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Augusta Read Thomas Helix Spirals (2015)

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Augusta Read Thomas

HELIX SPIRALS for string quartet

Commissioned by Jeanne Guillemin in celebration of the Meselson-Stahl DNA replication discovery, 1958

G. Schirmer, Inc. New York, NY

HELIX SPIRALS is in three movements, which are to be played with a short pause between each movement. I: LOCI: memory palace - approximate duration 7 minutes and 30 seconds II: INTERLACING: twists and threads - approximate duration 7 minutes and 30 seconds III: SPIRALS: life force - approximate duration 8 minutes and 30 seconds Movements can be played together, in the order listed above, or any movement can be played independently as a stand-alone work, or any two movements can be played as a pair in any order. Duration: 23 minutes and 30 seconds First Performance: April 10, 2015: premiered by the Parker Quartet at Harvard University. NOTES: All bowings marked by the composer are optional. There are only six dynamics used in this score (pp, p, mp, mf, f, ff) so that each “level” of volume has a clear meaning and sound. Very often dynamics are staggered and layered; thus it is especially important that musicians play their individual dynamics and not to be swayed to change their dynamic if someone playing a great deal quieter or louder. The words “sempre” and “subito” are often used to help clarify the layered dynamic textures. Where there are short instrumental solos, the term “molto rubato” is used often and means that it is not necessary to mechanically play the exact rhythm (sextuplet, quintuplet, small triplet, etc.) but rather that you can consider those rhythms more gesturally. “Molto rubato” does not mean to drastically slow down the tempo.

When played complete, the work should be listed on programs as: HELIX SPIRALS for string quartet (2015)

I: LOCI: memory palace II: INTERLACING: twists and threads III: SPIRALS: life force When played in individual movements, they should be listed on programs as: HELIX SPIRAL I: LOCI: memory palace for string quartet HELIX SPIRAL II: INTERLACING: twists and threads for string quartet HELIX SPIRAL III: SPIRALS: life force for string quartet

Augusta Read Thomas (1964)

Helix Spirals for string quartet celebrates the Meselson-Stahl DNA replication experiment. Here is how Yale historian Frederic Lawrence Holmes described this singular achievement of Matthew Meselson and Franklin Stahl: In 1957 two young scientists at the California Institute of Technology performed an experiment that provided convincing evidence that DNA replicates in the manner predicted by the model of the double helix proposed four years earlier by James Watson and Francis Crick. Its timely appearance, after several years of controversy about whether the two strands of DNA could come apart without breaking, not only settled the issue as it was originally posed but persuaded many, beyond the immediate circle of enthusiastic supporters, that the double helix was more than an “ingenious speculation.” Quickly known by the surnames of the two men who performed it, the Meselson-Stahl experiment became a classic model in the young field of molecular biology. It has been reproduced in schematic form in textbooks of molecular biology, biochemistry, and genetics for more than three decades. It is seen not only as a landmark but as possessing special qualities that lift it above the thousands of other experiments on which the modern biological sciences have been constructed. I: LOCI: memory palace — 7 minutes and 30 seconds - In genetics, a locus (plural loci) is the specific location of a gene, a DNA sequence, or a position on a chromosome. In this movement, the string quartet plays many kinds of colorful sounds in a kaleidoscopic range of combinations and is, (metaphorically speaking) portraying loci with capricious, playful, energized, vibrant, resonant, and lively musical unfoldings. II: INTERLACING: twists and threads — 7 minutes and 30 seconds - In semiconservative replication, when the double stranded DNA helix is replicated each of the two new double-stranded DNA helices consists of one strand from the original helix and one newly synthesized strand. In this movement, the quartet “draws a picture” of DNA semi-conservative replication. Much of this movement is, by necessity, focused on pairs of instruments but the intricate contrapuntal lines are always enhanced with fleeting, supportive, plucked and bowed materials played by the other two musicians. The movement starts with Violin 1 playing “DNA STRAND A.” Forty-five seconds later, the Cello takes over playing “DNA STRAND B.” [From here to the end of the movement, before every next helix episode, a gentle moment of calm serves as an aural guidepost so that the audience can clearly follow the form.] After a quiet note in the Viola, Violin 2 reiterates “DNA STRAND A” while at the same time the Viola restates “DNA STRAND B” such that the whole DNA helix has been revealed. After another quiet note in the Viola, the Cello plays the “leading DNA STRAND A” (which was previously played by Violin I) and the Violin 2 plays a new “COMPLIMENTARY LAGGING DNA STRAND.” Next, the Violin I plays the “DNA STRAND B” (which was previously played by the Cello and the Viola plays a new “COMPLIMENTARY LAGGING DNA STRAND.” By this point in the composition, we have arrived at two double helixes. After a long quiet note played by the whole quartet, we enter the final episode in which Violin I and Viola link up to play “DNA STRAND A” while Violin 2 and Cello team up to play “DNA STRAND B.” In this final episode, we still have the original two DNA strands but they are amplified harmonically and emotionally by nature of the fact that all four musicians are playing. III: SPIRALS: life force — 8 minutes and 30 seconds - During a phone call with Matthew Meselson, just as I was starting to compose HELIX SPIRALS, he explained, with passion in his voice, that the DNA molecule “holds past memories and present times and that it is a key to the future.” “Links and chains” he went on to say. The helix spirals give life, and the DNA molecule encodes the genetic instructions in the development and functioning of all living organisms. In this final movement, the quartet conveys the beauty, richness and expressivity of life. The movement is extremely lyrical, intricately contrapuntal, utterly optimistic, and ever-renewing of its materials and transformations.

commissioned by Jeanne Guillemin in celebration of the Meselson-Stahl DNA replication discovery, 1958

HELIX SPIRALS (for string quartet)

Augusta Read Thomas (2015)

I. Loci: memory palace Playful and capricious solo pizz. 0

0 0 4* & 4 ‰ œj œ œ œ œ œ > > FfF ƒ

Violin 1

4* &4

Violin 2

declarative

∑

* B 44

Viola

q = 144–152 ∑

solo pizz.

‰ j œ œ œ œ œ œ > ƒ f ƒ 0

all pizz. are l.v. molto

Œ ‰ j œ œ œ œ > > f ƒfƒ 0

solo

∑

all pizz. are l.v. molto

∑

insistent

answering Vn. 1 solo alternate between

∑

answering violins

? 4* 4

Violoncello

& œ f

& ‰ œj Œ > ƒ 0

B Ó

# >œ ? ‰ J Œ ƒ

∑

‰ # œj Œ P Ó

∑

& Œ &

#œ p

œ p

œ > ƒ intense 0

# œ >œ > ƒ intense > B # >œ œ Ó ?

ƒ intense # >œ >œ ƒ intense

>œ ƒ >œ0

ƒ >œ ƒ

Œ Œ Œ Œ

œ f

>o œ

∑

all pizz. are l.v. molto

A tempo

q = 144–152

œo

#œ ‰ J Œ P

‰ #œ Œ J F

Nœ F

œ F

solo

‰ œj ƒ

∑

B Energized

‰ œ œ J p P œ p

# œœ p

#œ p

Œ # œœ p

Œ # >œ N œ ƒ p

# >œ ƒ

nœ #œ p

bœ p œ

#œ p

*All bowings marked by the composer are suggestions and do not need to be followed. Corrected 5/2015

#œ œ f

solo

‰ j ‰ # œj Ó œ > f ƒ

‰ # œj # œ œ œ # œ f ƒ

poco rit.

‰ # œj ‰ œj ‰ œj œ œ ƒ F

A Surprise with pitter-patter 11

œ > ƒ

pizz. sul D

‰ jŒ Ó ‰ j‰ jÓ œ œ #œ > ƒ F ƒ 0 > ‰ œ ‰ # œ œ œ ‰ œJ Œ œ Œ œ œ J J p 3 f ƒ P f œ œ œ œ œ >œ ‰ J Œ Œ Œ 3 ƒ f p sempre

‰ œJ ‰ œJ P Œ

‰ # œj Œ f

œ f

∑

‰ # œj œ œ ‰ œj œ œ p f

all pizz. are l.v. molto

> Œ ‰ œJ œ œ œ œ œ ƒ F

pizz. G & D strings

∑

Copyright © 2015 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

#œ ‰ œ J π

j ‰ # n œœ π œ ‰ J π ‰ œ J π 0

Ó Ó

>œ ‰ œJ # œ ƒ sempre

(ord. pizz.)

>œ

ƒ sempre >œ ƒ sempre >œ

ƒ sempre

Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY

2 C Lyrical and spirited

‰ œj ‰ # œj Ó > >

& Ó

B Ó

>œ > ‰ J ‰ # œJ

& Ó

solo

? Ó

& Œ

œ ( ƒ)

Ó Ó

>œ0 # >œ

ƒ vivid

(ord. pizz.)

& œ #œ Œ > > ƒ vivid

& Œ

œ f

insistent

& Œ B Œ & Ó

#œ > ƒ

insistent

œ œ # >œ 0

œ > ƒ insistent

>œ

solo

>œ ƒ

œ f

>œ

Ó Ó

j ‰ œ >œ > ƒ f

solo

>0œ

œ > f

j ‰ œ Œ f

‰ #œ Œ J ƒ ‰ œ Œ J ƒ

>œ

0 œ ‰ J Œ f ƒ ƒ

# >œ

œ > ƒ

0 j ‰ œ Œ P

œ #œ Œ > ƒ

œ ‰ J f

œ0

# >œ

ƒ espr.

‰ j œ ƒ

j ‰ œ ‰ œ Ó J ƒ

œ ƒ

>0 ‰ œJ Œ ƒ

‰ œ> Œ J ƒ

> ‰ œJ Œ ƒ

0 œ >œ

>0œ ‰ J Œ ƒ

# œ # >œ Œ > f ƒ

‰ >œ Œ J ƒ

0 j ‰ œ #œ f F f

j ‰ # œj ‰ œ ‰ # œj ‰ œ J F f Ó

0 œ ‰ J f

‰ # œj ‰ œj œ œ >œ F ƒ

∑

>œ >œ Œ

f ƒ

0 j ‰ œ f

(ord. pizz.)

solo

‰ jÓ #œ ƒ

‰ œ Œ J f

>œ Œ ‰ œJ Œ f ƒ

jœ Œ œ #œ #œ f ƒ

‰ j Œ #œ ƒ

>œ0

(ord. pizz.)

solo rubato 3

‰

>œ0

# >œ ‰ œj > f ƒ

‰ # œj Œ P

0 j ‰ œ >œ œ Œ ƒP

œ0 œ œ0 œ

# >œ

œ Œ > f

j0 ‰ œ œ P

declarative

œ Œ œ > ƒ

j0 ‰ œ œ PF

# œ # >œ Œ ƒ

insistent

>œ Œ

# >œ

>œ

œ œ œ > f ƒ 0

#œ > ƒ

‰ j # œ >œ f ƒ

‰ œ J #œ œ œ #œ #œ f F ƒ

& œ #œ Œ > > ƒ vivid

solo

‰ œj ‰ # œj Ó > >

# œœ > ƒ

>0œ

# >œ ‰ J ƒ

#œ. ≈ J ‰ # œJ Œ ƒ

Œ Œ Ó

#œ #œ ‰ #œ œ ‰ J rubato

solo

rubato

‰ œ œ ‰ œJ # œ ƒ f 3

# >œ

ƒ sempre

∑

3 31

& Œ & B

# >œ >œ0

œ0 # œ ƒ

œ f

r ‰. œ Œ > ƒ Œ

> & œ Œ ƒ

œ0

& #œ

? Œ

#œ ‰ J

#œ

œ0

solo

. Œ ‰ # œJ œ. œ. œ. œ. p P

col legno battuto

#œ ‰ J Œ F

molto vibrato

arco col legno battuto

Œ ‰ # œ. œ. œ. œ. œ. J p P

arco col legno battuto

œ. # œ. Ó pP

œ. œ. Ó pP

∑

f dolce

œ œ œœ

œ œ

œ0 œ œ œ #œ J

#œ œ #œ œ ‰ J ‰ J ‰ J f ƒ

# œ. . & ‰ # œj # œ ‰ J œ π f ƒ arco

œ. # œ. Œ

col legno battuto

‰ # œ. œ. J œ π f ƒ arco

j & ‰ #œ

. 0. œ. # œ œ

#œ f

Œ Ó

œ. ‰ J Œ p

#œ œ #œ

œ œ ‰ J F

∑

>œ #œ œ0 ‰ J #œ ‰ œJ p F pizz.

∑

j ‰ œ ‰ >œ ‰ j ‰ # œj ‰ œj Œ œ #œ J #œ ƒ p F

# >œ # >œ # œ .

# >œ

solo

‰. œ R ƒ

q = 160

œ ‰ J F œo ‰ J Œ f

Always slightly faster for battuto music

‰ #œ Œ > ƒ

pizz.

œ F

arco col legno battuto

# >œ ‰ . # œr # œ ‰ # œ œ J f ƒ f ƒ

solo

œ. œ. Œ # œ œ. œœ . . p P p

col legno battuto œ0. œ. # œ. j # œ. œ. # œ. œ. B ‰ œ Œ ‰ J Œ f p π p P

#œ œ #œ œ #œ

#œ #œ

Dancing on tip-toes arco col legno battuto

solo pizz.

pizz. > ‰ j ‰ œ ‰ # œj # œ #œ J p F

#œ œ #œ J

solo

ƒ cantabile

solo

‰

œ œ

œ0 J

∑

# œ. œ.

œ 0œ œ œ 0 œ œ

cantabile

ƒ sempre

œ. # œ. œ. œ. œ. Œ ‰ J P p

œœ 0

œ0 Œ #œ œ #œ

Ó ∑

E arco

œ f

œ0 # œ ‰ œ J

ƒ sempre

‰ œj Ó P

solo 0

#œ. ≈ J ‰ # œJ Œ F f

#œ

>œ 0 # >œ # œ œ ‰ J ‰ J Œ œœ œ œ ƒ sempre F f ƒ

solo

B Ó solo

‰ # œJ Œ ƒ

∑ > ‰ œ Œ pizz.

Ó #œ f

ƒ >œ

solo, rubato pizz.

#œ #œ œ 3

‰

pizz.

#œ > ƒ

sul E (pizz.)

>o œ

‰ J Œ ƒ

resonant; ping

>œ œ . Œ Ó ƒ arco col legno battuto . . . . nœ solo . . # œ n œ # œ œ #œ Œ p P

resonant; ping sul G (pizz.)

arco col legno battuto

# œ. œ.

n œo

f resonant

b >œ œ.

F >œ # œ. F

Œ Œ

q = 144–152

Always return to Tempo 1 for pizzicato music 46

∑

& B

Œ Ó

(pizz.)

bœ f

bœ Œ ‰ nœ #œ J f p

b œ.

& . B #œ F ? Œ

solo

‰ œ. n œ. n œ # œ J . . F

∑

B Ó

b œ. F œ.

arco col legno battuto

œ. b œ. . œ

>œ

#œ

? œ ‰ œj # œ. . bœ . . f

œ ƒ

‰ jŒ œ. ƒ

n œ. j ‰ bœ ‰ J Œ . f

solo pizz.

# œ. ‰ J

œ ‰ J Œ Ó f playful Œ

‰ œ. Œ J f

‰ j #œ n œ. # œ. œ. . F f

# >œ ‰ J Œ ƒ

Œ # œ. n œ. F

∑

solo (pizz.)

‰ # œj ‰ œ Ó J F f ∑

œ. œ. F

solo

# œ. ‰ J Œ F

solo

∑

Ó Œ

# >œ

œ. ‰ J Œ P

# œ. F

pizz. 0

œ f

b >œ ‰ J Œ

ƒ intense ‰ j œ. # œ. F ∑

(pizz.)

bœ P

solo (pizz.)

arco solo col legno battuto

#œ #œ

solo (pizz.)

# œ.

0 . œ. # œ. n œ. b œ. ‰ œJ Œ f P

ƒ intense Œ

œ. œ. # œ. n œ.

solo (pizz.)

Ó Œ

. ‰ # œ. Œ œ. ‰ œJ J p

surprise

N >œ ‰ J Œ Ó ƒ playful

#œ

j . œ. b œ. œ. ‰ œ. œ P F

∑

arco col legno battuto solo

surprise

>œ

œ. œ. # œ. ‰ J Œ ‰ J p

∑

>œ Œ ƒ

ƒ 0

#œ ‰ J Œ Ó f playful

# >œœ Œ ƒ

surprise

n œo Œ ‰ J Ó f P

solo pizz.

. . . . œ. # œ n œ œ # œ ‰ J P F

# >œ Œ ƒ

(ord. pizz.)

#œ #œ

solo (pizz.)

∑ œ0.

. b œ. ‰ # œ. œ. œ J

F sempre

& Ó

arco col legno battuto

‰ # œj n œ . . F # œ.

œ ‰ J

arco col legno battuto solo

surprise

0 ‰ œ bœ bœ Œ nœ nœ Ó J pP f

pizz.

n œ. œ. . . pizz. # œ b œ. #œ nœ ? ‰ J J ‰ Œ Œ ‰ # œJ F P f p

Œ # œ # œœ Ó pP

‰ b œj b œ b œ Œ œ n œ

Œ ‰ j bœ œ œ f p

(pizz.)

∑

q = 160

Whimsical and capricious

n œ.

œ P

solo

# œ. œ. P

œ. # œ.

solo

œ P

‰ j‰ j bœ bœ ∑ ‰ j#œ nœ # œ. . .

5 62

œ. b œ. . œ ‰ J F P

∑

& j & ‰ œ Œ F

#œ ‰ J Œ ƒ (pizz.)

>œ . ‰ J ‰ # œJ # œ. n œ. f F

B Œ

n œ.

solo

? ‰ # œj Œ . F

# œœ. # œ. Œ f

arco

œ. # œ. Œ

& Ó

B Ó ? Ó

f sempre

Œ # œ. n œ . f

c. l. battuto (wood)

j ‰ # œ. Œ

# œ.

‰ # œ. Œ J

# œ. ‰ # œj . P

j ‰ œ Œ Ó #œ f ardent # >œ pizz. 0 Ó œ f ƒ ardent

‰ j bœ Œ œ ƒ ardent

j & ‰ #œ Œ >

œ > ƒ vivid solo

0 œ>œ

solo

0. ‰ œœ Ó J π

# œ. ‰ J P

n œ. p

. ‰ # œJ Ó π

Œ # œ. π

#œ p

afterthought

#œ

œo

afterthought

Dramatic q = 144–152 pizz.

pizz.

N >œ œ #œ > ƒ intense >œ

>œ

ƒ intense

# >œ

ƒ intense

afterthought

# œ.

. ‰ # œœ Ó J π

afterthought

œ.

>œ ‰ j Œ ‰ J œ > ƒ intense

solo pizz.

afterthought

# œ œ ‰ œj ‰ œj Œ p π

# œ œ> ‰ j ‰ œj #œ > > > ƒ vivid

ƒ vivid &

c. l. battuto (wood) 0

afterthought

pizz.

Onward!

∑

# œ. . œ

afterthought

# œ. # œ. ‰ a œ. J P

b œ. ‰ J Œ

b >œ œ

(pizz.)

œ. b œ .

∑

col legno battuto (1/2 hair, 1/2 wood)

# œ. n œ. b œ n œ Œ . .

#œ f

ardent

# œœ0

(pizz.)

∑

sul G

œ. # œ.

œ. œ f .

pizz.

q = 144–152

j & ‰ œ Œ >

solo

c. l. battuto (wood)

# >œ

c. l. battuto (wood)

œ.

arco

Ó Ó

col legno battuto (1/2 hair, 1/2 wood)

œ. n œ. Œ f

arco

col legno battuto (1/2 hair, 1/2 wood)

arco

œ. # œ . P

col legno battuto (1/2 hair, 1/2 wood)

& Ó

H Robust

q = 160

Bubbly 67

solo arco col legno battuto

Œ #œ > ƒ vivid

œ œ ‰ œ ‰ œ Œ J J π p

Ó Œ

0 j œ œ ‰ œ ‰ œœ Œ J #œ p π sub. 0

‰ >œ J

solo

#œ

‰ œ œ œ ‰ œ œ J œ J ƒ P 0

‰

j œ ‰ j œ œ œ œ œ P ƒ

‰ œ œ œ œ J P œo

‰ œ J ƒ >œ # œ

‰ # œJ # œ œ F ƒ

16 213

& #œ P &

#œ

B Ó

Œ Œ Œ

arco col legno battuto

œ. p

œ.

. ‰ œJ Œ π

# œ.

arco col legno battuto

œ. p

# œ.

‰

œ.

# œ.

. œ. N œ

arco col legno battuto

? Ó

> pizz. # œ >œ œ n Œ œ nœ & p f

solo

218

œ.

j Œ œ. π

œ. ‰ #œ Œ J π

arco col legno battuto

œ. p

œ.

solo

œ Œ # œ. π sempre

# œ. # œ. n œ.

solo

π sempre # œ.

# œ.

∑

œ f

(pizz.)

‰ # œj Œ P

œ f

> B Œ œ #œ #œ p f

‰ jŒ œ > ƒ

∑

‰ œJ ‰ œJ P f

? Œ

œ.

# >œ n œ.

# œ.

N œ.

œ.

# œ.

œ.

# œ.

œ.

# œ.

Z Optimistic (pizz.)

‰ jŒ œ > ƒ

(c. l. battuto)

π sempre

∑

pizz.

‰ # œ. œ. J

solo # œ. .œ # ‰ J Œ œ ‰ Œ J p

π sempre

œ & Œ œ #œ > p f pizz.

œ. . ‰ J œ solo

∑

(pizz.)

arco col legno battuto (1/2 hair, 1/2 wood)

>œ ‰ J Œ f

œ.

‰ # œj Œ f Œ

œ.

œ f

l.v. molto

‰ j ‰ j‰ j‰ jŒ œ #œ œ œ ƒ f

‰ œJ œ œ ‰ œJ P ƒ

# >œ ‰ J Œ ƒ

#œ f

‰ j #œ Œ œ > > ƒ

#œ Œ > ƒ

œ Œ > ƒ

l.v. molto

œ. œ. œ. >œ # >œ l.v. molto ‰ J ‰ J ‰ J ‰ J Œ Ó f ƒ pizz.

II. Interlacing: twists and threads A DNA strand #1 in Violin 1

q = 90

4 &4

∑

≤ 2 ≥r ‰ . b œ 4 # œ œ œ œ >œ ƒ rubato 5

swooping forward with flair

B 44 ?4 4

& B ?

∑

& &

∑ ∑

∑

2 4

∑

>œ J Œ ƒ resonant

≤ ≥ >-œ œ b œ ≈ Œ f ƒ

≥œ .

with flair

π ∑ ∑

∑

≤ ‰ bœ. π

π

˙≤

∑

F playful

espr.

∑ ∑

≤ ˙ π

≥ b >œ ‰ . Œ R ç punchy

˙ espr.

≥ ≥ >œ≤ # >œ ≈ # œ ≈ ≈ # œ ≈ Œ ƒ f œ

œ RÔ ‰ .. ç ∑ ∑

vehement

>œ0

∑

# >œ . ≈ J ƒ

∑

>œ f

≥r # œ ‰. Œ > ç punchy

>œ n >œ œ ≈ b œ ≥ œ ‰ œ b œ ≈ ≈ F f ƒ

solo pizz.

≥ n >œœ ‰ . Œ R ç punchy

espr.

≥ ‰ bœ nœ bœ nœ ‰ ˙

∑

espr.

arco

‰

∑ arco

∑

≥ # œ # œ ≈ # œ > ƒ sempre

solo

∑

>-≥œ ≥ ≤ #œ nœ #œ & N œ ≈ # œ > ‰ > œ # œ # œ # œ R ‰ . F ƒ &

∑

sub.

∑

>œ J Œ ƒ resonant

‰

animated and dynamic

≥ ‰ . # œr f

∑

pizz. 0

pizz.

≥ ≤ ≈ b >œ ‰ œ œ bœ œ ƒF ƒ

2 4

≤ ≤ ≥ ≥ >œ œ> ≈ b œ n œ ≈ ≈ & œ # œ ≈ Œ œ > œ ƒ sempre fç ‰

≤ ≥ ≤r ≥ ≤ ≥ ≈ ≈ œ ≈ Œ #œ œ œ #œ œ > f ƒ f ƒ

∑

2 4 ‰.

solo

solo full, fast downbow

4 ≥ &4 ‰ j œ œ > ƒ p

q = 104–110

accel.

solo pizz.

‰ b >œ Œ J ƒ resonant

∑

18 19

>-≥ b ≥œ ≈ ≈ n œ f

∑

& & ‰.

arco

& &

Nœ œ R π

b œ >n œ bœ œ J

n >œ >œ >œ >œ # œ

ƒ sempre

∑

j & œ ‰ Œ ƒ espr.

arco

#œ π

espr.

sub.

# >œ

pizz.

∑

pizz.

>œ

∑

pizz.

>œ

∑

ƒ ƒ

≤ >≥œ >œ≤ >œ >œ >œ >œ # >œ # ≥œ n >œ b >œ≤ ≥ ≤ # œ > >œ ≥œ œ ≈ ≈ # œ ≈ n œ ≈ œ nœ ≈ ≈ ≈ n œ ≈ œ ≈ # œ œ ‰ # œ # œ œ> ≈ ç f ƒ sempre f

>œ .

arco

∑

‰

∑

N >œ ‰ R ≈ Œ ç

ƒ sempre

∑

∑ ∑

∑ œ≤

arco

∑

# >œ >≤ n œ œ≤ œ œ >œ >œ >œ b œ œ n œ sub.

∑

>≥œ ≤ ≥ ≥ >≥œ # œ ≥ > > nœ > b œ # ≥œ ≤ n œ œ b œ ≤ # œ œ # ≥œ n œ >œ b >œ 0≤ # œ n œ ≈ # œ > ≥ # œ ≤ # œ œ n œ ≈ œ œ b œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ ≈ œ œ #œ f f ç f ƒ ƒF

ƒ espr.

>œ RÔ ‰ .. Œ ç

espr.

∑

‰

espr.

∑

≥ ≤. >-œ > œ œ > ≤ œ b # œ ≤ # œ ≥œ # œ R œ -> # œ nœ bœ œ œ œ≤ ≈ b œ œ n œ b œ œ œ . Œ n œ ≈ ≈ ≈ ‰ ≈ b œ ≈ # œ ≈ ‰ R ≈ ≈ ≈ ≈ ≈ ‰ f P ƒ f f F F f ƒ >œ œ ˙ ˙ arco b œ≤ . ˙ R RÔ ‰ .. Œ Œ ‰. Œ ≈ J π ç π >-œ

π ∑

∑ ˙

espr.

∑

≤ n >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ ≥> ≤ 38 > œ bœ ≈ #œ nœ 0 # ≥œ # œ # œ & ≈ œ ≈ # œ ≈ ƒ f F ƒ &

# >œ

pizz.

≥ # >œ & R ‰. ç

# >œ

(pizz.)

œ >œ

≈

∑

>œ ≈ b œ b œ

& Œ

dramatic

∑

solo (pizz.)

‰.

>œ . ‰ R ç arco

∑

R ‰. ç

# >œ . R ‰ ç

r œ > ƒ

œ. ≈ J p

≈ b œJ . p

pizz.

œ. ≈ J p

pizz.

F f F f

∑

≈

#œ nœ nœ. >

# œ≤ ‰. R π

arco

œ # >œ

≈ # œj . ‰ j œ P F

>œ ƒ

∑

≈

œ J

#œ #œ >nœ #œ ƒ f

‰

dramatic

Œ Œ

solo arco

∑

≈ œ # œ œ f

œ œ .. R

≤ œ . Œ ‰ & R #œ œ ‰ P π œ≤ B Œ ‰. R œ bœ ‰ P π ≥ bœ b >œ nœ ? ≈ œ ≈ ‰ . R œ ‰ ƒ ƒ sempre arco

F f

≈ # œ ≈ j œ > œ. f

animated and dynamic

∑

& #œ.

>œ

œ >œ >œ

∑

B (slightly abridged in this first occurrence)

∑

DNA strand #2 in Cello

Œ Œ

≥ # >œ ‰ R ≈ ç >≥œ ‰ œ ≈ R ç >≥œ ‰ # œR ≈ ç

>≥œ œ≤ ≤ bœ œ nœ r # œ ≈ bœ ‰. œ > f ç with flair

≤ ≈ œ .. # œ .. π >œ . ≈ # œ . Œ J ƒ resonant

solo pizz.

‰.

rŒ œ> ƒ

∑ solo pizz.

≈ b œj . Œ œ >. ƒ resonant

solo pizz.

> ‰ #œ J ƒ

>œ b >œ . ‰ J ≈ J ƒ

œ œ

espr.

rK œ ‰ .. œ > ç arco b œ≤ > œ Œ ‰ f

˙ ˙

‰

>œ J ƒ

solo

∑

Œ Œ

solo pizz.

> ‰ . # œR Œ ƒ

>œ

> œ b >œ ≈ # œ œ

arco

ƒ sempre

bœ

P #œ

P ∑ # >œ # œ œ # œ ≈ œ ≈ F

20 œ

& Œ & B

#œ

F œ

∑

0 b >œ œ ƒ

∑ ∑

solo

>œ . & ≈ J

b >œ

solo

& #œ > B

‰

>≥œ

≤ œ # >œ . # œ.

œ solo arco

≥ b >œ # œ≤

≈ ≈

& ‰ R ≈ ƒ sempre B

‰

∑

? ‰ . # œ≤ ≈ R

‰

∑

espr.

≥

j Œ œ >

>œ Œ J ƒ sempre

pizz. >œ > œ ≤ ≈ n œ ≈ b œ ≈ ‰ J ƒ f ƒ

n >œ œ .

˙. ˙. #œ nœ œ. espr.

>≥œ R ‰. ç

∑

arco

j Œ œ >

˙ ˙

>≥œ R ‰. ç

∑

≥ ˙ > ƒ

≈ j œ. >

‰

≈ j œ. >

‰

≈ >œ . J

‰

>œ J

˙≤ .

F F

ƒ sempre

b >œ >œ R ‰. ‰. R Œ ƒ ƒ solo

solo arco

# œ b œ >œ

solo

≈ ƒ sempre

≥ ≤> # >˙ œ #œ ≈ œ espr. ƒ

sempre

>œ J

4 4 œ > ƒ

Ó solo arco

4 >œ Œ 4 ƒ ≥ arco ≥ ≤ n >w ≤ ≥ > ≤ b œ œ ≈ # >œ n >œ ≈ # >œ # œ n œ n œ b œ 44 ‰ bœ œ ≈ ƒ sempre f ƒ F

‰ ≤

≥œ œ≤

sempre

espr.

>œ œ .. 2 pizz. RÔ ‰ 4 œ > ç ƒ

œ >œ >œ >œ œ œ >œ RÔ ‰ .. 42 3 ç ƒp ˙.

4 Œ 4

>œ

pizz.

solo pizz.

≥ # >œ ‰ . R ç

≤ ˙ p

ƒ sempre

arco

≥œ # >œ ≥ ≤ œ > > ≈ n œ ≈ ≈ œ b œ ? ≈ ‰ n œ # œ ‰ # œJ ‰ . R nœ bœ nœ ƒ ƒ ƒ F pizz.

∑

>œ

pizz.

arco

# >œœ

≥ # >œ R ‰. ç arco

>œ

>œ RÔ ‰ .. ç >œ RÔ ‰ .. ç

2 4

>≥œ

solo pizz.

‰. ≈ ≈

>œ R f

≈ b >œ . Œ J f

≈ œj . > ƒ

∑

solo

>œ . ≈ J ƒ

>≥œ # œ≤ œ≤ ≈ # >œ # œ œ ‰ R ≈ ≈ œ œ ≈ n œ #œ f ƒ ƒ

>œ bœ œ b œ ≈

≈ œj . > ƒ

solo pizz.

∑

2 4 Œ

r #œ Œ > ƒ

‰.

sempre

35 304

# ≥œ ≤ ≥ a œ # œ≤ # œ ≈ œ n œ ≈ #œ nœ

‰

≥ bœ œ

nœ

# ≥œ œ ≈ ‰

≥œ # œ œ ≈

œ≤

≈

b ≥œ

≤ œ ≈ ≥œ ≈ # œ

œ nœ œ bœ

≤ ≥r b œ œ n œ # œ ≈ # œ ≈ ‰ œ ≈ œ ≈ ≈ b œ ‰ . ‰ ≈ r ≈ œ ≈ ≈ œ bœ A œ. b œ. #œ #œ n œ ç. ç ç ≥œ œ ≤ ≤ ≥ b œ≤ ≈ n ≥œ n œ ≈ b œ œ ≥ œ nœ ‰ # ≥œ œ ‰ # ≥œ œ œ ≈ # œ ≈ n œ œ ≈ # ≥œ ≈ # œ≤ # œ # œ œ ≈ & œ & ‰

≤r ≈ ≈ œ # œ ≈ n œ

? ‰

309

& ≈ &

≥œ œ œ

& ≈ ?

b ≥œ œ œ œ œ

≈

œ≤

≈

œ. ç

bœ ‰.

b ≥œ œ≤

œ≤

≈

œ≤

≈

‰

œ. ç

œ ≈ b œ ≈

n ≥œ œ≤ .

‰

œ≤ ≈ œ œ

≥œ œ œ œ œ

≥œ œ œ

≥ r œ. ç

œ œ

4 &4 Ó

314

œ ƒ

4 &4 Ó

solo pizz.

4 &4 Ó ?4 Ó 4

œ. ≈ J ƒ

solo pizz.

# ≥œ œ≤ .

‰

nœ œ œ œ

œ œ # ≥œ nœ R ≈ ≈

4 4

∑

4 4

∑ ˙

4 4

espr.

∑

œ ƒ

solo 0

‰ œj Œ ƒ

‰

≈ j œ. ƒ

≈

j œ ƒ

solo

j œ. ƒ

solo

4 4

∑

>o œ ‰ J Œ F solo

bœ. ≈ J Œ ƒ

∑

solo

#œ

œ bœ

∑

‰

œ ≥œ œ bœ ≈ ≈ R

espr.

H Surprise coda solo pizz.

∑ ≥œ # œ≤

≈ b œ n œ n œ œ ≈ œ ≈

bœ œ œ œ

Ó >œ . ≈ J Œ ƒ solo

Ó ∑

∑

III. Spirals: life force Poetic: molto rubato – the first 15 bars are an introduction

q = 66–72

4 ≥ &4 wP

≤ w

solo

4 &4

cantabile and rich in tone color

∑

espr.

‰

B 44

∑

?4 4

∑

≤3 ≥j ‰ œ œ ≈ >œ œ œ >P p

≥ >-œ j œ

B Œ

solo

lyrical

≤

π

∑

˙.

∑

cantabile and rich in tone color

≤ œπ

˙. p espr.

π

˙. P espr.

∑ œ

espr.

∑

≥ ˙ >f espr.

solo

œ.

∑

sul D

∑

π

∑

≥ r ‰. œ œ > P

˙.

∑

solo

majestic

∑

sul C

>≥œ >œ≤ J

-≥œo

œo

π

echo solo rubato

& œ

warm

& Ó

sul G

≥ -œ π

≥ ≤ œ œ . œ . >œ w

≤ ≥ ‰ œ œ œ > F f œ

˙.

elegaic

≤ w

o ? œ

˙o .

∑ œo

˙o .

∑ wo

Œ œo

Œ ‰

solo

˙ p

π

‰

echo

espr.

echo

B ˙.

≥ Œ -œ π

sul G

espr.

>≥œ

œ œ

f espr.

sul C 3

œ œ >>

œ≤

π

≤

œ. π

echo

œ.

majestic and resolute

∑

π

‰

37 Flowing and lyrical 16

& &

q = 72–80 œ

w P

B Œ

Ó w

˙.

≤

-˙ π

≥ ? ‰ ‰ œj œ >p

& ˙ & B

≥ j œ œ œ f

? Œ

& ‰

‰

-≥œ

œ. F

œ. œ. solo

‰ P

solo

œ 3

‰

œ.

˙ ˙

œ. >œ œ J

œ.

>≤ >≥ ‰ ≈ œ œ œ f

≥ ≈ œr > ˙ f solo

˙ ˙

œ œ J

≤ œ œ

solo

∑

F f

> ≈ -œ F

‰

≈ >œ ˙ .

∑ Ó

-œ≤

>œ≤ >≥œ . ≈ R f stately

p echo

≤ ‰ j œ F œ P

-œ≤ J

‰

j3 œ œ ˙. >ƒ sempre

sweetly

≥

œ œ ‰

≤

œ P

≤ > >≥ œ ‰ ‰ >œ œ œ œ œ . œ J J 3 3 P π f echo >-≥œ œ ≥œ œ ‰ Œ ‰. R 3 p P ƒ

œ ˙

solo

sweetly

‰

≥ œ. p ≥œ .

>œ >-œ . ≈ R ƒ

brassy

solo

≥

≈

ƒ sempre

sul D

sweetly

œ. œ. J P

-œ

cantabile

echo

solo

˙. >F sensuous ≤ ‰ j œ œ .. F F espr.

∑

≤ ˙p

˙≤

˙.

≥ b >-œ œ -œ≤ œ B J ‰ ‰. œ œ œ R F f espr. . ? œ

≥œ

π echo

≤

≤ & œj œ . F

‰ J

solo

j œ ‰ π

œ P ≥

j ‰ Œ œ π œ≤ . ‰ œ.

f espr. robust

≥ ˙ F

˙ F

≤ ‰ . œr π π

sul G

echo

w P

≥œ J

œ≤ .

≥˙ . ˙.

F espr.

echo

solo

˙ ˙

>œ≤

≥ ≈ œ œ f P ≥ œ ≈

œ f P ≤ œ ≈ œ

f P

38 28

& œ

≥ œ ‰ œ J > ƒ f

& œ

use open G string

solo

≤ œ

B œ ?

≥ solo > j ‰ ‰ œ œ œ ƒ ƒ3espr.

≤ œ

j œ œ > f

œ œ

œ J ‰ ƒ

≤ œ> ƒ

j œ

œ ‰ Œ J P

solo

≤

-œ

p echo

œ≤ œ

œ œ

œ J ‰ Œ P

≤

œ œ œ

œ.

espr.

˙ ˙ F

solo rubato and florid 3

œ œ œ F œ

œ ≤ >-0œ

j œœ œ

>≥œ œ J ƒ

≥ œ œ

˙.

≥

‰ œ œ F 3

˙. ˙. ≤ œ >œ . J

œ J

>œ≤ .

‰ œ œ F 3

>≥ ‰ ‰ œJ œ 3 ƒ

≥

f f

Œ ‰

≥œ œ

f F 3

Declarative

>≤ & b˙

≤ & ˙ > >≤ B ˙ f ?

>˙≤

≥ ‰ ‰ œj œ > ç ƒ solo 3

soaring

& œ

Ó ç

& & ?

œ ≥œ ≥œ

>-˙ . ˙. f

>-œ≤

f P f

≥ ‰ ‰ œj œ œ œ f

œ œ

solo 3

w≤ w ≤ w w≤

˙ œ œ

œ ≥0

˙ bœ

≤ 0

œ œ

˙. ˙.

b ≥œ ‰ J f

œ J

‰

œ œ ‰ .. Œ RÔ ç

œ ‰ .. Œ RÔ ç œ RÔ ‰ .. Œ ç

Ó Ó

≥ ≈ œ .. f ≈

Œ &

≤ œ

j œ≤ œ ‰ P œ≤ œ J ‰ P

≥œ ..

OPTIONAL: add a small fermata to the rest

≥ ≤ j ‰ ‰ œ œ > F f

solo

‰

solo 3

≥ w p b w≥

Ó ç

˙≤

≥ 3 ≤ ≥ >. œ ‰ .. œ b œ ≈ œ RÔ > œ œ >œ œ ç ƒ sempre ƒ majestic solo

>˙

œ œ œ

>˙≤

ƒ ƒ ƒ ƒ

Œ Œ

≥ >≤ b >œ œ .. R f bold

solo

-≥˙

π

suddenly fragile; elegant

∑

39 Delicate 41

œ . ≈ j œ œ J > π P 3

≤

& ‰

bœ. π

sensuous

B Œ ? ‰ œ≤ . π

˙ p

sensuous

≤ ‰ œ.

‰

˙. ˙.

˙ p

>-≥œ j œ ‰ ≈ œ & œ œ . J œ. ƒ f ƒ espr.

≥ ≤ 3 ‰ ‰ j œ ˙ > > f

45 solo 3

≤ œp

‰. r œ ˙ F p

≤ ˙ p

œ œ

echo

B Ó ? Ó

>œ ƒ

>-≥œ ˙ & ‰ 3 f sempre B ?

espr.

ƒ sempre ≥˙ .

≤ œ ‰ >œ 3

& œ

≥˙ .

> ‰ œJ f

ƒ sempre

≥˙

q = 80–86

& Œ

œ≤ .

‰

≥

œ œ P p

≤ ‰ j ˙ œ ˙ p sensuous

sul G

sub.

œ J ‰ b -œ > f espr. solo

‰

≥ ≤ ≥ ≤ 3 . ‰ r œ œ bœ œ œ œ œ œ œ -> f P ≤ Œ ‰ œ. œ π F

solo

‰

≥œ .

œœ ..

˙.

≤

‰ -œ .

j3 œ œ œ

‰ ‰ bœ F P

j ‰ ‰. r œ œ œ f F

œ œ f ≤ ≥ j >3 j œ ‰ œ bœ œ F œ

œ. œ

Œ π œ

˙. ˙. P

≥ ‰ . >œ œ R f

solo

j ≈ œ œ. > œ. œ f >œ≤ œ œ ‰ J

œ f œ

œ. J

j 3 œ œ œj œ > > ƒ

œ J ‰ Œ P

œ Œ

œ P

j œœ œœ P 0

œ b >œ

f P

solo

œ. P

≤ ˙

œ 3

œ ƒ

j3 œ œœ

œ.

œ ≈ >œ œ F f

˙. F

œ ‰ ‰ œ J J F f

poco accel. ≥ ≤ ‰ b >œ >œ ˙ .

≤ ≥ œ ≈ œ œ . >>œ ˙ F P F

≈ Œ

r ‰. œ > ß r œœ ‰ . > ß

>œ . R ‰ ß

œ œ >-œ . œ F

œ. J

≈

≥0

≈ œ œ œ >˙ > F ƒ ≤ œ p

rhapsodic

≤ œ . ≈ >-œ . J F F >-œ . œ≤ . J ≈ F F

espr.

f f

‰

3 ‰ ‰ œj P p

≥ j œ œ œ p

Majestic Quixotic character for three bars

>≥œ . & œRÔ ‰ .. ç ƒ

151

= 88–96

≤ ≥œ # >-œ . œ. ≤ œ.

# œ≤

B Œ

œ ? RÔ ‰ .. Œ ç

≤ j œ & œ . ≈ # œ > > >œ

œ R

155

& Œ

j #œ œ a -œ œ >

>-≥ ≥œ # œ≤ œ . œ.

solo

≥0

# -≥œ J

‰

œ ..

>œ≤ >≥˙ .

B ˙ B

>-≥œ œ ‰ J ƒ

j #œ œ F

molto espr.

˙≤

F ∑

œ Œ

solo

œ Ó

‰ #œ œ ˙ œ > f ƒ sempre 3

with flair, brassy

j œ

ƒ sempre

Œ w

‰

≥˙

>œ œ ƒ

˙≤ .

≤ ˙.

sub.

∑

≥ ‰ ‰ -œ ˙ J π echo

≥

solo

∑

rit.

∑ œ

>œ œ J

œ œ≤ . J

>œ

≤ >≥ ‰. r œ # œ. œ > f ƒ solo

≤ ‰ # -œ

∑ >≥˙

‰ œ >

ƒ sempre

w p

œ J

>œ # œ . œ

ƒ sempre

≤ 3 ≤ ≥ >≥ ‰ ‰ œj œ œ œ œ œ œ # ˙ f

>≥œ

ƒ sempre

≥ œ

˙.

≥œ

≤ j œ œ >

# >œ œ œJ œ .

≤ ˙. 3

solo

∑

≥r # œ≤ ‰. œ > ß

˙.

≤ ‰ #œ P

solo

œ F

≥ ≤ ‰ > >œ œ ‰ œ #œ 3 F 3 ƒ

˙.

∑

sub.

& œ

j œ œ

œ œ #œ #œ J

trumpet-like

≥ & ‰ œ

#œ

#œ F

∑

#œ œ œ . >œ œ # œ . œ œ >N œ > > 3 f ƒ > ƒ sempre

œ. ? J ≈ Œ

159

rhapsodic 3

œ. B J ≈ Œ

# >œ ≈ œ

≥ 3 œ & RÔ ‰ .. ≈ # œ > œ œ # >-œ œ ç f ≥ # >œ .

≥ a >œ œ

q = 92–100

≤ ˙.

≤ ˙

49 Conclusive

q = 76–80

˙≤ œ .. & RÔ ‰ ç f

163

≤ & œRÔ ‰ .. # ˙ ç f

œ≤

B Œ

≥œ Œ

>≥œ & ‰

≥ # >˙

& Ó & Œ B Œ & Œ

≥˙ .

ƒ sempre ≤ # ˙. f

œ≤ œ œ # œ

≤ ‰ œ J 3 f ˙

ƒ sempre

>≥˙ .

ƒ sempre

‰

solo

171

≈

‰ #œ œ œ F 3

≥ # >˙

B Œ

ƒ sempre ˙ >≥˙

solo

ƒ sempre

œ.

‰

œ J ‰ ‰ ‰

≈ œ .. ˙

>œ . >œ œ

>˙

solo

˙≤

≤ ˙

j ->œ œ f

‰ œ œ œ œ > ƒ 3

≤ ˙.

˙≤ .

Ó Ó

‰ œ > ƒ

> ≈ œ # œ F

>≤ ‰ #œ ƒ

≥˙ ƒ

˙≥˙

sul A & E

# ≥˙ ˙ ƒ

# ≥˙ ƒ

sub.

U ˙

˙U˙ U ˙

œ ‰ .. RÔ ç œ RÔ ‰ .. ç

œ RÔ ‰ .. ç

≤ ˙.

w f

ƒ 3

≤ ‰ >œ 3

˙≤

≥ 3 ‰ #œ œ œ >œ f ƒ

ƒ ˙ > ƒ

w≤

j œ ˙

>˙

j # -œ ˙ F

œ ‰ ‰ Œ J 3 ƒ

≥ > ‰ ‰ œ #œ. J 3 P

‰ œj œ > ƒ f

solo

≥ ˙ > ƒ

& œ

œ ≥0 j # >œ œ 3 ƒ

& œR ‰ .. Œ Ô ç

& Œ

solo

167

≤ ‰ œ

rK œ ‰ .. ç

˙≤ F

dramatic and blazing

˙˙≤

dramatic and blazing

˙≤ ˙

dramatic and blazing

˙≤

dramatic and blazing