Inter-relations

Peter Sheppard Skaerved

Violin 1

"Reality is extremely complex, infinitely complex.

We all face life with an imperfect understanding"

Mihailo fragment 1
q = 100

Play only 1 of the 3 lines:

(in relation to the text above)

pizz.

melody

(in agreement)

ornament

#-# -
. . ^ . . ^
#

J

J

. . ^ . . ^
#

&4
pizz.

4& 4 #

- -
# - # - . # - # #

arco

4
& 4 #- # #- # #- #
mf

(in confusion)

bass

(in disagreement)

mp

start text on
4th beat

optional playing modes:

(in relation to text)

Peter fragment 1
(tempo continues from before)

in agreement sul tasto

Singing

in confusion sul pont

Mysteriously

in disagreement overpressure
Rampantly

^
r ^
r
1
4
&4
4 ~~~~~~
~~ ~~~~~~ ~~~~ r

~~~~~~~~
-~~~~~~~~
.
f
From the
li - bra - ry of con-gress
in wa-shing-ton D. C.
Es ^ 3
3
^

^
3
j ~~~~
&^

~ ~~~~~ -~~~~~~

~
~
~
~

~~~
~~

in Au-gust of eigh-teen four
ta blish by an act of con-gress in eigh-teen hun - dred,
^
3
3

^
3

~
~~
~
~~
~
r
~
~~
~
~~~~~~~~~j
~~~~~~~~~~ ~~~~~
& r
~~~
~
~
~
~
~
~

~~~~ ~
~

.
teen

&

the

lib - rary

ca

pi - tal

~~~~~~~~~

was burned by

buil - ding

~ ~~~~~ ~~~~ j
~~

Bri - tish

troops.

which housed

the

next fragment
starts on 4th beat

Clifton fragment 1

"The ideal music student for us if somebody whos fiercely devoted,

but beyond that, is someone with a big curiosity about
what makes music itself work, how music functions in society."

q = 138
Play only 1 of the 3 lines:
(in relation to the text above)

-# - #
^
^
1
4

melody & 4 j 4 #

.
(in agreement) mf .
-# - #
^
^#

& #
^
. ^. . #. ^
1
4

J
^
ornament & 4 4
. #. . . . #. .
mp
.
.
(in confusion)

^
.
^. #. .
j

.
. # . ^
&
. . . . . .

1
4
&4 j 4
.

.
.
.
.
.
.
(in disagreement) mp

bass

&

j
.

. . . . . .
Neil fragment 1
q = 92

"I brought them here as soon as the museum opened, a couple of

days after, because we were eager to get in. I took each of them that day
on a walk around even the other galleries. We looked at old French art,
we looked at Modern art and we looked down from above and thought hum..."

Play only 1 of the 3 lines:

(in relation to the text above)

^ ^. - . . - ^. - ^

melody
J
. mf
(in agreement)
^
. . -
^. .
^. . #- #^

#-#

ornament & 4
J

4
&4

2
4
2
4

mf
(in confusion)

^
^
^
^ j
^
j
4
2

bass
4
& 4 ## . n. #. . - J . - ^
.
.
-
(in disagreement) mf

"All our social institutions are imperfect and3

all to hold themselves open to improvement
And that is the ideal of an Open Society"

Mihailo fragment 2

q = 100
Play only 1 of the 3 lines:
(in relation to the text above)

w-

4
&4

melody

# -

#w

mf
mp
(in agreement)

4
&4

ornament

^# ^# . ^# . ^#
. ^# - . ^# #^ ^ ^ ^

J J
J J

mp

(in confusion)

w-

4
&4

bass

#w

(in disagreement)

mf

optional playing modes:

(in relation to text)

Peter fragment 2

in agreement sul tasto

Singing

(tempo continues from before)

^3
~
~~ ~~~~~ ~~~~~

4
&4

^
~~~~~~~~~~ ~~~~ ~~~~ ~ ~~~~~ .

in confusion sul pont

Mysteriously

in disagreement overpressure
Rampantly

^
^ 3
~~~~

~
~
~
~
~~
' ~~~

j
~~~

f
The ma-nu scripts to-tal near-ly se-ven -ty mil - lion and in-clude o ri

gi-nal co-pies of

& ~~~~~~~~~~
~~~~~~~~~~~~~~~-~
some of

~~~~~~~~~~~~~~~~~~~~~

the grea - test

hand wri - tten

-.

r
.

trea - sures

'

~~~~~~
'

of

A -

^
^

3
^j
& ~~~~~~
j
r
~~~~ ~~~~~-~ - ~~~~~~~~~~ -~~ ~~~~~ ~~~ ~~~ . ~~~~ ~ ~~~~~~
~~~ ~ ~~~~ - .
me-ri-can his-to-ry
and cul-ture a mong these are Th-mas Je-er-son's o - ri - gi-nal
5

& ~~
~~~ .
rough

~~~.~

drafts

of

the

-~~~~~~~~ ~~~~~~~~

De - cla - ra - tion

of

~~~~~~~~~~

^
.

In - de - pen - dence

4
"Once upon a time in a far away land,
a young prince lived in a shinning castle.
Although he had everything his heart desired
the prince was spoiled"

Clifton fragment 2

q = 92

Play only 1 of the 3 lines:

(in relation to the text above)

- - b b b - b

4
&4

melody

1
4

41

mf
(in agreement)

b - -
4
&4

ornament

- b w^
J

mf
p

(in confusion)

bass

4
& 4 bw

b o
b -

p
mf
(in disagreement)

"As a performer he's one of the great cellists alive.

Hes professor at the Royal Academy of Music in London.
He was my first choice when I thought lets do a concert
because another musician might say its not a concert
hall but he is very fluid moving into a situation like this."

Neil fragment 2

Play only 1 of the 3 lines:

(in relation to the text above)

(tempo continues from before)

3
&4

. j ^

4
4

melody

mf
(in agreement)

3 ^. 4
ornament & 4
-- 4

mp
(in confusion)

bass

3
&4

4
4 j >

(in disagreement)

sf

sf

> j -
mp

5
"How do we live together in a society where I
absolutely disagree with you and you absolutely
disagree with me? Thats actually the challenge.
The best system of governance is to allow for
pluralism, allow for all of those voices to be heard
but also to allow for change, it may be wrong"

Mihailo fragment 3

q = 100

Play only 1 of the 3 lines:

(in relation to the text above)

pizz.

. . ^ . . ^
#

melody
&4
mf
(in agreement)
# ^
pizz.
4 j j j J j j j j
ornament & 4 # #

#-# ^ - ^
. . ^ . . ^
#

2
J
J

4
#-# ^ -# ^
#jj#jj 42 #jj
J J
mf

mp

mf
arco

(in confusion)

4
2
& 4 #- # #- # #- # 4 #

bass

(in disagreement)

mp

optional playing modes:

(in relation to text)

Peter fragment 3

in agreement sul tasto

Singing

(tempo continues from before)

4 ^~~~~~~~
&4

~~~~~
-~~~~~~~~~~

^
6
~~~~~~~~ ~~~~~
~ .

in confusion sul pont

Mysteriously

in disagreement overpressure
Rampantly

~~ ~~~~~

f
Wel-come to

the

Ro - yal

a - ca - de - my of mu - sic

the A -

& -~~~~~~~~~~~~~~
ca - de - my

~~~~~ . -~~~~~

is

I think

& -~~ ~~~~ .

.

-~ ~~~~ ~~~~

a house -hold name

^
~~ ~~~~~

^ 3
. ~~~~~~~

. . .

in

mu - si - cal

e - du -

' -~ ~~~~~~~~~~~~~~~~ j ~~~~~ -

'
ca - tion. And we wel-come stu-dents and vi-si-tors from all o-ver the world. We are based
3
^3
r

r
& -~~~~~~~~ ~~~~~~~~ ~~ ~~~~~ . ~~~~~~
~~ ~~ ~~~~~~~
~~~~~~~~ -~~~~
here

in

the

Ma - ry - le - bo - ne
5

r
& ~~~~~~~ . ~~~~~
Lon-don

road

in

the heart

^

3
. . ~~~~ 4 ~~-~~~~~~~r
. .
-

and close to some of the -nest

cul-tural ve nu es

of

-~~
J~~

in the world

6
"Repulsed by her haggard appearance, the prince
sneered at the gift and turned the old woman away.
But she warned him not to be deceived by
appearances, for beauty is found within."

Clifton fragment 3
q = 92

Play only 1 of the 3 lines:

(in relation to the text above)

1 4
&4 4

melody

- - ^

2
4

mf
(in agreement)

ornament

1 4w
4
&4

w
J R

- 43
mf

(in confusion)

mp
p
next fragment
starts on 3th beat

bass

1
4
& 4 4
-

2
4

(in disagreement)

mf

"Because theyre kind of more difficult to track down

and because you have to sort of cross reference
information and find a book over here to see if it
lines up with, you know, a book over there.
And there is genealogy, and timelines and historical
events all woven into it and then this all comes
together in a coat of arms."

Neil fragment 3

(tempo continues
from before)

Decide whether to continue playing.

If so, play 1 of the above lines
(in relation to the new text above)

4
&4

3
4

7
"Its a closed system, government controlled,
government sponsored, government edited.
It just leads to nasty regimes. It always goes back
to one thing, that someone wants unchecked power."

Mihailo fragment 4

q = 100
Play only 1 of the 3 lines:
(in relation to the text above)
pizz.
arco

# ^

3
&4

melody

4 #w
4

mf
pizz.

(in agreement)

.
3 ## 4 ^# ^#
4 J
&4
J
J

ornament

. ^# . ^#

J
J

mp
arco

(in confusion)

3
4
&4 4

-
- # # # # # #

(in disagreement) mp
bass

next fragment
starts on 4th beat

Peter fragment 4

optional playing modes:

(in relation to text)

(tempo continues from before)

in agreement sul tasto

Singing

in confusion sul pont

Mysteriously

in disagreement overpressure
Rampantly

5
3
^ 3
j ^~~~~~
Kr
1 ~~
4

~~
& 4 ~~~ -~~~~~~ ~~~~~~~~~ 4 ~~

~~~~
~~~
. . ~~~~~
~~~~
f In the se - ven-teenth cen - tu - ry
An - to - nio
Stra-di - va - ri
made
^
3
^
.

~
~
~

& ~~~~~~~~~~~ ~~~~~

~~~~~~~~ ~~~~~
. .
~~~~~~~~~j
~
o - ver
one thou - sand in - stru -ments
and a - bout
six
^
3
-~~~~~~~
~ ~~~~ Kr

&
~~~~~~~~
. . ~~~~~~~~~
J
~~~~~~~~~~~~~~~~
hun - dred of them
still
sur - vi - ve.
But a
'Strad'
5
^
.
~~
3
&~~~ r
R ~~~~~ . -~~~~~~~~~~~~~~ ~~~~~~~~ -~~~~~~~~ ~~~~~ ~~ ~~~~~~~~ ~~
.
is
so much mo - re than just
a
mu - si - cal in - stru ^
3
. -

~R~~~~
&~ r
. ~~~
~~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~~ ~~~~
~~
~~~

R
.
~~

ment,

each one

^ 3
j

& -~~~~~~
. . ~~~~~~~~~~~~~~~~
wood

is

like

li - ttle

mi - ra - cle

^
r

2
-~~~~~~ -~~~~~ ~~
. ~~~~ 4 ~~~~~
~~

in

and for vi - o - li-nists they're the ul

ti-mate

Ho - ly Grail

8
"Lewis was writing a long poem called Dymer.
In it, he portrayed belief in God as a tempting
illusion, one that had to be resisted, but he
found that in his own life he wasnt so certain."

Clifton fragment 4

q = 108

Play only 1 of the 3 lines:

(in relation to the text above)

melody

^ #

# # -
4
&4

^ #. #. - . .
#

mf
(in agreement)

ornament

4
&4

#r #
mp

#.
.

-# #.
.

(in confusion)

4^
& 4
- - -

bass

^
#j
. mf

mp
(in disagreement)

"It just seems a li le bit more rewarding when youre

researching it and hum a...and a li le bit more of a
story behind it rather than just having hum you know,
sort of like various symbolic colours which people are
always arguing over what they actually symbolise."

Neil fragment 4

(tempo continues from before)

Decide whether to continue playing.

If so, play 1 of the above lines
(in relation to the new text above)

4
&4

2
4

9
"This is the thirtieth anniversary of the Chevening Scholarships
that are the British Governments global scholarship program
funded by the Foreign and Common Wealth Office and partner
organisations. Well, the three tenants of the scholarship are
leadership, networking and service."

Mihailo fragment 5

(tempo continues from before)

4
&4

optional playing modes:

(in relation to text)

Peter fragment 5

q = 108
(tempo continues from before)
in confusion sul pont
Mysteriously

in agreement sul tasto

Singing

4 ~~~~~~~-~
&4

-~~~~~~~~

f For me though

- ~~~~~~~
r
&
.
that

part

~~~ ~~~~~~~

of

the

in disagreement overpressure
Rampantly

~~~-~

~~~~

en - chant - ment

lies

^
3
~-~~~~
. ~
j

~~~~~~~~~
~~~. ~~~~ -~~~~~ .
3

~~~~~~~
.
on

the

fact

^ .
. . ~~~~~

two hun-dred and f ty years af -ter his death we still don't know how he did it.

&

We

^.~
J~~~~

still

r
~~~~~~~~-~~~~~~~~~.
have

ne - ver

~~~~~. ~~
-~~~~~
.
rea - lly

-~~~~~~~~~

Kr
~~~~~~

dis - co - vered

St -

(tempo change)

q = 116

2^
& 4~~~ . ~~ ~~~
~~~~ - ~~~~~
ra - di - va - ri's se - cret

2
4

4
4

10

"So my least favourite quote from C.S.Lewis actually comes

from hum a book called The Great Divorce. Where he
tells us that every poet, ar st and musician is drawn away
from the thing he tells to the love of the telling."

Clifton fragment 5

q = 116
(tempo continues from before)

4
&4

Neil fragment 5
"Tai a ra ra, Tai a ra ra.
It's not exactly what is wri en,
but it means that."
q = 84

Decide whether to play the line below

4
& 4 #-

^
##

#-

^
##
f

sf
sf