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Walking Towards the Sun Singley, Robert 2014

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WALKING TOWARDS THE SUNbyRobert SingleyB.A. Duquesne University, 2002M.M. Ithaca College, 2006A THESIS SUBMITTED IN PARTIAL FULFILLMENT OFTHE REQUIREMENTS FOR THE DEGREE OFDOCTOR OF MUSICAL ARTS inTHE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES(Music)THE UNIVERSITY OF BRITISH COLUMBIA(Vancouver)April 2014© Robert Singley, 2014Abstract“Walking Towards the Sun," for string quartet, is a collection of musical meditations on my experiences hiking the Appalachian Trail from Maine to Georgia. The scale, structure, and musical language of the composition are related to the Trail. Lasting almost eight hours, the piece is massive and idealistic. It is comprised of 80 movements that give unique interpretations to places and experiences from my hike. The movements are organized to trace my journey southward from Maine to Georgia. The musical material utilizes both abstract and symbolic expressions to reflect my experiences on the Trail. The sound of the composition transports the listener by suggesting emotional states reflective of my journey.    This paper will introduce the composition and explain its connection to my hike. The first section of this paper gives the premise behind my thesis and suggests a precedence in other composers’ work. This is followed by an overview of the composition’s structure and its relationship to the trail. Section 3 delves into specific musical techniques and procedures utilized in the work and an explanation of the instrumentation choice. The paper concludes with an aesthetic statement, suggesting a context for the composition as a work of art. A complete version of the score, a table detailing the textural, harmonic, and other contributions to the works structure, and a program note for the composition’s performance are included in the appendix.iiPrefaceThis thesis is original, unpublished, independent work by the author, Robert Singley. Movement 8 was arranged by the author for orchestra and performed May 17, 2012 by the Putney School Orchestra, conducted by James Wallace (Putney, VT, USA). Movements 25–28 also are taken from another piece by the author, “String Quartet, Between the Winooski and Walloomsac Rivers” (2009). iiiTable of Contents........................................................................................................................................................Abstract   i........................................................................................................................................................Preface  iii.......................................................................................................................................Table of Contents  iv............................................................................................................................................List of Tables  viii............................................................................................................................................List of Figures  ix...................................................................................................................................................Dedication   x...........................................................................................................................................1: Introduction   1...............................................................................................    1.1 Place and Long Distance Backpacking  1 ..........................................................................................................................................    1.2 Precedents   1 ................................................................................................................2: Structure of the Composition  3  ........................................................................  2.1 Relationship Between the Composition and the Trail   3      .........................................................................................................................    2.2 Summary of Chapters   4....................................................................................................................................        2.2.1 “Prologue”  4.........................................................................................................................................        2.2.2 “Maine” 5.........................................................................................................................        2.2.3 “New Hampshire” 5.....................................................................................................................................        2.2.4 “Vermont” 5............................................................................................................................        2.2.5 “Massachusetts” 6...............................................................................................................................        2.2.6 “Connecticut”  6...................................................................................................................................        2.2.7 “New York” 6................................................................................................................................        2.2.8 “New Jersey” 7.............................................................................................................................        2.2.9 “Pennsylvania”  7...................................................................................................        2.2.10 “Maryland and West Virginia”  7            ....................................................................................................................................        2.2.11 “Virginia” 7.................................................................................................        2.2.12 “North Carolina and Tennessee” 8....................................................................................................................................        2.2.13 “Georgia” 8..................................................................................................................................        2.2.13 “Epilogue”  9....................................................................................................................    2.3 Form in the Composition  9.................................................................................................3: Musical Content of the Composition   10.......................................................................................................................    3.1 Metaphorical Content   10     ..........................................................................................................................        3.1.1 Natural Shapes   10........................................................................................................................        3.1.2 Musical Mirrors   11.......................................................................................................................        3.1.3 Barred Owl Calls   12..................................................................................................................................        3.1.4 Loon Calls  14iv...........................................................................................................        3.1.5 Other Symbolic Material   14................................................................................................................    3.2 Pitch and Interval Content   16..................................................................................        3.2.1 Importance of the Notes A, E, B, and F#   16 ........................................................................................................        3.2.2 Homogenous Interval Sets   17........................................................................................................................        3.2.3 Vertical Spacing   18            ...........................................................................................................................................    3.4 Slowness   19...................................................................................        3.4.1 Slow Meter and Variety of Subdivisions   20.........................................................................................................................    3.5 Why String Quartet?  21.............................................................................................................................4: Aesthetic Statement   22..............................................................................................................................................Bibliography  23 .................................................................................................................................................Appendices  25    Appendix A: Walking Towards the Sun ................................................................................. Full Score  25        ...........................................................................................................1.  wandering stars (prologue)   27.....................................................................................................................................................    Maine   35........................................................................................................................................        2.  Katahdin   36...........................................................................................        3.  loons in the Hundred Mile Wilderness  40.......................................        4.  ghost moose on Rapid Stream Pond; night horizon jagged with spruce   43.........................................................................................................................        5.  the sound of moss   45................................................................................................................        6.  walking towards the sun   49        7.  Mooselookmeguntic ......................................................................................................................  55....................................        8.  the clouds lift over Avery Peak leaving windows to Flagstaff Lake below  58...............................................................................................................................................        9.  loons  61.........................................................................................................................        10.  Mahoosuc Notch   66...................................................................        11.  low maples turn to red; solitude in the late summer   70............................................................................        12.  the Mahoosucs shimmer with mica in the sun   75.....................................................................................................................................    New Hampshire   81        13.  into the Whites (from the river to the clouds) .............................................................................  82.....................................................................................        14.  delicate balances (Athene and Arachne)   86........................................................................................        15.  climbing Mt. Madison in the cold rain   90..........................................................................................................................        16.  life in the clouds   92....................................................................        17.  the Southern Presidential Range under an open sky  96.....................................        18.  down from Moosilauke into the lower lands; solitude in the early fall  100.................................................................................................................................................    Vermont   101.......................................................................................................        19.  rolling hills and open fields   102.................................................................................................................................        20.  as slowly as  109....................................................................................................................        21.  the stars were close   112v..........................................................................................................................        22.  Height of Land   115.....................................................................................................        23.  Spruce Peak to Story Spring   119        24.  Stratton Pond .............................................................................................................................  121 ...............................................................................................................        25.  Glastenbury Mountain  123.................................        26.  the Green Mountains turn to gold (time is a snake that eats its own tail)   125.......................................................................................................................        27.  canon cancricans   127.....................................................................................        28.  sunset from the Glastenbury fire tower   128    Massachusetts ......................................................................................................................................  129...................................................................................................        29.  sunrise from Mount Greylock   130........................................................................................................        30.  forest floor ablaze in color   133...................................................................................................        31.  Barred Owls in the Berkshires  136        32.  summer is rotting (for Anya) .....................................................................................................  141.........................................................................................................        33.  solitude in the middle Fall   145    Connecticut ..........................................................................................................................................  146        34.  dawn landscape painting ...........................................................................................................  147        35.  sunrise from the Lion’s Head ....................................................................................................  151        36.  (thoughts come and go) rain close to snow ...............................................................................  152..............................................................................................................................................    New York  155....................................................        37.  the last quarter of the harvest moon rises to a star filled sky   156   .............................................................        38.  the Hudson River Valley painted pink with the sunrise  161..............................................................................................        39.  owls in the morning (chaconne I)  165......................................................................................................        40.  broken chords (chaconne II)  171 ........................................................................................        41.  solitude in the late fall (chaconne III)  175     New Jersey ............................................................................................................................................  176.......................................................................................................................................        42.  Prelude  177................................................................................................................................        43.  cold clouds   179........................................................................................................        44.  snowstorm near Unionville  181...........................................................................................        45.  golden brown leaves on fresh snow  186  .........................................................................................................................................    Pennsylvania  189....................................................................        46.  dawn clouds resting in the Delaware River Valley  190............................................................................................................        47.  Persephone’s swan song   192 ...........................................................................................................................        48.  far away trains   196.................................................................................................................        49.  long mountain ridges   200.................................................................................................................    Maryland and West Virginia   204             .....................................................................................................................................50.  Pen-Mar   205.......................................................................................................................        51.  distant memories   210vi.....................................................................        52.  where the Potomac and Shenandoah Rivers meet  212.................................................................................................................................................    Virginia   216...............................................................................................................................        53.  Shenandoah   217..........................................................................................................        54.  clouds lift in the morning   218.............................................................................................................................................        55.  rest   219.......................................................................        56.  awake in the fog filling Brown Mountain Creek  220                     ..............................................................................................57.  following a heron in the morning   222..............................................................................        58.  a few days later i started seeing more bears   227..................................................................................................        59.  there are always lots of snakes   231 .................................................................................................        60.  spiderwebs like crystal threads   234......................................................................................................        61.  windchimes at Angel’s Rest   238......................................................................................................................        62.  Brushy Mountains  239....................................................................................................................        63.  Grayson Highlands   242            ......................................................................................        64.  (the endangered Weller’s) salamander   245...................................................................................        65.  walking to Damascus before the sunrise   246..............................................................................................................    North Carolina and Tennessee  248        66.  the mountains change ................................................................................................................   249                    67.  far from home (part I) ...............................................................................................................  252.....................................................................................................        68.  dense forests and open balds   255........................................................................        69.  colors of Max Patch; clouds on a pane of glass   260 .........................................        70.  Mount Cammerer and Cosby Knob seen from Snowbird Mountain  264............................................................................        71.  jagged edges at the tops of the world (part I)   267           ..............................................................................................................        72.  far from home (part II)   269..............................................................        73.  thick fog and dark rain from Clingman’s Dome south  271      .................................................................................................................................................    Georgia   274...........................................................................................................................................        74. south   275..........................................................................        75.  jagged edges at the tops of the world (part II)   280...........................................................................................        76.  time is a snake that eats its own tail  282         ............................................................................................        77.  views to the ends of the mountains  284        78.  memories return in a flood ........................................................................................................  286...................................................................................................        79.  sunrise on Springer Mountain   290        ......................................................................................................................................        80. epilogue   294    .....................................................................................Appendix B: Table 2: Summary of Composition   298......................................................................................................................Appendix C: Program Note   309viiList of Tables..........................................Table 1    Chapter Titles, AT Distance, Number of Movements, and Durations   3.............................................................................................................Table 2    Composition Summary   298viiiList of Figures...........................................................................................................................Figure 1: Mov. 1, mm. 1–3  4 .......................................................................................................................Figure 2: Mov. 2, mm. 9–10   11.......................................................................................................................Figure 3: Mov. 19, mm. 1–2   11.....................................................................................................................Figure 4: Mov. 5, mm. 18-22   12 ........................................................................Figure 5: Basic Rhythm of the Common Barred Owl Call   13 ............................................Figure 6: Composite Rhythms of all Four Instruments in Mov. 31 mm. 1–3   13 ....................................................................................................Figure 7: Spectrogram of a Loon “Wail”  14 ................................................................................................................................Figure 8: Mov. 3, m. 3   15 ...................................................................................................................Figure 9: Mov. 48, mm. 15–20   15 .....................................................................................................................Figure 10: Mov. 44, mm. 5–8  16......................................................................................................................Figure 11: Mov. 22 mm. 1–3   17.................................................................................................................Figure 12: Mov. 22 mm. 20–23   18 .....................................................................................................................Figure 13: Mov. 45, mm. 1–4  19.............................................................................................................................Figure 14: Mov. 1, m. 75  20...................................................................................................................Figure 15: Mov. 1, mm. 87–89   20ix  for Sam Leonard (es–A–mi)... x1: Introduction1.1 Place and Long-distance Backpacking My work is an abstract expression of the wilderness. For research, I immerse myself in natural environments for extended periods of time, often by backpacking long distances.1 One develops a deepened respect for the massive scale of nature after walking thousands of kilometers. Wilderness pilgrimages allow for deep reflection on both external (environmental) and internal (psychological) spaces, especially when undertaken alone. The emotions that come while alone in the wilderness are an authentic acknowledgment of our primal essence and put us in touch with our animal instincts. My work transports the listener to the wilderness by expressing these emotions with music. For my doctoral thesis, I hiked the entire length of the Appalachian Trail (AT) from Maine to Georgia and then composed a collection of music reflecting the experience.2 While hiking, I recorded on paper ideas of how to translate the hike into music. I transcribed aspects of the soundscape and sketched musical lines based on natural contours. My sketchbook was filled with musical ideas, poems, transcriptions, observations, dreams, drawings, and more. The hike inspired a series of titles for movements interpreting specific places or experiences; this series is the basis for the work’s structure and relates the composition directly to the trail. The work considers place being something traveled across rather than one specific environment. The music unfolds in a way reflecting the changing landscape of my south-bound journey. 1.2 PrecedentsThe personification, reflection, and dissemination of nature is a common theme in music; my work pays homage to a diverse group of ecologically minded composers. Music influenced by nature explores the juxtaposition of the creator and the natural. In the Western tradition, Debussy’s work represented a break from Wagner’s representation of nature as a force which humans strive to control. In contrast, Debussy was more content with the lack of will in nature and rarely responds to the vast indifference of the natural world with terror. Debussy’s use of directionless harmonies, unresolved dissonances, and “color music” suggest acceptance rather than despair. John Cage moved closer to creating work in nature’s model. In John Cage’s work, there is a further acceptance of the experience of disorientation. In his work we are lost 11 See my previous compositions: String Quartet: Between the Winooski and Walloomsac Rivers (inspired by a 450 km hike on the Long Trail (VT)), Fog (inspired by a hike up Glastenbury Mountain (VT)), Sitting Alone in the Woods (inspired by hiking in British Columbia), and I Can Hear the Forest Screaming (inspired by my 2003 and 2004 section hikes of the Appalachian Trail). 2 The Appalachian Trail is a ca. 3,500 km hiking trail running from Mt. Katahdin in Maine to Springer Mountain in Georgia. I hiked the trail in two long sections. From August to December 2011 I hiked from Mt. Katahdin in Maine southbound to Rockfish Gap at the southern end of Virginia’s Shenandoah National Park. I started where I left off the next August (2012) and hiked to Springer Mountain, Georgia, finishing my hike in late September. My south-bound route and schedule were chosen to allow as much solitude as possible. and content to stay that way. Making reference to Zen Buddhism, Cage’s work suggests music exists in all sound, far from Beethoven’s stormy scenes or Wagner’s existential tribulations in the wilderness.3             John Luther Adams’ concert works suggest place with imaginative interpretations. His music is slow and vast with harmonies that explore the natural overtone series. Works such as “Dream in White on White” and “The Far Country of Sleep” suggest inward places with their titles and meditative sound. Adams responds directly to nature with “The Place Where You Go to Listen,” an example of an ongoing and continuous piece, shifting and morphing as weather patterns and seismic activity play out across Alaska. The depth of Adams’ musical thoughts describe an experience in both physical and mental wildernesses. Adams is successful in his interpretations in part because he immerses himself in the places he wishes to describe; his work has the mark of someone who has experienced the massiveness of nature first hand. Adams translates not only the scale of they environment he lives in (Alaska) but also the personal psychological space that is a result of his immersion within that wild environment.4  The massive scale of my composition is influenced by the work of Morton Feldman, Giya Kancheli, and William Basinski. Feldman talked about how his large pieces move beyond form to scale: “Up to one hour you think about form, but after an hour and a half it’s scale.”5 Form is how things are put together, but scale involves the whole of the object. The size of “Walking Towards the Sun” dissolves traditional notions of form. The piece unfolds slowly and is not pre-determined in its structure. The composition is a slow and soft environment that drastically suspends the listener’s sense of time, much like Feldman’s longer works.  Giya Kancheli is effective in stretching the pace of musical progress to a speed reflecting the slowness of natural growth and decay. His choice to work with incredibly slow beats (frequently eighth note equals 40) divorces the music from traditional directionality. Music this slow is experienced vertically (in the present) rather than linearly (based on memory and expectation). The slowness helps listeners to lose their sense of direction.  William Basinski’s tape music weaves sonic tapestries that continue for hours. His “Disintegration Loops” are a series of tape loops that continue until the tapes fall apart. Over the course of his music one hears a very gradual evolution of a sonic landscape. The works of Feldman, Kancheli, and Basinski are examples of music on a massive scale; their idealistic creations push the capabilities of the composer, performer, and listener.23 See Mellers.4 See Adams, Winter Music p. 7: “Resonance of Place.”5 Feldman, Morton. Give My Regards to Eighth Street, 137. 2: Structure of the Composition2.1 Relations Between the Composition and the Trail Walking Towards the Sun is organized in a sequence that follows my route south from Maine to Georgia (with prologue and epilogue sections on either end). Titles make suggestive references to places (i.e. mov. 10 “Mahoosuc Notch...” and mov. 63 “Grayson Highlands...”), thoughts or experiences I had (i.e. mov. 32 “summer is rotting...” and mov. 54 “clouds lift in the morning...”). The titles give the listener points of reference, putting the music into a context. Movements are grouped together into chapters named for corresponding states the trail crosses.Chapter Title Trail DistanceNumber of Movements Chapter LengthPrologue N/A 1 ca. 20 min. Maine 452 km 11 ca. 1 hr.New Hampshire 259 km 6 ca. 30 min.Vermont 240 km 10 ca. 40 min.Massachusetts 140 km 5 ca. 22 min.Connecticut 84 km 3 ca. 31 min. New York 142 km 5 ca. 36 min.New Jersey 116 km 4 ca. 16 min. Pennsylvania 369 km 4 ca. 25 min. Maryland/West Virginia 70 km 3 ca. 16 min. Virginia 890 km 13 ca. 1.25 hr.Tennessee/North Carolina 286 km 8 ca. 35 min. Georgia 121 km 6 ca 1 hr. Epilogue N/A 1 ca. 10 min. Table 1: Chapter Titles, Appalachian Trail Distance, Number of Movements, and Durations The length of each chapter is proportional to the span of the trail in that state. “Virginia” is the longest chapter  (ca. 1.25 hr.) and state to hike (ca. 890 km) while “Connecticut” and “Maryland and West Virginia” last only three movements and are short enough to be hiked in a few days.6 Musical materials develop through the composition to show a diverse and interpretive series of photographs from the trail. The massive scale of the work makes perception of a total musical continuity or progression of events 36 West Virginia only has 6.4 km of the Trail, so it is grouped together with Maryland (66 km). North Carolina and Tennessee are grouped together because the trail follows their border, frequently moving between states.difficult. The challenge lies in the character of the composition; it suspends our sense of time with a continuous blanket of gradually unfolding slow music in a multitude of abstract textures. There is no obvious sense of continuity, apart from a growing impression of timelessness as the work proceeds. Experiencing the piece is like walking through an enormous environment that one only experiences a fraction of at a time. The smaller parts combine their unique structures to create an overall experience. The composition has a consistent sound throughout; most movements are seamless and blend into each other.  The music never feels rested; through all 80 movements there is a lingering feeling of non-resolution. As a result, it is easy to feel lost while listening to the piece. This disorientation suggests the feeling of long distance backpacking: long distance hikers must come to terms with the scale of their journey by accepting the present and embracing the feeling of being immersed in the wilderness. 2.2 Summary of Chapters2.2.1 “Prologue”The piece opens with a colorful chord (G#m7 add4) broken between all four instruments in a unique arpeggio (Figure 1). The first half of measure 1 has a 2:3 rhythm; the second half of the measure is divided into five quintuplet subdivisions. This chord is held followed by a rest with a second fermata This first gesture sets the mood for the composition and contains principal motives in its rhythm, pitch content, and texture. The music continues with soft, slow textures based on fifths, sevenths, and ninths. Polyrhythmic and syncopated arpeggiations are broken and sustained amongst all four instruments. Long chords and a slow meter confused by subdivisions into groups of two, three, and five are characteristic of the sound. !"!"!"1: wandering stars (prologue)...Violin IViolin IIViolaViolincelloppppr=40   pppppppp ppppVln. IVln. IIVla.Vc.ppp6 pppppp pppVln. IVln. IIVla.Vc.pp12 pppppp!! "! !!!! "! !!!! "! !!!! "! !! "!"!"!"!"! !! "! "! !#"! !! "! "! !#"! !! "! "! !#"! !! "! "! !#$ %& 55$ %& %' 3 %& 3( %& %$ 3 %&$ % % %&' % % % %& 3( % 5 %&$ % %$ 3 %' 3 %( 3 %)* ) +*, -& .# +* - -. )* # -& )* )*. )* ) -& / . ) ) -/ ) -& -*- / / +* - - -*- -* . )* #- . )* )- . 0 + ) - / )- # -* #- # . ))** )) -- ##- # . )* ) - #- # . ) ) - #1Figure 1: Mov. 1, mm. 1–342.2.2 “Maine”Eleven movements comprise “Maine” and reflect this wild landscape. The northern terminus of the AT is on Mount Katahdin in Baxter State Park.  From Katahdin one can see the Hundred Mile Wilderness stretching out with dozens of lakes reflecting the sun. Earl Shaffer relays a legend where a giant mirror was broken over Katahdin and the lakes are its pieces.7 This mystical landscape was an appropriate place for my hike to begin. The first movements of the work are an introspective and deep meditation on the feelings I had when I realized the trip had begun. The music is mysterious and ambiguous with a series of rising arpeggios that suggest the formidability of Mount Katahdin. Down from Katahdin, the AT enters the Hundred Mile Wilderness. This dense wilderness is a vast landscape of forests, swamps, lakes, and mountains; it is some of the roughest terrain on the trail. In movements 2 and 9 loon-like gestures echo amidst sparse and reflective harmonies. Movement four is a reference to an experience I had sharing a pond with a moose as the sun rose; the music is dream-like and suggests the surreal feeling of the morning. Octatonic harmonies in movement 5 and 10 suggest dark green mossy textures as slow rhythms drag along through rough terrain. Movement 12 uses the Lydian mode; this bright sound suggests sunshine glittering off of mica as I crossed the Mahoosuc range. This movement is exciting and climactic, with a set of notes broken up (in hocket) between all four instruments.   2.2.3 “New Hampshire”The majority of the trail’s ca. 260 km in New Hampshire traverses the dramatic and massive White Mountains. The steep climbs to Wildcat Ridge and the Presidential Range are represented with wide arpeggios in movements 13 and 15. My first few days in the alpine zone were cold and rainy. Soft, spacious chords describe the otherworldly cloudscape of the high peaks in movements 15 and 16. The clouds cleared as I hiked over Mt. Washington to open views in the Southern Presidential Range. Movement 17 is the first presentation of a joyful, bright, and flowing texture that recurs through the composition. Movement 18 consists of three arpeggiated and held chords that give space for reflection.   2.2.4 “Vermont”The trail crosses more gradual terrain as it winds through Vermont. The Green Mountains are older than the Whites and are a more hospitable environment, where farms and fields are interspersed with National Forest areas. The music reflects the less jagged terrain with smoother music and gentle textures. There is an introspective feeling of coming back to a state I have called home; having hiked VT many times, I was revisiting several places I have been before. Most notably I was returning to the area around Glastenbury mountain where I previously had the bizarre experiences that inspired my earlier string quartet, Between 57 Shaffer, 149-151. Earl Schaffer was the first to hike the entire AT (in 1948).the Winooski and Walloomsac Rivers.8 Movements 25-28 quote and re-interpret selections from that older composition and are a reminder that I had been there before.2.2.5 “Massachusetts” The trail becomes even less rugged as it winds in closer proximity to nearby populations in southern New England. Hiking through Massachusetts after the northern sections of the trail was considerably less difficult; the more manageable terrain turned my thoughts inward. The music composed for the southern New England/Mid-Atlantic region is introspective and abstract, reflecting my feelings that the hiking routine had set in. There are references to the first owls I heard on the trail (mov. 31), meditations on the colors of fallen leaves (mov. 30) and nostalgic thoughts on the end of summer (mov.  32 and 33). 2.2.6 “Connecticut”The gentler terrain of the Berkshires continues into Connecticut. The trail follows the western ridge above the Housatonic River before heading westward towards the Taconic Mountains and Hudson River Highlands. There are many views of the Hudson River Valley and Catskill Mountains. I was waking early every day to start hiking before the sunrise. Movement 34 (“dawn landscape painting...”) gives a sense of the austere and peaceful quality of the forest in the early morning.9 Movement 35 (“sunrise from the Lion’s Head...”) continues the subtle music with colorful music that gradually brightens. The last movement in “Connecticut” (“thoughts come and go (rain close to snow)...”) ruminates on the passage of time; it was early November and the temperature was dropping.2.2.7 “New York”The music in these sections reflects the hiking routine I had fallen into.10 The first three movements (37-39) express my fascination with the early pre-dawn stillness. The last three movements of New York (39-41) utilize repeating harmonic progressions. There was a cyclical feeling to the experience of walking all day each day, and I approached the walk as though it were an ongoing meditation.68 This previous string quartet was inspired by a number of odd experiences I have had on Glastenbury, including a night in 2009 when I got lost and had to camp out unprepared. 9 This title is a self-reference to my earlier work, “Dusk Landscape Painting.”10 My daily routine: I would wake each morning (ca. 4:30 AM) with enough time to eat breakfast and be on the trail before sunrise. I would meditate and stretch at an overlook while the sun rose and then hike until I needed more water (ca. 10:30 AM). I would rest and filter water while having a snack and stretching more. I continued this pattern until sunset, averaging around 40 km per day. I carried a tarp to camp under and most nights would select a private spot nestled under some trees to sleep. I avoided the shelter system when possible and spent most of my time on the trail alone. I carried enough food for at least a week, sometimes more. I would hitch-hike or walk to resupply every 7-12 days. 2.2.8 “New Jersey”As I hiked through New Jersey, a cold front blew in a heavy storm and I was caught walking in snow above my boots. Movement 42 is a prelude that suggests what is to come: broad, sweeping motions present foreboding sonorities and descending arpeggios. Movements 43-45 give before, during, and after reflections on the snowstorm. First came dark and cold clouds represented in mov. 43 by soft open chords. This is followed (mov. 44) with music representing the gentle sound of snowflakes and (mov. 45) the beauty the forest covered in snow, undisturbed except for the brown leaves that fell under the weight of the snow. 2.2.8 “Pennsylvania”“Pennsylvania” opens suggesting a dawn landscape (mov. 46). Movement 47 features the cello with a prominent melody meant to symbolize the ancient story of Persephone and how she would disappear to the underworld every year. It was well into Fall and the temperature had dropped significantly; the cold and solitude was sending my thoughts further inward. The sounds of civilization were far in the distance, mostly through the haunting sonorities of the train whistles down in the valleys. Movement 48 is based on the sounds of distant trains which might be symbolically interpreted as clouds of far off thoughts. “Pennsylvania” closes with a return of the theme from mov. 17. Here again, the soaring melody against a flowing sixteenth note texture symbolizes the wide panoramic views and expansive landscapes that one occasionally hikes across on the AT.       2.2.10 “Maryland and West Virginia”My thoughts stayed focused inward as I crossed the mid-point of the trail and continued into Maryland. The long ridges continued to the Potomac river and my routine was dream-like. A feeling of deja-vu came from coming back to sections of the trail that I had hiked more than ten years earlier. These three movements are dreamy, slow, patient, and nostalgic music.  2.2.11 “Virginia”Somewhere in the Shenandoah Mountains I realized that it was time to take a break from hiking. It was nearly Christmas, the weather was making hiking difficult, and I was feeling a strong desire to work out the composition. At the southern end of the Shenandoah Mountains (Rockfish Gap, VA) I headed back north to compose. The first two movements in “Virginia” are the last movements of my 2011 hike. They give quiet and nostalgic meditations on the feelings at the end of this part of the journey. Movement 55 symbolizes the break I took from the Trail by having all four instruments tacet. The length of this rest is up to the ensemble; it could last for minutes, hours, or even days. This movement is a respite in the composition and a time to meditate on the natural soundscape of the concert hall, like John Cage’s 4’33’’ (1952).7 When I returned to finish the trail, I quickly fell into my routine again. Virginia is the longest state on the trail, and I had a myriad of experiences as I traveled further south. These sections have literal titles and give glimpses into my journey. Movements 56–60 are a dreamy story of mornings: I woke early to hike through fog, followed a heron down the trail, saw bears (on average one each morning for a few weeks) and snakes, and pushed through spiderwebs sparkling with dew. Movement 61 is a transcription of wind-chimes placed at the “Angel’s Rest” viewpoint outside of Pearisburg, VA. The Brushy Mountain range is represented in mov. 62 with several musical lines that reflect mountain peaks; the open fields of the Grayson Highlands are represented in mov. 63 with clear, wide arpeggios. The chapter concludes walking towards Damascus. I hiked into this famous trail town in the dark hours before sunrise. The music in mov. 65 gives a picture of that mysterious early morning hike.2.2.12 “Tennessee and North Carolina”Heading south from Virginia, the trail first enters Tennessee and follows its border between with North Carolina for several hundred kilometers. Hikers frequently do not know if they are in Tennessee or North Carolina; I have grouped these two states together in the composition. In these states the mountains change and are more jumbled, jagged, and dense. The Smokey Mountains are a deep wilderness of rugged peaks often blanketed in dense fog. The hills in this area often have treeless “bald” peaks. These huge climbs are rewarded with giant vistas of distant purple mountains and giant skies. Widely spaced lines in mov. 66 and 69 suggest the scale of these peaks. On most days the mountain tops are engulfed in thick cloudscape. Movements 68 and 73 utilize dark and cold textures to suggest the tops of peaks covered in cold rain and fog.  I have never felt at home in this part of the South. Movements 67 and 72 are meditations on lonesomeness and foreshadow the eventual conclusion of what may have seemed like an endless journey. After walking all the way from Maine I was beginning to realize that there was a limited amount of time left in my hike. I mentally prepared for its completion and continued walking south.  2.2.13 “Georgia”By the time I crossed into Georgia the entire experience felt like a long, beautiful dream. Emotions from the experience washed over me; the music for these final movements is a summarization of the trip. Movement 74 utilizes simple canonic counterpoint with a folk-like melody meant as a plaintive and gentle song. This is followed in movement 75 with descending, blossoming sonorities like leaves or flowers that meditate on the tops of the mountains. Movement 76 is an arrival point for the composition. Here the music re-works a theme from my earlier choral composition Ouroboros (2012). This theme references the cyclical nature of things and utilizes a gradually expanding cyclical form.  In Georgia I could see the end of the Appalachian Mountains. After walking their spine from Maine, observing them fade in the near distance was an emotional experience. Movement 77 gives a 8musical interpretation of this experience with sparse, reverent, and nostalgic music. The last two movements in “Georgia” recall the last morning of my hike. I left camp before two AM and hiked the 15 km to Springer Mountain under starlight. As I sat there at the trail’s southern terminus waiting for the sun to rise, a single Barred Owl screamed above my head. It had been watching me for a while. We sat together for a few minutes and then it hooted again before diving off of the precipice, just as the sky was turning yellow with dawn. Movements 78 and 79 describe the experience, and the owl is heard in mm. 34–41 of mov. 79.2.2.14 “Epilogue” Movement 80 utilizes similar material as movement 1, returning to the wondering, polyrhythmic sonorities that build and sustain. There is a feeling of anticipation which is never resolved; the piece ends on a questioning manner, with the widely spaced G and F# in the cello/violin I, separated by a the interval M28. The spacing of these notes confuses the listener; it is difficult to tell if the sonority is consonant or dissonant and we are left wondering where to go from here. 2.3 Form in the CompositionThe form of the work was not pre-determined, and most movements were initially conceived through improvisation. Appendix B is a chart detailing the textural and tonal characteristics of each movement, along with any clear formal functions. This chart shows that the composition is diverse, reflective of the dynamic nature of my hike.  Some movements have conceptual forms, such as the various canons of movements 20, 27, 60, 64, 74, and 76 as well as the chaconnes or chord sequences of movements 24, 39, 40, and 41. As well, some movements are derived from other movements in the composition; movement 9 is an investigation of the material from movement 3, and movement 4 is a deconstruction of the material from movement 8. The majority of the composition was freely composed with a mix of meandering and somewhat directionless material that was sculpted according to the composer’s musical intuition.  Formal guideposts are rare; movements 6, 12, 17, 26, 49, 52, 63, 70, 74, and others might be considered arrival points because of their contrasting textures, tempos, and dynamics. These movements suggest culmination or climax points. Other sections of the composition are seemingly static; soft and slow music make much of the composition feels like it is not going anywhere. Certain chapters (i.e. “Massachusetts,” and “Connecticut”) are almost entirely awash in these static feelings. Other sections (i.e. movements 39–40, 24, and others) utilize pre-determined chord sequences as skeletal structures over which music undergoes variation processes. These pseudo-chaconne forms forge a consistent harmonic language while allowing for contrasts in texture.  The composition taxes the physical and mental abilities of both listeners and performers. The piece is an idealistic creation, but sections can be extracted for more functional performances.  Chapters such as “Massachusetts,” “Connecticut,” “New Jersey,” and “Maryland and West Virginia” are each less 9than half an hour long. They are concise and functional concert works on their own. Each of the “states” could be performed as independent concert works. Because of the slow, soft, and static seeming nature of this music and the similarity in my harmonic language throughout the work many selections could be performed on their own and even re-ordered.  The relationship between place and the composition’s structure is not absolute. Each movement is a subjective and subconscious musical snapshot from my hike; at their core they are all abstract musical experiences. Listeners are expected to have their own perspective on the music and experience it in personal ways. The music is not a scientific reworking the physical space of the trail; I did not trace contour lines from a map onto my manuscript paper, and transcriptions or symbols are used only sparingly. A movement such as “Glastenbury Mountain” may or may not describe that place to a listener, and if other composers were to hike up that mountain they would probably compose a much different piece of music than I have. 3: Musical Content of the Composition3.1 Metaphorical ContentSome of the musical material in the composition symbolizes specific details from my hike. Metaphorical references deepen the level of connection between the composition and the AT. Repetition and development of these symbols through the work helps to form a cohesive structure within the composition. Frequent symbols used in the piece include musical interpretations of natural shapes, symmetrical material, and transcriptions from the soundscape. Further symbols could be seen in the harmonic language in the work: the vertical spacings of harmonies refer to the different layers of the natural soundscape and the spacing of partials in the overtone series. Also, consistently slow tempos and the massive scale of the piece suggest of the pace and scale of hiking the entire AT.    3.1.1 Natural ShapesThe shape of musical lines sometimes suggests geographical characteristics of the landscape. Arpeggiated and sustained chords are a common theme in the composition and their shapes describe different mountain styles. These sort of shapes give a feeling of reaching or climbing. The scoring gives a sustained sound and the slow tempo allows the listener to focus on complexities in the harmony. Movements such as “Katahdin...” (mov. 2) and “Into the Whites...” (mov. 13) symbolize the experience of climbing the high peaks of Northern New England with widely spaced arpeggios. Figure 2 shows mm. 9–10 of movement 2. Two sustained arpeggiations rise from F2 to F# 5. The general motion of the line is upwards, but the viola moves downward a M3 (E–C). This could be said to symbolize how mountain climbs are not  always just straight up; often we must go up and down several times before reaching the peak. 10!"!"!"Vln. IVln. IIVla.Vc.9Vln. IVln. IIVla.Vc.p11 pppVln. IVln. IIVla.Vc.f13 fff!"!# !!!# !$%!"!# !!!# !$%!"!# !!!# !$%!"!# !!!# !$%!$% &% '(!$% &% '(!$% &% '(!$% &% '('( '' )!# #!#'( '' )!# #!#'( '' )!# #!#'( '' )!# #!#** 3+ 3,**+ 3,* -*+,. / 0 1 # 11- ## 0 / 12 1 1- #3. / 14 1 # 0 / 14 1 0 #0 15 4 1 15 14 1 # 0 1 1 1 0 #15 16 14 1 # 75 0 #0 # 0 # 0 / 1 #3 1 1 1 # 1 1 1 1- 1 1 140 # 0 16 1 1- 1 7 1 # 1 . 1 1 #0 # 1 #4 1 1 15 7 1 # 1 . 1 1 1 # 1415 # 1 # 14 1 7 1 # 1 . 1 1 #1 1- 1- 1 18 7 # 11 ## 1- 1 1- #7 88- 11 1 1-3 1 #37 8 1 1 # 14 1 #47 8 15 14 1 #411Figure 2: Mov. 2, mm. 9–10 Figure 3 shows music describing the the rolling hills of Vermont. These older and more gradual mountains are described with smoother lines and more closely spaced harmonies. A faster tempo also contributes to the flowing feeling. The C# 5 in the first violin overlaps the two measures and helps tie the gestures together. !"!"!"########19: rolling hills and open fields...Violin IViolin IIViolaViolincello pq = 50 ppp ########Vln. IVln. IIVla.Vc. 4 ######## ######## ######## ########Vln. IVln. IIVla.Vc. pp8 pp pppp!! "! #!!! "! #!!! "! #!!! "! #!$%# $!$%# $!$%# $!$%# $!$! #!$! #!$! #!$! #!&&'(& )&'(&&' ) )(* + ,- . , ,- , # , ,- . , , ,- ,/ + + , ,- ,0 + ,- . , ,- , 0 ,. ,- , ,- , # 0 ,. ,. ,-, , 1 # , , , 1 # , , , , #2 1 # , # , , ,3 , #,- # , , , ,- , # , ,40 ,- . ,- # + , #. , , # , ,4+ , ,- , # , #/ ,. , , # , ,45 ,3 # , , , ,3 , #. ,. , , # , ,4, + ,- , + ,- 0 , #0 , # 0 , # + # ,4 , #+ ,. , #,. , , ,. , , ,3 , #76Figure 3: Mov. 19, mm. 1–23.1.2 Musical MirrorsDuring a long hike, I become sensitized to the repetitive cycles and slow transformations that characterize the natural world. In my composition, growth is slow and gradual–observable in retrospect but hardly noticeable on a smaller scale. Backpacking is always most enjoyable if one learns to focus on the present rather than postulating about the future. Musical palindromes symbolize this cyclical nature and the symmetrical geometric patterns from nature. These techniques enhance a sense of non-directionality and reflect the larger natural cycles of birth and decay that exist in nature.  Cyclical forms project feelings of stasis through symmetry and repetition. The challenge in creating this work is to create a musical expression which is musically valid both forwards and backwards. Movement 27 is one example of a “crab canon,” where the prime form of a melody is accompanied by a retrograde version.  In this movement, the cello is paired with the violin II, harmonized 11at the M17th. Viola is paired with the first violin, also at the M17th, with the retrograde form of the cello/violin II line. The prime form of the line (mm. 181-185) is reversed without alteration (mm. 186-190). This technique produces music that is moves both forward and backwards at the same time (like a crab).11  Movements 39–41 are variations on the same mirrored harmonic progression. In movement 39, the first eight measures give the prime form of a chord progression. Measure 8 acts as a pivot to the retrograde version; measures 9–15 utilize the reverse order of chords. The harmony is mirrored without always having the same voicing or selection of notes. In mm. 12–13 the dotted quarter notes passing tones that should be in violin I are missing and the chords are slightly altered and re-voiced. As these three chaconne-type movements continue, they repeat these harmonies a variety of embellishments. Most musical mirrors in the thesis are in some way “sculpted” according to musical intuition. This technique produces music that feels static although it is constantly evolving with shifting textures.  Figure 4 shows an excerpt from movement 5 where all four parts are mirrored exactly, but the metrical accent shifts as a result of the time signature change. This shift of accent creates a subtle change in rhythmic interpretation. Figure 4: Mov. 5, mm. 18-22 Composing in this manner allows musical intuition to guide process. In my thesis, symmetrical material is not completely controlled by process or entirely mechanized; they continue to reflect the human experience because the symmetry is often altered with intuitive process. The piece is a non-systematic and free expression of mirrored/palindromic techniques composed through improvisation and with allowances for free composition. 3.1.3 Barred Owl CallsFrom Massachusetts south I heard and saw Barred Owls (Strix vária) so frequently that it almost seemed as if they were following me. Their vocalizations were a scattered but consistent contributor to the soundscape from late afternoon to morning, giving the woods a mysterious and mystical feeling. The 1211 See Hoffstadter, Schattschneider, and J. S. Bach, Musikalisches Opfer. rhythm of their calls (figure 5) is utilized and deconstructed a variety of ways . The common call of the Barred Owl is easily identified by this eight note rhythm which suggests the phrase “who cooks for you, who cooks for you...” The rhythm is the call is “long, long, sort, long” repeated twice, with the last long note holding and sometimes falling in a downward glissando.  Figure 5: Basic Rhythm of the Common Barred Owl Call On my AT hike I did not hear Barred Owls until I reached Massachusetts; the composition does not explore aspects of the call until movement 31. This movement opens loudly with a strong downward hocket gesture utilizing the basic rhythm with an added note at the beginning. The next two measures are soft echoes of the first statement with freely explored variation on the motive. This suggests the natural variation that the owls make with their cries. Alternating between forte and piano gestures suggests the echo of the calls against the mountains and the deep space of the forest environment.Mov. 31, m. 1 composite rhythm:  Mov. 31, m. 2 composite rhythm:  Mov. 31, m. 3 composite rhythm:   Figure 6: Composite Rhythms of all Four Instruments in Mov. 31, mm. 1–3 The owl rhythm is used further in movements 39, 67, 69, 74, 79, and others. The use of the call in movement 79 mm. 34–41 is the last time it is heard and refers specifically to the owl that flew over my head as I sat on Springer Mountain. In measures 34–41 all four instruments play the first four notes of the owl call rhythm and then the chord sustains. This is repeated with different harmony 3 more times. The sustained chords are like reverb and suggest a massive space. The goal is not to sound like owls but to suggest the forest space in which owls dwell. 133.1.4 Loon Calls  Loon-like long tones are used in movements 3 and 9 to suggest the Maine Woods. As I camped by lakes with these birds; I developed a deep significance in their calls, especially their long “wails.”12 A spectrogram of a common “wail” (figure 7) shows three distinct parts. The call begins around 550 hz (ca. C#4), swooping up to around 670 hz (ca. E4) and then jumps to a long tone that hovers near 800 hz (G4 + 30 cents).  The long tone moves slightly higher before it glissandos down near a whole step. A final short low tone at a frequency near where the the gesture began ends the call. Figure 7: Spectrogram of a Loon “Wail” The spectrogram shows the echo of the loon’s call against the mountains. This echo is accounted for in the music in the way the calls are orchestrated. The motives are often presented broken up amongst the instruments and one will sustain while another moves. Figure 8 shows one measure from movement 3 where a series of similar gestures are spaced by periods of silence. The rise of a tritone suggests the “wail,” the sustained Bb in the viola acts to create a feeling of reverberation. In the composition, gestures such as these are spaced with large chunks of silence, suggesting the feeling when loons are heard in the quietude of the Maine Woods.  !"!"!"3: loons in the hundred mile wilderness...Violin IViolin IIViolaViolincellopppe = 40ppppVln. IVln. IIVla.Vc.3Vln. IVln. IIVla.Vc.ppp6 pppppp ppp!!!" !#!" !!!"!!!" !#!" !!!"!!!" !#!" !!!"!!!" !#!" !!!"!!!" "!"!!!" "!"!!!" "!"!!!" "!"$!" "!"$!" "!"$!" "!"$!" "!"%free; rubato ! !% &' &'() &' &'% *% &'( &) &' &% &% 3( &) &+, + # +- .'+ + # +, + # +/+- +/ .'+, + #/ .' +, # .'+, + # +-+/ + #/ .' +0 + +-+/ +/ .#'+0 # .#'+, + #/ .' .#'.#'+, +0 + + $+-+'#/ + +*/1 + + +/ 1 # 1 +, 2 +'#- 1 +*+, # +, # +'#/1 +/ +/ 1 3 + +, +'#/14 Figure 8: Mov. 3, m. 33.1.5 Other Symbolic MaterialMovement 48 (“far away trains...”) suggests the sounds of trains whistles. Train whistles are a prevalent human-made sound heard in the Appalachian Mountains; their long, plaintive, and dissonant harmonies 1412 Hear the audio recording “Voices of the Loon” where William Barklow talks about four distinct types of loon vocalizations: the short “hoot,” wavering “tremolo,” and the haunting “yodel” and ‘wail.”symbolize civilization off in the distance. The trains I heard sounded like arpeggiations of augmented triads. Figure 9 shows a C augmented triad presented three times with slight variation to rhythm, orchestration, and interpretation. Other parts of the movement suggest one’s “train of thought.” This aspect is seen in the way the music wanders through a series of harmonies without feeling settled; The harmony itself is a far away thought as the music lacks clear sense of direction. Long distance hiking allows one to head deep into their thoughts; the music abstractly reflects this inward journey with its total sound. !"!"!"Vln. IVln. IIVla.Vc.ppp15 ppp ppppppVln. IVln. IIVla.Vc.pp20 ppppppVln. IVln. IIVla.Vc.p25 ppp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igure 9: Mov. 48, mm. 15–20 Certain scales may represent the color-scheme and brightness of an environment. For example, while hiking down from the Mahoosuc Mountains to the Androscoggin River I experienced bright sunshine reflecting off of rocks filled with Micah. Movement 12 uses a Lydian note set broken up in a variety of ways between all four instruments. In this movement the combination of the raised fourth from the Lydian mode and the wide spacing of the notes creates a bright and vibrant sound. Movements 5 and 10 alternate improvised harmonic textures with octatonic progressions that crawl ahead through slow rhythmic cycles to suggest dark places in the forest. Another repeated symbolic theme is a succession of notes within changing chord progressions (figure 10). This musical idea references Chopin’s Op. 28. no. 15 (“Raindrop” prelude) where a single common tone is repeated through a series of chords. This repeating note theme appears in movements 32, 44, 66, 67, 77, and 78. It may suggest rain or snow with a contemplative mood. 15!"!"!"44: snowstorm near Unionville...Violin IViolin IIViolaViolincellope = 45pppVln. IVln. IIVla.Vc.pp5ppppppVln. IVln. IIVla.Vc.9!! "!!! "!!! "!!! "!#! "! #! "!#! "! #! "!#! "! #! "!#! "! #! "!"! $! %$"! $! %$"! $! %$"! $! %$&&'(&& (snow, like "Raindrops")'(&&'()) ))** )+ # ) #))++ ))** ))++ ## )) ##)+ ))** )+ # ) #))++ ))** )),, ## )) ##- ..+* .. ## ..+* ## .. )) ## )) -/- 0* 0 0 0 0 0* 0 0 0 0 ) # ) -/- .* . # ..+* ## .. )) ## )) -/- ..++ .. ## .. ## .. )) ## )) -/))++ ## ))** ## 00/ -/0+ 0 0 0 0 0 ))** ## 00/ -/)), ## 0* 0 0 0 0 0 0/* -/))+, ## ))** ## 00/ -/155Figure 10: Mov. 44, mm. 5–8 Symbols such as these might be seen as concrete signifiers of the relationship between the composition and the trail, but perception of them is largely subjective. It is not important for a listener to discern the owl calls or sense the climb up a mountain; the composition is at its core abstract and the descriptions of my AT experience are personal and unique. 3.2 Pitch and Interval ContentThere is not a specific pre-determined plan to the harmonic content of the work; decisions regarding pitch and intervalic content were intuitive. The composition finds some grounding around the “tonic zone” of A, E, B, and F# and explores the intervalic connections between these and all other notes. Homogeneous groups of intervals also contribute to the harmonic sound of the composition: collections of tri-tone, P5, m7, and M9 intervals are common and often used in the development of material. Attention is also given to the specific vertical placement of tones; the composition explores consonance and dissonance as it relates to the spacing of notes. 3.2.3 Importance of the Notes A, E, B, and F#   The composition utilizes all notes of the chromatic scale throughout, but finds tonal grounding around the pitches A, E, B, and F#. These four notes are connected to all twelve notes of the chromatic scale with the intervals of P5, tri-tone, m7, and M9. E is a tri-tone from A#, P5 below B, P5 above A and m7 below D. F# is connected to at least other tones with these intervals: it is a tri-tone from C, P5 below C#, M9 below G#, and P5 above B. A is related to D# by tri-tone and G by m7. F is related B by a tri-tone.  The four notes A, E, B, and F# are a “tonic zone” for the composition and finds further connections with the use of all harmonic modes. Lydian mode is common, as well as the use of parallel 16and relative keys. The composition uses nearby and distant harmonic locations for contrasting affect; D and C# are considered local key areas as they are only P5 above and below the tonic zone, whereas the keys such as C, F, and Bb are distant keys as they are related. Even with the prominence of these four notes throughout their composition, there is still not a strong sense of resolution. 3.2.2 Homogenous Interval Sets Homogenous interval sets figure largely into the harmony of the work. Perfect fifths are the most used interval in my sound; quintal harmonies are common. One technique takes the prime version of a note set and repeats it embellished by fifths. Figure 11 shows the first three measures of movement 22 and the note set (G#, B, C# B, G#, B, C#, B, C#, B), broken through hocket. Each instrument has their own note or two of the melody; the violin I stays on B4 and G#4, violin II rises a major second from B3–C#4 while the viola plays a harmonic G#5. The cello rests.!"!"!"22: Height of  Land...Violin IViolin IIViolaViolincellomfq = 80 mfmfVln. IVln. IIVla.Vc.3mfVln. IVln. IIVla.Vc.f7 ff f!"!"!"!""" !" #$"" !" #$"" !" #$"" !" #$%%&' ( ( (%% (& ( (' pizz.%%&') * + ,- # , #) + +- ) ) + +- ) ) ++.-- +. ) ) * ) ) ,.--)+ + +- , + ,- # + ,-+- ) ) + +- ) ) + +-+. ) ) ) ) +/ +0 ) ) / +0 ) ) / +0 ) ) / +0 ) )+ ) ) * ) + ,- #) + +- , ) +- ,- #,- # , ) + ,- #/ +0 ) ) / +0 ) ) ) / +0 ) / +089Figure 11: Mov. 22 mm. 1–3  Figure 12 shows the note set from mm. 1–3 elaborated with perfect fifths. Arrows point to entrances of the opening note set for all four instruments. The set is in canon between all four instruments, with each quarter note of the prime melody broken into two eighths: the prime note and then a perfect fifth above it. In measure 22 the first violin plays the two notes out of order; the canonic voices follow suit.13 Embellishment of this sort is done throughout the work with a sense of counterpoint guiding decisions of interval inversion and vertical spacing.1713 This excerpt is part of a longer canon form, exploring repetitions and embellishment of the beginning of the movement.Figure 12: Mov. 22 mm. 20–23 The tritone is common as part of the vertical harmony and as a part of harmonic progressions. In movement 24 the chord sequence of the first three measures (GM7, DbM7, DM7) rises a tritone and then a minor second. This progression is sequenced with slight variation to make up the rest of the movement, cycling through all 24 chords to arrive where it began. Chords with added tri-tones and Lydian scales are utilized throughout. The frequent tri-tone sound gives the music an restless quality, emphasizing its lack of resolution and feeling of perpetual stasis.  The composition also exploits sets of seconds, fourths, sevenths, and ninths are common. These intervals are part of the overtone series and their use emphasizes natural resonances.14 The prevalence of these intervals gives the composition an uncentered sound that suggests whole-tone scales, major and minor seventh chords (and other extended harmonies) and other dream-like sonorities.  3.2.1 Vertical SpacingThe composition explores the resonance of tones across a wide vertical spectrum; the spacing and register placement of notes affects their relative consonance and dissonance. The level of consonance or dissonance is related to how closely the sonorities suggest partials from the overtone series. For instance; the M28 interval that closes the composition (mov. 80, mm. 44–end) sounds almost like an octave, even though the interval is a m2 when minimized. This is due to the fact that an interval of M28 is in line with the 15th partial of the overtone series. In contrast, dense and closed sonorities such as used in movements 5 and 10 sound dissonant because of the close proximity of their tones. The soundscape of the natural world encompasses a wide frequency range. The aspects of a soundscape form multiple layers of sound. Animals establish their own acoustical bandwidth so that they can communicate without their voices being masked. In my composition, the vertical spacing of notes is intended to create an impression of multiple voices spread out across a wide range. Motion within these 1814 Though some partials are out-of-tune with an equal temperament tuning system, the composition avoids alternate tuning systems for simplicity and functionality.separate ranges suggests counterpoint; my composition investigates the subtleties surrounding the interaction of these separate voices that develop as a result of the vertical spacing.  The entire available range of the ensemble is frequently utilized; most movements see the instruments in all of their registers. The voicing of chords and spacing of notes is intended to create a feeling of separate voices between register within individual instruments. Figure 13 shows the first four measures of movement 45. Here the first violin is playing in two registers: the G5 of the first measure is prolonged to move to B5 in measure four. The G#4/B4 alternating sixteenth note pattern is a second voice that pulsates underneath. This is emphasized by the second violin doubling notes from the first violin part. The cello part also shows two voices: the E3 of the first measure is prolonged until the fourth measure, where it moves downward to D3.  !"!"!"45: golden brown leaves on fresh snow...Violin IViolin IIViolaViolincellomfq = 40mf mfmfVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.9!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"$$% &'$ & &$ &% & &' & &$$ &% & &' &() ( () ( ( ( () ( ( ( ( ( () ( ( ( () ( ( (() # ( # () ( ( () ( () (* # () #+ ( # (( # ( # ( # ( ( (() # ( ( () (() ( () ( ( ( () ( () ( () ( () ( ( (() ( ( () (((,, ## ( (() ( () ( () ( () ( () ( () ( () ( ( (( () - (( (,( # ( #160Figure 13: Mov. 45, mm. 1–43.4 SlownessThe hike had a drastic effect on my sense time passing. As I hiked, days and weeks blended into each other and the entire experience floated by as if in a dream. I lost track of the date and rarely knew the day of the week. The music loses the listener in a unique sound world that moves gradually and consistently through extended harmonies that slowly shift through a variety of textures. An incredibly slow beat subdivided a variety of ways distorts the sense of meter. In this vast array of textures and harmonies, one loses one’s sense of direction and must appreciate the moment; the music stretches our attention span to contemplative lengths and condenses our awareness around every second. This mimics the feeling one gets while long distance backpacking: a massive distance experienced one step at a time. Both the meter and the rate of harmonic change are slow, with symmetry often making the music feel as if it isn’t going anywhere. Long tones held over several long beats are also indicative of the sound.  Fermatas and repetition (both exact and developmental) also add to the feeling of slow change. 19Throughout the composition, listeners do not know what will come next and are not surprised with what comes because they did not know what to expect. 3.4.1 Slow Meter and Variety of Subdivisions The average metronome marking in the thesis is “eighth note equals 40.” There are slower and faster sections, but no incredibly fast music. Performers will likely count more rapid subdivisions for rhythmic accuracy, but the metronome markings are purposefully notated drastically slow. These slow beats help one to re-imagine what the score represents; one page can last for several minutes. With these slow tempos, every note is important; the space allows one to focus deeply on the sound.  The slow meters are broken into a variety of subdivisions lending a poly-rhythmic feel to the composition. Figure 14 shows measure 75 from movement 1. This measure shows a quarter note beat subdivided into groups of 1, 2, 3, and 5. The beat is clear with rhythms organized around downbeat. In contrast, measures 87–89 of the same movement (figure 15) shows a more ambiguous sense of meter. In these two measures the instruments move on odd divisions of the beat, creating a syncopated feeling. !"!"!"Vln. IVln. IIVla.Vc.p71 pppVln. IVln. IIVla.Vc.ppp75 pppppppppVln. IVln. IIVla.Vc.pp78 pppppp!" "" #$ !%!" "" #$ !%!" "" #$ !%!" "" #$ !%!% !" &&$!% !" &&$!% !" &&$!% !" &&$&&$ $$ "%&&$ $$ "%&&$ $$ "%&&$ $$ "%' 3 3 5' 5()' 33 5 3 5' 35 5( 35) 35' 5' 5( 5)* +, - -. +. + -. +. +. +. +. # +. +/-, # -. # -. +. + # + +/-. # --. ## - + + +0-, # -1 # - + + + +/+. +. +. +. # +. + +. +. +. +. # +. + 2 +. -+. + # + + +. + # + + 2 + -+ + * + + # + + 2 + -+ *. + + + # + + 2 + -+. +. +. # +/ +. +3 + + +/ +. +. # + +/ +.4 ++.1 0 ++ ++0 ++ ++ ## +. + +0 +. + # +4 +1 0 + +0 + + # +. + +0 +1 + # ++1 + +0 + +1 + +/ +1 + # +7Figure 14: Mov. 1, m. 75!"!"!"Vln. IVln. IIVla.Vc.80Vln. IVln. IIVla.Vc.f8 4 fffVln. IVln. IIVla.Vc.pppp8 7 pppppppppppp!" #$ !!!" #$ !!!" #$ !!!" #$ !!!! %#$!! %#$!! %#$!! %#$%#$ #" %#"%#$ #" %#"%#$ #" %#"%#$ #" %#"&&' 3 3(& 3 3 5& 3 3 5' 3 3 5( 3 3 5& 5& 5'( 5)* )* # ) )* ) ) # )* ) ) # )* ) ) #+ )* , ) )- ) # ) ) # ) ) #+ ))-- , )) )- ) # ) ), ) # ) )* , ) #.- )- ) # )- ) # )- ) #. )* . ) .* . )/ 0. ) . ) . . ), 0. ) . ) . . )/ 0. ) . ) . . ), 01 1 .* ), )* . ) )* 2 . 3 .* 0 # 0 # )1 1 .* ), ) . ) )* 2 . 3 .- 0 # 0 # )1 1 .* )/ ) . ) 0 . 0 # 0 # )1 1 .* )/ )- . ) )*4 . 3 ..- 00 ## 00 ## ))8Figure 15: Mov. 1, mm. 87–89 20 Subdivisions in groups of 2, 3, and 5 suggest a relationship to the Fibonacci series, but there is not a systematic or mathematical structure to rhythm in the composition. Rather, the rhythmic language of the composition is intuitive and conceived through improvisation.Variation in beat subdivision and measure length give the composition a unique rhythmic sense informed by its beginnings in improvisation.   3.5 Why String Quartet?The piece is scored for string quartet. The massive scale of the composition is possible in part because of the variety of textures available with this ensemble. An even number of parts facilitates the symmetrical contrapuntal puzzles that are in the work. As well, the four instruments of the ensemble can play in a logical selection of ranges, similar to a SATB choir with extra notes available in the high register. Long tones that are not possible on many other instruments are used throughout the composition. Open strings are important to the work; many times musical lines expand downwards to C2 and end there on the cello’s lowest note; the ranges and open strings of the instruments are used throughout as an idiomatic aspect to explore. Pizzicato and other textural effects are used sparingly but when they occur they are poignant and offer an exciting contrast (see movements 63 and 21).  My choice of string quartet for the instrumentation is also an homage to Morton Feldman’s second quartet. His composition is an obvious precedent for mine and represents a type of composing that  considers music first and foremost as “art” rather than “entertainment.”15 Feldman inspires me to consider taking on projects of this scale. In the canon of string quartet repertoire this piece stands as the first ever book of music based on the entire the Appalachian Trail.  An ensemble could “thru-hike” the piece and perform it in full, or extract a collection of movements, like a “section-hike” of the AT. The flexibility of the work makes it an a functional piece even though it is on a massive scale. It is even possible for the work to be performed by other ensembles: although I composed the music with the sound of the string quartet in mind, many movements are completely translatable to other instruments. I have performed and recorded several movements on piano. Movement four has been transcribed for orchestra. The music translates well to a variety of situations and is presented as a resource for any musician wishing to explore the Appalachian Trail through music. I am open to transcribing it for any instrumentation and will continue to perform selections on piano.2115 Coolidge, 1. 4: Aesthetic StatementMusic cannot be inextricably linked to place because musical experience is ultimately subjective.  Music designated as “symbolic” is still abstract and interpreted through the listener’s personal view. My expressions of place are not a scientific exploration of the trail–everything is personal and interpreted. Listeners do not need to be aware of the details linking the composition to the trail. The AT left me with intense memories and a meditative sense that I believe has been translated into the composition. I plan to expand the project to include the Continental Divide and Pacific Crest Trails.16 I will be hiking the Pacific crest Trail beginning June 2014, and am considering composing a work for orchestra based on the experience.  My goal is to show that projects of this size are possible in our modern world. I believe there is a need to slow ourselves down and re-connect with nature. An artist must be submerged in the natural world in order to create music that has a truly ecological perspective. Artists are affected by their life experience; their work a reflection of their conscious and sub-conscious experiences. The submersion that  comes with backpacking inspires my work to be a slow and soft. It is intended to be hypnotic and transportive. The composition affects the listeners sense of time; it is very possible to drift off during this music. Slow tempos, soft dynamics, and a very gradual development of textures all add to the effect of losing time. The goal is to slow down our temporal reality to something closer to a natural pace. Technology has accelerated the pace with which we receive information, but in the wilderness we feel a different speed, something slower and more meditative. As one’s ears adjust to the soundscape and days, weeks, then months of being in the forest set in, it is possible to feel as if one is in tune with the earth, walking along without disturbing a thing. This is one of the great joys of long-distance hiking; the feeling that one is weightless and can float over any obstacle. “Walking Towards the Sun” attempts to reach this point of weightlessness by submerging the listener in an encompassing and meditative sound world that continues for hours. 2216 The Continental Divide Trail (CDT) runs along the spine of the rockies from Canada to Mexico. The Pacific Crest Trail (PCT) follows the Cascade and Sierra mountain ranges, also from Canada to Mexico. BibliographyAdams, John Luther. Winter Music: Composing the North. Middletown, CT: Wesleyan University Press,  2004. Print. ––––– The Place Where You Go To Listen: In Search of an Ecology of Music. Middletown, CT: Wesleyan  University Press, 2009. Print. Barklow, William Voices of the Loon. Narr. Robert Lurtsema. National Audubon Society, 1980. LP.Benesch, Klaus and Kerstin Schmidt eds. Space in America: Theory, History, Culture. New York, NY:  Rodopi 1999. Print. Brommer, Gerald F. Space. Worchester, MA: Davis Publications, 1974. Print.Cage, John. A Year From Monday. Middletown, CT: Wesleyan University Press, 1967. Print.––––– Empty Words: Writings ’73-’78. Middletown, CT: Wesleyan University Press, 1979. Print––––– For the Birds: in Conversation with Daniel Charles. Boston, MA: Marion Boyars,  1981. Print. ––––– M: Writings ’67–72. Middletown, CT: Wesleyan University Press. 1973. Print.––––– X: Writings ’79–’82. Middletown, CT: Wesleyan University Press. 1983. Print. Emblidge, David, ed. The Appalachian Trail Reader. New York, NY: Oxford University Press, 1996.  Print.  Feldman, Morton. ed. B. H. Friedman. Give My Regards to Eighth Street: Collected Writings of Morton  Feldman. Cambridge: Exact Change, 2000. Print.––––– ed. Walter Zimmerman. Morton Feldman Essays. Wasserburg 13 D-5014 Kerpen,  Beginner Press:  1985. Print.Freeman, Diane, Jerry Sider, and Larry Sider, eds. Soundscape: The School of Sound Lectures 1998–2001.  London: Wallflower Press, 2003. Print.Frome, Michael. Promised Land: Adventures and Encounters in Wild America. New York, NY: William  Morrow and Company, Inc., 1985. Print. Kostelanetz, Richard. Conversing With Cage. New York, NY: Limelight Editions, 1988. Print. ––––– ed. John Cage: Documentary Monographs in Modern Art. New York, NY: Praeger Publishers,  1970. Print.––––– John Cage (ex)plain(ed). New York: Schirmer Books. 1996. Print. Kramer, Joseph. Time of Music. London: Macmillan. 1988. Print.Hill, Peter, and Nigel Simeone. Messiaen. New Haven, CT: Yale University Press, 2005. Print.–––––Olivier Messiaen: Oiseau exotiques. Burlington, VT: Ashgate, 2007. Print. Hofstadter, Douglas R. Gödel, Escher, Bach: An Eternal Golden Braid. New York: Basic Books Inc.,1979.  Print.Jordan, Robert. Music and Colour. Vancouver, BC: n. p., 1980. Print. Marshall, Ian. Story Line: Exploring the Literature of the Appalachian Trail. Charlottesville, VA:  University Press of Virginia, 1998. Print. McCaw, Bob “501.” The Thru-Hiker’s Handbook. Sudbury, MA: Center for Appalachian Trail Studies,  2009. Print.Messiaen, Olivier, trans. John Satterfield. The Technique Of My Musical Language. 2 vols. Paris:  Alphonse Leduc, 1956. Print.––––––Traité de rythme, de couleur, et d'ornithologie. 7 vols. Paris: Alphonse Leduc, 2000. Print.Mellers, Wilfrid. Singing in the Wilderness: Music and Ecology in the Twentieth Century.  Chicago:  University of Illinois Press, 2001. Print. Nicholls, David. The Cambridge Companion to John Cage. Cambridge: Cambridge University Press,  2002. Print.––––– John Cage. Chicago, IL: University of Illinois Press, 2007. Print. Rimington, Wallace A. Colour-Music: The Art of Mobile Colour. London: Hutchinson & Co., 1912. PrintRößler, Almut. Contributions to the Spiritual World of Olivier Messiaen. West Germany:  Gilles &  Vrancke, 1986. Print.Rothenberg, David and Marta Ulvaeus eds. The Book of Music and Nature. Middletown, CT: Wesleyan  University Press, 2001. Print.23Schädler, Stefan and Walter Zimmerman eds. John Cage: Anarchic Harmony. Toronto, OT: Schott, 1992.  Print. Schafer, R. Murray, ed. The Music of the Environment Series. 5 vols. Vancouver, BC: A.  R. C.  Publications, 1978. Print.Schattschneider, Doris. Visions of Symmetry: Notebooks, Periodic Drawings, and Related Work of M. C.  Escher. New York, NY: W. H. Freeman and Company, 1990. Print. Stoltz, Walkin’ Jim. Walking with the Wild Wind: Reflections on a Montana Journey. Big  Sky, MT:  Lone Coyote Publications, 2003. Print.Sutton, Ann and Myron Sutton. The Appalachian Trail: Wilderness on the Doorstep. New York, NY: J. B.  Lippincott Company, 1967. Print.Suzuki, David ed. When the Wild Comes Leaping Up: Personal Encounters With Nature. Vancouver, BC:  Greystone Books, 2002. Print. Torrance, Robert M. ed. Encompassing Nature: A Sourcebook. Washington D. C.: Counterpoint, 1998.  Print. Weyl, Hermann. Symmetry. Princeton, NJ: Princeton University Press, 1952. Print. Witherspoon, Gary and Glen Peterson. Dynamic Symmetry and Holistic Asymmetry in Navajo and  Western Art and Cosmology. New York: Peter Lang Publishing, 1995. Print. Volume 5 of  American Indian Studies. Print.24Appendix A: ScoreWalking Towards the Sunfor string quartetRobert Singley201425Walking Towards the Sun is a series of 80 musical meditations on the composer’s experience hiking the Appalachian Trail from Maine to Georgia. The composition is scored for string quartet.Duration ca. 8 hours. Performance Notes:• Any movement or collection of movements may be extracted from the composition and performed on its/their own.• All movements are intended to be performed “attacca.”• Performers should assume “free bowing” on sustained notes. • None of the text printed in the score is intended to be spoken out loud. 26!"!"!"1: wandering stars (prologue)...Violin IViolin IIViolaViolincelloppppr=40   ppppppppppppVln. IVln. IIVla.Vc.ppp6pppppppppVln. IVln. IIVla.Vc.pp12pppppp!! "! !!!! "! !!!! 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IIVla.Vc.r=3528!" #$% &"!" #$% &"!" #$% &"!" #$% &"&" ''&" ''&" ''&" ''(()*( rit.()*+, - . / //, // ##0 // ##0- / // //, //0 $/,1 / #1 / #1 / #1. /2 / / // // //0 / #0 / // // ##1/3 0 /0 / / / /0 - # %/0 %/0/ / / #1/ /3 /3 / / / / # /0 / / / / / / / / + 4//33 ## // ## //0 44 44//33 ## // / / / 4 4//33 ## // ## //0 44 4439!"!"!"3: loons in the hundred mile wilderness...Violin IViolin IIViolaViolincellopppe  = 40ppppVln. IVln. IIVla.Vc.3Vln. IVln. IIVla.Vc.ppp6ppppppppp!!!" !#!" !!!"!!!" !#!" !!!"!!!" !#!" !!!"!!!" !#!" !!!"!!!" "!"!!!" "!"!!!" "!"!!!" "!"$!" "!"$!" "!"$!" "!"$!" "!"%free; rubato ! !% &' &'() &' &'% *% &'( &) &' &% &% 3( &) &+, + # +- .'+ + # +, + # +/+- +/ .'+, + #/ .' +, # .'+, + # +-+/ + #/ .' +0 + +-+/ +/ .#'+0 # .#'+, + #/ .' .#'.#'+, +0 + + $+-+'#/ + +*/1 + + +/ 1 # 1 +, 2 +'#- 1 +*+, # +, # +'#/1 +/ +/ 1 3 + +, +'#/ 40!"!"!"Vln. IVln. IIVla.Vc.pe  = 409pppVln. IVln. IIVla.Vc.pp13ppppppVln. IVln. IIVla.Vc.p16pp!" #" $%" !"!" #" $%" !"!" #" $%" !"!" #" $%" !"!" #" !" %$&%!" #" !" %$&%!" #" !" %$&%!" #" !" %$&%%$&% $'$# $(&% !"%$&% $'$# $(&% !"%$&% $'$# $(&% !"%$&% $'$# $(&% !") in tempo)*+))*+) rubato ,) -* -. -.+ -/#. 0 01 0 01 0 01 0 01 0 # 01 0 01 0 # 01 2/#. /# 03 0 03 0 03 0 03 0 0 # 2 03 2/#. 2 # 0 01 0 01 0 01 0 # 2 01 2/#. 24 # 0 # 01 0 0 04 3 0 # 2 03 20,1 0 01 0 01 0 0,1 0 01 0 0 # 0 # 0 #/# 05 03 0 03 0 03 0 03 2 # 0 #2 # 01 0 01 0 01 0 2 # 0 #2 # 0 # 0 01 01 0 24 # 0 #0104 0 # 0 01 /. 06 03 601 /. 0 0 00 0 #104 0 # 0 /. / 04 #1 01 /. $0, 3 0 #7 0 0 #3$05 3 0 0 # 0 0. $03 0 # 0. 41!"!"Vln. IVln. IIVla.Vc.mf19mfmfmfVln. IVln. IIVla.Vc.21!"!"!"!" #"#"#"#"$ in tempo$%&$$ '% '& ' '() ()* ( (* ( (* () ()* ( (* ( ()*+# ()* ( (* ( ()* ( (* ( (* (, # () (* () (* ( (* ( (*, # ( # (* ( ( (- . (. (-(* () ()* ( (* ( ()* () (* ( (* ( , #( ()* ( (* ( (* ( ()* ( (* +#(* () (* ( (* ( (* () +# +#( (. (- . ( ( (*42!"!"!"4: ghost moose on Rapid Stream Pond; night horizon jagged with spruce...Violin IViolin IIViolaViolincellope  = 40pppVln. IVln. IIVla.Vc.8Vln. IVln. IIVla.Vc.14!" "" !"!" "" !"!" "" !"!" "" !"!" #" !"!" #" !"!" #" !"!" #" !""" #" !""" #" !""" #" !""" #" !"$ % %$ % %& % %' % %$$&'$$&'() # () # ( # ( # () #() # () # ( # ( # () #( # ( # * # * # * # * # ( #( # ( # ( # ( # ( #( # (+ * # * # ( ( # ( # () #( # () * # * # () *) # * , ( # () #* # * # (+ * # * # ( * # * # ( # ( #( # (+ * # * # ( ( # ( # ( #( # ( ( () ( ( *+ # (( # () , * # () () () * # ()* # * # (+ ( () ( ( *+ # (( # (+ ( ( ( ( *+ # ( 43!"!"!"Vln. IVln. IIVla.Vc.21Vln. IVln. IIVla.Vc.28Vln. IVln. IIVla.Vc.32!" #" "" !"!" #" "" !"!" #" "" !"!" #" "" !"!"!"!"!" $" !"$" !"$" !"$" !"% &% &' &( &%%'(%%'() # )* # )* # ) # ) # + # )*) # )* # )* # ) # )* # + # )*+ # + # ) # ) # + # + # ), # + # )*+ # + - ) # ) # ) # ), # + # )) # ) # ) # )* #)* # ) # ) # + # +* #) # - +* + # + # + - )* #) # ) # ) # ) #) # +, # ) ) # ) #)* # + # )* ) # ) #) # +, # ) + # + # ) #) # +, # ) ) # ) # 44!"!"!"5: the sound of  moss...Violin IViolin IIViolaViolincellopppe = 40pppppppppVln. IVln. IIVla.Vc.3Vln. IVln. IIVla.Vc.p pp6p ppp ppp pp!! "# $%&!! "# $%&!! "# $%&!! "# $%&$%& '# "#$%& '# "#$%& '# "#$%& '# "#"# ## &! %(%&"# ## &! %(%&"# ## &! %(%&"# ## &! %(%&) *) *+ *, *) *) *+ *, * *)) *+ pizz, pizz. arco-# ./ # .0 . #-# 1 .0 #2 . #3 # ./ #2 . . #.0 # . -#./ #2 .2 .2 ./ 4 53 # 3 ./ 53 # ./ 2 . #2 .6 53 # 1 .0 7 .$.8 2 58 # 9 - ./4 . # . - 390 3 ./ .0 # . 3 # . #250 # 9 ./ . . . # . . #50 # 9 ./ # .0 # . # - . # 45!"!"!"Vln. IVln. IIVla.Vc.pp10ppppppVln. IVln. IIVla.Vc.p mf p13p mf pp mf pp mf pVln. IVln. IIVla.Vc.mf17mfmfmf!" #" $%!" #" $%!" #" $%!" #" $%$% #% $%$% #% $%$% #% $%$% #% $% #%#%#%#%& '&( ' arco)& 5& 5( 5)& 5& 5( 5)*+ # ,+ -* # - $./ 0* , -- *1 , -* # - * , -.+ # .+ # .+ # . .1 # .1 # . # 2 2 3 .4.+ # .1 # ./ # . .+ # .+ # . # 2 2 .1 #0.+ # .+ # .1 # . .+ # ./ # . # 2 .1 ..+ # .1 # .+ # . .+ # .+ # . # . #. # 2 2 3 .4 . # .+ ./ 0 .+ .0 .+ # . .1 #. # 2 2 .1 #0 . # .+ # .1 # ./ # . .+ #. # 2 .1 . . # . # .1 # .+ # . .+ #. # . # . # .+ # .+ # .1 # . .+ # 46!"!"!"Vln. IVln. IIVla.Vc.p pp p21p pp pp pp pp pp pVln. IVln. IIVla.Vc.f25fffVln. IVln. IIVla.Vc.ff pp32ff ppff ppff pp!"!"!"!" #" !" $" #" !" #"#" !" $" #" !" #"#" !" $" #" !" #"#" !" $" #" !" #"!" %" &" '$!" %" &" '$!" %" &" '$!" %" &" '$( 5( 5) 3 5*(() 3*( + 55 5( + 55) 5* 5 3,+ # , ,+ - ,+ ,. - ,+ , # / ,+ ,+ , # 0 0 1 ,2,. # , ,3 # ,+ # , # 1 ,3 , # 0 0 ,3 #-,+ # , ,3 # ,+ # , # 0 ,3 4 , ,+ ,- , # 0 ,3 ,,3 # , ,+ # ,+ # , # ,+ # , # ,3 #, # / ,+ , , ,+ # ,+ # ,3 # , ,+ ,. # , 5. # ,. # ,, # 1 ,3 , , # ,3 # ,. # , ,+ ,+ # , 5. # ,+ # ,, # 0 ,3 4 , ,+ ,- , ,+ # ,3 # ,+ # , ,+ ,+ # , 5+ # , # ,, # ,3 # , ,+ ,. - ,+ ,+6 ,+ # , ,3 ,3 # , 5+ # ,3 # ,53 # , # , , , , , ,7 1 / 1 , ,5. # , # , , , , , ,7 1 1 ,3 - ,5+ # ,+ # , , , , , ,7 1 0 ,3 #- ,+5+ # ,+ # , ,3 , , , ,7 1 ,+ - , ,+ , 47!"!"!"Vln. IVln. IIVla.Vc.36Vln. IVln. IIVla.Vc.ppp39pppppppppVln. IVln. IIVla.Vc.pppp ppppp43pppp ppppppppp ppppppppp ppppp!" #$ %&'!" #$ %&'!" #$ %&'!" #$ %&'#$ #$#$ #$#$ #$#$ #$"" %&' ($"" %&' ($"" %&' ($"" %&' ($) 3 5 5) 53*+))*+))*+,- . ,/ 0 , , # , # ,1 , ,1 , , , , , , , , #2 ,2. ,1 3 , ,0 , , ,1 , , , , ,1 , , , #3 ,3. ,/- 4 . ,/ , , , , ,1 , , , #3 ,3,1 3 ,3 5 6 . , , , , , , , , , #3 ,3, ,1 , , , , ,/ , , , ,7/ , ,/ , , , , 6, ,1 , , , , ,1 , , ,3 57 . ,/ , , , , 6, , , , , , ,1 , , , ,7 , ,/ , , , , 6, ,1 , , , , , , , ,3 57 . ,1 , , , , 66# ,1 # ,/ , # ,1 #3 ,3 ,3 ,1 2 4 #6# . ,/ #3 , # 5 # 5 ,1 4/ #5 # ,1 #3 , , # 5 # ,1 3 , 4 #,/ # , 6# 5 # 5 . ,/ #3 4 # 48!"!"!"6: walking towards the sun...Violin IViolin IIViolaViolincellomfe  = 100mfmf mfVln. IVln. IIVla.Vc.3Vln. IVln. IIVla.Vc.5!!!!!!!!""#$ %""#$""#$&' ( & # ) & & &' * &+ &+ & & & &) ) &+ & ,' & &+ & &+ &+) - &+ . &. - ) ) - &. &. - ) * - &+ . &. - ) - &. &. - )/ * - &. &. -& & & & & & & & & &+& &+ & & &+ & &' & & & &+ &+ & &+* - &. &. - ) - &. &. - ) ) - &. &. - ) /- &0 &0 - * - &. &. - * - &. &. - * ) - &. &. - - &.& & &+ & &+ & &' & & & &+& &+ & &' & &+ & & &+ & & & &+* - &+ . &. - / * - &+ . &. - /&. - ) * * - &. &. - / ) - &+0 &0 - ) 49!"!"!"Vln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.f9fffVln. IVln. IIVla.Vc.11!" #"!" #"!" #"!" #"#" !"#" !"#" !"#" !"!" #" $%!" #" $%!" #" $%!" #" $%& 5& 5' 5(&&'(& 3& 3'() )* ) )* ) ) ) ) + )* # )* ))* ) ) )* ) # )* ), - . # )*/ - - )* ) -+ - ), ), - + . )* 0 . - ) )* - - ) )* - -- ), ), - + - ), ), - + . )1 , - . )1 , - .. - ) )* . - )* )* )* )* )* )* ) ) ) )1 )1- - ) ) . . ) )* . )1 # )0 )1- ), . . - ) ) - . )1 # )0 )1), - . . ), - - - . )1 # )2 )3) # ) ) # )1 )1 ) ) )1 ))** )* ) )*2)3 )3 ) )3 ) # )1 . ))*12 . . )0 .)* )3 # ) # ) . )0 . +)* )3 # ) # ) . ))112 . + 50!"!"!"Vln. IVln. IIVla.Vc.14Vln. IVln. IIVla.Vc.17Vln. IVln. IIVla.Vc.20 !" #$#%!" #$#%!" #$#%!" #$#%& 3 3 3 3 3 3& 33' 3 ( () (& 33 3 3 3& 33' ( 3 3 3)& 3 3 3 3 3 3& 3 3 3 3 3 3' 3 3) 3 (*+ * * *, - *. *- * *. * / *. * * * */ / *- 0 / *- / 0 0 *./ / / *, - /*- / 0 1,* * * * * * **.. *. * *.+ *+ * * *, -*. * **.+ / **.. *. * *.+ *+ **- / / *- / / * * / *, *1 **+ / 0 *- / *- /*. *- * *. * / *. * * * * * * * * * * ** *- *. *- * *. * / *. * * * * * * * */ *- / / *- / 0 *. *. 1/ *+ / 0 *. * * 51!"!"!"Vln. IVln. IIVla.Vc.ff23ffffffVln. IVln. IIVla.Vc.25Vln. IVln. IIVla.Vc.27!"!# $% !%!#!"!# $% !%!#!"!# $% !%!#!"!# $% !%!#!%!# !"!#!%!# !"!#!%!# !"!#!%!# !"!# &!# '(&!# '(&!# '(&!# '())*+))*+))*+,,-- ## ,- # , ,- , , , ,. ,- , , ,- , , ,- , ,- #/,- # ,- # ,,-- ,- , , ,- , , , ,. ,- , , , ,- , ,- , ,,,.. ##0 ,, ##0 , , , , ,. #/ , #/ , ,. , #/,,.. ##0 1 ,.0 ,. ,. , ,. , , , #0 ,. #, , , , , , , , , # , , , , , , ,- ,- ,- ,- ,, ,- , # , , , , # , , ,- , , , , , , ,- ,-, #/ , , #/ , , , , , , , , , , , ,-, #/ , , #/ , 2 # 2 # 2 ,-3 , #0, ,- , , , ,- , , , # , # , #,- ,- , , ,- , , , ,- , , , #0 , #/, #/ , , , ,. , , , #0 , #0 , #0, , , ,. , ,. , #0 , #0 , #0 , #0 52!"!"!"Vln. IVln. IIVla.Vc.p29ppVln. IVln. IIVla.Vc.fe  = 4032fffVln. IVln. IIVla.Vc.36!" #" !" #"!" #" !" #"!" #" !" #"!" #" !" #"#" $"#" $"#" $"#" $"% 3 3 3 rit. 3 & #3 3% #3' &3( 3 3 3%% & &'(%% & &'() ) ) ) ) ) )* )* + )* )* ) + )*, + ) ) + ) )* + -)$ ) . - ) ) )$ )$ ))$ + + )* / - . .)$ . ), + )0 / - )0, + ), - )0 $ ))* 1 )0 $ )0 )0 )0 )0 )0 1 )2 )$3 )0 )030 )0 )0 )0 $ )$3 )0 )2 ))22 $$ ))$$)* $ )* $ )* 1 )0 )* $ )$)0 1 )* ) )0 1)* $ )* $ )* $ )$))** $$ ))00 $$ ))$$ ))$$ 53!"!"!"Vln. IVln. IIVla.Vc.40Vln. IVln. IIVla.Vc.ff44ff ff ffVln. IVln. IIVla.Vc.47!"!"!"!"!" #" $" %"!" #" $" %"!" #" $" %"!" #" $" %"%"%"%"%"&&'(&&'(& )& )' )( )* # * # *+ # * *, *,*+ # *+ # *+ # * # * *, -*+ # *+ # *, # * #**,, ## **++ ## **.. ## ** ##*, *, *, *, * # *, # * * *+ *+ *+*,/ *, - ** ## *, # * *+ ** * # 0,*. *, # 0,0 # 0 # * *1 2 3#0 # 0 # * *4 2 3#0 # 0 # * *4 2 3#0 # 0 # * *1 2 3# 54!"!"!"7: Mooselookmeguntic: portage to the moose-feeding place or moose hiding amongst the clouds...Violin IViolin IIViolaViolincelloppt = 40ppppppVln. IVln. IIVla.Vc.ppp pp3ppp ppppp ppppp ppVln. IVln. IIVla.Vc.p6ppp!"# """# "$"#!"# """# "$"#!"# """# "$"#!"# """# "$"#"$"# "%"# !"# "&"#"$"# "%"# !"# "&"#"$"# "%"# !"# "&"#"$"# "%"# !"# "&"#"&"# '"# ("#"&"# '"# ("#"&"# '"# ("#"&"# '"# ("#))*+))*+) 3) 3* 3+,- ,- ,. ,. ,. ,- ,. ,. ,. ,. ,. # ,,. / , #/ , ,/ , ,,.0 ## ,,,. / , #/ , ,,.. / ,, ,,.. ## ,,1 #,. / ,/,.23 , , ,,. ,, 1 4 ,. 56 , , #/ 7,. ,. ,0 ,0 8. ,0 ,,.. ## 7 ,- ,. , ,6,0 / , #/ 8. ,0 9# ,- ,- , , ,6,. , ,. ,/ 8 ,. 9# ,,-- ,, ,,6,0: , #: 8 ,. 9# ,- , ,2,- ,- ,- , , , 7 1 1 ,- 6 ,. ,. ,. ,.8- # 7 , ,- ,- ,.8- # , , , ,- ,,,.. ## ,,-. ## ,,.. , ,: , 55!"!"!"Vln. IVln. IIVla.Vc.8Vln. IVln. IIVla.Vc.pp ppp10pp ppppp ppppp pppVln. IVln. IIVla.Vc.pp ppp13pp ppppp ppppp ppp!"# $"# "%"#!"# $"# "%"#!"# $"# "%"#!"# $"# "%"#"%"# $"# "&"#"%"# $"# "&"#"%"# $"# "&"#"%"# $"# "&"#"&"# "%"# '"# #$"&"# "%"# '"# #$"&"# "%"# '"# #$"&"# "%"# '"# #$(( 3) 3 3* 3(()*( 5 3( 5)*+ , -. -. -. -. / -. -. -. -.+ + -0 - -. , - -. -.-0 1 -0 -0 - + - - - -. ---00 1 -2 - --00 - -- --3 ---. -. -. /# -0 - -4 -4 -4 --00 -0 -4 50/# -. -. -. 54 --00 -3 -4 -4 -0 -0-. # -. # 54 -0 54-- ## -- ## 5544 -4 554-2 - #2 -2 -0 #3 -. -. - - - - # -. # -2 -4 -3 - -1--0 3 -- ##3 --3 -- ##3 5. # -0 -0 -0 -0 -0 - -6-0 3 - #3 -3 - #3 5 # -- -- --1-4 3 - #3 -3 - #3 5500 ## -4 - -1 56!"!"!"Vln. IVln. IIVla.Vc.pp p mf16pp p mfpp p mfpp p mfVln. IVln. IIVla.Vc.p pppp18p ppppp ppppp ppppVln. IVln. IIVla.Vc.20!" #" $"!" #" $"!" #" $"!" #" $"$" %&%! '%!$" %&%! '%!$" %&%! '%!$" %&%! '%!'%!'%!'%!'%!( 5( 3 3)*( rit.()*(()*+, +, +, +, +, +, +, - +, . + +/ +, +, +, +, 0 +,+, # +/ +, +, +, +, +, + +, +, +, #+, # +, # +, + #++,, ## ++// ## ++// ++ ##+1 +1 +/ +/ +/ + + # + # +/+/ +/ +/ + # + + #221/ ++// ++ ## ++ ## ++2211 +/ + # + # ++ +, + # +, # + +3 4 4 # 4 #+ + # + +3 4 4 # 4 #++ ++ ## ++ ++. 4 4 # 4 #+ + # + +3 4 4 # 4 # 57!"!"!"8: the clouds lift over Avery Peak leaving windows to Flagstaff  Lake below...Violin IViolin IIViolaViolincellope = 40pppVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.9!" #" ""!" #" ""!" #" ""!" #" ""!" $" "" #"!" $" "" #"!" $" "" #"!" $" "" #"#" "" !" "" %"#" "" !" "" %"#" "" !" "" %"#" "" !" "" %"&&'(&&'(& )& )' )( )*+ # * # * , # *+*+ # * # *+ ,- # *+*- # , # , # *- , # *+*- # * # *- , # *-* * # ,+ # **+ * # .- .+ .+ ,- .- .+* . ,+ , # , # *-* * # .- # . # ,- . .- .,+ # * *+ # / 0 .+,+ # * ,+ # , # / .+ .+ ., # * *- # / 0 .,- # * *- # / 0 . 58!"!"!"Vln. IVln. IIVla.Vc.13Vln. IVln. IIVla.Vc.mp mf17mp mfmp mfmp mfVln. IVln. IIVla.Vc.21!" #" "" #" ""!" #" "" #" ""!" #" "" #" ""!" #" "" #" """" #" "" !" #""" #" "" !" #""" #" "" !" #""" #" "" !" #"#" $" %" ""#" $" %" ""#" $" %" ""#" $" %" ""& '& '( ') '& '& '( ') '&&()* *+ # , -+ -+ - -+ -+ - -+* *+ # . ** ** -/* *+ # . * * -* * # . * - -/ - -0 -+ - - - , 0+0 00// , 0/0 0/ , */ # -+0 0/ , 0* # 0+ # 0 # 0+ * #* # 00// ## 00 ## 0/ * #* # 0/ # 0 # * # -+ * #* # 0/ # 0 # 0/ * # 59!"!"!"Vln. IVln. IIVla.Vc.p25pppVln. IVln. IIVla.Vc.29Vln. IVln. IIVla.Vc.pp34pp!! "! #! !!!! "! #! !!!! "! #! !!!! "! #! !!!! "! $! !! %!!! "! $! !! %!!! "! $! !! %!!! "! $! !! %!%! &'" #(%! &'" #(%! &'" #(%! &'" #())*+))*+) 5) 5* , ,+ , ,-. -. # --// ## -/ 0 #-/ -/ # --// ## -/ 0/ #-/ -/ # 0/ # 0 # -/ 0 #-/ -/ # -/ # -1 0 #-. - -/ # 0/ # -/-. - -/ # 2/ 2/ 2. 0/ 2/ 2/-/ - 2 0 0 # 0/ # -1-/ - -/ # 2/ # 2/ # 01 2 2/ 20. 2 2 2. 2/ 2. 3 4 3 2/ 2. 2 25 2/5 2. #26 2. 2/ 2. 0 3 2/ 7 21 2 2/ 21 2 #-/ 3-/ 3 60!"!"!"9: loons...Violin IViolin IIViolaViolincellop ppe = 30pp ppppppVln. IVln. IIVla.Vc.p3ppVln. IVln. IIVla.Vc.pp p5ppp pp!"!# !$!# !"!#!"!# !$!# !"!#!"!# !$!# !"!#!"!# !$!# !"!#!"!# #% !%!#!"!# #% !%!#!"!# #% !%!#!"!# #% !%!#!%!# !"!# #&!%!# !"!# #&!%!# !"!# #&!%!# !"!# #&'rubato'( )* )''( )* )''( ) )* ) )+, - +. ++ /+0 1 +2 +, +, +, 3 +.4 / +. +. 3 1 +2 # / +20+, # +, #/# 1 4 + #0+, +,0 + #0 /5 6, +,0 6 +,0 61 +, + #0 /5 6, 6, / /62 +0 6 +0 61 # + #3 + #3 /5+, 3 +. ++ 1+0 / +,7 +2 +, +0 1/ +. +. 3 / 4 / +. +. 3 161!"!"!"Vln. IVln. IIVla.Vc.mp7mpmf mpmpVln. IVln. IIVla.Vc.12Vln. IVln. IIVla.Vc.15ppp!" #$"!" #$"!" #$"!" #$"#$" !" #$"#$" !" #$"#$" !" #$"#$" !" #$"#$" %" &'#$" %" &'#$" %" &'#$" %" &'( ) ) )( ) ) )*+ ) ) ) )((*+(( 3*+,- . , , ,- . ,- . , , ,- ./# ,- . , ,- . , ,. ,,- ,01 ,01 ,0 ,- ,01 ,1 , , ,-1 , # /# ,- . , , ,- . ,- . ,,- . , , ,- .,. , ,- ,. ,. ,0 # /# ,- . ,0 ,- . , ,. ,, ,- ,- , ,- , ,- . ,0 , ,1 ,-1 , , ,1,- ,- , , 2- /# ,- . ,0 , ,. ,-1 ,,- . , , ,- . ,. ,0 # /# /# ,- . , , ,., , ,- , , , /# /# /#,. , ,- ,. ,. ,0 # 3 # 4 , ,- 3 # 4 , , , 3 # 4 , ,,- , , , ,- , 3 , , , 4 3 , , , 4 3 , , , 4,- . ,0 , ,. ,. ,0 # ,0 , , 4 3 ,0 , , 4 3 ,0 , , 4 3 62!"!"!"Vln. IVln. IIVla.Vc.mp17mpVln. IVln. IIVla.Vc.mf21mfmfmfVln. IVln. IIVla.Vc.p pp p25p pp pppppp!" #$ %&#!" #$ %&#!" #$ %&#!" #$ %&#%&# '&# '&# #&#%&# '&# '&# #&#%&# '&# '&# #&#%&# '&# '&# #&##&# &!&# &!&##&# &!&# &!&##&# &!&# &!&##&# &!&# &!&#(( ) ) )*+ ) ) ) )((* )+ )( ,5( 5* ) )+ ) )-, ., / .0 .0 ., / .1 / ., .1 ., / .0 / . . #-,-1 2# .,3 .0 .0 .,3 .13 ., .1 .,3 .03 .4 # 5 .13 4 # .1 ., .3 4 # .1 .1 . #3 44 # .1 #/ 4 .6 . . .3 4 .1 7 ./ . #/ 45 . .1 . #3 4 # 5 .13 .3 . #3 4. . . #3 4 # .1 #3 .3 . #3 44 .16 .1 #3 .1 # 4 .0 . 48 ., / .0 .. 2.3 4., .1 . #3 .1 # .06 . 48 2 .0 .0 / 4.1 # 2 48.. ## 2 48 63!"!"!"Vln. IVln. IIVla.Vc.pp mp28pp mpmpmpVln. IVln. IIVla.Vc.mf31mfmfmfVln. IVln. IIVla.Vc.p34pp!" #$"!" #$"!" #$"!" #$"#$" "" !" #%#!#$" "" !" #%#!#$" "" !" #%#!#$" "" !" #%#!#%#!#%#!#%#!#%#!&&' () ( (& (& (')& falling out of time (molto rubato)&' (* (*) (* (* &+, - +. #/ +, #/ 0 # 0 # +. - + + +/ +./ + + +/1# +, #/ 0 # 1# +. +- +. - + + +-1# +. +- +- + +. +/+. - + + +-+- + +. +- +- +, # 0 +,/ + +. +. +, + +.+- + +. +/ +/ +, # 22..+./ + + +- +. - +, # 2 3 #+. - + + +- +- +, # + + + +, 3 3 #+4 + # ++/ +4 #- 5 # 1* +, - + #/ ++. ##/ +/ 5 0*+4 + # + + # 5 # 1* +- + #- + #- +- 5 0*64!"!"!"Vln. IVln. IIVla.Vc.p36pppVln. IVln. IIVla.Vc.37Vln. IVln. IIVla.Vc.38! out of time (like a loon)!"!pizz.!!"!pizz.!!"!pizz.#$ % #&' #& #'( ) #& *&*& *& #&' *&#+$ % *& *& *& *&#+$ % *& *& *& *&#$ % #&' #& #'( ) #& *&*& *& #&' *&#+$, *& *& *& *&#+$ % *& *& *& *&#$ % #&' #& #'( ) #& *&*& *& #&' *&#+$ % *& *& *& *&#+$ % *& *& *& *& 65!"!"!"10: Mahoosuc Notch...Violin IViolin IIViolaViolincellof pe = 50f pf pf pVln. IVln. IIVla.Vc.8Vln. IVln. IIVla.Vc.f mp14f mpf mpf mp!" #" $" %" #" $"!" #" $" %" #" $"!" #" $" %" #" $"!" #" $" %" #" $"%" #" $" #" $" $"%" #" $" #" $" $"%" #" $" #" $" $"%" #" $" #" $" $"$" %" #" $"$" %" #" $"$" %" #" $"$" %" #" $"& 5& 5' 5( 5&&'(& 5& 5' 5( 5)*+ )*, # )# ) ))-- ## ))++ ## ..-- )+ ) ))-- ## )+ / )#0 )*- )# ) )+ # )+ # .+ )+ )+ )+ # )+ / )+ #1 # )*-2 )# ) )- # )- # .- ))+- ))- )- # )+2 )+ #3 )*-4 )# ) )+ # )+ # .+ )+ )+ )+- ## ))-+ 2 ))+- ##)+ / )# ))-- ))++ )-+ ## ..-- )- )+ ) ..--)+ / ))- ## )+ ) )+ # ..-- )+ ) )) ..--)+2 )+ # )- )+ )+ # .- )+ ) )+ .-))-+ 2 )+ # )+ )+ )- # .- ))+- ))-+ )+ .+)*- )*- # ) ))++ )++ ## ))-+ / )+ ..-- )--2 ))+- ##0 )*- ) )+ ) )+ ) ) )+ ) ) ..-- ))--/ ))-- ##1 # )*+ / ) )- )- # )+ / )- .- )+ / )- #3 )*+ 4 ) )+ )+ # )-2 )+ .- )-/ )+ # 66!"!"!"Vln. IVln. IIVla.Vc.20Vln. IVln. IIVla.Vc.26Vln. IVln. IIVla.Vc.mf31mfmfmf!" #" !"!" #" !"!" #" !"!" #" !"$" %" ""$" %" ""$" %" ""$" %" ""#" !"#" !"#" !"#" !"&&'(& )& ) )' ) ) )(&& )' )(**++ ,,++ ## ,,-+ ## ,+. ,+ # ,,+- / ,,+- ## ,,-- ##**++ ,,++ ## ,,++ ## ,,++ / ,,++ ## ,- / ,- # ,- #*- ,+ # ,+ # ,+ / ,- # ,- / ,- # ,+ #* ,- # ,- # ,+ / ,+ # ,+ / ,+ # ,- #,,-- ## ,,++ ## , ,+ ,+ ,- ,+ ,+ , # ,,- # ,+ # ,- ,+ ,- ,- # ,- # ,-. 0,+ # ,+ #,- # ,- # 0 # ,+ #/ , # , # , 0 # ,- #/ , # ,/ 0,- ,- ,- ,+ ,- ,+ 0 ,,++ / ,,++ ## ,,++ ,- ,,++ ##,- / ,+ # ,+ , , #,- / ,- # *- , #0 # , #/ * 0 ,+ / ,- # ,- ,,+- ,- # 67!"!"!"Vln. IVln. IIVla.Vc.35Vln. IVln. IIVla.Vc.40Vln. IVln. IIVla.Vc.mf46mfmfmf!" #"!" #"!" #"!" #"$" #"$" #"$" #"$" #"#" !" #" !"#" !" #" !"#" !" #" !"#" !" #" !"%%&'%%&'%%&'(()* () + (* # (()) ## () + () # (()) ((** +() () + (* # (* # () + () # () () +(* () + (()) ## () # () + (* # (* (* +(()) (, (* # (()) ## (()* + ((*) ## () (),() (), (* () (* (* + ((** (()) + ((*) (()) (()* (* ( # ( -(() (+ ((*) ( (()) () + () () + (* (* () (()) () # ( -() (), (()) () (* (() + (* () + (* ( () () () # ( -() (*, (* () () (* + () (), () (* (* ( (* # ( -() # (, (* (, () ( () (, (* (+ ()(() ## (()* ## (()) ## ..)) (* # () #(* # (+ (* (+ () ( (* (+ () (+ ()() # () # () # .) () # () # 68!"!"Vln. IVln. IIVla.Vc.52Vln. IVln. IIVla.Vc.f5 9fff!" #"!" #"!" #"!" #"$" %" &"$" %" &"$" %" &"$" %" &"''()' 5 5' 5 5( 5 5) *+ ,- # ,. ,- ,/ # ,0 ,- ,0 ,- ,. ,/, ,- ,/ # , # ,/ # ,,- ## ,,/ ## ,/ #+ ,, ## , #,0 ,1 ,,// ## ,. ,- ,0 ,/ ,0 ,/, ,/ ,- # , # ,/ # , # ,- # ,,-- ##,0 ,- , ,2/ ,2/ # , # ,2/ ,2/ # +, 3 ,/ 4 ,2/ , # 4 ,2/ +, 3 ,- 3 # ,2-0 , # 3 # ,2-0 +,, 3 ,2/ . , , # ,2/ . , +69!"!"!"11: low maples turn to red; solitude in the late summer...Violin IViolin IIViolaViolincellope= 30pppVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.7!! "# !! $!!! "# !! $!!! "# !! $!!! "# !! $!$! %! #! %!$! %! #! %!$! %! #! %!$! %! #! %!%! $! #! &'%%! $! #! &'%%! $! #! &'%%! $! #! &'%(()*(()*( 5( 5)* +,- # ,- ,- # ,. ,. ,- ,- , ,- # ,- , #/- 0. # /-,. # , , ,,1.. 2 00 ## /-,,1.. ## ,, ,, ,.3 0 # //..,- ,- ,- ,- ,- ,. # ,- # ,- ,- ,- ,-,- , # 00-- ## 0-,,-- ,, ## 00-- ## 0.,. , # ,. # 4 # ,,.. ,, ,. ,5 5 ,- ,-3 ,- ,- ,- # ,- ,- , ,.5 ,- ,- , ,- , # 5 # ,- 6 , # ,0- # ,- , # 0.,2 5 7 7 ,- , # 70!"!"!"Vln. IVln. IIVla.Vc.mf10mfmfmfVln. IVln. IIVla.Vc.p13pppVln. IVln. IIVla.Vc.mp mf16mp mfmp mfmp mf!"# $$ !% #%!"# $$ !% #%!"# $$ !% #%!"# $$ !% #%#% &$ %"# &$#% &$ %"# &$#% &$ %"# &$#% &$ %"# &$&$ &$&$ &$&$ &$&$ &$' 5' 5( 3) *'' *( *)' 3 3' 3( 3) 3+, #- +, +, +, +, + +,- +, +, +, +- +,+ #. + /, +, +, + +, + +0 #+ #. + 1, 1, +0 1 + #1, 1 1100 ++ ##+, + +, +, +, +, +, +, +, # +, + #1, # 1,1, + #. + + + #.+ # + # + # +, # 1, 1100++00 +0 +0 +0 +0 10 + +, +0 +0 +0 +0 +0 + +0+0 2 + 10 10 103 3 4 +5 + 10 + + # + + + +6 #3 4 +0 + + +6 + 1100 3 4 +6 7 + + + # + +6 71!"!"!"Vln. IVln. IIVla.Vc.f20fffVln. IVln. IIVla.Vc.ff26ffffffVln. IVln. IIVla.Vc.fff29fffffffff!" !"!" !"!" !"!" !"!" "" !" #"!" "" !" #"!" "" !" #"!" "" !" #"#" "" $$%#" "" $$%#" "" $$%#" "" $$%& 5 5 5 5 5 5& 3 3 5 5 5 5' 5 3 3( 5 5& 35 3 5 3 3& 5 3 5 3 3' 3 3( ) 3& 5 3 3 3& 5 3 3' 3 5 5( & (7 7* *+ *+ * * *, * * * * * *+ *+ * * * * * *+ * * *+ *+ *+ *+ * * * *+ *+-,* *+ * -,* *, * * *+ *+ * *+ * * *+ * * * * *+ *. * *+ *+ *+ *+--+ -- ** *, # * -+ -+ * -+--,, --,, ** **,, ## -- * # * -*+ *+ *+ *+ *+ *+ *+ * *+ *+ * *+ *+ *+ *+ * * *+ *+ * *+/ *+*+ *+ *+ *+ **++ 0 *+ *+ * *+ *+ * *+ *+ *+ *+ # * *+ */* - 0 1 *+ . * *+ **+, ** *+ * * **. * *. *. * *+/ * * * **+ *+ * *+ *+ *+ * *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+*+ *+ * *+ *+ *+ *+ *+ * *+ * * *+ *+ *+ **+ * * *. * * *+ * *+ *+ * *+ * *+ *+*+ *+ * * * * * * *+ *+ *+ *+ *+ * * * * *+ *+ *+ 72!"!"!"Vln. IVln. IIVla.Vc.fff31fffffffffVln. IVln. IIVla.Vc.34Vln. IVln. IIVla.Vc.37!!" #$ %&!!" #$ %&!!" #$ %&!!" #$ %&%& '&%& '&%& '&%& '&'$ $&'$ $&'$ $&'$ $&(()* ( *(()* (( +( +) +( + *,-./ 00-.. 00,-. 1 00-.. 00,-/ 0-2 ,-. # ,-3,-./ ,- # ,-4 0,, ## ,, ,,-.. ## ,, ,,-.. ##,, ## ,, ,, ## ,, ,, ##, # , ,-. , # , , #,- # ,- , # , , #,. # 0 #,,3 ,-. 0-. #, # 0 #, # 0 # 73!"!"Vln. IVln. IIVla.Vc.p40pppVln. IVln. IIVla.Vc.43!" #"!" #"!" #"!" #"#" $!#" $!#" $!#" $!%% &'(% &%'()* + ) # ) ) ) ), ), + ), #-* ) .-* )* ), -,-* ), )),, --,,. )* ) )* # )+), + ), ), # ), + ), )* )* -*)/ # -, ), )* -*))** ## --,, )),, ), -74!"!"!"12: the Mahoosucs shimmer with mica in the sun...Violin IViolin IIViolaViolincelloffe = 120ffffffVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.7!! "!!! "!!! "!!! "!#$#% !!#$#% !!#$#% !!#$#% !!!! "! #$#% #&#%!! "! #$#% #&#%!! "! #$#% #&#%!! "! #$#% #&#%''() *''()''()+ ,-. ,. ,. ,. ,. ,. , , , , #/ ,0 , , # + ,. ,. , # , , , #1 2 ,-. , # , , , , #0 , , , #0 , , ,0 , #0 ,0 1 2 ,. 0 , # , , ,1 2 ,-. , # , , , , #0 , , , #0 , , ,0 , #0 ,0 1 2 ,./ , # , , ,3-. + # ,4 , # , + #+ ,- , , , , , # + , , ,4 , , , , , ,4 , , ,4 ,. , , ,1 + # ,- , , , , ,/ + # , , , , , , + # + , ,4 , , ,4 , ,+ + # 2 ,,-5 ,, ,, ,, ,,0 + # ,,4 ## ,, ,, ##0 ,,0 64 , , #0,- , # , , , #0 2 ,4 , # , , #0 + 64 , , #0+ ,- , , , , , , , , , , # , , , , , ,4 , , ,4 , , , ,1 + # ,-./ ,. , , , , # , , , , # , , , , , ,4 , , ,4 ,1 2 ,,-7 ,, ##/ ,, ##/ ,, ,4 , , , # , , #0 2 ,4 0 , #0 ,0 , #0 ,33-4 ,4 , , , , #0 2 ,4 0 , #0 ,0 , #0 , 75!"!"!"Vln. IVln. IIVla.Vc.10Vln. IVln. IIVla.Vc.12Vln. IVln. IIVla.Vc.14!"!# !$% &!!#!"!# !$% &!!#!"!# !$% &!!#!"!# !$% &!!#&!!#&!!#&!!#&!!# !"!# !"!#!"!# !"!#!"!# !"!#!"!# !"!#''( )* )''(*''(*+ + + + + + # +, + + +, +, + +, + +, + + +, +, + +, ++ + + - +. + + + + + + +, +, + + + +, +, + +, + +, + + +, +- +, / +0 - +, +, #0 + + #0- ++,, ++ ++ ++ ++ ##1 ++ ++ ##1+23 + #1 + +3 +3 +3 + + + + +2 + #1 + + + + + + + +4 +231 + #1 4 +3 0 + #0 + + + #0 4 +21 + #1 4 +1 + #1 4 +1 + #15 +2 #0 + + #0 + + #0 5 +2 #1 + + #1 + + #15 - +20 + +/ +0 + + + 5 - +2, 0 + +/ +0 + + ++ #1 + + +, + + + + + + #1 + - +1 + - + + #1- +,1 4 # +, + + # +3 + #0 4 +1 + #1 + + - +, + 4 #4 # + #0 + + + - + #0 + + 5 + #1 4 + +, +/ 4 +1 4 #4 # 4 +/ + + + 4 # 5 - +,1 5 +, / + - +, 0 76!"!"!"Vln. IVln. IIVla.Vc.16Vln. IVln. IIVla.Vc.p18pppVln. IVln. IIVla.Vc.fff20fffffffff!"!# !$!#!"!# !$!#!"!# !$!#!"!# !$!#!$!# %%!$!# %%!$!# %%!$!# %%%% &% !$!#%% &% !$!#%% &% !$!#%% &% !$!#''()''()''( ' ( ')* +, - * +. +. - +/ # + +/, +, +0 * +, - * +0 . +. - # - +0 ,+0 #, - +0, * +, * +0 1 +0 +0 1 - +0, - # +0, +1 +0 +0- # +0 , * +0. + +0 * +0 , - +, +, 2 + # + +0, - +0 , 2- # - +/ + # + # + ++// 1 2 * +0 + * + + +/ #1 +/+0 +0 + +0 +0 +0 + +/ +0 +3 +/ +3 +3 +/ +3 +3 +3 +3* 2 +0. +0 + +0 +0 + +0 +3 +/ +3 +3 +/ +3 +3 +/ +3+0 +0. + #, - +0 +0 + + +3 +/ +3 +3 +/ +3 +3 +/ +3- +/ #, + #, 2 - # +3 +3 +/ +3 + +3 +3 +/ +3- +4/ + +/ +/ +/ +/ + +/ + + + +0 + + + +- 2 +4/ + + +/ +/ +/ +/ + + + + + + + + + +- 2 - # * +4/, +/ +/ +/ + + + * + + + + + +0+4/ 1 + + # + + + +/ 1 + + + + + * + + 77!"!"!"Vln. IVln. IIVla.Vc.22Vln. IVln. IIVla.Vc.24Vln. IVln. IIVla.Vc.26!"!# !$!# %&!#!"!# !$!# %&!#!"!# !$!# %&!#!"!# !$!# %&!#%&!# !$!# !"!#%&!# !$!# !"!#%&!# !$!# !"!#%&!# !$!# !"!#!"!# !#!#!"!# !#!#!"!# !#!#!"!# !#!#''' ()''()''()* *+ * * *+ * * * * *, * * *+ * * *+ *+ * * *+* * * * * * * * *+ * * * * * * * * *+ * * *+ *+ ** * * * * * - * * *+ * * * # * * * * * *+ * ** * *+ *. * * * * *+ *, * *+ * * * * * * * *+*+ * *+ * *+ * * *+ *+ * * *+ * *+ * *+ * *+ *+ *+ *+ * *+* * *+ *+ * * * *+ * # * *+ *+ * *, *+ * *+ * *+ * * * *+ *+ *+ *+*+ *+ * * *+ *+ * * * * *+ * * *+ *+ * * *+ * *+ *+ * *+ * **, * *+ *+ * * * *+ *+ * *+ * *+ * * *+ *+ * * *+ *+ *+ * *+ /*+ *+ * *+ *+ *+ *+ * * *0 *, *0 *0 *0 *0 *, * *0 *0 * *0 *0 *0 *0* * *+ *+ *+ * *+ *+ *+ * * *, *0 *0 *, *0 *0 *0 *0 *, * *, *0 *0* *+ *+ *+ * *+ * *+ * *+ *+ * * *0 *, *0 * *0 *0 * *0 *, *0 *0 *0* *+ *+ *+ *+ * * *+ * *+ * *+ *+ *+ *+ * *, *+ *0 *, *0 *0 78!"!"!"Vln. IVln. IIVla.Vc.28Vln. IVln. IIVla.Vc.30Vln. IVln. IIVla.Vc.r=18033!"!" !#!" !$!"!"!" !#!" !$!"!"!" !#!" !$!"!"!" !#!" !$!"!$!" %!" !$!"!$!" %!" !$!"!$!" %!" !$!"!$!" %!" !$!" "&"&"&"&' accel.'()''( ') '' #''' )* $ * *+ *+ *+ *, * * *+ * *+ * * *+ *+ *+ *+ *, - * *, *+ *+ *+ *, *,*+ *+ *+ *+ . * * * * *+ *, * * *+ * *+ *+ * *+ *+ *+ *+ *, *, *, *, *+*+ *, * *+ *+ *+ *+ *+ *+ *+/ - - * * *+ *+ *+ *, * * *+ *+ *+ *+ * *+ *+ *+* *+ *, * *+ *+ *+ $0 *+ *+ - - *, *+ * *+ *, * * * *+ * *+* *, *, * * * *+ *+ * * *, *, * * * * *+ * * *, *, *, * * * * * * *. $ . *,/ *, * * * . . *, *, * * * *, *+ *, * * * * * * **+ *, *, * * *+ *+ *+ * * * *, * * * * *+ *+ * *, *, *, * * * * *+ * **+ *+ *, *, * * *+ *+ *+ * * *, *, * * * *+ *+ * * *, *, *, * *, *, *, ** * * * * * * * * * * * * * */ - * * * * . * * * * *+ $* * * * * * * * * * - * * * - * * * */ - - * * * * - 1$* * *+ * * * * * * * *2 - * * * *2 - * * * . * * * * 1$* * * * * */ - * * * */ - * * */ - - * * * * * * - . 1$ 79!"!"!"Vln. IVln. IIVla.Vc.mp mfr=8036mp mfmp mfmp mfVln. IVln. IIVla.Vc.p pp40p ppp ppp ppVln. IVln. IIVla.Vc.ppp pppp43ppp ppppppp pppppppp!"# !$# ##!"# !$# ##!"# !$# ##!"# !$# #### %# !!### %# !!### %# !!### %# !!#!!# &$!!# &$!!# &$!!# &$' ( slow ' ( (' ( ( )* ( ('')*'')* (+ # ,- # .# /- 0 /- / + # /,- # . /0 /- # + # /, # / /- /1 / # + # /, # + # + # /,- ,- .# /- 0 / /21,- , . /0 +-,- , / /- / +, , / # +.# . /- / /2 .# /3 +3. /2 0 /- /- / # .# /3 +3/2 /- /2 / / # .# /3 +3-/3 +3 8081New Hampshire!"!"!"13: into the Whites (from the river to the clouds): "Its a glory that can't be remembered so that it always comes as a suprise..."* Violin IViolin IIViolaViolincellop ppq  = 40p ppp ppp ppVln. IVln. IIVla.Vc.p pp4p ppp ppp ppVln. IVln. IIVla.Vc.mf7mfmfmf!! "! #!!! "! #!!! "! #!!! "! #!#!#!#!#! "! $! !! $! !!"! $! !! $! !!"! $! !! $! !!"! $! !! $! !!% & '% 5 '( 5 ') '% 5% 5( 5)% 5% 5( 5)* Steinbeck, p. 50. % )**++ ,- , #*+ . . , /+ / //- ,, ##* . ,+ ,+ , , #** * , , #* # & /+ / /- , # 0 #**+ ## 0 , # ,- , # 0 #, # , # . ,+ ,+ , , # 0 #** ## *- # , # 0 #. . . ,+ , , # 0 . . 1 //2 ** ,, ##0 ,- //+ ,, ,, ## , ,+ # * ,- #. /+ ,,- ## ,, ,, ## 0 . . 1 //-- 3 ** ,, ##*- / /4 ,4 # 0 . . 1 /- 3 * , # 82!"!"!"Vln. IVln. IIVla.Vc.p12pppVln. IVln. IIVla.Vc.mf f p17mf f pf pf pVln. IVln. IIVla.Vc.f p23 f pf pf p!! "! !! #!!! "! !! #!!! "! !! #!!! "! !! #!!! #! !!!! #! !!!! #! !!!! #! !!!! "! #!!! "! #!!! "! #!!! "! #!$ 5 5$ 5 5% 5 5& 5$ 5$ 5% ' ' 5& ' '$ 5 5 7:6$ 5 5 7:6% 5 7:6& 7:6' () *+ ,,) ' () + # + #- - - +) ,,) ## * # +) (. +. + #- () +) # , # - ,. + # + #,. , # + +) # + # + #+) # ,,. ,) , - - ( +) + #+) # ,, ,,)) ,, ,,)) (( (( ++)),) , - , + #,, ,, ,. + #- - - +) +) +) # + ,,. ## ' - +)- - +) () ( +) # (()) ++ ,,. ## ' +) ()- ,) , # + #, # +) # - +) ,, , # ,, ## + + + # 83!"!"!"Vln. IVln. IIVla.Vc.mp f p27mp f pmp f pmp f pVln. IVln. IIVla.Vc.32Vln. IVln. IIVla.Vc.f p36f pf pf p!" "" #$ ""!" "" #$ ""!" "" #$ ""!" "" #$ ""% 5 53% 5 5& 5 5' 5% 33 3% (( 3 3&'% ) 3 3% 3 3& 3 3' 3* # + # ,- , , * , ,. , ,- , # / 0( ,-* # + * # *- * ,- , # / 0( ,-* # / 0 , , , , , , , , # / / ,- ,- *-* # * , ,- * 0 , , # / 00 00-- ,, / ,1 2 , ,( , , 3 , , ,-. ,0 0, # ,( # , ,, 3 ,1 ,1 , , ,( ,( 2 , ,-0 , ,- *- 3 ,( 2 * # 3 ,- 2 * #0 , # , # , *( # ,( 000( ,( ,( ,( , , ,0* ,( ,- + , , , , , , *00(( / ,( ,,( ** , 00* , ,,(( ,, *( / * 0 84!"!"!"Vln. IVln. IIVla.Vc.pp ppp39pp ppppp ppppp pppVln. IVln. IIVla.Vc.pppp43ppppppppppppVln. IVln. IIVla.Vc.46!" ""!" ""!" ""!" """" #" !" #""" #" !" #""" #" !" #""" #" !" #"#" ""#" ""#" ""#" ""$ 3$ 3 3% 3 3 3& 3 3$ ' sul tasto$ sul tasto% sul tasto& sul tasto$$%&() ( ( ( * ( * *+ # * #, *) () ( * * *+ # * #- - () ( *) * () * **+) ## ** ##(. *. - (. (. / **)) ## ** ##( (( (( (( (() (( (( ((- - - ( (( ( (( ( (( (( (( ((- - () ( ( ( ( ( ( ( ( (((. (. ( ( (. ( ( ( ( () ( (- - ( () () () ( ( ( /- () ( ( ( ( ( ( ( /(( (( (( (( (( (( (( (( (( //() ( ( ( ( ( ( ( ( / 85!"!"!"14: delicate balances (Athene and Arachne)...Violin IViolin IIViolaViolincellope = 50pppVln. IVln. IIVla.Vc.mf5 mfmfmfVln. IVln. IIVla.Vc.mp f10 mp f mpmp fmp f mp!" #$ !"!" #$ !"!" #$ !"!" #$ !"!" %$ #$ !"!" %$ #$ !"!" %$ #$ !"!" %$ #$ !"!" &%" '" &#"!" &%" '" &#"!" &%" '" &#"!" &%" '" &#"(()*( 3 3()*(()*+ ,# ,# , -. / - -/ - -.0 - -0 1 # - # - --/ - - - -. - - - - - -. - - - - - - - - -. - - - - - - - - - ,-. / - -. / - -/ - -/ - -. / - -/ - -/ 1 # - # - ,-. / - -/ - -. / - -/ - -/ - -. / - -/ -2 # - # - # - # - # - --20 - -0 -. -0 - -0 - -0 - -/ - - -0 - - - -0 - - # +- - - -. - - - - - -. - - - - - - - - 1 # 1 - # -/-2 -/ - -/ - -/ - -/ - -/ - -/ 11 ## 11 -- ## -2 /-0 -. -0 - -0 - -0 -. -0 - -/ - 1122 ## 11 -- ## ++ -2 -2 - - - - - -2 - - - - - -2 - -2 - - - -3 1123 ## +-2 -/ - -20 -2 -0 - -/ -2 -2 / - -/ 13 1122 ## -/-3 -/ - -/ -3 -/ - -/ -3 -/ - -/ 1 4 --33 ##/ 11 ++ - -3 - - - - - -3 - - - - - -3 - - --3 13 4 --23 ##/ 11 -/ 86!"!"!"Vln. IVln. IIVla.Vc.mp13fmpfVln. IVln. IIVla.Vc.f15fVln. IVln. IIVla.Vc.f18f ff!"# !$# %#!"# !$# %#!"# !$# %#!"# !$# %#%# && %#%# && %#%# && %#%# && %#%# !"# %#%# !"# %#%# !"# %#%# !"# %#''()''()''()* +, +- + + + + +. + + + + + + +- + + + + + + *+- + + +. +. +. + + + + + + +- + + + + + ++-- ## ++ +.* +, +- +- +- + + +. +- +- + + + +- +- +- + + # + # + *+- +- , + +/ +- +/ + +, +- +, + +- , +- # +- # + +0 +. +. + +. +. + + + + + + + + + + +- + 11-+- # +- # + # + # +- # + # + # + # +- # +- # + # + # 11--0 +- +, + +, + +, +- +, + +, +- 1-+- # + # +- # +. # +- # +- # 11.-+ +- # + +- + + + +- # + + + # + +/ + +-/ + +/ +- +- +- + + + + + + # +*# + +- # + +- + + + +- # + + + # + +, + +- , + +, +- + +- + + + +*# *# *# + +- # + +- + + + +- # + + + # + +/ + +-/ + +/ +-* 0 *# + +- # + +- + + + +- # + + + # + +/ + +-/ + +/ +- +- +- + 87!"!"!"Vln. IVln. IIVla.Vc.21ffffVln. IVln. IIVla.Vc.ff23ffVln. IVln. IIVla.Vc.ff25 ffffff!" ##" !"!" ##" !"!" ##" !"!" ##" !"!" #$" !"!" #$" !"!" #$" !"!" #$" !"!" !"!" !"!" !"!" !"%%&'% 3 3 3 3 3% 3 3 3 3 3 3 3& 3 3 3 3 3' 3 3 3 3 3 3 3% 3 3%& 3' 3( () # ( ( ( () ( () # ( (* () +# +# +( ( # ( ( () # ( ( ( () ( () # ( +# +# (,() () ( ( ( ( ( ( # ( ( () # ( ( ( () ( () # ( ( ()( ( ( ( ( # ( ( () # ( ( ( () ( () # ( (* () (+# (, () * ( ( ( ( (, (, (, ( ( ( (, ( () ( ( (, ( (, (, (() ( ( ( ( (, (, ( ( ( ( ( ( () ( ( (, ( ( ( ( () () ( (, ( ( (+# ( () * () () ( ( ( (, ( ( () ( ( ( () () () ( ( ( ( ()() () () ( ( ( (, (, ( () ( ( ( () () () ( ( ( ( () () () () ( () ( (() () ( ( - ( (* () () () ( ( ( (). () ( ( () ( () () ( ( (() * (()) -- ## + (* () () () ( ( ( () () ( ( ( () ( () ()() () () ( - # + (* () () () () ( ( () () ( () ( () () () ()() * (()) -- (( (, * () () () () (, ( () () ( () ( () () () () ( () () 88!"!"!"Vln. IVln. IIVla.Vc.28Vln. IVln. IIVla.Vc.fff31fffffffffVln. IVln. IIVla.Vc.p37 ppp!"!"!"!"!" ##" ""!" ##" ""!" ##" ""!" ##" "" #$" "" #%"#$" "" #%"#$" "" #%"#$" "" #%"&&'(&&'(&&'()* + ) )* ) ) )* ) ) ), )* )* ) ) )* ) )* )* ) ) )* )* ) ) ) ) ),) )- ) )* )* ) )* )* )* ) ) ) )* )* ), ) )* ) )* )* ) ) )* )* ) )) )* + ) )* )* ) )* )* )* ) )* ) ), )* ) ) )* )* + )* ) ) ) )* )* )*)* + )* )* )* )* )* ) )* ) )* )* ) ) )* )* )* )* ), ), ), )* )* )* ) # ) #., . ) ) ) ) # ., # ) ), . # ) ) / /,., .* ) ) ) ) # ., # ) ), . # ) )* / /,., .* ) )* ) ) # ., # ) ), . # ) )* / /,.* .* ) )* ) ) # .* # ) ), . # ) )* / /,., # ) ) ) # ) ), # / / 0 / / #., # ) ) ) # ) )* # / / 0 / / #. # ) )* ) # ) )* # / / 0 / / #.* # ) )* ) # ) )* # / / 0 /* / # 89!"!"!"15: climbing Mt. Madison in the cold rain...Violin IViolin IIViolaViolincellope = 30 pp p pppp p pppp p ppVln. IVln. IIVla.Vc.p mp mf5p mp mfp mp mfp mp mfVln. IVln. IIVla.Vc.f p pp9 f p ppf ppf p pp!! "! !! "! #!!! "! !! "! #!!! "! !! "! #!!! "! !! "! #!#! "! $% !! &!#! "! $% !! &!#! "! $% !! &!#! "! $% !! &!&! $% "% $%&! $% "% $%&! $% "% $%&! $% "% $%' ( (' 3)* ' * 33'' 3 3) 3 (* *3' 3') (*+, + +, - # . -, #/ +0 - # . 1, 10 / +0 2 113 / +, 2 1 1 / +0 2 1+3 + + - # +0 1 +04 + - # +0 1-3 # / +, 2 1 . +0 + # 10/ +3 +0 -0 + ++,, 11 --00 ++ ## . +0 2 - #+3 2 +3 - / +, 2 + +, + +, - / +2 + +, + #-3 # / +, 2 1 -0 + # + + +504 -+, +, +, / / # +0 #4 + # +0 + # +, + #-, / +, # + # +0 + # +, + #-, +0 + # +0 + #+ +, $+, 2 +2 + # + # +3 + # +0 + # 90!"!"!"Vln. IVln. IIVla.Vc.p13pppVln. IVln. IIVla.Vc.mf17mfmfmfVln. IVln. IIVla.Vc.20!" #$ %$ #$!" #$ %$ #$!" #$ %$ #$!" #$ %$ #$!" &$!" &$!" &$!" &$!"!"!"!"' 3' 33( 3)' 5' 5( 5) ' 5 )''()*+ # *+ , *+ # -. # / 0 *.1 - # / *+ *+1 *.*+ # *+ , *2 # -+ # / 3+ / *. , *, *+ **+ # *2 , *2 # -+ # 0 *+ , 3 0 *. -*2 # *21 *+ # -+ # *+ 3 -. #/ 0 *+ *+ * **+. ## *. , *. # -+/ *+ # * *. # *, *. # -+0 *21 *# * *+ # *+1 *. # -+*2 *2 *+ # * *+ # *+1 *+ # -2*. # *. , *. # *. , *. # - * 0 4*. # **, **+. ## **. , *. # - * 0 4*. # *1 *+ # *1 *. # -+ * 0 4*+ # *1 *+ # *1 *# -2 * 0 4 91!"!"!"16: life in the clouds...Violin IViolin IIViolaViolincellope  = 40p ppVln. IVln. IIVla.Vc.mp6 mp mpmpVln. IVln. IIVla.Vc.p9 p pp!"!"!"!" #"#"#"#"!" #" #"!" #" #"!" #" #"!" #" #"$ % % %$&' %$$& %'$$& %'() # ( #() # ( # ( # * (+ ( #, # ( #+ ( # ( # , () ( #, () ( # ( # - (. (() () ( () + ( (/ () #, () () ( # () + ( #, # ( #+ 0, # ( #+ ( # 0() () () ()/ () (/ ()/ () ,, () () ( # (/ ( # ,()/ ( (/ ()/ ( ,( ( ( ( # ( ( ( # , 92!"!"!"Vln. IVln. IIVla.Vc.ppe  = 5012pp ppppVln. IVln. IIVla.Vc.pppe  = 6016ppp ppppppVln. IVln. IIVla.Vc.p20ppp!"!"!"!"#" !" #" !"#" !" #" !"#" !" #" !"#" !" #" !"!" $%&!" $%&!" $%&!" $%&''( )* ) )'' )( ) )*''(*+, +, +, +,- +, +,- +, +,- +,. +, +, +,- + +- + + #+, +, + +,- + +,- +//00 ++ ##1 +0 # +0- +2 +- +2 +- + +0 +21 +, +, +, + +- 1 1+, +, +, + +- 1 11 ++00 ## ++ ## // +0 # +0 #+ + +2 + + +2 + + +2 + +2 +2 +2 #-+2 + + +2 + + +2 + + +2 + #3+2 # +2 # + # +2 # +2 # + + #3+ # +2 # +2 # + # 4 + # + + #3 93!"!"!"Vln. IVln. IIVla.Vc.pe = 7024 p ppVln. IVln. IIVla.Vc.27Vln. IVln. IIVla.Vc.mfe = 8031mfmfmf!" #"!" #"!" #"!" #"#" $"#" $"#" $"#" $"$"$"$"$"%%& ' '(%%&(%%&() * * *+ *, * *+ , * * *+) ) * * *+, *+ *, *+, ** *+ *+) *+ # * # * # *+ # *, *+ # * #*+ * * *+ *+ * *+ * * *- *+ *+ *+ *+ * #* *+ *+ * *+ * * # * #*, *+ *+ *+ *+ *+ *+ # * #*+ # *+ # *+ # *- # *+ # * #* * *. *. * * / * * *. *. * * * * * */ 0 *1 * *. *. * 0 * *. *. * *- *- *-) *- * / 0 *-1 **+ *+ 2 * *+ *+ # *+ # *+ 94!"!"!"Vln. IVln. IIVla.Vc.fe  = 4033fffVln. IVln. IIVla.Vc.37Vln. IVln. IIVla.Vc.pp41 pp ppppp ppppp ppp!" #" #"!" #" #"!" #" #"!" #" #"!! $! #"!! $! #"!! $! #"!! $! #"% rit #%&'%%&'% ( ( ( (%&') )* )+ )$ )+ )+, ), )) ) )* )$ - )+ . ),) ))* ))$$ - )* )+ )+ /) ) )$ )* )*, ), )) ), ), ) ) ), )$), ) ) )/ )/ ) )$)$ )* ), ), ) )$)* )* )* )/ )* ) )* / )* $0+ - )1, 2 $01 01 2 3 $ -$ )1 $/ )$ )$01 01 21 21 $ )$ )$ )$01 - )+ / 2 $ 3 2 $ - ) )$ )$ 95!"!"!"17: the Southern Presidential Range under an open sky... ########Violin IViolin IIViolaViolincello mfq  = 40mfmfmf######## ########Vln. IVln. IIVla.Vc. 5 ######## ########Vln. IVln. IIVla.Vc. 9!! "! #$ "!!! "! #$ "!!! "! #$ "!!! "! #$ "!"! #$"! #$"! #$"! #$"! "!"! "!"! "!"! "!% &3 3%'( & &% 3 3 3%'(% 3 3%'()* # + )* ,* , ,* , ,* ,* ,- ./, ,* ,,,,,,,,,,,,, /, ,* ,,,,, ,* , , ,, , ,,,, ,* ,,,,,,,/, ,* ,,,,,,,,,,,,, /, ,* ,,,,, ,* , , ,, , ,,,, ,* ,,,,,,,) # + ),* ,* , ,* , ,* ,* # ,* . ,* , ,* . ,* ,* . . ,* ,* . ,* ,* .,* , , , , , , , ,* , , , / , , , ,* , , , , , , , , , ,* , , , , , , , , ,,* , , , , , , , ,* , , , / , , , ,* , , , , , , , , , ,* , , , , , , , , ,) + ,* , , # ,* , #. ,* ,* . ,* ,* . . ,* ,* . / ,*0. ,* ,* , , ,* ,* ,* , ,* ,*,* , , , ,,, ,,, ,* , , , ,,, ,,, /, ,* ,,, ,* , , , ,* /, ,, ,* ,,, , , ,,* , , , ,,, ,,, ,* , , , ,,, ,,, /, ,* ,,, ,* , , , ,/, ,* , ,* ,,, , , ,*, , # , , # ,* ,* , , ,* , , , ,* , 96!"!"!"######## ######## ######## ########Vln. IVln. IIVla.Vc. 14 ########Vln. IVln. IIVla.Vc. p18 p pp pp######## ######## ########Vln. IVln. IIVla.Vc. mp22 mp mpmp!" #" !"!" #" !"!" #" !"!" #" !"$%& $%& '%& (%&$%& $%& '%& (%&$%& $%& '%& (%&$%& $%& '%& (%&(%& &%& $%& $%&(%& &%& $%& $%&(%& &%& $%& $%&(%& &%& $%& $%&) 3)*+) , ,)*+ , , ) +))*+-. -. - -. -. -. /. -. -. /. /.0- -. ----- 0- -. -------- 0- -. -------- -. -------0- -. ----- 0- -. -------- 0- -. -------- -. -------/. -. - /. -. - /. /.-. # -. # -# -. # -# -. # -#1 -. -. 2-.. 2-3-. ------- -. -------- -40 0 -. -. -. -. # -# -#3 -. # -. # - -.-. ------- -. -------- -5 0 0 -. -. -. -#3 -. -. --# -# - -.-- -. -3 0 - -. -. -# -. # -. # -1- - - - -. # -. # - -. -. -. ----. --. -. -. -. --- -.0 -. 1 -1 -1 -. # -. # -. -. -. -. --6 -. - -#1 - - -. -. - -0 -.3 -3 -3 7 # -. # -. # - -. -- 0 # -. #5 -# -. # -# -#- - - - --. -. -# -# -6 # -# -#3 -# -# -# -. # -# -# 97!"!"!"Vln. IVln. IIVla.Vc.mf26mfmfmfVln. IVln. IIVla.Vc.f29fffVln. IVln. IIVla.Vc.32!"# #"# $%!"# #"# $%!"# #"# $%!"# #"# $%$% &% $% &%$% &% $% &%$% &% $% &%$% &% $% &%&% $% &% $%&% $% &% $%&% $% &% $%&% $% &% $%''()' 3 3'() 3 3' 3'() 3*+ *+ * * * *+ * * *+ *+ *+ * * * *+ *,+ #*+ * * * * # *+ # * * *+ *+ * * *, #- *+. * * * #. * # *+ # * # * # **,// ##*/ # * # * #. * # * # * # */ # * # ** ## **// 0 **1,* *+ * * * * *+ * *+ * *+ * *- *+ *+ * * * * * *+ *+ * * * * * * * * - *+ *+ * * * * *- *+ * * * * * * * *+ * * * * * * * * - *+ * * * * * ** *+ *+ *+ * * */ * *+ * *+ *+ *+* *+ * * *+ * *+ * * * # * * *+ * *+*+ *+ * * * * * * * * - *+ *+ * * * * * *+ *+ * * * *+ * * ** *+ * * * *+ * * * * - *+ * * * * * * * *+ * * * *+ * * * ** */ * * *+ * *+ *+ *+ * * */ * *+ 98!"!"!"Vln. IVln. IIVla.Vc.35######## ########Vln. IVln. IIVla.Vc. 37Vln. IVln. IIVla.Vc.ff40ffffff!" #" $%!" #" $%!" #" $%!" #" $%$% !" &'($% !" &'($% !" &'($% !" &'(&'( '#'( $% ""&'( '#'( $% ""&'( '#'( $% ""&'( '#'( $% "") 3)*+ 3) 3 3)*+))*+, ,- , , , # , , ,- , ,-. ,- ,- , , , , , ,- ,- , , , ,- , , ,. ,- , , , , , , , ,- , , , ,- , , , ,, ,- ,- ,- , , ,/ , ,-, ,- , ,- ,- ,- ,- ,- 0 ,- ,- , ,- ,- , , ,. , ,- , ,- , , , . , , ,- , ,- , , ,- , , , , ,- , ,. , ,- , , , , , , . ,- , , , , , , 0 # , ,- , , , ,, ,1 , 2 , ,- ,- , , ,,- , , , , , ,- #3 , # , , # , 4 4,- ,- , , , , , , , ,,- ##3 ,, ## ,, ,, ## ,, 44 44, ,- , , , , , , , , #1 ,,// ## ,, ,,-/ ## ,, 44// 44, , , , , , ,,/ ##1 ,,// ## ,, ,,// ## ,, 44// 44 99!"!"!"18: down from Moosilauke into the lower lands; solitude in the early fall...Violin IViolin IIViolaViolincelloppppq  = 40ppppppppppppVln. IVln. IIVla.Vc.ppp2pppppppppVln. IVln. IIVla.Vc.pp3pppppp!"#!"#!"#!"#$$%&$$%&$$%&''(( ## ))*## +#*, # '-(( ##. '- ##/ )-*## +#*, ' '( ' #0 )*# +#*'1 # )*# +#*'-(( ## )-*## +#*2 # '( #0 )*# +#*'-(( ## )-*## +#*'1 '( '( ' # )*# +#*'-(( ## '( # )*# +#*'( # '( # )*# +#*' # ' # )*# +#*'( '( '( ' # )*# +#* 100101Vermont!"!"!"########19: rolling hills and open fields...Violin IViolin IIViolaViolincellopq  = 50ppp ########Vln. IVln. IIVla.Vc. 4 ######## ######## ######## ########Vln. IVln. IIVla.Vc. pp8 pp pppp!! "! #!!! "! #!!! "! #!!! "! #!$%# $!$%# $!$%# $!$%# $!$! #!$! #!$! #!$! #!&&'(& )&'(&&' ) )(* + ,- . , ,- , # , ,- . , , ,- ,/ + + , ,- ,0 + ,- . , ,- , 0 ,. ,- , ,- , # 0 ,. ,. ,-, , 1 # , , , 1 # , , , , #2 1 # , # , , ,3 , #,- # , , , ,- , # , ,40 ,- . ,- # + , #. , , # , ,4+ , ,- , # , #/ ,. , , # , ,45 ,3 # , , , ,3 , #. ,. , , # , ,4, + ,- , + ,- 0 , #0 , # 0 , # + # ,4 , #+ ,. , #,. , , ,. , , ,3 , # 102!"!"!"######## ########Vln. IVln. IIVla.Vc. p mf11 p mfpp mfVln. IVln. IIVla.Vc.p18pppVln. IVln. IIVla.Vc.24!" #" $" $%! #%! &" #" #"!" #" $" $%! #%! &" #" #"!" #" $" $%! #%! &" #" #"!" #" $" $%! #%! &" #" #"#" &" $" #"#" &" $" #"#" &" $" #"#" &" $" #"&" $%!&" $%!&" $%!&" $%!''( ) ) ) )*' )' ) ) )( ) ) ) )* )'' ) )(*+ # + +,- + + + +, # + +, +,- + #- +, +, # .,/# +0 1 +, 2# +0 3 ++0 2 2 +1 +, 2 +, #- + 2 +, .2 +0 + +0 + 2 +0- + 2 +0 +. # .0 4 +0 3 + + 4 +0 3 + #1 + 4 +3 + .+, + +, /# +, +,- / 2 +, 1 +,- / 2 +, 1 + +, +,- 2/ 2 +, 1 +, 1 / / 2 +12 +1 + +, 2 +1 +, ++ + 2 2 + + + / 2 + + + +, + + + + + + + 2 +-/ + +, +, + + +, +, + +, + +, + +, +, +, ++, + +1 2 / 2 +1 +, +, + +,2 +1 +, + / 4 +0 #1 + + + + / 2 +1 +, # + #+ + / + + + + / 4 + #1 + + # + + # 103!"!"!"Vln. IVln. IIVla.Vc.29Vln. IVln. IIVla.Vc.33Vln. IVln. IIVla.Vc.37!"# !$ %"# &"#!"# !$ %"# &"#!"# !$ %"# &"#!"# !$ %"# &"#&"# !$ !$ %"#&"# !$ !$ %"#&"# !$ !$ %"#&"# !$ !$ %"#%"# !$ && &&%"# !$ && &&%"# !$ && &&%"# !$ && &&'' ()*'')*'') ( (*+, + # +, # + ++ ## ++ + + #- + # ++ # +, + # + . # / +0 + ++, + # + # + . + + + #1 +1 +1+ + + # + # + + # + + + #1 +2+ 3# + + + + + + +, / + + + +, +,+ . / + + + +, 3 +, 1 + . + +, +,+ + + + + + + + + + # 3# . +1+ + +2 # + +2 1 . 3 +2 1 + + . / +2 + ++, #- +, . . +,- + 4,. # / +, +, + +, + + +, +, 5, #+ +, ++ #1 + + + + + # + 4 104!"!"!"Vln. IVln. IIVla.Vc.pppq = 4040 pppppppppVln. IVln. IIVla.Vc.mp mf43mp mfmp mfmp mfVln. IVln. IIVla.Vc.f ff45 f fff fff ff!! "# $! %!!! "# $! %!!! "# $! %!!! "# $! %!%! #! "!%! #! "!%! #! "!%! #! "!"! &! !#"! &! !#"! &! !#"! &! !#''()''()''()*+ , * # *+ *+ *- * *- , *+ # *+ , *. /. *./+ * *+ /- *. # /+ **++/+ *+ *- /- *. # /+ *+/+ *+ *- /- *+ # /+ *+* * * * * * * * * 0 *. * * * * * *// ## // ## // ## 1. 1/ # / # / # 1. 1/ # / # / # 11 110 *+ * * * * * 0 *. * * * *1+ / # 1. #1+ / # 1. #11++ // ## 11++ ## 105!"!"!"Vln. IVln. IIVla.Vc.fff47 fffffffffVln. IVln. IIVla.Vc.5 0Vln. IVln. IIVla.Vc.53!" #" !" $"!" #" !" $"!" #" !" $"!" #" !" $"$" #" $" %&$$" #" $" %&$$" #" $" %&$$" #" $" %&$%&$ #&$ '"%&$ #&$ '"%&$ #&$ '"%&$ #&$ '"(( )* )+((*+((*+,- .- # . / 0 .- 1/# 0 .- 1 . .- . .-.- . .- . .- ,0 .2 . . 0 . . . ,. .- . .- # .- . . .- , #. # . .- . . # . . # . . .-.- . .- . . .- . . . . .- . .- .3 . .- . .-. . . . . . . . . . . . . . .- . .3. .- . . .- . . . .4. .- . . . . . # . .4. . .- . . # . .5. .6 . . #1 . .6 .-2 . . . .5 106!"!"!"Vln. IVln. IIVla.Vc.56Vln. IVln. IIVla.Vc.59Vln. IVln. IIVla.Vc.62!" #" $"!" #" $"!" #" $"!" #" $"%&' &(&'%&' &(&'%&' &(&'%&' &(&'))*+))*+))*+, #, # ,, ,- ,,- ,, ,- ,. , ,- , ,- , ,-, # , , ,/ , , ,,01 , , # , , ,0/ ,,2 ,- , ,- , , ,- , , ,2 , ,-2,- # , , , , # , ,, ,, ,, , ,- , , ,- , , , , , , , # ,, , , ,0/ 1 , , , ,0/ , ,, , , # ,0/, , ,- ,- , ,- #2 ,-,- , # ,, ,1 , , ,-, , , ,1 , #1 , ,/ ,, , ,0/ ,, ,0 , ,/ , 107!"!"!"Vln. IVln. IIVla.Vc.64Vln. IVln. IIVla.Vc.66Vln. IVln. IIVla.Vc.69!"!# $% &%!"!# $% &%!"!# $% &%!"!# $% &%&% $% !"!#&% $% !"!#&% $% !"!#&% $% !"!#%%%%%%%%''()''()' *' *( *) *+, +, +, # + +, +, # +,- +. +, +, +, + - + ++ +, + + # + # +/ + + #+ +0 + + +0/ # ++, +, + +, +, +, +, #1 +,+1 + + +, +, + # ++2 + + + + + # ++ +0 +/ +/ 3 +0/ . + #2 ++,1 +0, +0, 4+1 5 4+2 5 4- +0/ . 5 4 108!"!"!"20: as slowly as...Violin IViolin IIViolaViolincelloppq = 30ppppppVln. IVln. IIVla.Vc.ppp p7ppp pppp pppp pVln. IVln. IIVla.Vc.pp12pppppp!" #" !" #" $" !"!" #" !" #" $" !"!" #" !" #" $" !"!" #" !" #" $" !"!" "" !" "" %" !"!" "" !" "" %" !"!" "" !" "" %" !"!" "" !" "" %" !"!" $" %" $"!" $" %" $"!" $" %" $"!" $" %" $"& 3 3 '& ( ') ( 3 '* 3 '&&)*& 3 3& ( 3) ( 3* 3 3+, - - + +. -, ++ --, -- +, + -, + - / #+, -. -# - -# + -, / #+, - -# - +, + + +, -# / #+, -. - + +. + +, +, / +, + + +. +. -. / #+. - - +. -. # +. - - +. -. # +0 - /-# - /. -# - /. -. # /-. # - /. -# - /. -0 # /-. # - /. -# - /. -0 # /+, - - + +, +, +, +, -, +, -, - - +,+, - + - +, +, +, +, +, +, -+, -. + - + + + +, +, +. -+, -. - + +. + +, +, - +, - - - + 109!"!"!"Vln. IVln. IIVla.Vc.15Vln. IVln. IIVla.Vc.pp18ppppppVln. IVln. IIVla.Vc.p f21p fp fp f!" #" !"!" #" !"!" #" !"!" #" !"!" "" $" !"!" "" $" !"!" "" $" !"!" "" $" !"!" $" "" !" #"!" $" "" !" #"!" $" "" !" #"!" $" "" !" #"% 3 3 &% 3 3 &' 3 3 &( 3 3 &%%'(%%'()* + # + )* )* +* # + ) )* + # + #)* +, # + )* )* + # + )* )* +, # + #)* + # + ) ), +* # + ) )* + # + #) +, # + ) )* + # + ), ) ++, ## ++ ##), + + # ) ) )- ) ) +- ++, # + # +- +- +- # ++ # + # + ++ ++ ## +++ # + # +- ++-- ++-- ## ++)* +* + # ++-- ## )) ), ), )- ) ), ., #.* # + # + + +- . #.* # + # + ++- + . #..,, ## ++-- ## ++ ++-- +- ., # 110!"!"!"Vln. IVln. IIVla.Vc.ppp25 pppppppppVln. IVln. IIVla.Vc.28Vln. IVln. IIVla.Vc.31!" #" #" !"!" #" #" !"!" #" #" !"!" #" #" !"!" #" $" ""!" #" $" ""!" #" $" ""!" #" $" """" #""" #""" #""" #"% 3 3% 3 3& 3 3' 3 3% 3 3% 3& 3' 3 3%%&'( # )* ) +* + # )* )* + + # )*(, # )* )* + + # )* )* +, + # )*( # )* ) +* + # ), ), + + # )*(( ## ) ), + + # )* ) +, + # ),)* +* + - - )* +* )* )* )* )* )* + + #+* ) )* )* )* )* )* + ) - - )* + + #+ ) )* )* ) ) )* + ) - - )* + + #) + + - - )* + )* )* ) ), )* + + #+ # )* ( # ( #( ( # ( #( ( # ( #+ # )* ( # ( # 111!"!"!"21: the stars were close...Violin IViolin IIViolaViolincelloppq = 40 ppppppVln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.11!" !# $# "# $# !# $"!" !# $# "# $# !# $"!" !# $# "# $# !# $"!" !# $# "# $# !# $"$" "" $# %"$" "" $# %"$" "" $# %"$" "" $# %"!# %" &#!# %" &#!# %" &#!# %" &#' ( 3' ( ( (3) ( ( ( (3* (' ( ( (' ( ( 3) ( ( 3* (' 3 3' 3 3) ( (3 3 3 3* 3 3+#,, - ./,0 ./ $$ 1 1 .2 .23 .2 $ .2 /.,, ./ $$( .2 .23 1 -$ 1 .2 .2 1 11 1 .2 .2 1 - 1%.0 4 + - .23 .2 .2 /.00 /. /.5 /. $$ ./ . . $6/ -7 .2 - 1 .2 .2+#, 1 .2 .2 -6 - 1 .2 .2 .2 .2.23 .2 - - .2 .2 - . .2 .2 .2 .2 $ 62.23 1 - 1 .2 .2 1 .2 .2 . .. . .2 $ 62. . . .20 .2 .2 .2 .2 .23 1 1 .2 .2 1 .2 .2- .23 .2 ..2 .2 .2 .2 .23 .2 .23 ., . $ 6 112!"!"!"Vln. IVln. IIVla.Vc.16ppVln. IVln. IIVla.Vc.p19pVln. IVln. IIVla.Vc.22!" #" #" $"!" #" #" $"!" #" #" $"!" #" #" $"$" %" %" &'$" %" %" &'$" %" %" &'$" %" %" &'&' (' &' ('&' (' &' ('&' (' &' ('&' (' &' (') *) *+ *, ) pizz.) * *) *+ ) pizz.) arco)) 3) +) ,-./0 ## -. -102 -.3 -. -1 # -1 -. ## -.450 # -2 5 -4-12 -1 -1 -1 # -14 $-02 5 - #$-102 -1 # -12 -1 -12 -1 -1 # -1 -14 -1 -1 -1 -1 #-1 -1 -1 -12%-3 - # - 6 -1 #$-2 - # 5 # -1 # -1 -1 %-13-1 -1 -1 #-1 # -1 -1 -1 -1 -1 6# -1 -1 -1 -1 -13-1 -1 -1 -1 -1 -1 -1 51-1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1-1 -1 -1 -1 -1 -1 7 -13 -1 -1 -1-1 -1 -1 -1 -1 -1 51 113!"!"!"Vln. IVln. IIVla.Vc.mp25mpmpmpVln. IVln. IIVla.Vc.27Vln. IVln. IIVla.Vc.29!" !"!" !"!" !"!" !"!" "" ""!" "" ""!" "" ""!" "" """"""""""# 5 5 5 5# 5 5 5 5 5 5$ arco 5 5% 5 5# 5 5 5 5# 5 5 5 5 5$ 5 5 5 5 5% 5 5 5 5# 5  40 sec.5# 5  40 sec.5 5$ 5 40 sec.5% 5  40 sec.5&' & & # & # & & & & # & # && # & & & # & # & & & # & # & & &' #&&' && && ## && ## && && ((&& && && ## && && ## && && &&& & & # & & # & &) & &) (&& ## && && && ## && && ## &&*' && && ## && && ## &&& & & # & & # & # & & & # & & # &&* & & # & & # && && && ## && && ## &&&' &+ &' & & # & ,-& &+ & & &* # & &) ,-&&' &&+ && && &&* ## && ,,-& &+ &* & &* # & ,- 114!"!"!"22: Height of  Land...Violin IViolin IIViolaViolincellomfq  = 80mfmfVln. IVln. IIVla.Vc.3mfVln. IVln. IIVla.Vc.f7 ff f!"!"!"!""" !" #$"" !" #$"" !" #$"" !" #$%%&' ( ( (%% (& ( (' pizz.%%&') * + ,- # , #) + +- ) ) + +- ) ) ++.-- +. ) ) * ) ) ,.--)+ + +- , + ,- # + ,-+- ) ) + +- ) ) + +-+. ) ) ) ) +/ +0 ) ) / +0 ) ) / +0 ) ) / +0 ) )+ ) ) * ) + ,- #) + +- , ) +- ,- #,- # , ) + ,- #/ +0 ) ) / +0 ) ) ) / +0 ) / +0 115!"!"!"Vln. IVln. IIVla.Vc.10########Vln. IVln. IIVla.Vc. mf13 mf mfmfVln. IVln. IIVla.Vc.16!" #$ !"!" #$ !"!" #$ !"!" #$ !"!" #$!" #$!" #$!" #$ %" &" #$%" &" #$%" &" #$%" &" #$''() arco''( *) pizz.'' 3( 3 *)+ # ,- + + # +- , +- +-+- # ,- + +- . +- + +- , ++ # ,- + + # +- , +/# 0 +. / 0 +. 0 + + +- , 0 +1+ +-1 , +- + +- + +- + +- + +- + +-+- # , / + +- + +- ++- # , / / +-+ +-1 , / + / + / ++- + +- +- +- +- # + +1 +- +- + #+2 + + +- . + 0 + +- +- +- 0 / +- +- ++- +. + + +- + #+2 / / +2 # /# + /# 116!"!"!"Vln. IVln. IIVla.Vc.p19ppp ########Vln. IVln. IIVla.Vc. f21 fffVln. IVln. IIVla.Vc.ff23ff ff ff!"!"!"!" """"""""##$ # $% arco.##$% # %##$ & #% & &' '( '( '( '( ' '( '( ' '( '( '(''( ' '( '( '( '( ' '( '( ' '()) ' '( '( '( '( ' '( '()) ## ' '( '( '( '( '' '( '( '( ' '( '( '( )( #'( '( ' '( '( '( ' '( '( '( )' '( '( '( * '( + '( '( ' '( '( ' '('( '( ' '( '( '( ' '( '( '( ' '( '( '(' '( '( '( '( ' '( '( ' '( '( '( ' '( '( '(, , ' ' '( ' '( ' '( ' '( ' ' ' '( ' '( ' ' ' '(, ) '( ' )( '( ' )( ', ) ' '( ) # '( 117!"!"!"Vln. IVln. IIVla.Vc.27Vln. IVln. IIVla.Vc.31Vln. IVln. IIVla.Vc.34!!! "#!!"#!!"#$ $% $% $% & & &$ $% $ $% $ $ $ $% $ $% $ $% $ $ $ $% $ $% $ $% $$ '% $% $ ' $% $ '% $% $ ' $%$ $ $% ' '% $ $ $ $ '% $ $% ' '& & && & &$ '% $% $ ' $% $ '% $%$ $% ' $% $ $ $% ' ' $ $% $& & & ' '(& & & ' '(& & & ' '($ '% $ $% ' ' $ $% ' $% $ $ $% '( 118!"!"!"23: Spruce Peak to Story Spring...Violin IViolin IIViolaViolincelloppe  = 50ppppppVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.p7 ppp!!" #"!!" #"!!" #"!!" #"#" !$" %%#" !$" %%#" !$" %%#" !$" %%%% &% %% &%%% &% %% &%%% &% %% &%%% &% %% &%' muted ( ( (' muted)muted*muted ( ( (' ( ( (' ( () ( (* ( ( ('')*+ , , ,- # . ,- ,- , # . ,/ , , # ./+ , , # ./ 0 $,1 2 ,2 , , # . + ,- ,/ , # .0 ,2 , , , # . + 0 ,-3 ,1 2 ,1 . 0 ,- 2 , , # .,- , , # . ,1 , , # .1 ,/ , , # ., , , , , # $,/ 2 , , , , # ,- ,- . ,-+ $,1 2 , , , # + + ,/ ,/ # ,- , ,- . ,+ 0 ,3 ,1 , # 0 ,2 ,- ,/ , , # ,- , . ,,-1,1 , , ,1 # ,- , , , # ,,-1 ,, .. ,14/ . # .- # ,/ ./ # + ..-- ##44// .. ## ..- ## 44/ 44--44/- .. ## ..- ## 44// 44--.- .- ./ # ..1 ## 44// 44-- 119!"!"!"Vln. IVln. IIVla.Vc.mp p mp mf12 mp p mp mfmp p mp mfmp p mp mfVln. IVln. IIVla.Vc.f mp17 f mpf mpf mpVln. IVln. IIVla.Vc.p21 ppp!" ##$ "" %$ ""!" ##$ "" %$ ""!" ##$ "" %$ ""!" ##$ "" %$ """" %$ $$ &$"" %$ $$ &$"" %$ $$ &$"" %$ $$ &$&$&$&$&$' remove mute        (' remove mute        ) remove mute        *remove mute with          left hand        '')*'')*++,- ## . . / /- /- /- # /0 /- + # .# ++--+- # . / /- / / / # . $/1 2 / + . . /- /0 //0 ## ++++-- ## 3 /0 2 /0 / / / # . 3 /-4 + . /- /0 / / # +++-- ## /0 / / / / # +0 +- / / +- / # +5 . /0 /0 60 /71 /80 2 /70 # 3 /7 / / # / #. . / / / . . /- /- /- /70 # /7- # 3 . .# / #. /1 /1 + . /0 /- + /70 # /70 # 3 . / # /0 #/1 /0 + # /- /- / / /0 / /71 # /70 # 3 /7 / / # /0 #//-- ## /- # +- # ++-- ## ++ ## ++ ## // ## .#++- ## ++0 ## ++-- ## ++ ## ++ ## // ## .#++-- ## ++00 ## +- # + # + # / # .#+- # ++ ## +- # + # + # / # .# 120!"!"!"########24: Stratton Pond...Violin IViolin IIViolaViolincellope  = 60pppVln. IVln. IIVla.Vc.6Vln. IVln. IIVla.Vc.11!" #"!" #"!" #"!" #"#" $" %"#" $" %"#" $" %"#" $" %"&&'(&&'(&& )' )(*+ # *, # *+ # *, # *+ #*, # *, # *, # *, # *, #*, # *- # *, # *- # *+ #*, # *- # *+ # *- # *, #*, * *+ . # ., # . ., # .* *- *+ . # ., # . .+ # .*, *- *, . # .- # . .- # .*- * ., ., .+ # ., # . .+ # ..., ## .. ., # .+ ., # . ., # . .+ # .., # . ., # . . # . ., # .., # . ., # . .+ # . ., # .., # . .+ # .+ ., # . .+ # . . # . 121!"!"!"Vln. IVln. IIVla.Vc.16Vln. IVln. IIVla.Vc.pp21pppppp ########Vln. IVln. IIVla.Vc. 26!" #"!" #"!" #"!" #"$" !"$" !"$" !"$" !"%%&'%% (& ('%%&')* # ) ) # ) +, # +* # +,), # ) ) # ) +, # +, # +,), # ) ) # ) + # +- # +*)* # ) ) # ) + # + # +,) )* +* ) ) ), # ) +* #+* +, )* # ) +* #+ +* ), # ) ++** ##+- +* ) ) ), # ) +* #+* # + # + # ) # .#+, # + # + # ) # .#+, # + # + # ) # .#+, # + # + # ) # .# 122!"!"!"25: Glastenbury Mountain...Violin IViolin IIViolaViolincellopq  = 50pVln. IVln. IIVla.Vc.pp5p ppppp ppVln. IVln. IIVla.Vc.ppp9ppppppppp!"!"!"!"## $ $ $ $% 3& $ $ $ $# bow on bridge# 3 bow on bridge% '' '' bow on bridge& bow on bridge# arco $ 3# arco $% pizz. arco 3& pizz. arco 3() * * # ( *' *' #() (' # + (' (' () (' *' () ( ( +'() **'' ((, ** ((, ** ++ - . /0 -. ** +( + ** +( + + ** ++ - . /0 -(' **'' +( + ** +( + ** ++ - . /0 -. ** ** ## ** ## ++ - . /0 -*) # () *' ( ( ( +). *' ( () () * #( . . . *' ( ( ( * ( -( . . * # * # *) ( -123!"!"!"Vln. IVln. IIVla.Vc.13Vln. IVln. IIVla.Vc.ppp17pppppppppVln. IVln. IIVla.Vc.21!" #!!" #!!" #!!" #!#!#!#!#!$ %$ %& %' % %$ 3$ 3 %& %' 3$ 3$ (&') *+ * # ) , ,% ) * )+ - - **+)+ * ) *+ )+ *)( *( ) *)+ *( ) *+ )+ * ) ) ) -+- - *+ )+ ) )+ ) -+ ) )-( --(( *+ )( *( *+ #*( # )( *( * # *+ ) .) )+ ) * )+ - - *+ - --/ --/ **+ --/ --/ **+)+ )+ )+ ) * )+ **(( -) - ** -) - **, * *( # * # ) **( -) - **, * * ) ) ** )) ** )) ** 124!"!"!"26: the Green Mountains turn to gold (time is a snake that eats its own tail)...Violin IViolin IIViolaViolincellomfq  = 70 mfmfmfVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.f7fff!"!"!"!"# $# $%&# 3#% 3& % 3 &# $# $%&'( '( ) )( ))(( '( '( '* ''(('( '( )* # '$(% ' '( '( ))* '('( '( ) ) )) ' '( '( ''( '' ' ' '* ))((' ' )* # ' ' ' ' ))( ' ' ' ))** ' ''' '( '* '( ))(( )) '' '( ' # '( # ''+* ''+ ''+ ,,'( ' )) '( '( ))(( '' '( ' # '( # ''+* ''+ ,,)) '' '' )) ## ''+** ''+ ''+ ,, ' # ' # ))** ##)) '' ' ' # ' # ''+( ''+ ,, ''+( ''+ ''+ ,,' '( '( )( ' '* '* )* ) ) ,,((- # '( '( ''** '' '( ' '( ' ' '* ' ' ,,((' ' ' ))( '( '( ' )) )* )* ,,** )) '* '* # '* #' # ' # '. # ' # )) ' ' '* ' '( ' ' ' ))* )) '. # '. # '. 125!"!"!"Vln. IVln. IIVla.Vc.11Vln. IVln. IIVla.Vc.pq  = 3015pppVln. IVln. IIVla.Vc.18 !! "!!! "!!! "!!! "!# rit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canon cancricans...Violin IViolin IIViolaViolincellopp - pq  = 40pp - ppp - ppp - p ########Vln. IVln. IIVla.Vc. 6!"!"!"!"# 3# 3$ 3% 3# 3# 3$ 3% 3&' (' )' (' & &' (' (' (' (' )' (' # ((' ( # ) (' (' (' (' &' (' (' ( )' (' &&* ( ) (' & & (' (' (' ( )' ( # ((' (* # ) ( ( (' (' & (' ( ( ) ( &*( (' # )' (' (' (' (' &' &' ( )' (' &'& (' )' (' ( (' &' (' (' (' (' )' ( # (( ( # )' ( (' (' (' & &' ( ) ( &*& ( ) ( ( (' & (' (' ( ( )' ( # (127!"!"28: sunset from the Glastenbury fire tower...Violin IViolin IIViolaViolincellop pppVln. IVln. IIVla.Vc.4! ca. 30 sec. ca. 60 sec.! ca. 30 sec. ca. 30 sec. ca. 30 sec." ca. 30 sec. ca. 30 sec. ca. 30 sec.# ca. 30 sec. ca. 30 sec. ca. 30 sec.! ca. 30 sec. ca. 30 sec. bow on bridgeca. 30 sec.! ca. 30 sec. ca. 30 sec. bow on bridgeca. 30 sec." ca. 30 sec. ca. 30 sec. ca. 30 sec.bow on bridge# ca. 30 sec. ca. 30 sec. bow on bridgeca. 30 sec.$%& $%$%& $% $%$%' $% $%&$%& $% $%$%& $% ( ( )% ($% $% ( ( )% ($% $% ( ( )% ($% $% ( ( )% (128129Massachusetts!"!"!"29: sunrise from Mount Greylock...Violin IViolin IIViolaViolincellopx  = 40p######## ########Vln. IVln. IIVla.Vc. p - mp4 p - mpp - mpp - mpVln. IVln. IIVla.Vc.pp7pppppp!" ###$ %#$ &#$!" ###$ %#$ &#$!" ###$ %#$ &#$!" ###$ %#$ &#$&#$ '( &#$ !#$&#$ '( &#$ !#$&#$ '( &#$ !#$&#$ '( &#$ !#$!#$ (#$ ("!#$ (#$ ("!#$ (#$ ("!#$ (#$ (")) * * *+ * * *,))+,) 5) 5 5+ 5 5,-. -. -. -. - / -. -. -. -. - - / -. -. -. -. - /-. -. - - - / - - -. -. - -. / - -. -. -. - /-. - -. -. #0 -. - -. -. -. - - -. -. -.-1 -2 / -. 0 - -2 / # - -2 / -. 0-. -2 / -. 0 - -2 3 3 -. 2 - / # -. 0-1 - - -. #0 - - - -. -. - - - -. -.-. -4 -. -. 2 -2 -. # -/ # -. -. -4 3 -. # -. -2 -. - -. -3 -. -. - -4 / - -. -. -4 / -. 0- -2 - -2 - - # 130!"!"!"Vln. IVln. IIVla.Vc.ppp10 pppppppppVln. IVln. IIVla.Vc.mf p pp14 mf p ppmf p ppmf p ppVln. IVln. IIVla.Vc.mf18 mfmfmf!" #" $"!" #" $"!" #" $"!" #" $"$" %! &! %! '(#$" %! &! %! '(#$" %! &! %! '(#$" %! &! %! '(#'(#'(#'(#'(#)) *+ 3 3,))+,))+,-. - - -. - -/ -0 # - - - -. - -- - - -/ - # -. - - - - -- - - - - - - - - - - - - - -/ -0 # --.. -- -- -- -- --1100 1 1 -- -- -- -- -- ---. - -/ - -0 - - - - -0 -. - - ---.. --. ## 1 --00 -. - - -0 - - - --. - # 10 -. - - -0 - - - - --. -0 # 10 -. -0 -0 1-. -. -. -. - - -0 -0 -0 -0 -. -.-. #2 -. #2 - #/ -0 #2 -0 #2 -. -.3 -. 2 - - - - 4 -5 - -6 - -. -.3 -. 2 - -- -- --00 3 --00 2 -- --66 -- --0. 131!"!"Vln. IVln. IIVla.Vc.f20 fffVln. IVln. IIVla.Vc.22!"!"!"!"!" #"!" #"!" #"!" #"$$%& ''$$%&(' (' )# (* (* (* (* (#+ (, (*(' (' (' (#- ( (* (* (* (* (* #- ( ('(' ( (* (#- ( (* (* (* (* (* (#- ( (, (,. (+( (* (' (' ( . (* (' ( (* (* (* (* (, . ((,, () . (' (' ( (' ( (' (' ( (' ( (* (' # (' # (/#((- (( (( ((- ((## ((##- )# 0#/((* - (( (( ((- ((## ((##- )# 0#/((** ## (' ( ( (* # (# (* (* (* (* ( (* #- (/#132!"!"!"30: forest floor ablaze in color...Violin IViolin IIViolaViolincellope  = 60 pp pVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.7!" !"!" !"!" !"!" !"!" #"!" #"!" #"!" #" $" #"$" #"$" #"$" #"%%& '(%%&( )% ' ' '% )&( )* *) + *+ *) *# ,# , *+ *- *) *- , *+ *) * *) +,# ,# , *+ *) *+ *) # ,# * * *) *+ , ,#* *) + *+ *) *+ . . ,# *+ *) * *) +,# ,# * *- *) *- *) *+ *+ * * * * *- . . ,#*+ * *)- *) *)- *) * *) + * *)- *) *- * *-,# *+ *) *+ *) . *) * *+ *+ * * **)-, **+ **+ **)) ** **+ **+ *) * . ,# **##*+ */ **) + *) *- *) * *) + * *+*- **+ * **/- * **+,# , *)- *- *) *#**- **)) ** *+ *+ *) * *+ *+ *) *# *# **# *) + *#*- ***+ **)) **## **## **## **+ *) *# *# ,# ,#**+ **) ** *- *- *) * *- *# *) *+ *# *#* *- *#*+ * 133!"!"!"Vln. IVln. IIVla.Vc.12Vln. IVln. IIVla.Vc.17Vln. IVln. IIVla.Vc.20!"!"!"!" #" !"#" !"#" !"#" !"$$% &' ($$ &% &'$$%') # *( *+ *+ * ) # ) # ) #) # **( ## **+ **(( )) ## * # *, *( ) #-# . *( ) # * # *, *( ) #)) ## * #* *+ *, **+ * )) ## )) ## )) ##*, *( * *( , *, * *(+ *( *(+ *( * *( , * *(+-# *, *( *, *( -# -#- **, **, **(( *, *( . **(( ** **+*+ *( * *( , *, */ *( , **(( - **+ ** *( , * *( ,*( */+ * *+ *+ **( ** *(+ *+ *( * .-# *( # *, *( * # * # *( #**+ ** ** ## *, *( * # * # *( #* */ , * *, *, **(( ** **+ **+ **(( ** **+ 134!"!"!"Vln. IVln. IIVla.Vc.23Vln. IVln. IIVla.Vc.26Vln. IVln. IIVla.Vc.28!" ""!" ""!" ""!" """" #""" #""" #""" #"$$%&$$%& '$ 5$%& ' 5(# )' )* ) # )' )'* ) #)+ )' ) # ) # ) # )* )')+ )' ) # ) # )' # ) #)) ## )' )+ ) # )' )+ ) # ) #) )'+ )'+ )' ), )' ) )' ) )'+(# ( )+ ) )' )'+ )' ) )+(# ( )'+ ) ) ))' ))'+ )'* )')' )* )+ ) ), )) )* ))* ) )+)'+ )' ), + ) )' ) ) )' ) )-) )' ) ) )' )' . )-) )'* ) )' ) . )-) )*) ) ) ) ) )' ), ), ), )' ), )- 135!"!"!"31: barred owls in the Berkshires...Violin IViolin IIViolaViolincellofe  = 80fffVln. IVln. IIVla.Vc.ppppVln. IVln. IIVla.Vc.pp3 pppppp!!"#!!"#!!"#$%& $ $ $ $% '( )(* $%&+ $ $ $ $% '( )() $%& $% '( )() , $%& $%& $ '( )(* * , $&#+ $ $ $ # $( )(* $- . $ $ $ $ $( )($+ $+ $ ' $( )(* * $& $ $ $( )() , $&+ $ $ $ $( $($- $ #. $ $ $ #. $( $(* $+ $ #+ $ $ #+ $( $$(&) $&#. $ $ #. $( $(& 136!"!"!"Vln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.f5f ffVln. IVln. IIVla.Vc.p6 p pp!!"#!!"#!!"#$ $ #% $% $ $ #% $& ' ( )$ $ $ $ $* $ $ $ $ $+ $+,$$ $$ ##* $$* $$ $$ ##* $$- ' ( )$ $ #* $* $ $ #* $- ' ( )$./ $ $ $ $. 0+ )+( $./% $ $ $ $. 0+ )+) $./ $. 0+ )+) ' $./ $./ $ 0+ )+) ' $1 % $ $ $ $ $$$ $ #% $ $ $ #* $ $1( $/ * $ #* $ $ #* $ $/) $1 #* $ $/ #* $ $1 137!"!"!"Vln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.pp8pp ppppVln. IVln. IIVla.Vc.mpe  = 8010 mpmpmp!"!"!"!"!" #$ !" #$ %$!" #$ !" #$ %$!" #$ !" #$ %$!" #$ !" #$ %$&&'(&&' )(&& *'(++ ## ++ ##, ++ ++ ##, ++- ++-+ +* + + + + + + + +- +-.+ # + #, + + #, +- +-+ # + #/ + + #/ +- +-+* + # +* + +. + # +. +-0 + # + + 1 2 +. + +-1 +* # + +-+* + # + + +* + # + +-+ +. +, + ++*. , ++. ## +., +* ++.* ++.* ,33.. + #+/ +* 33* ++ ## +. #3* +* # 3* +* # +* #3. +* # 3* +. # +* # 138!"!"!"Vln. IVln. IIVla.Vc.p15 pppVln. IVln. IIVla.Vc.18Vln. IVln. IIVla.Vc.19!" #"!" #"!" #"!" #"$$%&$$%&$$%&'( ' '( ') ') ' '* '(#+ ' '( '* '* '#'( ') #+ ') '#+ , - # - '*. / - '*( '##') '#+ '')) ''##. , - # '* / - '* '#- ')+ '#+ ') '#. - '(+ ' '( / - , '( '#'( '#. '0- '( '# '0, '(#+ '0, / '(+ '0'( '#. '0- '( '# '0, '(#+ '0, / '(+ '0 139!"!"!"Vln. IVln. IIVla.Vc.20Vln. IVln. IIVla.Vc.pp21 pp pp ppVln. IVln. IIVla.Vc.ppp22 ppppppppp!!"#!!"#!!"#$% $ #& $'( $& $ #& $') $% #* $') + $% * $'$% $ #& $' ) + $& $'( $& $ #& $' ) $ #& $') $% #* $' ( $& $ #& $') + $% * $' $ $ #& $','-,,'-% ,'-,' 140!"!"!"32: summer is rotting (for Anya)...Violin IViolin IIViolaViolincellopr=40p ppVln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.pp11 pp pp!"# $% !"# $% !"# &' !"#!"# $% !"# $% !"# &' !"#!"# $% !"# $% !"# &' !"#!"# $% !"# $% !"# &' !"#!"# (% !"# $% $%!"# (% !"# $% $%!"# (% !"# $% $%!"# (% !"# $% $%$% %% !"# %% )%$% %% !"# %% )%$% %% !"# %% )%$% %% !"# %% )%** + + + +, + +- + + + +**, + + +- + + + +* +* +, + +- + + +. /0 /0 # 1 # . /0 /0 # 1 # . /0 / # / # / # 2#. /0 / # 1 # . /0 / # 1 # . /0 / # / # / # 2#. //3 11 . //4 // ## 2#. /0 / # 1 . /0 / # 1 #. /0 / # 1 . /0 / # 1 #10 #/ 1 # . /0 / # 556 . /0 / # 55 5757 141!"!"!"Vln. IVln. IIVla.Vc.pp15 ppppppVln. IVln. IIVla.Vc.21Vln. IVln. IIVla.Vc.26!" !#$ %" !#$ %" !#$ %"!" !#$ %" !#$ %" !#$ %"!" !#$ %" !#$ %" !#$ %"!" !#$ %" !#$ %" !#$ %"%" &" !#$ %" !#$ %"%" &" !#$ %" !#$ %"%" &" !#$ %" !#$ %"%" &" !#$ %" !#$ %"%" !#$ !' $' &'%" !#$ !' $' &'%" !#$ !' $' &'%" !#$ !' $' &'(()*(()*(()*+ , - # , , # - ,. , # - , , #+ //0. ,. , # , , , , , , # , , , , , , #+ / ,. , # - ,,.0 ,, ## -- ,,.0 ,, ##+ /0 , , # - , , # - , , #- ,. - ,1 , # - ,1 , #, , , , , , , , , , , , # , , , , , , #-- -0 # ,1 , # - ,1 , #- - # , , # - , , #- ,1 , # , , # ,1 , # ,. ,. # , # , ,2 - #, , , , , , # , , # , , # ,. , # , # , # - #- ,1 , # , , # , , # ,. , # - # , ,.2 , #- ,. , # , , # , , # ,0 , # - # , ,02 , # 142!"!"!"Vln. IVln. IIVla.Vc.pr=6033Vln. IVln. IIVla.Vc.p mp37p mpp mpp mpVln. IVln. IIVla.Vc.41!" #$ !$!" #$ !$!" #$ !$!" #$ !$!$ #$ %" &" $$!$ #$ %" &" $$!$ #$ %" &" $$!$ #$ %" &" $$$$ &" !$$$ &" !$$$ &" !$$$ &" !$' (just an old sweet song)' ( ( ( () ( ( ( (* ( ( ( ('') (* ('') (* ( (+ + + + + +, + + + + +-. # +/ +/ + +0 +/ + +0 +/ + + +/ + +-. # -/ - # 1 # 1 1 2 +/0+, +. +, -. - #1 2 +, 3 + -. - #1 1 2 +/0 + + +/ + +0 + +/ + ++ + +/ + + +/ + +0 +/ + + +/2 +/0 + + +/ + + + +143!"!"!"Vln. IVln. IIVla.Vc.43Vln. IVln. IIVla.Vc.46Vln. IVln. IIVla.Vc.r=805 0!" "" !" #$!" "" !" #$!" "" !" #$!" "" !" #$#$ !" #$ %"#$ !" #$ %"#$ !" #$ %"#$ !" #$ %"%" &'$%" &'$%" &'$%" &'$(()* + + +(()* (( ad lib.() ((,- , , ,- , , ,- , , ,- , , ,- ,., , ,- , , / 0 ,-1 , , ,- , ,,- , , ,- , , , , , ,- , , ,- , , ,- , ,,- , , ,- , , ,- , , ,- , , ,- , ,- ,. , #/ ,- 2 , , , , ,. ,. , ,. , , ,. ,. , , #,- ,1 , , , , , ,- , , ,. ,. ,. , 0 ,2 , , , ,1$,2 , # , , ,. , 3 # 3 , ,- ,. , , , ,1, 4 ,- ,- , , , , , ,- , , 5, 5,- %46 ##, ,. 4 446 ## 446 ##, ,. 4 446- ## 446 ##, 4 476 # 476 #144!"!"!"33: solitude in the middle fall...Violin IViolin IIViolaViolincellopr=20pppVln. IVln. IIVla.Vc.6Vln. IVln. IIVla.Vc.12!! "! #! $%$!! "! #! $%$!! "! #! $%$!! "! #! $%$$%$ &%$ $%$ '%$ $%$$%$ &%$ $%$ '%$ $%$$%$ &%$ $%$ '%$ $%$$%$ &%$ $%$ '%$ $%$$%$ '%$ $%$ (%$$%$ '%$ $%$ (%$$%$ '%$ $%$ (%$$%$ '%$ $%$ (%$))*+))*+))* , -,+.- .- ## . / .- .- ## / .- .- ## / 0 .- .- . /-1- /- # /- # .- .- .- . . # .- . ## ./- / .- /- .- /- 2 .- 3 .- .- ## .- . ..- . ## . /- 4 /- 4 // .- 3 2 .- .- . # .- .. .- ., ., . ., . #3 4# .- .- 4# .- .- 4# .5 #6 2 # 0 ..55 3. # .- # ..,, ## . # ., # . # .5 . .5 .- # .3 .- # .3 .- # .5 #3 2 # 2 ., 7., . . . . # . # .5 # . # .- # .3 . # .3 . # 2 # . . . #3.- # .- # . # . # . # .5 # . #3 ..-, ## ..6 .., ## ..6 ..- ## $., 3 . #3 0 .6 . ...72 0 .56 .8 2 2 # 0 .5 3 .- .- .- . #6 .- .- .- . #6 .- .- .- . #6 .8.72 0 .5 3 . . 2 # 0 .5 3 .- # ., # ., # .7.. .. .. . . . . ., . . . #. .- .- . #3 . #. .- .- . #3 . #. .- .- . #3 .7.8. . .5 . .72 0 .,6 ., . ., # ., # ., # .7145146Connecticut!"!"!"34: dawn landscape painting...Violin IViolin IIViolaViolincellopppx  = 40pppppppppVln. IVln. IIVla.Vc.pp ppp7 ppp ppppppVln. IVln. IIVla.Vc.pp16 pppppp!" #" !" #" $% #"!" #" !" #" $% #"!" #" !" #" $% #"!" #" !" #" $% #"#" !" #"#" !" #"#" !" #"#" !" #"!" $% &% #" '%!" $% &% #" '%!" $% &% #" '%!" $% &% #" '%( )( )* )+ )( lonely) ) ) ) )( ) ) ) ) ) ) )* ) ) ) ) ) ) ) )+ ) ) ) ) ) ) )( )( )*+ ),- , , , , , ,- , , ,. , , /. # ,. # / #/- # / 0 ,. 1 , 0 ,. 1 / 2# /. #/ # / 0 ,. 1 , 0 ,34 / 2# /3 #/ # / /. /3 # ,3 # / #,3 , , , / 0 ,3 4 , / #5 ,3 , , , / # ,3 , , ,/3 / #5 ,- ,- ,- , ,- ,- # ,,.. ## ,,- ## ,- ,- ,- , , ,- , , ,- ,0 ,,-- 1 // ,,-- ## ,,.. ## ,, ## 2 ,- 1 , ,- 1 , ,-/ ,. ,- //- ,,-- ## ,,- ## ,,-- ## 2 ,1 , ,1 , ,5 ,- , ,- / ,- # , # ,- # / # / 147!"!"!"Vln. IVln. IIVla.Vc.21Vln. IVln. IIVla.Vc.p25 p ppVln. IVln. IIVla.Vc.mp mp p28 mp mp pmp mp pmp mp p!" #$ %$!" #$ %$!" #$ %$!" #$ %$#$ #$ &"#$ #$ &"#$ #$ &"#$ #$ &"&" '" &" !" (" '"&" '" &" !" (" '"&" '" &" !" (" '"&" '" &" !" (" '") * *) *+ *, * * *))+ * *,) -) -+ -, -. ./ . . . ./ . ./ . # 0 11 ./ 1# . . . 21 ./ 1# .3 .3 .3 22 .3 #0 .34 ./ 2 # 5 .6 .6 .6 . .65 .3 . . . 2 # 0 ..66 7 22./ .6 22623 2 # 5 .6 . .6 2..66 ## ..// ..6 ## ../ ## ..// ## .. .34 .3 2 ./4 ./ 2 #..66 ## ../ .. ## ../ ## ..// ## .. ..3 ## 22 .. ## 22 ##.6 # .6 .6 # ..// ## ./ # . ..3 ## 22 . # 2 #.6 # .. .6 # . # ./ # . ./ # 2 . # 2 # 148!"!"!"Vln. IVln. IIVla.Vc.pp33 ppppppVln. IVln. IIVla.Vc.37Vln. IVln. IIVla.Vc.41!" #" !" $"!" #" !" $"!" #" !" $"!" #" !" $"$" !" "" !"$" !" "" !"$" !" "" !"$" !" "" !"!" $"!" $"!" $"!" $"%%&'%%&'%%&'( # () (* # (+ #(()) ## (()) ((* ## (() ##(( ## (() ((* ## () #(( ## (+ ((** ## ((++ ##,) # , , # , ,* ,*- , # .,,)) ## ,, ,, ## ,, ((++ ## ..+,,)) ## ,, ,, ## ,, ((** ## ..,,+) ## ,, ,, ## ,, (* # .,+ ,- , # ( # ( #(( ## (( ## (( ##( # ( # ( #(* # ( # ( #149!"!"!"Vln. IVln. IIVla.Vc.p44pppVln. IVln. IIVla.Vc.47Vln. IVln. IIVla.Vc.pp ppp5 0 pp pppppppp ppp!" #$ %"!" #$ %"!" #$ %"!" #$ %"%" &" '" #$%" &" '" #$%" &" '" #$%" &" '" #$#$ %$#$ %$#$ %$#$ %$(()*( +()* +( +( +) + +* +,- ,- ,- ,- , , ,- , , ,. , ,,- # , / /, # , / /, # , # , , / /, # , # / #0 ,. , # 1# 1# /. #0 ,2 ,2 # 1# 1# /2 #,2 # ,2 # / #0 ,. # 0 ,2 3 , / #, , , # 4 ,2 , , , / #4 ,2 , , / #,2 ,2 ,2 # /2 / # 150!"!"!"35: sunrise from the Lion's Head...Violin IViolin IIViolaViolincellopx  = 40pppVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.7!"!"!"!" """""""""" !" #$ %""" !" #$ %""" !" #$ %""" !" #$ %"&& 55 5 5 5 5 5 5 5' 5 5 5(&& 5 5 5 5 5 5 5 5' 5 5 5 5 5 5 5 5(&&'()* # + # +* # ) #++,, ## ++, ++ ++ ## ++, ++- ++ ++,, ## ++, ++ ++ ## ++ ++ ++ ## +, # ++,, ++ ++, ## ++ ++ ++,, ##), # ), # +, # +, + + # +, + +, #), # +, # +, # ), #+ # +, # +. # +. # +. # +. #++,, ## ++,, ++ ++,* ## ++, ++ ++,, ## ++.. ## +. + +. # +. + +. # +. # +. + +. # ++.. +++, # +, + +, # +, + +, # +. # +. + +. # +. + +. # +. # +. + +. # +. ++, # +, # +* # +* # + # + #+. +. +. +. +. +. +. +. + +/ +. ++** / + +0 +0 +01 +01+. 2 ++.. +. )* # + # ++** ## )0 +01 +01+. +. ). 3 + +. +. ) + # ++** ## ))0 ++01 ++01++* 2 + +. ) +. +* # ++* ## ))0 ++01 ++01 151!"!"!"36: (thoughts come and go) rain close to snow...Violin IViolin IIViolaViolincelloppe  = 50Vln. IVln. IIVla.Vc.pp7pppppp ppVln. IVln. IIVla.Vc.12!" #" $% #" %% %%!" #" $% #" %% %%!" #" $% #" %% %%!" #" $% #" %% %%&" #" #"&" #" #"&" #" #"&" #" #"#" !" #" !"#" !" #" !"#" !" #" !"#" !" #" !"' ( (' ( ( ( ( ( () ( ( ( ( ( (* ( ( ( ( ( (' ( (' ( ( ( () ( ( ( (* ( ( (' (' () (* (+, # - + -, -, -, +. / 0 1-, - +. +, +. + + # -, #+, # -, #+ # -, #/ +, +. +2 +2 # - #+, # +3 +, + # +, # +3 + + #+, # +. +2 + # +2 # +. +, + #+, # +. +2 + # +2 # +. +, + #+2 # +. +, + # +, # +. +2 + # 152!"!"!"Vln. IVln. IIVla.Vc.15Vln. IVln. IIVla.Vc.19Vln. IVln. IIVla.Vc.22!" #" !" #" #"!" #" !" #" #"!" #" !" #" #"!" #" !" #" #"#" !" #" $$#" !" #" $$#" !" #" $$#" !" #" $$$$ #" %&" '$$$ #" %&" '$$$ #" %&" '$$$ #" %&" '$( ) )( ) ) ) )* ) ) ) )+ ) )( )(*+ )(( )* )+ ) ),- # . , # .-,- # ./ , # .,- # ,0 ,- , # ,- # ,0 , , #1 # 2 ,- , # ,3 , . , 2 1 # 1 #1 # 2 ,- , # ,3 ,/ . , 2 1 # 1 #, # ,3 ,- , # ,- # ,3 ,/ , #1 . # 4- , # , ,-0 , # .- , # ,- #4- ,- # , ,3 , # .- ,- # , #1 ./ # 4 .- , # ,/ #4- . ,/ # ,- # 153!"!"!"Vln. IVln. IIVla.Vc.26Vln. IVln. IIVla.Vc.30Vln. IVln. IIVla.Vc.34!" #$ %$ &&$!" #$ %$ &&$!" #$ %$ &&$!" #$ %$ &&$&&$ %$ &&$ '"&&$ %$ &&$ '"&&$ %$ &&$ '"&&$ %$ &&$ '"#$ %$ '$ '"#$ %$ '$ '"#$ %$ '$ '"#$ %$ '$ '"(( ) )* ) )+((*+((*+,- . / ,- # , # / ,- # ,0 ,- , #, . ,- # ,1 , , #, . ,- # ,1 ,2 , #, . /2 ,- # , # /2 , # ,1 ,- , #3# /- /- /- # , # 3# 42 45 33# 4- /2 # , # 3# 42 42 33# 4- /2 # , # 3# 42 45 33# 4 /- # , # 3# 45 4- 345 , ,- # / /2 # , # ,2 # , 45 ,45 , ,- # / /- # , # ,2 # , 45 ,4- , ,- # / /2 # , # ,2 # , 45 ,4 , ,2 # / //22 ## ,, ## ,- # , 4 , 154155New York!"!"!"37: the last quarter of  the harvest moon rises to a star filled sky...Violin IViolin IIViolaViolincellofe  = 50 ffVln. IVln. IIVla.Vc.5fVln. IVln. IIVla.Vc.8!" ## !# ## ##!" ## !# ## ##!" ## !# ## ##!" ## !# ## #### $### $### $### $#$# ## ##$# ## ##$# ## ##$# ## ##% 3% 3& ' ' ' '( 3% 3 3%& '(% 3% 3& 3( 3 3)* ) + ) )* )* )* , # )* )* , )' - )* + ,. # +,* +. + ) ,* ). ) , )*) ). , )* ,* , ) ) ,. #- ,* + +/ )* , , # )*) ,* ) + ) ,* ))* + ,* ,* , ) ,*) + + , ) -) + + , ) -) , ) , , ,, ,, )) , 156!"!"!"Vln. IVln. IIVla.Vc.p11pppVln. IVln. IIVla.Vc.pe  = 10015 pVln. IVln. IIVla.Vc.18p!! "# !! "# $%!! "# !! "# $%!! "# !! "# $%!! "# !! "# $%$% &% $%$% &% $%$% &% $%$% &% $%$% &% &%$% &% &%$% &% &%$% &% &%' 3' ( () ( (* 3'') ( (* ( ('')* (+ + + , +- +- .. +- ....- / ..-. / .0+- + + , +0 + ..0 + ..00,- ,1 ,- ,-1 ,- ,-1 ,- ,1 ,- ,-1 ,0 ,-1 ,- ,-12 # ,- 3 , ,-1 ,- ,-1 ,- ,- 3 , ,-1 ,- ,1 ,-+ # , #++ ## ,, ##,- ,1 ,- ,-1 , ,-1 ,- ,-1 ,- ,-1 ,- 3 , ,-1 ,-,-1 ,- ,- 3 , ,-1 ,- ,1 ,- ,-1 ,- ,- ,-1 ,- ,12 # 2 # ,- ,3 ,- ,-1 , ,-1 ,-1 ,- ,-1 ,-,- 3 , ,-1 ,- , ,-1 ,- ,-1157!"!"!"Vln. IVln. IIVla.Vc.21Vln. IVln. IIVla.Vc.fe  = 5025fffVln. IVln. IIVla.Vc.28!" #" #$!" #" #$!" #" #$!" #" #$#$ $$ $$ $$#$ $$ $$ $$#$ $$ $$ $$#$ $$ $$ $$$$ #% $$ #$$$ #% $$ #$$$ #% $$ #$$$ #% $$ #$& '& '( ') '& * 3 33&()& 3 3&()+,- +* +*- +* +* . + +*- +* +*- +* +* . + / #+* +*- +, +*- +* +*- +* +- +* +*- +* +*- / #/ # + # / # + # / #+* +*- + # + # / # + # / #/* 00 00* +/ +. + +. ++- + ++1 00* 00 001 0 0* 0/ 00,, 0 00,,00 + + + +* + +. //* /*00* // ## 0000 //** ## 000 / # 00 158!"!"!"Vln. IVln. IIVla.Vc.p31pppVln. IVln. IIVla.Vc.pp34 pppp ppVln. IVln. IIVla.Vc.37!" #$ !"!" #$ !"!" #$ !"!" #$ !"!" #$ !"!" #$ !"!" #$ !"!" #$ !" """"""""% & & 33 3 3% '( ')% '%() '%%()*+ *& ,, ,, -,./ ** ## ,& ,& ,,&& ,,&&0 ,, ,&0 +++ ## 1 *& # 1++&& ## 1 *& # 1+ # , , , , , , , , , +1 ,. , + +2 #+& # 1 +& + #,& ,& , + 1 + + #1 , + +2 #+ # + # + 3+ # + # + #+ # + # +& #+2 # + # + 3 159!"!"!"Vln. IVln. IIVla.Vc.40Vln. IVln. IIVla.Vc.43Vln. IVln. IIVla.Vc.46!! "# "$!! "# "$!! "# "$!! "# "$!$!$!$!$%%&'% 3 33 3%&'% 3 3%&'() * # *) # * #+ + *) # * # *) #+ + *, # + #(, * # +, #*) + *) *)- * *)- *- *) *- *)+ # *) * * * *) *+ # +, ++. # ++,, ++* *- *) * *- *) +* * * * * * ++ + +++ ++ ++ 160!"!"!"38: the Hudson River Valley painted pink with the sunrise...Violin IViolin IIViolaViolincellopppx  = 40 pppppppppVln. IVln. IIVla.Vc.6Vln. IVln. IIVla.Vc.10!"# $"# !"# $"#!"# $"# !"# $"#!"# $"# !"# $"#!"# $"# !"# $"#$"# %"# !"#$"# %"# !"#$"# %"# !"#$"# %"# !"#&&'(&& )' )(&&' )(*+ #, * # *+ # * #, *+ # *+ *+ # *+ #- *+ . * #, * #, / *+ #, * #. / #/ *, * #, * #, - *, * #. / #/ *+0 * #0 * #0 - *+0 * # * #* / *+1 * #0 * # *+ # * #0*0 *+ *+ * # *+ # * #0- / *, * #, * #,* - / *+0 * #0 * #0- *+1 * #0 * # ** ## **2##0/ *0 * *+ $*0* # ** ## **2##0*+ *+ * # *+ # *2#0* #, *, / / # %*, ** ##. **2##, 161!"!"!"Vln. IVln. IIVla.Vc.pp14 pp ppppVln. IVln. IIVla.Vc.pp p20 pp p ppp pVln. IVln. IIVla.Vc.25!"# !"#!"# !"#!"# !"#!"# !"#!"# $"# #"# %"#!"# $"# #"# %"#!"# $"# #"# %"#!"# $"# #"# %"#%"# !"# $"# !"# $"#%"# !"# $"# !"# $"#%"# !"# $"# !"# $"#%"# !"# $"# !"# $"#& '& ' 3( ' ') ' 3& '& ' 3( ' ' ' ') ' ' '3&& '( ') '*+ *, *, #- * *, * # **, ## **.##/0 *1 *1 0 *, 2 * #- 3 # **, ##1 **.##/0 *2 * *, * # * # *.#-3 *- *2 3 *,/ * #/ * # * # *., #-*+ *, *, #- * *, * # *, # * # *, # * * # *,0 *1 */ 0 *, 2 * * * # *, # * # *, # * *, # *,3 # * #2 * #2 3 #3 *- *- 3 # * #2 * #2 3 #*, *, * # *, # * #/ * # *, # * #/ *, * # *, #* *, * #/ * #/ 0 *, 2 3 *, *, * #2 3 #*- * #- * #- *+ #- 0 *- * #2 3 #*,/ * #/ * #/ *, #/ 0 *,/ * # * # 162!"!"!"Vln. IVln. IIVla.Vc.mp31 mp mpmpVln. IVln. IIVla.Vc.mf39 mfmfmfVln. IVln. IIVla.Vc.46!"# $"# !"# $"# !"# $"#!"# $"# !"# $"# !"# $"#!"# $"# !"# $"# !"# $"#!"# $"# !"# $"# !"# $"#%$&%$&%$&%$&' (' ( () ( ( (* (' (' () (* ( ( ('')*+ + # +, # + # +, + #- . +, +, +- . + +, + +/ .0 +, / + #/ +, 1 +, + +- 1 +, + + +/ .. + #/ + #/ + +, #- +- .+ + #2 . # . +, #- + #- + . +, +, + +/ .. +, +, + +2 0 . + +, +, + #/ +, +, + + #2 +, +, + + #21 +, + +2 0 1 +, + +, + #/ . # +, +, + #2 +, +,+ #- +2 0 +, #- + #- . # +, +, +, + #3 +, +, +,. +, +, + + #/ + +, + + #3 + +, + + #3+, +, + +, +, +, +, + +, +, +, +, +, + + #2+ #2 +, +, + +, +, +, +, + 0 +, +,+ #3 + +, + +, +, +, + +, + 0 +, +, +,+ +, + +, +, +, + +, + +, +, +, +4 +, + + #2 163!"!"!"Vln. IVln. IIVla.Vc.49Vln. IVln. IIVla.Vc.f52 fffVln. IVln. IIVla.Vc.s u b pp ppppp5 6s u b pp ppppps u b pp ppppps u b pp ppppp!!"#!!"#!!"#$% $% $% $ $% $% $% $% $% $ $% $% $ $ $ $ $%$& $% $% $% $ $% $% $% $% $% $& $ $ $$' $( $% $ $% $% $% $( $% $& $( $$( $% $ $% $% $% $( $% $ $% $% $% $( $ $ $ #)$ $ $ $ $% $ $ $ $ $% $ $ $ $ $% $ $ $ $ $%$ $% $ $ $ $ $% $ $ $ $ $% $ $ $ $ $% $ $ $$& $ $ $& $ $ $& $ $ $& $ $$ $( $ $ #) $ $( $ $ #) $ $( $ $ #) $ $( $ $ #)$ $ $ $ $% $ $ $ $ $% $ $ $ $ $% $ $ $ $ $%$ $% $ $ $ $ $% $ $ $ $ $% $ $ $ $ $ #$& $ $ $& $ $ $ $ # $ $ #$ $( $ $ #) $ $ # $ $ # $ $ # 164!"!"!"39: owls in the morning (chaconne I)....Violin IViolin IIViolaViolincelloppe  = 40 ppppppVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.ppp9 ppppppppp!" #"!" #"!" #"!" #"#" $" #"#" $" #"#" $" #"#" $" #"#" !"#" !"#" !"#" !"%%&'% ( )%&'%%&'*) # * *( # * *) # *) * # *)*) # * **(( ## ** **)) ## ** **(( ## ***( # * *( # * **)) ## ** **)) ## ***( # * *( # * *) # * *( # *++) ** ## ++ * #* +( * # $*), ++)) ##+( *) # ++)) ** ## +( * # ++)) ##+) * # +( * # ++(( ** ## +) #+) * # +( * # ++(( ** ## ++)) ##+( * # ++ ** ## +) * #+( * # ++)) ** ## ++)) ** ##++(( ** ## +( * # ++)) ** ##++(( ** ## +( * # +) * # 165!"!"!"Vln. IVln. IIVla.Vc.12Vln. IVln. IIVla.Vc.p16 pp pVln. IVln. IIVla.Vc.mp p19 mp pmp pmp p!" #$"!" #$"!" #$"!" #$"#$" "" %#&#$" "" %#&#$" "" %#&#$" "" %#&%#& &" !" %"%#& &" !" %"%#& &" !" %"%#& &" !" %"''()''()''()* * # *+ *+ # *, * # *+ * #**,+ ** ## **++ ** ## **,, ** ## *+ * #*+ * # *+ * # *, * # *, * #**,, ** ## *+ * # *, * # *, * #-- ## . * * * *+ * *+ * . * * #/ *+/ * # *+ #* # */ *+ 0 # --++ $*1 --,,-, # --,, --,,--,, ## . *, *, #1 0, . 2 *,/ * *, *1 *, #2 *+/ * *+ 0+ # 2 * *+ * *+ #**++ *+ #1 * # *+ # **, ## ****++ ** ##/ 00 ## **,+ ## ****++ ** ##/ 00 ## **+, ## ** 166!"!"!"Vln. IVln. IIVla.Vc.22Vln. IVln. IIVla.Vc.mp mf25mp mfmp mfmp mfVln. IVln. IIVla.Vc.p mp mf30p mp mfp mp mfp mp mf!" "" !#$ !#$!" "" !#$ !#$!" "" !#$ !#$!" "" !#$ !#$!#$ "#$ $" %" !#$!#$ "#$ $" %" !#$!#$ "#$ $" %" !#$!#$ "#$ $" %" !#$!#$ &#$ $"!#$ &#$ $"!#$ &#$ $"!#$ &#$ $"''()' *' *( *) *'' *( *)+ # , --.. ++ +/ + +/++// ## ,, -/ + + #0+. # ,/ -/ + + #0++// ## ,, --.. ++ ++ ##1+. +/ $+/ 0+ + ,,// ,/ # , #+ $+/ 0+ #1 ,,// ,, ## ,, ##++.. ++ ##0 ,,// ,, ## ,, ##++ ++ ##1 ,,// ,, ## ,, ##+ +/ +/ +/ + + +/ ++/ ++ ## ++ ##1 ++ ## ++ ##1+/ + #0 2 +/ +/ +/ +/ 2 +/ +/ +/ +++.. ++ ##0 ++// ## ++ ##1 ++// ## ++ ##0+ + #1 ++ ++ ##1 ++// ## ++ ##1 ++ ## ++ ##0 167!"!"!"Vln. IVln. IIVla.Vc.f34fffVln. IVln. IIVla.Vc.p38 pppVln. IVln. IIVla.Vc.41!" #" $%" &"!" #" $%" &"!" #" $%" &"!" #" $%" &"&" #$! &" !"&" #$! &" !"&" #$! &" !"&" #$! &" !"!" #$! &" ""!" #$! &" ""!" #$! &" ""!" #$! &" ""''()''()'' *()+, +, +, + # +* # + +, # + -- ##..,, ## ++** ## ++ +, # + + # +/ +, . #., # +* # + + # + - #+, # +, # + # +* # + + # + --** ##., + + # .+, + + + +, + + .+ + + + + + + .. + + # ...** ## ++ ++ ## ..+ + + + + + + + + .+* + + + + + + + + ..* # + + # .168!"!"!"Vln. IVln. IIVla.Vc.44Vln. IVln. IIVla.Vc.mp48 mpmpmpVln. IVln. IIVla.Vc.mf51mfmfmf!! "#$ %! &!!! "#$ %! &!!! "#$ %! &!!! "#$ %! &!"#$ &! '#$"#$ &! '#$"#$ &! '#$"#$ &! '#$'#$ (#$ '#$'#$ (#$ '#$'#$ (#$ '#$'#$ (#$ '#$) *+),-)),-)),-..** // // ## / #/ # 00/* / / / / / / / /* / / //* ## 00/* / / / / / / / /* / / /* # 0..** // // ## / # 000** // // ## 00/* / / / /* / / 0/1 # /*2 / / # 00* / / # 0//++ ## // ##2 /* /* / /*/* / / / / / / #3/ / / / / / / #3/ # / #2 / / #2 169!"!"!"Vln. IVln. IIVla.Vc.f5 3 fffVln. IVln. IIVla.Vc.5 5Vln. IVln. IIVla.Vc.p5 7 ppp!"# $"# %%!"# $"# %%!"# $"# %%!"# $"# %%%% &% $"#%% &% $"#%% &% $"#%% &% $"#$"# #%$"# #%$"# #%$"# #%''()' *' *( *) *' +slightly detached, + + + , + +' + , + + + , + +( + , + + + , + +) + , + + + , + +- -. - - - - - - -- - - - - - - - -- --.. -- -- -- -- -- -- --- - - - - - - - -/0 0///-. - - - - - - - 0 # 0 # 0 #-. - - - - - - - 0 # 0 # 0 #--.. -- -- -- -- -- -- -- 00 ## 00 ## 00 ##-. - - - - - - - 0 # 0 # 0 #170!"!"!"40: broken chords (chaconne II)...Violin IViolin IIViolaViolincellopr = 50 pppVln. IVln. IIVla.Vc.p mf3 p mfp mfp mfVln. IVln. IIVla.Vc.mp6 mpmp mp!" #" #"!" #" #"!" #" #"!" #" #"#" $" $$ !"#" $" $$ !"#" $" $$ !"#" $" $$ !"!" $" %$!" $" %$!" $" %$!" $" %$&&'(& )&'(&&'(*# +, - +, + +, +, +,*# * +,. +, # +/ +, +, + # + # +, # ++, # + # + # + # ++0 +, +, +, 1,*# + + + + +0 + 1100/ +0 +0 + + + + + 11,+0 # + + + 2 11,*# +, - +, + +, +, * +,. + */ +, +, + +,. +, # +, - +, + *2, # +, +, +, + # +, +, + ** 3 +, 4 + +, +, + # + +, + + * 171!"!"!"Vln. IVln. IIVla.Vc.p9pppVln. IVln. IIVla.Vc.mp mf12 mp mfmppp mfmp mfVln. IVln. IIVla.Vc.p mp17 p mpp mpp mp!" #" $% !"!" #" $% !"!" #" $% !"!" #" $% !"!" #% !" &!% !"!" #% !" &!% !"!" #% !" &!% !"!" #% !" &!% !"!" '%!" '%!" '%!" '%( )(*+( 33( )* 3+ ) )( 5( 5 5* 5 5+ 5, , , # , , , # -# - ,. ,.- / ,. 0 , # ,. , , # ,. - ,. 0 , ,. , ,./ ,1 0 ,. 2 # / ,. 2., , , , , , , ,. ,. 2 ,. # 2,1 ,0 , , , # 2. ,3 23 44 ##,3 # ,3 # 2. 2 , # ,5 ,. 2 #/ ,1 ,1 , # 2 2 4 #2 2 44 ##2. ,.5 2 $,15 2211 22- ,. # 2 -# ,1 ,1 2/ 2 2 / ,1 0 ,1 # 2, # , 2 26 2 172!"!"!"Vln. IVln. IIVla.Vc.mf21 mfmfmfVln. IVln. IIVla.Vc.p24pppVln. IVln. IIVla.Vc.pp29 pppppp!" ## $# %#!" ## $# %#!" ## $# %#!" ## $# %#%# $" $" #" !"%# $" $" #" !"%# $" $" #" !"%# $" $" #" !"!" $" #" #"!" $" #" #"!" $" #" #"!" $" #" #"&& 5' 5(& 5 )5& 5 )' 5(& )& )'( )*+ # *+ , # *+ , *+**++ ## ** $*- ../ 0# *+ *+*+ # * ..++ 1 *+ - *+ *+2 ***++ ## ** ..// ,+ #3 *+ - *2 , 0 *2 * *0 *- *+ , *- * * * *1 */ * * , 1 */ * * * * * * * # * *,/ , */ * */ * # * * * **+ *+ *+ *+ *+0# *+ *+ * #1 *+ *+ * * * *+ ,*+ # * # * * # 173!"!"!"Vln. IVln. IIVla.Vc.ppp32 pppppppppVln. IVln. IIVla.Vc.ppp38pppVln. IVln. IIVla.Vc.ppp p pp43ppp p ppppp p pppp!" #" !" #" !" #" $!!" #" !" #" !" #" $!!" #" !" #" !" #" $!!" #" !" #" !" #" $!$!$!$!$!%%&'% 5 (% ( 5& ( ( ( (' % 5 '5 5% 5 5% 5 5 (& ( 5' ( ( ( 5))** ++ ## ) + # )),, ++ ##))** ++ ## ))** ++ ## )),, ++ ##))** ++ ## )),* ++ ## )),, ++ ##))** ++ ## ))** ++ ## )),, ++ ##), +- ) +- . / )*) ) ) )* +0))+ + + +, +, ) +, +, +, +, +, +,- ), )1) +, # +, + +, # ) )), )) ))+ # + + # + + / )) )) )))) / +* # ) ) ), )) )) ++** 0 )) )) 174!"!"!"########41: solitude in the late fall (chaconne III)...Violin IViolin IIViolaViolincellopr = 20pppVln. IVln. IIVla.Vc.7########Vln. IVln. IIVla.Vc. 12!" #"!" #"!" #"!" #"$%" #" !"$%" #" !"$%" #" !"$%" #" !"!" $%"!" $%"!" $%"!" $%"& ' (&)*&&)*& '( repeat many times&)*+( # + +' # + +( # +( + # +( ,,(( ++ ## ,, + #+ #+( # + ++'' ## ++ ++(( ## ++ ++'' ## ++ ,' +( # ,,(( ++ ##+' # + +' # + ++(( ## ++ ++(( ## ++ ,( + # , + #+' # + +' # + +( # + +' # + ,( + # , + #,' +' # ++(( ## ++(( ## ,, ## ,' + # ,, ++ ## ,,(( ++ ##,,'' ++ ## --(( ## ,,'' ++ ## ,,(( ++ ## ,,(( ++ ##,,'' ++ ## --(( ## ,,'' ++ ## , + # ,( + #,' + # --(( ## ,' + # , + # ,( + #++ + #+ # +( +( # +' + # +( + # -- ##+( + # +( + # ++'' ++ ## +( + # + # +. +( , #++(' ++ ## +( + # ++'' ++ ## + + # -- ##+' + # ++(( ++ ## +' + # + + # -- ## 175176New Jersey!"!"!"42: Prelude...Violin IViolin IIViolaViolincellofe  = 40fffVln. IVln. IIVla.Vc.p mp4 pp mpVln. IVln. IIVla.Vc.7mp mp!" #" !" $%!" #" !" $%!" #" !" $%!" #" !" $%$% &% $" %"$% &% $" %"$% &% $" %"$% &% $" %"%" $" &% $%%" $" &% $%%" $" &% $%%" $" &% $%' full, broad 3 3 3'() 3 3 3' 3' * *( * * *) 3' * *' *3( 3) 3 3 3+ + # +, # + + +, + +, + + + +, ++, + # - # . / +,+, + # +, +, + # +, # . / +,+0 + +, +, + + +, . + +, 1 +2 + / + +, +, + + +,+, +0 - - +, +,0-, #+ + - . + +, +, + + + #+ +,+, + + + + -,/ +, 2 + / / / +,3 +0 +, #/ 1 +4 2 + + +, + + +, +, + - 177!"!"!"Vln. IVln. IIVla.Vc.p ppp10 p ppppppp pppVln. IVln. IIVla.Vc.pppp13 ppppVln. IVln. IIVla.Vc.16pppppppp!" #$ %$ "$!" #$ %$ "$!" #$ %$ "$!" #$ %$ "$"$ !$ "$ "$"$ !$ "$ "$"$ !$ "$ "$"$ !$ "$ "$"$ !""$ !""$ !""$ !"& 3 3& 3' ( 3) 3& ( (& 3 3' ( ( () ( ( (&& 3' 3) 3*+ ,+ *+ * *+ *+ * *+ *+ *+ *+ * *+ *+ *+ *+*+ *+ * , *+ * # ,+ #*+ * # *+ # * * **- * , *+ * *+ * , #. *+ *+/*+ * *+ *+ *+ *+ * * *+ *+ *+ *+ * * *+*+ *+ * * * *+ , #*+ *+ *+ *+ * , #0 *+ * *+ *+ *+ * , #. . 0 * * , # 178!"!"!"43: cold clouds...Violin IViolin IIViolaViolincellopppx  = 40pppppppppVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.9!"!"!"!"# 5 5# 5 5$% 5 5# 5 5# 5 5$ 5% 5# 5 3# 5 3$ 5 3% 5 &' () # (()) * ((+ , ' () # (()) * ((+ ,' () () (+ , ' () () (+ ,-) (+ , -) (+ ,() ( # (+ , () () # (+ ,' () # (())* ((+ , ' () # (()) * ((+ ,' () ( (+ , ' () () (+ ,' ' ( # (+ , -) (+ ,- (+ , () ( # (+ ,() ' ' () * (+ , () ()* ( (+ ,() () ()* (+ , () () . () (+ ,' (* ( # (+ , ' ( ( (+ ,' ' ' ( (+ , ,+ , 179!"!"!"Vln. IVln. IIVla.Vc.p13pppVln. IVln. IIVla.Vc.17Vln. IVln. IIVla.Vc.20!!!!!!!!" 5" 5# 5$""#$""#$%& % %&' %( ) **+ **,,- .& %( ) **++ **,- %& %& %( ) **++ **. %( ) *+ *,*+ **++ **&&**++ **++ **&&**++ ** *&*+ *+ *&*, **++**+, **&+* *&**,, **+180!"!"!"44: snowstorm near Unionville...Violin IViolin IIViolaViolincellope = 45pppVln. IVln. IIVla.Vc.pp5 ppppppVln. IVln. IIVla.Vc.9!! "!!! "!!! "!!! "!#! "! #! "!#! "! #! "!#! "! #! "!#! "! #! "!"! $! %$"! $! %$"! $! %$"! $! %$&&'(&& (snow, like "Raindrops")'(&&'()) ))** )+ # ) #))++ ))** ))++ ## )) ##)+ ))** )+ # ) #))++ ))** )),, ## )) ##- ..+* .. ## ..+* ## .. )) ## )) -/- 0* 0 0 0 0 0* 0 0 0 0 ) # ) -/- .* . # ..+* ## .. )) ## )) -/- ..++ .. ## .. ## .. )) ## )) -/))++ ## ))** ## 00/ -/0+ 0 0 0 0 0 ))** ## 00/ -/)), ## 0* 0 0 0 0 0 0/* -/))+, ## ))** ## 00/ -/ 181!"!"!"Vln. IVln. IIVla.Vc.p12 pppVln. IVln. IIVla.Vc.14Vln. IVln. IIVla.Vc.pp16 pppppp!" ""!" ""!" ""!" """" !" #$"" !" #$"" !" #$"" !" #$#$ ""#$ ""#$ ""#$ ""% 3 3% 3 3& 3 3 3 3' 3 3 3 3% 3 3% 3 3& 3 3 3' 3 3 3 3%%&'( )* )* )* +* )* )* )* ) )* )* )* )*( ( )* )* )* +* )* )* )* ) )* )*, +* ) + ) + - ) +*+ ). + ) + ) - + ))* )* )* +* )* )* )* ) )* )* )* )*( ) )* ) +* ) )* ) ) )* ), + ) +* )* )* )* +* )* )*+. ). + ) (). ) ). -) )* ) +*-/ # -. #--. ## -- ##--// ## --.. ##). ) ) ) ) ) ) ) ). ) + # 182!"!"!"Vln. IVln. IIVla.Vc.18Vln. IVln. IIVla.Vc.p20 pppVln. IVln. IIVla.Vc.23!! !"!! !"!! !"!! !"!"!"!"!" #"#"#"#"$ 3$ 3% 3 3 3& 3 3 3 3$ ' '$ '%&$$%&( )* )* )* )* )* )* )*' )* )* )* )* )*+* )* + ) +* )* ) )) +* ) + ) +* ) ) )*)* ) )*)* ) )* ) )* ))* ) + +), ) ) ) + ), ) ) )) )* )* )* )* )* )* )*)* ) )* ) )* )-+ ++ +183!"!"!"Vln. IVln. IIVla.Vc.mp25mpmpmpVln. IVln. IIVla.Vc.27Vln. IVln. IIVla.Vc.29!"!"!"!" !"!"!"!"!"!"!"!"##$%##$%##$%&' & & & & & & &' & & & & & &(('' )) ## ((*' )) ##(' ) # (('' )) ##(('' )) ## (('' )) ##&' & & & & & & &' & & & & & &((' )) ## ((' )+ #((++ )) ## (' ) #(' ) # (( )) ##&, &, &, &, &, & & &, &, &, &' &' &' &'((++ )) ## (('' )) ##(+ ) # (('' )) ##((,, )) ## (' ) # 184!"!"!"Vln. IVln. IIVla.Vc.31Vln. IVln. IIVla.Vc.33Vln. IVln. IIVla.Vc.pppp35pppppppppppp!"!"!"!"!" #" !!!" #" !!!" #" !!!" #" !!!! $"!! $"!! $"!! $"%%&'% 5 5% 5 5& 55 5' 5 5% 3%&'( ( ( ( ( ( ( ( ( ( ( ( ( ())** ++ ## )) ++ ##)),, ++ ## ))** ++ ##)),, ++ ## ))* ++ ##- - - ( ( ( - - ( ( +- - (. ( ( - (. ( # +- (, (. # ( (/ (. ( # ( ( ((. ( (/ ( ( (. # () +, 01 )1*), 01 ))1**), 01 )1*)),, 01 )1 185!"!"!"45: golden brown leaves on fresh snow...Violin IViolin IIViolaViolincellomfq  = 40mf mfmfVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.9!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"!" #" !"$$% &'$ & &$ &% & &' & &$$ &% & &' &() ( () ( ( ( () ( ( ( ( ( () ( ( ( () ( ( (() # ( # () ( ( () ( () (* # () #+ ( # (( # ( # ( # ( ( (() # ( ( () (() ( () ( ( ( () ( () ( () ( () ( ( (() ( ( () (((,, ## ( (() ( () ( () ( () ( () ( () ( () ( ( (( () - (( (,( # ( # 186!"!"!"Vln. IVln. IIVla.Vc.12########Vln. IVln. IIVla.Vc. 15Vln. IVln. IIVla.Vc.19!"!"!"!" #"#"#"#" $%&$%&$%&$%&''( )* ) )''( ) ) ) )*' rit.'( ) ) ) )*+ + + + + + + + + + + + + + + + + ++ + + +, + + - - +, .+ # + # + # + #+/ + + + + + + + + + + + + + + + + ++ +, + +, + +, + +, ++ # + # + + ++ + + + + + + + + + + + + + + ++, + +, + +, + +, ++ + + + 187!"!"!"Vln. IVln. IIVla.Vc.fq  = 2023 fffVln. IVln. IIVla.Vc.p26 pppVln. IVln. IIVla.Vc.ppt = 4030pppp!"# "$"# %"#!"# "$"# %"#!"# "$"# %"#!"# "$"# %"#%"# #"# %% &'%"# #"# %% &'%"# #"# %% &'%"# #"# %% &'&' %' (' )%&' %' (' )%&' %' (' )%&' %' (' )%* 3* 3 3+ 3 3 3,* -.the spaces of time;* -.not+ -.the anxiety, -.of desire* rubato3* - - - - -+ -, -/0 //11 ##2 / /2 /1 #2 /2 3 3# /4 #25 /2 / #2 /0 /1 #2 /2 / / # /4 #3 /1 / #6 3 /1 / #6 /6 /1 / #/1 / #6 /1 / #6 /1 / #/ /0 # /1 # 7./ 3# /0 #6 7./ 3# /0 #2 7./ /1 # /1 # 7./0 /1 /0 / / # / # /1 /0 / /0 / / # / /1 / /1 / / /.5 / # / 5 / # / 5/1 / /1 # / # / /1 / /1 # / 5 188189Pennsylvania!"!"!"########46: dawn clouds resting in the Delaware River Valley...Violin IViolin IIViolaViolincelloppx  = 40ppppppVln. IVln. IIVla.Vc.3########Vln. IVln. IIVla.Vc. 5!"! #"!!"! #"!!"! #"!!"! #"!#"! $"! %%#"! $"! %%#"! $"! %%#"! $"! %%%% !"!%% !"!%% !"!%% !"!&&'(&&'( )& fine&'(* *+ *+ * #, * *+ * * #,- # *+ * * * #, * * *+*+ . * *+ . *- # / # *+ #0 * #. * # *+ #* * * * *+ *+ * * # *+* #, / *+ * * - 1 *23 * **+ #. * * / * * *+ * # ** * *+ * # *44++ - **+, 55 ##- **+, 55 ##4+ 190!"!"!"######## ########Vln. IVln. IIVla.Vc. 6 ######## ######## ######## ########Vln. IVln. IIVla.Vc. 8Vln. IVln. IIVla.Vc.ppp10ppppppppp!"! #"! !"!!"! #"! !"!!"! #"! !"!!"! #"! !"!!"! $# %%!"! $# %%!"! $# %%!"! $# %%%%%%%%%%&&'(&&' ) )( )& da capo al fine&'(*+ * *+ * * * *+ * *+ #, *+ * *+ - * * * * * *. *+ *+ * #/ . *+0 *+ #* # 1. * *+ * * * *+ * * **+ # *+* * *+2, **+/ 11##, **+ - 11##23 191!"!"!"47: Persephone's swan song...Violin IViolin IIViolaViolincellope = 40 pf pVln. IVln. IIVla.Vc.p4 p pfVln. IVln. IIVla.Vc.mp8mpmpmp!" #" $" %"!" #" $" %"!" #" $" %"!" #" $" %"%" !" #$ !"%" !" #$ !"%" !" #$ !"%" !" #$ !"!" $$ !$ %$!" $$ !$ %$!" $$ !$ %$!" $$ !$ %$& ' 3& '( ' ') solo& ' 3 '*3& ' '*( ' ' '*) ' '*& ' '& ' '3( ' ') &+#* ,- ,. /+#* , ,. /+#* +,- ,. ,. # ,. # ,* # , /+# 0 0 ,. ,. ,. 1 2+ ,.1 , # ,, 22,,. 22, # ,. # , ,,33 // ##/. # 2, ,.1 ,1 , # 2//.. ## 22,- ,. , # ,. # ,- ,. , # ,. # 2 + , 2. 192!"!"!"Vln. IVln. IIVla.Vc.p12 pppVln. IVln. IIVla.Vc.p17 ppmpVln. IVln. IIVla.Vc.pp22 pppppp!" #$ %"!" #$ %"!" #$ %"!" #$ %"%" &$%" &$%" &$%" &$&$ #$ &$ #$&$ #$ &$ #$&$ #$ &$ #$&$ #$ &$ #$' ( (' ( () (' ( * ''')' *' (')*+, # + # + # + # + # +, # + # + # +, #+, # + # + # + # + # +, # + # + # +, #+- . # / # / # / #0 + ., 0 ++-, ## ++ ## ++ ## ++ ## ++ ## ++- ## ++ ## ++ ## ++ ##+ # +, # + # +1 2 +, #3 + # +1 2 +- #3 + # +1 2 + #3 + # 2 # + #3 + #+ # +, # + # +1 2 +, #3 + # +1 2 +- #3 + # +1 2 +4 #3 + # 2 # +, #5 + #2 # ++- ##3 ++ ## ++1 2 ++-4 ##5 ++ ## ++6 2 ++44 ##5 ++ ## ++6 2 ++-4 ##5 ++ ## 2 # ++,, ##5 ++ ##+ /, +, +- + + +- +4 /- + +- /,+ +4 3 + 0# 0# 0 +4 3 +0 2 # + #3 + # + 0# 2 # + #3 + # +0 + # + # + 0# +- # +- # ++- + # + # + //-- ## ++ ## ++ 193!"!"!"Vln. IVln. IIVla.Vc.mf26mf mfmfVln. IVln. IIVla.Vc.f29f ffVln. IVln. IIVla.Vc.p32 pp!" #$! %$! &"!" #$! %$! &"!" #$! %$! &"!" #$! %$! &"&" '" #$! !$!&" '" #$! !$!&" '" #$! !$!&" '" #$! !$!!$! #" !"!$! #" !"!$! #" !"!$! #" !"( ) )( )* )+( )( ) )*+((* )+ ) ,- -. -. -./ 0 0 1 #2# 1 # -. -. -. 1 # 0 - - -. -. 01 # 1 # 1 -3 - -. -. -4- -. -. -. -. -. -. # 0 - - -. - - -. -. - #4 -41 # -. -. - - #4 -. -. - - -.- -. - -. - - - -. -- - - - # 1 # 1 # 1 -3- - - -. -. -. - - - - -. -. 0 - - - - - - - -.- -. - - -. 2# 2 -5 4 - #-./ 1 1 # - # 6 #- - - - #4 - ## - # - # - # - #- # - # - # - # 194!"!"!"Vln. IVln. IIVla.Vc.pp34 pppp pVln. IVln. IIVla.Vc.38Vln. IVln. IIVla.Vc.42!"!"!"!"##$% ###$## &'# &'$ &'# ca, 30 sec.() # ( # ( # (* #(* # (+ # () # (* #((** ## (()) ## ((++ ## (()+ ##,# -* #. -. - ,# -) #. -. - ,# -+ #/ -/ -) () -*(* # - # -* # - # - # -* # - # - # -* # - #(* # - # --** ## -- ## -- ## --** ## -- ## -- ## --** ## -- ##((+ ## -- ## -) # - # - # - # - # - # - # - #- # - # - # ( # ( # ( #- # -* # - # - # -* # - #-- ## -* # - # - # -* # - #- # -- ## -- ## -- ## -- ## -- ##( # ( # ('#195!"!"!"48: far away trains...Violin IViolin IIViolaViolincelloppe  = 40ppppppVln. IVln. IIVla.Vc.6Vln. IVln. IIVla.Vc.10!! "! !! "!!! "! !! "!!! "! !! "!!! "! !! "!#! "! !!#! "! !!#! "! !!#! "! !!!! "! #! !! !! $%$!! "! #! !! !! $%$!! "! #! !! !! $%$!! "! #! !! !! $%$&&&&&&& '&&&'& ()* +* # + # ) + #), + # + # ))* ++ ##), + # + # )* + #), +* # + # )* + #+* # + +* # + #+ # + + # + #+, # + +, # + #+* # + +* # + #)* + # + + # -* - # )*) + # ++* )) )) + # +* ) ),)* + # +* ) )* 196!"!"!"Vln. IVln. IIVla.Vc.ppp15 pppppppppVln. IVln. IIVla.Vc.pp20 ppppppVln. IVln. IIVla.Vc.p25 ppp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ln. IVln. IIVla.Vc.29Vln. IVln. IIVla.Vc.33Vln. IVln. IIVla.Vc.pp37 pppppp!! "# $%& %'%& !!!! "# $%& %'%& !!!! "# $%& %'%& !!!! "# $%& %'%& !!!! &! $!!! &! $!!! &! $!!! &! $!$! "# "! "# !! &!$! "# "! "# !! &!$! "# "! "# !! &!$! "# "! "# !! &!(( )* )+ )((*+( )(*+,- . # . . #/ . # .- # ., 0 .- #/ . # .,1 2 .1 . # . # .,- .- . #/ . # .,1 ,- # 0 .34 .3 # 5 # ,- #,,- .- # .- # 5 # ,,33 ## .- # .- # 5 #,- , # , # , #,- $.1 / , # , # $.1 / , #0 .14 .1 # 5 # 0 2 .1 51 0 ,,,11 ## 0 ..- ## 55 0 ..-1 ## ,,, # 0 .1 # 5 0 .1 # ,,1 # 0 .1 # 5 0 .1 # , 198!"!"!"Vln. IVln. IIVla.Vc.ppp42 pppppppppVln. IVln. IIVla.Vc.47Vln. IVln. IIVla.Vc.ppp p ppp pp51 ppp pppp p ppp ppppp p ppp pp!" "" #$ "" !" %"!" "" #$ "" !" %"!" "" #$ "" !" %"!" "" #$ "" !" %"%" "" #$ &" !'!%" "" #$ &" !'!%" "" #$ &" !'!%" "" #$ &" !'!!'! #"!'! #"!'! #"!'! #"(( )* (+ (((( *( +( ,( ,* ,+-) # -) . # --// -- ##--) ## -- .0 .. . . # -) - #-/ # --)) .. ## -/ - #-) # -) . # -) -) #-- ## .. -- .. ## -- 1-) # . - . .) . # -) 1- # . -) . # -/ 1-) # . -) . # -) 1.2) # 3 # .)4 .2 1 5 .) 6 123 # ./ #7 .2# 1 12 1 5 121#2 $./ 7 ./ .2 1 1 6 6 12./ #7 . #7 .2# $./ 7 . .2 1 6/ # 6 12 199!"!"!"########49: long mountain ridges... ########Violin IViolin IIViolaViolincello mfq  = 30mfmfmf######## ########Vln. IVln. IIVla.Vc. 2 ######## ########Vln. IVln. IIVla.Vc. 3!"!"!"!"##$%##$%##$%&' # &( )' ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )( )* )' ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )' )&* # &&' # &( )' ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )( ) )' ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )' )&* # && # &( )' ) ) ) ) ) ) ) ) ) ) ) ) ) ) )' ) ) )'( ) )' ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )*&* # & 200!"!"!"######## ########Vln. IVln. IIVla.Vc. mf4 mfmfmf######## ########Vln. IVln. IIVla.Vc. 5Vln. IVln. IIVla.Vc.p7 ppp!"!"!"!"!" "" #"!" "" #"!" "" #"!" "" #"#" $"#" $"#" $"#" $"%%&'%%&'%%& ( (')* # )+ ,* , , , , , , , , , , , , , , , , , ,+ ,- ,* , , , , , , , , , , , , , , , ,* ,)- # )) , ,* .+ ,- , , , , , , + , , , , , , , , , , , , , , , , , ,,- ,- , , , + , , , , , , , , , , ,)- , , ., , , , , , , , , ,* # , )/0 ,1 , 0 ,1 , , ,* # , )/)* )/, , , , , , , , + , #2 , )/ 201!"!"!"######## ########Vln. IVln. IIVla.Vc. f11 ff f######## ########Vln. IVln. IIVla.Vc. 12 ######## ########Vln. IVln. IIVla.Vc. 14!" #"!" #"!" #"!" #"#" $%&#" $%&#" $%&#" $%&$%& &'$%& &'$%& &'$%& &'(()*(()*(()*+ +, + + + + + + + + + + + + + + +, + + +- + +, + + + + + + + + + + + + + ++ + +, + + + + + + + + + + + + + + + + +,- + + +, + + + + + + + + + + + + ++ +, + + + + + + + + + + + +, + + + + + + +, + + ++, + + + + +, + + + + + + +, + + + + + + + + + + ++ + +, + + + + + + + + + +, + + + + + + + + + + +,+ + + +, + + +, + + + + + + + +, + + + + + + + + +,+ +, +, + + + +, +, + + + +. ++,, / ++ ##0 ++ ##0 . ++1 ++ ##2 ++ ##2. ++1 ++ ##2 ++ ##2 . ++,1 ++ ##2 ++ ##2+ #0 + #0 + #0 +3 #0 + #0 + #0 202!"!"Vln. IVln. IIVla.Vc.16Vln. IVln. IIVla.Vc.p18ppp!" #$! %%!" #$! %%!" #$! %%!" #$! %%%%%%%%%%&&'(&&'() # * * *+ * * *)) ## , **-- . ** ##/ ** ##/)) ## , **-- . ** ##/ ** ##/) # * #/ * #/ * #/*0 )0#10 ))0-- ##10 )0- #10 )0- #203204MarylandandWest Virginia!"!"!"50: Pen-Mar...Violin IViolin IIViolaViolincellofe  = 40fVln. IVln. IIVla.Vc.3ffVln. IVln. IIVla.Vc.5!"# $"#!"# $"#!"# $"#!"# $"#$"# %"# """#$"# %"# """#$"# %"# """#$"# %"# """#"""# $"# !"#"""# $"# !"#"""# $"# !"#"""# $"# !"#&& ' '() ' '&&()&&()*+ *+ *+ * * * *+ * *+ *+ * #, *+ * *+*+ *+ *+ * * * *+ * *+ *+ * #, *+ * *+* *+ *+ *+, * #, *+ * *+ * *+-# - . *+ * *+ * #* *+ *+ *+, * #, *+ * *+ *-# - . *+ * *+ * #*+ * *+ * #, *+ *+ *+ * *+ * *+ * *+ *+* *+ *+ *+ *+ * #/ *+ * * * *+ *+ *+ * **+ * *+ * #, *+ *+ *+ * *+ * *+ * *+ *+* *+ *+ *+ *+ * #, *+ * * * *+ *+ *+ * * 205!"!"!"Vln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.9Vln. IVln. IIVla.Vc.p11 ppp!"# $"# %"#!"# $"# %"#!"# $"# %"#!"# $"# %"#%"# !"# &&%"# !"# &&%"# !"# &&%"# !"# &&&& &&&& &&&& &&&& &&''() * *''() * *''() *+, +, + +, +, +, +- +, . +, +, +/ +. + + + + +. 0 0#+, +, + + +, + +, +, +- +- +#-+ + +, + + +, +, +, +, + + +, + +, +,+, + +# + +, +#- +#-1 +#- +#- +#-2 222 222 22206!"!"!"Vln. IVln. IIVla.Vc.13Vln. IVln. IIVla.Vc.p pp15 p ppp ppp ppVln. IVln. IIVla.Vc.18!!!!!!!!" 3 3 3 3" # #$ # #% 3 3 3 3""$%" 3 3 3 3 3 3"$ 3 3% 3 3& & & ' & & ' & & && & & ' & & ' & & &(( () ((*(( () ((*( (* (( (* (& & & ' & ' &+ & ' & ' & & &(( (( ((, & & ' ( ' & & &, &* ' & ( & ' & & 207!"!"!"Vln. IVln. IIVla.Vc.p21 pppVln. IVln. IIVla.Vc.25pVln. IVln. IIVla.Vc.mf f28 mf fmf fmf f!"!"!"!"!" #"!" #"!" #"!" #"#" $" ""#" $" ""#" $" ""#" $" ""%% &' &(% 3%' & & &( 3%%'())* ) )* +* ,- +)) )) )*)) ) )) )) ) + ,- +,* +* , +* ,* + +./ ,* ,- # ,* #, + ,- + , + +-.+ ) 0 )* )-+ ) )* # )-/ ) ) # )-+ )- 0 ) )* 208!"!"!"Vln. IVln. IIVla.Vc.ff31 ffffffVln. IVln. IIVla.Vc.fff pp34 fff ppfff ppfff ppVln. IVln. IIVla.Vc.37!"# $% &%!"# $% &%!"# $% &%!"# $% &%&% $% $$&% $% $$&% $% $$&% $% $$''()''()' 3 3 3'() 3 3 3** ++, + #- +, + +*, + ++, ##- . +- +*, +, +, #/ . +- +*, + + #/ +, + ++ # 0, **+ # 0 **+ # 0 *+ # 0 *+ + + 0 + 0 + 01 * *23** ** ** *23* * * *21+ + + 0 + 0 + 0 * *21 209!"!"!"51: distant memories...Violin IViolin IIViolaViolincelloppt = 40ppppVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.7!"# $"# #"# %%!"# $"# #"# %%!"# $"# #"# %%!"# $"# #"# %%%% $"# &%%% $"# &%%% $"# &%%% $"# &%&% $"# &' &% &'&% $"# &' &% &'&% $"# &' &% &'&% $"# &' &% &'( ) )( )* ) )+ ) )( )( )* )+ )(( ) )* )+ )#,-. , ,$ ,/ ,0 ,$ ,- ,0 ,1 ,1 $,0 ,$ ,-#,. , ,$ ,#,-. 2 3 ,1 $4,0 ,1 ,1 $ ,0 , ,0 $,0 ,$ ,- ,0 , ,0 ,$#,0. 2 , , , ,-51 $ ,- ,$ , ,0 $ 51 $51 $ 51 $5$ , ,$ ,- 51 $50 $ , ,$ , 51 $ 210!"!"!"Vln. IVln. IIVla.Vc.11Vln. IVln. IIVla.Vc.14Vln. IVln. IIVla.Vc.17!" #$#% && &&!" #$#% && &&!" #$#% && &&!" #$#% && &&&& !" !" %"&& !" !" %"&& !" !" %"&& !" !" %"%" &" '&%" &" '&%" &" '&%" &" '&(( )* )+ )(( ) ) )*+((* ) ),+ ) ),- # -. - # - /# 0 # 1,-. - # - /# 02 # 1,- - # - /# 0 # 1,- - # - /# 0 # 1,-2 02 # - # -2 # - #3 - # -- ##33 -- ## --2 ##-4 -2 -2 # -2 # - # -4 1 - 00,0 # 0 002 00,200 ## 0000 ## 00 211!"!"!"########52: where the Potomac and Shenandoah Rivers meet...Violin IViolin IIViolaViolincellope  = 40 ppp ########Vln. IVln. IIVla.Vc. mp pp4 mp ppmp ppmp ppVln. IVln. IIVla.Vc.pp p8 pp ppp ppp p!"! #"! $$ #"!!"! #"! $$ #"!!"! #"! $$ #"!!"! #"! $$ #"!#"! !"! !$ %$ %$#"! !"! !$ %$ %$#"! !"! !$ %$ %$#"! !"! !$ %$ %$%$ !"! #"! $$ !"!%$ !"! #"! $$ !"!%$ !"! #"! $$ !"!%$ !"! #"! $$ !"!&& '( ')&& ' '()&&()*# + , , , #- ,. / # 0*# ,. #- ,. #- ,+ , ,. , #- , #- ,, # , #- , ,. / # 0*# ,1 ,. # 2 # 0 2232. # 2 0 2,1 #4 , , # / 2 0 22.,1 #- , ,. # 2 # 0 2.2 0 *# + ,. , , #- , 22 0 *# ,1 #- , #- , 222. 0 + , ,1 , #- , #- , 222.. 0 ,. # ,. #- , , ,. / # 212!"!"!"Vln. IVln. IIVla.Vc.mp12mpmpVln. IVln. IIVla.Vc.mf15mfmfmfVln. IVln. IIVla.Vc.18!"! #$ #$ %"!!"! #$ #$ %"!!"! #$ #$ %"!!"! #$ #$ %"!%"!%"!%"!%"! !"!!"!!"!!"!&& '()&&()&&()* +, + + - # +. + +. + -+. #, +. #, - #+ #, +. #/ - # + +. -* +. / + +. - # + +. +. +. -+ +0 + #/ + + + + #/ + +0 + #/ + +0 + #/ + + +1# +0 + + #/ +0 + + #/ +0 + 1# +0 + + #/1 +2 + + + + + + + + + + 1 +2 + + + ++3 +3 + + + + + + + + + + +3 + + + + ++ #/ + +0 + #/ + + + + + + + ++0 + + #/ +0 + + + + + + + + ++ + + + + + + + + + + + + + #/+ + + + + + +3 + + #/ +3 + + + +213!"!"!"Vln. IVln. IIVla.Vc.f21fffVln. IVln. IIVla.Vc.24Vln. IVln. IIVla.Vc.27!!"#!!"#!!"#$ $ $ $ $ $ $ $ $% $ $& $ #'$ $ $ $ $ $ $ $ ( # $& $$ $ $ $ $ $ $ #) ( $% * $ $$ $ $ $% $ $ $ $ $ $% $ $ $$ $ $& $ #' $% $ $& $ #' $ $ $& $ #'$ #' $ $& $ $ #' $& $ ( # $& $$ $ $ $ $ $ $ $ ( $* $ $$ $ $ $ $ $ $ $ $% $ $ #)$& $% $& $ #' $ $ $& $ #' $ $ $ $$ #) $& $ $ #) $& $ $ $ $ $$ $ $ $ $ $ $ $ $ $ $ $ $ $$ $ $ $ $ $ $ $ $ $ $% #) $ #) 214!"!"Vln. IVln. IIVla.Vc.30Vln. IVln. IIVla.Vc.mp mp33mp mpmp mp!"# $%!"# $%!"# $%!"# $%$% &%$% &%$% &%$% &%''()'' * *()+ + + + + + + + + + + + ,#+ + + + + + + + + + + + ,#+ + + #- + + + + + + + #- ,#+. + + + + + + + +. + + + + + #-+/ + +/ + 0 +/ + +/ + + # + 0 #+ +/ 0 + +/ 1/2 +/ +/ +/ 0 2 +/ +/ +/ +/ + # 0 #215216Virginia!"!"!"53: Shenandoah...Violin IViolin IIViolaViolincellopppx  = 60ppppppVln. IVln. IIVla.Vc.pp7 pppp ppVln. IVln. IIVla.Vc.p12 ppp!" #" !" #" $"!" #" !" #" $"!" #" !" #" $"!" #" !" #" $"$" %" %&' $" !" #&'$" %" %&' $" !" #&'$" %" %&' $" !" #&'$" %" %&' $" !" #&'#&' !" %" !" ""#&' !" %" !" ""#&' !" %" !" ""#&' !" %" !" ""(() * * * * * *+( 5() *+ * * * *( 5( * * *) * * *+, - # . -/ # - # .. , - # . -/ # - # ..- - # . - # -/ # . - - # . - # -/ # .0 -1 - # . - # - # . , 0 -2 . - # - # .0# -- ##1 --1 0# -- ##1 -- ##1 0# -- ##1 --1 - -/ - -/ -/ #. - # - #1 . - - #0 -2 -1 0 - - #1 0 -2 -1 - - #3 - -/ - -/ -/4 - -/ - -/ -/ # 0 --1 - ,- - #- # 520 --22 , -- ##0 --22 , --22 ##- # -6 - - # -2 # -2 - # 57 217!"!"########54: clouds lift in the morning... ########Violin IViolin IIViolaViolincellop - ppx  = 30p - ppp - ppp - ppVln. IVln. IIVla.Vc.4!" #" !" $%&!" #" !" $%&!" #" !" $%&!" #" !" $%&$%& $%&$%& $%&$%& $%&$%& $%&' very slowly'()' *'()++ ++** ++** ,* ,,* ##+ +* +* , , #+- +* +* ,* , #+- +* +* , , #+.+ + + +/#0+ #. +1+2 3 3+0 +/#0 +2 3 3+. +/#. +1 3 3+. +/#. +1 3 3 218!"55: rest...Violin IViolin IIViolaViolincello! "#rest for a long while "! "#rest for a long while "$ "#rest for a long while "% "#rest for a long while "219!"!"!"56: awake in the fog filling Brown Mountain Creek... ########Violin IViolin IIViolaViolincello ppe  = 40 ppppppVln. IVln. IIVla.Vc.p7pppVln. IVln. IIVla.Vc.mp12 mpmpmp!" #$ !" #$ %" !&' #$!" #$ !" #$ %" !&' #$!" #$ !" #$ %" !&' #$!" #$ !" #$ %" !&' #$#$ %" !" !" #$ %"#$ %" !" !" #$ %"#$ %" !" !" #$ %"#$ %" !" !" #$ %"%" %" !" !"%" %" !" !"%" %" !" !"%" %" !" !"( 3( ) ) 3* ) )+( 3 5 5( 6 5 5 5* 5+ )( 5 55 5( 55 5 5*+,- # .- # . ,- # .- # . .- , . #/,- # ,- # .- , . #/,- # ,- # ,- . #/, # 0 . . . . , # 0 . . . . ,- . #/.1/ .- . . . .- , # .- . .- # .- . . # .- . #. .-/ . 2 . . .- . .- , # . # .- . . # .- . . # . . #. # . 3 .- , # ,,-- .. .. ## ..- .. ##. . .- . . , . . . . . .1 . . #. . # .- . .- # .- . .1 .4 .- , .1 .4 .- , #. . # .- .4 . . . # . . , . # . . , #.. ..- ,, .1 . . . , 5 . . . , #. . . , . . . , 5 . . . , # 220!"!"!"Vln. IVln. IIVla.Vc.ppp18 pppppppppVln. IVln. IIVla.Vc.pp p23 pp ppp ppp pVln. IVln. IIVla.Vc.pp ppp ppp p31 pp ppp ppp ppp ppp ppp ppp ppp ppp p!" "" #" !$ "" !%&!" "" #" !$ "" !%&!" "" #" !$ "" !%&!" "" #" !$ "" !%&!%& !$ "" #" !" #" !" #"!%& !$ "" #" !" #" !" #"!%& !$ "" #" !" #" !" #"!%& !$ "" #" !" #" !" #"#" "" !$ !%& "" '%& "" #" &"#" "" !$ !%& "" '%& "" #" &"#" "" !$ !%& "" '%& "" #" &"#" "" !$ !%& "" '%& "" #" &"(( ) )* ) )+ ) )( , 3 3 ,-( ) ) )* ) )+ ) ,(( ) ) ) )* ) ) )+ ) ). # /, 0 1 2 2 2, # /., # /, /,. # /- /. # /- /2 2, 2, 2 # / ., 2 #. # 2- # ., 2, 2 ., 2 #. # 2 #//,, .., ## 2, 2, 2 2, .., ##/ ., ..,, ## . 2 2 ..,, ##2 2 2, 2 # // 2 # 2 # . 2 2 . #2 # 2- #., /, 2, # 33 24 /, 5 267 2 # /, . / #//,, /, /, ., / #/ 33 27 / /- . / #., // 2, # / / . / #221!"57: following a heron in the morning...Violin I pe  = 70Vln. I 3Vln. I 6Vln. I 9Vln. IVln. IIVla.Vc.pppppppp!" #"#" $$ #"#" $$ #"#" $$ #"#" $$ #"% solo: ad lib... %%% 3 3%%&' ( () ) ) ) ) ) )* # ) # ) )+ ,-, )+ ) ,# ) ) ))* ## )) ## )) ))+ ,-, ). ))* ## )) ## // ))0 ,-)* )* )) ))* ## , )* )* ) ))* ,-1 1 ) ) ) )* # ) )+ , , 2*1 , )+ ) 1 # ) #+ ) )+ , , 2*1 ) # ) ,# ) )+ , , 2.)0 ) # ) 2. 222!"!"!"Vln. IVln. IIVla.Vc.ppp16 pppppppppVln. IVln. IIVla.Vc.p19ppVln. IVln. IIVla.Vc.23p!" #$ $$ %"!" #$ $$ %"!" #$ $$ %"!" #$ $$ %"%" !" #"%" !" #"%" !" #"%" !" #"& 3& 3' () (&&' ( ( ( ()&&')* +# ,- #. /- ,- , 0-* ,- # /- ,- , 0-+ ,- 1 , # * ,- ,,2 , # / #/- # ,- # , ,- , , , ,- ,,- , ,- , ,- ,- ,- # , # , ,- # , #/ # , # , ,2 ,2 1 , #,- # , # , ,- 1 , ,- , ,- 1 ,-,- # , # , # ,- #, # ,- # , # , ,- 1, # , # , ,. ,. , 223!"!"!"Vln. IVln. IIVla.Vc.27Vln. IVln. IIVla.Vc.34Vln. IVln. IIVla.Vc.mp39 mpmpmp!!!!!!!!!! "# $#!! "# $#!! "# $#!! "# $#%% & & & & &' & & & &(%% & & & & &' & & & & &(%% &' & &( &) )# ) )# )# ) )# )* ) )* ) ) )* ) )* + ))# )#)# )+ ), ) -), ). ). ), ) ). ). ) ) ),. ). ), )* #)# )* # )* )* ) )* ) )* )# )#)# )# )+ ), )# )#/ ) ) ) )# - # )#+ ) ) ) ) ) ) )//0 1 ). ) ) ) )# ))) ) ) )/ )* # ) )* + )# )//,, - ) ) )# ). ) )# ) )224!"!"!"Vln. IVln. IIVla.Vc.mf p45mf pmf pmf pVln. IVln. IIVla.Vc.49Vln. IVln. IIVla.Vc.53pppp!" ## $"!" ## $"!" ## $"!" ## $"$" !" !"$" !" !"$" !" !"$" !" !"!" #" !"!" #" !"!" #" !"!" #" !"%%&'% ( (%& ( (' ( (% ( (% ) (&' (* # * # * * # * # + +)* * * * * # ++, +)*) # * *) # ++- ++* # * * * # +- . /- #*) # . *) #. *) # *) # * *) * # * *) # *) # * *) * #*) # . *) #* *) * # . # * *)* # . # *) # * # *0* # . # . /*0 /* # . # * #1 * // . *0* #1 * * ** ## ** ## *20 * #*3 * 225!"!"Vln. IVln. IIVla.Vc.pp58 ppVln. IVln. IIVla.Vc.62!!"#!!"#$ %& % % % % % # % # % #% #$ %& %% ## %% ## %% ##% #% # %% ## %% ## %% ##%% ## %% ## %% ## %% ##% # % # % # % $%% ## %% ## %% ## %% $%% ## %% ## %% ## %% $%% ## %% ## %% ## %% $226!"!"!"58: a few days later I started seeing more bears...Violin IViolin IIViolaViolincelloppe  = 30ppppppVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.p9pp p!"!"!"!" #" !" #" !"#" !" #" !"#" !" #" !"#" !" #" !"!" #" !"!" #" !"!" #" !"!" #" !"$ %5 5 5$ % %5 5& 5 % %5' % %5$ 5 5$ % 5& % 5' % 5$ 3 3 3$ % % 3 3& % % 3 3'( )* ) # )+ , - # )+. )/ / ) #0 ) # )) ,,/ ) ) # )) ,,)1 ) # ) ,- # )+. ) ( - )+. ) ( / / - )+* , (( )+ ) ( / / / )+ 0 , (- )0 ) ) ( / / )+ #0 , (, # ( / ) , ()+ )+ )+ , # ,+ )+ , ,+ )+ ,2 )+ , 2 )+ ,( ,+ , ( ,+ ,( ) , # ( )+ , ( )+ , 227!"!"!"Vln. IVln. IIVla.Vc.t = 10015Vln. IVln. IIVla.Vc.18Vln. IVln. IIVla.Vc.21!"!"!"!"#" $##" $##" $##" $#!" !"!" !"!" !"!" !"% 3% 3& 3'%%&'%%&'() *) ( * *+ ,- *) ( * *. * * * * * * * *, () ( * * #, *) ( *. */ ,* * # * # *+ (. * ** *. * * * * * * * * * *. * * * * * * * *. * * * * * * * * * ** * # * # *+ * * **. * # * # *. / (. * ** *+ *. * # ** *. * * * * * * * * * *. * * * * *. * *. ** *+ * *. * *. * *. * * * *. * * *.*. *0 / *. * # *. 228!"!"!"Vln. IVln. IIVla.Vc.23Vln. IVln. IIVla.Vc.25Vln. IVln. IIVla.Vc.27!" #"!" #"!" #"!" #" $" %&$" %&$" %&$" %&%& $& %&%& $& %&%& $& %&%& $& %&' 3'() 3' 3'() 3''()*+ * *+ * *+, *+ *+ * *+ # *+ #* *+ *+ *+ *+ * *+ * * * * * *+ *+ * *+ * * * * *+ * *+ ** *+ *+ *+ *+ * * *+ * * *+ * *+ * *+ * * * * * *+ * * *+*+ *+ * * *- *+ # *+ *- . *+ -*# *+ *, . *+, *#*+ * *+ * *+ *+ *+ *+ * *+ * *+ * * * *+* *+ * * * * *+ * *+ * *+ * * * * *+* *+ * *+ # *+ # *#*+ *+ * * . *+ * /* *+ * *+ * * * * * *+ * * * * * * * *+ * * * *+ * * * * * */+ / # //+ / # / 229!"!"!"Vln. IVln. IIVla.Vc.30Vln. IVln. IIVla.Vc.pp33 ppppppVln. IVln. IIVla.Vc.ppp37 ppppppppp! " " "!#$ " " "! " " 3! 35# 35$ " "! 3 3 "! 3 3 "# 3 3 "$ "% %& % % % % % % %& % %& %& % %& % %& %& % %& % % % % %%& % %& % % % % % %& % %& %& % %& %& %& %& % % %& % % %& %&'( %) '%& # %& % %* + , - %) '%& # %& % %* + , , '( ', %( ''( %) ' '( %) '- %) ' - %) ', '( ' , '( ', %( ' , %( ' 230!"!"!"59: there are always lots of  snakes...Violin IViolin IIViolaViolincellor = 40mp mpVln. IVln. IIVla.Vc.mp mf5 mfmf pmfVln. IVln. IIVla.Vc.p9 pp!!!!!!!!" # # # #" # # # #$%"" #$%""$%& ' ( # ' () # ( ()* ( # & ( ( ' ( #+ * ') ') ( # ' & ( # *+ * ' ') ( # ' ( # *( # ') + * ', & ( (( # ' ( # ', ', & ( # *' ' ' () + * ') & &-* * * '',, '' ' ') ( ' ') ') ( &&-,' ') ( # & ' ' ' ( ' () ')* . '/ ( ' ' ( # ' ( # & 231!"!"!"Vln. IVln. IIVla.Vc.13Vln. IVln. IIVla.Vc.pp17pppp ppVln. IVln. IIVla.Vc.21!!" #$!! #"$!!"$%& ' ( ) *& ' ' ' %*& ' '& '& * ' ' ''++ '' ( * %' *& ' * # ' ' * ', - (* ' ' ' % *& # ' ' %' ' ' * ' ' ' * ' '& '& * * ' '& '&', - ( ) - '+ . * # ) '& '& '- '. * # % * *& %+' * # ' * # ' ' * ' '+ ' *%%+/ %% %% '& '& '& *%/ ' *&# %/ '& ' '& *' *& '& ' *& '& ' *& ' %% * ' ' ' % * ' ' '+ 232!"!"!"Vln. IVln. IIVla.Vc.25Vln. IVln. IIVla.Vc.ppp28ppp ppp pppVln. IVln. IIVla.Vc.33!! " "#$! " " "!#$ " "!!#$% & &' &( % & & & % & & &% &) * +%' % , ,% & & %# & %# &% &&& &&' % &', & %# & %' # % % %# &' &'+ %# , % - * &. & % & & &&&- % & %# %# && & &' &' & & & &' % & & & %# +%# & &' %# & %# +& & & & & & &' , %# +%# & &( , %# + 233!"!"!"60: spiderwebs like crystal threads...Violin IViolin IIViolaViolincellope  = 50 pppVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.pp10 pp ppppp ppppp ppp!" "" !"!" "" !"!" "" !"!" "" !"#" ""#" ""#" ""#" """" "" !" """" "" !" """" "" !" """" "" !" ""$ % % 2 2$& %'$$&'$ % %$&' 2( () ( # * ( () ( #*# (+ () , ( # () # * - #() + (. *# () + ( ( # * - #- # , $(+ - # * - #* -- ## / ,) ,,). ,) ,,))* -. # / ,) ,) ,) ,.* -- ## / ,) ,) ,0 ,)* -- ## / ,) ,. ,) ,* -. # ,,..* -1 # ,. *# (+ () - # ** -. # ,. $() + (+ ( ( # - # ** -. # ,. ( # ( ( - # * 234!"!"!"Vln. IVln. IIVla.Vc.ppp14Vln. IVln. IIVla.Vc.pp18 ppppppVln. IVln. IIVla.Vc.p mf f22p mp fp fp f mp!"!"!"!""" "" !""" "" !""" "" !""" "" !"## 2$% &# &# 2$% &# &#$%'( ') '# ' '( ') '# '# ' ') ( '( ' '#' ') '# ' '# ' ') ( **++ ## **##') ( ' '# ' '# '( ') '# ', ') ' '), '#*- # *- # .*- # '-+') # ' '( ') '# ' '( ' /# /#') ( ' '# ') '# ' ' ' ') # '# ' '( '#' '( '# ' '# ' ') ( ' '# '# '# ' ') (**- ## / '# '# *#**++ ## / '( ' ') ( ' ') ( '#*+ # /# / '( ' ') ( ' '( ' '( '+ #'# ' '( ' '( '( '+ '( ' '# '( ' '+ ( '''++ ## '' ', '+ ', ' '), ' '), ' ', '+ ', '# 235!"!"!"Vln. IVln. IIVla.Vc.p26p ppVln. IVln. IIVla.Vc.pp29 ppppppVln. IVln. IIVla.Vc.pp p33 ppppppppp!"!"!"!""" #$" """" #$" """" #$" """" #$" ""%& "" "" %"%& "" "" %"%& "" "" %"%& "" "" %"''() * *''()' *2 2' *( *2 2) *+# + +, +- + + + + + +. + + + + ++# + / 0 +, +- +, + +, +. +,+ +, +, + 0 # 0 +, +- +1 + +.10 +1 +1 +-+- + + +- # 2 0 23 2.+ +, +# 2 0 23 2.+ +1 +. # 2 0 2 23+1 + +1 + 2 0 2 23+. 4. +3 4 # 0 # / +.1 + 0 # / +1 +4. # 23 0 # +3 # + 0 # +3 # +4 # 2. / +3 , +# + / +3 , +# +4 # 2. 23 23 236!"!"!"########Vln. IVln. IIVla.Vc. p38 ppp ########Vln. IVln. IIVla.Vc. 43Vln. IVln. IIVla.Vc.49!"!"!"!" """"""""##$%# x 4-8#$%##$%&' () ()* () # (' &) (' (' () () ('* () # (() () # (+ () () () () &) () () # ()* () &)&) () (, + () # () &, () () () () () + (, # (() (, # (+ (, () () () &, () () # (, + (, &,(' () # (* () () (' (' &) (' () # ()* () &) -&) () ()* () # () &) () () () () () + () # () -() (, # (+ () () () () &, () () # (, + () &, -&, (, (, + () # () &, () () () (, () + (, # () --.-.-.-. 237!"!"!"61: windchimes at Angel's Rest...Violin IViolin IIViolaViolincelloppx  = 40ppppVln. IVln. IIVla.Vc.3pppp pVln. IVln. IIVla.Vc.5!!"#!!"#!!"#$% $ $ $# $% & && & & #& # $%$% $ $ $# $% & && && ## $%$% & && && ## $% $ $ $# $%$% $ $ $# $% $ $ $# $%$ $ $# $% ' ' # $%$ $ $# $% ( ( # $%& && && ## $% ' ' # $%$ $ $# $% ' &) # &) # $%$# $% $# $%$# $% $# $%$# $% $# $%&) # $% &) # $% 238!"!"!"62: Brushy Mountains...Violin IViolin IIViolaViolincelloppx  = 40 ppppVln. IVln. IIVla.Vc.p4 pp pppVln. IVln. IIVla.Vc.7!" #" !"!" #" !"!" #" !"!" #" !"""""""""$" $"$" $"$" $"$" $"%%& ' ' '(%% '& ' '(%% '&()* + ) , )* + ) )# )* + ) ,- )*. , - )*. )# -# ,*/# )#+ , /# )#+ )# /# )0 #+ ,)* + ) , )* + ) )* )* ) ,* ,*-# / )* # , ,,*,0 ,0-# , /# )#+ ) )0 # ) ,* ,*)* ) )* ) ) ) )* ) )* ) ) ) )* ) )* )* # ) )* )/ )* ) )* ) ) / )* ) )* ) )* ))* # ) )# ) )# ))* # ) )* # ) )* # ) 239!"!"!"Vln. IVln. IIVla.Vc.10Vln. IVln. IIVla.Vc.13Vln. IVln. IIVla.Vc.pp16 pppppp!!!!!!!!""#$""#$""#$%& % %& % %& % %& % %& %& %& % %& % %& %& %& %& %' %& % %& % % ' %& % %& %& % ' %& % %& %& %&% # %& % # % % # %&% # % %( # % %( # %%& % %& % %& % %& % %& %& %& % % %& %& %& %& %' %& % %& % % ' %& % %& %& % ' % %& %& %& %% # % %% ## %% %& %% ## %%% # % % # % # %& # %& # % ) # % # %& # %& # %%& % %& %& %& % % %& %& %& %& % *(' %& % %& %& % ' % %& %& %& % + ,&%% ## %% %& %% ## %% + ,(% # % # %& # %& # % ) # % # %& # %& # % *& 240!"!"!"Vln. IVln. IIVla.Vc.19Vln. IVln. IIVla.Vc.22Vln. IVln. IIVla.Vc.26!" #"!" #"!" #"!" #"!" #"!" #"!" #"!" #"$$%&$ '$% '&$ ($%&)( )* +) ,, , , , ), ,( , ,* , ,*)( )( )*)) ,, ,,*( -- ## --. /)* )( - # -*. -* -( -*. -(, ,( , ,( - # -. /) )( -* # -(# - - - #, #, -* - #- # -- - #- # --( - #- # --/# -* # - -* 0 - - # - - # --* # -0 -( - # -* - # -( - # --(# -0 -* - # - - # - - # - 241!"!"!"########63: Grayson Highlands... ########Violin IViolin IIViolaViolincello mpe  = 80 mpmpmp######## ########Vln. IVln. IIVla.Vc. 3 ######## ########Vln. IVln. IIVla.Vc. 5!"!"!"!" #"#"#"#"!" #"!" #"!" #"!" #"$ arco$ pizz.% pizz.& pizz.$$%&$$%&'( # ' ' '( ' '( # ' ' #)# '( ' '( '( * )# '( ' '( '( *) '( ' '(+ , ) ) '( ' '(+ , )* '( ' '( , * ) * ' ' '( , )#' '( # ' ' # ' # '(* * * '( ' '( '( * ) ' ' '( '( '( ,) '( ' '( ' '( '( * * ' ' '( '( )* '( ' '( '( * ' '( * ' ' '( '( '( , )'( # '( # ' '( '( # ' '- ''( '' ## '') '( ' '( '( '( , )# '. '. ' ' ' ' * , ' '( '( '(+ , '( '* '( ' '( '( ) * * '. '. ' ' ' ' * * '( '( '( , ' '( *'( ' '( '( '( , ) '. '. ' ' ' ' )# '( ' '( * '(+ '+ * ,242!"!"!"######## ########Vln. IVln. IIVla.Vc. mf8 mfmfmf######## ########Vln. IVln. IIVla.Vc. 10Vln. IVln. IIVla.Vc.fe = 3012fff!!!!!!!!""#$""#$"" arco# arco$ arco%% ## %% %& %% ## %%' ( %& %& %& %&) ( ' ' ( %& %& % %& %& %& %&' % %& %& ( * ' ( % %& %& %& %& '% %& %& ' ( * % %& %& ' ( *%% ## %% %& %% ## %%' ( %& %& %& %& %& %& % ' ( %& %& % %& %& %& %&' % %& %& ( %&) ( ' ' ( % %& %& %& %& '% %& %& ( % %& * % %& %& ' ( *+ + +, +,* +& %%&& %% ++ %%,&* +, %%-, %% ++ %%+& +& +, +, 243!"!"Vln. IVln. IIVla.Vc.14Vln. IVln. IIVla.Vc.17!!"#!!"#$% $% $ $$ &&'' $$ ''% '' $$ ''% '' $$%% ''%'' $$(% ''(% '' $$%% ## '' $$(( ##$( $( $% $% $ $$$ $$%( &&)'' $$(( ## &&)'' $( # &)$( $( &)244!"!"!"########64: (the endangered Weller's) salamander...Violin IViolin IIViolaViolincellope  = 40pppVln. IVln. IIVla.Vc.5########Vln. IVln. IIVla.Vc. 10!"!"!"!"#"#"#"#"$$%&$$%&$ (x  2-8)$%&' #' ''( ) ' '( '(* ' '( '(* ' ' '(* '(' # ' '( '* ' ' '( # ' '( '* ' ''+ '() ' ' '( '(* ' ' '( ') ' '( '( '* ' ''+ # '( ' ') ' ') '( '( ' '* '' '(* ' '( '(* ' '( '+* ' '( '* ' '( '* '('( # ' '( '* ' ' ' # ' '( '* '( ' ' # ' '('( '(* ' ' '( '(* ' ' '( '* ' '+ '( '* ' '( '( '* ' '('* '( ' ' '() ' ') '( ' ' ') ' ') '( '('( ') ' '( '(* ' '( '* '( '( ') '( ,+') ' ' '( # ' '( '* ' ' '( # ' '+ ,' '(* ' '( ' '* ' '( '( '* ' '( '( '* ' '( ,' '* ' '* '( '( ' '* ' '* '( ' , 245!"!"!"########65: walking to Damascus before the sunrise...Violin IViolin IIViolaViolincelloe  = 50ppppppVln. IVln. IIVla.Vc.pp7 ########Vln. IVln. IIVla.Vc. 13!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"$ % % % % % %$ % % % %& % %' ($$&'$$&')( * # *) * # * )( *( # *+)+ * # *+ )( *( # *+ ) * #* # **) * # *+ )( *( # *+ ) * # *()( *( # *+ ) *+ # *( *( *( * # *) ** ## *( * *( *+ # * ) *, *(- * ** *( *+ # * ) *, *+ . * * *- *, # * # ** *( * # * ) *, *+- * *+ *- **,, ## ** ## **) *+ *(- * * *- *+ # * # * ) * # **- *, # * # * ) * # * ) * # *) * # * ) * # * ) * # * 246!"!"!"########Vln. IVln. IIVla.Vc. p19 pp pVln. IVln. IIVla.Vc.22########Vln. IVln. IIVla.Vc. 25!" #" $"!" #" $"!" #" $"!" #" $"#" $" #"#" $" #"#" $" #"#" $" #"!" #" $" #"!" #" $" #"!" #" $" #"!" #" $" #"% &%'( & &% 3%'(%%'() *+, * * * *-,*. / *. * *., * * *- **. ** *- ** ##*. # *. # * # *. # */ ) 0 *+1 *, * *- * * # *2 2 */3 * # * * * * * # * * **+ # *+, * * *+ *+ *+ ) *- * * *+ **- # */ * # * 3* *+ *+ **-- ## ** 33) 0 * #, * ) 0 * * * *+ * # * 3) *- * * **+ ** ) * * * **+ ** ** ** * * * *+ **+ 333 # 3 * # * 333 ## 33 ** ## ** 33247248North CarolinaandTennessee !"!"!"66: the mountains change...Violin IViolin IIViolaViolincellopppe  = 40pppppppppVln. IVln. IIVla.Vc.pp4ppppppVln. IVln. IIVla.Vc.p7 ppp!" #"!" #"!" #"!" #""" $" !""" $" !""" $" !""" $" !""" $" #""" $" #""" $" #""" $" #"% 3%&'% 3% (&'% 3%&')* # +, - + + + + + + + +* ). #). # +, ))* ## ++/ 0 )) ##). # +, )* # +/ 0 )* #). # +, )* # +/ 0 ) #+ + + + + + + + + +* +. # + + + + - + + +++ 1 2 - - + + +3 1+ 1 2 ++.. ## ++ )) ++ ##+ 1 2 +. # + ) + #+ + + +. , ) # + + + + ). #- +. , ) # +. # + ) #++4 0 +53 ) # +. # + )* #+4 0 +53 ) # +. # + ) # 249!"!"!"Vln. IVln. IIVla.Vc.mp10 mpmpmpVln. IVln. IIVla.Vc.mf f13mfmfmfVln. IVln. IIVla.Vc.mf15f mff mff mf!" "" #"!" "" #"!" "" #"!" "" #"$"$"$"$"%" ""%" ""%" ""%" ""& 3 3&'(& 3 3& 3'(& 3 3& 3'() * * * * * * * * * *+ ,+ - * *+ *. * # *,+ */ - ,0 1 )# *+ #2 * *+,+ */ - ,0 ) *02 * # *,,+ **3 - ,0 * * # **+ # * */ - - *0 *0 * * * *+*+ *. * * * * *+ ) * * *+ * */ -*+ # * */ - - *+ / * * */ -**+ ## ** **3 - * # * */ -* *0 *+ * *0 *+ * * # ) *02 4 #**00 **2 **0 ** ** ## - *0 *0 *0 4 #*0 *. *0 * * # ) *+. 4 #*0 *. *0 * * # ) *+. 4 # 250!"!"!"Vln. IVln. IIVla.Vc.p18 pppVln. IVln. IIVla.Vc.pp20 ppppppVln. IVln. IIVla.Vc.ppp22 ppppppppp!"# $%!"# $%!"# $%!"# $%&%&%&%&%&"# $% '(&"# $% '(&"# $% '(&"# $% '())*+) 3 3 3 3)*+))*+, # - . . ./ #0 , # - . . . ./ #, .1 .. .. .. ##2 , . .. .. ../ ..- .30 . #0 . #0 - .34 . ..3 #2 . #2 . #2 .3 # ..3 .3 .0 . # .0 . . .3 .3 .0 . # .0 . .5 , # ./ #2 . 5 , # ./ #2 .5 . # . 5 . # .. ./ . # . . . ./ . # ., - ./4 . #0 5 ./ . , # - # ./ #4 .6 5 , ./0 .6, .2 . #2 , . . . #0 , # . #0 .6 5 . .6- ./ 1 .2 . #2 - ./ 1 .2 . #2 - # .3 #1 . #2 .6 , .2 . .6./ . #2 ./ . #2 .3 # .6 7 .6 251!"!"!"67: far from home (part I)...Violin IViolin IIViolaViolincellope  = 40pppVln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.13!" #" #$%!" #" #$%!" #" #$%!" #" #$%#" &$% ""#" &$% ""#" &$% ""#" &$% ""#" #$% !" #$% !" #$%#" #$% !" #$% !" #$%#" #$% !" #$% !" #$%#" #$% !" #$% !" #$%' (' () (* ('')*'')*+ , -. /- 0 0 0 0. # - #1+ -1 - 0 + -. 1 - 0 -. - - - - - -. -, - #1 - 0 0 0 0 # - #102 02 0 0 0. # - #10. # - -/ 3. 3 3 - # -4 0 #-. - - - - - -. - - 3. 3 + -. 1 0 # 30. # - -/ 3 , - #5 0 # , -. #1 0 # , -. #5 0 #0. # - -6 37 3. 3. 3.0 # - #1 0. - #1 04 - #1-. - - - - - -. - -. - - - -. - -. - - - -. -0 # - #5 0. - #5 0 - #50. # - #5 07 - #5 0. - #5 252!"!"!"Vln. IVln. IIVla.Vc.pp19 ppppppVln. IVln. IIVla.Vc.23Vln. IVln. IIVla.Vc.28!" !#$ $% ""!" !#$ $% ""!" !#$ $% ""!" !#$ $% ""!" !#$!" !#$!" !#$!" !#$&" !#$ &" !#$&" !#$ &" !#$&" !#$ &" !#$&" !#$ &" !#$' (' () (* ('')*'')*+ # , #- ./,0 , , , , , ,0 , .+1 # , #- .1+ # , #2 .1.1 ./ . +1 # , #-. . ../1 + # , #-. .1 . ++1/ ## ,, ##2.1 .1 + +1 +/ # , #2+ , #- + , #-+1 , #- +1 , #-++ ,, ##2 +/ , #-+/ , #2 ++/1 ,, ##2 253!"!"Vln. IVln. IIVla.Vc.ppp32 pppppppppVln. IVln. IIVla.Vc.36!" !#$ $% #!#$!" !#$ $% #!#$!" !#$ $% #!#$!" !#$ $% #!#$&% #'#$ ""&% #'#$ ""&% #'#$ ""&% #'#$ ""( )( )* )+ )( )( )* )+ ),- # . #/ ,- # 0,,-1 ## .. ##2 ,- # 0,- # . #2 ,3 # 0,3 # . #/ ,- # 0,- # 4 ,1 # 4 # ,51 # 6,- # 4 ,- # 4 # ,53 # 6,- # 4 ,1 # 4 # ,53 # 6,- # 4 ,3 # 4 # $.- 2 ,5# 6254!"!"!"68: dense forests and open balds...Violin IViolin IIViolaViolincellofr = 80 fffVln. IVln. IIVla.Vc.4Vln. IVln. IIVla.Vc.7!"# $%!"# $%!"# $%!"# $%$% &% '"#$% &% '"#$% &% '"#$% &% '"#$% &% (($% &% (($% &% (($% &% (())*+) #####) ,*+ ######3) #######) ##### ######* #####+ 3- . /0 1 - . /0 1 - /0 2- /3 2 4 - /3 2 4 . /3 2 .. /3 2 .$ . /3 2 .$ .$ /$2/5 2 . .$ /5 2 . .$ /5 $- ////3333 2 //6 . ////3333 // //6/3 $ /. /3 2 . . /3 2 /1 4 . 4/7 2 . . /7 /7 2 / //// //6/5 $ /5 ////3333 // 88$$- ////333 2 //6 . ////3333 // 88$$. /3 2 . . /3 2 ////3333 // 88$$/7 2 . . /7 //33 2 99 255!"!"!"Vln. IVln. IIVla.Vc.ff ff10ffffff ffVln. IVln. IIVla.Vc.14mpVln. IVln. IIVla.Vc.17p!"!"!"!"!" #$% &"!" #$% &"!" #$% &"!" #$% &"!" !$% !" &" !"!" !$% !" &" !"!" !$% !" &" !"!" !$% !" &" !"' ##### #####3 3' #### #### ( (3 3) ( (3 3* (' ( (' ( () ( (* solo, ad lib.' ( ( (' ( ( () ( ( (*who cooks'for you?*+ ,,,---. ,,. + ,,,---. ,,. ,/ , $ ,/ , $+ ,,,--- 0 ,,. + ,,,--- 0 ,,.,,-- ,,--. ,,. ,,-- ,,--. ,,.,,-- $$ ,,-- $$ ,- $+$ +$ +$1+$ +$ +$1+$ +$ +$1,2 ,- ,- ,2 , ,- , $ , 3 +$1+$ +$ +$1+$ +$ +$1+$ +$ +$1,2 ,- ,- ,2 , ,-$ ,/ $ , $ , 3 +$1 256!"!"!"Vln. IVln. IIVla.Vc.pp21 ppppVln. IVln. IIVla.Vc.25Vln. IVln. IIVla.Vc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ln. IVln. IIVla.Vc.33ppVln. IVln. IIVla.Vc.p37 pp pp pVln. IVln. IIVla.Vc.mp42mpmp!" #$% !" #" !"!" #$% !" #" !"!" #$% !" #" !"!" #$% !" #" !"!" #" !" #" !"!" #" !" #" !"!" #" !" #" !"!" #" !" #" !"!" #" !" #"!" #" !" #"!" #" !" #"!" #" !" #"&&' ( ( ()& ( ( ( (& ( ( (' () (& ( (& ( ( ( (') (* +,- . # +/- * +,- + # ++0 1 +/ +0 +/ +1 +0 1 +/ + # ++1 . .. +0 + #1 +1 + # + # +* +, 1 + . + + # ++ +, + +, + # + +, + + +, + # +. 2 ++// ++ ++ ## ++ . 2 ++// ++ ++ ## +++, + +, +, + # +. 2 ++// ++ ++ ## ++ + +, + +, +,- +. 2 ++// ++ ++ ## ++ 2 +3 + +, 258!"!"Vln. IVln. IIVla.Vc.46mp######## ########Vln. IVln. IIVla.Vc. pp50 pppppp!" #" !"!" #" !"!" #" !"!" #" !"!" $"!" $"!" $"!" $"% & &% &' & %( & & & %%%%%)* )* ) ) )* ) ) )*) )* ) )* )* ) ) )* )* ) )* )*)* # ) + ), )*- )) # ))* # ) )* # ) )* # ) )* # ) ./ #)0 # ) )* # ) )* # ) )* # ) ./ #)0 # ) )0 # ) )0 # ) )* # ) ./ #)0 # ) )0 # ) )* # ) )* # ) ./ #259!"!"!"69: colors of  Max Patch; clouds on a pane of  glass...Violin IViolin IIViolaViolincelloppe  = 50ppppppVln. IVln. IIVla.Vc.6Vln. IVln. IIVla.Vc.p11 ppp!! "# !! "# "#!! "# !! "# "#!! "# !! "# "#!! "# !! "# "#"# !! "# !!"# !! "# !!"# !! "# !!"# !! "# !!!! $# "# %! %!!! $# "# %! %!!! $# "# %! %!!! $# "# %! %!&& ' '( ' ') ' '& ' '& ' '( ' ') ' '&&()*+ *+ ,- # ,+ # , # .# *+ * ,+ # ,+ #//-- // *+ #/- / *+ #/- // *+ #*- # * # * 0**-- ## ** ## ** 0*+ # * # * 0*+ # * # * 0*+ * ,+ # * ,+ # ,+ # ,+ ,+ ,+/- , # * *+ # *+ #/+ ,- # * **++ ## **++ ##/- ,+ # * *+ # *+ # 260!"!"!"Vln. IVln. IIVla.Vc.15Vln. IVln. IIVla.Vc.pp20ppppppVln. IVln. IIVla.Vc.24!" "" !"!" "" !"!" "" !"!" "" !""" #$ !""" #$ !""" #$ !""" #$ !"!" %" "" !% ""!" %" "" !% ""!" %" "" !% ""!" %" "" !% ""& ' '& ' '( ' ') ' '&&()& '& '( ') '*# *# * +*# *# * +**## **## ** +*, # *# * +*, # *# *, *, -, # *#*, # *# ./ -0 # *#*# *# .0 - # *#*# *# .0 -0 # *#*, # *, *0 *, *, .,*# * ., ..,0 ##**, ## ** ., ..,, ##*# * ., ., # 261!"!"!"Vln. IVln. IIVla.Vc.pppe  = 4029pppppppppVln. IVln. IIVla.Vc.p34 pppVln. IVln. IIVla.Vc.mp37 mpmpmp!! "! !! #$#!! "! !! #$#!! "! !! #$#!! "! !! #$##$##$##$##$# !$# #$# %$#!$# #$# %$#!$# #$# %$#!$# #$# %$#&&'(&&'(&&'() ) )* + # )), +- , , +- # ,* + # + # ))**)- )- )* + # )-) ))-* +* # ,- + # )., , , , ,. , , , , , , , , , ,./ # , , , , , ,. , #0 , ,/ # ,* ,. , , , , , #0 , ,., ,. , , , , ,. , , , , ,. , , ,, , , , ,- ,. , ,* ,* , , ,, , , ,* , / # , ,, , , ,* , / # , , ,, ,. , , , , / # ,. #0 262!"!"!"Vln. IVln. IIVla.Vc.40Vln. IVln. IIVla.Vc.43Vln. IVln. IIVla.Vc.48!"# $%!"# $%!"# $%!"# $%$% &"# $% '%$% &"# $% '%$% &"# $% '%$% &"# $% '%'% $"# $% $"# $%'% $"# $% $"# $%'% $"# $% $"# $%'% $"# $% $"# $%(()*(()*(()*+, + + + + + + + + + + + +, + + + + + + + #-+ + + #. + + +, + + #. +/ #. + + + + + ++ + +, + + + + + + + + + + + +, + + + + + ++ #. + #. + +, + +, + #- +, #. + +, + +, + +,+ # + + + + + + + + + # + #+ # + + + + + + + + + # + #+ # + + + + + + + + + # + #+ # + + +, + + +, + # + #+ + + + + + + + + + + + #+ + + + + + + + + + + + #+ + + + + + + + + + + + #0 + +, + # + +, + # 263!"!"!"70: Mount Cammerer and Cosby Knob seen from Snowbird Mountain...Violin IViolin IIViolaViolincellofx  = 60fffVln. IVln. IIVla.Vc.p6 pppVln. IVln. IIVla.Vc.pp10 pppppp!"! #"! #$!"! #"! #$!"! #"! #$!"! #"! #$#$ %$ %% !"!#$ %$ %% !"!#$ %$ %% !"!#$ %$ %% !"!!"! #"! &"! %"! #"! %"!!"! #"! &"! %"! #"! %"!!"! #"! &"! %"! #"! %"!!"! #"! &"! %"! #"! %"!' ( ( (' ( ( ()*' + + +')*' ( ( (' ()*,-. # / ,-.0 , #0/ ,-. 1 , #1 / / ,-. 2 , #13 ,-. 2 , #1 , # ,2 3 ,-. #1 , #1 ,1 , #1 ,13 # ,-+ ,-+ , # ,2 3 / ,-1 , #1 ,1 , #1 ,1, , #,+ , ,,+0 , , #, , ,1 44++,0,5 , # 6 6 4,,+ ,, ## 66 66 4., , , ,5 1 , , ,5 , # ,. 1 4.3 # ,+ , ,+, , ,. 3 ,+ 13 # ,+ #1 3 # ,+ 1 , #1 3 / ,+7 ,/ ,+ 1 , #1 3 ,2 ,1 , #1 / ,+ 2 ,1 , 3 ,+ #1,5 # ,5 #1 ,1 , #1 ,5 , ,5 , # 264!"!"!"Vln. IVln. IIVla.Vc.p16pppVln. IVln. IIVla.Vc.p pp22 p ppp ppp ppVln. IVln. IIVla.Vc.26!"# $% &% !% &% !% $%!"# $% &% !% &% !% $%!"# $% &% !% &% !% $%!"# $% &% !% &% !% $%$% !% &! #"# $"#$% !% &! #"# $"#$% !% &! #"# $"#$% !% &! #"# $"#$"# &"# $"# &%$"# &"# $"# &%$"# &"# $"# &%$"# &"# $"# &%'' ( ()*'' () ( (*'' ()*+,- +, . ++ ## ++ +, # / + # /+0 . +0 / +0 . +0 /+ + # + +, # / + # /+ + # + ++0, ## // ++ ## //+0 +0 +0 +, . / / # - # 1 +, +,2 +0 + +0 /0 - # +, #.2 - +0 . +0 1 +, + + #.+ + +3 +0 /, + /0 +4 #+ #3 +3 +, +0 + #3 + +, ++, .- # +, +, + +, +, #3 +3- +, 5 +. + #. 1 +. + #. +.+4 #. +. + #. +4 #. + #. +. 265!"!"!"Vln. IVln. IIVla.Vc.30Vln. IVln. IIVla.Vc.pp33ppppppVln. IVln. IIVla.Vc.37!" #" $"!" #" $"!" #" $"!" #" $"$" !" %" $" $"$" !" %" $" $"$" !" %" $" $"$" !" %" $" $"$" %" $" $$$" %" $" $$$" %" $" $$$" %" $" $$&&'(& ) )& ) )3'(& ) )& ) )'(** ## ** ## *** **++ , ** ## *** # * # ** # * # **+ # -+. */ */ *+ 0 */ */ *+0 *+ *+ * * # . *+ **++ ** ## --*/ *+ *+ * # */ */ # */ # -*/ * # -1 230 *+ *1 *1 # *1 # 0 * * *1 *1 2+0 *+ */ * * * # . */ */ * - 2+*/ */ */ * * # *+ *+ *1 - $*1 , 2 266!"!"!"71: jagged edges at the tops of  the world (part I)...Violin IViolin IIViolaViolincellop r = 40 ppVln. IVln. IIVla.Vc.5pVln. IVln. IIVla.Vc.pp ppp9 pp ppppp ppppp ppp!" #$ !"!" #$ !"!" #$ !"!" #$ !"!" #" #$ %$ !"!" #" #$ %$ !"!" #" #$ %$ !"!" #" #$ %$ !"!" %&' #" !"!" %&' #" !"!" %&' #" !"!" %&' #" !"( 3( )* ) ) ) )+( 3 5( ) ) 3* ) 5+( 5( 5*+,- ,- ,- , ,- ,- ,- ,- ,- .- ,- #/ 0 ,-1 ,- ,- ,- , , ,- ,- , # ,- #/ 0 ,2 . , , , #,- ,- ,- ,3 ,- ,- ,- ,- ,- , # ,3 ,1 / / ,- #0 ,- ,- ,- , ,- , ,- ,- #0 0 0 4 ,3 , , , # ,3 , #/ 0 ,3 2 . , # ,3 ,2 ,3 ,2 / /0 ,- ,- ,- ,5 4 4 4 ,-5 ,- , ,- # ,- ,0 ,- 2 , ,6 4 4 ,- 2 ,- , ,- # ,-4 ,- , , 0 ,- 6 ,2 . #,3 , , # , 4 ,3 2 , , # . # 267!"!"!"Vln. IVln. IIVla.Vc.pp12ppVln. IVln. IIVla.Vc.14ppppVln. IVln. IIVla.Vc.17!"!"!"!" !"!"!"!" """"""""# 5 5 3# 5 5$ 5 5% 5 5# 3 3 3 3 3# & 5 5$ & 5 5%# 3 3 3# 33 3 3$%''(( '') '' '') '' ' '* '*'* ') ' ') ' +'* ') ' ') ' +'( ', ' ', ' '* '*' ' '* '* '- ' '* '* ' ' '* '* '. '''(( '') '' '') '' +'( ') ' ') '* +' '* ' '* ''** '* ' ''** '' '* '+ ' '* '* ' ' '* '* '- /0' '* '* ' ' '* '* - ' ' '* ' /+ '* '* ' '* ' '* /0'* '* ' ' ' '* '* ' /( 268!"!"!"far from home (part II)...Violin IViolin IIViolaViolincelloppr = 40ppppppVln. IVln. IIVla.Vc.p5 p ppVln. IVln. IIVla.Vc.pp9pppppp!! "# !! $#%!! "# !! $#%!! "# !! $#%!! "# !! $#%$#% #! &% !!$#% #! &% !!$#% #! &% !!$#% #! &% !!!!!!!!!!''()' *'( * *)''()+, -. -/ + # +.+, +. +/ # +.+. +. +. # ++. +, +/ # +/-, 0 1/ - 1/ # -1. # 1. # 1 # 1/ # - 0 1/ - 0 1. -0 1. - 0 1/ -1. # 1/ # 1 # 1 # - 1 # - 1/ # -+, -. -/ +/+/ + ++. - -. +/+. -. -. +/ 269!"!"!"Vln. IVln. IIVla.Vc.p12 pppVln. IVln. IIVla.Vc.mp ppp17 mp pppmp pppmp pppVln. IVln. IIVla.Vc.22!" #$ %" #" #&!" #$ %" #" #&!" #$ %" #" #&!" #$ %" #" #&#& &&#& &&#& &&#& && &" &&&" &&&" &&&" &&' (') ( (*'')* ('')*+, -, -. -, / 0, 0 / 0.+. 0, # 0, # +# / 0. 0 / 0,+. 0. 1 0. 0 / 0.+, 0, # 0. # -, +, 0 # 0 0. #2 -, ++,, +, +3 ++2 -. +. +4 +. +.2 -, + +. +. +,-, # +. + +,+- -. + 2 / 05 +6+. 2 -, # 2 0, +6+. + / 0,1 0 0. 0 +6+. 2 -, # -, +6 270!"!"!"73: thick fog and dark rain from Clingman's Dome south...Violin IViolin IIViolaViolincellopp ppppe  = 30pp pppppp pppppp ppppVln. IVln. IIVla.Vc.pp pppp4pp pppppp pppppp ppppVln. IVln. IIVla.Vc.pp7pppppp!" "" #"!" "" #"!" "" #"!" "" #"#" $% &" !"#" $% &" !"#" $% &" !"#" $% &" !"!" #"!" #"!" #"!" #"' 5 5' 5 5( 5 5) 5 5' 5 5' 5 5( 5 5) 5 5' 5 5 5 5' 5( 5 5 5 5)*+ *, * *, * *+ - # -+ # .*+ */ * */ * * - # -+ # .*+ */ * */ * * - # -+ # .*+ */ * */ * *+ - # -+ # .**0+ *+ *, * *, * # *+ # 1 12 .**++ *2 */ * */ * # *2 # 1 1 .**++ *2 */ * */ * # *2 # 1 1 .**++ * */ * */ * # *+ # 1 12 .3 *2 # *0 * *2, *2 *2, * *0,3 *2 *2 *0 * *2 * *23 *0 */ * */ *2 * *+ #*+ *2 *+ *2 271!"!"!"Vln. IVln. IIVla.Vc.9Vln. IVln. IIVla.Vc.mp11 mpmpmpVln. IVln. IIVla.Vc.f13fff!" !" #"!" !" #"!" !" #"!" !" #"#" $% #"#" $% #"#" $% #"#" $% #"#" &"#" &"#" &"#" &"' 5 5 5 5' 5 5( 5) 5 5''()' 5'( 5 5) 5* *+ , * *+ , * - *. #/ * *. # ** *. 0 - *1 #/ * *. # *0 # - *. #/ * *.*. 0+ *. *. 2 * * *.,0 **.. ## *1 #0 *. # *. #0 *. # *. #0 *. # *. #**1. ** ## ** **1 ** 30011 ** 3*. # * * * * # * 3* *1 2 *1 * *1 * 272!"!"!"Vln. IVln. IIVla.Vc.pppp15ppppppppppppVln. IVln. IIVla.Vc.17Vln. IVln. IIVla.Vc.20!" #"!" #"!" #"!" #"!"!"!"!"$ %% 5$ 5&'$ 5 5$ 5&'$ 5 5$ 5 5& 5 5' ( ( ()) )) * ++ # + +)) )) * +% + +% #) ) * ,,-%) ) * ,%+. + # + +% +%/ + ,+% + ++%% ## ,% ,,,%% ,% + +- +,% +. + +% ,+% +0 + +0 + + ))% ))% *+% +% 0 + +0 + + ))%% )) *+. +0 + +0 + +. ) *273274Georgia!"!"!"########74: south...Violin IViolin IIViolaViolincellomfe = 45mf ########Vln. IVln. IIVla.Vc. 7 mf######## ########Vln. IVln. IIVla.Vc. pp12 ppmfpp!"!"!"!"#$% "" !"#$% "" !"#$% "" !"#$% "" !"&& ' ' ' ' ' '( ' ') ' ' ' ' ' '&& ' ' ' ' '() ' '& ' ' '& '( ' ')*+ *, # *, - * * *, * *, . *, *+ *, # *, - * *, *, * *, .// *, ., . *, *, . *, ./*, * *, * *, * *, *, * *, * * ., . #* *, # *, - * *, *, * ., # . # . #0 * . # . #.+ # * * #- * * #- 1* * * * * * * *..++ ## * * #2 * * #2 1 275!"!"!"Vln. IVln. IIVla.Vc.mf mfVln. IVln. IIVla.Vc.21########Vln. IVln. IIVla.Vc. ppe=3526 pppppp!" !" !"!" !" !"!" !" !"!" !" !"!# !" $# !"!# !" $# !"!# !" $# !"!# !" $# !"%% & &' & & & & &( & & & & &%%' & & & & &( & & & & &% &%'()* )+ # )+, ) ) )+ ) )+ - )+ ) )+ # )+, ) )+ )+ ). / ) )+ # )+0 ) ) )+ ) )+..)+ - -+ ), 1 ) )+ # )+0 ) )+ )+ ) )+ -- )+ ) )+ # )+0 ) )+ )+ ) )+ - -+ #)* # . . 1 )0 . . )0. . )* )# . 1 )0 ) . )#. ) ) )+ )# . ) )+ 1 ), ), )+-* # )# - # )* # ) 276!"!"!"########Vln. IVln. IIVla.Vc. 30Vln. IVln. IIVla.Vc.f e=4034 fffVln. IVln. IIVla.Vc.38!"!"!"!"##$% &## &$ &%##$%' (()) ** ** * * * () ( #' ( * * * * * () ( #' (+ * * * * * (+ ( #(+ # ( *+ * ' '* *, # *,- * *, *, * *, ( *, * *,' * *, * *, *, * *, *, *, *' ( (, # *, * *() *, ( *, * *, *, * (* *, * * *, * *, * * *, ** *, * *, # *,- *, * *, *, *,(, * * (, ( #(, * ( # (, * 277!"!"!"Vln. IVln. IIVla.Vc.41Vln. IVln. IIVla.Vc.46Vln. IVln. IIVla.Vc.51!!"#!!"#!!"#$% # $%& $ $ $% $ $% ' $% $ $% # $%& $ $% $% $'% $% $ $% # $%& $% $% $% $ $% '% $% $ $%$ '% ' $% ' $% $ $% $% $ '$ '% $ $% $ $% '% ' $% $ '$% ' $% $ $% $ $% $ $ $% $ $% $ $ $% $$ $% $% $ $% $% $% $ $ $% $ $% # $%& $% $ $% $% $%'% $ ' # '% $ $ '% $ $% $' $% $ ' '% # $% $ $% '% $$% # $%& $ $ $% $ $% ' $% $ $% # $%&'% $% $ $% # $%& $% $% $% $ $% '%$% '% $ $% $% $ ' '% $$% '% ' $% $ ' ' $% 278!"!"!"Vln. IVln. IIVla.Vc.5 5Vln. IVln. IIVla.Vc.59Vln. IVln. IIVla.Vc.63!!"#!!"#!!"#$ $% $% $ $% & & # & #$% $ $% $ $% $% $ $% $% $% $ $ &%& # &% # & # & #& # & # & # & #& # & # & # & #& # & # & # & #& # & # & # & #&' # & # & # & #& # & # & # $ ( (& # & # & # $ ( (& # & # & # $ ( (& # & # & # $ ( ( 279!"!"!"75: jagged edges at the tops of  the world (part 2)...Violin IViolin IIViolaViolincellopppe  = 40ppp ppppppVln. IVln. IIVla.Vc.5Vln. IVln. IIVla.Vc.8pp!" #"!" #"!" #"!" #" !"!"!"!"!" #" !"!" #" !"!" #" !"!" #" !"$ %$ %& % %' (arco) % % %$ %$ %& %' pizz. % %$$&' arco() () () ( (* ()* () ( ( # (+# () () () ( # ( ( # (()* ( ( ( # (,) #() # () # ( ( # (() # ( ( # (() # (- # ( ( # (() # (+ (* () # ( # ( + (* () () # ( . ,) # , #+ (* ( # ( # ( + (* ( ( # ( . ( # ( ()* , #,) # ( # ( . () ( ( # ( . ,) # (* ( ( #,- # ( # ( ( # ( ( # ( . ,- # , # 280!"!"!"Vln. IVln. IIVla.Vc.pp p14 pp ppp ppp pVln. IVln. IIVla.Vc.mf f18mf fmf fmf fVln. IVln. IIVla.Vc.p22ppp!" #"!" #"!" #"!" #"#" !" !"#" !" !"#" !" !"#" !" !"!" $" ""!" $" ""!" $" ""!" $" ""%%& '(%%&(%% 3 3&()* )* )* ) )+ )* )* )* ) # )+ )* ) )+ ), # )-# )* )* )* ) )*+ )* ) )* )* )*+ )*+ ) )),, ## )))* ), )* ) )*+ )* ), )* ) # ), # ).* # -# )* )* )* )* # )* )* )* ), # )), ), ), ) ) ) ) ) ) ) ) ) ) ) # )/ # ) ) )/ #-# ), ) ) ) ) ) ) ) ) ) ) # ) ) ) #0 # ), #1 ), # ), # ) ) ) ) # ))/ ## )) )) ))/ ##., # -# ) ) ) )/ # ) ) )/ #-# )* -# .* -# - )2 -# .* 3, 3/- )+ ) ) )2 ) ) )+ ) ) )2 ) ) -# .* - )*+ . 3, 3/0 )* ) 0 ) . )* # . 0 )* . 3, 3), # ) ) # . )* # . ) # . 3, 33,, 281!"!"!"76: time is a snake that eats its own tail...Violin IViolin IIViolaViolincellopx  = 40pppVln. IVln. IIVla.Vc.6Vln. IVln. IIVla.Vc.mp10 mpmpmp!" #" $" $% %% &"!" #" $" $% %% &"!" #" $" $% %% &"!" #" $" $% %% &"&"&"&"&" &"&"&"&"'' () (*'' () (*'')*+, # ++ +# + ++, +# - ++ ++, ++-. +, +/ . . +, + +/ . 0 - +, + -. +, +1 . . +, + +1 . 0 - +, + -+, # ++ +# + ++, +# - ++ ++, ++-+, # +# +# +, # + +/ +# -2 #. +, +/ + + +,/ + . . +, +#. +, +1 + + +, 1 + . . +, +#+, # +# +# +, # + +1 +# -2 #+# +/ +, +# +# +# +, # + + + +#0# +, . . +, +/ + + +,/ + . 0 +/ +, #0# +, . . +, +1 + + +, 1 + . 0 +1 +, #+# +1 +, +# +# +# +, # + + + +# 282!"!"!"Vln. IVln. IIVla.Vc.mf14 mfmfmfVln. IVln. IIVla.Vc.p17pppVln. IVln. IIVla.Vc.21!" #"!" #"!" #"!" #"#" #"#" #"#" #"#" #"""""""""$ 3$%& 3$ 3$%& 3$$ ' '% ' '&()* ( (# (* () ( ( () ( () # (+# (, () -)# (# (+# (* () ()* () (# (# (()* ( (# (# ( ( ( () (. # (( () ( () ( (* (# ( ()* (# ( ()* (# (#- # () (, ()# + (* (# (* () ( (,(# ( ()* () (* ()# + (, (# (, () ( (,( ( () ( (# (# ( ()* (# ( (), (# (#(* () ( (, (# ()# / (, 0 + 1(# ()# (, (. +#(# ()# (, (. +#(, () ( (* (# ()# / (* 0 + 1 283!"!"!"77: views to the ends of  the mountains; foothills flatten to great plains stretched out to the seas...Violin IViolin IIViolaViolincelloppx  = 40ppppppVln. IVln. IIVla.Vc.p7 pppVln. IVln. IIVla.Vc.13!" #" !" $"!" #" !" $"!" #" !" $"!" #" !" $"$" #" !" #" #"$" #" !" #" #"$" #" !" #" #"$" #" !" #" #"#" !" %%" &" #"#" !" %%" &" #"#" !" %%" &" #"#" !" %%" &" #"''()'' *( *) *''()+, # +, # - - +, # - -. - # + # - -/0 - #+, # +/ # 1 +, # -/ - - - - - -/ - - - - - -, -0 - #+, # +, # 1 +, # +, # + # -, -0 - #+, # +/ # 1 +, # -/ -/0 - # +/ # -, -/0 - #-. - + # - -, +2 # +/ # +/ # 1 3 # -/0+/ # 1 +, # +/ # + # 1 ++,, ## 1-/0 - - # 1 +, # - # -, # + # 1 +, # 1+/ # 1 +, # +/ # +/ # 1 +, # 1+ # -/0 + # 1 ++ ## -- ## --. -- -- ## - - -- ## -- --. -- ##+, # 1 ++/ ## - -, +2 # - # -. - - # 4 -, # - -, . - #+, # 1 +, # 1 + # -, # -. - - # 4 -, # - -. - #+/ # 1 +/ # 1 +, # -, # -. -, - # 4 -, # - -, . - # 284!"!"!"Vln. IVln. IIVla.Vc.18Vln. IVln. IIVla.Vc.24Vln. IVln. IIVla.Vc.30!" #" $"!" #" $"!" #" $"!" #" $"$" %" $" ""$" %" $" ""$" %" $" ""$" %" $" """"""""""& '&()&&()& lunga& lunga( lunga) lunga**++ ## , *- # ./ * # , *- # *- #*0 # .1 * # , * # , **++ ## , * # *- #*+ # , * # , * # , *+ # , * # . # . #*+ # , *- # , *- # , *+ # , *- # *- #.+/ .+ # .- .+ .- . .1 .+ . ./ .- . .+/ .- . .+/ .+ #*+ . .- . # . , .- . , . . , . #*+ . .- ..- ## .. , .- . , . . , . #*+ .- .- .+ # . .- # . , .- . *232323+23+285!"!"!"78: memories return in a flood; walking up Springer Mountain in the dark before dawn...Violin IViolin IIViolaViolincellopx  = 40p ppVln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.13pppppp!" #" !" !" #" !"!" #" !" !" #" !"!" #" !" !" #" !"!" #" !" !" #" !"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"!" #" !" #" !" #"#" !" #"#" !" #"#" !" #"#" !" #"$ % % %$ % % 3& % 3 % % 3' % % %$ % %$ %& % % 3' % % 3$ % % %$ %& %3' %()# * (+ ,- ,- (-, , , (- # (- # ,. ,) ,* ,/ ,) ( # * ,. ,* () ( # * (-* (0+ (- # ,, ,, ,, , , (+( # (( ## (- # (( (( ##( # * (( * ,,. , (( ##(( ## * (- * * ,,/ (( ##1 ,-. ,- ,- (- #, ,- ,- ,- (+ (+ # ( #* , , ,, (( ## (+ # ( #(- (- # (( ## (( ## 286!"!"!"Vln. IVln. IIVla.Vc.pp pp18 ppppppVln. IVln. IIVla.Vc.p21 pppVln. IVln. IIVla.Vc.p24p!" #" !"!" #" !"!" #" !"!" #" !"#" #$ ""#" #$ ""#" #$ ""#" #$ """" %$"" %$"" %$"" %$&& ' '( ' ') 3 3 3 3&& '( ')&& '( ')** ** ## + , -.+ , -., -/ . - --* -. - -* # -. - -. - -. -/ -/- - - - - - - - - - -0 -- - - - - - - -* , -. - - - -* - - - - - -0 -1 1 - -2 - - *, -/ - - -0 -0 , + , - -0, --2/ -- -- --. --. , + , --2 --.12 12 - -/ - -2 * 287!"!"!"Vln. IVln. IIVla.Vc.27Vln. IVln. IIVla.Vc.mf30 mfmfmfVln. IVln. IIVla.Vc.33!" ##!" ##!" ##!" ## $# ## $#$# ## $#$# ## $#$# ## $#$# %# $#$# %# $#$# %# $#$# %# $#& '3&() '&&() '&&()* + +, + + # +- * . /+- * +- + # +- ++ ++ ++ ++0 ++0 ++ ++ ++ ++0++0 * ++1 0 ++ ## ++0 +, + + +0 +0 + + + +0* + + # +0 * . // . * 2 + + 3 + # + + + + # +, + + + # +1 +1++0 ++ ++ ++ ++0 * +, + +0 +0 + + + +0+0 + + + +0 * +, + +0 +0 +, + + +0* +, + +0 +0 + + +1 +0+ # +1 +1 +1 # +, +4 +4 # +, +, + + +, + ++0 +1 +4 +0 +, + ++0 +, +4 +0 + + +, + ++,, ## + ++0 +1 +, +,0 + +, +1 288!"!"!"Vln. IVln. IIVla.Vc.35Vln. IVln. IIVla.Vc.37######## ########Vln. IVln. IIVla.Vc. 40 p pppp ppp!" !"!" !"!" !"!" !" """""""" #"#"#"#"$$%&$$%&$ ' ' (x 3-7) ' '$ decresc. over 3-7 repeats% decresc. over 3-7 repeats& ' ' ' '( ( # ( ( ( ()# (* (* (* (+( # ( ( ( ()# ( () () (* # (* ( (+( ( () () (+ (( ( ( (+ (* (*( # ( ( ,+ - ( ( ( ( ( .( (+ ( # ( ( , # - ((++ (( (( ((/( , - ( ( (/ (/ (+ ( ( (/( ,+ - ( ( (/ (/ - 0 1((/ (( (( (( ((/ ((/ (( (( (( ((/ (( ## (( ## (( (( ..(/ ( ( ( (/ (/ ( ( ( (/ ( # ( # ( ( .289!"!"!"79: sunrise on Springer Mountain...Violin IViolin IIViolaViolincellope  = 30 pppVln. IVln. IIVla.Vc.7Vln. IVln. IIVla.Vc.pp14pppppp!!!!!!!! "#"#"#"#"# $! $!"# $! $!"# $! $!"# $! $!% & &%' & &( &% & &% & &' & & &( &% & & &% & & &' &( )* +, +, +, -) -)* . - + . -- . -- ++ +,/)0 + ++), . --) ++* +, + ++,, +, +,+ +, +) -) -) +. - + + +, +. 1 */)0 + . 1 */, / ++2, +, + + +2 +21 * /3/0// / // /)// / / #/3 / // // / --)// / / #/3 /4 // / #/0 / -- /,/) / // / 290!"!"!"Vln. IVln. IIVla.Vc.18ppVln. IVln. IIVla.Vc.p22pVln. IVln. IIVla.Vc.pp26pppppp!"!"!"!" """""""""" #" "" #" "" #""" #" "" #" "" #""" #" "" #" "" #""" #" "" #" "" #"$ % %$ & % %' ( %)$ %$ % &' () ($ warm; like drinking whiskey and coffee as the sun rises$')*+ +( *+ + *++ + ++ + **++ ++ + *+ + + ++ + ++ +( +(*+ +( *+( + * ++ + + ++ +& +( + ++ +( +(, - +.+/ *+ +( +( + + + **++ + ++ +0 +0 ++ + ++ +( + **++ ++ +( **0 ++ ++ + *+ + +**0 ++ + ++ + + *+ +( +( +( + **10 1 * # * + +0 1 * + + +0 *0 # 110 1 * # * # 10 + # + # 10 101( 1 * # * # 1( * # 10 11( 1 * # * + +( 1( * + +( +( *(# 1 291!"!"!"Vln. IVln. IIVla.Vc.34Vln. IVln. IIVla.Vc.38Vln. IVln. IIVla.Vc.p42ppp!" #$ !" #$ !"!" #$ !" #$ !"!" #$ !" #$ !"!" #$ !" #$ !"!" #$ !" "" ""!" #$ !" "" ""!" #$ !" "" ""!" #$ !" "" """" !" "" !""" !" "" !""" !" "" !""" !" "" !"%%&'%%&'%%&'( ))**+ )) )))))) ,, ## ( ( )-+ ) ))) , # (( ))*+ )) )))))) ,, ## ( ( ). ) ))) , # (( )* . ) ))) , # ( ( )+ ) ))) , # (( ). ) ))) , # ( ( )+ ) ))) , # (( ))*+ )) )))))) ,, ## ( ( )-+ ) ))) ,, ## /( ))*+ )) )))))) ,, ## ( ( )-. ) ))) , # /( )*+ ) ))) , # ( ( )* . ) ))) , # /( ). ) ))) , # ( ( ). ) ))) , # /)- )- ) )- )- )- )- ) , # , # ) ,- #0- , ,- ) ,- , # 0-0 0 , ) , # 0*, # ) ) 0 , ) , # 0* 292!"!"!"Vln. IVln. IIVla.Vc.47Vln. IVln. IIVla.Vc.pp53 ppppppVln. IVln. IIVla.Vc.60!" "" !" ""!" "" !" ""!" "" !" ""!" "" !" """" !" "" !""" !" "" !""" !" "" !""" !" "" !"!" "" #"!" "" #"!" "" #"!" 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IIVla.Vc.47!" #"!" #"!" #"!" #"#" !"#" !"#" !"#" !"$$%&$$ ' '% ' '&$$ ' ' '% ' ' '& February 12, 2013East Jordan, MI( ( () () ( () ( ( () ( ( () ( ( ( ( () () (* * (+ ( () () ( () ( ( () ( ()* * (+ ( () ( ( ( ( () ( ()( ( () ( ( () ( ( () ( () () ( ( ( () ( (() () ( ( () () ( ( ( () # ( (# ( (#( ( () ( ( () ( * #( ( () ( ( () ( * #() () ( ( ( ( ( ( (, # ( (# ( (#( (# ( (# ( (#( (# ( (# ( (# 297Appendix B: Table 2, Composition Summary Movement Textural Characteristics Tonal Characteristics Formal Function1: “wandering stars (prologue)...”Polyrhythmic textures of slow, soft chords are presented as arpeggios, block chords, and other methods. Free counterpoint and motives from “Georgia on my Mind” at a slow tempo.  Revolving around E, especially the EM7 chord. Motion by M2 is prominent. Various C, G and D chords (often with added tritones) contrast with the E center. Introduction to the composition. First presentation of motives and materials, including themes from “Georgia on my Mind.”2: “Katahdin...” Long, slow arpeggios of climbing chords, tranquil textures with a feeling of anticipation.Repetition of F pedal tone at beginning, moving downwards to C for conclusion. Introduction to “Maine” and the chief body of the work.3: “loons in the hundred mile wilderness...”Sparse loon-like gestures alternate with descending contrapuntal patterns utilizing trochee and iamb rhythmic patterns. The loon-like gestures utilize tritones and other intervals. The first counterpoint section sections is in Bb Lydian; the second is more ambiguous, with the higher notes of the scale suggesting E Major and the lower notes of the cello in C major. Reflection on the deep wilderness of Maine and the sounds of loons. 4: “ghost moose on Rapid Stream Pond; night horizon jagged with spruce...”Soft chords are presented in block form with minimal passing tones and internal motion. Chords presented sequentially in the order: 1, 1-2-1, 1-2-3-2-1, 1-2-3-4-3-2-1, etc...E major tonality with frequent root motion to C natural. Musical foreshadowing and deconstruction of Mov. 8, mm. 1-9.5: “the sound of moss...”Sparse and distant arpeggiated gestures are intertwined with passages of rising dissonant harmonies. Low F pedal tone with octatonic and other dissonant harmonies throughout. F pedal and the shapes of gestures suggests Mov. 1 but with a more dissonant sound from the octatonic scale. Trochee rhythms refer to mov. 3.   6: “walking towards the sun...”A more rapid gesture is broken between all four instruments in hocket fashion. The texture thickens and thins as more lines are woven in and out.  A strong feeling of A major with a frequent G natural characterizes this movement. The feeling of A dominant seventh is strong. The motion to G natural in m. 31 closes the main section of the movement; the closing section is based on seventh chords descending in parallel whole-tone motion. The title and musical content suggest an arrival. Perhaps the piece begins here, and the previous movements are all prologues. The closing section returns in later movements.298Movement Textural Characteristics Tonal Characteristics Formal Function7: “Mooselook-meguntic: portage to the moose-feeding place or moose hiding amongst the clouds...Gentle arpeggios/rising lines. Soft to incredibly soft dynamics. Complex tonality with a sense of A major with added tritones and minor sevenths. Many fifths in rising sonorities. Transports the listener back to a deep meditation after the more rapid music that precedes it. 8: “the clouds lift over Avery Peak leaving windows to Flagstaff Lake below...”Block chords with internal motion. Large spaces of rest symbolize space in the clouds. E major/C# minor with areas suggesting C major (often with added tritones).Slows the piece down further. The source of material for mov. 4. 9: “loons...” Again, loon-like gestures alternate with sections utilizing descending contrapuntal patterns that alternate trochee and iamb rhythmic patterns.Loon-like gestures explore tri-tones, especially Bb–E (to utilize the open string of the violin). Further investigation of the material from mov. 3.10. “Mahoosuc Notch...”Loud and accented descending arpeggios interrupt soft and dense textures that occasionally rise upwards.Octatonic scale prominent. Further investigation of some material from mov. 5. 11. “low maples turn to red; solitude in the late summer...”Musical lines vaguely describe and improvise on the shape of leaves. E major/E dominant tonality with lots of perfect fifths throughout. Closing section utilizes sonorities descending in whole-tone sequence.  Improvised meditation on late summer, related thematically to mov. 6.12. “the Mahoosucs shimmer with mica in the sun...”Melody in hocket between all four instruments: exciting, vibrant, rapid paced and bright sound that feels climactic. Lydian scales throughout. Closing suggesting an E dominant sound. Bright and climactic sound suggesting the Mahoosuc mountains.13. “into the Whites (from the river to the clouds)...”Slow, soft, and widely spaced arpeggiations of chords that are sustained and separated by long spaces.Predominant E and A major sounds with motion to C with added tritone. Closes with emphasis on F with added tritone.Introduces the White Mountains. Suggests steep and long climbs. 14. “delicate balances (Athene and Arachne)...”Gradually flowing, and contrapuntally woven lines in triple meter symbolize the story of Athena and Arachne.Scaler motion suggesting G Lydian and/or major and Db. Closing section utilizes parallel ninths. Musical departure suggesting inward thoughts and meditation on the story of Athene and Arachne. First presentation of an important theme. 299Movement Textural Characteristics Tonal Characteristics Formal Function15. “climbing Mt. Madison in the cold rain...”Improvised cloud-like arpeggiations that utilize the entire range of the ensemble. Root motion in the cello notes roughly frame the wedge shaped pattern Eb-E-D-F-Db-F#-C-G-B-G#-Bb-A and then repeat the pattern in reverse with free interpretation. Brings the music back to the Trail and suggests the cold weather I experienced on Mt. Madison.16. “life in the clouds...”Improvised free composition mixing seventh chords, slow counterpoint, and arpeggiations.E scale moving to C with added tritone and C minor/Eb major and more. Perfect fifths important as embellishments or parts of arpeggios. The music settles again into a slow improvised section. Final section (mm. 35-end) moving foreshadowing mov. 76.  17: “the Southern Presidental Range under an open sky...”A dramatic change in texture: minimalist flowing sixteenth note ostinato in violin II and viola accompany long melodies with the violin I and cello. Measures are repeated and the meter shifts between simple and compound. Strongly suggesting E major or C# minor except expanding outwards to the cello’s low C against its tri-tone (F#). An arrival point; clearly tonal, nostalgic, and symbolic being on top of the world. 18: “down from Moosilauke in to the lower lands; solitude in the early fall...” Three chords, arpeggiated and held. Each is held with a fermata and spaced with a fermata. The chords are soft and distant, utilizing artificial harmonics in the violins and viola. The three chords are AM7add4, G#-7add4, C#-11. The root motion is down a minor second then down a perfect fifth. This movement foreshadows the sequencing and transformation of this chord progression that occurs in movement 24 and elsewhere.19. “rolling hills and open fields...”Flowing lines are broken between the ensemble and are intertwined and woven around each other. Parallel chords in whole tone motions refer to movement 6. Measures 43–47 introduce the idea of repeating quarter notes; this is followed by more flowing lines broken and intertwined amongst the ensemble, this time loud and dramatic, with each individual note bowed (not slurred).  Begins strongly suggesting D dominant. This moves through G to F, and then downwards to D again. Perfect fifths are prominent. Central section utilizes seventh chords descending in whole tone motion and then the common motion from E to C. A full and expressive introduction to the more rolling hills of Vermont. the central portion refers to movement 6 and introduces the theme of repeating single notes. 20. “as slowly as...”Contrapuntal melodic texture with the violin I paired with cello and the violin II paired with viola. Alternating between G Lydian and whole tone scales. Derived from the material in mov. 14. This material is developed through the composition, seen especially in movements 25, 26, 27, 64, and others. 300Movement Textural Characteristics Tonal Characteristics Formal Function21. “the stars were close...”An experiment to compose using mostly natural harmonics. Soft poly-rhythms utilize open string and artificial harmonics; a closing section gives block chords that break the beat into subdivisions of five. The usage of mostly natural harmonics gives a feeling of the C harmonic series. The closing section uses a C major with added tri-tone sound, moving to F at the end. The harmonics are a new texture and unique to this movement, but are consistent to the sound because they are based on fifths. The closing section suggests the repeated chords from the conclusion of mov. 1.22. “Height of Land...”Another light and flowing section with a simple melody broken between the four strings. The plays short pizzicato notes off the beat. There is a feeling of syncopation and metrical dissonance.  Canonic textures close the movement. The first sections suggest E major or C# minor. Embellishment by fifths is prominent as the movement developments. The final canonic material suggests B major or G# minor. Further exploring the gently rolling terrain with flowing music. Movement an example of hidden repetition and variation; the material from the first 8 measures is repeated and embellished to the canonic section at the end. 23. “Spruce Peak to Story Spring...”Gently unfolding rising and falling arpeggiations that sustain.Chromatic and non-sequential chord sequence, composed through improvisation. Tri-tones, perfect fifths, and seventh chords are prominent. Suggesting mountains from this area of the Trail. 24. “Stratton Pond...”Homophonic chordal texture sequencing a pre-determined pattern. Attention paid to voice leading and contrary motion. Sequences three chord progression from mov. 18 through the 24 chords it takes to get back to where it began. The progression is mostly major seventh chords with roots moving first up a tri-tone and then up a minor second (i.e. G-Db-D-Ab-A...).  Harmonic sequence utilizing the retrograde version of the three chords from mov. 18.25. “Glastenbury Mountain...”Slow and soft counterpoint utilizing the melody from movements 14. Mix of modes anchored around E. Further investigation of the melody from movement 14. 26. “the Green Mountains turn to gold (time is a snake that eats its own tail)Four part counterpoint deconstructing the melody from mov. 14Poly-modality with each instrument deconstructing the melody from mov. 14 with each voice spaced  M9 apart. The melody is embellished with perfect fifths and explored in canon. Climactic with a feeling of arrival and energy. 301Movement Textural Characteristics Tonal Characteristics Formal Function27. “canon cancricans...”A “crab canon” with violin I and viola playing the melody in prime form accompanied by the cello and violin II with a retrograde version. Four voices space their versions of the melody at the M9. A relaxation after the energy of movement 26. 28. “sunset from the Glastenbury fire tower...”All four strings hold tones sustained from the previous movement, with viola and violin I slowly sliding downward to form four M9 intervals. Beginning with the final chord of the last movement, the viola and violin slowly glissando downward to form four M9 intervals. A coda for “Vermont.” The rests and bowing on the bridge symbolize space and sounds of distant wind. 29. “sunrise from Mount Greylock...”Improvised expanding and contracting gestures scored a variety of ways. The sound suggests E with added tri-tones moving to include low C. The movement concludes with first violin rising to a high C# while cello descends to its open C natural. The title suggests a continuation from the previous movement. The music is a prelude to “Massachusetts” and suggests that feelings from the hike were beginning to settle in. 30. “forest floor ablaze in color...”Lines suggest leaf shapes as they expand outward from a single point, weaving around each other to create a variety of colors.Scales suggest B or E major, ending again with a motion to the cello’s open C naturalThis movement suggests the time when leaves have recently fallen and are cover the ground with vibrant colors. 31. “Barred Owls in the Berkshires...”Loud exclamations of the Barred Owl rhythm alternate with softer echo-like gestures. The call is presented broken in hocket amongst all four instruments.  The call is broken between several octaves. The tonalities are diverse and colorful. This is the first use of the Barred Owl call in the composition. 32. “Summer is rotting (for Anya)...”A flowing but sparse improvised sounding movement, with an obvious quotation of “Georgia on my Mind” in mm. 33–end where part of the melody is explored and interpreted in imitative textures. Shifts around various tonal areas, emphasizing D, A, and E. Lots of perfect fifths and major ninths.Meditation on the end of summer and exploration of theme from “Georgia on my Mind.”33. “solitude in the middle fall...”Drastically slow chords in four part texture with slight counterpoint and contrary motion throughout.Highly chromatic overall, but each chord is so slow it loses a sense of dissonance. Final meditation for “Massachusetts.” Nostalgic and melancholy chords express the Southern Berkshires.  302Movement Textural Characteristics Tonal Characteristics Formal Function34. “dawn landscape painting...”Freely improvised mix of block chords, counterpoint, simple gestures, and small scale mirrors. Begins rooted around E with motion to C natural, but harmonically ambiguous and chromatic. Introduction to “Connectictut” and meditation on early morning hiking. 35. “sunrise from the Lion’s Head...”Soft chords repeated with confused rhythm due to subdivisions into groups of five. Moving from Ab to D (tri-tone).Continuing meditation on morning hiking, suggesting the view from Lion’s Head State Park. 36. “(thoughts come and go) rain close to snow...A chord progression is presented many times with different notes missing.  Feeling of C# minor emphasizing D# and E. Static meditation on finishing another state37: “the last quartet of the harvest moon rises to a star filled sky...”Contrapuntal textures and long chords. Middle section utilizes trochee rhythms. Beginning emphasizing A, then a middle section Ending with a feeling of C major with added tri-tone. Variation on the theme from movement 14. Middle section similar to parts of movement 3. 38. “Hudson River Valley painted pink with the sunrise...Cloud like chordal textures give way to more rapid moving flowing textures suggesting sunrise. Emphasizing E. Slow and soft textures continue the ongoing feeling of stasis. The more rapid flowing music picks up the pace slightly. 39. “owls in the morning (chaconne I)...”A repeating chord progression is first presented in block form and then with various arpeggiations and counterpoint. The movement closes with some of the chords held while the music suggest owls with its rhythms. The chord progression used in these chaconnes has root motion moving downward by M3 for three chords and then down a half step (F#-7, D-7, A#-7, F#-7, E#-7...). First presentation and variation of the chaconne chords with rhythms from owl calls woven into the closing section.40. “broken chords (chaconne II)...”The chord progression from mov. 39 is repeated several times variated with arpeggiated chords.Same general chord progression as mov. 39, with variation and free composition.Continuing harmonic repetition. 41. “solitude in the late fall (chaconne III)...”The chord progression is presented as block chords. Same harmony as movs. 39 and 40.  The harmonic sequence from movs. 39 and 40 is stripped bare and repeated several times 42. “prelude...” Broad sweeping motions an counterpoint suggest a new and re-invigorated energy. This movement is an orchestrated and notated improvisation. The harmonic sound is of B dominant with a strong emphasis on E.  This movement introduces a new chapter and brings new energy to the piece after the static movements that came before. 303Movement Textural Characteristics Tonal Characteristics Formal Function43. “cold clouds...”Gestures that break the measure into five subdivisions are sustained and then rest. Several of these cloud like gestures pass by and the movement ends. The harmony is chromatic and has no definite tonal center. The gestures suggest cold clouds that might bring snow, leading to the next movement. 44. “snowstorm near Unionville...”A mix of block chords, rising arpeggios, and repeated quarter notes are used to create a static sound that suggests being stuck in a snowstorm. The harmony here is also chromatic and lacks a definite tonal center. Meditation on the snowstorm and utilization of the “raindrop” motive to suggest snow. 45. “golden brown leaves on fresh snow...”Flowing sixteenth notes in the violins accompany long melody tones across the ensemble. A strong sense of E, with a closing section suggesting F minor. Flowing sixteenth notes suggest mov. 17. Shapes of lines are interpretations of leaf shapes. 46. “dawn clouds resting on the Delaware River Valley...”Slow unfolding gestures weave and unfold improvised and repeated musical materials.All chromatic notes are utilized, moving from Eb at the beginning to E at the end. Introduction to “Pennsylvania,” abstract and improvised meditation on crossing the Delaware River. 47. “Persephone’s swan song...”Pseudo-cello solo; cello plays long melody with accompaniment from the ensemble. Utilizes all notes, but centered around E and C. Meditation on the story of Persephone and suggesting the passing seasons. 48. “far away trains...”Puffs of gentle augmented chords arpeggiated and orchestrated amongst the ensemble. Augmented chords. Augmented chords symbolic of the sounds of trains. Other music abstractly symbolic of “trains of thought.” 49. “long mountain ridges...”Another return of the flowing sixteenth note material from mov. 17. E major sound moving to G major and G Lydian. Another return of the flowing sixteenth note material from mov. 17. In this case it picks up the pace after the dark and slow previous movements and gives a climactic end to the chapter.  50. “Pen-Mar...” Mix of contrapuntal and chordal textures. Two part counterpoint either in canon (as in the beginning) or in contrary motion (as in the second section). Strong and broad sound.Chromatic, but featuring E major, A minor, C major and other tonal centers. Counterpoint gives contrast.  Feeling suggests a prelude or at least another point of beginning. 304Movement Textural Characteristics Tonal Characteristics Formal Function51. “distant memories...”Chordal and contrapuntal gestures. Unstable harmony, featuring C minor at the beginning and A minor with added tri-tone at the end.Suggesting fleeting memories and internal thoughts that come while backpacking. 52. “where the Potomac and Shenandoah Rivers meet...”Begins with arpeggiations that expand outward in a wedge shape. A second section has a flowing texture broken amongst all four instruments.First section has root motion of chords by M2; cello tones move between F, Eb, and Db. Second section suggests G Lydian alternating with F Lydian. Concludes chapter. 53. “Shenandoah...”Slow rising sonorities, long drones in cello. Whole-tone harmonic motions. Fifths and open strings prominent. Suggesting the exhaustion towards the end of my first year of hiking. Motives from of “Georgia on my Mind” from mm. 11-13. 54. “clouds lift in the morning...”Chords in block form with contrary motion in outer voices. Series of 5 chords (FM7, D#-7, E#-7, AM7, GM7) repeated. A final meditation before the conclusion of my first year hiking. Many musical questions remain unanswered. Similar function and feel as mov. 1855. “rest...” All instruments rest. N/A Represents a break from the trail and gives performers time to rest. The fermatas can be held for any period of time. 56. “awake in the fog filling Brown Mountain Creek...”Improvised chords and tentative textures. Phrases with solo violin.  E major with added tritones; lots of fifths.A prelude to the second year of my hike. Suggesting a slow return to routine. 57. “following a heron in the morning...”Begins with a substantial violin solo, varied and expanded as the piece unfolds. Contrapuntal and chordal textures suggest improvised music. Harmonically unstable; hints of G Lydian, B dominant, and other scales. The contrast with a violin solo is a clear change in texture and suggest getting back into the trail routine. 58. “a few days later I started seeing more bears...”Begins and ends with arpeggiated chords that are held. Central section utilizes gradual, flowing sixteenth notes. Central section suggesting Ab, chords at beginning and end harmonically unstable and utilize wide intervals. Further investigation of rising chords suggesting topography. Flowing sixteenth note central section suggests mov. 17. 59. “there are always lots of snakes...”Long, contrapuntal lines in imitation and contrary motion. Shifting through chromatic and polytonal harmonies. Contrasting music with long melodic lines. 305Movement Textural Characteristics Tonal Characteristics Formal Function60. “spiderwebs like crystal threads...”Begins with chords played arpeggiated and in block form. Sections of imitative counterpoint where lines weave around each other like spiderwebs. Closes with another crab canon based on the melody from mov. 14. Beginning with a feeling of G Lydian and moving through diverse chromatic areas. Final section sees all 4 voices spaced at the M9. Meditation on the idea of spiderwebs and the fact that I walked through thousands of webs on my hike. 61. “windchimes at Angel’s Rest...”A few simple sonorities ring surrounded by space. These open string sounds are meant to sound like wind chimes. Suggesting D major or D pentatonic. Transcription/interpretation of sounds I heard at Angel’s Rest outside of Pearisburg, VA. 62. “Brushy Mountains...”Lines that suggest mountain ridges build and intertwine with each other.Shifts through various tonal centers with D Lydian important. This mountain range has many gradual ups and downs. The music suggests this part of the hike. 63. “Grayson Highlands...”A long melody in Violin I is accompanied by rising arpeggios played pizzicato by the ensemble. A second section has all instruments arco and sequences a harmonic pattern with contrary motion in the outer voices. The pizzicato sections suggest an E tonality with lots of perfect fifths. The second section sequences a progression through 12 chords. The pizzicato textures are a welcome contrast. The second section gives a feeling of harmonic ambiguity. 64. “(the endangered Weller’s) Salamander...)This contrapuntal puzzle has all four instruments playing different versions of the same material.  The scaler motion utilizes the octatonic scale.Mysterious texture slowing the motion of the music down to prepare for the end of “Virginia.”65. “walking to Damascus before the sunrise...”Begins with imitation of extended musical lines. Free counterpoint and improvisation shape the music as it unfolds.  Harmonically complex with many seventh chords and chromatic motions. Conclusion of “Virginia.”66. “the mountains change...”Varied mix of block and arpeggiated chords with repeated notes and motion both upwards and downwards.Harmonically complex with many seventh chords and chromatic motions. Suggesting the changing terrain with peculiar gestural shapes.67. “far from home (part I)...”Rising arpeggiations and four part sonorities with rhythms from the owl call.Harmonically complex with many seventh chords and chromatic motions. Continued exploration of rising arpeggios to suggest mountains, mixed with owl rhythms which is also used in the next two movements. 306Movement Textural Characteristics Tonal Characteristics Formal Function68. “dense forests and open balds...”More rapidly moving music, sparser arpeggios without sustain. Motives from the owl call and sections for solo cello. closes with repeated chord progression.Chromatic and improvised. Because of the cello’s open strings, C major is important.  More exploration of the owl rhythm and improvisation on the feelings I had walking through forests and bald mountains. 69. “colors of Max Patch; clouds on a pane of glass...”Sparse and enveloping music with minimal motion, becoming denser as it unfolds. Ends with repeated owl rhythm and sustained sonorities. Perfect fifths prominent. Seventh chords suggesting E major, G major and other tonalities. F major/minor sound in the final section. Continued use of owl rhythm; abstract and deep improvisation on this exceptionally beautiful place (Max Patch). Suggesting “color” with attractive vertical sonorities. 70. “Mount Cammerer and Cosby Knob seen from Snowbird Mountain...”Begins with dramatic downward arpeggios, accented and loud. Soft sonorities follow, suggesting echoes with improvised counterpoint and arpeggiations. Variety of gestures suggesting mountains. Tri-tones and perfect fifths prominent. Chromatic and harmonically ambiguous. Slightly anxious feeling suggesting the realization that I had reached the Great Smokey Mountains. 71. “jagged edges at the tops of the world (part I).Complicated intertwined lines ascend and descend without sustain. Fifths and fourths are prominent. Feeling of A and E major with frequent harmonic shifts. Varied music meditates on the “saw-blade” edged mountains of the Smokies. 72. “far from home (part II)...”Block chords with gradual motion. Occasional arpeggiations with a warm and soft sound. Harmonically complex, cycling through all notes with seventh chords. Perfect fifths predominant. Less varied textures turn the music inward. Response to mov. 67.73. “thick fog and dark rain from Clingman’s Dome south...”First and only usage of long trills in the composition. Subdivision of the beat into groups of five confuses meter and adds to a cold, confused feeling. Feelings of C major and C minor often with added tritones. Moving to end suggesting F major. Varied texture with long trills creates contrast. Feeling of coldness. 74. “south...”  Begins with subtle counterpoint on the theme and following an interjection (mm 12–15) utilizing the owl rhythm a series of canons with explores the theme. The first canons are simple authentic canons at the fifth. The movement closes with an augmentation canon. Theme in C# minor. Interjections suggest GM7.Tonal canons offer a relaxation and an arrival point welcoming the final state.307Movement Textural Characteristics Tonal Characteristics Formal Function75. “jagged edges at the tops of the world (part II)...”Slow lines blossom downward. Chords are arpeggiated and sustained.  Soft, slow, and gradual music. The descending lines suggest pentatonic scales. C# is prominent. Response to movement 71. Subtle and abstract reflection on the Great Smokey Mountains. 76. “time is a snake that eats its own tail...”All four instruments work out a series of intervals that follow a distinct pattern.The pattern is a series of rising and falling perfect fifths. An arrival point in the work, suggesting a realization towards the end of my hike. Also a reference to both movement 26 and my previous work Ouroboros, for choir. 77. “views to the end of the mountains; foothills flatten to great plains stretched out to the sea...”Soft and gentle block chords with a nostalgic feel. Contrary motion and perfect fifths throughout. Closes with seventh chords descending downwards by M2. Deep meditation on the realization that the journey was getting near its completion, showing contrast in its usage of block chords with subtle variation. Bringing descending M2 theme back at its close.78. “memories return in a flood; walking up Springer Mountain in the dark before dawn...”Sparse polyphonic textures unfold in an improvisatory fashion, arriving (in m. 24) to a two part texture with chords off the beat accompanying high and low melodies in contrary motion. This thins out to leave just the chords. Tonality in part determined from use of open strings and natural harmonics; suggesting  C or D major.  Internal meditation and final musical developments.79. “sunrise on Springer Mountain...”Begins with soft meditative sonorities in variated block form. In mm. 14–25 a series of rising gestures build and sustain chords. Measures 26–33 suggest a chorale before the owl sounds come to bring the close of the movement. Beginning suggesting C with added tritone. Central section suggesting E and C with tri-tone; owl rhythms and closing section suggesting relationship to E. Conclusion of the main body of the work, representing the final morning of my hike and my experience with an owl on Springer Mountain. 80. “epilogue...” Starts with a gesture similar to how the piece began. After a massive silence, the music unfolds the final series of rising sonorities and improvised textures.  The composition ends with cello and violin I sustaining very wide interval, a M28.Coda of the composition and final exploration of textures. Leaves the listener anticipating more. 308Appendix C: Program Note“Walking Towards the Sun" is a collection of musical meditations on my experiences hiking the entire length of the the Appalachian Trail from Maine to Georgia. I hiked the trail in two long sections: from August to December 2011 I hiked from Mt. Katahdin in Maine southbound to Rockfish Gap at the southern end of Virginia’s Shenandoah National Park. I started where I left off the next August (2012) and hiked to Springer Mountain, Georgia, finishing my hike in late September. My south-bound route and schedule were chosen to allow as much solitude as possible. The scale, structure, and musical language of the composition are all related to the Trail. Each in the series of 80 “attacca” movements gives a unique interpretation of places or experiences from my hike, tracing my journey south-bound. The composition exists as a unique collection of music based on the Appalachian Trail, and ensembles are welcome to perform selections from the complete work. 309

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