45 pages
Japanese
Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

Partition complète, pour Lamentations of Shinran pour Soprano, ténor et corde quatuor

-

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus
45 pages
Japanese

Description

Découvrez les partitions de musique pour Lamentations of Shinran pour Soprano, ténor et corde quatuor partition complète, Secular cantates, de St. Clair, Richard. Cette partition moderne écrite pour les instruments suivants: Soprano voix, ténor voix, corde quatuor
Cette partition offre plusieurs mouvements et l'on retrouve ce genre de musique classifiée dans les genres
  • Secular cantates
  • cantates
  • pour 2 voix, 2 violons, viole de gambe, violoncelle
  • partitions pour voix
  • partitions pour soprano voix
  • partitions pour ténor voix
  • partitions pour violon
  • partitions pour viole de gambe
  • partitions pour violoncelle
  • pour voix avec solo instruments
  • Japanese langue

Découvrez dans le même temps d'autres musique pour Soprano voix, ténor voix, corde quatuor sur YouScribe, dans la catégorie Partitions de musique variée.
Date composition: 1998
Edition: Richard St. Clair
Libbretiste: Shinran Shonin (1173-1262)

Sujets

Informations

Publié par
Nombre de lectures 62
Langue Japanese
Poids de l'ouvrage 3 Mo

Exrait





Richard St. Clair

The Lamentations of Shinran

For Soprano, Tenor, and String
Quartet

(1998)


Japanese Poetry by Shinran Shonin (1173-1262)
8. Lamentable it is that people, whether of the Way or of The Lamentations of Shinran the world
Choose auspicious times and lucky dates,
Music by Richard St. Clair (b. 1946) Worship heavenly gods and earthly deities,
Poetry by Shinran Shonin (Japan, 1173-1262) And are absorbed in divinations and rituals.

Lyrics from SHOZOMATSU WASAN: Shinran's Hymns
on the Last Age, Ryukoku University Translation Series, pp. 9. The titles of "monk" and "Dharma-teacher"
94-109) Are said to be venerable ones.
But like the five perverted teachings of Devadatta
English Translation: They are now used for the ignoble.

1. Although I have taken refuge in the true teaching,
The mind of truth hardly exists in me; 10. They are no different at heart
Moreover, I am so falsehearted and untrue From non-Buddhists, the followers of Brahman and
That there cannot be any mind of purity. Nigantha,
LAMENTATION AND CONFESSION OF GUTOKU They always wear the robes of the Tathagata,
[SHINRAN] And revere all the supernatural beings.


2. Each of us shows an outward appearance 11. Lamentable it is that these days
Of being wise, good, and diligent, All in Japan, whether of the Way or of the world,
Possessing so much greed, anger, and wrong views, While performing the rites and rituals of Buddhism,
We are filled with all kinds of deceit. Worship the supernatural beings of heaven and earth.


3. My evilness is truly difficult to renounce; 12. A signf of the age of five defilments and perverted evils
The mind is like serpents and scorpions. Is that the titles of "monk" and "Dharma-teacher"
Even doing virtuous deeds is tained with poison, Are used for slaves and servants, so that
And so is called false practice. They have become established as lowly titles.


4. How shameless and unrepentant a person am I 13. Although they are monks in name only and do not
And without a heart of truth and sincerity; adhere to precepts,
But because the Name is transferred by Amida, It has become the defiled world of the Last Dharma-age,
Its virtue pervades the ten directions. So, equally with Sariputra and Maudgalyayana,
We are encouraged to pay homage to and revere them.

5. Being without even the slightest love or compassion,
How could I hope to benefit sentient beings? 14. Defiled karma is from the beginning unformed;
If it were not for the ship of the Tathagata's Vow, It is formed through delusions and perversions.
How can the ocean of suffering be crossed? Though the nature of mind is pure from the beginning,
There are no people of truth in this world.

6. With my mind as deceitful as serpents and scorpions,
I am incapable of accomplishing virtuous deeds of self- 15. Cause for lamentation in this evil world of the Last
power. Dharma
Unless I rely on the Tathagata's merit-transference, Is the use of Buddhist titles to demonstrate high rank --
I will end without shame or repentance. "Palanquin-bearing monks" and "retainer-dharma-teachers" --
By Buddhists of the Southern Capital and Northern Peak.

7. A sign that the five defilements flourish
Is that all of this age, whether of the Way or of the world, 16. A sign of the contempt for the Buddha's teaching
While their outward form accords with Buddhism, Is that "monks" and "nuns" are slaves,
Inwardly revere and practice other teachings. And so the honorable titles of "Dharma-teacher" or "monk"
Are used as appellations for the help. Naishin gedo o kikyo se ri
"In the above sixteen wasans, I have tried to
express my deep sense of grief concerning the
indiscriminate use of the titles "teacher of the 8. Kanashiki kana ya dozoku no
Dharma", "priest", "monk", and "nun". This is Ryoji kichinichi eraba shime
surely an indication that people no longer respect Tenjin chigi o agame tsutsu
the Buddhist way. I, too, am very annoyed with Bokusen saishi tsutome me su
the so-called monks and teachers who reside in
temples and monasteries."
9. Sozo hoshi no sono mina wa
"Wrtten by Shaku Shinran." Tautoki koto to kiki shika do
Daiba goja no ho ni ni te
Iyashiki mono ni nazuke tari
JAPANESE TEXT (Romanji transliteration)

10. Gedo Bonji Nikenshi ni
1. Jodo shinshu ni kisure domo Kokoro wa kawara nu mono to shi te
Shinjitsu no shin wa ari gatashi Nyorai no hoe o tsune ni ki te
koke fujitsu no wa ga mi ni te Issai kijin o agamu meri
Shojo no shin mo sara ni nashi
GUTOKU HITAN JUKKAI
11. Kanashiki kana ya kono goro no
Wakoku no dozoku mina tomo ni
2. Gegi no sugata wa hito gotoni Bukkyo no igi o moto to shi te
Genzen shojin genze shimu Ten chi no kijin o songyo su
Tonjin jagi oki yue
Kansa momohashi mi ni mite ri 12. Gojoku ja'aku no shirushi ni wa
So zo hoshi to iu minao
Nubi bokushi ni nazuke te zo
3. Akusho sarani yame gatashi Iyashiki mono to sadame taru
Shuzen mo zodoku naru yue ni
Koke no gyo to zo nazuke taru
Kokoro wa jakatsu no gototu nari 13. Gojoku ja'aku no shirushi ni wa
So zo hoshi to iu minao
Nubi bokushi ni nazuke te zo
4. Muzan mugi no kono mi nite Iyashiki mono to sadame taru
makato no kokoro wa nakere domo
Mida no eko no mina nare ba
kudoku wa jippo ni michi ta mau 14. Zaigo moto yori katachi nashi
Moso tendo no naseru nari
Shinsho moto yori kiyokeri do
5. Shoji shohi mo naki mi ni te Kono yo wa makoto no no hito zo naki
Ujo riyaku wa omou maji omou maji
Nyorai no gansen imasa zuba
Kukai o ikade ka wataru beki 15. Mappo akuse no kanashimi wa
Nanto hokurei no bupposha no
Koshi kaku so tachi rikisha hoshi
6. Jakatsu kansa no kokoro nite koi o mote nasu na to shi tari
Jiriki shuzen wa kanau maji,
Nyoai no eko o tanoma de wa
Muzan mugi ni te hate zo sen 16. Buppo anazuru shirushi ni wa
Biku bikuni o nubi to shite
Hoshi soto no tautosa mo
7. Gojokuzo no shirushi ni wa Bokujumono no na to shi tari
Kono yo dozoku kotogotoku
Gegi wa bukkyo no sugata ni te Duration: 28 min.
The Lamentations of Shinran
for Soprano, Tenor, and String Quartet
Shinran Shinin: Shozomatsu Wasan, 94-109 Richard St. Clair
1998 (2000 Revision)Wasan 94
1. Moderato h = 56, stark, steady tone
1 2 3 4 5 6 7 82 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑Soprano & 2
2
Tenor ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑V 2
1 2 3 4 5 6 7 8≤ ≤≥ ≥ ≥ ≥≤w w2 w w ww∑ wViolin 1 & 2 πsempre, e senza vibrato
≤ ≤≥ ≥ ≥ ≥≤2 ∑ ÓViolin 2 & 2 ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙π sempre, e senza vibrato
≥ ≥ ≥ ≥≤ ≤ ≤ ≤2B ÓViola 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙π sempre, e senza vibrato
≥ ≥ ≥ ≥≤ ≤ ≤ ≤? 2
Cello 2 w w w w w w w wπsempre, e senza vibrato
9 10 11 12 13 14 15 16 17p sempre∑ ∑ ∑ ∑ ∑ w w w w&
Jo - - -   - - -   - - - do
S. p sempre∑ ∑ ∑ ∑ ∑ w w w wT. V
Jo - - -   - - -   - - - do
9 10 11 12 13 14 15 16 17≥ ≥ ≥ voices enter ≥≤ ≤ ≤≤ ≤ w ww w ww wV. 1 w w&
voices enter≥ ≥ ≥ ≥≤ ≤ ≤≤ ≤ ÓV. 2 & ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙
voices enter≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
voices enter≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤?
Vc. w w w w w w w w w
©2007 Richard St. Clair
All Rights Reserved.2
18 19 20 21 22 23 24 25 26w w w w w w w& w w
shin -   - shu ni ki - - - su - - -
S. w w w w wT. w wV w w
shin -   - shu ni ki - - - su - - -
18 19 20 21 22 23 24 25 26≤ ≤≥ ≥ ≥ ≥ ≥≤ ≤w ww w ww wwV. 1 w&
≤ ≤≥ ≥ ≥ ≥ ≥≤ ≤
V. 2 & ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙˙ ˙ ˙
≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤?
Vc. w w w w w w w w w
27 28 29 30 31 32 33 34 35∑ ∑ w w& #w w w w w
re do - -   - - mo Shin - jit -
S. ∑ ∑ w wT. V #w w w w w
re do - -   - - mo Shin - jit -
27 28 29 30 31 32 33 34 35
voices rest≥ ≥ ≥ ≥ voices enter≤ ≤≤ ≤ ≤ ww ww w ww wV. 1 & w
voices entervoices rest≥ ≥ ≥ ≥≤ ≤ ≤ ≤Ó ÓV. 2 & ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙˙ ˙
voices entervoices rest≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
voices rest≥ ≥ ≥ ≥ ≤ voices enter ≥≤ ≤ ≤?
Vc. w w w w w w w w w
36 37 38 39 40 41 42 43 44w w ww w w w w& w
  - - - su no shin wa a - -
S. w w wT. w w w w wV w
  - - - su no shin wa a - -
36 37 38 39 40 41 42 43 44≤ ≤≥ ≥ ≥ ≥ ≥≤≤ w ww w w ww w wV. 1 &
≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤
V. 2 & ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙
≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤?
Vc. w w w w w w w w w3
45 46 47 48 49 50 51 52 53 54 55∑ ∑ ∑ ∑ ∑ ∑& w w #w w w
ri ga - ta -   - shi
S. ∑ ∑ ∑ ∑ ∑ ∑T. V w w #w w w
ri ga - ta -   - shi
45 46 47 48 49 50 51 52 53 54 55≥ ≥ ≥ voices rest ≥ ≥≤ ≤ ≤ ≤ ≤w w ww w w wV. 1 w w w& w
voices rest≥ ≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤Ó ÓV. 2 & ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙
voices rest≥ ≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
voices rest≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤?
Vc. w w w w w w w w w w w
56 57 58 59 60 61 62 63 64∑ ∑ ∑ ∑ w w w w w&
ko - - -   - - - ke fu - - - jit -
S. ∑ ∑ ∑ ∑ w w w w wT. V
ko - - -   - - - ke fu - - - jit -
56 57 58 59 60 61 62 63 64≥ ≥ voices enter ≥ ≥w w≤ ≤ ≤ ≤w w w ww w w
V. 1 &
voices enter≥ ≥ ≥≤ ≤ ≤ ≤
V. 2 & ˙ ˙˙ w ˙ ˙ ˙ ˙w ˙ ˙ ˙ ˙ ˙˙ ˙
voices enter≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≥ ≥ ≥ ≥ ≥≤ ≤ voices enter ≤ ≤?
Vc. w w w w w w w w w
65 66 67 68 69 70 71 72 73w w w w& w w #w w w
su no wa ga mi ni
S. w wT. w wV w w #w w w
su no wa ga mi ni
65 66 67 68 69 70 71 72 73≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤w ww ww w wV. 1 w w&
≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤
V. 2 & ˙ ˙˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙˙ ˙
≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤?
Vc. w w w w w w w w w4
74 75 76 77 78 79 80 81 82 83∑ ∑ ∑ ∑ ∑ ∑ ∑& w ww
te
S. ∑ ∑ ∑ ∑ ∑ ∑ ∑T. V w ww
te
74 75 76 77 78 79 80 81 82 83≥ ≥ voices rest ≥ ≥ ≥≤ ≤ ≤ ≤ ≤w ww w ww wV. 1 w w& w
voices rest≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤
V. 2 & ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙
voices rest≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
voices rest≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤≤?
Vc. w w w w w w w w w w
84 85 86 87 88 89 90 91 92ww w w ww ww w&
Sho - - -   - - - jo no shin mo sa - - -   - -
S. ww w w ww ww wT. V
Sho - - -   - - - jo no shin mo sa - - -   - -
84 85 86 87 88 89 90 91 92≥ ≥ ≥voices enter≥ ≥ w w#w≤ #w≤ #w≤ #ww w w≤
V. 1 &
voices enter ≥ ≥ ≥ ≥≤ ≤≤ ≤ ≤
V. 2 & ˙ ˙ ˙#˙ ˙ #˙ ˙ #˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙˙
voices enter ≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≥ voices enter ≥ ≥ ≥ ≥≤ ≤ ≤ ≤?
Vc. w w w w w w w w w
93 94 95 96 97 98 99 100 101w w w w w w& w #w w
ra ni na - -   - - -   - - -   - - -   - -
S. w w w wT. w wV w #w w
ra ni na - -   - - -   - - -   - - -   - -
93 94 95 96 97 98 99 100 101≥ ≥ ≥ ≥#ww≤ ≤ w ≤ ≤ ≤w ww wwV. 1 w&
≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤
V. 2 & ˙ #˙ ˙ #˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙
≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤?
Vc. w w w w w w w w w5
102 103 104 105 106 107 108 109 110∑ w w& w w#ww w w
shi GU - - -   - - -   - - -   - - TO -
S. ∑T. w wV w w#ww w w
shi GU - - -   - - -   - - -   - - TO -
102 103 104 105 106 107 108 109 110
voices enter≥ ≥ voices rest ≥ ≥ ≥≤ ≤ ≤ ≤ ww w ww w w wV. 1 w&
voices rest voices enter≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤
V. 2 & ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙
voices rest voices enter≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≤ voices enter≥ ≤ ≥ voices rest ≥ ≤ ≥ ≥≤?
Vc. w w w w w w w w w
111 112 113 114 115 116 117 118 119w w ww w ww w ∑&
  - - -   - - -   - - -   - - - KU HI - - -   -
S. w w ww w ww w ∑T. V
  - - -   - - -   - - -   - - - KU HI - - -   -
111 112 113 114 115 116 117 118 119≥ ≥ ≤ ≥ voices enter≥ voices rest#w #ww≤ w≤ w≤ w ≤w w w
V. 1 &
voices rest voices enter≥ ≥≥ ≥ ≥ ≤≤ ≤ ≤
V. 2 ˙ ˙& ˙ ˙ ˙#˙ ˙ #˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙˙
voices rest voices enter≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤BVa. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ≤ ≥≥ ≥ ≥≤ voices rest voices enter≤ ≤ ≤?
Vc. #ww w w ww w ww
120 121 122 123 124 125 126 127 128U#w ww w w w www&
  - - - TAN JUK - - -   - - - KA - - -   -   - - - I
S. U#w ww w w w www
T. V
  - - - TAN JUK - - -   - - - KA - - -   -   - - - IU120 121 122 123 124 125 126 127 128≥ ≥ ≥≤ ≤ ≤w w w w w w w w wV. 1 &
≥≤ ≥ ≤ ≥ ≥ U≤ ≤˙ ˙˙ ˙ ˙ ˙V. 2 & ˙ ˙ ˙ #˙ ˙ ˙ ˙ ˙ w˙ ˙
≥ ≥≤≥ ≤ ≥ U≤ ≤B ˙Va. ˙ ˙ ˙ ˙ w˙ ˙˙ ˙#˙ ˙˙ ˙ ˙˙ ˙ U≥ ≥ ≥ ≥ ≥≤ ≤ ≤ ≤?
Vc. w w w w w w w w w6
Wasan 95
2. Allegro moderato q = 112
1 2 3 4 5b 4b ∑ ∑ ∑ ∑ ∑Soprano & 4
legatoŸ~~~~ Ÿ~~~ . œ. œœ œ1 2 1≤ 3 4 5Ÿ~~ ≥ œ œ 2œ œ œ˙ œ œ 41œ . . ≤≤ #œb nœ œ. ≤4 œ œœ œ ˙ œb ∑ ‰ n˙ œViolin 1 & 4 J #œÇÇ Ç çß P f p poco espr.Ÿ~~~~~~ Ÿ~~~ . .Ÿ~~~~ ≥. ≤œ -≤ œ œ #œ #w#œ jb n˙ œ nœ nw4 . #œ œb Ó ‰ ‰ œ ‰ ŒViolin 2 J œ œ& 4 J œ#œ . æ..ÇÇ Ç ß ç f P Í legato. .Ÿ~~~~~Ÿ~~~~~~~~~~ Ÿ~~ .bœ . nœœ œ. #˙ œ˙ œ - . ..b 4 J bœ œ nœ nœ.B Œ ‰ ‰ œ ‰ Ó Œ Œb œ œViola .4 nœJ J nœÇ Ç Ç .ß ç f P .nœŸ~~~~Ÿ~~~~~~~~~~~~~ legatoŸ~~~ jb -. . .4 ?œ œ nœ nœb œ œ ‰ ‰ œ Œ Œ˙ œ œCello .& 4 w œ œ œ. œ œJ œœ œ œ œ œœ œ nœ œ nœœœÇ Ç .fß çÇ P
6 7 8 9 10 11P F>b nœœ œ œb ∑ ∑ ∑ Ó nœ œ nœ œœ œ& #œ #œ #œ œnœœ
4 4n˙2 Ge - gi no su - ga - ta wa hi-to go-to - niS. œ 31 œ œnœ nœ nœ 3œ ˘molto legato #œ #œ nœnœ nœ6 1 7 8 9 10 11nœ#œb ≤ nœ Jb nœ ‰V. 1 æ æ æ& .n˙ w wP"F P Í
#w #w #w #w #w #wb nw nw nw nw nw nwbV. 2 &
32 3n˙1 œ. œnœ1 #œ#œ nœb nœ J.B ∑ ∑ ∑ Ó nœVa. b nœ nœœ &#œ FP espr. e molto legato? b ∑ ∑ ∑ ∑ ∑ ∑Vc. b
12 13 14 15 16 f 17piufœb j œ œb ‰ nœ œ bœ œ Œ Ó Óœ ˙ b˙& œ ˙œ ˙œ
Gen - zen sho -   - jin gen - ze shi - mu Ton - jin ja -S.
12 13 14 15 16 17œ wnœ. ˙ w.œ ˙ œ œb ≤ œbV. 1 æ æ œ& æ æ æ æ ææ œœ ˙. w ˙. œ ˙.f p≥ ≤ œ .˙ w ˙ ˙ (co-ordinate w/Cello)#œ . . œ .˙ w ˙ ˙ œb nœ œ.b æV. 2 æ œ.& ææ œ æ æ æœw œ œÍ bœf p
4≤ ≥nœ .œ .≤œ -œ œ jb nœ n˙ bœæ ææb J B @ œVa. & æ œ œææ æ #˙œ. nœ.˙ w ˙pP pÍ ˙ .œ -œ œ nœœ ˙ œ bœœ œ œ? œ J œb . nœÓ œ œ œVc. b nœœ œ œœ bœœ œ ¯ œ œF ¯legato> ¯ ¯molto legatof7
18 19 20 21 22b ˙œ œœ œ œb œ Œ nœ Œ Œ ∑ ∑&
gi o - - -   - ki yu - eS. ≤ 3˙ ˙ 22 1#˙. nœ #œ nœA˙ œ > bœœ . œ18œ œ 19˙ ˙ 20˙ œ 21œ ˙ œ œ œ œ œnœ nœœ œœ #œb æ ææ æ æb æ æ æ ææ æ æV. 1 æ æ&
@ œb @ œ@@ œ@ @ œ œ@ @ @ @ @b @ @ nœæ bœ nœ œV. 2 æ @ æ& œ æ œ œ œ œæ æœ @ œ #œ #œ @æ æ æ @æ œ œ @ @œ œ @œ œ œnœ nœbœœ œ
legato ˘<œ nœb nœ bœ œ j œ œæ œB œ œ œ ‰ æ œæ æ æb nœ æVa. bœ œ œ œ ˙ œ œ œ œ œ œ œ œ œ#œ nœ #œ˙ œ œœF Í
? æ æb ææ ææ æVc. œ æb nœ nœ b˙ œ œ bœœ w ˙ ˙œ¯ œ œ w ˙ œ œ œ ˙ œ œ œ ˙¯¯ ¯
23 F 24 25 26>b œ œ œ œ œ ˙ œ œ.b Ó Œ œ œ Œ& œ
Kan -   - sa mo -   - mo - - - ha -   - shi miS. ≥ 24 25 2623 >œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ bœ œ >œ œ bœ œ >œ œ bœ œb œ œ œ œ#œ œbV. 1 & Fpoco a poco dimin.> > > > >bœ œ bœ œœ œ œ œ œ œ œ œ bœ > > >#œ œ #œ œ œ œb nœ œ#œ œ nœ œ#œ œ nœ œb nœ œ bœV. 2 &
F poco a poco dimin.b œB ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰Va. b œ œbœ œ nœœ œ œ .œ #œ œœ nœ œ .. œ œ œ œ œ œ œ #œ#œ #œ .fl .. . . . . . .. fl poco a poco dimin.fl Ff .œ #œ nœ œ‰ nœ bœ œ . .‰ œ #œ œ nœ‰ nœ œ‰? Jb ‰Vc. b bœ 3œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ¯ ¯ ¯ ¯ ¯ ¯ ¯¯ > 0> ¯ ¯¯ ¯¯ ¯ ¯ ¯f Fpoco a poco dimin.
27 28 Í 29 30 31
ten.b œb Œ Œ œ Œ Œœ œ w w w&
ni mi - te riS. 27 28 29 30 31
ten.>b œ œb nœ œ bœ œœ œ bœ œV. 1 & œ œ bœ œœ œ bœ œœ œ œ œ> > > #œ œ nœ œ> nœ œ bœ œ wœ œ>(P) p
ten.bb œ ‰V. 2 œ œ bœ œ& œ œ bœ#œ œ œ bœ œœ œ nœ œ> > > > #œ œ nœ œnœ œ bœ œœ œ bœ œ> > œ œ w(P) p... nœ œ w. œ œ #œbœ œ nœ. bœ œ nœ. œ. œ #œ œb nœ œœ œ #œB œ ‰ œ #œ ‰ ‰ ‰ ‰ ‰ ‰ ‰Va. b nœ . pten.(P)
ten.bœ ‰ ‰ ‰nœ ‰ œ bœ œ œ? #œ nœ œ ‰ ‰ ‰b . . nœ bœ œ ‰œ #œ œ nœVc. . .b nœ œ bœ. œ œ bœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w. . .¯ ¯ ¯ ¯¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ p(P)