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Douglas Lilburn<br />

<strong>Prodigal</strong> <strong>Country</strong>


Douglas Lilburn<br />

<strong>Prodigal</strong> <strong>Country</strong>


Douglas Lilburn Centenary Edition<br />

Volume 2 (PEL22)<br />

<strong>Prodigal</strong> <strong>Country</strong> (1939) © Alexander Turnbull Library Endowment Trust<br />

The copyrights of Douglas Lilburn’s music are owned by the Alexander<br />

Turnbull Library Endowment Trust. Royalties from Douglas Lilburn’s music<br />

are paid to the Lilburn Trust for the fostering and preservation of New<br />

Zealand music.<br />

The copyrights of the front matter essays are owned by the authors as<br />

named.<br />

The copyright of Allen Curnow is owned by Tim Curnow, Sydney and is<br />

reproduced with his permission and that of Auckland University Press.<br />

First edition © 2016 Promethean Editions Limited (201807)<br />

Publisher: Ross Hendy<br />

Series Editor: Robert Hoskins<br />

Music Editors: Ben Woods and Brad Jenkins<br />

Associate Editor: Rod Biss<br />

Cover Image: Leo Bensemann, Canterbury Spring, Oil on hardboard.<br />

Collection of Christchurch Art Gallery Te Puna o Waiwhetu; purchased<br />

1961. Reproduced by permission of the estate of the artist.<br />

Photograph: Douglas Lilburn Collection, Alexander Turnbull Library,<br />

PAColl-2547-01<br />

ISBN 978-1-877564-47-5 (print)<br />

ISBN 978-1-77660-542-2 (ebook)<br />

ISMN 979-0-67452-205-2<br />

Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington<br />

NEW ZEALAND<br />

http://www.promethean-editions.com<br />

No part of this publication may be reproduced in any form or by<br />

any means without permission in writing from the Publisher.<br />

rhlm


Douglas Lilburn<br />

<strong>Prodigal</strong> <strong>Country</strong><br />

FOREWORD<br />

Douglas Lilburn biography .................................................... iv<br />

Editor’s introduction .................................................................... v<br />

Editorial notes ................................................................................ xiv<br />

Publisher’s note ............................................................................. xiv<br />

<strong>Prodigal</strong> <strong>Country</strong>.............................................................................. xv<br />

Text / Poems .................................................................................... xvii<br />

MUSIC<br />

PRODIGAL COUNTRY (1939) ................................................ 1<br />

PEL22 – iii


FOREWORD<br />

Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy extending well<br />

beyond his compositional output. As a composer, teacher and mentor he presided in innumerable<br />

ways over the artistic growth of New Zealand from 1940 onwards. From the early works redolent of<br />

the influence of Sibelius and Vaughan Williams, to the electro-acoustic pieces of his later years, his<br />

works have been instrumental in establishing a genuinely vernacular voice in New Zealand classical<br />

music.<br />

This edition is the second of four volumes published in celebration of the centenary of Lilburn’s<br />

birth in 2015. This ‘centenary’ collection draws on the expertise of Dr Robert Hoskins, formerly an<br />

Associate Professor at the New Zealand School of Music, and Rod Biss, who as Production Director<br />

of Faber Music and then Price Milburn, was instrumental in publishing Lilburn’s music in the 1970s.<br />

The editors, previous collaborators on the Douglas Lilburn Complete Piano Edition, have carefully<br />

considered and clarified Lilburn’s manuscripts and early publications in preparing these volumes as<br />

both scholarly and practical editions for performance, and presented with the exacting and elegant<br />

house style of Promethean Editions.<br />

Biography<br />

Douglas Lilburn (1915–2001) grew up on ‘Drysdale’, a hill-country farm bordering the mountainous<br />

region at the centre of New Zealand’s North Island. He often described his boyhood home as<br />

‘paradise’ and his first major orchestral work, Drysdale Overture (1937), written while a student<br />

under the aegis of Ralph Vaughan Williams at the Royal College of Music in London, conjures up<br />

the hills, bush and stream as primal sites of imaginative wonder. In this same period Lilburn wrote<br />

his Festival Overture (1939) and Overture: Aotearoa (1940), together with a choral work, <strong>Prodigal</strong><br />

<strong>Country</strong> (1939), which expresses feelings of exile and his response to rumours of war. Although these<br />

works were written in his student years, their content, style and general confidence reveal Lilburn<br />

as an achieved artist.<br />

Returning to Christchurch, Lilburn banded together with an innovative group of painters, poets and<br />

publishers who were to prove influential. Settings of Allen Curnow and Denis Glover, for instance,<br />

resulted in two iconic works: Landfall in Unknown Seas (1942), a voyage of spiritual discovery for<br />

narrator and string orchestra, and the song cycle Sings Harry (1953/1954), the musings of a middleaged<br />

bachelor who, returning to the mountains where he grew up, begins to reassess and evaluate<br />

the course his life has taken. Two more works, an orchestral tone poem A Song of Islands (1946) and<br />

the Chaconne (1946) for piano, find their parallel in the regional paintings of Rita Angus.<br />

In 1947 Lilburn joined the staff at Victoria University College in Wellington and completed<br />

several works that received high critical acclaim, including two symphonies, two piano sonatas,<br />

and the Alistair Campbell song cycle Elegy (1951) – a vision of the titanic indifference of nature.<br />

Lilburn composed the Symphony No.3 (1961), along with Sonatina No.2 (1962) and Nine Short<br />

Pieces for Piano (1965–66), in response to a stimulating period of sabbatical leave. Masterpieces of<br />

concentrated form, these works explore the boundaries of his instrumental writing. From this point<br />

until his retirement, Lilburn chose to take on the new territory of electro-acoustic composition.<br />

Lilburn’s final years were spent quietly at home in Thorndon, Wellington, tending to his garden and,<br />

until the onset of arthritis, playing his beloved August Förster piano. He received the Order of New<br />

Zealand in 1988.<br />

PEL22 – iv


Editor’s introduction<br />

Douglas Lilburn is widely known as the quintessential New Zealand composer rooted in the spare<br />

beauty of his native soil. For him, the sharp steep mountains, roistering rivers, and surging seas, that<br />

brought renewal and hope and, sometimes, destruction, were emblems of vitality that became the<br />

grid through which to chart the spiritual and physical worlds in a continuous cartography. He says<br />

in a talk given in 1946:<br />

I feel that a musician in this country must develop his awareness of the place he lives<br />

in, not attempting a mere imitation of nature in sound, but seeking its inner values, the<br />

manifestations of beauty and purpose it shows us from time to time, and perhaps using<br />

it as something against which he can test the validity of his own work. 1<br />

Lilburn cast <strong>Prodigal</strong> <strong>Country</strong>, his only full-length choral work, in a continuous swirling movement,<br />

which, like a winding river, creates ever-changing patterns that are slow and undisturbed until the<br />

flow quickens its pace and eddies appear that break into a turbulent wake. This special shape arises<br />

from the rhythm of alternating feelings of familiarity and strangeness evoked in the extracts from<br />

the poems he chose to set, namely Robin Hyde’s ‘Journey from New Zealand’, Allen Curnow’s ‘New<br />

Zealand City’, and Walt Whitman’s ‘Song of Myself’. Of crucial significance are Robin Hyde’s lines,<br />

which Lilburn uses as a refrain:<br />

Yet in my heart can only dissolve, re-form,<br />

The circling shapes of New Zealand things.<br />

The drifting melodic contour of Lilburn’s music controls and changes the images embedded in<br />

the narrative surface as the work advances, with the result of finally stretching time into a state of<br />

suspended consciousness, both nostalgic and expectant, distilled in a landscape that is ambivalently<br />

real and unreal.<br />

For every artist it is best to be initiated into the lore of nature as a child. Lilburn grew up on a<br />

sheep station alongside the Turakina River in a valley that he later described as ‘a Traherne-like<br />

paradise’ 2 whose loveliness he captured in Drysdale Overture (1937). ‘The river enters early into<br />

my life’, writes Lilburn, ‘a friendly, enchanting small bush river, yet with four splendid waterfalls in<br />

the Drysdale region, warm between papa banks overhung with bush, smelling of eels and moss and<br />

dead sheep too’. 3 He fished for eels, floated on log canoes, and was spellbound at the sight of the<br />

hills whose tips rose above the riverbanks to reach the stars in the night sky.<br />

The scent of home pervades the works Lilburn composed in his early twenties as a student of Ralph<br />

Vaughan Williams at the Royal College of Music in London (1937-40). Two piano sonatas, three<br />

orchestral overtures (including Drysdale and Overture: Aotearoa, now regarded as a New Zealand<br />

classic), and <strong>Prodigal</strong> <strong>Country</strong> juxtapose the exuberance of youthful passion with the metaphorical<br />

nuances of nature. These works are more intuitive than intellectual, and for all their formal beauty,<br />

there is an improvised, impulsive feel to them. Lilburn likened the sensibility of Drysdale Overture<br />

1 ‘A Search for Tradition’ in Robert Hoskins (ed.), Douglas Lilburn: Memories of Early Years and other writings<br />

(Wellington: Steele Roberts, 2014), p.58. Editions of this talk by John Mansfield Thomson were published in 1984<br />

(Alexander Library Endowment Trust) and 2011 (Lilburn Residence Trust).<br />

2 Douglas Lilburn, letter to Robert Hoskins, 22 July 1989.<br />

3 Memories of Early Years, p.22.<br />

PEL22 – v


to the pleasure Huckleberry Finn took from lying in his raft and watching the silent stars, 4 while in<br />

<strong>Prodigal</strong> <strong>Country</strong> he connects the eroticism of Robin Hyde’s images of shifting sands and shivering<br />

grasses with Walt Whitman’s river glistening like silver under a clear moon:<br />

Smile O voluptuous cool-breathed earth!<br />

Earth of the slumbering and liquid trees!<br />

Earth of departed sunset – earth of the mountains misty-topt!<br />

Earth of the vitreous pour of the full moon […]<br />

Earth of shine and dark mottling the tide of the river!<br />

Earth of the limpid gray of clouds […]<br />

Far-swooping elbow’d earth – rich apple-blossomed earth!<br />

Smile, for your lover comes.<br />

<strong>Prodigal</strong>, you have given me love – therefore I to you give love!<br />

O unspeakable passionate love. 5<br />

As with Walt and Huck, the river for Lilburn seems to represent freedom – a route to ‘light out for<br />

the Territory ahead’, beyond the narrow materialism of what Curnow called ‘the export price of<br />

butter’, to a haven without any fixed sense of time or place, which is simultaneously evocative and<br />

incomplete. 6<br />

It is this combination of the sensory and the natural, the subjective and the eternal, the instinctual<br />

and the transcendent that links <strong>Prodigal</strong> <strong>Country</strong> with Ralph Vaughan Williams’s Whitman-inspired<br />

choral works Toward the Unknown Region and Dona Nobis Pacem. Revealingly, Dona Nobis Pacem,<br />

composed the year before Lilburn entered the Royal College of Music, became the subject of a<br />

painting by Rita Angus (1944), depicting Vaughan Williams in a New Zealand paradise, including a<br />

tilled field, a rosy apple, a green paddock with sheep, and the sea with dolphins and gulls. Moreover,<br />

this painting associates itself with Angus’s portrait of Lilburn (1946), whose figure is infused with the<br />

morning blues and sandy yellows of the Canterbury coastline. 7<br />

Lilburn’s holograph pencil and ink scores reveal that he composed <strong>Prodigal</strong> <strong>Country</strong> largely between<br />

8 August and 7 September 1939, following an excursion to Scotland, which included a visit to the<br />

Perthshire village of Elcho, where his father had spent his boyhood, and a trip to the islands of Skye<br />

and Raasay. The ink score bears the nom-de-plume ‘Hebrides’, strengthening the Scottish link (and<br />

perhaps acknowledging the imprint of Scottish folksong along with the conspicuous use of drones<br />

and Scotch snap rhythm in the music); Lilburn’s own name is not inscribed because he was in fact<br />

planning to enter the work in a competition for new music as part the 1940 New Zealand centennial<br />

celebrations. Naturally, the process of composition predated the summer holiday, and we know from<br />

a letter Robin Hyde wrote to John Schroder that she met Lilburn in January, ‘a very quiet, likable<br />

4 Prefatory note to the score published by Massey University Music editions in 1994; Lilburn partially references the novel<br />

when he alludes to the freedom of ‘float[ing] down the Great River’ at the close of his unpublished journal ‘Otago Notes’,<br />

Book 8 (unpaginated), 20 February 1977, quoted in Philip Norman, Douglas Lilburn: His Life and Music (Christchurch:<br />

Canterbury University Press, 2006), p.291.<br />

5 Lilburn’s copy-text follows the 1881 edition of Leaves of Grass, except for including Whitman’s earlier usage of<br />

‘blossomed’ instead of ‘blossom’d’. Lilburn identified with the American Transcendentalists, including Thoreau and<br />

Whitman; his Central Otago crib, purchased as a retreat from Wellington in the early 70s, compares with Thoreau’s cabin<br />

in the woods, and the journals he wrote there, like Thoreau’s, portray a man of contrary thoughts, ultimately observing<br />

and questioning.<br />

6 Referring to Huck’s last words in Mark Twain’s Huckleberry Finn and to Allen Curnow’s ‘New Zealand City’.<br />

7 For reproductions of these paintings, see William McAloon and Jill Trevelyn (eds), Rita Angus: Life & Vision (Wellington:<br />

Te Papa Press, 2008), pp.116, 119.<br />

PEL22 – vi


Wanganui lad’, to discuss the setting of her poem. 8 <strong>Prodigal</strong> <strong>Country</strong> was clearly on Lilburn’s mind<br />

during the Scottish trip; Inglis Gundry, a fellow student at the Royal College who escorted him, sent<br />

a postcard to Hyde from Skye on 27 July 1939, saying: ‘I have read Douglas’s libretto and admire your<br />

lines, especially the last three [i.e. the refrain], which will give him a good opportunity musically’. 9<br />

Gundry is almost certainly referring to Lilburn’s typescript now in the Alexander Turnbull Library. 10<br />

A transcription of Hyde’s poem in this typescript reads: 11<br />

Now as I go between sands red and yellow as poppies,<br />

Or across a desert many-breasted like Kali,<br />

wet deep blue, ><br />

I shall see always these things, <br />

And my heart be broken for them |;| <br />

Earth, earth, and the purple thither-dusty grasses,<br />

I shall dream thee fat rains, waiting alone by the desert<br />

Whose white and bitter body makes mock of rain.<br />

Sheep bought for Russia, thick-sided breeding rams,<br />

With the grey grass of the steppes tangled between your teeth,<br />

Do you lift up your heads, short and bellicose, black-nosed,<br />

With the round horns curled hard as a |boxer’s|fist<br />

Do you lift up your heads snuffing their northern-watered winds<br />

That drank ice all winter, and seek, however dimly,<br />

The scent of another spring than the Muscovy spring?<br />

I too am sold into strangeness,<br />

Yet in my heart can only dissolve, re-form,<br />

The circling shapes of New Zealand things.<br />

Young crude country, hard as unbroken shell …<br />

Comparing this text with three others that survive from the time of composition, namely two Hyde<br />

typescripts (deposited in the Alexander Turnbull Library) and the first printed edition in Art in New<br />

Zealand, volume 11, number 2 (December 1938), 12 reveals that Lilburn’s copy-text is the printed<br />

version, with the subsequent change from ‘wrestler’s fists’ to ‘boxer’s fist’ presumably made at Hyde’s<br />

suggestion. Variants between Hyde’s typescripts (the second being on the paper she used in London),<br />

and the printed copy occur in the following lines. First, the earliest typescript:<br />

8 Robin Hyde to John Schroder, 25 March 1939 (MS-Papers-0280-07, Alexander Turnbull Library).<br />

9 Derek Challis and Gloria Rawlinson, The Book of Iris: A Life of Robin Hyde (Auckland: Auckland University Press, 2002),<br />

p.731. A poet as well as a composer, Gundry dedicated a set of poems to Lilburn at this time, some of which speak of his<br />

coolness (‘a granite mountain-top’), others of his vocation (‘Born in a younger wilder air/ More open and more free you<br />

have a spring/ Of hidden strength’), and yet others of their intimacies; the typescript is deposited in the Alexander Turnbull<br />

Library under the call number MS-Papers-7623-504.<br />

10 fMS-Papers-2483-059.<br />

11 In the transcriptions, deletions are given within angle brackets, insertions are within vertical lines, and editorial<br />

insertions are within square brackets.<br />

12 The earliest Hyde typescript is under the call number MS-Papers-6266-3, and the second, typed on Waterton Bond<br />

8, is in MS-Papers-9110-127; the latter is reproduced in Michele Leggott’s Young Knowledge: The Poems of Robin Hyde<br />

(Auckland: Auckland University Press, 2003), pp.332-34. The text printed in Art in New Zealand is reprinted in Charles<br />

Marris’s Best Poems of 1939, but subsequent editions, including Allen Curnow’s (1945)—even though he cited Marris as<br />

his source—and Gloria Rawlinson’s (1952), contain enough variants to suggest there were other typescripts, apparently no<br />

longer extant. I am indebted to Michele Leggott for information regarding these points.<br />

PEL22 – vii


Whose slim and bitter body makes mock of rain.<br />

Do you lift up your heads, short and bellicose, black-nosed,<br />

With the round horns curled tight as a wrestler’s fist?<br />

Do you lift your heads, snuffing their north-watered wind<br />

That drank ice all winter […]<br />

But in my heart will only dissolve, re-form,<br />

The circling shapes of familiar things.<br />

Secondly, the ‘London’ typescript:<br />

Whose white and bitter body makes mock of rain.<br />

Do you lift up your heads, short and bellicose, black-nosed,<br />

With the round horns curled hard as a boxer’s fist?<br />

Do you lift up your heads, snuffing their north-watered wind<br />

That drank ice each winter […]<br />

But in my heart will only dissolve, re-form,<br />

The circling shapes of familiar things.<br />

Thirdly, the printed text:<br />

Whose white and bitter body makes mock of rain.<br />

Do you lift up your heads, short and bellicose, black-nosed,<br />

With the round horns curled hard as a wrestler’s fists,<br />

Do you lift up your heads, snuffing their northern-watered winds<br />

That drank ice all winter […]<br />

Yet in my heart can only dissolve, re-form,<br />

The circling shapes of New Zealand things.<br />

A direct light on the Highlands experience is revealed in a letter Gundry wrote from Kinloch Hourn<br />

to Lilburn, who had already returned to London in order to compose. It speaks not only of the<br />

intensity of their relationship but also of Lilburn’s identification with the home of his ancestors:<br />

I got up and walked up the glen. It was a glorious night and the mountains looked a fine<br />

black against the moon. Some of it shed a faint coral glow, then the dawn came and the<br />

moon reflected an increasingly pinker hue on the crags. A lonely thrush started singing,<br />

and at last after what seemed many hours the sun touched the first tip of the mountains.<br />

I paced up and down the glen in a grim agony. It seemed that I was trapped there, as<br />

you had felt trapped in Fort William. In the very place where you had seemed to distil<br />

everything that was worth while in the course of one evening, I was fated to walk up<br />

and down with the ghost of you haunting me at every turn. I called it the Bloody Glen,<br />

hardly thinking of your ancestors. I longed to get away from the cruel reminders of your<br />

absence and was not happy till I at last got beyond your footsteps. 13<br />

13 Inglis Gundry to Douglas Lilburn, undated, 1939 (MS-Papers-7623-154, Alexander Turnbull Library). Perhaps Lilburn<br />

was figuring out how to create a powerful sense of place and a distinctive New Zealand geography in <strong>Prodigal</strong> <strong>Country</strong>.<br />

PEL22 – viii


Lilburn’s father, the dedicatee of Drysdale Overture, died on 17 July 1939 during the course of his<br />

son’s Scottish pilgrimage, and <strong>Prodigal</strong> <strong>Country</strong> might therefore be heard as evoking a simultaneously<br />

painful and ecstatic sense of landscape. 14 Moreover, during the course of the composition, Robin<br />

Hyde committed suicide and Europe was caught in the dragnet of war, events marked as memos by<br />

Lilburn in his draft score: ‘Aug 23rd Robin Hyde’s death’ is written above the heartfelt solo entry<br />

‘The circling shapes of New Zealand things’, and at Whitman’s line ‘Earth of the limpid gray of<br />

clouds’ is the note: ‘September 3rd Declaration of War 1939’ (coincidentally, Michael Tippett began<br />

work on A Child of Our Time on 5 September). On receiving the news of Hyde’s suicide, Gundry<br />

wrote to Lilburn:<br />

I was very cut-up about Robin while I thought that she had died of heart-failure—it<br />

seemed so sad for one of her years. But when you told me she took her own life, I’m<br />

afraid I felt less sympathy. … I’m particularly sorry for your sake as she seemed one of<br />

the few people who might join you in trying to build up an artistic life in New Zealand<br />

and you can’t afford to lose any allies in that difficult enterprise. …Don’t let the news<br />

[of impending war] interfere with your work. You must finish the choral work whatever<br />

happens. I only talk of doing something because I shouldn’t have the mental power to<br />

concentrate on music if a war broke out. The strongest thing you can do is to stick to your<br />

music, at any rate till that particular work is finished. 15<br />

In Lilburn’s world and, indeed, in all our worlds, memory carries pain as well as reverie. <strong>Prodigal</strong><br />

<strong>Country</strong> starts with a sense of opening out, deepening, and expanding, which serves as a threshold<br />

for the transformative idea of landscape as a dynamic site of cultural memory, explicitly interlocking<br />

places shaped by thoughts of mortality and the world of childhood. At home on the New Zealand<br />

farm Lilburn’s father habitually read Sir Walter Scott 16 and the earliest music he could recall was his<br />

mother singing a Scottish lullaby about swallows returning in spring. In the hushed ending to <strong>Prodigal</strong><br />

<strong>Country</strong> Lilburn hymns the ultimate unity of night, vernal love, and the river, flowing in its lyrical<br />

lines, assumes the quality of a dream sequence, perhaps emblematic of the act of remembrance itself.<br />

Indeed, Lilburn sometimes admitted self-description in his music, as in a letter to Rod Biss where<br />

he says: ‘I find J. H. [John Hopkins] very perceptive when he describes my S. 3. [Symphony No. 3]<br />

as a self-portrait!’ 17<br />

<strong>Prodigal</strong> <strong>Country</strong> is, then, the result of a complex set of crosscurrents within which elements of doubt<br />

and loss appear under the wider trajectory of remembrance and renewal. For Lilburn, the utterance<br />

of ‘New Zealand things’ is prompted by the thought of being ‘sold into strangeness’, and it is this<br />

strange recognition that defines his feeling for New Zealand as a cherished place, rather than merely<br />

a bounded or enclosed space. Asked whether he thought to live permanently in Great Britain at the<br />

time he was a student at the Royal College of Music, Lilburn responded:<br />

Yes, I may have considered staying in England, but even apart from the war I was very<br />

conscious before I ever went to England of Ian Milner, son of the Rector at Waitaki,<br />

14 In an undated letter of commiseration to Lilburn (who evidently received the news on his return to London), Inglis<br />

Gundry writes: ‘I’m sorry to hear about your father. It must be sad to think that you saw him the last time when you said<br />

good-bye to him nearly two years ago. I got the impression that you were fond of him and admired him in your own way,<br />

though your mother is the favourite.’ (MS-Papers-7623-154, Alexander Turnbull Library.)<br />

15 Inglis Gundry to Douglas Lilburn, 29 August 1939 (MS-Papers-7623-154, Alexander Turnbull Library). The tone of this<br />

letter strikes one as unfeeling in regard to Hyde.<br />

16 Douglas Lilburn to Robert Hoskins, 15 September 1995 (Ivanhoe and the novels with a Scottish setting were favoured<br />

by his father but Lilburn preferred Robert Louis Stevenson, particularly Kidnapped, a novel set in the Highlands).<br />

17 Douglas Lilburn to Rod Biss, 6 December 1993 (private collection).<br />

PEL22 – ix


saying, ‘I write with spleen from another ruined summer; one remains a colonial<br />

speaking the same language.’ I took note of that. And when I got to England of course<br />

I could pass as English or Scottish or something without much trouble with my accent,<br />

but I was always conscious of this thing. And of course I met up with some exiles because<br />

there were still exiles – people like D’Arcy Cresswell, James Courage and finally Robin<br />

Hyde. We were having coffee with Inglis Gundry and Robin Hyde in an old Warner’s<br />

Coffee House, and something was said about New Zealand by Inglis and Robin Hyde<br />

went into a throw and said, ‘New Zealand, New Zealand, New Zealand’ … And bless<br />

her of course. She committed suicide quite shortly afterwards, but that nostalgic cry<br />

remained in my memory. 18<br />

That nostalgic cry can be heard at the mid-point of <strong>Prodigal</strong> <strong>Country</strong>, when the hypnotically repeated<br />

words ‘I too am sold into strangeness’ are jolted aside by a sudden leap in dynamic level and textural<br />

weight, underpinned by a chromatic darkening, as the chorus, fortissimo, spine-tinglingly breaks out:<br />

‘Young crude country, hard as unbroken shell’.<br />

<strong>Prodigal</strong> <strong>Country</strong> was given its first performance on 23 November 1940 in a nationwide radio<br />

broadcast as a prize-winning work in the competitions marking the centenary of New Zealand.<br />

Lilburn actually entered three works, scooping the pool with Drysdale Overture and Festival<br />

Overture gaining first and second place in the orchestral category, and <strong>Prodigal</strong> <strong>Country</strong> winning<br />

the choral category. Anderson Tyrer, musical director of the centennial celebrations and one of the<br />

judges for the competition, said in his report that <strong>Prodigal</strong> <strong>Country</strong> revealed ‘some fine writing and<br />

judgement’. 19 The broadcast, which included all three works, took place in the 2YA studios and,<br />

because it was a broadcast presentation only, Lilburn (freshly returned from London) was an invited<br />

guest in company with the Prime Minister Peter Fraser, and other dignitaries. The performers<br />

included baritone Lawrence North as soloist, the A Capella Singers of Wellington, and the National<br />

Broadcasting Service String Orchestra augmented by the 2YA Concert Orchestra conducted by<br />

Anderson Tyrer. A.R.D. Fairburn, reviewing the programme, declared Lilburn’s music was of ‘a<br />

very high order’. 20 Curnow questioned the sound quality of the broadcast in a congratulatory letter<br />

to Lilburn and wryly observed ‘whereas the Whitman and Robin Hyde passages take gratefully to<br />

music, being rhapsodic & declamatory – my lines, abstract & staccato, set up strange tensions (which<br />

I don’t pretend to be able to define)’. 21 According to a letter that Robin Hyde’s mother wrote to her<br />

solicitor, Lilburn shared the prize money of seventy pounds for <strong>Prodigal</strong> <strong>Country</strong> with Derek Challis,<br />

Robin Hyde’s son. 22<br />

Surprisingly, it was nearly half a century before a second performance of <strong>Prodigal</strong> <strong>Country</strong> took<br />

place. This was in the form of a studio recording for the Kiwi-Pacific label 23 in the Wellington Town<br />

Hall on 26 June 1987, with baritone David Griffiths, the Orpheus Choir, and New Zealand Symphony<br />

Orchestra under Sir Charles Groves. A Concert FM broadcast of the recording on 28 September<br />

1987 (as part of New Zealand music week) was introduced by Ashley Heenan who observed:<br />

Those far-off days of 1939 embodied a world for students far different from that of today.<br />

18 ‘Fragments of a Stolen Conversation’ in Valerie Harris and Philip Norman (eds.), Douglas Lilburn: A Festschrift<br />

(Wellington: Composers’ Association of New Zealand, 1980), p.21.<br />

19 New Zealand Listener, 16 August 1940, p.17.<br />

20 ‘Ben Bolt’, New Zealand Observer, 4 December 1940, quoted in Norman, p.93.<br />

21 Allen Curnow to Douglas Lilburn, 10 December 1940 (MS-Papers-7623-127, Alexander Turnbull Library), quoted in<br />

Peter Simpson, Bloomsbury South: The Arts in Christchurch 1933-1953 (Auckland: Auckland University Press, 2016),<br />

pp.113-114.<br />

22 Nelly Wilkinson to William Reed Edge, 25 September 1940 (MS-Papers-9110-127, Alexander Turnbull Library).<br />

23 First issued as an LP (SLD-86), thereafter on tape (TCSLD-86) and CD (SLD-100).<br />

PEL22 – x


The parents and grandparents between them, of that generation, could recall first-hand<br />

the establishment of this country and had experienced the social circumstances effected<br />

by constitutional changes over a century. But the nostalgia of grandparents for a visit<br />

‘home’, as they called it, was being reversed by the younger generation’s nostalgic<br />

awareness for, as Douglas once put it, ‘a couple of little islands way down-under’. In<br />

retrospect, <strong>Prodigal</strong> <strong>Country</strong> is a real landmark in our musical evolution, in that through<br />

its music and the text of literary colleagues, it can all these years later, recapture the<br />

sentiment of its time and place. 24<br />

Elizabeth Kerr wrote in her review:<br />

Listening to the broadcast, it seems incredible that it has not had a well-established<br />

place in the choral repertoire. The orchestral writing is typical of the composer in his<br />

early works – a wide range, with assertive brass and the rhythmic signatures which<br />

contribute to the music’s strong sense of direction. The text is taken from writings by<br />

Robin Hyde, Allen Curnow and Walt Whitman; the choral writing is dramatic, with<br />

skilful counterpoint. Much of the piece has a starkness about it, the ‘bare harmonies<br />

of sand and wave’ described by Alistair Campbell when he wrote about Lilburn in his<br />

poem ‘Wild Honey’. 25 The baritone line is full of lyricism, however, splendidly captured<br />

by Griffiths. The gentler mood near the end of the work was particularly moving, with<br />

flowing lines and warmer string accompaniment, and a strong movement with the<br />

baritone entry over women’s voices. But here as in most of this broadcast performance<br />

I was completely frustrated by indistinguishable words. Why after all this time were we<br />

not offered a live performance? 26<br />

Prior to the broadcast Diana Wichtel wrote in her Listener column, under the heading ‘<strong>Prodigal</strong><br />

Composition’:<br />

When composer Douglas Lilburn, now 71, was a music student at Canterbury<br />

University College in the 30s, he would attend rehearsals of the radio orchestra at 3YC<br />

in Christchurch. By 1937 he was studying at the Royal College of Music in London,<br />

attending rehearsals where the conductors had names like Beecham and Toscanini. It<br />

was a heady time. ‘It was fantastic to go at my age, having so little experience of music,<br />

opera and ballet.’ It was also a time of culture shock. In 1939 Lilburn wrote <strong>Prodigal</strong><br />

<strong>Country</strong>, a cantata on texts by Robin Hyde, Allen Curnow and Walt Whitman. Like<br />

many another New Zealand artist getting a taste of extended OE [Overseas Experience],<br />

Lilburn discovered what has been one of this country’s top 10 creatively fruitful<br />

emotions, homesickness. ‘Nostalgia would be the covering word,’ he says. ‘My feelings as<br />

a student exiled in London – those writers seemed to be talking about the same theme.’<br />

When he returned to New Zealand in 1940 there was one ‘rough studio performance’ and<br />

then a very long silence, until <strong>Prodigal</strong> <strong>Country</strong> was recorded for the first time recently.<br />

Lilburn is delighted with the results. ‘It’s a very heartfelt and committed piece. It was an<br />

astonishing experience to hear, after 48 years, a work put down on paper so long ago.’<br />

He appears to be resigned about the years of neglect. ‘This is what happens to me. It has<br />

been my pattern all along. Aotearoa Overture took 20 years.’<br />

24 Preserved in the Alexander Turnbull Library under the call number MSDT-0132-08.<br />

25 Published in Campbell’s third collection, Wild Honey (1964).<br />

26 New Zealand Listener, 7 November 1987, p.94. The Listener could have included the libretto to the advantage of the<br />

broadcast.<br />

PEL22 – xi


Young composers today, says Lilburn, have a better chance of having new works<br />

performed, at least once. ‘But we’re still at a disadvantage compared with writers and<br />

poets. Anyone who writes a poem can get it published in the Listener the next week.’<br />

It might seem that nostalgia is the sole motivating force behind the recording, 48 years<br />

on, of <strong>Prodigal</strong> <strong>Country</strong>. Lilburn doesn’t think so. ‘It may well have something to say to<br />

a new audience.’ If that were not the case, he says, ‘it wouldn’t kick with energy the way<br />

it does’. 27<br />

The recording was reviewed for Canzona, the New Zealand Composers’ Association journal, by<br />

Fiona McAlpine, who described <strong>Prodigal</strong> <strong>Country</strong> as ‘something of a surprise to those of us who may<br />

think we know what Lilburn is like’. She explains:<br />

The piece begins with a low sensuous orchestral rumble and the solo baritone (David<br />

Griffiths here, with an extremely pleasing sense of line) declaims the text against this<br />

so that the total effect, while hardly ‘Wagnerian’, is nonetheless reminiscent of Wagner,<br />

especially if one thinks of what Wagner was trying to do: present a text when the musical<br />

sense is actually being carried by the background. One is more conscious of register here<br />

than the other pieces on this record [i.e. Drysdale Overture and A Birthday Offering]:<br />

apart from the opening, there is a lot of high string writing, and the baritone here delivers<br />

a more sombre and earth-old sound than I have known him do in concerts. Textures show<br />

Lilburn’s customary delicacy, and the choral writing sounds particularly well-judged<br />

in this regard: not the sparse effect with no middle that his orchestral writing might<br />

sometimes lead us to expect, but not sludge either. 28<br />

The first public performance and live broadcast was a year later on 27 August 1988 in the Wellington<br />

Town Hall, with soloist Michael Leighton Jones, the New Zealand Youth Choir and New Zealand<br />

Secondary Students’ Choir, and the New Zealand Symphony Orchestra under Sir David Willcocks. 29<br />

Alistair Gilkison prepared a handwritten conductor’s score for this occasion and Ashley Heenan<br />

arranged a piano-vocal rehearsal score (which he privately published as a ‘limited edition’ in 1999). 30<br />

Gilkison recalls that ‘at this time Lilburn was anxious for scores to be clean and up to scratch, and<br />

my ink score served that purpose. I had zero queries about the copying process, there was nothing<br />

ambiguous about Lilburn’s holograph’. 31 The choice of conductor ensured a modern English choral<br />

head-voice sound, for which Willcocks was renowned. 32 John Button, in a review entitled ‘Lilburn’s<br />

work shows its age’, admired the performance but not the work:<br />

27 New Zealand Listener, 26 September 1987, p.8.<br />

28 Canzona, summer issue (vol.11, no.31), 1989, pp.39-40. Wagnerian influence may also be detected in the plasticity of<br />

Lilburn’s orchestral tone poem A Song of Islands (1946), based on a theme not too distant from the ‘Holy Grail’ motive in<br />

Parsifal.<br />

29 The broadcast performance is preserved in the Alexander Turnbull Library under the call number MSDT-0121-5.<br />

30 I.e. six copies – just ordinary photocopies of his handwritten score; a facsimile of Heenan’s piano rehearsal score with<br />

vocal parts is preserved in the Alexander Turnbull Library under the call number MS-Papers-11920-11; a photocopy of<br />

the draft vocal score and a photocopy of the vocal score stamped ‘New Zealand Broadcasting Service’ is preserved in the<br />

Alexander Turnbull Library under the call number fMS-Papers-11920-16.<br />

31 Personal communication to Robert Hoskins, 18 March 2013.<br />

32 Timothy Day, retired Curator of Classical Music Recordings in the British Library, in an illustrated talk ‘The Singing<br />

Styles of the Cathedral Choirs’, given on Saturday 4 May at College Hall, Hereford Cathedral, said that the pivotal point<br />

came to cathedrals and Oxbridge colleges, not in the 19th century but in the 1950s, with the appointment of Willcocks<br />

to King’s in 1957: ‘Today the standards set by the choir at King’s is that to which English cathedrals aspire.’ Thanks to<br />

Christopher Bornet, formerly a librarian at the Royal College of Music, for this account.<br />

PEL22 – xii


Ashley Heenan suggests in his notes that those hearing the work in 1940 would have<br />

found it strange. After hearing this performance I can’t see why. The text of the work<br />

draws from Robin Hyde, Allen Curnow and Walt Whitman and brings forth strong<br />

images of New Zealand and its rural economy, but the 24-year-old Lilburn enfolded<br />

it in music of the England of Vaughan Williams and Finzi. Throughout its 20-minute<br />

length the young composer displayed a thorough competence with his large forces. In<br />

1988, it must be said, it makes a more pallid impression. Considering the number of<br />

New Zealand composers whose works need a hearing I wonder if absolutely everything<br />

that Douglas Lilburn composed needs exhuming. Nevertheless it received an excellent<br />

performance with baritone Michael Leighton Jones singing with intelligence and fine<br />

tone and the two young choirs sounding suitably fresh. 33<br />

A second public performance with a live broadcast took place in the Wellington Town Hall on<br />

16 March 2002 as part of the New Zealand International Festival of the Arts and a memorial tribute<br />

to Lilburn, who had died on 6 June the previous year. Jonathan Lemalu was the soloist, with Voices<br />

New Zealand and the Tower New Zealand Youth Choir, and the New Zealand Symphony Orchestra<br />

conducted by Marc Taddei. 34 Taddei says:<br />

My recollections of my performance of <strong>Prodigal</strong> <strong>Country</strong> are happy ones. Since arriving<br />

in New Zealand in 1987, I have been a great admirer of Lilburn’s music. The 2002 NZ<br />

International Festival of the Arts performance was basically a ‘dream team’ of talent.<br />

Working with Jonathan, Voices New Zealand and the National Youth Choir as well as<br />

the NZSO made for an easy yet completely committed process. 35<br />

But the critics were deflating: John Button dismissed it as nostalgic 36 and Lindis Taylor said the<br />

‘idiom’ was derivative. 37 One half-wonders if, in the future, such opinions will continue to loom in<br />

the minds of listeners, or if they will hear in <strong>Prodigal</strong> <strong>Country</strong> a voice that was engaged in resisting<br />

the influence of Europe and coaxing a new consciousness into being. To my mind, Lilburn’s ear for<br />

poetry makes it possible for us to go back to it again and again, without feeling that we have got to<br />

the bottom of either its musical interest or its meaning.<br />

Extant materials relevant to the editing of <strong>Prodigal</strong> <strong>Country</strong> are the holograph ink score preserved<br />

in the Alexander Turnbull Library under the call number fMS-Papers-2483-057, the holograph<br />

draft pencil score (with Lilburn’s typescript of the libretto), preserved in the Alexander Turnbull<br />

Library under the call number fMS-Papers-2483-059, and the parts prepared for the New Zealand<br />

Broadcasting Service, preserved in the Alexander Turnbull Library under the call number fMS-<br />

Papers-11920-18. Alistair Gilkison’s conductor’s score, preserved in the Alexander Turnbull Library<br />

under the call number fMS-Papers-11920-17, has been taken into account as a corrective aid. The<br />

copy-text for this edition is Lilburn’s holograph ink score.<br />

Robert Hoskins, Palmerston North, 2016<br />

33 The Dominion, 29 August 1988.<br />

34 This broadcast performance is preserved in the Alexander Turnbull Library under the call number MSDL-1136.<br />

35 Personal communication to Robert Hoskins, 20 March 2013.<br />

36 The Dominion, 18 March 2002.<br />

37 Evening Post, 18 March 2002.<br />

PEL22 – xiii


Editorial notes<br />

The holograph is complete, with no deleted bars or evidence of formal revision. Occasional notational<br />

and articulation inconsistencies in the source materials have been discreetly amended for uniformity.<br />

Lilburn’s very specific and non-standard use of trill lines have been rationalized to follow Promethean<br />

house style and timpani rolls have been re-notated as demi-semi-quaver strokes through the stem<br />

rather than the tr sign. Throughout the ink holograph there are rehearsal markings in blue pencil,<br />

presumably in the hand of Anderson Tyrer.<br />

Voice lines in the holograph were written with separate stems for each syllable, in this edition we<br />

have changed quaver and semi-quaver ligatures to the normal “instrumental” style.<br />

40 Vc.: In the holograph the dotted minim has a tie across a page turn but the parts confirm this was<br />

not intended.<br />

47 Hn, Tpt, Trb.1,2 and upper strings: ç is written over the bar-line, we have assumed it is intended<br />

for the first note of measure 48. The bass trombone, timpani, violoncello and double bass all<br />

have a sfz marking clearly positioned over the last beat of bar 47.<br />

64 Ob., Cl.: a2 has been added to match the flutes.<br />

65–66 Vn.II, Vla: Accents have been added to match Vn.I.<br />

70 Bn: In the holograph bassoons have a slur and tie across a page turn but they are not completed on<br />

the next page. The parts confirm they were not intended.<br />

261 B.Trb., Vc., D.B.: Holograph has a cautionary natural in parentheses at the half bar which we have<br />

deleted in accordance with house style.<br />

278 D.B.: In the holograph and parts the double basses are not tied across the bar-line, however, in<br />

context, we assume it is intended to be tied to a crotchet.<br />

293 Bn: Holograph is not clear but the parts confirm that a2 is intended.<br />

Publisher’s note<br />

Rod Biss, Auckland, 2016<br />

In the early 1940s Douglas Lilburn established what become lifelong friendships with a number of<br />

artists, writers and poets in Christchurch who, along with Lilburn, were instrumental in establishing<br />

a genuine vernacular for the arts in New Zealand. Notable among this circle were Lilburn’s close<br />

friends and fine artists Rita Angus and Leo Bensemann, both of whom shared an exchange of artistic<br />

influence with Lilburn. We chose to feature Bensemenn’s Rain in the Paradise Garden, Takaka on<br />

the front cover of the Douglas Lilburn Collected Piano Edition and similarly we have chosen to<br />

feature Bensemenn’s Canterbury Spring on the front cover of our ‘centenary collection’.<br />

The Publisher also gratefully acknowledges the assistance from the Alexander Turnbull Library,<br />

Rod Biss, Dr William Broughton, Dr Robert Hoskins, the HRL Morrison Music Trust, the Lilburn<br />

Trust, Massey University, Professor Michele Leggott and Dr Pat Sandbrook in the publication of this<br />

edition. This second volume of the edition has been jointly funded by the Lilburn Trust and the HRL<br />

Morrison Music Trust.<br />

Promethean Editions, Wellington, 2016<br />

PEL22 – xiv


<strong>Prodigal</strong> <strong>Country</strong><br />

Douglas Lilburn is now recognised as the most important composer who studied, taught and wrote<br />

in New Zealand in the twentieth century. Early in his professional life he was to compose the cantata<br />

<strong>Prodigal</strong> <strong>Country</strong>, a work which drew upon poems by three writers, the New Zealanders Robin<br />

Hyde (the pen name of Iris Wilkinson) and Allen Curnow, and the American romantic poet Walt<br />

Whitman. Each poet in a different way laments and celebrates the land and the people; each supplies<br />

the composer with poetry which has now become blended with the music of the piece in this most<br />

substantial of Lilburn’s earlier compositions.<br />

Lilburn’s student years in both New Zealand and England saw him developing his reputation as a<br />

musician in the company of a generation of artists who were to be recognised as the most significant<br />

in the first hundred years of the country’s European settlement. The association of this generation<br />

with the historian’s identification of a ‘decade of the 1930s’ has in later years been stretched by<br />

commentators on the period in order to provide them with a usefully imprecise reference to the<br />

period of time that reaches from the later years of the 1920s to the first years of World War II.<br />

Within that span of perhaps fifteen years the student and the historian can perceive economic and<br />

political changes as well as emerging patterns of cultural and artistic significance, so that it is now a<br />

commonplace to trace the beginning of a significant tradition in the fine arts to this time. The notion<br />

of significance here is frequently associated with a growing sense of national identity in poetry, fiction<br />

and painting while at the same time there is a new search for a formalism that would replace the older<br />

imitative styles which had dominated the last years of early twentieth-century colonial art.<br />

Allen Curnow, commenting on the new work of R.A.K. Mason and D’Arcy Cresswell around 1923,<br />

was to declare that the new verse of these writers ‘marked the end of the undisputed reign of whimsy<br />

in New Zealand letters’. 38 Regardless of the rightness or otherwise of Curnow’s optimism, the years<br />

between the two World Wars were characterized by an energy and enthusiasm that placed a new<br />

value on exploration and innovation. This enthusiasm for process affected music as it did painting<br />

and literature in this period, and Douglas Lilburn was soon to distinguish himself as a significant<br />

composer whose achievements kept pace with the work of his contemporaries in other fields. Viewed<br />

this way, it is sometimes difficult to separate the innovative work of those years from the notion that<br />

a ‘new generation’ was arising and this ‘new generation’ was somehow entitled to claim a cultural<br />

and historical validity that had eluded its predecessors. The habit of identifying movements in the<br />

arts with the promulgating of manifestoes was to be found in the university towns of New Zealand<br />

as much as in the artistic centres of the Northern Hemisphere; in either case it is possible to detect<br />

a tendency to rank the manifesto as being almost as significant as the art from which it derived its<br />

justification. These or similar attributes can be discerned in the lives and endeavours of what we<br />

have come to see as a ‘generation’ of emerging artists who had at least nominal personal connections<br />

with one another through the communities of the university colleges, particularly in Christchurch<br />

and Auckland.<br />

To date we have only a partial documentation that could make it possible to describe the discussion<br />

and collaboration that went on in both Christchurch and London at the time when Lilburn was<br />

seeking to establish the texts that he would use for <strong>Prodigal</strong> <strong>Country</strong>. Philip Norman’s biography<br />

Douglas Lilburn: His Life and Music (2006) and Derek Challis and Gloria Rawlinson’s volume The<br />

Book of Iris: A Life of Robin Hyde (2002) together offer us some detail concerning the dating and the<br />

general thrust of Lilburn’s discussions with Iris Wilkinson; but when it comes to Lilburn’s contacts<br />

38 Introduction to Allen Curnow’s A Book of New Zealand Verse (1945).<br />

PEL22 – xv


with Allen Curnow there is only limited biographical and bibliographical information available in<br />

print. 39<br />

Curnow scholarship was dealt a blow with the untimely death of Professor Emeritus Terry Sturm<br />

in May 2009. 40 Professor Sturm had been working on a life of the poet and was thoroughly<br />

knowledgeable on all aspects of Curnow’s poetry, including variants of the poems written before<br />

circa 1943, such as ‘New Zealand City’. In the years around the time of their publication, Curnow<br />

frequently revised these earlier poems and after 1973 held back most of them from inclusion in later<br />

collections of his oeuvre. We can nevertheless accept the version of Curnow’s poem that Lilburn<br />

set as being essentially the same as the poem that was printed and published by the Caxton Press<br />

as Enemies in 1937. 41 By a process of discussion and selection Lilburn was able to draw together,<br />

in the early months of 1939, the poetic extracts to establish their common concern. Though each<br />

of the three pieces is distinctly differentiated from the others, by tone and form at least, they are<br />

nevertheless bound to one another by the over-arching concern with ‘place’. This ‘place’ is a country<br />

that the poets and the composer alike see as being prodigal, and however the listener chooses to<br />

interpret the quality of prodigality (whether favourably or disapprovingly), it is this sense of place<br />

that infuses the work as a whole and gives validity to the idea of a common concern for both words<br />

and music, and the bonding together of the work under a unifying title.<br />

Yet, as noted, each of the three poems or part-poems has its own clearly identifiable tonal<br />

individuality. Robin Hyde’s evocative landscape is rugged and harsh as befits the South Island high<br />

country that comes to mind as the baritone images build up the ‘circling shapes of New Zealand<br />

things;’ while Allen Curnow’s poem continues the predominance of the baritone voice but now<br />

emphasises the hesitancy and unease which edges towards an Audenesque bitterness and reminds us<br />

of the economic presence of the Depression, not yet truly in the past. And daringly, Walt Whitman’s<br />

high nineteenth-century romanticism reinforces the passionate delight and sensuality of the ‘smile’<br />

at the lover’s arrival, which brings the work to its lyrical and melodic completion. Three poets’ words<br />

and one musician’s setting combine to make a remarkable composition which both surpasses what<br />

had been achieved in previous years, and prepares New Zealand music for what was to follow in the<br />

next half-century.<br />

William Broughton, Palmerston North, 2012<br />

39 The late William Broughton, who taught New Zealand literature at Massey University for 40 years, wrote this paragraph<br />

in the early stages of planning this edition. The context he refers to is now much amplified in Peter Simpson’s Bloomsbury<br />

South (see note 21).<br />

40 Terry Sturm’s literary biography Simply By Sailing in a New Direction: A Biography of Allen Curnow and Curnow’s<br />

complete Collected Poems edited by Elizabeth Caffin and Terry Sturm will be published by Auckland University Press in<br />

2017.<br />

41 The only difference in Lilburn’s typescript is the absence of a semicolon after the word ‘pain’. ‘New Zealand City’ was<br />

published again in Allen Curnow’s Collected Poems 1933-73 (Wellington: A.H. & A. W. Reed, 1974) but in an extensively<br />

revised form. The forthcoming Collected Poems will contain the revised 1974 text though the original version will appear<br />

in its Appendix. Curnow’s full 1937 text is included in this edition on pp.xix-xx.<br />

PEL22 – xvi


Text / Poems<br />

Lilburn’s typescript is reproduced here without excisions and related<br />

markings.<br />

[Robin Hyde, from Journey from New Zealand]<br />

Now as I go between sands red and yellow as poppies,<br />

Or across a desert many-breasted like Kali,<br />

I shall see always these things,<br />

And my heart be broken for them;<br />

Earth, earth, and the purple thither-dusty grasses,<br />

I shall dream thee fat rains, waiting alone by the desert<br />

Whose white and bitter body makes mock of rain.<br />

Sheep bought for Russia, thick-sided breeding rams,<br />

With the grey grass of the steppes tangled between your teeth,<br />

Do you lift up your heads, short and bellicose, black-nosed,<br />

With the round horns curled hard as a boxer’s fist,<br />

Do you lift up your heads snuffing their northern-watered winds<br />

That drank ice all winter, and seek, however dimly,<br />

The scent of another spring than the Muscovy spring?<br />

I too am sold into strangeness,<br />

Yet in my heart can only dissolve, re-form,<br />

The circling shapes of New Zealand things.<br />

Young crude country, hard as unbroken shell …<br />

[Allen Curnow, from New Zealand City]<br />

This is the land of new hopes<br />

joined with a thousand years’ despair,<br />

of children with senile faces.<br />

The shadow of Europe falls<br />

encompassing the east<br />

and the wrinkled edge of empire<br />

embraces these islands.<br />

PEL22 – xvii


Old and crooked Asia<br />

is an evil glance in the north.<br />

And eastward is the white madhouse<br />

where they breathe nervously<br />

the air-conditioned air;<br />

dollar by dollar is told<br />

the good man’s rosary.<br />

Serf to them all<br />

for pleasure or pain<br />

betrayed to the world’s<br />

garret and gutter,<br />

bought at the export<br />

price of butter.<br />

[Walt Whitman, from Song of Myself]<br />

Smile O voluptuous cool-breath’d earth!<br />

Earth of the slumbering and liquid trees!<br />

Earth of departed sunset – earth of the mountains misty-topt!<br />

Earth of the vitreous pour of the full moon<br />

Earth of shine and dark mottling the tide of the river!<br />

Earth of the limpid gray of clouds<br />

Far-swooping elbow’d earth – rich apple-blossomed earth!<br />

Smile, for your lover comes.<br />

<strong>Prodigal</strong> you have given me love – therefore I to you give love!<br />

O unspeakable passionate love.<br />

PEL22 – xviii


Allen Curnow, New Zealand City (full 1937 text)<br />

Small city your streets hold no particular legends,<br />

your brothels are inconspicuous as your churches,<br />

your potentates think in thousands not millions<br />

and the nations do not quote your newspapers.<br />

London has spawned. Here are banks in the egg,<br />

foetus Beaverbrooks, Edens and Baldwins,<br />

toy art and labour, the importance of children<br />

under an unstained sky.<br />

Yet the cloud<br />

curdles in the wind<br />

pitted with blue<br />

or the cloud<br />

returns laden, still<br />

laden after the rain<br />

and many overcoats<br />

are put on and put off<br />

and a thousand pens scratch<br />

at desks, like rats’ teeth<br />

busy in a wooden wall<br />

and rubber squeals on the tar<br />

when a man goes home<br />

at evening which must follow<br />

any toil’s end.<br />

This is the land of new hopes<br />

joined with a thousand years’ despair,<br />

of children with senile faces.<br />

The shadow of Europe falls<br />

encompassing the east<br />

and the wrinkled edge of empire<br />

embraces these islands.<br />

PEL22 – xix


Old and crooked Asia<br />

is an evil glance in the north.<br />

And eastward is the white madhouse<br />

where they breathe nervously<br />

the air-conditioned air;<br />

dollar by dollar is told<br />

the good man’s rosary.<br />

Serf to them all<br />

for pleasure or pain;<br />

betrayed to the world’s<br />

garret and gutter,<br />

bought at the export<br />

price of butter.<br />

PEL22 – xx


Instrumentation<br />

2 Flutes<br />

2 Oboes<br />

2 Clarinets in BÏ<br />

2 Bassoons<br />

4 Horns in F<br />

2 Trumpets in C<br />

2 Tenor Trombones<br />

Bass Trombone<br />

Timpani<br />

Cymbals<br />

Chorus (SATB)<br />

Solo Baritone<br />

Strings<br />

Transposed Score<br />

PEL22 – xxi


The first page of the composer’s manuscript of <strong>Prodigal</strong> <strong>Country</strong>.<br />

(Reproduced by permission of the Alexander Turnbull Library, Douglas Gordon Lilburn Papers fMS-Papers-2483-057)


<strong>Prodigal</strong> <strong>Country</strong> 1939<br />

Douglas Lilburn<br />

Flute 1<br />

Flute 2<br />

Oboe 1<br />

Oboe 2<br />

Clarinet 1 in Bb<br />

Clarinet 2 in Bb<br />

Bassoon 1<br />

Bassoon 2<br />

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Horn 2 in F<br />

Horn 3 in F<br />

Horn 4 in F<br />

Trumpet 1 in C<br />

Trumpet 2 in C<br />

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Moderato q = 80<br />

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p<br />

div.<br />

mf<br />

œ<br />

<strong>Prodigal</strong> <strong>Country</strong> © Alexander Turnbull Library Endowment Trust<br />

This edition © 2016 Promethean Editions Ltd PEL22 – 1<br />

ISMN: 979-0-67452-205-2


Fl. 1<br />

Fl. 2<br />

9<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

A<br />

∑<br />

∑<br />

∑<br />

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Ob. 1<br />

Ob. 2<br />

& b b<br />

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Cl. 2<br />

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Bn 2<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

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b b<br />

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PEL22 – 2


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

17<br />

& b b<br />

& b b<br />

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?<br />

b b<br />

& b<br />

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PEL22 – 3


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

27<br />

˙˙<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

˙<br />

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più mosso q = c.108<br />

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n œ ‰ Œ Ó ∑<br />

J<br />

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Hn 1<br />

Hn 2<br />

Hn 3<br />

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& b<br />

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Tpt 1<br />

Tpt 2<br />

& b b<br />

∑<br />

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Trb. 1<br />

Trb. 2<br />

B b b<br />

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Earth,<br />

earth,<br />

and the pur - ple thi-ther - dust - y<br />

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Vn II<br />

Va<br />

27<br />

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& b b<br />

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più mosso q = c.108<br />

œ œ œ<br />

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n œ œ<br />

æ æ<br />

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æ æ<br />

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PEL22 – 4


Fl. 1<br />

Fl. 2<br />

36<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

D<br />

∑<br />

∑<br />

∑<br />

Ob. 1<br />

Ob. 2<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cl. 1<br />

Cl. 2<br />

&<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

?<br />

b b<br />

& b<br />

& b<br />

& b b<br />

∑<br />

∑<br />

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Trb. 1<br />

Trb. 2<br />

B b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

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B.Trb.<br />

?<br />

b b<br />

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b b<br />

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Vn II<br />

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D.B.<br />

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& b b œ œ œ æ n œ<br />

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PEL22 – 5


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

45<br />

& b b<br />

& b b<br />

∑<br />

∑<br />

allargando<br />

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a tempo<br />

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accel. e cresc.<br />

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Ó Œ œ œ><br />

mf<br />

b œ<br />

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œ<br />

sf<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

&<br />

?<br />

b b<br />

& b<br />

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∑<br />

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Solo<br />

Bar.<br />

?<br />

b b<br />

b œ œ<br />

J<br />

‰ Œ<br />

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n ˙<br />

Œ<br />

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Œ<br />

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Vn II<br />

Va<br />

Vc.<br />

D.B.<br />

45<br />

& b b<br />

& b b<br />

B b b<br />

?<br />

b b<br />

?<br />

b b<br />

bo-dy<br />

œ<br />

æ<br />

œ<br />

æ<br />

œ<br />

æ<br />

makes mock<br />

œ<br />

æ<br />

œæ œæ œ<br />

æ<br />

œ<br />

æ<br />

b œ œ œ œ<br />

æ æ æ æ<br />

œ ˙ œ<br />

œ ˙ œ<br />

of<br />

allargando<br />

œ œ<br />

æ æ<br />

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æ<br />

n œ œ œ œæ<br />

æ æ æ<br />

œ<br />

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b œ œ n œæ<br />

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b ˙<br />

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rain.<br />

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Ͼ<br />

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œ<br />

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b œ<br />

sfz<br />

b œ<br />

sfz<br />

n œ . b œ ˙ .<br />

sffz<br />

n œ . b œ ˙ .<br />

sffz<br />

n œ . b œ ˙ .<br />

sffz<br />

. ˙<br />

. ˙<br />

dim.<br />

dim.<br />

œ<br />

dim.<br />

œ<br />

a tempo<br />

œ ˙ .<br />

w<br />

˙<br />

w<br />

w<br />

j<br />

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pp<br />

w<br />

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æ<br />

pp<br />

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ppp<br />

j<br />

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ppp<br />

E<br />

accel. e cresc.<br />

j<br />

œ ‰ Œ Ó<br />

ppp<br />

˙ .<br />

j<br />

œ ‰<br />

ppp<br />

œ<br />

æ<br />

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mp æ<br />

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æ<br />

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∑<br />

PEL22 – 6


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

54<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

& b<br />

& b<br />

& b b<br />

B b b<br />

?<br />

b b<br />

w<br />

˙ .<br />

w<br />

w<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

n œ<br />

w<br />

b œ<br />

w<br />

b œ œ ˙<br />

∑<br />

∑<br />

j<br />

‰ Œ Ó<br />

J<br />

œ<br />

∑<br />

∑<br />

∑<br />

œ<br />

J ‰<br />

. ˙ . ˙<br />

b œ<br />

Ó Œ j<br />

w<br />

Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Œ<br />

j<br />

œ ‰<br />

a2<br />

œ<br />

sf<br />

œ<br />

><br />

mp<br />

Ó<br />

w<br />

mf<br />

˙<br />

Œ<br />

> œ<br />

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f<br />

j<br />

œ ‰ Œ<br />

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mp<br />

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w<br />

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mf<br />

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cresc.<br />

w<br />

w<br />

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Œ<br />

w<br />

mf<br />

a2<br />

cresc.<br />

cresc.<br />

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œ<br />

f<br />

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p<br />

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p<br />

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p<br />

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><br />

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Timp.<br />

?<br />

b b<br />

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S<br />

A<br />

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B<br />

Solo<br />

Bar.<br />

Vn I<br />

Vn II<br />

Va<br />

Vc.<br />

D.B.<br />

ã<br />

& b b<br />

& b b<br />

V b b<br />

?<br />

b b<br />

?<br />

b b<br />

54<br />

& b b<br />

& b b<br />

B b b<br />

?<br />

b b<br />

?<br />

b b<br />

˙ .<br />

æ<br />

b Ͼ<br />

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æ<br />

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æ<br />

b œæ œæ œæ b œ<br />

æ<br />

∑<br />

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cresc.<br />

cresc.<br />

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œ<br />

æ<br />

b œ<br />

æ<br />

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æ<br />

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æ<br />

œ b<br />

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æ<br />

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∑<br />

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æ<br />

œ b<br />

æ<br />

œ<br />

æ<br />

∑<br />

∑<br />

œ<br />

æ<br />

œ<br />

æ<br />

œ b<br />

æ<br />

Ó Œ œ ˙<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

b œ œ œ > œ<br />

æ æ æ æ<br />

œ<br />

æ<br />

œ b<br />

æ<br />

b œ<br />

> œ<br />

æ æ<br />

b œ œ b œ ><br />

æ æ œ æ æ<br />

Œ<br />

Œ<br />

mp<br />

b œ<br />

><br />

b œ > œ<br />

f ><br />

b> œ b > œ > œ<br />

f<br />

Ó Œ œ˙<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

b œ œ œ > œ<br />

æ æ æ æ<br />

œ<br />

æ<br />

œ b<br />

æ<br />

b œ<br />

> œ<br />

æ æ<br />

b œ œ b œ ><br />

æ æ œ æ æ<br />

˙ .<br />

cresc.<br />

œ ><br />

˙ .<br />

> œ<br />

cresc.<br />

Ó Œ œ<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

b œ œ œ > œ<br />

æ æ æ æ<br />

œ<br />

æ<br />

œ b<br />

æ<br />

b œ<br />

> œ<br />

æ æ<br />

b œ œ b œ > œ æ æ æ æ<br />

. ˙ œ ><br />

˙ .<br />

œ > mf<br />

œ ˙ œ<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

œ ˙æ> > œ<br />

æ<br />

œ ˙æ> > œ<br />

æ<br />

œ ˙æ> > œ<br />

æ<br />

œ ˙><br />

œ œ œ œ<br />

œ ˙><br />

œ œ œ œ<br />

PEL22 – 7


F<br />

Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Allegro h = c.80<br />

63<br />

& b b œ.<br />

œ<br />

J ‰ Œ Ó<br />

sffz<br />

& b b œ.<br />

œ<br />

J ‰ Œ Ó<br />

sffz<br />

œ.<br />

œ<br />

& J ‰ Œ Ó<br />

sffz<br />

?<br />

b b œ.<br />

œ ‰ Œ Ó<br />

J<br />

sffz<br />

Œ<br />

a2<br />

˙> .<br />

f<br />

a2<br />

Œ ˙ .<br />

><br />

f<br />

a2<br />

˙> .<br />

Œ<br />

f<br />

∑<br />

œ ˙> n œ œ œ # œ<br />

œ ˙><br />

n œ œ œ # œ<br />

œ ˙> # œ œ œ # œ<br />

∑<br />

n œ<br />

J<br />

. ‰<br />

˙ .<br />

j<br />

n œ<br />

‰ Œ Ó<br />

.<br />

# œ<br />

J<br />

. ‰ Œ Ó<br />

∑<br />

œ<br />

J ‰ Œ Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

& b<br />

œ . ‰ Œ Ó<br />

J<br />

sffz<br />

& b<br />

w<br />

& b b<br />

sffz<br />

œ<br />

J<br />

. ‰ Œ Ó<br />

sffz<br />

B b b œ . ‰ Œ Ó<br />

J<br />

sffz<br />

?<br />

b b œ<br />

J<br />

. ‰ Œ Ó<br />

sffz<br />

j<br />

‰ Œ Ó<br />

œ .<br />

f<br />

w<br />

mf<br />

∑<br />

j<br />

œ<br />

‰ Œ Ó<br />

.<br />

f<br />

∑<br />

j<br />

‰ Œ j<br />

œ œ<br />

‰ Œ<br />

. .<br />

˙<br />

a2<br />

w<br />

mp<br />

j<br />

œ<br />

‰ Œ<br />

.<br />

j ‰ Œ<br />

œ<br />

p<br />

j<br />

œ .<br />

‰ Œ<br />

∑<br />

≈ œ .<br />

œ . œ. ˙<br />

œ ≈ œ.<br />

œ . œ. ˙<br />

f<br />

œ ˙ .<br />

.<br />

f<br />

∑<br />

∑<br />

j<br />

‰ Œ Ó<br />

œ<br />

j ‰ Œ Ó<br />

œ<br />

w<br />

dim.<br />

∑<br />

∑<br />

∑<br />

∑<br />

wœ J ‰ Œ Ó<br />

pp<br />

∑<br />

∑<br />

Timp.<br />

Cym.<br />

?<br />

b b<br />

ã<br />

œ ≈ œ ˙ .<br />

æ<br />

sff<br />

w<br />

sffz<br />

w<br />

æ<br />

mf<br />

∑<br />

w<br />

æ<br />

∑<br />

œ ≈ œ ˙ .<br />

æ<br />

ff<br />

∑<br />

w<br />

æ<br />

mf<br />

∑<br />

dim.<br />

w<br />

æ<br />

∑<br />

S<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

A<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

T<br />

V b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

f marcato<br />

œ Œ n œ ‰ œ J<br />

n œ œ Œ œ œ<br />

B<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

Sheep bought for<br />

∑<br />

Rus-sia, thick - sid -<br />

∑<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

F<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

Vn II<br />

Va<br />

Vc.<br />

D.B.<br />

Allegro h = c.80<br />

63<br />

& b b œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

sff<br />

& b b œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

sff<br />

B b b œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

sff<br />

?<br />

b b j ‰ Œ Ó<br />

œ .<br />

sffz<br />

?<br />

b b œ<br />

J<br />

. ‰ Œ Ó<br />

sffz<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

∑<br />

∑<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ > ≈ œ<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ > ≈ œ<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ<br />

><br />

∑<br />

∑<br />

≈ œ<br />

n> œ ≈ œ ˙> .<br />

n> œ ≈ œ œ ≈ œ œ ≈ œ n œ ≈ œ<br />

n > œ ≈ œ œ ≈ œ œ ≈ œ n œ ≈ œ<br />

Œ<br />

Œ<br />

œ<br />

f<br />

œ<br />

pizz.<br />

ff<br />

œ<br />

œ<br />

><br />

œ<br />

œ<br />

w<br />

œ ≈ œ n œ ≈ œ œ ≈ œ n œ ≈ œ<br />

mf<br />

œ ≈ œ œ ≈ œ n œ ≈ œ œ ≈ œ<br />

mf<br />

. ˙<br />

∑<br />

œ<br />

œ<br />

Œ Œ<br />

n œ ≈ œ<br />

mp<br />

œ ≈ œ n œ ≈ œ œ ≈ œ n œ ≈ œ<br />

œ ≈ œ œ ≈ œ n œ ≈ œ œ ≈ œ<br />

. ˙<br />

∑<br />

œ<br />

PEL22 – 8


Fl. 1<br />

Fl. 2<br />

69<br />

& b b<br />

∑<br />

∑<br />

G<br />

∑<br />

∑<br />

∑<br />

Ob. 1<br />

Ob. 2<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cl. 1<br />

Cl. 2<br />

&<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Bn 1<br />

Bn 2<br />

?<br />

b b<br />

∑<br />

w<br />

mf<br />

n œ<br />

. ≈ œ . œ . ‰ Ó<br />

J<br />

f<br />

∑<br />

∑<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

& b<br />

& b<br />

& b b<br />

˙<br />

∑<br />

∑<br />

pp<br />

j<br />

œ ‰ Œ<br />

∑<br />

≈ j<br />

œ<br />

œ . œ. œ<br />

‰ Ó<br />

.<br />

f<br />

≈ j ‰ Ó<br />

œ<br />

œ<br />

. œ.<br />

œ .<br />

f<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Ó<br />

∑<br />

∑<br />

p<br />

n ˙<br />

∑<br />

Trb. 1<br />

Trb. 2<br />

B b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

B.Trb.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Timp.<br />

Cym.<br />

?<br />

b b<br />

ã<br />

w<br />

æ<br />

∑<br />

œ ≈ œ œ Ó<br />

f<br />

∑<br />

œ ≈ œ ˙æ .<br />

mf<br />

∑<br />

wæ<br />

∑<br />

œ ≈ œ œ<br />

∑<br />

Ó<br />

S<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

A<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

T<br />

B<br />

V b b œ<br />

?<br />

b b<br />

# J œ ‰ n œ œ n œ<br />

- - ed breed - ing rams,<br />

With the grey grass<br />

of the steppes tan - gled be-tween your<br />

f marcato<br />

∑<br />

n ˙<br />

Œ œ œ<br />

∑<br />

n ˙<br />

œ Œ n œ ‰ œ J<br />

Sheep bought for<br />

˙<br />

Œ<br />

œ<br />

œ<br />

n œ<br />

# œ ˙<br />

Œ œ œ<br />

# œ<br />

œ œ n œ<br />

Rus-sia, thick - sid - - - ed breed - ing<br />

œ<br />

n œ<br />

J<br />

‰<br />

œ<br />

œ œ n œ<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

Vn II<br />

Va<br />

Vc.<br />

D.B.<br />

69<br />

& b b<br />

& b b<br />

?<br />

b b<br />

?<br />

b b<br />

˙ .<br />

œ ≈ œ œ ≈ œ n œ ≈ œ # œ ≈ œ<br />

B b b œ ≈ œ œ œ ≈ œ œ ≈ œ<br />

. ˙<br />

∑<br />

œ<br />

Œ<br />

p<br />

n œ ≈ œ n œ ≈ œ œ ≈ œ œ ≈ œ<br />

mf<br />

œ ≈ œ œ ≈ œ n œ ≈ œ œ ≈ œ<br />

œ ≈ œ œ ≈ œ # œ ≈ œ n œ<br />

Œ<br />

Œ<br />

œ œ œ ><br />

f<br />

œ œ œ<br />

ff<br />

≈ œ<br />

G<br />

œ ≈ œ ˙ .<br />

f<br />

œ ≈ œ ˙ œ<br />

f<br />

n œ ≈ œ œ ≈ œ n œ ≈ œ œ ≈ œ<br />

f<br />

œ ≈ œ . ˙<br />

arco<br />

‰ ≈ œ ˙ . R<br />

mf<br />

˙<br />

J œ ‰ Œ<br />

œ œ œ ≈ œ œ<br />

≈ œ<br />

mf<br />

# œ ≈ œ n œ ≈ œ ˙<br />

˙<br />

mf<br />

˙<br />

˙<br />

˙<br />

∑<br />

# œ ≈ œ n œ ≈ œ œ ≈ œ œ ≈ œ<br />

œ<br />

mf<br />

≈ n œ œ ≈ œ œ ≈ œ # œ ≈ œ<br />

œ ≈ œ ˙ œ<br />

œ ≈ œ ˙ œ<br />

PEL22 – 9


Fl. 1<br />

Fl. 2<br />

74<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Ob. 1<br />

Ob. 2<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cl. 1<br />

Cl. 2<br />

&<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Bn 1<br />

Bn 2<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

& b<br />

& b<br />

& b b<br />

B b b<br />

?<br />

b b<br />

n . ≈ . .<br />

j ‰ Ó<br />

# œ œ œ ˙ .<br />

. .<br />

f<br />

n œ<br />

. ≈ œ . .<br />

j ‰ Ó<br />

œ<br />

n œ œ ˙ œ<br />

f . .<br />

f<br />

.<br />

≈ n . .<br />

œ<br />

j ‰ Ó<br />

n œ œ ˙ .<br />

. .<br />

f<br />

∑<br />

∑<br />

Œ<br />

˙<br />

Œ<br />

n ˙<br />

mf<br />

˙<br />

mf<br />

˙<br />

œ<br />

J ‰<br />

œ<br />

J<br />

‰<br />

œ<br />

Œ<br />

# œ<br />

Œ<br />

Œ<br />

œ n<br />

˙ œ<br />

mf<br />

∑<br />

∑<br />

œ . j ‰ Œ Ó<br />

sf<br />

∑<br />

. j<br />

n œ<br />

‰ Œ Ó<br />

sf ∑<br />

œ<br />

. j<br />

J ‰ Œ Ó<br />

.<br />

sf<br />

∑<br />

∑<br />

Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

p<br />

˙<br />

∑<br />

∑<br />

∑<br />

mf<br />

. ≈ . .<br />

j ‰ Ó<br />

n œ œ œ ˙ .<br />

mf<br />

. .<br />

œ ≈ . œ. ˙ .<br />

mf<br />

Œ<br />

œ n<br />

˙ œ<br />

˙ .<br />

∑<br />

∑<br />

∑<br />

n œ<br />

Timp.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cym.<br />

ã<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

S<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

A<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

T<br />

V b b<br />

n ˙<br />

Ó<br />

Œ<br />

n ˙<br />

œ<br />

n ˙<br />

œ œ<br />

n ˙ .<br />

Œ<br />

œ Œ Œ œ<br />

n œ œ ˙ Œ<br />

B<br />

?<br />

b b<br />

teeth,<br />

n ˙<br />

Œ œ œ<br />

n ˙<br />

Do<br />

˙<br />

you<br />

lift up your<br />

Œ<br />

n œ<br />

# œ ˙<br />

heads,<br />

# œ œ œ œ œ<br />

short<br />

˙<br />

Ó<br />

and<br />

bel-li - cose,<br />

Œ<br />

n ˙<br />

œ<br />

rams,<br />

With the<br />

grey<br />

grass<br />

of the steppes<br />

tan - gled be-tween your<br />

teeth,<br />

Do<br />

you<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

Vn II<br />

74<br />

& b b<br />

& b b<br />

n w<br />

mp<br />

œ ≈ œ n œ ≈ œ n œ ≈ œ œ ≈ œ<br />

n ˙ .<br />

# œ ≈ œ<br />

mf<br />

n œ ≈ œ œ œ ≈ œ œ ≈ œ<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

n œ ≈ œ ˙ œ<br />

n œ ≈ œ ˙ .<br />

˙ œ ≈ œ n œ ≈ œ<br />

n ˙ .<br />

# œ ≈ œ<br />

# œ ≈ œ œ œ ≈ œ œ ≈ œ<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ<br />

n œ ≈ œ # œ ≈ œ œ ≈ œ œ ≈ œ<br />

Va<br />

B b b<br />

n œ ≈ œ # œ ≈ œ œ ≈ œ œ ≈ œ<br />

œ ≈ œ œ œ ≈ œ # œ ≈ œ<br />

n œ ≈ œ ˙ œ<br />

n œ ≈ œ œ ≈ œ # œ ≈ œ œ ≈ œ<br />

n œ ≈ œ œ œ ≈ œ œ ≈ œ<br />

œ ≈ œ œ ≈ œ n œ ≈ œ œ ≈ œ<br />

Vc.<br />

?<br />

b b<br />

j ‰ Œ Œ œ<br />

n œ . f<br />

n œ<br />

n ˙ .<br />

œ<br />

n œ .<br />

# œ .<br />

˙<br />

# œ œ . œ .<br />

œ œ<br />

j<br />

œ .<br />

‰ Œ Ó<br />

∑<br />

D.B.<br />

?<br />

b b<br />

pizz.<br />

n œ. J<br />

‰ Œ Œ œ<br />

ff<br />

n œ<br />

n œ<br />

Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

PEL22 – 10


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

80<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

H<br />

Œ<br />

n<br />

˙<br />

.<br />

˙<br />

n ˙<br />

f<br />

a2<br />

˙<br />

Œ<br />

f<br />

a2<br />

œ ≈ œ œ . ‰ Œ œ<br />

J<br />

f<br />

a2<br />

f<br />

n œ œ œ # œ<br />

œ<br />

# œ œ œ # œ<br />

n œ.<br />

Œ<br />

n œ<br />

. ˙ .<br />

.<br />

# œ . ˙ .<br />

œ .<br />

# ˙<br />

˙<br />

n œ<br />

Hn 1<br />

Hn 2<br />

& b<br />

∑<br />

∑<br />

∑<br />

1.<br />

n ˙ .<br />

mp<br />

œ<br />

n œ<br />

˙ .<br />

.<br />

f<br />

dim.<br />

w<br />

Hn 3<br />

Hn 4<br />

& b<br />

∑<br />

∑<br />

∑<br />

3.<br />

n ˙ .<br />

mp<br />

œ<br />

n œ<br />

˙ .<br />

.<br />

f<br />

dim.<br />

w<br />

Tpt 1<br />

Tpt 2<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

B b b<br />

?<br />

b b<br />

.<br />

j<br />

œ ‰ Œ Ó<br />

.<br />

J<br />

sf<br />

j<br />

œ ‰ Œ Ó<br />

.<br />

sf<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Timp.<br />

Cym.<br />

?<br />

b b<br />

ã<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

œ ≈ œ ˙ .<br />

æ<br />

mf<br />

∑<br />

œ<br />

æ<br />

p<br />

Œ<br />

∑<br />

Ó<br />

S<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

f marcato<br />

œ Œ n œ<br />

‰<br />

j<br />

œ<br />

n œ œ Œ œ œ<br />

A<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

Sheep bought for<br />

∑<br />

Rus-sia,<br />

thick-sid<br />

-<br />

∑<br />

T<br />

B<br />

V b b n œ<br />

?<br />

b b<br />

œ Œ n œ<br />

œ<br />

black - nosed, With the round horns curled<br />

as a box - er’s<br />

˙ œ œ<br />

lift up your<br />

cresc.<br />

# ˙<br />

n ˙<br />

˙ .<br />

heads,<br />

Œ<br />

# ˙<br />

˙<br />

hard<br />

œ Œ Œ œ<br />

short<br />

and<br />

œ<br />

# œ œ n œ<br />

n œ<br />

n œ œ ˙ Œ<br />

œ Œ Ó<br />

fist,<br />

œ<br />

bel-li<br />

- cose,<br />

black-nosed,<br />

œ Œ œ œ<br />

With the<br />

∑<br />

# ˙<br />

˙<br />

round<br />

horns<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

Vn II<br />

Va<br />

Vc.<br />

D.B.<br />

80<br />

& b b<br />

& b b n œ f<br />

œ . Œ œ .<br />

B b b # œ œ . Œ œ.<br />

f<br />

?<br />

b b<br />

?<br />

b b<br />

n œ . œ . Œ n œ .<br />

f<br />

Œ<br />

Œ<br />

# œ n œ<br />

f<br />

arco<br />

# œ n œ<br />

f<br />

œ<br />

><br />

œ<br />

><br />

# ˙<br />

n ˙<br />

cresc.<br />

# ˙<br />

n ˙<br />

cresc.<br />

# ˙<br />

n ˙<br />

cresc.<br />

œ ≈ œ j œ .<br />

‰ Ó<br />

œ ≈ œ j œ .<br />

‰ Ó<br />

# ˙<br />

œ ≈ œ n œ ≈ œ<br />

n ˙<br />

n œ ≈ œ œ ≈ œ<br />

# ˙<br />

œ ≈ œ n œ ≈ œ<br />

œ ≈ œ J<br />

œ . ‰ Œ œ.<br />

cresc.<br />

œ ≈ œ J<br />

œ . ‰ Œ œ .<br />

n œ ≈ œ n œ ≈ œ œ ≈ œ # œ ≈ œ<br />

œ ≈ œ # œ ≈ œ n œ ≈ œ œ ≈ œ<br />

n œ ≈ œ n œ ≈ œ œ ≈ œ œ ≈ œ<br />

n ˙ .<br />

n ˙ .<br />

Œ<br />

Œ<br />

H<br />

œ ≈ œ œ ≈ œ œ ≈ œ œ > ≈ œ<br />

n œ ≈ œ œ ≈ œ œ ≈ œ > œ ≈ œ<br />

œ ≈ œ J<br />

œ. ‰ Ó<br />

œ ≈ œ J<br />

œ . ‰ Ó<br />

sf<br />

œ ≈ œ J<br />

œ . ‰ Ó<br />

sf<br />

n> œ ≈ œ ˙> .<br />

n> œ ≈ œ ˙><br />

∑<br />

∑<br />

∑<br />

œ<br />

PEL22 – 11


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

86<br />

œ<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

˙<br />

˙<br />

# œ.<br />

J<br />

‰<br />

n œ œ n œ<br />

n<br />

˙<br />

#<br />

# ˙<br />

˙<br />

˙<br />

n ˙<br />

n ˙ .<br />

j<br />

œ ‰ Œ Ó<br />

n ˙ .<br />

j<br />

œ ‰ Œ Ó<br />

# ˙ .<br />

œ<br />

œ<br />

Œ<br />

Œ<br />

# œ . œ . n œ. œ .<br />

n w<br />

n ˙<br />

# n œ<br />

. ‰ œ .<br />

J<br />

# ˙<br />

# # œ<br />

. œ. J ‰<br />

œ.<br />

Œ<br />

Ó<br />

œ<br />

n œ.<br />

# œ. ˙<br />

# w˙<br />

œ œ<br />

w<br />

˙<br />

∑<br />

# œ œ<br />

# œ œ n œ . œ .<br />

j<br />

n ‰ œ .<br />

# œ œ n œ n œ<br />

.<br />

.<br />

j<br />

# ‰ œ # .<br />

# œ œ # œ œ<br />

.<br />

.<br />

# . .<br />

j<br />

˙<br />

œ ‰<br />

œ<br />

J<br />

.<br />

.<br />

f<br />

n œ Œ Ó<br />

n œ<br />

. Œ Ó<br />

.<br />

# œ<br />

. œ<br />

. #<br />

˙˙<br />

œ<br />

n w<br />

Hn 1<br />

Hn 2<br />

& b<br />

œ<br />

J ‰ Œ Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Hn 3<br />

Hn 4<br />

& b<br />

œ<br />

J ‰ Œ Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Tpt 1<br />

Tpt 2<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Trb. 1<br />

Trb. 2<br />

B b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

B.Trb.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Timp.<br />

Cym.<br />

?<br />

b b<br />

ã<br />

∑<br />

∑<br />

∑<br />

∑<br />

œ ≈ Ó<br />

œ œ<br />

mf<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

w æ<br />

mp ><br />

∑<br />

S<br />

A<br />

T<br />

B<br />

& b b<br />

& b b<br />

V b b mf<br />

# œ Œ œ ‰ œ J<br />

?<br />

b b<br />

œ<br />

# œ<br />

J<br />

‰ n œ œ n œ<br />

- - ed breed - ing rams,<br />

With the grey grass<br />

of the steppes tang - led be-tween your<br />

∑<br />

Sheep bought for<br />

˙<br />

curled<br />

n ˙<br />

hard<br />

n ˙<br />

Œ œ œ<br />

∑<br />

n œ œ ˙ Œ<br />

Rus-sia,<br />

Sheep bought for Rus - sia,<br />

œ<br />

# œ œ n œ<br />

œ<br />

as a box - er’s<br />

n ˙<br />

f<br />

œ<br />

Sheep<br />

Œ<br />

˙<br />

n œ<br />

‰ j œ<br />

bought for<br />

n œ Œ # œ ‰ œ J<br />

œ Œ Ó<br />

fist,<br />

marcato<br />

Œ<br />

n œ<br />

# œ ˙<br />

œ œ Œ œ œ<br />

Rus-sia,<br />

thick - sid - - ed breed - ing<br />

œ œ ˙<br />

∑<br />

J œ ‰<br />

# œ œ œ n œ<br />

œ<br />

œ<br />

j<br />

n œ ‰ œ œ n œ<br />

n œ Œ # œ ‰ œ J<br />

Sheep bought for<br />

mf<br />

œ Œ œ ‰ J œ<br />

Sheep bought for<br />

n ˙<br />

teeth,<br />

n ˙<br />

rams,<br />

n œ œ ˙ .<br />

Rus-sia,<br />

œ œ ˙ .<br />

Rus-sia,<br />

Ó<br />

Œ<br />

œ<br />

œ<br />

With the<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

Vn II<br />

Va<br />

Vc.<br />

86<br />

& b b œ ≈ œ.<br />

mf<br />

œ<br />

J<br />

. ‰ Ó<br />

& b b œ ≈<br />

j<br />

œ . œ. ‰ ˙<br />

mf<br />

B b b # œ ≈ œ . J œ. ‰ Ó<br />

mf<br />

?<br />

b b œ ≈ j<br />

œ . œ. ‰ Ó<br />

mf<br />

∑<br />

# ˙<br />

n œ .<br />

œ .<br />

∑<br />

∑<br />

œ ≈ œ J<br />

œ . ‰ Ó<br />

œ ≈ œ j œ .<br />

‰ Ó<br />

n œ ≈ œ œ j<br />

. ‰ Ó<br />

œ ≈ œ j œ .<br />

‰ Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

œ ≈ œ œ . J ‰ Œ n œ<br />

# œ ≈ œ n œ . ‰ Œ<br />

J<br />

n œ<br />

≈ œ<br />

≈ œ<br />

n œ ≈ œ œ . J ‰ Œ # œ ≈ œ<br />

œ ≈ œ<br />

j<br />

œ .<br />

‰ Œ œ ≈ œ<br />

n œ<br />

J<br />

. ‰ Œ Ó<br />

j<br />

n œ<br />

‰ Œ Ó<br />

.<br />

j<br />

n œ . ‰ Œ Ó<br />

j<br />

œ .<br />

‰ Œ Ó<br />

D.B.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

PEL22 – 12


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

n œ<br />

92<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

J<br />

f<br />

≈ œ. J œ. ‰ Ó<br />

n œ ≈ œ . œ . ‰ Ó<br />

J<br />

f<br />

# œ<br />

# œ ≈ œ . œ.<br />

œ<br />

J<br />

œ ‰<br />

f<br />

Ó<br />

a2<br />

n ˙<br />

œ . ‰ J œ.<br />

f<br />

œ. œ.<br />

Œ<br />

∑<br />

∑<br />

∑<br />

Ó<br />

n œ<br />

≈ œ.<br />

œ .<br />

J<br />

‰ Ó<br />

n<br />

#<br />

œ ≈ œ . œ . ‰ Ó<br />

J<br />

# œ<br />

œ<br />

n ˙<br />

≈ œ œ .<br />

j œ<br />

œ .<br />

‰ Ó<br />

# œ . ‰<br />

j<br />

œ .<br />

∑<br />

∑<br />

∑<br />

# œ . œ . Œ Ó<br />

n œ<br />

≈ œ J œ. ‰ Ó<br />

n n œ ≈ œ œ . ‰ Ó<br />

J<br />

# œ ≈ œ œ<br />

j<br />

‰ Ó<br />

# œ œ œ .<br />

Œ<br />

˙<br />

n œ<br />

Hn 1<br />

Hn 2<br />

& b<br />

∑<br />

∑<br />

∑<br />

∑<br />

Œ<br />

# n ˙<br />

mf<br />

œ<br />

# œ<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

& b<br />

& b b<br />

B b b<br />

Œ<br />

n n ˙˙<br />

mp<br />

∑<br />

∑<br />

œ<br />

# œ<br />

n .<br />

J<br />

œ<br />

f<br />

‰ Œ<br />

∑<br />

∑<br />

œ . ‰<br />

J<br />

J œ œ . ‰<br />

# n .<br />

J<br />

œ<br />

∑<br />

‰ Œ Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

Œ<br />

n ˙˙<br />

mf<br />

∑<br />

∑<br />

œ œ #<br />

B.Trb.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Timp.<br />

?<br />

b b<br />

j<br />

œ ‰ Œ Ó<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cym.<br />

ã<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

S<br />

& b b<br />

Œ<br />

n ˙<br />

œ<br />

n ˙<br />

œ œ<br />

n ˙<br />

Ó<br />

œ Œ Œ œ<br />

n œ œ ˙ Œ<br />

Do<br />

you<br />

lift up your<br />

heads,<br />

short<br />

and<br />

bel-li<br />

- cose,<br />

A<br />

T<br />

& b b<br />

V b b<br />

n ˙<br />

grey<br />

Œ<br />

f<br />

n ˙<br />

˙<br />

grass<br />

# œ<br />

Œ<br />

˙<br />

n œ<br />

# œ ˙<br />

of the steppes<br />

n œ<br />

œ<br />

# œ<br />

œ œ œ œ<br />

tang - led be-tween your<br />

n ˙<br />

Ó<br />

˙<br />

teeth,<br />

n œ<br />

Œ Œ œ<br />

Ó<br />

Œ<br />

n ˙<br />

Do<br />

œ<br />

you<br />

# œ œ ˙ Œ<br />

B<br />

?<br />

b b<br />

n œ<br />

Do<br />

Œ<br />

œ<br />

you<br />

‰ J œ<br />

lift up your<br />

œ œ ˙ .<br />

heads,<br />

n œ<br />

Œ # œ<br />

‰<br />

j<br />

œ<br />

short<br />

# œ œ ˙ .<br />

and<br />

bel-li<br />

- cose,<br />

Œ<br />

f<br />

˙<br />

n œ<br />

Sheep bought for<br />

Rus-sia,<br />

Sheep bought for Rus-sia,<br />

Do<br />

you<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

J<br />

92<br />

& b b n œ ≈ œ œ œ ≈ œ # œ ≈ œ<br />

œ ≈ œ œ ≈ œ n œ ≈ œ œ<br />

œ<br />

≈ n œ<br />

œ<br />

J<br />

. ‰ Ó<br />

Ó Œ n œ<br />

≈ œ<br />

n œ ≈ œ œ œ ≈ œ œ ≈ œ<br />

Vn II<br />

& b b<br />

n œ ≈ œ ˙ œ<br />

n œ<br />

J<br />

. ‰ Œ Ó<br />

n œ ≈ œ œ œ ≈ œ # œ ≈ œ<br />

œ ≈ œ n œ ≈ œ # œ ≈ œ œ<br />

œ<br />

≈ # œ œ n œ<br />

œ<br />

Va<br />

B b b<br />

œ ≈ œ ˙ # œ<br />

n œ<br />

J<br />

. ‰ Œ Ó<br />

# œ ≈ œ œ n ˙<br />

œ.<br />

J<br />

‰ Œ Ó<br />

n œ ≈ œ ˙ .<br />

Vc.<br />

?<br />

b b<br />

∑<br />

œ œ .<br />

œ<br />

J<br />

≈ œ œ.<br />

J<br />

‰<br />

∑<br />

# œ œ .<br />

œ ≈ œ œ<br />

J<br />

. J ‰<br />

∑<br />

D.B.<br />

?<br />

b b<br />

∑<br />

œ œ .<br />

œ<br />

J<br />

≈ œ œ . J ‰<br />

∑<br />

# J œ œ .<br />

œ ≈ œ œ . J ‰<br />

∑<br />

PEL22 – 13


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

97<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

# œ.<br />

J<br />

‰ Œ<br />

∑<br />

∑<br />

∑<br />

œ. n œ .<br />

# œ<br />

≈ œ<br />

œ.<br />

J<br />

# œ ≈ œ œ.<br />

J<br />

# œ<br />

# œ<br />

≈ œ œ J<br />

œ<br />

œ<br />

.<br />

‰ Ó<br />

‰ Ó<br />

‰ Ó<br />

# ˙ .<br />

Œ<br />

∑<br />

∑<br />

∑<br />

œ . Œ Œ œ .<br />

n œ<br />

≈ œ<br />

n J œ .<br />

‰ Ó<br />

n œ ≈ œ # œ . ‰ Ó<br />

J<br />

œ<br />

# œ ≈ œ # œ.<br />

œ J<br />

œ<br />

n ˙ .<br />

‰ Ó<br />

Œ<br />

K<br />

œ ≈ œ ˙ .<br />

ff<br />

œ<br />

œ ≈ œ ˙<br />

œ ˙ .<br />

ff<br />

œ<br />

œ ≈ œ ˙ .<br />

œ ˙ .<br />

ff<br />

œ ≈ œ œ j<br />

. ‰ Ó<br />

ff<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

& b<br />

& b<br />

& b b<br />

# œ<br />

. ‰ Œ<br />

J<br />

sf<br />

#<br />

J<br />

œ<br />

. ‰ Œ<br />

sf<br />

∑<br />

œ . ‰<br />

J<br />

œ . ‰<br />

J<br />

j<br />

# œ ‰ .<br />

j<br />

# œ ‰ .<br />

#<br />

J<br />

œ<br />

. ‰ Œ Ó<br />

œ<br />

j<br />

‰ Œ Ó<br />

# œ .<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

1.<br />

Œ ˙ œ<br />

mp cresc.<br />

3.<br />

Œ ˙ œ<br />

mp cresc.<br />

∑<br />

Tpt 2<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Trb. 1<br />

Trb. 2<br />

B b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

B.Trb.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Timp.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cym.<br />

ã<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

S<br />

A<br />

T<br />

B<br />

& b b n œ<br />

& b b<br />

V b b<br />

œ Œ n œ<br />

?<br />

b b # ˙<br />

œ n œ<br />

œ<br />

black - nosed, With the round horns curled<br />

hard<br />

as a box - er’s<br />

˙ œ œ<br />

lift up your<br />

n œ<br />

œ Œ œ œ<br />

black - nosed, With the round horns<br />

curled<br />

as a box - er’s<br />

lift up your<br />

# ˙<br />

n ˙<br />

˙ .<br />

heads,<br />

# ˙<br />

n ˙<br />

# ˙ .<br />

Œ<br />

heads,<br />

cresc.<br />

cresc.<br />

Œ<br />

# ˙<br />

˙<br />

œ<br />

short<br />

n ˙<br />

Œ Œ œ<br />

n ˙<br />

and<br />

hard<br />

œ Œ Œ œ<br />

short<br />

and<br />

œ<br />

n œ œ ˙<br />

# œ œ n œ<br />

n œ<br />

bel - li - cose,<br />

black-nosed,<br />

œ<br />

Œ<br />

n œ œ œ # œ<br />

n œ œ ˙ Œ<br />

œ Œ Ó<br />

fist,<br />

bel - li - cose,<br />

black-nosed,<br />

œ<br />

œ<br />

Œ<br />

œ Œ Ó<br />

fist,<br />

œ<br />

œ<br />

œ<br />

With the<br />

œ Œ œ œ<br />

With the<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

Vn II<br />

Va<br />

Vc.<br />

D.B.<br />

97<br />

& b b œ ≈ œ n œ ≈ œ # œ ≈ œ œ<br />

& b b<br />

B b b<br />

?<br />

b b<br />

?<br />

b b<br />

# J œ . ‰ Œ Ó<br />

œ<br />

J<br />

. ‰ Œ Ó<br />

# œ œ .<br />

œ ≈ œ<br />

J<br />

n œ . J ‰<br />

# J œ .<br />

cresc.<br />

cresc.<br />

œ œ ≈ œ n œ . J ‰<br />

cresc.<br />

œ<br />

≈ # œ<br />

œ<br />

J<br />

. ‰ Œ n œ<br />

# œ ≈ œ œ œ ≈ œ œ ≈ œ<br />

cresc.<br />

œ ≈ œ J<br />

œ . ‰ Œ<br />

cresc.<br />

# œ<br />

J<br />

. ‰ Œ Ó<br />

# œ<br />

J<br />

. ‰ Œ Ó<br />

n œ<br />

# ˙<br />

œ ≈ œ n œ<br />

n œ ≈ œ œ ≈ œ œ ≈ œ œ<br />

˙<br />

n ˙<br />

œ<br />

J<br />

. ‰ Œ Œ J œ .<br />

œ<br />

J<br />

. ‰ Œ Œ J œ .<br />

≈ œ<br />

‰<br />

‰<br />

n œ<br />

œ<br />

œ<br />

≈ œ<br />

≈ n œ<br />

≈ n œ<br />

n œ ≈ œ œ ≈ œ # œ ≈ œ<br />

# œ ≈ œ n œ ≈ œ n œ ≈ œ<br />

n œ ≈ œ œ ≈ œ # œ ≈ œ<br />

n œ. J<br />

‰ Œ Ó<br />

n œ. J<br />

‰ Œ Ó<br />

K<br />

œ ≈ œ ˙ .<br />

ff<br />

œ ≈ œ ˙ .<br />

ff<br />

œ ≈ œ ˙ .<br />

ff<br />

œ ≈ œ œ j<br />

. ‰ Ó<br />

ff<br />

œ ≈ œ œ j<br />

. ‰ Ó<br />

ff<br />

PEL22 – 14


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

Timp.<br />

Cym.<br />

S<br />

A<br />

T<br />

B<br />

Solo<br />

Bar.<br />

Vn I<br />

Vn II<br />

Va<br />

Vc.<br />

D.B.<br />

102 w<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

& b<br />

& b<br />

& b b<br />

& b b<br />

B b b<br />

?<br />

b b<br />

?<br />

b b<br />

ã<br />

& b b<br />

& b b<br />

V b b<br />

?<br />

b b n ˙<br />

?<br />

b b<br />

102<br />

& b b w ≤<br />

& b b w<br />

B b b<br />

?<br />

b b<br />

?<br />

b b<br />

w<br />

w<br />

w<br />

w<br />

n ˙<br />

n ˙<br />

n ˙<br />

cresc.<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

˙<br />

˙<br />

˙<br />

round horns<br />

cresc.<br />

∑<br />

˙<br />

round horns<br />

w<br />

∑<br />

∑<br />

∑<br />

w<br />

mp<br />

w<br />

w<br />

mp<br />

a2<br />

w<br />

mp<br />

∑<br />

# ˙<br />

˙<br />

# ˙<br />

˙<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

mp<br />

œ Œ œ ‰<br />

j<br />

œ<br />

Sheep bought for Rus-sia,<br />

n ˙<br />

curled<br />

n ˙<br />

curled<br />

∑<br />

∑<br />

˙<br />

hard<br />

˙<br />

hard<br />

˙≥ œ ≤ ‰ J œ≥ .<br />

mp<br />

w<br />

mp<br />

w<br />

mp<br />

∑<br />

∑<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙ .<br />

mf<br />

œ<br />

˙ .<br />

f<br />

œ<br />

˙ .<br />

f<br />

œ œ ˙ .<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

n œ<br />

n œ<br />

# œ<br />

. œ . œ . n œ<br />

.<br />

# œ<br />

. œ . œ . .<br />

n<br />

œ<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

n œ œ œ n œ<br />

as a box - er’s fist,<br />

Rus-sia,<br />

∑<br />

n œ œ œ n œ<br />

as a box - er’s<br />

œ ≤ œ≥ .<br />

œ ≈ œ ≤ œ ≥<br />

J<br />

˙<br />

˙<br />

˙ .<br />

mf<br />

˙ .<br />

mf<br />

∑<br />

˙<br />

˙<br />

n œ<br />

n œ<br />

˙<br />

˙<br />

˙<br />

n ˙<br />

œ<br />

œ<br />

≈ n<br />

n<br />

œ œ<br />

œ<br />

œ<br />

˙ œ ≈ œ œ<br />

œ<br />

œ<br />

≈ œ œ<br />

j<br />

œ œ<br />

‰ Ó<br />

.<br />

j<br />

œ . ‰ Œ Ó<br />

≈ œ ˙ .<br />

. j<br />

œ ‰ Œ Ó<br />

dim.<br />

≈ œ ˙ .<br />

dim.<br />

j<br />

˙<br />

n œ . ‰ œ .<br />

p<br />

∑<br />

∑<br />

∑<br />

œ ≈ œ ˙æ .<br />

mf<br />

∑<br />

˙<br />

œ<br />

J ‰ Œ<br />

Œ Ó<br />

œ<br />

mp<br />

œ Œ n œ<br />

‰ œ J<br />

Sheep bought for<br />

œ Œ Ó<br />

fist,<br />

∑<br />

˙<br />

˙≤<br />

˙ œ ≈ œ œ<br />

˙ œ ≈ œ œ<br />

œ ≈ œ ˙ œ<br />

sf<br />

mp<br />

œ ≈ œ ˙ œ<br />

sf<br />

PEL22 – 15<br />

mp<br />

w<br />

w<br />

w<br />

. ˙<br />

w<br />

4.<br />

w<br />

n œ . œ ˙ .<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

œ<br />

œ œ Œ ‰ ≈ r j<br />

œ œ ‰<br />

mp<br />

∑<br />

n œ œ ˙ .<br />

Rus-sia,<br />

∑<br />

∑<br />

∑<br />

∑<br />

œ n œ . œ ≈ œ œ<br />

J<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

w<br />

w<br />

˙<br />

mp<br />

w<br />

w<br />

w<br />

˙<br />

n ˙<br />

˙<br />

∑<br />

J œ ‰ Œ<br />

˙ œ . ‰<br />

p<br />

œ<br />

Œ<br />

∑<br />

∑<br />

˙æ<br />

∑<br />

∑<br />

mp<br />

œ Œ œ ‰<br />

j<br />

œ .<br />

j<br />

œ<br />

Sheep bought for<br />

˙<br />

J œ ‰ Œ<br />

˙<br />

œ<br />

œ<br />

œ<br />

œ<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

∑<br />

∑<br />

n ˙<br />

cresc. poco a poco<br />

œ<br />

œ<br />

cresc. poco a poco<br />

œ<br />

œ<br />

cresc. poco a poco<br />

œ<br />

œ<br />

cresc. poco a poco<br />

œ ˙ œ<br />

cresc. poco a poco<br />

J œ œ . œ œ œ ≈<br />

cresc. poco a poco<br />

j<br />

œ<br />

œ ‰ Œ Ó<br />

cresc. poco a poco<br />

œ œ . œ ≈ œ œ<br />

J<br />

cresc. poco a poco<br />

˙<br />

w<br />

cresc. poco a poco<br />

w<br />

cresc. poco a poco<br />

œ . œ ˙ .<br />

∑<br />

˙<br />

∑<br />

∑<br />

∑<br />

œ œ Œ ‰ ≈ r<br />

œ<br />

œ œ ˙ .<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

œ œ . œ ≈ œ œ<br />

J<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

cresc. poco a poco<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

œ j ‰


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

109<br />

& b b<br />

& b b<br />

˙<br />

˙<br />

˙<br />

˙<br />

n ˙<br />

n ˙<br />

œ œ . œ œ œ ≈<br />

J<br />

œ<br />

œ<br />

J<br />

œ .<br />

œ .<br />

œ<br />

œ ≈ œ œ œ œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

L<br />

œ œ . œ œ œ ≈<br />

J<br />

œ<br />

œ<br />

J<br />

n œ<br />

œ œ œ<br />

n œ . œ ≈ œ œ<br />

w<br />

w<br />

w<br />

œ<br />

J<br />

w<br />

w<br />

‰ Œ Ó<br />

˙ œ . ‰ J œ.<br />

f<br />

œ<br />

œ Œ Ó<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

&<br />

?<br />

b b<br />

˙<br />

˙<br />

∑<br />

J œ œ . œ ≈ œ œ<br />

∑<br />

˙<br />

˙<br />

∑<br />

œ œ . œ ≈ œ œ<br />

J<br />

∑<br />

w<br />

∑<br />

œ<br />

J ‰ Œ Ó<br />

∑<br />

˙ œ.<br />

f<br />

n<br />

n<br />

˙ .<br />

f<br />

‰ J œ .<br />

#<br />

œ<br />

Hn 1<br />

Hn 2<br />

& b<br />

˙ œ .<br />

w<br />

j<br />

œ<br />

n œ œ ˙ .<br />

w<br />

˙ œ .<br />

w<br />

j<br />

n œ<br />

œ<br />

w<br />

œ ˙<br />

j<br />

œ ‰<br />

˙ .<br />

∑<br />

J œ ‰<br />

∑<br />

∑<br />

Hn 3<br />

Hn 4<br />

& b<br />

w<br />

w<br />

w<br />

w<br />

j<br />

œ ‰ Œ Ó<br />

∑<br />

∑<br />

Tpt 1<br />

& b b<br />

˙<br />

n œ . ‰<br />

j<br />

œ .<br />

n œ . œ ˙ .<br />

˙<br />

J œ ‰ Œ<br />

∑<br />

˙<br />

n œ . ‰<br />

j<br />

œ .<br />

n œ . œ ˙ .<br />

˙<br />

œ<br />

J ‰ Œ<br />

Tpt 2<br />

& b b<br />

cresc. poco a poco<br />

˙<br />

œ<br />

J ‰ Œ<br />

∑<br />

˙ œ . ‰<br />

j<br />

œ .<br />

œ . œ ˙ .<br />

˙<br />

J œ ‰ Œ<br />

∑<br />

˙ œ . ‰<br />

j<br />

œ .<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

B b b<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Œ<br />

n<br />

n<br />

˙˙<br />

∑<br />

œ<br />

œ<br />

n œ.<br />

n œ<br />

J<br />

‰ Œ<br />

œ.<br />

œ ‰<br />

J<br />

∑<br />

j<br />

œ<br />

œ .<br />

‰<br />

n w<br />

n w<br />

∑<br />

˙<br />

˙<br />

∑<br />

œ<br />

œ<br />

J<br />

‰ Œ<br />

Timp.<br />

Cym.<br />

?<br />

b b<br />

ã<br />

œ<br />

p<br />

Œ<br />

˙æ<br />

∑<br />

œ œ Œ ‰ ≈ r<br />

œ<br />

∑<br />

j<br />

œ ‰<br />

œ<br />

Œ<br />

˙æ<br />

∑<br />

œ œ Œ ‰ ≈ r<br />

œ<br />

∑<br />

j<br />

œ ‰<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

S<br />

A<br />

T<br />

B<br />

& b b<br />

& b b<br />

V b b<br />

?<br />

b b<br />

mf<br />

œ Œ n œ ‰ œ J<br />

Sheep bought<br />

˙<br />

œ<br />

J ‰ Œ<br />

∑<br />

∑<br />

for<br />

n œ œ ˙ .<br />

Rus-sia,<br />

Sheep bought for Rus-sia,<br />

∑<br />

∑<br />

∑<br />

˙<br />

J œ ‰ Œ<br />

mf<br />

œ Œ œ ‰<br />

Sheep bought<br />

∑<br />

∑<br />

j<br />

œ<br />

œ œ ˙ .<br />

for Rus-sia,<br />

Œ<br />

Œ<br />

f<br />

n ˙<br />

Do<br />

f<br />

n ˙<br />

Do<br />

∑<br />

œ<br />

you<br />

œ<br />

you<br />

œ Œ n œ ‰ œ J<br />

˙<br />

J œ ‰ Œ<br />

n ˙<br />

œ œ<br />

lift up your<br />

n ˙<br />

œ œ<br />

lift up your<br />

n œ œ ˙ .<br />

n ˙<br />

heads<br />

n ˙<br />

heads<br />

∑<br />

Ó<br />

Ó<br />

˙<br />

œ<br />

J ‰ Œ<br />

œ Œ œ ‰<br />

j<br />

œ<br />

Sheep bought for<br />

n œ œ ˙ # œ<br />

snuff-ing<br />

their<br />

n œ œ ˙ œ<br />

snuff-ing<br />

their<br />

Solo<br />

Bar.<br />

Vn I<br />

?<br />

b b ∑<br />

109<br />

& b b ˙ ˙<br />

∑<br />

œ n œ .<br />

J<br />

œ ≈ œ œ<br />

˙<br />

∑<br />

n ˙<br />

L<br />

∑<br />

œ œ . œ ≈ œ œ<br />

J<br />

˙<br />

∑<br />

˙<br />

∑<br />

œ n œ . œ ≈ œ œ<br />

J<br />

˙<br />

∑<br />

n ˙<br />

Vn II<br />

& b b<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

n ˙<br />

Va<br />

B b b<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

œ<br />

œ<br />

n ˙<br />

n ˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

Vc.<br />

D.B.<br />

?<br />

b b<br />

?<br />

b b<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

œ ˙ œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

œ ˙ œ<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

œ<br />

œ<br />

˙<br />

˙<br />

œ<br />

œ<br />

œ ˙ œ<br />

˙<br />

˙<br />

˙<br />

Ó<br />

Ó<br />

n ˙ .<br />

mf<br />

n ˙ .<br />

mf<br />

# œ<br />

œ<br />

PEL22 – 16


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

116<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

œ . œ . œ<br />

J ≈ œ œ . J ‰<br />

∑<br />

œ. œ . œ œ œ.<br />

J ≈<br />

J ‰<br />

n n œ˙<br />

œ # œ n<br />

œ<br />

a2<br />

˙<br />

∑<br />

j<br />

n œ ‰ œ .<br />

∑<br />

# œ n<br />

œ<br />

œ<br />

˙˙<br />

∑<br />

n œ<br />

J<br />

. œ . œ ≈ œ œ . J ‰<br />

œ<br />

Œ<br />

∑<br />

n ˙<br />

˙ œ . ‰ J œ.<br />

∑<br />

˙ œ.<br />

‰ Jœ .<br />

n<br />

˙ #<br />

˙<br />

J œ. œ . œ ≈ œ œ . J ‰<br />

∑<br />

œ. œ . œ œ œ.<br />

J ≈ J ‰<br />

n w˙<br />

# ˙<br />

M<br />

#<br />

Œ<br />

n ˙<br />

f<br />

Œ ˙<br />

f<br />

Œ<br />

w<br />

n w<br />

œ<br />

# œ<br />

# ˙ œ<br />

f<br />

n œ<br />

. œ . œ . J ‰ Œ J ‰ J ‰<br />

n<br />

n<br />

.<br />

œ<br />

J<br />

œ<br />

‰ Œ J<br />

œ . ‰ œ . J ‰<br />

# œ.<br />

œ. .<br />

J ‰ Œ J ‰ Jœ<br />

j<br />

œ n ˙˙<br />

‰ Œ n<br />

J<br />

‰<br />

# n . œ<br />

n œ<br />

J ‰ Œ Œ<br />

mf<br />

# n ˙ .<br />

œ<br />

n œ<br />

# œ.<br />

mf<br />

J ‰ Œ Ó<br />

n w<br />

n w<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

& b<br />

& b<br />

& b b<br />

& b b<br />

B b b<br />

?<br />

b b<br />

œ . œ ˙ .<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Ó<br />

˙<br />

˙˙<br />

mp<br />

∑<br />

∑<br />

J œ ‰ Œ<br />

∑<br />

∑<br />

ẇ<br />

Ó<br />

cresc.<br />

˙<br />

# ˙<br />

mf<br />

∑<br />

∑<br />

∑<br />

∑<br />

# ˙ #<br />

˙<br />

# ˙ #<br />

˙<br />

∑<br />

∑<br />

∑<br />

∑<br />

# ˙w<br />

# ˙<br />

# ˙ w # ˙<br />

∑<br />

∑<br />

∑<br />

∑<br />

w<br />

n w<br />

n ˙<br />

Ó<br />

Œ n ˙ œ<br />

mf<br />

Œ # ˙ œ<br />

mf<br />

n<br />

n<br />

œ<br />

˙<br />

.<br />

mf<br />

∑<br />

˙ .<br />

Ó<br />

n # ˙˙<br />

n œ.<br />

J ‰ Œ œ f<br />

.<br />

J ‰ J œ. ‰<br />

sf<br />

j<br />

œ ‰ Œ j<br />

. œ. ‰ œ j ‰ .<br />

sf<br />

˙ n<br />

n<br />

˙<br />

∑<br />

Œ<br />

# w<br />

# w<br />

# w<br />

# w<br />

n<br />

J<br />

œ.<br />

‰ Œ Œ n œ<br />

mf<br />

j<br />

# œ ‰ Œ Œ . œ<br />

mf<br />

n w<br />

n w<br />

∑<br />

Timp.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cym.<br />

ã<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

S<br />

& b b<br />

∑<br />

œ Œ n œ ‰ œ J<br />

n œ œ ˙ .<br />

˙<br />

J œ ‰ Œ<br />

∑<br />

Œ<br />

f<br />

n ˙<br />

œ<br />

n ˙<br />

œ œ<br />

n ˙<br />

Œ n œ<br />

A<br />

& b b<br />

œ œ ˙ .<br />

Sheep<br />

˙<br />

bought for<br />

J œ ‰ Œ<br />

Rus-sia,<br />

∑<br />

œ Œ œ ‰<br />

j<br />

œ<br />

œ œ ˙ .<br />

Do<br />

you<br />

f<br />

Œ # ˙ œ<br />

lift<br />

up your<br />

˙ œ œ<br />

heads,<br />

and<br />

# ˙<br />

Œ œ<br />

T<br />

V b b<br />

Rus-sia,<br />

Sheep bought for Rus-sia,<br />

n œ œ # œ n œ<br />

œ œ œ ˙<br />

œ Œ n œ<br />

œ<br />

˙<br />

# ˙<br />

n w<br />

Do<br />

n œ œ Ó<br />

you<br />

lift<br />

Ó<br />

up your<br />

n ˙<br />

heads,<br />

n w<br />

and<br />

B<br />

?<br />

b b<br />

north<br />

- - ern wat - ered winds<br />

That drank ice<br />

all<br />

win-ter,<br />

n ˙<br />

œ œ<br />

# œ n œ œ ˙<br />

œ Œ œ œ<br />

n ˙<br />

˙<br />

˙<br />

# ˙<br />

n œ œ Ó<br />

Ó<br />

and<br />

n ˙<br />

seek,<br />

n w<br />

north<br />

- - ern wat - ered winds<br />

That drank ice<br />

all<br />

win-ter,<br />

and<br />

seek,<br />

Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

116<br />

& b b<br />

œ œ . œ ≈ œ œ<br />

J<br />

˙<br />

˙<br />

œ n œ . œ ≈ œ œ<br />

J<br />

˙<br />

n ˙<br />

œ œ . œ ≈ œ œ<br />

J<br />

M<br />

˙<br />

˙<br />

n ˙ .<br />

œ<br />

n ˙<br />

˙<br />

Vn II<br />

& b b<br />

w<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

n ˙<br />

˙<br />

˙<br />

œ<br />

# ˙ œ<br />

˙<br />

˙<br />

# ˙<br />

˙<br />

Va<br />

B b b<br />

˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

# ˙<br />

˙<br />

˙<br />

˙˙<br />

˙<br />

˙<br />

˙<br />

˙<br />

n ˙<br />

n ˙<br />

˙˙<br />

˙<br />

˙<br />

n ˙<br />

n ˙<br />

˙<br />

˙<br />

n ˙<br />

n ˙<br />

n ˙<br />

n ˙<br />

˙˙<br />

Vc.<br />

?<br />

b b<br />

n œ œ # œ n œ<br />

œ œ œ ˙<br />

˙<br />

n ˙<br />

˙<br />

# ˙<br />

n w<br />

n œ ˙ œ<br />

˙<br />

n ˙<br />

n ˙<br />

˙<br />

D.B.<br />

?<br />

b b<br />

n ˙<br />

œ œ<br />

# œ n œ œ ˙<br />

˙<br />

˙<br />

n ˙<br />

˙<br />

˙<br />

# ˙<br />

n œ ˙ œ<br />

˙<br />

n ˙<br />

n ˙<br />

f<br />

˙<br />

PEL22 – 17


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

124<br />

& b b<br />

& b b<br />

w w<br />

w<br />

∑<br />

&<br />

?<br />

b b<br />

˙<br />

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PEL22 – 18


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

133<br />

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133<br />

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PEL22 – 19


Fl. 1<br />

Fl. 2<br />

145<br />

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Ob. 2<br />

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Trb. 1<br />

Trb. 2<br />

B b b<br />

∑<br />

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B.Trb.<br />

?<br />

b b<br />

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Timp.<br />

?<br />

b b<br />

wæ<br />

j<br />

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pp<br />

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& b b<br />

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V b b<br />

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Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

p espressivo<br />

w<br />

I<br />

b w<br />

too<br />

˙<br />

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am<br />

b ˙<br />

sold<br />

b œ<br />

œ<br />

w<br />

b w<br />

Ó<br />

˙<br />

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in - to strange - ness,<br />

Yet in my heart<br />

can on - ly dis-<br />

w<br />

˙<br />

˙<br />

˙ œ b œ<br />

Vn I<br />

Vn II<br />

Va<br />

145<br />

& b b<br />

& b b<br />

B b b<br />

w<br />

˙<br />

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j<br />

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p<br />

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b œ<br />

Vc.<br />

?<br />

b b<br />

w<br />

p<br />

w<br />

pp<br />

w<br />

w<br />

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b ˙<br />

w<br />

w<br />

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b ˙<br />

w<br />

w<br />

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D.B.<br />

?<br />

b b<br />

w<br />

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pp<br />

∑<br />

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∑<br />

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∑<br />

PEL22 – 20


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

157<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

˙<br />

∑<br />

b ˙<br />

∑<br />

∑<br />

P<br />

˙<br />

∑<br />

˙<br />

∑<br />

∑<br />

∑<br />

˙<br />

Ó<br />

˙<br />

.<br />

œ<br />

p<br />

cresc.<br />

∑<br />

b<br />

˙<br />

∑<br />

∑<br />

b<br />

˙<br />

∑<br />

∑<br />

∑<br />

˙w<br />

˙<br />

∑<br />

1.<br />

w<br />

mp<br />

w<br />

mf<br />

∑<br />

∑<br />

cresc.<br />

œ œ ˙<br />

∑<br />

œ˙<br />

œ b ˙<br />

∑<br />

˙<br />

˙<br />

w<br />

˙<br />

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w<br />

f<br />

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n w<br />

f<br />

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Ó<br />

mp<br />

a2<br />

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˙<br />

mp<br />

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˙<br />

mp<br />

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w<br />

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w<br />

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f<br />

w<br />

f<br />

w<br />

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f<br />

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˙ ˙<br />

œ œ<br />

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Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

& b<br />

& b<br />

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Ó<br />

˙˙<br />

p<br />

∑<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

& b b<br />

B b b<br />

∑<br />

∑<br />

∑<br />

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dim.<br />

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pp<br />

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B.Trb.<br />

?<br />

b b<br />

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b b<br />

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& b b<br />

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A<br />

& b b<br />

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V b b<br />

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B<br />

?<br />

b b<br />

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Solo<br />

Bar.<br />

?<br />

b b<br />

b w<br />

˙<br />

˙<br />

˙ Œ œ<br />

b ˙<br />

b ˙<br />

˙<br />

˙<br />

w<br />

œ œ ˙<br />

˙<br />

˙<br />

w<br />

∑<br />

∑<br />

∑<br />

∑<br />

solve,<br />

re - form, The circ - - - ling shapes of New Zea-land<br />

things.<br />

Vn I<br />

Vn II<br />

Va<br />

157<br />

& b b<br />

& b b<br />

B b b<br />

w<br />

w<br />

b w<br />

P<br />

w<br />

b w<br />

˙<br />

˙<br />

˙<br />

w<br />

. ˙<br />

˙<br />

œ<br />

˙ ˙<br />

più cresc.<br />

˙ ˙<br />

più cresc.<br />

b ˙<br />

˙<br />

più cresc.<br />

w<br />

w<br />

b ˙<br />

b ˙<br />

˙<br />

w<br />

˙<br />

˙<br />

b ˙<br />

˙<br />

b ˙<br />

œ œ ˙<br />

˙<br />

˙<br />

w<br />

˙<br />

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w<br />

mf<br />

w<br />

mf<br />

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˙<br />

˙<br />

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˙<br />

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w<br />

˙<br />

˙<br />

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œ œ<br />

˙ œ œ<br />

Vc.<br />

?<br />

b b<br />

˙<br />

b ˙<br />

w<br />

w<br />

w<br />

più cresc.<br />

w<br />

w<br />

˙<br />

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˙<br />

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w<br />

mf<br />

˙<br />

J œ<br />

‰ Œ<br />

∑<br />

∑<br />

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D.B.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

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∑<br />

PEL22 – 21


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

170<br />

& b b<br />

& b b<br />

&<br />

?<br />

b b<br />

ww<br />

w<br />

w<br />

∑<br />

wœ J ‰ Œ Ó<br />

pp<br />

w J<br />

œ ‰ Œ Ó<br />

pp<br />

w<br />

∑<br />

Q<br />

pp<br />

j<br />

œ ‰ Œ Ó<br />

∑<br />

j ‰ Œ Ó<br />

œ<br />

pp ∑<br />

j<br />

œ ‰ Œ Ó<br />

J<br />

pp<br />

∑<br />

∑<br />

∑<br />

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Hn 1<br />

Hn 2<br />

Hn 3<br />

Hn 4<br />

& b<br />

& b<br />

˙<br />

w<br />

∑<br />

˙<br />

w<br />

∑<br />

dim.<br />

w<br />

∑<br />

w<br />

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ppp<br />

j<br />

œ ‰ Œ Ó<br />

w<br />

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J<br />

œ ‰ Œ Ó<br />

ppp<br />

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Ó<br />

˙<br />

pp<br />

∑<br />

1.<br />

w<br />

∑<br />

w<br />

p<br />

∑<br />

w<br />

∑<br />

Tpt 1<br />

Tpt 2<br />

Trb. 1<br />

Trb. 2<br />

(1.)<br />

& b b w<br />

B b b<br />

∑<br />

œ ‰ Œ Ó<br />

J<br />

ppp<br />

∑<br />

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B.Trb.<br />

?<br />

b b<br />

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b b<br />

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ã<br />

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T<br />

& b b<br />

& b b<br />

V b b<br />

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pp<br />

w<br />

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too<br />

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˙<br />

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n ˙<br />

am<br />

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˙ œ n œ<br />

sold<br />

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pp<br />

w<br />

in - to strange -<br />

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n ˙<br />

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too<br />

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ness,<br />

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˙<br />

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am<br />

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˙ œ œ w<br />

sold in - to strange -<br />

œ œ w<br />

˙<br />

in my heart<br />

∑ ∑<br />

w<br />

ness,<br />

˙ ˙<br />

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can<br />

B<br />

?<br />

b b<br />

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Solo<br />

Bar.<br />

?<br />

b b<br />

∑<br />

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p<br />

w<br />

w<br />

Vn I<br />

Vn II<br />

170<br />

& b b<br />

& b b<br />

w<br />

w<br />

w<br />

w<br />

Q<br />

div.<br />

˙w<br />

pp<br />

w<br />

pp<br />

˙<br />

˙˙<br />

˙˙<br />

˙<br />

˙<br />

˙<br />

div.<br />

˙<br />

˙<br />

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n ˙˙<br />

˙<br />

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w<br />

w<br />

˙<br />

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w<br />

˙<br />

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œ<br />

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I<br />

˙<br />

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w<br />

w<br />

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too<br />

œ<br />

œ Œ Ó<br />

˙<br />

˙<br />

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Va<br />

B b b<br />

w<br />

w<br />

œ<br />

J ‰ Œ Ó<br />

pp<br />

∑<br />

∑<br />

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∑<br />

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∑<br />

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w > pp<br />

Vc.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

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D.B.<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

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∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

PEL22 – 22


Fl. 1<br />

Fl. 2<br />

182<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

R<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Ob. 1<br />

Ob. 2<br />

& b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Cl. 1<br />

Cl. 2<br />

&<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Bn 1<br />

Bn 2<br />

?<br />

b b<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

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∑<br />

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Hn 2<br />

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PEL22 – 23


Fl. 1<br />

Fl. 2<br />

194<br />

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PEL22 – 24


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

206<br />

& b b<br />

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206<br />

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PEL22 – 25


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

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PEL22 – 26


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

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PEL22 – 27


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

Hn 1<br />

Hn 2<br />

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Tpt 2<br />

Trb. 1<br />

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B.Trb.<br />

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A<br />

&<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

T<br />

V<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

B<br />

?<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Solo<br />

Bar.<br />

?<br />

∑<br />

∑<br />

∑<br />

∑<br />

∑<br />

Vn I<br />

236<br />

&<br />

Œ œ œ 3<br />

œ œ. ˙ .<br />

f<br />

œ<br />

œ œ œ<br />

œ . œ œ œ œ œ œ œ œ œ<br />

3<br />

3<br />

3 3<br />

J ‰ Œ Œ<br />

œ . sfz<br />

œ œ œ<br />

J<br />

œ . ‰ Œ<br />

p<br />

3<br />

œ œ œ ˙ .<br />

p<br />

3<br />

˙<br />

V<br />

b œ . œ œ œ œ. ˙ .<br />

mf<br />

3<br />

Vn II<br />

&<br />

3<br />

3<br />

œ œ œ œ œ .<br />

œ œ œ ˙<br />

3<br />

œ œ œ œ œ .<br />

œ œ œ œ œ œ œ œ œ<br />

3 3<br />

3<br />

˙ .<br />

3<br />

˙ .<br />

œ œ œ ˙<br />

sfz<br />

mf<br />

. ˙<br />

3<br />

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3<br />

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œ œ œ œ . ˙ .<br />

˙ .<br />

Va<br />

B<br />

3 3<br />

œ œ œ œ b œ . œ œ œ ˙<br />

3 3 3 3<br />

œ œ œ œ b œ . œ œ œ œ œ œ œ œ œ<br />

3<br />

b ˙ .<br />

œ œ œ ˙<br />

sfz<br />

mf<br />

˙ .<br />

3<br />

œ œ œ ˙<br />

b ˙ .<br />

3<br />

œ œ œ ˙<br />

Vc.<br />

D.B.<br />

?<br />

?<br />

3<br />

˙ ˙ œ . œ œ œ<br />

˙ ˙ œ . œ œ œ<br />

3<br />

3<br />

˙ ˙ œ . œ œ œ<br />

˙ ˙ œ . œ œ œ<br />

3<br />

3<br />

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sfz<br />

mf<br />

˙ ˙ œ . œ œ œ<br />

sfz<br />

mf<br />

3<br />

˙ ˙ .<br />

˙ ˙ .<br />

3<br />

œ œ œ<br />

œ œ œ<br />

3<br />

3<br />

˙ ˙ œ . œ œ œ<br />

p<br />

˙ .<br />

Œ Ó<br />

p<br />

PEL22 – 28


Fl. 1<br />

Fl. 2<br />

Ob. 1<br />

Ob. 2<br />

Cl. 1<br />

Cl. 2<br />

Bn 1<br />

Bn 2<br />

241<br />

&<br />

&<br />

#<br />

& #<br />

?<br />

œ . ˙><br />

œ . ˙><br />

œ . ˙><br />

œ . œ .<br />

œ œ . œ . œ .<br />

œ . œ . œ œ . œ . œ .<br />

œ . œ .<br />

œ œ. œ . œ .<br />

∑<br />

œ<br />

œ<br />

n œ<br />

n œ<br />

# œ ˙ ˙ .<br />

# œ ˙<br />

œ˙ . œ # œ ˙ .<br />

sffz<br />

˙ .<br />

˙ .<br />

˙ .<br />

f<br />

sffz<br />

œ<br />

J<br />

. ‰ Ó<br />

sffz<br />

n ˙<br />

sffz<br />

˙<br />

˙<br />

˙<br />

w .<br />

f<br />

œ<br />

J ‰ Œ Ó<br />

∑<br />

œ<br />

J ‰ Œ Ó<br />

w<br />

œœ<br />

œ b ˙˙<br />

Ó Œ ‰<br />

f<br />

Ó Œ ‰ œ œ œ n ˙˙<br />

f<br />

b<br />

œ<br />

sfz<br />

∑<br />

Œ Ó Ó<br />

œ .<br />

b<br />

˙˙<br />

œ . œ . . . .<br />

œ # œ<br />

œ<br />

œ<br />

. .<br />

b œ<br />

. œ . Ó ˙˙<br />

f<br />

œ .<br />

n<br />

˙˙<br />

œ . œ . . . .<br />