huellas entre huellas

For Flute, Piano, and Violoncello

juan campoverde q.
2015
huellas entre huellas (2015)
For Flute, Piano, and Violoncello
___________________________________________________________________________________________________________________________________________________________________________________

Performance Notes

• Accidentals

The following accidentals, here presented in quarter-tone ascending order, are used in this piece:
As much as possible, quarter-tones should be equally-tempered intervals.

Additionally, particularly regarding the writing for the Violoncello and for the flute multiphonics, higher and lower pitch deviations (frequency deviations smaller than a quarter-tone) are indicated by an upward and downward pointing arrow
attached to an accidental (such as this lowered natural used for the tuning of the third string of the Violoncello):

These pitch deviations are not meant to be exact.

• Transitional States

A horizontal arrow indicates a transitional state between different types of sound qualities (timbral qualities such as breath content or finger pressure, for instance); articulations (such as fast to slow frullato and non-frullato); and vocalizations
(from one bowel or consonant to another, for instance).

Flute
a tempo
• Three-Staves Notation
e = c 68 e = c 80
In addition to traditional notational conventions, this work also uses three rhythmically independent staves.

^
¨ ¨ ¨ ^ ‰.
(vocal transition) T
S

¨¨¨ ‰.
• 9
Information presented on the upper staff indicates actions and sonorities generated by the voice (vocalizations or vocal sounds). Their pronunciation is based on the S

!
sounds used in Spanish. The purpose of these vocalizations is twofold: (1) to timbrically modulate (mimetically modeled by the surrounding sonorities emerging from
the flute itself or from the other instruments of the ensemble) the sounds produced by the flute; and (2) to generate phonemically based sonorities with its own timbral œ̈ œ̈ (ord.)
qualities, frequency content, and dynamic envelopes. r
9:7œ

‰ ßp
! ‹ œ . "
The performer is strongly encouraged to actively react to the frequency content and timbral quality information coming from the ensemble as aural references for the sub
frequency and timbral modeling (or shaping) of these vocal sounds. Fl. (breath content)

# ßp Ípp
J œ (breath c.)
inflection. Attacks above this line indicate an upward frequency inflection. The range of these inflections is left to the criteria of the interpreter,3and ideally should be Bœ œ # œ 4 œ (lip gliss.)
7
Attacks on the line are to be performed without modification of the selected referential frequency. Attacks below the given central line indicate a downward frequency

&8 ! 16 " " œ ® 8 ..

œ.
µ
modeled after the sounds emerging from the flute itself, or from the other instruments of the ensemble. nœ œ

Í
The relative modifications of pitch content produced by the use of vocal sounds should be regarded as part of the melodic and harmonic structure of this piece. r
7:6œ
It is very important that the voice should always be projected as emerging from within the other sonorities present (i.e., with a lower dynamic level) preventing the solo voice sub
from openly emerging by itself to the foreground level of the piece.

# œœ .. ˙
48 ˙˙˙I
& 38 ! 7 "
16 n œœœ .... ˙˙
œ
p
(Prepare Silently)
Pno.
 huellas entre huellas (2015)
___________________________________________________________________________________________________________________________________________________________________________________________________

• Information presented on the middle staff indicates actions of the lips, tongue, embouchure, and breath. This information greatly modifies the frequency content, amplitude levels, and timbral quality of the sounds, and is specifically
notated in this staff.

Attacks on the line are to be performed in the normal manner, without modification of pitch. Attacks below the given central line indicate a downward displacement of the embouchure or downward lip-modification/lip-glissando.
Attacks above this line indicate an upward displacement of the embouchure or upward lip-modification/lip-glissando.

The range of frequency deviation of these embouchure/lip modifications is variable (within an eight of a tone to a half of a tone), and can be modulated by the performer taking into account aspects such as the easiness of sound
projection, and the effectiveness of the expressive intentions.

• Information presented on the lower staff indicates actions of the fingers.

In very few instances, the physical actions of the fingers will not be noticeably audible. In these few instances, the performer is requested, nonetheless, to perform these actions in the normative manner, as if the actual audible sounds
were being produced.

The unstable, transitional and inexact nature of the sounds produced by the interaction of these three staves/actions is fully intended, and its variability, from one performance to the next, is welcomed.

• Multiphonics

Pitches notated for multiphonics are only offered as approximations.

In the score, the base/main note is fully notated. The first and sometimes the second additional frequencies are also given with the understanding that they can differ from the actual sounds being projected.
The performer should approach these suggested sonorities as much as matters of practicability and easiness of response would allow. Deviations of a quarter-tone (or less) are quite acceptable.

Richer, multiple sonorities sensibly fitting the contextual sonorities emerging from the rest of the ensemble, are highly desirable even if they are not fully notated as such in the score.

• Breath Content

Different note heads indicate different amounts of breath content.

A normally notated note head indicates normal breath content. A half-diamond note head indicates a sound with some breath content. An empty diamond note head indicates a sound with a very noticeable breath content.

Transitional states are used between notes with different breath content, such as between a sound with some breath content transitioning toward a sound normally articulated:

• Timbral Trill

Timbral trills are meant to be performed with the same pitch, either using different fingerings for the same note, and/or using the nearest available microtones.

• Flute Amplification

The flute can be slightly amplified in order to clearly project the details involved in the different sound producing actions.

Additional indications for the Flute are provided in the score.

II
 huellashuellas entre huellas (2015)
para L. V. C. C.
___________________________________________________________________________________________________________________________________________________________________________________________________
e = c. 80 a tempo
e = c. 68
Violoncello
Seeking the greatest degree of resonance
U
(With Cello)

r
˙ .. œ œ
• Scordatura
78 # ˙˙˙ .... 5 œœœ 38 # œœ ..
& 16 œœœ œœ ..
˙ .... œ œ œ.
The violoncello uses the following scordatura:
The score is notated, however, as if the normal tuning is being used (approximate sounding pitches are notated in the lower staff).
p p
? M # OOOOO 78 5 38
Piano (Prepare Silently)

16
#O
O
• Non-vibrato

This work should be played non-vibrato, unless otherwise specified. Sust. Ped. huellas
para L. V. C. C.
juan campoverde q.
• sp / st (bow displacement) e = c. 80 a tempo

e = c. 80 e = c. 68 5
8
Seeking the greatest degree of resonance a tempo
U
(With Cello)
sp / st signify sul ponte and sul tasto respectively.
r of bow displacements. e = c. 68
˙ ..
molto espressivo e legato
œbeginning and finishing points
œ
rit.
# œ. œ
78 # ˙˙˙ .... should take precedence over the notated bow displacement positions.
5 œœœ œœ o 38 œœ .... 85
Bow displacements between sp and st are indicated by a (thicker) line drawn inside the two-lines staff (upper line, sul ponte; lower line, sul tasto). This line also specifies the
& of sound projection 16 œ >3:
˙ .... > œ œ œ
This notational system is meant to be approximate: matters of practicability and easiness accel.
r

p > U
p
III œ

! !
III

O
11:9

? M # OOOOO 78 ! 5 " 38 853 4 O III# œ

Piano
‰
(Prepare Silently)

o œ œ o 16O 4 O . O # œ . o O !
4

? 7 œ #œ œ œ œ œ ! 5 # ‹ .. œ K‹ ®
8 œ
1

#‹ .
# ‹ .. (gliss.) n ‹ 16 ! !
• Finger Percussion (hammering):
#O 8 œ #œ œ.
O > Ípp u
(gliss.)

initial rhythmic! figure to3which they ®

A X-shaped note-head indicates finger percussion or finger hammering executed by the left-hand fingers. 3 * 3
r

>Ó >
IV
Fast iterations of finger percussion, as represented in the given example (taken from measure 2), are usually placed right beneath (or, less frequently, above) II
the stem of the 3 5:4œ
J >
Sust. Ped.
> > >
simil. IV IV II

Í
belong. r

Í
7:6œ
simil.
The dynamic level of finger percussion (single notes and iterative figures) is always “sfz” and is meant to indicate the physicalCello effort and energy required for their production, as well as the "ß " " ß"power
expressive " ß" " ß"
sp
emerging from its execution. e = c. 80 st a tempo
e = c. 68
* Finger Perc.
molto espressivo e legato rit.
nœ œ nœ Kœ "o 15va
o o Kœ
? Kœ œ Kœ Kœ accel. œ K œ œ Krit.‹ œ L‹ œ
Bœ B‹ B ‹ (gliss.) >3:2œr
o

o
Approx.
B‹
• Three Staves Notation
> > U
Sounding r
(gliss.)
III
11:9œ

! !
III
In addition to traditional notational conventions, in some sections of the score (such as the beginning) this O three independent staves.
! work also uses " ‰ O O
(Finger Perc.)
!
? notation. 7 oœ # œ œ œ o o !
O # œ4 O .. Oœ # #‹œ . œ .# ‹ .. œ !
4

5 ! # ‹ .. (gliss.)œ #œ O #œ. U 5
(Finger Perc.)

! 382015œby Juan K K Oœ ..
III

œ K‹ ®
1

8 16 Oœ ® 8
4 1

œ œ n ‹ œ Q. µ œ
> Ípp
Information presented on the upper staff (fine lines) follows the conventions of traditional
©
u
Copyright Campoverde

! 3 and sul3 tasto (lower®line).

3 * (gliss.) 3
r

>Ó >
IV
Information presented on the middle staff (two lines) graphically -and approximately- indicates bow displacementsII between sul ponte (upper line) 5:4œ IV
J >
j
J
>> > the
simil. IV IV II 4:3œ

Í
r
Information presented on the lower staff indicates approximate sounding pitches (i.e., sounding pitches Í
7:6œ simil.
simil.
" ß" " ß" ß
as the product of the scordatura being used), which are provided to better orient performer.
Cello
" " ß " "
sp
st
* Finger Perc.
nœ œ nœ Kœ "o 15va µœ k œ (gliss.)µ œ
o o Kœ
? œ Kœ œ K‹ œ
B ‹ œ K œ B ‹ (gliss.)
Kœ Kœ L‹ œ œ
Bœ
o

#œ
Approx.
Sounding
B‹ (gliss.)

(Finger Perc.)
(Finger Perc.)

© Copyright 2015 by Juan Campoverde Q. III

 huellas entre huellas (2015)
___________________________________________________________________________________________________________________________________________________________________________________________________

• Four Staves Notation

In some sections of the score (such as at the beginning of measures 46; 54; 62, or 78, for instance) an additional four-lines top staff is used, which indicates actions performed by the bow (right hand).

The four lines of this staff represent the four strings of the instrument, from bottom to top (IV to I), and indicate the actions to be performed by the right hand independently from the pitch-based information provided by the five-lines staff and
executed by the left hand (glissandi).

In some instances, the physical displacements of the fingers on the fingerboard will not be readably audible, as when the left-hand fingers move without corresponding right-hand action. The performer is requested, however, to perform them in
the customary manner.

• Bow Rotation Arco normale

Hair plus Wood
The following symbols are used to indicate beginning and ending points for bow rotation:
Col Legno

• Finger Pressure

The following symbol indicate a transitional state from a sound with some finger pressure toward a sound wit a normal amount of finger pressure:
A sound with a minimal amount of finger pressure (harmonic sound) is indicated by an emptied diamond.

• Fingering Markings

In some sections of the score, suggested fingerings are provided. The performer is totally free to modify these fingering markings as matters of practicability take precedence over the given suggestions.

Additional indications for the Violoncello are provided in the score.

Piano

• Pedaling Markings

Pedaling markings have been provided in the score.

The performer is encouraged, however, to modify these markings and/or to judiciously apply her own pedaling, having in mind that the main goal of the Piano part is to generate the greatest degree of resonance that is possible to obtain.

Approximate duration: 13 min.

huellas entre huellas was composed, with admiration and gratitude, for the members of the Ensemble Aventure Freiburg.

IV
 huellas entre huellas
para V. L. C. C., in loving memory
juan campoverde q.
e = c. 80 a tempo
e = c. 68 5
8
Seeking the greatest degree of resonance (With Cello)

r
..
7 ˙˙˙ .... 5 œ
œœœ
œ
œœœ 3 # œœ ..
œœ .. 5
& 8 # ˙ .... 16 8 œ. 8
˙ œ œ
p p
? M # OOOOO 78 5 38 85
Piano (Prepare Silently) (Long Ferm.)
16
#O
O
Sust. Ped.

e = c. 80 a tempo
e = c. 68
rit.
Molto espressivo e legato*
(Long Ferm.)
>3:2
rit.

> o
accel.

>
III r
III r œ
11:9œ

! O ! ! !
" ‰ Oœ ! 4 O
7 oœ # œ œ œ o Oœ # œ . oœ U 5
4

? O # œ4 O .. œ 5 # ‹ .. 3 œ #œ Oœ # œ . K K Oœ ..
III

œ ! K‹ ®
1

8 #‹ .# ‹ .. ! ! Oœ ®
n ‹ 16 8 8
1

œ œ µœ
> Ípp
(gliss.)

!3 ®
(gliss.) 3
3
r

>Ó >
II IV 3 œ IV

>
5:4
J j
J
>> >
simil. IV IV II 4:3œ

Í
r

Í
7:6œ simil.
simil.
" ß"
**
Cello
" ß" " ß" " ß"
sp
st
** Finger Perc.
nœ œ nœ Kœ "o 15va µœ k œ (gliss.)µ œ
o o Kœ
? œ Kœ œ K‹ œ
B‹ œ Kœ B‹
Kœ Kœ L‹ œ œ
Bœ
o

#œ
Approx.
Sounding
(gliss.) B‹ (gliss.)

* Con una sensación de fluidez, pero de una fluidez desesperada, (Finger Perc.)
(Finger Perc.)
similar a la sensación de agua inexorablemente escapándose entre los dedos...
With a sensation of fluidity, but with a fluidity similar to the frantic sensation
of water inescapably running through our fingers...
© Copyright 2015 by Juan Campoverde Q.
 2

e = c 80 e = c 68 e = c 80
(With Cello) (With Cello)
poco rit.

j r r U ,
j
˙˙˙ œœœ œœœ ... œœœ
5

5 7 9 n˙ œœ 5 ˙˙ œœ 3
&8 ˙˙ œœ 16 œœ .. œœ 16 ‹ # # ˙˙˙˙ œœœ 8 ˙˙˙ œœœ 8
Pno. p œ. ˙˙
?5 7 9 5 3
16 Œ . ‰
J ?
8 16 & 8 8
p
°

rit.
e = c 80 e = c 68 e = c 80
rit. (independently)
a tempo rit. (independently)

> > > o o7:5 U

! 4> III
r r
11:9œ

o
œ

o * o Oœ . !
1 r

! ‰ !
œo O .. Oœ O . 3
11:9œ

? 5 >O œ o >O
II 1

#œ. œ. 3 œ. 7 9 ! œ . O # ‹ .œ . . 5 œ .l œ 3
IV

œ ! O Oœ .. ‹ . œ œ ‹ .
4

‹
1

8 œ #‹. œ. #‹. 16 16 8 ! 8
2

‹œ œ œ œ l ®
. n‹ n‹. (gliss.)
K‹
> ‰
III (gliss.)

Œ >‰ >Œ > !

III

‰.
(gliss.)

u
(gliss.) 1
1

Í
IV

Í
r IV

" ß"
7:6œ

" ß"
J Í
III IV
r r

>> simil. " ß" " ß" " ß" " ß"
7:6œ 7:6œ

" ß" " ß"

" ß"
Cello
* Finger Perc.

Kœ œ "
œ Kœ nœ o œ œ
? œ Kœ
III

B‹ Kœ B‹ ‹
œ (gliss.) B‹ µ‹ B‹ Bœ
(Finger Perc.) (gliss.)
 a tempo * Very fast iterative attack 3
e = c 68 e = c 80, volatile, evanescent rit. (independently) of given vowel.
T (ord.)
r I
FLUTE: Voice (upper line) always as 7:8œ

^ ^
S (vocal transition)
¨
T
¨ ¨¨¨
*
¨
9 if emerging from within other sonorities
‰. ‰. ‰.
S

! œ œ
œ̈ œ̈
(always with a lower dinamic level).
(Voice)
(ord.)
r r
9:7œ
J
.
9:7œ

‰ œ (breath " ßp œ ‰.
! ‹ . ‹
Fl. content) sub

# ßp Ípp
J œ (breath c.)
(breath content)

Bœ œ #œ 4 ® ‰. nœ J
3 ! 7 ® 8 œ .. (lip gliss.) 7 5
&8 16 " " œ µœ 16 # œ . œ. Œ œ 16
nœ œ œ .
J
œ.
æ œ #œ œ

Í
r
7:6œ
sub

rit.

3 7 # œœ .. 4 ˙˙˙ 7 œœ ....
5
&8 ! 16 " n œœœ .... 8 ˙˙ 16 œœœ ........ 16
œ ˙ œ
p
# OO œ 7 œ .. œ
Pno. (Prepare Silently)
?3 7 4 Π.. 5
8 O 16 8 R 16 . 16
‰
n OOOO °
p
Sust. Ped.

rit.
a tempo
e = c 68 rit.
e = c 80
Í
**
........ 2 r 2
4
III
III
7:6œ
r

P O
7:8œ

oœ . " " ‰ o " o 3 "

3

‰ " o œ ‹ ‹ o ‰ n Oœ
#œ. œ 7 Oœ .. #œ.
1

?3 7 4 " 5
III

16 œ . œ. O .. œ . # ‹ Oœ .. œ . # ‹ O ..
1 3 3

8 . n‹ #‹ ‰ 8 œ 16 œ #‹ 16
" ‹ . (gliss.) >
(gliss.)

‰. J
Í "> ‰.
(gliss.)
II
J
‰. "
2
r

‰.
r
II 9:7œ 9:7œ
r
7:6œ

" ß"
r IV

" ß" " ß"

Cello IV
9:7œ

" ß"
> > simil. " ß" " ß"
" ß" " ß"

** Bow: hair plus bow; jeté or ricochet bowing.

 4

a tempo e = c 80
(With Cello) (With Cello)
e = c 68 (Long Ferm.)

r r
œ
13

5 œœ œœ
œœœ 3 œœ .. œœ .. 9 ˙˙ œœ 4
& 16 œœ 8 # œœœ ... œœ ..
œ. 16 ˙˙
˙
œœ
œ 8
œ œ
p !
œ # œœ .. œ. œ.
? 5 œœ 9œ.
Pno.

" 3 Π4
16 & 8 J 16 J 8
p p
Sust. Ped.
°
(contin.)

molto rit. (Long Ferm.) a tempo

poco rit.
e = c 80
e = c 68 a tempo
Fp P P
*
.....
** (timbral trans.)
x > 4:3œ
j
sub
..... ........ j
Í r

"
r 1
3:2œ 11:9œ

o o
1
7:5œ

" O ® " U , 9 O‰.

III

Πo "
# œ .. n œo # œ . œo . . œ .
1

U #œ. nœ nœ.
3 IV

? 5 O 3 œ 4
# # Oœ O 16 œ .
3 4 III 3
K‹
œ ‹
16 8 K‹ ‹. K‹ œ ‹. œ ‹ 8
L‹ ‹ nœ L‹
" F " " ! ®
(gliss.)
2 (gliss.)
(gliss.)

> > Œ.
Í
II
r
J
Fp J
3:2œ Kr IV

" ß"
J
" ß"
7:6œ r

" ß" " ß" " ß"

sub 11:9œ

" ß"
" ß"
Cello

Kœ o
? œ Kœ œ
B‹
* Bow: hair plus bow; jeté or ricochet bowing.
** Timbral transition: from jeté to finger percussion.
 e = c 68 5
poco rit.

*I j
* Voice: always as if emerging from
(Add voice)

œ.
17
‰
within other sonorities (lower dinamic level).
! ! !
r
j
7:6œ
j

‹ ‹ O> > > >

! ! ! ‰
‹ .
(breath cont.)

> œrK
Fl.
ßppp J
Í
5:4

œ
& 48 68 85 38 ". œ œ 7
sub

! ! ! #œ œ œ 16
æ
œ

rit. (independently)

a tempo
#œ nœ œ œ. , j
˙˙˙ œ œ œ.
4
&8 ˙˙
6
8 œœœœœ .... 5 ˙˙
8 ‹ # ˙˙˙
œœœ
œœ
3
8
œœœ ...
œœ ..
7
16
.
p
˙ œ-. # œœ œ œ .# œ .
Pno.

& 48 68 85
œ œ ‰ ? 38 7
16
r

p
7:6œ

Sust. Ped.
e = c 68
(contin.)
rit.
a tempo poco rit.

#
(With Piano)
# # Í
o j
o 11:9œ
r
r

>
j
5:4œ 7:6œ
j
" o Oœ .. O . o " o
"
æ ‰ nœ.#‹ 68 ˙ œ. "
æ
1

? 48 œK ‹ #œ 58 O O œ. œ. #œ œ. 38 œ. 7
III

œ.
4

. œ #‹. œ œ œ # ‹ (gliss.)
# ‹
# ‹ "(gliss.) Kœ 16
. " #‹
(gliss.)

"
(gliss.)
" > 2 III #‹ Kœ
Œ. >
(gliss.)

‰ J
" ß"
3
J
1
J
Cello
" ß" " ß"
j
J 3:2œ

" ß"
ß
" ß" " " " ß"
IV
 6
(Add voice)

a tempo (e = 68) j j
I e = c 80
21

œ Œ ! œ
A
œ "
j
(breath content)
r r
3:2œ 5:4œ

æ
( rit. flz.)

! ‹ ‹ . ! œ "
(ord.)

ßp J
Fl. r

B k œœ
9:7œ

Ÿtimbre
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ œ œ.
Bœ
7
& 16 ! œ . ! ! n œ ‰ . #œ ‰ 28 Bœ
œ œ Ù 38 " 48
r
Í Í
7:6œ

p
r

Í
3:2œ

7 œœœ ...... œœœ ...... 2 b œœœœ 3 œœœ ... 4

& 16 œœ .... œœ .... 8 8 #œ . 8
Pno.
p p
?7 " " 2 " 3 " 4
16 8 8 8

" ß"
a tempo (e = 68) e = c 80
Í r II

....
(timbral trans.) 5:4œ

> o
*
ord.
~~~~~~~~~~~~~~~~~~~~~~~~~~
O O. !
** *** (Finger pressure trill)

#‰
II

o nO
II tr

7 ‰ œ. ! œ œ n œ o k œ . O .. 28 B œ 38 œœ n ‹ (gliss.)4
? 16 O #œ o #œ œ œ .
1

œ ! ! Oœ œ œ ‰ œ œ.
3

#‹ #‹ n‹
œ œ nœ o ® 8
! p ‰ nœ œ II II III Í III 4 2

J Ípp
Í
r r
7:6œ 5:4œ rK

p
7:6œ
Cello
" ß" Í Í
# nœ #
oœ " ß" œ o nœ
? Kœ œ Lœ Lœ
‹ #‹ #‹ nœ œo Kœ lœ
Bœ Bœ Bœ
*** Trill between harmonic finger pressure
* Bow: hair plus bow; jeté or ricochet bowing. and open string.
** Timbral transition: from jeté to ord. bowing.
 7

a tempo

e = c 68 j
r (ord.)
3:2œ

j
25
œ "
I
! ! j j
rK
j
5:4œ
j
!
œæ. œ.
‹ > œ> ‹œ
( rit. flz.)

Fl. ! !
ßp sub ßp sub Í
Bœ œ . œ #œ B œ .. Bœ ®
4 ! 7 ! 5 œ " œ 3 " "
&8 16 16 œ #œ µœ œ. nœ œ 8 œ œ .œ# œ œ

r
7:5œ r
7:5œ

e = c 68
> -
ß # œœ .. œœœ œœœ ...
& 48 ˙˙˙˙ 7 œœœœ ......
16 5
16 # œœœ 38
.. p r

œ. p
5:3œ
Pno.
? 48 ! 7
16 ! 5
16 nœ. 38 !
bœ œ œ œ nœ
œ. #œ. œ.
rit.
r

" ß" " ß" f

7:5œ

j >>>> °
" o "
?4 . O .. #‹ #‹ 7 5 3
(gliss.)

8 " 16 œ . " 16 ! 8 !
œ .. ® nœ
#
Cello
" ß"
7:8œ
r
........ ord.
P
 8

a tempo e = c 80
(With Piano)

(Add voice)

^ ^ ^ ^ " ^ ^ ‰. ^
29 *S (vocal transition) T

œ^ ^ ^ ^
S
Œ ‰ "
S
! ! œ^ œ^ (ord.)
poco rit.
j r
3:2œ 9:7œ
r
7:8œ

‰ œ. ‰ ‰
! ! ‹ œ . "
(breath cont.)
Fl. (breath cont.)

œ # # J
nœ
œ Bœ œ. U Bœ sub ßp
J 7 " 48 ‰ J
" 7 #œ " µœ. "
& R 16 16 #œ
æ
r
6:5œ
r
7:8œ
r
5:3œ
* Voice: always as if emerging from
within other sonorities (lower
dinamic level).

rit. (independently)

a tempo e = c 80
U
bœ #œ nœ #œ
œœœ ... œœœ œ. œ œ œ œ nœ 4 ˙ œ ..
7 nœ œ #œ œ #œ 8 ˙ 7 œ ..
& 16 œ 16
‰ p bœ
Pno.

? 7 bœ nœ œ 48 7
rK

! œ ! !
rK 5:3œ

16 16
7:6œ

œ œ #œ œ œ u
nœ œ.
œ. bœ.
f F
r
9:7œ

°
sub
 9

* Very fast iterative attack

rit. (independently) of given vowel.

I*
K r (ord.) j
5:4œ

æ
‰. œ .. ® ‰.
33
! œ ! .. "
j
j #
(breath cont.)

æ œ
( rit. flz.)

œ. œ. !œ . ( accel. flz.) ‰æ
‹œ Œ ! ! "
(breath cont.)

œ (breath cont.)
Fl.
ßp Bœ
B œ .. nœ J
(ord.) j
3:2œ
J
& œ
!
œ
œ œ 48 #œ œ.
œ. 7 !
16 #œ. œ. ! 85 " 38
#œ ‰. æ æ
p
rK r r

p
7:6œ 9:7œ 7:6œ
sub
sub

>
molto rit.

7:8œ
rK
>r
ß œ. œ. #œ ˙ U
œ. ! œ œ # œœœ U ‰
& œ ... # œ 48 n # œ .... 7 œœœ ......
16 85 œ #˙ 38
œ œ. œ. ! J
ß
p Πf p
# OOOOO p
Pno. rK
7:6œ

? 4 7 5 3
(Prepare Silently)
" 8 16 " 8 " 8

Sust. Ped.
 10

a tempo

e = c 68
a tempo (e = c 80)
j
(Add voice)

"
37

! ! ! ‰ œ.
> 3:2œ
r

! ! ! ‹ "
(breath content)

.. > > >

ßp
Fl.
J
sub Í
& 38 7 38 #œ. 7
! ! ! ® œ. œ" b œ n œ
16 16
æ
œ
nœ
r
7:5œ

molto rit.
a tempo (e = c 80) (Long Ferm.)
a tempo

r
sub ß rK
e = c 68
7:6œ 7:8œ

b œœœ œœœ ... nœ œ#œ œ œ nœ œ ..

b œœœ bœ œ. " bœ ,
3 œ. 7 # œœ œœœœ .... 3 7
&8 œ œ 16 # œœ ‰ .
# # œœ .... 8 œœ .. 16
bœ. #œ b œœ ..
f
p
f
r molto decresc.!

F
Pno. 5:4œ

#¨
? 38 7 ‰.
16 ! 38 ! 7
16
œ.
bœ
f
°
 11

rit.

(Add Voice) a tempo (Add Voice) (Add Voice)

I Kr
j (ord.) r I j j
7:6œ 7:6œ S

œ. Œ.
41
Œ ® œ ! " ‰ ® œ !
r r
7:6œ 11:9œ

.
‰.
(breath cont. ad lib.) (breath cont. ad lib.)

! œ !
‹ ‹ . " .
(Long Ferm.)

p
Fl.
ß œ J kœ. œ #œ. J Í J
7
bœ œ
bœ Bœ. 4 œ. µ œ. 3 œ 9 œ #œ nœ bœ 5
(ord.)

& 16 ! # œ . ‰
œ # œ 8 ! bœ. 8 œ ‰ µœ 16 œ ! œ œ bœ
œ œ nœ #œ œ
‰. 8
sub Í
Ípp
r

#
rK

f
9:6œ 7:5œ
sub

f
rit.
sub
Kr
9:6œ a tempo

bœ œ
(Long Ferm.)
r
(With Flute)

Œ œ.
7
& 16 œ 48 œ .. ! 38 b # œœœœ .... 9
16
˙˙˙
˙
œœœ
œ 85
œœœœ ... !
. F
œ
Pno.
? 16
7 bœ 48 " 38 " 9
16 " 85
#œ. œ
f
f °
°
 12 a tempo (With Piano)

e = c 80 j
a tempo (Vocal trans.)
46 I
œ
A
! ! !
sub ppp
j
œæ " ‹ .
(breath cont. ad lib.)

! ! !
f
Fl.
ßppp ßp
# œ .. bœ
& 85 ! 48 ! ! 7
16 ®‰ #œ nœ œ œ œ 38
rit.
r
9:7œ

r a tempo
r
7:8œ r

‰.
7:8œ
e = c 80
j nœ œœœœ r
5 n˙ œœœ 4 œœœ Œ # œœœ bœ.
7 3
& 8 b b ˙˙˙˙ œœœ 8 bœ. 16# # œœœ ... œœœ 8
#˙ P œ. œ
p # p
U
n œœ œœ ....
Pno.
? 85 48 " 7
16 ! 38
˙ œ bœ.
J p r

°
œ

f
7:6

a tempo
rit. (independently)

5:4œ
j
^ 5:4œ
r ..... 7:8œ
r
7:8œ
r

" ® " Œ
œœ .. ®
œ. æ œ. ® œ œ. ® œœ ‰ œ œ. œ .. œ. œœ " œ œ
U
‰ !
p Ø fppp P æ
$ f p j
# œ .. nœ # ˙˙ #œ
? 85 œœ .. 48 #˙ 7 38
# œœ
# œœ ‰ !
.. 16
œ .. œ œ ˙ ˙ œ
u
Cello
j
5:4œ

#œ nœ #œ #œ
? L œœ
n œœ
L Kœ
# œ n œœ
L
Bœ œ œ œ
 13

poco rit.
(Add voice)

j
j
I (ord.)
Kr O r
5:4œ 5:3œ

50
Œ œ . œ " "
j j
j j
j
r
7:6œ
j

‹ œ œ. œ " "
b œ ..
Fl.
sub Í sub Fp
#œ. sub ßp nœ.
3 ! #œ 7 #œ. 4 3
&8 œ
œ œ œ 16 ! œ. #œ ! J œ 8 ! 8
æ 7:6œ
r

rit. (independently)

¨
Œ. #œ #œ œ
n œ # œ n œ #n œœ .... #œ
b bn œœœ
n œ œ œ ..
*

& 38 œœœ ... 7 œ.

16 œœœ .. ! ® œ ‰ 48 " 38
œ. . 6:5œ
r
ß
Pno.
# nœ. f $
? 38 " 7 ‰
16 48 38
bœ. p # # OOO OOO ...... OOO
f (Prepare Silently)
Sust. Ped.
*

* Sustain until the Piano resonances have almost disappear.

Flute and Cello should -ideally- begin (in mm. 54) while the Piano resonances
can still be perceived.
 14

rit.

a tempo
accel.
e = c 68 * Voice: always as if emerging from within other
(Add voice)
sonorities (lower dinamic level). I O
r
j 9:7œ
r I
7:5œ

-. j
^
*S
^ ^ ‰ ^ œ
T
^ ^ ^
S T S TI
‰. ^ ^ œ. Œ.
54
Œ ‰ . !
œ^ œ^ œ^
œ
r r

>
9:6œ 9:6œ (ord.)
j j j
(breath content)
r
7:5œ

œ œ. !‹ ‹ œ ! ‰ œ !‹ œ œ. > œ
‹
Fl.

f poss k œ . ßp f J J ßp
µ œ. f µœ ßp Bœ. Jœ
sub
nœ
3 7 Bœ
85
#œ œ œ œ
& 8 bœ. ‰ ! ! nœ ! ‰
sub poss
nœ 16
œ #œ #œ
æ
bœ æ #œ. #œ
Í
r r r
7:6œ r 3:2œ 5:4œ
7:6œ sub

a tempo rit. (independently)

e = c 68 ^^^^
7:6œ
rK ¨ > 7:6œ
r
¨ ........ > > 7:6 œ
r

>! > U
œœ œ. > !
( ‰ ) ! œ. æ œ. œ ‰ œ
œœœœ œœ œ œ. œ. œ #
" Í Í Ípp Sp P
j p
(ord.)

#œ Œ
sub sub

n œœ n œœ
? 38 b œœœ #œ !
b œœ .
œ nœ œœ
#œ œ 7 œ ..
16
œœ
# 85
œ !.
#œ
nœ œ œ œ œ .. œ
J
J J
u
Cello

ßppp III : œ (finger pressure)

œ

? L n œœ Kœ Lœn œ Kœn œ œ
#œ #œ n œ n œ Lœ
Bœ Bœ B œ # B œœ
 a tempo (e = c68), ma molto flessibile (quasi come una cadenza) 15
(vocal transition)
S poco rit.
j
I
58

. Π# r #
j
(breath cont. ad lib.)
9:7œ
j
7:5œ
j
. æ. æ æ.
( rit. flz.) ( rit. flz.)

‰ ! œ ! œ !
( rit. flz.)

Fl. . . ‹ #
J " J
# œ. J fp
œ bœ. >
(ord.)

5 nœ. ! œ .. ! bœ #œ 7 #œ. µœ. 48

&8 œ œ #œ
œ
#œ nœ 16 œ œ #œ bœ ‰ œ .. ® !
rK r
Í
J 5:4œ 9:7œ

poco rit.

a tempo (Add voice)

S
e = c 80 (Add voice)
j
S
(ord.) r
5:3œ
A
j j
. .
œ.
62
Œ ! # œ ® Ó ‰ œ. ®
j 5:4œ
r

(x ) .
O ‰. œ.
(breath cont.)

! ‹ O. œ ! ‹ ‹ O. # ‰
J J ‹
Fl.

ßppp Í Í J
bœ
sub
J #œ.
œ !# œ œ
& 48 œ. 9 85 ‰ B˙ 48 œ . ‰.
(ord.)
! !œ # œn œ 16 ! µœ. œ
œ. æ #œ nœ #œ. sub Ípp nœ
æ
"
j
r 5:4œ
9:7œ

Í
j
5:4œ
rit. (independently)

........
5:4œ
rK ........ 7:6œ
r
5:4œ
j

œœ œœ œ æ æ œ. œ.
œ œ œ œ.
æ œ. ! œœ ® ‰ œœ .. œ œ ! œ. ! #
ßp F sub ßppp p "
œ #œ #œ
?4 œœ ‹ œœ
œ
œœ 9 #n œœœ .. œ.
œœ .. 5 ˙˙ ‹ œœ ! 4 #
8 16 . 8 ˙ 8
œ œ œ œ. œ. ˙ œ
Cello
J j
J
3:2œ

nœ #œ nœ nœ
?
# K œœ # œœ n œœœ n œœ
Bœ œ œ œ
 16

rit. a tempo
rit.

66

! U
! ! !
(breath cont.)
r

.
3:2œ

Fl.
" ! ! !
J
œ. µœ. #œ. Bœ. j B k œœ
#œ. " 9 ® 7 Bœ. 4
& 16 œ .. 16 " µœ œ " 8
j
5:4œ

p
r

p
7:6œ

> 7:6œ
r

œ
a tempo
Sœ ‰. #œ ‰. " " # # œœ
! 9 ! 7 œ. 4
& 16 16 œ . # œœœ œœœ .... 8
f P p
p R
#O
Pno. (Prepare Silently)

? ! 9 7 ! ! 48
16 OO 16
nO p
#O
°
Sust. Ped.
rit.

j r j
"
7:6œ

Œ. "
? ! 9
16 K K œO l l œO 7
16 " ‰. K K Oœ .. l l Oœ 48
‰. œ. " œ œ œ. "
(gliss.) (gliss.)

Ø Ípp
r

Ø ßp
5:4œ

Cello

15va
? kœ
L œ (gliss.)
Bœ
 17
e = c 68 poco rit.

(Add voice)
I r A
j
(ord.)
7:6œ
3:2œ
r j U 3:2œ
r

j
œ.
70
‰ ‰ œ jœ ! "
jœ (breath cont.) j j j j
j j
O! . æ
( rit. flz.)

œ .
‹œ ‰
‹œ œ
‹œ "
(breath cont.)

. .
ßppp Í
Fl.
J
ßp ßp
œ œ #œ #œ. œ. nœ
œ
4
&8 ‰ #œ nœ Bœ œ bœ
œ 7
16 ® ‰. œ #œ
œ
nœ
œ
3
8 œ ! # œ B œ! œ. ! 4
8
r
7:6œ
j r r
3:2œ 7:6œ

Í
r 3:2œ
7:6œ
sub

rit. (independently)
¨
r
œ
œœ .... p # # # œœœœ ‰ n œ # œ# œ œ # œ .
& 48 b b œ>œ 7 œœ ....
16 38 œ œ. #œ. 48
15va ¨ ‰
#œ ß
#œ. f
? 48 n œ nœ
Pno.

! ‰ 7
16 " 38 nœ. " 48
œ.
ß P f
Sust. Ped. j

f p
(contin.) 3:2œ

°
e = c 68

j
? 48 K K Oœ .... (gliss.) ! 7 38 48
l l Oœ 16 " " "
n œ. ‰
ßppp Í
Cello
sub
 18
a tempo (e = c 68), ma flessibile (quasi come una cadenza)
rit. (independently)

j U
74
U # œœœ .. j # œœ r
& 48 œœ .... # œœœ 7 Œ
16 . # œœ b œœœ ... 11
16 # œœ .. œœ 7
16
œ œ.
R f p
Pno.
p
?4 ! 7 ! ! 11 ! 7
8 16 16 16

a tempo (e = c 68)

p Ï
rK

f
7:6œ

bœ b n œ ..
bœ œ œ nœ #œ. œ. n œ# œ n œ œ .# œ . œ. œ œ # œ œ# œ nœ
U
78
7 œœ .. " œ 38 œ . 7 œ œ ® œ œnœ œ
& 16 #œ œ œ. 16
‰
p nœ p poss
œ.
Pno.
? 16
7 ! 38 ! 7 !
rK

œ #œ F 16
7:6œ

bœ nœ œ.
sub

œ. bœ.
Kr

ßsubv p
7:6œ r

f °
9:7œ

7:5œ
r 7:6œ
r ........ rK
sub Í sub Í
‰ œœ .. ‰ .
5:4œ

æ œœ ..
! ‰
œœ
œœ ® œ œ ® "
œ
æ œ ® œœ " œ œ œ œ"
ßp # Í Ípp # Ï F
Í Í Í
sub r

# œ .. #œ
7:6œ

#œ. #œ. nœ.

sub sub

?7 ! ‰ œ .. # œœ .... 3 œ. 7 œ. # œœ
16 œ Ù 8 œ. 16 # œ .
œ. œ .. œ. œ. œ
R
Cello

#œ #œ nœ
? n œœ
n œœ # œœ
L L K
Bœ œ œ
 19
* Voice: always as if emerging from
S (vocal transition)

^
within other sonorities (lower *O (vocal transition) U I T
U I r
j
dinamic level). 7:6œ
j
^ - ^
^ ^œ ^ ‰.
82
Œ œ ! ® œ
j j j
j
j
! .
œ. œ. æ œ.
(breath cont. ad lib.)

! ! ! . œ
( accel. flz.)

Fl.
‹
Ípp f poss ßp
r
µ l œœ œœ
Bœ ® 38 nœ Bœ
nœ œ
‰ œ œ bœ ! Bœ. 48
& # œ #œ #œ æ r
œ œ#œ #œ
7:5œ
r
œ
7:6œ
rK
7:6œ

> 7:6œ
r

ß bœ.
# # # œœœ ...... #œ bœ œ. œ.
& nœ 38 œ . nœ 48
Œ. R- p
Pno. f p
? " 38 Œ ! #œ œ. œ. 48
bœ
œ nœ

Í f
r
7:6œ
sub

¨
(esplosivo!)
r
5:4œ stacc.

ßp
rK

‰. .....
5:4œ

! ‰ ‰ Í œ j
œœ œœ œ œœ
sub

œ.
œ œ œ œœœ
œ œœ .
œ œ. œœ œ ! !
sub

œ. œ œœ œ
æ ‰ ‰ Œ ! æ
Í Í Í Í F
r

Í
r

Í Í
r 7:6œ 5:4œ

Í
3:2œ

#œ
sub

œ.
sub sub sub sub
#œ
sub

œ .. kœ
sub

# œœ
sub
nœ #œ
? œœ . 38 ‰ . 48
# œœ .... # œœ
# œ® œ!
. œ
Cello
œ. œ .. œ œ œ œ œ. œ
J r
J r
J
7:6œ
7:6œ

#œ
? L œœ
Bœ
 20
a tempo
rit. (independently)
(With Pno. and Cello) (Add voice)
86
œ
I O
! !
j 7:8œ
rK
(breath cont. ad lib.)
(ord.)
r
r
j j
7:5œ
j
æ " ‹ " ‹ ® ‰ œæ. ( rit. flz.)
( rit. flz.)

. !
Í poss
Í çp çp ßp
Fl. sub

Ÿœtimbre
..~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ. J
‰ Bœ
& 48 " 7
16 ! " #œ. " " bœ. 38
#œ.
æ ‰
Í poss
rit. r r

Í
7:6œ 7:6œ

¨
sub sub

> 7:8œ
rKK

b œœ ..
a tempo
# œœ bœ œ œ œ .. œ .. œ ..
b b œœ .... œœ .... œœ ....
& 48 ‰ ® nœ b œ 7
16 38
ß ß
#
œ-
Pno.
? 48 Œ " b œœ 7
16 ! ! ‰. ‰ 38
nœ J
p
>
Kr

f
7:6œ

ß a tempo
°
F
> > > (simil.) ....
rit.
ord. >
" ß"
II

j r o
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ œ. " œ
(Finger pressure trill)

K‹
2

? 48 7 38
* tr

Oœ . # ‹ .
O" Œ. . " l‹ Oœ
(gliss.)

16 (gliss.)

‰ ‰ #‹ n‹
œ .. (gliss.) . " p ‰ nœ
" ß"
ßp
ßppp ßp ßp " ß"
J
" ß"
sub
Cello

? Bœ œo nœ Kœ
K‹ n‹ k‹ #‹ #‹
Bœ
* Trill between harmonic finger pressure and open string.
 21

rit. (independently)
90

! ! ! !

Fl.
poco decresc.
! ! (Long Ferm.) ! !
kœ œ. œ.
.. œ. .
3 œ ® Bœ
µ œ
bœ œ. 7 œœ . Œ 4 ! 3
&8 16 8 8
rK
J
p
5:4œ

cresc. poss.!
molto rit.

U
j œœ ..
œ .. 48 œœ ..
& 38 Œ bœ œ. n16 ## œœœ ......
7
nœ. # œœœ œœœ 38
. #œ œ .. F R
œ œ p
?3 œ
Pno.
# # OO
(Prepare Silently)

J ‰ 7 ! 4 ! 3
8 # OO 16 J 8 8
p b OO f
°
Sust. Ped.

œ ßp
>
rit. (independently)
j
(finger pressure) sub
r
7:6œ

‰. Oœ>..
? 3 œ.. nœ. O. 7 4 3
" 16 Oœ .. Œ !
# Oœ
8 " 8 8
æ Oœ " œ.
(gliss.)

J
o r

p
r 7:6œ
r 5:4œ

ßppp
7:6œ

Cello

# œ œ
Bœ
I:

? Lœ
 22 a tempo
e = c 52 (Add voice) (Add voice)

I j I 7:6œ
rK j
94
! œ. ‰ Œ ®œ ! $ $
j 7:6œ
r

.
(breath cont. ad lib.)

‹ ® ! ‹ ! ‹ ‹ . $ $
(breath content)

.
p
Fl.
ßp J Í ß
sub
bœ œ #œ J (ord.)
3
&8 ® #œ. œ. 7 !
œ œ 16 œ #œ ! µ œ- . 4 œ. ‰ 7
œ œ œ œ œ 8 16
æ r
æ p
7:5œ r
3:2œ

ß p
r
7:6œ

-
#œ œ œ œ #œ œ œ #œ
œ nœ. b œ .. #œ
3
& 8 b œœ .... 7
16 $ 48 $ 7
16
œ .. ® p
#¨ p ¨œ ß
p bœ # œœœ ˙
®œ 48 ˙˙
Pno.
? 38 7 Œ
16
œ
nœ
7
16
nœ œ œ. R
f p
a tempo ß
°
rK
7:6œ
e = c 52
" ßp
rit. (independently)
r sub
r
7:6œ 7:6œ

œœ ® œ æ œ^ œ ! sub Ípp
œ^ ®
! œœœœ ! ‰œ
œ
........
œœ œœ œœ œ œ. œ $
‰ ® ! ! ‰. ‰ Í ‰.
ßp Ípp Í "
ßp Ípp
r

ßp U
5:4œ

P
sub sub
sub r

# œœ n œœ .. # œœ ! ‰
7:8œ

? 38 b œœœ #œ
b œœ 7 ! œœ .. #œ 48 œ Oœ . 7
pizz.

œ. #‹ ‹
œ 16 #œ. 16
Cello
œ œ œ nœ. œ. œ ‰ o .
J J R III
J
ßppp p " ß"

o " ß"
? L n œœ K œœ Lœn œ œ K œœ nœ
#œ #œ œ Lœ #œ Kœ ‹
Bœ œ Bœ # œœ œ
 23

j
(Add voice)
j I r
I 7:5œ

œ. ‰. œ.
98

! " ‰ ® Œ !
j

œ.
(breath cont. ad lib.)

! . !
Fl.
Í
nœ. nœ. œ. p
(ord.) sub
(ord.)

7 " # œ. œ. œ® ‰ 48 œ #œ œ.
& 16 bœ. œ. " # œ ... ®
œ œ# œ n œ œ œ n œ œ
‰ O.
# œ ..
# p poss
r

Í poss
7:6œ
j
sub 5:4œ
poco cresc.

r
7:6œ

œœ- .. œœ #œ œ œ #œ
7
& 16 bœ. œ œ. 48 b œœœœ ...... " !
bœ œ nœ œ ..
f
r

p
7:8œ

œ p # # œœœ ...... n œ œ œ# œ œ œ
7 œœ œ
Pno.
? 16 ‰ 48 Œ œ œ# œ n œ œ œ ... "
R R
œ p
# p
j
5:4œ

f
°

r " ß"
$
7:8œ

9:7œ
r
o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(Finger pressure trill)

n O III ‰. O. O. "
1 tr
œ nœ kœ. O. n ‹ (gliss.)
2

# œ 48 b œ .. œœ . œ. œ .
II

? 16
7 #œ
II 3

O O o
II

! ‰. œo œ. œ. œ œ
œ œ œ œ nœ o ®
R
Í
II

Í
III 4

Í
rK
7:6œ
sub
Cello

$
$ nœ nœ
? œ œ Lœ Lœ
Kœ lœ
Bœ Bœ œo o
 24

102

! ! ! !

Fl. ! ! ! !
U
4 œ .. 7 38 48
& 8 O .. " ! 16 ! !

Í rit.

>
ß
r
(over Cello rit.)
œ.
nœ. œ. L.V.

& 48 ! ! bœ 7 œ ...
16 œ. 38 œ . 48
p
? 48 œ œ œ ..
Pno.
#œ. 7 œ 38 ! 48
œ. 16
p p
°

rit. (independently)

" ß"
" ß"
j > > > >
" o "
?4 . O .. #‹ #‹ U 7 3 4
(gliss.)

8 " œ .. ® nœ œ .. " 16 ! 8 ! 8
" ß" #
Cello
ßp
7:8œ
r
........ ord.
P
 25
a tempo
rit.
e = c 68 U (vocal transition)
U r j r
5:4œ
I
j
3:2œ
106
Œ ‰ œ ! ‰ ! œ ! " "
j j j
j
r
5:4œ

œ ! . œ .. œ. œ. œ.
‹œ ! ® . !
(breath cont.)

.
# J p
Fl.
p sub p poss
ßp #œ
Bœ œ Bœ. œ.
4 œ œ ‰ nœ. 38 œ # œ nœ bœ Bœ. 7
&8 œ ‰ #œ œ nœ nœ ® nœ. 16 œ . !
œ.
j
æ 7:5œ
r
3:2œ r
7:6œ

Kr r
5:4œ 7:6œ

Œ nœ.
& 48 " 38
Œ
# œœ œœ .. 7 b œœ ....
16
p # œœ œœ .. f p
$
Pno.
?4 " 3 J #œ 7 !
8 8 œ 16 œ .
p p
a tempo °
e = c 68 rit.

........ ......... ord. Í

Fp p sub pp
>
r
sub

>
7:6œ r sub
rK 5:3œ sub

j
5:4œ r

> Œ
7:6œ

œœ œ œ. >
œœ
œ œ œ œ. æ œ. ® œœ ! œœ .. !. œœ œ
>
œ. œ.
> œ œœ . .
Ípp P F ßp ‰ ‰ ‰
sub Í
Í Fp
r

œ #œ œ # œ .. œ.
7:6œ

? 48 œ 38 œ 7 œ. œ
sub sub

œœ ‹ œœ œœ œœ ® ‹ œœ ..
.. n œœ .. 16 œœ ‰ ‰
œ œ œ œ œ œ .. œ. œ. œ
J
Cello

J
r
J
j
3:2œ 7:6œ

nœ #œ nœ
?
# K œœ # œœ n œœœ
Bœ œ œ
 26 (Add voice)

j
(vocal transition) (ord.)
rit. U I I r
rK 5:3œ
5:4œ
e = c 52 j
110 * Breath content ad lib.
! Œ œ . œ
*r j j
j
r
5:4œ 7:6œ

j j
Fl. ! Œ ‰ ‹ ‹ fl fl fl - ‹ œ œ. œ
çp sub Í sub Fp
ßp
bœ.
œœ
sub

! 48 Œ ‰. µœ #œ œ 38 " œ nœ œ 7 " œ. Bœ "

& 16 bœ.
æ
œ œ#œ

Í poss
r
7:6œ
sub

r
5:4œ

#œ nœ #œ œ #œ œ.
bœ œ nœ œ œ
& œœ .... 48 œœ. .. " 38 7 !
L.V.

16
p
? 48 38 7
Pno.
! " œ bœ bœ 16 !
decresc. poss.!!

œ #œ œ #œ #œ
nœ #œ nœ.
r
5:4œ

rit. °
e = c 52 ßp ßp
>
sub
sub

j j
" "
? ! 48 K K Oœ ....(gliss.) l
l œO " 38 ‰ ‰
K‹
Oœ l‹ 7 Oœ ..
16 #‹.
Oœ
n‹
n œ. Œ " " ‰
‰ (gliss.) (gliss.)

J
r

ßppp Í " ß"

r 7:6œ

" ß"
7:6œ

" ß"
sub

Cello

#
? Lœ kœ
Bœ
 27
rit. (independently)
114

! ! ! œ (breath cont.) !
j> j> 7:6 œ
r

! " ‹ ‰ " œ. " œ. !

Fl.
>>> ‹ > >> J J
ßp ßp Ípp Ø
œ. " 5 " œ ‰ œ 7 " Bœ. " n œ œ b œ n œ B œ . # œ . 16
5 ! 7
& 16 œ œ 16 #œ œ œ 16
æ r
æ Kr
7:6œ
7:5œ

(Long Ferm.) rit.

r
r rK
7:6œ 5:4œ

> b œœ œœ .. bœ œ#œ nœ œ œ
! 5 ! 7 " œ. 5 " œ nœ œ œ bœ œ 7
& 16 16 16 16
F ß p poss
Pno.
? 5 7 5 7
(Prepare Silently)
! 16 ! 16 b OOOO 16 ! 16
O °
Sust. Ped.

rit. (independently)

F
F Í Íp
........
........ 4
III
sub
III
7:6œ
r
*
**
r
.....
(timbral trans.)
x U
" " "
7:5œ

‰. œo .
o 3 "
? 5 7 #œ. œ . # ‹ Oœ .. 5 Œ O 7
#‹ ‰
3
k‹ 16 . 16 16 K‹ 16
‰. " ‹. ‰. #‹ Lœ ‹ nœ L‹
œ. " "
p
2 r
9:7œ
J J >
r

u
PIZZ.

" ß"
7:6œ r

p " ß" " ß"

J
" ß"
Cello 3:2œ

" ß" " ß" " ß"

* Bow: hair plus bow; jeté or ricochet bowing.

** Timbral transition: from jeté to finger perc.
 28
a tempo (e = c 52) rit. (independently)

mm. 94 ]
j
(Add voice)
I
I
7:6œ
rK j

‰
œ. Œ.
118

" " # ®œ #
j 7:6œ
r

.
® # fl fl flœ ‰
(breath cont. ad lib.)

" " ‹ ‹ fl fl fl ‹ ‹ .
(breath content)

. J fl fl p
Fl.
ßp sub Í ß
œ. bœ œ œ #œ œ œ J
7
& 16 " " 38 ® œ. œ. . 9
# œ b œ n œ 16 # œ n œ . ‰
. #œ œ 7
16
æ r
æ r
7:5œ 3:2œ

ß
¨
sub
r
7:6œ

U
# œœœ
a tempo (e = c 52)
œ ..
b œ .. œ .. .
b œœœ
L.V.

7 " 38 " 9 7
b œ œ œ # œ œ 16
mm. 37 ]

& 16 16
nœ
Pno. f p
? 16
7 38 9 7
rK

" " "

rK 5:3œ

16 16
7:8œ

$ bœ. œ .‰ . p
sub f
F
°
rit. (independently)

Í F F
flessibile, molto espresivo
7:6œ
r
sub
..... ........
#
mm. 14 ] 1 j

o
3:2œ

U
O O. o # o #
? 16
7 ‰. œ œ. #œ. #œ. 38 O nœ nœ. U 9 7
# # Oœ .. nœ. ‹ K‹ ‹. K‹ 16 " 16
3

œ
# ! (gliss.) (gliss.)
®
J
Ø Í
r II
9:7œ rK

" ß"
Cello 7:6œ
J

" ß"
 29
rit. (independently)

122 a tempo (e = c 52)

(breath cont. ad lib.) j " " "

æ
( rit. flz.)
! ( accel. flz.) æ
Fl.
! œ . ! " " "
$ Í
7 !
& 16 #œ. œ. ! " 9
16 " 85 " 48
æ r
7:6œ

flessibile, ricercando
a tempo (e = c 52) (Long Ferm.)*

j
rK
7:8œ

œœœ ... #œ œ œ œ nœ nœ œ .. ˙ ˙ œ
7 ! œœ b œ œœ .... 9 # ˙˙˙
& 16 œ #œ œ .. 16 ! 85 b ˙˙˙ œœœ 48
‰ !
p f p
Pno.
#¨
?7 ‰ ! " 9 " 5 " 4
16 16 8 8
œ
* Let resonate for as long

f °
as possible.

Ø Í r
11:9œ

! o Oœ1.. O .
# œ oœ .
mm. 19 ]
? 16
7 " " 9 ‰. Oœ . 58 O O œ. œ. 48
4

16 . œ œ œ # ‹ (gliss.)# ‹ # ‹ ! (gliss.)

III

Œ.
2

Cello ‰ IV
j

" ß" "J ß"

3:2œ
 30

a tempo

e = c 68 (Add voice) (vocal transition)

j
I
j
I U
r r
3:2œ 5:4œ

Π..
126
" ‰ " "
mm. 106 ]
! œ œ !
j 5:4œ
r

j (breath cont. ad lib.) (breath cont. ad lib.)

œ. " . œ. .
‹œ " "
(vocal transition)

Fl. ! .
# J ßp p J #
Bœ . Bœ
& 48 ! 9
16 œ . ® nœ. 38 # œ œ ‰ œ nœ nœ. Bœ. #œ. œ. "
œ. #œ
æ æ r
æ
Kr r
r 7:5œ 7:6œ
7:6œ 7:6œ

a tempo

rit. e = c 68

Í F Í
r .... ord. > r
sub Ípp 7:6œ
r
7:6œ 5:3œ

" o o Ípp
æ
j
‰ ® ‰ "
? 48 æ 9 ‰. œ. ‰ 38 œœ ... œ. œ.
sub

œ. œ "
II

œ. #‹
III

n ‹ . K œ 16 #‹ n‹
K‹. b‹. ‹.
# ‹ (gliss.) nœ.
(gliss.)

(gliss.) # ‹ (gliss.) #‹
"
K‹ ‰ ‰
" ß" Ípp
r
J
" ß" " ß"
7:6œ
J
" ß"
J J
" ß"
Cello

" ß" " ß"

" ß"
 31

rit. (independently)
e = c 52
130

! ! (Long Ferm.)
! !
j j r j
7:8œ

" œ. . " .
(breath content)

‹ ‹ ! !
p poss
Fl.
ßp ßp
Bœ. .. bœ
4 œœ ..
sub

Bœ #œ œ #œ œ 7
& ‰ #œ œ œ œ nœ. 8 ® "
#œ œ œ œ œ œ œ 16 ! !
r
7:6œ

rit.
e = c 52
ß Ï p
>
-
œœ œ ... b œ n œ œ n œ . b œ . œ ..
# ˙˙
4 ˙ 7 œ
*
!
L.V.

& 8 16 #œ.
‰
p
p
Pno. Kr

? 48 7 b n œœœ œœœ ......

5:4œ

! ! 16 œ bœ nœ -p
#œ. œ. bœ.
œ.
* Let resonate for as long
as possible.

p
r

f
9:7œ

°
rit. (independently)

Í U
r j
sub r

o
7:6œ

? ‰. 4 ‰ œ œ 7 œ. Œ !
œ. 8 .. œ. " 16
J
Ípp
(gliss.)

#
sub

Cello

? #œ
µœ œo
 32

* Voice: always as if emerging from within other sonorities

(lower dinamic level).

j
^
* U (vocal transition)
^
I
^ ^ -.
(vocal transition)

^ ^œ ^ ^ ^ ^
U I
^
134

! ! œ^ ‰ " ®
r
7:6œ
r
7:8œ

! ! ‰ œ. " "‹ . " œ

(breath cont.)
Fl.
J
f poss J ßp J
5 4 ‰ b œ ... #œ. 7
& ! 16 ! 8 n œ .. ® ‰ œ bœ œ ‰ œœ " œ 16
œ #œ œ #œ œ œ# œ

rit. (independently)

" ß"
" ß" " ß"
j
>>>>
j

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
5:4œ

o tr O . O.
(Finger pressure trill)
r

" " n‹ " o "

48 œœ .
7:6œ

?" ‰. œ 5 œ #œ. œ. œ œ. (gliss.)

O .. L‹ #‹ 7
16 ‰ " " œ .. ® nœ 16
o
" ß" #
Ø Í Í Í
r

Cello
sub sub
7:6œ

ßp 7:8œ
r

P
........ ord.

œ
? o Kœ L‹ œ #‹ L‹
Kœ œ nœ
 33

a tempo (e = c 52)
(vocal transition)
(Add voice) U I
j
j
U
138 j
Œ # œ. # œ Ó
mm. 62 ]
!
5:4
^ ^ ^ ^
œ
r
5:4œ
rK

j (x ) .
(breath cont. ad lib.)

! ‰ ‹ O. œ ‹ # ‹ ‹ O. œ
(breath cont.)

Fl.
J
ßppp J
Í Í #œ. J µœ.
(ord.)
œ
# Bœ.
sub

7
& 16 ! 9 ‰
16 # œ .. œ. # œ œ #œ œ nœ # nœ #œ œ
85 B œ . # nœ. œ 48
æ
$
j

Í
r j
9:7œ j 3:2œ 7:5œ
5:4œ

a tempo (e = c 52)
Ípp
> 7:6œ
rK >5:4 œ
r

‰ ‰
Œ ‰ Oœ .. ® O.
mm. 4 ] III

7 U
? 16 9 # ‹ 58 4 œ . #œ. Oœ .. # œ 48
K K Oœ .. (gliss.)
! # K‹ ‰
1

16 Oœ
œ .. Œ µœ #
"
(gliss.)

J 3
IV

>
r
7:5œ
J
j
3:2œ

Í
II

Cello " ß" >> >

15va µœ kœ µœ
œ Kœ
(gliss.)

? K‹ L‹ œ œ
(gliss.)
#œ
 34 (Add voice)

j
(vocal transition) U
I
r
j
(ord.) 5:3œ
142 U
‰ ‰ " " œ
mm. 49 ] I

œ. . !
j
. " ‰ ! œæ
(breath cont. ad lib.)

‰ ‰. œ. "
! ‹ .
( accel. flz.)

Ípp œ
ß
Fl.
sub
J Ÿtimbre
~~~~~~~~~~~~~~~~~~~~~~~~~
J ßppp Í
#œ. œ œ b œ .. œ
& 48 œ . ‰.
nœ
œ 7
16 ‰ ! 9
16 œ ® ‰ nœ 3
œ bœ œ nœ 8
j
æ r
5:4œ 9:7œ

Ÿi *~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
p poss r r
œ œ .. " bœ
‰. œ œ. œ .. f
& 48 ! 7
16 . bœ 9 œ ..
16 œ
38
ΠR F
p J
Pno. p $ p
? 48 ! 7
16 ! ! 9 ‰.
16 38
bœ.
* Piano: try to play trill at the same rate of speed as the Flute trill in mm. 143. f
°
rit. (independently)

Í o o r U
7:5œ

‰ Oœ . "
? 48 7 9 " . 38
IV

! ! O O œ. O #‹. œ.
mm. 7 ]

l‹ ®
1

16 16
2

‹. ‹œ œ œ œ K‹
ΠJ (gliss.)
(gliss.)
1

‰ ‰. " ß"
u
" ß"
IV III

" ß" " ß" " ß"

r
7:6œ
Cello

œ #
œ œ
?
III

Kœ B‹ ‹
µ‹ B‹ Bœ
 35
poco rit.
(Add voice)
(vocal transition)
I U
j
U (ord.)
j
Kr r
5:4œ 5:3œ
146
Œ œ . œ " "
j
7:6œ
r j j j
j j
œ œ. œ " "
Fl. ‹
sub Í
~~~~~~~~~~~~~~~~~ sub ßp
bŸœ . sub Fp nœ nœ. l K œœ œœ ..
..
& 38 ! nœ #œ œ
œ œ
7 !
16 œ.
bœ. ! 48 bœ ! œ 9 œ
16 .. ‰
æ r p poss 5:4œ
r

7:6œ

rit. (independently)

Œ. bœ œ #œ - U
œ.
œ #œ œ œœœ .... œœœ ......
& 38 œ . 7
16 # œœœœœ .... ! n œ 4 n
œ 8 œ .... ® # œœ .... 9 # œœœ ..
® 16 ‰.
œ ..
p
r
6:5œ

œ. bœ. f
Pno.
?3 ! 7 #O 4 9
16 ‰
(Prepare Silently)

8 n OO decresc. poss.!!
8 " 16 "
p
r
œ.
°
7:6œ

p F
Sust. Ped.
molto rit. (independently)

U
o
7:5œ
j
r
j ........
F j B œ ..
r

O
pizz.
j
O.
(With Piano) 7:5œ

‰ Œ B . K K œO
I

? 38 " 7
16 Œ . Lœ 48 œ . 9
16 ! ‰ œ.
(gliss.)

Bœ. !
œ œ. ‰
(gliss.)

R sub ßppp Ípp F

Cello Ípp sub ßppp Íppp

? Kœ Kœ
Bœ o
Bœ Cuenca,
4 Abril 2015