Photo. for string trio Matthew Chamberlain December 2014 Buffalo, ny

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1 Photo for string trio Matthe Chamberlain December 2014 uffalo, ny

2 ÀX Notational Idiosyncrasies These noteheads indicate that the pitch should be normally stopped, but ith to or more additional fingers muting the string just above the stopping finger. The resultant sound should be mostly unpitched. If you re having trouble avoiding errant harmonics, you might play these passages sul tasto. The circled version of the notehead should be understood as open, like half and holenotes. The detuning of the viola and cello late in the piece deserves some explanation. After detuning, the violist and cellist should make every effort to play the ritten pitches accurately, but ith the (joyful) understanding they on t be entirely successful. There are, hoever, exceptions to this rule (marked In tune! ), here the intonation must be perfected even despite these selfimposed obstacles! µ on stems, indicates that a given passage should be played ith a shaky bo. The bo hand should quiver slightly so as to compromise the integrity of an otherise sustained sound. This notation should be treated as an ornament: it may be placed anyhere ithin the given duration and should be intermittent. Such flexibility ill be crucial in alloing for the shaking to be integrated into phrases as a kind of retched espressivo. (a over a tenuto mark) indicates that you should begin playing a passage ith the bo on the string, or if applied to a rest, that you should stop the bo on the string. I mean this to imply a peculiar kind of accent, suggestive of a rather unidiomatic tension. nat. dim. (natural diminuendo) indicates that you should use the entire bo to complete the given phrase, and that you should let the bo naturally determine the character of the diminuendo.

3 for Chartreuse

4 2 h = ca. 4 HEAVY MUTE HEAVY MUTE Œ r (ord.) òœ "mp" mp pp (nat. dim.) p (non dim.) ò œ Œ d p (nat. dim.) h = ca. 60 j? HEAVY MUTE e œ e Œ p (non dim.) 4 p (nat. dim.) p (non dim.) 7? 4 h = ca. 4 2 d pp (non dim.) poco aut. poco aut. ò v pp p (nat. dim.) p ppp impotently pp (non dim.) p (nat. dim.) p (non dim.) poco aut. ò pp (non dim.) p (nat. dim.) p (non dim.) v j µ X

5 2 14 aut. (problematically fast bo) 2 Rit. (non vib.) ẇ œ j Œ j ppp (nat. dim.) p (nat. dim.) pppp poco vib. œ Œ Œ pp (nat. dim.) pp (nat. dim.) p dolce ò? œ Œ ò µ pp (nat. dim.) pp non dim ? 2 ppp sub. ppp non dim. ppp non dim. a Tempo (h = ca. 4) 3 (ord.) li, as if about to continue. poco vib. œ X X (non vib.) œ œ (non vib.) ò p (nat. dim.) µ p (nat. dim.)

6 27? u v vx X v pp p dim. pppp (non dim.) pppp (non dim.) poco vib. v œ v œ v Œ p pp nat. dim. p non dim. ò œ eœ R pp (pp) non dim. poco vib. 3 <v> v X 33 <v> vln e timing of these bo changes can be exible, but each bo should have a unique character. Together, they should tell a story that prepares us for Rehearsal 4. sub. poco aut. non aut. ( ) ( ) µ X X X X "mp" dim. "pp" "mf " ( ) port. sub. vib. sub. Œ? j œo X X p "p" nat. dim.

7 4 394 (ord.) 3 v œ j Œ òœ œ µ ò X X j òœœ mf non dim. "f " pp mp "f " non dim. p "mp" mf (mf) o mp pp p non dim. dim. sub. ò ò œ µ œ œ mf (nat. dim.) p non dim. "mf " non dim. nauseous vib. œœ Œ ò œ òx X Œ 4 <ò> XX XX li, as if about to continue. v p p µ mp sub. poco vib. mp dolce non dim. nat. dim. nat. dim.

8 ( ) o o o vib. v œ j œ e œ f mp mf non dim. o o aut. sub. v œ e 1 mp f nat. dim. v œ Œ mp mf 7 Œ œ r pp d µ dim. Œ p nat. dim. u p nat. dim.

9 6 63 p port. dim. sub. pp cresc. molto vib. µ µ òx pp "mp" dolce non dim. ò d œ òœ œ Œ œ mp quickly! TUNE: II3 69 h = ca. 3 h = ca. 4 Accel. mf e mp (mp) non dim. pp non dim. aut. TUNE: I3 e ò ò e ò o o mp non dim. pp non dim. vœ mp non dim. p (non dim.) poco aut. quickly! > TUNE: I3 œ poco aut.

10 7 (accel.) > MUTE OFF e œ œ mp f f espress. sub. œ œ > MUTE OFF ò œ mp f p œ Œ µ œ µ "mf " "ff " f sostenuto increasing pressure (barely speaking) vib. (non vib.) e e MUTE OFF o o µ vœ Œ Œ œ œ 7 81 <v> o Œ Œ h = ca. 90 ^ òœ ^ > ( f) œ j d v Œ d œ > ff ^ <n> d œ ò œœ d f u uœ ò ff ^ u œ d ^ 3 d^ d ^

11 8 87 h = ca. 4 <n> œ d p sub. In tune! <n> œ ffff con tutta forza II ò ffff con tutta forza 3 ò ff sub. ff espress. ^ ^ In tune! II In tune! œ n 3 ff sub. < d> œ uœ œ mp espress. vib. ff espress. vib. u vib. œ u, <ò> ò v not accented II In tune!, <> œ ò œ 92 <u> (ff) non dim. not accented non vib. II In tune! Œ œ j ff non dim.

12 97 not accented ff non dim. not accented mf sub. ff non dim. p sub. j œ Œ Œ as if suddenly broken until it feels like the piece should be over then continue CONCERTO MOMENT: Œ vln e ending of a more beautiful piece; the nal moments of a very special story. Every bo precious and thoughtful. œ R pp dolchiss. U eœ., sfz in ppp œ. pp, œ. pp e viola and cello retune their instruments, completely ignoring the violin.

SYMPHONY #9 ANTONIN DVORAK

SYMPHONY #9 ANTONIN DVORAK Dvorak s Symphony #9 is one of the most beloved works in the symphonic repertoire. Having had the experience of conducting it many times, I have accumulated a list of ideas,