icy, a distant echo & ˙ ™™
133
Voix Im.
Vln.
Vla.
Vc.
° & ¢
B
°?
-
-
-
˙ ™™
? w <“>
pp
œ
3
Œ
w
#w
you
∑
∑
n-˙
3
∑
o
∑
∑ w-
Œ
3
f
w
p
œ
poco sul pont. senza vib.
pp
∑
are
w
w
#w
w
pp
Œ w-
pp
p
Breitkopf EB 9399
ppp
IV molto sul pont. senza vib.
w
w
(ord.)
w
ppp
w
w-
∑ w
w-
w
molto sul pont. senza vib.
Sample page
∑
&
n˙
jw
w
w-
pp
3
∑
œ R
? Db. ¢ ‹ w
{
ly
J -œ J
˙™™™
jw
w
∑
mp
Pno.
J-œ J
ppp
Œ
3
ww
N Icy, a distant echo #w #w
w w
w
w
pp
ppp
-
Shadowy fish
13 13
139
& w
Voix Im.
Vln.
Vla.
° & ¢
B
°? Vc.
3
more
#˙
than
˙
3
nw
this
w
w 3
w
w
w
#-˙ 3
˙
ppp
˙
nw 3
mp
œ j œ- J œ œ œ œ
œ j œ œ œ™
p
w
w
w & w ?
145
&
Voix Im.
Vln.
Vla.
° &
¢
B
°?
w w
w
w
w
w
w w
w w
w
w
Leseprobe
3
#˙#˙
˙ ˙
mp
nw nw
3
w
pp
w 3
˙w
w
#˙ ™
#œ
that
I
˙
n˙
˙
hold
p
# -˙ ™
œ-
w
# œ-
˙
n˙
˙
# ˙-
˙
-˙
p
w
? w Db. ¢ ‹
w
w
w
?
J˙
w-
b ˙-
˙
p
w w
#˙ ™ #˙ ™
p
wo
w
w
mf
sul pont.
w
w
mf
-
˙ ˙
b ˙b˙
w w-
mf
p
w
w
w -
wo
w -
-
˙™
mp
-
-
œ >-
w
-
-
w w
pp
w
{
˙-
Sample page ˙™
f
ord.
˙
tight
w
Pno.
w
mf
pp
w
p
&
œ
pp
w
Vc.
œ-
œ
ord.
? w Db. ¢ ‹
{
ppp
head
3
w
pp
Pno.
white
5
˙
b˙
w
˙™ >
mp
>˙ ™
œ >-
>-œ
w w
mp
#œ #œ
˙ ˙
n˙ n˙
˙ ˙
˙ ˙
w w
w w
pp
w
p
w
w
w
Breitkopf EB 9399
˙™ >
mp
œ >-
p
w
-
-
14
Christian Mason
14
rall. 151
& bw
° Vln. &
Vc.
¢B
-
-
-
-
{
wpp
w
bw
w
ord.
Vla.
Vc.
Œ
œ
wppp
w
w
˙
b˙
˙
3
sul tasto
w-
w
w-
w
ppp
w
œ
w
œ
w
pp
o
œ
w
œ
ppp
w w
? w -
w
mf
pp
° &
p
w w
w w
w w
œ œ
w-
w
w
œ
ppp
w
#w
#w
~w
a
clus
##~w
w
mf molto sul pont. fast, light bow 5
5
ppp
-œ . Lœ œ
jœ ™
ord. + fast, light bow
? ¢‹
‰
J-œ
-œo o o œ œ‰ 3
ppp
n-œ œ . œ o o -œ œ O O ‰
IV III
jœ nœ œ - - Lœ- œ- œ nœ Lœ 5
œ- œ -
-œ jœ
-œo o o œ œ‰
™
n-œ Lœ . œ
o o -œ œ
‰
3
flowing, watery, shimmering slightly slower [TEMPO 1] q = 108 - 120
O œfij
w w
mf
∏∏∏∏
w w w ww ppp
°
##~w
w
-
-
p
Œ o
Ó
Œ o
Ó
Œ o
Ó -˙ ˙
Œ
p
˙™ -
ppppp
-
# œfij
J-œ
-œo o o œ œ‰ 3
œ jœ-
5
jœ ™
p
-œ jœ
n-œ œ . œ
o o -œ œ ‰
#w w
-œo o o œ œ‰
-
5
ppp
™
n-œ Lœ . œ mf
o o -œ œ
‰
3
J-œ
-œo o o œ œ‰ 3
mf
#w w
p
Breitkopf EB 9399
-
5
w w w ww
pp
-
jœ nœ jœ nœ œ - - Lœ- œ- œ - -
# œfij
w w ww w
-
-
w
Sample page
jœ nœ jœ nœ œ- - - Lœ- œ- œ - -
°?
?
n -œ nœ
˙
flowing, watery, shimmering slightly slower [TEMPO 1] q = 108 - 120
&
¢B
b œbœ
Ȯ -
Œ
f
Leseprobe sul tasto
3
˙
ord.
p
w
bw & bw
{
w
rall.
&
Pno.
nœ
w
ppp II III ord. + fast, IV light bow
Db.
˙
as
b-œ 3
w-
157
Vln.
3
b˙
˙
ly
-
mf
O Voix Im.
w sul tasto
pp
Pno.
nœ
ord.
°? ord. w-
? Db. ¢ ‹
-
bœ
∏∏∏∏∏
Vla.
w
∏∏∏∏∏
Voix Im.
3
jœ ™
-œ jœ
n-œ œ . œ
o o -œ œ ‰
œ- œ -
-œo o o œ œ‰ 3
™
o o -œ œ
Shadowy fish
15 15
160
˙
&
ter
° Vln. & Vla.
Vc.
Db.
f
J-œ
jœ ™
˙ ˙ f
ppp
o o -œ œ
?
-œ jœ
n-œ œ . œ
-œo o o œ œ‰
o o -œ œ ‰
™
Ȯ
o o -œ œ
3
&
6
jœ ™
-œo o o œ œ‰
‰
3
J-œ
3
˙œfij ˙
3
b œfij
bœ œ
-
-
-
-
-
-
-
J-œ
-œo o o œ œ‰
jœ ™
f
-œ jœ
n-œ œ . œ
o œo œ-
3
mf
‰
jœ nœ œ - - Lœ- œ- œ nœ Lœ 5
-œo o o œ œ‰
™
n-œ Lœ . œ
o œo œ-
‰
3
w w
n œfij
er
œ œ bœ
n œ #œ œ œ œ > ppp
6
œ œ œ
J-œ
-œo o o œ œ‰ 3
œ jœ-
5
jœ ™
p
-œ jœ
n-œ œ . œ
-
-
-
o œo œ-
‰
-œo o o œ œ‰
bœ nœœ
mp
ppp
o œo œ-
‰
3
Breitkopf EB 9399
ry
> nœ-œ ff 5
b˙™ ˙™
J-œ
-œo o o œ œ‰ 3
ppp
#œ œ œ
jœ ™
-œ jœ
n-œ œ . œ o œo œ- ‰
œ- œ -
-œo o o œ œ‰
™ o œo œ-
3
>œ œ
6
pp
œ
-
˙™
ppp
n-œ Lœ . œ
œ b œ n œ œ œ œ nœ n œœ #œ œ œ œ > >
-
5
b œfij
6
-
jœ nœ jœ nœ œ - - Lœ- œ- œ - -
™
n ww f
˙ ˙ 6
bbȮ ™™
nw
o o -œ œ
3
b˙ ™ -
™
œ œ œ n œ #œ œ œ œ œ œ n œ #œ œ œ œ > >
cresc. poco a poco
œ- œ -
-œo o o œ œ‰
6
œ #œ œ œ n œ #œ œ œ œ n œ #œ œ œ œ œ > >
-
œ jœ-œ jœ
n-œ œ . œ
mf
6
nn~w
5
p
o o -œ œ ‰
Sample page
ppp
˙ 5
n-œ Lœ . œ
f
w
œ œ œ
bbOœ 5
œ- œ -
> nww w w w
ev
6
˙
jœ nœ œ - - L-œ œ- œ nœ Lœ
nw
5
<“>
˙
Leseprobe
œœ #œœ n œ #œ œœ n œœ œ > > > “‘
°? n-œ Lœ . œ
?
jœ ™
ppp
jœ nœ jœ nœ œ - - Lœ- -œ œ - -
? ¢‹ ‰
J-œ
-œo o o œ œ‰
‰
3
w
¢B
{
n-œ Lœ . œ
ppppp lontano
&
5
ppp
6
mf
&
Pno.
5
mf
˙˙ ? ˙˙˙
mf
Db.
jœ nœ jœ nœ œ - - Lœ- -œ œ - -
™
-œo o o œ œ‰
b˙ b œfij ˙
∏∏∏∏ Vc.
-œ jœ
n-œ œ . œ
° b~ Vln. & b w Vla.
œ jœ-
p
o o -œ œ ‰
3
bœ
3 5
-œo o o œ œ‰
‰ œfij
nnȮ
w
mf 5
163
Voix Im.
bb~w
˙
jœ nœ œ - - Lœ- œ- œ nœ Lœ
? ¢‹
3
n˙ fruit,
bbȮ
˙
°? n-œ Lœ . œ
{
w
of
-Ȯ
¢B
&
Pno.
b˙
∏∏∏∏∏
Voix Im.
6
6
ff
œ œ œ œ bœ nœ n œ #œ œ œ œ > mf
16
Christian Mason
16
b˙ ™
166
&
Voix Im.
day,
be
° bȮ ™ Vln. & b ™ Vla.
Vc.
Db.
¢
5
? ¢‹
{
&
Pno.
˙™
°? n-œ Lœ . œ
-œo o o œ œ‰
‰ b œfij
p
jœ ™
o œo œ-
‰
n-œ Lœ . œ f
o œo œ-
J-œ
jœ ™
-œo o o œ œ‰
o œo œ- ‰
# Ȯ
-œo o o œ œ‰
>œ œ
‰
œfij
˙™ ˙™
f
bœ nbœœ
3
3
˙
n-œ Lœ . œ o œo œ-
‰
#œfij
nœ œ bœ n œ n œ #œ œ nœ œ œ nn œœ nœ > >
jœ ™
-œo o o œ œ‰ 3
˙
#œ œ œ
w
œ jœ-
p
-œ jœ
n-œ œ . œ
-œo o o œ œ‰
o œo œ- ‰
6
œ œ œ œ bœ nœ n œ #œ œ œ œ >
#˙
˙
be
~w
-Ȯ
3
w
~w
mf
˙
-
-
> #˙
con vib.
Ȯ
Sample page
w
o œo œ-
˙ ˙
3 6
™
3
>˙ ˙
#˙ ˙
pp
w
Ȯ 5
J-œ
6
f
3
5
™
>œ œ
6
> ˙-˙
jœ nœ œ - - L-œ -œ œ nœ Lœ
-œ -œ -œ jœ
n-œ œ . œ
#˙
˙
hands.
Leseprobe
3
& w
w
˙
f
ff espress.
¢B œ jœ- nœ- Lœ- œ œ jœ- nœ- œ- œ œ jœ- nœ- Lœ- œ œ nœ Lœ œ jœ- œ jœ- nœ- Lœ- œ œ jœ- nœ- œ- œ œ jœ- nœ- Lœ- œ œ nœ Lœ œ jœppp
°? nœ-Lœ œ. ppp
{
5
jœ ™ J-œ
-œo o o œ ‰ ? ‰ œ Db. ¢ ‹ 3
n-œ œ œ.
5
™ -œjœ
nœ-Lœ œ.
5
5
p
jœ ™ n-œ œ œ. J-œ
3
3
3
nœ-Lœ œ. ff
3
mf
5
jœ ™ n-œ œ œ. J-œ
™ -œjœ
5
nœ-Lœ œ.
J-œ
oo -œo o o -o œo -œo o o -o œo -œo o o -œ œ œ œ œ ‰ œ œ ‰ ‰ ‰ œ‰ œ‰ œ 3
ff
˙˙
w w
w w
ppp
™ -œjœ
o oo o o -œo o o -o œo -œo o o -œ œ -œ œo o -œ œ œ ‰ œ ‰ œ ‰ ‰ ‰ œ‰ œ œ
ppp
&
Pno.
5
ppp
p
5
Vc.
5
6 bœ œ œ œ bœ n œ n œ #œ œ œ nœ œ œ nœ > <“>
?
˙™
jœ nœ jœ nœ œ - - L-œ œ- œ - -
6
° ~ Vln. & #w Vla.
Ȯ ™™
> œ-œ
™
-œo o o œ œ‰
169
Voix Im.
-œ jœ
n-œ œ . œ
3
b˙™ ˙™
my
3
#˙
œ
tween
œ jœ-
5
J-œ
-
> œ-œ
jœ nœ œ - - L-œ œ- œ nœ Lœ
B
˙™
œ
3
3
w w
˙ ˙
5
jœ ™
p
n-œ œ œ.
™ -œjœ
o oo -œ œ -œ œo o ‰ œŒ 3
#>˙ #˙ ff
f
6 6 6 œ œ bœœ œœ bœœ n>œ #œ œ nœ nœ œ œ b œ n œ b œ n œ b œ n b œ n b œ n œ œ œ œ œ œ œ œ œ œ nœ œ #œ œ œ œ #œ œ œ œ n œœ #œ œ œ œ n œœ #œ œ œ nœ 6 nn œœ nn œœ > > 6 <“> > >
?
6
6
f
ff
6
fff
Breitkopf EB 9399
ffff
fffff
Shadowy fish
17 17
P & w
° Vln. &
l-˙
°? œ ™
5
ppp
-
? ¢‹ b-œ
{
b-œ
ppp
Jœ œ <n>-œ
5
&
° Vln. &
Vc.
Pno.
œ-
¢
n˙-
5
bœ
7
bœ
3
Œ
p
& œbœ œ w nw > p
œ
-œ
bœ
œ
f
œ œ-
3
3
pp
-œ -œ n-œ b-œ
cresc. poco a poco
œ nœ
#œ œ œ œ
6
˙
-œ
nœ-
5
bœ
-
-
˙
-
bœ
bœ
3
˙ œ œ bœ œ bw w
b˙f
7
bœ
œ
-
-
-
w
II
n˙-
pp
œ. K œ- œ lœ ™ -œ
n-˙
l-˙
œK -œ œ ™
pp
5
5
b-œ
Jœ œ
-œ -œ n-œ b-œ n-œ
p
œ œ œbœ œ
bœ
œ nœ
#œ œ œ œ
6
w nw >
pp
Breitkopf EB 9399
bœ
œ
5
bœ-
7
œ
bœ
#œ œ œ œ œ
J˙
3
-
er
-
œ nœ
˙
-
y
J˙
>˙
7th of Bb
3
ff
-œ
f
œ œ-
œ
bœ
-
n-œ
bœ
lœ ™
œ. K œ- œ lœ ™ -œ
-œ œ œ -œ œ œ
œ
f
7
œ bœmf
#œ œ œ œ œ
-
3
pp
3
w w
œ. K œ- œ
-œ œ
œ. K œœ -œlœ ™
mf
˙
œ œ -œ œ œ™ œ n-œ n-œ œ
œ
-
˙
lœ ™
˙
˙
-
-˙
œ n-œ œ œ œ œ n-œ œ œ
bœ
œ œ bœ œ
w
-
-œ
5
œ
bœ
bw w >
˙
f
7
-œ
pp
f
#œ œ œ œ 6
lœ ™ -œ
œ. K œ- œ
pp
p
Œ
3
p
Jœ œ
-œ
5
œ œ-
œ
-œ
Sample page
l-˙
5
Jœ œ
b-œ
mf
b˙
? ¢‹ œ b-œ
-œ œ œ™
f
w
b-œ
œ. K œœ f
œ œ œbœ œ
bœ
ev
°? œ™
pp 5
œ bœ-
#œ œ œ œ œ œ
w nw >
b˙
5
l-˙
Ϫ
˙
3
f
œK -œ
b˙-
p
œ œ bœ œ
w
pp
{
3
˙
#œ œ œ œ
B œK œ œ ™
?
-œ œ œ -œ œ œ
œ
n˙
Leseprobe
œ-
ppppp like distant bells
fff
5
Db.
œ-
bœ
œ. K œœ -œlœ ™
hands
˙
f
P
177
Vla.
œ œ-
3
n œœ 3 6 œ ? J bœ n œ <“> b >œ °
Voix Im.
œ
7th of Bb
& œ bœ œ
Pno.
lœ ™ -œ
f
circular bowing: shift continuously sul pont. <> sul tasto
œ-
˙
œ. K œœ
13th of Bb
ppp 5
Db.
my
#w
w
3
n˙
˙
tween
11th of Bb œ K -œ ™ œ Vla. ¢B
Vc.
˙
#w
173
Voix Im.
˙ œ œ bœ œ
bœ
w w
b˙-
3
nœ-
ff
ff
7
bœ
œ
#œ œ œ œ œ bœ
bœ#œ œ œ œ nœ 5
œ
18
Christian Mason
18
Feel each 2/4 bar as a h beat within a larger 3-beat structure
Q
Winding down, like a music box rall.
181
b˙ & 32
˙
b˙ ° 3 Vln. & 2
˙
Voix Im.
day
œ - Lœ jœ
3 #-œ Lœ ¢B 2 J 3
°? 3 Vc. 2Œ
3
3
nœJ
3
pp
III IV ord.
Pno.
{
3 & 2 #œ œ nœ ˙ > °
œ
3
3
pp
3
œ
3
3
poco sul pont.
-œ J œ
#˙
∑
p
n-œ #œ Lœ J J
œ j-œ Lœ œ
3
3
-œ J
#œ œJ
œ
3
˙˙
˙ >
œ
#œ
∑
3
∑ b ˙˙ > f
œ
œ f
œ
3
3
-œ J œ
f
˙˙
œ-
the
#œ œ œ
-œ J
œ 3
œ
nœ
#œ #œ œ œ
>˙
mf
Breitkopf EB 9399
b ˙˙ > p
n-œ J
3
#œ œJ
œ
3
˙˙
p
#œ
œ j-œ Lœ œ 3
b˙˙ > #œ
-œ
senza vib.
f
3
3
mf
œ
n-œ #œ Lœ J J
#œ œJ
ppp delicate
b ˙˙ >
3
∑
˙
3
>˙˙
∑
3
œ
3
œ j-œ Lœ
f
molto rall.
‰
-œ # œ J
œ
f
#˙
n-œ #œ Lœ J J
nœJ
b˙˙ >
˙˙
#˙
˙
3
œ
œJ
with
f
f
#œ
#œ
˙
3
q = c.80
mf
#˙
3
ff
œ
3
3
œ
3
r #œ ≈ ‰
#œ œ œ ˙ >
> #-˙
3
& #œ œ œ
p
light
œœ b>˙˙
pp
3
>˙˙
#˙
#œ œJ
? ¢‹ >˙˙
-œ # œ J
3
Sample page 3
œ j-œ Lœ
œ
mf
˙
the
œ
pp
ff
mf
˙˙
˙
œ
#œ Lœ Vla. ¢B J
?
3
molto rall.
poco sul pont.
œJ
œ
œ - Lœ œ jœ
nœ- #œ Lœ J J
3
3
5
& #˙
{
-œ # œ J
œ
∑
#œ
° #-˙ Vln. &
Pno.
3
œ
Leseprobe 3
#œ Œ
6
°? œ Vc.
˙
œ - Lœ jœ
mf
Winding down, like a music box rall.
with
Db.
œJ
˙˙
pp
187
Voix Im.
n˙
nœ- #œ Lœ J J
3
3
œ
3
?3 ¢‹ 2 >˙˙
? 23
3
-œ # œ J
œ
œ - Lœ œ jœ
nœ- #œ Lœ J J
œ
molto sul pont.
Q
play
-˙
˙
˙
mf
pp
Db.
n˙
you
molto sul pont.
Vla.
q = c.80
˙
˙
œ
#œ
#œ
nœ
#œ #œ œ œ
˙˙
œ
#œ
#>œ
#>œ n>œ ff
Shadowy fish
19 19
q = c.40
& L˙
193
Voix Im.
˙
œ
Kœ
˙
˙
œ
Kœ
˙
˙
√ ∑
light
° Vln. &
poco vib.
L -˙
˙ p
#œ Lœ Vla. ¢B J ord.
œ
3
°? œ Vc.
-œ J
ord.
3
pp
j-œ
Lœ
œ
molto sul pont.
3
n>œJ
∑
∑
√ ∑
∑
∑
√ ∑
ff
> #œ œ-
molto sul pont.
-œ J
œ
‰
Leseprobe
q = c.40
3
bœœ
ff
molto sul pont.
˙
˙
∑
b œœ
œ
∑
˙˙
ppp
˙
p
∑
pp
3
˙˙
ppp
∑
√ ∑
o
√ ∑
∑
˙
√ ∑
˙
Shadowy fish II. II A
slow, with a heavy heart h = 54
1
Voix Imaginaire
Violin
1 w & 1
° 1 &1
1 Viola ¢B 1 Violoncello
You
∑ w-
senza vib.
Sample page bw
w
are
like
∑
B
{
A
?1 1
∑
-
-
∑
bo
∑
-
-
bw dy
∑
w
since
∑
II senza vib. III
w I
ppp
ww -
w w -
w-
w-
bw-
w-
w-
wo
o w-
o w
o w-
o w
o w-
o w
w-
w-
ppp
?1 Double Bass ¢ ‹ 1
Piano
no
w
w-
° 1 w-o &1
& 11
w
b w-
ppp sempre
Voix
œ
3
œ
3
pp
?
Lœ
j-œ
œ
3
œœ
&
9
3
nœ- #œ Lœ J J
-œ # œ J
? Db. ¢ ‹ ˙˙
{
œ
√ ∑
o
ff
3
pp
Pno.
senza vib.
w-
w-
bw-
w-
ppp
bw-
slow, with a heavy heart h = 54
∑ ∑
∑ w-
ppp
° rall.
∑ w
∑ w
∑ w
∑ w
w-
ppp
w
w-
pp
w-
pp
Breitkopf EB 9399 h = 40
U
{
?1 1
20
B
9
w-
∑
ppp
Pno.
love
you.
III IV
≥ w-w >
Christian Mason
B
> ww w w
ww ww
> ww w w
ord.
ord.
ww
≥ w>
ord.
w o w-
ord.
sul pont.
w
sffz
pp
ww ww
> ww w w
w
sfffz
h = 40
bw >
bw >
ww
ppp
sfz
bw >
ww
ppp
sffz
Uo w U ∑
o
ww ww
sfffz
sffz
U ∑
o
o w
≥ bw>
o
sul pont.
sfffz
sul pont.
U ∑
sul pont.
sfffz
o w-
U ∑
w
≥ ww >-
pp
o w
pp
sul pont.
w
sffz
w
w
pp sul pont.
≥ w>
≥ bw>
w
Leseprobe
sfz
? w
w-
w
pp
ww
sffz ord.
sul pont.
rall.
& w p
≥ w-w >
o w-
sfz
?
ord.
pp
o w
ppp
sul pont.
w
sfz
≥ bw>
w
pp sul pont.
≥ w>
? ¢‹ w
w
ww
sfz
¢B w
{
w
h = 40
w
° o Vc. & wDb.
w
rall.
° Vln. & ww Vla.
w
°
& w
Voix Im.
w
U ∑ U ∑
w
sfffz
2
slightly faster, a little lighter
C h = 60 17
Voix Im.
&
flat like nat. 7th of C
J w-
° w-o &
wo
{
w-
∑
?
&
you
out
w
w-
w-
w
w-
II w-
o w-
o w
a
w -
-
w
mong
J w-
Jw w
∑
flat like nat. 7th of C
Jw-
w-
Jww-
ww
ww
pp
°
w
∑
ww
∑
∑
pp
w
∑
w
#w
∑
∑
rall.
w
Breitkopf EB 9399
∑
w
III
w
w-
w
w
bw-
w
w-
wppp
∑
∑
w-
p sempre
w-
w-
pp
p
h = 40
∑
w
ow
w
∑
∑
-
I w-
∑
∑
-
w-
pp
w
yell
w
slightly faster, a little lighter
C h = 60
&
26
(senza vib.)
Jw
w
Sample page
flat like nat. 7th of C
(senza vib.)
w
spread
w-
? Db. ¢ ‹
Voix Im.
me
J w-
Vla. ¢B
Pno.
Let
w
w-
° Vln. &
Vc.
Jw
w
∑
√ ∑
&
{
°
26
w
gar
-
-
>≥ w-
Vla.
¢
-
-
w
w
>-≥ ° w Vc. &
Pno.
{
f
h = 66
w
w
#w
w
senza vib.
w
Who
writes
˙
w>
ord.
3
3
œ L˙
5
˙-
o w-
o
IV: 9th harm.
n˙
˙o ™
Leseprobe ≥ Jw>
p
fff
w-
> ww ff
∑
√ ∑
h = 40
> ww
p
w
w
ww
ww
o
√ ∑
ord.
w
B
√ o w
p
bw
w
ww w
fff
o
o
ffff
w-
> ww
p
≥ Jw>
√ ∑
Ó
˙
7th o harm.o Jœ w
ppp molto sul pont.
p
w
ww w
fff
w
rall.
w
° Vc. & Ó ¢& ‹
w-
˙™
˙
your
name
bœ in
& ‹
√ ∑ √ ∑
ffff
˙
˙
˙
w
lett - ers
of
smoke
3
#˙
˙
∑
Ó
3
˙
a - mong
flat like nat. 7th of G
~ KJ w >
~ w >
3
˙ >-
> Kw
sul pont.
ppp
˙™ > w
~ KJ w >
> b-œ
JJ w~ > J w-
w
f
˙ ˙- ˙3
> Jw
w~ > f >o w
f
w >
f
? ‹
w
w
5
the
stars
K w-
of
sul pont.
pp
mf
K w-
Jw-
sul pont.
w
K w-
mf
#œ. >-œ œ. >- ? bœ Œ
> ˙-o o ˙-o #w ˙-
ord. 3
∑
Œ o
5
p
Jw-
w
the south?
Jw-
w
pp
#˙ ™
>sul pont. w-
w~ >
w
#œ œ œ bœ Œ
#w
˙
Sample page > ~w
p espress.
∑
& w ?
˙-
flat like nat. 7th of G
D
3
> JJ~w
ppp
46
w>
piu sul pont.
w
ff
> JJ~w
> B ~w
{
w>
ww
w
fff
˙
ppp
Pno.
w
sul pont.
ww
fff molto sul pont.
p
p
ord. > ° ~w Vln. &
Db.
ww >-
ff
ww w
& Ó
¢
piu sul pont.
≥ Jw>
√ ∑
slightly faster, somewhat agitated
36
Vla.
senza vib. II
p
w-
∑
3
D Voix Im.
w
f
p
& w
∑
w>
w
f
#w
pp poco sul pont.
? ≥ ¢‹ Jw>
> ? ww
∑
lands
w
f espress.
∑
h = 40
w
pp poco sul pont.
con vib.
Db.
-
w
f espress.
B
p
21
rall.
#w
w
-
con vib.
° Vln. &
pp
ppp
Shadowy fish
w
&
Voix Im.
pp
ord.
w
K w-
w-
w
pp
ff
slightly faster, somewhat agitated h = 66
w
ppp
°
∑
∑
wpp w-
w w
wp w-
?
w
w-
w
pp
w
ppp
w-
w
w-
w
Breitkopf EB 9399 rall. 3
3
#˙
˙™
#w
˙™™
#œ
h = 40
#w
√
{
?
22
∑
°
rall.
∑
&
Ó
Ϫ
the
° Vln. & w
f
°? Vc.
K˙
Kw
wo
˙
stars
˙
sffz
{
?
˙
the
˙
w wo
Jw-
w-
pp
w-
Ó
˙
w
w-
˙˙ >-
f
œ Œ Ó
3
Jw>
œ Œ Ó
n˙-
#>˙
œ
˙™
II III
œœ >-
sffz
˙™™
#w
sffz
˙˙ ™™
sffz
w
w>
sfz
p
w
bw>
w w >
w w
Leseprobe
w
bw>
p
sfz
w
w w
sffz
f
bw bw >
w w
sfz
p
pp molto sul pont.
w
bw>
w w >
w w
p
ff
sffz
p
√ ∑
w
sffz
p
bw bw >
√ ∑
sffz
w>
sul pont.
p
rall.
w w “‘ mf w w “‘
w
p
poco sul pont.
ppp
œ>œ- ww J
molto sul pont.
sul pont.
mf
√ o œo w R
II ˙™™ #œ>œ- #˙ ™™™ J
#w
√ ∑
#w
I II
œ>-œ ww
sffz
nw-
œ Œ Ó
h = 40
#œ J
sffz
˙ ˙>-˙ ˙˙ ™
mf
p
˙™
w
stars
3
mf
p
mf
w
w
#˙
3
the
mf
> K w-
w
w
south
b w >˙ w >
Jw>
sffz p
Ó
bw
3
mf
? w Db. ¢ ‹
Pno.
˙
p
pp
?
3
of
œ™ œ>œ J
ord.
pp
w
> œœ ww œœ™™ J >-
Ó
¢B w
œ J
ord.
pp
Vla.
w Christian Mason
46
Voix Im.
∑
√ ∑
sfffz
√ ∑
h = 40
√ ∑
pp
bw bw >
w w
&
sfffz
4
stay extremely slow
E 57
Voix Im.
Vln.
w
bw
w
Oh,
let
me
&
° &
h = 40
> ~w
senza vib.
ppp
> bb~w
> ~w
> w
> w
senza vib. Vla. ¢B
∑
°? Vc.
∑
? Db. ¢ ‹
Pno.
{
∑
?
w
bw
w
-
bw~ >
mem
-
~ w >
> bw
ber
you
~ bbw >
> w
% ~ bw >
~ w >
> w
you
>o w
˙
b˙ ™
nœ
> w-
> w
> w
ww
ww
sim.
ppppp II senza vib. III sul pont. III
sim.
ww
bw >
ww
w
w
w
ppppp
> w
ww
5
were
>o w
˙ -˙ ˙ b ˙ ™ 3
>bw
ord.
> w
ppp
cresc.
ord.
ww
bw >
œ- Lw
w
be
>o w
>o w
-
-
w
fore
>o w
cresc.
poco vib.
p
I II senza vib. II sul pont.
∑
˙
3
as
ppp
∑
˙
w
Sample page re
stay extremely slow
E
bw >
ppp
n œ-
w
cresc.
> w
bw >
w
bw >
ww
5
mf espress.
ww
-œ Lw
> w
> w
bw >
ww
h = 40
Either pizz. inside piano or una corda
&
w
w
p
°
bw
∑
∑
∑
∑
∑
bw
∑
w
∑
∑ w
Breitkopf EB 9399
∑ w
∑ bw
∑ w
∑ w
∑ w
Shadowy fish
70
&
Voix Im.
3
you
Vln.
° &
>o w
wo >
w
p
Db.
Pno.
°?
f
w
? ¢‹ bw >
ww
w
is
wo >
w
˙
-
-
w
b˙
>o w
> w
w
wo >
w Ó
b˙>
∑
∑
wo >
w
w>
˙ J˙- ˙ b˙> >
fff
∑
w
∑
w
∑
bw
w
ff
√ o J & w
ord. IV: 7th harm.
Ó
ffff
molto sul pont.
w>
w>
√ ∑
∑
3
Leseprobe w
ppp
molto sul pont.
˙ J˙- ˙ bw> >
√ wo
>o w
∑
3
√ ∑
∑
w
∑
fff
bw>
∑
w
>o w
w
molto sul pont.
3
∑
ted
fff
˙ J˙ ˙
∑
“‘
˙ J˙
bw >
bw>
∑
? bw
-
fff
p
&
-
>o w
3
w > p
{
ex
˙ J˙ ˙ >
Vla. ¢B bw >
Vc.
bw
˙
∑
Ó
3
˙ J˙
bw
23
˙ >-
w>
ppp
Ó
√ ∑ √ ∑
ffff
∑
∑
∑
∑
∑
∑
& ‹
√ ∑
III. A 1
delicate, mysterious q = 40
& 43 Ó
Voix Imaginaire
œ #œ n˙
° 3 Violin & 4 Ó Viola
accel.
sud- den - ly
O -œ
ppp
B3 ¢ 4
∑
° 3 Violoncello & 4 Ó
œO
œ #œ n˙
gliss.
-œ #œ n˙-
ppp
Double Bass
3 ¢& 4 Ó ‹
{
A
-œo
8
Voix Im.
& n˙ ly
œO
Œ
b Ȯ pp
pp
gliss.
œ- #œ n˙ -
pp
-œo
˙o
˙-
œ-
sud- den - ly
Œ
O -œ
œO
Œ
b Ȯ p
p
the
˙
œ #œ
Œ
o œ-
p
-œo
mp
-œo
˙o
p
˙-
-œ
O -œ Œ
gliss.
sud- den -
‰ Œ b O O n O # O ObbœO œO b œ. œ. n œ. # œ. œ. . n œ-O mf . . . b O . Oœ. Oœ Oœ b œ bOœ ‰ Œ Œ 5
o ˙-
mp
-œ
-˙
œ the
45 w
wind
ly
Œ
œO
o o -œo o o o 6
b Ȯ -
-œo
Œ
b Ȯ -
sud- den-
Œ
O -œ
pp
Œ
p
gliss.
gliss.
œ- #œ n˙ -
œ- #œ
p
-œo
˙o
mf
pp
-œo
˙o
p
>-œ
˙
œO
mf
mf
‰ Œ
O -œ
p
œ- #œ n˙ ˙
high harm. ad lib.
œ #œ
sud- den - ly
gliss.
mp
-accel. ˙
pp
-œ
-œ
-˙
mf
-œ #œ nœ- œ œ œ œ- #œ nœ- œ œ œ œ- #œ nœ-Ó œ œ œ œœ ° rall.
œ #œ n˙
n˙
7
mp
œ- #œ n˙ -
wind
ppp
3 &4 Ó
q = 60
-œ
œ-O
pp
delicate, mysterious q = 40
3 &4 Ó
Piano
˙o
ppp
ord. play keys
œ
Sample page Œ
b Ȯ ppp
III
œ #œ n˙
sud- den - ly
B
˙ ˙
q = 54 Breitkopf EB 9399
œ nœ
sud- den
43 #˙
-
ly
œ- #œ nœ œ œ œ - œ œ - #œ nœ- œ œ œ - #œ > rall.
œ nœ #˙
sud - den - ly
q = 40
œ nœ #˙
sud - den - ly
œ
˙
the
wind
o
o
œ nœ
sud - den-
{
3 &4 Ó
24
q = 60
8
& n˙
Voix Im.
ly
Œ
¢& ‹
{
&
Pno.
2
45 w
œ nœ
wind
sud- den
5 Oœ 4 Ȯ ™™ Œ
° Vc. & n˙ -
Db.
œ
f
. . . O. #O. nO. 45 -Ȯ ##Oœ OœnOœbbOœnœ # œ œ Œ 7
o o œ- 45 w-
w
ppp
-œo
˙o
ppp
-˙
q = 60
-œ ppp
p
-˙o
45
œo
-œo
-œo
˙
œ
˙
the
wind
˙o
-œo
˙
˙o
5
˙
f
3
o 34 ˙
mf
B-
-œo
-œo
-œ
#˙ 43
o oœ œo # œo œo œo œ
-œo
˙o
p
q = 54
o ˙-
œ- nœ #˙ -
Leseprobe >o. -o œ
-œo
œ- nœ #˙ -
ppp
˙o
o oœ >o >o o >o > >o>o >
high nat. harm. ad lib.
o œ-
gliss.
p
-œ
#-˙
œ
œ nœ #œ œ œ
the wind howls sud- den - ly
o œ-
senza vib. ° #-˙ Vln. & f
œ
#-˙
ppp
œ
œ nœ #œ œ œ
the wind howls sud - den - ly
-œo
the
œ
wind howls
ppp
‰
Œ
f
>-œ
q = 40
˙
f
˙ ˙
œ- nœ > ø° rall.
44 w
Œ
o o >o o >o >o >o o >o o o o > o o o o o o > > > >o
œ-
-œ
and bangs
high nat. harm. ad lib. sul A
#-˙
-œo
p
ppp
œ 44
-œo
ppp
Sample page
mf
œ
f
f
-œ
#-˙
Œ Œ gliss.
q = 60
& #œ œ œ
Œ Œ
œ- nœ
6
œ- nœ 43 #œ œ œ œ- nœ #œ œ œ œ- nœ #Óœ œ œ œ œ œ œœ > ° mf
pp
ff
ppp
rall.
œ nœ
sud - den-
ff
ppp gliss.
>o >o >o
>o
>œo
high nat. harm. ad lib.
ppp
p
accel.
ly
# Ȯ ™™ -
p
mf
& nÓœ- œ œ œ 45 wœœ w ø
14
Voix Im.
sud - den - ly
# Ȯ ™™ -
œ- nœ 43 #˙ -
>-œ
54 w
rall.
œ nœ #˙
sud - den - ly
˙o
43
q = 40
œ nœ #˙
ly
gliss.
high harm. ad lib. >o. >o. >o. >o. 3
43 #˙
-
œ- #œ nœ œ œ œ - œ œ - #œ nœ- œ œ œ - #œ > rall.
mf
mf
f
q = 54
43 # Ȯ ™ -™
5
#O nO O Œ œO. ##œO. # œ. n œ. œ.
ppp
B ¢ b-Ȯ pp
Vla.
B
rall.
the
° & O œ
Vln.
-œ #œ nœ- œ œ œ œ- #œ nœ- œ œ œ œ- #œ nœ-Ó œ œ œ œœ ˙˙ Christian Mason °
5
6
Œ
Ó
Œ
ff
o >o o >o o > o o o o o o >o o o > >o o > >o > > o o
œ #œ
sud - den -
-œo
43
œ 43
pp
high nat. harm. ad lib. sul A
-œ -œ nœ œ Vla. ¢B ‰ p
° Vc. & #˙ Db.
¢& ‹
{
&
Pno.
mf
pp
gliss.
œ- nœ #˙ -
mf
o œ-
˙o
mf
accel.
#-˙
-œ
p
ppp
gliss.
œ- nœ #˙ -
p
o œ-
˙o
p
#˙-
pp
o œ-
pp
o œ-
pp
œ-
#-˙
-œ pp
œ œ œ & #-œ œ œ œ - nœ #œ- œ œ œ - nœ #œ-Ó œ œ œ
19
Voix
˙o
-œ ‰ œJ -œ
‰ œ -œ -œ œ
sul pont.
44
Œ
∑
43
o o o o o o o o o > o > >o o o > >o > o o o> o>o 44 Œ
Œ œ- -œ
œ- #œ 43 >
6
5
ff
high nat. harm. ad lib. sul A
5
44
6
ff
o o o o o oœ >o o > o o >o o >o o >o o o > o > o > o >o 7
7
7
ff
pp
Œ
Ó
Œ
œ -œ -œ
rall.
q = 60
44 w
- œ̇ œ œ ™ pp
44 w w
ø
gliss.
-œo
43
pp
>-œ
43
3 -œ #œ 4 > °
Breitkopf EB 9399
C q = 40
accel.
3
œ
œ
2
3 œ
5
q = 60
4
U ∑
U ∑
U ∑
{
44 w œ œ œ & #-œ œ œ w œ - nœ #œ- œ œ œ - nœ #œ-Ó œ œ œ Shadowy fish
C q = 40
19
° 3 ˙&4 ly
Vln.
accel.
3 & 4 œ nœ œ
Voix Im.
œ #œ
œ
o œ-
œ nœ œ
the wind howls sud - den - ly
p
œ
3 ‰ -œ œ- -œ œ B 4 ¢
-˙
œ
œ #œ 42 œÓ nœ œ
o œ-
the wind howls sud - den
pp
mf
-
gliss.
{
C q = 40
Pno.
& Ó
accel.
>œ
Œ
f ord.
#˙-
43
˙42
43 œ
∑
(9th harm.)
œ-
pp
sul A
pp
>-o œ
Œ
U ∑
44
U ∑
U ∑
U ∑
∑
44
58 o
∑
? ‹
U #w >
f
U #w >
p
U ∑
w 44 wU
U ∑
U bw >
p
U ww > ppp
ff
U ∑
44 U w
o
mf
U ∑
44 U w
q = 60
& ‹
-œo
-œo
˙
˙o
˙
œ
˙
U ∑
U ∑
U
w ‘ “ppp
a
net
-œo
˙o
q = 30
˙
˙
p
pp
p
o œ-
p
œo ™
-œo
‰ o
mf
pp
ord. œ n-œ -œ -œ œ #œ mf
o œ-
˙o
œo ™
p
mf
‰ o
-œo
f
crammed
˙o
œ n-œ -œ -œ œ #œ f
o œ-
˙o
œo ™
mf
˙
pp
sul pont.
f
-œo
‰ o
ff
molto sul pont. >œ nœ -œ -œ œ
43
∑
∑
3 &œ - #œ 4 ˙ > pp °
?
˙™ <“>
D
∑
>œ-o
˙o
ff
œo ™
>-œo
‰ o
f
ff
q = 30 “” b >œ >œ >œ >œ œ
œ- #œ >
p
˙
accel.
œ- #œ >
mf
œ- #œ >
˙
f
q = 60
& nœ œ œ œ shad - ow - y
Ó
∑
œ
#œ
fish crammed with
ord.
nœ œ œ œ
shad - ow - y
œ
#œ
fish crammed with
∑ nÓœ œ œ œ Œ Breitkopf EB 9399 shad - ow - y fish sul pont.
ff
œ >ø°
˙
rall.
∑
#>œ-
ff
rall.
&
#œ
with 1> 1> >œ œ œ>œ œ œ ‰
crammed
-œo
pp
œ
Sample page
43
pp
œ
˙
is
o 34 ˙
pp
mf
œ
>œ #œ 3 œ n-œ - - -œ #œ œ œ 4
sul tasto
? ¢‹ ˙™
32
o 34 ˙
pp
Œ
rall.
sky
-œo
Œ
III
{
U ∑
58 o
58 #œ- œ- œ- œ œ >
#˙-
U ∑
44 U w
Leseprobe
˙-
f
44
58 # œ- œ- œ- œ- œ > f
o ˙™
o 24 ˙
my shut win- dow
58 o
43 ˙™
mf
˙ 43
the
° Vc. & Ó
Voix Im.
o œ-
at
3 -œ #œ 4 > 25 °
3
Vla. ¢B Ó
Pno.
gliss.
o œ-
˙o
bangs
p
œ- #œ 42 œj nœ ™ -
58 #œ œ œ œ œ
#˙
-œ œ #-œ nœ 3 2 ?3 œ œ 58 #œ nœ #œ nœ œ œ œ 4 œÓ nœ œ œ 4 & 4 œ nœ œ # œ n œ # œ - - - > œ œ œ œ -
° Vln. & Ó
Db.
gliss.
q = 60
43 œ-
mf
27
Voix Im.
gliss.
˙™
and
43
œ- #œ œj nœ ™ -
œ-
3 ˙&4
the wind howls
mf
gliss.
˙o 3 Db. ¢& 4 ‹
43 œ
œ
-œ - 42 œ œ œ
pp
° 3 j Vc. & 4 œ nœ ™ -
ly
-˙ œ 42
œ œ œ- -œ œ
sul pont.
Vla.
ø
œ̇ œ œ ™
∑
44 Ó
‰ #œ>
Œ
œ nœ Here
-œ
II
78
Pno.
26
{
œ #œ 43 ˙ &> pp °
?
˙™ <“>
D
œ
Pno.
{
shad - ow - y
#œ
fish crammed with
>-œo
nÓœ œ œ œ
shad - ow - y
>-œo
˙-o
>-œo
˙-o
n˙ f
pp
& n˙- ™
-˙o
p
˙-
44 Ó
∑
∑
∑
œ Œ o
Œ
∑
∑
44 Ó
Œ
∑
∑
44
∑
∑ o œo -œo -œ
˙o
-œo
o -œo # œ -œo
œ-
˙-
ppp
q = 60
pppp
˙™ -
-˙™
Œ
-œ
II
78
ppp
-œ nœ
78
ppp
?
o -œo # œo -œo K œ 44
o
f
rall.
78
œ nœ Here
Œ
mp
œ-
Œ
Œ o
Leseprobe
pp
œ-
Œ o >-œo
#œ>
44 Ó
œ
mp
-˙o
p
rall.
∑
fish
œ œ- œ- œ- œ mp
>-œo
œ >ø°
˙
f
∑
sul pont.
p
˙-o
pp
Œ
-œord. - - #œ nœ œ œ- œ- œ
˙
pp
D- accel.
&
œ
nœ œ œ œ
œ- #œ nœ œ - -œ œ- œ pp p
>B nœ œ œ œ- œ
¢& ‹
mf
ord.
-o ° ˙ Vc. & Db.
#œ
fish crammed with
° Vln. & Ó ¢
p
œ- #œ >
q = 60
& nœ œ œ œ shad - ow - y
Vla.
#œ ˙ ˙ Christian œ-Mason >
accel.
32
Voix Im.
œ- #œ >
ff
78 78
∑
∑
∑
44
∑
78
∑
∑
∑
44
∑
78
4
E
rall.
q = 40
39
Voix Im.
7 & 8 #œ #œ œ #œ # œ œ nœ all
the winds let
° 7 #˙ Vln. & 8
go
Here
œ -œ J
q = 30
#œ #œ œ #œ # œ œ nœ all
the winds let
go
Here
accel.
43 #œ #œ œ #œ œ all
the winds let
œ
> > > 1 > . 1 . 1 . 1 . > 1> >œ. >œ # œ œ œ œ œ n œ. œ. >œ. #>œ. go
#œ ™ 43
‰ o
mf
ff subito
>œ
7 #œ- #œ œ #œ #œ œ nœ #-œ #œ œ #œ #œ œ nœ 43 #-œ #œ œ #>œ- >œVla. ¢B 8 #œ ™
Db.
7 ¢& 8 ‹
{
E
7 &8
Pno.
7 &8
43
1
Sample page œ œJ
#˙
molto sul pont.
°? 7 Ó Vc. 8
44 j #œ
ord.
˙
pp
p
#œ ™ pp
∑
∑
ff
Ϫ 43
∑ “” b >œ >œ >œ >œ > >œ >œ #œ œ œ œ œ nœ >œ #œ q = 30
rall. q = 40
∑ ∑
44
pp
43
∑
43 Ó
∑
43
ff
44 #œ. R
rall.
‰ Œ
Ó
-œo b -œ ˙ J
ord.
≈
&
ppp
∑
˙™
Œ& o
f
44
∑
œ. 44 R
44
accel.
≈
‰ Œ ∑
Breitkopf EB 9399 q = 60
#>œ.
> 1 œ
Ó
molto sul pont.
#œ œ J
mf
44
>. œ. œ
‰ Œ
q = 40
Ó
{
7 &8
∑
& Ó
Œ
78 #œ #œ
-œ œ here
Vln.
Vla.
Vc.
° & Ó ¢&
œ-
Œ
-œo -œ œ
-œo
all
-œ
II
B
° & Ó
Pno.
¢& ‹
ord.
Œ
Ó
{
go
Shadowy fish
œ nœ
œ #œ # œ
the winds let
go
Here
œ -œ J
#˙
#-œ ™
o œ-
#œ #œ all
œ #œ
Ϫ
the winds let
go
Here
œ -œ J
#˙
mf
#-œ ™
œ-o Oœ
-œ b -˙
œ 45
45 ˙™
Œ o
78 #œ œ œ - #-œ -œ #œ # œ - nœ #œ- #-œ -œ #œ # -œ - nœ #œ- #-œ -œ #-œ œ™ -
45 ˙™
Ó
#˙
#˙
&
∑
78
&
∑
78
o œo -œ J
mf
o œo -œ J
˙o
mf
o œo -œ J
˙o
Leseprobe
mf
q = 60
rall.
∑ ∑
78
œ bœ
#-œ ™
o 78 ˙
ppp
27
q = 40
#œ #œ all
∑
45 ∑
sul pont.
œ- œ
Œ
Here
œ -œ J
ppp
ppp
Db.
the winds let
78 #˙
p
œ nœ
œ #œ # œ
78 #˙
ppp
44
∑
rall.
q = 60
43
Voix Im.
43
∑
o 54 œ
œ-o
∑
45 ∑
∑
∑
45 ∑
78
mf
o Œ o
Ó
Œ œœ
q = 40
∑
78
?
78
? ‹
78 78 78
œ- bœ °
5
F 48
Voix Im.
7 & 8 œ
œ
all
the
œ
winds
#œ
let
go
-˙o ° 7 Vln. & 8 Ȯ
œo Oœ J
o n -˙
œo J
Vla.
Vc.
B7 ¢ 8
n˙
°? 7 very - slow glissandi 8 n˙ ™™ ppp
? 7 >œ ¢‹ 8
pizz.
Db.
Pno.
{
œ
f
œ pp
˙ 7 ˙ &8 œ
œ #œ
-œo Oœ
the
nœ
winds
#œ
let
-˙o
& œ
all
œ nœ #œ
the winds let
œ
go
p
go
mf
œ-o
œ
bœ
Here
œ
all
-œo
œ
the
nœ
winds
let
bœ
œ
œ
#œ
go
œo J
˙
mf
‰
Here
>œ
œ
œ #œ
œ
f
-œ œ
pp
-˙ ˙
p
œ- bœ
œ œ J
mf
œ-
œ nœ #œ
œ bœ
œ
all
œ nœ #œ
the winds let
œ
go
œ bœ Here
˙
-˙ ™™ f
œ
>œ
Œ -œ œ pp
œ- bœ
all
œ
œ #œ
the winds let
œ
œ nœ #œ
f
ppp
-˙ ˙
œ œ J
mf
œ-
q = 60 Breitkopf EB 9399
œ
‰
ppp
p
‰
œ-o
œo J
mf
f
‰
ppp
o ˙-
Ϫ
pp
Œ
œ-o
œ
go
Œ
œ- bœ
œ- bœ Here
all
-˙o
let
œ
œ
go
-œo
˙
f
pppp
œ-o
˙f
pppp
f
>œ nœ #œ
œ
f
œ- nœ #œ
œ
#œ ™
the
winds
let
go
‰
-œ œ
f
œ
œ J
ppp
-˙ ˙
#œ
bœ
Here
mp
‰
rall.
44 nU œ
winds
#œ
Ϫ
‰
ppp
nœ
-˙ ‰
-œ œ
œ
œ nœ #œ
œ
the
-œo
œo J
mf
pp
-˙ f
-˙o
pp
o ˙-
p
Here
œ
œo J
sim.
accel.
52
Voix Im.
all
œ
Sample page
œ œ J
7 &8 œ -
œ
Here
Œ
F-
bœ
œ
œ
œ
pppp
œ- bœ
q = 40
‰
U Œ
œ bœ Here
78
{
7 &8 œ 28
& œ
° Vln. &
Vla.
¢
B
the winds let
œ bœ
œ
go
Here
mf
ppp
-o œo œ J
-˙o
mf
ppp
poco sul pont. °? #-˙ ™™ Vc. p
Db.
{
f
6
ppp
œ œœ œ J
-˙ ˙
mf
pp
-˙o
-o œo œ J
mf
pp
pp
G all
the
Here
œ œ- b œ J
mf
p
œ-o
˙-o O
œo J
˙-
Ϫ
ppp
ff
IV
mf molto sul pont.
œ
œ
#œ ™
the
winds
let
go
-œ
-œ
# -œ ™
all
44
U nœ #œ
ppp
f
pp
mf
œ bœ œ- œ nœ #œ œ -
œ
#œ
œ
œ bœ
winds
let
go
Here
p
œ œ- bœ œ- œ œ #œ
œ
œ
all
the
#œ
let
go
winds
Here
U n -œ n -œ J
-œ b œ
78
mp
Ó
Ó
U Œ
Œ
Œ o
Ó
Ó
U Œ
Œ
Œ
Ó
Ó
U Œ
Œ
rall. U n œ # -œ nœ #œ
-œ œ
# -œ ™ #œ ™
-œ n -œ nU nœ nœ J
-œ œ
U 44 nœ
44
-œ œ
ppppp
44 nU œ #œ ø
-œ
œ
bœ
soon - er
or
œ
78
nœ
lat
q = 40
#-œ ™
-œ
q = 60
nœ
78
œ bœ
Œ
accel.
44 œ
‰
ppppp fragile
U 44 nœ
œ- b œ œ œ bœ œ J
˙˙
q = 40
U Œ
78
p
ppp
q = 60
œ œœ œ J
œ- bœ
œ
œ- nœ #œ
#œ
44 U Œ
>-œ œ œ #œ œ œ bœ
q = 50
œ
go
44 nU œ
Leseprobe
f
accel.
7 & 8 œ
the winds let
-˙
>œ œ nœ #œ œ œ bœ
& œ œ nœ #œ œ œ- bœ -
œ- bœ
œ
œ #œ
non harm. senza vib.
ff
mf
57
Voix Im.
-o œo œ J
all
‰
rall.
œ
œ
Here
-˙o
˙˙
ppp
mf
go
-˙ ™™
ff
accel.
the winds let
œ bœ
œ
piu sul pont.
? >œ œ nœ #œ œ œ bœ ¢‹
&
Pno.
all
-o œo œ J
-˙o
œ nœ #œ
œ
œ- bœ
œ
œ- œ nœ #œ Christian Mason q = 60
œ nœ #œ
all
œ- bœ
œ
œ nœ #œ
œ-
accel.
52
Voix Im.
œ- bœ
œ
œ #œ
œ
&
78
78
mp
U n-œ n-œ J
78
-œ bœ °
78
accel.
œ
-
er
œ
œ
all
nœ
#œ
œ
of
them
45
always semitone Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ œ œ œ œ œ œ œ™ ˙ œ œ œ œnœ œ œ ™ œ # œ n œ # œ n œ # œ n œ œ œ œ œ œ œ œ ° 7 J 44 78 #œ Vln. & 8 45 scales = ord. trills = poco sul pont.
7
ppp
scales = ord. trills = poco sul pont.
Vla.
7œ ¢B 8 o
scales = ord. trills = poco sul pont.
Sample page
pp 6
Pno.
f p
5 & 4 b˙
the
3
6
ppp
ppp
f mp
5
ppp sul pont.
f p
ppp sul pont.
-œ#-œ 4 ord. 4 ˙™™ -
3
-œ # -œ n -œ q = 50 œ œ # œ n œ -œ 44 nœ œ J
accel.
pp
œ #œ
3
˙
pp
œ-
œ
nœ #œ q = 80
Breitkopf EB 9399 œ 43 b˙ ™
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rain
5
sul pont.
takes
--œœnœ#œ 45
fpp
- q = 60 œ- œ- # œ- œœ œ œ # œ 7 -œ 8œ
accel.
˙˙
mf
4 œ œ- bœ 4 œ -
f mp
ord. œn-œ#œ- 78 ˙ ™ -
fpp
q = 70 accel.
ppp
3
6
5
pp
œ
7
b œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ - œbœnœœ œ b œ Ÿœ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœnœœ œb œ 5 78 ˙ œœbœnœœœ 44 ˙ bœ œ nœ-bœ œ œ 4
pp
7 &8 œ -
60
Voix Im.
ppp
? 7 -˙ ™ ¢‹ 8
{
f mp
always semitone
arco ord.
-˙ 7˙ &8
ppp
Ÿ~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b œ b œ b œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ -œ œœnœ#œ 44 78 œœœ#œ n-œ œ œœnœ#œ 45
o
G
7
always semitone
° 7˙ Vc. & 8
Db.
f p
off
œ
œ- bœ accel.
78
accel.
mf
n œ-
# œ- n -œ # -œ # œ n œ #œ
œ- ™ œ™
3
p
œ
œ-
œ 58 œ ™
nœ
œ
#œœ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
45 45 43
Pno.
{
7 &8 œ -
Voix Im.
œ
5 & 4 b˙
mf
pp
4 œ œ- bœ 4 œ -
œ #œ
q = 70 accel.
60
3
pp
-
q = 80
˙
œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ ˙ œnœ#œ œ œnœ œ
the
rain
° 5 n-œ#œ œ œ Vln. & 4
takes
78
œ- bœ
Shadowy œ œ œ nœ #fish
œ
mf
œ
n œ-
œ
œ-
off
œnœ#œ œ 34 b-œnœ#œ œ œ
nœ
2945
œ
#œ-
58 œ ™
accel.
43 b˙ ™
3
p
œ
43
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nœnœ œ ™ œ™ œ 58 43
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 œ œb œ œ ˙ œ nœb œ œ 5 œ™ œ œ œ n œ # œ n œ # œ œ œ 5 3 bœ-nœ œ œ Vla. ¢B 4 b-œ bœ nœ œ œ 4 8 43 6 6 f mf
7
3
f mf
ppp
7
f
6
ppp
ppp
f
ppp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~ 5 ˙ œ 3 ° 5 Ÿ˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œb œ œ œnœb œR œ b œ n œ b œ n œ 3 5 œ œ œ œ J 4 bœnœ bœ Vc. & 4 4 b-œ bœ nœ bœ 8 f mf
Pno.
?5 ¢‹ 4 bw-
{
- q = 80 -œ -œ -œ b -œ b œ b œ >- ™ b˙ œ œ œ bœ 43 b˙ ™
-˙ ˙
b -˙ 5 & 4 b˙
mf
5
pp
nœ
œ-
œ
œ
nœ
œ
#œ
sul pont.
-œ -œ -œ œ#œ 43
58 ™
5
43
bœ
œ-
f
3
p
bœ
b œ>
- n -œ # œ n œ # œ nœ nœ
-œ ™ 58 œ ™
accel.
œ
nœ
58 œ- #œ
œ
œ
œ nœ- bœ
43 43 7
q = 100
accel.
q = 90
3 & 4 b˙ ™
63
Voix Im.
ppp
ord.
fpp
q = 70 accel.
b -œ
5
f
Leseprobe
fpp
& 45
5
ppp sul pont.
-œ œ- nœ- #-œ 3 4 b˙- ™
ord.
Db.
5
5
˙™
accel.
42 ˙
78
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nœ nœ nœ œ œ ˙™ n œ œ # œ > œ œ œ œ œ#œ nœ nœ œ ° 3 b-œ bœ œ #œ œ œ # œ b œ 78 Vln. & 4 42 œ bœ her
ff
clothes
7
the
Sample page 6
ppp
fff
6
7
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 6 b œ œ n œ ˙™ œ n œ œ #œ œ 3 2 7 œ œ b œ n œ b Vla. ¢B 4 4 bœ- bœ bœ bœ œ nœ œ 8 œ > 6 <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 ˙ ° 3 ˙ nœ nœ b œ œ™ œ b œ n œ œ 78 œ Vc. & 4 42 bœ- bœ bœ nœ bœ ff
ppp
5
5
f
ppp
sul pont.
?3 ¢‹ 4 b˙- ™ >
{
ffp
accel.
q = 90
b>-˙ ™ 3 & 4 b˙ ™
Pno.
& 43
66
Voix Im.
& 78 ˙ rain
>-œ >œ #>œ >œ #>œ >œ œ œ œ #œ œ #œ
-˙ ˙
f
b -œ >
ord.
- - -œ #-œ 2 bœ n-œ -œ œ œ 4 n˙ >7
ord.
Db.
fff
6
pp
bœ
bœ
nœ œ™
œ
œ
q = 120
42 ˙ >-
takes
œ-
œ
#œ
nœ nœ-
molto rall.
Breitkopf EB 93995 b˙8 off
bœ
78
ffp
accel.
q = 100
> 24 -˙ ˙
78
42
78
ff
n œ> œ J
bœ
bœ
œ- ™
q œ= 80
her
o >-o o
clothes
high harm. ad lib. sul A
bœ
42
o
30
{
& 43
bœ
bœ
b -œ >
Ϫ
66
Voix Im.
œ
nœ
7 & 8 ˙
œ
œ-
œ
Christian Mason
q = 120
molto rall.
42 ˙ >-
42
bœ
nœ n-œ
#œ
58 b˙-
n œ> œ J
78
bœ
bœ
bœ
œ- ™
q œ= 80
o >-o >o >- >-o >o o >-o >o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ - >- nœ œ œ œ™ œ œ#œnœ nœ œ ™ œ œ ° 7 œ # œ b œ n œ 58 J Vln. & 8 42 œ œbœ 6 5 o 7 o pp fff p fff o > >- - >-o >Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >6 b œ n œ œ™ œ™ œ nœb œ Ÿœ œ œ œ™ œ n œ n œ œ # œ œ # œ œ œ 7 2 5 œ œ bœ nœ 8 œ Vla. ¢B 8 b œ 4 b œ n œ œ5 3 6 6 pp fff p fff o > -o >o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > Ÿ ~~~~~~~~~~ 5 Ÿ b œ b œ 5 nœ œ œ 2 ˙ ° 7 bœnœnœnœ œ™ 58 œ nœ bœnœnœ J 4 bœnœ bœ nœ œ Vc. & 8 bœbœ bœ bœ nœ bœ b œ b œ b œ -œ 5 3 5 5 f pp fff p fff sul >-o >-o pont. - - - molto sul pont. œ b œ n œ ?7 œ #œ œ œ 58 j Db. ¢ 42 ˙ J ‹ 8 -˙ ˙ œ œ™ 6 -> rain
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ œ™
off
fff
{
& 78
#>œ >œ #>œ- # œ œ œ #œ ˙ œ 42 ˙ J 3 >-
n -œ
42
nœ
œ #œ-
œ
œ
œ
clothes
p
q = 120
p
her
high harm. ad lib. sul A
Leseprobe
-˙ 7 &8 ˙
Pno.
takes
42
fff
bœ
bœ
nœ
œ >-
58
p
b œ-
nœ
œ
œ
42 42 42
fff
molto rall.
b ˙58 b˙
42
œ œ J œ
œ- ™ œ™
>> > >œ- >œ #>œ œ œ >œ # œ œ œ œ#œ œ œ#œ
q = 80
fff
> œ- #œ œ œ-
7
>-
?bbœ œ
42 42
8
H ° 4 &2 70
Vln.
4 Vla. ¢B 2
Vc.
Db.
Pno.
° 4 &2
?4 ¢‹ 2
{
playful, spontaneous
rall.
o o o >o >- >-o >o >-o >-o >-o >- >-o >-o >-o >- >-o >-o 5
>-o
3
>-o
>-o
3
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
>-o
playful, spontaneous
fffff
>-o
>-o
? 42 W W shimmering, in the far distance... q = c.66
o
ord.
>-o 3
Ú
rall.
>-o
>-o
3
3
H
>-o
fffff
3
4 &2
I
o >-o >-
>-o
3
>-o
>-o ™
q = c.72
™™
Ú
Ú
™™
√ Ú
22
™™
Ú
Ú
™™
√ Ú
22
™™
Ú
Ú
™™
√ Ú
22
™™
Ú
Ú
™™
√ Ú
Ú
Ú
™™
√ Ú
Sample page
3
>-o
>-
3
>-o o >-
fffff
>-o
fffff
™™
q = c.72
™™bbW W
bW W
p
ppp
*Improvise rhythmically irregular trill between harmonic and open string:
Breitkopf EBof 9399 - think morse code
- vary long/short - avoid synchronisation poco sul pont. - in general emphasise the harmonic with flickering flashes of open string
a little slower q = c.60
o
ord.
™™
√ Ú
& ‹
22 22
&
22
{
? 42 W
I
° 2 Vln. & 2 74
Shadowy fish
q = c.66
>o w
ord.
23
ppppp
>o œ™ 2 ≈ B Vla. ¢ 2 J ° 2 Vc. & 2 ‰
>o œ J
2 ¢& 2 ‰ ‹
{
I
2 &2
Pno.
2 &2
wo
*
w 7
o 32 w
*
7 w
ppp
ppppp
>o o œ ˙™ ≈ R
poco sul pont.
o 32 w
ppppp
œ œ œ
œ œ œ œ
#œ
œ
œ
ppppp sempre
ppp
7 w
œ
œ
œ
œ
œ œ œ
23 23
œ
#œ
œ
œ
œ
Ó
Ú
&
31
>o w
ord.
≈ Ó o
22
23
ppppp
>o œ™ 22 ≈ J
ord.
≈ Ó
o
o ˙™
ppppp ord.
≈ Ó o
>o œ J
22 ‰
≈ Ó o
˙o ™
22
>o o œ ˙™ ≈ R
23
ppppp
œ œ œ
22
œ
23
ord.
a little slower q = c.60
≈ Ó
23
ppppp
22 ‰
œ
œ œ œ œ
#œ œ
œ
œ œ
œ
œ
slower again
° 3 &2 77
3 Vla. ¢B 2
w 7
wo
w 7
pp sul pont.
pp
U Ó o
22
wo
sul pont.
23
wo 3 Db. ¢& 2 ‹ pp
œ œ œ 3 &2
#œ œ
œ
œ œ
U Ó
o
ppppp
>o œ™ 22 ≈ J
ord.
o ˙™
ppppp
>o œ J
w 7
7 w
22 ‰
7 w
U Ó o
22 ‰
U Ó
œ œ œ 22
Ó
23
o 32 w
o 32 w p
œ œ œ œ
#œ œ
Breitkopf EB 9399
œ œ
œ
œ œ
q = c.40
23 23
œ œ œ
#œ œ
œ
œ œ
√ Ó o √ Ó
o
√ Ó o
7 w
√ Ó o
Ó
√ Ó
sul pont.
ppppp
œ
7 w
p
>o o œ ˙™ ≈ R
œ
w 7
p
ord.
22
wo
sul pont.
ppppp
slower again q = c.48 rall.
p
sul pont.
˙o ™
ord.
U Ó o
sul pont.
3 &2
>o w
Sample page
pp
o ° 3w Vc. & 2
{
q = c.40
ord.
wo
sul pont.
sul pont.
Pno.
œ
23 23 9
q = c.48 rall.
Vln.
22
a little slower q = c.60
Leseprobe *
ppp
shimmering, in the far distance... q = c.66
°
*
ppp poco sul pont.
˙o ™
œ
w 7
ppp
23
ord.
Db.
p
poco sul pont.
o ˙™
ppppp ord.
wo
™™
W
*Improvise rhythmically irregular trill between harmonic and open string: - think of morse code - vary long/short - avoid synchronisation poco sul pont. - in general emphasise the harmonic with flickering flashes of open string
shimmering, in the far distance...
ord.
™™b W
Leseprobe
Sample page
Shadowy fish Violin
Christian Mason, 2020
I Feel each 2/4 bar as a h beat within a larger 8-beat structure
Mysterious, hypnotic, entrancing q = 1 08 – 1 20 OFF-STAGE, OUT OF VIEW, WITHOUT SHOES
fast light bow strokes, molto sul pont. (PLAY 2×)
8 2 ªª L3 L3 L3 L3 L3 L3 ppp lontano
Leseprobe p
fast light bow strokes
A molto sul pont.
7
L3 L3 ªª L3 L3 L3 L3 ppp lontano
B
meno sul pont.
13
L3 L3 L3 L3 L3 L3 p
pp lontano
19
L 3
L 3
L3
L 3
L 3
L 3
L 3
Sample page C
24
L 3
molto sul pont.
mf
WALK CALMLY WHILE PLAYING TO ON-STAGE POSITION...
poco sul pont.
n L 3 ppp
L 3
D
29
ord.
L3 L3 L3 L3 L3 L3 p pp lontano
ON-STAGE
35
L3
L 3
L 3
L 3 mf
Edition Breitkopf 9399
L 3
1
pp
© 2020 by Breitkopf & Här tel, Wiesbaden
22
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
EE
poco sul pont. 4141 poco sul pont.
L3 L3 L3 L3 L3 L3 L3 L3 L3 L3 ppp ppp
FFord.ord.
4646
L3 L3 L3 L3 L3 L3 L3 L3 L3 L3 ff
pp lontano pp lontano
Leseprobe
5151
L3 L3 L3 L3 L3 L3 L3 L3 L3 L3
molto sul pont. 5656 molto sul pont.
GG
LL LL LL LL LL 3 3 3 3 3 3 3 3 3 3 ffff Gradual Gradual transformation of transformation of articulation articulation
HH
6161 ord. ord.
LL LL LL LL LL 3 3 3 3 3 3 3 3 3 3 ppp ppp
6666
Sample page
ff
molto sul pont. molto sul pont.
L3 L3 L3 L3 L3 L 3 L3 L 3 L3 L 3 ppp ppp
II
7171
LL LL n nLL LL LL 3 3 3 3 3 3 3 3 3 3 mf mf
7676
L3 L 3
ord. ord.
LL LL LL LL 3 3 3 3 3 3 3 3 ppp ppp
Breitkopf EB 9399 Breitkopf EB 9399
3
Violin
81
molto sul pont.
J
ord.
L3 L3 L3 L3 L3 > > > > > > > > > > f
ppp
K
86
L L L L ª 3> 3> 3> 3 > > > > >
L ª 3 > >
f
Leseprobe
molto sul pont.
91
ord.
ª ª ª ª 22 L3 ª n L ª L ª L ª L ª L ª 3 > > 3 > > 3 > > > > > 3 > > > 3 > > pp
q = q
97 L
ª ª
3
2 2 > ff
ppp
116
3
3
ª
L 3
1 1 th of C
f
# #
Sample page
p
f dolce
mf
3 n
ff
L n n L n L ª ªn ª ª 3 3 > 3 > > > ppp fff dark, melancholy, a little faster, �owing 1 3th of C q = 1 20 – 1 32 senza vib.
120
1 3th of C molto sul pont.
3
1
IV
II
ppp
poco vib. (senza vib. on start of microtones) 106
3
1
M 4 ó
3
1
ppp
Breitkopf EB 9399
ª
p
3
6 óò
44
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
Icy, a distant echo NNIcy, a distant echo molto sul pont. molto sul pont.
137 137 senza vib. senza vib.
3 3
ppp ppp
5 5
ª ª
ppp ppp
pp
145 145
# # ª ª >>
ª ª
pp
�owing, watery, shimmering �owing, watery, shimmering slightly slower [ slightly slower [ TEMPO 1] TEMPO 1] q = 1 q = 1 08 - 1 08 - 1 2020
ord. ord.
mp mp
ppp ppp
rall. rall.
ord. ord.
3 3
sul tasto sul tasto
pp pp
ppp ppp
Leseprobe
OO
~ ~ ###~# ~ # ~# ~ # # pp mf mf
156 156
3 3
3 3 b b b ~b ~ b bb n n b b b b b n n
ff
mf mf
b b~b ~ n n ~nn ~ n n b b bb ªª ªª ª n ªn b b bb ªª ªª ª ª ªª ªª ª ª ~~ b # # # # 3 3
163 163
ff
ffff
3 3 # # 170 170 ~~ ~ ~
mf mf
PP
# #
n n 3 3
Sample page
ff
ff
fff espress. f espress.
b b 3 3 II II pp
pp pp
Feel each 2/4 bar as a h beat within a larger 3-beat structure Feel each 2/4 bar as a h beat within a larger 3-beat structure
7th of Bb 7th of Bb 179 179
3 3
b b 33 22
ffff
molto rall. molto rall.
189 189# #
Winding down, like a music box Winding down, like a music box rall. rall. q = c.80 q = c.80
pp
# #
# #
3 3
mf mf
poco poco vib. q = c.40 q = c.40 vib.
# #
n n
senza senza vib. vib. L L
ff
pp
3 3
Breitkopf EB 9399 Breitkopf EB 9399
ff
senza senza vib. vib.
K3 K3 ffff
ÃÃ
5
Violin
II slow, with a heavy heart h = 54 II III senza vib.
A 6
1 1 óò
B
ppp
h = 40
rall.
>
III IV
sfz
>
sul pont. ord.
sul pont.
pp
sffz
slightly faster, a little lighter h = 60
C 17
(senza �at like vib.) nat. 7th of C
pp
>
rall. 51
3
>
#
ª
>
mf
pp
sul pont.
�at like nat. 7th of G
K3 ~>
> ª
f
II III
>
sffz
% ~ b > >
f
b > >
sffz
p
E senza vib. ~ b ~
mf
~
b
ppp
fff
>
Breitkopf EB 9399
b ~ >
ppp
cresc.
stay extremely slow h = 40
Ã
ªª # # IIªªª
#
~ >
h = 40
I II
~ >
3
ord.
Sample page
b b ~>
ppp
pp
61
71
pp
~
~
sffz
f sffz
~ >
K3
~ >
1 D ord. ~
1
fff
~ >
rall.
slightly faster, somewhat agitated h = 66
41
#
Leseprobe
sul pont.
sfffz
f espress.
senza vib. II
1
con vib.
h = 40 31
>
sul pont. ord.
>
ppp
p
Ã
66
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
I II I I
delicate, mysterious delicate, mysterious AAq = 40 q = 40
33 4 4
ppp ppp
66
pp pp
q = 60 q = 60
accel. accel.
pp
rall. rall.
55 4 4 ª ª ª ª pp
pp pp
q = 40 q = 40
ppp ppp
5 5
ffff
ff
b b b b bb n n nn #### b b
mp mp
mf mf
q = 54 BBq = 54
33 #### ####nn n n 4 4# # ª ª ª ª 5 5
ff
rall. rall.
# # ªª ªª
# # # # 4 4 44 q = 60 q = 60
Leseprobe 5 5
ppp ppp mf mf ppp ppp p p
6 6
ppp ppp
q = 40 q = 40accel. accel.
ffff
q = 60 q = 60
Sample page p p pp pp
mf mf pp pp
f f pp pp
q = 60 q = 60
accel. accel.
DD
1 1 11 33 44 pp pp
3232
q = 30 q = 30
rall. rall.
2727
ppp ppp
high nat. harm. ad lib. sul A high nat. harm. ad lib. sul A
ª ª 1818 11 CC 3 3 2 2 3 3 5 5 4 4 44 4 4 44 88 44 pp pp pp pp pp mf mf ff rall. rall.
# # ªª ªª
pp
mf mf
pp
high nat. harm. high nat. harm. ad lib. accel. ad lib. accel. senza senza 1313 vib. vib.
# #
7 7
ord. ord.
sul pont. sul pont.
# #
ffff
rall. rall.
ò ò 44 44
22
II II
77 88
ppp ppp q = 30 q = 30 11 11 11 11 1 1 11 1 1 rall. rall. q = 40 q = 40 # # n n accel. accel. 3939EE # # # # # # # # # # ª ª 77 44 43 43 8 8 44 mf mf fff subito f subito rall. rall. q = 60 q = 60 q = 40 q = 40 4343 7 #7# # # # # 5 5 b b 7 7 88 88 44 pp pp
pp
mp mp
ppp ppp
mf mf
Breitkopf EB 9399 Breitkopf EB 9399
7
Violin
48 F 7 8
sim.
mf
pp
mf
ppp
f
accel.
pppp mf
p
b 4 4
non harm. senza vib. 54
mf
ppp mf
pp
accel.
q = 60
# rall.
p
scales = ord. trills = poco sul pont.
ª # ª n n b G # 7 4 8 4 7 q = 40
ppppp fragile
always semitone
mp
ppp
accel. q = 60 q = 70 accel. q = 50 n n ª ª ª 58 # # # 4 7 # 5 # 3 4 8 4 4
Leseprobe
accel.
7
7
f p
ppp
7
f mp
ppp
3
f mf
ppp
accel. q = 90 ª ª n n n ª 61 q = 80 # # 3 b # 5 3 b # 2 4 8 4 b 4 accel.
7
f
ppp
ff
6
7
ppp
molto rall. q = 1 20 ª ª n n n n 65 q = 1 00 # # 2 b b # 7 2 bn # 5 4 8 4 b 8 accel.
Sample page 6
7
q = 80
6
7
pp
fff
5
shimmering, in the far distance... q = c.66
74 I 2 2
ord.
ppppp
3
3 2 ppp
* Å 7
ord.
2 2
ªª
ò
2 2
slower again q = c.48 rall. q = c.40
7
pp
ord.
sul pont.
3 2 ppppp
Ã
2
fffff
a little slower q = c.60
sul pont.
p
q = c.72
3 high harm. ad lib. sul A ª ª 69 H 4 ªª 2
playful, spontaneous rall.
fff
5
fff
2 2
sul pont.
3 2 ppppp
p
à 7
* Improvise rhythmically irregular trill between harmonic and open string: think of morse code, vary long/short, avoid synchronisation, in general emphasise the harmonic with �ickering �ashes of open string. Breitkopf EB 9399
8
Christian Mason | Shadowy fish
Contents I mysterious, hypnotic, entrancing [c. 5 min.] II slow, with a heavy heart [c. 4 min.] III delicate, mysterious [c. 6 min.]
1 19 23
Performance Notes Note on metre Sometimes the notation distinguishes between “felt metre” (defined by normal barlines) and “practical metre” (defined by dotted barlines). While the smaller metrical divisions (in 2/4) make the music easier to read, the larger metrical structures reveal the compositional intentions. This approach occurs in two sections of the first movement: b.1 [LETTER A] – b.97 [LETTER L]: felt metre = 8/2, practical metre = 2/4 b.181 [LETTER Q] – b.198 [end of the movement]: felt metre = 3/2, practical metre = 2/4 Note on microtones
The piece begins with position 1. Between LETTER D and LETTER E the players should walk (while continuing to play from memory) to position 2, joining the rest of the ensemble on stage. If more time is needed to walk between positions it is fine to begin walking earlier, for example at LETTER C. Voix imaginaire The score includes a vocal line, setting part of a poem by Pablo Neruda: Every Day You Play. This part is not intended for performance but could inform the musical expression and interpretation. All of the melodic lines are included in other parts which are performed. While composing the words and melodies became connected in my imagination. Each movement is related to one stanza, as follows:
Leseprobe
Derivation of microtones is usually based on the tuning of the harmonic series (whether or not it is being expressed as actual natural harmonics). The degree of accuracy required depends on the context. In the cases where precision is most important the score indicates, for example, “tune as 11th harm. of C” or simply “11th of C”. In faster passages the most important thing is the special non-chromatic colour of the intonation. The language overall is heterogenous, mixing “tempered” and “spectral” attitudes to tuning throughout the piece, in order to achieve a sense of ‘shimmering’ sound and harmony (for example, the A natural in the opening violin/ viola figuration is not part of the C-spectrum, whereas the other notes are; or at b.117 we simultaneously here the spectral version in the violin/viola and the tempered version in the piano).
Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes.
Sample page
The most common spectral root is C:
From Twenty Love Poems and a Song of Despair by Pablo Neruda | Published by Jonathan Cape | Reprinted by permission of The Random House Group Limited. Other performance notes
7th = 31 cents flat (approximately a 1/3 tone) 11th = 49 cents flat (approximately a 1/4 tone) 13th = 41 cents sharp (approximately 2/5 of a tone) There are also cases of microtones used as melodic or colouristic inflections. In such cases the precise tuning is left to the performers discretion. The following accidentals are used:
Layout/Playing Positions The violin and viola players have two playing positions: 1. Off-stage (not too far, but out of view for the audience) 2. On-stage, with the ensemble in a standard seating format (as for Schubert)
Sometimes very high natural harmonics are used melodically (e.g. the cello part during the opening of the piece). It is understood that these may be fragile and unstable in performance. What matters is to aim for the written notes, and hope for the best! Glissandi should, as far as possible, last across the entire notated duration; though where the distance is very small compared to the time value the slide can be delayed as needed. Headless stems (with o) = unspecified high natural harmonics: Upward arrow note-heads = unspecified pitch as high as possible:
Breitkopf EB 9399
Christian Mason
Christian Mason
Leseprobe
Shadowy fish (Hommage à Schubert)
für Violine, Viola, Violoncello, Kontrabass und Klavier for Violin, Viola, Violoncello, Double Bass and Piano
Viola
Sample page
Edition Breitkopf 9399 Printed in Germany
Shadowy fish Viola
Christian Mason, 2020
I Feel each 2/4 bar as a h beat within a larger 8-beat structure
Mysterious, hypnotic, entrancing q = 1 08 – 1 20 OFF-STAGE, OUT OF VIEW, WITHOUT SHOES
fast light bow strokes, molto sul pont. (PLAY 2×)
82 ªª
ppp lontano
6
12
18
Leseprobe
p
fast light bow strokes molto sul pont.
A
ªª
ppp lontano
B
meno sul pont.
p
pp lontano
molto sul pont.
Sample page
mf
WALK CALMLY WHILE PLAYING TO ON-STAGE POSITION...
23
29
C poco sul pont.
ppp
D ord.
p
pp lontano
ON-STAGE
35
Edition Breitkopf 9399
mf
1
pp
© 2020 by Breitkopf & Här tel, Wiesbaden
3
Viola 41
poco sul pont.
E
ppp
47
f
F ord.
pp lontano
molto sul pont.
53
G
Leseprobe ff
ord.
59
ppp
H 65
Gradual transformation of articulation
f
70
I
molto sul pont.
Sample page
ppp
mf
ord. J molto sul pont. ª
76
ppp
ord.
84
ª ppp
f
molto sul pont.
K
ª f
pp
ord. L2q = q 2 >
93
ff
3
101
1
I
pp
3
ppp
IV
f Breitkopf EB 9399
3
2
ò
4
110
Christian Mason | Shadowy fish
f
mf
molto sul pont.
3
3
ff
ppp
M
poco vib.
ord.
118
#
> > > >
dark, melancholy, a little faster, �owing q = 1 20 – 1 32
3
#
p dolce
mf
Leseprobe fff
124
3
# n
ª
p
# ª # n
f
pp
N Icy, a distant echo
133
ªª
3
poco sul pont. senza vib. 3
n
f
b
143
mf
p
rall. 153
5
3n
mp
p
pp
Sample page f
pp
ord.
3
b n
b
mf
p
�owing, watery, shimmering slightly slower [ TEMPO 1] q = 1 08 - 1 20
5
O
5
molto sul pont. fast, light bow
5
5
5
5
n n n L3 L3 n L3
ppp
p
5
5
5
5
5
n n n n n n L3 L3 n L3 L3 L3 n L3
ppp
163
#
pp
f
159
3
# ª # n
3 b
#
p
5
5
5
ppp
p
5
5
5
5
5
n n n n n n L3 L3 n L3 L3 L3 n L3
ppp
p
ppp
Breitkopf EB 9399
p
5
Viola
167
5
5
5
5
5
5
n n n n n n L3 L3 n L3 L3 L3 n L3
ppp
171
5
5
p
ppp
P
p
1 1 th 1 3th of Bb of Bb 5
K ª n L n n L n L 3 3 3 3 5
5
5
ppp
5
p
175
ppp
pp
f
Leseprobe
5 K ª K ª K ª 3 3 3
5 K3 ª
K ª K ª 3 3
pp
f
5 K ª K ª K ª 3 3 3
pp
f
Feel each 2/4 bar as a h beat within a larger 3-beat structure
Q
Winding down, like a music box rall.
q = c.80
molto sul pont.
3 3 3 3 3 3 K # 3L ª ª # L # L # L 3 K L L L 3 3 3 3 2 3 3 3 3 3
180
3
pp
f
3
molto rall.
poco sul pont.
186
3
Sample page
# 3 L L L 3 3 L3 3 3
3
# 3L 3
3
pp
3
3 L3 # L3 L3 3
q = c.40 191
3
#3 L 3 L3
3
mf
3
molto sul pont.
ord.
3 3 3 L3 # L3 L3 # L3 3
pp
3
f
3
Breitkopf EB 9399
3
L3 3
ff
2 ò
Ã
6
Christian Mason | Shadowy fish
II
slow, with a heavy heart h = 54 senza vib.
A
b
11
rall.
B
b
ppp
ord.
12
sul pont. ord.
>
sffz
23
>
pp
I
sfffz
36
~
~ >
ppp
>
ff
>
p
II
3
ord.
1
5
K3
f
sul pont.
pp
mf
pp
mf
n
ª
sffz
b
ppp
5L 3
3 b ª n
p
3
b > f
A
1
sffz
poco vib.
68
ªª
sffz
stay extremely slow h = 40 senza vib.
sffz p
Sample page mf
p
E 1
ª K3 h = 40
3
ppp
pp
molto sul pont.
b >
ó
b >
5
fff
III
1 b
mf espress. 3
>
delicate, mysterious q = 40
43 b
ord.
rall.
>
L3 n
fff
h = 40
molto sul pont.
>
p
K3 ~>
49
57
Leseprobe piu sul pont.
slightly faster, somewhat agitated h = 66
~
rall.
poco sul pont.
f
D
1 C
pp
�at like nat. 7th of C
III
sul pont.
(senza vib.)
sfz
slightly faster, a little lighter h = 60 h = 40
sul pont.
>
b p
mp
bb b 5
Breitkopf EB 9399
q = 60
accel.
b
mf
b p
b
pp
5 4
7
Viola
q = 40
B q = 54 9 3 45 ## b b n ## 4 rall.
mf
7
14
high nat. harm. ad lib.
ppp
ff
q = 60
high nat. harm. ad lib. sul A
sul pont.
p
mf
C q = 40
pp
p
ppp
rall.
1
4 4 6
5
pp
ff
Leseprobe ord.
5 4 8# 4 >
43 42 43 # pp
mf
p
# >
f
# >
p
q = 30
molto sul pont.
sul tasto
sul pont. ord. # # # # 3 # 4
27
pp
p
mf
f
q = 60
accel.
D
pp
ord.
# mp
ò
ppp
ord.
f
mf
accel.
ppppmf
ppp
ppp mf
mf
q = 60
IV
pp
b
II
7 8
p
F 7 8
87 # # ª # # ª # # ª 45 ª ppp
4 4
accel.
q = 40
rall.
n E7 # # # n # 8
Sample page p
ff
44 q = 60
q = 40
2
molto sul pont. # # # # n 43 # # # 44 #
40
ff
rall.
q = 30
rall.
51
mf
rall.
32
3 4
q = 60
accel.
sul pont.
19
p
f
accel.
rall.
mf Breitkopf EB 9399
p
p
mf
pp mf
q = 40
rall.
4 4
ppp
7 8
8
Christian Mason | Shadowy fish
accel.
G
scales = ord. trills = poco sul pont.
q = 50 accel.
q = 60 accel.
b 4 # b ª 7 # b 5 # 7 8 4 8 n 4 3 3 6 6 6 pp ppp f p ppp f mp ppp
57
always semitone
q = 70 accel.
q = 80 accel. 6 60 b b n # # 3 5 ª 3 45 b n b n 4 b 8 4 6
f mf
q = 90
Leseprobe
6
f
ppp
6
ppp
q = 1 00
accel.
6 # n n b 43 b b b n 6 >
63
accel.
6 ª 2 87 4 b b b n
ff
ppp
fff
q = 1 20 molto rall.
3 ª ª 66 6 6 b 6 b # # 7 2 5 8 4 b b b n 8 pp
rall.
3 H 4 2
high harm. ad lib. sul A 69
ª
fff
5
3
shimmering, in the far distance... q = c.66 ord.
74 I ª ª 22 ppppp
ppp
3
q = c.72
2 ªª
ò
Ã
ªª
2 2
fffff
a little slower q = c.60
sul pont.
3 2
p
Sample page playful, spontaneous
q = 80
fff
slower again q = c.48 rall. q = c.40
ord.
ª ª Å 2 * 7 2 7 ppppp
sul pont.
3 2
pp
7 7
ord.
ª ª 2 2 ppppp
sul pont.
3 2
p
à 7 7
* Improvise rhythmically irregular trill between harmonic and open string: think of morse code, vary long/short, avoid synchronisation, in general emphasise the harmonic with �ickering �ashes of open string. Breitkopf EB 9399
9
Viola
Contents I mysterious, hypnotic, entrancing [c. 5 min.] II slow, with a heavy heart [c. 4 min.] III delicate, mysterious [c. 6 min.]
1 19 23
Performance Notes Note on metre Sometimes the notation distinguishes between “felt metre” (defined by normal barlines) and “practical metre” (defined by dotted barlines). While the smaller metrical divisions (in 2/4) make the music easier to read, the larger metrical structures reveal the compositional intentions. This approach occurs in two sections of the first movement: b.1 [LETTER A] – b.97 [LETTER L]: felt metre = 8/2, practical metre = 2/4 b.181 [LETTER Q] – b.198 [end of the movement]: felt metre = 3/2, practical metre = 2/4 Note on microtones
The piece begins with position 1. Between LETTER D and LETTER E the players should walk (while continuing to play from memory) to position 2, joining the rest of the ensemble on stage. If more time is needed to walk between positions it is fine to begin walking earlier, for example at LETTER C. Voix imaginaire The score includes a vocal line, setting part of a poem by Pablo Neruda: Every Day You Play. This part is not intended for performance but could inform the musical expression and interpretation. All of the melodic lines are included in other parts which are performed. While composing the words and melodies became connected in my imagination. Each movement is related to one stanza, as follows:
Leseprobe
Derivation of microtones is usually based on the tuning of the harmonic series (whether or not it is being expressed as actual natural harmonics). The degree of accuracy required depends on the context. In the cases where precision is most important the score indicates, for example, “tune as 11th harm. of C” or simply “11th of C”. In faster passages the most important thing is the special non-chromatic colour of the intonation. The language overall is heterogenous, mixing “tempered” and “spectral” attitudes to tuning throughout the piece, in order to achieve a sense of ‘shimmering’ sound and harmony (for example, the A natural in the opening violin/ viola figuration is not part of the C-spectrum, whereas the other notes are; or at b.117 we simultaneously here the spectral version in the violin/viola and the tempered version in the piano).
Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes.
Sample page
The most common spectral root is C:
From Twenty Love Poems and a Song of Despair by Pablo Neruda | Published by Jonathan Cape | Reprinted by permission of The Random House Group Limited. Other performance notes
7th = 31 cents flat (approximately a 1/3 tone) 11th = 49 cents flat (approximately a 1/4 tone) 13th = 41 cents sharp (approximately 2/5 of a tone) There are also cases of microtones used as melodic or colouristic inflections. In such cases the precise tuning is left to the performers discretion. The following accidentals are used:
Layout/Playing Positions The violin and viola players have two playing positions: 1. Off-stage (not too far, but out of view for the audience) 2. On-stage, with the ensemble in a standard seating format (as for Schubert)
Sometimes very high natural harmonics are used melodically (e.g. the cello part during the opening of the piece). It is understood that these may be fragile and unstable in performance. What matters is to aim for the written notes, and hope for the best! Glissandi should, as far as possible, last across the entire notated duration; though where the distance is very small compared to the time value the slide can be delayed as needed. Headless stems (with o) = unspecified high natural harmonics: Upward arrow note-heads = unspecified pitch as high as possible:
Breitkopf EB 9399
Christian Mason
Leseprobe
Sample page
Leseprobe
Sample page
Leseprobe
Sample page
Shadowy fish Violoncello
Christian Mason, 2020
I Feel each 2/4 bar as a h beat within a larger 8-beat structure
Mysterious, hypnotic, entrancing q = 1 08 – 1 20 IV gliss on nat. harm.
8 A 7 L ª 5 3 ª ª 8 2 ªª ó ó ªª 3
L3
(PLAY 2×)
p
B
17
26
f
Leseprobe
f
ª
D 3 3 I
43
57
ªª
3
G1
#
ppp
ª ª L L 3 3
3 L3
p
non harm. senza vib.
3
I
poco vib.
3
F
3 E
(tune as 1 1 th harm. of C) senza vib. poco vib.
3 L3
(tune as 1 3th harm. of C) poco senza vib. vib.
3
non harm. poco senza senza vib. vib. vib.
3
H
4
ò
3
senza vib. poco 3 vib.
poco vib.
L3
1
poco vib.
3L3
3
cantabile molto espress.
mf
7
f
Sample page
senza vib.
3
1
7
p
IV gliss on nat. harm. C 6 5 7 L 3
ª ªª ªªª
f
72
82
3
3
33
ò
f
ª
ª
ª
2
ó
senza
J vib. #
f
Edition Breitkopf 9399
>
L3 > p
K
mf
4
ó
2 2
© 2020 by Breitkopf & Här tel, Wiesbaden
22
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
q = q LLq = q ≤≤
2 2 2 2
9797
# # ª ª
# #
p p ff dolce molto espress. dolce molto espress.
107 107
b b
pp
mf mf
ff
L3 L3
3 3
pp
pp
ff
ord. ord. poco vib. poco vib. (senza vib. on start of microtones) (senza vib. on start of microtones)1 11th of C 1 th of C
poco poco sul pont. sul pont.
1 3th 1 3th of C of C
# # # #
f dolce f dolce
3 3 n n >> ffff 3 3
mf mf
dark, melancholy, dark, melancholy, a little faster, �owing a little faster, �owing
Leseprobe
7th of C 7th of C sul tasto sul tasto q = 1 q = 1 20 – 1 20 – 1 3232 senza vib. senza vib. 3 3
117 117molto sul pont. molto sul pont.
n n ª ª >> > >
pp pp
144 144
ò ò
ppp ppp
n n ª ª pp
44 óó
Icy, a distant echo Icy, a distant echo
1 11th of C 1 th of C
131 131L3 L3
MM 3 3
molto sul pont. ªªªªªª 3 3 NNmolto sul pont. senza vib. ò ò senza vib. mp mp ppp ppp
pp
IV IV
ª ª > > > >
ord. ord.
pp pp
ord. ord.
mf mf
rall. rall.
Sample page mp mp
pp pp
sul tasto sul tasto
ppp ppp
�owing, watery, shimmering �owing, watery, shimmering slightly slower [ slightly slower [ TEMPO 1] TEMPO 1] q = 1 q = 1 08 - 1 08 - 1 2020
155 155
160 160
ord. + fast, light bow OOord. + fast, light bow ªn ªn ª nªn
L3 L3
L3 L3 ªn ªn ª ª L3 L3 ªn ªn ª ª
ppp ppp
mf mf
L3 L3 ªn ªn ª ª L3 L3 ªn ªn ª ª L3 L3 ªn ªn ª ª L3 L3 ªn ªn ª ª ppp ppp
mf mf
164 164
L3 L3 ªn ªn ª ª L3 L3 ªn ªn ª ª L3 L3 ªn ªn ª ª L3 L3 ªn ªn ª ª ppp ppp
ff Breitkopf EB 9399 Breitkopf EB 9399
3
Violoncello
L3 ªn ª
L ªn ª L ªn ª L ªn ª 3 3 3
168
ppp
ff
7th of Bb
P
3 5 ª ª ª ª n L3 b b b
172
5
ppp
f
3
pp
3 5 ª ª b n n b b n n b 3
5
176
Leseprobe
f
pp
f
pp
Feel each 2/4 bar as a h beat within a larger 3-beat structure
Winding down, like a music box rall. molto sul pont.
Q 3 3 b 2
3 # 3
180
pp
f
3
# 3
3
mf
3
q = c.40 ord.
Sample page
3 # # 3
#
molto rall. 188
q = c.80
3
3
f
# # 3
3
3
Breitkopf EB 9399
3
pp
# 3
3
poco sul pont.
# 3
3
pp
molto sul pont.
# 3
ff
2 ò
Ã
44
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
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Leseprobe
Sample page
Breitkopf EB 9399 Breitkopf EB 9399
5
Violoncello
II
A
slow, with a heavy heart h = 54
1 1
ppp sempre
h = 40
13
slightly faster, a little lighter h = 60
C
1
36
f espress.
pp
>
p espress.
# b 5
45
Leseprobe #
slightly faster, somewhat agitated h = 66 3
h = 40
rall.
senza vib.
3
ff
# ª
f
3 # p ord.
1
h = 40
rall.
molto sul pont.
sul pont.
n
>
>
Sample page
pp
mf
p
ppp
3
Ã
7th harm.
sul pont.
ª b
K3
ª
IV: 9th harm.
>
fff
D
rall.
pp
con vib. 26
B
mf
p
p
sfz
>
sffz
1
pp
stay extremely slow
E h = 40 57
2 ò
66
ord.
b
ppppp
ppp
cresc.
I senza vib. II II sul pont.
b >
fff
>
p
molto sul pont.
74
b >
sim.
3
>
b >
Breitkopf EB 9399
3
>
b >
ffff
ord. IV: 7th harm.
Ã
ppp
66
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
I II I I delicate, mysterious delicate, mysterious AA q = 40 q = 40 glisgls.iss.
33 4 4
# #
# #
ppp ppp
77
# #
pp pp
pp
ppp ppp
mp mp
glisgls.iss.
BB
n n 43 4#3#
accel. accel. gligli ss.ss.
# #
# #
mf mf
q = 54 q = 54
rall. rall.
45 45
gligli ss.ss.
# #
pp pp
q = 60 q = 60
glisgls.iss.
glisgls.iss.
pp
rall. rall.
glisgls.iss.
n n # #
mf mf
n n # #
pp
Leseprobe
glisgls.iss.
ppp ppp
q = 60 q = 60
q = 40 q = 40
high nat. harm. high nat. harm. ad lib. sul A ad lib. sul A
glisgls.iss. glisgls.iss. glisgls.iss. 44 # # n n # # n n # # 4 4 5 5
accel. accel.
1313
ff
q = 40 q = 40
CC
1919
ss.ss. gligli
mf mf
pp
# # 43 43 >> glisgls.iss.
ffff
pp pp
pp pp
q = 60 q = 60
accel. accel. glisgls.iss.
6 6
rall. rall.
ss.ss. gligli
glisgls.iss.
ss.ss. gligli
33 22 33 4 4 ª ª # # ª ª # # 4 4 ª ª 4 4 ª ª mf mf
55 88
11
4 4 44
Sample page q = 30 q = 30accel. accel.
2626
q = 60 q = 60 3535
11
rall. rall. D D sul A sul A 43 43 pp pp pp mf mf ff ffff pp pp pp q = 40 q = 40
rall. rall.
22 òò
ord. ord. # # ª ª # # ª ª 3 3 ª ª # # 4 4 7 7 44 88 44 pp pp
ord. ord.
pp
rall. rall.
pp pp
accel. accel.
ª ª 44 44
molto sul pont. molto sul pont.
1 1 EE
q = 60 q = 60 4343
q = 30 q = 30
rall. rall.
mf mf pp pp
ff
q = 40 q = 40 sul pont. sul pont.
77 55 8 #8### ## n n # ### ## n n # ### ## ª ª 4 4 ª ª # # # # ppp ppp mf mf Breitkopf EB 9399 Breitkopf EB 9399
7 7
88
7
Violoncello
F
ª
ªª
pp
f
p
very slow glissandi
7 ªª 8
48
ppp
f
f
n 4 4
55
poco sul pont.
più sul pont.
ª
pp
ppp
ff
ª
# ªª
mp
f
p
G
scales = ord. trills = poco sul pont.
q = 50 accel.
5
pp
ppp
f p
Leseprobe
q = 60 accel.
ff
4 4
always semitone b 4 b n b 7 b n b 4 8
7 8
ªª
ff
accel.
q = 60 molto sul pont.
q = 40
rall.
accel.
q = 70
5
ppp
q = 80
accel. accel. 59 5 b 5 b 3 b n b n 7 5 b b n b 8 b b n b 8 4 4 5
f mp
5
5
f mf
ppp
f
q = 90 accel. q = 1 00 accel. 62 5 b b ª 2 5 b n 3 7 b n b b n 8 4 4 8 b b 5 5 5
ppp
5
f
ppp
q = 1 20 molto rall.
66 5 5 b n 2 n n n b b n b n 7 5 4 8 b b b b n b 8 b b b b n b 5 5 f
Sample page pp
q = 80
playful, spontaneous
3 69 ª H4 2 high harm. ad lib. sul A
p
rall.
3
3
74 I ª 2 2 ord.
ppppp
a little slower q = c.60 sul pont. ª 3 * Å 2 7 7 2 2 7 7 ppppp pp
sul pont.
3 2
ppp
q = c.72
Ã
2 ªª
ò
ªª
2 2
fffff
fff
shimmering, in the far distance... q = c.66
5
fff
ord.
slower again q = c.48 rall. q = c.40
ª 2 2 ord.
ppppp
sul pont.
3 2 p
à 7 7
* Improvise rhythmically irregular trill between harmonic and open string: think of morse code, vary long/short, avoid synchronisation, in general emphasise the harmonic with �ickering �ashes of open string. Breitkopf EB 9399
8
Christian Mason | Shadowy fish
Contents I mysterious, hypnotic, entrancing [c. 5 min.] II slow, with a heavy heart [c. 4 min.] III delicate, mysterious [c. 6 min.]
1 19 23
Performance Notes Note on metre Sometimes the notation distinguishes between “felt metre” (defined by normal barlines) and “practical metre” (defined by dotted barlines). While the smaller metrical divisions (in 2/4) make the music easier to read, the larger metrical structures reveal the compositional intentions. This approach occurs in two sections of the first movement: b.1 [LETTER A] – b.97 [LETTER L]: felt metre = 8/2, practical metre = 2/4 b.181 [LETTER Q] – b.198 [end of the movement]: felt metre = 3/2, practical metre = 2/4 Note on microtones
The piece begins with position 1. Between LETTER D and LETTER E the players should walk (while continuing to play from memory) to position 2, joining the rest of the ensemble on stage. If more time is needed to walk between positions it is fine to begin walking earlier, for example at LETTER C. Voix imaginaire The score includes a vocal line, setting part of a poem by Pablo Neruda: Every Day You Play. This part is not intended for performance but could inform the musical expression and interpretation. All of the melodic lines are included in other parts which are performed. While composing the words and melodies became connected in my imagination. Each movement is related to one stanza, as follows:
Leseprobe
Derivation of microtones is usually based on the tuning of the harmonic series (whether or not it is being expressed as actual natural harmonics). The degree of accuracy required depends on the context. In the cases where precision is most important the score indicates, for example, “tune as 11th harm. of C” or simply “11th of C”. In faster passages the most important thing is the special non-chromatic colour of the intonation. The language overall is heterogenous, mixing “tempered” and “spectral” attitudes to tuning throughout the piece, in order to achieve a sense of ‘shimmering’ sound and harmony (for example, the A natural in the opening violin/ viola figuration is not part of the C-spectrum, whereas the other notes are; or at b.117 we simultaneously here the spectral version in the violin/viola and the tempered version in the piano).
Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes.
Sample page
The most common spectral root is C:
From Twenty Love Poems and a Song of Despair by Pablo Neruda | Published by Jonathan Cape | Reprinted by permission of The Random House Group Limited. Other performance notes
7th = 31 cents flat (approximately a 1/3 tone) 11th = 49 cents flat (approximately a 1/4 tone) 13th = 41 cents sharp (approximately 2/5 of a tone) There are also cases of microtones used as melodic or colouristic inflections. In such cases the precise tuning is left to the performers discretion. The following accidentals are used:
Layout/Playing Positions The violin and viola players have two playing positions: 1. Off-stage (not too far, but out of view for the audience) 2. On-stage, with the ensemble in a standard seating format (as for Schubert)
Sometimes very high natural harmonics are used melodically (e.g. the cello part during the opening of the piece). It is understood that these may be fragile and unstable in performance. What matters is to aim for the written notes, and hope for the best! Glissandi should, as far as possible, last across the entire notated duration; though where the distance is very small compared to the time value the slide can be delayed as needed. Headless stems (with o) = unspecified high natural harmonics: Upward arrow note-heads = unspecified pitch as high as possible:
Breitkopf EB 9399
Christian Mason
Shadowy fish Double Bass
Christian Mason, 2020
I Feel each 2/4 bar as a h beat within a larger 8-beat structure
Mysterious, hypnotic, entrancing q = 1 08 – 1 20 (PLAY 2×)
8 A
molto sul pont.
8 ªª ó ó ªª 2
8
19
8
f
30
b ªª
8
B
ord. 3
b
b
Leseprobe bª
ª
bª
ord.
C
ord.
b
b
3
b
p
f
ord.
3
1
3
sul pont.
sul pont.
ppp
D b tr.
f
5
b
3
b
molto sul pont.
b 3
p
ord. IV
38 8
ff
Sample page
3
8
Edition Breitkopf 9399
f
ª
8
3
5
ppp
5
46
E
F
3
ª
3
3
3
3
p
ò
3
© 2020 by Breitkopf & Här tel, Wiesbaden
22
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
GG
3 3
HH
?? ppp ppp pp pp ppp ppp ff gliss. gliss. gliss. gliss. I I gliss. gliss. gliss. gliss. 6767 b b b b b b b b 8 8 >> 8 8
5757
pp
pp pp
ppp ppp
pp pp
8 8
pp
mp mp
gliss. gliss. gliss. gliss. gliss. gliss. 7474 bb bb bb 8 8
ff
pp
pp pp
L3 L3
11
ppp ppp
8 8
pp
8 8
q = q q = q
LL
9797
2 2 22 8 8 >>
sfsf fzfz
108 108
8 8
ff
> > pp
mf mf
sul sul pont. pont.
ord. ord.
sul sul pont. pont.
sim. sim.
> >
> >
> >
mf mf
pp
molto 2 2 molto sul pont. sul pont.
òò
??
8 8
ff
> > pp
mf mf
> > pp
ff
pp
mf mf
> > pp
ffff
b b
pp pp
> >
pp
> > pp
ffff
> >
ff
Sample page
ff
move towards sul pont. with cresc. move towards sul pont. with cresc. and back to ord. with dim. (sempre) and back to ord. with dim. (sempre)
ord. ord.
pp pp
3 3
pp
C: 1 4th 4th C: 1 C: 1 1 th 1 th 3 J J 3C: 1 K K LL 33
8181
mf mf
arco arco ss.ss. IVIV gligli
Leseprobe
mf mf
pizz. pizz.
pp
> > pp
ffff
ffff
dark, melancholy, a little faster, �owing dark, melancholy, a little faster, �owing MMq = 1 q = 1 20 – 1 20 – 1 3232
121 121senza vib. senza vib.
8 8
pp
mf mf
pp pp
mp mp
pp
ff
Icy, a distant echo Icy, a distant echo 133 133
8 8
pp pp
ord. 145 145ord. 8 8
pp
pp
pp pp
(ord.) NN(ord.)
ppp ppp
pp pp
ª ª
mp mp
pp pp Breitkopf EB 9399 Breitkopf EB 9399
sul tasto sul tasto
ppp ppp
sul pont. sul pont.
rall. rall.
mf mf
22 22
3
Double Bass
�owing, watery, shimmering slightly slower [ TEMPO 1] q = 1 08 – 1 20
ord. + fast, light bow
III IIIIV IV
157
II
O
8
3
3
ppp
160
8
8
mf
166
3
8
3
8
3
3
3
3
f
3
3
3
8
3
3
3
ppp
3
3
3
3
ppp
172
3
Leseprobe
3
3
ppp
3
169
3
3
3
3
3
mf
3
163
3
3
ff
3
Sample page
3
P
circular bowing: shi continuously sul pont. <> sul tasto
- 5 3 b n b ppp
7
3
5
b n b n b n b n
p
pp
mf
p
Feel each 2/4 bar as a h beat within a larger 3-beat structure
Winding down, like a music box q = c.80 rall. 178
8
3
7
b n
3 b n b n b n b 2 >
f
187
8
p
3
>
ff
Q
3
III IV ord.
b > f
ff
molto rall.
>
mf
pp
p
pp
Breitkopf EB 9399
b >
mf
q = c.40
b >
>
b ppp
f
molto sul pont.
p
Ã
44
Christian Mason | Shadowy fish Christian Mason | Shadowy fish
I II I slow, with a heavy heart slow, with a heavy heart h = 54 h = 54
AA
11
1 1 11
8 8
b b
b b 8 8 > >
1212 ord. ord.
sfsf fzfz
b b 8 8
b b >>
sul pont. sul pont.ord. ord.
pp pp
2424
sfsf fff zfz
>>
ff
1 1 Ksul pont. Ksul pont. 3 3
8 8
4747
8 8
b b
sul pont. sul pont.
1 1 CC 1 1
>>
pp
piu piu sul pont. sul pont.
>>
ffff
h = 40 h = 40
pp
>>
molto molto sul pont. sul pont.
>>
fff fff
K3 K3 ??
pp
fff ff fff
ord. ord.
ord. ord.
b b
rall. rall.
Sample page b b > >
sfsf zz
sul pont. sul pont.
pp
b b >>
sfsf fzfz
pp
h = 40 h = 40
molto molto sul pont. sul pont.
b b >>
11
sfsf fff zfz
stay extremely slow stay extremely slow h = 40 EEh = 40 5757
senza vib. senza vib. 2 2 IIIIIIIIIIsul pont. sul pont.IIIIII
ò ò
8 8
6969
8 8
ppppp ppppp
b b >> pp
b b >>
sim. sim.
b b >>
b b >>
ord. ord.
b b >>
ppp ppp
cresc. cresc.
b b >>
molto molto sul pont. sul pont.
>>
fff fff
>>
Breitkopf EB 9399 Breitkopf EB 9399
>>
>>
> >
fff ff fff
8 8
pp pp
poco poco sul pont. sul pont.
pp
11
K3 K3
8 8
ff
mf mf
Leseprobe
pp pp
nat. 7th of C nat. 7th of C
rall. rall.
poco poco sul pont. sul pont.
sul pont. sul pont.
sfsf zz
slightly faster, a little lighter slightly faster, a little lighter h = 60 h = 60 �at like �at like
ppp ppp
K3 K3
b b >>
ppp ppp
slightly faster, somewhat agitated slightly faster, somewhat agitated �at like nat. 7th of G h = 66 �at like nat. 7th of G DDh = 66
ppp ppp
h = 40 h = 40
3636
rall. rall.
BB
b b >>
11
5
Double Bass
III delicate, mysterious q = 40 III
A
3 4 8
rall.
ppp
pp
p
mp
mf
8
3 4
ª 3 4 p 8 q = 60
35
8
q = 60
p
pp
4 4
2 4
6
7
ª
3 4
5 8
7
7
? 44
rall.
p
ff
rall.
mf
ª
f
ª
D
ff
pp
q = 40
# 4 K # E7 43 8 f
Breitkopf EB 9399
1
3 4
3 ª 4
III
8
ppp
q = 30 accel.
pp
>
Sample page ª
ff
b >
8
f
q = 60
1
f
(9th harm.)
ppp
#
ppp
pp
5 4
q = 40
q = 60
f
28
mf
p
8
rall.
accel.
rall.
mf
p
q = 40 accel.
19
q = 54
6
Leseprobe
3
f
accel.
C
3
8
B 3 4
9 5 4
14
high harm. ad lib.
high harm. ad lib.
mf
pp
p
mp
q = 30 accel.
rall.
1
1 3 4
1 4 4
6
Christian Mason | Shadowy fish
43
q = 60
7 8
rall.
ppp
8
mf
#
8
f
pp
f
5 4
f
ppp
8
ppp
q = 70 accel.
q = 50 accel.
q = 80 accel.
2 4 8 >
5 8
fff
# 4 ªª 4
ord.
fpp
2 b n # 4 7
ffp
playful, q = 80 spontaneous
f
ppp
q = 60 accel.
sul pont.
sul pont.
# 87 ª 3
# 45
ord.
fpp
b n 2 7 # 4 8 6 > sul pont.
ord.
ffp
Sample page rall.
3 H 4 ª 2 high harm. ad lib. sul A
p
pp
q = 1 00 accel. sul pont.
ord.
fpp
molto sul pont.
sul pont.
q = 90 accel. sul pont.
ord.
q = 1 20 molto rall.
q = c.72
3
fff
2
ªª
ò
ªª
Ã
slower again
q = c.66
q = c.60
q = c.48 rall. q = c.40
ord.
ppppp
sul pont. ª 3 * Å 2 2 2 7 7 ppppp pp
sul pont.
3 2
ppp
2 2
fffff
a little slower
I
8
shimmering, in the far distance...
ª 2 2 8
7 8 ª
5
fpp
74
arco ord.
# 43 b ª 85 ª # 43 b ª >
5 b 4 8
67
G
pp
sul pont.
ord.
60
q = 40
rall.
# b 4 n 4
8
ppp
Leseprobe
q = 60
7 8
?
f
f
accel.
f
b # b # #
ppp
54
F pizz.
accel.
#
49
q = 40
ord.
ª 2 2
3 2
ppppp
p
ord.
sul pont.
à 7
* Improvise rhythmically irregular trill between harmonic and open string: think of morse code, vary long/short, avoid synchronisation, in general emphasise the harmonic with �ickering �ashes of open string. Breitkopf EB 9399
7
Double Bass
Contents I mysterious, hypnotic, entrancing [c. 5 min.] II slow, with a heavy heart [c. 4 min.] III delicate, mysterious [c. 6 min.]
1 19 23
Performance Notes Note on metre Sometimes the notation distinguishes between “felt metre” (defined by normal barlines) and “practical metre” (defined by dotted barlines). While the smaller metrical divisions (in 2/4) make the music easier to read, the larger metrical structures reveal the compositional intentions. This approach occurs in two sections of the first movement: b.1 [LETTER A] – b.97 [LETTER L]: felt metre = 8/2, practical metre = 2/4 b.181 [LETTER Q] – b.198 [end of the movement]: felt metre = 3/2, practical metre = 2/4 Note on microtones
The piece begins with position 1. Between LETTER D and LETTER E the players should walk (while continuing to play from memory) to position 2, joining the rest of the ensemble on stage. If more time is needed to walk between positions it is fine to begin walking earlier, for example at LETTER C. Voix imaginaire The score includes a vocal line, setting part of a poem by Pablo Neruda: Every Day You Play. This part is not intended for performance but could inform the musical expression and interpretation. All of the melodic lines are included in other parts which are performed. While composing the words and melodies became connected in my imagination. Each movement is related to one stanza, as follows:
Leseprobe
Derivation of microtones is usually based on the tuning of the harmonic series (whether or not it is being expressed as actual natural harmonics). The degree of accuracy required depends on the context. In the cases where precision is most important the score indicates, for example, “tune as 11th harm. of C” or simply “11th of C”. In faster passages the most important thing is the special non-chromatic colour of the intonation. The language overall is heterogenous, mixing “tempered” and “spectral” attitudes to tuning throughout the piece, in order to achieve a sense of ‘shimmering’ sound and harmony (for example, the A natural in the opening violin/ viola figuration is not part of the C-spectrum, whereas the other notes are; or at b.117 we simultaneously here the spectral version in the violin/viola and the tempered version in the piano).
Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes.
Sample page
The most common spectral root is C:
From Twenty Love Poems and a Song of Despair by Pablo Neruda | Published by Jonathan Cape | Reprinted by permission of The Random House Group Limited. Other performance notes
7th = 31 cents flat (approximately a 1/3 tone) 11th = 49 cents flat (approximately a 1/4 tone) 13th = 41 cents sharp (approximately 2/5 of a tone) There are also cases of microtones used as melodic or colouristic inflections. In such cases the precise tuning is left to the performers discretion. The following accidentals are used:
Layout/Playing Positions The violin and viola players have two playing positions: 1. Off-stage (not too far, but out of view for the audience) 2. On-stage, with the ensemble in a standard seating format (as for Schubert)
Sometimes very high natural harmonics are used melodically (e.g. the cello part during the opening of the piece). It is understood that these may be fragile and unstable in performance. What matters is to aim for the written notes, and hope for the best! Glissandi should, as far as possible, last across the entire notated duration; though where the distance is very small compared to the time value the slide can be delayed as needed. Headless stems (with o) = unspecified high natural harmonics: Upward arrow note-heads = unspecified pitch as high as possible:
Breitkopf EB 9399
Christian Mason
Christian Mason Shadowy fish (2020) Commissionned by the Grand Théâtre de Provence – Aix-en Provence
Aufführungsdauer | Performing Time
Christian Mason Weitere Kammermusikwerke bei Breitkopf & Härtel Further Chamber Music Works at Breitkopf & Härtel This present moment used to be the unimaginable future... (2019) 20 min.
etwa 15 Minuten | approx. 15 minutes
2Vl.Va.Vc
Uraufführung | World Premiere
Inner Landscapes (2018) 17 min.
Nouveaux Horizons Aix-en-Provence | 16/10/2020 One of my favourite pieces of music as a child – and I still love it – was Schubert’s “Trout” Quintet. It was partly the wonderful music, of course, so light-hearted and joyful on the surface, yet with twists and turns and murky depths of feeling too. But I also liked the picture of a trout on the album sleeve – such beautiful creatures! Last year, while resident at the Villa Concordia in Bamberg, as I took daily walks along the Regnitz river, I observed the trout as they calmly hovered and swayed in the shallows… But if they felt my shadow they were gone in a split second! If you ever get a chance to look closely at brown trout you see that they are covered in myriad brown/red spots of varied sizes; camouflage I suppose. Now those patterns seem to be mixing in my mind with the shifting colours of the spectral arpeggios that flow through this little piece. It’s a watery piece, with rippling waves, shimmering surfaces and textural veils around the melodies which flow through it. But it also takes inspiration (and it’s title) from a Pablo Neruda poem: the third stanza of Every Day You Play includes the line “The sky is a net crammed with shadowy fish”. There’s no singer, but I imagine an invisible or imaginary voice somewhere behind (or beyond) the music, and so the score includes a melodic setting of the text. Even though this is not performed by a voice, the melody is always played by the ensemble – especially high register cello – making 9 790004 the piece something like the inverse of a “song without words”. (Christian Mason)
Fassung für Klavierquintett Version for Piano Quintet
Sardinian Songbook (2018) 15–20 min.
2Vl.Va.Vc
Tuvan Songbook (2016) 19 min. for (Singing) String Quartet 2Vl.Va.Vc
Trio: In Space Enlaced (2012) 9 min. Fl.Ob.Klar | Fl.Ob.Clar
188736
ISMN 979-0-004-18873-6
9 790004 188736
A 21
EB 9399
www.breitkopf.com