Three Memories of Beethoven

Three Memories of Beethoven
for String Quartet
Jon Paul Mayse

Performance Notes
Noteheads:
Hammer the note with the fingers of the left hand, without the use of the bow.
Sound should be percussive more than pitched
Mute the string with light pressure from all the fingers of the left hand.
Sound, when bowed normally, should be noise with no pitch.
This is frequently paired with circular, angled, or flautando bowing; these gestures
should bring out the sound of the bow. The flautando sound should be light air noise,
like the wind.
Muffled notes, like the one above, but with durations (whole, half, quarter, eighth)
Abbreviations:
c.l.b. - Col Legno Battuto
h.p. l.h. or l.h pizz. - Hammer Pizzicato, Left Hand (The empty square notehead above)
ST/N/SP - Sul Tasto/Normal/Sul Ponticello
Bow positions should be exaggerated, so that tasto is above the fingerboard and ponticello is
close to the bridge
Bow Techniques:
Parallel Bowing: Brush along strings with bow, up is away from bridge, down is towards bridge.
A single arrow indicates bow in one direction, two arrows indicates move up and down over the
same note.
Bowings should be quick and do not need to last the duration of the note.
Little to no pitch should be heard
Circular Bowing: Arrows indicate direction; up = away from bridge, down = towards bridge
Beginning at middle of bow, bow half-bow and back while simultaneously moving bow
along strings.
Bowings should last the duration of the note. A single curve indicates bow that direction
for that note, while two arrows indicate a complete circle, with the moving away and back
to it's original position over the duration of the note.
Sound should be an even transition between noise and pitch.
Dedicated to the Mousai Quartet
Premiere: London 7 May, 2019

Score
Three MeMories of BeeThoven
Dedicated to the Mousai Quartet
Violin I
= 56 Cool, mechanical
*
I. Transcience
ord.
(arco)
Jon Paul Mayse
Violin II
Viola
*
*
Cello
**
* Brush along strings with bow, up is away from bridge, down is towards bridge. Little to
no pitch should be heard
** Exaggerated brush along strings with left hand (NO BOW!) Gestured airy sound results,
actual pitches are not important, only the movement along the fingerboard
©2019 Jon Paul Mayse

Vln. I
2
4
ord.
(arco)
ord.
(arco)
***
Vln. II
Vla.
ord.
(arco)
ord.
(arco)
Vc.
pizz. strum, let ring
Brush,
l.h.
Vln. I
Vln. II
Vla.
Vc.
7
ord.
(arco)
ord.
(arco)
ord.
(arco)
arco
*** hammer notes with l.h. and now bow. Percussive sound, little to no pitch.

Vln. I
10
A
*
3
Vln. II
arco
flaut.
*
Vla.
Vc.
arco
flaut.
* Circular bowing: Arrows indicate direction (up = away from bridge,
down = towards bridge)
Beginning at middle of bow, bow half-bow and back while
simultaneously moving bow along strings
Vln. I
16
***
l.h.
pizz.
arco
ST
flaut.
Vln. II
Vla.
Vc.
l.h.
pizz.
l.h.
pizz.
arco
ST
arco flaut.
ST
l.h. arco flaut.
pizz. ST
flaut.
c.l.b
c.l.b
c.l.b
*** Arpeggiate, a la piano
Hammer Pizz. Left Hand, then softly bow, hiding bow attack,
as if catching a sound with the sustain of the piano

Vln. I
Vln. II
Vla.
4
20
B
flaut.
ST
jete
flaut.
ST
jete
l.h.
pizz.
5
Vc.
L.V.
L.V.
Vln. I
25
Vln. II
Vla.
arco
jete
jete
jete
ST
N
espress.
Vc.
L.V.

Vln. I
C
3 3 3
detache, leggiero
3 3 3
5
Vln. II
3
detache, leggiero
Vla.
Vc.
Vln. I
32
3 3 3
3 3 3
Vln. II
3 3 3
3 3 3
Vla.
espress.
Vc.
3
3 3 3
detache, leggiero

Vln. I
6
D
3 3
3
3
Vln. II
3 3
3
3
Vla.
Vc.
3 3 3
3
Vln. I
36
3
3
3
Vln. II
3
3
3
3 3
3
Vla.
Vc.
3 3
3
3

Vln. I
Vln. II
Vla.
Vc.
37
3 3
3
E
3 3
3
7
Vln. I
39
Vln. II
Vla.
3 3
3
3 3
3
Vc.
ord.
(arco)

Vln. I
8
ord.
41 (arco)
ord.
(arco)
Vln. II
Vla.
3
3
3
Vc.
ord.
(arco)
Vln. I
42
Vln. II
Vla.
pizz. strum, let ring
3 3
3
Brush,
l.h.
Vc.
ord.
(arco)

9
Vln. I
43
ord.
(arco)
Vln. II
Vla.
3 3
3
3
3
3
Vc.
***
ord.
(arco)
Vln. I
45
Vln. II
Vla.
arco
Vc.

10
Violin I
Violin II
Viola
Cello
c.l.b.
c.l.b.
c.l.b.
c.l.b.
l.h.
h.p.
sempre
l.h.
h.p.
sempre
l.h.
h.p.
sempre
l.h.
h.p.
arco
arco
arco
arco
sempre
II. Digitization
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
arco
Vln. I
3
arco
arco
Vln. II
arco
Vla.
arco
Vc.
arco
arco
c.l.b.
c.l.b.
arco

Vln. I
arco
5
11
Vln. II
arco
arco arco arco
c.l.b.
Vla.
arco
3
3
Vc.
c.l.b.
Vln. I
7
arco flaut.
ST
Vln. II
arco flaut.
ST
Vla.
c.l.b.
c.l.b.
c.l.b.
arco flaut.
ST
arco
c.l.b.
Vc.
arco flaut.
ST

12
Vln. I
9
l.h.
h.p.
SP
c.l.b.
Vln. II
SP
l.h.
h.p.
c.l.b.
Vla.
arco
arco
SP
l.h.
h.p.
c.l.b.
Vc.
N
Vln. I
11
c.l.b.
c.l.b.
c.l.b.
c.l.b.
Vln. II
c.l.b.
c.l.b.
c.l.b.
c.l.b.
Vla.
Vc.
c.l.b.
c.l.b.
c.l.b.
c.l.b.

13
Vln. I
13
c.l.b.
arco
arco arco c.l.b.
arco
arco
c.l.b.
Vln. II
c.l.b.
arco arco
arco
Vla.
arco
arco
arco
Vc.
arco
c.l.b.
arco
Vln. I
Vln. II
Vla.
Vc.
15
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.
c.l.b.

14
Vln. I
17
c.l.b.
arco
sempre
arco
Vln. II
c.l.b.
arco
sempre
arco
Vla.
Vc.
c.l.b.
c.l.b.
arco
arco
sempre
arco
sempre
arco

15
Violin I
Violin II
Viola
Cello
Bow along string,
vary speed of bow
between interations
III. Fog
Vln. I
Vln. II
Vla.
Vc.
6

Vln. I
Vln. II
Vla.
Vc.
16
A
Vln. I
Vln. II
Vla.
Vc.
16
B

Vln. I
Vln. II
Vla.
Vc.
23
17
Vln. I
Vln. II
Vla.
Vc.
28
C

Vln. I
Vln. II
Vla.
Vc.
18
33
Vln. I
Vln. II
Vla.
Vc.
D