Table Of Content

A r m i n F u c h s Echo for John Cage (2011) für Klarinette, Cello und Akkordeon ECHO for John Cage (2011) Spielpartitur Armin Fuchs ﬂexibel - vom Raum abhängig q = 60 #˙ Klarinette in B 4 ∑ ∑ Ó ∑ w ˙ Ó & 4 f f sempre non vibr. Cello ? 4 ww ww ∑ ∑ ∑ ∑ 4 & f f 4 Ó #˙˙ #ww bww b˙˙ Ó ∑ ∑ & 4 Akkordeon P ∏ ? 4 ∑ ∑ ∑ ∑ #w #w 4 #w #w 7 ˙ œ #˙ bœ œ bœ ∑ ∑ ∑ œ Œ œ Ó & œ œ œ œ 3 5 bœ π F 5 3 & ∑ ∑ ∑ ∑ Œ Ó œ Ó ∑ ˙ ˙ P 7 b˙ œ ˙ ˙ ∑ Ó. œ ˙ Ó ∑ ∑ ∑ Ó & ˙ ∏ P ? ∑ Ó. bœ b˙ Ó ∑ Ó #˙ ∑ #˙ Ó bœ b˙ ©Armin Fuchs 14 œ #œ & œ œ œ Ó ∑ ∑ Ó ˙ ˙ Ó bœ #œ œ ˙ f p ˙ w ˙ w ∑ ∑ ∑ ∑ Ó & w w 14 f ∑ ∑ ∑ Ó #˙˙ #ww ∑ ∑ & F f π ? Ó ∑ ∑ Ó #˙ #˙ Ó b˙. œ ˙ b˙ b˙ #˙ #˙ 21 ˙ bœ #˙ œ œ œ bœ ∑ #œ Œ œ Ó #œ bœ & bœ3 5 œ œ œ œ bœ F P 5 ˙ ? ˙ & ∑ Œ ˙ œ œ ˙. b˙ Ó Ó Ó b˙ 3 P 21 ∑ ∑ ∑ ∑ Ó ∑ & ˙ ˙ F P b˙. œ ˙ b˙. b˙ ? ∑ Ó Ó b˙. bœ b˙ 5 ˙. ˙ ˙˙ bb˙˙ ˙˙ 27 j bœ œ & Ó œ Ó. Ó Œ Ó ∑ . œ. J Ó b˙ b˙ œ F f p ∏ œ. œ ? ∑ Ó. Ó Œ Ó ∑ J Ó #˙ #œ #œ F p ∏ 27 f ˙˙.. ˙˙ bœ bœœ ∑ Œ Ó Œ Ó ∑ Ó & œ #œ. J f p ∏ F ? ∑ #œ Ó. ∑ ∑ ∑ #œ. bœjÓ 3 ˙. 33 bœ œ U & J Œ. ‰ J Œ Œ bœ Ó Œ ∑ < Î bœ¯ ˙. U ? œ Œ. ‰ œ Œ Œ Ó Œ ∑ J & J Î 33& #œJœ Œ. ‰ œjœ Œ Œ œ Ó ####˙˙˙˙˙..... Œ U∑ œ œ œ œ Î œ œ < ? J Œ. ‰ œ Œ ∑ ∑ ∑ J Dynamik phantasievoll frei! Jeder Takt 3-5 Viertel lang. Töne jeweils legato miteinander verbinden, wie EIN Instrument (nach Fermaten kurze Zäsur)! Phrasen gut als Einheit gestalten - poco rubato ad lib. 37 bw #w w ∑ ∑ ∑ ∑ ∑ ∑ & #w F w w ? ∑ ∑ ∑ w ∑ ∑ ∑ ∑ & F 37 ˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ∑ & bw w F π ƒ U ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w bw bw b w 4 mostly piano, jeder Ton beginnt pp; ansonsten Dynamik phantasievoll frei; jeder Takt 3-5 Viertel lang, überlappend zum nächsten (außer nach Fermaten). 47 w ∑ ∑ ∑ ∑ ∑ & w bw ? ∑ ∑ w ∑ ∑ ∑ ∑ w U w 47 bw w w ∑ ∑ ∑ ∑ ∑ & ∏ ƒ ? w ∑ ∑ ∑ ∑ ∑ ∑ bw #ww 55 bw w #w ∑ ∑ ∑ ∑ ∑ & #w #w ? ∑ ∑ ∑ ∑ ∑ bw ∏ 55 ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ww bw ? ∑ ∑ ∑ ∑ ∑ ∑ w w 63 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ & w U ? w ∑ ∑ ∑ ∑ ∑ bw w & w bw U w ƒ 63 w ∑ ∑ ∑ ∑ ∑ ∑ w ∑ & ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ bw bw 5 72 w #w bw ∑ ∑ ∑ ∑ ∑ & w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & w 72 w w ∑ ∑ ∑ ∑ ∑ ∑ & w bw ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 81 Uw #w ritard. ∑ ∑ ∑ ∑ ∑ ∑ & bw ∑ w ∑ w ∑ ∑ ? ∑ & 81 w ∑ ∑ ∑ ∑ ∑ ∑ & bbww ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ bw 89 a tempo w w ∑ ∑ ∑ ∑ ∑ ∑ & #w vibr. w ? ∑ ∑ ∑ ∑ ∑ ∑ & w w ƒ 89 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ & w U ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ #ww 6 cresc. tutti 98 ∑ ∑ ∑ ∑ ∑ ∑ & bw bw U ? & ∑ w ∑ ∑ ∑ ∑ ∑ bw ww 98 U #ww ∑ ∑ ∑ ∑ ∑ & π bww w ƒ π ? ∑ ∑ ∑ w ˙ Ó ∑ ∑ bw b˙ w u 106 ∑ ∑ ∑ w ∑ ∑ & #w bw w ? #w #w ∑ ∑ ∑ ∑ ∑ ∑ 106 U #w ∑ ∑ ∑ ∑ ∑ ∑ & w f #w ? ∑ ∑ ∑ ∑ ∑ w w w 114 & ∑ ∑ ∑ w ∑ ∑ w bw F U ? ? ∑ ∑ ∑ w ∑ ∑ ∑ & w w F 114 bw ∑ ∑ ∑ ∑ b w ∑ ∑ & w w F ? bww ∑ ∑ ∑ ∑ ∑ ∑ w bw 7 Adagio 122 q = 40 U ∑ ∑ ∑ ∑ ∑ & #w bw bw P w U ˙ U ? w ∑ #w Ó ∑ bw bw #w b w P 122 ∑ ∑ ∑ ∑ ∑ & w w w P ? bw ∑ ∑ bw w w bw w 130 w ∑ ∑ ∑ ∑ & bw w bw w ˙ U U ? ? Ó w w & w w w w w 130 U #w & w ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ #w ∑ Uw ∑ bww ∑ U w bw ritard. 138 w U & ∑ w bw w w U ? w w bw bw b w 138 bw U bw b w ∑ & w w w ? ∑ ∑ ∑ ∑ w bw 8