Balinese Pieces (Preview)

PROMETHEAN EDITIONS 

GARETH FARR 

Balinese Pieces 

Piano

Gareth Farr 

Balinese Pieces 

Piano 

PROMETHEAN EDITIONS 

WELLINGTON

Balinese Pieces (PE128) for Piano by Gareth Farr (1994-2003) 

Sepuluh Jari (1996) © Promethean Editions Limited 

Tentang Cara Gamelan (1994) © Promethean Editions Limited 

Jangan Lupa (2003) © Promethean Editions Limited 

First edition © 2013 Promethean Editions Limited (201504) 

Series Editor: Ross Hendy 

Editors: Thomas Liggett, Ben Woods 

ISBN: 978-1-877564-28-4 (print) 

ISBN: 978-1-77660-128-8 (ebook) 

ISMN: 979-0-67452-200-7 

Promethean Editions Limited 

PO Box 10-143 

Wellington 

NEW ZEALAND 

http://www.promethean-editions.com 

No part of this publication may be reproduced in any form or by 

any means without permission in writing from the Publisher. 

PE128 – ii

Gareth Farr (1968) 

Gareth Farr was born in Wellington, New Zealand. He began his studies in composition and 

percussion performance at the University of Auckland. The experience of hearing a visiting 

gamelan orchestra prompted his return to Wellington to attend Victoria University, where the 

characteristic rhythms and textures of the Indonesian gamelan rapidly became hallmarks of 

his own composition. Farr continued with postgraduate study in composition and percussion 

at the Eastman School of Music in Rochester, NY, where his teachers included Samuel Adler 

and Christopher Rouse. 

The inclusion of his works in four events at the 1996 New Zealand International Festival of 

the Arts inaugurated his career as a dedicated freelance composer. Since then, Farr’s music 

has been heard at, or especially commissioned for, high-profile events including the 50th 

anniversary of the New Zealand Symphony Orchestra (From the Depths Sound the Great Sea 

Gongs), the opening of the Museum of New Zealand Te Papa Tongarewa (Te Papa), and the 

2000 Olympic Games in Sydney (Hikoi, a concerto for percussionist Evelyn Glennie and the 

NZSO). In 2003, a commission by the Auckland Festival resulted in Stone and Ice, composed 

for the combined forces of the NZSO and the Auckland Philharmonia Orchestra. In 2006 

Farr was made an Officer of the New Zealand Order of Merit, for his services to music and 

entertainment. In the same year, the Royal New Zealand Ballet toured the country with their 

brand new work The Wedding, featuring a score by Gareth Farr. At ninety minutes, it was 

among the ballet company’s most ambitious projects, and combined Farr’s talents with those 

of prominent New Zealand novelist and librettist Witi Ihimaera. 

Farr’s music was integral to Maui – One Man Against the Gods, a stage show four years in the 

making. First premiered in 2003, it featured aerial theatre, Maori kapa haka, contemporary 

dance and song, with Farr’s stirring music, and toured a number of centres in New Zealand. 

In more recent years, Farr has developed a fruitful collaboration with director and librettist 

Paul Jenden, producing four comedy musicals. In 2007 Farr was appointed as Composer- 

PE128 – iii

in-Residence for the Auckland Philharmonia Orchestra. The residency culminated in 2008 

with the premiere of Ex Stasis, a symphonic song cycle for four soloists. In 2008, Farr also 

celebrated the world premiere of his work Terra Incognita, for bass solo, choir and orchestra, 

performed by Paul Whelan and the Orpheus Choir with the New Zealand Symphony 

Orchestra. Farr’s artistic excellence was acknowledged when he received the Arts Foundation 

of New Zealand’s Arts Laureate Award 2010, which aims to celebrate significant artistic 

achievement as well as nurture future creative endeavours. 

In March of 2014 Farr’s Concerto for Piano and Orchestra received its world premiere from 

soloist Tony Lee and the New Zealand Symphony Orchestra, conducted by Pietari Inkenen. 

Its UK premiere followed one year later, with Lee backed by the BBC Philharmonic, with 

conductor Tecwyn Evans. The BBC Philharmonic included Farr’s work alongside Douglas 

Lilburn’s Symphony No.2 as a programme to mark the 100th anniversary of the ANZAC 

troops’ battle at Gallipoli during World War I. The concerto received critical acclaim, 

described by the Dominion Post’s John Button as containing “marvellously free piano 

writing surrounded by orchestral sounds that conjure up memories of Prokofiev ballets, 

Ravel’s L’Enfant et les Sortileges and even the Bartok First Piano Concerto…the ear was tickled 

bar after bar. I have no doubt that this marvellously inventive piano concerto is bound to 

develop an international life all its own.” 

Farr’s music is particularly influenced by his extensive study of percussion, both Western 

and non-Western. Rhythmic elements of his compositions can be linked to the complex and 

exciting rhythms of Rarotongan log drum ensembles, Balinese gamelan and other percussion 

music of the Pacific Rim. 

Latest information about the composer may be found at www.garethfarr.com. 

PE128 – iv

Balinese Pieces (1994-2003) 

With a tradition dating back well beyond 500 years, gamelan music continues to be an iconic 

feature of the Indonesian performing arts. The gamelan orchestra is comprised of bronze 

percussion instruments, ranging from smaller keyed instruments hit with hammers to large 

gongs struck with soft mallets which produce a deep resonance. New Zealand composer Jack 

Body notes that “gamelan reflects the character of the cultures; Javanese gamelan is more 

refined, reflective, and conservative while Balinese gamelan is more extrovert, dynamic, and 

open to exploring new things.” The three Balinese Pieces explore the exciting rhythms and 

beautiful sonorities of this music. Apart from Farr’s works written specifically for gamelan, 

this set of three pieces best exemplifies the significant influence of Indonesian music on 

his writing. Balinese Pieces appears on Horizon, a compilation album of Farr’s piano music 

performed by Henry Wong Doe (Trust Records MMT2070). 

Sepuluh Jari (1996) was the result of a commission Farr received from New Zealand pianist 

Michael Houstoun. Houstoun asked Farr to compose a toccata, which led the composer 

to write a virtuosic work that draws on two non-Western tuning systems for its harmonic 

material — the Indian saraswati scale and the Balinese pelog scale. Beginning in the rumbling 

lower register of the piano, a lurching, dissonant sprinkling of pitches is repeated before 

being joined by a comparatively clear melodic line that gradually draws both hands into 

a higher and more expansive range. Cascading scalar passages interject over low-register 

arpeggiations, which then arrive at joyous declamatory moments that make use of the 

exoticism of the work’s harmonic influences. The composer transforms these features as they 

recur throughout the work, rendering them as challenging passages that often require swift 

finger work. Insistent, pulsed material is interspersed with elastic rushes of energy and brief 

snatches of stillness and reflection. Sepuluh Jari was commissioned by Michael Houstoun 

(with financial support from Creative New Zealand) and received its premiere performance at 

the New Zealand International Festival of the Arts, in Wellington, New Zealand, on 12 March 

1996. 

PE128 – v

Tentang Cara Gamelan (1994), pron. “chara”, translates to “on the technique of gamelan”, was 

written by Farr for his friend and colleague Nicola Melville while they were both studying 

at the Eastman School of Music, New York, USA in 1990-92 and 1994. Farr had become 

intrigued by how French impressionist composers such as Claude Debussy responded to 

their exposure to the music of the Javanese Gamelan, which was famously showcased at 

the Paris Exposition in 1889. In an early programme note, Farr humorously alludes to the 

character of the music by imagining a dinner conversation between Debussy and composer/ 

ethnomusicologist Colin McPhee in which they discuss the influence of gamelan on their 

music, before professional jealousy leads to an exchange of insults. Tentang Cara Gamelan 

does indeed bring together an impressionistic sound-world with a more clearly derivative 

gamelan style, at first as if viewing gamelan ‘from the outside’ with a flurry of notes that 

merely hint at Balinese harmony, then moving towards Balinese harmony and rhythms 

outright. Tentang Cara Gamelan was commissioned by Nicola Melville and received its 

premiere performance at Kilbourn Hall, Eastman School of Music, Rochester, New York, USA. 

Jangan Lupa (2003) was written in memory of the victims of the terrorist bombings that 

took place in Bali on 12 October, 2002. The commission for the work came from Indonesian 

pianist Ananda Sukarlan, and was one of a number of Bali-inspired works commissioned by 

Sukarlan in response to the bombings. Being familiar with Bali due to several journeys there, 

Farr was deeply affected upon hearing of the bombings. The composer says of the Balinese 

people that they are “incredibly forgiving and get on with life — their music and dance reflects 

this and keeps going undeterred.” The most emotionally direct of the Balinese Pieces, the 

pianist will find Jangan Lupa’s journey through catharsis, hope and sorrow to be a worthy 

test of their expressive capabilities. The trauma at the heart of Jangan Lupa is evident in the 

thunderous opening chord in the piano’s lower register and in the group of rhythmic upper 

register stabs that follow. A tender, drifting melodic statement emerges from the resonance of 

the opening material, and eventually receives a rhythmic foundation through a soft internal 

pedal note. As the work expands in register, this tenderness takes on a defiant strength before 

the eventual return of the work’s turbulent opening material. We are reminded of the sombre 

circumstances surrounding the work’s origin in its final moments, in the delicate gravitas of 

the repeated octave chord in the piano’s lower register. The phrase “jangan lupa” translates to 

“don’t forget”. Jangan Lupa was commissioned by Ananda Sukarlan and received its premiere 

performance in Wellington, New Zealand, on 5 August 2003. 

PE128 – vi

Performance notes 

Tentang Cara Gamelan 

Metre: This work is notated without time signatures. Bar lines and bar numbers have been 

implemented in this edition to assist comprehension and navigation of the score. Dotted bar 

lines have been used where material should be aurally seamless and without a stress on the 

downbeat. 

Accidentals: Dotted barlines are to be treated as if they were solid barlines and standard 

conventions apply. Accidentals have been restated at the start of systems where there is no 

preceding barline for added clarity. 

The melody stated in m.17 is repeated in mm.18-19 but must be shared between the hands 

to accommodate the addition of new material. Maintaining legato performance of the melody 

is paramount in this section and some pianists may find it preferable to cross hands or 

distribute the notes differently than notated. 

PE128 – vii

PE128 – viii

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CC 

# 

66 

= 

CC 

C CC 

C CC 

C CC 

! 4 5 

C CC 

16 16 

7 C CC 

4 

1 

I I 

C CC 

I I 

C CC 

C 

fff martellato 

! 4 

CCC CCC CCC CCC 

5 C C 

16 C C 16 

7 # 

C C C C 4 

1 

I I I I 

69 

! 4 

1 X 16 

7 C C C 

16 

5 16 

3 CCO 

O 

O 16 

5 

O 

# 4 

1 16 

7 16 

5 16 

3 CCO 

16 

5 

W 

W C 

74 

! 5 16 

CC 

C 

CC 

C 

CC 

C 

1 

4 

CC 

C 

2 

4 

# 16 

5 

CCC 

4 

1 2 4 

W 

W C 

g 

C 

g 

C 

CCC > C C C C C> CC 

C C> 

CC 

C 

C>C g 

C 

C 

g 

CC 

C 

C>C 

C 

C CC 

C 

g 

C 

g 

C 

C C 

CC 

C 

C 

> 

C 

C>C 

C 

g 

C 

g 

C 

CCC > C 

CC 

C 

C>C 

C 

g 

C 

g 

C 

CC 

C 

79 

! 

g 

C 

C ! 

C C 

CCC > C 

CC 

>C 

g 

C 

T 

g 

C C C 

g 

C 

CCC > C C C C > C C C C > C C C C > C C C C > C B B 

CC 

>C 

g 

C 

CC 

C 

CC 

>C 

g 

C 

CC 

C 

CC 

>C 

g 

C 

CC 

C 

CC 

>C 

g 

C 

CC 

C 

CC 

>C 

BB 

B 

84 

! 

# C C 

C C C 

CC 

CÒ 

? 

CC 

C 

senza misura, meno mosso 

p con rubato 

C C C C C C C 

W C C C 

PE128 – – 8 8

# 

# 

# 

^ 

? 

> 

# 

T 

h 

^ 

h 

h 

g 

# 

?> 

?> 

S 

K 

! C W C C C C C C S T 

C C C 

W C 

h 

C C C C C 

G 

C 

C 

C 

C C C W C 

W C C C 

C C C C 

I 

C C 

C 

C 

! 

T C g 

X C 

A 

A 

W g 

W C 

C 

>C 

C g 

C 

C 

C 

>C 

C g 

C 

C 

C 

>C 

C g 

C 

C 

C 

pp 

p 

A 

A 

C g 

C 

W 

W C 

> C 

C g 

C 

C 

>C 

C 

T C g 

C 

W g 

W C 

C 

>C 

! 

! U T 

A 

A 

C 

C W C 

esitando 

C C C C W C 

C CW 

C 

C C C C C C C C C C C C C? 

g 

C 

! 

W W C 

g 

C 

W C 

> g 

C C C C 

C > C C C 

^ 

? 

TU 

W C C 

W C CC 

C 

C C 

CC 

CC 

CC 

C C 

C CC 

C 

C C 

CC 

! 

C 

fff 

ev` 

! 4 ! 

W C C 

W C CC 

CC 

C 

C C C C 

C CC 

CC 

C 

C C 

CC 

CÒ C 

CC 

¯ 

Ò 

4 PE128 – 9 

PE128 – 9

# 

# 

^ 

C 

A 

C 

A 

C 

C 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

C 

g 

jh 

C 

jh 

C 

B 

CB 

U 

U 

# 

C 

C 

CC 

T 

T 

CC 

h 

h 

C 

A 

C 

A 

C 

C 

# 

C 

g 

C 

C 

S 

C 

g 

C 

C 

C C 

>C 

C 

g 

C 

CC 

C 

jh 

C 

jh 

C 

C 

C 

C 

CC 

h 

g 

C 

B 

CB 

C 

g 

C 

C>C 

h 

g 

CCC 

>C 

CCCC 

CC 

h 

C 

h 

C 

C 

# 

Œ = 144 

86 

! 4 U C 

T 

W C C C C C W C 


C C W C C C C C 

TU 

T T 

g 

C 

C 

f metallic, brilliant 

! 4 U 

T C C W C C C C C W C 


C C W C C C C C 

TU 

T T 

g 

C 

88 

! 

g 

C 

g 

C 

WW > C C C C C > C C C C > C C C C^C 

g 

C 

U T 

W C C W C 

U T 

C C C C C C C 

! 

W > C C > C C > C C^ 

TU 

C W C C W C 

TU 

C C C C C C C 

90 

C C W C C 

C C C C 

C C C 

W C 

g 

C 

! T T W C > g 

4 

6 

C CC C > g 

C CC C > g 

C CC C > g 

C C C C 

C CC C^C 

4 

g 

C C W C C 

! 

C C C C 

W C 

C C C 

C C 

T T 

> C C > C C > C C > C C^ 

4 

6 4 92 

! 4 4 

U T 

W C C W C 

W C C W C 

! 

W > WW 

C O 

C>C 

C C 

C C 

C C 

CC 

C C 

! 4 4 

W C C W C C C 

! 

W CCO C O 

CC > 

C CC 

W 

Sost. Ped. 

94 

(to m.197) 

! Q Q Q Q 

f staccatissimo 

. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. 

W C W C C C W C C C W C 

W 

W 

W 

W 

Ì 

^. 

C 

^. 

C 

98 

! Q Q Q Q # 

pp subito 

. . . . 

W C C W . . . . 

C W . . . . 

C C C W . . . . 

C C 

W 

W 

W 

W 

PE128 – 10 

PE128 – 10

! 

A 

A 

B 

B 

A 

A 

B 

B 

A 

A 

A 

B 

! 

A 

B 

B 

B 

A 

A 

A 

B 

B 

102 

p legato 

W C # W C C C W C 

W C C C W C 

W C C C W C C W C C C 

C 

W 

C 

C 

# 

W 

W 

. 

C 

. 

C 

. 

C 

. 

C 

W 

W 

. 

C 

C 

. 

C 

. 

C 

. 

C 

L.H. sempre sim. 

W C C C C W C C C C W C C C C 

W 

W C W 

107 

# 

# 

C 

C 

W C C C 

C 

W 

C 

W C C W C C C 

W C C C 

W C C 

W C 

W C 

C W C C C 

W C C 

C C W C 

W C 

C C C 

W C C C C W C C C C W C C C C W C C C C W C C C C 

W C W W C W 

W C 

g 

! W C C C 

W C C C C 

W C C 

W C 

W C C C W C 

W C C 

C W C 

C C 

W C C C 

C C 

C 

C W C 

C C 

W C C C 

C C 

C 

C W C 

A C 

# 

W C C C C W C C C C W C C C C W C C C C W C C C C 

W 

W C W 

W C W 

112 

117 

! TU 

CW 

C 

# 

f 

W C 

W C 

CW C C C C C C C C C 

h j T U T 

metallic, brilliant 

W 

C 

C C C CW C C C C C C C C C C C W C 

C C C W C C C C W C 

W 

W C 

C C C CW 

C 

C 

C C 

120 

C C W C C C C C C W C 


CW 

C 


# 

W C 

C W C C C C W C C C C 

W 

W C 

PE128 – 11 

PE128 – 11

# 

# 

# 

# 

# 

A 

B 

B 

A 

B 

A 

B 

A 

A 

T 

A 

T 

B 

# 

122 

! 

CW 

C 

C CW C C C C C C C C C C C C C C CW 

C 

C C C C W C C C C C C C C CW 

C 

C CW 

C 

C C C 

W C C C C W C C C C W C 

W 

W C 

W 

(S.P.) 

Ì 

C 

! 

CW 

C 

W C C 125 

C C C CW 

C 

C C C 

CW C C C C C C C C C C C W C 

C C C CW 

C 


W C C W C C C C W C C C C 

W C 

W 

127 

! 

W 

C 


C C C CW 

C 


W C C C C W C C C C 

W C 

W 

129 

! 

W 

C 

CW C C C C C C C C C C C C C C CW 

C 

C CW C C C C C C C C C C C C C C CW 

C 

C C C C 


W C 

W 

W C 

C 

! 

W 

C 

132 

W C C C C C C C CW 

C 

C CW C C C C C C C C C C C C C W C 

WW C Ċ C 

U T 

C- CO 

O 

C CO 

Ċ C C C T 

C- C CO C 

O 

W C 

C W C C C C W C 

W 

W C 

! 

g i 

W TU 

C C. 

C COO 

C- 

C. 

C COO 

C- 

PE128 – 12 

PE128 – 12

134 

! 

# 

C 

-C 

CW C C C C C 

- C- C C C 

- C C C 

- C C C UT W - W C - C C C - C C C - 

T U C - C C C - C C C - 

legato, less percussive 

UT C - CW C C 

- C C C C C C 

- C- C C C 

- C C 

W C C C C W C CB 

C C W C C C C 

W A 

W C 

W A 

137 

! 

# 

C- W - 

C C W C C C- C- 

C C C C C- C- 

C C C C C- C 

UT C - CW C C 

- C C C 

- C C C C- C C C 

- C C C C- W 

W C - C C C - C C C - 

W C CB 

C C W C C C C W C CB 

C C 

W C 

W A 

W C 

C 

C- C C C C - C C 

140 

! C C- 

C C- C C W C 

- C C C C 

- C C C C 

- C C C C C- C 

W C C 

C C W C C C C C C C C h j C UT T 

W 

C 

C C C CW C C C C C C C C C C C 

# 


W C C C C W C CB 

C C W C C C C 

W A 

W C 

W A 

143 

! 

W 

C 


C C C CW 

C 


# 

145 

! 

# 

W C CB 

C C W C C C C 

W C 

W A 

W 

C 


C 

C CW 

C 


W C CB 

C C W C C C C 

W C 

W A 

147 

! 

C C CW 

C 

C C C CW C C C C C C C C CW 

C 

C CW 

C 

CW 

C 


# 

W C CB 

C C W C C C C 

W C 

W A 

PE128 – 13 

PE128 – 13

# 

# 

# 

# 

# 

T 

B 

ig 

B 

B 

B 

T 

A 

# 

A 

A 

A 

A 

B 

B 

B 

B 

B 

A 

A 

A 

A 

A 

149 

! 

W 

W 

C 

C 

C 

W C 

WW C Ċ 

C 

! 

W C. 

U T 

U T 

-CO 

CCO 

C 

O 

O 

CO -C 

Ċ C C C T 

C. 

-C CCO 

C 

O 

O 

CO -C 

W C C C 

W C C C 

W C 

W C W C C C 

W C C C C C W C W C W C C C 

W C C C 

C C W C 

W C C C 

W C 

W 

p legato 

C C C W C C C C W C C C C 

W C 

W 

(S.P.) 

Ì 

153 

! 

g 

C 

W C C W C 

C C 

W C W C 

C C 

W C C W C C 

C C 

C W C 

C C 

W C C W C C 

C C 

C W C 

C C 

W C C W C 

C C 

C W C 

W C C C C W C C C C W C C C C W C C C C 

W C 

W 

W C 

W 

g 

C 

W C 

W C 

157 

! 

C 

C 

W C C C W C W C C C 



W C C C 

C C W C 

W C C C 


W C 

W 

W C 

W 

161 

! 

g 

C 

W C C W C 

C C 

W C W C 

C C 

W C C W C 

C C 

C 

C W C 

C C 

W C C W C 

C C 

C 

C W C 

A C 


W C 

W 

W C 

W 

165 

! TU 

CW C C W C C C C C C C C h j 

f 

W C 

W C 


C U T T 

W 

C 


W 

C 


C C C W C C C C W C C C C 

W 

W C 

PE128 – – 14 14

# 

# 

# 

# 

# 

T 

A 

A 

B 

T 

# 

A 

B 

A 

B 

B 

A 

A 

B 

B 

A 

168 

! 

W 

C 



C 

C CW 

C 

C C C 


W 

W C 

W 

C 

! 

CW 

C 

W C C C 

171 

C C CW 

C 

C C C 

C C C C W C C C C C C C C CW 

C 

C CW 

C 


W C C W C C C C W C C C C 

W C 

W 

173 

! 

C W C 

WW C Ċ C 

U T 

C- C CO C 

O 

Ċ C C C T 

C- C CO C 

O 

C 

- C 

C W C C - 

C C C C- C C C 

- C C C 

- C C C U - 

T 

W 

W C- 

C C C - C C C U - 

T C C- C C C C- C C C C- 

W 

W 

C 

C 

! 

g i 

W C 

TU 

C. 

C CO 

O 

C- 

C. 

C CO 

O 

C- 

legato, less percussive 

W C C C C W C C C C 

W 

W C 

176 

! TU 

C 

- C W C C 

- C C C - 

C C C C- C C C 

- C C 

C - C 

W - C W C C C- C 

C- 

C C C C - C 

C- 

C C C C - C 

TU 

C 

- C W C C 

- C C C 

- C C C C- C C C 

- C C 


W 

W C 

W 

179 

! 

C W C- W C- 

C C C - C C C - 

C C- C C C C- C C 

C C 

C- C- C W C C 

- C C C 

- C C C - 

C C C C- C 

W C C 

C C W C C C C C C C C h j C TU 

T 

, 



W C 

W 

W C 

PE128 – 15 

PE128 – 15

# 

# 

# 

182 

! 

! 

W 

Half speed ( Œ = 72) 

C 

p 

W C 

W C 

(S.P.) 

W 

C 

C 

C 


legato 

C C 

Ì 

W C 

W C 

C C C C C 

W C 

W C 

C 

C 

185 

W C C W C 

g 

C 

C 

C 


C C C CW 

C 

W C C C W C C W C 

C W C C CW C 

W C C C W C 

W C 


C 

W C C W C 

C C 

W C W C C C 

W C 

C CW 

C 

C C 


CW C C C C W C 

C 

C 

187 

! 

C C CW 

C 

C C C C W C 

C C C C C C C CW C C C W C 

# C C 

W C C C C 

C 

C W C 

C C 

W C C C 

C C 

C W C 

C C C CW C C C C C C C C C CW 

C 

g 

C 

W C C W C 

W C C W C 

CW 

C 

C C 

! 

C C W C C C C C C W C 

accelerando poco a poco 

190 

C C C CW 

C 

C CW C C C C C C C C W C 

C C C CW 

C 


# C C C C 

W C C 

C C W C W C 

C W C C C 

W C C 

C C W C 

W C 

C C C 

W C 

192 

! 

W 

C 

C C C CW 

C 

# W C C C 

W C 

W C 

C 

C CW C C C C C C C C W C 

CW 

C 

g 

C C C 

W C C 

W C C W C 

W C C W C 


C 

C 

194 

! 

W 

CW 

C 

C 

C 

C CW 

C 

CW 

C 

C 

W C C C C 

C CW C C C C C C C C C CW 

C 

C C C CW 

C 

W C C C 

W C C W C 

W C C C 

C W C 

C C C C C C C 

C 

C 

PE128 – – 16 16

# 

# 

B 

jh 

T 

B^ 

B 

B 

196 

! 

CW 

C 

C CW C C C C C C C C C C C C C W C 

WW C Ċ 

C 

f 

# A T 

A 

a tempo ( Œ = 144) 

(S.P.) 

U T 

W ĊC C U 

-CO 

CCO 

Ċ 

CO 

C C T 

>C 

C C > W C > CW 

C 

G 

C 

>C 

-C CCO 

C 

O 

G 

C W C 

>C W C> 

C 

C > 

C 

C W > 

ff 

X C 

X C Ò 

CW 

C 

C C 

! 

201 

! 

W C 

W 

CC 

W 

g 

C 

C 

C 

W W W 

C 

W 

199 

W B C B 

C C C CW C C C W C 

C 

W C 

W C 

W 

CC C 

B BB 


X C 

X C 

Ò 

C 

C W 

C 

C BB 

B 

G 


C 

C CW 

C 

C C C CW 

C 

X C 

X C 

Ò 

W C 

W W W 

C 


W C 

W 

CC 


203 

! 

C 

W W B B 

W B 

C 

W W W 

C 

C 

W C 

W 

CC 

C C 

# C C CW 

C 

C C C CW 

C 

C 

Ò 

C C C C C C C 

CW 

C 

C CW 

C 

C C C CW 

C 

C C C C C C 

205 

! 

W W B B 

B 

W B 

C C W BB 

W C 

W 

CC 

C C 

# C C C C C C C C C C C W C 

W C 

W C C C 

C 

C 

Ò 

PE128 – 17 – 17 

C C C CW 

C 

C C C C 

C > 

con rubato 

W > 

C 

C 

C W C C> 

W C> 

C C C C> 

C> 

W C>

# 

# 

# 

# 

# 

>C 

C 

> 

>C 

>C 

C 

T 

C 

C 

C 

C 

C 

>C 

> 

C 

C 

C 

CCC 

C 

C 

>C 

>C 

>C 

CC>C 

C 

C 

>C 

CC>C 

CCC 

C 

C 

C 

C 

>C 

>C 

C> 

CCC 

CC 

C 

C 

C 

>C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

>C 

>C 

>C 

C 

C C 

C C 

Ò 

C 

C 

>C 

C 

C 

C 

C 

C 

C 

„ 

Â 

W W A ^A W A 

! Q 

pp subito, crescendo poco a poco 

W 

W C C C C C C C C C C C W C 

W C C C 

207 

C C C 

C C C 

‰ 

A 

X ÒA 

G 

J 

J 

J 

J 

J 

J 

J 

209 

J 

W C W C 

J 

C C C C C C 

J 

C C C C W C 

J 

C C C C C C 

! ! 

W 

210 

! 

J 

W C C W C C C 

J 

C C C C C C 

J 

W C C C C W C 

J 

W C C W C C C 

W 

211 

! 

fff 

g 

C 

! 

W 

W C CC 

C > C C 

G 

g 

C 

W C C C 

G 

g 

C 

g 

C 

C C C C 

> 

g 

C 

g 

C 

CCC 

G 

G 

CC 

C C 

> 

g 

C 

g 

C 

CC>C 

G 

G 

CCC C 

> 

g 

C 

W > C CC W 

eva 

eva 

W C> 

C C 

C C 

W 

W > 

g 

W C 

C # 

C 

> 

g 

W 

W 

W > C 

g 

W 

C 

C 

> 

? 

B 

B B 

B 

B 

PE128 – – 18 18

- 

TU 

Tentang Chara Gamelan 

Tentang Cara Gamelan DEDICATED TO NICOLA MELVILLE 

Gareth Farr 

12 Ù = 60 

! 

Y CY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

ppp 

! Y C C C C C C C C C C C C C C C C 

una corda 

d 

Ì 

! U T 

Y 

Ù = Ù sempre 

CY C C C C C C C C C C C C C C C Y CY 

C 

C C Y C> 

C C C C C C 

! C 

- 

Y C C C C C C C Y C 

Y C C C C 

3 

! U T 

Y 

CY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

! C 

- 

Y 

C 


X C 

- 

! 

U T 

Y 

CY C 

C C C C C C C C C C C C C C Y 

CY 

C 

4 

C C Y C> 

C C C C C C 

! C Y C C C C C C C Y C 

Y C C C C 

5 

! 

Y 

CY C C C C C C C C C C C C C C C C C C C C C C C C C C C T C C C C 

! Y C C C C C C C C C C C C C C C C X C 

PE128b 

Tentang Cara Gamelan © 1994 Promethean Editions Limited 

This Edition © 2013 Promethean Editions Limited PE128 – 19 

ISMN: 979-0-67452-200-7

# 

! 

! 

T 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

T 

C 

C 

# 

C 

T 

! 

C 

C 

C 

T 

C 

T 

C 

C 

C 

C 

C 

C 

C 

C 

C 

6 

8 

eva 

x5 

! : Y Y C C C C C C : Y C Y C C Y C C C C C C Y C Y Y Y Y 

Y Y Y 

eva 

X C X C X C X C 

! : Y C C C : Y C 

# 

Y C 

X 

tre corde 

{eva} 

Y 

loco 

Y Y C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

! U 

ff ppp 

! Y C C C C C C C C C C C C C C C 

Y 

una corda 

Y 

9 

X C C C C C C C C C C C C C C C C C C C C C C C C 

! Y C C C C C C C C C C C C C Y C 

Y C C 

Y C C > 

C C C C 

10 

! 

Y 

X C C C C C C C C U 

rubato 

C C 

C C U T 

C C C C C C C C C C C C C C C C C C 

eva 

! Y C C C C C C C C C C C C C C 

- C 

- 

11 

! 

! C Y C 

C Y C C C C C C C Y C C C C C C C C C C U 

Y C C > 

rubato 

C C U 


eva 

Y C C C C C C C C C 

- C 

- 

13 

! 

C Y C 

C Y C C C C C C C Y C 

Y C C > 

Y 

rubato 

C U T 

eva C 

- 

C C U 

C 

- 


Y C C C C C C C C C 

PE128 – 20 

PE128 – 20

# 

S 

? 

? 

h 

A 

- 

h 

A 

A 

A 

TU 

- 

# 

# 

g 

A 

T 

^ 

? ^ 

? 

^ 

A 

A 

# 

Ç 

# 

! 

: 

! 

! 

Y CY C C C T C C C C C C C C C C C C C C 

molto rubato 

C C U 

CX C C C C C C C C C C C 

eva C 

Y C C C C C C C C C ! Y C C C C C 

X C 

Y C 

- 

- 

! 

! 

Y C 

15 

X C C C C C C C C C C C C C C C C C 

Y C C C C C C C C CY 

C 

tre corde 

Y C C C C C C C CY C C 

Y C C 

C 

Y 

C 

C C C Y C 

Y C 

! 

! 

Y C C 

ff 

Y C 

16 

! 

Œ = 144 

C CY C C C C C C C C C C C C C C C C C C C C C C C Y 

C 

C C Y C C C C C C C C C C C C C C C C C C C C C C C Y 

C 

C C C C 

C C 


h 

C C 

C C C C 

C C 


C g 

C 

! 

CY 

C 

C 

C 

Y 

C C C 

C 

C C C C h 

C 


eva 

Y 

^C C C 

O 

C C C C 

# # 

! C 

Y C ! 

CY 

C 

C Cg C 

Y 

C C 

C C g 

C 

C C C g 

C 

C C C C C C C 

Y 

Y 

C 

ev` 

^ 

Y CO 

CO 

^C 

C 

C 

C C 

C 

C 

depress silently 

Y 

Y Ç 

YY Ç Ç 

ev` 

Sost. Ped. 

Ì 

17 

legato 

Y C C 

! : C CY 

C C C Y C C C CY 

C C 

Y C 

mp 

# : Y 

! W 

YY AA 

ev` p 

una corda 

CY 

C 

PE128 – 21 

PE128 – 21 

C C C C 

C CY 

C 

Y 

CY 

C 

C C Y C 

! 

C C C C C Y C 

W 

Y 

C 

# :

„ 

Â 

‰ 

# 

# 

A 

A 

A 

A 

h 

# 

A 

T U 

A 

h 

# 

d 

A 

A 

A 

A 

! 

# 

# 

! 

# 

# 

eva 

18 

C 

! : 

C Y C Y C Y C C C C C C C C C C C C C 

I 

I 

X C 

mp ppp 

I 

mp 

C Y C 

C 

# : 

C Y C C 

A 

! 

Y 

Y Y A A 

mp 

p 

ev` 

p 

C Y C 

eva 

C 

Y C C Y C C C Y C Y C Y C C C 

X C 

ppp 

J 

C C 

! W 

C 

mp 

eva 

! Y C C Y C C C Y C C C C 

eva 

C 

Y C 

Y C 

: 19 C C Y C Y C Y C C C C C C C C C C C C 

C 

: 

X C 

I 

I 

ppp mp 

ppp 

I 

G 

C 

Y 

C 

C Y C 

C 

# 

! 

W A 

: : 

C Y C C 

A 

! 

p 

Y C Y C Y C C C p 

mp 

Y Y A A 

mp 

ppp ev` 

p 

eva 

C 

! 

C Y C C 

Y C C Y C C C Y C Y C Y C C C 

C 

C Y C 

C Y C C C Y C 

X C 

C 

mp 

ppp J 

I 

mp 

I 

! T U 

CY 

C C C 

C 

C C W A 

C 

U 

G 

T 

p 

mp 

C 

pp 

pp 

Y C C C 

Y C Y C Y C C C 

ppp 

Y 

T U g 

Y 

p 

C O 

pp 

p 

C 

mp 

1. 2. 

C C 

eva 

C 

20 

Y C 

Y C 

! C 

: Y C Y 

ppp mp 

C 

I 

C 

! 

T g 

! : 

mp 

C 

CY 

C C C 

pp 

( ) 

W p 

(S.P.) 

12 Ù = 60 

C 

C 

Ì 

Ì 

accel. 

Y 

C C C 

C C CY C C C C C C C 

C 

p 

C C C 

20 

! 

Y 

CY C C C C C C C C C C C C C C C C C C C C C C C 

! C C C C C 

ppp 

C C C C C C C 

PE128 – 22 

PE128 – 22

TU 

TU 

T 

TU 

T 

# 

T 

- 

20! 

: 21 

Y CY C C C C C C C Y CY C C C C C C C C C C C C C C C 

! C C C : C C C C C C C C 

- Y C 

- 

rubato 

Y CY 

C C C 

! U C C C C U C C C C C C C C : 22 

U 

CY 

CY 

C 

! C C C C C C : C Y C Y C 

C C C C C Y C Y 

- Y C 

- Y C 

C 

- 

tre corde 

eva 

Y C 

C C C Y C C C Y C C C 

23 

! 

C 

! 

C Y C 

Y 

C 

C C Y C 

Y 

C 

C 

C C C C 

C C 

C Y C 

Y 

C 

C C Y C 

Y 

C 

C 

C C C C 

C C 

25 

! 

C 

Y C 

Y 

C C 

Y 

C 

C C 

! 

C Y C 

Y 

C 

C C Y C 

Y 

C 

C 

C C C C 

C C 

C Y C 

Y 

C 

C C Y C 

Y 

C 

C 

C C C C 

C C 

27 

! 

Y C 

C Y 

C Y C C Y 

CC C Y C 

! 

29 

! 

CY 

CY 

C 

cresc. 

C C Y C Y C 

eva 

C 

C C C C C C C 

Y C 

CY 

CY 

C 

C C Y C Y C 

C C C C C C C 

CY 

CY 

C 

C C Y C Y C 

C C Y Y C C C C C Y 

C Y C 

C C Y C Y C 

Y C 

CY 

C 

C C C C 

! 

C CY C C , 

CY 

CY 

C 

C C Y C Y C 

C C C C C C C # 

C C C C C C 

! g ! 

Y C 

YCC 

C 

ff 

C C C C 

C 

C C 

Y C 

C^C C 

Y C 

C 

Y CCC 

C CCC 

C 

C^C 

PE128 23 

PE128 – 23

# 

TU 

A 

S 

A 

B 

Ç 

A 

A 

S 

A 

B 

# 

B 

A 

A 

# 

31 

! 

! 

Y 

(S.P.) 

Œ = 144 

C 

fffY 

C 

C C C C Y C 

Ì 

C C C CY 

C 

CY 

C 

CY 

C 

C C C C C C C CY 

C 

C C C C C C C CY 

C 

C C CY 

C 

C C CY 

C 


C 


C 

CY 

C 

CY 

C 

C C C 

C C 

! 

C C C C Y C 

C C Y C C C Y C 


C C C C C C C C C C C C C Y C 

Y 

C 

C Y C 

C C C C Y C 

C C C CY 

C 

C Y C 

C 

CY 

C 

! 

! 

! 

! 

Y 

CC 

O 

CO 

O 

Y CO 


C 

C 

C 

C 

32 

# : 

Y C . Ċ Ċ Ċ Y C . Ċ Ċ Ċ x3 Y C . Ċ Ċ Ċ 

Y 

(loco) 

# Ç : A 

Y C : 

Y ÇÇ 

YY AA 

YY AA 

ev` ev` 

ev` 

Y 

S.P. Ì 

(refresh) 

: ! 

YY AA 

ev` 

35 

! TU 

C 

# S 

YY AA 

ev` 

legato 

CY 

C 

C C C C Y C C C C C C C C 

C Y C C CY C C C C C C C C C C C C 

Y C C C C C C C C Y C C C C C C C C 

Y C 

. C . C . S 

Y C 

. C . C . S 

Y C Y C 

. C . C . 

Y B C 

YY AA 

YY AA 

ev` 

ev` 

38 

CY 

C C C C C 

! : Y C C C C C C C C C C CY 

C C C Y C C C C C Y C C C C C C C 

: 

ff 

p 2nd time only 

# : Y C 

. C . C . S 

Y C 

. C . C . 

Y 

C : 

YY AA 

YY AA 

ev` 

ev` 

PE128 – 24

# 

# 

# 

S 

A 

S 

A 

S 

A 

S 

A 

A 

A 

A 

A 

A 

B 

B 

# 

# 

# 

40 

CY 

C C C C C 

! : Y C C C C C C C C C C CY 

C C CY 

C C C C C Y C C C C C C C 

: 

p 

ff 2nd time only 

# : Y C 

. C . C . S 

Y C 

. C . C . 

Y 

C : 

YY AA 

YY AA 

ev` 

ev` 

42 

! 

CY 

ff 

# S 

YY AA 

ev` 

C 

C C C CY C C C C C C C C C C CY 

C 

Y C 

. C . C . S 

YY AA 

ev` 

C CY 

C 

C C C CY 

C 

C C C C C C 

YY C 

. C . C . 

C 

44 

! 

CY 

C 

C C C C Y C C C C C C C C C C C 

Y C C O 

C C C C 

C C C 

C C C 

YY AA 

ev` 

Y C 

. C . C . S O 

! Y CO 

Y A 

CO 

Y A 

ev` 

C 

C 

C 

C 

46 

! 

CY 

C 

C C C CY C C C C C C C C C C C 

Y C C C C C C C 

C C C C C 

YY AA 

ev` 

Y C 

. C . C . T 

YY AA 

ev` 

! 

Y C C C C C C C 

48 

! 

CY 

C 

C C C C Y C C C C C C C C C C C 

Y C C 

O 

C C C C 

eva 

C C 

C C C 

Y A 

A Y A Y 

ev` 

Y C 

. C . C . S 

YY AA 

ev` 

PE128 – 25 

PE128 – 25 

! 

Y CO 

CO 

Y C C 

YY 

C 

ev` 

C 

C 

(S.P.) 

!

# 

# 

B 

B 

d 

T 

# 

# 

% Œ = 200 

50! 

: legato 

CY C C C C C C C C C C C C C C C C C C C C C C C C 

f 

! : C C C C C Y C C Y C C C C 

senza pedale 

! 

! 

C 

CY C C C C C C C C C Y C 

C 

CY C C C C C C C C C C C C C 

C C C C C 

C 

Y 

C 

C C 

Y 

C 

CY C C C C C C 

Y C 

To Coda & 

! C 

: 51 

Y C C C C C C C TU 

C C Y C 

! : # 

Y 

C 

CY C C C C C 

Y 

C 

C 

G 

C C C C 

Y C 

! TU 

CY 

C CY 

C C CY 

C C C C C TU 

C C Y C C C C C 

U Y CY 

CY 

C Y CY 

CY 


Y C C 

pp 

# Y C Y C 

Q 

Y O 

G 

Y O 

Ì 

52 

53 

! 

Y 

CY 

CY C C C C C C C C C C Y CY 


CY 

C 


# Q Q 

! 

C- T 

C-O 

56 

! 

Y 

CY 



CY 

C 


! Q Q Q 

PE128 – 26

# 

# 

B 

B 

# 

# 

# 

# 

# 

59 

! 

! 

63 

! 

! 

Y CY 

CY C C C C C C C C C C Y CX 

CY C C C C C C C C C C Y C 

C 

^ 

& 

Coda 

Y C 

ÒC 

C CY 

C 

senza pedale 

X C 

Y 

Y 

ff 

O 

CY 

C 

C C C C C C C C C C C C C Y C C C C 

Y C C C Y C 

C Y C 

C C C C D.S. al Coda 

C C C C C 

Y C C C C 

Y 

C 

! 

# Y C C C C C C 

# C 

dim. 

Y C 

C 

C C C C C C Y C C C C Y C C CY 

CY 

C 

C Y C Y C 

CY 

CY 

CY 

C 

C C C C C 

64 

# 

Y CY 



p 

# Q 

B C B O 

ev` 

CY 

C 


67 

# 

Y CY 



CY 


# Q Q 

C C C 

ev` 

70 

# 

Y CY 

CY 

C CY 

CY 

CY 

CY 

C C Y C Y CY 

C 

Y CY 

C 

{ev`} 

C C Y C 

CY 

C 

C C Y C 

CY 

C 

! 

Y C C Y C Y C 

C C Y C C 

! 

Y CY 

C 

Y C 

PE128 27 

PE128 – 27 

CY 

CY 

CY 

CY 

C 

C C Y C 

CY 

C 

CY 

C. 

fff 

C CY C . 

C C Y C C 

Y C 

Y C 

C 

Y C 

Y C 

Y 

Y C 

ev` 

C C C 

C CCC 

Y ? A 

Y A 

Y ? A 

Y AA Y ev`

# 

# 

# 

C 

d 

g 

C 

>C 

C 

C 

T 

AA 

C 

C C 

C 

CC 

C 

C 

C 

C 

C C C 

C 

C 

C 

C 

CC 

CC 

C 

C 

C 

CC 

C 

C 

CC 

CC 

C 

C 

CC 

CC 

C 

C 

CC 

CC 

B 

C 

C 

CC 

C 

C 

CC 

C 

C 

C 

C C 

C 

C 

C 

CC 

CC 

C C C 

C 

C 

CC 

CC 

C 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

T 

AA 

CC 

CC 

A 

>A 

AA 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

> 

C 

C 

? 

A 

>A 

? 

AA 

AA 

C 

> 

B 

B 

Jangan Lupa 

Jangan Lupa DEDICATED TO ANANDA SUKARLAN 

Gareth Farr 

Œ = 96 With anger and sadness 

eva 

Y Y 4 ! 4 

5 # 

C C 

C C C C B > 

CCC CCC CCC 

CCC C C C C C 4 ! 4 

5 

G J 

I I 

I 

mf fff 

Y Y fff 

I I 

I 

4 ! 4 

5 # CCC CCC 

4 ! 4 

5 

C 

>A 

C >A 

ev` 

ev` 

4 

accel. ritard. accel. ritard. 

! Y Y 4 

5 C C 

C C C 

# 

C 

4 ! 

C C 

C C C C 

! Y Y C C 

4 

5 # C B 

4 

C C 

C C C C C B A 

p 

p 

A A 

ev` 

7 

eva 

! Y Y C C B 

# 

g ! 4 

7 

C 

C C 

C C C C eva B 

>C G J 

ppp 

mf fff 

Y Y Q Q fff 

! 4 

7 

>A 

ev` 

C 

! Y Y CCC CCC CC 

CCC 

CCC 

4 

7 # C C C C C 4 ! 

I I I I 

I 

! Y Y I I 

C 

7 

CCC # 

4 

CCC 

C CCC C 

I 

C C C 4 ! 

I I C C 

C >A 

ev` 

10 

C C C C 

I 

mp 

A 

A 

PE128c 

Jangan Lupa © 2003 Promethean Editions Limited 

This Edition © 2013 Promethean Editions Limited PE128 28 

PE128 – 28 

ISMN: 979-0-67452-200-7 

O

# 

# 

# 

# 

# 

C 

> 

A 

A 

> 

B 

C 

C 

C 

A 

A 

C 

C 

C 

C 

C 

B 

C 

C 

C 

C 

C 

CC 

C 

C 

> 

C 

C 

C 

C 

A 

CC 

C 

C 

C 

C 

C 

C 

C 

CC 

C 

> 

A 

A 

C 

C 

C 

C 

A 

2 

B 

C 

C 

C 

A 

A 

C 

C 

C 

C 

B 

> 

C 

C 

B 

C 

C 

C 

CC 

C 

B 

A 

C 

CC 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

C 

C 

13 

18 

22 

27 

rubato 

C 

C C 

C 

C C 

C 

C C 

C C C 

C 

C 

C 

C 

C B 

# B 

# 

B 

I 

! Y Y I 

O 

O 

O 2 4 

I 

I I 

>CCCC 

mp 

mp pp (echo) 

4 ! Y Y ! 2 4 

4 ! Y Y a tempo 

mp 

> 

g 

4 . . . . 

gi 

C B O 

C C C C. C. C. C. 

O C C C 

C C C C C CC 

C 

p 

. . . . . . . . 

Y Y 4 Q Q Q 

! YY O 

A 

senza pedale 

O 

g 

C C C C C C B C O 

g 

C C C C C 

. . . . . . . . . . . . . . . . . . 

Y Y Q Q Q Q S T g 

C 

mp 

> 

! YY g > 

gi 

A 

C B O 

O C C C C C B O 

C C C C C C C C C C C O 

. . . . . . . . . . . . . . . . . 

Y Y C C C C C A A A A 

C 

. 

. 

g 

C C 

C 

. 

g 

C C C C C 

C C 

. . 

g 

32! 

Y Y C B C O 

C C C C C 

. . . . . 

Y Y A 

C 

. 

g 

C C C C C A B T 

C C C C C C C 

. . . . . . . . 

. 

C 

R 

C 

C 

C 

C 

. 

C 

C 

C 

36! YY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

Y Y 

hj C 

. 

B O 

> 

. 

C 

. 

C 

. 

. 

O 

. 

C 

. . . 

C 

h C C C C C O 

. 

C 

. 

C 

. 

PE128 – 29 

PE128 – 29

# 

# 

# 

# 

# 

# 

B 

C 

B 

C 

C 

CB 

> > 

g 

C 

C 

C 

h 

h 

C 

C 

C 

C 

T 

C 

CC 

CC 

h 

C 

C 

C 

CC 

h 

C 

g 

C 

C 

C 

C 

C 

g 

C 

C 

C 

C 

T 

h 

g 

C 

C 

g 

C 

C 

C 

C 

C 

g 

C 

C 

C 

C 

CB 

> 

C 

C 

B 

B 

g 

g 

C 

C 

C 

h 

h 

C 

C 

T 

C 

C 

B 

B 

C 

h 

C 

CC 

CC 

CC 

C 

C 

C 

C 

C 

g 

C 

39! 

Y Y C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

. 

Y Y C 

O 

. 

C 

. . . 

C C C C C C 

. . . . 

C C C C 

B C O 

. 

C 

. 

C 

C C C 

. 

42! 

Y Y C C C C C C C C C C C C C C C C C C 

. . . . 

C. C. C. C. 

Y Y C O 

> 

B 

ig 

C O 

C. O C C 

C C C 

C C. C 

C 

. . . . . . . . . 


C C C B 

A A 

C 

A 

> 

B 

O 

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. 

C C C 

C 

. 

g 

C C 

. 

47 

! Y Y C. O C C C C. 

C C B C O C C C C C 

C C C 

C C C 

A 

C C C C 

B 

C 

. . . . . . . . . . . . . . . . . 

Y Y C B C C C C C C C B C C O C C C C O 

A A A A O 

C 

. 

T C C 

C C 

C C 

. . 

C C C C 

52! YY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

Y Y 

C 

jh 

. 

O 

. 

C 

. 

C 

. 

. 

O 

. 

C 

. . . 

C C C C C O 

. 

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. 

55! YY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

. 

Y Y C 

O 

. 

. . . 

C C C C C C 

. . . . 

B C O 

PE128 – 30 

C C C C C C C C C C C C C C C C C C C 

cresc. poco a poco 

. 

. 

C C C 

58! YY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

C C C C C C C C C C C C C C C C C C C C C 

. . . . 

ff 

Y Y C O 

C C C C 

C 

C C C 

C C 

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C 

Ò 

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.

# 

# 

# 

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61! 

Y Y C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

Y Y 

O 

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64! 

Y Y C C C C C C C C C C C C C C C C C C C C C C C C 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

69 

Y Y C 

C B 

B 

C 

cresc. poco a poco 

O 

O 

67 

! YY CCCCC C C C C C C C C C C C C C C C C C C C 

CCC 

C C C C C C 

C C 

! 

C C 

C C C C g 

C 

C C 

C C C C eva B 

G J 

fff mf fff 

Y Y ! 

>AAA 

ev` 

! YY CCC CCC 

CCC 

4 

7 # 

I I I I 

I 

I I 

I I I I 

! YY CCC 

I 

CCC 

C CCC 4 

7 

I # 

CCC 

C C CC C 

I I 

C C C C 

CCC C C 

C C C C 

C I C 

O 

C 

C 

C 

C 

C 

C 

C 

C 

O 

O 

meno mosso 

Y Y CCC C 

71 

C C C ? C 4 ! 4 

3 # 

4 

6 

I 

A 

BBB C 

C C B B 

p 

mp 

Y Y I 

CCC B 

4 3 BB C B C 6 

C 

4 4 

C 

AA B 

> 

B 

ev` 

C 

C 

C 

C 

C 

C 

G 

G 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

G 

G 

C 

C 

C 

C 

C 

C 

O 

pppp 

O 

PE128 – 31

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